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Lot 1787
MANCHESTER UNITED F.C., FIRST DAY COVER COLLECTION, 1999 from the treble season, each cover with photograph and facsimile signature comprising Alex Ferguson, Gary Neville, Ole Gunnar Solskjaer, Henning Berg, Jesper Blomqvist, Andy Cole, David Beckham, Nicky Butt, Denis Irwin, Paul Scholes, Jaap Stam, Dwight Yoek, Ryan Giggs, Ronny Johnsen, Peter Schmeichel, Phil Neville, Roy Keane and Teddy Sheringham, in binder
Lot 1762
JOHN ‘JIMMY’ BUCHANAN OF THE IRISH FREE STATE, MATCH WORN JUNIOR INTERNATIONAL JERSEY, 1930s stitched green shamrock crest, lace-up collar, long sleeved, two interior labels for “Lee” MADE IN IRISH FREE STATE and ELVERY’S of DUBLIN MADE IN IRISH FREE STATE Note: The following lots pertain to John ‘Jimmy’ Buchanan of the Irish Free State.They come from a poignant and important period for both the nation and the sport.Football in Ireland had, since 1880, been controlled by the Irish Football Association (IFA). Shortly after the Irish War of Independence and the country’s partition, a rival Football Association of Ireland (FAI) was set up to govern football in the newly formed Free State.Disputes between members of the IFA and the FAI dated back several years, the former perceived by the latter as a Northern-based Unionist body.Further to these disputes, in the South, popular British sports such as football were treated with a degree of suspicion, the Gaelic Athletic Association going as far as to ban its members from playing or watching the ‘foreign’ game.Whilst to this day, something of a divide lingers, the importance of the creation of the FAI cannot be overstated. In the face of adversity, it fought to popularise the sport in a newly liberated country, setting the foundations for today’s Republic of Ireland team.Anything relating to those early years of Free State football should be viewed as rare and highly collectable. Relatively few fixtures were played before the team changed from the Free State to Éire (1936), and then to the Republic of Ireland (1956).Disputes between the FAI and the IFA continued long after the partition and relate back to those changes. Before the FAI was formally recognised by the Home Nations, and indeed for some time after, both Associations claimed legitimacy over the island of Ireland. As a result, players were selected on a national basis, with at least 38 representing both the North and South. This was until FIFA intervened, implementing restrictions based on the border, this following both teams’ appearance at the 1950 World Cup.It was during the early years of the FAI, Jimmy Buchanan pulled on the national shirt to represent that newly reborn nation. The shirts and caps offered relate to a few of those games, presenting a rich and important insight into the development of the sport.Whilst it remains difficult to say which matches the shirts were worn in, the caps, with their embroidered detail, open a door into two historic fixtures.The first comes from an Irish Free State XI vs. a Scottish Junior League XI, played on the 10th February 1934 at Brockville Park in Falkirk. The Scottish Junior League had begun an annual fixture with the Free State in 1927, an important milestone for the newly formed Association. The Irish team was selected from a league pool, with Buchanan playing for his local side Glenview at the time.The second comes from a game dubbed ‘Ireland vs. England’, played at Dalymount Park in Dublin on Easter Monday 1936 (poignantly, just two decades after the Easter Rising). The game was in fact played by a Free State select XI and players from the Birmingham & District County FA, it being much easier to promote as an Ireland vs. England youth international. Ultimately, England won 3-0, with an interesting aside noting ‘no anthem to be played’ (clearly for political reasons).The fact that caps were bestowed shows how seriously these junior fixtures were taken, Buchanan pulling on that emerald green jersey to represent his country. Indeed, if we look inside the shirts, we see the relatively novel stamp, MADE IN THE IRISH FREE STATE. This perfectly captures the political and historical charge of each object, standing out triumphantly as signifiers of the growth of the nation and the sport.Buchanan was a gifted player and was selected by the FAI on several occasions. At club level, he played for teams including Glenview, Bohemians and Bray Unknowns. Reputedly, there was interest from England, with possible trials offered for Spurs and Arsenal. Ultimately though, a decision to stay in his home country and play in that newly formed Irish League was the more appealing one.This lot offers a rare opportunity to own an important instance of Irish and footballing history.
