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Lot 486
Laurie's New Plan Map of London and its Environs, comprising the new buildings and recent improvements, being an original survey by John Outhett dated 1831Condition report: Full dimensions 68 x 84cm.Right hand section detached.Some tears to fold lines, mainly on the centre fold.Colours faded.Taped to outer boards.
Lot 63
A set of forty proof silver medallions of The Ancient Counties of England, each struck with a county landmark and name, to commemorate the boundary changes to the ancient counties of England 31st March 1974, in a Birmingham Mint fitted presentation case, with lift out tray, 48cm, containing booklet with reproduction map by Willem and Johan Blaeu of 1635
Lot 277
Collection of Post Card mostly post 1900, including RP Horse & Cart Leytonstone, Chromo. Ristorante advert. photos. of 33 Flight in Lecce with Menu. map of Liccata, Schizzo Panoramico map, other photos and Souvenir cards, in album Condition Report Click here for further images, condition, auction times & delivery costs
Lot 440
EMMANUEL BOWEN; a circa 1747 map of West Africa, 'A New & Accurate Negroland and the Adjacent Countries; also Upper Guinea...', 34 x 42cm, framed and glazed.Additional InformationOriginal margins but dirty and frayed to the edges, single vertical fold , muted colour and they have faded in parts.
Lot 102
Fiona Grady Rainbow (AP1), 2020 Watercolour ink on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Fiona Grady creates site-responsive drawings on walls, windows and floors using sequences of dispersing geometric shapes. Her practice recognizes the relationship between architecture, installation art and decoration; often using traditional mediums, such as fresco painting and stained glass, in a contemporary context. She plays with light, surface and scale; each piece changes with the light of day emphasizing the passing of time and the ephemeral nature of the work. The artworks are imaginings of how light moves throughout a space, stretching and rotating with the throughout the day. However she does not seek to literally map light but instead create rhythms; the blocks of colour act as a vessel that pinpoints the viewers' presence within their setting and allows them to contemplate their surroundings. The artworks for Art on a Postcard auction were created during the coronavirus outbreak in her self-isolation kitchen studio. They are inspired by the rainbows created by children for the windows of their homes. The rainbows are a symbol of hope, a thank to our carers and frontline staff.
Lot 103
Fiona Grady Rainbow (AP2). 2020 Watercolour ink on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Fiona Grady creates site-responsive drawings on walls, windows and floors using sequences of dispersing geometric shapes. Her practice recognizes the relationship between architecture, installation art and decoration; often using traditional mediums, such as fresco painting and stained glass, in a contemporary context. She plays with light, surface and scale; each piece changes with the light of day emphasizing the passing of time and the ephemeral nature of the work. The artworks are imaginings of how light moves throughout a space, stretching and rotating with the throughout the day. However she does not seek to literally map light but instead create rhythms; the blocks of colour act as a vessel that pinpoints the viewers' presence within their setting and allows them to contemplate their surroundings. The artworks for Art on a Postcard auction were created during the coronavirus outbreak in her self-isolation kitchen studio. They are inspired by the rainbows created by children for the windows of their homes. The rainbows are a symbol of hope, a thank to our carers and frontline staff.
Lot 104
Fiona Grady Rainbow (AP3), 2020 Watercolour ink on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Fiona Grady creates site-responsive drawings on walls, windows and floors using sequences of dispersing geometric shapes. Her practice recognizes the relationship between architecture, installation art and decoration; often using traditional mediums, such as fresco painting and stained glass, in a contemporary context. She plays with light, surface and scale; each piece changes with the light of day emphasizing the passing of time and the ephemeral nature of the work. The artworks are imaginings of how light moves throughout a space, stretching and rotating with the throughout the day. However she does not seek to literally map light but instead create rhythms; the blocks of colour act as a vessel that pinpoints the viewers' presence within their setting and allows them to contemplate their surroundings. The artworks for Art on a Postcard auction were created during the coronavirus outbreak in her self-isolation kitchen studio. They are inspired by the rainbows created by children for the windows of their homes. The rainbows are a symbol of hope, a thank to our carers and frontline staff.
