155745 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

1967 Wolseley 6/110 2912 cc overdrive. Registration number RLR 241E, chassis number WBS3.33679, engine number 29AWPCH20032. Styled by Pininfarina after HRH the Duke of Edinburgh, who had been shown the BMC model range during a visit to Longbridge in 1955, suggested to the Chairman Leonard Lord "Sir Leonard I think you ought to have another look at things because I am not sure these are up to the foreign competition". The basic vehicle was also sold under two of BMC's other marques as the Austin A99 Westminster and Vanden Plas Princess 3-litre. Production began in 1959 and the cars were updated and renamed for 1961. The Mark II model was released in 1964 with smaller 13-inch wheels and a 4-speed transmission, overdrive was an option. The front seats now reclined with picnic tables on the rear for the passengers. Production of the Mark II ended in March 1968. Many police officers consider the "6/110" as the finest "area car" ever employed by the London Metropolitan Police Force. This example, part of a deceased estate sale, in Connaught Green with green interior, was originally believed to have been a Middle Eastern Embassy car and was purchased in August 1968, having been registered on the 22nd February 1967. Unfortunately the first owner was not recorded on the V5C when the V5 was updated in the late 1970's. It was laid up on blocks in 1979 in a garage with a heater beneath it after being undersealed and all of the chrome covered in grease and has only recently been exhumed since the owner passed away. How much the electric bill has been over the last 38 years does not bear thinking about!! In remarkable condition, the engine is not seized but we have not tried to start her, the body is straight and appears relatively rust free, the interior is in very good condition and should respond well to a good clean. The only noted additions from standard are an eight track player and tow bar. The current mileage is 42,401. Sold with the V5C, three tax discs from 1977, 1978 and 1979, MOT's from 1978 and 1979, plus old newspapers and booklets that were in the car when she was interned.

2004 Aprilia RSV 1000 R Factory, registration number AE 04 RVW, frame number ZD4RR00004S005684, engine number R08122182. Aprilia made their first inroads into the sports market in 1998 with the RSV Mille using a 998cc 60-degree V twin engine built by the Austrian company Rotax, the RSV Mille was the first large displacement motorcycle made by Aprilia who up until then had made machines up to 250cc. In 2003 it was replaced by the RSV 1000. The Mille was notable for using a type of slipper clutch, which worked by using a vacuum on a closed throttle from the inlet manifold to give the effect of slipper clutch, but only on a closed throttle. Motorcycle News report that the "Ultra-exotic, extremely high performance V-twin motorcycle that rocks on the race track but is a handful on the road. The Aprilia RSV1000R is not for the inexperienced. In previous years the 'R' was a tricked up model and the 'Mille' was the entry level machine. Now the Aprilia RSV1000R is the standard motorcycle, and the Aprilia RSV1000R Factory is the tricked-up motorcycle". This bike is factory standard with Ohlin front forks and shock absorbers and rides on Oz wheels. It was bought new on the 16th July 2004 and has covered just over 6,000 miles, the 2015 MOT was at 5,750, in 2016 16 miles and now 618 so it had a new odometer in 2015. It will come with the original invoice, for £9999.99, various paperwork, a two piece Aprilia suit of leathers, paddock stand, spare rear sets, cover and a fresh MOT.

Vincent Comet Series C 500cc, registration number OFO 184, both frame numbers RC/1/7155, engine number F5/AB/2A/5255, both crankcase 64P. In 1928, Phil Vincent bought the name and rights to HRD, founded by popular racer Howard R Davies. HRD were an established brand and Vincent wasn't, so the most expedient thing to do was attach the latter to the former until the Vincent name had sufficient marketing gravitas to fly alone. At the 1935 Isle of Man Senior TT, three Series A HRD Vincents were entered, and although they didn't win, they all finished, respectively, in 7th, 9th and 12th place. The short-lived Series B engine had been designed during the Second World War. Post war, in 1948, two new bikes were launched: The Series B based Meteor and the Series C Comet. The Meteor was a touring roadster and was offered with a Brampton girder fork. The Comet, priced at £240, was aimed at the sporting market and was offered with a Girdraulic fork. They were replaced by the Series D in 1954 after some 3,900 were built; the company collapsed in 1955. The cantilever rear frame was a major selling point in its day and some other quality details are the standard quickly detachable wheels, a 50-watt Miller dynamo, footrests and pedals are adjustable and a side stand is fitted on both sides. In their day they were good for 90mph. This example, with matching headstock and rear arm frame and engine numbers was dispatched from the factory to Dealers Kings of Manchester on the 30th October 1950, who was the first owner is unknown but it was owned by Alistair Archer of Atherstone in 1968 with a registration number of LNE 442. What happened to it then is lost in the mists of time but in 1988 it was owned by a David McKenzie of Halshaw and he sold it to George Dinsdale of Brough in 1991, at this time it was registered PSU 301 and the old MOT lists the mileage as 38,889. George then commissioned the legendary Peter Autherson (you may remember he rebuilt the Matchless Silver Hawk sold by these rooms in March 2017 for £48,160) to rebuild the engine which included an Alpha big end assembly. Used sparingly he sold it to our vendor in 1998 as he was moving and could not store it; the mileage had only increased to 40,250, the registration had been changed, again, to OFO 184. Our vendor, being a modern Ducati enthusiast, rode it home and was unimpressed with the brakes at a roundabout so parked it up and there it remained until the cataloguer arrived. The mileage today is 40,332. Interestingly the "Vincent rule" of 1900 separating the frame and engine number does not always stand up for pre 1949 machines. Of the 11,000 made after the war some 1800 do not comply, some 50 odd post war machines had no correlation at all between engine and frame numbers as these were the first series B and were swapped around to get them complete. The factory then standardised on 1999 apart. Then due to the sale of a few "engine only" they went to 1990 apart and then around end 1948 this was altered again to 1900 apart. So most of the oddities are pre 1949. Offered with a wonderful patina, the VE60, a V5 (in George Dinsdale's name), various MOT's, paperwork, Riders Handbook, Spare Parts List and a tank cover. It will require gentle recommissioning before use due to the time it has stood. Our thanks to Simon Dinsdale, the VOC machine registrar for confirming the factory records and the "1900 rule".

1961 BSA A7 Shooting Star 500cc, registration number 940 UYS, frame number GA717862, engine number CA7SS8639. In 1954 BSA introduced its answer to Triumph's Tiger 100, in the shape of the A7 Shooting Star. This sporty 32bhp version of the A7 used an alloy cylinder head, as also fitted tothe 650 Road Rocket version, with special valve seat inserts, higher comp pistons, sports cam and manual ignition control, operated by the rider's left hand. The Shooting Star also incorporated full width aluminium hubs and central cast-in alloy drum brakes. BSA claimed these were 'extremely powerful' and indeed they could stop the A7SS from 30mph in 29 feet on dry tarmac. The Motor Cycle Magazine tested a machine back in 1957 when it was brand new. They said that "ease of handling, sweet transmission and smooth low speed pulling make the Shooting Star a delightful machine to ride in traffic, whilst zestful acceleration and steering cater admirably for the rider who wants something out of the ordinary in 500cc performance". The A7SS reached 98mph and covered a standing quarter mile in 16.9 seconds. According to our vendor this example has been extensively renovated by the previous owner with a fully rebuilt engine and gearbox, the frame has been powder coated (covering the frame number) and then resprayed in the correct period Mist Green. Please note that it has only covered 12 miles since the rebuild so one should change the oil after some 500 miles. Said to be "on the button" it should require very little recommissioning to put on the road. Sold with the V5C, VE60 which lists the original registration number as 1048 WY and confirms the matching chassi and engine numbers and an MOT until March 2018.

