We found 19515 price guide item(s) matching your search

* WILL MACLEAN MBE RSA RGI RSE HON D.LITT (SCOTTISH b.1941),ELEGY TO CAPTAIN FERGUSON, FROM A NIGHT OF ISLANDS, 1991colour etching on paper from the edition of 40 signed beneath the backing board 'Will MacLean R.S.A' image size 75cm x 53cm, overall size 90cm x 68cm Mounted, framed and under glass.Label verso: Louise Pickering Fine Art, 58 Clapham Common, London.Note: Will Maclean RSA, Professor of Painting in the University of Dundee, is one of the outstanding Scottish artists of his generation. He was born in Inverness where his father, a former sailor, was harbour master, and he spent his childhood between Inverness and Skye. His art is rooted in his knowledge of the Highlands, the Highland people and their history and in his own early associations with sailors and the sea. These things make it relevant and immediately accessible, yet it remains uncompromisingly modern in its forms and in its concerns.

* CRAIG MULHOLLAND (SCOTTISH b. 1969), TWO HEADS SELF PORTRAITcharcoal on paper, titled label versoimage size 77cm x 55cm, overall size 101cm x 79cm Mounted, frame and under glass.Note: Craig Mulholland was born in Glasgow and studied Drawing and Painting at Glasgow School of Art. He lives and works in Glasgow and is currently Course Leader and Lecturer in Fine Art at The Glasgow School of Art. Mulholland’s work is included in a variety of public and private collections including: Scottish National Gallery Of Modern Art, Glasgow; The Royal Bank of Scotland; the Rudin Dewoody Collection; the Gregory Papadimitriou Collection and The Fleming Collection, London. He has been the recipient of a number of visual arts awards from the Scottish Arts Council and Creative Scotland, and exhibits regularly. Artistically, Mulholland is preoccupied with dialogues between emerging digital technologies and the clearer limits of more traditional painting and sculpture.

* WILL MACLEAN MBE RSA RGI RSE HON D.LITT (SCOTTISH b.1941),THE DEPARTUREcoloured etching on paper, titled label versoimage size 49cm x 62cm, overall size 55cm x 69cm Mounted, framed and under glass. Handwritten label verso.Note: Will Maclean RSA, Professor of Painting in the University of Dundee, is one of the outstanding Scottish artists of his generation. He was born in Inverness where his father, a former sailor, was harbour master, and he spent his childhood between Inverness and Skye. His art is rooted in his knowledge of the Highlands, the Highland people and their history and in his own early associations with sailors and the sea. These things make it relevant and immediately accessible, yet it remains uncompromisingly modern in its forms and in its concerns.

* JAMES COSGROVE (SCOTTISH b. 1939),THINKING ABOUT CHAIRSwatercolour on paper, signed and titledimage size 56cm x 79cm, overall size 65cm x 87cm Mounted, framed and under glass.Note : Born in Glasgow in 1939, Jimmy studied painting at evening classes at Glasgow School of Art under Danny Ferguson. He later gave up his career in engineering to study art full time, gaining a Diploma and Postgraduate Diploma and winning a travelling scholarship, which took him across Europe. His first studies were in printed textile design and his work, for many years thereafter, was predominantly printmaking and drawing. He taught at the Glasgow School of Art and was a founder member of the Third Eye Centre and the Print Studio in Glasgow. In 1989, two of James` large paintings were included in the survey exhibition `Scottish Art Since 1900` at the National Gallery of Modern Art, Edinburgh. Living on the west coast of Scotland, and looking directly across to the Isle of Arran, his work is currently concerned with marine landscapes, often with an ambiguous narrative. James exhibits his work throughout Scotland and many of his paintings are in private and public collections worldwide.

* PAT DOUTHWAITE (SCOTTISH 1939 - 2002),THE THIRD EYEpastel on paper, signed and dated '70image size 66cm x 50cm, overall size 93cm x 75cm Mounted, framed and under glass. 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.Condition is good overall.

* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018), GRAZALEMA (Andalucia, Spain)oil on card, signed and dated '05; titled and dated '29.9.05' versoimage size 46cm x 46cm, overall size 64cm x 64cm Framed and under glass.Note: Grazalema is a "white village" located in the northeastern part of the province of Cádiz, in the autonomous community of Andalucia, Spain. It is situated in the foothills of the Sierra del Pinar mountain range.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. Recent examples of Sheila Macmillan's paintings in The Scottish Contemporary Art Auctions have included prices of £1700, £1400, £1100, £900, £850 & £800 (all hammer prices) which well illustrates the depth of collector interest in Sheila Macmillan's work.

* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018),SETENIL DE LAS BODEGAS oil on board, signed and dated '05image size 44.5cm x 44.5cm, overall size 64cm x 64cm Framed and under glass.Note 1: Setenil de las Bodegas is a town (pueblo) and municipality in the province of Cádiz, Spain, famous for its dwellings built into rock overhangs above the Río Guadalporcún. According to the 2005 census, the town has a population of 3,016 inhabitants. Titled and dated (17.9.05) in the artist's hand 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. Recent examples of Sheila Macmillan's paintings in The Scottish Contemporary Art Auctions have included prices of £1700, £1400, £1100, £900, £850 & £800 (all hammer prices) which well illustrates the depth of collector interest in Sheila Macmillan's work.

* IAN HUGHES (SCOTTISH 1958 - 2014),LIGHT IS ONLY PRECIOUS DURING DARK INTERVALS (aka DANTE'S INFERNO I)oil on canvas, signed, titled versoimage size 77cm x 133cm, overall size 100cm x 156cm Framed.Label verso: Lynn Painter-Stainers Prize 2009.Note: Painter, art therapist, photographer and installations artist, born in Glasgow. Hughes studied at Duncan of Jordanstone College of Art, Dundee, 1976–80. For much of the 1980s he chose to work with the mentally sick, in the art therapy department at Stobhill Hospital, Glasgow, then at Royal Edinburgh Psychiatric Hospital. He had his first one-man show at Andrew Brown's 369 Gallery, Edinburgh in 1985. Famously one of the seventeen artists in the landmark Vigorous Imagination Exhibition (1987) with four paintings, along with Howson, Currie, Wiszniewski, Conroy, Colvin, Mach, Braham, Gwen Hardie and others. In 1988–9 he was invited (above his peers) to be artist-in-residence at The Scottish National Gallery of Modern Art, Edinburgh; had a major and celebrated solo show there in 1989 and in that year started to show widely on the continent. Multiple solo shows in London, Russia, Poland, France, Germany and Spain. Several large museums, as well as the Scottish National Gallery of Modern Art, hold twenty-seven examples of his work in the UK. Many more in prestigious public collections around Europe and in the US. Most of his paintings were deeply influenced by his time with the mentally troubled which can be disturbing but also staggeringly powerful. Hughes was an artist's artist and he worked with scant regard for what might be popular or "commercial". Some of his paintings took years to complete. Perhaps unsurprisingly at the time, his work was more popular in London and mainland Europe than it was in Scotland. Despite this, his work was admired greatly by art critics and his contemporaries, several of whom were his close friends. He won many of the major awards and prizes at public exhibitions in Scotland. Notable private collectors included Sean Connery, Peter Gabriel, Marti Pellow, Madonna, Bob Geldof and others. Known corporate collections include: Shell Investments, Standard Life, Coutts & Co, The Fleming Collection, The Rowett Research Centre and the BBC (Glasgow).Condition is good overall, with no visible signs of restoration, damage, or known issues.

