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i-D Magazine: A Large & Complete Collection of Magazines Issues no.1-136,1980-1995,comprising; issues no.1-13 (landscape format) and issues no.14-136 in various formats. Special issues include: no.43 - Comic book special and no.50 - 50th Anniversary Special, (Qty)Footnotes:ProvenanceThis rare and complete collection was collated by the vendor who was an avid fashion magazine collector who spent 35 years in Fashion Merchandising.i-D magazine was founded in 1980 by designer and former Vogue art director Terry Jones and features articles on music, fashion, art and youth culture. The first issue took the form of a fanzine, with stapled covers and typewritten text. Although it has changed over the years to become a glossy publication, it has retained its themes of youth culture and street style. It has become known for its innovative typography and photography and has launched the careers of the likes of photographer Mario Testino and journalist/author Dylan Jones. Issues 1 to 13 were the only i-D magazines released in landscape format.For further information on this lot please visit Bonhams.com

Phil Collins: Handwritten Lyrics For The Song Two Hearts With Signed And Illustrated Message from Phil Collins,1988,comprising; a page of Acapulco Plaza letterheaded paper, with twelve lines of handwritten lyrics for the song Two Hearts in blue ink, together with a sheet of white paper written later and signed by Phil Collins, These lyrics were written by me during the making of 'Buster' in Mexico. They're incomplete... but that adds to their authenticity!! Thanks for your generosity, Phil Collins, with illustrated self-portrait of Collins on the drums, both in the same glazed frame, each page 7 1/4in x 10 1/4in (18.5cm x 26.5cm)21 3/4in x 16 1/2in (55cm x 42cm) framedFootnotes:Provenance:Donated by Phil Collins to a charity auction at 'The Swingin' 60's' Variety Club Property Industry Ball, 9th November 1996.Acquired directly by the current owner who attended this event.Phil Collins' mention of 'Buster' refers to the production of the 1988 romantic comedy film, which Collins starred in alongside Julie Walters. Collins played the role of Buster Edwards who was involved in The Great Train Robbery, and was arrested after hiding in Mexico for three years.For further information on this lot please visit Bonhams.com

Take That: Gary Barlow's BPI 'Triple Platinum' Disc Award For The Album Everything Changes,1994,the BPI-certified 3x Platinum award with 3 12inch discs, with presentation plaque reading Presented to GARY BARLOW to recognise sales in the United Kingdom of more than 900,000 copies of the RCA album EVERYTHING CHANGES, 1994, framed and glazed, accompanied by a letter concerning the provenance, 30in x 22in (76cm x 56cm) Footnotes:Provenance:Acquired by the current owner who won the award in the BBC 'Children In Need' Charity Raffle, November 2020. Gary Barlow donated this disc award directly to the competition.For further information on this lot please visit Bonhams.com

Oasis: Supersonic - The Oasis Photographs Michael Spencer Jones Limited Edition,Omnibus Press, 2016,hardback, numbered 41/1500, signed by Noel and Liam Gallagher and Tony McCarroll, with print of the Definitely Maybe album cover signed by Noel and Liam Gallagher, Tony McCarroll and Michael Spencer Jones; together with a Noel Gallagher's High Flying Birds poster for the 2017 album Who Built The Moon?, signed by Noel Gallagher in black ink, the poster backed on foam board, the poster 20in x 30in (51cm x 76cm), (2)For further information on this lot please visit Bonhams.com

The Beatles: Autographs Obtained At Ready, Steady, Go!,1963,comprising: a 'Dancer' ticket, the reverse signed and inscribed To Penny by George Harrison in blue ballpoint, also two other signatures, and two postcards on which are typed questions to be asked by the host, Dusty Springfield, PAUL Is it true, you use green toothpaste for shaving soap? and PAUL Please tell me you aren't engaged to Jane Asher. If it is true, I am crossing you off my list of eligable batchelors (sic) and George is going on it instead, the first signed in black ballpoint by Paul McCartney and Helen Shapiro, the second in blue ballpoint by Ringo Starr and Eden Kane, Ringo adding To Penny, with letter of provenance, the largest 6in x 4 1/4in (15.5cm x 11cm)Footnotes:Provenance:Obtained by the vendor who was a dancer on the show, on 4th October 1963, the debut appearance of the Beatles on the programme.This particular show is available to watch on YouTube.For further information on this lot please visit Bonhams.com

The Beatles: A Letter To A Fan From Paul McCartney And Related Items,1963,comprising: a letter addressed to 'Sharon', in blue ballpoint on a piece of plain notepaper, signed twice by Paul, mentioning the forthcoming album and remarking The Polydor records aren't available now, I think-anyway they're terrible. Ta-Ta, together with the original stamped addressed envelope postmarked LONDON 24 SEP 1963, Paul adding the Beatles 'insect' logo to the back; a copy of the single My Bonnie/The Saints (When The Saints Go Marching In), Tony Sheridan & The Beatles, Polydor NH66833; a black and white press photograph of the vendor at a Beatles concert and various related press cuttings, letter 5 3/8in x 8 1/4in (13.5cm x 21cm) Footnotes:Provenance:The vendor, who was fifteen at the time, wrote to Paul when the Beatles were on tour in August 1963. She was amazed to receive a letter back (this is the letter offered in the following lot) and so wrote again, asking about their Polydor recordings, to which Paul sent this candid reply! The Beatles were scheduled to appear in November in the vendor's hometown of Portsmouth. To secure tickets for this concert, she and several school friends queued overnight at the Guildhall. They were lucky to get front-row seats for both of the shows at the venue. However, this had caused them to be absent from school and they were punished by a week's worth of after-school detentions, as reported in the local press at the time. As it turned out, the concerts had to be postponed due to Paul being ill and eventually took place on 3rd December.For further information on this lot please visit Bonhams.com

The Spy Who Loved MeEon Productions / United Artists, 1977British Quad film poster, linen-backed, featuring Sir Roger Moore and Barbara Bach, 30in x 40in (76cm x 102cm)For further information on this lot please visit Bonhams.com

Ringo Starr And Others: Autographs Relating To John Lennon's 'Lost Weekend',1974,comprising a sheet of Beverly Wilshire Hotel stationery signed in ballpoint, pencil and felt-tip pen by Ringo Starr, Klaus Voormann, Jesse Davis, Bobby Keys and on the reverse by Jim Keltner, the latter also adding Dearest Debbie! Forgive this!; together with an invoice dated 15th Nov 1973 on Keith Moon's account for the delivery to Apple of a waistcoat for Ringo Starr, signed sheet 4in x 5 1/2in (10cm x 14cm)Footnotes:Provenance:From the collection of Peter 'Dougal' Butler, Keith Moon's former PA.Following his split from Yoko in September 1973, John relocated to Los Angeles. In the following months he worked on recording sessions for what would become the Rock 'n' Roll album. Jesse Ed Davis, Klaus Voormann, Bobby Keys and Jim Keltner were all amongst the many musicians who contributed to the album.For further information on this lot please visit Bonhams.com

Paul McCartney: An Original Peter Shea Cartoon Signed And Inscribed By Paul McCartney,January 1984,the cartoon in black ink, referring to Paul and Linda McCartney's charge of marijuana possession in Barbados, the cartoon signed by Paul McCartney in black ink and and inscribed play the pipes of peace!, on Customs paper with blank reference typeface to the reverse, accompanied by a letter concerning the provenance, 11 1/2in x 7in (29cm x 18cm)Footnotes:Provenance:The cartoon was drawn by Peter Shea, the vendor's father, who was on duty as a Customs Officer at Heathrow Airport on Tuesday 17th January 1984, the day Paul and Linda McCartney arrived from a holiday in Barbados. The day before, the couple had appeared in court in Barbados on a charge of possession of marijuana. They pleaded guilty and were fined. After landing at Heathrow, they were making their way to board a private aircraft when they were detained and interviewed by Customs officers. After a search of their luggage, a small amount of marijuana was found in Linda's hand baggage and she was charged with possession. It is possible that Shea drew the cartoon to lighten the mood of the proceedings and presented it to Paul who then signed it.This piece was featured on the BBC's Antiques Roadshow in October 2023.For further information on this lot please visit Bonhams.com

James Bond: A Lotus Cast & Crew Jacket For Carole Bouquet In For Your Eyes Only,1981,the padded cream jacket with nylon outer fabric, brown nylon inner lining and polyester filling, elasticated sleeve cuffs, and zipped inside and outer pockets, the left breast embroidered with 'Lotus' and the company logo, and the right breast embroidered with '007' and 'Carole Bouquet', 34in (86cm) chest on size labelFootnotes:Provenance:Acquired by the current owner's grandfather who worked at Pinewood Studios including during the production of For Your Eyes Only.Carole Bouquet played the Greek secret agent and Bond Girl Melina Havelock in For Your Eyes Only, Roger Moore's fifth outing as James Bond. Havelock assists Bond throughout the film, including the memorable car chase in a yellow Citroën 2CV, and their moonlit swim at the end of the film. Bouquet went on to become the face of Chanel No. 5 in the 1980s.For further information on this lot please visit Bonhams.com

Keith Moon/The Who: Three Autographed Publicity Photographs,1970s,black and white, two of Keith and one of the band, each signed in blue ballpoint by Keith and variously inscribed to Hilary Gerrard, including God bless you my dear friend, 8in x 10in (20.5 x 25.5cm), (3)Footnotes:Provenance:From the Estate of the late Hilary Gerrard (1933-2023), formerly Business Manager to Ringo Starr from the 1970s onwards.For further information on this lot please visit Bonhams.com

