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Laura Knight -  A.E. Brain & Co - Foley China - An early morning breakfast service comprising teapot, two teacups and saucers, milk, sugar and side plate, for the 1934 Harrods Modern Art for the Table exhibition (Art in Industry), transfer printed and hand coloured in the Dove and Flood pattern, surrounded with white rain drops over a pink lustre ground, printed marks.  NB - This was designed by Laura Knight for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.

Clarice Cliff - Michael Willmer - A circular side plate for the 1934 Harrods Modern Art for the Table exhibition (Art in Industry) with a stylised devil figure, together with a matched Conical coffee cup, Michael Willmer and Bizarre mark, plate width 17cm. (2) NB - This was designed artist Michael Willmer for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.

Ernest Proctor - A.E. Brain & Co - Foley China - A cup, saucer and side plate for the 1934 Harrods Modern Art for the Table exhibition (Art in Industry) with repeat coloured wave lines with lustre, Ernest Proctor and Foley mark, together with a matched side plate. (5) NB - This was designed by Ernest Proctor for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.

ROGER FRY (BRITISH 1866-1934) TOWNSCAPE AND CHURCH, SEGOVIA, SPAIN Red chalk Signed and dated 1923 (lower left), titled (lower right) 32.5 x 44.5cm (12¾ x 17½ in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present ownerLiterature: Roger Fry, A Sampler of Castile, Leonard & Virgnina Woolf Hogarth Press, London, 1923, reproduced plate 8 with the caption 'Segovia: S. Nicolas''Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read   Condition Report: Unexamined out of glazed frame. Very light undulation to the sheet. Otherwise no obvious significant condition issues. Condition Report Disclaimer

MARION RICHARDSON (BRITISH 1892-1946) BURNHAM MARSH, SCOLT HEAD, NORFOLK Gouache on card Signed with initials (lower right); signed and titled (to backing board) 25 x 28cm (9¾ x 11 in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read  

ROGER FRY (BRITISH 1866-1934) WOODED LANDSCAPE WITH HILLS BEYOND Oil on board Signed, dedicated and dated Marion Richardson/with best wishes for Christmas/1926 Roger Fry (verso) 20.5 x 26.5cm (8 x 10¼ in.)Provenance: Gifted to Marion Richardson, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read Condition Report: There is some light surface dirt and the work would benefit from a light clean. There are two tiny holes to the surface of the board at the centre and lower left, possibly original to the board before it was painted. Otherwise in good original condition with no evidence of retouching visible under ultraviolet light.Condition Report Disclaimer

MARION RICHARDSON (BRITISH 1892-1946) SELF-PORTRAIT, AGED 17 Pencil 32 x 26cm (12½ x 10 in.)Drawn in 1910.Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present ownerLiterature: Marion Richardson, Art and the Child, London, 1948 (illustrated) Jessica Kilburn, Thomas Hennell: the Land and the Mind, London, 2021 (illustrated) 'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read Condition Report: Unexamined out of glazed frame. Foxing scattered to the sheet throughout, most notable to the sitter's blouse and down the right side of the sheet. Otherwise no obvious significant condition issues. Condition Report Disclaimer

ROGER FRY (BRITISH 1866-1934) FLOWER PIECE Oil on canvas laid on board Signed (lower left) 51 x 41cm (20 x 16 in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read   Condition Report: The paint surface is dirty and would benefit from a clean. There is a fine surface scratch to the lower centre left. In otherwise good original condition. There is no evidence of retouching visible under ultraviolet light.Condition Report Disclaimer

λ&nbspGRAHAM SUTHERLAND (BRITISH 1903-1980) PASTORAL Etching, 1930 Signed in pencil, dedicated to Marion Richardson With best wishes for Christmas/& love from Jane & Kenneth Clark and dated 1938 to backboard (verso) Image 12.2 x 19cm (4¾ x 7¼ in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner 'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first things that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read     Condition Report: Stuck down to mounting board with tape to the upper corners. Some very light undulation to the lower margin. Some light staining running along the upper edge of the margin with a crease to the upper right corner. Image itself is in good original condition. Condition Report Disclaimer

ROGER FRY (BRITISH 1866-1934) HOUSE BY THE WATER'S EDGE Ink Signed and indistinctly dated 15[?] (lower right) 23.5 x 35cm (9¼ x 13¾ in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present ownerExhibited: London, The London Artist's Association 'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read  Condition Report: Unexamined out of glazed frame. Overall fading throughout the sheet, most notable to the signature and date to the lower right corner. Otherwise no other obvious condition issues. Condition Report Disclaimer

ROGER FRY (BRITISH 1866-1934) STILL LIFE OF A JAR, APPLES AND A CANDLESTICK HOLDER Oil on board Signed (lower right) 32.5 x 40.5cm (12¾ x 15¾ in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read Condition Report: The paint surface is dirty and would benefit from a clean. There is some damage and associated paint loss to the edges and corners of the board. There is a surface scratch (approx 1.5cm long) to the lower left quadrant and some other further light surface scratches. There is no evidence of retouching visible under ultraviolet light. Condition Report Disclaimer

BRITISH SCHOOL (20TH CENTURY) STILL LIFE OF COFFEE POT, TUREEN AND DISH Oil on canvas 36 x 46cm (14 x 18 in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read  

MARION RICHARDSON (BRITISH 1892-1946) VILLAGE SCENE, SOUTH OF FRANCE Oil on board 33 x 41.5cm (12 x 16¼ in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read  

MARION RICHARDSON (BRITISH 1892-1946) MARION RICHARDSON'S MOTHER, ELLEN RICHARDSON (NÉE DYER) Oil on canvas 40.5 x 35.5cm (15¾ x 13¾ in.) Unframed Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read    

BRITISH SCHOOL (20TH CENTURY) STILL LIFE OF APPLES AND PEARS Oil on canvas 41 x 51cm (16 x 20 in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read  

Joel Garner signed limited edition print with signing photo The first ever World Cup was won by the hugely successful West Indies team. The team had everything: reliable and free scoring batsmen and accurate wicket taking bowlers, including the legendary Joel Garner.Joel took 259 test wickets from just 58 matches at an average of 20.97 runs. This superb print shows 'Big Bird' Joel at Lords during the World Cup Final against England, where he took 5 for 38, playing a significant role as West Indies won by 92 runs.He has personally signed each print and you will receive a photo of the signing (as shown in inset image).Actual Size 560mm x 410mm - limited edition of 500 and part of the Sporting Masters editions - Photo printed on 250gsm, high quality art board - The accompanying photo of the personality signing this item will include a copyright over the image. Good condition. All autographs 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 £9.99

Gary Player signed limited edition print with signing photo In 1959, Gary won his first Open and the time was the youngest ever winner of an open. By 1961, Gary topped the money list on the US Tour. In 1965, he beat Arnold Palmer to win the US Masters and therefore finally winning each of the Majors.He would go to record 10 Major victories in total. He won the Open 3 times, the US Open once, the US PGS twice and the Masters 3 times.This stunning print shows Gary's delight at winning the British Open in 1968. He has personally signed each print and you will receive a photo of the signing (as shown in inset image).Actual Size 560mm x 410mm - limited edition of 250 and part of the Sporting Masters editions - Photo printed on 250gsm, high quality art board.The accompanying photo of the personality signing this item will include a copyright over the image and the edition number may vary.A stunning item of signed Golf memorabilia. Good condition. All autographs 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 £9.99

