155742 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

A QUANTITY OF COMIC AND SCI-FI ANNUALS to include 'THE DALEK OUTER SPACE BOOK 1966 together with Dr Who Annuals 1974 and 1978, "Superman", "Star Trek", "Meet the Amazing Spider-man" a Big Golden Book, TV Century 21 Annual etc. (40)Condition Report:Dalek Outer Space Annual - damage both ends of spine, grubby on page ends, not price clipped

BARNES WALLIS COLLECTION OF BOOKS, each contain his hand written name to include 'The Boy's Book of V. C. Heroes', Philip Guedalla - 'The Duke', J. H. Plumb - 'Sir Robert Walpole', Arthur Bryant - 'King Charles II" all with "B. N. Wallis" on half title page together with "The Children's Cargo" which has inscription "To Buffkins With Love from Billie Xmas 1931" (Buffkins was Harry Stopes-Roe, son of Marie Stopes who married Mary Wallis, daughter of Barnes Wallis), also 'A History of Doll's Houses' by Flora Gill Jacobs with inscription "To Harry Stopes-Roe with love and best wishes from his mother, Xmas 1956" (6)

A FOLDER OF ANTIQUARIAN POTTERY DESIGNS IN WATERCOLOUR, ARCHITECTURAL DESIGNS IN PENCIL AND STENCILS, there are no details as to who did them or if there is any association to a pottery, the illustrations have pencilled notes of the items they were copied off such as "Damascus tile", "Plate Rhodian 16th cent.", "Porcelain Chinese 16th or 17th Century", "Half tile Syrian from Cairo" etc.Condition Report:Some pages are grubby, surface dirt and some staining

SEVENTEEN LP RECORDS to include seven Rolling Stones(Sticky Fingers, Under Cover, Tattoo You, Still Life, Some Girls, Story of The Stones (Double), Rolling Stones), three The Who (Who's Better Who's Best, Meaty Beaty Big and Bouncy, The Who Collection (Double)), Pink Floyd Dark Side of The Moon, Beatles x 3 (Red Album (Double), Please Please Me, Sgt. Pepper), four Queen (News of the World, The Works, Sheer Heart Attack, Jazz)

L. & N.W. RAILWAYMEN'S WAR MEMORIAL to 3,719 Employees who fell in the Great War. Unveiled by Field-Marshal Earl Haig, October 21st, 1921, Euston Station Approach, London, N.W.1, a framed photograph from 'Daily Graphic', frame size 76 x 56 cm

A Large Qajar Pottery Tile, circa 1880, moulded and painted with Sheikh Sana'an and the Christian Maiden in a garden with pigs and attendants within an integral frame with blue scrolls, 44cm by 34cm, in wooden frame and stand For a discussion of the iconography of the story of Sheikh Sana'an, a good Muslin who was tempted by the Christian Maiden to drink alcohol and walk with pigs, see the article by Afsaneh Najmabadi in Diba (L) Royal Persian Paintings, The Qajar Epoch 1785-1925, New York, 1998, pg.83-85. A number of firing cracks, notably to the border of the tile.

~ A Collection of Seven Gilt-Metal, Blue John or Steel Fob-Seals, the gilt-metal examples carved with: the arms of Gresley impaling Heathcote, possibly for Sir Jophn Edensor Heathcote who married Anne, daughter of Sir Nigel Gresley, 6th Baronet; a crest and 'Wednesday'; the four steel examples with: the Heathcoat coat-of-arms; The arms of Gresley quartering Bowyer and another and with another in pretence and the Edensor coat-of-arms; the Blue John fob-seal carved 'Emma'; Together With: the seal from a hand seal, with the Gresley coat-of-arms, handle lacking (8)

~ A Gold-Mounted Nephrite Hand Seal, Apparently Unmarked, Circa 1820, the matrix cut with a crest, the handle carved and faceted baluster, 7cm high The crest is that of Pike, probably for Joseph Pike of Besborough, Co. Cork (d.1826). Pike was the grandfather of Lydia Dorothy Muriel who married secondly Colonel Hardress William Lucius Waller of Forcett Hall.

~ A Fine 18 Carat Gold Repeating Pocket Watch with Calendar and Lunar Phase Indications, signed Hubert Sarton A Liege, circa 1800, gilt fusee movement signed Hubt Sarton A Liege, pierced balance bridge with a ruby endstone, plunge pendant to operate repeat with two polished steel hammers striking the inside of the case, enamel dial with Arabic numerals, four dials for day (in French), date, lunar phases, and seconds, dial outer border depicting months of the year, gold beetle and poker hands, case back of the case engraved with measures in four quadrants, for Long Measure, Wine Measure, Dry Measure and Avoirdupoise Weight, surrounding a central engraved cypher with baronets badge and the outer case edge inscribed 'Sir Nigel Bowyer Gresley, Bart Drakelow, Derbyshire', for Sir Nigel, 7th Baronet (1753-1808), consular case stamped inside the back cover 18k, case maker's mark FIRL and numbered 1899, 62mm wide Provenance: Sir Nigel Bowyer Gresley, 7th Baronet and probably by descent to his daughter Emma Sophia, who married Richard Edensor Heathcote, M.P. 09.02.21 Case with surface scratches, back cover with dents, back cover engraved throughout with measures in four quadrants and with a central cypher with baronets badge and an outer inscription, glass with scratches, dial with chips and small hairline cracks between 3 and 4 o'clock, dial with other minor scratches, fusee chain is still visible but has disconnected from the barrel, movement and repeat are not working at present. Total watch weight 161g.

~ An Edward VII Silver Rose-Bowl, by the Goldsmiths and Silversmiths Co. Ltd., London, 1904, tapering and with spiral-fluted lower body, engraved with initials, probably 'JI EH' and the date '1905', 24cm diameter, 25oz 17dwt, 804gr The cypher is probably that of Captain Justinian Heathcote Edwards-Heathcote and his wife Isabella, daughter of Rowland Clegg-Hill, 3rd Viscount Hill who were married in 1905.

An Orthodox Icon, 19th century, painted with figures and a horse in river landscape and with script, 35cm by 28cm See illustration. Some edge chips now over painted. No splits or wood worm.Top inscription reads 'The Holy Charalambos', who was a Christian priest in Magnesia, Asia Minor, martyred in 202 A.D. on the orders of Emperor Septimius Severus (193-211 A.D.). By repute he was said to have been 113 years old when he died.

λ Edward Seago (British 1910-1974)Gypsy encampmentPencilSigned and dated 33 (lower right)33 x 21cm (12 x 8¼ in.)Provenance:Sale, Christie's South Kensington, 3 December 2015, lot 109Like many artists of the period, such as Dame Laura Knight and Augustus John, Seago was attracted to Gypsies and their bohemian nomadic life and brightly coloured clothes and caravans. In the late 1920's when gypsies set up camp near his family home in Brooke, outside Norwich, they became the subject of a series of drawings and he included several oils in his first solo exhibition in 1929. Edward SeagoEdward Seago was one of the most popular English landscape painters of the 20th Century. He was born and lived in Norfolk throughout his life and the influence of the greatest artists of East Anglia, from the 17th Century Dutch-inspired Norwich School, to John Constable and Sir Alfred Munnings can be seen in his work. His light-filled landscapes, many with vast skies and billowing clouds are imbued with what one critic has described as `an understated emotional language'. The ten works included in our sale span the breadth of his long and very successful career and show his evolution as an artist from rural equestrian scenes to his travels further afield across Europe and Hong Kong, which went on to become some of his most celebrated and popular subjects.  Seago was largely self-taught and was influenced and mentored by leading landscape painters of the day such as Alfred East and Bertram Priestman who advised him not `to be unduly governed by what you see in art, but by what you see in nature' . His work gained wide popular appeal and his sell out exhibitions had queues around the block on opening day, but generally art critics saw him `merely recording his visual impressions' and struggled to place his work in the context of modernism and the growing interest in abstraction. He never became an Academician at the Royal Academy, but nonetheless he was a firm favourite with three generations of the Royal Family and in 1956 he was invited by Prince Philip to join him on a trip to the Antarctic aboard The Royal Yacht Britannia. Seago was also a prolific writer and published eleven books, including several with poems and prose by the Poet Laurette John Masefield. Seago was equally at home in the company of the aristocracy or country folk and his work enjoys broad popularity to this day with numerous collectors around the world   Condition Report: Under glass, unexamined out of glazed frame. Overall discolouration to the sheet. The sheet appears to have slipped in the frame. A small stain to the right of the upper edge. Possible skinning to the lower 1/5 of the work, but may have been the artist's intent. Very slightly undulation visible to the upper left quadrant. Condition Report Disclaimer

