PAUL McCARTNEY & WINGS - ONE HAND CLAPPING - ORIGINAL EMI STUDIOS LP ACETATE RECORDINGS. Unbelievable piece of Paul McCartney & Wings history with this set of 4 x single sided EMI Studios acetate LP recordings of the One Hand Clapping sessions. The tracks contained on each record are: 'From Reel A': One Hand Clapping, Jet, Soiley, Little Woman Love/'C. Moo' and Let Me Roll It, 'From Reel B': Junior's Farm, Hi-Hi-Hi, Go Now, Maybe I'm Amazed and Bluebird, 'From Reel C': Blue Moon Of Kentucky, My Love, Nineteen Eighty Five, Live And Let Die and Band On The Run and 'Untitled': Junior's Farm, Jet and Soiley (sic. Soily). Record '1' is in VG condition with some surface/storage marks though no heavier scratches, handwritten timing of 21'00 and 'Reel A Wings'. Record '2' is in glossy VG+ condition with some light hairline marks, nothing heavier. Handwritten timing of 21'04 and 'Reel B Wings'. Record '3' is in similar VG+ condition - again nice and glossy with a few light hairline marks. Handwritten timing of 22'14 and 'Reel C Wings'. Record '4' is in similar VG+ condition with a few light hairline marks, nothing ever heavier in nature. No timing indicated but handwritten 'Juniors Farm, Just, Soily, Wings'. A series of EPs were planned to be released in conjunction with the film (directed by Dave Lichfield) with the aim of capturing the band playing live in informal recording sessions. The band went into Abbey Road studios on Sunday 25th August 1974 and over the next few days they recorded the tracks which made up the final recording. The filming took place in studio 2 but the repeat recordings were done in studio1. Geoff Britton has been in touch with the director of the film who stated he wasn't given any copies of the acetates leading us to believe that only these and Paul McCartney's copies are in existence. Accompanying the lot are 2 printed photos of Wings and their road crew/management at Abbey Road studios on Sunday 25th August enjoying a Chinese takeaway, which are signed by Geoff Britton. These live recordings have never been officially commercially released with these original versions unheard.
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![A Sheffield silver [Filled] cat figure playing with a ball of string. [5.5.cm in height]](https://cdn.globalauctionplatform.com/8c41ad8a-6d21-4523-b785-ace600c57ca2/bb769e1d-82e6-49a9-819c-ace700e99eef/468x382.jpg)
![A Silver 925 pill box with an enamel lid depicting Bob Marley playing football. [Measures 1.5x5x3.5cm]](https://cdn.globalauctionplatform.com/8c41ad8a-6d21-4523-b785-ace600c57ca2/95768807-d8ce-4623-9dfa-ace701382128/468x382.jpg)
A circa 1900 walnut and mahogany games/card table with Canterbury lower section; the inlaid folding top with chess board opening to reveal a green-baize card playing surface with inlaid cribbage board, baize-lined drawer beneath and the base of turned mahogany dividers forming a Canterbury base
A Gilt Metal Pink Porcelain Mounted Striking Mantel Clock, circa 1890, surmounted by a swan handled pink porcelain urn finial, pink porcelain dial and side panels depicting children playing, base with pink porcelain gilt decorated panels, Roman numeral chapter ring, twin barrel movement, 52cm high see illustration 09.02.21 Gilt surfaces are discoloured, porcelain panels with minor rubbing to the gilt decoration, some of the enamel dots are missing around the panels, panels with no cracks or chips, dial with Roman numerals slightly rubbed, movement is dirty, bell is missing, pendulum rod is broken, movement needs a service.
