There are 596772 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeJones, Inigo. The Designs of Inigo Jones, Consisting of Plans and Elevations for Publick and Private Buildings, 2 volumes bound in one, first edition, title-pages with portrait vignette, 97 engraved plates, including 29 folding or double-page, engraved head- and tail-pieces, without the half-title or allegorical frontispiece after William Kent, contemporary half calf, worn, spine lacking, bookplate of Merthyr Guest, folio, London: William Kent, 1727
Walsh, Robert and Thomas Allom. Constantinople and the Scenery of the Seven Churches of Asia Minor, 2 volumes, first edition, additional engraved titles, 2 engraved frontispieces and 92 engraved plates, tissue guards, 2 engraved maps, one double-page, occasional light spotting, publisher's original full morocco, tooled in gilt and blind, all edges gilt, bookplate of Merthyr Guest, 4to, London: Fisher & Son, [c.1839] A FINE COPY.
Williams, William. Oxonia Depicta svie collegiorum et auluram in Inclyta Academia Oxoniensi, first edition, engraved title, dedication leaf and 63 engraved maps, views and plans, comprising 62 double-page and one folding, engraved subscribers leaf, titled slightly soiled, contemporary mottled calf, joints cracked, bookplate of Robert Grosvenor, 1st Marquess of Westminster, folio, Oxford: [Privately Printed, 1732-33]
The Football League Champions Division Two winners medal, awarded to Stanley (Stan) Anderson (27 February 1934-10 June 2018), inscribed obverse 'The Football League Champions Division 2', engraved to reverse 'Season 1964-65 S. Anderson Captain', 9ct yellow gold bearing hallmark for Vaughton & Sons, Birmingham 1964, in original box; on a brass mounted mahogany circular plaque bearing banner of inverted commas 'Newcastle United F.C.' Football League Second Div. Championship 1964-65, Played 42, Won 24, Lost 9, Drawn 9, Points 57, Goals For 81, Against 45, a list of players, directors, chairman and 'S. Anderson Capt.'; a photograph, black and white, of Anderson holding the Football League Division 2 Championship trophy; a photographic reproduction of a Daily Mirror report showing Anderson holding a glass of champagne and cigarette in hand; Newcastle United 50th anniversary of the promotion book and dinner card; a selection of Football League Division 2 programmes from the 1964-65 season Newcastle V Manchester City 24th of April (X2), Manchester City 4th April, Leyton Orient 10th October, Bury 27th February, 13th March V Norwich City signed.Notes: Anderson had signed for Newcastle United from Sunderland just one season prior and is known to have been integral parts of Newcastle's promotion to the first division.
Newcastle United Testimonial Match for Bobby Cowell, 16th April 1956, programme signed by Cowell; Testimonial for Bobby Mitchell Souvenir Programme, 9th October, 1961, Testimonial for Frank Brennan, 30th April 1962, programme signed by Brennan; and Newcastle United Official Handbook for season 1965/66 and 1966/67. Newcastle United Review football programmes for the 1954-55 Season: Sheffield Wednesday (November 1954 and April 1955), Everton, Burnley and Blackpool; Newcastle United football programmes for the season 1964-65 (x 21); various away fixtures for the same season (x 18); and a programme for the match against Manchester City, 23rd November 1963; Newcastle United football programmes for the season 1965-66, including a friendly against Moscow Dynamo (x 27); together with various away fixtures from the same season; Newcastle United football programmes for the season 1968-69 (x 23); sundry away fixtures for the same season (x 6); Inter Cities Fairs' Cup programmes for the first round of the first leg, quarter-final first leg, semi-final second leg, and final first leg v Ujpest Dozsa; and two official brochures reviewing the season.
The Sunderland effects of Stanley Anderson, to include: a signed football shirt circa 2010; another Sunderland football shirts with back inscribed 'Stan Anderson 444 appearances'; a Sunderland A.S.C. Supporters Association lapel badge; a black and white photograph showing Stan Anderson and other Sunderland members; two reproduction signature sheets of Sunderland teams; Sunderland A.F.C. Centenary booklet inscribed to inside front cover 'Thanks Stan, and all best wishes to you. Hope to see you visiting near season for a first meeting. Arthur Appleton'.
An England international friendly cap, awarded to Stanley (Stan) Anderson (27 February 1934-10 June 2018), versus Austria 1962, blue velvet with England Three Lions badge, silver-coloured braiding, cotton knot and 'England V Austria 1962' embroidered to peak, silk lined interior; together with the Football Association International programme dated April 4, 1962; football Association dinner card at the Cumberland Hotel; and programme of arrangements.This was Stan Anderson's first appearance for England in which they won 3-1. Anderson had previously played for England under 23s and England B. Anderson won another international Against Scotland but its current whereabouts is unknown, thought to be in the Sunderland Museum.
Newcastle United Fairs' Cup football programmes, including first round first leg 11th September 1968, second round second leg, third round second leg, quarter-final first leg, quarter-final second leg (away), semi-final second leg, and final first leg v Ujpest Dozsa, 29th May 1969; other Fairs' Cup programmes, including first round second leg 1st October 1969, second round first leg 21st October 1970 and four others; together with two official brochures reviewing the Fairs' Cup victory; Newcastle United football programmes including Inter Cities Fairs' Cup final tie first leg v Ujpest Dozsa, 29th May 1969; FA Cup Final v Liverpool, 4th May 1974; Jackie Milburn Testimonial match, 10th May 1967; Ollie Burton's Testimonial, May 14th 1973; and sundry home league games played between 1961 and 1971; Newcastle United football programmes for the season 1970-71 (x 18), together with European Fairs' Cup second round first leg fixture v Pecsi Dozsa, and three away fixtures; Newcastle United football programmes, including FA Cup Final v Liverpool, 4th May 1974, Texaco Cup quarter-final second leg v Aberdeen, and semi-final first leg v Birmingham City and final Newcastle v Burnley 1974; Texaco final 1975 v Southampton, and sundry home and away programmes, various seasons 1993-1990. (qty)
Distinguished Flying Medal awarded to 1358025 Sgt. Frank Clark RAF, Air Gunner of Stirling aircraft for 15 Squadron.The recommendation from Air2/8944 is: "Sergeant Clark is a rear gunner of Stirling aircraft and acquitted himself with considerable courage and ability both as a gunner and, when the duty devolved on him, as fighter controller. He has shot down one enemy aircraft and probably destroyed a second. On at least two sorties, the directions given to the aircraft's Captain by Sergeant Clark resulted in such effective defensive tactics that the Stirling came safely to base from very hazardous combats. Sergeant Clark has now completed 22 operational sorties and has shown himself, both on the ground and in the air, a most keen and reliable gunner. He is strongly recommended for the non-immediate award of the DFM". No. 15 Sqn, 144 flying hours. London Gazette 20 April 1943.Note: replacement clasp to medal mount.