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Click here to subscribeA small collection of silver and white metal miniature doll house furniture, to include a silver occasional table and a rectangular table in the Dutch style, together with a silver chair stamped 'Nelson 1756-1805', and a white metal Chinese stand, combined silver weight 51.8 grams, the stand 13 grams
John (1199-1216), Penny, class Vb1, London, Willelm B, willelm · b · on · lv, curls 2/2, 1.44g/4h (SCBI Mass 1432, this coin; N 970; S 1351). Very fine and toned £150-£200 --- Provenance: Bridgewater House Collection, Sotheby Auction, 15 June 1972, lot 185 (part); J.J. North Collection; W.J. Conte Collection; J.P. Mass Collection, Part I, DNW Auction 61, 17 March 2004, lot 279 (part); J. Sazama Collection, Part XII, DNW Auction 123, 11 June 2014, lot 283 (part)
VINYL RECORDS 12" vinyl extended play records with Soul II Soul, Altered Images, Bow Wow Wow, The Doll, Dexy's Midnight Runners, Thrilled Skinny - Piece of Plastic EP, Spear of Destiny, Culture Club, The Bangles, Associates, ABC, Human League, Haircut 100, Ice House, Nena, Fashion, Fun Boy Three, Frankie Goes to Hollywood etc (56) Condition Report:Available upon request
Original vintage World War Two UK propaganda poster: Careless Talk Costs Lives "Strictly between you and meâ€Â¦". Image of a sailor and army soldier chatting next to a building wall with Hitler's head poking out of the window above. Cyril Kenneth Bird CBE (17 December 1887 â€â€œ 11 June 1965), known by the pen name Fougasse, was a British cartoonist best known for his work in Punch magazine (of which he served as editor from 1949 to 1953) and his World War II warning propaganda posters. He also designed many posters for the London Underground. Bird was born in London on 17 December 1887, the son of Arthur Bird, a company director. He was educated at Cheltenham College and King's College London (B.Sc). While at King's College he attended evening art classes at the Regent Street Polytechnic and at the School of Photo-Engraving in Bolt Court. He was seriously injured at the Battle of Gallipoli during World War I and invalided out of the British Army. Bird first contributed to Punch in 1916, while convalescing, and also contributed to several other British newspapers and magazines, including the Graphic and Tatler. His pen name was based on the fougasse, a type of mine. As one of the best known cartoonists of the time, he was one of 170 authors who created doll-sized books exclusively for Queen Mary's Dolls' House; his illustrated verse tale, written on postage stamp-sized pages, was published as a regular-sized hardback in 2012 by the Royal Collection and Walker Books. In the course of the 1920s and 1930s, his drawings evolved from the traditionally representational to an innovative, spare, style that was both unique and popular, featuring in many advertising campaigns as well as in magazine editorial. He became art editor of Punch from 1937 to 1949, then editor until 1953. He was the only cartoonist ever to edit the magazine. During World War II, he worked unpaid for the Ministry of Information, designing humorous but effective propaganda posters including the famous "Careless Talk Costs Lives" series. For this work he was awarded the honour of Commander of the Order of the British Empire in 1946. He illustrated and co-wrote several humorous books with W. D. H. McCullough. These included the very successful Aces Made Easy â€â€œ or Pons asinorum in a nutshell, on the subject of contract bridge, in 1934, and You Have Been Warned â€â€œ A Complete Guide to the Road, in 1935. In the mid 1950s, he taught at the Christian Science Sunday School in the Sloane Square church, which has since been converted into the Cadogan Hall concert hall. He died in London, aged 77. Since 2009 his cartoon of a butler carrying a tray has been used to illustrate the front page of British Airways' First Class menus, continuing an association with the airline which goes back to the 1930s when Fougasse penned advertising posters for BA's forerunner, Imperial Airways. Good condition, creasing, staining. Country of issue: UK, designer: Fougasse (Cyril Kenneth Bird), size (cm): 30x21, year of printing: 1940s.
‘KING EDWARD VII’S BED’: A MONUMENTAL VICTORIAN OAK DOUBLE BED the head and foot upholstered in striped cloth, flanked by gadrooned, leaf carved and square section pillars, 156cm wide x 120cm high, sold together with a Parian ware bust of Edward VII, 25cm high Note: by repute King Edward slept in the bed whilst staying at a friend's house in Christchurch.
STANLEY THOROGOOD (BRITISH 1873-1952) ST GEORGE AND THE DRAGON, 1912 glazed ceramic relief plaque mounted in original oak frame, dated '30 / 0 / 12' and marked with artist mark (to the reverse), bears artist's label dated October 1912, gallery label inscribed 'Executed by Mr. S. Thorogood Artmaster, Berslum, Accepted at the National Gallery 1912. Given to Mr A F Wenger, November 1912'Dimensions:plaque: 31cm (12 1/4in) high, 41cm (16in) wide, frame: 61cm (24in) high, 51.5 (20 1/4in) wideNote: Note: For a similar plaque in bronze see Lyon & Turnbull 'The Contents of Kirkton House', 10th October 2018, Lot 14 (£1,500)
PHILIP TILDEN (BRITISH 1887-1956) AND AMBROSE HEAL (BRITISH 1872-1959) FOR HEAL & SON, LONDON '148' REFECTORY TABLE, 1922-1925 oakDimensions:198cm (78in) long, 75.5cm (29 3/4in) high, 88.5cm (34 3/4in) deepNote: Literature: Heal, Oliver S. 'Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939', Unicorn, 2014, p.210 where a similar example is illustrated.Note: Winston Churchill employed Philip Tilden in the 1920s as chief architect for the renovation of Chartwell in Kent, Churchill's weekend residence. He designed this table for the house with Ambrose Heal which then became a standard table '148' in the Heals' range.
Elzevir Press. De Republica Anglorum libri tres, by Thomas Smith, Leiden: Elzevir Press, 1630, engraved title, Cornwell House ink stamp to front endpaper, all edges red, contemporary vellum, some dust-soiling to spine, 12mo, together with Republica sive Status Regni Scottiae et Hibernniae, a diversorum autorum, Leiden: Elzevir, 1627, engraved title, occasional light spotting, ink stamp of Cornwell House at front, all edges red, contemporary vellum, spine s little dust-soiled, 12mo QTY: (2)NOTE:Willems 337 & 287.
