Dugdale (William). Monasticon Anglicanum: A History of he Abbies and other Monasteries, Hospitals, Friereis, and Cathedral and Collegiate Churches, with their dependencies, in England and Wales;..., 8 volumes, new edition, London: James Bohn, 1846, numerous monochrome plates, bookplates to the front pastedowns, some minor toning throughout, top edges gilt, contemporary gilt decorated blue half morocco, boards & spines slightly rubbed, folio, together with:Bicknell (C.), The Prehistoric Rick Engravings in the Italian Maritime Alps, Bordighera: printed by Pietro Gibelli, 1902, monochrome plates, dark stain to the foot of the front & rear endpapers, some light toning & minor wear, contemporary blue cloth, slightly rubbed with some minor loss, 8vo, plus other 19th-century & modern miscellaneous literature & reference, including art & bibliography, mostly original cloth, some in dust jackets, G/VG, 8vo/folioQTY: (6 shelves)
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Lanes (Selma G.). The Art of Maurice Sendak, 1st edition, London: The Bodley Head, 1980, numerous colour & monochrome illustrations, original cloth in glassine dust jacket, oblong 4to, together with:Muir (Maurice), A history of Australian childrens book illustration, 1st edition, Oxford: university Press, 1982, title page signed by the author, numerous colour & monochrome illustrations, original cloth in dust jacket, covers lightly rubbed to head & foot, includes a typed and signed letter plus a hand written greeting card from the author to the previous owner, large 8vo, plusGavault (Paul), Les Livres de L'Enfance du XVe au XIXe Siecle, 2 volumes, reprinted, London: The Holland Press, 1985, numerous monochrome illustrations, some minor marginal toning, original cloth in dust jackets, covers slightly rubbed with some small tears to the head & foot, large 4to, and other modern juvenile literature bibliography & related reference, many original cloth in dust jackets, some paperbacks, G/VG, 8vo/4toQTY: (6 shelves)
* Jones (Harold, 1904-1992). Countryside Living: A Composition, oil on board, signed lower right, board size 38.5 x 50.5 cm, framed (44 x 56 cm)QTY: (1)NOTE:Jones was a London born artist, illustrator and writer of children’s books who studied illustration at Goldsmith's College (under Edmund Sullivan, a former teacher of Arthur Rackham), Camberwell School of Arts and Crafts and then studied at the Royal College of Art on a scholarship. Children's book critic Brian Alderson called Jones 'perhaps the most original children’s book illustrator of the period'.
The Pelican History of Art. 40 volumes, Middlesex: Penguin Books, circa 1960s-70s, numerous colour & monochrome illustrations, all original cloth in dust jackets, 18 volumes in slipcases, covers lightly rubbed to head & foot, large 8vo, together with a folder of related press articlesQTY: (40)
PROPERTY FROM THE COLLECTION OF MR. K.B. GOEL, ART CRITIC: Five chemical works by Francis Newton Souza from the Private Collection of the distinguished art critic K.B. Goel Lots 276-280Francis Newton Souza (Indian, 1924-2002), Untitled, Head, signed upper left 'Souza' and dated upper right '1968', Chemical work on magazine paper, mounted, glazed and framed, 20 x 26 cm. Provenance: The property of Dr. Premlata Goel, widow of the distinguished art critic, K.B. Goel; Gifted by Souza to his close friend, the art critic, K.B. Goel (1930 - 2018).See also Shruti Parthasarathy ed., K.B. Goel, Critical Writings on Art, 1957–1998, Tulika Books, 2019
Sunil Das (Indian, 1939-2015)Untitled (sketch of a Bull)charcoal on paper90x58Provenance: Private UK Collection Footnotes: Sunil Das was an expressionist Indian artist, born in Calcutta in 1939. He joined the Government College of Art & Craft, in Kolkata, in 1955, before winning the French Government Scholarship to study at the École des Beaux-Arts in Paris. During this period he had the chance to travel to Spain, where he spent a couple of months and developed his passion for horses and bulls. Hardly ever painting in loud or warm colours, Sunil Das uses soft brown, mauve and white in the background to bring out the drama of life. Das is the only Indian artist to have won a National Award (the Shiromani Kala Puraskar) while still an undergraduate at the Government College of Art and Craft, kolkata. Besides having been featured in several exhibitions, his works are also a part of the collections of renowned museums such as the National Gallery of Modern Art, New Delhi, the Glenbarra Art Museum, Japan, and the Ludwig Museum, Germany.
