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![Victoria (1837-1901), Florins (2), 1887 Jubilee, 1889 (ESC 2953, 2957; S 3925) [2]. First virtually as struck but some bagmar](https://cdn.globalauctionplatform.com/dbbbf6ac-4ad4-4778-a384-ad9e00debbd0/0a91b0be-f310-47cb-ac5e-ad9e00e00d17/468x382.jpg)
![Victoria (1837-1901), Shillings (2), 1860, 1887 Jubilee (ESC 3018, 3137; S 3904, 3926) [2]. First good very fine, rare, secon](https://cdn.globalauctionplatform.com/dbbbf6ac-4ad4-4778-a384-ad9e00debbd0/e167a8ec-b3f1-469b-bf18-ad9e00e008ca/468x382.jpg)
![Victoria (1837-1901), Halfpence (2), 1841, 1843, 1854 (BMC 1524, 1527, 1542; S 3949) [3]. Last extremely fine, others good ve](https://cdn.globalauctionplatform.com/dbbbf6ac-4ad4-4778-a384-ad9e00debbd0/b03b9387-8e8f-4c9a-92f1-ad9e00dfb81c/468x382.jpg)
Lot 175
Victoria (1837-1901), Halfpence (2), 1841, 1843, 1854 (BMC 1524, 1527, 1542; S 3949) [3]. Last extremely fine, others good very fine and better, but second and third with spots on obverse £90-£120 --- Provenance: First bt R. Lobel; second London Coins Auction 129 (Bracknell), 6-7 August 2010, lot 1535; third Baldwin Auction 60, 5-6 May 2009, lot 995 (part)
![George V (1910-1936), Pennies (4), 1912, 1918, 1918kn, 1919 (F 172, 182, 184-5; BMC 2243, 2252, 2254-5; S 4051, 4053) [4]. Fi](https://cdn.globalauctionplatform.com/dbbbf6ac-4ad4-4778-a384-ad9e00debbd0/f1f5c553-f086-4821-ac59-ad9e00df5d2f/468x382.jpg)
Lot 199
George V (1910-1936), Pennies (4), 1912, 1918, 1918kn, 1919 (F 172, 182, 184-5; BMC 2243, 2252, 2254-5; S 4051, 4053) [4]. First extremely fine with original colour, second brilliant mint state, third good fine, last about extremely fine £60-£80 --- Provenance: All except third bt M.D. Blake
Lot 51
George III (1760-1820), Pre-1816 issues, Pattern Halfpenny, 1799 (late Soho), by C.H. Küchler, in copper, laureate bust right, · · · on truncation, rev. Britannia seated left, normal triangle of dots on rock, edge obliquely grained, 9.31g/6h (BMC 1242 [KH 21]; Selig –). Dusky tone, spot by first a of britannia and other carbon specks, otherwise extremely fine, rare £300-£360 --- Provenance: Baldwin vault; Baldwin Auction 60, 5-6 May 2009, lot 888
![George III (1760-1820), Pre-1816 issues, Farthings (2), both 1799, 3 berries (BMC 1279 [KF 11]; S 3779) [2]. One virtually as](https://cdn.globalauctionplatform.com/dbbbf6ac-4ad4-4778-a384-ad9e00debbd0/6e808963-0e01-48cb-b660-ad9e00e08f5d/468x382.jpg)
Lot 76
George III (1760-1820), Pre-1816 issues, Farthings (2), both 1799, 3 berries (BMC 1279 [KF 11]; S 3779) [2]. One virtually as struck with full original colour, other about extremely fine £100-£150 --- Provenance: *First ‘Oxford’ Collection, Colin Cooke FPL 2008 (209); second Spink Auction 195, 26 June 2008, lot 1007 (part)
![George IV (1820-1830), Halfpence (2), 1826 rev. A, 1827; Farthing, 1827 (BMC 1433, 1438, 1442; S 3824-5) [3]. First with smal](https://cdn.globalauctionplatform.com/dbbbf6ac-4ad4-4778-a384-ad9e00debbd0/2a8002a8-4e77-4c8d-bb95-ad9e00e06fbd/468x382.jpg)
Lot 92
George IV (1820-1830), Halfpence (2), 1826 rev. A, 1827; Farthing, 1827 (BMC 1433, 1438, 1442; S 3824-5) [3]. First with small metal fault on neck otherwise extremely fine, others very fine and better £80-£100 --- Saleroom Notice 3 coins in the lot, as described --- Provenance: First London Coins Auction 130 (Bracknell), 5-6 September 2010, lot 1397; others Spink Auction 195, 26 June 2008, lot 1047
Lot 812
Douglas Motorcycles and other Transport, to include vintage photographs of Douglas staff, 4 1920s copies of Con Rod magazine (2 without covers), 'The Best Twin A History of the Douglas Motor Cycle' by J.R. Clew, First Edition together with approx. 120 photographs of motor cars and motor cycles most dating from the first half of the 20thC to include military, commercial, touring, charabancs, lady riders, sporting etc. Very interesting images (mixed condition fair to vg) (125+)
