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John Ruskin (1819-1900), an autographed draft manuscript lecture entitled 'Unused Arundel', expressing his distaste for contemporary art and its market, leading to a request for the Arundel Society to hire copyists to recreate the Italian Old Masters rather than relying on printing, (...Do you think that, if a group of figures by Perugino, or Luini, as beautiful in many respects as the original - would not be a better decoration for your drawing room than an oil painting - such as you are likely now to get of them - of an old gentleman with his family late at a party - or a drowned child and a starving dog tied to a mast!...), 7 pages, within a red folio, dated 1878, andan autographed letter to Mrs Elizabeth Salt, revealing the subtlety of his own sensibilities while instructing her in the art of drawing, and proposing, since there is 'no wholesome elementary book on drawing', that she wait for the third volume of 'Modern Painters' which will tell her better what she wants to know than anything else she could get ('...It seems very egotistic, but it is the truth, & I cannot help saying it...'), with the original autograph envelope, postmarked 30 August 1855 (3)

A visually striking collection of four art glass paperweights, each reflecting unique glass artistry. Included is a bold red apple-shaped paperweight, the tallest of the group at approximately 3"H, with a rich crimson hue and sculptural clarity. The set also features a clear controlled-bubble design with a uniform air trap pattern, a signed and dated 1999 swirl paperweight by Delmotto showcasing iridescent blue and gold pulled ribbon elements, and a charming floral weight with a pink rose and green leaves suspended in clear glass, measuring approximately 2.25"H. A vibrant and diverse grouping ideal for collectors of contemporary and studio art glass.Dimensions: See DescriptionCondition: Age related wear.

A compelling limited edition giclee print on archival paper titled Persepolis by the artist Jamali. This richly textured portrait captures a serene yet emotive face, rendered with expressive strokes and a weathered, crackled surface that enhances its spiritual intensity. The subject's closed eyes and tilted head convey a meditative or dreamlike state, surrounded by a luminous background of ochre, crimson, violet, and deep brown hues. The composition exhibits Jamali's signature fusion of mystical abstraction and modern expressionism, emphasizing both the physical and metaphysical essence of the figure. Jamali is a contemporary mystic and visionary artist whose work blends spiritual themes with experimental techniques. His style, known as Mystical Expressionism, draws upon his Sufi background and global travels, integrating ancient methods with modern aesthetics. Jamali often employs fresco tempera and pigment layering, resulting in surfaces that crackle and shift, symbolizing time, memory, and transformation. His works have been exhibited globally and collected for their unique fusion of texture, philosophy, and emotional depth. This piece is signed by the artist in the lower left and is hand-numbered 2/195. It is dated February 12, 2002, and includes a certificate of authenticity from Art and Peace, Inc. Jamali for Mardan Publishing Inc., Winter Park, FL. The artwork is presented in an ornate gold frame, complementing the intensity of the composition.Artist: Jamali (Pakistani-American b. 1944)Issued: 2002Dimensions: 27.50"L x 33.50"HEdition Number: 2 of 195Country of Origin: Pakistan/USACondition: Age related wear.

This plafoniere-style ceiling light shade features a frosted glass dome adorned with raised ivy and star motifs, paired with a ribbed interior to diffuse light gently. At the center, a cut-glass starburst medallion surrounds a mounting hole, designed for use with a flush-mount ceiling fixture. While reminiscent of Art Deco designs, the piece may be a more recent reproduction. Its elegant form makes it a versatile choice for both period-inspired and contemporary interiors. Measures approximately 3.75"H x 11.5"dia.Dimensions: See DescriptionCondition: Age related wear.

A limited edition giclee on archival paper titled The Poet by acclaimed mystical expressionist artist Jamali. This evocative portrait features a stylized human face tilted within a swirling composition of deep reds, earthy browns, and muted green tones. The figure's eye is depicted as a single almond-shaped form, closed in repose or contemplation, suggesting themes of inner vision, reflection, and emotional stillness. The heavily textured surface and ethereal palette evoke an archaeological or spiritual patina, creating a timeless effect emblematic of Jamali's signature fresco-like technique. Jamali is an internationally recognized contemporary artist whose unique style, Mystical Expressionism, blends spiritual consciousness with experimental media. Drawing from his Sufi roots, Jamali explores themes of transcendence and inner peace through innovative surface treatments and layered pigment textures. His artwork often reflects ancient aesthetics through modern abstraction, offering a meditative experience for viewers. Jamali has exhibited worldwide, and his works are included in private and institutional collections for their distinctive emotional resonance and spiritual depth. Signed in the lower left by the artist, this work is hand-numbered 4/195. It is dated February 12, 2002, and includes a certificate of authenticity from Art and Peace, Inc. Jamali for Mardan Publishing Inc., Winter Park, FL. This artwork is mounted in an elegant gold-toned frame that enhances its rich tonal contrasts and organic surfaces.Artist: Jamali (Pakistani-American b. 1944)Issued: 2002Dimensions: 27.50"L x 33.50"HEdition Number: 4 of 195Country of Origin: Pakistan/USACondition: Age related wear.

A striking Kosta Boda Satellite art glass bowl designed by renowned Swedish artist Bertil Vallien. This expertly crafted piece features a vibrant blue color with abstract multicolored inclusions and metallic accents, showcasing Vallien's signature style. The bowl measures 5"H x 8" in diameter and bears the Kosta Boda backstamp. A unique and collectible work of contemporary Scandinavian glass art.Issued: 20th century Dimensions: See DescriptionCountry of Origin: SwedenCondition: Age related wear.

A striking example of modern design and functional elegance, this 19-inch Nambe oval serving platter seamlessly combines rich hardwood with Nambe's signature proprietary metal alloy. Designed by Aaron Johnson, this piece is both a sculptural centerpiece and a versatile serving tray. The minimalist aesthetic and clean elliptical silhouette make it ideal for contemporary dining, charcuterie displays, or as a statement decorative item. Nambe impressed mark on underside. Nambe is celebrated for merging modern art with utility, and this platter embodies that ethos perfectly. Whether you're a collector, a host, or a design enthusiast, this piece adds refinement to any setting.Issued: 2005Dimensions: 19"LCountry of Origin: SloveniaCondition: Age related wear.

This dazzling handkerchief-style art glass dish captures attention with its fluid form and vibrant iridescent finish. Measuring approximately 4.5 inches in length and 2.5 inches in height, the piece showcases a captivating interplay of metallic hues - ribbons of violet, gold, magenta, teal, and silver swirl across a deep black glass body, enhanced by a luster finish that shimmers under light. The interior displays contrasting monochromatic striping that adds a dynamic, dimensional effect. Its undulating rim and expertly manipulated folds evoke the soft flutter of fabric, giving the piece a sculptural elegance. A striking accent for contemporary decor or a standout addition to any modern glass collection.Issued: 21st centuryDimensions: 4.5"L x 2.5"HCondition: Age related wear.

A striking art glass vase featuring a vibrant blue hue with intricate black glass threading creating an organic, web-like pattern. The vase showcases a masterful blend of texture and transparency, with subtle surface detailing enhancing its artistic appeal. Signed by the artist on the base, this piece represents the refined craftsmanship of contemporary glass artistry. A visually captivating decorative accent suitable for modern and eclectic interiors.Dimensions: 7"HCondition: Age related wear.

A radiant expression of contemporary elegance, this pair of Lulu highball glasses by William Yeoward blends bold color with masterful craftsmanship. Each glass is a sculptural composition of luminous yellow crystal layered over clear, then meticulously hand-cut with vertical bands of geometric facets and convex lenses that shimmer with light and movement. The interplay of form, texture, and color evokes Art Deco glamour reimagined for the modern table " a tactile and visual delight. Substantial in hand yet refined in detail, these glasses offer a perfect balance of functionality and beauty. Marked with the acid-etched William Yeoward signature on the base, they are a testament to the brand's reputation for exquisite glassmaking. Ideal for elevating a cocktail service or displayed.Dimensions: 6"HCountry of Origin: EnglandCondition: Age related wear. One of the glasses has a chip around the base.

This lot includes four distinctive art glass perfume bottles, each featuring a unique stopper and decorative style. The collection showcases a range of elegant forms, including faceted bases, inset colored glass, and ornate metalwork. Markings across the group include Orrefors (with original sticker), Czechoslovakia, and Farideh. The bottles reflect a blend of mid-century and contemporary glass artistry, with a mix of clear, amber, and teal tones. Their sculptural designs make them ideal for display on a vanity or as part of a decorative glass collection.Dimensions: Largest item measures 5.5"HCondition: Age related wear.

Striking Evolution by Waterford crystal pedestal centerpiece bowl, featuring a vibrant blue color with swirling patterns and a uniquely sculpted rim. This art glass piece combines contemporary design with Waterford's renowned craftsmanship, making it a stunning focal point for any table or display. The pedestal base adds elegance and height, enhancing its visual appeal. Includes the original Evolution by Waterford box, adding to its collectability.Issued: 21st centuryDimensions: 9.25"HCountry of Origin: IrelandCondition: Age related wear.

Italian sculptural group titled The Wrestlers. Powerful representation inspired by the ancient Greco Roman Lysippus, the renowned 4th century BCE sculptor of classical antiquity. Rendered with extraordinary anatomical realism and dynamic tension, the composition depicts two male athletes locked in an intense moment of physical struggle, showcasing a masterful study of musculature, motion, and human form. The original marble group is traditionally thought to reflect the stylistic influence of Lysippus, official sculptor to Alexander the Great and a transformative figure in Greek art who broke from the static proportions of Polykleitos, a well known sculptor before Lysippos, in favor of more slender, naturalistic forms. Lysippus introduced a new canon of bodily proportions and expressive movement, pioneering a dynamic aesthetic that profoundly influenced later Hellenistic and Roman sculpture. This contemporary cast, mounted on a textured naturalistic base and finished in a rich golden bronze patina. Weight: 64lbs. Dimensions: 20"W x 17.5"HCondition: Age related wear.

