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Lot 101
Brian Sanders (British, B. 1937) "German Battleship Tirpitz Sunk" Artist notes in margins. Original Oil painting on Masonite. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Republic of the Marshall Islands 50c German Battleship Tirpitz Sunk 1944 stamp issued November 12, 1994. The German battleship Tirpitz was a sister ship of the ill-fated Bismarck, sunk by the British in May 1941. With a full displacement of more than 52,000 tons and an overall length of 822 feet, she was one of the largest battleships afloat during World War II. Adolf Hitler was paranoid about losing the Tirpitz because of the serious effect it could have on German morale. Since the ship was also a deterrent against British invasion in the north, Hitler ordered it to be kept in a protective Norwegian fjord. One British bomber attack after another failed to sink her -- until November 12, 1944, when 32 Lancasters managed to drop 29 "Tallboy" bombs on the behemoth. In a matter of minutes, the great battleship capsized and sank, taking nearly 1,000 men to their deaths. Image Size: 13.5 x 16.25 in. Overall Size: 16.5 x 19.5 in. Unframed. (B14852)
Lot 68
A 19th century blue and white transfer printed soup tureen and cover, decorated with a scene of a castle in a landscape, together with a fruit bowl, decorated with a scene of deer in a country estate, and a circular pottery sink decorated with a transfer printed scene of a couple in a garden (a/f) 28.5cm diameter
Lot 380
2006 Raptor 6-wheel Accommodation TrailerRegistration no. N/AChassis no. TBCOdometer reading: n/aMoT expiry date: Expired*Used to accommodate the vendor's Monster Truck team*Sleeps ten comfortably*Rear garage suitable for 1 ton in weight*Comprehensively equippedThis Raptor trailer has been used to accommodate the vendor's Monster Truck team at their events. We are advised that it sleeps ten comfortably. There is a toilet and shower in the master bedroom and another shower outside. The rear lounge has a vanity sink and TV, while other noteworthy features include ceiling fans; a full-size American fridge-freezer; 6kVA onboard generator; onboard waste tanks for grey and black water; full-length pullout awning; rear garage suitable for 1 ton in weight; onboard fuel dispenser with pump and 100-litre onboard tank; and new tyres all round. In addition, the sound system boasts internal and external speakers, and there is plentiful under-body storage.Footnotes:Vendor Score Total: 59/100Bidders should note that the automated 100-point Seller's Assessment is provided by each Seller at the point of consignment using the guidelines below, and is not provided, assessed or verified by Bonhams MPH. Accordingly Customers (Bidders) are on notice that each vehicle is offered 'as is / as seen' subject to the Conditions of Sale for the auction, and Customers (Bidders) are strongly recommended to view the Lot(s) being offered, before bidding, in order to satisfy themselves as to their condition; Bonhams MPH will not entertain disputes over Sellers' Assessments. Key for sellers' assessments:1/5 POOR. A project vehicle | Requires urgent attention | Damaged | Parts missing2/5 AVERAGE. Useable condition | Requires some attention | Light damage3/5 GOOD. Drive away | Presents well | Good history file | Drives well4/5 VERY GOOD. Well restored | Running and driving with no noticeable faults | Sound throughout5/5 EXCELLENT. Concours condition | Beautifully presented | Driving very wellEXTERIOR TOTAL: 17/25Body Work: 3Chrome/Plastics/Trim: 3Glass: 4Paint: 3Wheels/Tyres: 4INTERIOR TOTAL: 15/20Dashboard/Door cards/Carpets: 4Headlining: 4Seats: 4Trim: 3ENGINE TOTAL: 8/20Mechanical components: 4Running: 4Starting: 0Under Bonnet: 0RUNNING GEAR TOTAL: 11/20Axles: 4Brakes: 3Gearbox/Clutch: 0Suspension: 4ELECTRICAL TOTAL: 8/10Ancillary components: 4Main components: 4Car History File: 0/5For further information on this lot please visit Bonhams.com
Lot 18
Nicolas Trudgian D-Day Armada D-Day Anniversary Edition signed by 8 USAAF pilots who all flew in combat on 6th June 1944 - D-Day. This is the D-Day Anniversary Edition number 76 / 150 issued to commemorate the 60th Anniversary and is supplied with the original Certificate of Authenticity. The print is signed by the artist Nicolas Trudgian and Captain Clayton Gross, Colonel Maurice Long, Major General Donald Strait, Colonel Richard 'Dick' Denison, First Lieutenant Wayne E Downing, Captain John L Minech, Lieutenant Colonel Arthur Milow and Lieutenant Colonel William 'Bill' D Mitchell. The print measures approximately 35 x 23.5 inches and has been stored flat, out of the light and is in very good condition. Print historical detail : As the sun begins to sink on the late afternoon of D-Day Plus 1, a mighty Allied aerial armada heads inland over the Normandy invasion beaches, 7th June 1944. In the company of P51s of the 354th Fighter Group, B26 Marauders from the 397th Bomb Group prepare to bomb heavily defended German positions lying ahead of the Allied advance up from the beach-head. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99. This print can be sent tubed or flat packed any additional shipping is charged at cost.
