* BARBARA RAE CBE RA RSA RE (SCOTTISH b. 1943), SEAGATE limited edition colour etching on paper, signed dated '93, titled and numbered 54/60mounted, framed and under glassimage size 27cm x 29cm, overall size 57cm x 50cm Label verso: Roger Billcliffe Fine Art, GlasgowNote: Painter, printmaker and teacher, born in Stirlingshire. She studied at Edinburgh College of Art 1961–5 concluding with postgraduate study, in 1966 using a travelling scholarship to work in France and Spain. In 1966–7 was at Moray House College of Education, then taught in Edinburgh Schools until appointments 1972–4 at Aberdeen College of Education, then from 1975 at Glasgow School of Art. In 1984 she was an exchange teacher at University of Maryland. Won a number of awards and prizes, including Arts Council Awards and RSA Guthrie Award and Medal. In 1985 she gained a Scottish Arts Council Grant which permitted her to paint in Spain and New Mexico. Rae was an extremely prolific exhibitor internationally and from 1967, when she had her first solo show at New 57 Gallery, in Edinburgh, was regular at venues including Aberdeen Art Gallery; Scottish Gallery, Edinburgh and London; and Glasgow Print Studio. Her work is in several dozen collections, including Aberdeen Art Gallery, University of Glasgow and British Museum. Rae was a striking landscape painter with a rich palette, yet her pictures sometimes have an intense, brooding quality. Was elected RSA, and RA in 1996. Over the next few years Rae travelled extensively and in 2002 had a residency at Ballinglen Arts Foundation, County Mayo, Ireland. The North House Gallery, Manningtree, put on Barbara Rae Ten Years’ Printmaking in 2004, the first such major survey. In the same year she had a solo show at Tom Caldwell Gallery, Belfast, with another, Mayo, of monotypes and colour etchings in 2006. In 2003, Aberdeen University conferred an Hon. Doctorate on Rae and the Royal College of Art an Hon. Fellowship.Condition of the picture is good overall, with no visible or known issues.
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CATRIONA MILLAR, LILY oil on canvas, initialledunframedoverall size 40cm x 30cm Note: Catriona Millar's work takes its inspiration from the stories that lie at the heart of the human condition, and the sparkle of a narrative behind the eyes of her subjects hints at everything from longing to melancholy. Her work often juxtaposes human characters with a variety of animal confidants, with some seeming physically present in the composition while others take on a talismanic quality. Born in Glasgow, Catriona Millar studied at Harrogate School of Art and Grays School of Art, Aberdeen. Since the success of her sell-out 2005 degree show she has exhibited across the UK including the Royal Scottish Academy, Edinburgh. In October 2006 she came to the attention of Charles Saatchi with her first solo exhibition at the Dundas Street Gallery, Edinburgh. Catriona Millar now lives and paints in the southeast of England. Catriona Millar is listed in the 2012 edition of Who's Who in Scotland. In the Scottish Contemporary Art Auction of 3rd May 2015 lot 2138 "The Agency" by Millar sold for £2800 (hammer).
CATRIONA MILLAR, MISS AUGUSTA oil on canvas, initialledframedimage size 46cm x 36cm, overall size 63cm x 53cm Note: Catriona Millar's work takes its inspiration from the stories that lie at the heart of the human condition, and the sparkle of a narrative behind the eyes of her subjects hints at everything from longing to melancholy. Her work often juxtaposes human characters with a variety of animal confidants, with some seeming physically present in the composition while others take on a talismanic quality. Born in Glasgow, Catriona Millar studied at Harrogate School of Art and Grays School of Art, Aberdeen. Since the success of her sell-out 2005 degree show she has exhibited across the UK including the Royal Scottish Academy, Edinburgh. In October 2006 she came to the attention of Charles Saatchi with her first solo exhibition at the Dundas Street Gallery, Edinburgh. Catriona Millar now lives and paints in the southeast of England. Catriona Millar is listed in the 2012 edition of Who's Who in Scotland. In the Scottish Contemporary Art Auction of 3rd May 2015 lot 2138 "The Agency" by Millar sold for £2800 (hammer).