----------------The following report is a compilation made by RAF Intelligence from the statements made by all the members of the crew at their individual debriefings.Stirling 4 Eng. BomberBF 355 of No 15 SquadronBourne. England.Captain: F/Sgt. McMonagle2nd Pilot: W/O G. EasterRear-Gunner: Sgt. ClarkMid-upper Gunner: Sgt. WarrenWireless Operator: Sgt. NoonanTo: - 23 GroupFrom: - INTELLIGENCE, BOURNE.Date: - 18th December 1942Combat Report: The NIGHT of 16/17 December 1942Stirling F/15 (Captain F/Sgt McMonagle) attacking DIEPHOLZ Aerodrome, time 19.25 hours, course 360, one to two miles N of Dummer See, Height 7600 feet, TAS 180Our Aircraft was gently weaving; no cloud; good visibility and bright moonlight, moon to the SERear-gunner (Sgt Clark) saw trace from unidentified enemy aircraft fired astern, and below from 800 yards approx. He fired back and informed Captain, who dived our aircraft, when E/A identified as M.E.110 appeared dead astern and level about 500 yards. Defensive tactics, diving turn to starboard, when E/A appeared on port quarter. Enemy fighter was firing cannon and machine guns and our aircraft was damaged. Our rear-gunner maintained a long burst as E/A broke away, diving to port. The enemy fighter’s port engine caught fire and the Engineer from Astrodome confirmed it as last seen diving to earth in flames.CLAIMED AS “DESTROYED”2nd attack. Meanwhile a second M.E.110 night fighter, first seen 500 yards away, came in from below and passed to starboard at 220 yards. Defensive tactics; Corkscrew.The Mid-upper gunner (Sgt. Warren) engaged this aircraft and continued firing until the E/A passed behind main plane. Early in the attack two cannon shells pierced the Perspex of the mid-upper turret scattering Perspex over the gunner and cutting him. The ring sight was broken and the gunner seriously wounded with a lacerated cut over the right eye which injured an artery and bled profusely, another cut in the neck, whilst a piece of shrapnel knocked out a tooth and lodged in his gum. Nevertheless Sgt Warren continued firing and did not report his injuries until the combat was over. He then asked for someone to come into the turret as he could not see for blood from his head injury. Although Sgt Warren did not see the results of his attack the Engineer in the Astrodome saw his tracer strike the E/A and the E/A did not attack again/THIS M.E.110 IS CLAIMED AS “DAMAGED”The Air Bomber rendered first-aid to the wounded gunner who lay on the bed, and on landing, walked out of the aircraft before collapsing. He was later given a blood transfusion.During the combat the pilot (F/Sgt McMonagle) carried out defensive tactics with control from the Engineer, the rear-gunner and the Mid-upper gunner. He was doing diving turns into the attack and “corkscrew”, and at the end of the combat had lost 3000 to 4000 feet.Almost at the same time as the attack by the E/A accurate flak engaged and hit our aircraft, but there were no S/L. During this attack the rear turret was rendered partly U/S, the inter-com from the rear turret was rendered useless, and there were strikes on the fuselage. Having been damaged the bombs, 1980 x 4lb incendiary were jettisoned on or near to the target, and the Stirling turned for Base. The containers had presumably been hit by flak or fighters, as they were seen to be burning as they fell.At 19:40 hours our aircraft was flying on a westerly course weaving at 4000 feet some 20 miles NE of Lingen when it had another encounter – an M.E.110 coming in from the port quarter and slightly below. Our aircraft dived and turned to port, when the E/A appeared above firing down on our aircraft. The rear-gunner, although his turret was damaged, managed to get in one long and a short burst and the E/A was also engaged by the W/Op (Sgt Noonan) who was in the mid-upper turret. Sgt Noonan had no ring sight, but aimed with his tracer, getting in several long bursts, hitting the E/A as did the rear gunner.From the three attacks and the flak our aircraft had four large holes in the fuselage, a cannon shell in the starboard wing and another in the port aileron. The rear turret was hit and rendered partially U/S, the inter-com from the rear turret was cut, two cannon shells went through the mid-upper turret Perspex and the Engineer’s instrument panel was broken and falling forward blocked the door to the forward section of the fuselage. The E/A was firing m/g and cannon shells and as the air bomber was going down the fuselage to the rear turret there was phosphorus in the fuselage.The pilot brought the aircraft back and landed safely at COLTISHALL.Claims: One M.E.110 “destroyed”Two M.E.110s “damaged”Our casualties: Mid-upper gunner (Sgt Warren) seriously woundedAmmunition Expended: Mid-upper gunner - 10000 roundsRear Gunner - 15000 roundsGunners: Rear…Sgt Clark Pershore and Basingbourne O.T.U. No.10 G.S.Mid-upper gunner…Sgt Warren Basingbourne O.T.U.Con. FlightMarham, No.6.B. &G.S. Mountain Vie. Ontario. A.G. Stormy DownW/Op…Sgt Noonan Pershore O.T.U.Note: This is the second combat this crew has been engaged in within a few weeks. On each occasion gunners, captain and everyone else have worked together with coolness, first class discipline, good fighting control and good shooting.F/Lt. Gunnery Leader,F/Sgt Captain of AircraftAdditional Details:A total of eight Short Stirling bombers from No 15 Squadron, RAF, took part in this raid on Diepholz, Germany. One aircraft was lost. Stirling R9168/T captained by Pilot Officer F.S. Millen RCAF, was damaged by flak, and then was shot down by a night fighter at 20:09 hours. The aircraft crashed at Gortel, 7km SW of Epe. There was one survivor, an RAF Sgt who was captured and taken prisoner. One of the six crew members who died was 25 year old New Zealand air bomber Sgt Robert Hugh McKillop, RNZAF (NZ404389).The target at Diepholz had been an aircraft park, where 200 to 300 German aircraft were stored in close proximity.
First World War medal and Commemoration Plaque awarded to 21171 Private Alfred Charles Rogers, Coldstream Guards, awarded the rank of Lance Corporal upon death of 21st September 1918, he was a member of the 13th Company, First Battalion and is buried at Sunken Road cemetery, Boisleux St. Marc.
A group of four WWII German badges comprising, A Third International NSFK Rally badge 1940, in blue and white enamels with needle pin, unmarked, 6 x 4.5cms; A Senior Woman's Leader badge, in black and white enamel, with needle pin and marked RZM and numbered 69, 4.5 x 4cms; and, a first pattern Polizei cap badge with two brass prongs, 4.4 x 4.3cms. (3)
Distinguished Flying Medal group, awarded to 567989 Sergeant Stephen Edward Gould, RAF, comprising: DFM, War Star, Africa Medal, Defence Medal and War Medal, with medal card.London Gazette 28th July 1942. Sergeant Gould was first Fitter/Air Gunner in Sunderland L2166 during the evacuation from Greece. L.2166 carried out 58.10 operational flying hours and carried 138 passengers during the evacuation operation between 17th April and 2nd May, 1941. He has voluntarily, of his own keenness, worked both day and night, often for 24 hours at a stretch, and has never failed to answer any demands. His devotion to duty and continual cheerfulness under adverse conditions have been a continued inspiration to the officers and men of the aircraft. Sergeant Gould has carried out 82 operational sorties with a total of 571.5 operational hours flying since the outbreak of war with Italy. His devotion to his duties, both as senior fitter and as an Air Gunner has been a high example to his crew and to the remainder of the aircrews in his squadron. Often after a long flight of up to 13 hours duration during which he has manned his gun for many hours and attended to the fitter's instrument for the remainder, he has had to set to on maintenance and inspection of his engines. He has been in five enemy actions. In recognition of his outstanding keenness, willingness and excellent co-operation and also for the inspiring example he has set, I strongly recommend him for the non-immediate award of the Distinguished Flying Medal.Sergeant Stephen Edward Gould died on 1st August 1941 and is commemorated on the Alamein Memorial. His Sunderland flying boat was brought down in action with on patrol and only four of the twelve crew survived, all taken by the Italian as Prisoners of War. Given his short length of service by rights he would not be entitled to the Defence Medal however his condolence slip is clearly marked in the same style as the other awards.
