A rare enamelled electioneering 'Reform' Toby Jug, circa 1831Of traditional form, seated and wearing a black tricorn hat reserved with two ribbons inscribed 'I.C REFORM', red coat with ribbons to the upper arms inscribed 'TAVISTOC' and 'PAYNE', pink waistcoat and yellow breeches, supporting a foaming patterned jug on his left knee with both hands, the rectangular green base with canted corners, 24cm highFootnotes:ProvenanceJames and Timmey Challenger Collection, ChicagoThe 1831 general election saw a landslide win by supporters of electoral reform. Sir Peter Payne stood with Lord Tavistock as MP for Bedfordshire in an attempt to turn out William Stuart, who had been returned in 1830 but had caused great offence by opposing parliamentary reform. It was the last unreformed election as the victory ensured the passage of the Reform Act 1832, which increased the number of men entitled to vote and granted seats in the House of Commons to large cities which had resulted from the Industrial Revolution. For a similar jug dressed as a soldier see Vic Schuler, Collecting British Toby Jugs (3rd Edn, 1999), p.76.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
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Cian McLoughlin (b.1973) Didi and Gogo Diptych, oil on canvas, 188 x 180cm Signed Provenance: The Shelbourne Hotel, Dublin. April 2006 marked the centenary of Samuel Beckett's birth. In honour of this occasion, the Beckett Centenary Festival Committee, in association with the Gate Theatre and the Department of Arts, Tourism and Sport, launched an exhibition of works by Cian McLoughlin. Showcased at the OPW, these pieces explored Beckett's three main plays - 'End Game', 'Krapp's Last Tape' and 'Waiting for Godot'. In order to prepare for this, McLoughlin spent three years talking to, studying and painting the actors who had become synonymous with Beckett's masterpieces, producing large scale portraits that strove to display not the actor, but the character which they embodied. Although not part of the original Beckett Series, the current works draw wholly on the experience that McLoughlin gained during this process. Commissioned by the Shelbourne Hotel in 2007, these diptychs capture the tragic couplings of Vladimir (Didi) and Estragon (Gogo) and Pozzo and Lucky from 'Waiting for Godot'. Encroaching as spectres from the fog, the faces of Barry McGovern, Johnny Murphy, Alan Stanford and Stephen Brennan are transformed. Their usual expressions are replaced by a haunted, uneasy look, causing us to examine the uncomfortable undercurrent of Becket's most famous work: our own existence. Throughout the play, the characters struggle to complete basic tasks, such as putting on shoes, and amble in a state of confusion and forgetfulness. It would seem that only Didi recalls the events of the previous day, but even so he clings to physical objects as proof, as if he too thinks that, perhaps, their place in the world isn't as concrete as it appears. Such reminders are gratefully accepted by Gogo, who is presented to us as the more vulnerable of the pair; 'We always find something, eh Didi, to give us the impression we exist' In 'Waiting for Godot', Beckett's characters are presented to us as pairs. Dominating the play are Vladimir and Estragon and these are complemented by Pozzo and Lucky. By forming two diptychs, McLoughlin has artfully mirrored Beckett's creation. Each half of the diptych can survive on its own accord, however, it is by pairing the canvases that the work is completed. 'Waiting for Godot' sees Gogo and Didi arguing and Gogo despairing, asking to end the wait. Yet, the pair do not separate. Similarly, Pozzo talks of selling Lucky but Act II sees them firmly side by side. It seems that each would rather stay together in a misery that they know than face an alternative. In one of the darker moments of the play, Didi and Gogo discuss hanging themselves from a tree. Ultimately, it is not the fear of death that holds them back, but rather the fear that one might live and be required to continue alone. By accepting the challenge of his Beckett paintings, Cian McLoughlin was forced to depict the intangible. Each piece became a study in human emotion, his brush strokes carefully gliding through a myriad of thoughts, concerns and fears. In an interview with Fumo Gallery, McLoughlin remarked on a quote by Robert Frost, 'a poem is like ice on a stove - riding on its own melting'. Here, it is clear to see that McLoughlin implemented this philosophy. With each glance, the paint slips forwards, the images tumbling to engulf the viewer in a wave of feeling.