This striking studio art glass vase by Magdanz and Shapiro showcases an elegant cylindrical form with a vivid palette of layered purples, blending lavender and violet with playful translucence. The upper section features a translucent overlay with embedded geometric designs, giving the piece a dynamic visual depth. Handblown with a thick clear base that enhances its balance and presence, this vase exemplifies contemporary craftsmanship. The underside is engraved Magdanz Shapiro and numbered as a signed studio piece. Measures approximately 12.25"H.Dimensions: See DescriptionCondition: Age related wear.

ONE HUNDRED AND ONE DALMATIANS (1961) - Set of Three Cruella de Vil Car Production Colour Model Cels and Colour Key Study Drawing - A collection of three original hand-painted colour model cels, accompanied by a rare hand-drawn colour key study, all created during the production of One Hundred and One Dalmatians.These pieces showcase the evolution of Cruella de Vil's menacingly glamorous car, a visual extension of her chaotic, careening personality, through multiple palettes, highlights, and layout angles.One Hundred and One Dalmatians was a stylistic turning point for Disney. It was the first feature to embrace the Xerox process fully, transferring animators' pencil drawings directly onto cels rather than redrawing in ink, a revolutionary time-saving method. The film was renowned for its contemporary art direction and exquisite London setting. There were believed to be exactly 6,469,952 spots in the film, a technical feat that necessitated innovations like the Xerox process in the first place.These are not standard animation cels but model colour keys, tools used by the studio's paint and ink departments to establish and reference colour consistency throughout the film. The cels here offer three distinct colour approaches, each boldly different in tone and represent a test or approved version of the vehicle's design, reflecting the creative decisions that would inform final animation. The hand-drawn colour key drawing includes annotated pigment codes and notations, revealing the precise, collaborative process of determining how a character (or car!) would appear on screen.Studio-stamped with scene, sequence, and cel level notations, this grouping is not only a practical document of production but an expressive archive of design decision-making. Together, these pieces celebrate both the artistry and innovation that One Hundred And One Dalmatians brought to Disney's animated canon. The set displays some staple holes from previous use and minor marks. Dimensions (each cel): 31.75 cm x 40.75 cm (12.5" x 16"); (drawing): 31.75 cm x 41 cm (12.5" x 16")Sold without copyright; see notice in the Buyer's Guide.VAT Status: M

‡ SAMUEL PALMER (BRITISH 1805- 1881) THE GLEANING FIELD Oil on canvas 42 x 52cm (16½ x 20¼ in.) Painted circa 1832-33.Provenance: John Giles, a first cousin of the artist (1811-1880) His sale, Christie's, London, 2 February 1881, lot 620, for 135gns Bought at the above sale by The Fine Art Society Possibly William Fothergill Robinson Q.C Possibly Rev. William Fothergill Robinson, Woodspeen, Newbury Herbert A. Edwards (1888-1978), Newbury and thence by descent Private Collection, U.K by 2009 With Lowell Libson Acquired from the above in 2010 Literature: Raymond Lister, Catalogue raisonné of the works of Samuel Palmer, London, 1988, no.167Exhibited: London, Royal Academy, 1833, no.48 London, Fine Art Society, A Collection of Drawings, Paintings and Etchings by the Late Samuel Palmer, 1881, no.2 The reappearance of this exquisitely painted and highly finished large work on board is an exciting addition to the Palmer's oeuvre, dated to circa 1832-33. It was painted towards the end of his celebrated Shoreham period when Palmer's highly personalised artistic voice that had taken shape at Shoreham from the mid-1820s amongst 'The Ancients' was maturing. It is one of only a small handful of known Shoreham period oils to remain in private hands. Palmer first visited the village of Shoreham in Kent in 1824 and settled there in 1826 where he remained for nearly ten years. The landscape around Shoreham was the embodiment of Palmer's visions of pastoral life that he had imagined from his reading and it was there that he translated his intensity of vision into drawings or paintings. The valley at Shoreham teamed with an abundance of crops, corn, fruit and hops harvested by hand using age old methods and eschewing the encroachment of modern life. The village scenery was punctuated by the landmarks of rustic life, a small hamlet of primitive cottages, the mediaeval church with its spire, the carpet of fields and populated with a rollcall of village characters, the rhythm of life directed by the seasons. The resulting works which were executed during Palmer's time living at Shoreham are considered his greatest achievements. Palmer, who had first met the visionary artist William Blake (1757-1827) in 1824, was quickly joined by several friends, other devotees of Blake, who formed themselves into a loose group calling themselves 'The Ancients'. During Palmer's earlier years at Shoreham we see the development of his art and his experimental use of medium, following methods he largely evolved himself. However, by the early 1830s Palmer's companions had largely left the valley and Palmer began to attend to the development of his career due in part to his straightened finances, and as a result the manifestations of his period at Shoreham evolved into a more conventional expression of his vision. Palmer had begun to spend more time in London and submitted work to the Royal Academy in 1830 and 1831 which although rejected was indicative of a desire for wider recognition and engagement the with art establishment. In 1832 the Royal Academy accepted seven works which Palmer had sent in from his recently acquired house in Marylebone, including 'Pastoral' scenes and 'A harvest scene', generic titles which have plagued the future identification of these works. In 1833 Palmer exhibited five works, amongst them 'The gleaning field' (here identified as the present work) and a 'Kentish scene'. The following year Palmer exhibited six pictures at the Royal Academy. The present work, of exhibition scale and highly finished is the most likely candidate for Palmer's Royal Academy exhibit no. 48 of 1833 'The Gleaning Field' being the only painting by Palmer depicting gleaners as the main subject of the composition. The Gleaning Field, circa 1833 (Tate Gallery, London) is smaller in size with many reworkings in pen and ink and competing motifs of the wagon drawn by oxen and the cottage on the edge of the field. As a picture intended for exhibition in London at the Royal Academy it is not farfetched to see Palmer's intention for it to convey a message to the London audience. The early 1830s was a period of rural discontent and political unrest and the resulting restlessness was felt in the Shoreham valley. The established way of life in the countryside was in crisis, the boom years of the Napoleonic Wars were over and hardships were felt especially in rural communities through unemployment, the erosion of rights through the continuing enclosure of common grazing land, the passing of the Poor Laws, the imposition of the Church Tithe and increasing mechanisation. There was widespread unrest, most notably marked by the 'Swing' riots of 1830-1 and widespread outbreaks of arson, machine breaking and wage rioting which started in Kent and spread across the whole of southern and eastern England with the military being deployed to support the local law enforcement. The first threshing machine was destroyed on Saturday 28 August 1830. By the third week of October, over one hundred threshing machines had been destroyed in East Kent. The riots spread rapidly through the southern counties of Surrey, Sussex, Middlesex and Hampshire, before spreading north into the Home Counties, the Midlands and East Anglia, moving on as far as Lincolnshire, Yorkshire and Nottinghamshire. John Giles (1810-80), the first owner of this picture, was Palmer's cousin and a near contemporary. Giles was one of the 'Ancients' and a stockbroker rather than an artist. He managed Palmer's precarious financial affairs and was close to George Richmond and his family and remained a lifelong friend of both men and a great admirer of Palmer's works. Giles died in 1880 and his collection, comprising some 635 lots of which 185 were paintings, was sold by Christie's in 1881. The present work was purchased by the Fine Art Society for the considerable sum of 135 gns in advance of the exhibition they were to devote to the works of Palmer later that year. The picture appears to have been acquired at that time by either George Richmond or his son-in-law, William Fothergill Robinson. Richmond had presented his daughter Julia and Robinson with Palmer's The White Cloud, circa 1833-4 (Ashmolean Museum, Oxford; fig. 2) as an anniversary present and Robinson had also been a purchaser at the Giles' sale acquiring The Bright Cloud, circa 1833-4, Manchester City Galleries. The Shoreham landscape inspired some of the most intensely original pictures of the British Romantic period, works which distilled Palmer's vision and translated it into a representation which contained all the elements of Palmer's pastoral poetry. The present picture marks a particularly important period in the development of Palmer's vision as well as recording a moment of crisis in the political and economical development of late Georgian England. Its appearance at auction represents a rare opportunity to purchase one of only a handful of Shoreham period oils remaining in private hands.    