Salmon (William). Palladio Londinensis; or, the London Art of Building, in three parts, 4th edition, with great alterations and improvements, by E. Hoppus, Surveyor to the Corporation of the London Assurance, London: printed for S. Birt, T. Longman, C. Hitch, J. Oswald and others, 1752, 52 engraved plates, some folding, one or two closed tears and repairs, a few frayed fore margins, contemporary calf, some wear with joints cracked, 4to, together with[Carter, John]. The Builder's Magazine: or, Monthly Companion for Architects, Carpenters, Masons, Bricklayers, &c. as well as for every gentleman who would wish to be a competent judge of the elegant and necessary art of building, consisting of Designs in Architecture... by a Society of Architects, 1st edition, volume 1 only (of two), London: printed for the Author; and sold by F. Newbery, 1774, 75 engraved plates, including several folding and one-coloured, title laid down with some soiling and tears, water stain to first few leaves, contemporary calf-backed boards, some wear, 4to, plus 3 others: B. & T. Langley's The Builder's Jewel, 10th edition, 1763, William Pain's The Practical House Carpenter, 6th edition, 1799, and Batty Langley's The Builder's Director or Bench-Mate, circa 1792 (covers detached)QTY: (6)NOTE:Harris 796; 67; 436; 656; 430 respectively. The complete work contains 185 plates.
A 1920's mahogany cabinet on chest, on cabriole legs92w x 49d x 145h cmOverall condition is solid and usable but scruffy. Various light marks and knocks to corner and edges mainly. Top has slides inside and lifts off the base easily. Drawers run ok. Handles are complete. Has a key. Collected from a house where it was being used so is unrestored.
HARRISON CORNELIUS, Stubb House, Winston, Co. Durham. Diary from March 1831 incl. European travel. Ink manuscript, hurriedly written & part filling (less than half) a thick leather bound vol. Prefaced by a note of the writer`s artistic training. He is recorded as donating 3 Raphael prints to the British Museum in 1835. His memorial tablet is in Bowes Church.
* CHARLES NEAL (BRITISH b. 1951),WOMAN GATHERING WOODoil on canvas, signed, titled versoimage size 51cm x 41cm, overall size 64cm x 54cm Framed.Note: Charles Neal is currently one of the leading landscape painters in England and has had many major exhibitions. His style blends realism and impressionism while focusing on light and shadow with stunning subtleties of colour. In 1994 his The Painted Garden Exhibition was opened by His Royal Highness the Prince of Wales at The Museum of Garden History in Lambeth, followed by “Coastline” in conjunction with the National Trust. Charles Neal has exhibited in London, New York and the Royal Society of British Artists and his work is represented in many private and corporate collections. Charles Neal is one of England’ s finest and most successful landscape painters. His works are sought after in increasing numbers for prestigious collections worldwide. As a trained engineer and artist, Neal utilises these two disciplines to produce a rare mix of developed skill and natural flair, making him an artist of choice for art collectors all over the world. Neal is committed to a plein air approach, blending the values of French Impressionism with the naturalistic traditions of English landscape painting. Expertly capturing and preserving fleeting effects of light, the physicality of the location with its unique atmosphere and sense of time and place, Charles Neal deftly crystallizes the essence of his chosen location in the painted image. Over the years his paintings have steadily increased in value. His paintings can be seen in Royal, private and commercial collections all over the world, and in recent years he has had two major public exhibitions under the patronage of HRH The Prince of Wales and HRH The Duke of Edinburgh. Neal has also had solo exhibitions with the National Trust, Royal Horticultural Society, Surrey Wildlife Trust, The Museum of Garden History in London, and The Docklands Museum London. His paintings have also been hung at the Royal Society of British Artists and, internationally, at exhibitions in New York, Palm Beach, Barcelona, Paris and Dubai. Charles Neal’s early painting period was initially influenced through frequent visits in his teenage years to the Amsterdam Rijksmuseum, Stedelijk and Van Gogh museums. In the 1980’s Neal began to paint professionally, working in association with Omell Galleries London and later joined Campbell’s of London and Astley House Fine Art. It was during this period that he became interested in the French Impressionists, in particular Claude Monet, Alfred Sisley and Camille Pissarro, for their lightness of touch, sense of celebration of nature and the daily round of life in general. Further, the ‘en plein air’ approach to painting was a logical move forward and at the same time had reference to Constable’s outdoor sketches. In 2003 Charles Neal joined Wally Findlay Galleries (New York and Palm Beach). Subsequently Neal has painted further thematic series of works that have been incorporated in gallery exhibitions or as special events linked to The National Trust, The Royal Horticultural Society, Surrey Wildlife Trust, The National Rowing Museum, Henley and the Docklands Museum London and The Blenheim Foundation.
Vintage clothing housed in a mid 20th century brown leather suitcase to include a mid 20th century Cornell pink summer dress, a 1960's pink crimplene dress, a 1960's Line by House of Lerose green long sleeve shift dress A/F, a 1970's Frank Usher cream long sleeve shift dress A/FCondition: some holes to green dress, stain to front of cream dress - see photosLocation: rail/suitcase
An outstanding and rare Great War ‘Gallipoli’ C.G.M. group of five awarded to Acting Leading Seaman W. J. Pierce, Howe Battalion, Royal Naval Division, Royal Naval Volunteer Reserve, later Defensively Armed Merchant Ships and a veteran of the Battle of Antwerp in October 1914, for his great gallantry during the Third Battle of Krithia, in which his Battalion suffered over 80% casualties; one of only a handful of men who reached and held the Turkish front-line trench, when a withdrawal was ordered, Pierce, though badly wounded himself, stayed behind to cover the retreat of other wounded men and then carried back a wounded comrade over open ground, completely exposed to enemy fire Conspicuous Gallantry Medal, G.V.R. (SX.3.226 W. J. Pierce, A.B. R.N.V.R. Howe Bn. R.N. Div.); 1914 Star, with clasp (SX3/226 W. J. Pierce, A.B. R.N.V.R. Howe Bttn. R.N.D.); British War and Victory Medals (S.3-226 W. J. Pierce. Act. L.S. R.N.V.R.); Royal Naval Volunteer Reserve L.S. & G.C., G.V.R., 1st issue (3/226 W. J. Pierce, A.B. R.N.V.R. Sussex Divn.) minor edge nick to CGM, light contact marks, nearly extremely fine (5) £15,000-£20,000 --- Provenance: Exhibited in the Royal Marines Barracks, Walmer, Deal when the School of Music was destroyed and heavy casualties inflicted by an IRA bomb on 22 September 1989. Dix Noonan Webb, September 2009. Only 13 C.G.M.s ever issued to Royal Naval Volunteer Reserve; the combination with both a 1914 Star and a Long Service and Good Conduct Medal is excessively rare. C.G.M. London Gazette 13 September 1915: ‘Showed great gallantry on the 4th June in remaining in the enemy’s trench and continuing firing, although wounded, to cover the retirement of other wounded men, and finally in carrying in a wounded man under heavy fire.’ The original recommendation was submitted by Commodore Oliver Backhouse to General Sir Ian Hamilton on 8 June: ‘I desire to bring to your notice the following officers and men of the 2nd R.N. Brigade who performed special meritorious service during the operations on 4th June. In illustration of the fighting I would mention that out of the 36 officers and 911 men who formed the 1st line of advance in the assault of the enemy’s trenches only 6 officers and 279 men escaped injury. The 2nd and 3rd lines of advance consisted of 28 officers and 850 men of whom 3 officers and 493 men were unwounded.’ Hamilton forwarded the list to London, stating that ‘The powers granted to me by His Majesty the King to confer decorations in the field do not extend to this Division which is under the control of the Admiralty, and which is therefore at a disadvantage in this respect compared with the other troops alongside whom they are fighting.’ William James Pierce was born at 7 Fort Road, New Willingdon, Eastbourne on 13 September 1893, one of seven children of a journeyman house decorator (four of his siblings died from TB in childhood). A butcher’s assistant by trade, and a keen footballer, Pierce enrolled in the Eastbourne (No 3) Company, Sussex Division of the Royal Naval Volunteer Reserve on 14 January 1911. He claimed a date of birth one year earlier than was truly the case. Aged 17, he was 5’ 7” with fair hair, blue eyes and “fairly good” physique (32” chest). The Royal Naval Volunteer Reserve Goes to War The Admiralty War Plan called for the creation of an ‘Advanced Base Force’ to seize or protect naval bases and key harbours that might be necessary to support expeditionary warfare. This concept was inspired by the example of the successful seizure and fortification of Guantanamo Bay in Cuba by the US Marine Corps during the 1898 Spanish-American War. The A.B.F. was to be created by expanding the Royal Marines. As the mobilisation of July 1914 got underway, a Royal Marine Brigade capable of fighting on land was formed by using reservists to expand existing R.M. units. By August the Fleet and shore establishments had been manned to maximum capacity and the Admiralty found it had a surplus of reservists still available, especially men (like William Pierce) who had enrolled in the pre-war Royal Naval Volunteer Reserves. It was expected that these reservists, who already had some naval training, would be needed at sea over time to replace casualties and ‘natural wastage’, but in the short term the most obvious way to keep them still available to the Admiralty was to expand the Advanced Base Force. Winston Churchill, the First Lord of the Admiralty, issued the necessary orders on 16 August, and by 22 August Pierce and his fellow R.N.V.R.s were mobilised and concentrated at Betteshanger, near Deal. They bought with them their ‘long pattern’ 50-inch barrel Lee-Enfields (rather than the ‘short’ 44.5-inch model used by the Army). R.N.V.R. units were not issued with any machine-guns. In late August 1914 Ostend was threatened by German cavalry and on 26 August the Marine Brigade was sent to strengthen its defences. On 8 September it was agreed that the First Naval Brigade (comprising the Benbow, Collingwood, Hawke and Drake battalions) and the Second Naval Brigade (comprising the battalions of Howe, Hood, Anson and Nelson) plus the Marine Brigade would be equipped and trained as an Infantry Division (the Royal Naval Division) reporting to the Admiralty. Two important innovations were made. Generally, Divisions are ad hoc organisations to which units are assigned and reassigned as military needs change, so there is not necessarily in the minds of soldiers a lasting identification with a specific division. The naval battalions fought together throughout the War, and were supported by a single Divisional Depot instead of multiple regimental ones (the R.N. Division is the only Divisional formation ever to have been included in the inscriptions on medals). Second, civilians were commissioned from the outset, with a preference for those aged 25-35, who would prove to be more experienced, resilient and talented as leaders than those who formed the majority of junior officers in army units. They were collectively described by Churchill as ‘salamanders born in the furnace’ (WSC’s Introduction to Jerrold’s The Royal Naval Division refers). The Division attracted many well-connected talents, including men such as Arthur Asquith (the Prime Minister’s son), Bernard Freyberg and Rupert Brooke. The R.N.V.R., which provided the majority of officers and men for the original eight naval battalions, had a strong naval esprit de corps and was determined to adopt only the essentials of infantry techniques. Naval terms and traditions were rigorously followed and the naval units never sought to become ‘smart soldiers’. They bowed to superior ability more readily than to superior rank. They were always more difficult (and rewarding) men to command. Antwerp By mid-September the German thrust into France had been defeated, but the Allied attack on the German defences along the River Aisne had ended and the “Race to the Sea” was getting underway. In Belgium, a separate German force had been tasked to defeat the Belgian army, capture the key port of Antwerp and then occupy the entire country. Antwerp was defended by two lines of forts, and on 2 October the Germans broke through the outer line. The Admiralty undertook to send its three brigades to reinforce the defences of the inner line of forts. By 4 October the Royal Marine Brigade had deployed in Antwerp. That day the two Naval Brigades marched to Dover and embarked in transports so overcrowded that it was standing room only for Pierce and the Howe Battalion. At Dunkirk they were issued with 120 rounds of ammunition (mostly to be carried in pock...
The historically important First and Second China Wars campaign pair awarded to Sir Harry S. Parkes, G.C.M.G., K.C.B., British Consul at Canton and Shanghai, Ambassador to Japan and then to China, who served as Chief Political Officer during the Second China War, when he conducted negotiations and seized high-ranking Chinese Officials; Parkes’s heroic defiance of the torturers in the Board of Punishments in Peking’s Forbidden City led to the destruction of the Summer Palace and established his reputation as an Imperial Paragon; despite large bounties on his head, he survived multiple assassination attempts, and ‘no one contributed more to make the name of England Great and Powerful in the distant regions where he wielded his unique influence’ China 1842 (Mr. Interpreter Parkes) officially impressed naming, original suspension replaced with a Second China style suspension; China 1857-60, 3 clasps, Canton 1857, Taku Forts 1860, Pekin 1860 (Harry S Parkes CB) officially impressed naming, both with contemporary top silver riband buckles, and housed in a Spink, Piccadilly, fitted case, deeply toned on obverses, good very fine or better (2) £15,000-£20,000 --- Harry Smith Parkes, the son of Harry Parkes, founder of the firm of Parkes, Otway & Co., Ironmasters, was born on 24 February 1828 at Birchills Hall, Bloxwich, Staffordshire. When he was four years old his mother died, and the following year his father was killed in a carriage accident. Left an orphan, he found a home with his uncle, a retired naval officer, at Birmingham. He went to a boarding-school at Balsall Heath, and in May 1838, when he was ten, entered King Edward’s Grammar School. In the words of his principal biographer: ‘In person Parkes was short and slight, of a very fair complexion, large head, broad high brow, alert expression, and bright vigilant blue eyes. In character he was extraordinarily tenacious of purpose, restlessly active, prompt and energetic, never losing his presence of mind in danger or difficulty, courageous and daring to a fault.’ (Dictionary of National Biography refers). First China War In June 1841 Parkes sailed for south China to live in the house of his cousin, Mary Gützlaff, the wife of the missionary, linguist and explorer Karl Gützlaff, who was then based in the Portuguese enclave of Macau. At that time, by Imperial decree, all Chinese ports were closed to foreign ships except for Canton in the far south, where trade was undertaken during a relatively short season under carefully limited and regulated conditions. In 1839 the British had been forcibly expelled from Canton by the Imperial Commissioner charged with ending the import of opium, most of which came from British India. This was the start of the First China War (1839-42), during which Britain seized and annexed Hong Kong to serve as a safe harbour and trading base. Parkes arrived in Macau in October 1841 and at the age of fourteen began to learn Chinese. He was soon employed as an assistant by John Morrison, the secretary and chief interpreter of Sir Henry Pottinger, then British Plenipotentiary and Chief Superintendent of Trade in China. In May 1842 Parkes left Macau to join Morrison in Hong Kong, as the British prepared to sail northwards up the coast of China and compel the Imperial authorities to enter serious negotiations. On 13 June 1842 he accompanied Pottinger on the expedition up the Yangtze River to Nanking, joined in various junk captures and naval ‘cutting-out parties’ and was present at the capture of Chinkiang on 21 July. The threat posed by foreign warships and troops on the Yangtze, China’s main internal trade route, was more than the Manchu rulers could stand and they reluctantly agreed to a less regulated trade with Britain. The Treaty of Nanking obliged China to open up to international trade the five most important southern ports (Canton, Amoy, Fuzhou, Ningbo and Shanghai) and to allow foreign communities to live freely in these cities. Parkes attended all the negotiations and witnessed the signing of the Treaty of Nanking by three Chinese mandarins on board H.M.S. Cornwallis on 29 August 1842. In order to maintain a close blockade over the mouth of the Yangtze, the British had seized the island of Chusan just off Ningbo, and they kept a garrison there until the Emperor formally ratified the Treaty of Nangking and opened the five Treaty Ports (once this process was well under way, Chusan was evacuated and returned to Imperial rule). During the British occupation of Chusan the formidable Reverend Gützlaff was appointed its Civil Magistrate, and young Parkes spent a year as his clerk from September 1842 to August 1843. Diplomatic work in China and Siam In August 1843 Parkes passed the consular examination in Chinese in Hong Kong and that September was appointed Interpreter at Fuzhou. However, there was a delay in opening the port and so he served instead successively at the consulate in Canton, as assistant to the Chinese Secretary in Hong Kong and then as Interpreter at Amoy (Xiamen). Finally, in March 1845 Parkes and his Consul, Rutherford Alcock, were transferred to Fuzhou, an important tea-trading port. The British were not welcome in Fuzhou and in October Parkes survived an attack by Manchu soldiers. In August 1846 Alcock and Parkes were again transferred, this time to Shanghai, where Parkes acted as Interpreter. In 1847 he began to study Japanese and in March 1848 accompanied the British vice-consul at Shanghai to Nanking to negotiate the punishment of some Chinese men who had assaulted three British missionaries. Parkes’s prominent role, undertaken at great personal risk, received the warm approbation of Lord Palmerston. Following this he was appointed Interpreter at Shanghai on 9 April 1848. After a period of leave from 1850-1851, which he spent in Europe, Parkes took up the post of Interpreter at Canton, where, aged 24, he acted as Consul in the absence of Sir John Bowring, and in August 1853 he was placed temporarily in charge of the Canton vice-consulate before being promoted to Consul at Amoy in 1854. In 1855 Parkes was sent to Siam (now Thailand) as Joint Secretary to Sir John Bowring’s Mission to conclude a commercial treaty with the Kingdom. The treaty, the first ever European treaty with Siam, was signed in Bangkok on 18 April 1855 and Parkes was given the honour of taking it to England for ratification. He delivered it on 1 July, and was received at Court by Queen Victoria on 9 July 1855. He spent the rest of 1855 helping the Foreign Office deal with Chinese and Siamese issues and meeting with Miss Fanny Plumer. ‘She was a beautiful girl,’ wrote a friend, ‘tall, well-proportioned, and graceful, her colouring rich and soft, her features expressing sensitiveness and the power of warm emotion; her dark brown eyes full of intelligence and speaking earnestness of purpose. She possessed in a large degree the power of fascination in which all her family were remarkable.’ After a six-week courtship, they were married on New Year’s Day, 1856, at St Lawrence's Church, Whitchurch. The couple left England on 9 January, carrying the ratified Siamese treaty, which Parkes exchanged in a ceremony in Bangkok on 5 April 1856. They travelled on to Canton, where Parkes was Acting Consul. Second China War and the Seizure of Canton Parkes’ position as Acting Consul at Canton brought him into renewed contact with Imperial Commissioner and Viceroy Ye Mingchen, who he had met during his first posting to Canton in 1852-54. Clashes between the two men would soon lead to the Second China War (1856-60). Ye came from a scholarly family in Hubei Province and was awarded the highest degree in the imperial exams in 1835. In 1848...
Victory Medal 1914-19 (12) (C.Z. 9570 W. Foote. O. Tel. R.N.V.R.; 151607 Gnr. F. Hartley. R.A.; 5407 Pte. J. Bowling. R. Lanc. R.; 91051 Pte. F. Lamb. L’pool R.; 33185 Pte. W. Shaw. R.W. Fus.; 35556 Pte. T. S. Mason. E. Lan. R.; 4989 Pte. A. V. Durstan. Manch. R.; 9432 Pte. P. C. Ogley. Y. & L.R.; 95864 Pte. J. Green Durh. L.I.; 20644 Pte. J. Millett. Rif. Brig.; T-330628 Dvr. F. C. Moss. A.S.C.; 171140 Gnr. W. Greenwood. R.A.) last with original named lid of box of issue damaged OHMS envelope addressed to ‘Mr. W. A. Greenwood, Grassmere House, Stockport Road, Ashton under Lyne’, generally nearly very fine and better (12) £80-£100
