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[Evans (Marian)], "George Eliot". The Works, 21 vol., 'Standard Edition', occasional foxing, some vol. with margins a little cockled by damp, contemporary half dark red calf, spines gilt and a little browned, some light staining, Edinburgh & London, W.Blackwood, [1895] § Gaskell (Elizabeth) Wives and Daughters, 3 vol., contemporary calf, gilt, spines gilt, g.e., Leipzig, Bernard Tauchnitz, 1866 § Galsworthy (John) The Works..., vol.1-25 only (of 30), 'Manaton edition', one of 530 copies signed by the author in vol.1, frontispieces, original parchment-backed boards, gilt, uncut, a little rubbed, 1923-26; Soames and the Flag, limited edition signed by the author, original vellum, t.e.g., others uncut, transparent wrapper with paper flaps (frayed at edges), slip-case, 1930 § Poe (Edgar Allan) The Works, 10 vol., portraits, original red cloth with gilt Art Nouveau decoration to spines, t.e.g, others uncut, spines faded, 1895, all a little rubbed; and a set of Wilkie Collins, 8vo (c.90)

Angling.- Practical Guides.- Salter (T. F.) The Troller's Guide, A new and complete practical treatise on the Art of Trolling or Fishing for Jack and Pike, first edition, engraved frontispiece, title vignette and illustrations, some light off-setting and a few stains, gutter broken at p.16, original printed boards, upper cover detached, back-strip defective, Carpenter & Son, 1820 § March (J.) The Jolly Angler or Waterside Companion, engraved frontispiece, title vignette and illustrations, gutter cracking in a few places but stitching holding, contemporary cloth-backed boards, slightly stained,  by J. March, [1833] § Glenfin. The Fishing Rod and How to Use It, 4ff. publisher's advertisements at rear, ink ownership inscription front endpaper and 'Ackermann's Sporting Library' list to pastedown, original green cloth, stamped in blind with pictorial gilt, spine ends slightly bumped, Baily Brothers, 1860; and 14 others, mainly 19th century in original cloth and wrappers, v.s. (17) 

James Bond 007 Goldfinger (1964 / 2007) Mondo Alamo Drafthouse poster from 2007, 7.75 x 33.75 inches, artwork by Todd Slater, one of 300, rolled, framed, 24 x 41 inches; (1) Information - Mondo, the collectible art boutique of the Alamo Drafthouse Cinema chain, focuses on bringing art back to movie posters by commissioning and producing limited edition screen-printed film posters by contemporary artists. As well as re-imagining cult classics, Mondo produces posters for featured Alamo Drafthouse events and special screenings. This poster was produced in a limited edition of 300 for a special screening of Goldfinger at Fort Knox, Friday 3 August, 2007.Condition Report: CR:- In mint condition and professionally framed with UV Glass.

Miller (John). An Illustration of the Sexual System, of Linnæus, by Iohn Miller, 2 volumes, London: Robert Faulder, 1794-89, engraved hand-coloured frontispieces and engraved titles to each volume, 189 hand-coloured engraved plates of flowers, armorial bookplate of W. Basset Holmes and crimson gilt calf bookplate of Arpad Plesch to front pastedown, 20th-century quarter calf, gilt decorated spines, corners bumped, 8vo, together with: Lettsom (John Coakley). The Naturalist's and Traveller's Companion, 3rd edition, London: C. Dilly, 1799, engraved hand-coloured frontispiece (laid down) and engraved hand-coloured title (ownership inscription 'Fredric Iremonger Septr 8th 1801' to upper margin), 1 folding black & white plate, gatherings loosening, 18th-century half calf, a little rubbed and bumped, 8vo, McIntosh (Charles). The Practical Gardner and Modern Horticulturist..., 2 volumes, London: Thomas Kelly, 1828 & 1829, engraved frontispiece and additional engraved title to volume 1, coloured engraved plates to volume 2, front free endpapers and verso of title in volume 2 with extensive manuscript annotations, contemporary half calf, spines relaid, with loss, rubbed, 8vo, Markham (G). Markham's Farewel to Husbandry: or, the enriching of all sorts of Barren and Sterile Grounds in our Nation..., London: George Sawbridge at the Sign of the Bible on Ludgate-Hill, 1676, slightly trimmed with minor loss to some marginal printed notes, damp staining to outer margins resulting in some loss, old limp vellum, a little soiled, small 4to, Thornton (Robert John). A Grammar of Botany; Containing an Explanation of the System of Linnaeus, London: B. and R. Crosby and Co, 1814, engraved coloured plates, library stamp to verso of title, library bookplate to front pastedown, contemporary green morocco, corners bumped, 12mo, Mason (George). An Essay on Design in Gardening..., London: C. Roworth, 1795, contemporary gilt calf, worn and rubbed, 8vo, Lawrence (John). The Clergy-Man's Recreation: Shewing the Pleasure and Profit Of the Art of Gardening..., 6th edition, London: Bernard Lintot, 1726, bookplate Royal Meteorological Society to front pastedown, contemporary panelled boards, crudely repaired, 8vo, Baxter (W.). British Phaenogamous Botany..., Oxford: J. H. Parker: 1834, coloured engraved plates, publishers buckram binding, rubbed, 8vo, plus 3 other volumesQTY: (12)NOTE:Provenance: W. Basset Holmes, Árpád Plesch (1889 -1974) for the first work.

Banner (Fiona). Scroll Down and Keep Scrolling, 1st edition, Birmingham: The Vanity Press, 2015, signed and inscribed by the author to title page, numerous colour and monochrome illustrations, original pictorial wrapper, covers and spine lightly rubbed with occasional minor marks, folio, together with; Cork (Richard, Et al), Zadok Ben-David Human Nature, 1st edition, London: Circa Press, 2017, signed and inscribed by the artist to half title, numerous colour and monochrome illustrations, original pictorial boards, covers lightly rubbed, large 4to, plus Hoffman (Fred), Chris Burden, 1st edition, Newcastle Upon Tyne: Lucus+ publishing Ltd, 2007, signed and inscribed by the artist to half title, with 377 illustrations 244 in colour, original cloth in dust jacket, covered and spine rubbed to head and foot with small tear, large 4to, and other contemporary art monograph reference and related mostly original cloth in dust jackets some original wrappers, some signed, folio/large 8voQTY: (34)

Walton (Izaak & Charles Cotton). The Complete Angler or the Contemplative Man's Recreation, with original memoirs and notes by Sir Harris Nicolas, 2 volumes, London: William Pickering, 1836, half-titles, portrait frontispiece and additional title to volume I, titles printed in red and black, plates and illustrations, occasional light offsetting, spotting and small stains, previous owner inscription to volume I half-title, gauffered gilt edges, contemporary crimson morocco gilt, spines faded to brown, joints and edges a little rubbed, royal 8vo, together with Pritt (Thomas Evan). The Book of the Grayling. Being a description of the fish, and the art of angling for him, 1st edition, Leeds: Goodall and Suddick, 1888, folding colour lithograph frontispiece, 2 colour lithograph plates, advertisement leaf at rear, original cloth gilt, spine faded, 8vo, plus The Angler's Souvenir, [by William Andrew Chatto], 1st edition, 1835QTY: (4)

