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Click here to subscribeA rare 19th century painted satinwood miniature writing bureau: the angular fall centrally painted with a shoulder-length portrait of a lady within pearls and rope and further flanked by floral swags and opening to reveal satinwood interior with five pigeonholes and three drawers below, five full-width drawers with small turned bone handles, raised on bracket feet (41 cm wide x 28 cm deep x 75.5 cm high)
A Flute by Christopher Gerock, rosewood with silver keys, London hallmark 1832. This is believed to be a rare, possibly unique example of a Christopher Gerock flute as his work is normally produced in boxwood. C G hallmark is believed to be Charles Gibson, London. Fully reconditioned back to playing order.
A rare miniature bureauLacquered woodGilt landscape reliefs decorationDrop front and four drawersInterior of floral motifs and landscapes decoration with two drawers and pigeonholesYellow metal hardwareJapanese production for the European market, ca. 1680-1730Literature:For similar, albeit larger sized examples see: Oliver Impey, Christiaan Jörg, "Japanese Export Lacquer 1580-1850", p. 205, ill. 495-496-20,5x33x23 cm
WW2 RAF Peter Ayerst and RH Jones Signed British Corps Combat Supplies FDC. This Cover is Rare. British Postal Service Postmark with 5d Stamp. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Bruce Onobrakpeya (Nigerian, born 1932)Negritude signed and dated 'ONOBRAKPEYA/ 1960' (lower right); further signed 'B.P.O.ONOBRAKPEYA/ 4' (verso)oil on board 60.5 x 91cm (23 13/16 x 35 13/16in).(unframed)Footnotes:ProvenanceA private collection.ExhibitedLagos, Nigerian Council for the Advancement of Art and Culture, Nigerian Art Exhibition, 1-22 October 1960.LiteraturePaul Chike Dike and Pat Oyelola, eds., The Zaria Art Society (Lagos: National Gallery of Art, 1998), no. 397, p. 266 (illustrated).Painted in oil, Negritude (1960) is an important early example of Bruce Onobrakpeya's painting practice. Created while the artist was a student at the Nigerian College of Arts, Science and Technology in Zaria, it was featured as a key work in the Nigerian Council for the Advancement of Art and Culture's Nigerian Art Exhibition in 1960. The exhibition brought together work from diverse artists which were presented alongside examples of the cultural and craft traditions practiced across Nigeria to celebrate the country's newly asserted independence from colonial rule. As the artist and historian David H. Dale asserts, the exhibition 'opened the eyes of many foreign visitors to the vast array of varied art works [created in Nigeria]. This was the beginning of Nigeria's Contemporary Art' (Dale, 1998: p. 266). Onobrakpeya's role in establishing this new Nigerian art was foregrounded in the presentation of the exhibition. Working alongside Uche Okeke and Demas Nwoko, he created large-scale murals that decorated the outside of the arts and crafts pavilion. Onobrakpeya's brightly coloured designs were a conspicuous presence in the exhibition space and illustrated the creative possibilities opened up by the innovative talents of the new generation of Nigerian artists that formed the Zaria Art Society. Together, they rejected the centrality of Western artistic traditions in their art education and worked to establish a distinctly modern Nigerian aesthetic by fusing European themes, techniques, and mediums with those indigenous to Nigeria. As Onobrakpeya explains, 'we re-examined our culture – past and present – and extracted what was relevant to us and then synthesized it with foreign concepts which we believed were useful to us' (Dike & Oyelola, 1998: p. 60).The present work depicts a semi-abstracted image of a crow. The bird's feathers are articulated as a series of black teardrop forms that radiate away from the body. Together with the explosive red rays of light emitted from the tailfeathers and body of the cockerel, the feathers imbue the work with a dynamic energy fitting to the postcolonial optimism of Nigeria's independence. An important animal in the religion of Benin, the cockerel itself serves as a potent symbol. The bird throws its head back as it crows to welcome the rising sun – a metaphor for the new dawn ushered in by the dramatic shifts in the political, social, and cultural life witnessed by Onobrakpeya. Furthermore, as the symbol of one of Nigeria's foremost nationalistic political parties active in the 1950s and 1960s, the National Council of Nigeria and the Cameroons (NCNC), the cockerel stands as a political icon of West African independence (see Omojola, 2012: p. 253).The title of Onobrakpeya's painting situates the work within wider discourses relating to Negritude – a Pan-African movement which rejected European colonial domination and turned to indigenous African practices to assert a new, empowered notion of Black identity. Although originating amongst a group of African and Caribbean students in Paris in the 1930s, ideas relating to Negritude were dispersed at the outbreak of the Second World War and informed artists working to construct a Nigerian artistic tradition following the country's independence in 1960: for instance, while Onobrakpeya experimented with abstraction to cast the cockerel as a metaphor for new beginnings, Ben Enwonwu embarked upon his iconic Negritude series which depicted sinuous female figures that embodied a Pan-African celebration