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Craigie Aitchison CBA RSA (1926-2009) Limited edition artist's proof screenprint “Candy Dead”, signed verso 2002, 30cm x 25cm From the collection of the late Maurice Costley. Maurice and Craigie were acquainted, a postcard from Craigie to Maurice asking after his health (following an operation) is included in lot 74 Craigie Aitchison was a Scottish born painter, who studied at the Slade School of Fine Art. His work includes still life, portraits and paintings of his Bedlington Terriers. However he is best known for depicting crucifixions, which appeared in his work after he studied in Italy in the early 1950s. His work possesses a poetic use of colour, within simple but vibrant compositions. He had his first solo exhibition at the Beaux Arts Gallery in London in 1959 and exhibited regularly both internationally and in the UK, including at Marlborough Fine Art. Retrospectives of his work were held at the Serpentine Gallery and Hardwood House and The Gallery of Modern Art in Glasgow. He won the Jerwood Prize in 1994 and the Nordstrom Art Prize in 2000. His work is in many private and public collections, including several at the Tate, Birmingham Museum and Art Gallery and also the National Gallery of Scotland.

Craigie Aitchison CBA RSA (1926-2009) Oil on canvas “Arum Lily”, 2004, with Timothy Taylor Gallery label verso and with Timothy Taylor Gallery receipt dated 2005, 39cm x 30cm From the collection of the late Maurice Costley. Maurice and Craigie were acquainted, a postcard from Craigie to Maurice asking after his health following an operation is included in lot 74 Craigie Aitchison was a Scottish born painter, who studied at the Slade School of Fine Art. His work includes still life, portraits and paintings of his Bedlington Terriers. However he is best known for depicting crucifixions, which appeared in his work after he studied in Italy in the early 1950s. His work possesses a poetic use of colour, within simple but vibrant compositions. He had his first solo exhibition at the Beaux Arts Gallery in London in 1959 and exhibited regularly both internationally and in the UK, including at Marlborough Fine Art. Retrospectives of his work were held at the Serpentine Gallery and Hardwood House and The Gallery of Modern Art in Glasgow. He won the Jerwood Prize in 1994 and the Nordstrom Art Prize in 2000. His work is in many private and public collections, including several at the Tate, Birmingham Museum and Art Gallery and also the National Gallery of Scotland. Condition ReportRecto: Very good condition, no signs of dirt/wear and tear. Free mounted. Under UV - Artist's over paint upper right corner.  Frame: Very good condition. Verso:  Back board cut out to reveal canvas and stretcher, both in very good order. Tim Taylor Gallery label lower centre.  

Royal Academy of Art postcard "Craigie Aitchison CBRA", lamb in green field, written and sent to Maurice Costley 'Dear Maurice it is good to hear you are fine after the operation, hope to see you soon if you come to London ..., all best wishes Craigie'  William, Andrew Gibbon "Craigie, the Art of Craigie Aitchison", with inscription for Maurice, best wishes Craigie Aitchison, with dust jacket Haste, Cate "Craigie Aitchison, a Life in Colour", with inscription best wishes, Cate Haste, with dust jacket  Lambirth, Andrew "Craigie Aitchison Out of the Ordinary", Royal Academy of Arts book with dust jacket  "Craigie Aitchison A Private Collection", Waddington Totnes Galleries 2013 catalogue  Craigie Aitchison in Memorium folding programme, private view invitation to Tim Taylor Gallery Exhibition 2006 and another postcard  From the collection of the late Maurice Costley Craigie Aitchison was a Scottish born painter, who studied at the Slade School of Fine Art. His work includes still life, portraits and paintings of his Bedlington Terriers. However he is best known for depicting crucifixions, which appeared in his work after he studied in Italy in the early 1950s. His work possesses a poetic use of colour, within simple but vibrant compositions. He had his first solo exhibition at the Beaux Arts Gallery in London in 1959 and exhibited regularly both internationally and in the UK, including at Marlborough Fine Art. Retrospectives of his work were held at the Serpentine Gallery and Hardwood House and The Gallery of Modern Art in Glasgow. He won the Jerwood Prize in 1994 and the Nordstrom Art Prize in 2000. His work is in many private and public collections, including several at the Tate, Birmingham Museum and Art Gallery and also the National Gallery of Scotland.

Craigie Aitchison CBE RSA (1926-2009) Limited edition print Daffodils in vase, 34/75, signed and dated 2001 verso, 29cm x 23.5cm From the collection of the late Maurice Costley. Maurice and Craigie were acquainted, a postcard from Craigie to Maurice asking after his health following an operation is included in lot 74 Craigie Aitchison was a Scottish born painter, who studied at the Slade School of Fine Art. His work includes still life, portraits and paintings of his Bedlington Terriers. However he is best known for depicting crucifixions, which appeared in his work after he studied in Italy in the early 1950s. His work possesses a poetic use of colour, within simple but vibrant compositions. He had his first solo exhibition at the Beaux Arts Gallery in London in 1959 and exhibited regularly both internationally and in the UK, including at Marlborough Fine Art. Retrospectives of his work were held at the Serpentine Gallery and Hardwood House and The Gallery of Modern Art in Glasgow. He won the Jerwood Prize in 1994 and the Nordstrom Art Prize in 2000. His work is in many private and public collections, including several at the Tate, Birmingham Museum and Art Gallery and also the National Gallery of Scotland.

Craigie Aitchison CBA RSA (1926-2009) Oil on canvas "Tree with Mountain", 2008, signed verso, Tim Taylor Gallery label verso, 15cm x 12cm From the collection of the late Maurice Costley. Maurice and Craigie were acquainted, a postcard from Craigie to Maurice asking after his health following an operation is included in lot 74 Craigie Aitchison was a Scottish born painter, who studied at the Slade School of Fine Art. His work includes still life, portraits and paintings of his Bedlington Terriers. However he is best known for depicting crucifixions, which appeared in his work after he studied in Italy in the early 1950s. His work possesses a poetic use of colour, within simple but vibrant compositions. He had his first solo exhibition at the Beaux Arts Gallery in London in 1959 and exhibited regularly both internationally and in the UK, including at Marlborough Fine Art. Retrospectives of his work were held at the Serpentine Gallery and Hardwood House and The Gallery of Modern Art in Glasgow. He won the Jerwood Prize in 1994 and the Nordstrom Art Prize in 2000. His work is in many private and public collections, including several at the Tate, Birmingham Museum and Art Gallery and also the National Gallery of Scotland.