* JUNE CAREY RSW RGI (SCOTTISH b. 1942), DIES ANNIVERSARIES limited edition colour etching on paper, signed, titled and numbered 1/5mounted, framed and under glassimage size 48cm x 35cm, overall size 81cm x 61cm Note: June Carey began her art education in the 1960s at The Glasgow School of Art. She has been exhibiting her work widely throughout Britain and abroad ever since. Her awards include The Scottish Arts Council 1998, McGrigor Donald Trust 1989, European City of Culture Woman 2000 (First Prize) 1990, Dundee District Council Purchase Prize 1991, British Council Assistance Grant 1992, The Hope Scott Trust Award 1993, Scottish Arts Club Award 1993, McDonald Orr Ltd 1993, Anne Redpath Award 1996, BP Aberdeen Assistance Grant 2002, Connell & Connell Sponsorship and in 2004, a Research Grant from the Scottish Arts Council, to visit India. June Carey's work can be found in the collections of Lady Thyne; Peter Gabriel, BBC Television, The Royal Bank of Scotland, The Scottish Arts Council, Oxford University, Teachers Whisky, Highland Region, Edwins Gallery Jakarta, Barclay Lennie Fine Art Ltd, MacTaggart & Mickel Ltd. Eastern General Hospital, McDonald Orr Ltd, Dundee District Council, Arts in Fife and Private Collectors at home and abroad.
* MICHAEL ESSON (SCOTTISH b. 1950), UNTITLED mixed media on paper, signed and dated '91framed and under glassimage size 135cm x 130cm, overall size 142cm x 140cm Note: Michael Esson was born in Scotland in 1950 and studied at Gray’s School of Art, Aberdeen, Edinburgh College of Art and the Royal College of Art, London. He is a practising artist living in Sydney, and the Director of the International Drawing Research Institute, the College of Fine Arts, the University of New South Wales. He is a Professor of Drawing at the University of Lincoln, UK, and a Visiting Professor at the Xi’an Academy of Fine Art, Xian, Lu Xun Academy of Fine Art, Shenyang, and Dong Hua University, Shanghai, China. Although working in a broad range of disciplines within the visual arts, the core of his art practise has been the study, interpretation and expression of the human figure through the drawing process. In 1993 - 94 he was the first artist in residence at the Royal College of Surgeons, Edinburgh, where he focused upon a long-standing concern with the exploration of the body; its’ structure, anatomy and ideas of mortality and identity.
* JOHN BYRNE RSA (SCOTTISH b. 1940), POSTER FOR UNDERWOOD LANE AT TRON THEATRE giclee print on paperframed and under glassimage size 31.5cm x 29cm, overall size 44cm x 34cm Note: John Byrne studied at both Edinburgh and Glasgow Schools of Art in the late 50s and early 60s. A superb painter and draughtsman, the multi-talented Byrne was also a first-class playwright (‘The Slab Boys’, ‘Tutti Frutti’), his ear for dialogue was as acute (and witty) as his eye for detail. Much of his subject matter in both disciplines is overtly autobiographical, he often included or refers to the Teddy Boy/Rock and Roll era of his youth. Byrne designed record covers for Donovan, The Beatles, Gerry Rafferty and Billy Connolly. His work is held in major collections in Scotland and abroad. Several of his paintings hang in The Scottish National Portrait Gallery in Edinburgh, the Museum of Modern Art and the Kelvingrove Art Gallery and Museum in Glasgow.
* SIMON CLARIDGE (BRITISH b. 1980), MADONNA VII mixed media on glassmounted and framedimage size 87cm x 58cm, overall size 122cm x 94cmNote: After graduating with a degree in fine art, Simon began working at an art gallery in Windsor. Each night, he painted feverishly, consumed by the dream of one day having his own work hanging on the walls. One morning, he mischievously replaced the window display with his own pieces. By lunchtime, he’d sold all of them and never had to work in a gallery again. Over the years, Simon has garnered the attention of celebrities such as LA stylist Rachel Zoe and fashion designer Henry Holland. In addition, he has enjoyed commissions from companies including Alfa Romeo. Blurring the lines between fantasy and reality, Simon’s work captures the female form in all its splendour. His portfolio showcases a selection of cultural icons from the worlds of fashion, modelling and music. As a figurative artist, he has made it his raison d’être to capture the images that strike a chord with his wider audience. Each piece is meticulously considered and crafted to suspend time and evoke a "tangible feeling" from onlookers. For his most recent collection, Diamond Dust, Simon has taken iconic images from the hallowed archives of legendary English photographer Terry O’Neill and translated them into diamond dust silkscreen prints for the first time in history.
