A PAIR OF GILTWOOD HALL BENCHESAFTER WILLIAM KENT, LATE 20TH CENTURYeach with the back centred by a head of Amphitrite above carved fish scales and scrolling foliage, above similarly carved and slightly outswept arms, on foliate carved 'S' scroll legs and a deep apron of a pair of Nereids flanking an urn issuing a plant, with seaweed stretchers, upholstered in a red and gilt silk damask (2)107cm high, 160cm wide, 78cm deepProvenancePurchased from Anthony Outred.A Private Collection.Catalogue NoteThe original set of eight settees, of which this pair is a copy, were designed by William Kent for Richard Child, Viscount Castlemaine, between 1725 and 1730, to go into his newly completed Wanstead House in Essex. The contents of the house were sold in 1822, prior to the house being demolished in 1824. The catalogue described each settee as “an elegant square settee, in superb massive carved and gilt frame, with scrolled elbows, the back stuffed in costly crimson Genoa velvet, and squab to correspond, on scroll legs, the frame ornamented with mermaids [sphinxes], and festoons of flowers”. Six of these eight settees were eventually bought by Catherine Woronzow, wife of the 11th Earl of Pembroke, as part of her refurbishment of Wilton House, Salisbury. The remaining two are now at Rievaulx, Yorkshire.
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Comics / Books - Large quantity of various books and comics to include around 120 x Commando Comics with earliest issue No. 970 and latest issue No. 2800 with many runs in the 2000's onwards with some earlier examples, quantity of Ladybird Books to include Adventure On The Island, Jump From The Sky, Games We Like, The Big House, Fun And Games, etc, various Puffin Books including Charlotte's Webb, The Mouse And The Motorcycle, Saddlebottom, The Secret Garden, etc, small quantity of The World Of Beatrix Potter book sets, etc
1970s fashions to include a block printed indian cotton smock dress by Kum Kum, marked L but will fit a S/M well, a floral printed smock dress with velvet bib and trim to the kimono sleeves by Annie Gough for Gemini, marked M, will fit S-M, a paisley print silk crepe smock dress by Jean Varon with waist sash or scarf, a velour shirtwaist dress with belt and quilted waistcoat by Just Claire, size 40 and a brown cord house coat with quilted cotton trim by David Flower (5) CONDITION: All pieces show some wear commensurate with age and useElastic at the wrists has perished in the kum kum dressThe Jean Varon has a mark that runs down along side the button holesQuilted waistcoat has a mark on the inside that isn't seen from outsideHousecoat has an open seam at the back of the armhole
Collection of antique / vintage bisque dolls, etc, including: (1) Armand Marseille 390, composition and wood ball jointed body, chip to neck socket, 22"/56cm; (2) AM My Dream Baby 351, tooth missing, composition body is repainted / flaking / crazing, 20"/51cm; (3) AM 3200 shoulder head doll; (4) modern bisque baby doll; (5) & (6) modern dolls house wax dolls lady and gentleman; (7) wax Asian doll; largest 22"/56cm and smallest 6"/15cm; (7).
Collection of vintage bears and animals, including Wendy Boston, Chad Valley Chiltern, clockwork artificial silk plush bear on all fours; clockwork cymbal playing monkey, etc; Fair to Good; (qty). Provenance: The vendor states: "My 95 year old Mother has had the brown Teddy Bears since childhood. At a young age of only 4, she was taken to toy manufacturer Chad Valley in Harborne, Birmingham and chose one. The other bear with the growl initially belonged to her Brother, but he didn’t take care of him, so he joined my Mother’s collection. She would put them in a row, along with a cat and a sailor boy from the Queen Mary liner, in her bed at night and tuck the bedclothes up nearly under their necks, very careful not to ‘suffocate them’! She can still visualise the line up – always in exactly the same order! She loved them all; they were her own little family. When my parents moved to Germany in the 1950s, the bears were left at her parents’ house. They subsequently survived a few house moves but sadly became a bit worse for wear over the years. It was only when my parents downsized recently after 66 years in the same house that we re-discovered the bears in the eaves. The other stuffed toys were bought in the late 1950s and early 1960s for my Sister and me. The white bear was bought for me when I was born in 1960 and was much loved. It would mean a lot to know that they can all find a new loving home and maybe be restored some way to their former glory!
A PAINTED PINE OVERMANTEL MIRROR IN GOTHIC REVIVAL STYLE, 20TH CENTURY 128cm high, 155cm wide Provenance: Commissioned from Dudley Poplak in the 1990's Private Collection, Wiltshire Dudley Poplak was a British interior decorator that frequently worked for the royal family and other members of nobility. One of his most famous projects was his 1981 refurbishment of the interior of Highgrove House as a wedding gift for Princess Diana and Prince Charles. Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use The top of the frieze with four screw holes from its previous method of securing to a wall. These holes could be filled in and disguised. Some areas of the painted surface with minor wear, scuffs and scratches. Of solid structure.Condition Report Disclaimer
A VICTORIAN SATIN MAPLE SOFA IN THE 'JACOBETHAN' STYLE DESIGNED BY EDWARD MIDDLETON BARRY, THIRD QUARTER 19TH CENTURY 86cm high, 213cm wide, 87cm deep Provenance: From the Damask Bedroom, Crewe Hall Once covered in a blousy chintz, this sofa from the late 1860's dates to Edward Middleton Barry's restoration of Crewe Hall after it burnt in 1866. Christie's sold a watercolour of the Great Hall at Crewe in 1998 by Joseph Nash, in the accompanying text they suggest the interior was decorated by Clayton and Bell, and by J. G. Crace. The house is Jacobean with Edward Blore's remodelling in the early 19th century. Barry respected the Blore and earlier interiors in his restoration and must be responsible for the design of this sofa with its strapwork carving conforming to the plasterwork in the 'Damask Bedroom' where it sat at the end of a four-poster bed. This sofa remained with the Crewe family until sold at auction in 2024. In May 2015, Sotheby's sold the collection of the Duchess of Roxburghe's contents of West Horsley Place amongst which were various Neo-Jacobean table lamps with a similar strap work design by Edward Middleton Barry. Condition Report: As can be seen in the catalogue and online images this will require reupholstery, the current surface is a variety of underlayers that are not designed to have been seen including calico, wadding and webbing. There are tack marks to the frame where this has been secured previously, the legs are polished but are distressed in appearance and will require some attention when upholstered. The measurements include the current upholsteryOld woodworm holes visible to the frame Splits and cracks, chips and lossesPlease see additional images for visual reference to condition Condition Report Disclaimer
Twelve pieces of hand painted Poole Pottery Traditional ware to include vases, jug, sandwich plate and other including two 1930's pieces with pink slip bases. [W] NOTE: IN HOUSE SHIPPING IS NOT AVAILABLE FOR THIS LOT, PLEASE CONTACT CLIENT SERVICES FOR A LIST OF SUITABLE COURIERS AND A QUOTE.
Carole MCDOWALL (1944) Anima Mundi Oil on canvas, signed and titled verso, 107cm x 112cm. Carole McDowall studied printmaking and sculpture at Putney Art School from 1973-1978, during which time she had work chosen to exhibit at the Royal Academy summer exhibition, 1975, and later she gained a Fine Art Degree in Painting from the Sir John Cass School of Art in the mid-1980's. She was a part of a group of artist based in and around Porthleven in the late 1980's. At this time, Porthleven had become quite a centre for artists. The Acme studios provided 6 large studios some of which were subdivided and shared, with Jeremy Annear amongst the painters to take a studio there, with Bryan Ingham also moving to a studio at this time. The OYOYOY dinner party almost became an institution amongst Porthleven artists in the late eighties. It usually took place with about eight or ten artists in a first floor flat in Penair House overlooking the mouth of the harbour (which incidentally was rented to the artists by Daphne McClure) or at John and Carole McDowall’s home. The evenings consisted of a really good meal, lots of Bulgarian red wine and intense art discussion usually winding up just before dawn! These discussions were passionate, heated and noisy and on these occasions one of the artists was appointed to chair. There were many creative spin-offs from these evenings. One of the consequences of these evenings was the formation of the Cobalt Group, which formed around 1989 to challenge and question the given work processes of its members in daylong workshops at the Acme Studios in Porthleven. The members of the group were Carole McDowall, Ralph Freeman, Roy Walker, Russ Hedges, and Jeremy Annear. Carole and her associates have been referred to as third-generation Cornish Modernists, began by Ben Nicholson and Barbara Hepworth and following on from the likes of Peter Lanyon and Terry Frost. Other artists referred to in this third generation include Anthony Frost, Micheal Finn, Tony O’Malley, Jeremy LeGrice, Daphne McClure, Jeremy Annear, Russ Hedges, Ralph Freeman Steve Dove, Roy Ray, John Clark, Clive Blackmore, Simon Averill, Roy Walker, Bob Devereux, John Emmanuel, Bob Crossley and Andrew Lanyon.