WW2 Luftwaffe aces signed Adler Tag Cover Oberleutnant Gerhard Krems KC, Major Erich Rudorffer KC. Major Erich Rudorffer Knights Cross with Oak Leaves and Swords (born 1 November 1917) is a German former Luftwaffe fighter ace, one of a handful who served with the Luftwaffe through the whole of World War II. He is 7th most successful fighter pilot in the history of air warfare, and currently both the oldest jet fighter ace, and the most successful ace still living. Rudorffer claimed a total of 222 victories, fighting in all the major German theatres of war, including the European and Mediterranean Theatre of Operations During the war he flew more than 1000 combat missions, was engaged in aerial combat over 300 times, was shot down by flak and enemy fighters 16 times and had to take to his parachute 9 times. His 222 aerial victories include 58 heavily armoured Il-2 Sturmovik ground attack aircraft. He was also responsible for sinking a British submarine. Rudorffer got his first victory over a Curtiss Hawk 75, on 14 May 1940. He scored eight more times before the capitulation of France. He flew throughout the Battle of Britain, and legend has him being pursued down Croydon High Street below rooftop level by a Hurricane. He achieved his nineteenth victory on 1 May 1941; he was then awarded the Ritterkreuz and appointed Staffelkapitän of 6./JG 2 the following month. By the end of December 1941 he had claimed 40 kills. In July 1943 Hauptmann Rudorffer was appointed to command II./JG 54 on the Eastern Front. He claimed his first victory here on 7 August. Due to the experience gained by fighting the RAF he achieved incredible success. During his first sortie on 24 August 1943, 5 Soviet aircraft were downed in 4 minutes. On 11th October 1943 Erich Rudorffer wrote history when during 17 minutes he claimed 13 kills. He earned his nickname Fighter of Libau on 28 October 1944 near the Latvian city of Libau. While preparing to land he spotted a Soviet task force of about 60 close air support aircraft on its way to attack Libau airfields. He broke off the landing and engaged the enemy without any backup. He drove off the attackers, shooting down nine enemy aircraft within 10 minutes. n the winter of 1944, Major Rudorffer was trained on the Messerschmitt Me 262 Jet fighter. In February 1945 he was recalled to command I./ JG 7. Between December 1944 and beginning of April 1945 the I./JG 7 operated from the then newly-built Luftwaffe Airbase in Kaltenkirchen north of Hamburg. So he seems to have been Group Commander more or less for the one month of March 1945. Rudorffer claimed 12 victories with the Me 262, to bring his total to 222. His tally included 136 on the Eastern Front, 26 in North Africa and 60 on the Western Front including 10 heavy bombers. Oberleutnant Gerhard Krems Knights Cross of the Iron Cross Born 4th May 1920, Gerhard Krems joined the Luftwaffe on 9th November 1938 commencing pilot training on 15th March 1939 at LKS (2) Flight Training School, Gatow, Berlin. He graduated to multi-engine training at FFS (C) 3 School at Lonnewitz, 1st November 1939 followed by night and instrument flight training at Stargard, which he completed 15th April 1940. The next day he started operational training on the Do17 at the Reconnaissance Flying School, Grossenhain. Promoted to Leutnant 1st June 1940, Gerhard was sent to a holding unit at Weimer-Hohra to await a posting to operational Staffel. On 15th August 1940 he joined Stabsstaffel/KG 27 in France. During the Battle of Britain, Gerhard completed 39 operational sorties (most of these being in the Heinkel III IG+BA, the subject of this aerofile) and was awarded the Iron Cross Second Class (EK II) 21st October, 1940, First Class (EK I) on 18th November 1940. On 22nd April 1941 he was awarded the Bomber Aircrew Qualification Clasp in Bronze for completing 20 operations. The following day Gerhard completed his 39th and final operation over England, after which he along with KG27 was sent east to take part in the invasion of Russia. On 30th June 1941, Gerhard was awarded the Wound Badge, followed by the award of the Silver Aircrew Clasp on 25th July, for completing 60 operations. He was then awarded the Gold Clasp, 10th October 1941, for completing 110 operations, followed by the Honour Goblet on 26th October 1941. Transferring to 2 Staffel KG27 on 27th January 1942, Gerhard became the first in his unit to be awarded the Knights Cross (RK) 25th May 1942. This was followed by the Russian Front Medal on 25th November 1942, and on 20th December 1942 by the Gold Clasp with Pendant for completing 200+ operations. On 15th March 1943, Gerhard gained the Krimschild for the Crimean Campaign. Transferred to Ia/Stab Gen. Kdo. I Fliegerkorps on 21st May 1944 which he served with until the War in Europe ended on 8th May 1945 - 4 days after his 25th birthday - when he was interned by Russian forces. During his wartime service, Gerhard completed 250 operations, and was held in captivity until release on 20th October 1945. From 1946-1950 he studied at Berlin University and graduated as an engineer. During a long career in the water industry, he became internationally well known, especially for his scientific research work for well constructions. He finally retired in 1980. All the above eight covers have a distinctive red map of England and each cover is accompanied with an information guide and photographs of the pilots involved, the mine series of just eight covers was generated by the Aero Philatelic Historian Hans Rossbach. 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
Margaret Thatcher signed Charity by Pontormo FDC Double PM Altrincham, Cheshire 22 Jan 1975 . Margaret Hilda Thatcher, Baroness Thatcher, LG, OM, DStJ, PC, FRS, HonFRS (née Roberts; 13 October 1925 - 8 April 2013) was a British stateswoman who served as Prime Minister of the United Kingdom from 1979 to 1990 and Leader of the Conservative Party from 1975 to 1990. She was the longest-serving British prime minister of the 20th century and the first woman to hold that officeGood 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 . A Soviet journalist dubbed her the Iron Lady , a nickname that became associated with her uncompromising politics and leadership style. As prime minister, she implemented policies that became known as Thatcherism.
Original Robert Taylor Drawing and Breaching the Dam Dambusters Tribute Proof Collection both numbered 3/19. Issued with an Original Robert Taylor pencil drawing. This is a very special Tribute Edition, limited to just nineteen proofs representing the number of aircraft flown on the Dams Raid, and is dedicated to those outstanding aviators who took part in the legendary operation, perhaps the most famous operation in the annals of aviation history. Comprising all the signatures and components of the Collectors Edition, the Tribute Edition will be issued with each of the nineteen proofs accompanied by an Original Dambusters pencil drawing by Robert Taylor. Each of these unique drawings were completely different and feature the Lancasters involved in the Dambusters operation. Beautifully crafted, each drawing will be matted to conservation standards to include the original signatures of three of the most famous names associated with the Dambuster Raid. Matted with original Drawing, which is signed by Robert Taylor, MRAF Arthur Harris, Air Marshal Sir HAROLD (MICK) MARTIN KCB CB DSO* DFC* AFC RAAF (Matted signature), Squadron Leader DAVID J. SHANNON DSO* DFC* RAAF (Matted signature), Flight Lieutenant GEORGE A. CHALMERS DFC DFM. Colour print 37x24 signed by Robert Taylor, George Johnson, Ray Grayston, Grant Macdonald Les Munro, Fred Sutherland, Ken Lucas and Ken Macdonald. Pilots Shannon and Maudsley tried time and again to position their laden bombers correctly before managing to release their weapons - but the dam still held. Now success depended solely on Les Knight carrying the last bomb! With time and fuel now a concern, Knight's first effort to position, like Shannon and Maudsley before him, failed, but his second run favoured the brave. Les Knight released his bomb with absolute precision, striking the wall at precisely the crucial point. With a tremendous explosion the Eder Dam collapsed before their eyes. Robert Taylor's sensational new painting vividly shows the dramatic moment of impact. In the cockpit Knight and flight engineer Ray Grayston fight the controls to clear the dam, combining their physical strength to haul the lumbering Avro Lancaster up and over the dam and to clear the high ground that lies ahead. Below and behind them, the second of Germany's mighty western dams lies finally breached. 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. 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
Rolling Stones Brian Jones, Bill Wyman and Charlie Watts signed back of 1965 Concert Ticket, some signs of age. Scarce and highly collectable piece of music memorabilia.Lewis Brian Hopkin Jones (28 February 1942 – 3 July 1969) was an English musician and composer, best known as the founder and original leader of the Rolling Stones.Initially a slide guitarist, Jones went on to play a wide variety of instruments on Rolling Stones recordings and in concerts, from lead and rhythm guitar and sitar to various keyboard and wind instruments. After he founded the Rolling Stones as a British blues outfit in 1962, and gave the band its name, Jones's fellow band members Keith Richards and Mick Jagger began to take over the band's musical direction, especially after they became a successful songwriting team. Jones and fellow guitarist Richards also developed a unique style of guitar play that Richards refers to as the "ancient art of weaving" in which both players would play rhythm and lead parts together. Richards continued the style with later guitarists, and the sound became a Rolling Stones trademark. Jones, however, did not get along with the band's manager, Andrew Loog Oldham, who pushed the band into a musical direction at odds with Jones's blues background. When Jones developed alcohol and drug problems, his performance in the studio became increasingly unreliable, leading to a diminished role within the band he had founded. In June 1969, the Rolling Stones dismissed Jones; guitarist Mick Taylor took his place in the group. At 27 years of age, Jones died less than a month later, drowning in the swimming pool at his home. Jones’s death was referenced in songs by many other pop-bands, and was the subject of poems by Pete Townshend and Jim Morrison. Referring to Jones, the Rolling Stones' Bill Wyman lamented the waste of a great innovator. In 1989, the Rolling Stones, including Jones, were inducted into the Rock and Roll Hall of Fame.William