Robert Baker (1909 - 1992), oil on panel, students preparing for theatrical performance, early 1930s, unsigned, 135cm x 94cm, in arch-top wooden frame. Baker was given a commission in the early 1930s instigated by the political insider Thomas Jones to paint murals at The Welsh Working Mans College, Coleg Harlach. The murals produced in situ in the dining hall, consisted of portraits of Welsh types painted on piers projecting into the room between which Baker created 2 landscape panoramas. A second series of murals consisted of 11 detachable pictures showed scenes from the daily life of the school, based on the loose narrative sequence of the young miner leaving home to go to the college and his subsequent experience there. This panel which probably includes a self-portrait of the artist, seated, putting on make-up, shows elements of a raised stage in the foreground and an animated background scene. Provenance: De'accessioned from Coleg Harlach in 2013, originally sold October 2015 with assistance from Liss Fine Art in cataloging the workIn good condition
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GERMANY. HESSE-KASSEL. Friedrich II, 1760-85. Gold-plated silver Award Medal, 1777. By J.C. Körner. Award medal from the Art Academy. Obv.: FRIDERICUS II • D • G • HASS • LANDG • HAN • COM; Head rightRev.: BENE MERENTI • Sitting lion holding a stone tablet with five lines of writing; attributes of art around. Edge inscription: CHRISTIAN SIEBERTH.About extremely fine.Künker Auction 292 (2017), lot 6484.Reference: Schütz 1953Diameter: 43.7 mm.Weight: 37.12 g.Composition: Gold-plated silver .PLEASE NOTE: A 22.50% buyer's premium will be charged separately. VAT on the buyer's premium may apply in accordance with UK regulations. Additional 6% fee charged on the Saleroom. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.This lot can be shipped from the EU if certain conditions are met. Please contact us on EUclients@thecoincabinet.com to inquire about this service.
GERMANY. Bronze Medal, 1727. Dies by François Marteau. Commemorating Baron Philipp von Stosch (1691-1757). The Baron was a famous art connoisseur and antiquarian who lived most of his life in Rome. He amassed a significant collection, much of which went to museums after his death.Obv.: PHILIPP · L · BARO · DE · STOSCH · GERMANVS; head of Stosch right.Rev.: Diogenes is kneeling in front of a barrel, Alexander the Great standing to his right, in the background a city wall and temple.Good extremely fine.Reference: Wurzbach 8584Diameter: 40.7 mm.Weight: 23.64 g.Composition: Bronze.PLEASE NOTE: A 22.50% buyer's premium will be charged separately. VAT on the buyer's premium may apply in accordance with UK regulations. Additional 6% fee charged on the Saleroom. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.This lot can be shipped from the EU if certain conditions are met. Please contact us on EUclients@thecoincabinet.com to inquire about this service.
A Limited Edition Artist Proof Hardback book "Heart and Soul" with Two Limited Edition Artist Proof Signed prints and a Framed Monochrome print "Sleep Tight" This impressive 156 page Hardback book is a loving look at Doug Hyde's huge catalogue of original paintings & limited editions. It contains minimal text & instead features full pages of his artwork. Released in October 2010 to mark Doug's 8th Year as a published artist with Demontfort Fine Art publisher. This Artist proof edition (6/60) of the book comes with two limited edition colour prints called 'Heart to Heart" and " Soul to Soul" each signed, numbered and titled in pencil 6/60AP Each one is only available with the book. The book itself comes with a protective slip cover and Artist Proof certificate The Print "Sleep Tight" presented Mounted and framed. 44cm x 47cm frame inclusive.
Laurence Stephen Lowry (1887-1976), a signed lithograph titled 'Deal', after the original sketch for the painting 'The Beach' 1947, from a limited edition of 850. Framed and glazed, and signed in plate and in pen with a Fine Art Trade Guild blindstamp to the lower left, published by Venture Prints Ltd. 1973. Unframed
GIOVACCHINO BELLI - ACT. 1788-1822, Cross-reliquary of Santo Lenho with Pietà, cross in gilt bronze and black patina, metal applications, 889/1000 silver halo and friezes en relief depicting scenes from the Passion of Christ, Rome (1815-1822), missing the lower part of the spear, missing the relic and the glass that would cover its receptacle, minor faults to the gilt, other minor defects, mark of the Reverend Apostolic Chamber Nº 168 (pontifical tiara and crossed keys) for objects of medium size and with fine silver of 10 ounces and 16 coins (889/1000), in use between 1815 and 1870 (BULGARI 1958, BULGARI CALISSONI 1987 ), goldsmith's mark No. 242 (the initials G and B within a rhombus) by Giovacchino Belli (act. 1788-1822), without Portuguese marks pursuant to Decreto-Lei No. 120/2017, of 15 September, art. 2, no. 2, subparagraph c). Notes: It is a monumental staurotheca, a reliquary-cross of the Holy Cross, perfectly suited to the neoclassical taste that dominated the Roman panorama in the early years of the 18th century. Composed of a plinth, with a rectangular section, a base, with an oval section, on which the figure of the Pietà rests, the piece naturally gives prominence to the cross (in an obvious allusion to the provenance of the relic), which is also assumed to be the centre of the iconographic program, relating, as would be expected, to the Passion of Christ. This develops in a continuous narrative, in the band that runs through the oval section element, in the three medallions on the plinth (with an obvious classical appearance) and also in the three tondi visible at the top of the arms of the cross. The theme of Passion is further emphasized by the presence of the spear and the stick with the sponge soaked in vinegar, disposed in X. The Passion theme is further emphasized by the presence of the spear and the stick with the sponge soaked in vinegar, arranged in a quote. At the intersection of the two arms of the cross, the receptacle that originally contained the relic of Saint