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Alexander, L. & Cohen, E. 150 SOUTH AFRICAN PAINTINGS - PAST AND PRESENT Cape Town: Struikhof Publishers, 1990 square 4to signed by both authors Lucy Alexander and Evelyn Cohen col. & b/w illustrations hardcover, dustjacket and four others ? TUCHMAN, M. & BARRON, S. - David Hockney: Retrospective, 1989, hardcover, dustjacket ? DE JAGER, E. J. - Contemporary African Art In South Africa, 1973, hardcover, dustjacket ? BARGNA, I. - African Art, 2000, hardcover, dustjacket ? WELZ, S. - Art At Auction In South Africa, 1996, hardcover, dustjacket all books in excellent condition 5

Jeppe, H. SOUTH AFRICAN ARTISTS 1900 - 1962 Johannesburg: Afrikaanse Pers-Boekhandel, 1963 8vo col. & b/w illustrations hardcover edge worn, and two others ? WILLIAMSON, S. - Resistance Art in South African, 1989, softcover ? DE JAGER, E.J. - Contemporary African Art In South Africa, 1973, hardcover, dustjacket 3

Kentridge, W. WILLIAM KENTRIDGE Chicago: Museum of Contemporary Art, 2001 4to col. & b/w illustrations softcover pristine 1

Gwilym Pritchard (1931-), "Cadair Idris", signed, titled and dated 1998 on verso, oil on canvas, 37 x 45cm.; 14.5 x 17.75in. * Studied at Normal, Bangor and Birmingham College of Art, 1960 -64. Held several teaching posts, settling at Anglesey, an area of key importance to his painting. Decided to become a full time artist in 1973, commissioned work including some for the British Army in Belfast. Pritchard was a member of the Royal Cambrian Academy, also exhibiting with the Royal Eisteddfod, Welsh Arts Council, Society for Education in Art and North Wales Group. Had regular solo shows, starting with Howard Roberts Gallery, Cardiff in 1961, other venues including New Art Centre and Heal`s Mansard Gallery. St. Michael`s Church, Ruabon, Clwyd has a mosaic by Pritchard, whose work is in many public collections, including University College of Wales, Aberystwyth, Welsh Arts Council and Contemporary Art Society for Wales.

David Baumforth (1942-), "Black Nab at Dusk, Tide on the Make", signed and titled, mixed media, 75.5 x 110.5cm.; 29.75 x 43.5in. * David continually observes the North Sea and sky, the wild Yorkshire coastline and its hinterland. His work combines a contemporary viewpoint with the tradition of the Northern European Romantic Painters, capturing the elemental power of nature. He is uncompromising in his pursuit of nature`s passion. He is a nationally and internationally respected painter and has exhibited widely in both one-man and group shows, including The Summer Show at The Royal Academy, The Royal Watercolour Society Open and The Hunting Prizes at The Royal College of Art. Prize winner in the Not the Turner Prize 2003.

Andrey M Shirokov, Russian b.1960- "One Winter Evening"; oil on canvas, signed and dated `10, 30.5x50.5cm, (unframed) Note: Shirokov is a Russian contemporary impressionist artist and member of the Artists Union of Russia. He was born in Vyatka (formerly Kirov- small town 900 km east of Moscow) in 1960 into a family of painters. After graduating from the Kirov School of Painting he chose to remain in his home town and has become a central figure in the Vyatka art movement, which preserves traditions of realistic school of painting. Shirokov was influenced by the Russian artists, Repin, Serov and Nicolai Feshin. He found additional inspiration in the works of John Singer Sargent, Anders Zorn and Joaquin Sorola. Shirokov has participated in numerous artistic undertakings, both in Russia and internationally. His works have been exhibited widely in Russia and abroad including America, Italy, Greece, Japan and Poland. His paintings can be found in Russian museums and private collections, including the UK

Andrey M Shirokov, Russian b.1960- Still life of Wild Roses; oil on canvas, signed and dated `10, 55.5x50.5cm., (unframed) Note: Shirokov is a Russian contemporary impressionist artist and member of the Artists Union of Russia. He was born in Vyatka (formerly Kirov- small town 900 km east of Moscow) in 1960 into a family of painters. After graduating from the Kirov School of Painting he chose to remain in his home town and has become a central figure in the Vyatka art movement, which preserves traditions of realistic school of painting. Shirokov was influenced by the Russian artists, Repin, Serov and Nicolai Feshin. He found additional inspiration in the works of John Singer Sargent, Anders Zorn and Joaquin Sorola. Shirokov has participated in numerous artistic undertakings, both in Russia and internationally. His works have been exhibited widely in Russia and abroad including America, Italy, Greece, Japan and Poland. His paintings can be found in Russian museums and private collections, including the UK

AN ART NOUVEAU COPPER REPOUSSÉ PHOTOGRAPH FRAME AND A CONTEMPORARY COPPER TRAY

Lots 439-446 are from the collection of the Estate of the late Hans Schwarz, Austrian 1922-2003 Hans Schwarz, painter and sculptor: born Vienna 29 December 1922; married 1943 Lena Jones (two sons); died London 28 May 2003. Hans Schwarz, a Central European Jew, was exiled from Austria to Britain with the rise of Hitler and the onset of the Second World War. His mother died when he was 12, and father perished in Auschwitz. He arrived in Britain at the age of 16 as a refugee, but later went to Birmingham College of Art, which led to his employment in a commercial art studio and later as a freelance illustrator. However it was not until his forties when he devoted all his time to his true passion of being a painter and sculptor. He took his inspiration from artists like Schiele and Kokoschka, the German Expressionists, and from French painters such as Bonnard. He had a strong solid style combined with a vivid use of colour. He was a member of the Royal Watercolour Society, the Royal Society of British Artists, the Royal Society of Portrait Painters, the New English Art Club, the Contemporary Portrait Society, the Chelsea Art Society and the Hampstead Artists Council. He worked in every medium covering many subjects, but some of his most memorable pictures were his portraits, notably in 1984 of the trade union leaders Tom Jackson, Sid Weighell and Joe Gormley, which now hangs in the National Portrait Gallery, London. Anton Emanuel Peschka, Austrian 1885-1940- "Erdo Dulo, Hungary"; oil on panel, signed and dated 1925, bears pencil inscription to verso, in an ebonised frame, 9.7x18.5cm Provenance: From the Estate of the late Hans Schwarz, Austrian 1922-2003 Gifted from the artist to Hans Schwarz. Note: Anton Peschka was very good friends with the Austrian artist Egon Schiele.