1986 Toyota Celica 2.0 GT, registration number D59 VKL, chassis number JT1LST16207073365, engine number 3S9034455. This two owner automatic Toyota was bought new by Mr John Stoddart from Lowestoft for his wife who ran it until purchased by our vendor in October 2013. The mileage of 65,970 is backed up by the service book and various invoices. At the time of purchase it had a current MOT.It was purchased by our vendor as a donor car for this Toyota Celica GT-4 rally car but was never broken up. It is currently on a SORN, has had a new battery fitted and drives but will require recommissioning before an MOT can be issued.

The story of 'the first British driver to win the British Grand Prix in a British car' is Formula One legend. These celebratory montages with Tony Vandervell have been hand signed by both drivers who shared the car and the victory.

A mixed Jim Clark lot, which includes, an atmospheric photograph of Jim Clark and Dan Gurney taken at Riverside Raceway by Allen Khun and signed by Dan Gurney, another photograph of Jim Clark taken at the 1961 British Grand Prix at Aintree, along with the signatures of 137 friends who attended the Jim Clark reunion dinner on Saturday April 3 in 1993, to commemorate the 25th anniversary of his death at Hockenheim. The photograph was taken by noted photographer Nigel Snowdon and shows Clark joking with Graham Gauld at the start line. Along with the photograph is a copy of the printed menu for the evening listing everyone who attended. Also included is a unique lapel badge made in the United States specifically for the dinner showing Jim Clark's familiar Bell crash helmet. The photographs are framed and glazed.

"Collection of Limited Edition Tim Layzell Fine Art Prints" by Tim Layzell.Includes the following:'True Film Stars' By Tim LayzellThe Porsche 917 of Jo Siffert and Brian Redman streaks down the Mulsanne straight pursued by the sister car of Pedro Rodriguez/ Leo Kinnunen and 2 of the rival Ferrari 512s of Vaccarella/Giunti and Merzario/Reggazoni at Le Mans in 1970. This was a serious effort by both manufacturers with no fewer than 7 of the flat-12 917s pitted against an even more staggering 11 Ferrari 512s (a mixture of works and privateer cars). In a race of attrition, only 7 of the 51 starters were classified, with the Porsche-Salzburg 917 of Richard Attwood and veteran Hans Herrmann taking Porsche's maiden victory at La Sarthe. However, as the chosen mount for Steve McQueen's Michael Delaney character in the film Le Mans, it is the pale blue and orange JWA-Gulf entered cars which have achieve immortality. Limited Edition, one of just 450 hand signed and numbered by the artist Tim Layzell and Giclee Printed on very High quality 308 gsm art paper. Custom mounted in a high quality brushed aluminium frame complete with COA.75cm x 90cm 5kg'Long Day Ahead' By Tim LayzellThe Mille Miglia was a race in which, even over a very long course, local knowledge counted. In 1955, Stirling Moss was the 3rd - and last - non-Italian to win the 1,000 mile epic in its 30 year history. Stirling was assisted in his efforts by the speed and stamina of the Mercedes-Benz 300SLR and the cool head of his navigator, bearded journalist Denis Jenkinson who had plotted the natural hazards of 1,000 miles of Italian roads onto a roll of paper in a waterproof case, which he communicated to Moss via a series of hand signals. The British pair did not have it all their own way and in the early stages, as shown here, they were harried by the Ferrari 121LM of Eugenio Castellotti as the race charged from town to town through the Italian landscape. Castellotti's matinee idol looks belied a steely determination and skill behind the wheel which made him the darling of the Italian fans. Although very fast, his Ferrari ate its rear tyres at an alarming rate, allowing Moss to ease clear and win at record speed. A year later, Mercedes having retired from motor racing, Moss and Jenkinson crashed out in their Maserati while Castellotti won a very wet race. Limited Edition, one of just 250 hand signed and numbered by artist Tim Layzell and Giclee Printed on very High quality 308 gsm art paper. Custom mounted in high quality brushed aluminium frame complete with COA.90cm x 75cm 5kg'Narrow Victory' by Tim LayzellThe premise of GT racing was that manufacturers could race cars based - however loosely - on cars which customers could drive on the road. The Ferrari GTO and the Aston Martin Project Cars were perhaps the ultimate expressions of this - based on the 250GT series and DB4GT respectively. For the TT at Goodwood in 1963, the Astons of Bruce McLaren and Innes Ireland were handicapped by having to run on narrow 5 ½" wheel rims. Although Ireland put in a banzai qualifying lap to take pole, Graham Hill won the race from Mike Parkes' similar car while Ireland finished 7th after a number of lurid spins. Here, Hill leads Ireland and Parkes out of the chicane in the early stages of the race. Limited Edition, one of just 450 hand-signed and numbered by the artist Tim Layzell and Giclee Printed on very high quality 308 gsm art paper. Custom mounted in a high quality brushed aluminium frame complete with COA.90cm x 75cm 5kg'London Car Show Miura' - Lamborghini Miura" By Tim LayzellLondon Car Show 2016 comissioned poster designed by the talented Automotive Artist Tim Layzell, depicting a Lamborghini Miura, and Alexandra Palace in the background. Limited Edition, and hand signed by Tim Layzell. Custom mounted in a brushed aluminium frame including Certificate of Authenticity.90cm x 75cm 3kg

South African Campaign Peace Medal by Emil Fuchs. 1900. Bronze. Top: “To the memory of those who gave their lives for Queen and Country.” Bottom: “South African Campaign.”

An assortment of crestedware of various ages and styles including Grafton china, Carlton china, Corona china, W.H. Goss, Swan china, etc.; also a lifeboat memorial "In memory of nine hero men who lost their lives by the capsizing of the Margate surf boat 2nd Dec. 1897" and another for Edith Cavell Brussels Dawn October 12th 1915, etc.

An incredible ex-shop-stock condition Corgi James Bond 007 ' The Spy Who Loved Me ' Stromberg Helicopter diecast model. The model having never been removed from the original box, complete with all uncut missiles still present. The sellotape to the end flaps of the box has naturally dried and fallen off, but the helicopter has never been removed. Condition of the model is mint, and the box being very near mint (some waving, light storage wear). Rear box flap remains unfolded. Rare in this form. 

A rare and original 1977 Doctor Who Annual artwork panel. Depicting an astronaut scene from page 10 of the annual. Watercolour and mixed media. Measuring approx; 32cm x 43cm.

A rare and original 1985 Dr Who Annual panel of artwork. Depicting Colin Baker as The Doctor. Measures approx; 33cm x 44cm. Watercolour and ink. Can be seen on pages 6 and 7 of the 1985 annual. 

