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Elkington & Co - 19th century bronze electrotype of the Farnese Hercules, after the Antique, modelled standing against a column draped with the Nemean lion skin, his club beneath, the Apples of Hesperides concealed in his right hand, stamped to rear of square base 'Elkington & Co Electro Dep / Le Chev'r de Schlick Artist', 29.5cm highFrom the Collection of Bristol 1904 Arts (formerly 'Bristol Savages')Now held at the Museo Nazionale in Naples, the original figure was first recorded in 1556 by Ulisse Aldrovandi. It was unearthed during excavations at Rome's Baths of Caracalla, but was then moved to the courtyard at the Palazzo Farnese, where it remained until 1787.

Victorian gentleman's mahogany-framed deep-buttoned hide club or library chair, with overstuffed padded back and seat between matching open arms on scroll supports, the reeded seat front between rosettes on reeded turned frojnt supportswith brass swivel castors, 66cm wide across arms x 102.5cm high

Swarovski crystal collectors club renewal Scallop with box. No 833506

Autograph book containing various Rugby League team signatures plus the 1957-58 Scunthorpe United Football club autographs.

A COLLECTION OF HENLEY ROYAL REGETTTA STEWARDS ENCLOSURE ENAMEL TALLIES etc., dates include 1968, 1969, 1970;s, 1980s, 1990s, 2000s etc., together with other similar examples and a collection of Leader Club enamel badges (approx 80 items in total)

A COLLECTION OF FIFTY FIVE DAYS GONE BY / AUTO CLUB VEHICLES, together with four military three vehicle sets, to include Dambusters, RAF Personnel Transport, The Home Front Collection and Pearl Harbour Collection, also included is a Lledo four vehicle carat gold plated 'Golden Days of The Film Industry SEt', two additional Days Gone vehicle sets and circa twenty five unboxed vehicles

Hohner Club Model 4 accordion/squeeze box

A Highly Decorative AB*S Plated Footed Biscuit Box, of scalloped cylindrical form, with twin lion mark and ring handles, the hinged cover with knop handle, raised on four claw and ball feet, together with a presentation tea kettle of allover foliage design, engraved "Sheffield Bowling Club Club 1904", on burner stand. (2)

An Assortment of Modern Wristwatches, to include Sekonda, Censi, Zurich Sports, Krug-Baumen, Beverly Hills Polo Club, OK, together with a small collection of costume jewellery, including a gilt coloured stone set brooch, St. Christopher pendant, etc.

THE POULTRY CLUB; A Hallmarked Silver Medallion, allover high relief design, reverse states "THE POULTRY CLUB" "founded 1977" engraved cartouche "NELSON SHOW" "PRESENTED TO F.BROWN 1928", another with vacant cartouche, both in original "J.A.RESTALL, JEWELLER, SILVERSMITH&MEDALLIST" "BIRMINGHAM" fitted cases, another similar, together with a small collection of military related items, including a boxed Festival of Britain crown piece, two RAF cap badges, US Army Air Force pilot wings style badge, two matchbox covers/holders, etc

A 9ct Gold Medallion Fob / Brooch, in the form of a Maltese Cross, the circular centre panel engraved "EJ", within etched scrollwork surround, verso engraved "Wakefield Swimming Club Quarter-Mile Champions of Yorkshire" "2nd Prize" "Won by A. Jagger" "19th Sept 1895", (lacking brooch pin).8grams in weight.

* BENNO SCHOTZ RSA (ESTONIAN 1891 - 1984), THE PRINCE OF GOALKEEPERS (JOHN THOMSON OF CELTIC F.C.), CIRCA 1968 bronzed resin 101cm wide Note 1: A bronze of this sculpture is in the collection of Celtic F.C. Note 2: Benno Schotz was born to Jewish parents, Jacob Schotz, a watchmaker, and Cherna Tischa Abramovitch, in Arensburg, Russia (now Kuressaare, Estonia) in 1891. He was educated at the Boys Grammar School of Pärnu, Estonia. Later he studied at the Grossherzogliche Technische Hochschule in Darmstadt, Germany. In 1912, he immigrated to Glasgow, where he gained an engineering diploma from the Royal Technical College and from 1914–23 worked in the drawing office of John Brown and Company, Clydebank shipbuilders while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full-time sculptor in 1923 and subsequently a member of the Royal Scottish Academy, Head of Sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and later, in 1963, Her Majesty's Sculptor in Ordinary for Scotland. His pupils included Hannah Frank, Paul Zunterstein and Inge King (née Neufeld). His homes at West Campbell Street and later Kirklee Road were a focus for meetings of artists, writers, actors, and politicians. His first solo Glasgow exhibition was at Reid's Gallery in 1926 and his first in London at Alex Reid and Lefevre Ltd (Lefevre Gallery) in 1930. He was also a member of Glasgow Art Club, alongside recently arrived refugee artists Jankel Adler and Josef Herman, for whom he organised local Jewish community support. In 1942 he organised the important 'Jewish Art Exhibition' at the Glasgow Institute as an act of Jewish cultural identity during the Second World War. In 1981 Schotz was made a Freeman of the City of Glasgow and in the same year, Gordon Wright published his autobiography, Bronze in My Blood. During his career, Schotz produced several hundred portraits and compositions including figure compositions, religious sculptures, semi-abstracts and modelled portraits, the majority located in Glasgow and the surrounding area. A major retrospective exhibition of his works was held at the Royal Scottish Academy, Edinburgh in 1971. He was Life-President of the Royal Glasgow Institute of the Fine Arts as well as Honorary Member of both the Royal British Society of Sculptors and the Royal Institute of Architects in Scotland. His last sculpture was executed less than six weeks before his death, aged 93. He was a committed Zionist and was buried in Jerusalem. His work is represented in numerous UK collections including The National Galleries of Scotland, Edinburgh City Art Centre, The Kelvingrove Art Gallery, Aberdeen Galleries, The Scottish National Portrait Gallery, BBC Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Peoples Palace (Glasgow), The Scottish Jewish Archives Centre, Ben Uri Gallery & Museum (London) and the House of Commons (London). His work is also held in various public collections in Israel. Christie's held a major Studio Sale of Benno Schotz's work in Glasgow in 1997. Note 3: John Thomson, The Prince of Goalkeepers, is one of the most important figures in the history of Celtic Football Club. Having signed for the team in 1926 at the age of 17, his natural athleticism and brave spirit ensured he would become a mainstay between the sticks. He helped the team to two Scottish Cups and three Glasgow Cups. He would also represent the national side and national select XI four times apiece. Thomson's name will forever be associated with the tragedy that befell him during an Old Firm clash on the 5th September 1931. The match was played at Ibrox in front of 80,000 fans. Early in the 2nd half, Thomson collided with Rangers player Sam English, whilst both going for the ball. Most people assumed the goalkeeper badly injured as he was stretchered off, Chic Geatons taking his place in goal. Upon being transported to the Victoria Infirmary, Thomson would soon be pronounced dead. The death of a young goalkeeper in his prime shocked the footballing world. Beyond that, the tragic loss of a young man's life, only 22 years of age and recently engaged, still stands as amongst the most profound moments in sporting history. 40,000 people attended the funeral in his home town of Cardenden, including thousands who travelled from Glasgow, many walking the 55 miles to the Fife village.

* TOM HOVELL SHANKS RSW RGI PAI (SCOTTISH 1921 - 2020), NEAR LOCHALINE watercolour on paper, signed, titled labels versomounted, framed and under glass image size 27cm x 72cm, overall size 43cm x 92cmArtist's label versoExhibition label verso: Royal Glasgow Institute 1997.Note: Artist in watercolour, pen and ink, mixed media; muralist, designer and teacher, born in Glasgow. He left school to become an apprentice carpet designer for Templeton’s, first exhibiting with the firm’s art club. After war service Shanks took the diploma course at Glasgow School of Art. Upon graduating in 1950 he started on a career as a freelance mural painter; was a designer and printer with Edinburgh Weavers’ Dovecot Studios for eight years; stage designer with Rutherglen Rep; and teacher at Glasgow School of Art and in schools in the city and in Renfrewshire, where he settled in Kilbarchan. However, he termed his main occupation “landscape painter”, having been in love with the landscapes of the Western Highlands since his parents took him to the Isle of Skye aged seven. These were portrayed in his Scottish Horizons show at Cyril Gerber Fine Art, Glasgow, in 1994, again at Cyril Gerber in 2004, and previously in solo exhibitions throughout Scotland. He was a member of RSW and Royal Glasgow Institute of the Fine Arts, also exhibiting with RSA, Royal Scottish Society and Glasgow Group. Public galleries in Glasgow and Paisley and Lillie Art Gallery, Milngavie, hold examples.