‡ RICHARD PARKES BONINGTON (BRITISH 1802-1828) LANDSCAPE WITH SUNSET AND FIGURES Oil on canvas 23 x 35cm (9 x 13¾ in.)Provenance: Probably, acquired directly from the artist by Louis-Joseph August Coutan (1779-1830), and by inheritance to his wife Lucienne Hauguet (1788-1838) Thence by inheritance to her brother Ferdinand Hauguet (d. 1860), and by descent to his son Maurice-Jacques-Albert Hauguet (1819-1883) Thence by descent, Villa Lucienne, Antibes, until 1996 Talabaron & Gautier, Paris, by 2002 Daniel Katz, London From whom acquired by Richard L. Feigen, 2003Literature: B. Talabaron and B. Gautier, Le Paysage Français de Valenciennes à Bonnington, exhibition catalogue, Paris, 2002, cat. no. 33, reproduced P. Noon, Richard Parkes Bonnington: The Complete Paintings, New Haven and London, 2008, p. 252, cat. no. 202, reproduced in colour P. Noon, ed. Richard Parkes Bonnington, exhibition catalogue, New York, 2018, unpaginated, cat no. 8, reproduced in colourExhibited: Paris, Talabardon & Gautier, Le Paysage Français de Valenciennes à Bonington, 18 September - 26 October 2002, no. 33 New York, Richard L. Feigen & Co., Richard Parkes Bonington, 23 October - 18 December 2018, no. 8  Richard Parkes Bonington was born in the village of Arnold just outside Nottingham in 1802, but emigrated to France with his family aged fifteen. He was an artist with a precocious talent, extreme sensibility of colour and a profound fluidity of touch. Bonington is considered a hero of the Romantic movement, his legend secured when he died tragically young, aged only 25, his painting career spanning a single decade. He was revered on both sides of the English Channel and hugely influential upon contemporaries and followers alike. French collectors embraced the 'British' medium of watercolour, in which Bonington painted primarily until his first triumph at the Paris Salon in 1824, enthusiastically. He was also well received by the British Art institutions, perhaps most gratifying to the young artist was the patronage of Sir Thomas Lawrence, President of the Royal Academy, whom he visited a few months before his final illness and untimely death. Lawrence headed the funeral procession in September 1828 and despite spending most of career in France he was celebrated by the British Art establishment as one of their own, the question of his nationality contested for a long while by both English and French commentators. As we can see in the present painting Bonington excelled in his depiction of the countryside and coastal views, Allan Cunningham in his Lives of the Most Eminent British Painters, Sculptors and Architects, 1830, wrote, 'his chief pleasure was in making drawings of sea-coast and river-side scenery: to blend land with water, and both with cloud and sky, was a favourite scene.' He is revered for his ability to transfer light and atmosphere of Venice and French coastal and countryside scenes onto millboard and canvas distilling the essential qualities of place and time into paint. This atmospheric oil sketch has been dated by Noon, loc.cit. to the early months of 1826. On 4 April 1826 Bonington left Paris for his tour of Italy with his friend and pupil Baron Charles Rivet, returning to Paris by 6 July. Noon notes the present work's similarity to Landscape with Timber Wagon, Wallace Collection (op,cit. no. 199) which stylistically shows a familiarity with the works of both J.M.W. Turner (1775-1851) and John Constable (1776-1837) evident in the striking sunset and the characteristic accents of red paint. The present work is an excellent example of Bonington's technique, applying thin washes of oil paint with the same light touch that he would use in his watercolours and subtly building up the planes of colour to produce the glow of the sunset over the open landscape that gently recedes into a haze on the horizon. Bonington approached oil painting as a watercolourist, his peer Eugène Delacroix (1798-1863) wrote of Bonington's technique to the art historian Théophile Thoré-Bürger in 1861, 'To my mind one can find in other modern artists qualities of strength and precision in rendering that are superior to those in Bonington's pictures, but no one in this modern school, and perhaps even before, has possessed that lightness of touch which, especially in watercolours, makes his works a type of diamond that flatters and ravishes the eye, independent of any subject and any imitation.'The first owner of the paintings was Louis-Joseph-Auguste Coutan (1779-1830), a close friend of artists Baron Gros (1771-1835) and Delacroix and a successful fabric manufacturer and wholesaler. Toward the end of his life, Coutan spent his fortune decorating his Parisian home on the Place Vendôme with works by living artists both commissioning and purchasing contemporary art with no regard for school or nationality. After his death four paintings by Bonington were listed in his sale in 1830, but others descended through the family until 1996 when purchased by the present owner. Condition Report: The canvas has not been lined and is a little slack and starting to undulate. Rubbing and abrasions to the framing edges, with some very minor spots of loss. Craquelure throughout. Inspection under UV light reveals some very light in-filling, which has been sensitively done, and is largely confined to the lower half of the canvas. The attached backboard verso, has not been removed whilst completing this condition report.Condition Report Disclaimer

This handcrafted mixed metal artwork, titled Red Fig Leaves, features richly textured red fig leaves set against an earthy metallic background. The piece is signed on the side, though the artist's name is unidentified. Designed with a raised border and a copper-toned finish, it has a sculptural quality that enhances its visual appeal. The back includes gallery stickers from Gallery Art, along with the title and inventory markings. A striking decorative piece, perfect for collectors of modern metalwork, artisan trays, and contemporary decorative art.Artist: UnknownDimensions: 18"L x 18.5"HCondition: Age related wear.

Bachmann, Herrmann (1922 Halle/Saale - Karlsruhe 1995) Ohne Titel - abstrakte Figuren. Öl/Masoniteplatte, re. u. sign. "Bachmann" und dat. (19)56. 82,5x 100.5 cm. Künstlerrahmen. Prov.: Erworben bei Christies Amsterdam, Post War and Contemporary Art, 15. May 2012, Lot 118 (Etikett auf Rückseite).

American, b. 1955Jam, 2003Signed Ken Kelly 11/03 "Jam" on the versoAcrylic and enamel on canvas laid on panel30 x 36 inches (76.2 x 91.4cm)UnframedProvenance:Howard House Contemporary Art, SeattleOverall in excellent condition. The surface is smooth and uniform. Inlaid layers of paint and textures inherent to the artist's practice.Overall in excellent condition. The surface is smooth and uniform. Inlaid layers of paint and textures inherent to the artist's practice.Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and our Organization shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

A TEAK 'MACKINTOSH' GARDEN BENCH AFTER THE DESIGN BY CHARLES RENNIE MACKINTOSH, CONTEMPORARY 86cm high, 260cm wide, 87cm deep This bench is a direct copy of a garden bench by Charles Rennie Mackintosh (1686-1928) and supplied for Walter Blackie at Hill House circa 1912. For the original article executed in stained oak, see Christie's London, 20th Century Decorative Art & Design (7620), 28th October 2008, Lot 24 (£8,750 incl. BP).

A collection of approximately twenty pieces of assorted art pottery and contemporary ceramics, including a StolenForm London brick vase, height 20cm, a Nittsjo Swedish stoneware art pottery vase height 13cm, diameter 16cm, a large square red glazed brick vase, height 32cm, two studio ceramic vases, height of tallest 29cm, a large jug, etc.

† PETER LAYTON; a modern contemporary art glass vase, height 17cm, signed to base, a Perthshire boxed paperweight and a Caithness 'The Brave' limited edition paperweight, height 10cm (3).Condition Report: All items appear in good condition, free from any notable damages, there are no chips, cracks, major surface wear or losses but a few small scratches to the bases as to be expected.

Chucrallah Fattouh (Lebanese, b.1956), pair of contemporary abstracts, each signed and dated 2006, oils on canvas, 64 x 19cm Born in 1956 in the coastal town of Monsef, near Byblos, Lebabnon, Chucrallah Fattouh's art is influenced by the colors of the sea.He sold his first works, four portraits of his mother, at the age of 12 to a French tourist. Fattouh joined the National Institute of the Lebanese University's Faculty of Fine Arts and received his degree in Fine Arts with honors in 1983. Ever since, he has been a prolific artist, with numerous exhibitions in Lebanon and internationally.

Valda Bailey (Contemporary), three works to include trees and meadow before a church, each signed and numbered in pencil, set photographic prints, 33 x 44cm Valda Bailey is a freelance photographic artist living in Sussex. Her approach to photography is greatly informed by her background in painting and her influences come as much from artists as photographers. She is largely motivated by colour and form and the tension and dynamism that these components can bring to an image. She makes her images using in-camera multiple exposure which help to create abstract shapes and blur extraneous detail. Her objectives are to portray an emotive interpretation of a scene rather than a literal representation.Her work has been featured in broadsheet newspapers, national and international publications. She has exhibited all over the UK and in 2015 was the first woman to be invited to join six other photographers to exhibit at the biennial Masters of Vision at Southwell Minster. She has images in private collections worldwide and her work has been purchased by notable members of the art and photographic community.

Valda Bailey (contemporary), pair of abstracts, Houses and beach huts, each signed in pencil, photographic prints, 29 x 39cm Valda Bailey is a freelance photographic artist living in Sussex. Her approach to photography is greatly informed by her background in painting and her influences come as much from artists as photographers. She is largely motivated by colour and form and the tension and dynamism that these components can bring to an image. She makes her images using in-camera multiple exposure which help to create abstract shapes and blur extraneous detail. Her objectives are to portray an emotive interpretation of a scene rather than a literal representation.Her work has been featured in broadsheet newspapers, national and international publications. She has exhibited all over the UK and in 2015 was the first woman to be invited to join six other photographers to exhibit at the biennial Masters of Vision at Southwell Minster. She has images in private collections worldwide and her work has been purchased by notable members of the art and photographic community.

Valda Bailey (contemporary), Still life’s of fruit and flowers, one titled ‘Rainbow’, the other signed and numbered in ink, two photographic prints, largest 32 x 47cm Valda Bailey is a freelance photographic artist living in Sussex. Her approach to photography is greatly informed by her background in painting and her influences come as much from artists as photographers. She is largely motivated by colour and form and the tension and dynamism that these components can bring to an image. She makes her images using in-camera multiple exposure which help to create abstract shapes and blur extraneous detail. Her objectives are to portray an emotive interpretation of a scene rather than a literal representation.Her work has been featured in broadsheet newspapers, national and international publications. She has exhibited all over the UK and in 2015 was the first woman to be invited to join six other photographers to exhibit at the biennial Masters of Vision at Southwell Minster. She has images in private collections worldwide and her work has been purchased by notable members of the art and photographic community.

Valda Bailey (Contemporary), three abstracts to include Study of a flower and leaves, photographic prints, each pencil signed and numbered, mounted, 33 x 44cm, unframed Valda Bailey is a freelance photographic artist living in Sussex. Her approach to photography is greatly informed by her background in painting and her influences come as much from artists as photographers. She is largely motivated by colour and form and the tension and dynamism that these components can bring to an image. She makes her images using in-camera multiple exposure which help to create abstract shapes and blur extraneous detail. Her objectives are to portray an emotive interpretation of a scene rather than a literal representation.Her work has been featured in broadsheet newspapers, national and international publications. She has exhibited all over the UK and in 2015 was the first woman to be invited to join six other photographers to exhibit at the biennial Masters of Vision at Southwell Minster. She has images in private collections worldwide and her work has been purchased by notable members of the art and photographic community.

