Richard Bawden Duke of York for Ever, 2020 Watercolour on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Richard Bawden RWS NEAC RE is a painter, printmaker and designer working predominantly in lino, etching and watercolour. His work has a graphic, linear quality and a strong sense of craftsmanship, which translates naturally into many forms. These have included book illustration, murals for restaurants, etched glass church windows and doors, a poster for London Transport, mosaics and furniture. Born in 1936, the son of the well-known artist, Edward Bawden, R.A. Richard studied painting, printmaking and graphic design at Chelsea, St Martin's and the Royal College of Art. His paintings are drawn from life and often depict scenes of domesticity: his house, sofas, chairs, windows, cats, his garden and its birds. He is attracted by atmosphere, oddity, pattern and the austere. Focussing on these, he draws the viewer into his delightful universe. Based in Suffolk, Richard has had over fifty one man exhibitions at home and abroad; including a major retrospective at Gainsborough's House in Suffolk. He has work in Royal, public and private collections, and has taught drawing and printmaking at several London and provincial art schools. Richard is a Council member of the Royal Watercolour Society (RWS), an elected member of the Royal Society of Painter-Printmakers (RE), a member of the New English Art Club (NEAC), and a former Chairman of the Gainsborough House Print Workshop in Sudbury.
We found 314783 price guide item(s) matching your search
There are 314783 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
314783 item(s)/page
Richard Bawden Cat Seat and Fountain, 2020 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Richard Bawden RWS NEAC RE is a painter, printmaker and designer working predominantly in lino, etching and watercolour. His work has a graphic, linear quality and a strong sense of craftsmanship, which translates naturally into many forms. These have included book illustration, murals for restaurants, etched glass church windows and doors, a poster for London Transport, mosaics and furniture. Born in 1936, the son of the well-known artist, Edward Bawden, R.A. Richard studied painting, printmaking and graphic design at Chelsea, St Martin's and the Royal College of Art. His paintings are drawn from life and often depict scenes of domesticity: his house, sofas, chairs, windows, cats, his garden and its birds. He is attracted by atmosphere, oddity, pattern and the austere. Focussing on these, he draws the viewer into his delightful universe. Based in Suffolk, Richard has had over fifty one man exhibitions at home and abroad; including a major retrospective at Gainsborough's House in Suffolk. He has work in Royal, public and private collections, and has taught drawing and printmaking at several London and provincial art schools. Richard is a Council member of the Royal Watercolour Society (RWS), an elected member of the Royal Society of Painter-Printmakers (RE), a member of the New English Art Club (NEAC), and a former Chairman of the Gainsborough House Print Workshop in Sudbury.
Carne Griffith Untitled, 2020 Ink, Tea and Gold Leaf on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Working primarily with calligraphy inks, graphite and liquids, such as tea, Griffiths' fascination with drawing focuses on the creation and manipulation of the drawn line. Images explore human, geometric and floral forms, in a combination of both literal and abstract translation and in response to images and situations encountered in daily life. Images are recorded in a dreamlike sense onto the page where physical boundaries are unimportant. His work creates a journey of escapism which focuses on scenes of awe and wonder, projecting a sense of abandonment and inviting the viewer to share and explore this inner realm. Originally from Liverpool, Griffiths graduated from the Kent Institute of Art and Design in Maidstone in 1995. After completing a one-year KIAD fellowship and moving to London he served an apprenticeship at the longest-established gold wire embroidery firm in the world. Here he worked as a gold wire embroidery designer for twelve years, eventually becoming the creative director. Carne produced intricate designs for the military and the film, theatre, fashion and advertising industries. His designs were used for the uniforms in the films Valkyrie, The Last King of Scotland, and in particular his 'Red Death Coat' was used in The Phantom of the Opera. Carne's elaborate floral designs for Asprey were included in their first ever catwalk collection and his work was featured on the embroidered cover of the 80th Royal Variety Performance programme in 2008. Since establishing his own studio in 2010, Carne has exhibited in the UK and overseas with work shown at the London Original Print Fair, the Royal Academy, Stroke Art Fair, Affordable Art Fair, the London Art Fair and with solo Exhibitions in Brighton, Hong Kong, Milan and an upcoming show in Hamburg. Carne's illustration work has seen him collaborate with the British photographer Rankin for a 6 page feature in Hunger magazine as well as featuring in publications worldwide, notably for several covers of the New York Observer, English Heritage magazine and for Brand projects including work for Microsoft, Derwent, Peroni, Lakes Distillery and Ibis Hotels. Originally from Liverpool, Griffiths graduated from the Kent Institute of Art and Design in Maidstone in 1995. After completing a one-year KIAD fellowship and moving to London he served an apprenticeship at the longest-established gold wire embroidery firm in the world. Here he worked as a gold wire embroidery designer for twelve years, eventually becoming the creative director. Carne produced intricate designs for the military and the film, theatre, fashion and advertising industries. His designs were used for the uniforms in the films Valkyrie, The Last King of Scotland, and in particular his 'Red Death Coat' was used in The Phantom of the Opera. Carne's elaborate floral designs for Asprey were included in their first ever catwalk collection and his work was featured on the embroidered cover of the 80th Royal Variety Performance programme in 2008. Since establishing his own studio in 2010, Carne has exhibited in the UK and overseas with work shown at the London Original Print Fair, the Royal Academy, Stroke Art Fair, Affordable Art Fair, the London Art Fair and with solo Exhibitions in Brighton, Hong Kong, Milan and an upcoming show in Hamburg. Carne's illustration work has seen him collaborate with the British photographer Rankin for a 6 page feature in Hunger magazine as well as featuring in publications worldwide, notably for several covers of the New York Observer, English Heritage magazine and for Brand projects including work for Microsoft, Derwent, Peroni, Lakes Distillery and Ibis Hotels.