* JUNE CAREY RSW RGI (SCOTTISH b. 1942), PRESENCE limited edition etching on paper, signed, titled and numbered 3/10mounted, framed and under glassimage size 37cm x 30cm, overall size 59cm x 57cm Note: June Carey began her art education in the 1960s at The Glasgow School of Art. She has been exhibiting her work widely throughout Britain and abroad ever since. Her awards include The Scottish Arts Council 1998, McGrigor Donald Trust 1989, European City of Culture Woman 2000 (First Prize) 1990, Dundee District Council Purchase Prize 1991, British Council Assistance Grant 1992, The Hope Scott Trust Award 1993, Scottish Arts Club Award 1993, McDonald Orr Ltd 1993, Anne Redpath Award 1996, BP Aberdeen Assistance Grant 2002, Connell & Connell Sponsorship and in 2004, a Research Grant from the Scottish Arts Council, to visit India. June Carey's work can be found in the collections of Lady Thyne; Peter Gabriel, BBC Television, The Royal Bank of Scotland, The Scottish Arts Council, Oxford University, Teachers Whisky, Highland Region, Edwins Gallery Jakarta, Barclay Lennie Fine Art Ltd, MacTaggart & Mickel Ltd. Eastern General Hospital, McDonald Orr Ltd, Dundee District Council, Arts in Fife and Private Collectors at home and abroad.

* GORDON K MITCHELL RSA RSW RGI (SCOTTISH b. 1952), SUBLIME oil on canvas, signed, titled versoframed and under glassimage size 24cm x 19cm, overall size 44cm x 39cm Handwritten artist's label versoLabel verso: Roger Billcliffe Gallery, Glasgow.Note: Prizes and Awards include: Borders Biennial Exhibition; First Prize, City Arts Centre, Open Exhibition; First Prize, Educational Institute for Scotland; Purchase Prize, Glasgow Mayfest Award, Royal Scottish Academy Award; First Prize, Royal Scottish Society of Painters in Watercolour; William Gillies Award, Scottish Drawing Competition, Paisley; Second Prize, Royal Scottish Academy; J. Murray Thompson Award, Scottish Artists and Artist Craftsmen; Arts Club Prize, Scottish Artists and Artist Craftsmen; Whyte & Mackay Award, Scottish Artists and Artist Craftsmen; Scottish Provident Award, Scottish Artists and Artist Craftsmen; Dunfermline Building Society Prize, Scottish Artists and Artist Craftsmen; SSWA Special Award. Solo Exhibitions include Dorothy Quinn Gallery, St. Andrews, Henderson Gallery, Edinburgh, Old City Art Gallery, Jerusalem, Traverse Theatre, Edinburgh, Open Eye Gallery, Edinburgh (biannually since 1992), Roger Billcliffe Fine Art, Glasgow (biannually since 1993), Atholl Gallery, Dunkeld (1993) Albemarle Gallery (biannually since 1997). Represented in Group Exhibitions in the United Kingdom, including:Allan Park Gallery, Stirling, Atholl Gallery, Dunkeld, Borders Biennial Exhibition, City Arts Centre, Edinburgh, Contemporary British Art Show, London, Contemporary Fine Art Gallery, Fine Art Society Galleries, Glasgow, Gracefield Art Centre, Dumfries, Hilton Hotel, Hong Kong, John Martin of London, Kirkcaldy Art Gallery, Mall Galleries, London, Morrison Scottish Portrait ExhibitionOpen Eye Gallery, Edinburgh, Paisley Art Institute, Portland Gallery, London, Richard Demarco Gallery, Edinburgh, Roger Billcliffe Fine Art, Glasgow, Royal Glasgow Institute, Royal Scottish Academy, Edinburgh, Royal Scottish Society of Painters in Watercolour, Scottish Arts Club, Edinburgh, Scottish Arts Council Gallery, Smith Art Gallery & Museum, Society of Scottish ArtistsSociety of Scottish Artists and Artist Craftsmen, Stirling Gallery, Talbot Rice Gallery, Edinburgh Group Exhibitions held abroad: Through the `Old City Gallery` Jerusalem, paintings have been included in group exhibitions in Israel, Australia, Canada, U.S.A. and Sweden. Blue and White Gallery, Jerusalem, Contemporary Scottish Art 1994, Hilton Hotel, Hong Kong Collections: Works held in a great many private and public collections, including; Alliance & Leicester Building Society, Edinburgh Distillers Co. Ltd, Edinburgh College of Art, Educational Institute for Scotland, Johnny Walker Whisky Co, Kansas City Art Institute, Macfarlane Group Plc, National Westminster Bank, Paisley Art Institute, Scottish Arts Council, Scottish Brewers Limited, Slottseal Forthside Limited, The Knesset, Israel, University of Edinburgh, Welcome Inns, Whyte & Mackay Group, William Teacher & Sons (Whisky). One of the most recent examples of Gordon Mitchell's paintings we've offered was "Castaway" a 73 x 98cm oil on canvas which sold in The Scottish Contemporary Art Auction of 24th January 2021 for £8000 (hammer) setting a new auction world record for a work by the artist.

* GORDON K MITCHELL RSA RSW RGI (SCOTTISH b. 1952), LIGHT READING oil on canvas, signed,framed and under glasstitled and dated 1994 versoimage size 41cm x 56cm, overall size 56cm x 71cm Handwritten label verso.Exhibition label verso: The Open Eye Gallery, Edinburgh.Note: Prizes and Awards include: Borders Biennial Exhibition; First Prize, City Arts Centre, Open Exhibition; First Prize, Educational Institute for Scotland; Purchase Prize, Glasgow Mayfest Award, Royal Scottish Academy Award; First Prize, Royal Scottish Society of Painters in Watercolour; William Gillies Award, Scottish Drawing Competition, Paisley; Second Prize, Royal Scottish Academy; J. Murray Thompson Award, Scottish Artists and Artist Craftsmen; Arts Club Prize, Scottish Artists and Artist Craftsmen; Whyte & Mackay Award, Scottish Artists and Artist Craftsmen; Scottish Provident Award, Scottish Artists and Artist Craftsmen; Dunfermline Building Society Prize, Scottish Artists and Artist Craftsmen; SSWA Special Award. Solo Exhibitions include Dorothy Quinn Gallery, St. Andrews, Henderson Gallery, Edinburgh, Old City Art Gallery, Jerusalem, Traverse Theatre, Edinburgh, Open Eye Gallery, Edinburgh (biannually since 1992), Roger Billcliffe Fine Art, Glasgow (biannually since 1993), Atholl Gallery, Dunkeld (1993) Albemarle Gallery (biannually since 1997). Represented in Group Exhibitions in the United Kingdom, including:Allan Park Gallery, Stirling, Atholl Gallery, Dunkeld, Borders Biennial Exhibition, City Arts Centre, Edinburgh, Contemporary British Art Show, London, Contemporary Fine Art Gallery, Fine Art Society Galleries, Glasgow, Gracefield Art Centre, Dumfries, Hilton Hotel, Hong Kong, John Martin of London, Kirkcaldy Art Gallery, Mall Galleries, London, Morrison Scottish Portrait ExhibitionOpen Eye Gallery, Edinburgh, Paisley Art Institute, Portland Gallery, London, Richard Demarco Gallery, Edinburgh, Roger Billcliffe Fine Art, Glasgow, Royal Glasgow Institute, Royal Scottish Academy, Edinburgh, Royal Scottish Society of Painters in Watercolour, Scottish Arts Club, Edinburgh, Scottish Arts Council Gallery, Smith Art Gallery & Museum, Society of Scottish ArtistsSociety of Scottish Artists and Artist Craftsmen, Stirling Gallery, Talbot Rice Gallery, Edinburgh Group Exhibitions held abroad: Through the `Old City Gallery` Jerusalem, paintings have been included in group exhibitions in Israel, Australia, Canada, U.S.A. and Sweden. Blue and White Gallery, Jerusalem, Contemporary Scottish Art 1994, Hilton Hotel, Hong Kong Collections: Works held in a great many private and public collections, including; Alliance & Leicester Building Society, Edinburgh Distillers Co. Ltd, Edinburgh College of Art, Educational Institute for Scotland, Johnny Walker Whisky Co, Kansas City Art Institute, Macfarlane Group Plc, National Westminster Bank, Paisley Art Institute, Scottish Arts Council, Scottish Brewers Limited, Slottseal Forthside Limited, The Knesset, Israel, University of Edinburgh, Welcome Inns, Whyte & Mackay Group, William Teacher & Sons (Whisky). One of the most recent examples of Gordon Mitchell's paintings we've offered was "Castaway" a 73 x 98cm oil on canvas which sold in The Scottish Contemporary Art Auction of 24th January 2021 for £8000 (hammer) setting a new auction world record for a work by the artist.

