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BRIDGET RILEY (B. 1931)Pass 1981 signed and dated '81 on the turnover edge; signed, titled and dated 1981 on the reverse; signed and titled on the stretcher baroil on linen80 by 70.5 cm.31 1/2 by 27 3/4 in.Footnotes:This work is registered in the Bridget Riley studio, London under no. P8012.ProvenanceJuda Rowan Gallery, London (BR 2) Acquired directly from the above by the previous owner in 1986 Thence by descent to the present ownerLiteratureRobert Kudielka, Alexandra Tommasini, Natalia Naish, Bridget Riley: The Complete Paintings, London 2018, vol. 2, no. BR 214, p. 544, illustrated in colourChromatically arresting, visually alluring and completely fresh to the market, Pass from 1981 embodies Bridget Riley's radical investigations into the optical potential of colour and the complexities of illusion and perception. Riley has produced a prolific, compelling, and technically pristine body of work over the course of her extraordinary career; an oeuvre that was in 2019 the subject of a highly lauded retrospective at the National Galleries of Scotland and the Hayward Gallery. Today, her works are held in the collections of the Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., the Tate Gallery in London, and the Peggy Guggenheim Collection in Venice, to name but a few.Hypnotically evading perspectival resolution, the films of colour as seen in this present work recede and advance into illusory space, extending the abstract field of vision beyond the flat picture plane. Such dramatic visual effects anointed Riley as the undisputed spearhead of the Op Art movement. Nevertheless, her preoccupation with the mechanical contingencies of colour, and the sensory and perceptive effects that can be produced through constructing a rational architecture of form in which colour resides, extend Riley's impact and influence on contemporary painting far beyond the confines of a single movement. Maintaining an unparalleled relationship to the formal, 'plastic' concerns of painting inherited from the likes of Seurat, Paul Klee and Piet Mondrian, Riley has developed a pictorial language that is remarkably unique. Riley explains that 'by plastic I mean that which hangs between the cognitive reading of an image and its perception. If one looks at the painting there is clearly a gap between the mythic illusion which one can 'read' and the immediacy of the sensations one experiences through the sense of sight' (the artist in conversation with R. Kudielka, The Artist's Eye: Bridget Riley, London, 1989, p. 13).Pass belongs to a group of works that were inspired by a trip to Egypt that Riley made in the winter of 1979–80. This excursion was to have a lasting effect on the artist, inspiring her work for over a decade. Following this trip, Riley's palette became brighter, bolder, and more intensified. Paul Moorhouse explains, 'During that trip she visited the Nile Valley and the museum at Cairo, and was able to study, at first hand, the tombs of the later Pharaohs in the Valley of the Kings. Riley was astonished by the art she found in these ancient burial sites carved out of rock and located deep in the earth. These sacred places were dedicated to the dead, yet the tomb decoration was a vivid evocation of life and light. Though their creators had used only a limited number of colours - red, blue, yellow, turquoise, green, black and white - the walls of the chambers receded behind images in which could be seen a bustling affirmation of everyday existence. In looking at the art and craft of Ancient Egypt in the Cairo Museum, Riley recognised that the same colours had been used in all aspects of the Egyptians' material lives, from the decorative to the purely functional' (Paul Moorhouse, Bridget Riley, London, 2003, p. 22).In a spectacular rhythm of blue, red, orange, and white, Pass engenders a harmonious structure that is analogous with the relationship between the component parts of a piece of music. This aggregation of high and low tones, of loud and quiet pitches, creates a field of vision that hums with a warm, self-generated glow. For Riley, suspending incongruent colours and polarising frameworks is the essence of aesthetic harmony: 'this could sound like a paradox', she writes, 'but only if one thinks in logical terms. In painting, it seems to me, contrast is the basic relationship. Even that which appears to be harmony is actually a harmony of contrasts, be they spatial, directional, chromatic, tonal, etc.' (Bridget Riley in conversation with Robert Kudielka in Robert Kudielka on Bridget Riley: Essays and interviews 1972-2003, London 2005, p. 96). In the present work, Riley composes a melodic unity through bands of colour that refract and funnel a cacophony of shifting sightlines between its vertical linearity. An exemplary work of pulsating geometry and colour, Riley's Pass is a compelling vision of abstract painting's closeness to human perception.Born in London in 1931; Riley studied at Goldsmiths College from 1949 to 1952, and at the Royal College of Art from 1952 to 1955. Finding notoriety in the 1960's, her prestige and influence on contemporary art remains decisively steadfast, while her extensive body of work continues to garner discussion in a contemporary context. Citing Georges Seurat as a point of reference, Riley's early output of work played with Pointillism and Impressionism to examine the interaction of colour and form to create light and depth. The Pointillist painter had sought to introduce light into the canvas through dots of pure colour, carefully placed either for contrast or harmony to intensify both their individual power and the overall effect. Similarly, Riley developed a mode of painting that employed the repetition of individual colours in geometric patterns and, in the case of this present work, vertical lines. The lines surpass and transcend their own limitations, and work together to achieve a greater luminosity. Cultivating her technique to explore total abstraction, Riley soon came to hone her optical style, creating dizzying canvases where depth and visual stimuli emanated from the delicate positioning of vertical and linear lines. Initially working with a largely monochrome palette, Riley's first solo exhibition at Gallery One in 1962 soon led to a string of international shows early in her career, including exhibiting in the Museum of Modern Art, New York, a solo exhibition in 1966, and prizes such as the AICA Critics Prize and John Moores' Liverpool Open Section in 1963. In 1968 she represented Britain at the Venice Biennale, receiving the International Prize for Painting. It is true to say that Bridget Riley's continued exploration of optics and colour have afforded her the reputation as one of the most internationally recognisable abstract artists today.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

ANISH KAPOOR (B. 1954)Red Void 1993 fibreglass and pigment99 by 99 by 91.8 cm. 39 by 39 by 36 1/8 in. This work was executed in 1993. Footnotes:ProvenanceMcClain Gallery, HoustonPrivate Collection, Turkey Acquired directly from the above by the present ownerAnish Kapoor is arguably one of the most influential sculptors of his generation. Perhaps most renowned for his large-scale public sculptures that are both adventures in form and feats of engineering, Kapoor manoeuvres between vastly different scales, across numerous series working with diverse materials including pigment, mirrors, stone, wax, and PVC, exploring both biomorphic and geometric forms with a particular interest in the infinities and possibilities of space. Immersing the viewer in its deep vortex of beguiling, jewelled red, Red Void is a majestic example from the series of wall pigment and fibreglass works that Kapoor began in 1989. Fascinated by primary colour in its raw state, Kapoor first put these pigments to use in the collective work 1000 Names (1979-1985), where he applied liberal swathes of colour to fantastical geometric formations and allowed the granules to accumulate on the floor around the base of the sculptures. In the late 1980s, Kapoor began to apply these pigments to his sculptural voids, initially positioning them on the floor before suspending them upon the wall. Kapoor's wall works of the 1980s and 1990s are considered intimate precursors to his monumental public installations that have brought him worldwide acclaim.With its curved, sensuous form seeming to disappear into infinity, Red Void instils an overpowering, mystical sense of vertigo within the viewer as it projects out into the room. From a side angle, shadow can trick the eye into picturing a convex form, whereas approached straight-on, the bowl envelops the viewer's field of vision. The manipulation of space has been one of Kapoor's primary concerns throughout his career to date, and the artist has sought to investigate the non-material possibilities of emptiness and the potential of the 'void' through his diverse body of work. By cupping the space, it treats the space as an object itself. On space, the artist has remarked: 'You can see it with your eyes. Then you can't see it. Yet you know it. You know it with your body. Your imagination senses it. It's not like air' (the artist in conversation with Donna de Salvo, in Anish Kapoor, London and New York 2009, p. 404). Gazing into the dark, sensual and immaterial voids of these sculptures, infuses the viewer with a direct experience of the void solely through the sensual medium of pure colour. Kapoor's aim with this series of works, is to awaken in the viewer an awareness of immateriality through their own inner experience. In this sense these works are like existential gateways, strange meeting points between the immaterial and material worlds, between the viewer's innate sense of self and of infinity and nothingness. The large cavity in Red Void opens up a view into an un-defined space characterised only by the deep red of the dry pigment; and here one could even believe that the infinite void of the cavity is contained on the other side of the finite space of the wall. Born in Bombay in 1954, to an Iraqi-Jewish mother and a Hindu father, Kapoor has always drawn on the spiritual and mythological heritage of his upbringing. After a brief spell in Israel, he moved to London in 1973 and studied at Hornsey College of Art and the Chelsea School of Art. He first gained critical recognition in the 1980s for his biomorphic sculptures and installations made with materials as varied as, stone, aluminium, and resin, that appeared to challenge gravity, depth, and perception. In 1990 he represented Britain at the 44th Venice Biennale with Void Field, 1989, a grid of rough sandstone blocks each with an enigmatic black hole penetrating its top surface and was subsequently awarded the Premio Duemila for Best Young Artist. A year later in 1991 he was honoured with the Turner Prize. Kapoor's body of art has served and continues to conjure a powerful sense of mysticism. Through his use of illusion, the dizzying power of the sublime and the seductive force of colour, sculptures like Red Void are persuasive in their mythologising of the world, investing it with Romantic mystery and meaning. This present work embarks on a revolutionary path in which the autonomy of pure colour and the exploration of infinite space and the void are celebrated. Today Kapoor's works are held in the collections of The Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., Fondazione Prada in Milan, and the Tate Gallery in London, among others.This lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

BANKSY (B. 1975)Fallen Angel 2008 signed and inscribed Thanks Simon ☮spray paint on paper 56.3 by 75.5 cm.22 3/16 by 29 3/4 in.This work has been executed in 2008, and on the reverse of a Morons Sepia print.Footnotes:This work has been authenticated by Pest Control Office and will be issued with a new certificate of authenticity.ProvenanceSimon Evans Collection, UK (gift from the artist in 2008)Iconic, instantly recognizable, and scathingly satirical, the work of legendary street artist Banksy continues to shock and entertain today. Banksy's striking, silhouette like visuals, coupled with his sardonic wit has led to one of the most innovative oeuvres in the history of Street Art. Banksy has been one of the leading pioneers of the Street Art movement to have emerged in the last thirty years, a creator of some of the most iconic and beloved public works of art in the world.In 2002, Banksy published a short book entitled Existencialism, which illustrated a selection of his early street art created in various public locations, from the Millenium Bridge in London to the giraffe enclosure at Barcelona Zoo. Amongst the works highlighted in Existencialism, is a graffiti stencilling of a downtrodden and lonesome angel spraypainted onto an inconspicuous door on Old Street. The work from Old Street is a precursor of the present lot Fallen Angel, and in both pieces Banksy's highly stylised and graphic visual language is on full display. Fallen Angel combines all the masterful elements of Banksy's practice in one work – vivid symbolism, an acute awareness of social issues and the dramatic chiaroscuro-like contrasts resulting from the artist's stencilling technique. Much like the original public piece on Old Street which inspired the present work, the lit cigarette, crinkled clothes, and trainers on the individual shows that the Fallen Angel is in fact an ordinary person, not a divine being. This is Banksy's empathetic manner of suggesting that anyone can have a fall from grace. The focus on an angelic figure is a mark of Banksy's highly satirical genius; under Banksy's hand, the figures of cherubs or putti from Renaissance and Baroque art are subverted from symbols of peace, prosperity, and joy to victims of modern poverty and subjects of societal denigration. Banksy deliberately used a heavier application of white spray paint on the head and shoulder of the crouched angel and used a lighter hand on the legs. Viewing the lower half of the scene, the figure almost seems to vanish from the audience's gaze. The dramatic spot lit effect on the subject deepens this atmosphere of undue public judgement. Some art critics draw parallels between the conventional religious iconography found in Fallen Angel and the Christian, Jewish and Islamic reprimanding stories of angels that were ousted from heaven after refusing God's will. However, both Exclamation Rat (Lot 38) and Fallen Angel display undertones of an autobiographical account. These works allude to the artist as an anonymous crusader for equality and social justice.Although most details of Banksy's identity remain a mystery, the story of Fallen Angel provenance provides a first-hand glimpse into the artist's sense of humour. The present work was gifted by the artist to the comedian Simon Evans after including one of Evans' jokes alongside an illustration of the earlier, Old Street version of Fallen Angel in Existencilism. The joke as told on the stage goes 'it is rather ironic... that the favourite drink of the homeless, should be a beer called Tennent's'. Unlike the Old Street version, the present Fallen Angel includes Banksy's signature on the lower right and is inscribed Thanks Simon ☮. The work was also sent with a handwritten note from Banksy, who jokes 'Who said good things come to those who wait? 'Average stencil garbage' is more like it'. This tongue-in-cheek and ironic wit is also evident when the reverse of Fallen Angel is viewed. It is executed on the back of a Morons Sepia print – one of Banksy's most scathing yet commercially popular commentaries on the art world. In Banksy's world, exposing the truth takes precedence to following established social, moral or behavioural codes. Banksy engages with a long art historical tradition of compassionately capturing aspects of life that are often downplayed, forgotten, or censored altogether. The artist follows in the footsteps of Spanish Old Master painter Francisco Goya, whose Black Paintings visually chronicle the artist's criticisms of war and contemporary Spanish society, or American photographer Dorothea Lange who documented the plight of impoverished families during the Great Depression. Armed with his resounding voice, strong visuals and highly contextual narratives in each work, Banksy is one of the most recognizable and sought-after Street artists of the century having completely transformed graffiti culture. His identity, even after more than twenty years, remains gleefully anonymous.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

