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Lot 671
RICHARD TAYLOR (BRITISH, CONTEMPORARY) 'On Course for the Mohne - The Dambusters', colour print, limited edition 6/25, with pencil remarque, signed by the artist lower left, and by Operation Chastise aircrew Squadron Leader Les Munro, C.N.Z.M., D.S.O., Q.S.O., D.F.C., and Squadron Leader George 'Johnny' Johnson, M.B.E., D.F.M., 54.5cm x 71cm, framed and glazed. Condition Report : Good condition. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 796
A PEEK, FREAN & CO'S BISCUITS & CAKES ADVERTISING PRINT linen-backed, in original frame stamped 'PEEK + FREAN & Co.', overall 95cm high, 67cm wide. Condition Report : Generally good condition; some closed tears or puncture marks, including across 'E' and 'A' of 'FREAN', and in and above 'U' of 'BISCUITS'. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 473
British Folk Art. A late-Georgian naïve portrait of a man & woman surrounded by theatrical curtains and cherubs. Watercolour on laid/chain-lined paper, c.1800, measuring 22.5cm by 18cm, in antique frame. The paper, which is heavily toned with some wear/loss, appears to have fold-lines - indicating that this could've been sent originally as a Valentine. Together with a recent manuscript note describing the man's uniform, which indicates that he is as an infantryman in The Buffs (Royal East Kent Regiment), and a 19th-century albumen print of a soldier with his loved one, by the American Studio Co., Margate (3)
Lot 94
An 1832 Reform Act Commemorative Pearlware Jug, circa 1832, of ovoid form, printed in manganese with THE OLD ROTTEN TREE, the reverse with William IV and Queen Adelaide, titled CONSTITUTION HILL12cm highThe subject is derived from a satirical print titled The Reformers' Attack the Old Rotten Tree or the Foul Nests of the Cormorants in Danger and refers to the Rotten or Pocket Boroughs, most of which were abolished by the 1832 Reform Act.For similar examples see May (John & Jennifer) Commemorative Pottery 1780-1900, pl.212 and Hallinan (Lincoln) British Commemoratives: Royalty, Politics, War and Sport, pl.106Crazed. Rim glaze slightly abraided. No chips, cracks or repair.
Lot 119
'God Bless George Harrison', by Stephen R Edens, Portland, lithographic print, 55.5 cm x 44 cm, together with an original San Franciso counter-culture poster, 'Haight Ashbury', 50 cm x 40 cm.Qty: 2Good overall condition, having been stored in a roll tube for many years. Some minor scuffs to edges in places.
Lot 26
A 1967 Overground Art psychedelic poster, photographed by Geoff Rosengarten, portrait of a female nude painted in body art, 94 cm x 59 cm, together with a 1960s colour poster print after Joe Roberts Jr, 'Love', 59 cm x 85 cm and 'Jewish Superman', large black and white poster, 89 cm x 58.5 cm.Qty: 3Good overall condition having been stored in roll tubes for many years. Some minor scuffs to edges.
Lot 28
'Dope: Before and After', an original 1960s counter-culture poster, 69 cm x 58.5 cm, together with another similar, 'Roll Your Own', designed by Dungee Poster Co. San Francisco, 121 cm x 54 cm and a 1967 photographic print of a man smoking, taken by Grant Jacobs and printed by Double-H Press, San Francisco, 57 cm x 45 cm.Qty: 3In good overall condition, having been stored in roll tubes for many years. Some minor scuffs to edges.
Lot 37
Three original American counter-culture posters, comprising: Nick Hyde lithographic print, Happening Press, San Francisco, 63 cmx x 47 cm, a Stanley Ciccone lithographic print, Lorin Gillette, San Francisco, 64.5 cm x 49 cm, and 'Visit Beautiful Israel and see the Pyramids', designed by Dick Johnson, Bailey-Mishell Enterprises, 57 cm x 44.5 cm.Qty: 3Good overall condition, having been stored in a roll tube for many years. Some minor scuffs to edges in places.
Lot 62
Three late 1960s / early 1970s black light posters, comprising Devils Disciples #353, designed by Michel Art, 87 cm x 62 cm, a portrait of John Lennon, 60 cm x 90 cm and 'Creation of Butterflies', silkscreen print after M C Escher, printed by Personality Posters, 65.5 cm x 60 cm.Qty: 3In good overall condition, having been stored in roll tubes for many years. Some minor scuffs to edges.
Lot 80
'The Sensual Dieter's Guide to Weight Loss During Sex', an original early 1970s blacklight poster, 86 cm x 28 cm, together with 'Toothache', a 1967 black and white psychedelic poster, by Print Mint, 56 cm x 73.5 cm and a similar period art nouveau style black and white poster, untitled, 44.5 cm x 57 cm.Qty: 3In good overall condition, having been stored in roll tubes for many years. Some minor scuffs to edges.