Dunton (John, editor). The Young-students-library: containing extracts and abridgments of the most valuable books printed in England, and in the forreign journals, from the year sixty five, to this time, London: John Dunton, 1692, engraved frontispiece, worm track to foot of table at rear (affecting text), small faint damp-stain to head of preliminaries (mostly confined to blank margin), contemporary Cambridge panelled calf, spine label chipped with loss, joints cracked but holding firm, a little edge wear and light marks, folio, together with:Pearson (John). An Exposition of the Creed. By John Lord Bishop of Chester, 6th edition, London: J. M. for J. Williams, 1692, engraved portrait frontispiece, vignette title, neat early brown ink notations to head of front pastedown, contemporary Cambridge panelled calf, worn, joints cracked but holding, 4to, plus[Adams, John]. Index Villaris: or, An Exact Register, Alphabetically Digested, of all the Cities, Market-towns, Parishes, Villages, the Hundred, Lath, Rape, Ward, Wapentake, or other Division of each County, London: T. Sawbridge and M. Gillyflower, 1690, a few early brown ink notations to blank margins of title, toned and a little spotted, contemporary calf, worn, joints cracked but holding, folio, plusWeston (James). Stenography Compleated, or The Art of Short-Hand Brought to Perfection, 1st edition, London: For the author, 1727, engraved portrait frontispiece, ownership inscriptions of Walter Dovey to head of front free endpaper, contemporary calf, worn, 8voQTY: (4)NOTE:Wing D2635 for first work.

Steuart (Henry). The Planter's Guide; or, a practical essay on the best method of giving immediate effect to wood, by the removal of large trees and underwood, being an attempt to place the art and that of general arboriculture, on phytological and fixed principals, interspersed with observations on general planting and the improvement of real landscape; originally intended for the climate of Scotland, 2nd edition, greatly improved and enlarged, Edinburgh: John Murray, 1828, half-title with overlaid advertisement, 6 engraved plates, some light offsetting and spotting, bound with 3 others by William Withers: A Letter to Sir Henry Steuart, on the Improvement of the Quality of Timber, to be effected by the high cultivation and quick growth of forest-trees, 1st edition, Holt, 1829; A Letter to Sir Walter Scott, exposing certain fundamental errors in his late essay on planting, and containing observations on the pruning and thinning of woods and maxims for profitable planting, 1st edition, 1828, and A Memoir Addressed to the Society for the Encouragement of Arts, Manufacture and Commerce on the Planting and Rearing of Forest-Trees, 2nd edition, Holt, 1827, all inscribed by the author, contemporary half calf, a little rubbed, 8vo, together with Forsyth (William). A Treatise on the Culture and Management of Fruit-Trees, 4th edition, London: printed for Longman, Hurst, Rees, and Orme, 1806, 13 engraved plates, most folding, some offsetting and light toning, small marginal wormholes to title (smudged inscription to title verso) and contemporary manuscript note pasted to front pastedown, contemporary cloth, small splits at spine ends, 8vo, with others including The Experienced Farmer, an entire new work, in which the whole system of agriculture, husbandry, and breeding of cattle is explained and copiously enlarged upon, by Richard Parkinson, 2 volumes, 1st edition, 1798, and A Natural and Chymical Treatise of Agriculture, by the late Count Gustavus Adolphus Gyllenborg: with practical remarks and additions by W. Pilkinton, 2nd edition, Romsey Press, 1820 QTY: (11)

* Havell (Robert & Son). View of the Port and Town of Newcastle upon Tyne from the Rope Walk Gateshead, Newcastle: T. M. Richardson Feby. 1819, aquatint after T. M. Richardson, with bright contemporary hand colouring, the hand-colouring attributed to John Linnell, 425 x 600 mm, mounted, framed and glazedQTY: (1)NOTE:The mount board has a manuscript annotation "Tinted by John Linnell" on the lower border. Parker Gallery label to the verso of the frame.John Linnell (16 June 1792 – 20 January 1882) was an English engraver, portrait and landscape painter. He was also a naturalist and a rival to the artist John Constable. He had a taste for Northern European art of the Renaissance, particularly Albrecht Dürer. He also associated with the amateur artist Edward Thomas Daniell and with William Blake, to whom he introduced the painter and writer Samuel Palmer and others of the Shoreham Ancients.

Art glass - 3 cobalt blue/clear large hand-made items by contemporary glass maker LSA. Tallest vase approx 30.5cm, 17.5cm at rim

Postumus, Romano-Gallic Emperor AR Antoninianus.. AD 260-269. Contemporary imitation from an irregular mint. IMP C POSTVM[...], radiate, draped and cuirassed bust to right / P M TR P IIII COS III P P, Mars walking to right, holding spear and trophy. For prototype cf. RIC V.2 57 (Lugdunum). 3.30gr, 19mm, 6h. Very Fine.Acquired on the UK art market before 2000.Property of an Essex, UK, gentleman; collector's ticket included.

17th century A.D. Portable shrine with geometric ornament and crosses to the outer face, opening doors to reveal a diptych with image of Mary Theotokos and Child, escorted by angels Gabriel and Michael with drawn swords, on the left; on the right, Abune Gabra Menfes Qeddus with hands raised, nimbate figures of Takla Haymanot and Ewostatewos with yellow and blue garments on the right; on the lower right corner Saint George (Bet Gorgis) killing the dragon. . See Chojnacki, S., 'Notes on Art in Ethiopia in the 16th Century: an Enquiry into the Unknown Author(s)' in Journal of Ethiopian Studies, Vol. 9, July 1971, No. 2 pp. 21-97, fig.10, for similar scene; Chojnaki, S., 'The Iconography of St. George in Ethiopia: Part II: St. George, the Dragon-Killer' in Journal of Ethiopian Studies, Vol. 11, No. 2 (July 1973), pp.51-92, icon I.E.S. collection no.3887; cf. also Heldman, M., Munro-Hay Stuart, C., African Zion, The sacred art of Ethiopia, Yale University Press, 1993, cat.11,13,102, for icons in similar style, and p.7. 453 grams, 21.8 x 19 cm (8 1/2 x 7 1/2 in.). [No Reserve] Sir Alistair McAlpine, circa 2000.In the Ethiopian icons, Gabra Manfas Qeddus (Servant of the Holy Spirit) the famous hermit whose sanctity tamed the wild beasts, is often represented. The exterior faces of these diptych panels, like the smaller bilateral diptychs of the 17th century, were carved with centralised cross designs that reflects the carved designs of contemporary wooden altar tablets.