A Riley Slate Bed Snooker/Dining Table, restored by Halsteads/Solina, the five removable leaves with green baize playing surface, on turned and reeded legs with adjustable metal feet, 227cm by 121cm by 75cm; An EJ Riley Mahogany and Brass Scoreboard, 27cm by 69cm; A Boxed Set of Modern Pool and Billiard Balls; Three Triangles; Three Cues; and Two Rests This has been recently restored and re-furbished. The removable leaves with some general surface scratches (these leaves are later in date). The table has four removable brass brackets which can be added to adjust the height of the table (see images). The cloth and the remainder of the table is in excellent cosmetic condition.
STEINBECK, John (1902-1968). The Pastures of Heaven. New York: Brewer, Warren & Putnam, 1932. 8vo. Original publisher's green gilt-lettered cloth, top edge stained black (some minor fading to spine ends, very slightly leaned); original silver dust jacket lettered in blue with gold stars (some minor soiling, creasing or rubbing, chipping with small losses to spine ends and a few edges, slight rubbing primarily to folds). Provenance: Louis Paul (ca 1902-1970), American author and Steinbeck correspondent (presentation inscription, autograph note by Steinbeck tipped in, see below).FIRST EDITION, FIRST ISSUE, IN THE FIRST ISSUE DUST JACKET. PRESENTATION COPY, INSCRIBED BY STEINBECK: "For Louis Paul: that I wish I could write as good as him, John Steinbeck, Los Gatos, 1936." Steinbeck adds a postscript: "I wonder what will become of us now! And I could wish that this book might possibly give you as much pleasure as your wanting me to sign it gives me. J.S." Of the 2,500 copies printed, only 1,650 were bound, and of those, only 650 sold. Ballou later bought the remaining copies, and it has become the most popular of Steinbeck's three earliest novels. A SUPERB ASSOCIATION COPY. [Tipped in:] STEINBECK. Autograph note, to Louis Paul, n.d., n.p. In full: "Where'd you get hold of this. The double imprint B. W. & P. is very rare. Ballou tipped in his house information almost the day of publication. This super first edition I'm told is hard to get. I see that Shumlin has turned down my new playing novel. I grow more and more convinced that any book which gets by easily is a lousy book. It can almost be made axiomatic. Anyway I'll get this off."Steinbeck struck up a friendship with Louis Paul after reading his contribution to the O. Henry Prize Stories of 1934. Steinbeck shares his endorsement of Paul in a 24 November 1937 letter to his literary agents Elizabeth Otis, Anne Laurie Williams and Mavis McIntosh: "I'm bringing you a new client. Louis Paul. He's a swell egg and you will like him. And he's well enough known so that it may not be hard to sell his stories. I like him immensely" (Steinbeck, A Life in Letters, p. 144, 1975). Goldstone & Payne A2a.For condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com
Subbuteo - table soccer game with two teams, goals, balls, playing cloth etc, boxed, and additional boxed Leeds United team; Meccano Circuit 24 slot racing items including two cars with handsets, track and transformer etc, unboxed; and a 1960s Italian plastic clockwork 'Sulky' horse, jockey and trap etcClick here to view further images, condition reports, sale times & delivery costs for this lot.
A Pair of Paris (Dihl et Guerhard) Porcelain Coffee Cans and A Saucer, circa 1790, painted en grisaille with children playing, on a salmon pink ground within gilt line borders, saucer with stencil mark; and An Almost Matching Coffee Can and Saucer. Some gilt wear throughout. One can with a large chip and associated crack. No other damage and free from professional restoration.
~ A Vizagapatam Stained and Natural Ivory and Parquetry Games Box, mid 19th century, of hinged rectangular form, the exterior with chess/draughts border within a Greek Key border, the interior with backgammon board and containing three lidded boxes with a black stained and natural ivory chess set, a similar set of backgammon counters, two dice shakers and four dice, box 46cm wide, chess kings 11.5cm high See illustration. Some shrinkage to carcase, with associated movement, splitting to ivory, one shard of veneer lacking to the border of the playing board, the board itself not missing any veneer. Covers to boxes all split. Some scratching and surface wear throughout. Some typical minor losses, splitting and staining to ivory pieces. Chess set complete. Has 16 of each coloured draughts piece. Has two dice tumblers and four dice.