Lord Sebastian Coe signed limited edition print with signing photo Sebastian Coe is one of the great names of British sport with eight world records and two Olympic gold medals during his career. Coe sensationally broke three world records in 1979 in just 41 days: the 800m and mile in Oslo and the 1500m in Zurich. This meant Coe was the first man in more than 50 years to set world records at both 800m and 1500m.The following July Coe added the 1000m record to his list in Oslo, making him the holder, for a short time, of four world records simultaneously.In 1981 Coe broke records again at 800m (Florence) 1000m (Oslo) and the mile (Zurich and Brussels) bringing his total to eight. His 800m world record of 1:41:73, set in Florence in June1981, remained unbroken until 1997. At the 1984 Olympics in Los Angeles Coe set an Olympic record at 1500m.He has now successfully led the bid to bring the Olympics to London in 2012.This stunning print shows Coe jubilant in crossing the line to win the Olympic gold medal in 1984. He has personally signed each print and you will receive a separate photo of the signing (as shown in the inset image).Actual Size 560mm x 410mm - limited edition of 250 and part of the Sporting Masters editions - Photo printed on 250gsm, high quality art board - The accompanying photo of the personality signing this item will include a copyright over the image and the edition number may vary. Good condition. All autographs 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 £9.99

Ivan Lendl signed limited edition print with signing photo Ivan was ranked No. 1 in the world for 270 weeks, including 157 straight from 1985 to 1988. He is the holder of 94 career singles titles, including his 1980 feat, winning three tournaments in successive weeks on three different surfaces. He captured 8 Grand Slam titles and reached an astounding 19 Slam singles finals.He relied on strength and heavy topspin from the baseline to reach 8 consecutive US Open finals (1982-89), winning three, 1985, '86, '87. He also won twice at the Australian Open, 1989 and 1990, and three times at the French Open, 1984, 1986 and 1987.This stunning print shows Ivan's delight at winning his first Australian Open in 1989. He has personally signed each print and you will receive a photo of the signing (as shown in inset image).Actual Size 560mm x 410mm - limited edition of 250 and part of the Sporting Masters editions - Photo printed on 250gsm, high quality art board - The accompanying photo of the personality signing this item will include a copyright over the image and the edition number may vary. Good condition. All autographs 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 £9.99

David Attenborough Signed Hardback Book, The Life Of Birds. Special Edition Signed in Pen on first page. 276 pages. Good Condition. Good condition. All autographs 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 £9.99

Giacomo Agostini signed limited edition print with signing photo Over the course of a remarkable career of 17 years, the peerless Giacomo Agostini won 15 world titles, 12 Isle of Man TT crowns and an astonishing 122 Grand Prix'. He became motor cycling's first genuine world superstar and, whether riding a 350cc or 500cc racing motorcycle, he was nearly always the man to beat whenever he took up his position on the starting grid.After winning his final world title in 1975, Agostini enjoyed his last competitive year in 1976. Fittingly, his last career victory came at the Nurburgring - the German venue where he had won his very first Grand Prix race back in 1965.This stunning print chosen by Giacomo, shows him on his favourite road circuit in the Isle of Man. He has personally signed each print and you will receive a separate photo of the signing (as shown in the inset image).Actual Size 560mm x 410mm - limited edition of 250 and part of the Sporting Masters editions - Photo printed on 250gsm, high quality art board - The accompanying photo of the personality signing this item will include a copyright over the image and the edition number may vary. Good condition. All autographs 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 £9.99

Peggy Davies limited edition figurine, Afternoon Tea, 457/650, no cracks or chips, H: 23 cm. UK P&P Group 2 (£20+VAT for the first lot and £4+VAT for subsequent lots)

Tom Greenshields limited edition figural sculpture, Anya with Book, 152/350, no cracks or chips, L: 50 cm. UK P&P Group 3 (£30+VAT for the first lot and £8+VAT for subsequent lots)

Fleming, Ian Thunderball Jonathan Cape, London, 1961, first edition, retaining dust jacket From Russia, With Love Jonathan Cape, London, 1957, first edition, lacking dust jacket (2) Condition Report:Available upon request

SCOTTISH ART Glasgow Art Club: Souvenir of the Grand Costume Ball In behalf of the Scottish Artists' Benevolent Association MacLure, MacDonald & Co., Glasgow Caw, Sir James L. Sir James Guthrie: A Biography MacMillan and Co. Limited, London, 1932, signed by the author to title page Baldwin Brown, G. The Glasgow School of Painters With Fifty-four Reproductions in Photogravure by J. Craig Annan James MacLehose, Glasgow, 1908 Martin, David The Glasgow School of Painting George Bell & Sons, London, 1897, two differing editions Halliday, T.S. & Bruce, George Scottish Sculpture: A Record of Twenty Years George E. Findlay, Dundee, 1946, first edition Etc. Condition Report:Available upon request

* Jongkind (Johann Barthold, 1819-1891). Moulins en Hollande, 1867, etching on laid paper, a very good impression of the apparent first state (of three), printing with tone, with margins, platesize 14.2 x 19.5 cm (5 5/8 x 7 3/4 ins), sheet size 16.7 x 25.1 cm (6 1/2 x 9 7/8 ins); together with Batavia, 1868, etching, on laid paper, a very good impression of the second (final) state printing with tone, plus Guillaumin (Armand, 1841-1927). Vue prise de Saardam, etching printed in red and olive green, from the 1906 first edition of "Histoire des Peintres Impressionnistes" by Theodore Duret, published by Floury, Paris, and Israëls (Jozef, 1824-1911). The Odd Couple, 1873, two impressions, etchings on Arches laid paper (one with a partial Arches watermark), largest sheet 25.8 x 35.5 cmQTY: (5)NOTE:Jongkind: Delteil 14 & 16; Guillaumin: Kraemer 23.

* Nash (Paul, 1889-1946). The Two Angels, Heaven, and Boredom, from Abd-er-Rahman in Paradise, 1927, three wood engravings, two on pale cream thin japon (likely from the first edition of 12 proofs on white japon, according to Postan), one on very thin japon trimmed to the blockmark (from the second issue as noted by Postan), 'The Two Angels' - large margins, minimally tipped on to mount with tape, image size 7 x 5 cm (2 3/4 x 2 ins), sheet size 25.5 x 19 cm, 'Heaven' - trimmed to image, tipped onto backing board with adhesive, two small creases lower left, two small areas of spotting, image size 13.5 x 9.5 cm (5 1/4 x 3 3/4 ins), 'Boredom' - large margins, minimally tipped on to mount with tape, slightly mount stained, image size 14 x 9.5 cm (5 1/2 3 3/4 ins), sheet size 25.5 x 19 cm, uniformly framed and glazed. QTY: (3)NOTE:Jules Tellier's Les deux paradis d'Abd-er-Rhaman was first published in Paris in 1921; its story concerns a man who must choose between Christian and Muslim heavens. The English version was translated by Brian Rhys, with four illustrations by Paul Nash, and published by The Golden Cockerel Press in 1928. Nash's engravings are fine examples of his work, and are described by Clare Colvin in Paul Nash Book Designs as "the climax of Nash's representational wood engravings".Literature: Postan The Complete Graphic Work of Paul Nash - W80, W81, W83. Postan notes: "Two editions: the first as 12 proofs on white japon; the second on fine japon trimmed to the blockmark and mounted as the first illustration to Abd-er-Rhaman in Paradise, Golden Cockerel Press, 1928, in an edition of 400 copies."

