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An Art Deco Frosted Glass Dish, signed D'Avesn, moulded with stylized swallows, together with two Daum style glass centrepieces, other Modern a pair of cut glass tazzas, a Copeland planter and a pair of Rington jars and covers (qty)

TAKANORI OGUISS (1901-1986)Marchand de couleurs ('Sunlight Savon') signed 'Oguiss' (lower right); signed and inscribed 'Marchand de couleur [sic] Oguiss 103 rue de Vaugirard Paris 6e' (on the reverse)oil on canvas60 x 73cm (23 5/8 x 28 3/4in).Painted circa 1929-1932Footnotes:The authenticity of this work has been confirmed by Emiko Oguiss Halpern. This work will be included in the forthcoming Takanori Oguiss catalogue raisonné, currently being prepared by Les Amis d'Oguiss.ProvenancePrivate collection, South Australia; their sale, Leonard Joel, Melbourne, 3 November 1976, lot 208.Private collection, Melbourne (acquired at the above sale).Intent on offering a candid and unpretentious glimpse into the heart of Paris, Takanori Oguiss delighted in its quaint and humble urban landscapes. He did not embellish imperfect details, in fact, he revelled in them, the battered brickwork, tattered placards, and weathered walkways. His work reminisces on the blueprint of Paris in its twilight years, prior to the assembling of glossy apartment blocks, shopping centres and wide boulevards. The physical remnants of wear in his scenes therefore evoke a nostalgia for old Paris, now a dim and distant memory. Peering into the crumbled and cluttered exterior of an ordinary Montparnasse shop, Marchand de Couleurs bears testament to this. Even the distorted perspective of the scene alludes to the meandering alleyways, now concealed within the arrondissements of contemporary Paris.In the present work, Oguiss sketches en plein air and forms a rich impasto layer, applying his paint in thick strokes and quick daubs. This creates a sense of urgency, an attempt to capture a scene on the brink of change. Though there appear to be no figures within this cropped composition, the shopfront is bursting with life. On display is an eclectic mix of colourful hardware tools and painting utensils, combined with flashy advertisements, hand-painted onto wooden blocks. Oguiss presents a charming local scene, with a variety of goods crammed into worn wooden cabinets, while the excess dangle in clusters from the awning.Declared the epicentre of Modern Art, Paris in the early twentieth century became a magnet for artists all over the world, including Oguiss. Born in Inazawa, Japan in 1901, he first studied at the Tokyo School of Fine Arts where he participated in numerous exhibitions. However, 1927 marked a pivotal shift in his artistic career, as he ventured to Montparnasse, Paris. As a pupil of Léonard Tsuguharu Foujita, he swiftly became an integral member of the Parisian avant-garde and began working in one of the ateliers of the 'Montmartre aux artistes'. He frequented La Ruche, a popular space for young artists, while also participating in esteemed exhibitions such as the Salon d'Automne and the Salon des Indépendants. Through his work, Oguiss sought to emulate the artists of the École de Paris, in particular Maurice Utrillo and Maurice de Vlaminck. This is evident in Marchand de Couleurs, as he employs a quintessential Post-Impressionist oil technique with his thick application of paint, patterned brush strokes and vivid colour. What is striking however is that he combines this with the renowned Japanese concept of wabi-sabi, a celebration of the imperfect and impermanent. The work therefore exists as a compelling fusion of aesthetics and attests to twentieth century Paris, as a concoction of cultures, in a period of flux.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

SALVADOR DALÍ (1904-1989)Visage féminin pour l'hologramme 'Submarine Fisherman' signed 'Dalí' (lower left)oil on glass11.4 x 14cm (4 1/2 x 5 1/2in). (within the mount)Painted in 1972Footnotes:The authenticity of this work has been confirmed by Nicolas Descharnes.ProvenanceDr. Maury P. Leibovitz Collection, Connecticut (possibly acquired directly from the artist through M. Knoedler & Co., circa 1972).Private collection, US, UK and Greece (by descent from the above in 1992).Private collection, UK (by descent from the above).ExhibitedNew York, M. Knoedler & Co., Holograms Conceived by Dalí, 7 April - 13 May 1972 (as part of the hologram installation titled 'Submarine Fisherman').LiteratureS. & L. Lissack, Dalí in Holographic Space, Charleston, 2013 (illustrated p. 12; illustrated pp. 18 & 23 as part of the hologram installation titled 'Submarine Fisherman').S. Lissack, 'Dalí in Holographic Space, Salvador Dalí's contributions to art holograms', in Spie. The international society for optics and photonics, online article, January 2014 (illustrated as part of the hologram installation titled 'Submarine Fisherman').Salvador Dalí's enthusiasm for holography was proudly declared in his introduction to the catalogue for the important 1972 Knoedler Gallery exhibition dedicated to his holographic exploration: 'all artists have been concerned with three-dimensional reality since the time of Velázquez, and in modern times, the analytic cubism of Picasso tried again to capture the three dimensions of Velázquez. Now with the genius of Gabor, the possibility of a new Renaissance in art has been realized with the use of holography. The doors have been opened for me into a new house of creation' (Dalí quoted in Exh. cat., Holograms Conceived by Dalí, New York, 1972, p. 1).This interest started in the late 1940s with the discovery by British-Hungarian scientist, Dr. Dennis Gabor, that a three-dimensional image could be recorded on a two-dimensional space. It took several years and a few technical advancements before holograms finally took the shape they have today: a transparent photographic plate which has recorded a phenomenon of diffraction of light of a three-dimensional object. Then, when illuminated at a certain angle by a beam of light, the plate reproduces a relief image of the photographed object. This major discovery earned Dennis Gabor the 1971 Nobel Prize in Physics.Coincidentally, that year also marked Dalí's introduction to holography, when South African artist Selwyn Lissack approached him at the St. Regis Hotel in New York. Lissack recalls Dalí's immediate enthusiasm for the medium and what seemed like the endless possibilities it created, with laser lights now becoming the artist's brush. The hotel suite at the St. Regis became Lissack and Dalí's impromptu studio office as 'Dalí was thrilled with the notion of working with a medium which gave him the ability to create beyond the confines of linear space' (S. Lissack, 'Dalí in Holographic Space', in SPIE. The international society for optics and photonics, online article, 1 January 2014).The present work, Visage féminin pour l'hologramme 'Submarine Fisherman', is part of Dalí's second holographic work, executed under the guidance of Selwyn Lissack: Submarine Fisherman. It consisted of a holographic installation mixing different media: first, a holographic plate of a diver was isolated in a metallic box with laser. This was then incorporated within another larger box which had a separate source of lighting shining onto a transparency of Pablo Picasso's masterpiece, Les Demoiselles d'Avignon. This second box projected the image around the hologram – contained within the first box - like stained glass. Finally, Dalí painted an oil portrait of a Catalan girl on a glass plate – the present work – which he superimposed over the holographic plate. The multi-layered result showed the portrait of the Catalan girl projected over the hologram of a diver in the sea, superimposed on the reproduction of Les Demoiselles d'Avignon. The superposition of the oil portrait and the hologram was measured by Dalí so that the nose of the girl would coincide with the elbow of the diver in the holographic image projected. Dalí thus produced a three-dimensional image while mixing media and merging artistic and scientific dimensions, at the crossroads of painting, sculpture, and photography. Selwyn Lissack, who witnessed the creation of Submarine Fisherman, recalls that he 'stood mesmerized as Dalí created a perfect merging of three-dimensional space on a two-dimensional plane' (S. & L. Lissack, Dalí in Holographic Space, Charleston, 2013, p. 23).Dalí's choice of imagery for the final hologram was no coincidence and the individual images each have their own importance. Picasso's Les Demoiselles d'Avignon depicts prostitutes in a Spanish brothel on Avignon Street in Barcelona, and Dalí's Catalonian face is thought to be one of the young girls, her visage certainly reminiscent in appearance to the figures in Picasso's work, with her abstracted features and Cubist appearance. For Dalí, the underwater world, with its deep and dark waters, was the place of all buried secrets and a perfect metaphor for the human subconscious. As such, the diver is projected onto the Picasso, which we can interpret as a materialisation of the deeply buried sexual desire in the human psyche. This interpretation is further confirmed by the luscious red lips which recall Dalí's lifelong obsession with Mae West, a sex-symbol and an often recurring motif in his oeuvre. Visage féminin pour l'hologramme 'Submarine Fisherman' is an extremely rare piece, as Dalí only ever conceived of six other holograms. Thus, creating a new way of painting using light and technology and contributing to a new artistic paradigm, Dalí's process recalled the Renaissance geniuses who had been revolutionising painting with camera obscuras. The Nobel Laureate Dr. Gabor himself saw in Dalí, 'a genius [...], creating a new art of which old, great painters may have dreamed, but which could only be realized by combining art with the most modern technology' (Gabor quoted in Exh. cat., Holograms Conceived by Dalí, New York, 1972, p. 2).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

