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283287 Los(e)/Seite
Los 1428
A 9ct gold mounted oval shell cameo brooch, carved as the portrait of a lady, a Victorian gilt metal mounted oval brooch, glazed with a hair locket compartment at the centre, a ladies marcasite set Bucherer pendant brooch watch, with foliate pierced decoration and a collection of costume jewellery, including; four colourless paste set necklaces, a colourless paste set double clip brooch, a colourless paste set bracelet, four rings, imitation pearls, a stick pin and sundry.
Los 1434
A 9ct gold and garnet set pendant cross, a miniature pistol detailed S Mordan, an oval shell cameo brooch designed as the portrait of a lady, a marcasite set silver brooch, designed as two birds, two further brooches, two bangles, a malachite set bracelet, detailed 925, a puzzle ring, a swiveling fob seal and a pendant.
Los 762
*Boer War. A folding fan, n.p., c.1900, the leaf composed of ten green embossed paper pansies backed with cloth, each but the first with an oval portrait of a Boer War general, soldier, or sailor, a few light creases, mounted on green-painted wooden sticks, 25cm, (9.75ins) The portraits are as follows: A Gentleman in Khaki; MacDonald; French; White; Roberts; Buller; Kitchener; Baden-Powell; The Handy Man. Probably produced to raise money for the war effort. (1)
Los 772
World War I Art. A collection of 28 well-executed pen & ink drawings by Sydney Robert Jones (1881-1966), depicting army encampments, trenches, graves of soldiers of both sides, French towns and Chateaux including Arras, Nelse, Lucheux, etc., ruined buildings, views of Field Marshal Haig`s HQ at Montreuil, Royal Flying Corps biplanes at the aerodrome at Estress-en-Chaussee, a cellar a St Cren in which the artist lived for a period, some pieces of a more stylised nature captioned `headpiece`, all signed and dated 1917 or 1918, some with army censor stamp and official markings to the versos, including both landscape and portrait format views, sheet size 340 x 253 mm, some laid onto card, together with two unrelated drawings by Jones and an unrelated book illustrated by him. Sydney R. Jones (1881-1966) studied at the Birmingham School of Art and worked for The Studio and The Sphere, as well as illustrating numerous books. These illustrations may have been used in the 1919 publication `England in France: Sketches mainly with the 59th Division` by Charles Vince. It seems that during the war his artistic skills were utilised by the army as some sheets have Jone`s wartime rank written to verso as 2nd Lieutenant R.E., Field Survey Battalion R.E. (31)
Los 22
*Handley Page. A miscellaneous and interesting collection of manufacturer`s, press, publicity, Air Ministry and private photographs, most copies of originals, inscribed or labelled verso, unusual views include an O/400 on arrival in India, a fine air-to-air portrait of `Heyford` K3500, a `Harrow` with sharks-teeth decorated nose, 50 Squadron air and ground crews with their aircraft, `Hampden` formations, fine air-to-air views of `Halifax` aircraft and much of historic interest, approx. 90 images contained in four folders (4)
Los 38
*Schneider Trophy. A history file of photographs, press cuttings, Aero modeller plans and similar items of interest, including 1929 Schneider Trophy Contest souvenir programme, photographic studio portrait of Jacques P. Schneider, signed by the photographer R. Masure, documentation and twenty-four photographs, contained in a modern ring binder (1)
Los 67
*Pioneer aviators and their aircraft. A miscellaneous collection from press and private sources, including photographic portraits of early aviators, their machines in the air and on ground, early views of Monaco photographed from a Farman (photo Meurisse), early air racing, Labourett at the controls, the June 1910 meeting at Rouen (photo M. Rol), early gliders, Bleriot, Farman and other types, details of the Antoinette, a Wright `Flyer` airborne at low level (copy photo by M. Branger), Pegoud celebrating a successful flight with glass of wine, a fine portrait of Lt. Godefrey dated 10.8.19 and many others of similar interest, approx. 80 images, contained in a folder (approx. 80)
Los 109
*WWI - RFC. A group of five early 20th-c. photographs, variously depicting RFC officers and Aircraft of the Great War c. 1917, including portrait signed Evan C. Powell RFC officer with `Observer` brevet to tunic, another unnamed Officer, and machines including Bleriot Monoplane, Vickers `Gunbus` and Nieuport `Scout` (5)
Los 282
