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Hyman SEGAL (1914-2004) Portrait of a Young Man Charcoal on paper, signed, 25 x 18cm, framed 38 x 31cm

Mabel Gwendoline MARSTON (1862-1936) Floral Still Life Oil on board, signed, 39.5cm x 32.5cm, 45.5cm x 38cm framed. Mabel Gwendoline Marston was a London based portrait and flower painter. She was born in 1862 and spent the majority of her life working and living in Maida Vale where she had a studio at Blomfield Road. She exhibited at all the principal London exhibitions, including nine works - all floral still-lifes - at the Royal Academy, first in 1888 and through to 1927. She also exhibited eight works at the Royal Society of British Artists, fifteen at the Ridley Art Club, four works at the Royal Society of Artists in Birmingham, one at the prestigious Grosvenor Gallery, seven at Royal Institute of Oil Painters and one at Manchester City Art Gallery, as well as at the Society of Women Artists. Two of her works exhibited at an Exhibition of Women Artists at the Royal Institute of Painters in Watercolours were famously stolen from the exhibition in 1928, one of which had been purchased by Princess Mary (the daughter of King George V).

William Samuel PARKYN (1875-1949) Beach View at Low Tide Watercolour, signed, 32,5cm x 49.5cm, 47cm x 64.5cm framed; together with a pastel portrait, initialled, attribution verso suggests sketch from Angels of Warwick Street, c.1940, 29.5cm x 20.5cm (2)

Elaine BLAMEY (Royal Society of Portrait Painters) Two Portraits and the artist's palette Mrs Joyce Hubbard, a fellow Royal Society of Portrait Painters artist, seated with her own palette, 56cm x 44cm, 66cm x 53cm; together with a further portrait titled 'Portrait Study (In Blue), 45cm x 34.5cm, and a well-covered palette. (3)

Julian DYSON (1936-2003). Portrait of his father. Ceramic on slate, 30 x 24.5cm framed.

Portrait of a Lady Charcoal, indistinctly signed, 51 x 40cm, 56 x 44cm framed.

Elaine BLAMEY (Royal Society of Portrait Painters) A portfolio of works from the artist's studio Seventeen works on canvas and board comprising portraits, including a self portrait titled 'Me In the MIrror', and landscape views, mostly of Cornwall. Mostly signed to the verso, either Elaine Blamey or Elaine Lewis, her name before marriage. Largest 38cm x 30cm.

Victorian half crown 1887 high grade (2nd portrait)

A portrait pendant 9ct 5.3 gms

A unusual set of six gilt heart shaped vintage portrait brooches

A Victorian double sided rock crystal portrait locket in 9ct mount

British Medals, an 1831 King William IV official silver Coronation medal in a round contemporary box (Eimer 1251, BHM 1475). Obverse: bare-head right-facing bust of King William IV. Legend around reads 'WILLIAM THE FOURTH CROWNED SEP. 8 1831', designed by William Wyon with the obverse after Sir Francis Leggatt Chantrey. Reverse: portrait of Queen Adelaide of Saxe-Meiningen wearing diadem, 'ADELAIDE. QUEEN CONSORT. CROWNED SEP: 8 1831.'. Weight: 18.32g. Diameter: 33.3mm. Offered in a fitted round leather box with hook closure, with hand written note 'A Gift from the late William Robert Hamilton 1851, for Charles W H Sotheby'.

A 19th century French porcelain and ormolu hand mirror, one side mounted with with a finely hand painted portrait of a lady, the other with a oval bevelled edge mirror, the handle and frame ornately decorated with foliate and scrolling motifs, signed 'MAX', 26.5 cm, in original box.

A RARE 19TH CENTURY FRENCH GILT BRONZE TAZZA, with a central enamel plaque with a portrait of an Ottoman sultan, 12cm high.

limited edition digital print on paper, signed in silver ink and numbered 64/100, from the Revelations : A Portrait of Magic Series mounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cm Note: certificate of authenticity is included with this lot. Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.” In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.

limited edition digital print on paper, signed in silver ink and numbered 43/100, from the Revelations : A Portrait of Magic Series mounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cm Note: certificate of authenticity is included with this lot. Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.” In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.

including a lithograph self portrait and a lithograph of a letter, as well as two colour prints 'Women with Fish Baskets' and 'Seated Boy in a Doorway' all unframed the largest 40cm x 31cm Provenance: Studio of Alberto Morrocco Note: This lot is offered without reserve

ink on paper, monogrammed, titled label verso mounted, framed and under glass image size 20cm x 27cm, overall size 36cm x 44cm Exhibition label verso: 1 - 15 September (2018), The Torrance Gallery, Edinburgh Note: Artist and teacher, notably a draughtsman and painter of portraits, born in Sunninghill, Berkshire, brought up in the family home, Glenapp Castle, Ayrshire. Lady Mackay was the daughter of the 3rd Earl of Inchcape, chairman of the shipping line P&O who also ran Inchape PLC and was director of many other companies. Lucy Mackay was educated in Switzerland, Cambridge and at Edinburgh University and Edinburgh College of Art, 1960–5, under David Talbot Rice and William Gillies, graduating with a master’s honours degree in fine art. In 1973–4 she completed a postgraduate illustration studies year at the Central School of Art and Design. She settled in Edinburgh where she studied advanced botanic illustration at the Royal Botanic Garden, and where as a member of the Scottish Arts Club from 1983 she regularly attended life studies. Mackay began her extensive teaching career in 1966 as art assistant at Edinburgh Academy for Boys; from 1968–76 taught art, design and pottery at schools in the London area; then again in Edinburgh at the Salisbury Centre, 1981–2. In 1999 she joined the register of Angus County’s artists-in-residence for primary schools, serving at several schools. After winning first prize in a portrait painting competition run by the magazine Nursery World, 1953, and exhibiting a prize painting in the Daily Mail competition to celebrate the opening of the Forth Road Bridge, 1964, Mackay took part in many group shows, including the RSA. Among later solo exhibitions were The Italian Institute, Edinburgh, 1991; Torrance Gallery, Edinburgh, 1995, 1998 and 2005; and The Forum, Ocean Terminal, Leith, in aid of the Bethany Trust, 2004. She travelled extensively in several continents with paints and sketch-book. As well as a series of self-portraits Mackay completed many portraits, including Ronald Fletcher, broadcaster, 1968; the Queen’s Counsel Lionel Daiches, 1979–80; singer Ian Caddy, 1980–1; Professor David Daiches with his brother Lionel, 1988–9; the composer and conductor Emre Araci, 1997; and cellist Harriet Johnson, 2000. Her work was held by collections including the Scottish National Portrait Gallery; London College of Music; Royal Over-Seas League; Scottish Arts Club; Barlinnie Prison; and Geffrye Museum.

