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A large quantity of mostly continental figures, to include, candelabra, children, spill vase, (A Lot)

Pair of Chinese vases showing children playing, 32cm (2)

KAISERLICHE MANUFAKTUR WIEN, Allegorie "Der Herbst" Ende 18.Jh. Porzellan, farbig glasiert und staffiert, auf der Unterseite gemarkt mit unterglasurblauem Bindenschild, auf einem Ziegenbock sitzender Bacchantenknabe sowie zwei Bacchantenkinder, H: 18 cm. Einige Blüten und Blätter bestoßen, Brandrisse.| KAISERLICHE MANUFAKTUR WIEN, Allegory ‘The Autumn’ late 18th centuryPorcelain, colourfully glazed and painted, marked on the underside with an underglaze blue banded label, a Bacchante boy sitting on a billy goat and two Bacchante children, h: 18 cm. Some flowers and leaves chipped.

Ornate swirl design with gilt outline adorned with children playing pirates. Impressed mark may be Heubach. Largest piece 4.25"L x 2"W x 5.5"H Issued: 20th centuryDimensions: See DescriptionCountry of Origin: GermanyCondition: Age related wear.

Splendid four piece plate collection decorated with images of young children playing with toys. Germany backstamp. One plate has a Rudolstadt Made in Germany backstamp. Issued: 20th centuryDimensions: 5.75" dia. Manufacturer: HappifatsCountry of Origin: GermanyCondition: Age related wear.

The Smiths - Suffer Little Children (instrumental) - Original Eden Studios Dec 1983 1/4 inch tape - clocking at 5m 26s. Contained in original Eden Studios box. From the collection of producer John Porter who produced The Smiths amongst many others. This item is being sold as a musical artefact only, with no copyright and no rights to reproduce.

Vinyl / Acetates - 2 Acetates and 7 x 7” singles to include: Billy Bragg – Levi Stubbs’ Tears / Russians / Walk Away Rene (original UK 1986 CBS Mastering Studios double sided Acetate, side B. track one is under the title “Russians" which was later changed to “Think Again”, with hand written information on labels and comes in the original Acetate sleeve), Opposition – Five Minutes / Sand And Glue (original UK 1985 CBS Mastering Studios double sided Acetate, with hand written information on labels and comes in the original Acetate sleeve and housed in an addressed brown mailer), Colin Lloyd-Tucker (Plain Characters, The Gadgets, The The) – Head / Sex Slave x 3 (private pressing picture disc - DJ 1, comes with 21 promo press releases ad a hand written contact information for labels), Sound Effects - Baby Sobbing - Children At Play - Cheering Crowds (His Master's Voice – 7FX 16), Charm School – Life's A Deceiver (Zarjazz – JAZZ 4), Starvation / Tam Tam Pour L'Éthiopie – Starvation / Tam Tam Pour L’Éthiopie (Zarjazz – JAZZ 3), NME Readers' Poll Winners ’84 (GIV 1 with The Smiths), Feargal Sharkey – Listen To Your Father (Zarjazz – JAZZ 1). From the collection of producer John Porter who produced The Smiths amongst many others. Condition EX overall

Early 20th Century Chinese Embroidered Textiles comprising two appliqué children riding on pale purple silk scales animals, mounted, in faux gilt bamboo frame, 53cm by 40cm,together with a Chinese red silk embroidered panel worked with animals, floral motifs, script, using silk and silvered threads, stylishly mounted, in a modern gilt frame, 51cm by 47cm,(2)

Mid 20th Century F Shumacher & Co New York and Other Printed Wallpaper Design Samples comprising a 'custom hand print' design titled 'Lemon Espalier' in two colourways, in the style of Josef Franks, both framed, both 54cm by 59cm,another 'custom hand print' titled 'Rendezvous' depicting ladies promenading and other groups in green on a black ground, framed 77cm by 57cm,a 'custom hand print' depicting a trellis design with baskets of flowers and children playing on a swing besides a play house in green, pink and black, framed, 79cm by 58cm,a wallpaper sample titled 'Grass and Butterflies' in the style of Josef Franks, framed, 79cm by 58cm,(5)

