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MGM RECORDS - NORTHERN/SOUL 7" (US PROMO/STOCK COPIES). 18 x essential original US MGM 7" with promos and stock copies included. Artists/titles/cat. numbers include Marlina Mars - I'm Gonna Hold On (To Your Love) c/w Inside I've Died (promo, K13404 - glossy VG+ a few light and minor surface marks), Charles Perry - How Can I (Keep From Crying) (promo, K13621 - VG), The Willows - My Kinda Guy (promo, K13484 - Ex), The Broadways - Goin' Goin' Gone (promo, K13486 - VG), The Formations - Lonely Voice Of Love (promo, K13963 - Ex), Johnny Nash - Good Goodness (K 13683), Junior Lewis, Spyder Turner, Robert Banks, Beti Webb, Kim Weston, Carole Quinn, The Royalettes, John Andrea. Condition is generally VG to Ex+.

A new and easy introduction to universal geography by Turner Rev and print J Johnson. London 1808 with fold out map, leather bound

Border Fine Arts 'Eager To Learn' B0589 - two sheep dogs designed by M Turner on Wood plinth

CARVED HARDWOOD PAGE TURNER TOGETHER WITH TWO SMALLER IVORY EXAMPLES

* DAVID SHRIGLEY,CHOCOLATE IS NOT THE PROBLEMlithograph on 150g silk paperimage size 77cm x 57.5cm, overall size 83cm x 63cm Framed and under glass.Note: Original exhibition print made on the occasion of David Shrigley’s solo exhibition DON’T TOUCH THE WORMS at Copenhagen contemporary. Note 2: David Shrigley attended Glasgow School of Art from 1988-91 where he studied environmental art. He works in many disciplines including drawing, photography, painting, sculpture, animation and music. The variety of projects he is involved with are multi-faceted ranging from the video for Blur’s ‘Good Song’ to ‘Kingsley’ Shrigley’s mascot for the Scottish football team Partick Thistle to ‘Really Good’ a sculpture of a bronze fist with upraised, out of proportion thumb which he created for the Fourth plinth in Trafalgar Square. Shrigley was created an O.B.E. in 2020 for services to the visual arts. Recent notable exhibitions include those in Glasgow, Germany and Sweden and he was nominated for the Turner Prize in 2013. His work is held in a number of important public collections including the National Galleries of Scotland and Tate.

PRUDENCE TURNER (1930-2007), LOCH LEVEN, signed lower left, oil on canvas, framed. 50cm by 60cm

1949 Land Rover Series I 80”Reg. no. LYA 65Chassis no. R8666199Engine no. 866091The spectacular success of the US Jeep during the Second World War and the meteoric rise in the popularity of four-wheel-drive vehicles that it caused did not go unnoticed by the people in charge at Rover at the end of the war. While other British car manufacturers put their old pre-war models back into production while working on conventional replacements, Rover bit the bullet and developed a four-wheel-drive – the pioneer in the British car industry. The Series One Land Rover was duly launched in 1948, with priority for initial purchases being given to remote farmers, vets and doctors – people who really needed the car’s go-anywhere ability. For many of these lucky customers, it would have been the first car they ever had, as nothing previously could go where the Land Rover could. Using a Rover passenger car engine and gearbox, parts were easy to come by. The early Land Rovers could also serve as tractors or be used to power a variety of equipment via a power take off. This versatility and practicality led to enormous popularity for the Land Rover, all over the world, for more than 70 years.Chassis no R8666199 was registered on 3/6/1949 in Crickleaze in Somerset. Evidence found during restoration suggests it may have been a garage run-around at some point in its life, as various colours of paint were found all over the vehicle along with numerous holes. When it came to the Melksham area in the 1980s, it had an aluminium hard top fitted. It then went to Warminster in 1989 then to Bristol in 2005. The restoration was carried out from 2005-2008 and during that time a new rear cross member, new gearbox cross member, and two new outriggers were fitted, and various other repairs were carried out to the original chassis. The bulkhead has had substantial repairs. The body was fitted with new front wings, door bottoms and rear tailgate, while the engine was refurbished by Series One engine specialist Cox and Turner. All other mechanicals were stripped, and any necessary parts replaced. Some parts were replaced with later items to ensure reliability and part availability, i.e. the brakes use Series 2 parts and the clutch assembly is the later type.The Engine number is 866091, gearbox 866126, front axle 866263. The rear axle is a replacement but the original corroded axle casing 863971 along with the original Rover flywheel and clutch, 3 nonadjustable brake back plates and various other spares will be included in the sale.Since being returned to the road in 2008 it has been used during the summer months as an everyday vehicle, and to attend vintage shows at venues all over the country, occasionally towing a vintage caravan. It has also been used for carrying awkward items, hence the rear is ply lined. It has always been well maintained and has recently been fitted with 4 new Avon Traction Mileage tyres. Sold with a V5c.