* STIRLING GILLESPIE (SCOTTISH 1908 - 1993), HEAD OF LOCH SUNART watercolour on paper, signed, titled label versomounted, framed and under glass image size 27cm x 35cm, overall size 47cm x 57cm Label verso: T. & R. Annan & Sons, Ltd., GlasgowNote: James Gillespie Jnr was one of four children brought up in a world of cinema. His father, James senior was a missionary, evangelist and tenor before joining JJ Bennell as a silent film commentator in Aberdeen the early 1900’s. Gillespie senior moved his family to Rothesay around 1913 to manage the island’s Palace Cinema, for whom he made topicals of local events and with religious and temperance undertones. One of his films starred his son James coming out of a shop with a bottle of whisky, followed by his younger sister who was laden with all the groceries that could be bought for the same cost as the alcohol. James Gillespie Jnr was one of four children brought up in a world of cinema. His father, James senior was a missionary, evangelist and tenor before joining JJ Bennell as a silent film commentator in Aberdeen the early 1900’s. Gillespie senior moved his family to Rothesay around 1913 to manage the island’s Palace Cinema, for whom he made topicals of local events and with religious and temperance undertones. One of his films starred his son James coming out of a shop with a bottle of whisky, followed by his younger sister who was laden with all the groceries that could be bought for the same cost as the alcohol. Stirling Gillespie (as he was known professionally) started in journalism first at the Rothesay Express, then the Daily Record, through which he met J Blake Dalrymple who was to bring Gillespie into his film company Elder Dalrymple Productions. Hired to cover the company’s literary and photographic concerns, Gillespie also became involved in the making of films. In 1936 J C Elder and Dalrymple decided to take the company out on Dalrymple’s yacht to make educational films around the world. Gillespie was to act as press correspondent for the Daily Record coverage of the trip. His cabin aboard the yacht was completely fitted out as a developing and printing studio. However, the trip was curtailed prematurely by the Spanish Civil War, so that the only substantial filming to be completed was of a later voyage to the Baltic. In 1937 Gillespie and Dalrymple undertook an overland expedition from Cape Town to Cairo making educational films as they went. Gillespie taking photographs and film, recorded the expedition in a book "Celluloid Safari" and with the film Land of the White Rhino (1939). After the Second World War was over, Gillespie was to make only one more film with Elder Dalrymple "Perchance to Sail" (1947) in which he starred as a young artist at sea. He was then, until his death, to pursue a highly successful career as a watercolour landscape painter.
* HANNAH FRANK (SCOTTISH 1908 - 2008), DANCE lithograph on paper, signed in penunframedoverall size 47cm x 30cm Note: Since McTear's first promoted Hannah Frank's spectacular work in 2011, the prices for her ever more rare signed prints have continued to rise with many current prices being more than five times higher than those achieved barely a decade ago. The latest UK auction record figure for a single signed lithograph was most recently achieved (twice) in our auction on 24th October 2021 and now stands at £820 (hammer). Note 2: Hannah Frank was the last living link to the Arts and Crafts and Art Nouveau period. She studied at the Glasgow School of Art and Glasgow University in the 1920`s and her haunting pen and ink drawings have been exhibited at the Royal Academy, Royal Scottish Academy and Royal Glasgow Institute. A series of lithographs of some of her 90 drawings were made in the 1960's and again in the 1980's to satisfy the demand for her work after exhibitions in Edinburgh and Glasgow. Only a relatively few of these prints were hand signed (in pencil) by Hannah and it's understood that only one print was ever editioned (numbered) in a conventional manner. A major exhibition at the Royal Glasgow Institute in 2006 brought her work to a new generation of admirers and received considerable press coverage. Her work toured for five years in the UK and the USA culminating in an exhibition at Glasgow University which opened on her 100th birthday 23rd August 2008. After her death, she was awarded a posthumous Honorary Doctorate at Glasgow University and Glasgow City Council`s Lord Provost`s Award For Art (2009).
* GERARD BURNS (SCOTTISH b. 1961), A DREAM OF WINTER oil on canvas, signedframedimage size 50cm x 50cm, overall size 75cm x 75cmNote: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow, portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.