Lenho can be identified. At the base of the cross, where the skull usually appears, in reference to Mount Golgotha, where the Crucifixion of Christ took place, the three-dimensional presence of the Pietà, according to Michelangelo's sculptural model, invited the faithful, when venerating the relic, to reflect preferably on Piety, personified in the figure of the Virgin with her dead son in her arms. Giovacchino Belli was, since the last decade of the 18th century, the representative of a family that owned an important silversmith workshop operating in Rome since his father, Vicenzo Belli (1710-1777), from his native Turin, had established himself in the pontifical city. (c. 1741). In Rome, Vincenzo Belli was the patriarch of a family that counted successive generations of silversmiths, whose workshop remained in full operation during the 18th and 19th centuries. The son, Giovacchino (or Gioacchino, 1756-1822), author of this staurotheque, who submitted himself to the necessary exam with a view to confirming the paternal patent, succeeded in managing the workshop, which, at the time of Vincenzo's death, had approximately twenty workers. Giovacchino was succeeded by his son Pietro (1780-1828), and then by his grandchildren Vincenzo (activ. 1828-1859) and Antonio (activ. 1860-1867), ensuring continuous activity of the old family workshop until at least 1867 (BULGARI 1958, BULGARI CALISSONI 1987, VALE 2019) Among the Belli clientele are some of the most important families of the Roman aristocracy of the 17th and 18th centuries – as the Colonna, Barberini and Odescalchi – and naturally also numerous ecclesiastics, members of the Curia Pontifical. Among the Belli's illustrious clientele, it is worth mentioning the King of Portugal D. João V (1689-1750), for whom Vincenzo created a magnificent set of ewer and basin, in the context of the silver collection in the chapel of S. João Baptista (Museu de São Roque, Lisbon, inv. MPr27 and MPr28) (VALE 2016). The present reliquary of thee Holy Cross, integrating the figuration of the Pietà, is considered a work of particular interest, perfectly suited to the neoclassical taste of the time, but continuing the relevance of the sculptural component, which characterizes Roman silver from the 18th century. This is certainly not unrelated to the fact that its author was trained in an environment in which the importance of sculpture, within the scope of goldsmithing, was highly recognized. From a compositional point of view, the piece is constructed with the cross at its center, as occurs in this type of object, which particularly became widespread in Europe following the crusades and the consequent arrival of several relics of the Holy Cross. Some particularly exquisite examples date back to the early 1800s, made in the Roman environment, which clearly influenced this staurotheque, namely the cross-reliquary (dated 1803), coming from another important family workshop, then under the direction of Giuseppe Valadier ( 1762-1839), which is preserved in the Basilica of Santa Croce in Gerusalemme in Rome. Teresa Leonor Vale Lisboa, 21-11-2024 BIBLIOGRAFIA BULGARI 1958 BULGARI, Costantino - Argentieri, Gemmari e Orafi d’Italia. Vol. I, Roma: Lorenzo del Turco, 1958 BULGARI CALISSONI 1987 BULGARI CALISSONI, Anna - Argentieri, Gemmari e Orafi di Roma. Roma: Fratelli Palombi Editori, 1987 VALE 2016 VALE, Teresa Leonor M. - Ourivesaria Barroca Italiana em Portugal: presença e influência. Lisboa: Scribe, 2016, pp. 157-158, 611 VALE 2019 VALE, Teresa Leonor M. - “Vincenzo Belli (1710-1787): percurso de um ourives: um turinês em Roma que trabalhou para Lisboa”, in MOTA, Isabel Ferreira da, SPANTIGATI, Carla Enrica (coord.) - “Tanto Ella Assume Novitate al Fianco”. Lisboa, Turim e o intercâmbio cultural do século das luzes à Europa pós-napoleónica. Coimbra: Imprensa da Universidade de Coimbra, 2019, pp. 189-221. Cabral Moncada Leilões would like to thank Doctor Teresa Leonor Vale for studying the work and preparing this text., Dim. - (total) 69,5 cm
A GROUP OF MISCELLANEOUS ITEMS, to include ION USB turntable iTTUSB, with built in usb audio adapter, cable, stored in a audio carry case, (not tested), vintage brass bugle from The Royal Welsh Fusiliers 23, (signs of cleaning residue and slight dents in places), a limited edition 'The Art of Pocahontas' gift book only 5000 copies all individually signed by Walt Disney's president of feature animation, and the producer and directors of Disney's animated film. included limited edition sericel, fine art, screen printed reproduction of original animation artwork from the film, 300 full colour illustrations, text by Stephen Rebello still sealed, original price ticket on the back (3), (Condition Report: see main description for individual damage, the seal on the book has had a piece off near the bottom)
pastel on paper, signed, titled label verso mounted, framed and under glass image size 21cm x 29cm, overall size 42cm x 50cm Label verso: The Open Eye Gallery, Edinburgh Note: Painter, draughtsman and teacher, born John Knox at Kirkintilloch, Dunbartonshire. He studied at Glasgow School of Art, 1953–7, where his teachers included William Armour and David Donaldson. In 1958 won a travelling scholarship which enabled him to study in Paris under André Lhote. Knox painted in a variety of styles, being influenced by the American Abstract Expressionists for a time, although on occasion creating still lifes in the manner of the Dutch Old Masters. From 1965–81 Knox taught at Duncan of Jordanstone College of Art, Dundee, in 1981 becoming head of painting at Glasgow College of Art. Took part in many group shows in Scotland and abroad and had a series of one-man exhibitions, including 57 Gallery, Edinburgh; Serpentine Gallery in London; and Civic Arts Centre, Aberdeen. In 1983 a solo show was toured to a number of Scottish venues by the Scottish Arts Council; Drawings 1956–1998 was held by Cyril Gerber Fine Art and Compass Gallery, Glasgow, in 1998. Was elected RSA and has work in many public collections, including Scottish National Gallery of Modern Art, Edinburgh. Lived for some time in Carnoustie, Angus.
