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Click here to subscribeA large and colourful figurative lithograph print of two females in the art deco style by Amleto dalla Costa (1980). Dalla Costa is an Italian artist born in Milan in 1929 and is well known for his paintings and prints that draw on art history for inspiration. His work is mostly figurative and graphic in style. 47x36.5cm (image to mount edge) 62x52cm (framed)
An interesting collection of costume jewellery and other items to include a vesta case in the form of a skull made from brass brass, WWi era, a hall marked silver combination propelling pen and pencil on chain, a hall marked silver charm bracelet with coins and other charms, an art nouveau buckle in the form of shamrocks, a Czech glass buckle, a Victorian jet hand brooch, glass bead necklaces etc in a yellow tartan case (qty)
a c1920s gentleman’s watch by Le Saleve who were a a brand of Blum & Ostersetzer S.A. (Bienne), who were specialized in watch production for Italy with white enamel dial and black numbers and two auxiliary dials, one for seconds and one for 30 minutes (still ticking), an art deco era lady’s watch with 9 ct gold case by Estia (not ticking) and a late 19th century skin thermometer (3)
An exquisite uranium glass set, featuring two circular candlesticks, a ring holder, and a tray, crafted in the classic Art Deco style. This set is characterized by its geometric design and radiant green glow under UV light, a hallmark of uranium glass. Popular from the late 19th to early 20th century, uranium glass pieces like this are highly collectible for their unique aesthetic and historical significance. This set remains a stunning example of craftsmanship and is perfect for both collectors and interior enthusiasts seeking to add a vintage touch to their decor.
A Soviet-era educational poster featuring the major gods of Greek mythology, including Zeus, Hades, Hera, Athena, Dionysus, Aphrodite, Ares, Apollo, Artemis, and others. Illustrated in a distinctive Soviet style, this poster captures the grandeur of Greek deities for educational purposes. Authored by G.I. Godler and illustrated by L.M. Goldberg, both esteemed contributors to Soviet historical and mythological education. Size: 59 cm by 89 cm. Paper condition should be evaluated from the provided photos. This rare, collectible poster is perfect for enthusiasts of mythology and Soviet-era educational art.
A delightful bronze-finished figurine by Richard Fisher featuring a penguin with two chicks, capturing the nurturing spirit of this Antarctic bird. The textured surface and detailed expressions bring life to the sculpture, making it a charming piece for wildlife enthusiasts or collectors of animal art. Perfect for display in any home or office setting.
â–² David Bailey (b.1938) Robert Fraser Gallery group, October 1968gelatin silver print, a photocopied note attached verso reads 'Printed 2013/By Bailey/for NPG Selection, 2014 Exhibition', with the artist's signaturevisible 29.5 x 29.5cmProvenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportFramed: 60 x 48cmPresents well overall and ready to hang. Not viewed out of glazed frame. The note and signature are photocopied not original.
â–² Clive Barker (b.1940) 'Dalek', 1998 (Fermon 335)polished aluminium, stamp signed, titled, dated and numbered '5/6' on base15.5cm highProvenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportDust and dirt to the crevices. For a full report please contact the department.
â–² Michael Seymour (1932-2018) Pauline Boty, 1963;Susannah York contact sheet;Michael Caine and Terence Stampthree modern prints from original negatives, each signed 'Michael Seymour' and dated '26.09.08' with artist's copyright stamp versoimage 32 x 50.5cm and similar, unframed (3)Provenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportOverall: 42 x 59cmAll three prints present well overall. The photograph of Pauline Boty has a small yellow spot to the centre of the left margin.
â–² Augustus John OM RA (1878-1961) 'Romani Chai' (Campbell Dodgson 77)etching and drypoint, signed 'Augustus E John' beneath in pencil l.l.image 10 x 8.5cmProvenance: With Folio Fine Art Ltd., London. Condition ReportFramed: 33 x 26.5cmThe etching has been cut down and is without margins. It sits slightly above the sheet on which it has been mounted. Time staining with light creasing to the upper left. The print itself is crisp and fine. Not viewed out of glazed frame.