* HANNAH FRANK (SCOTTISH 1908 - 2008), DREAM lithograph on paper, signed and numbered 205/250 in pencilunframedoverall size 46cm x 34.5cm Note: Since McTear's first promoted Hannah Frank's spectacular work in 2011, the prices for her ever more rare signed prints have continued to rise with many current prices being more than five times higher than those achieved barely a decade ago. The latest UK auction record figure for a single signed lithograph was most recently achieved (twice) in our auction on 24th October 2021 and now stands at £820 (hammer). Note 2: Hannah Frank was the last living link to the Arts and Crafts and Art Nouveau period. She studied at the Glasgow School of Art and Glasgow University in the 1920`s and her haunting pen and ink drawings have been exhibited at the Royal Academy, Royal Scottish Academy and Royal Glasgow Institute. A series of lithographs of some of her 90 drawings were made in the 1960's and again in the 1980's to satisfy the demand for her work after exhibitions in Edinburgh and Glasgow. Only a relatively few of these prints were hand signed (in pencil) by Hannah and it's understood that only one print was ever editioned (numbered) in a conventional manner. A major exhibition at the Royal Glasgow Institute in 2006 brought her work to a new generation of admirers and received considerable press coverage. Her work toured for five years in the UK and the USA culminating in an exhibition at Glasgow University which opened on her 100th birthday 23rd August 2008. After her death, she was awarded a posthumous Honorary Doctorate at Glasgow University and Glasgow City Council`s Lord Provost`s Award For Art (2009).
CATRIONA MILLAR, VENETIA AND LITTLE WING oil on canvas, initialledframedimage size 50cm x 60cm, overall size 68cm x 77cm Note: Catriona Millar's work takes its inspiration from the stories that lie at the heart of the human condition, and the sparkle of a narrative behind the eyes of her subjects hints at everything from longing to melancholy. Her work often juxtaposes human characters with a variety of animal confidants, with some seeming physically present in the composition while others take on a talismanic quality. Born in Glasgow, Catriona Millar studied at Harrogate School of Art and Grays School of Art, Aberdeen. Since the success of her sell-out 2005 degree show she has exhibited across the UK including the Royal Scottish Academy, Edinburgh. In October 2006 she came to the attention of Charles Saatchi with her first solo exhibition at the Dundas Street Gallery, Edinburgh. Catriona Millar now lives and paints in the southeast of England. Catriona Millar is listed in the 2012 edition of Who's Who in Scotland. In the Scottish Contemporary Art Auction of 3rd May 2015 lot 2138 "The Agency" by Millar sold for £2800 (hammer).
* ADAM ROBSON SSA (SCOTTISH 1928 - 2007), CASTLE IN WINTER oil on canvas, signed and dated 1966framedimage size 29cm x 39cm, overall size 39cm x 49cmNote: Adam Robson won 22 caps for the Scotland rugby team between 1954 and 1960, and was President of the Scottish Rugby Union in 1984 when the national team won the Grand Slam. He was also a prolific and diverse artist, who sold more than 900 works, and the author of three books. Robson played for the Barbarians 15 times, a club whose ethos of sportsmanship on and off the pitch chimed perfectly with his view of rugby as a gentleman's game. He went to Canada on the Baa-Baa's first overseas tour in 1957 when the team, which included a young Tony O'Reilly, won all six games. In 1985, he joined the Barbarians Committee, which he served for 20 years. Robson was much more than a rugby man, though. He was born in Hawick in 1928, to a father from the Borders and a mother from Shetland, who would instil in her son a love of the place. He attended Hawick High School, where he was inspired by his art teacher, James A Finlayson. After National Service in the UK, Egypt, Palestine and Tripolitania from 1946-48, he enrolled at Edinburgh College of Art, where he gained a scholarship and a distinction in life drawing. After leaving art school in 1952, he became an art teacher at Kirkcaldy High School in 1953 and began to exhibit his paintings more widely. He exhibited regularly with the Royal Scottish Academy and the Royal Scottish Watercolourists, and became a professional member of the Society of Scottish Artists in 1957. He moved to Dollar Academy in 1956, where he was a boarding housemaster between 1963-69 and Head of Art from 1968 until he retired in 1988. All the while he was painting and working in a range of mediums, particularly oils and watercolours. He had an affinity with the Scottish landscape, especially the bleak and rugged coasts of Shetland and the gentle hills of the Borders.