* Nash (Paul, 1889-1946). Five Illustrations from Cotswold Characters, 1921, a complete set of five woodcuts on wove paper from the edition of 9, each signed and dated in pencil to lower right, sheet one and four inscribed 'proof' in pencil, the other three numbered 'No VI of 9' or 'VI of 9' in pencil, in very good condition (Thesiger Crowne with inky fingerprint to lower left portion of sheet), partial 'Danehurst Parchment' watermark to all, each tipped minimally onto backing board with tape, 'William Weston Gallery' label to verso of backing board, each image 7.5 x 7.5 cm (3 x 3 ins), all sheets 18 x 11 cm (7 x 4 1/4 ins), displayed in a multi-aperture mount (42 x 59.5 cm)QTY: (5)NOTE:Illustrations: Thesiger Crowne, The Mason. Simon Rodd, The Fisherman. Rufus Clay, The Foreigner. Pony, The Footballer. Joe Pentifer and Son.John Drinkwater's book Cotswold Characters was first published by Yale University Press in 1923, and included Paul Nash's first ever illustrations for a book.Literature: Postan The Complete Graphic Work of Paul Nash - W14, W15, W16, W17, W18. Dodgson The Print Collector's Quarterly (Volume 15) - 14, 15, 16, 17, 18.

AR * Abrahams (Ivor, 1935-2015). Dancer, bronze with green patina, depicting a dancer resting on the top of their back, legs in the air pointing to the right, screwed onto base (one screw missing, one sheared), resting on a base 7mm thick, figure 150mm, total height 157 mm x 120 mm, label to verso 'IA23' numbered 6/9, together with Female Dancer, bronze with green patina, showing a figure sitting on the floor with back arched, one hand to head, legs bent, '1' in pen to underside of base, screwed onto a 19 mm high base, figure 120mm tall, overall height 139 mm, and Back Flip, bronze with green patina, depicting a female figure arching her back, screwed onto 18 mm base, figure height 115 mm, overall 133 mm high, and Back Flip, bronze with green patina, depicting a female figure arching her back, screwed onto 18 mm base, figure height 115 mm, overall 133 mm high, together with: Abrahams (Ivor, 1935-2015). Trees, glazed pottery in purple and blue, monogrammed and dated '76?' to lower right, signed and dated '81' in black pen to inside bottom edge, length 33 cm (13 ins), together with Trees, circa 1976, glazed pottery in cream and black, monogrammed to lower right, artist's name and '3/30' in black pen to bottom, '76' in pen to verso, length 33 cm (13 ins), and Fulham Pottery, 1983, ceramic, painted green and yellow, signed, titled and dated in purple ink to verso, diameter 23 cm (9 ins)QTY: (7)NOTE:This first work is possibly from Abrahams' Trente-Six series of bronzes produced in 1989, in a limited edition of 9.

A collection of various first edition and other books, including Daphne Du Maurier Rule Britannia 1972, Half-Breed The Story of Grey Owl 1939 etc (14)

Cider With Rosie, by Laurie Lee, a hardback first edition with dust cover dated 1959

A 1964 IAN FLEMING FIRST EDITION, YOU ONLY LIVE TWICE, JAMES BOND HARDBACK BOOK COMPLETE WITH ORIGINAL DUST JACKET

A 1962 IAN FLEMING FIRST EDITION, THE SPY WHO LOVED ME, JAMES BOND HARDBACK BOOK COMPLETE WITH ORIGINAL DUST JACKET

STAR WARS: VARIOUS PRODUCTIONS - Anthony Daniels Collection: Anthony Daniels-autographed Early C-3PO Concept Page - An Anthony Daniels-autographed early C-3PO concept page from Stan Stice's and John Scoleri's limited edition "The Art of Ralph McQuarrie" book. This printed page features an early concept sketch of C-3PO's head, which McQuarrie used in his final painting of Droids in the Desert, which convinced Daniels to take the role. Daniels' autograph is hand-signed in black pen. Dimensions: 12" x 18" (30.5 cm x 45.5 cm)This lot comes from the personal collection of actor Anthony Daniels. Daniels plays loyal protocol droid C-3PO in the Star Wars saga. He first appeared in the role in 1977 and is the only actor to appear in all Star Wars feature films to date.See PDF below for a comprehensive study of this and other lots in the Anthony Daniels collection. Estimate: $100 - 200Bidding for this lot will end on Wednesday, March 13th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, March 12th or Thursday, March 14th.

ANTHONY DANIELS - Anthony Daniels Collection: ''I Am C-3PO - The Inside Story'' Autographed Hardback Collector's Edition and Audiobook CD - I Am C-3PO - The Inside Story hardback Collector's Edition and audiobook CD autographed by Anthony Daniels. The book comes in a card sleeve, sealed in plastic, and autographed and numbered by Daniels. The audiobook CD case is autographed on the cover and contains nine CDs. Dimensions: (hardback in card sleeve) 9.75" x 6.5" x 1.5" (25 cm x 16.5 cm x 3.5 cm)This lot comes from the personal collection of actor Anthony Daniels. Daniels plays loyal protocol droid C-3PO in the Star Wars saga. He first appeared in the role in 1977 and is the only actor to appear in all Star Wars feature films to date.See PDF below for a comprehensive study of this and other lots in the Anthony Daniels collection. Estimate: $300 - 600Bidding for this lot will end on Wednesday, March 13th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, March 12th or Thursday, March 14th.

STAR WARS: DROIDS (1985) - Anthony Daniels Collection: Three Proof Copies of Ralph McQuarrie's The Droids in the Desert - Three proof copies of Ralph McQuarrie's The Droids in the Desert, reprinted as a tipped-in page for the Dark Horse limited edition hardcover comic book Star Wars Droids: The Kalarba Adventures. McQuarrie's artwork, which depicts early versions of C-3PO (Anthony Daniels) and R2-D2 (Kenny Baker) in a desert landscape, was originally created in 1976 to help sell the look of Lucas' Star Wars to studio executives at 20th Century Fox. This image inspired Daniels to take the role of C-3PO. The artwork was reproduced as tipped-in pages for the limited edition hardcover Dark Horse comic book in 1995. Each of these four proof copies features the reference line "SW DROIDS LIMITED EDITION SIGNED TIP IN PLATE" printed along its right edge, with Daniels' name printed at the bottom and a space for the prints to be hand-numbered out of 1000. Dimensions: (each) 11" x 15" (28 cm x 38 cm)This lot comes from the personal collection of actor Anthony Daniels. Daniels plays loyal protocol droid C-3PO in the Star Wars saga. He first appeared in the role in 1977 and is the only actor to appear in all Star Wars feature films to date.See PDF below for a comprehensive study of this and other lots in the Anthony Daniels collection. Estimate: $300 - 600Bidding for this lot will end on Wednesday, March 13th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, March 12th or Thursday, March 14th.

STAR WARS: VARIOUS PRODUCTIONS - Anthony Daniels Collection: Special Edition Invitations, Attack of the Clones Screenings Invitations, Exhibition Invitation and Autographed Rogue One Invitations - A collection of screening invitations from various Star Wars productions. This lot features two invites to a screening of Rogue One, autographed in gold-colored ink by Anthony Daniels; two invites to screenings of Attack of the Clones; an invite to the opening of Star Wars: The Magic of Myth exhibition in Sydney, Australia; and five invites to various screenings and functions for the 1997 re-release of A New Hope. Dimensions (Rogue One ticket): 7.5" x 3.25" (19 cm x 8 cm)This lot comes from the personal collection of actor Anthony Daniels. Daniels plays loyal protocol droid C-3PO in the Star Wars saga. He first appeared in the role in 1977 and is the only actor to appear in all Star Wars feature films to date.See PDF below for a comprehensive study of this and other lots in the Anthony Daniels collection. Estimate: $150 - 300Bidding for this lot will end on Wednesday, March 13th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, March 12th or Thursday, March 14th.