* PETER GRAHAM ROI (SCOTTISH b. 1959),EVENING LIGHTSoil on paper, signedimage size 24cm x 37cm, overall size 37cm x 51cm Framed and under glass.Note: Peter Graham was born in Glasgow in 1959. He attended the Glasgow School of Art, graduating in 1980. In 2000 Peter was elected to Full Membership of The Royal Institute of Oil Painters, R.O.I. Peter has earned a reputation as one of Britain’s most gifted and distinctive Modern Colourists. His work is often related to the Modern Scottish School but Peter has a flamboyant style which is unique, – detailed brushwork combined with loose fluid strokes creating vibrant contrasts of pure colour, line and tone. In the winter months within his studio, he delves deeply into the still life genre, creating some of his most stunning compositions, always with colour as the dominant theme but reflecting the heightened sense of atmosphere and passion that comes directly from painting in the beauty of the Mediterranean. Recently, hugely successful exhibitions in London have allowed Peter to take on extra studio space and his work is being enthusiastically exhibited by many of the UK's most prestigious galleries. Peter Graham's paintings do not appear at auction frequently but Impressive recent auction prices include (a slightly larger example) "Decorations with Flowers" which was sold at McTear's in The Scottish Contemporary Art Auction for £2800 (lot 580, 26th May 2019).

Pauline Burbidge Silk and Cotton Quilt 'Sedges 2' 2008, worked on a cream ground with black and white stitching and black shaded areas created in bands, signed to the bottom left hand corner, together with wooden batons, 85cm by 86cm; Pauline Burbridge Black and White Silk Scarf of Triangular Shape, signed and dated 2008, 100cm by 220cm; A Modern Patchwork Quilt 'Storm at Sea', worked in red floral sprigged cottons with a blue grid design to the reverse, 210cm by 265cm (3)Pauline Burbidge is recognised as one of the UKs premier textile artists, with a career spanning over 40 years. Taking the natural world and and the countryside of the Scottish Broders where she is based as her source of inspiration, her quilts and wall hangings have a wonderful fluidity and sparing use of colour. Paulines works has been exhibited worldwide and examples have been purchased by a number of major museums of the UK, including the Victoria & Albert Museum, the National Museums of Scotland, the Ulster Folk & Transport Museum in Belfast, the Whitworth Art Gallery, in Manchester, the Shipley Art Gallery, and the Glasgow Museums. She is also represented in major collections in the USA, including the International Quilt Study Center & Museum in Lincoln, Nebraska, and the John M. Walsh III Collection of Contemporary Art Quilts, and has won numerous commissions, grants and awards, including the British Craft Council's John Ruskin Craft Award and a major grant from the Scottish Arts Council.

A large Art Deco style wall mirror, with layered silver and gold ribbon frame, 112cm x 83cm; together with a modern white painted arch topped wall mirror, 110cm x 88cm

A modern art glass sculpture in shades of blue, 28cms h.Repaired to top.

Modern art Lithuanian artist - Approx image size: 49cm x 69cm

A modern head and shoulders bust of a lady upon a socle base, height 55cm, together with an Art Nouveau style wall mirror, 21cm

A modern silver Art Deco style lady with dog brooch

Two oversized aviator / pilot's wristwatches, comprising an Art Deco Wengia Langendorf stainless steel wristwatch, with transverse dial, circular white dial with black Roman numerals, red 24 hour numerals, and minute track, blued steel hands, subsidiary seconds dial, unsigned adjustable movement, case 44mm, 76.3g gross, on a modern black leather strap, and a chrome cased wristwatch, circa 1950, circular copper dial with black chapter ring and even Roman numerals, brass hands, subsidiary seconds dial, unsigned adjustable movement, case 46mm, 89.0g gross, on a modern black leather strap. (2)Notes: both in working condition, wind and hands set well, both run across 30min test, however Batemans cannot guarantee continued operation.

An interesting lot comprising of a blue monogrammed vanity case, circa 1930s, containing an attractive set of silver plated lid and glass cosmetics pots from the same period; a clothes brush, a russian cigarette case lid; a modern Charles Rennie McIntosh style photograph frame; a jewellery box containing a selection of Art Deco  and modern costume jewellery; plus a sterling silver fountain pen, boxed and AF.

An Art Deco style plated tea set, modern, on stand, 22cm high overall

A modern table lamp in Art Deco style, semi-clad lady holding globular shade aloft

SELECTION OF MODERN & VINTAGE LAMPS including reproduction Art Deco-style twin bulb lamp, ceramic pineapple, marble and gilt metal, turned wood with white metal trim, modern faceted perspex standard lamp with brass base, and painted floral metal and perspex dropped eight light chandelier (7)Comments: all believed to be working, not tested, some with signs of wear

An Art Deco Style Marcasite Set Panel Bracelet, with oval collet set highlights, to snap clasp (approximately 19cm long); together with a modern Art Deco style marcasite set brooch. (2)

Mid Century Modern studio art glass vase with millefiori inclusions and swirl decoration, unsigned, probably Gambaro and Poggi of Murano, 25cm tall.

Mid Century Modern studio art glass vase of trumpet form having flaring rim with millefiori inclusions and aventurine decoration, signed to base and applied label for Gambaro and Poggi of Murano, 28.5cm diameter.

Brett Payne (Sheffield); A Modern Hallmarked Silver Necklace, 'No.28 with Gold Beads', Sheffield 2001, 40.5cm long, in original long case, with booklet. *Brett Payne card purchase receipt dated 14 June 02 £610. £750-£850 www.brettpayne.com Brett Payne is a leading British silversmith with over twenty-five years experience. His approach to design and making combines the ancient technique of hot forging with original and contemporary ideas of form. He designs and hand-makes all his pieces in his workshop in Sheffield, a city renowned for its silversmithing heritage. Brett Payne is a Liveryman of The Worshipful Company of Goldsmiths, a Freeman of The Cutlers' Company of Hallamshire, a Fellow of the Institute of Professional Goldsmiths, a past Chairman of The Goldsmiths' Craft and Design Council and a Director of British Silver Week. He regularly exhibits his work both in the UK and abroad and has participated in numerous exhibitions, most notably at The Pompidou Centre, Paris; The Museum of Modern Art, Kyoto; The Keith Lippert Gallery, Washington; The Roger Billcliffe Gallery, Glasgow and at The Goldsmiths' Hall in London. In recent years he has exhibited his work in Munich, New York and Antwerp, as well as Finland, Holland and Denmark. Brett has won many awards for his craftsmanship and his work can be seen in numerous collections including the V&A, the Vintners' Company, The Cutlers' Company and The House of Lords.