Lot 838
Book, Death and Burial of Poor Cock Robin, Hardcover. First European Edition. Hurd and Houghton, New York. Special 1864 limited edition of 100 proof copies. 15 full page lithographs mounted on heavy paper. Hardcover boards in brown cloth, gilt Cock Robin design on front and back covers (boards bumped and faded in some areas, some foxing)
Lot 858
Book, The Diamond Smugglers, Ian Fleming, First Edition, 2nd Impression. Published by Jonathan Cape in 1957, complete with dust wrapper (spine faded, some ink smudging to d/w otherwise gd) sold together with the James Bond Dossier by Kingsley Amis, First Edition, published by Jonathan Cape in 1965 (some v slight edge wear otherwise vg) (2)
Lot 840
Signed Book, Eric Clapton, hard cover in slip case published by Century 2007 limited edition of 1000 copies, UK first edition, first printing, signed and numbered by the author. The number is unknown as it is still in its original shrink-wrap. The Slip-case was designed to look like a Fender guitar amplifier (excellent)
Lot 839
Signed Books, My Life by Bill Clinton, hard cover in slip case, rare UK Signed Limited Edition (108 of 1500) from his only UK signing event on Monday 12 July, 2004 at Waterstone's Piccadilly (excellent) sold together with Living History by Hillary Clinton, hard cover, signed at Waterstones Piccadilly 3rd July 2003 together with Waterstone's flier advertising the event and a Waterstones queuing ticket no. 326. Not first impression (protected in professional book film, excellent condition) (2)
Lot 864
Children's Books, Enid Blyton, 18 titles to include The Mystery That Never Was (Collins, First Edition 1961, d/w fair/gd), Ring O' Bells Mystery (Collins, First Edition 1951, d/w fair/gd), The Knights of The Round Table (Latimer House, First Edition 1950, d/w fair/gd), The Mystery Of Tally-Ho Cottage (Methuen, First Edition 1954, d/w fair/gd), The Rockingdown Mystery (Collins, First Edition 1949, d/w fair/gd ink inscription to inner front board), The Naughtiest Girl In The School (Newnes, First Edition 1940, no d/w) together with 12 other titles all with d/w where issued (gen gd) (18)
Lot 843
Enid Blyton Adventure Series Books, 8 books to comprise River Of Adventure First Edition and Circus Of Adventure First Edition together with Valley, Sea, Ship, Mountain, Island and Castle of Adventure all 1951. All complete with colourful dust wrappers (some bumps and knocks, some small tears to dw but generally gd) (8)
Lot 860
Books, Jennings by Anthony Buckeridge, 15 titles (2 duplicates) to comprise Trust Jennings! (First Edition name inked to front page and ticks to authors list), Our Friend Jennings, Jennings and Darbishire, Jennings As usual, Take Jennings For Instance, Jennings Little Hut, Jennings' Diary, Jennings Goes To School, Jennings Follows A Clue, Just Like Jennings x 2, The Trouble With Jennings, Jennings Of Course, Thanks To Jennings, and According To Jennings (gen gd, all protected in professional book film) (15)
Lot 863
Children's Books, Enid Blyton, 9 titles comprising In The Fifth at Malory Towers (First Edition, d/w with portions missing), Upper Fourth At Malory Towers (1952, d/w fair/gd), The Second Form At Malory Towers (1949, d/w fair/gd), The O'Sullivan Twins (1948 d/w fair/gd), The Twins At St. Clare's (1953, d/w fair/gd), The Second Form at St. Clare's (1945 d/w fair/gd), Summer Term at St. Clare's (1948, d/w fair/gd), Claudine at St. Clare's (1949, d/w fair/gd), Fifth Formers of St. Clare's (1952, d/w fair/gd) all protected in professional book film, attractive lot (9)
