ALFRED RUSSEL WALLACE INTEREST: DISTANT, W.L. - 'RHOPALOCERA MALAYANA': A DESCRIPTION OF THE BUTTERFLIES OF THE MALAY PENINSULA published by West, Newman & Co, London, and also D. Logan, Penang, 1882, retaining colour lithographed plates, with ink annotations throughout, believed to be that of Alfred Russel Wallace (1823-1913), the volume also annotated to front flyleaf 'L. Richmond Wheeler….Bound - Chowrata Malay School, Penang, May, 1937', later red half leather bindingProvenance: By repute, purchased from a second-hand bookshop in Southampton (UK) in 1978, along with a copy of Wallace's autobiography 'My Life' (1905) which contained an autographed letter of his (see Lot 169 in this auction). This volume has been inspected by Dr George Beccaloni, Director of the Wallace Correspondence Project. The annotations have been examined by an expert on Wallace's hand-writing who came to the conclusion that the handwriting was "probably that of Wallace.'' Wallace possibly used the book when he wrote a review of it for the journal Nature in 1882 - he was an admirer of Distant and corresponded with him on various issues.Supporting evidence of the date is found in a leaflet included in the book advertising the publication of The Butterflies of India, Burma and Ceylon (Marshall & Nicéville, Calcutta Press 1882) which is a comprehensive guide to butterfly species found in the regions of India, Burma (now Myanmar), and Ceylon (now Sri Lanka). There is also, curiously, a pressed flower inside the back cover of the Distant book, provisionally identified by Sir Ghillean Prance as a species of Poppy, which was almost certainly put there by the British educationalist, philosopher of biology and botanist Leonard Richard Wheeler (1888-1948), into whose hands the book seems to have passed after Wallace's death. We shall never know the exact circumstances, but it seems feasible that Wallace brought this volume back from Malaya and that somehow it passed to Wheeler. Wheeler seemingly took the book to Penang with him where he worked as a Schools Inspector for the British Colonial Service. He has written on the inside cover of the book "L R Wheeler 1936, Bound - Chlororasta Malay School, Penang May.1937". Wheeler returned to Britain in 1945 to avoid the advance of the Japanese forces into Penang.Note: Alfred Russel Wallace (1823-1913) was one of the leading evolutionary thinkers of the 19th century. A contemporary of Charles Darwin, he independently conceived the theory of evolution through natural selection, travelled the world collecting specimens including courageous solo trips up the Amazon and even addressed humanity's place in the universe. William Lucas Distant (1845-1922) was inspired to write a study of natural history on a whaling trip to the Malay Peninsula with his father in 1867. He was editor of the journal The Zoologist and was employed by the British Museum of Natural History between 1899 and 1920, where he worked mainly on bugs (Hemiptera). He also collected many species of insects during a four-year stay in South Africa, many of which were described in his 'Insecta Transvaaliensia' (1900-1911).
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Vinyl - 6 Folk Rock / Folk recent release and re-issue LP's to include: Fairport Convention – Fairport Convention (UK 2020 limited edition numbered orange vinyl) Sealed. Fairport Convention – XXXV (UK 2014 double) EX+, Magna Carta – Live In Bergen 1978 (EU 2009) EX+ (in open shrink), Trevor Lucas – Overlander (EU 2013) Sealed. Christy Moore – A Terrible Beauty (EU 2024) Sealed. Clannad – Legend Extended - Music From The TV Series Robin Of Sherwood (EU 2024 double) Sealed
Make & Model:Daimler, 15 Date of Reg:NV2947 Colour:Red cc:1805 Fuel Type:Petrol Transmission:manual Summary:This rare early Daimler 15 was initially registered in August 1933 but has now fallen off the DVLA system so will need to be reregistered. Our vendor has kindly provided us with the following text:"We bought the car on the basis of a pub conversation in 1995. The car had been stored by the owner halfway under an awning. It appeared more or less complete and certainly all important parts were there, though in uneven condition: the left hand side appeared to be in better condition than the right hand side. According to the buff log book (continuation document) the car was first registered on 30 August 1933. A little brass plate fixed to the wooden instrument panel states that it had been "supplied by J.W. Hall Flecknoe" It was first registered to Clement Brown upon whose death it was inherited by his friend and the father of CJ Whittaker from whom we bought it.We decided to do a complete body off restoration, right to the bare chassis. This proved to be in a more or less rust free condition. The '15' spare parts manual proved to be of great help. With the help of an excellent painter from Nuneaton we were able to get the chassis coated in a