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Lot 420
Duke of Cornwall Light Infantry Interest. John Philip (Aberdeen City Police) late sergeant, 2nd Battalion Duke of Cornwall’s Light Infantry. 'Reminiscences of Gibraltar, Egypt and the Egyptian War, 1882,' first edition, D. Wylie & son, Aberdeen, 1893.John Philip was a member of the 2nd bn D.C.L.I, 44th regiment, he participated in the 1882 campaign in Egypt including the battles of Kassassin 26th Aug & 9th Sept 1882 & Tel-el-Kebir 13th Sept 1882, in which the 2nd battalion took a prominent part. 19 pages in original boards which are faded, the front cover gilt insignia also faded, with the stamp of the president official mess D.C.L.I. 15/10/38 and the name Col Turner D.C.L.I, a scarce copy.
Lot 423
'The History of The Duke of Cornwalls Light Infantry 1939-1945'. Major E. G. Godfrey in collaboration with Major-General R. F. K. Goldsmith. 'The History of the Duke of Cornwall’s Light Infantry 1939-1945,' 8vo, numerous maps (a number full page), unclipped dj, green regimental cloth, fine, The Regimental History Committee The D.C.L.I, 1966.
Lot 424
Duke of Cornwall Light Infantry Interest. Lieut-General Sir Francis Tuker. 'The Chronicle of Private Henry Metcalfe H. M. 32nd Regiment of Foot,' first edition, this book in the main is printed from the manuscript of the chronicle of a private in the 32nd Regiment of Foot, which bore the brunt of the defence of Lucknow in the Indian mutiny, a good copy in dustwrapper, Cassell & Co Ltd, London, 1953.Colonel J. W. Sewell. 'A Record of the Life and Times of Capt Bernard McCabe,' first edition, a soldier of HM’s 31st and 32nd regiments 1822 (?) to 1857, 16 pages, published by the author, 1951.D. Endean Ivall and Charles Thomas. 'A Supplement to Military Insignia of Cornwall,' first edition, 17 pages, good condition, Penwith Books in association with D.C.L.I. Regimental Museum, 1976.D. Endeanivall/Charles Thomas. 'Military Insignia of Cornwall,' first edition, pub by Penwith Books, 1974; With another copy of a Supplement to Military Insignia Cornwall, 1976, first edition. (5)
Lot 425
Lieutenant-Commander Robert Peverell Hichens D.S.O.,D.S.C.,R.N.V.R. 'We Fought Them in Gunboats,' with a forward by Rear-Admiral Hugh Hext Rogers, M.V.Q, O.B.E, first edition, original cloth, loosening to front board, b+w frontis, Michael Joseph, London, 1944.Robert Hichens was a solicitor in Falmouth when war broke out. Three years later with the D.S.O. and Bar, D.S.C. and two Bars, Robert Hichens became the most decorated officer of the Royal Navy Voluntary Reserve, after 148 operations and 14 actions, he was killed by a chance shot in April 1943, scarce.Hiorns and Miller, Devonport (pub). 'War Services of the 1/5th Battalion the Duke of Cornwall’s Light Infantry 1914-1919,' thin card wraps with front wrap separating slightly, being a narrative of events of the 1/5th Battalion D.C.L.I, 1914-1919, 31 pages.Major J. H. T. Cornish-Bowden. 'Notes on the History of the Duke of Cornwall’s Light Infantry no.1 The Raising of the Regiment and the Meaning of its Name,' first edition, thin card wraps, fine, Hiorns and Miller, Devonport, 1913.Major J. H. T. Cornish-Bowden. 'Notes on the History of The Duke of Cornwall’s Light Infantry no.2 Early War Services,' first edition first edition, thin card wraps, fine, Hiorns and Miller, Devonport, 1914. (4)
Lot 429
Duke of Cornwall Light Infantry Interest. Major-General W. K.Venning c.b. Colonel the Duke of Cornwall’s Light Infantry. 'Regimental Orders 1936 Published Under Paragraph 1651, Kings Regulations,1935,' first edition, tipped in note from the King Edward VII’s Hospital for Officers, showing charges where applicable, good copy in dustwrapper 144 pages; Together with a 43rd Wessex Division 1949 service and ceremony pamphlet.
Lot 431
General Birdwood (Sir William Birdwood) 1865-1951. 'From the Australian front Xmas,' first edition, illustrated throughout with captioned photographs by Capt F. Hurley, Lieut E. Brooks, H. F. Baldwin and Lieut G. H. Wilkins plus drawings and cartoons, compiled as a picture book for the Australian home front as the troops prepared to face their fourth Christmas of The Great War, cover loose and in good condition, Cassell and Company Ltd, London, 1917.With: 'Soldiers Died in the Great War part 1914-1937 The Duke of Cornwall’s Light Infantry,' reprint, 1988, published by H. M. S. O.'Soldiers Who Died in The Great War 1914-19,' part 16, The Devonshire Regiment, 1988 published by H. M. S. O.'Soldiers Who Died in The Great War 1914-19,' part 18, Prince Albert's (Somerset Light Infantry) published by H. M. S. O.'Soldiers Who Died in The Great War 1014-19,' part 43, The Dorestshire Regiment, 1988, published by H. M. S. O.
