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In the manner of Peter Layton, a contemporary art glass vase, of flattened bottle-form, 28cm high

Geoff Beckett (British, Contemporary) High Streetsigned 'Geoff / Beckett' (lower left)textured acrylic and resin29.5 x 29.5cmProvenance:With Creative Fine Art

A unique handcrafted lava stone sculpture featuring an abstract tribal mask mounted on a curved, textured base. The mask design draws inspiration from traditional tribal art, with a geometric structure and rich earthy tones that add depth and character. The textured surface contrasts with the smooth, polished black backing, enhancing the sculptural form. Crafted in the Philippines, this piece embodies a fusion of traditional influences and contemporary design, making it a striking decorative object for modern interiors.Issued: 20th centuryDimensions: 13"HCountry of Origin: PhilippinesCondition: Age related wear.

A striking black and white beaker-shaped art glass vase with a sleek, modern silhouette. This hand-blown piece features a glossy black base adorned with a swirling white ribbon pattern that wraps around the tapered, conical body, creating a dynamic visual contrast. The elongated neck flares slightly at the rim, enhancing its refined laboratory-inspired beaker shape. The circular base is decorated with a mesmerizing spiral design. A contemporary statement piece, this vase embodies the fusion of craftsmanship and artistic expression, ideal for collectors or as a decorative accent.Issued: 20th centuryDimensions: 13.75"HCondition: Age related wear.

A striking abstract metal sculpture depicting two fragmented faces in an intimate moment. The piece showcases a raw, textured finish with an aged patina, giving it a dramatic and expressive presence. The faces appear partially eroded, adding to its ethereal and emotive quality. The sculpture is mounted on a metal stand and signed at the base, indicating an artist's work. This unique piece would make a captivating addition to any modern or contemporary art collection.Issued: 21st centuryDimensions: 13.5"HCondition: Age related wear.

A unique handcrafted studio pottery vase marked Studio A, featuring a bold abstract portrait design. This tall, sculptural piece showcases an intricate combination of textures and geometric patterns, with earthy-toned glazes in shades of brown, blue, and cream. A striking stylized face is prominently depicted on the surface, adding to its expressive, modernist appeal. The vase is further enhanced with applied handles near the rim, giving it a distinctive form. Signed on the base, this piece measures 14.25"H. A remarkable addition for collectors of contemporary studio pottery and ceramic art.Dimensions: See DescriptionCondition: Age related wear.

A striking pair of signed studio art pottery vases, each exhibiting masterful glazing techniques and bold forms. The larger vessel (13"H) features an abstract flowing design with blue and black drips over a textured surface, accented with sculptural side handles and an organic curvature - signed and dated. The smaller vase (10.75"H) has a sleek, tapered silhouette with a deep black matte finish, highlighted by a central blue glazed medallion and copper-accented handles - impressed signature of artist. Both pieces are signed on the base by their respective artists, showcasing unique craftsmanship and a contemporary aesthetic.Issued: c. 1992Dimensions: See DescriptionCondition: Age related wear.

Elegant contemporary art glass bowl featuring a wide, clear body with a striking blue-colored rim. The pedestal base includes a controlled bubble detail, adding to its refined aesthetic. The smooth, polished finish enhances its minimalist yet sophisticated appeal.Issued: 21st centuryDimensions: 5"HCondition: Age related wear.

A captivating ceramic relief tile by Israeli artist Ruth Faktor (b. 1937), known for her modernist approach to ceramic art. This piece, "Two Musicians," features an abstract depiction of two stylized figures playing musical instruments, rendered with bold geometric forms and vibrant glazes. Faktor's work masterfully blends traditional themes with a contemporary aesthetic, making her ceramics highly sought after by collectors. The textured relief technique and striking color palette of earthy browns, deep blues, and warm oranges add depth and dimension to the composition. The piece is set in a dark wood frame, enhancing its mid-century modern appeal.Artist: Ruth Faktorowicz (b.1937)Issued: 20th centuryDimensions: 15.5"HCondition: Age related wear.

A striking art glass vase with a bold multicolor design and a unique organic form. This piece features a rich blend of deep burgundy, vibrant blue, and golden yellow hues, creating a visually dynamic composition. The surface has a matte satin finish, adding a soft, tactile quality to the piece. The upper portion is accented with a fluid drip design, enhancing its artistic appeal. The vase is hand-blown, as indicated by the polished pontil on the base. A captivating addition to any art glass collection, this piece exemplifies contemporary craftsmanship and abstract aesthetics.Issued: 21st centuryDimensions: 8.5"HCondition: Age related wear.

A striking modern art glass vase featuring a sleek, asymmetric form with a smooth amethyst gradient that transitions into clear glass. The contemporary design boasts clean lines and a high level of craftsmanship, with a polished and flattened base. The thick glass construction adds to the piece's weight and stability. An excellent display piece for collectors of studio glass or modern decor.Issued: 20th centuryDimensions: 8.25"HCondition: Age related wear.

EARDLEY KNOLLYS (BRITISH 1902-1991) ⊕ EARDLEY KNOLLYS (BRITISH 1902-1991) MOUNTAIN LANDSCAPE signed with initials lower left; numbered 45 on the reverse oil on canvas 30.5 x 40.5cm; 12 x 16in 45 x 54.5cm; 17 3/4 x 21 1/2in (framed) EARDLEY KNOLLYS (LOTS 33-39) Introduction SUCH COURAGEOUS ENTHUSIASM… he is one of the purest painters I know. Duncan Grant Artist, gallerist, dealer, advertising executive and aspiring Hollywood director are just a handful of the activities Eardley Knollys pursued during his life. A descendant of the Earls of Banbury, after Christ Church College, Oxford, he worked for Lever Brothers and J Walter Thompson before travelling to America to work on silent films in California. On his return to London he was appointed private secretary to Lord Hambleden, and in 1936 joined the Storran Gallery opposite Harrods on the Brompton Road where his partner, the artist Frank Coombs, was assistant to the owner Ala Story. After buying out Story, Knollys and Coombs consolidated the Storran Gallery into a hub of avant-garde art, building up a culturally influential network in both London and Paris. Their deceptively prosaic opening exhibition Flower Paintings featured works by Gauguin, Vlaminck, Modigliani and Monet. The show explored the innovative ways such everyday subject matter had been reinterpreted in modern art (something which would come to influence Knollys’ own work – see lot 38). They welcomed a raft of esteemed collectors to their premises, including Lady Ottoline Morrell, Duncan Grant and others of the Bloomsbury set as well as the influential George Eumorfopoulos. But the tragic death of Coombs in an air raid in 1941 whilst serving in the Royal Navy in Belfast signalled the end of The Storran Gallery’s activities. Knollys lost his enthusiasm for the venture and closed it for good shortly after the end of the War. Thereafter he took a job with the nascent National Trust and moved to live near Wimborne in Dorset. At the Trust he worked as assistant to the secretary, Donald Macleod Matheson. He joined James Lee-Milne on his visits to estates and country houses across Wessex and Wales and served as the South-West representative for the National Trust for some fifteen years. At Crichel House near Wimborne he set up a communal menage with the music critics Edward Sackville-West and Desmond Shawe-Taylor, later joined by the literary critic of the New Statesman Raymond Mortimer. Crichel became a house for creatives and intellectuals. Lees-Milne came to regard it as a second home, and visitors ranged from the interior designer Sybil Colefax to film director Anthony Asquith; writers included Nancy Mitford and Laurie Lee; among visiting artists were Graham Sutherland and Ben Nicholson; musicians included the composer Benjamin Britten and soprano Elisabeth Schumann.It was thus only in his fifties that Knollys began his career as a painter when he was encouraged by the artist Edward Le Bas during a holiday in Brittany. As a dealer, Knollys had encountered a wide range of contemporary art and developed a particular love for vibrant colour and pattern through his encounters with Post-Impressionism and Fauvism, stating that ‘I have always loved bright strong colours – muddy ones seem to me symbols of gloom’. Often sketching en plein air to be later translated to canvas in his studio, or from memories of his travels in Spain, France and Italy, Knollys deployed colour to build space and form (lots 34 & 35). He had his first solo exhibition in 1960 at the Minories, Colchester and a plethora of subsequent shows including with Michael Parkin in London and Achim Moeller in New York and at Southampton City Art Gallery. Remembered by his peers for his charm and sense of humour, Frances Partridge recalled that ‘everyone loved Eardley, you couldn’t help it’. Knolly’s joie de vivre left a mark on his contemporaries which continues to radiate from his playful and typically colourful works today.

HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) ⊕ HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)PORTRAIT OF SIDONIE, THE ARTIST'S WIFEsigned with initials and dated 42 lower rightpencil on paper22 x 13.5cm; 8 1/2 x 5 1/4in36 x 26cm; 14 x 10 1/4in (framed)HANS FEIBUSCH (LOTS 9-32)Introduction To stand before an empty wall as in a trance… to let shapes cloudily emerge, to draw scenes and figures, to let light and dark rush out of the surface, to make them move outward or recede into the depths, this was bliss. (Hans Feibusch) IntroductionFeibusch fought for the Kaiser in the First World War, survived the Russian Front, and studied with Carl Hofer in Berlin and with Emil Othon Friesz and André Lhote in Paris. Come the 1930s he had a dealer in Berlin, had exhibited widely, and been awarded the German Grand State Prize for painting by the Prussian Academy of Arts. But Hitler’s rise to power threatened it all. In a meeting of the Frankfurter Künstlerbund which he attended in 1933, a new member appeared in Nazi uniform, jumped on a table and pointing at the Jews with his riding crop said: ‘You’ll never show again’. It was the moment Feibusch determined to emigrate. Arriving in London Feibusch had his first one-man exhibition at the Lefevre Gallery, and was soon a member of the London Group. Further exhibitions with Lefevre followed; then in 1938 he completed his first large scale mural: Footwashing in the Methodist Chapel, Colliers Wood. It was a commission that would result in the artist becoming the leading muralist in Britain. Working both for the Church of England and local municipalities, over the next thirty-five years he decorated some forty plus churches, civic buildings and private houses across England and Wales. His work contributed hugely to the re-generation of public buildings after the War and the debate on art in public places. But it also took him away from the Mayfair-centric contemporary art world and its critics, and thus to a large extent out of the public eye and the commercial art world. After his last exhibition at the Lefevre Gallery in 1951 he would not have another gallery show until the late 1970s. Instead Feibusch devoted himself to large scale mural projects, designing the decorations for the tearoom at the Victoria & Albert Museum in 1946, and championed by George Bell, Bishop of Chichester, embarked on a series of commissions to decorate bomb-damaged churches that were being restored and re-built. These included painting The Resurrection and Scenes from the Life of St Peter at St Peter's Church, Pickford Lane, Bexley Heath and Angels with Infants for the baptistry of Christ Church and St Stephen’s, Battersea. Feibusch also wrote Mural Painting a treatise on the history, theory and technique of the art in 1946, and contributed the foreward to the catalogue of the first exhibition of the Society of Mural Painters held in 1950.A consummate draughtsman, whether sketching his surroundings, or studying the model before him, he captures each scene with a fine eye for detail. And as a colourist, he responded to the light of his surroundings with a breathtaking freshness and immediacy. But above all it is the manner in which he places the human form at the heart of his work with such ease and fluidity that leaves an abiding impression on the viewer and makes his work so compelling today.Held under glass, not examined out of frame. Despite watermark along lower edge of mount, appears in good original condition.

GEORGE MAYER-MARTON (HUNGARIAN 1897-1960) ⊕ GEORGE MAYER-MARTON (HUNGARIAN 1897-1960) EVENING OVER THE FUNFAIR watercolour on paper 39.5 x 57.5cm; 15 1/2 x 22 3/4in unframed Painted in 1951. GEORGE MAYER-MARTON (LOTS 1-8) Introduction HIS APPEARANCE, ACCENT AND MANNER SPOKE OF A LOST AND TO US LARGELY UNKNOWN MITTELEUROPA. Always meticulously dressed in a suit and wearing a hat and polished shoes, he would arrive in the college with his leather briefcase and don his professional white coat. In Their Safe Haven', Hungarian artists in Britain from the 1930s, compiled and edited by Robert Waterhouse, the bleak story of George Mayer-Marton's dispossession is graphically pieced together from the artist's diaries and first hand accounts. Born in Györ, North Hungary, the artist's formative years had largely been spent in Austria and Germany. During the First World War he had served on the front line in the Austrian army, and - leading up to the Anschluss - he lived in Vienna, happily married and, as vice-president of the Hagenbund, he was a leading voice among contemporary artists. But with Hitler's annexation of the country at the end of September 1938 with Grete his wife he fled Vienna for London. Mayer-Marton's diaries evoke with withering honesty the reception he received and his despairing sense of dislocation: 'For the moment, London spells turmoil, noise, rows of double decker buses and a language one doesn't understand... We observe the English art of 'splendid isolation', their culture of bureaucratic niceties, good manners and cold souls; their complete consideration for others out of consideration for their own piece and quiet.' (Waterhouse, p. 74). Eventually the couple set up home and a studio in St John's Wood, only for the premises to be hit by an incendiary bomb in 1940 during the Blitz. In the ensuing fire Mayer-Marton lost the vast majority of the work he had brought with him. At the end of the War he learnt of the murder of his and Grete's parents together with his brother in the Holocaust. Unsurprisingly these horrors took a mental toll: all too much for Grete, she suffered a nervous breakdown and died in a psychiatric hospital in Epsom in 1952. Yet, despite such a succession of tragedies, Mayer-Marton remained resolutely determined. He strove to replace the works lost in the London bombing, not simply with copies but because he felt challenged by the very different light and landscape of the British countryside, his lightness of touch and deftness of colour are abundantly apparent in the present selection of works. He was also appointed a senior lecturer at Liverpool College of Art, a post in which he flourished. His Liverpool students recalled Mayer-Marton's innovative approach to teaching. He introduced weekly 'Socratic method' seminars, challenging students with rhetorical questions ranging from 'Kant's moral imperative to Schopenhauer's aesthetic theory, the scientific ideas of Einstein, concepts of the primitive in art, abstraction, expressionism, the medieval guilds and so on... these seminars were a decade before the history and theory of art were incorporated into art school curricula in the 1960s' (Waterhouse, pp. 212-213). In Liverpool he also introduced new technical know-how, in particular fresco painting and the re-introduction of Byzantine-style mosaic practices. These he deployed in a series of large scale ecclesiastical commissions in the north-west, including the large Crucifixion mural at the former church of the Holy Rosary, Oldham (1955), Pentecost now in Liverpool Metropolitan Cathedral, and the Crowning of St Clare at St Clare's Church, Blackley. Small dogear upper left corner. There is slight wear to edges of paper. Otherwise this work is in good original condition.