Royal National Lifeboat Institution, V.R., silver (Police Constable Henry Evans. Voted 2nd Feby. 1882.) with uniface double dolphin suspension, solder deposits to back of suspension indicating possible removal of brooch fitting, otherwise good very fine and rare £1,000-£1,400 --- Provenance: Watters Collection, Glendining’s, June 1913; Gould Collection, Dix Noonan Webb, September 2002. Silver Medal Voted on 2nd February 1882: ‘To Mr William Norseworthy, Chief Officer of H.M. Coastguard at Carnarvon, and to Police Constable Henry Evans of Carnarvon, for putting off in an open boat, and, at great risk, saving five of the crew of the Brig “Fritz von Gadow” of Barth, Germany, which had capsized off Carnarvon during a whole gale from the W.S.W. on the 28th November 1881.’ For this action Evans and Norsworthy were also both awarded the Sea Gallantry Medal in bronze. The Caernarfon and Denbigh Herald of 3 December 1881 gives further details: ‘Between half-past seven and eight o'clock on Sunday night a German brigantine named the Fritz Gadow, belonging to Barth, struck on Carnarvon Bar. Heavy seas rolled over her, and with the food tide she drifted off the bank and immediately capsized. The crew, six in number, clung to the chains, but when the ship was off Belan Fort, at the entrance to the Menai Straits, the cook was washed away and drowned. The vessel ultimately drove up the Straits on her beam ends, arriving off Carnarvon about one o'clock on Monday morning. Notwithstanding the heavy seas which continually rolled over the vessel, the remainder of the crew held fast to the chains, shouting loudly for help. Police Constable Williams Parry, who happened to be in the neighbourhood of the harbour, heard cries of distress proceeding from the middle of the Straits, but the night being pitch dark he was unable to discern anything. The cries, however, continued, and appeared to proceed towards Alalas, under the railway station, to which place Party, accompanied by Sergeant S. Jones, resorted at once, and then found a vessel in distress, with the crew calling for help. In the meantime Mr Norsworthy, who had just returned from Dinas Dille, was informed of the occurrence, and whilst Sergeant Jones and Constable Parry were encouraging the distressed men and endeavouring to save them, both he and Police Constable Henry Evans got into a small boat in the dock, and rowed against a strong tide and through a heavy sea to Alalas. With the assistance of the other officers the boat was got alongside of the vessel, which was on her beam ends, and the Captain and crew were safely brought ashore. When rescued they were clinging to the bulwarks, and appeared to be greatly exhausted. The rescue was indeed a gallant one, as Mr Norsworthy and the police officers undoubtedly risked their lives, and they are to be commended for their heroic conduct. The rescued men were conveyed to Mr Norsworthy’s residence, where they were clothed, fed, and properly cared for. Later in the day they were handed over to the care of Mr Jackson, local secretary of the Shipwrecked Mariner’s Society and Lloyd’s Agent. The vessel belonged to Mr A. Sodeman, of Barth, Germany, and was commanded by Captain Karl Pagels. She was about 180 tons, and was bound for Liverpool with a cargo of mahogany and logwood from Belize, British Honduras. During the 57 days she was out she encountered terrific weather. On the previous Monday an able-bodied seaman was washed overboard during a hurricane. The Captain states that in coming up the Channel he saw no light whatsoever, the weather on Saturday being extremely stormy and thick. The last lights he sighted were those of Kinsale and the Smalls, and he was unable to account for the manner in which he came to Carnarvon Bay. It is singular that the vessel drifted on her beam ends down the Straits without colliding with the many crafts moored at Porthlleidiog and opposite the town. The vessel is now lying in a damaged condition under the railway footbridge, opposite Ysgubor Wen. On Thursday morning a body was found on the shore between Belan and Dinas Dine, opposite Carnarvon bar, where the Fritz Gadow struck. PC Powell examined the body, and finding a name on a portion of the clothing he tore it off and brought it to Carnarvon. On examining the Chest of the lost man at the Custom House, letters were found bearing the same name as that on the underclothing, and therefore it is all but certain the body is that of the cook who was washed away from the vessel.’ Henry Evans, a native of Bangor, joined the Carnarvon Constabulary on 3 February 1880, aged 29. Whilst stationed at Carnarvon, he was disciplined for loss of temper while trying to control a crowd of unruly youths in October 1880. He was posted to Dolwyddelen in February 1882 and, in September of that year, without authority and in contradiction of his Sergeant’s orders, he went to Ffestiniog to arrest a prisoner, returning drunk. He was disciplined by the Chief Constable and permitted to resign, leaving the service on 4 November 1882. One of 6 R.N.L.I. medals identified as having been awarded to a policeman. Sold with full research.
A suite of German stained softwood doll's house furniture, late 19th c, comprising wardrobe, bed, dressing chest, pot cupboard, chaise longue and pair of chairs, wardrobe 21cm h and a contemporary bisque doll's house doll (8) The collection of C. W. Briggs (1906-1971) (lots 1-429) One back leg of one chair re-stuck, the lot in otherwise excellent and entirely original condition
CORNWALL PRINT MAKERS. Three Cornwall Print Makers including Adrienne Peverall, 'Hares Boxing', 25 x 34cm, unframed. Also, 'Young Crow', by Tim Wayne & 'House Sparrows', by Peter Fox. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CANNOT SHIP THIS LOT due to fragility, size or weight. Our recommended carrier is MBE Plymouth on +44 (0) 1752 257224 or info@mbeplymouth.co.uk.
JACK PENDER BOOKS ETC. 'Jack Pender-A Tribute' by Frank Ruhrmund, 'Jack Pender & William J. George' by Sylvia Pender Johns & a Market House Gallery exhibition catalogue. Also, 'Seaside Sketchbook by John Miller. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
TONY O'MALLEY. House in a landscape. Initialled, titled & dated 4/71. Mixed media with pencil on paper, laid down. Further inscribed 'With love to Jacky & Vick'. 21.5 x 12.5cm, unframed. NOTE: Tony & Jane O'Malley were regular visitors to the cottage in Nancledra where Jacque Moran & Victor Bramley lived after they left St. Ives. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
SVEN BERLIN. A first edition of Sven Berlin's book Jonah's Dream, published in 1964 by Phoenix House. A soft back book with dust jacket, the pink paper cover stating 'This is a rough and uncorrected proof and should not be regarded as a finished copy in either printing or binding'. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
THREE BOXES AND ONE VINTAGE SUITCASE, to include a boxed Saisho Stereo Radio Cassette player STR393, a boxed Vintage Ronson Escort 2000 hairdryer, thirteen 2020 House Beautiful magazines, five 1988 Photoplay magazines, sixteen late 1980's Film Review magazines, eleven 1990's Scootering magazines, a large quantity of Stitch by Stitch and Get Knitting fortnightly collector's patterns, an unused boxed set of Ethos - Paul Cardew designed tea pot, cup and saucer set, a 'Pop Art' tea pot designed by Paul Cardew, together with seven vintage Mexican Folk Art papier mâché figurines (market traders) (s.d)(2 boxes + loose)
A FRAMED WATER COLOUR SIGNED BY H. KITCHEN, a scene of three Buccaneers aboard a ship, signed in the bottom right hand corner and signed and dated 10/4/1943 on the back, a Lord of the Rings 'The Two Towers' chess set (missing two pieces, no board), two framed fabric Oriental dwelling scenes, two Royal Worcester 'Chamberlain' pattern dinner plates (surface scratches and wear), a German porcelain female figurine, Queen Alexandra's Christmas Gift Book 1908, eight late 1960's Antique Dealer and Collectors Guide, a framed print heightened by watercolour of The Oak House West Bromwich by Jo Parish, two framed Elvis memorabilia stamp sets (12)