Yayoi Kusama (Japanese, b.1929) 'Pumpkin' (red)lithograph in colours, numbered '16/200' in pencil l.l., printed courtesy of Mori Art Museum, Tokyosheet 30 x 37cm, unframedCondition ReportA couple of small dirty marks to the lower edge on the reverse. The front of the print is unaffected and appears to be in good condition.
â–² Fletcher Sibthorp (b.1967) 'Chroma I', 2007screenprint in colours, 2012, signed 'Fletcher Sibthorp' in pencil l.r., and numbered '129/150'image 89 x 89cm,sold with a copy of 'Passion: Fletcher Sibthorp - Paintings, Drawing and Studies 1998-2005', published by Buckingham Fine Art Publishers (2)Condition ReportFramed: 123 x 122cmAppears to be in good condition. There is a faint dark mark to the pink area of background in the lower left quarter and it is unclear if this is an original part of the print, please refer to illustration. Well presented and ready to hang. Not viewed out of glazed frame. Light surface scuffs to the slipcase of the book.
â–² Laurence Stephen Lowry RA (1887-1976) 'Man Holding Child'lithograph in colours, from an unnumbered edition of 350, signed 'L. S. Lowry' in pencil l.r., with Fine Art Trade Guild blind stamp, published by the Adam Collection Ltd.image 45 x 70.5cmCondition ReportFramed: 71.5cm x 96cmAppears to be in good condition. Not viewed out of glazed frame. Well presented and ready to hang.
â–² Philip Townsend (1940-2016) Two photographs of The Rolling Stones, c.1962;George Harrison and John Lennon, 1968three archival pigment prints, printed later, all signed 'Philip Townsend', each numbered from an edition of 50 with artist's blind stamp,together with two further prints, also signed and with blind stamp61 x 50.5cm and smaller, unframed (5)Provenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportLight handling creases. Some of the signatures and numbers are a little faded and smudged, please refer to images. The print of Marty Wilde has a brown mark line across the top margin and has an additional signature verso. The print of a shop has fragments of paper stuck to the reverse however the front of the print does not appear to be affected.
â–² Michael Ward (1929-2011) 'Rolling Stone - Mick Jagger - 1964''Rolling Stone - Brian Jones - 1964'two gelatin silver prints, printed later, each signed 'Michael Ward' and inscribed with title, numbered '4/25' and '5/25' respectively, both with a further embossed signature, also inscribed and dated with artist's stamp verso48 x 33cm and 33 x 48cm, unframed (2)Provenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportBoth prints appear to be in good condition.
â–² Clive Barker (b.1940) 'Elementary', 2017 (Sherlock Holmes)polished bronze, stamp signed, titled, dated and numbered '1/2' on a plaque verso19cm highProvenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportSurface dust and dirt to crevices. For a full report please contact the department.
â–² Charles Spencelayh (1865-1958) 'Old Chelsea Pensioner'signed and dated 'Charles Spencelayh/9.2.35' l.l., inscribed with title l.c., pencil50 x 37cmProvenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportFramed: 75 x 61cmTime staining consistent with the age of the work. A faint crease mark to the upper right corner. A couple of dirty smudges below the signature. Not viewed out of glazed frame.
â–² Laurence Stephen Lowry RA (1887-1976) 'Britain at Play'offset lithograph in colours, signed 'L S Lowry' in pencil l.r., with the Fine Art Trade Guild blind stampimage 44.5 x 59.5cmCondition ReportFramed: 77.5 x 90.5cmOverall the print has a slightly blue hue, please refer to illustration, however it appears to be in otherwise good condition. Not viewed out of glazed frame.
â–² Steven Thomas (b.1944) 'Salt Peter Blake'giclée print in colours, signed and dated 'STEVE THOMAS '10' in pencil l.r., inscribed with title and numbered '2/50'image 61 x 61cmProvenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportFramed: 91.5 x 91.5cmAppears to be in good condition. Well presented and ready to hang.