George Wyman (né Perks; born 24 October 1936) is an English musician, record producer, songwriter and singer. He was the bassist for the English rock and roll band the Rolling Stones from 1962 until 1993. Since 1997 he has recorded and toured with his own band, Bill Wyman's Rhythm Kings. He has worked producing records and films, and has scored music for films and television. Wyman has kept a journal since he was a child during World War II. He has published seven books. Wyman is also a photographer, and his works have been displayed in galleries around the world. He became an amateur archaeologist and enjoys metal detecting. He designed and marketed a patented "Bill Wyman signature metal detector", which he has used to find relics in the English countryside dating back to the era of the Roman Empire.Charles Robert Watts (2 June 1941 – 24 August 2021) was an English musician who achieved international fame as the drummer of the Rolling Stones from 1963 until his death in 2021. Originally trained as a graphic artist, Watts developed an interest in jazz at a young age and joined the band Blues Incorporated. He also started playing drums in London's rhythm and blues clubs, where he met future bandmates Mick Jagger, Keith Richards and Brian Jones. In January 1963, he left Blues Incorporated and joined the Rolling Stones as drummer, while doubling as designer of their record sleeves and tour stages. Watts's first public appearance as a permanent member was in February 1963, and he remained with the group for 58 years. Nicknamed "The Wembley Whammer" by Jagger, Watts cited jazz as a major influence on his drumming style. At the time of Watts's death, Watts, Jagger and Richards were the only members of the band to have performed on every one of the band's studio albums. Aside from his career with the Rolling Stones, Watts toured with his own group, the Charlie Watts Quintet, and appeared in London at Ronnie Scott's Jazz Club with the Charlie Watts Tentet. In 1989, Watts was inducted into the Rock and Roll Hall of Fame. In 2004, he was inducted into the UK Music Hall of Fame with the Rolling Stones. He is often regarded as one of the greatest drummers of all time.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
Helen Sharman 17x12 mounted and mounted signature piece includes superb colour photo and white card inscribed Aim High!. Helen Patricia Sharman, CMG, OBE, HonFRS (born 30 May 1963) is a chemist and cosmonaut who became the first British person, first Western European woman and first privately funded woman in space, as well as the first woman to visit the Mir space station, in May 1991. 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
First Jet pilot WW2 1939 Flugkapitan Erich Karl Warsitz signed First Flight RAF cover. Was a German test pilot of the 1930s. He held the rank of Flight-Captain in the Luftwaffe and was selected by the Reich Air Ministry as chief test pilot at Peenemunde West. He is remembered as the first person to fly an aircraft under liquid-fuelled rocket power, the Heinkel He 176, on June 20, 1939 and also the first to fly an aircraft under turbojet power, the Heinkel He 178, on August 27 the same year. His aeronautical training as a sport flier for the A-2 licence began at the Academic Aviation Group Bonn Hangelar (1929-1930). Meanwhile he was awarded the major K-2 aerobatics licence, passed the blind-flying training and obtained the navigation certificate for short distances. 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
First Jet pilot WW2 1939 Flugkapitan Erich Karl Warsitz, Lisa Heinkel and V L Heinkel Jr signed First Flight RAF cover. Was a German test pilot of the 1930s. Warsitz held the rank of Flight-Captain in the Luftwaffe and was selected by the Reich Air Ministry as chief test pilot at Peenemunde West. He is remembered as the first person to fly an aircraft under liquid-fuelled rocket power, the Heinkel He 176, on June 20, 1939 and also the first to fly an aircraft under turbojet power, the Heinkel He 178, on August 27 the same year. His aeronautical training as a sport flier for the A-2 licence began at the Academic Aviation Group Bonn Hangelar (1929-1930). Meanwhile he was awarded the major K-2 aerobatics licence, passed the blind-flying training and obtained the navigation certificate for short distances. 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
Star Wars Dave Prowse signed 14x11 mounted colour photo inscribed Dave Prowse is Darth Vader. David Charles Prowse MBE (1 July 1935 - 28 November 2020) was an English bodybuilder, weightlifter and character actor in British film and television. He portrayed Darth Vader (voiced by American actor James Earl Jones) in the original Star Wars trilogy and a manservant in Stanley Kubrick's 1971 film A Clockwork Orange. In 2015, he starred in two documentaries concerning his Darth Vader role, one entitled The Force's Mouth which included Prowse voicing Darth Vader's lines with studio effects applied for the first time, and the other entitled I Am Your Father covering the subject of fallout between Prowse and Lucasfilm. 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
Alec Guinness signed 6x3 white card dedicated dated 1982. Sir Alec Guinness CH CBE (born Alec Guinness de Cuffe; 2 April 1914 - 5 August 2000) was an English actor. After an early career on the stage, Guinness was featured in several of the Ealing Comedies, including Kind Hearts and Coronets (1949), in which he played nine different characters, The Lavender Hill Mob (1951), for which he received his first Academy Award nomination, and The Ladykillers (1955). He collaborated six times with director David Lean: Herbert Pocket in Great Expectations (1946), Fagin in Oliver Twist (1948), Col. Nicholson in The Bridge on the River Kwai (1957, for which he won the Academy Award for Best Actor and the BAFTA Award for Best Actor), Prince Faisal in Lawrence of Arabia (1962), General Yevgraf Zhivago in Doctor Zhivago (1965), and Professor Godbole in A Passage to India (1984). In 1970 he played Jacob Marley's ghost in Ronald Neame's Scrooge. He also portrayed Obi-Wan Kenobi in George Lucas's original Star Wars trilogy; for the original 1977 film, he was nominated for Best Supporting Actor at the 50th Academy Awards. 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
Concorde Barbara Harmer and Mr V H Mould signed Concorde Silver Jubilee 1994 FDC PM International Air Tattoo 94 30-31 July RAF Fairford Glos Concorde 25th Anniversary. Barbara Harmer (14 September 1953 - 20 February 2011) was the first qualified female Concorde pilot. Born in Staples Road, Loughton, Essex, the youngest of four daughters, she was raised in Bognor Regis, a seaside resort in West Sussex, England, where she attended a convent school. She left school aged 15 to pursue a career in hairdressing. On 25 March 1993 Harmer became the first qualified female Concorde pilot and later that year made her first Concorde flight as First Officer to New York City's John F. Kennedy International Airport (JFK). Jacqueline Auriol was the first woman to fly Concorde as a test pilot. 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
Concorde Barbara Harmer signed Concorde Venice FDC limited edition 4 of 7 courier signed PM Heathrow Airport 21. MY. 00 rare cover signed by Barbara Harmer Concorde pilot. Barbara Harmer (14 September 1953 - 20 February 2011) was the first qualified female Concorde pilot. Born in Staples Road, Loughton, Essex, the youngest of four daughters, she was raised in Bognor Regis, a seaside resort in West Sussex, England, where she attended a convent school. She left school aged 15 to pursue a career in hairdressing. On 25 March 1993 Harmer became the first qualified female Concorde pilot and later that year made her first Concorde flight as First Officer to New York City's John F. Kennedy International Airport (JFK). Jacqueline Auriol was the first woman to fly Concorde as a test pilot. 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
Buzz Aldrin signed 10x8 colour photo inscribed We Come in Peace Buzz Aldrin Apollo XI. Buzz Aldrin ( born Edwin Eugene Aldrin Jr. , January 20, 1930) is an American former astronaut, engineer and fighter pilot. Aldrin made three spacewalks as pilot of the 1966 Gemini 12 mission, and, as Lunar Module Eagle pilot on the 1969 Apollo 11 mission, he and mission commander Neil Armstrong were the first two people to land on the Moon. Aldrin is the last surviving crew member of Apollo 11. 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
Buzz Aldrin signed 14x11 mounted and framed colour photo. Buzz Aldrin ( born Edwin Eugene Aldrin Jr. , January 20, 1930) is an American former astronaut, engineer and fighter pilot. Aldrin made three spacewalks as pilot of the 1966 Gemini 12 mission, and, as Lunar Module Eagle pilot on the 1969 Apollo 11 mission, he and mission commander Neil Armstrong were the first two people to land on the Moon. Aldrin is the last surviving crew member of Apollo 11. 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
WW2 Luftwaffe aces multiple signed RAF coverFF5. Signed by Generalleutnant Adolf Dolfo Joseph Ferdinand Galland. Knights Cross with Oak Leaves, Swords and Diamonds (One of only 27). Oberstleutnant Gunther Hupatz Seeger Knights Cross of the Iron Cross, Colonel William E Bill Leverette DSC DFC Air Medal (20) Order of Alexander Nevsky. Was a former German Luftwaffe fighter ace. Seeger scored 56 victories in 504 missions. All his victories were recorded over the Western front and include eight four-engine bombers. He participated in Battle of France and recorded his first victory on 8 June by shot down a French Morane fighter near Soissons. During the Battle of Britain he was assigned with 3./JG 2 which based at Beaumont-le-Roger. Seeger claimed a further three victories, including two RAF Spitfire fighters. From 27 March to 19 June 1941, Seeger remained in an instructor. He returned to front line duty where he flew with several famous aces such as Wilhelm Balthasar, Walter Oesau, Rudolf Pflanz and Erich Leie. By the end of 1941, Seeger added 19 victories to his credit. 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
Set of 5 Stunning hand signed Hellraiser professionally mounted displays! This beautiful set of 5 mounted displays consist of a 10 x8 photo, hand signed by the following: The first display is hand signed by all 4 cenobites, Doug Bradley, Nicholas Vince, Simon Bamford and Barbie Wilde. The other displays are hand singed by the individual actors, Doug Bradley (Pinhead), Nicholas Vince (Chatterer), Simon Bamford (Butterball) and Barbie Wilde (Female Cenobite). These have been mounted with a logo underneath the photo, and the overall size of the mounted display is 14 inches x 11 inches. These signed photos are guaranteed authentic, and is supplied from one of the UK's leading autograph memorabilia companies. 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