AN "UP-CYCLED" COFFEE TABLE constructed from an early to mid-20th century fibre and metal banded suitcase with leather handle, papered on the outside with maps, the top features the Manchester and Sheffield area, protected by a perspex cover, the who le raised on ebonised tapering supports, 61cm x 39cm x 48cm high

GAME BOOK, P.R. MANN, 1914 Large format, leather bound with gilt tooling and title inscription, 37mm x 24mm, being an accurate account of Game Killed with names of party and remarks, between years 1913-1937. Contains much reference to Deer Stalking and famous British artist George E. Lodge who features prominently. One reference, 8th October 1928 reads; 1/2 gale S.W. very heavy rain, G.E. Lodge accompanied by F.J.M., up to 2.30 to find his sketch book which he had lost on the 5th...... He found it! An absorbing, historical album

A WWI memorial plaque with Buckingham Palace letter named to CHARLES HENRY JACKSON of the South Wales Borderers who died on 1st July 1916. (Provenance direct from the family).

A rare Btitish Nun Club John Cassidy Heroes Trophy Winner's brass plaque, the trophy was commissioned to commemorate those club members who served and died during the Great War. Money raised enabled the club to commission six copies of small bronze plaques for the winners to keep. Two are in the care of the Club Secretary including the first presented to J. Alan Walker in 1921. This is the 1922 plaque presented to E.H. Jones Esq. presented by J. Alan Walker.

A rare Btitish Nun Club John Cassidy Heroes Trophy Winner's brass plaque, the trophy was commissioned to commemorate those club members who served and died during the Great War. Money raised enabled the club to commission six copies of small bronze plaques for the winners to keep. Two are in the care of the Club Secretary including the first presented to J. Alan Walker in 1921. This is the 1923 plaque presented to Messrs. Reynolds Brds, presented by J. Alan Walker.

COLLECTION OF CARTOON SUBJECT BOOKStitles include 'The Good-Tempered Pencil' by Fougasse, first edition 1956, 'The Man Who Was H.M.Bateman' Anthony Anderson 1982, 'The World's Greatest War Cartoonists and Caricaturists 1792-1945' and other war cartoon volumes by Mark Bryant, 'Untrodden Grapes' Ralph Steadman 2005, 'Artist of Wonderland' Frankie Morris 2005, 'Scarfe - Drawing Blood' 2005, and 'The Best of Punch Cartoons' edited by Helen Walasek 2008, together with a selection of 'Giles' volumes 1940's to 2016, and 1980's 'Mad' magazines

The motoring archive of Raymond John Preston Morley, who competed in sporting trials both pre and post World War II, including the first RAC rally, MCC Lands End to John O'Groats. The collection comprises trophies, tankards, gold, silver and bronze medallions for the Lands End Trial, JCC and others, presentation clocks, a silver presentation table cigarette box, photographs, lapel badges, motorsport programmes including Goodwood, Isle of Man, Tourist Trophy Dundrod, Northern Ireland, and other related items (qty) See illustration

α Fred Yates, one of his double sided plywood pallets, 40.5 x 30.5 cm, with a group of letters, postcards and ephemera from him, whilst he lived at The Turrets, High Street, Coleford, Somerset See illustration Provenance: The pallet was given to the vendor, who was his next door neighbour when he left Coleford. The letters are addressed to the vendor and her husband, range from postcards from France to discussing use of his car parking space and the milk! See illustration Condition report Report by GHItems include the particulars of The Turrets, Coleford, Somerset, approx. 16 letters and envelopes with letters written on them and two postcards. Most of these are addressed to Jill and Paul Barnard of Old Coleford, Bath.

Raffaello Sorbi, La Morte Di Corso Donati, oil on canvas, signed and dated 1867, 92 x 113.5 cm in a fine carved giltwood frame See illustration Condition report Report by RBAnother example of this work is in the Galleria Dell' Accademia in Florence.From a private client near Bristol, who is moving house. It came through her late husbands family (she is in her 70's), problaby his grandfather.Estimate £9,500-10,500Report by GHVery small hole to canvas towards the left hand side of the lower edge of the painted area. Another on the right hand shoulder of one of the priest's in the white clothing. Some light cracking to paint and light marks around the edge of the picture. Colours generally very good and presents very well, without any signs of any restoration. Occasional small age related marks. Frame generally good but with some losses and flaking to gilding but generally complete.

James Bond The Spy Who Loved Me Corgi (No. 65002) Lotus Esprit die-cast model car in box from The Definitive Bond Collection

James Bond The Spy Who Loved Me Corgi (No. 99657) white die-cast model car in blister pack

James Bond Moonraker / The Spy Who Loved Me double bill folded British posterSize: British Quad 30 x 40 inches

James Bond The Spy Who Loved Me Auto art white Lotus Esprit die-cast model car in box

A Collection of David Bowie Long Playing Records, including "Low", "Station to Station", "Young Americans", "Bowie Pinups", "Ziggy Stardust","Hunky Dory", "The Man Who Sold the World" and "Space Oddity", "Aladdin Sane", "Diamond Dogs" and "David Live". (11)

HEATHER BRAY Anemones Gouache Signed Inscribed to the back 24 x 32cm The Bray family have long been influential in arts in Cornwall, having opened the Avalon Gallery in Marazion in1991, although Barrie had been painting long before this. Born in Cornwall in 1940 and largely self-taught, Barrie's studio was situated in a prominent position on the cliffs looking towards the Lizard in one direction and Penwith in the other.views from this vantage point and his understanding of the landscape, as well as his regular trips to the Isles of Scilly, all figured a great deal in his work. He and his wife Heather gave up the Avalon Gallery in 1998 in order to concentrate on their painting. Barrie died in April 2015. Heather, also largely self-taught a tutored musician of Cornish ancestry, is a popular artist. Her work is very much in the St Ives School tradition and the influence of her artistic heroes Ben Nicholson, Alfred Wallis and Bryan Pearce can be clearly seen. Their daughter Lucie, who sadly died in 2014 aged just 39 was a prolific 'en plein air' enthusiast who in her short lifetime, held many significant exhibitions and was a much loved and respected member of the Cornish art scene. As well as her studio at Porthmeor, she could frequently be seen on the beach below, painting in a-like tent which reduced the glare on her work. She studied at Falmouth and Wimbledon Schools of Art, her last exhibition was held at the New Craftsmen Gallery in St Ives.

ROSE HILTONSomething To Keep The Balancebook by Andrew LambirthThe Bray family have long been influential in arts in Cornwall, having opened the Avalon Gallery in Marazion in1991, although Barrie had been painting long before this. Born in Cornwall in 1940 and largely self-taught, Barrie's studio was situated in a prominent position on the cliffs looking towards the Lizard in one direction and Penwith in the other.views from this vantage point and his understanding of the landscape, as well as his regular trips to the Isles of Scilly, all figured a great deal in his work. He and his wife Heather gave up the Avalon Gallery in 1998 in order to concentrate on their painting. Barrie died in April 2015.Heather, also largely self-taught a tutored musician of Cornish ancestry, is a popular artist.Her work is very much in the St Ives School tradition and the influence of her artistic heroes Ben Nicholson, Alfred Wallis and Bryan Pearce can be clearly seen.Their daughter Lucie, who sadly died in 2014 aged just 39 was a prolific 'en plein air' enthusiast who in her short lifetime, held many significant exhibitions and was a much loved and respected member of the Cornish art scene. As well as her studio at Porthmeor, she could frequently be seen on the beach below, painting in a-like tent which reduced the glare on her work.She studied at Falmouth and Wimbledon Schools of Art, her last exhibition was held at the New Craftsmen Gallery in St Ives.