Lot 1759
JOHN ‘JIMMY’ BUCHANAN OF THE IRISH FREE STATE, INTERNATIONAL CAP, 1934 vs. the Scottish Junior League, in emerald green velvet with silver bullion inscription, trim and tassel, stamped maker’s mark to red velvet lining Note: The following lots pertain to John ‘Jimmy’ Buchanan of the Irish Free State.They come from a poignant and important period for both the nation and the sport.Football in Ireland had, since 1880, been controlled by the Irish Football Association (IFA). Shortly after the Irish War of Independence and the country’s partition, a rival Football Association of Ireland (FAI) was set up to govern football in the newly formed Free State.Disputes between members of the IFA and the FAI dated back several years, the former perceived by the latter as a Northern-based Unionist body.Further to these disputes, in the South, popular British sports such as football were treated with a degree of suspicion, the Gaelic Athletic Association going as far as to ban its members from playing or watching the ‘foreign’ game.Whilst to this day, something of a divide lingers, the importance of the creation of the FAI cannot be overstated. In the face of adversity, it fought to popularise the sport in a newly liberated country, setting the foundations for today’s Republic of Ireland team.Anything relating to those early years of Free State football should be viewed as rare and highly collectable. Relatively few fixtures were played before the team changed from the Free State to Éire (1936), and then to the Republic of Ireland (1956).Disputes between the FAI and the IFA continued long after the partition and relate back to those changes. Before the FAI was formally recognised by the Home Nations, and indeed for some time after, both Associations claimed legitimacy over the island of Ireland. As a result, players were selected on a national basis, with at least 38 representing both the North and South. This was until FIFA intervened, implementing restrictions based on the border, this following both teams’ appearance at the 1950 World Cup.It was during the early years of the FAI, Jimmy Buchanan pulled on the national shirt to represent that newly reborn nation. The shirts and caps offered relate to a few of those games, presenting a rich and important insight into the development of the sport.Whilst it remains difficult to say which matches the shirts were worn in, the caps, with their embroidered detail, open a door into two historic fixtures.The first comes from an Irish Free State XI vs. a Scottish Junior League XI, played on the 10th February 1934 at Brockville Park in Falkirk. The Scottish Junior League had begun an annual fixture with the Free State in 1927, an important milestone for the newly formed Association. The Irish team was selected from a league pool, with Buchanan playing for his local side Glenview at the time.The second comes from a game dubbed ‘Ireland vs. England’, played at Dalymount Park in Dublin on Easter Monday 1936 (poignantly, just two decades after the Easter Rising). The game was in fact played by a Free State select XI and players from the Birmingham & District County FA, it being much easier to promote as an Ireland vs. England youth international. Ultimately, England won 3-0, with an interesting aside noting ‘no anthem to be played’ (clearly for political reasons).The fact that caps were bestowed shows how seriously these junior fixtures were taken, Buchanan pulling on that emerald green jersey to represent his country. Indeed, if we look inside the shirts, we see the relatively novel stamp, MADE IN THE IRISH FREE STATE. This perfectly captures the political and historical charge of each object, standing out triumphantly as signifiers of the growth of the nation and the sport.Buchanan was a gifted player and was selected by the FAI on several occasions. At club level, he played for teams including Glenview, Bohemians and Bray Unknowns. Reputedly, there was interest from England, with possible trials offered for Spurs and Arsenal. Ultimately though, a decision to stay in his home country and play in that newly formed Irish League was the more appealing one.This lot offers a rare opportunity to own an important instance of Irish and footballing history.
Lot 1783
JOHN HARVEY (TRAINER) OF HEART OF MIDLOTHIAN, LEAGUE CUP WINNERS GOLD MEDAL, 1954/55 the obverse with enamelled club crest, the reverse inscribed WINNERS H. of M.F.C. J. HARVEY 1954-55, in nine carat gold, on a presentation plaque mounted with further detailsNote: A momentous first Scottish League Cup for Hearts, the Jambos defeated Motherwell 4-2 to lift their first silverware in nearly 50 years. the medal 3.1cm high The medal is approx 12g.
Lot 1781
CELTIC F.C., DANBURY MINT VICTORY PIN COLLECTION, ALONG WITH FURTHER ITEMS the first set comprising fifty pins in display case, along with another partially complete Danbury Mint Celtic F.C. pin set in case, a Danbury Mint The Crests of Celtic F.C. display, a Celtic Centenary Medal, a Celtic View Return to Paradise Medal, a Lisbon Lions Medal display, another 1967 Commemorative, The Invincibles and Double Treble two-medal sets, a pair of silver Celtic F.C. cufflinks, and a UEFA Champions League 1967 commemorative display with miniature European Cup
Lot 1761
