J. MACKIE, GOLDEN LIGHTS 3 print on paper, signed in pencil Mounted 56cm x 70cm overall, along with Rajinder, The Blue Carpet, giclee print on paper, signed in pencil and numbered 19/195 on the mount, 74cm x 72cm overall, Antonio Massa, Tulip Bouquet Splendour, limited edition giclee print, inscribed on certificate verso and numbered 3/95, 90cm x 80cm overall, Angel Wings, pastel print on paper, monogrammed 'HB' and numbered 7/195, 70cm x 88cm overall and Gerald Coulson, Devon Coast At Sunrise, limited edition print on paper, signed and numbered 36/195 in pencil, framed and under glass, 82cm x 94cm overall (5)
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J. MACKIE, GOLDEN LIGHTS 2 print on paper, signed in pencil Mounted 56cm x 70cm overall, along with six others, including Low Tide, Tiree, print on paper, mounted, 67cm x 34cm, Scottish school, Pencil Sketch, pencil on paper, signed and dated indistinctly, Mounted, 41cm x 45cm overall, Guardian, pastel print on paper, monogrammed 'HB' and numbered 7/195, Framed and under glass, 76cm x 94cm overall, Rocky Beach, print on paper, signed indistinctly, mounted, framed and under glass, 42cm x 42cm overall, Grant Searl, Duped Again, print on canvas, monogrammed and numbered 9/49 verso, unframed, 61cm x 91cm, and JCA, The Cove, photograph under liquid gloss, unframed, 58cm x 104cm (7)
Three mounted and unframed watercolour and pencil drawings by Boris Smirnoff (1895-1976), one titled 'Garcon au Cheval' with certificate from the Museum of Wales, a watercolour of Beachy Head, an original gouache and ink poster for School Dance 1927 signed G Williams, a school print of a woman combing her hair by Chuah Thean Teng plus five other framed pictures
1966 WORLD CUP FINAL A unique chance to obtain a piece of history. Twelve 40 inch X 30 inch metal printing plates which were used to print the original World Cup Final programme for 30/7/1966. The plates would have been used after the England v Portugal semi-final on 26th July and before the 3/4 Play-off on 28th July. The plates include the complete 64 page programme but we are unaware if this would have been the only set or if there were more. There were 8 plates with 8 pages on each for the inside 64 pages and 4 plates for the front and back covers. The plates were found at the property of Hemmings and Capey of Leicester, who printed the Leicester City programmes. We are unaware how they managed to secure them from McCorquodale & Co. Ltd. Of London who were the printers of the programme. The plates are very large and heavy and therefore they will be needed to be collected. Generally good
Hardy (Thomas) Compassion: An Ode in Celebration of the Centenary of the Royal Society for the Prevention of Cruelty to Animals, 16pp., one of 50 copies signed by A.J.A.Symons, stitched, uncut, foxing particularly to first and last leaves, privately printed [at the Morland Press] for A.J.A.Symons, [1924]; another issue, 8pp. (single folded sheet), number 83 of 500 copies printed for the subscribers to The First Edition & Book Collector, lightly browned, 1924; The Song of the Soldiers, 8pp, reprinted from 'The Times' of 9th September 1914, original printed brown wrappers, Hove, 1915; The Oxen, 4pp., reprinted from 'The Times' 24th December 1915, original printed wrappers, spine a little worn, Hove, privately printed, 28th December 1915; Yuletide in a Younger World, Ariel Poem No.1, 8pp., pochoir frontispiece by Albert Rutherston, original printed green wrappers with flaps, [1927], [Purdy p.232 note, 158, 175 & 249], 8vo (5)⁂ Compassion was first printed simultaneously in the centenary volume of the Society of the Royal Society for the Prevention of Cruelty to Animals and in The Times on 16th June 1924. The latter stated that there was no copyright and Hardy was immediately solicited about reissuing it privately. Mrs. Hardy contacted Ling, the local Dorchester printer, who ran off 25 copies in under an hour enabling Mrs. Hardy to reply that it was already in print.
J & J Cash Ltd (Coventry) : A montage of four Jacquard loom-woven pictures all depicting birds, each panel 11 cm x 7 cm, framed overall as one, together with an unsigned watercolour depicting a river landcape, a box-framed butterfly montage, a hand-colourd monochrome print depicting Primavera, a pair of chromolithographic panels printed on black paper titled "Narcissus" and "A Summer Dream", a glass panel decorated with an image of Queen Victoria, a reproduction in colours depicting a Pre-Raphaelite study of a maiden (oval in shape) and finally a colour print published by Hugh Evelyn depicting the ship's portrait of The Empress of Britain, all nine parts framed. (9)

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