BARRIE BRAY Blue Bay Gouache 17.5 x 20cm The Bray family have long been influential in arts in Cornwall, having opened the Avalon Gallery in Marazion in1991, although Barrie had been painting long before this. Born in Cornwall in 1940 and largely self-taught, Barrie's studio was situated in a prominent position on the cliffs looking towards the Lizard in one direction and Penwith in the other.views from this vantage point and his understanding of the landscape, as well as his regular trips to the Isles of Scilly, all figured a great deal in his work. He and his wife Heather gave up the Avalon Gallery in 1998 in order to concentrate on their painting. Barrie died in April 2015. Heather, also largely self-taught a tutored musician of Cornish ancestry, is a popular artist. Her work is very much in the St Ives School tradition and the influence of her artistic heroes Ben Nicholson, Alfred Wallis and Bryan Pearce can be clearly seen. Their daughter Lucie, who sadly died in 2014 aged just 39 was a prolific 'en plein air' enthusiast who in her short lifetime, held many significant exhibitions and was a much loved and respected member of the Cornish art scene. As well as her studio at Porthmeor, she could frequently be seen on the beach below, painting in a-like tent which reduced the glare on her work. She studied at Falmouth and Wimbledon Schools of Art, her last exhibition was held at the New Craftsmen Gallery in St Ives.

RICHARD PLATT Shell oil refinery circa 1955 Three colour lithograph Signed and inscribed by the artists widow Diane Platt Paper size 38 x 56cm Richard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965. Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man. Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings. He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!) Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself. Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017.

HEATHER BRAY A Daisy a Day Gouache Signed Inscribed artists label to the back 20 x 25cm The Bray family have long been influential in arts in Cornwall, having opened the Avalon Gallery in Marazion in1991, although Barrie had been painting long before this. Born in Cornwall in 1940 and largely self-taught, Barrie's studio was situated in a prominent position on the cliffs looking towards the Lizard in one direction and Penwith in the other.views from this vantage point and his understanding of the landscape, as well as his regular trips to the Isles of Scilly, all figured a great deal in his work. He and his wife Heather gave up the Avalon Gallery in 1998 in order to concentrate on their painting. Barrie died in April 2015. Heather, also largely self-taught a tutored musician of Cornish ancestry, is a popular artist. Her work is very much in the St Ives School tradition and the influence of her artistic heroes Ben Nicholson, Alfred Wallis and Bryan Pearce can be clearly seen. Their daughter Lucie, who sadly died in 2014 aged just 39 was a prolific 'en plein air' enthusiast who in her short lifetime, held many significant exhibitions and was a much loved and respected member of the Cornish art scene. As well as her studio at Porthmeor, she could frequently be seen on the beach below, painting in a-like tent which reduced the glare on her work. She studied at Falmouth and Wimbledon Schools of Art, her last exhibition was held at the New Craftsmen Gallery in St Ives.

BARRIE BRAY Greek farmstead Gouache Signed 24 x 35.5cm The Bray family have long been influential in arts in Cornwall, having opened the Avalon Gallery in Marazion in1991, although Barrie had been painting long before this. Born in Cornwall in 1940 and largely self-taught, Barrie's studio was situated in a prominent position on the cliffs looking towards the Lizard in one direction and Penwith in the other.views from this vantage point and his understanding of the landscape, as well as his regular trips to the Isles of Scilly, all figured a great deal in his work. He and his wife Heather gave up the Avalon Gallery in 1998 in order to concentrate on their painting. Barrie died in April 2015. Heather, also largely self-taught a tutored musician of Cornish ancestry, is a popular artist. Her work is very much in the St Ives School tradition and the influence of her artistic heroes Ben Nicholson, Alfred Wallis and Bryan Pearce can be clearly seen. Their daughter Lucie, who sadly died in 2014 aged just 39 was a prolific 'en plein air' enthusiast who in her short lifetime, held many significant exhibitions and was a much loved and respected member of the Cornish art scene. As well as her studio at Porthmeor, she could frequently be seen on the beach below, painting in a-like tent which reduced the glare on her work. She studied at Falmouth and Wimbledon Schools of Art, her last exhibition was held at the New Craftsmen Gallery in St Ives.

Two portfolios of work by members of the Bray family The Bray family have long been influential in arts in Cornwall, having opened the Avalon Gallery in Marazion in1991, although Barrie had been painting long before this. Born in Cornwall in 1940 and largely self-taught, Barrie's studio was situated in a prominent position on the cliffs looking towards the Lizard in one direction and Penwith in the other.views from this vantage point and his understanding of the landscape, as well as his regular trips to the Isles of Scilly, all figured a great deal in his work. He and his wife Heather gave up the Avalon Gallery in 1998 in order to concentrate on their painting. Barrie died in April 2015. Heather, also largely self-taught a tutored musician of Cornish ancestry, is a popular artist. Her work is very much in the St Ives School tradition and the influence of her artistic heroes Ben Nicholson, Alfred Wallis and Bryan Pearce can be clearly seen. Their daughter Lucie, who sadly died in 2014 aged just 39 was a prolific 'en plein air' enthusiast who in her short lifetime, held many significant exhibitions and was a much loved and respected member of the Cornish art scene. As well as her studio at Porthmeor, she could frequently be seen on the beach below, painting in a-like tent which reduced the glare on her work. She studied at Falmouth and Wimbledon Schools of Art, her last exhibition was held at the New Craftsmen Gallery in St Ives.

BARRIE BRAY Three coastal works One monogrammed Two oils on canvas one watercolour The Bray family have long been influential in arts in Cornwall, having opened the Avalon Gallery in Marazion in1991, although Barrie had been painting long before this. Born in Cornwall in 1940 and largely self-taught, Barrie's studio was situated in a prominent position on the cliffs looking towards the Lizard in one direction and Penwith in the other.views from this vantage point and his understanding of the landscape, as well as his regular trips to the Isles of Scilly, all figured a great deal in his work. He and his wife Heather gave up the Avalon Gallery in 1998 in order to concentrate on their painting. Barrie died in April 2015. Heather, also largely self-taught a tutored musician of Cornish ancestry, is a popular artist. Her work is very much in the St Ives School tradition and the influence of her artistic heroes Ben Nicholson, Alfred Wallis and Bryan Pearce can be clearly seen. Their daughter Lucie, who sadly died in 2014 aged just 39 was a prolific 'en plein air' enthusiast who in her short lifetime, held many significant exhibitions and was a much loved and respected member of the Cornish art scene. As well as her studio at Porthmeor, she could frequently be seen on the beach below, painting in a-like tent which reduced the glare on her work. She studied at Falmouth and Wimbledon Schools of Art, her last exhibition was held at the New Craftsmen Gallery in St Ives.

