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Lot 62
Harold KNIGHT (1874-1961) Portrait of Lamorna Birch at his easel Oil on canvas, signed, 18th-century carved frame, 35 x 30cm, framed 47 x 42cmLiterature 'A Painter Laureate - Lamorna Birch and his circle' Austin Wormleighton, illustrated page 77Note: The reverse of this work shows a loose oil sketch which is likely to be another study of Birch's daughter Mornie (see previous lot 61). Harold Knight was present when lot 61 was painted and also painted his own portrait of Mornie. We believe this sketch on the reverse to be a discarded version of his Mornie portrait, the finished work sold in 1999 for £35,000. The personal family collection of SJ Lamorna Birch, gifted directly to Birch by the artist. This oil is behind glass in a carved and gilt 18th-century frame. It is in delightful unrestored clean and original condition. The canvas measures 35x30cm
Lot 390
Theatre interest, an archive of costume designs and ephemera, to include works by Maria Björnson (1949-2002), Bob Crowley RDI (1952-), Abd'Elkader Farrah (1926-2005), Ralph Koltai CBE, RDI (1924-2018), Voytek (1925-2014), Alexander Reid (1929-2002), Ann Curtis (act.1965-2007) and Michael Stennett (1946-2020) (qty) Provenance: Collection of Norma Whittard to include, Maria Björnson (1949-2002), a sketch for Virginia McKenna as Gertrude in Hamlet, 1984-85, pencil and collage, signed 'Maria Björnson' (lower left), 41 x 51cm; Bob Crowley RDI (1952-), a sketch for Sarah Berger as Juliette in Measure for Measure, 1983, pencil, 39.5 x 30.5cm; Abd'Elkader Farrah (1926-2005), a design for Dr Faustus, ink and watercolour, 25.5 x 19cm; Ralph Koltai CBE, RDI (1924-2018), an untitled sketch of a young man in Shakespearian dress, signed and dated 'Koltai 80' (lower right); charcoal, 54.5 x 24.5cm; Voytek (1925-2014), designs for Much Ado About Nothing, pastel and pencil on tracing paper, 24.5 x 42cm; Alexander Reid (1929-2002), a design for Portia and Caesar in Julius Caesar, ink and watercolour on envelope with fabric swatch, 23 x 32cm, and a design for Perdita in The Winter's Tale, pencil and wash, 30 x 41cm; Ann Curtis (act.1965-2007), four designs for The Merchant of Venice, ink on tracing paper, 30 x 21cm, designs for Estelle Kohler and Diana Bishop in The Government Inspector, felt tip and watercolour with annotations, 25.5 x 26.5cm, a framed design for Antony and Cleopatra, ink and watercolour, 30 x 21.5cm; and Michael Stennett (1946-2020), a group of six ink drawings, two small gouaches, and a postcard from Richard Pearson (1918-2011) (qty)
Lot 385
§ John Napier (1944-) a group of three pencil costume designs for Helen Mirren as Lady Macbeth, 1974, each signed 'J.Napier' (lower right); together with a design for Helen Mirren as Lady Macbeth, a sketch for Lady Macduff, a further signed sketch, and a 1979 design for Cherie Lunghi as Olivia in Twelfth Night, signed 'J.Napier' (lower right), coloured pencil 36 x 25.5cm, all unframed (7)Provenance:Collection of Norma Whittard
Lot 232
After William Simpson (1823- 1899), a set twenty prints from 'The Seat of the War in the East' comprising, Bastion Du Mat, from the Central Bastion; The Cavalry Affair of the Heights of Bulganak, The First Gun; Sketch in the Interior of the Mamelon Vert, Looking South; Sebastopol from the rear of Fort Nicholas, Looking South; Camp of the 3rd Division; The Town Batteries or Interior Fortifications of Sebastopol; Cape Aiya, Looking North towards Balaklava; Camp of the 4th Division, July 15th 1855; Sebastopol from the 26 Gun Battery on the Extreme Right of French Attack; The North Side of the Harbour of Sebastopol, from the top of the Harbour, 22nd June 1855; Public Library and Temple of the Winds; The Investiture of the Order of the Bath, at the Head Quarters of the British Army before Sebastopol; Redan and Advanced Trenches of British Right Attack; Burning of the Government Buildings at Kertch; Charge of the Heavy Cavalry Brigade, 25th October 1854; Commissariat Difficulties, The road from Balaklava to Sevastopol at Kadikoi, during the wet weather; Huts and Warm Clothing for the Army; Cavalry Camp, July 9th 1855; Kertch from the North; Church of St Peter and St Paul, published 1856 Colnaghi's Authentic series, coloured lithographs, images approximately 27 x 44 cm, each framed and glazed 39.5 x 57 cmQty: 20
Lot 014
Robert Lenkiewicz (1941-2002) early ink on paper sketch 'Study of Infant' (Alice?), 355 x 253mmThis sketch has been donated by Tarun Bedi, to benefit the homeless charity, SHELTER, the lot will also include a copy of the first volume of Mark D. Price’s recent biography of Lenkiewicz, titled ‘All Are Welcome’, which tells the full story of Lenkiewicz’s London years including his friendship with Tarun Bedi.