Carne Griffiths Untitled, 2020 Ink, Tea and Gold Leaf on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Working primarily with calligraphy inks, graphite and liquids, such as tea, Griffiths' fascination with drawing focuses on the creation and manipulation of the drawn line. Images explore human, geometric and floral forms, in a combination of both literal and abstract translation and in response to images and situations encountered in daily life. Images are recorded in a dreamlike sense onto the page where physical boundaries are unimportant. His work creates a journey of escapism which focuses on scenes of awe and wonder, projecting a sense of abandonment and inviting the viewer to share and explore this inner realm. Originally from Liverpool, Griffiths graduated from the Kent Institute of Art and Design in Maidstone in 1995. After completing a one-year KIAD fellowship and moving to London he served an apprenticeship at the longest-established gold wire embroidery firm in the world. Here he worked as a gold wire embroidery designer for twelve years, eventually becoming the creative director. Carne produced intricate designs for the military and the film, theatre, fashion and advertising industries. His designs were used for the uniforms in the films Valkyrie, The Last King of Scotland, and in particular his 'Red Death Coat' was used in The Phantom of the Opera. Carne's elaborate floral designs for Asprey were included in their first ever catwalk collection and his work was featured on the embroidered cover of the 80th Royal Variety Performance programme in 2008. Since establishing his own studio in 2010, Carne has exhibited in the UK and overseas with work shown at the London Original Print Fair, the Royal Academy, Stroke Art Fair, Affordable Art Fair, the London Art Fair and with solo Exhibitions in Brighton, Hong Kong, Milan and an upcoming show in Hamburg. Carne's illustration work has seen him collaborate with the British photographer Rankin for a 6 page feature in Hunger magazine as well as featuring in publications worldwide, notably for several covers of the New York Observer, English Heritage magazine and for Brand projects including work for Microsoft, Derwent, Peroni, Lakes Distillery and Ibis Hotels. Originally from Liverpool, Griffiths graduated from the Kent Institute of Art and Design in Maidstone in 1995. After completing a one-year KIAD fellowship and moving to London he served an apprenticeship at the longest-established gold wire embroidery firm in the world. Here he worked as a gold wire embroidery designer for twelve years, eventually becoming the creative director. Carne produced intricate designs for the military and the film, theatre, fashion and advertising industries. His designs were used for the uniforms in the films Valkyrie, The Last King of Scotland, and in particular his 'Red Death Coat' was used in The Phantom of the Opera. Carne's elaborate floral designs for Asprey were included in their first ever catwalk collection and his work was featured on the embroidered cover of the 80th Royal Variety Performance programme in 2008. Since establishing his own studio in 2010, Carne has exhibited in the UK and overseas with work shown at the London Original Print Fair, the Royal Academy, Stroke Art Fair, Affordable Art Fair, the London Art Fair and with solo Exhibitions in Brighton, Hong Kong, Milan and an upcoming show in Hamburg. Carne's illustration work has seen him collaborate with the British photographer Rankin for a 6 page feature in Hunger magazine as well as featuring in publications worldwide, notably for several covers of the New York Observer, English Heritage magazine and for Brand projects including work for Microsoft, Derwent, Peroni, Lakes Distillery and Ibis Hotels.
Carne Griffiths Untitled, 2020 Ink, Tea and Gold Leaf on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Working primarily with calligraphy inks, graphite and liquids, such as tea, Griffiths' fascination with drawing focuses on the creation and manipulation of the drawn line. Images explore human, geometric and floral forms, in a combination of both literal and abstract translation and in response to images and situations encountered in daily life. Images are recorded in a dreamlike sense onto the page where physical boundaries are unimportant. His work creates a journey of escapism which focuses on scenes of awe and wonder, projecting a sense of abandonment and inviting the viewer to share and explore this inner realm. Originally from Liverpool, Griffiths graduated from the Kent Institute of Art and Design in Maidstone in 1995. After completing a one-year KIAD fellowship and moving to London he served an apprenticeship at the longest-established gold wire embroidery firm in the world. Here he worked as a gold wire embroidery designer for twelve years, eventually becoming the creative director. Carne produced intricate designs for the military and the film, theatre, fashion and advertising industries. His designs were used for the uniforms in the films Valkyrie, The Last King of Scotland, and in particular his 'Red Death Coat' was used in The Phantom of the Opera. Carne's elaborate floral designs for Asprey were included in their first ever catwalk collection and his work was featured on the embroidered cover of the 80th Royal Variety Performance programme in 2008. Since establishing his own studio in 2010, Carne has exhibited in the UK and overseas with work shown at the London Original Print Fair, the Royal Academy, Stroke Art Fair, Affordable Art Fair, the London Art Fair and with solo Exhibitions in Brighton, Hong Kong, Milan and an upcoming show in Hamburg. Carne's illustration work has seen him collaborate with the British photographer Rankin for a 6 page feature in Hunger magazine as well as featuring in publications worldwide, notably for several covers of the New York Observer, English Heritage magazine and for Brand projects including work for Microsoft, Derwent, Peroni, Lakes Distillery and Ibis Hotels. Originally from Liverpool, Griffiths graduated from the Kent Institute of Art and Design in Maidstone in 1995. After completing a one-year KIAD fellowship and moving to London he served an apprenticeship at the longest-established gold wire embroidery firm in the world. Here he worked as a gold wire embroidery designer for twelve years, eventually becoming the creative director. Carne produced intricate designs for the military and the film, theatre, fashion and advertising industries. His designs were used for the uniforms in the films Valkyrie, The Last King of Scotland, and in particular his 'Red Death Coat' was used in The Phantom of the Opera. Carne's elaborate floral designs for Asprey were included in their first ever catwalk collection and his work was featured on the embroidered cover of the 80th Royal Variety Performance programme in 2008. Since establishing his own studio in 2010, Carne has exhibited in the UK and overseas with work shown at the London Original Print Fair, the Royal Academy, Stroke Art Fair, Affordable Art Fair, the London Art Fair and with solo Exhibitions in Brighton, Hong Kong, Milan and an upcoming show in Hamburg. Carne's illustration work has seen him collaborate with the British photographer Rankin for a 6 page feature in Hunger magazine as well as featuring in publications worldwide, notably for several covers of the New York Observer, English Heritage magazine and for Brand projects including work for Microsoft, Derwent, Peroni, Lakes Distillery and Ibis Hotels.
