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Lot 364
WW2 Colour Print Titled Thunderheads Over Ridgwell by Robert Taylor. Limited 47 of 400 Multi Signed in Pencil by THREE highly respected pilots and crew who flew the B 17 Flying Fortress with the 381st Bomb Group at Ridgewell during WW2, Captain Turner G. Brashear, Major Edward A. Klein, First Lieutenant Vincent J. Peters and one other. Comes with Original Certificate from the Military Gallery. Measures 32x24 inches appx. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10
Lot 134
The The - Infected and Mind Bomb vinyl albums along with the Beat (En) Generation limited edition 12in. single, (qty) All are original pressings with little cover or storage issues. The vinyl is bright with minimal evidence of marks or scratches. The 12in. box set is missing the original pin badge but includes the poster and 12 postcards. Two of the best albums from Matt Johnson and The The from the 1980s.
Lot 220
Corgi Classics - 15 boxed diecast Morris Minor model vehicles from Corgi Classics, including #97344 Pick-Up 'Cement Marketing Company'; #97343 Traveller 'Bomb Disposal'; #96751 Convertible and similar. Models appear Mint housed in Fair Plus - Good window boxes, some with imperfections such as fading and cracks to cellophane windows. Models are unchecked for completeness. (This does not constitute a guarantee) (K)
Lot 262
Shomei Tomatsu (1930-2012) was a renowned Japanese photographer known for his influential work that captured the post-World War II period in Japan. He was born on December 19, 1930, in Nagoya, Japan. Tomatsu's career spanned over five decades, during which he explored various themes and subjects, including the American military presence in Japan, the aftermath of the atomic bombings, Okinawa, and the cultural shifts in Japanese society. Tomatsu emerged as a prominent figure in the late 1950s and 1960s, a time when Japan was undergoing rapid social and political changes. He became associated with the influential photography collective "VIVO" and the magazine "Provoke," which sought to challenge traditional photographic conventions and explore new visual language. Tomatsu's work often focused on the consequences of war and the effects of modernization on Japanese society. One of his most notable series is "Nagasaki 11:02" (1961), which documented the aftermath of the atomic bombing of Nagasaki. This powerful collection of photographs captured the physical and emotional scars left by the bomb and its impact on the survivors. It remains an iconic representation of the devastating consequences of nuclear warfare. Throughout his career, Tomatsu received numerous awards and accolades for his contributions to photography. His work has been exhibited worldwide, and he published several books, including "Oh! Shinjuku" (1969), "Chewing Gum and Chocolate" (1971), and "The Pencil of the Sun" (1995). Shomei Tomatsu's photographs continue to be recognized for their artistic vision and documentary importance. His work remains influential and serves as a testament to the power of photography in capturing historical moments and social transformations. Measures 9.27 x 11.48 Verso is blank.Mounted to archival quality paper.
Lot 112
Shomei Tomatsu (1930-2012) was a renowned Japanese photographer known for his influential work that captured the post-World War II period in Japan. He was born on December 19, 1930, in Nagoya, Japan. Tomatsu's career spanned over five decades, during which he explored various themes and subjects, including the American military presence in Japan, the aftermath of the atomic bombings, Okinawa, and the cultural shifts in Japanese society. Tomatsu emerged as a prominent figure in the late 1950s and 1960s, a time when Japan was undergoing rapid social and political changes. He became associated with the influential photography collective "VIVO" and the magazine "Provoke," which sought to challenge traditional photographic conventions and explore new visual language. Tomatsu's work often focused on the consequences of war and the effects of modernization on Japanese society. One of his most notable series is "Nagasaki 11:02" (1961), which documented the aftermath of the atomic bombing of Nagasaki. This powerful collection of photographs captured the physical and emotional scars left by the bomb and its impact on the survivors. It remains an iconic representation of the devastating consequences of nuclear warfare. Throughout his career, Tomatsu received numerous awards and accolades for his contributions to photography. His work has been exhibited worldwide, and he published several books, including "Oh! Shinjuku" (1969), "Chewing Gum and Chocolate" (1971), and "The Pencil of the Sun" (1995). Shomei Tomatsu's photographs continue to be recognized for their artistic vision and documentary importance. His work remains influential and serves as a testament to the power of photography in capturing historical moments and social transformations. Measures 9.27 x 11.48 Verso is blank.Mounted to archival quality paper.
Lot 62
Shomei Tomatsu (1930-2012) was a renowned Japanese photographer known for his influential work that captured the post-World War II period in Japan. He was born on December 19, 1930, in Nagoya, Japan. Tomatsu's career spanned over five decades, during which he explored various themes and subjects, including the American military presence in Japan, the aftermath of the atomic bombings, Okinawa, and the cultural shifts in Japanese society. Tomatsu emerged as a prominent figure in the late 1950s and 1960s, a time when Japan was undergoing rapid social and political changes. He became associated with the influential photography collective "VIVO" and the magazine "Provoke," which sought to challenge traditional photographic conventions and explore new visual language. Tomatsu's work often focused on the consequences of war and the effects of modernization on Japanese society. One of his most notable series is "Nagasaki 11:02" (1961), which documented the aftermath of the atomic bombing of Nagasaki. This powerful collection of photographs captured the physical and emotional scars left by the bomb and its impact on the survivors. It remains an iconic representation of the devastating consequences of nuclear warfare. Throughout his career, Tomatsu received numerous awards and accolades for his contributions to photography. His work has been exhibited worldwide, and he published several books, including "Oh! Shinjuku" (1969), "Chewing Gum and Chocolate" (1971), and "The Pencil of the Sun" (1995). Shomei Tomatsu's photographs continue to be recognized for their artistic vision and documentary importance. His work remains influential and serves as a testament to the power of photography in capturing historical moments and social transformations. Measures 9.27 x 11.48 Verso is blank.Mounted to archival quality paper.