Performance: An Original Script,Goodtimes Enterprises, 1970,approximately 177pp. of mimeographed typescript by Donald Cammell, with some minor annotations on the inside pages and colour inserts, yellow card covers with window to the title page, 8 1/2in x 11in (21.5cm x 28cm)Footnotes:Performance is a British crime drama film by Donald Cammell and Nicolas Roeg. The film stars James Fox as a violent and ambitious London gangster who, after killing an old friend, goes into hiding at the home of a reclusive rock star (Mick Jagger of The Rolling Stones). Produced in 1968 it was not released until 1970, as Warner Bros. was reluctant to distribute the film, owing to its sexual content and graphic violence. It is now regarded as one of the most influential and innovative films of the 1970s.Provenance:From the Estate of the late Hilary Gerrard (1933-2023), formerly Business Manager to Ringo Starr from the 1970s onwards.For further information on this lot please visit Bonhams.com

Spitting Image: A Hand Puppet Of (Prince) Charles In Nightwear,circa 1980s,the painted latex foam head and neck, with inset plastic eyes, the puppet wearing white and navy striped nightgown with Velcro opening beneath, the head with striped night-hat with felt bobble, with cushioned hands and rabbit-shaped slippers, 26in (66cm) high19in (48cm) wideFootnotes:Provenance:Gifted to the current owner by their father-in-law who worked in the television industry and knew the writers of Spitting Image.For further information on this lot please visit Bonhams.com

George Harrison/Ringo Starr: A Dedicated and Signed Copy of Fifty Years Adrift by Derek Taylor,Genesis Publications, 1984,no.121 from an edition of 2000, signed and inscribed to Hilary Gerrard by Derek Taylor, also signed and inscribed by Ringo To our dear friend, once you have met him you never forget him, Love Ringo & Barbara xxx, also signed and inscribed by George Harrison to Hilary - with lots of love and wishes for all our peace of minds for ever & ever, Amen, and signed by Neill Aspinall who adds For Hilary, I love him too, leather-bound cover with slipcase, 7 1/4in x 10 1/4in (18.4cm x 26cm)Footnotes:Provenance:From the Estate of the late Hilary Gerrard (1933-2023), formerly Business Manager to Ringo Starr from the 1970s onwards.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

Harry Potter: A Prop Propaganda Pamphlet From Harry Potter And The Deathly Hallows Part 1,Warner Bros., 2010,printed on paper, as seen in the Ministry of Magic being printed by Dolores Umbridge (Imelda Staunton) as propaganda for Voldemort and the Pureblood wizards, with a letter concerning the provenance from the vendor, 7 1/2in x 9in (19cm x 23cm)Footnotes:Provenance:According to the information provided by the vendor, this prop pamphlet came from a cameraman who worked on four of the Harry Potter films from the Order Of The Phoenix onwards.For further information on this lot please visit Bonhams.com

Doctor Who: An Original Weapon Box From The Keeper Of Traken,BBC, 1981,the box covered with blue/purple velvet lining, with metal fittings, a clear polyhedral resin crystal with decorated surround to the top of the lid, the front with two latches and a green faux-stone, 7 1/2in x 3 1/2in x 9 1/2in (19cm x 9cm x 24cm) overallFootnotes:Provenance:Acquired by the current owner from the Peter Logan collection. Logan joined the BBC Visual Effects department in July 1967, working on many episodes as a design assistant and prop maker.The present box is understood to have been used by the Fourth Doctor's (Tom Baker) companion Nyssa (Sarah Sutton), in part three of the serial The Keeper Of Traken, broadcast on 14th February 1981. In this episode, Nyssa is seen using the box to conceal an ion bonder weapon inside, while trying to gain access to her imprisoned father.For further information on this lot please visit Bonhams.com

Doctor Who: An Original Tissue Sample Prop From The Curse Of The Black Spot,BBC, 2011,of rectangular form, constructed from electrical tape between Perspex, from the Siren's sickbay scene, 2 3/4in x 4 3/4in x 1/2in (7cm x 12cm x 1.5cm)Footnotes:In the Eleventh Doctor (Matt Smith) episode The Curse Of The Black Spot, the Doctor and his companions Amy (Karen Gillan) and Rory (Arthur Darvill) visit a 17th century pirate ship which is under attack by the seemingly malicious Siren. The extra-terrestrial mystery is later revealed to be The Siren treating the pirate crew, along with Rory and the TARDIS, in a futuristic medical bay.For further information on this lot please visit Bonhams.com

Doctor Who: An Original Staser Weapon Prop From The Tsuranga Conundrum,BBC, 2018,the futuristic weapon with two large carrying handles, constructed from resin, moulded plastic and metal, with wiring underneath, originally for connecting to a 9-volt battery to light up at the ends, 12in x 7 1/4in x 13in (30.5cm x 18.5cm x 33cm) overallFootnotes:Provenance:Acquired from Roth Studios.The Tsuranga Conundrum is the fifth episode of the first series of the Thirteenth Doctor's (Jodie Whittaker) tenure. In this episode, the Doctor and her companions find themselves aboard a Hospital Ship under attack by a diminutive alien known as the P'ting, which was capable of eating all matter. Companion Yasmin Khan (Mandip Gill) and the 'Clone Drone' Ronan use these Staser weapons in order to stun the P'ting.For further information on this lot please visit Bonhams.com

Doctor Who: An Original Hexagonal Roundel From The Console Room Of The Thirteenth Doctor's TARDIS,BBC, 2018-2022,the roundel of hexagonal form, constructed from vac-form plastic with hardened, painted overlay on top, the back with supporting wood sections attached for integrity and assembly, 47in x 41in x 2in (119.5cm x 104cm x 5cm) overallFootnotes:TARDIS hexagonal roundels such as the present example can be seen adorning the interior of the Thirteenth Doctor's (Jodie Whittaker) TARDIS console room. Her console room saw little aesthetic change throughout her tenure of three series between 2018 and 2022.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Pete Townshend: A Martin D-35 Acoustic Guitar,1971,serial no. 281698 stamped to neck block, natural finish, bound top and back, black pickguard, bridge pins with black dots, Indian rosewood back and sides, black/white inlay stripes to three-piece back, bound ebony fingerboard with dot markers, unbound headstock, in case, guitar 41in (104.1cm) longFootnotes:Provenance:This was purchased by Pete Townshend from Manny's in New York in 1971, whilst the Who were on tour. This is confirmed by an accompanying statement from John Wolff, the Who's former tour and production manager. Pete used it for composing, but for which tracks is unknown. Pete then gave it to John at a later date as he was learning to play the guitar. The statement was written in October 1996, when the guitar was sold to Andy's guitar shop in London's Denmark Street.The vendor purchased it from Andy's in 1996 and states it has been played regularly since, but not used for gigging.For further information on this lot please visit Bonhams.com

Roger Daltrey/Paul Weller: A Group of The Who And Other Autographed Ephemera,late 1980s/1990s,comprising: a US comic featuring the Who on the front cover, published by Revolutionary Comics, circa 1989, and two black and white photographs of the Who onstage, all signed by Roger Daltrey; together with a 1997 Lambretta Club d'Italia banner signed by Paul Weller and Steve Cradock and a Lambretta Scooters cloth panel signed by Roger Daltrey, Kenney Jones, Paul Weller and Steve Cradock, banner 27 1/2in x 8 1/4in (70cm x 21cm)Footnotes:Provenance:From the collection of Steve Ellis, former singer with Love Affair.For further information on this lot please visit Bonhams.com

Tom Phillips CBE, RA (British, London 1937-2022)After Raphael acrylic on canvas122 x 101.5cm (48 1/16 x 39 15/16in).Footnotes:ProvenanceThe Artist, from whom acquired by the family of the present owner, 2004, and thence by descentPrivate Collection, U.K.The title of the present lot refers to a painting in the Walker Art Gallery, titled Votive Picture: Umbrian School, which was previously attributed to Raphael. This small painting inspired Phillips whilst he was at the Gallery in order to act as a judge for the John Moores Painting Prize. The composition of the work interested Phillips, who describes himself as having a 'preoccupation with mystical proportions' during the early 1970s. After Raphael was structured in order to give the sensation that, in the words of Phillips, 'any move, however small, by any of [the figures] to right or left, would create chaotic congestion'. The striking structure of the work, and its bright palette, caught the eye of Brian Eno, who used a detail of the painting on the cover of his 1975 album, Another Green World.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

Louis William Wain (British, 1860-1939)Surprise! signed 'Louis Wain.' (lower left)gouache on paper35 x 24.5cm (13 3/4 x 9 5/8in).Footnotes:ExhibitedLondon, Chris Beetles Gallery, Louis Wain (1860-1939), 17-30 August 1991, no. 40LiteratureR. Dale, Louis Wain, The Man Who Drew Cats, Chris Beetles Ltd, 2000, illustratedFilmThe Electrical Life of Louis Wain, 2022, directed by W. Sharpe, Shoebox Films, SunnyMarch, StudioCanal, Film 4 and Amazon Studios, illustrated in end creditsFor further information on this lot please visit Bonhams.com