JOHN ‘JIMMY’ BUCHANAN OF THE IRISH FREE STATE, MATCH WORN JUNIOR INTERNATIONAL JERSEY, 1930s stitched gold shamrock crest, lace-up collar, long sleeved, two interior labels for “Lee” KNITWELL, WEARWELL Made in Ireland and ELVERY’S of DUBLIN MADE IN IRISH FREE STATE Note: The following lots pertain to John ‘Jimmy’ Buchanan of the Irish Free State.They come from a poignant and important period for both the nation and the sport.Football in Ireland had, since 1880, been controlled by the Irish Football Association (IFA). Shortly after the Irish War of Independence and the country’s partition, a rival Football Association of Ireland (FAI) was set up to govern football in the newly formed Free State.Disputes between members of the IFA and the FAI dated back several years, the former perceived by the latter as a Northern-based Unionist body.Further to these disputes, in the South, popular British sports such as football were treated with a degree of suspicion, the Gaelic Athletic Association going as far as to ban its members from playing or watching the ‘foreign’ game.Whilst to this day, something of a divide lingers, the importance of the creation of the FAI cannot be overstated. In the face of adversity, it fought to popularise the sport in a newly liberated country, setting the foundations for today’s Republic of Ireland team.Anything relating to those early years of Free State football should be viewed as rare and highly collectable. Relatively few fixtures were played before the team changed from the Free State to Éire (1936), and then to the Republic of Ireland (1956).Disputes between the FAI and the IFA continued long after the partition and relate back to those changes. Before the FAI was formally recognised by the Home Nations, and indeed for some time after, both Associations claimed legitimacy over the island of Ireland. As a result, players were selected on a national basis, with at least 38 representing both the North and South. This was until FIFA intervened, implementing restrictions based on the border, this following both teams’ appearance at the 1950 World Cup.It was during the early years of the FAI, Jimmy Buchanan pulled on the national shirt to represent that newly reborn nation. The shirts and caps offered relate to a few of those games, presenting a rich and important insight into the development of the sport.Whilst it remains difficult to say which matches the shirts were worn in, the caps, with their embroidered detail, open a door into two historic fixtures.The first comes from an Irish Free State XI vs. a Scottish Junior League XI, played on the 10th February 1934 at Brockville Park in Falkirk. The Scottish Junior League had begun an annual fixture with the Free State in 1927, an important milestone for the newly formed Association. The Irish team was selected from a league pool, with Buchanan playing for his local side Glenview at the time.The second comes from a game dubbed ‘Ireland vs. England’, played at Dalymount Park in Dublin on Easter Monday 1936 (poignantly, just two decades after the Easter Rising). The game was in fact played by a Free State select XI and players from the Birmingham & District County FA, it being much easier to promote as an Ireland vs. England youth international. Ultimately, England won 3-0, with an interesting aside noting ‘no anthem to be played’ (clearly for political reasons).The fact that caps were bestowed shows how seriously these junior fixtures were taken, Buchanan pulling on that emerald green jersey to represent his country. Indeed, if we look inside the shirts, we see the relatively novel stamp, MADE IN THE IRISH FREE STATE. This perfectly captures the political and historical charge of each object, standing out triumphantly as signifiers of the growth of the nation and the sport.Buchanan was a gifted player and was selected by the FAI on several occasions. At club level, he played for teams including Glenview, Bohemians and Bray Unknowns. Reputedly, there was interest from England, with possible trials offered for Spurs and Arsenal. Ultimately though, a decision to stay in his home country and play in that newly formed Irish League was the more appealing one.This lot offers a rare opportunity to own an important instance of Irish and footballing history.
Lot 1763
W. FAIRLEE OF AYR UNITED F.C., 2ND DIVISION CHAMPIONSHIP WINNERS GOLD MEDAL, 1911-12 the obverse with enamelled decoration, the reverse inscribed 2nd DIVISION CHAMPIONSHIP 1911-12 WON BY W. FAIRLIE AYR UNITED F.C., in nine carat gold, in gilt tooled leather box of issue with cover inscription 3.9cm high including suspension Qty: 11g Note: Ayr United Football Club were founded in 1910 via a merger between Ayr Parkhouse and Ayr F.C..They would begin life in the Scottish 2nd division, finishing 2nd in their inaugral season.Ayr won their first nine fixtures of the 1911/12 season in what remains their greatest ever league start. They would go on to lift the title, a historic event, five points ahead of their nearest rivals Abercorn.Promotion to the top flight however, depended on the outcome of an annual general meeting (this being during a period before automatic promotions). Whilst a decision to admit Ayr to the top flight was initially passed by the required majority, the delegate from St. Mirren complained that this would be at the expense of their team, who had already committed to a top-flight wage bill for the following season.Extraordinarily an u-turn was made at the expense of Ayr, with the matter of automatic promotion being suspended from discussion until next year. Indeed, it would take another season and another 2nd division title for Ayr to eventually be admitted to the top flight.This rare and historically important medal comes from the first title victory, a pivotal point in the club's history.