watercolour on paper, signed, titled label verso mounted, framed and under glass image size 37cm x 54cm, overall size 48cm x 65cm Exhibition label verso: Earl Haig - New Paintings 10 July - 7 August 1993, The Scottish Gallery, Edinburgh Comment: a spectacular and large example with prestigious documented exhibition provenance. Note: Earl Haig (son of the Field Marshall) started painting as a prisoner of war. The paintings and drawings he made in Colditz Castle were exhibited at The Scottish Gallery in 1945 in an exhibition attended by HM The Queen. He went on to train under Victor Pasmore and Lawrence Gowing at Camberwell School of Art, London when fellow Scot William Johnstone was Principal. He had a distinguished exhibiting career primarily with The Scottish Gallery which spanned over six decades, concluding with his remarkable 90th birthday show in 2008. However, the same prestigious Edinburgh Gallery staged a Memorial show for Haig in 2011 and a major centenary show in 2018. In 2020 another solo show was staged (November - December 2020) by The Scottish Gallery focussing on examples from the Scottish Borders and Italy, where he spent an increasing amount of time from the mid-1970s. Earl Haig's work was shown widely elsewhere in Britain and on the continent, latterly including Clarges Gallery and Gallery 10, London. His work held in the collections of HM The Queen and other members of the Royal family, Scottish National Gallery of Modern Art and further public and notable corporate collections. Earl Haig was a member of the Scottish Arts Council and of the Royal Fine Art Commission for Scotland and a Trustee of the National Galleries of Scotland. As a landscape painter he was fond of simple, almost naïve images infused with a rich palette. Lived in Bemersyde, Melrose, Scotland.
watercolour on paper, signed, titled verso mounted, framed and under glass 4 image size 12cm x 13cm, overall size 36cm x 38cm Note: Bryan Evans is an artist who depicts in his paintings the rainy streets and tenement closes of Glasgow, Edinburgh and other Scottish towns and cities. Bryan was born in Pembrokeshire in West Wales in 1964. After one year at Dyfed College of Art in Carmarthen he studied a degree in Fine Art at Loughborough College of Art in Leicestershire, England. During this course he visited Glasgow School of Art on a three month exchange visit. Upon graduation he moved to Glasgow and has lived there ever since exhibiting his watercolours throughout Scotland. He works mainly in the medias of watercolour paintings, etchings and mezzotints. He has work in collections throughout Britain, Europe, and North America, and has gained considerable acclaim with his atmospheric interpretations of wet city streets and moody interiors.
limited edition digital print on paper, signed in silver ink and numbered 64/100, from the Revelations : A Portrait of Magic Series mounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cm Note: certificate of authenticity is included with this lot. Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.” In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.
oil on board, signed, titled label verso framed image size 44cm x 68cm, overall size 59cm x 83cm Note: Joe McIntyre was born in Dundee in 1940. His work has been exhibited extensively around the UK and in the USA. Collections include: HM The late Queen, HRH The late Duke of Edinburgh, HRH The Late Princess Margaret, Dundee City Chambers, J & B Scotch Whisky (New York), Dundee City Art Gallery, Pernod (London), The Scottish Arts Council, Fine Arts Society (London), Tayside Regional Council, Arbroath Art Gallery, The Lincoln Centre (New York), Johnston & Johnston (New York) and numerous other corporate collections. In the Scottish Contemporary Art Auction of 5th July 2020 "Summer in the City, Dundee" (lot 632) set yet another world auction record for McIntyre, selling for £1900 (hammer).
mixed media on paper, signed, titled label verso mounted, framed and under glass image size 30cm x 30cm, overall size 53cm x 53cm Label verso: Roger Billcliffe Fine Art, Glasgow Note: Brenda Lenaghan DA RSW was born is Galashiels in 1941. She went on to study at Glasgow School of Art between 1958-63. Brenda won many awards, including SSWA's Anne Redpath Award in 1975 & 1983, and the Special Award in 1980. Brenda also won the RSA's Maud Gemmell Hutchison Award in 1996. Brenda's son lives and works in Japan and she visited him every year. The art of Japan had a profound influence over her work. Her galleries included Macaulay Gallery, Stenton; Cyril Gerber Gallery, Glasgow; William Hardie, Glasgow; Open Eye Gallery, Edinburgh; Edinburgh Gallery, Edinburgh; Rendezvous Gallery, Aberdeen; Duncan Campbell Gallery, London; Thompsons Gallery, London; Christopher Hull Gallery, London; Richard Hagen Gallery, Broadway; The Vicarage Cottage Gallery, North Shields; The Green Gallery, Buchlyvie and Gullane Art Gallery, East Lothian.
limited edition digital print on paper, signed in silver ink and numbered 43/100, from the Revelations : A Portrait of Magic Series mounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cm Note: certificate of authenticity is included with this lot. Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.” In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.
acrylic on board, signed, titled verso framed and under glass image size 26cm x 26cm, overall size 45cm x 45cm Note: Peter Nardini is a graduate of Glasgow School of Art where he won the prestigious Cargil Award. He has been awarded The Amsterdam Residency by the Scottish Arts Council, The Paisley Art Institute Award, The Ann Redpath Award by the Scottish Society of Artists among many others. He is a regular exhibitor in the RGI, Glasgow; RSA, SAAC, Edinburgh; Paisley Art Institute and in galleries across Scotland as well as Thompson's Gallery, London, and Richmond Fine Art Gallery, Surrey. His work is held in public collections including Scottish Arts Council and Lanarkshire Education Collection as well as in corporate and private collections in the UK, Europe and USA.