Louis William Wain (British, 1860-1939)Weeping Cat signed 'Louis Wain.' (lower right)pen and ink and ink on paper35 x 23cm (13 3/4 x 9 1/16in).Footnotes:LiteratureR. Dale, Louis Wain, The Man Who Drew Cats, Chris Beeetles Ltd, London, 2000, p. 91, illustratedFor further information on this lot please visit Bonhams.com

Michael Ayrton (British, 1921-1975)Goat at Cumae signed and dated 'Michael Ayrton/7.5.56' (upper right)ink and wash on paper51 x 30cm (20 1/16 x 11 13/16in).Footnotes:ProvenanceSale; Bonhams, London, 28 November 2006, lot 1, where acquired by the present owner Private Collection, U.K.ExhibitedManchester, February 1957LiteratureC.P. Snow, Michael Ayrton, Drawings & Sculpture, Cory, Adams & Mackay, London, 1966, no. 20, illustratedIn May 1956, while travelling in Italy, Ayrton visited Cumae, just west of Naples - site of one of the oldest Greek colonies in Italy and fabled home of the Cumaean Sibyl, one of the most notable oracles of Antiquity. It was an experience which marked a turning point in his career; the beginning of an involvement with the Greek myths of Daedalus and Icarus, the Minotaur and the Oracle, which he himself described as obsessive, and which defined his art thereafter. Initially, however, it was as much the place itself as its legendary past which fascinated him: for days he sat on a terrace halfway up the slope of the Acropolis, drawing the landscape. This quickly attracted the attention of the local population, especially the small boys who herded the goats belonging to the nearby village. Out of this came a series of drawings of goats, including the present lot. The following year, back in his studio, he painted the large Cumaean Sibyl, a landscape which interweaves mythic past and prosaic present, and in which goats (a traditional feature of both) play a prominent part. The resemblance between the foreground goat and the present lot is clear. This process of overlapping past with present, myth with reality lay at the core of Ayrton's work - he referred to it as a 'kind of temporary truth in split time', and it fed his sense of myth as something that could, and should, be as relevant to contemporary experience as to the ancient world. Things of the world around him, vineyards and archaeological excavations, RAF pilots and astronauts in training - and goats - acted as the anchors he used to bring ancient stories alive for a modern audience. But above all he drew for the joy of drawing (virtually every day of his life from the age of 14 until his death at 54), and he always enjoyed drawing goats.We are grateful to Dr Justine Hopkins for her assistance in cataloguing this lot.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

Reginald Brill (British, 1902-1974)Study of Buoys watercolour on paper24 x 34cm (9 7/16 x 13 3/8in).Footnotes:ProvenanceWith The Phoenix Gallery, Lavenham, where acquired by the family of the present owner, circa 1974, and thence by descentPrivate Collection, U.K.'Reginald Brill had quite a distinguished presence – he would now be called charismatic. He was a tall, upright man, who with his beard and air of nonchalance looked the part of the slightly bohemian artist' – Les Duxbury The following collection of works, acquired directly from the retrospective of the artist at Phoenix Gallery in 1974, provide a detailed overview of the artist's unique working methods and conceptual concerns. Described by Judith Bumpus as an English social realist and narrative painter, Brill's work primarily depicts the lives of ordinary people and the landscapes that they inhabit. The Gardener (lot 27), The Stockman (lot 25) and The Working Man (lot 23) showcase this commitment to portraying those who are traditionally overlooked by society. The artist completed his studies at the Slade School of Art between 1920 and 1923 under the tutelage of Henry Tonks, whose commitment to figurative painting can be detected in Brill's work. Reginald Brill's reputation as a painter was cemented when he won a scholarship to the British School of Rome, for the 1927 oil painting The Expulsion in Eden. The following two years in Rome had a lasting impact on Brill's practice. An interest in composition and Renaissance art are evident in Brill's method of producing detailed preparatory drawings prior to executing larger paintings. Lots 17 – 27 include a number of these studies, ranging from the figurative, such as The Gardener (lot 27), to landscapes, such as Study of Buoys and Chains (lot 20). It was also in Rome that Brill developed his characteristic pointilliste or stippled drawing technique, which is most evident in Head Studies (lot 24). Many of the pieces in this collection are keenly observed depictions of Harwich (lots 17-21), a town that is located on the estuaries of the Stour and Orwell rivers. Brill's fascination with Harwich led to the production of a number of preparatory drawings and paintings, in addition to the larger completed oil The Buoys (lot 21). The large oil demonstrates that, although Brill is best known for his figurative works, concerned with depicting working-class people, he was also highly concerned with form and colour. In the words of Judith Bumpus, the buoys at Harwich were 'ready-made still lifes', that were 'a surprising, but perfect, subject for his explorations of colour'. Perhaps best known for his role as Head of Kingston School of Art from 1934 to 1962, recognition of Brill's work faded after his death in comparison to his contemporaries, such as Stanley Spencer, and he is only now beginning to receive the attention that such a varied and influential practice is due. This collection of works offers the opportunity to acquire pieces which have remained in a private collection since Brill's death, on 14 June 1974. Ranging from the deeply personal self-portrait of himself in a library (lot 26), to the compositionally rigorous Study of Buoys and Chains (lot 20), the following lots present a unique opportunity to acquire a work by one of 20th Century Britain's great artists and educators.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

Reginald Brill (British, 1902-1974)Buoys at Harwich annotated with colour notes; titled 'Buoys/At/Harwich' (on sheet verso)ball-point pen and pencil on paper31.5 x 22cm (12 3/8 x 8 11/16in).Footnotes:ProvenanceWith The Phoenix Gallery, Lavenham, where acquired by the family of the present owner, circa 1974, and thence by descentPrivate Collection, U.K.'Reginald Brill had quite a distinguished presence – he would now be called charismatic. He was a tall, upright man, who with his beard and air of nonchalance looked the part of the slightly bohemian artist' – Les Duxbury The following collection of works, acquired directly from the retrospective of the artist at Phoenix Gallery in 1974, provide a detailed overview of the artist's unique working methods and conceptual concerns. Described by Judith Bumpus as an English social realist and narrative painter, Brill's work primarily depicts the lives of ordinary people and the landscapes that they inhabit. The Gardener (lot 27), The Stockman (lot 25) and The Working Man (lot 23) showcase this commitment to portraying those who are traditionally overlooked by society. The artist completed his studies at the Slade School of Art between 1920 and 1923 under the tutelage of Henry Tonks, whose commitment to figurative painting can be detected in Brill's work. Reginald Brill's reputation as a painter was cemented when he won a scholarship to the British School of Rome, for the 1927 oil painting The Expulsion in Eden. The following two years in Rome had a lasting impact on Brill's practice. An interest in composition and Renaissance art are evident in Brill's method of producing detailed preparatory drawings prior to executing larger paintings. Lots 17 – 27 include a number of these studies, ranging from the figurative, such as The Gardener (lot 27), to landscapes, such as Study of Buoys and Chains (lot 20). It was also in Rome that Brill developed his characteristic pointilliste or stippled drawing technique, which is most evident in Head Studies (lot 24). Many of the pieces in this collection are keenly observed depictions of Harwich (lots 17-21), a town that is located on the estuaries of the Stour and Orwell rivers. Brill's fascination with Harwich led to the production of a number of preparatory drawings and paintings, in addition to the larger completed oil The Buoys (lot 21). The large oil demonstrates that, although Brill is best known for his figurative works, concerned with depicting working-class people, he was also highly concerned with form and colour. In the words of Judith Bumpus, the buoys at Harwich were 'ready-made still lifes', that were 'a surprising, but perfect, subject for his explorations of colour'. Perhaps best known for his role as Head of Kingston School of Art from 1934 to 1962, recognition of Brill's work faded after his death in comparison to his contemporaries, such as Stanley Spencer, and he is only now beginning to receive the attention that such a varied and influential practice is due. This collection of works offers the opportunity to acquire pieces which have remained in a private collection since Brill's death, on 14 June 1974. Ranging from the deeply personal self-portrait of himself in a library (lot 26), to the compositionally rigorous Study of Buoys and Chains (lot 20), the following lots present a unique opportunity to acquire a work by one of 20th Century Britain's great artists and educators.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