Lot 1760
JOHN ‘JIMMY’ BUCHANAN OF THE IRISH FREE STATE, JUNIOR INTERNATIONAL CAP, 1936 vs. England, in emerald green velvet with silver bullion inscription, trim and tassel, stamped maker’s mark to red velvet liningNote: The following lots pertain to John ‘Jimmy’ Buchanan of the Irish Free State.They come from a poignant and important period for both the nation and the sport.Football in Ireland had, since 1880, been controlled by the Irish Football Association (IFA). Shortly after the Irish War of Independence and the country’s partition, a rival Football Association of Ireland (FAI) was set up to govern football in the newly formed Free State.Disputes between members of the IFA and the FAI dated back several years, the former perceived by the latter as a Northern-based Unionist body.Further to these disputes, in the South, popular British sports such as football were treated with a degree of suspicion, the Gaelic Athletic Association going as far as to ban its members from playing or watching the ‘foreign’ game.Whilst to this day, something of a divide lingers, the importance of the creation of the FAI cannot be overstated. In the face of adversity, it fought to popularise the sport in a newly liberated country, setting the foundations for today’s Republic of Ireland team.Anything relating to those early years of Free State football should be viewed as rare and highly collectable. Relatively few fixtures were played before the team changed from the Free State to Éire (1936), and then to the Republic of Ireland (1956).Disputes between the FAI and the IFA continued long after the partition and relate back to those changes. Before the FAI was formally recognised by the Home Nations, and indeed for some time after, both Associations claimed legitimacy over the island of Ireland. As a result, players were selected on a national basis, with at least 38 representing both the North and South. This was until FIFA intervened, implementing restrictions based on the border, this following both teams’ appearance at the 1950 World Cup.It was during the early years of the FAI, Jimmy Buchanan pulled on the national shirt to represent that newly reborn nation. The shirts and caps offered relate to a few of those games, presenting a rich and important insight into the development of the sport.Whilst it remains difficult to say which matches the shirts were worn in, the caps, with their embroidered detail, open a door into two historic fixtures.The first comes from an Irish Free State XI vs. a Scottish Junior League XI, played on the 10th February 1934 at Brockville Park in Falkirk. The Scottish Junior League had begun an annual fixture with the Free State in 1927, an important milestone for the newly formed Association. The Irish team was selected from a league pool, with Buchanan playing for his local side Glenview at the time.The second comes from a game dubbed ‘Ireland vs. England’, played at Dalymount Park in Dublin on Easter Monday 1936 (poignantly, just two decades after the Easter Rising). The game was in fact played by a Free State select XI and players from the Birmingham & District County FA, it being much easier to promote as an Ireland vs. England youth international. Ultimately, England won 3-0, with an interesting aside noting ‘no anthem to be played’ (clearly for political reasons).The fact that caps were bestowed shows how seriously these junior fixtures were taken, Buchanan pulling on that emerald green jersey to represent his country. Indeed, if we look inside the shirts, we see the relatively novel stamp, MADE IN THE IRISH FREE STATE. This perfectly captures the political and historical charge of each object, standing out triumphantly as signifiers of the growth of the nation and the sport.Buchanan was a gifted player and was selected by the FAI on several occasions. At club level, he played for teams including Glenview, Bohemians and Bray Unknowns. Reputedly, there was interest from England, with possible trials offered for Spurs and Arsenal. Ultimately though, a decision to stay in his home country and play in that newly formed Irish League was the more appealing one.This lot offers a rare opportunity to own an important instance of Irish and footballing history.
Lot 1695
ALFIE CONN SR. OF INVERESK ATHLETIC F.C., E.O.S.C. GOLD MEDAL, 1944 the obverse with crossed enamel flags and blank shield shaped cartouche, the reverse with inscription, in nine carat gold, in box Note: Alfred 'Alfie' Conn (1926-2009) was a Scottish footballer most famously remembered alongside Willie Bauld and Jimmy Wardhaugh as part of Heart of Midlothian’s Terrible Trio. This formidable attacking three proved to be the vital spark in the club’s iconic and (to this day) most successful team of the 1950s.Conn was born in Prestonpans, East Lothian. He joined Hearts from Inveresk Athletic in 1944, making his debut later that year in a 4-0 victory over Dumbarton. He went on to establish himself as a first team regular during the 1948-49 season, linking up with Bauld and Wardhaugh to form that attacking partnership for the first time.Conn’s energetic style and powerful shot complemented the cerebral play of Bauld and dribbling skill of Wardhaugh. Indeed, their first match as a forward trio saw a defiant 6-1 victory over East Fife.The Terrible Trio continued to score freely in the following five seasons, Conn netting an impressive 102 goals. Hearts swiftly became regular top four finishers, yet defensive issues meant they failed to pick up any silverware.This would soon change however, when in the 1954-55 season, Hearts defeated Motherwell 4-2 to lift the Scottish League Cup for the first time in their history.The following season, Conn scored the vital goal in a 3-1 victory over Celtic, lifting the 1956 Scottish Cup, a first for the club in 50 years. He would end this season at his peak, aged 29 and with a career best of 29 goals from 41 games. This didn’t go unnoticed, and he would receive his only international call up two weeks after the final, having represented a Scottish select XI on three previous occasions.Whilst he would suffer a serious ankle injury the following season, he would continue to make sporadic appearances for the club, even playing his part in their iconic 1957-58 season triumph. This was the second of only four times Hearts have won the title, romping it with 62 points to Rangers 49.In total, the Hearts ‘Hall of Fame’ inductee would score 221 goals in 408 games. Weight of the medal is 6.86g (additional photo added)
Lot 1725
STOKE CITY F.C. VS. RANGERS F.C., HISTORICALLY IMPORTANT HOLDITCH COLLIERY DISASTER TANKARD, CIRCA 19TH OCTOBER 1937 the waisted Fielding's Crown Devon ceramic tankard moulded and painted in colours with tavern scene, transfer printed with words to AULD LANG SYNE, hand painted inscription in gilt Stoke City v. Glasgow Rangers 19.10.37. To commemorate your visit to Stoke on Trent From an old Stoke player A.R. Fielding., moulded thistle handle, stamped Crown Devon, Fielding’s. Made in England PP No. 804873 to the base Note: This rare and important tankard commemorates Rangers visit to Stoke-on-Trent to face Stoke City in aid of The Holditch Colliery Disaster Relief Fund.On the 2nd July 1937, a tragic accident occurred at the Colliery, during which 30 miners were killed and 8 injured. To raise funds for both victims and dependents, Stoke invited the champions of Scotland to play them in a benefit match. Rangers manager, Bill Struth, immediately accepted, with the game scheduled for October that year.30,000 fans turned out for the fixture and, despite it being a goalless draw, it was noted as an entertaining one. The Gers XI featured Dawson, Gray, McDonald, McKillop, Simpson, Main, Venters, Smith, Kinnear, Fiddes, and Little.It proved a resounding success for the relief fund, raising a total of £2,000. After the game, the Stoke chairmen gifted Rangers an important commemorative vessel known as a Loving Cup. This three-handled ceramic device continues to be used in a special ceremony prior to the first home match of each New Year to toast the reigning monarch.Indeed, any visitor to the Ibrox Trophy Room will still see that Loving Cup on display, besides which is an identical tankard to the one offered for auction. Presumably, Rangers officials and/or players would have been presented with these tankards to mark the solemn occasion.The ‘A.R. Fielding’ mentioned is believed to be Arthur Ross Fielding, who had two spells at Stoke City as a player between 1901-07.Provenance from Christies Auctions. Condition generally good. No chips, cracks or restoration. Crazing throughout as per manufacturing process. Minor wear to printed script of Auld Lang Syne. Additional images available.