of Blackness.Innovative in style and rich in political meaning, Onobrakpeya's Negritude asserts the artist's position at the forefront of contemporary West African art. The charismatic oil presents a rare opportunity to observe how the seismic shifts in Nigerian society were reflected in the country's artistic life and the fundamental role that artists, such as Onobrakpeya, played in forging a new national identity in the postcolonial period. BibliographyPaul Chike Dike and Pat Oyelola, The Zaria Art Society (Lagos: National Gallery of Art, 1998).David H. Dale, 'The Significance of the Zaria Art Society', in Paul Chike Dike and Pat Oyelola, The Zaria Art Society (Lagos: National Gallery of Art, 1998), pp. 265-268.Bode Omojola, Yorùbá Music in the Twentieth Century: Identity, Agency, and Performance Practice (Rochester, NY: University of Rochester Press, 2012).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Untitled signed and dated 'BEN ENWONWU/ 1962' (left shoulder)ceramic with bronze patination23 x 17 x17cm (9 1/16 x 6 11/16 x 6 11/16in).Footnotes:ProvenanceThe collection of the artist Twins Seven Seven;Mr Enrico Mascelloni;A private collection.The bust of a young boy is a rare example of Ben Enwonwu's work in ceramic. A prolific sculptor, the artist primarily worked in wood, bronze, and bronze resin. The present work offers a distinct technique and employment of materials in which a white ceramic has been coated with a bronze-like finish. The technique captures the defined textures that characterise Enwonwu's masterly depiction of his subject, from the folds in the fabric of the boy's shirt to the whorls of his inner ears. The boy's defiant expression positions the work somewhere between a portrait and a character study. Enwonwu's portrait busts of children, typically commissioned by wealthy families, typically present his sitters with neutral facial expressions. They are conceived, primarily, as exercises in realist representation. In contrast, the present work captures the young boy with an expression of quiet defiance. His chin is tilted upwards and juts forward, conveying the strong-willed nature of the child. The bust offers a characterful depiction of Enwonwu's subject and demonstrates his aptitude for emotional realism.The present work was created in 1962: in the middle of a period of great productivity in Enwonwu's sculptural practice. In 1956 he received a portrait commission of Queen Elizabeth II to commemorate her visit to Nigeria earlier that year. Working in London, he conducted preliminary sketches and clay models of the monarch in his own studio before relocating to the Maida Vale studio of his colleague at the Royal Society of British Artists, Sir William Reid-Dick, as the work increased in scale. In an interview conducted with the artist in 1988, Sylvester Ogbechie relates, 'Enwonwu completed his clay model of the queen's portrait in July 1957 and had it cast in bronze by Guilio Galicie, an Italian bronze caster resident in London, from a plaster cast prepared in the studio of Frederico Mancini' (Ogbechie, 2008: p. 138). Similarly, his later iconic bronze of the Yoruba deity Sango (1964), permanently installed outside the headquarters of the Power Handling Company of Nigeria in Lagos, was cast by Italian artisans in London before being relocated to Nigeria. The two sculptures, created around the time of the present work, establishes a precedent for the involvement of Italian craftsmanship in the production of Enwonwu's work in London.Given the complexity of the techniques utilised to create the present work – and its subsequent appearance in an Italian collection – it is not unreasonable to suppose that the bust of the boy was also created in London and its final form fabricated by Italian craftsmen. Along with the bronze and bronze resin versions of his work offered by Enwonwu to his clients to suit different price points, the present technique of coating white ceramic with a bronze finish demonstrates his aptitude working in a variety of mediums with the assistance of skilled workshops.BibliographySylvester Okwunodu Ogbechie, Ben Enwonwu: The Making of an African Modernist (Rochester: University of Rochester Press, 2008).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Sir William George Gillies CBE LLD RSA PPRSW RA (1898-1973)Mixed Bouquet (1936) signed 'W. Gillies' (lower right)oil on canvas66 x 81.3 cm. (26 x 32 in.)Village and woodland scene (verso)Footnotes:ExhibitedEdinburgh, Aitken Dott & Son, Summer Exhibition, 1974Edinburgh, Aitken Dott & Son, October 1976, stock no.3595Private Collection, UKDuring the 1930s, Gillies began a striking series of still lifes, following his return to Edinburgh to live in the studio formerly owned by his friend William Crozier who died tragically early. The stability offered by Gillies' establishment of a professional studio, resulted in an increased number of still lifes as he was in more congenial surroundings in which to paint them. Gillies had developed a structured style and earthy palette, which would define his oeuvre.In 1932, while still only 33, he was invited to join Sir James Guthrie, Sir John Lavery, Cadell, Alison, Lintott, John Duncan and MacTaggart as a member of the exclusive and celebrated Society of Eight. New members of the club could be elected only as the result of a resignation or death. The news came as a happy shock to Gillies. It was apparently an astonishment to others. 