* LESLEY BANKS (SCOTTISH b. 1962), RECLINING NUDE mixed media on paper, signedmounted, framed and under glassimage size 28cm x 38cm, overall size 47cm x 58cm Note: Born in 1962, Lesley Banks grew up in Denny, Stirlingshire. In 1980 she began a four year Degree course at Glasgow School of Art specialising in Drawing and Painting. After graduating she travelled and painted throughout Europe funded by an Elizabeth Greenshields Scholarship. In 1988 she became a gallery assistant in the Compass Gallery, Glasgow. Here, encouraged by Cyril and Jill Gerber, Lesley began to exhibit more of her artworks winning various prizes and awards, such as The 1991 Scottish Prize, Royal Overseas League London. This gave her the confidence to concentrate on painting full-time. In 1999 Lesley was appointed 'Artist in Residence' at Edinburgh Zoo where her popular ''Urban Zoo'' exhibition gained funding from the Scottish Arts Council. Since this time Lesley has exhibited throughout the U.K. and as far afield as Singapore and the USA. Works in public collections include Aberdeen Art Gallery, BBC Scotland, Motherwell District Libraries, Leicestershire Schools Collection, Lillie Art Gallery, Unilever, TSB Bank, Kelvingrove Art Gallery and Museum, Perth Art Gallery and Museum.
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* TOM MACKENZIE (SCOTTISH 1947 - 2018), LOCHANS, LEWIS limited edition colour etching on paper, signed, titled and numbered 28/75mounted, framed and under glassimage size 23cm x 46cm, overall size 42cm x 66cm Note: Tom MacKenzie was educated at Portree High School and at 17 left home to enrol at Duncan of Jordanstone School of Art in Dundee. This did not work out and after a year he went to London. His pursuit of art continued at evening classes in life drawing while working in a variety of jobs by day. In 1976 he moved back to Scotland, joining a team of many talents at the Glasgow Print Studio. John Taylor, a colleague and long-time friend, says: "Tom MacKenzie’s art was made from the Isle of Skye’s unique cornucopia of visual riches: the huge, notched and jagged coastline; sea lochs with many rocky islands; the Cuillins, the most awesome mountains in Britain." Living and working on the lovely Isle of Skye, Tom MacKenzie was renowned for his wonderful colour etchings of the island and the West Coast of Scotland. These large and very stylish etchings are appreciated and collected worldwide. Working from his studio and workshop in Portree, the island’s capital, Mackenzie used three steel plates to produce his etchings and limited the editions to 75 or less, printed on 300gm, Arches waterleaf paper. He was a very popular figure in Portree where he lived and worked and a much-respected artist throughout Scotland and far beyond. In The Scottish Contemporary Art Auction of 12th September 2021, three colour etchings by Tom Mackenzie sold for hammer prices of £300, £320 and £340.
* ADAM ROBSON SSA (SCOTTISH 1928 - 2007), CASTLE IN WINTER oil on canvas, signed and dated 1966framedimage size 29cm x 39cm, overall size 39cm x 49cmNote: Adam Robson won 22 caps for the Scotland rugby team between 1954 and 1960, and was President of the Scottish Rugby Union in 1984 when the national team won the Grand Slam. He was also a prolific and diverse artist, who sold more than 900 works, and the author of three books. Robson played for the Barbarians 15 times, a club whose ethos of sportsmanship on and off the pitch chimed perfectly with his view of rugby as a gentleman's game. He went to Canada on the Baa-Baa's first overseas tour in 1957 when the team, which included a young Tony O'Reilly, won all six games. In 1985, he joined the Barbarians Committee, which he served for 20 years. Robson was much more than a rugby man, though. He was born in Hawick in 1928, to a father from the Borders and a mother from Shetland, who would instil in her son a love of the place. He attended Hawick High School, where he was inspired by his art teacher, James A Finlayson. After National Service in the UK, Egypt, Palestine and Tripolitania from 1946-48, he enrolled at Edinburgh College of Art, where he gained a scholarship and a distinction in life drawing. After leaving art school in 1952, he became an art teacher at Kirkcaldy High School in 1953 and began to exhibit his paintings more widely. He exhibited regularly with the Royal Scottish Academy and the Royal Scottish Watercolourists, and became a professional member of the Society of Scottish Artists in 1957. He moved to Dollar Academy in 1956, where he was a boarding housemaster between 1963-69 and Head of Art from 1968 until he retired in 1988. All the while he was painting and working in a range of mediums, particularly oils and watercolours. He had an affinity with the Scottish landscape, especially the bleak and rugged coasts of Shetland and the gentle hills of the Borders.