A quantity of Art books to include; The Story of Painting, John Constable, Thomas Girtin, Turner in Wales, Monet by Himself, etc.

A quantity of prints including J.M.W Turner, an Otter by Ken McCall, 'Dover The Landing of Prince Albert' by W.A Knell, hunting print, etc.,

Two 19th c. gilt framed J.M.W Turner prints.

A quantity of advertising tins including Sanatagen, Walkers foot powder etc. including 3 rulers & a page turner

A box of various LP's including Tina Turner, Diana Ross, Andy Williams & The Seekers etc.

Two cased canteens of cutlery comprising Viners of Sheffield 1960s EPNS cutlery (34) and canteen of Thomas Turner of Sheffield stainless steel cutlery (24)

Two framed prints: Phil Hill by Michael Turner (1982), Ferrari, Italian Grand Prix, Monza, 1960 and Jackie Stewart, 1971 Spanish Grand Prix, 1971, the largest 15 x 11 1/2".

Stuart Turner Factory Built James Coombes table engine, finely built and fully finished with 7 inch chromed flywheel and grooved pulley take off, 1 inch bore x 2 inch stroke, single vertical cylinder supported on four-column supports, fitted with drain cock and slip eccentric, cast in exhaust and steam supply ports, finished in green with hand-painted detailing and decoration, raised on wooden base with Makers Plaque No.10045 Built 2015

A Birmingham Silver Handled and Tortoiseshell Page Turner together with various carving knives and related items

GERMAN PORCALAIN CLOCK WITH MATCHING CANDLE HOLDERS. SOME DAMAGE. ALONF WITH A PAIR OF VINTAGE TURNER SUGAR NIPS

A case of LP records including: Tina Turner Greatest Hits, Elvis, etc.

America.- Carpenter (Nathanael) Geography Delineated, 2 parts in 1, first edition, complete with all blank leaves, 4 folding letterpress tables, woodcut illustrations, front endpapers renewed, contemporary blind-stamped calf, rubbed and repaired, upper joint cracking, [STC 4676; Sabin 10999; Wellcome I, 1319; Madan 554], 4to, Oxford, Printed by John Lichfield and William Turner..., for Henry Cripps, 1625.⁂ Superb copy of the first important treatise on theoretical geography written by an Englishman. Seldom found complete with all the folding tables and the leaf of verses "To my book" and the errata leaf. Pages 115-131 in the second part relate to America with discussion on the possibility of a north-west passage, the voyages and explorations of Columbus, Magellan, Drake, Cabot, Davis, Frobisher, Hudson etc and passages on Hudson's Bay and Newfoundland. Carpenter also mentions that, according to a Spanish chart taken by Hollanders, California has been discovered to be an island rather than part of the continent although the evidence "seems rather to cherish hope, than persuade consent."