EUGÈNE PRINTZ (FRENCH, 1889- 1948) A PAIR OF OPEN BOOKSHELVES; DESIGNED FOR THE CITÉ UNIVERSITAIRE OF PARIS; 1935 Mahogany, with four-tiers and curved ends 120cm high,135cm wide, 31cm wide  Provenance: Cité Universitaire, Paris Mes Lombrail & Teucquam, La Varenne Saint Hilaire, 3rd April 2002, lots 53 and 60 Pioneer of French furniture design, Eugène Printz, was celebrated for his wooden furniture and cabinetry through the Art Deco period. The Parisian born designer spent countless days in his father's workshop where he began replicating antique furniture. Fully immersed in the world of design, he sought to perfect his craft and vision by studying ancient masterpieces in museums.Self-taught and determined, he rose to prominence after showcasing his designs at the Exposition internationale des arts décoratifs et industriels modernes where his inventive use of new and exciting woods, like palm wood, cemented him as a highly sought after designer of luxury. Many of his designs are often paired with enamel inlays and gilded bronze further establishing his affluent taste. He furnished the office of couture legend Jeanne Lanvin as well as the castle of Grosbois. Today, the French designer's legacy is firmly planted in the mind of Art Deco enthusiasts, with his influence extending to more contemporary spaces. Madonna's New York apartment is designed in homage to his distinctive style showing the everlasting impact of his luxurious vision. Condition Report: Marks, scratches, knocks and abrasions consistent with age and use. Larger scratches to shelves and some chipping to shelf edges. Few black circle marks top of shelves- potentially from the items that were once held there. Very minor marks to interior of frames where shelves end. See additional images  Condition Report Disclaimer

λ JÖRG IMMENDORFF (GERMAN 1945-2007) KUNST UND POLITIK Oil on canvas Signed and dated 97 (lower right), titled (lower left) 70 x 80cm (27½ x 31¼ in.)Provenance: Galerie Thaddaeus Ropac, Acquired from the above, 30 March 1997Born in on 14 June 1945, Jorg Immendorff grew up in a divided post-war Germany struggling to find a new identity and narrative in the fast moving technological age and politically charged society of the time.  In 1963 he entered the Kunstakademie in Dűsseldorf, and in 1964 was admitted to the class of Joseph Beuys, the most influential and important artist working in Germany at that time. The founder of the Neo-Dada movement Fluxus, Beuys's central premise that art should play a wider role in society inspired Immendorff to create paintings, sculptures and performance art that directly engaged in the current political discourse.Reflecting on this period Immendorff said that "It was always clear that we wanted to get out there. The forceful character, the assertiveness in connection with a pedagogical idea, that was always clear. The aim was always to go out and reach other people. Including the truism: `I am not going to let you leave me alone..."(J. Immendorff, 1989, M. Werner, Art Basel Portal) In the 1970s Minimalism and Conceptualism became the mainstream artistic movements of the period. In opposition to this dominance the Junge Wilde movement was formed. Expressive, vigorous and bold in palette, the movement included Immendorff as well as Helmut Middendorf, A.R. Penck, Martin Kippenberger and Markus Lupertz. Irreverent in nature the Junge Wilde group created works that questioned and satirised the political and hierarchical structures in Germany during this period. Between 1977 to 1982 Immendorff executed one of his most celebrated series of paintings titled Café Deutschland in which the opposing ideologies of East and West Germany were explored. Themes of division and alienation both physically through the infamous Wall and emotionally in the individual's psyche were rendered in layers of richly painted symbolism set in metaphysical Cafés, nightclubs and theatres, reminiscent of Berlin's pre-war counterculture. Painted in 1997 the present works continues to explore these central themes of political division. The stage and its actors, imbued with symbolism, play to an empty theatre. Despite the Berlin Wall coming down in November 1989 and the subsequent reunification of the countryImmendorff's work still explored the changing political landscape and economic hardships that were experienced in Germany in the late 20th Century. Central to his beliefs was still the main tenet that art must have an active role to play in the discourse of contemporary culture and politics and not merely be art for art's sake.    Condition Report: In good original condition.Condition Report Disclaimer

OTTO SCHOEFFT (HUNGARIAN, 1833-1900) BEDOUIN WOMAN; A CONSULATE OFFICIAL, EGYPT, CIRCA 1870-1875 Photogravures (2) 22.5 x 25 cm, mounted on a 32 x 40 cm sheet Photographer's studio stamp printed on the mount Otto Shoefft came from a family of Austo-Hungarian painters. In 1957-1958 Shoefft stayed in Venice, where he was introduced to the new-born form of art by Carlo Naya, a famous Venetian photographer. As in the second half of the nineteenth century the 'Orientalist fever' drove a large number of European photographers to establish permanent studios throughout the Ottoman Empire, Shoefft set up photographic studios in Alexandria and Cairo that catered to foreign tourists visiting the ancient sites of Egypt. His clients included Mark Twain and Ferdinand Lesseps. Even though Schoefft's works were regularly mentioned in contemporary publications and shown at the Viennese Photography Exhibition of 1873, very few of his photographs are now well-known. Condition Report: Foxing spots mostly visible on the mounts but also present on the surface of the prints. Remnants of previous mounting to recto (mounts). Expected age toning and a small stain on each mount. Condition Report Disclaimer

λ‡ JULES DE BALINCOURT (FRENCH/AMERICAN B. 1972) THE SPECTACLE OF SPACE AND OTHER FALLACIES Oil and collage on board 86 x 76.5cm (33¾ x 30 in.) UnframedPainted in 2015.Provenance: Galerie Thaddaeus Ropac, Acquired from the above on the 11 December 2015Exhibited: Paris, Galerie Thaddaeus Ropac, Space Age, November 2015Originally exhibited in a group show at Thaddaeus Ropac in Paris in 2015, The Spectacle of Space and other Fallacies, was one of three new works by the artist whose titles belie what could be simple decorative illustrations if taken at face value. Instead, the title hints at how space has been commodified and consumed in modern society and suggests the notion that we have, in some part, been misled or, at best, that there is a different version of the truth than the one we have been offered. Based in Brooklyn, New York, de Balincourt is known for his use of bold, strong colours. At once abstract and figurative, the artist presents often dream-like images which appear simple but which strike at the core of contemporary issues, whether that be political, social or philosophical. His work questions the structures of power and influence, frequently highighting areas of injustice and discrimination, presenting the viewer with depictions of both utopia and dystopia. "Art for me, it always was about beauty and seduction at a certain level, the first thing that draws you to art is to be pulled into it, seduced by it.....but it can't just be sugar-coated sweetness, I need an edge or tension or... I like the idea of these paintings standing at a crossroad where it could go either way. I like to leave that suspense." Jules de Balincourt Cited in Port Magazine, 30 January 2018 Condition Report: In good original condition. No evidence of retouching or restoration visible under ultraviolet light.Condition Report Disclaimer