JULIAN OPIE (B. 1958)Shahnoza with beads 2006 continuous computer animation on 49' LCD screen113.3 by 66.5 by 9.4 cm.44 5/8 by 26 3/16 by 3 11/16 in.This work was executed in 2006, and is number 3 from an edition of 4, plus 1 artist's proof.Footnotes:ProvenanceGalerie Bob van Orsouw, ZurichPrivate Collection, USSale: Bonhams, London, Modern & Contemporary Art, 17 December 2019, Lot 38Acquired directly from the above by the present ownerThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

MIKULÁŠ MEDEK (1926-1971)Sorrow of the IVth Inquisitor 1965 signed and dated 65; signed, titled and dated 65 on the reverse oil and enamel on canvas 129.5 by 180.5 cm. 51 by 71 1/16 in. Footnotes:This work will be included in the forthcoming catalogue raisonné being prepared by Eva Kosáková Medková.ProvenanceArt Centrum, Prague The University of Sydney, Sydney (acquired directly from the above in 1968)ExhibitedBerlin, Akademie der Künste, Tschechoslowakische Kunst der Gegenwart, 1966, no. 109Stockholm, Sveagalleriet, Tjeckoslovakisk nutidskonst, 1967, no. 68Prague, Art Centrum, Mikuláš Medek: Peintures, Paintings, Bilder 1958 - 1967, 1968Sydney, Farmer's Blaxland Gallery, Power Bequest Exhibition 2, 1969Melbourne, National Gallery of Victoria; Sydney, Art Gallery of New South Wales; Adelaide, Art Gallery of South Australia, The Power Survey of Contemporary Art, 1972LiteratureVratislav Effenberger, Petr Král and Stanislav Dvorský (Eds.), Surrealistické východisko (1938 - 1968), Prague 1969, n.p., illustrated in black and white (incorrectly titled and dated)Bohumír Mráz, Mikuláš Medek, Prague 1970, p. 146, no. 72, illustrated in colourVratislav Effenberger and Antonin Hartmann (Eds.), Mikuláš Medek, Prague 2002, p. 107, illustrated in colour (incorrectly titled)Widely considered as one of the most important representatives of Czech modern painting in the post-war period, Mikuláš Medek is an artist who only recently received the global attention and recognition he deserves. Having died in 1974 at the age of only 47 years of age, the artist became a legend to his Czech contemporaries during his lifetime and deeply influenced the development of Czech modern art. A free spirit through and through, Medek was in permanent conflict with the communist dictatorship in Czechoslovakia and ended up on the index several times. As a result, he was not allowed to exhibit, and public commissions were denied to him for much of his lifetime. Despite these limitations Medek developed a unique style, divided in three distinct creative periods, in an environment where Socialist Realism was the only acceptable art form and in a country that tried to expunge modern art, thought and international artistic the exchange. Sorrow of the IVth Inquisitor from 1965 is the first work of a cycle of 'Inquisitor' works and was executed in a rare time window where the artist was able to exhibit nationally and internationally. Having worked in secret for years under the oppression of the communist regime, the later 1960s between 1963 and 1969 presented a rare window of greater artistic freedom and exchange with Europe and the world. The Inquisitor cycle is an ironic take on Medek's critics and the censors in his life. Coming to the market for the first time in over half a century the present work has been widely exhibited and published. It was acquired by the University of Sydney in Australia only shortly after the work's execution in 1968 and has remained in the collection ever since. The sale will benefit the university's art collections. The present work shows three imposing abstract figures against a stark black background. The spectator is confronted with an intense, emotionally charged scene full of mystical energy and symbolism but also with a spiritual force reminiscent of a catholic altar piece. Three heads balance on sharp, neck like spikes tinted in bloody dark kraplak. Long lashes surround thin lines of unfathomable eyes, and the central figure bears a dark mouth teeming with sharp teeth. Medek used synthetic enamel, a deliberately modern medium, along with oil paint and varnish to create a shiny supple texture. Slashing and gauging the surface with palette knives, spatulas and brushes and layering the enamel and paint on thickly, Medek created a rich, organic, almost skin like texture. Whilst the three Inquisitors in the present work are the art historians Frantisek Smejkal and Vera Linhartova alongside the artist's wife Emila Medkova, the identity of the fourth, referenced in the title, remains unknown. Mikuláš Medek was born in Prague on 3 November 1926 to a prominent artistic and intellectual family. He was the son of the writer and officer Rudolf Medek, the grandson of the impressionist painter Antonín Slavíček and the brother of the music theorist and dissident Ivan Medek. He studied at the State School of Graphic Arts, at the Prague Academy of Fine Arts under the tutelage of Vlastimil Rada and at the College of Applied Arts in the studio of František Muzika and František Tichy. Initially influenced by the rich Surrealistic tendencies in Prague and artists such as Max Ernst and Salvador Dali, he later became one of the leading exponents of informal and non-figurative painting, despite living under an oppressive regime that considered his work to be subversive. Medek worked in private for much of his life, hiding his paintings from Czechoslovak State Security forces, but he was well known to, and greatly influenced a group of likeminded artists and intellectuals. At the end of the 1950s, Medek turned away from figurative painting and concentrated on abstraction, only to return to more figurative subjects towards the mid-1960s. Throughout his oeuvre Medek worked with the theme of the human condition, destiny and the endangerment of human existence and dignity. He created large-scale works for church interiors in Senetářov, Kotvrdovice and, probably the best known, in Jedovnice in Moravia. Today Medek's works are held in a number of Czech and international public institutions as well as in private collections. After a comprehensive exhibition of his work in Prague's Rudolfinum in 2002 and a major retrospective exhibition at the National Gallery Prague in 2020-21 there is finally increased international interest in his works which only rarely come up at auction. Mikuláš Medek continually strove for creative freedom in an age hostile to intellectual liberty and modern art and rightfully occupies a leading position in the cultural history of Post-War Czechoslovakia.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

ROBERTO MATTA (1911-2002)Demeure d'Interrogation 1973 signedoil on canvas 100 by 98 cm. 39 3/8 by 38 9/16 in. This work was executed in 1973. Footnotes:This work is registered in the Archives de l'Oeuvre de Matta, Tarquinia/ Paris, and will be accompanied by a photo-certificate of authenticity from Alisée Matta. ProvenancePrivate Collection, EuropeSale: Stockholms Auktionsverk, Stockholm, Modern Art & Design (Day 2), 20 April 2016, Lot 637Acquired directly from the above by the present ownerThis lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Renaissance embroidery; Spain, first half of the 16th century."Saint John, Saint Andrew and Saint Augustine".Damage and losses.Measurements: 135 x 22 cm.The creation of embroidery has always been an art associated with femininity, the work of nuns, these pieces of exceptional technique used as ornamentation have been valued and revalued in recent decades. This piece depicts three saints: St. John, St. Andrew and St. Augustine. The Gospels say that John the Baptist was the son of the priest Zechariah and Elizabeth, cousin of the Virgin Mary. He retired at a very young age to the desert of Judea to lead an ascetic life and preach penance, and recognised in Jesus, who was baptised by him, the Messiah announced by the prophets. A year after Christ's baptism, in the year 29, John was arrested and imprisoned by the tetrarch of Galilee, Herod Antias, whose marriage to Herodias, his niece and sister-in-law, he had dared to censure. Finally, St. John was beheaded, and his head given to Salome as a reward for his beautiful dances. This saint appears in Christian art in two different guises: as a child, a playmate of Jesus, and as an adult, an ascetic preacher. The adult Saint John depicted here is dressed in Eastern art in a camel-skin sackcloth, which in the West was replaced by a sheepskin that leaves his arms, legs and part of his torso bare. The red cloak he wears at times, as well as in the scene of his intercession at the Last Judgement, alludes to his martyrdom. In Byzantine art he is depicted as a large-winged angel, with his severed head on a tray held in his hands. However, his attributes in Western art are very different. The most frequent is a lamb, which alludes to Jesus Christ, and he often carries a cross of reeds with a phylactery with the inscription "Ecce Agnus Dei".Aan Andrew is presented with the attribute of his martyrdom, the cross in the form of a cross on which he was tied by order of the proconsul Aegeas. The luminosity of the work, the predominance of blue tones and the peace that emanates from the bearded face, with its soft meditative features, form a peaceful image that shows us a saint who has already overcome pain and rests eternally beyond sacrifice. Andrew was the first apostle called by Jesus, which is why he was called by the Greeks Protokletos, "the first called". Brother of Simon Peter and, like him, a fisherman from Galilee, his name is Greek and not Hebrew, and means virile. He is mentioned twice in the Gospels: in connection with the vocations of the first two apostles, and in the episode of the multiplication of the loaves and fishes. His legend comes from the Apocryphal Acts, according to which he was appointed, after the death of Jesus, to evangelise Scythia, i.e. modern-day Russia. While preaching there, an angel appeared to him and said "Go to Matthew"; he was then miraculously guided to Ethiopia, where St Matthew had been blinded and imprisoned. The prison doors opened before Andrew, and he began to pray in front of Matthew, after which the prisoner regained his sight. His mission accomplished, he went to Greece and then to Asia Minor, where he reportedly performed a series of miracles. He finally met his death at Patras in the Peloponnese, where the proconsul Aegeas had him flogged with rods for preaching disobedience to the emperor, and then ordered him to be tied with ropes to a cross in the shape of an "X", where he died on the third day. The most popular attribute of Saint Andrew is precisely this cross, although until the 15th century he is most often depicted crucified on a normal cross.St. Augustine of Hippo (Tagaste, 254, Hippo Reggius, 430) was a doctor of the Catholic Church, known, among other things and for his writings, for a legend: the saint is said to have walked along the seashore, thinking about the Trinity.

Vinyl - 15 2000s Indie / Alternative singles, including rarities & coloured vinyl, to include: The White Stripes - Red Death (limited numbered one sided Red Vinyl + Press Release, XLS MOJO) EX+, Paramore - Hallelujah (Limited Gatefold Sleeve + Poster , AT 0284) EX / EX, Poster EX, Art Brut - Modern Art (Unique Limited Edition, Hand Painted Sleeve, NING 164) EX / EX, Editors - Escape The Nest (Limited Numbered, SKX 973) EX / EX, Vampire Weekend - Cousins (XLS 473) EX / EX, Spiritualized, Jarvis Cocker, The Features, Hot Chip (Gold Vinyl), Archive - Numb (hand written / numbered labels), Archie Bronson Outfit, Stephen Fretwell and others

Vinyl - 34 rare Jazz albums including Art Tatum Trio, Top Brass (London Records), Duke Ellington Afro Bossa, Art Farmer Quintet (Japanese press), Jim Hall, Charlie Parker, Count Basie The Atomic Mr Basie rare stereo, Johnny Griffin, Modern Jazz Quarter (on Apple Records), Helen Merrill, Cal Tjader, Coleman Hawkins, Quincy Jones, Afro Cuban Jazz, Charlie Byrd Trio, Phineas Newborn Junior (double test pressing), Dexter Gordon and more. At least Vg overall

RIOLAN (Jean) A Sure Guide; or The Best and Nearest Way to Physick and Chyrurgery, translated by Nicholas Culpeper, London: printed by peter Cole 1657, small folio, 23 (of 24) engraved plates, one supplied in modern photocopy, some text leaves also in modern photocopy, all rather age toned, rebacked; LOWE (Peter) A Discourse of the Whole Art of Chyrurgerie, 4th edition corrected, London: printed by R. Hodgkinsonne 1654, 8vo, woodcut illustrations, title either heavily restored and laid down with arms illustration overleaf, or supplied in very faded facsimile, some cropping to fore-margins, light worming to lower margins, all rather age toned, 19th century calf gilt. Sold not subject to return (2)

Two firearm engravings books: 'Modern Firearm Engravings' by Mario Abbiatico and 'The Art of Engraving' by James B. Meek, hard covers

Francatelli,C.E.: The modern cook; a practical guide to the culinary art in all its branches... 4. ed. London, Bentley 1848. Mit gest. Portrait-Front. u. zahlr. Textabb. XII S., 1 Bl., 513 S. Lwd. d. Zt. (Berieb. u. etw. best.). Vgl. Bitting S. 164 (EA 1846). - Etw. fleckig u. gebräunt, hs. Besitzverm. verso Front. - ╔Dabei: Marshall,A.B.╗ Larger cookery book of extra recipes. London (1891). - ╔Harland,M.╗ The Dinner Year-Book. New York, Scribner 1878. - ╔Mackenzie's╗ five thousand receipts in all the useful and domestic arts... A new american from the latest London ed. Kay's improved & enlarged ed. Philadelphia u. Pittsburgh, Kay o.J. - Zus. 4 Bde.

