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Click here to subscribeRobert Ingham (b.1938): A Burr Ash Veneered and Wenge Coffee Table, the top with four burr ash veneered sections and a solid wenge frame with four supports, each with three cold patinated bronze bars, labelled ROBERT INGHAM,115.5cm square, 42cm highCouple of very small dents in the outer wenge. Very light surface wear to the top, including a faint ring mark. 115.5cm from the straight sides.
Richard Batterham (1936-2021): A Stoneware Box and Cover, ash glaze, two painted dots to base,13.5cm diameterRichard Batterham (1936-2021): A Stoneware Box and Cover, ash glaze, painted 10 to base,10cm diameterRichard Batterham (1936-2021): A Stoneware Box and Cover, ash glaze, unmarked,10cm diameter (3)One of the small boxes has a chip on the inside edge of the base. Some crazing and light wear. Purchased direct from the potter by the vendor. See extra images.
Workshop of Robert Mouseman Thompson (Kilburn): An English Oak 4'4" Octagonal Dining Table, 1958, the three plank dowelled adzed top, on a cruciform base, with carved mouse trademark,132cm diameter, 73.5cm highProvenance: C.W.Waddington menswear shop, Rotherham, South Yorkshire, 1958.Some light surface wear. Tiny nick to one ear. Top is screwed to the base. Natural grain splits in the base. See extra images.
Dame Elizabeth Violet Blackadder DBE, RA, RSA (1931-2021) Scottish"Wild Flowers" (2013)Signed and numbered 45/65, screenprint, 73cm by 89cmProvenance: Royal Academy Summer Exhibition, LondonSlight cockling to the paper. Slight crease lower right corner. Some light surface dirt and debris trapped under the glass. The print has a deckled edge and is float mounted. Muted palette by design. Not examined out of the frame.
Norman Stansfield Cornish (1919-2014)A man seated at a table with pints of beerSigned, pastel, 28.5cm by 39.5cmPainted on buff paper. Slight cockling to the paper. Some light surface dirt and debris trapped under the glass. Otherwise appears in good condition. Not examined out of the frame.Previously:https://auctions.tennants.co.uk/auction/lot/lot-778---norman-stansfield-cornish-1919-2014-a-man-seated-at-a-table-with-pints-of-beer-signed/?lot=2221911&so=4&st=A%20man%20seated%20at%20a%20table%20with%20pints%20of%20beer&sto=0&au=&ef=&et=&ic=False&sd=1&pp=96&pn=1&g=1
Norman Ackroyd CBE, RA (1938-2024) "Puffin Island" Signed and dated (20)18, inscribed and numbered 56/90, etching, 22cm by 28cm (unframed) Norman Ackroyd was one of the UK’s most respected printmakers, and the greatest etcher of his generation. A consummate technical master, he captured light, wind and water on paper with an extraordinary subtlety of tone.Born in Leeds, his love of the elemental landscape was entrenched through a childhood exploring the Yorkshire Dales, cycling and fishing and trying to sketch light sparkling on water. An early talent for art was spotted at school, and he was awarded a scholarship to Leeds College of Art. In his early twenties, Ackroyd was accepted into the Royal College of Art, where he was instructed in etching by Julian Trevelyan, and where he made lifelong friends with Zandra Rhodes and David Hockney.After a spell teaching, Ackroyd embarked on his career as a landscape artist, becoming elected as an associate of the Royal Academy in 1988, and a Royal Academician in 1991. Amongst numerous honours, he was made a Senior Fellow of the Royal College of Art in 2000 and was awarded the CBE in 2007.Whilst he worked in a range of media, Ackroyd was most prolific in intaglio etching, working from his studio and home in a converted warehouse in Bermondsey, London. Drawn to wild and windswept outlying coastal margins, he loved to visit the rugged coast and islands of Ireland, the Outer Hebrides and the west coast of Scotland. Sketching on the spot, often from a small boat bobbing around on the swell, he captured the cliffs, foaming seas and wheeling gulls. Such experiences helped him imbue his work with extraordinary atmosphere - a sense of the sublime and the power and timelessness of these marginal places. Rarely does man appear in his work.Ackroyd was fascinated by, and a master of the technical process of printmaking, and never lost his enthusiasm for the subject. Renowned for his generosity of spirit and knowledge, one of his last endeavours was to set up a foundation that will allow young artists to complete their education. His works are held in private and public collections around the world, in the likes of the Tate, Moma in New York, the Rijksmuseum and the Royal Collection.