* SIMON CLARIDGE (BRITISH b. 1980), MADONNA IV mixed media on glassmounted and framedimage size 87cm x 58cm, overall size 122cm x 94cmNote: After graduating with a degree in fine art, Simon began working at an art gallery in Windsor. Each night, he painted feverishly, consumed by the dream of one day having his own work hanging on the walls. One morning, he mischievously replaced the window display with his own pieces. By lunchtime, he’d sold all of them and never had to work in a gallery again. Over the years, Simon has garnered the attention of celebrities such as LA stylist Rachel Zoe and fashion designer Henry Holland. In addition, he has enjoyed commissions from companies including Alfa Romeo. Blurring the lines between fantasy and reality, Simon’s work captures the female form in all its splendour. His portfolio showcases a selection of cultural icons from the worlds of fashion, modelling and music. As a figurative artist, he has made it his raison d’être to capture the images that strike a chord with his wider audience. Each piece is meticulously considered and crafted to suspend time and evoke a "tangible feeling" from onlookers. For his most recent collection, Diamond Dust, Simon has taken iconic images from the hallowed archives of legendary English photographer Terry O’Neill and translated them into diamond dust silkscreen prints for the first time in history.
Two brooches with inset stones - starburst design in gold toned metal pin 2" and 3" pin in light metal setting with multiple rhinestone facets - B.S.K. impressed mark. BSK Jewellery was a New York City based company that was in business from the 1940′s -1950′s. The initials B.S.K. stood for the first initials of the owner's names. The B was for Benny Steinberg, the S was for Hy Slovitt and the K was for Mr. Kaslo. Issued: 20th centuryDimensions: 3"L x 1.5"WCondition: Age related wear.
Crafted for the first Wonders of the Sea trilogy figurine. The clear plaque decorated with debossed frosted shells and starfish. Swarovski marked. This item has its original box: 3.25"W x 4.75"H Issued: 2005Dimensions: 2.25"L x 1"W x 1.25"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Marvel Comics The Incredible Hulk (1981-1994) to include #259 (origin of Darkstar & Vanguard), 272 (3rd appearance of Rocket Raccoon), 274, 275, 280, 284, 287, 341, 382, 383 and 412 together with the Savage She-Hulk #16, Hawkeye (1994) #1, Solo Avengers starring Hawkeye (1988) #10, Daredevil (1969) #53, Strange Tales featuring Dr Strange (1986) #186 and 187, Marvel Spotlight on Sub-Mariner (1976) #27, Marvel Spotlight on Star-Lord (1980) #7, Strange Tales featuring Cloak and Dagger & Doctor Strange (1988) #13, Warlock (1975) #9 (Origin of Magus, 1st cameo appearance of the In-Betweener and first meeting of Thanos and Adam Warlock), the Invaders (1977-1978) #21 & 25, Marvel Spotlight on Captain Marvel (1979) #3, Machine Man (1980) #15 and 16 (1st appearance of Baron Brimstone), The Official Handbook of the Marvel Universe (1986) #6, 10, 14 and 17 (30)
Eagle Moss collections, Star Trek the Official Collection, issues 177 -180, including magazines and boxed Starship models: Sheliak Colony Ship, Husnock Warship, Vidiian Starship, Borg Cube First Contact. Special Issues: Son'a Flagship, Planet Killer, Reman Warbird Scimitar, Vulcan Long Range Shuttle, T'Plana-Hath Vulcan Lander as well as U.S.S. Enterprise NCC-1701-D (All Good Things version) and two Deep Space Nine's without magazines. Along with a series guide, a U.S.S. Enterprise replica plaque and a Borg cube.