A Gibson Super 400 Guitar No. 93918 with single pick up and scratch built foot pedal together with original receipt from Francis, Day & Hunter Ltd, Charing Cross Road, dated 5th March 1941 for £90 showing part exchange for Grimshaw guitar £30, amount payable £60 and original guarantee from F.D. & H, and contemporary outer hard case, on stand, together with a selection of slides, finger picks and two books, Ian C Bishop "The Gibson Guitar from 1950" and Thomas A Van Hoose "The Gibson Super 400-Art of the Fine Guitar" (ILLUSTRATED)

"Contemporary silver plate three piece coffee set of Art Deco conical form with angular wing handles, teapot approx 20cm h"

GRIGORIEV, BORIS 1886-1939 Portrait of Anna Sergeeva , signed and dated 1921, further inscribed in Cyrillic with a dedication to Anna Sergeevna Sergeeva, signed and dated "Paris 921" on the stretcher. Oil on canvas, 92 by 73 cm. "Provenance: Private collection, France.Exhibited: Exposition des artistes russes à Paris en 1921, Galerie La Boétie, Paris, 1921, No. 46.Literature: T. Galeeva, Boris Dmitrievich Grigoriev, St Petersburg, Zolotoi Vek, 2007, p. 132, illustrated.Exhibition catalogue, Exposition des artistes russes à Paris en 1921 organisée par les membres et exposants de la Société Mir isskousstva (Monde artiste) à la Galerie “La Boétie”, Paris, Édition “L’Art russe” A. Kogan, 1921, No. 46.This portrait of the poet Anna Sergeeva was painted during the most fruitful and successful period of Boris Grigoriev’s life. Executed in 1921, shortly after the artist moved from Berlin to Paris, it became a kind of first milestone on the road to European recognition of his talent.As early as June 1921, the finished portrait of Sergeeva appeared in a World of Art exhibition at a renowned gallery in the rue La Boétie, in a fashionable area of central Paris. Although Grigoriev joined the World of Art group primarily to solve his financial problems, exhibiting side by side with the stars of the group — Bakst, Larionov, Goncharova, Sudeikin, Benois, Somov, Roerich and others — brought the artist real success.Grigoriev was noticed at the exhibition, not only thanks to the large number of works he showed (more than 40), but above all thanks to the “Realist audacity” that so struck the critics, and the “great expressiveness and conviction in his picture of Russia, its people and its way of life” of the new cycle, Faces of Russia (Visages de Russie). As a result, most of the exhibition reviews highlighted Grigoriev as one of the brightest talents of contemporary Russian art.These pictures from the series People (Les Hommes) that were shown in the exhibition, and the female portraits among them, including that of Anna Sergeeva, mark a new stage in Grigoriev’s career. In them the acute individuality of the subjects combines with a vivid decorative structuring of the canvasses. A grotesque element, which had previously served as a stylistic principle of Grigoriev’s creative ideas, has not disappeared from his work entirely but has been partially neutralised and transformed under the influence of the Neoclassical trends that then seized European art. However, the characteristic “showiness” of the portrait concept remains.Grigoriev strives to penetrate the mystery of the individual human form with his vividly expressive sense of colour, he presents it extremely perceptively and with an affected deliberateness, emphasising the crucial features, surfaces and lines. In Grigoriev’s portraits of this period, designed to be taken in at a glance, we can recognise this artist’s hand even from a distance. But in this portrait of the Russian poet Anna Sergeeva, the distancing effect of the general detachment from real life, which was also the source of the cool, elegant brilliance of the artist’s work of the 1920s, comes together with the theme — common to all Grigoriev’s portraits of notable figures in the arts — of virtuosity. This would, some years later, be further developed in his dazzling cycle depicting actors from the Moscow Art Theatre."

