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Lot 56
Raymond Weil gents Parsifal automatic chronograph wristwatch with 18ct gold bezel and pushers, white dial, stainless steel bracelet with box and papers. 'The watch has a VALJOUX7750 movement as used by Rolex and TAG. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)Condition Report: Provenance: Contains guarantee card - date of purchase 05/06/04 from David M Robinson LTD, 33/35 North John St, L2 6RP.
Lot 117
Guru Nanak, by the artist Hari Singh (1894-1970) Punjab, circa 1950-60watercolour on paper, signed lower left 52 x 40.5 cm.Footnotes:Paintings of Guru Nanak, done in the late Pahari style, continued to be made at the Sikh courts and later, well into the 20th Century. The growing popularity of the calendar art of Raja Ravi Verma, the availability of new materials, such as machine-made paper and watercolours, together with other European influences, were absorbed by the artists of the time such as Hari Singh. Born in 1894, Singh produced remarkable portraits of eminent personalities of the Sikh courts, warriors - and the Sikh Gurus. Our painting is the original iconic image of Guru Nanak which has been reproduced widely over the last half century or more in posters, diaries and calendars and continues to be so even today. Here, Guru Nanak sits in a meditative pose on a terrace, against lush foliage of greenery and flowers with a Gurudwara behind him. Depicted as a serene aged figure holding rosary beads in hand, he wears a patch-worked wrap over his golden robe and a high flap cap with a domed top. His slippers, water vessel, lotus flowers and a fly whisk made of peacock feather surround him. One of Hari Singh's early patrons was M. S. Randhawa who recommended the purchase of a series of paintings by the artist depicting figures such as Maharaja Ranjit Singh, Maharaja Duleep Singh and Rani Jindan Kaur. However, Hari Singh is most well-known for his religious paintings which appear in several museums across the Punjab and in the most important Gurudwaras, both in India and the world over. A painting depicting Guru Nanak with Bala and Mardana, is in the Nankana Sahib (Pakistan); another depicting Guru Gobind Singh is at the Sri Hazoor Sahib at Nanded. His painting of Guru Hargobind was at the Akal Takhat until 1984 when it was reportedly destroyed during Operation Blue Star. In recognition of his contribution, Hari Singh's own portrait was acquired and hangs in the museum in the Golden Temple complex in Amritsar.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 16
Shah 'Abbas seated on a terrace, by Mehdi al-Imami Iran, first half of the 20th Centurygouache and gold on paper laid down on card, the Shah depicted seated within an arch and inner border illuminated in Safavid style, the outer border profusely decorated with Safavid-style picnic parties, wild beasts, birds and a simurgh amidst foliage, signed in lower border album page 418 x 265 mm.Footnotes:The artist's full name is apparently Mirza Aqa Muhammad Mehdi Emami Isfahani, recorded by Karimzadeh as the Chief Painter (naqqash-bashi). He moved to Tehran, studied in the College of Arts and was a pupil of Razi (a painter active during the reign of Nasir al-Din Shah Qajar). He returned to Isfahan and set up a studio, also training students. He is praised for his portraits, animal and flower paintings, as well as illumination, lacquer work and carpet designs in the Safavid style. Karimzadeh gives the date of his death as 16 adhar 1334/8th December 1955. See M. A. Karimzadeh Tabrizi, The Lives & Art of Old Painters of Iran, vol. 3, London 1991, pp. 1269-71.Important Notice to BuyersSome countries e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of Iranian-origin works. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) origin. It is each buyer's responsibility to ensure that they do not bid or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
Lot 30
An Afsharid gold-damascened steel sword (shamshir) Persia, 18th Centurythe single-edged steel blade of curved form with single fuller, the blade widening towards the double-edged tip with chiselled palmette at transition, decorated in gold overlay to one side near the forte with an inscription-filled cartouche, above and below palmette cartouches filled with foliate interlace, the crossguard decorated in gold overlay with scrolling tendrils overlaid with flowerheads, the quillons in the form of dragon heads, horn grips 85 cm. longFootnotes:Inscriptions: 'The work of Mu'allim Misri'.For a shamshir with an almost identical crossguard dated to the Afsharid period in the Military Museum of Tehran see Manouchehr M Khorasani, Arms and Armour from Iran, Tubingen, 2006, p. 488. Mu'allim Misri made four other recorded shamshirs: one is in the Prince of Wales Museum, Bombay, another in the Military Museum, Tehran, and another two signed with his name are in the Historisches Museum, Bern (ibid, p.177, and cat.80).Important Notice to BuyersSome countries e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of Iranian-origin works. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) origin. It is each buyer's responsibility to ensure that they do not bid or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