Quacks.- Turner (Daniel) Apologia Chyrurgica. A Vindication Of the Noble Art of Surgery, from The gross Abuses offer'd thereunto by Mountebanks, Quacks, Barbers, Pretending Bone-setters, with other Ignorant Undertakers, first edition, occasional foxing and soiling, 18th century mottled calf, rebacked, rubbed, [Wing T3272], 8vo, Printed, and are to be Sold by J. Whitlock...and the Booksellers of London and Westminster, 1695.⁂ 10 copies only located on ESTC; no copies traced at auction.Provenance: S. Haydon (ink name at head of title); John S. Farthing (ink name on front pastedown).

Cartwright (William) The Royall Slave. A Tragi-Comedy. Presented to the King and Queene by the Students of Christ-Church in Oxford. August 30, 1636. Presented since to both their Majesties at Hampton-Court by the Kings Servants, second edition, woodcut ornament on title, woodcut head- and tail-pieces, occasional light marginal soiling or staining, later wrappers, [Madan, I, p.212; STC 4718], sm. 4to, Oxford, by William Turner, 1640.⁂ Second edition of this scarce Caroline play, Henry Lawes composed the music to the songs.

World.- Heylyn (Peter) Mikrokosmos [graece] a little description of the great world, woodcut device on title, woodcut initial and headpieces, folding table (with repaired tear to foot), small hole or rust-hole to 2A7 and 2C6 with loss to 1 or 2 letters of text, 2H1 with tear to foot of inner margin, 3A5&6 misbound before 3A3, some light browning, notes in a contemporary hand to rear endpapers and occasionally to margins, ink ownership inscriptions to title and endpapers, modern antique-style calf, red morocco label, rubbing to joints, [Sabin 31656; STC 13277], sm. 4to, Oxford, by John Lichfield and William Turner, 1625.⁂ With a c.40 page account of America at the end including accounts of Florida, Virginia, Norumbega (New England), Nova Francia (Canada) and the West Indies.Provenance: John Bancroft; Robert Bancroft, 1763 (ink inscriptions).

A collection of silver flatware to include:George V caddy spoon, hallmarked by Turner & Simpson, Birmingham, 1919Victorian bright cut sugar nippers, by Josiah Simpson, London, 1893 with four teaspoons, dessert fork, button hook (filled)., various dates and makers (Q) 1 bag - weighable silver 3.82 ozt (118.8 grams) 

^ BRIAN TURNER (BRITISH, 20TH CENTURY) 'WHITE CYCLAMEN'signed and 1992 lower centre, watercolour48 x 38cmsQty: 1

Charles Hunt after Francis Calcraft Turner (1795-1865), Vale of Aylesbury Steeplechase, 1836, plates 1-4, hand coloured aquatints, 38 x 58cm (4)

After J.M.W. Turner, View of Clare Hall, Cambridge, coloured aquatint by R. Reeve, 1807, 25 x 31cm; After J. Skelton, Trinity College Chapel, Oxford, coloured engraving, 19 x 26cm; with a similar smaller view after F. Mackenzie; also - Bartolozzi after A. Kauffman, Cornelia Mother of the Gracchi, stipple engraving, published by Colnaghi Sala & Co. 1788, 33 x 39cm; Rowlandson, Dram-a-tic Demireps at their Morning Rehearsal; Procession of the Cod Company from St. Giles’s to Billingsgate, coloured etchings, publ. Thos. Tegg, London 1810, c. 23 x 33cm (6)

WW2 RAF 24 fighter aces signed photo display. A4 page with two colour postcards of Mosquito and Spitfire signed to photo and white surround by Battle of Britain and fighter aces inc John Cunningham, Geoffrey Page, Ginger Murray, Tich Havercroft, Peter Parrott, Pat Hancock, Dennis David, Les Turner, Tony Gledhill, C Hampshire . Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

After Francis Calcraft Turner (British c.1782-1846): 'Bachelor's Hall', complete set six early 19th century hand-coloured engravings (6)

