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Click here to subscribeUnder The Auspices of the Honourable Society Of Cymmrodorion. H. Blackwell, Ltd, 1940. First Edition: Near mint copy of a large and invaluable reference work, Fine in dust wrapper. together with The Dictionary of Welsh Biography, 1941-1970 by Brynley Roberts, London Cymmrodorion Society 2001. With a supplement to the previous Volume. As new in dust jacketThe Jeff Towns Collection of Welsh related antiquarian books
(1) The Mabinogion, translated by Charlotte Guest, London Fisher Unwin 1902. 3 volumes bound as one in publishes green cloth gilt. The first publication in Owen M. Edwards Welsh Library. Fine vignette illustrations throughout. A very good copy of a sweet edition.(2) The Mabinogion: A New Translation, by T. P. Ellis and John Lloyd, Oxford 1929. Two volumes. original green cloth binding. A very nice set of this respected edition – Presentation inscription from John Lloyd in year of publicationThe Jeff Towns Collection of Welsh related antiquarian books
(1) The Earls, Earldom and Castle of Pembroke, by G. T. Clark, Tenby R. Mason, 1880. First edition, 8vo, (iv), 132 pp. 6 fine engravings. Fine copy ion original cloth gilt. (2) Memoirs of the Ancient Family of Owen of Orielton, by J. Roland Phillips, London Chiswick Press. 1886. Good copy in original buckram binding . (3) South Pembrokeshire, by Mary Beatrice Mirehouse, Some of its History and Records. London David Nutt .1910. 4to . Black cloth gilt. A good copy of a scarce book.The Jeff Towns Collection of Welsh related antiquarian books
(1) Historic Newport, by James Matthews, Newport-on-Usk, 1910. Good in orig. black buckram. Number 116 of a subscription edition of 200. Teg. Gilt titling and shield on front board. Good copy. Scarce(2) Commerce & Customs: A History of the Ports of Newport and Caerleon, by J. W. Dawson, Directory Press Newport, 1932. First edition. 8vo. Blue cloth, gilt lettered. pp. 168, including a list of subscribers. Bright v. good copy The Jeff Towns Collection of Welsh related antiquarian books
Aberystwyth: National Library of Wales:, First edition, 1987. 2 vols., 4to, with the 2001 supplement by Charles Parry. With black and white illustrations., map. Orig. cloth gilt in publisher’s slipcase. A fine set. Limited numbered edition of 500 copies. An indispensable work.The Jeff Towns Collection of Welsh related antiquarian books
London Sampson Low; 1881 First Edition. 8 interests. Very well illustrated. Original blue decorated covers, slight chipped edges and top of spine but a good copy of a rare book. The somewhat eccentric author was an American who was the United State Consulate in Cardiff wrote other books of history and Welsh folk-loreThe Jeff Towns Collection of Welsh related antiquarian books
Triad One. Edited by Jack Aistrop. Contains Thomas’s First published work – The Dark Philosophers. 1946The Alone to the Alone. !947, His fist published Book.Stranger At My Side. Gollanz. 1954Gadzooka. Gollanz. 1957.The Love Man. Gollanz. 1958.Michael Parnell – Laughter From The Dark – A life of Gwyn Thomas. 1988.The Jeff Towns Collection of Welsh related antiquarian books
Pwllheli: Issued to Subscribers only, 1906. First Edition, 4to. Fine copy in original blue cloth gilt. Fine photogravure portrait of John Williams – the first President of the National Library of Wales. The text is printed in a remarkable typeface that Evans had designed and cut to resemble the rubrication of the manuscript on the editor's own press – a remarkable piece of bookmaking. Limited edition of 600 numbered copies.The Jeff Towns Collection of Welsh related antiquarian books
(1) The Welshman's Candle, by Rhys Richard, translated by Rev William Evans, Carmarthen 1771. Original old calf refurbished. List of subscribers, Old Manuscript note on prelims. (Libri Walliae 4132). Rare Carmarthen printing. The first English Edition of 'Canwyll y Cymry', first published in Welsh in 1681, it became as important to the people of Wales as the translation of 'Taith y Pererin' (Pilgrim's Progress) by John Bunyan. A scarce edition but needs rebinding.(2) The Welshman's Candle Canwyll Y Cymry, by Rees Prichard, Caerfyrddin 1808 Good copy in later half calf.(3) Y Parch. Rhys: Y Seren Foreu neu Ganwyll y Cymru, by Rees Prichard, Llanymddyfri 1841. 8vo. Fine engraved frontispiece. Full calf, some leather missing from spine but very clean inside.The Jeff Towns Collection of Welsh related antiquarian books
Brecknock William And George North. 1805/ 1809. First Edition 2 Vols. Folio. A Very good set with the 3 parts bound in two. Profusely illustrated with fine engraved plates and folding maps and coloured of Heraldic CrestsThe Jeff Towns Collection of Welsh related antiquarian booksCondition report: Comments: bound in original half calf, rubbed but sound