HENDRIX JIMI: (1942-1970) American rock guitarist and singer. A rare and highly attractive vintage signed 19.5 x 30 concert poster promoting a performance by the Jimi Hendrix Experience at the Fillmore Auditorium, 20th to 26th June (1967), the psychedelic screenprint poster, printed in blue, pink and orange against a metallic gold background, was designed by the British graphic design artists Michael English and Nigel Waymouth (Hapshash and the Coloured Coat) and features an image of Hendrix as a Native American chief with a hunting bow in one hand and a peace pipe in the other. Printed in England and published by Osiris Visions Ltd. of Westbourne Terrace, London (OA103; understood to be the third of four editions issued in the United Kingdom, with Yarrowstalks also obtaining a license to reprint the poster in America). Signed by Hendrix in black ink with his name alone to the base of the poster. A contemporary printed label from the art gallery Galerie de la Gravure (Malmo, Sweden) is neatly attached to the upper left corner and bears a handwritten note, in Swedish, indicating that Mrs. Platerud will collect it in hand. Rolled and with light overall surface creasing and a couple of small, minor tears to the edges. A very light, extremely minor stain only very slightly affects the conclusion of the signature, GProvenance: The poster was originally acquired by the Swedish collector of rock and pop posters, Ingeborg Platerud. In the late 1960s Platerud worked at the Sergelbokhandeln, a bookstore, and is understood to have obtained the signature when she met Hendrix at a nearby record store (Hendrix is known to have performed in Sweden in May and September of 1967, as well as January of both 1968 & 1969, and August 1970, just 19 days before his tragic death).

RODIN AUGUSTE: (1840-1917) French sculptor. A.L.S., Rodin, to the recto of a plain correspondence card, Rue de l´Universite (Paris), n.d., to a gentleman, in French. Rodin thanks his correspondent for a citation that ´vous voulez bien faire du sculpteur dans l´etude approfondie que vous avez faite du mouvement religieux de l´art contemporain´ (Translation: ´you are kind enough to make about the sculptor in the in-depth study you have made of the religious movement in contemporary art´). Some light age toning to the right edge and one corner crease, otherwise about VG

WALDMAN MAX: (1919-1981) American photographer, principally known for his dance and theatre images. T.L.S., Max Waldman, one page, 8vo, New York, 20th April 1966, to Miss. Lynn Hope. Waldman writes to thank Hope for her involvement in a recent project, in part, ´Your cooperation in this photographic venture has put me forever in your debt. It helps launch an exciting new concept that weds play text (historic and contemporary) with visual layout. Needless to say, your performance, while the first pilot model, will be the star luminary in any series.....you have created a genuine work of theatre art.....Your very enthusiasm was my encouragement´ and further continues to refer to his photographs of the ´theatre art´, ´As of now, I have underwritten the entire cost: a considerable material expense - plus a greater expense in time. It has posed a difficult decision of having to turn aside requests for additional prints. In fulfilling my obligation to the company, about 1,000 pictures will have been given out. Taking individual orders would create chaos: nor could I, in good conscience, charge anyone. On the back of each print is stamped my one request to you. Do not make copies, give them to friends, newspapers etc.: to anyone where control is lost. Please honor this restriction: otherwise, our entire joint efforts will be jeopardized.....´. Accompanied by the original envelope. Together with the original photographs referred to, the set of eight 8 x 10 prints depicting various actors in costume poses from the Royal Shakespeare Company´s Broadway stage production of Marat/Sade, which opened at the Martin Beck Theatre on 27th December 1965. Each of the photographs bear Waldman´s credit stamp to the verso along with a further explanatory stamp stating, in part, ´This photo is given as a personal courtesy to: Lynn Hope (inserted in manuscript) It is the sole property of the photographer and is not to be reproduced.....´. Contained within the original envelope. Further including a book signed and inscribed, being a hardback edition of Zero by Zero Mostel, First Edition published by the Horizon Press, New York, 1965, featuring 152 photographs by Waldman and drawings by Zero Mostel. Signed by Waldman in black ink to the front free endpaper, ´To Lynn Hope - In appreciation of your kind help, Max Waldman´, and dated New York City, April 1966, in his hand. Accompanied by the dust jacket (some tears and age wear). G to generally VG, 2 + 8Lynn Hope was the head costume mistress at the Aldwych Theatre in London and also performed the same duties on the tours of the Royal Shakespeare Company from 1955 onwards.

Annie French,  Scottish 1872-1965- Portrait of a lady, seated full-length, wearing historical costume; pencil, pen, brown ink, and watercolour on paper laid down on card, 19.6 x 12.9 cm. (unframed). ARR. Provenance:  Anon. sale, Christie's, Edmiston, Glasgow, 9 April 1981, lot 19 (part);  The Collection of Lee Witkin;  His Estate;  Where acquired by the present owner. Note:  French studied under Francis Newbery (1855-1946) and Jean Delville (1867-1953) at the Glasgow School of Art, which she attended between 1886-89. It was here that she was associated with a group of pioneering female artists and designers, including Jessie M. King (1875-1949), Frances MacDonald (1873-1921), and Ann Macbeth (1875-1948), who later became known as the 'Glasgow Girls'.  French is known for her distinctive illustrations which are clearly heavily inspired by the Art Nouveau movement, with swirling, dense, and highly graphic compositions which exhibit the influence, in particular, of her contemporary Aubrey Beardsley (1872-1898). 

Paolo Farinati,  Italian 1524-1606- The Holy Family with Saint Catherine of Alexandria; oil on copper, bears indistinct inscription in pencil verso, 39.8 x 30.6 cm. Provenance: The Collection of John F. Hayward, the owner's grandfather, and thence by descent. Note:  Farinati was active mainly in his native Verona, but also in Mantua and Venice. He was a contemporary of the prominent artist of Verona, Paolo Veronese, and was instructed, according to Giorgio Vasari, by his father and by Niccolò Giolfino, and probably also by Antonio Badile and Domenico del Riccio (Brusasorci). Vasari praised his thronged compositions and merit of draughtsmanship. His works are to be found in Venice, Verona, Padua and other towns belonging or adjacent to the Venetian territory. He is notable for having kept a detailed journal of his activities from 1573 until his death. His many drawings on handmade and prepared blue paper are also particularly noteworthy. John F. Hayward (1916-1983) was an art historian who established himself as an authority on European decorative arts. He served the Courtauld Institute, and after the war (he was a SOE) the Victoria & Albert Museum (Deputy Keeper) and Sotheby's until 1981. He published a number of books, including 'Virtuoso Goldsmiths & the Triumph of Mannerism' (1976), and was a collector of Mannerist art. We are grateful for Dr Eveline Baseggio Omiccioli for confirming the attribution of the present lot based on images.

* Coulthard (Jack, 1930-2016). Città II, 1971, acrylic on board, Oxford Gallery label to frame verso, board size 100 x 100 cm (39 1/2 x 39 1/2 ins), in a slim contemporary wooden frame (103 x 103 cm)QTY: (1)NOTE:Provenance: Purchased by the present owner from the Oxford Gallery in 1971.Jack Coulthard was born at Baildon and attended school at Saltaire. After leaving school he studied drawing and painting at Leeds School of Art, graduating in the early 1950s. He taught at Somerset College of Art until 1970 when he left to work as a freelance painter for the remainder of his life.