NESTEROV, MIKHAIL 1862-1942 The Nightingale is Singing , signed and dated 1918. Oil on canvas, 81 by 68.5 cm. Provenance: Private collection, UK.Authenticity certificate from the expert V. Petrov.Related literature: For a later version of the same composition, see Russkaya dorevolyutsionnaya i sovetskaya zhivopis’ v sobranii Natsional’nogo khudozhestvennogo muzeya Respubliki Belarus’, Vol. 2, Minsk, Belarus, 1997, p. 178, No. 1189, illustrated.Mikhail Nesterov’s The Nightingale is Singing is one of his earliest versions of the celebrated 1917 composition, of which the artist painted at least four. It is now impossible to establish what became of the 1917 original, which, according to contemporary sources, was a larger-scale work than the later versions. We know for certain that a picture of the same name was sold at the famous Russian Art Exhibition in America in 1924 (and it is possible that this and the present work are one and the same). Another version, painted in 1922, is in a private collection in Kiev and the 1929 work that concludes the series is in the collection of the National Art Museum of Belarus.The well-known avant-garde theatre director and theorist Nikolai Evreinov visited Nesterov’s studio in the early 1920s and wrote that: “Among the versions of subjects that I knew well I found my eyes glued, so to speak, to the spellbinding work The Nightingale is Singing which Nesterov had painted in 1917. The subject is not complicated: in early summer, a young novice nun stands by a dreamy lake bordered by a beautiful forest and listens breathlessly to the song of Nature pouring forth in the nightingale’s trilling; and on her lips, which have vowed never to know a sinful kiss, is a smile — such a sad smile, so understandable, so human!”The story of how this subject arose is closely linked to Nesterov’s cycle of works dedicated to nuns, the “brides of Christ”, which he created over twenty long and extremely fruitful years. He conceived The Bride of Christ as a memorial to his beloved wife who had died unexpectedly. He first painted a large study of a girl lost in thought, in a dark dress with a little stalk of grass in her teeth and “with the face of my Masha”. In the words of one who had seen this now-lost work, “you could stand before this pensive girl for a good while and ponder for hours that mystery of life that she too is pondering. And in those thoughtful eyes there was so much that was familiar and close to us, such a revelation of the deepest recesses of the female soul that, looking into them, you could not help but recall the similar pensive heroines of Melnikov-Pechersky, his Flenushka and others, and the whole of our native Rus and its God-seeking people.”“With this picture” said Nesterov later, “I had reached a turning point and something had appeared that would later grow more consistent, something well-defined, which gave me my ‘persona’... My love for Masha and my losing her made me into an artist, brought to my art what had been missing: emotion and a living soul — in a word, everything that people would later come to value and still value in my art.”And indeed, The Bride of Christ immediately attracted serious critical attention. With this work, the artist’s destiny was decided. Continuing his initial theme, between the 1890s and 1910s Nesterov painted a whole story in pictures dedicated to the fate of the innocent girl, partly serving to develop the theme of his own sweet melancholy and partly inspired by Pavel Melnikov-Pechersky’s twin works In the Woods and In the Highlands.However, according to the celebrated writer and close friend of the artist S.N. Durylin, it was The Nightingale is Singing that “became one of the most poetic versions of Nesterov’s theme of the fate of the Russian woman. Again we have a bride of Christ, but this time the artist brings her outside the convent walls one peaceful May evening to the edge of the forest, basking in the fragrant warmth of spring, while the nightingale’s song of love and paean to springtime makes her forget for a moment all her vows to obey, to pray and to ‘withdraw from the world’… We cannot see the nightingale in the picture, but we hear its song in the fragrant stillness of that spring evening, a stillness that seems to hear and respond, and the subject of the song is clear: youth, happiness and love.”Indeed, in the delicately observed motif of the nightingale’s song, which seems to come from beyond the bounds of the picture, a theme resonates which was of great significance in Nesterov’s work — the theme of music bringing man and nature into harmony. As we look at this picture, we are reminded of what Vasily Rozanov said of Nesterov in 1907, in connection with the gloomy and oppressive state of Itinerant painting, and his words seem prophetic: “Then, like the resonant song of the skylark from a warm, blue sky, we heard the music and the musicality of Vasnetsov and Nesterov. ‘To the sky! To the sky!’ And we all looked to the sky. That is why we love them!”

* VOLKOV, ALEKSANDR 1886-1957 Listening to the Bedana , signed. Oil on canvas, laid on board, 97.5 by 97.5 cm. Executed in the 1920s.Provenance: Acquired directly from the artist’s family by the Ministry of Culture of the USSR, probably in the 1960s.Acquired from the above by an American dealer.Private collection, USA.Authenticity of the work has been confirmed by the artist’s family.Exhibited: Russian Exhibition. Contemporary Paintings, Drawings and Sculptures Directly from the U.S.S.R., Saks Galleries, Colorado, November 1975.Literature: Exhibition catalogue, Russian Exhibition. Contemporary Paintings, Drawings and Sculptures Directly from the U.S.S.R., Saks Galleries, Colorado, November 1975, illustrated.Aleksandr Volkov was one of the most brilliant representatives of the “Eastern avant-garde”. His Uzbek imagery entered art history for the bold addition it made to traditional Orientalism, approached with the geometrisation and division of space found in Cubism, Futurism and Suprematism.Listening to the Bedana, painted in the 1920s, belongs to a new stage in this artist’s career in which he experimented with figurative representation. Volkov summed up this period of his life in his diary: “The road to Realism. Themes of mountain villages. Fergana. Chaikhanas”. The complexity of these experiments, which soon led him away from the mainstream of Soviet art, resulted in the artist being accused of wandering the “labyrinth of formalism”, which had already been noted in his cycle of “musical” compositions of the 1920s.In terms of subject-matter Listening to the Bedana is a direct continuation of the artist’s celebrated masterpiece Listening to Music, but at the same time there is much in it that relates to the composition of his equally well-known Chaikhana paintings. Here the artist again tackles his two favourite motifs in the same picture, those of oriental tea-drinking and music-making. By portraying them in close-up, Volkov demonstrates his characters’ detachment from everyday life and their concentration on enjoying the music. Despite the simplicity and prosaic nature of the subject matter, this is not a genre scene set in a chaikhana but rather an epic work. We are witnessing not simply tea-drinking, but a silent, meaningful conversation between three worldly men: this work, which is extraordinary for its emotional expressiveness, is thereby raised to the level of a metaphorical depiction of the theme of music awakening the human soul. In the 1920s the artist was seized by an interest in folk culture and a sense of affinity with his national heritage. He was captivated by the sounds of the bazaars and provincial streets and it is thus music that is the quintessence of his best works of that period.In this scene Volkov is consciously avoiding the plethora of oriental sounds and colours which characterise his more primitivist version of Listening to the Bedana, Singers-Uzbeks and Chaikhana. Listening to a Song. The protagonists’ robes and skull-caps, imbued with shadows and coloured highlights, are austere and without a great deal of colour. The conceptual and colour focuses are provided by the bedana in its white cage hanging against the background wall in the upper right; the shining face of the central figure, lost in the song of the quail and the sound of the dutar; and the dutar itself, its pearshaped, mulberry-wood body transformed into an immaterial conglomeration of luminous colour.One role of the chaikhana is to bring peace, to offer rest and the time for reflection. For this reason everything in this picture remains faithful to everyday life and is accurate in terms of volume, space and what is depicted. A sense of music is conveyed with extraordinary precision by the simplest, most economical of means. We have the impression that Volkov’s work is pictorially reproducing the accidental musical ensemble created by the singing bird and the dutar accompanying him, the rhythm of which is based on monody and monophony and has the same hypnotic effect as the song of the quail which is valued in Central Asia for its loud, monotonous, continuous cry. There are no details, no decorations. The only three people in the world have been united by the music. One is playing the dutar, another raises a tea-bowl to his mouth and the third, clothed all in white, is sunk in the contemplative meditation of Sufism. The dark background of a wall, from which melons stand proud against the background with the bedana (the same word in Uzbek signifies both the quail and the cage which holds him), emphasises the precision of the men’s silhouettes and the extreme dynamism of the vibrant colours used for their faces.The artist concentrates all his attention on the economically rendered, powerful masses of the human figures. These are human monoliths. The forms of their bodies are simply-rendered and sculptural, “fluid” and yet full of energy, like a coiled spring. At the same time all the protagonists have some kind of superior strength, especially evident in the treatment of the hands, reminding us of the forms of Picasso’s Neo-Classical period. It is no coincidence that the art historian Aleksei Sidorov noted as early as the 1920s that “in many of Volkov’s pieces there is more of Paris than of Tashkent, more of Matisse and Picasso than of the oriental rug”.Fusing together the local colour of his native Uzbekistan with experiments in the new figurativeness art that was prevalent in the second half of the 1920s, Volkov proved to be in tune with the international hunger for this new objectivity, endowing Listening to the Bedana with a supra-national significance.

