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BACON FRANCIS: (1909-1992) Irish-born British painter. A large signed and inscribed 15.5 x 12 photograph, the candid image depicting Bacon in a head and shoulders pose, most likely in a Parisian restaurant or bar, alongside another individual. The photograph (possibly a unique silver gelatin print) is by Mario Bellavia of Paris and is signed by the photographer to the lower white border in black ink and also bears his credit stamp to the verso. Signed and inscribed by Bacon in blue ink (the inscription and signature a little light in places) to the lower white border and signed and inscribed a second time (with a clearer example of his signature) to the verso, ´For Michel, Francis Bacon´, and dated London, 27th November 1982, in his hand. A few surface and corner creases and with some very light overall foxing to the verso, G

[BACON FRANCIS]: (1909-1992) Irish-born British painter. A large unsigned 10.5 x 15.5 photograph of Bacon, the candid image showing the artist in a head and shoulders pose with one hand raised to his chin, most likely captured in conversation at a Parisian restuarant or bar in the late 1970s. The photograph (possibly a unique silver gelatin print) is by Mario Bellavia of Paris and is signed by the photographer to the lower white border in black ink. Neatly laid down to a white card of an identical size, otherwise VG

[BACON FRANCIS]: (1909-1992) Irish-born British painter. A large unsigned 10.25 x 15.5 photograph of Bacon, the candid image showing the artist in a head and shoulders pose with one hand raised to his chin, most likely captured in conversation at a Parisian restuarant or bar in the late 1970s. The photograph (possibly a unique silver gelatin print) is by Mario Bellavia of Paris and is signed by the photographer to the lower white border in black ink and also bears his credit stamp (slightly obscured) to the verso. Some slight traces of former mounting and strips of tape to all four edges of the verso, otherwise about VG

Francis Bacon (Dublin 1909 – 1992 London). „Triptyque Août 1972“ (after, Triptych August 1972). 1979Triptychon: Farblithografien auf Velin. Jeweils 65,5 × 48,5 cm (89,5 × 61 cm) (25 ¾ × 19 ⅛ in. (35 ¼ × 24 in.)). Jeweils signiert.Sabatier 23.–Jeweils einer von 180 nummerierten Abzügen. Paris, Galerie Lelong, 1979. [3232] Gerahmt. Provenienz: Privatsammlung, Hessen (1990 in der Galerie Lelong, Paris, erworben)Wir berechnen auf den Hammerpreis 32% Aufgeld.

FRANCIS BACON (1909-1992)Second version of Triptych (Large Version), 1944-1989 (Sabatier, 24; Tacou, 25)Lithographie en couleurs sur vélin d'ArchesEpreuve hors commerce signée et justifiée 'HC' (13 exemplaires hors commerce + 30 exemplaires numérotés+ 8 épreuves d'artiste)Publiée par Michel Archimbaud pour la librairie Séguier en hommage à Pierre Boulezpour Ircam Centre Pompidou, ParisImprimée par Art Estampes, Paris Dimension feuille: 143,7 x 106,1 cmDimension sujet: 178,7 x 119,7 cmColour lithograph on Arches wove paper, signed and justified 'HC' Footnotes:ProvenanceCollection particulière, FranceThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

FRANCIS BACON (1909-1992)Miroir de la Tauromachie, 1990 (Sabatier, 29-30)L'ensemble complet de quatre lithographies en couleurs sur vélin d'Arches, avec titre, justification et texte en français de Michel Leiris, chaque lithographie signée au crayon, imprimée sur des feuilles pliées avec leterpress sur les pages intérieures, exemplaire numéro 131 de l'édition de 150Publié par la Galerie Lelong, ParisImprimé par Mourlot, Paris Présenté dans son emboîtage entoilé avec titre d'origine51 x 38,5 x 43 cm l'emboîtage The complete set of four lithographs in colours on Arches wove paper, with title, justification and text in French by Michel Leiris, each lithograph signed in pencil, printed on folded sheets with leterpress on the inside pages, copy number 131 from the edition of 150Footnotes:ProvenanceCollection particulière, ParisThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Bacon (Francis) Resuscitatio, or Bringing into Publick Lights several Pieces of the Works ... of the Right Honourable Francis Bacon, title ruled in red, lacking frontispiece, small hole to title affecting odd letter, ex-Lincoln's Inn library with usual labels and ink-stamps, scattered spotting and staining, twentieth-century half morocco, a little rubbed, bumping to corners and extremities, 4to, by S. Griffin, for William Lee, 1661.

ARNULF RAINER* (geboren 1929 in Baden)Ahnt, 1967Kaltnadelradierung/Papier 28,8 x 39 cmsigniert Rainernummeriert 63/80SCHÄTZPREIS / ESTIMATE € 600 - 1200STARTPREIS / STARTING PRICE € 600Arnulf Rainer ist ein österreichischer Künstler. 1940 bis 1944 besuchte er die Napola Traiskirchen. Er verließ die Schule, weil er gezwungen wurde, nach der Natur zu zeichnen. 1947 sah er zum ersten Mal internationale zeitgenössische Kunst bei einer Ausstellung des British Council in Klagenfurt (Paul Nash, Francis Bacon, Stanley Spencer, Henry Moore). 1947 bis 1949 studierte er an der Bundesgewerbeschule in Villach Hochbau. Rainer wurde an der Akademie für angewandte Kunst in Wien aufgenommen, die er wegen einer künstlerischen Kontroverse mit Rudolf Korunka nach einem Tag wieder verließ. Die Wiener Akademie für bildende Künste, verließ er, da seine Arbeiten als „entartet“ bezeichnet wurden. Mit Ernst Fuchs, Anton Lehmden, Arik Brauer, Wolfgang Hollegha, Markus Prachensky und Josef Mikl gründete Rainer 1950 die Hundsgruppe, mit der er 1951 in den Räumen der Wiener Gesellschaft für Wissenschaft und Kunst ausstellte. Zusammen mit Maria Lassnig besuchte er 1951 André Breton in Paris. 1952 stellte Rainer in der Galerie Kleinmayr in Klagenfurt aus. Im März desselben Jahres erhielt er eine Einzelausstellung in der Zimmergalerie Franck in Frankfurt am Main, die heute als eine der ersten Manifestationen des Informel in Mitteleuropa gilt. 1953 lernte Rainer in Wien den Priester Otto Mauer kennen, der 1954 die Galerie nächst St. Stephan gründete, wo Rainer 1955 seine erste Einzelausstellung hatte. Wolfgang Hollegha, Markus Prachensky, Josef Mikl und Arnulf Rainer gründeten 1956 die Malergruppe „Galerie St. Stephan“. In einer verlassenen Villa seiner Eltern bei Bad Vöslau begann Rainer 1953 - 1959 die Werkgruppe der Reduktionen, eine Vorstufe seiner Übermalungen. 1959 gründete er mit Ernst Fuchs und Friedensreich Hundertwasser das „Pintorarium“. 1961 wurde Rainer wegen der öffentlichen Übermalung eines prämierten Bildes verurteilt. 1966 erhielt er, gemeinsam mit Gotthard Muhr, den österreichischen Staatspreis für Graphik. 1968 fand im Museum des 20. Jahrhunderts in Wien Rainers erste Retrospektive statt. 1974 verweigerte Rainer die Entgegennahme des Kunstpreises der Stadt Wien. 1977 nahm er an der documenta 6 teil, ein Jahr später vertrat er Österreich bei der Biennale von Venedig. 1978 erhielt er den Großen Österreichischen Staatspreis. 1981 wurde er Professur an der Akademie der bildenden Künste in Wien und Mitglied der Akademie der Künste in Berlin. Seit 1978 ist er Mitglied des Österreichischen Kunstsenates. 1995 wurde er Rainer emeritiert. Zu Rainers 70. Geburtstag organisierten das Stedelijk Museum in Amsterdam und das Kunstforum in Wien eine Retrospektive. Seit 2002 widmet die Pinakothek der Moderne in München Rainer einen eigenen Raum. 2003 erhielt Rainer, nach Georg Baselitz und Sigmar Polke, den Rhenus-Kunstpreis für sein Gesamtwerk. 2004 wurde er Ehrendoktor der Katholisch-Theologischen Fakultät der Westfälischen Wilhelms-Universität Münster, und 2006 wurde ihm das Ehrendoktorat der Theologie der Katholisch-Theologischen Privatuniversität Linz verliehen. 2006 erhielt er den Aragón-Goya Preis für sein Lebenswerk und seine künstlerische Verwandtschaft zu Francisco de Goya. 2009 wurde in Baden bei Wien das Arnulf Rainer Museum eröffnet. Nach anfänglicher Hinwendung zum Surrealismus näherte sich Rainer dem Tachismus und dem Informel an. Seit den 1950er Jahren übermalt er eigene und fremde Bilder sowie Fotos. 1958 bis 1963 stellten ihm Sam Francis, Georges Mathieu, Emilio Vedova, Victor Vasarely und andere Künstler Arbeiten zum Übermalen zur Verfügung. Ab Mitte der 1970er Jahre wandte er sich einer gestischen Fuß- und Fingermalerei zu. Zeitgleich entstanden zahlreiche Serien von „Kunst über Kunst“: Rainer überarbeitete Fotos nach Gustave Doré, Anton Maria Zanetti, Leonardo da Vinci oder Franz Xaver Messerschmidt. Sein „Hiroshima-Zyklus“ wurde ab 1982 in siebzehn europäischen Städten gezeigt. In seinem Spätwerk beschäftigt sich Rainer mit der Fotografie.Bitte beachten: Der Kaufpreis besteht aus Meistbot zuzüglich des Aufgeldes, der Umsatzsteuer sowie gegebenenfalls der Folgerechtsabgabe. Bei Normalbesteuerung (mit ° beim Schätzpreis gekennzeichnet) kommt auf das Meistbot ein Aufgeld in der Höhe von 24% hinzu. Auf die Summe von Meistbot und Aufgeld kommt die gesetzliche Umsatzsteuer hinzu. Diese beträgt 13% bei Gemälden, Aquarellen, Zeichnungen, Grafiken sowie Skulpturen und 20% bei Fotografien und allen anderen Objekten. Bei Differenzbesteuerung beträgt das Aufgeld 28%. Die Umsatzsteuer ist bei der Differenzbesteuerung inkludiert.