Carne Griffiths Untitled, 2020 Ink, Tea and Gold Leaf on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Working primarily with calligraphy inks, graphite and liquids, such as tea, Griffiths' fascination with drawing focuses on the creation and manipulation of the drawn line. Images explore human, geometric and floral forms, in a combination of both literal and abstract translation and in response to images and situations encountered in daily life. Images are recorded in a dreamlike sense onto the page where physical boundaries are unimportant. His work creates a journey of escapism which focuses on scenes of awe and wonder, projecting a sense of abandonment and inviting the viewer to share and explore this inner realm. Originally from Liverpool, Griffiths graduated from the Kent Institute of Art and Design in Maidstone in 1995. After completing a one-year KIAD fellowship and moving to London he served an apprenticeship at the longest-established gold wire embroidery firm in the world. Here he worked as a gold wire embroidery designer for twelve years, eventually becoming the creative director. Carne produced intricate designs for the military and the film, theatre, fashion and advertising industries. His designs were used for the uniforms in the films Valkyrie, The Last King of Scotland, and in particular his 'Red Death Coat' was used in The Phantom of the Opera. Carne's elaborate floral designs for Asprey were included in their first ever catwalk collection and his work was featured on the embroidered cover of the 80th Royal Variety Performance programme in 2008. Since establishing his own studio in 2010, Carne has exhibited in the UK and overseas with work shown at the London Original Print Fair, the Royal Academy, Stroke Art Fair, Affordable Art Fair, the London Art Fair and with solo Exhibitions in Brighton, Hong Kong, Milan and an upcoming show in Hamburg. Carne's illustration work has seen him collaborate with the British photographer Rankin for a 6 page feature in Hunger magazine as well as featuring in publications worldwide, notably for several covers of the New York Observer, English Heritage magazine and for Brand projects including work for Microsoft, Derwent, Peroni, Lakes Distillery and Ibis Hotels. Originally from Liverpool, Griffiths graduated from the Kent Institute of Art and Design in Maidstone in 1995. After completing a one-year KIAD fellowship and moving to London he served an apprenticeship at the longest-established gold wire embroidery firm in the world. Here he worked as a gold wire embroidery designer for twelve years, eventually becoming the creative director. Carne produced intricate designs for the military and the film, theatre, fashion and advertising industries. His designs were used for the uniforms in the films Valkyrie, The Last King of Scotland, and in particular his 'Red Death Coat' was used in The Phantom of the Opera. Carne's elaborate floral designs for Asprey were included in their first ever catwalk collection and his work was featured on the embroidered cover of the 80th Royal Variety Performance programme in 2008. Since establishing his own studio in 2010, Carne has exhibited in the UK and overseas with work shown at the London Original Print Fair, the Royal Academy, Stroke Art Fair, Affordable Art Fair, the London Art Fair and with solo Exhibitions in Brighton, Hong Kong, Milan and an upcoming show in Hamburg. Carne's illustration work has seen him collaborate with the British photographer Rankin for a 6 page feature in Hunger magazine as well as featuring in publications worldwide, notably for several covers of the New York Observer, English Heritage magazine and for Brand projects including work for Microsoft, Derwent, Peroni, Lakes Distillery and Ibis Hotels.
Gu Wenda United Nations-Gengzi's Necklace, 2020 Pen on print on Paper Signed recto 10 x 15cm (3¾ x 5¾ in.) Gu moved to the U.S. in 1987. He currently lives and works in Shanghai and New York. The United Nations project (using human hair as material) the artist embarked in 1993, which has been included in various publications on world art history, addresses the notion of a single humanity. The postcards feature the most recent work of the project: Gengzi's necklace, completed in August 2020. The work was inspired by the recent global pandemic. Gu has developed a personal vocabulary of invented Chinese characters by misplacing various aspects of existing characters to create new and meaningless words. This tactic among others is the artist's means to subvert tradition while using its formal attributes. "I used characters without any meaning and political icons taken from propaganda and inserted them into my ink painting," he explained. "For me, this was a kind of double power: these ink works were both scholarly and socialist." Born in 1955 in Shanghai, China, Gu was encouraged in pursuing a creative career from a young age by his family. However, this interest in culture led his grandparents to be taken away for re-education by Mao Zedong's regime. He went on to study traditional Chinese landscape painting under Lu Yanshao at the China Academy of Arts in Hangzhou. In 1987, Wenda moved to the United States, where he began to employ materials related to human body. Intending to celebrate life and promote universal accord, Gu created his United Nations Project in 1993. Today, his works are held in the collections of the Metropolitan Museum of Art in New York, the National Museum of Art in Beijing, and the Asian Art Museum in San Francisco, among others.
Gu Wenda United Nations-Gengzi's Necklace, 2020 Pen on print on Paper Signed recto 10 x 15cm (3¾ x 5¾ in.) Gu moved to the U.S. in 1987. He currently lives and works in Shanghai and New York. The United Nations project (using human hair as material) the artist embarked in 1993, which has been included in various publications on world art history, addresses the notion of a single humanity. The postcards feature the most recent work of the project: Gengzi's necklace, completed in August 2020. The work was inspired by the recent global pandemic. Gu has developed a personal vocabulary of invented Chinese characters by misplacing various aspects of existing characters to create new and meaningless words. This tactic among others is the artist's means to subvert tradition while using its formal attributes. "I used characters without any meaning and political icons taken from propaganda and inserted them into my ink painting," he explained. "For me, this was a kind of double power: these ink works were both scholarly and socialist." Born in 1955 in Shanghai, China, Gu was encouraged in pursuing a creative career from a young age by his family. However, this interest in culture led his grandparents to be taken away for re-education by Mao Zedong's regime. He went on to study traditional Chinese landscape painting under Lu Yanshao at the China Academy of Arts in Hangzhou. In 1987, Wenda moved to the United States, where he began to employ materials related to human body. Intending to celebrate life and promote universal accord, Gu created his United Nations Project in 1993. Today, his works are held in the collections of the Metropolitan Museum of Art in New York, the National Museum of Art in Beijing, and the Asian Art Museum in San Francisco, among others.
Gu Wenda United Nations-Gengzi's Necklace, 2020 Pen on print on Paper Signed recto 15 x 10cm (5¾ x 3¾ in.) Gu moved to the U.S. in 1987. He currently lives and works in Shanghai and New York. The United Nations project (using human hair as material) the artist embarked in 1993, which has been included in various publications on world art history, addresses the notion of a single humanity. The postcards feature the most recent work of the project: Gengzi's necklace, completed in August 2020. The work was inspired by the recent global pandemic. Gu has developed a personal vocabulary of invented Chinese characters by misplacing various aspects of existing characters to create new and meaningless words. This tactic among others is the artist's means to subvert tradition while using its formal attributes. "I used characters without any meaning and political icons taken from propaganda and inserted them into my ink painting," he explained. "For me, this was a kind of double power: these ink works were both scholarly and socialist." Born in 1955 in Shanghai, China, Gu was encouraged in pursuing a creative career from a young age by his family. However, this interest in culture led his grandparents to be taken away for re-education by Mao Zedong's regime. He went on to study traditional Chinese landscape painting under Lu Yanshao at the China Academy of Arts in Hangzhou. In 1987, Wenda moved to the United States, where he began to employ materials related to human body. Intending to celebrate life and promote universal accord, Gu created his United Nations Project in 1993. Today, his works are held in the collections of the Metropolitan Museum of Art in New York, the National Museum of Art in Beijing, and the Asian Art Museum in San Francisco, among others.