* PAT DOUTHWAITE (SCOTTISH 1939 - 2002), UNTITLED pastel on paper image size 48cm x 62cm, overall size 69cm x 88cm Mounted, framed and under glass. Provenance: The Corrymella Scott Gallery. Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.

* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018), FROM THE CAR PARK oil on board, signed and dated '99 44cm x 47cm Framed and under glass. Titled verso, but obscured by the backboard. Note: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi-abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely, especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. In recent times we have offered a growing number of Sheila Macmillan's paintings with several achieving more than £1000. The current leading price is £1700 (hammer) for "Ronda, Spain", a 45 x 48cm oil on board (lot 510A, The Scottish Contemporary Art Auction 24th October 2021).

MAURICE DE VLAMINCK (1876-1958)La forêt signed and inscribed 'Vlaminck La forêt' (lower left)oil on canvas81 x 100cm (31 7/8 x 39 3/8in).Painted circa 1907-1908Footnotes:This work is accompanied by an attestation from the Wildenstein Institute. This work will be included in the forthcoming Maurice de Vlaminck Digital Catalogue, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.Please note that this work has been requested for the exhibition Maurice de Vlaminck: Modern Artist Rebel at the Museum Barberini, Potsdam, 14 September 2024 – 12 January 2025.ProvenanceDaniel-Henry Kahnweiler, Paris and Zurich, no. 68 (probably acquired directly from the artist); on consignment with Galerie Alfred Flechtheim, Dusseldorf, no. 616, subsequently with Galerie Paul Cassirer, Berlin, no. 17219, from 2 October 1919.Private collection, Berlin and London (acquired in the 1920s).Thence by descent to the present owner.ExhibitedDresden, Kunstsalon Emil Richter.(Possibly) Dusseldorf, Städtischer Kunstpalast, Ausstellung des Sonderbundes Westdeutscher Kunstfreunde und Künstler, Düsseldorf 1910, 16 July - 9 October 1910, no. 182 (titled 'Der Wald').(Possibly) Dusseldorf, Galerie Alfred Flechtheim, Wilhelm Kreis, Max Hünten, Manolo, De Vlaminck, 17 August - 6 September 1919, no. 43 (titled 'Der Wald').'When painting I experienced a source of joy, a constantly renewed pleasure, an intense cerebral excitement... I was in communion with the sky, the trees, the clouds, with life... An unceasingly renewed but fleeting illusion... It was precisely that appearance, continually renewed, always ungraspable that I worked furiously at capturing, at fixing on the canvas in greens, yellows, blues and reds.' - M. de VlaminckUnseen in public for almost a century, La forêt is a luminescent example of Maurice de Vlaminck's liberal and emotional presentation of colour and the evolving modernisation of his style. At the same time the work has a history as rich as its palette, traversing the shifting tides of European art collecting and dealing in the 20th century. Passing through the hands of Daniel-Henry Kahnweiler, Alfred Flechtheim and Paul Cassirer, before being taken to London following the rise of Nazi Germany, the provenance trajectory of the present work encapsulates some of the most fundamental developments in the history of art and of the world.A chance meeting in July 1900, on the same suburban St Germain-en-Laye to Gare St Lazare rail line that had coincidentally brought together Paul Sérusier and Maurice Denis some ten years previously, gave birth to a blossoming friendship and to two of Fauvism's most ardent proponents: André Derain and Maurice de Vlaminck: 'It is certain that if it had not been for that meeting... the idea would never have entered my mind to make 'Painting' my livelihood!' (M. de Vlaminck, Portraits avant décès, Paris, 1943, p. 13).Together Derain and Vlaminck set up in Chatou, a quiet suburb of Paris, penniless, but nonetheless flush with a burning passion for their impending artistic endeavours. As Renoir and Monet had done in the summer of 1869, the pair worked on the banks of the Seine, inspiring one another in turn and ceaselessly conversing to generate a unique aesthetic. Over the 1900-1905 period, the 'School of Chatou' was born. When apart, the two artists would continue their discussion via letter and Vlaminck kept the entire body of letters written to him by Derain, eventually giving them to the Musée de Chartres. These invaluable notes offer an important insight into the aesthetic development of Derain and, in turn, Vlaminck, offering a gauge on the exchange of ideas, discussion of aesthetics, and questionings that nourished and stimulated the relationship between the young artists.Galerie Bernheim-Jeune's major exhibition of Vincent van Gogh in March 1901 was to have an unimaginably profound effect on Vlaminck, who was 'bowled over' by the Dutch artist's 'revolutionary direction, an almost religious feeling in his interpretation of nature' (M. de Vlaminck, op. cit., 1943, p. 31), an effect we see come to the fore through Vlaminck's later use of lengthened brushstrokes, to give form to his subjects. At this same exhibition, Derain introduced his friend and visionary accomplice to the third Fauve master of colour, Henri Matisse. Matisse later recalled to his son-in-law, Georges Duthuit, the exclamation of Vlaminck at this meeting: 'You see, you have to paint using pure cobalts, pure vermilions, pure Veronese greens!' (Matisse quoted in G. Duthuit, Les Fauves, Braque, Derain, Van Dongen, Dufy, Friesz, Manguin, Marquet, Matisse, Puy, Vlaminck, Geneva, 1949, p. 72).Vlaminck's artistic output in the following years was as monumental as it was influential, ultimately creating an oeuvre of some 6,000 works. He was, however, constantly financially challenged in these early years. Juggling a young family and a voracious appetite for painting, he supplemented his salary as an evening musician by giving violin lessons. As he recalled later, 'I quite often went without the necessaries in order to be able to cover my canvases with colours, which I later scraped off so I could use them again. My most recurrent problem was that I lacked the money to buy tubes and stretchers!' (M. de Vlaminck, Le Ventre ouvert, Paris, 1937, p. 50).This hardship prevented Vlaminck from travelling with Derain and Matisse to the South of France and discovering the light of the Midi. Instead, he remained in the regions along the Seine valley to the west of Paris, travelling by foot and by bicycle in search of the perfect place to paint en plein air. This did not matter for Vlaminck, for his relationship to the landscape, the motif, was instinctive and it was 'far from the intense southern light that Vlaminck's personal style rose to a level on which the colour exploded' (M. Vallès-Bled, Maurice de Vlaminck, La période fauve, 1900-1907, Paris, 2008, p. 37). His emotional and aesthetic attachment to the landscape drew comparisons to Cézanne, who was often drawn back to the views of Mont-Sainte Victoire and the gardens of Jas du Bouffan.Some financial respite was to come later however, from his first dealer Ambroise Vollard. After the preliminary exhibitions of his Fauvist works, Vollard bought up much of his stock and made monthly purchases that allowed Vlaminck to live as a painter. He also played a crucial role in disseminating Vlaminck's works through the frequency of his purchases, his national and international sales and his loans to a wide number of exhibitions. To find himself in such a position however, Vlaminck had to first run the gauntlet of the 1905 Salon d'Automne, a Salon that would secure itself in the annals of art history.'A tremendously bright room, of the most daring, the most extreme, of those whose intentions have to be decoded... At the centre of the room, the torso of a child and a small marble bust by Albert Marquet, whose modelling is a delicate science. The ingenuousness of these busts is striking, set amidst the orgy of pure colours: Donatello amongst the wild beasts' (L. Vauxcelles, 'Le Salon d'Automne', in Gil Blas, 17 October 1905).Thenceforth Matisse, Derain and Vlaminck became known as les Fauves (wild beasts), proudly and defiantly adopting the sobriquet given at the infamous Salon. Now the Fauvists would continue their vivid journey with a new title and exacerbated purpose. As Vlaminck recalls: 'Fauvism was no... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

LÉONARD TSUGUHARU FOUJITA (1886-1968)Nu assis (Jacqueline Barsotti-Goddard) signed and dated 'Foujita 1929' and further signed in Japanese (centre right); signed and dated 'Foujita 1929' and further signed and inscribed in Japanese (on the stretcher)oil on canvas64.8 x 100.2cm (25 1/2 x 39 7/16in).Painted in Paris in 1929Footnotes:The authenticity of this work has been confirmed by Sylvie and Casimir Buisson. This work will be included in the forthcoming Vol. IV of the Léonard Tsuguharu Foujita catalogue raisonné, currently being prepared.ProvenanceGalerie Mantelet (Colette Weil), Paris (acquired directly from the artist in 1929).Private collection, France (acquired from the above in 1929).Thence by descent to the present owner.ExhibitedMoscow, The Pushkin State Museum of Fine Arts, Les muses de Montparnasse, 15 July – 3 October 2021, no. 183.The living body, the naked and natural body, the body stripped of artifice, the woman captured in her truth, her simplicity, her beauty, the woman: that was what fascinated Foujita. He put her at the very centre of his art, and she embodied the origin of the world. Mother, lover, confidante, and muse all at once, Foujita considered her a mediating figure between the human and the divine, a Renaissance-like conduit to God. Officially, Foujita had five wives. However, he admitted to having had thousands of models, visible in numerous studies, drawings, engravings, and paintings made of one or the other, populating his oeuvre. The angelic yet melancholic face of the present subject belongs to one of these muses, well-known among the artists of the Montparnasse: Jacqueline Goddard. In demand by fellow artists Kisling, Pascin, Derain, Matisse, Giacometti, Man Ray and Picasso, it was Foujita's house at the Parc Montsouris that Goddard favoured. Enchanted by this Art Deco, bucolic villa, she was adopted as a sister by Youki Foujita, the artist's wife and fellow muse.Jacqueline's modern look, Grecian profile, long neck and tousled hair made her one of the legendary models of Montparnasse from an early age. She was an orphan: her French mother died when she was young, whilst her father, André Barsotti, was a talented Tuscan sculptor who died three years before the present work was painted. If Foujita's name now evokes elegance, delicacy and contemplation, it is mainly due to his nudes. Painting Nu assis (Jacqueline Barsotti-Goddard) connected him not only to his past loves, the masters of the Italian Renaissance, such as Michelangelo and Botticelli, but also to his Japanese roots, and to the floating world of printmaking (Ukiyo-e), where modest nudity appears with great sensual intensity. The present work was one of the crown jewels of the Colette Weil gallery, with which Foujita had close ties in 1929, and was acquired by one of the gallery's patrons. The West and the East come together in Nu assis (Jacqueline Barsotti-Goddard), as Foujita transformed a young woman into a modern goddess of love. The contour of the shapes is perfect, the anatomy is irreproachable, and the body is harmonious. Everything flows in a smooth transition, reminding us of the firmness of a sculptural bronze and the polish of marble. The classic face evokes that of Simonetta Vespucci, the model for Botticelli's Venus in The Birth of Venus. Her muscular body seems to descend straight from the ceilings of the Sistine chapel, like a female version of an Ignudo painted by Michelangelo.The nude was an important theme for Foujita because it connected him to nature and to universal beauty. It also allowed him to follow in other great artists' footsteps: in addition to the masters of the Sistine, one sees the influence of Goya, Manet, Rodin, Canova, Ingres and even his contemporaries Modigliani, Matisse and Van Dongen. Even though Foujita's art did not belong to any specific time or school, it remained full of references, and if he broke the rules, it was because he knew them so well. In 1929, Foujita was at the highest point of his career. His milky white backgrounds and range of soft, creamy colours had already established his reputation around the world. Like Degas, Foujita considered that a well-drawn painting was always a well-painted painting. Indeed, his mastery culminated in the way he drew the outline: dipping his brush in black, he stretched the lines on the canvas without hesitation, in a single movement. Those lines were firm and assured, but also delicate and sensitive, which created balance and harmony. The traditional and stable triangular composition, which connects the head to the left hand and the heel of the foot, is balanced by the hair, which allows the painter to let his flat brush slide on the silky canvas. The strands of hair come to life and frame the face, effortlessly and freely resting on the neck like an opalescent mother-of-pearl. Despite the Western model, subject and medium, Foujita allowed his Eastern heritage to express itself, blending both cultures together. As in all his paintings, the figure floats slightly, as if suspended in weightlessness, between rest and action. This Japanese notion of suspension, interruption, and emptiness, which can be found in painting as well as in architecture and in Japanese craftsmanship, is the Ma. It influenced Foujita, who explored the space between the lines, outside and inside the figure. Evoking Japanese metaphysics and aesthetics, which sanctify the idea of breathing, the artist painted the time of breathing, between inspiration and exhalation. Goddard's gaze in the present work is lost in the distance: the beautiful thinker meditates. She holds her breath like Foujita. Another Japanese notion comes into play: the katabokashi, or the fading of the form. If the Ma connects the forms while separating them, the katabokashi is a clever network of greyness, barely visible, which emphasises and translates the Ma. It animates the lower section of the painting and gives it life. It corresponds to the lighter white halo that surrounds the body and allows it to stand out against the background. To achieve this effect, Foujita rubbed cotton wool barely dipped in black or grey pigment. Another Japanese aesthetic and spiritual concept used by the artist was the wabi-sabi: the veneration of the beauty of imperfect things, the magic of their patina and their ageing process. Evoking the wear and tear of time on the surface of the painting, Foujita highlighted the impermanence of life and beauty. To achieve this effect, he used cotton wool soaked in grisaille made of black soot and dry oil. Then, he scattered the pigment inside the small air bubbles that dried and broke on the surface of the canvas. This gave the illusion that the painting had been shaped by time. Foujita embraced his ancestral roots but turned to the West to enrich his artistic vocabulary in this East/West hybrid work. His ability to oscillate between these two cultures, to feed on them and to transcend them was due to his love for art and life rather than aesthetic satisfaction. All his life, he believed in the invisible power of art without borders, embodied by the Montparnasse, which brought together the best avant-gardes from all over the world. Transcending the world, escaping time, and connecting with the gods of creation was Foujita's artistic goal from an early age. Sylvie BuissonArt HistorianAuthor of the forthcoming Volume IV of the Léonard Tsuguharu Foujita catalogue raisonné, in collaboration with Casimir Buisson, expert for the artist at the French ... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

