§ John Frye Bourne (British 1912-1991)The Lacrosse Girl, 1950 signed 'JF Bourne' (lower right) oil on canvas 124 x 69cmFootnote: Born in Hampstead in 1912, John Frye Bourne’s childhood was blighted by recurring bouts of sickness. During his frequent periods of convalescence, however, Bourne spent his time learning to paint and draw and by the age of 16, he was accepted to study at the Royal Academy – the institution’s youngest student since J. M. W. Turner was admitted in 1790, aged 14. After his early training, Bourne continued to paint throughout his lifetime and, during the mid-20th century, became a popular portrait artist amongst fashionable circles. Depicting Kay Sanders, a student at St. George’s School, Harpenden, the present lot is typical of Bourne’s nostalgic and idealised renderings of mid-century English culture.
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§ Jack Leslie Fairhurst ARCA (British 1905-1989)Self-Portrait oil on board 46 x 35cmFootnote: The youngest son of artist and illustrator Enoch Fairhurst, Suffolk artist Jack Leslie Fairhurst was born in 1905 in Nunhead, London. After training under Randolph Schwab, Michael Rothenstein and Albert Rutherston at the Camberwell School of Art between 1919 and 1923, Fairhurst held several teaching posts in London and achieved relative success exhibiting at the Royal Academy and the Royal Society of Portrait Painters, before later moving to Woodbridge, Suffolk, where he would continue to paint until his death in 1989. Principally remembered as a portrait artist, the present lot, likely executed in the mid-1920s, depicts the artist as a young man and illustrates the increasingly pervasive influence of modernism, in both fashion and portraiture.
§ Anthony Devas ARA, RP, NEAC (British 1911-1958)Portrait of Sarah Millar, née Ellis, 1953 signed 'Devas' (upper right) oil on canavs 92 x 62cmFootnote: Provenance: With Johnston Fine Art, Northamptonshire, where acquired by the present owner Exhibited: London, The Royal Academy, Summer Exhibition, 1954, cat.no.86 Born in 1930, Sarah Millar (née Ellis) spent the 1950s working as the personal assistant to Anthony Devas, during which time he painted several portraits of her. Dubbed ‘The Aero Girls’, Millar was one of a number of women used as models to advertise Aero chocolate between 1950 and 1952. Commissioned by the advertising agency, J. Walter Thompson, Millar’s Aero portrait, which was painted by Devas and fictitiously titled, ‘Anna’, was used in Rowntree’s print advertising throughout February 1952. Exhibited in 1954, the present lot was the second of Devas’ portraits of Millar to have been shown at the Royal Academy, the first of which, titled ‘Sarah Millar (with hands clutching shawl)’ was shown in 1953 and was the star portrait of the exhibition.
§ John Nash CBE, RA (British 1893-1977)Self-Portrait, circa 1945 the frame stamped with studio stamp oil on board 40 x 30cmFootnote: Provenance: Artist's studio Mrs Levetus Sale; Sotheby's, London, 27 January 1986, where acquired by the father of the present owner Exhibited: London, New Grafton Gallery, John Nash, 27 March 1980
§ Edward Seago RWS, RBA (British 1910-1974)Portrait of Mrs Betty Fletcher, nèe Astell signed 'Edward Seago' (upper left) oil on canvas 75 x 62cmFootnote: Provenance: Mrs Betty Fletcher (1912-2005) Thence by descent to her daughter, from whom acquired by the present owner Born Betty Julia Hymans in 1912, the sitter for the present lot, Betty Fletcher (nèe Astell) was an actress principally known for her comedy and pantomime productions. One of the first people to have performed on television, Betty Astell appeared in more than thirty film and television productions during her career, with Strictly Illegal (1935), Magpie Masquerade (1949) and A Piece of Cake (1948) being amongst the best known. In addition to her career on screen, Astell is also known for her stage productions which often starred her husband, Cyril Fletcher and, on occasion, their daughter, Jill Fletcher. Astell’s writing and producing credits for the stage include Dick Whittington, Mother Goose, Sleeping Beauty, Cinderella and Aladdin.