* ADRIAN WISZNIEWSKI RSA HonFRIAS HRSW (SCOTTISH b. 1958), STILL WATERS mixed media on canvas, signed and dated '18, titled label versoframed image size 50cm x 60cm, overall size 60cm x 70cm Label verso: Open Eye Gallery, Edinburgh.Note: Adrian Wiszniewski creates work characterised by a strong drawing element and fertile imagination. Populated with contemplative figures set in vividly coloured Arcadian landscapes, his paintings are rich with symbolic, political and philosophical depths. Adrian Wiszniewski (pronounced Vishnevski) was born in Glasgow in 1958 and studied architecture at The Mackintosh School of Architecture in Glasgow 1975–79; then trained at Glasgow School of Art, 1979–83. Wiszniewski is one of the leading members of the New Glasgow Boys responsible for the revival and resurgence of figurative painting under the tutelage of Sandy Moffat OBE; a group of artists that included Steven Campbell, Ken Currie and Peter Howson. His multiple awards include the Haldane Trust Award in 1982, the David Cargill Scholarship in 1983, the Mark Rothko Memorial Award in 1984, the I.C.C.F. Best Design Award New York in 1993 and the Lord Provost Gold Medal from City of Glasgow in 1999. His work can be found in many international public collections including The Gallery of Modern Art in New York, The Metropolitan Museum, New York, The Setagaya Museum, Tokyo, Japan, The Scottish National Gallery of Modern Art, Edinburgh, Tate Britain, London and The Victoria and Albert Museum, London. Wiszniewski has had numerous major solo exhibitions over many years including in London, Sydney, Edinburgh, Glasgow, Ghent and Tokyo.
* ALEX DEWARS, DEACON BRODIE'S TAVERN, EDINBURGH oil on canvas, signedframedimage size 40cm x 51cm, overall size 52cm x 63cm Note: Named after William Brodie, Born in 1741 Brodie was a deacon of the Guild of Wrights. By day he was a good citizen and businessman but at night he maintained a secret life of gambling and mistresses. His dark side meant that he had to take to burglary to pay his debts. He was eventually caught and hanged in 1788. The contrast between Deacon Brodie's respectable façade and his real nature was the inspiration for Robert Louis Stevenson's novel Dr Jekyll and Mr Hyde. Today there is still an alleyway off the Royal Mile called Brodie's Close, which is where Deacon Brodie's family lived. The tavern dates back to 1806. Alex Dewars is a figurative painter who was born in Dundee in 1980 and studied at Duncan of Jordanstone College of Art - graduating in 2003 with a BA (Honours) in Fine Art (Drawing and Painting). Alex has exhibited extensively in galleries throughout the country for over 10 years, including at the Royal Scottish Academy Annual Exhibition.
Beige canvas makeup bag with fun shopping designs. Black zipper closure opens to silver lined interior. Measures 11.5"L x .5"W x 9.25"H. Red makeup bag with gold and black drawing with jewels on front. Zipper closure opens to leopard print fabric lining with pockets. Measures 10"L x 1"W x 8.5"H. Small black and red flower PVC coated makeup bag. Zipper closure opens to grey plastic lining. Measures 10"L x 2"W x 6"H. Issued: 21st c. Dimensions: See DescriptionManufacturer: BrightonCountry of Origin: United StatesCondition: Age related wear.
A charming, mini box celebrating the spirit of the Wild West in replica of a classic cowboy hat capturing the rugged and adventurous essence of cowboy culture. Every element is faithfully recreated, from wide brim to the distinctive crown creating a lifelike representation of this iconic headwear. A horse head hinged lid when opened, reveals a surprise drawing. Limoges France Peint Main Marque Deposse back stamp with Rochard R. Issued: 20th c. Dimensions: 3"L x 3"W x 1.5"HManufacturer: RochardCountry of Origin: FranceCondition: Age related wear.