Lot 1769
CELTIC F.C., TWO COMMEMORATIVE SALVERS, ALONG WITH A PROGRAMME the first salver for the UEFA Cup 1st Round 2nd Leg, Celtic Park, 29-9-93, game vs. Young Boys, the second In Friendship Celtic Football Club, the programme for Farnsley Celtic vs. Glasgow Celtic A.F.C. 22nd July 1997 the larger salver 26.5cm diameter Qty: 3
Lot 165
BRENT-DYER ELINOR M. Nos. 54 to 58 in The Chalet School Series, all 1st eds. in d.w's, Summer Term at the Chalet School, Challenge for the Chalet School, Two Sams at the Chalet School, Althea Joins the Chalet School & Prefects of the Chalet School (the first three with tape offsetting to endpapers). (5).
Lot 237
"HUGH MCDIARMID". Northern Numbers. Being Representative Selections from Certain Living Scottish Poets. First & Second Series, each with contributions by McDiarmid under his true name C. M. Grieve, the second also edited by him. Orig. cloth backed brds., the Second Series with d.w. Foulis, 1920 & 1921.
Lot 31
GILLMORE PARKER. The Land of the Boer or Adventures in Natal, the Transvaal, Basutoland & Zululand. Eng. frontis & map. Adverts. Orig. green cloth gilt. N.d.; also Leibbrandt, Rambles Through the Archives of the Colony of the Cape of Good Hope, orig. dark cloth, First Series, Cape Town, 1887. (2).
Lot 158
BLYTON ENID. 1st eds and early impressions. in d.w's. First editions of Good Old Secret Seven, Look Out Secret Seven, Fun For the Secret Seven & Shock For the Secret Seven; also 11 other Secret Seven works in d.w's. The complete set of this series. (15). Good Work Secret Seven 1961 5th impression.
Lot 1254
TWO PORCELAIN FIGURES REPRESENTING THE SENSES, AFTER THE MODELS OF J. C. SCHONHEIT FOR MEISSEN the first 'Touch', modelled as a lady feeding a bird in gilded cage, the second 'Smell', modelled as lady smelling flowers, the first with possibly pseudo-Meissen mark, the second likely Meissen, both with incised numerals, both late 19th centuryboth 14.5cm highSmall losses to the flowers in several places on the 'floral' figure. Small losses to the fringing on the clothing aamd headdress of the 'bird' figure, also a crack at the base area of this figure. Please see additional images.
Lot 1441
MEISSEN, TWO CABINET CUPS AND SAUCERS, LATE 19TH / EARLY 20TH CENTURY both pieces with basket weave moulding, the first painted with floral sprays interspersed with insects, the second with birds interspersed by insects, both with blue crossed swords marksSmall area of paint loss to the saucer bird's wing, both Cups have very light gilt losses to the handles, overall very nice condition.
Lot 1305
FIRST PERIOD WORCESTER, 'KAKIEMON' VASE AND COVER, CIRCA 1770 of baluster form, the domed cover with flower finial, painted with panels of 'Indianische Blumen' and Ho Ho birds, within cobalt blue borders decorated with flowerheads, gilt detail, blue fretted square mark to base23cm highVase and lid in overall good condition. Some wear consistent with age and loss of some gilding. Small area of historic restoration to inside. Additional images now available.