STAR WARS MERCHANDISE - Anthony Daniels Collection: Limited Edition Fossil Watch and Laser-etched Glass C-3PO and R2-D2 Ornament - A limited edition Fossil watch and a laser-etched glass C-3PO and R2-D2 ornament. The watch was number 648 out of a limited edition run of 2,000 which was released in 2005. It is stainless steel and features a partially colorized image of C-3PO and R2-D2 on the face. It comes in its original packaging and is accompanied by a COA from Fossil.The glass ornament features a laser-etched image of the iconic droids. It is accompanied by its original box and adhesive rubber feet. Dimensions (ornament): 5" x 3.5" x 3" (12.75 cm x 9 cm x 7.5 cm) Contains electronics; see electronics notice in the Buyer's Guide.Contains mechanical components; see mechanical notice in the Buyer's Guide.This lot comes from the personal collection of actor Anthony Daniels. Daniels plays loyal protocol droid C-3PO in the Star Wars saga. He first appeared in the role in 1977 and is the only actor to appear in all Star Wars feature films to date.See PDF below for a comprehensive study of this and other lots in the Anthony Daniels collection. Estimate: $100 - 200Bidding for this lot will end on Wednesday, March 13th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, March 12th or Thursday, March 14th.

STAR WARS: THE FORCE AWAKENS (2015) - Propshop FN-2187 Stormtrooper Helmet Replica - A replica of an FN-2187 Stormtrooper helmet from J.J. Abrams' Star Wars: The Force Awakens. In the film, FN-2187 (John Boyega) became disillusioned with the First Order after a fellow stormtrooper smeared their blood across his helmet and died in his arms.Propshop, the industry prop and set decoration fabricator that created many props for The Force Awakens, released limited-edition prop replicas in partnership with Disney and Lucasfilm. This replica was made from original 3-D scan data of FN-2187's helmet from the production to ensure utmost accuracy. The helmet is constructed of a range of proprietary synthetic materials, and features detailed distressing as well as bloodied streaks across the helmet. Also included is a display stand, its original box, and its original crate. The box and crate exhibit minor wear from handling. Dimensions: 22" x 12" x 23" (56 cm x 30.5 cm x 58.5 cm)Estimate: $5,000 - 10,000Bidding for this lot will end on Tuesday, March 12th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, March 13th or Thursday, March 14th.

STAR WARS: VARIOUS PRODUCTIONS - Anthony Daniels Collection: Autographed Sideshow Collectibles 12" PM C-3PO Japanese Edition - An autographed Sideshow Collectibles 12" PM C-3PO Japanese edition. C-3PO has been precisely replicated with ferrous metals. Its eyes illuminate when powered by two LR44 batteries. It can be displayed on the accompanying clip and base, and the boxed packaging has been autographed in black marker by Daniels. Dimensions: 11.50" x 6.25" x 1.75" (29.50 cm x 15.75 cm x 4.50 cm)This lot comes from the personal collection of actor Anthony Daniels. Daniels plays loyal protocol droid C-3PO in the Star Wars saga. He first appeared in the role in 1977 and is the only actor to appear in all Star Wars feature films to date.See PDF below for a comprehensive study of this and other lots in the Anthony Daniels collection. Estimate: $500 - 1,000Bidding for this lot will end on Wednesday, March 13th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, March 12th or Thursday, March 14th.

Francisco de Goya (1746-1828)Estan calientes (They are Hot), plate 13 from Los CaprichosEtching and aquatint, 1799, an excellent impression of the first edition, on laid paper without watermark, platemark 207 x 150 mm (8 1/8 x 5 7/8 in), sheet 315 x 200 mm (12 3/8 x 7 7/8 in), some minor spotting and surface dirt (unframed)Literature:Harris 48 III.1 

Francisco de Goya (1746-1828)El de la rollona (Nanny's boy), plate 4 from the series: Los CaprichosEtching and aquatint, 1799, an excellent impression of the first edition, on laid paper without watermark, platemark 207 x 150 mm (8 1/8 x 5 7/8 in), sheet 315 x 200 mm (12 3/8 x 7 7/8 in), a few marginal repairs and surface dirt (unframed)Literature:Harris 39 III.1 

Francisco Goya (1746-1828) Ni asi la distingue, plate 7 from "Los Caprichos" Etching and aquatint, circa 1799, a good impression of the first edition, Harris's first state on cream laid paper without watermark, platemark 197 x 147 mm (7 3/4 x 5 3/4 in), sheet 300 x 215 mm (11 3/4 x 8 1/2 in), good margins, small crease to lower left corner but well outside the image, minor spotting (unframed) Literature: Delteil 44, Harris 42

HENRI ADRIAN: (1932-2000) English poet and painter, one of the trio of 'Liverpool Poets'. Signed 8 x 12 privately printed limited edition print by Henri, entitled Rapefield, printed on yellow card and depicting a field of rape flowers with a dark blue sky painted-in by hand at the head. Numbered 79 of 150 in pencil at the base and signed, titled and dated (1989) by Henri in the left margin. Further signed and inscribed to the verso by Henri to Tom Maschler, 'For Tom, very best for 1990, and glad to be a Cape author again! Adrian'. Some surface and corner creasing. Together with an A.L.S., Adrian, to the verso of a picture postcard issued by Jonathan Cape Ltd. and with an illustration announcing a facsimile of the first edition of Beeton's Book of Household Management, n.p., n.d., to Tom Maschler, in full, 'Couldn't wait any longer - hope you like final selection of poems - they're all ones I've read a lot etc. in the last 3 years. Let me know what you think'. G to VG, 2Tom Maschler (1933-2020) British publisher who, from 1960, was head of the publishing company Jonathan Cape for more than three decades. Maschler was also instrumental in establishing the Booker Prize in 1969.

ALDRIN BUZZ: (1930- ) American astronaut, Lunar Module Pilot of Apollo XI (1969). The second man to set foot on the moon. Book signed, being a hardback edition of Reaching For The Moon, First Edition published by Harper Collins, 2005, with colour illustrations by Wendell Minor. Signed by Aldrin with his name alone in black ink to the title page and also signed by Minor in black ink with his name alone. Accompanied by the dust jacket. VG

MANDELA NELSON: (1918-2013) South African anti-apartheid activist, the first President of South Africa 1994-99. Nobel Peace Prize winner, 1993. A printed large folio edition of Die Burger newspaper, dated 11th May 1994, with the headline in Afrikaans, 'Wereld juig oor SA' (Translation: 'World Rejoices over SA') and with two large colour images, one depicting Mandela in a half-length pose taking the oath of office on 10th May 1994 to become the first President of South Africa, and the other showing large crowds of South Africans gathered on the lawns on the Union Building's gardens as they witness the historic events of the day before. Signed by Mandela in black ink to a clear area beneath the headline and dated 17th May 1994 in his hand, just days after having become President. An historic signed newspaper. Some light age wear and folds, about VG

BUÑUEL LUIS: (1900-1983) Spanish Filmmaker. A reference for many Film Directors and the leader in the avant-garde surrealism cinema. Rare signed book `Luis Buñuel´, to the half-title page, being the soft cover First Edition of Buñuel, edited by Pierre Seghers in 1962, 5 x 6 original trade cover, 224 pages, in French. The Ado kyrou work is an early critical study of the pioneering and influential Spanish Director, who made films in nearly every genre over his 50 year career. including experimental films, musicals, comedies, crime, documentary and westerns. The book contains illustrations with numerous photographs throughout. G to VGThe present signed book provenance is from the collection of noted cinephile French collector Pierre Goulliard.