Bottege Oscure Issue s 1X and X111. Issue 1X 1952. The first contains the first ever printing of Under Milk Wood. The first half is here entitled ‘Llaregub A Piece for Radio Perhaps’. Issue X111. 1954. Contains Three Letters from Thomas to the Magazine’s editor Marguerite Caetani (Princess di Bassiano) from 1948 to 1960, the last of which – one of his last ever written, explains his difficulty in sending the rest if his Play. Both fine copies in original Printed wrappersWith: The Doctor and The Devils. Ist ed. Dent 1953 – His last lifetime publication,Quite Early One Morning. New Directions 1954. Contains twice as much more work than the UK Dent edition.A Prospect of the Sea. Dent .1955. The copy signed by Linden Huddlestone, a very early writer on Thomas’s work.The Jeff Towns Collection of Welsh related antiquarian books
Edited with Notes and an Appendix By Henry Owen. Chas. J. Clark, for the Cymmrodorion Society. 1892/ 1897/ 1906/ 1936 . 4 Vols. complete Very good First Editions with the elusive forth volume . Folding maps, colour plate of arms and facsimile documents. A nice set in Half calf signed bindings. Scarce.The Jeff Towns Collection of Welsh related antiquarian books
London: Sampson Low, Marston, Searle, & Rivington, 1880. First edition. With a frontispiece & engravings in the text by T. H. Thomas of Wales. Original pictorial cloth. A very rare book and this copy is from the library of ,and bears the signature of the celebrated architect William Burges, who was a leading exponent of the Gothic Revival and the of the Pre-Raphaelites, and his works and herald those of the Arts and Crafts movement. He designed The Marquis of Bute's and Cardiff Castle and Castell Coch and other Cardiff grand houses. A fine association in a very pertinent volume.The Jeff Towns Collection of Welsh related antiquarian books
Edinburgh: Edmonston and Douglas, 1868. Two vols., first edition, 8vo., frontispiece and 4 other plates showing colour facsimiles of pages from the Ancient Books, 1 colour map. A very good set of this classic edition in the original green cloth gilt bindings.The Jeff Towns Collection of Welsh related antiquarian books
London. E. Williams. 1815. First Edition. 8Vo, 9 very fine colour aquatint plates and 1 black and white plate. Later cloth binding. This is a very clean fresh copy from Harlech Library. A wonderful and uncommon Welsh colour plate book.The Jeff Towns Collection of Welsh related antiquarian books
Describing the Scenery and General Characters of that Romantic Country. London 1851. Large Folio. 51 splendid coloured aquatints by various artists of note. (miss-numbered as always) Extremely rare. Originally published in ten parts, the first book edition then entitled, The Scenery of the North Cambrian Mountains, came out in 1817 with 30 coloured plates. A second Edition with the same title was published in 1820 with 9 extra plates. This edition has 5i plates and includes fine views of South Wales hence the ‘North’ was dropped from the title. All editions are rare – this, the largest, is the most rare.The Jeff Towns Collection of Welsh related antiquarian booksCondition report: Comments: very good copy in original red cloth gilt, spine chipped at head and foot, internally clean and fresh
CRICKET, collection of original 5"x4" glass plate negatives, inc. HRH The Duke of Edinburgh walking out to bat (possibly at Arundel) 1949. England to Australia Ashes tour 1946-47 (5), inc. The England team in civvies leaving the Perth state war memorial, Jack Ikin, Cyril Washbrook and Paul Gibb dissecting a pineapple at the start of the tour. Godfrey Evans loses his cap jumping during practice prior to the first tour match against Western Australia. Fishlock, Langridge, Evans and Compton walking to the practice nets. Joe Hardstaff and Denis Compton at batting practice, plus one of the English batsman, all five of the 1946-47plates in greaseproof packets with original typed details attached, each one dated October 1st 1946, VG, 6
FOX RUSSELL: THE FIRST CRUISE OF THREE MIDDIES, London, Wells Gardner Darton & Co, [1896], 1st edition, 20 plates as list, prize label part removed from front paste down, original pictorial bevelled green cloth gilt + E D CUMING & J A SHEPHERD: THE ARCADIAN CALENDAR, London, George Newnes, 1903, 1st edition, plates including 8 coloured as list, inscription on ffep, original pictorial cloth gilt soiled + GITHA SOWERBY: CHILDHOOD, ill Millicent Sowerby, London, Chatto & Windus, 1907, 1st edition, 12 coloured plates as called for, contemporary inscription on ffep, 4to, original cloth backed pictorial boards gilt worn + ALFRED WILLIAM TOMLYN (ED): THE CHILDREN'S SONGBOOK, Edinburgh, Andersons, [1932], 1st edition, 8 coloured plates as list, 4to, original cloth backed boards, pictorial paper label worn, inner joints weak, (4)