A modern Daum glass tortoise dish, a modern Tiffany glass bowl, a modern Baccarat leaf moulded dish, and an Art Deco green glass two handled moulded dish

Ancient Medicine.- Breasted (James Henry) The Edwin Smith Surgical Papyrus, 2 vol. including Atlas, first edition, plates, light foxing to title of text vol., original buckram-backed cloth, a little rubbed, Chicago, 1930 § Bodding (Rev. P.O.) Studies in Santal Medicine and Connected Folklore, 3 parts in 1, offprints from 'Memoirs of the Asiatic Society of Bengal' vol.X, leaves brittle with first two slightly torn and chipped at edges, modern cloth, with original printed wrappers bound in at end, Calcutta, 1925-40 § Art of Healing (The) and Health Care in India: Twelve Miniatures, number XLIII of 500 deluxe copies, 12 colour plates tipped into wrappers, some heightened with gold, loose in original cloth drop-back box, Tubingen, [c.1985]; and 5 others, v.s. (9)

Two pieces of modern art glass by Richard P Golding, signed to the base together with mixed ornaments to include a Soapstone sculptureLocation: RAM

Miscellaneous Literature. A large collection of miscellaneous modern literature, including Sex, by Madonna, 1st edition, London: Secker & Warburg, 1992, original metal boards, folio, Etched In Moonlight, 1st edition, London: Macmillan And Co., 1928, original cloth in dust jacket, 8vo, biography, history & art reference, mostly original cloth in dust jackets, some paperbacks, G/VG, 8vo/folioQTY: (5 shelves )

Sealed LPs. Collection of 26 vinyl records, most of them modern 21st century LPs and still sealed, including Fontaines D.C. "A Hero's Death" (2020, Partisan PTKF 2182-8, DeLuxe Edition 45rpm 180g double vinyl, sealed), Laura Marling "Song For our Daughter" (2020, Chrysalis BRRVC002, Limited Edition Marble Vinyl, sealed, signed 12" x 12" art print included), EOB (Ed O'Brien of Radiohead) "Earth" (2020, Capitol 00602508363405, sealed), The Teskey Brothers "Live At The Forum" (2020, Halfmile Harvest / Decca 0875968, sealed), Spiritualized "Sweet Heart Sweet Light" (2012, Double Six DS045LP, Limited Edition 180g white vinyl, download included, sealed), Luke Haines "Rock and Roll Animals" (2013, Cherry Red BRED 585, sealed), Will Butler "Generations" (2020, Merge MRG 720, made in Canada, download included, sealed), Bright Eyes "Down In The Weeds Where The World Once Was" (2020, Dead Oceans DOC 210, 2-LP with download. transparent red/orange vinyl, sealed), Afro Celt Sound System "The Source" (2016, ECC100 010, Limited Edition heavyweight 180g 2-LP, USB card with extra material, sealed), King Creosote "From Scotland With Love" (2014, Domino WIGLP338X, 180g 2-LP with download, sealed), Emmy The Great & Tim Wheeler "This Is Christmas" (2011, Infectious INFECT150LP, download included, sealed), Toy "Self Titled" (2012, Heavenly HVNLP94, includes CD, sealed), Randy Newman "Dark Matter" (2017, Nonesuch 558563-1, includes download, sealed), David Bowie "Love Is Lost, Hello Steve Reich Mix by James Murphy for the DFA" (2013, ISO Records 44-102199, Limited Edition of 5000 copies, white vinyl 12" maxi single, sealed), Neil Young "Home Grown" (2020, Reprise 09362 1898689, Record Store Day exclusive, includes album cover print, sealed), No Devotion "Stay / Eyeshadow" (2014, Collect Records CLTD 1004, 12" maxi single, sealed), The Unified Field "Issue 01" (booklet with Limited Edition 10" clear vinyl, sealed), Lady Gaga "Chromatica" (2020, Limited Edition 12" Picture Disc with signed CD-sized print), Elena Tonra (of the band Daughter) "Ex:Re" (2019, 4AD Records 4AD0132LP, gatefold with blue vinyl, download included), Spring "Spring 2" (2007 re-issue, unofficial release by Second Harvest, gatefold cover design by Roger Dean), Deacon Blue "City of Love" (2020, Ear Music 0214562EMU, 12" x 12" signed art print included), Bobby Womack "The Bravest Man in the Universe" (2012, XL Recordings XLLP 561, gatefold, CD included), John Cale "Extra Playful" (2011, 12" EP, Double Six DS046T), Orlando Weeks "A Quickening" (2020, Play It Again Sam PIASR116SLP), Jack White "Sixteen Salteens / Love Is Blindness" (2012, 12" maxi single, TMR 137) and Julia Holter "Have You In My Wilderness" (2015, Domino WIGLP341, 180g heavyweight vinyl, 12" x 12" signed art print included, numbered 325/500)QTY: (26)

Signed LPs. Collection of 15 modern 21st century vinyl records, all signed and/or sealed as indicated, including Glass Animals "Dreamland" (2020, 180g LP, Wolf Tone 0883362, signed and sealed), Idles "Ultra Mono, Momentary Acceptance of the Self" (2020, Limited Edition Vortex Vinyl, Partisan Records, signed and sealed), Doves "The Universal Want" (2020, Heavenly VY 3248, signed and sealed), Celeste "Not Your Muse" (2021, Both Sides / Polydor 0881443, signed and sealed), The Streets "None of Us Are Getting Out of This Life Alive" (2020, Island 0889985, signed and sealed), Lyr "Call In The Crash Team" (2020, 180g LP, Mercury 0857439, signed and sealed), Longpigs "The Sun Is Often Out" (2020 re-issue, 180g blue vinyl, Demon DEMREC707, signed and sealed), Jack Garratt "Love, Death & Dancing" (2020, Island 0882868, signed and sealed), Phoebe Bridgers "Punisher" (2020, Dead Oceans DOC200, sealed, signed 12" x 12" art print included), Fontaines D.C. "A Hero's Death" (2020, Partisan PTKF 2182-1, Limited Edition Colour Vinyl, sealed, signed 12" x 12" art print included), The Divine Comedy "Office Politics" (DCRL 112LP, 180g gatefold Limited Edition coloured vinyl 2-LP, digital download included, sealed, signed A4 photo included), Laura Marling "Song For Our Daughter" (2020, Chrysalis / Partisan BRRVC002, Limited Edition Marble Vinyl, sealed, signed 12" x 12" art print included), Angel Olsen "Whole New Mess" (2020, JAGJAGUWAR JAG354, digital download included, sealed, signed 12" x 12" art print included), David Byrne & St. Vincent "Love This Giant" (2012, Todo Mundo / 4AD CAD 3231, sealed, signed 5" x 5" art print included) and Haim "Women in Music, Part III" (2020, Polydor 0813817, sealed, signed 12" x 12" art print included)QTY: (15)