Lot 434
The Defence of Lucknow. Duke of Cornwall Light Infantry Interest. Thomas Fourness Wilson. 'The Defence of Lucknow. A Diary Recording the Daily Events During the Siege of the European Residency from 31st May to 25th September 1857,' first edition, bound in is the plan of the entrenched position of the British garrison at Lucknow 1857, being a precise account of the siege, within the appendices are accounts by senior officers and their roles in the action, a complete nominal list of the officers, members of the uncovenanted service, and women and children of the Lucknow garrison, and as the return proceeded from an official source the authenticity may be fully relied on. 224 pages, 16 pages of advertisements, in original wraps one internal endpaper needs regluing, contents sound and in good condition, Smith, Elder and Co, 65 Cornhill, London, 1858.Together with a memorial supplement for the 'One and All' 32nd Lucknow residency, being a description of the inauguration of 32nd memorial in the residency, Lucknow, April 5th 1899, encompassing two articles, one from the Indian Daily Telegraph April 4th 1899 and the other from The Pioneer April 10th 1899. 6 pages published at the regimental printing office, 1st D.C.L.I. Dilkusha, Lucknow, India.A programme of service held in the Lucknow residency April 5th 1899, to unveil the memorial, attached ‘’horse guards 14th may 1858’’ her majesty is pleased to direct that 32nd Regiment be clothed, equipped and trained as a light infantry regiment from 26th February 1858. Her Majesty has also been pleased to command that the word 'Lucknow' shall borne on the regimental colour; with a copy of the cloth and the added insignia. (4)
Lot 521
Cothele, on the Banks of the Tamar, 1840. Nicholas Condy (with a descriptive account written expressly for the work by the Rev’d F. J. V. Arundell). 'Cothele, on the Banks of the Tamar, The Ancient Seat of the Earl of Mount Edgcumbe,' hand coloured tinted lithographed title and 17 plates, plain lithographed plan, very light occasional spotting, presentation inscription on a fly leaf ‘’Charles Ekins Adm’l to Emily Raper, 1852’’, original half roan, gilt arms on upper cover, slightly rubbed (abbey:scenery 414), folio 1840, first edition, published by the author, a very good copy.
Lot 624
'Notice to Mariners. Light for Falmouth Harbour', Trinity-House, London, 6th April, 1835: Notice is Hereby Given that...a Light on St. Athony's Point, Flamouth Harbour, will be exhibited on the Evening of Monday, the 20thinstant... for Guidance of Vessels entering or departing from the Harbour.....[signed] J. Herbert, Secretary.A small folio sheet printed on thick laid paper, 330mm x 208mm, Printed by Smith & Ebbs, Postern-row, Tower-hill, London, 1835.
Lot 649
Samuel Pascoe. 'On the Cornish Coast'. 'A Series of Thirteen Excursions on Cornish Shores,' first edition, 8vo good (vi) 112 pages, a degree of light foxing throughout, attractive pictorial card covers, bound into later dull half leather, contemporary presentation inscription on the halftitle, possibly by the author, also later inscription on the inside cover, ‘’Eldred Pascoe from his father ‘’ Boase and Courtney 1302, first appeared in the Western D. Mercury with the signature of ‘’Allen Kenwyn’’ in June 1877 and under the title ‘’Cornish Watering Places’’, scarce, pub by Lake & Lake, Truro, 1878.
Lot 76
Demetre Chiparus (1886-1947), 'The Vested Dancer', circa 1925, an Art Deco patinated and cold painted bronze and ivory figure of a dancer, mounted to a veined onyx plinth base, signed in the base53.5cm high overallThis item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No. 8E36Y2J5The bronze in good condition, a couple of light cracks to the ivory face. The onyx is rather rubbed and slightly chipped where the bronze meets the base, and the fixing is loose at this point and thus the figure does not stand up straight at present.
Lot 12
Philip Rashleigh (1729-1811). 'Specimens of British Minerals,' 'Selected from the Cabinet of Philip Rashleigh of Menabilly in The County of Cornwall Esq M.P,' London: W. Bulmer & Co for G & W Nicol and J. White, 1797-1802, first editions, 2 parts bound in one volume, quarto, one of the most attractive books on minerals, with the first part being published in 1797 and contains 33 aquatint plates illustrated by henry bone (1755-1834) of Truro, the second part published in 1802 with 21 hand coloured aquatint plates (comprising 20 plates of minerals and one of strata) with general descriptions of each article, the hand coloured plates in vol 2 are mainly illustrated by Medland and others after J. R. Underwood with occasional light foxing.Tipped in a letter addressed from 'Menabilly 26th July 10 p.m. Dear Sir, I believe this will overtake a letter I sent this morning & I write to give you the earliest account of the box with the pictures being and arrived. My servant brought it in from Fowey where it came by water from Lostwithiel & I think they said it came to Lostwithiel by a waggon which is by much the best way for anything liable to damage as the outside of the box was wet I immediately opened it & found the things exceeding we; pack and quite dry. I have not opened my brother Charles’s Pikture of Earl Mount Edgecumbe as it seems so very secure. I shall deliver it to him on Monday. I once more thank you for your trouble & am Dear Sir Your most Honourable servant Philip Rashleigh.'Philip Rashleigh served as the M.P. for the local family constituency of Fowey from 1765 until 1802. The family home Menabilly is situated between Fowey and St Austell. The latter being an important centre for China Clay mining, so Rashleigh was ideally placed to pursue his interest in geology, forming one of the most distinguished early collections of minerals. Of particular note are his unsurpassed examples of Cornish minerals which are meticulously detailed in this work.With the bookplates of Mr J. Paul de Castro, School of Mines, Redruth, Cornwall and John Blowey, with the sticker of W. Heath, books bought or exchanged 29 ½ Lincoln ‘s Inn Fields, in an original tooled binding with gilt lettering and gilt embossed on the spine and covers, a near fine copy of a scarce work.
Lot 179
George Blaxland Rogers. 'The Practice of the Sheriffs Court of the County of Cornwall: With a Collection of the Most Modern Forms of Precedents of Process and Useful Pleadings &c,' First edition, page edges uncut, light foxing, original pale blue covered boards, neatly rebacked with the bookplate of John Blowey, a very good copy, E. Heard, Truro, 1824,Dedicated to John Samuel Enys, High Sheriff of the County of Cornwall, Boase and Courtney p585.