Gu Wenda United Nations-Gengzi's Necklace, 2020 Pen on print on Paper Signed recto 15 x 10cm (5¾ x 3¾ in.) Gu moved to the U.S. in 1987. He currently lives and works in Shanghai and New York. The United Nations project (using human hair as material) the artist embarked in 1993, which has been included in various publications on world art history, addresses the notion of a single humanity. The postcards feature the most recent work of the project: Gengzi's necklace, completed in August 2020. The work was inspired by the recent global pandemic. Gu has developed a personal vocabulary of invented Chinese characters by misplacing various aspects of existing characters to create new and meaningless words. This tactic among others is the artist's means to subvert tradition while using its formal attributes. "I used characters without any meaning and political icons taken from propaganda and inserted them into my ink painting," he explained. "For me, this was a kind of double power: these ink works were both scholarly and socialist." Born in 1955 in Shanghai, China, Gu was encouraged in pursuing a creative career from a young age by his family. However, this interest in culture led his grandparents to be taken away for re-education by Mao Zedong's regime. He went on to study traditional Chinese landscape painting under Lu Yanshao at the China Academy of Arts in Hangzhou. In 1987, Wenda moved to the United States, where he began to employ materials related to human body. Intending to celebrate life and promote universal accord, Gu created his United Nations Project in 1993. Today, his works are held in the collections of the Metropolitan Museum of Art in New York, the National Museum of Art in Beijing, and the Asian Art Museum in San Francisco, among others.
JohnnyX Please Don't Feed The Rich Screen Print on Vintage Postcard Signed verso 15 x 10cm (5¾ x 3¾ in.) Johnnyx is an artist based in Newcastle upon Tyne, he studied Art at Newcastle Bath Lane Art College and Duncan of Jordanstone College of Art. Often working experimentally, he explores paint and screen print processes looking to bring a deconstructional and subversive lens to modern cultural and political themes. Johnny's multimedia works marry social commentary and sloganeering with a visceral pop-art aesthetic, employing techniques of détournement and bricolage to create a textured, multi-layered information aesthetic.
JohnnyX Please Don't Feed The Rich, 2020 Screen Print on Vintage Postcard Signed verso 10 x 15cm (3¾ x 5¾ in.) Johnnyx is an artist based in Newcastle upon Tyne, he studied Art at Newcastle Bath Lane Art College and Duncan of Jordanstone College of Art. Often working experimentally, he explores paint and screen print processes looking to bring a deconstructional and subversive lens to modern cultural and political themes. Johnny's multimedia works marry social commentary and sloganeering with a visceral pop-art aesthetic, employing techniques of détournement and bricolage to create a textured, multi-layered information aesthetic.
JohnnyX Please Don't Feed The Rich, 2020 Screen Print on Vintage Postcard Signed verso 10 x 15cm (3¾ x 5¾ in.) Johnnyx is an artist based in Newcastle upon Tyne, he studied Art at Newcastle Bath Lane Art College and Duncan of Jordanstone College of Art. Often working experimentally, he explores paint and screen print processes looking to bring a deconstructional and subversive lens to modern cultural and political themes. Johnny's multimedia works marry social commentary and sloganeering with a visceral pop-art aesthetic, employing techniques of détournement and bricolage to create a textured, multi-layered information aesthetic.
JohnnyX Please Don't Feed The Rich, 2020 Screen Print on Vintage Postcard Signed verso 15 x 10cm (5¾ x 3¾ in.) Johnnyx is an artist based in Newcastle upon Tyne, he studied Art at Newcastle Bath Lane Art College and Duncan of Jordanstone College of Art. Often working experimentally, he explores paint and screen print processes looking to bring a deconstructional and subversive lens to modern cultural and political themes. Johnny's multimedia works marry social commentary and sloganeering with a visceral pop-art aesthetic, employing techniques of détournement and bricolage to create a textured, multi-layered information aesthetic.
John Maclean :mount_fuji:, 2020 Giclée Hahnemühle Pearl Print Signed verso 10 x 15cm (3¾ x 5¾ in.) Although born in Buckinghamshire, England, John spent a significant part of his childhood in Canada and the United States. He began using a camera at the age of fourteen when he discovered the book 'American Images', featuring the work of Lee Friedlander, Lewis Baltz and John Gossage. After studying mathematics, physics and geology he changed direction and studied photography at the University of Derby (UK) under Olivier Richon. He subsequently worked at The Royal College of Art for four years. John has been a London-based, independent photographer since 1998. His first solo show was 'Two and Two' with Flowers Gallery (London) in 2010. John has had work published in Camera Austria, European Photography, American Suburb X, The British Journal of Photography, Source, Photoworks, 1000 Words, and Elephant to name a few. He has published ten photobooks. 'New Colour Guide' received two 'Best Photobooks of 2012′ awards. 'Hometowns' was awarded Best International Photobook of 2016 judged by David Campany, Dewi Lewis and Lucy Moore. It was part of the 'Experts' Selection' at Kassel and nominated for The Deutsche Borse Prize 2018. 'Hometowns' was exhibited at Unseen Amsterdam in 2015, Format Photo Festival in 2017 and Lodz Fotofestival in 2018. 'Your Nature' was recently exhibited with Unseen at Paris Photo.