* BENNO SCHOTZ RSA (ESTONIAN 1891 - 1984), THE GOALKEEPER, 1973 bronzed plaster 59cm high including wooden plinth Exhibited: Edinburgh, Benno Schotz Retrospective, Touring Exhibition, 1971, no. 144. Edinburgh, Royal Scottish Academy, Annual Exhibition, 1973, no. 61. A smaller bronze version of this sculpture was exhibited: Glasgow, Royal Glasgow Institute of Fine Arts, Annual Exhibition, 1968, no. 54. Glasgow, Royal Glasgow Institute of Fine Arts, Annual Exhibition, 1985, no. 20. Note: Benno Schotz was born to Jewish parents, Jacob Schotz, a watchmaker, and Cherna Tischa Abramovitch, in Arensburg, Russia (now Kuressaare, Estonia) in 1891. He was educated at the Boys Grammar School of Pärnu, Estonia. Later he studied at the Grossherzogliche Technische Hochschule in Darmstadt, Germany. In 1912, he immigrated to Glasgow, where he gained an engineering diploma from the Royal Technical College and from 1914–23 worked in the drawing office of John Brown and Company, Clydebank shipbuilders while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full-time sculptor in 1923 and subsequently a member of the Royal Scottish Academy, Head of Sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and later, in 1963, Her Majesty's Sculptor in Ordinary for Scotland. His pupils included Hannah Frank, Paul Zunterstein and Inge King (née Neufeld). His homes at West Campbell Street and later Kirklee Road were a focus for meetings of artists, writers, actors, and politicians. His first solo Glasgow exhibition was at Reid's Gallery in 1926 and his first in London at Alex Reid and Lefevre Ltd (Lefevre Gallery) in 1930. He was also a member of Glasgow Art Club, alongside recently arrived refugee artists Jankel Adler and Josef Herman, for whom he organised local Jewish community support. In 1942 he organised the important 'Jewish Art Exhibition' at the Glasgow Institute as an act of Jewish cultural identity during the Second World War. In 1981 Schotz was made a Freeman of the City of Glasgow and in the same year, Gordon Wright published his autobiography, Bronze in My Blood. During his career, Schotz produced several hundred portraits and compositions including figure compositions, religious sculptures, semi-abstracts and modelled portraits, the majority located in Glasgow and the surrounding area. A major retrospective exhibition of his works was held at the Royal Scottish Academy, Edinburgh in 1971. He was Life-President of the Royal Glasgow Institute of the Fine Arts as well as Honorary Member of both the Royal British Society of Sculptors and the Royal Institute of Architects in Scotland. His last sculpture was executed less than six weeks before his death, aged 93. He was a committed Zionist and was buried in Jerusalem. His work is represented in numerous UK collections including The National Galleries of Scotland, Edinburgh City Art Centre, The Kelvingrove Art Gallery, Aberdeen Galleries, The Scottish National Portrait Gallery, BBC Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Peoples Palace (Glasgow), The Scottish Jewish Archives Centre, Ben Uri Gallery & Museum (London) and the House of Commons (London). His work is also held in various public collections in Israel. Christie's held a major Studio Sale of Benno Schotz's work in Glasgow in 1997.

* CHARLES OAKLEY (BRITISH 1925 - 2008), MOONLIGHT RENDEZVOUS oil on board, titled label verso framed image size 49cm x 95cm, overall size 65cm x 110cm Partial artist's label verso. Note: Obituary published in The Independent by Prof Kenneth McConkey 8 April 2008: Charles Oakley was one of an important generation of British painters who, in the late Forties, arrived at the Slade School of Fine Art wearing "demob" suits. He had neither portfolio nor sketchbooks to show, but a single watercolour, depicting a momentous occasion in his youth. Oakley grew up in Urmston, Manchester, the son of an engineer; two previous generations of Oakleys had been naval captains. Family holidays spent in Falmouth provided an ideal playground for the young Charles – rusting old U-boats from the Great War were berthed in the harbour. Then, in the early years of the Second World War, while youth hostelling in the Lake District, he came upon the crash site of two Hurricane fighters. A dead pilot lay by the wreckage of one of the planes. The scene burned itself into his mind and was only exorcised when he sketched it out on paper and coloured it. This single work became a talisman and after his three years' military service with the Royal Artillery in the Himalayas, it was this that he took to his successful Slade interview with Randolph Schwabe in 1947. His tutors, William Townsend and William Coldstream, being well-connected, brought artists and critics such as Francis Bacon, Wyndham Lewis and David Sylvester into the Slade to look at students' work. Oakley's diligent studies in the Antique Room won him the Taylor and Melvill Nettleship awards, as well as the Wilson Steer medal for Northern Landscape, a "summer composition" painting of coal trucks in a railway yard produced in 1950. He remained at the Slade for a postgraduate year and in 1951 married Ann, his life-long partner. In those days, the path from the Slade and the Royal College to the New English Art Club was still in use and Oakley showed industrial scenes at two of its exhibitions before moving north to become an art master at Eden School in Carlisle. A splendid watercolour of the old city bus station remains a popular reproduction sold by Tullie House museum in Carlisle. In 1957 his first solo exhibition was held at the Crane Kalman Gallery, Manchester, and was opened by L.S. Lowry. Oakley recalled Lowry's enthusiasm when he purchased a picture from the show. At this stage, living on a fabric designer's salary, and with a growing family, the Oakleys could not reciprocate – much to their chagrin in later years. Thereafter he showed regularly in Manchester exhibitions, being praised for his "poetry in paint". In 1962 he obtained the post of Senior Lecturer at Belfast College of Art, and it was after this that true poetry arrived, with paintings of ships' engine rooms at Harland and Wolff, recalling the submarines of childhood – one of which was acquired for the Ulster Museum, Belfast. In shows at the Caldwell Gallery in Bradbury Place, Belfast, these intense, claustrophobic interiors were juxtaposed with the wide expanses of Donegal where the Oakley family had a summer cottage. Oakley rhapsodised on the windswept beaches where occasionally he would come across the rotting remains of old fishing boats. When these paintings were exhibited in 1965 at the Bondgate Gallery, Alnwick, along with works by Lord Haig and J.H. Themal, Oakley, according to The Guardian, "stole the show". A few years later, as Seamus Heaney and Michael Longley were emerging as the poetic voices of Ulster, the critic William Feaver praised the "mortuary effect" of the painter's "leaky skies" and "peat trenches". Oakley might easily have been typecast as an Irish landscapist of a conventional kind. However, hints of Edward Hopper and "magic realism" had begun to creep into his painting and around the time of his return to England in 1974, he became interested in working in three dimensions – "dabbling in construction work" and experimenting with trompe l'oeil was how it was described. Repeated visits to the Dutch museums instilled a respect for the measured space of Vermeer, Terborch and Metsu, and took him back to his Slade School exercises in mathematical perspective. In 1982, on a student trip, he visited the massive 360-degree Mesdag Panorama in The Hague which was re-examined in a series of works – as indeed were the methodical approaches of painters such as Thomas Eakins and George Stubbs whose deep visual research led to periods of physical and spiritual isolation. These and the Dutch masters became his new subject matter in what were described as "works with romantic and historical associations", in the first of three exhibitions staged at Pyms Gallery, London in 1984 – perhaps the most fruitful collaboration of Oakley's career since it led to touring shows, in galleries in Hull, York, Kendal and Belfast. What we see in The Eakins Studio (1986), for instance, is a box/vitrine, similar to a stage designer's model. The life room impedimenta, sculpture stands and a "donkey", are recreated in miniature – tiny hand-crafted objects in which experience is locked. And on the back wall are pinned the famous studies of male and female nudes which contain them. Oakley's own experiences had come back to haunt him. A connection between these austere academic rituals and lost heroes such as Scott and Oates of the Antarctic, or Mallory and Irvine on Everest, fused in his mind and led him to produce the evocative Antarctic Triptych (1984) and the Quarter Rupee Triptych (1986) in which the intrepid teams of explorers and mountaineers pose for famous photographs. In the former the image is pinned to the remnants of one of their packing cases, along with other memorabilia, including a postcard of Caspar David Friedrich's The Wreck of the 'Hoffnung', inspired by an attempt on the North Pole in 1823. Embedded in the foreground fragments of cracked ice are remnants of a Union Jack. By the early Nineties, other themes, equally austere, suggested themselves. The discovery of a monument to Roger Casement, the death of Richthoven and new interpretations of Balthus, Winslow Homer and Magritte were added to the repertoire in these later years when two further solo shows were staged at Castleside Gallery, Cockermouth, in 1996 and 2000. In 1999 he won the Singer Friedlander/Sunday Times watercolour prize with The Thomas Eakins Gallery. In a genial, self-deprecating way, Charles Oakley used to claim that he was having fun and that these "tableaux" were just a way of filling time. But it was much more than that. Serious research would take him off to find the Mallory ice axe at the Alpine Club, or in 1996, back to Rajasthan. And with collectors waiting for paintings that might take months of detailed work to complete, he carried on until his late seventies when his eyes began to fail. Thereafter, he still spent his mornings in the studio, listening to Radio 3 and reading, surrounded by the work of a lifetime. Note: Kenneth McConkey is Emeritus Professor of Art History at the University of Northumbria. He is an expert on British, Irish and French painting of the late nineteenth and early twentieth centuries, especially Sir John Lavery, British Impressionism and the New English Art Club, and has published extensively on the art of the period, including on George Clausen. Very good condition with no visible or known issues.