DEIGHTON LEN: (1929- ) British author, best known for his spy novels including The IPCRESS File (1962). Small correspondence collection of six T.Ls.S., Len, and one photocopied letter, eight pages (total), mainly 4to, London and Dundalk, Co. Louth, 1966-75, all to Tom Maschler. Deighton writes on a variety of subjects, including his own works, in part, 'Thank you very much for the super edition of Billion Dollar Brain....As always it is a beautiful piece of work' (15th December 1966), 'I was a little disappointed that you had not gone along with any of my suggestions re adverts in the small circulation technical magazines that I listed. Especially since the cost involved would have been so minute. When I left NY last week BOMBER was listed as a candidate for the BS list....Its selling 2,000 a week. Jay says if it was on the list it would be climbing......Confidentially Jay Iselin has complications with that job at Harper. If he stays on after Jan 1st it will be in an altered structure (and capacity). I hope he stays, as I got to like him very much as far as one can in such a short time. However monolithic organisations (like Newsweek) breed organisation men and publishers must be mavericks - like you! And perhaps me too' (16th November 1970), 'Could you oblige by reacting to this chap with your usual sympathy and understanding - no perhaps you'd better be nicer than that - joke - oh boy! I've probably screwed this fellows chance of literary fame even before its started' (n.d., although 1975 and accompanied by a few related letters etc.), 'Tony Godwin has sent me his editorial notes. How he did it in the time is quite fantastic - twenty closely typed pages. I have been stupid enough to leave myself without a proper copy of the MS and am working from a Xerox of the draft but Anton is coming here soon and will bring one with page numbers that correspond with Tony G's notes. I'm hoping that by the time your editor is ready, I will have fixed Tony G's too, so that he will have a master copy.....The only major suggestion of Tony's is to scrap the first chapter - I think this is a good idea' (12th November 1975). The photocopied letter dates from December 1970 and points to a rift between writer and publisher over BOMBER, in part, 'Noting as I do the virtual absence of adverts and remembering that [this] brings no advantages to the writer you might conclude that you have a very very dissatisfied writer here; You would be correct'. Some light creasing and age wear, G, 7Tom Maschler (1933-2020) British publisher who, from 1960, was head of the publishing company Jonathan Cape for more than three decades. Maschler was also instrumental in establishing the Booker Prize in 1969.

HUGO VICTOR: (1802-1885) French novelist, poet and dramatist. A remarkable, lengthy A.L.S., Victor, four pages, 4to, n.p., 2nd November 1829, to Charles Nodier, in French. Hugo writes an impassioned letter, commencing by stating that much of him wishes he had not read La Quotidienne yesterday, and continuing ‘Car c'est une des plus violentes secousses de la vie que celle qui deracine du coeur une vieille et profonde amitie. J'avais perdu depuis longtemps l'habitude de rencontrer votre appui pour mes ouvrages. Je ne m'en plaignais pas. Pourquoi donc auriez-vous continue de vous compromettre dans une amitie publique avec un homme qui n'apporte a ses amis qu'une contagion de haines, de calomnies et de persecutions? J'ai vu que vous vous retiriez de cette melee, et, vous aimant pour vous-meme, j'ai trouve cela bien. Peu a peu, du silence et de l'indifference pour moi je vous ai vu passer a l'eloge, a l'enthousiasme, a l'acclamation pour mes ennemis, meme pour les plus ardents, les plus amers, les plus odieux. Rien que de simple encore en cela; car, apres tout, ce n'est qu'une chose personnelle a moi, et mes ennemis peuvent fort bien avoir de l'esprit, du talent et du genie. Cela est tout simple, dis-je, et loin de moi l'idee de m'en plaindre un seul instant. Je ne vous en aimais pas moins, et (vous auriez tort de ne pas me croire, Charles) du fond du coeur. Je n'avias pas prevu, de la ma tranquillite parfaite, que c'etait une transition naturelle, irresistible peut-etre pour vous-meme, a une guerre contre moi. Vous en voila donc aussi, L'attaque d'hier est sourde, obscure, ambigue, j'en conviens, mais elle ne m'en a pas moins frappe au coeur, elle n'en a pas moins eveille brusquement, comme une secousse electrique, plus de vingt personnes qui sont venues s'en affliger avec moi. Et quel moment avez-vous pris pour cela? Celui ou mes ennemis se rallient de toutes parts plus nombreux et plus acharnes que jamais, ou les voila ourdissant sans relache et de toutes mains un reseau de haines et de calomnies autour de moi, le moment ou je suis place seul entre deux animosites egalement furieuses, le pouvoir qui me persecute, et cette cabale determinee qui a pris poste dans presque tous les journaux. Ah! Charles! dans un instant pareil j'avais droit du moins de compter sur votre silence. Ou bien, est-ce que je vous ai fait quelque chose? Pourquoi ne me l'avez-vous pas dit? Ce n'est pas que je reclame contre votre critique. Elle est juste, serree et vraie. Il y a singulierement loin des Orientales a Lord Byron: mais, Charles, n'y avait-il pas assez d'ennemis pour le dire en ce moment? Vous vous etonnerez sans doute, vous me trouverez bien susceptible. Que voulez-vous? Une amitie comme la mienne pour vous est franche, cordiale, profonde, et ne se brise pas sans cri et sans douleur. Puis, je suis fait comme cela. Je ne m'occupe pas des coups de stylet de mes ennemis; je sens le coup d'epingle d'un ami. Apres tout, je ne vous en veux pas, dechirez cette lettre, et n'y pensez plus. Ce que vous avez voulu rompre est rompu, j'en souffrirai toujours, mais qu'importe! Si quelqu'un m'en reparle, je vous defendrai comme je vous ai defendu hier. Mais, croyez moi, c'est une chose bien triste pour moi, et pour vous aussi, car de votre vie, Charles, jamais vous n'avez perdu d'ami plus profondement et plus tendrement et plus absolument devoue’ (Translation: ‘Because it is one of the most violent shocks of life, that which uproots an old and deep friendship from the heart. I had long since lost the habit of receiving your support for my works. I wasn’t complaining about it. Why then would you continue to compromise yourself in a public friendship with a man who only brings to his friends a contagion of hatred, slander and persecution? I saw that you were withdrawing from this melee, and, loving you for yourself, I found it good. Little by little, from silence and indifference for me, I saw you pass to praise, to enthusiasm, to acclamation for my enemies, even for the most ardent, the most bitter, the most odious. Nothing but simple in this; because, after all, it is only a personal thing to me, and my enemies may very well have wit, talent and genius. It’s quite simple, as I said, and far be it from me to complain about it for a single moment. I loved you no less, and (you would be wrong not to believe me, Charles) from the bottom of my heart. I did not foresee, from my perfect tranquillity, that it was a natural transition, irresistible perhaps for you yourself, to a war against me. So here you are too. Yesterday’s attack is dull, obscure, ambiguous, I agree, but it no less struck me in the heart, it no less suddenly awakened me, like an electric shock. More than twenty people came to grieve with me. And what time did you take for this? The one where my enemies are rallying everywhere, more numerous and fiercer than ever, where they are snarling relentlessly and with all hands hatching a network of hatred and slander around me, the moment when I am placed alone between two equally furious animosities, the power that persecutes me, and this determined cabal that has taken up posts in almost all the newspapers. Ah! Charles! In a moment like this I had the right at least to count on your silence. Or did I do something to you? Why didn’t you tell me? It’s not that I’m complaining about your criticism. It is fair, tight and true. It is singularly far from Les Orientales to Lord Byron: but, Charles, were there not enough enemies to say so at this moment? You will no doubt be surprised, you will find me very touchy. What do you want? A friendship like mine for you is frank, cordial, deep, and does not break without tears and without pain. Then, I am made like that. I don’t mind the stilettos of my enemies; I feel the pinprick of a friend. After all, I don’t blame you, tear up this letter, and think no more about it. What you wanted to break is broken, I will always suffer from it, but what does it matter! If anyone talks to me about it again, I will defend you like I defended you yesterday. But, believe me, it is a very sad thing for me, and for you too, because in your life, Charles, you have never lost a friend more deeply and more tenderly and more absolutely devoted’). A letter of astonishing content marking the dramatic end of what had been a solid ‘father and son’ relationship between the two writers. Some very light, extremely minimal age wear, VG Charles Nodier (1780-1844) French author and librarian who introduced a younger generation of Romanticists to the conte fantastique, gothic literature and vampire tales. Hugo and Nodier had enjoyed a strong friendship (the former declaring it as a ‘friendship of brothers’) since 1823 when the critic devoted an article to Han d’Islande, Hugo’s first novel, likening Hugo to Walter Scott. The novelist was a regular attendee of Nodier’s soirees and together the two men made a memorable trip to Reims in 1825 to attend King Charles X’s coronation. However, dissensions erupted in 1829 (the year that Hugo published his collection of poems Les Orientales, inspired by the Greek War of Independence) with the publication by Nodier of an article in La Quotidienne about an edition of the poems of Lord Byron and Thomas Moore. It is this article which gave rise to the present celebrated breakdown letter. Carefully composed, Victor Hugo displays all of his eloquence and sets the tone from the outset. No use of ‘Mon cher Charles’, or ‘Cher ami’, but instead ‘Et vous aussi, Charles!’