* Stuart-Wortley (Archibald James, 1849-1905). Breaking Waves, Cornish Coast, circa 1880's, oil on canvas, original artist suppliers embossed oval metal plaque to verso 'James Lanham, Artist's Colorman, St Ives, Cornwall' and contemporary manuscript note of artist's name and address attached to verso (slightly damaged); 'A. J. Wortley, Fre? Lea, Wilford Lane, Bridgford, Nottingham' to verso, two small puncture holes to right edge, one similar minute puncture to upper centre with small glue repair to verso, 91.5 x 112 cm (36 x 44 ins) later moulded wooden frame 100 x 132 cm (39.3 x 51.9 ins)QTY: (1)NOTE:Archibald John Stuart-Wortley (1849–1905), British painter and illustrator. Although renowned for his portrait and sporting art, Woortley created notable landscape paintings such as From Wharncliffe Crags looking towards the Derbyshire Moors, 1875, exhibited at the Royal Academy in 1875 (sold Christie's London, Victorian Pictures, 3rd June 1999, lot 152 (£11,500).The entry in Kelly’s Cornwall directory in 1889 lists James Lanham (1848-1931) as an ‘Artists’ colorman, china, glass and earthen ware dealer, general ironmonger & cutler, general draper & furniture dealer, & ale & porter bottler…, wine & spirit merchants’. His gallery was a vital hub for the artistic community in West Cornwall, being one of the few venues where local artists could exhibit their work.

* Baglione (Giovanni, 1566/71-1643/44). Young couple in contemporary dress, black chalk on pale grey-brown laid paper, with touches of white chalk, early manuscript number 174 in brown ink to centre of top margin, and ‘l 225’ in brown ink to lower right corner, inscribed in pencil to verso (in a later hand) ‘Del Cavalier Baglione’, sheet size 298 x 224 mm (11 3/4 x 8 7/8 ins), hinge-mounted to a larger sheet of 18th century laid backing paper, with elaborate presentation title and inscription in Italian in brown ink above and below the drawing, giving the artist’s name above, and a long biographical note below, old inscribed number in brown ink to upper left corner: 161, some marks and soiling to the backing sheet with a few short closed marginal tears to margins (not affecting the drawing itself), the backing sheet with ruled framing lines around the drawing, backing sheet 49 x 34 cmQTY: (1)NOTE:Provenance: Private Collection.Giovanni Baglione worked mainly in Rome, his mature style typical of the early Roman Baroque, whilst also retaining elements of his early training in the Central Italian tradition of disegno. Between 1621 and 1622 he was in Mantua as the court artist to Duke Ferdinando Gonzaga. Baglione is best known as the author of the Vite de’ Pittori, Scultori, Architetti, ed Intagliatori (Lives of Painters, Sculptors, Architects and Engravers), first published in 1642, one of the most important contemporary sources for artists in Rome at this time. The artist is also famous due to his suit for libel in August 1603 against Caravaggio, Orazio Gentileschi and other painters in connection with some unflattering poems then circulating in Rome the previous summer. Caravaggio’s testimony during the trial is one of the few documented records of his opinions on art and his contemporaries.The present drawing, in which the chalk has been applied lightly and with shaded areas creating a sfumato effect, depicts an elegant young couple in contemporary dress, with two other figures behind, and may be a study for a wedding procession or similar subject.

* McKenzie (Hugh, 1909-2005). Sketchbooks, circa 1934-90s, ink and pencil, with some watercolour, 8 sketchbooks each containing approximately 30 pages including a few loose leaves) each with sketches of various city landscapes, some portraits, a few signed, views including: Deptford, view from Trinity Hospital, Greenwich, Marie Anne, Bromley, Waterloo, Holyrood, Portraits, Whifields Mount, Lewisham, , etc., some pages blank, in various bindings including contemporary cloth and original boards, majority oblong 8voQTY: (8)NOTE:McKenzie trained at the Slade School of Fine Art under Henry Tonks. He struggled during the Depression to work as a full-time artist so took on a number of administrative jobs in the City. He spent many of his lunchtimes in the pubs, cafes and churchyards of The City, feeding his fascination for its history and observing and noting his impressions in his sketchbooks. In the weekends he noted down the urban topography of Greenwich and Blackheath where he lived.

AR * Winn (Ann, 1930-2015). To the Sea (Santorini), circa 1980, oil on canvas board, signed lower left, information label in ink to canvas verso (presumably in the artist's hand), canvas size 51.5 x 64 cm (20 1/2 x 25 ins), framed (59.5 x 71.5 cm)QTY: (1)NOTE:Ann Winn trained at the Slade School of Fine Art. Known as a colourist with 'a touch of Bloomsbury' her subjects often included landscapes or interiors. She worked both en plein air and in the studio capturing views from her extensive travels to Greece, Turkey, Nepal, India, and Morocco. She exhibited extensively with solo shows at Annex Gallery, London, Christopher Hull Gallery, London, and Cleveland Bridge Gallery, Bath. Group exhibitions included the Royal Academy Summer Exhibitions, New English Art Club, London Group of British and Contemporary Painters, and the Royal Society of British Artists.

Collection of German Physics Books,Including Planck, Max, Physikalische Abhandlungen und Vortrage, Vols. I, II and III. (Braunschweig: Friedr. Vieweg and Sohn; London: K. G. Heyden and Co. Ltd., 1958), Vol. I. Pp. xv+776. Vol. II. Pp. xi + 716. Vol. III., Pp. xii+426. red fabric binding with gilt lettering to spine and boards, with a letter headed 'The Institute of Physics, From the Editor, British Journal of Applied Physics' with a pasted don cutting from the February issue that reads:Max Planck: Physikalische Abhandlungen und Vortrage.Vols. I, II and III. (Braunschweig: Friedr. Vieweg andSohn; London: K. G. Heyden and Co. Ltd., 1958);Vol. I. Pp. xv+776. Vol. II. Pp. xi + 716. Vol. III.Pp. xii+426. Price DM. 150.This collection of M. Planck's scientific papers and lecturesis a reproduction by a photographic process of the originalpublications, with an index and a foreword by M. v. Laue.It is edited by the union of German physical societies and theMax Planck Society as a memorial to the great theoreticalphysicist whose 100th birthday was celebrated in April ofthis year.The first two volumes contain Planck's doctorate thesis,his "Habilitationsschrift" as Privatdozent in Munich and119 papers published in various journals. The most importantof these are the classical papers on the second law of thermo-dynamics, which was given its first precise formulation byPlanck, and the notion of entropy, as well as the famousseries of investigations on the theory of heat radiation whichled to the discovery of the elementary quantum of action h,the notion of zero-point energy, the cell structure of thephase space, and the general statement of Boltzmann'sentropy-probability relation in the form S k log W, firstintroducing the universal constant k (gas constant per atom),usually known as "Boltzmann's constant". There are furtherpapers on various aspects of electromagnetic theory, on thetheory of relativity, of which Planck was one of the firstsupporters, and on the theory of electrolytes.The third volume contains public lectures and publicationsmeant for a broader public, shedding light on Planck'sscientific personality, his life and his philosophical ideas.Amongst these are his Nobel lecture and a wonderful shortauto-biography which ought to be translated into Englishand widely read by young physicists. There are also anumber of essays devoted to the life and work of contemporary great physicists and appreciations of Planck's ownwork by M. v. Laue, Otto Hahn and others.For those physicists who are interested in studying theoriginal works of this great master in order to learn abouthis way of thinking and his art of writing these three volumeswill be invaluable.R. FÜRTHPlanck, Max, Einführung in die Mechanik deformierbarer Körper, 1922, with the owners name to the title page R. W. Lawson 31 - Robert William Lawson (c. 1889–1960) was a British physicist, a fellow of Institute of Physics when it was founded,Einführung in die Mechanik deformierbarer Körper (Introduction to the Mechanics of Deformable Bodies) by Max Planck delves into the fundamental principles of elasticity and the mechanics of solid materials. The book provides a mathematical treatment of how materials deform under stress. The book shows Planck’s early contributions beyond quantum theory, demonstrating his mastery of classical mechanics and applied physics.Max Planck (1858–1947) was a pioneering German physicist best known as the father of quantum theory. His groundbreaking work in thermodynamics and black-body radiation led to the formulation of Planck’s constant, which introduced the idea that energy is quantized rather than continuous. This discovery revolutionized physics, laying the foundation for quantum mechanics and earning him the Nobel Prize in Physics in 1918. Planck spent much of his career at the University of Berlin, where he mentored and influenced future physicists, including Albert Einstein. Despite the turbulent political climate of early 20th-century Germany, he remained committed to scientific inquiry and ethical principles. His contributions to theoretical physics reshaped our understanding of the atomic and subatomic world, marking him as one of the most influential scientists of all time.Helmholtz, H. Von, Vorlesungen uber Theoretische Physik (Lectures on Theoretical Physics), Band I. 1903,Hermann von Helmholtz (1821–1894) was a German physicist and polymath whose work spanned physics, physiology, and mathematics. He made significant contributions to the understanding of energy conservation, electrodynamics, and wave theory, as well as to the study of human perception in optics and acoustics. Helmholtz is best known for formulating the principle of conservation of energy, a fundamental concept in physics. His research in sensory physiology led to discoveries in vision and hearing, influencing both science and medicine. A prolific educator and researcher, he held prestigious academic positions, including at the University of Berlin. His work laid the foundations for many modern scientific disciplines, and his name remains associated with key theories in thermodynamics, electromagnetism, and fluid dynamics.