Reginald Brill (British, 1902-1974)Chains signed 'Reginald Brill' (lower right); further signed 'Reginald Brill' (on frame verso)oil on board28 x 22cm (11 x 8 11/16in).Footnotes:ProvenanceWith The Phoenix Gallery, Lavenham, where acquired by the family of the present owner, circa 1974, and thence by descentPrivate Collection, U.K.'Reginald Brill had quite a distinguished presence – he would now be called charismatic. He was a tall, upright man, who with his beard and air of nonchalance looked the part of the slightly bohemian artist' – Les Duxbury The following collection of works, acquired directly from the retrospective of the artist at Phoenix Gallery in 1974, provide a detailed overview of the artist's unique working methods and conceptual concerns. Described by Judith Bumpus as an English social realist and narrative painter, Brill's work primarily depicts the lives of ordinary people and the landscapes that they inhabit. The Gardener (lot 27), The Stockman (lot 25) and The Working Man (lot 23) showcase this commitment to portraying those who are traditionally overlooked by society. The artist completed his studies at the Slade School of Art between 1920 and 1923 under the tutelage of Henry Tonks, whose commitment to figurative painting can be detected in Brill's work. Reginald Brill's reputation as a painter was cemented when he won a scholarship to the British School of Rome, for the 1927 oil painting The Expulsion in Eden. The following two years in Rome had a lasting impact on Brill's practice. An interest in composition and Renaissance art are evident in Brill's method of producing detailed preparatory drawings prior to executing larger paintings. Lots 17 – 27 include a number of these studies, ranging from the figurative, such as The Gardener (lot 27), to landscapes, such as Study of Buoys and Chains (lot 20). It was also in Rome that Brill developed his characteristic pointilliste or stippled drawing technique, which is most evident in Head Studies (lot 24). Many of the pieces in this collection are keenly observed depictions of Harwich (lots 17-21), a town that is located on the estuaries of the Stour and Orwell rivers. Brill's fascination with Harwich led to the production of a number of preparatory drawings and paintings, in addition to the larger completed oil The Buoys (lot 21). The large oil demonstrates that, although Brill is best known for his figurative works, concerned with depicting working-class people, he was also highly concerned with form and colour. In the words of Judith Bumpus, the buoys at Harwich were 'ready-made still lifes', that were 'a surprising, but perfect, subject for his explorations of colour'. Perhaps best known for his role as Head of Kingston School of Art from 1934 to 1962, recognition of Brill's work faded after his death in comparison to his contemporaries, such as Stanley Spencer, and he is only now beginning to receive the attention that such a varied and influential practice is due. This collection of works offers the opportunity to acquire pieces which have remained in a private collection since Brill's death, on 14 June 1974. Ranging from the deeply personal self-portrait of himself in a library (lot 26), to the compositionally rigorous Study of Buoys and Chains (lot 20), the following lots present a unique opportunity to acquire a work by one of 20th Century Britain's great artists and educators.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

Reginald Brill (British, 1902-1974)The Buoys signed 'Reginald Brill' (lower right)oil on board59 x 72cm (23 1/4 x 28 3/8in).Footnotes:ProvenanceWith The Phoenix Gallery, Lavenham, where acquired by the family of the present owner, circa 1974, and thence by descentPrivate Collection, U.K.'Reginald Brill had quite a distinguished presence – he would now be called charismatic. He was a tall, upright man, who with his beard and air of nonchalance looked the part of the slightly bohemian artist' – Les Duxbury The following collection of works, acquired directly from the retrospective of the artist at Phoenix Gallery in 1974, provide a detailed overview of the artist's unique working methods and conceptual concerns. Described by Judith Bumpus as an English social realist and narrative painter, Brill's work primarily depicts the lives of ordinary people and the landscapes that they inhabit. The Gardener (lot 27), The Stockman (lot 25) and The Working Man (lot 23) showcase this commitment to portraying those who are traditionally overlooked by society. The artist completed his studies at the Slade School of Art between 1920 and 1923 under the tutelage of Henry Tonks, whose commitment to figurative painting can be detected in Brill's work. Reginald Brill's reputation as a painter was cemented when he won a scholarship to the British School of Rome, for the 1927 oil painting The Expulsion in Eden. The following two years in Rome had a lasting impact on Brill's practice. An interest in composition and Renaissance art are evident in Brill's method of producing detailed preparatory drawings prior to executing larger paintings. Lots 17 – 27 include a number of these studies, ranging from the figurative, such as The Gardener (lot 27), to landscapes, such as Study of Buoys and Chains (lot 20). It was also in Rome that Brill developed his characteristic pointilliste or stippled drawing technique, which is most evident in Head Studies (lot 24). Many of the pieces in this collection are keenly observed depictions of Harwich (lots 17-21), a town that is located on the estuaries of the Stour and Orwell rivers. Brill's fascination with Harwich led to the production of a number of preparatory drawings and paintings, in addition to the larger completed oil The Buoys (lot 21). The large oil demonstrates that, although Brill is best known for his figurative works, concerned with depicting working-class people, he was also highly concerned with form and colour. In the words of Judith Bumpus, the buoys at Harwich were 'ready-made still lifes', that were 'a surprising, but perfect, subject for his explorations of colour'. Perhaps best known for his role as Head of Kingston School of Art from 1934 to 1962, recognition of Brill's work faded after his death in comparison to his contemporaries, such as Stanley Spencer, and he is only now beginning to receive the attention that such a varied and influential practice is due. This collection of works offers the opportunity to acquire pieces which have remained in a private collection since Brill's death, on 14 June 1974. Ranging from the deeply personal self-portrait of himself in a library (lot 26), to the compositionally rigorous Study of Buoys and Chains (lot 20), the following lots present a unique opportunity to acquire a work by one of 20th Century Britain's great artists and educators.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

Reginald Brill (British, 1902-1974)Workman's Head pencil, pen and ink and wash on paper, squared for transfer32.5 x 21.5cm (12 13/16 x 8 7/16in).Footnotes:ProvenanceWith The Phoenix Gallery, Lavenham, where acquired by the family of the present owner, circa 1974, and thence by descentPrivate Collection, U.K.'Reginald Brill had quite a distinguished presence – he would now be called charismatic. He was a tall, upright man, who with his beard and air of nonchalance looked the part of the slightly bohemian artist' – Les Duxbury The following collection of works, acquired directly from the retrospective of the artist at Phoenix Gallery in 1974, provide a detailed overview of the artist's unique working methods and conceptual concerns. Described by Judith Bumpus as an English social realist and narrative painter, Brill's work primarily depicts the lives of ordinary people and the landscapes that they inhabit. The Gardener (lot 27), The Stockman (lot 25) and The Working Man (lot 23) showcase this commitment to portraying those who are traditionally overlooked by society. The artist completed his studies at the Slade School of Art between 1920 and 1923 under the tutelage of Henry Tonks, whose commitment to figurative painting can be detected in Brill's work. Reginald Brill's reputation as a painter was cemented when he won a scholarship to the British School of Rome, for the 1927 oil painting The Expulsion in Eden. The following two years in Rome had a lasting impact on Brill's practice. An interest in composition and Renaissance art are evident in Brill's method of producing detailed preparatory drawings prior to executing larger paintings. Lots 17 – 27 include a number of these studies, ranging from the figurative, such as The Gardener (lot 27), to landscapes, such as Study of Buoys and Chains (lot 20). It was also in Rome that Brill developed his characteristic pointilliste or stippled drawing technique, which is most evident in Head Studies (lot 24). Many of the pieces in this collection are keenly observed depictions of Harwich (lots 17-21), a town that is located on the estuaries of the Stour and Orwell rivers. Brill's fascination with Harwich led to the production of a number of preparatory drawings and paintings, in addition to the larger completed oil The Buoys (lot 21). The large oil demonstrates that, although Brill is best known for his figurative works, concerned with depicting working-class people, he was also highly concerned with form and colour. In the words of Judith Bumpus, the buoys at Harwich were 'ready-made still lifes', that were 'a surprising, but perfect, subject for his explorations of colour'. Perhaps best known for his role as Head of Kingston School of Art from 1934 to 1962, recognition of Brill's work faded after his death in comparison to his contemporaries, such as Stanley Spencer, and he is only now beginning to receive the attention that such a varied and influential practice is due. This collection of works offers the opportunity to acquire pieces which have remained in a private collection since Brill's death, on 14 June 1974. Ranging from the deeply personal self-portrait of himself in a library (lot 26), to the compositionally rigorous Study of Buoys and Chains (lot 20), the following lots present a unique opportunity to acquire a work by one of 20th Century Britain's great artists and educators.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

Reginald Brill (British, 1902-1974)Head Studies pen and ink and wash on paper34 x 53cm (13 3/8 x 20 7/8in).Footnotes:ProvenanceWith The Phoenix Gallery, Lavenham, where acquired by the family of the present owner, circa 1974, and thence by descentPrivate Collection, U.K.'Reginald Brill had quite a distinguished presence – he would now be called charismatic. He was a tall, upright man, who with his beard and air of nonchalance looked the part of the slightly bohemian artist' – Les Duxbury The following collection of works, acquired directly from the retrospective of the artist at Phoenix Gallery in 1974, provide a detailed overview of the artist's unique working methods and conceptual concerns. Described by Judith Bumpus as an English social realist and narrative painter, Brill's work primarily depicts the lives of ordinary people and the landscapes that they inhabit. The Gardener (lot 27), The Stockman (lot 25) and The Working Man (lot 23) showcase this commitment to portraying those who are traditionally overlooked by society. The artist completed his studies at the Slade School of Art between 1920 and 1923 under the tutelage of Henry Tonks, whose commitment to figurative painting can be detected in Brill's work. Reginald Brill's reputation as a painter was cemented when he won a scholarship to the British School of Rome, for the 1927 oil painting The Expulsion in Eden. The following two years in Rome had a lasting impact on Brill's practice. An interest in composition and Renaissance art are evident in Brill's method of producing detailed preparatory drawings prior to executing larger paintings. Lots 17 – 27 include a number of these studies, ranging from the figurative, such as The Gardener (lot 27), to landscapes, such as Study of Buoys and Chains (lot 20). It was also in Rome that Brill developed his characteristic pointilliste or stippled drawing technique, which is most evident in Head Studies (lot 24). Many of the pieces in this collection are keenly observed depictions of Harwich (lots 17-21), a town that is located on the estuaries of the Stour and Orwell rivers. Brill's fascination with Harwich led to the production of a number of preparatory drawings and paintings, in addition to the larger completed oil The Buoys (lot 21). The large oil demonstrates that, although Brill is best known for his figurative works, concerned with depicting working-class people, he was also highly concerned with form and colour. In the words of Judith Bumpus, the buoys at Harwich were 'ready-made still lifes', that were 'a surprising, but perfect, subject for his explorations of colour'. Perhaps best known for his role as Head of Kingston School of Art from 1934 to 1962, recognition of Brill's work faded after his death in comparison to his contemporaries, such as Stanley Spencer, and he is only now beginning to receive the attention that such a varied and influential practice is due. This collection of works offers the opportunity to acquire pieces which have remained in a private collection since Brill's death, on 14 June 1974. Ranging from the deeply personal self-portrait of himself in a library (lot 26), to the compositionally rigorous Study of Buoys and Chains (lot 20), the following lots present a unique opportunity to acquire a work by one of 20th Century Britain's great artists and educators.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