ink on paper, monogrammed, titled label verso mounted, framed and under glass image size 20cm x 27cm, overall size 36cm x 44cm Exhibition label verso: 1 - 15 September (2018), The Torrance Gallery, Edinburgh Note: Artist and teacher, notably a draughtsman and painter of portraits, born in Sunninghill, Berkshire, brought up in the family home, Glenapp Castle, Ayrshire. Lady Mackay was the daughter of the 3rd Earl of Inchcape, chairman of the shipping line P&O who also ran Inchape PLC and was director of many other companies. Lucy Mackay was educated in Switzerland, Cambridge and at Edinburgh University and Edinburgh College of Art, 1960–5, under David Talbot Rice and William Gillies, graduating with a master’s honours degree in fine art. In 1973–4 she completed a postgraduate illustration studies year at the Central School of Art and Design. She settled in Edinburgh where she studied advanced botanic illustration at the Royal Botanic Garden, and where as a member of the Scottish Arts Club from 1983 she regularly attended life studies. Mackay began her extensive teaching career in 1966 as art assistant at Edinburgh Academy for Boys; from 1968–76 taught art, design and pottery at schools in the London area; then again in Edinburgh at the Salisbury Centre, 1981–2. In 1999 she joined the register of Angus County’s artists-in-residence for primary schools, serving at several schools. After winning first prize in a portrait painting competition run by the magazine Nursery World, 1953, and exhibiting a prize painting in the Daily Mail competition to celebrate the opening of the Forth Road Bridge, 1964, Mackay took part in many group shows, including the RSA. Among later solo exhibitions were The Italian Institute, Edinburgh, 1991; Torrance Gallery, Edinburgh, 1995, 1998 and 2005; and The Forum, Ocean Terminal, Leith, in aid of the Bethany Trust, 2004. She travelled extensively in several continents with paints and sketch-book. As well as a series of self-portraits Mackay completed many portraits, including Ronald Fletcher, broadcaster, 1968; the Queen’s Counsel Lionel Daiches, 1979–80; singer Ian Caddy, 1980–1; Professor David Daiches with his brother Lionel, 1988–9; the composer and conductor Emre Araci, 1997; and cellist Harriet Johnson, 2000. Her work was held by collections including the Scottish National Portrait Gallery; London College of Music; Royal Over-Seas League; Scottish Arts Club; Barlinnie Prison; and Geffrye Museum.
mixed media on board, signed, titled and dated 1996 verso framed and under glass image size 134cm x 56cm, overall size 150cm x 73cm Note: Ally (Alasdair Neil Renwick) Thompson, was a Scottish painter of the New Glasgow Boys generation alongside Peter Howson, Ken Currie, Adrian Wisniewski and the late Steven Campbell. Born in Glasgow, he studied at Glasgow School of Art from 1975 to 1980, gaining a B.A. First Class Honours in Fine Art, and a diploma in postgraduate studies with high commendation and a travelling scholarship. In 1989, a solo exhibition of his work at the Barbizon Gallery (Glasgow) was visited by the international art promoter Norbert Binotti, who then brought Thompson to international prominence with a one-man show in New York and major exhibitions in Paris. Ally lived and worked periodically in Provence in the 1990s. He subsequently steadily consolidated his international reputation with exhibitions in Britain, Europe and North America, appearing in galleries such as Flowers East in London and Gallery Albert 1er in Paris. A close friend of Peter Howson, with whom he was a fellow student at the Glasgow School of Art, both men and their work were almost equally unknown when they shared one of their first exhibitions, a two-man show at the Art School itself in 1984. Ally Thompson was naturally shy in new company rather than a bold and forthright salesman of his own work. He painted in several distinctly different styles, from surrealist to abstract to expressionist landscape and much in between, making him hard to categorise and package for promoters and critics. Visiting his studio in the early 1980s Alec Mather, a successful Lanarkshire businessman, was one of the first of several almost surrogate father figures in Thompson's life. He offered to pay Ally twice what he was asking for one his paintings on condition that the young artist gave up his day job as a school teacher. Thompson never looked back creatively. Alec Mather remained a friend, patron and supporter for the rest of the artist's life. Outside of Scotland, through the friendship and support of Norbert Binotti and (after his untimely death) Norbert's brother Claude, Thompson found an invigorating new audience for his work in New York, Paris and the South of France. For all his non-materialist philosophy, Thompson was not above a bit of name-dropping on occasion, and like any Glaswegian boy Ally was suitably astonished to sometimes find himself in the company (and painting collections of) the likes of Bob Geldof, Petula Clark, Richard Jobson, Picasso's son Claude and even France's President Mitterand.
Raquel Alvarez Sardina (Spanish b.1967) pencil/graphite on paper 'Membrillo III' a large depiction of a quince tree, framed and glazed 115.5cm x 119.5cm *Raquel Alvarez Sardina was born in Barcelona. At the age of seventeen she joined Academia Leonardo da Vinci and in 1986 she started a degree in Fine Arts. Whilst doing the degree she attended Academia Sant Vicenç and Boter/ Santalo and completed a drawing course at 'Academia Lorenzo de Medici' in Florence. After graduating in 1991 she came to England where she studied a Master's Degree at Cardiff University. Drawing influence from the Master painters of the Spanish Tenebrism of the Baroque period she has developed a personal contemporary style to represent beauty. Her painting method is slow, precise and full of feeling. It is as though she wants us to slow down and contemplate a few simple objects in silence. She spends a considerable amount of time setting the composition; each fruit or object is placed carefully in the space. Sketching is useful to decide, sometimes by a matter of millimetres where every fruit or leave should be. When she is happy with the composition she draws directly onto the canvas with a brush. She finds painting fruit in the tree still attached to the branch to be the most satisfying 'I love to paint the intricate shapes of the leaves against the roundness of the fruit. I enjoy the complexity of the subject, with the leaves creating unusual perspectives, spaces and light between them' Raquel works in a studio in the garden, half of the studio is painted grey, a colour that is neutral and absorbs light. This creates the best environment for Chiaroscuro style of painting. The other half of the studio is painted a lighter colour, better suited to lighter paintings. She positions fruit next to the window to make the most of the light to create a strong contrast. Sunny days are better for contrast and warm light. Her work has been exhibited in Spain, England and United States. Living and working in the Cotswolds her work is on show at Arcadia Contemporary, United States and is represented in The Biscuit Factory in Newcastle, Concept Gallery in Glasgow, Paragon Gallery in Cheltenham and Morningside Gallery in Edinburgh. In 2016 she was elected Member of the Society of Women Artists (SWA) and HRH Princess Michael of Kent presented her with The President and Vice Presidents' Choice Award for the Best Work of Art in the Annual Exhibition, Mall Galleries, London.
