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10164 Los(e)/Seite
Los 174
Audermars Freres Brassus Geneve - quarter hour repeating chronograph full hunter pocket watch, the white enamel dial covered by a glass having a Roman numeral chapter ring and outer seconds recorder, subsidiary seconds dial, gold Louis XV hands in engine turned outer cases having a rectangular vacant cartouche, marked 585, numbered 111488, inner case engraved with medals awarded, push buttons to side for centre seconds and repeater, stem wind movement, diameter of dial 42mm, case 51mm, no personal monograms or inscriptions, gross weigh approximately 98.7gms, watch is running at present time although no guarantee is given,
Los 175
A quarter hour repeating full hunter pocket watch, the white enamel dial covered by a glass having a Roman numeral chapter ring and outer red seconds recorder, subsidiary seconds dial, gold Louis XV hands in plain polished outer and inner cases, front cover engraved with a personal inscription, case marked 14K 585, numbered 51099, inner case engraved Reputition Quarts 51099, push button to side for repeater, stem wind movement, diameter of dial 42mm, case 52mm, gross weigh approximately 84gms, watch is running at present time although no guarantee is given,
Los 205
A white metal open face chronograph pocket watch, the white enamel dial having a Roman numeral chapter ring and outer recorder, subsidiary seconds dial and minute counter at 12, in an plain polished outer and inner case marked 935, numbered 42288 stem wind movement with push button to side, diameter of dial 40mm, case 50mm, no personal inscriptions, watch is not running.
Los 206
A silver open face chronograph pocket watch, the white enamel dial having a Roman numeral chapter ring and outer seconds recorder, subsidiary seconds dial and minute counter at 12, in an engine turned case with vacant cartouche marked, hallmarked London import mark for 1920, numbered 185430, stem wind movement with plunger, diameter of dial 43mm, case 48mm, watch is running at present time although no guarantee is given.
Los 212
A white metal open face fob watch, the white enamel dial marked WW having a Roman numeral chapter ring and outer seconds recorder, in a case with fluted bezel to front and back marked 935, stem wind movement, diameter of dial 22mm, case 38mm , no personal inscriptions, watch is running at present time although no guarantee is given.
Los 224
A G.C.T . 24 hour open face pocket watch the black dial having an inner 24 hour arabic dial and outer seconds recorder with centre seconds hand in a plain polished steel case, stem wind movement, diameter of dial 40mm, case 50mm, no personal monograms or inscriptions, watch is running at present time although no guarantee is given, silver single solid graduated curb ink albert fitted with a T bar and metal swivel, length 26cm.
Los 20
Newgate Gaol.- Adair (James, judge and serjeant-at-law, recorder of London, ?1743-98) Order that sentence of death on James Coogan, Thomas Riley, Elizabeth Goldsmith and others be carried out on Wednesday the third of September, D.S. "James Adair", manuscript, 1p., hole where seal removed, folds, browned, folio, 1788.
Los 79
Liverpool/Birkenhead Correspondence.- Atkin (Susan Stilling, of Egerton Park, Rock Ferry, Cheshire, daughter of George Atkin, asphalt manufacturer, c. 1858-1940) Large family correspondence to Susan Atkin, mostly from her father and brothers, and a few from her to her parents, c. 130 letters, numerous pp., 8vo, Rock Ferry, Birkenhead & elsewhere, 1876-95, on a large variety of family subjects, including a few letters from her brother Peter Wilson Atkin who rowed three times for Cambridge at the Boat Race including the 40th race of 1883, "The four is going pretty well but I fear my work is nearly at a standstill - however this only lasts another week and then I shall be able to give my undivided attention to work, though I fear the result will not be what I had hoped last term so you must not tell anybody that I am going in at Xmas", folds.⁂ Peter Wilson Atkin (1859-1931), of 6 Park Lane, Kersal, Manchester; educated Jesus College Cambridge; Rowing 'blue' 1881-83; Inner Temple 1879; called to the Bar: 1883; Deputy Recorder of Liverpool; on Birkenhead Town Council; Stipendiary Magistrate of Salford; Chairman of Manchester Munition Committee 1915-16; Arbitrator in the Ship Canal Strike 1916; OBE 1918.