Henri Matisse (1869-1954)Jazz, Tériade, Paris, 1947 (Duthuit books 22) The set of twenty pochoirs in colours, 1947, on Arches paper, with title, text in French and justification, signed in pencil on the justification, copy number 73 from the edition of 250 (there were also twenty hors commerce copies in Roman numerals), the full sheets, the colours remarkably fresh and vibrant, in very good condition, loose (as issued), within the original grey paper boards and slipcase, with title label on the spine, generally in very good condition Sheets 420 x 645mm. (16 1/2 x 25 3/8in.); Album 445 x 340 x 58mm. (17 1/2 x 13 3/8 x 2 1/4in.)Footnotes:Henri Matisse's illustrated book, Jazz, published in 1947, is arguably one of the most important and formative works of the artist's career. The colourful portfolio, made up of 20 plates and over 70 pages of calligraphic writing, was one of Matisse's first major 'cut-out' projects and marked a crucial transition into a new medium for the artist.Matisse began creating the plates in around 1941 after he had undergone a life-saving surgery to alleviate his abdominal cancer, an operation which left him chair and bed-ridden for months. No longer able to paint or draw, Matisse took to cutting forms out of large colourfully painted sheets of paper, prepared for him by his assistants – a process he called 'drawing with scissors'. This suite of colour plates was then printed using a labour-intensive technique, known as pochoir, which allowed Matisse to express his creativity with the help of printer, Edmond Vairel, who created the stencils for his final compositions. Matisse said 'paper cut-out allows me to draw in colour. It is, for me, a matter of simplification ... I draw directly into the colour, which is all the more controlled in that it is not transposed. This simplification guarantees a precision in the reunion of the two means, which brings them together as one.'Through Jazz, Matisse solved many of the problems around space, form, line, and colour that he had struggled with all his life. The work, initially titled Le Cirque after the inspiration behind the illustrations, was later changed to Jazz following a suggestion from his publisher Tériade. The artist welcomed the idea and recognised the noticeable synthesis between art and music throughout the work. Invented in the spirit of improvisation, there is a spontaneity and rhythm through the pages of handwritten lyrical text, broken up by Matisse's expressive plates of mythological depictions, circus scenes and memories from Matisse's travels. Jazz is still regarded as one of Matisse's greatest masterpieces and his most successful artist's book. As Tériade pointed out: ''Of all the books by Matisse, Jazz is without a doubt the most important: it provokes a true revolution in the artist's oeuvre and in the history of contemporary art'' Michel Anthonioz, Hommage Tériade, Paris, 1973, p. 125.Yet Matisse never envisioned Jazz to be an illustrated book but rather a collection of artistic plates.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Robert Indiana (1928-2018)The Book of Love The complete set of 12 screenprints in colours and 12 poems with embossing, 1996, on A.N.W. Crestwood Museum paper, each screenprint signed, dated and numbered 17/200 in pencil, each poem initialled and dated in pencil, signed by the publisher and numbered 17/200 on the title/justification page, printed by Freeman Burks, published by American Image Editions, New York, loose (as issued) within the original brown paper-covered portfolio with printed title and pencil numbering on the frontEach sheet 606 x 508mm. (23 7/8 x 20in.);Portfolio 610 x 510mm. (24 x 20 1/16in.)Footnotes:Robert Indiana was one of the key figures of the Pop Art movement in America, acclaimed for his simple striking images, vivid use of colour and works employing words and numbers and best known for his iconic LOVE image. This was produced in a series of prints, paintings, sculptures and even stamps, which quickly pervaded popular consciousness in the 1960s and became one of the most recognizable images of Post-war art.A self-proclaimed 'American painter of signs', Indiana was inspired by the images of his Midwestern childhood, using the everyday symbols of roadside America such as highway road signs, billboards and commercial logos to create a bold, graphic style . Two held a particular resonance for the artist, the 'EAT' sign above the diner where his mother worked and 'PHILLIPS 66', the oil company his father worked for, with its striking red and green logo. Both were to influence his choice of colour and the incorporation of words and numbers into his work. The colours later used for Love were described by Indiana as 'the red and green of that sign against the blue Hoosier sky'.Arriving in New York in 1954, Indiana subscribed to the Hard-Edge school of painting, which employs sharp lines to separate blocks of colour and experiments with geometric shapes. He met and fell in love with Ellsworth Kelly who was an exponent of this technique and