λ‡ MIQUEL BARCELO (SPANISH B. 1957) CETTE BAIE LA Mixed media on canvas Singed, titled and dated 2015 (verso) 60 x 81cm (23½ x 31¾ in.) Unframed Provenance: Galerie Thaddaeus Ropac Acquired from the above 4 June 2018 Cette Baie Là is a captivating depiction of deep blue waters flowing into a dusky bay, where luminous rays of light radiate across the sky. The scene evokes an immediate sense of presence, as if one were stepping into the bay itself-feeling the sea breeze ripple the water and hearing the whisper of dark sand at dusk.Miquel Barceló's artistic language communicates his profound connection with nature, focusing on the materiality and interplay of surfaces and forms. Having travelled through the Himalayas, Portugal, and beyond, the Mallorca-born artist transforms the blank canvas into evocative recollections of underwater marine life, desert winds, sand, and rocky landscapes. He draws inspiration from the rich environments surrounding his travels and his deep engagement with the physical world. His art bridges the untamed and the sensational, enabling viewers to marvel at the diverse beauties of our planet.However, Barceló's approach to raw expression in art is not merely about highlighting the splendour of nature, but also about capturing the sense of liberty he finds within the intricate puzzle of his creations. Born in 1957, in Franco's Spain, Barceló followed in his mother's artistic footsteps. He went to Paris in 1974, where he resonated with the city's rebellious, free spirit. The idea of self-expression through art captivated him, and after attending the Decorative Arts School in Palma de Mallorca, he enrolled at the School of Fine Arts in Barcelona the following year. His early works explored the natural phenomena of various materials, often focusing on decay and decomposition. This fascination with transformation and its documentation as artistic experimentation reflected his involvement with the avant-garde group 'Taller Llunàtic,' which he joined in 1976. The relaxation of restrictions following Franco's death encouraged Barceló's rebellious creativity, a freedom often reflected in his unstructured works depicting oceans and uncharted marine depths.International recognition of Barceló's art surged after his participation in Documenta 7 in Kassel, where he represented Spain. The event's prestige within the art world quickly elevated his status, establishing him as one of the most celebrated contemporary Spanish artists. He is often compared to compatriots such as Francisco Goya, for his exploration of light, and Antoni Gaudí, for his terracotta installation in the Cathedral of Santa Maria de Palma. Between 2001 and 2006, Barceló transformed the walls of the right-hand apse of Saint Peter's Chapel, referencing his affection for marine life. The installation features depictions of fish and recalls the biblical miracle of Jesus multiplying loaves and fishes for his followers.The upheavals of Spanish governmental regimes have historically been a fertile ground for artistic expression. While some artists portrayed horror and fear, later generations celebrated the newfound freedom and voice they had gained in their practices. Barceló's works, though seemingly simple at first glance, are meant to be experienced rather than merely observed. Through his use of wood, volcanic dust, and other natural materials, Barceló creates works that are complex in their construction yet profoundly celebratory of life, nature, and emotion. Condition Report: In good original condition.Condition Report Disclaimer

Two contemporary pieces of art glass, tallest 29 cm.

A contemporary bronze figure of an Art Deco style female dancer. Depicted holding a scarf, with leg raised, on an integrated base. H24.5cm.

A contemporary Op-Art style giclée print titled 'Tom's Creek #4' from a limited edition 5/50, signed to the lower right in a conservation grade frame under UV protective glass with labels to the reverse. H.74.5 W.105cm

A captivating acrylic and collage artwork on canvas by Patrick Archer, titled Elevating Thoughts (A Central Light). This mixed-media piece showcases Archer's unique ability to blend abstract forms and textures with vibrant colors, creating a visually striking composition. Signed and dated 92 by the artist on the lower center front and inscribed with the title, medium, and dimensions on the reverse, this work represents Archer"s creative exploration of light and thought. The painting incorporates a variety of elements, including layered textures, abstract geometric forms, and a dynamic use of color, inviting the viewer to immerse themselves in its intricate details. Housed in a minimalist brass-colored frame, the piece is a true statement of contemporary art. Patrick Archer is a contemporary artist celebrated for his innovative use of mixed media and abstraction. His work often explores themes of light, energy, and transformation, blending vibrant colors and intricate textures to create thought-provoking compositions. Archer's ability to merge acrylic paint with collage elements demonstrates his mastery of layered storytelling within abstract art. His works have been displayed in various galleries and exhibitions, earning him recognition among collectors and enthusiasts for his bold artistic vision. Artwork dimensions with frame: 53.50"L x 45.50"H x 2"W.Artist: Patrick Archer (American 1926-2024)Issued: 1992Dimensions: See DescriptionCountry of Origin: USACondition: Age related wear.

This unique art glass vase showcases a contemporary oval-shaped body with a striking design. The vase features a clear glass body accented by a swirling band of vibrant blues, greens, and earthy amber tones that wraps around its circumference. The intricate color combination provides an abstract, flowing aesthetic, emphasizing the craftsmanship involved in its creation. The base is heavy and stable, ensuring the vase is both decorative and functional. Ideal for collectors or as a centerpiece, this stunning piece is a testament to modern glass artistry.Dimensions: 7.75"HCondition: Age related wear.

A striking Art Deco-inspired lithograph by the renowned French poster artist Razzia, titled Le Touquet Paris-Plage. The artwork captures a stylized scene of the famous French seaside resort, featuring a swimmer in a yellow cap and white robe gazing towards an architectural diving platform. The clean lines, bold colors, and minimalist composition are hallmarks of Razzia's signature aesthetic, reminiscent of the golden age of travel posters. Signed in the lower right corner by the artist, this framed piece exemplifies Razzia's celebrated ability to blend vintage advertising styles with modern graphic design. His works are highly sought after by collectors of contemporary poster art, especially for their association with luxury, travel, and lifestyle branding. Artwork dimensions with frame: 48.50"L x 64.50"H x 2"W. Artwork can be unframed and rolled for shipment.Artist: Razzia (a.k.a. Gerard Courbouleix Deneriaz, b. 1950) Issued: c. 1986Dimensions: See DescriptionCountry of Origin: FranceCondition: Age related wear. Minor color bleed on upper right side of poster, likely due to printing inconstancy.

This original poster titled A Journey Through Time by Louis Vuitton is a striking work by Razzia, a renowned contemporary poster artist known for his Art Deco-inspired advertising and luxury brand collaborations. This piece pays homage to A.M. Cassandre's legendary travel posters, embodying a blend of classic and modern graphic design. The composition features a majestic Louis Vuitton steamer trunk, visually transformed into a grand ocean liner, a motif reminiscent of Cassandre's famed Normandie (1935) poster. The LV monogram pattern takes center stage, reinforcing the brand's rich heritage in luxury travel. Surrounding the imagery are city names-New York, Paris, London, Venice, Hong Kong, Sydney, Tokyo, and Moscow-highlighting Louis Vuitton's global influence. The typography reflects the bold, geometric style often associated with Art Deco aesthetics. This lithograph includes the printed signature of Razzia and is inscribed: A Tribute to Cassandre - Original Lithograph. The artwork is an exceptional collector's piece, combining elements of luxury, travel, and timeless Art Deco design. Dimensions with frame: 48.25"L x 61.50"H. Artwork can be unframed and rolled for shipment.Artist: Razzia (a.k.a. Gerard Courbouleix Deneriaz, b. 1950) Issued: c. 1980Dimensions: In descriptionCountry of Origin: FranceCondition: Age related wear. Minor buckling.