Marvel The Mighty Thor (1974-1993) to include #229 (first appearance of Shade-Thralls),251, 256, 258, 268, 269, 296, 307, 315, 316, 318, 319 (1st appearance of Zaniac), 320, 322, 323, 335, 397, 409, 410, 415, 419, 421-423, 424 (1st appearance of the Blue Celestial), 426, 428, 436, 439, 441, 444 (1st appearance of Groonk), 445, 447, 449, 450 (1st appearance of Bloodaxe), 453, 455, 457 (38)
DC Strange Adventures #180 (1965) - Origin and first appearance of Animal Man (Bernhard "Buddy" Baker) without costume, together with DC Strange Adventures #184 (1966) second appearance of Animal Man without costume and DC Strange Adventures #184 (1966) second appearance of Animal Man with costume (3)
Quantity of Marvel Comics to include Uncanny X-men #32 (third appearance of Juggernaut), Uncanny X-men #40 (origin of cyclops continued), Avengers 154 (first appearances of Tyrak and Lord Arno), Marvel Comics Two-in-One #52 (first appearance of Crossfire), Marvel Comics Two-in-One #53 (origin of Quasar), Fantastic Four #142 (first appearance of Darkoth the Demon) and other Marvel Comics Fantastic Four #142
Marvel Comics Adventure Into Fear with The Man Called Morbius The Living Vampire (1974-1975) to include #20 (first solo Morbius story, 1st appearance of Daemond and Tara Ogord), 24 (first appearance of Blade outside of Tomb of Dracula and first meeting of Blade and Morbius), 25, 3 X 26, 2 X 27, 2 X 28, 29, 2 X 30 and 2 X31 (15)
Coin cover collection includes 3 items Zambia Two Ngwee Coin First Day Cover with 10. 07 Zambia Stamp. Included is a German Language Info sheet Relating to Zambia, Taiwan 1/2 Currency Coin First Day Cover with 17. 4. 92 Taipei Stamp. Included is a German Language Info sheet Relating to Taiwan and Liberia 1977 Five Cents Coin First Day Cover with Monrovia 30-92 Stamp. Included is a German Language Info sheet Relating to Liberia. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
WW2 Air Vice Marshal Johnnie Johnson CBE DSO DFC Signed Signature Card Attached to inside page of First Edition Wartime Hardback Book titled Air Aces by Gordon Anthony. Published in 1944. Portraits of Aces Also Throughout This Book. Showing Signs of age. Est. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Andy Murray 1st Class Sporting Success unsigned FDC commemorating Gentlemen's singles champion 2013 double PM First Day of Issue Wimbledon London SW19 8.8.2013. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Giacomo Agostini signed limited edition print with signing photo Over the course of a remarkable career of 17 years, the peerless Giacomo Agostini won 15 world titles, 12 Isle of Man TT crowns and an astonishing 122 Grand Prix'. He became motor cycling's first genuine world superstar and, whether riding a 350cc or 500cc racing motorcycle, he was nearly always the man to beat whenever he took up his position on the starting grid.After winning his final world title in 1975, Agostini enjoyed his last competitive year in 1976. Fittingly, his last career victory came at the Nurburgring - the German venue where he had won his very first Grand Prix race back in 1965.This stunning print chosen by Giacomo, shows him on his favourite road circuit in the Isle of Man. He has personally signed each print and you will receive a separate photo of the signing (as shown in the inset image).Actual Size 560mm x 410mm - limited edition of 250 and part of the Sporting Masters editions - Photo printed on 250gsm, high quality art board - The accompanying photo of the personality signing this item will include a copyright over the image and the edition number may vary. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
TWO ROMAN GLASS VESSELS CA 2ND CENTURY A. D. the first a pourer with a squat bulbous body with a tapering feeding spout to one side of body, on a rounded base, a tall tapering cylindrical neck with a wide spreading mouth and an inwardly folded rim, with two collection labels to the bottom numbered 586 and 298; the second with a pear-shaped body with wide flared rim, with a collection label to the bottom numbered 329, 4.7cm high; both with pink auction labels dated 18 MAY 1970 (2) pourer 9.8cm high
CYCLADIC IDOL HEAD CYCLADES, EARLY CYCLADIC II, C. 2600 - 2400 B.C. carved marble, the head upon a broad cylindrical neck, the smooth facial plane with a convex form, bending back as if gazing upwards, with gently rounded chin and central rectangular nose, raised on a bespoke mount 7.1cm tall Provenance: From an old French private collection of M. M. Accompanied by a French antiquities passport. Note: The Cyclades, an archipelago in the southwestern Aegean, comprises thirty-nine small islands and many more islets. In ancient Greek they were referred to as the kyklades, envisioned as a circle (kuklos) around the sacred island of Delos, home to the most sacred temple of Apollo.In the fourth millennium B.C. a distinctive culture emerged in the islands which ran for over two thousand years. Sitting at a favourable location in the Aegean sea and rich in mineral resources, in particular iron ores and copper, the inhabitants of the Cyclades benefitted from the trade in these raw materials at a time when metallurgy was developing rapidly across the Mediterranean. Existing largely tangentially with the