Stanley Paine (British, B. 1934) "Model T Ford" Signed lower right. Original Oil painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which was published on the Fleetwood First Day Cover for the Great Britain 19 1/2p Model T & Escort Ford stamp issued October 13, 1982. The Ford Model T, known affectionately as the "Tin Lizzie," was a simple, sturdy and utilitarian car. Like many of the people who owned it, it was also practical and hardworking. During the eighteen years, from 1909 through 1926, that the Model T was being produced, its share of the automobile industry's total output averaged an amazing 42.9 per cent. In six of those years, production of this classic car topped fifty per cent of total cars produced. The Model T was the car that introduced millions of Americans to the auto age, which in large part explains the folklore and nostalgia that surrounds this famous automobile. Many Americans can still remember their proud first day behind the wheel of their Model T. Countless photographs of parents and children posed around the Model T tell of its importance to the American family. Indeed, every owner had a favorite story to relate about the Model T and at least two home remedies telling how to start the car on a winter's morning. Some drivers put their cars up on blocks the moment the snow fell. The less thrifty might invest five dollars in a Simon Primer, an electrically heated manifold. The Model T was always painted black. It always had a four cylinder, water-cooled engine and a two-speed gearbox with reverse. In 1914, Ford opened a factory in Manchester to produce the Model T. Although the car that had won America's heart was popular in Britain, it was never the success there that it had been in its homeland. Image Size: 6 x 7 in. Overall Size: 11.75 x 13 in. Unframed. (B07694)
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Early, 'floor-start' Austin Seven Mini exported to California in the 1980s and repatriated by Mike Brewer.849 XVM is a May 1961 Austin Seven despatched new to Swain and Jones in SurreyIt was originally Speedwell Blue with a Blue/Grey interior and appears to have been changed to a bright red with a white roof in the seventiesPart of regular Brighton Run entrant, Phil Reed's collection in CaliforniaBy pure coincidence, Mike Brewer was viewing the collection after Phil Reed passed away and purchased both this Mini and John Cooper's 1275SNow UK registered and refreshed ready for the saleOn its introduction in August 1959, the Mini was marketed under both Austin and Morris names as the Austin Se7en and Morris Mini-Minor, such was the brand-loyalty to the formerly divided companies, still displayed by customers. The Austin Se7en was renamed the Mini in 1962.849 XVM is a May 1961 Austin Seven despatched new to dealers Swain and Jones in Farnham. From the records it appears it was originally finished in Speedwell Blue with a Blue/Grey interior but is now resplendent in bright red with a white roof and red cloth upholstery. The time scale is not clear but it seems the car was fully restored in the UK in the late 70s.Phil Reed was a Californian motor enthusiast and enjoyed a small private collection at home. He was also a Brighton Run entrant and competed regularly despite the fact that he lived 5,000 miles from Brighton. On one of his visits, we assume that he discovered this early Mini at a dealers in Brighton, purchased it and shipped it back to California in the early 80s. When Phil sadly passed away recently, his collection was left to his two sons who didn't share their dad's passion and invited interested parties to have a look. Coincidentally, Wheeler Dealer Mike Brewer was filming in the area and went along. There he discovered a 1275S Mini Cooper that had been used by John Cooper himself which he subsequently bought and is on offer in today's sale but, additionally, was rather taken with EVM which he simply couldn't leave behind, so that was also purchased and shipped back to the UK.It's now UK registered and has been refreshed for the sale. It's featured in Mini Magazine (February 2021) and a copy of that is with the car. There is little history with the car, save for import documents and the fact that its Mikes, but what a super little '61 'Min'. SpecificationMake: AUSTINModel: SEVEN 'MINI'Year: 1961Chassis Number: A257106251Registration Number: 849 XVMTransmission: ManualEngine Number: 8/AMU-H156896Drive Side: Right-hand DriveOdometer Reading: 22272 MilesMake: RHDInterior Colour: Red Click here for more details and images
A Collection of Miscellaneous BofE, Scottish & Foreign Banknotes comprising: Bank of England: 3 x £10 series ‘C’ Portrait issue: Hollom (A19), Fforde (A69) cashier’s marks in ink on obv. & Page (M11 replacement note) AVF to VF & £5 Page series ‘D’ pictorial issue (AN74) AUNC; Scotland: The Royal Bank of Scotland plc: £20 2000 B/55 EF, £10 2001 D/10 VF & £5 2000 B/71 AEF, The Clydesdale Bank Limited £1 1945 prefix B, VG, Clydesdale Bank plc £10 2006 A/DV GFine, The National Bank of Scotland Limited £1 1949 B/A, ink marks Fine, The Union Bank of Scotland Limited £1 1942 S/7 Fine & Bank of Scotland £1 1947 F VG; the 14 x Foreign Banknotes include: The Central Bank of Ireland 2 x £10 ‘Lady Lavery’ 1975 31D & 33D VF & £10 1978 CGC AVF, USA National Currency, Federal Reserve Bank of New York 20 dollars 1929 B, numbers written in pencil on obv. o/wise Fine, Silver Certificates 3 x consecutively numbered 1 dollar 1957B UNC & National Currency, ‘The First National Bank of Norwood’ 10 dollars blue seal. 6322 1902 UNC; lot also includes 10 x 19th century share certificates for various American Railway Companies, all in very good condition & a Morgan Silver Dollar 1921, minor contact marks AEF
A 19th Century mahogany occasional table, the rounded rectangular top with moulded edge over a single frieze drawer with turned knob handle, raised on a turned and ringed centre pedestal to tripod base, 61 cm wide x 45.5 cm deep x 69 cm high, together with a pair of Scumble Goosie modern table lamps and shades, a beech jack plane and a Middle Eastern copper cooking vessel with brass handles, a framed and glazed Gulf, Mobile and Ohio Railroad Company share certificate for 100 shares, issued to H N Whitney Goadby & Co., March 3rd 1948, a pair of coloured engravings "Blue winged Teal" and "Gadwall" and a modern sampler
![DICKENS, Charles (1812-1870). Autograph letter signed ( "CD"), to [Thomas] Mitton ( "My Dear Mitton"). Devonshire Terrace, 18](https://cdn.globalauctionplatform.com/972f54cb-c6fc-4bf1-9d72-adc10131c7e7/6d7d78c9-6e69-4db2-86a5-adc201534878/468x382.jpg)
DICKENS, Charles (1812-1870). Autograph letter signed ( "CD"), to [Thomas] Mitton ( "My Dear Mitton"). Devonshire Terrace, 18 April 1844. 1 1/4 pages, 8vo, on a bifolium. Folds, minor mounting remnants along hinge fold on verso. Discussing financial matters in advance of his pivotal travels to Italy and Europe: "I am sorry to say that plan won 't do. Because, although Coutts 's were so prompt and polite last time, still they did say "˜that it wasn 't the kind of note ' &c &c - as I wrote you at the time. Indeed, I remember to have often heard that they avoid discounting: not having that kind of insurers[?]. I wish to Heaven you could think of any other way. I will come down today, between 2 and 3. I have not seen [Thomas James] Thomson yet. He wrote that he was coming. Likewise that his house had not bedrooms enough for all[?] - and talking wildly about Houses near Belgrave Square!! Faithfully Always / CD." A fine letter to his close friend and solicitor, Thomas Mitton. Dickens wrote Mitton the previous day: "I am very much and pressingly in want of a hundred pounds until June. Though the time is short, my father 's debts, two quarters income tax &c, coming all at once, drive me, sailing so near the wind by not drawing any profits from C[hapman] and H[all], into a most [un]comfortable corner. Ca[n you oblige] me with this, or devise any [means of doing so?"¦" (Letters, 17 April 1844, pp. 107-08). This letter might conversely relate to Mitton's purchase of a share in the legal firm of Smithson and Dunn [later Smithson, Dunn and Mitton]. Money for the purchase was borrowed from his family, while Dickens stood as security for the debt. Not in The Pilgrim Edition of The Letters of Charles Dickens, Edited by Kathleen Tillotson, Oxford, 1977. For condition inquiries please contact lesliewinter@hindmanauctions.com
Norfolk, Suffolk, Norwich etc (18) in Hendon album with slipcase, a group of Provincial notes, Cheques and ephemera generally from Norfolk/Suffolk, Royston Bank 5 Pounds, Norwich & Swaffham Bank 1 Pound, Norfolk & Suffolk General Bank 1 Pound, Bury & Suffolk Bank 1 Pound, a group of Cheques dated from 1837 - 1902, large unissued cheque with counterfoil, Alexanders, Maw & Co., Ipswich, Norfolk Estury Company 50 Pounds share dated 1847, an interesting group
Terence Cuneo (British, 1907-1996), 'Sunbeams at the London to Brighton Run', Offered for sale on behalf of the West Midlands Police Heritage Project,signed lower right, oil on canvas, scene depicting a 1904 12Hp Sunbeam over-taking a 1901 Sunbeam-Mabley Cycle-Car on the A23 at the famed Veteran Car Run, 62 x 75cm, within gilt and white painted decorative wooden frame. Footnotes:Information received suggests these original Cuneo artworks were donated to Coventry City Police (which later became part of West Midlands Police) around the 1960s, or possibly as early as 1957, to mark the opening of Little Park Street Police Station, where they hung in the conference room for many years. Eventually they were loaned to the Coventry Transport Museum where they were presumably on display for some time before ending up in their store room for many years and then retrieved by the West Midlands Police Museum. After a successful Round 2 National Lottery Heritage Fund (NLHF) bid in March 2020, West Midlands Police are currently working on delivering a project to convert Birmingham's Steelhouse Lane Lock-up into the new permanent home of the West Midlands Police Museum. The museum is scheduled to be relaunched in early 2022 with a significant focus on engagement and education, using policing stories to bring their heritage to life and share it with more people.www.wmpeelers.com/heritage-projectThis 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