λ Dirk Salz (German b. 1962)Untitled (Green)Pigment and resin on corkSigned, numbered and dated 2147 2016 (verso)Diameter 25cm (9 7/8in.)Salz strives for complete perfection in his body of work, searching for the ideal ratio of composition. Born in 1962, Dirk Salz grew up in Germany and studied engineering at RWTH in Aachen. In 2002, Salz launched his career as an artist and has gone on to exhibit internationally with solo shows in New York and Munich. Salz's work creates the ultimate visual experience playing with light, colour and material in space. His process involves pouring layers of pigment-enriched resin onto panels that flows over the edges leaving behind droplets and evidence of the method. Each layer of resin takes a day to fully harden and then it is sanded down and Salz begins with the next layer of Resin. What is striking on first encountering a work by Salz in person is the fact that it looks soft to touch, almost as if the paint is going to drip off the panel at any moment. Curator's Comment I The drips of resin down the side of the cork panel are particularly captivating. This work would be most effective viewed from a 180-degree periphery. The light reflects off the resin surface and creates quite a spectacle and visual experience, the perfect statement piece. Condition Report: In good original condition.Condition Report Disclaimer
λ Gerard Dillon (Irish 1916-1971)UntitledOil on canvasSigned (lower right); signed and inscribed (to stretcher verso)153 x 92cm (60 x 36 in.)Provenance:Sale, Sotheby's London, 16 May 2003, lot 142Dillon's interest in complete abstraction began whilst spending time in London during the 1950s. During this time Dillon was influenced by artists such as Rothko, de Kooning and Pollock exhibiting at the Tate. This transition into abstraction continued throughout his career playing with geometric patterns, reoccurring lines and elements of surrealism that began to influence his work. The simple shapes remind us of Dillon's work with cut-outs and experimentation with linocut printing techniques. The horse and figure are possible motifs harking back to Dillon's interest in the people of the West of Ireland. The colour palette is emotive and striking focusing our attention on the repetition of shape and pattern across the canvas. Gerard Dillon (1916-1971)Gerard Dillon, who became better known as Gerry, was born in Belfast in 1916. Dillon left school at the age of 14 and started his career as an apprentice decorator with Maurice Sullivan and Sons. His interest in the arts, cinema and theatre shaped his social communities and ultimately led him to begin his career as an artist in the 1930s. At the age of 18, Dillon left Belfast to join his brother, Joe and sister, Madge who were living in London. At the outbreak of the Second World War in 1939, Dillon was on a cycling trip in Ireland. Due to travel restrictions he was left with no choice but to stay in Ireland. He decided to venture to Dublin and became part of an exciting artistic community which included iconic artists Louis le Brocquy and Patrick Hennessy. He also formed companionships with artists from the White Stag Group including Basil Rakoczi and Kenneth Hall. In 1942, Mainie Jellett who championed Dillon, opened his first solo show at The Country Shop which had been founded in Dublin in 1930. Mainie Jellett went on to set up the Irish Exhibition of Living Art (IELA) a year later which showcased abstract expressionism and avant-garde Irish art. The IELA became a major platform for contemporary Irish artists and Dillon exhibited annually alongside other Ulster boys such as Daniel O'Neill and George Campbell. By the end of the 1940s the Ulster group dominated the IELA and Dillon was to serve as committee member for 20 years. It was through this series of exhibitions that Dillon came into contact with Colin Middleton, Markey Robinson and Gladys McCabe, all artists featured in this private Irish collection. Middleton was seen as one of the more experimental artists and his surrealist style and bold colour palette did not go unnoticed and served as an influence for the Ulster Group. Gerard Dillon was a self-taught artist and he was constantly inspired by the West of Ireland which offered an alternative to the gritty city life of Belfast and London and paintings of the Irish landscape and its people filled his work during the 40s and 50s. He stated in 1951 'Think of the West and the life lived there. Then think of my childhood and youth in the middle of industrial Belfast. Is not the West and the life lived there a