'Why on earth did you elect that fellow?' someone asked Cadell. 'Well,' replied Gillies' proposer for membership, 'seven of us thought he was the right man.' Peploe was Gillies' other sponsor. (W. Gordon Smith, W G Gillies; A Very Still Life, 1991, p.47). In 1934, Gillies was made a full-time permanent member of staff at Edinburgh College of Art. A Mixed Bouquet dates to 1936, and is a rare example of this successful and exciting period that has been in the same private collection for the nearly five decades. It demonstrates Gillies command of the still life genre, and a masterclass in tonal harmonies.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Jack Vettriano OBE Hon LLD (British, born 1951)Still life signed 'VETTRANO' (lower right)oil on canvas25.4 x 30.5cm (10 x 12in).painted circa 1990Footnotes:ProvenanceCollection of Jack Vettriano, gifted to UK for UNHCR, the UN Refugee Agency ExhibitedKirkcaldy, Kirkcaldy Galleries, Jack Vettriano: The Early Years, June – October 2022 The proceeds of the sale of this work will support the work of UK for UNHCR, the UN Refugee Agency. With teams across Ukraine and in neighbouring countries hosting refugees from Ukraine, UNHCR is providing protection and humanitarian assistance, including emergency shelters, repairs for homes damaged by shelling, emergency cash assistance, and protection such as psychological support. UNHCR has also provided training for Ukrainian civil society organisations involved in helping to protect refugees and other displaced families. Vettriano took up painting as a hobby in the 1970s when a girlfriend bought him a set of watercolours for his birthday and from then on, he spent much of his spare time teaching himself to paint. He learned his craft by copying Old Masters, Impressionists, Surrealists and a plethora of Scottish artists. Prior to moving from Kirkcaldy to Edinburgh, he decided to mark a break with his past work which hitherto had been sold under his family name Hoggan. From this time on, he adopted his mother's maiden name of Vettriano. The fact that this still life is signed with the misspelling of 'Vettrano', demonstrates the key turning point in his career, when he is not yet well-rehearsed in using this new name. This work is rare for another reason; to Jack Vettriano's knowledge, this is the only still life he has painted. In recent months, this painting has been on view to the public, in the entrance to the exhibition Jack Vettriano: The Early Years at the Kirkcaldy Galleries. It was a celebration of his extraordinary career, showcasing paintings he created in his 20s until he moved to London in 2000. In the forward to the exhibition catalogue, Ian Rankin describes the importance of this stage in the artist's development; 'It's absolutely fascinating to me to watch an artist grow in this way as their visual ideas and themes begin to emerge and coalesce. They stretch themselves a little further with each new work as their confidence grows. Their technique begins to be honed, their colour palette becoming richer and more nuanced'....'producing a visual style that belongs uniquely not to Jack Hoggan any longer but to the artist now calling himself Vettriano. That name-change seems crucial to me. It is the sloughing off of an old skin, a reinvention utterly in keeping with the power of the paintings produced from around 1992 onwards. Look again at the early Hoggan and then fast forward to mid-period Vettriano. The journey between the two is extraordinary and electrifying.' (Ian Rankin, Forward to Jack Vettriano: The Early Years, Jack Vettriano Publishing Ltd with OnFife (Fife Cultural Trust), p.13).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Annie French (British, 1872-1965)The Water Mill signed 'ANNIE FRENCH' (lower right)ink and watercolour on paper17 x 36 cm. (6 11/16 x 14 3/16 in.)Footnotes:This is a very rare example of a landscape by Annie French. It is believed that she only produced a small number that she gifted to family members.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
George Leslie Hunter (British, 1877-1931)A street corner, Paris signed 'G Leslie Hunter/Paris' (lower right) and faintly signed 'G Leslie Hunter' (lower left)pastel32.7 x 28.5 cm. (12 7/8 x 11 1/4 in.)Footnotes:ProvenanceArthur Leyden and thence by descentThe style of signature and inscription is datable to circa 1907. For comparison, see Austerlitz Paris, coloured chalk, signed and dated 1907, Glasgow Museums No.U.121.f.01, one of two dated drawings from the same period.Among the group of young artists who founded San Francisco's California Society of Artists in 1902 were Hunter and his friend, Blendon Campbell (1872-1969). Campbell told Hunter's biographer, Dr T.J. Honeyman of Hunter's enormous energy and industry: 'His passion for making sketches, many of which were intended to serve as notes for more complete pictures, made the others look like playboys. None of them felt that Hunter was wasting his energy, for they sensed something big in his work as well as in his personality.' (T.J. Honeyman, Introducing Leslie Hunter, Faber & Faber Ltd, London, 1937, p.56)Street, Paris, a rare survivor from Hunter's first trip to Paris after his move to Scotland in 1906 appears to be the first purchase Arthur made. Unmistakably it shows that sense of something big in Hunter's work, with its intuitive pictorial harmony, mood and texture.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
