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Lot 434
A GROUP OF CERAMIC PLATES, GIFTWARES, ORNAMENTS, ETC, to include Royal Doulton 'Old Bear and Friends' by Jane Hissey resin ornaments, OB6 Waiting for Snow, OB5 The Long Red Scarf, OB4 Don't Worry, Rabbit, OB7 Snowflake Biscuit, eight items of Belleek Pottery, height of tallest vase 17.5cm, Wade Collectors Club Membership Piece 1997/1998, Wade Pocket Pals Hopper on original packaging, Royal Doulton Series Ware Fireside 13cm dish, Wedgwood Norwich Union 1797-1997 dish, Old Tupton Ware tubelined vase and glasses holder, Carlton Ware pig book ends and orange 1960's covered jar, Royal Doulton D6308 seriesware Rochester Castle Plate, Victorian hand painted floral plate with kite mark, etc (Condition:- generally good, Aynsley jar missing its lid, small chips, some restoration to the Wedgwood candleholders and OB7 figure) (Qty)
Lot 476
A MOORCROFT POTTERY POWDER BOWL AND COVER AND A BULBOUS SHAPED VASE, both in Hibiscus pattern on a dark blue ground, powder bowl diameter 11cm, and vase height 15.5cm, both bear 'Potters to the Late Queen Mary' labels to the bases, powder bowl and cover have impressed marks (2) (Condition:- powder bowl is crazed, vase has a fault near the top rim in the form of a slither that may have been cut and neatly repaired)
Lot 763
FIVE TILE PAINTINGS BY MARIA GEURTEN, comprising two 6'' x 6'' tiles painted with abstract faces, mounted on to wood, a six tile painting of two children on a pony, mounted on board bears labels verso 'Barbican Gallery, Penzance Harbour' and 'Ceramic Painting by Maria Geurten, 46cm x 31cm, another six tile picture of a wooded landscape and a four tile picture of a vase of flowers, both mounted onto wood, all pictures bear labels for Maria Geurten, some of the labels are also signed by the artist (5)
Lot 84
Early 20th century Marcel Guillard and Alexandre Kelety for Editions Etling Paris Art Deco crackle glaze figure in the form of a girl playing with a dog and teddy bear. Generally in good clean condition considering the age however there is a chip to the dogs right ear and also some small evidence of paint loss on the girls right leg. Otherwise good condition with crazing. 28cm tall.
Lot 201
MIXED COMIC LOT - (36 in Lot) - DC, APCOMICS, EPIC, CLIFFHANGER, DARK HORSE, IMAGE, WILDSTORM, BLACK BULL- Includes DARKHAM VALE #1 (Blank Cover) & 4 + TROUBLE #1 + CRIMSON: SCARLET X - BLOOD ON THE MOON #1 + ATLANTIS THE LOST EMPIRE + 10th MUSE #6 + RADIX #1 + HARRY JOHNSON #2 + OBJECTIVE FIVE #2 + MEMORIES #1 + THUNDERCATS #3 + CARTOON CARTOONS #23 + SCRATCH #1 + MONSTER WORLD #1, 2, 3, 4 + THE TICK #4 & SPECIAL EDITION #1 + SPACE ARK #3 + 1602 #1 & 4 + JUST A PILGRIM #2 & 4 + HERO BEAR #1 & 5 + JOKER & MASK #4 + GOTHAM ADVENTURES #10 + ROBIN #121 + BATMAN & ROBIN ADVENTURES #13 + BATGIRL #50 + SUPERMAN & TARZAN #1, 2, 3 + ADVENTURES OF SUPERMAN #603 & 605 - Flat/Unfolded
Lot 223
A Royal Copenhagen porcelain model of a seated polar bear with cub, having printed back stamp and numbered 353 verso, height 13.5cm, together with a pair of polar bear cubs, each in playful laying pose, numbered 729, height 11cm, and a miniature polar bear with two cubs, numbered 47800 verso, length 8cm (4) Condition report: Seated polar bear with cub: visible restoration to front left paw.