Raquel Alvarez Sardina (Spanish b.1967) oil on canvas Membrillo a large depiction of a quince tree, artists monogram lower right, framed 112cm x 122cm overall. *Raquel Alvarez Sardina was born in Barcelona. At the age of seventeen she joined Academia Leonardo da Vinci and in 1986 she started a degree in Fine Arts. Whilst doing the degree she attended Academia Sant Vicenç and Boter/ Santalo and completed a drawing course at 'Academia Lorenzo de Medici' in Florence. After graduating in 1991 she came to England where she studied a Master's Degree at Cardiff University. Drawing influence from the Master painters of the Spanish Tenebrism of the Baroque period she has developed a personal contemporary style to represent beauty. Her painting method is slow, precise and full of feeling. It is as though she wants us to slow down and contemplate a few simple objects in silence. She spends a considerable amount of time setting the composition; each fruit or object is placed carefully in the space. Sketching is useful to decide, sometimes by a matter of millimetres where every fruit or leave should be. When she is happy with the composition she draws directly onto the canvas with a brush. She finds painting fruit in the tree still attached to the branch to be the most satisfying 'I love to paint the intricate shapes of the leaves against the roundness of the fruit. I enjoy the complexity of the subject, with the leaves creating unusual perspectives, spaces and light between them' Raquel works in a studio in the garden, half of the studio is painted grey, a colour that is neutral and absorbs light. This creates the best environment for Chiaroscuro style of painting. The other half of the studio is painted a lighter colour, better suited to lighter paintings. She positions fruit next to the window to make the most of the light to create a strong contrast. Sunny days are better for contrast and warm light. Her work has been exhibited in Spain, England and United States. Living and working in the Cotswolds her work is on show at Arcadia Contemporary, United States and is represented in The Biscuit Factory in Newcastle, Concept Gallery in Glasgow, Paragon Gallery in Cheltenham and Morningside Gallery in Edinburgh. In 2016 she was elected Member of the Society of Women Artists (SWA) and HRH Princess Michael of Kent presented her with The President and Vice Presidents' Choice Award for the Best Work of Art in the Annual Exhibition, Mall Galleries, London.
Ca. 400 - 300 BC. A fine wheel-thrown pair of lekanides, each with a shallow basin, a pedestal foot, and a decorated lid. The imagery is done via the red-figure technique with two Ladies of Fashion, each adorned with fugitive white pigment creating elegant ornamentation. The ladies are each dressed in beaded saccoi over an upswept coiffure and a beaded necklace. These ancient visages are separated by stylised palmettes. A series of vertical stripes adorn the outer periphery of the rim, meeting the black-painted body below. The large knob atop the lid displays a sunburst design on its depression. For similar see: The Metropolitan Museum of Art, Accession Number: 2021.40.31a, b. Size: 100-110mm x 90-95mm; Weight: 355g Provenance: Private UK collection, acquired on the Dutch art market; previously acquired on the Dutch art market; Frederik Van Driel, Maastricht 1993.
Ca. 1200 - 800 BC. A bronze short sword cast via the lost wax (cire perdue) technique. The tubular handle is reinforced with three slender ringlets beneath the concave lunate pommel, and a narrow hand guard rests atop the blade shoulder. The double-edged blade has a shallow midrib on both sides, sharpened edges, and a profile that tapers to a narrow tip. Layers of mottled green and brown patina envelop the entire weapon and imbue it with a fine archaeological presentation. For similar see: Christie's, Live Auction 21841, Antiquities, Lot. 78. Size: 350mm x 45mm; Weight: 345g Provenance: Private UK collection; Formerly acquired on the European art market from pre-2000 collections.
Ca. 400 - 300 BC. A collection of three black glaze kylikes, each with a shallow body flanked by two horizontal handles and a short round base. For similar see: The Museum of Fine Arts, Budapest, Inventory number 96.19.A. Size: 150-170mm x 35-45mm; Weight: 330g Provenance: Property of a central London gallery, previously acquired on the Dutch art market; previously acquired on the Belgium art market; Daniel Bogaerts, Brussels, 1995.
Ca. 400 - 300 BC. A stunning blackware patera with a classic form. The tondo of the shallow bowl is impressed with six stylised faces symmetrically arranged around a central circle. All is supported by a concave foot. Simple yet elegant, and the black glaze presents a stunning silvery iridescence. For similar see: The Museum of Fine Arts, Budapest, Inventory number 96.19.A. Size: 55mm x 155mm; Weight: 200g Provenance: Property of a London art gallery, acquired on the US art market; Ex. Private Norwood, NJ. collection, Ex. Sotheby’s, Chicago, lot 1018, acquired by the current owner in 2013.