Los 560
Three original Beatles signatures comprising Paul McCartney, George Harrison and Ringo Starr. The autographs were obtained by the vendor in 1963. Please see provenance as follows 'In the summer of 1963 myself and two friends were the first to line up to get tickets for a concert at The Odeon in Romford, Essex with The Beatles headlining. We cheekily asked, as we had been waiting all night, if we could possibly meet The Beatles before the concert to get autographs. This was arranged and the local paper 'The Romford Recorder' came and took photographs'.
Los 10
A rare vintage Tiger Electronics made ' Deluxe Talkboy Cassette Player & Recorder ', as seen in Home Alone 2 - Lost In New York (1992). Mint unused condition. Box opened to one side, but Talkboy remains unused, still with the original cassette factory sealed, instructions and card insert present. Contents mint, box near mint. A rare and seldom seen toy in this condition.
Los 55
§ ALASDAIR GRAY (SCOTTISH 1934-2019) THE BEAST IN THE PIT - 1952Signed and dated '20.11.52' and inscribed 'I want, I want, let me out, let me out,' ink and watercolour (Dimensions: 76cm x 51.5cm (30in x 20.25in))Literature: Illustrated in A Life in Pictures, p.32 Provenance : A Private Collection, Glasgow Biography: Alasdair Gray was a Scottish writer and artist, described by The Guardian as ‘the father figure of the renaissance in Scottish literature and art which began in the penultimate decade of the 20 th century.’ Born in Glasgow in 1934, Gray studied Design and Mural Painting at Glasgow School of Art from 1952-57. In art school, he was given the prompt to create a picture with the subject of ‘washing day with minimum of three figures.’ Initially uninspired by this generic topic, he found his muse in a Glasgow lane shaded by tenement buildings. A courtyard with a high hanging washing line and a half-withered hawthorn tree were to be the foundation for The Beast in the Pit (LOT 55) . The objects in the drawing- the three figures, three cats, three washing tubs, three close entries- are designed to draw the eye around the nearly symmetrical view. The main lines give an illusion of a traditional perspective but, in actuality, the work has 2 or 3 vanishing points, and the figures cast no shadow. At the GSA, Gray was said to have ‘immediately impressed both his teacher and fellow students with fantastic, even visionary, projects’ ( The Guardian ), and The Beast in the Pit was at the forefront of this. While he eventually achieved recognition for his artistic talents, Gray’s best-known work is his first novel Lanark , published in 1981, which was written over a period of almost 30 years. Now a classic, Lanark has been described as ‘one of the landmarks of 20th-century fiction,’ inspiring the next generation of Scottish authors. Gray also wrote on politics, in support of socialism and Scottish independence, and this theme is similarly reflected in his artwork. While his written works combine elements of realism, fantasy and science fiction, he blended them with a clever use of typography and his own illustrations. In past interviews, Gray described writing as draining, while painting was ‘an invigorating physical activity that gave him energy’ (p.129, Rodge Glass). Using his recognisable style of strong lines and high-impact graphics, he self-illustrated his books and poems. From the Soul’s Proper Loneliness (LOT 59), for example, is one of five prints which both lavishly illustrate and give depth to the text of Gray's poems. This lot is the original version from 1955, while there is a later collage version from 1965 and a coloured version from 2007. Gray’s The Faust Legend (LOT 57) is another work that showcases his witty and bold graphic style. The scene is a chaotic one, which finds its origins in the original painting by Rembrandt, c. 1652, of the same name. In Rembrandt’s work, a scholar is transfixed by an orb of light that holds a secret code. In Gray’s version, all the knowledge of life swirls around this incredibly detailed work, intertwining symbols of death, love and the human experience. Gray has said that the figure of Faust ‘is an idealised version of me, busily introspecting’- (p.70, A Life in Pictures ) . As the original tracing cloth has been lost, only a few dyeline prints and photocopies of this work exist. However, as The Guardian proclaimed, ‘A peculiarity of Gray’s graphic work is that it sometimes appears at its best in reproduction.’ From 1977-78, Gray worked as Glasgow’s official artist recorder, painting portraits and streetscapes for the People’s Palace Local History Museum. He was constantly inspired by the people and places of Glasgow and often drew his friends and their families, like Portrait of Katey (LOT 56). Gray also undertook several mural commissions across the city, including a 40ft mural for the entrance hall of Hillhead subway station in the West end of Glasgow and the mural decoration of Oran Mor, an arts centre on Glasgow’s Byres Road. As Glasgow had a lasting impression on Gray and his artwork, so too did he on Glasgow. Gray is remembered by those who knew him, as well as those who did not, for his ‘benignly nutty professor’ persona, with ‘thick spectacles and haywire hair.’ Over the course of his life, his work has been widely exhibited across Scotland and is currently held by several important international collections.