§ John Stanton Ward CBE, RA, RWS, VPRP, NEAC (British 1917-2007)Portrait of Professor Edward John Kenney and his cats signed and dated 'John Ward Dec. 1973' (lower left) watercolour over pencil 41.5 x 47cm; together with correspondence between the artist and the sitter, two framed greetings cards, Christmas cards and annotated letters
Bank of England, Jasper Q. Hollom, £5, housed in a blue leather presentation wallet, 21 February 1963, serial number A01 000003, Queen Elizabeth II at right, reverse blue, seated Britannia at centre, exceptionally minor handling and with a hint of toning in some marginal areas but overall uncirculated and a wonderful note. The wallet has a few scuffed areas but is in superb condition inside and out. EPM B297 £12,000-£16,000 In 1956, The Queen agreed to her portrait appearing on forthcoming Bank of England notes. The 10/- and £1, issued in 1960, were the first, followed by this new £5 in 1963. The note was designed by Reynolds Stone and is very much in keeping with the 10/- and £1 already designed by Robert Austin. This serial number A01 000003 note was presented to Harold Macmillan, shortly before the premature end of his second term as Prime Minister in 1963. Serial numbers one and two are housed in the Royal Collection, having been presented to The Queen and the late Duke of Edinburgh. This lot represents the lowest serial number for any £5 Bank of England note featuring The Queen available to commerce, making it an important and remarkable piece of numismatic history. Along with the previous lot in this auction, this is the first time that a serial number three note, for a new design, has ever been offered on the open market.
Pathet Lao Government, CIA counterfeit propaganda note, 200 Kip, ND (1968), no serial number, portrait of Ho Chi Minh in place of Wat That Luang stupa on reverse, paper in perfect condition, but heavy mounting remains on reverse, thus technically about uncirculated, rare TBB B306ax, Pick 23Ax £240-£340 This is one of a small group of three of these remarkable counterfeits discovered recently in a frame.
Pathet Lao Government, CIA counterfeit propaganda note, 200 Kip, ND (1968), no serial number, portrait of Ho Chi Minh in place of Wat That Luang stupa on reverse, paper in perfect condition, but heavy mounting remains on obverse, thus technically about uncirculated, rare TBB B306ax, Pick 23Ax £240-£340 This is one of a small group of three of these remarkable counterfeits discovered recently in a frame.
Queen - An original warm tone silver gelatin exhibition print - portrait of Freddie Mercury, Munich 1981, signed by photographer Peter Hince, mounted, glazed and framed, 16 x 12 inches. Provenance: This item has been consigned by Peter Hince. Peter 'Ratty' Hince met Queen in 1973 when they were opening for Mott the Hoople, began working full-time for the band in 1975 during recording of their A Night at the Opera album, and stayed on as the head of their road crew until their final concert in 1986. No copyright is assigned with this item.
Queen - An original silver gelatin print - portrait of Freddie Mercury circa 1984, signed by photographer Peter Hince, 12 x 10 inches. Provenance: This item has been consigned by Peter Hince. Peter 'Ratty' Hince met Queen in 1973 when they were opening for Mott the Hoople, began working full-time for the band in 1975 during recording of their A Night at the Opera album, and stayed on as the head of their road crew until their final concert in 1986. No copyright is assigned with this item.
The Jimi Hendrix Experience Electric Ladyland UK Early press in fully laminated sleeve, Hendrix portrait on the right-hand side of the gatefold with white track listing / credits text. No text on the back of the sleeve but there is a sticker from the previous owner in the top right hand corner. Replacement inner sleeves. Sleeve is VG+. Both vinyl appear VG+ but a little ghosting on the second record from storage in a previous old poly lined sleeve.
Pino Daeni (1939-2010) Italian/American, a three-quarter length portrait of a woman in a red dress and apron, oil on canvas laid onto board, signed to lower right corner, 60 cm x 49.5 cm in a painted wood frame.Footnote: Provenance: Private collection, with no written history.Condition report: Good condition with no apparent damage or repair. Colours still bright. Some slight wear and staining to the frame.
An early 19th century portrait miniature on ivory, in a leather case (12 cm x 10.7 cm, lacking cover), a label verso attributing it to 'Miss Fish', together with a similar period miniature on ivory, depicting a finely dressed gentleman, in a gesso frame, 11.5 cm x 9.8 cm and a further portrait on ivory, circa 1800, of a gentleman in a gilt metal oval frame.Qty: 3Condition report: The miniature of the gentleman in the blue coat and white stock has slipped in its case see imagesThe oval miniature of a gentleman has a slight line on his forehead I don't think its a crack but have included an image for clarityThe remaining miniature of a muse is in good order but as stated missing the front of the case.See images for further clarification of the above.