![PULLMAN (PHILIP), [HIS DARK MATERIALS] 3 VOL. FIRST EDITIONS, FIRST IMPRESSIONS vol.I first issue signed by the author, Point](https://cdn.globalauctionplatform.com/6de99ef7-5be0-4de6-916c-adb300b8646c/8a808b25-1e3d-4574-900b-adb900cfad45/468x382.jpg)
Lot 26
λ Winifred Nicholson (British 1893-1981)Landscape Under Snow, Eigg Oil on canvas 74 x 83.5cm (29 x 32¾ in.)Painted in circa 1950s. With a sketch of mother and child seated verso. Provenance:Crane Kalman Gallery, LondonAcquired from the above in 1992 Thence by descent to the present ownerExhibited:London, Crane Kalman Gallery, The Rural Poetry of 3 English Women Painters, May-June 1992'Those seemingly casual flowers with their airy-light petals were the work of deep understanding and mastery of colour, her lifelong study.' Kathleen Raine, from the introduction for The Rural Poetry of Three English Women Artists, Crane Kalman Gallery, 1992. The present lot captures the dramatic weather during Winter in Eigg, one of the isles in the Scottish Hebrides. Winifred Nicholson visited Eigg for the first time in 1950 with her close friend and poet Kathleen Raine. The pair frequently travelled together following this date exploring the Scottish Hebrides, regularly staying at author Gavin Maxwell's house located in Sandaig in Ross-shire. Winifred reveals her working processes in the Hebrides within letters, especially to her son Andrew and husband Ben. She expresses her love for the landscape and location 'this is a place after my heart' which is not full of lush greenery but greys and large stone formations. She describes the sea as 'full of grey mysterious islands and rocks, seals and seabirds.' Winifred watched the world go by during these days commenting on families going about their daily lives and animals congregating in search of food. [letter to Andrew Nicholson, from Isle of South Uist, Hebrides c. 1950, Unknown Colour, p.228 quoted in Jovan Nicholson, Winifred Nicholson, Liberation of Colour, Philip Wilson Publishers, Bloomsbury Publishing, London & Dublin, 2016, p88] Winifred was drawn to the rural setting striving for a closeness to nature. This new landscape allowed her to explore and experiment with colour an element in painting which became her core concern. Winifred worked directly from nature, working briskly almost finishing a picture in a whole sitting. She often painted late at night 'between midnight and one in the morning,' expressing how 'it is of course a magic light then.' The viewer is drawn straight into the rural landscape through Winifred's window with plants and leaves shooting upwards from the lower edge. The purple, blue and grey fluid brushstrokes capture the unpredictable weather of the Hebrides and reflect Winifred's enthusiastic and dedicated approach to working direct from nature. [letter to Ben Nicholson, 1950s TGA 8717/1/1/1830 quoted in Jovan Nicholson, Winifred Nicholson, Liberation of Colour, Philip Wilson Publishers, Bloomsbury Publishing, London & Dublin, 2016, p88]Condition Report: Separate canvas depicting mother and child pasted to the reverse of the canvas. Some craquelure to the areas of thick white impasto. Very light surface dirt scattered throughout and some very small patches of pooling varnish to the centre, in the blue pigment in the sky. To the centre of the right hand edge is a small patch circa. 2cm of a darker pigment which may have been caused by the glue residue verso, there is a few smaller flecks of a similar coloured pigment to the right side of the upper edge. Inspection under UV reveals no obvious evidence of retouching or repair. Condition Report Disclaimer
Lot 76
λ Phyllis Bray (British 1911-1991)Artist's GardenGouache38.5 x 55.5cm (15 x 21¾ in.)Provenance:The collection of Lilian Hawthorne, née Leahy (1909-1996)THE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.