Valda Bailey (Contemporary), Seascape and coastline view, signed and numbered in pencil, pair of photographic prints, 33 x 44cm Valda Bailey is a freelance photographic artist living in Sussex. Her approach to photography is greatly informed by her background in painting and her influences come as much from artists as photographers. She is largely motivated by colour and form and the tension and dynamism that these components can bring to an image. She makes her images using in-camera multiple exposure which help to create abstract shapes and blur extraneous detail. Her objectives are to portray an emotive interpretation of a scene rather than a literal representation.Her work has been featured in broadsheet newspapers, national and international publications. She has exhibited all over the UK and in 2015 was the first woman to be invited to join six other photographers to exhibit at the biennial Masters of Vision at Southwell Minster. She has images in private collections worldwide and her work has been purchased by notable members of the art and photographic community.

artist's proof woodcut print on paper, signed, titled, dated '73 and numbered A/P mounted, framed and under glass image size 58cm x 78cm, overall size 73cm x 103cm Note: The Royal Scottish Academy website describes Willie Rodger as "one of the most significant artist-printmakers in recent Scottish art history". Born in Kirkintilloch in 1930, Rodger studied Graphics and Printmaking at Glasgow School of Art from 1948 to 1953. He received a rigorous education from a course that, at the time, only accepted the most skilled draughtsmen. By graduation Rodger had already sold two prints to the Victoria and Albert Museum, London, and went on to a career in advertising. However, he became disillusioned with the cut and thrust of the commercial world and an opportunity to change careers and return to Scotland came about with a teaching vacancy at Lenzie Academy, then as Principal Teacher of Art at Clydebank High School, a post he held until early retirement in 1987. He was elected to the Royal Scottish Academy in 1989 and awarded an honorary doctorate by the University of Stirling in 1999. In The Scottish Contemporary Art Auction of 28th February 2021 lot 562 "Reverie" by Willie Rodger established a new auction record for a print by the artist selling at œ1200 (hammer).

oil on board, signed and dated '15 mounted, framed and under glass image size 27cm x 21cm, overall size 48cm x 42cm Note: Born in Volgograd (formerly Stalingrad), Russia, in 1966. Graduated as an Architect in 1989. Moved to Moscow, worked as an Architect until the beginning of Gorbachev's Perestroika, then worked as an interior designer. Moved to Glasgow, UK, in 1996. Worked at the Royal Bank of Scotland and as a manager at Austin Reed , Glasgow. Then, following the sell-out at my first Art show in aid of Age Concern Charity, decided to become full-time artist. Self-taught, although studied arts as part of degree as an Architect. Exhibited at the Royal Glasgow Institute, Paisley Art Institute and Aspect Prize Annual exhibitions. Represented by established galleries at the Art Fairs in London, Battersea, Glasgow, Edinburgh, Chelsea, Birmingham, Aberdeen, Ireland etc, and self-represented at the Oxford international Art fair February 2016 and the Aberdeen Art Fair, September 2016. I have works in private and corporate collections throughout the UK, Australia, USA, Greece, Germany, Spain, Sweden and Russia. There were a number of articles in local and national press concerning my work and images had appeared in the TV Channel 4's Grand Design. Works exhibited in established galleries throughout the UK. My style-quirky witty figurative, somewhat humorous, somewhat realistic but always colourful. Growing up under the authoritarian Soviet regime, when ordinary Russians had to wear that drab look of obedience and self-suppression, I had always wanted to escape from that total uniformity and find the way to express my vision of events reflecting happier, lighter take on everyday life. We busy ourselves with tedious tasks that like it or not, need to be done, and forget to simply be happy. I reflect everyday events in a slightly exaggerated way to take off the heaviness and seriousness, there is plenty of both in real life-and I believe in surrounding yourself with things that make you feel better. The important thing after all is to be happy and not to be important. My subjects are loosely based on own experiences and observations - and are therefore recognisable, which often provokes a laugh (much desired effect). My subjects (although at times seemingly emotionally isolated, even when they are clustered in groups) are not lacking emotions, they only express them in their own way. They do not take themselves too seriously, they just go about their business as if no-one is looking. Their self-sufficiency is their freedom... Sometimes my characters might look quite realistic and recognisable, but their grotesque figures make them look ironic-we see one thing but they tell us another. Like many things in life-things are not always the way they seem. In other words, I try to reflect life as we see it but don't always notice. To finish, I'll quote: "Artist must think when he feels and feel when he thinks". At first, these two statements are mutually exclusive. If an artwork is created without this in mind, the end result will inevitably lack the energy and that "something" that makes us want to look at a work of art. How to combine the two? This is something that cannot be taught but is inborn. Russians are guided by their emotions, not by common sense, and this has an effect on all my work (whether I am paying myself a compliment here, I am not sure...). I'm interested in people and interactions between them, what makes us tick, what makes us human. Recent exhibitions include: Royal Glasgow Institute of Fine Art, RGI Kelly Gallery; Paisley Art Institute and Aspect Prize; Home and Interiors Exhibitions, SECC Glasgow; Affordable Art Fairs London, Battersea, Glasgow (GAF), Chelsea, Birmingham, Aberdeen, Oxford; First Contemporary Art Fairs Edinburgh; Karen Tailor Contemporary Fine Art, Twickenham, London; Colomb Art Gallery, Marylebone, London; Enid Lawson Gallery, London; Off The Wall Gallery, Cardiff; Stirling Fine Art Gallery, Stirling; Tony Haig Gallery, Kelso; Hullabaloo Restaurant, Dumfries, solo; Regent Gallery, Somerset; Rowan Gallery, Drymen, Loch Lomond and Helensburgh; Christo's Gallery, Glasgow; Arteries Gallery, Glasgow; ArtForum Gallery, Milngavie, Glasgow; The Annan Gallery, Glasgow; McGregor Fine Art, Glasgow; Scotlandart.com, Edinburgh and Glasgow; The Sun Gallery, Newburgh, Fife; Hanover Fine Art, Edinburgh; Westminster Gallery, London; Laurel Gallery, Edinburgh; Gallery Luti, Callander; Tolquhon Gallery, Aberdeenshire; The Jerdan Gallery, Crail; Alpha Art, Edinburgh; Daisy Frame Gallery, Biggar; Dancing Light Gallery, West Linton; Fotheringham Gallery, Bridge of Allan; Devorgilla Gallery, Dumfries; The Storm Studies Gallery, Moffat; High Street Gallery, Kirkcudbright; Frameworks Gallery, Troon; Macmillan Cancer Relief Charity Exhibition, Glasgow and Edinburgh; Hancel Foundation Art Auctions; Retail Trust Charity Exhibition, Glasgow; Marie Curie Cancer Relief Charity Auction; The Preshal Trust Charity Auction; Children's First Charity Auction; University of Glasgow CHAS and Cancer research Charity Exhibition and Auction; Auction Sale in Aid of Yorkhill Childrens' Hospital; Castle Gallery, Inverness; Sable & Ox Gallery,York; Frames Gallery, Artesan Gallery, Perth, and Perth Festival; Central House of Artists, Moscow, Russia; Tracey McNee Fine Art, Glasgow; The Queens Road Gallery, Aberdeen; e-gallery, Bearsden; Spring Art Fair, Sweden.

watercolour on paper, signed framed and under glass image size 72cm x 79cm, overall size 90cm x 68cm Note: Bellany's work is included in The Museum of Modern Art (MOMA) New York, The Metropolitan Museum, New York, The Yale Center for British Art, New Haven, Connecticut, Tate Britain, London and at numerous other prestigious public collections around the world. UK public collections feature 279 examples of his work. His well known enthusiastic and long term collectors included David Bowie and Damien Hirst. In 2003 Damien Hirst praised Bellany as "one of the major painters of the twentieth century." John Bellany was awarded a CBE (1994) and honorary degrees from the Universities of Edinburgh (1996) and Heriot-Watt (1998). Note 2: Collector demand has never been higher for the work of John Bellany and numerous examples have been sold in recent months by both McTear's and others at ever more impressive prices. In The Scottish Contemporary Art Auction of 29th May 2022 "The Finnon Smoker" by Bellany sold for œ80,000 (hammer) and in the same sale, "Bass Rock Fable" (a 76 x 61cm unframed oil) sold for œ12,000 (hammer). In our 21st August 2022 auction, lot 137 "The Newspaper Hat" (a 61 x 51cm oil) sold for œ9500 (hammer). "Like-for-like" auction prices for original paintings are usually difficult to assess, but in The Scottish Contemporary Art Auction of April 2023, two Bellany paintings which had been acquired in our auctions in September and November 2014 were consigned for sale by the same owner. The original 2014 selling prices were œ1800 and œ4000 and the same paintings sold in April for œ3800 and œ7000 (all hammer prices). This equates to a growth in value of 86.2% in fewer than nine years. In The Scottish Contemporary Art Auction of 25th May 2023, lot 282, "Restless Wave" a 90 x 90cm oil (by Bellany) sold for œ9000 (hammer) and in our auction of 9th November, lot 92, "Harbour" a 90 x 120cm oil by Bellany sold for œ11000 (hammer). Most recently, "The Players" lot 50 in our auction of 28th March 2024 sold for œ30000 (hammer).