An Art Deco silver plated oval two handled tray with an angled border75cm wide together with a set of six modern Champagne fluteswith King'' masks30cm high (7)Condition ReportTarnished with surface scratches, but good levels of plate remain on the tray. The glasses appear to be unused.

An Art Deco wrought iron garden table, 20th century, with a later glass top, 85cm wide 180cm long, andsix modern wicker garden chairs, with cushion seats (7)Condition ReportUsed, cushions in bags. Glass fair.

A modern Italian art glass pedestal vase by Duccio di Segna, black with gold trellis patterns30cm wide47cm highand a matching oval fruit pedestal 51cm wide19cm high (2)Condition ReportNo apparent damages to either piece.

[The WHO/ PHOTOGRAPHY]- Ross Halfin SIGNED: THE WHO LIVE, Limited edition, numbered 797/1500 copies. Signed by Ross Halfin together with a CD 'Live at Leeds' inside a pocket on the front pastedown. Published 2000 by Genesis Publications, 4to. Original slipcase and original shipping box. VG+Provenance: The David and Pam McCleave Collection of Modern British Art.

[THE BEATLES]- George Martin SIGNED: Summer of Love: The Making of Sgt. Pepper. Limited edition, numbered 230/350 DELUXE copies. Signed by George Martin; plus a print by Frank Hermann, Signed by him & Limited edn. 230/350. Genesis Publications, 2007. 4to. Housed in the original green silk-screen printed box with ribbon pull, the whole protected in a green felt drawstring bag. Deluxe copies also include a portfolio containing an original photograph of George Martin and The Beatles in the recording studio, signed by the photographer Frank Herrmann, plus a limited edition T-Shirt featuring the Peter Blake portrait of George Martin from the cover of the book. & Original shipping box. VG+Provenance: The David and Pam McCleave Collection of Modern British Art.

Jane HyslopScreen print titled '' The Water of Leith from The Nation Gallery of Modern Art to the Shore'', signed and dated 1990.Copy 26/50,[63x106cm]

Art Deco Bauhaus geometric design enamel box Bauhaus school/movement 1919-1933 and later became influential in mid century modern designLength - 17cm

*VALERIE BARDEN (BUSTON) (b. 1938) Still life study of gloves and a purple scarf on a circular table with yellow tablecloth, 1997, monogrammed and dated lower left, oil on board, 69cm x 80cm,  Framed dimensions: 86.5cm x 98cm Provenance: The estate of the late Brian Phelan (1934-2024) and Dorothy Bromiley Phelan (1930-2024). Note: Valerie Barden is a figurative artist who paints the contemporary world as she sees it in as real and direct way as possible. Subjects include shop fronts and ladies at Ascot.Brought up in Buckinghamshire and Sherborne, Dorset, Valerie developed her artistic ability and met her husband, the artist Robert Organ, then moved to Cornwall and brought up four children. In 1973 the family moved to rural East Devon, where Valerie achieved a B.A. Hons in Art History of the Renaissance and Modern Art and Design.

FRANCISCO DOMINGOS ‘CHICO’ DA SILVA (1910-1985) 'Sem título (Untitled)'1972, stylised study of combative roosters, signed and dated lower right, oil on canvas, 41cm x 63cmProvenance: Purchased in Brazil in the 1970s,Private collection, Hampshire.Note: Chico da Silva was born surrounded by the Amazon rainforest in Alto Tejo, but while still a child he moved to Ceará, in northeastern Brazil, passing through some countryside cities until he settled in Fortaleza in 1935, where he lived until his death. While painting the whitewashed walls of the fishermen’s houses in Praia Formosa, his artistic production began. Da Silva gave shape and color to his drawings with pieces of charcoal, bricks, leaves, and other elements found around him.Jean-Pierre Chabloz, a Swiss critic and artist who moved to Brazil in 1940 because of World War II, traveled to Fortaleza for work in 1943, where he found da Silva’s drawings on a visit to the beach. This encounter had great relevance in the consolidation and dissemination of Chico da Silva’s work, opening doors for him to circulate in the main urban centers of Brazil, such as Rio de Janeiro and São Paulo, and throughout Europe, in cities such as Geneva, Neuchâtel, Lausanne, and Paris.In his gouaches and paintings, Chico da Silva represented mainly the creatures of the forest, such as Amazon birds and fish, as well as fanciful figures, such as dragons. His artworks give form to stories and mythologies from the oral tradition of the culture of Northern Brazil, in compositions marked by rich polychromy and by the graphic details of the drawing, composed of colourful wefts and lines. Given the originality of his style and compositions, he stood out in the context of the so-called Brazilian popular art and, in addition to achieving great commercial success during his lifetime, he attracted considerable interest from critics.Among the major exhibitions he has participated in are: Francisco da Silva, Galerie Pour L’Art, Lausanne, Switzerland, in 1950; Exposition d’Art Primitif et Moderne [Exhibition of Primitive and Modern Art], Musée d‘Ethnographie, Neuchâtel, Switzerland, in 1956; 8 Peintres Naïfs Brésiliens [8 Brazilian Naïve Painters], Galerie Jacques Massol, Paris, France, in 1965; 9ª São Paulo Art Biennial, Brazil, in 1967; Tradição e Ruptura: Síntese de Arte e Cultura Brasileiras [Tradition and Rupture: Synthesis of Brazilian Art and Culture], Fundação Bienal de São Paulo, Brazil, in 1984. In addition, in 1966 he received the Honourable Mention award for his participation in the 33rd Venice Biennale.Currently, his works are part of numerous public collections, among them: Museo del Barrio, New York, USA; Museu de Arte Moderna do Rio de Janeiro - MAM, Brasil; Museu de Arte Contemporânea da Universidade de São Paulo – MAC USP, Brasil; and Musée International d'Art Naïf Anatole Jakovsky, Nice, France.