Burr, G. D. [George Dominicus]. Instructions in Practical Surveying,Burr, G. D. [George Dominicus]. Instructions in Practical Surveying, Topographical Plan Drawing, and Sketching Ground Without Instruments. With Plates and Woodcuts. Second Edition. London: John Murray, 1847. Octavo (183 x 115 mm). Contemporary prize binding of green morocco, spine gilt in compartments, title, single-line rules, elaborate crests to boards, acorn and oak leaf roll to turn-ins, and all edges gilt, marbled endpapers. 5 folding plates on tissue, diagrams within the text. Prize and ownership bookplates to the front endpapers. Binding lightly rubbed with a few mild scuffs and some light wear at the extremities, a little faint spotting to the folding plates. Very good condition. Second edition with additions, first published in 1839. An attractively bound prize copy awarded by the Royal Military College at Sandhurst to Henry George White for "attention to, and progress in, military drawing." With White's later bookplate giving his rank as Major General.Author George Dominicus Burr (d. 1855) was for forty years an esteemed professor of military surveying at the Royal Military College, and it is presumably he himself who presented this prize volume. The contents cover practical surveying and military drawing for students with no prior knowledge of the art. The recipient, Major General Henry George White (1835-1906), "had a distinguished career in the British Army serving at the Crimean War (1854-56), in the Indian Mutiny (1858-59), in Cyprus (1878-79), and Bechuanaland in South Africa in the 1880s" (Irish National Inventory of Architectural Heritage). [Ref: 345] £350

SIR WILLIAM FETTES DOUGLAS1822 Edinburgh - 1891DIE RÜCKKEHR DES 'KURIERS'. 1864 Öl auf Leinwand. 97 x 82 cm. Monogrammiert und datiert. Verso: Aufkleber eines Liverpooler Rahmers und Restaurierer. Das Gemalde wird unter der Nummer 84 auf Seite 202 in Edward Morris und Emma Roberts: The Liverpool Academy and Other Exhibitions of Contemporary Art in Liverpool 1774-1867: A History and Index of Artists and Works Exhibited erwahnt. Part. rest., Farbabpl. am linken Rand. Rahmen. Provenienz: Privsatsammlung.

A contemporary Tiffany style standard lamp in the Art Deco taste, 148cm in height

Art. Bloomsbury Group: Fry (Roger), Cézanne: A Study of His Development, first edition, London: Published by Leonard and Virginia Woolf, at the Hogarth Press, 1927, b/w illustrations, verso pastedown and endpapers with contemporaneous manuscript annotations and notes, presumably in the same hand as the ownership inscription on the recto ffep, original publisher's binding, cloth over pictorial papered upper-cover, worn, split but holding, 4to; Some Contemporary English Artists, [London]: Birrell and Garnett, 1921, b/w illustrations, the contents leaf annotated by a contemporary reader: These markings are not quite up to the corresponding ones in the Frenchman's books of illustrations, foxed letterpress leaves, original pictorial wrappers designed by Duncan Grant, annotated, chipped and disbound, 8vo; auction catalogues, comprising Henry Spencer & Sons:~ By Direction of His Grace the Duke of Portland, K.G. Welbeck Abbey: Catalogue of Surplus Furniture, Handsome Chimney Pieces, Old Oak Panelling, Interior Fittings, and other Effects, April, 1937, some b/w plates, original wrappers, 4to; idem, Welbeck Abbey, Nottinghamshire: Surplus 17th & 18th Century Furniture, August-September, 1947, illustrated, original wrappers, 4to; another country house sale catalogue, Sotheby's:~ Chatsworth: The Attic Sale, October, 2010, wrappers, 4to; Christie's:~ Théodore Géricault: The Hans E. Bühler Collection of Pictures, Drawings and Lithographs, November, 1985, hb, 4to; Bonhams:~ The Albion Collection of Portrait Miniatures, April, 2004, dj, hb, 4to; etc., (8)

Art. D'Ors (Eugenio) & Wells (Warre B., translator), Pablo Picasso, copy no. 1192/1250, Paris: Éditions des Chroniques du Jour, 1930, half-title with limitation colophon to verso, illustrated with 3 colour plates, 48 monochrome plates, 6 b/w full-page illustrations, and further b/w in-text illustrations, letterpress lacking pp. 25-26, 29-30, & 45-46, original pictorial wrappers over limp card, uncut, conforming pictorial papered boards folio, worn in places, contemporary ownership inscription, 4to Sold as a collection of prints.