*Waterton (Squadron Leader Bill, 1916-2006). Pen and ink head and shoulders portrait sketch by Orde, 1946(?) inscribed by the artist to left and right blank margins with subjects name, place of birth and RAF awards, and noting his then new role as chief test pilot of the Gloster Aircraft Company, signed and dated by the artist [Cuthbert] Orde lower right, 20 x 28cm, framed and glazed (1)
Los 416
*Turnill (L. E.). Two passports, No. 14315 issued by the Government of Bermuda 3rd May 1944, with endorsements for use in the USSR and `All Countries in South America`, immigration stamps for Canada, Bermuda, with embossed American Consulate stamp signed by the Consul General William H. Beck, other visas for Canada, the USA, the Netherlands, Venezuela, France, New Zealand, Italy (via Wellington Consulate dated 1939), India, Burma, Greece, Portugal, Nigeria and many other Nations, the visas in many cases bearing National postal type stamps recording fees paid, the second passport no. 120015 issued by the Commonwealth of Australia with Passport and Consular Service postage-type stamps bearing the portrait of King George V, Vittorio Emanuel, and King Feisal of Iraq and many others similar, fascinating documents recording the travels of an aeronautical engineer, together with a collection of Imperial Airways `Terms of Service` and other letters including permission to marry the Staff Manager, another from Imperial Airways/British Airways Ltd, stating `... for sending such a capable and likeable engineer`, and other correspondence of similar interest, contained in an album (-)
Los 507
*WWI. Captain E.W.H. Wood RFC, half-length portrait depicting the subject in service uniform of khaki jacket with RFC `Wings` and Captain`s rank insignia of his Regiment, c. 1916, oil on canvas, unsigned, captioned verso to the frame-mount and inscribed `E.W.H. Wood son of the late Sir John Wood Bart. of Grave Hall, Bury-St-Edmunds, Suffolk, shows some age-wear and minor distressing, 24 x 18in (61 x 46cm) (1)
Los 44B
John Comerford 1770-1832 MINIATURE PORTRAIT OF JOHN PHILPOT CURRAN Watercolour on ivory, 3 1/4" x 2 3/4" (8.25 x 4.5cm), inscribed verso. Provenance: Collection of Terence deVere White by decent. Born in Kilkenny, Comerford was one of Ireland`s finest miniaturist artist`s. In the 18th Century this form of painting was particularly popular in Europe. Comerford was influenced by the English artist George Chinnery (1774-1882) who was working in Dublin from 1795-1802. Comerford was also influenced by the American painter Gilbert Stuart (1755-1828) who also worked in Dublin from 1787-1793. Comerford was highly regarded during his lifetime and many of his works were engraved.
Los 79
James Sinton Sleator PRHA 1885-1950 SELF PORTRAIT Oil on board, 31" x 15" (79 x 38cm), signed and dated. From exhibition catalogue entry included verso "This is Sleator`s earliest known and one of his best self-portraits. It is also one of his earliest extant paintings. In the pose adopted and the confident facial expression it is similar to his half-length self-portrait in the National Gallery of Ireland, painted a year or so later and to another self portrait by him, of about 1920 in the Armagh County Museum"
Los 71
Å Ronald Cameron, born 1930 The Diver bronze signed R Cameron variegated brown patination 210cm.; 83ins high This lot is sold with a certificate of authenticity signed by the sculptor stating that it is number 4 out of an edition of 4. Ronald Cameron was born in London in 1930 and studied at the Camberwell College of Art from 1947- 53. After working as a graphic artist he was asked to make the TV puppets for Gerry Anderson’s films of Thunderbirds, Captain Scarlet and Joe 90, producing 60 heads in all. Commissions for soldiers and farm animals followed for Britain’s and Airfix, which in turn lead to work modelling miniature figures as promotional gifts for companies such as Kelloggs and Shell Oil, together with sports trophies for events like Batsman of the Year, won by Clive Lord and the Professional Snooker championship won by Steve Davis. Commercial success meant that in the 1980’s he was able to concentrate more on producing larger scale sculpture for commissions and galleries including the Alwin Gallery in Mayfair London, where his work was exhibited alongside works by Elisabeth Frink and Henry Moore. Other exhibitions and commissions included: Whitford Gallery in Duke St., St James’s, London; Three relief figures for the Athens Olympics; Giant Panda collection boxes commissioned by Sir Peter Scott for the World Wildlife Fund; Miniature figures for the Chapman brothers |Holocaust|; A Nude figure which won the sculpture prize in the 2002 Royal Academy Summer Exhibition; An over life size bust of the Lord Chief Justice, Lord Woolf for the National Portrait Gallery