Late 19th Century Costume Accessories and Photographs, comprising pair of white kid leather bootees with stitched detail to the toes, pair of black leather ballet shoes labelled 'B Whites, Late Wm Collinson's, Birkenhead', singles shoe, pair of white kid leather gloves with blue stitching, other gloves, socks, small red leather photograph case, two daguerrotypes, loose photos including family portraits of adults and children by photographers in Birkenhead and Aberdeen etc (one box)

A collection of twenty-five 12" and 7" vinyl records on The Factory Label (FAC/FACT) to include Factory flexidisc sampler FAC176, Meatmouth - white label - FAC196, Fadela - white label - FAC 197, Vermorel FAC198/7, Miaow FAC179, Biting Tongues FAC188, The Railway Children FACT185, Miaow FAC189, Fadela FAC197, The Jazz Defektors FAC 205, Cath Carroll FAC210, Karl Denver FAC228, Electronic FAC257/7, Durutti Column FAC284, Cath Carroll FAC255, Karl Denver FAC278, Electronic FAC287, Electronic FAC287R, Electronic FAC290, Northside FAC298/7, Cath Carroll FAC307/7, Northside FAC308/7, Northside FAC310, The Adventure Babies FACT335, Electronic FAC328

[Webster (Alexander)] Calculations, with the Principles and Data...[relative to]...establishing a Fund for a Provision for the Widows and Children of the Ministers of the Church...Scotland, half-title, some soiling, ex-library cop, library buckram, Edinburgh, 1748 § Manchester Iris (The); A Literary and Scientific Miscellany, 2 vol. [all published], vol.1 lacking one leaf (pp.167-8 at end of No.21), pp. 389-420 (end of vol.2) misbound at end of vol.1, some staining, with engraved leaf of musical notation, another similar frayed at edges, modern half calf, Manchester, 1822-23; and c.25 others including 3 bound volumes of The Pamphleteer (broken and loose, some items removed), House of Lords cases, and other periodicals, v.s.; sold not subject to return (a box)

Thomas Paterson (British, late 19th/early 20th Century), children on a grassy mound, signed l.l., watercolour, 34 by 44cm, gilt frame

A c.1940 Dewees Cochran composition American Child doll, with finely painted face and blue eyes, blonde wig and floral dress, 35cm highNote: Dewees Cochran (American,1892-1991), a commercial Fine Artist who reinvented herself as a doll maker in response to the financial ruin brought by the Great Depression. Unique in creating 'Portrait Dolls' of specific children, 'Look-Alike' dolls from her six basic 'American Children' face types and five series of 'Grow-up' dolls showing the same dolls at progressive ages.

Follower of Myles Birket Foster, mother, baby, and a cat outside a cottage; mother, children, and a donkey outside a cottage, a pair, both bear initials, watercolour, 10 by 15cm, gilt frames (2)

Myles Birket Foster (British 1825-1899), children seated on a cliff above the sea, monogram signed l.r., 28.5 by 43.5cm, gilt framed with egg and dart relief

A Collection of Lladro to include two cherub figures, a girl figure with a lamb, two children holding sheep one wearing blue and one wearing pink, a small child praying and a shepherd boy holding sheep (7) items in total.

Four Nao Figures of Children, two dressed in duffle coats, one little girl putting her shoe on, and a boy with a rabbit, together with a Nao figure of a Panda bear.

Collection of Lladro Figures, some with damage, comprising a gentleman golfing figure 4824, 11'' high, and an elegant lady with a gift box, 4700, missing sunshade, a girl feeding a calf No. 4813, 8'' high, a girl with a goose and pail No. 4682, goose present but unattached, and girl with goose and goslings, No. 4510 (missing umbrella), two sleepy children one missing candle, an angel figure and a girl with a lamb.

INTERESTING SELECTION OF WOODEN COLLECTABLEScomprising a wooden advertising sign in the for of a leg marked 'Hosiery of the Finest Quality. Saffro. for ladies, gentlemen and children', 73cm high; a novelty wall mounting box marked 'Bathing Bell Box', the exterior painted with lady in swimming costume, the interior with a naked lady; 1940s 'Don't Forget the Kitty' card holder/trump indicator, by Avon; and three Russian painted egg shaped dwarves

A pair of Japanese watercolours representing mythical scenes with geishas and children, one example signed, 29 x 11cm, and two framed montages of Chinese silvered panels.

A pair of Continental porcelain figure groups representing a maiden with children, bearing blue painted marks to the underside, length 24cm (2).