Grouping of Identity Discs of Durham Light Infantry and York & Lancaster Regiment Interest, consisting of oval disc engraved “2ND LIEUT A E THOMSON PRES Durham Light Infantry”, small silver (not hallmarked) disc engraved “A N Turner Lieut Durham LI”, hallmarked silver pendant type engraved “EDGAR SMITH 2ND LIEUT 6TH D.L.I” reverse engraved “ELSIE 1917”, hallmarked silver example engraved “PTE H WALKER 241580 1/5 Y&L C OF E” and a copper French coin engraved “L/CORPL T LEICH 30414 C E 17 YORK & LANCS”. All good condition. (5 items)

John WatsonThe Boat Housesigned, date 2008, watercolour, 26cm x 36cm; John Windsor, Tunnel of Trees, near Bolehill, signed, 2006, watercolour, 26cm x 34cm; Barrie Chamberlain, Time For Tea, signed, dated 95, pastel, 35cm x 30cm; Eileen Turner, Chloe, Tabby cat, watercolour, 26cm x 34cm; Elaine Ann BaynesHigh Tor, signed, watercolour, 29cm x 20cm; Peter Woolley, The Pennine Way, signed, watercolour, 7.5cm x 25cm; D Norris, Old Farmstead; Royce, Derwent Valley, pastel

oak and ebonised oak, maker’s label verso THE RUSSELL WORKSHOPS BROADWAY/ DESIGNER GORDON RUSSELL/ FOREMAN EDGAR TURNER/ CABINET MAKER C TURNER DATE 1/11/28, with keys175cm wide, 181cm high, 57cm deepProvenance: From The Millinery Works Collection.Footnote: Note: Unlike his contemporaries, many of whom initially trained as architects, Gordon Russell was primarily self-taught. He and his father were acutely aware of the exciting hub of activity in the Cotswolds, led by pioneers such as C. R. Ashbee and Ernest Gimson; after witnessing unimaginable scenes of complete destruction after the First World War, Russell was determined to create furniture that would stand the test of time and be valued by generations to come. Together he and his father established Russell & Sons in 1922 and were advocates of the Arts & Crafts ideology as they sought to improve working conditions and provide educational opportunities for their workforce, whilst at the same time producing high-quality pieces that celebrated design and the craftsman. Clearly influenced by Gimson and Scandinavian modernism, out of Russell’s Workshops came simple, yet highly functional pieces, using the finest quality woods and showcases traditional craftsmanship. In 1947 Russell was appointed chairman of the Design Council and played a crucial role in the design and manufacture of Utility furniture in the post-war years which helped re-build the country.

cherrywood and Honduras mahogany, bears label under the drawer, DESIGN NUMBER: X213/ DESIGNER: GORDON RUSSELL/ FOREMAN: EDGAR TURNER/ CABINET MAKER: F. DODD, dated December 16th 192983.5cm long, 76cm, high, 56.5cm deepProvenance: From The Millinery Works Collection.

oak and cedar, bears paper label under drawer DESIGN: GORDON RUSSELL/ FOREMAN: EDGAR TURNER/ CABINET MAKER: C BEADLE/ DATE 26/6/26, with key138cm wide, 94cm high, 51.5cm deepProvenance: From The Millinery Works Collection.

AN EDWARDIAN HORSES HOOF INKWELL-CUM-PEN REST with engraved plated mounts, an embossed brass STAMP BOX, a set of POSTAL SCALES AND WEIGHTS and an early 20th Century celluloid PAGE TURNER with animal paw handle. (4)

A quantity of rock and pop CD's, tour programmes, autobiographies, signed tickets, etc., to include Melanie B, Tina Turner, T'Pau, etc.