Lot 362
Shomei Tomatsu (1930-2012) was a renowned Japanese photographer known for his influential work that captured the post-World War II period in Japan. He was born on December 19, 1930, in Nagoya, Japan. Tomatsu's career spanned over five decades, during which he explored various themes and subjects, including the American military presence in Japan, the aftermath of the atomic bombings, Okinawa, and the cultural shifts in Japanese society. Tomatsu emerged as a prominent figure in the late 1950s and 1960s, a time when Japan was undergoing rapid social and political changes. He became associated with the influential photography collective "VIVO" and the magazine "Provoke," which sought to challenge traditional photographic conventions and explore new visual language. Tomatsu's work often focused on the consequences of war and the effects of modernization on Japanese society. One of his most notable series is "Nagasaki 11:02" (1961), which documented the aftermath of the atomic bombing of Nagasaki. This powerful collection of photographs captured the physical and emotional scars left by the bomb and its impact on the survivors. It remains an iconic representation of the devastating consequences of nuclear warfare. Throughout his career, Tomatsu received numerous awards and accolades for his contributions to photography. His work has been exhibited worldwide, and he published several books, including "Oh! Shinjuku" (1969), "Chewing Gum and Chocolate" (1971), and "The Pencil of the Sun" (1995). Shomei Tomatsu's photographs continue to be recognized for their artistic vision and documentary importance. His work remains influential and serves as a testament to the power of photography in capturing historical moments and social transformations. Measures 9.27 x 11.48 Verso is blank.Mounted to archival quality paper.
Lot 212
Shomei Tomatsu (1930-2012) was a renowned Japanese photographer known for his influential work that captured the post-World War II period in Japan. He was born on December 19, 1930, in Nagoya, Japan. Tomatsu's career spanned over five decades, during which he explored various themes and subjects, including the American military presence in Japan, the aftermath of the atomic bombings, Okinawa, and the cultural shifts in Japanese society. Tomatsu emerged as a prominent figure in the late 1950s and 1960s, a time when Japan was undergoing rapid social and political changes. He became associated with the influential photography collective "VIVO" and the magazine "Provoke," which sought to challenge traditional photographic conventions and explore new visual language. Tomatsu's work often focused on the consequences of war and the effects of modernization on Japanese society. One of his most notable series is "Nagasaki 11:02" (1961), which documented the aftermath of the atomic bombing of Nagasaki. This powerful collection of photographs captured the physical and emotional scars left by the bomb and its impact on the survivors. It remains an iconic representation of the devastating consequences of nuclear warfare. Throughout his career, Tomatsu received numerous awards and accolades for his contributions to photography. His work has been exhibited worldwide, and he published several books, including "Oh! Shinjuku" (1969), "Chewing Gum and Chocolate" (1971), and "The Pencil of the Sun" (1995). Shomei Tomatsu's photographs continue to be recognized for their artistic vision and documentary importance. His work remains influential and serves as a testament to the power of photography in capturing historical moments and social transformations. Measures 9.27 x 11.48 Verso is blank.Mounted to archival quality paper.
Lot 411
Shomei Tomatsu (1930-2012) was a renowned Japanese photographer known for his influential work that captured the post-World War II period in Japan. He was born on December 19, 1930, in Nagoya, Japan. Tomatsu's career spanned over five decades, during which he explored various themes and subjects, including the American military presence in Japan, the aftermath of the atomic bombings, Okinawa, and the cultural shifts in Japanese society. Tomatsu emerged as a prominent figure in the late 1950s and 1960s, a time when Japan was undergoing rapid social and political changes. He became associated with the influential photography collective "VIVO" and the magazine "Provoke," which sought to challenge traditional photographic conventions and explore new visual language. Tomatsu's work often focused on the consequences of war and the effects of modernization on Japanese society. One of his most notable series is "Nagasaki 11:02" (1961), which documented the aftermath of the atomic bombing of Nagasaki. This powerful collection of photographs captured the physical and emotional scars left by the bomb and its impact on the survivors. It remains an iconic representation of the devastating consequences of nuclear warfare. Throughout his career, Tomatsu received numerous awards and accolades for his contributions to photography. His work has been exhibited worldwide, and he published several books, including "Oh! Shinjuku" (1969), "Chewing Gum and Chocolate" (1971), and "The Pencil of the Sun" (1995). Shomei Tomatsu's photographs continue to be recognized for their artistic vision and documentary importance. His work remains influential and serves as a testament to the power of photography in capturing historical moments and social transformations. Measures 9.27 x 11.48 Verso is blank.Mounted to archival quality paper.
Lot 671
The USS Arizona was a United States Navy battleship that was sunk during the Japanese attack on Pearl Harbor on December 7, 1941. The ship was commissioned in 1916 and was the second and last of the Pennsylvania class of "super-dreadnought" battleships.During the attack on Pearl Harbor, the USS Arizona was hit by a bomb which penetrated the ship's deck and detonated the ship's forward ammunition magazines, causing a massive explosion that destroyed the ship and killed 1,177 of its crew. The ship remains at the bottom of Pearl Harbor as a memorial to the sailors and Marines who lost their lives in the attack.The USS Arizona is one of the most iconic symbols of the attack on Pearl Harbor and is visited by millions of people each year. The ship has also been the subject of numerous books, documentaries, and films, including the 1953 film "From Here to Eternity".Measures 24 x 24.Verso is blank.
Lot 461
Shomei Tomatsu (1930-2012) was a renowned Japanese photographer known for his influential work that captured the post-World War II period in Japan. He was born on December 19, 1930, in Nagoya, Japan. Tomatsu's career spanned over five decades, during which he explored various themes and subjects, including the American military presence in Japan, the aftermath of the atomic bombings, Okinawa, and the cultural shifts in Japanese society. Tomatsu emerged as a prominent figure in the late 1950s and 1960s, a time when Japan was undergoing rapid social and political changes. He became associated with the influential photography collective "VIVO" and the magazine "Provoke," which sought to challenge traditional photographic conventions and explore new visual language. Tomatsu's work often focused on the consequences of war and the effects of modernization on Japanese society. One of his most notable series is "Nagasaki 11:02" (1961), which documented the aftermath of the atomic bombing of Nagasaki. This powerful collection of photographs captured the physical and emotional scars left by the bomb and its impact on the survivors. It remains an iconic representation of the devastating consequences of nuclear warfare. Throughout his career, Tomatsu received numerous awards and accolades for his contributions to photography. His work has been exhibited worldwide, and he published several books, including "Oh! Shinjuku" (1969), "Chewing Gum and Chocolate" (1971), and "The Pencil of the Sun" (1995). Shomei Tomatsu's photographs continue to be recognized for their artistic vision and documentary importance. His work remains influential and serves as a testament to the power of photography in capturing historical moments and social transformations. Measures 9.27 x 11.48 Verso is blank.Mounted to archival quality paper.