CARL MOLL (1861-1945)Der Park von Schönbrunn mit Blick zur Gloriette signed 'C. Moll' (lower right)oil on panel34.3 x 35.6cm (13 1/2 x 14in).Painted circa 1910Footnotes:ProvenanceArthur Schnitzler Collection, Vienna (acquired directly from the artist on 6 December 1913).Heinrich & Lilly (née von Strakosch-Feldringen) Schnitzler Collection, Vienna (by descent from the above in 1931). Private collection, Vienna and US (by descent from the above). Private collection, Los Angeles (by descent from the above).Exhibited(Probably) Vienna, Galerie Miethke, Kollektiv-Ausstellung Max Kurzweil und Carl Moll, March 1911.LiteratureA. Schnitzler, 'Samstag, 6. Dezember 1913', in Tagebuch, December 1913.C. Cabuk, Carl Moll. Monografie und Werkverzeichnis, online catalogue, no. GE 256 (illustrated).Depicting the immaculately pruned Baroque gardens of Schönbrunn Palace, a UNESCO World Heritage site and to this day one of Vienna's most iconic, scenic and important cultural locations, the present works are undeniably bursting with Austrian cultural significance. Painted by Carl Moll circa 1910, the works have not been seen publicly in more than a hundred years, remaining as cherished heirlooms in the Schnitzler family since the day they were acquired directly from the artist by Arthur Schnitzler, on Saturday 6 December 1913.Widely unacknowledged outside of his native Austria, Arthur Schnitzler was in fact arguably one of the most important European authors of the twentieth century. A contemporary of Sigmund Freud, Ludwig Wittgenstein and Stefan Zweig, his writings were landmarks of European Modernism. As an accomplished doctor in his pre-writing years and as a regular correspondent with Freud, Schnitzler was fascinated by the human psyche. He often explored dreams and the unconscious in his writings; most notably, he was the first German-speaking writer to pen fiction using the Freudian stream-of-consciousness technique. As a subject for his writings, Schnitzler sought to dissect and comment on the hypocrisy of bourgeois life in Vienna, simultaneously exploring society's hidden impulses and motivations. As had been done to his infamous contemporary, Egon Schiele, he was in fact branded a pornographer after the release of his play Reigen, in 1900. Perhaps his depiction of a supposedly morally superior Viennese society exposed and shown to be as promiscuous and sexually driven as the common man, cut too close to the bone. After his death in 1931, Schnitzler's works were subsequently subjected to the Nazis, who deemed them Entartete ('Degenerate') and burned them. Stanley Kubrick's final film, Eyes Wide Shut, is based on Schnitzler's 1926 novella, Traumnovelle.As Arthur Schnitzler was to literary modernism, Carl Moll was a leading proponent of the Austrian avant-garde. A founding member of the Wiener Secession and close friend of Gustav Klimt, he was an integral artist to the development of Modernism in Austria at the turn of the century. Whilst certainly remaining more conservative in his style, opting to emulate more the French Impressionists and Pointillists, he was nevertheless a very prominent proselytiser for younger, more Expressionistic, artists. He would thoroughly encourage important galleries such as the Belvedere to show Modern Austrian art and was extremely active in supporting these displays, even after his separation from the Secession in 1905 with Klimt and other important members. One of his most notable contributions to the exhibition scene was the first Viennese show of Vincent van Gogh's work. Moll clearly appreciated the young artist's skill and in fact included Van Gogh's Portrait of the artist's mother in his 1906 self-portrait. He placed the work above a version of George Minne's Small Kneeling Youth, a beautiful marble figure, clasping themselves under the burden of sorrow at the dawn of the Modern age.The present two works are classically Modern-Austrian in their square format, a shape favoured by the Secessionist artists and immortalised by Moll, as well as the likes of Klimt, Schiele and Koloman Moser. Indeed, the present panels are particularly reminiscent of the small 'jewel-like' Bretter that Schiele was gifted by Arthur Roessler during his time in Krumau and Neulengbach, in 1911. These smaller panels enabled Schiele to engage in a more spontaneous working method due to their manoeuvrable size; especially the ability to work en plein air. This immediacy and intention to capture the light and the moment is especially prevalent in both of these depictions of Schönbrunn. In lot 8, identified by the edge of the famous Gloriette building in the south of the gardens, Johann Wilhelm Beyer's 1777 statue of Bacchantin and the long westward shadows cast over the tall hedgerows, Moll has evidently set up his easel near the Taubenhaus, on the edge of the wide Grosses Parterre that runs between the hilltop and the palace. He quietly captures a serene summer's morning, with people ambling their daybreak stroll; a pair of elegantly dressed ladies in their summer blouses seated in the centre, perhaps quietly discussing the latest in the Viennese art scene. A more solitary but nonetheless tranquil view in lot 9, the gentle flow of one of the two Najadenbrunnen fountains can be seen, caught in a ray of sun, whose beams have trickled through the branches to dapple the shaded foreground. It is most likely the Östlicher Najadenbrunnen, or Eastern Naiad Fountain, just down from the Taubenhaus.The palace was originally intended as a hunting lodge, however swiftly developed into a palatial residence over the course of the eighteenth century. Evidenced in its popularity to the present day it has remained a favoured recreational amenity for the Viennese populace since its creation. Its connection to the Imperial Monarchy of Austria-Hungary meant that the subject was particularly en vogue for collectors of the time and in fact Moll was focusing on the gardens of Schönbrunn in the 1910-1911 period for an exhibition at the Galerie Miethke, Kollektiv-Ausstellung Max Kurzweil und Carl Moll. The present two works are part of this group and were most likely shown in the exhibition, though their number in the catalogue is difficult to discern. Other panels from the series are held by the Neue Galerie Graz, Van Gogh Museum, Amsterdam, and other private collections, with works from Moll's entire oeuvre held in almost all of Austria's leading public collections.Arthur Schnitzler, whilst focusing his written themes on cross-examining the conservative classes of high-brow Vienna, clearly was also taken by the beauty of these works shortly after their creation. Having kept a meticulous diary from the age of 17 until two days before his death in 1931, his flowing dialogue offers us a snapshot into his visit to Moll's studio with his wife, Olga Gussmann: '6/12 With O. at Antiquitäten Berger's. - Then at Moll Hohe Warte, in the studio. His pictures (Schönbrunn, Venice, Göding) very fine. Choice? [...] We took five pictures with us, want to keep 2 of them. [...] Julius, Helene, Richard Paula Gustav with us in the evening. The Moll pictures were very pleasing.' (A. Schnitzler, 'Samstag, 6. Dezember 1913', in Tagebuch, December 1913). It was in fact Schnitzler's dedication to note writing that later saved the life of his then ex-wife, Olga (listed as 'O.' in the aforementioned diary). With the rise of the Nazis and the subsequent persecution of Jews and those deemed Entartete, she escaped Vienna by convincing Cambridge University - the guardians of Schnitzler's notes and archives - that she was the only person who could... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Modern silver box, of circular form, the cover mounted with an an Arts & Crafts enamel panel of a fruiting vine by H G Murphy, circa 1920, hallmarked Jon Braganza, London 2018, H4.5cm D8cm, approximate gross weight 7.84 ozt (244 grams)Henry George Murphy was a silversmith and jeweller known for his work in the Arts & Crafts and Art Deco styles. This enamel panel was acquired in the dispersal sale of Murphy's Falcon Studios at 58 Weymouth St, Marylebone, and is also featured in Paul Atterbury and John Benjamin's book Arts and Crafts to Art Deco The Jewellery and Silver of H G Murphy (page 29). Condition Report:General light wear, predominantly in the form of surface scratches and nicks.Hallmarks clear and legible.