λ Edward Seago (British 1910-1974)Horses in a Norfolk landscapeOil on canvasSigned and dated 1928 (lower right)92 x 110cm (36 x 43¼ in.)Provenance:Mrs Amy Bruce, Brooke Hall, Nr. Norwich (a commission from the artist)Horses in a Norfolk landscape was painted in 1928 when the artist was 18, the same year that his great early mentor Sir Alfred Munnings held his landmark exhibition at Norwich Castle. It drew large crowds and gave the young Seago an opportunity to study his works at first hand. Munnings influence is clearly see in this work which harks back to his Ringland Hills pictures painted on the outskirts of Norwich in the years before the First World War.  Edward Seago (1910-1974)  Edward Seago was one of the most popular English landscape painters of the 20th Century. He was born and lived in Norfolk throughout his life and the influence of the greatest artists of East Anglia, from the 17th Century Dutch-inspired Norwich School, to John Constable and Sir Alfred Munnings can be seen in his work. His light-filled landscapes, many with vast skies and billowing clouds are imbued with what one critic has described as `an understated emotional language'. The ten works included in our sale span the breadth of his long and very successful career and show his evolution as an artist from rural equestrian scenes to his travels further afield across Europe and Hong Kong, which went on to become some of his most celebrated and popular subjects.  Seago was largely self-taught and was influenced and mentored by leading landscape painters of the day such as Alfred East and Bertram Priestman who advised him not `to be unduly governed by what you see in art, but by what you see in nature' . His work gained wide popular appeal and his sell out exhibitions had queues around the block on opening day, but generally art critics saw him `merely recording his visual impressions' and struggled to place his work in the context of modernism and the growing interest in abstraction. He never became an Academician at the Royal Academy, but nonetheless he was a firm favourite with three generations of the Royal Family and in 1956 he was invited by Prince Philip to join him on a trip to the Antarctic aboard The Royal Yacht Britannia. Seago was also a prolific writer and published eleven books, including several with poems and prose by the Poet Laurette John Masefield. Seago was equally at home in the company of the aristocracy or country folk and his work enjoys broad popularity to this day with numerous collectors around the world. Condition Report: Painted on a heavy weave canvas. There is a stretcher mark along the upper edge, otherwise in good original condition. No evidence of retouching visible under ultraviolet light.Condition Report Disclaimer

λ Edward Seago (British 1910-1974)First on the TideOil on canvasSigned (lower left)39.5 x 49.5cm (15½ x 19¼ in.)Provenance:Purchased from the artist by Bernard and Dorothy Garrington, The White Hart, Great Yeldham, Essex Crawford Dew and bequeathed to the present owner. As Seago's style matured and he searched for his own unique voice, coastal landscape at Low Tide became an increasingly popular motif in his work. It gave him the opportunity to explore the fleeting effects of reflected light as the tide ebbed and flowed and light bounced off the saturated sand and mud.  Edward Seago (1910-1974)  Edward Seago was one of the most popular English landscape painters of the 20th Century. He was born and lived in Norfolk throughout his life and the influence of the greatest artists of East Anglia, from the 17th Century Dutch-inspired Norwich School, to John Constable and Sir Alfred Munnings can be seen in his work. His light-filled landscapes, many with vast skies and billowing clouds are imbued with what one critic has described as `an understated emotional language'. The ten works included in our sale span the breadth of his long and very successful career and show his evolution as an artist from rural equestrian scenes to his travels further afield across Europe and Hong Kong, which went on to become some of his most celebrated and popular subjects.  Seago was largely self-taught and was influenced and mentored by leading landscape painters of the day such as Alfred East and Bertram Priestman who advised him not `to be unduly governed by what you see in art, but by what you see in nature' . His work gained wide popular appeal and his sell out exhibitions had queues around the block on opening day, but generally art critics saw him `merely recording his visual impressions' and struggled to place his work in the context of modernism and the growing interest in abstraction. He never became an Academician at the Royal Academy, but nonetheless he was a firm favourite with three generations of the Royal Family and in 1956 he was invited by Prince Philip to join him on a trip to the Antarctic aboard The Royal Yacht Britannia. Seago was also a prolific writer and published eleven books, including several with poems and prose by the Poet Laurette John Masefield. Seago was equally at home in the company of the aristocracy or country folk and his work enjoys broad popularity to this day with numerous collectors around the world. Condition Report: The canvas has not been relined. The varnish is slightly dirty and discoloured, most notable to framed edges where cleaner paint is visible. There is a visible stretcher mark along the upper edge. Evidence of some light retouching in the sky visible under ultraviolet light. Condition Report Disclaimer

λ Edward Seago (British 1910-1974)Landscape near Martham, Norfolk Oil on board Signed (lower left)51.5 x 66cm (20¼ x 25 in.)Provenance:P. & D. Colnaghi & Co. Ltd., London The Taylor Gallery, London In many ways Landscape at Martham, Norfolk is the quintessential Seago. The majestic cloudscape, forms a canopy over the extensive landscape and the large tree in the foreground leads the eye to the sunlit pantile roofs of the cottages in the middle distance.  Edward Seago (1910-1974)  Edward Seago was one of the most popular English landscape painters of the 20th Century. He was born and lived in Norfolk throughout his life and the influence of the greatest artists of East Anglia, from the 17th Century Dutch-inspired Norwich School, to John Constable and Sir Alfred Munnings can be seen in his work. His light-filled landscapes, many with vast skies and billowing clouds are imbued with what one critic has described as `an understated emotional language'. The ten works included in our sale span the breadth of his long and very successful career and show his evolution as an artist from rural equestrian scenes to his travels further afield across Europe and Hong Kong, which went on to become some of his most celebrated and popular subjects.  Seago was largely self-taught and was influenced and mentored by leading landscape painters of the day such as Alfred East and Bertram Priestman who advised him not `to be unduly governed by what you see in art, but by what you see in nature' . His work gained wide popular appeal and his sell out exhibitions had queues around the block on opening day, but generally art critics saw him `merely recording his visual impressions' and struggled to place his work in the context of modernism and the growing interest in abstraction. He never became an Academician at the Royal Academy, but nonetheless he was a firm favourite with three generations of the Royal Family and in 1956 he was invited by Prince Philip to join him on a trip to the Antarctic aboard The Royal Yacht Britannia. Seago was also a prolific writer and published eleven books, including several with poems and prose by the Poet Laurette John Masefield. Seago was equally at home in the company of the aristocracy or country folk and his work enjoys broad popularity to this day with numerous collectors around the world. Condition Report: Some light surface dirt, notably at a patch in the sky upper centre. Otherwise, in overall good condition. No evidence of retouching visible under ultraviolet light.Condition Report Disclaimer

λ Edward Seago (British 1910-1974)A panoramic view of Sorrento, ItalyOil on board Indistinctly signed with initial and dated 45 (lower right)20.5 x 25.5cm (8 x 10 in.)Provenance:Marlborough Fine Art, London Purchased from the above and thence by descent to the present owner After five years' war service as a camouflage artist the heart condition Seago had suffered with since childhood was discovered by the army medical corps and he was discharged. Complaining to his commanding officer and fellow painting companion, General Alexander, he was invited to join Alexander in Italy to paint what he liked and in doing so became an unofficial war artist with his own jeep and driver. With limited materials many of the works he produce were sepia wash works on paper, but, as in the present work, he also painted in oil.  Edward Seago (1910-1974)  Edward Seago was one of the most popular English landscape painters of the 20th Century. He was born and lived in Norfolk throughout his life and the influence of the greatest artists of East Anglia, from the 17th Century Dutch-inspired Norwich School, to John Constable and Sir Alfred Munnings can be seen in his work. His light-filled landscapes, many with vast skies and billowing clouds are imbued with what one critic has described as `an understated emotional language'. The ten works included in our sale span the breadth of his long and very successful career and show his evolution as an artist from rural equestrian scenes to his travels further afield across Europe and Hong Kong, which went on to become some of his most celebrated and popular subjects.  Seago was largely self-taught and was influenced and mentored by leading landscape painters of the day such as Alfred East and Bertram Priestman who advised him not `to be unduly governed by what you see in art, but by what you see in nature' . His work gained wide popular appeal and his sell out exhibitions had queues around the block on opening day, but generally art critics saw him `merely recording his visual impressions' and struggled to place his work in the context of modernism and the growing interest in abstraction. He never became an Academician at the Royal Academy, but nonetheless he was a firm favourite with three generations of the Royal Family and in 1956 he was invited by Prince Philip to join him on a trip to the Antarctic aboard The Royal Yacht Britannia. Seago was also a prolific writer and published eleven books, including several with poems and prose by the Poet Laurette John Masefield. Seago was equally at home in the company of the aristocracy or country folk and his work enjoys broad popularity to this day with numerous collectors around the world.Condition Report: There is some minor surface dirt, otherwise in good original condition. No evidence of retouching visible under ultraviolet light. Framed under glass.Condition Report Disclaimer