FRANCISCO DOMINGOS ‘CHICO’ DA SILVA (1910-1985) 'Sem título (Untitled)'1977, a stylised study of exotic birds, signed and dated lower left, beside the artist's thumbprint, oil on canvas, 43.5cm x 53.5cmProvenance: Purchased in Brazil in the 1970s,Private collection, Hampshire.Note: Chico da Silva was born surrounded by the Amazon rainforest in Alto Tejo, but while still a child he moved to Ceará, in northeastern Brazil, passing through some countryside cities until he settled in Fortaleza in 1935, where he lived until his death. While painting the whitewashed walls of the fishermen’s houses in Praia Formosa, his artistic production began. Da Silva gave shape and color to his drawings with pieces of charcoal, bricks, leaves, and other elements found around him.Jean-Pierre Chabloz, a Swiss critic and artist who moved to Brazil in 1940 because of World War II, traveled to Fortaleza for work in 1943, where he found da Silva’s drawings on a visit to the beach. This encounter had great relevance in the consolidation and dissemination of Chico da Silva’s work, opening doors for him to circulate in the main urban centers of Brazil, such as Rio de Janeiro and São Paulo, and throughout Europe, in cities such as Geneva, Neuchâtel, Lausanne, and Paris.In his gouaches and paintings, Chico da Silva represented mainly the creatures of the forest, such as Amazon birds and fish, as well as fanciful figures, such as dragons. His artworks give form to stories and mythologies from the oral tradition of the culture of Northern Brazil, in compositions marked by rich polychromy and by the graphic details of the drawing, composed of colourful wefts and lines. Given the originality of his style and compositions, he stood out in the context of the so-called Brazilian popular art and, in addition to achieving great commercial success during his lifetime, he attracted considerable interest from critics.Among the major exhibitions he has participated in are: Francisco da Silva, Galerie Pour L’Art, Lausanne, Switzerland, in 1950; Exposition d’Art Primitif et Moderne [Exhibition of Primitive and Modern Art], Musée d‘Ethnographie, Neuchâtel, Switzerland, in 1956; 8 Peintres Naïfs Brésiliens [8 Brazilian Naïve Painters], Galerie Jacques Massol, Paris, France, in 1965; 9ª São Paulo Art Biennial, Brazil, in 1967; Tradição e Ruptura: Síntese de Arte e Cultura Brasileiras [Tradition and Rupture: Synthesis of Brazilian Art and Culture], Fundação Bienal de São Paulo, Brazil, in 1984. In addition, in 1966 he received the Honourable Mention award for his participation in the 33rd Venice Biennale.Currently, his works are part of numerous public collections, among them: Museo del Barrio, New York, USA; Museu de Arte Moderna do Rio de Janeiro - MAM, Brasil; Museu de Arte Contemporânea da Universidade de São Paulo – MAC USP, Brasil; and Musée International d'Art Naïf Anatole Jakovsky, Nice, France.

*FRANK PHELAN (1932-2023) 'I Denizen, 22/1/06', abstract composition in blues, mixed media on paper, titled verso, 55cm x 74cm,  Framed dimensions: 71.5cm x 84cmProvenance: The estate of the late Brian Phelan (1934-2024) and Dorothy Bromiley Phelan (1930-2024).Note: Born in Dublin, Frank Phelan was educated by the Christian Brothers and in Tipperary at Rockwell College, before studying at The Royal Architectural Institute of Ireland. He then worked as a draughtsman in a Dublin firm of structural engineers until 1953, when he, his father and his brother Brian emigrated to Canada. For six years, he worked in Ontario at various jobs while taking classes at the Doon School of Fine Arts in Kitchener.Around 1959, he returned to Ireland briefly before moving to London, where he lived with the sculptor Frank Morris. He found work as a stagehand at Joan Littlewood’s innovative Stratford East Theatre, and designed sets for the Unity Theatre and for Charles Marowitz’s Open Space Theatre Company. His theatre contacts eventually led to an introduction to Nancy Wynne-Jones, who invited him to be an artist-in-residence at Trevaylor, the Georgian house at Gulvel, near Penzance she had converted to a kind of artist’s colony.It was here that Phelan befriended the painter Tony O’Malley, who introduced him to many of the key figures in the early St Ives circle, including Roger Hilton, Bryan Wynter, Patrick Heron and Conor Fallon. Phelan also was particularly impressed by the work of Peter Lanyon. Throughout the decade, he worked between Cornwall and a rented studio off the Fulham Road, developing highly abstracted, compositional style.By 1966, he had had his first solo show of paintings at the Traverse Theatre in Edinburgh, organised by Richard Demarco. This partnership was one of the most fruitful of his early career, and he also showed his work at Demarco’s inaugural exhibition in Glasgow, in another solo show the following year at Demarco’s Edinburgh gallery, and in several important group shows, including an exhibition of contemporary British painting and sculptors at the Museum of Modern Art, Warsaw.During the past two decades and up to his death in 2023, Phelan re-engineered and re-energised his style and technique, exhibiting new works in Dublin, Cork London, Bath, Provence, Granada, and of course, St Ives. His paintings and mixed media works are now in private collections in England, Ireland, France, the United States, as well as in State Collection of Ireland (OPW) and the Cork Institute of Technology & Arts.

*FRANK PHELAN (1932-2023) ‘Sursum Corsa (Lift Your Heart)’, 2003, abstract composition, mixed media on paper,56cm x 74.5cm,  Framed dimensions: 71.5cm x 85.5cm'Sursum Corda' is the motto of the Royal Brompton Hospital, where the artist underwent heart surgery, Provenance: The estate of the late Brian Phelan (1934-2024) and Dorothy Bromiley Phelan (1930-2024).Note: Born in Dublin, Frank Phelan was educated by the Christian Brothers and in Tipperary at Rockwell College, before studying at The Royal Architectural Institute of Ireland. He then worked as a draughtsman in a Dublin firm of structural engineers until 1953, when he, his father and his brother Brian emigrated to Canada. For six years, he worked in Ontario at various jobs while taking classes at the Doon School of Fine Arts in Kitchener.Around 1959, he returned to Ireland briefly before moving to London, where he lived with the sculptor Frank Morris. He found work as a stagehand at Joan Littlewood’s innovative Stratford East Theatre, and designed sets for the Unity Theatre and for Charles Marowitz’s Open Space Theatre Company. His theatre contacts eventually led to an introduction to Nancy Wynne-Jones, who invited him to be an artist-in-residence at Trevaylor, the Georgian house at Gulvel, near Penzance she had converted to a kind of artist’s colony.It was here that Phelan befriended the painter Tony O’Malley, who introduced him to many of the key figures in the early St Ives circle, including Roger Hilton, Bryan Wynter, Patrick Heron and Conor Fallon. Phelan also was particularly impressed by the work of Peter Lanyon. Throughout the decade, he worked between Cornwall and a rented studio off the Fulham Road, developing highly abstracted, compositional style.By 1966, he had had his first solo show of paintings at the Traverse Theatre in Edinburgh, organised by Richard Demarco. This partnership was one of the most fruitful of his early career, and he also showed his work at Demarco’s inaugural exhibition in Glasgow, in another solo show the following year at Demarco’s Edinburgh gallery, and in several important group shows, including an exhibition of contemporary British painting and sculptors at the Museum of Modern Art, Warsaw.During the past two decades and up to his death in 2023, Phelan re-engineered and re-energised his style and technique, exhibiting new works in Dublin, Cork London, Bath, Provence, Granada, and of course, St Ives. His paintings and mixed media works are now in private collections in England, Ireland, France, the United States, as well as in State Collection of Ireland (OPW) and the Cork Institute of Technology & Arts.

