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Lot 467

A vintage white metal and moonstone princess necklace, tested as silver, having claw-set cabochons set to the necklace, and a conforming pendant drop, 38 cm, 37.2g

Lot 472

A quantity of vintage costume jewellery and watches, including a 1970s Ronald L. Baily brick-link necklace, a heavy silver-plated double belcher link necklace, a 9ct gold-plated faceted bracelet, and a 1960s faux pearl and blue paste princess necklace, etc

Lot 476

A white metal and abalone brooch in the form of a stylized tulip, together with a white metal and paste dress ring, each stamped 925 and tested as silver, brooch 4.5 cm, ring size S, 5.5 g

Lot 477

A Pandora white metal charm bangle, with bauble clasp, stamped '925', tested as silver, in original box, inner diameter approximately 6.5 cm, 9.4 g

Lot 484

A small antique silver signet ring, an amber cabochon ring, early 20th Century Duralumin sweetheart rings, a turquoise nodule and white metal spirally-fluted tube-link necklace, a Victorian hair-work mourning watch chain, a Sterling leaf brooch and an Anglo Indian plaque

Lot 493

1930s London Incorporated Academy of Music silver and bronze prize medallions, cased, 3 cm

Lot 500

A Victorian silver wedding band, ELG, Birmingham, 1882, N, together with a faux jet brooch in the form a lady's hand holding a basket of flowers, and an Aesthetic boss brooch engraved in depiction of a bird on a bough spying a butterfly, latter 3 cm

Lot 510

An antique silver double graded curb link watch chain with T-bar, swivels, shield and coin fobs, 34 cm

Lot 511

A George VI silver "Boys' Brigade" fob medallion, Edinburgh, 1949, 8.8 g (suspender lacking)

Lot 512

Victorian white-metal (tested as silver) and base metal jewellery, including a brooch depicting two ducks in flight, (a/f, pin lacking), and one other in the form of a boss, both tested as silver, a silver-plated horseshoe brooch, and a gilt metal cruciform pendant, 10.8 g weighable silver

Lot 515

A Victorian white metal (tested as silver) and base metal watch chain, with swivel, 61 cm

Lot 516

Two vintage silver fob medallions, Chester, 1910 and 1933, 14.1 g

Lot 520

A 1930s silver cased pocket watch, having a crown-wound Swiss made lever movement, white enamelled face, Roman numerals and a subsidiary seconds dial, opening to reveal engraved inscription "Presented by the Staff at St Cuthbert's Hamilton Place Branch to H. Bowie on retiral, 2nd February 1938", Birmingham, 1935, (winding and running)

Lot 522

A lady's 9ct gold cased Rotary wristwatch, having a brushed silver face, Arabic numerals and a subsidiary seconds dial, on a rolled-gold bracelet strap, diameter 2 cm, 16.4 g (winding and running)

Lot 528

A vintage Everite wristwatch, having a 17-jewel shockproof movement and silver face with slender pencil hands, elegant Arabic numerals at the quarters and a subsidiary seconds dial, circa 1950, 33 mm excluding crown, (running), together with a 1960s Herald wristwatch, (running)

Lot 548

A child's vintage Silver Cross pram, twin / double with folding rain hood and sun shade, 1960s, 90 x 87 cm high

Lot 577

Sundry collectors' items, including military badges, Water Lane Brewery livery buttons, a 1901 Glasgow Exhibition pendant, a City of Carlisle 1935 silver jubilee medallion, a 1970 SS Great Britain commemorative medallion and a 1941 farthing coin folding pocket knife

Lot 610

A Victorian ivory handled Malacca cane with silver presentation collar, 1899, 80 cm

Lot 614

A late 19th Century German large single-draw telescope by Voigtlander & Sohn of Braunschweig, having a 55 mm objective and German silver mounts incorporating an objective shade, the brass body tube leather-bound, 61 cm closed, (optically complete, smooth firm draw and clear focus)

Lot 654

Antique textiles including a springtime white cotton tea table cloth with crocheted lace trim depicting tulips, one further circular cutwork table cloth, and a quantity of 1920s silver bugle bead trimming

Lot 716

Four cased Royal Mint silver proof coins comprising a crown, two St Helena tercentenary 25p and a Sierra Leone National Bank 10th anniversary 1 Leone