Ladies playing music on a terrace, Oudh, Lucknow, North India, circa 1720, opaque pigments heightened with gold on paper, depicting a princess seated on a European style chair, with attendants behind, two musicians before them, a lake and single tree to the back ground, mounted and framed, painting 20 x 13.5cm. Provenance: Property from a Private Swiss Collection, ZurichFootnotes: In the late 18th century, Lucknow in Oudh became an urban center whose inhabitants devoted themselves to the enjoyment of the visual and performing arts. Painters refined the Mughal style and created seductively decorative scenes of luxurious pleasures. Among the best Lucknow paintings are refined, extremely detailed scenes such as this. See P. Pal et al., Dancing to the Flute: Music and Dance in Indian Art, 1997.
PROPERTY FROM THE COLLECTION OF MR. K.B. GOEL, ART CRITIC: Five chemical works by Francis Newton Souza from the Private Collection of the distinguished art critic K.B. Goel Lots 276-280Provenance: The property of Dr. Premlata Goel, widow of the distinguished art critic, K.B. Goel; Gifted by Souza to his close friend, the art critic, K.B. Goel (1930 - 2018).Francis Newton Souza (Indian, 1924-2002), Untitled, Head, signed and dated upper left 'Souza 93', Chemical work on magazine paper, mounted, glazed and framed, 21.5 x 28.5 cm.Provenance: The private collection of Dr. Premlata Goel, widow of the distinguished art critic K.B. Goel (1930-2018) to whom this work was gifted by the artist in the mid 1980s.'Souza is famous for his inflammatory treatment of heads. The iconography is morbidly personal, the distortion grotesque to the point of a neurotic edge; the image proper shows mannerisms played to the dark labyrinth of the psyche, K.B. Goel, 1990. Francis Newton Souza developed a technique of chemically altering images later in his career, which he called chemical alterations or chemical drawings. Using this technique, he would draw over glossy pages of magazines that he would bleach out using chemicals in an attempt to make a connection between the magazine and his very own scribbling over it. The process was not only creatively satisfying but also provided some respite from the execution of a full-blown work.Souza created many heads during the course of his career: 'I have created a new kind of face [...] I have drawn the physiognomy way beyond Picasso, in completely new terms. And I am still a figurative painter [...] He stumped them and the whole of the western world into a shambles. When you examine the face, the morphology, I am the only artist who has taken it a step further'. (Artist statement, Yashodhara Dalmia, The Making of Modern Indian Art: The Progressives, New Delhi, 2001, p. 94).'If he was creating monsters, probably no one would be troubled; but because his images are clearly intended to be human, one is compelled to ask why his faces have eyes high up in the forehead, or else scattered in profusion all over the face; why he paints the mouths that stretch like hair combs across the face, and limbs that branch out like thistles. Souza’s imagery is not a surrealist vision- a self-conscious aesthetic shock- so much as a spontaneous re-creation of the world as he has seen it, distilled in the mind by a host of private experiences and associations'. (Edwin Mullins, Souza, London: Anthony Blond Publishers, 1962, p. 39).See also Shruti Parthasarathy ed., K.B. Goel, Critical Writings on Art, 1957–1998, Tulika Books, 2019Many thanks to Simon Brandenburger, a friend of the Goel family, for his contribution to this entry
A block printed cotton textile from Masulipatam South East India, 19th century, painted, resist-dyed and mordant-dyed and applied gold and silver pigment on cotton, with a design of a trellis pattern enclosing gopi girls flanking a blossoming plant; the gopis hold fly whisks, or fans, 45.5 x 71.5 cmHanging textile panels with similar designs were used to decorate the walls and ceilings of shrines dedicated to Krishna, in addition to pichhwai which were hung behind the deity. A similar but larger example is in the Tapi Collection (99.1910), while an indigo ground example is in the Jagdish and Kamla Mittal Museum of Indian Art in Hyderabad, India (76.111). (VAT charged on hammer price)Literature:Barnes, R. Cohen S. & Crill, R. 'Trade, Temple & Court - Indian Textiles from the Tapi Collection' 2002, no 83; Gittinger, M. 'Master Dyers to the World' 1982, no 68.