John Maclean :index_finger_pointing:, 2020 Giclée Hahnemühle Pearl Print Signed verso 10 x 15cm (3¾ x 5¾ in.) Although born in Buckinghamshire, England, John spent a significant part of his childhood in Canada and the United States. He began using a camera at the age of fourteen when he discovered the book 'American Images', featuring the work of Lee Friedlander, Lewis Baltz and John Gossage. After studying mathematics, physics and geology he changed direction and studied photography at the University of Derby (UK) under Olivier Richon. He subsequently worked at The Royal College of Art for four years. John has been a London-based, independent photographer since 1998. His first solo show was 'Two and Two' with Flowers Gallery (London) in 2010. John has had work published in Camera Austria, European Photography, American Suburb X, The British Journal of Photography, Source, Photoworks, 1000 Words, and Elephant to name a few. He has published ten photobooks. 'New Colour Guide' received two 'Best Photobooks of 2012′ awards. 'Hometowns' was awarded Best International Photobook of 2016 judged by David Campany, Dewi Lewis and Lucy Moore. It was part of the 'Experts' Selection' at Kassel and nominated for The Deutsche Borse Prize 2018. 'Hometowns' was exhibited at Unseen Amsterdam in 2015, Format Photo Festival in 2017 and Lodz Fotofestival in 2018. 'Your Nature' was recently exhibited with Unseen at Paris Photo.
DÜRER, ALBRECHT DÜRER, ALBRECHT Nürnberg 1471 - 1528 Titel: Beweinung Christi. Datierung: 1511. Technik: Holzschnitt auf Papier. Montierung: Montiert. Maße: Plattenmaß: 13 x 10cm, Papiermaß: 18,5 x 13cm. Rahmen/Sockel: Rahmen. Bartsch: 43, Meder: 152. Textausgabe mit rückseitiger Beschriftung. Provenienz: Kunstantiquariat C.G. Boener, Düsseldorf, 1971; Privatbesitz, Deutschland. Erläuterungen zum Katalog Albrecht Dürer Deutschland Renaissance 15. Jh. Grafik Religiöse Darstellung Druckgrafik Leben Christi DÜRER, ALBRECHT DÜRER, ALBRECHT Nuremberg 1471 - 1528 Title: Lamentation of Christ. Date: 1511. Technique: Woodcut on paper. Mounting: Mounted. Measurement: Plate size: 13 x 10cm, paper size: 18,5 x 13cm. Frame/Pedestal: Framed. Bartsch: 43, Meder: 152. Text edition with label on back. Provenance: Kunstantiquariat C.G. Boener, Düsseldorf, 1971; Private ownership, Germany. Explanations to the Catalogue Albrecht Dürer Germany Renaissance 15th C. Graphics Religious Art Print Life of Christ
DÜRER, ALBRECHT DÜRER, ALBRECHT Nürnberg 1471 - 1528 Titel: Vier Engel, die Winde aufhaltend / Die Versiegelung der Auserwählten. Aus der Folge der Apokalypse. Datierung: 1511. Technik: Holzschnitt auf Papier. Montierung: Montiert. Maße: 39 x 27,5cm. Rahmen/Sockel: Rahmen. Bartsch: 66, Meder: 169. Textausgabe mit rückseitiger Beschriftung. Provenienz: Aukiton Karl&Faber, München 1981; Privatbesitz, Deutschland. Erläuterungen zum Katalog Albrecht Dürer Deutschland Renaissance 15. Jh. Grafik Religiöse Darstellung Druckgrafik Apokalypse DÜRER, ALBRECHT DÜRER, ALBRECHT Nuremberg 1471 - 1528 Title: Four Angels Stopping the Wind / The Sealing of the Elect. From the series of the apocalypse. Date: 1511. Technique: Woodcut on paper. Mounting: Mounted. Measurement: 39 x 27,5cm. Frame/Pedestal: Framed. Bartsch: 66, Meder: 169. Text edition with label on the back. Provenance: Auction Karl&Faber, Munich 1981; Private ownership, Germany. Explanations to the Catalogue Albrecht Dürer Germany Renaissance 15th C. Graphics Religious Art Print Apocalyse
DÜRER, ALBRECHT DÜRER, ALBRECHT Nürnberg 1471 - 1528 Titel: Samson tötet den Löwen. Datierung: 1496/97. Technik: Holzschnitt auf Papier. Montierung: Montiert. Maße: Plattenmaß: 37,5 x 27,5cm. Blattmaß: 43 x 30,5cm. Rahmen/Sockel: Rahmen. Rückseitig: Auf dem Blatt handschriftliche Notizen sowie alte Sammlungsstempel. Bartsch: 2, Meder: 107d. Provenienz: Aukiton Karl&Faber, München 1981; Privatbesitz, Deutschland. Erläuterungen zum Katalog Albrecht Dürer Deutschland Renaissance 15. Jh. Grafik Religiöses Thema Druckgrafik Altes Testament DÜRER, ALBRECHT DÜRER, ALBRECHT Nuremberg 1471 - 1528 Title: Samson Kills the Lion. Date: 1496/97. Technique: Woodcut on paper. Mounting: Mounted. Measurement: Plate size: 37,5 x 27,5cm. Sheet size: 43 x 30,5cm. Frame/Pedestal: Framed. Reverse: On the sheet handwritten notes as well as an old collections stamp. Bartsch: 2, Meder: 107d. Provenance: Auction Karl&Faber, Munich 1981; Private ownership, Germany. Explanations to the Catalogue Albrecht Dürer Germany Renaissance 15th C. Graphics Religious Theme Print Old Testament
ROBETTA, CHRISTOFANO ROBETTA, CHRISTOFANO Florenz vor 1462 - nach 1534 Titel: Allegorie auf die Macht der Liebe. Technik: Kupferstich auf Papier. Montierung: Montiert. Maße: 29,5 x 27,5cm. Bezeichnung: In der Platte bezeichnet oben rechts: Robeta. Rahmen/Sockel: Rahmen. Provenienz: Sammlung Prof. Dr. Thomas Olbricht, Essen. Erläuterungen zum Katalog Christofano Robetta Italien Manierismus 15./16. Jh. Grafik Allegorie Druckgrafik Figurengruppe ROBETTA, CHRISTOFANO ROBETTA, CHRISTOFANO Florence before 1462 - after 1534 Title: Allegory of the Power of Love. Technique: Copperplate engraving on paper. Mounting: Mounted. Measurement: 29,5 x 27,5cm. Notation: Inscribed in the plate upper right: Robeta. Frame/Pedestal: Framed. Provenance: Collection Prof. Dr. Thomas Olbricht, Essen. Explanations to the Catalogue Christofano Robetta Mannerism 15th/16th C. Graphics Allegory Print Group of Figures