Packet WWII occupation of the Channel Islands interest comprising printed notice dated 6 June 1940 (D-Day) in German and English 'Proclamation to the population of the Isle of Jersey, Germany's enemy is on the point of attacking French soil...at the first signs of unrest or trouble I will close the streets to every traffic and will secure hostages, attacks against the German forces will be punished by death...', approx 300 x 200mm + 5 issues of the [Jersey] Evening Post 1941, 1942, 1943 and 1944 (2) + an issue of German language Jersey newspaper 1943 (closed tears) (7)
PERCY FRANCIS WESTERMAN: 2 titles: THE BUCCANEERS OF BOYA, London, Blackie [1925], 1st edition, 6 plates as list, contemporary inscription on ffep, original pictorial cloth; HIS FIRST SHIP, London, Blackie (1936], 1st edition, 6 plates as list, original pictorial cloth, d/w (very minor losses, close tears) + CHARLES GILSON: 2 titles: THE SCARLET HAND, ill George Soper, London, 'The Boys Own Paper' Office [1920], 1st edition, 3 coloured plates as list, original pictorial cloth, d/w (losses); THE ADVENTURES OF CORNET O'DARE, London, 'The Boys Own Paper' Office [1938], 1st edition, coloured frontis, contemporary inscription on ffep, original cloth, d/w (price clipped) + FREDERICK HAYDN DIMMOCK: ALWAYS A SCOUT, London and Melbourne, Ward Lock, 1940, 1st edition, 4 plates as called for, contemporary inscription on ffep, original pictorial cloth, d/w (small part losses) + DEMPSTER E HEMING 'GUY DEMPSTER': THE PHANTOM WING, London, A & C Black, 1937, 1st edition, 4 plates as list, contemporary inscription on ffep, original cloth, d/w (price clipped and small part losses) + S WALKEY: THE ADVENTURES OF JACK-A-LANTERN, London, The Sheldon Press, [1931], 1st edition, coloured frontis, 4 black and white plates as list, original pictorial cloth d/w (price clipped and losses) (7)
JOLLY JACKS ANNUAL, 1936, London and Glasgow [1935], 4to, original cloth backed pictorial boards worn + EDWIN CHISHOLM (ED): THE CHUMMY BOOK, London, Thomas Nelson [1925, 1927], 2 vols, first work 14 (of 15) coloured plates, (a few loose), 4to, original cloth backed pictorial boards worn, inner joints split, second work 15 coloured plates as called for, (one loose), 4to, original cloth backed pictorial boards worn (3)
JOHN COLLIS SNAITH: WILLOW THE KING, THE STORY OF A CRICKET MATCH, London, Ward Lock, [1899], 1st edition, 4 plates as called for, 6pp adverts at end, original cloth backed pictorial boards re-cased, new end papers + SIR EDWARD ABBOTT PARRY: THE FIRST BOOK OF KRAB, CHRISTMAS STORIES FOR YOUNG AND OLD, ill Archie MacGregor, London, David Nutt, 1897, 1st edition, 3 plates as list, 12pp adverts at end, original pictorial cloth + MRS LOUISA BALDWIN: THE PEDLAR'S PACK, London, Charles Pears, London and Edinburgh, W & R Chambers [1904], 1st edition, 9 coloured plates as list, original pictorial cloth (3)
λ Henry Moore (British 1898-1986) Mother and Child Lead 17.2 x 13 x 6.5cm (6 3/4 x 5 1/8 x 21/2in.) (excluding base)Conceived c.1939-1940.Provenance: Hubert de Cronin Hastings (1902-1986), Private Collection Gifted by the above to his son John Hastings (1928-2019) by 1974 Thence by descent to the present ownerThis previously unknown work is now recorded in the Henry Moore Foundation database with the reference number LH213a.Left undiscovered for over 40 years, nestled amongst trinkets on a mantelpiece in a Wiltshire farmhouse, a previously unknown sculpture by Henry Moore comes to market for the very first time. The present lot Mother and Child was authenticated by the Henry Moore Foundation in October 2021 and has been added to their archives under the reference number LH 213a. The work, produced in lead, was conceived in c. 1939-1940 at a time when Moore was experimenting with casting in different materials and incorporating elements in string and wire.This very special piece comes from the former collection of architectural publisher and editor, Hubert de Cronin Hastings (1902-1986), whose near fifty-year stewardship of the Architectural Review saw him shed a light on the many challenges and debates posed across the architectural world during this transformative period.Mother and Child (LH 213a) most likely entered the collection of Hubert de Cronin Hastings(1902-1986) (more commonly known as H. de C. or by his pseudonym Ivor de Wolfe) in the 1940s. H. de C. was chairman of the Architectural Press and Architects Journal and editor of the Architectural Review (AR) from 1927-1973.H. de C. was born at Merton Surrey in 1902 and was the third son of Percy Hastings, who owned the Architectural Press and founded the Architectural Review in 1896. H. de C. studied at