dark red rather than the more orthodox black.Turning to the engine, we faced a slight puzzle: clearly, it had been reconditioned at an earlier stage but then completely re-assembled but without washers, seals, oil etc. At a later stage, we did re-assemble the engine again and managed to get it running in a most impressively smooth way.The body, having been made of steel over a wooden frame did of course show some signs of corrosion, mainly on the wings, but this was not insuperable. The vinyl roof had suffered badly over the years but we managed to find an expert who was willing to supply, shape and fit a new fabric roof with an excellent result. He also fitted a new woollen roof lining.The painting of the body shell was done by an experienced professional friend from our Nuneaton College days. The upper part of the body was, as is customary kept black, whereas all the side panels as well as the wire wheels were painted in a really dark maroon red. The exterior trunk is of the period and fits well the folding luggage rack, but is in fact not linked to the car and stems reputedly from a Vauxhall of the period.As to the brakes, we were pleased that the car, being an early version of the 15, featured hydraulic brakes as well as a De Wandre servo unit. All wheel cylinders were refurbished and new brake linings fitted.The lighting system follows the system for the 15 at that time: no trafficators, a single rear light with a single brake light incorporated in the same Lucas unit. We did however replace the torpedo shaped sidelights with a larger more imposing upright Lucas design as fitted to larger Daimlers. It was possible to save and recondition most of the reddish brown seats (Repeated coating with Hydrophane) as well as the door cartons. All glass, including the narrow glass ventilation strips at the top of the doors was replaced. Also replaced were the beige floor carpets, door surround trim and the lower parts of the door, whereas Ne decided to retain the carpets at the base of the seats.The tyres are totally new (Blockley). There is also quite a large number of smallish and varied items such as door handles, and window winders and related accessories, as well as a Lucas claxon and windscreen wiper motor, the latter we were reluctant to fit as it appeared to be rather lethal with levers protruding a mere few inches in front of the driver's face." As well as a considerable quantity of spare and duplicate parts, there's also a paperwork file that includes the buff continuation logbook, photos of the vehicle as found and its restoration underway, the owner's handbook, servicing data guide, the vendor's more comprehensive write-up of the car's history from 1995, spares catalogue, 14-page 1932 sales brochure, technical information and some older invoices. There is no V5C due to the car needing to be reregistered.
Make & Model:Singer , Gazelle Date of Reg:JLK299D Colour:Green cc:1725 MoT:2025-08-22 Fuel Type:Petrol Mileage:49708 Transmission:manual Summary:Our vendor informs us that this 1725cc Singer Gazelle, registered in January 1966, was previously part of the late David Lucas collection, after he acquired it in 1978. It has the more desirable 1725cc five-bearing engine with all-synchro manual gearbox and front disc brakes. The V5C records two keepers overall. Finished in Holly Green with Willow Green side flashes, and retaining its original green interior and Brew Brothers Ltd sill plaque. Although MoT exempt, it has a valid MoT until August this year. Comes with current and older V5C and several MoT certificates. The odometer shows 49,709 miles. Paperwork includes the V5C and a previous V5 plus some MoT certificates. There's also a spare key as well.
1955 BSA Bantam D1, 125cc. Registration number PWX 954. Frame number BD2S 55777. Engine number DD 4675.Sold with the V5C and two old MOT's.any a now-mature motorcyclist's first two-wheeled experience will have been gained aboard a BSA Bantam. Developed from the pre-war DKW RT125 and announced in 1948, the Bantam became a top seller for BSA, in excess of half a million leaving the Birmingham factory before production ceased in 1971. Originally of 123cc, the engine grew first to 148cc and then to 172cc. Plunger rear suspension became available as an option in 1950, as did battery electrics powered by a 6-volt Lucas alternator, direct lighting having been relied upon hitherto. While larger-engined versions came and went, the original 123cc D1 Bantam in its updated, plunger-suspended form remained available until 1963.PWX is a plunger frame model with direct lighting, it appears unrestored and was bought as our vendors learner bike before moving onto larger machinery. The history shows it was owned by Robert Carter of Heckmondwike in 1985, he sold it to Our vendor in September 1986. It has been unused since 1988 and stored in his heated garage. He is now moving North and has decided not to take it with him.