Julian Trevelyan RA (1910-1988)"Seaside, 1936"Signed, inscribed and numbered 10/25, etching, 20.5cm by 8cmCockling to the paper. The odd tiny minor sporadic foxing spot in evidence to the margins and exposed areas of white paper, especially to the lower margin above the signature, and to the left of Seaside and to the bells within the image. Some light surface dirt and debris trapped under the glass. Not examined out of the frame.
Reginald James Lloyd (1926-2020) "Budleigh Salterton" Signed and dated (19)73, oil on board, 23cm by 37cmExhibited: Hereford City Museum and Art Gallery, "RJ Lloyd Retrospective Exhibition", no. 121 Covered in a layer of surface dirt and discoloured varnish. Minor losses to the centre of the figure's head. Slight rubbing to the outer edges of the board. The odd superficial surface scratch. Would benefit from a light clean. Frame quite grubby with the odd chip and knock.
Norman Stansfield Cornish MBE (1919-2014)"Ann watching the TV"Signed and inscribed, flomaster pen, 39cm by 24.5cmSlight time staining to the paper, especially to the outer edges.Some light surface dirt and debris trapped under the frame. The odd very minor small foxing spot in evidence, in particular to the lower right beneath the signature.Not examined out of the frame.
Paul Maze (1887-1979) French "Vase of Marigolds" Signed, pastel, 55cm by 74cmProvenance: The artist's family Exhibited: Aquavella Galleries, New York Extensive cockling to the paper. Painted on buff paper. Time staining to the slip, light surface dirt and debris trapped under the glass. Otherwise appears in good overall condition. Not examined out of the frame.
Norman Stansfield Cornish MBE (1919-2014) The Channel leading out to the North Sea, Hartlepool Signed, mixed media, 21.5cm by 27cmProvenance: Tennants Auctioneers, "Autumn Fine Art Sale", 25th November 2016, lot 821 Gifted from the artist to the vendor, 1968 Provenance: Tennants Auctioneers, "Autumn Fine Art Sale", 25th November 2016, lot 821 Gifted from the artist to the vendor, 1968 Slight time staining/oxidisation to the paper. Line approx 2cm to sky above the church, brush bristle? Some light surface dirt and debris trapped under the glass. Not examined out of the frame.
Reginald James Lloyd (1926-2020) "Hillfort with Ploughlands" Signed and dated (19)72, oil on board, 16cm by 29cmExhibited: Hereford City Museum and Art Gallery, "RJ Lloyd Retrospective Exhibition", no. 62 Covered in a layer of surface dirt. Small sized craquelure throughout, in particular to the areas of brown, sludgy green and black paint. Slightly larger sized craquelure to the mustard coloured paint to the right of the figure's hair. Marks to the surface that shine under light where something may have been splashed onto the surface at some point? Major losses to the frame.
After Laurence Stephen Lowry RBA, RA (1887-1976)"The Reference Library"Signed, with the blindstamp for the Fine Art Trade Guild, a black and white reproduction, 27.5cm by 37cmProvenance: De Montfort Fine Art Ltd., West MidlandsSlight cockling to the paper. Some light surface dirt and debris with the odd thunder fly trapped under the glass. Not examined out of the frame.
After Laurence Stephen Lowry RBA, RA (1887-1976)"Great Ancoats Street"Signed and numbered 150/850, with the Henry Donn blindstamp, a black and white reproduction, 29.5cm by 39cm Provenance: De Montfort Fine Art Ltd., West MidlandsSlight cockling to the paper. Grey spot to the centre of the road left of centre, this may be by design? Some light surface dirt and debris trapped under the glass. Not examined out of the frame.
Pierre de Clausade (1910-1976) French "Highlights on the trees, Loire Estuary" Signed, oil on canvas, 48.5cm by 59.5cmProvenance: E Stacey Marks Ltd., Helmsley Some light surface dirt. The painting is in gallery condition, evidence of in filling to craquelure to the clouds to the left of centre of the sky and scattered small sized areas of retouching throughout. See images under UV.