A Company School painting of a monkey, India, mid-19th century, after a Mughal painting of the same subject attributed to the Stipple Master (active circa 1692 -1715), opaque pigments on paper, backed with additional later paper, folio 26.2 x 22cm.The original painting dated to 1705-10AD is held by the Art Institute of Chicago (2011.248). The inscription on the reverse written in Devanagari states that the monkey is named Husaini and comes from Nawab Davad (or Daud) Khan. This name most likely refers to Daud Khan Panni, a powerful nobleman and a faujdar (a military commander and territorial administrator) who served the Mughal emperors from Aurangzeb (r. 16581707) through Farrukhsiyar (r. 171319), in various parts of India.Later artists such as the one who painted this version in the 19th century would no double have been aware of such a large and unusual portrait. Given the popularity of paintings of flora and fauna in the late 18th and early 19th century it is not surprising that the artist wished to pay tribute to the original. Gone are details such as the grass and rope from the monkey's neck, replaced with a simplicity characteristic of the period.Condition Report: Good overall with light staining and wear to lower border
Sunil Das (Indian, 1939-2015)Untitled (sketch of a Bull)charcoal on paper90x58Provenance: Private UK Collection Footnotes: Sunil Das was an expressionist Indian artist, born in Calcutta in 1939. He joined the Government College of Art & Craft, in Kolkata, in 1955, before winning the French Government Scholarship to study at the École des Beaux-Arts in Paris. During this period he had the chance to travel to Spain, where he spent a couple of months and developed his passion for horses and bulls. Hardly ever painting in loud or warm colours, Sunil Das uses soft brown, mauve and white in the background to bring out the drama of life. Das is the only Indian artist to have won a National Award (the Shiromani Kala Puraskar) while still an undergraduate at the Government College of Art and Craft, kolkata. Besides having been featured in several exhibitions, his works are also a part of the collections of renowned museums such as the National Gallery of Modern Art, New Delhi, the Glenbarra Art Museum, Japan, and the Ludwig Museum, Germany.
Hema Joshi (Indian, b. 1934)The Documentsigned lower leftgouache on board, glazed and framed 47x40cmProvenance: Acquired by the vendor directly from the artist.Footnotes: Hema Joshi studied at Elphinstone College, Bombay, then at the famous Sir J.J. School of Art. She lives and works in Mumbai, but has exhibited internationally, and in India - with seventeen solo exhibitions to her name. In 1996, she served a year's residency in the North of England for the Visual Arts UK Program.Condition Report: Unexamined out of frame; as viewed
A double-sided album page from the Imperial Mughal Library during the reign of the Emperor Aurangzeb, Herat, 16th century, with Deccani and Mughal additions of the second half of the 17th century, opaque pigments heightened with gold on paper, recto with scene of a prince enthroned, with a inscription identifying the ruler as Genghis Khan, being entertained by musicians, perhaps excised from a manuscript of Jami's Nafahat al-Uns, laid down on an album page with an inner border of fine gilt floral interlace and small birds delicately painted in polychrome, and outer silver-sprinkled light blue border, the page with nasta'liq inscription within gold cloudbands in upper border, Devanagari inscription in gold to lower border, seal impression of Mughal Imperial Librarian at lower right corner; verso, a calligraphic panel signed Qasim 'Ali, with four ll. of diagonal black nasta'liq text outlined in gold, on a green ground, within a border of small panels with 2ll. of black nasta'liq within cloudbands on gold and polychrome, numbered ?? in Arabic at lower left corner, painting verso 21 x 30.5cm. and calligraphy recto 22.7 x 16cm.; album page 41.6 x 29.5cm. (VAT charged on hammer price)Provenance: The Imperial Mughal Library, apparently during the reign of the Emperor Aurangzeb (reg. 1658-1707); Private UK collection, early 1970s-80s.The seal impression in the lower right corner (recto) is that of a Mughal official, and reads: sohrab khan khaneh zad-e 'alamgir padshah, 'Sohrab Khan, born in the household of 'Alamgir Padshah'. The date is not clear, possibly (10)69AH/ 1658-59AD, but it is clearly from the reign of Aurangzeb/'Alamgir I (1658-1707), and the terminology indicates the early years of his reign.Two folios from the same album have appeared at auction, both bearing the seal impression of Sohrab Khan. Bonhams sold most recently a folio from a Private American collection, 25th October 2021 Lot 4 and another appeared at Sotheby's, The