Film Collection 5 x Lobby Cards. Up From THE BEACH. Retreat hell!. The Frogmen. La Rivere Sanglante. La NUIT EST MON ROYAUME. Not in good condition have drawing pin holes. 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
Film 16 variety Ludwig Ganghofer Der Jäger von Fall small poster in double image format. Approx. 12x9.5 Inch. Not in good condition drawing pin holes plus 1 slightly torn. 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
Star Wars Official Poster Magazine (folded) 33x22.5b Inch. Drawing pins hole on corners of poster. 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
Yeats, (Jack B.) RHA A unique and important group of six early Jack Yeats Catalogues of 'Sketches of Life in the West of Ireland,' from the collection of his friend Lady Gregory, two decorated with original watercolour drawings by the artist, a third with buyers' names added in the artist's hand. Jack Yeats began exhibiting his West of Ireland drawings and paintings about 1899, when he was 28 years old, and over the next 30 years he held about 30 exhibitions, mostly in halls which he hired himself in Dublin and London, making all the arrangements and paying the costs himself, until eventually he was contracted on a professional basis by Victor Waddington Galleries. The catalogues for his self-organised exhibitions were produced in very small numbers and are now of the greatest rarity. The present group comes from the collection of his friend and supporter Augusta Lady Gregory, with provenance through her family and the collector and publisher Colin Smythe. Four of the catalogues date from 1901-2, within his first few years as a professional painter, the other two from 1910 and 1914. Each catalogue lists the works offered with their prices. Four of the six include printed vignette drawings by the artist. One, a twelve-page booklet sold for threepence, includes substantial contributions by George Russell (AE), W.B. Yeats and others. The following are the catalogues included: * 1901. London, Walker Art Gallery. Sketches of Life in the West of Ireland and Elsewhere, 3pp (single folded sheet), listing 44 paintings at prices ranging from 3 guineas to 10. This copy uniquely embellished by the artist for Lady Gregory with a stencil of a horse's head on upper cover, circa 2" x 1 1/2", hand coloured in brown wash and cross-hatched in ink. * 1901, 23 October - 2nd November. Dublin, 9 Merrion Row, printed by Sealy, Bryers & Walker. Sketches of Life in the West of Ireland. 4pp (single folded sheet), listing 43 paintings, prices between 3 and 10 guineas, with short extracts from R.A.M. Stevenson, Turgenev ('Always follow the impulse of your heart') and W.B.Yeats. This copy uniquely embellished by the artist for Lady Gregory with a watercolour and wash drawing of a horse's head in blue, circa 1 1/2" square. The date and address inscribed in Lady Gregory's hand on upper cover. * 1902, 18-30 August. Dublin, Wells Central Hall. Sketches of Life in the West of Ireland. Price Threepence. Booklet in blue printed covers, 12pp, listing 37 paintings, prices between 3 and 12 guineas includes three printed vignette sketches by the artist, with articles by A.E. [George Russell] ('An Artist of Gaelic Ireland') and T.W. R[olleston], 2 pages of advertisements at rear for Yeats' plays and the Broadsheets published by Elkin Mathews. * The same exhibition, 3pp (single folded sheet), presumably for those who did not wish to spend 3d on the booklet (above). This copy uniquely inscribed by the artist for Lady Gregory, the titles of paintings which were sold crossed out in ink and with the buyers' names written at side in Yeats' hand: one painting bought by Redmond Morris (later Lord Killanin), one each by a Mr. Byrne, Miss Pamela [Coleman Smith] and R.A. Garnett, and