Lot 010
Robert Lenkiewicz (1941-2002) early ink on paper sketch 'Adult with infant and chess board' 253 x 176mmThis sketch has been donated by Tarun Bedi, to benefit the homeless charity, SHELTER, the lot will also include a copy of the first volume of Mark D. Price’s recent biography of Lenkiewicz, titled ‘All Are Welcome’, which tells the full story of Lenkiewicz’s London years including his friendship with Tarun Bedi.
Lot 012
Robert Lenkiewicz (1941-2002) early ink on paper sketch 'Mouse (Celia Mills) Reading', 254 x 204mmThis sketch has been donated by Tarun Bedi, to benefit the homeless charity, SHELTER, the lot will also include a copy of the first volume of Mark D. Price’s recent biography of Lenkiewicz, titled ‘All Are Welcome’, which tells the full story of Lenkiewicz’s London years including his friendship with Tarun Bedi.
Lot 009
Robert Lenkiewicz (1941-2002) early ink on paper sketch, unframed, 253 x 176mmThis sketch has been donated by Tarun Bedi, to benefit the homeless charity, SHELTER, the lot will also include a copy of the first volume of Mark D. Price’s recent biography of Lenkiewicz, titled ‘All Are Welcome’, which tells the full story of Lenkiewicz’s London years including his friendship with Tarun Bedi.
Lot 011
Robert Lenkiewicz (1941-2002) early ink on paper sketch 'Baby Alice, Tarun and mouse (Celia Mills), 176 x 253mmThis sketch has been donated by Tarun Bedi, to benefit the homeless charity, SHELTER, the lot will also include a copy of the first volume of Mark D. Price’s recent biography of Lenkiewicz, titled ‘All Are Welcome’, which tells the full story of Lenkiewicz’s London years including his friendship with Tarun Bedi.
Lot 013
Robert Lenkiewicz (1941-2002) early ink on paper sketch 'Study of Tarun Bedi', 253 x 176mmThis sketch has been donated by Tarun Bedi, to benefit the homeless charity, SHELTER, the lot will also include a copy of the first volume of Mark D. Price’s recent biography of Lenkiewicz, titled ‘All Are Welcome’, which tells the full story of Lenkiewicz’s London years including his friendship with Tarun Bedi.
Lot 008
Robert Lenkiewicz (1941-2002) early ink on paper sketch (markings to reverse), unframed, 250 x 199mmThis sketch has been donated by Tarun Bedi, to benefit the homeless charity, SHELTER, the lot will also include a copy of the first volume of Mark D. Price’s recent biography of Lenkiewicz, titled ‘All Are Welcome’, which tells the full story of Lenkiewicz’s London years including his friendship with Tarun Bedi.