Khosrovani-Diba Collection, 19th October 2016, lot 15. This album page featured a calligraphy by Javaher Raqam to the recto. The name Sohrab Khan is found on other album pages including one in the Philadelphia Museum, and on a portrait of the Mughal nobleman Farrukh Fal, dated 1650-75, with Francesca Galloway (Indian Miniatures, London 2005, pp. 16-17, no. 6). This also has the same kind of Devanagari inscription indicating a Rajput collection, perhaps Amber. The calligrapher's name Javaher Raqam was the title given by Alamgir to Sayyid Ali Tabrizi who had lived in Isfahan and moved to India with his father during Shah Jahan's reign. He is said to have taught Prince Aurangzeb. He held posts in the Royal court, including the Royal Librarian and his seal impression is found in numerous manuscripts. All his recorded works are calligraphic pages dating between 1062AH (1651-2) and 1086AH (1675-1676AD). The absence of text makes it impossible to say if the paintings recto were excised from a manuscript of Jami's Nafahat al-Uns, or another text on Sufis, or were simply depictions of the life of Shaykh Majd al-Din, made in an album for a specific patron.Jami's Nafahat al-Uns told the lives of six hundred and eleven Sufi saints. Shaykh Majd al-Din Baghdadi was a pupil of Najm al-Din Kubra. Khwarazm Shah asked the Caliph of Baghdad to send him a physician and Majd al-Din was sent. The Khwarazm Shah threw him in dajlah (referring, it seems, to a river as large as the Tigris - a scene perhaps depicted at lower left). Examples of the complete text have appeared at auction a few times: the only illustrated instance was a single leaf, dated to Herat, circa 1500 (see Christie's South Kensington, Indian and Islamic Works of Art and Textiles, 11th April 2008, lot 102. For complete examples of the text, see: Christie's, Islamic, Indian and Armenian Art and Manuscripts, 12th October 1999, lot 80 (dated AH 910/AD 1504); Bonhams, Islamic and Indian Art, 5th December 2002, lot 496 (Afghanistan or North India, 17th Century); Christie's, Art of the Islamic and Indian Worlds, 31st March 2009, lot 138A (a Turkish translation, dated 1520).The verses are unrecorded, the signature reads Qasim Ali, who could be identified with the calligrapher from Shiraz active at the beginning of the 16t century scribe of a manuscript now in the Smithsonian Museum, Washington, inv.no. S1986.194.1-2.Footnotes: Provenance: Property from an Important Private CollectionCondition Report: Condition report: In good condition, minor smudges and losses to the paint, a later Indian inscription on the lower border, minor holes and flaking, some stains and rubbing
An illustrated folio from a Jain manuscript, Mewar, India, 17th century, opaque pigments on paper, with 14ll. of text to the right, the illustration depicting Krisha and cowherders with another figure possibly a merchant on a red ground, mounted, glazed and framed, painting visible, 22.7 x 11cm. Footnotes: The style of these paintings is similar to the Gem Palace Ragamala in the National Museum in Delhi and the Sursagar in the Kanoria Collection in Calcuta, both of which were probably painted by the artist of the Chitor Ramayana executed in 1651. Although the format is clearly drawn from Hindu and Jain traditions, the dress of the merchant and the prince are influenced by Mughal portraiture.No other copy of this text is known and Jain manuscripts produced in Mewar are very rare. Two other leaves of this manuscripts are in the Los Angeles County Museum and in the San Diego Museum of Art (Pal, The Peaceful Liberators: Jain Art from India, Los Angeles, 1995, no 94; Edwin Binney 3rd Collection, Archer and Binney, 1968, no 4).Condition Report: Unexamined out of frame, with some paint loss
Sunil Das (Indian, 1939-2015)Untitled (sketch of a Bull)charcoal on paper90x58Provenance: Private UK Collection Footnotes: Sunil Das was an expressionist Indian artist, born in Calcutta in 1939. He joined the Government College of Art & Craft, in Kolkata, in 1955, before winning the French Government Scholarship to study at the École des Beaux-Arts in Paris. During this period he had the chance to travel to Spain, where he spent a couple of months and developed his passion for horses and bulls. Hardly ever painting in loud or warm colours, Sunil Das uses soft brown, mauve and white in the background to bring out the drama of life. Das is the only Indian artist to have won a National Award (the Shiromani Kala Puraskar) while still an undergraduate at the Government College of Art and Craft, kolkata. Besides having been featured in several exhibitions, his works are also a part of the collections of renowned museums such as the National Gallery of Modern Art, New Delhi, the Glenbarra Art Museum, Japan, and the Ludwig Museum, Germany.