FINDEN.  Gallery of Modern Art. 2 vols. in one. Eng. frontis, title & plates. Folio. Nice maroon morocco gilt extra, a.e.g. Bookplate of William Preston, Ellel Grange. London Printing & Publishing Co., n.d.; also E. J. Poynter (Ed)., The National Gallery, 3 vols., ltd. ed. 949/1000, many illus., quarto, half red morocco, a.e.g. 1899.  (4).

JOHNSTON (G H): 'The Handy Royal Atlas of Modern Geography..', London & Edinburgh, 1907: publishers red half morocco gilt, aeg, double-page col. litho. maps, front inner joint split else VG, sm.folio: with misc. other books, inc. 'The Art of the Book', Studio Publications, 1914, leather bound. (Box)

Memorabilia & Autograph - Paul Weller promo art print for his album “Modern Classics” signed by Paul Weller. Provenance: signed in person for the vendor who was a radio producer

Tracey Emin (British, born 1963)Docket in my hand Bronze with silver nitrate patina, 2014, incised with the artist's initials, date, and stamp-numbered 21/100 on the underside, produced by the Modern Art Foundry, New York, with their foundry mark 'MA'Overall 100 x 50 x 50mm (4 x 2 x 2in)(Multiple)This 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 In addition to the catalogue entry:- minor, hairline scuffs on the undersideOtherwise, in very good condition.

A poster for the exhibition 'Vienna 1900: Art, Architecture & Design' at the Museum of Modern Art, New York, July 3rd - October 21st 1986, featuring a printed detail of Otto Wagner's 1903 competition design for the Postal Savings Bank in Vienna, held in a gilt metal and glazed frame, 90cm x 58.3cm (VAT charged on the hammer price)

An Art Nouveau style multicoloured glass bead inset lamp shade with leaf moulded lamp base, 20th century, 40cm high overall, together with a group of objects of vertu, including a multicoloured glass high shoulder vase with squat foot, 27cm high, a Gallé style yellow glass bottle vase with naturalistically modelled copper mount, 17.5cm high, and a modern Czech frosted glass triangular ashtray moulded with faces each side, 6cm high, 11cm wide, together with a contemporary perspex table lamp modelled as three columns supporting a capital, with central metal light fittment, 53.5cm high exc. fittment (5)It is the buyer's responsibility to ensure electrical items are professionally rewired for use. 

A pair of modern scroll form table lamps, retailed by Fine Art Lamps Miami, each on a black circular base, 49cm high exc. fittment (2)It is the buyer's responsibility to ensure electrical items are professionally rewired for use.

A Quantity of reference books on Asian Art. Modern (a lot)

A Quantity of reference books on Art. Modern (a loT

A Quantity of reference books on Asian Art. Modern (a lot)

ERNEST ARCHIBALD TAYLOR (1874-1951) FOR WYLIE & LOCHHEAD, GLASGOW SIDEBOARD, CIRCA 1902 inlaid oak, with patinated metal fittingsDimensions:191cm wide, 132cm high, 68cm deepNote: Note: Initially apprenticed in the Glasgow shipbuilding industry, E. A. Taylor trained as an artist at the Glasgow School of Art, where he met Jessie M. King around 1898. Taylor joined the Glasgow cabinetmakers and retailers Wylie & Lochhead as a trainee designer in 1893. His furniture designs for the firm brought him great acclaim with exhibitions at the 1901 Glasgow International Exhibition and, with his fiancée Jessie King, a series of stained-glass panels for the Turin International Exhibition of Modern Decorative Art in 1902. Taylor went on to lecture in furniture design at the Glasgow School of Art from 1903 to 1905. In 1908 he married Jessie King and moved to Manchester to manage and design for George Wragge Ltd where he produced many designs for stained glass. Between 1911 and 1914 the Taylors lived in Paris where they established an art school – the Shealing Atelier. This rare sideboard by Taylor demonstrates his skills as a furniture designer, the inlaid panels characteristic of the burgeoning 'Glasgow Style', the mouldings and cut-out features enlivening the solid form. This example is similar in form to a sideboard designed by Taylor for William Douglas Weir (later Lord Weir) in Glasgow around 1901, following the success of his room for Wylie & Lochhead at the Glasgow International Exhibition the same year.