Carole MCDOWALL (1944) Carver's Path Oil on canvas, signed and titled verso, 153cm x 160cm. Carole McDowall studied printmaking and sculpture at Putney Art School from 1973-1978, during which time she had work chosen to exhibit at the Royal Academy summer exhibition, 1975, and later she gained a Fine Art Degree in Painting from the Sir John Cass School of Art in the mid-1980's. She was a part of a group of artist based in and around Porthleven in the late 1980's. At this time, Porthleven had become quite a centre for artists. The Acme studios provided 6 large studios some of which were subdivided and shared, with Jeremy Annear amongst the painters to take a studio there, with Bryan Ingham also moving to a studio at this time. The OYOYOY dinner party almost became an institution amongst Porthleven artists in the late eighties. It usually took place with about eight or ten artists in a first floor flat in Penair House overlooking the mouth of the harbour (which incidentally was rented to the artists by Daphne McClure) or at John and Carole McDowall’s home. The evenings consisted of a really good meal, lots of Bulgarian red wine and intense art discussion usually winding up just before dawn! These discussions were passionate, heated and noisy and on these occasions one of the artists was appointed to chair. There were many creative spin-offs from these evenings. One of the consequences of these evenings was the formation of the Cobalt Group, which formed around 1989 to challenge and question the given work processes of its members in daylong workshops at the Acme Studios in Porthleven. The members of the group were Carole McDowall, Ralph Freeman, Roy Walker, Russ Hedges, and Jeremy Annear. Carole and her associates have been referred to as third-generation Cornish Modernists, began by Ben Nicholson and Barbara Hepworth and following on from the likes of Peter Lanyon and Terry Frost. Other artists referred to in this third generation include Anthony Frost, Micheal Finn, Tony O’Malley, Jeremy LeGrice, Daphne McClure, Jeremy Annear, Russ Hedges, Ralph Freeman Steve Dove, Roy Ray, John Clark, Clive Blackmore, Simon Averill, Roy Walker, Bob Devereux, John Emmanuel, Bob Crossley and Andrew Lanyon.
Carole MCDOWALL (1944) Susurris Oil and mixed media on canvas, signed and titled verso, dated '98/99, 148cm x 153cm. Carole McDowall studied printmaking and sculpture at Putney Art School from 1973-1978, during which time she had work chosen to exhibit at the Royal Academy summer exhibition, 1975, and later she gained a Fine Art Degree in Painting from the Sir John Cass School of Art in the mid-1980's. She was a part of a group of artist based in and around Porthleven in the late 1980's. At this time, Porthleven had become quite a centre for artists. The Acme studios provided 6 large studios some of which were subdivided and shared, with Jeremy Annear amongst the painters to take a studio there, with Bryan Ingham also moving to a studio at this time. The OYOYOY dinner party almost became an institution amongst Porthleven artists in the late eighties. It usually took place with about eight or ten artists in a first floor flat in Penair House overlooking the mouth of the harbour (which incidentally was rented to the artists by Daphne McClure) or at John and Carole McDowall’s home. The evenings consisted of a really good meal, lots of Bulgarian red wine and intense art discussion usually winding up just before dawn! These discussions were passionate, heated and noisy and on these occasions one of the artists was appointed to chair. There were many creative spin-offs from these evenings. One of the consequences of these evenings was the formation of the Cobalt Group, which formed around 1989 to challenge and question the given work processes of its members in daylong workshops at the Acme Studios in Porthleven. The members of the group were Carole McDowall, Ralph Freeman, Roy Walker, Russ Hedges, and Jeremy Annear. Carole and her associates have been referred to as third-generation Cornish Modernists, began by Ben Nicholson and Barbara Hepworth and following on from the likes of Peter Lanyon and Terry Frost. Other artists referred to in this third generation include Anthony Frost, Micheal Finn, Tony O’Malley, Jeremy LeGrice, Daphne McClure, Jeremy Annear, Russ Hedges, Ralph Freeman Steve Dove, Roy Ray, John Clark, Clive Blackmore, Simon Averill, Roy Walker, Bob Devereux, John Emmanuel, Bob Crossley and Andrew Lanyon.The frame shows previous signs of worm and would benefit from being treated. The canvas is fragile in areas affected by this.
Carole MCDOWALL (1944) Sancreed No.3 Oil on canvas, signed, titled and dated '92 verso, 138cm x 147cm. Carole McDowall studied printmaking and sculpture at Putney Art School from 1973-1978, during which time she had work chosen to exhibit at the Royal Academy summer exhibition, 1975, and later she gained a Fine Art Degree in Painting from the Sir John Cass School of Art in the mid-1980's. She was a part of a group of artist based in and around Porthleven in the late 1980's. At this time, Porthleven had become quite a centre for artists. The Acme studios provided 6 large studios some of which were subdivided and shared, with Jeremy Annear amongst the painters to take a studio there, with Bryan Ingham also moving to a studio at this time. The OYOYOY dinner party almost became an institution amongst Porthleven artists in the late eighties. It usually took place with about eight or ten artists in a first floor flat in Penair House overlooking the mouth of the harbour (which incidentally was rented to the artists by Daphne McClure) or at John and Carole McDowall’s home. The evenings consisted of a really good meal, lots of Bulgarian red wine and intense art discussion usually winding up just before dawn! These discussions were passionate, heated and noisy and on these occasions one of the artists was appointed to chair. There were many creative spin-offs from these evenings. One of the consequences of these evenings was the formation of the Cobalt Group, which formed around 1989 to challenge and question the given work processes of its members in daylong workshops at the Acme Studios in Porthleven. The members of the group were Carole McDowall, Ralph Freeman, Roy Walker, Russ Hedges, and Jeremy Annear. Carole and her associates have been referred to as third-generation Cornish Modernists, began by Ben Nicholson and Barbara Hepworth and following on from the likes of Peter Lanyon and Terry Frost. Other artists referred to in this third generation include Anthony Frost, Micheal Finn, Tony O’Malley, Jeremy LeGrice, Daphne McClure, Jeremy Annear, Russ Hedges, Ralph Freeman Steve Dove, Roy Ray, John Clark, Clive Blackmore, Simon Averill, Roy Walker, Bob Devereux, John Emmanuel, Bob Crossley and Andrew Lanyon.
Carole MCDOWALL (1944) Traces II Acrylic on canvas and paper, signed and titled verso, 140cm x 140cm. Carole McDowall studied printmaking and sculpture at Putney Art School from 1973-1978, during which time she had work chosen to exhibit at the Royal Academy summer exhibition, 1975, and later she gained a Fine Art Degree in Painting from the Sir John Cass School of Art in the mid-1980's. She was a part of a group of artist based in and around Porthleven in the late 1980's. At this time, Porthleven had become quite a centre for artists. The Acme studios provided 6 large studios some of which were subdivided and shared, with Jeremy Annear amongst the painters to take a studio there, with Bryan Ingham also moving to a studio at this time. The OYOYOY dinner party almost became an institution amongst Porthleven artists in the late eighties. It usually took place with about eight or ten artists in a first floor flat in Penair House overlooking the mouth of the harbour (which incidentally was rented to the artists by Daphne McClure) or at John and Carole McDowall’s home. The evenings consisted of a really good meal, lots of Bulgarian red wine and intense art discussion usually winding up just before dawn! These discussions were passionate, heated and noisy and on these occasions one of the artists was appointed to chair. There were many creative spin-offs from these evenings. One of the consequences of these evenings was the formation of the Cobalt Group, which formed around 1989 to challenge and question the given work processes of its members in daylong workshops at the Acme Studios in Porthleven. The members of the group were Carole McDowall, Ralph Freeman, Roy Walker, Russ Hedges, and Jeremy Annear. Carole and her associates have been referred to as third-generation Cornish Modernists, began by Ben Nicholson and Barbara Hepworth and following on from the likes of Peter Lanyon and Terry Frost. Other artists referred to in this third generation include Anthony Frost, Micheal Finn, Tony O’Malley, Jeremy LeGrice, Daphne McClure, Jeremy Annear, Russ Hedges, Ralph Freeman Steve Dove, Roy Ray, John Clark, Clive Blackmore, Simon Averill, Roy Walker, Bob Devereux, John Emmanuel, Bob Crossley and Andrew Lanyon.