▲ Ray Bellisario (1936-2018) 'Freedom - First Day Out Of Prison, Lying in a Field’, 1964three gelatin silver prints of Christine Keeler, printed later, one artist's proof, signed 'Ray Bellisario', inscribed and numbered 'AP 3/3' and also signed by Christine Keeler, one signed 'Ray Bellisario' and numbered '1/10', and also signed 'C M Sloane', the name later adopted by Keeler when she struggled to find work, all with The Estate of Christine Keeler blind stamp50 x 40cm, unframed (3)Provenance: The David and Pam McCleave Collection of Modern British Art. Condition ReportThe prints do not sit completely flat at the edges. There is a small purple mark to Keeler's dress beneath the collar on all three prints which is possibly a printing defect (?), please see images, however overall all three prints present well.
â–² Michael Ward (1929-2011) Marianne Faithfull at home, London, 26 July 1967gelatin silver print, printed later, embossed signature l.r., numbered '7/50', signed 'Michael Ward' in pen verso with Michael Ward Archives stamp image 34 x 50cm, unframedProvenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportOverall: 42 x 59.5cmAppears to be in good condition.
A collection of Battersea Power Station posters printed by the Wandsworth Community Printshop, a number signed 'Brian Barnes' in pencil76 x 51cm and similar, unframed (qty.)Provenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportA number of the prints have been stuck down to a canvas backing. A little light creasing. Surface dirt with some small dirty marks and stains.
â–² David Bailey (b.1938) Christine Keeler contact sheet, 1969archival photograph, 2016, signed, dated and numbered '1/10' verso with David Bailey copyright stampsheet 61 x 79.5cm, unframedProvenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportAppears to be in good condition.
â–² Sir Peter Blake RA (b.1932-) 'Mickey'screenprint in colours, 2005, signed 'Peter Blake' in pencil l.r., inscribed with title and numbered '6/175'sheet 70 x 60cm, unframedProvenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportAppears to be in good condition.
â–² Sir Peter Blake RA (b.1932-) '3 Matchboxes'screenprint in colours, 2007, signed 'Peter Blake' in pencil l.r., inscribed with title and numbered '165/175', printed at Coriander Studios, published by CCA Galleriessheet 76 x 102cm, unframedProvenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportA couple of small nicks to the extreme lower left edge. The bottom corners are a tiny bit dented however this is only noticable on very close inspection. Overall the print presents well and appears to be in otherwise good condition.
â–² Clive Barker (b.1940) 'Andy Capp', 1978 (Fermon 182)polished aluminium, stamp signed, titled, dated and numbered '6/6' on base23cm highProvenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportDust and dirt to crevices. For a full report please contact the department.
â–² Sir Peter Blake RA (b.1932-) 'Parade'screenprint in colours, 2009, signed 'Peter Blake' in pencil l.r., inscribed with title and numbered '10/175', printed at Coriander Studios, published by CCA Galleries, with blind stampsheet 78 x 60.5cm, unframedProvenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportAppears to be in good condition.
Marvel Superheroes 'The Invincible Iron Man #47'limited edition print in colours on boxed canvas, 2013, signed 'Stan Lee' in pen l.r. and numbered '84/195', published by Washington Green Fine Art in association with Aaron Fine Arts and CC/Marvel Fine Art, complete with publisher's certificate of authenticity102 x 69cmCondition ReportFramed: 112.5 x 80.5cmA little light surface dirt. Presents well overall.
Marvel Superheroes 'The Silver Surfer #4'limited edition print in colours on boxed canvas, 2013, signed 'Stan Lee' in pen l.r. and numbered '84/195', published by Washington Green Fine Art in association with Aaron Fine Arts and CC/Marvel Fine Art, complete with publisher's certificate of authenticity101.5 x 69cmCondition ReportFramed: 112.5 x 80.5cmScattered spots and speckles of damp/ bloom starting to emerge. Otherwise, presents well.
â–² Barry Fantoni (b.1940) 'Be Prepared', Lord Baden-Powell acrylic and oil over pencil on canvas, published in 'The Sunday Observer' on 18 July 1965, and believed to be based on the 1929 portrait of the World Chief Scout, Lord Baden-Powell, by David Jagger101.5 x 76cmProvenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportFramed: 109 x 83.5cmCraquelure to the bright yellow paint. A little surface dirt. Light scuffs and abrasions with rubbing to the the bottom corners. Not examined under UV light, for a full report please contact the department.