GUSTAVE LOISEAU (1865-1935)La place de l'Etoile signed 'G Loiseau' (lower left)oil on canvas54.5 x 65.1cm (21 7/16 x 25 5/8in).Painted circa 1929Footnotes:The authenticity of this work has been confirmed by Didier Imbert. This work will be included in the forthcoming Gustave Loiseau catalogue raisonné, currently being prepared.ProvenanceThe Modern Art Foundation, Geneva, no. 1224.Anon. sale, Christie's, London, 27 June 1989, lot 353.Anon. sale, Christie's, London, 26 June 1996, lot 150.Private collection, US; their sale, Christie's, London, 3 February 2004, lot 160.Private collection, Canada (acquired at the above sale); their sale, Christie's, London, 24 June 2010, lot 413.Acquired at the above sale by the previous owner; their sale, Sotheby's, New York, 15 November 2016, lot 107.Acquired at the above sale by the present owner. ExhibitedGeneva, Petit Palais, Post-Impressionnisme (1880-1910), July – September 1980.Literature'Gustave Loiseau', in Style, Vol. II, 1963 (illustrated pp. 80-83).Journal de l'amateur d'Art, Paris, no. 486, 2 December 1971 (illustrated p. 6).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

JAVIER VILATÓ (1921-2000)Paysage signed 'Javier Vilató' (lower left); dated 'VIII58' (on the reverse)oil on canvas73 x 60cm (28 3/4 x 23 5/8in).Painted in August 1958Footnotes:ProvenanceAlexander Xydis Collection, Athens.Thence by descent to the present owner.Javier Vilató was born in Barcelona in 1921 and was the nephew of Pablo Picasso. His work gained international acclaim during the 1970s and 1980s as he exhibited in museums, foundations and galleries in Switzerland, Mexico, France, Spain, Italy and the UK. His works can be found in prestigious global institutions such as The Museum of Modern Art, New York; Centre Georges Pompidou, Paris; and the Museo Nacional Centro de Arte Reina Sofía, Madrid.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

HENRI MATISSE (1869-1954)Portrait de femme (Elvire van Hyfte) signed, inscribed and dated 'Henri Matisse Vence Janv, 46' (lower right)pencil on paper34.9 x 26.2cm (13 3/4 x 10 5/16in).Executed in Vence in January 1946Footnotes:The authenticity of this work was confirmed by the late Wanda de Guébriant.ProvenanceLouis Aragon Collection, Paris.Acquired from the above by the previous owner (circa 1978-1981); their sale, Christie's, London, 8 February 2007, lot 565.Dr Paul Cushman, Jr. Collection, US (acquired at the above sale).Thence by descent to the present owner.This work was drawn by the artist on the back of the cover of E. Tériade's Verve: revue artistique et littéraire (Vol. IV, no. 13, Paris, 1945).Dr Paul Cushman, Jr. epitomised the modern Renaissance man. A pioneering and compassionate physician at the forefront of treating opiate addiction, he was also a historical biographer of early Americans, a masterful bridge player, and a connoisseur of fine and performance arts. Born in New York City to Paul Cushman, Sr., a stockbroker and children's welfare advocate, and Cordelia Hepburn, a civic and welfare leader, both art collectors, Dr Cushman was exposed to the arts and the importance of service early in life. In addition to attending The Buckley School, Exeter, Yale, and Columbia Medical School, Dr Cushman served in the US Air Force as a medical officer. While stationed abroad in England, he met and married Paulette Bessire. Following his service, Dr Cushman returned to New York and became a devoted researcher and early champion of methadone for the treatment of opiate addiction. A founder of the American Society of Addiction Medicine, Dr Cushman ran one of the best regarded methadone clinics in New York in the 1970s and helped to treat thousands of people struggling with addiction. As a Professor of Medicine at the Medical Colleges of Wisconsin and Virginia, he worked to integrate substance abuse medicine into medical school curricula.In addition to an impressive medical career, Dr Cushman was an avid patron of the arts, including opera, ballet, and collecting fine paintings. His collection of Hudson River School paintings, which celebrate the grandeur of the American Landscape at the height of western expansion, includes impressive works by James Buttersworth, Asher B. Durand, George Inness, John F. Kensett, and Thomas Moran. This group of paintings is complemented by works by European masters Henri Matisse, Édouard Vuillard, and Maurice Utrillo. The present work, Portrait de femme by Henri Matisse, was once part of the collection of the celebrated poet Louis Aragon, with whom Matisse had a close friendship. Aragon wrote extensively on the artist's work, and he was also one of the founding members of the Surrealist movement together with André Breton. During the mature phase of his career, Matisse executed a series of pencil drawings wherein he captured his fascination for the human countenance and proved yet again his masterful draughtsmanship. In Portrait de femme, the swift lines on the bright white paper unfold as a play of positive and negative space. Drawn from close by, Matisse gives the portrait a certain layer of directness and intimacy, connoting a close relationship between the artist and sitter. The artist himself explained: 'My line drawing is the purest and most direct translation of my emotion. Simplification of means allows that. But those drawings are more complete than they appear to some people who confuse them with a sketch. They generate light; looked at in poor, or indirect light, they contain not only quality and sensibility, but also light and difference in values corresponding obviously to colour.... Once I have put my emotion to line and modelled the light of my white paper, without destroying its endearing whiteness, I can add or take away nothing further' (Matisse quoted in V.I. Carlson (ed.), Matisse as a Draughtsman, exh. cat., Baltimore, 1971, p. 18).The model for the present work was Elvire van Hyfte, who also sat for Matisse when he painted the resplendent composition L'Asie that same year in Vence (currently housed within the Kimbell Art Museum, Fort Worth, Texas). She is recognisable in both works from her strongly defined brow, almond-shaped eyes and delicate, plump lips. Born in the Belgian Congo in 1920, van Hyfte met Matisse in the South of France and enjoyed a long friendship with him, becoming an enduring source of refined beauty in his final series of oil paintings.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

EDGAR DEGAS (1834-1917)Danseuse signed 'Degas' (lower right)pastel, wash and charcoal on paper laid on card52 x 31cm (20 1/2 x 12 3/16in).Executed circa 1906-1908Footnotes:We are grateful to Professor Theodore Reff for his assistance in cataloguing this work.ProvenanceAnon. sale, Hôtel Drouot, Paris, 22 March 1920, lot 10.Anon. sale, Hôtel Drouot, Paris, 3 June 1927, lot 15.The Hon. H. Marks Collection, London.Thence by descent to the present owner.'The sheer labour of drawing had become a passion and a discipline to [Degas], the object of a mystique... a supreme preoccupation which abolished all other matters, a source of endless problems in precision which released him from any other form of inquiry. He was and wishes to be a specialist, of a kind that can rise to a sort of universality.'-Paul ValéryAs Edgar Degas' life drew to its close, his drawing practice reached its ascendency. Increasingly reclusive, suffering the decline of his vision due to a progressive retinal disease, he toiled in his four-floor studio at rue Victor Massé, thick with clouds of pastel dust and stacks of unfinished sketches. There he drew with monkish devotion, altering, colouring and reworking his compositions, tracing them on top of one another, transferring the loose media of their ever-changing forms from sheet to sheet. Pastel and charcoal at this time truly liberated Degas' approaches to colour, light and form, leading him to create his most poignant and truthful works, of which Danseuse is a quintessential example.In a fleeting glimpse, a ballerina adjusts her shoe between performances. Although she is not dancing, her entire presence is animated with motion, as her bold, vigorously applied contours are accented with the lively, flurried strokes of her arms, legs and tutu. At the same time, the delicate pattern of her spine traversing upward into her carefree coiffure evokes a certain intimacy. Heavy zigzags of charcoal at the base of the scene – some of which have been smudged into shadows – evoke the dark recesses of the backstage, access to which was a sought-after privilege for the cultural elite. The solid pink colour field of the door – its foundations rendered sensitively with Degas' trademark pastel wash – seems to underscore the ballerina's femininity, as its heavy vertical lines of charcoal generate a visual caesura. The light streaming in from the stage beyond, conjured up by the blank space of the sheet, gently hints at a narrative – one that Degas hides just out of reach, preferring the viewer to instead meditate upon this simple, personal and poignant vignette.Degas presents to the viewer a series of visual paradoxes: boldness and fragility, balance and spontaneity, intimacy and detachment. The resulting sense of transience, the stoking of the imagination, the leaving of questions unanswered are all central to Degas' dogma. At this time, he was drawing more from memory than from observation, making the splendour and mastery of his late technique all the more extraordinary. His compositions became simpler and bolder, depicting single figures or small groups within ever more abstract interiors. Anatomical accuracy gave way to the poetic, as Degas fused his imagination with the real world, creating a pictorial mythos that rests upon subjectivity rather than objectivity.In carrying out these aims, pastel was Degas' ambrosia. In its opacity, it allowed him to layer colours and fully rework compositions, working rapidly from sketch to sketch. At the same time, its powdery constitution allowed him to mix it with water and solvents to create pastes and washes. Degas' mastery of this versatile medium thereby engendered expressive compositions that possess a kind of magical, shimmering iridescence. While pastel allowed him to draw with colour, charcoal's friability enabled diverse delineations of form and space, granting his compositions a sculptural force. The harmony of these media led drawing to rival oil painting in Degas' late work, evidenced by the striking stylistic affinities between his artworks of these types. Indeed, as the ballerina of the present work makes a cameo in the circa 1889 painting Danseuses au foyer (Foundation E.G. Bührle, Zurich), she retains her startling vitality, as Degas renders her in oil with the rapid manner of a pastellist. This stylistic evolution within Degas' drawings coincided with a transformation in his methods of production, beginning at the close of the nineteenth century. His process began with a charcoal sketch on thin tracing paper, comprising bold, bassline contours followed by short staccato strokes. Then, he would apply a vaporous fixative by boiling it and directing the steam toward different aspects of that composition. Once the medium was secured, the mounters of his studio would apply the sheet to a lightweight piece of card, granting the artwork the required opacity and solidity for the ensuing stages. Next, Degas would apply coloured pastel, sometimes separating those tonal layers between further layers of fixative, preventing their pigments from intermixing. This sustained the chromatic intensities of the different colour fields, flattening their textures and allowing Degas to revisit his sketches across months and even years. Degas' mounting and fixing method therefore held key importance in his creative process, being reserved for charcoal drawings that he wished to develop further – and for which he often had a buyer in mind. This complexity of material and method has led Christopher Lloyd to liken Degas' studio to 'Prospero's cell – or, less poetically, the laboratory of a forensic scientist' (C. Lloyd, Edgar Degas, Drawings and Pastels, London, 2014, p. 273). The highly physical nature of Degas' late practice imbues his drawings with a kinetic force – one that resounds in the physical statures and poses of his subjects. Indeed, Degas held a lifelong fascination with ballerinas. Embodying his passion for music, they also provided a vehicle by which Degas could explore the human form and the poetic qualities of Modern Parisian urban life. As such, Degas followed Charles Baudelaire's edict to extract the beauty from the everyday, and depict the fragmented, Modern existence - in other words, to be both a man of the world and a man of the crowd. In his late oeuvre, Degas' dancers inhabit moments of rest and repose between performances, yawning, stretching and tending to their shoes. This banal shade of beauty brings with it a tinge of irony, as the viewer's experience is far from that of the Parisian theatregoers', who would instead observe the dancers' refined talents, alluring costumes and flawless physiques. Access to the backstage – a privilege that Degas keenly persuaded the ballet companies for – thus opened a vibrant world from which he could evoke fleeting glimpses of reality that were transformed by his own imagination.Paul Valéry described Degas' overall goal as trying 'to combine the snapshot with the endless labour of the studio, enshrining his impression of it in prolonged study – the instantaneous given enduring quality by the patience of intense meditation' (Valéry quoted in C. Lloyd, Edgar Degas, Drawings and Pastels, London, 2014, p. 285). Degas assumed this goal from his superiors, Gustave Courbet and Honoré Daumier, as well as his contemporaries, Édouard Manet and James Abbott McNeill Whistler. At the same time, Degas fiercely defended his individualism as an artist, taking cues from the many turning points of nineteenth and twentieth century art, yet refusing to subscribe to a movement. Unlike his avant-garde peers, he extracted the pursuit of ideal beauty from French academic and Romantic painters, employing the expressiveness of Je... For further information on this lot please visit Bonhams.com