Los 81
Enzo Plazzotta, Italian, 1921-1981 Dieter’s Foal Bronze Signed and numbered 6 from an edition of 9 with Foundry stamp 155cm.; 61ins high by 131cm.; 51½ins long Enzo Plazzotta was born in Maestre, near Venice in 1921 and died aged 60 after having worked in London for more than half his life. He always maintained his links with Italy and had a home in Pietrasanto in Tuscany from 1967. Initially a student of architecture and sculpture, he decided to specialize in sculpture and studied at the Accademia di Brere in Milan. He gradually established himself as a portrait sculptor and also, like Degas, . Developed an interest in the portrayal of ballet dancers. Nureyev, Fonteyn, Sibley and Dowell were among the many dancers who came to his studio. This fascination with the human form manifested itself in a number of interpretations of the naked female form. His works can be found in many public and private collections including the Vatican. It has also been widely exhibited by many galleries including Wildenstein and Co and most recently in 2007 at the Robert Bowman Gallery in London. See Enzo Plazzotta A catalogue Raisonne, Copyright Carol Plazotta and Richard O Conor, 1986.Pges 142 and 167
Los 85
Geraldine Knight, 1933-2008 Figure on a Park Bench Bronze on slatted wood base Signed and numbered 1 of an edition of 5 162cm.; 64ins high by 48cm.; 19ins wide Born in 1932 Geraldine knight studied at the Brighton College of Art; 1949-1952 and then at the Royal Academy Schools; 1952-1956. After training to be sculptor, Geraldine Knight was awarded the Prix de Rome scholarship, enabling her to spend two years in Italy. She has since produced a variety of sculptures and architectural decoration. Her life size bronze animals include a flock of sheep, exhibited at the Royal Academy summer exhibition of 1986. As well as portrait busts and public sculpture, Knight has working on stage sets and contributed to building restoration projects. From 1960 she taught life drawing and sculpture at the Sir John Cass School of Art, Twickenham College of Technology and Kingston College of Art. She now lives and works between Oxford and Venice.
Los 342
An early 19th Century English circular lid of a papier-mache box painted in oils with a recumbent semi naked female drawing back a curtain to reveal two doves, indistinctly signed to interior, 3.75ins diameter, in gilded frame, and a similar printed with a portrait of Henry VIII, 3.5ins diameter (rim of box removed), in ebonised frame Note : The lid with recumbent female is inscribed "I C.......... Pinx Patronised by HRH The Duke of Sussex and Prince Leopold of Sax Coburg"
Los 862
Auguste Saint Gaudens (1848-1903) - Bronze medallion commemorative the 400th Anniversary of the Landing of Christopher Columbus in America, dated October 12th 1892 - Given to John William Waterhouse, 3ins diameter, and Louis Bottee (1852-1941) - Bronze medal awarded to J.W. Waterhouse at the Paris Exposition 1889, 2.5ins diameter, and Edouard Lanteri (1849-1917) - Bronze rectangular plaque with profile portrait of the architect Phene Spiers, 3.125ins x 2.25ins, dated 1905, and a cast iron replica of the "Lusitania" (German) medal, 2.25ins diameter, in box
Los 27
Francis Bacon (1909-1992) STUDY FOR PORTRAIT OF POPE INNOCENT X, 1989 lithograph in colour; (épreuve d`artiste, artist`s proof) signed lower right; with edition ["E.A."] lower left 37.50 by 27in. (95.25 by 68.58cm) Study for Portrait of Pope Innocent X was created in an edition of 60. Sheet size: 46 by 30.25in. In 1953, Bacon painted Study after Velázquez`s Portrait of Pope Innocent by also known as The Screaming Pope based on the Spanish master`s portrait of the same subject from 1650. The subject as depicted by both artists is considered a masterpiece from their respective oeuvres. Bacon was fixated with the image and painted numerous versions of the subject. The present work mirrors the composition and palette of Velázquez`s painting but is imbued with a characteristically Bacon quality. Jim O`Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O`Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation. This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks. (£4,860-£6,480 approx)
Los 33
