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Preisdatenbank abonnieren* Martin (Frank, 1921-2005). Study of Ann Sothern, watercolour, signed in ink bottom right and titled bottom central (Harriette Lake, after 1933, Ann Southern) mount aperture 39.5cm x 28.5cm (15.5" x 11.25"), some very light time toning revealed by mounting, framed and glazedQTY: (1)NOTE:Ann Sothern (1909-2001) was an American Hollywood actress.
AR * Piper (John, 1903-1992). St Nicholas, Liverpool: smoke-black dockland church, 1964, colour lithograph on Barcham Green Crisbrook paper, printed by Curwen Studio and published by Marlborough Fine Art, London, signed and numbered 42/70 in pencil, plate 15 from the portfolio 'A Retrospective of Churches', light mount staining to blank sheet edges, image size approx. 62 x 45 cm (24 1/2 x 17 3/4 ins), sheet size 80.6 x 59 cm (31 3/4 x 23 1/4 ins), framed and glazed (88.5 x 64 cm)QTY: (1)NOTE:Levinson 136.
* Buckland Wright (John, 1897-1954). Bather 1934, wood engraving on wove paper, one of 30 editioned impressions, signed in pencil bottom right, titled bottom left 'Bather 1934', block size 7.6 x 7.6 cm (3 x 3 ins), sheet size 15 x 14.5 cm (6 x 5 3/4 ins), light time toning and two marks to border, unframed, together with a wood engraving of a celestial maiden, printed on Japon, attributed to the same artist, block measuring 4 x 4.5 cm (1 3/5 x 1 3/4 ins), sheet size 12 x 12 cm (4 3/4 x 4 3/4 ins), unframedQTY: (2)
* Anderson (Stanley, 1884-1966). Avignon, from the Rhône, 1926, etching with drypoint on wove paper, a fine impression, signed in pencil, from the edition of 75 artist's proofs, titled 'Avignon, from the Rhône. Edition 75 proofs -' by the artist to lower sheet edge, with margins, tipped-on to backing board at the upper sheet corners verso, P. & D. Colnaghi label to frame verso, evenly toned, plate size 22.2 x 39.8 cm (8 3/4 x 15 3/4 ins), sheet size 29.7 x 50.1 cm (11 3/4 x 19 3/4 ins), framed and glazed (42.5 x 60 cm), plus Le Marché, Falaise 1926, etching with drypoint on Millbourn wove paper, signed in pencil, from the edition of 60 artist's proofs, titled 'Le Marché, Falaise. Edition, 60 proofs -' by the artist to lower sheet edge, with margins, tipped-on to backing board at the upper sheet corners verso, light mount staining, plate size 19.1 x 26.7 cm (7 1/2 x 10 1/2 ins), sheet size 28.1 x 42.6 cm (11 x 16 3/4 ins), hinge-mounted, and La Lieutenance, Honfleur, 1926, etching with drypoint on Whatman watermarked wove paper, a rich impression, signed in ink, from the edition of 60 artist's proofs, titled 'La Lieutenance. Honfleur. Edition. 60 proofs.' by the artist in pen to lower blank margin, with margins, tipped-on to backing board at the upper sheet corners verso, plate size 19.9 x 37.8 cm (7 3/4 x 15 ins), sheet size 27.9 x 45.1 cm (11 x 17 3/4 ins), hinge-mounted, together with two further drypoint etchings 'Les Arcades, Dieppe' and 'Place St Gervais, Falaise', each signed by the artist, mountedQTY: (5)NOTE:Meyrick & Heuser 173; 172; 171; 180; 170.