Lot 717

Four Royal Mint / Spink boxed silver royal commemorative coins / medallions, 229 g

Lot 718

A quantity of Royal Mint and other silver proof and commemorative coins / medallions including a 1974 Panama 20 Balboas, Malaysian 15 and 25 Ringits etc, 325 g

Lot 720

A Maria Theresa silver Thaler coin

Lot 731

A Queen Victoria 1890 silver crown together with bank notes and coins

Lot 745

Two albums of QEII Silver Jubilee commemorative first day stamp covers, four further albums and further loose FDCs

Lot 839

Three 19th Century jugs, including a pressed milk-glass commemorative jug depicting a portrait of Prime Minister Benjamin Disraeli, 1st Earl of Beaconsfield, a transfer-printed and hand tinted milk jug, and a silver lustre jug, (milk jug has fine hairline cracks, silver lustre jug has crack to glaze in rim and foot)

Lot 850

A group of Victorian Wedgwood Jasper Ware comprising three lidded jugs, a biscuit barrel and butter dish, together with a Wedgwood-like silver-mounted caster, (lids of two smaller jugs a/f)

Lot 851

A Dens pottery Queen Elizabeth II Silver Jubilee tankard

Lot 151

Y § LEON UNDERWOOD (1890-1975) JUNE OF YOUTH, CIRCA 1934 bronze, unique example with chasing, on original rosewood base(overall 67.4cm high (26.5in high) including base, 36.5cm wide (14.3in wide), the bronze 61cm high (24in high))Footnote: Literature: Neve, Christopher, Leon Underwood, Thames and Hudson, London, 1974, p.154, no.109 (illustrated with the base and dated 1934); Whitworth, Ben, The Sculpture of Leon Underwood, The Henry Moore Foundation and Lund Humphries, 2000, cat. no.68. We would like to thank Ben Whitworth for his assitance in cataloguing the current work. Leon Underwood was a significant figure in twentieth-century British sculpture, and a teacher who influenced generations of artists. His works can be seen in the Victoria & Albert Museum, Tate Britain, and the Ashmolean Museum, Oxford. While his reputation was eclipsed by those of his students Henry Moore and Barbara Hepworth, Underwood can now be appreciated as a brilliant and versatile artist in a wide variety of media. Underwood trained as a painter at the Royal College of Art before the First World War, and at the Slade School of Art after demobilisation. It was only after the War that he started to work on sculpture. The human torso was a favourite subject in the early years of his sculptural practice: he carved female torsos in Tournai slate (1923), Mansfield sandstone (1923-24), Roman marble (c. 1925-30) and Ancaster stone (c. 1925-32). The running torso “Flux” (1924) was modelled in clay and cast in editions of brass and bronze. Metal allowed a more fluid composition, and made it easier to capture movement and gesture. During the 1930s Underwood gradually abandoned stone carving, and increasingly worked in bronze. “June of Youth” recalls his earlier torsos in stone, but the figure’s forward and upward movement exploit the properties of bronze sculpture. It has been suggested that the artist’s daughter Jean modelled for this piece, but that seems implausible: she was only a child when Underwood created this celebration of young womanhood. After selling a bronze “June of Youth” to the Tate Gallery in 1938, Underwood wrote to the director, John Rothenstein, “I always give ‘literary titles’ to my works”. A possible source for the title is Helen Keller, who used the phrase “the June of her youth” in her 1929 memoir Midstream; but the analogy between the months of the year and the stages of life is a common trope, and the sculptor need not have had a specific quotation in mind. Whatever its inspiration, “June of Youth” held a special place in its maker’s affections, and he depicted it in the background of a self-portrait painted in 1949. Underwood made just a handful of works in cast terracotta, but it was in this medium that “June of Youth” was first realised. The critic Eric Newton saw it in this form, and was deeply impressed. The terracotta “June of Youth” that we see here is numbered IV: the fourth from an edition of four. It is signed with Underwood’s usual signature (“Leon U”), and dated ’38. This must be the date of this specific cast, as a terracotta version was exhibited at the National Society of Painters, Sculptors, Engravers and Potters as early as 1933. The title is lightly inscribed, running up the outside of the left thigh. Incised circles mark the figure’s nipples and navel, with fine lines separating the abdominal muscles and defining the belly.2 Bronze, however, was probably the medium Underwood had in mind when he conceived this dynamic figure. There appear to have been seven bronzes cast, though Underwood’s numbering of his editions can be unreliable. The earliest casts date from no later than 1937; a final cast, inlaid with lines of silver, was made in 1969. The bronze offered here is not numbered or dated. The fact that it includes the figure’s chin and mouth might indicate that is an early – perhaps even the first – cast, as later casts end at the neck. The chased decoration, added by hand, makes it (as a label on the base states) “unique”. The nipples and navel are emphatically marked, as in the terracotta. The rest of the markings look like foliage – in keeping with the “June” of the title. However, a zig-zag line above the groin could be read either as an outline of the figure’s pubic hair, or as flames. On the latter reading, the shape immediately above it could be interpreted as a phoenix – a subject that Underwood evoked in his bronze “Phoenix for Europe” (begun in 1937). It was this cast of “June of Youth” that was illustrated in Christopher Neve’s 1974 book Leon Underwood. Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/