Terence Cuneo (British, 1907-1996), 'Danger! - Passage a Niveau', Offered for sale on behalf of the West Midlands Police Heritage Project,signed lower right, oil on canvas, a humorous early motoring scene depicting a nonchalant gentleman driver at the wheel of his 1904 Sunbeam, with terrified female passenger, two fleeing male passengers and dog at a French level crossing in a near miss with an oncoming locomotive, 62 x 75cm, within gilt and white painted decorative wooden frame. Footnotes:Information received suggests these original Cuneo artworks were donated to Coventry City Police (which later became part of West Midlands Police) around the 1960s, or possibly as early as 1957, to mark the opening of Little Park Street Police Station, where they hung in the conference room for many years. Eventually they were loaned to the Coventry Transport Museum where they were presumably on display for some time before ending up in their store room for many years and then retrieved by the West Midlands Police Museum. After a successful Round 2 National Lottery Heritage Fund (NLHF) bid in March 2020, West Midlands Police are currently working on delivering a project to convert Birmingham's Steelhouse Lane Lock-up into the new permanent home of the West Midlands Police Museum. The museum is scheduled to be relaunched in early 2022 with a significant focus on engagement and education, using policing stories to bring their heritage to life and share it with more people.www.wmpeelers.com/heritage-projectThis 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
A Yellow-glazed incised 'Dragon' bowlTongzhi six-character mark and of the periodThe rounded sides rising from a short straight foot to a slightly everted rim, incised around the exterior with two five-clawed dragons chasing flaming pearls amidst wisps and billowing waves, applied overall with a rich egg-yolk-yellow glaze, the base glazed white. 14.3cm (5 5/8in) diam.Footnotes:清同治 黃釉刻雲龍戲珠紋盌 青花「大清同治年製」楷書款Provenance: Douglas R.A. Spankie (1929–1974), British First Secretary and Acting Consul-General, Shanghai (1962-1964), acquired during his service in Shanghai, and thence by descent來源：道格拉斯·史本基（1929–1974），1962-1964年任英國駐上海一等秘書及代理總領事，於其任內購自上海，並由後人保存迄今Douglas Spankie was one of an unusual and privileged group of British diplomats who served Her Majesty's Government in China between the time when the Shanghai Consulate was officially closed in 1949, and when it formally reopened in 1985. Based in the diplomatic compound in Shanghai, during his tour he was able to collect a small but interesting group of paintings and works of art. He and his young family were permitted to visit other parts of China; his daughters remember travelling to Beijing to visit the Forbidden City, and attracting great interest from the residents. The girls learned to speak fluent Chinese, the Shanghai dialect, while Spankie spoke Mandarin.Spankie was born in 1929 and posted to Shanghai in 1962. Returning to the UK in 1964, he just missed the extreme violence of the Cultural Revolution. During his tour, he was lucky enough to be able to share in the (admittedly restricted) social and cultural life of Shanghai, even though many of his diplomatic functions were exercised through Scandinavian diplomatic intermediaries since the UK Consulate had no formal position in the PRC. Nevertheless, some of the old pre-Revolution diplomatic niceties were still observed. Low-key celebrations to mark the Queen's Birthday attracted Chinese government attendees and there was a vibrant social life for the Western diplomatic community. Sadly, Douglas Spankie died from cancer at the very young age of 45, before his considerable talents as a diplomat could be redeployed into a full ambassadorial posting after he completed his tour in China. Compare with a very similar pair of yellow-glazed incised 'dragon' bowls, Tongzhi six-character marks and of the period, which was sold at Bonhams London, 10 November 2016, lot 22.For further information on this lot please visit Bonhams.com
Jacques Monory (1934-2018)Dreamtiger n° 2 1971 signé et daté 71; signé, titré, daté 1971 et numéroté N° 396 au revershuile sur toile et collage marouflés sur panneausigned and dated 71; signed, titled, dated 1971 and numbered N° 396 on the reverseoil on canvas and collage laid on board114 x 162 cm.44 7/8 x 63 3/4 in.Footnotes:ProvenanceCollection particulière, FrancePuis par descendance au propriétaire actuelExposition Paris, Jardin des Plantes, Les artistes au Jardin des Plantes, mai 1990, p. 160, illustré en couleurLittératureJean Christophe Bailly, Monory, Paris 1979, p. 195, n° 396, illustré en noir et blancPierre Tilman, Monory, Paris 1992, p. 312, n° 396, illustré en noir et blancAujourd'hui Poème, Février 2007, n° 78, illustré en noir et blanc en première pagePionnier du mouvement de la Figuration Narrative, Jacques Monory est l'un des représentants du Pop Art européen les plus sous-évalués et néanmoins les plus importants qui émergent dans les années 1960. Combinant la peinture et la réalisation de films, la vision de Monory est singulière et fascinante ; elle taille en pièces tous les aspects superficiels du grand écran et injecte dans ses toiles des idées complexes qui partagent beaucoup avec les philosophies de Michel Foucault et Roland Barthes. Nous présentons ici deux peintures exceptionnelles qui traduisent la prescience étonnante dont témoigne encore et toujours l'art de Monory : Dreamtiger n°2 et Le Peintre n°18, de 1971 et 1986 respectivement. Comme la rétrospective qui lui a été consacrée par la Fondation Maeght à Saint Paul de Vence en 2020 l'a démontré avec éclat, l'œuvre de Monory est plus vivante que jamais. Elle explore le pouvoir et la violence de l'image médiatisée et l'idéologie qui sous-tend notre culture contemporaine du spectacle.Dans les années 1960, la France était un melting pot d'énergie philosophique et artistique. Cette décennie a vu l'avènement d'un mouvement critique d'avant-garde, le structuralisme, dont les représentants les plus célèbres ont été Foucault, Barthes, Jacques Derrida et Louis Althusser. Ces penseurs extrêmement influents ont ouvert la voie à une nouvelle école d'artistes français, une version purement européenne du Pop Art, créée à partir de l'impact universitaire considérable de ces théoriciens critiques. Tandis que le Pop Art américain éprouvait une véritable fascination pour les images raffinées de la culture populaire – comme en témoignent les œuvres d'Indiana, de Lichtenstein, de Warhol et de Wesselmann ; artistes qui ont tous parodié ce qui faisait l'essence de l'identité américaine après la guerre (répétition, style, célébrité et sexe) – les artistes français du mouvement de la Figuration Narrative se sont intéressés à la psychologie profonde des mass media. Réagissant à la prolifération de la chose imprimée, de la musique, de la télévision et du film, les peintures de Monory sont des commentaires tranchants comme un rasoir de la nature illusoire de la culture populaire et de la séduction qu'elle exerce ou, comme pourrait le dire Barthes, de la mythologie : « le mythe ne cache rien et ne révèle rien ; sa fonction est de déformer ; le mythe n'est ni un message ni un aveu ; c'est une inflexion » (Roland Barthes, Mythologies, Londres : 2009, p. 153). Ce n'est donc peut-être pas un hasard si l'exposition majeure organisée en 1964, - dont Bernard Rancillac et Hervé Télémaque ont été les curateurs -, qui a été l'année fondatrice du mouvement de la Figuration Narrative, propulsé au premier plan de la création artistique contemporaine, a été intitulée Mythologies Quotidiennes. Le groupe a émergé comme l'un des courants artistiques les plus puissants et les plus cohérents pendant les années 1960 et 1970. Les deux peintures présentées ici, dans le style monochrome qui représente la quintessence de l'œuvre de Monory, sont des exemples exceptionnels de cette œuvre qui synthétisent la peinture et le collage en donnant un effet dramatique à l'ensemble. Barrant sa composition dans Dreamtiger n°2 par des lignes de code, « anonymisant » son sujet derrière un écran noir, ou obscurcissant le paysage de Le Peintre n°18, l'artiste fait constamment allusion à des récits cachés et des intentions déformées. Créée pendant des périodes de profonds bouleversements mondiaux, marquées par la guerre du Vietnam, les Guerres froides, les mouvements de protestation de mai 1968 et la Révolution culturelle, l'œuvre de Monory est profondément évocatrice de son époque, empêtrée dans des conflits mondiaux, sociaux et culturels.Peintes dans un bleu monochrome, inspiré par le « CinémaScope » et les planches de contact photographiques dont Monory a régulièrement nourri son imaginaire, ces deux œuvres utilisent une technique inédite tirée du film noir pour donner une impression de drame et créer un suspense. Dreamtiger n°2 est indubitablement l'une des œuvres les plus puissantes d'une série cruciale créée par l'artiste entre 1970 et 1972. Le tigre féroce, représenté enfermé dans une cage et rendu dans un bleu froid façon « CinémaScope », a d'abord été peint sur toile avant d'être découpé et reconstitué sur carton. Après le retour au thème du tigre dans les années 2000, Dreamtiger n°2 est certainement l'une des œuvres de Monory les plus intéressantes pour un collectionneur, qui arrive aujourd'hui sur le marché.Faisant écho au réalisme et au montage dynamique des films de La Nouvelle Vague, ces deux peintures élégantes sont iconiques et dignes des collectionneurs les plus exigeants. Monory, dont le style est peut-être le plus proche de celui de l'artiste du Pop Art américain James Rosenquist, demeure une sommité du Pop Art mondial, dont la carrière a été revigorée par de récentes rétrospectives organisées en Europe et aux États-Unis, et continuera sans aucun doute à susciter l'attention des acteurs institutionnels majeurs du marché. Comme en témoigne la présence de ses œuvres dans des collections muséales mondiales, y compris le Stedelijk Museum, Amsterdam, le Musée national d'Art moderne, Paris et le Fukuoka Art Museum, Japon, Monory continue d'exercer un attrait incontestable dans le monde, comme l'un des peintres majeurs des années 1960, et les deux œuvres présentées ici sont emblématiques de la carrière de l'un des artistes les plus éminents du Pop Art européen de cette période.A pioneer of the Figuration Narrative movement, Jacques Monory stands as one of the most undervalued yet significant European Pop artists to emerge in the 1960s. Encompassing painting and filmmaking, Monory's vision is singular and compelling; unpacking the superficialities of the silver screen and injecting his canvas with complex ideas that share much with the philosophies of Michel Foucault and Roland Barthes. Presented here are two except... For further information on this lot please visit Bonhams.com
A quantity of framed 19th century railway share certificates, together with coloured marine prints and engravings, engraved maps and other ephemera (one box), and a sachel containing stamps, first day covers and other philatelic materialCondition report: Share certificates; Chicago Rock Island, Chicago Burlington, Lawrence Rail Road, Lancashire Union Railways, Stockton & Darlington, Fleetwood, preston and West Riding Junction, The Channel Tubular.