Jill Clay (British Contemporary) original fabric art work 'Sakura No Haqmete' in Ukiyo-e period Japanese style, within black mount and black frame, under glass. 30cm x 30cm, 47.5cm x 47.5cm overall.

A contemporary LSA of Poland art glass vase, of knopped form and measuring 31cm high

Three Jeremy Annear publications and other art publications "Arts of Japan 3; Tea Ceremony Untensils", Ryoichi Fujioka. First edition. Published 1973, John Weatherhill Inc. "40 Years of Acting", Tatsuya Nakadai. "Ten Penwith Printmakers". Published 1998 by Penwith Printmakers. Softcover. "The Printmakers of Atelier 17". Published by Austin/Desmond Contemporary Books. Softcover. "Works on Paper; by Modern British Artists II". Published by Austin/Desmond Fine Art. Softcover. "Forensic Traces", Jeremy Annear. Exhibition Catalogue. 2010, Campden Gallery. Signed by the artist. "Jeremy Annear" Exhibition catalogue. New Millenium Gallery. "The Eye of the Spirit" Jeremy Annear. Exhibitio catalogue. 2011. Messum's London. "Keith Vaughan". Pallant House Gallery magazine. "Michael Canney; Paintings, constructions and reliefs". Exhibition catalogue. The Belgrave Gallery. 1990. "Michael Canney; Paintings, constructions and reliefs". Exhibition catalogie. Katharine House Gallery. 2005.

CONTEMPORARY ART DECO DESIGN BAMBOO SILK CARPET. 406cm x 305cm.

Tobias Harrison (b.1950) "Asparagus" Signed, oil on board, 13.5cm by 22cmProvenance: The Contemporary Fine Art Gallery, Eton

A contemporary Art Deco-influenced amethyst and diamond demi-parure, comprising a pendant and a pair of stud earrings, each comprising square-cut stones of approx 1.2 ct aggregate weight bar-set between precious white metal plaques set with trios of small diamonds, in 9 ct gold, 3.2 g

A contemporary Art Deco style diamond, sapphire and 9 ct gold pendant, comprising a round-cut sapphire of approx 1 ct claw-set below a precious white metal faced lozenge-shaped bale set with small diamond brilliants, suspended on a fine curb-link neck chain, chain 40 cm, pendant 15 mm x 6 mm, 2.7 g

A rare and beautifully preserved 16th-century hand-colored map titled Graecia Maior, created by the renowned Flemish cartographer Abraham Ortelius. This striking map, dated 1593, showcases the historical region of Greater Greece, encompassing Southern Italy and its surrounding regions. Known as part of Ortelius's influential atlas Theatrum Orbis Terrarum, the first modern world atlas, this piece exemplifies the artistry and scientific rigor of Renaissance cartography. Key features of the map include: Exquisite hand-coloring that highlights the topographical and cultural richness of the region. Latin text along with detailed annotations and intricate cartouches, showcasing Ortelius's dedication to historical and geographical accuracy. Decorative embellishments, including a compass rose, maritime details with ships, and ornate framing elements. Ortelius's name is prominently featured in the legend, alongside the Latin inscription Hanc Italiae partem exteriorum sic describere conabatur Abrahamus Ortelius cum Privilegio decennali, 1595. Historical Context: Abraham Ortelius is celebrated as the Father of Modern Cartography for his pioneering work in creating the first comprehensive world atlas. His maps are not only geographical records but also works of art, reflecting the Renaissance's blending of science, history, and aesthetics. This map, in particular, illustrates the ancient Greek colonies in Southern Italy and highlights Ortelius's meticulous approach to connecting classical history with contemporary geography. Sight size: 19"L x 14"H. Frame dimensions: 26"L x 21.25"H x 1"W. Artwork can be unframed and rolled for shipment.Artist: Abraham Ortelius (Flemish 1527–1598)Issued: 1595Dimensions: See DescriptionCountry of Origin: NetherlandsCondition: Age related wear. Excellent condition with vibrant colors.

Heinz Mack (b. 1931) serigraph in colour on laid paper, Links Rechts Left Right, signed Mack 3 (2013), nr  50/70, approx. 110 x 85cms, framed and glazed.  Biography - Heinz Mack (German) born in Lollar in 1931, studied at the KA Dusseldorf, he was a co-founder of the ZERO movement, a fresh start, moving away from the horrors of WWII and the subjective art associated with it.  The group placed a new emphasis on light, space and movement allowing the materials to speak for themselves, Mack worked with light as his primary medium, as both painter and sculptor his process was to make his works instruments for light. He represented Germany at the 1970 Venice Biennale, with solo exhibitions at many notable institutions including: Musée d' Art Moderne de la Ville de Paris 1972, Kunsthalle Dusseldorf 1977, Liechtensteinische Staatliche Kunstsammlungen 1988, Pergamonmuseum Berlin 2006, Ludwig Museum, Koblenz 2009, Theran Museum of Contemporary Art 2001, Howard Wise Gallery New York 1966, Akademie der Kunste, Berlin 1972 amongst others.    Note: originally purchased from Gallery Menzel, May 2016.                                                                                   Property of a Kensington lady. -   

Heinz Mack (b. 1931) serigraph in colour on paper, Die Spirale Spiral, signed Mack 06, nr 22/30, approx.73 x 83 cms, framed and glazed. Biography: Heinz Mack (German) born in Lollar in 1931, studied at the KA Dusseldorf, he was a co-founder of the ZERO movement, a fresh start, moving away from the horrors of WWII and the subjective art associated with it.  The group placed a new emphasis on light, space and movement allowing the materials to speak for themselves, Mack worked with light as his primary medium, as both painter and sculptor his process was to make his works instruments for light. He represented Germany at the 1970 Venice Biennale, with solo exhibitions at many notable institutions including: Musée d' Art Moderne de la Ville de Paris 1972, Kunsthalle Dusseldorf 1977, Liechtensteinische Staatliche Kunstsammlungen 1988, Pergamonmuseum Berlin 2006, Ludwig Museum, Koblenz 2009, Theran Museum of Contemporary Art 2001, Howard Wise Gallery New York 1966, Akademie der Kunste, Berlin 1972 amongst others.                                      Note: originally purchased from Gallery Menzel, May 2016. Provenance: Property of a Kensington lady. -

Ghosts and demonology.- Le Loyer (Pierre) A Treatise of Specters or straunge Sights, Visions, and Apparitions appearing sensibly unto men. Wherein is delivered, the Nature of Spirites, Angels, and Divels...also of Witches, Sorcerers, Enchanters, and such like, first edition in English, lacking A2&3, a2&3, 2C4 and all after 2O3 (final 2ff. and errata f.), title with contemporary ownership names to head, frayed at edges and with short tear into imprint, early ink drawing of demon-like figure to title verso with some show-through, few marginal ink annotations, trimmed very occasionally affecting headline or printed side-note, some chips and tears with occasional small text loss (more substantial to a4 & 2D2), some soiling and light staining, browning, some leaves loose, backstrip worn, lacking covers, [STC 15448], Val. S. for Mathew Lownes, 1605; and 3 others 17th century, defective, v.s. (4); sold not subject to return.  *** Le Loyer's classic work on ghosts, demons and other spirits and superstitions, first published in France in the same year. The three other defective works are The Phoenix of these late times (1637), an account of the Grub Street recluse Henry Welby; A Century of the Names and Scantlings of such Inventions (1663), an unusual compendium of inventions by the Marquis of Worcester; and the rare second edition of Head's Proteus Redevivus: or The Art of Wheedling (1679). A limited number of printed catalogues are available to purchase for this auction. UK: £35 (incl. postage) Rest of World: £50 (incl. postage) Please contact info@forumauctions.co.uk to place an order.