Lot 152

Y § LEON UNDERWOOD (1890-1975) JUNE OF YOUTH, 1938 signed, dated, titled and numbered 'IV', from an edition of four, terracotta, on original wooden base(overall 62cm high (24.3in high) including base, 33cm wide (13in wide))Footnote: Provenance: J. P. Lehmans Gallery, London; Obelisk Gallery, London, 1972. Literature: Whitworth, Ben, The Sculpture of Leon Underwood, The Henry Moore Foundation and Lund Humphries, 2000, cat. no.67 and p.78, figure 54 (another cast). Leon Underwood was a significant figure in twentieth-century British sculpture, and a teacher who influenced generations of artists. His works can be seen in the Victoria & Albert Museum, Tate Britain, and the Ashmolean Museum, Oxford. While his reputation was eclipsed by those of his students Henry Moore and Barbara Hepworth, Underwood can now be appreciated as a brilliant and versatile artist in a wide variety of media. Underwood trained as a painter at the Royal College of Art before the First World War, and at the Slade School of Art after demobilisation. It was only after the War that he started to work on sculpture. The human torso was a favourite subject in the early years of his sculptural practice: he carved female torsos in Tournai slate (1923), Mansfield sandstone (1923-24), Roman marble (c. 1925-30) and Ancaster stone (c. 1925-32). The running torso “Flux” (1924) was modelled in clay and cast in editions of brass and bronze. Metal allowed a more fluid composition, and made it easier to capture movement and gesture. During the 1930s Underwood gradually abandoned stone carving, and increasingly worked in bronze. “June of Youth” recalls his earlier torsos in stone, but the figure’s forward and upward movement exploit the properties of bronze sculpture. It has been suggested that the artist’s daughter Jean modelled for this piece, but that seems implausible: she was only a child when Underwood created this celebration of young womanhood. After selling a bronze “June of Youth” to the Tate Gallery in 1938, Underwood wrote to the director, John Rothenstein, “I always give ‘literary titles’ to my works”. A possible source for the title is Helen Keller, who used the phrase “the June of her youth” in her 1929 memoir Midstream; but the analogy between the months of the year and the stages of life is a common trope, and the sculptor need not have had a specific quotation in mind. Whatever its inspiration, “June of Youth” held a special place in its maker’s affections, and he depicted it in the background of a self-portrait painted in 1949. Underwood made just a handful of works in cast terracotta, but it was in this medium that “June of Youth” was first realised. The critic Eric Newton saw it in this form, and was deeply impressed. The terracotta “June of Youth” that we see here is numbered IV: the fourth from an edition of four. It is signed with Underwood’s usual signature (“Leon U”), and dated ’38. This must be the date of this specific cast, as a terracotta version was exhibited at the National Society of Painters, Sculptors, Engravers and Potters as early as 1933. The title is lightly inscribed, running up the outside of the left thigh. Incised circles mark the figure’s nipples and navel, with fine lines separating the abdominal muscles and defining the belly. Bronze, however, was probably the medium Underwood had in mind when he conceived this dynamic figure. There appear to have been seven bronzes cast, though Underwood’s numbering of his editions can be unreliable. The earliest casts date from no later than 1937; a final cast, inlaid with lines of silver, was made in 1969. The bronze offered here is not numbered or dated. The fact that it includes the figure’s chin and mouth might indicate that is an early – perhaps even the first – cast, as later casts end at the neck. The chased decoration, added by hand, makes it (as a label on the base states) “unique”. The nipples and navel are emphatically marked, as in the terracotta. The rest of the markings look like foliage – in keeping with the “June” of the title. However, a zig-zag line above the groin could be read either as an outline of the figure’s pubic hair, or as flames. On the latter reading, the shape immediately above it could be interpreted as a phoenix – a subject that Underwood evoked in his bronze “Phoenix for Europe” (begun in 1937). It was this cast of “June of Youth” that was illustrated in Christopher Neve’s 1974 book Leon Underwood. Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/