DÜRER, ALBRECHT DÜRER, ALBRECHT Nürnberg 1471 - 1528 Titel: Das jüngste Gericht. Datierung: 1511. Technik: Holzschnitt auf Papier. Montierung: Montiert. Maße: Plattenmaß: 12,5 x 9,5cm. Papiermaß: 18,5 x 12,5cm. Rahmen/Sockel: Rahmen. Bartsch: 52, Meder 161. Textausgabe mit rückseitiger Beschriftung. Provenienz: Kunstantiquariat C.G. Boener, Düsseldorf, 1971; Privatbesitz, Deutschland. Erläuterungen zum Katalog Albrecht Dürer Deutschland Renaissance 15. Jh. Grafik Religiöses Thema Druckgrafik Leben Christi DÜRER, ALBRECHT DÜRER, ALBRECHT Nuremberg 1471 - 1528 Title: The Last Judgement. Date: 1511. Technique: Woodcut on paper. Mounting: Mounted. Measurement: Plate size: 12,5 x 9,5cm. Paper size: 18,5 x 12,5cm. Frame/Pedestal: Framed. Bartsch: 52, Meder 161. Text edition with label on back. Provenance: Kunstantiquariat C.G. Boener, Düsseldorf, 1971; Private ownership, Germany. Explanations to the Catalogue Albrecht Dürer Germany Renaissance 15th C. Graphics Religious Theme Print Life of Christ
CHARDIN, JEAN-BAPTISTE SIMEON CHARDIN, JEAN-BAPTISTE SIMEON Paris 1699 - 1779 Werkstatt Titel: Der Seifenblasenbläser. Technik: Öl auf Holz. Maße: 31 x 26cm. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Deutschland. Jean-Baptiste-Siméon Chardin fertigte mindestens vier Versionen der "Seifenblasenbläser" an: drei befinden sich in amerikanischen Museen (New York, Los Angeles und Washington) und die vierte, verloren gegangen, ist durch einen Stich von dem Graveur Pierre Filloeul (1696 - 1754 ca.) bekannt. Das vorliegende Gemälde, das in die gleiche Richtung wie der Druck orientiert ist, weist stilistische Merkmale auf, die denen von Chardin sehr ähnlich sind. In seiner Werkstatt sollte das Werk vermutlich entstanden sein. Es könnte sich vielleicht um eine Arbeit seines Sohnes Jean-Pierre handeln: Das Bild wäre dann nicht von dem Stich kopiert worden, sondern von dem verlorenen Gemälde als Herausforderung in seinem Ausbildungsprozess. Wir danken Alastair Laing, London, für seine Hilfe bei der Katalogisierung des vorliegenden Gemäldes. Erläuterungen zum Katalog Jean-Baptiste Simeon Chardin Frankreich 17./18. Jh. Originale Genre Malerei Kind / Kinder CHARDIN, JEAN-BAPTISTE SIMEON CHARDIN, JEAN-BAPTISTE SIMEON Paris 1699 - 1779 Workshop Title: The Soap Bubble Blower. Technique: Oil on wood. Measurement: 31 x 26cm. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. Jean-Baptiste-Siméon Chardin made at least four versions of the "bubble blowers": three are in American museums (New York, Los Angeles and Washington) and the fourth, lost, is known through an engraving by the engraver Pierre Filloeul (1696 - 1754 ca.). The present painting, which is oriented in the same direction as the print, shows stylistic features very similar to those of Chardin. The painting was probably made in his workshop. Maybe it could be a work of his son Jean-Pierre: The painting would then not have been copied from the engraving, but from the lost painting as a challenge in his educational process. We are grateful to Alastair Laing, London, for his kind support in cataloguing the present painting. Explanations to the Catalogue Jean-Baptiste Simeon Chardin 17th/18th C. Old Masters Genre Painting Child / Children
Slave-trade.- Wilberforce (William) An Abstract of the Evidence delivered before a Select Committee of the House of Commons...on the part of the Petitioners for the Abolition of the Slave Trade, folding woodcut frontispiece, title with circular wood-engraved vignette, both by Thomas Bewick, uncut in original wrappers, spine lettered in ink and slightly worn at foot, preserved in modern morocco-backed cloth drop-back box, [Tattersfield 2, p.76], 8vo, Newcastle, Printed at the Expence of the Society in Newcastle for Promoting the Abolition of the Slave-Trade, 1791.⁂ Fine copy of this important work with "the large cut showing the method of 'Stowing the Negroes' [which] is probably the most famous image delineating the horrors of the Middle Passage and is based upon the 1789 print by the Irish American Matthew Carey." (Tattersfield). This Newcastle imprint appears less frequently than the London and Edinburgh publications of the same year.
NO RESERVE Binding.- Print album of blank paper, handsomely bound morocco, elaborately stamped in gilt, spine gilt in compartments with raised bands, endpapers with gilt-stamped borders, green silk ties, some lacking, rubbed and slightly worn, scuffs, some adhesive marks and dirt to covers, folio (710 x 530 mm), 19th century
Gray (Thomas) Observations on a General Iron Rail-Way, or Land Steam-Conveyance; to supersede the necessity of horses in all public vehicles..., fifth edition, half-title, with folding engraved frontispiece, 2 plans and 2 plates, one folding, 1825 § Wood (Nicholas) A Practical Treatise on Rail-Roads, second edition, folding lithographed frontispiece, 10 plates, 7 folding, light foxing, 1831, both modern half dark maroon morocco, t.e.g., spines slightly faded, 8vo (2)⁂ The first was the final edition of Gray's work but the first to be published under his name. Gray was an enormously influential proponent of railways as a means of public transport and his work was held in high esteem, especially in the new state of Belgium where an integrated system of national railways was instituted using Gray's ideas. There is a street named after him in Brussels. This expanded fifth edition includes the only known appearance in print of Josias Jessop's two reports on the intended railway from the Cromford Canal to the Peak Forest Canal.Wood's work was also much expanded from the first edition as that offering had become completely out of date since its publication in 1825. It includes discussions on all the trials that had been held in the intervening period, and much else besides. Wood was a colleague of Stephenson and one of the foremost engineers of the first era of steam locomotion.