λ Edward Seago (British 1910-1974)The Beach at Torremolinos, Spain Oil on board Signed (lower left)45 x 61cm (17½ x 24 in.)Provenance:Laing galleries, Toronto, CanadaThe Taylor Gallery, London Edward Seago (1910-1974)  Edward Seago was one of the most popular English landscape painters of the 20th Century. He was born and lived in Norfolk throughout his life and the influence of the greatest artists of East Anglia, from the 17th Century Dutch-inspired Norwich School, to John Constable and Sir Alfred Munnings can be seen in his work. His light-filled landscapes, many with vast skies and billowing clouds are imbued with what one critic has described as `an understated emotional language'. The ten works included in our sale span the breadth of his long and very successful career and show his evolution as an artist from rural equestrian scenes to his travels further afield across Europe and Hong Kong, which went on to become some of his most celebrated and popular subjects.  Seago was largely self-taught and was influenced and mentored by leading landscape painters of the day such as Alfred East and Bertram Priestman who advised him not `to be unduly governed by what you see in art, but by what you see in nature' . His work gained wide popular appeal and his sell out exhibitions had queues around the block on opening day, but generally art critics saw him `merely recording his visual impressions' and struggled to place his work in the context of modernism and the growing interest in abstraction. He never became an Academician at the Royal Academy, but nonetheless he was a firm favourite with three generations of the Royal Family and in 1956 he was invited by Prince Philip to join him on a trip to the Antarctic aboard The Royal Yacht Britannia. Seago was also a prolific writer and published eleven books, including several with poems and prose by the Poet Laurette John Masefield. Seago was equally at home in the company of the aristocracy or country folk and his work enjoys broad popularity to this day with numerous collectors around the world.Condition Report: Some very light surface dirt, but this is barely noticeable. Otherwise this work appears to be in very good original condition.Condition Report Disclaimer

λ Edward Seago (British 1910-1974)Summer Morning, ChioggiaWatercolourSigned (lower left)36 x 54cm (14 x 21¼ in.)Executed in 1970.Provenance:Marlborough Fine Art, LondonProperty of a deceased estate Please Note: This work is signed lower left which is not stated in the printed catalogue. `Pagentry and music, palatial magnificence and the stench of squalor: gaiety, leisure, wealth and poverty -these things belong to Venice' Seago wrote in his diary. He first visited Venice in 1933 as the guest of an early patron, Henry Mond, Lord Melchett. The city of water and light captivated him and he returned there throughout his life, producing some of his most celebrated and memorable works. He explored the wider Venetian Lagoon, including Choggia, the town south of Venice, the subject of the present picture.  Edward Seago (1910-1974)  Edward Seago was one of the most popular English landscape painters of the 20th Century. He was born and lived in Norfolk throughout his life and the influence of the greatest artists of East Anglia, from the 17th Century Dutch-inspired Norwich School, to John Constable and Sir Alfred Munnings can be seen in his work. His light-filled landscapes, many with vast skies and billowing clouds are imbued with what one critic has described as `an understated emotional language'. The ten works included in our sale span the breadth of his long and very successful career and show his evolution as an artist from rural equestrian scenes to his travels further afield across Europe and Hong Kong, which went on to become some of his most celebrated and popular subjects.  Seago was largely self-taught and was influenced and mentored by leading landscape painters of the day such as Alfred East and Bertram Priestman who advised him not `to be unduly governed by what you see in art, but by what you see in nature' . His work gained wide popular appeal and his sell out exhibitions had queues around the block on opening day, but generally art critics saw him `merely recording his visual impressions' and struggled to place his work in the context of modernism and the growing interest in abstraction. He never became an Academician at the Royal Academy, but nonetheless he was a firm favourite with three generations of the Royal Family and in 1956 he was invited by Prince Philip to join him on a trip to the Antarctic aboard The Royal Yacht Britannia. Seago was also a prolific writer and published eleven books, including several with poems and prose by the Poet Laurette John Masefield. Seago was equally at home in the company of the aristocracy or country folk and his work enjoys broad popularity to this day with numerous collectors around the world.Condition Report: There is pronounced undulation to the sheet under the glaze. Otherwise, the work appears to be in good original condition. Unexamined out of glazed frame.Condition Report Disclaimer

λ Edward Seago (British 1910-1974)Street in Hong KongOil on boardSigned (lower left)36 x 27cm (14 x 10½ in.)Provenance:Marlborough Fine Art, LondonProperty of a deceased estate  In 1962 Seago was invited to Hong Kong by John Swire to paint a series of pictures for the new boardroom of the eponymous multinational shipping company. Swire had collected Seago's work for many years and felt the opportunity to come to Hong Kong would be in the tradition of the 19th Century topographical artist George Chinnery. Seago stayed for six weeks and produced eighty works. Many were painted in the tradition of his European pictures, depicting majestic coastal landscapes and maritime subjects, but the city street scenes he produced, such as the present work, were totally different. Using a palette knife for the first time he rapidly applied paint to capture the vibrant and chaotic everyday life of the central district of the city.  Edward Seago (1910-1974)  Edward Seago was one of the most popular English landscape painters of the 20th Century. He was born and lived in Norfolk throughout his life and the influence of the greatest artists of East Anglia, from the 17th Century Dutch-inspired Norwich School, to John Constable and Sir Alfred Munnings can be seen in his work. His light-filled landscapes, many with vast skies and billowing clouds are imbued with what one critic has described as `an understated emotional language'. The ten works included in our sale span the breadth of his long and very successful career and show his evolution as an artist from rural equestrian scenes to his travels further afield across Europe and Hong Kong, which went on to become some of his most celebrated and popular subjects.  Seago was largely self-taught and was influenced and mentored by leading landscape painters of the day such as Alfred East and Bertram Priestman who advised him not `to be unduly governed by what you see in art, but by what you see in nature' . His work gained wide popular appeal and his sell out exhibitions had queues around the block on opening day, but generally art critics saw him `merely recording his visual impressions' and struggled to place his work in the context of modernism and the growing interest in abstraction. He never became an Academician at the Royal Academy, but nonetheless he was a firm favourite with three generations of the Royal Family and in 1956 he was invited by Prince Philip to join him on a trip to the Antarctic aboard The Royal Yacht Britannia. Seago was also a prolific writer and published eleven books, including several with poems and prose by the Poet Laurette John Masefield. Seago was equally at home in the company of the aristocracy or country folk and his work enjoys broad popularity to this day with numerous collectors around the world.Condition Report: There is a very small spot of brown surface to the lower right quadrant (approx. 1mm), otherwise, in very good condition. No evidence of retouching visible under ultraviolet light.Condition Report Disclaimer

λ Edward Seago (British 1910-1974)The Cutty Sark, a sketch#Oil on board Signed (lower left)27.5 x 36.5cm (10¾ x 14¼ in.)Provenance:P. & D. Colnaghi & Co. Ltd., London Purchased from the above and thence by descent to the present owner A countryman at heart, nonetheless Seago painted London on many occasions, but the river and shipping was never very far away and he painted the much-loved Clipper, The Cutty Sark, on several occasions in its dry dock at Greenwich.  Edward Seago (1910-1974)  Edward Seago was one of the most popular English landscape painters of the 20th Century. He was born and lived in Norfolk throughout his life and the influence of the greatest artists of East Anglia, from the 17th Century Dutch-inspired Norwich School, to John Constable and Sir Alfred Munnings can be seen in his work. His light-filled landscapes, many with vast skies and billowing clouds are imbued with what one critic has described as `an understated emotional language'. The ten works included in our sale span the breadth of his long and very successful career and show his evolution as an artist from rural equestrian scenes to his travels further afield across Europe and Hong Kong, which went on to become some of his most celebrated and popular subjects.  Seago was largely self-taught and was influenced and mentored by leading landscape painters of the day such as Alfred East and Bertram Priestman who advised him not `to be unduly governed by what you see in art, but by what you see in nature' . His work gained wide popular appeal and his sell out exhibitions had queues around the block on opening day, but generally art critics saw him `merely recording his visual impressions' and struggled to place his work in the context of modernism and the growing interest in abstraction. He never became an Academician at the Royal Academy, but nonetheless he was a firm favourite with three generations of the Royal Family and in 1956 he was invited by Prince Philip to join him on a trip to the Antarctic aboard The Royal Yacht Britannia. Seago was also a prolific writer and published eleven books, including several with poems and prose by the Poet Laurette John Masefield. Seago was equally at home in the company of the aristocracy or country folk and his work enjoys broad popularity to this day with numerous collectors around the world.Condition Report: This work appears to be in good original condition. Inspection under UV light reveals no evidence of restoration or repair. Unexamined out of glazed frame.Condition Report Disclaimer