* British School. The Vermillion Towers, Granada, circa 1835-1840, fine watercolour heightened with white and gum arabic on wove paper, sheet size 15.1 x 9.9 cm (6 x 4 ins), William Drummond gallery label on verso of frame inscribed in pen and ink ‘113 / British circa 1835-40 / The Vermillion Towers - Granada / Watercolours', some light toning to edge of sheet, mounted, framed and glazed (31.5 x 26.5 cm), together with Bridges of Ronda, Granada, circa 1835-1840, fine watercolour heightened with white and gum arabic on wove paper, sheet size 13.1 x 9.4 cm (5 x 3 3/4 ins), William Drummond gallery label on verso of frame inscribed in pen and ink ‘108 / British circa 1835-40 / Bridges of Ronda - Granada / Watercolours', mounted, framed and glazed (31.5 x 26.5 cm), plus Granada, circa 1835-1840, fine watercolour heightened with white and gum arabic on wove paper, sheet size 9.4 x 13.6 cm (3 3/4 x 5 1/4 ins), William Drummond gallery label on verso of frame inscribed in pen and ink ‘ 135 / British circa 1835-40 / Granada / Watercolours', light toning to top of sheet, mounted, framed and glazed (27 x 31 cm), QTY: (3)
* Pan Tianshou (1897-1971). Fish, woodblock print on laid paper, signed and numbered '12/20' in pencil to lower right, red stamp and Chinese characters below image, sheet edged with light blue fabric, image size approx. 19.5 x 32 cm (7 3/4 x 12 1/2 ins), sheet size 34 x 45 cm, unmounted, together with Zou Changyi, 邹昌义 (1944-2023). Dong Village, 1992, woodcut print on laid paper, a monochrome image of a Chinese Dong village at the foot of stylised rolling hills, with a Drum Tower to the right, lower margin contains Chinese characters and Arabic numerals in pencil, including title 'Dong Village', edition '12/30', 'China Chongqing Sichuan Academy of Fine Arts', artist's signature in pencil and red stamp, and date '1992', image size 52.5 x 51 cm (20 3/4 x 20 ins), framed and glazed (72 x 68 cm)QTY: (2)NOTE:Pan Tianshou was a Chinese painter, art educator and art theorist, who was one of the most important traditional Chinese painters of the 20th century. Zou Changyi studied painting at the Sichuan Academy of Fine Arts. He returned to the Sichuan Academy as an Associate Professor, before becoming a Master Tutor and Director of the Woodblock Studio. His work is held in institutions in China and across the rest of the world, including Shanghai Oriental Art Museum, Chongqing Art Museum, Jeonbuk Museum of Art in South Korea and the British Museum.
* Manner of George Romney (1734–1802). Portrait of a young woman in regency dress, brown ink and watercolour on light brown wove paper, bearing the signature of Geo. Romney and dated 1790 to lower left corner, contemporary ink inscription 'Portrait sketch of Mrs Thunock'(?) to verso, margins with paper residue to verso, sheet size 320 x 210 mm (12 1/2 x 8 1/4 ins) QTY: (1)
AR * Piper (John, 1903-1992). Death in Venice: side panel right, 1973, screenprint in colours on Grand Vélin Arches paper, printed by Kelpra Studios, published by Marlborough Fine Art, London, signed and inscribed A/P in pencil, from the portfolio 'Death in Venice', with Kelpra stamp 'K' and '8167' to sheet verso (as issued), the full sheet (printed without margins as issued), verso of sheet with light overall toning, sheet size 77.6 x 68 cm (30 1/2 x 26 3/4 ins), framed and glazed (cm)QTY: (1)NOTE:Levinson 233.