Berkhamsted School before attending the Bartlett School of Architecture at UCL. However, he never went on to qualify, instead moving to the Slade School of Arts where he is likely to have met John Piper during the early-mid 1920s.In 1927, he joined the family business and became joint editor of the AR with Christian Berman. The magazine was published monthly and together they changed the style of the magazine putting an emphasis on the arts with contributions from the likes of Evelyn Waugh, Osbert and Sacheverell Sitwell and Paul Nash, whilst the editorial board included Sir Hugh Casson and cartoonist Osbert Lancaster.The AR became one of the leading architectural magazines to promote modernism throughout the 1930s and regularly featured articles on painting, sculpture and interior design. He deemed architecture an art form and believed that the understanding of one could support the other. H. de C. 'saw the logic of this as a bright new future for society' as quoted in the Oxford Dictionary of National Biography.H. de C. was first introduced to Henry Moore by Jim Richards who was assistant editor at the AR alongside John Betjeman. Richards who had befriended the artist early on in his career published an article on Moore's work in the AR in 1934. Moore later commented in an interview in 1979 with Jonathan Glancey, architectural critic and writer, that he was appreciative of the AR's support. It would be interesting to think that Moore repaid his appreciation by gifting this sculpture to H. de C. or perhaps H. de C.'s support and encouragement of the artist extended to supporting his career by purchasing the work.By 1974 the sculpture had been passed to his son, John Hastings (1928-2019) where it sat on his mantelpiece in the living room beside a Papier Mache elephant and a china bull, objects which were valued for their sentimental rather than monetary value. John was a countryman and farmer who bred sheep and livestock, more interested in animals than fine art. To John, the Mother and Child that made its home on his mantelpiece was a sentimental family object and nothing more.During the authentication process the panel were able to link the present lot to a known sketch by Moore titled Eighteen Ideas for Sculpture (HMF 1460a). This sheet of sketches shows how Moore was working with his traditional forms; reclining nude, standing figure and mother and child whilst adding a new dimension of movement through exploration of materials such as string and wire. Close comparisons can be drawn between the study at the centre of the sheet and the present lot. The study shows the smooth curve of the mother's arm embracing the figure of the child. Around the child, leading towards the mother's face, are lines suggesting placement of string.What is particularly amusing is the same characterful face that shows the mother's eyes looking toward the child and the small dot used to depict the mouth which is whimsical and endearing. It is possible that Mother and Child (LH 213a) was originally intended to be stringed, connecting the dots and intersecting the space around the sculpture.During this same period that Moore was experimenting with stringed sculptures he also began exploring the use of lead to cast his works. Evidence of this exploration is visible in both finished sculptures but also preparatory drawings such as Reclining Lead Figures c. 1940 (HMF 1550) and Ideas of Lead Sculptures, 1939 (HMF 1473). The production of works cast in lead is concentrated to the years 1938-1940 and it is believed that the present lot was conceived during the latter part of this period.It is interesting to compare Mother and Child (LH 186) which was conceived in 1938. Moore has taken a markedly more abstract approach compared to the present lot (LH 213a). The design has been fulfilled connecting the curved forms of each figure with string creating a fluidity across the sculpture. However, it illustrates his continued experimentation with the mother and child motif, casting in lead and other materials such as string and wire.The theme of Mother and Child remained a dominant theme throughout Moore's career. He was particularly drawn to the subject matter for it is a raw and deeply embedded relationship which every human will experience on some level. On a simpler note, Moore was compelled by the compositional opportunities that a large form and contrasting small form can create. The present lot shows two figures bonded as one. The child's head and face turning up towards the mother who looks directly at the viewer with her distinctive markings. The mother's arms swoops down and around the sculptural form to embrace the child on the other side, creating an area of negative space which creates balance and fluidity in the sculpture.