The last letters sent from the Gallipoli theatre by Lt. Hon. Kenneth R Dundas RNVR (Anson Battalion) to his wife, Claudia, together with a 3,300-word letter to Mrs Dundas from his comrade-in-arms, the poet-dramatist, Lt. Hugh Moreton Frewen RNVR, describing the last days of Lt. Dundas, his death, his battlefield funeral (‘a wonderful threnody’) and arrangements for his personal effects. Also to include letters and telegrams of condolence from Viscount Melville and other members of the family; a small photograph (6.8 x 4.5cm) of KRD and another (possibly Frewen) in a dugout; a fine 12” silver Albert chain (maker’s mark of John Thompson & Son, London date mark 1898); the silver photograph frame (8.8cm in diameter) referred to in Frewen's letter and with later explanatory note penned by Mrs Dundas; various other family papers to include the 1915 Grant of Probate of the Will of KRD and the 1916 Epitome of the Will of Thomas Alderman Hougton (1828 -1918).Letters from KRD to his wife dated 29.05.1915, 27.07.1915, 29.07.1915, 31.07.1915, 04.08.1915, 06.08.1915 and one other undated, probably an 'in the event of my death letter', which begins ‘My own sweetheart, We go into action again shortly and the chances of living through it are small. I write to you now therefore to say what I can to comfort you…’, which, Mrs Dundas refers to in a note to her son, 'reached me after Hugh Frewen's came, and I think it saved my life.' Moreton Frewen’s 3,300-word letter, written the day after Dundas’ death, goes into some detail and quotes Dundas directly, “Frewen, I want to tell you the buzz. We’ve come to the wrong beach…” and also his last words, “Go and help others.”. Frewen continues, ‘I want you to hear Mrs. Dundas, in its full details, what had happened, so that you may judge of what a perfectly heroic death he died. It was glorious. Sir Philip Sidney’s was no finer. He died as he had lived, true to the traditions of his name and race, a Scot, a Dundas, and a true and heroic gentleman … he even tried to free himself from their hold [the medical officers attempting to ligature his carotid artery] on the artery that he might no longer detain them.’Frewen’s letter is perhaps one of the longest, best-composed, most poetic and emotional letters of condolence sent from the beaches of Gallipoli. Written in pencil in an Active Service Compendium notebook with 1914 and 1915 calendars, it consists of 31 pages, some loose, and begins:Aug. 8th 1915 “C” beach, Anafarta Bay, Gallipoli Peninsular Dear Mrs Dundas,Though we have never met, I write to you as a dear friend, for an inscrutable providence has ordained that we meet in spirit to share the same grief – a grief too poignant for words. For nearly 3 months I have shared with your husband the same life in camp and in the field, we always messed together and occupied the same quarters, whether a ‘dug-out’ in Gallipoli or a tent at Imbios ...' (Full transcript available on request).
Ɵ HARGREAVES, Alison. (1962 - 1995). A Hard Day's Summer. Six Classic North Faces Solo. SIGNED. Hodder & Stoughton, 1994. first edition, 8vo. (240 x 160mm), publisher's black cloth, gilt lettering to spine, dustwrapper unclipped, half-title, SIGNED by the author to title page, colour photo. illustrated, maps and drawings, 158pp: Alison Hargreaves' account of climbing all the great north faces of the Alps in a single season, (the first climber to achieve this). The series of climbs here included summiting the famously difficult north face of the Eiger, which she accomplished while pregnant with her first child Tom: BALLARD, James. (b. 1947). One and Two Halves to K2. The Journey of Alison Hargreaves' Family to K2. SIGNED. BBC Books, 1996. first edition, 8vo. (240 x 165mm), publisher's blue cloth, silver lettering to spine, dustwrapper unclipped, half-title, SIGNED to the front free e/p., by James Ballard, Kate and Tom, (Alison Hargreaves and James Ballard's two children), colour photo. illustrations, a double-page map titled 'Alison's Map for Kate and Tom sent from K2 Base Camp on 2 July 1995', 208pp: an account of James Ballard's trip to Pakistan, made shortly after the tragic death of his wife, British mountaineer, Alison Hargreaves; James Ballard, wanted to share with their two children Kate (aged 4), and Tom (aged 6), some of Alison's experiences in the last days of her life, and show them 'Mum's last mountain'. In 1995 Hargreaves was the first woman to scale Mount Everest solo without supplementary oxygen. She also climbed Ama Dablam in Nepal. Alison Hargreaves died in 1995 while descending from the peak of K2 in violent weather. Tom Ballard went on to become the first person to solo climb all of the six great north faces of the Alps in a single winter. He died in 2019 while ascending Nanga Parbat. both volumes within removeable clear wrapper. (2) Condition Report: clean copies. Condition Report Disclaimer
JOHN FERNELEY SNR (1782-1860)Mr Hugh Dick's Favourite Mare and Pointer outside Humewood House, County WicklowOil on canvas, 100 x 125cm Signed ‘J. Ferneley Pinx.’ and dated 1809 (lower right)Literature: Major Guy Paget DL, The Melton Mowbray of John Ferneley (Leicester, 1931) under the artist's account book no. 17 (unpaginated); Robert Fountain, John Ferneley (1782-1860): Catalogue of Paintings Chronologically by Subject (British Sporting Art Trust, online, updated December 2015) reference number A.09.017.001; James Horan, Humewood (Kinsale, Gandon Editions, 2018) illustrated page 27.Provenance: Commissioned by Hugh Dick Esq. MP, in July 1809 at a cost of 15 guineas; by bequest to his sister Charlotte Anna, who had married Captain William Hoare Hume of Humewood; with Leggat Brothers, London, from whom acquired by Mrs. Edward Shearson, (née Flora Josephine Shea) New York (her posthumous sale, New York, Parke-Bernet Galleries, November 6, 1955, lot 48); Jane Engelhard (1917-2004), New York philanthropist and owner of the great racehorse Nijinsky which was trained at Ballydoyle by Vincent O'Brien; by gift of Mrs Engelhard to a US private collector. The absence of a native school of equestrian painting has long surprised art historians, especially given Ireland’s close association with the turf. However, this lacuna is in part made up for by the fact that one of the finest of all English sporting painters, John Ferneley, enjoyed close links with Ireland. This was noted by Anne Crookshank and the Knight of Glin: ‘It should be remembered that the great English horse painter John Ferneley of Melton Mobray, paid four visits to Ireland, the first in 1808 when he had introductions from the fifth Duke of Rutland, whose father had been Lord Lieutenant. Ferneley returned for long visits in 1810, 1811 and 1812’. This, one of the finest works daring from his first visit to Ireland, is also invaluable for its depiction of the old house at Humewood, County Wicklow. It was used to illustrate the Georgian house in James Horan’s book on the restoration of the gothic mansion which replaced it.John Ferneley was born at Thrussington in Leicestershire, in the midst of the English Hunting Shires. His precocity attracted the attention of the Duke of Rutland, who persuaded his wheelwright father to apprentice him to the equestrian painter Ben Marshall. The latter became a life-long friend as well as teacher. Little of Ben Marshall's broad and vigorous technique is evident in his pupil's later free and refined style, though some of Ferneley's early works, such as those painted on his visits to Ireland between 1808 and 1812, have echoes of his master.Ferneley first arrived in Ireland in late 1808 and stayed about a year, returning to Thrussington in November 1809. He clearly found the country congenial and won significant commissions, painting for such distinguished patrons as the Lords Lismore and Rossmore, the Earl of Belmore and the Trenches and O’Callaghans. He contrived to earn and save £180, enough to pay for his marriage to Sally Kettle shortly after his return to England. They stayed in England only a few weeks, returning to Ireland in the spring of 1810, where they were received with generosity and affection by his clients of the previous year. In five months he amassed a small fortune of over £200.Ferneley is without question the finest sporting artist to have worked in Ireland, and yet few indeed of his paintings of this prolific period survive or at least can be identified today. There are still two such in the collection of the Earl of Belmore at Castle Coole, which again show ponies, called ‘Plenipo’ and ‘Buffer’. On his return, Ferneley rapidly established a distinguished English and Scottish clientele, and he and John Herring were the sporting painters par excellence in the period 1810-1850. Ferneley was himself a keen sportsman, and he recounts in his (eccentrically spelled) letters his exploits in the field. Throughout most of his working life he kept a meticulous Book of Accounts, which enables much of his work to be traced and identified. This makes him the best-documented – not to say one of the most satisfying – sporting artists in the heyday of hunting. He died on 3 June 1860, and was buried at Thrussington. His sons, John Junior and Claude Lorraine, were competent sporting painters, though not in the same exalted class as their father.Hugh Dick MP, who commissioned this painting, was born in 1780, the second son of Samuel Dick, East India proprietor and merchant, of Dublin and Charlotte, daughter of Nicholas Forster of Tullaghan, County Monaghan; he was the younger brother of Quintin Dick, MP. He died, unmarried, on 10 August 1830. One of the fourth generation of a Scottish family settled in County Antrim, Hugh Dick's grandfather, Quintin Dick of Nenagh, County Tipperary, had brought his family to Dublin, where his father, Samuel, flourished as a linen merchant and rose to become deputy governor (1796) and governor (1797-99) of the Bank of Ireland. He died in 1802 with property ‘estimated at upwards of £400,000’.Dick, who had been raised to play a prominent role in the family business, now took premises at 13 Linen Hall Street and, reflecting his younger brother William Forster Dick’s involvement, they traded briefly as Dick (Hugh, William) and Company. Hugh did not share his father’s involvement in banking and insurance, but he became a director of the Corn Exchange Building Company of Dublin (1815-25) and from 1819-29 served as a merchant trustee of the Royal Exchange and member of the ‘Society of the Ouzel Galley’ – a merchant-traders’ cartel. Dick’s return as Member of Parliament for Maldon, where he topped the poll in absentia in December 1827, as locum for his elder brother Quintin, then Member for Orford, on the 3rd Marquess of Hertford’s interest, was unexpected and hurriedly organized by Quintin, following the death of George Allanson Winn, who had defeated him there in a costly contest in June 1826. Dick died of a stroke at his Dublin home, Violet Hill House, Raheny (now part of Beaumont Hospital) in August 1830.Hugh Dick’s ‘favourite mare and pointer’ are shown in front of his sister’s new home of Humewood, County Wicklow. Charlotte Anna Dick had married William Hoare Hume at Bath on 24 November 1804 and appropriately the picture was bequeathed to the Humes when Hugh Dick died without a direct heir. Hume, was an MP in the Dublin Parliament, having replaced his father (who had been killed by rebels in 1798), in the County Wicklow seat. Closely connected with the Fitzwilliam interest of nearby Coolatin, he voted against Union, though later took his seat, again for Wicklow, in the Westminster parliament.The Georgian House of Humewood as shown in the background was built on the estate acquired by Thomas Hume (d. 1718), which had originally been based on a fifteenth-century castle. It comprised a seven-bay two-storey house with distinctive large hexagonal rooms on each side of the frontage, rather like Coolderry in County Monaghan (demolished), which belonged to cousins of the family, and the Dick’s own Violet Hill House near Dublin; all three probably were constructed about the same time, and possibly designed by the same architect. A nice detail is the eagle trophy on the roofline above the pedimented entrance door. Fernley’s painting is a rare depiction of the charming Georgian house which was replaced by the very much larger (if rather less charming) Humewood Castle, a true Victorian extravaganza built in rebarbative Gothic style between 1867 and 1870, and recently restored to its original splendour.