WW2 Multiple signed Dambusters First Reunion Dinner Menu 1946. Signed by 20 former 617 sqn crew members inc Geoffrey Rice DFC, Fergus Byrne Percy John Mote, A Southwood, Ben Gilford, Arthur Rushton DFC. Also has first edition Paul Brickhill book The Dambusters signed twice by Harry Gross.Harry Gross (RAF MCO) [the auction includes a nice first edition of Paul Brickhill’s The Dam Busters signed twice by H W Gross. He added a note on the inner section of the dust jacket “See page 168”, where he has put a small cross next to paragraph 4: “The second [of two incidents that illustrate the remarkable spirit of the squadron] concerned a Warrant Officer Rushton, a gunner in Duffy’s crew, a hard-boiled bunch of Canadians. Duffy was ill that night and could not fly, so Rushton begged Cheshire to take him along with him. No particular reason, except that he did not want to be left out of an operation. That sort of thing happened often on 617.Fergus Byrne (65343)Geoffrey Rice DFC (141707)Percy John Mote (21018)A SouthwoodBen GilfordArthur Rushton DFC (627507)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
Make & Model: Citroen Berlingo First 600Date of Reg: AO09 LFUColour: Redcc: 1360MoT: 06-09-2022Fuel Type: PETROLMileage: 244kTransmission: MANUALSummary: One service stamp and nine handwritten entriesVehicle Check Sheet: https://angliacarauctions.co.uk/umbraco/surface/auction/GetVehicleCheckSheet?id=149302
Louis Comfort Tiffany (American, 1848-1933). Watercolor and gouache on paper depicting Louis Comfort Tiffany's renowned Dragonfly Chandelier lamp shade in shades of green, blue, brown, black, red, and orange. Inscribed "'D'" in pencil along the upper left. Stamped "LOUIS COMFORT TIFFANY" and signed in pencil along the lower right. Signed and inscribed "FOR MRS. FANNY SHAPIRO" along the verso.Louis Comfort Tiffany is well known as an exemplar of fine glass making during the 19th and 20th centuries. Being the son of Charles Lewis Tiffany (American, 1812-1902), the namesake of Tiffany & Company, Louis received training as a painter and designer from some of the most reputable artists of his time in America and France. After his schooling had subsided by the 1870s, Comfort Tiffany took after his father by devoting more of his artistry towards decorative arts, glassmaking and design, notably in a style that would be a precursor to the Art Nouveau movement of the latter 19th century. Comfort Tiffany took his skill in design and craft to several entrepreneurial projects including Louis Comfort Tiffany and Associated American Artists, Tiffany Studios, and Tiffany Glass Furnaces, in addition to becoming Tiffany & Co.'s first Art Director throughout his five decades long career. Perhaps the most defining moment in Comfort Tiffany's life as an artist and designer came in 1894, when he revolutionized the glass making field through his creation of Favrile, a style of thick and often highly colorful iridescent sheened glass created and patented by the artist.It then becomes no surprise that Louis Comfort Tiffany's highly detailed painting on paper of one of his most adored glass products, the Dragonfly Lamp, is painted in a painterly and sculptural manner. Through this drawing, we see the prowess of the artist and designer as a draftsman through this study of one of his Favrile lamps. His painterly admiration towards color in glass becomes apparent through this work's glimmering green, blue, yellow, and orange tones executed in gouache and watercolor. Comfort Tiffany's skill as a designer and craftsman impacts the artist's practice in painting through his highly precise line work and mark making in this painting. In all, Louis Comfort Tiffany's claim to fame as a phenomenal glassmaker was supported through the artist's immense skills he learned as a young painter.Height: 8 3/8 in x width: 13 5/8 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 8 3/8 in x width: 13 5/8 in.
Fritz Scholder (American, 1937-2005). Oil painting on paper depicting two abstracted human figures - one purple, the other green - in the midst of an embrace. The couple is set against a dark gray background with an amorphous form protruding from them and reaching out towards the left frame. Signed along the lower right in pencil.Fritz Scholder was born in Breckenridge, Minnesota in 1937 to parents that worked in pottery and in school administration for the Bureau of Indian Affairs. Fritz Scholder’s paternal grandmother was a member of the Luiseño tribe of California’s Mission Indians. Thus, he was one-quarter Indian and did not identify as an Indian. He was raised in Wahpeton, North Dakota, South Dakota and Wisconsin, attending public schools with primarily Anglo children. His first American Indian instructor was Oscar Howe at a high school in Pierre, South Dakota, who introduced him to modern art. In the 1950s, Scholder and his family moved to California, studying at Sacramento City College with Wayne Thiebaud, a pop artist. Thiebaud presented him with early opportunities to showcase his work. Scholder’s first show was in 1961 in Sacramento, which received excellent reviews. Scholder’s style was that of bold colors and generous brushstrokes. After graduating with an MFA Degree in 1964, Scholder became an instructor at the newly formed Institute of American Indians Arts in Santa Fe, New Mexico, remaining there for five years.In 1967 he began creating a series that maintained his bold, contemporary style that combined Abstract Expressionism and Pop Art, while introducing depictions of the contemporary lifestyle of American Indians. With humor, he presented such clichés, and he drew attention to the issues of self-alienation and the enforced alienation of these citizens. He resigned from teaching in 1969 and travelled to Basel and Egypt before settling in Scottsdale, Arizona. He then moved into the American Portrait series. He also pursued tactile sculpture, which merged his experience of the medium in graduate school with his imagination. The American Portrait series and sculptural works were inspired by his collection of Egyptian artifacts that he lived with, along with a desire to imbue his work with more of his self.Scholder’s Indian series continued to garner attention while his newer series were being explored. In 1972 a two-person show with a former student, Two American Painters: Fritz Scholder and T.C. Cannon, opened at the American Museum of Art of the Smithsonian Institution, Washington D.C. to good reviews and it traveled to Romania, Yugoslavia, Berlin and London. He began the American Portrait by 1980 and the Flower series in 1979, inspired by his surroundings and the challenge of pursuing non-figural subject and in a beautiful manner. His work was shown at the Basel International Art Fair in 1974, The Tucson Museum of art for a 1981 retrospective, and the Phoenix Art Museum in 1997 for his beastly artworks. In addition three documentaries were produced on the artist, in 1977, 1997, and 2008, the former two made by PBS. Following his death in 2005, an important exhibition was held in 2008 at the National Museum of the American Indian, Washington D.C. and New York, called “Fritz Scholder: Indian/Not Indian,†which placed many of his artworks from private collections on public view. Today Scholder’s works are in the collections of: Museum of Modern Art; Brooklyn Museum of Art; Art Gallery of Toronto; Bibliotheque Nationale, Paris; Center Cultural American, Paris; Los Angeles County Museum, California; San Francisco Museum of Art; National Collection of Fine Arts; and the Houston Museum of Fine Arts.Provenance: Private collection, Minnesota.Sight; height: 29 3/4 in x width: 22 3/4 in. Framed; height: 37 1/2 in x width: 29 1/2 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Sight; height: 29 3/4 in x width: 22 3/4 in. Framed; height: 37 1/2 in x width: 29 1/2 in.
Christo (Bulgarian/American, 1935-2020). Print titled "Wrap In Wrap Out" for the Museum of Contemporary Art (MOCA), Chicago, depicting a wrapped painting. Offset lithograph on paper board, printed on both sides and die-cut. Pencil signed Christo and dated 1968; further signed and numbered 13/100 along the upper right of the verso.This artwork celebrates Christo's exhibition of the same name at the MOCA, which ran from January 18-March 2, 1969. This exhibition was notable for being the first time Christo wrapped a North American building.Unframed; height: 32 in x width: 22 1/4 in. Framed; height: 34 in x width: 24 in.Tear to top right corner of the work.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Unframed; height: 32 in x width: 22 1/4 in. Framed; height: 34 in x width: 24 in.
Sam Francis (American, 1923-1994). Monotype on paper titled "Doubled," 1985. This print depicts an abstract composition of amorphous forms in various colors such as red, blue, yellow, pink, and green. Signed in pencil along the lower right.Provenance: Pamela Auchincloss Gallery, Santa Barbara, CAPrivate Collection, MNSam Francis came to be an artist under unlikely circumstances. After serving the Air Force during World War II, Francis was injured during flight test maneuvers and subsequently hospitalized. It was while he was recovering that he first began to paint. Francis went on to graduate from the University of California, Berkeley in 1950 with a degree in art and began his European travels. His first stop was Paris, where he studied Monet’s “Water Lilies†and developed a relationship with the Matisse family and artists such as Al Held, Joan Mitchell, and Jean-Paul Riopelle. He went on to develop and maintain studios in Bern, Paris, Tokyo, Mexico City, New York and Northern and Southern California.Sam Francis was considered a revolutionary master of color, space, and light. His works call to various art movements - New York Abstract Expressionism, Impressionism, Art Informel, and color field painting. They are characterized by bright, vibrant splashes of color against a luminous white background. Francis took great interest in the creative process, but his understanding of the relationship between color and light set him apart from contemporaries such as Jackson Pollock and solidified him as a key player in contemporary art history.Provenance: Pamela Auchincloss Gallery, Santa Barbara, California; Private collection, Minnesota.Sight; height: 22 1/4 in x width: 22 in. Framed; height: 32 3/4 in x width: 32 3/4 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Sight; height: 22 1/4 in x width: 22 in. Framed; height: 32 3/4 in x width: 32 3/4 in.