SILVER HANDLED PAGE TURNER

A selection of tableware and accessories, to include a George V silver mounted capstan inkwell by A & J Zimmerman, Birmingham 1925, 15cm diameter, a set of six silver and enamel coffee spoons complete in a fitted leather Harrods box, a pair of silver plated bottle coasters, each 18.5cm wide, a gilt wine coaster, a pair of silver plated serving trays and covers, a Victorian silver and ivory page turner, a pair of Victorian silver open salts, a Victorian silver wet mustard with blue glass liner, and a further selection of cutlery and tableware (Qty)

DAMIEN HIRST (Bristol, UK, 1965)."Rocket", 2009.Acrylic on paper, sping painting.Features artist's wet stamp and dry stamp.Signed on the back.Measurements: 72,5 x 46 cm: 87,8 x 61 cm (frame).In 2007, Damien Hirst conceived his work "Beautiful Missiles and Rockets and Misery and General Bloody Destruction Painting", an abstract composition created through the technique of Spin Painting. It was from then on that he began to introduce the concept of the rocket in his production, in such a way that he materialized the idea, using the silhouette of the rocket and endowing its interior with a rich abstract coloring. Among other works, Damien Hirst is recognized artistically for his "spin paintings", such as the one shown here, which are paintings made on a rotating circular surface.Damien Hirst was born in Bristol on June 7, 1965, in a suburban environment with economic problems. He never knew his biological father and his mother married a car salesman, who left them when Hirst was 13. His mother, an amateur artist and devout Christian, took care of him, but because of his father's abandonment he had to be educated from the bottom up, which is perhaps the main reason why Damien Hirst argues that art is classless. He trained at the University of Leed while combining his studies with a job at the local mortuary, which he later abandoned to move to London. During this time he was working in construction and in turn applying to various art schools such as St Martins, or the faculty of Wales. He was finally accepted at Golsdmiths College, which, at the same time, and due to the economic recession in England, was a school that attracted bright students and creative tutors. While studying, Hirst financed his expenses by working on telephone surveys, a direct cause of his ability to fake any emotion over the phone. During his studies he also worked at McDonald's, and part-time at the Anthony D'Ofray gallery, where he learned the mechanics of the art market. Already in his second year of studies, Hirst, acquired the role of artist and curator, and managed to make an exhibition that would change the course of British art, it was his first solo exhibition with only 26 years. Four years later, in 1995, he won his second Turner Prize nomination for Mother and Child. At the age of 32, the Larry Gagosian Gallery offered him a major retrospective, after which he declared that he had no place left to exhibit, he had done it all and too fast. So soon the media baptized him with the name Hooligan Genius. Although he became a millionaire at the age of 40, Hirst's hypersensitivity became suspicious; wrapped in an aura of romanticism, he made revolutionizing the art world seem simple. On several occasions he has acknowledged his desire to be famous and in the face of criticism he has defended himself with phrases such as "they could not admit to themselves that they wanted to be famous and resented not being famous" or "I think my desire was to be more famous than rich, I think the desire to create art and be famous is like the desire to live forever two obsessions: death and celebrity". Damien Hirst has works in the MoMA in New York, the Tate Gallery and the Victoria & Albert Museum in London, the Palazzo Gras in Venice, the Kunstmuseum Wolfsburg (Germany), the Hirshhorn in Washington D.C. and the Neu Galerie in Graz (Austria), among other important public and private collections.

° Hastings interest - [Moss, William George] - The History and Antiquities of the Town and Port of Hastings, 1st edition, 8vo, calf gilt, with folding map and 19 plates, London, 1824; ‘’An inhabitant’’ - The Hastings Guide, 3rd edition, 8vo, card boards, 4 plates, spine poorly repaired, James Barry, London, 1804 and Bannister, H.O and Turner, J (editors) - Picturesque Hastings: Souvenir of the Conference of the National Union of Teachers, Easter, 1st edition, red morocco, London, 1908 (3)

A PAIR OF 19TH CENTURY CAST IRON GATES BY RICHARD TURNER, ST STEPHEN'S GREEN, DUBLIN, each with six bar panels and spear head finials. 202 x 220cm

*AN IRISH FLINTLOCK BLUNDERBUSS, by George Turner, Dublin, early 19th century, the barrel struck with Irish Police registration number L-H401, for LouthProvenance: Bonhams 27/11/2003, lot 226* Lot imported under Temporary Admission. 13.5% import VAT will be charged on the ‘hammer’ and 23% VAT will be charged on the ‘buyer’s premium’ and invoiced on an inclusive basis under Irish Margin Scheme rules. Please see the title page VAT towards the back of the catalogue for more information.