Lot 91
A large 1968 black and white concert poster featuring Mick Jagger, taken by Paul Ryan and printed by 'The Print Mint', 99 cm x 72 cm, together with a 1960s Ramos Graphics poster, a woman in profile, possibly Janis Joplin?, 100 cm x 80.5 cm.Qty: 2Good overall condition, having been stored in roll tubes for many years. Some scuffs to edges, especially to the 'Joplin' poster.
Lot 33
Nicolson (William) The English historical library...Giving A Short View and Character of most of our Historians either in Print or Manuscript: With an Account of our Records, Law-Books, Coins..., second edition, occasional spotting, lightly browned, contemporary panelled calf, spine in compartments, one of which neatly painted red, joints splitting, but holding firm, spine ends little worn, corners worn, rubbed, Printed for Timothy Childe at the White-Hart: and Robert Knaplock, 1714 § Sprat (Thomas) The History of the Royal Society of London, for the improving of natural knowledge, third edition, initial imprimatur f. with engraved arms verso, title in red and black, 2 folding engraved plates, occasional spotting or staining, contemporary speckled calf, richly gilt spine in compartments and with remains of leather label, spine ends and corners little worn, upper joint split, but holding firm, rubbed, [Goldsmiths', 6094], Printed for J. Knapton, J. Walthoe, B. and S. Tooke [& others], 1722; and a small quantity of others, 18th century English, v.s. (Sm.Qty.) sold not subject to return.
Lot 87
Kaldewey Press.- Kaldewey (Gunnar A.) Changing Waters. Part 1: The Hudson River, one of 40 copies signed by the author in pencil from an edition of 50, colour screen print illustrations, original pale blue calf by Christian Zwang of Hamburg, a few instances of light wear to covers, housed within original grey chemise and slipcase, oblong folio (c.646 x 126mm.), Poestenkill, NY, Kaldewey Press, 1991.
Lot 105
printed or framed 2012, a set of six colour photographs, Cibachrome prints, each from (1970s?) negatives of manipulated images using pre-digital technology, some or all these prints are from multiple superimposed negatives, five signed in ink on the image, four with photographer's hand written notes taped verso regarding the images and framing, images 31cm x 29.3cm, in identical glazed frames 51cm x 49cm Note 1: These six photographs were selected by Pamela Bone and were displayed together at her in residence in Dorking, Surrey Note 2: : Pamela Bone (Lady Pamela Goodale) Pamela Bone (British, 1925-2021) created a significant body of experimental photographic works between 1952 and 1992. Though some of her works were published and exhibited in her lifetime – and she collaborated with notable figures in the world of film, conceptual art and electronic music during the 1970s – this innovative work is now being re-assessed and appreciated. At her death Bone bequeathed her photographic works to the Victoria and Albert Museum. Martin Barnes, Senior Curator, Photography, at the V&A oversaw the accession of this collection. Pamela Bone’s estate included some multiples and small editions of some of her works, these have been released for sale by auction at Flints. Please note that purchasers acquire the original physical print or artwork, where an image is also held in the V&A’s collection, the V&A holds copyright to reproduction of that image. Martin Barnes has summarised Pamela Bone’s career and work: “Bone attended Guildford School of Art between 1952-54, creating black and white still-lifes and portraiture alongside colour work. In 1953, she also studied in Paris with advertising and portrait photographer André Thevenet and worked in advertising. Her photographs were published in Photomonde, Vogue, Queen and House and Garden magazines. In 1958, she went to stay with a student friend in Calcutta and from there travelled throughout the following year in India, Sikkim and Kashmir. On returning to the UK, she abandoned commercial photography and focussed on independent art practice. She photographed in North Uist, Outer Hebrides and around Dartmoor, for her Dartmoor Trees and River series. She also studied sound recording. From 1965 Bone began experimenting with a conceptual slide show of her transparencies, based around the themes of her travels, the seasons and children, still life and landscape. She applied this approach in her printing methods, which combined and overlayed transparencies and prints from different periods with photograms to create dreamlike, textured impressions of imagined landscapes. This culminated in Circle of Light, (1972) an experimental film created from transparencies by Bone collaborating with filmmaker Anthony Roland, video art and installation artist Elsa Stansfield (1945-2004) and composer Delia Derbyshire (1937-2001) of the BBC Radiophonic Workshop (and who famously recorded the Doctor Who theme tune). A VHS copy of Circle of Light is in the V&A National Art Library (NAL). Bone’s approach to collaging and recombining works became her main approach and is a pre-cursor to contemporary practices of sampling. In 1973, she married Sir Ernest William Goodale, becoming Lady Pamela Goodale, but she continued to sign her artworks with her maiden-name. Bone was a lifelong follower of Christian Science. There were many books by the movement’s founder, the religious leader and author Mary Baker Eddy (1821- 1910) in her library. Bone was shy and reclusive and worked largely in seclusion. She set up a Cibachrome colour processing darkroom in 1981 in an outbuilding at her home in Dorking. This process allowed her to make her own direct colour positive prints from her colour transparencies. She made use of ‘lith’ printing as overlay masking for her cibachromes, and also produced pictures using silks. An exhibition of cibachrome prints, Let There Be Light was shown at West Dean College in 1991. Bone ceased printing in 1992 but began meticulously preserving her works. Towards the end of her life, she produced two limited-edition, hand-printed publications of her photographs, Wings of the Wind (2000) and Seven Doors: Finding Freedom of Expression Through Photography (2009) both in the NAL”