Lot 45
An Ottoman silk lampas and gold thread panel (khema) Turkey, 17th Centurybrocaded in green, ivory and gilt thread on a blue ground with eight rows of tulips, on undulating vines, on a ground of floriated stems, mounted, on stretcher, verso with exhibition label dated 28 October 1926 103.8 x 47.5 cm.Footnotes:ExhibitedSpecial Persian Exhibition, University of Pennsylvania Museum of Archaeology and Anthropology, October 1926, no 594 (according to a label stitched to the reverse). The design of undulating tulip vines was very popular on 16th Century Iznik ceramics. The Rustem Pasha mosque, erected between 1565 and 1575, was the first place to introduce this design on its tilework. This was followed by depictions on Iznik dishes and on Bursa textiles. For further examples of undulating tulips, see, F. Hitzel and M. Jacotin, Iznik; l'Aventure d'une Collection, Paris, 2005, pp. 213 - 219. See Nuhran Atasoy, et al, Ipek, The Crescent and the Rose: Imperial Ottoman Silks and Velvets, London 2001, figs. 239-243, for textile panels with parallel undulating tulip vines.For further information on this lot please visit Bonhams.com
Lot 52
Prince Sulayman Shikuh in conversation with a scholar Mughal, attributed to Chitarman, circa 1655gouache and gold on paper, Persian inscription, seal impression, and English 18th Century attribution note verso 241 x 167 mm.Footnotes:ProvenanceSotheby's London, 5th July 1982, lot 2.Formerly in the collection of Ludwig Habighorst.PublishedC. P. Haase, J. Kröger, and U. Lienert, Oriental Splendour: Islamic Art from German Private Collections, Museum für Kunst und Gewerbe: Temmen, Hamburg 1993, fig. 190a.L. V. Habighorst, 'Hierarchie und Module', Tribus 55, 2006, pp. 53–65, fig. 2.L. V. Habighorst, Blumen, Baume, Gottergarten in indischen Miniaturen, Koblenz 2011, fig. 76.ExhibitedBlumen, Bäume, Göttergärten, Völkerkunde-Museum, Hamburg, 2013.Prince Sulayman Shikuh (1635-62) and a learned man named on the reverse as the Shaykh Sulayman Hazrat, whose identity is not yet clear, are seated under a tree having a discussion. The prince was the eldest son of Dara Shikuh and met the same fate as his father – after fleeing to Garhwal he was eventually betrayed and ended his days in the fortress of Gwalior, slowly dying through the administering of a daily overdose of drugs as ordered by Aurangzeb.This portrait is one of the few showing the prince in his maturity, but his resemblance to his father is clear. Double portraits of the prince with his father (listed by Joachim Bautze in Haase et al., p. 276) show him to be aslightly shorter version of Dara Shikuh and he also shared the same interests in philosophy and mysticism. Both are the same size and on the same level, balanced across the painting and beneath a spreading tree that serves, as Habighorst points out, not to give them shade but as a sort of baldachin or canopy. Both are seated on their individual mats – of cream textile patterned with stylized flowers in the prince's case, and a leopard skin in the mystic's – which are spread on a dark brown durrie that covers the bottom of the paintings.The tree, painted in a naturalistic manner, rises straight from behind the durrie in front of a plain green hillside. Such a plain background is very much in the manner of Hashim, in his imperial descent portraits (see J. P. Losty, and M. Roy, Mughal India: Art, Culture and Empire, London 2012, pp. 113-114, fig. 64,; J. Seyller 'Hashim' in Master Artists of the Imperial Mughal Court, Bombay 1991, ed. P. Pal, pp. 105-181, fig. 10), sometimes with a plane tree in this position. However in view of the known connection of the artist Chitarman with Dara Shikoh's patronage beginning with his Album and his many portraits of the prince (Losty and Roy 2012, pp 124-31, p. 241, n. 181), there seems no reason to doubt the 18th century attribution to this artist.For further information on this lot please visit Bonhams.com
Lot 54