Gilchrist (Alexander). Life of William Blake, with selections from his poems and other writings, 2 volumes, 2nd edition, London: Macmillan and Co., 1880, numerous illustrations, some on India paper, top edge gilt, modern blue calf gilt, 8vo, together with Story (Alfred T.) The Life of John Linnell, 2 volumes, 1st edition, London: Richard Bentley, 1892, portrait frontispieces, illustrations, occasional light spotting, modern green calf gilt, 8vo, with 7 proof wood-engravings by the artist, circa 1843 loosely inserted QTY: (4)NOTE:First work presentation copy, volume I half title inscribed: To my good friend Charles Rowley, with constant love from Frederic J. Shields, Jany 4. 1881". Frederic Shields (1833-1911) was an artist and illustrator, and contributor to this second edition of Gilchrist's biography of William Blake. He designed the original covers, inspired by Rossetti and an early example of the Art Nouveau style; Charles Rowley (1839-1933) was a British socialist and founder of the Ancoats Brotherhood in Manchester, and a good friend of Shields and members of the Pre-Raphaelite Brotherhood. All were admirers of William Blake.

A MODERN BELLIED WATER JUG GRAHAM STEWART, EDINBURGH 2015 of hand raised and planished baluster form with long tapered spout the handle of curved form with scrolling terminalDimensions:11.5cm high, 11.4ozNote: Note: Not only was Graham Leishman Stewart (1955-2020) one of Scotland’s foremost silversmiths of the late 20th and early 21st centuries, but he was also a master of hand engraving. The inspiration for his forms was mainly nature. He did not replicate what he saw, but it was organic and often intuitively so. He had great respect for words and was a devotee of the Irish bard Seamus Heaney. When he discovered Heaney’s favourite prose was the BBC’s Radio’s Shipping Forecast, this resulted in a series of bowls that have been much admired. He chose and arranged the almost hypnotic words of the Forecast with the flow of a poet. The series was expanded to other themes, the inspiration coming from poetry and Celtic spirituality. The engraving brought life to his bowls. Stewart established his workshop in Dunblane in 1978. He always worked with a small team of skilled craftsmen. His father, an industrial designer, was a leading influence in his life as he had a keen interest in silversmithing. His brother, an engineer, joined him when he retired which explains why Stewart used a hydraulic press, not a tool normally associated with silversmithing, for very large commissions.As visitors enter the Scottish Parliament, they are greeted with the Three Honours a large silver sculpture designed and made by Stewart. It is an impressive, intertwined creation with the three elements representing Scotland’s State Jewels, its crown, sceptre and sword, which are held in Edinburgh Castle. Arguably it has been one of the most viewed pieces of modern silver in Britain today. His commissions reflect the admiration and respect others had for him, including those commissioning the impressive claret jugs which are part of the Millennium Collection for Bute House. His shop in Dunblane provided a great opportunity to meet and chat with Stewart, allowing customers to grow their collections and acquire one-off pieces. With important pieces now included within numerous British institutions including the Aberdeen Museum and Art Gallery, as well as The Pearson Silver Collection (which is devoted to Post-War II British silver), his work is well represented in both public and private collections which supports his place a key contributor to modern Scottish and British silver.

A MODERN 'HONEYCOMB' CANDLESTICK GRAHAM STEWART, EDINBURGH 2014 of hexagonal form, modelled as a honeycomb, three sides with a silver-gilt honeycomb design and applied bees, feature hallmarks to one sideDimensions:5cm high, 9.4ozNote: Note: Not only was Graham Leishman Stewart (1955-2020) one of Scotland’s foremost silversmiths of the late 20th and early 21st centuries, but he was also a master of hand engraving. The inspiration for his forms was mainly nature. He did not replicate what he saw, but it was organic and often intuitively so. He had great respect for words and was a devotee of the Irish bard Seamus Heaney. When he discovered Heaney’s favourite prose was the BBC’s Radio’s Shipping Forecast, this resulted in a series of bowls that have been much admired. He chose and arranged the almost hypnotic words of the Forecast with the flow of a poet. The series was expanded to other themes, the inspiration coming from poetry and Celtic spirituality. The engraving brought life to his bowls. Stewart established his workshop in Dunblane in 1978. He always worked with a small team of skilled craftsmen. His father, an industrial designer, was a leading influence in his life as he had a keen interest in silversmithing. His brother, an engineer, joined him when he retired which explains why Stewart used a hydraulic press, not a tool normally associated with silversmithing, for very large commissions.As visitors enter the Scottish Parliament, they are greeted with the Three Honours a large silver sculpture designed and made by Stewart. It is an impressive, intertwined creation with the three elements representing Scotland’s State Jewels, its crown, sceptre and sword, which are held in Edinburgh Castle. Arguably it has been one of the most viewed pieces of modern silver in Britain today. His commissions reflect the admiration and respect others had for him, including those commissioning the impressive claret jugs which are part of the Millennium Collection for Bute House. His shop in Dunblane provided a great opportunity to meet and chat with Stewart, allowing customers to grow their collections and acquire one-off pieces. With important pieces now included within numerous British institutions including the Aberdeen Museum and Art Gallery, as well as The Pearson Silver Collection (which is devoted to Post-War II British silver), his work is well represented in both public and private collections which supports his place a key contributor to modern Scottish and British silver.