λ Mr Brainwash (French b. 1966)Beautiful Life - Mickey and Minnie MouseMixed media, stencil and acrylic on canvas laid on boardSigned (to lower right edge); further signed, dated 2011 and inscribed (verso)162.5 x 122.5cm (63¾ x 48 in.)Artist to the stars Thierry Guetta aka. Mr. Brainwash has worked with some of music industry's biggest stars including Madonna for whom he designed the 2009 'Celebration' album cover. He has collaborated with TV and film productions including the Kardashians and Shameless whilst working on creative partnerships with Coca Cola and Marvel Comics. Mr. Brainwash first shot to fame through the widely circulated documentary 'Exit Through the Gift Shop' directed by Banksy featuring artists Shepherd Fairey and Space Invader. The film highlights the accessibility of street art and how art can be inclusive, shaping the world we live in. Mr. Brainwash combines elements from the pop art era drawing on motifs from artists such as Keith Haring and Jean-Michel Basquiat together with components from his street art and graffiti works, drawing on imagery from popular culture. At the centre of the piece, Mickey and Minnie Mouse embrace. To the left of Mickey's ear you see the eye of Madonna from his 'Celebration' album cover. To the right of the eye is a the identity card of Marilyn Monroe stating birth name Norma Jean. Behind the frontal images, small Campbell soup tins are scattered across the background. In the lower right corner we see the left eye of John F. Kennedy, the late president of the United States peeking out from beside Minnie Mouse. Every time you look at the image more details emerge. Mr. Brainwash has taken a canvas and thrown famous faces, iconic pop art and recognisable logos straight onto its surface finishing the composition with Disney's most celebrated, joyous, and recognisable characters to create an enchanting and striking piece of work. Condition Report: Light surface dirt. Small areas of glue residue but most likely caused at conception of the piece. Otherwise in good original condition. Condition Report Disclaimer
Benedicto Cabrera (Filipino b. 1942)Untitled (Punk)Pastel Signed and dated 81 (lower centre)55.5 x 42cm (21¾ x 16½ in.)Unframed Provenance:Acquired directly from the artistThence by descent to the present owner Benedicto Reyes Cabrera or BenCab - as he is more commonly known has been coined the 'Master of Philippine Contemporary art'. BenCab was born in Malabon, Manila in 1942. BenCab was exposed to art from a very young age as his older brother Salvador was already an established artist. From the age of seven BenCab was painting on pavements and walls experimenting with different expressions of painting. In 1963, Bencab graduated with a Fine Art BA from the University of the Philippines. In 1969 he represented the Philippines at the Paris Biennale with a series of striking abstract works using spray-paint. This was the first time he had left the Philippines and he continued his travels exploring many countries including Italy, Nepal and finally London where he married Caroline Kennedy. In the 1980s he started to explore the cultural effects of Punk Rock making a series of colourful drawings. The first exhibition to showcase this series was held at the Tricycle Theatre Gallery in London. The present lot shows a gentleman seated wearing a black t-shirt printed with the close up image of a ladies face. The vibrant yellow strip running down the back of the sheet is particularly striking and highlights the outline of his left shoulder. Condition Report: Unframed. Handling creases throughout. A large horizontal crease running from the middle of the right edge to the centre of the sheet. Very small losses across the upper edge. Two areas of possible water/liquid splatters, one to the right of the sitter's right leg the larger of the splashes to the right of the sitter's left leg. The lower edge is slightly uneven where possibly a previous mount was attached. There is a visible vertical line of dirt running along the right edge and small areas of surface dirt scattered across the surface. Condition Report Disclaimer
λ Dame Elisabeth Frink (British 1930-1993)Small Male FigureBronzeSigned (on the base)29.5 x 29.5cm (11½ x 11½ in.)Conceived in 1986 and cast by Ken Cook in an edition of 15, the work was a commission from the artist by the National Ankylosing Spondylitis Society. As one of the early casts, the present work is unnumbered as the edition was originally intended to be unlimited but was subsequently limited to 15 with later casts numbered.Provenance:Dr. Allan St John Dixon MD FRCP OBE (1922-2014) (a gift from The National Ankylosing Spondylitis Society)Thence by descent to the present ownerLiterature:Edward Lucie-Smith, Elisabeth Frink: Sculpture Since 1984 and Drawings, London, 1994, p. 185, no. SC22, illustration of another castAnnette Ratuszniak (ed.), Elisabeth Frink: Catalogue Raisonné of Sculpture 1947-93, Farnham, 2013, p. 173, no. FCR353aThe National Ankylosing Spondylitis Society (NASS) is a UK charity that provides support and advice to sufferers of this chronic condition in which the spine and other areas of the body become inflamed. It was a cause close to Frink's heart as her son had been diagnosed with the condition. In 1986, she was approached to create a work to be presented as an award to medical personnel who have contributed outstanding research into the disease. Fifteen casts were made and cast by Ken Cook at his foundry.Dr. Allan St. John Dixon was a founding member of The National Ankylosing Spondylitis Society, Dixon was the first Chairman, serving from 1976 until his retirement from the Health Service in 1986.