A man seated on a terrace smoking a hookah Mughal, 18th Centurygouache and gold on paper, narrow gold border 180 x 115 mm.Footnotes:ProvenanceA. M. Kevorkian, Paris, circa 1950-70s (backboard with headed paper, typewritten description, signed with authentication by Kevorkian).For further information on this lot please visit Bonhams.com
Lot 63
A maiden or courtesan at her toilette Bikaner, 17th Centurygouache and gold on paper, spurious attribution to the Persian painter Behzad and to the date AH 940/AD 1533-34 at upper left, inner gold-decorated floral border, wide outer border with wild beasts and birds in their natural habitat in gold, marbled outer border painting 136 x 75 mm.; with borders 335 x 227 mm.Footnotes:ProvenanceWith M. Atighetchi, Tehran, Iran.Acquired by a Dutch collector from the above, 1953 (30,000 rials), handwritten label on mount.Private UK collection.For further information on this lot please visit Bonhams.com
Lot 75
A Jain letter scroll (vijnyaptipatra) Rajasthan, perhaps Jodhpur, 19th Centurygouache and silver on paper, in scroll form, red margins dividing one narrative scene from another, the second half of the scroll consisting of the text of the letter written in nagari script in black and red ink, stylised floral margins approx. 8 m. long; 25 cm. wideFootnotes:A vijnyaptipatra was a formal, illustrated letter of invitation to a Jain monk, in which a community set out the attractiveness of their town in the hope that he would spend the first four months of the rainy season with them. The illustrations aid this attempt to assert the attractions of the community, though by a relatively early date these became stylised rather than strictly realistic, and tended to be produced in one or two centres specialising in such painting, notably Jodhpur, Sirohi and Nagore. The scenes show the wealth of its nobles (horse-riding, accompanying attendants), the richness of its markets, the fertility of its women, and the piety of its townsfolk. The illustrations begin, as is typical, with the eight auspicious emblems (ashtamangala), followed by symbols of the fourteen dreams (that is, the auspicious dreams of Mahavira's two mothers, foretelling his noble nature).For an example and a discussion, see P. Pal (ed.), The Peaceful Liberators: Jain Art from India, Los Angeles 1995, pp. 84-86, p. 251, no. 116.For further information on this lot please visit Bonhams.com
Lot 323
A pair of George III mahogany and upholstered open armchairs, circa 1770, in the manner of John Cobb, both with a plaque for 'M. HARRIS & SONS, 44/52 NEW OXFORD ST. LONDON W. C. 1.', each 84cm high, 68cm wide, 58cm deep overallCondition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Some old splits and chips. Of polished appearance (not varnished). Upholstery in good order overall. Both chairs with later supporting blocks to underside. Both chairs with evidence of old worm to the backs and to supporting blocks at the undersides. Very few old worm holes to legs. Filler to surface in places. Filler has been used to disguise old tack holes from where the back of the backs where previously upholstered. Chair one- Old glued repairs where one arm meets the back and to the upright of one back. Peg repair with filler used to disguise to underside of one side seat rail. Chair Two- Old repair using glue and nails where one arm meets the back. Old glued repair where one arm meets its upright support. One rear leg with foliate 'ear' lacking. Chairs appear to have been professionally restored at some point. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Lot 400
A Maltese inlaid marble pedestal table, 19th or 20th century, 83cm high, the top 98cm diameter Provenance: Property from a Private Collection, Herefordshire Please note: It is possible that this table is 20th century in date and not as originally dated in the catalogue Condition Report: Please note: It is possible that this table is 20th century in date and not as originally dated in the catalogue Marks, scratches and abrasions comensurate with age and use. Some old chips and splits and some old repairs some small losses. Some areas of dark red coloured filler at the edge of the top and between elements where there have been losses or faults in the material. Some filler/ composition material of a pale beige colour has been used to disguise old losses to the stem. All elements of the base have been glued together. There are some remnants of the glue at the edges of the connections. The top is removable. One area of the top appears to have been previously damaged or unsettled and sections have been re-glued into position (see images) there have been some small losses there. In one position to the side edge of the top is incised/ engraved the following in capitals ' D A * M A * N MALTA' (The asterisks denote letters that are not clearly legible A large area of the marble to the stem has become detached. A high volume of the detached elements are present but it is difficult to guarantee that absolutely all pieces are there.(see images) Apart from the condition notes mentioned above, all main elements including the feet appear original. Please refer to the additional images if required for visual reference to condition. Condition Report Disclaimer