BACON, FRANCIS1909 Dublin - 1992 MadridTitel: Ohne Titel. Untertitel: Aus: Triptyque Août. Datierung: 1972. Technik: Farblithografie auf Arches. Darstellungsmaß: 65,5 x 48,5cm Blattmaß: 87,5 x 62cm. Bezeichnung: Signiert und nummeriert. Exemplar: 39/180. Rahmen: Rahmen. Provenienz:- Privatsammlung DeutschlandLiteratur: - Sabatier, Bruno: Francis Bacon - Oeuvre Graphique/The Grafic Work, Catalogue Raisonné, Paris 2012, WVZ.-Nr. 23, Abb. (hier mit abweichenden Blattmaßangaben). Erläuterungen zum Katalog Francis Bacon Irland Figurative Malerei Zeitgenössische Kunst Grafik 1970er Rahmen Figur / Figuren Druckgrafik Lithografie Voraussichtliche Versandkosten für dieses Los: Deutschland: 92,00 Euro inkl. 14,69 Euro MwSt EU: 120,00 Euro inkl. 19,16 Euro MwSt Weltweit: 190,00 Euro inkl. 30,34 Euro MwSt zzgl. Versandversicherung

***Please note the description of this lot has changedFrancis Bacon (1909-1992)Derrière Le Miroir, No. 162The complete issue, 1966, comprising four lithographs printed in colours and the folding colour plate triptych, with title-page, text and justification, printed and published by Maeght Éditeur, Paris, on wove paper, the sheets loose as issued within the original pictorial covers, overall 380 x 280mm (14 7/8 x 11in)

William Crozier, Irish 1930-2011 - Greta, 1962; oil on canvas, signed on the reverse 'Crozier', 91.2 x 91.2 cm (ARR) Provenance: The Collection of Mary and Alan Hobart, Founders of Pyms Gallery, purchased c.2010 Exhibited: Arnolfini Gallery, Bristol ‘William Crozier. Paintings 1959/63’, 30th March-26th April 1963, no.16; Pyms Gallery, London, 'William Crozier: Early Work', 9th June-20th July 2010, cat. no.36, illus. p.63 (titled 'October, 1962') Note: a photo-record of the work is included in the Arthur Tooth & Sons archive, no.C3627. The present work marks a major turning point in the artist's career as he came to full aesthetic maturity. He had held his first solo exhibition a few years before at the Parton Gallery in 1958 and in works such as 'Greta, 1962', he combines an understanding of European gestural painting with his own individual subject matter, isolating figures against a deeply coloured landscape in a manner reminiscent of Francis Bacon. The subject of the work is unknown, but at the time Crozier frequently made paintings referencing close female friends. Crozier would exhibit a number of these works with the celebrated gallery Arthur Tooth & Sons, London, in 1962 and 1963, and they would help cement his work on an international stage. A number are now in public collections, such as 'Fallen Man II, 1961' (Glasgow Museums Resource Centre), 'Self-Portrait, 1961' (Ruth Borchard Collection) and 'White-Eyed Buzzard, 1962' (Kirklees Museums and Galleries). The interest in works by Crozier of this period has continued with the in 2011, the Imperial War museum purchasing ‘Bourlon Wood, 1961' in 2011 and the National Gallery of Ireland purchasing ‘Flanders Fields, 1961’ emphasising the importance of this period in the artist's oeuvre. With thanks to the Estate of William Crozier for their assistance in the cataloguing of this work. 

FRANCIS BACON, triptych Portrait of George Dyer, a set of three off-set lithographs, printed by Maeght, 1966, 33 x 25 cm. (Subject to ARR - see Buyers Conditions)

Framed poster of 1990 Chateau Mouton Rothschild vine label featuring Francis Bacon artwork. Dimensions (H x W x D): 50 x 40 x 2 cm. Condition: Very Good. Location: The Netherlands, Tilburg.

Pasqua, Philippe Monumentales Bildnis eines jungen Mannes (Grasse 1965 geb.) Öl/Lwd. Verso sign. und dat. "2008". 250 x 200 cm; unter Plexiglas ger. - Der von Lucian Freud und Francis Bacon faszinierte Maler und Bildhauer entwickelte sich zu einem der bedeutendsten Künstler seiner Generation.Frankreich, französischer Maler, Portrait, Zeitgenössischer Künstler

David Hockney OM CH RA (British b. 1937-), & Others The Rake's Progress;an illustrated book by Hockney and David Posner, published by Lion and Unicorn Press 1962,  together with a signed etching by Bertand Dorny (22 x 15 cm), a screenprint by Anni Albers (14.5 x 12 cm) in an Olympic art poster folder, plus assorted art catalogues, (6 items)Please note the two Francis Bacon catalogues are NOT part of this lot

1990 Chateau Mouton Rothschild label the design by Francis Bacon (British, 1909-1992), offset lithograph, 43cm x 33.5cm

PABLO PICASSO, Balthus, Paul Delvaux, Francis Bacon, Setsoko Mouton Rothschild label designs, 34.5cm x 25cm, framed. (5)

† CAROLE WINDHAM (born 1949); 'Francis Bacon Sitting', a limited edition slipcast earthenware flatback from the 'Some Favourite Artists' series, edition no. 4/8, printed title and inscribed signature, height 22cm.Condition Report: Appears good with no obvious signs of faults, damage or restoration.