λ Edward Seago (British 1910-1974)The Orwell at Pin Mill Oil on board Signed (lower left)42 x 62cm (16½ x 24¼ in.)Provenance:P. & D. Colnaghi & Co. Ltd., London The Taylor Gallery, London Water had fascinated Seago since early childhood and it features in many of his pictures. The estuary of the River Orwell at Pin Mill in Suffolk was a particular favourite with it's wide perspectives and distinctive Thames barges with their strong geometric forms and distinctive red sails. These flat-bottomed boats were highly manoeuvrable among the mudflats and in Seago's day were still used to deliver building materials and farm supplies.  Edward Seago (1910-1974)  Edward Seago was one of the most popular English landscape painters of the 20th Century. He was born and lived in Norfolk throughout his life and the influence of the greatest artists of East Anglia, from the 17th Century Dutch-inspired Norwich School, to John Constable and Sir Alfred Munnings can be seen in his work. His light-filled landscapes, many with vast skies and billowing clouds are imbued with what one critic has described as `an understated emotional language'. The ten works included in our sale span the breadth of his long and very successful career and show his evolution as an artist from rural equestrian scenes to his travels further afield across Europe and Hong Kong, which went on to become some of his most celebrated and popular subjects.  Seago was largely self-taught and was influenced and mentored by leading landscape painters of the day such as Alfred East and Bertram Priestman who advised him not `to be unduly governed by what you see in art, but by what you see in nature' . His work gained wide popular appeal and his sell out exhibitions had queues around the block on opening day, but generally art critics saw him `merely recording his visual impressions' and struggled to place his work in the context of modernism and the growing interest in abstraction. He never became an Academician at the Royal Academy, but nonetheless he was a firm favourite with three generations of the Royal Family and in 1956 he was invited by Prince Philip to join him on a trip to the Antarctic aboard The Royal Yacht Britannia. Seago was also a prolific writer and published eleven books, including several with poems and prose by the Poet Laurette John Masefield. Seago was equally at home in the company of the aristocracy or country folk and his work enjoys broad popularity to this day with numerous collectors around the world.Condition Report: A couple of very minor spots of surface dirt, otherwise, in good original condition. No evidence of retouching visible under ultraviolet light.Condition Report Disclaimer

λ Sean McSweeney (Irish 1935-2018)Wet LandOil on board Signed, titled, dated 93 and variously inscribed (verso)26.5 x 49.5cm (10¼ x 19¼ in.) Born in Dublin in 1935, Sean McSweeney is regarded as one of the leading 20th century Irish artists. Despite no professional training McSweeney immersed himself in art from a young age, learning from his father who was a professional artist and also by visiting the Hugh Lane Gallery in Dublin. In the 1960s, McSweeney began exhibiting regularly at the Irish Exhibition of Living Art and the Oireachtas. McSweeney has been represented by Dawson Gallery in Dublin and a retrospective was held by the Galway Arts Festival, a great accolade. McSweeney's name has become synonymous with his abstract and expressive views of the Sligo coastline. Condition Report: In good original condition. Framed under glass.Condition Report Disclaimer

λ Laurence Poole (British b. 1963) Vinyl Revival (Red)] Lithograph printed in colour Signed in pen, titled, dated 2020 and numbered 3/275 60 x 84cm (23½ x 33 in.)It is impossible to not find yourself intrieged by Poole's booklet of oeuvre titled 'A Congress of Curiosities'. Poole is an assemblage sculptor who lives in Hastings with a studio nearby St. Leonards on the South-East coast of England. Poole was born in 1963 in London and studied at the Croydon College of Art, Chelsea College of Art & Design, The California Sculpture Academy and Brighton University. Poole's work is a celebration of vintage commercial and industrial design. His works often generate a sense of nostalgia than enhances our understanding of time. Poole works with unusual and curious materials such as model cars, golf clubs, vintage cameras and vinyl records as shown here. At first, it is not strikingly obvious what this piece was created with but on close inspection one can see the individual records lined up to create this mesmerising pattern. The current piece is a lithograph of Poole's original relief work.

λ Gerard Dillon (Irish 1916-1971)UntitledOil on canvasSigned (lower right); signed and inscribed (to stretcher verso)153 x 92cm (60 x 36 in.)Provenance:Sale, Sotheby's London, 16 May 2003, lot 142Dillon's interest in complete abstraction began whilst spending time in London during the 1950s. During this time Dillon was influenced by artists such as Rothko, de Kooning and Pollock exhibiting at the Tate. This transition into abstraction continued throughout his career playing with geometric patterns, reoccurring lines and elements of surrealism that began to influence his work. The simple shapes remind us of Dillon's work with cut-outs and experimentation with linocut printing techniques. The horse and figure are possible motifs harking back to Dillon's interest in the people of the West of Ireland. The colour palette is emotive and striking focusing our attention on the repetition of shape and pattern across the canvas. Gerard Dillon (1916-1971)Gerard Dillon, who became better known as Gerry, was born in Belfast in 1916. Dillon left school at the age of 14 and started his career as an apprentice decorator with Maurice Sullivan and Sons. His interest in the arts, cinema and theatre shaped his social communities and ultimately led him to begin his career as an artist in the 1930s. At the age of 18, Dillon left Belfast to join his brother, Joe and sister, Madge who were living in London. At the outbreak of the Second World War in 1939, Dillon was on a cycling trip in Ireland. Due to travel restrictions he was left with no choice but to stay in Ireland. He decided to venture to Dublin and became part of an exciting artistic community which included iconic artists Louis le Brocquy and Patrick Hennessy. He also formed companionships with artists from the White Stag Group including Basil Rakoczi and Kenneth Hall. In 1942, Mainie Jellett who championed Dillon, opened his first solo show at The Country Shop which had been founded in Dublin in 1930. Mainie Jellett went on to set up the Irish Exhibition of Living Art (IELA) a year later which showcased abstract expressionism and avant-garde Irish art. The IELA became a major platform for contemporary Irish artists and Dillon exhibited annually alongside other Ulster boys such as Daniel O'Neill and George Campbell. By the end of the 1940s the Ulster group dominated the IELA and Dillon was to serve as committee member for 20 years. It was through this series of exhibitions that Dillon came into contact with Colin Middleton, Markey Robinson and Gladys McCabe, all artists featured in this private Irish collection. Middleton was seen as one of the more experimental artists and his surrealist style and bold colour palette did not go unnoticed and served as an influence for the Ulster Group. Gerard Dillon was a self-taught artist and he was constantly inspired by the West of Ireland which offered an alternative to the gritty city life of Belfast and London and paintings of the Irish landscape and its people filled his work during the 40s and 50s. He stated in 1951 'Think of the West and the life lived there. Then think of my childhood and youth in the middle of industrial Belfast. Is not the West and the life lived there a great strange kind of wonder to the visitor from the redbrick city?'In the late 1950s Dillon moved away from landscape painting and moved into complete abstraction. He was surrounded by the abstract expressionist movement exposed to works by Rothko, De Kooning, Pollock, Tapies and Jorn all exhibiting at the Tate in London. This new movement marked a freedom, away from the expectations of Ireland and Belfast. It is possible that Richard Hamilton whilst staying with Dillon in London in 1950s influenced Dillon who turned to cutting up his linocuts and working with collage, found objects, repetition of colour and pattern for larger scale composition pieces. However, the late 1960s signified a shift in Dillon's work. The impact of losing his three brothers between 1962-66 affected his artistic output and this deep sense of loss can be seen across the canvas. The reoccurring motifs of the clown and Pierrot submerged in surreal and fantastical landscapes and geometric patterns. Dillon also struggled with finding a way to express his sexuality and his deep interest in self-analysis developed a series of symbolic motifs which came to represent himself within his art, such as masked figures. Perpetual illness filled his final years and Dillon passed away at the age of 55 in 1971. 'Gerard was dedicated to art above all else and his energy and drive was infectious' Noreen Rice 2011 Condition Report: The canvas is not relined and slightly slack on the stretcher. There is a short (2cm) scuff and paint loss to the canvas lower right (visible in catalogue images). There is a further couple of more minor scuffs to the upper left. There are a few spots of rubbing to the framed edges, notably one to the upper right edge and there are visible stretcher marks in a raking light. No evidence of retouching visible under ultraviolet light.Condition Report Disclaimer