SIR JAMES LAWTON WINGATE RSA (SCOTTISH 1846 - 1924),AN ORCHARD IN AUTUMNoil on canvas, signed and dated '82, titled label versoimage size 42cm x 32cm, overall size 67cm x 56cm Framed. Partial handwritten label verso.Note: Born at Kelvinhaugh near Glasgow in 1846, Wingate's career as a boy clerk in a Glasgow commercial house was overshadowed by his taking drawing lessons in the early morning before work. Ruskin's Modern Painters and Elements of Drawing were a stimulus to him, as was the Pre-Raphaelite tradition, as seen in Scotland in the paintings of Waller Paton. From pencil studies, he constructed watercolour drawings which he exhibited for the first time in 1864 at the Glasgow Fine Art Institute. The appreciation he received for his work induced him to give up all thought of a commercial career and with £70 as his savings, he went on a six months' tour of Italy (1867-68), where he studied the works of the great masters and for the first time painted directly from nature. The tour resulted in the production of about 150 watercolour drawings. After his return to Scotland he based himself in Hamilton for about five years. The neighbouring Cadzow Forest, beloved by Sam Bough and Alexander Fraser, gave him the opportunity of careful study of tree forms, of which he made excellent use in later life. He then moved on to Edinburgh, where he studied at the RSA Schools. The turning point in his career came through meeting Hugh Cameron at Comrie, in Perthshire, in the autumn of 1873. Cameron was a genial and helpful critic. Wingate sturdily defended his work as being true to fact; Cameron's reply "I feel the work to be wrong and art is not an affair of argument, it is an affair of feeling" struck him with irresistible force. In 1874 he went to Muthill, near Crieff, in Perthshire, painting rustic subject matter such as 'The Wanderers' and 'The Quoiters', which drew public attention. 'The Wanderers' ensured his election to Associate rank in the Academy. From 1880-86 he made Muthill his home and in the later years he gained full membership of the Academy. Later he moved to Colinton and afterwards to Slateford, both in the vicinity of Edinburgh and 1913 he came to the capital. Thereafter he came increasingly under the influence of William McTaggart and his style became much more free, although with the same affection for the Scottish Countryside. The sky as the source of light, treated by so many painters in a perfunctory way is with him all-important. He exhibited at the RA from 1880 but showed mainly at the RSA from 1865. He became President of the RSA in 1919, resigning shortly before his death in Edinburgh, aged 77. There are three distinct periods in Wingate's career: early, post 1873 and late career (post 1913). Collectors are most motivated by his work from the mid period (post 1873) when the artist created a superb body of work and examples from this period appear at auction infrequently. However, in the most recent Scottish Pictures Auction (27th April 2022) lot 207 "The Hayrick" dated 1883 (by Wingate) sold for £3200 (hammer). "An Orchard in Autumn" is a little smaller than "The Hayrick" but it's an exceptionally fine example of the work of Sir James Lawton Wingate at the very peak of his talent.

ROBERT GEMMELL HUTCHISON RSA RBA ROI RSW (SCOTTISH 1855 - 1936),CARNOUSTIEoil on board, signedimage size 22cm x 29cm, overall size 35cm x 42cm Framed.Note: Robert Gemmell Hutchison was born at 35, North Richmond Street, Edinburgh on 1st July 1855. He was the first child of George Hutchison, a brass founder, and his wife Margaret Forman. Soon after his birth, the family moved to 37, Carrubbers Close, Canongate. It is not recorded which school Robert attended but he did not enjoy the experience! He was described as “scraping from class to class with as little work as possible, and, as soon as he could, leaving it gladly”. From the census of 1871, the family was still at 37, Carrubbers Close and had increased to seven; three sons and four daughters. With encouragement from his mother of whom he “always speaks with great reverence”, he was determined to become an artist and aged 17, enrolled at the Board of Manufacturers` School of Art in Edinburgh (also called the Trustees Academy). One of his instructors here was William McTaggart. He also attended the Royal Scottish Academy (RSA) Schools. At this time, he received valuable advice and help from the artist J. Campbell Noble RSA and thus encouraged, he sent some of his paintings to the RSA Annual Exhibitions. After several rejections, he was eventually successful in 1878 when he had three small landscapes exhibited: Youthful Labour, Quiet Pastures and A Country Well. One of these was bought by the Royal Association for the Promotion of the Fine Arts in Scotland and for which Hutchison received the sum of six guineas. He submitted the paintings from his studio at 1, India Buildings, Edinburgh. On 24th June 1879, Robert aged 23, married Janet Boe who was 21 and the daughter of a grocer in Biggar. The marriage took place at 4, Morningside Park, Edinburgh. On the marriage certificate he listed his occupation as “artist (figure painter)” and his address as 38, Jamaica Street, Edinburgh. The couple had nine children only five of whom survived infancy. These were four daughters; Jane (1880-1956), Marion Maud (1887-1963), Roberta Louise (1889-1966), Ann Carr Forman (1893-1978) and a son, George Jackson Hutchison who was born in 1895. After a period spent painting landscapes along the Fife coast, Robert began to specialise in scenes of Scottish rural life especially those involving children and in the year after his marriage, he had a painting The Empty Cradle exhibited at the Royal Academy (RA) in London. His studio was now at 53, George Street, Edinburgh. There followed five exhibits at the RA over the next decade. He continued to exhibit annually at the RSA and in 1886 was awarded a prize for his painting Boys Guddling Trout. From 1888 onwards he also exhibited at the Royal Glasgow Institute. At the 1891 Census he was an “artist, figure and portrait”, living at 4, Melville Place, Edinburgh with his wife and four daughters. His son George was born at the same address four years later. He began to paint and exhibit widely throughout Britain. A favourite location was Carnoustie in Angus where he had a house, “Coral Den”, in William Street. He also painted at Machrihanish, at Musselburgh and on the Farne Islands. Robert was elected to many prestigious institutions throughout the British Isles including the Royal Scottish Society of Painters in Watercolour, (RSW) in 1895, the Royal Society of British Artists (RBA), 1896, the Royal Institute of Oil Painters (ROI), and Associate of the Royal Scottish Academy (ARSA) in 1901. In 1903 he exhibited a work Bairnies Cuddle Doon at the Paris Salon. He was awarded a gold medal and the painting was purchased by the Scottish Modern Arts Association. He was awarded a second gold medal at the Paris Salon Exhibition of 1928 for his painting The White Seam. This was bought by Paisley Corporation and is now at the Paisley Museum and Art Gallery. Hutchison was elected to full membership of the RSA in 1911, replacing William McTaggart who had died the previous year. Several examples of Gemmell Hutchison's paintings have sold at auction in recent years for figures over and around £100,000. He retains his position as one of Scotland's best loved artists of the late 19th and early 20th century.

WILLIAM PRATT (SCOTTISH 1855 -1936),FORTH AND CLYDE CANAL, HILLHEAD, KIRKINTILLOCHoil on board, signed and dated 1908image size 33cm x 53cm, overall size 50cm x 70cm Framed.Note: William Pratt was born in Glasgow in 1854 and studied at the Glasgow School of Art. A painter of country subjects, landscapes, marines, portraits and genre scenes, he furthered his studies at the Academie Julian in Paris. William Pratt was influenced by the Scottish painter Sir David Wilkie RA and the Irish artist William Mulready RA. William Pratt enjoyed considerable success during his career, exhibiting at the Royal Academy in London and in Paris at the Salon, where he won an 'honourable mention' in 1902. He exhibited seventy paintings at The Royal Scottish Academy between 1877 and 1929. His work is represented in the Gallery of Modern Art in Venice, and his paintings can be found in the Dumbarton, Crail, Glasgow and Paisley Museums in his native Scotland, as well as the National Museum in Northern Ireland. Auction appearances of Pratt's larger paintings are becoming rarer but in 2005 "Burning the Shaws" was sold by Sotheby's for £21,600 (premium) and in 2019 Lyon & Turnbull achieved £4000 for "Study of a Head" (a 36cm x 25.5cm oil). More recently, in The Scottish Pictures Auction of 17th April 2022 "Carradale Pier" sold for £3800 (hammer).

Patrick Procktor RA RWS, British 1936-2003 - Greece, 1964; oil on canvas, bears label to the reverse, 152 x 106.5 cm (ARR) Provenance: Redfern Gallery, London; purchased by Jacques Vellekoop, May 4th 1965; private collection, UK Note: Patrick Procktor was one of the most important British artists of the late 20th century, celebrated alongside his friends Keith Vaughan and David Hockney. Known for his natural and colourful figurative style, his watercolours encapsulate his talent and wit. An intrepid traveller, his works were often inspired by the colours and sounds remembered from his trips to Greece, India and Morocco. His work has been regularly exhibited at the Redfern Gallery, alongside a touring museum show in 1985 that began at Birmingham Museum and Art Gallery. He was more recently the subject of an acclaimed retrospective at Huddersfield Art Gallery in 2012. His work is in collections across the world including British Museum, London; Los Angeles County Museum, Museum of Modern Art, New York and Museo de Arte Sao Paulo, Brazil. Please refer to department for condition report

Mary Newcomb, British, 1922 - 2008 - Trees with Mistletoe, Brittany, 1970; oil on board, signed and dated lower right 'Mary Newcomb 70' and inscribed with title on the reverse, 61 x 70.8 cm (ARR) Provenance: with Vaccarino Gallery, Florence (according to the label attached to the reverse of the board); private collection, UK Note: this is a classic example of Mary Newcomb's celebrated work, combining an innovative, faux-naive approach to composition with a distinct use of colour, seen here in the dusky-palette. The scene is alive with the artist's almost child-like delight at the campsite and of the rustic landscape of Brittany, which has been sentimentally known for its removal from the modern and urban world. Last year a major retrospective for the artist was held at Compton Verney near Warwick. The museum holds a large collection of British Folk Art, which was originally gifted by Andreas Kalman, the director of Crane Kalman Gallery which exhibited her work since the 1970s. Her work is also held by the Tate, the Ingram Collection and the Sainsbury Centre for Visual Arts. Please refer to department for condition report

P J Crook MBE, British b.1945 - 9th April, 2005; liquid aquitex on canvas and frame, signed, titled and dated on the reverse 'P J Crook 9th April 2005', 101.5 x 112 cm (ARR) Note: 9th April, 2005 was the wedding day of King Charles III and the Camilla, Queen Consort.Pamela June Crook is known for her hyper-realist style, that blends illusionism and mystery. Always painting over the edges of the frame, the artist creates complete visions that are at once modern and historical. The artist has exhibited internationally, including at the Morohashi Museum of Modern Art in Japan and the Royal West of England Academy in Bristol. Her work is in collections including El Mundo, Madrid, Ha'aretz, Tel Aviv and the Imperial War Museum, London.Please refer to department for condition report

Sherree Valentine Daines, British b.1956 - Standing nude; oil on board, signed with initials 'SEVD', 53.5 x 33.5 cm (ARR) Provenance: Bonhams, London, Modern British & Irish Art, 16th September 2014, lot 10; private collection, purchased from the above Please refer to department for condition report

Amalia Pica, Argentinian/British b.1978 - Catachresis #18 (legs of the table, neck of the bottle, head of the screw), 2012; wood, metal and glass bottles, H67 x W37 x D6 cm (ARR) Exhibited: Oxford, Modern Art Oxford, 'Amalia Pica: For Shower Singers', 14th December 2012-10th February 2013 Please refer to department for condition report