VIENNA; a good late 19th century kettle of bulbous form, hand painted with children and classical figures in landscape, with gilt jewelled highlights, inscribed 'Tanz Werbung', with gilt metal dolphins forming the porcelain handle, height including swing handle 20cm.Condition Report: One pin hinge has been replaced. Very light rubbing to gilding in parts, but presented well in good condition.

A rare early 1930s 18ct white gold Reverso ladies wristwatch, the black dial with baton markers and sword hands signed 'REVERSO, SWISS', back stamped PATENT 18k 0.750, 107, the reverse monogramed PRISON D'ANVERS 1ST AUG - 9 SEPTEMBER 1941, no strap, classic rectangular case with six streamlined grooves for an Art Deco aesthetic, This watch was potentially produced during 1931-33 and the early models were manufactured with the help of Jaeger-LeCoultre’s collaboration with Tavannes, which supplied movements. By 1933, production had stabilized under LeCoultre’s namePROVENANCE: The vendor acquired this piece from an old Belgian friend who had recently passed away. She had gotten the watch after visiting her aunt in Brussels in the 60s, who gave it to her as she had no children to pass it on to. Her uncle (aunts husband) had purchased the watch from a fleeing family, and he owned a bakery and was arrested during WWII for supposedly being a communist, with the prison being engraved on the back.

19TH CENTURY ENGLISH SCHOOL, CHILDREN BY A GATE oil on canvasin a gilt frame40cm x 30cm

GROUP OF THREE B MERLI FIGURES OF CHILDREN AT PLAY, with marks to base10cm highScratches and general surface ware, paint fading in some areas,additional images have been added to the website

ENID BLYTON, THE PLAYS THE THING Musical Plays for children with music by Alec Rowley, illus. by Alfred E. Bestall, cloth, 1927

MARY MITCHELL SMITH (British, 20th Century School), Pottery figure group of two girls, with a dog at their feet, signed and dedicated to the patron, Christmas 1951, 21cm high, together with a model of a calf, and a pair of Children figures, in the Staffordshire style, dressed in 17th Century costume, all with sgraffito signatures, 22cm high (4)Note: Mary Mitchell Smith was a member of The Arts & Crafts Exhibition Society, she exhibited at The Royal Academy Summer Exhibition in 1946Condition Report: The boy and girl, both figures have losses to their ruffs. Single chip to one of the points on each ruff.Surface glaze cracking.The two ladies are ok.The cow has glaze crack to base, small chip to ear. Area of glace cracking.

A late 19thC porcelain figure group, modelled in the form of two children with a young baby, seated on a chair, on oval base, unmarked, 18cm wide.

A collection of four Royal Copenhagen and similar porcelain figures of seated children, each wearing blue dungarees.

Glossy finish. Features mother and father Bunnykins reading to their children. Includes two porcelain bookends. Royal Doulton backstamp. This item has its original box, dimensions: 8.5''L x 12.75''W x 10''H. Dimensions: 4.75''L x 6''W x 7''H, Each. Issued: c. 2004Dimensions: See DescriptionManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.

Ink and color on paper; mounted as hanging scroll; depicting a noble consort and children in a pleasure garden with pavilion.(144 1/2 inches x 102 1/2 inches)No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

VICTORIAN OVAL CAMEO BROOCH, depicting two children, a dog and lambs in a garden setting, in an unmarked gold mountQty: 7.65g

AFTER HENRY TILSON PORTRAIT OF SIR JOHN MAYNARD (CIRCA 1602 - 1690) WEARING ACADEMIC ROBES AND CAP Oil on canvas laid to board 123 x 100.5cm (48¼ x 39½ in.) Provenance: Possibly commissioned by Joanna Maynard for Adlington Hall, and thence by descent A full length version of this portrait, attributed to Henry Tilson (1659 - 1695), is kept the in National Trust Collection at Blickling Hall, Norfolk. This primary version is considered to have descended from Maynard's collection at Gunnersbury House to Blickling Hall by his Great-grandson John Hobart, 1st Earl of Buckingham.By his first wife the sitter, Sir John Maynard had two sons, John and Joseph, and four daughters, Elizabeth, Honora, Johanna, and Martha. His third daughter, Johanna, married Thomas Legh of Adlington; Maynard survived all his children, except his youngest daughter, and devided his estates in trust for his granddaughters and their issue in tail by a will so obscure that to settle the disputes to which it gave rise a private act of parliament was passed in 1694, notwithstanding which it was made the subject of litigation in 1709. A speculative theory as to how a copy of the original composition found itself hung on the walls at Adlington Hall, could be that Sir John presented a version of the work to his daughter Johanna on occasion of her marriage to Thomas Legh.