1959 Matchless G12, 650cc. Registration number TSL 656 (non transferrable). Frame number A70246. Engine number X0732.Sold with the V5C, a key and a large history folder.The Matchless G12 was one of the last motorcycles designed under the Matchless name. It was also produced as the AJS Model 31 by the same company. Designed by Phil Walker, AMC knew that it had to be a 650 cc but wanted to use as many parts from the Model 11 as possible. The cylinders could not be bored out further so the stroke was lengthened from 72.8 to 79.3 mm, resulting in a capacity of 646 cc. This meant developing a new crankshaft and primary chaincase, which also provided the opportunity to add a Lucas alternator. Volume production began in September 1958.TSL has a large history folder that shows it was in the UK in2002-2005 then it went to the Isle of Man (registered HMN 384 W) before coming back in 2015 when it went to Scotland. In 2021 it was purchased by our vendor. He is selling it as his knees will not let him kick it over.
c.1957 BSA Gold Star 350 Arthur Lampkin Works Replica, 349cc. Registration number not registered. Frame number CB32 1056. Engine DB32 GS 853.There is no paperwork with this machine.He had started trials on a 197 James, then a Royal Enfield Bullet. In 1955 he got his first works BSA trials bike, OOH760. Scrambles riding soon followed, and Arthur was a natural. In a BSA team led by Jeff Smith he rode Goldies in the 500 class, winning the British Championship in 1959, until the factory switched to the C15-based 250s. The Lampkin family do not need any other words, they are probably the most famous family in off road motorcycling in the world!This bike is fitted with all the "Works" mods, floating front brake, inside footrest exhaust, box air filter, alloy petrol tank with works dents, central steel oil tank, low rise BSA pattern braced handlebars, Scrambles gearbox and competition Lucas Mag.Since completion it has been dry stored and will need commissioning before use.
LUCAS VAN LEYDENDie Versuchung Christi 1518Kupferstich auf Bütten mit Wasserzeichen „Gegenmarke des gothischen P mit Vierblatt“ (s. New Hollstein S. 301, countermark 1; Briquet 8895). 17,0 x 13,1 cm. New Hollstein 41 II/II.(Knapp über die Einfassungslinie beschnitten. Geglättete horizontale Mittelfalz. Diverse kleine Fehlstellen, Randeinrisse und Defekte. Mehrere braune Altersflecken und vereinzelt kleine Glanzpunkte, womöglich Kleber. Verso großflächig hinterklebt, bzw. auf Büttenkarton montiert.)
LUCAS VAN LEYDENDas Milchmädchen 1510Kupferstich auf Bütten. 10,8 x 15,1 cm. New Hollstein 158.(Oben und unten mit etwas Verlust beschnitten, links und rechts auf die Plattenkante. Wenige schwache Braunflecken, mäßige Altersspuren. Verso Montagespuren.)Provenienz: Heinz Grunert, Berlin und Köln (Lugt 3985); nicht identifizierter Besitzvermerk in schwarzer Tusche.
LUCAS VAN LEYDENDer Sündenfall 1519Kupferstich auf Bütten. Blattgröße 12,3 x 7,7, Plattengröße 11,7 x 7,0. New Hollstein 8b.(Mit Rand um die Plattenkante. Wohl späterer Druck, stellenweise etwas ausgedruckt und mit kleinen Kratzern in der Platte. Rückseitiger Sammlungsstempel leicht durchschlagend. Verso Kleber- bzw. Montagespuren.)Provenienz: Heinz Grunert, Berlin und Köln (Lugt 3985).
LUCAS VAN LEYDENCaritas 1530Kupferstich auf Bütten. Blatt 3 (von 7) aus der Folge „Die Tugenden“. 16,8 x 11,2 cm. New Hollstein 129 I/III, vor der Verlegeradresse und Nummer.(Auf die Plattenkante beschnitten. Vor allem in den Ecken stärker feuchtfleckig bzw. gebräunt. Dünne Stellen bis kleine Löchlein, beispielsweise im Bereich um das Monogramm. In der Ecke unten links handschriftliche Nummer. Rückseitige Sammlungsstempel schwach durchschlagend. Montagespuren.)Provenienz: Raphael Grigorievich Goldberg, St. Petersburg (Lugt 5371); Richard Holtkott, Bedburg (Lugt 4266).