great civilisations of the Minoans and Mycenaeans, Cycladic people are counted among the three major Aegean cultures.It was the Cycladic people who produced the very first masterpieces of Greek marble sculpture. “Idols” such as the present example were spread throughout the archipelago, with the tradition of carving such figures lasting for well over one thousand years. Their exact use is unclear, some resemble fertility figures encountered across the Near East. Others have been interpreted as images of the deceased or servants for the afterlife. It is clear however that they were used in both funerary contexts and day-to-day ritual life, as some have been found with ancient repairs.Though they are today notable for their minimalist appearance, scientific analysis has shown that the surface of the marble would originally have been painted with mineral-based pigments, azurite for blue and iron ores or cinnabar for red. Many of the figures show a remarkable similarity in their proportions, suggesting that the production of these idols was regulated using a type of early compass.The sense of abstraction offered by ancient Cycladic art stimulated many of the great twentieth century artists, including Brancusi, Modigliani, and Picasso. The present piece is a wonderful example of the type, though carved over four thousand years ago its geometric appeal remains distinctly modern.
COLLECTION OF ANCIENT LURISTAN BRONZE ARTEFACTS WESTERN ASIA, EARLY FIRST MILLENNIUM B.C. cast bronze, consisting of; three horse bits, one whetstone handle, one bronze bangle, one plain and mounted bit (ex. Charles Ede, invoice dated 13th May 1983 included), two “master of animals” openwork bronze pinheads, two dress pins, a pair of fine harness rings surmounted by ibex heads and a finial of a moufflon (12) largest 28.4cm diameter Paul Strickland Collection of Lorestan Art, formed late 1960s - early 1990s
TWO ROMAN GLASS BEAKERS 3RD CENTURY A. D. the first with a flared rim and ring base, with several faintly incised continuous horizontal lines; the second with a cylindrical body with flared rim and ring foot, with three incised lines across the lower body and a single line just under the rim, 6.7cm high; both with pink auction labels dated 18 MAY 1970 (2) the larger 9.3cm high
THREE LURISTAN BRONZE PINS WESTERN ASIA, 800 – 600 B.C. the first with a finial shaped as a stilised pouncing leopard, on a square shank engraved with linework, on a custom metal stand; the second with miniature mace head finial, on a ribbed shaft with central protrusion, with a custom stand, 18.6cm long; the third with a stilised running ibex with oversized head and neck finial, mounted on biconical pearls interspersed with triple rings with finely engraved linework, on a bespoke mount, 13.5cm long the largest 23.8cm long Provenance: The Paul Strickland collection of Lorestan art;The first bought from Charles Ede, London, 1988. With invoice.The second bought in 1991 from C. J. Denton, Kent. With invoice. The third bought from Charles Ede, London, 1978. With invoice.
THREE APULIAN POTTERY VESSELS SOUTH ITALIAN, 4TH CENTURY B.C. the first a black figure squat lekythos, showing a running figure between a man and a woman; the second a red figure squat lekythos with three handles, with a central palmette motif to the body, 9.5cm high, the third a blackware guttos with a single handle and long spout, 6.5cm high, 10cm wide (3) the largest 13cm high
LURISTAN MASTER OF BEASTS STAFF FINIAL NEAR EAST, EARLY FIRST MILLENNIUM cast bronze, the hollow tubular shaft with three stacked figures, each a hybrid of human and animal form, the first (lowest) figure shown with a pair of birds projecting from the sides of the head, the second shown standing and wearing a jewelled necklace, the third gripping two mythical beasts by the neck in a sign of dominance, with the torso transformed into a human head, raised on a bespoke mount 21.5cm tall Provenance: The Paul Strickland collection of Lorestan Art, acquired from the below 18th June 1982 accompanied by the original invoiceMansour Gallery, 46 Davies Street, London W1Y 1LD Note: In the early first millennium B.C. the inhabitants of the Zagros Mountains to the north of Persia produced a rich variety of bronze objects; from weaponry and standards to vessels and horse tack. The magnificence of the items associated with equestrianism, such as the present example, point to the nomadic lifestyle of the people who fashioned them.The motif depicted here of an anthropomorphic figure standing between and grasping two confronted animals is a particularly ancient one. Known as The Master of Animals, it likely represented a deity or talismanic figure with dominion over nature. The Master of Animals appeared throughout the ancient Near East and Egypt for thousands of years, with its roots sitting deep in prehistory. The earliest known example appears on a terracotta stamp seal excavated in southern Mesopotamia dated to c. 4000 B.C.The initial emergence of this motif at the time and place of the very first agricultural societies is likely not coincidental. It reflects the seminal change in our relationship with nature, from hunter gatherer to farmer. The desire to operate above, rather than within the natural world.