FOLLOWER OF SIR GODFREY KNELLER PORTRAIT OF LADY ESSEX ROBARTES, HOLDING A BASKET OF FLOWERS ON A LEDGE Oil on canvas 124.5 x 100.5cm (49 x 39½ in.) In a carved and gilded frame Provenance: Possibly commissioned by John Robartes, 1st Earl of Radnor for Llanhydrock, Cornwall Inherited by Lady Isabella Legh, nee Robartes or Charles Legh Thence by descent at Adlington Hall Literature: Adlington Guide Book: 'The Drawing Room'. Lady Essex Robartes (unknown-1727), was the sister of Lady Isabella Legh née Robartes (1674-1725) and Charles Bodvile Robartes, 2nd Earl of Radnor (1653-1723), and the daughter of Robert Robartes, Viscount Bodmin (1634-82), and Sarah Bodvile, later Countess of Radnor (1640-1720). She appears to have been unmarried. It is possible that the present portrait was commissioned by the sitter's father as a series of portraits depicting his daughters or children. It most likely entered the Legh collection following the marriage of Lady Isabella Robartes (1674-1725) to John Legh of Adlington Hall in 1693. Alternatively, it is conceivable that it could have been retained at Llanhyrdrock but later gifted to, or purchased by, the Legh family upon the death of their cousin, the 3rd Earl of Radnor, in 1741 when the Radnor title and Llanhydrock were separated: the title succeeded by distant cousin and the house, believe by antiquarian John Loveday to be in a sorry state, bequeathed to a nephew. Condition Report: The canvas has been lined and re-varnished. Craquelure throughout however the paint surface appears stable. Stretcher marks visible in a raking light. There is a small area of what appears to be scuffing at the upper left edge (approx. 3cm) - this is visible in catalogue and online images. Inspection under UV light reveals scattered retouching and infilling throughout, as well as a green, patchy, masking varnish. Condition Report Disclaimer

FOLLOWER OF SIR GODFREY KNELLER PORTRAIT OF LADY ISABELLA LEGH Oil on canvas Later inscribed with identifying inscription (verso) 121 x 99cm (47½ x 38¾ in.) Provenance: Probably commissioned by the sitter's husband, John Legh, and thence by decent at Adlington Hall Literature: 'Adlington Hall, Cheshire: The Seat of Mr. A.M.R. Legh', Country Life, 29 July 1905, p. 130, 'The Drawing-Room'.Adlington Guide Book: 'The Drawing Room'. G. Nares, 'Adlington Hall, Cheshire - III: The home of Mrs. Legh', Country Life, 12 December 1952, p. 1960, fig. 2 'The mid-Georgian staircase in the West front. Lady Isabella Legh, née Robartes (1674-1725), was the daughter of Robert Robartes, Viscount Bodmin (1634-82), and Sarah Bodvile (1640-1720). She was born in 1674 at Lanhydrock House, Cornwall. On 18 July 1693, she married John Legh Esq. of Adlington Hall (1688-1739) with whom she had two children, Lucy Frances Legh (1695-1728) and Charles Legh (1697-1781). Both Lady Isabella and her husband were interested in music, and it is probable that the organ in the Great Hall was a gift to her from him shortly after they arrived in Adlington. Stylistically, the organ case can be dated around 1700, and it is surmounted by a coat of arms celebrating the marriage of Lady Isabella and John.  