STEADMAN RALPH: (1936- ) British illustrator, best known for his collaboration with the American writer Hunter S. Thompson. An extensive correspondence collection of forty-two A.Ls.S. (the majority to the versos of postcards, many featuring images of Steadman's work) and nine T.Ls.S., Ralph, sixty-six pages (total), 4to and smaller, various places (Maidstone, Kent, France and Italy), March 1980 - January 1997, all to Tom Maschler. The substantial, and often amusing, correspondence covers a wide range of subjects, including Steadman's work, in part, 'Many thanks for your letter and your marvellous enthusiasm. I am very happy that Cape & your good self are prepared to take me on with a project that hardly has any bones yet.....I doubt if I will begin Leonardo for 2 or 3 months but that does not prevent me reading about my subject and making notes which is how I set about the book on Freud' (18th March 1980), 'It's fascinating sitting in spots where the old boy [Leonardo da Vinci] might have sat. I was unable to lie on his bed or use the secret tunnel used by Francois I to visit him daily' (25th April 1981), ' "Bloody good!!" he said when he caught sight of the first drawing. "How many more are there?" "How many do you want?" "That depends" "On what?" "How many disciples turn up - can you manage another eleven - No problem' (31st August 1982), 'If he can sell 5000 copies there must be another 50,000 who would buy it if they only knew about it - at least. There is a huge army of committed fans over there [America] but I don't think they know the book exists. All I know is when I did a signing the queue went down the street - New York & West coast. Maybe they were all my fans and there aren't any more but do you believe that. Anyway, one of these days we'll blast through the bullet proof barrier & wonder why we worried' (21st December 1984), 'When Glasgow Art Gallery asked for copies of "I Leonardo" to sell during the course of my exhibition there, they were informed that you are now completely out of the 2nd edition. Surely it is worth a reprint even for this country only' (3rd May 1985), '...[I] have been asked to front a T.V. show on our attitudes to animals (J. G. Ballard, Brian Aldiss etc to be interviewed) I've just been to a bullfight, so I'm on dodgy ground' (28th September 1995). 'I will be researching the ways of cannibals - where they were - who they ate - who tasted best and what their favourite sauces are. Did they have head chefs - table manners - religious symbolism & belief in the powers allotted to various parts of the body......Are we in fact missing a vital part of our diets which no amount of lamb or pig can assuage?.....It's a wide & wonderful subject Tom, and in the metaphysical sense we act like cannibals today in this dog eat dog society of ours' (19th October 1995), 'I have read The Mildenhall Treasure - it is a fine TRUE tale of trust and paranoic avarice. Though, Butcher's wife knew. I love the descriptive atmospherics as much as [Roald] Dahl's grasp of human nature. It could be special, but why, I ask myself am I illustrating Dahl, when I could be hurling myself into Rabelais' (16th June 1996), 'I was thrilled to hear from you again. We have now reorganised the answering machines especially for you so that if you want to sing a song, tell me a story, or recite a piece of concrete poetry, you know I will hear it in future' (n.d., although 1996), 'Two things in defence of the "Snags". Defence one: Children love repetition. Defence two: Childrem don't recognise sophistication; only the inherent spirit of fun, the game itself played out between parent & child. I know. It has been tried out on a nursery school full of children and they ask for more. Defence three even: It is a great way to learn punctuation & a wonderful way to read pictures....' (18th June 1996), 'I am in search of magic - in search of Roald Dahl. What made him tick?' (26th November 1996), 'Over the last few months I have been doing some strange but intriguing, and funny!, pictures in the evenings on my knee (on paper of course) which I call my knee jobs. They seem like the basis for a book though I don't quite know how or why' (6th January 1997), 'Cannibals at the moment are rife in the world of publishing, literart meat-eaters, retail/wholesale packagers, remainderers of books which are in their prime, even 'Animal Farm' which is No. 3 in the best 100 books of the 20th century - trashed because 'its sale has gone down to a trickle' and who, I wonder, is prepared to admit blame?......Unless the book smells like a Body Shop and leaps off the shelf to bite you up the arse, what chance do new books have, except one on cannibals who might like a piece of arse for supper' (19th January 1997), 'I hope that our chat yesterday settled the final touches for our collaboration to reincarnate one of Roald Dahl's wonderful true stories' (29th April 1999), 'Here is something to get your teeth into. The spider's mouth is the hole at the back of Dahl's chair - it needs my cryptic explanation' (n.d.), 'I have avoided planning new booksm but I have not been idle.....I have been involved in a modern dance based on the last years of Picasso....I have done the centenary portrait of T. S. Eliot for The Poetry Society celebration in September. That led to a curiosity to see how I could portray his face in paint & I completed 6 paintings of his visage. He has a strange face......Channel 4 are keen to do a film about my Welsh speech based on the 'BOYO' tapestry and I am making a 10 minute short based on a conversation I invented between Marcel Duchamp & Luis Bunuel......I have always felt that the people who do well out of my book signings are the book shops since I give more of a performance that a mere 'Jeffrey Archer' type signing' (n.d., although 1993). Several of the letters are illustrated with a small caricature alongside the signatures. Some very light, minimal age wear, VG, 51Tom Maschler (1933-2020) British publisher who, from 1960, was head of the publishing company Jonathan Cape for more than three decades. Maschler was also instrumental in establishing the Booker Prize in 1969.