Lot 312
Shomei Tomatsu (1930-2012) was a renowned Japanese photographer known for his influential work that captured the post-World War II period in Japan. He was born on December 19, 1930, in Nagoya, Japan. Tomatsu's career spanned over five decades, during which he explored various themes and subjects, including the American military presence in Japan, the aftermath of the atomic bombings, Okinawa, and the cultural shifts in Japanese society. Tomatsu emerged as a prominent figure in the late 1950s and 1960s, a time when Japan was undergoing rapid social and political changes. He became associated with the influential photography collective "VIVO" and the magazine "Provoke," which sought to challenge traditional photographic conventions and explore new visual language. Tomatsu's work often focused on the consequences of war and the effects of modernization on Japanese society. One of his most notable series is "Nagasaki 11:02" (1961), which documented the aftermath of the atomic bombing of Nagasaki. This powerful collection of photographs captured the physical and emotional scars left by the bomb and its impact on the survivors. It remains an iconic representation of the devastating consequences of nuclear warfare. Throughout his career, Tomatsu received numerous awards and accolades for his contributions to photography. His work has been exhibited worldwide, and he published several books, including "Oh! Shinjuku" (1969), "Chewing Gum and Chocolate" (1971), and "The Pencil of the Sun" (1995). Shomei Tomatsu's photographs continue to be recognized for their artistic vision and documentary importance. His work remains influential and serves as a testament to the power of photography in capturing historical moments and social transformations. Measures 9.27 x 11.48 Verso is blank.Mounted to archival quality paper.
Lot 12
SIR WILLIAM ROTHENSTEIN (BRITISH 1872-1945) BOMB DAMAGE TO THE SQUARE AND CATHEDRAL, PERONNE, THE SOMME oil on canvas76.5 101cm; 30 x 40in(unframed)Exhibited(probably), Sheffied, Mappin Art Gallery, On the Péronne Front, Paintings & Drawings by William Rothenstein, 1918 Painted circa 1917-18. Rothenstein travelled to the Western Front as an Official War Artist in November 1917. Soon after his arrival he visited Péronne in the valley of the Somme. Of his impressions of the town he wrote: 'The unwonted shapes of the ruined buildings, the pink flush of the red bricks, deepening to blood colour where the impact of a shell had made a wound in the walls, made a scene more tragic than any stage-setting.' (William Rothenstein, Men and Memories, London, 1932, p. 326). An exhibition of paintings and drawings of his work at the Front was held at the Mappin Art Gallery, Sheffield University during June 1918, where the present oil was very likely exhibited. The subject in reverse was also reproduced as plate 4 in the set of twelve drypoints Rothenstein published in 1922 under the title Landscapes of the War. There is a painting of haystacks on the reverse of the present canvas.
Lot 136
HUGH CRONYN (BRITISH 1905-1996) Hugh Cronyn (lots 136-147)IntroductionYoung, impressionable and fresh from Toronto where he had studied with the Group of Seven painter Frank Johnston, Cronyn departed Canada with an irrepressible can-do New World outlook. His unpublished memoirs recount his pre-war years: his time at the Arts Students League in New York in 1929; the early 1930s in Paris tutored by Jean Despujols and André Lhote; bicycling across the Alps; and on his arrival England his immersion into the rich bohemian life of West London. From the mid-thirties he rented various studios by the Thames in Hammersmith and met many of the leading artists and writers of the day. One such was Ivon Hitchens, whose second solo exhibition at the Lefevre Gallery he helped hang. But most influential in his circle of friends was the critic, humourist and politician A P Herbert ('APH') and his wife Gwen, herself a painter and stage-designer of note. The Herberts were regulars at the Black Lion pub (lots 141 & 142). At their home at 12 Hammersmith Terrace, Cronyn met the likes of Edward Wadsworth, Mark Gertler, Leon Underwood and John Piper. Ceri Richards lived nearby, as did poets Robert Graves and Laura Riding in St Peter’s Square. He went on painting trips to Dorset with Julian Trevelyan, his neighbour at Durham Wharf, and to the French-Spanish border with Ray Coxon and Edna Ginese at the time of the Spanish Civil War. After the outbreak of the Second World War, Cronyn was commissioned into the Royal Navy. Put in charge of the Naval bomb disposal squad in Bristol dockyards, he was the first Canadian to be awarded the George Medal (GM). In 1942 he married Jean Harris and settled in Suffolk where from 1949-69 he was tutor of painting at Colchester School of Art teaching alongside John Nash, Edward Bawden, Carel Weight and Peter Coker. From 1963 the Cronyns began to spend their summers in Quercy, in the Lot, first renting a 15th century gatehouse and studio, then a small house, Les Vergers, before buying a dilapidated farmhouse in 1970 in Caufour which they renovated (lot 138).From 1974 the Cronyns spent the winter months in 3 St Peter’s Wharf, next door to Hammersmith Terrace, in one of the artists’ studios overlooking the Thames constructed by Julian Trevelyan. Cronyn's late paintings of the Thames, which capture the spectrum of colours as the seasons changed, document the river’s moods from winter mists to intense summer sun, and hang in many private collections (lots 146 & 147).HUGH CRONYN (BRITISH 1905-1996)VINEYARD, SAINT-REMY-DE-PROVENCEgouache48 x 64cm; 18 3/4 x 25 1/4in75.5 x 89.5cm; 29 1/2 x 35 1/4in (framed)Painted in the 1980s. Ever the colourist, when the weather was poor in the Lot, Cronyn would take a painting trip south. As a student he had cycled from Paris to Provence and later in life he continued to find the south of France extrmely heartening.ARR may apply
Lot 40
HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) Hans Feibusch (lots 40-65)IntroductionTo stand before an empty wall as in a trance… to let shapes cloudily emerge, to draw scenes and figures, to let light and dark rush out of the surface, to make them move outward or recede into the depths, this was bliss. The son of a Frankfurt dentist, Feibusch had fought for the Kaiser in the First World War, emerged alive from the Russian Front, and had studied with Carl Hofer in Berlin and with fauve painter Emil Othon Friesz and cubist André Lhote in Paris. Come the 1930s he had a dealer in Berlin, had exhibited widely, and been awarded the German Grand State Prize for painting by the Prussian Academy of Arts. But Hitler’s rise to power threatened it all. In a meeting of the Frankfurter Künstlerbund which he attended in 1933, a new member appeared in Nazi uniform, jumped on a table and pointing at the Jews with his riding crop said: ‘You’ll never show again’. It was the moment Feibusch determined to emigrate. Arriving in London Feibusch had his first one-man exhibition at the Lefevre Gallery, and was soon a member of the London Group. Further exhibitions with Lefevre followed; then in 1938 he completed his first large scale mural: Footwashing in the Methodist Chapel, Colliers Wood. It was a commission that would result in Feibusch becoming the leading muralist in Britain. Working both for the Church of England and local municipalities, over the next thirty-five years he decorated some forty plus churches and a range of civic buildings and private houses across England and Wales. His work contributed hugely to the re-generation of public buildings after the War and the debate on art in public places. But it also took him away from the Mayfair-centric contemporary art world and its critics, and thus to a large extent out of the public eye. After his last exhibition at the Lefevre Gallery in 1951 he didn’t have another commercial gallery show until the late 1970s. Instead Feibusch threw himself into large scale mural projects, designing the decorations for the tea room at the Victoria & Albert Museum in 1946 (lots 52-54), and championed by George Bell, Bishop of Chichester, embarked on a series of commissions to decorate bomb-damaged churches that were being restored and re-built. These included painting the Ascension above the altar at All Saints, Plumstead (lot 62); Angels with Children for the baptistry of Christ Church and St Stephen’s, Battersea (lot 60) and the Baptism of Christ for Old Saint George’s Baptist Church, Plymouth (lots 61). Feibusch also wrote Mural Painting a treatise on the history, theory and technique of the art in 1946, and wrote the foreward for the catalogue of the first exhibition of the Society of Mural Painters held in 1950. A consummate draughtsman, Feibusch evoked bomb-damaged London with a keen eye and in unnerving detail (lots 49 & 50); a natural colourist, he responded to the light of his surroundings on his travels with a breathtaking freshness and immediacy (lots 57 & 58); and he applied visual humour to his commercial designs (lot 55). But above all it is the manner in which he places the human form at the heart of his work with such innate fluidity that leaves an abiding impression on the viewer and makes his work so compelling today. Exhibition Reference: The full details of the travelling exhibition abbreviated in lots 40-65 is: Chichester, Pallant House Gallery; London, Ben Uri Art Gallery; Northampton, Museum and Art Gallery; Eastbourne, Towner Art Gallery; Newport, Museum & Art Gallery, Hans Feibusch, The Heat of Vision, 1995-96HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)PORTRAIT OF LUTZ FEIBUSCHsigned and dated H Feibusch / 1917 lower rightred chalk41 x 31cm; 16 x 12 1/4in46.5 x 36.5cm; 18 1/4 x 14 1/4in (framed) Lutz Feibusch, the artist's brother, was tragically killed in an avalanche while skiing in 1929. ARR may apply
Lot 440
Historically and French Nationally Important Log Book Set of Captain Pierre Mendès-France, Free French Air Force, No342 Lorraine Squadron and Post War Prime Minister of France, Responsible for Ending the French Campaign in Indo-China, the pair of logs cover his service from 1939 until 1940 with the French Air Force and then his service with the Free-French Air Force once France had surrendered to the Germans. The first log book has paper cover with a inked name label to the front. Inked entries in the log for the later stages of 1939 and then into the spring of 1940. Many ink stamps and signatures of commanding officers etc. His blue covered Royal Air Force log book begins on the 2nd February 1943, with flights from RAF West Freugh in Scotland. It would appear that in July and August 1943 he began flying operationally in Boston (Douglas A-20 Havoc) aircraft. On August 8th 1943 a entry is noted for a low level attack on the French city of Rennes. On 16th August he notes a raid on a railway factory on Denain, Northern France. Ink stampings for the Free French squadron and signatures of the commanding officers of the Squadron. Throughout the summer and in to the autumn of 1943, he flew many operational sorties against German targets in occupied France, many of these are noted with detail in the log book. The last entry in the log is in 1943 when he flew from Gibraltar to Algiers to join up with the Free French government under Charles de Gaulle. A period picture of Charles de Gaulle accompanies the log books, along with ‘Lorraine Squadron’ by Paul Lambermont and also a large folder of research. Pierre Isaac Isidore Mendès-France was born on 11th January 1907 in Paris. He was the son of a textile merchant. He was well educated and became a member of the French Radical Party in 1924. He joined the French air force in 1939 and when France surrendered to Germany in 1940, he managed to escape with other pilots to French North Africa. He was arrested by the Vichy government in North Africa and tried for desertion. He managed to escape from captivity with the Vichy and managed to get himself to England where he joined Charles de Gaulle’s Free French forces. He was posted to No342 (Lorraine) Squadron and served with them with great distinction in 1943. He would make many notes on operations carried out by the newly formed squadron, it was these notes which formed much of the book ‘Notebooks of the Lorraine Group’ which remained un-published until 1984. On 3rd October 1943, he took part in the operation to bomb the Chevilly-Larue transformer station just outside of Paris which knocked out the power to the city of Paris for some time. It would appear from his personal notes that he recorded that he batted with his conscious over the bombing missions on his homeland and the effects it was causing to his countrymen. He goes in to detail in relation to the raid on 3rd October 1943. He was sent a secret message by Charles de Gaulle to join him and the French government in exile in North Africa. He later went back to Paris after its liberation in 1944. He was appointed to the role of Minister of National Economy in de Gaulle’s provisional government. He continued in politics after the war and was the French prime minister from 18th June 1954 until 23rd February 1955. During this time, he was responsible for ending the French war in Indo-China with North Vietnam communist leader Hồ Chí Minh. He was also heavily involved in the end of the French colonial empire, with the demise of the French control in Morocco and Algeria. A very interesting, historical and French nationally important log book set which is worthy of museum exhibition.