A CHINESE QUARTZ CARVING OF BUDAI 19TH CENTURY with two children 12cm high, wood stand Condition Report: wear and scratched to the surface and small nicks to the edgesCondition Report Disclaimer

FOLLOWER OF SIR GODFREY KNELLER PORTRAIT OF LADY ISABELLA LEGH, HOLDING FLOWERS IN A ROCKY LANDSCAPE Oil on canvas With later identifying inscription (to canvas verso) 121 x 96.5cm (47½ x 37 in.) In a carved and gilded frame Provenance: Possibly commissioned by John Robartes, 1st Earl of Radnor for Llanhydrock, Cornwall Inherited by Lady Isabella Legh, nee Robartes or Charles Legh Thence by descent at Adlington Hall Literature: G. Nares, 'Adlington Hall, Cheshire - III: The home of Mrs. Legh', Country Life, 12 December 1952, p. 1961.Lady Isabella Legh née Robartes (1674-1725) was the daughter of Robert Robartes, Viscount Bodmin (1634-82), and Sarah Bodvile, later Countess of Radnor(1640-1720). She was born in 1674 at Lanhydrock House, Bodmin, Cornwall. On 18 July 1693, she married John Legh of Adlington Hall (1688-1739) with whom she had two children, Lucy Frances Legh (1695-1728) and Charles Legh (1697-1781). It is possible that the present portrait was commissioned by the sitter's father as a series of portraits depicting his daughters or children. It most likely entered the Legh collection following the marriage of Lady Isabella Robartes (1674-1725) to John Legh of Adlington Hall in 1693. Alternatively, it is conceivable that it could have been retained at Llanhyrdrock but later gifted to, or purchased by, the Legh family upon the death of their cousin, the 3rd Earl of Radnor, in 1741 when the Radnor title and Llanhydrock were separated: the title succeeded by distant cousin and the house, believe by antiquarian John Loveday to be in a sorry state, bequeathed to a nephew. Condition Report: The canvas has been lined and there is a heavy varnish which is uneven in it application. Craquelure throughout including an area concentrated along the central stretcher line. There is an old repaired tear (L-shaped, approx. 15x15cm) to the lower left corner and this is visible in natural light. Rubbing and abrasions to the framing edges. With some very light specks of paint loss/abrasions throughout however this is barely noticeable. Inspection under UV light reveals scattered retouching and in-filling throughout, as well as a patchy green masking varnish. The painting is likely to date from the 18th century. Condition Report Disclaimer

ATTRIBUTED TO MARY BEALE (BRITISH 1632-1697) AFTER SIR PETER LELY LETITIA ISABELLA SMITH, COUNTESS OF RADNOR (CIRCA 1630 - 1714) IN PEERESS' ROBES Oil on canvas laid to boardProvenance: Possibly commissoned by John Robartes, 1st Earl of Radnor for Llanhydrock, until inherited by Lady Isabella Legh, nee Robartes, or Charles Legh, and thence by descent at Adlington Hall 124.5 x 99 cm  Saleroom Notice:Please note the measurements have been updated. Literature: Another version of this portrait https://www.nationaltrustcollections.org.uk/object/352351 Letitia Isabella Smith was the daughter of Sir John Smith of Bidborough, Kent. She was the second wife of John Robartes, 1st Earl of Radnor with whom she had nine other children, including Francis, and Araminta, who married Ezekiel Hopkins, Bishop of Derry. Letitia has been identified as the "Lady Robarts" mentioned in Count Hamilton's Mémoires du Comte de Grammont, par le C. Antoine Hamilton. Edition ornée de LXXII portraits, Graves d'apres les tableaux originaux., A Londres, [1793], and was described by Samuel Pepys as "a great beauty indeed". Although confusingly previously identified as Harriet, Wife of William, 1st Earl of Radnor (2nd Creation) another version of this work is housed at Llanhydrock House, Cornwall, inscribed as being Letitia Isabella Smith. The present portrait most likely entered the Legh collection following the marriage of Lady Isabella Robartes (1674-1725) to John Legh of Adlington Hall in 1693. Alternatively, it is conceivable that it could have been retained at Llanhyrdrock but later gifted to or purchased by the Legh family upon the death of their cousin, the 3rd Earl of Radnor, in 1741 when the Radnor title and Llanhydrock were separated: the title succeeded by distant cousin and the house, believe by antiquarian John Loveday to be in a sorry state, bequeathed to a nephew. Condition Report: The measurements are wrong, and the correct ones are the following: 124.5 x 99 cm The canvas is heavily relined. UV light reveals various retouches across the whole surface. Numerous retouches cross the whole left border, with many of about 4cm in width, and the larger, in the upper left corner, of about 8cm. Many retouches are also visible on the dress, especially on the red cloth where scattered retouches are added in the folds. In addition, a 8 cm vertical long restoration is present on the white cloth near the bottom border. Furthermore, extensive retouching is present in the background, especially on the back curtain. A few scattered pink coloured retouches, which are also visible to the naked eye, are present on the hands, and arms, and slightly on the hair. To conclude, a 7 cm long superficial scratch is present to he left of the sitter. Condition Report Disclaimer