no fewer than seven by the Irish-American lawyer John Quinn. * 1910, 8-21 December. Dublin, Leinster Hall, printed by Tower Press. Pictures of Life in the West of Ireland. Grey card with printed vignette of an old tramp, 4pp (single folded sheet), listing 42 paintings, prices between 3 and 8 guineas. Traces of mounting (in Lady Gregory's scrapbook) on back. 1914, [29 June] - 18 July, London, Walker Art Gallery. Pictures of Life in the West of Ireland. Grey card, 4pp (single folded sheet), listing 40 paintings (many with Kerry titles), prices between 3 and 40 guineas. The August 1902 exhibition in Dublin changed Jack Yeats' life. It marked his first meeting with the Irish-American lawyer John Quinn, who was brought to the show by Lady Gregory (who was briefly Quinn's lover). A connoisseur of modern European art, particularly the French impressionists, Quinn was bowled over by Yeats' work and bought no fewer than nine paintings (the seven marked in Lady Gregory's catalogue, and two others which presumably he bought later); the total came to more than £100 , a very significant sum in those days. The day after the exhibition ended, Quinn and Yeats ravelled by train and side-car to Killeeneen in East Galway, where they visited the grave of the Gaelic poet Raftery and took part in a Feis, going later to Lady Gregory's home at Coole nearby. For the rest of his life Quinn remained a friend and a constant supporter both of Jack and of W.B. Yeats, and also of their elderly and impecunious father, John Butler Yeats, whom he minded and supported for the last fifteen years of his life in New York. The 1914 exhibition in London was Jack Yeats' last for more than four years. The Great War began six weeks after its conclusion, brining normal commercial life to a close, and driving Yeats to the edge of a breakdown. Overall, this is a superb collection of early Yeats catalogues. Individually, all these catalogues are rare; as a group, with their attractive decorations and embellishments and their compelling personal association, they are certainly unique.
Architecture: Oakley (Ed.) Every Man a Complete Builder: or, Easy Rules and Proportions for Drawing and Working the several Parts of Architecture, 8vo Lond. 1766. First Edn., Engd. frontis 51 engd. plts. leaves ( & include. one lg. fold.) cont. full calf, gilt fillet border. V. good; also Le Clere (Seb.) Exercises for Free and Accepted Masons being a Treatise of Architecture, ... Translated by Mr. Chambers. 8vo Lond. [1723]. Plates thro.-out, lacks some text at end, cont. hf. calf. (2)
I'll Colour in 500 Little Fleet Yeats (Jack B.) Autograph Note, signed, Little Fleet, illus: Yeats, Jack B. O. Yeats, Jack B., Autograph Note, signed. Written to "Mr. Mathews," of Elkin, Mathews, publishers from "Cashlauna Shelmiddy," in South Devon. After apologizing for not writing sooner, Yeats asks that 500 copies of "Little Fleet," an Elkin Mathews book, be sent to him for "Coloring wrappers with additional original drawing to some" On a 3 1/2" by 4 inch card, which is attractively matted and framed, also with a colour reproduction of one of Yeats' paintings. Fine. (1)
For Young People of All Ages Yeats (Jack B.) The Treasure of the Garden. L., Elkin Mathews 1903, First Edn., 4to illus. card, with hand-coloured cover drawing and seven full-page plates hand-coloured by Yeats. A rare book in its original state, as many of the drawings were cut out for performance on miniature stages, as intended by the author, or for framing. According to Arnold, the story draws on the memories of Yeats’ Pollexfen ancestors in Sligo, who were merchants and ship-owners. An excellent copy. (1) The third of Yeats’ illustrated books for young people of all ages, published at the substantial price in 1903 of Five Shillings.