A MODERN BRITANNIA STANDARD WINE COASTER GRAHAM STEWART, EDINBURGH 2003 the shaped dish on stepped foot with planished surface and flared rim, set to interior with removable turned wooden base with circular cartouche to centreDimensions:14.8cm diameter, 13.2ozNote: Note: Not only was Graham Leishman Stewart (1955-2020) one of Scotland’s foremost silversmiths of the late 20th and early 21st centuries, but he was also a master of hand engraving. The inspiration for his forms was mainly nature. He did not replicate what he saw, but it was organic and often intuitively so. He had great respect for words and was a devotee of the Irish bard Seamus Heaney. When he discovered Heaney’s favourite prose was the BBC’s Radio’s Shipping Forecast, this resulted in a series of bowls that have been much admired. He chose and arranged the almost hypnotic words of the Forecast with the flow of a poet. The series was expanded to other themes, the inspiration coming from poetry and Celtic spirituality. The engraving brought life to his bowls. Stewart established his workshop in Dunblane in 1978. He always worked with a small team of skilled craftsmen. His father, an industrial designer, was a leading influence in his life as he had a keen interest in silversmithing. His brother, an engineer, joined him when he retired which explains why Stewart used a hydraulic press, not a tool normally associated with silversmithing, for very large commissions.As visitors enter the Scottish Parliament, they are greeted with the Three Honours a large silver sculpture designed and made by Stewart. It is an impressive, intertwined creation with the three elements representing Scotland’s State Jewels, its crown, sceptre and sword, which are held in Edinburgh Castle. Arguably it has been one of the most viewed pieces of modern silver in Britain today. His commissions reflect the admiration and respect others had for him, including those commissioning the impressive claret jugs which are part of the Millennium Collection for Bute House. His shop in Dunblane provided a great opportunity to meet and chat with Stewart, allowing customers to grow their collections and acquire one-off pieces. With important pieces now included within numerous British institutions including the Aberdeen Museum and Art Gallery, as well as The Pearson Silver Collection (which is devoted to Post-War II British silver), his work is well represented in both public and private collections which supports his place a key contributor to modern Scottish and British silver.

A MODERN 'THISTLE' BOX GRAHAM STEWART, EDINBURGH 2001 of cylindrical form, the pull of lid with a pierced silver-gilt thistle to the centreDimensions:4.5cm high, 3.9ozNote: Note: Not only was Graham Leishman Stewart (1955-2020) one of Scotland’s foremost silversmiths of the late 20th and early 21st centuries, but he was also a master of hand engraving. The inspiration for his forms was mainly nature. He did not replicate what he saw, but it was organic and often intuitively so. He had great respect for words and was a devotee of the Irish bard Seamus Heaney. When he discovered Heaney’s favourite prose was the BBC’s Radio’s Shipping Forecast, this resulted in a series of bowls that have been much admired. He chose and arranged the almost hypnotic words of the Forecast with the flow of a poet. The series was expanded to other themes, the inspiration coming from poetry and Celtic spirituality. The engraving brought life to his bowls. Stewart established his workshop in Dunblane in 1978. He always worked with a small team of skilled craftsmen. His father, an industrial designer, was a leading influence in his life as he had a keen interest in silversmithing. His brother, an engineer, joined him when he retired which explains why Stewart used a hydraulic press, not a tool normally associated with silversmithing, for very large commissions.As visitors enter the Scottish Parliament, they are greeted with the Three Honours a large silver sculpture designed and made by Stewart. It is an impressive, intertwined creation with the three elements representing Scotland’s State Jewels, its crown, sceptre and sword, which are held in Edinburgh Castle. Arguably it has been one of the most viewed pieces of modern silver in Britain today. His commissions reflect the admiration and respect others had for him, including those commissioning the impressive claret jugs which are part of the Millennium Collection for Bute House. His shop in Dunblane provided a great opportunity to meet and chat with Stewart, allowing customers to grow their collections and acquire one-off pieces. With important pieces now included within numerous British institutions including the Aberdeen Museum and Art Gallery, as well as The Pearson Silver Collection (which is devoted to Post-War II British silver), his work is well represented in both public and private collections which supports his place a key contributor to modern Scottish and British silver.

A MODERN SILVER AND GLASS CANDLESTICK GRAHAM STEWART, EDINBURGH 2000 (WITH ADDITIONAL MILLENNIUM HALLMARK) the cubed glass base with a naturalistic textured surface, set to the top with a hemispherical large sconce with a dished centreDimensions:14.5cm high, sconce 12cm diameter, 10ozNote: Note: Not only was Graham Leishman Stewart (1955-2020) one of Scotland’s foremost silversmiths of the late 20th and early 21st centuries, but he was also a master of hand engraving. The inspiration for his forms was mainly nature. He did not replicate what he saw, but it was organic and often intuitively so. He had great respect for words and was a devotee of the Irish bard Seamus Heaney. When he discovered Heaney’s favourite prose was the BBC’s Radio’s Shipping Forecast, this resulted in a series of bowls that have been much admired. He chose and arranged the almost hypnotic words of the Forecast with the flow of a poet. The series was expanded to other themes, the inspiration coming from poetry and Celtic spirituality. The engraving brought life to his bowls. Stewart established his workshop in Dunblane in 1978. He always worked with a small team of skilled craftsmen. His father, an industrial designer, was a leading influence in his life as he had a keen interest in silversmithing. His brother, an engineer, joined him when he retired which explains why Stewart used a hydraulic press, not a tool normally associated with silversmithing, for very large commissions.As visitors enter the Scottish Parliament, they are greeted with the Three Honours a large silver sculpture designed and made by Stewart. It is an impressive, intertwined creation with the three elements representing Scotland’s State Jewels, its crown, sceptre and sword, which are held in Edinburgh Castle. Arguably it has been one of the most viewed pieces of modern silver in Britain today. His commissions reflect the admiration and respect others had for him, including those commissioning the impressive claret jugs which are part of the Millennium Collection for Bute House. His shop in Dunblane provided a great opportunity to meet and chat with Stewart, allowing customers to grow their collections and acquire one-off pieces. With important pieces now included within numerous British institutions including the Aberdeen Museum and Art Gallery, as well as The Pearson Silver Collection (which is devoted to Post-War II British silver), his work is well represented in both public and private collections which supports his place a key contributor to modern Scottish and British silver.

AN IMPRESSIVE HAND FORGED BRITANNIA STANDARD SOUP LADLE GRAHAM STEWART, EDINBURGH 1998 the terminal of concave rounded form, with bold sweeping stem and deep circular bowlDimensions:29cm long, 14ozNote: Note: Struck with feature hallmarks to the reverse of the stem these feature the last set of traditional UK hallmarks beofre the imposition beginning with the 1999 hallmarking year from the European Union to add a purity mark in numerical not just graphic form.Not only was Graham Leishman Stewart (1955-2020) one of Scotland’s foremost silversmiths of the late 20th and early 21st centuries, but he was also a master of hand engraving. The inspiration for his forms was mainly nature. He did not replicate what he saw, but it was organic and often intuitively so. He had great respect for words and was a devotee of the Irish bard Seamus Heaney. When he discovered Heaney’s favourite prose was the BBC’s Radio’s Shipping Forecast, this resulted in a series of bowls that have been much admired. He chose and arranged the almost hypnotic words of the Forecast with the flow of a poet. The series was expanded to other themes, the inspiration coming from poetry and Celtic spirituality. The engraving brought life to his bowls. Stewart established his workshop in Dunblane in 1978. He always worked with a small team of skilled craftsmen. His father, an industrial designer, was a leading influence in his life as he had a keen interest in silversmithing. His brother, an engineer, joined him when he retired which explains why Stewart used a hydraulic press, not a tool normally associated with silversmithing, for very large commissions.As visitors enter the Scottish Parliament, they are greeted with the Three Honours a large silver sculpture designed and made by Stewart. It is an impressive, intertwined creation with the three elements representing Scotland’s State Jewels, its crown, sceptre and sword, which are held in Edinburgh Castle. Arguably it has been one of the most viewed pieces of modern silver in Britain today. His commissions reflect the admiration and respect others had for him, including those commissioning the impressive claret jugs which are part of the Millennium Collection for Bute House. His shop in Dunblane provided a great opportunity to meet and chat with Stewart, allowing customers to grow their collections and acquire one-off pieces. With important pieces now included within numerous British institutions including the Aberdeen Museum and Art Gallery, as well as The Pearson Silver Collection (which is devoted to Post-War II British silver), his work is well represented in both public and private collections which supports his place a key contributor to modern Scottish and British silver.