FRANCISCO DOMINGOS ‘CHICO’ DA SILVA (1910-1985) 'Sem título (Untitled)'1978, a stylised study of a serpent, signed and dated lower right, beside the artist's thumbprint, oil on canvas, 63cm x 43cmProvenance: Purchased in Brazil in the 1970s,Private collection, Hampshire.Note: Chico da Silva was born surrounded by the Amazon rainforest in Alto Tejo, but while still a child he moved to Ceará, in northeastern Brazil, passing through some countryside cities until he settled in Fortaleza in 1935, where he lived until his death. While painting the whitewashed walls of the fishermen’s houses in Praia Formosa, his artistic production began. Da Silva gave shape and color to his drawings with pieces of charcoal, bricks, leaves, and other elements found around him.Jean-Pierre Chabloz, a Swiss critic and artist who moved to Brazil in 1940 because of World War II, traveled to Fortaleza for work in 1943, where he found da Silva’s drawings on a visit to the beach. This encounter had great relevance in the consolidation and dissemination of Chico da Silva’s work, opening doors for him to circulate in the main urban centers of Brazil, such as Rio de Janeiro and São Paulo, and throughout Europe, in cities such as Geneva, Neuchâtel, Lausanne, and Paris.In his gouaches and paintings, Chico da Silva represented mainly the creatures of the forest, such as Amazon birds and fish, as well as fanciful figures, such as dragons. His artworks give form to stories and mythologies from the oral tradition of the culture of Northern Brazil, in compositions marked by rich polychromy and by the graphic details of the drawing, composed of colourful wefts and lines. Given the originality of his style and compositions, he stood out in the context of the so-called Brazilian popular art and, in addition to achieving great commercial success during his lifetime, he attracted considerable interest from critics.Among the major exhibitions he has participated in are: Francisco da Silva, Galerie Pour L’Art, Lausanne, Switzerland, in 1950; Exposition d’Art Primitif et Moderne [Exhibition of Primitive and Modern Art], Musée d‘Ethnographie, Neuchâtel, Switzerland, in 1956; 8 Peintres Naïfs Brésiliens [8 Brazilian Naïve Painters], Galerie Jacques Massol, Paris, France, in 1965; 9ª São Paulo Art Biennial, Brazil, in 1967; Tradição e Ruptura: Síntese de Arte e Cultura Brasileiras [Tradition and Rupture: Synthesis of Brazilian Art and Culture], Fundação Bienal de São Paulo, Brazil, in 1984. In addition, in 1966 he received the Honourable Mention award for his participation in the 33rd Venice Biennale.Currently, his works are part of numerous public collections, among them: Museo del Barrio, New York, USA; Museu de Arte Moderna do Rio de Janeiro - MAM, Brasil; Museu de Arte Contemporânea da Universidade de São Paulo – MAC USP, Brasil; and Musée International d'Art Naïf Anatole Jakovsky, Nice, France.

*AURELIO DE FELICE (1915-1996) 'Battaglia di Ragazzi', (Battle of the Boys), 1941, bas-relief panel, bronze, 100cm x 160cm, Note: This work is represented in the permanent collection of the Museo Aurelio De Felice, Terni, Umbria, Italy.De Felice was born in Torre Orsina, a small town on the hills around Terni. Of humble origins, he began his studies in contrast with his family at the Scuola Romana in the 1930s. He earned a degree at the Academy of Fine Arts of Rome, becoming a professor there. De Felice alternated lessons and artistic activity with many personal exhibitions. The most important in that period was the one in the Gallery of Rome, introduced by Renato Guttuso.At the end of the Second World War, De Felice started to travel across Europe. In those years he exhibited in Switzerland, Germany and France, where he created, in Paris, on behalf of the Italian Ministry of Foreign Affairs, the School of Italian Art. There he met Pablo Picasso, Fernand Léger, Jean Cocteau, Kees van Dongen, Ossip Zadkine, Mark Tobey and Constantin Brâncuși. He did not allow himself to be involved in the big debate between realism and formalism in the 1950s, continuing on his own road.In 1961 De Felice created the Institute of Arts in Terni. In those years he continued to exhibit all over Europe (Italy, Germany, Switzerland, France). In 1967 he was in charge of the Italian Institute of Culture in Hamburg and the Center of Italian Studies in Zurich.In 1977 he was invited to the National Museum of Modern Art, Tokyo, for a conference on Orneore Metelli, a "painter-shoemaker" from Terni, and father of the Naïve Italian movement, whose art had become famous thanks to De Felice's work.His last exhibition took place in 1982; after that, disease forced the sculptor to limit his activity. He spent the last years of his life in the quiet of his house on the hills of Torre Orsina, where he died on June 14, 1996.The celebrated Italian artist and politician Renato Guttuso (1911-1987) commented on the impact of the work offered here, in a letter to De Felice, remarking "I remember a work of yours from that time, a relief, which was your contribution to the approach of the two directions of research. The relief represents a battle. But a battle of boys. You had found the only possible poetic key (not heroic) to depict a battle! Even today, after twenty years, thirty years, reviewing your work, following its path, observing the changes, I find the same emotion in looking at your sculptures".

A collection of Art Deco wall masks, comprising a painted plaster mask and hands of a lady wearing a head scarf, 54cm high; a mask of Vicky Lester by Jon Douglas, 32cm high; and two further Art Deco style female wall masks (4)The mask with the hands with a crack through her true right hand, the Vicky Lester mask with additional later porcelain bow tie (tied with string, not fixed), and with some overpainting.  The mask with the purple flowers modern, the other overpainted and later embellished.