oil on canvas, signed, titled and dated '18 verso framed image size 30.5cm x 30.5cm, overall size 49cm x 49cm Note: Following his Masters in Fine Art at the world renowned Ljubljana Fine Art Academy, Viktor Rebernakhas held shows in Germany, Slovenia, Austria, Italy and most recently the UK. His former tutors were the much acclaimed artist Janez Bernik and art historian Tomaz Brejc. An accomplished author, Viktor has had 3 books published in 2 different languages. Group and individual exhibitions; New achievements in contemporary art: Kirbi?, Purg, Gojkovi, Rebernak, 1993, Albin Lugari Gallery, Ptuj; Prima Vista, 1995, UGM, Maribor; Break 21, 1998, Ljubljana, Kapelica Gallery, 1999, Ljubljana, The Fletcher Gate Art Gallery, group collaboration 2017, 2018, European Collaboration 2020, 'INTO THE LIGHT' 2021, 'EVE' solo exhibition 2023. Viktor has also published numerous texts on contemporary art and curated on many occasions at the Venice Biannual.

oil on canvas framed image size 17cm x 12cm, overall size 27cm x 22cm Provenance: this picture has been authenticated by Peter Howson on 10.04.2025. Note: Peter Howson OBE has established a formidable reputation as one of his generation's leading figurative painters. Many of his paintings derive inspiration from the streets of Glasgow, where he was brought up. He is renowned for his penetrating insight into the human condition, and his heroic portrayals of the mighty and meek. His art is described by Robert Heller as "founded in humanity, especially the human face." Howson was born in London. He studied at Glasgow School of Art from 1975-1977, returning in 1979 to complete a Master's. In 1985 he was made the Artist in Residence at the University of St Andrews and also a part-time tutor at Glasgow School of Art. In 1992 he was commissioned by the Imperial War Museum to record the conflict in the former Yugoslavia . He was appointed official British war artist for Bosnia in 1993 and in 1996 was awarded Doctor of Letters Honoras Causa, University of Strathclyde. Prior to converting to Christianity in 2000, Howson responded to pain by pursuing hedonism. His experiences of abuse - whether self-inflicted and substance-related or the traumatic events of his childhood - have afforded him an affinity with those individuals who are classed as somehow 'on the edge'. His work has caught the attention of a number of prominent cultural figures, celebrities and creatives as well as striking a chord with prisoners, a voiceless demographic from whom Howson receives many letters of support. His ability to speak to the peripheries - to both the exclusive echelons living 'the highlife' and the socially alienated outsiders labelled 'low lives' - is proof of his enduring skill at capturing the maverick, excessive and non-conformist, while also seeking spiritual change. In 2011 Howson completed a dramatic rendering of the martyrdom of St John Ogilvie for the renovated St Andrew's Cathedral in Glasgow. The two year process of working on the commission was the subject of a BBC documentary. In 2023 Howson was the subject of a major retrospective at the Edinburgh City Art Centre, When the Apple Ripens: Peter Howson at 65, a comprehensive overview of the artist's career. His work has been shown in major exhibitions globally including Eye on Europe at the Museum of Modern Art, New York, and The Naked Portrait at the Scottish National Portrait Gallery in 2007. Public collections include: Aberdeen Art Gallery; Bankfield Museum, Halifax; British Broadcasting Corporation (BBC); British Council; British Museum, London; Cartwright Hall, Bradford, Christie?s Corporate Collection; City Art Centre, Edinburgh; City Art Gallery, Southampton; Contemporary Art Society; deYoung Museum of Fine Arts, San Francisco; Dundee Art Gallery; Eigsee Festival Collection; Fitzwilliam Museum, Cambridge; Glasgow Museums (Art Gallery and Museum, Kelvingrove); Glasgow Royal Concert Hall; Gulbenkian Collection, Lisbon; Hunterian Museum, Glasgow; Imperial War Museum, London; Isle of Man Arts Council; Kilmarnock and Loudoun District Museums; Library of Congress, Washington DC; Lloyds TSB Group plc, London; The Maclaurin Trust, Ayr; Metropolitan Museum of Art, New York; Ministry of Defence, London; Museum of Modern Art (MOMA), New York; National Gallery of Norway, Oslo; New York Library; Nottingham Castle Museum and Art Gallery; Paisley Art Gallery; Pallant House Gallery; Paul Mellon Centre; Yale University, Washington; People?s Palace Museum; Peter Scott Gallery; Lancaster University, Lancaster; The Fleming Collection, London; Royal Bank of Scotland (RBS); Scottish Amicable; Scottish Development Agency; The Arts Council of Great Britain; The Scottish Arts Council; The Scottish National Gallery of Modern Art, Edinburgh; Scottish Television (STV); Tate Gallery, London; University College of Wales, Aberystwyth; University of Salt Lake City; University of Strathclyde, Glasgow; Victoria & Albert Museum, London; Walker Art Gallery, Liverpool; The Jerwood Collection. Peter Howson's paintings hang in prestigious private and corporate collections worldwide and his known celebrity buyers include Mick Jagger, Madonna and David Bowie. "What an artist. They'll be talking about him in a hundred years time" - Dr Bendor Grosvenor, art historian and TV Presenter ?Britain?s Lost Masterpieces?.

mixed media collage on board, signed unframed overall size 82cm x 61cm Note: In The Scottish Contemporary Art Auction of 17th August 2023, lot 39 "Bull" a 61 x 82cm mixed media collage by Stewart Bowman Johnson sold for œ600 (hammer).

oil on board, signed, titled verso framed and under glass image size 62cm x 89cm, overall size 82cm x 108cm Note: Frank Colclough was born in Wick, Caithness and lived in London before settling back in Scotland in 1975. He originally worked as a design draughtsman while studying art at Camberwell Art School and worked as a professional artist since 1981. All Frank Colclough early contemporary paintings were in watercolour, but over recent years he worked in acrylic and oils. The inspiration for Frank Colclough paintings stems from his admiration of the Scottish colourist movement. This is reflected in his paintings which consist mainly of marine views of the Scottish West Coast and colourful still life studies. Frank Colclough contemporary paintings appear in many private and public art collections. The RSW, RGI and RSA have also regularly exhibited his work. Frank was a frequent, popular and very successful contributor to The Scottish Contemporary Art Auctions from 2008 for many years.

oil on canvas, signed, titled verso framed image size 50cm x 30cm, overall size 68cm x 48cm Note: In 1996, after 17 years as a graphic designer, Graham McKean decided to commit himself totally to producing his oil paintings. Graham McKean?s paintings have featured in numerous exhibitions and are increasingly appearing at the U.K.?s leading auction houses. His work has now become highly collectible and is held in prestigious private and public collections worldwide. Graham also supports a number of charities through events and auctions. A review by the late W. Gordon Smith (Art Critic, The Scotsman), described the work of Graham McKean as a cross between the painters John Byrne and Stanley Spencer, but with an ?interesting bite?. Graham McKean needs little introduction to our buyer audience having been consistently one of our most popular and best selling artists since the inaugural Scottish Contemporary Art Auction in November 2008. Known commissions & collections include: Aberdeen Asset Management 2017, to produce a series of original paintings inspired by the whisky making process; Buzzworks Holdings Ltd 2017, Commissioned to produce a large scale oil of the ancient "King Malcolm of Scotland"; Commissioned by William Grant & Sons Ltd to produce a painting and statement to be incorporated onto their bottles of Glenfiddich single malt whisky.; Commissioned by Bayard Partners Ltd, Investment Fund Managers, London to produce a large scale painting for their company reception.; Commissioned by "Scottish Opera" to produce five large paintings depicting all aspects of Opera and Theatre. Images were used as boardings on the exterior of The Theatre Royal, Glasgow.; Commissioned by Celtic FC to produce a painting to mark the 40th anniversary of their 1967 European Cup winning team known as "The Lisbon Lions". A limited edition print of the painting was published each with a certificate signed by Graham McKean along with signatures from all the surviving team members. The finished painting was presented to Billy McNeill MBE, Captain of the cup winning team.; 2009, Portrait to celebrate the life of Michael Jackson received worldwide press coverage. Uri Geller, close friend of Michael Jackson, commented "McKean's painting of Michael is a truly fantastic piece and is amazingly powerful."; 2011, A new oil painting of the Scottish cartoon character "Oor Wullie" was unveiled at McTear's (Glasgow) receiving wide acclaim and coverage on national television and news media.; 2013, Commissioned by North Ayrshire Council to produce a painting to mark the 50th anniversary of Irvine being officially designated as a Scottish New Town and the regeneration and redevelopment of much of the old town. The painting was also produced to portray the influx during this period of many families from Glasgow and the surrounding areas who resettled in Irvine.; 2013, Commissioned by Bentley Motors, Glasgow to stage a major exhibition of new work for display at their main Scottish dealership in Hamilton. A number of new "automobile inspired" paintings were produced for this show.; Commissioned by Scottish Art Direct to produce a large scale painting inspired by Scotland's so called "tartan army". The finished work, titled "Flower of Scotland" was unveiled at The Scottish Football Museum in Hampden Park Stadium attracting national TV, press and radio coverage.; 2015, The Danforth Art Museum, Framington, Massachusetts, USA acquired a large scale painting titled "Desperados" which is now part of their permanent collection.; Standard Life, Baillie Gifford, Black Appointments, The Scottish Arts Council, Roycec, William Grant & Sons Ltd, The Ralli Museum (Switzerland and Israel), Glasgow Celtic Football Club, Daniel Stewart & Company, North Ayrshire Heritage Centre, Aberdeen Asset Management, Sir Tom Hunter, Demontfort Fine Art and private and public collections worldwide.

limited edition linocut print on paper, signed, titled, dated '92 and numbered 8/12 mounted, framed and under glass image size 70cm x 48cm, overall size 100cm x 78cm Label verso: The Open Eye Gallery, Edinburgh Note: Linda Farquharson is a well-known contemporary Scottish printmaker. She works mainly in the relief-printing medium of linocut although she also makes small wood engravings that successfully carry forward her unmistakable style. Linda graduated as a printmaker from Duncan of Jordanstone College of Art, Dundee, with a first class honours degree and she won the coveted Sekalski Prize. Her prints are found in many corporate collections including those of the Bank of Scotland, the Royal Bank of Scotland, Edinburgh Fund Managers and the Western General NHS Trust.