Lot 298
John Colman Rashleigh, 1811. 'A Revised Report of a Speech Delivered at the Meeting of the Friends of Parliamentary Reform in Cornwall, Held at Bodmin on the 8th July 1811,' first edition, 8vo, very good, 59 pages, light soiling, new endpapers, rebound in brown cloth, dark brown morocco spine with gilt lettering, an early St Austell imprint (Boase and Courtney, 545pp) printed and sold by E. Hannah, St. Austell, 1811.
Lot 400
A collection of James Hadley for Royal Worcester "Countries of the World" shot-silk porcelain figures, late 19th century, including 851 England, Ireland, Wales (pair), together with a Herend porcelain figure of a seated Sultan. 18 cm overall height of the largest figure."Yankee" figure professional restoration to brim of hat, back stamp partially missing.Welshman figure has professional restoration to the brim of his hat on the right hand side.Welsh Lady figure has professional restoration to her left wrist and brim of her hat.All checked under UV light.
Lot 406
A pair of early 20th century Royal Worcester Bleu de Roi porcelain twin-handled sweetmeat urns, painted with scenes of Worcester cathedral from the opposite bank of the Severn, possibly by the hand of Charley Deakins below a leadless glaze, on simple spreading pedestal feet bearing green backstamps with date cyphers for 1900. 14 cm wide x 10.5 cm high. Checked under UV light no restoration, some small patches that fluresse at different levels but are vitrified when examined further.
Lot 50
Frederick George Cotman (British, 1850-1920), Self Portrait of the Artist as a young man holding a brush to his cheek, oil on canvas, inscribed in ink verso F.G. Cotman by Himself when a lad of about 17, c. 1867, 30cm x 24.5cmThe Cotman FamilySealed in the frame and glazed - painting has not been removed from the frame for inspection. Craquelure evident throughout. No obvious signs of damage or repairs under UV light. Small amount of retouching visible under UV under the nose and right side of lips.
Lot 3013
Rudy Vallee Original hand-signed cheque.- date stamped December 12, 1935, from the Manufacturers Trust Company, New York, made payable to Isadore Zir (possibly the viola player and jazz musician) for the sum of 35 dollars and 60 cents; with COA from UACC .Rudy Vallee (1901-1986) was an American singer, bandleader, and actor. He was one of the first original teen-idols before Frank Sinatra or Bing Crosby.Condition Report: light creasing, a small clean edge tear to centre of right edge.
Lot 3043
†The Prodigy Autographed Limited edition screenprint for Little Art Book, numbered 51/75 and blindstamped lower left, multi signed in pencil on lower margin by the four band-members including Keith Flint and further blind-stamped lower right, created by screenprinter Danny Langlois on heavy stock paper, flat, 21 x 28 ½ inches. Please note that VAT at the current rate (20%) is additionally payable on top of the hammer for this lot as well as on our standard buyers premium which is also payable. Condition Report: †light creasing to corners, overall good condition.
Lot 3054
After Bob Fried, Blue Cheer Vintage Concert Poster, 1967 first edition, first and only printing of the music poster for the concert at Denver Dog, Denver, Colorado, Nov 3, 1967, performers included Blue Cheer, The Superfine Dandelion, Lantern Works Light Show, signed in the print by the artist, 13 ½ x 19 ¾ within frame, 17 ¼ x 23 ½ inches overall, framed and glazed.Condition Report: some toning to edges and margins, otherwise overall good condition.
Lot 3075
A Pair of hand-numbered Keystone Agency photographic prints of John & Yoko; and The Rolling Stones - comprises: After Nico Koster (b. 1940). John Lennon & Yoko Ono Amsterdam Bed Peace, 1969, originally taken by Koster, a photo journalist for the Dutch newspaper De Telegraaf, at the Hilton Hotel, Amsterdam, numbered 123 lower right, 11 ½ x 9 inches within mount, 20 ¼ x 16 ½ inches overall, framed and glazed; The Rolling Stones, depicted Charlie Watts, Mick Jagger, Bill Wyman, Keith Richard and Brian Jones out walking in Green Park, London, c.1967, numbered 314 lower right, 12 x 9 inches within mount, 20 ¼ x 16 ½ overall, framed and glazed. (2) Condition Report: some light marks to white frame, otherwise overall good condition.
Lot 3078
The Beatles, After Richard Avedon, 1967 - a colour poster with psychedelic effects, printed in England, rolled, 38 x 54 inches.American photographer, Richard Avedon, photographed the Beatles on August 11, 1967 during a photography shoot held at Grays Inn Road, London; four of Avedon's photographs were embellished with psychedelic effects and later published by Stern Magazine in Germany, 1967.Condition Report: light creasing, light marks to margins, creasing and folding to lower edge, lower right corner creased with small edge tears, a clean edge tear to centre of left edge.
Lot 3120
Boxing: A Pair of 1966 Official Souvenir Championship Programmes Muhammed Ali v Henry Cooper, The Heavyweight Championship of the World, Presented by Harry Levene [in association with Viewsport Ltd.] held at Arsenal Stadium, Highbury, London, May 21, 1966, 24 pages, priced 5/-, published by Paul Cave Ltd., and Brown and Son (Ringwood) Ltd; together with, Salvatore Burrini versus Walter McGowan, Flyweight Championship of the World, Presented by Jack Solomons, held at Empire Pool, Wembley, June 14, 1966, 24 pages, priced 2/6, published by Programme Publications, Ltd., various sizes, the largest 21 ½ x 28cm. (2)Condition Report: Muhammed Ali v Henry Cooper - light marks and foxing to covers, some occasional toning to internal pages. Salvatore Burrini versus Walter McGowan - some blue ink scribble and water mark to pages 2 and 3 (Jack Solomons' article) further watermark to centre fold of some pages, otherwise internally clean and overall good condition.