A MODERN TUMBLER CUP GRAHAM STEWART, EDINBURGH 1998 of simple hand raised and planished form with a rounded baseDimensions:6cm high 4.3ozNote: Note: Struck with feature hallmarks this lot features the last set of traditional UK hallmarks before the imposition beginning with the 1999 hallmarking year from the European Union to add a purity mark in numerical, not just graphic form.For a similar pair of tumbler cups with additional engraved initial see Scottish Works of Art & Whisky Lyon & Turnbull 18th August 2021, lot 205.Not only was Graham Leishman Stewart (1955-2020) one of Scotland’s foremost silversmiths of the late 20th and early 21st centuries, but he was also a master of hand engraving. The inspiration for his forms was mainly nature. He did not replicate what he saw, but it was organic and often intuitively so. He had great respect for words and was a devotee of the Irish bard Seamus Heaney. When he discovered Heaney’s favourite prose was the BBC’s Radio’s Shipping Forecast, this resulted in a series of bowls that have been much admired. He chose and arranged the almost hypnotic words of the Forecast with the flow of a poet. The series was expanded to other themes, the inspiration coming from poetry and Celtic spirituality. The engraving brought life to his bowls. Stewart established his workshop in Dunblane in 1978. He always worked with a small team of skilled craftsmen. His father, an industrial designer, was a leading influence in his life as he had a keen interest in silversmithing. His brother, an engineer, joined him when he retired which explains why Stewart used a hydraulic press, not a tool normally associated with silversmithing, for very large commissions.As visitors enter the Scottish Parliament, they are greeted with the Three Honours a large silver sculpture designed and made by Stewart. It is an impressive, intertwined creation with the three elements representing Scotland’s State Jewels, its crown, sceptre and sword, which are held in Edinburgh Castle. Arguably it has been one of the most viewed pieces of modern silver in Britain today. His commissions reflect the admiration and respect others had for him, including those commissioning the impressive claret jugs which are part of the Millennium Collection for Bute House. His shop in Dunblane provided a great opportunity to meet and chat with Stewart, allowing customers to grow their collections and acquire one-off pieces. With important pieces now included within numerous British institutions including the Aberdeen Museum and Art Gallery, as well as The Pearson Silver Collection (which is devoted to Post-War II British silver), his work is well represented in both public and private collections which supports his place a key contributor to modern Scottish and British silver. Graham Leishman Stewart, 1955-2020 Not only was Graham Stewart one of Scotland’s foremost silversmiths of the late 20th and early 21st centuries, but he was also a master of hand engraving. The inspiration for his forms was mainly nature. He did not replicate what he saw, but it was organic and often intuitively so. He had great respect for words and was a devotee of the Irish bard Seamus Heaney. When he discovered Heaney’s favourite prose was the BBC’s Radio’s Shipping Forecast, this resulted in a series of bowls that have been much admired. He chose and arranged the almost hypnotic words of the Forecast with the flow of a poet. The series was expanded to other themes, the inspiration coming from poetry and Celtic spirituality. The engraving brought life to his bowls. Stewart established his workshop in Dunblane in 1978. He always worked with a small team of skilled craftsmen. His father an industrial designer, was a leading influence in his life as he had a keen interest in silversmithing. His brother, an engineer, joined him when he retired which explains why Stewart used a hydraulic press, not a tool normally associated with silversmithing, for very large commissions.As visitors enter the Scottish Parliament, they are greeted with the Three Honours a large silver sculpture designed and made by Stewart. It is an impressive, intertwined creation with the three elements representing Scotland’s State Jewels, its crown, sceptre and sword, which are held in Edinburgh Castle. Arguably it has been one of the most viewed pieces of modern silver in Britain today. His commissions reflect the admiration and respect others had for him, including those commissioning the impressive claret jugs which are part of the Millennium Collection for Bute House. His shop in Dunblane provided a great opportunity to meet and chat with Stewart, allowing customers to grow their collections and acquire one-off pieces. With important pieces now included within numerous British institutions including the Aberdeen Museum and Art Gallery, as well as The Pearson Silver Collection, which is devoted to Post-War II British silver, his work is well represented in both in public and private collections which supports his place a key contributor to modern Scottish and British silver.

REVISED ESTIMATE: Modern Hermle brass Big-Ben skeleton clock under a glass dome, 24cm, together with an Art Deco mantel clock, 23cm (2)

PAIR OF MODERN ART NOUVEAU TIFFANY STYLE TABLE LAMPS

Modern fire surround with Art Deco marble back and hearth, 132 x 120 x 120 cm. Not available for in-house P&P, contact Paul O'Hea at Mailboxes on 01925 659133

Modern Diecast Prewar Postwar and Modern 1:18 Scale and Smaller Cars and Kits, all boxed or cased, private, competition and James Bond, 1:18 scale examples, Revell 08917 Messerschmitt KR200, Maisto 98883 Jaguar XJ220 1992, 31836 Jaguar XK8, Burago 3016 Jaguar E Cabriolet 1961, 3010 Mancia Aurelia Spider 1955 (one windscreen damaged), 3014 Alfa Romeo 1931, 1:24 scale Burago, 1503 Bugatti Atlantic 1936, 1502 Jaguar XK 120 1948, 1508 Jaguar XK 20 1948, 0510 Ferrari 250 GTO 1962, 0532 Ferrari F40 1987, 6108 Williams F1 FW14, 1:43 scale and similar, Corgi James Bond, CC08001 Spectre Aston Martin DB10 (2), James Bond Car Collection DB5 Gold Finger, Pauls Model Art Ford Mondeo, Vanguards by Lledo (1), Cararama Mini Cooper and two kits, Revell Build & Play Pajero Rally 06401 (sealed) and Airfix Haynes Triumph TR4A, appears complete but unchecked, both 1 :32 scale, F-E, packaging P-E, (20)

PLUS LOT 23 - QUALITY VINTAGE & LATER COSTUME JEWELLERY - to include hard stone necklaces, Italian silver, unusual base metal necklace with glass type intaglios, various cultured modern pearl necklaces, Art glass, ETC

A modern art glass acid etched glass vase with dragon flys and an iridescent art glass bowl (2)

An acid etched art glass vase art pottery a modern design treen bowl and vase and other art pottery and modern glass.