* RODCHENKO, ALEXANDER 1891-1956 Advertisement for Cookies from the Red October Factory , signed. Gouache and collage on paper, 83 by 58.5 cm. "Executed in 1923.Provenance: Private collection, Switzerland.Authenticity certificate from the expert T. Goriacheva.Exhibited: Aleksandr Rodchenko, The Museum of Modern Art (MoMA), New York, 1998; Kunsthalle, Düsseldorf, 1998-1999; Moderna Museet, Stockholm, 1999.Rodchenko and Popova: Defining Constructivism, Tate Modern, London, 12 February-17 May 2009; State Museum of Contemporary Art, Thessaloniki, June-September 2009; Museo Nacional Centro de Arte Reina Sofía, Madrid, October 2009-January 2010.Literature: Exhibition catalogue, Aleksandr Rodchenko, New York, MoMA, 1998, p. 196, No. 106, illustrated.C. Kiaer, Imagine No Possessions: The Socialist Objects of Russian Constructivism, Cambridge, The MIT Press, 2005, illustrated on the cover and pl. 16.Exhibition catalogue, Rodchenko and Popova: Defining Constructivism, London, Tate Publishing, 2009, p. 105, No. 142, illustrated.Alexander Rodchenko is best known as one of the fathers of Constructivism. He and his wife and comrade in arms, Varvara Stepanova, were also pioneers of Soviet photography and social design and revolutionised the world of advertising.This design for a Red October factory poster was created in 1923 for Mosselprom and belongs to the most interesting period of Rochenko’s oeuvre. That same year Mayakovsky had chosen him as fellow artist and collaborator on Soviet advertising posters. Establishing an instant rapport they went on to shake up every tradition of the genre, placing paramount importance on clarity of purpose and design. “We completely conquered Moscow… transforming the old tsarist-bourgeois Western style of advertising into a new ‘Soviet style’”, wrote Rodchenko of their collaboration.This Red October factory poster was reproduced on bill-boards all over Moscow in 1923-1924 and Mayakovsky’s slogan at the bottom, “Nowhere except Mosselprom”, became a catchphrase. Using elements of text as well as images and abstract symbols as part of the composition, Rodchenko created a unique style to promote the company’s image. One of the key characteristics of Rodchenko’s Constructivist advertising style was the documentary element to his posters and his use of photographic images.In one two-year period Rodchenko and Mayakovsky produced more than 100 poster designs, and it was for these posters that Rodchenko received a silver medal at the International Exposition of Modern Industrial and Decorative Arts in Paris in 1925."

A FRENCH ART DECO BRONZE STATUETTE OF THE MESSAGE OF LOVE CAST FROM THE MODEL BY PIERRE LE FAGUAYS on Portor marble plinth, 45cm h, engraved Le Faguays and with contemporary engraved bronze presentation tablet, c1930 The inscription reads: EN SOUVENIR DES 25 ANS DE SERVICE A LA CIE. DES WAGONS-LITS OF FERT PAR LES CADRES DE LYON ET DE MARSEILLE 1930. A similar example is illustrated Catley (B), Art Deco and Other Figures, Woodbridge 1978, p194. ++Marble plinth chipped on one side. Minor old fatigue crack developing in one arm but stable. The old varnish somewhat discoloured over time

A contemporary glass sculpture of two ladies in the Art Deco style.

A contemporary glass sculpture of two ladies in the Art Deco style.

A set of 4 mounted contemporary ceramic wall tiles, each depicting the same Art Nouveau style female figure in naturalistic setting (as viewed)

Tatiana Kovalenko, Ukrainian/Russian b.1984- "In the Marina, Yacht-Club", oil on canvas, signed and dated `10, 40x59.5cm (may be subject to Droit de Suite) Note: Kovalenko was born in Dnepropetrovsk in 1984. In 2004 she graduated from the Dnepropetrovsk Theatre and Art College, Painting Department. She is currently studying at the Kharkiv State Academy of Arts and Design. She has participated in many Ukrainian and regional exhibitions of contemporary art projects. Her works are held in the National Museum of Shevchenko University, Kiev, and Bakhchissaray State Art Museum, and private collections in the Ukraine, Russia, Italy and England.