λ Ivon Hitchens (British 1893-1979)Wittenham Clumps from Day's LockOil on canvasSigned (lower left); further signed, titled and dated 1956 (on artist's label to stretcher)41 x 87cm (16 x 34¼ in.)Provenance:Acquired directly from the artist in 1957Thence by descent to present ownerSynonymous for his panoramic depictions of the English countryside, Ivon Hitchens learnt his trade at the Royal Academy Schools before setting up a studio in north London in 1919. The subsequent two decades saw the evolution of Hitchens' style from an accomplished but essentially traditional representational approach to a much more personal and emotive pictorial language. The influence of contemporary French painters such as Paul Cezanne, Georges Braque and Andre Lhote, as well as friendships with confirmed modernists like Claude Flight exposed Hitchens to new and exciting ways of seeing. An invitation to stay with Ben and Winifred Nicholson at their house in Cumberland in 1925 led to a productive exchange of ideas at a time when all three were at a critical juncture in their artistic development. The paintings that Hitchens completed during this time have often been seen as the first in which his personal style begins to manifest itself. These years were, however, a financial struggle for Hitchens who, lacking any significant patronage, had to be content with only selling a handful of works each year. The one constant was his membership of the Seven and Five Society. With its first exhibition in 1920, the group was initially made up of a haphazard variety of artists, but Hitchens' suggestion that Ben Nicholson join the group in 1925, galvanised it into a more single-minded movement with a nascent modernist aesthetic. Over the coming years the group attracted many of the most innovative artists of the period including Christopher Wood, David Jones, Frances Hodgkins and Barbara Hepworth; and Hitchens' circle in north London grew to include further likeminded artists and intellectuals such as Henry Moore, Paul Nash, Adrian Stokes, David Bomberg, Walter Gropius and Herbert Read.In 1940, the Hitchens family which now consisted of his wife Mollie whom he had married in 1935 and their young son, John, born in April of the same year, were forced to retreat from London after his Hampstead studio and home was bombed. The couple had been spending increasing time in Sussex and the previous year had acquired an area of woodland near Lavington Common, along with a large caravan purchased from a Miss Williams of Heyshott for £20. This move to Sussex transformed Hitchens' painting and he spent the next forty years depicting the surrounding landscape.By the time of the present work, Wittenham Clumps from Day's Lock, executed in 1956, Hitchens had established himself as one of the foremost painters of the day, with financial security from a now longstanding relationship with Leicester Galleries and critical acclaim from several museum exhibitions. In the same year, he was chosen to represent Britain at the XXVII Venice Biennale. Whilst his work had been exhibited abroad, the Biennale offered an unrivalled opportunity for twenty canvasses to be shown, showcasing his work to a much wider international audience. The works were well received and, following the show, the British Council was invited by several European galleries, to send them on tour, garnering yet more exposure for Hitchens' work. Wittenham Clumps from Day's Lock is a superb example of Hitchens' use of colour to create form. The typical sage green interspersed with greys, whites and violets draw the viewer over the water to the landscape beyond. The intersecting lines of the foreground contrasting with the curve of the hills in the distance creating a sense of balance and harmony. The work was acquired in 1957 as a wedding present directly from Hitchens' studio and has remained in the same family ever since. The family have retained not only the original correspondence with Ivon Hitchens setting up the studio visit and subsequent purchase of the work but also a brilliant recollection of the visit by the original owner. These documents reveal him to be a solicitous and kindly man who was more than happy to devote the whole day to showing paintings to his prospectus buyers and discussing them at length. Although the letters deal mainly with the practicalities - including a hand drawn map of how to find the studio - they also reveal humour and sensitivity. Hitchens first letter, dated January 25th 1957, worries "Hadn't you better count your pennies after your honeymoon?".The timing of the visit coincided with the opening of Hitchens' exhibition at the Musée National d'Art Moderne in Paris and he remarks:"...it's odd how you can travel thousands of miles, do and see so much and find time for it all - while if one stays at home, things crowd in so thick and there is so much to attend to that I am usually behind with the delivery of paintings. Our Paris trip which did materialise in the end, leaves a hazy memory of floods of taxis (petrol rationing a myth), crowds of people, champagne adlib(?) and miles of stone floor galleries. The show looks well and everyone seemed pleased including the museum authorities who talk of buying one."The owner's memoir reveals more about the visit and includes a great many insights into Hitchens' working process."He seemed in no hurry, and curiously objective about his own work as though he were an outsider seeing it for the first time. Many canvasses were unfinished. He explained that he always knew what he was going to try to achieve but never how he was going to get there. He always started from nature (or from an interior or model). The first rendering was often relatively representational, the verticals and horizontals, light and shade, re-producing what was in front of him - up to a point.Each succeeding state - and he sometimes did 6 or more - would be more abstract, until the final one might, if he were 'lucky' express something of what the original meant to him, though, to the viewer, it might seem to be totally 'abstract' unless he knew how it had evolved."It was only after some considerable time that they came close to making a decision on a painting and, remarkably, the day ended with them agreeing on not just one painting but two:"We spent the whole afternoon, looking at and discussing painting after painting. Eventually the choice was narrowed to two; one I liked, one Hitchens liked and wanted us to have. The one I liked was not, Hitchens said, finished - or satisfactory. The one Hitchens preferred had just been completed - 'Wood Landscape no. 2', of 1956. He looked again at the one I preferred - 'Day's Lock, Wittenham Clumps' - and agreed there was something missing on the right-hand side. Picking up a large brush dripping with a characteristic mixture of grey, light blue and purple, he swirled in a sort of arching rainbow against the deep blue of the sky on the right. "There", he exclaimed, "That does it, I think". I wanted the picture more than ever, but he still wanted us to have the other. We explained that we were broke and could not possibly afford both. After long discussion, "I'll tell you what", he said, "why don't you take both - for the price of one". And, despite our protests, that is what eventually happened." 

λ Edward Wolfe (British 1897-1981)Portrait of Barclay DonneOil on canvas92 x 61cm (36 x 24 in.)Painted in 1918/19.Provenance:Odette Gilbert Gallery, LondonPaisnel Gallery, LondonCollyer Bristow Collection, LondonBorn in Johannesburg, South Africa, Wolfe moved to England during the First World War where he studied at the Slade School of Art from 1916-1918. At the Slade he met and became friends with Nina Hamnet and Roger Fry who invited him to join the Omega Workshops, a design enterprise founded by members of the Bloomsbury Group and closely associated with the Hogarth Press.  He had his first solo show in Johannesburg in 1920 and went on to exhibit widely both in England and internationally. In the 1920s he became known as 'England's Matisse' in reference to his strikingly colourful post-impressionistic portraits. His success owed much to his involvement with the London Group of artists and his association with art critic and painter Roger Fry and the writer Osbert Sitwell. Wolfe's work is held by the Tate Gallery, the Royal Academy and the National Portrait Gallery, London as well as numerous other public and private collections.  Condition Report: The canvas has not been lined and is a little slack. Small, scattered areas of flaking throughout but most noticeably to the upper right quadrant. Some craquelure, surface abrasions and light surface dirt throughout. Stretcher marks visible, especially to the vertical edges. Inspection under UV light revels some very light, scattered retouching which is largely confined to the darker background.Condition Report Disclaimer

λ Edward Wolfe (British 1897-1981)Jet Fairley in Swiss CostumeOil on canvas166 x 100cm (65¼ x 39¼ in.)Painted in 1936.Provenance:Odette Gilbert Gallery, LondonCollyer Bristow Collection, LondonBorn in Johannesburg, South Africa, Wolfe moved to England during the First World War where he studied at the Slade School of Art from 1916-1918. At the Slade he met and became friends with Nina Hamnet and Roger Fry who invited him to join the Omega Workshops, a design enterprise founded by members of the Bloomsbury Group and closely associated with the Hogarth Press.  He had his first solo show in Johannesburg in 1920 and went on to exhibit widely both in England and internationally. In the 1920s he became known as 'England's Matisse' in reference to his strikingly colourful post-impressionistic portraits. His success owed much to his involvement with the London Group of artists and his association with art critic and painter Roger Fry and the writer Osbert Sitwell. Wolfe's work is held by the Tate Gallery, the Royal Academy and the National Portrait Gallery, London as well as numerous other public and private collections.   Condition Report: The canvas has not been relined. There is a very small split in the weave of the canvas to the lower right at the edge of the apron, only visible upon very close inspection. The canvas is slightly loose on the stretcher and there are some small areas of craquelure upper left and some further areas where craquelure is beginning to develop. The painting may benefit from a reline. Otherwise, colours fresh and in good original condition. No evidence of retouching visible under ultraviolet light.Condition Report Disclaimer

λ Edward Wolfe (British 1897-1981)Gypsy LangOil on boardSigned (lower right)99 x 79cm (38¾ x 31 in.)Painted in 1926.Provenance:Odette Gilbert Gallery, LondonPaisnel Gallery, LondonCollyer Bristow Collection, LondonBorn in Johannesburg, South Africa, Wolfe moved to England during the First World War where he studied at the Slade School of Art from 1916-1918. At the Slade he met and became friends with Nina Hamnet and Roger Fry who invited him to join the Omega Workshops, a design enterprise founded by members of the Bloomsbury Group and closely associated with the Hogarth Press.  He had his first solo show in Johannesburg in 1920 and went on to exhibit widely both in England and internationally. In the 1920s he became known as 'England's Matisse' in reference to his strikingly colourful post-impressionistic portraits. His success owed much to his involvement with the London Group of artists and his association with art critic and painter Roger Fry and the writer Osbert Sitwell. Wolfe's work is held by the Tate Gallery, the Royal Academy and the National Portrait Gallery, London as well as numerous other public and private collections.  Condition Report: A few surface scuffs and scratches and some associated minor losses. Also some surface dirt. Otherwise in generally good condition. No evidence of retouching visible under ultraviolet light.Condition Report Disclaimer