Stuart Turner: A horizontal Stuart Turner stationary live steam engine, open crank, six-spoke flywheel, measuring approx. 16cm x 9cm x 8cm.

Leonard Turner/Clumps of Trees, October/gouache, 24.5cm x 33.5cm/and four other pictures [5] CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk

Three silver and enamelled ladies' compacts, each with sunburst enamelled panels,largest 9cm diameter,a silver and enamelled cigarette case,8cm long, andan easel-back clock,9.5cm wide (5)Provenance: The Lawrie Gatehouse Collection.Condition report: Sterling and silver marked compact - mirror damaged and with lost lipstick barrel. The square compact with smaller areas of loss to the enamel. The cigarette case with scratches and marks. The rectangular enamel still with remnants of powder cake inside. The clock winds and goes, damage to the base of the enamelled panel. All silver with various degrees of tarnish. Additional images uploaded. Hallmarks for Bravingtons Ltd, Turner & Simpson Ltd, Henry Clifford Davis, Deakin & Francis Ltd, the clock W G Sothers Ltd. All hallmarked for Birmingham.

George Turner (1843-1910) - The Trent at Weston, signed, signed again, dated 1895, inscribed with the title and artist's address Barrow on Trent Near Derby verso, oil on panel, 22 x 2.5cm In excellent untouched original condition, varnish yellowed / dirty, in what is presumably the original ornate late Victorian gilt frame

George Turner (1843-1910) - A Farmer's Family in a Mountainous Landscape, signed verso, oil on canvas, 40 x 64.5cm Tiny hole centre, unlined, varnish dirty / yellowed with age, in what is probably the original late 19th c ornate gilt cavetto frame that is shabby / dirty with loss

George Turner (1843-1910) - A Gipsy Encampment, signed, signed again, inscribed with the title and artist's address Barrow on Trent, oil on board, 29 x 49.5cm In fine original preservation. Varnish dirty and requires a clean, in what is probably the original late Victorian ornate gilt frame

Late 19th / Early 20th Century watercolour of Steephill Cove Ventnor, Isle of Wight by Hugh Vane Turner, 3ins x 11.5ins

A pair of modern design limed oak candle sticks by Kennith Turner of London Hight 29cm - NO RESERVE

Framed print of river & mountain scene with deer, signed Prudence Turner

c. 1934 Ariel Square Four 4F project, 601cc. Registration number not registered. Frame number Y10517. Engine number WA133.Designed by the legendary Edward Turner, the Ariel Square Four was first shown at Olympia in 1930. Unique at the time of its introduction, the 'Squariel', as it was swiftly dubbed, featured a single block of four cylinders and twin geared-together crankshafts with pistons phased at 180 degrees. The crankcase was split horizontally, unusually for a motorcycle engine of the period, while the vertical valves were operated by a single overhead camshaft. A supercharged example was raced at the Isle of Man TT in 1931 without success, which was hardly surprising as its makers had envisaged the model as more of a luxury tourer than an out-and-out sports machine.Although launched as a '500', the Squariel was soon enlarged to 601cc with an eye on the important sidecar market, this bigger version being made available for the 1932 model year. In 1937 a total redesign saw it re-emerge as the Model 4G, with 995cc overhead-valve engine, making the Squariel an even more enticing prospect for sidecarists. Anstey-link plunger rear suspension became an option in 1939, but would not be offered again until 1946, when a telescopic front fork replaced the previous girder type. An exercise in weight shedding saw the cast-iron cylinder head and barrel replaced by alloy components for 1949, the revised model, now capable of 90mph-plus, being known as the Mark I. Introduced in 1953, the 'four pipe' MkII with redesigned cylinder head elevated the Square Four into the league of genuine 100mph motorcycles. Square Four production, along with that of all other Ariel four-strokes, ceased in 1959. To date, the innovative Ariel Square Four remains unique in motorcycling history; a true 'gentleman's motorcycle, this refined yet charismatic machine retains an enthusiastic and loyal following, and is highly prized by discerning enthusiasts.This rare project has been owned by our deceased vendor for many years, a project that he never got around to completing due to his untimely demise.Buyers should satisfy themselves as to the completeness of the project, one that is well worth undertaking.There is no paperwork with the project.