Lot 523
A brass two tier etagere, late 19th/early 20th century, with tooled red leather inset tops, 58.5cm high, 66c,m wide, 50cm deep Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Some tarnishing and marks to brass. Leather in distressed condition overall, with various losses, tears and scratches. Slight movement within frame. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Lot 518
John William Waterhouse RA (1849-1917)Study for 'Psyche opening the Golden box'black and red chalk22.5 x 30.5cmInscribed by a previous owner ''study' by J W Waterhouse RA bought by me at Christie's sale 23.7.1926 (Mrs J W Waterhouse's sale) James Nivel (?)' in pencil.Provenance: The artist’s widow, Mrs. Esther Waterhouse, by whom sold Christie’s, London, 23 July 1926, ‘The Remaining works of the Late J.W. Waterhouse, Esq., R.A.’,Mrs George Packham; presented to her by Mrs L A Duran; by descent to Mrs M Duran in 1980.The story of Psyche, like many Greek myths, is one of great drama and passion. Psyche, a mortal princess, is cursed by Venus who is jealous of her beauty, which has inspired many to worship her rather than pay their respects to Venus. She sends her son Cupid to shoot an arrow at her to make her fall in love with a monstrous creature. Instead, Cupid scratches himself and falls in love with Psyche. Abandoned by her family, she is saved by Zephyrus, god of the west wind, and carried away to Cupid’s palace where she is waited on by invisible servants. There, Cupid visits her every night but she is not allowed to see his face. Encouraged by her jealous sisters, she lights a lamp one night to see her lover’s face and injures Cupid in the process by dropping hot oil on him and he flees. She travels the earth searching for him and entreats Venus to help her. Venus instead sends her on a series of impossible tasks, the fourth of which is to take a golden box to the underworld to obtain a dose of beauty from Proserpine. She is told not to look in the box. Like Pandora, however, she cannot resist and opens the box, finding within it not beauty, but sleep, and she falls into a deep slumber. Cupid eventually finds her, takes her to Zeus, who allows her to become a goddess and marry Cupid on equal terms.Waterhouse painted many mythological subjects including several depictions of Psyche: Psyche Entering Cupid’s Garden, 1904 (Harris Museum and Art Gallery) and Psyche opening the Golden Box, exhibited at the Royal Academy in 1903 (private collection). The finished picture shows Psyche, seated in a dark wood, bending her head low as she peers into the slightly open box. A small plume of smoke rises from the interior. Fewer than 150 preparatory sketches by Waterhouse are known. They consist mainly of model’s heads - generally the most important element of the painting - in chalks. Here we have a typical preparatory sketch, confidently exploring the composition with fluid strokes, exquisitely modelling the flesh of the shoulder and back of the model. Not much is known about Waterhouse’s models and while it has been argued that he had a single muse who he returned to repeatedly over the decades (Miss Muriel Foster has been identified as a contender), it may also be the case that he chose a series of women with the same swan-like neck, doe eyes, modest features, full of understated grace that made his paintings both sensual yet innocent; a duality that has delighted viewers for more than a century.Condition report: Inscribed in pencil by previous owner. The paper is a light beige/grey and could be a little faded. Some scattered spots of foxing. Some light discolouration and smudges of surface dirt throughout, in particular close to the edges. Lots of pentimenti visible. The pencil writing is a little smudged, and there is a pencil mark lower left. A pin hole centre top, and at each extreme corner. Attached to backing card by hinges of tape. A thin border of tape around the outside of the back of the sheet. Many specks of brown discolouration and grey lines verso (we assume dirt). The surface of the paper verso has some scuffs as if it was stuck down previously.