Lot 286

HENNING KOPPEL (DANISH 1918-1981) FOR GEORG JENSEN CARAVEL FLATWARE SERVICE each piece impressed 'Georg Jensen / STERLING / DENMARK', silver, and the dinner and luncheon knives with stainless steel blades, the set comprising 12 dinner forks, 12 dessert forks, 12 luncheon spoons, 13 dessert spoons, 12 teaspoons, 12 fish knives, 12 dinner knives, 12 luncheon knives, in Georg Jensen boxes(the dinner knives 22cm long, approximate weight of silver (excluding dinner knives and luncheon knives) approximately 3900grams)

Lot 294

§ ALAN DAVIE C.B.E., R.A., H.R.S.A. (BRITISH 1920-2014) PAIR OF EARRINGS with suspended drops(the drop 5.5cm (2.2in))Footnote: Provenance: The current vendor purchased these earrings directly from the artist around 1955. The owner had been at the Central School of Arts in the 1950s and had known Davie, and bought two pairs of these earrings. She kept one pair for herself and gave another pair to a friend at the Central School for her 21st birthday. The latter pair sold in the last edition of Modern Made in October 2020, and were stamped 'JAD'. Although primarily considered a painter, through the 1940s and 1950s, Alan Davie was also renowned as an avant-garde jewellery designer, and it is through the making and selling of silver jewellery designs that he supported some of his early painting career. From 1953 to 1956 he taught on the Design course at the Central School of Arts and Crafts in London. The principal of the Central School, Edward Johnston, asked Davie to teach on the jewellery course, with the aim of influencing the students to take a more artistic approach to their work. Prior to this point, Davie had already shown interest in the field, having studied painting and silversmithing at Edinburgh College of Art, where he won a travelling scholarship to Italy. Throughout the period Davie was influenced by early Renaissance art and had an appreciation for pre-Columbian goldwork which came through in the strong and simple forms of his jewellery designs. His works were clearly successful, and sold through shops such Aspreys and Harrods, as well as to private clients. Alongside this he also made the jewellery worn by Vivien Leigh for the production of Anthony and Cleopatra. Davie went on to exhibit his work at the ground-breaking International Exhibition of Modern Jewellery, organised by the Company of Goldsmiths and the V&A in 1961. The exhibition aimed to establish jewellery as an artistic form and position makers as ‘artist-craftsmen’ to 'stimulate public interest in jewellery as an art and to encourage British designers in this field', something that Davie and his jewellery accomplished.

Lot 314

§ ROSS MORGAN (BRITISH 20TH CENTURY) DESK WEIGHT rose root ball wood and silver, hallmarked for London 1988, and with Britannia silver mark(10cm wide (4in wide), in a fitted presentation box)Footnote: Provenance: Electrum Gallery, London. The wood used in the paperweight by Ross Morgan comes from a series made of galvanized rose bush wood. The paperweight is a slice of the rootball of a very old rosebush.

Lot 315

SIGVARD BERNADOTTE (SWEDISH 1907-2002) FOR GEORG JENSEN VASE silver, stamped artist's signarture and Jensen mark(18.5cm high (7.25in high))

Lot 331

§ BRYAN ILLSLEY (BRITISH B.1937-) BIRD, 1984 silver, hallmarked for London 1984(23cm high (9in high))