An early 19th century portrait miniature on ivory of a gentleman, housed in a gilt metal oval frame with woven hair verso, (7.2 cm x 5.3 cm), together with three portraits of women, one naming the sitter verso as 'The Lady Randlesham, painted by A. Dixon July 1862', and another by A Cittadini.Qty: 4Condition report: Cracks to the ivory for the portraits of two women, a crack to the glass of the Cittadini portrait
Early 20th-century school, a large full-length portrait of a young boy with a Rough Collie, unsigned oil on canvas, 131 cm x 95 cm in a giltwood frame.Footnote: Provenance: Deceased Maidenhead estate.Condition report: Tear to the canvas (unfortunately through the boy's face), with other surface blemishes.
Harold Riley (b.1934) British, 'Study of Mandy', a portrait of a young woman, pastel on paper, signed and dated 1971, 55 cm x 47.5 cm framed and glazed.Footnote: Provenance: Private collection. Comes with a copy of a hand-written letter from Riley on Leigh Gallery (Sale, Cheshire) headed paper, dated January 1972, stating 'the present value' of some works in the possession of the owners, based on their then-current gallery prices.'Our grandmother died in the late sixties and left my brother and I a little money. We were teenagers and our parents encouraged us to invest it in some art as a permanent reminder of her. At the time, in Manchester, our mother had seen and liked some work by Harold Riley. She contacted him and we went to see him in his studio in Salford. The works were primarily of industrial scenes of the North West and my parents bought two landscapes which stayed with my mother until her recent death. My brother bought two charcoal pictures of Salford which are still in his possession and was given a small sketch as a gift.I was less keen on the bleakness of the works.Harold suggested I sit for him and if I liked the result, I could buy it and if I didn’t it was also ok. I was 15 and loved the idea. In the end he did 3 pictures. One hangs in my dining room and my mother bought the other two.Now, with 2 staying in the family, it is enough hence the sale of the third.'Condition report: No apparent faults
A COLLECTION OF BRITISH BANK NOTES. A collection of banknotes to include two Series 'B' helmeted Britannia £5.00 notes A75 and H37. A series 'C' Portrait issue £5.00 note 14A. Four green Series A Britannia £1.00 notes, A Series A Britannia blue £1.00 note D02H, 24 Series 'C' portrait issue £1.00 notes and eleven series 'C' 10 shilling notes J.Q. Hollam, three consecutive 23K503851-53. 43 notes.
A COLLECTION OF UK AND WORLD BANK NOTES. Ten banknotes including a red/brown Britannia ten shilling note and two later portrait issue notes, two British Armed Forces £1.00 notes, a £1.00 Central Bank of Ireland note and four Series 'D' pictorial issue notes, one J.B. Page and three consecutive Somerset notes CR03298733-5. 10 notes.
AN 18CT GOLD CHURCHILL COMMEMORATIVE COIN. With a profile portrait of Churchill by Ironside within the legend Sir Winston Churchill K.G. O.M. 30 November 1874, the reverse with a rampant lion waving a union flag This was their Finest Hour, MAC 900, stamped 2902 and 750 to the edge. 32mm c17g.
THE MESS KIT FOR A LIEUTENANT IN THE LIFE GUARDS. Mess Kit comprising dark trousers with red stripe, waistcoat with gold braid trim and gilt beaded border and red jacket with similar gilt work and velvet cuff and collar, with epaulettes for the rank of Lieutenant, the waistcoat and jacket with labels for Huntsman and Sons, 11, Saville Row London. See the following lot for a portrait of the officer wearing this uniform. See lot 582 for a portrait.
A LARGE COLLECTION OF MILITARY PHOTOGRAPHS. Photographs to include portrait images of a young officer in the 6th Inniskillings, a portrait of a DSO recipient, similar of a member of the Essex regiment, a group image of 'Officers, 220th Party School of Musketry, Hythe', mounted troops at 'Sandhurst 1898' and others. 35 images, various sizes.
SAMUEL MORSE-BROWN (1903- 2001), A PORTRAIT OF AN OFFICER OF THE LIFE GUARDS. A portrait of Lieutenant Alastair Gunning in the dress uniform of the Life Guards, seated looking to his left with his cap on his knee with a family crest top left, oil on canvas, signed Samuel Morse-Brown, Bermuda 1975. 89 x 69cm, in gilt frame, 108 x 88cm overall. See the proceeding lot for this uniform.