Reginald Brill (British, 1902-1974)The Stockman pencil on paper, squared for transfer21.5 x 16cm (8 7/16 x 6 5/16in).Footnotes:ProvenanceWith The Phoenix Gallery, Lavenham, where acquired by the family of the present owner, circa 1974, and thence by descentPrivate Collection, U.K.'Reginald Brill had quite a distinguished presence – he would now be called charismatic. He was a tall, upright man, who with his beard and air of nonchalance looked the part of the slightly bohemian artist' – Les Duxbury The following collection of works, acquired directly from the retrospective of the artist at Phoenix Gallery in 1974, provide a detailed overview of the artist's unique working methods and conceptual concerns. Described by Judith Bumpus as an English social realist and narrative painter, Brill's work primarily depicts the lives of ordinary people and the landscapes that they inhabit. The Gardener (lot 27), The Stockman (lot 25) and The Working Man (lot 23) showcase this commitment to portraying those who are traditionally overlooked by society. The artist completed his studies at the Slade School of Art between 1920 and 1923 under the tutelage of Henry Tonks, whose commitment to figurative painting can be detected in Brill's work. Reginald Brill's reputation as a painter was cemented when he won a scholarship to the British School of Rome, for the 1927 oil painting The Expulsion in Eden. The following two years in Rome had a lasting impact on Brill's practice. An interest in composition and Renaissance art are evident in Brill's method of producing detailed preparatory drawings prior to executing larger paintings. Lots 17 – 27 include a number of these studies, ranging from the figurative, such as The Gardener (lot 27), to landscapes, such as Study of Buoys and Chains (lot 20). It was also in Rome that Brill developed his characteristic pointilliste or stippled drawing technique, which is most evident in Head Studies (lot 24). Many of the pieces in this collection are keenly observed depictions of Harwich (lots 17-21), a town that is located on the estuaries of the Stour and Orwell rivers. Brill's fascination with Harwich led to the production of a number of preparatory drawings and paintings, in addition to the larger completed oil The Buoys (lot 21). The large oil demonstrates that, although Brill is best known for his figurative works, concerned with depicting working-class people, he was also highly concerned with form and colour. In the words of Judith Bumpus, the buoys at Harwich were 'ready-made still lifes', that were 'a surprising, but perfect, subject for his explorations of colour'. Perhaps best known for his role as Head of Kingston School of Art from 1934 to 1962, recognition of Brill's work faded after his death in comparison to his contemporaries, such as Stanley Spencer, and he is only now beginning to receive the attention that such a varied and influential practice is due. This collection of works offers the opportunity to acquire pieces which have remained in a private collection since Brill's death, on 14 June 1974. Ranging from the deeply personal self-portrait of himself in a library (lot 26), to the compositionally rigorous Study of Buoys and Chains (lot 20), the following lots present a unique opportunity to acquire a work by one of 20th Century Britain's great artists and educators.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

Reginald Brill (British, 1902-1974)Sketch for 'The Artist in His Library' titled 'Sketch for/The artist in his library' (on sheet verso)pen and ink, pencil and wash on paper, squared for transfer38 x 24cm (14 15/16 x 9 7/16in).with a further pen and ink and ink head study of a man, on the reverse, by the same handFootnotes:ProvenanceWith The Phoenix Gallery, Lavenham, where acquired by the family of the present owner, circa 1974, and thence by descentPrivate Collection, U.K.'Reginald Brill had quite a distinguished presence – he would now be called charismatic. He was a tall, upright man, who with his beard and air of nonchalance looked the part of the slightly bohemian artist' – Les Duxbury The following collection of works, acquired directly from the retrospective of the artist at Phoenix Gallery in 1974, provide a detailed overview of the artist's unique working methods and conceptual concerns. Described by Judith Bumpus as an English social realist and narrative painter, Brill's work primarily depicts the lives of ordinary people and the landscapes that they inhabit. The Gardener (lot 27), The Stockman (lot 25) and The Working Man (lot 23) showcase this commitment to portraying those who are traditionally overlooked by society. The artist completed his studies at the Slade School of Art between 1920 and 1923 under the tutelage of Henry Tonks, whose commitment to figurative painting can be detected in Brill's work. Reginald Brill's reputation as a painter was cemented when he won a scholarship to the British School of Rome, for the 1927 oil painting The Expulsion in Eden. The following two years in Rome had a lasting impact on Brill's practice. An interest in composition and Renaissance art are evident in Brill's method of producing detailed preparatory drawings prior to executing larger paintings. Lots 17 – 27 include a number of these studies, ranging from the figurative, such as The Gardener (lot 27), to landscapes, such as Study of Buoys and Chains (lot 20). It was also in Rome that Brill developed his characteristic pointilliste or stippled drawing technique, which is most evident in Head Studies (lot 24). Many of the pieces in this collection are keenly observed depictions of Harwich (lots 17-21), a town that is located on the estuaries of the Stour and Orwell rivers. Brill's fascination with Harwich led to the production of a number of preparatory drawings and paintings, in addition to the larger completed oil The Buoys (lot 21). The large oil demonstrates that, although Brill is best known for his figurative works, concerned with depicting working-class people, he was also highly concerned with form and colour. In the words of Judith Bumpus, the buoys at Harwich were 'ready-made still lifes', that were 'a surprising, but perfect, subject for his explorations of colour'. Perhaps best known for his role as Head of Kingston School of Art from 1934 to 1962, recognition of Brill's work faded after his death in comparison to his contemporaries, such as Stanley Spencer, and he is only now beginning to receive the attention that such a varied and influential practice is due. This collection of works offers the opportunity to acquire pieces which have remained in a private collection since Brill's death, on 14 June 1974. Ranging from the deeply personal self-portrait of himself in a library (lot 26), to the compositionally rigorous Study of Buoys and Chains (lot 20), the following lots present a unique opportunity to acquire a work by one of 20th Century Britain's great artists and educators.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

Reginald Brill (British, 1902-1974)The Gardener pencil on two sheets of paper, squared for transfer49 x 19.5cm (19 5/16 x 7 11/16in).Footnotes:ProvenanceWith The Phoenix Gallery, Lavenham, where acquired by the family of the present owner, circa 1974, and thence by descentPrivate Collection, U.K.'Reginald Brill had quite a distinguished presence – he would now be called charismatic. He was a tall, upright man, who with his beard and air of nonchalance looked the part of the slightly bohemian artist' – Les Duxbury The following collection of works, acquired directly from the retrospective of the artist at Phoenix Gallery in 1974, provide a detailed overview of the artist's unique working methods and conceptual concerns. Described by Judith Bumpus as an English social realist and narrative painter, Brill's work primarily depicts the lives of ordinary people and the landscapes that they inhabit. The Gardener (lot 27), The Stockman (lot 25) and The Working Man (lot 23) showcase this commitment to portraying those who are traditionally overlooked by society. The artist completed his studies at the Slade School of Art between 1920 and 1923 under the tutelage of Henry Tonks, whose commitment to figurative painting can be detected in Brill's work. Reginald Brill's reputation as a painter was cemented when he won a scholarship to the British School of Rome, for the 1927 oil painting The Expulsion in Eden. The following two years in Rome had a lasting impact on Brill's practice. An interest in composition and Renaissance art are evident in Brill's method of producing detailed preparatory drawings prior to executing larger paintings. Lots 17 – 27 include a number of these studies, ranging from the figurative, such as The Gardener (lot 27), to landscapes, such as Study of Buoys and Chains (lot 20). It was also in Rome that Brill developed his characteristic pointilliste or stippled drawing technique, which is most evident in Head Studies (lot 24). Many of the pieces in this collection are keenly observed depictions of Harwich (lots 17-21), a town that is located on the estuaries of the Stour and Orwell rivers. Brill's fascination with Harwich led to the production of a number of preparatory drawings and paintings, in addition to the larger completed oil The Buoys (lot 21). The large oil demonstrates that, although Brill is best known for his figurative works, concerned with depicting working-class people, he was also highly concerned with form and colour. In the words of Judith Bumpus, the buoys at Harwich were 'ready-made still lifes', that were 'a surprising, but perfect, subject for his explorations of colour'. Perhaps best known for his role as Head of Kingston School of Art from 1934 to 1962, recognition of Brill's work faded after his death in comparison to his contemporaries, such as Stanley Spencer, and he is only now beginning to receive the attention that such a varied and influential practice is due. This collection of works offers the opportunity to acquire pieces which have remained in a private collection since Brill's death, on 14 June 1974. Ranging from the deeply personal self-portrait of himself in a library (lot 26), to the compositionally rigorous Study of Buoys and Chains (lot 20), the following lots present a unique opportunity to acquire a work by one of 20th Century Britain's great artists and educators.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