THE DARK KNIGHT (2008) - Heath Ledger Autographed Photo - An autographed photo of Heath Ledger as the Joker from Christopher Nolan's superhero sequel The Dark Knight.The announcement that Ledger would play one of popular culture's most notorious villains at first seemed surprising, given the Australian actor was previously best known for romantic and heroic roles. But Ledger proved to be powerfully compelling in the part, and his Joker remains regarded as the character's best cinematic incarnation to date. Ledger sadly died just a few months after filming, but won several posthumous awards, including the Oscar for Best Supporting Actor.Nolan and makeup artist John Caglione drew particular inspiration for the Joker's look from the paintings of Francis Bacon. The photograph depicts the villain with his ionic white makeup and elaborate red lipstick, which was applied by Ledger himself, as he wanted the character to feel more realistic. It is autographed by Ledger in white marker, and inscribed "To Jon Big Smile!" Dimensions: 30.5 cm x 21 cm (12" x 8.25")The autographs in this lot have been professionally authenticated by expert Garry King; see notice in the Buyer's Guide.Estimate: £4,000 - 8,000 M Bidding for this lot will end on Thursday, November 14th. The auction will begin at 3:00 PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Friday, November 15th, Saturday, November 16th or Sunday, November 17th.

Block, René (Galerie). Sammlung von 13 Katalogen. 1965-1971. Unterschiedliche Formate und Einbände.Schöne Sammlung mit frühen Katalogen zu Ausstellungen bei René Block in Berlin, darunter die Kataloge: I. Hans Peter Brehmer, Trivialgraphik und Hansjoachmim Dietrich, Ereignisbilder. 1965. - Eins von 500 nummerierten Exemplaren. - II. Hödicke, K.K. Passagen. Verzerrungen. 1965. - III. KP Brehmers Trivialgraphik. Abbildungen, Aufsteller, Briefmarken etc. 1967. - IV. Hommage a Lidice. 1967. - V. ACB Art, Cool Art, Minimal Art. 1968. - VI. Winfried Gaul. Ca. 1965. - VII. Blockade '69. Räume von Beuys, Palermo, Hödicke, Panamarenko, Lohaus, Giese, Knoebel, Ruthenbeck, Polke. 1969. - VIII. Edition René Block. 1970. - IX. Editionen René Block. 1968. - X. Entwürfe, Partituren, Projekt: Zeichnungen. 1971. - XI. Robert Filliou. 1971. - XII. Richard Hamilton. Kent State - Guggenheim - A portrait of the artist by Francis Bacon - The Critic laughs. 1971. - XIII. Ürgen Becker und KP Brehmer. Ideale Landschaft. (Farbmusterbuch N° 2). 1968. - Edition 13 der Galerie René Block (Volksausgabe). - Vereinzelt mit leichten Gebrauchsspuren, ingesamt sehr gut erhalten. - Provenienz: Sammlung Helmut Anton und Margot Krätz.

A collection of various engravings, prints, woodcuts and plates etc depicting Francis Bacon

Two early 20th century 1930s & 1940s art exhibition catalogues / pamphlets. The lot comprising 1936 Exhibition of Masterpieces by Braque - Matisse - Picasso October 5th - October 31st 1936 at Rosenberg & Helft Ltd.; and April 1945 Recent Paintings by Francis Bacon, Frances Hodgkins, Henry Moore, Matthew Smith and Graham Sutherland at the Lefevre Gallery. Each in orig. paper wraps, the 1936 catalogue illustrated with examples of the artists' works such as La Partition de Musqie by Georges Braque, Deux Femmes sur une Terrasse by Henri Matisse, and Tranche de Melon by Pablo Picasso. Two uncommon and early gallery catalogues of these iconic 20th century artists. Largest 8vo.

Box of Art related books to include: Rodin, Francis Bacon, Bonnard and his environment, Drawing of the Rembrandt etc. (B.P. 21% + VAT)

oil on canvas, inscribed verso unframed, as intended overall size 81cm x 51cm Provenance: Mallams, 21st May 2014. Note: Irish-born abstract painter, Dolan studied at the Architectural Association in London in the 1950s and was a friend and associate of Francis Bacon. He later became a Senior Lecturer at the Cardiff School of Art in Wales, and had several solo and joint exhibitions at Gallery 67, Rawlinsky Gallery and the Belgrave Gallery, London. Like so many of the abstract painters of his generation - including his co-patriot Tony O’Malley - he joined the artists’ community in St. Ives, Cornwall, in the 1960s, remaining there until his death. His works are rarely seen for sale.

Francis Bacon (Dublin 1909 – 1992 Madrid)Lying Figure (Reclining Figure)Farb. Offset. 1967. 50 x 37 cm (64 x 47,7 cm). Nummeriert. (5)Exemplar 37/200. – Aus der Auflage vor der Schrift mit den Daten der Ausstellung des Jahres 1967 in der Pariser Galerie Maeght. – Nicht bei Sabatier.  Nach dem Gemälde des Jahres 1966 (Cat. Raisonné 66-07). – Auf Velin. – Altersbedingt etwas gebräunt.

Twelve vintage and antique Art related books and catalogues, to include 'Meissonier: A Collection of Etchings and Engravings, of Twelve of the Choicest of His Paintings, With Descriptions', published by Virtue & Co, 1893, 'A Private View of L. S. Lowry' by Shelley Rohde (x2), 'Francis Bacon', David Hockney 'You Make the Picture', Gerald Scarfe 'Scarfe Face', 'Sickert: Pages Torn from the Book of Life', 'Norman Rockwell', etc (12).Condition Report: - Meissonier - many of the pages are loose.

Francis Bacon poster: 'Portrait of Pope Innocent XII' 65 x 85 cm, unframed, (Presentation sleeve is not included in this lot)

‡ WWW.DREAM AND MIRAGE.COMsigned, titled, inscribed and dated in English Jean David NKOT / 2019 on the reverseoil on canvas160 x 140cm; 63 x 55 1/4inunframedProperty of a Private Collector, MadridProvenanceAFIKARIS Gallery, ParisAcquired from the above by the present ownerPortrait-painter Jean David Nkot is concerned with themes of migration and exile, particularly within the contemporary African context. Nkot attended the Institute of Fine Arts Foumban, where he obtained a degree in drawing and painting. His brightly coloured figures are painted over detailed cartographic patterns, mapping each subject’s geographical and emotional journeys. The artist refers to these works as 'molecule maps' and cites emotive figurative painters Zhang Dali, Francis Bacon and Jenny Saville as inspirations.The artist employs various media including painting, silkscreen, and India ink, to create profound portraits commemorating lives lost on perilous journeys, serving to make their stories visible. Nkot has exhibited internationally and in his native Cameroon at the National Museum.