Edward S Curtis (American, 1868-1952)'Havachach - Maricopa'from 'The North American Indian: Being a Series of Volumes Picturing and Describing the Indians of the United States and Alaska', Vol. 12, published in 1907, plate no. 64, photogravure, inscribed 'From Copyright Photograph 1907 by E.S. Curtis, Photogravure by John Andrew & Son'40.5 x 26.5cm, mountedLots 52-61'The North American Indian', is one of the most expensive undertakings in the history of book production and one of the most comprehensive ethnographic records of the native tribes of North America, or of any aboriginal people.'The North American Indian' took sixteen years longer to complete than projected and exceeded its budget by nearly $1.4 million. Curtis's immense work contains one of the largest visual records of Native Americans in existence, produced in lavish style under the patronage of J Pierpont Morgan.Edward Sheriff Curtis was born in White Water, Wisconsin, in 1868, but his great interest in American Indians developed after his family moved to Minnesota. Here, Curtis lived near the Chippewa, Menominee, and Winnebago tribes. Through instruction manuals available at the time, the teenage Curtis built crude cameras and taught himself the rudiments of photography. In 1887, the Curtis family moved to Washington Territory in order to find a more temperate climate for Curtis's ailing father. There Edward Curtis encountered many of the Native American tribes of the Pacific Northwest. The sudden death of his father left Curtis responsible for the family, and he provided for them by farming, fishing, digging clams and doing chores for neighbours. Throughout this time, Curtis continued to hone his photographic skills and, in 1891, purchased a share in a photographic studio for $150. This venture lasted less than a year, but Curtis soon formed a partnership with Thomas Guptill to build a photographic studio in Seattle.The process of making photogravures was developed in the 1850s to produce a photographic image from an engraving plate. Once a photograph is exposed, a glass transparency is made from the negative. A series of chemical transfers to a copper plate produces an etched copper plate of the original photographic image.From 1896 to 1930, Curtis photographed every major Native American tribe west of the Mississippi, taking over 40,000 negatives of 80 tribes. Curtis selected just one twentieth of his graphic record to represent his artistic vision of North American tribes. Condition report: With stains, both to the sheet and the mount. The sheet with slight warping.
A collection of World Share Certificates including Railroad Company, The Penn Central Corporation, Pennsylvania New York Central Transportation Company, The Great Northern Nekoosa Corporation, Lehigh Valley Harbour Terminal Company etc, a Fifty State Commemorative Quarters 1999-2008 booklet set, cased Medallions etc
Nelson Rolihlahla Mandela (South African, 1918-2013)Lock signed 'N Mandela' (lower center)watercolour and crayon 42 x 59.5cm (16 9/16 x 23 7/16in).Footnotes:ProvenanceThe collection of Nelson Mandela (1918-2013);A private collection.On 16th June 1999 Nelson Mandela retired as President of South Africa. What is less well known is that following his retirement he began a new career as a talented artist.'When my father retired as the president, he didn't have much to do. I think for him, art was a good way of expressing himself or trying to come to terms with his history and his (I wouldn't want to say) demons but just coming to terms with his whole life.'Makaziwe Mandela.Mandela began a series of sketches on the subject of Robben Island in early 2002. He painted under the watchful eye of his art teacher Varenka Paschke, who aided with the basic composition of the sketches and method of the colour applications. Around twenty-two sketches were completed that included images he found meaningful, both symbolically and emotionally, during the period of his incarceration on the island.Ten of these original drawings were then reproduced as editions of lithographs 'My Robben Island' in 2002 and 'Reflections of Robben Island' in 2003. The above drawing of his cell lock on Robben Island was produced at this time but was not used for the edition of lithographs, it remained in the collection of the Mandela family until acquired by a private collector.'Today when I look at Robben Island I see it as a celebration of the struggle and a symbol of the finest qualities of the human spirit, rather than as a monument to the brutal tyranny and oppression of apartheid.Robben Island is a place where courage endured in the face of endless hardship, a place where people kept on believing, when it seemed their dreams were hopeless and a place where wisdom and determination overcame fear and human frailty.It is true that Robben Island was once a place of darkness, but out of that darkness has come a wonderful brightness, a light so powerful that it could not be hidden behind prison walls, held back by prison bars or hemmed in by the surrounding sea.In the sketches entitled: My Robben Island, I have attempted to colour the island sketches in ways that reflect the positive light in which I view it. This is what I would like to share with people around the world and, hopefully, also project the idea that even the most fantastic dreams can be achieved if we are prepared to endure life's challenges.'Nelson Mandela, June 2002Nelson Mandela's Robben Island cell No 5 has been visited by presidents, prime ministers and VIPs from across the globe including President Obama (2013) and President Clinton (1998). It has become a place of pilgrimage for those who wish to trace the footsteps of a man who dedicated his life to freedom.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
Tobacco ephemera, John & Robert Sinclair, small selection of items including Robert Sinclair Bushranger insert, two invoices & two Company printed envelopes, John Sinclair invoice, typed letter & share transfer document plus 3 paper labels for 'Barneys, The Ideal Tobacco' & one unrelated advertising item for Hindhaughs of Newcastle (gen gd) (12)
The ex-Kent Andersson 1972 Yamaha 250cc TD3 Racing MotorcycleRegistration no. not registeredFrame no. TD3-990107Engine no. DS7-990107•Raced by Kent Andersson during the 1972 season•Two rostrum finishes in the 1972 World Championship•Restored conditionThe mainstay of 250cc and 350cc racing at national and international level for many years, the twin-cylinder two-stroke Yamaha well deserved the title of 'privateer's friend'; indeed, without it, grids in these classes would have been depleted in extremis during the 1970s. The first of the line, the 250cc TD2, arrived in 1969 and immediately proved capable of winning Grands Prix, privateer Kent Andersson triumphing in the German round at Hockenheim that year, one of Yamaha's most significant classic victories. The giant leap forward from the preceding TD1C had been achieved thanks to a comprehensive redesign that saw the engine porting and exhaust system updated, superior Mikuni carburettors adopted, and the chassis, suspension and brakes greatly improved. Looking like a scaled down Manx Norton Featherbed, the TD2's chassis was a development of that used for the RD56 works racer. Broadly similar as far as its frame and cycle parts were concerned, the 350cc TR2 differed mainly by virtue of its horizontally-split crankcases, a feature not introduced on the 250 until the arrival of the TD3 in 1972. By this time the 350 had been updated as the TR3, its engine closely related to that of the contemporary YR5 roadster, and from then onwards the two racers would be engineered to share the maximum number of components. The TR3 could not have enjoyed a more successful international debut, for although Kel Carruthers' works bike failed, privateer Don Emde came through to win the 1972 Daytona 200, the first of many such victories for the TR3.This TD3 comes with a signed letter from Swedish Grand Prix star and two-time 125cc World Champion Kent Andersson stating that he rode this Yamaha TD3 (frame number '990107') in 1972 and had great successes with it. Kent finished six races in the 250cc World Championship that year, his best results being 3rd place finishes at Yugoslavia and Finland respectively. He ended the season in 7th place in the championship with 39 points. Kent later sold this TD3 to his mechanic, and the machine subsequently passed through the hands of some of Phil's friends before reaching his collection. Offered with a history file, this beautiful TD3 represents a rare opportunity to own a machine raced by one of the biggest Grand Prix stars of the day, and with in-period World Championship history.Footnotes:As with all Lots in the Sale, this Lot is sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness, and originality prior to bidding.For further information on this lot please visit Bonhams.com
Property of a deceased's estate 1959 Trifield 500cc SpecialRegistration no. WFK 741Frame no. 11163 (see text)Engine no. T100A H17701While the best known British sports special is the Norton/Triumph hybrid - the Triton - closely followed by the TriBSA (Triumph/BSA), NorBSA (Norton-BSA) and Norvin (Norton/Vincent), the Trifield (Triumph/Royal Enfield) is comparatively rare. This example of the latter appears to consist of Royal Enfield Bullet or Meteor Minor cycle parts and a unitary construction Triumph Tiger 100 engine. Purchased in February 1975, the Trifield carries a tax disc that expired in December 1974, which is almost certainly when it was last used. Offered for restoration and sold strictly as viewed, the machine comes with and old V5 document and an old-style continuation logbook, both of which share the same clerical error: recording the frame number as '11763' instead of '11163'.Footnotes:As with all Lots in the Sale, this Lot is sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness, and originality prior to bidding.Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