After Laurence Stephen Lowry RBA, RA (1887-1976)"View of a Town"Signed, with the blindstamp for the Fine Art Trade Guild, a colour reproduction, 46cm by 55cmProvenance: De Montfort Fine Art Ltd., West MidlandsSlight time staining to the paper, particularly to the margins. Slight cockling to the paper. Handling crease to the lower margin right of centre. Some light surface dirt and debris trapped under the glass. Not examined out of the frame.
After Laurence Stephen Lowry RBA, RA (1887-1976) "Peel Park" Signed, with the blindstamp for the Fine Art Trade Guild, a colour reproduction, 41cm by 78cmProvenance: De Montfort Fine Art Ltd., West Midlands Good colour depth. Slight cockling to the paper. Some light surface dirt and debris trapped under the glass. Slight mark to the centre of the lower margin, watermark? Approx 2cm vertical. Not examined out of the frame.
Edward Seago RBA, ARWS, RWS (1910-1974) "The Lieutenance Honfleur" Signed, inscribed verso, oil on board, 50cm by 75cm Provenance: Colnaghi, London E Stacey Marks Ltd., Helmsley Seago regularly sailed to France on his yacht Capricorn, traveling down the Seine towards Paris. The Normandy town of Honfleur was one of his favourite stops along the route. He loved the town's topography and often painted it from various viewpoints. Here we see his signature warm, soft palette cleverly depicting the reflections on the harbour waters. Minor knocks and damages to the reverse of the composite board at the edges and corner from framing. Board is flat and even.Three tiny retouched losses at the sight edge at the middle of the bottom edge. Two further patches of painterly/brushy paint on top of the varnish – a 1.5inch stroke to the middle of the right edge, and a larger approx. 3 inch patch to the middle of the top edge. The latter appears to be covering an area of paint and varnish that was disturbed when still slightly wet, likely from picking up the picture. This might be artists retouching.The varnish, which had an even surface gloss, is slightly yellowed/darkened and is most visible where the varnish has pooled amongst the more impasted paint. This gives a slightly dark tonality overall. There is fluff/cotton wool fibres embedded in the varnish in places, and further minor specks of debris.There is a light surface dirt layer and a few tiny dark surface accretions including a couple of fly spots.
Paul Maze (1887-1979) French "Still life of Pink Roses in a White Vase" Signed, pastel, 36.5cm by 44cmProvenance: The artist's family Exhibited: Aquavella Galleries, New York On buff paper. Slight cockling to the paper. Some light surface dirt and debris trapped under the glass. The odd very minor foxing spot in evidence, in particular to upper left corner, left of centre of the bottom edge, to the upper right corner.The darker area to the upper left of the roses is a darker shade of pastel and by design.Not examined out of the frame.
Geoffrey Roper (b.1942) "Darkened Figures" Signed, oil on canvas, 50.5cm by 40cmProvenance: The Fine Art Society Ltd., London Some very light surface dirt. Surface abrasion to lower left approx 6cm in length with associated minor losses. Otherwise appears in good overall condition. See images. The frame has the odd minor knock but is generally in good condition.
Norman Ackroyd CBE, RA (1938-2024) "From Sutton Bank - Vale of York"Signed and dated 8/2/09, inscribed and numbered 68/90, etching, 49cm by 77cmIt is float mounted, the paper has a deckled edge. Slight tear/ line to the mount where the paper is overlapping top right corner. Slight cockling to the paper. Some very light surface dirt and debris trapped under the glass. In good overall condition. Not examined out of the frame.
Pam Carter (b.1952) Scottish "Eigg, Rock and Rum" Signed, inscribed verso, oil on canvas, 73cm by 74cmProvenance: Walker Galleries Ltd., Harrogate The painting is glazed. Some very light surface dirt and debris trapped under the glass. Otherwise in good overall condition. Not examined out of the frame.