λ Augustus John (British 1878-1961)The Fruit Sellers (Campbell Dodgson 88) & The Brook (C.D. 113)Etchings with drypoint, c. 1906The first signed in pencil, 4th state, from the edition of 25; the second numbered 22/25 in black ink11.5 x 9cm (4½ x 3½ in.) & 7 x 10cm (2¾ x 4in) respectivelyTogether with copies of Time Magazine, September 1928, May 1948, and January 1952 featuring articles on Augustus John. (5)
λ Fred Uhlman (British 1901-1985)Le Chateau de Grand MeaulnesOil on board 54 x 66cm (21¼ x 25 in.)Provenance:The Zwemmer Gallery, London The collection of Eardley Knollys (1902-1991), friend and associate of the Bloomsbury Group, artist, critic and owner of the Storran Gallery, London, from 1936 to 1944Bequeathed to Mattei Radev (1927-2009) and, subsequently, to the present ownerEardley Knollys (1902-1991) was born in Alresford, Hampshire. He studied at Winchester College and continued his education at Christ Church College in Oxford. Knollys interest in the arts and his reputation as an art critic grew during the 1920s and in 1936 Knollys opened The Storran Gallery, opposite Harrods with his partner Frank Coombs. The gallery exhibited renowned artists such as Amedeo Modigliani, Maurice Utrillo, Ivon Hitchens, Pablo Picasso and Victor Pasmore to name just a few. Coombs tragically passed away in an air raid during World War II in Belfast in 1941. Knollys closed the gallery shortly afterwards. In 1945, Knollys along with music critic and novelist Edward Sackville-West and music critic Desmond Shawe-Taylor purchased a Georgian rectory in Long Crichel, Dorset. Along with James Lees-Milne, literary critic Raymond Mortimer and gay activist and eye surgeon Patrick Trevor-Roper, the house became a centre for young creatives, where these young men and their friends could immerse themselves in books, music, art, and poetry. These passionate young men hosted guests such as Ben Nicholson, Duncan Grant, Sibyl Colefax and film director Anthony Asquith. Knollys joined James Lees-Milne working for the National Trust during World War II and published diaries recording their trips to some of the most renowned British country houses. In 1965, Knollys, a well-respected art critic and member of the Bloomsbury art group inherited a collection of artworks which had belonged to Edward Sackville-West. In 1967 Knollys and Mattei Radev purchased a hunting lodge in Hampshire and they both painted and worked in the artist's studio attached to the lodge. Knollys' interest in the arts continued and he added to the collection right up until his death in 1991. Knollys' collection was bequeathed to Mattei Radev, who continued to grow the important collection. Mattei Radev became an iconic member of the artistic and literary Bloomsbury group. Radev was a Bulgarian émigré who settled initially in Glasgow after escaping Bulgaria through Turkey. When he first arrived in London, he started working at Whittington Hospital as an orderly and met eye surgeon Patrick Trevor-Roper. Trevor-Roper was a gay activist and introduced Radev to likeminded friends in London. Influenced by these new acquaintances in artistic circles Radev decided to pursue an apprenticeship in framing. In 1960 he set up his own workshop in Fitzrovia with the help of a financial loan from Eardley Knollys. Clients included John Banting, Graham Sutherland, and Duncan Grant. The framers continued under Radev's management until the 1990s. Radev visited Long Crichel many times and met his life-long lover E.M. Forster, the notable novelist and literary critic. The Radev collection represents the three strong individuals involved, Sackville-West who championed Modernism, Eardley Knollys whose passion for French Impressionism shines through and Radev for his loyalty to British artists with whom he was friends and in business with.Condition Report: Surface dirt throughout. There are some very small scattered losses, the most obvious to the lower right quadrant with associated diagonal scuff marks. Inspection under UV reveals and uneven varnish and light scattered retouching. Condition Report Disclaimer
λ David Shepherd (British 1931-2017)Super Constellation over New YorkOil on canvasSigned (lower right)76 x 102cm (29¾ x 40 in.)Provenance: The Artist's EstateOn leaving Stowe School in Buckinghamshire, David Shepherd's ambition was to become a game warden in Africa. However, this early dream was dashed when he was turned away, having travelled all the way to Nairobi in Kenya. Returning home and looking for a new direction, Shepherd undertook a three year apprenticeship with the artist Robin Goodwin in Chelsea. On leaving Goodwin's studio, one of his first assignments in 1953, was to paint pictures of aircraft at Heathrow as they sat on the runway. This rekindled a childhood fascination in airplanes, although he did reminisce that "I was learning the hard way, in all weathers, and the noise, and the dirt, and the perpetual wind that shook the canvas and they had a habit of towing the airplanes away when you were halfway through painting their portraits." These early aviation paintings brought subsequent commissions from the RAF and in 1960 they flew him to Africa. A chance encounter with a herd of dead zebra, poisoned by poachers at a watering hole, led Shepherd to move his focus from aircraft to wildlife and so began not only a lifelong devotion to depicting the majesty of the natural world but he also became a passionate wildlife campaigner highlighting its fragility and later setting up The David Shepherd Wildlife Foundation.
λ David Shepherd (British 1931-2017)Giant RefreshedOil on canvasSigned and dated 53 (lower right); further signed and titled (verso)51 x 76cm (20 x 29¾ in.)Provenance: The Artist's EstateOn leaving Stowe School in Buckinghamshire, David Shepherd's ambition was to become a game warden in Africa. However, this early dream was dashed when he was turned away, having travelled all the way to Nairobi in Kenya. Returning home and looking for a new direction, Shepherd undertook a three year apprenticeship with the artist Robin Goodwin in Chelsea. On leaving Goodwin's studio, one of his first assignments in 1953, was to paint pictures of aircraft at Heathrow as they sat on the runway. This rekindled a childhood fascination in airplanes, although he did reminisce that "I was learning the hard way, in all weathers, and the noise, and the dirt, and the perpetual wind that shook the canvas and they had a habit of towing the airplanes away when you were halfway through painting their portraits." These early aviation paintings brought subsequent commissions from the RAF and in 1960 they flew him to Africa. A chance encounter with a herd of dead zebra, poisoned by poachers at a watering hole, led Shepherd to move his focus from aircraft to wildlife and so began not only a lifelong devotion to depicting the majesty of the natural world but he also became a passionate wildlife campaigner highlighting its fragility and later setting up The David Shepherd Wildlife Foundation.