λ Edward Wolfe (British 1897-1981)Portrait of David Cleghorn ThomsonOil on canvasSigned (lower left)63 x 48cm (24¾ x 18¾ in.)Painted in 1949. Provenance:Odette Gilbert Gallery, LondonPaisnel Gallery, LondonCollyer Bristow Collection, LondonLiterature:John Russell Taylor, Edward Wolfe, 1986, plate 143 (illustrated)Born in Johannesburg, South Africa, Wolfe moved to England during the First World War where he studied at the Slade School of Art from 1916-1918. At the Slade he met and became friends with Nina Hamnet and Roger Fry who invited him to join the Omega Workshops, a design enterprise founded by members of the Bloomsbury Group and closely associated with the Hogarth Press.He had his first solo show in Johannesburg in 1920 and went on to exhibit widely both in England and internationally. In the 1920s he became known as 'England's Matisse' in reference to his strikingly colourful post-impressionistic portraits. His success owed much to his involvement with the London Group of artists and his association with art critic and painter Roger Fry and the writer Osbert Sitwell.Wolfe's work is held by the Tate Gallery, the Royal Academy and the National Portrait Gallery, London as well as numerous other public and private collections.Condition Report: The canvas is not relined. Some scattered flaking to the paint surface notably to the left hand edge. Otherwise, in generally good condition. No evidence of retouching visible under ultraviolet light.Condition Report Disclaimer

λ Edward Wolfe (British 1897-1981)Portrait of Ivan SmodlakaOil on boardSigned (lower left)82 x 65.5cm (32¼ x 25¾ in.)Painted in 1960.Provenance:Odette Gilbert Gallery, LondonPaisnel Gallery, LondonCollyer Bristow Collection, LondonExhibited:London, Royal Academy, 1960, no. 1Literature:John Russell Taylor, Edward Wolfe, 1986, plate 142 (illustrated)Born in Johannesburg, South Africa, Wolfe moved to England during the First World War where he studied at the Slade School of Art from 1916-1918. At the Slade he met and became friends with Nina Hamnet and Roger Fry who invited him to join the Omega Workshops, a design enterprise founded by members of the Bloomsbury Group and closely associated with the Hogarth Press.  He had his first solo show in Johannesburg in 1920 and went on to exhibit widely both in England and internationally. In the 1920s he became known as 'England's Matisse' in reference to his strikingly colourful post-impressionistic portraits. His success owed much to his involvement with the London Group of artists and his association with art critic and painter Roger Fry and the writer Osbert Sitwell. Wolfe's work is held by the Tate Gallery, the Royal Academy and the National Portrait Gallery, London as well as numerous other public and private collections. 

λ Edward Wolfe (British 1897-1981)Portrait of Sir John Clements for the film 'Quartette'Oil on canvasSigned (lower left)127 x 101.5cm (50 x 39¾ in.)Provenance:The Augustine Gallery, HoltThe David Paul Gallery, ChichesterCollyer Bristow Collection, LondonBorn in Johannesburg, South Africa, Wolfe moved to England during the First World War where he studied at the Slade School of Art from 1916-1918. At the Slade he met and became friends with Nina Hamnet and Roger Fry who invited him to join the Omega Workshops, a design enterprise founded by members of the Bloomsbury Group and closely associated with the Hogarth Press.  He had his first solo show in Johannesburg in 1920 and went on to exhibit widely both in England and internationally. In the 1920s he became known as 'England's Matisse' in reference to his strikingly colourful post-impressionistic portraits. His success owed much to his involvement with the London Group of artists and his association with art critic and painter Roger Fry and the writer Osbert Sitwell. Wolfe's work is held by the Tate Gallery, the Royal Academy and the National Portrait Gallery, London as well as numerous other public and private collections.   

λ Colin Middleton (Irish 1910-1983)Sundown: Carnalridge. No. 2Oil on canvasSigned with monogram (lower left), further signed, titled and dated January 1960 (verso) 51 x 61cm (20 x 24 in.)Provenance:Private collection, Ireland Purchased from the above by the present owner Colin Middleton (1910-1983) was born in Belfast, Northern Ireland, to English parents. Middleton painted from a very early age, encouraged by his father who was an amateur painter but who exhibited regularly. Middleton began exhibiting in the early 30s and his first solo exhibition, comprised of 100 works, was held at the Belfast Museum (now The Ulster Museum) in 1943. Middleton was a fulltime damask designer with the partnership Page and Middleton up until 1947. By 1950 Middleton was contracted by Victor Waddington in Dublin who regularly exhibited his works. In the present lot Sundown: Carnalridge, No. 2 Middleton has stripped back the landscape into the components that were used to build it, the earth, the hills and the sky all broken into small brushstrokes stretching repetitively across the canvas. The warmth of the colour palette evokes a sense of heat rising from the canvas and we see strong influences of Vincent Van Gogh, an artist that made a lasting impact on Middleton. Condition Report: The canvas is not relined. There is an old water stain to the reverse of the canvas, lower left (as visible in images online), this does not appear to have affected the image recto. There are a few spots of scattered surface dirt, otherwise in good original condition. There is no evidence of retouching visible under ultraviolet light.Condition Report Disclaimer

λ Markey Robinson (Irish 1917-1999)Shawlies in the villageOil on board15 x 30cm (5¾ x 11¾ in.)Provenance:Angus MacDonald, Holywood, County Down, Northern Ireland Purchased from the above by the present ownerShawled women, or Shawlies were a common theme for Robinson and one which he revisited throughout his career. As was typical of the artist, very few facial features are visible in the women painted here. The overall effect and purpose of these works was not one of personal identification, but instead an embodiment of what the Shawlies represent: a yearning for peace and serenity. Growing up in Belfast during the Second World War, these works were a commentary on escapism; looking to the more simple life of the Irish countryside. Markey Robinson (1917-1999)Markey Robinson was born in 1918 in Belfast. Despite his natural talent for the arts being recognised at a young age, Robinson was encouraged to become a welder. Whilst he would spend any spare cash he could on art materials Robinson was also a talented featherweight boxer. This earned himself the nickname Boyo Marko and he became quite well known for his sport in Northern Ireland. At the outbreak of the Second World War Markey joined the Casualty Service of the Civil Defence. He continued to paint during this period and exhibited two works recording affects of the Blitz at the Civil Defence Art Exhibition in 1943. These works were chosen to represent Ulster at an exhibition in London, which illustrates the artists natural talent and early success. Known as a man of mystery who would disappear for long periods of time, he nonetheless became a part of the Ulster artistic community during the 1930s and 40s. Markey made his money as a merchant seaman, most likely the answer for his long periods away from Belfast. He was well travelled spending time in Africa, South American, Europe and Asia. In the 1940s Markey exhibited at the Irish Living Art Exhibition in Dublin which became an important platform for contemporary artists including Jack B. Yeats, Mainie Jellet and Louis le Brocquy. It is likely that Robinson was acquainted with Gerard Dillon and Colin Middleton through these yearly exhibitions. There are two works by Markey Robinson in this private collection of Irish works. What is apparent in both the works in the spontaneity of line and use of bold and definitive strokes. This deliberate black line which can be found in many of Robinson's compositions is likely to be a direct influence from Matisse someone Robinson was greatly inspired by.  Condition Report: There is some scattered surface dirt and craquelure, otherwise in good condition. No evidence of retouching visible under ultraviolet light.Condition Report Disclaimer

λ Gladys Maccabe (Irish 1918-2018)Gallery visitorsOil on canvasSigned (lower right), titled (to stretcher verso)40 x 50cm (15½ x 19½ in.)In 1941 Gladys married artist and musician Max Maccabe. The couple exhibited together throughout their relationship, most notably in Ireland at Robinson & Cleaver in Belfast in 1942 and at Kensington Art Gallery, London in 1949. The couple became members The Contemporary Ulster Group which included like minded artists such as Gerard Dillon and William Conor. In 1957 Gladys painted a portrait of Conor which is now hanging in the Ulster Folk Museum. Gladys Maccabe recognised that the talent of young female artists in Ireland was going unrecognised. In 1957 she formed the Ulster Society of Women Artists who held their first major exhibition at the Belfast Museum and Art Gallery in 1959. Gladys' work is concerned primarily with gatherings of people going about their everyday lives whether that be a moment in time captured at a market, a beach or at the races. Gallery visitors is a particularly contemplative piece which illustrates figures frozen in mid conversation and thought.