Lot 399

§ EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) CRASH HEAD, CONCEIVED 1970 stamped and numbered 'E. PAOLOZZI.10.10' (to front of base), bronze with gold patina and steel chain(39.5cm high (15.5in high) (including the base))Footnote: Provenance: Private Collection, Canada; Christie's, London, 23 October 1996, Lot 58; Bonham's, London, 20 November 2013, Lot 90. Literature: Winfried Konnertz, Eduardo Paolozzi, DuMont, Cologne, 1984, p.183, cat.no.341 (another cast ill.b&w); Fiona Pearson, Paolozzi, National Galleries of Scotland, Edinburgh, 1999, p.51, cat.no.57 (another cast col.ill). By 1970, Eduardo Paolozzi was distancing himself from the ‘Pop Art’ label, feeling it conjured up images of ‘diving into a barrel of Coca-Cola bottles.’ He was engaging with darker subject matter in a way that he felt extended the tradition of Surrealism. Close friends with the science-fiction writer J.G. Ballard, both men had a particular fascination with car crashes, with Ballard specifying that he was interested in the modern day engagement with violence, which mainly took place in the mind, rather then in our physical responses. He felt the car crash was often the one act of violence that the modern day person would physically experience in their life, and even this dramatic impact is between two machines. Interestingly, a shining symbol of modern success and achievement, the car, becomes a destructive and dangerous force in our lives, dream turns nightmare. Crash Head was produced for Paolozzi’s Tate retrospective in 1971. Eduardo was particularly interested in technology and man’s relationship with machines, often fusing human and machinery elements. In Crash Head, he uses the head of a safety test dummy as a model and then applies machine elements; a chunky chain affixed to the head and Frankenstein-esque bolts to the neck. His choice of the model used in car safety testing and demonstrations is a direct engagement with the idea of the violence a car can inflict and an explicit set-up of man versus machine. Yet the quality of the materials, attractive contrasting silver and bronze colours and sleek finish of the sculpture belie these darker undercurrents. The sculpture was produced in an edition of ten. There is one in the National Galleries of Scotland collection, bequeathed by Gabrielle Keiller in 1995, and another is held in the collection of the Stirling Smith Art Gallery & Museum, gifted by The Scottish Arts Council in 1988.

Lot 415

HUGO GRENVILLE (BRITISH 1958-) WINTER LIGHT: STILL LIFE WITH SILVER TEAPOT, 2017 initialled (lower right), oil on canvas(60cm x 120cm (23.75in x 47.5in))

Lot 1038

A silver twin handled trophy cup inscribed 'The Officers and Sergeants Annual Shooting Challenge Cup 2nd BN Duke of Wellington Reg't LXXVI Won by No 6900 Coy.Sgt.Maj.A.Hanson at Dublin 1914', hallmark London 1913, approx 316g

Lot 1104

A cased silver medal 'Hon,y Member 2nd Norfolk Artillery Vol,RS'

Lot 1177

A WWI pair to 4214 Pte H.J.Barnet R.Suss.R., some related paperwork included with a GR VI Police Faithful Service medal to Herbert J Barnett (in box of issue), also included a silver wound badge No.B1096, possibly H.J.Barnett issue

Lot 1223

A rare three barrel tap action Flintlock pistol by H.Nock London, the 1 1/4" turn off barrels numbered 4,5,6, the pistol is 5 1/5" overall incorporating slab sided butt with vacant silver escutcheon, the two stage hammer working well, as does the tap action and safety (N.B. Frizzen and Frizzen spring are missing)

Lot 1262

Two telescopic sights, a Nikko Stirling Silver Crown 4-12x40 with a Bisley 4x32, both with mounts

Lot 248

ANGUS SUTTIE (1946-1993); an earthenware sculptural vessel with stopper in the abstract form of a teapot, richly decorated with bright coloured glazes and enamels, height 38.5cm. (D)Note: Although not signed, this is not unusual for Suttie's work made in the late 1970s around the time of his degree show at Camberwell. Our thanks to Henry Pim for this information.Provenance: Purchased from a gallery in Bristol in the 1980s.Additional InformationThree of the silver spikes have broken off, otherwise appears good with no further signs of faults, damage or restorations.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

Lot 275

ANGELA VERDON (born 1949); a Parian vessel with incised decoration picked out in black and blue, incised AV mark, height 13cm, and a porcelain example stained blue with silver inlay (2). (D)Provenance: Purchased from Nottingham Castle Craft Shop.Additional InformationHairline to blue vessel extending 6 cm from rim, otherwise appears good with no further signs of faults, damage or restorations.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