Lot 1434
GEORGE V SILVER PRESENTATION KEY, ALONG WITH A BRONZE PLAQUE the key awarded to Provost Alexander Smeille by the Architechs and Contractors on the occasion of his opening the first house of the Girvan Housing Society dated 1921, the circular plaque named for the Royal Institute of British Architechs, each with original fitted caseQty: 2
Lot 164
" The Battle of the Frogs & Mice", translated by Jane Barlow, illustrated by Francis D. Bedford, Methuen & C , 1894 first edition; "What I did" by Katie Ainslie, Castell Brothers Ltd c.1904 first edition; "Family Sketchbook - A Hundred Years Ago" by E. Ellen Buxton, arranged by Ellen R.C. Creighton, Geoffrey Bles, 1964 first edition
Lot 330
Robin WELCH (1936-2019) Footed Bowl Ceramic, impressed seal to base, height 9.5cm, diameter 13.5cm. The estate of Michael Beard. Ceramics expert with Earle D. Vandekar of Knightsbridge. Michael travelled internationally to trade shows and antique fairs and helped with the launch of the New York branch of Vandekar in 1982. Michael retired to Cornwall around 1988 he settled at first in St Ives, where he became a prominent patron of the arts.
Lot 137
John TUNNARD (1900-1971) A hand-blocked wool scarf Imprints signature, 62 x 67cm.The internationally renowned artist John Tunnard led a Bohemian London life moderated by the need for work. He produced carpet and fabric designs, he organised jazz events with himself at the drums, and was a dedicated naturalist and countryman.In 1933 he bought a horse-drawn gypsy caravan and moved to Cornwall with his wife Bob (Mary) settling at Cadgwith on the Lizard peninsula and there they set up 'Imprints', a small business making hand-blocked scarves and textiles. They became part of the community, and his acceptance was confirmed by his appointment as coastguard.Throughout this Cadgwith period he painted and was shown in London by Redfern (first major exhibition 1934), Zwemmer, Guggenheim Jeune (1938/9 first non-representational show) and in New York with Nierendorf Gallery.He exhibited with Henry Moore, Nash, Klee and Roland Penrose.These entries come from the estate of John Tunnard's executor and close friend Neil Treseder.
Lot 149
John TUNNARD (1900-1971) A hand-blocked wool scarf from the Imprints period 68 x 67cm.The internationally renowned artist John Tunnard led a Bohemian London life moderated by the need for work. He produced carpet and fabric designs, he organised jazz events with himself at the drums, and was a dedicated naturalist and countryman.In 1933 he bought a horse-drawn gypsy caravan and moved to Cornwall with his wife Bob (Mary) settling at Cadgwith on the Lizard peninsula and there they set up 'Imprints', a small business making hand-blocked scarves and textiles. They became part of the community, and his acceptance was confirmed by his appointment as coastguard.Throughout this Cadgwith period he painted and was shown in London by Redfern (first major exhibition 1934), Zwemmer, Guggenheim Jeune (1938/9 first non-representational show) and in New York with Nierendorf Gallery.He exhibited with Henry Moore, Nash, Klee and Roland Penrose.These entries come to us from the estate of John Tunnard's executor and close friend Neil Treseder.
Lot 323
Andrew WILSON (XX) Shallow Bowl Ceramic, impressed seal to base, height 6cm, diameter 26cm.The estate of Michael Beard. Ceramics expert with Earle D. Vandekar of Knightsbridge. Michael travelled internationally to trade shows and antiques fairs, and helped with the launch of the New York branch of Vandekar in 1982. Michael retired to Cornwall around 1988 he settled at first in St Ives, where he became a prominent patron of the arts.
Lot 319
Miyake YOJI (1950) Vessel Ceramic, height 32cm.The estate of Michael Beard. Ceramics expert with Earle D. Vandekar of Knightsbridge. Michael travelled internationally to trade shows and antiques fairs, and helped with the launch of the New York branch of Vandekar in 1982. Michael retired to Cornwall around 1988 he settled at first in St Ives, where he became a prominent patron of the arts.This attractive piece is in excellent order with no condition issues.
Lot 109
John Erskine MILNE (1931-1978) Cylindrica Form (1968) Polished bronze, signed JEM to base, height 20cm, 24cm including base.The estate of Michael Beard. Ceramics expert with Earle D. Vandekar of Knightsbridge. Michael travelled internationally to trade shows and antiques fairs, and helped with the launch of the New York branch of Vandekar in 1982. Michael retired to Cornwall around 1988 he settled at first in St Ives, where he became a prominent patron of the arts.This bronze does have some scratches and pitting. The extra images show the main issues.
Lot 460
Henry Moore: Sculpture and Drawings Herbert Read Revisted and enlarged edition, published 1949 by Lund Humphries & Company Limited. Hardback. Signed with illustrations from Patrick Heron to Denis Mitchell, inscribed 'May 1951, St. Ives'.Loose boards, but not fully detached, and first ten pages also beginning to loosen. The book has been consigned by a descendant of Denis Mitchell's.
Lot 327
Shigeyoshi ICHINO (1942-2011) Triangular Form Bottle Vase for Leach Pottery StonewareMaker's and studio mark to foot21cm tall The estate of Michael Beard. Ceramics expert with Earle D. Vandekar of Knightsbridge. Michael travelled internationally to trade shows and antique fairs and helped with the launch of the New York branch of Vandekar in 1982. Michael retired to Cornwall around 1988 he settled at first in St Ives, where he became a prominent patron of the arts. This vase is in excellent condition, similar to how it was originally made. To the lip there are areas where the glaze has not held during firing. Otherwise perfect.