Lot 64
λ Elwin Hawthorne (British 1905-1954)St. John's, Downshire Hill, HampsteadWatercolourSigned (lower right) and inscribed St. Johns (lower left)16 x 16.5cm (6¼ x 6¼ in.)Executed in 1936.Provenance:Estate of the artistThence by descent to the present ownerTHE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.
Lot 67
λ Elwin Hawthorne (British 1905-1954)Bow RoadOil on canvasSigned and dated 1930 (lower right)35 x 45cm (13¾ x 17½ in.)Provenance:Alex. Reid & Lefevre, LondonThe collection of Sir David and Lady Scott (acquired from the above), sold to benefit the Finnis Scott FoundationTHE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative. Condition Report: Not relined. Light surface dirt and discoloured varnish throughout. Inspection under UV reveals uneven varnish which may be concealing evidence of restoration or repair. Condition Report Disclaimer
Lot 75
λ Walter Steggles (British 1908-1997)DinanWatercolourSigned (lower left) and titled (lower right)14 x 19cm (5½ x 7¼ in.)Executed in 1948.THE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.
Lot 91
λ Henry Moore (British 1898-1986)Reclining Nude: Crossed FeetBronze with a green patina, mounted on a wooden baseSigned and numbered 5/9 (on the base)11 x 16.5cm (4¼ x 6¼ in.)Conceived in 1980.Provenance:The Goodman Gallery, South AfricaPrivate Collection, London (acquired from the above in 1981)Thence by descent to the present ownersLiterature:Alan Bowness (ed.), Henry Moore, Complete Sculpture: 1980-86, Vol. 5, London, 1988, no. 788, another cast illustrated, p. 36-37Along with the theme of the mother and child, the reclining female figure is a form that dominated Moore's artistic output across his career. He loved the composition both for the essence of the idea as well as the freedom of expression that it afforded him. Unlike a seated figure that required a pedestal or support, or a standing figure which often lacked structural stability, the reclining figure could be presented in any manner and in any position without the incumbrance of other distracting elements. "One is standing, the other is seated and the third is lying down... of the three poses, the reclining figure gives the most freedom, compositionally and spatially... A reclining figure can recline on any surface. It is free and stable at the same time. It fits in with my belief that sculpture should be permanent, should last for eternity." Henry Moore, cited in the Art Gallery Handbook, Art Gallery, New South Wales, Australia, 1994 In contrast to many depictions of the female nude, Moore's work is never overtly erotic or sexualised. Indeed it has more in common with the very early pictorial language of the Neolithic period in Europe or the art of some early central American cultures in which the simplified form is a symbol of fertility. Moore was naturally drawn to these images and whilst his figures are far more than simply maternal depictions, enduring memories of his mother - a tremendously strong woman who raised eight children and who represented a rock of stability for Moore - left a lasting impact on how he viewed the female figure. The present work is typical of Moore's small scale bronzes. The smooth curves of the body dominate the form whilst the more diminutive head, with its lack of naturalistic facial characteristics alludes to a generic stylised form rather than a personalised image. Propped up on both arms, the body creates a contrasting mix of soft curves and sharper angles at the joints, interrupted by the lack of hands and feet. In spite of the simplification of the form the work remains more naturalistic than his earlier abstract sculptures.Similarities can be drawn between some of Moore's pen and ink studies during the 1980s for example reference HMF 80(117), Reclining Nude and HMF 80(115) titled Idea for Sculpture: Reclining Nude. Other