Lot 285

TOBIAS HARRISON (born 1950); a large earthenware bowl with wide rim covered in bronze, silver and turquoise lustre, incised signature, year/number code and pottery sticker, diameter 41.5cm. (D)Additional InformationAppears good with no obvious signs of faults, damage or restoration.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

Lot 286

TOBIAS HARRISON (born 1950); an earthenware bowl with wide rim covered in blue, gold and silver lustre, incised signature, year/number code and pottery sticker, diameter 39cm, and a matching caddy, height 20.5cm (2). (D)Additional InformationAppears good with no obvious signs of faults, damage or restoration.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

Lot 2001

Victor Vasarely (French-Hungarian, 1906-1997). Composition in silver and black, limited edition print, signed in pencil, numbered 73/180 lower left, 45cm x 32cm

Lot 2072

Candice Farmer (British). Underwater photography, photographic print of Lily Cole, signed by the artist in silver ink lower right and dated 2007, also signed by the subject the model Lily Cole with a love heart in black ink. 86 x 57cm. Framed and glazed. Created by the artist for fresh.20.org.

Lot 12

Embroidered Binding.- Browning (Robert) Selections from the Poetical Works, First & Second Series, together 2 vol. in 1, lacking front free endpaper, with small ink stamp of Royal School of Needlework to final leaf, bound in cream and grey leafy brocade, upper cover and spine embroidered with swirling intertwining ribbons of pale pink & green coloured silks and silver thread, rather soiled and tarnished, 8vo, 1890.

Lot 15

Bible, English.- Holy Bible (The) Containing the Old Testament and the New, engraved title, small rust hole, NT with separate title, without apocrypha, previous owner's ink signatures, closely trimmed occasionally affecting head-lines, catch-words and text, marginal loss affecting text (2B12), small scorch holes affecting text (2F3-5), late 18th century calf, gilt, silver clasps and catches, chipping to spine extremities, 12mo, c.110 x 60 mm., John Field, 1658.⁂ ?Unrecorded. Not in Darlow & Moule or BL.

Lot 252

Piper (John).- Woods (S.John, editor) John Piper: Paintings, Drawings & Theatre Designs 1932-1954, with original aquatint frontispiece & 4 lithographs by Piper, 3 colour, original cloth, dust-jacket (price-clipped), 1955 § Evans (Myfanwy, later Piper) The Pavilion: A Contemporary Collection of British Art & Architecture, including articles on Wyndham Lewis, Edward Bawden, and stained glass featuring John Piper, original wrappers, rubbed and creased, [1946]; The Painter's Object, with contributions by Henry Moore, Paul Nash, John Piper, Pablo Picasso and others, original cloth, 1937 § Elborn (G., editor) To John Piper on his Eightieth Birthday, one of 900 copies, original pictorial boards, Stourton Press, 1983 § Gadsby Gallery. Catalogue to an Exhibition of Paintings, Drawings, Prints and Illustrated Books by John Piper, with...notes by Rigby Graham, one of 450 copies, original turquoise wrappers, a little rubbed and creased, Leicester, 1973 § Jolas (Eugene, editor) Transition: a Quarterly Review, No.26, containing part of 'Work in Progress' by James Joyce (later 'Finnegans Wake') and other contributions by Hans Arp, Paul Eluard, Man Ray, Moholy-Nagy & others and illustrating a work by Piper, original pictorial wrappers featuring a silver comb designed by Marcel Duchamp, rubbed and frayed at edges, upper cover detached, New York, 1937, plates and illustrations; and a quantity of others with contributions by or about Piper on art, stained glass, architecture etc., including many exhibition catalogues or leaflets and several issues of periodicals including Architectural Review, The Listener, Country Life, The Artist, Picture Post, Image etc., v.s. (c.100)

Lot 213

A Hasselblad 500C 'Type 1 C Box' Medium Format Camera, 1957, chrome, serial no. CU34080, with Carl Zeiss Jena Planar f/2.8 80mm lens, chrome, serial no. 1599087, body, VG-E, shutter working, lens, VG-E, complete with paperwork and maker's boxNote: This is a first issue camera, with standard rapid wind crank and first issue viewfinder (strut type). The outer box is only marked with a 'C' in turquoise to the lower left side of each corner. It also has a silver lid section with "Hasselblad' to long sides & "Hasselblad' on each short section to top and plain silver ends. Silver lid section written '5ooC'. Inside, a styrofoam interior, with special pop-up show/display card, with instructions in Swedish.