Ventriloquism.- Magic.- Hardy (F.) Ventriloquism Made Easy..., p.9 with ink correction, F. Pitman, [1865], bound with Whole Art of Magic (The); Containing a Complete Description and Exposition of Conjurors' Tricks..., illustrations, p.71 short tear into text, occasional passage-marking in pencil, pagination sometimes trimmed, Glasgow, Cameron & Co., n.d., bound with Fireside Amusements for Winter Evenings..., new and revised edition, Glasgow, George Cameron, n.d., together 3 works in 1 vol., contemporary ownership name to front free endpaper, hinges cracked, contemporary cloth, spine slightly faded, some staining, wear to joints and extremities; and a small illustrated pamphlet on sword swallowing "How to Do It Sixteen Different Ways", 12mo (2) A limited number of printed catalogues are available to purchase for this auction. UK: £35 (incl. postage) Rest of World: £50 (incl. postage) Please contact info@forumauctions.co.uk to place an order.

Conjuring.- Hocus Pocus, or The Art of Conjuration..., half-title, engraved frontispiece, 19th century ownership inscription to front free endpaper, frontispiece very slightly frayed at gutter, G7 loss to upper corner affecting few words, G8 with small staining, B9, B10 & E5 with short tear into text without loss, few minor marginal defects, some light soiling, old stab-holes to inner margin, contemporary half calf over marbled boards, rubbed with some wear to extremities, [cf. Toole Stott 1081], 8vo, for W. Lane, 1795. *** A rare and charming work on conjuring, this title not listed on ESTC. WorldCat records just 3 copies of both 1792 and 1795 editions respectively (Indiana University; University of California, Los Angeles; University of Alberta). This copy varies slightly from that recorded by Toole Stott, numbering 144pp. (as opposed to 140pp.) and with the addition of half-title and frontispiece. The only copy we can trace at auction was sold in these rooms in 2019, without the frontispiece. A limited number of printed catalogues are available to purchase for this auction. UK: £35 (incl. postage) Rest of World: £50 (incl. postage) Please contact info@forumauctions.co.uk to place an order.

Peter Kinley (1926 - 1988)  Black and White Sketch Oil and pencil on paper Signed top left  Framed W32cm x H38cm ARR - Artist Resale Rights may be payable on this item. Provenance : Private Collection Purchased from Austin / Desmond Fine Art Limited  Sold Christies Modern & Contemporary Paintings , South Kensington 28th June 1991, Lot 5 - purchased direct from the artist in 1956 Note: Peter Kinley was born in Vienna, his father was Jewish and the family was forced to leave after the Anschluss in 1938. He was sent to Lytham St  Anne’s and was fostered by a Catholic family; his parents were interned in France. He  studied at Düsseldorf Academy and later at St Martin’s School of Art,  where he also taught. His knowledge of Islamic art and architecture led, in the  early 1960s, to an interest in other Eastern cultures, especially Indian. He  began to collect Indian paintings and artefacts, and Indian systems of colour  and composition bore a correspondence to his own search for a language in which  objects (people, houses, aeroplanes) could be expressed with all the clarity of  an image, but with no loss of subtlety. He left London in 1970 to teach at Bath Academy, and his work  began to reflect his more rural existence. He saw his own work as being  figurative, not in the 19th Century sense of realism or naturalism, but as based on observation of the subject.

Roger Hilton (British, 1911-1975)  Two Women  Etching Framed W44cm x H31cm ARR - Artist Resale Rights may be payable on this item. Provenance : Private Collection Purchased from Austin / Desmond Contemporary Books 1997 Note : Roger Hilton CBE (1911–1975) was a pioneer of abstract art in post-Second World War Britain. Often associated with the 'middle generation' of St Ives painters – Terry Frost, Patrick Heron, Peter Lanyon & Bryan Wynter – he spent much of his career in London, where his work was deeply influenced by European avant-garde movements. He was born on 23 March 1911 in Northwood , Middlesex, and studied at the Slade School of Fine Art and also in Paris, where he developed links with painters on the Continent. At the Slade he won the Orpen prize in 1930. During the late 1950s and 1960s, Hilton's career began to take off and he started to spend more time in west Cornwall, moving there permanently in 1965. In the same year he married Rose Phipps, 20 years his junior, having divorced his first wife, Ruth David. He became a prominent member of the St Ives School and gained an international reputation. He won the 1963 John Moores Painting Prize. In 1964 he exhibited at the British Pavilion at the Venice Biennale winning the UNESCO Prize.

Roger Hilton (British, 1911-1975)  Nude in bath wearing a hat Lithograph Signed bottom right,  Roger Hilton , Proof 72Framed W59.5cm x H54.5cm ARR - Artist Resale Rights may be payable on this item.Provenance : Private Collection Purchased from Austin / Desmond Contemporary Books 1999 Note : Roger Hilton CBE (1911–1975) was a pioneer of abstract art in post-Second World War Britain. Often associated with the 'middle generation' of St Ives painters – Terry Frost, Patrick Heron, Peter Lanyon & Bryan Wynter – he spent much of his career in London, where his work was deeply influenced by European avant-garde movements. He was born on 23 March 1911 in Northwood , Middlesex, and studied at the Slade School of Fine Art and also in Paris, where he developed links with painters on the Continent. At the Slade he won the Orpen prize in 1930. During the late 1950s and 1960s, Hilton's career began to take off and he started to spend more time in west Cornwall, moving there permanently in 1965. In the same year he married Rose Phipps, 20 years his junior, having divorced his first wife, Ruth David. He became a prominent member of the St Ives School and gained an international reputation. He won the 1963 John Moores Painting Prize. In 1964 he exhibited at the British Pavilion at the Venice Biennale winning the UNESCO Prize.

Robert Adams (British, 1917- 1984) Two Standing Sculptural Figures , 1950Monotype on paper Signed , Adams , 50 (bottom left)Framed W49cm x H62cm Provenance : Private Collection Purchased from Austin / Desmond Contemporary Books Ltd 2005 This work was also illustrated and mentioned in Apollo Magazine August 2005, page 72. Note : Robert Adams was born in Northampton and studied life drawing at the local art school. In the late 1940s he visited Paris where he met Brancusi and Laurens amongst others, before taking up a teaching post at the Central School of Arts and Crafts in London. He had his first solo exhibition at Gimpel Fils, London in 1947 and his work was shown at the XXVI Venice Biennale in1952 and again in1962 as a retrospective exhibition. He undertook a number of large commissions throughout his working life in Europe and the United States for schools, banks, churches and the P&O liner SS Canberra; in 1951 he was commissioned to produce a 3m high carving for the Festival of Britain.