limited edition bronze on wooden base, signed and inscribed AP 28cm tall Note 1: This work was cast in Edinburgh in an edition of 9, plus 4 Artist Proofs. Note 2: John Byrne studied at both Edinburgh and Glasgow Schools of Art in the late 50s and early 60s. A superb painter and draughtsman, the multi-talented Byrne was also a first-class playwright (‘The Slab Boys’, ‘Tutti Frutti’), his ear for dialogue was as acute (and witty) as his eye for detail. Much of his subject matter in both disciplines is overtly autobiographical, he often included or refers to the Teddy Boy/Rock and Roll era of his youth. Byrne designed record covers for Donovan, The Beatles, Gerry Rafferty and Billy Connolly. His work is held in major collections in Scotland and abroad. Several of his paintings hang in The Scottish National Portrait Gallery in Edinburgh, the Museum of Modern Art and the Kelvingrove Art Gallery and Museum in Glasgow.

Ca. AD 100 - 200. A gold ring with a circular band that supports a bezel set with black jasper. The jasper is intricately carved in intaglio, depicting the profile of Faustina. The polished surface of the jasper contrasts beautifully with the warm lustre of the gold, enhancing the clarity of the finely detailed portrait. For similar see: Bagot J., El legado de Hefesto: A Memorial to a Private Collection of Ancient Rings and Glyptics, n. 396. Size: D:18.54mm / US: 8 1/2 / UK: Q 1/2; Weight: 6.33g Provenance: Private UK collection; From an old British collection formed in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

New Kingdom, Ca. 1550 - 1069 BC. A rare and slender wooden carving head of Harpocrates or a youth. The finely detailed portrait features Horus' nude upper body with delineated musculature and his signature sidelock of youth draped down his shoulder from his bald head. The overall physiognomy comprises petite eyes, a broad nose, and prominent lips. Size: 50mm x 40mm; Weight: 55g Provenance: Prince collection, 1990s-2014; Ex. Christie's, 27 October, 2004, Lot 497. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Pablo PICASSO (1881-1973), d'après. Portrait de Jacqueline. Affiche originale pour l’exposition " Un demi-siècle de livres illustrés " à la Galerie Matarasso Du 21 décembre 1956 au 31 janvier 1957, Nice (Jacqueline de profil) - Devaye impr., Cannes. J.Berto, Marseille Editeur.70 x 50 cm environ (Czwiklitzer 126.) 86 x 66,5 cm avec le cadre.

Catherine ZOUBTCHENKO [franco-russe] (Née en 1937) Portrait,1963 Huile sur toile. Signée et datée en haut à gauche Signée, datée et titrée au dos. 81 x 65 cm Nous remercions Madame Catherine Zoubtchenko d’avoir confirmé l’authenticité de l’œuvre

ECOLE MODERNE Portrait d’enfant. Pastel sur papier, porte une signature en en bas à gauche. 44,5 x 37 cm

Elizabeth PEYTON (Née en 1965) Mai (Afterlife) after Sir Joshua Reynolds' Portrait of Mai (Omai). Sérigraphie couleur sur papier. Signée et numérotée par l’artiste. Edition de 100 exemplaires. 50,5 x 37,7 cm Screenprint on paper with diamond dust. Signed by the artist and accompanied by a signed certificate of authenticity.

Ca. 11th - 13th century AD. A group of metalwork comprising a bucket-shaped bronze mortar, decorated with four frontal bird figures, possibly hawks, and two opposing ridges with handles, one of which is pierced. Included in the group is a large Ghaznavid brass magic bowl, high in zinc and copper content, adorned with twelve portrait heads in roundels, connected by crescent panels, each featuring incised Arabic calligraphy below. Also featured is a Ghaznavid brass shallow bowl, centrally engraved with a war elephant carrying an armed rider with banners, surrounded by the twelve zodiac signs, each inscribed with its Arabic or Farsi name around the circumference. Finally, a Khorassan brass ewer of typical form is included, decorated with engraved images and calligraphy, notably without any silver or copper inlay. Size: 50mm-390mm, 160mm-340mm; Weight: 7.4kg Provenance: Previous property of an Islamic art professional. Previously apart of the Henri René d’Allemagne Collection, 1979. Acquired by Ahuan U.K Ltd. from M. Roderick d’Allemagne, grandson of Henri René d’Allemagne (1836 - 1950.) Reza Attigechi, Tehran, 1978. Provenance: Purchased by Riaz Babar, 1990. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

A portrait photograph of Zygmunt Riedel, a soldier of the 10th Infantry Regiment. He is dressed in a wz.19 jacket, with the regiment numbers visible on the epaulets.Dimensions: 5.2 cm x 7.1 cm. Overall condition as shown in the photos.

Wincenty Wodzinowski (1866–1940) – an outstanding Polish painter and educator, associated with the Kraków artistic community at the turn of the 19th and 20th centuries. He graduated from the Kraków Academy of Fine Arts, where he studied under the guidance of Jan Matejko, and later continued his studies in Paris. He specialized in portraiture, historical painting, and genre scenes, often inspired by the life of the Polish countryside and patriotic events. His work is characterized by precision in detail and clear references to national tradition.The presented "Portrait of a Legionary" depicts a young soldier in the uniform of the Polish Legions, with a look of determination and pride on his face. The painting not only captures the individual character of the figure but also the spirit of the era of the fight for independence, a theme characteristic of Wodzinowski's work, deeply engaged in national affairs. The portrait, painted with attention to detail, serves as an important historical and artistic testimony of that period.The painting has an excellent provenance with the original invoice from the Desa Auction of 1983!Dimensions: Frame: 35 cm x 37 cm x 3.1 cm. Painting: 27 cm x 25 cm.

A portrait photograph of Sergeant Zygmunt Riedel, born on December 23, 1899. His uniform displays the Independence Medal, the Commemorative Medal for the 1918-1921 War, the Tenth Anniversary of Regained Independence Medal, as well as the following badges: the Legion Cross, the Commemorative Badge of the 1st Brigade of the Legions, the 10th Infantry Regiment Badge, and the Commemorative Badge for Ideological Prisoners. On the sleeves of his jacket, there are chevrons indicating years of service on the front lines.Dimensions: 5.9 cm x 7.7 cm. Overall condition as shown in the photos.

A portrait photograph of a second lieutenant in an officer's uniform wz.1927 and a wz.19 rogatywka (cap), holding a captured Russian officer's saber model 1827/09.Dimensions: 6 cm x 9.2 cm. Overall condition as shown in the photos.