* Austin (Robert Sargent, 1895-1973). Woman's Head (artist's wife), 1925, black chalk with fleks of brown chalk, signed and dated in brown to lower right, RSA studio stamp to lower margin, 3.29 in pencil to lower margin, sheet size 39 x 30.5 cm (15 1/4 x 12 ins), number '14' in pencil to verso, mounted, (44 x 41 cm), together withMother's Child No.1, red, black and brown chalk on laid paper, with 'INGRES' watermark, signed to lower right, studio stamp to lower margin, with title and '2.7' in pencil, some light general toning, a small pin hole to each corner, sheet size 53 x 38 cm (20 7/8 x 15 ins), '18' in pencil to verso, mounted (60 x 44.5 cm), plusSeated Child, 27 June 1933, black and brown chalk with ink on laid paper, with 'Charles I' watermark, signed and dated in pencil to lower right, '15' in pencil to lower margin, sheet size 46.5 x 33 cm (18 1/4 x 13 ins), mounted (63 x 50 cm), and 9 other drawings, mainly figure studies in pencil, charcoal and ink, 2 signed, dated and stamped, largest 45.5 x 57 cm (17 3/4 x 22 1/2 ins)QTY: (13)NOTE:Robert Sargent Austin was born in Leicester, England on May 23, 1895. A student of printmaking at the end of the "etching revival," Austin studied at the Leicester Municiple School of Art (1909 - 1913), and then at the Royal College of Art in London preceeding and after World War I. There he studied engraving under Sir Frank Short, and was awarded the Rome Scholarship to study engraving in Italy in 1922. While there, he met and married writer Ada May Harrison. The couple returned to England in 1926 and Austin began teaching at the Royal College.During World War II Austin enlisted as a war artist, recording the efforts of women in the Royal Air Force and nursing services. Upon his return, he taught at the Royal College of Art, and worked as an advisor on the design of banknotes to the Bank of England.In 1927 he was elected a Fellow of the Royal Society of Painter-Etchers and Engravers, he was elected a full member of the Royal Watercolour Society in 1934, and later also served as president, from 1957 to 1973. He was elelcted an Associate of the Royal Academy in 1939 and to the full membership in 1949.
* Anselmi (Giorgio, 1723-1797). The Adoration of the Shepherds, black chalk on light grey laid paper with arched top, signed in brown ink lower right Giorgio Anselmi Veronese, with collector's mark of a floriated capital C (Lugt 474) to lower right corner of C. P. J. - P. de Bourgevin Vialart de Saint-Morys (1743-1795), sheet size 38 x 20.2 cm (15 x 8 ins), framer's dark brown circular seal to frame verso, framed and glazed (54.4 x 36 cm)QTY: (1)NOTE:Provenance: Charles Paul Jean Baptiste de Bourgevin Vialart de Moligny, Comte de Saint-Morys (1743-1795), collector of old master drawings, and amateur printmaker. At the start of the French Revolution in 1790 he left France and his goods, lands and collections were seized, including all his drawings which were subsequently integrated into the Louvre between 1796 and 1797. Saint-Morys died in 1795 in the disastrous Battle of Quiberon which aimed to ignite a royalist insurrection in western France in support of Louis XVI. His second collection of drawings, formed in London between 1790 and 1795 was sold at auction by his son the Comte de Carrière in London in 1797, the works being stamped to the corner with a capital C (Lugt 474); Private Collection, Switzerland; Koller, Old Master Drawings, Friday, 22 September 2023, lot 3413.
* Furnival (John, 1933-2020). Time Is Money, 1971, offset lithograph on wove paper, signed in pencil, the full sheet, old pin holes to four corners, sheet size 50.5 x 38 cm (20 x 15 ins), and The Definitive Penultimate, offset lithograph on wove paper, signed in pencil, the full sheet, some dust soiling and light spotting, sheet size 38 x 50.5 cm (15 x 20 ins), together with six further prints by the same artist, Corridors of Flower Power (1967), Manhattan a.k.a. Aliquotality (1973), Eyeful Tower (c.1966), Night and Day, Real I Sing (1974) and Attention Please QTY: (8)