A RARE PENINSULA WAR GUIDON. A Guidon of late 18th Century form worked with a central crowned motif representing England, Scotland and Ireland surrounded by four cartouches, two with the white horse of Hanover the others '1st E LEGION'. Inscribed to the reverse: "This Guidon was probably carried in the Peninsular War by Ensign Cawther, whose miniature portrait I remember seeing amongst my Fathers things, but witch disappeared later. My Great Grandmother Annie Waylett b.1832 was born Cawther. A Guidon was generally carried by two Ensigns, since there is only one side to this flag (and I believe it should also have a fringe) It is possible that the two Ensigns each kept half when the war was over. .. July 1992" The flag 51cm high, 80cm wide, mounted framed and glazed, not examined out of the frame. Guidon's were issued one per troop, this interesting example lacks battle honours and does not appear to be from a British regular Cavalry regiment, perhaps a Yeomanry or Fencible cavalry regiment. A very similar example can be found in the National Army Museum NAM.1975-09-72-1 The First King's or Royal Guidon, Sussex Corps of Fencible Cavalry 1794-1800. Provenance: Quite possibly the family of the original carrier and thence by descent.
A DUKE OF WELLINGTON'S VICTORIES MEDAL AND PAPER DISCS. A two part circular box of medal form, the lid with bust length portrait 'Duke of Wellington', the reverse with legend 'By his consummate skill as a General ... ', enclosing double sided paper disks listing his victories, twelve loose and one in each half of the box. 4.7cm wide.
Schwerer Pallasch, deutsch oder Österreich, um 1650 Breite zweischneidige Klinge mit linsenförmigem Querschnitt, in der oberen Hälfte geringe Reste von floraler Zierätzung. Eisernes Bügelgefäß, das große terzseitige Stichblatt mit geschnittenem Doppelkopfadler, der Brustschild mit gravierter Bezeichnung "RKM". Quartseitig kleineres, muschelförmiges Stichblatt mit Daumenring. Spiralig gekehlte Hilze, Griffwicklung fehlt. Reich geschnittener eiserner Knauf mit Portraitbüsten und Maskarons. Länge 101,5 cm.Zustand: IIA heavy German or Austrian broadsword, circa 1650 Broad double-edged blade of lenticular cross section, the upper half with minor remnants of decorative floral etching. Iron knuckle-bow hilt, the large obverse guard plate with cut double-headed eagle, the breast shield with engraved inscription "RKM". On the reverse smaller shell guard with thumb ring. Helically grooved grip, wire wrap missing. Lavishly cut iron pommel with portrait busts and mascarons.Length 101.5 cm.Condition: II
Marie Pilat, Ansicht Salzburger Domsommerliche Ansicht der Doppelturmfassade des Salzburger Doms, Mischtechnik (Aquarell über Tuschezeichnung), links unten ortsbezeichnet, datiert und signiert "Salzburg 1976 M. Pilat", etwas gegilbt, hinter Glas im Bilderträger, Blattmaße ca. 47 x 35 cm. Künstlerinfo: österreichische Landschafts-, Portrait- und Interieurmalerin, Illustratorin, Zeichnerin und Kunsterzieherin (1893 Olmütz bis 1977 Wien), studierte an der Wiener Frauenakademie für bildende Kunst und Werkkultur bei Richard Harlfinger, tätig in Wien, Quelle: Internet.
Marie Pilat, Ansicht des Salzburger RathausturmsBlick durch eine enge Salzburger Gasse auf das Alte Rathaus mit dem imposanten Uhrturm, Mischtechnik (Aquarell über Tuschezeichnung), rechts unten ortsbezeichnet, datiert und signiert "Salzburg [19]76 M. Pilat", hinter Glas im Bilderträger, Blattmaße ca. 42 x 32,5 cm. Künstlerinfo: österreichische Landschafts-, Portrait- und Interieurmalerin, Illustratorin, Zeichnerin und Kunsterzieherin (1893 Olmütz bis 1977 Wien), studierte an der Wiener Frauenakademie für bildende Kunst und Werkkultur bei Richard Harlfinger, tätig in Wien, Quelle: Internet.
Emil Fröhlich, Landschaft bei HohburgBlick über eine baumbestandene Wiese mit Heugarben, auf eine Stadt im Hintergrund, pastose Landschaftsmalerei, Öl auf Pappe, um 1930, links unten signiert „E Fröhlich“, rückseitig bezeichnet „Hohburg“ und maschinenschriftliche Biographie, gerahmt, Falzmaße ca. 21,5 x 27,5 cm. Künstlerinfo: dt. Portrait- und Landschaftsmaler (1862 Leipzig bis 1950 Hohburg), ab 1890 Studium an der Akademie in München bei Gabriel von Hackl und Wilhelm von Diez, stellte unter anderem auf der Großen Berliner Kunstausstellung und im Münchner Glaspalast aus, Quelle: Thieme-Becker und Matrikeln der Akademie in München.