After David Hockney (British 1937-): 'Forty Years of Modern Art 1945-1985' - Tate Gallery Exhibition Poster, colour print 55cm x 37cm

Art History and Music - The Bodley Head's Masters of Modern Head, various artists, [c. 1925], all with original yellow dustjackets over cloth, 8vo, (6); other early 20th century pocket publications, decorative bindings (qty); Royal Academy and other exhibition catalogues, including Picasso, Francis Bacon, and others; Japanese woodblock print reference; some country house and other guide books; late 19th century and later sheet music, mostly bound, generally classical piano; etc., [8 boxes]Provenance: the Chandos-Pole family, removed from the Library of Radbourne Hall, Derbyshire.

China - Giles (Herbert A.), An Introduction to the History of Chinese Pictorial Art, With Illustrations, second edition, London: Bernard Quaritch, Ltd., 1918, contemporary black-quarter calf over textured boards, red-speckled edges, 8vo, (1); Duthuit (Georges), Chinese Mysticism and Modern Painting, Paris: Chroniques du Jour, London: S. Zwemmer, 1936, illustrated, original red cloth over printed boards, oblong 8vo, (1); White (William Charles), An Album of Chinese Bamboos: A Study of a Set of Ink-Bamboo Drawings A.D. 1785, first edition, The University of Toronto Press, 1939, original pictorial green cloth gilt, 4to, (1); Waley (Arthur), An Introduction to the Study of Chinese Painting, first edition, London: Ernest Benn, Limited, 1923, colour plates, cloth, 4to, (1); Yee (Chiang): A Chinese Childhood, first edition, London: Methuen & Co. Ltd., 1940, pictorial d/j over cloth, 8vo, (1); The Silent Traveller in London, first edition, fourth impression, London: Country Life Ltd, April 1940, pictorial d/j over cloth, 8vo, (1); other Silent Travellers, Oxford, fourth edition, 1948, & San Francisco, first edition, 1964, both pictorial d/j over cloth, 8vo, (2); Chin-Pao and the Giant Pandas, first edition, London: Country Life, 1939, cloth only, 8vo, (1); Japan - Loti (Pierre) & Ensor (Laura, translator), Madame Chrysanthème, ?second English edition, London: George Routledge and Sons, 1901, in-text illustrations, pictorial cloth, 8vo, (1); etc., [13]

Three modern silver mounted photograph frames, comprising an example in the Art Nouveau style, of shaped form detailed with foliate tendrils, hallmarked Carr's of Sheffield Ltd, Sheffield 1992, overall H16cm W13.5cm aperture D9cm, a plain rectangular example, hallmarked Carr's of Sheffield Ltd, Sheffield 1989, overall H16cm W12cm aperture H12.5cm W8.5cm, and a plain square example, hallmarked Laurence R Watson & Co, Sheffield 1989, overall 11.5cm aperture 8.5cm, each with easel style support verso Condition Report:Generally in good overall condition, with some surface scratches. Art Nouveau style example with slight knock to lower edge.Rectangular example with two slight knocks to frame.Hallmarks clear and legible.Velvet backing to all with some wear and discolouration, and some fraying to corners of Art Nouveau example.

TWO ART DECO STYLE MODERN BRONZE EFFECT TABLE LAMPS - TALLEST 45 CM

§ ALAN DAVIE C.B.E., R.A., H.R.S.A. (SCOTTISH 1920-2014) MAGIC CASKET, 1996 Signed and inscribed with date and title verso, oil on canvasDimensions:75cm x 95.5cm (29.5in x 37.5in)Note: Note: This work is being sold on behalf of the charity Art in Healthcare to support their charitable aims.For over thirty years, the Scottish charity has displayed works from its holdings of modern and contemporary art in health and social care settings, to create welcoming and stimulating environments for patients, visitors and staff. The coronavirus (COVID-19) pandemic provided an opportunity to review the collection so that it can be cared for and shared as effectively as possible. As a result, a selection of works are being de-accessioned and the proceeds will be used to ensure that the collection remains relevant, provides maximum benefit to as many people as it can reach physically and digitally and continues to support emerging Scottish artists.Alan Davie’s Magic Casket of 1996 is a mature example of the artist’s work. His unique vocabulary of signs and symbols, combined with the implications of the title, invite the viewer to form a narrative based on personal interpretation. Davie is the subject of an exhibition which runs at Dovecot, Edinburgh until 24 September 2022.To find out more about Art in Healthcare please visit: https://www.artinhealthcare.org.uk/

§ DENIS PEPLOE R.S.A. (SCOTTISH 1914-1993) LOCH KISHORN Signed lower right, oil on canvasDimensions:50cm x 61cm (19.75in x 24in)Note: Note: This work is being sold on behalf of the charity Art in Healthcare to support their charitable aims.For over thirty years, the Scottish charity has displayed works from its holdings of modern and contemporary art in health and social care settings, to create welcoming and stimulating environments for patients, visitors and staff. The coronavirus (COVID-19) pandemic provided an opportunity to review the collection so that it can be cared for and shared as effectively as possible. As a result, a selection of works are being de-accessioned and the proceeds will be used to ensure that the collection remains relevant, provides maximum benefit to as many people as it can reach physically and digitally and continues to support emerging Scottish artists.Denis Peploe’s Loch Kishorn of 1962 is an emotional response to the dramatic landscape of the north-west highlands of Scotland. Peploe rendered the majesty of the scene before him in short, heavily loaded brushstrokes which capture the tumultuous and changing nature of the weather in the region.To find out more about Art in Healthcare please visit: https://www.artinhealthcare.org.uk/

§ DAVID MCCLURE R.S.A., R.S.W. (SCOTTISH 1926-1998) BOATS AT ST. PAUL'S BAY, MALTA, 1991 Signed lower left, inscribed with title verso, oil on canvas boardDimensions:50cm x 34cm (19.5in x 13.25in)Provenance:Exhibited: The Scottish Gallery, EdinburghNote: Note: This work is being sold on behalf of the charity Art in Healthcare to support their charitable aims.For over thirty years, the Scottish charity has displayed works from its holdings of modern and contemporary art in health and social care settings, to create welcoming and stimulating environments for patients, visitors and staff. The coronavirus (COVID-19) pandemic provided an opportunity to review the collection so that it can be cared for and shared as effectively as possible. As a result, a selection of works are being de-accessioned and the proceeds will be used to ensure that the collection remains relevant, provides maximum benefit to as many people as it can reach physically and digitally and continues to support emerging Scottish artists.David McClure’s Boats at St Paul’s Bay, Malta of 1991 is a joyful late work which he painted the year after being elected a member of the Royal Glasgow Institute of the Fine Arts. The vibrant holiday image is full of colour emboldened by warm sunshine, as the eye is led from the boats in the foreground to the topmost window of the buildings beyond.To find out more about Art in Healthcare please visit: https://www.artinhealthcare.org.uk/