* Miers (John, 1756-1821). Portrait of John Foxcroft, circa 1785, oval head and shoulders silhouette portrait, painted in black on plaster, profile to right, somewhat scratched, verso with original artist's label “Perfect Likenesses in miniature profile, taken by J.Miers, LEEDS, and reduced on a plan entirely new ...", mount aperture 85 x 70 mm (3 3/8 x 2 3/4 ins), period ebonised wood frame with inset oval gilt metal surround, and hanging loop, glazed, frame verso with clear plastic cover taped at edges, and 20th century ink manuscript label detailing the sitter, overall size 15 x 12.5 cm, together with English School, Portrait of Eliza Talbot (c.1768-1855), circa 1790, oval head and shoulders portrait miniature, watercolour on paper, few light foxing spots, very slightly cockled, verso with later pencil annotation '...Eliza Talbot afterwards Mrs Lister Kaye', mount aperture 85 x 68 m (3 3/8 x 2 5/8 ins), period ebonised wood frame with inset oval gilt metal surround, and hanging loop, glazed, verso with mordern card covering, overall size 15 x 12.25 cm, plus another oval head and shoulders silhouette portrait, early 19th century, painted in black, grey and blue on paper, of a fashionable lady in a bonnet, profile to right, mount aperture 85 x 70 mm (3 3/8 x 2 3/4 ins), verso with partly illegible pencil annotation 'Polly Bertroot'?, period framed and glazed (as above), overall size 15 x 12 cmQTY: (3)NOTE:Provenance: The Robertson-Glasgow family of Hinton Charterhouse, by descent. These items have all remained within the same family from the time they were produced, some 242 years.John Foxcroft, born in 1757, was the son of Edward Foxcroft, and brother to Eliza and Frances.Eliza (born Elizabeth) Talbot was the daughter of Colonel Richard Talbot, and his wife Margaret (nee O'Reilly), 1st Baroness Talbot of Malahide, Dublin. Eliza first married George Waters Mellifont in 1796, and then in 1844 she married Ellis Cunliffe-Lister-Kaye (his third wife).
* Attributed to Antoine Coypel (1661-1722). Reclining Male Figure, black, red and white chalk on light grey laid paper, depicting a long haired man reclining, one hand outstretched, mounted onto later laid backing paper with ruled borders in black and light brown ink, sheet size 145 x 175 mm (5 3/4 x 6 7/8 ins), framed and glazed (31.5 x 34 cm), old printed label of P. & D. Colnaghi & Co. Ltd to verso, with pencil attribution to Antoine CoypelQTY: (1)NOTE:Provenance: Collection of John Rowlands (1931-2016), former Keeper of Prints and Drawings at the British Museum.The present work compares with drawings by Coypel in the Ashmolean Museum, Oxford, in particular The Figure Blowing a Trumpet ( WA1944.12), as well as a similar Study of a Man's Back.
* Attributed to Hans Sebald Beham (1500-1550). Profile Head of a Man with Ram's Horns, pen and black ink on laid paper, some marks and light paper abrasions to sheet edges, laid onto later wove paper, sheet size 36 x 27 mm (1 3/8 x 1 1/16 ins), hinge-mounted, framed and glazed (23.5 x 23 cm) QTY: (1)NOTE:Provenance: Collection of John Rowlands (1931-2016), former Keeper of Prints and Drawings at the British Museum. Attributed to Hans Sebald Beham by John Rowlands.
* Durer (Albrecht, 1471-1528). The Abduction on a Unicorn, 1516, etching on laid paper, a good, dark Meder c impression with the rust marks in the plate, with city gate watermark (Meder 263, similar to Briquet 15940, dateable to the 1550's), plate size 310 x 213 mm (12 1/4 x 8 3/8 ins), with 1mm or 2mm outer margins, generally in good condition, verso with some old light waterstains, remains of paper hinges to top margin verso, late 19th/early 20th century backing card inscribed with details of the print in pencil QTY: (1)NOTE:Bartsch 72; Meder 67; Schoch, Mende, & Scherbaum 83.
* Attributed to Domenichino (Domenico Zampieri, 1581-1641). Falling Putto, red chalk on laid paper, laid down on a sheet of 18th century laid backing paper (watermarked), with pencil triple rule outer border, inscribed in brown ink in an 18th century hand 'Domenichino' lower right, and 'Carlo' lower left, some surface marks and light soiling, minor loss to extreme upper left corner, and scratch towards lower left margin, with minimal loss, sheet size 246 x 201 mm (9.7 x 7.9 ins), backing sheet 31 x 26.5 cm (12.2 x 10.5 ins)QTY: (1)NOTE:Provenance: Collection of Michael Jaffé (1923 –1997), former director of the Fitzwilliam Museum, Cambridge.The early inscription 'Carlo' on the backing paper may refer to Carlo Maratta (1625-1713) as a previous owner of this drawing. Fellow artist Maratta famously owned a substantial collection of Domenichino's drawings, purchased from that artist's pupil Francesco Raspantini. In turn, Maratta sold part of his collection, mainly drawings and cartoons, to Giovanni Francesco Albani, later Pope Clement XI, who tried to prevent their sale abroad. They were eventually acquired from Alessandro Albani by King George III of England and reside today in the collection at Windsor Castle.