Carole MCDOWALL (1944) Unnamed Collage Mixed media and oil on canvas, signed and titled, Royal West of England Academy label verso, 153cm x 160cm. Carole McDowall studied printmaking and sculpture at Putney Art School from 1973-1978, during which time she had work chosen to exhibit at the Royal Academy summer exhibition, 1975, and later she gained a Fine Art Degree in Painting from the Sir John Cass School of Art in the mid-1980's. She was a part of a group of artist based in and around Porthleven in the late 1980's. At this time, Porthleven had become quite a centre for artists. The Acme studios provided 6 large studios some of which were subdivided and shared, with Jeremy Annear amongst the painters to take a studio there, with Bryan Ingham also moving to a studio at this time. The OYOYOY dinner party almost became an institution amongst Porthleven artists in the late eighties. It usually took place with about eight or ten artists in a first floor flat in Penair House overlooking the mouth of the harbour (which incidentally was rented to the artists by Daphne McClure) or at John and Carole McDowall’s home. The evenings consisted of a really good meal, lots of Bulgarian red wine and intense art discussion usually winding up just before dawn! These discussions were passionate, heated and noisy and on these occasions one of the artists was appointed to chair. There were many creative spin-offs from these evenings. One of the consequences of these evenings was the formation of the Cobalt Group, which formed around 1989 to challenge and question the given work processes of its members in daylong workshops at the Acme Studios in Porthleven. The members of the group were Carole McDowall, Ralph Freeman, Roy Walker, Russ Hedges, and Jeremy Annear. Carole and her associates have been referred to as third-generation Cornish Modernists, began by Ben Nicholson and Barbara Hepworth and following on from the likes of Peter Lanyon and Terry Frost. Other artists referred to in this third generation include Anthony Frost, Micheal Finn, Tony O’Malley, Jeremy LeGrice, Daphne McClure, Jeremy Annear, Russ Hedges, Ralph Freeman Steve Dove, Roy Ray, John Clark, Clive Blackmore, Simon Averill, Roy Walker, Bob Devereux, John Emmanuel, Bob Crossley and Andrew Lanyon.
Carole MCDOWALL (1944) Dark Ambition Mixed media on canvas, signed and titled verso, 133cm x 110cm framed. Carole McDowall studied printmaking and sculpture at Putney Art School from 1973-1978, during which time she had work chosen to exhibit at the Royal Academy summer exhibition, 1975, and later she gained a Fine Art Degree in Painting from the Sir John Cass School of Art in the mid-1980's. She was a part of a group of artist based in and around Porthleven in the late 1980's. At this time, Porthleven had become quite a centre for artists. The Acme studios provided 6 large studios some of which were subdivided and shared, with Jeremy Annear amongst the painters to take a studio there, with Bryan Ingham also moving to a studio at this time. The OYOYOY dinner party almost became an institution amongst Porthleven artists in the late eighties. It usually took place with about eight or ten artists in a first floor flat in Penair House overlooking the mouth of the harbour (which incidentally was rented to the artists by Daphne McClure) or at John and Carole McDowall’s home. The evenings consisted of a really good meal, lots of Bulgarian red wine and intense art discussion usually winding up just before dawn! These discussions were passionate, heated and noisy and on these occasions one of the artists was appointed to chair. There were many creative spin-offs from these evenings. One of the consequences of these evenings was the formation of the Cobalt Group, which formed around 1989 to challenge and question the given work processes of its members in daylong workshops at the Acme Studios in Porthleven. The members of the group were Carole McDowall, Ralph Freeman, Roy Walker, Russ Hedges, and Jeremy Annear. Carole and her associates have been referred to as third-generation Cornish Modernists, began by Ben Nicholson and Barbara Hepworth and following on from the likes of Peter Lanyon and Terry Frost. Other artists referred to in this third generation include Anthony Frost, Micheal Finn, Tony O’Malley, Jeremy LeGrice, Daphne McClure, Jeremy Annear, Russ Hedges, Ralph Freeman Steve Dove, Roy Ray, John Clark, Clive Blackmore, Simon Averill, Roy Walker, Bob Devereux, John Emmanuel, Bob Crossley and Andrew Lanyon.
Carole MCDOWALL (1944) Madron II Acrylic on canvas, signed and titled verso, 140cm x 166cm. Carole McDowall studied printmaking and sculpture at Putney Art School from 1973-1978, during which time she had work chosen to exhibit at the Royal Academy summer exhibition, 1975, and later she gained a Fine Art Degree in Painting from the Sir John Cass School of Art in the mid-1980's. She was a part of a group of artist based in and around Porthleven in the late 1980's. At this time, Porthleven had become quite a centre for artists. The Acme studios provided 6 large studios some of which were subdivided and shared, with Jeremy Annear amongst the painters to take a studio there, with Bryan Ingham also moving to a studio at this time. The OYOYOY dinner party almost became an institution amongst Porthleven artists in the late eighties. It usually took place with about eight or ten artists in a first floor flat in Penair House overlooking the mouth of the harbour (which incidentally was rented to the artists by Daphne McClure) or at John and Carole McDowall’s home. The evenings consisted of a really good meal, lots of Bulgarian red wine and intense art discussion usually winding up just before dawn! These discussions were passionate, heated and noisy and on these occasions one of the artists was appointed to chair. There were many creative spin-offs from these evenings. One of the consequences of these evenings was the formation of the Cobalt Group, which formed around 1989 to challenge and question the given work processes of its members in daylong workshops at the Acme Studios in Porthleven. The members of the group were Carole McDowall, Ralph Freeman, Roy Walker, Russ Hedges, and Jeremy Annear. Carole and her associates have been referred to as third-generation Cornish Modernists, began by Ben Nicholson and Barbara Hepworth and following on from the likes of Peter Lanyon and Terry Frost. Other artists referred to in this third generation include Anthony Frost, Micheal Finn, Tony O’Malley, Jeremy LeGrice, Daphne McClure, Jeremy Annear, Russ Hedges, Ralph Freeman Steve Dove, Roy Ray, John Clark, Clive Blackmore, Simon Averill, Roy Walker, Bob Devereux, John Emmanuel, Bob Crossley and Andrew Lanyon.
Carole MCDOWALL (1944) Sancreed No 1 (Blue) Oil on canvas, signed, titled and dated '92 verso, 139.5cm x 169cm. Carole McDowall studied printmaking and sculpture at Putney Art School from 1973-1978, during which time she had work chosen to exhibit at the Royal Academy summer exhibition, 1975, and later she gained a Fine Art Degree in Painting from the Sir John Cass School of Art in the mid-1980's. She was a part of a group of artist based in and around Porthleven in the late 1980's. At this time, Porthleven had become quite a centre for artists. The Acme studios provided 6 large studios some of which were subdivided and shared, with Jeremy Annear amongst the painters to take a studio there, with Bryan Ingham also moving to a studio at this time. The OYOYOY dinner party almost became an institution amongst Porthleven artists in the late eighties. It usually took place with about eight or ten artists in a first floor flat in Penair House overlooking the mouth of the harbour (which incidentally was rented to the artists by Daphne McClure) or at John and Carole McDowall’s home. The evenings consisted of a really good meal, lots of Bulgarian red wine and intense art discussion usually winding up just before dawn! These discussions were passionate, heated and noisy and on these occasions one of the artists was appointed to chair. There were many creative spin-offs from these evenings. One of the consequences of these evenings was the formation of the Cobalt Group, which formed around 1989 to challenge and question the given work processes of its members in daylong workshops at the Acme Studios in Porthleven. The members of the group were Carole McDowall, Ralph Freeman, Roy Walker, Russ Hedges, and Jeremy Annear. Carole and her associates have been referred to as third-generation Cornish Modernists, began by Ben Nicholson and Barbara Hepworth and following on from the likes of Peter Lanyon and Terry Frost. Other artists referred to in this third generation include Anthony Frost, Micheal Finn, Tony O’Malley, Jeremy LeGrice, Daphne McClure, Jeremy Annear, Russ Hedges, Ralph Freeman Steve Dove, Roy Ray, John Clark, Clive Blackmore, Simon Averill, Roy Walker, Bob Devereux, John Emmanuel, Bob Crossley and Andrew Lanyon.