Maurer (Naomi Margolis). The Pursuit of Spiritual Wisdom, The Thought and Art of Vincent van Gogh and Paul Gauguin, 1st edition, Madison: Fairleigh Dickinson University Press, 1998, original cloth in dust jacket, large 4to, together with:Geskó (Judit, editor), van Gogh In Budapest, 1st edition, Budapest: Vince Books, 2006, numerous colour & monochrome illustrations, original wrappers, covers lightly rubbed, large 4to, plusStandring (Timothy J. & Louis van Tilborgh, editors), Becoming van Gogh, 1st edition, New Haven: Yale University Press, 2012, numerous colour & monochrome illustrations, original cloth in dust jacket, large 4to, and Stolwijk (Chris & Han Veenenbos), The account book of Theo van Gogh and Jo van Gogh-Bonger, 1st edition, Amsterdam: Van Gogh Museum, 2002, original red cloth 8vo, plus other modern Vincent van Gogh reference & related, mostly original cloth in dust jackets, 8vo/4toQTY: (33)

Ruskin (John). Modern Painters, 6 volumes, new edition, London: George Allen, 1897, all edges gilt, contemporary vellum by Bickers & Son, 8vo, together with:Ruskin (John), Fors Clavigera, Letters to the Workmen and Labourers of Great Britain, 6 volumes only (of 8), plus index, 1872-1887, monochrome plates, uniform contemporary calf, gilt decorated spines with contrasting morocco labels, gilt decoration & device to upper boards, 8vo (comprising vols. for 1872-76, 1878-84),Ruskin (John), Notes by Mr. Ruskin on his Collection of Drawings by the Late J. M. W. Turner, London: Fine Art Society, 1878, engraved frontispiece and plates, double-page map at rear, top edge gilt, remainder untrimmed, contemporary morocco-backed cloth, spine rubbed, 4toQTY: (14)

Passuth (Krisztina). Moholy-Nagy, 1st U.K. edition, London: Thames and Hudson, 1985, numerous colour & monochrome illustrations, ex-library copy with associated marks, original cloth in dust jacket, large 8vo, together with:Gray (Camilla), The Great Experiment: Russian Art 1863-1922, 1st edition, London: Thames and Hudson, 1962, numerous colour & monochrome illustrations, ex-library copy with associated marks, original cloth in dust jacket, covers slightly rubbed with minor tears to head & foot, large 4to, plusGoldberg (Norman L.), John Crome the Elder, 2 volumes 1st edition, Oxford: Phaidon Press, 1978, 243 monochrome illustrations, ex-library copies with associated marks, original cloth in dust jackets, spine & rear covers slightly toned, large 8vo, andWoods (S. John), John Piper, Paintings, Drawings & Theatre Designs 1932-1954, 1st edition, London: Faber & Faber, 1955, 241 colour & monochrome illustrations, previous owner inscription to the front endpaper, some marginal toning, original cloth in dust jacket, covers slightly rubbed to head & foot with some minor loss, large 4to, plus other modern art reference & related, mostly original cloth in dust jackets, G/VG, 8vo/4toQTY: (3 shelves )

Hayter (S. W.). New Ways Of Gravure, A Practical Guide..., 1st edition, London: Routledge & Kegan Paul, 1949, monochrome illustrations, some light toning, original cloth in dust jacket, covers rubbed with some loss to head & foot, 8vo, together with:Museum Of Modern Art, publisher, Art In Our Time, an Exhibition to celebrate the Tenth Anniversary of the Museum of Modern Art and the opening of its New Building, New York, 1939, numerous monochrome illustrations, previous owner inscription to the front endpaper, some light toning throughout, original wrappers, covers slightly toned with minor rubbing to head & foot, 8vo, includes an original pamphlet from the exhibition, plusAuerbach (Erna), Nicholas Hilliard, 1st edition, London: Routledge & Kegan Paul, 1961, numerous monochrome illustrations, original red cloth, 8vo, and other modern art & art reference, some original cloth in dust jackets, G/VG, 8vo/4toQTY: (3 shelves )

Hockney (David). A Bigger Picture, 1st edition, London: Thames & Hudson, 2012, numerous colour & monochrome illustrations, original cloth in dust jacket, large 4to, together with:Percheron (René & Christian Brouder), Matisse From Color To Architecture, 1st edition, New York: Harry N. Abrams, Inc., 2004, numerous colour illustrations, original cloth in dust jacket & slipcase, large 8vo, plus other British & modern art reference, including works on Edward Seago, Marc Chagall, Edward Hopper, John Constable, some original cloth in dust jackets, some paperback editions, G/VG, 8vo/folioQTY: (3 shelves )

Collins Baker (C. H.). Design In Modern Industry The Year-Book of the Design & Industries Association 1922, 1923-4, 2 volumes, London: Benn Brothers, 1922-24, numerous monochrome illustrations, ex-library copies with bookplate to the front pastedowns, blind stamps, minor marginal toning, 1922 volume with new black cloth spine retaining original boards, 1923-4 volume in original boards, slightly rubbed to head & foot, large 8vo, together with:Paulson Townsend (W. G.), Modern Decorative Art In England, Its Development & Characteristics, volume 1, London: B. T. Batsford, 1922, colour & monochrome illustrations, minor marginal toning, original gilt decorated blue cloth, spine lightly rubbed to head & foot, folio, plusHolme (Charles), Modern Design In Jewellery And Fans, London: The Studio, 1902, colour & monochrome illustrations, ex-library copy with associated stamps, some minor toning, original green cloth, lightly rubbed, large 8vo, and other early 20th-century decorative art & design reference, including The Etchings Of Frank Brangwyn, R. A., A Catalogue Raisonné, by W. Gaunt, London: The Studio, 1926, large 8vo, mostly original cloth, G/VG, 8vo/folioQTY: (2 shelves )

Great Britain Illustrated: A series of Original Views from Drawings by William Westall engraved by Edward Finden with descriptions by Thomas Moule, published Charles Tilt 1830 with engraved title and many engraved plates, bound in half leather gilt. The Cabinet of Modern Art and Literary Souvenir Edited by Alaric Watts 1836 second series with engraved title and full-page engravings, bound in gilt decorated full Morocco with raised bands and decorated gilt page edges (2)

A modern Art Nouveau style hallmarked silver mounted photograph frame, decorated with maidens in a garden, London 1992, height 17cm, with a larger modern silver mounted photograph frame and a cased set of six silver cake forks.

Three pieces of modern contemporary Art Glass including green glass vase, relief decorated with a lizard, height 28cm, etc (3).

THE STUDIO, AN ILLUSTRATED MAGAZINE OF FINE AND APPLIED ART COLLECTION OF YEARBOOKS hard cloth-bound with gilt-tooling , comprising volumes 13 (2); 14; 15; 16; 17; 23; 39; 40; 41; 43; 46; 47; 48; 50; 53; 54; 55; 58; 59; 60; 61; 62; 63; 64; together with THE STUDIO YEARBOOKS, hard and soft cloth and paper-bound, various editions including 1903-04; 1904 (2); 1906; 1909; 1910; 1914 (2); 1916; 1923; a collection of THE STUDIO MAGAZINE, various paper-backs, comprising Oct-Dec 1902; Jan 1903 ; June - Dec 1905; Jan-July and Sept-Dec 1906; Jan-June 1907; Oct-Dec 1908 and Jan-March and August 1909; and MODERN WOODCUTS AND LITHOGRAPHS BY BRITISH ARTISTS: A SPECIAL EDITION OF THE STUDIO 1919, cloth-bound with gilt-tooling

JOSEP MARIA RIERA I ARAGÓ (Barcelona, 1954).Untitled. Series "19 Flying Machines", 2000.Mixed media on paper (original work) and engraving.Signed both in the lower margin.Size: 41 x 30 cm; 52 x 41 cm (frame).Painter and sculptor, Josep Riera i Aragó trained at the Escuela Superior de Bellas Artes de Barcelona. He made his individual debut in 1981 at the Artema gallery in Barcelona. Two years later he took part in the Salón de Otoño in the same city, and since then he has shown his work all over the world, in leading galleries in Spain, Mexico, Holland, Israel, Germany, Belgium, France, Luxembourg, Switzerland, Colombia and the United States. Particularly noteworthy are the solo exhibitions he has held at the Musée de Ceret (France, 1989), the Bibliothèque Nationale de Paris (1993), the Oostende Museum of Modern Art (Belgium, 1997), the Joan Prats Gallery in New York (1998), the Tassende Gallery in Los Angeles (2003) and the Museum of Aalst in Belgium (2006), among others. Since 1983, Riera i Aragó has developed his plastic discourse around machinery, with a symbolic language marked by an interest in air and sea transport, which he sees decontextualised, separated from their original function. At the same time, his plastic language has been enriched by the deepening of the line/plane and empty/full dialogue. Never repetitive, each "machine" he creates evokes, without pathos or condescension, a clear and comprehensive vision of humanity. With a visual vocabulary limited to simple forms reminiscent of zeppelins, submarines or aeroplanes, Riera i Aragó develops a fertile iconography charged with meaning which, endowed with a clear irony, speaks of the absurd recklessness of man's creations and of the poetic justice that results when these creations turn against him. His work should be understood as a global story, which is related to languages as disparate as astronomy, botany, mathematics and mysticism, and which offers the spectator the possibility of entering a particular and highly lyrical universe, where reality and fiction cease to be opposing categories. Riera i Aragó is currently represented at the MACBA, the Joan Miró, La Caixa and Vicent Van Gogh foundations, the Museum of Modern Art in Luxembourg, the Rufino Tamayo Museum in Mexico, the Ceret and Reattu Museum in Arles in France, the Otani Museum in Japan and the Heilbronn Museum in Germany, among many others.

"ZUSH"; ALBERTO PORTA (Barcelona, 1946)."Composition", 1995.Mixed media on paper.Signed and dated on the back.Size: 29 x 21 cm; 41 x 32,5 cm (frame).Zush was Alberto Porta's artistic alter ego between 1968 and 2001, the year in which Evru, his new character, was born. Defined by himself as ArtCieMist, artist, scientist and mystic, he trained as a self-taught artist and exhibited for the first time in 1968. That same year he created his own state, an alternative conception of reality called Evrugo, with its own elements and an alphabet of his own invention. In 1975 he received a scholarship from the Juan March Foundation and J. W. Fullbright to study at the Massachusetts Institute of Technology, where he was introduced to the use of new technologies. From the 1970s onwards he took part in solo and group exhibitions that made him internationally known. Some of these exhibitions were Documenta in Kassel (1977), "New images of Spain" (Guggenheim, New York, 1980), "Les magiciens de la Terre" (Centre Georges Pompidou, Paris, 1989), "Drawing on chance" (MOMA, New York, 1995), "Zush Tecura" (MACBA, Barcelona, 2000) and his retrospective organised in 2000 by the Museo Nacional Centro de Arte Reina Sofía. That same year he was awarded the City of Barcelona Prize for the Plastic Arts. He has participated in different editions of the Cologne and Chicago art fairs, and in all the editions of the Basel fair. In his new phase as Evru, in 2004, he presented the exhibition "From Zush to Evru: the second reincarnation" at the Haim Chanin Gallery in New York. His work can be found in public and private collections all over the world, including the Museum of Modern Art and the Guggenheim in New York, the Centro de Arte Reina Sofía, the Museo de Arte Contemporáneo de Barcelona, the Museo de Arte Moderno de Valencia and the Centre Georges Pompidou in Paris, among many others.

JOSEP MARIA RIERA I ARAGÓ (Barcelona, 1954).Untitled. Series "19 Flying Machines", 2000.Mixed media on paper.Signed in the lower margin.Size: 41 x 30 cm.Painter and sculptor, Josep Riera i Aragó trained at the Escuela Superior de Bellas Artes in Barcelona. He made his individual debut in 1981, at the Artema gallery in Barcelona. Two years later he took part in the Salón de Otoño in that city, and since then he has shown his work all over the world, in leading galleries in Spain, Mexico, Holland, Israel, Germany, Belgium, France, Luxembourg, Switzerland, Colombia and the United States. Particularly noteworthy are the solo exhibitions he has held at the Musée de Ceret (France, 1989), the Bibliothèque Nationale de Paris (1993), the Oostende Museum of Modern Art (Belgium, 1997), the Joan Prats Gallery in New York (1998), the Tassende Gallery in Los Angeles (2003) and the Museum of Aalst in Belgium (2006), among others. Since 1983, Riera i Aragó has developed his plastic discourse around machinery, with a symbolic language marked by an interest in air and sea transport, which he sees decontextualised, separated from their original function. At the same time, his plastic language has been enriched by the deepening of the line/plane and empty/full dialogue. Never repetitive, each "machine" he creates evokes, without pathos or condescension, a clear and comprehensive vision of humanity. With a visual vocabulary limited to simple forms reminiscent of zeppelins, submarines or aeroplanes, Riera i Aragó develops a fertile iconography charged with meaning which, endowed with a clear irony, speaks of the absurd recklessness of man's creations and of the poetic justice that results when these creations turn against him. His work should be understood as a global story, which is related to languages as disparate as astronomy, botany, mathematics and mysticism, and which offers the spectator the possibility of entering a particular and highly lyrical universe, where reality and fiction are no longer opposing categories. Riera i Aragó is currently represented at the MACBA, the Joan Miró, La Caixa and Vicent Van Gogh foundations, the Museum of Modern Art in Luxembourg, the Rufino Tamayo Museum in Mexico, the Ceret and Reattu Museum in Arles in France, the Otani Museum in Japan and the Heilbronn Museum in Germany, among many others.