was a major influence on Indiana. Kelly's painting Red Blue Green (1963) is believed to be the partial inspiration for the Love colour palette.The first appearance of LOVE was a 1961 painting, 4-Star Love, in which four stars are stacked above the word 'Love', which would provide the inspiration for stacking the letters in the subsequent images. The next incarnation was the 1964 painting, Love Is God, inspired by the inscription 'God is Love' seen in the Christian Science churches he had attended with his mother. In 1964 the Museum of Modern Art in New York commissioned Indiana to design its Christmas card. Inspired by his paintings, he chose the word LOVE, with the LO and VE stacked on top of one another to fit the square format of the card and slanted the 'O' to create extra visual interest and kept to minimal vibrant colours. It symbolized the timeless and universal emotions of affection, hope and optimism. For Indiana, the image carried a Christian message of brotherly love, but on a personal level, it was also an expression of his love for Ellsworth Kelly.The Book of Love Portfolio was the culmination of decades of work devoted to this subject, fulfilling the artist's passion for the interplay between words and images. It contains twelve screenprints in diverse colour combinations, which illustrate his twelve poems, written between 1958 and 1973. These contemplate the nature of love and forgiveness, and contain the idea of love as a driving force in artistic endeavour.'The LOVE is a concrete poem as far as I'm concerned. Just a one word poem. Love is a noun and a verb and so one must decide what my love is. It's a command, love, and it's a subject, love.' Robert IndianaFor further information on this lot please visit Bonhams.com
BILLY AND CHARLEY (OR THE SHADWELL FORGERIES),c.1860, a pair of Billy and Charley brass medallions cast with decoration of medieval appearance,8.5 x 6cm (2)Billy and Charley came from the area of Shadwell, London and began making forgeries in the middle of the 19th century. They started out as mudlarks, scouring the banks of the Thames for anything of value which they could then sell on. This brought them into contact with William Edwards, a London antiques dealer, who paid them for anything of interest they found. It soon became clear to Billy and Charley that there was money to be made in antiques, and in 1857 they began their counterfeit operation.It is believed that in the four or five years they were in production, Billy and Charley produced between 5,000 and 10,000 forgeries. The sheer volume of items aroused suspicions and they were brought to the attention of the British Museum who believed them to be forgeries. However, many archaeologists and local historians believed them to be real, giving them dates ranging from 1300 to 1600. Even a court case could not prove that the objects were forged or that the two men were behind it.Condition report: No damage, excellent condition.
ATTRIBUTED TO FREDERICK NASH RWS (1782-1856)'A Procession in Westminster Abbey, Looking East From Behind the Choir Screen'watercolour with pencil, highlighted with bodycolour65 x 55cmNash's first picture, exhibited at the Royal Academy in 1800, had been a drawing of the 'North Entrance of Westminster Abbey', and it was a location that he returned to on numerous occasions. Nash is recorded as having painted a further view of the Abbey's interior in 1811 and a 'repetition of the same subject' (1) in 1824, the latter measuring c.110 x 90cm. This was exhibited on several occasions at the conversaziones of the RWS and at the Burlington Fine Arts Club and was owned by Sir Thomas Lawrence who later sold it to Sir Thomas Baring. Mention is made of a Westminster interior in 1827; a smaller work than the present one is in the collection of the Yale Centre for British Art (Acc. No. B1975.3.1063); finally Nash wrote in 1855, the year before his death, to John Mogford (then organiser of the Crystal Palace Exhibition) wondering if a drawing of his of Westminster Abbey was too large and required reframing.Condition report: Some time staining. Unexamined out of frame.See additional images.
German Third Reich SA dagger and scabbard, the guard scratched with number 14/ 4737, the blade engraved 'Alles Fur Deutschland'.Formerly the property of John Eric Holding, who served in Normandy with the Royal Scots Fusiliers. It is thought that J.E. Holding received an injury in the encounter with the 12th SS Panzer division in the battle for Caen, returning to the campaign later.37.5cm overall.
Collection of military items, to include a Royal Highlanders Glengarry, an ATs cap and various patches, sweetheart broach, medal bars, and other badges, Normandy To Baltic by Viscount Montgomery, and a collection of Third Reich Sammelwerk cards.The items were the property of John Eric Holding, who served in Normandy with the Royal Scots Fusiliers. It is thought that J.E. Holding received an injury in the encounter with the 12th SS Panzer division in the battle for Caen, returning to the campaign later.