Vinyl - Northern Soul / Modern Soul - 8 Rare US pressing singles including rarities to include Johnny Baker - Shy Guy (US, Fog City) EX+, The Ad Libs - Nothing Worse Than Being Alone (US, Share) EX+, Chris Clark - I Want To Go Back There Again (US, V.I.P.) EX+, The Soul Sisters, Taj Mahal, Audio Arts Strings, The Metros and Ike & Tina Turner (US, Sonja). Condition generally VG+ or above
Full title: An exceptionally large mythological subject 'Diana and Actaeon' vase, Meissen porcelain, 2nd half 19th C.Description: H.: 159,5 cm (the vase on stand) H.: 104 cm (the vase)Ê The base marked with painted crossed sword marks and an incised model number G103.Ê A similar example in the collection of the Meissen Porcelain Museum is painted by Julius Schnorr von Carolsfeld in 1865. It is safe to assume that our current example is painted by the same artist. Three studies from his hand, exploring the subject of Diana and Actaeon, are in the collection of the Staatliche Porzellan-Manufaktur.Ê While very similar, our current example does show a number of small differences when compared to the museum example. The neck is painted in reverse, and the ornamental band below the neck appears to be somewhat more ornate. The foot also appears to have a supplementary circular ornamental band.Ê Ref.:- A closely related example is depicted in Bergmann: Band IV, Teil 1: Nachtrag Meissener Künstler - Figuren, Modellnummern A 100 - Z 300, Katalog-No.2092. It is also depicted in the online database. (see reference image)- The above refers to an example in the collection of the Meissen Porcelain Museum, painted by Schnorr von Carolsfeld in 1865. The Meissen Porzellan-Stiftung was kind enough to share an image of the vase in their collection. (see reference image)- There is a second vase of this model number and size in the collection of the Meissen Porcelain Museum, depicting another Greek mythological subject: 'The Triumph of Amphitrite'. The Meissen Porzellan-Stiftung was kind enough to also share an image of this vase in their collection. (see reference image)- In the collection of the Staatliche Porzellan-Manufaktur we find three studies by Julius Schnorr von Carolsfeld, dated 1861, exploring the subject of Diana and Actaeon. (link 1) (link 2) (link 3) (see reference images)- Koniglich Sächsische Porzellan-Manufactur zu Meißen: Musterbuch Gebundene Ausgabe, 1890, Rommler & Jonas, Dresden, also publishes the example in the museum's collection. (Blatt 65) (see reference images)Ê Provenance: A private collection, Antwerp, Belgium.Condition reports and additional images:The absence of a condition report does not imply that a lot is in perfect condition. Reports are published on request, on our website www.rm-auctions.com. High resolution images, further detailed images and natural daylight images, when requested, will be made available on our website www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com
Registration No: GD53 WGWChassis No: SAJAC41P242A39685MOT: March 2022Supplied new by Jaguar Lancaster (Sevenoaks) on Valentine's Day 2004Sixteen main dealer and specialist service stamps up until February 2021Current ownership for ten years and an unusually nice and corrosion free example Finished in the decidedly handsome combination of Platinum Metallic with Dove Grey leather upholstery, chassis 39685 was supplied new to Simon Forman by Jaguar Lancaster of Sevenoaks on Valentine’s Day 2004. Changing hands twice thereafter before being acquired by the current registered keeper during 2011, the XK8 rides on imposing 19-inch alloy wheels shod with Pirelli P Zero tyres. Obviously much loved, ‘GD53 WGW’ is accompanied by a service book containing stamps at 9,171, 13,784, 18,440, 28,643, 34,969, 40,620, 44,400, 50,584, 57,884, 62,716, 66,851, 71,232, 74,162, 77,899, 82,994 and 84,004 miles. The car’s condition belies its odometer reading. First generation (X100) XK8s are beautiful to look at and lovely to drive but they can rot terribly; a fate that this example appears to have avoided. Describing the Jaguar as being in ‘very good overall’ order with regards to its 4.2 litre V8 engine, automatic transmission, electrical equipment, interior trim, bodywork and paintwork, the vendor sums-up ‘GD53 WGW’ as ‘a superb car, rust free, not many like this one’. Offered for sale with V5C Registration Document, book pack, two keys and MOT certificate valid until March 2022.Living up to expectations can be a burden. Consider the handsome Geoff Lawson-penned XK8 that followed in the wheeltracks of such automotive icons as the XK120 and immortal E-type. Like the E-Type before it, the XK8 made its debut at the Geneva Salon - that of 1996 - and, from launch, was available in either Coupe or Convertible guise. Like its immediate predecessor, the XJS, the original XK8 was more of a Grand Tourer than an outright sports car. It also had the distinction of being the first Jaguar to be powered by an eight-cylinder engine. This then, was a Big Cat with strong DNA but also its own distinctive, endearing personality. At the time of the newcomer's unveiling, Jaguar Cars was owned by Ford, as was Aston Martin, and it made sound economic sense for the XK8 and similarly targeted DB7 to share the same platform; which itself was derived from that of the outgoing XJS. The biggest of many differences between new and old, was the adoption of Jaguar's second generation independent rear suspension system, previously found on the XJ40 Saloon. Prior to 2003, power came from either a normally aspirated (XK8) or supercharged (XKR) 4.0-litre version of the company's DOHC V8 AJ26 engine. From 2003 to the end of production in 2006, the 4.2-litre AJ34 unit was employed. In each case, the engine was allied to either a five or six-speed (from 1997 onwards) automatic transmission.Footnote: For more information, please contact:Damian Jonesdamian.jones@handh.co.uk07855 493737
Lot No: 17 - Ref No: 001 A Tale of Two Otters By Lizzie Cook Summer Holiday Home: Pier One, Plymouth Crapstone based, textile artist Lizzie Cook has taken inspiration from days out with her family on Dartmoor to create her "Tale of Two Otters". While the moor overflows with myths and legends, Lizzie believes that the best stories are the ones we make ourselves, be it a day out letterboxing, skimming stones, climbing to the top of a Tor with a picnic or paddling in a steam. The otter pup wears a dress showing all she knows about Dartmoor; the river where she was born, the fish, her pet frog in her pocket and her favourite pebble around her neck. Her parent wears a coat showing some of the other places where they can share adventures on Dartmoor, among the ponies and sheep, making their otter family stories together. Lizzie hopes that her design will encourage families to get out into the fresh air on Dartmoor together and create memories that will last a lifetime. Lizzie loves living on the edge of Dartmoor with her husband, daughter, dogs and a naughty cat called Dodger in a house she self-built with her husband and is thankful for every day. This Otter is a 'Golden Otter' - one that has been specially selected by a panel of expert judges as being particularly stunning. Of the 81 Moor Otters there are only 25 Golden Otters. These Golden Otters will take their online bids to the live auction on Saturday, 2nd October 2021 at Bearnes, Hampton & Littlewood, Okehampton St, Exeter. You can continue to bid on these otters at the live auction in person or online.
Lot No: 56 - Ref No: 046 A Lotter Snow By Peter Poole When Dartmoor's frozen in winter, the otters put on their scarves. It's never too cold to play! Brooks and streams are chilly all right, and the moor has turned to white. Make a giant snowball to roll down the hill - or even better, an otter. After all, we've got a lotter snow. When Dartmoor's icy in winter, As seen at the early dawn, Duffel coats, scarves and woolly hats Keep the otters snug and warm. Out they come from hidden homes, Share a quick laugh and say, Their special, secret, season's plan, ''It's never too cold to play!'' There's a distant trickle of water, Though the streams have a chilly bite, But fish still swim despite the cold, When the moor has turned to white. No two snowflakes are the same, When falling from the sky, Each a tiny frozen gem, So dainty to the eye. ''Let's make a giant snowball!'' It's a lot of fun, they know. Or even better, an otter, As they've got a lotter snow! Peter Poole creates artwork that blends realistic elements with imaginative ideas, including still life, landscape and urban scenes. He has designed backdrops for a production of Peter Pan by a children's theatre company, and regularly shows paintings in the Café Gallery, London. In 2017, Peter painted Otterly Alice for the first Moor Otters Trail. She was displayed in Crediton Community Bookshop, Devon, and became the subject of a short film of the same name. Part of its soundtrack, telling the otter's story, was broadcast on BBC Radio Devon, August 19 2017, before an interview with the artist. Peter has taken part in several other sculpture trails throughout the UK and he also works in the charity sector, helping adults with learning disabilities.