‡ ALEXANDRE CHARPENTIER (1856–1909) AND TONY SELMERSHEIM (1871-1971) 'LA FUITE DE L'HEURE': FINE ART NOUVEAU TABLE CLOCK, 1898 padouk and gilt bronze, the twin train movement striking the hour and half hour, the surmount signed in the bronze ALEXANDRE CHARPENTIER, the panels to the sides and front signed with monogramDimensions:87cm high, the surmount 32.5cm highNote: Literature: Alexandre Charpentier (1856-1909): Naturalisme et Art Nouveau, Exhibition catalogue, Musée d'Orsay, pp. 115-116 illus.Art et Décoration, 1899, pp. 101-102 (illustrated).Exhibited: Paris, Le Musée d'Orsay, 22nd January - 13th April 2008, Brussels, Le Musée d'Ixelles 29th May - 31st August 2008 Alexandre Charpentier (1856-1909): Naturalisme et Art Nouveau, no. 79“It is necessary to make art part of contemporary life. To make the ordinary objects that surround us into works of art”.Paul Greenhalgh (ed.), Art Nouveau 1890-1914, V & A Publications, London, 2002, p. 20.Alexandre Charpentier and Tony Selmersheim belonged to the group Les Cinq (which later changed its name to Les Six and then Les Huit as new members joined) who advertised their ambitions, in an 1898 Paris exhibition, as to integrate art into present-day life and to make everyday items beautiful and meaningful. They, like Emile Gallé, believed in the transformative and redemptive power of the arts to change not just an individual but society more broadly, and even the national economy. Charpentier created the sculptural components of this clock. Originally conceived as a larger figural group it is here employed at half the size. Besides the change in scale, the other difference between the two figural groups is the inclusion of a scythe in this present piece.Charpentier had begun his career working for a medal maker and this clock incorporates three panels representing the Fates. He was very much at the forefront of the revival of interest in medal-making and low-relief plaques of the period. This art form very much suited the Art Nouveau ethos and the fascination for whip-lash lines.While Charpentier created the sculptural elements, it was the architect and decorator Tony Selmersheim who designed the case of the clock. Regarded as one of the leading Art Nouveau furniture makers, he worked alongside Victor Horta, Maurice Dufrêne and Henry van de Velde on La Maison Moderne, before forming a highly successful partnership with Charles Plumet. As is the case here, his work was characterised by simple forms that emphasised the structure of the piece, and by flowing elongated stem-like lines that reference nature.Like so many Art Nouveau works, this clock explores recurring Symbolist themes. The sculptural group surmounting the clock can be seen to represent Time, Age and Love. A young man kisses his lover whilst holding her aloft. Concurrently the man grasps the scythe being wielded by the old man, trying to keep him and it at bay. He represents not only old age but with the scythe offers a reminder of human mortality. Life is a cycle, and the bas-relief panels below depict the Fates from Greco-Roman mythology. In the front panel, Clotho holds a distaff, the left panel depicts Lachesis operating the spindle and on the right Altropos cuts the thread. This imagery is in keeping with the representation of time in the figural group surmount with a beginning and an end determined by another force. Instead of using classical models, Charpentier chose contemporary figures, and in so doing draws a clear link between art and modern life. Art is relevant and should speak to the present. This functional clock has been transformed and elevated by Charpentier and Selmersheim into a meaningful work of art.

A group of decoratively leather and cloth bound books, to include: E. Chambers, F.R.S, Cyclopaedia: or, an Universal Dictionary of Arts and Sciences, fifth edition, vol. 2 (L-Z) only, full leather bound, London: 1743; The Satires of Juvenal, translated and illustrated by Francis Hodgson A.M., quarter-bound with marbled boards, London: Payne and Mackinlay, 1807; Cassell's Popular Natural History, vol. 1 & 2, quarter-bound with cloth boards, library label to inside front page, London: Cassell, Petter & Galpin; Matthew Arnold, Poetical Works, quarter-bound with cloth boards, London: Macmillan and Co.,1905,  bearing inscription and dedication to front pages; H. R. Westwood, Modern Caricaturists, with foreword by David Low, green cloth bound with gilt tooling to front board and lettering to spine, London:  Lovat Dickson Limited, 1932; Gilbert A. Foan (ed.), The Art and Craft of Hairdressing, second edition, quarter-bound with blue cloth boards, inscribed to inside board 1943, with coloured plate frontispiece and four further coloured plates, London: The New Era Publishing Co., Ltd. (7)(VAT charged on hammer price)  

Elsa GramckoLa atalaya roja1964Mischtechnik auf Holzplatte; ungerahmt65 x 30 cmRückseitig bezeichnet, signiert und datiert: "La atalaya roja" Elsa Gramcko 1964europäischer PrivatbesitzDie venezolanische Malerin und Bildhauerin Elsa Gramcko gilt als eine der wichtigsten Vertreterinnen des Surrealismus und des Informel in Lateinamerika. In den 1950er Jahren entstanden malerische geometrische Abstraktionen, während sie sich in den 1960er und 1970er Jahren verstärkt der Bildhauerei und Assemblagen zuwandte. Ihr Werk wurde auf zahlreichen Ausstellungen in Lateinamerika, Europa und den USA gezeigt. Sie vertrat Venezuela 1959 auf der Kunstbiennale von São Paulo und 1964 auf der Biennale von Venedig. Ihre Werke sind in privaten und öffentlichen Sammlungen in Lateinamerika und weltweit vertreten, darunter das Museum of Modern Art, New York, das Museum of Fine Arts, Houston, das Art Museum of the Americas, Washington, D.C., das Denver Art Museum, das Museum of Modern Art in Bogota und das Museum of Fine Arts in Caracas.Die im Jahr der Biennale-Teilnahme entstandene Assemblage "La Atalaya Roja" ("Der rote Wachturm") gehört zur Serie der "Chatarras". In diesen plastischen Collagen verwendet Elsa Gramcko ausrangierte Metallteile – alte Zahnräder, Autoteile, verrostete Schlösser – und baut aus diesen Schrotteilen (chatarras auf Spanisch) magische Bildwelten. Diese weisen eine reduzierte, gedämpfte Farbpalette auf: Ocker-, Rost- und Sepiatöne legt die Künstlerin über ein stellenweise löchrig belassenes Gitterwerk, in das sie zwei verrostete Türschlösser eingearbeitet hat. Alltägliche Gebrauchsteile erhalten somit eine neue Identität und das Bild einen lyrischen Gehalt, der aber auch eine Kritik an der rücksichtslosen Industrialisierung ihrer Heimat Venezuela birgt. Elsa Gramcko selbst bezieht dazu Stellung: "Diese Arbeiten stellen die zeitgenössische Gesellschaft in Frage... es geht wirklich darum, uns dagegen zu wehren, dass wir zu automatisierten Maschinen werden, zu Zähnen auf einem Zahnrad, und es geht darum, unsere Individualität zu verteidigen." (https://www.jamescohan.com/exhibitions/elsa-gramcko, aufgerufen am 12.3.2023) Ihr Werk, voller Mysterium und Schönheit, kann also als stiller Protest gegen eine ungezügelte Modernisierung interpretiert werden und ist somit als visionär zu bezeichnen, nimmt sie doch viele Themen, die uns heute beschäftigen in ihrem Werk vorweg. In einem Brief an ihren Landsmann, den Maler und Bildhauer Alejandro Otero, aus dem Jahr 1961 schreibt sie: "Von Tag zu Tag wird alles, was nicht politisch oder sozial ist, unwichtiger, und die Situation scheint so chaotisch, dass wir alle das Gefühl haben, am Vorabend einer Katastrophe zu stehen." (https://literalmagazine.com/elsa-gramcko-the-path-of-intuition-form-and-things/, aufgerufen am 12.3.2023)(Sophie Cieslar)