VICTOR MIRA (Zaragoza, 1949 - Munich, 2003)."Baselitz-Beuys", 1982.Oil on paper.Signed, dated and titled.Enclosed certificate of authenticity issued by Esther Romero Fajardo.Measurements: 38 x 27 cm; 55 x 45 cm (frame).Painter, sculptor, engraver and writer, his training was basically self-taught. At the age of eighteen he had his first individual exhibition in the N'Art gallery in Zaragoza, which was also the first open-air sculpture exhibition held in that city. Shortly afterwards he moved to Madrid, where he exhibited in 1973 at the Pol Verdié gallery. During his years in the capital he attended the Encuentros de Pamplona, where he met John Cage. Two years later, in 1974, Ana María Canales published her book "Víctor Mira, eres mi pintor preferido" (Victor Mira, you are my favourite painter). In 1975 she travelled to Heidelberg, where she lived for five months, and that same year she published "El libro de las dos hojas". In 1976 he began to work in Germany on his series "Spanische Haltung" and "Manos". After spending some time between Madrid and Germany, in 1977 he settled in Barcelona. There he began his cycle of paintings "Interiores catalanes con tomate", and in 1979 he published his first book of poems, "El bienestar de los demonios". That same year he had his first solo exhibition in Munich, at the Tanit gallery, and the following year he showed his work in the United States, at the George Staempfli gallery in New York. From then on his international career took off, with exhibitions in Germany, the United States, Holland, Switzerland, Sweden, Norway, Colombia, France, Belgium and Austria, while he continued to exhibit regularly in Spain. In 1983 he travelled to the United States for the first time, invited by the Meadows Museum in Dallas, and that same year he worked in the printmaking workshops of the Southern Methodist University in Dallas and spent five months in New York. Also in 1983, in Barcelona, he produced his first series of iron sculptures, "Cultura del arco" and "Mediodías". In 1997 he was invited to participate in the Art Biennale in New York by Amy Chaiklin, and six years later, shortly before his death, he was awarded the prize for the best living Spanish artist at the ARCO Fair. The most recent retrospective exhibition devoted to this artist was held in Düsseldorf, Germany, at the Beck & Eggeling gallery. Works by Mira are held in museums and private collections all over the world, including the Museum of Modern Art in New York, the Museo Nacional Centro de Arte Reina Sofía, the MACBA in Barcelona, the Fine Arts Museums of Vitoria and Zaragoza, the Beulas Foundation in Huesca, and the Museo Colecciones ICO in Madrid, among others.

FRANCISCO BORES LÓPEZ (Madrid, 1898 - Paris, 1972)."Nature morte au citron", 1969.Gouache on paper.With label on the back of provenance: Galería Ignacio Lassaletta.Signed and dated in the lower right corner.Measurements: 49,5 x 59,5 cm; 81 x 98 cm (frame).In 1969 Bores was already a consolidated artist, with an established and mature artistic career. However, the political circumstances in Spain meant that his work was unknown, except in the professional artistic circles of the country. In 1969, the Galería Theo in Madrid held an exhibition dedicated to the painter, thus bringing him closer to the Spanish public. In this work Bores offers us an interior scene made up of a synthetic aesthetic in its forms, with large planes of colour that seem to start from abstraction to become a concrete object, a circle becomes a plate, a rhomboid shape becomes a lemon and some simple lines are the stems of some flowers, in such a way that Borés proposes an intellectual exercise to the spectator's gaze. Thanks to the use of schematic plastic elements, the artist manages to create a tactile effect and a visual purity free of any artifice or anecdotal detail.Francisco Borés trained at Cecilio Pla's painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz and Joaquín Peinado, among others. He also frequented the literary gatherings in Madrid associated with ultraism. During this period he made engravings for a large number of magazines, such as "Horizonte" and "Revista de Occidente", and attended Julio Moisés's Academia Libre, where he coincided with Dalí and Benjamín Palencia. In 1922 he took part for the first time in the National Exhibition of Fine Arts, and three years later he showed his work at the first Exhibition of the Society of Iberian Artists, but the Madrid public's lack of interest in young art prompted him to leave for Paris. In the French capital he came into contact with Picasso and Juan Gris, and made his individual debut in 1927. The following year he held his first solo exhibition in the United States, and in 1930 he exhibited again, this time as part of a group show at the Museum of Modern Art in New York. During the following years he continued to hold solo exhibitions at leading galleries in Paris and London, including the Georges Petit and Zwemmer galleries. After the Second World War he resumed his exhibition activity, and in 1947 the French state acquired a work by Borés for the first time. In 1949 his paintings were bought by the Museum of Modern Art in New York. In 1969 he exhibited at the Galería Theo in Madrid, which brought him closer to the Spanish public, who were practically unaware of his work except in professional circles where, on the other hand, it was highly appreciated. In 1971 he exhibited again at the same Galería Theo, and died in Paris in 1972. The critic Joaquín de la Puente points out several stages in Borés's production: renewed classicism (1923-25), neo-cubism (1925-29), fruit-painting (1929-33), interior scenes (1934-1949) and white style (1949-69). Francisco Borés is represented in leading museums all over the world, including the Centre Georges Pompidou in Paris, the Fine Arts Museums of Bilbao, Buenos Aires, Jerusalem, Gothenburg and Baltimore, the MOMA in New York, the Museo Nacional Centro de Arte Reina Sofía, the National Galleries of Athens, Brno and Edinburgh, the Museo Patio Herreriano in Valladolid, and the Modern Art Museums of Stockholm, Turin and Madrid.

LUIS FEITO LÓPEZ (Madrid, 1929).Untitled.Watercolour and ink on paper.Signed in the lower right corner.Size: 32 x 45 cm; 42 x 54 cm (frame).Born and educated in Madrid, Luis Feito was one of the founding members of the El Paso group. In 1954 he held his first individual exhibition, with non-figurative works, at the Buchholz gallery in Madrid. From then on Feito exhibited regularly in the most important cities in the world, such as Paris, Milan, New York, Helsinki, Tokyo and Rome. Appointed professor at the San Fernando School of Fine Arts in 1954, two years later he left teaching and went to Paris on a scholarship to study the avant-garde movements in force. During this period he was influenced by automatism and matter painting. In 1962 he became a founding member of the El Paso group, with which he had lost contact during his years in Paris. His first works were figurative painting, followed by a phase in which he experimented with cubism and finally moved fully into abstraction. At first he only used black, ochre and white colours, but when he discovered the potential of light he began to use more vivid colours and smooth planes. He evolved until he used red as a counterpoint in his compositions (from 1962) and, in general, more intense colours. In his abstract phase, which includes the 1970s, Feito showed a clear tendency towards simplification, with the circle predominating in his compositions as a geometric form. Possibly, the influence of Japanese art can be seen in his preference for large bands of black. Most of his works are untitled and can therefore be recognised by a number assigned to them. Among his awards is his appointment as an Officer of the Order of Arts and Letters of France in 1985. In 1998 he was awarded the Gold Medal of Fine Arts in Madrid, and was made a Full Member of the San Fernando Royal Academy of Fine Arts. In 2000 he was awarded the Prize of the Spanish Association of Art Critics at the Estampa Salon, in 2002 the AECA Grand Prize for the best international artist at ARCO, in 2003 the prize for the most important artist at the Osaka Art Fair (Japan), in 2004 the Prize for the Culture of Plastic Arts of the Community of Madrid, in 2005 the Francisco Tomás Prieto Prize of the Fábrica Nacional de Moneda y Timbre, and in 2008 the Jorge Alió Foundation Prize and the Grand Prize for Spanish Contemporary Art CESMAI. Luis Feito is represented in the most important museums around the world, including the Gallery of Modern Art in Rome, the Guggenheim, the MoMA and the Chase Manhattan Bank in New York, the Museums of Modern Art in Tokyo, Paris, Rio de Janeiro and Montreal, the Lissone in Italy and the Albright Art Gallery in Buffalo.

RAFAEL ZABALETA FUENTES (Quesada, Jaén, 1907-1960)."Untitled. Paris, 1950.Ink on paper.Signed, dated, located and dedicated in the lower part.Size: 31 x 24 cm; 45 x 38 cm (frame).Born into a well-to-do family, Rafael Zabaleta showed his interest in painting from an early age, so after finishing his high school studies he moved to Madrid and entered the San Fernando School of Fine Arts in 1925. His teachers there were Lainez Alcalá, Cecilio Pla and Ignacio Pinazo, and in 1932 he took part for the first time in a group exhibition, that of the San Fernando students. One of his works, entitled "La pareja" ("The Couple"), was selected to illustrate the critical review by Manuel Abril for the magazine "Blanco y Negro". Three years later Zabaleta made his first trip to Paris, where he studied the works of the masters of contemporary painting. In 1937 he was appointed delegate of the National Artistic Treasury, and also around this time he began a series of drawings on the Civil War. At the end of the war he was denounced and briefly spent time in the Higuera de Calatrava concentration camp and in Jaén prison, where his two albums of drawings made during the war were confiscated. Finally freed, in 1940 he settled in Madrid, where he attended the gatherings at the Café Gijón and drew and painted at the Círculo de Bellas Artes. Two years later he visited Aurelio Biosca, director of the Madrid gallery Biosca, with a letter of introduction from the sculptor Manolo Hugué. There he held his first individual exhibition that same year, after being rejected at the National Exhibition of Fine Arts. However, the following year he took part in the First Salón de los Once and became a member of Eugenio d'Ors's Academia Breve de Crítica de Arte, to which Biosca also belonged. Zabaleta took part in most of his Salones de los Once and anthological exhibitions. In 1945 Zabaleta took part in the group exhibition "Floreros y bodegones" held at the National Museum of Modern Art, while he continued to exhibit individually and collectively in galleries in the capital. In 1947 he held his first personal exhibition in Barcelona, at the Argos gallery, and his first monograph was published. Two years later he travelled again to Paris, coming into contact with Picasso, Óscar Domínguez, M. Ángeles Ortiz and others. The year of his definitive consecration was 1951, when he held a solo exhibition at the Museum of Modern Art in Madrid. In 1955 he won the UNESCO Prize at the Hispano-American Biennial in Barcelona. That same year he took part in the Mediterranean Biennial held in Alexandria, and held a solo exhibition in Bilbao. During his last years, Zabaleta became a fully recognised artist, invited to the most important exhibitions and salons both in Spain and in foreign cities of the importance of Paris. The most important collection of his work is to be found in the Zabaleta Museum in Quesada, although it is also present in the most prestigious museums in the world, in cities such as Buenos Aires, New York and Tokyo.

ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012)."Cercle",Engraved engraving, copy E.A.Signed and justified by hand.Work published in Mariuccia Galfetti: Tàpies, Das graphische Werk. L'oeuvre gravé 1947-1986. Erker-Verlag, St. Gallen 1984-2002, no. 779, illustrated.Size: 69 x 93 cm (print); 80 x 120 cm (paper).Co-founder of "Dau al Set" in 1948, Tàpies begins to exhibit at the Salones de Octubre in Barcelona, as well as at the Salón de los Once held in Madrid in 1949. After his first solo exhibition at the Galerías Layetanas, he travels to Paris in 1950, with a grant from the Institut Français. In 1953 he had a solo exhibition at Martha Jackson's gallery in New York. From then on, he exhibited his work, both in group and solo shows, all over the world, in leading galleries and museums such as the Guggenheim in New York and the Museum of Modern Art in Paris. Since the 1970s, anthologies have been devoted to him in Tokyo, New York, Rome, Amsterdam, Madrid, Venice, Milan, Vienna and Brussels. Self-taught, Tàpies created his own style within the avant-garde art of the 20th century, combining tradition and innovation in an abstract style full of symbolism, giving great importance to the material substratum of the work. It is worth noting the marked spiritual sense given by the artist to his work, where the material support transcends its state to signify a profound analysis of the human condition. Tàpies' work has been highly valued internationally, being exhibited in the most prestigious museums in the world. Throughout his career he has received numerous prizes and distinctions, including the Praemium Imperiale of Japan, the National Culture Prize, the Grand Prix for Painting in France, the Wolf Foundation for the Arts (1981), the Gold Medal of the Generalitat de Catalunya (1983), the Prince of Asturias Prize for the Arts (1990), the Picasso Medal of Unesco (1993) and the Velázquez Prize for the Plastic Arts (2003). Antoni Tàpies is represented in major museums all over the world, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.