Andrey M Shirokov, Russian b.1960- Winter Village Scene; oil on canvas, signed and dated `10, 30x50.5cm, (unframed) (may be subject to Droit de Suite) Note: Shirokov is a Russian contemporary impressionist artist and member of the Artists Union of Russia. He was born in Vyatka (formerly Kirov- small town 900 km east of Moscow) in 1960 into a family of painters. After graduating from the Kirov School of Painting he chose to remain in his home town and has become a central figure in the Vyatka art movement, which preserves traditions of realistic school of painting. Shirokov was influenced by the Russian artists, Repin, Serov and Nicolai Feshin. He found additional inspiration in the works of John Singer Sargent, Anders Zorn and Joaquin Sorola. Shirokov has participated in numerous artistic undertakings, both in Russia and internationally. His works have been exhibited widely in Russia and abroad including America, Italy, Greece, Japan and Poland. His paintings can be found in Russian museums and private collections, including the UK

"Collection of books and magazines on contemporary art including Minotaure c1933, studies on Ben Nicholson, Dali, Braque, Picasso and Cahiers D`Art 1955"

An Art Deco style ink well of globular form in pale green with black mid band and 3 black ball feet, a Roland "Virgo" contemporary style table cigarette lighter, 2 crudely potted oil lamps in antique style and a contemporary moulded glass scent bottle of Victorian style

James Jefferys (1751-1784) An heroic classical figure group pen and ink over graphite, with monochrome ink wash, the number 16 inscribed on verso in contemporary ink, 36 x 56.5cm (14 1/8 x 22 1/4 in), exhibition label of Roland, Browse & Delbanco on backboard. *** The exhibition label connects this drawing to a series extracted from an album and exhibited by Roland, Browse & Delbanco in 1949 (see exhibition review in The Burlington Magazine 91, February 1949). It cites the artist as simply `The Master of the Giants`, as his true identity was then unknown. It had been variously thought to be Prince Hoare, Maria Cosway and John Cartwright, but was convincingly revealed to be James Jefferys by Nancy Pressly in James Jefferys and `The Master of the Giants`, (The Burlington Magazine 119, April 1977. See also The Fuseli Circle in Rome, Early Romantic Art in the 1770s, Yale Center for British Art, 1979). This followed the discovery of a group of signed works by Jefferys in Maidstone Library in 1976, which further highlighted the influence on his work of Fuseli and the Mannerist work of Michelangelo. Jefferys lived in Rome and Florence on a travel bursary awarded by the Society of Dilettanti, on the recommendation of Sir Joshua Reynolds, from 1775 to 1781. Some other examples from this series, including the one sold in these rooms on 23rd June, 2011 (in the identical original exhibition frame as this drawing now offered), are dated June or July 1790, clearly fixing this group of drawings to that sojourn. Condition report: A small area of thin paper visible on verso upper right, not affecting recto, the sheet without repairs, taped at blank upper edge to support, a thin run of wash from the artist`s brush from centre right.

DDS. Eine (British, b.1970) Graffiti, 2006, Spray paint and mixed media on canvas, signed and dated in blue ink verso, 910 x 910 mm (36 x 36 in) Provenance: Santa`s Ghetto, London, 2006, Ben Flynn aka Eine`s work is most recognized by his characteristic typographic font that he uses to write his alphabet letters over shutters and walls around the world. Eine now has a canvas in President Obama`s art collection via a gift from David Cameron on his first state visit. The gift of course has propelled the market value and demand for his work. His most recent show at White Walls Gallery in San Francisco was sold out before opening. Amnesty International has asked Eine to design their 50th anniversary poster, following such artists as Picasso and Miro who supported the charity through their art as well. Eine was also asked to take part in the groundbreaking exhibition of street art ÒArt in the StreetÓ at the Museum of Contemporary Art (MoCA), Los Angeles.

Seen (American, b.1961) No Parking, 2009, Spray paint and mixed media on no parking sign, signed and dated in pencil verso, 410 x 510 mm (16 1/4 x 20 1/4 in) Provenance: Purchased from the artist, New York. This extremely rare work on a No Parking sign is by the artist known as the Godfather of Graffiti, Seen (aka Richard Mirando), who conquered the subways of New York City in the early 1970s and became one of the most influential graffiti writers in the world after being prominently featured in PBS documentary Style Wars. With his crew United Artists, Seen`s full colour throw ups would dominate entire subway carriages for the next sixteen years to come. In the 1980s Seen started establishing himself as an artist, producing works on canvas and showcasing his art globally with artists such as Keith Haring, Andy Warhol, and Jean-Michel Basquiat. Mostly recently, Seen`s impact on the world of graffiti can be seen at the biggest exhibition of street art to date the Museum of Contemporary Art (MoCA), Los Angeles.

John Hinchliffe. A late 20th century wall hanging, rug and rag work in a geometric pattern, 148 x 522 cm together with a similar contemporary rag work wall hanging by the same artist in a striped design, 127.5 x 256 cm. (2). Note: John Hinchliffe trained in textile design at Camberwell College of Art and Design and at the Royal College of art. Examples of his work can be found in the Crafts Council and V&A museum collections. He has also written 3 books including Rugs From Rags (Orvis)

Asian Photography and Art.- Paris - Pékin colour illustrations, original wrappers, original boards slip-case, Paris, 2002 § Lee (Jaehyo) Portfolio, colour plates, original printed wrappers, [c.2007] § Poshyananda (Apinan) Contemporary Art in Asia, many colour illustrations, original cloth, dust-jacket, New York, 1996; and 8 others, similar, v.s.