Lot 1071
Inert Luftwaffe Incendiary Bomb, fine example with the original metal fins still in place. Body stamped ’55 D.L 145 K.Bl. 1942’. Base cap stamped ‘A. Z. 8312 A 852 Rh.S. 143 37’. Empty and safe. Accompanied by another semi-relic Luftwaffe incendiary bomb with burn hole through the body and damaged tail fins. (2 items) Due to the nature of this lot, we are not able to offer in house post and packing, personal collection only. International bidders please make sure you can arrange personal collection.
Lot 27
A Second War ‘Italian theatre’ M.M. group of six awarded to Lance-Bombardier Benjamin Garnett, 11th Field Regiment, Royal Artillery Military Medal, G.VI.R. (918496 L. Bmbr. B. Garnett. R.A.); 1939-45 Star; Africa Star; Italy Star; Defence and War Medals 1939-45, mounted as worn, good very fine (6) £700-£900 --- M.M. London Gazette 19 April 1945: ‘In recognition of gallant and distinguished services in Italy.’ The recommendation states: ‘Gnr (U/L/Bdr) 918496 Benjamin Garnett, 11th Fd Regt RA. L/Bdr Garnett has acted as wireless signaller and OPA in this regiment from June 42 to July 44, when he was severely wounded. Throughout this period he has rendered exceptional service without thought of his own safety. At all times he has remained cool, able and cheerful under heavy fire and extreme stress. In July 1944 in the UMBERTIDE area when acting as OPA to an FOO, he and his officer were both wounded by a mortar bomb. Although bleeding profusely from multiple wounds to his head and body, L/Bdr Garnett refused the only stretcher insisting that his officer should be evacuated on it, walked back 2 miles over broken country, and before being evacuated reported on the situation to his Battery Commander.’
Lot 18
A Great War D.C.M. group of six awarded to Battery Sergeant-Major F. H. Makey, Royal Garrison Artillery, who was killed in action on the Western Front on 4 October 1917 Distinguished Conduct Medal, G.V.R. (28518 B.S. Mjr: F. H. Makey, 66/Sge: By., R.G.A.); Queen’s South Africa 1899-1902, 1 clasp, Cape Colony (28518 Gnr: F. H. Mackie, 2nd S.D., R.G.A.); China 1900, no clasp (28518 A. Bomb: F. H. Mackie, 62nd Coy. R.G.A.); British War and Victory Medals (28518 W.O. Cl. 2 F. H. Makey, R.A.); Army L.S. & G.C., G.V.R., 1st issue (28518 By: S. Mjr: F. H. Makey, R,G.A.) mounted for display, note variation in surname; together with an erased 1914-15 Star, second and third with contact marks, very fine and better (7) £800-£1,000 --- D.C.M. London Gazette 16 August 1917: ‘For conspicuous gallantry and devotion to duty. When his battery was being shelled, he superintended the collecting and removal of the wounded, setting a fine example of coolness and indifference to his own personal safety. He has on several occasions behaved in a similar manner, notably on one occasion, in clearing the congestion of traffic which had been thrown into confusion at some cross roads by shell fire.’ Frederick Makey was born in Wakefield, West Yorkshire, the son of William Joseph Makey. He served with the R.G.A. in both the Boer and China Wars. In the Great War he entered Egypt on 29 December 1915, and his bravery and leadership in action whilst serving with the 66th Siege Battery R.G.A. earned him the D.C.M. He was killed in action, in either France or Flanders, on 4 October 1917, aged 39 years, and was buried in the White House Cemetery, St. Jean-les-Ypres. He was the husband of Dorothy Mabel Makey, of 4 Privett Road, Gosport, Hampshire. Sold with copied research, including two Medal Index Cards, one in the name Makey, the other Mackie. His 1914-15 Star was returned by his family to have the incorrect surname amended, 19 August 1920.
Lot 434
A scarce Great War 'double issue' group of seven awarded to Chief Engineer R. A. Mackenzie, Mercantile Fleet Auxiliary, late Royal Naval Reserve, who was torpedoed in the mid-Atlantic in 1942 and survived a week in an open boat, aged 62 years 1914-15 Star (Eng. Lt. R. A. Mackenzie, R.N.R.); 1914-15 Star (Engr. R. A. M. Mackenzie, M.F.A.); British War Medal 1914-20 (Eng. Lt. R. A. Mackenzie. R.N.R.); British War Medal 1914-20 (Engr. R. A. M. Mackenzie. M.F.A.); Mercantile Marine War Medal (Robert A. Mackenzie.); Victory Medal 1914-19 (Eng. Lt. R. A. Mackenzie. R.N.R.); Victory Medal 1914-19 (Engr. R. A. M. Mackenzie. M.F.A.) good very fine and better (7) £400-£500 --- Robert Aitkenhead Mackenzie was born at Forres, Morayshire, on 23 June 1880. He commenced a long maritime career as apprentice fitter aboard the James Carmichael on 18 January 1897, and served from 1902 to 1905 as Assistant Engineer aboard the S.S. Minnetonka, S.S. Cambrian and S.S. Michigan. Issued a Second Class Engineer's Certificate of Competency at Dundee on 3 May 1905, he was appointed to a Commission with the Royal Naval Reserve on 22 March 1915, and was immediately sent to H.M.S. Manica as Temporary Engineer Lieutenant. Requisitioned by the Admiralty and adapted to carry a kite balloon for naval observation, H.M.S. Manica reached the Island of Lemnos on 16 April 1915 and was assigned to the Second Squadron to support the Gallipoli landings at Anzac Cove. On 19 April 1915, her balloon observers directed the bombardment of an Ottoman Army encampment, and a few days later were involved in the destruction of barracks at Kabatepe. Furthermore, on 27 April 1915, an observer in Manica's balloon sighted an Ottoman transport ship on the far side of the Gallipoli peninsula, and successfully directed H.M.S. Queen Elizabeth's 15-inch guns to hit and sink her. On at least two occasions Ottoman aircraft attempted to bomb either H.M.S. Manica or her balloon. None of the attacks succeeded. Mackenzie went on to witness the Suvla Bay landings aboard H.M.S. Manica, before returning to Birkenhead for leave and a refit of the ship. He remained aboard her following the addition of a seaplane and transfer to German East Africa, but in August 1917, his Temporary Commission was terminated. He subsequently joined the Mercantile Fleet Auxiliary and served aboard a number of merchant vessels as 1st Engineer, and was later issued medals in recognition of Great War service in both branches of the fleet. Advanced Chief Engineer, Mackenzie was posted to the merchantman D'Entrecasteaux in 1942. A hand-written letter from the recipient's daughter, dated 16 April 1975, describes his experience: 'On his second voyage after the beginning of the war he was taken off his ship in South Africa to superintend repairs in the engine room to two Vichy ships which had been sabotaged before capture. Eventually he sailed in one of these, the D'Entrecasteaux, and was torpedoed half-way across the South Atlantic, near the end of 1942. They were in an open boat for a week and finally sailed into St. Lucia in the West Indies. He returned home by troop-ship from New York - invalided out.' Mackenzie was discharged at Dundee on 1 August 1946. Sold with two original letters from the recipient's daughter to the vendor; a portrait photograph of the recipient; and extensive copied research.