Children's & Juvenile Books. Portraits and Characters of the Kings of England, from William the Conqueror to George the Third, Parts I & II, London: J. Harris and Son, 1823, [bound with] Wonders! Descriptive of Some of the Most Remarkable of Nature and Art, London: Printed for J. Harris and Son, 1821, three separate title-pages with hand-coloured engraved vignettes, collating: 17, [1] (advert); [ii], 17; [ii], [16]pp, illustrated with hand-coloured engravings, some finger marking in places, contemporary calf over marbled boards, lettered in gilt, 8vo; Hack (Maria), Harry Beaufoy [...], first edition, London: Printed for Harvey and Darton, 1821, frontispiece, original publisher's red roan over marbled boards, upper-cover loose, 24mo; chapbook: Anon, True Stories of Cottagers. The Railroad Boy, London: Joseph Masters, 1852, frontispiece and in-text vignettes, original wrappers, 24mo; etc., mixed bindings and sizes, (9)

Travel. Henrietta Matilda Crompton (1793-1881), Switzerland, via a tour of the Rhine, 1836, accompanied by her brother Robert Edward Crompton (1805-1840) and their sister Caroline Rachel (1809-1885), an album of 67 en plein air illustrations, of which 45 are watercolour &/or sepia wash, 8 pen-and-ink, and 14 pencil drawings, the last repaired and with some chipped losses, mostly full-page format, but for 5 double-page panoramas, named &/or annotated throughout, including glaciers, mountains and alpine scenes, as well as named-view of Fribourg with its suspension bridge, some urban topography, slightly later 19th c 4pp ALS loosely-inserted and 3pp note, recto pastedown with contemporary and slightly later manuscript inscriptions dated 1836 & 1878 respectively, contemporary roan over marbled boards, split with loose/loosening contents, oblong folio (27 x 37.5cm)Henrietta Matilda Crompton and her eight siblings were born into a rich banking family, of Esholt Hall, Yorkshire, and upon the death of their father each inherited the considerable sum of £11,000. Henrietta never married and spent a comfortable life travelling, making excursions to the Yorkshire coast, visiting friends' country houses, and occasionally taking longer trips to Picturesque parts of the United Kingdom and Europe (such as this case); this leisured travel allowed the lady to pursue her talent for drawing, having taken lessons throughout her long life, from renowned artists Copley Feilding, David Cox, and others. Three of HMC's sketchbooks are present in the collections of the Yale Center for British Art.

Natural History, Geology and Paleontology. William Crighton Maclean FGS (1807-1900), of Great Yarmouth, Norfolk - Delineations of fossil Remains from the Crag of Suffolk about Felixstowe and Sutton, Sketched by William Crighton Maclean, 1852-1853, a folio of 54 illustrated sheets, along with a loosely-inserted ALS from one of Darwin's evolutionary critics, the palaeontologist Sir Richard Owen KCB, FRMS, FRS (1804-1892), comprising one illuminated title leaf, outline map of the United Kingdom and of Northern France, one panorama of the Suffolk coast in four named-views, an Assyrian obelisk (collector's stamp: WCM within a circle), one watercolour of the excavation trenches with exposed strata, and 49 fossil specimens and remains, almost all of the sheets are signed &/or inscribed, mostly watercolour or pen-and-ink, some pencil drawings, 28 x 22.5cm, along with one pen-and-ink and two pencil smaller sketches, being the excavation trenches again, a cross-section of a fossil, and an unusual double-headed marsupial, 12 x 18.5cm, the Owen letter, ALS of 2pp, addressed from the Royal College of Surgeons, London, and dated November 19th 1853, asking WCM if he can keep the drawings a little longer, and proceeding to comment that some are worth publishing, yet with the caveat that no publisher would undertake the monograph unless at the author's expense, and that a learned society would publish only a selection, and a contemporary manuscript, n.d., 4pp, listing historic British and European monarchs and aristocrats, contemporary brown roan gilt over cloth, rubbed and worn, starting to split in places yet holding, upper-cover with later 20th c MS label: Natural History (Drawings of Fossils Found at Felixstowe and Sutton Crag, About 1853), folio (29 x 23cm)  Provenance: presumably sold by Samuel Aldred & Son, Yarmouth, Catalogue of the Collection of Objects of Art & Vertu, the Valuable Library of 2,200 Volumes of Books [...] Pictures and Drawings [...] from the Executor of the Will of the Late William Crighton Maclean, 30th August, 1900.

Art. Six and a half shelves of art history and theory, 20th c and later, Georges Braque, Paul Klee, William Blake, David Cox, Cedric Morris, Modern British, Old Masters, contemporary, Byzantium and ancient art, Aubrey Beardsley, Hogarth and other caricaturists, various further artists, movements and styles, illustrators and print-making, Doré, Goya's The Complete Etchings and Lithographs, Walter Crane, comprising monographs, academic presses and Antique Collectors' Club imprints, gallery, dealer's, and Christie's auction catalogues, mixed numbers of the Sculpture Journal, some design and architecture, including Stillman's English Neo-classical Architecture, 2 volumes, Zwemmer, dj, hb, slipcase en suite, folio; etc., mixed bindings and sizes

▲ Philip Jones (1933-2008) 'Island Ferry Enters Mġarr, Gozo'signed and dated 'Philip Jones 92' and inscribed with title l.l., with artist's label verso, oil on paper 52 x 72.5cmExhibited: Ainscough Contemporary Art, London, October 1997;The Collection of Charles Edwards and Julia Boston, Tile Barn, Northamptonshire.Condition ReportFramed: 76 x 96.5cmCockling. Appears to be in otherwise good order. Not viewed out of glazed frame.

Joanne Dugan (American, contemporary) 'Commercial Street Wire Study, Provincetown', 2004a set of four gelatin silver printsvisible 27 x 34cm (4)Provenance: Purchased from Ernden Fine Art Gallery, Provincetown, US.Condition ReportFramed: 43.5 x 53.5cmAll four prints appear to be in good condition. Not viewed out of glazed frames.

▲ Russell Frampton (b.1961) 'Golden Lore’ signed 'Russell Frampton', inscribed with title and dated '2019' on a label verso, mixed media on board122 x 164cm, unframedProvenance: With the London Contemporary Art Gallery.Condition ReportLight surface dust and dirt. Minor dents to the corners however presents well when viewed on the wall.

Joanne Dugan (American, contemporary) 'View from 29th Street, NYC, (Chrysler Building)'gelatin silver print11 x 16cmProvenance: Purchased from Ernden Fine Art Gallery, Provincetown, US.Condition ReportFramed: 54 x 43.5cmAppears to be in good condition. Not viewed out of glazed frame.

A framed and glazed contemporary art piece

A striking original oil on canvas by Romanian artist Horia Damian, titled Forme de San Francisco/Clair de Lune 1980. Damian’s art has been part of many exhibitions and collections around the world, including in the Centre Georges Pompidou, Paris; The Venice Biennale; the Grand Palais, Paris; the Solomon R. Guggenheim Museum and the Museum of Modern Art, New York. This work is a finished study for a larger acrylic painting that Damian exhibited at Art Basel, providing an essential connection to the artist's larger-scale explorations of architectural themes. This minimalist and geometric abstraction presents a stark architectural form emerging from a dark foreground against a deep blue sky, evoking a sense of monumentality and spatial tension. The subtle play of light and shadow enhances the structure's sculptural quality, a hallmark of Damian's fascination with architectural and metaphysical space. Damian's compositions often draw inspiration from architectural forms, cosmic themes, and modernist abstraction, aligning with influences from his studies in Paris and association with key avant-garde figures. The piece is signed Damian and dated 1980 on the lower center right above the number 4 painted in red. On verso features two labels and inscriptions that provide the artwork's history: two labels from Andre Chenue et Fils Transports Internationaux, a Paris-based art handling and transportation company with the location Montparnasse, Damian and New York with identifiers. NEW-YORK is handwritten in black on the stretcher bar, referencing to its destination. A seminal work within Damian's oeuvre, this painting exemplifies his refined sense of form, perspective, and atmosphere, making it a compelling addition to the most selective collections of Postwar and contemporary geometric abstraction. Artist: Horia Damian (Romanian-French 1922–2012)Issued: 1980Dimensions: 52"L x 39.25"HCountry of Origin: Romanian / FranceCondition: Age related wear. There is a small horizontal slit on the upper left side of the painting that has not been restored purposefully to retain its full integrity.