λ Gladys Maccabe (Irish 1918-2018)At the marketOil on boardSigned (lower left)39.5 x 51cm (15½ x 20 in.)In 1941 Gladys married artist and musician Max Maccabe. The couple exhibited together throughout their relationship, most notably in Ireland at Robinson & Cleaver in Belfast in 1942 and at Kensington Art Gallery, London in 1949. The couple became members The Contemporary Ulster Group which included like minded artists such as Gerard Dillon and William Conor. In 1957 Gladys painted a portrait of Conor which is now hanging in the Ulster Folk Museum. Gladys Maccabe recognised that the talent of young female artists in Ireland was going unrecognised. In 1957 she formed the Ulster Society of Women Artists who held their first major exhibition at the Belfast Museum and Art Gallery in 1959. Gladys' work is concerned primarily with gatherings of people going about their everyday lives whether that be a moment in time captured at a market, a beach or at the races. Gladys' work is concerned primarily with gatherings of people going about their everyday lives whether that be a moment in time captured at a market, a beach or at the races.  

MABEL LUCIE ATTWELL; a good collection of approximately one hundred and fifty postcards.Additional InformationOn the whole, in good condition. They have come from a private collector in Devon who has made some annotated notes, but very few have any damage beyond small ripples to corners and browning to the edges.

A selection of HMS Royal Oak memorabilia from the family of Frederick Sandford, who was killed on the Oak in 1939. Within the collection is an original photograph of the Oak, some photographs by Sandford with later clippings and related ephemera

The Who Autographs of All Four Stars on Complete 1981 UK Tour Programme, Roger Daltry, John Entwistle, Kenny Jones and Pete Townshend.

Dr Who Autographs - Scarce Roger Delgardo ( The Master ) on Colour Picture Plus Jon Pertwee Signature on 2 x Page Dr Who Dice Game Picture, Excellent Collectable's.

An original WWII Second World War Third Reich Nazi German SA Officers membership book. The booklet belonging to one Krause Horst who joined 20th November 1933. Official N.S.D.A.P stamps depicting Swastika and eagle emblems present along with the members photograph. Interesting item.

A scarce original copy of ' Les Berets Rouges ' (The Red Berets) by Henry Corta, 1952. The book details lots of history about the Red Berets, SAS, Commando and other Airborne Forces. Illustrated with photographs. French. Along with an associated post-war SAS ' Who Dares Wins ' cloth cap badge.

A large post-WWII Second World War period RAF Royal Air Force regimental photograph showing ' No.4 Flight, A Squadron, RAF Padgate, August 1946 .' Autographed to the rear by many of those present in the image, most notably future actor and presenter Bob Monkhouse who has autographed the rear of the photograph with a large sketch ' Snap-shooting or Last Day In The Butts ' and has noted his location as ' Beckenham, Kent (Monkhouses' birth place). We believe Monkhouse to be shown in the second row from the top, second in from the left. Measures approx; 25x48cm. Rolled (some creases). A rare and likely unique-surviving record of one of Britain's best loved entertainers. 

An original WWII Second World War 2nd Pattern Fairbairn Sykes made commando fighting dagger. Usual form, with chequered grip, leading to a double edged blade. Housed within its original leather scabbard with brass tip. Once the property of one Eric E. Richards - a sapper with 4th Parachute Regiment, 2&3 Troop Royal Engineers who was present at Operation Market Garden. Supplied with a photograph and information sheet detailing Richards and his history. From an ex-museum display. Measures approx; 33cm long. (NB: the card displaying Richard's history makes note of a helmet which is NOT included within this lot)

The Guinea Pig Club - A WWII Second World War type ' Guinea Pig Club ' cloth uniform patch. Black, with central brown and white winged Guinea Pig emblem. Originally badges of this form were issued to aircrew who received burn wounds during the war. 

A WWII Second World War interest medal group and archive of related effects, to one 158222 Captain (later Major) William Gordon Tollworthy of the Royal Engineers who served in Burma from 1942-45 and was head of Military Intelligence in Perak (and took part in Operations Juno and Jetsam) as part of The Malayan Emergency in 1956-58. The medal group comprising; Military Cross, 1939-45 STar, The Burma Star, Defence Medal, War Medal (with oak leaf for a mention in despatches), QEII General Service Medal (with Malaya clasp and impressed Capt WG Tollworthy MC RE), George VI Territorial Efficiency Medal (impressed ditto) and Pangkuan Negara medal (Order Of The Defender Of The Realm). All with ribbons, and mounted on bar, and with their original set of miniature medals. The Military Cross comes with its original citation which, in part, reads; 'During the operations of 51 Indian Infantry Brigade at KANGAW from 27th January for a period of fourteen days, constantly under fire of every nature, he worked with unfailing energy and determination, both by day and by night with little rest. He frequently visited all areas from the beach to the forward troops, supervising the landing of heavy equipment, the development of water points, the construction of bridges and tracks and the demolition of enemy bunkers and ammunition dumps.' The medal group comes with a wealth of paperwork, effects and history - all related to Tollworthy, and includes;  - Tollworthy's Perak Combined Operations Room Pass - A box of Tollworthy's cap badges, uniform patches and other such items - A small silver white metal presentation statue engraved 'Presented To Major W.G. Tollworthy 63 Ind. Fd. Coy. Burma 1944-1945' - a post-war presentation Kundo mantel clock engraved to the top ' Presented To Major WG Tollworthy MCRE by 39 FD SQN RE, 8th Sep, 1960' - a typed copy of ' The Military Memoirs Of Major WG Tollworthy ' - based on tape recordings made by his family in 1996. The memoirs detailing his entire life and military career in great and personal detail. Also included are several copied drafts of the memoirs. - an original captured C96 'Broomhandle' Mauser detachable wooden stock / pistol case (no pistol present) - Five folders of period-written (mostly handwritten) documents written by Tollworthy during Operation Junto (some marked 'Top Secret') - includes some letters written by those arrested, various official documents, orders, notes, letters etc. As well as copious handwritten notes, encounters and other such entries.  - a 'Confidential' marked map showing the District Boundaries in Perak Police Contingent Operational Area with hand-drawn additions by Tollworthy - an original edition of 'In Defence Of Singapore - A Series Of Drawings With Brief Notes' - an envelope of photographs of Malayan soldiers / civilians - each with code numbers present to the images (presumably for identification purposes) - Various handwritten lists of ' Jetsam Surrenders ' - which appears to detail the individual details of those who surrendered during Operation Jetsam (some marked 'Surrendered To SAS'), - Photocopies of 1930s / Wartime sketches that Tollworthy drew in a friend's autograph book (with accompanying letter) - Tollworthy's 1919 dated hallmarked silver miniature tankard (likely a Christening tankard) - A large box-file of maps, documents and other items relating to the Policing of Perak and other such items including details of communist terrorist captures, interrogations, and captured CT hand-drawn maps of jungle routes, camps etc. - a quantity of intricately drawn jungle maps confiscated from terrorists during Junto - various paperwork relating to his MC including the official letter from King George An interesting piece of history within the collection is perhaps a copy of an original Japanese diary that Tollworthy once discovered when on service in the Burmese jungle during WW2. Tollworthy kept hold of the diary for many years, and in the 1990s - with the help of The Daily Telegraph - Major Tollworthy was able to reunite the diary with the family of its original owner. Lots of documents relating to the diary are included, as well as a photocopy of the entire diary itself, and a photograph of Tollworthy with the Japanese family who came over to visit him. Newspaper cuttings and related letters are also present. The entire archive makes fascinating reading, and is perhaps the most poignant factor in the collection. (more can be read about the diary here: www.olioo-me.medium.com/never-forget-that-of-250-only-20-survived-diary-of-emon-tochio-9ccfe41780f4) The entire collection - which must be considered as Tollworthy's complete military career archive from 1942-1965 - is one of the most interesting, and most important collections we have ever seen. A truly unique archive, with well over 500 individual documents and supporting items of great historical importance. 

A unique and interesting collection of effects and medals, relating to one 88613 Josephine Hatter (nee Lewington), a WREN who was drafted to work at Bletchley Park and was on the team working with the famous 'Bombe', under Alan Turing. The medal group comprising of her War Medal and Defence medal, with ribbon, two cloth arm patches, and a personal photograph album of Lewington's - showing largely c1945-1946. The album shows various country houses, lots of group photographs of Lewington and her colleagues / friends - some possibly taken in the grounds of Bletchley park. The collection comes with provenance in the form of an Armed Forces Personnel Administration Agency relating to the issue of her medals, and a handwritten note from a relative of Lewington which reads, ' Miss Josephine Hatter (then Mrs Lewington) - Navy (WRENS) - drafted to work at Bletchley Park with Alan Turin (sic) into decoder room (she called in 'the bomb'). She only spoke openly about this in her later life. She remembered Alan Turin walking around the lake with his coffee in his hand which he never got around to drinking and would throw it (cup and all!) into the lake - therefore should be plenty of cups in there!'. An important and interesting collection. 