PROPERTY FROM THE COLLECTION OF MR. K.B. GOEL, ART CRITIC: Five chemical works by Francis Newton Souza from the Private Collection of the distinguished art critic K.B. Goel Lots 276-280Francis Newton Souza (Indian, 1924-2002), Untitled, Head, signed and dated upper right 'Souza 84', Chemical work on magazine paper, mounted, glazed and framed, 25.5 x 25.5 cm. Provenance: The property of Dr. Premlata Goel, widow of the distinguished art critic, K.B. Goel; Gifted by Souza to his close friend, the art critic, K.B. Goel (1930 - 2018).See also Shruti Parthasarathy ed., K.B. Goel, Critical Writings on Art, 1957–1998, Tulika Books, 2019
A cloisonné enamelled-copper huqqa base, China for the Indian market, late 19th century, of compressed globular form, decorated in red, green, white and yellow enamel with a series of arches filled with floral motifs, the shoulder with flowerheads contained in smaller panels, the neck with further floral motifs,17cm. highFootnotes:For a similar Chinese cloisonné huqqa base produced for the Indian market sold at Christie's see Art of the Islamic and Indian Worlds, 27 April 2017, lot 68.
Ahmed Parvez (Pakistani, 1926–1979), Untitled (Vase), signed and dated 'PARVEZ '78' lower left, pastel on paper, framed and glazed, 55 x 35 cm.Note: Ahmed Parvez was born in Rawalpindi, Punjab, Pakistan. He studied at the Government College for Boys in Baramulla, Jammu and Kashmir and later at the Gordon College in Rawalpindi. Interested in the arts since a young age, Parvez was quickly discouraged by his family and found a job at a clearing and forwarding agency in Karachi.He started to paint only in 1952, when he moved to Lahore and started to train in his uncle's architect studio. The same year he won the University of Punjab shield for men at the annual All Punjab Art Exhibition. In 1955, he moved to London, and founded the 'Pakistan Group of painters'. During his time in the UK, Parvez's works were exhibited in several galleries and institutes including the Woodstock Gallery, the Dennis Bowen's New Vision Centre, the Commonwealth Institute, Lincoln Gallery, London and at Oxford's Ashmolean Museum and Bear Lane Gallery. Parvez left London in 1964 and returned to Karachi where he opened a studio and continued to paint and exhibit. He received the President's Pride of Performance Award in 1978.Considered primarily a colourist, Parvez became known for working on small canvases in watercolour and gouache, densely filling the space. S. Amjad Ali has described his work as 'prismatically colourful' and 'marked by bursting nervous energy that expressed itself in vigorous drawing made up of short strokes and sharp turns and twists of the line' (Painters of Pakistan, p. 135).
An elegant calligraphic gold-damascened sword hilt, Central India, 18th century, of typical form, the gold hilt decorated with naskh in reserve with scrollwork cartouches, the pommel with an elegant dome-shaped finial, 19cm. longA similar calligraphic hilt with the script in gold dated to the 18th century is in the Khalili Collection (inv. MTW 1142; David Alexander, The Arts of War, The Nasser D. Khalili Collection of Islamic Art, Oxford, 1992, no.131, p.197).