Lot 3131
Tennis Autographs: Tennis a group of twenty eight Signed photographs and Signed Wimbledon 1966 Programme the photographs include Fred Stolle, Neal Fraser, John Newcombe, Billie Jean King, Yvonne Goolagong, Tim Henman, Pat Cash, Richard Gasquet, Ilie Năstase, Greg Rusedski, Michael Stich, Goran Ivanišević, Sebastien Grosjean, Virginia Wade, Betty Stove, Tony Roach, Pat Cash, Goran Ivanišević, Tracy Austin, Greg Rusedski, Martina Navratilova, Laura Robson, Boris Becker, Tim Henman, Zheng Jie, James Blake, Todd Martin and Michael Stich, various sizes, the largest 12 x 8 inches; together with an Autographed Official Wimbledon Tennis Championships Programme, 1966, Signed on the front cover by Richard Krajicek winner of who the mens singles final that year, original yellow pictorial wrappers, second day, Tuesday, June 25, The All England Lawn Tennis Club, 22.3 x 30.7cm. (29)Provenance: The vendor is an autograph collector and collected the signatures in person. Condition Report: Fred Stolle and Neal Fraser photographs with a thin strip of tippex to top margins.the photographs overall all good conditions with strong signatures.Autographed Official Wimbledon Tennis Championships Programme,1966 - light creasing to covers, strong signature, internally clean.
Lot 3139
Peter Klashorst (Dutch, b.1957 -) Signed Limited edition Pop Art.- digital offset print, from a limited series of six images, Signed by the artist in gold pen, numbered 4/45 lower left, from a series of six images, rolled, 42 x 29.5cm.Condition Report: strong colour, overall light creasing,
Lot 3141
1970s Theatre Posters.- The Boy Friend, Leeds Grand Theatre & Opera House, 1977, 10 x 15 inches; The Black Mikado, by W.S. Gilbert and Arthur Sullivan, Gala Charity Premier, Grand Theatre, Leeds, 10 x 15 ¾ inches; Folk Night at the Portland Hotel, Birkdale, 12 ¼ x 19 ¾ inches; Godspell, Grand Theatre, Leeds, 1977, 10 x 15 inches; Puppetry Through the Ages, Cookham Arts Festival, 12 ¼ x 20 inches, and a duplicate; 'New London Ballet', Pavilion Theatre, Bournemouth, 10 x 15 inches, and two duplicates; 'New London Ballet', an oversized print of two British press reviews for the ballet company by the Sunday Telegraph and The Guardian, 1979, stapled on card, 21 ½ x 31 ½ inches; together with four ballet related black and white photographic prints pasted on board, various sizes, the largest 28 ½ x 23 inches. (15) Condition Report: The Boy Friend and Godspell - two holes punched to top edges with string ties.Cookham Arts Festival - creasing overall, one poster with light foxing.Ballet related black and white photographic prints - rubbing some some edges and corners.
Lot 3147
†After Rugman, Mickey, 2010 Limited edition screenprint for Little Art Book (LAB) numbered 54/75 in pencil and blind-stamped lower left, signed and dated in pencil by the artist lower right, created by screenprinter Danny Langlois on heavy stock paper, flat, 20 x 28 ¾ inches.Please note that VAT at the current rate (20%) is additionally payable on top of the hammer for this lot as well as on our standard buyers premium which is also payable. Condition Report: †light creasing to corners, some light marks to margins.
Lot 3148
†After Dan Kitchener, Cargo Mural 2008 - Limited edition screenprint, numbered 60/75 in pencil and blind-stamped lower left, signed by the artist in pencil lower right, created by screen printer Danny Langlois on heavy stock paper, flat, 19 x 26 ½ inches. Please note that VAT at the current rate (20%) is additionally payable on top of the hammer for this lot as well as on our standard buyers premium which is also payable. Condition Report: †a few light marks to margins.
Lot 3156
†After Rourke Van Dal for Little Art Book Limited edition screenprint, numbered 7/7 and blindstamped lower left, signed by the artist lower right, created by screenprinter Danny Langlois on heavy stock paper, flat, 18 x 25 inches.Please note that VAT at the current rate (20%) is additionally payable on top of the hammer for this lot as well as on our standard buyers premium which is also payable. Condition Report: †light creasing, overall good condition.
Lot 3157
†After Gabriel Moreno for Little Art Book Limited edition screenprint, numbered 92/105 and blindstamped lower left, signed by the artist in pencil lower right, created by screenprinter Danny Langlois on heavy stock paper, flat, 25 ½ x 3 ¼ inches. Please note that VAT at the current rate (20%) is additionally payable on top of the hammer for this lot as well as on our standard buyers premium which is also payable. Condition Report: †light creasing to corners, overall good condition.
Lot 3176
Soviet Cosmonaut Press Photographs, 1977.- a group of three black and white Soviet press photographs, depicted engineer, Georgy Grechko and flight commander, Yuri Romanenko, the two-men crew of Soyuz 26 spacecraft mission bound for the Salyut 6 space station, December 10, 1977. The men returned home on March 16, 1978, after 96 days in space beating a spaceflight record set by U.S. astronauts on the Skylab station in 1974, each photograph with a typescript label in Russian text to verso, 9 ¾ x 71/2 inches. (3)Georgy Grechko (1931-2017) and Yuri Romanenko (b.1944) whilst in the airlock prepared for a space walk to inspect potential damage to the space station, Romanenko, on his first flight, pushed against the wall but had forgotten to attach his safety cord. Grechko rescued his fellow cosmonaut and managed to grab the cord with one hand. The accident was dramatized in the press as the electrical cables attaching Romanenko would have certainly stopped him from leaving the space station. Condition Report: light creasing, overall good condition.