DANIEL SEPHTON (18TH CENTURY) DESIGN FOR THE MARBLE MONUMENT TO WILLIAM WRIGHT OF MOTTRAM, HIS WIFE AND CHILDREN AT ST. MARY'S PARISH CHURCH Pencil and wash Signed and dated 'Daniel Sephton Jnr.../1787' (lower right) 71 x 43cm (27¾ x 16¾ in.) Together with a typed version of the inscription (2)

FOLLOWER OF SIR GODFREY KNELLER PORTRAIT OF ISABELLA LEGH, HALF-LENGTH IN A GREY DRESS AND WHITE CHEMISE Oil on canvas, feigned oval 75 x 62cm (29½ x 24¼ in.) Provenance:Probably commissioned by the sitter's husband, John Legh, and thenceby decent at Adlington Hall Lady Isabella Legh, nee Robartes (1674-1725), was the daughter ofRobert Robartes, Viscount Bodmin (1634-82), and Sarah Bodvile (1640-1720). She was born in 1674 at Lanhydrock House, Cornwall. On 18 July1693, she married John Legh Esq. of Adlington Hall (1688-1739) withwhom she had two children, Lucy Frances Legh (1695-1728) and CharlesLegh (1697-1781).   

A small volume (lacking frontis), by R HILL, designed to spark the interest of children regarding the word of God. Heavily illustrated and interspersed with Psalms and verses to appeal to a juvenile audience. Bound in linen (worn), dated 1826.

FOLIO SOCIETY: 9 Titles: RAYMOND CHANDLER: TROUBLE IS MY BUSINESS; BLACKMAILERS DON'T SHOOT; ROALD DAHL: COMPLETE TALES OF THE UNEXPECTED; RAY BRADBURY: FAHRENHEIT 451; FRANZ KAFKA: METAMORPHOSIS AND OTHER STORIES; TRUMAN CAPOTE: BREAKFAST AT TIFFANY'S; SUSAN COOPER: OVER SEA, UNDER STONE; CHODERLOS DE LACLOS: LES LIAISONS DANGEREUSES; E NESBIT: THE RAILWAY CHILDREN. All held within original slipcases.

VIRTUE'S HOUSEHOLD PHYSICIAN, A TWENTIETH CENTURY MEDICA, A PRACTICAL DESCRIPTION IN PLAIN LANGUAGE OF ALL THE DISEASES OF MEN, WOMEN AND CHILDREN, London, Virtue and Company, ND. Volumes ! - III and V. Uniformly bound in black overlaid cloth with gilt title to tooled spines. Embossed motif of Asclepius to each upper board. Illustrated throughout (4)

The Communists of Paris 1871. Types - Physiognomies - Characters. By Bertall. Folio, gilt stamped cloth, colour plates. With More Beasts for Worse Children, published by Edward Arnold, oblong folio, c1897. Political Caricatures 1904, by F. Carruthers Gould, 1904. Edward Arnold, oblong folio. [3]

Two Nao figures to include Camison Con Vuelo and Children Playing, H: 24 cm. UK P&P Group 2 (£20+VAT for the first lot and £4+VAT for subsequent lots)