Lot 669
A set of three ILM propaganda posters from the production of George Lucas' Star Wars: The Phantom Menace. Posters made in homage to the propaganda posters used by the United States during World War II were placed around sets and production offices to discourage crew members from accidentally leaking information about the film.Designed by Industrial Light & Magic (ILM) artist Mark Malabuyo, these three posters are colour-printed on semi-gloss poster paper with three distinctive designs: "SHHHH! The Empire is Listening!" with images of Darth Vader (David Prowse) and Snow Troopers; "Loose Lips Sink Starships!" with an image of the Millenium Falcon; and "The Empire is Watching!" with an image of the Emperor (Ian McDiarmid) and one of his personal guards. The posters are in excellent overall condition with minimal wear from use and age. Dimensions (each): 49 cm x 38.25 cm x 2.5 (19 1/4" x 15 1/2" x 1")Sold without copyright; see notice in the Buyer's Guide.Estimate: £1,000 - 1,500 Ω
Lot 19
An interesting and substantial Falklands collection including Pair: South Atlantic Medal, 1982, with rosette for combat zone service (Lt. D.R. Clarke RN HMS Fearless); GSM 1 clasp Northern Ireland (Lt Cdr D R Clarke RN) GVF, mounted as worn. Accompanying these are the following items from the recipient’s personal archive from the Falklands conflict where he was the Command Planning and Naval Intelligence Officer. Operation and Intelligence hand written shorthand type daily briefing notebook giving movement details of various Argentine vessels, e.g. “14th Apr. Santa Fe (Guppy) suggested as patrolling Arg. exclusion zone or on its way to UK exclusion zone... Santissima Trinidad thought to be type 42 sailed P. Belgrano, Hercules also poss at sea”, 15th April “Irizar prob dep Comodoro Rivaderia may be taking more equipment to Falks.”, “Arg. submarines 3 at sea, San Luis patrolling area N/NE of Falks. Salta shallow water in vic of MEZ, Sante Fe unloc. thought to be further away, unlikely to have travelled towards Asc, nevertheless possible” undated April “after Sante Fe hit directive signalled to SNs San Luis & Sante Fe, pos. means only other sub deployed is San Luis posn unknown, S.Tr (Santissima Trinidad) prob close inshore approx 40nm south of P. Belgr.” undated April “San Luis ordered to depart posn in vicinity area Enriqueta (4630s 5701w) with orders to sink war/airships recog. as enemy (any submarine contact is enemy)”; undated “Arg. fishing vessels/warships and other non naval vessels deployed for surveillance. Poss these have radar enhancement for use in deception role.”; “ Royal Navy Diver’s Log” covering period July 1981 to June 1990, mainly training and drill entries but including “25th May 1982, San Carlos Water, Falklands - night dive (op awkward) on RFA Stromness after reported underwater attack/mining...”; framed print “San Carlos Water, Falkland Islands: May 1982” by D.R.G.M Gardner showing HMS Fearless centre stage surrounded by various other craft including HMS Argonaut, Intrepid, RFA Stromness, Sir Lancelot and MV Norland, the border signed by over 40 dignitaries etc. including Margaret Thatcher, Sir Rex Hunt- Governor of the Falkland Islands, Adm. Sir Sandy Woodward Cdr Task Force, General Sir Michael Rose (then CO 22 SAS), Admirals Fieldhouse, Leach, West, Larken, Dingemans, Generals Thompson, Vaux etc., (all signatures are identified/ listed on the reverse); a display frame of 9 relevant photos including view of HMS Fearless narrowly avoiding an air strike in “Bomb Alley”; an Argentine poster showing 2 jets over bay, the reverse printing translates as “Tribute to the Patriotic Deed of April 2 1982”; an Argentine Nautical Almanac for 1982, the cover marked “Yehuin” which was an oil rig support vessel requisitioned by the Argentine forces in April 1982 for work in the Falkland Islands. She surrendered to the Royal Navy in June 1982 and was commandeered by a crew of 13 from HMS Fearless in June 1982. From that date until 2nd July she operated in and