Lot 660
A Siemens German WWII 16mm Bomb Recording Camera, untested, camera numbered 1068, with Wray 2in f/4.5 Supar lens, G, three plug in objectives numbered 928, 829 & 730, two mirrors numbered 928, thirteen 16mm film cartridges, nine in fitted wooden case, various cables,all in fitted box, numbered 3862
Lot 154
A collection of Hard and Heavy Metal LPs and 12" Yngwie Malmsteen Risisng Force, Jagged Edge, Crazyhead, Cruzados, Bomb-Everything, Blackfoot, Zodiac Mindwarp & The Love Reaction, Michael Quatro, Fastway, Poison, The Rockets, Danger Danger, ZZ Top, Waysted, Wrath Child, Fields Of The Nephilim, Halfbreed, Dedringer, Tiger Moth, Jezebelle, Coney Hatch, David Lee Roth, Mama's Boys, Quireboys, As well as others; All conditions vary from Good plus to Very Good Plus with generally Very Good to Very Good Plus sleeves. (40)
Lot 54
A collection of Punk LPs and 12" to include (1) Vice Squad - No Cause For Concern (1981 UK Press); (2) G.B.H - Leather, Bristles, Studs And Acne (1981 UK 12" Press); (3) Destructors - Wild Thing (1983 UK 12" EP Press); (4) Empire & Dance - Sex & Sin (1987 UK 12" Maxi-Single); (5) Radio Stars - Nervous Wreck (1977 UK 12" Numbered Press); (6) The Higsons - The Curse Of The Higsons (1984 UK Press); (7) Snatch - Muffled Music (1991 UK 12" EP Press); (8) We've Got A Fuzz Box And We're Gonna Use It - Rules And Regulations (1986 UK 12" Single Sided EP, Etched); (9) The Doll - Desire Me (1979 UK 12" Press); (10) The Dickies - The Incredible Shrinking Dickies (1979 UK Press, Blue Transparent Vinyl); (11) Siouxsie & The Banshees - Peepshow (1988 UK Press); (12) The Dictators - Search & Destroy / Sleepin' With The TV On (1977 UK 12" Limited Edition Press); (13) Battered Wives - Live On Mothers Day (1980 Germany Press); (14) Generation X - 4 (1981 France 12" Press); (15) Wayward Sunns - Spont (1991 UK Press); (16) The Titanics - The Titanics (1990 Europe Press); (17) The Stranglers - The Meninblack (1988 UK & Europe Reissue Press); (18) London - Summer Of Love (1977 UK 12" EP Limited Edition Press); (19) The Bomb Party - Ray Gun EP (1985 UK 12" EP Press); (20) Daisy Chainsaw - Love Sick Pleasure (1991 UK 12" EP Press); (21) Stiff Little Fingers - Now Then... (1982 UK Press); (22) Various - New Wave (1977 UK Press); (23) Lou Reed - Walk On The Wild Side The Best Of Lou Reed (1977 UK Press); (24) Lou Reed & The Velvet Underground - Super Star Series (1982 Italy Press); (25) Public Image LTD - 9 (1989 UK Press); (26) Lou Reed & The Velvet Underground - Lou Reed & The Velvet Underground (1971 UK Press); (27) The Boomtown Rats - A Tonic For The Troops (1978 UK Press); (28) Gary Clail & Tackhead - Hard Left (1986 UK Press); All conditions vary from Good to Very Good with generally Good Plus to Very Good Sleeves. (28)
Lot 63
Alessandro Mendini'Poltrona di Proust' armchair, designed 1978, executed 1983Painted wood, painted fabric upholstery.109 x 92 x 92 cmHand-painted by Prospero Rasulo. Together with a certificate of authenticity from the Alessandro Mendini Archive. Footnotes:ProvenanceHeal's, Tottenham Court Road, LondonAcquired from the above by the present owner, 1984ExhibitedMobili Italiani Moderni, Robot Sentimentale, Rome, May 1983Heal's, London, 1984LiteratureRosa Maria Rinaldi, 'Memphis e Alchimia', Domus, no. 646, January 1984, p. 55Andrea Branzi, The Hot House: Italian New Wave Design, London, 1984, pp. 123, 126Albrecht Bangert, Italian Furniture Design: Ideas Styles Movements, Munich, 1988, pp. 63, 65, 116Peter Weiss, Alessandro Mendini: Objetos, proyectos, construcciones, Milan, 2001, pp. 100-01, 119Glenn Adamson and Jane Pavitt, eds., Style and Subversion, 1970-1990, exh. cat., Victoria and Albert Museum, London, 2011, p. 41Cindi Strauss, Germano Celant, et al., Italian Radical Design: The Dennis Freedman Collection, exh. cat., Museum of Fine Arts Houston, New Haven, 2020, pp. 75, 121Bonhams wishes to thank the Alessandro Mendini Archive for their assistance with the cataloguing of the present lot.Bomba Estetica The Proust Chair defines post-modernism in much the same way Gerrit Rietveld's Red Blue chair defined modernism.Rietveld took the rules of the De Stijl group as his parameters. He worked within a palette of primary colours (plus black, grey and white) and used only straight lines, to produce an economical design that served as the blueprint for modernism. Marcel Breuer's design for apprentice pieces to be made in the Bauhaus workshops is clearly derivative, his tubular steel furniture less economical, in design thus cost, whilst Ludwig Mies van der Rohe's addition of cushions to structure lacks the