Christopher Dresser (1834-1904), a rare electroplate teapot, No. 2277, circa 1880, manufactured by James Dixon & Sons, Sheffield, England, electroplated metal with ebony handle, impressed with manufacturer's mark Chr. Dresser and 2277 12.5 x 22 x 13.5cm Provenance: Georgina Bourke (née Anderson, then Greenwood), who likely acquired the teapot in the early 20th century. A socialite who mixed in avant garde circles, Bourke first married Lieutenant J F B Greenwood, Kings Own Royal Regt., who was killed in action in May 1915, before moving to Cheltenham and then later, after the war, to Southern Ireland, where she lived in Castleconnell, Co. Limerick. After her death in 1967, the teapot remained undiscovered in a trunk containing her various possessions until a recent routine valuation. Literature: H.Lyons, Christopher Dresser: The People's Designer 1834-1904, p. 7 no. 8 W.Halén, Christopher Dresser, 1990, p. 182, pl. 206 W.Halén, Christopher Dresser: A Pioneer of Modern Design, London, 1993, p. 183, pl. 206 M.Whiteway, Shock of the Old: Christopher Dresser's Design Revolution, 2004, p. 158, pl. 200 Born in Glasgow in 1834, from age thirteen Christopher Dresser effectively began his career when he commenced his training at Somerset House's Government School of Design, one of a number of state-funded centres established from 1837 to train designers specifically for industrial production. This was a period defined by a stratospheric rise in machine manufacturing, making household items more widely available and creating an entirely new market for innovative and creative designs that were suited to modern methods of manufacture. Although he was only twenty-eight years old at the time of the 1862 Great London Exposition, whilst there Dresser claimed to have designed "as much as any man"; this was likely true as he was demonstrably accomplished in all aspects of industrial design, including carpets, ceramics, furniture, glass, graphics, metalwork and textiles. By the end of 1862, Dresser had published The Art of Decorative Design (1862) and The Development of Ornamental Art in the International Exhibition (1862), followed latterly, in 1873, by Principles of Decorative Design. Though he may have designed more than any other man at the Exposition, the Japanese works he saw at there inspired a lifelong interest in the country and its aesthetic principles. Closely associated with influential design reformers including Richard Redgrave, Henry Cole, Owen Jones, and Matthew Digby Wyatt, Dresser was not only interested in the practical facets of design, but also the moral and philosophical doctrines. For Dresser and his cohort, design had the capacity to "exalt" or "debase". Establishing his principles of 'Truth, Beauty and Power', Dresser looked to the natural world to inspire. Using reduced and abstracted forms from nature, Dresser aimed to express the essence of design in its most distilled form. Despite his pioneering aesthetic, many of Dresser's designs were too complex and costly to be easily mass-produced, limiting their accessibility. The present example, catalogued as no. 2277 in 1879, is a rare example of his work, with only around twelve known to exist. One such piece forms part of the collection at the Victoria and Albert Museum, London. Also displayed internationally by institutions including the Metropolitan Museum, New York, and the Musée d'Orsay, Paris, it is difficult to overstate the importance of Christopher Dresser in the history of industrial design. One foot is slightly bent inwards and the base very slightly dished around the area, a very minor crease to the underside of the base, just visible in the right light.  A couple of small marks to the cover where it has knocked against the handle.  Some tarnishing and the plating slightly rubbed to finial, hinge and the rim of the cover, also to joint where spout meets body.  A small dent to one side, and some other light surface wear and scratching more commensurate with age and use.  Please see additional images and video online.  The handle does not protrude beyond the metal at either end, but does not appear to be broken, again see images.  Handle rotates freely.

An Art Deco style Jonathan Charles 'Santos' centre table, modern, the circular Indian rosewood top with two short drawers, raised on four inverted swept ebonised legs united by an undertier74 x 77cmA few light surface scratches and marks, but overall in good condition.

A pair of Art Deco style brown leather club armchairs, modern, the shaped backs and bulbous arms with loose cushion seats raised on block feet77 x 98 x 84cm

Bertram Priestman NEA, RA, RBA, ROI (1868-1951) Suffolk Landscapesigned with initials and dated 10 (lower right)oil on canvas39.5 x 49.5cmProvenance:Lord Pearce, the artist's son in lawWith Louise Kosman Modern British Art, LondonThis painting won the third prize in the Barcelona International Art Exhibition in 1911.

ATTRIBUTED TO ALEXANDER KUCHARSKI (1741-1819) AFTER ELISABETH-LOUISE VIGEE LE BRUN (1755-1842) 'The Countess Potocka' a bust-length portrait of Zofia (Sophie) Potocka, wearing a blue ribbon in her hair, pastel on paper, 46cm x 37cmNote: Born Zofia Clavone in modern day Turkey in 1760, Zofia was a Greek slave courtesan and a Russian agent, later a Polish noblewoman. She was famous in contemporary Europe for her beauty and adventurous life.A 1943 letter penned by Reginald W.M. Wright, Director of Victoria Art Gallery and Municipal Libraries, Bath, is affixed verso, in which he details his opinion that the sitter is Countess Alexandra (Anna) Potocka (née Tyszkiewicz) the wife of Count Aleksander Stanisław Potocki. A further newspaper clipping housed in an envelope verso refers to the sitter being the Delfina Potocka, the Polish Countess, friend and muse to Frederic Chopin.

λ&nbspSIR MATTHEW SMITH (BRITISH 1879-1959) PORTRAIT OF DUDLEY WALLIS Oil on canvas Signed with initials (lower left) 77.5 x 63.5cm (30½ x 25 in.)Painted circa 1936.Provenance: Arthur Tooth & Sons, London Private Collection, Sir David & Lady Scott, London (acquired from the above on 13 September 1960) Their sale, Sotheby's, London, A GREAT BRITISH COLLECTION: The pictures collected by Sir David and Lady Scott, sold to benefit the Finnis Scott Foundation, 19 November 2008, lot 172 Sale, Chiswick Auctions, London, 28 June 2018, lot 76 Private Collection, Hampshire (acquired from the above sale)SOTHEBY'S NOTE: G.P. Dudley Wallis was curator at the Holburne Museum in Bath from November 1913-1917, and crucially oversaw the moving of the museum to its purpose built current home on Great Pulteney Street. Although the collection of the museum is pre-twentieth century, Wallis himself owned an important group of modern British paintings including works by Walter Sickert, Christopher Wood and Sir Matthew Smith, some of which were sold in these rooms on the eighteenth April 1951. Interestingly, Wallis' predecessor at the Holburne, Hugh Blaker, had also combined his role as curator of historical artefacts with his love of avant-garde art when he acted as art advisor to Gwendoline and Margaret Davies, whose impressive collection of impressionist and post-impressionist works of art was bequeathed to the National Museum of Wales in 1951 and 1963.