Ca. 350 - 300 BC. A fine wheel-thrown lekanis with a shallow basin, pedestal foot, and lid beautifully decorated via the red-figure technique with two Ladies of Fashion, each adorned with fugitive white pigment creating elegant ornamentation. The lovely ladies are each dressed in beaded saccos over an upswept coiffure and a beaded necklace. These ancient visages are separated by stylized palmettes. A series of vertical stripes adorn the outer periphery of the rim, meeting the black-painted body below. Twin-applied loop handles protrude from either side of the raised bowl, while the large knob atop the lid displays a sunburst design on its depression. For similar see: The Metropolitan Museum of Art, Accession Number: 2021.40.31a, b. Size: 185mm x 120mm; Weight: 450g Provenance: Property of a central London gallery, previously acquired on the Dutch art market; previously acquired on the Belgium art market; Daniel Bogaerts, Brussels, 1995. This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.
New Kingdom, 18th Dynasty, Ca. 1543 - 1292 BC.A fine faience tile of square form exhibiting a delicate scene of flowers of papyrus that was perhaps an inlaid ornament in a home or pharaonic palace. The tile features incredibly smooth, glazed surfaces with cobalt blue and black details on a pale brown background.Size: 185mm x 90mm; Weight: 1.3kgProvenance: Prince collection, 1990s-2014; Ex. Rupert Wace Ancient Art Ltd. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Amarna Period, Ca. 1353 - 1336 BC. A relief fragment carved from pale orange sandstone. On the right, it depicts the heads of two children with long wigs. The facial features are marked and idealised with almond-shaped eyes and a short mouth surmounted by a slyghtly nose. The red pigment is partially preserved. For similar see: The Metropolitan Museum of Art, Accession Number: 65.100.1. Size: 180mm x 160mm; Weight: 2.01kg Provenance: Prince collection, 1990s-2014; Ex. Charles Ede Ltd.; Ex. English private collection, acquired from Folio Fine Art in 1968. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 3000 - 2000 BC. A stone axe carved from fine-grained black stone, polished to a smooth sheen. The body of the hand axe is well-shaped, featuring a large blade on one side and a flat hammer on the reverse side. Size: 145mm x 50mm; Weight: 290g Provenance: Prince collection, 1990s-2014, acquired from Ancient Art Limited, 2008. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 3000 - 1900 BC. A Chinese Longshan culture pottery Gui. The tripod legs are in large sack forms, each individually moulded, with the mouth tall and upright. This is a fine example of signature Longshan pottery. For similar see: The Palace Museum, 新00110564. Size: 310mm x 180mm; Weight: 1.18kg Provenance: Private German collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 18th century AD . An Arabic manuscript on paper, xxff., each folio with 14ll. of black thuluth script, plus five flyleaves, the opening bifolio with fine and elaborate gold and polychrome illumination, the subsequent folio heading with gold and polychrome illumination, the text within cloud bands reserved against gold, in gold and black rules, chapter headings, vocalisation and marginal marks in red, catchwords, in gold and black rules, blue and gold stellar marginal markers, library stamp marked 1011, blue ink marginal note dated 1298AH (1881), in more recent maroon blind-tooled binding, the folio 21.5m x 12cm., the text panel 16.5cm x 8.5cm. Size: 220mm x 130mm; Weight: 1.03kg Provenance: Previous property of a UK Islamic art professional. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. Late 15th century AD . A manuscript - sura al a'araf. Arabic manuscript on paper, 24ff., each folio with 9ll. of black thuluth script, chapter heading in gold, catchwords, black diacritic marks, red vocalisation marks, gold rosette verse markers, fine gold interlinear rules, laid on later wove paper, within green, red, blue, gold, and black rules, in plain margins, green endpapers, in later dark brown calf binding, each folio 45cm x 31cm, the text panel 29 cm x 19.5cm. Size: 450mm x 310mm; Weight: 1.01kg Provenance: Previous property of a UK Islamic art professional. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Tracey EMIN (Né en 1963) It's a Crime to Live With the Person You Don't Love (2021). Epreuve offset sur papier soie 285 mg., signé et numéroté. Edition de 100 exemplaires. 42 x 29, 8 cm. Full colour print (giclée)/285gsm on Hahnemule Fine Art Pearl wove. Printed by Klein Imaging and published by Manchester International. Festival. Limited Edition of 100 Accompagné d’un COA.
MARIANNE LÜDICKE1919 Frankfurt am Main - 2012 MarquarsteinSITZENDER BUB (1962) Bronze, dunkelbraun patiniert. H. 10,8 cm, Gew. 0,9 kg. Seitlich monogrammiert. Minimalst mit Oxidationsspuren, minimalst ber. Literatur: Ausst.-Kat. 'Marianne Lüdicke 1919-2012', Ausstellung zum 100. Geburtstag, Torhalle Frauenchiemsee 2019, Gailer Fine Art Chiemsee, mit Abb. S. 12. Provenienz: Bergische Privatsammlung.
Star Wars: a set of 6 giclee prints of iconic Marvel Star Wars Comic book covers each hand signed by Stan Lee (Marvel Comics / Washing Green Fine Arts 2018)This lot features:A fine giclee on paper limited edition presentation of 6 iconic Star Wars Comic book covers originally published by Marvel Comics from 1977 1983.Prints hand signed by Stan Lee (1922 2018) to lower right margins, and numbered edition No. 240 out of 295 in pencil to lower left. Prints included:Star Wars 4 - In Battle With Darth Vader. Cover art by Howard Chaykin.Star Wars 23 - Flight Into Fury. Cover art by Carmine Infantino and Bob Wiacek.Star Wars 41 - The Empire Strikes Back - Imperial Pursuit. Cover art by Al Williamson and Carlos Garzon.Star Wars 44 - The Empire Strikes Back - Duel A Dark Lord. Cover art by Al Williamson and Carlos Garzon.Star Wars 52 - To Take The Tarkin. Cover art by Walt Simonson.Star Wars 68 - The Search Begins. Iconic Boba Fett Cover art by Gene Day.Unframed size 16.5in x 24.0in | 41.9cm x 61.0cm.Prints presented unframed in thick black cardstock presentation portfolio.Original RRP £16,700.This set long since sold out at supplier level and sought after by collectors.(6)Condition Report: Brand new, perfect condition.Never previously displayed.