Los 56
§ ALASDAIR GRAY (SCOTTISH 1934-2019) PORTRAIT OF KATEYWith a personal inscription verso, ink and watercolour (Dimensions: 51cm x 63.5cm (20in x 25in))Provenance: A Private Collection, Glasgow Biography: Alasdair Gray was a Scottish writer and artist, described by The Guardian as ‘the father figure of the renaissance in Scottish literature and art which began in the penultimate decade of the 20 th century.’ Born in Glasgow in 1934, Gray studied Design and Mural Painting at Glasgow School of Art from 1952-57. In art school, he was given the prompt to create a picture with the subject of ‘washing day with minimum of three figures.’ Initially uninspired by this generic topic, he found his muse in a Glasgow lane shaded by tenement buildings. A courtyard with a high hanging washing line and a half-withered hawthorn tree were to be the foundation for The Beast in the Pit (LOT 55) . The objects in the drawing- the three figures, three cats, three washing tubs, three close entries- are designed to draw the eye around the nearly symmetrical view. The main lines give an illusion of a traditional perspective but, in actuality, the work has 2 or 3 vanishing points, and the figures cast no shadow. At the GSA, Gray was said to have ‘immediately impressed both his teacher and fellow students with fantastic, even visionary, projects’ ( The Guardian ), and The Beast in the Pit was at the forefront of this. While he eventually achieved recognition for his artistic talents, Gray’s best-known work is his first novel Lanark , published in 1981, which was written over a period of almost 30 years. Now a classic, Lanark has been described as ‘one of the landmarks of 20th-century fiction,’ inspiring the next generation of Scottish authors. Gray also wrote on politics, in support of socialism and Scottish independence, and this theme is similarly reflected in his artwork. While his written works combine elements of realism, fantasy and science fiction, he blended them with a clever use of typography and his own illustrations. In past interviews, Gray described writing as draining, while painting was ‘an invigorating physical activity that gave him energy’ (p.129, Rodge Glass). Using his recognisable style of strong lines and high-impact graphics, he self-illustrated his books and poems. From the Soul’s Proper Loneliness (LOT 59), for example, is one of five prints which both lavishly illustrate and give depth to the text of Gray's poems. This lot is the original version from 1955, while there is a later collage version from 1965 and a coloured version from 2007. Gray’s The Faust Legend (LOT 57) is another work that showcases his witty and bold graphic style. The scene is a chaotic one, which finds its origins in the original painting by Rembrandt, c. 1652, of the same name. In Rembrandt’s work, a scholar is transfixed by an orb of light that holds a secret code. In Gray’s version, all the knowledge of life swirls around this incredibly detailed work, intertwining symbols of death, love and the human experience. Gray has said that the figure of Faust ‘is an idealised version of me, busily introspecting’- (p.70, A Life in Pictures ) . As the original tracing cloth has been lost, only a few dyeline prints and photocopies of this work exist. However, as The Guardian proclaimed, ‘A peculiarity of Gray’s graphic work is that it sometimes appears at its best in reproduction.’ From 1977-78, Gray worked as Glasgow’s official artist recorder, painting portraits and streetscapes for the People’s Palace Local History Museum. He was constantly inspired by the people and places of Glasgow and often drew his friends and their families, like Portrait of Katey (LOT 56). Gray also undertook several mural commissions across the city, including a 40ft mural for the entrance hall of Hillhead subway station in the West end of Glasgow and the mural decoration of Oran Mor, an arts centre on Glasgow’s Byres Road. As Glasgow had a lasting impression on Gray and his artwork, so too did he on Glasgow. Gray is remembered by those who knew him, as well as those who did not, for his ‘benignly nutty professor’ persona, with ‘thick spectacles and haywire hair.’ Over the course of his life, his work has been widely exhibited across Scotland and is currently held by several important international collections.