λ&nbspPAUL STOREY (BRITISH B. 1957) ATHENE WITH OWL Acrylic on board 76 x 62.5cm (29¾ x 24½ in.)Painted in 2003.Provenance: Gillian Jason Modern & Contemporary Art, London Acquired from the above by the present owner  

A large collection of volumes on Oriental carpets to include: Hawley (Walter), Oriental Rugs Antique and Modern, New York: John Lane Company, 1913, folio, rebound in half red leather, top edge gilt, spine tooled with the Spencer crest, title and author; Bossert (H. T. H.) Ornamente der Volkskunst: Gewebe, Teppiche, Stickereien, Tuebingen: Ernst Wasmuth, 1949, folio, original boards and cloth spine; Bode (Wilhelm von) Monographien des Kunstgewerbes: Vorderasiatische Knuepfteppiche aus aelterer Zeit, Leipzig: Klinkhardt & Biermann, 1922, 4to, original boards; Bernet (Otto) and Parke (Hiram) [Auction catalogue] , XV-XVIII Century Rugs: The Private Collection of the Messrs. Vitall and Leopold Benguiat, New York: American Art Association, 1925, large folio, original boards; together with a large collection of general books on oriental carpets, exhibition catalogues; several issues relating to the International Conference on Oriental carpets and others (qty) (qty)The Library of Raymond Benardout

A group of silver cruets and other small table-pieces to include: a pair of Georgian pedestal salts of urn form with gilt washed interiors and reeded borders, London hallmarks (rubbed), 5.9cm high; a three-piece Art Deco style cruet set, Mappin & Webb, Birmingham 1933, with mustard spoon and blue glass liners (and one spare), caster dented; a pair of small Victorian cauldron salts with shell and hoof feet, John Wilmin Figg, London 1865, 2.5cm high; a pair of Victorian knife rests, London 1842; an Edwardian cased three-piece cruet set by Jones & Crompton, Birmingham 1901, with matched spoons, lacks glass liners, one foot a/f; a modern silver napkin ring and a similar plated example; a pair of plated mustard ladles; a small Edwardian silver pepperette; a 19th century Minton porcelain seaweed decorated caster with silver plated mount. (Total weight of silver 545g)

A 1920s Art Deco style chromed and glass two tier shelf unit, approx 48 cm x 35 cm, a modern silvered table lamp of foliate form, raised on a square plinth base, 62 cm high and a pair of marble bookends

An Art Deco style modern high back arm chair with grey velvet-like upholstery.

Assorted pottery and porcelain, including: a Carlton Ware 'Rouge Royale' vase, a Beswick pottery chestnut horse, Heritage China 'Man o'War', a modern creamware Leeds-style model of a horse, various Staffordshire character and toby jugs, a Wadeheath Art Deco vase, two Continental porcelain figures of cavaliers, a Moroccan dish and other items 

Synth Pop / New Wave / Art Rock - A collection of thirty-seven LPs To include Orchestral Manoeuvres In The Dark - 'Orchestral Manoeuvres In The Dark' (DID 2), 'Architecture & Morality' (DID 12) and 'Organisation' (DID 6), The Books - 'Expertise' (Logo VOLUME-1), Japan - 'Adolescent Sex' (AHAL 8004), 'Gentlemen Take Polaroids' (V2180), 'Quiet Life' (AHAL 8011), 'Tin Drum' (V2209) and 'Obscure Alternatives' (AMALH 8007), Be-Bop Deluxe - 'Axe Victim' (SM-11689), 'Sunburst Finish' (SHSP 4053), 'Futurama' (SHSP 4045) and 'Modern Music' (SHSP 4058), Bill Nelson - 'Quit Dreaming And Get On The Beam' (6359 055), Metro - 'Metro' (TRAG 340), Ultravox - 'Ultravox' (ILPS 9449), 'Ha!-Ha!-Ha!' (ILPS 9505), 'Quartet' (CDL 1394) and 'Vienna' (CHR 1296), Midge Ure - 'The Gift' (CHR 1508), Tubeway Army - 'Replicas' (BEGA 7), Gary Numan - 'The Pleasure Principle' (BEGA 10), The Walker Brothers - 'Nite Flights' (GTLP 033), Visage - 'Visage' (2490 157), Frankie Goes To Hollywood -'Welcome To The Pleasuredome' (ZTT IQ1), The Human League -'Dare' (V2192), Haircut One Hundred - 'Pelican West' (HCC 100), The Motels - 'Careful' (E-ST 12070), New Musik - 'From A To B' (GTLP 041), Julia Fordham - 'Julia Fordham' (CIRCA 4), Zaine Griff -'Ashes And Diamonds' (K 56834), A Flock Of Seagulls - 'A Flock Of Seagulls' (HOP 201), Jean Michel Jarre -'Magnetic Fields' (POLS 1033), Toni Basil - 'Word Of Mouth' (BASIL 1), The Korgis - 'Dumb Waiters' (TENOR 104), Thompson Twins - 'Into The Gap' (205 971) and Spandau Ballet - 'Journeys To Glory' (CHR 1331) (37, vinyl and sleeves generally VG)

Art Deco pottery fruit bowl together with a matching baluster form vase, similar vase and a modern pottery wall plaque depicting Clarice Cliff, in original boxVarious damages as shown in photos

Modern art deco style 3 pieces mirror

Grant-Noren (20th Century) 'Wing Chair' and Table 2003, both items signed on sides, both having matching faux painted wood grain finish, chair having adjustable back, including paperwork Property from: a Private Collector, Muncie, Indiana Height: 50 inches, Width: 18 inches, Depth: 19 1/2 inches (larger) Condition: overall light wear consistent with normal use, minor finish wear Disclaimers: surface and production inconsistencies typical of this form of art Category: Modern Design > Chairs Estimated Sale Time: 12:39 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5

David Bates (American, b.1952) 'Bait Fish' Oil on Canvas 1989, signed lower right and again in felt tip on the stretcher giving title and date, depicting netting of fish by lantern light, float mounted in a wood frame, illustrated on page 112 of 'David Bates' by Modern Art Museum of Fort Worth in association with Scala Publishers, accompanied by a custom fitted crate Property from: Collection of Dr. & Mrs. Christopher Graf, Woodlot Gallery, Sheboygan, Wisconsin Height: 72 inches, Width: 60 inches (stretcher)Frame Size: 74 inches by 62 inches Condition: UV inspected, no damage to artwork noted, frame having light wear Disclaimers: not examined out of the frame Category: Fine Art > Paintings Estimated Sale Time: 10:39 am (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5Photograph #6Photograph #7Photograph #8Photograph #9Photograph #10Photograph #11Photograph #12

Ca. AD 1600 .A Late Medieval or Renaissance silver ring with an octagonal bezel, depicting a shield with masonry symbols surrounded by a frame of dots. Local guilds of stone masons eventually evolved into the modern Freemasons association. For similar see: El Legado de Hefesto, n. 629.Size: D:18.75mm / US: 8 3/4 / UK: R; Weight: 13.4gProvenance: Property of a London Ancient art collector, formerly in a Mayfair private collection of Mr. P. S., formerly acquired on the UK art market since the 1970s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Late Shang Dynasty, Ca. 1300-1100 BC.A bronze cauldron, known as a ding. The ding comprises a rectangular body with a shelved rim and two horizontal handles. The upper part of the body is intricately decorated with a low-relief cast zoomorphic pattern. The body is supported by four robust, decorated cylindrical legs. For similar see: The Metropolitan Museum of Art, Accession Number: 49.135.2. In order to confirm its authenticity, this piece has undergone X-Ray Fluorescence analysis by an independent Belgian Laboratory. The samples collected show the chemical composition to reflect the typical metal contents of the described period, whilst also showing no modern trace elements in the patina. Size: 280mm x 200mm; Weight: 4.2KgProvenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.This piece comes with an XRF laboratory report, from the independent Belgian laboratory, Hebolabo.