BARRIE BRAY Cornish coast Gouache Together with two other gouache pieces by the same hand Each 57 x 63cm The Bray family have long been influential in arts in Cornwall, having opened the Avalon Gallery in Marazion in1991, although Barrie had been painting long before this. Born in Cornwall in 1940 and largely self-taught, Barrie's studio was situated in a prominent position on the cliffs looking towards the Lizard in one direction and Penwith in the other.views from this vantage point and his understanding of the landscape, as well as his regular trips to the Isles of Scilly, all figured a great deal in his work. He and his wife Heather gave up the Avalon Gallery in 1998 in order to concentrate on their painting. Barrie died in April 2015. Heather, also largely self-taught a tutored musician of Cornish ancestry, is a popular artist. Her work is very much in the St Ives School tradition and the influence of her artistic heroes Ben Nicholson, Alfred Wallis and Bryan Pearce can be clearly seen. Their daughter Lucie, who sadly died in 2014 aged just 39 was a prolific 'en plein air' enthusiast who in her short lifetime, held many significant exhibitions and was a much loved and respected member of the Cornish art scene. As well as her studio at Porthmeor, she could frequently be seen on the beach below, painting in a-like tent which reduced the glare on her work. She studied at Falmouth and Wimbledon Schools of Art, her last exhibition was held at the New Craftsmen Gallery in St Ives.

HEATHER BRAY Fish Festival Gouache Signed Inscribed to the back 24 x 32cm The Bray family have long been influential in arts in Cornwall, having opened the Avalon Gallery in Marazion in1991, although Barrie had been painting long before this. Born in Cornwall in 1940 and largely self-taught, Barrie's studio was situated in a prominent position on the cliffs looking towards the Lizard in one direction and Penwith in the other.views from this vantage point and his understanding of the landscape, as well as his regular trips to the Isles of Scilly, all figured a great deal in his work. He and his wife Heather gave up the Avalon Gallery in 1998 in order to concentrate on their painting. Barrie died in April 2015. Heather, also largely self-taught a tutored musician of Cornish ancestry, is a popular artist. Her work is very much in the St Ives School tradition and the influence of her artistic heroes Ben Nicholson, Alfred Wallis and Bryan Pearce can be clearly seen. Their daughter Lucie, who sadly died in 2014 aged just 39 was a prolific 'en plein air' enthusiast who in her short lifetime, held many significant exhibitions and was a much loved and respected member of the Cornish art scene. As well as her studio at Porthmeor, she could frequently be seen on the beach below, painting in a-like tent which reduced the glare on her work. She studied at Falmouth and Wimbledon Schools of Art, her last exhibition was held at the New Craftsmen Gallery in St Ives.

FRED YATES Marazion Oil on canvas Signed 71 x 91cm Condition report: Lot 456 - no condition issues - this came from the Bray family who consigned a studio collection for this sale. The Brays were family friends of Yates

BARRIE BRAY Cudden Point from Marazion Oil on board Monogrammed Inscribed to the back 18.5 x 20cm The Bray family have long been influential in arts in Cornwall, having opened the Avalon Gallery in Marazion in1991, although Barrie had been painting long before this. Born in Cornwall in 1940 and largely self-taught, Barrie's studio was situated in a prominent position on the cliffs looking towards the Lizard in one direction and Penwith in the other.views from this vantage point and his understanding of the landscape, as well as his regular trips to the Isles of Scilly, all figured a great deal in his work. He and his wife Heather gave up the Avalon Gallery in 1998 in order to concentrate on their painting. Barrie died in April 2015. Heather, also largely self-taught a tutored musician of Cornish ancestry, is a popular artist. Her work is very much in the St Ives School tradition and the influence of her artistic heroes Ben Nicholson, Alfred Wallis and Bryan Pearce can be clearly seen. Their daughter Lucie, who sadly died in 2014 aged just 39 was a prolific 'en plein air' enthusiast who in her short lifetime, held many significant exhibitions and was a much loved and respected member of the Cornish art scene. As well as her studio at Porthmeor, she could frequently be seen on the beach below, painting in a-like tent which reduced the glare on her work. She studied at Falmouth and Wimbledon Schools of Art, her last exhibition was held at the New Craftsmen Gallery in St Ives.

BARRIE BRAY Porthmoina Cove Oil on canvas Inscribed and dated '91 to the back 40 x 50cm The Bray family have long been influential in arts in Cornwall, having opened the Avalon Gallery in Marazion in1991, although Barrie had been painting long before this. Born in Cornwall in 1940 and largely self-taught, Barrie's studio was situated in a prominent position on the cliffs looking towards the Lizard in one direction and Penwith in the other.views from this vantage point and his understanding of the landscape, as well as his regular trips to the Isles of Scilly, all figured a great deal in his work. He and his wife Heather gave up the Avalon Gallery in 1998 in order to concentrate on their painting. Barrie died in April 2015. Heather, also largely self-taught a tutored musician of Cornish ancestry, is a popular artist. Her work is very much in the St Ives School tradition and the influence of her artistic heroes Ben Nicholson, Alfred Wallis and Bryan Pearce can be clearly seen. Their daughter Lucie, who sadly died in 2014 aged just 39 was a prolific 'en plein air' enthusiast who in her short lifetime, held many significant exhibitions and was a much loved and respected member of the Cornish art scene. As well as her studio at Porthmeor, she could frequently be seen on the beach below, painting in a-like tent which reduced the glare on her work. She studied at Falmouth and Wimbledon Schools of Art, her last exhibition was held at the New Craftsmen Gallery in St Ives.

BARRIE BRAY Evening Tide Oil on board Monogrammed Inscribed to the back 29 x 30.5cm The Bray family have long been influential in arts in Cornwall, having opened the Avalon Gallery in Marazion in1991, although Barrie had been painting long before this. Born in Cornwall in 1940 and largely self-taught, Barrie's studio was situated in a prominent position on the cliffs looking towards the Lizard in one direction and Penwith in the other.views from this vantage point and his understanding of the landscape, as well as his regular trips to the Isles of Scilly, all figured a great deal in his work. He and his wife Heather gave up the Avalon Gallery in 1998 in order to concentrate on their painting. Barrie died in April 2015. Heather, also largely self-taught a tutored musician of Cornish ancestry, is a popular artist. Her work is very much in the St Ives School tradition and the influence of her artistic heroes Ben Nicholson, Alfred Wallis and Bryan Pearce can be clearly seen. Their daughter Lucie, who sadly died in 2014 aged just 39 was a prolific 'en plein air' enthusiast who in her short lifetime, held many significant exhibitions and was a much loved and respected member of the Cornish art scene. As well as her studio at Porthmeor, she could frequently be seen on the beach below, painting in a-like tent which reduced the glare on her work. She studied at Falmouth and Wimbledon Schools of Art, her last exhibition was held at the New Craftsmen Gallery in St Ives. This collection features a fine range of work by Barrie, Heather & Lucie Bray and also includes paintings by some of their fellow artists and contemporaries which had been collected by the family.