Lot 113
hand printed book, Vol I, 2007,(219pp) numbered one of five, limited to five copies, including poetry, biography and a selection of photographs, and Volume II, numbered three of four hand printed copies, both copiously illustrated with high quality reproductions of Pamela Bone's photography, black-and-white prints by a collotype or similar process, and colour prints, described in vol II as ''scanned and the scans painstakingly retouched before being imaged to plate using stochastic screen ....in order to achieve the maximum level of detail', each photograph separately printed, tipped in and protected with a loose tissue guard, Vol I with some small pencil annotations added by the author, plain paper dust jacket, cloth bound with cloth slip case; volume II 2009, (95pp) continues the biographical account from the 1970s, the 'Circle of Light' movie, further poetry and much detail on experimental techniques in photography, again cloth bound in cloth slip case, each Volume 31.5cm x 28.5cm. Note: Pamela Bone (Lady Pamela Goodale) Pamela Bone (British, 1925-2021) created a significant body of experimental photographic works between 1952 and 1992. Though some of her works were published and exhibited in her lifetime – and she collaborated with notable figures in the world of film, conceptual art and electronic music during the 1970s – this innovative work is now being re-assessed and appreciated. At her death Bone bequeathed her photographic works to the Victoria and Albert Museum. Martin Barnes, Senior Curator, Photography, at the V&A oversaw the accession of this collection. Pamela Bone’s estate included some multiples and small editions of some of her works, these have been released for sale by auction at Flints. Please note that purchasers acquire the original physical print or artwork, where an image is also held in the V&A’s collection, the V&A holds copyright to reproduction of that image. Martin Barnes has summarised Pamela Bone’s career and work: “Bone attended Guildford School of Art between 1952-54, creating black and white still-lifes and portraiture alongside colour work. In 1953, she also studied in Paris with advertising and portrait photographer André Thevenet and worked in advertising. Her photographs were published in Photomonde, Vogue, Queen and House and Garden magazines. In 1958, she went to stay with a student friend in Calcutta and from there travelled throughout the following year in India, Sikkim and Kashmir. On returning to the UK, she abandoned commercial photography and focussed on independent art practice. She photographed in North Uist, Outer Hebrides and around Dartmoor, for her Dartmoor Trees and River series. She also studied sound recording. From 1965 Bone began experimenting with a conceptual slide show of her transparencies, based around the themes of her travels, the seasons and children, still life and landscape. She applied this approach in her printing methods, which combined and overlayed transparencies and prints from different periods with photograms to create dreamlike, textured impressions of imagined landscapes. This culminated in Circle of Light, (1972) an experimental film created from transparencies by Bone collaborating with filmmaker Anthony Roland, video art and installation artist Elsa Stansfield (1945-2004) and composer Delia Derbyshire (1937-2001) of the BBC Radiophonic Workshop (and who famously recorded the Doctor Who theme tune). A VHS copy of Circle of Light is in the V&A National Art Library (NAL). Bone’s approach to collaging and recombining works became her main approach and is a pre-cursor to contemporary practices of sampling. In 1973, she married Sir Ernest William Goodale, becoming Lady Pamela Goodale, but she continued to sign her artworks with her maiden-name. Bone was a lifelong follower of Christian Science. There were many books by the movement’s founder, the religious leader and author Mary Baker Eddy (1821- 1910) in her library. Bone was shy and reclusive and worked largely in seclusion. She set up a Cibachrome colour processing darkroom in 1981 in an outbuilding at her home in Dorking. This process allowed her to make her own direct colour positive prints from her colour transparencies. She made use of ‘lith’ printing as overlay masking for her cibachromes, and also produced pictures using silks. An exhibition of cibachrome prints, Let There Be Light was shown at West Dean College in 1991. Bone ceased printing in 1992 but began meticulously preserving her works. Towards the end of her life, she produced two limited-edition, hand-printed publications of her photographs, Wings of the Wind (2000) and Seven Doors: Finding Freedom of Expression Through Photography (2009) both in the NAL”