Carole MCDOWALL (1944) Madron Oil on canvas, signed and titled verso, 166cm x 140cm. Carole McDowall studied printmaking and sculpture at Putney Art School from 1973-1978, during which time she had work chosen to exhibit at the Royal Academy summer exhibition, 1975, and later she gained a Fine Art Degree in Painting from the Sir John Cass School of Art in the mid-1980's. She was a part of a group of artist based in and around Porthleven in the late 1980's. At this time, Porthleven had become quite a centre for artists. The Acme studios provided 6 large studios some of which were subdivided and shared, with Jeremy Annear amongst the painters to take a studio there, with Bryan Ingham also moving to a studio at this time. The OYOYOY dinner party almost became an institution amongst Porthleven artists in the late eighties. It usually took place with about eight or ten artists in a first floor flat in Penair House overlooking the mouth of the harbour (which incidentally was rented to the artists by Daphne McClure) or at John and Carole McDowall’s home. The evenings consisted of a really good meal, lots of Bulgarian red wine and intense art discussion usually winding up just before dawn! These discussions were passionate, heated and noisy and on these occasions one of the artists was appointed to chair. There were many creative spin-offs from these evenings. One of the consequences of these evenings was the formation of the Cobalt Group, which formed around 1989 to challenge and question the given work processes of its members in daylong workshops at the Acme Studios in Porthleven. The members of the group were Carole McDowall, Ralph Freeman, Roy Walker, Russ Hedges, and Jeremy Annear. Carole and her associates have been referred to as third-generation Cornish Modernists, began by Ben Nicholson and Barbara Hepworth and following on from the likes of Peter Lanyon and Terry Frost. Other artists referred to in this third generation include Anthony Frost, Micheal Finn, Tony O’Malley, Jeremy LeGrice, Daphne McClure, Jeremy Annear, Russ Hedges, Ralph Freeman Steve Dove, Roy Ray, John Clark, Clive Blackmore, Simon Averill, Roy Walker, Bob Devereux, John Emmanuel, Bob Crossley and Andrew Lanyon.
WW2 SBS SAS Earl Jellicoe signed rare cover. COF 16d 1st Participation of aeroplane in Sea Battle Signed by The Earl Jellicoe 31 May 02 BFPS 2670 The First Participation of an Aeroplane in a Sea Battle. Flown in Hercules no 30 Sqn from RAF Lyneham to Oslo overflying the area of the Battle of Jutland. Personally Signed by The Right Hon The Earl Jellicoe KBE DSO MC FRS. He inherited the title Earl Jellicoe at the age of 17, on the death of his father. As well as commanding the Special Boat Service in the Second World War, George Jellicoe was a long serving parliamentarian, being a member of the House of Lords for 68 years (1939 2007). Commissioned into the Coldstream Guards on 23 March 1940, before joining No 8 ( Guards ) Commando, with whom on 31 January 1941 he sailed to the Middle East He served with L Detachment (from April 1942 which was the nucleus of the Special Air Service. He was mentioned in despatches 3 times and wounded (bullet in shoulder) once whilst with the 3rd Battalion, Coldstream Guards, in 22 (Guards) Brigade in the Western Desert in January 1941. He won the DSO in November 1942 for operating on a raid that claimed to have blown up more than 20 German aircraft (Ju 88's) on Heraklion airfield, Crete, that June: Certified Copy no 0067 of 100. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
James Cauty aka Jimmy Cauty (British, b.1956)The sisters of perpetual resistance,1994Two painted and engraved crowbarsJames Cauty (British, b 1956) s a British artist and musician who has become very popular for his art. He painted the popular ‘The Lord of the Rings’ art print for British retailer Athena, as well as the cover for the concept album ‘The King of Elfland’s Daughter’. He is also best known as a leading innovator in the birth of the ambient house genre and as the man who (along with former bandmate Bill Drummond) burnt one million pounds.Cauty has distinguished himself as an artist and cultural provocateur through fusions of high art, low art and popularist mediums, sometimes with spectacular effect. In October 2005, James Cauty founded CNPD (Cautese Nationál Postal Disservice) and established ‘Stamp Art’. This art takes the form of real stamps, first day covers and limited edition prints through a series of popular images. At artrepublic, enjoy James Cauty's roguish and voluble approach through his darkly comical art prints.Measures approx. 31cm (12") long.
James Cauty (British, b 1956)War is Over If You Want It Or Not 2007Exhibition postcardJames Cauty (British, b 1956) s a British artist and musician who has become very popular for his art. He painted the popular ‘The Lord of the Rings’ art print for British retailer Athena, as well as the cover for the concept album ‘The King of Elfland’s Daughter’. He is also best known as a leading innovator in the birth of the ambient house genre and as the man who (along with former bandmate Bill Drummond) burnt one million pounds.Cauty has distinguished himself as an artist and cultural provocateur through fusions of high art, low art and popularist mediums, sometimes with spectacular effect. In October 2005, James Cauty founded CNPD (Cautese Nationál Postal Disservice) and established ‘Stamp Art’. This art takes the form of real stamps, first day covers and limited edition prints through a series of popular images. At artrepublic, enjoy James Cauty's roguish and voluble approach through his darkly comical art prints.Measures approx. 14.5cm x 21 (5 1/4" x 8 3/8")
Julio Susana (Dominican, B. 1937)"Dama de la Noche"Oil on Canvas. Signed lower right. Signed and sized verso on canvas.Having original gallery label verso.Size: 48 x 29 in.Unframed.Julio Susana stands as one of the Dominican Republic?s most prominent artists. An entire wing in the Museum of the Dominican Man in Santo Domingo is dedicated to his work. Susana?s paintings vividly manifest a field of reality integrated with the kingdom of magic. In his canvases, one sees the symbolism of Diego Rivera and Frida Khalo.Internationally acclaimed, Susana?s monumental and visionary work exudes an essential vitality that radiates life. The symbolic and the real coexist, bringing an allegorical quality to his chosen cast of characters. Timeless and dreamlike, Susana?s prophetic art creates an indelible impression upon the viewer. Uniquely honored with an award from the White House for remarkable artistic achievements, Susana?s work continues to garner thunderous acclaim and accolades.
Julio Susana (Dominican, B. 1937)"Compositora"Oil on Canvas. Signed and dated lower left. Signed, titled and sized verso on canvas.Size: 50 x 34 in.Unframed.Julio Susana stands as one of the Dominican Republic?s most prominent artists. An entire wing in the Museum of the Dominican Man in Santo Domingo is dedicated to his work. Susana?s paintings vividly manifest a field of reality integrated with the kingdom of magic. In his canvases, one sees the symbolism of Diego Rivera and Frida Khalo.Internationally acclaimed, Susana?s monumental and visionary work exudes an essential vitality that radiates life. The symbolic and the real coexist, bringing an allegorical quality to his chosen cast of characters. Timeless and dreamlike, Susana?s prophetic art creates an indelible impression upon the viewer. Uniquely honored with an award from the White House for remarkable artistic achievements, Susana?s work continues to garner thunderous acclaim and accolades.