sculptures during this period include Reclining Figure: Pointed Legs LH 777 dated to 1979 and moving into 1982 where Moore explored a more upright figure with a fuller chest Reclining Figure: Pointed Head LH827. Quote:"From the very beginning the reclining figure has been my main theme.....The first one I made was around 1924, and probably more than half of my sculptures since then have been reclining figures." Henry Moore, quoted in J. Hedgecoe, Henry Moore, New York, 1968, p. 151Condition Report: In overall good original condition. Some small areas of verdigris notably to the hair and underside of the bronze where it attaches to the base. Would benefit from a light clean. Condition Report Disclaimer
Lot 298
λ Emily Young (British b. 1951)Three graces Purbeck stone Height: 26cm (10 1/4in.)Provenance:Thackeray Gallery, London Purchased from the above in 1995Thence by descent to the present owner Emily Young (b.1951)Originally from London, Emily Young spent her childhood between Wiltshire and Rome. As the granddaughter of the sculptor Kathleen Scott (a colleague of Rodin) and niece of conservationist Peter Scott, she grew up in a family of artists, naturalists, explorers and writers.Her education started at Chelsea School of Art and Central Saint Martins in London, where she was first interested in painting. She left England in the late 1960s, travelling through Europe, Africa and the Middle East, then moving to the United States to study with artist Robert White. Emily developed an interest in working with stone in the 1980s, using leftover marble from a kitchen worktop.Giving a human form to the stillness of the stone, the sculptures emerged from unique discarded stone found in quarries. Her sculptures brings forth the close link between human experience and the planet. They encompass the natural beauty, history and energy of material stone imbedded with human consciousness through the act of touching, carving, and giving form. The sculptures ask the viewer to consider their presence on Earth, their history and contribution to the future of the planet. The meditative quality of Emily Young's work puts the ephemeral quality of human consciousness in perspective to the timelessness of stone.A passionate conservationist, she employs her sculptures in an environmental effort to protect endangered spaces. She has opposed the opening of a geothermal power station in Tuscany, as well as the illegal trawling in the Mediterranean with the project The Garden of the Fishes.'Hard stone can endure to tell our story: when a human hand, mind and heart is consciously involved in changing the face of a piece of stone, a mark is made, a contribution lightly touching the planet, touching the full immensity of the past, and speaking to the full immensity of an unknown future: it tells something, it leaves a record, of the relationship we humans have with our planet, one way or another.'- Emily YoungShe has exhibited at many prestigious museums including: The Getty, California; The Imperial War Museum, London; The Whitworth, Manchester; The Meijer Sculpture Gardens, Grand Rapids, and in 2018, The Victoria and Albert Museum, London.The present lot is one of Young's earliest pieces. The work shows three female figures elegantly dancing through water. The piece was treasured by the owner throughout her lifetime. A wonderful and touching poem was written by the owner and is published on the previous page. Condition Report: There are two very small abrasions to the tip of the right hand corner of the base. Otherwise, the work is in good original condition.Condition Report Disclaimer
Lot 79
λ Walter Steggles (British 1908-1997)Cookham MoorOil on canvasSigned (lower left); further signed and titled (to canvas overlap verso)41 x 51cm (16 x 20 in.)THE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.