This exquisite Lundberg Studios Jack in Pulpit vase showcases the studio's renowned craftsmanship and artistic excellence. Standing 16.75"H, the vase features a stunning iridescent finish with swirling patterns of gold, lavender, and soft green hues. The elegant elongated stem gracefully leads to the flared, organic form of the pulpit-shaped top, evoking the beauty of natural floral forms. Lundberg Studios, known for their fine art glass since 1970, creates pieces that blend contemporary artistry with classic glassmaking traditions. This piece is unsigned and is a fine example of the studio's dedication to producing collectible art glass. Dimensions: See DescriptionCondition: Age related wear.

A striking Murano glass bust sculpture by renowned Venetian glass artist Walter Furlan, inspired by the Cubist works of Pablo Picasso. This vibrant and dynamic piece showcases Furlan’s exceptional craftsmanship, blending bold colors—including yellow, red, blue, and clear glass—into a stylized abstract female portrait. The exaggerated facial features and expressive composition capture Picasso's artistic influence, while the wide yellow hat adds a unique sculptural element. Furlan, known for his masterful Murano glass interpretations of iconic artistic styles, has signed the piece, making it a highly collectible work of contemporary Venetian glass art. Artist: Walter Furlan (1931 - 2018)Issued: 20th centuryDimensions: 18"HCountry of Origin: ItalyCondition: Age related wear.

This auction lot features a pair of vividly colored resin sculptures from the Deep Love series by renowned contemporary artist Romero Britto. Created in 2006, these whimsical fish sculptures embody Britto’s signature pop art style, blending bold colors, dynamic patterns, and joyful expressions. Each fish sculpture features heart-shaped accents, vibrant geometric designs, and expressive detailing, all resting on unique bases. One sculpture is primarily adorned in bright yellow and pink stripes, while the other showcases blue and gold tones with polka dots. One base is signed "Romero Britto" and numbered 6/100, marking it as part of a limited-edition series. Artist: Romero BrittoIssued: 2006Dimensions: 19.5"HCondition: Age related wear.

A stunning pair of Radiant Persian art glass by renowned American glass artist Dale Chihuly. These hand-blown glass sculptures feature Chihuly’s signature organic forms with undulating, free-flowing edges and a dynamic, fluid appearance. The pieces display a radiant golden-yellow hue with intricate ribbed patterns and contrasting black rims, characteristic of the Persian series. Chihuly’s Persians are celebrated for their vibrant colors and expressive movement, making this pair a remarkable addition to any contemporary art glass collection. Artist: Dale ChihulyIssued: 2003Dimensions: 9"L x 8"W x 6.5"H, 10.25"L x 9.5"W x 6"HCountry of Origin: United StatesCondition: Age related wear.

Oil Painting by T. Trucban, 2004 This is an expressive oil painting on canvas, signed "T. Trucban 2004" in the lower-right corner. The composition features a reclining woman in a long-sleeved red dress, posed dramatically on a golden-toned chair or cushion, her head tilted back with a contemplative expression. The painting employs a modern and textured technique, likely created with palette knives or heavy brushstrokes, resulting in a tactile surface. The colour palette includes deep reds, oranges, gold, and earthy tones. The artwork is framed in a wide rectangular dark wooden frame. The dimensions of the frame are provided, with an ergonomic design typical of contemporary presentation. The backing includes a brown paper cover secured with archival tape. A white hanging cord is affixed to metal screws for wall mounting. On the reverse side, there is handwritten text reading "HAKEN-OLSON," and a label marked "ARTACT" with an Australian contact number, indicating a possible connection to an art service or gallery. This piece demonstrates characteristics of modern art movements, possibly influenced by expressionism or contemporary Southeast Asian art styles. Dated to 2004, it holds collector and research potential based on the artist's identity and provenance.

**Royal Doulton "Courtship Birds" Sculpture from the Images of Nature Series by Russell Willis**This Royal Doulton sculpture, titled "Courtship Birds," is a part of the esteemed Images of Nature series and is crafted by the artist Russell Willis. The artwork showcases two terns in an affectionate interaction, rendered in a contemporary white glazed style. The sculpted birds are marked by delicate, fine vertical lines on their wings, highlighting the attentive craftsmanship.With dimensions standing at 15.50 inches in height, 9.50 inches in width, and 10 inches in diameter, this piece exemplifies both elegance and a refined natural motif. The "Courtship Birds" sculpture is a notable example of Royal Doulton's commitment to detailed and aesthetically pleasing animal portrayals, making it a significant addition for collectors and enthusiasts of fine decorative art. Slight imperfection to wing.

Handcrafted Ceramic Vessel by Peter VostA handcrafted ceramic vessel attributed to Peter Vost, measuring 40 cm in length, 28 cm in height, and 25 cm in depth. The piece features a sculptural design with circular openings at the top and intricate textural detailing throughout. Influenced by Ancient Chinese art, it includes abstract fish motifs and raised patterns, seamlessly blending traditional and contemporary design.

**Handcrafted Wooden Armchair by Maxie Lane** A distinctive wooden armchair crafted by Maxie Lane, a locally renowned artist from Andover. This unique piece embraces a raw and organic design, showcasing the natural beauty of the wood. The chair is composed of natural timber with visible grain patterns, knots, and minor cracks, emphasising its handcrafted artisanal quality. The chair is carved entirely from a single piece of wood.### Features:- **Backrest and Seat**: Broad, slightly curved backrest for comfort, paired with a wide, irregularly edged seat featuring a solid wood slab form and visible growth rings. - **Base Construction**: Cylindrical supports connect the seat to a robust circular base structure, adding stability and a sculptural aesthetic. - **Finish**: Smooth with visible natural imperfections, preserving the rustic appeal of the wood while ensuring durability. ### Dimensions (Approximate):- Height: 80–100 cm - Width: 65–75 cm ### Context and Style:Dating to the late 20th or early 21st century, the armchair reflects Lane’s dedication to natural materials and artisanal techniques. Its rustic yet contemporary aesthetic aligns with mid-century and modern design sensibilities. This piece is as much functional furniture as it is a piece of art, making it a coveted addition to any interior focusing on organic or bespoke designs.### Condition:In good overall condition with naturally occurring cracks and imperfections that enhance its character without compromising structural integrity. A remarkable example of handcrafted furniture, this armchair would appeal to collectors and enthusiasts of bespoke, rustic, and artisanal designs.

Collection of Assorted Jewellery ItemsThis collection includes a diverse range of jewellery pieces, showcasing a mix of vintage and contemporary styles. Highlights include necklaces, bracelets, brooches, pendants, and various accessories in materials such as metal, beads, rhinestones, imitation pearls, and resin. Notable items include: - **A boxed ring set** labelled with days of the week, featuring silver- and gold-toned rings with decorative elements like faux gemstones and intricate designs. - **Amber-toned beads**, some potentially crafted from resin or semi-precious materials, interspersed with metallic spacers, suggesting necklace or bracelet components. - **A butterfly-shaped brooch**, adorned with symmetrical faceted gemstones, possibly from the late 19th to early 20th century or inspired by Art Nouveau. - **Gold- and silver-toned chains** with decorative filigree, floral motifs, and inlays resembling semi-precious stones. - **Pearl-like embellishments** and ornate brooches, including one with orange and red crystals in a gold-toned frame. - **A cameo-style pendant necklace** and a variety of chain-link bracelets and necklaces, displaying vintage and modern aesthetics. - **A clear plastic box containing rings** with text referencing days of the week, suggesting a novelty or themed presentation.The jewellery varies in condition, design, and possible age—ranging from mid-20th-century items to contemporary costume pieces. Likely materials include plated metals, glass, imitation gemstones, and possible semi-precious stones. Some items feature tags or packaging, indicating prior cataloguing or appraisal. A detailed examination for hallmarks or maker's marks is recommended to ascertain origins and value.