great strange kind of wonder to the visitor from the redbrick city?'In the late 1950s Dillon moved away from landscape painting and moved into complete abstraction. He was surrounded by the abstract expressionist movement exposed to works by Rothko, De Kooning, Pollock, Tapies and Jorn all exhibiting at the Tate in London. This new movement marked a freedom, away from the expectations of Ireland and Belfast. It is possible that Richard Hamilton whilst staying with Dillon in London in 1950s influenced Dillon who turned to cutting up his linocuts and working with collage, found objects, repetition of colour and pattern for larger scale composition pieces. However, the late 1960s signified a shift in Dillon's work. The impact of losing his three brothers between 1962-66 affected his artistic output and this deep sense of loss can be seen across the canvas. The reoccurring motifs of the clown and Pierrot submerged in surreal and fantastical landscapes and geometric patterns. Dillon also struggled with finding a way to express his sexuality and his deep interest in self-analysis developed a series of symbolic motifs which came to represent himself within his art, such as masked figures. Perpetual illness filled his final years and Dillon passed away at the age of 55 in 1971. 'Gerard was dedicated to art above all else and his energy and drive was infectious' Noreen Rice 2011 Condition Report: The canvas is not relined and slightly slack on the stretcher. There is a short (2cm) scuff and paint loss to the canvas lower right (visible in catalogue images). There is a further couple of more minor scuffs to the upper left. There are a few spots of rubbing to the framed edges, notably one to the upper right edge and there are visible stretcher marks in a raking light. No evidence of retouching visible under ultraviolet light.Condition Report Disclaimer
DERBY; a pair of 18th century blanc-de-chine figures, the female playing the hurdy gurdy with a dancing dog by her feet, the male holding a music scroll with a dancing dog by feet, both with paper labels to base; the first with Yarbrough Collection no.25 and 26, the next Albert Amor Ltd, the Yarbrough Collection 1999 Exhibition, height 16cm.Additional InformationRestoration to his hat and around the neck and to both music scores and hands, also some restoration to the bocage throughout, around his feet and also around the branches. She has restoration to hat and also to the bocage and trunks throughout.
DERBY; a pair of 18th century figures of musicians, he playing the flute, she holding the flute, on puce heightened scrolling bases, height 15 and 14.25cm respectively.Provenance: From a private Worcestershire collection.Additional InformationHis flute is completely restored as is a portion of his face where the flute meets, his left hand and wrist, his right hand, the bocage, the branches, scrolling base all restored. She is restored through the hat, left and right hand side of face where the neck has clearly been broken and restored, this leads down to her chest. Her left arm and flute extensively restored, tips of left hand, bocage completely restored as are the branches and scrolling base.
DERBY; a pair of 18th century figures, she with dancing dog by her feet and playing a musical instrument, he similarly with a dog at his feet holding a music score on scrolling bases, height approx 15cm.Provenance: From a private Worcestershire collection.Additional InformationShe is very heavily restored throughout the base, also to the dogs front legs, the strap of the musical instruments and her hat also restored. The tips of the leaves on the bocage restored with some of the flower heads also. He is restored through the hat, sections of the right hand, the dogs body also through to the left side of the dog and also around the dogs feet. There is small areas to the bocage with some firing flaws around this area, also around the base and the lower section of the front scroll.
DERBY; an 18th century figure of a gentleman playing the bagpipes with hound at his feet, height 18.5cm.Provenance: D.M.& P Manheim (Peter Manheim) Ltd.From a private Worcestershire collection.Additional InformationFiring crack to the base with another smaller crack beside this, restoration to the hat, also around the figures fingers and tips of the bagpipes, also around the lower section of the trunk and the tip of the left shoe. The firing crack also runs along the top of the base beside the trunk towards the hound. There is also small areas of restoration to the hound around the neck and shoulders.