Nach LUCAS VAN LEYDENWohl JAN HARMENSZ MULLERDie Gefangennahme Christi/ Christus vor Annas/ Die Geißelung/ Christus / Maximilian I.5 Bll. Kupferstiche auf Bütten nach Lucas van Leyden. Von ca. 11,5 x 7,4 cm bis ca. 26,0 x 19,4 cm. Vgl. New Hollstein 45, 46, 48, 86, 172, jeweils copy a, wohl von Jan Muller, bzw. dessen Werkstatt.(Mäßige Altersspuren und kleine Erhaltungsmängel. Verso Montagespuren und teils nicht identifizierte Sammlungsstempel.)
LUCAS VAN LEYDENDer Sündenfall 1529Kupferstich auf Bütten. Blatt 3 (von 6) der Folge „Die Geschichte von Adam und Eva“. 16,4 x 11,7 cm. New Hollstein 3 II/III.(Auf die Plattenkante beschnitten. Geglätteter horizontaler Knick im unteren Viertel. Fachkundig restaurierte kleine Defekte und Einrisse. Leicht gebräunt. Punktuell an allen vier Ecken auf Unterlagekarton montiert. Recto handschriftliche Nummer in brauner Tusche am Unterrand.)
Carl Hagenbach. Souvenir d’amitié - Stammbuch und Freundschaftsalbum mit Einträgen von Vertretern des gehobenen schweizerischen, belgischen, französischen und deutschen Bürgertums. 1794-1821. 11,2 x 18,6 cm. Mit 28 Zeichnungen, davon 16 farbig und t. gouachiert. 126 t. beidseitig beschriebene Blätter. Die Blätter (vermutl. von Hagenbach) in der oberen Ecke nummeriert. Braunes Ldr. mit goldgepr. floraler Deckelbordüre, reicher Rv., rotem Rs. und Goldschnitt. Auf dem Vorderdeckel der Name „Carl Hagenbach“ in goldgepr., von zwei Ornamenten eingerahmten Versalien.Stammbuch und Freundschaftsalbum des späten 18. und frühen 19. Jahrhunderts, geführt vom Basler Kaufmann Carl Hagenbach (1783-1851), Sohn von Johannes Hagenbach und Rosina Sarasin. Ein persönliches Erinnerungsbuch, in dem Verwandte, Freunde und Bekannte handschriftliche Einträge hinterließen, die aus Sinnsprüchen, Gedichten oder kurzen Reflexionen über Tugend, Freundschaft und Lebensweisheiten bestehen. Die Texte sind durch kunstvolle Zeichnungen oder florale und ornamentale Verzierungen ergänzt. Das vorliegende Album spiegelt den gesellschaftlichen und kulturellen Austausch der Zeit wider und dokumentiert persönliche Netzwerke sowie literarische und künstlerische Vorlieben des Besitzers. - Die Einträge in deutscher und französischer Sprache. Zu einer Vielzahl an Einträgen ist der Hinweis „gestorben“, oft unter Angabe des Todesjahrs in Bleistift hinzugefügt. - Zu den Eintragenden zählen u. a. Henry Kapferer, Beat Hercules Sprüngli, Daniel Schanauer, J. C. Sprey (mit französischem Lobgedicht auf Hagenbach samt Notation), Johannes Hegenbach, der Seidenbandfabrikant Lucas Sarasin und weitere Mitglieder der Familie Sarasin, Friederich Müller, Christoph Burckhardt, Matthias und Jean Baptiste Stehelin, Louis Renner, B. Gilson, Elisabeth und Daniel, Merian, Jacob Bruckner, J. Vischer, J. Hellermann, Margarethe Wieland, B. und J. Obermeyer, C. und L. Vondermühll, N. Riggenbach, S. Chappé, J. R. Walz, Georg Heinrich Mettenius (wohl der Vater des deutschen Botanikers), Sebastian Emanuel Eckel, Chr. Reusch, C. Danneberg, Ch. Arnoldt, G. Fleischhauer, J. G. Adriani und viele mehr. Beilagen: 1) Ein weiteres Familienalbum mit Einträgen aus den Jahren 1824 bis 1829, zahlr. kolor. Ansichten und kleinen Zeichnungen. 2) Eine kleine Kassette mit losen hs. Albumblättern. 3) Ein handschriftliches Kochbuch. 4) Ein in Leder gebundenes Album mit Porträtphotographien. 5) 4 gerahmte Porträtphotographien. 6) Ein Konvolut handschriftlicher Dokumente.