Lomazzo (Giovanni Paolo) A Tracte containing the Artes of Curious Paintinge, Carvinge & Buildinge, first edition in English, translated by Richard Haydocke, engraved title and 13 full-page illustrations, some after Dürer, woodcut initials and numerous fine typographical ornaments, lacking final leaf (colophon), embossed ownership stamp of Derek Gibson to front free endpaper, title with contemporary inscription at head (shaved) and rather soiled and frayed at edges with slight loss to outer corners (neatly supplied in ink and laid down), small stains to A2-3, B5 & D6, some other staining towards end particularly 2O1 & 2, a few leaves shaved at head at end, 2I1 defective at foot with slight loss to ornament and 3 lines of text on verso, a remboitage in later crimson straight-grain morocco elaborately tooled in gilt with wheel design, spine gilt in compartments, later paste-paper endpapers, rubbed, spine faded, [Harris 519; STC 16698; cf.Berlin Kat 4612 & Fowler 186, earlier Milan editions], small folio (c.250 x 180mm.), [Oxford, by Joseph Barnes for Richard Haydocke], [1598]. *** Lomazzo's influential Mannerist treatise was the first treatise on art to be published in England. It was dedicated to Thomas Bodley and was one of the first works to be presented to the Bodleian Library. "It was the first book on the arts to be translated and the reason for its choice must have been its thorough treatment of painting...". Harris p. 297.

Surveying.- Wing (John) Geodaetes Practicus Redivivus. The Art of Surveying: Formerly Publish'd by Vincent Wing, Math. Now Much Augmented...With the Description and Use of a New Quadrant [bound with] Scientia Stellarum: Or, the Starry Science..., 2 vol. bound in 1, as usual, 7 engraved plates and tables (1 folding, with tear into image repaired to verso), errata/advertisement f. bound after preface and another advertisement f. at end, ownership inscription of Th[omas] Hickes dated 1742 to title and 2U3v, later ownership inscriptions of Edward Rouse and Wm. Oldland to pastedown and front free endpaper, few ink smudges or pen trials, some small marginal wormholes and traces, occasionally into ruled border or table but no text loss, light water-staining to first few ff. and last few Sig., scattered foxing and browning, contemporary blind-stamped panelled calf, quatrefoil stamps in centre, 2 outlined in ink, inscription on upper cover "G. H. 1783", repairs to both covers and spine ends, upper corners quite worn, [Wing W2985 & W2992], folio, J. Matthews, for Awnsham and John Churchill, 1700. *** John Wing's updating of Vincent Wing's 1666 Art of Surveying. "The folio volume can be regarded as presenting the normal instruction course which a surveyor would follow in 1700" - Taylor, 529a.

Love (John) Geodaesia: or, the Art of Surveying and Measuring of Land, first edition, title in red and black, woodcut illustrations and diagrams, upper edge slightly stained and soft throughout with marginal repairs to first 2 leaves and slight fraying and loss to tables on last 2 leaves, some foxing, slight ink staining to title, contemporary calf, spine repaired and with new label, [Wing L3191], 4to, Printed for John Taylor, 1688.*** Preface includes the following refernce to American surveyors: "I have seen Young men, in America, often nonplus'd so, that their Boioks would not help them forward, particularly in Carolina, about Laying out Lands..."

Gracián y Morales (Baltasar) The Courtiers Manual Oracle, or, The Art of Prudence, first edition in English, lacking 2 final advertisement ff., armorial bookplate of Hugh Cecil, Earl of Lonsdale, bookplate of Arnold Muirhead, occasional passage-marking in later pencil, some spotting and light browning, contemporary calf, spine gilt in compartments and with red morocco label, spine ends and corners worn, both covers and front free endpaper detached, [Wing G1468], 8vo, M. Flesher, for Abel Swalle, 1685. *** A translation of Gracián's Oraculo manual y arte de prudencia of 1647.

Astrology.- Gadbury (John) Genethlialogia [grace]. Or, The Doctrine of Nativities, Containing the whole Art of Directions, and Annual Revolutions: Whereby, any man...may be enabled to discover the most Remarkable and Occult Accidents of his Life..., engraved frontispiece portrait, 18th century ownership inscription to pastedown and further inscriptions to frontispiece verso, Z2 loss to upper-corner affecting pagination, few small marginal defects, occasional water- or other staining, some very small marginal worming, mostly single small wormhole to lower-margin but a few times touching letter or two of text, some light browning and soiling, contemporary calf, spine foot and corners worn, rubbed and little stained elsewhere, joints split at foot, [Wing G84A], small folio, for William Miller, 1661. *** A reissue, with cancel title page, of the 1658 first edition.

Arnauld (Antoine) and Pierre Nicole. Logic; or, The Art of Thinking..., first edition in English, engraved armorial bookplate of David Rochfort (older bookplate torn away from pastedown beneath with loss to the endpaper), his ownership inscription to title, inscription "Anne Ram the gift of Mr. Abel Ram 1695" to front free endpaper, a good copy in contemporary mottled calf, red morocco spine label, wear to spine ends and corners, rubbed, joints starting at foot but covers firm, [Wing A3723], 8vo, T.B. for H. Sawbridge, 1685.

Hopkins (Charles) The History of Love. A Poem: In a Letter to a Lady, first edition, early ownership inscription of John Homer Cooper to half-title & G2, half-title also with ownership name "Martha" repeated, few instances of ink passage-marking, some light browning, contemporary sheep, some wear to spine and corners, rubbed and scuffed, [Wing H2724], 8vo, J. Dawks, for Jacob Tonson, 1695. *** The author's second book of poems, dedicated somewhat flirtingly to Isabella FitzRoy, Duchess of Grafton. The contents, admired by Dryden and later reprinted alongside Dryden, Congreve, and others in Ovid's Art of Love (1709), are largely more adaptations of Ovid's Metamorphoses and Heroides. 

87 MODERN & CONTEMPORARY SOUTH ASIAN, MIDDLE EASTERN & WORLD ART PUBLICATIONS Various publishers, 21st centuryA group of 87 publications focusing on Modern and Contemporary art from South Asia and the Middle East, including important auction catalogues from Sotheby’s, Christie’s, and Bonhams. The lot also features select issues of Arts of Asia, The World of Interiors, and The Burlington Magazine, covering international art, design, and cultural history. A valuable reference group for scholars, curators, collectors, and dealers with interests in non-Western contemporary art and global collecting trends. Qty: 87

* Educational Alphabet Game. The Picture Alphabet for a Good Child, c. 1850, comprising 31 (of 35) engravings mounted on both sides of cardboard discs (51 mm diameter), lacking ‘C’, ‘K’, ‘i, j, k, l’ and ‘m, n, o’, slightly dust-soiled, contained in the original turned wooden cylinder with screw-top lid, the lid bearing a circular coloured title label showing an older woman playing the game with a child and on-looking cat, small chip with loss to one edge, slightly rubbed, the base with a neat, contemporary ink inscription, ‘A Christmas present for Edith Elis[abe]th Crosfield, from her affectionate Mother [Elisebeth], 12th mo[nth] 25th 1850’, 14 cm high QTY: (1)NOTE:Provenance: Collection of Quaker antiquary Martha Spriggs (1777-1866), Worcester, by family descent. Martha and William Spriggs' grandson, Thomas Wakefield Binyon (the third of six children borne by their daughter Martha Ann), married Edith Elizabeth Crosfield (1849-1897) in 1876.The full set of discs include 26 featuring capital letters, each with a hand-coloured engraving of an animal or common object beginning with the appropriate letter to the other side. The remaining 9 discs have lower case letters, numerals and simple sounds printed to both sides in a range of point sizes.Originally published in the 1830s, these discs were likely used to play a game of forfeits or rhyming games, similar to the way in which flashcards are used today. Complete sets are understandably rare, the Yale Center for British Art (PE1155 .P53 1850 Flat) own one, the one at the Victoria & Albert Museum (MISC.110-1963) apparently incomplete. Though lacking 4 discs the condition of those present is surprisingly fresh for what must have been a well-used game, originally given to Edith by her mother when she was one-year old.

Striking contemporary canvas print titled Real Pass by the artist Ringo, known as the assistant to Steve Kaufman and part of the legacy of pop art initiated by Andy Warhol. This composition features a collage-style arrangement of the legendary footballer David Beckham in various poses during his tenure with Real Madrid, wearing the iconic Siemens Mobile jersey and number 23. Executed in bold, sepia-toned halftone print with layered imagery and a raw urban edge, the print is hand signed in red marker lower right. Presented in a silver-toned wood frame.Artist: Ringo (American, 20th c)Issued: 21st centuryDimensions: 13"L x 18"HCondition: Age related wear.

A striking Carborundum color etching relief on paper by David Dodsworth, signed and numbered 19/250. This dynamic composition features a richly textured surface on handmade paper, with layered pigments in deep reds, blues, and golds. The work is infused with symbolic and geometric elements, evoking themes of mythology, ancient script, and spiritual iconography. Dodsworth's Carbonarum technique, known for its intricate raised relief and sculptural depth, enhances the visual impact, giving the piece a dimensional, tactile quality. The abstract forms and vivid color palette contribute to its modern yet timeless aesthetic, making it a compelling acquisition for collectors of contemporary and symbolic art.Artist: David Dodsworth (British b. 1952)Issued: c. 1980Dimensions: 20.50"L x 15.25"HEdition Number: 19 of 250Country of Origin: BritainCondition: Age related wear.