Lot No: 76 - Ref No: 072 Our Present, Their Future By Loz Atkinson Our Present, Their Future is hand painted with a day dreamy soft fluffy cloud laden sky with the baby otter finished in genuine 24ct gold leaf. Signifying the importance of preserving our planet for future generations and instilling in them the sense of duty to protect our planet and all the precious things that share it with us. Loz Atkinson is an award winning, widely collected artist, who's been practicing for over 10 years. Inspired by nature and interrupted by geometry Loz's paintings concern themselves with the human need to conquer the existential mysteries of the universe. Marvelling at the vastness, but only for a moment, before a line or form crashes us back to earth. Loz has exhibited extensively in the UK, Europe and beyond, with one of her Imagined Nebula paintings being digitally 'bounced' off the Moon and another currently travelling through outer space on the NASA probe OSIRIS-REx. Loz has also had projects supported by Arts Council England including 'Expedition JP237' which saw her climb a mountain in Italy to discover the fatal crash site of her Great Grandfather's WW2 Halifax Bomber, producing a large body of work influenced by her experiences which included a reworked Bristol Hercules engine. Loz has created many pieces for public art events throughout the UK. To date her work has helped raise nearly £40,000 for various wildlife and children's charities.
Lot No: 67 - Ref No: 060 My Otter Half By Alan Cotton & Phil Creek After the otters had been distributed to artists, the organisers found they were one short. Phil Creek and Alan Cotton, fellow artists and good friends, agreed to share the painting of an otter, which they thought would be fun. Alan remembered Tommy Cooper on stage walking from the wings dressed as a woman, then turning around to walk back revealing himself dressed as a man. As a tribute to him, Alan had the idea that as he and Phil were each doing half of the painting this would make a humorous theme. They spun a coin, Alan won and decided to paint the female side and Phil would portray the male. The female is complete with false eye lashes and earring in her colourful summer dress. Phil painted his side of the otter as an evacuee from the London area being comforted by a male military figure in a great coat. Is he his father saying goodbye, his new father figure in Devon or ...? The small otter is complete with gas mask, gas mask box and personal label as was usual, during the Second World War, when children travelled away from home. Alan and Phil called their sculpture. ''My Otter Half''
Lot No: 60 - Ref No: 051 Otterly Random By Masterpieces - Thelma Hulbert Youth Group Masterpieces is the youth arts group at THG. The group is aimed at 12 - 16 year olds and the idea is that we experience and experiment with different ways of making art. THG has just begun an exciting year of programming all themed around Climate and Culture. Art and culture can play a pivotal role in helping us understand our complicated relationship with nature and help identify new ways to coexist. The Masterpieces group started thinking about how we need to share our habitat with every mammal (including Otters) and sensibly use all our natural resources, now and in the future: Our otter, in a nutshell is mostly things we like, things in nature and the combination of all existence and the fact that everything is interlinked. It was important to us that it wasn't just us making this otter - so we asked Open Arms to design some of the elements. Open Arms are a charity that supports adults recovering from challenges in their mental health and wellbeing, based in Honiton.
Pierre Migeon IV (1696-1758) A Regence commodeRosewood veneered with two long and three short drawers Hardware of reliefs and gilt decoration Marble top Stamped "MIGEON" France, 18th century (minor losses and faults, restoration to top)86x136x65 cm Special Notes:Pierre Migeon IVPierre Migeon IV was born in Paris on August 13th, 1696, at the heart of a long dynasty of French cabinetmakers, the son of Pierre Migeon III (1665- 1717), grandson of Pierre Migeon II (1637-1677) and great-grandson of Pierre Migeon I. He learned his trade within his family’s business, his official recognition as master cabinetmaker, “maître-ébéniste”, awarded to him at an unknown date before 1729. In 1739 he would become the master in the Migeon’s ancestral workshop. From early on in his career he acted as both dealer, “marchand”, and cabinetmaker, subcontracting labour from contemporary peers. This detail regarding his professional life, explains the numerous extant pieces that bear his stamp together with that of other makers. Such is the case of the bureau «de Vergennes» from the Louvre Museum collection, that features stamps for Migeon IV and for Jacques Dubois. From amongst the many renowned and most accomplished cabinetmakers that supplied Migeon stand out Léonard Boudin, Jacques Bircklé, Roger Vandercruse, Charles Topino, Gérard Péridiez and Mathieu Criaerd. Despite his many suppliers, the pieces bearing his stamp tend, nonetheless, to share impressive stylistic uniformity. Structurally his furniture privileges serpentine shapes, often truly robust, albeit not evidencing an excessively accentuated rococo taste. The veneers are restrained, infinitely entangled and almost always organized in geometric patterns and decorative cartouches of floral motifs enhanced in darker rosewood and mahogany timbers, a decorative solution that Pierre Migeon IV was one of the first to adopt. Although seldom present, his marquetry work is of outstanding quality, emerging vividly in diamond shapes, cubes, flowers or birds, well known in typologies such as reading tables, corner cabinets and secretaires. Of greater rarity is his use of lacquer and vernis Martin. Bronzes, ubiquitously mounted in many of Migeon’s contemporaries’ furniture, are rarely present in his production.By researching the Rue de Charenton, in the Faubourg Saint-Antoine, family workshop accounts books from the 1730s, it is clear that the company was prosperous and proficuous, the average annual sales for that decade reaching sums of between 23,000 and 37,000 francs. They are also elucidating in terms of the Migeon’s clientele, amongst which were members of French aristocracy, such as Louis XIV natural daughter Françoise Marie, Duchess of Bourbon (1677-1749), the Duke of Orleans (1703-1752) and the Duchess of Rohan-Rohan (1713-1756). From 1740 onwards Migeon IV will become supplier to the “Garde Meuble de la Couronne” and to other major French court figures such as the Duke de Boufflers and the Duke of Noailles, as well as to Louise de Orleans (1698-1743) and to Madame de Pompadour (1721-1764), who will endow him with a 3,000 francs pension. In addition to these prestigious patrons, he could also count amongst his customers many French high society politicians and financiers, clergy, ambassadors and foreign princes. On his death in 1758 he was succeeded by his son Pierre Migeon V (1733- 1775). Between 1775 and 1785 the business was managed by the latter’s widow, who would eventually be forced to declare bankruptcy and to close doors. Pierre Migeon IV superb artistry and sophisticated production place him at the level of other contemporary cabinetmakers such as André-Charles Boulle, Charles Cressent, Antoine Gaudreaux e Jean-François Oeben.TIAGO FRANCO RODRIGUESLiterature: F. de Alvetre– Les ébenistes du XVIII siècle : Leurs oeuvres et leurs marques. New ed. Paris and Brussels, 1927. J. N. Ronfort, J. D. Augarde, B. Langer, - ‘Nouveaux aspects de la Vie et de l’œuvre de Bernard (II) Vanrisamburgh (1700-1766)’, in l’Estampille - L’Objet d’Art, n. 290, avril 1995, p. 36. P. Verlet – Les ébénistes du XVIII siècle français. Paris : Hachette, 1963. P. Verlet – Meubles de la Couronne conservés en Europe et aux ÉtatsUnis. Paris: Editions Picard, 1990. P. Verlet– Les meubles français du XVIII siècle, 2º edição. Paris : Presses Universitaire de France, 1982. S. Mouquin - ‘Pierre IV Migeon, Meubles en laque et en vernis’, in L’Estampille - L’Objet d’Art, décembre 1999, n. 342, p. 68. T. Wolvesperges – ‘Le Meuble français en laque au XVIIIe siècle’, Paris, 2000, pp. 65 e 29.
Ed Vebell (American, 1921 - 2018) "Bill of Rights" Signed lower right. Original oil painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original which was published on the Fleetwood Commemorative Cover for Epic Events in American History series issued in 1985. When the United States Constitution was drawn up no list of rights was included, primarily because legislators felt it was unnecesaary to guarantee rights that were commonly accepted. However, when the Constitution was sent to the states for ratification, the American people did not share that opinion. Soon an outcry went up demanding a bill of rights to protect America's freedoms. The Anti-Federalists, a group opposed to ratification of the Constitution altogether, championed the Bill of Rights cause, correctly sensing that it would impede the adoption of the Constitution. Meanwhile, the Federalists, those men who supported the Constitution, pushed harder for ratification, fearing that the Bill of Rights issue would cost them ground. Eventually the Federalists won out and the Constitution was adopted. However, because he knew a Bill of Rights was the will of the people, James Madision introduced the subject to the House in 1789. By September of that year, a conference committee had worked out twelve amendments which were passed by the legislature and sent to the President and states for ratification. Two of the twelve were rejected, but on December 15, 1791, the other ten became America's much sought-after Bill of Rights, the guarantee of the people's freedoms in force yet today. Image Size: 19.75 x 21 in. Overall Size: 26.5 x 27 in. Unframed. (B06834)
2010 Mercedes-Benz E350 CDI Blue-Tec Sport Convertible Transmission: automaticMileage:59539Historically, the E-Class is Mercedes-Benz' best-selling model, with more than 13 million sold by 2015. The first E-Class series was originally available as a four-door saloon, five-door estate, two-door coupé and two-door convertible. From 1997 to 2009, the equivalent coupé and convertible were sold under the Mercedes-Benz CLK-Class nameplate which was actually based on the mechanical underpinnings of the smaller C-Class while borrowing the styling and some powertrains from the E-Class. A trend continued with the C207 E-Class coupé/convertible which was sold parallel to the W212 E-Class saloon and estate models. With the latest incarnation of the E-Class released for the 2017 model year, all body styles share the same W213 platform. The coupé (C207) was first shown at the 2009 Geneva Motor Show, while the convertible (A207) was unveiled at the 2010 North American International Auto Show.This superb 2010 E350 CDI Blue-Tec Sport Convertible was supplied new and fully loaded with AMG body styling, AMG sport seats, sports chassis, 18” AMG single rim six spoke alloy wheels, front and side air bags, ESP, multifunctional steering wheel, climate control, cruise control, electric steering column, electric heated memory seats with full lumber support both sides, rain sensitive windscreen wipers, windscreen washers, air scarf, retractable door mirrors and a combined radio, sat nav, ten CD changer with hands free telephone. Fitted with the seven-speed auto/Tiptronic gearbox, this E350 has only covered 58,000 miles from new and is supplied with a full Mercedes-Benz service history, the last B-Service being carried out in April this year by RPL Automotive Ltd, also at the same time four new premium brand tyres were fitted. Finished in metallic grey with an electric black soft top and Anthracite leather interior, this lovely convertible comes with a V5 registration document, an MoT test certificate which expires in August 2022 and a file containing a copy of the Mercedes digital service report and a number of invoices. It is reported that this car is extremely quick and holds the road very well, plus it can easily return 44mpg and represents excellent value.Interested parties should satisfy themselves as to the description and condition of each lot prior to the sale. Accordingly, buyers are on notice that each vehicle is offered ‘as is/as seen’ subject to the Terms and Conditions for the auction. Buyers are advised to inspect the vehicle in person or use a professional to carry out this service. Historics will not entertain disputes over descriptions.