Satish Chandra Sinha (Indian, 1893-1965), Untitled, group of six drawings, ink and pen on paper, mounted, 26 x 20 cm., 27 x 18 cm., 22.5 x 18.5 cm., 26.5 x 18 cm., 23 x 28 cm., 29 x 25 cm. (6).Note: Satish Chandra Sinha was born in Calcutta in 1893 and studied under Percy Brown and J.P. Gangooly at the Government College of Art. Sinha followed the Western academic approach to art, placing an emphasis on perspective and realism in his work. He did not complete his education and took up work as a sharebroker and insurance agent. Later in life he returned to art as headteacher at the Government Art School where Mukul Dey was the principal. He eventually became the principal of the Indian College of Art and Draughtsmanship.
Jagannath Panda (Indian, b.1970)GoatSculptureCloth laid on fibreglass42 x 65 cmProvenance: Private UK CollectionFootnotes: Born in 1970 in Bhubaneshwar, Odisha, Jagannath Panda completed his BFA from the B.K. College of Arts & Crafts, Bhubaneshwar, in 1991 and an MFA from the Faculty of Fine Arts, M.S. University, Baroda, in 1994. He also completed an MFA in sculpture from the Royal College of Arts London in 2002. Panda’s oeuvre predominantly manifests the conflict between knowledge and faith. Engaging with diverse themes, concerns and emotions like the human and natural worlds, death and desire, social and economic inequalities, issues of urbanization and dislocation, and shifts in cultural and religious paradigms, he posits contradictory elements making visible the ruptures in our understanding of these elements.Panda has had significant solo shows since 1998; in Tokyo, Mumbai, New Delhi, London, Berlin and San Francisco, including the upcoming group show Visions from India hosted by the Pizzuti Collection, Columbus, Ohio (2020–21); Vadehra Art Gallery, New Delhi (2017); Halcyon Gallery, London (2015); Frey Norris Contemporary and Modern Gallery, San Francisco (2012); MSU Gallery, Baroda (2012); Nature Morte, Berlin (2011); Alexia Goethe Gallery, London (2009); Gallery Chemould, Mumbai (2009), among others. His most recent group shows include the Jeju World Natural Heritage Center, Korea (2019); Palette Art Gallery, New Delhi (2019); Mori Art Museum, Tokyo (2018); the Modern Art Museum, Shanghai (2016); the Museum of Modern and Contemporary Art, Seoul (2013), to name a few.Panda’s works are also in several collections such as the GVK Mumbai International Airport; Mori Art Museum, Fukuoka, Japan; Lalit Kala Akademi, New Delhi; the National Gallery of Modern Art, New Delhi; Hindustan Times, New Delhi; and the International Centre for Genetic Engineering and Biotechnology, New Delhi. He was a visiting researcher at Fukuoka University of Education, Fukuoka, Japan, in 1997 as well as a recipient of the Lalit Kala Akademi Research Fellowship, Orissa State Lalit Kala Akademi Scholarship, and Junior Research Fellowship, Government of India. He has received several awards such as the Centre Prize, C.I.I.C London; All India Fine Arts and Crafts Society Award, New Delhi; Alice Boner Memorial Award; and the All India Drawing Award from Punjab Lalit Kala Akademi and Orissa State Lalit Kala Akademi. He has participated in the Khoj International Residency, Delhi and International City des’Art, Paris.The artist lives and works in New Delhi.
Rajendra Dhawan (Indian, 1936 - 2012), Untitled, Watercolour and ink on paper, Signed and dated 'DHAWAN 75' lower right16.6 x 17 cm. (6 ⅝ x 6 ⅝ in.)Executed in 1975Provenance: The Surya Collection: Property from Mrs Ute RettbergBorn in 1936 Rajendra Dhawan studied at the Delhi School of Art from 1953-58, and at Belgrade from 1960-62. He had founded a group "The Unknown" which held shows from 1960-64. Has held several exhibitions of his work in India and Europe. Some of his one man shows are, in 1972,74 77,81,89 Galerie du Haut-Pave, Paris 1973, 75 Galerie Horn, Luxembourg. 1989 and 1993 Gallery Chemould, Mumbai, Dhoomimal Gallery, Delhi. 1990 Galerie Francois Mitaine. His work is represented in several collections in India and France, including the National Gallery of Modern Art, the Lalit Kala Akademi, Bharat Bhavan Museum and National Foundation of Contemporary Art, Paris. He lived and worked in Paris since 1970. Rajendra Dhawan passed away in 2012.Read Less
A large collection of Vinyl 7 inch 45s in a large black Storage Case.. Approx 450-500 singles from 70s and 80s / 90s predominantly Mostly Pop and rock hit singles plus some dance and soul. Including Genesis, Bryan Ferry, Kim Wilde, Bros, Duran Duran, Van Halen, EMF, Ultravox, Ian Dury, Elvis Costello, Level 42, Art of Noise, Jefferson Starship, Goombay Dance Band demo, Midge Ure, Katrina and the waves, Manfred Man, Gerry and the Pacemakers, Duran Duran, Dannii Minogue, Elton John, Lindisfarne, Argent, Elvis Presley, Ron Francois demo , Reo Speedwagon, Shakin Stevens, Vic Reeves, Mike and Mechanics, Then Jerico, ELO, Black Slate, Diana Ross, Pretenders. UB40, Simply Red etc etc.