Los 58
§ ALASDAIR GRAY (SCOTTISH 1934-2019) ST. JEROME - 1955Woodcut, signed and inscribed 'With Love to Katie,' signed and dated in print (Dimensions: 61cm x 41cm (24in x 16.25in))Provenance: A Private Collection, Glasgow Note: The same image was re-issued as a photo-polymer print by Glasgow Print Studio in 2017. Alasdair Gray was a Scottish writer and artist, described by The Guardian as ‘the father figure of the renaissance in Scottish literature and art which began in the penultimate decade of the 20 th century.’ Born in Glasgow in 1934, Gray studied Design and Mural Painting at Glasgow School of Art from 1952-57. In art school, he was given the prompt to create a picture with the subject of ‘washing day with minimum of three figures.’ Initially uninspired by this generic topic, he found his muse in a Glasgow lane shaded by tenement buildings. A courtyard with a high hanging washing line and a half-withered hawthorn tree were to be the foundation for The Beast in the Pit (LOT 55) . The objects in the drawing- the three figures, three cats, three washing tubs, three close entries- are designed to draw the eye around the nearly symmetrical view. The main lines give an illusion of a traditional perspective but, in actuality, the work has 2 or 3 vanishing points, and the figures cast no shadow. At the GSA, Gray was said to have ‘immediately impressed both his teacher and fellow students with fantastic, even visionary, projects’ ( The Guardian ), and The Beast in the Pit was at the forefront of this. While he eventually achieved recognition for his artistic talents, Gray’s best-known work is his first novel Lanark , published in 1981, which was written over a period of almost 30 years. Now a classic, Lanark has been described as ‘one of the landmarks of 20th-century fiction,’ inspiring the next generation of Scottish authors. Gray also wrote on politics, in support of socialism and Scottish independence, and this theme is similarly reflected in his artwork. While his written works combine elements of realism, fantasy and science fiction, he blended them with a clever use of typography and his own illustrations. In past interviews, Gray described writing as draining, while painting was ‘an invigorating physical activity that gave him energy’ (p.129, Rodge Glass). Using his recognisable style of strong lines and high-impact graphics, he self-illustrated his books and poems. From the Soul’s Proper Loneliness (LOT 59), for example, is one of five prints which both lavishly illustrate and give depth to the text of Gray's poems. This lot is the original version from 1955, while there is a later collage version from 1965 and a coloured version from 2007. Gray’s The Faust Legend (LOT 57) is another work that showcases his witty and bold graphic style. The scene is a chaotic one, which finds its origins in the original painting by Rembrandt, c. 1652, of the same name. In Rembrandt’s work, a scholar is transfixed by an orb of light that holds a secret code. In Gray’s version, all the knowledge of life swirls around this incredibly detailed work, intertwining symbols of death, love and the human experience. Gray has said that the figure of Faust ‘is an idealised version of me, busily introspecting’- (p.70, A Life in Pictures ) . As the original tracing cloth has been lost, only a few dyeline prints and photocopies of this work exist. However, as The Guardian proclaimed, ‘A peculiarity of Gray’s graphic work is that it sometimes appears at its best in reproduction.’ From 1977-78, Gray worked as Glasgow’s official artist recorder, painting portraits and streetscapes for the People’s Palace Local History Museum. He was constantly inspired by the people and places of Glasgow and often drew his friends and their families, like Portrait of Katey (LOT 56). Gray also undertook several mural commissions across the city, including a 40ft mural for the entrance hall of Hillhead subway station in the West end of Glasgow and the mural decoration of Oran Mor, an arts centre on Glasgow’s Byres Road. As Glasgow had a lasting impression on Gray and his artwork, so too did he on Glasgow. Gray is remembered by those who knew him, as well as those who did not, for his ‘benignly nutty professor’ persona, with ‘thick spectacles and haywire hair.’ Over the course of his life, his work has been widely exhibited across Scotland and is currently held by several important international collections.