Ca. AD 100 - 300.A green stone intaglio depicting dextrarum iunctio, a Latin phrase meaning “joining right hands”. This was a solemn gesture of loyalty similar to the modern handshake which could be associated with the marriage pact. The act is taking place beneath a single star. The intaglio is set in a high carat, possibly later gold ring.Size: D:18.75mm / US: 8 3/4 / UK: R; Weight: 7gProvenance: Private UK collection; previously acquired on the UK art market in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 14th-13th century BC.A large decorated tan coloured pottery vessel, with a round tapered body and two thin handles connected to the rim of the vessel. The body of the vessel has a front tapered cylindrical spout. The vessel is decorated with brown concentric rings and abstract linear elements around the shoulder. There are light surface deposits scattered over the surface. The vessel has been restored over the break lines and had some areas of resurfacing. For similar see: MET Museum Accession Number: 07.263.1.Size: 260mm x 215mm; Weight: 1.7KgProvenance: Property of a London Art gallery; formerly in NYC collection; Ex. F. F. collection, NYC; Ex. pre-2000 US collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with full report will also accompany this lot.

Ca. AD 100 - 300 . A Roman bronze bust of Venus, the Roman goddess of love and beauty. The deity is depicted wearing a diadem and looking slightly to the left, her hair is pulled back in a partial bun at the nape of her neck. On a modern column-shaped stand. For similar see: The Metropolitan Museum, Accession Number: 96.9.408. Size: 130mm x 40mm; Weight: 235g Provenance: Private UK collection; previously acquired on the Holland art market in the 1990s.

Ca. AD 100 - 300.A Greek bronze goat figurine is shown standing on a rectangular base with carefully striated long curve horns and a long beard. Goat statuettes, especially in early Imperial Rome, was associated with the god Bacchus (Dionysus), the god of wine and nature. Some of the most famous depictions of these animals come from Hadrian's villa near modern-day Tivoli. The statuette has a verdant green patina.Size: 35mm x 35mm; Weight: 35gProvenance: Private UK collection; previously acquired on the Holland art market, P.C., pre 2000.

James Elder Christie (Scottish, 1847-1914), "The Woodcutters", signed and titled verso, oil on canvas, framed. 59.5cm by 34cm. Provenance: with Louise Kosman, Modern British Art, gallery label verso. 

James Whitelaw Hamilton R.S.A., R.S.W. (Scottish, 1860-1932), A Fishing Stream, signed lower left, oil on panel, in a gilt-composition frame. 26cm by 34cm. Provenance: with Louise Kosman, Modern British Art, gallery label verso. 

BATMAN #404, 405, 406, 407 (4 in Lot) - (1987 - DC) - "Year One" storyline - First appearance of the modern Catwoman - Frank Miller story with David Mazzucchelli cover and interior art - a condition report is available on request

Pierre Collinet, an Art Deco style modern bronze of a lady with a bow, together with Miet, a bronze nude lady stood posed, 32cm

Modern British Art.- Moore (Henry) Henry Moore at the Serpentine, signed presentation copy from Henry Moore, Arts Council, 1978; Henry Moore Drawings 1969-79, signed presentation copy from Henry Moore, New York, Wildenstein, 1979, both in original pictorial wrappers; and an exhibition catalogue and 2 signed Christmas cards by Elisabeth Frink, 4to and 8vo (5)

Modern British Art.- Bradley (Helen) Helen Bradley: New Paintings of a Lancashire childhood, Mercury Gallery, 1971; and 7 others including signed Christmas cards and a 2pp. A.L.s. to Mr. [Owen?] Roberts, and a signed book and exhibition catalogue by Winifred Nicholson, 4to and 8vo (8)

Museart (Modern / Street Art), Homage to Banksy, ‘Bang in the Middle’, four woodblock prints, arranged as a single picture, 74.5cm x 56.5cm overall frame size; another small woodblock print on board, (5).