Julio Susana (Dominican, B. 1937)"Recreacion"Oil on Canvas. Signed and dated lower right.Having original gallery price tag verso.Size: 40 x 29 in.Unframed.Julio Susana stands as one of the Dominican Republic?s most prominent artists. An entire wing in the Museum of the Dominican Man in Santo Domingo is dedicated to his work. Susana?s paintings vividly manifest a field of reality integrated with the kingdom of magic. In his canvases, one sees the symbolism of Diego Rivera and Frida Khalo.Internationally acclaimed, Susana?s monumental and visionary work exudes an essential vitality that radiates life. The symbolic and the real coexist, bringing an allegorical quality to his chosen cast of characters. Timeless and dreamlike, Susana?s prophetic art creates an indelible impression upon the viewer. Uniquely honored with an award from the White House for remarkable artistic achievements, Susana?s work continues to garner thunderous acclaim and accolades.
An Austin Reed black Hamberg, cardboard hat box; a grey felt tophat; Handbags - Waldybag, Maclaren, Zebra, Vanity Fair, Corde; hats; Textiles - linen and lace table clothes, doylees; various fabric; mink stole; others; fur collars; mid 20th century ladies gloves; a Victorian lace centrepiece with eight conforming place mats and six smaller; a Rodex coat in green tweed; Beales of Bournemouth 1970's suede jacket, size 40; a very large pure wool hooded cape; House of Fraser velvet two-piece; etc
![BRAGA. ARQUIDIOCESE.- Constituições do arce | bispado de Braga.- Lisboa: Germão Galharde, 1538.- [10], LXXXIIII f.; 28 cm.- E](https://cdn.globalauctionplatform.com/d5bf24db-2fb5-4dda-abec-b23500ec9818/adfe5d5b-f81e-4469-bd4d-b23600da1a8d/468x382.jpg)
BRAGA. ARQUIDIOCESE.- Constituições do arce | bispado de Braga.- Lisboa: Germão Galharde, 1538.- [10], LXXXIIII f.; 28 cm.- E., First printed constitutions of the Archbishopric of Braga (the second were only printed in 1697, a lot after, therefore, of the archdiocesan council of 1639). Entirely composed in Gothic characters, the edition opens with an architectural frontispiece, open in wooden matrix (verso in white), presenting the initials IHS inscribed on the pediment; in the centre the coat of arms of Infante D. Henrique, archbishop of Braga; At the bottom, the simple title, the only typed element. Eight folios follow with the “Tauoada das constitutions” and another with the prologue; the text of the constitutions themselves occupies the other folios numbered from I to LXXXIIII. On the back of the final folio, the following colophon: ¢Foram acabadas de imprimir estas cõstituições em a cidade de Lisboa p Germã galharde frances. Per mãdado do muyto alto e muito excele[n]te pncepe o senhor ifante dõ Anriq eleito arcebispo senhor d braga pmas das espanhas come[n]datario e ppetuo administrador do mosteiro de sãta Cruz | + | de coimbra a. xxx. dias do mes d mayo de mil e qnhëtos e trinta e oyto annos. | ++ | +. Copy very cropped, with damage to the title page (top margin folded) and four current titles; small wormhole on the inner margin of 11 sheets (f. LX to LXX); some stains (tidal) and signs of handling; marginal notes from the time and signs of reading and use. Circular hand stamp identified, on the second sheet; stamp of the House of Azevedo at the beginning of the prologue (lot nº 847 of the auction held in 1921/22). Ex-libris by Victor d’Avila Perez (lot no. 1904 from the auction held in 1940). It also includes, on the back cover, two printed labels: Do Monsenhor Ferreira.; S. d’Almeida e Brito. Binding from the beginning of the 19th century(?), with wormholes and loose top folder (smooth spine, gold decorated, recoverable). Inocêncio, II, p. 99. Anselmo, 615. National Library (16th Century), 94. Library of D. Manuel II, 65.
Werner Mantz (Köln 1901 – 1983 Eijsden). The 'Glass Palace', Schunck fashion house and department store, Heerlen. Um 1936Vintage. Silbergelatineabzug. 16,9 × 22,7 cm (17,4 × 23,3 cm) (6 ⅝ × 8 ⅞ in. (6 ⅞ × 9 ⅛ in.)). Rückseitig Photographen- bzw. Copyrightstempel: „FOTO & COPYRIGHT: WERNER MANTZ" sowie Adressstempel: „KARL MERGENBAUM, MAASTRICHT, VRYTHOF 2".[2033]Literatur und Abbildung: Ausst.-Kat.: Werner Mantz. The Perfect Eye. Maastricht, Bonnefonten, 2022/23, S. 247 (dort Variation)Werner Mantz eröffnete 1932 mit Karl Mergenbaum ein zusätzliches Photostudio in Maastricht.Zustandsbericht: In noch gutem Zustand. Mattes festes Papier. Unter UV-Licht keine Aufheller. Am unteren Bildrand links, ca. 2 cm von unten, horizontale Knickspur, ca. 12 cm lang. Seitenkanten und oberer linker Eckbereich mit weiteren leichten horizontalen Knickspuren. Im oberen Randbereich drei kurze unauffällige Knickspuren, je ca. 1 cm lang. Im Streiflicht Aussilberungen in den Schwärzen.Wir berechnen auf den Hammerpreis 32% Aufgeld. Für zusätzliche Informationen lesen Sie bitte §4 unserer Versteigerungsbedingungen.
Lake (Michael). King Penguins. A Survey of the Series, Exeter: Short Run Press for the Penguin Collectors Society, 2014, colour illustrations, original boards, 8vo, (one of 700 copies), with a presentation inscription from the author to bookseller Julian Nangle, together with Feinstein (Elaine). The Amberstone Exit, 1st edition, London: Hutchinson, 1972, light partial offsetting from flaps to endpapers, original cloth, dust jacket, 8vo, inscribed by the author, plus Motion (Andrew). The Customs House, 1st edition, London: Faber and Faber, 2012, original cloth, dust jacket, 8vo, inscribed by the poet, together with others, poetry related etc., including Das Himmelreimende Kind/The Sky-Rhyming Child, by R. S. Thomas, Fuchstal: Babel, 2013, limited signed edition 17/60, with a signed etching by Vroni Schwegler, numbered 6/30, The Barrow in Newport Court, a memoir of the rare book trade, by Anthony Sillem, 1st edition, 2001, Obsessions and Confessions of a Book Life, by Colin Franklin, 1st edition, 2012, and Untitled. the Real Wallis Simpson Duchess of Windsor, by Anna Pasternak, 2019, all inscribed by the authors QTY: (45)
Sassoon (Siegfried Loraine, 1886-1967). A collection of 18 books by or relating to Walter de la Mare (1873-1956), from the library of Siegfried Sassoon at his home, Heytesbury House, Wiltshire, 1910-57, mostly first editions and all but one (Two Poems by Walter de la Mare And (But!) Arthur Rogers) with Siegfried Sassoon's monogram book ticket to lower left corner of pastedowns, titles include The Three Mulla-Mulgars, 1910; Broomsticks & Other Tales, 1925, watercolour doodle by Siegfried Sassoon to front free endpaper; The Connoisseur and Other Stories, 3rd impression, 1926, presentation pencil inscription 'For darling Siegfried' [by Hester Sassoon] tipped in before front flyleaf; Henry Brocken, no date, c. 1924, 'Illustrated by Marian Ellis' inked out on title and no illustrations present; To Lucy, 1931, signed limited edition, 124/275 copies; This Year: Next Year, 1937, original cloth in slightly chipped dust jacket; The Lord Fish, Illustrated by Rex Whistler, [1935]; Memory and Other Poems, 1938, Sassoon's initialled monogram dated May 1938 in ink to top left corner of front pastedown and ink marginal notes in his hand on pp. x and xi; Behold this Dreamer, 1939, signed ink presentation inscription from the author to Sassoon to front free endpaper 'Siegfried with love from W. J. [Walter de la Mare's intimate form of signing], May 1939', Sassoon's pencil underlining of passages on pp. 5, 17 and 49, original cloth in dust jacket; The Burning-Glass and Other Poems, 1945, with ink