Lot 3181
2000AD Judge Dredd comic magazines, 1989-2010 a group of fifty-seven issues, an incomplete run from 21 January 1989 Prog 610 through to 24 November 2010 Prog 1712, includes eight duplicate issues; together with a 2000AD poster calendar for 2003, presented with Judge Dredd magazine issue 201, artwork by Jock, folded, 32.5 x 55cm. (58)2000AD is a weekly British science-fiction comic, first published by IPC Magazines 26 February 1997. The anthology magazine, most noted for its Judge Dredd stories, was was a training ground for some of Britain's best artists and writers such as Dave Gibbons, Brian Bolland, Alan Moore and Pat Mills. Condition Report: the comics - light creasing to a few covers, otherwise overall good condition.2003 calendar - overall light creasing.
Lot 3220
James Bond and related books The Man With the Golden Gun Ian Fleming first edition, publishers brown cloth, second state binding without the golden gun to front board, Published Jonathan Cape, 1965; together with a group of 20+ related volumes, mostly first editions, includes, BROSNAN (John). James Bond in the Cinema, A.S. Barnes, Tantivy Press, second edition (1981) multi-signed on half-title, dust jacket unclipped; MOSELEY (Roy). Philip and Martin Masheter, Roger Moore A Biography, 1985 multi-signed by the three authors on title; together with twelve Ian Fleming Pan paperback books, 1960s-70s, first and early printings, including some duplicates. (23) Condition Report: overall good condition -The Man With the Golden Gun - light marks to bright boards, light foxing and some marks to edges, internally clean with some slight toning.Pan paperbacks with loss to some of the spines, toning to edges and pages.
Lot 3222
Biographies: Music and related Signed first edition books a group of nine Hardback books, comprises: SMITH (Adrian) Monsters of River Rock My Life As Iron Maidens Compulsive Angler, signed by the author on a titled label pasted to front endpaper, published by Virgin Books, London, 2020, publishers black cloth, lettered in red to spine, dust-jacket unclipped; TUTTI (Cosey Fanni ) Re-Sisters, signed by the author on the half-title page, published by Faber and Faber, London, 2022; SONEFIELD (Jim) Swimming with the Blowfish, signed by the author on the preliminary page, published by Omnibus Press, 2022; KRIEGER (Robby) Set the Night on Fire, signed by the author on the title page, published by Wiedenfeld & Nicholson, 2021; FERANNA (Frank) and Nikki Sixx, The First 21: How I became Nikki Sixx, signed by Nikki Sixx on a titled label pasted on half-title page, published by Constable, 2021; JOHNSON (Brian) The Lives of Brian, signed by Brian Johnson with official stamp on preliminary page, published by Penguin Random House UK, 2022; HARRY (Debbie) Face It, signed by Debbie Harry on photo. illustrated preliminary page, published by Harper Collins, 2019; ROBERTS (Chris) The Velvet Underground, signed on the half-title by the author, published by Palazzo Editions, 2022; FRAMPTON (Peter) with Alan Light. Do You Feel Like I Do?, first trade paperback edition, signed on a paper label pasted on half-title, published by Hatchette Books, New York, 2021. (9)Condition Report: overall near mint conditions.
Lot 3242
Tom Hanks, Big (1988) Autographed replica film script cover page.- a single sheet, marked Revised Script 7/2/87, Signed by Tom Hanks in blue ink lower right. 21 x 29.5cm.The fantasy comedy-drama film, Big, starred Tom Hanks as Josh Baskin, a pre-adolescent boy whose wish to be big transforms him physically into an adult.Condition Report: light creasing, strong signature.
Lot 3249
Barnes (Pamela) Fanderson 84.- an original programme for the British Gerry Anderson Convention, Amplion Press, Gerry Anderson Appreciation Society, 1984, first edition, first printing, original pictorial stapled wrappers, designed by Steve Kyte, black and white photo. illustrations, profiles of guests, including Christine Glanville, 20pp., 4to, 30 x 21 cm.Provenance: The Collection of British puppeteer, Christine Glanville (1924-1999). Glanville's long collaboration with Gerry Anderson began in 1956 as a puppet operator on the Twizzle And Torchy TV. series. She went on to design, sculpt and operate many leading characters including Four Feather Falls, Supercar, Fireball XL5, Stingray, Thunderbirds, Captain Scarlet And The Mysterons, Terrahawks and Andersons unscreenedSpace Policepilot episode.Glanville secured the stage rights to Rupert Bear from the Daily Express in the 1970s and formed The Stage Three Company with fellow Century 21 puppeteers, Rowena White and David Ross.Glanville was a grandniece of Robert Peel Glanville Blatchford (1851-1943) socialist campaigner, journalist, and author, and her grandfather was Punch cartoonist, Montagu Blatchford.Condition Report: light creasing to upper cover, rubbing to spine, internally clean and overall good condition.
Lot 3253
Batman: a group of models, figurines and related memorabilia - includes, Hotwheels Mattel 2004 Battle-Damaged Limited Edition Batmobile, 1/1000, die-cast metal (G3665-0910) scale 1:18, within original box (opened); and five other Hotwheels Mattel 2013 die-cast models, including The Batman Batmobile (03/08), Batmobile (05/08), The Bat (06/08), Batman Arkham Asylum Batmobile (07/08), and Batman The Brave and The Bold Batmobile (08/08), each within original card-backed packaging (unopened); together with, Prince, 'Batdance', vinyl single record, 45rpm.,from the Original Motion Picture Soundtrack, side two - '200 Balloons', Warner Bros, TM+ 1989, DC Comics Inc; and a 1989 colour Athena International postcard,depicted Jack Nicholson with a joker playing card in his hand. (8)Condition Report: signs of wear to original boxes and packaging, the models and figures overall good condition. Prince, 'Batdance', vinyl single record - light creasing to record sleeve.