Los 57
§ ALASDAIR GRAY (SCOTTISH 1934-2019) THE FAUST LEGENDLithograph (Dimensions: 58cm x 58cm (22.75in x 22.75in))Literature: Illustrated in A Life in Pictures, p.70 Provenance: A Private Collection, Glasgow Biography: Alasdair Gray was a Scottish writer and artist, described by The Guardian as ‘the father figure of the renaissance in Scottish literature and art which began in the penultimate decade of the 20 th century.’ Born in Glasgow in 1934, Gray studied Design and Mural Painting at Glasgow School of Art from 1952-57. In art school, he was given the prompt to create a picture with the subject of ‘washing day with minimum of three figures.’ Initially uninspired by this generic topic, he found his muse in a Glasgow lane shaded by tenement buildings. A courtyard with a high hanging washing line and a half-withered hawthorn tree were to be the foundation for The Beast in the Pit (LOT 55) . The objects in the drawing- the three figures, three cats, three washing tubs, three close entries- are designed to draw the eye around the nearly symmetrical view. The main lines give an illusion of a traditional perspective but, in actuality, the work has 2 or 3 vanishing points, and the figures cast no shadow. At the GSA, Gray was said to have ‘immediately impressed both his teacher and fellow students with fantastic, even visionary, projects’ ( The Guardian ), and The Beast in the Pit was at the forefront of this. While he eventually achieved recognition for his artistic talents, Gray’s best-known work is his first novel Lanark , published in 1981, which was written over a period of almost 30 years. Now a classic, Lanark has been described as ‘one of the landmarks of 20th-century fiction,’ inspiring the next generation of Scottish authors. Gray also wrote on politics, in support of socialism and Scottish independence, and this theme is similarly reflected in his artwork. While his written works combine elements of realism, fantasy and science fiction, he blended them with a clever use of typography and his own illustrations. In past interviews, Gray described writing as draining, while painting was ‘an invigorating physical activity that gave him energy’ (p.129, Rodge Glass). Using his recognisable style of strong lines and high-impact graphics, he self-illustrated his books and poems. From the Soul’s Proper Loneliness (LOT 59), for example, is one of five prints which both lavishly illustrate and give depth to the text of Gray's poems. This lot is the original version from 1955, while there is a later collage version from 1965 and a coloured version from 2007. Gray’s The Faust Legend (LOT 57) is another work that showcases his witty and bold graphic style. The scene is a chaotic one, which finds its origins in the original painting by Rembrandt, c. 1652, of the same name. In Rembrandt’s work, a scholar is transfixed by an orb of light that holds a secret code. In Gray’s version, all the knowledge of life swirls around this incredibly detailed work, intertwining symbols of death, love and the human experience. Gray has said that the figure of Faust ‘is an idealised version of me, busily introspecting’- (p.70, A Life in Pictures ) . As the original tracing cloth has been lost, only a few dyeline prints and photocopies of this work exist. However, as The Guardian proclaimed, ‘A peculiarity of Gray’s graphic work is that it sometimes appears at its best in reproduction.’ From 1977-78, Gray worked as Glasgow’s official artist recorder, painting portraits and streetscapes for the People’s Palace Local History Museum. He was constantly inspired by the people and places of Glasgow and often drew his friends and their families, like Portrait of Katey (LOT 56). Gray also undertook several mural commissions across the city, including a 40ft mural for the entrance hall of Hillhead subway station in the West end of Glasgow and the mural decoration of Oran Mor, an arts centre on Glasgow’s Byres Road. As Glasgow had a lasting impression on Gray and his artwork, so too did he on Glasgow. Gray is remembered by those who knew him, as well as those who did not, for his ‘benignly nutty professor’ persona, with ‘thick spectacles and haywire hair.’ Over the course of his life, his work has been widely exhibited across Scotland and is currently held by several important international collections.