* SIMON LAURIE RSW RGI (SCOTTISH b. 1964), GONDOLAS acrylic on board, signed, titled versoframedimage size 75cm x 81cm, overall size 93cm x 98cmNote: Simon Laurie is a contemporary Scottish landscape and still life artist, whose paintings are characterised by references to Scottish life and society, incorporating fish, boats, religious symbols and everyday items. These objects are arranged upon a rich textural ground created by the application of multiple layers of acrylic paint. He has worked with acrylic paint for almost 30 years, developing his own individual style and fundamental visual language. Laurie was born in Glasgow and studied at Glasgow School of Art from 1982 to 1988. He was elected a member of the Royal Scottish Society of Painters in Watercolours (RSW) in 1991 and the Royal Glasgow Institute (RGI) in 2000, where he served as convener for six years. He has had many solo shows, both in the UK and abroad, and has won many prestigious and major awards. His work is held in many public, private and corporate collections including Aberdeen Art Gallery, Contemporary Arts Society, London; Feren Art Gallery, Hull; Freshfields, London; Leicestershire Education Committee; Lillie Art Gallery, Milngavie; Nationwide Building Society, London; Royal Bank of Scotland; TSB Headquarters, London; Unilever PLC; William Teacher and Sons Ltd; Wyse Group; Walter Scott Investments Ltd, Edinburgh; Biggart Baillie; Aberdeen Asset Management; The Whisky Society, Edinburgh; Adam and Co Bank; Provident Financial; The Scottish Arts Club, Edinburgh.

* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), STORM BEACH watercolour on paper, signed, titled label versomounted, framed and under glassimage size 25cm x 33cm, overall size 47cm x 53cm Artist's label verso.Note: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.

* MARGARETANN BENNETT RSW (SCOTTISH b. 1968), SMOULDER oil on board, signed, titled and dated 2011 versoframed and under glass image size 19cm x 16cm, overall size 38cm x 35cmLabel verso: Smithy Gallery, GlasgowNote: Margaretann Bennett graduated from the Glasgow School of Art in 1991 and has since worked full-time at her studio in Glasgow. She exhibits in galleries and at major art fairs throughout the UK, and in the major Scottish open exhibitions. She has won numerous awards and her paintings are held in the public collections of St Andrews Hospital, Fife, the Princess Margaret Rose Hospital, Edinburgh and in numerous corporate collections.. Margaretann is constantly pushing the boundaries of her work, resulting in a progressive transformation toward a darker imagery and narrative. It is not surprising that this no holds barred artist has a large and growing following who can't get enough of her exciting work. Awards include: The Mabel MacKinlay Award (RGI), The Scottish Arts Club Award (RSW), Inverarity One to One Travel Award RGI), The Arnold Clark Award (PAI), The Armour Award RGI), The William Bowie Award (PAI), The Landside College Watercolour Award (RGI), Contemporary Fine Art Gallery Award (PAI), The Glasgow Art Club Fellowship (RGI), Scottish Arts Council Individual Development Award (1997).

* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), BROKEN EDGE watercolour on paper, signed, titled label versomounted, framed and under glassimage size 43cm x 59cm, overall size 70cm x 85cmNote: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.

* KIRSTY WITHER (SCOTTISH b. 1968), CORNER OF THE PARLOUR oil on canvas, signed, titled and dated 1999 label versoframed image size 54cm x 54cm, overall size 72cm x 72cm Label verso: The Gatehouse Gallery, Glasgow.Note: Kirsty Wither is a fine artist who studied in Scotland and from her studio now in Brighton paints brightly coloured and textured still lifes, figures and landscapes. Kirsty Wither was born in 1968 and studied at Gray’s School of Art in Aberdeen from 1986 to 1990. Her paintings are as much about the surface quality as the subject matter, as she applies vibrant layers of oil paint to achieve the desired outcome. Since 1989 she has been selected to appear in group exhibitions throughout the UK and from 1995 has had regular solo exhibitions in Glasgow, Edinburgh and London. She was elected Artist Member of the Chelsea Arts Club in 2004 and has many works in private and public collections worldwide. Her galleries include Portland Gallery (London), Open Eye Gallery (Edinburgh), Duncan Miller Fine Art (London), Capital Club (Dubai) and Mansfield Park Gallery (Glasgow).

* JOHN MATHISON RGI (SCOTTISH 1935 - 1991), NEAR OPINAN watercolour on paper, signed, titled label versomounted, framed and under glass image size 12cm x 23cm, overall size 28cm x 39cm Label verso: The Glasgow Art Club

* JAMES TWEEDIE RGI (BRITISH b. 1951), CHINESE WHISPERS oil on board, signed, titled verso framed image size 60cm x 75cm, overall size 77cm x 92cm Note: A mostly self-taught artist, James Tweedie depicts the real world with a stroke of the surreal, to fill each painting with a sense of mystery, like that of a dream. He began his art career in 1972 and since then his work has been exhibited widely across the UK and Europe. His work can be found in many collections across the UK and North America. While born in Manchester, Tweedie moved when he was young to Glasgow, where he currently lives and works. He exhibits regularly in London, Glasgow, and Edinburgh. Tweedie has received a number of awards, including the Maude Gemmell Hutchison Prize and Scottish Arts Club Award from the Royal Scottish Academy, as well as the William Bowie Award from the Paisley Art Institute. He was elected as a member of the Royal Glasgow Institute of the Fine Arts (RGI) in 2016.

* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), ARRIVING TIDE watercolour on paper, signed, titled label versomounted, framed and under glass image sie 36cm x 47cm, overall size 61cm x 71cm Artist's label verso.Note: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.