BOW; a pair of 18th century figures of musicians, she playing the hurdy gurdy, he bagpipes, both on pierced scrolling bases, height 15.5 and 14.5cm.Provenance: From a private Worcestershire collection.Additional InformationShe has had restoration to her hat and to large sections of the bocage and to a tiny section of the strap of the hurdy gurdy instrument. There are firing cracks through the base and to the rear of the figure. He is also restored through the bocage, his hat is also restored and the tip of the hat is also broken but present. Tip of the bagpipes have been restored as have some fingers, also firing imperfections to the base and a small area of restoration to the foot rim.
An early 19th century English porcelain figure of a girl playing bagpipes, impressed no. 23 to base, height 12cm, and a figure representing Art holding a palette, height 14cm.Additional InformationShe has restoration to the bow of her hair, the bagpipes, tips of her toes, a couple of small colour firing cracks running from the base. The figure of art has been restored through the centre of the figure, extensive restoration up the shoulders and arms of the figure, both hands and the pallet have been restored, also heavily restored through the legs and the base.
Eight assorted 19th century Parian ware figures to include Fortuna, height 34cm, etc (8).Additional InformationThe figure of the lady playing musical instrument, part of the instrument has been broken away and is missing. The girl holding the mask with a large sliver chip to the foot rim. Fortuna with a large old repair across her body and numerous chips to the floral decoration. The figure in flowing dress with a large crack across the base. Numerous chips to the floral details of the dressed lady. The girl leaning on the urn has had her right arm broken and crudely glued back.
CHIODI; a modern Super Olimpic (sic) table tennis table (af).Additional InformationThe table is in poor condition, the frame is bent out of shape so it does not sit true, the hinged brakets at the back have broken off previoulsy and have been crudely screwed back in leaving wholes to the back of the boards, this in turn has caused splits to the playing surface.
A Victorian walnut and inlaid table top polyphon, the lid inlaid with flowers and carved decoration, the inside of the lid with printed scene of putti dancing, with plaque for Marque de Fabrique, Schutze Marke, Trade mark and Polyphon, 25.25ins x 23.5ins, height 12.5ins, together with approximately 62 steel discs, diameter 19.75insCondition Report: The polyphon can be heard playing two different tunes on YouTube - https://www.youtube.com/watch?v=dZSmXHkXC08 and https://www.youtube.com/watch?v=7PU14gLD8FY
A 19th century rectangular porcelain plaque, decorated with kittens playing on a billiard table, 7.5ins x 9.5ins, signed and by William Hawkins, not stamped or marked to the reverse - this lot has been entered by a descendant of William Hawkins, the Royal Worcester porcelain artist, and it is understood to be the first time it has been put up for saleCondition Report: Signs of crazing to the back
Capodimonte Signed and Superb Quality Musical Porcelain Figure - Excentric Musical Playing a Large Horn Instrument. Signed H. Schober. Early Figure and Great Quality. Height 11.5 Inches - 28.75 cms. Please Note - 1 Finger to Hand Is Missing, Odd Scuff Marks, Very small odd Chip - Doesn't Detract. Signed H.Schober.
Collection of antique medallions - collection of x4 hallmarked medal medallions from an assortment of London Livery companies to include; The Worshipful Company Of Makers Of Playing Card hallmarked for a London maker 1891,The Worshipful Company Of Turners gilt and enamel badge hallmarked for Spencer & Co, Birmingham 1894, The Worshipful Company Of Feltmakers medal awarded to J.F. Roy Mitchell Esq. 1960-61 and The Worshipful Company Of Basketmakers awarded to Sir Sydney Littlewood in recognition of his service as Prime Warden 1961, hallmarked for Toye & Co London. Combined gross weight; 164.7g
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79738 item(s)/page