§ PAUL NEAGU (ROMANIAN/BRITISH 1938-2004) HUMAN FOOT SHADOW, 1973 Signed, inscribed with title and dated '73 lower left, further inscribed 'Human Foot, 35 cells, GENERATIVE ART GROUP', mixed media on paperDimensions:39cm x 27cm (15.25in x 10.5in)Provenance:Provenance: Gifted by the artist to Silvia Radu and Vasile Gorduz, Romanian artists and close friends of Neagu (work bears inscription from Neagu to the pair verso); Gifted by Silvia Radu to the present ownerNote: Note: Paul Neagu’s legacy within the UK artworld is one of quiet but profound impact, with the generation of students he taught – Rachel Whiteread, Antony Gormley and Anish Kapoor (who authored his obituary), attesting to his influence on their own work. His artistic practice was underpinned by his personal philosophical theory of the world; a sophisticated if esoteric approach which, though valued by curators, institutions and centres of education here from the early stages of his career, was out of step with his contemporaries at the time.As a Romanian émigré, Neagu’s output inevitably had a cross-cultural outlook, and his sculpture, drawings and performances were underpinned by an exploration of the metaphysical, and can be described as straddling craft and conceptualism. Though these features distinguished him and set his work apart, it also meant he did not fit within the general trends in the British art world at this point, to the detriment of his standing amongst collectors of British sculpture today. Kapoor in his tribute remarks that, “…inevitably, he struggled against a British art world that preferred to see the artist as a maker of things rather than, as he saw it, art, and therefore the artist, as a generator of a philosophical world view.”Growing up in tough conditions behind the Iron Curtain, the young Neagu enrolled at the Bucharest Institute of Fine Art in 1963. Social Realism was the official visual language under the Communist regime, and so he was forced to make forays into abstraction in secret. These constraints ultimately led to the development of his core belief that art is an expression of 'desire in the face of the systems that attempt to inhibit it'. Throughout the 1960s he developed his ‘palpable objects’: construction-like box assemblages made out of humble materials and traditional Romanian woodworking techniques; a thread to his practise which he never abandoned and can be observed in the work offered here for sale, ‘Ongoing Hyphen’.His ticket to the West came in the form of an invitation from the now legendary art impresario Richard Demarco to exhibit at his gallery in 1969. A powerhouse behind the Edinburgh Art Festival, Demarco was extraordinarily outward looking for the time and made it his mission to discover and expose talent from Eastern Europe over in the West (other names he is responsible for championing include Marina Abramovich and Joseph Beuys). Neagu settled in the UK permanently in 1970, making London his home. Before long he became a well-respected teacher, most notably lecturing at the Hornsey, the Slade and the Chelsea School of Art, and in 1976 becoming Associate Professor at the Royal College of Art.His work encompassed aspects of performance as well as drawing and construction, and explored the relationship between ritualism and sculpture, as well as spirituality. Sculpture, as Neagu saw it, was to be experienced by all five senses and had the potential to have a profound, spiritual, and potentially healing impact on its audience. In order to convey these aims, he developed specific totemic symbols which he then continued to re-work over the course of his career.The first and most significant of these was the Hyphen form. As Kapoor describes, “…in 1975, Neagu made his first Hyphen - it started life as a three-legged workbench assembled somewhat in the folk tradition of Romanian furniture. Quickly Neagu understood the immense metaphysical potential of this tripod structure. From it he evolved a complete anthropocosmic view which, in parallel with Joseph Beuys in Germany and, previously, Yves Klein in France, suggested a spiritual remedy for the ills of contemporary man.” These reference points are notably European, again underpinning that Neagu’s process was something of an anomaly within the British art movements of the period. This though, as I alluded earlier, is to the advantage of discerning collectors with a more internationalistic outlook today, as his work remains accessibly priced.Lyon & Turnbull are pleased to offer for sale ‘On-going Hyphen’, from 1992. Crafted in some of Neagu’s traditional materials, wood and gesso, it represents a later iteration of the original hyphen form, which Neagu approached again with vigour in this year.We are also pleased to offer one of his ‘human cell’ drawings, ‘Human Foot Shadow’, from 1973 – a further aspect of his ‘Anthropocosmic’ concept which he developed in the early 1970s.In 2003 Tate Britain acquired Neagu’s 30-year archive and exhibited some of his work from the 1970s and 1980s, and his work can be found in public collections including, among others, the British Museum, London, le Fond départemental d'art contemporain, Seine Saint-Denis, Bobigny, France, the Hugh Lane Municipal Gallery of Modern Art, Dublin, the Musee Cantonal de Beaux Arts, Lausanne, Switzerland, the National Museum of Art of Romania, Bucharest, the Philadelphia Art Museum, Philadelphia, USA, and the Tate Gallery, London.

A small Quantity of Admiral Nelson related memorabilia, to include two Victorian glass paperweights, one of Nelson, the other of Victory, a small hand painted figure of Nelson in Admiral's uniform, two 'Shipwrecked Mariner Society' commemorative medals, a copper filigree salt (lacking glass), reputedly from the copper sheets of Nelson's 'Foudroyant', wrecked on Blackpool Beach in 1897, a pin tray, small wooden barrel, various paperweights, modern wine coasters, etc and three examples of sailor life belt picture art (the practice from the 19th century onwards for sailors to make miniature life belts representing their ships), comprising an attractive hand painted life belt for P&O' passenger liner 'Arcadia' 1960, a wartime life belt for His Majesty's Transport 'Sheldon' and a life belt with drawing for 'H.M.S. Changuinola', a WWI armed merchant cruiser (4).

Tribal Art. Carved wall masks and masks, some painted, mainly modern. (a quantity)

The Hugh Lane Municipal Gallery Of Modern Art Exhibition advertising poster, framed, overall 90cm x 62cm

A COLLECTION OF ART DECO CERAMICS and similar, including two Clarice Cliff saucers, a modern Masons Liberty vase and other items

Modern Silver Rectangular Plain Pill Box. London 1997, Art Norman. Length 3.7 cmLength 3.7 cmQty: 1Minor tarnish, minimal surface wear, no damages

A GROUP OF CERAMICS, GLASS WARES AND A TABLE LAMP, to include a modern Tiffany style table lamp, a group of cut glass salts and small bowls, a cream Beswick elongated bowl, model number 1192, five pieces of Conch shell tea wares, a Czechoslovakian Art Deco ashtray with figure of a reclining woman, Oriental vases, an aubergine pressed glass ashtray in the form of a boot, etc (Qty) (Condition report: some damage, crazing, wear and loss, generally fair condition, lamp untested)