* JOE HARGAN PAI PPAI (SCOTTISH b. 1952), PIANO FORTE oil on canvas, signed, titled versoframed and under glassimage size 102cm x 102cm, overall size 127cm x 127cmNote: The first time since August 2021 that we or any other auction house has offered a relatively recent full sized 40 x 40 inch Joe Hargan oil. This magnificent example in superb condition has been consigned by a private collector from Surrey who is in the process of downsizing. In The Scottish Contemporary Art Auction of 15th August 2021 lot 527 "Pia Pia Piano" by Joe Hargan sold for £7500 (hammer).Note 2: Joe Hargan, was born in 1952 in Glasgow. He studied Drawing and Painting at Glasgow School of Art from 1970 – 74 under Danny Ferguson RSW. RGI., James Downie Robertson RSW.RGI.RSA.PAI. and Dr David Donaldson RSA. RGI. D.LITT (Queen’s Limner). Joe is a well recognised and respected figure on the Scottish art scene. He was President and Chairman of the Paisley Art Institute from1989 – 2000 and he was President of the Glasgow Art Club from 2018 to 2021. Joe is also the recipient of numerous awards. Joe is a master of colour and tongue in cheek humour. His paintings are not only finely executed; they offer humorous and sometimes surreal vignettes of the good life. These feature "Sniffy" and various other characters within striking gallery and stately home settings. Recurring symbols and metaphors abound within the paintings, and one is often treated to a painting within a painting. An old master within a new master. Having a real thirst for knowledge, Joe values learning as a life long pleasure rather than a school bound necessity. Within a single painting one can find, he references to Velazquez and Damian Hirst sitting side by side. This is alongside symbols of the good life (wine), learning (books), and contemporary culture (the burger). He juxtaposes apparently opposing forces within single paintings. Contemporary art and the art of the old masters, ‘high’ culture and ‘low’ culture. Joe Hargan paintings have always been much sought after in our auctions.Very good condition with no visible or known issues.

* TOM HOVELL SHANKS RSW RGI PAI (SCOTTISH 1921 - 2020), CHRISTMAS DAY, EATON SOCON watercolour on paper, signed, titled and dated 1950mounted, framed and under glass image size 17cm x 27cm, overall size 30cm x 45cm Artist's label verso.Note: Artist in watercolour, pen and ink, mixed media; muralist, designer and teacher, born in Glasgow. He left school to become an apprentice carpet designer for Templeton’s, first exhibiting with the firm’s art club. After war service Shanks took the diploma course at Glasgow School of Art. Upon graduating in 1950 he started on a career as a freelance mural painter; was a designer and printer with Edinburgh Weavers’ Dovecot Studios for eight years; stage designer with Rutherglen Rep; and teacher at Glasgow School of Art and in schools in the city and in Renfrewshire, where he settled in Kilbarchan. However, he termed his main occupation “landscape painter”, having been in love with the landscapes of the Western Highlands since his parents took him to the Isle of Skye aged seven. These were portrayed in his Scottish Horizons show at Cyril Gerber Fine Art, Glasgow, in 1994, again at Cyril Gerber in 2004, and previously in solo exhibitions throughout Scotland. He was a member of RSW and Royal Glasgow Institute of the Fine Arts, also exhibiting with RSA, Royal Scottish Society and Glasgow Group. Public galleries in Glasgow and Paisley and Lillie Art Gallery, Milngavie, hold examples.

* ALEXANDER GOUDIE RP RGI (SCOTTISH 1933 - 2004), STUDY FOR OVER THE BRIDGE - HELL FOR LEATHER pencil on paper, signed, titled label versomounted, framed and under glass image size 21cm x 28cm, overall size 43cm x 50cm Label verso: Roger Billcliffe Fine Art, Glasgow.Note: Alexander Goudie was born in 1933 at Paisley and, as a child, showed prodigious talent for drawing. He studied at Glasgow School of Art when William Armour was head of drawing and painting and David Donaldson was the ubiquitous influence. Goudie, as a student at Glasgow, demonstrated his extraordinary ability. He received the Somerville Shanks Prize for Composition and, later, his draughtsmanship and sense of colour was recognized with the award of the Newbery Medal. As a young artist he grew up admiring three great masters, Sir John Lavery, George Henry and James Guthrie; all artists who had bridged the gap between Glasgow and Paris. It was these artists’ glorious virtuoso control of oil paint that appealed to Goudie, as well as their genre and realist subject-matter. Alexander Goudie was elected a member of the Glasgow Art Club in 1956 and a member of the Royal Society of Portrait Painters in 1970. He painted a portrait of the Queen for the Caledonian Club, London (1992/93), and exhibited widely, showing at Harari and Johns, in London, the Fine Art Society, Glasgow, and the Musee de la Faience, in Quimper. Sir Timothy Clifford, former Director of the National Galleries of Scotland, wrote: ''At his best, Goudie could draw better than any of his rivals in Scotland. There was magic and vision in his art and, I expect, history will be kind to him.'' Collections: 79 of Goudie's paintings are held in UK public collections including at Glasgow Museums & Galleries, The Hunterian, Rozelle House Galleries, Paisley Museum & Art Galleries and The Fleming Collection (London). Numerous prestigious corporate collections in the UK and France and in private collections around the world.

* ALEXANDER GOUDIE RP RGI (SCOTTISH 1933 - 2004), THE LOVERS bronze sculpture on marble base, signed42cm high (including base), 31cm wideNote: Alexander Goudie was born in 1933 at Paisley and, as a child, showed prodigious talent for drawing. He studied at Glasgow School of Art when William Armour was head of drawing and painting and David Donaldson was the ubiquitous influence. Goudie, as a student at Glasgow, demonstrated his extraordinary ability. He received the Somerville Shanks Prize for Composition and, later, his draughtsmanship and sense of colour was recognized with the award of the Newbery Medal. As a young artist he grew up admiring three great masters, Sir John Lavery, George Henry and James Guthrie; all artists who had bridged the gap between Glasgow and Paris. It was these artists’ glorious virtuoso control of oil paint that appealed to Goudie, as well as their genre and realist subject-matter. Alexander Goudie was elected a member of the Glasgow Art Club in 1956 and a member of the Royal Society of Portrait Painters in 1970. He painted a portrait of the Queen for the Caledonian Club, London (1992/93), and exhibited widely, showing at Harari and Johns, in London, the Fine Art Society, Glasgow, and the Musee de la Faience, in Quimper. Sir Timothy Clifford, former Director of the National Galleries of Scotland, wrote: ''At his best, Goudie could draw better than any of his rivals in Scotland. There was magic and vision in his art and, I expect, history will be kind to him.'' Collections: 79 of Goudie's paintings are held in UK public collections including at Glasgow Museums & Galleries, The Hunterian, Rozelle House Galleries, Paisley Museum & Art Galleries and The Fleming Collection (London). Numerous prestigious corporate collections in the UK and France and in private collections around the world.

Collectables to include chemists pill making equipment; cased knurling tools, character pipe with horn finial, and others; blackthorn club or walking stick; opium scales etc.

A brass club fender with red leather upholstered seats, 46 x 153 x 39cm external, 139 x 31cm internal

A modern green leather studded club fender, 47 x 159 x 87cm internally, 137cm wide x 76cm deep approximately

Jean Dryden Alexander (British, 1911-1994) A Small Bouquetsigned lower rightoil on board 28.5cm x 23cmProvenance:The Oriel GalleryJean was the daughter of the East Anglian landscape artist, Robert Graham Dryden Alexander and regularly exhibited at the Royal Academy and the New English Art ClubFrame size: 46cm x 40.5cm

Collection of 10 British Quads for Blazing Saddles (1974), The Silent Partner (1978), The China Syndrome (1979), The Treasure of Matecumbe (1976), The Royal Hunt of the Sun (1969), The Decameron (1971), The Great Train Robbery (1979), Cinema Screening Poster for Doctor Faustus and Lord of the Flies (1967?), La Boheme (1965), Variety Club of Gt. Britain with Vera Lynn for The Cinema and Television Benevolent Fund (year unknown), all folded, all approx. 30 x 40 inches (10 items) Condition Report: Various conditions

Two pin brooches, in 9ct gold, one representing comedy and tragedy, the other a golf club, 4.4g total weight

* Mixed Silver. A silver two handled trophy cup by Walkers & Hall, Sheffield, 1911, the scalloped body with two scroll handles on a circular pedestal base, body inscribed ’Monmouthshire Golf Club 1912 Gentleman’s single handicap 1st prize ...’, 17.2cm diameter, 12.5 cm high 333g, together with a silver sugar bowl by Thomas Ducrow & Sons, 1946, of plain form on circular foot, 5.5 cm high,160g, plus other itemsQTY: (5)

A Victorian era hardwood knobkerrie club. Engraved to the end '257 Pte R Farrar ASC Pretoria SA'. L77cm. The Army Service Corps was responsible for supplying the British Army with supplies and transporting troops and was involved in the Anglo-Zulu War of 1879

Clarice Cliff - An original 1930s Newport Pottery Co promotional sales pamphlet for 'Bizarre Ware' depicting the Mr Duck Football team with 'Sports colours - All Club Colours can be Reproduced - GET MASCOTS OF YOUR FAVOURITE TEAM' with an image of two teams of ducks in football strip on a pitch, measures 14.5cm x 22cm.