Francis Bacon (1909-1992) STUDY FOR A PORTRAIT OF JOHN EDWARDS, 1987 lithograph in colour; (no. 145 from an edition of 180) signed in the margin lower right; numbered lower left 26.75 by 20in. (67.95 by 50.80cm) Provenance: Marlborough Gallery, London; Where purchased by the present owner Francis Bacon met John Edwards at the infamous Colony Club in London`s Soho in 1974. He became Bacon`s companion from then on. Edwards was the subject of some of his most significant portraits and later sole heir to his estate. He donated the entire contents of the artist`s Reece Mews Studio to the Dublin City Gallery, the Hugh Lane in 1998. (£2,430-£3,240 approx)
Los 67
Seán Keating PRHA HRA HRSA (1889-1977) PORTRAIT OF `OLD JOE`, late 1920s - mid-1930s charcoal and pencil on paper signed lower right 12 by 12in. (30.48 by 30.48cm) The man shown here is `Old Joe` who Keating used as a model in the late 1920s to mid 1930s. We are grateful to Dr. Éimear O`Connor HRHA for her assistance in cataloguing this lot. (£2,430-£3,240 approx)
Los 68
Seán Keating PRHA HRA HRSA (1889-1977) PORTRAIT OF A WOMAN, c.1930s charcoal with pencil on paper signed lower right 12.50 by 10in. (31.75 by 25.40cm) This is a later example than Portrait of `Old Joe`. The sitter is possibly a model from the School of Art. We are grateful to Dr. Éimear O`Connor HRHA for her assistance in cataloguing this lot. (£1,620-£2,430 approx)
Los 69
Seán Keating PRHA HRA HRSA (1889-1977) PAST DEFINITE, FUTURE PERFECT, 1928 oil on canvas signed lower right; inscribed [A.M.D.G.] lower left; inscribed with title, artist`s name [John Keating], address [Killakee, Rathfarnham, Dublin, Ireland] and price [£100] on label on reverse; also with framing label of the Bregazzi & Sons [10 Merrion Row, Dublin] on reverse 25 by 30in. (63.50 by 76.20cm) Provenance: Royal Academy, London; Where purchased by the previous owner Exhibited: Royal Academy, London,1928 Well-known for his use of allegory as a method by which to reflect on political issues in Irish society, and evident in images such as An Allegory (1924) and Night`s Candles are Burnt Out (1929), Seán Keating was equally well-capable of utilising those skills to focus attention on the greater significance of the simple things in life. The older woman in Past Definite, Future Perfectis reading the cards. She holds the five of hearts and points to another card from the same suit lying on the table. Her young companion watches attentively, her hands clasped to one side so that she can see everything of the procedure. Both women are focused on the cards, but entirely absorbed in their own thoughts. At first glance, the picture presents a quiet moment between, perhaps, a mother and daughter. The only movement is in the old woman`s gnarled hands and in the swirl of light and dark tones in the background. Yet the imagery and the artist`s title suggest that this is more than a simple depiction of a fortune-telling session. The painting abounds with symbolism: old age presented as the past, beside youth as representative of the future. The manner in which the old woman concentrates on the suit of hearts suggests that she is thinking about her own past loves. The young woman, perhaps unaware that nothing is perfect, may be hoping for a definite answer about love in the future. The overarching message is that the gaiety and hope of youth leads inexorably towards the wisdom and experience of old age. Keating painted Past Definite, Future Perfect in 1928, having recently completed his series of paintings of the `Shannon Scheme` at Ardnacrusha. The association between this work and the `Shannon Scheme` might first appear incongruous; but physically and metaphorically, the project gave the artist hope for the future, and made him focus on the importance of older people in newly modernized Ireland. The theme appears to have been very much on his mind in 1928, a year in which he painted several images of old age including The Turf Buyer, Old Kitty and Good Old Stuff. Added to this, his mother Annie (née Hannan), had been suffering from an unspecified illness for a long number of years; she was nearing the end of her life in 1928. Keating credited his mother for having the foresight to send him to art school in Limerick many years previously. While this is not a portrait of Annie, it is a homage painting made in deference to women and to the wisdom of old age. Past Definite, Future Perfect was not a commission; Keating made it for public exhibition. The lettering to the bottom left of the image `AMDG` appears to represent the Jesuit motto `for the greater glory of God.` In other words, no matter what the cards supposedly say, life will be as it will be. On a more pragmatic note: the artist was in the habit of collecting disused frames; it may be that this unusual example came from a Jesuit house. Past Definite, Future Perfect was shown, along with Good Old Stuff, in the Royal Academy in London in 1928. A reviewer commented at the time on the `marvellous` portrait of the old woman which had the `conviction of a great old age.` It was purchased from the exhibition for a private collection at the time and has not been publicly exhibited since. When Keating was nearing the end of his own life he returned yet again to the themes in this work. He exhibited a watercolour with the same title, but painted in 1971, in the RHA that same year. Dr Éimear O`Connor HRHA Research Associate TRIARC-Irish Art Research Centre Trinity College Dublin April 2012 (£20,250-£28,350 approx)