ARR DIANNE FLYNN (b.1939) *ARRHead and Shoulders Portrait of a Girl, with a pink bow in her hair, watercolour, signed lower edge,14 x 21.5cm.

A Hallmarked Silver Ladies Cigarette Case, inset with an oval panel painted with a dog, London 1881, monogrammed, 8.5cm long; a white metal shield shaped pendant inset with a portrait of a gentleman, 3cm long, a porcelain plaque painted with a child in yellow metal pendant mount, 4cm long. (3)1, cigarette case does not close correctly, silver is very scratched. 2, oval plaque - chip to top, wear to face. 3, shield pendant scratches

CHALLENGE INTERNATIONAL DU NORD S.C.T. SILVER MEDAL, 1904/5 the obverse with relief portrait of Hermes, the reverse with inscription 4cm high Qty: 15g Note: This interesting medal relates to the Challenge International du Nord, an early cross country competition and forerunner to the European Cup.'The Challenge international du Nord (Northern International Challenge) was an annual football tournament featuring clubs from Northern France and Belgium as they could not play in the French Championship. Later teams from Switzerland, Netherlands and England were invited to play. It was hosted in the Lille area (Roubaix, Tourcoing and Lille) between 1898 and 1914 in different formats.'

* BENNO SCHOTZ RSA (ESTONIAN 1891 - 1984), THE GOALKEEPER, 1973 bronzed plasterExhibited:Edinburgh, Benno Schotz Retrospective, Touring Exhibition, 1971, no. 144. Edinburh, Royal Scottish Academy, Annual Exhibition, 1973, no. 61. A smaller bronze version of this sculpture was exhibited: Glasgow, Royal Glasgow Institute of Fine Arts, Annual Exhibition, 1968, no. 54. Glasgow, Royal Glasgow Institute of Fine Arts, Annual Exhibition, 1985, no. 20.Note:Benno Schotz was born to Jewish parents, Jacob Schotz, a watchmaker, and Cherna Tischa Abramovitch, in Arensburg, Russia (now Kuressaare, Estonia) in 1891. He was educated at the Boys Grammar School of Pärnu, Estonia. Later he studied at the Grossherzogliche Technische Hochschule in Darmstadt, Germany. In 1912, he immigrated to Glasgow, where he gained an engineering diploma from the Royal Technical College and from 1914–23 worked in the drawing office of John Brown and Company, Clydebank shipbuilders while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full-time sculptor in 1923 and subsequently a member of the Royal Scottish Academy, Head of Sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and later, in 1963, Her Majesty's Sculptor in Ordinary for Scotland. His pupils included Hannah Frank, Paul Zunterstein and Inge King (née Neufeld). His homes at West Campbell Street and later Kirklee Road were a focus for meetings of artists, writers, actors, and politicians. His first solo Glasgow exhibition was at Reid's Gallery in 1926 and his first in London at Alex Reid and Lefevre Ltd (Lefevre Gallery) in 1930. He was also a member of Glasgow Art Club, alongside recently arrived refugee artists Jankel Adler and Josef Herman, for whom he organised local Jewish community support. In 1942 he organised the important 'Jewish Art Exhibition' at the Glasgow Institute as an act of Jewish cultural identity during the Second World War. In 1981 Schotz was made a Freeman of the City of Glasgow and in the same year, Gordon Wright published his autobiography, Bronze in My Blood. During his career, Schotz produced several hundred portraits and compositions including figure compositions, religious sculptures, semi-abstracts and modelled portraits, the majority located in Glasgow and the surrounding area. A major retrospective exhibition of his works was held at the Royal Scottish Academy, Edinburgh in 1971. He was Life-President of the Royal Glasgow Institute of the Fine Arts as well as Honorary Member of both the Royal British Society of Sculptors and the Royal Institute of Architects in Scotland. His last sculpture was executed less than six weeks before his death, aged 93. He was a committed Zionist and was buried in Jerusalem. His work is represented in numerous UK collections including The National Galleries of Scotland, Edinburgh City Art Centre, The Kelvingrove Art Gallery, Aberdeen Galleries, The Scottish National Portrait Gallery, BBC Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Peoples Palace (Glasgow), The Scottish Jewish Archives Centre, Ben Uri Gallery & Museum (London) and the House of Commons (London). His work is also held in various public collections in Israel. Christie's held a major Studio Sale of Benno Schotz's work in Glasgow in 1997. 59cm high including wooden plinth

* BENNO SCHOTZ RSA (ESTONIAN 1891 - 1984), THE PRINCE OF GOALKEEPERS (JOHN THOMSON OF CELTIC F.C.),, CIRCA 1968 bronzed resinA bronze of this sculpture is in the collection of Celtic F.C.Note on both Schotz and Thomson:Benno Schotz was born to Jewish parents, Jacob Schotz, a watchmaker, and Cherna Tischa Abramovitch, in Arensburg, Russia (now Kuressaare, Estonia) in 1891. He was educated at the Boys Grammar School of Pärnu, Estonia. Later he studied at the Grossherzogliche Technische Hochschule in Darmstadt, Germany. In 1912, he immigrated to Glasgow, where he gained an engineering diploma from the Royal Technical College and from 1914–23 worked in the drawing office of John Brown and Company, Clydebank shipbuilders while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full-time sculptor in 1923 and subsequently a member of the Royal Scottish Academy, Head of Sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and later, in 1963, Her Majesty's Sculptor in Ordinary for Scotland. His pupils included Hannah Frank, Paul Zunterstein and Inge King (née Neufeld). His homes at West Campbell Street and later Kirklee Road were a focus for meetings of artists, writers, actors, and politicians. His first solo Glasgow exhibition was at Reid's Gallery in 1926 and his first in London at Alex Reid and Lefevre Ltd (Lefevre Gallery) in 1930. He was also a member of Glasgow Art Club, alongside recently arrived refugee artists Jankel Adler and Josef Herman, for whom he organised local Jewish community support. In 1942 he organised the important 'Jewish Art Exhibition' at the Glasgow Institute as an act of Jewish cultural identity during the Second World War. In 1981 Schotz was made a Freeman of the City of Glasgow and in the same year, Gordon Wright published his autobiography, Bronze in My Blood. During his career, Schotz produced several hundred portraits and compositions including figure compositions, religious sculptures, semi-abstracts and modelled portraits, the majority located in Glasgow and the surrounding area. A major retrospective exhibition of his works was held at the Royal Scottish Academy, Edinburgh in 1971. He was Life-President of the Royal Glasgow Institute of the Fine Arts as well as Honorary Member of both the Royal British Society of Sculptors and the Royal Institute of Architects in Scotland. His last sculpture was executed less than six weeks before his death, aged 93. He was a committed Zionist and was buried in Jerusalem. His work is represented in numerous UK collections including The National Galleries of Scotland, Edinburgh City Art Centre, The Kelvingrove Art Gallery, Aberdeen Galleries, The Scottish National Portrait Gallery, BBC Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Peoples Palace (Glasgow), The Scottish Jewish Archives Centre, Ben Uri Gallery & Museum (London) and the House of Commons (London). His work is also held in various public collections in Israel. Christie's held a major Studio Sale of Benno Schotz's work in Glasgow in 1997.John Thomson, The Prince of Goalkeepers, is one of the most important figures in the history of Celtic Football Club.Having signed for the team in 1926 at the age of 17, his natural athleticism and brave spirit ensured he would become a mainstay between the sticks. He helped the team to two Scottish Cups and three Glasgow Cups. He would also represent the national side and national select XI four times apiece.Thomson's name will forever be associated with the tragedy that befell him during an Old Firm clash on the 5th September 1931. The match was played at Ibrox in front of 80,000 fans. Early in the 2nd half, Thomson collided with Rangers player Sam English, whilst both going for the ball. Most people assumed the goalkeeper badly injured as he was stretchered off, Chic Geatons taking his place in goal.Upon being transported to the Victoria Infirmary, Thomson would soon be pronounced dead. The death of a young goalkeeper in his prime shocked the footballing world. Beyond that, the tragic loss of a young man's life, only 22 years of age and recently engaged, still stands as amongst the most profound moments in sporting history.40,000 people attended the funeral in his home town of Cardenden, including thousands who travelled from Glasgow, many walking the 55 miles to the Fife village. 101cm wide