Tymms (W.R.) and M.D.Wyatt. The Art of Illuminating as Practised in Europe from the Earliest Times chromolithographed plates, additional f. inserted with colour monograms around patterned design with inscription to head, contemporary morocco over wooden boards, elaborately blind-stamped [by Sir Henry Bruce, see note], t.e.g., purple flaps to spine ends, spine faded, 1860 § Lacroix (Paul) Les Arts au Moyen Age et a l`Epoque de la Renaissance, fourth edition, plates, many colour, contemporary half morocco, spine gilt, rubbed at corners and spine, Paris, 1873 § Secrétan (E.) Catalogue of the Celebrated Collection of Paintings by Modern and Old Masters and of Water-Colors and Drawings..., 2 vol., second edition, plates, tissue-guards, original wrappers bound-in, contemporary half morocco, spine gilt, t.e.g., a little scuffed, Paris, 1889; and 9 others, illustrated works, v.s. (13)(13)

Sewell (A.) Black Beauty, his Grooms and Companions American Humane Education Society edition, with their material at beginning and end, frontispiece, plates, text-illustrations, name stamp on fly-leaf, original red cloth, gilt, rubbed, Boston, [1890] § Ellison (V.C.) Europe Revisited, The East Riding Yeomanry in the liberation of Europe, frontispiece, plates, folding map, original decorated cloth, faded & worn, [1946] § Village Doctor (The); or the Art of Curing Diseases Rendered Familiar and Easy, second edition, spotted, contemporary half calf, rubbed and marked, 1825, 8vo (3)

Shakespeare (William) Histories & Poems; Tragedies: Comedies 3 vol., illustrated, contemporary half calf by Riviere & Sons, J. M. Dent, 1925 § White (Gilbert) The Natural History and Antiquities of Selborne, half calf, 1901 § Bullock (Helen) The Williamsburg Art of Cookery, full calf, Williamsburg, 1938, and another, 8vo (13)

JASON WALLIS-JOHNSON (contemporary), `Untitled` (2000), Op-Art style study in white painted frame, 21cm x 26cm.

A Chinese export gilt-decorated black lacquer games box, Daoguang (1821-50), typically decorated with figures amid pavilions on a foliate ground, the similar interior fitted with trays and four lidded boxes, on four gilt lion paw feet, 30cm containing a quantity of contemporary Canton carved and engraved mother-of-pear fish-shaped counters. In light of the changing international market practices for the auctioning of Oriental Works of Art, Dreweatts advises prospective bidders that we will require registered bidders to provide additional evidence of identity and, at our sole discretion, we may also request financial references that might include the lodging of a £2,500 security deposit by a bank transfer or debit card prior to the commencement of the sale. In the event that a deposit is sought it will be returned, without interest and at the bidder`s cost with respect to transaction charges, within 7 working days of the end of the sale. In all circumstances it is at Dreweatts sole discretion as to whether we are prepared to accept bids from any bidder and we urge interested bidders to make their sale registration applications as early as possible, and in any event no later than mid-day on Monday 19th September.

A Chinese glazed biscuit porcelain double-walled vase, impressed Qianlong seal mark but late 19th/early 20th century, of square tapering from reticulated and moulded in relief with battle scenes within foliate diaper borders, the neck decorated with shou medallions, cash and bats, 51.5cm high, contemporary wood stand. In light of the changing international market practices for the auctioning of Oriental Works of Art, Dreweatts advises prospective bidders that we will require registered bidders to provide additional evidence of identity and, at our sole discretion, we may also request financial references that might include the lodging of a £2,500 security deposit by a bank transfer or debit card prior to the commencement of the sale. In the event that a deposit is sought it will be returned, without interest and at the bidder`s cost with respect to transaction charges, within 7 working days of the end of the sale. In all circumstances it is at Dreweatts sole discretion as to whether we are prepared to accept bids from any bidder and we urge interested bidders to make their sale registration applications as early as possible, and in any event no later than mid-day on Monday 19th September.

COSTUME JEWELLERY. A QUANTITY OF ART DECO AND OTHER GLASS NECKLACES composed mostly of faceted beads, another of grey `cultured pearls` with purple paste set marcasite clasp and several similar contemporary necklaces, mainly c1920-40 ++As a collection in fine condition

David Baumforth (1942-), "The Voice Of the North Sea off Flamborough Head", initialled and titled, mixed media, 81 x 81cm.; 32 x 32in. * David continually observes the North Sea and sky, the wild Yorkshire coastline and its hinterland. His work combines a contemporary viewpoint with the tradition of the Northern European Romantic Painters, capturing the elemental power of nature. He is uncompromising in his pursuit of nature`s passion. He is a nationally and internationally respected painter and has exhibited widely in both one-man and group shows, including The Summer Show at The Royal Academy, The Royal Watercolour Society Open and The Hunting Prizes at The Royal College of Art. Prize winner in the Not the Turner Prize 2003.

Edwardian silver photograph frame of rectangular form, embossed with floral decoration in the Art Nouveau style (Birmingham 1904), Victorian dwarf column silver candlestick (London 1888), 1940s silver cigarette case of rectangular form with engine-turned decoration (Birmingham 1940) and a contemporary silver mounted cut glass bud vase (Birmingham 1879), cigarette case approximately 6ozs, 14.5cm overall (qty) Further images and condition reports are available at www.reemandansie.com

BRUCE MCLEAN GREEN FISH ON YELLOW screenprint, signed, dated 1984 and numbered 7/10 76cm x 64cm Note: Bruce McLean is one of the major figures of contemporary British Art. Born in 1944, he studied at Glasgow School of Art and at St. Martin`s in London, later teaching at the Slade School of Art. He has obtained international recognition for his paintings and prints,and from his work with film, theatre and books. McLean`s bold and confident approach to printmaking proved influential to his contemporaries. His work s now in private and public collections across the world and he has had numerous exhibtions across Europe and North America.

facsimile of the 1486 edition original blind-stamped vellum spine gilt soiled 1881 § Twici (William) The Art of Hunting or Three Hunting Mss. translated by H. Dryden plates ink ownership inscription to front free endpaper plates original cloth gilt a few small marks a very good copy Northampton 1908 § Lomax (James) Otter Hunting Diary 1829 to 1871 portrait frontispiece and plates occasional spotting contemporary half-morocco rebacked preserving original backstrip rubbed Blackburn 1910; and c.18 others field sports v.s. (c.21) facsimile of the 1486 edition original blind-stamped vellum spine gilt soiled 1881 § Twici (William) The Art of Hunting or Three Hunting Mss. translated by H. Dryden plates ink ownership inscription to front free endpaper plates original cloth gilt a few small marks a very good copy Northampton 1908 § Lomax (James) Otter Hunting Diary 1829 to 1871 portrait frontispiece and plates occasional spotting contemporary half-morocco rebacked preserving original backstrip rubbed Blackburn 1910; and c.18 others field sports v.s. (c.21)