Lot 4
Josef Albers (1888-1976)Homage to the Square: Study to Young Prediction 1951 signed with the artist's monogram and dated 51oil on masonite40.6 by 40.6 cm.16 by 16 in.Footnotes:This work will be included in the forthcoming catalogue raisonné currently being prepared by the Josef and Anni Albers Foundation, under no. JAAF 1976.1.193.ProvenanceThe Estate of Josef Albers, ConnecticutThe Josef and Anni Albers Foundation, ConnecticutWaddington Galleries, London (no. B37854)Acquired directly from the above by the present ownerExhibitedLondon, Waddington Galleries, Josef Albers: Works on Paper and Paintings, 2007, p. 37, no. 13, illustrated in colourAn exquisitely vibrant and mesmerizing example of Josef Albers' most celebrated series, Homage to the Square: Study to Young Prediction from 1951 offers a rare opportunity to acquire a true masterpiece from one of the most influential artists of the 20th century. Boasting an immaculate provenance directly from the estate of the artist and the Josef and Anni Albers Foundation in Connecticut, the work only went into private hands in 2008 where it has remained since. With its three concentric squares of oil paint, each slightly gravitating to the lower edge of the Masonite panel, the disarmingly simple work features a rare combination of vivid pigments - pink, ochre, and orange - reminiscent of a blazing sky at sunset. The grouping of colour is only seen in three other examples throughout the entire series to which the artist dedicated over twenty-five years of his life. Having studied at the Bauhaus in Germany, where he was later a faculty member, Albers was among those who decided to close the school rather than comply with the Third Reich and adhere to its rules and regulations. Together with his wife Anni, he arrived in the United States in 1933 to programme the visual arts curriculum at the influential Black Mountain College. His subsequent influence as a teacher to generations of artists that followed would be without equal; Albers' students included Robert Rauschenberg, Jasper Johns, Cy Twombly, Ruth Asawa, Eva Hesse, Sheila Hicks and Richard Serra. Years later, Rauschenberg would say 'I'm still learning what he taught me, because what he taught had to do with the entire visual world [...] I consider Albers the most important teacher I've ever had' (M. E. Harris, The Arts at Black Mountain College, Cambridge, MA 1987, p. 126). The Homages occupied Albers from 1950, when he began teaching his colour theory course at Yale University's Department of Design, until his death in 1976. He set about examining the compositional and formal effects of colour and shape, fascinated as he was by the versatility and fragility of perception. In Albers own words, 'every perception of color is an illusion [...] We do not see colors as they really are. In our perception they alter one another. [...] This play of colors, this change in identity, is the object of my concern. It leads me to change my color tool, my palette, from one picture to the next' (the artist in: Eugen Gomringer, Josef Albers, New York 1967, p. 104). What may initially be read as a strict, narrow compositional framework, the Homage to the Square series allowed Albers to explore the finite, expressive potentials and optical properties of colour and their intrinsic relationships. Entirely based on a mathematically determined format of several squares, each element appears to overlap and nestle within one another, conjuring advancing and receding planes, appearing as both autonomous shapes and integral parts of a complete system. Applied with a palette knife directly from the tube onto a white, primed Masonite panel, Albers worked his way from the inside outwards with the board flat on the table, achieving perfect edges and lines without a ruler or masking tape. The perception of depth- for some the squares recede, for others they are stacked on top of each other and protrude- is down to the individual perception of the viewer and can shift from viewing to viewing. Sometimes the differences in tone are minimal, but in the present work, Albers has opted for a more dramatic and striking tonal difference between his elements. There is a vibrancy to some early Homage to the Square paintings before 1955-56, the present work included, that can surprise those who know the artists more restrained, classical works of the late 1950s and through the 1960s. The pigments seen in Homage to the Square: Study to Young Prediction from 1951 - a vibrant pink, rich ochre, and luminous orange - were used in only three other paintings of the series. Whilst all four works vary in appearance due to different tonalities of the inner pink square (a mixture of pink and white), and the density of the paint application on the surface of the ground, they all bear the same title and feature the same composition. The present work is