JAMES CAMPBELL NOBLE RSA (SCOTTISH 1846 - 1913), SUNSET, GOGAR HOUSE, EDINBURGH oil on canvas, signedframedimage size 57cm x 77cm, overall size 76cm x 96cm Partial handwritten label versoNote: RSA Obituary by James Guthrie RSA. Transcribed from the 1913 RSA Annual Report:The death of James Campbell Noble, on 25th September, removed from the Academy’s active list the name of one of its most widely known members. Born in Edinburgh on the 22nd of July 1845, Mr. Noble’s earliest association with art, like that of Sir George Reid, was in the department of lithography. As a lad of fifteen he entered the employment of Mr. J. O. Brown, a well-known exponent of that branch of engraving, where he was engaged mainly on architectural subjects; and when after four years, his master retired from business, young Noble continued his vocation on such work as came to hand, illustrating in this way several volumes on anatomical and surgical subjects. During those years he attended the Trustees’ School of Design and, later, the Academy’s Life Class, where he carried off more than one of the leading honours, including the Keith prize in 1873. It was as a figure painter that Mr. Noble first came before the public, and his contributions to the Exhibition commence in 1869, with a picture entitled “ Watching Conspirators.” For some years his exhibits are few and intermittent, but from 1873 onwards he is a regular and copious contributor, and till towards the close of that decade figure subjects predominate. “ Near the end of the Weft” (1875), and “The Duet (1879), are typical of the period. About the later seventies, however, a change of motive and direction is visible, when, under the influence of the pleinair movement then beginning to assert itself in Scotland, he turned, like several of his contemporaries, to those problems of light which are most readily dealt with under the open sky. For a while harbour and shipping subjects furnish themes for the broader treatment implied in the change; these he found on our rivers and estuaries from the Forth to the Thames and Medway. One or two visits to the Berwickshire coast during the earlier ’eighties gave a more local and individual turn to his work, and from that time till nearly the close of the century, during which Mr Noble made Coldingham his home, his pictures are mostly associated with that village and neighbourhood. Many of them illustrate the sea-faring and fisher-life of that rockbound coast, as witness such titles as “The Fisherman’s Return” (1883), “The Signal of Distress” (1888) and “Making for Harbour” (1893). But far from confining himself to sea or shore, he draws largely for subject-matter on the agricultural and historic interest of the adjacent districts, with occasional flights to more distant sketching grounds. But the outstanding feature of Mr. Noble’s art career is the virility of his later work. At a period of life when new developments, either of technique or outlook are rare, moved, perhaps, by a visit to Holland about the close of the century, his art shows a distinct advance in both spheres ; and this quickening of his powers was maintained to the end. During these last years Mr. Noble portrays with equally facile brush the barge-thronged rivers of the Low Countries and the romantic scenery of the Highlands. Something of temperamental affinity seemed to be drawing him strongly towards the latter class of subjects; and it was during a visit to the land of the Campbells that he was prostrated by the illness which, after a few days, proved fatal. Always keenly interested in the work of his juniors, Mr. Noble had for many years been a visitor at the Academy’s Life School and School of Painting, where his strong personality and sympathetic temperament gave him a unique position amongst a long succession of students, by whom, in after years, his advice and encouragement were highly valued. He was a power also in the social life of the art community and served for the full term of office as President of the Scottish Arts Club. His intimate relations with the musical membership of the club peculiarly fitted him for such a position, and, in conjunction with his personal accomplishments in that direction, made his name a household word in the wider social life of the city. Though he never took a very prominent part in debate, the influence of his wide and varied experience made itself felt in many ways at the Council Board of the Academy. Beyond the membership of the Academy your Council regret to record the deaths of two distinguished painters whose works have frequently lent interest to the Exhibitions of recent years. Mr. Joseph Crawhall, a native of Northumberland, who had attained to great eminence as an animal painter; and M. Gaston la Touche, whose romantic treatment of subjects in various genres had given his work a unique position in contemporary French Art.

Partou Zia (1958-2008)Tresco Texts II, 2006oil on panel25 x 35cm. Provenance:Art First Contemporary Art, London;Collection of Professor John Chambers. Small section of paint loss to the sky.

Vauban, Sébastien Le Prestre The New Method of Fortification with an Explication of All Terms appertaining to that Art: Made English. London: for Abel Swall [Swale], 1691. First edition in English, 8vo, xvi 79, 104 pp., contemporary panelled calf, engraved additional title-page, 30 engraved plates, engraved bookplate, related inscriptions to endpapers, spine-label renewed Originally published in French in 1689.

Science and cookery Collection of works, 18th-19th century Desaguliers, John Theophilus (translator). The Motion of Water, and Other Fluids. Being a Treatise of Hydrostaticks … Written Originally in French, by the late Monsieur Marriotte … Translated into English. London: for J. Senex, and W. Taylor, 1718. First edition, 8vo, contemporary panelled calf, 7 engraved plates, advertisement leaf; Hammond, Nathaniel. The Elements of Algebra. London: J. Walthoe, 1742. First edition, 8vo, contemporary sprinkled calf, from the library of the Earls of Macclesfield with bookplate and blind stamps as usual; Keys, John. The Antient Bee-Master's Farewell; or, Full and Plain Directions for the Management of Bees to the Greatest Advantage. London: G. G. and J. Robinson, 1796. First edition, 8vo, 20th-century maroon morocco, 2 engraved plates, half-title discarded, prelims misbound; Bateman, Thomas. A Practical Synopsis of Cutaneous Diseases. London: Longman [etc.], 1814. Third edition, 8vo, contemporary green quarter calf, marbled sides, vellum tips, colour aquatint frontispiece; Leslie, John. A Short Account of Experiments and Instruments, depending on the Relations of Air to Heat and Moisture. Edinburgh: William Blackwood [etc.], 1813. First edition, 8vo, modern cloth, etched plate; Glasse, Hannah. The Art of Cookery made Plain and Easy … A New Edition, with all the Modern Improvements. London: for T. Longman [and others], 1796. 8vo, 20th-century quarter calf, repaired loss to title-page affecting costing one letter, contemporary ownership inscriptions to title-page and p. iii, Hannah Glasse's printed facsimile signature to p. 1, pp. xxxii-xl (bills of fare) misbound between between 418 and 419; Stone, Edward. A New Mathematical Dictionary. London: W. Innys [etc.], 1743. Second edition ('with large additions'), 8vo, contemporary sprinkled calf ruled in gilt, final leaf of index pasted to rear pastedown, bound without errata leaf and advertisement leaf; Gagliardi, Domenico. Anatome Ossium. Leiden: apud Henricum Mulhovium, 1723. First edition, 8vo, 20th-century tan quarter sheep by Claude Honnelaitre, 4 engraved plates (one folding); Fothergill, John. The Works … by John Coakley Lettsom. London: for Charles Dilly, 1783-4. 3 volumes, 8vo, 20th-century quarter calf, 11 engraved plates, volume 2 title-page with repaired closed tear, J. Johnston Abraham; ‘Arabella Atkyns’ [pseud.]. The Family Magazine: in Two Parts. Part I. Containing Useful Directions in all the Branches of House-Keeping and Cookery … Part II. Containing a Compendious Body of Physick. London: for J. Osborn, 1741. 8vo, contemporary calf, worn; and 1 other (13)

Science, technology, natural history Collection of treatises in French, mainly 18th century Holbach, Paul-Henri Thiry. Art de la verrerie, de neri, merret et kunckel. Paris: Durand, Pissot. 1752. First edition, 4to, [4] lv 629 [3] pp., contemporary mottled calf, rebacked, engraved frontispiece, 15 engraved folding plates, contemporary manuscript initials to head of title-page, damp-staining to final section ('Secret des Vraies Porcelaines de la Chine et de la Saxe'), tape-repair to one leaf [Duveen 427; Ferguson II 135]; Bossut, [Charles]. Traité élémentaire d'hydrodynamique. Paris: Claude-Antoine Jombert, 1771. First edition, 2 volumes, 8vo, [2] xxxvii 394, [2] 444 pp., contemporary marbled calf, spines gilt in compartments with red and green morocco labels, 16 engraved folding plates, half-titles discarded; Bertholon, [Pierre]. De l'électricité des végétaux. Lyon: Bernuset, 1783. First edition, 8vo, contemporary marbled sheep, spine gilt in compartments, edges dyed red, half-title, 3 engraved folding plates, school prize plate dated ‘an 11 de la République française’ to front pastedown, restoration to head and foot of spine (now coming undone at foot); Idem. De l'électricité du corps humain dans l'état de santé et de maladie. Lyon: Bernuset, 1780. First edition, 12mo, [xii] 541 [3] pp., contemporary sprinkled half sheep, half-title, personal ownership ink-stamp in red to title-page; Nollet, [Jean-Antoine]. Essai sur l'électricité des corps. The Hague: Jean Neaulme, 1747. Second edition (first published in Paris the previous year), 8vo, xvi, 183 [1] pp., contemporary tan half calf, 4 engraved folding plates, front joint slightly worn, engraved bookplate; Rémond de Sainte-Albine, Pierre. Mémoire sur le laminage du plomb. Paris: Jacques Guerin, 1746. First illustrated edition (third overall), 12mo, contemporary mottled calf, engraved vignette to title-page, 3 engraved plates; Gentil, [André Antoine Pierre]. Dissertation sur le caffé, et sur les moyens propres à prévenir les effets qui résultent de sa préparation communénent vicieuse; et en rendre la boisson plus agréable et plus salutaire. Paris: chez l'auteur, Pyre, 1787. First edition, 8vo, 177 [3] pp., 20th-century half calf, engraved plate (damp-stained), bound without errata [Bitting 179; Hunt 683; Vicaire 398; Wellcome III 104]; [Sammelband]. Four works in one volume, all first editions, comprising: Jacques Lordat, Réflexions sur la nécessité de la physiologie dans l'étude et l'exercice de la médecine, Montpellier: F. Seran, Gras et Coucourdan, 1797; Victor Bally, De la gangrène, dissertation presenté à l'école de santé, Montpellier: Fontenay-Picot, [1797]; Bernard Mienville, Dissertation sur la respiration, présentée à l'école de santé de Montpellier, Montpellier: G. Izar et A. Ricard, [1797]; M. D. T. de Bienville, La Nymphomanie ou traité de la fureur utérine, Amsterdam: Marc-Michel Rey, 1771. 8vo, contemporary sprinkled sheep, smooth spine gilt in compartments; Soemmerring, Samuel Thomas von. Iconologie de l'organe de l'ouie. Nouvelle édition. Paris: Auger Méquignon, 1828. 8vo, viii 74 pp., later quarter cloth, half-title, 17 folding lithographic plates (damp-stained), bookplate of N. Asherson designed by Mervyn Peake; Bourdet, [Bernard]. Soins faciles pour la propreté de la bouche, pour la conservation des dents, et pour faire éviter aux enfans les accidens de la dentition … nouvelle édition, considérablement augmentée. Paris: Jean-Thomas Hérissant, père, 1771. 12mo, contemporary mottled calf, gilt spine, cloth slipcase; Poincaré, Henri. Théorie analytique de la proagation de la chaleur. Paris: Georges Carré, 1895. First edition, large 8vo, contemporary tan half calf, ink-stamp (Gustaf Kobb) to front free endpaper; Becquerel, Antoine-César and Edmond. Résumé de l'histoire de l'électricité et du magnétisme. Paris: Firmin Didot frères, 1858. First edition, 8vo, contemporary half cloth (presumably original) (13)