Albert Rutherston (1881-1953) - 'Mimes', theatrical design, watercolour on silk, signed and dated 1925 lower right, 35 x 68 cm, to reverse various gallery labels including Exhibition label for Leicester GalleriesProv: No 57 in exhibition 'Paintings, Drawings and Designs of Albert Rutherston', Ernest Brown & Phillips/The Leicester Galleries in February 1926Purchased for £63 (by repute the most expensive picture) in that exhibition by the eminent Bradford collector Asa Lingard (died 1957) who bequeathed many works to museum and gallery collections.Sold Sotheby's London circa early 1950s and purchased by the vendor's father, thence by descentGenerally good condition, with no damage to the fabric; light foxing to top right hand side; possibly some fading, but colours mostly good
Milne, AA & Shepard EH (ill) - The House at Pooh Corner, 1st, London: Methuen & Co Ltd 1928, gilt dec pink cloth 8vo, (a/f) to/w a quantity of other vintage children's books, including early editions of 'Struwwelpeter' in German and English; 'Baron Munchausen' with illustrations by Gustave Doré; Webb, Clifford, The Story of Noah, 1st, 1931; Bateman, H M - The MFH Who Ran Riot! (Moss Bros advertising pamphlet/price list circa 1930) etc - all a/f
The Highway and its Vehicles by Hilaire Belloc, Dating from 1926. An interesting work on the history of the highway. Written by Belloc and edited by Geoffrey Holme, it is a limited edition, numbered 545 of only 1250 copies printed. This text discusses the road use of England and the development of the roads, discusses the vehicle from as Roman times until the invention of the motor-car. Illustrated throughout, with numerous plates of various vehicle types. The work also examines the development of the roads, bridges and the wheel. Hilaire Belloc was an Anglo-French writer and historian. He was a prolific 20th century author who penned works on many different subjects. Bound in green full cloth, with gilt titles to the spine and front board. Pages are generally bright and in unusually good, clean condition
Leonard Bridgman (1895-1980): Aviation Artworks. Three A4 Display Books, one A3 size similar, and another A4 size with brown soft plastic covers, all with clear polythene sleeves, containing approximately 150 pencil drawings and sketches of aeroplanes by the artist, predominantly of World War I and pre-World-War II aircraft, but some post World-War II, many with annotations by the artist, together with three further albums containing reproductions (in colour and monochrome) of the artist's paintings, and other artwork for aircraft companies and works of literature. The last sleeve of one of the folders holds a watercolour study by another hand of Latham's monoplane 'Antoinette' and a three-page letter from the artist, who signs off as 'Colin'. Leonard Bridgman was a famed aviation artist and author, and was editor of Jane's All The World's Aircraft from 1941 to 1959. (9)
Aircraft Identification & Who's Who in Aviation. A selection of mainly hardback volumes, various formats, including British Aircraft Illustrated by C. A. Sims, 1931; The Aeroplane Speaks, by H. Barber, 6th Revised ed, February 1918 (covers rubbed/dull); Aircraft of the British Empire by L. BrIdgman, 1936 & 1940 editions; The Book of Miles and of Westland Aircraft, bot compiled by A. H. Lukins, c.1945; plus several other volumes, mostly in sound, clean condition, some with their dust jackets. Together with The Flying Book Who's Who 1914 Ed; The Royal Aero Club Year Book 1915-16; and Who's Who in British Aviation Volumes for 1931 and 1935. 20 volumes in all. The lot also includes a short run of the quarto monthly issues of Aircraft Recognition: The Inter-Services Journal, from Vol. I, No. 9, May 1943 to Vol. III, No. 9, May 1945, including several duplicates, all in good, clean condition. (Quantity)
A c1928 Le Chemineau of St Etienne, a quality French Gentleman's bicycle with original green enamel finish with gilt lining and decals on the long wheelbase frame, square section mudguards, the front with a licence holder bracket, centre pull and interestingly designed calliper brakes, flat 20-inch handlebars, quick release wheels and distinctive of the maker, who was a pioneer of Derailleur gearing, an original Le Chemineau three-speed Derailleur is fitted and controlled by a delightful lever system on the top tube. A rare original example of the marque. See also lot 496
A c1925 Le Chemineau of St Etienne, a quality French lady's bicycle with original black enamel finish with signs of lining, square section aluminium mudguards, centre pull and interestingly-designed calliper brakes operated by levers, flat 19-inch handlebars, split rubber block pedals, rear rack and distinctive of the maker who was a pioneer of Derailleur gearing, an original Le Chemineau three-speed Derailleur is fitted and controlled by a delightful lever system on the top tube. A rare original example of the marque. See also lot 484.