the very first study and has a denser, more thickly painted surface, as is typical of Homage paintings from 1951. It also features an overpainted earlier Homage on the reverse, along with the carefully recorded inscriptions of technical details typical for the series. The second study recorded in Albers' notes was completed in 1954; a third example dated 1951-1955 is presently in a private German collection. The last and final work called Young Prediction (Homage to the Square) has remained in the same private collection since it was acquired in 1955 and is currently on view in the exhibition 'Anni et Josef Albers: L'art et la vie' at the Musée d'art Moderne de Paris which will run through to January 2022 before travelling to the Instituto Valenciano de Arte Moderno in Valencia.Josef Albers was the first living artist ever to be honoured with a solo retrospective at the Metropolitan Museum of Art in New York in 1971. His Homage to the Square paintings are cornerstones of the most prestigious public and private art collections around the world. Not only is his influence on the timeline of modern art largely unparalleled, but Albers' legacy endured in the artists he taught, collaborated with, and guided through the early years of their career, influencing the emergence of Colour Field Painting, Geometric Abstraction and Op Art.Far from, a mere variation of a strict format of squares within squares, Homage to the Square: Study to Young Prediction from 1951 pulsates with light, tension and energy, and brilliantly incorporates the qualities that made Albers such a stalwart of the modern period. His exceptional aesthetic sense plays out between the simplicity of his composition and colours, and in turn produces a work of outstanding, complex beauty.For further information on this lot please visit Bonhams.com
Lot 569
ALISTAIR MACLEAN. 'The Guns of Navarone,' 1957; 'South by Java Head,' 1958; 'The Last Frontier,' 1959; 'Fear is the Key,' 1961; 'The Golden Rendezvous,' 1962; 'Force 10 from Navarone,' 1968; 'Caravan to Vaccares,' 1970; 'Bear Island,' 1971; 'The Way to Dusty Death,' 1973; 'Goodbye California,' 1977; 'Seawitch,' 1977; 'Athabasca,' 1980; 'River of Death,' 1981; 'Partisans,' 1982; All first editions, original boards and dust jackets, some chips and rubbing to spines, some foxing and toning, all good to very good; plus one other. (16) Dr Rob Senior arrived in West Cornwall from his native Yorkshire in the early 1960’s where he took up his vocation as a young GP and served the local community for 40 years. At the age of 12, Rob bought a book on Cacti. It was his first book, and established the twin passions of his life, books and plants. His library is a fabulous, eclectic collection of books, largely on plants and horticulture, but also nature and many other subjects, all brought together by a man with a curious and inquisitive mind. Condition: please request a condition report if you require additional information regarding the condition of this lot Postage: £21.56 Please note that the postage quote is an estimate of the amount that we would charge to send the item to a buyer in the UK. If you are outside of the UK, or there is no estimate shown here, please contact postage@davidlay.co.uk for a bespoke quote.
Lot 283
Stutz Bear Cats signed 6x4 black and white promo photograph signed by Chris Hennen, Stella Czerniawskyi, Matt Maitland and Elizabeth Gail dated 21st and 22nd Dec 1984at Falkirk Town Hall. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
![ROBERT I ('THE BRUCE')Letters Patent in his name as King of Scotland, granting lands at 'Uthirtyre' [Auchtertyre] in the she](https://cdn.globalauctionplatform.com/33a44017-d28b-4638-bf45-adb20109a1b1/c9e2b563-d0ac-4670-8fcb-adb2010f74a8/468x382.jpg)
Lot 247
ROBERT I ('THE BRUCE')Letters Patent in his name as King of Scotland, granting lands at 'Uthirtyre' [Auchtertyre] in the sheriffdom of Forfar to his supporter in the Wars of Independence Sir William Oliphant, in return for the feudal service of three archers in the King's army, in Latin, witnessed by William de Lamberton, Bishop of St Andrews; Bernard of Kilwinning, Abbot of Arbroath; Duncan, Earl of Fife; Maol Iosa, Earl of Strathearn; Walter Stewart, High Steward of Scotland (Robert the Bruce's son-in-law and father of Robert II, the first Stewart monarch) and Sir Gilbert de la Haye, Lord High Constable, with flourished ascenders on the first line, bearing indistinct fragment of the Great Seal attached by original vellum tag with docket 'King Robert/ 20 year of his reigne', address panel on verso, one sheet of vellum, some dust staining and other marks, oblong folio (137 x 330mm.), seal 45 x 80mm., Scone, 20 March [1326]Footnotes:ROBERT THE BRUCE REWARDS HIS LOYAL SUPPORTER: An important document granting land at Achtertyre in Forfarshire to Sir William Oliphant for his services in the