around Port Stanley and Port William flying the white ensign, Lt Clarke being on board until 22nd June; many black and white and other photographs are present including 2 showing an Argentine pilot shot down and recovered aboard HMS Fearless with Michael Rose; a number of San Carlos Anniversary dinner menu invitations, memorial programmes, cuttings, and other books and ephemera including “Falklands 82 HMS Fearless at war, 100 days in the life of an Assault Ship” 44 page booklet listing crew, etc. including Lt Clarke in the Diving Section; a selection of Cdr Clarke’s uniform, an Argentine soldier’s helmet; and an Argentinian Naval greatcoat adapted for use by Cdr Clarke along with many other mementos including personal letters from senior officers and others and later senior briefings. An interesting collection of more than 150 items including newscuttings, photos etc, a full list of items in this lot is available upon request. Plate 1 £1,500-1,600
Lot 5228
Gerry Anderson's Dick Spanner Tennent's Pilsner Advert - Featuring Lou Tennent - A freight box as seen in advert number 1 as he walks towards The Sink Inn, 20 x 23 cm. Provenance: From the Julian Bell Collection. All lots will be supplied with Certificate of Authenticity signed by Ewbank's Auctioneers. No copyright is assigned with this item.
Lot 753
Derrick Greaves (b.1927) - reclining female nude, signed artist proof, also dated '78 and numbered 96/150, coloured aqua tinted print, 16" x 21" - ** The artist gained acclaim in the 1950s when he represented Britain at The Venice Biennale along with the other 'Kitchen-Sink' painters Bratby, Middleditch and Smith. However his work swiftly developed into a more heraldic style that parallelled 1960s Pop Art, the work appears to be influenced by the American artist Tom Wesselmann.
Lot 6276
Five Albums of Circa 1930-50s Original Pencil Sketches and Watercolour Designs for Theatrical Costumes from B J Simmons & Co, Covent Garden London, including Fagin, Oliver Wendell Holmes, Confucius, Charlemagne, Marie Dressler in Tugboat Annie, Marc Anthony, John Charles Fremont, Victor Hugo, Jefferson Davies, John Greenleaf Whittier, St Augustine, Robert Fulton, Guissepe Garibaldi, Wilbur Wright, Rudyard Kipling, Charles A Lindberg, Marco Polo, Attila, Simon Bolivar, Charles Darwin etc, over 100 drawings in total, each with handwritten notations, some with codes, and some signed by the artist J R Macken The London costumier B. J. Simmons & Co. was founded in 1857 by Mr. B. J. Simmons, he was best known as a historical costumier for the London stage, due to his attention to detail and high quality, his output was very diverse. The company created costumes for a variety of shows in the West End, the provinces, and overseas, ranging from Victorian pantomimes to the ''kitchen sink'' dramas of the 1960s. In the 1940s Simmons was the principal supplier of new and stock costumes to J. Arthur Rank and London Film Productions.
Lot 188
Rachel Grobstein Studio Sink, 2020 Gouache, Paper and Glue on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Rachel Grobstein creates miniature paintings and sculptures, employing a radical scale shift and handmade detail to invite close scrutiny of often-overlooked parts of daily life, exploring memory, routine, and identity. She is the recipient of awards and residencies including a Museum of Arts and Design Artist Studios residency, a Roswell Artist-in-Residence Fellowship, a Jentel Foundation fellowship, a Hammersley Foundation Grant, a Studios of Key West residency, and a Vermont Studio Center Full Fellowship and Residency supported by the Joan Mitchell Foundation. Solo exhibitions include Galleri Urbane (Dallas, TX 2020), Andrew Rafacz Gallery (Chicago, IL 2018), Next to Nothing Gallery (New York, NY, 2018), and the Roswell Museum and Art Center (Roswell, NM, 2017). Grobstein received her MFA in Painting from the Rhode Island School of Design and her BA in Philosophy and Visual Arts from Bowdoin College. She lives and works in Philadelphia, PA.