The Magnificent Monopostos 1923-1951 by Simon Moore. 886pp in two volumes with a black slipcase, published by Parkside, 2014. A limited edition of 1,000 published, edited and designed by Malcolm Harris. This is the third in a series of Alfa Romeo trilogies by the author, who had started this book with the intention of covering just the single seaters from 1931 to 1940, but uncovered so many previously unpublished photographs from the 1923 to 1930 period, that he decided to incorporate these years as well. The work was expanded further to cover the Tipo 158/9 until Alfa's retirement from Grand Prix racing in 1951. The pre-war racing history of the 158 cars in the voiturette category are also covered in detail. A large number of previously unpublished photographs cover the post-war period with technical detailed notes rather than covering each race singly, which had already been covered in previous books. The photographs are a delight and the text detailed and readable. In excellent condition
Barrie Clark Oil on Canvas, a framed example depicting E1 Class 31019 locomotive under steam with coaches driven by Sam Gingell, passing through Rainham train station in 1956, signed Barrie A.F. Clark 1982 (44cm wide 34cm high), commissioned by the vendor (a friend of the artist), recalling his trip on this train from Victoria to Ramsgate as a fourteen year old boy, together with a related preparatory pencil sketch of the painting and Transacord record recording of the trains journey on that day by Peter Handford who was also present, G-E (3)
An Historically-Important Vintage Gauge 1 Outside 3rd-rail electric Sectional Display Layout, a rare survivor of this type of layout, known as 'The Overdale Railway', built and exhibited in the 1930s by Mr Percy Feaver and his sons John and Donald, it was later adapted to suit various semi-permanent domestic locations, though the main sections remained consistent, it was last set up in the 1960s although little used in recent years, an excellent candidate for restoration relating to surviving photographs of the original display layout, overall F, some sections with woodworm damage (liberally 'treated' by the vendor, who is the builder's grand-daughter), at least one section disposed of as 'beyond redemption' but including various spare track parts (qty in 3 cages)
A large creamware jug c.1800, painted in sepia, to one side with an anchor within a floral garland above the Isle of Man triskelion encircled by 'Quocunque ieceris stabit', the other side with a lion attitude within a shield beneath a stag crest and the motto 'Will God and I Shall', beneath the spout inscribed 'EEK' within a circular flower border, hairline cracks, a little restoration, 36.2cm. The motto may relate to the Ashburnham family of West Sussex, who were linked by marriage to the Stanley family on the Isle of Man.
A Meissen figure group of lovers 19th century, modelled as a courting couple, the man seated and gazing up to his sweetheart who holds flowers aloft, and a Meissen figure of a putto making chocolate, stirring a cup beside a small flaming brazier, blue crossed swords marks, some damages and losses, 24cm max. (2)
Thirty-two LP vinyl records; mostly 1970s Rock, Progressive Rock, Psychedelic Rock and others, including The Nice, Donovan, Heads Hands and Feet, The Sweet's, Jefferson Airplane, Cream, Joe Walsh, Robin Williamson, Melanie, Asia, Yes, Quintessence, Van Morrison, Dr John, Mothers of Invention, The Who, Iron Butterfly, Egg, Curtis Mayfield, Man, The Fool, The Zodiac Cosmic Sounds, some (a/f).
Ten LP vinyl records; including The Doors - Other Voices, The Who - Who Are You, George Harrison - All Things Must Pass, Jimi Hendrix Experience - Electric Ladyland part 1, The Beatles - Something New, Sgt Peppers LOney Hearts Club Band (with insert), Revolver, Abbey Road, David Bowie - The Thin White Duke (bootleg), The Rolling Stones - Bedspring Symphony (bootleg).