Joan Mitchell (American, 1925-1992). Lithograph on paper titled "Flower I" from the "Bedford" series, 1981. Pencil signed and numbered 50/70 along the lower right.“I carry my landscapes around with me.†-Joan MitchellJoan Mitchell was a central second generation member of the Abstract Expressionist movement. Her works are distinguished by their forceful, colorful lines, which often earn them comparisons to calligraphy. Unlike many of her Abstract Expressionist peers, Mitchell carefully planned her works, providing a grounded contrast to what at first glance might seem chaotic.Mitchell grew up in a wealthy family in Chicago, the child of a doctor and a poet. She was an athletic child, winning many figure skating competitions throughout her youth. Along with sports, she took an early interest in art, drawing and painting throughout her childhood. Her parents and teachers were supportive of her artistic interests: she staged her first art show at her school when she was only twelve years old.Following high school, she enrolled at Smith College to study English. After two years, she decided to pursue her art full-time and transferred to the School of the Art Institute of Chicago, where she received her BFA and MFA in painting. She continued her education in New York and in Paris, before settling in New York in 1950.In New York, she fell in with the Abstract Expressionist group. She became close with Willem de Kooning and Franz Kline, who became her mentors. She was soon invited to join the Club, an organization of Abstract Expressionist artists. The Club worked together to organize exhibitions, as well as providing a space for artistic discourse and community building. She participated in several notable shows during this period, including Leo Castelli’s Ninth Street exhibition, solidifying her place in the New York artistic scene. In 1952, she had her first solo exhibition at the New Gallery in New York.In 1955, she began traveling back and forth between Paris and New York, and in 1959, she settled permanently in France. She continued to exhibit regularly in both France and in the United States throughout the rest of her career. Her work pushed boundaries, pushing back on her Abstract Expressionist peers just as she pushed back on the artistic establishment. Her works make use of vigorous lines and bright colors; however, unlike many of her contemporaries, her work is frequently rooted in the physical. Instead of solely representing emotions and concepts, they often represent tangible objects, particularly plants and other aspects of the natural world."Flower I" is fresh, bright, and joyful. The strokes of vibrant apricot and red stretch upward, like the stalks of flowers growing toward the warmth and light of the sun. Above, frantic swirls of the deepest black are superimposed over a thicket of oranges, reds, and greens, which radiate out toward the edges of the work. The movement throughout the work is highly evocative of the growth and movement of flowers, stretching, swaying, and filling the air with their sweet scent.Unframed; height: 42 in x width: 32 1/2 in. Framed; height: 47 1/4 in x width: 37 1/4 in.Very good condition, the colors are bold and bright. The artwork is hinged along the top edge with framers tape.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Unframed; height: 42 in x width: 32 1/2 in. Framed; height: 47 1/4 in x width: 37 1/4 in.
Joan Mitchell (American, 1925-1992). Lithograph on paper titled "Sides of a River II" from the "Bedford" series, 1981. Pencil signed and numbered 50/70 along the lower right.“I carry my landscapes around with me.†-Joan MitchellJoan Mitchell was a central second generation member of the Abstract Expressionist movement. Her works are distinguished by their forceful, colorful lines, which often earn them comparisons to calligraphy. Unlike many of her Abstract Expressionist peers, Mitchell carefully planned her works, providing a grounded contrast to what at first glance might seem chaotic.Mitchell grew up in a wealthy family in Chicago, the child of a doctor and a poet. She was an athletic child, winning many figure skating competitions throughout her youth. Along with sports, she took an early interest in art, drawing and painting throughout her childhood. Her parents and teachers were supportive of her artistic interests: she staged her first art show at her school when she was only twelve years old.Following high school, she enrolled at Smith College to study English. After two years, she decided to pursue her art full-time and transferred to the School of the Art Institute of Chicago, where she received her BFA and MFA in painting. She continued her education in New York and in Paris, before settling in New York in 1950.In New York, she fell in with the Abstract Expressionist group. She became close with Willem de Kooning and Franz Kline, who became her mentors. She was soon invited to join the Club, an organization of Abstract Expressionist artists. The Club worked together to organize exhibitions, as well as providing a space for artistic discourse and community building. She participated in several notable shows during this period, including Leo Castelli’s Ninth Street exhibition, solidifying her place in the New York artistic scene. In 1952, she had her first solo exhibition at the New Gallery in New York.In 1955, she began traveling back and forth between Paris and New York, and in 1959, she settled permanently in France. She continued to exhibit regularly in both France and in the United States throughout the rest of her career. Her work pushed boundaries, pushing back on her Abstract Expressionist peers just as she pushed back on the artistic establishment. Her works make use of vigorous lines and bright colors; however, unlike many of her contemporaries, her work is frequently rooted in the physical. Instead of solely representing emotions and concepts, they often represent tangible objects, particularly plants and other aspects of the natural world.In "Sides of a River II," the landscape is nearly visible through the abstraction. There is a suggestion of river banks, perhaps populated by bramble bushes, in the tightly drawn black and green bands constraining a looser, flowing central section, smoothed with bright yellow like a river gleaming in the sunlight. "Sides of a River II" is bursting with the movements and textures of its subject matter. In both of these works, through her forceful and striking linework, Joan Mitchell captures the serenity of a sunny afternoon in Bedford, and the sense of content it engendered in her.Unframed; height: 42 in x width: 32 1/2 in. Framed; height: 47 1/4 in x width: 37 1/4 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Unframed; height: 42 in x width: 32 1/2 in. Framed; height: 47 1/4 in x width: 37 1/4 in.
Robert Braithwaite Martineau (British, 1826-1869)The pet of the brood signed with initials, inscribed and dated 'RBM/NOV.59.' (lower left)oil on panel25.5 x 18cm (10 1/16 x 7 1/16in).Footnotes:ProvenanceC.P. Townsend, London.Anon. sale, Sotheby's Belgravia, 25 March 1975, lot 58.ExhibitedLondon, French Gallery, Pall Mall, The Seventh Annual Winter Exhibition of Cabinet Pictures , Sketches and Drawings, 1859.Literature'The Winter Exhibition', in The Athenaeum, 19 November 1859, no. 1673, p. 673.Robert Braithwaite Martineau operated on the fringe of the Pre-Raphaelite circle in London in the 1850s and 60s. He was a year older than William Holman Hunt, who was his close friend and artistic mentor, but died in 1869, aged only forty-three. The present painting is a valuable addition to the corpus of his known works.Martineau was born in London, the fifth son of eight children of Philip and Elizabeth Martineau. He was educated at University College School, and in 1842 followed family tradition by commencing a career as a solicitor. In 1846, however, he decided to devote himself to art, first enrolling as a student at Cary's School, and then two years later at the Royal Academy schools. In April 1856 William Michael Rossetti, writing to William Bell Scott, described a visit to the house in Claverton Street, Pimlico, where Hunt, Martineau and Michael Halliday were then living. As Rossetti explained, 'joined with [Hunt] there are Halliday and Martineau, whom you may have heard of, or possibly seen; the latter an artist, the former something between artist and amateur. Both go in for Preraphaelitism, and both look up to Hunt with a genuine reverence and affection'.Martineau's first recorded painting, Kit's Writing Lesson (Tate collection), was done under Hunt's supervision and took its subject from Charles Dickens's 'The Old Curiosity Shop' (1841). This was followed in 1856 by a second subject on the theme of literacy and the need for education among the disadvantaged sections of community entitled The Spelling Lesson (Musée d'Orsay, Paris). Martineau seems to have worked quite slowly and probably had periods of professional inactivity. He was only an intermittent exhibitor at the Royal Academy, but he did participate in the various independent displays of progressive work that were staged in the later 1850s, including the 1857 Russell Place Pre-Raphaelite exhibition and in 1857-8 the three-venue touring exhibition of British art in the United States. He was a founder member and treasurer of the secessionist Hogarth Club, set up in 1858. Probably his most famous painting was the moral modern-life subject, The Last Day in the Old Home (Tate collection), of 1862 – the narrative of which is unambiguous and which shows a young man, surrounded by wife and children, apparently unmoved by the consequences of his fecklessness.By contrast, The Pet of the Brood is without didactic or moralistic overtones, but instead simply