BACON, Francis. Sylva Sylvarum: Or, a Naturall Historie in Ten Centuries, published after the authors death, by William Rawley, London: printed for William Lee 1651, engraved frontispiece, additional engraved title cut out and pasted to a blank leaf; bound with Receipt for the Gout, 1p., woodcut header; bound with New Atlantis. A Worke unfinished, nd, 34pp; bound with History Naturall and Experimental of Life and Death of the Prolongation of Life, London 1650, 64pp, occasional water stains, bookplate, contemp. calf, sm. folio

BACON, Sir Francis. The Historie of the Raigne of King Henry the Seventh, by W. Stansby for Matthew Lownes, and William Barret 1622, first edition, first issue with Souldiers to p. 3, line 12, lacks portrait frontispiece, title within engraved architectural border (loosely inserted, laid on paper, soiled), water stained to front and back leaves, lacks pp. 235-240 and all after 246, contemporary calf, with upper cover almost completely detached, wear to corners, rubbing and surface wear to covers, [STC 1159], small folio (1, sold with all faults)

* PATRICK DOLAN (IRISH 1926 - 1980), BLUE MOUNTAIN oil on board, signedframed image size 74cm x 84cm, overall size 79cm x 89cmNote: portrait study versoProvenance: Mallams, 21st May 2014.Note: Irish-born abstract painter, Dolan studied at the Architectural Association in London in the 1950s and was a friend and associate of Francis Bacon. He later became a Senior Lecturer at the Cardiff School of Art in Wales, and had several solo and joint exhibitions at Gallery 67, Rawlinsky Gallery and the Belgrave Gallery, London. Like so many of the abstract painters of his generation - including his co-patriot Tony O’Malley - he joined the artists’ community in St. Ives, Cornwall, in the 1960s, remaining there until his death. His works are rarely seen for sale.

* PATRICK DOLAN (IRISH 1926 - 1980), PURPLE TOTEM oil on canvas, inscribed versounframed, as intendedoverall size 81cm x 51cmProvenance: Mallams, 21st May 2014.Note: Irish-born abstract painter, Dolan studied at the Architectural Association in London in the 1950s and was a friend and associate of Francis Bacon. He later became a Senior Lecturer at the Cardiff School of Art in Wales, and had several solo and joint exhibitions at Gallery 67, Rawlinsky Gallery and the Belgrave Gallery, London. Like so many of the abstract painters of his generation - including his co-patriot Tony O’Malley - he joined the artists’ community in St. Ives, Cornwall, in the 1960s, remaining there until his death. His works are rarely seen for sale.

A selection of vintage hardback and other books with decorative gilt covers, titles including: Mrs Beeton's Book of Household Management; Familiar Studies of Men and Books, by R. L. Stevenson; Vanity Fair, by William Makepeace Thackeray; Home, Sweet Home, by R. E. S. T.; Essays, by Francis Bacon; and others, one box.

Francis Bacon (1909-1992), oeuvres récentes exhibition poster, Galerie Claude Bernard, 5-7-9, rue des Beaux-Arts, Paris 6, 19 janvier-26 mars 1977, 71cm x 53.5cm

Cooper (Thomas). Thesaurus linguae Romanae & Britannicae, tam accurate congestus..., London: [Henry Denham], 1578, woodcut device to title, final leaf torn with text loss, recent endpapers, modern sheep over original boards, with printed paper title label to spine, folio, together with:Baxter (Richard). Reliquiae Baxterianae: or, Mr. Richard Baxter's Narrative of the most memorable passages of his Life and Times. Faithfully publish'd from his own original manuscript, by Matthew Sylvester, London: T. Parkhurst, J. Robinson, J. Lawrence, and J. Dunton, 1696, engraved portrait frontispiece, light worming to lower outer blank corner of frontispiece and following 15 leaves with repairs, some toning and scattered spotting, modern sheep over original boards, folio,Bacon (Francis). The Historie of the Reigne of King Henry the Seventh..., London: printed by R[obert]. Y[oung]. and R[ichard]. H[odgkinson]. and are sold by R. Meighen, 1641, engraved portrait frontispiece, title with decorative woodcut border (cropped to fore-edge), armorial bookplate of George Rose to upper pastedown, contemporary sheep, cloth reback, extremities worn, small folio,Theocritus. The Idylliums of Theocritus with Rapin's discourse of Pastorals done into English, Oxford: printed by L. Lichfield for Anthony Stephens, 1684, occasional stains to margins, later free endpapers, stout cloth hinge to endpapers, upper pastedown with early ownership signature of Catherine Rosell and bookplate of Lord Belper, contemporary calf, rebacked and board corners repaired, 8vo, plus other 17th and 18th-century antiquarian including an incomplete copy of of the Lawes of Ecclesiastical Politie by Richard Hooker, 1617 [i.e. 1618]QTY: (8)

Derrière le Miroir. Folge von 242 (von insgesamt 253) Nummern in 197 Heften. Mit ca. 750 überwiegend farbigen Lithographien (meist Orig.-Lithographien). 38 x 28 cm. Orig.-Hefte. Paris, Maeght, Dezember 1946 - August 1982.Annähernd vollständige Reihe mit den Original-Lithographien der bedeutendsten Künstler der Ecole de Paris. Es erschienen insgesamt 253 Nummern von denen hier vorhanden sind: 1-43, 46-49, 50-56, 62-65, 69-124, 127-241, 243-252. Besonders erwähnenswert sind die Ausgaben folgender Künstler: Georges Braque (4, 85/86, 115, 132, 138, 144/145/146, 166), Joan Miro (14/15, 29/30, 87/88/89, 123, 151/152, 164/165, 169, 186, 193/194, 203, 231), Marc Chagall (27/28, 147, 182, 198, 225, 235, 246), Alberto Giacometti (39/40, 65, 98, 127), Henri Matisse (46/47), Wassily Kandinsky (77/78, 118, 154, 179), Francis Bacon (162), Eduardo Chillida (174, 183) und die Ausgaben "10 ans d'édition" (92/93), "Chagall, Braque, Leger, Tal, Coat, Miro, Calder" (121/122), "Blauer Reiter" (133/134).Folgende Ausgaben des "Derrière le Miroir" sind doppelt vorhanden: 94/95, 98, 111. - Vereinzelt mit winzigen Gebrauchsspuren, insgesamt wohlerhaltene Reihe. - Dabei: I. Bram van Velde. 10 Bl. Mit zahlreichen teils farbigen Abbildungen. 31,5 x 23 cm. Illustrierte OBroschur. Zürich, Maeght, 1976. - II. Aki Kuroda. Rencontre par Pascal Bonafoux. 35 S. Mit zahlreichen teils farbigen Abbildungen. 33 x 23 cm. Illustrierte OBroschur. Paris, Maeght, 1986. - III. Raoul Ubac. Galerie Adrien Maeght. 16 Bl. Mit zahlreichen farbigen Abbildungen. 33 x 24 cm. OBroschur. Paris, Maeght, 1986.