§ KAREN KNORR (AMERICAN/BRITISH 1954-) THE LOVESICK PRINCE, AAM KHAS, JUNHA MAHAL, DUNGARPUR PALACE (SMALL), FROM INDIA SONG - 2013/2018 Colour pigment print, A.P. 1, signed to artist's studio label verso Dimensions:60cm x 76cm (24in x 30in)Provenance:Provenance: To be offered to support The House of St Barnabas (Registered Charity 207242)Based in a Grade 1 listed townhouse in Soho, The House of St Barnabas has helped Londoners affected by homelessness since 1862. In 2013 the building became a members’ club with a difference; combining a not-for-profit creative and cultural space at No. 1 Greek Street with an Employment Academy for people affected by homelessness. Participants learn their craft in front of house, in the kitchen, the bar, or in the charity’s offices: since opening, 254 participants have graduated from the 12-week programme, many of which have secured lasting employment after graduation.The House of St Barnabas’ cultural events, music, and the generosity of members are key to the success of the charity, but the building also showcases work by both established and emerging contemporary artists. The permanent collection of visual art includes the works of Banksy and Tracey Emin alongside a programme of temporary exhibitions supporting emerging artists.The House have kindly been donated 11 works for sale, ranging from sculpture to paintings to support the charity's work. Most of the pieces have been donated by the artists themselves or by the galleries who represent them. Below we take a closer look at the works featuring in our January 2023 sale.2023 is the year of the house’s 10th anniversary. With your support and dedication, the charity hopes to continue to break the cycle of homelessness.Note: Note: Please note this work is sold with accompanying Ceritificate of Authenticity, issued by the artist.Karen Knorr’s past work from the 1980’s onwards took as its theme the ideas of power that underlie cultural heritage, playfully challenging the underlying assumptions of fine art collections in academies and museums in Europe through photography and video. Since 2008 her work has taken a new turn and focused its gaze on the upper caste culture of the Rajput in India and its relationship to the "other" through the use of photography, video and performance. The photographic series considers men's space (mardana) and women's space (zanana) in Mughal and Rajput palace architecture, havelis and mausoleums through large format digital photography.Karen Knorr celebrates the rich visual culture, the foundation myths and stories of northern India, focusing on Rajasthan and using sacred and secular sites to consider caste, femininity and its relationship to the animal world. Interiors are painstakingly photographed with a large format Sinar P3 analogue camera and scanned to very high resolution. Live animals are inserted into the architectural sites, fusing high resolution digital with analogue photography. Animals photographed in sanctuaries, zoos and cities inhabit palaces, mausoleums , temples and holy sites, interrogating Indian cultural heritage and rigid hierarchies. Cranes, zebus, langurs, tigers and elephants mutate from princely pets to avatars of past feminine historic characters, blurring boundaries between reality and illusion and reinventing the Panchatantra for the 21st century.The subjects of Karen Knorr’s work are as geographically diverse as the artist’s own biography: Knorr was born in Germany and raised in Puerto Rico, before she ventured to Paris and settled in London. While she works in video and installation, she is perhaps best known for her photographs and digital collages. Principal themes in her work include the stratification of class, the distribution of privilege and wealth, value systems, the symbolic role of animal representations, and issues of power at the foundation of cultural heritage. Knorr prefers to look at the privileged rather than the disenfranchised; her subjects have included wealthy English classes and their patriarchal systems and frequented clubs. More recently, Knorr has produced a series of digitally modified interiors set in India, based on fables and injustices.
SPARTON RECORDS - 7" PACK. A top pack of 10 x 7", primarily promotional copies. Artists / Titles include The Velvetones - Think About Me (4-1318-R, Promo, Ex+), Big Little John - Look Out (4-1308-R, Promo, Strong VG+), Vince Everett - Baby Let's Play House (4-1215, Strong VG+), Tony Douglas - Baby, When the Sun Goes Down (4-616R, Ex), Jimmy Starr - Blind Date (4-1164-R, Ex), Hank the Drifter - Painted Doll (4-1115-R, Ex), Arthur Thomas - Bee Sticks to Honey (4-1346R, Glossy Ex), Tommy Roe - Carol (4-1258-R, Ex+) Don Rogers - Ann Tanner and The Extroverts - Hey Boy, Hey Girl (4-765 R) and Earl Williams - A Fool In Love (4-481R, VG+).
UNITED KINGDOM. Elizabeth II, 1952-2022. Silver 500 pounds, 2021. The Royal Mint. Proof. Fifth crowned portrait of Elizabeth II, inscription: ELIZABETH II. D. G. REG. F. D. 500 POUNDS', designed by Jody Clark / Image of a Griffin (body of a lion, wings and head of an eagle), over a shield of the House of Windsor; dividing date above; GRIFFIN OF EDWARD III below. Designed by Jody Clark. Edge milled.Comes with the original box as issued by the Mint and the certificate of authenticity (COA). FDC. Reference: S-QBCSE10Mintage: 105.Diameter: 100 mm.Weight: 1005.00 g. (ASW=1 kg.)Composition: 999.0/1000 Silver.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
A collection of early 20th century & later black & white landscape photographs. The lot to include photographs of locations such as Le Havre, the H. M. S. Valiant, Sailors returning from leave, Dunkerque, St Mary of Redcliffe, Weymouth, Walditch, Longleat House, portraits, Bournemouth, Bridgewater, Minehead & many more. The lot together with a ditty album with photographs & dates.
BLUES - LP COLLECTION. Another quality collection of around 53 blues LPs. Artists/ titles include Scream Jay Hawkins inc I Put A Spell On You (8-63481, record Ex/ Ex), S/T (PHS 600-366, US promo press. Ex/ Ex+). Sleepy John Estes - Brownsville Blues (DL-613), Son House - Death Letter, Robert Wilkins - Before The Reverence, Bukka White - S/T, Stevie Ray Vaughan - The Sky Is Crying, Ukulele Ike - I'm A Bear In A Lady's Boudoir. Charley Jordan, Mr Johnson's Blues, Robert Johnson inc King Of The Delta Blues Singers Vols 1 & 2. Young Jessie, Papa Charlie Jackson, JB Hutto, Mississippi John Hurt, Root Doctor, Albert Ammons, Billy Boy Arnold, Big Maceo, Big Twist, Little Joe Blue, The Blues Band, Big Bill Broonzy, Lonnie Brooks. Condition is generally VG+ to Ex+.
FUSION/ CONTEMPORARY/ FREE - JAZZ LP COLLECTION. A smashing collection of 32 jazz LPs. Artists/ titles include Don Cherry inc S/T (SP-717, US og. Record VG+/ sleeve VG), Relativity Suite (J2001), Hear & Now (SD18217), Kawaida (DJSLM 2008), Orient, Old And New Dreams, El Corazon. John Stevens inc Application Interaction And, Chemistry, No Fear, Intergration, Touching On, Mazin Ennit. Okhela - To Make A Fire. Stomu Yamash'ta inc Takemitsu Ishii, East Wind, Come To The Edge, Red Buddah Theatre, Sea & Sky, Go Live From Paris. Philip Catherine inc September Man, Transparence, Sleep My Love, Guitars, End Of August, Twin House, Guitars. Condition is generally VG+ to Ex+.