Blanckley, Thomas Riley A Naval Expositor shewing and explaining the Words and Terms of Art belonging to the Parts, Qualities, and Proportions of Building, Rigging, Furnishing, and Fitting a Ship for Sea. London: E. Owen, 1750. First edition, 4to (25.5 x 20cm), [6] 191 pp., 20th-century reddish-brown sheep, engraved title page, numerous engraved vignettes in margins and 3 larger engraved vignettes in the text, all by Paul Fourdrinier, gift inscription dated 1926 to binder's blank, contemporary ownership inscription to head of p. 1, a few early manuscript corrections, title-page reinforced in gutter and with repaired close tear to fore margin, a few spots and finger-marks An uncommon work capturing the extent of British shipbuilding knowledge on the eve of the Seven Years' War, preceding the next such attempt, Falconer's Universal Dictionary of the Marine, by some 20 years. The author Thomas Blanckley (1717-1753) was a clerk of the survey at Portsmouth and a commissioner of the Victualling Office.

Natural History, including photography, art, literature and collecting Blossfeldt, Karl Art forms in nature: examples from the plant world photographed direct from nature by Professor Karl Blossfeldt; with an introduction by Karl Nieren Dorf. London: A. Zwemmer, 1929. First English edition, 4to,120 photogravure plates, original green cloth;Gilpin, W.S. Practical Hints upon Landscape Gardening. London: Cadell, 1835. Second edition, 8vo, 16 lithographed plates, original cloth, some spotting, slightly soiled;Kappel, A.W. and W. Egmont Kirby. British and European Butterflies and Moths. London: Ernest Nister, [n.d.] 4to, original pictorial red cloth with gilt butterfly design;Sowerby, James Edward. English Botany… London, 1840. 8vo, volume 7 only, 259 hand-coloured plates, original purple cloth;Timmns, Samuel. Popular Country Houses: A History of Warwickshire. London: Elliot Stock, 1889. 8vo, contemporary black quarter morocco gilt, one of 50 copies on large paper;Maggs Bros. A Selection of Books, Manuscripts, Engravings and Autograph Letters… being the five hundredth catalogue issued by Maggs Bros. London: Maggs Bros, 1928. Folio, original paper wrappers;Life and Work of Feodora Gleichen, sculptor. London, 1934. 8vo, original quarter vellum over blue cloth boards;Rouam, J. Gauthiez, Pierre. Les Artistes Célèbres. Prud'Hon. Paris: Librairie de l'Art J. Rouam, [n.d.] 8vo, brown quarter morocco gilt;Kipling, Rudyard. If. London: Macmillan and Co., Limited, 1916. Small pamphlet with additional copy of the poem on card loosely inserted, original wrappers, early ownership signature to upper cover;and 7 others, including T.S. Eliot (16) Blossfeldt's work is a pioneering photographic book devoted to plant architecture, containing 120 richly gravured plates.

Guillim (John). Display of Heraldry..., 5th edition, London: printed by S. Roycroft for R. Blome, 1679, title in red and black with manuscript ownership to lower margin (trimmed and cropped to margins and crudely repaired), engraved plates and woodcut armorials, lacking all after 2A1 of tables/index at rear, many leaves cropped to margins and repaired, browning, spotting and some dust-soiling, 20th-century light tan/cream half calf, folio, together with:Nisbet (Alexander). A System of Heraldry Speculative and Practical: with the True Art of Blazon..., Edinburgh: J. Mackeuen, 1722, repaired closed tear to title, engraved plates, browning, dust-soiling and spotting, some fraying and few closed tears to margins etc., contemporary panelled calf, boards detached, worn, folio,Dallaway (James). Inquiries into the Origin and progress of the Science of Heraldry in England..., Gloucester: printed by R. Raikes for T. Cadell, 1793, engraved title with uncoloured aquatint illustration (torn to fore-margin), etched and engraved plates (few hand-coloured), top edge gilt, remainder untrimmed, contemporary red half morocco, extremities rubbed, large 4to QTY: (3)NOTE:Sold with all faults, not subject to return.

Wotton (Henry). Reliquiae Wottonianae. Or, a Collection of Lives, Letters, Poems; with Characters of Sundry Personages: and other Incomparable Pieces of Language and Art, 1st edition, London: printed by Thomas Maxey for R. Marriot, G. Bedel, and T. Garthwait, 1651, engraved portrait frontispiece with manuscript diagram to verso, 2 other engraved portrait plates (portrait of Robert Devereux trimmed to image and lined to verso), endpapers renewed, rebacked, 12mo, together with:Cotton (Robert). Cottoni Posthuma: Divers Choice Pieces of that renowned Antiquary Sir Robert Cotton ... preserved from the injury of time, and expos'd to public light, for the benefit of posterity, by J. H. Esq; (James Howell.), London: Richard Lowndes and Matthew Gilliflower, 1672, contemporary calf, rubbed and light wear, 8voQTY: (2)NOTE:1. ESTC R209190; Wing W3648.2. ESTC R2628; Wing C6486.

Audsley (George Ashdown, & James Lord Bowes). Keramic Art of Japan, 2 volumes, 1st edition, Liverpool & London; Published for the Subscribers by the Authors, London: Henry Sotheran & Co., 1875, 64 full-page plates, including 40 fine chromolithographs, light spotting to endpapers, one or two plates toned, all edges gilt, marbled endpapers, contemporary red half morocco gilt, rubbed and minor wear to extremities, some stains and associated discolouration to covers, large folio, together with Audsley (George Ashdown). Gems of Japanese Art and Handicraft, 1st edition, London: Samson Low, Marston & Company Ltd., 1913, 7 monochrome plates, and 51 fine chromolithograph plates only (several colour plates missing), with title page and introductory text, all loosely contained in original publisher's green cloth portfolio with ties, rubbed and some marks, large folio, plus:Morse (Edward S.). Museum of Fine Arts, Boston. Catalogue of the Morse Collection of Japanese Pottery, Cambridge, Massachusetts: Riverside Press, 1901, 68 photogravure plates, numerous illustrations of Potter's marks to text, edges rough-trimmed, original boards, worn and somewhat soiled, with spine deficient, thick 4to, together with Bowes (James L.). Japanese Enamels, with illustrations from the examples in the Bowes Collection, London: Bernard Quaritch, 1886, chromolithographed plates, monochrome plates and illustrations, top edge gilt, original blue cloth gilt, rubbed, large 8vo, and three othersQTY: (8)

Emerson (William). The Elements of Optics. In Four Books. Book I. Simple Optics or Direct Vision. Book II. Catoptrics, or Reflected Vision. Book III. Diotrics, or Refracted Vision. Book IV. The Construction of Optical Instruments, 1st edition, London: Printed for J. Nourse, 1768, 13 folding engraved plates, errata/advertisement leaf at end, bound with Perspective: or, The Art of drawing the Representations of all Objects upon a Plane, xii, 111pp., 15 folding engraved plates, occasional light toning and small water stains, contemporary full calf, rubbed and some waterstains to upper joint and rear cover, 8vo, together with Euclid. The Elements of Euclid, viz. the First Six Books.. Also, the Book of Euclid's Data, in like manner corrected by Robert Simson, Glasgow: Andrew Foulis, 1781, 3 folding engraved plates, diagrammatic illustrations in text, front hinge tender, contemporary calf, joints cracking, rubbed and scuffed, 8vo, plus Cotes (Roger). Hydrostatical and Pneumatical Lectures... Published with notes by his successor Robert Smith LL. D. Master of Mechanicks to His Majesty, 1st edition, London: printed for the edition, 1738, 5 folding engraved plates, 4 pp. advertisements at rear, occasional small marginal water stains, contemporary ownership inscription of Kynaston, 1741 to front endpaper, contemporary calf gilt, , small splits along joints, a little rubbed with small stains, 8vo, with three others: A New Theory of the Earth, from its original, to the consummation of all things..., by William Whiston, 5th edition, 1737, A Course of Chemistry, Divided into Twenty-Four Lectures, formerly given by the late learned Doctor Henry Pemberton... Now first published from the author's manuscript by James Wilson, 1st edition, 1771, and Select Parts of Professor Saunderson's Elements of Algebra, for the use of students at the universities, 3rd edition, 1771, all contemporary calf or similar, 8voQTY: (6)