shows a female child, dressed in rustic fashion and standing in the open air with a background of foliage and grass, holding in her left hand a pigeon or dove. A play on words was likely to have been intended, as either or both the bird and the girl may be regarded as the pet – the bird perhaps tamed by the child, or the girl herself, who may perhaps have been the youngest of a number of siblings and the object of loving attention by her brothers and sisters. The mood of the subject is a happy one but without untoward sentimentality. In this sense it marks a progression on the part of Martineau towards a type of work which was more personal and relaxed and which served a purely decorative purpose.We are grateful to Christopher Newall for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Edward Lear (British, 1812-1888)The Campagna di Roma taken from Cervara signed with monogram (lower left); signed, inscribed and dated 'The Campagna di Roma taken from... of Cervara,/looking East to the Sabine Hills/Painted from drawings made on the spot in 1859, 1860; and completed by me for/ Walter Congreve Esq. in 1871/ Edward Lear/ San Remo' (on a label on the reverse)oil on canvas65 x 129.5cm (25 9/16 x 51in).Footnotes:ProvenanceCommissioned directly from the artist by Walter Congreve Esq., San Remo.LiteratureEdward Lear, List of Pictures Painted, 1840-1877, no. 240, as: Campagna di Roma. Quarries of Cerbara.The Elements- trees, clouds, &c.,-silence...seem to have far more part with me or I with them, than mankind.(Edward Lear, 1862, quoted in Vivien Noakes, The Painter Edward Lear, 1991, p. 8)Edward Lear travelled to Rome for the first time in December 1837, and he spent most of his time in the city until 1848, returning subsequently in the winters of 1859-60, 1871 and 1877. Each summer the artist would spend time exploring other parts of Italy. Lear started painting in oil in 1838. His compositions were mostly created in his studio starting from his travel sketchbooks, as per the present lots.The artist was fascinated by the beauty and force of nature that led him to create the most poetic of views and landscapes. Rome and its surroundings acted as a great source of inspiration for Lear and lead him to the creation of his first travel book, Views in Rome and its environs, published in 1841.The present lots were painted starting from sketches made by Lear on the spot in the tufa quarries of Cervara, east of Rome, during winter 1859-60. He wrote 'there is a charm about this Campagna when it becomes all purple & gold, which it is difficult to tear one's self from. Thus-climate & beauty of atmosphere regain their hold on the mind-pen & pencil'1The present and subsequent lots were painted for Walter Congreve Esq., a friend and neighbour of Lear in San Remo, where the artist lived from 1870. Congreve sold Lear a plot adjacent to that of his Villa on which to build the first house the painter owned, Villa Emily. Congreve was the British Vice-Consul in San Remo from 1873 to 1885.A watercolour by Lear of this same area was sold in these rooms in 2014 (Bonhams Knightsbridge, 9 September 2014, lot 31, see fig 1).1 Edward Lear, Letter to Ann, 27 March 1848.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
William Henry O'Connor (British, exhibited 1859-1865)Dante and Beatrice in heaven She, to whom no care of mine was hid, turning to me with aspect glad as fair, bespake me, etc. - Dante's Paradise.signed and inscribed with title on an old label (attached to the reverse); further inscribed 'International exhibition 18??/Class 38/Price 75 Gns/Title of picture- 'Dante and Beatrice in heaven- vide Paradise of Dante.'/Name of artist William H. O'Connor/4 Berners Street. W/Owner of picture -Michael O'Connor Esq: Kingstown-Ireland/Formerly exhibited at Royal Academy. 18(59)' on an old label (attached to the canvas verso)oil on canvas 81.9 x 51.5cm (32 1/4 x 20 1/4in).Footnotes:ExhibitedLondon, Royal Academy, 1859, no. 495.Dublin, Royal Hibernian Academy, 1860, no. 262.William Henry O'Connor was the second son of the stained-glass designer and heraldic painter Michael O'Connor (1801-1867). Michael was a native of Dublin, who went to England in 1823 and studied in the studio of Thomas Willement. By the mid-1830s Michael had returned to Dublin where he practiced stained-glass production and associated craft before returning to England in 1842, first settling in Bristol then moving to London in 1845. He worked with some of the best architects of the time, collaborating with both Augustus Welby Pugin on the glass for St. Saviour's, Leeds (praised by Pevsner) and William Butterfield. He exhibited designs at the Royal Academy in 1846 and 1849, but failing eyesight led to him to retire from the business around 1850.William joined the family firm, which was based at 4 Berner's Street, near Oxford Street, in about 1860, the year after he had shown Dante and Beatrice at The Royal Academy. He subsequently exhibited the picture at The Royal Hibernian Academy in Dublin in 1860 and at an unidentified 'International Exhibition' (date unknown) by which time, according to the original label on the reverse, the work was the property of his father.In the present lot, taken from Canto II of Paradise in Dante's Divine Comedy, we see Dante and Beatrice as she guides the pilgrim on his journey through Heaven; a symbol of Divine Love, she is dressed in white, green and red, the colours of the three theological virtues: faith, hope and charity respectively. She is his companion on his journey to Empyrean, the true home of God and the souls of the faithful.For further information on this lot please visit Bonhams.com
Samuel Palmer (British, 1805-1881)Porta di Posillipo and the Bay of Baiae, Italy, Ischia and Misenum beyond pencil, watercolour and gum arabic heightened with white19 x 41cm (7 1/2 x 16 1/8in).Executed circa 1838.Footnotes:ProvenanceG.D.Harvey-Samuel, acquired circa 1930.Thence by descent through the family.Every landscape painter should see Italy. It enlarges his idea of creation...he sees the sun and air as fresh as from the hand of their maker(Letter from Samuel Palmer to Elizabeth Linnell, 14 July 1838)Samuel Palmer was one of the most innovative and influential British watercolourists. He was largely self-taught and encouraged to experiment in art by his future father-in-law John Linnell, as well as his close friend William Blake.The present lot is a variation of the larger watercolour listed by Raymond Lister as the work exhibited at the Royal Society of Painters in Watercolours in 1843, no. 304, The Bay of Baiae, 19 x 40.9 cm.1. Palmer married Hannah Linnell in September 1837; in early October the couple travelled to Italy for their honeymoon. Palmer painted a series of Italian views both during and after this travels in Italy, which included a visit to Naples in 1848. In a letter to George and Julia Richmond, dated 16 September 1838, the artist wrote: 'I secured a large drawing of Naples - a smaller of the same, also a large view of Baie...' and in a letter dated 9 October 1838 to John Linnell, Palmer noted how, 'We are on the slope of Baiae and I ascertained from Siga. Vianellis details that there are two first-rate views of Baiae from the hill above us'2.Palmer's art was influenced and transformed by this trip. The warm light of the South of Italy translated into a more vibrant palette that characterises his work of the period making it extremely sought after.1 R. Lister, Catalogue Raisonée of the Works of Samuel Palmer Cambridge, 1988, p. 147, no. 416, illustrated, as Ponta di Posillipo and the Bay of Baiae with Ischia and the Promontory of Misenum. 2 R. Lister, The Letters of Samuel Palmer, Oxford, 1974, I, pp. 189-90.For further information on this lot please visit Bonhams.com
Jean Joseph Weerts (French, 1847-1927)Portrait of Monsieur Dominique Jean-Baptiste Hugues in his studio signed and dated 'J. J. WEERTS. 1890' (lower right) oil on panel72.5 x 58.5cm (28 9/16 x 23 1/16in).Footnotes:ProvenancePrivate collection, UK.ExhibitedParis, Palais des Champs-Élysées, Salon, 1890, no. 2423, as Portrait de M. J. Hugues.LiteratureFirmin Javel, 'Salon de 1890', in L'Art français: revue illustrée hebdomadaire, 1890, p. 21.P. Kjellberg, Les Bronzes du XIXe Siecle, (Dictionnaire des sculpteurs) c.1980.Catalogue sommaire illustré des sculpteurs du Musée d'Orsay, Paris, RMN, 1986 (illustrated; no. 175, Jean-Baptiste Hugues: Oedipe Ó Colone).Dominique Lobstein, Défense et illustration de l'impressionisme: Ernest Hoschedé et son 'Brelan de salons', 1890, Dijon, 2008, p. 47 (illustrated).Jean Joseph Weerts, a native of Roubaix in northern France, made his Salon debut in 1872 and was a successful portrait and history painter. Noted for their verisimilitude, his portraits included leading political and society figures. Among Weerts' most famous works is his 1880 depiction of L'assassinat de Marat, now in the collection of the Musée d'Art et d'Industrie, Roubaix.The present lot, depicting the sculptor Hugues, was clearly painted in response to a bronze bust made by Hughes of Weerts, and exhibited at the Salon six years before. Dominique Jean-Baptiste Hugues (French 1849- 1930) was a pupil of Dumont and Bonassieux, and first exhibited his sculptural work at the Salon in Paris in 1878, and thereafter won numerous national awards.In the present work, Hugues leans against a marble sculpture entitled Oedipe à Colone which he completed in 1885 and was later exhibited at the Musées nationaux, 1888; Musée du Luxembourg, 1890; and Musée du Louvre in 1931. Today, this fine piece can be found at the Musée d'Orsay, Paris. (inv. no. RF 842, LUX 128).The work was praised by the critics at the Salon in 1890.For further information on this lot please visit Bonhams.com