* Persian Miniature. Two noblemen reclining, late 17th or early 18th century, pen and ink on laid paper, depicting two young noblemen reclining with food and drink, the drawing heightened with gold, the background with stencilled gold floral motifs within an ornamental gold border, the image overall sprinkled with gold, captioned in Persian in the image, overall light discolouration and old creases, with an additional near contemporary decorative paper border (of gilt-decorated black within pink and blue borders) laid down, image size 66 x 111 mm (2 5/8 x 4 3/8 ins), sheet size 139 x 211 mm (5 1/2 x 8 1/4 ins), window mounted (mount aperture 80 x 125 mm), framed and glazed (22 x 27 cm)QTY: (1)NOTE:Provenance: Sidney J. A. and Stella Churchill (1862-1921): Ruth Plant (daughter): Juliet Petty of Bristol (granddaughter).Sidney Churchill was a well-travelled British diplomat who also became a connoisseur of art. He joined the Indian Civil Service in 1880, when just 18, working in the Persian Telegraph Department, and later became British Consul in Persia (1886-1894), before moving to various other countries in the diplomatic service.The Persian caption to the drawing could possibly translate as Excellent Meh Reza.
* Follower of Peter Paul Rubens (1577-1640). Mother and Child, 17th or 18th century, red and white chalk on laid paper, with old (probably 18th century) inscription 'No. 7741', and collector's mark in pencil to lower right corner, apparently a drawn copy or version of the printed mark of the Hermitage Museum, St. Petersburg (Lugt 2061), some light spotting and marginal toning, sheet size 195 x 115 mm (7 3/4 x 4 1/2 ins), later frame, glazedQTY: (1)NOTE:Provenance: The collector's mark at lower right bears comparison to the black printed stamp of the Hermitage Museum, St. Petersburg (Lugt 2061), a stamp which was placed on the Russian collection of drawings and prints during the reign of Emperor Paul I (1796-1801); Collection of Philip Allen, Bedford, UK.Another Madonna and Child in red chalk, given to Peter Paul Rubens, measuring 24.4 x 13.4 cm was offered by Phillips, London, Old Master Drawings, Thursday, July 6th, 2000, lot 126 (estimate £120,000-£150,000).
* Thomassin (Philippe, 1562-1622). The Battle of the Lapiths, after Bernadino Passeri (1540-1596), Rome, 1617-1619, fine large circular engraving by Thomassin after Passeri on laid paper, incorporating a circle of centaurs and lapiths fighting with cudgels over women, with an outer border of putti, mermen, and serpents, at the centre of the engraving a circular device with a crab on whose carapace is engraved the Vitelli coat of arms, with a circular border in which is engraved: ‘ILLVSTRISSIMO D· IOANNI VITELLIO PATRONO VIRT· AMAT’, and a second circular border bearing the words: BERNARDINVS PASSARVS INVEN · PHIL · THOMASSINVS FEC · ET EXCVD · CVM PRIVIL · SVMMI PONTIFICIS ET SVPERIOR LICENTIA · ROMAE, scattered light toning (generally in good condition), 57 cm (22 1/2 ins) diameterQTY: (1)NOTE:Provenance: Sidney John Alexander Churchill (1862-1921), thence by descent.A design for a shield for Giovanni Vitello, showing the battle of the Lapiths and Centaurs. The mythical Battle of the lapiths and centaurs features in several prominent works of Greek architecture, including the temple of Apollo at Bessae and on the Parthenon in Athens. The tale begins with the marriage of Hippodamia to Pirithious, king of the Lapiths, and the centaur guests at their wedding. The centaurs became drunk and attempted to kidnap and rape the bride and other women at the wedding. The Lapiths eventually triumphed over the centaurs, in most accounts due to the intercession of Apollo.According to Bruwaert's catalogue, La vie et les Å“uvres de Philippe Thomassin graveur Troyen 1562-1622 (Troyes and Paris, 1914-15), number 415 is a ‘Bouclier des Lapithes, diamètre 280, d’après Bern. Passaro, Phil Thomassinus fec. et exc., dédié à Jean Vitelli par Thomassin.’ The date is given as 1620. Bruwaert notes (p.68) that in the period after 1617, ‘A Cassian dal Pozzo, secrétaire du cardinal Barberin, Philippe offre une Galathée fort légèrement vêtue. Un Triomphe du Printemps, dans la même note, peut être de la composition même de Thomassin. Un Combat de Lapithes, en form de bouclier, doit dater de ce temps.’