Lot 3336
Captain Scarlet and the Mysterons collection. A vintage Action Man style doll, Angel Aircraft (Vintage- A 21 Toy) boxed, The Angels Pendant, A Mysterons Light Phaser. In the shadow of fear PC CD rom game. Kellog's Sugar Smacks repro cereal box, an LCD pocket game, painting by numbers set, bubble bath, Playsuits, Sweet selection pack (empty) and a Barratt Captain Scarlet easter egg, an Athena clock, a mug a Boots cassette player and more. (2 boxes)
Lot 3416
Batman: Batman and Robin, Canvas hanging poster and Bat-Signal sign - comprises: Music from, and Inspired by, the Batman & Robin Motion Picture. a canvas hanging poster, promoting the soundtrack album to the Motion Picture Batman & Robin (1997) Warner Bros. Records Inc., 36 x 50 inches; together with a large yellow and black Batman logo, Bat-Signal foam sign, 45 ½ x 26 ½ inches. (2) Condition Report: Batman and Robin Canvas poster - light marks to canvas. Batman logo, Bat-Signal foam sign - a few scuffs and light marks.
Lot 1483
Anhänger mit Diamant von 1,08 ct an Ketteneuzeitlich, Gelbgold geprüft 585/1000, besetzt mit einem geschliffenen Diamanten in Princesscut von 1,08 ct, Farbe Light Yellowish Grey, Reinheit very small Inclusions 2, Schliffqualität sehr gut, an ca. 45 cm langer Venezianerkette, Gelbgold gestempelt 14 K = 585/1000, G gesamt ca. 1,8 g, beigegeben: Expertise der International Gemological Laboratories aus dem Jahr 2002.
Lot 19
Kadhim Hayder (Iraq, 1932-1985)Al Qamar oil on canvas, framedsigned 'K HAIDAR' and dated '1966' on the stretcher, executed in 1966104 x 134cm (40 15/16 x 52 3/4in).Footnotes:Al-QamarA monumental 1966 composition from Kadhim Hayder's Epic of the Martyr series formerly in the collection of the Iraqi Ambassador to Lebanon H.E Nathir Umari'The Hour has drawn near, and the moon was split in two.' Surah Al-Qamar'The horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom'- Kadhim Hayder'The exhibition of The Epic of the Martyr took place in circumstances that were politically and culturally complicated; it turned the idea of martyrdom into a modern symbol that cried out in tragedy apart from any religious interpretation.'- Dia al-AzzawiProvenance:Property from the collection of H.E Nathir Umari, Iraqi Ambassador to Lebanon (1963-1966), acquired directly from the artist, circa 1966, thence by descent Exhibited:Kadhim Hayder, Gallery One, Beirut, 1966 This monumental painting from Kadhim Hayder's Martyrs Epic series is a powerful depiction of the climax of the cycle, the moment of Imam Hussein's death. Painted in 1966, 'Al Qamar' (The Moon) is a poignant and emotionally charged work that showcases the artist's masterful use of religious allegory and cultural mythology.The painting comes to market with an impressive provenance, having belonged to Nathir Umari, a prominent Iraqi diplomat who served amongst other postings as ambassador to Lebanon, the United States, and France throughout the 1960's. Umari was also a senior representative for Iraq at the United Nations. The painting was acquired by Umari in Beirut during his ambassadorshipThe title of the painting, 'Al Qamar' (The Moon), has significant symbolic meaning in Islamic culture and literature. The moon is mentioned numerous times in the Quran, and is often used as a metaphor for the light of God, purity, and guidance. In this painting, the red moon serves as a symbol both of mourning and of the light that Imam Hussein brought to the world through his sacrifice.What makes this painting particularly special is that it was not originally part of the Martyrs Epic series, but was painted a year after the exhibition. It shows the artist's fondness for this particular scene, and his desire to explore it further. In this respect 'Al Qamar' shares a striking similarity ot the painting from the series that is now in the Barjeel Art Foundation, which adds to its significance and rarity.This remarkable painting is a testament to Kadhim Hayder's importance in the history of Iraqi art, and his enduring legacy as an artist who captured the essence of one of the most important events in Islamic history..Saleem Al Bahloly: The Epic of the Martyr:'Haidar began working on the series in 1963 shortly after returning from London where he had studied printmaking and stage-design at the Royal College of Art. On the one hand, the paintings were a continuation of the interests of artists in the 1950s: in the inspiration Haidar found in popular culture and in his adoption of certain pictorial devices from ancient Assyrian sculpture to modern art (associated with the Baghdad Group for Modern Art) as well as in his concern with political struggles for justice (associated with the Pioneers art group). On the other hand, however, Haidar opened a new horizon for the practice of art by structuring the paintings around an act of symbolism.The paintings are composed of horses and warriors, wielding spears and swords and bearing banners and shields, that are positioned on a flat, mythical landscape. This imagery was drawn from the annual taʿziya celebrations that mourn the martyrdom of al-Husayn and other members of the Prophet's family in a stand-off with the Umayyad army in 680 AD; in particular, the imagery is taken from the processions in which a pageant of costumed figures representing characters from the battle fought on the 'plain' west of the Euphrates parade through the street accompanying poets who narrate in a vernacular tradition of verse the injustice suffered by the Prophet's family.In the paintings, this imagery has been reconstructed according to a variety of devices inspired by a range of sources: the bodies of the horses and figures are turned toward the viewer, as if they are appearing on a stage or in an ancient frieze depicting a historic battle; a sense of performance is carried into the image by the intense expressivity of their gestures which seem to dissolve anatomical features and the outline of shapes in a fervour of emotion; the limbs of human and animal bodies alike are often multiplied (an influence of Assyrian sculptural reliefs that Haider almost certainly saw at the British Museum in London) and tapered (a form of modelling inspired by the sculpture of Henry Moore).The reconstructed imagery is arranged in the paintings not to narrate a historical event but to elaborate a concept of the martyr that emerged out of that event—a hero who by his death in a struggle for truth paradoxically triumphs. Haidar developed this concept of the martyr in painting by focusing on the symbolic relation between the fallen martyr and his horse. As he explained