material integrity of Rietveld's chair. More was less so the Red Blue chair remains the Platonic ideal of the modernist chair.Alessandro Mendini's Proust Chair similarly defined post-modern. His painting of a kitsch monster-piece with a pointillist detail of a work by Paul Signac signalled a relativism between high and low culture. Rather than being its arbiter, the post-modern architect should accommodate the taste, even the bad taste, of the client. A found object, the chair also signalled the architect's wider obligation to accommodate the city as ready-made. It is a hotch-potch of different styles, mosaic colours and people which, rather than being bulldozed and built anew along rational lines as Le Corbusier advocated, should be added to it in accordance with its citizen's physical needs and emotional desires.The Proust is a big chair, as dominant in even the grandest interior as in the history of architecture. The first five or six were jointly painted by Pierantonio Volpini and Prospero Rasulo and mostly sold to museums. New York gallerist Rick Kaufman called the Proust 'the best chair I had ever seen' and began retailing it to the public. Others followed.To meet demand, Franco Migliaccio was employed to paint the next batch of chairs. His early brushwork followed Paul Signac's pattern before morphing into his own style. Jesus Moctezuma took over in 1981 using a brighter palette. Claudia Mendini followed in the mid-80s whilst in a nod to the chair's monumental status, two were painted to resemble bronze.Mendini estimated upwards of thirty Proust chairs were produced under the auspices of Alchimia but the one in this sale is unusual in two ways. Produced in 1983, its decorator has been identified by Atelier Mendini as Prospero Rasulo. In Mendini's 'Story of the Proust Chair', no mention is made of Rasulo decorating chairs beyond his initial collaboration with Volpini so this late reprise is anomalous. Second, the chair has a cushion and, although Mendini documented variations to the seat over the years, he made no mention of a cushioned version.After researching this chair, Beatrice Felis, together with Fulvia and Elisa Mendini, have determined that it was 'made for the performance Robot Sentimentale conceived by Alessandro Mendini with Alchimia and performed at the MIM showroom in Rome in 1983'. Beatrice Felis adds that the hitherto undocumented cushion 'rewrites' the story of the Proust Chair.The Proust has a huge architectural and aesthetic charge; Alessandro Mendini described it to me as a 'bomba estetica.' That bomb exploded late modernism and in the void was built the post-modern world we live in today. Moreover, the story of the Proust Chair, like the movement the chair has come to symbolise, continues to be told and, in this case, retold.Designer and author, Nick Wright is the writer of Cut and Shut, The History of Creative Salvage.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP 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
Lot 213
A WWII bomb damaged House of Parliament stone jar,1950s, made from a piece of the structure of the Houses of Parliament damaged during enemy air raids on 10 May 1941, of square form with circular foot and neck, ceramic liner, one side with a roundel inscribed 'The stone came from the Houses of Parliament',20cm highCondition ReportChips and nibbles to the stone commensurate with the nature of the item. Knocks, wear and scuffs to the cover.
Lot 67
WWII Eastern Front.‘SS Polizei Panzergrenadier Division-4, Luga 1941-2’An interesting collection of monochrome photographs compiled by a German soldier on the Eastern Front in 1941-1942, mounted in a quarto album interspersed with hand-drawn and coloured maps of the Luga area. The compiler is believed to be Hauptsturmfuhrer Rieskogel, who appears in SS dress uniform with Iron Cross and General Assault Badge, etc. as the first photograph in the album. Also present is a small photograph, taken in Heidelberg, of the same person as a youth. Approximately ten maps and 116 photographs, various sizes including 60mm x 90mm, 100mm x 77mm, 84mm x 114mm, 118mm x 170mm, 175mm x 128mm, etc., Subjects include scenes of the army in convoy and in camp, tanks, military burials and graves, derelict and bomb-torn buildings and towns (including Lubeck and Hamburg), battle scenes, soldiers receiving medical attention, etc. Manuscript note to pastedown: ’F. Tunnicliffe, photographs picked up on advance from over the Rhine to the Elba’.[Heavy fighting at Luga delayed the German advance on Leningrad, German occupation lasted from August 1941 to February 1944].