Measom (George) The Official Illustrated Guide to the London and North-Western Railway, first edition, wood-engraved frontispiece and illustrations,numerous advertisements, original pictorial wrappers, a little rubbed and soiled, corners slightly frayed but a good copy, preserved in modern half dark maroon morocco, spine faded, 1856; The Official Illustrated Guide to the Brighton and South Coast Railways and their Branches, wood-engraved frontispiece and illustrations, contemporary half morocco, rubbed, [c.1851-2]; and a map of the London Brighton and South Coast Railway of c.1884, 8vo (3)⁂ The first is the one shilling (?now preferable) printed wrapper version, for 2s. it came in cloth with gilt edges. A rare survivor, by 1864 it had grown to 723 pages, and it stayed in print for over fifty years. There were various editions of the second work dated 1852, '53 & '54. This undated edition does not have the folding plate or map seen in others.
Thomas ROWLANDSON (1756-1827)DescriptionA hand-coloured print of Colonel Wardle, dressed in the armour of a saintly knight, ready to tackle the seven-headed beast that is the Hydra of Gloucester Place. Wardle collaborated with Clarke but later testified against her. The heads are all those involved in the Clarke scandal. Inscribed in the plate: Pubd March 15th 1809 by Thos Tegg No 111 Cheapside23 x 31.5cm sight size, together with a printed address to the electors of the borough of Okehampton dated 1818 and James Gillray coloured engraving "Comfort to the Corns"
A. DUPONTVenetian Canal SceneAcademy Proof etching in colours Signed in pencil Plate size 21 x 29.5cm&E. POPPLE 'The Coming Storm'Monochrome etchingSigned and numbered 97/150 in pencil Plate size 17 x 26cm&Henry George WALKER 'Soft Ground' - Figures and Boats on the Beach and Village Scene with Flock of Sheep Pair etchings in colours Both signed in pencil Plate size 19.5 x 25.5cm&Maurice UTRILLO'Rue Jeanne d'Arc Prolongee a Paris, 1934'Colour Print 20 x 25.5cm(5)
A Late 19th century Swiss cylinder music box, playing ten airs on a 16cm cylinder, with lyre tune indicator, the printed and hand written tune sheet by Picard-Lion, Geneva and contained within a stained and inlaid case, height 20cm, width 49.5cm, depth 25cm.Condition report: This box winds and works, there are no missing teeth the governor jewel is missing, The case is wormed and the lid print is partially worn away.
Early Photography InterestNeurdein Brothers, albumen print: ‘Hamman Meskoutine – La Mariage Arabe’ numbered 224 twice, “N.D. Phot’ within plate. 205x273mm. West portal of Rochester Cathedral, mounted on card. Marked ‘Friths Series’ 166 x 109mm pencil gift inscription verso dated 1892. Two Frith stereoscope photographs of Abu Simbel and the Colosi at Wadi es Sebusa, Egypt. Together with ten photographic prints of Indonesian volcanoes (East Java series) by George P. Lewis (published by Kurkdjian, Java) 320x270mm Tears to mounts, one photograph torn.
A collection of retro vintage mid 20th century circa 1950's buttons to include a group of large retro silver plastic buttons having textural surfaces, black sphere shaped toggle buttons, two tone grey shank buttons, fabric tiger print shank buttons and a variety of gold vintage style buttons in both plastic and metal. Taken from a large private collection. Measures 0.5cm to 3.5cm.
![Lactantius (Lucius Coelius Firmianus) Opera, collation: [*12 a-l10 m8 n-q10 r12 s-v10 x8], 215 ff. (of 220, lacking initial a](https://cdn.globalauctionplatform.com/9b1d4b63-7075-4a87-90a4-ac5d00aa8621/8e22719c-a8ed-414f-94c7-ac5d011c555a/468x382.jpg)
Lactantius (Lucius Coelius Firmianus) Opera, collation: [*12 a-l10 m8 n-q10 r12 s-v10 x8], 215 ff. (of 220, lacking initial and final blank and ff. *12, 167, 213), 38 lines, Roman and some Greek type, 9 gilt opening initials with interlaced white vines on pink, blue and green and gilt and pen bezants, the first of which ornately decorated in margins and with arms at foot, other initials and paragraph-marks in red or blue, early ink marginalia in several hands (some trimmed), lower margins towards end with small wormhole (diminishing in size, with a few repaired), some staining and spotting, handsome 19th century richly gilt and blind-stamped russia, spine faded, rubbed at extremities, g.e., folio (299 x 211mm.), Rome, Conradus Sweynheym and Arnoldus Pannartz, 1468.⁂ The second book to be printed in Rome, and the first Roman edition of Lactantius. It includes Lactantius's poem on the phoenix, together with extracts from Ovid's Metamorphoses and Dante's Commedia on the same subject (Dante's earliest appearance in print). Provenance: Bernardinus Martinengus, 'at present living in Cyprus' (inscription recording gift to:) Stephanus de Perarie, a Dominican professor of theology; another hand notes that the gift was made at Nicosia on 3 'Madii' [?March? or May?], 1482, 'after lunch'; Salomon Crubelerius, minister in holy orders, recording the gift to him of the book by 'the noble Lord of Malmont, doctor of laws' (inscription dated 27 March, 1612); J. H. Burn, March, 1931 (book label). Literature: BMC IV, 4; Goff L-2; GW M16542; HC 9807*; Bod-inc L-003; BSB-Ink L-3; ISTC il00002000.
Puritanism.- Vestments controversy.- A Briefe Examination for the Tyme, of a certaine declaration, lately put in print in the name and defence of certaine Ministers in London, refusyng to weare the apparell prescribed by the lawes and orders of the Realme, first edition, black letter, woodcut initials, title a little soiled with margins frayed and small portion of restoration at gutter, a few ff. closely shaved, affecting some text and headlines, E1-D4 with restoration and repair to upper corner and fore-margin with some loss to text, light foxing, extensive notes to rear endpapers, ink inscription in an old hand to 2*2 "The solicitours of these orders were bluddy persecutours", bookplate, 19th century roan, spotted, rubbing to extremities, [STC 10387], small 4to, [In Powles Churchyarde by Richarde Iugge, printer to the Queenes Maiestie, [1566]]⁂ Rare, we can trace no copy at auction since 1979. The vestments controversy was ostensibly concerning clerical dress but grew to encompass the notion of nonconformity in church practices. The debate reached a peak in 1566 with the publication of Robert Crowley's A Briefe Discourse Against the Outwarde Apparel of the Popishe Church to which this is a response commissioned by (and sometimes attributed to) Archbishop Matthew Parker. Provenance: Bt. at Egerton's, Whitehall, 1801 (ink inscription to foot of title); M. H. Bloxam (bookplate and ink notes).