![A Gift for Jack B. Yeats [Yeats, Jack B.] George A. Birmingham. Spanish Gold. L. 1908, First Edn., Jack](https://cdn.globalauctionplatform.com/aec3df14-fc67-43ec-9ed4-b1a800ae5299/b29a6bae-e345-4173-903d-b1ae00ab58bb/468x382.jpg)
A Gift for Jack B. Yeats [Yeats, Jack B.] George A. Birmingham. Spanish Gold. L. 1908, First Edn., Jack Yeats’ copy, with his characteristic signature within a drawing of a smoking pipe on front pastedown, and with gift inscription from his sisters on f.f.e.p. dated August 29th 1908. The story concerns treasure buried on an island, and would certainly have appealed to Jack, with pencil notes and numbers throughout (probably Jack B. Yeats notes) Spine a little dulled, o.w.v.g. (1)
Dun Emer and Cuala Press. A collection of four specially designed bookplates, for Coimhghin Ó Dubhthaigh, Madeline Jones, Constantinus Curran, and Eleanor and Fred Reid respectively, the last three by Jack Yeats; with an attractive Hely’s card showing a Jack Yeats drawing of an injured child, with a couplet from W.B. Yeats, ‘specially designed in aid of nursing home for little children’ (i.e. St. Ultan’s, founded by Dr. Kathleen Lynn). (5)
MacGreevy (Thomas) Jack B. Yeats, An Appreciation and an Interpretation. Victor Waddington, D. 1945, Special Edition 250 copies, cloth backed boards. With an attractive drawing in blue ink on t.p. showing an artist painting a winged horse, signed Jack B. Yeats, Dublin September 12th 1945, for Miss Dorothy Day. (1)
"And Bury In State This Singular Yeat" Yeats, (Jack B.) Epitaphs, To Thomas Bodkin; Jack B. Yeats; Dermod O'Brien; George Russell; James P. O'Reilly; [Dr. Thomas] Mc Loughlin; [George Hill] Tulloch, and Liam Dawson. Typescript four pages qtr. signed, captioned, and dated February 16th 1933 by Jack B Yeats. Jack B. Yeats, one of Ireland's greatest painters was thus described by Thomas MacGreevy in his response to Bodkin: I think, to leave ourselves open to the charge of under-rating the genius of a living Irish painter who, at his finest, leaves Hone where the man of genius leaves the man of talent... In drawing, in colour, in design, there has not, I believe, been any Irish painter whose work is as unerringly right, as rich and as delicate as Mr. Jack B. Yeat's. No Hone that I have ever seen could, I think equal, much less surpass, the aesthetic quality, the impressive design, the massive movement, the fine colour, in the last Jack Yeats exhibition here. Jack B. Yeats jointed the United Arts Club in 1912, at that time a cultural force and a strong and growing association between the arts and politics. Many prominent members were key political figures in the planning of the 1916 Rising (Thomas MacDonagh, Joseph Mary Plunkett, Constance Markievicz, Erskine Childers, Robert Barton). Many of Yeats' attitudes on art and culture were channelled through the United Arts Club, which became his favourite watering hole, almost his second home when he moved from Greystones to Donnybrook. 'It is remembered that this tall thin figure could fold itself into a chair beside some shy or lonely soul for a moment's chat which left a warm feeling of comfort.' The epitaphs were his forte as contribution to club entertainments in which he managed to encapsulate the characteristic of each. He wrote them for several members including one for himself, in which he mimics his brother. Dermod O'Brien was also a recipient. Jack stated that he thought they sounded better than they looked. A possibly unique item, Bruce Arnold in Jack Yeats, 1998, includes two of these only (Bodkin & Jack B.), which came for the Yeats family. There is no copy in the National Library of Ireland, and to our knowledge this is the only complete collection extant. "Under no stones No slates Lies Jack B. Yeats No heaped up rocks, Just a collection box. Would like to be jolly And bury in state This singular Yeat. But they were not so inclined Therefore if you've a mind To slide a copper in the slot 'Twill help to sod the plot. Possibly a unique surviving copy, showing yet another side to Jack's many talents. (1)
Surveying: Furnass (Rev. J.) The Practical Surveyor; being a Treatise on Surveying; designed for Schools, 8vo Newcastle 1809. Hf. title, fold. & other plans & maps, (hd. cold. in outline) text, illus., uncut, orig. boards. With paper slip 'With The Author's Compliments' tipped - in at front; also A Treatise on Practical Surveying and Topographical Plan Drawing, 8vo Lond. 1829, with 2 fold. plans, errata slip; Bound with, Burr (G.D.) A Short Essay on Sketching Ground without Instruments, Lond. 1830, text illus., & 6 fold. plts., a.e.g., in full green mor. gilt Prize Binding from Royal Military College. V. good. (2)
â–² Einar Nerman (Swedish, 1888-1983) A caricature of Adele Astaire signed and inscribed by the artist to 'Hugh ['Binkie' Beaumont] as a memory from happy days in London', pen and ink 26 x 18.5cm Hugh 'Binkie' Beaumont (1908-1973) was one of the most successful West End theatre managers and producers of the 20th century, known for his lavish productions and starry casts. The subject of the work, Adele Astaire, was the older sister of Fred Astaire. Condition ReportFramed: 28.5 x 21cm, pen and ink drawing Timestaining. A white mark to the centre of the left edge. Not viewed out of glazed frame.