Bernhard Heisig, "Der Steindrucker"Bildnis des Lithodruckers Horst Arloth (1925-2018) an der Presse, Lithographie, um 1980, unter der Darstellung in Blei links betitelt "der Steindrucker" und rechts signiert "Heisig", an der linken unteren Ecke knitterspurig, Darstellungsmaße ca. 40,5 x 30,5 cm, Blattmaße ca. 53 x 39,5 cm. Künstlerinfo: bedeutender dt. Maler, Graphiker und Illustrator (1925 Breslau bis 2011 Strodehne), zunächst Schüler seines Vaters, des Freizeitmalers Walter Heisig, 1941-42 Studium an der Kunstgewerbeschule Breslau, 1942-45 freiwilliger Kriegsdienst, ab 1948 Studium an der Fachschule für Angewandte Kunst Leipzig, ab 1949 an der Akademie für graphische Kunst und Buchgewerbe, 1954 zum Dozent und 1961 zum Professor und Rektor der Hochschule für Graphik und Buchkunst (HGB) Leipzig berufen, zeitweise Vorsitzender des VBK der DDR, gehört neben Mattheuer und Tübke zu den Begründern der „Leipziger Schule“ und zu den bedeutendsten Künstlern der DDR, schuf 1986 Portrait von Helmut Schmidt für die Galerie der ehemaligen Bundeskanzler im Bundeskanzleramt, tätig in Leipzig, ab 1992 in Strodehne, Quelle: Vollmer, Eisold „Künstler in der DDR“ und Internet.
Prof. Bernhard Heisig, SelbstbildnisSelbstportrait des Künstlers, mit zum Betrachter gerichtetem Blick, Lithographie, um 1995, unter der Darstellung rechts in Blei signiert "Heisig", leicht knitterspurig, Darstellungsmaße ca. 29,5 x 22 cm, Blattmaße ca. 53 x 39 cm. Künstlerinfo: bedeutender dt. Maler, Graphiker und Illustrator (1925 Breslau bis 2011 Strodehne), zunächst Schüler seines Vaters, des Freizeitmalers Walter Heisig, 1941-42 Studium an der Kunstgewerbeschule Breslau, 1942-45 freiwilliger Kriegsdienst, ab 1948 Studium an der Fachschule für Angewandte Kunst Leipzig, ab 1949 an der Akademie für graphische Kunst und Buchgewerbe, 1954 zum Dozent und 1961 zum Professor und Rektor der Hochschule für Graphik und Buchkunst (HGB) Leipzig berufen, zeitweise Vorsitzender des VBK der DDR, gehört neben Mattheuer und Tübke zu den Begründern der „Leipziger Schule“ und zu den bedeutendsten Künstlern der DDR, schuf 1986 Portrait von Helmut Schmidt für die Galerie der ehemaligen Bundeskanzler im Bundeskanzleramt, tätig in Leipzig, ab 1992 in Strodehne, Quelle: Vollmer, Eisold „Künstler in der DDR“ und Internet.
Bernhard Heisig, Selbst mit ZeigefingerSelbstportrait des Künstlers, mit erhobenem Zeigefinger und einem Lächeln im Gesicht, Lithographie, um 1995, unter der Darstellung unten rechts in Blei signiert "Heisig", an der unteren Blattkante einige Druckspuren und leicht knitterspurig, Darstellungsmaße ca. 30,5 x 22 cm, Blattmaße ca. 53 x 39 cm. Künstlerinfo: bedeutender dt. Maler, Graphiker und Illustrator (1925 Breslau bis 2011 Strodehne), zunächst Schüler seines Vaters, des Freizeitmalers Walter Heisig, 1941-42 Studium an der Kunstgewerbeschule Breslau, 1942-45 freiwilliger Kriegsdienst, ab 1948 Studium an der Fachschule für Angewandte Kunst Leipzig, ab 1949 an der Akademie für graphische Kunst und Buchgewerbe, 1954 zum Dozent und 1961 zum Professor und Rektor der Hochschule für Graphik und Buchkunst (HGB) Leipzig berufen, zeitweise Vorsitzender des VBK der DDR, gehört neben Mattheuer und Tübke zu den Begründern der „Leipziger Schule“ und zu den bedeutendsten Künstlern der DDR, schuf 1986 Portrait von Helmut Schmidt für die Galerie der ehemaligen Bundeskanzler im Bundeskanzleramt, tätig in Leipzig, ab 1992 in Strodehne, Quelle: Vollmer, Eisold „Künstler in der DDR“ und Internet.
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