handwritten inscription by Sassoon after the poem 'The Spectacle' on page 29, 'In Dec 1948 W.d.l.M lent me a revised version of this poem slightly longer, which I transcribed in "The Traveller"', and after 'Outer Darkness" on page 94 a pencil note 'Influenced by E. A. Poe?'; Inward Companion, 1950, with Sassoon's pencil marks against passages on pp. 13, 19 & 56, and with a footnote on p. 14, 'cf. T.H.'s [Thomas Hardy] "An August Midnight"', original cloth in dust jacket; Winged Chariot, 1951, author's signed ink presentation inscription to front free endpaper, 'To dear Siegfried (and George) [Sassoon's only son] with love from W.J., June 1951', original cloth in dust jacket; O Lovely England and Other Poems, 1st edition, 1953, original cloth in dust jacket; The Winnowing Dream, illustrated by Robin Jacques, 1954, author's autograph ink inscription to Sassoon from De la Mare to front pastedown in shaky handwriting, original stitched wrappers, slim 8vo; plus copies of John Freeman's Letters, 1936, with ink inscription by Sassoon as head of p. 243, Tea with Walter de la Mare by Russell Brain, 1957, with pencil footnote by Sassoon on page 80, Tribute to Walter de la Mare on his Seventy-Fifth Birthday, 1948, with two Typed Letters Signed 'Dick' from De la Mare's brother Richard, vice chairman of Faber & Faber, and Two Poems by Walter de la Mare And (But!) Arthur Rogers, privately printed, Newcastle-on-Tyne,1938, folded card, signed by Rogers to upper wrapper, limited edition, 141/200 copiesQTY: (20)
A bottle of Black Velvet Canadian Rye Whisky, in original presentation packaging, 70cl, 70 proof; a bottle of Canadian Club 12 Year Old Classic Canadian Whisky, distilled and bottled under Canadian Government supervision by Hiram Walker & Sons Limited, of Walkerville Ontario Canada, 1 litre, 40%; a bottle of Pointers Collectors Series Vatted Rum, commemorating the 200th Anniversary of the Battle of Trafalgar on the 21st October 1805, 1 litre, 43%; and a collection of Irish and Scottish whiskeys, comprising of; Tullamore Dew Finest Irish Whiskey, 70cl, 40%; Long John Scotch Whisky, 26 2/3fl oz, 70 proof; Justerini & Brooks Ltd Blended Scotch Whisky, 26 2/3fl oz, 70 proof; Justerini & Brooks Finest Old Blended 15 Year Old Scotch Whisky, 70cl, 43%; Inver House Red Plaid Rare 8 Year Old Blended Scotch Whisky, in red presentation pouch, 26 2/3fl oz, 70 proof; Bells Extra Special 8 Year Old Old Scotch Whisky, in presentation tube; a bottle of Bell’s Blended Scotch Whisky; and two bottles of whisky with customised commercial labels. (12)
Eighteen records by Dutch Punk band 'The Ex', all 1980's pressings: Disturbing Domestic Peace; Hands Up! You're Free; Too Many Cowboys; Support The Miners' Strike; The Red Dance Package; Joggers & Smoggers; Aural Guerilla; 27 Passports; Tumult; Disturbing Domestic Peace; History Is What's Happening; Blueprints for a Blackout; Pokkeherrie; Dignity of Labour; Catch My Shoe; Getatchew Mekurya; Enormous Door; and Dead Fish, many sealed copied; and five records by New York-based Post-Punk Rock band 'Ut': Early Live Life; Conviction; In Gut's House, remastered (sealed); Griller, special limited edition of five hundred copies (sealed); and Live at the Venue 1981 (sealed). (23)
* JAMES MCINTOSH PATRICK OBE RSA ROI (SCOTTISH 1907 - 1998), DRONLEY ROAD NEAR DRONLEY BRIDGE (BELOW BIRKHILL) watercolour on paper, signed, titled and dated 1991 label versomounted, framed and under glassimage size 36cm x 57cm, overall size 66cm x 86cmNote: After the war, Patrick returned to Dundee with his wife and family and began painting outdoors rather than in the studio which he had upstairs in his house. By the 1950's he had perfected his style and technique in outdoor landscape painting and began recording his beloved Angus countryside on canvas, working in all seasons and all weather conditions. His style was traditional and he didn't have much time for ''contemporary'' interpretations of landscape. ''The Tay Bridge from My Studio Window'', painted in 1947, is probably the best known of Patrick's works and illustrates the detailed style which he had finally decided upon as suiting his temperament best. He was elected a full member of the Royal Scottish Academy in 1957. His reputation grew throughout the sixties and seventies and by the early eighties, he was a giant in the Scottish art world. James McIntosh Patrick was an exemplar in his life and work and imparted his knowledge freely. He was, without doubt, the most able landscape painter that Scotland has produced in the 20th century and stands on equal terms with most of Europe's best landscape painters of that era. Sixty of his pictures are held in UK public collections at many of the finest museums and galleries in the UK.
THE ARCHIVE OF LETTERS FROM METHODIST MISSIONARY MISS ANNIE ELIZABETH TOOKEY, 1860-1874, in small cotton-covered scrap book, containing photograph of a coastal settlement, watercolour of the Fiji School House where she taught, at least 44 affixed or loose autograph letters on white, pink and blue paper, mostly addressed "To my dear dear father..." being William Weightman Tookey, but also to/from other individuals, several orders for sewing accessories & cloth, money orders etc., one letter on 'Panama, New Zealand & Australia Royal Mail Company Limited' letterhead, another on 'International Royal Mail Company letterhead', one within envelope (partially missing flap), with an exercise book transcribed from the original letters by Mary Ashmore (descendant). Of interest are the photograph of Annie Tookey with baby, group photographs of the collection in the Nuneaton Museum display case, the 17 April 1860 letter written from the Wesleyan College, Westminster to Anne's aunt, the 18th March 1861 letter from the Ship Liberator detailing the outward voyage to Sydney, the 20th July 1860 letter detailing her first impressions of the missionaries in Fiji and the small island of Bau (east of Viti Levu) where she was given a plot of land by Chief Cakobau on which was built a school to teach the local women and children to read, write and sew. Also a remarkable autograph letter, rescued from the wreck of the East India Mail steamer 'Colombo' (seawater stains and missing sections), written by her pupil, Adi Asenaca Kakua Vuikaba (Asenath), daughter of Chief Seru Epenisa Cakobau (1815-1883) in Fijian, and translated approximately:"I Asenath write to you Mr Tookey (to tell) you of our land in the (...) we were darkness and know the true God but now has come to us because of the tidings of Jesus Christ, we know that (lotu) Christianity is a good thing and we rejoice to have the minister in our town, that he may tell us of our Saviour Jesus, we rejoice greatly because of this thing, and we have very good joy in having Miss Tookey in our land to teach us good things. We love her very much and always remember her every day. My letter is finished. September 4th. 1862. Bau. Fiji."Also, several notebooks written Annie Tookey's descendants, several c. 1970 newspaper cuttings & photographs relating to Annie and this collection in Nuneaton Museum, book by S. E. Scholes 'Fiji and The Friendly Isles', magazine etc.Provenance: Annie Elizabeth Tookey, Methodist Missionary c.1860-1874; lent to Borough of Nuneaton Museum & Gallery from c. 1969; thence by descent to Nottinghamshire vendor.Comments: A remarkable survival of original source material from early Methodist missionary activity in Fiji, of interest to scholars, collectors, and historians alike.