â–² Lawson Wood (1878-1957) 'Downhill a Motorist Came, and a Constable Noting the Same, Stopped the Car with a 'Wack', in the Small of His Back...'signed and dated 'LAWSON.WOOD./05' l.l., titled on mount, pen and ink and watercolour heightened with white27.5 x 20.5cmProvenance: With Chris Beetles, London;the David and Pam McCleave Collection of Modern British Art.Exhibited: Chris Beetles, London, 'The British Art of Illustration, 1800-1999', no. 184.Literature: Illustrated in 'Pearson's Magazine', January to June 1906, 'Random Rhymes no. VI', p.229. Condition ReportFramed: 58 x 42.5cmDiscolouration and foxing to the paper. Brown marks to the centre of the right edge. The colour is a little muted. Not viewed out of glazed frame.
â–² Michiel Folkers (Dutch, b.1982) 'Truth, Justice and the American Way'mixed media over a printed base on canvas board, numbered '6/50' in pen l.l., from a studio edition published by Buckingham Fine Art80 x 80cmCondition ReportFramed: 94.5 x 94.5cmAppears to be in good condition. Well presented and ready to hang.
â–² John Piper CH (1903-1992) 'Sunningwell, Oxfordshire' (Levinson 377)screenprint in colours, 1985, signed 'John Piper' in pencil l.r., numbered '22/70', printed at Kelpra Studios, published by Marlborough Fine Art, with blind stampimage 50 x 65cmCondition ReportFramed: 82.5 x 96cmOn close inspection there is very slight cockling visible to the top edge. A couple of light handling creases to the margins. A 1.5cm crease mark to the left margin, upper centre. Presents well overall when viewed on the wall and ready to hang. Not viewed out of glazed frame.
â–² Terry O'Neill (1938-2019) English footballers, c.1972gelatin silver print, printed later, signed 'Terry O'Neill' and numbered '10/50'image 46 x 45.5cm, unframedProvenance: The David and Pam McCleave Collection of Modern British Art.A photograph of David Webb, Geoff Hurst, Alan Hudson, Terry Venables, Terry Mancini, Alan Ball and Rodney Marsh.Condition ReportOverall: 61 x 51cmAppears to be in good condition.
â–² Sir Peter Blake RA (b.1932) 'Girlie Door'screenprint in colours, 2008, signed 'Peter Blake' in pencil l.r., numbered '100/175', printed at Coriander Studios, published by CCA Galleries, with blind stampsheet 82 x 59.5cm, unframedProvenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportAppears to be in good condition.
â–² Bert Hardy (1913-1995) Beer and oats;A beer deliverytwo black and white photographs, both with Getty Images Gallery blind stamp and Getty Certificates of Authenticity, dated March 2015, attached versoimage 31.5 x 47cm (2)Provenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportFramed: 54 x 68.5cmLight cockling. Well presented and ready to hang.
â–² Clive Barker (b.1940) 'Uncle Scrooge', 2001polished aluminium, stamp signed, titled, dated and numbered '1/6' on plaque to base45cm highProvenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportDust and dirt to crevices. For a full report please contact the department.
▲ Ray Bellisario (1936-2018) 'Freedom - First Day Out Of Prison, Lying in a Field’, 1964two gelatin silver prints of Christine Keeler, printed later, artist's proofs, both signed 'Ray Bellisario', inscribed and numbered 'AP 2/3' and 'AP 1/2' respectively, and also signed by Christine Keeler with The Estate of Christine Keeler blind stamp50 x 39.5cm and 40 x 50cm, unframed (2)Provenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportThere is a small purple mark to Keeler's dress beneath the collar and left hand on the portrait print which is possibly a printing defect (?), however overall both prints present well.
â–² Sir Peter Blake RA (b.1932) 'Babe Rainbow', 1968screenprint in colours on tinplate, signed 'Peter Blake' l.r., inscribed 'For Clive - from Peter' l.c., commissioned and distributed by Dodo Designs, London66 x 44cm, unframedProvenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportLight superficial surface scuffs and scratches. Presents well overall.
