§ Angus McBean (British, 1904-1990) A collection of gelatin silver prints to include: a mounted photograph of Jean Renoir seated beside the self-portrait of his father Pierre-Auguste Renoir, 1959, signed and dated lower right, 25 x 20 cm; Christmas Card 1949, 26 x 30.5 cm, and three smaller examples, one with a copyright stamp to verso and one signed in pencil in margin; Self-portrait as Neptune for a Christmas Card of 1939, 30.5 x 24 cm, and a smaller example; 'Angus McBean faked it' Christmas Card of 1952, 30.5 x 40.5 cm, and two smaller examples; together with a monochrome print, Self-portrait Christmas Card, Underwater with Umbrella, 1950, 49 x 38.5 cm two signed and one dated '59' silver gelatin prints (11) All unframed. Condition report: All are later prints probably from the 1970s bar the Christmas card. All unframed. All are later prints probably from the 1970s bar the Christmas card. Minor wear to the edges, with light creasing to some corners. A short tear to the top edge of one of the 'Angus McBean faked it' prints. Some stuck down to card.
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§ Julian Trevelyan, RA (British, 1910-1988) Buffaloes signed lower right "Julian Trevelyan" and "Artist's Proof" aquatint 48 x 61cm (19 x 24in) Other Notes: Julian Trevelyan moved to Paris in 1931 to study art, having read English Literature at Cambridge. He studied printmaking at Stanley William Hayter's Atelier 17 where he came into contact with Max Ernst, Picasso and Joan Miro. He returned to England in 1935 as one of the leading exponents of Surrealism and showed at the International Surrealist Exhibtion of 1936. During the war he was a member of the Royal Engineers serving as a camouflage officer. He married artist Mary Fedden and they lived and worked from studios in Hammersmith albeit travelling widely throughout their lives. In the 1960s he travelled to India from which this current print takes its inspiration. Signs of sun and discolouration. Dents/creases through the signature. There is no mount. Oddly the darker ink has left an impresion on the glass where it is touching. This does not seem to have affected the print
§ Bob Carlos Clarke (Irish, 1950-2006) The artist's wife Lindsey Carlos Clarke naked on a Harley Davidson, comissioned for the 1977 'Bike' Magazine calendar; together with a print of Mick Jagger at the Round House, 1973 (A/F), print, 60 x 45cm signed lower right "Bob Carlos Clarke" original signed silver gelatin photo montage (2) 57 x 45cm (22 x 18in) Provenance: The vendor worked for the printers that produced the posters/magazine for which this piece was made Born in Cork, Ireland, Carlos Clarke studied printmaking at the London College of Printing, going on to attend the Royal College of Art where he befriended the artist Allen Jones. Noted often as 'Britain's answer to Helmut Newton', Bob Carlos Clarke's erotic images included female models who sometimes were employed 'on-request' out of magazines, as well as the celebrities Rachel Weisz and Keith Richards and the Amazonian models from the 1990s. Commercial success came with publications on the chef Marco Pierre White (White Heat, 1987), who collaborated with and remained a friend of the photographer until Clarke's death in 2006. Mick Jagger print is unframed, and has tears along the bottom edge.
Natalia Sergeevna Goncharova (Russian, 1881-1962) Almond Blossom limited edition gouache au pochoir print on Arches paper, from an edition of approximately 25, circa 1916-1920 56 x 37cm (22 x 14in) Provenance: The Artist's studio, Paris; Mme. Alexandra Tomilina-Larionova, Paris; Private Collection. Literature: Another of the present pochoir prints from this series is reproduced in Dr Anthony Parton's book 'Goncharova: The Art and Design of Natalia Goncharova' (pub July 2010 by Antique Collectors' Club Ltd ) p. 280, pl. 345. The painting on which the pochoir was based is also reproduced in this same book, p. 478, pl. 624 and is in the collection of Jack Wakefield. Other Notes: The present pochoir print comes from a very small limited edition, and as such they are rarely seen on the market. Due to the nature of gourache au pochoir, each print in the edition is slightly different to the others. The designs are the same, but the difference lies in the intensity of the inks and the different ways in which the ink has been applied through the stencil. None of the prints in this edition are signed or numbered Condition is fine.