Set of six Victorian mahogany dining chairs, hoop-backs, salon upholstery, turned legs, width 51cm.Footnote: Provenance: The Chapel, Grace Dieu Manor, Leicestershire. Grace Dieu Manor was built in 1833 by the Phillips family, with the principal building designed by the architect William Railton (responsible for Nelson's Column). Ambrose Lisle March Phillips de Lisle was a Catholic and exponent of the Gothic Revival style and to that end, the chapel that was part of the original plans was later enlarged by the most prominent Gothic Revival architect and designer of the day - August Welby Northmore Pugin. This enlargement was executed in 1842. Further to this work, Pugin was instructed to work on further aspects of the Estate which were charmingly chronicled by William White in 1846 in his 'History, Gazetteer, and Directory of Leicestershire...', pp342-343: "In the park, about a mile from the house, upon the summit of one of the highest rocks, a beautiful small chapel has been built, containing two most exquisite and remarkable figures, executed by the celebrated sculptor, Petz of Munich, and representing in painted wood the Blessed Virgin weeping over her divine Son, who has just been taken down from the Cross; the nails being laid at his feet. From this chapel to another rock, called the Calvary, there are placed at intervals, 14 other small chapels, containing representations of the different scenes of Our Saviour's Passion; and on the Calvary Rock, is a large Crucifix 17 feet high. The whole forms a place of Pilgrimage, for the numerous Catholics, on the Garendon and Gracedieu estates. The design of the chapels was given by the celebrated architect Augustus Welby Pugin, Esq., who executed this beautiful work in 1842." Since 1972, the Manor has been the home of Grace Dieu Manor School - an independent Catholic school of the Rosminian order - until its closure in summer 2020.
Set of four Victorian oak Glastonbury chairs, conceivably designed by Augutus Welby Northmore Pugin, the backs with a blank shield cartouche, X-framed bases, width 59cm.Footnote: Provenance: The Chapel, Grace Dieu Manor, Leicestershire. Grace Dieu Manor was built in 1833 by the Phillips family, with the principal building designed by the architect William Railton (responsible for Nelson's Column). Ambrose Lisle March Phillips de Lisle was a Catholic and exponent of the Gothic Revival style and to that end, the chapel that was part of the original plans was later enlarged by the most prominent Gothic Revival architect and designer of the day - August Welby Northmore Pugin. This enlargement was executed in 1842. Further to this work, Pugin was instructed to work on further aspects of the Estate which were charmingly chronicled by William White in 1846 in his 'History, Gazetteer, and Directory of Leicestershire...', pp342-343: "In the park, about a mile from the house, upon the summit of one of the highest rocks, a beautiful small chapel has been built, containing two most exquisite and remarkable figures, executed by the celebrated sculptor, Petz of Munich, and representing in painted wood the Blessed Virgin weeping over her divine Son, who has just been taken down from the Cross; the nails being laid at his feet. From this chapel to another rock, called the Calvary, there are placed at intervals, 14 other small chapels, containing representations of the different scenes of Our Saviour's Passion; and on the Calvary Rock, is a large Crucifix 17 feet high. The whole forms a place of Pilgrimage, for the numerous Catholics, on the Garendon and Gracedieu estates. The design of the chapels was given by the celebrated architect Augustus Welby Pugin, Esq., who executed this beautiful work in 1842." Since 1972, the Manor has been the home of Grace Dieu Manor School - an independent Catholic school of the Rosminian order - until its closure in summer 2020.
Joined oak press cupboard, moulded cornice above a lunette carved frieze and three doors, turned bulbous supports, the base with rectangular top above a cupboard carved with roundels, plinth base, 17th Century elements reconstructed, width 158cm, depth 59cm, height 160cm.Footnote: Provenance: The Chapel, Grace Dieu Manor, Leicestershire. Grace Dieu Manor was built in 1833 by the Phillips family, with the principal building designed by the architect William Railton (responsible for Nelson's Column). Ambrose Lisle March Phillips de Lisle was a Catholic and exponent of the Gothic Revival style and to that end, the chapel that was part of the original plans was later enlarged by the most prominent Gothic Revival architect and designer of the day - August Welby Northmore Pugin. This enlargement was executed in 1842. Further to this work, Pugin was instructed to work on further aspects of the Estate which were charmingly chronicled by William White in 1846 in his 'History, Gazetteer, and Directory of Leicestershire...', pp342-343: "In the park, about a mile from the house, upon the summit of one of the highest rocks, a beautiful small chapel has been built, containing two most exquisite and remarkable figures, executed by the celebrated sculptor, Petz of Munich, and representing in painted wood the Blessed Virgin weeping over her divine Son, who has just been taken down from the Cross; the nails being laid at his feet. From this chapel to another rock, called the Calvary, there are placed at intervals, 14 other small chapels, containing representations of the different scenes of Our Saviour's Passion; and on the Calvary Rock, is a large Crucifix 17 feet high. The whole forms a place of Pilgrimage, for the numerous Catholics, on the Garendon and Gracedieu estates. The design of the chapels was given by the celebrated architect Augustus Welby Pugin, Esq., who executed this beautiful work in 1842." Since 1972, the Manor has been the home of Grace Dieu Manor School - an independent Catholic school of the Rosminian order - until its closure in summer 2020.