After Michael Turner "1983 European Grand Prix Brands Hatch"Limited edition colour print, signed and numbered 0224/1000 and "The 1980 British Grand Prix, Brands Hatch", signed and numbered 0032/1000 (2)

After Michael Turner“Le Mans 1959”, depicting Roy Salvador at the wheel of the winning Aston-Martin DBR-1Limited edition colour print, signed and numbered 515/850, also signed by the driver, 37cm by 45cm

Mixed lot to include a group of horn beakers, horn napkin ring with a white metal plaque, eastern carved wood box containing an early 20th century ivory page turner and brush set, etc (a lot)

After JMW Turner - Venice, watercolour, 24x35cm

Three boxes of antiquarian books, to include Charles Dickens - The Works of, Special Authorised Edition in 20 half leather bound volumes, Oxford India Paper Dickens in 18 volumes, Robert Southey - The Life of Nelson, London Bickers & Son, Leicester Square 1883, Walter Thornbury - Life and Correspondence of JMW Turner, London Chatto & Windus, Picadilly, 1877, Rubaiyat of Omar Khayyam

Howard Hodgkin (1932-2017)Out of the Window 2000 signed three times, titled and dated 2000 on the reverseoil on wood97 by 113.6 by 10.6 cm.38 3/16 by 44 1/2 by 4 3/16 in. This work will be included in the forthcoming catalogue raisonné being compiled by The Estate of Howard Hodgkin.Footnotes:ProvenanceAcquired from the artist by the present owner in 2001ExhibitedLondon, Dulwich Picture Gallery, Howard Hodgkin at Dulwich Picture Gallery, 2001, p. 25, illustrated in colourLiteraturePaul Levy, 'Hanging it Howard's way' in Evening Standard, 28 June 2001, p. 38, illustrated in colourM. Price (ed.), Howard Hodgkin: The Complete Paintings Catalogue Raisonné, London 2006, p. 336, no. 357, illustrated in colourFresh to the market, after remaining in the same collection since its acquisition from the artist in 2001, Out of the Window from 2000 is a dazzling and vibrant display of Howard Hodgkin's masterful practice. Hodgkin's virtuosic brushwork is exquisite and expressive, his choice of colour bold and unapologetic. Emerging from the Bath Academy of Art at Corsham in 1954 under the pupillage of William Scott, Hodgkin's early inspiration came in The New American Painting exhibition of Abstract Expressionist artists at the Tate Gallery in 1959: one cannot help but draw comparisons with Rothko's serene planes of colour or De Kooning's exaggerated brushstrokes. Yet he rejected the flatness of American Modernism, pushing the painting out of its frame and creating abstract depths of field that translate as windows onto a vivid and luscious landscape. Abstract at first glance, Hodgkin's paintings consistently deal with memory and psychic landscapes that are often exposed to the viewer most opaquely in their titles, such as Goodbye to the Bay of Naples, A Rainbow or Night Thoughts. He captures and transforms moments of intimacy, memories of travels, relationships, both erotic and platonic, the recollection of a beautiful view or sunset, shifting weather or the feeling of the first days of a new season. Hodgkin's close friend and writer Julian Barnes wrote: 'H.H.'s paintings are not narratives. Mostly, they are memories. But it is not a case of emotion recollected in tranquillity. Rather, it is emotion recollected in intensity. In that sense his pictures are operatic' (Julian Barnes, Keeping an Eye Open, London 2015, p. 260). Hodgkin was given his first solo show in 1962 at Arthur Tooth & Sons and his international appeal and career grew steadily from there. In 1984, he represented Britain at the Venice Biennale, and the next year he was awarded the Turner Prize. In 1992, Hodgkin was knighted. A retrospective in 1995-96, organized by the Modern Art Museum of Fort Worth, travelled to the Metropolitan Museum of Art in New York and Dusseldorf, Germany. In 2000, Hodgkin was invited to exhibit ten recent works, the present painting included, alongside the permanent display in South London's Dulwich Picture Gallery. The exhibition sought to centre Hodgkin's practice as part of a longstanding history of painting. Influences in Hodgkin's work can be seen across centuries, including Henri Matisse, Albert Pinkham Ryder, Ellsworth Kelly, Pierre Bonnard and Les Nabis, as well as painterly dialogues with contemporaries such as David Hockney. At Dulwich Picture Gallery, the artist searched for roots and qualities in the works of the predominantly 17th Century museum collection that inspired him and nurtured his own practice. What Hodgkin was able to do, however, was establish a timelessness to abstract painting that emphasised the nature of painting – drawing attention to composition, colour, speed and execution, even the traditional moulded and gilt framing. Here, the pieces were not selected to highlight difference and encourage comparisons, but rather to show Hodgkin's in a renewed context and cast them in a deeply historical light. Out of the Window was placed between The Locksmith by a follower of Ribera and Guernico's St Cecilia. The work was also reproduced alongside a poem by James Fenton for a Tate poster to mark the opening of the Tate Modern in May 2000.In the present work, a rapturous rainbow of colour is composed in broad orchestral brushstrokes and confident strokes of vibrant jewel like paint, reminiscent of the colours of India, a country he would adore and return to throughout his life. The pigments intermingle, push, and pull on each other, instilling a sense of vivacity in its boisterous movement and energy. The size and shape of the antique oval picture frame – a less common format in Hodgkin's oeuvre – adds to the sense of a real window, transporting the work to a third dimension. Hodgkin made frames integral to his practice. He would fit the wooden panels to found old frames and treat them as one joint painting surface. With paintings residing in museums internationally, including the Museum of Modern Art, New York; the Museu de Arte Contemporanea de Sao Paulo, Brazil; and the Centro de Arte Moderna, Lisbon, this represents an opportunity to acquire a work of exceptional quality with wonderful provenance, by one of the most prominent and celebrated British painters of the modern era.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