* BENNO SCHOTZ RSA (ESTONIAN 1891 - 1984), THE PRINCE OF GOALKEEPERS (JOHN THOMSON OF CELTIC F.C.),, CIRCA 1968 bronzed plasterA bronze of this sculpture is in the collection of Celtic F.C.Note on both Schotz and Thomson:Benno Schotz was born to Jewish parents, Jacob Schotz, a watchmaker, and Cherna Tischa Abramovitch, in Arensburg, Russia (now Kuressaare, Estonia) in 1891. He was educated at the Boys Grammar School of Pärnu, Estonia. Later he studied at the Grossherzogliche Technische Hochschule in Darmstadt, Germany. In 1912, he immigrated to Glasgow, where he gained an engineering diploma from the Royal Technical College and from 1914–23 worked in the drawing office of John Brown and Company, Clydebank shipbuilders while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full-time sculptor in 1923 and subsequently a member of the Royal Scottish Academy, Head of Sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and later, in 1963, Her Majesty's Sculptor in Ordinary for Scotland. His pupils included Hannah Frank, Paul Zunterstein and Inge King (née Neufeld). His homes at West Campbell Street and later Kirklee Road were a focus for meetings of artists, writers, actors, and politicians. His first solo Glasgow exhibition was at Reid's Gallery in 1926 and his first in London at Alex Reid and Lefevre Ltd (Lefevre Gallery) in 1930. He was also a member of Glasgow Art Club, alongside recently arrived refugee artists Jankel Adler and Josef Herman, for whom he organised local Jewish community support. In 1942 he organised the important 'Jewish Art Exhibition' at the Glasgow Institute as an act of Jewish cultural identity during the Second World War. In 1981 Schotz was made a Freeman of the City of Glasgow and in the same year, Gordon Wright published his autobiography, Bronze in My Blood. During his career, Schotz produced several hundred portraits and compositions including figure compositions, religious sculptures, semi-abstracts and modelled portraits, the majority located in Glasgow and the surrounding area. A major retrospective exhibition of his works was held at the Royal Scottish Academy, Edinburgh in 1971. He was Life-President of the Royal Glasgow Institute of the Fine Arts as well as Honorary Member of both the Royal British Society of Sculptors and the Royal Institute of Architects in Scotland. His last sculpture was executed less than six weeks before his death, aged 93. He was a committed Zionist and was buried in Jerusalem. His work is represented in numerous UK collections including The National Galleries of Scotland, Edinburgh City Art Centre, The Kelvingrove Art Gallery, Aberdeen Galleries, The Scottish National Portrait Gallery, BBC Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Peoples Palace (Glasgow), The Scottish Jewish Archives Centre, Ben Uri Gallery & Museum (London) and the House of Commons (London). His work is also held in various public collections in Israel. Christie's held a major Studio Sale of Benno Schotz's work in Glasgow in 1997.John Thomson, The Prince of Goalkeepers, is one of the most important figures in the history of Celtic Football Club.Having signed for the team in 1926 at the age of 17, his natural athleticism and brave spirit ensured he would become a mainstay between the sticks. He helped the team to two Scottish Cups and three Glasgow Cups. He would also represent the national side and national select XI four times apiece.Thomson's name will forever be associated with the tragedy that befell him during an Old Firm clash on the 5th September 1931. The match was played at Ibrox in front of 80,000 fans. Early in the 2nd half, Thomson collided with Rangers player Sam English, whilst both going for the ball. Most people assumed the goalkeeper badly injured as he was stretchered off, Chic Geatons taking his place in goal.Upon being transported to the Victoria Infirmary, Thomson would soon be pronounced dead. The death of a young goalkeeper in his prime shocked the footballing world. Beyond that, the tragic loss of a young man's life, only 22 years of age and recently engaged, still stands as amongst the most profound moments in sporting history.40,000 people attended the funeral in his home town of Cardenden, including thousands who travelled from Glasgow, many walking the 55 miles to the Fife village. 51cm wide

A portrait of an elderly manOil on panelSigned and dated Lisboa 187029x23 cm

Tabatière en or 750, probablement Hollandaise 1720-1730, le dessus au décor repoussé d'une scène de soldats romains devant un homme assis à côté d'un tonneau de vin, le couvercle s'ouvre sur un portrait en miniature en émail de Charles-Eugène Lévis, duc de Lévis (1669-1734), lieutenant général des armées (1707) et membre du Conseil de la guerre (1715-1718), visiblement sans marque mais importation française, 5,5x7,5 cm, 142g brut

D B Smith of Sleights (Late 20th century): Sheep Dog and Rams Head, watercolour portrait study signed and dated 33cm x 48cm

Neil Gaiman (British 1960-): Portrait of David Bowie, coloured pencil drawing signed 13cm x 8cm (unframed)

VICTORIAN PORTRAIT MINIATURE, LATE 19TH CENTURY depicting Mary Queen of Scots, painted on porcelain, within a gilt frame21cm high x 17.5cm wide overall

LIMOGES ENAMEL PORTRAIT MINIATURE, SIGNED GANET depicting Santa Fabiola, in ebonised frame10cm x 10cm overall

I. ZULOAGA (SPANISH), MONOCHROME POTTERY CHARGER, MID-20TH CENTURY believed Ignacio Zuloaga, decorated with a portrait of two ladies in traditional spanish dress, signed verso35cm diameter

A Victorian Tortoiseshell and Piqué Work Brooch, of flowerhead panelled form, detailed with foliage, 3.5cm diameter; An Antique Style Shell Cameo Brooch, the oval panel carved with the portrait of a lady, between uniform bar stamped "JG&S" "9CT"; A Pair of Jet Coloured Clip On Earrings, in the form of flowerheads. (3)

A Victorian 9ct Gold Openface Locket Pendant, the male portrait within decorative surround, suspended on a scroll cap surmount (6.6grams total weight).