HEATHER BRAY Cornwall in Summer Gouache Signed Inscribed to the back 24 x 32cm The Bray family have long been influential in arts in Cornwall, having opened the Avalon Gallery in Marazion in1991, although Barrie had been painting long before this. Born in Cornwall in 1940 and largely self-taught, Barrie's studio was situated in a prominent position on the cliffs looking towards the Lizard in one direction and Penwith in the other.views from this vantage point and his understanding of the landscape, as well as his regular trips to the Isles of Scilly, all figured a great deal in his work. He and his wife Heather gave up the Avalon Gallery in 1998 in order to concentrate on their painting. Barrie died in April 2015. Heather, also largely self-taught a tutored musician of Cornish ancestry, is a popular artist. Her work is very much in the St Ives School tradition and the influence of her artistic heroes Ben Nicholson, Alfred Wallis and Bryan Pearce can be clearly seen. Their daughter Lucie, who sadly died in 2014 aged just 39 was a prolific 'en plein air' enthusiast who in her short lifetime, held many significant exhibitions and was a much loved and respected member of the Cornish art scene. As well as her studio at Porthmeor, she could frequently be seen on the beach below, painting in a-like tent which reduced the glare on her work. She studied at Falmouth and Wimbledon Schools of Art, her last exhibition was held at the New Craftsmen Gallery in St Ives.

LUCIE BRAY Harbour Wall Oil on board Signed, inscribed and dated 1999 to the back 18 x 28cm The Bray family have long been influential in arts in Cornwall, having opened the Avalon Gallery in Marazion in1991, although Barrie had been painting long before this. Born in Cornwall in 1940 and largely self-taught, Barrie's studio was situated in a prominent position on the cliffs looking towards the Lizard in one direction and Penwith in the other.views from this vantage point and his understanding of the landscape, as well as his regular trips to the Isles of Scilly, all figured a great deal in his work. He and his wife Heather gave up the Avalon Gallery in 1998 in order to concentrate on their painting. Barrie died in April 2015. Heather, also largely self-taught a tutored musician of Cornish ancestry, is a popular artist. Her work is very much in the St Ives School tradition and the influence of her artistic heroes Ben Nicholson, Alfred Wallis and Bryan Pearce can be clearly seen. Their daughter Lucie, who sadly died in 2014 aged just 39 was a prolific 'en plein air' enthusiast who in her short lifetime, held many significant exhibitions and was a much loved and respected member of the Cornish art scene. As well as her studio at Porthmeor, she could frequently be seen on the beach below, painting in a-like tent which reduced the glare on her work. She studied at Falmouth and Wimbledon Schools of Art, her last exhibition was held at the New Craftsmen Gallery in St Ives.

BARRIE, HEATHER AND LUCIE BRAY Various works and sketchbooks The Bray family have long been influential in arts in Cornwall, having opened the Avalon Gallery in Marazion in1991, although Barrie had been painting long before this. Born in Cornwall in 1940 and largely self-taught, Barrie's studio was situated in a prominent position on the cliffs looking towards the Lizard in one direction and Penwith in the other.views from this vantage point and his understanding of the landscape, as well as his regular trips to the Isles of Scilly, all figured a great deal in his work. He and his wife Heather gave up the Avalon Gallery in 1998 in order to concentrate on their painting. Barrie died in April 2015. Heather, also largely self-taught a tutored musician of Cornish ancestry, is a popular artist. Her work is very much in the St Ives School tradition and the influence of her artistic heroes Ben Nicholson, Alfred Wallis and Bryan Pearce can be clearly seen. Their daughter Lucie, who sadly died in 2014 aged just 39 was a prolific 'en plein air' enthusiast who in her short lifetime, held many significant exhibitions and was a much loved and respected member of the Cornish art scene. As well as her studio at Porthmeor, she could frequently be seen on the beach below, painting in a-like tent which reduced the glare on her work. She studied at Falmouth and Wimbledon Schools of Art, her last exhibition was held at the New Craftsmen Gallery in St Ives.

RICHARD PLATT Stonehenge circa 1960 Three colour lithographs Each signed and inscribed by the artists widow Diane Platt Each paper size 80 x 57.5cm Richard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965. Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man. Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings. He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!) Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself. Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017.

BARRIE BRAY Samson Hill Bryher from the Carn Mixed media Monogrammed Signed and inscribed to the back 23 x 29cm The Bray family have long been influential in arts in Cornwall, having opened the Avalon Gallery in Marazion in1991, although Barrie had been painting long before this. Born in Cornwall in 1940 and largely self-taught, Barrie's studio was situated in a prominent position on the cliffs looking towards the Lizard in one direction and Penwith in the other.views from this vantage point and his understanding of the landscape, as well as his regular trips to the Isles of Scilly, all figured a great deal in his work. He and his wife Heather gave up the Avalon Gallery in 1998 in order to concentrate on their painting. Barrie died in April 2015. Heather, also largely self-taught a tutored musician of Cornish ancestry, is a popular artist. Her work is very much in the St Ives School tradition and the influence of her artistic heroes Ben Nicholson, Alfred Wallis and Bryan Pearce can be clearly seen. Their daughter Lucie, who sadly died in 2014 aged just 39 was a prolific 'en plein air' enthusiast who in her short lifetime, held many significant exhibitions and was a much loved and respected member of the Cornish art scene. As well as her studio at Porthmeor, she could frequently be seen on the beach below, painting in a-like tent which reduced the glare on her work. She studied at Falmouth and Wimbledon Schools of Art, her last exhibition was held at the New Craftsmen Gallery in St Ives. This collection features a fine range of work by Barrie, Heather & Lucie Bray and also includes paintings by some of their fellow artists and contemporaries which had been collected by the family.

HEATHER BRAY Cove Gouache Signed 24 x 32cm The Bray family have long been influential in arts in Cornwall, having opened the Avalon Gallery in Marazion in1991, although Barrie had been painting long before this. Born in Cornwall in 1940 and largely self-taught, Barrie's studio was situated in a prominent position on the cliffs looking towards the Lizard in one direction and Penwith in the other.views from this vantage point and his understanding of the landscape, as well as his regular trips to the Isles of Scilly, all figured a great deal in his work. He and his wife Heather gave up the Avalon Gallery in 1998 in order to concentrate on their painting. Barrie died in April 2015. Heather, also largely self-taught a tutored musician of Cornish ancestry, is a popular artist. Her work is very much in the St Ives School tradition and the influence of her artistic heroes Ben Nicholson, Alfred Wallis and Bryan Pearce can be clearly seen. Their daughter Lucie, who sadly died in 2014 aged just 39 was a prolific 'en plein air' enthusiast who in her short lifetime, held many significant exhibitions and was a much loved and respected member of the Cornish art scene. As well as her studio at Porthmeor, she could frequently be seen on the beach below, painting in a-like tent which reduced the glare on her work. She studied at Falmouth and Wimbledon Schools of Art, her last exhibition was held at the New Craftsmen Gallery in St Ives.

RICHARD PLATT The George and Vulture Chop House circa 1954 Three colour lithograph Signed and inscribed by the artists widow Diane Platt Paper size 51 x 76.5cm Richard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965. Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man. Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings. He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!) Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself. Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017.