Tjok Dessauvage (1948): Untitled, polychrome glazed and engraved terracottaH 11,5 cm - Dia.: 14,5 cm Tjok Dessauvage (Izegem, 1948) was impressed by the excavations that were taking place in the Koestraat during his college years in Kortrijk. He looked with fascination at the ceramic shards as witnesses of the past and thus became acquainted for the first time with the concept of overdracht (transfer), which would later play an important role in his oeuvre. His first calling was that of a realistic painter. During his training at the Sint-Lucas Higher Institute in Ghent, however, he opted definitively for ceramic art, under the influence of pioneer Joost Marechal. Over the years, Tjok Dessauvage increasingly uses the bowl shape as a means of communication. In search of a structure with a maximum usable reading surface, closed pots soon become his trademark. He usually starts from the combination of basic geometric shapes: the hemisphere, the inverted cone and the cylinder. The surface of these semi-spherical objects is described with signs and scratches, with colour or inlay. In this way, he creates a reading surface, as it were, that allows him to communicate with the viewer. At the same time, by choosing closed pot structures, he makes his position clear in relation to ceramics as an art form. By closing off his pots and working on their upper surface, any association with the function of a pot as a recipient or eating utensil is lost, and Tjok Dessauvage unhesitatingly equates them with paintings or sculptures. Moreover, the special finish and careful treatment of the skin of the pot structures makes them unique works of art. Tjok Dessauvage is not only known in Belgium and its neighbouring countries, but has also acquired fame beyond the European borders, including Japan. He has won various selections and prizes, from Belgium and Switzerland to Egypt, Japan and New Zealand (link).
Tjok Dessauvage (1948): Untitled, polychrome glazed and engraved terracotta, dated (19)95H 14 cm - Dia.: 15,5 cm Tjok Dessauvage (Izegem, 1948) was impressed by the excavations that were taking place in the Koestraat during his college years in Kortrijk. He looked with fascination at the ceramic shards as witnesses of the past and thus became acquainted for the first time with the concept of overdracht (transfer), which would later play an important role in his oeuvre. His first calling was that of a realistic painter. During his training at the Sint-Lucas Higher Institute in Ghent, however, he opted definitively for ceramic art, under the influence of pioneer Joost Marechal. Over the years, Tjok Dessauvage increasingly uses the bowl shape as a means of communication. In search of a structure with a maximum usable reading surface, closed pots soon become his trademark. He usually starts from the combination of basic geometric shapes: the hemisphere, the inverted cone and the cylinder. The surface of these semi-spherical objects is described with signs and scratches, with colour or inlay. In this way, he creates a reading surface, as it were, that allows him to communicate with the viewer. At the same time, by choosing closed pot structures, he makes his position clear in relation to ceramics as an art form. By closing off his pots and working on their upper surface, any association with the function of a pot as a recipient or eating utensil is lost, and Tjok Dessauvage unhesitatingly equates them with paintings or sculptures. Moreover, the special finish and careful treatment of the skin of the pot structures makes them unique works of art. Tjok Dessauvage is not only known in Belgium and its neighbouring countries, but has also acquired fame beyond the European borders, including Japan. He has won various selections and prizes, from Belgium and Switzerland to Egypt, Japan and New Zealand (link).