Lot 260
λ Sydney Harpley (British 1927-1992)Girl in a HammockBronze with a green patina Signed and numbered 1/9 Inc. base: 102 x 157cm (40 x 61¾ in.) Royal Academician Sydney Harpley became renowned for his depiction of the single female figure whether this be dancing, resting, reading or perched on a swing or in this case a hammock. Harpley was born in Fulham in 1927. He left school at the age of 14 to follow in his father's footsteps and entered an apprenticeship as an electrician. He spent time working on an American air base and was fascinated with the structure of the planes and the concept of movement and flight. This fascination would play a role later on during his sculpting career as he played with the concept of movement depicting figures on swings, hammocks and acrobatic leap. Another great influence was Egyptian art and sculpture which he encountered during his posting in Cairo whilst he served National Service with the Royal Engineers between 1945 and 1948. In 1951, Harpley had enrolled to study sculpture at Hammersmith School of Art and later at the Royal College of Art under the tutelage of John Skeaping. Harpley first exhibited at the Royal Academy in 1954 and continued to exhibit regularly throughout his lifetime before becoming a full Royal Academician in 1981. Condition Report: Numerous spots, blemishes and surface dirt consistent with being and outdoor sculpture. Would benefit from a professional clean. Condition Report Disclaimer
Lot 174
λ Hamish Mackie (British b. 1973)Sitting Leopard HeadBronze Signed, dated 2009 and numbered 5/12 to lower edge Height 45cm (17 3/4in.) 53cm (20 7/8in.)Provenance:Collier & Dobson, Fordingbridge, HampshireAcquired from the above by the present owner'You should be able to look wildlife sculpture in the eye and see life' (Hamish Mackie)Hamish Mackie (b.1973) is a considered one of the world's foremost wildlife sculptors. Largely self-taught, Mackie's subjects range from livestock to birds to wild animals, all observed in their natural environment. From the first impressionistic sketches and quick models in plasticine, Mackie works to build up a detailed and atomically accurate core covered with a vibrant skin which serves to capture each individual animal's personality. As with lots 174, 175 and 177 offered here, Mackie often works in bronze. Caracal Head, Leopard Turning in Tree and Sitting Leopard Head all demonstrate Mackie's ability to convey a spontaneous and instinctive moment of an animal's behaviour, from a leopard stretching out and relaxing in a tree to the caracal with his ears pricked up and eyes alert as though he may have just spotted potential prey. It is these intimate moments which Mackie so skilfully depicts which help to bring the sculptures to life. Mackie's love for animals developed at an early age when in 1978, aged five, he moved with his family to a farm in Lostwithiel, Cornwall and was often tasked with looking after the livestock. It was here that he made his first bronze sculpture - a calf's head, given to his father as a Christmas present and which still hangs in the kitchen today.After completing a course in design at Kingston University, Mackie travelled to Africa and in 1995, took a job on a hunting camp in Zimbabwe. It was here that he was able to observe the distinction between an animal in the wild and one in captivity. This interest led him to the conservationist organisation TUSK whom he still supports today. It was during his time in Africa that Mackie fell in love with African wildlife and produced his fist wax sculpture of a cheetah.On his return to the UK, Mackie worked with the sculptor Mark Coreth and began to cast his models in bronze for commercial sale. In 1997, Mackie was accepted into the Royal Academy's Summer Exhibition following on from his first solo show with Fanshawe Somerset, London. Several successful solo shows followed and in 2013 Mackie was commissioned to produce six horses galloping through Berkeley Group Holdings in Spitalfields, London.In 2016, Mackie was awarded the Public Monuments and Sculpture Association's (PMSA) annual Marsh Award for Excellence in Public Sculpture and Public Fountains.Condition Report: Very light surface dirt. A few small patches of green verdigris to the back of head. Overall in good original condition. Condition Report Disclaimer
Lot 175