λ David Shepherd (British 1931-2017)P for Peter in for a Check - Comet I in the Comet maintenance hangar, London AirportOil on canvasSigned (lower right); further signed, titled and dated July 53 (verso)56 x 77cm (22 x 30¼ in.)Provenance: The Artist's EstateOn leaving Stowe School in Buckinghamshire, David Shepherd's ambition was to become a game warden in Africa. However, this early dream was dashed when he was turned away, having travelled all the way to Nairobi in Kenya. Returning home and looking for a new direction, Shepherd undertook a three year apprenticeship with the artist Robin Goodwin in Chelsea. On leaving Goodwin's studio, one of his first assignments in 1953, was to paint pictures of aircraft at Heathrow as they sat on the runway. This rekindled a childhood fascination in airplanes, although he did reminisce that "I was learning the hard way, in all weathers, and the noise, and the dirt, and the perpetual wind that shook the canvas and they had a habit of towing the airplanes away when you were halfway through painting their portraits." These early aviation paintings brought subsequent commissions from the RAF and in 1960 they flew him to Africa. A chance encounter with a herd of dead zebra, poisoned by poachers at a watering hole, led Shepherd to move his focus from aircraft to wildlife and so began not only a lifelong devotion to depicting the majesty of the natural world but he also became a passionate wildlife campaigner highlighting its fragility and later setting up The David Shepherd Wildlife Foundation.
λ David Shepherd (British 1931-2017)Comet I in for servicing - London AirportOil on canvasSigned (lower right); titled and dated August 1953 (verso)51 x 77cm (20 x 30¼ in.)Provenance: The Artist's EstateOn leaving Stowe School in Buckinghamshire, David Shepherd's ambition was to become a game warden in Africa. However, this early dream was dashed when he was turned away, having travelled all the way to Nairobi in Kenya. Returning home and looking for a new direction, Shepherd undertook a three year apprenticeship with the artist Robin Goodwin in Chelsea. On leaving Goodwin's studio, one of his first assignments in 1953, was to paint pictures of aircraft at Heathrow as they sat on the runway. This rekindled a childhood fascination in airplanes, although he did reminisce that "I was learning the hard way, in all weathers, and the noise, and the dirt, and the perpetual wind that shook the canvas and they had a habit of towing the airplanes away when you were halfway through painting their portraits." These early aviation paintings brought subsequent commissions from the RAF and in 1960 they flew him to Africa. A chance encounter with a herd of dead zebra, poisoned by poachers at a watering hole, led Shepherd to move his focus from aircraft to wildlife and so began not only a lifelong devotion to depicting the majesty of the natural world but he also became a passionate wildlife campaigner highlighting its fragility and later setting up The David Shepherd Wildlife Foundation.
Vincent Cartwright Vickers (British 1879-1939)Google BirdsA set of six watercolour and pen and inkOne signed with initials (lower right)Various sizes, the largest 49.5 x 32cm (19¼ x 12½ in.) (6)Provenance:The artist's grandsonThese eccentric drawings were executed in the first decade of the 20th century by a talented amateur artist who was better known as a leading economist. He produced these drawings for pleasure and to share with his children and nephews and nieces. Some would later be published with accompanying rhymes in The Google Book.The Google Book, a kind of children's monster and rhyme book, was published in 1913. Its Surreal illustrations of various fictitious birds and whimsical verses were all created by its author, the economist Vincent Cartwright Vickers. His extended family-owned Vickers Limited and he wrote The Google Book while serving as a director of the Bank of England. Vickers was born in 1879 and educated at Eton and Magdalen College, Oxford. He was a Deputy Lieutenant of the City of London, a director of Vickers for twenty-two years and a director of the London Assurance from which he resigned in 1939. In 1910 he became Governor of the Bank of England, resigning this appointment in 1919. He later became President of the Economic Reform Club and Institute. He wrote extensively on economics and monetary reform. After a long illness he died in 1939.The Google of the title is a strange pond dwelling monster living in a beautiful garden. At night in prowls the land where the different birds live. The birds themselves have many exotic names such as the Great Skull-Headed Stone Trot, the Swank, the Blue-Billed Ork and the Shivver-Doodle.It is not known whether Vicker's Google had any influence on the naming of the current famous American Internet company.Condition Report: Image 6 has been unframed. The work is watercolour on card and has been taped to the backing mount at the centre of each edge. All the works are under glass. The other five have not been examined out of glazed frames. There is some light scattered foxing most noticeably to areas where the original card is on show. Image 4 showing the two swooping birds, there is evidence of pencil marks either behind the sheet or as part of the original design which was the changed. There is a small cluster of brown marks to the left hand edge of the sheet. Otherwise each work appears to be in good original condition. Condition Report Disclaimer
‡ A large Highland Stoneware Cat bowl by Dorell Pirie, 1997, welled bowl, in flambe, red and green, and translucent lavender, unsigned, 49.5cm. diam. Literature Malcolm Haslam, Highland Stoneware First Twenty Five Years of Scottish Pottery, Richard Dennis Publications, page 84 this bowl illustrated.