Tjok Dessauvage (1948): Untitled, polychrome glazed and engraved terracotta, dated (19)95H 15 cm - Dia.: 19 cm Tjok Dessauvage (Izegem, 1948) was impressed by the excavations that were taking place in the Koestraat during his college years in Kortrijk. He looked with fascination at the ceramic shards as witnesses of the past and thus became acquainted for the first time with the concept of overdracht (transfer), which would later play an important role in his oeuvre. His first calling was that of a realistic painter. During his training at the Sint-Lucas Higher Institute in Ghent, however, he opted definitively for ceramic art, under the influence of pioneer Joost Marechal. Over the years, Tjok Dessauvage increasingly uses the bowl shape as a means of communication. In search of a structure with a maximum usable reading surface, closed pots soon become his trademark. He usually starts from the combination of basic geometric shapes: the hemisphere, the inverted cone and the cylinder. The surface of these semi-spherical objects is described with signs and scratches, with colour or inlay. In this way, he creates a reading surface, as it were, that allows him to communicate with the viewer. At the same time, by choosing closed pot structures, he makes his position clear in relation to ceramics as an art form. By closing off his pots and working on their upper surface, any association with the function of a pot as a recipient or eating utensil is lost, and Tjok Dessauvage unhesitatingly equates them with paintings or sculptures. Moreover, the special finish and careful treatment of the skin of the pot structures makes them unique works of art. Tjok Dessauvage is not only known in Belgium and its neighbouring countries, but has also acquired fame beyond the European borders, including Japan. He has won various selections and prizes, from Belgium and Switzerland to Egypt, Japan and New Zealand (link).
A Large Hallmarked Silver Cigarette Box, H.Bros, Birmingham 1976, of rectangular form allover engine turned, inscribed to the front "Presented to A.C. Walker in grateful appreciation of 40 years loyal service by the Directors of Lucas Industries 1976", the hinged lid with foliate border, ply lined with removable plush lining, raised on four pad feet, 20.5cm wide, boxed.
A large collection of various artworks, including a framed antique magazine print, 'The Ault & Wiborg Co.' by Henri de Toulouse-Lautrec 1986 framed print, a framed miniature watercolour of forget-me-nots dated 1905, a watercolour paointing of roses by 'K. Haquthey', a 19th century oil painting of a lady in a bonnet, a framed print of 'Sea Dreams' by Marie Lucas-Robiquet, a watercolour painting of a young girl titled 'Portrait of a Spirit Child', together with two watercolour and pencil portraits of 18th century ladies, both unsigned, largest painting 50 x 32 cm. (8)
A striking George Lucas signed photograph, featuring a contemplative black-and-white portrait of the legendary filmmaker. The signature appears in bold silver ink across the image. This framed collectible includes a Certificate of Authenticity from World Wide Graphs Inc., ensuring its legitimacy. The frame is a simple black design with a glass front, allowing for easy display. A fantastic piece for collectors of Star Wars memorabilia and film history enthusiasts.Dimensions: 9.5"L x 11.5"HCondition: Age related wear.
Steven Spielberg signed Lucas Film UK Ltd The Further Adventures of Indiana Jones Memorandum TLS dated 14th March 1983. Interesting content. 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
Dunhill Joseph Lucas table lighter, marked to top Dunhill and engraved to side "To JL from JL" and to underside "Plastic and styling by Joseph Lucas Ltd Birmingham England. Height 8.5 cm, width 10 cm (see illustration).The lighter appears to be all present. The flip wick exposer mechanism operates as it should and the flint wheel rotates as it should. The metalwork is all very dirty and has lost some of the surface finish. The plastic surround is free from any splits or cracks but does have numerous surface scratches as one would expect.
Follower of John Constable 'Watermill and Church, Dedham, Rain Storm Passing'titled verso and further inscribed 'By John Constable R.A. / Collection / James Orrock R.I. 1886'oil on board25 x 33cmProvenance:James Orrock RI ROI (1829-1913), according to label versoThis composition relates to 'The Mill', a mezzotint by David Lucas after Constable, published in 1833 (see Tate Britain T04047). James Orrock is known to have owned both genuine works by Constable and copies commissioned after him. 40 x 47cm framed
This collection of three hardcover books explores the lives and legacies of influential leaders throughout history. Command: A Historical Dictionary of Military Leaders by James Lucas examines the strategic minds of great military commanders from Alexander the Great to Zhukov. Chronicle of the Popes by F.G. Maxwell-Stuart provides a detailed reign-by-reign account of the papacy from St. Peter to the present. Kings, Rulers, and Statesmen presents a visual and historical journey through the reigns of monarchs and political figures worldwide. A must-have collection for history enthusiasts, scholars, and collectors of political and religious history. Largest book measures 11.25"H.Dimensions: See DescriptionCondition: Age related wear.