Wolverine No. 1 CGC Grade 8.5 featuring the 1st appearance Wolverine as Patch (Marvel Comics, 1988).Key Marvel 1st issue. 1st Wolverine as Patch. Back cover pin-up by John Byrne.Creators: Chris Claremont story, John Buscema and Al Williamson art, John Buscema cover.Graded by CGC and protectively slabbed within CGCs archival-grade capsule.White Pages. US Cents edition. Uncleaned/Unpressed.CGC serial number:4226829002CGC Grader Notes:Light bends to cover.Light scuffing to cover.Light spine stress lines to cover.Small tape residue left center of front cover.~(1)Condition Report: VF+ (Very Fine plus) condition (8.5)Uncleaned/Unpressed.
The Amazing Spider-Man No. 601 - iconic J. Scott Campbell artwork featuring risqué Mary Jane cover (Marvel Comics, 2009)Featuring J. Scott Campbells stylised illustration of Mary Jane this cover was an immediate success with fans and collectors alike upon release with Campbells distinctive style immediately making the cover highly sought after by collectors. Increasingly hard to find. High-Grade.This lot features:The Amazing Spider-Man (1st series) Nos. 601.1st Print, US Cents copy.Creators: Story by Mark Waid, interior art by Mario Alberti, cover art by J. Scott Campbell.Complete without cut coupons or missing pages.Bagged and boarded in new polypropylene bag and comic board.~(1)Condition Report: VF (Very Fine) condition (8.0)Uncleaned/Unpressed.
The Avengers No. 85 CGC Grade 5.0 featuring the 1st appearance of the Squadron Supreme (Marvel comics, February 1971).Creators: Story by Larry Lieber and Roy Thomas. Interior art and cover by John Buscema and Frank Giacoia.Graded by CGC and protectively slabbed within CGCs archival-grade capsule.Off-White to White Pages. US Cents edition.CGC serial number:3968673003CGC Grader Notes:Light foxing to cover.Light spine splits to cover.Light staining to cover.Light tears to cover.Moderate creasing to cover.Staple detached top of back cover.(1)Condition Report: VG/FN (Very Good/Fine) condition (5.0)An average collectible with several moderate defects.
The New Mutants No. 87 CGC Grade 7.0 featuring 1st appearance of Cable (Marvel Comics, 1990).1st appearance of Cable, Stryfe and the Mutant Liberation Front.Creators: Louise Simonson story. Rob Liefeld and Bob Wiacek art. Rob Liefeld and Todd McFarlane cover.Graded by CGC and protectively slabbed within CGCs archival-grade capsule.White Pages. US Cents edition. Uncleaned/Unpressed.CGC serial number:3952201006CGC Grader Notes:Light creasing to cover.Moderate spine stress lines to cover.~(1)Condition Report: FN/VF (Fine/Very Fine) condition (7.0)Uncleaned/Unpressed.
Batman No. 234 featuring the 1st silver-age appearance of Two-Face (DC Comics, 1971).Key DC 1st appearance issue featuring a classic Two-Face cover by Neal Adams, this is the 1st appearance of the legendary Batman villain Two-Face in the Silver-age. This lot features:Batman (1stseries) No. 2341stprint, US Cents copy.Creators: Story by Denny O' Neil, art and cover by Neal Adams, inks by Dick Giordano.Issue complete without cut coupons, missing value stamps or missing pages.Issue come bagged and boarded in new polypropylene bag.~(1)Condition Report: VF- (Very Fine minus) condition (7.5)
Daredevil No. 3 CGC Universal Grade series 6.0 featuring 1st appearance and origin of Owl (Marvel Comics, 1964).Origin and 1st appearance of the Owl (Leland Owlsley).Creators: Cover art by Jack Kirby, inks by Vince Colletta, story by Stan Lee, interior art by Joe Orlando.Graded by CGC and protectively slabbed within CGCs archival-grade capsule.White Pages. UK Pence edition. Uncleaned/Unpressed.CGC serial number:4509782004CGC Grader Notes:Spine stress lines.Wear all corners.Multiple crease left bottom of back cover.~(1)Condition Report: FN (Fine) condition (6.0) Uncleaned/Unpressed.
X-Men No. 101 CGC Grade 8.5 featuring 1st appearance and origin of the Phoenix (Marvel Comics, 1976).Key Marvel and X-Men 1st issue featuring origin and 1st appearance of Phoenix (Jean Grey). Black Tom Cassidy and Juggernaut appearance. Custom X-Men CGC slab label.Creators: Chris Claremont story, Dave Cockrum and Frank Chiaramonte art, Dave Cockrum cover.Graded by CGC and protectively slabbed within CGCs archival-grade capsule.White Pages. US Cents edition. 1st printing. Uncleaned/Unpressed.CGC serial number:4403497003CGC Grader Notes:Light bends to coverLight creasing to coverLight spine stress lines to cover.~(1)Condition Report: VF+ (Very Fine plus) condition (8.5)An attractive collectible with a moderate defect or a number of small defects.Uncleaned/Unpressed.
Ultimate Spider-man No. 1 CGC Grade 9.0 featuring the origin of Miles Morales (Marvel comics, 2011).Origin of Spider-Man (Miles Morales).Creators: Brian Michael Bendis story. Sara Pichelli art. Kaare Andrews cover.Graded by CGC and protectively slabbed within CGCs archival-grade capsule.White Pages. US Cents edition. Uncleaned/Unpressed.CGC serial number:3994525007CGC Grader Notes:Light spine stress lines to cover.Very light staining to cover.~(1)Condition Report: VF/NM (Very Fine/Near Mint) condition (9.0)Uncleaned/Unpressed.