Franz Ringelo.T.1995Öl und Acryl auf Leinwand; gerahmt155 x 100 cmSigniert und datiert links oben: M.J.M. Ringel 95österreichischer PrivatbesitzFranz Ringel gehört neben Martha Jungwirth, Kurt Kocherscheidt, Peter Pongratz und Wolfgang Zeppl-Sperl der losen Künstlergruppierung "Wirklichkeiten" an. Diese – vom Kunsthistoriker Alfred Schmeller als "Krokodile im Karpfenteich" bezeichnet – wollen mit ihrer Malerei einen Gegenpol zur abstrakten Kunst und auch zum für sie viel zu akademischen Phantastischen Realismus schaffen, den damals alles beherrschenden Kunstströmungen im Nachkriegsösterreich. Ringel, wie vor ihm die Phantasten, aus der Gütersloh-Klasse an der Akademie am Schillerplatz kommend, interessiert sich für die Malerei der Cobra-Gruppe und die Art Brut. Seine Begegnung mit Jean Dubuffet in Paris in den frühen 1970er Jahren wird wegweisend. In engem Kontakt steht er auch zu Leo Navratil und den von diesem geförderten Gugginger Künstlern. "Ein gutes Stück gewollter Wahnsinn im Ausdruck begleitet seine (Franz Ringels) Bilder bis heute." (Klaus Albrecht Schröder (Hg.), The Beginning. Kunst in Österreich 1945 bis 1980, Albertina modern, Wien 2020, S. 457)Frei von allen Konventionen und klassischen Ausformungen der Kunstszene aus dem Unterbewussten heraus schaffen ist es, was Franz Ringel antreibt und was die Basis für seine seltsamen oft rätselhaften Figurenschöpfungen ist, die sich durch große Dynamik und eine grelle Farbigkeit auszeichnen. Wild-Kindliches paart sich mit Verrücktem. "Ringel malt keine Ideen. Er coloriert bloß seine Geister", schrieb sein Dichterfreund Wolfgang Bauer 1999 (https://www.derstandard.at/story/1319181509031/1940-2011-maler-franz-ringel-gestorben, aufgerufen am 13.3.2023). Fratzenhafte Figuren ohne Körper schweben im Raum vor einem bühnenartigen Quadrat. Darunter, als Kontrapunkt zum aggressiven Gebaren der beiden Kopfgestalten, schwebt ein grinsendes Herz. Wir erkennen eine Verwandtschaft zu den absurden Settings seiner frühen Kasperlbilder. Man könnte die Szene mit den absurden Köpfen auch als Kasperltheater interpretieren. Die Unmittelbarkeit im Ausdruck der Fratzen wird begleitet von einer spontan-gestischen Malweise. Franz Ringel drückt die Farbe direkt aus der Tube auf die Leinwand, bevor er sie mit heftigem Strich verteilt. Sie wird, verstärkt durch die deutlich fühlbare Materialität, zum emotionalen Ausdrucksmittel.(Sophie Cieslar)

A modern Art Deco style figure:  1920's flapper girl, on marble base, height 38cm

LALIQUE, RENE LALIQUE, POUILLY, A SET OF SIX FROSTED AND BROWN STAINED ART DECO LIQUEUR (MADEIRA) GLASSESSECOND QUARTER 20TH CENTURYDecorated with band of fish7cm highTogether with a pair of modern Lalique glasses, Angel, 20.5cm highProvenance:From the private collection of author and publisher Colin SmytheSee Marcilhac, page 845 (no 5226) for the suite of table glass in the Pouilly pattern, designed 1931, not continued after 1947Condition Report: No damage detected.Condition Report Disclaimer

GIANMARIA POTENZA (ITALIAN B.1936) FOR LA MURRINA; A VENETIAN PALE-BLUE GLASS BOTTLE VASE1960sDecorated with a flattened cane incorporated into the pale-blue glass body of a bullseye of yellow, opaque-white and blue, 34cm highCf. Lot 127, Lyon & Turnbull 30 Apr 2021, Modern Art & Post-War Design for a yellow example that sold for £500 hammer. Note: Potenza was born into a family of palazzo decorators in Venice and received much early tuition from family members before enrolling in the Art Institute of Venice in 1947. He emerged as one of their most renown students and in 1968 he founded La Murrina Glassworks with Ulderico Morettiin, leaving in 1975. Glass was just one of many of the areas he worked, principally working in interior design and decoration. Today he can be found in the San Trovaso artist's area of VeniceCondition Report: No damage detected.Condition Report Disclaimer

General Books: Some antiquarian leather bound Volumes, some modern books on Art, Antiques, Horse Decoration etc., some issues of National Geographic, etc. 8 small shelves, as a lot, w.af. (1)

GERMAN NECKLACE ETC. A German black bakelite & clear paste Art Deco necklace, stamped D.R.G.M. 1138625. Also, a modern Art Deco style paste brooch. Length of necklace, 44cm.  Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING.  The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.

A modern Lalique France art deco style crystal Dampierre pattern vase with embossed sparrows and vines surround design. Crystal Lalique sticker to base. Two chips to the top rim. Height 12cm.

A Modern French Postcard Album, Art Nouveau Style, Containing various Artists Cards and Prints

A collection of reference books on modern silver,comprising: Andrew, J. and Styles, D., Designer British Silver, Atterbury, P. and Benjamin, J., The Jewellery and Silver of H.G. Murphy, and other volumes including The Designs of Archibald Knox for Liberty & Co., A Personal Touch: The Seawolf Collection, Gerald Benney Goldsmith, and The Silversmith Art. (6)

By Charles Hall, a modern commemorative silver bowl,Sheffield 1996, number 256,tapering circular form, spot-hammered and geometric decoration, made to mark the demerger of THORN from the EMI Group, in a fitted box, with a certificate and copy of a menu, diameter 18cm, approx. weight 7.8oz.Prior to establishing a studio and workshop in Cornwall in 1972, Charles Hall studied at Hornsey College of Art and the Royal College of Art. He is a founding member of Contemporary British Silversmiths and has undertaken many important commissions.

A collectors lot to include; Transcendental Vision: Paintings by Peng Ximing - University Museum and Art Gallery, The University of Hong Kong book depicting descriptions and photos of work by Peng Ximing (1908-2002) Accompanied by small information book inside. Approx. 31.5cm long x 21.5cm wide. Slight wear due to usage. With a modern doll with clothing and accessories (broken) and a Palitoy modern reproduction boxed Action Man Sportsman clothing for an Arsenal player.