A WWII Second World War related Caterpillar Club uniform badge (for airmen who have successfully bailed out of a disabled aircraft). The badge with notation for ' Caterpillar Club ' to top, with a gold thread bullion caterpillar motif underneath and images of parachutists either side. History unknown. 

Collection of antique medallions - a unique and interesting antique treen Victorian King's Shropshire Light Infantry interest 'trench art' style wooden box. The small trinket box hand engraved to top ' Hong Kong Epidemic - 1894 ' and inset with a ' Queen Victoria ' silver coloured medallion / coin. Decorated with KSLI emblems and depictions of the cap badge, and monogrammed ' WM '. To the inside of the lid is written, in antiquity, ' Plague lasted from May to September 1984 - 1st KSLI largely served to treat and defect the disease '. Box measures approx; 12cm long. Interesting and unique piece of history. The 1894 Hong Kong plague was a major outbreak of the third pandemic in the world from the late 19th century to the early 20th century. In May 1894, the first case occurred in Hong Kong. The patient was a national hospital clerk and was discovered by Dr. Yu Xun, the Dean of the National Hospital, who had just returned from Canton. When the Chinese-style buildings were built, the Taiping Mountain area in Sheung Wan, the most densely-populated area in Hong Kong, became the hardest hit area of the epidemic. Controlling the epidemic naturally became the top priority of the Governor of Hong Kong. From May to October 1894, the plague in Hong Kong killed more than 6,000 people, one third of the population fled Hong Kong. In the 30 years starting in 1926, the plague occurred in Hong Kong almost every year and killed more than 20,000 people. Through the maritime traffic in Hong Kong, the plague epidemic originating in Yunnan, China, spread to all parts of the country after 1894 and eventually spread to all inhabitated continents

WWII Second World War Interest; a vintage British Army sand / green uniform beret, believed to be by Kangol Limited but maker's marks indistinct. Featuring a WW2 type SAS cloth cap badge to front featuring the motto ' Who Dares Wins '. Date illegible, provenance unknown.

A rare original WWII Second World War pre-D-Day issued ' French Who's Who ' booklet. The booklet dated November 1943 and marked as ' Confidential '. The booklet contains a list of important French figures and a brief biography. Interesting document.  

WWII Second World War Interest - a 20th century British Army maroon Airborne uniform beret. The beret with very faint maker's marks (likely Kangol Limited), and has an associated SAS ' Who Dares Wins ' cloth patch to front. Beret undated. 

An original WWII Second World War period German Nazi Third Reich standard 1937 Luftwaffe officers dress dagger (Second Pattern). The hilt having a gilt wire wrapped celluloid handle, Swastika globe pommel, cross guard in the form of an Imperial Eagle clutching the Swastika, double edged stiletto blade. No makers marks present. Complete with the original oak leaf decorated scabbard with hanger rings, hanger and straps (AF) and original portepee. Measures; 43cm long overall. Provenance; the item was a 'bring back' from the vendor's Father - who served in the RAF during the period, and was stationed all over the world, notably Denmark. 

An original WWII Second World War Imperial Japanese flag, handed over at the surrender of Japan in Korea, 1945. The flag of typical form, on white ground, with large red centre roundel. To the seam are two leather re-enforcement panels, each with a brass ferrule. Accompanying the flag is a note which reads ' Original Japanese flag gifted to Lieutenant General Hodge, who was present when Thomas Kinkaid and John Hodge as they accepted Japanese surrender in the General Government Building in Seoul, Korea, 9th September 1945. The flag was flown by the Japanese outside the Government buildings and I believe then gifted to Lieutenant General Hodge in 1945...' The provenance was supplied to the with the flag when purchased by the vendor some years ago. We are naturally unable to verify the history of the item, and buyers are reminded for the need to satisfy themselves as to such things prior to bidding. Nonetheless, an interesting flag. Measures approx; 116x173cm. 

A scarce original WWI First World War French recruitment / propaganda poster -  Ils Combattent: Souscrivons! (They Are Fighting- Let’s Help!) A large poster by Victor Prouvé (1858-1943). Published 1918. On paper. Full colour. A bold image of soldiers who hold the flags of the allied nations, advancing towards an unseen enemy, with tanks and planes in the background. Text below in French is an appeal for subscriptions to support the war effort. Has been folded. Size 78cm by 60cm

A collection of x10 WWII Second World War type (likely post-War) SAS Special Air Service beret cloth patches. Various forms and styles, but all with the ' Who Dares Wins ' motto. An interesting collection of commando related patches. Provenance unknown. 

A collection of assorted WWI First World War and WWII Second World War related ephemera and photographs, to include; several documents relating to the loss of one 493920 Private George Atkinson Chicken who was killed in action 8th April 1918, a Royal Navy Certificate Of Service for one Frederick Simpson c1909 listing his engagements etc as well as a CDV photograph of Simpson, a 1914-15 Service Bible, WWII era Soldier's Release Book, a WWII Air Raid Precautions Handbook No.1, a Thompson Submachine Gun ' Mechanism Made Easy ' book, a 1931 Excursion Guide for Guernsey and several large format WWII / post-war Naval related photographs. Interesting assortment, all presumed unrelated. 

Mahatma Gandhi (1869-1948) - two pairs of mid-20th century c1940s gold plated circular rimmed spectacles, by repute owned and worn by Mahatma Gandhi. The first pair of spectacles being gold plated, with sprung arms, the glass lenses united by a shaped bridge section. The lenses featuring inset bi-focal lenses for reading. Housed in a period metal glasses case. The second pair of spectacles being identical in form, but the bridge stamped ' NGE ' and 1/8 '14ct' (referring to 14k gold plating) and the lenses being simple (non-reading) prescription lenses. This second pair of spectacles has one broken arm, but is also presented in a similar period metal case. Supplied with a full and detailed letter of provenance from the vendor.Spectacles formed an important and iconic part of Gandhi's overall appearance. It was well known that he would often give away his old or unwanted pairs to those in need or those who had helped him, as an abundance of spectacles were always on hand for him - opticians would readily make Gandhi spectacles whenever required, very often without charge. A rare and important lot.Provenance; these spectacles were once owned by Satish Chandra Roy, famous Indian politician and freedom fighter. Several documented meetings between Gandhi and Satish Chandra Roy are known. In 1945/46 Mahatma Gandhi stayed with Satish Chandra Roy at his house in Narsingdi Gram (district), now Bangladesh, for a period of three days. Whilst staying with Satish Chandra Roy, Gandhi carried out all his meetings with local politicians and dignitaries. As a 'thank you' and a reward to Roy's actions and activities, Gandhi gifted him these two pairs of spectacles. A full and comprehensive letter of provenance is supplied by the vendor (a relative of Satish Chandra Roy), and the vendor is happy to share their contact information with the winning bidder should any further provenance be required. The exact contents of the provenance letter will be supplied to the winning bidder only. Our View: In August 2020 we sold a similar pair of spectacles also reputed to have belonged to Mahatma Gandhi. In comparison to these two pairs there are some interesting points to note. These glasses post-date the previously sold pair by twenty years or so, and are clearly of a higher prescription (consistent with aging eyesight). These two pairs contain a similarly slightly-contoured bridge section, which would be almost unique to Gandhi's face - consistent with the pair previously sold in August 2020. The bi-focal lenses seen in one of these pairs presented is also consistent with the style Gandhi wore from the 1940s onwards to aid his reading. 

ULTRA RARE! Hellraiser Doug Bradley signed large panoramic 16x6 photo. This beautiful and ultra-rare hand-signed 16 inches x 6 inches panoramic photo depicts the iconic scene from Hellraiser III, where Pinhead is standing at the church altar and opens out his arms and says the line "I Am The Way". This particular image so rare to find, but this was hand signed by Doug Bradley (who plays Pinhead) during a private signing. Doug has also signed with the famous quote from this scene "I AM THE WAY". This signed photo is an amazing piece of Hellraiser memorabilia and is guaranteed authentic, and are supplied from one of the UK's leading autograph memorabilia companies. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Stunning Display! Star Wars Dave Prowse hand signed professionally mounted display. This beautiful display consists of a 10"x8" photo, hand signed by Dave Prowse who played Darth Vader in the original trilogy of Star Wars movies. This photo was signed during a private signing with Dave in 2018. This has been mounted with a logo underneath the photo, and the overall size of the mounted display is 14 inches x 11 inches. This signed photo is guaranteed authentic, and is supplied from one of the UK's leading autograph memorabilia companies. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Stunning Display! Dr. Who Tom Baker Gabriel Woolf hand signed professionally mounted display. This beautiful display consists of a 10"x8" photo, hand signed by Tom Baker as the fourth Doctor and Gabriel Woolf as Sutekh in the hit tv show Doctor Who. This has been mounted with a logo underneath the photo, and the overall size of the mounted display is 14 inches x 11 inches. This signed photo is guaranteed authentic, and is supplied from one of the UK's leading autograph memorabilia companies. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.