**Chinese-Inspired Ceramic Fruit Bowl by Peter Vost**This distinguished ceramic bowl, crafted by renowned artist Peter Vost, features intricate brushwork reminiscent of traditional Chinese art. Measuring 16 inches in diameter and 4 inches in height, this bowl exhibits an elegant balance of form and function. The interior showcases dark brown or black abstract designs, executed with calligraphic precision on a light background, evoking a sense of fluidity and harmony. The bowl’s wide rim and slight foot base add to its refined aesthetic, elevating it subtly from its resting surface. With its harmonious blend of traditional inspiration and contemporary craftsmanship, this piece exemplifies Vost’s expertise in ceramic artistry.

Collection of Silver and Semi-Precious Stone JewelleryA collection of silver and silver-tone jewellery featuring pendants, chains, and necklace components. Highlighted items include:1. **Pendants**: - An oval pendant with a green iridescent stone, likely abalone or mother-of-pearl, set in a silver-tone bezel with a tapered bail. Approx. 3-4 cm in length. - A rectangular pendant with a polished deep red cabochon stone, potentially carnelian, framed in silver-tone metal. Approx. 2.5-3 cm in length. - A plain oval silver-tone pendant with a smooth metal finish suitable for customisation or as a locket.2. **Necklaces**: - A garnet necklace featuring deep red cabochons in an Art Nouveau-inspired silver-tone design with intricate swirls and loops. - A necklace with turquoise-coloured beads showcasing natural-style veining, combined with a delicate silver-tone chain. Beads approx. 1 cm in diameter.3. **Chains**: - Various silver-tone chain styles, including snake and box chains, complementing the pendants and necklaces.Some items are marked "925," indicating sterling silver. No inscriptions or maker's marks are clearly visible on other pieces. These items likely date from the mid-20th century to contemporary times. Examination of hallmarks and materials could further clarify origin and value.

A striking contemporary studio art pottery vase with a geometric form and intricate marbled glaze in shades of blue and brown. The piece features a checkerboard-patterned rim and an angular body, creating a visually engaging contrast between structure and organic flow. The unique glaze application highlights the artistry of handmade ceramics, making this an exceptional addition to modern or eclectic interiors. Issued: 20th centuryDimensions: 4"HCondition: Age related wear.

Angling.- Fly-Fishing.- Blacker (William) Blacker's Art of Fly Making, &c., comprising Angling & Dyeing of colours, engraved frontispiece, with pp. of reviews after plate list, 20 plates, frontispiece and 17 of the plates with bright, fine hand-colouring, hinges cracking but firm, contemporary navy morocco, gilt, lightly rubbed, 1855 § "An Angler" [Davy (Humphrey)] Salmonia: or Days of Fly Fishing, first edition, illustrations, some spotting, contemporary calf, gilt, a little rubbed, [Westwood & Satchell p.77], John Murray, 1828; and 15 others on fly-fishing, mainly 19th century, 8vo (18) *** Provenance (first mentioned only): from the library of W.A. Foyle at Beeleigh Abbey [book-label in leather to front endpaper]

Angling.- Whole Art of Fishing (The)..., first edition, engraved frontispiece, woodcut initials and head- & tail-pieces, frontispiece fore-edge very slightly curled, 1714, bound with A Discourse of Fish and Fishponds, 1715, together 2 works in 1,  2ff. publisher's advertisements at rear, contemporary calf, lacking spine label, lightly rubbed, for E. Curll; and another of the same in modern taupe calf, small 8vo (2)

Cahiers d'Art, 8 vol. only, mixed issues, illustrations original wrappers, light browning to margins, a little stained and soiled, a little rubbed, one original slipcase, folio, Paris, 1938-55 (8)*** Cahiers d'Art, founded in 1926, is renowned French artistic and literary journal, commenting on modern and contemporary art. Included are: "Piccasso-Le Greco" (1938), "Oeuvres de Picasso" 1946-48 (1948) "un demi-siecle d'art italien" (1950)

Angling.- Cole (Ralph) The Young Angler's Pocket Companion; or a New and Complete Treatise on the Art of Angling, first edition, folding engraved frontispiece of 3 plates on 2 sheets (one of anglers, 2 of fish & hooks), the former here laid down to pastedown, a closed tear to latter at top edge, gutter broken at p.96, contemporary calf-backed boards, covers detached and lacking back-strip, [Westwood & Satchell p.62], 12mo, for R. Bassam [& others], 1795.

Angling.- Scotland .- Stoddart (Thomas Tod ) The Art of Angling, as practised in Scotland, first edition, title vignette, ink ownership inscription to front endpaper, hinges weak, contemporary cloth, slightly marked and dis-coloured, spine ends slightly worn, Edinburgh, W. & R. Chambers, 1835 § [Ayrton (William)] The Adventures of a Salmon in the River Dee, by a friend of the family, with original additional pictorial title (bound after letterpress title) and a plates, some ff. browned, occasional spotting, bookplates, contemporary green half morocco, rubbed, with original printed upper wrapper bound-in,  William Pickering, 1853 § Knox (Robert) Fish and Fishing in the Lone Glens of Scotland, title and other illustrations, small stain to title, book-label, later morocco-backed boards, spine head rubbed, original printed wrappers bound-in, 1854, [Westwood & Satchell p.203; p.2; p.127]; and 33 others fishing in Scotland, mostly 19th century, quite a few in pictorial or decorative cloth and gilt, v.s. (36) 

Art & architecture.- Piranesi (Francesco) Monumenti Degli Scipioni, first edition, engraved vignette, 6 engraved plates, very small marginal worming throughout, generally single tiny wormhole, soiling, water-stained, gutter split, endpapers stained with loss, uncut in contemporary boards, lacking backstrip, very worn, [Rome], 1785; and 4 others art related, of which 3 disbound 18th century parliamentary Acts, one with mention of widow Jane Hogarth, v.s. (5)

Angling.- Bowlker (Richard) The Art of Angling Improved, in all its parts Especially Fly-Fishing containing A particular Account of the several Sprts of Fresh-Water Fish, with their most proper Baits..., first edition, bound with 36ff. blank leaves at rear, the first with a 19th century ink manuscript entry, ink inscription and later slip to pastedown, contemporary calf, upper cover detached and with abrasion, [Westwood & Satchell, p.39], 12mo, Worcester, by M. Olivers, 1747*** The MS entry at rear dated 1813 is a draft for a letter to the editor of the Monthly Magazine, giving advice for "readers who may be desirous of obtaining good carp", to sow hay seeds in the mud in April, providing good fattening food for the winter. 

Angling.- Best (Thomas) A Concise Treatise on the Art of Angling..., first edition, half-title, with ink ownership inscription, engraved frontispiece (working loose at foot), 2ff. publisher's advertisements to rear, slight damp-stain to title, contemporary calf, joints cracking but firm, some light rubbing, [Westwood & Satchell p.31], for C. Stalker, 1787; and another later edition of the same, small 8vo (2)