wars of independence.Sir William Oliphant of Dupplin and Aberdalgie (d.1329), was a veteran of the Battle of Dunbar of 1296 and the siege of Stirling Castle of 1304 where his cousin (of the same name, d.1313) was governor, and was imprisoned by the English on both occasions before finally returning to Scotland in 1313. After swearing allegiance to Robert the Bruce, possibly after the battle of Bannockburn, he was to receive '...a number of grants of land throughout the reign and put his seal (three crescents) to the declaration of Arbroath of 1320. In the final years of the reign he also performed the office of escheator...' (Fiona Watson, ODNB). In fact Oliphant and three of the witnesses to this document, Walter Stewart and the Earls of Strathearn and Fife, had put seals to the Declaration, a letter sent in April 1320 by fifty-one Scottish nobles and magnates to Pope John XXII in Avignon, declaring Scotland's status as an independent sovereign state and defending her right to defend herself when attacked. It asserted that Scotland had always been independent, that Edward I had unjustly attacked Scotland and committed atrocities, and that Robert the Bruce had been the one to deliver the nation from this peril. The lands awarded to Oliphant by Robert I, together with those acquired by inheritance and advantageous marriage alliances meant that the family held substantial swathes of property across Perthshire and Forfarshare and estates in Fife, Kincardineshire and Midlothian which, in later years, were used as an endowment for different branches of descendants.The document is dated the '20 year of his reigne' from the year 1306 when Robert the Bruce was crowned at Scone. Years of struggle ensued after his coronation, culminating in Scottish victory at the battle of Bannockburn in June 1314 and the treaty of Edinburgh of March 1328 by which the government of the young Edward III, under his mother Isabella and her lover Roger Mortimer, granted Scotland unqualified recognition as a sovereign nation. This document is well-known to scholars but its whereabouts was, for nearly a century, unknown. It originally formed part of a group of seven writs (including one other in the name of Robert I dated 26 December 1317 granting lands at Newtyle and Kinurney to Oliphant in return for the services of one knight), passing to Sir George Mackenzie of Rosehaugh (1636/8-1681), Lord Advocate, in 1682 from David Hallyburton of Pitcur, and thence by descent, as part of the so-called Mackenzie-Wharncliffe Charter-Chest at Belmont Castle in Perthshire, to Edward Montagu-Stuart-Wortley-Mackenzie, 3rd Baron & 1st Earl of Wharncliffe (1827-1899). The records from Belmont Castle were sold by Sotheby's, 9 June 1920.It was first published in the Fifth Report of the Royal Commission on Historical Manuscripts of 1876 and the Latin text was included in Joseph Anderson's, The Oliphants in Scotland (Edinburgh, 1876, appendix 2) where it was noted that 'the service of three archers was commuted by King David II into a reddendum of 'three broad arrows' [on the feast of St Martin yearly at Ochtertyre] in 1364'. He also points out that on 8 March 1326, a few days before the date of our document, Oliphant had been present at the Parliament held at Holyrood. It was then printed in English and illustrated by J.W. Barty, Ancient Deeds and other Writs in the Mackenzie-Wharncliffe Charter-Chest (Edinburgh, 1906, appendix III, 131 and plate III) who commented that the writs were 'of exceptional interest and bear evidence to the fact that the lands of Newtyle, Kinpurney and Auchtertyre, and Balcraig had been the personal property of the great national hero, Robert the Bruce'.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 601
Dinky Toys: British Road Signs & Teddy Bear Lot comprises a complete Box no.772 of 24 circa 1960's metal road signs in original box together with an early to mid 20th century very much loved teddy bear. Condition: please request a condition report if you require additional information regarding the condition of this lot Postage: £35
Lot 657
Teddy Bear and Early to Mid 20th Century Dolls, etc. Lot comprises a box containing an attractive 24" tall teddy bear with articulated limbs and slight hump to back, plus five early composition and other dolls. Condition: please request a condition report if you require additional information regarding the condition of this lot Postage: £40
Lot 668
Child's Sewing Machine, Miscellaneous Tinplate Toys, Trade Cards, Stamps, etc. Comprising a boxed Vulcan Senior Child's Sewing Machine, an Amar Sparking Tank, a plush covered Teddy Bear, various miscellaneous stamps and tea cards, etc. Condition: please request a condition report if you require additional information regarding the condition of this lot Postage: £40
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93468 item(s)/page