A Set of Three Large Art Nouveau Hallmarked Silver Buttons, Levi & Salaman, Birmingham 1900, each of circular form detailed in relief with female portrait, holding a flower in her hand, facsimile signature "F.Lasserre". (3)The buttons are approximately 3.5cm diameter each, total weight 26grams. No visible signs of damage or repair.

An Antique Style Large Carved Shell Cameo Brooch, depicting a courtyard scene with lady picking wheat, livestock and trees, within a ropetwist style surround, with safety chain, 4.6cm x 6.3cm, together with another antique style gilt coloured carved shell cameo brooch, depicting the portrait of a lady, within beaded surround, 2.3cm x 3cm. (2)

An Antique Style Carved Shell Cameo Ring, the oval panel depicting the portrait of a lady, double claw set between decorative shoulders of bow ribbon design, to slim band stamped "9ct" (finger size M1/2); A 9ct Gold Carved Shell Cameo Ring, the oval panel depicting the portrait of a lady, collet set within twisted surround, to bifurcated shoulders and slim band (finger size Q1/2) (5.2grams total weight). (2)

An Edwardian Hallmarked Silver Topped Arts & Crafts Hatpin, (makers mark indistinct), Chester 1907, depicting portrait of a man highlighted in green enamel, 20cm long; A Hallmarked Silver Topped Guilloche Enamel Hatpin, JA&S, Birmingham 1912, highlighted in blue and white enamel, 20cm long; A Further Hallmarked Silver Topped Hatpin, CHC&S, Chester 1908, 23.5cm long. (3)

Takanori Oguiss (1901-1986), Rue Nicolet, Montmartre , huile sur toile, signée, contresignée et titrée au verso, 60x73 cm Provenance: acquis dans les années 1980, puis resté dans la famille jusqu'à ce jourBibliographie: Les Amis d'Oguiss, Oguiss, Catalogue Raisonné, éd. Kyuryudo, Japon, 2021, no. 270Exposition: Musée Rath, Oguiss: exposition de peinture, du 3 au 25 février 1934, Musée d'art et d'histoire, Genève, no. 34Takanori OguissAprès des études aux Beaux-Arts de Tokyo, Takanori Oguiss quitte le Japon en 1927 pour s'établir à Montmartre, où il trouve une nouvelle patrie artistique. Ce départ marque une rupture décisive dans son parcours : émancipé des codes rigoureux de la peinture traditionnelle japonaise, il s'ouvre à une esthétique nouvelle, profondément influencée par Maurice Utrillo. Dans un contexte où l'avant-garde parisienne explore abstraction et surréalisme, Oguiss choisit une voie singulière, alliant modernité et figuration. Montmartre, avec ses rues pavées, ses façades décrépies et ses habitants singuliers, devient pour Oguiss une muse intarissable. C'est dans cet univers à la fois intime et universel qu'il façonne une oeuvre empreinte de simplicité et d'authenticité.Un exemple emblématique de cette quête se retrouve dans le portrait du Père Raimondeau (lot n.14). On devine aisément ce personnage arpentant les ruelles de Montmartre, figure trapue et robuste, vêtue de vêtements modestes mais fonctionnels. Assis, vêtu d'une veste bleue et d'un pantalon assorti, coiffé d'une casquette brune, son visage buriné porte les marques du temps, du soleil et des plaisirs du vin. À ses côtés, une bouteille et un verre à moitié vide racontent une vie simple et épicurienne. Sans artifice ni retouche, Oguiss saisit l'essence de cet homme dans une posture où chaque détail reflète sa nature et son quotidien. La vigueur du trait et l'intensité des ombres donnent au personnage une présence immédiate et vibrante. Dans ses paysages urbains, tels que Rue Nicolet Montmartre (lot n.13), Oguiss adopte une approche tout aussi directe. Il ne cherche ni l'idéalisation ni l'embellissement, mais capte la vérité brute des ambiances montmartroises. Sa perspective singulière, souvent audacieuse, et son cadrage soigneusement pensé confèrent à ses oeuvres une dynamique renouvelée. Les toits inclinés, les fenêtres austères et les trottoirs marqués par le passage du temps deviennent les éléments d'un théâtre urbain où chaque détail a son rôle à jouer. Les deux oeuvres présentées à la vente reflètent l'empreinte unique de Takanori Oguiss, immédiatement reconnaissable par ses lignes sombres et ses contours affirmés. Ces traits, incisifs et puissants, structurent ses compositions tout en amplifiant leur impact visuel. Dans ses paysages, ils soulignent l'architecture urbaine avec une précision quasi graphique, tandis que dans ses portraits, ils sculptent les expressions et les plis des vêtements avec une intensité captivante. Inscrit dans la lignée des peintres urbains, Oguiss impose une vision singulière : celle d'un artiste capable de magnifier la banalité du quotidien tout en y insufflant une profondeur humaine inégalée. Par ce regard à la fois mélancolique et vibrant, il s'affirme comme un pont entre la tradition et la modernité, laissant une empreinte indélébile sur la peinture figurative du XXe siècle.