Los 59
§ ALASDAIR GRAY (SCOTTISH 1934-2019) FROM THE SOUL'S PROPER LONELINESS LOVE AND AFFECTION SEEM . . .Mixed media on card with sgraffito (Dimensions: 24cm x 14.5cm (9.5in x 5.75in))Literature: Illustrated in A Life in Pictures, p.67 Provenance: A Private Collection, Glasgow Note: Alasdair Gray was a Scottish writer and artist, described by The Guardian as ‘the father figure of the renaissance in Scottish literature and art which began in the penultimate decade of the 20 th century.’ Born in Glasgow in 1934, Gray studied Design and Mural Painting at Glasgow School of Art from 1952-57. In art school, he was given the prompt to create a picture with the subject of ‘washing day with minimum of three figures.’ Initially uninspired by this generic topic, he found his muse in a Glasgow lane shaded by tenement buildings. A courtyard with a high hanging washing line and a half-withered hawthorn tree were to be the foundation for The Beast in the Pit (LOT 55) . The objects in the drawing- the three figures, three cats, three washing tubs, three close entries- are designed to draw the eye around the nearly symmetrical view. The main lines give an illusion of a traditional perspective but, in actuality, the work has 2 or 3 vanishing points, and the figures cast no shadow. At the GSA, Gray was said to have ‘immediately impressed both his teacher and fellow students with fantastic, even visionary, projects’ ( The Guardian ), and The Beast in the Pit was at the forefront of this. While he eventually achieved recognition for his artistic talents, Gray’s best-known work is his first novel Lanark , published in 1981, which was written over a period of almost 30 years. Now a classic, Lanark has been described as ‘one of the landmarks of 20th-century fiction,’ inspiring the next generation of Scottish authors. Gray also wrote on politics, in support of socialism and Scottish independence, and this theme is similarly reflected in his artwork. While his written works combine elements of realism, fantasy and science fiction, he blended them with a clever use of typography and his own illustrations. In past interviews, Gray described writing as draining, while painting was ‘an invigorating physical activity that gave him energy’ (p.129, Rodge Glass). Using his recognisable style of strong lines and high-impact graphics, he self-illustrated his books and poems. From the Soul’s Proper Loneliness (LOT 59), for example, is one of five prints which both lavishly illustrate and give depth to the text of Gray's poems. This lot is the original version from 1955, while there is a later collage version from 1965 and a coloured version from 2007. Gray’s The Faust Legend (LOT 57) is another work that showcases his witty and bold graphic style. The scene is a chaotic one, which finds its origins in the original painting by Rembrandt, c. 1652, of the same name. In Rembrandt’s work, a scholar is transfixed by an orb of light that holds a secret code. In Gray’s version, all the knowledge of life swirls around this incredibly detailed work, intertwining symbols of death, love and the human experience. Gray has said that the figure of Faust ‘is an idealised version of me, busily introspecting’- (p.70, A Life in Pictures ) . As the original tracing cloth has been lost, only a few dyeline prints and photocopies of this work exist. However, as The Guardian proclaimed, ‘A peculiarity of Gray’s graphic work is that it sometimes appears at its best in reproduction.’ From 1977-78, Gray worked as Glasgow’s official artist recorder, painting portraits and streetscapes for the People’s Palace Local History Museum. He was constantly inspired by the people and places of Glasgow and often drew his friends and their families, like Portrait of Katey (LOT 56). Gray also undertook several mural commissions across the city, including a 40ft mural for the entrance hall of Hillhead subway station in the West end of Glasgow and the mural decoration of Oran Mor, an arts centre on Glasgow’s Byres Road. As Glasgow had a lasting impression on Gray and his artwork, so too did he on Glasgow. Gray is remembered by those who knew him, as well as those who did not, for his ‘benignly nutty professor’ persona, with ‘thick spectacles and haywire hair.’ Over the course of his life, his work has been widely exhibited across Scotland and is currently held by several important international collections.
Los 1381
Box of Assorted Collectible Items to include a Kodak camera in a leather case with an Ikophot Light Reader; a boxed Welsh spoon, a Canadian spoon and boxed Silver Jubilee sugar spoon; an assortment of bottle stoppers and pourers, including two novelty stoppers; a Zap Cap 'World's Greatest Bottle Opener'; a wine temperature gauge; a toffee hammer; a small voice recorder by Panasonic; and other items. Please see images.
Los 1577
Large Box of Collectibles including Cameras & Binoculars, comprising Sony Video Camera Recorder HI8, Silk Gazelle stand; Olympus 'Camedia' Digital Camera; GE E840 Ditgital Camera; Ranger Binoculars; LeClic LC27 Camera; Olympus Trip 35 Camera; Nikon F70 Camera in case with lens and film; Zenit Z Camera in case; Box Bownie Model C in case; Prinz binoculars in case; and many other lenses, cameras etc. Also includes a vintage Genie cream oval pushbutton phone. Please see images.
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10164 Los(e)/Seite