Lot 411
Ryan Mosley Untitled, 2020 Ink and Pastel on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Mosley synthesizes art-historical themes, styles, and movements into surreal, folk-inspired paintings that are wholly contemporary, yet appear timeless. Mosley does not sketch his paintings beforehand, instead treating his paintbrush as a pencil to build large-scale images through layers of translucent washes for a batik quality. This spontaneous technique results in theatrical spaces and fantastic scenes, at once whimsical and tragic, ambiguous and intriguing. Mosley's work features recurring images of heads and masks, as well as harlequin-inspired, diamond patterned clothing, which serve as liberated and somber symbols of carnival and release. Mosley's "Southern Banjo," for example, features a minstrel playing a banjo underneath a tree. Isolated yet confident, Mosley's figure merges a Wild West appearance with stylistic elements culled from Henri Toulouse-Lautrec, Edgar Degas, Jean-Antoine Watteau, and Pierre Bonnard. Ryan Mosley (b. Chesterfield, UK, 1980) trained at the University of Huddersfield and Royal College of Art, London; the artist lives and works in Sheffield, UK. Recent solo presentations include From the Verges, Galerie EIGEN + ART Leipzig/Berlin (2017); Anatomy and the Wall, Alison Jacques Gallery, London (2016); The Mirror Never Reflects, Eigen + Art, Berlin (2015); Susanne Vielmetter Projects, Los Angeles (2014); Thoughts of Man, Tierney Gardarin, New York (2013); Reversed Limbo, Eigen + Art, Berlin (2012), Alison Jacques Gallery, London (2011) and Painting Séance, Grand Arts, Kansas City (2010). His work has featured in significant group shows including Walls Have Ears, Aston Hall Museum, Birmingham, UK, Malevolent Eldritch Shrieking, Attercliffe™, Sheffield, UK, Everything Flows, Millennium Gallery: Museums Sheffield, UK (2017); A New kitchen Sink, Josh Lilley Gallery, London, UK (2017); Ready for the Stage Act 1 (1900-2016), Arp Museum Bahnhof Rolandseck, Germany (2016); Painters' Painters, Saatchi Gallery, London (2016); One Day, Something Happens: Paintings of People, Hayward touring exhibition (2015); June: A Painting Show, Sadie Coles HQ, London (2015); The Islanders, Galerie Mikael Andersen, Copenhagen (2015); Zero Hours, S1 Artspace, Sheffield (2013); Nightfall, Modem Museum, Hungary (2012); London Twelve: Contemporary British Art, City Gallery, Prague (2012); Summer Exhibition, Royal Academy of Arts, London (2012); Merging Bridges, Museum of Modern Art, Baku (2012); and Newspeak: British Art Now, Saatchi Gallery, London (2010). His work is included in Vitamin P3: New Perspectives in Painting published by Phaidon (2016); Picturing People published by Thames & Hudson (2015) and 100 Painters of Tomorrow published by Thames & Hudson (2014). Mosley's work is part of the Arts Council Collection, UK; The Saatchi Collection, London and Falckenberg Collection, Hamburg.