LURISTAN BRONZE “MASTER OF ANIMALS” FIGURE WESTERN ASIA, 800 – 600 B.C. bronze, the Janus figure wearing a rounded cap, with anthropomorphic facial features the legs of a beast, flanked at either side by leopards, perforated through the centre and raised on a bespoke mount 14.4cm high Provenance: The Paul Strickland collection of Lorestan art, acquired Sotheby’s Parke Bernet, London, 8th December 1975 Note: The motif depicted here of an anthropomorphic figure standing between and grasping two confronted animals is a particularly ancient one. Known as The Master of Animals, it likely represented a deity or talismanic figure with dominion over nature. The Master of Animals appeared throughout the ancient Near East and Egypt for thousands of years, with its roots sitting deep in prehistory. The earliest known example appears on a terracotta stamp seal excavated in southern Mesopotamia dated to c. 4000 B.C.The initial emergence of this motif at the time and place of the very first agricultural societies is likely not coincidental. It reflects the seminal change in our relationship with nature, from hunter gatherer to farmer. The desire to operate above, rather than within the natural world.For similar please see: The British Museum, London, accession number 108817
COLLECTION OF ANCIENT LURISTAN BRONZE SCULPTURE WESTERN ASIA, EARLY FIRST MILLENNIUM B.C. a collection of thirteen small scale bronze sculptures including; four dress pins, three figures, a staff finial and six decorative fittings of zoomorphic form (14) largest 16.2cm long Provenance: The Paul Strickland Collection of Lorestan Art, acquired late 1960s - early 1990s, a series of original invoices will accompany the lot
THREE URARTIAN BRONZE FRAGMENTARY VOTIVE PLAQUES ANATOLIA, CIRCA 8TH-7TH CENTURY B.C. of hammered sheet bronze, the first showing a winged deity, 7.3cm high, 5.1cm wide; the second showing a worshipper bringing a sacrifice, with warriors on horses faintly visible on the backside, 11.3cm high, 9.4cm wide; the third with a worshipper in a fringed cloak and tall hat, all on custom stands 13cm high, 7.5cm wide Provenance: From the Paul Strickland Collection of Lurestan Art, all bought from Wilton House Gallery, York, 1988. With an invoice.
ANCIENT CELTIC SILVER "RIBBON" TORC LIKELY IRELAND, C. 500 B.C. - 500 A.D. silver, spirally twisted thin bands with slightly recurved ends and a chased chevron pattern throughout approx. 10cm diameter Provenance: Private collection, Edinburgh, United Kingdom, acquired by the family in the 1920s, thence by descent, by family repute, the piece originally belonged to Robert Carfrae (1820-1900). For similar please see:The Metropolitan Museum, New York, accession number 2013.613National Museum of Scotland, Edinburgh, accession number(s) X.FD 33 & X.FD 34 The present style of torc or armlet is exceptionally rare, and is at present only known from a single hoard discovered near Rathcormack, Co. Cork in 1882 - 1883. The hoard is first described in the 'Proceedings' section of the Journal of the Royal Society of Antiquaries of Ireland (Anon. 1883-4, 52) where it was noted that Ralph Westropp of Cork exhibited a silver torc with the accompanying note:“It seems that this was found near Rathcormack, county of Cork, with five others of similar make, about the close of last year or early in the present one, by a peasant, beneath a stone in a field, when ploughing.”The three recorded examples above, currently residing in the National Museum of Scotland and the Metropolitan Museum are all known to have originated from the Rathcormack Hoard, and it seems likely (though unproven) that the present piece shares this provenance.
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