LNER Railway Centenary 1825-1925 approx. S Gauge Kitbuilt Card Models of Flying Scotsman and Locomotion each with a Coach in a Perspex Display Case, produced for The Locomotive Publishing Co Ltd Terminal House Shepperton by Ian Allan (Printing) Ltd for the LNER, LNER 4472 'Flying Scotsman and Tender and Teak Sleeping Coach and Locomotion and Tender with Stage Coach style Coach, all presented on a green base with cuttings from original packaging, all made to an excellent standard, case, 29'' long x 6'' wide x 5'' high, VG
Bahamas Cenotaph FDC 1985 Signed 16 involved in WW11, VC holders, GC Holders Pilots. USA Fighter Aces. 8th May 1995 Bahamas Cenotaph cover First Day of Issue on Bahamas S2 Miniature Sheet 50th Anniversary End of WW11. Personally Signed 16 involved in WW11, VC holders, GC Holders Pilots. USA Fighter Aces. 'Bill' Weatherley MM of the 'S. O. E' ( Special Operations Executive ). Peter Ayerst who achieved confirmed victories in the Battle of Britain and not eligible for the Battle of Britain Clasp, Sqn Ldr J G P Millard Nos 1 and 242 Squadrons Battle of Britain fighter pilot. Sqn Ldr Lewis Brandon DSO, DFC and Bar Night Fighter Ace and author of the book Night Flyer 141 - 157 - 488 Sqn's. Anthony John Gledhill George Cross Holder, He was serving as a constable in the Metropolitan Police Force at the time. His partner, Constable Terry McFall, won the George Cross for the same action. They were on patrol when they were ordered to chase a car driving the wrong way down a one way street. Fifteen shots were fired at their police car during the ensuing chase. The criminals' car crashed into a lorry and they attacked the police officers, who were trying to arrest them. Both police officers were injured in the confrontation but managed to subdue the men until assistance arrived. M. K. Pratt GC. Won George Cross 4 Jul 78 Victoria Police, Australia. Geoffrey Riley Won George Cross 3 Oct 1944 was 14 Year old school boy helped an elderly women during flooding water. H H Flintoff George Cross Holder ran to the aid of a Farmer after a Bull turned on him. Avis Hearn awarded M M for Bravery during Battle of Britain whilst under stuka attack on poling radar station Aug 1940, Geoffrey Riley Won George Cross 3 Oct 1944 was 14 Year old school boy helped an elderly women during flooding water. Mr. Bamford Won George Cross 16 Dec 1952 In the early hours of the morning of 19 October 1952 a fire started in the living room in the Bamford home in Newthorpe. John, the eldest of the 6 children, and his Father managed to get Mrs. Bamford and 3 of the children out, but 2 of the boys, aged 6 and 4, were trapped in their bedroom. The wooden stairs of the house had burst into flames and it seemed impossible to get through to the boys, but John fought his way into the room through the flames and found the little boys huddled together, petrified with fright. He put an arm round each and dragged them to the window where he managed to push the younger child out to his Father standing below, who partially broke his fall. The older boy had panicked and rushed back into the burning room, so John had to catch him, drag him to the window and throw him out to his Father. By this time John himself was fast losing consciousness, and was very badly burned on his upper body, but somehow got his leg over the window-sill and forced himself out. All 3 boys were taken to hospital, where the two rescued boys were soon off the danger list, but John did not go home until February 1953, after many skin-grafting operations Edward Kenna Victoria Cross holder 2/4th ( N. S. W. )Australian Military Forces. Won VC 1945 in New Guinea. was the last living Australian Second World War recipient of the Victoria Cross, the highest decoration for gallantry "in the face of the enemy" that can be awarded to members of the British and Commonwealth armed forces. Richard Haine ( No 25(F) Sqn 4 Sep 1939 First Blenheim fighter patrol of War. Also 600 Sqn Battle of Britain pilot. Alan W Gear 32 Hurricane Sqn, Battle of Britain fighter pilot. Ralph Pass 7th Sqdn 49th Frt Gp, Lt Cdr Oscar Clark Bailey ( Buck) USA 5 Victories. Stu N …………. 71 ES RAF and 334 FS 4th FG. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
A snack lunch for two at Dulwich Picture Gallery with INK Trustee and passionate heritage print enthusiast Simon Trewin followed by a tour of the Bell House Print Room & Bindery in Dulwich Village, London SE21. You and your guest will then enjoy 2 hours of guided printing on our 1876 Albion Press and a 1950's Adana hand press to produce 24 personal correspondence cards each, some bookmarks and an inspirational print to take home to Suffolk. . https://www.bellhouse.co.uk/skills-and-craft
![HANGER, COL. GEORGE [LORD COLERAINE]: TO ALL SPORTSMEN AND PARTICULARLY FARMERS, AND GAMEKEEPERS (Hanger on Sporting), London](https://cdn.globalauctionplatform.com/e4cc06de-e351-41fe-b5e6-b236012203c6/a98c3877-209d-48b6-8af1-b23601300235/468x382.jpg)
HANGER, COL. GEORGE [LORD COLERAINE]: TO ALL SPORTSMEN AND PARTICULARLY FARMERS, AND GAMEKEEPERS (Hanger on Sporting), London, 1814, 226 pages, rebound half-red Morocco with gilt title, bearing bookplate for W.S. Curtis (Bill Curtis) (light staining and a few spots of foxing) Containing much interesting information on sporting life, shooting and even the formation of jaeger or rifle corps in the early 1800’s, the book is dedicated to Thomas Coke (Earl of Leicester) of Holkham House, Norfolk. Rebound half red Morocco with gilt title. From the library of W. S. Curtis (Bill Curtis)
HERBERT, HENRY WILLIAM: COMPLETE MANUAL FOR YOUNG SPORTSMEN BY FRANK FORRESTER New York, 1856, with inscription dated 1904, 480 pages, bearing the bookplate for W.S. Curtis (Bill Curtis) (some light staining, wear to cover) The pages detail shooting and fishing in America in the 1840’s and 1850’s, with chapters on the gun, how to choose and use it, the various breeds of dogs, all types of shooting and hunting as well as chapters on sea and river fishing. The author Frank Forrester was the pseudo name for Henry William Herbert who left England at age 24 and sailed to New York City, arriving in the spring of 1831. He was from a prominent, affluent and accomplished English family. His grandfather was an Earl, his father a member of Parliament, later an esteemed clergyman, and a recognized authority in the fields of linguistics, literary composition and botany. In the spring of 1858, at age 51, Frank Forester, who could rightfully be described as the first sporting writer in America, sent a written invitation to his friends to come to his suite at the Stevens House, a fashionable New York City hotel. The invitation asked them to join him for dinner, and then to watch him shoot himself. Only one person showed up for the unusual event. After imbibing much, Forester left the dining table, went into another room, pointed a pistol at his heart, and shot himself. He staggered out, said to his guest “I told you I would do it”.
ANDY WARHOL (1928-1987), Attribué à. Corice ARMAN, circa1979. Lithographie offset sur papier. Signé de la main de l’artiste à droite au milieu. Editeur inconnu. 26,67 x 22,86 cm la planche. 18 x 18 cm le sujet. Vendu encadré. Certificat d'authenticité. Offset lithography on paper. Signed by Andy WARHOL, black ink signature. Full sheet 10.5 x 9 inches. Colored print 7 x 7 inches. Bibliographie: "Portrait of the 70's", The Whitney Museum -Random House ed., Janvier 1979.