George Leslie Hunter (British, 1877-1931)Trees inscribed to board by Arthur Leyden 'Painting by/Leslie Hunter 1910/A.T. Leyden' (verso)oil on canvas, laid on board26.4 x 21.5 cm. (10 3/8 x 8 7/16 in.)Footnotes:ProvenanceArthur Leyden and thence by descentThis picture was painted three years before the commercial success of Hunter's first exhibition at art dealer, Alexander Reid's prestigious Glasgow gallery, La Société des Beaux-Arts in 1913.Thanks to Arthur Leyden, it is another rare survivor from this period, ranking in style and date with two other oils, Paris Boulevard by Night and Sunlit Avenue, Northern France (Bill Smith and Jill Marriner, Hunter Revisited, the Life and Art of Leslie Hunter, Atelier Books, Edinburgh, 2012, plates 23 and 24 respectively). The landscape in colour, form, the river or canal and building on the left have more in common with Northern France than Scotland, which is consistent with Hunter's known whereabouts at this time. As in Tulips, French modernist, Édouard Manet (1832-1883) was an early hero. The tone and palette are similar, as is the animation and application of opaque brushstrokes, although the sweeping application in Tulips has given way to shorter strokes.Interestingly, the observations Hunter makes twelve years later in his notebook (datable to circa 1920-1923) about what he fully understands from the art of Paul Cézanne (1839-1906) and Hunter's struggle to balance such aims with his own early painting style based on Manet's technique are as relevant in 1910 as they were in the early 1920s. He underlines key words, their simplicity loaded with meaning:'Painting is the registration of ones colour sensations/There is no such thing as line/There is no such thing as modelling/There are only contrasts/It is because I cannot render my sensations at once! Hence I put on colour again/I put it on as best I can but when I begin I endeavour always to paint with a full impasto like Manet giving the form with the brush.' (Hunter's Notebook, Private Collection)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
λ SIR ALFRED MUNNINGS (BRITISH 1878-1959) A DOUBLE SIDED SKETCH, STUDY FOR LORD IVOR CHURCHILL R. A. 1923; ON THE REVERSE A STUDY FOR PICTURE OF LORD IVOR CHURCHILL & THE 9TH DUKE OF MARLBOROUGHOil on panel Signed (lower left), inscribed and dated 1923 (upper left); the reverse signed and inscribed (upper right)29.5 x 40.5cm (11½ x 15¾ in.) Provenance:Acquired directly from the artist Sir Jack Jarvis, Private Collection Thence by descent to his daughter, Vivian, Private Collection Thence by descent, Private Collection, UKThence by descent to the present ownerThe present lot is a double-sided study by Sir Alfred Munnings for one of his most important commissions. It began one day whilst sat next to Charles Spencer-Churchill, 9th Duke of Marlborough in The Other Club, a political dining society that was founded in 1911. Churchill expressed his admiration for traditional composition in painting and how he much desired to commission a hunting picture of himself together with his son Lord Ivor Churchill on horseback and more specifically a grey horse as suggested by Lord Ivor. It was decided, and so both Charles Spencer-Churchill and Lord Ivor Churchill made way to Glebe Place in London to sit for Munnings in his studio. 'A signpost to Melton was the thing, we must have a signpost in it ! Changing horses, four greys, with the second horseman in full rig; what a subject ! Mind you put me on the best horse' the Duke exclaimed. The commission is described at length in the second volume of Munnings' memoirs. The work was exhibited at the Royal Academy in 1924 in a review recorded in the Connoisseur it was commented 'More plaudits for the equestrian portrait of the Duke of Marlborough and Lord Ivor Spencer Churchill, but also for the muscular energy and movement of 'The Grey Horse'. The finished piece has remained in the Blenheim Palace collection ever since. This rare panel depicts three studies of Lord Ivor Churchill in his sumptuous hunting pinks and top hat. Munnings' swift, loose marks plan out the composition, experimenting with different positions of Churchill's head and hands upon the reigns. Sir Alfred Munnings has used very light, fast white strokes under the sitter to represent the horse. On the reverse of the panel the artist makes plans for the final composition which features Lord Ivor Churchill on grey horse in the far right corner, Charles Spencer-Churchill in the centre and two further greys with their handler to the left. The panel's chamfered edge suggests that Munnings was most likely using one of his slotted study boxes to work on the panel either in situ at Blenheim or back in his studio where both Lord Churchill and Charles Spencer-Churchill sat for Munnings. A number of other studies for this commission are known to have been carried out by Sir Alfred Munnings, four of which came up for auction in 2006 at Christie's New York. However, it is believed that this double sided sketch, which has not been on the market before now, was purchased direct from Munnings by Sir Jack Jarvis, who was knighted for services to racing and was one of the country's leading trainers. The work was then passed through descent to the present owner. We are grateful to the Curatorial staff at The Munnings Art Museum for their assistance in preparing this catalogue entry.