AR* Buckland Wright (John, 1897-1954). Dancer II, 1953, etching on wove paper, one of 40 editioned impressions, signed in pencil bottom right, titled bottom left 'Dancer II', with personal inscription 'for Frank' (Frank Martin), plate size 21.5 x 18.7 cm (8 2/5 x 7 3/10 ins), sheet size 33 x 27 cm (13 x 10 7/10 ins), light time toning to extreme borders, unframedQTY: (1)
* Tanner (Robin, 1904-1988). February, 1974, etching on thick wove paper, second (of two) states, from the sole edition of 25 signed proofs, printed by the artist and published by Garton & Cooke in 1984, signed 'Robin Tanner fec. et imp', titled 'Etching: February', with an additional inscription by the artist 'This impression was printed for Marjorie Green at the Old Chapel Field Press, Kingston Langley, Wiltshire', the full sheet, some light toning to sheet, plate size 26 x 16.1 cm (10 1/4 x 6 1/2 ins), sheet size 44 x 31.7 cm, together with Wren and Primrose, 1935, etching on thick cream wove paper, an impression from the original plate by Jeremy Blighton and Anthony Dyson for Merivale Editions, London, from the unnumbered edition of 122, the full sheet, plate size 9.3 x 11.3 cm (3 5/8 x 4 1/2 ins), sheet size 37.6 x 45.3 cmQTY: (2)NOTE:Garton 32 & 19.
* Buckland Wright (John, 1897-1954). La Visiteuse du soir, 1953, etching on wove paper, signed in pencil bottom right, titled bottom left 'La Visiteuse du soir', with personal inscription 'for Frank' (Frank Martin), plate size 15 x 10.2 cm (5 4/5 x 4 ins), sheet size 24 x 16.8 cm (9 1/2 x 6 3/5), light time toning to extreme borders, unframed, together with Psyche and Cebrus, 1937, etching on mould paper, signed with initials in the plate, titled in pencil bottom left and date bottom right, plate size 12.8 x 8.8 cm (5 x 3 2/5 ins), sheet size 33 x 25.5 cm (13 x 10 ins), studio stamp verso, mountedQTY: (2)
Bowie - Live unofficial releases 12 Lp records 72-73 time may change me. Aylesbury Friars Sep 25 1971, Gimme your hands 2 x Lp Kingston poly 6 May 1972. Just a beer light 2 x Lp Rainbow Theatre London 20th Aug 1972, Bristol Locarno 27th Aug 1972 2 x Lp. Demanding Billy dolls Boston music hall 1st Oct 1972 2 x Lp Etc.