Paul Nash (British, 1889-1946)A Wood - Illustration for King Lear, Act 2 Scene III signed with monogram, dated and dedicated '1926/John from Paul' (lower right), titled and inscribed 'Act 2- Scene III/A Wood -/Edgar. I heard myself proclaimed/etc.' (lower left)pen and ink and pencil on paper24 x 18.5cm (9 7/16 x 7 5/16in).Footnotes:ProvenanceWith Peter Nahum at The Leicester Galleries, London, where acquired by the present owner, 7 February 2006Private Collection, U.K.LiteratureW. Shakespeare, The Tragedie of King Lear; Newly Published from the First Folio of 1623, Ernest Benn Ltd, London, 1927, illustrated as a woodcut, plate 1A. Causey, Paul Nash, Clarendon Press, Oxford, 1980, p. 167The present lot is a drawing produced by Paul Nash for the 1927 re-printing of Shakespeare's King Lear. The edition featured a preface by Harley Granville-Barker, and included six set designs by the Artist, in addition to five colour plates. This drawing depicts the Earl of Gloucester's son Edgar, who is hiding in the woods disguised as the beggar 'poor Tom' (2.3.30), in order to escape the man-hunt instigated by his brother Edmund. The graphic, vorticist forms of the woodland echo Nash's larger oils, produced in the same period, such as the 1929 painting Wood on the Downs.For further information on this lot please visit Bonhams.com

Richard Smith (British, 1931-2016)Four Corners 2 signed 'RICHARD SMITH' (on stretcher bar)acrylic on canvas122.5 x 122.5cm (48 1/4 x 48 1/4in).Painted in 1965(unframed)Footnotes:ProvenanceWith Kasmin Limited, London, 1972, where acquired byWith Studio La Citta, Milan, where acquired byPrivate Collection, ItalyWith Galleria Dell'Ariete, Milan (as Untitled)'There was painting before Dick Smith and there was painting after Dick Smith, and they were not the same.' (C. Stephens in R. Smith, Artworks 1954-2013, EFB Publishing and Thames & Hudson, London, 2022, p. 41)Richard 'Dick' Smith, who was born in Letchworth, Hertfordshire and studied at The Royal College of Art from 1954-1957, was a prodigious talent whose work became admired both in the U.K. and the U.S.A., where he would work for much of his career. By the age of 35 Smith had already participated in several influential mixed exhibitions, including representing the U.K. at the Venice Biennale, and enjoyed an early retrospective exhibition at the Whitechapel Gallery. He would exhibit again at the Venice Biennale in 1970, and further major exhibitions include a solo exhibition at the Hayward Gallery in 1973 and a second retrospective at the Tate in 1975. His output broadly comprises of early formal paintings rooted in Pop imagery, large colour field shaped canvases which push the boundary of painting into three dimensions, hanging 'kite' paintings which reject the conventionality of a traditional canvas construction and painterly canvases concerned with space and gravity which date to his final two decades.The present work is number two in a series of four paintings Smith executed in 1965 titled Four Corners. In these works, Smith, who had already moved his painting practice from two to three dimensions, instead chooses to work within the parameters of a traditional canvas painting and interrupts the conventional space with vibrant curving colour bands.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Sir Peter Blake R.A. (British, born 1932)Newspaper Girl printed laminate facsimile from the original newspaper collage design121 x 38cm (47 5/8 x 14 15/16in).Executed circa 1960Footnotes:ProvenanceThe DANAD Design ArchiveExhibitedLondon, Portal Gallery, DANAD Design, 8-19 November 1960London, Paul Smith, DANAD Design, 25 April-10 May 2019London, William Morris Gallery, DANAD Design: 1958-1962, February-April 2020DANAD Design (1958-1962) was set up in 1958 by a loose collective of six artists who lived in a dilapidated Georgian country house in Hertfordshire called Marden Hill. The collective's name derived, eponymously, from Barry Daniels and Tom Adams. Together with Peter Blake, Robyn Denny, Bernard Cohen and Edward Wright, as well as the architects Colin Huntley and Peter Adams, the artists worked collaboratively to cross the boundaries between art and design.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

A Large Victorian Binocular Microscope By Parkes, With Provenance, English, dated on the original invoice May 22 1860, signed 'J Parkes & Son, Birmingham' the microscope on a a large 'Y' shaped base with tall uprights supporting the main body on arge trunnions, large diameter plano-concave mirror in gimbal on sliding collar, mechanical substage with X_Y control crown gear and pinion for rotation and rack and pinion focusing, mechanical stage with X-Y control via rack and screw, course focus to rear of bar with screw fine focus on limb to nosepiece, with PreRMS Ross thread to objectives, complete with a large fitted case of accessories and slides with many prepared by the original owner, James Watsom MP, the set contains 6 objectives and cans all signed Parkes, 2 eyepieces, substage accessories, a large frog plate a selection of fine tools and other items, a drawer at the bottom contains the slides, microscope height 55cm, case width 47cm Provenance: From a sale of items from Berwick House, Shropshire James Watson was a man of many talents - an English merchant, dairy herdsman, and Conservative politician who served as a Member of Parliament from 1885 to 1892. Born in 1817, Watson lived a long and productive life, making significant contributions to both the economic and political spheres of England during his time. Watson was born in the small town of Bowes in County Durham, where he spent much of his early life. As a young man, he worked as a farmer and dairy herdsman, honing his skills in animal husbandry and developing a keen eye for business. He eventually moved to London, where he set up a successful wholesale grocery business, importing goods from all over the world and selling them to local merchants and consumers. In addition to his business pursuits, Watson was deeply involved in politics, particularly in the Conservative Party. In 1885, he was elected to the House of Commons, representing the constituency of Stockton-on-Tees. During his time in Parliament, Watson was a strong advocate for the interests of the working class, particularly those in the agricultural sector. He was a vocal proponent of measures to improve the conditions of farmers and to increase the availability of affordable food for the poor. One of Watson's most notable achievements as a politician was his work on the Agricultural Holdings Act of 1883. This piece of legislation, which Watson helped to draft and promote, provided important protections and rights for tenant farmers, including the ability to negotiate longer leases and to receive compensation for improvements made to their land. The Act was a significant step forward for the agricultural sector, helping to secure the livelihoods of countless farmers and their families. Throughout his life, Watson remained committed to his values of hard work, fairness, and service to his community. He was a generous philanthropist, supporting a variety of charitable causes and institutions throughout his lifetime. He was also deeply committed to his family, and was known for his devotion to his wife and children. James Watson died in 1895, at the age of 78. He left behind a legacy of hard work, dedication, and service to others, both in his business and political pursuits and in his personal life. His contributions to the agricultural sector and to the Conservative Party continue to be felt today, and his example of integrity and commitment to community remains an inspiration to many. Footnote: This lot contains ivory and has been registered in accordance with the Ivory Act (Section 10), Ref.1H86QWG6 Flints Auctions CANNOT ship this item out of the UK. Please arrange your own courier or contact Oxford Pack & Send to see if they can offer shipping. Prospective purchasers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to ivory and tortoiseshell. Accordingly, prospective purchasers should familiarize themselves with relevant customs regulations prior to bidding if they intend to import this lot into another country.