After Abigail Lane (British b.1967) Pretty Taxing 'I Skull You' c2007, limited edition tax disc holder number 70/500 with certificate and information leaflet, all housed in folded card packaging, produced in association with Artcarbootfair.com Pretty Taxing is a project that invited artists to contribute images, which where produced as limited edition car tax disc holders. The project, creatively directed by Vanessa Fristedt, has close associations with London’s Art Car Boot Fair.
ITEM: Oil lampMATERIAL: PotteryCULTURE: IslamicPERIOD: 11th - 13th Century A.DDIMENSIONS: 60 mm x 56 mm x 103 mmCONDITION: Good conditionPROVENANCE: Ex French private collection, acquired before 1990sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Islamic oil lamps from the 11th to 13th centuries reflect both the practical needs and the artistic achievements of the medieval Islamic world. These lamps were primarily crafted from materials such as brass, bronze, and glazed ceramics, each with distinct regional styles. Metal lamps were particularly popular due to their durability and ability to withstand high temperatures, while ceramic lamps offered an affordable and widely accessible alternative. The basic form of these lamps consisted of a rounded body with a central reservoir for oil and an extended spout for holding the wick, but many variations existed depending on region and purpose. The lamps were commonly used in mosques, homes, and public spaces, illuminating interiors and enhancing night-time activities with a warm, consistent glow.Islamic oil lamps from this period were often decorated with intricate patterns and inscriptions, reflecting the flourishing of Islamic art and the integration of spirituality into daily objects. Geometric designs, arabesques, and calligraphy were popular motifs, often inspired by Islamic religious themes and the principles of aniconism, which discouraged the use of human or animal figures in religious art. Calligraphic inscriptions, typically featuring verses from the Quran, invocations, or blessings, were especially prevalent, emphasizing the connection between the object and spiritual life. These lamps were not just functional but also carried a symbolic and religious meaning, with the light they produced symbolizing divine guidance and spiritual illumination in Islamic thought.
ITEM: Medusa head appliqueMATERIAL: BronzeCULTURE: RomanPERIOD: 2nd - 3rd Century A.DDIMENSIONS: 25 mm x 38 mm diameterCONDITION: Good conditionPROVENANCE: Ex German private collection since the early 1980sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Roman depiction of Medusa, a figure from Greek mythology, was an enduring and significant image in Roman art, especially in the context of both mythology and protective symbolism. Medusa, one of the three Gorgons, was famously transformed into a monster with snakes for hair and the power to turn anyone who gazed upon her into stone. While the mythological story of Medusa’s transformation and her eventual slaying by the hero Perseus originates in Greek mythology, the Romans adopted and adapted the image of Medusa in a variety of artistic forms. Medusa was often portrayed with a striking, menacing face, her hair a tangle of snakes, symbolizing both her power and her curse.In Roman art, Medusa's image was often used in decorative works, such as reliefs, mosaics, and especially on bronze and marble sculptures. One of the most famous representations of Medusa in Roman art is the Gorgon’s head, which was frequently featured as an apotropaic symbol, used to ward off evil and protect spaces. This "evil eye" function, associated with Medusa, was a significant part of Roman belief, as the face of Medusa was thought to have protective qualities when placed on items like shields, doorways, and public buildings. This use of her image as a protective charm highlights how Roman interpretations of mythology often merged with practical concerns about health, safety, and the unseen dangers of the world.Medusa also appeared in Roman portraiture, particularly in the form of large, dramatic representations of her head as a motif, often seen on coins and jewelry. Roman emperors, such as those during the Julio-Claudian dynasty, used Medusa's image to convey a sense of power, control, and protection, integrating the Gorgon into imperial propaganda. For example, the emperor Nero sometimes had coins minted with Medusa’s head, likely to symbolize the ruler’s connection to divine or supernatural protection. The dual nature of Medusa—both a symbol of danger and a protector—mirrors the complexities of Roman imperial power, where rulers needed to balance fear and reverence in their image.
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