Laurence Stephen Lowry RBA, RA (1887-1976) "Spittal, Berwick" Signed, inscribed and dated 1960, pencil, 19.5cm by 24cmProvenance: Headrow Gallery, LeedsDespite his fame for depicting industrial landscapes, Lowry was very drawn to the North East coast. From the 1930's until the end of his life, Berwick-upon-Tweed became a favourite haunt for the artist. He delighted in the town's charm and drew inspiration from its dramatic seascapes. At least 20 paintings and drawings of the town and coastline by Lowry are in existence, including "Spittal Sands", Berwick, 1960. Slight time staining to the paper, this is especially evident to the outer edges where the mount has oxidised the paper. Small tear approx 0.5cm to lower left edge. The picture has been drawn on the back of what appears to be a typed letter. The paper is stuck to the backboard and we are unable to ascertain the content of the letter/ writing. There are two vertical creases to the paper vertically down where it has been folded at some point. There is a faint red line to the right of the centre down through the sky into the beach approx 8cm in length. This may have fed through from the reverse of the paper? Some very light surface dirt trapped under the glass. See images.
Charles Clément Francis Perron (1893-1958) French "Intérieur en Bretagne" Signed, oil on board, 31cm by 39cmProvenance: E Stacey Marks Ltd., Helmsley Provenance: E Stacey Marks Ltd., Helmsley Some light surface dirt. Areas where the paint is thin in places and you can see the vertical grain of the board. There is a scratch to the upper right corner of the window vertically down into the top of the brown piece of furniture to the right of this, approx 12cm in length. There are two superficial scratches diagonally through the window and one to the upper left of the top edge. Some areas of retouching are evident under a uv light, in particular to the centre of the left edge within the brown coat, to the central right edge of the lighter yellow paint to the centre of the piece, above the signature to the left of the brown furniture and to the right of the brown painting to the top edge.See images
After Laurence Stephen Lowry RBA, RA (1887-1976)''Street Scene''Signed, with the blindstamp for the Fine Art Trade Guild, a colour reproduction, 28.5cm by 22cm Provenance: De Montfort Fine Art Ltd., West MidlandsVery slight time staining to the paper. Some light surface dirt and debris trapped under the glass. Not examined out of the frame.
Tom McGuinness (1926-2006)Miners trudging towards the collierySigned and dated (19)81, mixed media, 6.5cm by 16.5cmCockling to the paper throughout. Some light surface dirt and debris trapped under the glass. Slight time staining to the mount. Not examined out of the frame. Plain wooden frame, generally in good order.
Bernard Dunstan RA, PPRWA (1920-2017)"The Salute, Late Afternoon"Initialled, inscribed verso, oil on board, 20cm by 22cmExhibited: Thomas Agnew and Sons Ltd., London, "Bernard Dunstan RA, Recent Paintings", 7th - 30th June 1989, no.33Sold together with the exhibition listSome light surface dirt. Rubbing to the edge of the board left hand side. Otherwise in good overall condition. See additional images.
Adrian Heath (1920-1992)Abstract in blue and yellowIntialled and dated (19)65, mixed media, 20cm by 21cmSignificant cockling to the paper throughout. Possible shrinkage to the patch of light blue paint lower right, to the centre underneath the yellow paint. This may be by design? Otherwise appears in good overall condition. Not examined out of the frame.
Julian Trevelyan RA (1910-1988)"Tom Among the Flowers" (1978)Signed, inscribed and numbered 1/50, etching and aquatint, 54cm by 64.5cmSignificant time staining to the sheet. Slight cockling to the paper. The odd small sporadic foxing spot in evidence, especially to the margins. Some light surface dirt and debris trapped under the glass. Not examined out of the frame.
After Laurence Stephen Lowry RBA, RA (1887-1976) "Our Town" Signed and numbered 158/850, a colour reproduction, 46cm by 63cm Slight cockling to the paper. Slight time staining to the paper. The odd minor sporadic foxing spot in evidence to the exposed areas of the margins. Small white mark to the left of the lower margin? Some light surface dirt and debris trapped under the glass. Not examined out of the frame.