HEATHER BRAY Watching The WavesGouacheSigned Together with an oil by the same hand 'Newly Weds' The Bray family have long been influential in arts in Cornwall, having opened the Avalon Gallery in Marazion in1991, although Barrie had been painting long before this. Born in Cornwall in 1940 and largely self-taught, Barrie's studio was situated in a prominent position on the cliffs looking towards the Lizard in one direction and Penwith in the other.views from this vantage point and his understanding of the landscape, as well as his regular trips to the Isles of Scilly, all figured a great deal in his work. He and his wife Heather gave up the Avalon Gallery in 1998 in order to concentrate on their painting. Barrie died in April 2015.Heather, also largely self-taught a tutored musician of Cornish ancestry, is a popular artist.Her work is very much in the St Ives School tradition and the influence of her artistic heroes Ben Nicholson, Alfred Wallis and Bryan Pearce can be clearly seen.Their daughter Lucie, who sadly died in 2014 aged just 39 was a prolific 'en plein air' enthusiast who in her short lifetime, held many significant exhibitions and was a much loved and respected member of the Cornish art scene. As well as her studio at Porthmeor, she could frequently be seen on the beach below, painting in a-like tent which reduced the glare on her work.She studied at Falmouth and Wimbledon Schools of Art, her last exhibition was held at the New Craftsmen Gallery in St Ives.

RICHARD PLATT Path through the park Three colour lithograph Signed and dated '59 #18/30 Paper size 80 x 58cm Richard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965. Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man. Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings. He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!) Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself. Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017.

BARRIE BRAY Penwith Carn Oil on canvas board Monogrammed Inscribed to the back 16 x 21cm The Bray family have long been influential in arts in Cornwall, having opened the Avalon Gallery in Marazion in1991, although Barrie had been painting long before this. Born in Cornwall in 1940 and largely self-taught, Barrie's studio was situated in a prominent position on the cliffs looking towards the Lizard in one direction and Penwith in the other.views from this vantage point and his understanding of the landscape, as well as his regular trips to the Isles of Scilly, all figured a great deal in his work. He and his wife Heather gave up the Avalon Gallery in 1998 in order to concentrate on their painting. Barrie died in April 2015. Heather, also largely self-taught a tutored musician of Cornish ancestry, is a popular artist. Her work is very much in the St Ives School tradition and the influence of her artistic heroes Ben Nicholson, Alfred Wallis and Bryan Pearce can be clearly seen. Their daughter Lucie, who sadly died in 2014 aged just 39 was a prolific 'en plein air' enthusiast who in her short lifetime, held many significant exhibitions and was a much loved and respected member of the Cornish art scene. As well as her studio at Porthmeor, she could frequently be seen on the beach below, painting in a-like tent which reduced the glare on her work. She studied at Falmouth and Wimbledon Schools of Art, her last exhibition was held at the New Craftsmen Gallery in St Ives. This collection features a fine range of work by Barrie, Heather & Lucie Bray and also includes paintings by some of their fellow artists and contemporaries which had been collected by the family.

HEATHER BRAY Harbour Cat Gouache Signed 30 x 40cm The Bray family have long been influential in arts in Cornwall, having opened the Avalon Gallery in Marazion in1991, although Barrie had been painting long before this. Born in Cornwall in 1940 and largely self-taught, Barrie's studio was situated in a prominent position on the cliffs looking towards the Lizard in one direction and Penwith in the other.views from this vantage point and his understanding of the landscape, as well as his regular trips to the Isles of Scilly, all figured a great deal in his work. He and his wife Heather gave up the Avalon Gallery in 1998 in order to concentrate on their painting. Barrie died in April 2015. Heather, also largely self-taught a tutored musician of Cornish ancestry, is a popular artist. Her work is very much in the St Ives School tradition and the influence of her artistic heroes Ben Nicholson, Alfred Wallis and Bryan Pearce can be clearly seen. Their daughter Lucie, who sadly died in 2014 aged just 39 was a prolific 'en plein air' enthusiast who in her short lifetime, held many significant exhibitions and was a much loved and respected member of the Cornish art scene. As well as her studio at Porthmeor, she could frequently be seen on the beach below, painting in a-like tent which reduced the glare on her work. She studied at Falmouth and Wimbledon Schools of Art, her last exhibition was held at the New Craftsmen Gallery in St Ives.

BARRIE BRAY Two coastal oilsThe Bray family have long been influential in arts in Cornwall, having opened the Avalon Gallery in Marazion in1991, although Barrie had been painting long before this. Born in Cornwall in 1940 and largely self-taught, Barrie's studio was situated in a prominent position on the cliffs looking towards the Lizard in one direction and Penwith in the other.views from this vantage point and his understanding of the landscape, as well as his regular trips to the Isles of Scilly, all figured a great deal in his work. He and his wife Heather gave up the Avalon Gallery in 1998 in order to concentrate on their painting. Barrie died in April 2015.Heather, also largely self-taught a tutored musician of Cornish ancestry, is a popular artist.Her work is very much in the St Ives School tradition and the influence of her artistic heroes Ben Nicholson, Alfred Wallis and Bryan Pearce can be clearly seen.Their daughter Lucie, who sadly died in 2014 aged just 39 was a prolific 'en plein air' enthusiast who in her short lifetime, held many significant exhibitions and was a much loved and respected member of the Cornish art scene. As well as her studio at Porthmeor, she could frequently be seen on the beach below, painting in a-like tent which reduced the glare on her work.She studied at Falmouth and Wimbledon Schools of Art, her last exhibition was held at the New Craftsmen Gallery in St Ives. Condition report: 41x43cm and 41cm x 46cm

BARRIE BRAY Moorland Farm Penwith Oil on canvas Monogrammed Inscribed to the back 40 x 60cm The Bray family have long been influential in arts in Cornwall, having opened the Avalon Gallery in Marazion in1991, although Barrie had been painting long before this. Born in Cornwall in 1940 and largely self-taught, Barrie's studio was situated in a prominent position on the cliffs looking towards the Lizard in one direction and Penwith in the other.views from this vantage point and his understanding of the landscape, as well as his regular trips to the Isles of Scilly, all figured a great deal in his work. He and his wife Heather gave up the Avalon Gallery in 1998 in order to concentrate on their painting. Barrie died in April 2015. Heather, also largely self-taught a tutored musician of Cornish ancestry, is a popular artist. Her work is very much in the St Ives School tradition and the influence of her artistic heroes Ben Nicholson, Alfred Wallis and Bryan Pearce can be clearly seen. Their daughter Lucie, who sadly died in 2014 aged just 39 was a prolific 'en plein air' enthusiast who in her short lifetime, held many significant exhibitions and was a much loved and respected member of the Cornish art scene. As well as her studio at Porthmeor, she could frequently be seen on the beach below, painting in a-like tent which reduced the glare on her work. She studied at Falmouth and Wimbledon Schools of Art, her last exhibition was held at the New Craftsmen Gallery in St Ives.