2000 Mercedes-Benz CLK 230 Kompressor Elegance Transmission: automaticMileage:74000Historically, the E-Class is Mercedes-Benz' best-selling model, with more than 13 million sold by 2015. The first E-Class series was originally available as a four-door saloon, five-door estate, two-door coupé and two-door convertible. From 1997 to 2009, the equivalent coupé and convertible were sold under the Mercedes-Benz CLK-Class nameplate which was actually based on the mechanical underpinnings of the smaller C-Class while borrowing the styling and some powertrains from the E-Class. A trend continued with the C207 E-Class coupé/convertible which was sold parallel to the W212 E-Class saloon and estate models. With the latest incarnation of the E-Class released for the 2017 model year, all body styles share the same W213 platform. The coupé (C207) was first shown at the 2009 Geneva Motor Show, while the convertible (A207) was unveiled at the 2010 North American International Auto Show.Presented in metallic blue with grey leather interior, this example has been owned by our vendor from new. Purchased in Switzerland as a right hand drive example and costing SFr 82,446, the car boasts extras such as leather, electric heated memory seats, parking sensors, windbreak and rain sensing wipers plus on a recent test the air conditioning was still ice cold. Used in Switzerland as the vendors summer car until 2019 when it relocated to the UK, this car has also been exclusively serviced by the supplying main agents Procar in Davos. Since its arrival in the UK the car has covered a mere 3,000 miles which included a trip to Portugal and it has always been garaged in the owners garage in Switzerland and the UK. Accompanied by the original supplying invoice, an MoT test certificate until August 2022, the original brochure and every servicing invoice from new, this is a fabulous, sporty and classy convertible.Guide Price £6,000 - £8,000 Interested parties should satisfy themselves as to the description and condition of each lot prior to the sale. Accordingly, buyers are on notice that each vehicle is offered ‘as is/as seen’ subject to the Terms and Conditions for the auction. Buyers are advised to inspect the vehicle in person or use a professional to carry out this service. Historics will not entertain disputes over descriptions.
1942 International K6 Fire Engine Transmission: manualMileage:76497The International K and KB series are trucks that were produced by International Harvester, the first being the K introduced in mid 1940. In total there were 42 models, 142 different wheelbase lengths and load ratings ranging from 1/2 ton to 90,000 lbs. They are best known for their durability, pre-war design in a post-war era, and low price. The heavy duty K6 and larger use a centre hinged butterfly hood rather than the rear hinged hood of the smaller trucks. K6 and K7 share the same hood, fenders, and grille and use the smaller Blue Diamond engines.This K6 truck is a part of history, originally built for the Singapore fire service by International in the USA. Before it could be delivered, the bombing of Pearl Harbour had taken place, and Singapore was invaded, the truck was therefore diverted to Australia where it spent its entire working life as the fire truck of a rural community near Brisbane. It was decommissioned in the 1980’s after which it fell into a state of disrepair until a local enthusiast took on the extensive renovation project. Taking two years to complete, it was fully restored to its original glory and became a regular sight at the car and truck shows around Brisbane. After this initial project, he went on to amass a further 17 fire trucks, all of which he restored to show condition. On a visit to Australia, our vendor saw this truck advertised, and immediately flew up to Brisbane where it was love at first sight. He had the truck shipped back to the UK and undertook the conversion to the fun dining truck it is today. The vendor declares he has had fabulous fun with her, including family and children’s parties, hosting lunches at Goodwood, attending various charity events and numerous classic shows.Equipped with a built-in microwave cooker, matching crockery set and 3 brass helmets, tea and coffee station and even a kitchen sink, comfortably seating 8-10 (depending on sizes) it is described as 100% fun. Reported to start and drive very well, albeit not fast, this K6 is ready to continue service as a fun hobby, or perfectly capable of becoming a fantastic commercial operation.Guide price £20,000 - £25,000Interested parties should satisfy themselves as to the description and condition of each lot prior to the sale. Accordingly, buyers are on notice that each vehicle is offered ‘as is/as seen’ subject to the Terms and Conditions for the auction. Buyers are advised to inspect the vehicle in person or use a professional to carry out this service. Historics will not entertain disputes over descriptions.
Eddystone Lighthouse. Four early documents concerning the Eddystone Lighthouse, comprising; a manuscript copy of a transfer of the lease for Eddistone Lighthouse, dated 31st January 1716, discharging the purchaser Mr Thayer of his obligation to buy on account of the discovery of a grant made by John Lovett to Trinity House, awarding them a share of profits and noting a new purchaser, Mr Chetham, for 'the sum of ten thousand five hundred pounds', 4pp. folded; an account of the money expended by the proprietor of the Edystone Lighthouse since the destruction thereof by fire the beginning of December 1755, noting itemised costs between March 10 1756 and May 17th 1757, dated 15th July 1757 and signed by Hugh Hammersley and John Noyes, 2 pp.; a note to Hugh Hammersley and John Noyes detailing requirements for the sale of 1/16 share of the Edystone interest, 1p.; a receipt dated 26 September 1759 for the sum of fifty pounds from Hugh Hammersley on account of the Edyston Lighthouse Company, signed John Fludd, 1p. (4)
Young, William Weston. British Birds, An album of 41 fine watercolour drawings of birds, each 163mm x 257mm approx.., mounted in frame, most captioned in pencil on mount, lacking free-endpapers, nineteenth century calf, the upper cover blocked in gilt 'William Weston Young. British Birds. Neath 1804', expertly rebacked by Bayntun of Bath, c.1940, 4to A RARE SERIES OF ORNITHOLOGICAL WATERCOLOURS FROM AN ARTIST WHO WORKED AT THE CAMBRIAN POTTERY. William Weston Young was born in Bristol on 20 April 1776 into a devout Quaker family, the third son of Edward Young, a Bristolian merchant and Sarah (Sally) Young (née Weston). William led a diverse and entreprenuerial life, but an early bankruptcy forced him into paid employment. On 23 January 1803, Young and his wife Elizabeth moved to new lodgings in Swansea, Glamorganshire. Here he gained employment under fellow Quaker, Lewis Weston Dillwyn, as a 'draftsman' at Dillwyn's Cambrian Pottery, where he remained until August 1806 on a salary of £75 per annum. The watercolours in the present lot would seem to date from this period. Dillwyn and Young, both in their mid-twenties, struck up a close friendship due to their common interest in natural history. Many of Young's painted wares feature accurately depicted flora and fauna as well as the taxonomic names of the illustrated species. Collections of this pottery can be seen at the V&A Museum, South Kensington, The National Museum of Wales, Cardiff and at the Glynn Vivian Art Gallery, Swansea. In 1814, and now recovered from his debts, Young became the major investor in the Nantgarw Pottery established by William Billingsley and Samuel Walker. When the pair left the struggling business in 1820, Young assumed full control, and managed the debts through careful marketing and sale of remaining stock. Young's experience of firing ceramics, together with his familiarity with the region as a local surveyor and his amateur interests in geology enabled him to conceive of a heat-proof, blast-furnace brick, using silica found in large deposits at the head of the Neath Valley. His profit share from the Dinas Firebrick Works was ultimately a very modest pension, and William Weston Young died in relative poverty in Lower Mitton, Kidderminster on 5 March 1847. PROVENANCE: Loosely inserted are three ALS and a carbon typed copy from the bookseller J. Kyrle Fletcher to the purchaser F. E. Andrews, relating the discovery of the album. The first, dated 13 February 1935 notes, 'Mr William Weston Young made the drawing for Mr Dillwyn's valuable work on British Confervae and a series of drawings of British Birds now in the possession of Mr Yarrell'. The correspondence relates that the bookseller traced the descendants of Yarrell and acquired the volume, which was sold to Andrews in 1941, thence offered here by descent.