Charles III (b.1948) then HRH Prince of Wales; a signed Christmas and New Year card {1999} inscribed "To you both, from? Charles", folded card with cypher to cover and a colour photograph of the Prince of Wales with Princes William and Harry at Cirencester? Polo Club, envelope lacking. Provenance: Alan Maxwell MVO, of photographic and camera specialist, Wallace Heaton Ltd., official suppliers to the Royal Family

A Moorcroft vase in the Blue Rhapsody Himalayan poppy design by Philip Gibson, made for the Moorcroft Collectors Club, approximate height, 25cm, 1st Quality, in good condition with No chips, cracks or restoration, factory marks to base.

A collection of silver items to include; an Edwardian silver box, of plain rectangular shape with gilt interior, hallmarked by ES Barnsley, Birmingham, 1904, approx. 8cm wide; three hallmarked silver napkin rings, one plain by George Unite, one engine turned and a Victorian example with foliate decoration; a single Dublin silver teaspoon, by Philip Weekes; a novelty trefid style spoon engraved Y.G.C 1st Class Medal, April 1939, hallmarked by Page, Keen & Page; a small Viners of Sheffield coffee spoon engraved B.F.G.C; a pair of silver and enamel spoons for Beeston Fields Golf Club;  two similar elaborate American sterling silver spoon, one engraved Philadelphia, other Independence Hall; a single Cooper Bros teaspoon with gold club terminal; a C.W. Fletcher silver bladed mother of pearl pocket knife, along with four small silver trophies, varying sizes and shapes and makers, only one weighable as others have metal brackets attaching to stands (one missing stand); a silver topped cut glass match holder and a silver collared scent bottle (both bits of glass with loss and chips). Weighable silver approx. 288.8 grams (9.2ozt) Further details: tarnishing; surface wear, scratches, rubbing and some dents; scent bottle and match holder with dents, splits and wear.

A Silver open faced pocket watch, comprising a white dial with numeral markers, subsidiary dial at 6, machine engraved case approx 55mm, key wind,  together with a graduated silver Albert link chain, widest approx 8mm, T bar and swivel clasp, length approx 33cm, suspending a chain and cross fob, Birmingham, 1893,along with a gents silver Id bracelet with engraved top, a white metal tooth pick pendant modelled as a crane with chain, possibly silver, a silver gilt cross in box with plated metal chain and two pin badges including Motorcycle club Further details: case with some denting, glass with slight chips to edge, winds and ticking, wear and tear commensurate with age  Note: regarding watches/pocket watches please note movements untested, functionality untested, modifications and restorations may not be disclosed in the catalogue description, for more information on condition or any detail related to this lot please request a condition report with specific questions or view the lot in person

A large quantity of 20th century Derbyshire County Cricket Club year books

Aero Club, Ventura, High Plane Models, Rare Plane and similar a boxed and bagged 1:72 scale group of military aircraft injection molded kits (see photo for kit names). Conditions appear generally Good to Excellent (though unchecked for completeness) within generally Good boxes/bags. See photo.

Italeri, ARV Club, Humbrol Heller a boxed 1:35 scale military related model kits to include; Italeri No.6445 - Sd.Kfz. 232 6 rad, as well as others (see photo). Conditions appear generally Excellent to Near Mint (with most kit parts bagged, instructions present and some boxes appearing sealed) within generally Good to Good Plus boxes. See photo. 

Hasbro, a boxed Group of Sports Themed Monopoly Sets. Includes Surfing Collectors Edition, The Jockey Club with others. Although unchecked for completeness condition appears Good to Good Plus within Fair Plus to Good boxes. See Photo

Corgi Aviation Archive Collectors Club Special, Corgi Precision Cast Classics and Similar, a boxed group military aircraft group, to include AA31912 Supermarine Spitfire MK VB "Royal Aeronautical Society Garden Party", AA36504 Hawker Typhoon Mk.IB-EK273 "SQN LDR DON 'Butch' Taylor" and others. Although unchecked for completeness, conditions appear generally Good to Excellent with generally Fair to Good boxes where applicable. See photo.

Hasbro, a boxed Group of Football Themed Monopoly Sets. Includes Tottenham Hotspur, Chelsea Football Club with others Although unchecked for completeness condition appears Good to Good Plus within Good to Good Plus boxes. See Photo

Hasbro, a boxed Group of Football Themed Monopoly Sets. Includes Manchester City, Birmingham City Football Club with others. Although unchecked for completeness condition appears Good to Good Plus within Good to Good Plus boxes. See Photo

Corgi "Aviation Archive", a boxed 1:72 Scale group to include AA36302 Fairey Swordfish Mk.1 and others. Also includes some Collector Club Specials. Although unchecked for completeness, condition appears generally Excellent in generally Good boxes. See photos.

Silver, circular brooch with golf club design

An Early 20th Century oak club fender. Circa 1900-1910. 135x43x47cm. 1

The Beatles, and others, 1960s-70s -A collection of thirteen Beatles vinyl LP records, a few early pressings; twenty-two Beatles vinyl singles; The Beatles Book; Beach Boys concert programmes and ticket stubs; with other music related ephemera -The White Album, second pressing, top opening, numbered sleeve (0371599), complete with poster and four photographs.A Hard Day's Night, PMC 1230, 1964 UK mono pressing on Parlophone, black/ yellow labels, The Parlophone Co recording. first published in 1964, with EMITEX inner sleece, XEX 481 - 3N and XEX 482 - 3N; Help!, PMC 1255, 1965, UK mono pressing on Gramophone, black/ yellow labels, The Gramaphone Co., with Times New Roman font text, Sold in the UK text with Mono outline text to front cover, EMITEX inner sleeve, XEX 549-2 and XEX 550-2;Abbey Road, PCS 7088, 1969, UK early pressing, Apple, without Her Majesty credit, with aligned apple logo, and black inner sleece, XEX 749 -2 and 750-1;Yellow Submarine, PCS 7070, 1969, UK mono pressing, Apple, with Sold in U.K. text to both sides, black inner sleeve, XEX 715-1 and 716-1;Revolver, PMC 7009, 1966, UK mono pressing on Gramophone, black/ yellow labels, The Gramaphone Co., with Sold in the UK text on both sides, and Dr. Roberts spelling to vinyl label and outer sleeve, XEX 605-2 and XEX 606-2; and Sgt Peppers Lonely Hearts Club Band, Beatles For Sale, A Collection of Beatles Oldies, Please Please Me, Rubber Soul (Mono), and Let It Be (Apple); together with, The Beatles: twenty-two vinyl singles, 45rpm; The Beatles Book, forty-two issues, nos. 3, 6, 8, 15 - 48, 75, with duplicate nos. 33, 35; Twelve programmes, to include, two Musical Express booklets 1965-66 and 1966-67; The Beach Boys presented by Arthur Howes, brown photo. illustrated covers, 1970; The Beach Boys with Lulu, 1966, blue photo. illustrated covers, with facsimile signed black and white photograph loosely inserted; The Beach Boys Show, red photo. illustrated covers, together with two original Beach Boys concert ticket stubs, the first (pink) Granada, Tooting, 8th November,1966; the second (blue) Odeon Hammersmith, 4th May 1967; together with, The Rolling Stones Spring Scottish Tour, 1965 presented by Eric Easton; Harold Davison and Tito Burns present Jimi Hendrix Experience, 1967, white covers illustrated in pink and purple, other artists appearing included, The Pink Floyd, The Move, The Nice, and The Amen Corner; five Beatles related publications, to include, The Beatles Book 1966 Christmas Extra; The Beatles Quiz Book, 1964; and three souvenir Beatles posters, each 20 x 30 inches.LENNON (John). a pair of first edition hardback books, In His Own Write, Jonathan Cape, 1964; and A Spaniard In the Works, Jonathan Cape, 1965. (qty) Yellow Submarine - scratches to surface of both sides and red clay coloured paint to the surface of Side 1 and to black inner sleeve