Lot 546
Alexander Mark Rossi (Italian, 1840-1916)A fisherman and his daughter on a quaysidesigned 'A M Rossi' l.r., watercolour and bodycolour42 x 55cmCondition report: On card. The card has discoloured throughout, but most prominently at extreme edges. When outside of the frame the card bows outwards horizontally, although when within the frame this is not noticeable as it is pushed flat. The occasional very light scratch, and some very small indents in the sky. Surface abrasions resulting in rubbed paint all around the edges, and one or two small spots of rubbed paint elsewhere, for example in the sea. A pin hole in each of the lower corners. A little cracking to the gum arabic in the fisherman's beard and the lady's boot. A long scratch lower left corner, and in jetty. A horizontal crease running along the harbour wall behind the lady. A very pale diagonal line, possibly water damage, top right. The occasional small spot of foxing. Corners a little soft. Some spots of glue and tape verso.
Lot 554
Maung Saya Saung (Burmese, 1898-1952)Figures gathering water from a river at dusksigned 'M Saung' l.r., watercolour24 x 37cmCondition report: A little discolouration and fading in the sky. Some scattered light foxing throughout. A little surface dirt including a brown drip-like mark to the left of the signature. Not seen outside of glazed frame.
Lot 685
*Margaret Green (1925-2003)A landscapesigned 'M Green' l.r., oil on board51 x 61cm, unframed *Artist's Resale Right may apply to this lot. Condition report: A little very light surface dirt. The paint has been applied thinly in the sky and so the board is visible. Unframed, so the corners and edges have a few very light knocks.
Lot 187
A .700 CALIBRE FRENCH ANXIII CAVALRY PISTOL, 8inch tapering barrel dated 1809 at the breech and M an 13 on the tang, stepped and bevelled lock engraved Manufre Imple de Charleville, stamped with a crown, brass pan, half stocked with regulation brass mounts, various Inspector's stamps. Split to left and underside of stock and action weak, no ramrod.
Lot 121
PRIVATE PRESSES (VARIOUS): RAMPANT LION PRESS: CARTER, Sebastian; “The Book Becomes – The Making of a Fine Edition” 1984, gilt-lettered spine with printed paper-covered boards; MITCHELL, David M.; “Translations From The Greek Anthology”, 1965, signed by the author, soft bound; GRUFFYGROUND PRESS: three soft bound publications – MOLE, John; “Learning The Ropes”, wood engraving by Colin Payton, number 129 of 205 copies signed by author & artist on Wookey Hole Paper, printed at the Libanus Press; THWAITE, Anthony; “Telling Tales”, 1983, wood engraving by Simon Brett, one of 230 copies signed by the author & artist on Zerkall mould-made paper, printed at the Florin Press; & SCUPHAM, Peter; “Natura”, 1978, wood engraving by Peter Reddick, one of 450 copies signed by author & artist on Windhover paper, printed at the Windhover Press.
Lot 143
WHITTINGTON PRESS: WATERSON, Merlin; “The Baptistry of the Church of St. Simeon The Stylite”, 2013, number 68/80 on Naturalis paper & bound in Cave Paper’s Layered Indigo Night, for the Special Copies of Matrix 31; & ten soft-bound booklets including: MacKARELL, Peter; “Flights of Fancy”, 1976; an address by Rosemary Hoggett at the funeral service of Alan Hancox M. B. E., 1992; “Nine Artists & A Press”, exhibition of artists working at the Whittington Press, 1989; “30 Books Printed at the Whittington Press 1972-1992”; “Fifty Books… 1972-93” for an exhibition at The Nordiska Museet, Stockholm 1994; Michael Taylor Rare Books Catalogue 25; two copies of “Exhibition of Books…..1971-81 at the King Street Galleries, 17, King Street, St. James’s”; “Gutenberg & Whittington”, 2007; & “Matrix -Some Brief Guidelines For Contributors & Compositors”, 1987 (300 copies).
Lot 159
DOSTOEVSKI, F. M. “The Great Inquisitor”, first edn. 1930, translated by S. S. Koteliansky, introduction by D. H. Lawrence, publ. by Elkin Mathews & Marrot, number 20 of 300 copies on Kelmscott hand-made paper by Geo. W. Jones at The Sign of The Dolphin, original full white pigskin with geometric design, green slip-case.