Victorian mahogany windout dining table by Edwards & Roberts, the top with moulded edge and rounded corners, plain frieze, turned and fluted legs, on casters, the top minimum length 127cm, maximum length 333cm, width 123cm, height 74cm, with winding handle.Footnote: Provenance: The Chapel, Grace Dieu Manor, Leicestershire. Grace Dieu Manor was built in 1833 by the Phillips family, with the principal building designed by the architect William Railton (responsible for Nelson's Column). Ambrose Lisle March Phillips de Lisle was a Catholic and exponent of the Gothic Revival style and to that end, the chapel that was part of the original plans was later enlarged by the most prominent Gothic Revival architect and designer of the day - August Welby Northmore Pugin. This enlargement was executed in 1842. Further to this work, Pugin was instructed to work on further aspects of the Estate which were charmingly chronicled by William White in 1846 in his 'History, Gazetteer, and Directory of Leicestershire...', pp342-343: "In the park, about a mile from the house, upon the summit of one of the highest rocks, a beautiful small chapel has been built, containing two most exquisite and remarkable figures, executed by the celebrated sculptor, Petz of Munich, and representing in painted wood the Blessed Virgin weeping over her divine Son, who has just been taken down from the Cross; the nails being laid at his feet. From this chapel to another rock, called the Calvary, there are placed at intervals, 14 other small chapels, containing representations of the different scenes of Our Saviour's Passion; and on the Calvary Rock, is a large Crucifix 17 feet high. The whole forms a place of Pilgrimage, for the numerous Catholics, on the Garendon and Gracedieu estates. The design of the chapels was given by the celebrated architect Augustus Welby Pugin, Esq., who executed this beautiful work in 1842." Since 1972, the Manor has been the home of Grace Dieu Manor School - an independent Catholic school of the Rosminian order - until its closure in summer 2020.
Fly Till Sverge Escape to Sweden The Wooden Horse signed FDC No 2 of 47. This cover has retraced the steps taken members of RAF who escaped prisoner of war camps in Northern Germany to Sweden with one signature. 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.
Rare Battle of Britain pilot Sgt Walter Reginald Evans 85 sqn signed The Skirmishing 10-21 July 1940 signed FDC date stamp 16 June 1990 Biggin Hill. Flown in Sea King HAR 3 of 202 Sqn from RAF Hawkinge over the area 20 miles south of Folkestone. Also signed by the RAF pilots who flew the covers. Evans shared in the destruction of a Do17 on 6th August and claimed a Me109 and a Me110 destroyed on 1st September. Evans was posted to 249 Squadron at North Weald on 11th September and was airborne on a scramble within one hour of arriving. 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.
007 Bond girl, lovely 8x10 photo signed by Goldfinger actress Shirley Eaton who has also added her character name and the film title to her signature. 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.
007 Bond girl, lovely 8x10 photo signed by Goldfinger actress Shirley Eaton who has also added her character name and the film title to her signature. 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.
007 Bond girl. The Spy Who Loved Me actress Caroline Munro signed 8x10 photo of the poster for that film. 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.
Oliver! 8x10 inch photo from one of the great British musicals, signed by actor Mark Lester who has added "please sir, I want some more". 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.
The Exorcist 8x10 horror movie photo signed by actress Eileen Dietz who played the demon in this iconic film. 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.
The Exorcist 8x10 horror movie photo signed by actress Eileen Dietz who played the demon in this iconic film. 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.
Porridge 8x10 comedy photo signed by actress Patricia Brake who played Ronnie Barker's daughter in the series. 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.
Star Wars Toy. Mint condition Star Wars General Veers Toy, boxed and signed to front by actor Julian Glover who played Gen Veers in the films. 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.
Barbara Windsor, stunning 8x10 photo from Carry on Nurse signed by the legendary Dame Barbara Windsor who sadly, no longer signs, this is getting rare!. 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.
HMS Hood. 8x10 inch photo hand signed by Ted Briggs, who at the time of signing was the last living of only three men to survive the sinking of HMS Hood by the German battleship Bismarck. 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.
Dambusters Pilot. 617 Squadron Liege raid cover signed by Les Munro who was also a pilot of the legendary Dams Raid in 1943. 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.