to the newspaper al-Jumhuriyya in 1965: 'the horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom.' That symbolism is present in the mourning processions where al-Husayn is represented by a riderless white horse; but it has its roots in a legend that, when al-Husayn's horse saw his beheaded corpse, it circled around his body, rubbed its head in his blood, let out a ferocious whine and killed forty men.The paintings in The Epic of the Martyr were different sizes [they] reflect, as Dia al-ʿAzzawi has written, Haidar's desire to collapse the distinction between gallery and street, and between art and ritual, by reproducing the atmosphere of the folk celebration inside the museum. To that end, for the exhibition in 1965, Haidar composed a poem in which each line corresponded to a painting in the series, in this way reproducing the coupling of pageant and poetry in the mourning processions.This attempt to go beyond the conventional materials of painting, in order to use the artwork to stage an experience that is not only visual but also emotive, makes The Epic of the Martyr one of the earliest pieces of contemporary art in the Middle East.'Saleem Al-Bahloly received a PhD from the University of California, Berkeley, and has held fellowships at Johns Hopkins and the University of California, Santa Barbara. He is writing a book about an intellectual shift that occurred in Iraq during the 1960s in response to disillusionment with left-wing politics. The above text has been abridged.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
Lot 35
Fahr El-Nissa Zeid (Turkey, 1900-1991)Lavender oil on canvasexecuted circa 1950s72 x 58cm (28 3/8 x 22 13/16in).Footnotes:LavenderA rare and exquisite painting by Fahrelnissa Zeid from her kaleidoscopic periodProvenance:Property from the private collection, LondonProperty from the collection Fahr-El Nissa Zeid's personal assistant, Raymond Williams, EnglandGifted directly from the artist to the above owner, circa 1970s'This work is a rare specimen of Fahrelnissa Zeid's kaleidoscopic high period, a body of work that she widely exhibited in solo shows in private galleries in New York, London, Paris, and Zurich throughout the 1950s, as well as at the abstract art international exhibitions of the Salon des Réalités Nouvelles in Paris' - Adila Laidi-Hanieh'Overabundance.' by Adila Laïdi-Hanieh, PhD.Fahrelnissa Zeid deployed colour, line, the sublime, and the infinitesimal in a five-decade-long career producing an extraordinary and timeless body of work. After exploring expressionist figuration during the War in Istanbul, she settled into abstraction from 1948 to 1968, and developed, then grew out of several styles in sequence. The work on offer here belongs to her second abstract phase, of mainly monumental chromoluminarist compositions, into which she transitioned in the early 1950s after she gained in assurance with abstraction, creating her well-known kinetic vortexes. This is a rare specimen to come for sale for a few reasons: Most works in that unique style have already been acquired in the span of three decades by important institutional and private collections, and because of its relatively medium size. Chromatically this painting is also unique given its dominance by pink, fuchsia and purple, while Zeid usually favoured primary colours. Still, this work concentrates Fahrelnissa Zeid's high period style and gesture. The dynamic and kinetic swarming is reined in by an invisible base, and constituted by only four colours that jostle for space with white on the pictorial plane. Her energy allowed her to work rapidly and create complex abstractions that contemporary artists now execute via computer generated patterns projected onto canvases. Fahrelnissa Zeid created alone: First freely drawing a meandering pattern by charcoal on the canvas, then filling it with paint over hours or days of focused uninterrupted work. Her sharp rapid thrusting line turns then returns, criss-crosses, and swarms the canvas, projecting her inner visions and inner states. In the interstices of the lines are ellipses of depth and light that create movement and flight. Yet Fahrelnissa Zeid is not only a linear painter, and this small work affords its viewers the treat of glimpsing her characteristic impasto and brush strokes. This work is a rare specimen of Fahrelnissa Zeid's kaleidoscopic high period, a body of work that she widely exhibited in solo shows in private galleries in New York, London, Paris, and Zurich throughout the 1950s, as well as at the abstract art international exhibitions of the Salon des Réalités Nouvelles in Paris. This success led her to be invited by the ICA in 1954, to showcase the latest artistic developments of the Nouvelle Ecole de Paris art movement to London audiences, making her the first woman artist to exhibit solo at that prestigious modernist hub. What drove Fahrelnissa Zeid to work and paint prolifically? Art was for her a way out of her selfhood, like an 'overabundance' that 'starts where living does not suffice to express life'. She said that one does not paint to 'make art,' because 'there is no art, no works of art. There is the joy of living, the joy of creating, because one is not enough to oneself.'For further information on this lot please visit Bonhams.com
Lot 39
Adam Henein (Egypt, 1929-2020)Le Repos bronze with brown patinasigned 'A. HENEIN' (under left arm), the present work is an artist proof, from an edition of eight, executed in 197123 x 65 x 30cmFootnotes:Provenance:Property from a private collection, Gizainitially acquired directly from the Artist in 1972Illustrated:S. Wright, Adam Henein, Milan 2005 (illustrated, p. 61)Exhibition catalogue, ARTSPACE Grand Opening Group Exhibition, Artspace DIFC, Dubai, 2008 (another from the edition illustrated in colour, unpaged).S. Eigner, Art of the Middle East: Modern and Contemporary Art of the Arab World and Iran, London 2010 (another from the edition illustrated in colour, p. 289)Note:This work is accompanied by a certificate of authenticity issued by the Artist in 2020.This present sculpture by Adam Henein was executed in 1955 and reflects his sensitivity and artistic complexity even as a young man. During Henein's travels around the region of Luxor, Henein created this work, which combines elements of Pharaonic art with European Modernism. The sculpture depicts an Egyptian man resting in a traditional 'galabiya,' and its rough execution and sharp edges capture the fleeting motion of light, reminiscent of archaeological fragments from Egypt's rich cultural heritage.Henein's sculptures