⊕DAVID BATES (lots 170-177)IntroductionBates enrolled as a student at the Royal College of Art in 1950, where he railed with his tutor Francis Bacon and also the young art critic David Sylvester about the rise of abstraction, arguing vehemently for realism and naturalism. Sylvester was disparaging of the so called 'Kitchen Sink School' to which he all too readily consigned Bates, and was especially critical of Bates' fellow student and friend John Bratby. But Bates was not to be dissuaded. He joined the Communist Party, and his strongly held socialist convictions led him later both to campaign for nuclear disarmament and to march in protest against the war in Vietnam. His subject matter in the 1950s reflected his political views and his interest in the worker in society: in London he made studies of workers removing tram lines and emblematic studies of industrial objects such as a cement mixer. Later he would celebrate the working man in his powerful portrait of Billy Griffiths, a plumber in Preston (lot 174). At the RCA he met fellow art student June Moss, his wife to be. The couple were married in Nottingham in 1957 where Bates was teaching at Boots College (lots 171 & 177). They first moved together to Yeovil, then In 1961 they took their burgeoning family to Preston where Bates became senior lecturer in painting at Harris School of Art. They remained there until the late 1970s, by the end of which the couple were running non-vocational art courses, and Bates was directing the Preston Arts Centre, overseeing a diverse programme of music, film, art and events. In 1978 he took early retirement and he and June moved further north to live and work at Newbiggin Hall, Carlisle.Bates was born in China, the son of a Methodist mIssionary and headmaster. But with the rise of the Kuomintang (the Chinese Nationalist Party) his parents were forced to leave, returning with their young family to England in 1931. Over the next two decades the family relocated regularly. They first lived briefly in Birmingham, then moved to Penzance, and subsequently to Nottingham before settling in Stockport in 1940, where Bates attended Stockport Polytechnic, and Bristol in 1945, where he enrolled in the West of England College of Art. In the late 1940s the family moved to Millom, South Cumbria where Bates began recording the heavy industry of the area (lot 173), before starting his studies at the Royal College of Art in London. Then, in 1951 the family upped-sticks once again and moved to Stoke-on-Trent where he drew and painted the potteries (lots 172 & 176).DAVID FREDERICK BATES (BRITISH 1929-2024)AT THE LIDOoil on cardboard17.5 x 19cm; 6 3/4 x 7 1/2in unframed

Francis Bacon (1909-1992) 'Bacon', Grand Palais, Paris, 27 October - 10 January 1972offset lithograph in colours, signed 'Francis Bacon' and inscribed 'For Richard' l.r.72.5 x 43cmCondition ReportFramed: 76x 47.5cmNot seen out of the glazed frame. Appears to be stuck down. Foxing visible to the bottom part of the poster.

Bacon (Francis), George Harrison, Bridget Riley, Peter Blake and others.- Cooper (Michael) Blinds & Shutters, limited edition signed by 11 contributors, photographic and other illustrations throughout, filmstrip bookmark, original black morocco & yellow buckram by Hunter & Foulis, original silk-screened box with moveable shutter (extremities slightly rubbed), folio, Genesis, 1990.*** Signed by Francis Bacon, Peter Blake, Pattie Clapton, Adam Cooper, Terry Doran, George Harrison, Anita Pallenberg, Bridget Riley, Colin Self and Bill Wyman.

Teresa Pagowska (1926-2007), Nu blanche sur canapé , 1981, huile sur toile, monogrammée, signée, datée et titrée au verso, 140x150 cmProvenance: Collection privée depuis plus de 40 ans, Colombier (Neuchâtel)Teresa Pagowska Teresa Pagowska est l'une des figures artistiques les plus marquantes de l'Art polonais du XXe siècle. Diplômée de l'École supérieure des Beaux-Arts de Pozna', puis enseignante à l'académie des Beaux-Arts de Gdansk et Varsovie, elle est l'une des seules femmes à avoir participé à la plus grande et importante exposition d'Art polonais d'après-guerre au MOMA en 1961, « 15 polishs painters ».Son travail se situe à la croisée de l'abstraction et de la figuration, cherchant à réintroduire l'image humaine et des éléments narratifs dans un contexte artistique où l'abstraction domine. A l'instar de Francis Bacon dont elle admire le travail, Pagowska développe un intérêt pour la distorsion et la déformation des corps, créant un effet psychologique puissant dans la représentation. Elle a su se distinguer en développant son propre langage visuel, se plaçant parmi les chefs de file de la Nouvelle Figuration.Les 3 tableaux, que nous proposons à la vente, sont emblématiques de son oeuvre et se situent dans une période de maturité : dans « Nu blanche sur canapé » de 1981 et « Les sorcières » de 1980, la figure féminine se présente comme une silhouette compacte, dépourvue de traits distinctifs, à la fois réelle et éphémère. L'artiste utilise des formes épurées et des puissants contrastes de couleurs, traduisant la tension émotionnelle des personnages. Ses tableaux, à la fois poétiques et fragmentaires mais empreints d'expressivité, évoquent l'anxiété et la solitude de l'âme humaine , un thème universel qui trouve une résonance particulière dans le contexte de l'après-guerre. Par son titre et ses tonalités presque sanglantes , l'oeuvre « Hommage au ghetto de Varsovie » de 1978, fait quant à elle directement écho à la période d'occupation.Ses oeuvres sont aujourd'hui exposées dans les plus prestigieux musées polonais (Musée National de Varsovie, Cracovie, Wroc'aw, de 'ód' ..). Bénéficiant d'une reconnaissance nationale indéniable, l'artiste est fortement ancrée dans le contexte artistique et politique de l'Europe de l'Est. Les importantes restrictions culturelles imposées par le régime communiste en Pologne ont eu un impact considérable sur sa présence dans les collections internationales. 

Teresa Pagowska (1926-2007), Hommage à ghetto de Varsovie , 1978, huile sur toile, monogrammée, signée, datée et titrée au verso, 150x130 cmProvenance: Collection privée depuis plus de 40 ans, Colombier (Neuchâtel)Teresa Pagowska Teresa Pagowska est l'une des figures artistiques les plus marquantes de l'Art polonais du XXe siècle. Diplômée de l'École supérieure des Beaux-Arts de Pozna', puis enseignante à l'académie des Beaux-Arts de Gdansk et Varsovie, elle est l'une des seules femmes à avoir participé à la plus grande et importante exposition d'Art polonais d'après-guerre au MOMA en 1961, « 15 polishs painters ».Son travail se situe à la croisée de l'abstraction et de la figuration, cherchant à réintroduire l'image humaine et des éléments narratifs dans un contexte artistique où l'abstraction domine. A l'instar de Francis Bacon dont elle admire le travail, Pagowska développe un intérêt pour la distorsion et la déformation des corps, créant un effet psychologique puissant dans la représentation. Elle a su se distinguer en développant son propre langage visuel, se plaçant parmi les chefs de file de la Nouvelle Figuration.Les 3 tableaux, que nous proposons à la vente, sont emblématiques de son oeuvre et se situent dans une période de maturité : dans « Nu blanche sur canapé » de 1981 et « Les sorcières » de 1980, la figure féminine se présente comme une silhouette compacte, dépourvue de traits distinctifs, à la fois réelle et éphémère. L'artiste utilise des formes épurées et des puissants contrastes de couleurs, traduisant la tension émotionnelle des personnages. Ses tableaux, à la fois poétiques et fragmentaires mais empreints d'expressivité, évoquent l'anxiété et la solitude de l'âme humaine , un thème universel qui trouve une résonance particulière dans le contexte de l'après-guerre. Par son titre et ses tonalités presque sanglantes , l'oeuvre « Hommage au ghetto de Varsovie » de 1978, fait quant à elle directement écho à la période d'occupation.Ses oeuvres sont aujourd'hui exposées dans les plus prestigieux musées polonais (Musée National de Varsovie, Cracovie, Wroc'aw, de 'ód' ..). Bénéficiant d'une reconnaissance nationale indéniable, l'artiste est fortement ancrée dans le contexte artistique et politique de l'Europe de l'Est. Les importantes restrictions culturelles imposées par le régime communiste en Pologne ont eu un impact considérable sur sa présence dans les collections internationales. 