Jean Straker (British 1913-1984): A rare 'Nude Studies' collection of 59 original silver gelatin photographs from the Photo Union in Soho with photographer's blind stamp recto, and copyright personal copy credit stamp and photo number verso, circa 1945-1960's, 5" x 4" enclosed in an album with Academy of Visual Arts 1965 promo booklet.In 1951, Jean Straker opened the Photo Union at Studio House, 12 Soho Square, relaunching in 1951 as the Visual Arts Club for "artists and photographers, amateur and professional, studying the female nude". In 1961, rebranding again to The Academy of Visual Arts police raided Studio House and took a number of prints and negatives that they considered obscene. Straker stood trial in 1962 and was convicted, but on appeal to The House of Lords this conviction was squashed. This case lead to changes in the Censorship Laws in 1965.
Del Prado Collection, Other - A collection of 11 x boxed pieces of mostly wooden modern doll house furniture, including a Del Prado baby's high chair - Lot includes a settee, a desk, a bed, and similar. Furniture appears in excellent condition. Largest piece of furniture is 15 cm in length. Boxes appear in excellent condition. (This does not constitute a guarantee)
Vintage Rangers FC Signature Sheet with 14 Signatories Circa 1970's. Signatures include Kenny Watson, Stewart Kennedy, Alex Miller, Ally Dawson and others. All signed in red ink. Vendors Grandma Collected These Signatories at The Post House Hotel in Birmingham Where she was a Barmaid. Football Stars Would stay In This Hotel Who Are Playing In the Midlands.. 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 hallmarked 9ct yellow gold fancy link charm bracelet. The bracelet having stylised links, united by spring ring clasp & adorned with a multitude of charms. Charms to include; Pegasus (Birmingham 1962, GH), two boys (Birmingham), dice (London 1966, FM - Fred Manshaw Ltd), toby jug (Birmingham, H. G & S - Henry Griffith & Sons Ltd), jockey & horse (Birmingham 1973, EFC), pineapple, wedding cake glass bead vase (London 1965, Z Ld), aurora borealis bead globe, anchor (WHC), baby on scales, scallop shell, amethyst, unicorn (Birmingham), cross / crucifix, green stone lantern (Birmingham 1963, WHC - W H Collins & Co), ballerina (Birmingham 1968, H. C & S) & dog house (London 1965, S & K - Slade & Kempton). Bracelet hallmarked for Birmingham 1957, makers marks for J. C & S - Joseph Cook & Son.Total weight approx 53.7g. Measures approx 20cm.
PAMELA BONE (1925-2021), Five Creative Colour Landscapes,printed c.2000-2006, five colour photographs, Cibachrome prints, each a manipulated image, some or all these prints are from multiple superimposed negatives, four signed in ink on the image, all with photographer's hand written notes taped verso regarding the images and framing, images approximately 31cm x 30cm, in glazed frames largest 54cm x 51cm Note: These photographs were selected by Pamela Bone and were displayed together at her in residence in Dorking, Surrey. Some frames appear to be reused and may have an earlier image concealed. Note: Pamela Bone (Lady Pamela Goodale) Pamela Bone (British, 1925-2021) created a significant body of experimental photographic works between 1952 and 1992. Though some of her works were published and exhibited in her lifetime – and she collaborated with notable figures in the world of film, conceptual art and electronic music during the 1970s – this innovative work is now being re-assessed and appreciated. At her death Bone bequeathed her photographic works to the Victoria and Albert Museum. Martin Barnes, Senior Curator, Photography, at the V&A oversaw the accession of this collection. Pamela Bone’s estate included some multiples and small editions of some of her works, these have been released for sale by auction at Flints. Please note that purchasers acquire the original physical print or artwork, where an image is also held in the V&A’s collection, the V&A holds copyright to reproduction of that image. Martin Barnes has summarised Pamela Bone’s career and work: “Bone attended Guildford School of Art between 1952-54, creating black and white still-lifes and portraiture alongside colour work. In 1953, she also studied in Paris with advertising and portrait photographer André Thevenet and worked in advertising. Her photographs were published in Photomonde, Vogue, Queen and House and Garden magazines. In 1958, she went to stay with a student friend in Calcutta and from there travelled throughout the following year in India, Sikkim and Kashmir. On returning to the UK, she abandoned commercial photography and focussed on independent art practice. She photographed in North Uist, Outer Hebrides and around Dartmoor, for her Dartmoor Trees and River series. She also studied sound recording. From 1965 Bone began experimenting with a conceptual slide show of her transparencies, based around the themes of her travels, the seasons and children, still life and landscape. She applied this approach in her printing methods, which combined and overlayed transparencies and prints from different periods with photograms to create dreamlike, textured impressions of imagined landscapes. This culminated in Circle of Light, (1972) an experimental film created from transparencies by Bone collaborating with filmmaker Anthony Roland, video art and installation artist Elsa Stansfield (1945-2004) and composer Delia Derbyshire (1937-2001) of the BBC Radiophonic Workshop (and who famously recorded the Doctor Who theme tune). A VHS copy of Circle of Light is in the V&A National Art Library (NAL). Bone’s approach to collaging and recombining works became her main approach and is a pre-cursor to contemporary practices of sampling. In 1973, she married Sir Ernest William Goodale, becoming Lady Pamela Goodale, but she continued to sign her artworks with her maiden-name. Bone was a lifelong follower of Christian Science. There were many books by the movement’s founder, the religious leader and author Mary Baker Eddy (1821- 1910) in her library. Bone was shy and reclusive and worked largely in seclusion. She set up a Cibachrome colour processing darkroom in 1981 in an outbuilding at her home in Dorking. This process allowed her to make her own direct colour positive prints from her colour transparencies. She made use of ‘lith’ printing as overlay masking for her cibachromes, and also produced pictures using silks. An exhibition of cibachrome prints, Let There Be Light was shown at West Dean College in 1991. Bone ceased printing in 1992 but began meticulously preserving her works. Towards the end of her life, she produced two limited-edition, hand-printed publications of her photographs, Wings of the Wind (2000) and Seven Doors: Finding Freedom of Expression Through Photography (2009) both in the NALâ€
PAMELA BONE (1925-2021), Five Framed Creative Photographs,Two Shadow Leaves Nov 2009, overlapped reversed photogram of a skeleton leaf, unsigned, titled on note verso with 'These are my signature pix changed places .... These 2 shadow leaves are printed on American cotton 100% archival', image 24cm x 14cm, frame 38cm x 26cm, a collage black string of silk and foil-backed negatives of leaves, on orange ground, frame 56cm x 54cm, a colour composite leaf skeleton image, a woodland scene and farm machinery, all probably Cibachrome Note: Pamela Bone (Lady Pamela Goodale) Pamela Bone (British, 1925-2021) created a significant body of experimental photographic works between 1952 and 1992. Though some of her works were published and exhibited in her lifetime – and she collaborated with notable figures in the world of film, conceptual art and electronic music during the 1970s – this innovative work is now being re-assessed and appreciated. At her death Bone bequeathed her photographic works to the Victoria and Albert Museum. Martin Barnes, Senior Curator, Photography, at the V&A oversaw the accession of this collection. Pamela Bone’s estate included some multiples and small editions of some of her works, these have been released for sale by auction at Flints. Please note that