A boxed and signed Corgi Aviation Archive AA32612 Avro Lancaster Mk.III Dambusters AJ-G, ED932, Wing Commander Guy Gibson, 617 Squadron, limited edition 1166 of 1260 with certificate, signed by Squadron Leader George 'Johnny' Johnson DFM, Corporal Ken Lucas, Corporal Maureen Stevens, Warrant Officer Des Phillips and Flight Lieutenant Steve Stevens DFC AE
Rackham, Arthur (illus.) 1909 The Fairy Tales of the Brothers Grimm illustrated by Arthur Rackham translated by Mrs. Edgar Lucas. Publ. Constable & Company Ltd. Publisher's orig. red gilt tooled binding, some bumping to the extremities & to the head & tail of the spine, front board bright, spine a touch discoloured and faded, hinge a touch strained after the half title, no prior ownership inscriptions or bookplates, odd spot. Collated & complete with forty tipped in colour plates, each complete with tissueguard; coloured plates opp. page 106 & 232 with replacement tissue guards. Containing such popular fairy stories as Briar Rose, The Frog Prince, Rapunzel, Hansel and Gretel, Red Riding Hood and Tom Thumb. 4to.
Rackham, Arthur (illus.) 1909 The Fairy Tales of the Brothers Grimm illustrated by Arthur Rackham translated by Mrs. Edgar Lucas. Publ. Constable & Company Ltd. Publisher's orig. red gilt tooled binding, light edgewear to the extremities & a touch bumped to the head & tail of the spine, hinge a touch strained at the half title, no prior ownership inscriptions or bookplates, odd spot. Collated & complete with forty tipped in colour plates, each complete with tissueguard. A beautiful & bright first edition thus in exceptionally smart condition. 4to.
1956 Saint Botolph's Review. Including poems by David Ross, E. Lucas Myers, Daniel Huws, Daniel Weissbort, four poems by Ted Hughes, as well as An Impression in Hospital by Than Minton, Aunt Palestine's Girl by E. Lucas Myers, and Letter from a Painter by George Weissbort. Original red card wraps in cream dust wrapper, very smart condition with just light bumping to the top of the wraps & some rust staining surrounding staples to gutter resulting in some loosening to leaves. 8vo. This is the student publication responsible for introducing Sylvia Plath to Ted Hughes' poetry; she purchased a copy of this review on the day it was published, before meeting him the same evening at the launch party where they shared their first kiss. As well as being an important piece of Plath & Hughes' love story, this is the work in which Hughes' poetry is published under his name for the first time.
Tracey Emin (b.1963) Be Faithful To Your Dreams Embroidered cotton handkerchief, 1999, published by Momart, London, within the original plastic packaging, overall 406 x 406mm (16 x 16in) Together with: Sarah Lucas (b.1962) The Perceval Mobile (Momart Christmas Gift) The complete multiple, 2007, comprising an inkjet print in colours on thick card, metal wire, thread, needle and printed instruction manual on brown wove paper, with title page and text, published by Momart Ltd., London, with the original white presentation box with printed title, overall 226 x 320 x 15mm (8 7/8 x 12 5/8 x 3/4in)This work is accompanied by the Momart authenticity document, confirming the work is part of the Victoria & Albert Museum, London.Gary Hume (b.1962)Fuzzy SnowmanMachine-cut detachable fuzzy felt elements on a baize-treated backing card, 2000, signed in blue felt-tip pen verso, published by Momart, London, the full sheet, 275 x 190mm (10 7/8 x 7 1/2in) This work is accompanied by the original Momart publication document.
Henry Fredrick Lucas (British 1848-1943) Oil on wooden panel entitled "Preliminary sketch for larger picture" signed HF Lucas 1904 - Verso with lot of horses "Showground Walllingford, Preliminary sketch for picture 7ft x 4ft 3 by HF Lucas, Rugby. Painted in 1904" Panel measures approximately 20 x 13cm. Gilt frame size 30 x 23cm under glass Condition - visible grain to painting but colour good
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14444 item(s)/page