Takanori Oguiss (1901-1986), Le Père Raimondeau , huile sur toile, signée, 74x58 cmProvenance: acquis dans les années 1980, puis resté dans la famille jusqu'à ce jourBibliographie: Lucienne Florentin, Oguiss, Peintre de Paris, éditions Sonor S.A., 1935, p.139, ill., Les Amis d'Oguiss, Oguiss, Catalogue Raisonné, éd. Kyuryudo, Japon, 2021, no. 312Takanori OguissAprès des études aux Beaux-Arts de Tokyo, Takanori Oguiss quitte le Japon en 1927 pour s'établir à Montmartre, où il trouve une nouvelle patrie artistique. Ce départ marque une rupture décisive dans son parcours : émancipé des codes rigoureux de la peinture traditionnelle japonaise, il s'ouvre à une esthétique nouvelle, profondément influencée par Maurice Utrillo. Dans un contexte où l'avant-garde parisienne explore abstraction et surréalisme, Oguiss choisit une voie singulière, alliant modernité et figuration. Montmartre, avec ses rues pavées, ses façades décrépies et ses habitants singuliers, devient pour Oguiss une muse intarissable. C'est dans cet univers à la fois intime et universel qu'il façonne une oeuvre empreinte de simplicité et d'authenticité.Un exemple emblématique de cette quête se retrouve dans le portrait du Père Raimondeau (lot n.14). On devine aisément ce personnage arpentant les ruelles de Montmartre, figure trapue et robuste, vêtue de vêtements modestes mais fonctionnels. Assis, vêtu d'une veste bleue et d'un pantalon assorti, coiffé d'une casquette brune, son visage buriné porte les marques du temps, du soleil et des plaisirs du vin. À ses côtés, une bouteille et un verre à moitié vide racontent une vie simple et épicurienne. Sans artifice ni retouche, Oguiss saisit l'essence de cet homme dans une posture où chaque détail reflète sa nature et son quotidien. La vigueur du trait et l'intensité des ombres donnent au personnage une présence immédiate et vibrante. Dans ses paysages urbains, tels que Rue Nicolet Montmartre (lot n.13), Oguiss adopte une approche tout aussi directe. Il ne cherche ni l'idéalisation ni l'embellissement, mais capte la vérité brute des ambiances montmartroises. Sa perspective singulière, souvent audacieuse, et son cadrage soigneusement pensé confèrent à ses oeuvres une dynamique renouvelée. Les toits inclinés, les fenêtres austères et les trottoirs marqués par le passage du temps deviennent les éléments d'un théâtre urbain où chaque détail a son rôle à jouer. Les deux oeuvres présentées à la vente reflètent l'empreinte unique de Takanori Oguiss, immédiatement reconnaissable par ses lignes sombres et ses contours affirmés. Ces traits, incisifs et puissants, structurent ses compositions tout en amplifiant leur impact visuel. Dans ses paysages, ils soulignent l'architecture urbaine avec une précision quasi graphique, tandis que dans ses portraits, ils sculptent les expressions et les plis des vêtements avec une intensité captivante. Inscrit dans la lignée des peintres urbains, Oguiss impose une vision singulière : celle d'un artiste capable de magnifier la banalité du quotidien tout en y insufflant une profondeur humaine inégalée. Par ce regard à la fois mélancolique et vibrant, il s'affirme comme un pont entre la tradition et la modernité, laissant une empreinte indélébile sur la peinture figurative du XXe siècle.

* SIR HERBERT JAMES GUNN RA RP (SCOTTISH 1893 - 1964), PORTRAIT OF SILVANUS NICOL oil on canvas, signedframedimage size 92cm x 72cm, overall size 100cm x 80cm Note: Painter, born in Glasgow, Scotland who studied at Glasgow School of Art, Edinburgh College of Art and at the Académie Julian in Paris under J.P. Laurens. His life as a painter was interrupted by World War I, in which he lost two brothers, and he enlisted with the Artists' Rifles in 1915 being commissioned into the 10th (Scottish) Rifles in 1917. James Gunn as he was known exhibited at RA, RSA, Paris Salon and elsewhere. Elected an Associate of the RA, 1953, and RA, 1961, RSW, 1930 and was also President of the Society of Portrait Painters. He painted the State Portrait of HM Queen Elizabeth II in her 1953 coronation robes and was knighted in 1963. The SNPG held a retrospective exhibition in 1994. His work is in the collections of Aberdeen Art Gallery, Cartwright Hall Museum, City of Edinburgh Art Collection, Dundee University, Fitzwilliam Museum, Cambridge, GAC, Harris Museum and Art Gallery, Preston, Hunterian, IWM, Jersey Heritage, Kelvingrove Art Gallery and Museum, Museums Sheffield, National Museums Liverpool, NMM, National Museums Northern Ireland, NMW, NPG, National Trust, Plymouth Art Gallery, Potteries Museum and Art Gallery, Rochdale Arts & Heritage Service, Slade School, SNPG and the Tate Gallery.

* HENRY RAEBURN DOBSON (SCOTTISH 1901 - 1985), STILL LIFE oil on canvas, signedframedimage size 34cm x 45cm, overall size 44cm x 54cm Note: Henry Raeburn Dobson was the youngest son of Henry John Dobson. At the end of the 1920s he left Edinburgh to pursue his career as a portrait painter in London, where his brother Cowan was already an established portrait painter. Following service in World War 2 Raeburn Dobson returned to live and work in Edinburgh. He was also a frequent visitor to Brussels where he also painted many portraits.

JAMES ELDER CHRISTIE NEAC (SCOTTISH 1847 - 1914), THE WOODCUTTERS oil on canvas, signed, titled versoframedimage size 61cm x 35cm, overall size 82cm x 56cm Label verso: Louise Kosman, EdinburghNote: James Elder Christie was a portrait and genre painter. Christie received his artistic training at art school in Paisley and South Kensington. He became known for his portraits, paintings of children, moral allegories and illustrations to the poetry of Robert Burns. He won two gold medals at the Royal Academy in 1876 and 1877. In the 1870s Christie attended life classes in M. Barthe's studio in Limerston Street, in Chelsea, classes which Whistler also attended at this time. On 9 November 1882 he was elected an artist member of Glasgow Art Club, resigned on 15 February 1889. In 1893 he moved back to Glasgow, and was re-elected to the Club on 20 December 1894, and finally elected as an honorary member on 29 December 1913. Following a period in Paris, Christie joined the New English Art Club. Forty-five or his paintings are held in UK public collections.