Blackberry Smoke - 5 LP records; The Whippoorwill - 2014 EU pressing 2xLP 'smoke' vinyl (limited to 200 copies), Leave A Scar Live - 2014 EU pressing 2xLP 'clear ghost' vinyl, Find A Light - Sealed 2018 EU pressing 2xLP (hand signed), Holding All The Roses - 2015 EU pressing and Like An Arrow - 2016 UK pressing 2xLP
Calexico - 6 LP records plus 1 x 12" single; Ancienne Belgique vol 2, 2 x LP 2013, Spiritoso Ltd edition white vinyl, Edge of the sun 2 x LP Ltd edition, turquoise/mint, The thread that keeps us 2 X LP Ltd edition, Seasonal shifts Ltd edition violet 2020, The black light 2018 special edition and descamino 12"
Erasure - A collection of Limited Edition 30th Anniversary 180gsm LPs, to include Erasure (self titled), Wonderland, Wild!, I Say I Say I Say, Chorus, The Innocents, Circus, Cowboy, Loveboat, Other People's Songs, Nightbird, Union Street and Light at the End of the World, all in protective sleeves. (13) PLEASE VIEW CONDITION REPORT
1980s Rock/Punk Rock - A collection of LPs and 12 inch singles, including Scorpions - Blackout, SHVL 823, (autographed), and Lovedrive, SHSP 4097, The Stranglers - Self Titled, UAK 30222, The Raven, UAG30262, The Collection, 1977-1982LBG 30353, Feline, CB 231, Aural Sculpture, EPC 26220, No More Heroes, UAG 30200, and Skin Deep, TA 4738, Motorhead - Another Perfect Day, BRON 546, Skids - Days In Europa, OVED 42, Kate Bush - Hounds Of Love KAB1, OMD - Morality & Architecture, Talking Heads - Remain In Light, SRK 6095, Rain Parade - Crashing Dream, ILPS 9805, Echo & The Bunnymen - Porcupine, KODE 6, and Ocean Rain, KIDE 8 and Van Halen - Women and Children First, WB56 793. (17) PLEASE VIEW CONDITION REPORT
Velvet Underground - Two signed records, White Light/White Heat signed by Lou Reed and Moe Tucker and Animal Justice signed John Cale. NB - Remaining items from the Late Estate of Dee McLouglin - tour manager. The entire collection sold in these rooms in February 2024. PLEASE VIEW CONDITION REPORT
A vintage Christian Dior velvet evening coat. With an integrated silk scarf and silk cuffs, gold-tone buttons, made in France, one size.Some light stains to the right cuff. Three small brown spots to the right sleeve. Some very faint spots to the front, probably from being in a damp environment. See images.
A collection of ladies' designer sunglasses. Dolce and Gabbana, Pilgrim, four pairs of Escada, and Foster Grant (7).Escada good. Foster Grant with light scratches. D&G with scratches to both lenses. Pilgrim glasses have some fine scratches but generally good. Escada purple has left lense with very fine scratch. Escada red good. Escada black has some hairline cracks to the nose bridge.
A Gucci crocodile handbag with chain handles. Gold tone hardware, stamped 'Made in Italy by Gucci' to the interior, with a Gucci zip pull to the inner pocket.Light scuffs to all corners. Wear to the gold tone chain straps. wear to other gold tone areas including the clasp. The Gucci pull on the zip appears to be soldered. See images.
A Celine white calf skin leather handbag and a Michael Kors red Saffiano leather handbag. The Celine handbag with papers and authenticity card, width 37cm; the Michael Kors handbag with gold tone hardward, width 28cm.The Celine bag has some dirty marks and has yellowing dirt marks on the leather straps. The stitching is good. Light scratches to the hardware.The Korrs bag has some wear to the stitching on the handles. Wear to the gilding on the padlock and loop. Scuff to on corner. The stitching around the opening is scuffed.
A SUFFRAGETTE BROOCH - In the form of a bee. High purity gold set with amethyst, diamonds and peridot eyes, the bar with end pearls, length 35mm, 3.9g.A light scratch to both amethyst's. Not visible to the naked eye. A diamond on the right wing has been replaced with a circular cut diamond, and it appears to have been glued in. There are no hallmarks but we believe this to have been constructed in the early 20th century.
A Salvatore Ferragamo silk blend trench coat. In gold colourway with all over omega design in UK size 12, with a black Aquascutum silk trench coat size 12, and a Maxfield Parrish suede coat size medium (3).Ferragamo bronze coat with a light stain to the collar and a light stain to the right cuff, not very noticeable. The other two coats very good vintage condition.
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