Arts and Antique Interest - to include Art Gems, Ancient and Modern, Anatomy for Artists, by John Marshall, Mexico - A History in Art, etc (23 volumes approx)

A box of modern Art related catalogues

TWO BOXES OF EPHEMERA, one box contains several hundred matchboxes from many different manufacturers, some contain original contents, box two contains seven ring-binder files containing a large collection of Art prints and postcards from all areas of the artistic field from classical to modern pop-art

A modern mythical figural light in the form of a fairy butterfly in an Art Nouveau style.

An Art Deco platinum, sapphire and diamond brooch. The canted-rectangular open panel grain-set at the centre with an early modern round brilliant diamond approx. 0.26cts, within a box surround, the border and fan-shaped accents set with small calibre sapphire panels, and set throughout with small eight-cut and single cut diamonds, approx. 37mm long overall. Condition Report: Overall good condition, general wear and tear commensurate with age and use, Diamonds. The small diamonds bright. Central diamond measures approx. 4.4mm x 2.1mm, colour about J, clarity about SI1. The sapphires a good blue however a little sleepy.

A modern bronzed table lamp in Art Nouveau style: handmade glass shade as a flowerhead with upturned leaves above a child holding aloft a flute; spreading circular base  (65 cm high)

Modern 18ct gold pendant mounted with an oval Arts & Crafts enamel panel of a tulip by H G Murphy, with tulip engraved decoration to the gold mount, hallmarked Jon Braganza, London, L7cm x W5cmCondition Report:24.52 gm approx. Henry George Murphy was a silversmith and jeweller known for his work in the Arts & Crafts and Art Deco styles. This enamel panel was acquired in the dispersal sale of Murphy's Falcon Studios at 58 Weymouth St, Marylebone, and is also featured in Paul Atterbury and John Benjamin's book Arts and Crafts to Art Deco The Jewellery and Silver of H G Murphy (page 29).

Modern silver box, of rounded form, the cover mounted with an Arts & Crafts enamel panel of an orange tree by H G Murphy, circa 1920, hallmarked Jon Braganza, London 2018, H4.5cm x W7cmCondition Report:approximate gross weight 6.43 ozt (244 grams)Henry George Murphy was a silversmith and jeweller known for his work in the Arts & Crafts and Art Deco styles. This enamel panel was acquired in the dispersal sale of Murphy's Falcon Studios at 58 Weymouth St, Marylebone, and is also featured in Paul Atterbury and John Benjamin's book Arts and Crafts to Art Deco The Jewellery and Silver of H G Murphy (page 29).

NO RESERVE Art Nouveau.- Collection of 40 colour-printed plates, including duplicates, etchings printed in colours, each signed in pencil, on thick wove paper, probably re-strikes, various sheet sizes between 330 x 250 mm (13 x 9 7/8 in) and 650 x 500 mm (25 1/2 x 19 3/4 in), all unframed, [20th century]; together with a good group of 25 20th century prints by various hands, including modern re-strike etchings of Cricket at White Conduit House, 3 horse racing prints by Loui Claude, 3 prints of cricket at Lords, and 8 late 20th century pochoir prints, a large poster for the Triumph Mayflower car, various sizes, all unframed, [20th century] (c.65)

Kinetic Art.- Signals Newsbulletin, director: Paul Keller, editor: David Medalla, 4 copies (vol one:number nine, aug-sept-oct 1965; vol one:number 10, nov-dec 1965; vol two:number II, jan-feb-march 1966, last with duplicate), illustrations and photographs, worn at extremities, creased and worn along fold, 1965-1966 § Kunsthalle Bern, one copy ("25 Mai bis 3. Juli 1966"), illustrations and photographs, small pencil annotation to upper left corner of first page, some spotting to first page, creased along fold, 1966; and c.75 others relating to kinetic art, including artist books and catalogues, and an Art Information Registry pivoting information card (c. 80)⁂ Signals was an experimental art gallery which opened in London in the mid-1960s. Their publication Signals Newsbulletin promoted the gallery's aim to be 'dedicated to the adventures of the modern spirit', and became an important relic of the contemporary art scene, particularly in its representation of international art, kinetic art, the Fluxus movement, and progressive politics.

* PAT DOUTHWAITE (SCOTTISH 1939 - 2002), UNTITLED pastel on papermounted, framed and under glassimage size 75cm x 54cm, overall size 97cm x 77cmProvenance: The Corrymella Scott Gallery.Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.

* PAT DOUTHWAITE (SCOTTISH 1939 - 2002), THE YELLOW DRESS pastel on paper, signed and dated '73mounted, framed and under glassimage size 64cm x 47cm, overall size 84cm x 65cmProvenance: The Corrymella Scott Gallery.Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.

* DAVID MARTIN (SCOTTISH b. 1975), ALEPPO pencil on paper, signed and titled versomounted, framed and under glassimage size 14cm x 12cm, overall size 29cm x 26cm Note: from "The Cusp of Change: A Journey Through the Middle East". Note: David Martin won the 2006 RSA Alastair Salvesen Art Scholarship. David is from and based in Edinburgh and graduated with an MA Fine Art from the University of Edinburgh in 2000. He was also the winner of the RSA John Kinross Student Scholarship to Florence in 2001. David took an epic journey through the Middle East and into Europe. "This journey represents the dissemination of ancient alchemical knowledge from Egypt, through the Middle East and into Europe, in order to explore the transforming effects of modern development brought about by technologies such as nuclear development and global communications. Without staying in one place for any length of time, this huge journey provided a range of encounters with cultures undergoing transformation, nations being born and people adapting to new ways of life amid their ancient heritage". His work from this journey was exhibited as a solo exhibition at the Royal Scottish Academy "The Cusp of Change: A Journey Through the Middle East" 16th March - 15th April 2007. Alongside his full-time artistic practice, he is also the Founder and Creative Director of Hidden Door, an organisation set up to generate exciting events to showcase new up-and-coming arts talent in Scotland across different art forms, mainly through staging annual ‘underground’ multi-arts festivals in Edinburgh. He is also the Head of the Foundation Course at Leith School of Art and has previously sat on the council of Visual Arts Scotland. David exhibits at the prestigious Open Eye Gallery in Edinburgh and his most recent solo show there was 3rd - 21st November 2020. David Martin has won numerous major commissions including a huge canvas which dominates the impressive lobby of The Edinburgh Grand (hotel) on St Andrew's Square in the city.