An Important Butterfly & Moth Collection & Archive of Dr.T. H. C. Taylor, The cabinet, English, c.1880, constructed of French polished mahogany with panelled sides, plinth base on bun feet, with tall glazed door with key and lock, containing 2 banks of 10 drawers with a separator in the centre, each drawer with mahogany pulls, with fitted glazed tops on wooden runners, the collection consists of mounted specimens with the specimen title on a large label, each individual specimen with a separate mounting label on the pin below showing a collection number or in some cases a more detailed label and is complete with a detailed descriptive book that relates to the numbers on each of the specimens, the book contains the following information for each species Number, Name, Sex, Date, Method of Capture, Location, and a handwritten letter talking about how and when the collection was formed, even detailing the cost of the cabinet at £20.00, cabinet height 124cm The Wing Collection the collection comes with 8 bound albums and several bound folders containing a collection of Insect wings collected from around the globe, these albums and folders are titled; Indo - Aust. Nyn (specimens dated 1925-1932) Indo - Aust. Pap. (specimens dated 1925) Indo - Aust. Pier., Eryc., Lyc., Hesp. (specimens dated 1926) Indo - Aust. Dan., Satyr., Ama (specimens dated 1926) Sphingidae, Uganda, (specimens dated 1925) Uraniidae Epiplemidae, New Guinea (specimens dated 1926-1932) Africa - Pap. (specimens dated 1936) Africa - Lyc., Hesp. (specimens dated 1936-1943) Africa - Nym (specimens dated 1936-1938) Africa - Dan., Satyr., Eryc. (specimens dated 1935) Africa - Nym. (inc Acraea) (specimens dated 1939) Java Fiji With 8 manila folders of wings The Archive of Documents & Books the cabinet comes with a large collection of documents, photographs, and books relating to Dr. T. H. C. Taylor and his work the documents include: A collection of 4 sketchbooks of exceptionally well-executed Zoological pencil drawings including insects, mammal anatomy, and other subjects. Book - The Coconut Moth in Fiji A History of its Control by Means of Parasites, by J. D. Tothill, T. H. C. Taylor & R. W. Paine, 1930, with handwritten dedication form T. H. C. Taylor Letters - a green folder of notes taken on the back of a large number of letters mainly from Uganda Protectorate, Department of Agriculture. Offprint - Scale Parasite from West Indies, 1928. Offprint - Parasite for 'Clidemia hirta', 1928. Journal - Nature, vol 237 No. 5355 June 16 1972. Offprint - locust news letter, with compliments of Gurdas Singh, United Nations 1972. offprints - various most signed. Journal Anti Locust Research Centre 1971. Book - proceedings of the international study Conference on the Current & Future problems of acridology, Hemming 7 Taylor 1970. Book - restricted, Draft, the desert Locust Inter regional, general report, United Nations, 1966, handwritten note by T. H. C. Taylor. Documents - 3 expired British Passports for Taylor with multiple stamps and visas. Journals - Collection of period journals and books related to Taylor's work. Letter - The Commonwealth Institute of Entomology, British Museum, Cromwell Road, London - Possible plates from published work Koninklijke Paketvaart Maatschappij receipt for travel 1933. Photograph - Image of Dr. T. H. C. Taylor as a young man. Photograph - Image of Dr. T. H. C. Taylor as an old man. Photographs - a collection of photographs from Taylor's travells to Fiji & Java Photographs - other various photographs and groups including Taylor. Document - Resume of the work of Dr. T. H. C. Tayloy, Tay, taggers, Tom Document - Obituary Dr T. H. C. Taylor, who died on April 14, 1972, 1 was a leading tropical entomologist and a pioneer of the biological control of insects leaving an enduring impact through his pioneering work on biological control of insects. After graduating with first-class honors in zoology from the University of London in 1924, Taylor's passion led him straight to Fiji, where he embarked on groundbreaking research. In his quest for effective insect control, he traveled extensively throughout Melanesia, Eastern Asia, and the West Indies, collecting suitable parasites and gaining invaluable insights into the diverse challenges of tropical entomology. Taylor's approach, which involved introducing natural predators and parasites to combat destructive pests, challenged conventional methods and established a promising alternative to the widespread use of harmful insecticides. His work laid the foundation for a new era of entomology, inspiring further exploration and advancements in the field. In Fiji, Dr. Taylor took on the coconut moth (Levuana iridescens) problem by introducing the Malaysian fly parasite (Bessa remota). This successful intervention prompted him to further establish the eulophid wasp (Pediobiu.v parvulus) to control the coconut leaf-miner and the coocinellid beetle (Cryptognatha nodiceps) to manage the coconut scale insect. These introductions effectively eliminated these serious pests, thanks to Taylor's hands-on field studies and skillful breeding techniques. Moreover, Dr. Taylor's early research in Trinidad on the thrips (Liothrips urichi) led to a successful control of the pasture weed (Clidemia hirta) in Fiji. By utilizing this natural predator, he demonstrated the potential of biological control as an alternative to harmful insecticides. This approach, which had already been pioneered in California and Hawaii, holds significant relevance today, given the growing global concern over the impact of insecticides on the environment. In his notable publication, "The Biological Control of an Insect in Fiji," Dr. Taylor made a significant contribution to the establishment of biological control as a credible and effective method. He provided valuable insights into the techniques of breeding and deploying predator and parasitic insects in controlled environments. This knowledge formed the foundation for future advancements in the field. In 1935, Dr. Taylor presented a paper in the Jubilee Proceedings of the Association of Applied Biologists, expressing his belief that biological control rarely succeeds in continental areas and is incompatible with chemical use. At the time, his assessment seemed accurate. However, subsequent developments and techniques have proven that biological control can be effective even in continental regions, challenging Dr. Taylor's initial viewpoint. Nonetheless, his early work remains crucial in driving our understanding and exploration of biological control methods.

Richard P. Feynman - An original Program for the 1965 Nobel Prize for Physics, Titled ‘Traduction Des Discours A La Fete Nobel, 1965, for the 1965 Nobel prize for physics, for Professor Sin-itiro Tomonga (Japan), Julian Schwinger (U.S.A.) and Richard P. Feynman (U.S.A.) presented by Professor Ivar Waller, The Royal Academy of Science, prize citation “ for their fundamental work in Quantum Electrodynamics, with deep-ploughing consequences for the physics of elementary particles”, printed, Stockholm 1965 acoprint, with owners inscription to top of cover – possibly Rylander a professor in Medicine from Karolinska, Stockholm, who was at the Nobel ceremony that night. and,Save Richard P. Feynman, How to Build an Automobile Smaller Than This Dot >., Exploring the fantastic possibilities of the very small should pay off handsomely - and provide a lot of fun too. By Richard P. Feynman, popular Science, November 1960, original covers.

An Early Set of Kohs Blocks - Early IO Test, American, c.earky 20th Century, label to the front reads 'KOHS BLOCKS, Distributed by The National Foundation for Educational Research 79 Wimpole Street, London W1' each of the 17 cards stamped 'C. H. Stoelting Co, Chicago Ill, U.S.A.' the cards with Roman numerals from I to XVII and 1 marked A, complete with all 16 coloured wooden blocks, in the distressed original card case Footnote: The Kohs Block test, commonly referred to as the Kohs Block Design Test, is a performance test developed as a measure of IQ. In this test, individuals are required to replicate the patterns shown on a set of test cards using 16 colored cubes. The test was designed with the intention of being accessible to individuals with language or hearing disabilities. History: The Kohs Block test was developed in 1920 by psychologist Samuel C. Kohs, who was a student of Lewis Terman. It was inspired by previous designs such as Francis N. Maxfield's Color Cube Test. Kohs initially described the test as consisting of 17 cards that increase in complexity. Test takers had to replicate the designs using painted blocks, with each side either a single color or divided by a diagonal line. The original scoring method considered completion time and number of moves, but it was later amended to only score completion time. The test was administered to both children and adults. In the 1930s, the Kohs Block Test started being given at the Ohio School for the Deaf and other schools catering to students with special needs. Currently, the Kohs Block Design Test has been incorporated into various IQ tests as separate sections. It is widely used in research to assess executive functioning and learning, consistent with its original purpose. The test has proven useful in studying the effects of aging, drug use, and brain research, among other fields. Its non-verbal nature makes it particularly effective for assessing individuals with language difficulties and in multicultural research settings where language may not be a reliable factor for functional assessment. Completion of the task in the Kohs Block Test is extremely challenging for patients with right hemisphere brain damage, making it a valuable tool for diagnosing such damage.

Ephemera, Deeds, Documents and Indentures, Early Shropshire, an historically important group of 16, mostly vellum, property deeds and documents (not court rolls) 1606-1748, of which 11 are 17thC. They mainly concern the Topp family and the manors of Vennington and Whitton in the Parish of Westbury. Includes the 1628 marriage settlement of Lingen Topp who became High Sheriff of Shropshire in 1678 (gen gd)

CARL MOORE: (British): A framed and glazed limited edition signed print entitled, "The lion who Wanted to be a Panda" depicting a lion with a panda face with typical drip colour characteristics. Numbered 1 / 25. Pencil signed to bottom right. Approx. 47 cms x 48 cms (ss). Est. £100 - £150.

CARL MOORE: (British): A framed and glazed limited edition signed print entitled, "The Gorilla Who Wanted to be a Zebra" depicting a lion with a panda face with typical drip colour characteristics. Numbered 19 / 25. Pencil signed to bottom right. Approx. 47 cms x 48 cms (ss). Est. £100 - £150.

A Renou Little Girl with Mouse Automata, French circa 1900, the Jumeau bisque head (incised M) with closed mouth, blue paperweight eyes and painted features, wood and card body with bisque lower arms, standing in front of a table with metal cage and remains of mouse, all mounted on a red velvet covered base, when wound musical movement plays single air whilst her head slightly moves up and down, she raises the front of the cage, the mouse then runs forward and she then taps the mouse with her stick who runs back into the cage which she then closes, 16” (41cm) tall, (condition: good working order, head perfect, wig sparse, underclothes original, silk dress probably later and in poor condition, table lacks cover and ends).