Dambusters bomb aimer George Johnson DFM who was a bomber aimer on the legendary Dams Raid in 1943 signed Operation Chastise cover. 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.
D-Day pilot. 8x12 inch photo signed by Swordfish pilot Peter Beresford DSC who flew combat patrols over the left flank of the Normandy invasion and also during the Russian convoys. 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.
630 Squadron veteran. 8x12 inch photo of a Lancaster bomber signed by Doug Packman, a Flight Engineer with 630 Squadron who completed a full tour of operations before being posted to the Flight Engineering Training School. Signed at his home during an exclusive private signing, he actually still has the piece of shrapnel (on display in his home) which made its way into his lower leg after being hit by anti-aircraft fire!. 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.
Concorde Test Pilot. 8x12 photo signed by Air France Concorde test pilot Gilbert Defer who was one of the most important pilots in developing Concorde. 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.
A collection of 25 vinyl L.P. records - Black Sabbath by Black Sabbath, Meaty Beaty Big & Bouncy by the Who, In the Absence of Pink Knebworth '85 by Deep Purple, Paranoid by Black Sabbath, Master of Reality by Black Sabbath, Jailbreak by Thin Lizzy, Motorhead by Motorhead, On Parole by Motorhead, Bomber by Motorhead, Billion Dollar Babies by Alice Cooper, Muscle of Love by Alice Cooper, The Way I Feel by Adrian Gurvitz (12 inch single on clear vinyl), The Very Best of Elton John by Elton John, E.C. Was Here by Eric Clapton, 461 Ocean Boulevard by Eric Clapton, A Single Man by Elton John, There's One In Every Cloud by Eric Clapton, A Night at the Opera by Queen, Sheer Heart Attack by Queen (2 copies), Queen II by Queen, Wings Greatest by Wings, Wings at the Speed of Sound by Wings, Tubularbells by Mike Oldfield and Wings Over America by Wings. (25)
Nach Wang Meng Klause und Reisende in Berglandschaft. Hängerolle. Tusche und leichte Farbe auf Papier. Aufschrift, zyklisch datiert xinchou (1361), bez.: Huang Heshan Wang Meng, Siegel: Shuming und die Sammlersiegel: Xia (Siegel des Sammlers Jerg Haas) und Xiang Zijing jia zhencang (Siegel des Xiang Yuanbian, Connaisseurs aus dem 16. Jh.). Rest.165 x 82 cmProvenienzSammlung Jerg Haas, Wiesbaden After Wang Meng Hermitage and travellers in a mountainous landscape. Hanging scroll. Ink and light colour on paper. Inscription, dated cyclically xinchou (1361), inscribed Huang Heshan Wang Meng, sealed Shuming and the collector's seals Xia (seal of the German collector Jerg Haas) and Xiang Zijing jia zhencang (seal of the connoisseur Xiang Yuanbian who lived 1525—1590). Restored.165 x 82 cmProvenanceCollection Jerg Haas, Wiesbaden
Oharame. Elfenbein. 2. Hälfte 19. Jh. Die Frau, die Reisigbündel von Ohara nach Kyoto bringt, ruht sich zwischen Reisigbündeln liegend aus, in der linken Hand eine Pfeife (kiseru), in ihrer rechten ihr Tabakbeutel (tabakoire).Sujet und Details wie z. B. die Wiedergabe des Geästs oder das Muster des Gewandes lassen an Ikkosai denken.H 2,3 cm; B 5,4 cmProvenienzPrivatsammlung, Belgien, erworben von Kyoto Gallery, Brüssel, Mai 1979Dieses Objekt wurde unter Verwendung von Materialien hergestellt, für die beim Export in Ländern außerhalb der EU eine Genehmigung nach CITES erforderlich ist. Wir machen darauf aufmerksam, dass eine Genehmigung im Regelfall nicht erteilt wird. An ivory netsuke of Oharame. Second half 19th century The young woman who carries brushwood from Ohara to Kyoto is taking a rest, looking up, as she lies amidst bundles of brushwood, holding a pipe (kiseru) in her left hand, her right hand placed on her tobacco pouch (tabakoire).Height 2.3 cm; width 5.4 cmProvenancePrivate collection, Belgium, acquired from Kyoto Gallery, Brussels, May 1979This lot contains materials which require a CITES licence for export outside of the EU contract countries. We would like to inform you that such licenses are usually not granted.
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