ALDRIN BUZZ: (1930- ) American astronaut, Lunar Module Pilot of Apollo XI (1969). The second man to walk on the Moon. Book signed, being a hardback edition of Return to Earth, First Edition published by Random House, New York, 1973. Signed ('Buzz Aldrin') by Aldrin in bold black ink with his name alone to the title page. Accompanied by the dust jacket (price clipped). VG

GREENE GRAHAM: (1904-1991) English novelist. A good correspondence collection of six T.Ls.S., Graham (and one signed in full), each one page, 8vo, all on the printed stationery of La Residence des Fleurs, Antibes (although accompanied by five original envelopes, most of which have English postmarks from Tonbridge, Kent), March 1985 to November 1988, all to Tadeusz Murek, Greene's Polish translator and close friend. Greene writes on a variety of subjects, in part, 'How amusing about that number of Paris Match. I wish you would send me a photocopy. I knew Mauriac very well, Julian Green rather less well and I have little or no memory of Schlumerger. I can't remember the occasion of the photo but it was probably in the early 50's. I don't remember ever meeting Julian Green in his home. I am surprised that you never received a copy of The General, but I am asking my sister to have one sent to you at once and also a copy of The Tenth Man which contains a good many errors so that I would rather you read it in a corrected edition' (28th March 1985), 'Many thanks for your letter which I am only replying to now because I have been away in Spain for the shooting of Monsignor Quixote. Many thanks for the cuttings and for the information about Punch. I wont be able to listen to that thank God.....La Dottoressa was more or less written by myself although I pretended only to have written the Preface. Ronald Matthews was a friend of mine now dead and his book was very bad, and I made it a condition of talking to him that it should not be published in England. It was more or less an act of charity as he was short of money' (3rd May 1985), 'I wasn't at all offended by your letter, but having just come back from Panama and Nicaragua I was faced with more than 70 letters to answer and I thought yours perhaps didn't need a reply. Now I am off again for I hope two quiet weeks in the Caribbean.....Of course you can use that interview in Poland' (8th January 1986), 'I am afraid that I have been rather dilatory over your plans. I didn't realise that it was a book you were proposing. I was exhausted by the dialogue with Mlle. Allain which went on over several years and I don't fancy doing the same job again. You can't imagine how exhausting the answering of questions can be......A few questions I could face but not a whole book of them.......I have had a happy but exhausting two weeks of travelling in Russia. This you won't approve of' (28th October 1986), 'I am sorry to disappoint you but your list of questions are completely impossible to answer even to myself. Any contribution I made would be silly and superficial' (22nd November 1988). The sixth letter is a testimonial letter for Murek addressed to la Confederation Suisse and stating, in part, 'I have known Mr Tadeusz Murek since 1948 when he became my translator in Poland. I met him first in 1955 in Katowice and since then we have met frequently and become close friends. I would heartily recommend the Conseil d'Etat to grant him permission to spend another year or more in Switzerland where he is studying French language and literature. This is essential for him in his work as a very able translator of literature......' (March 1985). Also including a T.L.S. by Elizabeth Dennys, Greene's sister and secretary, and three retained carbon typed copies of Murek's letters to Greene. VG to EX, 10

AUBRUN EMILE: (1881-1967) French pioneer aviator. Blue ink signature ('Tres amicalement, E Aubrun') to the verso of a postcard issued as a souvenir on the occasion of the fiftieth anniversary of 'des grandes journees mondiales d'aviation' in Champagne, 1960, the image to the recto depicting an early aircraft, also hand addressed by Aubrun and with three large circular stamps, one of the President of the Aero-Club de Champagne. Together with two original telegrams (received copies), both sent to Aubrun, being official folding oblong 8vo printed French telegramme messages, the first sent on 7th August 1910 by a correspondent of Le Matin, in French, 'Erreur materielle a fair arriver Leblanc avant vous sur aerodrole vous etes arrive premier la rectification sera faite dans notre edition demain matin votre admirable exploit vous classe tous premiers ons l'admiration de la France' (Translation: 'Serious error put Leblanc as arriving at the airfield first. You got there first. The correction will be made in our issue tomorrow morning. Your splendid achievement puts you right at the top in French esteem') and the second sent a few days later, on 11th August 1910, by a correspondent for the Daily Mail, in French, 'Vous etes actuellement en tete pour prix 25,000£ offert par Daily Mail pour plus grande distance parcouru a travers campagne entre 14 Aout 1909 & 14 Aout 1910. Vous avez fait 610 kilometres, Paulhan a 526, Leblanc 508. Felicitations et bonne chance' (Translation: 'You are currently in the lead for the prize of £25,000 put up by the Daily Mail for the longest distance flown cross-country between 14th August 1909 and 14th August 1910. You have done 610 kms, Paulhan 520, Leblanc 508. Congratulations and good luck'). Also including an 8vo page of manuscript notes, unsigned, in the hand of Aubrun, in French, relating to the two telegrams etc., and further including an A.L.S. by Aubrun's wife, two pages, 8vo, Marcillac Lanville, 7th September 1960, to Mr. Malfanti, in French, and stating, in part, 'I should personally be keen to get hold of the magazine of the 'Broken Wings', for which you sent us a draft article, full of praise for my husband, and by which he was very touched. Would you be kind enough to let me know where I should apply, in order to obtain a copy. My husband apologises for not writing to you himself, but he is suffering from an attack of rheumatism, particularly in both wrists', as well as one other piece of printed ephemera ('Bulletin Officiel de L'Ae-C.F.') in French, September 1960. Some age wear and minor tears to the two telegrams, G to generally VG, 6The telegrams relate to Aubrun's participation in the Circuit de l'Est, a six-stage air race organised by Le Matin which took place in August 1910. Alfred Leblanc (1869-1921) won the race, and the prize money of 100,000 Francs, and Aubrun finished second. Both aviators piloted Bleriot XI monoplanes in the race, and were the only two to complete the six-stages.

TRUMP DONALD: (1946- ) American President 2017-21. Book signed, being a hardback edition of Trump: Surviving at the Top, First Edition published by Random House, New York, 1990. Signed ('Best Wishes, Donald Trump') in blue ink to the half title page. Accompanied by the dust jacket (some light age wear and a couple of minor creases to the upper edges). VG

JOHN ELTON: (1947- ) British singer and pianist, Academy Award winner. A signed Limited Edition United Kingdom box set for Two Rooms (1991), issued to celebrate the songs of Elton John and Bernie Taupin and including a 16-track CD album (with picture sleeve insert) featuring songs performed by the Beach Boys, Jon Bon Jovi, The Who, Eric Clapton, Kate Bush, Sting, Rod Stewart and George Michael, a VHS video featuring Phil Collins, Roger Daltrey, Sinead O’Connor, Tina Turner, Neil Young and others, as well as rare Elton John performance footage, and a hardback edition of Two Rooms by Elton John and Bernie Taupin, First Edition published by Boxtree Ltd., London, 1991, with many illustrations and accompanied by the dust jacket. All are contained in the original illustrated card box signed to the front lid by Elton John with his name alone in black ink to a clear area. Some age wear and minor scuffing to the exterior and with the small original price label affixed to one corner. About VG

RILKE RAINER MARIA: (1875-1926) Austrian poet and novelist. A.L.S., Rainer Maria Rilke, to one side of a plain correspondence card, Rue de l'Abbe de l'Epee, Paris, 5th February 1903, to a gentleman, in German. Rilke asks his correspondent if they could send two copies of Geschichten vom Lieben Gott ('Stories of God') within the next few days, and concludes by expressing his gratitude. With a pencil annotation and a single diagonal pencil stroke through Rilke's text, indicating that the request was actioned. Two file holes to the left edge, not affecting the text or signature, otherwise EXRilke's correspondent is likely to have been Rudolf von Poellnitz, the founder and director of the German publishing house Insel, based in Leipzig. In 1902 Insel had published a second, modified edition of Geschichten vom Lieben Gott.Stories of God was written by the twenty-three year old Rilke in 1899 and the collection of tales were inspired by a trip to Russia that the young poet had made in the previous year. All of the great themes of Rilke's later powerful and complex poetry can be found in Stories of God, yet their charming, folk-tale like quality has made them among the most accesible of Rilke's works, admired by all ages. The present letter dates from Rilke's first stay in Paris, where he arrived in August 1902 to work on his monograph of Auguste Rodin, later becoming the sculptor's secretary (1905-06).