Emile Friant (French, 1863-1932)Portrait of William Rothenstein signed, inscribed and dated 'a Will/Rothenstein/E. Friant/91' (lower right)pastel51 x 32.5cm (20 1/16 x 12 13/16in).Footnotes:ProvenanceThe estate of the artist.By decent through the Rothenstein family.Private Collection, UK.This sensitive and charming portrait of William Rothenstein was drawn in 1891. Emile Friant would have been twenty-eight and the young Rothenstein only nineteen. Rothenstein had left Bradford Grammar School three years earlier and enrolled at The Slade but travelled to Paris in 1889 to study at the Academie Julian where he would meet Whistler, Degas and Toulouse-Lautrec and share a studio with Charles Conder in Montmartre. By this time Friant, who had studied at the Ecole des Beaux Arts in Nancy and been awarded a scholarship to study under Alexandre Cabanel, had already won numerous prizes at the Paris Salon and been decorated with the ribbon of the French Legion of Honour. Sir William Rothenstein was to become a pillar of the British art scene - a regular exhibitor of portraits and landscapes with the New English Art Club, he is credited as a co-founder of the Carfax Gallery and wrote several books including the first English monograph of Goya's work in 1900. He later became principal of the Royal College of Art and Trustee of the Tate Gallery, receiving a knighthood in 1931. A society figure, the National Portrait Gallery now holds more than 200 Rothenstein portraits of notable figures of his age, and his three-part memoirs Men and Memories features anecdotes about Oscar Wilde, Max Beerbohm, James Whistler, Paul Verlaine, Edgar Degas, and John Singer Sargent.The present portrait has remained in the artist's family since it was conceived and provides an interesting insight into the young artist as he stares confidently at the viewer. Rothenstein was well aware even at this tender age of the power of a good likeness, as was Emile Friant – both artists enjoyed the format and both also produced a number of self-portraits over the years.For further information on this lot please visit Bonhams.com
William Etty, RA (British, 1789-1849)Joan of Arc, on finding the sword she had dreamt of, in the church of St. Catherine de Fierbois, devotes herself and it to the service of God and her country oil on canvas298 x 198cm (117 5/16 x 77 15/16in).Footnotes:ProvenanceAccording to Denis Farr, William Etty, London, 1958, the early provenance of the present lot is as follows:Jointly purchased from the artist by Richard Colls, William Wethered and Charles W. Wass for £2,500, 1847Sale, William Wethered, 8 March 1856, lot 150, as Joan of Arc finding the sword.Sale, William Wethered, 27 February, 1858, lot 109.Charles Read (possibly).Sale, 18 May 1885, lot 244, Joan of Arc, bought by Bolton for 20 guineas.Sale, H. S. Ashbee, 19 November 1900, lot 85, as Joan of Arc at the Tomb of Saint Denis, bought by Maple for 14 guineas.Llantarnum Abbey.ExhibitedLondon, Royal Academy, 1847, no. 123.London, Society of Artists, London, 1849, no. VII. Engraved by Charles Wentworth Wass, 1851. The present work formed the left panel of a triptych that stretched across nearly the entire east wall of the Great Room within the Royal Academy of Arts summer exhibition in 1847. The three works were:Joan of Arc, on finding the sword she had dreamt of, in the church of St. Catherine de Fierbois, devotes herself and it to the service of God and her country (no. 123, present lot), Joan of Arc makes a sortie from the gates of Orleans, and scatters the enemies of France (no 124, now in the collection of the Musée des Beaux-Arts d'Orléans), and Joan of Arc, after rendering the most signal services to her Prince and people, is suffered to die a martyr in their cause. (no. 125, location unknown).Originally inspired by Etty's visit to Henry VII's Chapel within Westminster Abbey in 1839, the artist said that 'under the chivalric banners that hang there. Hearing the anthem sung, and looking towards the Grand Portal, I seemed to see her, in imagination.' The artist was to be haunted by this vision of Joan of Arc, so much so within weeks he had worked up the designs of his future triptych. Yet despite his impatience to create the final three large paintings of his colossal nine paintings – which included the Judith triptych, the Sirens and Ulysses, The Combat, and Benaiah – he wasn't to complete it until nearly eight years later. Beset by the increasing demands of his picture dealers, Etty was able to walk in the footsteps of his heroine by visiting France in 1843 with his friend John Woods, taking in Rouen, Paris, Orléans and Saint Denis. The 'pilgrimage' kindled his imagination as he soaked up the history of the areas, sketching as he went, and 'saw all the pictures related to her that had been done in modern times'. and set his thoughts on completing his last great works. As he himself said 'It was something to know you were on the spot where this Heroine trod, and exerted herself in the cause of her country'. It wasn't until a few years later in 1846, that Etty was able to seriously focus down on the three gigantic canvases with the aim of exhibiting them the next year. By this time, his own 'enemies' – those of a severe cough and difficulty breathing – were bearing heavily down on his efforts to complete the canvases. In that Winter, he became so obsessed with the task that he took to rising at five or six o'clock each morning in order to put in as many hours' work as possible. He was all this time reporting increasing affliction by attacks on his 'trachea, bronchial tubes, and throat – with cough and asthmatic accompaniments' and also 'rheumatism'. Yet, he rallied, 'fighting side by side by my inspiring Heroine, have [...] done wonders.'In a letter from Etty, published in The Fine Arts Journal, he describes Joan of Arc as 'the Judith of modern times' with his triptych, 'like all my large pictures, point a great moral lesson to the mind'. In this case, 'the saint, the patriot, and the martyr – that heroic self-devotion to her country and her prince which has stamped her fame!'. In the first canvas, 'I suppose her to have found the sword she had seen in her dream, and invoking the inspiration from heaven which sustained her through her arduous course'. Voices had directed Joan to the church of St. Catherine de Fierbois to find a sword, to which she found the sword of Charles Martel, grandfather of Charlemagne, behind the altar. The hand raised in devotion is reminiscent of Etty's central panel for his Judith triptych exhibited at the Royal Academy in 1827 (now in a ruined state at the National Galleries Scotland) – where Judith raises her sword before beheading Holofernes. In terms of the model for Joan of Art, there is a letter dated 23 November 1845 referring to 'the young lady who so kindly sad' for the head of Joan of Arc. Gilchrist says that this young lady had first been seen in Westminster Abbey and had there struck his fancy as suitable for the head of his chosen heroine. He set his niece – Betsy – on the stranger's track, who traced her to Kensington. Eventually Etty was able to track down her father and received both his and her permission to sit, with the whole process costing him 'no small pain and embarrassment'. The young lady sat for him many times and was remembered for her remarkable 'spirit, colour and force'.Upon exhibition at the Royal Academy, The Times described the expanse as 'instantly arresting the attention' upon entering the room with the 'character of the heroine under these different circumstances [...] preserved with extraordinary skill'. Etty's biographer Gilchrist stated that praise was received by 'lovers of Art, and brother Artists' alike, including Turner, Landseer and Leslie, among others'. Yet the overall Press reviews marks a mixed reaction, with the Examiner identifying the three paintings as the keynote to the whole exhibition, though the left panel 'except in the fine deep tone of colour that pervades it, the compartment on the spectator's left is a failure'. In reviewing the first compartment, the Art Union found the 'countenance shows much fervour and enthusiasm, without anything like theatrical extravagance'. This was a purposeful effect from Etty, who said in a letter that his heroine 'was not sufficiently excited' [as he] conceived her in possession of superior power'. The Literary Gazette noted that it was 'we think, the largest piece we ever saw in the Royal Academy [...] in the first compartment, the heroine wants dignity of person and countenance. The foreshortening from the waist downwards, makes her look short and dumpy'. However, The London Magazine commented that 'the sad episode of heroism [was] wonderfully told; the seizure of the sword is powerfully conceived; the grandeur of the sortie, and the devotedness of the heroine, as her charger gallops over the vanquished and slain foe; and the fervour of the dying heroine; - are all impressive beyond description. There may be defects of drawings in various points of the composition; but the colouring, especially of the flesh, is masterly; and there is a barbaric picturesqueness in the triple scene, which is a startling novelty in British art.'Within ten days, of the work's presentation at the Royal Academy, the triptych had been purchased by C. W. Wass and Richard Colls for the mighty sum of 2,500 guineas, with designs on engraving the works for wider distribution and an ambitious, but failed, plan to tour the works around the country. Wass declared himself bankrupt in 1852; the three panels were subsequently separated and sold.We are grateful to Dr Beatrice Bertram, York Art Gallery, for her assistance in cat... This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
Loading...