λ Hamish Mackie (British b. 1973)Caracal HeadBronze Signed, dated 2010 and numbered 2/2 to the undersideHeight: 27cm (10 5/8in.), Inc. base: 34cm (13 3/8in.)Provenance:Collier & Dobson, Fordingbridge, HampshireAcquired from the above by the present owner'You should be able to look wildlife sculpture in the eye and see life' (Hamish Mackie)Hamish Mackie (b.1973) is a considered one of the world's foremost wildlife sculptors. Largely self-taught, Mackie's subjects range from livestock to birds to wild animals, all observed in their natural environment. From the first impressionistic sketches and quick models in plasticine, Mackie works to build up a detailed and atomically accurate core covered with a vibrant skin which serves to capture each individual animal's personality. As with lots 174, 175 and 177 offered here, Mackie often works in bronze. Caracal Head, Leopard Turning in Tree and Sitting Leopard Head all demonstrate Mackie's ability to covey a spontaneous and instinctive moment of an animal's behaviour, from a leopard stretching out and relaxing in a tree to the caracal with his ears pricked up and eyes alert as though he may have just spotted potential prey. It is these intimate moments which Mackie so skilfully depicts which help to bring the sculptures to life. Mackie's love for animals developed at an early age when in 1978, aged five, he moved with his family to a farm in Lostwithiel, Cornwall and was often tasked with looking after the livestock. It was here that he made his first bronze sculpture - a calf's head, given to his father as a Christmas present and which still hangs in the kitchen today.After completing a course in design at Kingston University, Mackie travelled to Africa and in 1995, took a job on a hunting camp in Zimbabwe. It was here that he was able to observe the distinction between an animal in the wild and one in captivity. This interest led him to the conservationist organisation TUSK whom he still supports today. It was during his time in Africa that Mackie fell in love with African wildlife and produced his fist wax sculpture of a cheetah.On his return to the UK, Mackie worked with the sculptor Mark Coreth and began to cast his models in bronze for commercial sale. In 1997, Mackie was accepted into the Royal Academy's Summer Exhibition following on from his first solo show with Fanshawe Somerset, London. Several successful solo shows followed and in 2013 Mackie was commissioned to produce six horses galloping through Berkeley Group Holdings in Spitalfields, London.In 2016, Mackie was awarded the Public Monuments and Sculpture Association's (PMSA) annual Marsh Award for Excellence in Public Sculpture and Public Fountains.Condition Report: Overall surface dirt. May benefit from a light clean. Otherwise in good original condition. Condition Report Disclaimer
Lot 74
Henry Silk (British 1883-1947)My lady nicotineOil on canvasboardSigned (lower left)14 x 24cm (5½ x 9¼ in.)Provenance:From the collection Elwin Hawthorne (1905-1954)Exhibited:London, Alex Reid & Lefevre, Ltd., Catalogue of New Paintings by the East London Group, December 1932, no. 32THE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.
Lot 65
λ Elwin Hawthorne (British 1905-1954)Grosvenor Road, ChelseaWatercolour16 x 24cm (6¼ x 9¼ in.)Executed in 1935.Provenance:Estate of the artistThence by descent to the present ownerTHE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.
Lot 63A
λ Ivor Roberts-Jones (British 1916-1996)Sir Winston Churchill, maquette for the monument in Parliament SquareBronze with a dark brown patinaNumbered `54' (on the bronze base)Height (excluding Portland stone base): 52cm (20¼ in.)Provenance:Acquired directly from the artist by the husband of the present ownerLiterature:P. Cannon-Brookes, Ivor Roberts-Jones, London, 1983, pp. 51-59 In 1970 the Royal Fine Arts Commission (members included Henry Moore and John Piper) approached nine sculptors to compete for the Parliament Square Winston Churchill Monument commission. Two of these, Ivor Roberts-Jones and Oscar Nemon, were shortlisted and invited to submit revised proposals. By November 1970, the Commission had selected Roberts-Jones as the sculptor. However, Lady Churchill was determined that it shouldn't be Oscar Nemon who won the commission and due to her reservations, the Commission agreed to look at two larger maquettes by both sculptors. Kyffin Williams, a staunch supporter of Roberts-Jones, arranged a private view of Roberts-Jones' maquettes in his own studio for Lady Churchill and in 1971 he was finally announced as the chosen sculptor. The finished statue was unveiled in Parliament Square in 1973 by Lady Churchill, with a speech given by Queen Elizabeth II. The present work was cast by the Meridian Foundry from a maquette produced at the same time as the Parliament Square monumental work. Roberts-Jones retained the first 100 casts for his own clients with the remainder being offered to the subscribers of The Collected works by Winston Churchill by the Library of Imperial History, London. The present work was purchased directly from Roberts-Jones by the present owner's husband.Condition Report: In overall good original condition. Some surface dirt, would benefit from a light clean. Condition Report Disclaimer
Lot 77
λ Walter Steggles (British 1908-1997)Trees at Bourne EndWatercolourSigned (lower left)15 x 22cm (5¾ x 8½ in.)Executed in 1950.THE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.
Lot 68
λ Elwin Hawthorne (British 1905-1954)Tide Mill, WoodbridgeWatercolour12.5 x 17.5cm (4¾ x 6¾ in.)Executed in 1935.Provenance:Estate of the artistThence by descent to the present ownerTHE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.
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