Lot 105
Fiona Grady Rainbow (AP4), 2020 Watercolour ink on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Fiona Grady creates site-responsive drawings on walls, windows and floors using sequences of dispersing geometric shapes. Her practice recognizes the relationship between architecture, installation art and decoration; often using traditional mediums, such as fresco painting and stained glass, in a contemporary context. She plays with light, surface and scale; each piece changes with the light of day emphasizing the passing of time and the ephemeral nature of the work. The artworks are imaginings of how light moves throughout a space, stretching and rotating with the throughout the day. However she does not seek to literally map light but instead create rhythms; the blocks of colour act as a vessel that pinpoints the viewers' presence within their setting and allows them to contemplate their surroundings. The artworks for Art on a Postcard auction were created during the coronavirus outbreak in her self-isolation kitchen studio. They are inspired by the rainbows created by children for the windows of their homes. The rainbows are a symbol of hope, a thank to our carers and frontline staff.
Lot 151
Kathryn Macnaughton Bundle of Love, 2020 Acrylic and pencil on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Canadian artist Kathryn Macnaughton deftly interweaves figurative painting with a combination of abstract expressionism, geometric abstraction, and even conventions of the painted still-life into one poetic statement. Here, these forms of figuration and still life have been flattened, like their more abstract counterparts, to face the frontal plane of the canvas. In this sense, the canvas - and the analog process of the painter's hand - references the computer screen and the digital touch, where these pieces originally begin to take their shape. She states: I wanted my digital work to look raw and handmade. Now that I create "physical" paintings, I want to give the illusion that the work is digital. Macnaughton, who trained and worked as a graphic designer, uses this sort of 'digital compression' to her advantage, and one begins to use typically post-analog language when discussing her work: masking, layering, colour-blocking, silhouette. Here these concepts are paired with more Romantic expressive movements: a scribble dances across a bust, outlined in silhouette, which guides the viewer's eye around the flattened curves as one guides the finger across a map. The work simultaneously houses a sensuality one aligns with gender tropes: as suggestions of feminine curves play shadow-tricks, appearing as vessels or curtains that guide the eye, but also obscure and reveal the picture plane while painterly splatters ad curves leap behind and before the picture plane. But also the masculine, referencing brutalist and Modernist architecture: the austerity and monolithic qualities of shape, form, and line, or perhaps even the sharp angles of cacti in the desert. We see references from Robert Morris to Georgia O'Keefe; Diebenkorn to DiChirico, and even a cheeky reference to the highly stylized drawings of Patrick Nagel (more colloquially known as the artist who made Playboy 'drawings' iconic of the entire 1980s). The work therefore works in polarities: analog and post-analog mark-making (ie: the painterly and the digital); feminine and masculine; pragmatism and Romanticism; expressiveness and obfuscation; light and dark. There is a sense of theatricality to her revelations, and it is, in every sense, a cheeky play of light and dark versus form and technique, like boxing with one's own shadow - an art of individual, delicate mastery.
Lot 193
LOWSON ALEXANDER. Tales, Legends & Traditions of Forfarshire. First Series. Frontis & illus. Orig. pict. green cloth. Forfar, 1891; also New Statistical Account of Scotland, Clackmannshire, double page hand col. eng. map, orig. cloth, 1842 & Turner's Sketches & Drawings of Stirling & Neighbourhood, 1936. (3).
Lot 208
POPE ALEXANDER (Trans). The Iliad of Homer. 2 vols. Vol. 1 with eng. frontis & fldg. map, vol. 2 with fldg. eng. frontis & fldg. eng. plate. 12mo. Calf, rebacked. A. Manson, R. Williams & Others, n.d. but inscribed to front paste-down "1780 £0.5.9"; also the uniform 2 vol. set of Pope's Odyssey of Homer. (4).
Lot 301
WILSON ROBERT THOMAS. History of the British Expedition to Egypt to which is subjoined a Sketch of the Present State of That Country & Its Means of Defence. Port. frontis in facsimile. 3 fldg. eng. maps (some repairs noted to one of these) & 2 fldg. tables. Quarto. Rebound half calf, reps. to half title & title, damp stng. to early & concluding leaves. 1802; also the 12mo ed. of the same, frontis, map in facsimile, rebound qtr. calf, n.d. (2).
Lot 311
PICTON G. W. The Battle of Waterloo or a General History of the Events. Eng. title borders. Fldg. hand coloured eng. map of the Netherlands, 2 fldg. eng. battle plans with hand colouring, 6 hand coloured aquatint plates & 3 eng. port. plates. Rebound half calf, much internal browning & foxing. 2nd ed., n.d. but c.1816.