Autographs: Pat Osborne, BBC producer's Autographed Visitor’s Book, 1940s-50s, signed by Walt Disney, Gene Kelly, Wing Commander Guy Gibson, Roy Plumley, Roy Rogers and Trigger, David Niven, Kenneth Horne, and many other guests on the BBC radio programmes, ‘Desert Island Discs’, ‘Housewives’ Choice’, Star Round Up Xmas, 1951, and Film Time at the Festival -a ruled and indexed A-Z address book with soft burgundy covers, 8vo. 17 x 23cm, containing 65+ signatures, many dated between 1943 to1953, ink ownership in the producer’s hand to front endpaper, ‘Pat Osborne Gramophone Department, B.B.C. 5.10.43’, and her further manuscript half-title reads, ‘Distinguished Visitors’. The autographs, a few with sketches, are mostly signed on a single page, inscribed with personal messages dedicated ‘to Pat’, and further annotated in Pat Osborne’s hand to note the title of programme, date, and guest’s name in brackets, to include -Frederick Allen, 15.10.43; Brenda Bruce; Phyllis Calvert, 1948; Petula Clark; Michael Dennison; Robert Donat and Walt Disney (together on the reverse of page ‘D’ with Micheal Dennison and others on reverse).‘Film Time at the Festival’, eight signatures including, Marjorie Fielding and José Ferrer; Stewart Granger.Guy Gibson 14.2. 44, signed to top of page ‘G’ with other signatures below, further written in Pat Osborne’s hand ‘(Wing Commander V.C., D.S.O., D.F.C. (Desert Island Discs)’ , and Dulcie Gray’s signature on reverse).Bob Danvers-Walker, the voice of Pathe News, an autographed eleven-line poem titled ‘Housewives Choice first programme Mon March 4th, 1946’.Margaret Lockwood; Len Hutton; David Jacobs, Sept 1949; Gene Kelly; Jean Kent; Alan Ladd, 1952; Glad Mills (pianist, Mrs Mills); John MacVane (NBC radio correspondent) 22/1/44, ‘The man who didn’t like Mickey Rooney’; John McCullum; David Niven; David Nixon (Housewives Choice); Eric Portman.Roy Plumley, who is best known for creating the radio programme ‘Desert Island Discs’ in November 1941. His dedication to Pat Osborne reads, ‘To Pat, The face behind the centre room window at where from we tremble. With love from the desert island story, Roy Plumley, Oct. 5th, 1943’.Derek Roy; Cecile Chevreau; Ralph Reader (Sqd. Leader Ralph Reader MBE) known for staging the original Gang Show; Roy Rogers and Trigger; Eleanor Smith, Oct. 5th, 1943; Jean Simmons; Christopher Stone, 1950; Valerie Hobson; Thora Hird; Janette Scott; Michael Storm, ‘To my producer from “The Hack’, with an ink sketch; Kieran Moore, and Googie Withers; together with, Kenneth Horne, loosely inserted Typed Letter Signed, a single-page on printed headed paper, dated January 22, 1965, sent form his London address to Miss Pat Osborne, B.B.C. London W.1., ‘many thanks for putting up with me for the last week . . . I hope you enjoyed the programme, notwithstanding the perilous journeys that you had to make from distant parts . . . all the best, Kenneth’.a five-page typescript transcript of an interview given by Pat Osborne, titled,‘These Radio Times, Pat Osborne Section, ‘Housewives’ Choice, etc’, dated 1955, with blue ink annotations throughout in Miss Osborne’s hand. A fascinating insight into Pat Osborne’s contribution as a young pioneering producer for the BBC, and her creation of ‘Housewives’ Choice’, which first aired on the morning of March 4, 1946, for which Pat chose a title, signature tune, and comperes; together with, five related newspaper cuttings; and seven black and white BBC publicity photographs, depicted Pat Osborne with colleagues and guests, including Michael Storm and Alan Ladd, annotated in ink on reverse ‘Television World, Film Time’, many stamped on reverse, various sizes, the largest, 10 x 8 inches. (14).Guy Gibson was the first Commanding Officer of No. 617 Squadron, which he led in the ‘Dam Busters’ raid in May 1943, for which he was awarded the Military Cross. Gibson later commented as a castaway on ‘Desert Island Discs’ that his eighth choice of record, Wagner’s, ‘The Ride of the Valkyries’, reminded him of a bombing raid. Seven months after recording the programme, Guy Gibson aged twenty-six, was killed when the Mosquito he was piloting crashed at Steenbergen in the Netherlands on September 19, 1944. Provenance:Pat Osborne started working for the BBC as a typist at the age of 18 in 1936 until she left the company in the mid-1970s. Pat began to take over the corporation’s programmes which had lost their male producers to Her Majesty’s Armed Forces and by 1946 she had become a highly professional senior BBC producer in her own right.Miss Osborne started the BBC’s radio programme, ‘Woman’s Hour’ and produced numerous programmes including, ‘Housewives’ Choice’, ‘Radio Rhythm Club’, ‘Desert Island Discs’,‘ March of the Movies’, International Hit Parade’, and ‘The Wonderful World of Disney’ broadcasts on Christmas Day to name a few. Throughout her 40 years with the BBC, Pat Osborne made many friends, many of whom included the best-known names in show business. Some rubbing to spine and some wear to covers and edges of indexed pages, otherwise internally clean and bright with strong signatures.

Kate Bush: A collection of autographed items-the first; autographed letter written by Kate Bush to the vendor, dated 1st October 1980, the letter reads "Dear John, Thank you for your lovely letter. It was great to hear from you. Thanks for the photo too! I'm sure my Ma didn't mind you paying a visit, she thought you were nice, and as long as our dwelling remains discreet with you - there's NO problem. I'm really glad you enjoy my music - that means a lot. Hope you're well and happy. Lots of love Kate Bush xxxx";the second; autographed copy of "Army Dreamers", awarded to the vendor for winning the "Breathing" completion, the vinyl cover note reads "To dear John, Congratulations! Love Kate Bush xxx";the third; Lionheart/ Tour of Life programme, autographed by the stage performers touring with Bush, awarded to the vendor for winning a fan club competition, signed by Preston Heyman, Paddy Bush, Del Palmer, Brian Bath, Liz Pearson, Kevin McAlea, Ben Barson, Simon Drake, Alan Murphy, Stewart Avon Arnold, Glenys Grooves, and Gary Hurst, within an illustrated folder with club note, three tour postcards, and four flyers;together with related ephemera including - The Kate Bush Club Magazine #2 and #8, The Kate Bush Club welcome note, welcome letter, membership card, merchandise list, and a concert ticket for Kate Bush at Usher Hall Edinburgh on Friday 13 April 1979 at 8.00 pm. This item has not been authenticated, please satisfy yourself as to the veracity of this item prior to bidding Please satisfy yourself as to the veracity of this item prior to bidding

The Smiths: an original contract for the band's proposed live performance at U4 Club, Vienna (Austria), on Thursday 26th April 1984, signed by Morrissey, confirming the agreement between All Trade Booking, The Smiths and the promoter, dated 2nd April 1984. The extensive agreement includes financial arrangements, such as 'The Performer shall receive a guaranteed fee of £1000 + PA + Lights, + Rider + Hotel Costs for two nights. The above fee to be net of all deductions, taxes etc, unless otherwise previously agreed in writing; the fee is to be paid in cash before the Performer goes onstage', 'From the total fee £500 shall be paid by telex in advance to our bank account', and 'The Promoter shall book and pay for in addition to the fee the following hotel rooms in a 4 Star class hotel: 5 singles, 2 twins (Total 9 persons)'. It goes on to outline the requirements for stage dimensions and layout, the dressing room arrangements, stage crew needs and PA details. The band's Rider includes: 'Tea, sandwiches, 2 litres of our orange juice, and 2 litres of cold, fresh milk on the arrival of the PA crew at the venue, tea on arrival of the band at the venue, good quality hot meals for 10 people (2 vegetarian). NO FAST FOOD OR JUNK FOOD. 3 x 75cl bottles of Soave D.O.C., 3 x 75cl bottles of Beaujolais A.C., 18 large cans of German Pilsner lager, 4 x litres of pure orange juice, 2 x litres of Perrier mineral water, 40 Silk Cut (or any mild brand, NOT USA) cigarettes, A good and varied selection of fresh fruit. A selection of flowers to the approximate value of £50 sterling, including gladioli, (no roses or flowers with thorns please)'. As well as a diagram of the requested stage layout, there is a list of names given for hotel room bookings, comprising the four band members, tour manager Phil Cowie and various crew. Morrisey's distinctive signature is at the foot of the first page, together with that of the promoter. NB: It is apparent that this event didn't take place, for reasons unknown. From the personal collection of the late Mike Hinc, former booking agent at Rough Trade for Morrissey, The Smiths and others. The lot forms part of an extensive archive of related items on this sale, consigned by the family of Mike Hinc.