Collection of Signed and Autographed photos / cards and some letters. Mostly TV stars plus sporting stars. Barbara Windsor - signed cassette book, Jennifer Ellisons workout dvd signed , Mike East, Daniel Caines Athletics , Robin Tarr, Laura Robson tennis, Jason M x 3, Aston Villa, Hollyoakes Lisa - Ned ( Dan ) Grundy, Brookside notes letters, Sally Morgan, The Bill and letter, Gordon Haskell, Coronation Street, Emerdale, Home and Away, Granada TV letters and Todd Carty letter. Plus a folder of smaller cards / Photos signed by David Jason, Touch of Frost, Vinnie Jones on back of promo card, Robin Hood Gordon Kennedy, Skins, David Kelly, Sam Kelly, Jonathan Kerrigan, Michael Kitchen, Little Britain, Angus Lennie, Hugh Laurie, Dads Army Ian Lavender, Robert Lindsay, Denis Lawson, Danny La Rue, Mark Laden, Royal Family, Nicholas Lyndehurst, Jack Wild, Art Malik, Ian McShane, Dangerfield, Mark McGann, Neil Morrisey, Peter O`Toole, and more...
SEX PISTOLS POSTER - A Rare survivor from the Roadie who was at the Gig and a friend of Martin who was the band member of the support act on the night, Albert Dock.This Sex Pistols Poster is an original 1976 Handbill / Poster and an extremely rare piece of original early Sex Pistols Promotional Material. It was for the show at Eric’s in Liverpool, England on October 15, 1976.The poster is in good condition for its age. It has a small piece missing on the top right of the poster and a small side tear and a little light creasing. Its quite a deep yellow paper with crisp black print.The two figures standing on the rock are John Campbell and Henry Priestman, both member’s of Yachts, and later, It’s Immaterial, and Henry Priestman from The Christians. Martin a member of Albert Dock took the photograph on an art college trip to the Lake District and passed the negative on for the poster production. `The item measures just short of A4 at 295mm x 208mm and it served as both poster and handbill for the gig promotion, the Sex Pistols’ first outing to Liverpool. At that time at Erics, the main act performed upstairs early on in the evening and the support act played downstairs in what would later become the main club area.`This performance came at a pivotal time for the Pistols. Less than a month before, they’d signed a five year management contract with Malcolm McLaren’s Glitterbest Ltd. Three weeks prior to this show, Nick Mobbs of EMI saw the band for the first time, and on October 8, just a week before the Eric’s show, the group officially signed to the label.On October 10 the band recorded an early version of “Anarchy in the UK” with their sound man, Dave Goodman, and beginning on the 12th, they played shows in Dundee, Wolverhampton, and Birkenhead before the Liverpool show on October 15. The Liverpool Echo noted “This gig certainly didn’t have the same impact as the Pistol’s Free Trade Hall gigs in Manchester – in fact it almost went unnoticed as there were only about 50 people there…Eric’s had only just opened on 1 October, and among the first bands to play were the Runaways and the Stranglers. But on 15 October, the infamous Sex Pistols pogo’ed their way into town…Holly Johnston, Paul Rutherford [both later of Frankie Goes to Hollywood], and Pete Burns [Dead or Alive] were all in attendance that night.”Just two days after the Eric’s show, the Pistols recorded the version of “Anarchy in the UK” that EMI released. Five days later, on October 22, Stiff records released The Damned’s “New Rose”, the first-ever UK punk record, beating the Pistols debut single by about a month.Provenance from Richard, a college friend of Martin Watson, Guitarist and Vocals for Albert Dock and later Yachts and who was the roadie for the night. As he states to ensure admission to the gig I was the roadie for Albert Dock ! The other poster is a rare Albert Dock - Return of the Magnificent 7 Poster in fair condition. It has a little staining has been folded once and has pin holes in the corner. It measures 44 cm by 33 cm.