KEITH HARING (AMERICAN 1958 - 1990), UNTITLED (KEITH HARING, SAN FRANSISCO MUSEUM OF MODERN ART MAY 8 - SEPTEMBER 9 1998) mixed media on papermounted, framed and under glassimage size 29cm x 21cm, overall size 45cm x 33cm Note: stamp verso for The Keith Haring Estate and the Nakamura Keith Haring Collection

* RYAN MUTTER (SCOTTISH b. 1978), PEOPLE WITH TOWER BRIDGE oil on board, signedframedimage size 46cm x 59cm, overall size 70cm x 85cmNote: Born in 1978, Ryan Mutter studied at The Glasgow School of Art, where he graduated in 2001. He has since won many distinguished awards, including a remarkable six from the Royal Glasgow Institute of Fine Arts. His inspiration comes from Britain's industrial heritage and its connection between man and the sea. In Glasgow alone, shipbuilding provided work for 70,000 men in more than 50 yards spread along 11 miles of quayside. But today these yards sit empty, a silent shadow of their former self. The advancements made in technology and design methods superseded the old, and made once important skills and craftsmanship redundant. This is what drives Ryan as he looks to capture and remind people of how important this workforce was in the development of the modern world. Ryan has built up a formidable reputation as a powerful contemporary painter of Industrial and Maritime subjects. His bold realism combined with expressionistic brushwork transports you into a world of arresting detail and mechanised splendour. Perhaps unsurprisingly, very few of Ryan Mutter's paintings appear at auction (anywhere) and his larger work is even rarer. However, in The Scottish Contemporary Art Auction of 28th March 2021, lot 517 "Cutty Sark in Moonlight" a relatively small 38 x 46cm oil on canvas (by Ryan Mutter) sold for £3000 (hammer)Condition is good overall

* RYAN MUTTER (SCOTTISH b. 1978), EARLY START oil on board, signed, titled label versoframedimage size 31cm x 53cm, overall size 50cm x 73cm Handwritten label verso.Note: Born in 1978, Ryan Mutter studied at The Glasgow School of Art, where he graduated in 2001. He has since won many distinguished awards, including a remarkable six from the Royal Glasgow Institute of Fine Arts. His inspiration comes from Britain's industrial heritage and its connection between man and the sea. In Glasgow alone, shipbuilding provided work for 70,000 men in more than 50 yards spread along 11 miles of quayside. But today these yards sit empty, a silent shadow of their former self. The advancements made in technology and design methods superseded the old, and made once important skills and craftsmanship redundant. This is what drives Ryan as he looks to capture and remind people of how important this workforce was in the development of the modern world. Ryan has built up a formidable reputation as a powerful contemporary painter of Industrial and Maritime subjects. His bold realism combined with expressionistic brushwork transports you into a world of arresting detail and mechanised splendour. Perhaps unsurprisingly, very few of Ryan Mutter's paintings appear at auction (anywhere) and his larger work is even rarer. However, in The Scottish Contemporary Art Auction of 28th March 2021, lot 517 "Cutty Sark in Moonlight" a relatively small 38 x 46cm oil on canvas (by Ryan Mutter) sold for £3000 (hammer)Condition is good overall

* RYAN MUTTER (SCOTTISH b. 1978), MAN AT THE CRANE oil on canvas, signedframedimage size 43cm x 36cm, overall size 63cm x 55cm Note: Born in 1978, Ryan Mutter studied at The Glasgow School of Art, where he graduated in 2001. He has since won many distinguished awards, including a remarkable six from the Royal Glasgow Institute of Fine Arts. His inspiration comes from Britain's industrial heritage and its connection between man and the sea. In Glasgow alone, shipbuilding provided work for 70,000 men in more than 50 yards spread along 11 miles of quayside. But today these yards sit empty, a silent shadow of their former self. The advancements made in technology and design methods superseded the old, and made once important skills and craftsmanship redundant. This is what drives Ryan as he looks to capture and remind people of how important this workforce was in the development of the modern world. Ryan has built up a formidable reputation as a powerful contemporary painter of Industrial and Maritime subjects. His bold realism combined with expressionistic brushwork transports you into a world of arresting detail and mechanised splendour. Perhaps unsurprisingly, very few of Ryan Mutter's paintings appear at auction (anywhere) and his larger work is even rarer. However, in The Scottish Contemporary Art Auction of 28th March 2021, lot 517 "Cutty Sark in Moonlight" a relatively small 38 x 46cm oil on canvas (by Ryan Mutter) sold for £3000 (hammer)

* PAUL RITCHIE (SCOTTISH b. 1948) UNTITLED oil on board, signedframed and under glassimage size 30cm x 38cm, overall size 40cm x 49cmCollections include: Arts Council of Great Britain, Scottish Arts Council, Victoria and Albert Museum, Johnsonian Museum (New York), Scottish National Gallery of Modern Art, Elf Oil UK, The Hunterian, Aberdeen Art Gallery, University College Wales, Grampian TV, Bradford Art Gallery, Bolton Art Gallery, Inverness Art Gallery, Livingstone Development Corporation, Tayside Regional Council, Salford Art Gallery, Oldham Art Gallery, Provident, Eastern Airlines and The Hunting Group.

JAYANT PARIKH (INDIAN b. 1940) PLANT HOUSE oil on canvas, signed, titled versoframedimage size 89.5cm x 85cm, overall size 92cm x 87cm Note: Jayant Parikh is an Indian artist, printmaker and muralist. He was a student of N.S. Bendre, K.G. Subramanyan and Sankho Chaudhuri. He lives and works in Vadodara, India. His work is held in the collections of the National Gallery of Modern Art (in New Delhi, Mumbai, and Bangaluru) and the Lalit Kala Akademi in New Delhi. Jayant Parikh was born on 2 April 1940 into a Gujarati Bania family in Bandhni village, Gujarat State, India. His family had a grocery shop in his village. He moved to Vadodara in 1957 to study art at the Faculty of Fine Arts, Maharaja Sayajirao University. In 1962, he achieved his Post Diploma in Painting under the teaching of N S Bendre. He has had more than 74 one-man shows. He has participated in national and international art exhibitions including the Third Triennale–India. His work has been sold at auction houses including at Christie's and Sotheby's. His work is held in the collections Jehangir Nicholson Art Foundation (Chatrapati Shivaji Museum, Mumbai)and the Chester and Davida Herwitz collection (The Herwitz Collection) and in numerous prestigious corporate collections including Taj Hotels (including in the TATA Presidential Suite at The Taj Mahal Palace Hotel, Mumbai) and Air India who have acquired at least twenty five works which are on display in their premises around the world. His work has also featured in Air India calendars. Jayant Parikh has won numerous prestigious awards including, most recently in 2022 when he was presented with The Raja Ravi Varma Award for Excellence by Her Highness Rajmata Shubhanginiraje Gaekwad.

A Modern Carrs of Sheffield Hallmarked Silver Mounted Mantel Clock, Sheffield 1997, of Art Nouveau Style, overall height approximately 16.5cm.

J.G. Graves Sheffield; A Hallmarked Silver Cased Openface Pocket Watch, the signed dial with seconds subsidiary dial (lacking hand); together with a Smiths openface pocketwatch within Art Deco style stand and original box bearing label "This watch and stand presented to Mr F Lievesly as a token of esteem and with best wishes for happy and long years of retirement from Ireland Colliery General Fund"; and a modern Rapport pocket watch. (3)

A Raw Amber Necklace, of graduated design, clasp stamped "925"; a modern fresh water pearl bead bracelet, an Art Deco style mother of pearl bead necklace with marcasite set bead spacers, a lapis lazuli bead necklace, French jet etc :- One Tray

5 vintage and modern brooches to include stone set Art Deco style and a small silver initial E brooch.