Emile Friant (French, 1863-1932)Portrait of William Rothenstein signed, inscribed and dated 'a Will/Rothenstein/E. Friant/91' (lower right)pastel51 x 32.5cm (20 1/16 x 12 13/16in).Footnotes:ProvenanceThe estate of the artist.By decent through the Rothenstein family.Private Collection, UK.This sensitive and charming portrait of William Rothenstein was drawn in 1891. Emile Friant would have been twenty-eight and the young Rothenstein only nineteen. Rothenstein had left Bradford Grammar School three years earlier and enrolled at The Slade but travelled to Paris in 1889 to study at the Academie Julian where he would meet Whistler, Degas and Toulouse-Lautrec and share a studio with Charles Conder in Montmartre. By this time Friant, who had studied at the Ecole des Beaux Arts in Nancy and been awarded a scholarship to study under Alexandre Cabanel, had already won numerous prizes at the Paris Salon and been decorated with the ribbon of the French Legion of Honour. Sir William Rothenstein was to become a pillar of the British art scene - a regular exhibitor of portraits and landscapes with the New English Art Club, he is credited as a co-founder of the Carfax Gallery and wrote several books including the first English monograph of Goya's work in 1900. He later became principal of the Royal College of Art and Trustee of the Tate Gallery, receiving a knighthood in 1931. A society figure, the National Portrait Gallery now holds more than 200 Rothenstein portraits of notable figures of his age, and his three-part memoirs Men and Memories features anecdotes about Oscar Wilde, Max Beerbohm, James Whistler, Paul Verlaine, Edgar Degas, and John Singer Sargent.The present portrait has remained in the artist's family since it was conceived and provides an interesting insight into the young artist as he stares confidently at the viewer. Rothenstein was well aware even at this tender age of the power of a good likeness, as was Emile Friant – both artists enjoyed the format and both also produced a number of self-portraits over the years.For further information on this lot please visit Bonhams.com
Railway related items including four American and Canadian railway company stock/share certificates, in a common frame- Pennsylvania Railroad Company, two Canadian Pacific and Greta Northern Railway Company Minnesota, 94 by 39cm overall; a set of three Reid's 'Railway Rides' in a common frame, hand tinted, 99.5 by 64cms overall (2)Provenance: From The Hon. Sir William McAlpine Collection Condition Report: All with signs of creasing, handling and marks from useCondition Report Disclaimer
PLOUGH PRESSThe Wakeman family collection of Plough Press books and pamphlets, comprising the near complete output of the Press (seemingly lacking only one pamphlet, 'Law & Ordure 1969. A Squib'), many illustrated with actual specimens of printing, most with prospectuses and other related ephemera inserted or loose in folders, together with correspondence etc., various bindings and sizes, 1968-2017Footnotes:The Plough Press was founded by Geoffrey Wakeman in 1967, the name deriving from a collection of blocks of ploughs brought back from Trinidad by Roderick Cave, and used in the first book issued by the press. 'Wakeman was a noted professor of printing history, author, and printer, and his work on papermaking, color illustration and printing processes, and binding techniques remains a lasting contribution to the study of print culture... The first book printed by the press was Share of Ploughs (1968), consisting of a series of color prints of plows with accompanying verses about plows and plowing. The first major Plough Press publication was XIX Century Illustration (1970). It describes sixteen printing processes with accompanying contemporary specimens. Such leaf books became a regular feature of Plough Press publications, as Wakeman believed the only way to properly study the history of paper and printing was by examining actual specimens' (University of Delaware website). The collection comprises:PLOUGH PRESS PUBLICATIONS BY GEOFFREY WAKEMAN:XIX Century Illustration. Some Methods Used in English books, NUMBER 1 OF 75 COPIES, with 2 original prospectuses and a bidding slip notice from Sotheby's dated June 1975 informing Geoffrey Wakeman of unsuccessful bids at auction, loose as issued in 15 fascicules preserved in linen-backed chemise and slipcase, folio, Loughborough, 1970 The Production of Nineteenth Century Colour Illustration, NUMBER 1 OF 100 COPIES, original cloth-backed textured boards; another copy, NUMBER 17 OF 100 COPIES, red morocco-backed marbled boards (described in prospectus as 'Alternative binding by Gray's of Cambridge to order', additional £10 as opposed to £5 for the cloth binding), both with original prospectus, folio, Loughborough, 1976Plates To Accompany Victorian Book Illustration, NUMBER 1 OF 23 COPIES, with original prospectus slips, original morocco-backed marbled boards, slipcase, folio, Loughborough, 1974Victorian Colour Printing, NUMBER 1 OF 150 COPIES, with original prospectus, proof illustrations and other samples in pocket at rear, original morocco-backed marbled boards, small folio, Loughborough, 1981Graphic Methods in Book Illustration, NUMBER 1 OF 120 COPIES, printed on Golding Pearl and Albion hand presses, with prospectus, loose as issued in fascicules preserved in solander box, 4to, Loughborough, 1981English Hand Made Papers Suitable for Bookwork, NUMBER 1 OF 75 COPIES, numerous sample papers bound in, with prospectus and some other samples etc. loosely inserted, original red morocco-backed cloth, folio, Loughborough, 1972A Leaf History of British Printing from 1610 to 1774, NUMBER 1 OF 110 COPIES, tipped-in samples in fascicules, loose with original prospectuses in cloth solander box, folio, Kidlington, 1986; together with a second solander box containing archival material for the work, correspondence, invoices, loose sheets, prospectuses etc.English Marbled Papers. A Documentary History, NUMBER 1 OF 112 COPIES, ONE OF 10 with additional samples and bound in full morocco; another copy, NUMBER 110 OF 112 COPIES, morocco-backed cloth, both with prospectuses, 4to, Loughborough, n.d.The Literature of Letterpress Printing 1849-1900, NUMBER 1 OF 120 COPIES, ONE OF 30 in full morocco gilt and with slipcase; another copy, NUMBER 3 OF 120 COPIES, quarter morocco, both with prospectuses, 4to, Kidlington, 1986[with PAUL WAKEMAN] The Plough Press 1967-1981. Fifteen Years Printing in a Loughborough Garage, NUMBER 1 OF 120 COPIES, illustrations and tipped-in samples, with prospectus, quarter Morocco, 8vo, Kidlington, 1982Printing Relief Illustrations. Kirkall to the Line Block, NUMBER 1 OF 100 COPIES, tipped-in samples, cloth, small 4to, Loughborough, 1977 Bradbuy & Evans Colour Printers, NUMBER 1 OF 100 COPIES, ONE OF 25 in quarter morocco, with 'Books Forthcoming' from The Plough Press loosely inserted, 8vo, Kidlington, 1984Twentieth Century English Vat Paper Mills, NUMBER 1 OF 102 COPIES, with prospectus, additional samples in pocket at end, quarter Morocco, small 4to,Loughborough, 1980Nineteenth Century Trade Binding, NUMBER 1 OF 150 COPIES, with samples of binding materials and brass type in a separate folder, but without the decorative tool issued with the first c.45 copies, folder and text in uniform linen within single matching slipcase; another copy, ONE OF 150, unnumbered, with samples as above, both copies with prospectuses, 4to, Kidlington, 1983Loughborough Marble, NUMBER 1 OF 18 COPIES, printed on J. Green & Son's 'Cranmer' paper, comprising 5 samples tipped-in on a single leaf, folding concertina style into cloth folder, 110 x 84mm., [Loughborough], 1971[with GRAHAM POLLARD] Functional Developments in Bookbinding, NUMBER 1 OF 180 COPIES, ONE OF 35 in half morocco over marbled boards, illustrations in pockets at rear, with prospectus; another copy, NUMBER 36 OF 180, bound in linen, 4to, New Castle, Delaware and Kidlington, 1993The Art of Anastatic Printing. Three Mid 19th Century Accounts... introduction by Geoffrey Wakeman, NUMBER 1 OF 150 COPIES, comprising introduction, 3 facsimile pamphlets and one plate, loose with 2 prospectuses in quarter buckram folder, 4to, Kidlington, 1986PLOUGH PRESS - OTHER AUTHORS AND EPHEMERA:FRANCES DOCKER [MRS F.M. WAKEMAN] John Paas & James Cook. Provincial Bookbinding in the Eighteen thirties, NUMBER 1 OF 200 COPIES, ONE OF 25 in quarter morocco, with prospectus; another copy, ONE OF 200 COPIES, unnumbered, cloth, Loughborough, 1979ANNE MORRIS. The Private Press in Leicestershire, 2 copies, NUMBER 8 AND 'PRESENTATION COPY' OF 100 COPIES bound in full cloth, limited to 500 copies overall, one with prospectus, 4to, Loughborough, 1976; together with 2 copies of the trade edition, limited to 500 copies, wrappersBARRY MCKAY. Patterns and Pigments in English Marbled Papers, 2 copies, NUMBERS 1 AND 21 OF 160 COPIES, quarter morocco and cloth respectively, 4to, [Printed at the September Press], 1988Anaglyptography... Reprinted... from the Art Exemplar [1859] by William John Stannard, NUMBER 1 OF 200 COPIES, 2 plates, wrappers, 8vo, Loughborough, 1967The Printer, LIMITED TO 100 COPIES, letterpress pamphlet, 8pp., printed wrappers, 4to, Kidlington, 1986The Paper Maker. Reprinted from the Book of Trades, NUMBER 1 OF 60 COPIES, with prospectuses, marbled paper wrappers, 8vo, Loughborough, 1971GAVIN BRIDSON and GEOFFREY WAKEMAN. Printmaking & Picture Printing: A Bibliographical Guide, cloth, dust-jacket, 4to Kidlington, 1984; and 2 other copies, one an unbound proof GAVIN BRIDSON and GEOFFREY WAKEMAN. A Guide to Nineteenth Century Colour Printers, cloth, dust-jacket; another copy, interleaved and annotated by GW, with loosely inserted correspondence and related ephemera, quarter cloth, 8vo, [Loughborough, 1975]C.W. WOOLNOUGH. The Whole Art Of Marbling, facsimile reprint of 1881 edition, with marbled paper samples by Katherine Davis of Payhembury, with her business card inserted (asking if the samples were acceptable) and 2 prospectuses, cloth, 8vo, Kidlington, 1985The Art of Making Paper Taken from The Universal Magazine, facsimile reprint by Skelton's Press, limited to 200 copies, with prospectuses, full buckram, 8vo, Loughborough,... This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
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