![[ Autograph ] A photographic montage "The Bomb that ended World War Two, Nagasaki, Japan - August 9, 1945" inscribed by USAAF](https://cdn.globalauctionplatform.com/3c3d7295-b34a-4f08-91be-b08300c36c29/d731a259-77ba-44b5-8012-b08500e3a099/468x382.jpg)
Lot 930
A group of MLB baseball trading cards, including Alex Rodriguez (Topps Chrome 1999 and The Merrick Mint Laser Line Gold Card), Barry Bonds (Topps Own The Game 2001, Fleer We're No. 1 2022, and Donruss Bomb Squad 1994), Babe Ruth (Donruss Passing The Torch 2005), Joe DiMaggio (Upper Deck Hitting for the Cycle 2002), etc
![Nintendo Game & Watch [BD-62] Bomb Sweeper handheld console Condition Report: Item is boxed, complete and in good condition.](https://cdn.globalauctionplatform.com/e2853a61-06c1-400f-bb53-b07c016cd6aa/164c40d4-d9ca-49ef-a162-b08a011c7af7/468x382.jpg)
Lot 167
Williams (Charles) and others. Collection of 22 late Georgian caricatures, including many of "John Bull", and others relating to royal and political events between the years 1799 and 1820, including 'Popular Indignation or- John Bull in a Rage' [BM 10393], 'The New Minister or- as it should be' [BM 10393], 'The Ceremony Kissing the Badge at the Installation of the Knights of the Bomb' [BM 12811], 'Pizzaro a New Play or the Drury-Lane Masquerade' [BM 9402], 'Reposing on a Bed of Roses' [BM 10559], 'Kissing Hands or New Appointments' [BM 10526], 'Standing Orders or John Bull lock'd out' [BM 10754], 'Brittania Lamenting the Fate of her Favorite Son' [Not in BM], 'John Bull contemplating a Statue of Portland Stone' [BM 10718], 'They have been weighed in the balance, and are found wanting' [BM 11269], 'A Hint to Ministers, or a Gracious Answer to Grievous Petitions' [BM 11051], 'Diamond Cut Diamond Cut- Intended as a Frontispiece to the Pamphlet' [BM 10592], 'St. Steven's Statute' [BM 10523], 'The Westminster Ceceder on Fresh Duty' [BM 9715], and others similar, etchings with vibrant original hand-colouring, on various papers, various sizes, all unframed, published by Thomas Tegg, McLean, Fores, and others, circa 1799-1820 (22)
Lot 81
AUCHANTOSHAN SELECT LOWLAND SINGLE MALT Auchentoshan is part of a small minority of Scottish distilleries, in that every drop of whisky it produces is sold as a single malt. Similarly unusual is its use of triple distillation to produce a purer spirit that’s light and mildly fruity.Situated just outside Clydebank, the distillery was lucky to survive the 1941 blitz relatively unscathed. Only one of its warehouses was damaged by a bomb blast, and another near miss provided a blast crater that later became the distillery’s picturesque pond.40% ABV / 70cl
Lot 78
2 BOTTLES OF AUCHENTOSHAN AMERICAN OAK LOWLAND SINGLE MALT Auchentoshan is part of a small minority of Scottish distilleries, in that every drop of whisky it produces is sold as a single malt. Similarly unusual is its use of triple distillation to produce a purer spirit that’s light and mildly fruity.Situated just outside Clydebank, the distillery was lucky to survive the 1941 blitz relatively unscathed. Only one of its warehouses was damaged by a bomb blast, and another near miss provided a blast crater that later became the distillery’s picturesque pond.Each 40% ABV / 70cl
Lot 510
Graham Thomas Oakley (British, 1929-2022), A church mouse mixing a concoction, watercolour, unsigned, 4 x 11 cm, (unframed), The church mice lighting a smoke bomb, watercolour, unsigned, 2.5 x 11 cm, (unframed), The church mice in light smoke, watercolour, unsigned, 2.5 x 5 cm, (unframed), The church mice in medium smoke, watercolour, unsigned, 2.5 x 5 cm, (unframed), The church mice in heavy smoke, watercolour, unsigned, 2.5 x 5 cm (unframed), The church mice blacked out, watercolour, unsigned, 2.5 x 5 cm (unframed), and The church mice fleeing the building, watercolour, unsigned, 5 x 11 cm (unframed), on the same sheet Provenance: From the estate of the late Graham Thomas Oakley deceased Graham Oakley is best known for the Church Mice series of picture books (1970-2000), next to the Foxbury Force series (1994-1998)From Graham Oakley’s personal box file reading: The Diary Of A Church Mouse Please note this has not been referenced or checked against the books Please note these are sold without copyright
Lot 703
Flt Ltnt Ken Trent DFC signed Bomb doors open hardback book. Signed on inside title page. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
Lot 764
A COLLECTION OF GOLD COLOURED JEWELLERY AND OTHER ITEMS Comprising a pair of 1970s hammered gold coloured bombé pediments, each with five applied red and green hardstone disks, suspending two rows of interlocking cones to red and orange stone terminals, stud and clip fittings, the clip stamped 18K; a synthetic oval cabochon red and blue stone ring, the two stones in polished collet settings, the polished band with a partial 750 stamp; a white enamelled band ring, stamped K18 Italy; a tapering polished and reeded tigers eye panel, the polished setting stamped 14 IY; a gilt Dunhill lighter; and a single gilt metal enamelled earring Size/dimensions: earrings 8.1cm long; first ring L; second M; third O Gross weight: gold coloured items 45.4 grams Condition Report: The items all have some light wear commensurate with age and use, the enamelled pieces have chipping Condition Report Disclaimer
Lot 705
Y A LATE 19TH CENTURY DAIMOND AND HALF PEARL CIRCULAR BROOCH The circular bombé panel pavé set with half pearls, with rose cut diamond accents, stamped with French 1838-1919 little guarantee poinçon, in an associated gold coloured brooch setting; together with a diamond and mother of pearl dress stud, stamped 18; a white stone and mother of pearl stud; and a stud back stamped 18ct; together with a mother of pearl pendant with silver coloured mount, stamped 925 Size/dimensions: brooch 2.4cm diameter Gross weight: 20.3 grams Condition Report: The brooch panel was originally part of a watch case. all items have wear commensurate with age and use Condition Report Disclaimer
Lot 32
Sir Barnes Neville Wallis, aeronautical scientist and best known for inventing the bouncing bomb used by the Royal Air Force in the operation Chastise, 'The Dambusters' attack on the dams of the Ruhr Valley during WWII : A paper archive including books, eleven hand-written manuscript letters addressed to John Steele, letters addressed to Ms. Steele signed by Molly Wallis, photographs, negatives, press cuttings, etc. (Q)
Lot 495
Exhibition / Advertising Posters, more than seventy posters of various sizes with approximately half promoting exhibitions including Claude Viallat Barcelona 1983, Noori al-Rawi 1978, Museu Picasso, Iran 6000 years of Art and more with the other approximatel half being advertising posters that include Evening Standard Posters, Crunchie the Taste Bomb, Egg Promotions and more, various conditions but overall generally very good
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