‡ Sir Paul McCartney CH MBE (born 1942) Twelve studies for stage sets pen and ink on paper, annotated in ink, framed, sold with a note of provenance from the vendor unsigned 49 x 32.5cm. (sheet) Provenance Given directly by Brian Epstein to John Lyndon, director of productions at the Saville Theatre and manager of the Apple Boutique (one of the first business ventures by The Beatles). The bottom left design of red stars and stripes was used, by repute, for The Four Tops concert at the Saville Theatre, December 1966.
A HARDBACK FIRST EDITION IN VERY FINE CONDITION WITH DUST COVER. HARRY POTTER AND THE HALF-BLOOD PRINCE BY J.K. ROWLING WITH DUST COVER. PUBLISHED BY BLOOMSBURY IN 2005. PRINTED BY CLAYS LTD.THIS BOOK HAS THE PAGE 99 MISPRINT, BEING HERMOINE HAVING ELEVN O.W.Ls, THIS WAS LATER CORRECTED TO TEN O.W.Ls
Gerald Gardiner (1902-1959) 'Untitled barn interior' chalk sketch, initialled and dated 1953 in pencil lower right, 51cm x 38.5cmCondition report: Frame joints are loose and in need of repair. The mount is stained and has partial water damage. This does not seem to have affected the sketch, however we have not removed this piece from the frame. Please note the area of yellow in the first image lower left is not a change in colour but a reflection of the glass, please examine all images closely for accuracy. This piece would require attention or need reframing.
Paul Cummins (b.1977)Three ceramic poppies, from the 888246 poppies made for the poppy art installation 'Blood Swept Lands and Seas of Red' at the Tower of London 5th August - 11th November 2014 - commemorating the Centenary of the start of the First World War, in original packaging, together with the booklets and certificates of authenticity (3)Condition report: At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report.
William Body "The Story of Brooklands, the World's first Motor Course' Volume I, II & III, first editions, (1948, 1949 & 1950) with dustjackets (3)Condition report: Overall significant wear and losses. Damage, tears and losses to the dustjackets. Foxing, staining and some marks to the pages. For additional details please contact our office.
Three ringsthe first a unmarked (possibly 18ct gold) sapphire and diamond chip ring, size S, 5g approx overall, an 18ct gold, red stone and diamond ring, size S, 4g approx overall and an indistinctly marked precious yellow metal ring, size R, 4g approx overall (3)Condition report: At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report.
Football. Charlie George Signed 18x12 black and white photo. Photo shows George posing as a KING with crown etc, also holding the FA Cup after winning Arsenal's first double. 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 £4.99, EU from £6.99, Rest of World from £8.99
Football, Peter McParland signed 12x18 black and white photo. Picturing him in action for Aston Villa during the 1957 FA Cup Final moments after McParland and Manchester United keeper, Ray Woods clash. McParland holds a unique place in English football history as the first player in the game to score in and win both English major domestic knockout Finals. One of the finest headers and strikers of the ball of the past fifty years, he is regarded as one of the greatest players to represent both Aston Villa and Northern Ireland. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Norman Hunter signed 20x13 black and white print. Norman Bite Yer Legs Hunter leaps for joy as Allan Clarke scores the goal that secured Leeds first FA Cup victory Wembley 1972 Leeds United 1 Arsenal 0. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Football, Peter McParland signed 12x18 black and white photo. Pictured as he celebrates none of two goals for Northern Ireland in the 1958 World Cup Final game vs. West Germany. McParland holds a unique place in English football history as the first player in the game to score in and win both English major domestic knockout Finals. One of the finest headers and strikers of the ball of the past fifty years, he is regarded as one of the greatest players to represent both Aston Villa and Northern Ireland. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Football, Peter McParland signed 12x18 black and white photo. Pictured as he challenges Manchester Uniteds, Jackie Blanchflower and Bill Foulkes during the 1957 FA Cup Final. McParland holds a unique place in English football history as the first player in the game to score in and win both English major domestic knockout Finals. One of the finest headers and strikers of the ball of the past fifty years, he is regarded as one of the greatest players to represent both Aston Villa and Northern Ireland. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
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