Lot 412
Ryan Mosley Untitled, 2020 Ink and Pastel on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.)Mosley synthesizes art-historical themes, styles, and movements into surreal, folk-inspired paintings that are wholly contemporary, yet appear timeless. Mosley does not sketch his paintings beforehand, instead treating his paintbrush as a pencil to build large-scale images through layers of translucent washes for a batik quality. This spontaneous technique results in theatrical spaces and fantastic scenes, at once whimsical and tragic, ambiguous and intriguing. Mosley's work features recurring images of heads and masks, as well as harlequin-inspired, diamond patterned clothing, which serve as liberated and somber symbols of carnival and release. Mosley's "Southern Banjo," for example, features a minstrel playing a banjo underneath a tree. Isolated yet confident, Mosley's figure merges a Wild West appearance with stylistic elements culled from Henri Toulouse-Lautrec, Edgar Degas, Jean-Antoine Watteau, and Pierre Bonnard. Ryan Mosley (b. Chesterfield, UK, 1980) trained at the University of Huddersfield and Royal College of Art, London; the artist lives and works in Sheffield, UK. Recent solo presentations include From the Verges, Galerie EIGEN + ART Leipzig/Berlin (2017); Anatomy and the Wall, Alison Jacques Gallery, London (2016); The Mirror Never Reflects, Eigen + Art, Berlin (2015); Susanne Vielmetter Projects, Los Angeles (2014); Thoughts of Man, Tierney Gardarin, New York (2013); Reversed Limbo, Eigen + Art, Berlin (2012), Alison Jacques Gallery, London (2011) and Painting Séance, Grand Arts, Kansas City (2010). His work has featured in significant group shows including Walls Have Ears, Aston Hall Museum, Birmingham, UK, Malevolent Eldritch Shrieking, Attercliffe™, Sheffield, UK, Everything Flows, Millennium Gallery: Museums Sheffield, UK (2017); A New kitchen Sink, Josh Lilley Gallery, London, UK (2017); Ready for the Stage Act 1 (1900-2016), Arp Museum Bahnhof Rolandseck, Germany (2016); Painters' Painters, Saatchi Gallery, London (2016); One Day, Something Happens: Paintings of People, Hayward touring exhibition (2015); June: A Painting Show, Sadie Coles HQ, London (2015); The Islanders, Galerie Mikael Andersen, Copenhagen (2015); Zero Hours, S1 Artspace, Sheffield (2013); Nightfall, Modem Museum, Hungary (2012); London Twelve: Contemporary British Art, City Gallery, Prague (2012); Summer Exhibition, Royal Academy of Arts, London (2012); Merging Bridges, Museum of Modern Art, Baku (2012); and Newspeak: British Art Now, Saatchi Gallery, London (2010). His work is included in Vitamin P3: New Perspectives in Painting published by Phaidon (2016); Picturing People published by Thames & Hudson (2015) and 100 Painters of Tomorrow published by Thames & Hudson (2014). Mosley's work is part of the Arts Council Collection, UK; The Saatchi Collection, London and Falckenberg Collection, Hamburg.
Lot 413
Ryan Mosley Untitled, 2020 Ink and Pastel on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Mosley synthesizes art-historical themes, styles, and movements into surreal, folk-inspired paintings that are wholly contemporary, yet appear timeless. Mosley does not sketch his paintings beforehand, instead treating his paintbrush as a pencil to build large-scale images through layers of translucent washes for a batik quality. This spontaneous technique results in theatrical spaces and fantastic scenes, at once whimsical and tragic, ambiguous and intriguing. Mosley's work features recurring images of heads and masks, as well as harlequin-inspired, diamond patterned clothing, which serve as liberated and somber symbols of carnival and release. Mosley's "Southern Banjo," for example, features a minstrel playing a banjo underneath a tree. Isolated yet confident, Mosley's figure merges a Wild West appearance with stylistic elements culled from Henri Toulouse-Lautrec, Edgar Degas, Jean-Antoine Watteau, and Pierre Bonnard. Ryan Mosley (b. Chesterfield, UK, 1980) trained at the University of Huddersfield and Royal College of Art, London; the artist lives and works in Sheffield, UK. Recent solo presentations include From the Verges, Galerie EIGEN + ART Leipzig/Berlin (2017); Anatomy and the Wall, Alison Jacques Gallery, London (2016); The Mirror Never Reflects, Eigen + Art, Berlin (2015); Susanne Vielmetter Projects, Los Angeles (2014); Thoughts of Man, Tierney Gardarin, New York (2013); Reversed Limbo, Eigen + Art, Berlin (2012), Alison Jacques Gallery, London (2011) and Painting Séance, Grand Arts, Kansas City (2010). His work has featured in significant group shows including Walls Have Ears, Aston Hall Museum, Birmingham, UK, Malevolent Eldritch Shrieking, Attercliffe™, Sheffield, UK, Everything Flows, Millennium Gallery: Museums Sheffield, UK (2017); A New kitchen Sink, Josh Lilley Gallery, London, UK (2017); Ready for the Stage Act 1 (1900-2016), Arp Museum Bahnhof Rolandseck, Germany (2016); Painters' Painters, Saatchi Gallery, London (2016); One Day, Something Happens: Paintings of People, Hayward touring exhibition (2015); June: A Painting Show, Sadie Coles HQ, London (2015); The Islanders, Galerie Mikael Andersen, Copenhagen (2015); Zero Hours, S1 Artspace, Sheffield (2013); Nightfall, Modem Museum, Hungary (2012); London Twelve: Contemporary British Art, City Gallery, Prague (2012); Summer Exhibition, Royal Academy of Arts, London (2012); Merging Bridges, Museum of Modern Art, Baku (2012); and Newspeak: British Art Now, Saatchi Gallery, London (2010). His work is included in Vitamin P3: New Perspectives in Painting published by Phaidon (2016); Picturing People published by Thames & Hudson (2015) and 100 Painters of Tomorrow published by Thames & Hudson (2014). Mosley's work is part of the Arts Council Collection, UK; The Saatchi Collection, London and Falckenberg Collection, Hamburg.