Sean Scully 1945 Dublin - lebt und arbeitet in Königsdorf und Berlin, Barcelona und New York Untitled (5.22.87). 1987. Aquarell über Bleistift. Rechts unten signiert und datiert bzw. betitelt '5.22.87'. Auf festem Aquarellpapier. 30,5 x 45,7 cm (12 x 17,9 in), Blattgröße. [CH]. • Lebendige Komposition aus kräftiger Farbigkeit und zart lavierender, nahezu transluzenter Aquarellierung. • Scullys ausdrucksstarke Aquarelle entstehen als eigenständige Werkgruppe parallel zu seinen großformatigen Gemälden. • Zwischen den Zeilen: Hier und da blitzt zwischen den roten und schwarzen Farbstreifen ein kräftiges Sonnengelb hervor. • Nach seinem Umzug in die Vereinigten Staaten 1975 findet Scully in den 1980er Jahren zu seiner ganz eigenen, unverwechselbaren Bildsprache. • Weitere Aquarelle aus den 1980er Jahren befinden sich u. a. in den Sammlungen der National Gallery of Art in Washington, D. C., und der Albertina in Wien. • Allein in diesem Jahr waren Scullys Werke bereits in musealen Einzelausstellungen im Passerelle Centre d'art contemporain in Brest, im Ludwig Museum in Koblenz, in der Nationalgalerie in Budapest und im The He Museum in Shunde (China) zu sehen. PROVENIENZ: David McKee Gallery, New York (auf der Rahmenrückpappe mit dem Galerieetikett). Sammlung Hannelore und Rudolph Schulhof, New York (1989 vom Vorgenannten erworben). Privatsammlung New York (durch Erbschaft vom Vorgenannten). Meredith Harper Fine Art, New York. Sammlung Chara Schreyer (2015 vom Vorgenannten erworben). LITERATUR: Alisa Carroll, Art House. The Collaboration of Chara Schreyer & Gary Hutton, New York 2016, S. 36 u. 218 (m. Farbabb.). Aufrufzeit: 07.12.2024 - ca. 16.34 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONSean Scully 1945 Dublin - lebt und arbeitet in Königsdorf und Berlin, Barcelona und New York Untitled (5.22.87). 1987. Watercolor over pencil. Signed, dated and titled '5.22.87' lower right. On firm watercolor paper. 30.5 x 45.7 cm (12 x 17.9 in), size of sheet. [CH]. • A lively composition of bold colors and delicate, almost translucent watercolor wash. • Scully's expressive watercolors were created as a separate group of works parallel to his large-format paintings. Between the lines: here and there, a bright, sunny yellow shimmers between the red and black stripes. • After relocating to the United States in 1975, Scully finally found his unique visual language in the 1980s. Other watercolors from the 1980s are in the collections of the National Gallery of Art in Washington, D.C., and the Albertina in Vienna. • This year alone, Scully's works have been shown in solo museum shows at the Passerelle Centre d'art contemporain in Brest, the Ludwig Museum in Koblenz, the Hungarian National Gallery in Budapest, and The He Museum in Shunde, China. PROVENANCE: David McKee Gallery, New York (on the frame with the gallery label). Hannelore and Rudolph Schulhof Collection, New York (acquired from the above in 1989). Private collection, New York (inherited from the above). Meredith Harper Fine Art, New York. Chara Schreyer Collection (acquired from the above in 2015). LITERATURE: Alisa Carroll, Art House. The Collaboration of Chara Schreyer & Gary Hutton, New York 2016, pp. 36 and 218 (illustrated in color). Called up: December 7, 2024 - ca. 16.34 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
Otto Pippel 1878 Lódz - 1960 München Münchner Wirtsgarten. Um 1930. Öl auf Leinwand. Rechts unten in der nassen Farbe signiert. Verso auf dem Keilrahmen mit Künstleretiketten, dort betitelt, sowie nummeriertem Galerieetikett. 111 x 100 cm (43,7 x 39,3 in). • Unter einem lichtdurchfluteten Geäst lässt Pippel die bayerische Genusskultur aufleben. • Delikate sowie furiose Maltechnik im Stile des deutschen Spätimpressionismus. • Besonders die Münchner Motive zählen zu seinen berühmtesten Werken. • Arbeiten Otto Pippels befinden sich u. a. in der Städtischen Galerie im Lenbachhaus, München, sowie in der Städtischen Galerie, Rosenheim. PROVENIENZ: Galerie del Vecchio, Leipzig (verso mit dem Etikett). Verlagssammlung Westfalen-Blatt, Bielefeld. Privatsammlung Nordrhein-Westfalen (1972 als Geschenk vom Vorgenannten). Seither in Familienbesitz. Aufrufzeit: 07.12.2024 - ca. 14.09 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONOtto Pippel 1878 Lódz - 1960 München Münchner Wirtsgarten. C. 1930. Oil on canvas. Signed lower right while paint still wet. With artist's labels verso on the stretcher, there titled and with a numbered gallery label. 111 x 100 cm (43.7 x 39.3 in). • Under a light-flooded leafy canopy, Pippel celebrates Bavarian culinary culture. • Delicate and furious painting technique in the style of late German Impressionism. • He is primarily known for his Munich motifs. • Otto Pippel's works can be found in the Städtische Galerie im Lenbachhaus, Munich, and the Städtische Galerie Rosenheim, among others. PROVENANCE: Galerie del Vecchio, Leipzig (with the label on the reverse). Collection of the 'Westfalen-Blatt' publishing house, Bielefeld. Private collection North Rhine-Westphalia (as a donation from the above in 1972). Family-owned. Called up: December 7, 2024 - ca. 14.09 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
Assorted items including silver plated spoons, hat pins, brooches and rings, old keys and brass plumblines and newer keys, trinket box, Russian doll style set of wooden boxes, cribbage board, letter rack, small tray and 1930s wooden storage box and an iron trivett, a Russian doll style set of eggs **PLEASE NOTE THIS LOT IS NOT ELIGIBLE FOR IN-HOUSE POSTING AND PACKING**
Sydney National Opera House "Red Book" (1958), Veröffentlicht von Atelier Elektra, 1958,Präsentiert von Jørn Utzon (Architekt) im Jahr 1972, 1. S. m. handschriftl. Widmung u. Unterschrift von Utzon, inkl. 1x Katalog "Stage Machinery" (Wagner Birro AG, Wien, 1972), 1x "The Evolution of the Sydney Opera House Theatre Stages" (A. Weiss, 1973) u. 3 orig. Fotografien auf Agfa, div. Größen.
FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) IONA, NORTH SHORE Signed, inscribed ‘Absorbent Ground / Never varnish / G. W. Service Esq / Myrtle Park.’ on the reverse, oil on board 37cm x 45cm (14.5in x 17.5in) Acquired from the Artist by George W. Service, Glasgow, and thence by descent to the present owner. Iona, North Shore epitomises the inspiration Cadell found on the Hebridean island of Iona, as well as his friendship with the Glasgow shipowner George W. Service (1864-1940), who acquired the painting from the artist and from whom it has descended to the present owner.Cadell visited Iona for the first time in 1912 and returned regularly until at least 1933. Its gentle light, natural beauty and expansive views provided endless subject matter for his paint and watercolour brushes. He made the most of its ever-changing weather conditions and varying topography during trips that could last from between three and five months over the spring and summer. Initially he stayed at the St Columba Hotel, but later he rented various cottages, most frequently Cnoc cúil Phàil which is set looking over the Sound of Iona to Mull.Congenial outdoor working conditions and the company of friends such as fellow Scottish Colourist S. J. Peploe from 1920, resulted in joyous images of Iona’s natural environment, architectural features and the islanders’ way of life. Cadell was particularly drawn to the North End of the island, as seen in Iona, North Shore. It is a classic image of the island’s famed white sand beaches, through which varied rock formations emerge, the inviting blues and greens of the sea and the beckoning of island views beyond.As in the present painting, Cadell often worked on easily transportable boards measuring 15 x 18 inches. He came to adopt a technique deployed by his friend, the artist John Duncan, of using an absorbent white ground. As a result, many of Cadell’s Iona paintings carry the carefully inscribed legend on their reverse of ‘Absorbent Ground Never Varnish’; in this case, it is accompanied by the inscription ‘G. W. Service Esq Myrtle Park’, presumably applied by the artist when it was acquired by his longstanding patron.Cadell met Service during his first trip to Iona and he became one of his most significant supporters. As Alice Strang has explained: ‘The widowed Service came each year with his eight children and their nanny. They often rented the farmhouse at Traighmòr, although as it was not large enough to accommodate all of them his sons had to sleep in a tent on the grass at the front of the house. Service would don his tartan dress jacket for the night of his annual purchase of paintings by Cadell…He often bought several paintings at a time…which he hung in his homes in Glasgow and Dunbartonshire.’ (Alice Strang, F C B Cadell, National Galleries of Scotland, Edinburgh, 2011, pp.79-80)The importance of Service to Cadell is borne out by the frequency with which he appears in the artist’s ‘Register of Pictures’ (on loan from a private collection to the National Galleries of Scotland) between 1913 and 1930, which Cadell maintained to record works which he sold or gave away. As well as his Iona purchases, Service’s patronage extended to commissioning portraits of some of his children and acquisitions from exhibitions on the mainland, such as those mounted by the Society of Eight in Edinburgh. Service’s support sometimes formed the backbone of Cadell’s income, for example when he purchased fourteen works in 1921 for a total of £725, which was 40% of Cadell’s recorded total sales of £1,786 for the year. Service also helped to establish Cadell’s posthumous reputation, not least by lending three of his paintings to the landmark Exhibition of Scottish Art mounted at the Royal Academy of Arts in London in 1939.Iona paintings and watercolours by Cadell can be found in numerous public collections including those of the National Galleries of Scotland, Aberdeen Art Gallery, the Hunterian Art Gallery (University of Glasgow) and McManus Museum & Art Gallery, Dundee.
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