Lot 352

25 Photographs of India, c.1900 large gelatin silver prints, five by R C Mazumdar of Benares, others all professional, some with title in negative, some with pencil annotations verso, views include the Ganges, Lucknow, Jaipur, Benares, Amritsar, 19 mounted in modern album but can easily be removed, all approx. 21cm x 29cm

Lot 358

Java, The Enormous Crocodile, Two glossy gelatin silver prints, c.1900, Javanese people and Dutch colonial administrators with a very large crocodile, each photograph 15.3cm x 20.5cm

Lot 367

Early Photographs of Brazil, a group of five vintage gelatin silver prints of Rio De Janeiro, c.1910, by a professional photographer, each numbered and titled in the negative, each 16.3cm x 22.2cm

Lot 371

DUDLEY GLANFIELD0 (1904-1992) Ten Society Portraits, nine bromide prints c.1928-1932 all signed recto on mount, subjects include Col The Rt Hon Wilfred Ashley MP, with a photograph by Glanfield of a young boy, overpainted in colour (original process hard to discern) and an anonymous silver gelatin print, autographed by Keith Miller, Australian cricketer, c. 1940's sizes approx 21cm x 16, photographs in good condition, condition of original mounts vary (11)

Lot 372

A Collection of Photographs of WWI Royal Flying Corps Aircraft A unique collection of vintage matt gelatin silver prints of aircraft in 1917 and 1918, taken by rigger Alex Andrew Sanders with a Vest Pocket Autographic Kodak, each contact print is 4.2cm x 6.4cm. Sanders provided details of each photograph and these were recorded by his son. Note: In the order presented online they are as follows - 1. Airco De Havilland DH6, 2 seat trainer with 90h.p. engine. This appears to be a training unit with Auro 504's and canvas Besenault type hangers in the background; 2. Airco de Havilland DH6, 13 Squadron (training squadron) Yatesbury; 3. Sopwith F1 Camel (B6223) single seat scout, 28 Squadron Yatesbury; 4. Royal Aircraft Factory FE2d with Rolls Royce Eagle engine, a 2 seater fighter and reconnaissance; 5. De Havilland DH5 single deat fighting scout; 6. 'Very posh' line hut; 7. Bristol Scout (A1783), single-seat scout with 80h.p. engine; 8. De Havilland DH5 single-seat fighter scout (note the stagger wing); 9. a Bristol Scout and two DH6's, possibly Salisbury Plain; 10. Bristol F2B fighter (1106) 2 seater fighter/reconn; 11. Henry Farman F20 2 or 3 seater biplane with 80h.p. engine; 12. Avro 504 with Sopwith Camel in background; 13. crash (aircraft not identified); 14. Royal Aircraft Factory BE2c (Farnborough) 2 seater or single-seat bomber; 15. Sopwith F1 Camel fitted with 130hp Clerget engine; 16. Royal Aircraft Factory FE2D, probably Salisbury Plain; 17. Sopwith Pup B5253 single-seat fighting scout; 18. An Avro 504 has crashed into a DH5 Probably Salisbury Plain; 19. Royal Aircraft Factory RE8 140h.p. RAF4a engine 2-seater; 20. De Haviland 2-seater bomber; 21. Another crash. Identifying notes are included in this lot.

Lot 374

RANDOLPH BEZZANT HOLMES (1888-1973) Three Views of India, toned gelatin silver prints c. 1920-1935, titled and signed in the negative 'The George Alt Masjid' (Kyber Pass), 'Taj Mahal Agra from the River', 'The Northern Gate of India looking into Afganistan', the latter mounted on board, the other two unmounted with wetstamp verso, each approx. 24cm x 29cm

Lot 376

ARNOLD CLAYTON HENDERSON (American,1938-) Nude in Strange Space, 1967, vintage gelatin silver print, image 30.5cm x 24.5cm, sheet 35.5cm x 27.5cm, signed and dated verso. Note: this image appears in  Arthur Goldsmith's History of the Nude in Photography, the opening photograph of the contemporary section. It also appears in Henderson's own book Nudes, Metanudes, and Real People, 2015.

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