λ DAVID BOMBERG (BRITISH 1890-1957)CAERNAFON BAY, NORTH WALESOil on canvas Signed and dated 44 (lower right)39 x 45.5cm (15¼ x 17¾ in.)Provenance:Arthur A. Stambois, Private CollectionStanley Mann, Private Collection (purchased from the above in 1961)By descent to his wife, Eithne Maureen Mann (nee Milne), Private Collection (1937-2018)By descent to the present ownerThe present work was painted during one of Bomberg's trips to North Wales in 1944 during World War II. There is a palpable feeling of escape in this painting as the artist finds relief from the air raids and urban destruction he witnessed in London as he served as a fire-watcher during the Blitz. Although the colours are muted there is an openness to the panaroma and a broadness to the sky that is rare in Bomberg's earlier landscapes. It's almost as if the work itself is an embodiment of Bomberg opening his arms and filling his lungs with the invigorating fresh sea air. A release from the claustrophobic dangers of London in 1944. Condition Report: The canvas has not been relined. There is a thick layer of varnish. Inspection under UV reveals no evidence of restoration or repair. In overall good original condition. Condition Report Disclaimer
Richard Batterham (1936-2021) a rare porcelain bowl, with simple chattering band to inside foot rim, covered in a pale celadon glaze, and a large porcelain bowl by Richard Batterham, circa 1984, decorated with a chattering band to interior, unsigned, large bowl broken and repaired, 25.2cm. diam, 6cm. high (small bowl) 30cm. diam, 12.5cm. high (larger bowl), (2) Provenance From the estate of Richard Batterham
A rare pair of Wedgwood Pottery book ends designed by Keith Murray, on square base, cast with L'Odeon stepped panels, glazed matt green, a Wedgwood footed bowl and a plate designed by Keith Murray, glazed matt green impressed Wedgwood mark to book ends, 15.5cm. high (4) Provenance The Douglas Johnson collection.
* Aznar. A fan depicting anthropomorphic cats and mice, French, late 19th century, double-sided folding paper fan, one side with lithograph of dancing cats and mice playing instruments and dining, with text in French to left and right, printed signature 'Anzar', 2 small ink blots, paper repair to lower edge (23 mm x 60 mm) and slight loss to upper right blank corner, the other side with wood engraved design of 4 captioned vignettes 'Una Vista Estimable', 'Un Anticomunista', 'El Inportuno', and 'Caridad del Progimo', enclosed by lattice and volute decoration, 1 fold adherred to previous, mounted on wooden sticks (with some pencil doodles), 27cm (10.5 ins)QTY: (1)NOTE:A curious and very rare fan; we have been unable to trace another copy, or establish the identity of the artist.
* Flags. The Royal Naval Flag-Fan, circa 1790, folding paper fan, the hand-coloured engraved leaf with central UK royal armorial and 3 rows of flags, each flag captioned beneath, e.g. Ragusa, East India Company, America represented by Francis Hopkinson's flag (13 stars arranged in staggered rows), Great Mogul, Spanish Galloon, Malta, Leghorn, Isle of Man, etc., toned, some slight splitting to folds, with archive tape repairs to upper and lower edge on both sides (slight loss to lower right-hand side), mounted on wooden sticks, 25.5 cm (10 ins)QTY: (1)NOTE:Rare: not in the Schreiber Collection, and we have been unable to trace another copy sold at auction or held in institutions. Of particular interest is the early depiction of the American flag believed to have been designed by Francis Hopkinson in 1777, on which only 13 stars appear, arranged in staggered rows; in 1791 and 1792 Vermont and Kentucky respectively entered the Union, and in 1795 two more stars were added to the flag to reflect this.
* Enigma fan. Un Boquet Fatasque, Published by Sarah Ashton, No.28 Little Britain, April 25th, 1791, folding paper fan, the engraved leaf with central 'bouquet' of text on narrow leaves, tied with a bow, flanked by a number of cartouches containing puzzles and riddles, hand-coloured details and outlines, verso with further puzzle in the form of an anagram illustrated by a cherub holding aloft a flaming beacon, toned and foxed, some splitting to folds, a few archive tape repairs on verso, and some discolouration where sometime glued, mounted on wooden sticks, 25.5 cm (10 ins)QTY: (1)NOTE:Rare: not in the Schreiber Collection, and we have not traced another sold at auction or in institutions.Sarah Ashton was a prominent publisher of fan leaves in the late 18th century, working from her premises in Little Britain, near St. Martin's Court, Covent Garden. In 1770 she was admitted into The Worshipful Company of Fan Makers. Other female fan makers of the time are represented in the records of the guild, but no examples of their work survives. Both the V&A and the British Museum have a number of fans and fan leaves by Sarah Ashton amongst their holdings, but this one does not appear.