Batman No. 200 featuring the 1st work on Batman by Neal Adams (DC Comics 1968).This lot features:Batman (1st series). No. 200.1st print. US Cents copy.Creators: Story by Mike Friedrich. Cover art by Neal Adams. Interior art by Chic Stone (ghosting for Bob Kane), inks by Joe Giella. Issue complete without cut coupons or missing pages.Issue comes bagged and boarded in brand new polyethylene bag and comic board.~(1)Condition Report: FN (Fine) condition (6.0) Uncleaned/Unpressed.
Swamp Thing No. 37 featuring the 1st appearance of John Constantine: Hellblazer (DC Comics, 1985).Key DC 1st appearance issue.This lot features:Swamp Thing (1stseries) No. 371stprint, US Cents copy.Creators: Story by Alan Moore, art and cover by Rick Veith and John Totleben.Issue complete without cut coupons, missing value stamps or missing pages.Issue come bagged and boarded in new polypropylene bag.~(1)Condition Report: VF+ (Very Fine plus) condition (8.5)
The Invincible Iron Man No. 58 Signed by Stan Lee and Larry Lieber (Marvel Comics, 2002)This lot features:The Invincible Iron Man (3rd series) Nos. 58 (Legacy numbering No. 404)1st print. US Cents copy. Signed by Stan Lee and Larry Lieber.Creators: Story by Mike Grell. Interior art and cover by Michael Ryan and Sean Parsons.Issue complete without cut coupons, missing value stamps or missing pages.Issue comes bagged and boarded in brand new polyethylene bags and comic boards.Both signatures consistent with their existing and historic examples.Please note the signatures have not been authenticated. Please satisfy yourself prior to bidding on this item.~(1)Condition Report: VF+ (Very Fine plus) condition (8.5)
The Amazing Spider-Man No. 100 (Marvel Comics, 1971).Key 100th anniversary issue. Major Marvel Comics milestone issue.This lot features:Amazing Spider-Man (1st series) No. 100.1st print, US Cents copy.Creators: Cover art by John Romita. Story by Stan Lee. Interior art by Gil Kane. Inks by Frank Giacoia.Issue complete without cut coupons, missing value stamps or missing pages.Issue comes bagged and boarded in new polypropylene bag and board.~(1)Condition Report: FN/VF (Fine/Very Fine) condition (7.0)Uncleaned/Unpressed.
Detective Comics No. 373 featuring 2nd appearance of Mr Freeze (DC Comics, 2068)2nd appearance of Mr. Freeze. Riddler appearance. Elongated-Man back-up story.This lot features:Detective Comics (1st series) No. 373Creators: Story by Gardner Fox. Interior art by Chic Stone (ghosting for Bob Kane) and Sid Greene. Cover art by Irv Novick.1st print, US Cents edition.Issue complete without cut coupons, missing value stamps or missing pages.Issue comes bagged and boarded in polypropylene bag and comic board.~(1)Condition Report: FN- (Fine minus) condition (5.5)Uncleaned/Unpressed.
Star Wars No. 1 CGC Grade 9.0 (Marvel comics, July 1977).Presenting the very first issue of the first ongoing Star Wars Comic book with an iconic cover by Howard Chaykin and many key 1st appearances.Creators: Story by Roy Thomas, interior art and cover by Howard Chaykin and Tom Palmer.Graded by CGC and protectively slabbed within CGCs archival-grade capsule.White Pages. US Cents edition. Uncleaned/Unpressed.CGC serial number:4059054006CGC Grader Notes:Unavailable~ (1)Condition Report: VF/NM (Very Fine/Near Mint) condition (9.0)Uncleaned/Unpressed.
X-Men No. 7 CGC Grade 5.5 featuring 2nd appearance of the Blob (Marvel Comics, 1964).2nd appearance of the Blob. Magneto, Scarlet Witch, Quicksilver, Mastermind and Toad appearance. One of 24 UK copies in the world graded. Only 8 available in higher grade.Creators: Stan Lee story, Jack Kirby and Chic Stone art, Jack Kirby cover.Graded by CGC and protectively slabbed within CGCs archival-grade capsule.Off White to White Pages. UK Pence edition. 1st printing. Uncleaned/Unpressed.CGC serial number:4291511002CGC Grader Notes:Light cover tanning.Light creasing to cover.Light fingerprints on cover.Light staple rust.Very light fade full top of front cover.Very light rippling to cover.~(1)Condition Report: FN- (Fine minus) condition (5.5)Uncleaned/Unpressed.
Batman No. 423 featuring an iconic Todd McFarlance cover (DC Comics, 1988).Key Batman cover artwork issue. This lot features:Batman (1st series) No. 423Story by Jim Starlin, interior art by Dave Cockrum, inks by Mike DeCarlo. Cover art by Todd McFarlane.1st Print, US Cents copy. Direct Edition.Complete without cut coupons or missing pages.Issue comes bagged and boarded in new polypropylene bag and board.~(1)Condition Report: VF (Very Fine) condition (8.0)
The Amazing Spider-Man No. 80 CGC Grade 5.5 featuring John Romita Sr cover (Marvel Comics, 1970).Creators: Stan Lee story, John Buscema and Jim Mooney art, John Romita Sr. cover.Graded by CGC and protectively slabbed within CGCs archival-grade capsule.Off White to White Pages. US Cents edition. Uncleaned/Unpressed.CGC serial number:3900029008CGC Grader Notes:Address/date/name stamp right top of front cover.Foxing.Multiple crease breaks colour.Spine stress lines breaks colour.~(1)Condition Report: FN- (Fine minus) condition (5.5)Uncleaned/Unpressed.
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