*The Monarch of the Moon. A group of 8 mammoth vintage gelatin silver print photographs of Lunar Orbiter V Photographs of the Crater Copernicus, [Hampton, NASA, Langley Research Centre, 1967], each 510 x 430 mm (20 x 17 ins) These are some of the first photographs taken from lunar orbit. The Lunar Orbiter programme was a series of five unmanned lunar orbiter missions launched by the United States from 1966 through 1967, intended to help select Apollo landing sites by mapping the Moon's surface. The spacecraft carried 70mm photographic film which was developed automatically in lunar orbit aboard the spacecraft. The developed film was then scanned with a light beam and this modulated the signal which was sent back to Earth. Each image was then archived on analog data tape and printed out as photographs for use by the Lunar Orbiter analysis team. The crater Copernicus, named after the astronomer Nicolaus Copernicus, is 93 kilometres in diameter, and one of the most prominent features on the Moon's near side. (8)
Tamamura (Kozabura). A Japanese photograph album containing 36 hand-coloured albumen print photographs, late 19th century, including temples, views, a street scene (Osaka Street), geishas and tea ceremonies, a street brushes seller, textiles seller, tea pickers and a group of two young children with babies in papooses, many with captions in the negative, each 24 x 19cm, mounted back to back on stiff card leaves with tissue-guards present, album complete, all edges gilt, contemporary Japanese lacquered boards with birds and blossom designs to covers, leather backstrip (rubbed) detached but present, oblong folio and contained in original pictorial cloth book box, rubbed and marked and split on folds (1)
*McCarthy (Cornelius, 1935-2009). Mick Jones Resting, 1995, gouache on paper, showing a reclining male nude, signed and dated lower right, 28.5 x 37cm (11.25 x 14.5ins), mounted, framed and glazed, together with three other male nudes, comprising two pen & ink studies, including A Seated Youth, by Peter Samuelson, circa 1960, and a Degas print, all mounted, framed and glazed (4) NB: The estimate has been revised from £150-£200 to £1500-£2000
*Malta. A two-part albumen print panorama of harbour walls, 1881, showing the ships Alexandria, Invincible, Superb and Thunderer at sea, 17.5 x 48.5 cm (7 x 19 ins), modern mount, together with two framed items, a triptych of three platinum prints of Huancayo, Peru, showing a street scene and two mountain scenes, each 14 x 25 cm (5.5 x 10 ins), plus a colour photgraphic panorama of Jerusalem, mid-20th century, 20 x 57 cm (8 x 22.5 ins), all framed and glazed (3)
A quantity of prints and pictures including a Peter Toms 'On the Beach' edition print no. 100/475, a L.S Lowry print, a print of biblical painting of Mary and baby Jesus riding a donkey with Joseph walking behind, an original oil on board of an autumnal lake scene with swans, a black and white maritime photograph of a sailing boat at anchor and a photograph of three springel spaniel puppies, all framed (7)
*Macpherson (Robert, 1811-1872). View of the Valley and Town of Narni, circa 1856, oval albumen print, 245 x 325mm, together with Forum Romanum - General view from the Clivus Capitolinus, circa 1856, 300 x 400mm, plus The Castle and Bridge of St. Angelo, with the Vatican in the distance, circa 1856, 200 x 383mm, all with pencil numbers (140, 16 and 34) within photographer's embossed stamp to lower original mount, plus 4 others by Macpherson from the same period, all on original mounts, numbers 33, 58, 101 and 123 (last two oval format), all with some degree of fading, some soiling and fraying to mounts not affecting images (7)
*Haggard (Henry Rider, 1856-1925). Portrait by Emil Otto Hopp‚ (1878-1972), circa 1911, bromide print photograph, half-length in part profile writing at his desk, 20 x 13.5 cm, pencil signed by the photographer on paper mount at foot, tipped on to a contemporary card mount and boldly and clearly signed by the sitter 'To Ella from H. Rider Haggard, Ditchingham 1911', a few spots and minor marks, framed and glazed The dedicatee is likely Haggard's older sister, Ella Doveton Haggard (1845-1921). (1)