WILLIAM JOHNSTONE O.B.E. (SCOTTISH 1897-1981) DARK BORDERS LANDSCAPE, 1925 Signed and dated to canvas verso, oil on canvas 63.5cm x 76cm (25in x 30in) If you have had the pleasure of visiting the long-anticipated, newly re-opened Scottish Art wing at the National Gallery of Scotland in Edinburgh (re-opened 2023), the first painting you are likely to have set eyes on is the monumental masterpiece ‘A Point in Time’ (1929/37) by William Johnstone. The huge canvas is a formidable sight; with abstract twists of black, blues and greens creating fathomless caverns. It is hung against a bold, blood-red wall immediately facing the entrance. In this phenomenal artwork the curators of the National Galleries found the key visual within the collection to challenge tired perceptions. The re-hang’s opening statement could not be clearer: 20th century Scottish art was seriously accomplished, outward-looking and Modern with a capital ‘M’. This curatorial choice also elevates Johnstone himself emphatically and with purpose; literally centralising his significance within the story of Scottish art – not to say international modernism - as never before. Born in the Borders in 1897 to a farming background, Johnstone, a powerful personality, mixed with other radical thinkers in the Edinburgh College of Art in the 1920s. Alongside the poet Hugh MacDiarmid, Johnstone was pivotal within the conception of the “Scottish Renaissance”. This was a cultural movement spanning art and literature that looked to move away from the perceived stagnancy of the centralised British cultural self-view, advocating instead a modernisation - and independence - of Scottish political and cultural values. Though Johnstone’s origins were immutably tied to the Scottish landscape, his burgeoning career soon took a decisively international direction. In 1925 he was awarded a Carnegie Travelling Scholarship which enabled him to study in Paris with André Lhote at the Académie de la Grande Chaumière, as well as the Atelier Colarossi. In 1926 he travelled further afield to Spain, Italy and North Africa, accompanied by Max Bernd-Cohen, an American lawyer-turned-artist who become a lifelong friend. His circle of acquaintances in Paris at that time included the artists Alberto Giacometti, Fernand Léger, and the eminent collectors Leo and Gertrude Stein. In 1927, Johnstone married the American sculptor Flora MacDonald, spending subsequent years in America and Scotland. They settled in London in the 1930s, with intermittent teaching commitments enabling him to return to America sporadically for the next twenty years. Indeed, it was teaching that became his major life’s work and he was no less innovative within this field than within his art practice. He held the position of Principal at the Camberwell School of Art and Design between 1938 and 1945 and later at the Central School of Arts and Crafts. In this capacity he is credited with evolving the ideologies of each school, bringing them more in line with Continental art and design principles akin to the Bauhaus and creating teaching opportunities for exciting young avant-garde artists including Richard Hamilton, Victor Pasmore, Alan Davie and Eduardo Paolozzi. His services to education within the arts earned him an O.B.E. Sojourns teaching in America included positions as Fulbright Lecturer and Director of the Colorado Springs Fine Art Centre Summer School. He also lectured at the Frank Lloyd Wright Foundation in Taliesin, Wisconsin, in 1949 and 1950.  Johnstone’s friend and colleague, the artist and theorist Anton Ehrenzweig, identified three stylistic phases in Johnstone’s painting career. Firstly, a surrealist phase of the 1930s, a cubist phase of the 1940s and finally his calligraphic or tachist phase of the 1950s. ‘Dark Borders Landscape’, dated 1925, can be read as a psychological take on the Scottish landscape; a brooding, abstract suggestion of elemental forces, mood and place. His Borders landscapes are often executed in the darkest of tones, as here. Art historian Beth Williamson has suggested a psychological interpretation of the tumultuous dreichness inherent within these early Scottish landscapes; perceiving a troubled relationship with the soil he and his kin sprang from and laboured over so tirelessly, but which offered only the scantest living in return. She also notes the sense of alienation Johnstone felt upon his return to his home farm after having been conscripted in World War I. Despite fortunately never seeing active duty, the distress caused by the exposure to traumatised front-line soldiers, paired with the sense of his own fate hanging perilously in the balance while waiting for the call up, forever changed the young artist. Even as early as the 1920s, Johnstone had developed an innovative and unique paint application that embraced expressive, totally intuitive brushwork. This expressionistic take on abstraction - “dripping” his paint as early as the 1920s - latterly saw his work referred to in the context of American Abstract Expressionism (the so-called “action painters”). Johnstone’s work in fact pre-figures this school of artists and his approach has, as Ehrenzweig indicated, much more in common with the ‘automatic drawing’ techniques of the Parisian Surrealist school in Paris: psychological forces made tangible in paint. The goal of Johnstone’s art practice was to assimilate his interests and fields of influence to totally unique effect, evolving an entirely personal style. His reference points were diverse but always drawn to that which is distilled and instinctual over pre-meditated: from the Pictish carving of his Scottish homeland to the New Mexico school, and from Asian calligraphy to Primitivism and the artwork of children. At the heart of his paintings, whatever the period, you will always find expressive, intuitive mark-making.This creative belief-system was extrapolated to its extreme in the plaster relief series he created in 1970, as an elderly man. In these works, from one of the most celebrated decades of his artistic career, the physical and metaphysical combine to create extraordinary sculptural objects that read as simultaneously ancient and futuristic. “The earth has been a very great creative mother for the artist, the poet, the composer; but the material of the soil can produce its own art. With these thoughts I made my plaster reliefs in order to find confirmation of my conviction that the medium of plaster would itself reveal its own miracle. I knew that in myself I must produce a condition, relaxed and free from thought or deliberation; that which would be produced through my hands would then be from my inner self and be completely unconscious. I throw the lump of crude, wet plaster on the smooth polished surface; a gesture pf creation... and the plaster sets.”  – William Johnstone, in the catalogue introduction for ‘Genesis’, ten plaster reliefs exhibited by the Scottish National Gallery of Modern Art in 1973.

ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1998) MIRROR AND ANGELS Oil on board 61cm x 39cm (24in x 15.25in) Bearing a Morrocco Estate label verso: 'The Collection of the Artist's Children'; Open Eye Gallery, Edinburgh

QUEEN ELIZABETH II, 1979 CANADA YEAR OF THE CHILD, 100 DOLLARS in twenty two carat gold, obverse with a portrait of Queen Elizabeth II, reverse with a sphere within children and linking arm in arm, in original fitted caseQty: 16.94g

QUEEN ELIZABETH II, 1979 CANADA YEAR OF THE CHILD, 100 DOLLARS in twenty two carat gold, obverse with a portrait of Queen Elizabeth II, reverse with a sphere within children and linking arm in arm, in original fitted caseQty: 16.94g

QUEEN ELIZABETH II, 1979 CANADA YEAR OF THE CHILD, 100 DOLLARS in twenty two carat gold, obverse with a portrait of Queen Elizabeth II, reverse with a sphere within children and linking arm in arm, in original fitted caseQty: 17g

QUEEN ELIZABETH II, 1979 CANADA YEAR OF THE CHILD, 100 DOLLARS in twenty two carat gold, obverse with a portrait of Queen Elizabeth II, reverse with a sphere within children and linking arm in arm, in original fitted caseQty: 17g

A pair of Royal Crown Derby William Townson Centenary Imai plates, 27cm together with four Villeroy and Boch Children of The World Collector's plates (6)

A VINTAGE POSTCARD ALBUM CONTAINING A QUANTITY OF POSTCARDS TO INCLUDE ANIMALS, CHILDREN, SOUVENIR, ETC

A rare German Third Reich signature GOEBBELS JOSEPH: (1897-1945) German Nazi politician who served as Reichsminister of Public Enlightenment and Propaganda 1933-45. Goebbels committed suicided on the 1st May 1945 in Hitlers Vorbunker Berlin He also murdered his six children. Signed on a promotional printed paper the reverse with printed text.

A French gilt mantle clock with children figures and pink floral panel designs. Damaged and in need of restoration. This lot cannot be posted

DUTCH SCHOOL. Interior with a mother and two children. Signed. Oil on canvas. 23.5" x 19.5" (62 x 50cms). Framed. (AF).

Children of the Damned (1963) USA Window Card Poster, a US Window Card Poster for this classic sixties horror starring Ian Bannen with 'Lilly's Palace Thur-Sat' sticker added at the top - rolled with centre fold and in very good condition

Tyrannosaurus Rex / Marc Bolan and Related CDs, approximately twenty-six CDs by Tyrannosaurus Rex, T Rex, John's Children and Marc Bolan with several remastered editions and with titles including Electric Lips and Highway Knees, Calling All Destroyers, Unicorn, Prophets Seers and Sages, Electric Warrior, Easy Action, T-Remixes, My People Were Fair, A Star Of Beards, Twopenny Prince, A Crown of Dark Swansdown, Smashed Blocked and more - mainly all in Excellent condition

12" Singles / Stiff Label, approximately eighty 12" Singles on the Stiff label including Coloured Vinyl releases and with artists including The Damned, The Pogues, Madness, Devo, Elvis Costello, King Kurt, Electric Guitars, the Belle Stars, Jona Lewie, Lene Lovich, Wreckless Eric, Ian Dury, Kirsty MacColl, Yes Lets, Children of 7, Makin Time, Jakko, Mint Juleps, Furniture, The Untouchables, The Sapphires and more - many include press cuttings and purchase information written inside some sleeve openings - otherwise mainly Excellent to EX+