purchasers acquire the original physical print or artwork, where an image is also held in the V&A’s collection, the V&A holds copyright to reproduction of that image. Martin Barnes has summarised Pamela Bone’s career and work: “Bone attended Guildford School of Art between 1952-54, creating black and white still-lifes and portraiture alongside colour work. In 1953, she also studied in Paris with advertising and portrait photographer André Thevenet and worked in advertising. Her photographs were published in Photomonde, Vogue, Queen and House and Garden magazines. In 1958, she went to stay with a student friend in Calcutta and from there travelled throughout the following year in India, Sikkim and Kashmir. On returning to the UK, she abandoned commercial photography and focussed on independent art practice. She photographed in North Uist, Outer Hebrides and around Dartmoor, for her Dartmoor Trees and River series. She also studied sound recording. From 1965 Bone began experimenting with a conceptual slide show of her transparencies, based around the themes of her travels, the seasons and children, still life and landscape. She applied this approach in her printing methods, which combined and overlayed transparencies and prints from different periods with photograms to create dreamlike, textured impressions of imagined landscapes. This culminated in Circle of Light, (1972) an experimental film created from transparencies by Bone collaborating with filmmaker Anthony Roland, video art and installation artist Elsa Stansfield (1945-2004) and composer Delia Derbyshire (1937-2001) of the BBC Radiophonic Workshop (and who famously recorded the Doctor Who theme tune). A VHS copy of Circle of Light is in the V&A National Art Library (NAL). Bone’s approach to collaging and recombining works became her main approach and is a pre-cursor to contemporary practices of sampling. In 1973, she married Sir Ernest William Goodale, becoming Lady Pamela Goodale, but she continued to sign her artworks with her maiden-name. Bone was a lifelong follower of Christian Science. There were many books by the movement’s founder, the religious leader and author Mary Baker Eddy (1821- 1910) in her library. Bone was shy and reclusive and worked largely in seclusion. She set up a Cibachrome colour processing darkroom in 1981 in an outbuilding at her home in Dorking. This process allowed her to make her own direct colour positive prints from her colour transparencies. She made use of ‘lith’ printing as overlay masking for her cibachromes, and also produced pictures using silks. An exhibition of cibachrome prints, Let There Be Light was shown at West Dean College in 1991. Bone ceased printing in 1992 but began meticulously preserving her works. Towards the end of her life, she produced two limited-edition, hand-printed publications of her photographs, Wings of the Wind (2000) and Seven Doors: Finding Freedom of Expression Through Photography (2009) both in the NALâ€
PAMELA BONE (1925-2021) Gelatin Silver Prints,photographed and printed 1960s and later, each with photographers wetstamp verso, 20+ animals (wildlife and pets), 60+ landscapes and architecture, 20+ taken in India, labelled ' B&W copies from Indian transparencies' with some contact prints etc. Note: Pamela Bone (Lady Pamela Goodale) Pamela Bone (British, 1925-2021) created a significant body of experimental photographic works between 1952 and 1992. Though some of her works were published and exhibited in her lifetime – and she collaborated with notable figures in the world of film, conceptual art and electronic music during the 1970s – this innovative work is now being re-assessed and appreciated. At her death Bone bequeathed her photographic works to the Victoria and Albert Museum. Martin Barnes, Senior Curator, Photography, at the V&A oversaw the accession of this collection. Pamela Bone’s estate included some multiples and small editions of some of her works, these have been released for sale by auction at Flints. Please note that purchasers acquire the original physical print or artwork, where an image is also held in the V&A’s collection, the V&A holds copyright to reproduction of that image. Martin Barnes has summarised Pamela Bone’s career and work: “Bone attended Guildford School of Art between 1952-54, creating black and white still-lifes and portraiture alongside colour work. In 1953, she also studied in Paris with advertising and portrait photographer André Thevenet and worked in advertising. Her photographs were published in Photomonde, Vogue, Queen and House and Garden magazines. In 1958, she went to stay with a student friend in Calcutta and from there travelled throughout the following year in India, Sikkim and Kashmir. On returning to the UK, she abandoned commercial photography and focussed on independent art practice. She photographed in North Uist, Outer Hebrides and around Dartmoor, for her Dartmoor Trees and River series. She also studied sound recording. From 1965 Bone began experimenting with a conceptual slide show of her transparencies, based around the themes of her travels, the seasons and children, still life and landscape. She applied this approach in her printing methods, which combined and overlayed transparencies and prints from different periods with photograms to create dreamlike, textured impressions of imagined landscapes. This culminated in Circle of Light, (1972) an experimental film created from transparencies by Bone collaborating with filmmaker Anthony Roland, video art and installation artist Elsa Stansfield (1945-2004) and composer Delia Derbyshire (1937-2001) of the BBC Radiophonic Workshop (and who famously recorded the Doctor Who theme tune). A VHS copy of Circle of Light is in the V&A National Art Library (NAL). Bone’s approach to collaging and recombining works became her main approach and is a pre-cursor to contemporary practices of sampling. In 1973, she married Sir Ernest William Goodale, becoming Lady Pamela Goodale, but she continued to sign her artworks with her maiden-name. Bone was a lifelong follower of Christian Science. There were many books by the movement’s founder, the religious leader and author Mary Baker Eddy (1821- 1910) in her library. Bone was shy and reclusive and worked largely in seclusion. She set up a Cibachrome colour processing darkroom in 1981 in an outbuilding at her home in Dorking. This process allowed her to make her own direct colour positive prints from her colour transparencies. She made use of ‘lith’ printing as overlay masking for her cibachromes, and also produced pictures using silks. An exhibition of cibachrome prints, Let There Be Light was shown at West Dean College in 1991. Bone ceased printing in 1992 but began meticulously preserving her works. Towards the end of her life, she produced two limited-edition, hand-printed publications of her photographs, Wings of the Wind (2000) and Seven Doors: Finding Freedom of Expression Through Photography (2009) both in the NALâ€
POSSIBLY UNIQUE 1960'S WATERFORD VASE - HALFPENNY BRIDGE 25.5 CMS (H) APPROXExtremely Rare/Possibly Unique 1960s Waterford Crystal Vase - Halfpenny Bridge (The Liffey Bridge, Dublin) This Vase has a central frontal cartouche engraved with a depiction of 'The Halfpenny Bridge' in Dublin. This Vase is fluted with a turret-like design to the top rim stands 10 inches High, and has a diameter across the top rim of approximately 6.5 inches. The vase has a circular base with a diameter of approximately 4.5 inches.'The House Of Waterford' have been contacted over this item. They informed the previous owner that the vase dated back to the 1960s and did not have a pattern name merely an ID Code of No 207/467 10" Vase. They confirmed the vase was 'Waterford' but was not a regular production piece. They could not give any information about why it was engraved in such a way, suggesting that it may have been a commissioned piece, that it may have been created for a 'Celebration' relating to the theme, and suggested that most likely only one vase was engraved.
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