Lot 182
NONESUCH PRESS: BEEDOME, Thomas; “Select Poems Divine & Human”, number 1238 of 1250 copies on Van Gelder paper, Bloomsbury Press 1928, full vellum with gilt-lettered spine & device to front cover; PINDAR: “Pythian Odes” – Transl. by H. T. Wade-Gery & C. M Bowra, 1928, No. 691 of 1550 copies, slipcase; HAMILTON, G. Rostrevor, “The Latin Portraint – An Anthology”, 1929, number 591 of 1550 copies, slip-case; DONNE, John; “The Courtier’s Library – or Catalogus Liborum Aulicorum”, 1930, number 727 of 950 copies, slip-case; & McKENNA, Michael; “Poems”; privately printed under the supervision of The Nonesuch Press, 1923. (5).
Lot 77
A collection of books on Arts & Crafts, Aesthetic Movement, & Victorian Architecture & design, etc., including: KORNWOLF, J.D.; “M. H. Baillie Scott & the Arts & Crafts Movement”, 1972, d/w; SOROS, S. W. (Editor); “E. W. Godwin, Aesthetic Movement Architect & Designer”, Yale 1999, d/w; CRAWFORD, Alan; “C. R. Ashbee, Architect & Designer, & Romantic Socialist”, Yale 1985, d/w; HOWARTH, Thomas; “Charles Rennie Mackintosh & The Modern Movement”, 1977, d/w; & 12 others. (16).
Lot 87
ASHBEE, Charles Robert. “The Trinity Hospital In Mile End – An Object Lesson In National History, by C. R. Ashbee, M. A., Architect”; eight folding plates & six full-age b/w plates published by the Guild School of Handicraft, Essex. House, Bow, 1896; soft covers; & MANN, Ernest A.; “Brooke House, Hackney by Ernest A. Mann, Architect, Being the Fifth Monograph of the Committee For the Survey of the Memorials of Greater London”, publ. 1904, Essex House Press, number 100 of 350 copies; similarly bound.
Lot 3025
Battle of Britain WWII Fighter Pilot Profile Collection, album containing twenty seven profiles of famous pilots of WWII, each profile with original pencil signature and certificate of authenticity, each profile with original pencil signature. The signatures comprise: Wing Commander P. P. C. Barthropp; Group Captain F. Carey; Air Marshal Sir Denis Crowley Milling; Group Captain Hugh Dundas; Air Chief Marshal Sir Christopher Foxley Norris; Colonel J. A. Goodson; Group Captain D. Gillam; Squadron Leader P. Whaley Heppel; Group Captain P. H. `Dutch` Hugo; Air Commodore P. G. Jameson; Air Vice Marshal Sandy Johnstone; Wing Commander D. E. Kingaby; Wing Commander P. B. Lucas; Group Captain R. W. Oxspring; Air Vice Marshal David Scott Malden; Sir Alan Smith; Group Captain Duncan Smith; Wing Commander Rod Smith; Wing Commander R. R. Stanford Tuck; Wing Commander H. M. Stephens; Group Captain Peter Townsend, Group Captain J. L. Waddy and Air Commodore Peter Brothers. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)
Lot 3026
Battle of Britain WWII Fighter Pilot Profile Collection, album containing twenty seven profiles of famous pilots of WWII, each profile with original pencil signature and certificate of authenticity, together with Bomber Air Crew Profile Collection of twenty-two profiles of air crew who served with distinction in fighter Command during the Second World War, each profile with original pencil signature. The signatures comprise: Fighter Pilots: Wing Commander P. P. C. Barthropp; Group Captain F. Carey; Air Marshal Sir Denis Crowley Milling; Group Captain Hugh Dundas; Air Chief Marshal Sir Christopher Foxley Norris; Colonel J. A. Goodson; Group Captain D. Gillam; Squadron Leader P. Whaley Heppel; Group Captain P. H. `Dutch` Hugo; Air Commodore P. G. Jameson; Air Vice Marshal Sandy Johnstone; Wing Commander D. E. Kingaby; Wing Commander P. B. Lucas; Group Captain R. W. Oxspring; Air Vice Marshal David Scott Malden; Sir Alan Smith; Group Captain Duncan Smith; Wing Commander Rod Smith; Wing Commander R. R. Stanford Tuck; Wing Commander H. M. Stephens; Group Captain Peter Townsend, Group Captain J. L. Waddy and Air Commodore Peter Brothers. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)
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