[Turberville (George)] The Noble Art of Venerie or Hunting. Wherein is handled and set out the vertues nature and properties of fifteene sundry chaces together with the order and manner how to hunt and kill euery one of them second edition title with large woodcut vignette woodcut illustrations some full-page 2ff. of music for bugle calls at end lacking initial blank and [par.]4 (supplied in facsimile) fraying to lower edge of title and [par.]3 loss to some of imprint on title partially repaired tear within text of second f. of music no loss [Schwerdt II 271-272; STC 24329] Thomas Purfoot 1611 bound with Turberville (George) The Booke of Falconrie or Havvking second edition title with woodcut vignette woodcut illustrations lacking sig. 2A at end (2A4 blank) [Schwerdt II 271-272; STC 24325] Thomas Purfoot 1611 occasional contemporary ink marginalia lightly browned some water-staining heavier at start of first work contemporary sheep rebacked preserving original backstrip later gilt applied 4to *** An adaptation of Du Fouilloux`s La Venerie of 1560.

Thompson (Charles) Rules for Bad Horsemen fourth edition preliminary advertisement f. with later ink inscriptions at head contemporary calf joints splitting but holding firm rubbed for J.Robson 1775 § Richardson (Captain Mervyn) Horsemanship; or the art of riding and managing a horse adapted for the guidance of ladies and gentlemen on the road and in the field first edition half-title 5 engraved plates C56 torn and repaired some spotting or foxing to plates pastedown advertisements original cloth rebacked in modern crushed morocco scarce 1853 § Astley (Philip) Astley`s System of Equestrian Education fifth edition engraved portrait frontispiece and 9 plates some light offsetting occasional spotting contemporary calf rebacked corners worn rubbed and scuffed 1801 § Dwyer (Major Francis) Seats and Saddles Bits and Bitting Draught and Harness third edition frontispiece plates original pictorial cloth gilt a few small stains rubbed 1877 § Young`s Lady`s Equestrian Manual first edition half-title frontispiece pictorial title illustrations lacking front free endpaper some spotting and finger-marking original pictorial cloth gilt spine ends and corners frayed 1838; and 16 others Horses including a set of Adams An Analysis of Horsemanship 1805 lacking 1 plate v.s. (21)

The Photographic Art-Annual 16 photographs and 2 stereographs on printed mounts by Francis Bedford W.C.Barker J.T.Lucas T.Bolton and others contemporary half morocco [Gernsheim Incunabula 623] 4to William Lay 1859. *** All published of a scarce photographic and literary periodical first issued as The Photographic Art-Journal in monthly parts from February to December 1858. COPAC records B.L. and VA only; no copy traced at auction.

A contemporary silver frame, the broad rim embossed with Art Noveau style figures, foliage etc. Birmingham 1985

A contemporary ceramic art vase of oval shape with a copper glaze - impressed marks to the base View on staceyauction.com

Tanner (John) The Hidden Treasures of the Art of Physick, second edition, errata f. at end, pen scribbles on last p. and end fly-leaf, title frayed and little soiled, some marking, small book-label on front paste-down, contemporary speckled calf, ruled in blind, rubbed and marked, rebacked, [Wellcome V 232; Wing T136], 8vo, George Sawbridge, 1659.

Imperial Japanese Govenment Railways. An Official Guide to Eastern Asia…, vol.IV: China, first edition, colour frontispiece and 8 black & white photographic plates, 22 colour maps, most folding, large folding map in pocket at end, illustrations, original limp brown cloth, slightly stained otherwise a very good copy, Tokyo, 1915 ? [Corner (Julia)] China…with some account of Ava and the Burmese, Siam, and Anam, first edition, engraved map, wood-engraved illustrations, contemporary half calf, worn, 1853 ? Sergeant (P.W.) The Great Empress Dowager of China, 1910 ? Parker (E.H.) Ancient China Simplified, 1908 ? Fleming (Peter) The Siege at Peking, 1959 ? Bushell (S.W.) Oriental Ceramic Art…from the collection of W.T.Walters, reprint, 1981, plates and illustrations, all but the second original cloth, the third with faded spine, the last two with dust-jackets: and 8 others on China, 8vo & 4to (14) (14)

Mau (August) Pompeii, Its Life and Art, translated by Francis W. Kelsey, first edition, plans and illustrations, inscription to half-title, original calf-backed cloth, gilt, corners and spine ends bumped, damp-stained, New York, 1899 ? Archaeological Pamphlets.- 11 pamphlets relating to English archaeology and history, largely relating to Cheshire, plans and illustrations, some folding, contemporary cloth, 1865-1911; and 2 others, classical and ancient history, 8vo (4) (4)

Gwilym Pritchard (1931-), "Seine near Laudebec", signed, watercolour, 26.5 x 37cm.; 10.5 x 14.5in. * Studied at Normal, Bangor and Birmingham College of Art, 1960 -64. Held several teaching posts, settling at Anglesey, an area of key importance to his painting. Decided to become a full time artist in 1973, commissioned work including some for the British Army in Belfast. Pritchard was a member of the Royal Cambrian Academy, also exhibiting with the Royal Eisteddfod, Welsh Arts Council, Society for Education in Art and North Wales Group. Had regular solo shows, starting with Howard Roberts Gallery, Cardiff in 1961, other venues including New Art Centre and Heal`s Mansard Gallery. St. Michael`s Church, Ruabon, Clwyd has a mosaic by Pritchard, whose work is in many public collections, including University College of Wales, Aberystwyth, Welsh Arts Council and Contemporary Art Society for Wales.