Cookery, a collection of works, mainly 19th century in varying condition, including: HENDERSON (W A) The Housekeeper's Instructor, 5th edition, no date, calf, repaired; The Complete Confectioner, 2nd edition 1790, 12mo, binding detached; SOYER (A) The Modern Housewife or Menagere, 18th thousand, 1850, 8vo, cloth; others by Raffald, Farley etc. All in varying used condition, some incomplete, damaged and/or modern rebound. Sold not subject to returnJohn Murrell 1630;There does not appear to be a title page for the book named 'The First Book of Cookery' and there is no missing pages up until the end of the second book of cookery. Then begins 2 introductory pages for 'A new book of Carving and Sewing' followed by it's title page, however this book is omitted.The first page of the book is missing its edge and the second page has a tear to the top corner. 5-7 are missing their bottom corners. Pages marked 41, 71 and 113 have been folded in the top corners.There are several marks throughout the book, a page which has been written on, two pages with burn pages and two pages with what appears to be worm holes. The book has also been rebound with a later likely 19th century binding. Please see photos for further detail. Sold as seen.London Art of Cookery John Farley 11th Edition 1807 printed by F. Bryer Blackfriars, rebound with staining throughoutThe Art of Cookery made Plain and Easy by A Lady 1778, printed for W. Strahan et al rebound, significant surface dirt to front pageThe Experienced English Housekeeper 1776 by Elizabeth Raffald 5th Edition printed by R. Baldwin, rebound.The Housekeeper's Instructor or Universal Cook, by W A Henderson, 5th Edition printed by W. and J. Stratford London ND black leather binding "" 5th edition with tree calf binding, re backed and re cased.Beeton's book of Household Management Vol 1, S O Beeton, Bouvary Street, London, Edited by Mrs Isabella Beeton, (split from seam)The Handbook of Dining or Corpulency and Leaness Scientifically Considered by Brillat-Savarin translated by F L Simpson, 3rd Edition, Printed by Spottiswoode and Co 1865, cloth boundMrs Beeton 's Cookery Book New and Revised edtion Ward, Lock and Co Ltd London and Melbourne, cloth bound (poor condition)The Modern Housewife or Menagere by Alexis Soyer, published Simpkin, Marshall and Co, Pall Mall, 1850 green cloth bound A la Mode Cookery by Mrs de Salis, published by Longmans Green and Co 1902, red cloth boundA new System of Domestic Cookery by A Lady published by J. Murray 1806 marbled boards with cloth spine (Maria E Rindle)The Handbook of Dining by Leonard Francis Simpson, published by Longmans and Roberts 1859 Gild stamped boards with textured coverThe Compleat Housewife or Accomplished Gentlewoman's Companion by E. Smith 14th Edition, 1750 printed for R. Ware et all Marbled and leather spine, rebound.Experienced English Housekeeper by Elizabeth Raffald 4th Edition, published by R.Baldwin 1775 marbled and leather bindingMrs Beeton Family Cookery New Edition, Ward Lock navy cloth boundHandbook of Gastronomy by Brillat-Savarin, translated by A. Lalauze, London J. C. Nimmo and Bain, 1884, cloth boundA New system of Domestic Cookery by A Lady printed by William Clowes, 1831 marbled boards with green leatherThe Modern Cook (missing title page) Francatelli 1853 marbled boards and leather spine (broken)The First Book of Cookery 1630 John Murrel ND Missing title page, leather bound (rebound - see above)The Complete Confectioner (both boards loose but present) by A Person 1740 (possibly Frederick Nutt) leather boundSoft back notebook - Early 20th century, dated 1917, hand written recipies and also cuttings, some pages loose (poor condition)Slim marbled notebook - inscribed pen and ink to the inside Ann S Hakiston (?) 1853 the blue pages glued with cuttings and hand written recipiesNotebook - inscribed to the front "Receipts for cooking and Medicines" dated to the interior 1831 and variously inscribed. Contains hand written recipies and remediesLargest Notebook - with loose recipies in various hands, also letters, loose printed recipies, aso inscribed on the pages Not dated. Marbled boards and leather spine and corners. 

PALLADIO (Andrea) The Four Books of Architecture, translated by Isaac Ware, [2nd edition, 1755], no date, London: for the Author, folio, advert leaf, each part with an engraved undated title page, engraved plates (pl. V of Book 2 torn with slight loss at head), general age toning, some typical use staining, previous owner's name dated 1845 to general title, recased in a modern half binding; SALMON (William) Palladio Londinensis; or, the London Art of Building, 4th edition, London 1752, small 4to, 52 engraved plates as required, including folding, modern reverse calf binding

Country Pursuits. WALTON & COTTON. The Complete Angler, 5th edition 1791, 12mo, plates, modern binding; FRANCIS (F) A Book on Angling, 6th edition, 1885, 8vo, coloured plates, modern binding; PAYNE-GALLWEY (Sir R) The Fowler in Ireland, 1882, 8vo, illustrated, modern binding; The Sportsman's Dictionary, 1778, 4to, lacks frontis, all other plates present, double column text, tree calf, rebacked preserving spine strip; MILLAIS (J G) The Wildfowler in Scotland, 1901, 4to, photogravure plates, binding stained with torn spine strip; The Complete Art of Fowling, Pt. IV, pp.119-173, folio, woodcut illustrations, modern half morocco; others (9)

Wildfowling. PATTERSON (A H) Wild-Fowlers and Poachers, 1st edition 1929, 8vo, illustrated, modern morocco backed cloth; FOLKARD (H C) The Wild Fowler, 4th edition, no date, engraved title, frontis and plates, original cloth gilt; CHAPMAN (A) First Lessons in the Art of Wildfowling, 1896, 8vo, folding frontis, plates, slight spotting, original cloth; SHARP (Henry) Practical Wildfowling, no date, circa 1895, 8vo, illustrated, text a little browned, original cloth gilt; [CLEMENTS (Lewis)] "Wildfowler of 'The Field'". Modern Wildfowling, London: Horace Cox 1880, 8vo, folding plates, original cloth gilt; EVERITT (N) Broadland Sport, 1902, 8vo, illustrated, original cloth gilt (6)

MICHELL (E B) The Art and Practice of Hawking, London: Methuen & Co., 1900, 8vo, plates, slight spotting to 1st leaves, cloth gilt; A Treatise of Hawking and Faulconry, &c., Pt. II, pp. 1-91 plus table, 8vo, lacks title, modern morocco backed boards; FORD (Horace) The Theory and Practice of Archery, new edition, 1887, 8vo, frontis and 1 plate, half calf; DUNCAN & THORNE. The Complete Wildfowler Ashore and Afloat, 1911, 8vo, plates, cloth gilt; FALLON (W J) Practical Wildfowling, 2nd edition, 1907, small 8vo, cloth; (5)Inscribed in pencil £85 on the inside cover

A selection of jewels. To include a modern 9ct ruby and diamond set flower spray brooch, an Art Nouveau medallion brooch by Louis Rault depicting a maiden in profile, a gold locket fob and an amethyst set brooch, total weight 15.0g.

A modern Art Deco style 9ct white gold emerald & diamond set dress ring. The emerald cut emerald of 0.68ct estimated weight, the stepped sides set with 12 small round cut diamonds, Birmingham hallmark, size M 1/2, 2.3g.The emerald has some black inclusion spots under the table. The surface of the stone has crazed lines. The girdle has tiny chips on both sides of the open setting. Very minor and only visible with a 10x loupe. The rest is good condition.

CRAMER (J), ELEMENTS OF THE ART OF ASSAYING METALS, two parts in one, with six engraved folding plates, modern ¼ leather with marbled boards, London, Thomas Woodward, 1741 (1).

DAVIS (J), SCIENCE IN MODERN LIFE, six vols, black and white plates, text illustrations, Art Nouveau cloth bindings, The Gresham Publishing Company, 1908 (6)

WEATHERS (J), COMMERCIAL GARDENING, 4 vols, pictorial blue cloth, The Gresham Publishing Company, 1913; WRIGHT (PROF R), THE STANDARD CYCLOPAEDIA OF MODERN AGRICULTURE AND RURAL ECONOMY, 12 vols, pictorial Art Nouveau blue cloth, Gresham Publishing, 1908 (16).