FRANK CRAWFORD PENFOLD (AMERICAN 1849 - 1921), SKETCH - WOMAN READING A FRENCH BOOK oil on panel, signedframedimage size 20cm x 16cm, overall size 28cm x 23cm Note: artist, teacher, lecturer, known for marine/seascape, genre, landscape, and portrait paintings, especially of the Brittany region of France. Penfold came from a family of artists, the son of the portrait painter, William Penfold (English born-American, 1827-1875), who was active in Lockport and Buffalo, New York and his mother, Maria Chubbuck (née Chapman) Penfold (1828-1919) married September 19, 1847, was also an accomplished artist. He had six younger siblings to include, brothers, John Penfold (1850- ), William Chapman Penfold (1853-1928) who became a fresco artist in Erie, PA, Charles Chubbuck Penfold (1854-1911) who designed engraved and manufactured fine jewelry in Buffalo, NY, beginning in 1872, and sisters Ida Parmelia Penfold-Thayer (1854-1934), Lillian "Lillie" Penfold-Baker (1857-1915) and Marie Dollie Penfold (1867-1927). Frank’s father originally wanted him to become an engraver, but one day at school Frank drew a sketch of the old schoolhouse in Lockport, NY in the back of an atlas. The principal at the time, Mr. Porter was charmed with the sketch and asked Frank to paint it on canvas. Frank and his younger brother used to clean up their father’s studio every evening, washing brushes and palettes, and unknown to his father, saved enough paint from his father’s palette to finish the piece. Mr. Porter was pleased with the painting and had it framed and exhibited. From that time forward Frank trained with his father in portraiture and other painting styles. One of his earliest known portraits was of "Addison Roberts" of Hornell, NY, husband of Marie (née Helmer) Roberts, painted in 1873. It was was also noted on the back of the painting that Penfold was listed as an artist in Buffalo and Paris. Frank had moderate success while living in Buffalo but decided to further his studies abroad. Around 1877, he travelled to France and later settled in Pont Aven, Brittany where he also taught in the artists’ colony. He studied in Finistère, Brittany, France and also trained at the Académie Julian in Paris in 1884. He occasionally returned to Buffalo, NY and in 1891, taught a class at the Buffalo Fine Arts Academy, Albright Art Gallery. On November 22, 1897, Frank married Jeannie "Jennie" Gerard (née Green-Wells [Wells adopted last name]) Redfern-Corbett-Penfold (1849-1921) at her home in Johnson Park, Buffalo, NY with whom he had an adopted daughter (from Jeannie's brother, Charles Edward Green, whom she and Frank later legally adopted on June 3, 1912), named Jane "Jennie" May Green Penfold-Harkness-Pinnington (1892-1970). Frank Penfold remained an influential figure in the Buffalo art scene and also helped organize the Municipal Art League in Chicago, IL in 1901. He was a member of the Buffalo Society of Artists and served as President in 1896, Buffalo, NY. He alternated between two homes, one in Pont Aven, France where he maintained a studio in Concarneau, Finistère, Bretagne, France and another at 32 Johnson Park, Buffalo, NY.

* MARY EDMOND, PORTRAIT OF NAN MULDER oil on canvas, signed, titled and dated 1987-88 verso framedimage size 62cm x 46cm, overall size 70cm x 55cm

STUDIO SIR HENRY RAEBURN (SCOTTISH 1756 - 1823), PORTRAIT OF JAMES INNES oil on canvas framed image size 77cm x 64cm, overall size 92cm x 79cm Note: The portrait depicts James Innes, Factor for the 5th Duke of Roxburghe; Sir Henry Raeburn painted the 5th Duke of Roxburghe\

JOSEPH HENDERSON RSW (SCOTTISH 1832 - 1908) ROW BOAT COMING IN TO SHORE oil on board, signed and dated 1878framedimage size 50cm x 80cm, overall size 59cm x 88cmNote: Joseph Henderson was born on 10 June 1832 in Stanley, Perthshire, He was the third of four boys. When he was about six, the family moved to Edinburgh and took up residence in Broad Street. The two older boys joined their father, also Joseph, as stone masons. Joseph’s father died when Joseph was eleven leaving his mother, Marjory Slater, in straightened circumstances. As a result, Joseph and his twin brother, James, were sent to work at an early age and the thirteen-year-old Joseph was apprenticed to a draper/hosier. At the same time, he attended part-time classes at the Trustees’ Academy, Edinburgh. At the age of seventeen, on 2 February 1849, he enrolled as an art student in the Academy. From the census of 1851, Marjory, Joseph and James were living at 5 Roxburgh Place, Edinburgh. Marjory was now a ‘lodging housekeeper’ with two medical students as boarders. James was a ‘jeweller’ while Joseph was a ‘lithographic drawer’. In the same year Joseph won a prize for drawing at the Academy enabling him, along with fellow students, W. Q. Orchardson, W. Aikman and W. G. Herdman, to travel to study the works of art at the Great Exhibition in London, which he found to be a very formative experience. He left the Academy about 1852-3 and settled in Glasgow. He is first mentioned in the Glasgow Post Office Directory for 1857-8 where he is listed as an artist living at 6 Cathedral Street. Joseph Henderson’s first exhibited work was a self-portrait which was shown at the Royal Scottish Academy (RSA) in 1853. He painted several portraits of friends and local dignitaries including a half-length portrait of his friend John Mossman in 1861. His painting, The Ballad Singer established his reputation as one of Scotland`s foremost artists when exhibited at the RSA in 1866. Throughout his career he continued in portraiture. He executed portraits of James Paton (1897) a founder and superintendent of the Kelvingrove Art Gallery and Museum (this portrait was bequeathed to Kelvingrove in 1933) and Alexander Duncan of the Faculty of Physicians and Surgeons of Glasgow. He also painted Mr. Scott Dickson, Sir Charles Cameron, Bart., DL, LLD (1897) and Sir John Muir, Lord Provost of Glasgow (1893). His portrait of councillor Alexander Waddell (1893) was presented to Kelvingrove in 1896. However, it is probably as a painter of seascapes and marine subjects that he became best known. His picture Where Breakers Roar attracted much attention when exhibited at the Royal Glasgow Institute (RGI) in 1874, ‘as a rendering of angry water’. Henderson was in part responsible for raising the profile and status of artists in Glasgow and was a member of the Glasgow Art Club (he was President in 1887-8), the Royal Glasgow Institute of the Fine Arts (founded 1861) and the Royal Society of Painters in Watercolour. Between 1853 and 1892, he exhibited frequently at the RSA and at the RGI and between 1871 and 1886 he had twenty pictures accepted for the Royal Academy in London. In 1901 he was entertained at a dinner by the President and Council of the Glasgow Art Club to celebrate his jubilee as a painter. He was presented with a solid gold and silver palette. An inscription on the palette read: ‘Presented to Joseph Henderson, Esq., R.S.W. by fellow-members of the Art Club as a mark of esteem and a souvenir of his jubilee as a painter, 8th January 1901’ Joseph Henderson was married three times. On 8 January 1856 he married Helen Cosh (d. 1866) with whom he had four children including a daughter Marjory who became the second wife of the artist William McTaggart. On 30 September 1869 he married Helen Young (d. 1871) who bore him one daughter and in 1872 he married Eliza Thomson with whom he had two daughters and who survived him. Two of his sons, John (1860 – 1924) and Joseph Morris (1863 – 1936) became artists; John was Director of the Glasgow School of Art from 1918 to 1924. By 1871 he had moved with his family; wife Helen, daughter Marjory and sons James, John and Joseph and his mother Marjory from Cathedral Street to 183 Sauchiehall Street. He also employed a general servant. He is described in the census as a ‘portrait painter’. In 1881, Joseph was living at 5 La Belle Place, Glasgow with Eliza, two sons and four daughters. He later moved to 11 Blythswood Square, Glasgow. In the 1901 census he was still at this address with his wife Eliza, sons John and Joseph and daughter Mary and Bessie. His occupation is ‘portrait and marine painter’. Joseph Henderson painted many of his seascapes at Ballantrae in Ayrshire. At the beginning of July 1908, he again travelled to the Ayrshire coast. However, he succumbed to heart failure and died at Kintyre View, Ballantrae, on 17 July 1908 aged 76 and was buried in Sighthill cemetery in Glasgow. A commemorative exhibition of his works was held at the RGI in November of that year. A full obituary was published in the Glasgow Herald. As well as his devotion to art, Joseph Henderson was a keen angler and golfer. A contemporary account states that he was ‘frank and genial, with an inexhaustible fund of good spirits and a ready appreciation of humour, of which he himself possesses no small share’. Thirty-six of his paintings are held in UK public collections.