*@Hirst (Damien, 1965- ). Valium, 2000, lambda inkjet print in colours, on glossy Fujicolor Professional Paper, published by Eyestorm, London, in an edition of 500, signed in black felt-tip pen, signed and numbered 105/500 in pencil, 1270 x 1270 mm (50 x 50 ins), several creases to extremities and surface marks, with original cardboard tube, as issued (rubbed and marked), plus a postcard photograph of the artist signing the print (1)
![*Korda (Alberto, 1928-2001). Guerillero Heroico (full frame), 1960, gelatin silver print, [printed 1989], photographer's emb](https://cdn.globalauctionplatform.com/bcd51976-23af-40b3-b6c2-a68900a2f149/1372af4e-30bc-491d-c5e7-16e8ac8b2a8d/468x382.jpg)
*Korda (Alberto, 1928-2001). Guerillero Heroico (full frame), 1960, gelatin silver print, [printed 1989], photographer's embossed studio stamp lower left, signed and inscribed in black ink by the photographer to lower margin, 40 x 50 cm (16 x 20 ins), framed and glazed The inscription by Korda reads: 'Foto tomada en un acto de despedida a las visitimas de un sabotage 5 de marzo de 1960'. Accompanying the lot is a certificate of authenticity signed by Korda's son Dante Diaz Korda, and noting that it is from an open edition. (1)
*@Beaton (Cecil, 1904-1980). Portrait of Lady Ottoline Morrell, 1927, vintage bromoil gelatin silver print, full length in evening dress, holding a fan in her lap and against a neutral backdrop, 336 x 242 mm (13.25 x 9.5 ins), on contemporary paper mount, trimmed to photograph margins and with adhesive remains to verso Provenance: From the collection of Lady Ottoline Morrell by descent. Accompanying the lot is a sample cutting (24.5 x 11.5 cm) of the material used for the sumptuous dress worn by the sitter. The dress, of vivid yellow silk with purple embroidered floral designs, is now in the collections of the Museum of Fashion, Bath. (2)
*Korda (Alberto, 1928-2001). Che Guerrillero Heroico, 1960, gelatin silver print, printed later, titled and signed by the photographer in black ink to lower margin in photographer's embossed studio stamp, numbered 49/50 beneath, 50 x 40 cm (20 x 16 ins), framed and glazed The two Korda photographs offered here are in matching exhibition quality black frames. (1)
Transandine Railway. A pair of photograph albums containing approximately 135 window-monted vintage gelatin silver print photographs relating to the construction of the railway from Buenos Aires on the Atlantic Ocean to Valparaiso on the Pacific Ocean, circa 1905-10, including overground and underground mining scenes, mostly 11 x 15 cm, mounts neatly ink captioned in English throughout, contemporary cloth, rubbed and a little frayed, folio/oblong 8vo (2)
*Sutcliffe (Frank Meadow, 1853-1941). 'A January Morning', circa 1880s, carbon print, a waterfront scene with morning sunlight glistening on the sea, a street light in the foreground with two figures and a dog in the background, signed by the photographer in pencil lower right 'F.M. Sutcliffe', indistinct negative number lower left, visible image 23 x 28 cm, original frame, glazed, F.M. Sutcliffe, Whitby, printed label to verso, inscribed 'A January morn[ing]. Vandyke Brown' (1)
*@Beaton (Cecil, 1904-1980). Portrait of Lady Ottoline Morrell, 1927, vintage bromoil gelatin silver print, three-quarter length in evening dress, arms akimbo and against a decorative plume print tapestry backdrop, 355 x 260 mm (14 x 10.5 ins), on original thick paper mount and backing sheet, mount signed by the photographer ('Beaton') in thick white acrylic lower right Provenance: From the collection of Lady Ottoline Morrell by descent. (1)
*Eliot (Vivienne 'Vivien', nee Haigh-Wood, 1888-1947). Studio portrait by Vandyk, circa 1932, vintage gelatin silver print, three-quarter length in fur coat, looking downwards and cradling a Shih Tzu dog with her left hand, 167 x 115 mm (6.5 x 4.5 ins), original paper and card desk mount, photographer's pencil signature to paper mount lower left, inscribed by the sitter in ink diagonally across paper mount and image lower right, 'To Ottoline Morrell, from her friend Vivienne Haigh Eliot, May 29/32', old light water stain to desk mount upper border just touching image Provenance: From the collection of Lady Ottoline Morrell and then by descent. Vivienne Haigh Wood Eliot was an English writer, who became known for her marriage in 1915 to the American poet T.S. Eliot. Though they remained married until her death in 1947, the relationship was stormy and Eliot arranged for a formal separation in February 1933. Thereafter he shunned her entirely, instructing his friends, including members of the Bloomsbury Group, not to tell her where he was. She was committed to an asylum by her brother in 1938, dying there nine years later. The National Portrait Gallery, London, hold a number of snapshots featuring Vivien taken by Lady Ottoline Morrell and dating between 1920 and 1931. (1)