Lot 105
Neil CANNING (1960) Coast; Airstream (2008) Oil on board, signed, inscribed and dated 2008 to verso, 24 x 27cm. 48 x 49cm framed.The estate of Michael Beard. Ceramics expert with Earle D. Vandekar of Knightsbridge. Michael travelled internationally to trade shows and antiques fairs, and helped with the launch of the New York branch of Vandekar in 1982. Michael retired to Cornwall around 1988 he settled at first in St Ives, where he became a prominent patron of the arts.
Lot 153
John TUNNARD (1900-1971) A printing block from the Imprints period 28 x 27cm.The internationally renowned artist John Tunnard led a Bohemian London life moderated by the need for work. He produced carpet and fabric designs, he organised jazz events with himself at the drums, and was a dedicated naturalist and countryman.In 1933 he bought a horse-drawn gypsy caravan and moved to Cornwall with his wife Bob (Mary) settling at Cadgwith on the Lizard peninsula and there they set up 'Imprints', a small business making hand-blocked scarves and textiles. They became part of the community, and his acceptance was confirmed by his appointment as coastguard.Throughout this Cadgwith period he painted and was shown in London by Redfern (first major exhibition 1934), Zwemmer, Guggenheim Jeune (1938/9 first non-representational show) and in New York with Nierendorf Gallery.He exhibited with Henry Moore, Nash, Klee and Roland Penrose.These entries come from the estate of John Tunnard's executor and close friend Neil Treseder. By inheritance from the estate of John Tunnard's Executor, Neil Treseder.
Lot 151
John TUNNARD (1900-1971) Two printing blocks from the Imprints period The largest measures 15.5 x 22cm (irregular). (2)The internationally renowned artist John Tunnard led a Bohemian London life moderated by the need for work. He produced carpet and fabric designs, he organised jazz events with himself at the drums, and was a dedicated naturalist and countryman.In 1933 he bought a horse-drawn gypsy caravan and moved to Cornwall with his wife Bob (Mary) settling at Cadgwith on the Lizard peninsula and there they set up 'Imprints', a small business making hand-blocked scarves and textiles. They became part of the community, and his acceptance was confirmed by his appointment as coastguard.Throughout this Cadgwith period he painted and was shown in London by Redfern (first major exhibition 1934), Zwemmer, Guggenheim Jeune (1938/9 first non-representational show) and in New York with Nierendorf Gallery.He exhibited with Henry Moore, Nash, Klee and Roland Penrose.These entries come from the estate of John Tunnard's executor and close friend Neil Treseder.
Lot 317
Lucie RIE (1902-1995) Footed Bowl Porcelain with yellow glaze, impressed seal to base, height 10cm, diameter 19cm.The estate of Michael Beard. Ceramics expert with Earle D. Vandekar of Knightsbridge. Michael travelled internationally to trade shows and antiques fairs, and helped with the launch of the New York branch of Vandekar in 1982. Michael retired to Cornwall around 1988 he settled at first in St Ives, where he became a prominent patron of the arts.This bowl appears to be in excellent condition, there is no obvious restoration, there are no chips and there is no scratching.There is some pitting and glaze crackle consistent with the potter's techniques and materials.UV lighting has been used for this report.
Lot 436
Henry Scott TUKE Three Falmouth Art Gallery publications Falmouth Tukes, first published 2005; Henry Scott Tuke R.A, R.W.S 1858-1929 His Life and Work, An Exhibition organised by Falmouth Art Galery, June 9th - August 22nd, 1980; Coming Home to Falmouth, an Exhibition of Paintings and Drawings, June 10 - July 19, 1985.
Lot 152
John TUNNARD (1900-1971) A printing block from the Imprints period 37 x 36cm.The internationally renowned artist John Tunnard led a Bohemian London life moderated by the need for work. He produced carpet and fabric designs, he organised jazz events with himself at the drums, and was a dedicated naturalist and countryman.In 1933 he bought a horse-drawn gypsy caravan and moved to Cornwall with his wife Bob (Mary) settling at Cadgwith on the Lizard peninsula and there they set up 'Imprints', a small business making hand-blocked scarves and textiles. They became part of the community, and his acceptance was confirmed by his appointment as coastguard.Throughout this Cadgwith period he painted and was shown in London by Redfern (first major exhibition 1934), Zwemmer, Guggenheim Jeune (1938/9 first non-representational show) and in New York with Nierendorf Gallery.He exhibited with Henry Moore, Nash, Klee and Roland Penrose.These entries come from the estate of John Tunnard's executor and close friend Neil Treseder.