‘Stack House’ a good and important early English painted wooden dolls house and contents, circa 1820, previously on display at the Vivien Greene Dolls House museum, the façade and sides with painted trompe l’oeil, creating a convincing red brick Regency house with stone string course, panelled front door with fanlight, Doric columns to portico and nine sash windows with painted blinds, the kitchen window is particularly interesting and shows a wire blind to keep out flies and a maidservant peering over, awaiting visitors perhaps, the black pitch roof has two chimneys, the front opens in two wings to four rooms, hallway and landing, mounted on a wooden stand. Hallway: this is entered by a painted wooden archway with painted marbled columns, leading to staircase with red silk carpet and ochre painted walls. Kitchen: with plain wood walls and floor, Evans and Cartwright tinplate cooking range with wooden fire surround and brass hand wound mechanical spit Jack, fixed hanging wooden shelves and a selection of kitchen furniture including wooden table, chairs, tinplate Evans & Cartwright chair, food, pots, pans, plates, serving dishes, kettle, utensils and more. Ground floor dining room: with cream floral wallpapers, Evans and Cartwright tinplate fireplace and painted wooden ‘marbled’ surround, good amount of furniture to include wooden tables, pink upholstered chairs with settee, bureau, bird in cage, chessboard (incomplete), and various ornaments, together with two bisque shoulder head seated gentlemen. First floor landing: with blue floral wallpapers, chest of drawers, pram and painted wooden Grodnertal doll in original clothes. First floor bedroom: with cream foliage wallpapers, Evans and Cartwright tinplate fireplace and painted wooden ‘marbled’ surround, Chinois four poster bed, wooden table, chest, Evans & Cartwright washstand, ornaments, Grodnertal and peg wooden dolls (Grodnertal with paint loss to face, peg lacks one lower arm). First floor drawing room: with cream papered walls, Evans and Cartwright tinplate fireplace and painted wooden ‘marbled’ surround, nice mauve upholstered settee and chairs, Evans & Cartwright table, display cabinet, clock, bird cage and more, together with two Parian shoulder head dolls and a Grodnertal wooden doll (face and lower legs overpainted). House (without stand) 36” (91cm) tall, with stand 59 ¾” (151.5cm), 40” (112cm) wide, 15 ½” (39cm) deep. Stand 24” (61cm) tall, (condition: some repaired cracks to façade, marble effect fireplace surrounds and kitchen surround and Jack not original, stand 19th century but probably not original to house). Provenance: The house originates from Settle in Yorkshire, where it is believed to have remained in Stack House with one family for more than one hundred years, it was subsequently sold to, an antique dealer in Sussex who sold it to Miss Mary Titcomb a friend of Vivien Greene’s, the House features in ‘English Dolls’ Houses of the Eighteenth and Nineteenth Century’ Vivien Greene’s first book on Dolls Houses and the house was later exhibited in her famous Rotunda Museum, Oxford. The house was sold in 1998 by Bonhams Auctioneers, London as part of the Vivien Greene museum collection. Jennifer Le Masurier later acquired the house and has since done further extensive research into the history and family which will all be offered with the house. Please note: For viewing, shipping and collection of this lot please contact Leigh Gotch at C&T Auctioneers direct.

Republique Francais, Assignat, unissued 5 Livres, 31 October 1793, series 8103, signature of by Jean Baptiste Drouet, who was the border guard who recognised King Louis XIV as he attempted to flee France, leading to his capture and execution, uncirculated Pick A76 £100-£150 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK ---

Companhia de Mocambique, specimen 1 Libra Esterlina, 15 March 1934, serial numbers 123456 and 789012, manuscript signature of the Administrador who signed the note, two cancellation holes, in PMG holder 40, extremely fine, extremely rare, probably unique Pick SR31s £150-£200

"The Fight for Everest 1924", by Lieutenant Colonel Norton DSO and other members of the expedition, signed by Charles Warren and Jim Gavan (both who made attempts on Everest in the pre-war period), published London Edward Arnold & Co., first edition 1925.

After J Lincoln Rowe "Kangchenjunga Yalung Face" limited edition print, 300/100, signed by the artist lower right also signed by four climbers who ascended in 1955: George Band, Jo Brown, Norman Hardy and Tony Streather, 44 cm x 63 cm (SH).

Alfred Wainwright (1907-1991), a collection of five Alfred Wainwright interest books, titled Alfred Wainwright by Eric Robson - For Those Who Love The Hills, compiled by W F Dyer, A Bit Of Grit On Haystacks, edited by Dave Hewitt, The Countryman - The Art of Wainwright, The Wainwright Notebook and After You Mr Wainwright, by W.R. Mitchell (6).

Attributed to the Keswick School of Industrial Arts K.S.I.A. a three fish motif copper beaten dish. Diameter 25 cm. Note: This piece was gifted to Ronnie Wise who worked at K.S.I.A. from 1934-1984 when the school was closing (see illustration).

A 9 ct gold cased pocket watch, London import mark for 1923, knob wind, Roman numerals and subsidiary seconds dial, together with a plated Albert chain with 9 ct gold fob, to Holme East Waver, presented to William F Russell who took part in the Great War 1914/1918 (4.7 grams).

A large mineral sample of red obsidian. Height 8.5 cm. CONDITION REPORT: We have spoken with the vendor, they have informed us that they had the piece of obsidian looked at by a gemologist who confirmed it was obsidian. We do not however have any paperwork to confirm this.

Twelve assorted LPs including The Who, Yes, Be-Bop Deluxe, Hawkwind etc. Condition- the Hawkwind album has a fold out sleeve and booklet, the Yes album has a green and red label with white stripe. General condition of the vinyls is fair.

Bound vols. The Boy's Friend, a small quantity of The Popular, modern magazines including Dr Who etc.

Tachiste School, French active c.1959 - Untitled, 1959; ink on paper, signed with initials indistinctly and dated lower left '59', 29.5 x 19.5 cm (ARR) Provenance: Reginald Hill, owner of Reille Gallery, London; private collection, gifted by the above Note: this work was originally attributed to Denis Bowen (1921-2006), but the initialing does not appear to match the artist's style of signing his work. The previous owner of the work Reginald Hill worked closely with Denis Bowen when he ran New Vision Centre Gallery and Halima Nalecz who ran Drian Gallery. Stylistically, the present work feels in keeping with French Tachiste artists of the Post-War period, such as Camille Bryen, Roger Brissiere and Odette Boyer. The work has a French 'douane' customs stamp and both New Vision Centre and Drian Galleries did exhibitions of contemporary French artists during this period. 

Edward Le Bas RA, British 1904-1966 - Still life with flowers, 1936; oil on canvas, signed and dated lower left 'E. le Bas. 36', on the reverse 'Edward le Bas Atrani near Amalfi', 64 x 51 cm (ARR) Note: works by the artist are in all major UK collections including the Tate, the National Museum of Wales, the National Portrait Gallery, London and the Government Art Collection. The artist was a friend of Duncan Grant and through his personal wealth amassed a large collection of works by Bloomsbury and Camden Town artists, as wells as important works by Edouard Vuillard, who was a major influence on his style. 

Frank O. Salisbury,  British 1874-1962 -  Ten portraits:  Mrs S. L. Buxton, 1944;  Harold Guylee Chester, Deputy chairman, Lloyds Bank. Presented to the sitter by Lloyds bank to celebrate the fifteenth anniversary of his entry to the company. Benefactor of Methodism Vice -president designate of Methodist conference, two, with accompanying print of the finished oil, 1953;  Henry John Bostock (1870-1956) Managing director of shoe factory in Stafford, 1949; Sir Thomas Pearson Frank, "The man who saved London from drowning"; Francis Dent, "It’s a bargain" Art dealer. Painted in exchange for return of Reflections to F.O. Salisbury, 1950; John W. Crawford, Board chairman of the County Savings Institute. Chairman of the Queens County Savings Bank, with a Portrait of a gentleman with a cane on the reverse, 1938; Mrs Robert G & Patricia Elbert, 1934; Mrs John S. W.Crawford, Elizabeth McAllister, New York, 1939/9; chalk and pastel on paper, 62.5 x 48 cm and smaller (unframed) (10) (ARR)  Provenance:  The Walpole Society, donated by Philip Mould & Company on behalf of a private collector  Note:  Frank O. Salisbury was one of the leading society portrait painters of his day. The son of a plumber and glazier, he was drawn to art at an early age and throughout his career painted many important figures in the cultural and political sphere, including Queen Elizabeth II and Sir Winston Churchill. His portraits of Dame Maud McCarthy and Prince Edward, Duke of Windsor (King Edward VIII) are currently on display as part of the inaugural display at the newly reopened National Portrait Gallery in London. Salisbury also painted large-scale ceremonial, historical and religious scenes, many of which are now in public collections.  Salisbury painted in a classical but lively style, bringing his sitters to life while remaining vehemently opposed to modern methods. The works for sale with Roseberys include portraits of glamourous society figures, politicians, eminent businesspeople, and members of the aristocracy. Interesting examples include portraits of Will Keith Kellogg, founder of the eponymous cereal company, Her Highness the Ameera of Bhahwalpur and Mrs Dunlap Hopkins, President of the Women’s School of Design in New York. There is also a highly moving study of a Nurse in Wartime uniform. Alongside these portraits, there is also a collection of large-scale studies for religious scenes.  These works have remained unseen for several decades and were recently donated to The Walpole Society by Philip Mould & Company on behalf of a private collector.  

Michael Forster,  Canadian 1907-2002 -  Untitled, 1979;  acrylic on canvas, signed and dated on the reverse 'Michael Forster 1979', 91 x 112.3 cm Note: numbered 534a on the reverse  Forster’s early works from the 1940s are truly Surrealist in manner, which was interrupted when he was sent to London as one of Canada’s official war artists. After a move to Montreal in 1949, he turned to the Automatistes, a group of artists who ascribed to the theory proposed by Andre Breton, painting through free, unconscious gestures. The works in the sale are a summation of his early Surrealist works and imagery from days at sea with the Royal Canadian Navy. He called these works ‘inner landscapes’ - both representational and coming from the subconscious. Forster moved to Cornwall in the late 1970s where he remained until his death in 2002. His works have been exhibited internationally including the British Museum, Musee d’art Moderne, Paris, the Stedelijk Museum, Amsterdam, the National Gallery, Washington, and Sao Paulo Museum, Brazil.