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Click here to subscribe*Weston (Edward Henry, 1886-1958). Portrait of the Mexican painter Jose Clemente Orozco, 1930, gelatin silver press print, printed circa 1970s, museum stamp and adhesion mark to verso, 24 x 19cm, together with Cunningham (Imogen, 1883-1976), Theodore Roethke, 1965, vintage gelatin silver press print, photographer's credit stamp and date stamps to verso, 24 x 20cm, plus 2 x Wolf Tirado and 4 unidentified including 3 abstract compositions (7)
*Astronomy. Young man with book and telescopes in Algiers Observatory, late 19th century, albumen print, 11.5 x 17cm, together with five further related albumen print photographs of similar size, one featuring the same young man with telescope, another of the Observatory, the remaining three depicting local views of a mosque and an abbey, mounted on four card album mounts, and back to back with European views, four with pencil captions to mounts, together with other miscellaneous late 19th and early 20th-century albumen prints and gelatin silver prints, including six views by Bonfils, four Chinese executions, three still lifes of flowers, a large albumen print of a cannon by an unknown photographer, British views including Frith series, two books, etc. (approx. 26)
*Beaton (Cecil, 1904-1980). Prince George, Duke of Kent (1902-1942), 1938, vintage gelatin silver print, signed and dated in ink 'George, 1938' to lower darker area of image, 20.5 x 15.5cm, original mount, signed in red ink 'Beaton' on mount beneath image, now somewhat faded, mount chipped and soiled (1)
*Beaton (Cecil, 1904-1980). Evelyn Waugh, [1955], later printing, gelatin silver print, full face and half-length, smoking a large cigar and leaning on a wooden fence with the sign 'Entree Interdite aux Promeneurs', faint crease to lower left corner, 19 x 19cm, framed and glazed, together with a vintage print of the same image, some damage to all four corners, photographer's credit stamp to verso, 20 x 19cm, plus a mounted and framed reproduction photograph of Mussolini (3)
*China, Far East, etc. A large and miscellaneous collection of photographs, postcards and ephemera, 20th century, including broken albums and loose material, a mixture of gelatin silver print snapshots, real photo postcards, commercial postcards, small snapshots, ephemera, etc., subjects include China and Japan plus other miscellaneous countries (a carton)
*Cottingley Fairies. Iris and the Gnome, photograph of Elsie Wright (1901-1988), taken by Frances Griffiths, (1907-1986), September, 1917, sepia gelatin silver print, 15 x 11cm, original mount with printed caption beneath This photograph is the second in the 'Cottingley Fairies' series. Elsie sits in the garden as a gnome dances towards her. At the time, this photograph provoked a bizarre public discussion. If studied closely, the point of a hat pin in the gnome's stomach - used to keep the cut-out standing - can be seen. Sir Arthur Conan Doyle, after examining the print, concluded that this pin point was a navel - sparking a discussion on methods of birth in the fairy kingdom. (1)
*Cottingley Fairies. Alice and the Fairies, photograph of Frances 'Alice' Griffiths, (1907-1986), taken by Elsie Wright (1901-1988), July, 1917, sepia gelatin silver print, 15 x 20cm, original mount with printed caption beneath First in the series of five Cottingley Fairies photographs, a hoax that deceived a number of eminent figures, most notably Sir Arthur Conan Doyle. The story of the Cottingley Fairies began as a practical joke in Cottingley, near Bradford, West Yorkshire in 1917 and the fairies were actually drawings by Elsie, secured in the ground with hat pins. It was a secret the girls decided to keep until the 1980s to protect the public reputations of those who believed in the 'truth' of the images. Alice was probably the name given to Frances by Sir Arthur Conan Doyle (1859-1930) in an attempt to conceal the girls' identities when he published the photographs. (1)
*Doisneau (Robert, 1912-1994). Racing Car, no. 53, circa 1950s, vintage gelatin silver print, small tear with emulsion loss on front left tyre, small creases to top corners and slight bruising and creasing to bottom right corner, various credit stamps including photographer's wetstamp to verso, 18 x 24.5cm, mounted (1)
*Edis (Olive, 1876-1955). George Bernard Shaw, c. 1936, half length, seated at desk with face turned to camera and lit by natural window light, vintage platinum print, 35.5 x 28 cm, together with David Lloyd George (1863-1945, prime minister), c. 1910, head and shoulders portrait, vintage platinum print, 48 x 38cm, flush mounted on original board, both with photographer's signature in pencil to mount lower right, both framed and glazed (2)