Motorway Construction. An album of 48 vintage gelatin silver print photographs, circa June 1963 to December 1964, all oblique aerial views of the construction of the M4 motorway (Junctions 1-5), 20 x 25 cm or the reverse, pasted back to back on 24 thick paper album leaves with tissue-guards, a few detached and showing credits and some captions and dates to versos, 10 photographs with typed captions attached to lower part of images with old sellotape, now partly peeling away with no obvious damage to photographs, contemporary black synthetic boards with spine tie, oblong folio The captions visible include: Sipson Road looking East, showing first complete area of carriageway in foreground; County Bridge looking West with new County Road in left middle distance; Colnesbrook Culvert looking West and Staines Railway and Thorney Pit; Old Slade Lane looking East to Colnesbrook Culvert; Richings Park looking West showing construction of hardcore access road; Sutton Lane looking East to Richings Park; Sutton Lane looking West to Langley roundabout; Langley roundabout looking East to Sutton Lane & Richings Park (all 9 September 1963); Langley roundabout view looking West, Junction with existing Slough bypass (4 December 1964). This early section of the M4 was opened in 1965, the English section of the motorway being completed on 22 December 1971. (1)
*Rejlander (Oscar Gustave, 1813-1875). (?)Self-portrait, circa 1850s, watercolour and chalk, three-quarter length, the sitter with a divider held in his right hand over a piece of paper, signed in a blank strip lower left in blue chalk, 'O.G. Rejlander', 395 x 318 mm (15.5 x 12.5 ins), laid on card with a full-length albumen print portrait by Rejlander of the Countess of Tankerville pasted to mount verso, [1866], 19.5 x 15 cm (7.75 x 6 ins), mount browned to left margin of verso with some spotting and fading to left and lower margins of photograph Rejlander started out as a painter and portrait miniaturist in Wolverhamton, probably around 1846. Around 1850 he learned the wet-collodion and waxed-paper processes and then changed his business to that of photographer. The portrait here shows a bearded man with a full head of hair, while most of the photographic self-portraits from the 1860s show Rejlander with wilder hair and beard and no hair on top. The Harry Ransom Center's photography collection at the University of Texas at Austin has a portrait of the Countess of Tankerville clearly taken by Rejlander at the same sitting. In an online article about the portrait by Marlene Renz on the University's website it is claimed that this is 'the only known print of a portrait of Olivia Bennet, The Countess of Tankerville, by distinguished 19th-century photographer Oscar Gustave Rejlander'. This second portrait gives further weight to the attribution. NB THE AUCTIONEERS CANNOT GUARANTEE THAT THE DRAWING IS A SELF-PORTRAIT.(1)
*Halter (Ardyn, 1956). Swimming into Morni, 1996, colour silkscreen print on thick handmade paper, with circular blindstamp of Advanced Graphics, lower right corner, signed and dated lower right, numbered 65/95 lower left, image size 720 x 797 mm (28.3 x 31.4 ins), sheet size 875 x 930 mm (34.5 x 36.6 ins), framed and glazed (1)
![AFTER 'SNAFFLES' [CHARLIE JOHNSON PAYNE] (BRITISH, 1884-1967) 'The Gunner', colour print, 43cm x 33cm.](https://cdn.globalauctionplatform.com/5e411b8f-e589-45b1-b096-a68d00fe135a/ede872a6-8adf-4c92-ade1-181f39e2eb16/468x382.jpg)
THE KRAYS: A good original Paul Bridgman print of The Kray Twins, showing them from their youthful boxing days up to their gangland days, with London as a backdrop. The print being hand signed in biro by Reg Kray. Comes with a letter of authenticity from Roberta Kray. 48cm x 58cm. Unframed, rolled.
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