Teresa Pagowska (1926-2007), Les sorcières , 1980, huile sur toile, monogrammée, signée, datée et titrée au verso, 145x130 cmProvenance: Collection privée depuis plus de 40 ans, Colombier (Neuchâtel)Teresa Pagowska Teresa Pagowska est l'une des figures artistiques les plus marquantes de l'Art polonais du XXe siècle. Diplômée de l'École supérieure des Beaux-Arts de Pozna', puis enseignante à l'académie des Beaux-Arts de Gdansk et Varsovie, elle est l'une des seules femmes à avoir participé à la plus grande et importante exposition d'Art polonais d'après-guerre au MOMA en 1961, « 15 polishs painters ».Son travail se situe à la croisée de l'abstraction et de la figuration, cherchant à réintroduire l'image humaine et des éléments narratifs dans un contexte artistique où l'abstraction domine. A l'instar de Francis Bacon dont elle admire le travail, Pagowska développe un intérêt pour la distorsion et la déformation des corps, créant un effet psychologique puissant dans la représentation. Elle a su se distinguer en développant son propre langage visuel, se plaçant parmi les chefs de file de la Nouvelle Figuration.Les 3 tableaux, que nous proposons à la vente, sont emblématiques de son oeuvre et se situent dans une période de maturité : dans « Nu blanche sur canapé » de 1981 et « Les sorcières » de 1980, la figure féminine se présente comme une silhouette compacte, dépourvue de traits distinctifs, à la fois réelle et éphémère. L'artiste utilise des formes épurées et des puissants contrastes de couleurs, traduisant la tension émotionnelle des personnages. Ses tableaux, à la fois poétiques et fragmentaires mais empreints d'expressivité, évoquent l'anxiété et la solitude de l'âme humaine , un thème universel qui trouve une résonance particulière dans le contexte de l'après-guerre. Par son titre et ses tonalités presque sanglantes , l'oeuvre « Hommage au ghetto de Varsovie » de 1978, fait quant à elle directement écho à la période d'occupation.Ses oeuvres sont aujourd'hui exposées dans les plus prestigieux musées polonais (Musée National de Varsovie, Cracovie, Wroc'aw, de 'ód' ..). Bénéficiant d'une reconnaissance nationale indéniable, l'artiste est fortement ancrée dans le contexte artistique et politique de l'Europe de l'Est. Les importantes restrictions culturelles imposées par le régime communiste en Pologne ont eu un impact considérable sur sa présence dans les collections internationales. 

MANNER OF ROBERT MACBRYDE (SCOTTISH 1913 - 1966), NUDE STUDY pencil on paper, signedmounted, framed and under glassimage size 53cm x 27cm, overall size 79cm x 53cmNote: Robert MacBryde was a Scottish still-life and figure painter and a theatre set designer. MacBryde was born in Maybole, Ayrshire, to John MacBryde, a cement labourer, and Agnes Kennedy MacBryde. He worked in a factory for five years after leaving school before studying art at Glasgow School of Art from 1932 to 1937. There, he met Robert Colquhoun, with whom he established a lifelong romantic relationship and professional collaboration, the pair becoming known as "the two Roberts". MacBryde studied and travelled in France and Italy, assisted by scholarships, returning to London in 1939. He shared studio space with Colquhoun, and the pair shared a house with John Minton and, from 1943, Jankel Adler. MacBryde held his first one-person exhibition at the Lefevre Gallery in 1943. At the height of their acclaim they courted a large circle of friends - including Michael Ayrton, Francis Bacon, Lucian Freud and John Minton as well as the writers Fred Urquhart, George Barker, Elizabeth Smart, and Dylan Thomas - and were renowned for their parties at their studio (77 Bedford Gardens). Influenced by Graham Sutherland and John Piper, MacBryde became a well-known painter of the Modernist school of art, known for his brightly coloured Cubist studies. His later work evolved into a darker, Expressionist range of still lifes and landscapes. In collaboration with Colquhoun, he created several set designs during and after the Second World War. These included sets for Gielgud's Macbeth, King Lear at Stratford and Massine's Scottish ballet Donald of the Burthens, produced by the Sadler's Wells Ballet at Covent Garden in 1951. During the 1950s, both MacBryde and Colquhoun lost the attention of the art scene, and as both had become heavy drinkers, serious artistic work became almost impossible. Since neither had any private means, they were reduced at times to near destitution.

DU MAURIER DAPHNE: (1907-1989) English novelist. An interesting, small archive of letters, documents and photographs signed by Daphne du Maurier, relating in particular to her beloved Cornwall, where she spent much of her life and where many of her works are set, comprising a T.L.S., Daphne du Maurier, two pages, 8vo, Kilmarth, Par, Cornwall, 30th November 1973, to Hans G. Kosters, stating, in part, ´Like many other writers, I myself think the novels written about other places besides Cornwall are sometimes better! For instance, "The Scapegoat" (set in France), "The Progress of Julius" (set in France)....and even "The Flight of the Falcon" (set in Italy) have more depth, to my mind, than my Cornish novels, though they may not have been so popular.....Meanwhile, I have answered your questions as best I could, and forgive this short letter, but.....I am working hard on research of the live and times of the two Bacon brothers - the elder, Anthony, is barely known to the non-historical reader, and was one of the first "secret agents" of those times, employed by the ill-fated Earl of Essex. His brother Francis is of course well known´; a second T.L.S., Daphne du Maurier, two pages, 8vo, Kilmarth, Par, Cornwall, 7th September 1974, also to Kosters, thanking him for his letter and a newspaper (´I only wish I could read German!´) and continuing to comment on tourism in Cornwall, ´The Cornish coast has been very crowded with tourists this past month, and although we like them to enjoy our beaches I wish they would not leave their rubbish behind them; all the debris of thousands of picnics, papers, tins, bottles, cans, which the tide cannot sweep away! I dare say you have the same in Germany, not only on your beaches but in the forests. It is a great pity´, and also referring to Golden Lads, her biography of Sir Francis and Anthony Bacon, ´I very much doubt if it will be published before next spring or summer......Printing seens to take a long time these days, at any rate in England´; an interesting questionnaire, four pages, 4to, n.p. (Cornwall), n.d. (1974), comprising over twenty questions regarding Cornwall and Du Maurier herself, to which the novelist provides her typescript answers, seventeen of which are signed with her initials (´D du M´), expressing her belief that the tourist industry in Cornwall does not benefit the tinners, clayworkers, fishermen or farmers and noting that ´Mass tourism has already spoilt Spain, Portugal, Brittany, and Greece´, stating that ´The discerning visitor will not cross the Tamar if he finds Blackpool the other side. Those who wish for Blackpool will be better served in Lancashire!´, observing that ´Cornwall is a narrow peninsular. It cannot feed or house a mass invasion of tourists. Nor does the majority of the population desire this invasion´, declaring ´I am appalled at the idea of High Rise buildings in Cornwall. I would like to blast them from the ground in London, Paris, and elsewhere!´, and also stating ´The challenge must be to the young, whether in Cornwall or in the world. They will inherit what we have bequeathed to them. If what we bequeath is ugly, and through our fault, surely they will blame us? Or, if they are without appreciation of the beautiful, this is equally our fault, for it means we have not taught them understanding. My voice is not important. Perhaps I do belong to Cornwall but Cornwall does not only belong to me. It belongs, as every place and country must do, to those who live their lives in it now, today, and will do so through the years, and if the memory of those who are gone and lie beneath the soil still lingers on through the centuries, then perhaps this can be an inspiration to the living to build well upon the old foundations´, followed by a series of questions and answers on a more personal level, stating that she has lived at Kilmarth since 1969 and that she generally does not write for more than five hours a day, adding ´I am not a recluse! Family and friends come to stay. But I do not go often to London´ and in response to a question about whether it disturbs her to be called the ´best-selling author´ in the world, Du Maurier responds ´I do not think this has been true for a number of years! Many best-selling authors have eclipsed me!´; a signed 4.5 x 6.5 photograph of Du Maurier standing outdoors in a three-quarter length pose, signed in blue ink with her name alone to the centre of the image; a signed 6 x 8 photograph of the novelist seated in a pensive half-length pose at a table upon which appears a copy of her book Vanishing Cornwall, signed in blue ink with her name alone to a light area of the image; a further six unsigned photographs of various sizes including images of Kilmarth and individual portraits of Du Maurier and her two daughters, Tessa and Flavia; and a carbon typed copy of a letter from Kosters to Du Maurier. Some light age wear and a few minor traces of former mounting, otherwise generally VG, 12