Lot 114
hand printed book, Vol I only, 2007,(219pp) numbered three of five, limited to five copies, including poetry, biography and a selection of photographs, copiously illustrated with high quality reproductions of Pamela Bone's photography, black-and-white prints by a collotype or similar process, and colour prints, described in vol II as ''scanned and the scans painstakingly retouched before being imaged to plate using stochastic screen .... in order to achieve the maximum level of detail', each photograph separately printed, tipped in and protected with a loose tissue guard, plain paper dust jacket, cloth bound with cloth slip case, book 31.5cm x 28.5cm Note: Pamela Bone (Lady Pamela Goodale) Pamela Bone (British, 1925-2021) created a significant body of experimental photographic works between 1952 and 1992. Though some of her works were published and exhibited in her lifetime – and she collaborated with notable figures in the world of film, conceptual art and electronic music during the 1970s – this innovative work is now being re-assessed and appreciated. At her death Bone bequeathed her photographic works to the Victoria and Albert Museum. Martin Barnes, Senior Curator, Photography, at the V&A oversaw the accession of this collection. Pamela Bone’s estate included some multiples and small editions of some of her works, these have been released for sale by auction at Flints. Please note that purchasers acquire the original physical print or artwork, where an image is also held in the V&A’s collection, the V&A holds copyright to reproduction of that image. Martin Barnes has summarised Pamela Bone’s career and work: “Bone attended Guildford School of Art between 1952-54, creating black and white still-lifes and portraiture alongside colour work. In 1953, she also studied in Paris with advertising and portrait photographer André Thevenet and worked in advertising. Her photographs were published in Photomonde, Vogue, Queen and House and Garden magazines. In 1958, she went to stay with a student friend in Calcutta and from there travelled throughout the following year in India, Sikkim and Kashmir. On returning to the UK, she abandoned commercial photography and focussed on independent art practice. She photographed in North Uist, Outer Hebrides and around Dartmoor, for her Dartmoor Trees and River series. She also studied sound recording. From 1965 Bone began experimenting with a conceptual slide show of her transparencies, based around the themes of her travels, the seasons and children, still life and landscape. She applied this approach in her printing methods, which combined and overlayed transparencies and prints from different periods with photograms to create dreamlike, textured impressions of imagined landscapes. This culminated in Circle of Light, (1972) an experimental film created from transparencies by Bone collaborating with filmmaker Anthony Roland, video art and installation artist Elsa Stansfield (1945-2004) and composer Delia Derbyshire (1937-2001) of the BBC Radiophonic Workshop (and who famously recorded the Doctor Who theme tune). A VHS copy of Circle of Light is in the V&A National Art Library (NAL). Bone’s approach to collaging and recombining works became her main approach and is a pre-cursor to contemporary practices of sampling. In 1973, she married Sir Ernest William Goodale, becoming Lady Pamela Goodale, but she continued to sign her artworks with her maiden-name. Bone was a lifelong follower of Christian Science. There were many books by the movement’s founder, the religious leader and author Mary Baker Eddy (1821- 1910) in her library. Bone was shy and reclusive and worked largely in seclusion. She set up a Cibachrome colour processing darkroom in 1981 in an outbuilding at her home in Dorking. This process allowed her to make her own direct colour positive prints from her colour transparencies. She made use of ‘lith’ printing as overlay masking for her cibachromes, and also produced pictures using silks. An exhibition of cibachrome prints, Let There Be Light was shown at West Dean College in 1991. Bone ceased printing in 1992 but began meticulously preserving her works. Towards the end of her life, she produced two limited-edition, hand-printed publications of her photographs, Wings of the Wind (2000) and Seven Doors: Finding Freedom of Expression Through Photography (2009) both in the NAL”
Lot 118
Folder containing12 high quality photogravures, printed 1979, No. 52 of limited edition of 1000 for the 1979 Venice Photography Exhibition, complete with illustrated introduction in English and Italian. Each print on heavy paper with tissue guards, in black printed folio, images 25cm x 33cm, sheets 30cm x 40cm
Lot 122
woodcut print 'La Place en êtê' 1923, signed to the border lower right and titled lower left, 10 cm x 20 cm, in slip mount, framed & glazed Note: A print of the woodcut is in the V&A: https://collections.vam.ac.uk/item/O1009835/venice-la-place-wood-engraving-raverat-gwen/venice---la-place-wood-engraving-raverat-gwen/
Lot 99
both albumen prints c.1880, a study of a glass jewellery shop in Cairo by Bechard, titled ' Marchands de Verroterie' and signed Bechard in the negative, 26.7cm x 21cm, with Orientalist print of a North African woman, c.1880, possibly Moroccan, numbered 1228 in the negative, 25.5cm x18.5cm, unmounted
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314766 item(s)/page