Los 77
Paul Henry RHA (1876-1958) DOOGORT FROM SLIEVEMORE, ACHILL, 1919-1920 oil on canvas board with label of Reeves & Sons, Ltd, London sketching tablet on reverse 7.50 by 10.50in. (19.05 by 26.67cm) Provenance: The collection of Mrs. Barrett, Bervie Guest House, Achill Island; Christie`s, `Fine Irish Paintings and Drawings`, 26 May 1989, lot 281; Private collection; Adam`s, 26 February 1990, lot 87, as The Sandy Shore; Private collection Literature: Kennedy, S.B., Paul Henry Paintings Drawings Illustrations, Yale University Press, New Haven & London, 2007, p.211, catalogue no. 538 (illustrated) When Paul Henry first arrived on Achill Island he lodged with John and Eliza Barrett, who ran the post office in the village of Keel. `To this day,` he wrote late in life, `I have a warm feeling of gratitude to John and Eliza Barrett,` who in due course gave him `infinite and ungrudging` hospitality (Henry, An Irish Portrait, London, 1951, p. 4). The Barrett`s granddaughter, who today with her husband runs The Bervie Guesthouse at Keel, later owned the picture. The strand in the foreground is the beach at Doogort and the road on the right hand side still winds its way through the tiny hamlet, which is little changed from Henry`s time. The distant mountains are on the mainland of Co. Mayo, just north of Mallaranny. The fluid handling of the paint, with moderate impasto, is characteristic of Henry`s later Achill period and thus suggests a date of execution of around 1919-20. Dr. S.B. Kennedy April 2012 (£4,860-£6,480 approx)
Los 132
Grace Henry HRHA (1868-1953) PORTRAIT OF HELEN WADDELL oil on canvas board signed lower right 17.75 by 14.25in. (45.09 by 36.20cm) Provenance: Lots 109-132 come from the collection of Dr James Cruickshank. A copy of his text Grace Henry, The Person and the Artist, published in association with Jorgensen Fine Art and Designroom, Dublin, 2010, accompanies each of these lots. Helen Waddell (1889-1965) was a close friend of the artist and a celebrated scholar and writer. She was educated at Queen`s, Belfast, Oxford and Paris, and for a number of years worked for the publishing house of Constable. Waddell was born in Tokyo where her father was a Presbyterian missionary and travelled widely throughout her life. Two depictions of Waddell were shown at a joint exhibition of Paul and Grace Henry`s work at the Hugh Lane, Dublin 26 November 1991 (catalogue nos. 17 & 18). Both works were from the collection of a Mollie Martin and had been previously exhibited at the Calmann Gallery, London in 1939 and `Portraits of Great Men and Women`, Ulster Museum, 1965. Dr. James G. Cruickshank, formerly of the Queen`s University of Belfast, is the author of books and articles on Irish geography and is a practising amateur artist. He is a native of Aberdeen, Scotland and has been a passionate collector and researcher of Grace Henry for many years. He was first introduced to her work in the 1970s through Una Whyte of the Magee Gallery, Belfast who established the connection between the two Aberdeen natives both of whom had spent their adult lives in Belfast. Dr Cruickshank`s first painting by Grace Henry, a gift from Whyte, was Bringing in the Turf (lot 110) and thus the journey began. Dr Cruickshank has written several papers on the artist. He gave one of the lectures during the `Paul and Grace Henry exhibition` at the Dublin City Gallery, The Hugh Lane in 1991 and more recently, published Grace Henry - The Person and Artist in association with Jorgensen Fine Art, Dublin in 2010. This collection is testament to his devotion and support for an artist of unique talent and vision. Born in Peterhead, Aberdeen, as Emily Grace Mitchell, she studied art at the Blanc Garrins Academy, Brussels, and the Delecluse Academy, Paris. She was also a pupil for a while under André L`hote. In Paris she met the Irish painter Paul Henry whom she married in 1903. They settled in England and Grace began exhibiting in London at the