* Richmond (George, 1809-1896). A Sleeping Wayfarer, 1830, watercolour heightened with white and body colour over pencil, with pen and brown-black ink on grey paper, depicting a robed male figure seated on the ground and leaning on a rock beside trees, monogrammed lower left and dated lower right in sepia ink, sheet size 13.2 x 11.4 cm (5 1/4 x 4 1/2 ins), window-mounted into thick archival cream paper, board mount with wash border, framed and glazed (35 x 31.5 cm)QTY: (1)NOTE:Provenance: George Richmond; Canon T.K. Richmond; R.T. Richmond; Mrs Miriam Hartley; Sotheby's, 24 March 1977, lot 35; P. & D. Colnaghi and Co. Ltd; the present owner.Literature: Fitzwilliam Museum, Cambridge, Samuel Palmer and ‘The Ancients’, selected and catalogued by Raymond Lister, 9 October -16 December 1984, catalogue number 105.A rare work from the early period of George Richmond's career, executed just before the artist's elopement with Julia Tatham forced him to turn to the more mundane, but lucrative, occupation of portraiture. As a portrait artist Richmond was highly successful, counting some of the most notable names of the time amongst his sitters. As a young man, however, his work had been unconventional and ahead of its time. Richmond was taught by his artist father, before enrolling at the Royal Academy at the age of 15. It was here that he became a lifelong friend of Samuel Palmer, as well as forming close associations with Edward Calvert, Thomas Sidney Cooper, and Frederick Tatham (brother of Julia), amongst others. At the age of 16 Richmond was introduced to William Blake. Their meeting had a profound effect on the young artist, and he became an ardent admirer and follower of Blake. In around 1824 Richmond, along with Palmer, Calvert, Tatham, and others, formed the Blake-influenced group known as 'The Ancients'. The group was the first English manifestation of the formalised artistic 'brotherhood', pre-dating the formation of the Pre-Raphaelite Brotherhood by more than two decades. 'The Ancients' espoused many of the ideals which the PRB would come to uphold, such as distancing themselves from the academic art establishment, pursuing equality and lauding communal living, nostalgia for an idealised rural past, and eschewment of mundane subject matter in favour of the elevated and spiritual. They also promoted the wearing of special revivalist costume, although in practise only Samuel Palmer seems to have worn it often. Furthermore, the similarity between the pictured wayfarer and two portraits of Samuel Palmer in the National Gallery (NPG 2154 and NPG 2223) provokes speculation that he was perhaps the sitter for this work.
* Tissot (James Jacques Joseph, 1836-1902). Le Banc de Jardin, 1883, mezzotint, a superb, velvety, dark and richly inked impression of the first state (of three), a rare trial proof on chine collé, signed in pencil and inscribed by the artist 'Bon à Tirer / papier chine sur papier pâte / bon chaude', before the unsigned edition with letters, platemark 41.5 x 56.3 cm (16 1/2 x 22 1/4 ins), sheet size 56 x 76.7 cm (22 x 30 1/8 ins), mounted, framed and glazed (74 x 88.5 cm)QTY: (1)NOTE:Wentworth 75 i/iii.
A group of Wedgwood Kutani Crane stone china, mid-19th century, with rare printed mark Wedgwood's Stone China to the underside, comprising five plates, 21.5cm diameter, an oval dish, 24cm long, a lozenge dish, 24cm long, and two rectangular dishes, 18.5cm diameter (9)Please refer to department for condition report
Vintage Autograph Collection of 35 Signed Black and White Photos. Sizes May Vary. Signatures include Marion Ryan x2, A Read, Deep River Boys, Billy Collins, Arthur Howard, Tommy Trinder x2, Jerry Kendall, Eve Lister, Peter Graves x2, Alison Davies, J Darly, Beverly Sisters, Hazel Lee, Flora Alberta and others. May Yield Good Value. Some Maybe Rare. Good Vintage Condition. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Charles Bronson Signed 6x4 inch Black and White Homemade Postcard Produced by Bronson at HMP Durham in 2001. Rare Item. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Charles Bronson Signed Homemade Condolences Card For a Kray Gang member with Poem. Rare Item. Only One of these Worldwide. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Rare The Illustrated Family Bunyan by Edward Deanes. Vintage Hardback Book. There is an introduction by Rev Landels on Bunyan and the illustrations are by Edward Deanes. As the keen collectors of early printing will know the colour illustrations are by Leighton Bros. Published by James Sangster and Co, London. Pilgrim's Progress is one of the most well known religious texts. 686 pages. showing Signs of age. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Rare. DC Comic Signed by Muhammad Ali, Dick Giordano, Len Wein and Bob Kane. June 84 Edition. All Signed on Front Page in black ink, With Ali Writing a small inscription. Never Seen Before. A Must Have. Housed in a protective Comic Case. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Superb Collection of 30 Vintage TV and Entertainment Signed Photos. Approx 6 x 4 inch Photos. Some May Differ Slightly. Signatures include 3 Spallas, The Yolandas, Vivash Brothers, Olive Gilbert, Marilyn Telfer, Noni Nita and Dody, Clive Anderton, Heinie Brock, Duggie Wakehead, Sandra Michaels, Wally Ross and Others. Great Vintage Collection, Some May Be Rare. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Superb Collection of 23 Vintage TV and Entertainment Signed Photos. Includes some Unsigned, Some Stamped Signatures. Approx 6 x 4 inch Photos. Some May Differ Slightly. Signatures include Andrew Rolla, The Three Monarchs, Elizabeth Garner, Vic Hyde, Bill Johnson, John Graham, Jane Burden, Charlie Chester, Nita Croft, Desmond and Marks and others. Great Vintage Collection, Some May Be Rare. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Vintage Collection of 52 Signed Black and White Photos From Stage, TV and Entertainment. Signatures to include Fay Lenore, Victor Seaforth, Barbara Shotter, Reco, Marianne Tuer, Lisbeth Kearns, AJ Powers, Eileen and Jean Paul, John McHugh, Ken Morris, Arthur Askey, Billy Nelson and many more. Great Signatures. Some May Be Rare. Good Collection. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Vintage Collection of 30 Signed Black and White Photos From Stage, TV and Entertainment. Signatures include Cyclo Bros, Hugh Williams, Sally Barnes, Flora Robson, Rose Murphy, Hugh Sinclair, Jean Trent, Jane Brown and others. May Yield Good Value. Some Maybe Rare. Good Vintage Condition. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Vintage Collection of 44 Signed Black and White Photos From Stage, TV and Entertainment. Sizes may Vary. None Bigger than 6x5 inches. Signatures include Freddie Harris, The Three Monarchs, Tommy Steele, Harry Ross, Thomas Round, Charles Domming, Diane Hart, Billy Samuel, Bruce Trent, Stan Stennett and many more. Great Signatures. Some May Be Rare. Good Collection. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
A rare Wedgwood Pottery Boat Race bowl designed by Eric Ravilious, printed with boat race vignette to the exterior, the well Piccadilly Circus, in colours printed factory mark, fine star hairline to base 31cm. diam, 13cm. high Literature Ravilious & Wedgwood, Richard Dennis, page 28 & 29, the vignettes illustrated, designed 1938.
A rare Whitefriars Sapphire glass vase designed by William Wilson and Bernard Fitch, flaring cylindrical form with bands of cut oval and elliptical panels, later incised RL France monogram, 18cm. high Provenance Cargin & Morley Collection Private collection. Literature Lesley Jackson, Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 132 plate 137 (this actual vase). Exhibited Whitefriars Glass The Art of James Powell & Sons, Manchester Art Galleries, 1996, Museum of London 1997, this vase exhibited.
Pokemon Trading Card Game - a collection of vintage Pokemon cards, mainly from the 2009/10 era to include cards from sets such as Platinum Supreme Victors, HeartGold SoulSilver, Diamond&Pearl Majestic Dawn and Platinum. Notable cards to include Moltres 149/147 secret rare in very good condition, Pikachu 78/123 reverse holographic, Magmortar 6/147, Drifblim FB 3/147, Togekiss 11/106 and many more reverse holos from the same sets. Also to include a small selection of Wizards of the Coast cards with the one notable card being the 8/62 Hypno from the Fossil set. Good collection of cards with the bulk comprising from an era of scarcity in terms of Pokemon collecting.
Peter Grippe (1912-2002)Besieged With ArrowsThe very rare engraving, 1945, signed, titled and dated in pencil, there is no known edition, printed at Atelier 17, New York, on laid paper, with full margins, sheet 300 x 220mm (11 3/4 x 8 5/8 in)This rare work was produced at the experimental print studio Atelier 17, New York, alongside many other well known artists of this time such as Jackson, Willem de Kooning, Franz Kline etc.
ZHIJUN REN [1948 - ]. Black Hole 1, 1995. oil on canvas; signed 65 x 73 cm - unframed, but can be hung as is. Provenance: the artist; private collection, Canada. Surrealist artist from China - his work is quite rare.. [good condition - slight abrasion marks at top right and bottom left corners]. Buyers premium of 20% + vat is payable.
DAVID WILLIAM BURLEY [1901-1990]. Isle of Sheppey and Sheerness on Sea Southern Railway poster, 1938. Lithographic poster published by Southern Railway Trade Advertising Service on thin wove paper with margins, signed and dated '38 in the plate. Very rare. Each 76.5 x 50.5 cm [sheet size]. Unframed. [Very good condition] Buyers premium of 20% + VAT is payable on hammer price of all lots in this auction. Artists Resale Rights [ARR] of 4% are payable on the hammer price of all lots selling for the UK £ equivalent of 1000 euros or more. Bidding via The-Saleroom.com incurs a fee of 4.95% + VAT on hammer price. This lot is stored in London and can be collected or shipped from there.
JOHN COOPER [20th-Century]. Post Office Wireless Station, Rugby – A Control Panel, 1935. Lithographic poster on wove paper, signed in the plate, published by British General Post Office (GPO), London 1935, with GPO stamp lower left. Rare. 58 x 61 cm [sheet size]. Unframed. Collection: Science Museum. [Colours are good and true, small tears to top and bottom edges, paper loss to top, slight creasing to bottom corners]. Buyers premium 20% + vat payable. Bidding via The-Saleroom.com incurs a fee of 4.95% + VAT on hammer price. This lot is stored in London and can be collected or shipped from there.
