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Lot 1
A group of assorted pictures and prints, including two portraits of elderly women, crayon drawings, two hunting prints after Alken, a hand coloured lithograph 'Aly Pey Captain Padra', two small engravings of Halnaker House, and the Ruins of the Palace at Mayfield and a linocut print 'Mare', signed Hearn '98. (Quantity).
Lot 1
Baldry; "Hubert Von Herkomer R.A." 1901, profusely illustrated, title and author in gilt to front cover with a gilt lined border, t.e.g., Sinclair; "John MacWhirter R.A." 1903, numerous coloured and black and white illustrations, gilt title and author to front cover, a.e.g., Whitman; "The Print Collector's Handbook" 1907 well illustrated, t.e.g. green and sepia cloth binding, illustration facing page 14 loose, w.a.f. and 6 other art related books. (9).
Lot 1
Books on Islamic Coins: Lowick, N, Coinage and History of the Islamic World, (Ed J Cribb) Variorum 1990, octavo, pp xviii, 260, illustrations in text, casebound in cloth, gilt, virtually as new, with, Lowick, N, Islamic Coins and Trade in the Medieval World (Ed J Cribb), Variorum 1990 octavo, pp xii, 300, illustrated throughout, casebound in cloth, gilt, out of print and scarce, as new; Album, S, Marsden’s Numismata Orientalia Ilustrata, New York 1977, 318 pages, illustrations in text, casebound, jacket, a working copy; Mitchiner, M, Oriental Coins and Their Values, The World of Islam, as new; other books on Islamic coins, weights etc. (19) (23)
Lot 1
Coin-related BOOKS, European, Spahr, R, Le Monete Siciliane, Basel/Graz 1976, 1982, 2 vols, Vol I Le Monete Siciliane dai Bizantini a Carlo I d’Angelo (582-1282) quarto, pp vii, 236, (6), xxvii plates, Vol II Le Monete Siciliane Dagli Aragonesi ai Borboni (1286-1836). Original cloth, gilt, corners a little bumped, out of print and scarce. (2)
Lot 1
Joan Crawford, actress, a dedicated and autographed portrait photographic print, in original posted envelope (1953), another, and a selection of period actor postcard prints, including Cyd Charisse, Donna Reed, Shelley Winters, Ricardo Montalban, Diana Dors, Dennis Price and Greer Garson, many in original posted envelopes
Lot 1
A collection of photographs, reports, invitations etc, mainly relating to De Havilland Aircraft Company Ltd, including a twenty-five year service presentation print depicting a D.H. Gipsy Moth, the mount signed by Geoffrey De Havilland, four others presented to W.H.J. Honeywood, a twenty year service badge and letter, a De Havilland invitation card, dated 18th June 1949, signed by John Cunningham and Pat Fillingham, four R.F.C. postcards etc.
Lot 2006
Francis Bacon; General items from his Studio, including Peter Beard, black and white photographic print of male and female African figures inscribed on reverse “PSS MANY REGRETS THIS RUSH - I am off this minute to Tonj in the Sudan for two weeks, best to all etc. PB": Folded in two with a bad score and tear across the front. 11½" x 9¼". Photographs by Peter Beard, the American photographer and writer, were used extensively by Bacon, including wild life and other African scenes. Six various pocket diaries, Playboy 1969, 1973, and 1974, Knightsbridge Sporting Club Diary 1969 and 1976 and a Curzon House (Crockfords) Pocket Diary 1973. None of these have any entries. Working document pages 219 and on the reverse 220 of a book on Radiography, (this is almost certainly a page from Positioning in Radiography,) depicting a female figure with x-rays of her spine. Such images were frequently referred to by Francis Bacon in his work) Four fragments some with notes in Bacon's hand. Provenance: The Robertson Collection
Lot 2014
Francis Bacon's Studio 7, Reece Mews circa 1975. Black and white photographic print, photographer unknown, print with no inscriptions or marks on reverse. Many photographs were taken of the interior of Bacon's Studio, by Peter Beard, Cecil Beaton and others. 6" x 9¼" Provenance: The Robertson Collection
Lot 2025
Colour photographic print, Francis Bacon and Peter Lacy seated on a terrace overlooking the Mediterranean, 2.75" x 3.75", inscribed on reverse 'Dear Francis thought you were never going back to Tangier! Here is a momento of the bad company at Hopkins eighteen month's ago, God knows I miss Morocco but not Deans Bar, Love Ali Forbes" (signed). Alastair Forbes, (born 2.5.1918 died 19.5.05,) writer and critic. We have found no documentary evidence to connect Forbes and Bacon, but Forbes was well connected being the uncle of one time American Presidential candidate John Kerry. He was said to know "everyone who mattered" and could therefore easily have been acquainted with Bacon who was nine years his senior. The Deans Bar to which he refers was run by Joseph Dean and Peter Lacy used to play the piano there frequently in the late 1950s. Provenance: The Robertson Collection
Lot 2028
Harry Diamond, black and white photographic print, Lucian Freud, 8" x 6", creased and with a tear, a small spot of white paint on Freud's hair. Stamped on reverse 'Copyright Harry Diamond'. Important Notice: Artists' Resale Rights Regulations, 2006. This lot may be subject to these regulations. Please note that by bidding in this sale you agree that if you are the successful bidder for a lot covered by these regulations you will pay an amount equal to the resale royalty, and this amount will be added to your invoice (in addition to Buyers Premium) at a rate of 4% of the hammer price above 1000 Euros. We undertake to the buyer to pay such amount to the artist's collection agent. Provenance: The Robertson Collection
Lot 2033
'Prudence Cuming Associates Ltd., Dover Street, London; Black and white photographic print, "Figure writing reflected in a mirror, 1976", with oval yellow paint mark, stamped on reverse, and marked in pencil 69311. This photograph provides interesting and very clear illustration of the way in which Bacon might seek to add to, or change, paintings. This picture would have been sent to the Marlborough Gallery, and a photograph would have been returned to Bacon. In this case the photograph has acquired a yellow oval paint mark. The picture has then obviously been recalled to the Studio and re-worked, incorporating the yellow paint mark and other minor alterations such as writing on the pad and changes to the crumpled newspaper on the floor. Bacon's views on chance and the effects of its inclusion in finished works are well known. He would sometimes send a painting to Marlborough, subsequently get it back in the Studio and later go on with it. Bacon was also acutely aware of the fact that smudged footprints, finger prints and paint marks acquired in the Studio could change the character of a painting. The finished painting is illustrated for comparison purposes in the Tate Gallery catalogue for the Exhibition of 22 May - 18th August 1985. Illustration no. 99. Examples of the incorporation of paint marks into finished paintings can be seen amongst items in this sale in, for example, lot 2018 where white paint marks were added to Portrait of George Dyer in a mirror. Provenance: The Robertson Collection
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314796 item(s)/page