James Dixon (1887 – 1970) Giant Muldoon at the West End Village, Tory IslandOil on board, 38 x 53cms (15 x 21”)Signed, indistinctly inscribed with legend and dated 1967Exhibited: ‘Ireland: Her people and landscape’ Summer loan show, The Ava Gallery, Clandeboye Estate June – September 2012 Cat. No. 11;  ‘A Wild Atlantic Way – Irish Life and Landscapes’ The Hunt Museum July – October 2021Literature: ‘Ireland Her People and Landscape’ Illustrated P. 18; ‘A Wild Atlantic Way – Irish Life and Landscapes’ The Hunt Museum, Full page illustration P21The idea of an unmediated connection to place is most evident in the paintings of the untrained Tory Island painter James Dixon (1887-1970). He took up painting in the late 1950s having met the artist Derek Hill (1916-2000) when he visited the island. Dixon’s images of Tory, although influenced by Hill’s practice, seem to convey an honest, engaged representation of the island. This is attributed to the fact that the artist was a native islander who spent his entire life in its environment. Also as seen in Giant Muldoon at the West End Village, Tory Island, (1967) the flattened perspective, crowded composition and expressive use of colour indicate a childlike sense of his surroundings. The guileless qualities of the work convey the uncomplicated nature of the island, thereby fulfilling the cosmopolitan view of the rural as pure and simple. In reality, of course, Dixon’s work is much more sophisticated than this suggests and life on Tory is equally more complicated. What is significant is that the expressive qualities of such outsider art were highly prized and were emulated by more conventional professional artists.James Dixon was born on Tory Island, Co. Donegal, the most remote of all Ireland’s off shore islands. Apart from an occasional visit to the mainland and one short period in the west of Ireland as a fishing instructor, Dixon spent most of his life there and was one of the most significant members of the highly regarded Tory Island school of primitive art. Dixon and other islanders painted what they saw around them in a distinctive detailed, naturalistic style: boats, the wild seas, the island and the small villages grandly named East Town and West Town.The artist Derek Hill organised exhibitions of the work of the Tory school painters, the first of which took place at the New Gallery, Belfast in 1966, with subsequent exhibitions in Dublin, Vienna and London. In 1990 a retrospective exhibition was held at the Glebe Gallery, Co. Donegal, and the Boole Library, University College Cork. James Dixon along with Alfred Wallis was also the subject of a major exhibition in 1999 that opened in IMMA before travelling to Tate St. Ives. Dixon's work is included in the collections of The Ulster Museum, The Scottish National Gallery of Modern Art, The Hugh Lane Gallery, Bournemouth Art Gallery as well as being well represented at Derek Hill’s Glebe House and Gallery in Churchill, Co. Donegal.Our thanks to Róisín Kennedy whose writings formed the basis of this catalogue note

A Nao figure of a young girl praying, a small Coalport 'Hong Kong' twin handled urn with lid, a Herend vase 16cm h, a small modern Minton pedestal vase and two vintage Art Glass vasesLocation: 8:1

An Art Deco inlaid two tier occasional table, height 47cm, together with a modern mahogany jardinière stand and a modern pine example (3).

F/G MODERN ART PICTURE & A FRAMED CANVAS MODERN ART PICTURE

A Carved Wooden Modern Art Sculpture, "Triton" by John Burrows, Dated 15th Dec 1999, 40cm high

1940 Warwick Tricycle Transmission: paddleMileage:Originally a gunsmith, John Warrick, the founder was apprenticed to William Soper and the two had considerable success manufacturing rifles. After some years, the market in guns declined and Warrick turned his attention to the growing trade of bicycle manufacturing and he used both the Warrick and Monarch brands in their factory on the Caversham Road, Reading. The company specialised in delivery and later motorised tricycles, specifically for lighter items and comestibles.Interestingly and more recently, they moved on to enamelling and electroplating including making some parts for the prototype of the Concorde aircraft.Thought to have been manufactured around 1940, this Warrick Tricycle was restored in 1992 by Alan Jones and George Dawes with help from John Pinkerton, a cycle historian. Now Ideal for a trip to the shops, office art or corporate advertising this classic piece of cycling history falls between two stools, that of modern steam punk and classic/traditional bicycles. Interestingly, in recent years, it has even had a starring role in Tim Burton's 2019 film, Dumbo, with Colin Farrell, Danny DeVito and Michael Keaton.

1947 Curtis Wright Model 5 Transmission: Mileage:Holiday accommodations all booked up, no matter what time of year? Why not go touring instead? Fancy starting a glamping business or need high-end guest accommodation? This stunning American trailer could be the answer, fun, freedom, comfort, and style. Offering superb high-quality accommodation, this Curtis Wright has the flexibility to either, use for holidays away or as extra living space at home as either as additional guest accommodation or home office. This represents great value when you consider that there is no need for planning permission or expensive foundations.So, it looks a bit like an Airstream? Well, there is good reason for that. Wally Byam built his first travel trailer in 1929 and founded the company we now know as Airstream in 1931. A boom of more than 400 travel trailer companies started in the 1930s, but they soon trickled out. Only Airstream was left standing and was already well known for the first riveted aluminium monocoque trailer, the Clipper. Business was booming until World War II, when the factory had to close due to wartime demands for all available aluminium. During the war, Wally worked several jobs in the aviation industry, including as a certified manufacturing engineer and production supervisor at Curtis Wright Industries. When the war ended in 1945, Wally persuaded the management at Curtis Wright to let him design and manufacture a line of travel trailers and here we have one example. Wally parted ways with Curtis Wright and re-opened Airstream, with his eyes planted as firmly as ever on creating more of these ultimate vehicles for adventure.'Tinkerbell' is ready to use and enjoy. Its high specification ensures a comfortable experience, and, from our own exploits, you are bound to attract a lot of interest, especially with its polished, rivetted, aircraft construction aluminium exterior. And there are no worries as to whether the weather is hot or cool as the double skinned insulated coachwork keeps things cool in summer and warm during winter. Sleeping up to four, this trailer is deceptively spacious and has a walk-in wet room that includes, shower, basin and toilet. The living area consists of a round table and seating at the front that easily converts into a round bed (very cool). There are worktops with a gas hob, sink, oven, fridge, with cupboards above and cupboards below. There is extra seating for four at the rear that may be converted into that extra bed for a further two. There are plenty of modern power points whilst warm air heating and a multi-fuel stove keeps things cosy during chilly days and nights. The interior is well lit with Art Deco lights, LED lighting and mood lighting at the front.The trailer further benefits from a separate awning, front and rear privacy windows, and blinds for the side windows. A solar panel keeps the recently replaced leisure battery topped up whilst there are also 240 volt and mains water plugs. Fresh and grey water tanks are also fitted. The exterior's polished aluminium aircraft construction monocoque style body is in very good order for a 75-year-old. The vendor reports that towing this lightweight trailer is a delight, sitting on a modern galvanised axle with brakes. For security, a Bulldog wheel clamp, locking hitch and Tracker are included. If you wish to travel and accommodate with a difference, then here it is.