Lot 109
Highly Important and Extremely Comprehensive D-Day Archive of Ephemera and Photographs to Lieutenant Stephen C. Malenoir -Vickers (MC, MID.), Lieut Malenoir-Vickers was an Engineer Officer responsible for clearing mines and paths across Juno Beach at Courcelles, with his Armoured bulldozers, and he landed on D-Day. The Collection includes Restricted "Defence Overprint" maps of the Beach area, his Diary for 1944, "War Diary" from June 44 to May 45, Personal Photograph Album with original D-Day photographs and others through France and Belgium etc. We consider it almost unique to find Maps, a Diary, Photographs, War Diary, documents and contemporary letter, all for the same Officer for one of the most important wartime events in the 20th Century, namely D-Day. The first of the Defence maps is of Creully 1:25,000 Top Secret and dated May 1944 and shows the Beaches at Ver-Sur-Mer (Juno Beach), the second is an exceptionally rare 1:12,500 scale map of Bernieres-Sur- Mer, dated May 1944, Top Secret, because of the scale, great detail of all the beach defences are included with a key on the reverse. Two other "Defence" maps of Le Havre 1:10,000 dated 5 September 1944, show all the Defensive positions and were produced to assist a major attack on the Port, they too are very rare. The "Diary 1944 February 1st 1944 - March 31st 1945" Has some detailed entries and for the 6th June "Arrive & anchor 2/3 miles off French coast.. Hundreds of craft to unload.... See paratroops land... Haphazard AA Fire.. One of our planes down...to bed 0110 hrs" etc. etc. Extensive entries continue through Normandy campaign and beyond. War diary gives daily strength, casualties, work undertaken and comments etc., 7pp., through to mid May 1945. The Photograph album shows training in UK, Beach landings in Normandy, Pont L'Eveque, Siene, German Wreckage and head and shoulders photograph of Lieut. Malenoir-Vickers etc. etc. c.70 photographs in all. Note other loose original photographs of Bridge Building etc . Of particular interest is a full page handwritten letter Dated June 17th 1944 to his parents describing D-Day, being served Waffles and Syrup by "Negroes" in the wardroom on an American ship and later "the first night I slept in a slit trench" etc. Other documents too. including Top Secret Bigot Intelligence Summary for Neptune area (copy no 15) and Top Secret "Distinctive markings for Aircraft" with drawings, dated 25th April, note book, badges etc,. In all an exciting find for which viewing is thoroughly recommended.
Lot 113
Important Top Secret File "6 Airborne Division Intelligence Summaries" Numbered Copy, Operation Varsity Intelligence Summaries March 1945, include considerable detail of German troop dispositions, particularly of German Parachute units, some of which had been obtained from prisoners. In addition the file contains Top Secret maps showing the Rhine and flood risks, another large Top Secret photographic map, dated 14 March 45, showing all the German units From First Para in the North, down through the Koln sector to Fifth Panzer Army to Remagen. Considerable detail. c.60pp., including maps,
Lot 118
Souvenirs of the Iraq War, interesting items brought back by a soldier from the Iraqi campaign. Liberated Military map with plastic overlay marked with positions and units, Red, white, green military pennant, folded colour poster of Saddam with Arabic description (folded) and two original colour photographs of an Iraqi military briefing and Officers inspecting a tracked vehicle etc (7 items)
Lot 119
Signed Napoleonic Map, being a important original nicely presented Plan of Pizzighettone & Gerra (Lombardy) believed produced as part of Napoleon's conquest of Italy 1796 43" x30" attractively coloured and Signed by Louis-Alexandre Berthier, Napoleon's Chief of Staff and stamped "de l'arm d'Italie" Modest wear and short split on folds. Together with original map from same period of Fortress of Ceva (Piedmont) 21" x 15" Some browning and tears to edges, (2 items)
Lot 120
Signed Napoleonic Map, important original Plan of Lodi showing the defences in watercolour 17" x 16" to support Napoleon's conquest of Italy 1796, Signed by Louis-Alexandre Berthier, Napoleon's Chief of Staff also stamp of "de l'arm d;Italie" together with interesting large linen map from same period Plan of Milan Castle 30" x 21" dissected and lain on linen, marked with army positions and projected lines of attack (2 items)
Lot 121
Signed Napoleonic Map, excellent hand drawn coloured map of Sabionita (Lombardy) 26" x 23" produced as part of Napoleon's conquest of Italy 1796 and signed by his Chief of Staff Louis-Alexandre Berthier and stamped "de l'arm d'Italie" together with similar coloured map, unsigned, of Fort Fuentes (near Colico, Northern Italy) 30" x 17" with probable contemporary stamp. Two very interesting contemporary maps (2 items)
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109182 item(s)/page