Atlases.- Wilson (Capt. Charles W.) and H. S. Palmer. Ordnance Survey of the Peninsula of Sinai ... under the Direction of Colonel Sir Henry James, part 1 only (of 3), 2 folding linen-backed maps and 20 lithographed plates, some tinted and hand-coloured, mounted albumen print to title, spotting, bookplate with "E Dono Committee of Palestine Exploration Fund" to pastedown, contemporary half morocco, upper joint cracked, rather worn, Southampton, 1869 § Johnston (Alexander Keith) The Physical Atlas of Natural Phenomena, 30 hand-coloured engraved maps, some tearing along folds, occasional light soiling, contemporary half morocco, upper joints split, upper cover becoming loose, rather worn, 1850; and another atlas, folio (3)
Unrecorded.- Lucas (Ann) The Voice of the Dead to Living. Or, She being Dead yet Speaketh, title shaved at foot ?with loss to date of imprint, heavy inking to head of title and A1, closely shaved at head and foot, affecting a few page-numbers, signatures and catchwords, occasionally touching text, light foxing and browning, bookplate to endpaper, 19th century half calf, small 8vo, for A. Bettesworth, at the Red Lion on London-Bridge, [?c.1700].⁂ An unrecorded book by a local woman of Rugby. Ostensibly published posthumously, The Voice of the Dead to Living is a short spiritual work concluding with a hymn. Lucas refers to two local figures, an Elizabeth Moor and "Mr. Jeneway, both referred to as Saints. The date given on the spine is 1689 but it is likely later as the earliest title with A. Bettesworth at the Red Lion in the imprint recorded by ESTC is 1698. A small printed note at the conclusion of the work gives a good idea of the limited nature of the print run: "Friendly reader: If that these weighty Considerations should be reckoned not worth laying out one Penny, be pleased to Read it Gratis, keep it Clean, and Return it to Morrow." Provenance: A. H. Bloxam (bookplate).
Maplet (John) A greene Forest, or a naturall Historie...of Stones & Mettals: next of Plants, as of Herbes, Trees, & Shrubs, Lastly of Brute Beastes, Foules, Fishes, creeping wormes & Serpents, first edition, 3 parts in 1, largely printed in black letter, title within typographic border, woodcut initials, lacks L8 and final leaf P8 with colophon, title soiled and laid down with upper corner missing part of typographic border, most other corners repaired to some degree, more extensively at beginning and end, occasionally with slight loss of text, some soiling and light staining, bookplate of M.H. Bloxham, old limp vellum with foot of spine repaired and new endpapers, [STC 17296], by Henry Denham, 1567.⁂ Genuinely rare book with only one auction record over the last 50 years and 11 copies located in ESTC (3 only in USA). By way of comparison, the Britwell Court copy, sold in 1925, made £155, while their copy of the Shakespeare fourth folio made £165 in 1919. The heading of book one summarises the content thus: "A pleasant Discourse with the chiefe kindes particularly of Precious Stones, Plants, Beastes, & Foules, after the order of the Alphabet, never heretofore in Print."
Photography.- Emerson (Peter Henry) Pictures from Life in Field and Fen, half-title, title, dedication, contents, 6pp. introduction and 19 photogravure plates only (of 20, lacking no. 12 "Sunrise at Sea"), captioned below in pencil, all loose as issued, additional print "Water-Babies" from Idylls of the Norfolk Broads (1888), spotting, chipping and creasing to margins, original pictorial cloth folder, lacking ties, large 4to, 1887.⁂ Rare, we can trace only a handful of sets at auction, many considerably more incomplete than the present example.
HERMÈS HERMÈS Porzellan mit farbigem Umdruckdekor, Gedruckte Manufakturmarke und Servicebezeichnung. Bestehend aus: 13 tiefen Tellern mit Hasenmotiv (Ø 20,0 cm), 1 Teller mit Randchip, 1 Teller mit langem Haarriss, 26 Speisetellern (Ø 26,0 cm), 3 Teller jeweils mit Randchip auf Unterseite, 25 Brottellern (Ø 17,0 cm) mit Fasanen und Fuchsmotiven, 7 Desserttellern (Ø 21,0 cm), 9 Teetassen (7,5 cm/Ø 10,0 cm), eine Tasse mit Randchip, 4 Kaffeetassen, (Ø 7,5 cm), 1 Platte (33,0 x 47,5 cm), 1 Ascher, (15,5 x 15,5 cm), 1 Saucière mit fehlendem Deckel. Serviceteile überwiegend in gutem bis sehr gutem Zustand. Teilweise kleine nutzungsbedingte Abreibungen des farbigen Dekors Hermès Luxusartikel Porzellan Porzellan Porzellan Frankreich Erläuterungen zum Katalog Voraussichtliche Versandkosten für dieses Lot: Versand nur nach Absprache nach der Auktion. HERMÈS 87 Parts from Service ' Chiens Courants & Chiens D'Arrêt'. HERMÈS Porcelain with coloured transfer print decoration, Printed manufacture mark and service name. Consisting of: 13 deep plates with rabbit motive (Ø 20,0 cm), 1 plate with edge chip, 1 plate with hairline crack, 26 dinner plates (Ø 26,0 cm), 3 plates each with edge chip, 25 bread plates (Ø 17,0 cm) with pheasant and fox motifs, 7 dessert plates (Ø 21,0 cm), 9 tea cups (7,5 cm/Ø 10,0 cm), one cup with edge chip, 4 coffee cups, (H.9,5 cm/Ø 7,5 cm), 1 platter (33,0x 47,5 cm), 1 ashtray, (15,5x 15,5 cm), 1 sauce boat with missing lid. Dinner service parts mostly in good to very good condition. Partly small areas of wear in colour decoration. Explanations to the Catalogue Hermès Luxury goods Porcelain Porcelain porcelain France Estimated Shippingcost for this lot: Arrangement after the auction. a
Alan B. Hayman - Sitting Tight, a limited edition print no.45 out of 850, signed lower right hand margin, mounted in a modern gold coloured frame together with new picture frames, mixed prints and a quantity of military photos and ephemera circa 1930's to include a no.113 Bomber Squadron, Heliopolis Christmas carol and RAF Halton photographs and a tour of Egypt
Loading...-
314783 item(s)/page