FREDDIE MERCURY, Queen frontman. Limited Edition Signed and numbered Art Print by Artist Paul Howell. Number 55 of 150 only - It is mounted with poly and measures approx 16 x 20 inches. With Embossed Impressed Stamp. A classic Bohemian Rhapsody Pose.Best known as lead singer of popular British rock group Queen. Born 5 September 1946 in Stone Town, Zanzibar, died 24 November 1991 in Kensington, London, UK.
4 vintage issues of Torrid adult erotic art animated magazines/comic books by Erich von Gotha featuring The Baron. First 3 issues form 1979, volume 1 No's 1 -3 together with #10 from the early 1980's. All in very good condition. Part of a large private collection of specialist/fetish adult material.
4 adult erotic art fiction magazines/comic books. 1985 Penthouse Oh, Wicked Wanda! magazine together with 3 issues of X-Rated erotic art comics to include LateX-Rated (#4) and Dom X-Rated (#6). All in very good condition. Part of a large private collection of specialist/fetish adult material.
A small collection of Norwegian .830 silver by Thorvald Marthinsen Sølvvarefabrik, comprising Art Deco style ladle, five pastry forks and two spoons and three floral handed cocktail forks, total weight 227.3g. Provenance: from the collection of the late Sheila Jeffery, West Sussex collector and geologist.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
AN ART DECO GOLDSCHEIDER EARTHENWARE FIGURE modelled as a young fashionable lady wearing a wide brimmed green hat and flower painted dress, holding her gloved right hand up to her hat, her left hand resting on her hip, standing on an oval black base, original label, 15 1/4" high, fixed onto a black painted oblong wood platform with chrome "lamp post" light fitting (Est. plus 24% premium inc. VAT)No chips, cracks or restoration. Unable to take off plinth to see marks, have partly taken felt off base and the figure appears to be glued to base not screwed
AN ART DECO WALNUT DISPLAY CABINET of circular form with two astragal glazed doors with turned brass handles enclosing glass shelving, raised on lobed square supports, 47" x 12 1/2" x 46 1/4" (Est. plus 24% premium inc. VAT)Two tiny veneer chips to base, woodwork and glass good, Some of cream silk lining loose on top right, and wear to same at base of back, no lining to floor of cabinet.
AN ART DECO THREE PIECE TEA SERVICE, maker's mark WS over HS, London 1927, of angled cylindrical form raised on a spreading foot with lightly planished finish, comprising teapot, the hinged cover with ebonised knop and angular handle, sugar basin and milk jug, teapot 11 1/4" wide, 35ozs 11dwts total gross (Illustrated) (Est. plus 24% premium inc. VAT)No engraving, black wearing to handle, knop good, generally good
AFTER EUGENE LELIEVRE (1856-1945) An art nouveau silvered bronze box and cover, of lobed squat form, the lift-off cover cast as an upturned sunflower head with the stalk forming the loop handle, the box cast in high relief with other flowers, gilded interior, stamped "Susse Freres, Copyright", 4" diameter overall (Est. plus 24% premium inc. VAT)Bears ex. Sotheby's part Lot No.1132, 30.9.1994(?), generally good
AN ART DECO BRONZED SPELTER FIGURAL ELECTRIC LAMP BASE modelled as a young lady with shingled hair, wearing a blue/grey trimmed figure skimming dress, her right arm holding aloft a frosted glass flame moulded shade, fixed to a white onyx base, engraved R494, 21" high overall including shade and base (Est. plus 24% premium inc. VAT)Very minor chip to tip of flame, unsigned, generally good
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