John Wells (British, 1907- 2000) UntitledMonotype Signed bottom left , John Wells 1960Framed W42.5cm x H37.5cm Provenance : Private Collection Purchased from Austin / Desmond Contemporary Books 1998 Note : Born 1907 in London, John Wells lived in Ditchling, Sussex until early 1921 and studied medicine at University College Hospital, London, 1925-30. Though his only formal artistic training was from night classes at St Martin's School of Art during 1927-8, he exhibited in the 'Daily Express' Young Artists Exhibition at the Royal Society of British Artists in 1927. During a visit to Cornwall in 1928 he studied briefly with Stanhope Forbes in Newlyn and was introduced to Ben and Winifred Nicholson and Christopher Wood, then staying, along with Marcus and Irene Brumwell, in Feock. He was in contact with Nicholson throughout the 1930s, though work prevented him from making more than the occasional visit to his Hampstead studio. He qualified as a doctor in 1930 and, after working in a number of hospitals, was the GP for the Scilly Isles from 1936 to 1945. During the war he was able to make occasional visits to Nicholson and Hepworth in St Ives where he also met Naum Gabo, who became a major and lasting influence upon him. At the end of the war, with a new confidence in his recent work, he chose to pursue a career as a full-time artist, buying one of Forbes's former studios in Newlyn.

Stuart Knowles (British, b1948)  Fiesole MemoryOil on card Signed bottom right and dated 96  Framed W67.5cm x H37.5cm Provenance : Private Collection Purchased from Austin / Desmond Fine Art Limited 1996 Note: Stuart Knowles was born in Redruth, Cornwall, before moving to Amesbury near Stonehenge. His art studies were undertaken at Farnham School of Art and Winchester School of Art, followed by postgraduate work at the Slade School, London. His fuller story is told well by Tom Cross in his 2002 survey volume, Catching the Wave, Contemporary Art & Artists in Cornwall. Aside from painting, Stuart has also had part-time teaching positions at Falmouth College of Art, and works from his studio and home in Cornwall.

Michael Cullimore (British 1936-2021)   Normandy Beach  Watercolour on paper  Signed and dated 1991  Framed W74.5cm x H57cm ARR - Artist Resale Rights may be payable on this item. Provenance : Private Collection Purchased from Jennifer Pearce - Jan Fraser Jenkins 1998 Note : Since 1968 Cullimore has exhibited regularly in solo and group exhibitions around UK. His work picks up the tradition of English art where Blake, Palmer, Nash, Spenser and David Jones left off. A list of the series of works gives a clue to the range of interests and influences: Jonah and the Revelation of St. John, Leda, Radiometer, Time, Orpheus and Eurydice, Prospero, Enclosed Gardens. In Michael's own search for meaning in life, his work changes the way people look at existence and the world. Whether it is through a distillation of poetic, mythological or biblical texts, or through his own vision of nature, his work consistently focuses on moments of transformation; shape-shifting experiments dwelling on the eternal cycles of growth and decay, death and rebirth. Michael Cullimore's paintings are in a number of public collections including, The Ceolfrith Gallery, Sunderland; Contemporary Arts Society of Wales; University College of North Wales; The North Wales Arts Association; Hammersmith and Fulham Picture Loans Library; Swansea and The Swindon Collection.

Mary Potter (British, 1900-1981)  The GardenSigned on reverse , Mary Potter , 71Oil on canvasFramed W54.5cm x H44cm ARR - Artist Resale Rights may be payable on this item.Provenance : Private Collection Purchased from Freetask Ltd 2000 : Provenance Nancy Balfour Note :  Born in Beckenham, Kent, she studied at the Beckenham School of Art. She was awarded a scholarship to the Royal College of Art but declined it in favour of an open bursary at the Slade. She entered in 1918, gaining a full scholarship a year later. She picked up many awards whilst there, including the Portrait prize. The latter leading to her decision that she was working to a formula and consequently ceremonially burned all her portraits.She was a member of the Seven and Five Society from 1921, and exhibited with the New English Art Club from 1922, becoming a member in 1930. Mary married the writer Stephen Potter and with two children continued to paint as she wished. It was while living by the Thames in Chiswick from 1927 that she began to dabble with the watery vision which she would explore for the rest of her life. Her first solo show was held at the Bloomsbury Gallery in 1932, being well-reviewed by contemporary critics. She went on to have many solo exhibitions with the leading London commercial galleries of the day. In 1951 the Potter family moved to Aldeburgh and it was this Suffolk fishing town that was to provide the inspiration for her finest art. After her divorce in 1955 her great friendship with the founders of the Aldeburgh Festival, Benjamin Britten and Peter Pears led to them swapping houses for six years, so that she could paint overlooking the sea from Crag House. During her isolation, with only holiday and occasional visits from artists such as John Piper, Prunella Clough and Sidney Nolan she pared down her vision, thinning her paint, blurring outlines and abolishing the horizon line and painted to ever greater acclaim. In the 1960s and 1970s Potter gained increasing recognition. From 1967 she had seven solo shows with the New Art Centre in London, which continued to champion her work following her death, holding a further five Mary Potter exhibitions. She was awarded an OBE in 1979, and major retrospective exhibitions of her work were shown at the Tate Gallery in 1980 and the Serpentine Gallery in 1981; the latter opening to great critical acclaim a few months before her death. In a review of that exhibition in The Sunday Times, Marina Vaizey wrote: "The results over the past several decades have been paintings of the most exquisite tensile webs of pale resonant colour, the subjects almost vanished, but the echoes imaginatively suggesting the fullness of life: an evanescent evocation of the shapes and surroundings in which people live. The very delicacy is paradoxically full-blooded".