BACON FRANCIS: (1909-1992) Irish-born British painter. A.L.S., Francis (twice), to two sides of a printed 8vo folding invitation card to the opening of an exhibition of Bacon´s recent paintings at the Galerie Maeght in Paris on 15th November 1966, n.p. (Paris). n.d. (November 1966), to George and Marguerite. Bacon states ´I shall miss terribly not seeing you at the exhibition´ and in a postscript, penned in a different colour of ink, the artist adds ´Will telephone you as soon as I come back from Paris. Would you send a card to Yvonne & Marion and any friends of yours´. The front cover of the invitation card features a colour reproduction of one of Bacon´s paintings of Isabel Rawsthorne from the triptych Three Studies of Isabel Rawsthorne (1966). A scarce and attractive letter. One very small, minor stain to the upper edge of the verso, not affecting the text or signature, VGThe identities of Bacon´s correspondents, and the mutual friends referred to in the letter, is not apparent and the letter would appear not to have been published alongside those included in Francis Bacon: A Self Portrait in Words (2024) edited by Michael Peppiatt.

BACON FRANCIS: (1909-1992) Irish-born British painter. An excellent signed colour 4 x 6 postcard, the image being a reproduction of Bacon´s oil on canvas painting Figure Sitting (1955), the original of which is housed in the collections of the Stedelijk Museum voor Actuele Kunst (S.M.A.K.) in Ghent, Belgium. Signed by Bacon in bold fountain pen ink with his name alone to the lower white border. About EX

[BACON FRANCIS]: (1909-1992) Irish-born British painter. A good, large colour 13 x 19 (32.5 x 48 cm) photograph of Bacon by photographer Jacques Saraben, the image depicting the artist in a semi-profile head and shoulders pose. Signed (‘Jacques Saraben’) by the photographer to the lower white border and further titled in his hand ‘Francis Bacon, Reece Mews, 25 Mars 1972’ (printed later). Also with his oval credit stamp to the verso. A couple of heavy creases to the lower left corner, and a smaller one to the lower right corner, not affecting the signature or text. GJacques Saraben (1939- ) French photographer and painter. 7 Reece Mews in South Kensington, London, served as Bacon’s studio from October 1961 until his death in April 1992. Few people were allowed into the centre of his artistic activities, and even fewer witnessed him painting. In 1998 the entire contents of the studio were donated to the Hugh Lane Gallery in Dublin where they were meticulously reconstructed.

Chateau Mouton Rothschild 1992 - 1er Grand cru classe - Bordeaux - Pauillac - Red, wooden box. A special feature of Chateau Mouton-Rothschild is that each year it collaborates with an artist to design an original label for the wine. Labels have been designed by Chagall, Braque, Picasso, Dali, Francis Bacon and even Prince Charles of England. at first glance: no defects - Weight: 1.73 kg - Shipping unavailable - Region: France - Sizes: H 305MM X D 75MM / LA BOITE H 350MM X L 100MM X P 95MM - At first glance: good condition

Chateau Mouton Rothschild 1993 - 1er cru classe - Bordeaux - Pauillac - Red, wooden box. A special feature of Chateau Mouton-Rothschild is that each year it collaborates with an artist to design an original label for the wine. Labels have been designed by Chagall, Braque, Picasso, Dali, Francis Bacon and even Prince Charles of England. at first glance: no defects - Weight: 1.77 kg - Shipping unavailable - Region: France - Sizes: H 305MM X D 75MM / BOITE 355MM X L 100MM X P 95MM - At first glance: good condition

Law. Bacon (Sir Francis, Knight, Lo: Verulam, and Viscount S. Alban), The Elements of the Common Lawes of England [...], [with] The Use of the Common Law [...], two parts in one, third edition, London: Printed by the Assignes (sic) of John More Esquire, 1639, general and divisional title-pages, woodcut headers and foliate initials, [xx], 94; [viii], 72pp, later finely bound in polished calf gilt, double-fillet borders, six-compartment spines of slightly raised bands, gilt lettered pieces in the second and third compartments, speckled red edges, 8vo

Bindings Collection of finely-bound library sets, early 19th century all 8vo, uniformly bound in later 19th-century tan calf over bevelled boards by Andrew Grieve of Edinburgh, spines gilt in compartments with maroon leather labels to second and third, twin-fillet frames gilt to covers enclosing fleurons to corners gilt, marbled endpapers, top edges gilt, numerous engraved plates, titles comprise:Hume, David. The History of England. Oxford: published by William Pickering, London, 1826. 8 volumes;Smollett, Tobias. The History of England. Oxford: published by William Pickering, London, 1827. 5 volumes;Bacon, Francis. The Works. A New Edition by Basil Montagu. London: William Pickering, 1825-34. 16 volumes bound in 17;Robertson, William. The Works. Oxford: for William Pickering, London, 1825. 8 volumes;Goldsmith, Oliver. The Works, edited by Peter Cunningham. London: John Murray, 1854. 4 volumes, engraved additional vignette title-page to each volume;Hales, John W., & Frederick J. Furnivall. Bishop Percy's Folio Manuscript. London: N Trübner, 1867. 3 volumes(45) The Library of a Scottish Gentleman

French armorial bindings Three works Hardouin de Péréfixe de Beaumont, Paul Philippe. Histoire du roi Henri le grand … revue, corrigée et augmentée par l'auteur. Paris: par la Compagnie, 1767. 2 volumes in 1, 12mo (16.4 x 9cm), [12] 260, [2] 310 [4] pp., contemporary red morocco, spine gilt in compartments, covers with gilt arms of Marie Thérèse de Savoie, comtesse d'Artois (identified in a pencilled note as those of her sister the comtesse de Provence, wife of Louis XVIII), blue endpapers, all edges gilt;Bacon, Francis. Essays, or Counsels, Civil and Moral. Glasgow: R. Urie, 1752. 8vo (18.5 x 11cm), 214 [2] pp.,  contemporary green morocco, floral devices gilt to spine compartments, covers elaborately gilt with broad roll-tool border incorporating coronets and volutes enclosing large coat of arms with French marquis's coronet and two lions rampants regardants, all edges gilt, bookplate of Thomas Maitland of Dundrennan (inscribed ‘To G. F. M. from T. M.’);Rosinus, Johannes. Antiquitatum Romanarum corpus absolutissimum … Editio postrema, emendatior. Geneva: Pierre et Jacques Chouet, 1640. 4to (23.2 x 15.5cm), [32] 1063 [138] pp., contemporary morocco richly gilt with fleur-de-lis tools and arms of the house of Orléans to covers, 2 folding woodcut plates , woodcuts in text, binding slightly worn, upper fore corner of front board restored, light damp-staining, occasional worming to lower margins The Library of a Scottish Gentleman

Bacon (Sir Francis) Opera Omnia, London: R. Gosling, 1730, folio, four volumes, panelled calf, half-title with engraved vignette to volume 1, engraved frontispieces, woodcut initials, head and endpieces (4)Ombersley Court, WorcestershireFirst collected edition of Bacon's English and Latin works. [Gibson 248]