DALI SALVADOR: (1904-1989) Spanish surrealist artist. An excellent book signed and inscribed, with an original illustration, being a soft cover edition of Hommage a Meissonnier, First edition published by Hotel Meurice, Paris, 1967, to accompany the exhibition of Dali's work at the Hotel Meurice from 1st - 30th November 1967. With a frontispiece image of Dali and featuring four original off-set colour lithographs by Dali (Gala, Nu de dos, Le pecheur and La main) which were created by the artist specifically for this edition and printed in the studios of E & J Desjobert. The edition also includes black and white illustrations of paintings by Ernest Meissonnier, Gustave Moreau, Edouard Detaille and William-Adolphe Bouguereau. Signed and inscribed by Dali in black ink with a large example of his signature ('Dali') to the half-title and facing page, further adding an original drawing in his hand, the image depicting a cavalier riding on his horse and brandishing a lance in one hand, which he raises directly towards a small crown suspended in the sky ahead. Accompanied by the dust jacket and with a loosely inserted printed 4to folding card with the facsimile text and signature of Paul Ricard (as issued). A handsome signed book enhanced by Dali's original drawing. Two very light, minor stains to the upper and lower edges of the half-title page, VGDali's original drawing was evidently inspired by Meissonnier's painting La Bataille de Friedland, a detail of which is reproduced in the book, and similarly shows spirited cavalrymen holding up their swords towards the Emperor, represented in Dali's drawing by the crown.

A Citadel Miniatures first edition Warhammer The Mass Combat Fantasy Role-Playing Game set no. 80201, c.1982, (contents unchecked), together with The First Citadel Compendium (An Irregular Journal) and Citadel Miniatures Ltd catalogue (3)

° ° Emily Eden (1797-1869) - PORTRAITS OF THE PRINCES & PEOPLE OF INDIA. AN EXTREMELY RARE COPY OF THE BEST ISSUE. Hand coloured lithographed title mounted on card, list of plates and 27 hand coloured lithographed plates, heightened with bodycolour and gum-Arabic, by Lowes-Dickinson after Eden, printed by Charles Hullmandel and mounted on 24 card mounts with ink borders ruled by hand and 24 leaves of commentary text, published by J. Dickinson & Son, London,1844, with letterpress titles and captions on paper mounted on each verso, each interleaved with blank guard sheets.Unbound, as issued, in original purple morocco-back and cloth portfolio, upper cover blocked in gilt ‘Hon.E.Eden’s India Part.1’ around an integral vignette illustration of a snake coiled around an egg. 55.5 x 44.5cm. Not in Abbey.Estimate £25,000-35,000A scarce coloured edition of Emily Eden's major work, one of just a handful of copies published in this particular format. Emily Eden, the seventh daughter of William Eden, first baron Auckland, accompanied her brother, George Eden, 1st Earl of Auckland (1784-1849), during his tenure as Governor-General of India from 1835 to 1842. A gifted amateur artist and writer, Eden documented her experiences in India through letters and an extensive collection of sketches. Upon her return to England in 1842, Eden privately arranged for the printing of her images as a portfolio of 24 lithographs, known as "Portraits," which was published in 1844 in four parts. While the majority of copies were issued without colouration, a select few, including the present edition, were beautifully hand-coloured. In addition to the "Portraits," Eden's journal, "Up the Country: Letters Written to her Sister from the Upper Provinces of India," was published in 1866.The "Portraits" by Eden feature detailed depictions and accompanying textual descriptions of various Indian rulers and their families, whom Lord Auckland encountered during his term in office. Initially residing in Calcutta, Lord Auckland and his entourage travelled through the Upper Provinces from October 1837 to February 1840, engaging with princely subjects. Notable individuals met and portrayed by Eden during this tour included the Maharaja Ranjit Singh, founder of the Sikh empire and ruler of the Punjab until his death in 1839, his second son, the Maharaja Sher Singh, ruler of the Punjab 1841-1843, the Raja of Nahun, the Raja of Patiala, and Raja Hira Singh, son of the Prime Minister of the Punjab. The richness and splendour of the Indian Princes are deftly captured in this fine work.Depictions also include servants attached to Government House, and their families, part of a 12,000-strong retinue accompanying Lord Auckland and party up the country. There are additional depictions of figures that Emily Eden observed along the way - Pathans, Tibetans and others.Portraits of the Princes and Peoples of India - Front and rear boards faded, especially to 10cm. strip to right side of front board.List of Plates with some loss and tears to right side.Title borders browned, coloured image good.The plates - with very few exceptions the images are remarkably bright and unaffected by spotting, as are the captions mounted verso.Plate borders are spotted, as are the areas surrounding the captions.Worming noted to top right margin of plate 14 Commentary leaves generally good - a few with close tears to margins. Page 19 repaired lower right.PROVENANCE: Purchased from Sotheby’s Grosvenor Galleries, 1985, thence private collection Sussex. The list of plates is as follows (using contemporary spelling in some cases): The son of the Nawab of Banda (frontispiece). Dost Muhammad Khan, ruler of Afghanistan, and family. Maharajah Sher Singh, 'the present sovereign of the Sikhs'. Hindoo Fakeer. Two Jemadars, Calcutta (two plates on one card). Akalees, 'being very wild in appearance, and turbulent characters'. The Rajah of Patiala. Rajah Heera Singh. Rajah Hindoo Rao. A Patiala horseman. A young hill Rajah, from the area around Simla. Falconers, servants of the King of Oudh. Servants of Raja Khurruk Singh. The late Maharajah Ranjit Singh, 'in his usual attitude and dress'. The horse and groom, and the jewels of Ranjit Singh, including the Koh-i-Noor (two plates on one card). Hunting leopards of the King of Oudh with attendants. Arab servants of Sir Alexander Burnes. A fakeer at an encampment. A Hindoo student at Calcutta and a girl, the daughter of a servant (two plates on one card). Purtab Singh, a Sikh prince, murdered at Lahore. A Shootr-Suwar, a camel despatch rider. The Rajah of Nahun and sons; Anund Musseeh, a convert to Christianity (two plates on one card). Tibetan tartars, traders, sketched at Simla. A Zemindar and a Pathan. Lord Auckland receiving the Rajah of Nahun in Durbar.***CONDITION REPORT***PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

Quantity of Royal Mint limited edition coins and a £5 coin. UK P&P Group 1 (£16+VAT for the first lot and £2+VAT for subsequent lots)