Walt Disney (1901-1966). ‘Cinderella’. Autographed reproduction of an original colour animation cel drawing, Walt Disney Productions, Burbank, California, (c. 1950) -depicted Gus and Jaq, Cinderella’s loveable mouse friends, and boldly inscribed by Walt Disney in black crayon on lower right margin, ‘To Pat Osborne Best Wishes Walt Disney’, further annotated in pencil in an unknown hand beneath the image on left margin ‘From Cinderella’, the image 15 x 20cm within mount, printed label on reverse, 44 x 42cm overall, framed and glazed. Provenance:Personally gifted by American animator, film producer, Walt Disney, to the vendor’s mother, the Late Pat Osborne, who was a BBC producer and close friend of Walt Disney.Pat Osborne started working for the BBC as a typist at the age of 18 in 1936, until she left the company in the mid-1970s. Pat then began to take over the corporation’s programmes which had lost their male producers to Her Majesty’s Armed Forces and by 1946 she had become a highly professional senior BBC producer in her own right.Miss Osborne started the BBC’s radio programme, ‘Woman’s Hour’ and produced numerous programmes including, ‘Housewives’ Choice’, ‘Radio Rhythm Club’, ‘Desert Island Discs’,‘ March of the Movies’, International Hit Parade’, and ‘The Wonderful World of Disney’ broadcasts on Christmas Day to name a few. Throughout her 40 years with the BBC, Pat Osborne made many friends, many of whom included the best-known names in show business.Bold and clear signature, a few small marks to the cream mount, toning and rubbing to printed label on reverse, some scuffs to the frame, otherwise overall good condition.

The Smiths: A typed letter, hand-signed by Morrissey in blue crayon, written to Mike Hinc of All Trade Booking, dated September 19th [1984], regarding plans for forthcoming live show bookings, reading 'Dear Mike, Thank you for sending the rider. You understand that I no longer have any physical need for gladioli or small greenary [sic] (passe, man), but instead, an insatiable biological need for a small tree. Please include this paltry request on Irish rider (indeed all future riders). The tree itself should be imminently swingable, at least four feet in length, minus thorns or anything likely to maime [sic] a delicate artistic hand.Please send me a detailed list of the finalised Irish dates. It had always been group policy never to return to any given venue, so this is why we frown at the Ulster Hall. I wish something could be done. Is it too late? We have no real passion to visit Londonderry. Can you let me know the finalised ticket prices for all Irish dates? Provenance: From the personal collection of the late Mike Hinc, former booking agent at Rough Trade for Morrissey, The Smiths and others. The lot forms part of an extensive archive of related items on this sale, consigned by the family of Mike Hinc.We feel that the February-March tour should be mammoth. The crew need details of venues as soon as possible. We plan to accommodate a huge screen onstage (this was roughly planned for the three upcoming gigs, but stage area was deemed too small). So although we'd like all venues (practically) to be stand up's, there must be stage space for a vast screen. Sergeant Featherstone can explain further.The main purpose of the Feb-March tour will be to promote the 2nd LP ['Meat is Murder']. If LP is not released by mid-February, we are in deep trouble. I want to avoid antics of Feb-March tour '84 where LP was released mid-tour.Instead of playing two (or more!) nights at a London venue, can we not play a London date early in the tour and London date at latter half, playing two separate venues? Also, for Manchester, can we wheedle in a concert hall date and a club date?Please think about these two points.RT [Rough Trade] release a compilation LP mid-November of radio sessions, but otherwise a record release before the end of this year is unlikely.As a matter of total trivia, although waves splash abound, The Smiths as a unit have never been so unified and determined. Plus, we still get heaps of fan mail (especially me). Love (I expect), Morrissey.' A second typed letter, (facsimile text and signature), dated May 21st 1985, reads: 'Dear Mike, The final Spanish date was the worst 24 hours of our career. As a direct result, please discard any notions of the Smith ever doing any European hikes. Enough is enough.We will never work with Stuart James again. Please produce a choice of three tour managers for America. We can quite easily conduct swift interviews in Manchester and finally brand the luckless candidate.We will never take a flight on a gig day; our ears are precious. We rely on them. Please apply this to the US jaunt.It was good to see you in Madrid, but clearly Scott left the country without altering his notions of US Tour Presidency. I rely on you fully to clean this issue up and get it out of the way.To re-tell the San Sebastian incident is to re-live it. Naturally, our Spanish promoters turned into our worst enemies. We were inches away from imprisonment. Everybody in the entourage deserted the group.We do not want a caterer for the US tour. If the promoters don't provide ample basic food, we're going home to our Mothers.I think that demanding there be no barriers and very modest 'heavies' at US gigs is a wholly reasonable request. The absolute purpose of this tour is to incite stage invasions.Please let me know the situation with James. Has a second 'major' group been added to Dublin? Please confirm with Scott that Jim Connelly is available for America. After all, we need at least one person to be on our side.Finally, our strongest thanks to Hilary for all her brainpower throughout the Spanish hotel siege. Too sincerely, Morrissey.'

Brunel University: Original music concert and related posters, 1969-1971 –a group of fifteen promotional concert and related posters, all rolled, various sizes, the largest 20 x 30 inches, to include –The Amazing Pink Floyd, plus Gracious & other groups, Brunel University Arts Festival, Kingston Lane, Uxbridge, Friday 28th November 1969, printed Impact, Windsor, 68379.Noel Redding’s (Ex Jimi Hendrix) Fat Mattress, Brunel University, Kingston Lane, Uxbridge, Friday 3rd October 1969, printed Impact, Windsor, 68379.Long John Baldry, Hoochie Coochie Men with Rod “The Mod” Stewart, Aylesbury Bluesville, Borough Assembly Hall, Aylesbury, Tuesday 15th September 1970, printed Arthur’s, Woodchester, Stroud.Wild Wally’s New Rock and Roll Show, plus Super Support Band, Brunel University, Kingston Lane, Uxbridge, Saturday 2nd May 1970, printed Impact, Windsor.Bawby Bar Night, with Diz Dizley, Pete Wilson in Drag and full supporting show, Brunel University, Woodlands Av., Acton W.3, Friday 15th May 1970, printed Impact.Social Sec’s of Up and Coming Bands that Could be Next Years Giants!! Brunel University, Club College Entertainments, Woodlands Av., Acton W.3, featuring Aardvark and Stray etc., printed ImpactGraham Bond Initiation, Keef Hartley, and guest group Stack, Brunel University, Kingston Lane, Uxbridge, Saturday 15th November 1969, printed Impact, Windsor, 68379.Jimmy Reed and His Band, Brunel University, Woodlands Av., Acton W.3, Friday 10th October 1969.Alan Elsdon Jazz Band, Brunel University, Woodlands Av., Acton W.3, Friday 7th November 1969, Printed Impact, Windsor 68379.Bramstoker + Stack, Brunel University, Kingston Lane, Uxbridge, Friday 15th May 1970, printed Impact.Rag Week & a Half, Brunel University, Student’s Union, Kingston Lane, Uxbridge, promoting Albert Hall Night!, featuring George Fame, John Peel and 10 Years After, Fancy Dress and Pyjama Dance, Stag Night Cabaret, Roman Orgy, Folk Evening and All Nighter Up the Lyceum Strand, featuring Joe Cocker, Spencer Davis and others.Chicken Shack and Smoky Rice, Brunel Blues Scene,Royal Dental Hospital Dance, The Sound Trackers, Friday 28th February 1969.A Genuine Old Fashioned Acton Rave, Brunel University, Woodlands Av., Acton W.3, featuring Wild Wally’s Rock and Roll Show, plus Opal Butterfly and Evolution,Noel Murphy and Shaggis, plus The Kindra, sing and the London College of Printing, Elephant and Castle, SE1, Friday 21st March 1969, printed by Hood and Gough, with a little help from the Beano. (15) Provenance:The Vendor attended Brunel University and as Social Sectrtary during the late 1960s and early 70s was responsible for booking bands and artists for the University's concerts and events during this time.