Lot 158
John TUNNARD (1900-1971) A hand-blocked wool scarf from the Imprints period 66 x 65cm.The internationally renowned artist John Tunnard led a Bohemian London life moderated by the need for work. He produced carpet and fabric designs, he organised jazz events with himself at the drums, and was a dedicated naturalist and countryman.In 1933 he bought a horse-drawn gypsy caravan and moved to Cornwall with his wife Bob (Mary) settling at Cadgwith on the Lizard peninsula and there they set up 'Imprints', a small business making hand-blocked scarves and textiles. They became part of the community, and his acceptance was confirmed by his appointment as coastguard.Throughout this Cadgwith period he painted and was shown in London by Redfern (first major exhibition 1934), Zwemmer, Guggenheim Jeune (1938/9 first non-representational show) and in New York with Nierendorf Gallery.He exhibited with Henry Moore, Nash, Klee and Roland Penrose.These entries come from the estate of John Tunnard's executor and close friend Neil Treseder.
Lot 155
John TUNNARD (1900-1971) A printing block from the Imprints period 28 x 28cm.The internationally renowned artist John Tunnard led a Bohemian London life moderated by the need for work. He produced carpet and fabric designs, he organised jazz events with himself at the drums, and was a dedicated naturalist and countryman.In 1933 he bought a horse-drawn gypsy caravan and moved to Cornwall with his wife Bob (Mary) settling at Cadgwith on the Lizard peninsula and there they set up 'Imprints', a small business making hand-blocked scarves and textiles. They became part of the community, and his acceptance was confirmed by his appointment as coastguard.Throughout this Cadgwith period he painted and was shown in London by Redfern (first major exhibition 1934), Zwemmer, Guggenheim Jeune (1938/9 first non-representational show) and in New York with Nierendorf Gallery.He exhibited with Henry Moore, Nash, Klee and Roland Penrose.These entries come from the estate of John Tunnard's executor and close friend Neil Treseder.
Lot 145
John TUNNARD (1900-1971) A sketchbook Possibly dating from 1932 this book includes two unrecorded self-portraits and a few other figure studies (several loose) including a seated man titled KynanceSee John Tunnard His Life and Work (Peat and Whitton) number 27 A work titled Kynance CoveThe internationally renowned artist John Tunnard led a Bohemian London life moderated by the need for work. He produced carpet and fabric designs, he organised jazz events with himself at the drums, and was a dedicated naturalist and countryman.In 1933 he bought a horse-drawn gypsy caravan and moved to Cornwall with his wife Bob (Mary) settling at Cadgwith on the Lizard peninsula and there they set up 'Imprints', a small business making hand-blocked scarves and textiles. They became part of the community, and his acceptance was confirmed by his appointment as coastguard.Throughout this Cadgwith period he painted and was shown in London by Redfern (first major exhibition 1934), Zwemmer, Guggenheim Jeune (1938/9 first non-representational show) and in New York with Nierendorf Gallery.He exhibited with Henry Moore, Nash, Klee and Roland Penrose.These entries from the estate of John Tunnard's executor and close friend Neil Treseder.
Lot 307
David ANDREW (1934) Falmouth Oil on card34cm x 30cmAn internationally renowned artist, represented by Messums, David Andrew received enormous encouragement from the august Ben Nicholson during his lifetime. He was born in Redruth, and initially trained at the Falmouth School of Art and later at the Slade in London in 1958/59. During this period, he drew inspiration from artists like Ben Nicholson and Piet Mondrian and delved into the psychology of perception.He had his own personal connection with Nicholson; although Nicholson was not associated with Falmouth School of Art but, he became David's most important mentor, mainly during his fourth year at Falmouth, and his first year at the Slade. This good fortune came about when he sent Nicholson a copy of an essay which he had entered for a competition on 20th Century Painting, - in which David had referred to Nicholson. Ben invited David to his house, and with the brio of youth, he asked if he might bring a painting of his own along to show him. Nicholson, once shown David's work, talked obliquely around painting, making associations with expressive hand movements, influencing him more by enthusiasm for the “feeling” he valued in paintings, than by any facts or theories attaching to them. David found Nicolson’s energy and enthusiasm were as inspiring as his paintings, which stayed with him over the course of his lifetime.From time to time, Nicholson would drop David a card out of the blue, inviting him to come and see what he had been doing. He always asked for David's comments. He was never dismissive, whatever thoughts David happened to express about what he, Nicholson, was doing. He reciprocated with critical feedback on the paintings that David had lugged along with him on his motorbike.Following his student years, David taught at Bournemouth and Portsmouth Colleges of Art while spending summers painting in the vibrant Mediterranean light and along the coasts of the USA and Canada, using a converted recreational vehicle as a mobile studio. In 1971, he assumed a teaching position at Queen's University in Canada, where he served as Associate Professor until 1995.In 2004, David Andrew returned to Cornwall, where he continued his artistic pursuits in Mousehole. This unsigned piece is in excellent condition and attractively framed. It has come directly from a descendant of the artist.
Lot 95
Sven BERLIN (1911-1999) River at Vouvray (1960) Ink on paper, monogrammed, inscribed and dated '60, 29 x 38cm. 46 x 56cm framed. The estate of Michael Beard. Ceramics expert with Earle D. Vandekar of Knightsbridge. Michael travelled internationally to trade shows and antique fairs and helped with the launch of the New York branch of Vandekar in 1982. Michael retired to Cornwall around 1988 he settled at first in St Ives, where he became a prominent patron of the arts.
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