. ART PEPPER - ORIGINAL UK CONTEMPORARY LP PACK. A lovely pack of 3 x LPs. Titles include Art Pepper Meets the Rhythm Section (OG UK - LAC 12066 - Ex Record with a few hairline marks to the playing surface, Sleeve is in Ex condition), Art Pepper + Eleven - Modern Jazz Classics (LAC 12229 - Ex+ / VG+ and Art Pepper Quintet - Smack Up (LAC 12316 - Ex+ / VG+).

JAZZ/R&B/SOUL - LP COLLECTION. Excellent offering of 17 x LPs full of deep grooves! Artists/titles include Charles Mingus - The Black Saint And The Sinner Lady (late 60s US stereo RE, AS-35, with Impulse logos at 12/3/6/9 o clock - sharp Ex record/Ex some minor foxing on the inside gatefold section) and Right Now (Original Jazz Classics RE), Michael Gibbs - S/T (UK stereo Deram og, SML 1063 - very nice Ex record/VG sleeve with creasing), Miles Davis (x3) - 1951 & 1953 (XTRA 5018, also XTRA 5050) and The Original Quintet (PR 7254), Art Farmer - Modern Art (UAL 4007), Muddy Waters - Hard Again, James Brown - Live At The Apollo Volume II (2612 005), Oscar Peterson, Chuck Jackson, Various - The Jazz Life, Helen Merrill and Billy Boy Arnold. Largely presented in well kept VG+ to Ex+ condition.

Jean Cooke, British 1927-2008 - Portrait of a Lady with Flowers; oil on canvas, signed lower right 'J Cooke', 35.5 x 30 cm (ARR) Provenance: purchased by Leonard Manasseh RA directly from the artist; private collection, UK Note: Jean Cooke's sensitive portrait is a tender depiction of a young lady, her body morphing into the background and still life composition, reminiscent of the work of Gwen John. This work was originally owned by the architect Leonard Manasseh OBE RA (1916-2017), who was a fellow RA and sat on the selection committee with Cooke for the 1984 RA Summer Exhibition. Cooke exhibited in the 1960s with the Leicester Galleries and her work is now in public collections including the Ruth Borchard Collection, Tullie House Museum and Art Gallery and the Tate. Cooke's work was recently exhibited to much acclaim in the exhibition 'Postwar Modern, New Art in Britain 1945-1965' at the Barbican Centre, London. Please refer to department for condition report

Alan Davie CBE RA HRSW, Scottish 1920-2014 - Steps Opus 0.2327, 2010; oil on canvas, signed, titled and dated on the reverse 'Alan Davie Steps Opus 0.2327', 122 x 101.5 cm (ARR) Provenance: with Gimpel Fils, London GF13172 (according to the label attached to the reverse); private collection Note: Alan Davie was vitally important for modern art in Britain as he was one of the first artists to be affected by the American Abstract Expressionism after seeing Jackson Pollock's work in the 1940s. A jazz musician early in life, he incorporated the freedom and spontaneity of the genre into his work.Retrospectives of his work have been held at the Barbican Art Gallery, London (1993), and Tate St Ives (2003).Please refer to department for condition report

Elwin Hawthorne, British 1905-1954 - St Mark's Church, Victoria Park, 1929; watercolour and pencil on paper, signed and dated lower right 'E Hawthorne 1929' and titled lower left 'St Marks Church Victoria Park', 16.8 x 22.3 cm (ARR) Provenance: the Estate of the Artist; Roseberys, London, Modern & Contemporary British Art, 11th June 2019, lot 53; private collection, purchased from the above Note: the work is accompanied by a copy of a certificate of authenticity signed by the son of the artist on the 11th March 2019 The artist exhibited with the East London Group at the Lefevre Gallery alongside his uncle Henry Silk. He had solo exhibitions at the gallery and worked as an assistant to Walter Sickert. Please refer to department for condition report

Modern mantel clock & a small Art Deco clock

-- Erste Ausgabe des "Blauen Reiters"-- Kandinsky, Wassily, und Franz Marc. Der Blaue Reiter. 2 Bl., 140 S., 5 Bl. (4 Bl. Verlagsanzeigen). Mit 106 Abb. und 35 Tafeln (davon 4 hand- bzw. pochoirkolorierte), 8 Vignetten und 3 Musikbeilagen. 29,5 x 22,5 cm. Farbig illustriertes OLeinen (gering bekratzt und berieben, kaum fingerfleckig). München, Piper, (1912).Roethel 141 und S. 450, 10, 3. Jentsch 5. Reed 160. Lang S. 147. Vom Jugendstil zum Bauhaus 83. The Artist and the Book 139. Logan 20. - Erste Ausgabe des höchst einflussreichen Almanachs, zugleich eine der wichtigsten Programmschriften des Expressionismus und der Moderne - "one of the most important German books of modern art" (Eleanor Garvey). In 1200 Exemplaren erschienen. Es gilt zu zeigen, "daß die Formfrage in der Kunst eine sekundäre ist, daß die Kunstfrage vorzüglich eine Inhaltsfrage ist." Mit Textbeiträgen von den Herausgebern, Macke, Schönberg u. a. Illustrationen von Arp, Kandinsky und Marc. Musik von Alban Berg, A. Schönberg und Anton von Webern, darüberhinaus Abbildungen von Werken bedeutender Künstler der Moderne. "Die Herausgeber Marc und Kandinsky verstanden den Almanach als das Sprachrohr der 'Epoche des Großen Geistigen' wie es im Vorwort von 1911 hieß. Gegen die Zeit der materiellen Kunst des 19. Jahrhunderts wollte man die Kunst des Geistigen setzen." (J. Lammers, im Katalog Vom Jugendstil zum Bauhaus) "The philosophy behind this almanac is one of the most important concepts of the twentieth century art scene" (Reed). Auf dem Einband der von einem Galvano gedruckte dritte Zustand des Farbholzschnittes von Kandinsky (vgl. Roethel a. a. O.) in Blau, Rot und Schwarz, der nur für die Luxusausgabe und für die erste "Normalausgabe" nachweisbar ist. - Sehr schönes, sauberes und im Block nahezu tadelloses Exemplar, lediglich die Seidenpapierhemdchen wie üblich mit Knitterspuren.

-- In Originalbroschur-- Kandinsky, Wassily, und Franz Marc. Der Blaue Reiter. 2 Bl., 140 S., 5 Bl. (4 Bl. Verlagsanzeigen). Mit 106 Abb. und 35 Tafeln (davon 4 hand- bzw. pochoirkolorierte), 8 Vignetten und 3 Musikbeilagen. 29,5 x 22,5 cm. Farbig illustrierte OBroschur (fleckig und berieben, mit Randknicken, Gelenke angeplatzt, Rücken mit Fehlstellen) in Pappschuber. München, Piper, 1912.Roethel 141 und S. 450, 10, 3. Jentsch 5. Reed 160. Lang S. 147. Vom Jugendstil zum Bauhaus 83. The Artist and the Book 139. Logan 20. - Erste Ausgabe des ungemein wirkungsvollen Almanachs, hier in der Original-Broschurausgabe. Eine der wichtigsten Programmschriften des Expressionismus und der Moderne - "one of the most important German books of modern art" (Eleanor Garvey). Erschienen in 1200 Exemplaren, hier in der seltenen Broschurausgabe mit der Umschlagillustration in Blau und Schwarz. Es gilt zu zeigen, "daß die Formfrage in der Kunst eine sekundäre ist, daß die Kunstfrage vorzüglich eine Inhaltsfrage ist." Mit Textbeiträgen von den Herausgebern, Macke, Schönberg u. a. Illustrationen von Arp, Kandinsky und Marc. Musik von Alban Berg, A. Schönberg und Anton von Webern, darüberhinaus Abbildungen von Werken der meisten bedeutenden Künstler der Moderne. "Die Herausgeber Marc und Kandinsky verstanden den Almanach als das Sprachrohr der 'Epoche des Großen Geistigen' wie es im Vorwort von 1911 hieß. Gegen die Zeit der materiellen Kunst des 19. Jahrhunderts wollte man die Kunst des Geistigen setzen." (J. Lammers, im Katalog Vom Jugendstil zum Bauhaus) "The philosophy behind this almanac is one of the most important concepts of the twentieth century art scene" (Reed). - Etwas fingerfleckig, einige Blatt mit diagonalen Knickspuren, Block stellenweise angeplatzt, die Seidenpapierblätter teils lädiert.

A collection of vintage 20th century Jazz music CD's to include the artists Miles Davis, Tom Cat, Lee Morgan, David Burbeck, Lovely Woman, Paul Desmond, Art Farmer, Charles Lloyd, Lennie Tristano, John Lewis, peter Knight, The Modern Jazz Quartet, Milt Jackosn, Cannonball Adderley, John Coltrane and more. 

A collection of 20th century cigarette cards to include the cigarette brands Players and Black Cat Cigarettes. Series to include Curious Beaks, Characters from Dickens, Scout & Guide Emblems, Military Head-dress, History of Naval Dress, Fire Fighting Appliances, Hidden Beauties, Animals of the Countryside, Footballers 1928, Cricketers 1934, Cricketers 1930, British Butterflies, Orchids, Wild Flowers, Garden Flowers, Flowers & Trees, Canada, Birds, Cries of London, Costumes & Actors, Miniatures, Costumes, Old Staffordshire Figures, Gilbert & Sullivan, Dandies, Historic Places from Dickens, Film Stars, Cinema Celebrities, Cinema Stars, Who's Who, Characters from Fiction, Famous Beauties, Art, Rome, Egypt, Architecture, Beautiful Houses, Uniforms of British Empire, Coronation Dress, Soldiers of the King, Flags of the Empire, Life at the Royal Navy, Navigation, Modern Naval Chart, Railway Centenary 1925, Trains, Wonderful Railway Travel, Railway Equipment, Engineering Wonders, Romance of the Heavens, Interesting Experiments, Regimental Standard Cap Badges, Flags of the League of Nations, National Flags & Arms, Aircraft of the Royal Airforce, International Air Liners Picturesque Cottages, Old Inns, Scientific Inventions and Discoveries. Black Cat Cards to include Women on War Work 1914-1918 and Types of London. All held between two folders. 

A collection of sixteen early 20th century Waverley & Co, London travel size portable books on the works of John Ruskin to include volumes of "The Stones of Venice" vol. 3, "Unto This Last", "Poems", "Pre-Raphaelitism", "Modern Painters", "Political Economy of Art", & others. 

FIVE BOXES OF METALWARE HOUSEHOLD SUNDRIES AND TREEN, to include a large Conch shell, two wooden hour glasses, wooden dishes, a vintage L.M.B 'Special' Straight Putter golf club with a hickory shaft, two riding crops (one has platted leather cover and a carved antler handle, riding hat, a pair of leather Embekay figure skating boots, a vintage Dunlop 'Alpha' tennis racket, a box of teddy bears including a small 'Guernsey Ted', an Australian fur kangaroo, an Art Deco style 'My Lady' hand hammered pewter tea set including a circular tray, diameter 35cm, teapot, hot water pot, sugar bowl, milk jug a large copper jug, two copper ashtrays, two modern carriage clocks, a 1960's Metamec pink alarm clock, stainless steel trays, etc (s.d) (5 boxes)

Ca. 100-200 AD A gold finger ring composed of a round hoop, flat inside and rounded on the outside, with decorative vertical ribs along the shoulders. The hoop expands to support a large oval bezel with a border decorated in the same fashion as the ribs on the shoulders. The bezel is set with an intriguing frontal image of a chalcedony cameo of a grotesque male head with exaggerated features carved with remarkable and detailed precision. The crown of his bald head is topped with a small lock of hair, the eyes are deep set, an arched browline leads to a prominent aquiline nose, the forehead bears a pair of deep diagonal wrinkles, lips in a grimace. A ring with a grotesque would have served to ward off bad luck. For a similar grotesque cameo, but depicted in profile see The Collection (Lincolnshire) - LCNCC : 1914.725. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: D: 19.1mm / US: 9 1/8 / UK: S; 16.38g Provenance: From the private collection of Mr. R. Unger; previously with a London gallery; acquired in the 1980s on the UK art market.

Ca. 200-300 AD A finely carved carnelian intaglio bearing a young male bust behind a bust of bearded old male, both in profile facing left, possibly co-emperors Macrinus and his son Diadumenian who rose to power after the death of Caracalla in 217AD. The intaglio is set in a heavy, possibly later gold ring of a round hoop with wide faceted shoulders. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: D: 18.8mm / US: 8 7/8 / UK: R 1/2; 9.47gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1970s.