are deeply rooted in his heritage, as he juxtaposes the life of a sculptor with that of a peasant. The sculpture portrays a laid back labourer resting after a long day of work, while Henein himself continues to hammer away at the bronze to create the image of the relaxed worker. Despite giving the sculpture a modernist twist, Henein still manages to delve into Egypt's elaborate history. Through his use of simple, minimalistic lines, he captures a palpable mythic essence while retaining simplicity. Le repos is an exceptional early work by Henein, showcasing the artist's acclaimed career and holding great mystery in the absence of detail.'Le Repos' refers to a state of rest or relaxation; it is a term that has been used to describe many significant paintings throughout art history. There is no singular artwork or style that is definitively referred to as Le Repos, however, one notable Le Repos painting is by French Impressionist artist Pierre-Auguste Renoir. This painting, executed in 1870, depicts a young woman in a state of peaceful repose on a sofa with a book in her lap. This work is significant for its elegant portrayal of the reclining female form and how it beautifully captures a fleeting moment of everyday life. Renoir's soft, sensual brushstrokes and warm, earthy tones emphasize her beauty and femininity. This painting heavily influenced countless artists in the decades that followed, is considered one of Renoir's masterpieces and is housed in the Musée d'Orsay in Paris.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
Lot 56
Ebtisam Abdulaziz Ahmed (born United Arab Emirates 1975)The Blues acrylic on canvasexecuted in 202292 x 122cm (36 1/4 x 48 1/16in).Footnotes:'My works are a clear and present part of who I am in the theatre of life and daily existence. The variety in shapes and materials, from photographs to video, installation, numbers and geometric shapes are definitely exhibited for different purposes. Some document the accelerating times, others are blueprints of giant environmental projects, through which I showcase ideas that search for human nature and sail into adventure which explores the workings of the human brain. Others present an alternative concept to the accelerating change in our environment, and other visual concepts that explain the contrast between shadow and light. Some are intimately related to optical illusion art in a display of visually distorted geometric shapes and lines, which surely betray my closeness to mathematics. Manipulating numbers and mathematical systems is simply a cry of revolt against the shackles of oppressive regimes.'-Ebtisam Abdul AzizThis 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
Lot 59
Lorna Selim (Iraq, 1928-2021)Architectural Composition oil on panelsigned 'Lorna' and dated '1965-1993' (lower right), executed in 1965 and completed in 199340 x 230cm (15 3/4 x 90 9/16in).Footnotes:Provenance:Property from the collection of the Artist's daughterThence by decent to the present ownerBonhams is privileged to present a highly significant and comprehensive set of works by the female artist Lorna Selim. Born in 1928 in Sheffield, Lorna was the wife of the renowned Iraqi modernist Jewad Selim. She received a scholarship to study at the Slade School of Fine Arts in London where she received a diploma in painting and design in 1948. It was there that she met Jewad Selim and in 1950 they got married in Baghdad. She became a member of the Bagdad Modern Art Group founded by her husband and Shakir Hassan Al Said and became a prominent figure in Baghdad's art scene.In 1961, Jewad Selim passed away suddenly at the age of only 41 years old in the midst of a project to complete a major monumental sculpture entitled Nasb Al Hurriyah or 'The Freedom Monument' for the Baghdad's city centre. Following his death, Lorna, along with architect Rifat Chadirji supervised the completion of this iconic monument. In the 1960s, Lorna taught drawing at Baghdad University's Department of Architecture headed by the prominent Iraqi architect Mohamed Makiya. As a teacher she encouraged her students to sketch structures along the Tigris and exposed her young architects to Iraq's vernacular structures, alleyways and historical monuments. This work cultivated and inspired a generation of architects to consider including Iraqi design alongside modern Western architecture in their designs.Lorna was fascinated by the traditional Iraqi houses found along the banks of the Tigris river, from the bayoot (houses) and the mudhif (reed dwellings). Not long after her arrival in Baghdad, the city underwent a period of modernisation, and many traditional homes were being demolished. Dismayed by the destruction of the city's vernacular architecture due to rapid oil-funded modernisation, Lorna took it upon herself to paint these neighbourhoods and document them before they were erased from living memory. Lorna began by sketching a building then she would return home to start the layout of the painting. She would then return to the building to sketch the finer details and note down the colours. Between 1957 and 1963, she sketched many vernacular buildings and homes.Lorna illustrates Baghdad's architecture in her work through abstract forms of simple lines giving hieratic postures to the figures in their daily lives. And with an earthy colour palette, she celebrates the ancient culture from Mesopotamia using symbols from the Iraqi environment such as palm trees or crescent. The yellowish-sepia tones Lorna employed in the 1960s were also meant to render this architecture in an antiquated and ghostly light, a warning that these were already relics of a bygone era. It's fair to say that she immortalised a Baghdad that is all but forgotten.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 33
Highly detailed sculpture / figural lamp base possibly modeled as Juno Lucina, the goddess of light.Fixed to hollow metal base painted black. Finial knob unscrews to reveal tube for socket wire, which exits at rear of base. Moreau Mathu inscribed to base. This item has no reserve. Issued: 20th c.Dimensions: 11"L x 9.75"W x 14.25"HCondition: Age related wear. Socket and cord not included.
Lot 389
Featuring spell caster holding golden toned star wand in one hand and a toad in the other as she wears light blue dress and navy pointed hat. Opens to reveal broom painted inside the piece. La Gloriette Limoges France backstamp. Dimensions: 1.75"W x 4.25"HManufacturer: La GlorietteCountry of Origin: Limoges, FranceCondition: Age related wear.
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