*Ensor (James, 1860-1949). A photograph of James Ensor playing his organ in his studio by Maurice Antony (1883-1963), circa 1933, matte gelatin silver print, signed and dated in the negative, photographer's wetstamps to verso, 23.5 x 30cm, together with two smaller photographs, one the same image, the other showing Ensor painting in his studio, 1933, each signed and dated in the negative, 10.5 x 15cm, mounted for greeting cards with studio stamp to card verso (3)
*Fontana (Lucio, 1899-1968). Lucio Fontana shaving without cutting, circa 1965, vintage gelatin silver print by an unknown photographer (self portrait?), 39 x 29.5cm, mounted and framed The Italian artist Lucio Fontana began puncturing the surface of paper or canvas in the late 1940s, blurring the distinction between two and three dimensionality. He continued this through the 1950s and 1960s, the splits becoming more decisive slashes. This witty portrait shows Fontana lathering up for a shave before the first cut and with no blade in sight. (1)
*Karsh (Yousuf, 1908-2002). Portrait of Dr D.A. Spencer FRPS, circa 1950, vintage gelatin silver print, signed in pencil by the photographer to lower margin left, 34 x 27cm, old adhesion marks to verso, loosely contained in contemporary Karsch Studio card folder with manuscript annotations, together with Jean Sibelius, 1948, platinum print, a little corner creasing and short split to right margin, 30.5 x 20.4cm Dr D.A. Spencer was author of 'Colour Photography in Practice', published by Pittman, 1948. This photograph, according to the inscription on the folder, was loaned by Pittman for the exhibition Hobbies and Reading, one of the National Book League touring exhibitions from the Festival of Britain, 1951. (2)
*Pictorialism. A group of 33 pictorialist images, circa 1930s/1950s, various processes including bromoil, carbon and toned silver prints, subjects include a large signed print by Frederick Boissonnas, two gravures from the Tyng Collection folio, several portraits by Li Osborne, various sizes including large and small format (33)
*Ponting (Herbert George, 1871-1935). British Antarctic Expedition 1910-13, a group of four gelatin silver print photographs, printed later by Paul Popper Ltd., images of Captain Scott writing his diary, At the South Pole with Captain Scott, Scott's last birthday dinner and Midwinter Day tree, various captions and labels including Paul Popper stamps to versos, second photograph a little creased at corners, 19 x 24cm and similar (4)
*Ponting (Herbert George, 1871-1935). British Antarctic Expedition 1910-13, a group of five gelatin silver print photographs, printed later by Paul Popper, images of The deck of the 'Terra Nova', Clissold the cook making bread, The 'Tenements'-bunks in winter quarters hut, Petty Officer Evans and Crean mending sleeping bags (small split to lower margin), and Ponting at work in dark room, all but last with Paul Popper or Popperfoto stamps or labels to versos, all but penultimate photograph with captions to versos, 19 x 24cm and very similar (5)
*Ponting (Herbert George, 1871-1935). British Antarctic Expedition 1910-13, a group of five gelatin silver print photographs, printed later by Paul Popper Ltd., images of The ramparts of Mount Erebus, The freezing of the sea, Antarctic landscape, Camp halfway up the Beardmore Glacier under the Cloudmaker [probably by Bowers, not Ponting] and The face of the Matterhorn berg, all with Paul Popper stamps and/or labels and printed or pencil captions to versos, a few small corner creases, 24 x 19cm and very similar (5)
*Ponting (Herbert George, 1871-1935). British Antarctic Expedition 1910-13, a group of four gelatin silver print photographs, printed later by Paul Popper Ltd., images of Stacking up supplies at Captain Scott's camp at Cape Evans with Mount Erebus in background, Captain Scott and members of expedition at Ross Island, The cairn built by Atkinson and the search party at the last camp of Scott [by Tryggve Gran, not Ponting], Wilson and Bowers, and Dr Atkinson's frostbitten hand, all with Paul Popper and/or Popperfoto stamps and labels to versos, all but last with ink or printed captions, second photograph slightly creased and bruised to lower right corner, 21 x 25.5cm and very similar (4)
*Ponting (Herbert George, 1871-1935). British Antarctic Expedition 1910-13, a group of four gelatin silver print photographs, printed later, facsimile signature and printed captions to lower margins in the negative, Iceberg off Ross Island, Ice reflections, Dome cloud over Mount Erebus and The 'Terra Nova' in a gale, Paul Popper or Popperfoto stamps or labels and marks to versos, 17 x 23.5cm (4)