Madonna unusual signed 48x24 colour silk screen cloth nylon promotional banner for the 1998 album 'Ray of Light'. 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
THE Legendary Pokémon of Base Set, in Shadowless 1st Edition no less. This card has been authenticated and graded by CGC and awarded an Excellent/ Near Mint+ 6.5.Grading report: For a grade of 6.5, no more than one slightly “dinged” corner is allowed, or no more than two of the following flaws: two or three fuzzy corners; slightly rough edges; noticeable print spots. A moderate diamond cut is allowed, and light wax staining on the front is acceptable.About this card: The Original Base Set went through a number of variations and printings through 1999 and not all of them are widely known.The first iteration is known as 1st Edition Shadowless. This variation is distinct from the others on two grounds: 1) The 1st edition circular stamp on the left-hand side of the card is clearly visible, and 2) A shadowless card has a different colour pallet than its unlimited counterpart. The official terminology is what’s known as missing the ‘drop shadow’ on the card, specifically around the art box but the best way to describe it is it kind of looks like the entire card is sun damaged/bleach.
THE most coveted and talked about card of a generation - This 1st edition shadowless Charizard is the debut of the famous Kanto starter.This card has been authenticated and graded by CGC and awarded an Excellent 5.5. Grading report: At 5.5, the corners may exhibit light “fuzzyness” and very minor rounding. The corners may come to a point but may have one or two “dinged” corners. There may also be chipping on the edges, minor border discoloration, noticeable print spots and/or color or focus imperfections on the surface.About this card: The Original Base Set went through a number of variations and printings through 1999 and not all of them are widely known.The first iteration is known as 1st Edition Shadowless. This variation is distinct from the others on two grounds: 1) The 1st edition circular stamp on the left-hand side of the card is clearly visible, and 2) A shadowless card has a different colour pallet than its unlimited counterpart. The official terminology is what’s known as missing the ‘drop shadow’ on the card, specifically around the art box but the best way to describe it is it kind of looks like the entire card is sun damaged/bleach.
While this Shadowless 1st Edition may be the first printed Chansey, prototypes of this card were discovered and even reprinted and gifted to TCG artists and employees in 2021 for the 25th Anniversary. This card has been authenticated and graded by CGC and awarded an Excellent/ Near Mint+ 6.5.Grading report: For a grade of 6.5, no more than one slightly “dinged” corner is allowed, or no more than two of the following flaws: two or three fuzzy corners; slightly rough edges; noticeable print spots. A moderate diamond cut is allowed, and light wax staining on the front is acceptable.About this card: The Original Base Set went through a number of variations and printings through 1999 and not all of them are widely known.The first iteration is known as 1st Edition Shadowless. This variation is distinct from the others on two grounds: 1) The 1st edition circular stamp on the left-hand side of the card is clearly visible, and 2) A shadowless card has a different colour pallet than its unlimited counterpart. The official terminology is what’s known as missing the ‘drop shadow’ on the card, specifically around the art box but the best way to describe it is it kind of looks like the entire card is sun damaged/bleach.
The walking (and floating) supercomputer of Hoenn, it's Metagross ?!This card has been authenticated and graded by CGC and awarded an Excellent/ Near Mint+ 6.5. Population 9. Grading report: For a grade of 6.5, no more than one slightly “dinged” corner is allowed, or no more than two of the following flaws: two or three fuzzy corners; slightly rough edges; noticeable print spots. A moderate diamond cut is allowed, and light wax staining on the front is acceptable.About this card: Known to the community as ‘Gold Star’ the ‘Star’ rares feature a Pokémon in their Shiny form and are adorned with a Golden ? in the name. While Shiny Pokémon in the mainline games vary from odds of 1/8,192 to 1/4,096 (excluding methods) the ? rares were approximately 1 in every 72 packs (1 in 2 Booster Boxes). Shiny Pokémon are a recurring element of the TCG, showing up in many forms, and under many different named rarities.
You cannot get more OG than a Shadowless 1st Edition holo, Venusaur knows it is a icon. This card has been authenticated and graded by CGC and awarded an Excellent+ 5.5.Grading report: At 5.5, the corners may exhibit light “fuzzyness” and very minor rounding. The corners may come to a point but may have one or two “dinged” corners. There may also be chipping on the edges, minor border discoloration, noticeable print spots and/or color or focus imperfections on the surface.About this card: The Original Base Set went through a number of variations and printings through 1999 and not all of them are widely known.The first iteration is known as 1st Edition Shadowless. This variation is distinct from the others on two grounds: 1) The 1st edition circular stamp on the left-hand side of the card is clearly visible, and 2) A shadowless card has a different colour pallet than its unlimited counterpart. The official terminology is what’s known as missing the ‘drop shadow’ on the card, specifically around the art box but the best way to describe it is it kind of looks like the entire card is sun damaged/bleach.