R TURNER An Easy Introduction to the Arts and Sciences: being a short but comprehensive system of useful and polite learning divided into lessons. Two woodcut maps and six plates complete. Contents in good condition with owner's name on half-title. Marbled boards with remains of a half calf binding which now has a failed leather binding in situ. J Johnson, etc. 1800. Condition: please request a condition report if you require additional information regarding the condition of this lot Postage: £No estimate Please note that the postage quote is an estimate of the amount that we would charge to send the item to a buyer in the UK. If you are outside of the UK, or there is no estimate shown here, please contact postage@davidlay.co.uk for a bespoke quote.

WILLIAM TURNER, 'A New Herball, Part I, II and III', cardboard slip, facsimile, 1995; 'A Garden Of Pleasant Flowers', facsimile 1976; 'A Medieval Herbal', facsimile, 2003. Dr Rob Senior arrived in West Cornwall from his native Yorkshire in the early 1960’s where he took up his vocation as a young GP and served the local community for 40 years. At the age of 12, Rob bought a book on Cacti. It was his first book, and established the twin passions of his life, books and plants. His library is a fabulous, eclectic collection of books, largely on plants and horticulture, but also nature and many other subjects, all brought together by a man with a curious and inquisitive mind. Condition: please request a condition report if you require additional information regarding the condition of this lot Postage: £45 Please note that the postage quote is an estimate of the amount that we would charge to send the item to a buyer in the UK. If you are outside of the UK, or there is no estimate shown here, please contact postage@davidlay.co.uk for a bespoke quote.

After R R Reinagle, Engraved by C Turner, "Francis Noel Clarke Mundy Esq", black and white engraving, published 1810, 33 x 42cm