â–² Charles Bronson (b.1952) 'A Day in the Life' - depicting various images of insanity and an 'auto-arse washer' machine, a poem verso 'for sharon'signed 'Charles Bronson 2000', pen and ink drawing on cardboard23.5 x 19.5cmCondition Reportsmall crease to the middle of card board - will hardly notice when framed
Tins of cleaning products includes Vaseline, Swift, Mansion & Cardinal polish, drawing pins, White Melatonian cleaner, Old Dutch Cleanser, Double-N also K.L.G spark plug tin, Buffalo N.Y Fun to Wash powder and A Rand Specialty No.66 fully automatic clothes brush - some tins still holding product
SIR JOHN TENNIEL (BRITISH 1820-1914) FOR PUNCH MAGAZINE, IMPORTANT BRITISH AND IRISH HISTORY: A PENCIL DRAWING ON PAPER 'HOME RULE' WITH AN IDENTICAL PRINT BELOW, The cartoon depicting Prime Minister Gladstone rowing a boat named 'Home Rule Bill' through 'Amendments' icebergs. Initialled bottom left and dated 1893. 20cm x 16cm each. Mounted in a frame and glazed. 49cm x 32cm
Meccano - Dinky Toys - A rare Meccano factory facsimile drawing of the fabled Dinky Ford Granada L. The assembly drawing Job No. 50170 is dated '12.6.78'. The drawing is approximately A3 in size and has some creases, folds, small tears and yellowing, all commensurate with age, but by and large appears be in Fair Plus - Good condition. The Vendor states that her father obtained the drawings direct from the Binns Road factory upon it its closure. (This does not constitute a guarantee) (K)
Meccano - Dinky Toys - A group of four Meccano factory facsimile drawings. The drawings approximately A3 in size include Bedford TK Coca-Cola Truck, Job. No. 61133 date stamped '10 May 1966' in red ink; Bedford Box Van (Castrol) Job. No. 62000 dated '26.3.65'; Dump Truck with Tilt Cab, Job No. 62010, date stamped '2 Jun 1969' in red ink; plus Monteverdi High Speed 375L Saloon, Job No. 64290 date stamped '1 Nov 1971 Plating'. The Coca-Cola drawing has pen annotations to rear. Drawings have some creases, folds, small tears and yellowing, all commensurate with age, but generally speaking appear to be in Fair Plus - Good condition. The Vendor states that her father obtained the drawings direct from the Binns Road factory upon it its closure. (This does not constitute a guarantee) (K)
This superb, limited edition Giclée fine-art print of renowned motoring artist Emma Capener's pencil drawing of legendary racing driver Jim Clark will be auctioned in aid of the Jim Clark Trust at our Gold Cup Sale at Oulton Park on 28 July. It's a fitting location to offer this magnificent artwork, as Jim Clark won the Oulton Park Gold Cup in 1963, and the Historic Formula Junior drivers will be battling it out for the Jim Clark Cup at this year's Gold Cup weekend. The extraordinarily-detailed drawing shows Jim Clark at the Dutch GP at Zandvoort in 1966. Each limited edition print includes the artist's signature, is numbered and comes with a certificate of authenticity. The print going under the Hampson hammer is number 25, reflecting the number of F1 race wins Jim Clark achieved in his, tragically, all-too-short career. The Jim Clark Trust is dedicated to promoting and celebrating the story of Jim Clark who won the Formula One Championshipin 1963 & 1965 and the 1965 Indianapolis 500, all with Team Lotus. The charity was formed in 2015 to help support, fund and operate the new Jim Clark Motorsport Museum. The origins of the Trust date back to the original Jim Clark Memorial Room opened in 1969 by Jim’s parents James and Helen, and is still run by relatives of the Clark family. The Jim Clark Cafe Bistro and Jim Clark Trail are operated by the Trust with profits going to charity to enhance the experience of visitors to the Museum and support tourism, culture and economic benefits in the Scottish Borders… the place Jim Clark cherished and called home. Its charitable aims focus on Heritage, Education and Inspiration.
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