It's always exciting to see Shadowless 1st Edition Base Set cards, so a Zapdos holo is extra cool! This card has been authenticated and graded by CGC and awarded an Excellent/ Near Mint+ 6.5.Grading report: For a grade of 6.5, no more than one slightly “dinged” corner is allowed, or no more than two of the following flaws: two or three fuzzy corners; slightly rough edges; noticeable print spots. A moderate diamond cut is allowed, and light wax staining on the front is acceptable.About this card: The Original Base Set went through a number of variations and printings through 1999 and not all of them are widely known.The first iteration is known as 1st Edition Shadowless. This variation is distinct from the others on two grounds: 1) The 1st edition circular stamp on the left-hand side of the card is clearly visible, and 2) A shadowless card has a different colour pallet than its unlimited counterpart. The official terminology is what’s known as missing the ‘drop shadow’ on the card, specifically around the art box but the best way to describe it is it kind of looks like the entire card is sun damaged/bleach.
Mahadev Desai First Edition Year - 1929 8.5 x 5.5 x 1.5 inches Published by Mahadev Desai The Story of Bardoli is a compelling narrative of the successful struggle led by Sardar Vallabhbhai Patel in the Bardoli region of Gujarat in 1928. The book details the peasant revolt against the oppressive land revenue policies imposed by the British government which had burdened farmers with exorbitant taxes. Desai a close associate of Patel recounts the events with clarity and emotion capturing the spirit of resilience and unity among the villagers. Through his account Desai highlights the pivotal role of Sardar Patel in organizing the movement using non-violent methods of protest and civil disobedience. The Story of Bardoli is a significant historical document shedding light on a crucial moment in India’s struggle for independence and demonstrating the power of collective action in the face of injustice. Non-Exportable
First Edition Year - 1961 7.5 x 10 x 1 inches Rabindranath Tagore has not only been a one-man synthesis of the old and the new the ancient and the modern but he has also been because of his extra-ordinary catholicity of mind a leading light to the world struggling to be reborn into sanity. This edition is an offering to the memory of Rabindranath Tagore on the occasion of the Centenary of his birth and contains valuable studies on the many aspects of Tagore's personality and genius contributed by eminent writers and scholars from many parts of the world. There is a full and comprehensive chronicle of the poet's life from year to year. The incorporation of some famous portraits of the poet by distinguished artists adds to the value of this publication which is as much a tribute to the genius of Tagore as a guide to its comprehension.
GURDIAL MALLIK First Edition Year - 1961 7 x 5 x 0.1 inches Published by Gurdial Mallik Gandhi and Tagore explores the relationship and philosophical convergence between two of India’s most revered figures—Mahatma Gandhi and Rabindranath Tagore. The book delves into their differing yet complementary views on key issues such as nationalism spirituality and social reform shedding light on how both leaders shaped India's cultural and intellectual landscape. Mallik examines the personal interactions between Gandhi and Tagore as well as their respective contributions to the Indian independence movement. Through this detailed analysis Gandhi and Tagore offers insights into the ideological and moral debates that emerged during India’s struggle for freedom and presents a nuanced understanding of their legacy in shaping the nation’s future.
2 The Who, The Kids Are Alright (1979) Unusual Polydor Records LP Posters for the soundtrack from The Who's documentary film of the same name, the posters taking the form of a photo reel and presenting dynamic images of the band in live action, 13 1/4 x 39 inches, both unfolded with light creasing and surface marking (2).
Queen signed magazine from 1986, cover is autographed by all four members of the band, Freddie Mercury, John Deacon, Brian May and Roger Taylor. (Ex-Sotheby's auction item from 1997).Condition Report: light wear to cover. Please note the signatures have not been authenticated, therefore please satisfy yourself prior to bidding on this Lot.
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