§ Dame Tracey Emin CBE, RA (1963-) The Golden Milesigned and dated 'Tracey Emin 2012' (lower right); numbered 300/300photogravure42 x 50cmExhibited:St.Ives, Belgrave St. Ives Modern & Contemporary Art, Winter Exhibition 2022, 19 November - 9 January 2023Not examined out of the frame. The work is float mounted, displaying deckled edges to all sides. There is a small crescent shaped crease to the top right corner and a small handling crease in the lower right quadrant of the image. Otherwise in nice overall condition

Michael Clerizo, 2 titles: ‘George Daniels: A Master Watchmaker & His Art’, 2013, 1st edition, ‘Masters of Contemporary Watchmaking’, 2009, 1st edition, both published London, Thames & Hudson, both profusely illustrated throughout, both large 4to (30 x 30cm), original boards gilt, dust wrappers (2)

Philip Luckombe: 'A Concise History of the Origin and Progress of Printing; with Practical Instructions to the Trade in General. Compiled from those who have wrote on this curious art.', London, W. Adlard & J. Browne, 1770, 1st edition, woodcut frontispiece of Johannes Gutenberg (often lacking) + illustrations in text throughout of type and ornament specimens, parts of the printing press etc, [14],502,[4]pp, contemporary tree calf boards, later rebacked leather gilt. Philip Luckombe's work provides an overview of the history of printing and the printing press, with discussion of the invention of movable type, the development of paper, and the impact of printing on society and culture. Luckombe also discusses the various printing processes used throughout history, including woodcut, engraving, etching, and lithography. Additionally, he provides biographical information about important figures in the history of printing, such as Johannes Gutenberg and William Caxton. Scarce

William and Edward Finden (illustrated); Mary Russell Mitford (ed.): 'Finden's Tableaux: The Iris of Prose, Poetry, and Art, for MDCCCXL.', London, Charles Tilt, [1839], added engraved title page + 11 plates complete (1 loose), all with contemporary hand colouring, folio, original full decorative morocco gilt (worn), all edges gilt

Five assorted folio volumes, including Owen Jones: 'The Psalms of David Illuminated', [London: Day & Son, 1861], chromolithograph ornamental and printed titles, dedication on two pages, and 50 thick card chromolithograph leaves illuminated in gold and colours (complete), a/f, internal reinforcement to margins of 11 leaves, some just affecting plates, several leaves detached, folio, original relievo leather (very worn, lacks backstrip, upper board detached but present), front cover embossed with the words "The Victoria Psalter"; together with 'The Book of Beauty (Late Victorian Era) A Collection of Beautiful Portraits with Literary, Artistic, and Musical Contributions By Men and Women of the Day', edited Mrs F. Harcourt Williamson, London, Hutchinson, 1896, second edition deluxe, limited edition, No.13 of 100 copies, signed by the publisher, xii,194pp, 93 photogravures & illustrations, list of subscribers to rear, Artists reproduced include John Everett Millais, Lord Leighton, Edward Hughes, W B Richmond, James McNeil Whistler, John Singer Sargent etc, literary contributors include Rudyard Kipling, Hall Caine, Theodore Watts-Dunton, George Moore, Israel Zangwill, Wilfrid Blunt etc, large folio (41 x 33cm), original cloth gilt (slightly worn/rubbed), rebacked retaining majority of orig. backstrip; an oblong folio album of manuscript humorous well executed pen & ink drawings c.1974, presented to Douglas Shepherd (1922-1989), architect and designer for the Ind Coope Brewery and a member of the Art Workers’ Guild, presumably on his retirement, 9 leaves of manuscript pen & ink drawings/calligraphy, plus 2 pages of tipped in signatures at end, contemporary cloth backed boards (33 x 41cm). Shepherd was responsible for several pub interiors during the 1970s which reflected the style of renowned artist and designer William Morris, and collected silver by Omar Ramsden, Robert Ashbee and Archibald Knox between 1950s and 1970s; plus 2 others on fin de siecle German poster art and Japanese prints (5)

George Bickham: ‘The Universal Penman; Or, the Art of Writing. Made Useful To the Gentleman and Scholar, as well as the Man of Business. Exemplified in all the useful, and ornamental Branches of Modern Penmanship (&c,&c) and engraved by George Bickham’, London, H. Overton, 1743. Folio. Additional engraved title (with separate imprint of Robert Sayer). Both titles soiled. 207 of 212 plates (bound without plates 97, 129, 210-212). Some light staining to first few leaves, else contents in good condition. Contemporary calf, old re-back, worn and rubbed but still sound.

A Winslow Homer 'All the Cullercoats Pictures' 1988 exhibition poster, from the Northern Centre for Contemporary Art, in frame, 62.5 x 88cms wide overall.

A large Art Deco style bronze figure of a prowling panther, contemporary, 13 cm high x 66 cm x 12 cm.

(WELPER, Eberhard) "Das Zeit kürzende Lust- und Spiel-Haus ...""In welchen der Curiose Künstler In etlichen Zim[m]ern allerhand rare Künste und Spiele vorstellet/ als das Kunst- und Sinnreiche König- Stein- oder Schach-Spiel/ das Weltberühmte Taschenspiel/ mit allerley natürlichen seltzamen wunderbahrlichen Künstlichen Kunststücken und Karten-Künsten ... ". Kunstburg. Wohl (1690). 17 x 11 cm. Doppelseitiger Titelkupfer, doppelseitiger Titel, Titel, (30), 150, Werbeblatt, 1371, (1) Seiten. Über Schachspiel, Kartenspiele, Taschentricks, Rätsel, Wahrsagen und vieles andere mehr. Teils mit Illustrationen, im zeitgenössischen Pergamenteinband. Siehe auch: VD17 1:074301W. Aufrufzeit 27. | Feb. 2025 | voraussichtlich 13:01 Uhr (CET) (WELPER, Eberhard) "Das Zeit kürzende Lust- und Spiel-Haus ...""In which the Curious Artist presents all kinds of rare arts and games in several rooms/ such as the artistic and meaningful King's Stone or Chess Game/ the world-famous Pocket Game/ with all kinds of natural seltzamen wunderbahrlichen Künstlichen Kunststücke und Karten-Künsten ... ". Art castle. Probably (1690). 17 x 11 cm. Double-page title copperplate, double-page title, title, (30), 150, advertising leaf, 1371, (1) pages. About chess, card games, pocket tricks, riddles, fortune telling and much more. Partly with illustrations, in contemporary vellum binding. See also: VD17 1:074301W. Aufrufzeit 27. | Feb. 2025 | probably 13:01 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

AFTER PETER HOWSON: A CHARCOAL DRAWING ON PAPER 'TEA AND DOUGHNUTS'28.5cm x 20cmFramed and glazed 46cm x 37cmPhillips provenance to verso, Scottish Contemporary Art, Wednesday 19th June, 1991 Lot 107.

Bretby Art Nouveau stoneware clockcase, circa 1900, impressed factory marks, registration mark and pattern no. 1788, glazed to simulate bronze, moulded with a whiplash motif and surmounted with a bust of a maiden and two Ruskin-style turquoise cabochons, with later replacement contemporary quartz timepiece, 28cm high Condition ReportFlat footrim chip to the underside of one rear foot, minor wear to glaze overall, as noted the Quartz clock is a modern replacement. 

Deirdre Burnett (1939-2022), A Studio Pottery Stoneware hand built vessel of organic form with frilled layers in spherical composition on cylinder stem, 24cm, raised DB mark to inside of stemDeirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts

Two contemporary lacquered wall plaques, the first depicting an Art Deco style lady and the other, smaller with two women in jungle setting

CONTEMPORARY BRONZE ART DECO DANCING GIRL SCULPTURE. On black marble base, 43cm H x 21cm W.

Ca. AD 1 - 300.A necklace composed of glass tubular beads in hues of amber and purple with small annular green beads alternating. Restrung on a modern thread, suitable for contemporary wear.Size: 180/360mm x 8mm; weight 13gProvenance: Private UK collection; acquired on the UK art market, pre-2000.