FRANK DOBSON [1886-1963] attrib. London Transport poster, 1938. Lithographic poster advertising '34 Green Line Coach Routes to the Country', bears signature, printed by Vincent Brooks Day & Son Ltd, London and published by London Transport 1938. Rare. 57 x 41.9cm [sheet size]. Unframed. Collection: London Transport Museum. [Good strong colours, no tears, one crease diagonally across entire sheet]. Buyers premium 20% + vat payable. Bidding via The-Saleroom.com incurs a fee of 4.95% + VAT on hammer price. This lot is stored in London and can be collected or shipped from there.
WALTER E SPRADBERY [1889-1969]. Greensted Church, Ongar, 1926. Linocut on wove paper laid onto board. Signed, dated 1926 and titled in pencil. Rare. 26.4 23.1 cm [image size], 29 x 26.5 [sheet size]. Unframed. [Image in good condition, no ink or paper loss, time staining to previous mount marks, sheet stuck down, scuffs and abrasions to edges]. Buyers premium 20% + vat payable. Artists Resale Rights [ARR] of 4% are payable on the hammer price of all lots selling for the UK £ equivalent of 1000 euros or more. Bidding via The-Saleroom.com incurs a fee of 4.95% + VAT on hammer price. This lot is stored in London and can be collected or shipped from there.
TERRY FROST R.A. [1915-2003]. Easter, 1966. Lithograph on cream wove paper signed and numbered 5/5 probably printed by the artist at the University of Reading. Rare. 59.5 x 39.7 cm [sheet size]. Unframed. Literature: Terry Frost Prints [Kemp 34]. Provenance: acquired directly from the artist's studio. [Fair condition, three images perfect, some minor foxing to top and bottom of sheet]. Buyers premium 20% + vat payable. Artists Resale Rights [ARR] of 4% are payable on the hammer price of all lots selling for the UK £ equivalent of 1000 euros or more. Bidding via The-Saleroom.com incurs a fee of 4.95% + VAT on hammer price. This lot is stored in London and can be collected or shipped from there.
JOHN KASHDAN [1917-2001]. Freedom, 1949. monotype with gouache; signed. 54 x 41 cm - overall including frame 85 x 66 cm. Provenance: England & Co. Gallery, London, one-man exhibition, 1989, no. 80; private collection, UK. An interesting Jewish artist who was born in Islington and studied at the Royal Academy School of Art - his early work is rare. He was an influence on some of the Neo-Romantic artists and his monotypes became popular in the US in the 1940s - the Museum of Modern art [New York] and Art Institute of Chicago collections include his work. [very good condition - unexamined out of frame]. Buyers premium of 20% + VAT is payable.
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![ZHIJUN REN [1948 - ]. Black Hole 1, 1995. oil on canvas; signed 65 x 73 cm - unframed, but can be hung as is. Provenance: the](https://cdn.globalauctionplatform.com/2d52b1f3-bf52-438c-97ab-af1200c56b67/147724c4-9edb-4ff4-8746-af1200e0371f/468x382.jpg)
![DAVID WILLIAM BURLEY [1901-1990]. Isle of Sheppey and Sheerness on Sea Southern Railway poster, 1938. Lithographic poster pub](https://cdn.globalauctionplatform.com/2d52b1f3-bf52-438c-97ab-af1200c56b67/cdb1570c-b55b-4a50-a61b-af1200e0b8b1/468x382.jpg)
![JOHN COOPER [20th-Century]. Post Office Wireless Station, Rugby – A Control Panel, 1935. Lithographic poster on wove paper, s](https://cdn.globalauctionplatform.com/2d52b1f3-bf52-438c-97ab-af1200c56b67/5e1d41ec-b501-404e-afdf-af1200e0bcb4/468x382.jpg)
![FRANK DOBSON [1886-1963] attrib. London Transport poster, 1938. Lithographic poster advertising '34 Green Line Coach Routes t](https://cdn.globalauctionplatform.com/2d52b1f3-bf52-438c-97ab-af1200c56b67/12950769-e83a-4d51-8298-af1200e0be56/468x382.jpg)
![WALTER E SPRADBERY [1889-1969]. Greensted Church, Ongar, 1926. Linocut on wove paper laid onto board. Signed, dated 1926 and](https://cdn.globalauctionplatform.com/2d52b1f3-bf52-438c-97ab-af1200c56b67/3b97ea44-56b6-4a3f-8d6a-af1200e0c3f3/468x382.jpg)
![TERRY FROST R.A. [1915-2003]. Easter, 1966. Lithograph on cream wove paper signed and numbered 5/5 probably printed by the ar](https://cdn.globalauctionplatform.com/2d52b1f3-bf52-438c-97ab-af1200c56b67/d7fa4fa8-42e5-428f-b542-af1200e0dee1/468x382.jpg)
![JOHN KASHDAN [1917-2001]. Freedom, 1949. monotype with gouache; signed. 54 x 41 cm - overall including frame 85 x 66 cm. Prov](https://cdn.globalauctionplatform.com/2d52b1f3-bf52-438c-97ab-af1200c56b67/6a4d3c2a-c275-4048-8c21-af1200e110b8/468x382.jpg)