RA, the Leicester Galleries, and the Fine Art Society. Along with her artist husband, she sent works to the RHA from 1910 onwards, and two years later they left England for Achill Island, where they spent seven productive years painting the local people and landscape. In 1922 she was represented at the Irish Exhibition in Paris with five works; later she was included in a similar loan exhibition in Brussels in 1930. Both she and Paul were founder members of the Dublin Painters group. They exhibited together at the Stephen`s Green Gallery, Dublin, and the Magee Gallery, Belfast. However, the pair were formally separated in 1934. Grace took to travelling and painting in France. Her work was boldly conceived in vibrant colours and decisive brushwork; "her painting", commented the Studio in 1939, was "all poetry". She continued to exhibit both in London and Dublin, notably with the Waddington Galleries and at the RHA. Although never made an Associate, she was elected an Honorary RHA in 1949. For further reading on the artist see: Cruickshank J.G., Grace Henry - The Person and Artist. (£490-£650 approx)
Los 158
Michael Cullen RHA (1946) STUDY IN BLUE WITH THREE FIGURES, 2001 oil on linen signed, titled and dated on reverse 56 by 35.50in. (142.24 by 90.17cm) Provenance: deVere`s, Dublin, 12 April 2005, lot 151; Whence purchased by the present owner Michael Cullen was born in Kilcoole, Co. Wicklow in 1946. He studied art at the Central School of Art and Design, London in 1969 and the National College of Art and Design, Dublin from 1970 to 1973 before moving abroad for several years. Cullen`s work has an underlying autobiographical aspect that sees him referring both himself and his work to such masters as Velasquez and Picasso. With his multicoloured carnival palette, Cullen`s paintings and prints reveal the influence of time spent in Mexico, Spain and Morocco that adds a festive air to proceedings. The profusion of bright, clean colour is emphasised by accents of brilliant white, and Cullen`s work often includes imagery of cowboys, still lives, bullfighters and infantas. Michael Cullen was awarded the Independent Artists` Major Painting Award in 1984 and the National Portrait Award in 1989. He has been the recipient of several Arts Council bursaries is also an elected member of Aosdána. Cullen has shown his work extensively throughout Ireland, with solo exhibitions at the Fenderesky Gallery, Belfast; Cavanacor Gallery, Donegal; Vangard Gallery, Cork; and Triskel Arts Centre, Cork; as well as Temple Bar Gallery, the Graphic Gallery and Project Arts Centre, Dublin. Cullen`s work is included in private collections throughout the country and is also represented in the public collections of the National Gallery of Ireland, Dublin City Gallery The Hugh Lane, the Arts Council of Northern Ireland and Dundee Contemporary Arts Society, Scotland, amongst others. (from www.taylorgalleries.com) (£2,430-£4,050 approx)
Los 751
Postcards - loose selection including real photographic cards - The Arrival of Portsmouth`s Gigantic Dock in Harbour 22 / 8 / 1912 x 4, Halstead Rural District Council Shalford School Group, etc, plus scrapbook containing postcards and photographs, social history, topographic, etc, including two military large black and white photographs probably The School of Musketry and Changla Gali 1906, British and Indian Infantry Personnel assemble outside for group portrait (qty) Further images and condition reports are available at www.reemandansie.com
Los 782
Postcards - loose selection including real photographic cards, group portrait of J Division Police at London Dock Strike 1911 (3), Police Champions L A A C 1909 Tug of War, Police Sergeant on his bicycle, Police Sergeant with his cycle at scene of car wreck, plus others, also military photographic cards of 1912 Okehampton Soldiers and Train 2nd Essex R F A group photo, horses and carriages, camp life, school and sport teams, Byford shop front, etc, plus leather photograph album (qty) Further images and condition reports are available at www.reemandansie.com
Los 791
Sir Winston Churchill - Fine signed black and white portrait photograph of the Statesman at his desk reading a letter signed in the margin in ink - Winston S Churchill and signed in pencil by the photographer, in original glazed frame, by Turk, High Street, Woodford Green, the image 14.5cm x 19.5cm, 39.5cm x 33.5cm overall including frame Good original condition, the mount discoloured Further images and condition reports are available at www.reemandansie.com
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283287 Los(e)/Seite