History of England to include: [Ralph (James)] History of England during the Reign of King William, Queen Anne and King George the First ... by a Lover of Truth and Liberty, London: Daniel Browne, 1744 & 1746, large folio, speckled calf rebacked with original title labels preserved. marbled endpapers with bookplate for Lord Sandys, titles in red and black, Two volumes; together with Milton (John) Thomas More, Francis Bacon et al. A Complete History of England: with the Lives of all the Kings and Queens Thereof, London: for Brab. Aylmer, Reb. Bonwick et al., large folio, contemporary polished calf with gilt stamped decoration, decorative gilt stamped spines, three volumes, marbled endpapers, titles in red and black, 28 portrait platesOmbersley Court, Worcestershire

* ALAN DAVIE CBE RA HRSA RWA (SCOTTISH 1920 - 2014) LEAP FOR JOY oil and felt tip pen on paper, signed, titled and dated 2011mounted and framedimage size 37cm x 50cm, overall size 55cm x 68cm Label verso: Gimpel Fils, LondonNote: Alan Davie was recognised internationally as a new radical force in modern painting and was hailed by art critic Alan Bowness as, alongside Francis Bacon, one of the most influential artist of his time. He was an artist who created his own unique style, thoroughly spontaneous, and on drawing from a number of different interests, including his own experiences of primitive art, Abstract Expressionism, Surrealism and Zen Buddhism. However, despite his diverse influences, a Davie painting could never be mistaken for anyone else's work. Alan Davie first trained as a painter at Edinburgh College of Art where he also took up jazz music, and earned money as a musician, poet and jeweller. After his marriage in 1947 to fellow art student Janet Gaul, he travelled widely in Europe and for the first time was exposed to Italian masterpieces such as Cimabue and Giotto in Florence, before meeting Peggy Guggenheim in Venice who introduced him to Pollock's early work. Her recognition and later patronage of his work propelled him onto the international arena. When Davie returned to England he was taken on by the London gallery Gimpel Fils, where he had his first solo exhibition and from then on had the support of both the gallery and the Gimpel family. Initially however, it was in America where he experienced the greatest success; at his first New York exhibition, every painting sold mostly to major institutions and in 1956, when he first visited New York, the city's major artists of the day turned out to meet him, including Pollock and Rothko. In 1957 he showed work at the Museum of Modern Art in Paris and at the Guggenheim in New York. In 1958, he was part of the Critic's Choice Exhibition selected by David Sylvester and in the same year he represented Britain at the Venice Biennale. Alan Davie's work has been widely exhibited and is included in numerous international public and private collections, including the Tate Britain, the Arts Council of Great Britain, the Victoria & Albert Museum, the Foundation Maeght and the Museum of Modern Art, New York. His exuberant and expressive paintings possess a unique force that can be associated with the New York School and also the St Ives School, yet he also stood alone from these groups. He borrowed freely from all cultures, and it is the combination of these experiences, together with his freedom of expression, that gives Davie his unique style.

* ALAN DAVIE CBE RA HRSA RWA (SCOTTISH 1920 - 2014) UNTITLED pen on paper, signed and dated 2011mounted, framed and under glassimage size 13cm x 12cm, overall size 32cm x 30.5cmNote: Alan Davie was recognised internationally as a new radical force in modern painting and was hailed by art critic Alan Bowness as, alongside Francis Bacon, one of the most influential artist of his time. He was an artist who created his own unique style, thoroughly spontaneous, and on drawing from a number of different interests, including his own experiences of primitive art, Abstract Expressionism, Surrealism and Zen Buddhism. However, despite his diverse influences, a Davie painting could never be mistaken for anyone else's work. Alan Davie first trained as a painter at Edinburgh College of Art where he also took up jazz music, and earned money as a musician, poet and jeweller. After his marriage in 1947 to fellow art student Janet Gaul, he travelled widely in Europe and for the first time was exposed to Italian masterpieces such as Cimabue and Giotto in Florence, before meeting Peggy Guggenheim in Venice who introduced him to Pollock's early work. Her recognition and later patronage of his work propelled him onto the international arena. When Davie returned to England he was taken on by the London gallery Gimpel Fils, where he had his first solo exhibition and from then on had the support of both the gallery and the Gimpel family. Initially however, it was in America where he experienced the greatest success; at his first New York exhibition, every painting sold mostly to major institutions and in 1956, when he first visited New York, the city's major artists of the day turned out to meet him, including Pollock and Rothko. In 1957 he showed work at the Museum of Modern Art in Paris and at the Guggenheim in New York. In 1958, he was part of the Critic's Choice Exhibition selected by David Sylvester and in the same year he represented Britain at the Venice Biennale. Alan Davie's work has been widely exhibited and is included in numerous international public and private collections, including the Tate Britain, the Arts Council of Great Britain, the Victoria & Albert Museum, the Foundation Maeght and the Museum of Modern Art, New York. His exuberant and expressive paintings possess a unique force that can be associated with the New York School and also the St Ives School, yet he also stood alone from these groups. He borrowed freely from all cultures, and it is the combination of these experiences, together with his freedom of expression, that gives Davie his unique style.

John Lessore,  British b.1939 -  Study for 'Architects of the Gallery Masterplan (National Portrait Gallery commission)', c.1988-89;  oil on canvas, 80.7 x 90.7 cm (ARR)  Provenance:  with Gillian Jason Gallery, London (according to the label attached to the reverse of the stretcher);  private collection  Note:  the nephew of Walter Sickert and son of famous art dealer Helen Lessore who opened the Beaux Arts Gallery, which held solo exhibitions for Francis Bacon, John Bratby, Frank Auerbach and Leon Kossoff. These two artists particularly had a lasting impact on John Lessore's work, which often focuses on scenes of everyday life.  

Various photographs and prints to include Shackleton, Francis Bacon, Johnny Cash, Ronnie Barker, and from BBC TV Till Death us do part Location:If there is no condition report shown, please request

Bacon (Francis). The Essays or Counsels, Civil & Moral..., with a Table of the Colours of Good & Evil. Whereunto is added the Wisdom of the Ancients, enlarged, London: printed by T. N. for J. Martyn, S. Mearne, and H. Herringman, 1673, manuscript initials J. L. and date 1754 to title, 20th-century bookplate of Christopher Rowe to upper pastedown, contemporary speckled calf with diamond shape blind panel end decoration to boards, modern reback and morocco title label, 8vo, together with Le Neve (John). Monumenta Anglicana: being Inscriptions on the Monuments of several Eminent Persons deceased in or since the year 1600 to the end of the year [1699], 3 volumes only of 5, London: Will. Bowyer, for the editor, [1718]-1719, half-titles, few ink stamps, bookplate of John Towneley to upper pastedown, old library label of Norwich Public Libraries to front free endpapers, and bookplate of Christopher Rowe to verso of front free endpapers, all edges gilt, contemporary calf with 20th-century reback (gilt library classification to foot of spines), board edges worn, 8vo, and Farquhar (George). The Works..., containing all his Poems, Letters, Essays and Comedies, publish'd in his life-time, 2 volumes, 8th edition, London: J. and P. Knapton, G. Strahan, J. Clark, and H. Lintot, 1742, bookplate of Sir Richard Vyvyan Bt. to upper pastedowns, contemporary calf, gilt decorated spines, joints slightly cracked, 12mo, plus other miscellaneous 18th and 19th-century antiquarian, including some incomplete and odd volumes QTY: (a carton)

Bacon (Francis), THE HISTORIE OF THE RAIGNE OF KING HENRY THE SEVENTH, first edition, full leather, laid paper, wood engraved title page with architectural borders, dedication to Prince Charles with last word 'Highnesse', page 3 line 12 last word 'souldiers', lacking portrait frontispiece, printed by W. Stansby for Matthew Lownes and William Barret, London 1622 (at fault)