BARRIE BRAY Cornish coast Two oils The Bray family have long been influential in arts in Cornwall, having opened the Avalon Gallery in Marazion in1991, although Barrie had been painting long before this. Born in Cornwall in 1940 and largely self-taught, Barrie's studio was situated in a prominent position on the cliffs looking towards the Lizard in one direction and Penwith in the other.views from this vantage point and his understanding of the landscape, as well as his regular trips to the Isles of Scilly, all figured a great deal in his work. He and his wife Heather gave up the Avalon Gallery in 1998 in order to concentrate on their painting. Barrie died in April 2015. Heather, also largely self-taught a tutored musician of Cornish ancestry, is a popular artist. Her work is very much in the St Ives School tradition and the influence of her artistic heroes Ben Nicholson, Alfred Wallis and Bryan Pearce can be clearly seen. Their daughter Lucie, who sadly died in 2014 aged just 39 was a prolific 'en plein air' enthusiast who in her short lifetime, held many significant exhibitions and was a much loved and respected member of the Cornish art scene. As well as her studio at Porthmeor, she could frequently be seen on the beach below, painting in a-like tent which reduced the glare on her work. She studied at Falmouth and Wimbledon Schools of Art, her last exhibition was held at the New Craftsmen Gallery in St Ives.

BARRIE BRAY PZ 34 Newlyn Leaving Harbour at First Light Gouache Signed Further signed and inscribed to the back 22.5 x 25cm The Bray family have long been influential in arts in Cornwall, having opened the Avalon Gallery in Marazion in1991, although Barrie had been painting long before this. Born in Cornwall in 1940 and largely self-taught, Barrie's studio was situated in a prominent position on the cliffs looking towards the Lizard in one direction and Penwith in the other.views from this vantage point and his understanding of the landscape, as well as his regular trips to the Isles of Scilly, all figured a great deal in his work. He and his wife Heather gave up the Avalon Gallery in 1998 in order to concentrate on their painting. Barrie died in April 2015. Heather, also largely self-taught a tutored musician of Cornish ancestry, is a popular artist. Her work is very much in the St Ives School tradition and the influence of her artistic heroes Ben Nicholson, Alfred Wallis and Bryan Pearce can be clearly seen. Their daughter Lucie, who sadly died in 2014 aged just 39 was a prolific 'en plein air' enthusiast who in her short lifetime, held many significant exhibitions and was a much loved and respected member of the Cornish art scene. As well as her studio at Porthmeor, she could frequently be seen on the beach below, painting in a-like tent which reduced the glare on her work. She studied at Falmouth and Wimbledon Schools of Art, her last exhibition was held at the New Craftsmen Gallery in St Ives.

PETER LANYONAt The Edge of LandscapeBook by Chris StephensThe Bray family have long been influential in arts in Cornwall, having opened the Avalon Gallery in Marazion in1991, although Barrie had been painting long before this. Born in Cornwall in 1940 and largely self-taught, Barrie's studio was situated in a prominent position on the cliffs looking towards the Lizard in one direction and Penwith in the other.views from this vantage point and his understanding of the landscape, as well as his regular trips to the Isles of Scilly, all figured a great deal in his work. He and his wife Heather gave up the Avalon Gallery in 1998 in order to concentrate on their painting. Barrie died in April 2015.Heather, also largely self-taught a tutored musician of Cornish ancestry, is a popular artist.Her work is very much in the St Ives School tradition and the influence of her artistic heroes Ben Nicholson, Alfred Wallis and Bryan Pearce can be clearly seen.Their daughter Lucie, who sadly died in 2014 aged just 39 was a prolific 'en plein air' enthusiast who in her short lifetime, held many significant exhibitions and was a much loved and respected member of the Cornish art scene. As well as her studio at Porthmeor, she could frequently be seen on the beach below, painting in a-like tent which reduced the glare on her work.She studied at Falmouth and Wimbledon Schools of Art, her last exhibition was held at the New Craftsmen Gallery in St Ives.

RICHARD PLATT The George and Vulture Chop House circa 1954 Three colour lithograph Signed and inscribed by the artists widow Diane Platt Paper size 51 x 76.5cm Richard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965. Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man. Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings. He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!) Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself. Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017.

BARRIE BRAY Moorland Oil on board Together with two watercolours by the same hand The Bray family have long been influential in arts in Cornwall, having opened the Avalon Gallery in Marazion in1991, although Barrie had been painting long before this. Born in Cornwall in 1940 and largely self-taught, Barrie's studio was situated in a prominent position on the cliffs looking towards the Lizard in one direction and Penwith in the other.views from this vantage point and his understanding of the landscape, as well as his regular trips to the Isles of Scilly, all figured a great deal in his work. He and his wife Heather gave up the Avalon Gallery in 1998 in order to concentrate on their painting. Barrie died in April 2015. Heather, also largely self-taught a tutored musician of Cornish ancestry, is a popular artist. Her work is very much in the St Ives School tradition and the influence of her artistic heroes Ben Nicholson, Alfred Wallis and Bryan Pearce can be clearly seen. Their daughter Lucie, who sadly died in 2014 aged just 39 was a prolific 'en plein air' enthusiast who in her short lifetime, held many significant exhibitions and was a much loved and respected member of the Cornish art scene. As well as her studio at Porthmeor, she could frequently be seen on the beach below, painting in a-like tent which reduced the glare on her work. She studied at Falmouth and Wimbledon Schools of Art, her last exhibition was held at the New Craftsmen Gallery in St Ives.

RICHARD PLATTSulphur MineOil on canvasSigned 60.5 x 92cmRichard Platt was a young painter and lithographer in the mid 1950s when British art trod at the edges of abstraction and when barriers between high and low culture were being broken. His father, J G Platt from Lancashire, was a printer who gained a place at the Royal College of Art in 1920 when Henry Moore and Barbara Hepworth were fellow students. He became an etcher, woodcutter and engraver and was the principal of Hornsey School of Art until 1965.Following national service Richard Platt also attended the Royal College of Art from 1950 to 1953, along with an eclectic batch of students under the new progressive head Robin Darwin, great-grandson of Charles. Platt bought his fellow students works; that of Peter Blake, John Bratby, Derek Greaves, Cyril Reason, Jack Smith, Joe Tilson and from Mr Bucket the caretaker, who liked to show them how to paint eyes. At Platt's wedding Bratby was his best man.Richard bought the monochrome 'Three Young Bathers' for £5 from Peter Blake, who was about to discard it. Platt wanted a more colourful picture but it was too dear at £15. In 1977 when Blake saw the painting in Richard's Falmouth home he realised he still had the photo from which it was done, saying there was not much ordinary colour photography in 1953. On the back of the painting can be seen the remains of art school portraits from the model, then still a traditional requirement. Richard Platt's work, like that of Smith, Greaves and Tilson, developed from the late 40's through to the early 60's from social realism towards abstraction. After leaving College he exhibited at the Leicester Galleries and painted a mural of a livestock market on the canteen wall of the Working Men's College, Camden. His adept and direct pen and ink drawings of situations and people at work or leisure were transposed into exceptional three colour lithographs and paintings.He left London in 1962 for Cornwall to attempt self sufficiency, to paint and to help raise Falmouth School of Art to national status and acclaim by inviting a wide range of out standing British artists, musicians, writers and poets to visit, to run courses and lecture. In the mid 60's Richard Platt turned to his other love, music. He became a musicologist and devoted his mind to the music of the English 18th century (the 'pop' of the time!)Richard developed Parkinson's and was unable to sign many of his lithographs and drawings himself.Diane Ibbotson, (Platt's 2nd wife) Falmouth, June 2017. Condition report: Minor surface abrasions. Not framed, stretched canvas. Totally original, not been cleaned.