A Contemporary Italian baluster shaped Art Glass vase with cherry design. 12 2/3" high

A CONTINENTAL CONTEMPORARY SILVER BROOCH set with an oval chrysoprase stone in a stylised Art Deco mount, indistinctly signed, and a carved horn brooch in the form of a beetle (2)

A set of thirteen contemporary perspex sculptures; rectangular boxes with pop art/artistic inclusions, each box 33cm x 21.5cm.

A selection of miscellaneous silver including a bowl in the form of a small monteith (Sheffield 1902), an Art Nouveau tray (Birmingham 1903), a two handled cup (Birmingham 1921), a contemporary three piece cruet set (Birmingham 1975) and a pair of contemporary candlesticks (Birmingham 1977), together with a selection of silver spoons and napkin rings etc (various dates and makers) all at approximately 37ozs, candlesticks 15cm overall (qty) Further images and condition reports are available at www.reemandansie.com

OLIVE CARLETON SMYTH (1882-1949) THE PIPES OF PAN Tempera on Paper, signed within contemporary silvered frame 24.5cm x 40.5cm Literature: Burkhauser, Jude, `Glasgow Girls: Women in Art & Design 1880-1920`, 1990, pages 170-172 Note: Olive Carleton Smyth trained at Glasgow School of Art between 1900 and 1909 as a fresco decorator and artist. She was an early tutor at the School and was recruited by Francis (Fra) Newbery in 1902 while still a student. Smythe`s work has a theatrical quality, reflecting her interest in theatre, and her influences included the Ballets Russes, with its dramatic themes, colours and costumes.

[Worlidge (John)] Systema Horti-culturae: or the Art of Gardening... fourth edition engraved additional title with all 3 engraved plates supplied in facsimile advertisement leaf at end lightly browned contemporary panelled sheep rubbed rebacked corners repaired [Henrey 374] 8vo W.Mears 1719. *** The title-page is a cancel and refers to the author as “J.Wooldridge”; includes The Gardener`s Monthly Directions at end with separate title-page.

Joseph Wolins, American 1915-1999- "Ritual"; oil on canvas, signed, titled on the reverse, 89x61cm Note: Wolins was born in Atlantic City, New Jersey. From 1935 to 1941 he studied at the National Academy of Design under Leon Kroll. During this period Wolins was associated with the WPA Art Project in New York. His first solo show was at the Contemporary Arts Gallery in New York in 1947. Further solo shows followed at the Bodley, Adley and Katherine Perlow galleries in New York, the Agra Gallery in Washington D.C., Silvermine Gallery, Norwalk, Connecticut and elsewhere. He was involved in many group shows in the US, Brazil and elsewhere, including two important retrospectives of "NYC WPA Art" at the Parsons School of Design in 1977 and the Phantom Gallery in Los Angeles in 1986. Wolins` work is in many public and private collections, including: Metropolitan Museum of Art in New York, Butler Institute of American Art in Youngstown Ohio, National Museum of American Art in Washington D.C., Museum of Ein Hod in Israel and numerous US provincial public galleries.

Ithell Colquhoun, British 1906-1988- "Autumnal Grove" coloured felt-tipped pen, signed with monogram and dated indistinctly, bears artist`s own label attached to the reverse of the frame, 12.5x20cm Note: Colquhoun was a pioneer surrealist artist, occultist, writer and poet. She also experimented with different painting techniques, such as enamel and decalcomania, throughout her life. Born in Assam, India she studied at Slade School of Fine Art 1927-31, then privately in Paris and Athens. She showed extensively, including London Group, Contemporary Art Society, Tate Gallery and abroad and had solo shows at Fine Art Society, Mayor Gallery and elsewhere. She was expelled from the London surrealist group in 1940 for refusing to conform to its dictates. She continued as an independent painter in London and Paul, Cornwall, and with touring exhibitions abroad. Newlyn Orion Gallery held a major retrospective in 1977. Colquhoun was represented in the last Tate Gallery exhibition on surrealism and her work was most recently shown in the Mayor Gallery, London`s 2009 exhibition on British Surrealism. In addition to the Tate Gallery, her work is held in public galleries at Hove, Bradford and Cheltenham amongst others and the National Trust manages her estate. A monograph on her life and work was published in 2007.

Richard Kirwan, British b.1969- "Economy of Meaning"; acrylic on canvas, signed and dated 1995 to verso, 180x240cm, (unframed) Note: Kirwan studied and received an MA from Goldsmiths College London, he has been involved in many international solo and group exhibitions including, `Modern Manner, Galerie Hollenbach, Stuttgart` 2007, `Mythomania: Double Use, Nunnery Fine Arts, London` 2008, `51st Venice Biennale of Contemporary Art` 2005, `Folio One, Royal Academy of Arts` 2004. Kirwan`s work employs simple, hard edged motifs using a limited palette of saturated colours and unsettled geometric repetition creating optical after effects, a juxtaposition between physical control and visual chaos (may be subject to Droit de Suite)

A Mixed Lot comprising: a Dressing Table Hand Mirror and Hairbrush, each decorated in the Art Nouveau manner, and bearing contemporary initials (repaired) (2)

BROOKES (R) THE ART OF ANGLING ROCK AND SEA-FISHING WITH THE NATURAL HISTORY OF RIVER POND AND SEA-FISH wood engraved illustrations of fish throughout, river god device to title, headpieces and initials, contemporary calf worn, London: John Watts, 1740, Thomas Best - A Concise Treatise on the Art of Angling..., second edition, 1787, Charles Pope Bowlker - The Art of Angling Greatly Enlarged and Improved, Ludlow 1833, H C Cutcliffe - The Art of Trout Fishing on Rapid Streams, London 1883 and T E Pritt - An Angler`s Basket Filled in Sunshine and Shade Through the Space of Forty Years, Manchester 1896, all later calf or morocco gilt (5)

A Contemporary Italian Art Glass vase with floral decoration 12" high