Lot 414
Ryan Mosley Untitled, 2020 Ink and Pastel on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Mosley synthesizes art-historical themes, styles, and movements into surreal, folk-inspired paintings that are wholly contemporary, yet appear timeless. Mosley does not sketch his paintings beforehand, instead treating his paintbrush as a pencil to build large-scale images through layers of translucent washes for a batik quality. This spontaneous technique results in theatrical spaces and fantastic scenes, at once whimsical and tragic, ambiguous and intriguing. Mosley's work features recurring images of heads and masks, as well as harlequin-inspired, diamond patterned clothing, which serve as liberated and somber symbols of carnival and release. Mosley's "Southern Banjo," for example, features a minstrel playing a banjo underneath a tree. Isolated yet confident, Mosley's figure merges a Wild West appearance with stylistic elements culled from Henri Toulouse-Lautrec, Edgar Degas, Jean-Antoine Watteau, and Pierre Bonnard. Ryan Mosley (b. Chesterfield, UK, 1980) trained at the University of Huddersfield and Royal College of Art, London; the artist lives and works in Sheffield, UK. Recent solo presentations include From the Verges, Galerie EIGEN + ART Leipzig/Berlin (2017); Anatomy and the Wall, Alison Jacques Gallery, London (2016); The Mirror Never Reflects, Eigen + Art, Berlin (2015); Susanne Vielmetter Projects, Los Angeles (2014); Thoughts of Man, Tierney Gardarin, New York (2013); Reversed Limbo, Eigen + Art, Berlin (2012), Alison Jacques Gallery, London (2011) and Painting Séance, Grand Arts, Kansas City (2010). His work has featured in significant group shows including Walls Have Ears, Aston Hall Museum, Birmingham, UK, Malevolent Eldritch Shrieking, Attercliffe™, Sheffield, UK, Everything Flows, Millennium Gallery: Museums Sheffield, UK (2017); A New kitchen Sink, Josh Lilley Gallery, London, UK (2017); Ready for the Stage Act 1 (1900-2016), Arp Museum Bahnhof Rolandseck, Germany (2016); Painters' Painters, Saatchi Gallery, London (2016); One Day, Something Happens: Paintings of People, Hayward touring exhibition (2015); June: A Painting Show, Sadie Coles HQ, London (2015); The Islanders, Galerie Mikael Andersen, Copenhagen (2015); Zero Hours, S1 Artspace, Sheffield (2013); Nightfall, Modem Museum, Hungary (2012); London Twelve: Contemporary British Art, City Gallery, Prague (2012); Summer Exhibition, Royal Academy of Arts, London (2012); Merging Bridges, Museum of Modern Art, Baku (2012); and Newspeak: British Art Now, Saatchi Gallery, London (2010). His work is included in Vitamin P3: New Perspectives in Painting published by Phaidon (2016); Picturing People published by Thames & Hudson (2015) and 100 Painters of Tomorrow published by Thames & Hudson (2014). Mosley's work is part of the Arts Council Collection, UK; The Saatchi Collection, London and Falckenberg Collection, Hamburg.
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