*Ponting (Herbert George, 1871-1935). British Antarctic Expedition 1910-13, a group of five gelatin silver print photographs, printed later by Paul Popper Ltd., images of The five men at the Pole, Lieutenant Henry R. Bowers, Ponting with penguins at Cape Royds, Chris (sled dog) and the gramophone, and A Weddell seal at West Beach, Cape Evans, the first three with Paul Popper stamps, labels and captions to versos, the fourth photograph uncredited and uncaptioned, the fifth photograph mounted on paper with typed caption to lower margin and an agency stamp to verso, first and third photographs with slight corner creasing and each with a small split at upper margin, 19 x 24.5cm and very similar (5)
*Ponting (Herbert George, 1871-1935). British Antarctic Expedition 1910-13, a group of four gelatin silver print photographs, printed later by Paul Popper Ltd., images of Captain Scott's four-legged helpers on board with Captain Oates, Lieutenant Evans draughting, Clissold, the cook, and Meares and Captain Oates at the blubber stove cooking food for the dogs (reversed), all with Paul Popper or Popperfoto labels, inscriptions and marks to versos, the first three with printed captions and stamp marked 'Valuable Original', minor corner creases, 15.5 x 20.5cm and very similar (4)
*Ponting (Herbert George, 1871-1935). British Antarctic Expedition 1910-13, a group of four gelatin silver print photographs, printed later, images of Taylor and Wright in ice grotto, Shackleton's hut in Backdoor Bay near Cape Royds, Ponting making a hole in ice, and Portrait of expedition member on snowbound deck [from British National Antarctic Expedition, 1901-04], plus a gelatin silver print photograph of a facsimile of the last words in Captain Scott's journal, all with Paul Popper and/or Popperfoto stamps, labels and marks to versos, two with additional stamps 'Valuable Original', a few minor corner creases, final photograph with slight horizontal crease, 21 x 17cm and very similar sizes (5)
Scottish Cinema. A photographic scrap album of the Florida Cinema, King's Park, Glasgow and its manageress Miss Lily Watt, mostly circa 1946-48, a total of 98 gelatin silver print photographs corner-mounted on to rectos and versos of 28 card leaves and interspersed with related cuttings and a small amount of other ephemera (some loose and some detached), photographs showing the exterior of the cinema, window displays of posters and flyers, presentations, special events, a beauty pageant, children's party, etc., mostly 15.5 x 20cm and similar sizes, contemporary stitched card covers, rubbed and soiled, folio Miss Lily Watt was the only cinema manageress in the J. Arthur Rank organisation in Scotland and one of only two in Britain, having become manageress at the Florida in 1941. (1)
Oasis - ‘Stop The Clocks’ 2 CD promo set, 4 track sealed promo CD, 2 versions of ‘The Masterplan’ ‘Acquiesce’ edits promo CD’s, 2 laminated VIP passed for 'Be Here Now Live ’97' at Earls Court 25th & 26th Sept 97, 2 unused after-show wristband passes for Wembley Arena for each gig on 16th, 17th & 18th Dec. 97. 2 Unused ticket for 16th Dec. 97. 2 unused hospitality passes for the Bolton Gig on 15th July 2000. 2 invites to ‘Getting High’ by Paolo Hewitt book launch party 18.2.97. ‘F***ing The Bushes’ mint promo 12” vinyl, ‘Familiar To Millions’ Liam & Noel screen print No. 152/300 & Tote Bag for 'Chasing The Sun 93-97' Manchester Exhibition.
Oasis - ‘Familiar To Millions’ Liam & Noel screen print No. 153/300, NME Blur vs Oasis 12th Aug 95 front cover and full mag, Noel and Liam simultaneous Time Out front covers from July 2000, 2002 Tour programme showing lyrics to songs on 'Heathen Chemistry’, The Sunday Times complete from June 2002 with feature supplement and exclusive CD/DVD.
Freddie Mercury - Limited edition print of Freddie in his ‘Royal Robes’, taken by Peter Hince, numbered 691/1200, flat, 16 x 23 inches.Provenance: This item has been consigned by Peter Hince. Peter 'Ratty' Hince met Queen in 1973 when they were opening for Mott the Hoople, began working full-time for the band full time for the band in 1975 during recording of their A Night at the Opera album, and stayed on as the head of their road crew until their final concert in 1986. No copyright is assigned with this item.
Ray Harryhausen - 17 signed books on Ray Harryhausen and all out of print including 'The Art of' signed by Ray Harryhausen, Diana Harryhausen & Tony Dalton, 'An Animated Life' signed by Ray Harryhausen & Tony Dalton, 'Fantasy Scrapbook' signed by Toy Dalton, 'A Century of Model Animation' signed by Tony Dalton x 4, 'The Art of' soft cover signed by Tony Dalton x 5 & 'A Life In Pictures' soft cover signed by Tony Dalton' x 5 (17 in total)
Peter Ratcliffe. Man and Machine, limited edition print, 810/950, signed by the artist and Nigel Mansell, with certificate, 57cm x 86cm, together with a poster MG through the Ages, photographic print High Octane Spending Power, and a further print, Russell Brooks/John Brown (Ford Escort RS), limited edition print. (4)
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