* LAURENCE BRADSHAW (BRITISH 1899 - 1978) PINE TREE pastel on paper, signed 'L H B' and dated '77mounted, framed and under glassimage size 41cm x 29cm, overall size 63cm x 49cm Note: Sculptor, painter, engraver, stage designer, author. Born in Liscard (Wallasey), Cheshire. According to his family and confirmed by his baptismal record, Laurence's father was Peter Bradshaw, a commercial traveller. However, based on the Census Returns, probably by 1901 and certainly by 1911 Laurence and his mother, Annie Henderson (born c.1866 or c.1871 in Scotland) were described as son and wife of John Bradshaw (born in Liverpool or Warrington, Lancashire c.1869), antique dealer and bookseller. It is presumed that Peter Bradshaw changed his name to John c.1900. Laurence started his higher education at the University of Liverpool during the First World War and then (c.1916) began studying painting at Liverpool School of Art with William Penn. He was advised to study sculpture as well and, after attending some classes in Liverpool (presumably under Charles John Allen then teacher of modelling), he completed his studies in London and Paris. In London, Bradshaw studied at Leon Underwood's Brook Green School of Drawing (dates uncertain). During the mid-1920s Bradshaw worked first as a pupil and then as an assistant to Sir Frank Brangwyn. One of Bradshaw's earliest commissions for sculpture was a series of low reliefs c.1928 for the Brompton Oratory (London) depicting the life of Saint Philip Neri founder of the Oratorian Order. Other commissions followed including: Radcliff Maternity Home (1935); Watford Town Hall; Cambridge Guild Hall; the County Offices in Winchester; and Worthing Town Hall. Private commissions were also an important part of his practice, over a long career he made many portrait busts of writers, politicians, poets, journalists and actors. His most famous work, however, was the memorial to Karl Marx in Highgate Cemetery (1956). This reflected his political beliefs. Bradshaw was a committed communist and worked actively in politics throughout his career.

HENRY MOORE RA RBA RWS (BRITISH 1831 - 1895), UNLOADING THE CATCH oil on canvas, signed and dated 1872framedimage size 34cm x 59cm, overall size 44cm x 70cmNote: A member of a distinguished family of Yorkshire artists, Henry Moore rose to become one of the best marine painters of his day. Working in both oil and watercolour, he treated the sea ‘as a subject sufficient in itself, rather than simply the background of a battle, shipwreck, or even landscape’. Henry Moore was born at 14 Castlegate, York, on 7 March 1831, the tenth of fourteen children of the portrait painter, William Moore, and the second son by his second wife, Sarah Collingham. Four of his brothers were artists: Edwin Moore, William Moore Jr, John Collingham Moore and, most notably, the youngest, Albert Moore, a leading painter of the Aesthetic Movement. Henry Moore studied under his father before attending York School of Design, from 1851. Two years later, in 1853, he moved to London, where he joined his brother, John, in lodgings near Oxford Street, and began to exhibit at the Royal Academy, even before he entered the Royal Academy Schools at the end of the year. Indeed, while he remained at the RA Schools for only a few months, he continued to exhibit at the RA almost annually. In 1855, he also began to exhibit at the Society of British Artists, the British Institution and the Portland Gallery. He spent the summers of 1855 and 1856 painting the mountains of Servoz, near Chamonix, and first became known for producing Alpine as well as British landscapes in the Pre-Raphaelite manner. In 1857, a series of visits to Clovelly on the north Devon coast inspired Moore to turn to marine subjects, and especially panoramic vistas of the open sea, which he believed had not been fully achieved in painting before. In the decade or so following his marriage to Mary Bollans, of York, on 19 July 1860, he divided his time between landscapes and seascapes, and developed a reputation for his precise observation of the atmosphere and form of the sea. However, he gradually modified his style, employing broader handling and bolder colour. The evolution and increased mastery of his work were based on extended experience and careful study, made on board ship as well as from land. He was known to cross England in order to observe a bad storm. Though elected a member of the Society of British Artists in 1867, Moore resigned eight years later, at the time that he began to devote himself completely to seascapes. He exhibited these at a wider range of metropolitan venues, including the Dudley Gallery, the Grosvenor Gallery (founded in 1877) and the New Gallery (founded in 1888), and in the provinces. Elected to the membership of the Royal Society of Painters in Water-Colours (ARWS 1876, RWS 1880) and the Royal Academy (ARA 1885, RA 1893), he was also awarded the grand prix at the Exposition Universelle, Paris (1889) and, as a result, the Légion d’honneur. In 1887, the Fine Art Society mounted a large solo show of his work, while he was represented alongside his father and brothers in an exhibition devoted to the Moore family of painters in York in 1895. For much of his career, Moore had lived in Sheffield Terrace, Kensington, and it was there that he and his wife brought up their two daughters, Agnes and Florence, the first of whom became a painter of flowers. However, late in the 1880s, they moved to 39 Maresfield Gardens, Hampstead. Henry Moore died at the High Cliff Hotel, Margate, on 22 June 1895. His work is represented in numerous public collections, including the British Museum, Tate and the V&A; and Birmingham Museums and Art Gallery, Leamington Spa Art Gallery & Museum, Manchester Art Gallery and York Art Gallery.