Lot 15
Jean-Léon Gérôme (French, 1824-1904)The Nile in flood, Thebes signed 'J.L.GEROME.' (lower left)oil on canvas78.1 x 116.9cm (30 3/4 x 46in).Footnotes:ProvenanceWith Vose Galleries. Private collection, Canada. ExhibitedParis, Salon, 1901 (according to Ackerman).Vose Galleries, Boston Sale, New York 7-8 March 1929, no. 168. LiteratureOeuvres de J.-L. Gérôme (Bibliothèque nationale, Paris), XXIII, 14 b. Gerald M. Ackerman, The Life and Works of Jean-Léon Gérôme, London, 1986, no. 468, p. 285 (illustrated, dated 1901 and catalogued as lost).Gerald M. Ackerman, Jean-Léon Gérôme, Monographie révisée, catalogue raisonné mis à jour, Paris, 2000, no. 468, p. 354 (illustrated, dated ca. 1900-1904 and catalogued as La Plaine de Thèbes pendant l'inondation du Nil, and catalogued as lost).Gérôme's interest in recording ancient Egyptian monuments was sporadic, and these subjects are rare within his oeuvre. His fascination with the Colossi of Memnon, however, was more enduring. The focus of at least six compositions in various media, these storied statues of the 18th-dynasty pharaoh Amenhotep III (1386-1353 BCE) form a distinctive subgroup of Gérôme's Orientalist works produced between 1856 and 1904. These images yield important information about archaeology, conservation, and tourism, Egypt's pharaonic and classical past, its natural history and changes in its agricultural practices, and Gérôme's understanding and experiences of them all. In the present work, exhibited at the Paris Salon in 1901 and likely based on on-the-spot sketches made during Gérôme's first trip to Egypt in 1856-7 (including a sketch dedicated to Gérôme's mentor, Paul Delaroche; fig. 1), the artist depicts the Colossi at sunrise, at the beginning or, perhaps more likely, at the end of the annual Nile flood. The view is to the approximate north; today, this would position the artist on the modern road on Luxor's West Bank, which connects the Nile ferry docks to some of Egypt's most-trafficked tourist sites. This particular stretch of road lies atop an old berm built around the hawd or irrigated field around the Colossi, which helped to contain the rising waters of the flood. The artistic liberties that Gérôme has taken with the siting of the statues is readily apparent; nevertheless, the basic conception of the Theban hills in the background, with the statues at the entrance to the ancient mortuary temple of Amenhotep III on the floodplain nearer the Nile, is accurate. (In addition to his sketches, Gérôme may also have used contemporary photographs as an aide-mémoire, notably those taken by his friend and traveling companion during that first Egyptian journey, Auguste Bartholdi; fig. 2.) Contemporary viewers would have known Gérôme's subject by the time of the painting's exhibition in 1901, both from his earlier visual examples, including widely circulated prints made by Gérôme's dealer and father-in-law, Adolphe Goupil, and related literary texts. Describing a photogravure made after one of Gérôme's Colossi scenes, one 19th-century author penned, 'Now, the ruined statues of King Memnon, fabled of old to sing at sunrise, form the conspicuous heroes of this wide desert scene, where all seems colossal, strange, adapted to another scale that that of humanity ... Other lands tempt by their beauty, by their capacity of improvement; Egypt fascinates by its stability of ruin, and by its story of a splendid past, written in granite. Of all the artists whom genius has given a mission to penetrate into this place of awe, and bring back the record of its desolation, none equals Gérôme in the tangible distinctness of the impression he leaves; he seems to carve his national types in adamant, and fetch them up to the eye as a series of images that can be weighted, felt, and estimated.' Théophile Gautier's laudatory words about Gérôme's Colossi subjects had first been published in 1856, to the great interest of French visitors to the Salon. They were transcribed into English by the artist's American biographer, Fanny Field Hering, in 1892, making them as well-known in that country as abroad: With a sigh and a shudder, we move on beside the great critic [Gautier] and pause before the Memnon and Sesostris. / 'Two mountains sculptured in the form of man which neither time, nor tremblings of the earth, nor conquerors much more terrible, have been able to move from their base. They are there, their colossal hands crushing their knees, shapeless, monstrous, flat-nosed, returning slowly to rock, standing out against the arid background of the Lybian [sic] range which lies barren beneath a scorching sun - rosy in the light, blue in the shadow. Memnon has lost his voice, and, since the Roman Emperor essayed its restoration, no longer salutes Aurora. The inscriptions on the pedestal seem to-day untrue, but the phenomenon of his melodious vibration is established by history in the most incontrovertible manner. At the foot of these gigantic statues, a group of men and camels may serve as a scale of comparison; they scarcely attain the height of the base-plate. To relieve this landscape of limestone and granite, M. Gérôme has placed in the foreground several clumps of green herbs, which the summer will soon change into tawny tufts, resembling a lion's mane ... / The Plain of Thebes is the reverse side of the picture we have just described. The foreground consists of fragments of enormous columns, in scattered blocks, on one of which is carved the image of a god; it is the debris of a ruined palace, probably that of Amenophis; beyond the ruins stretches a plain subject to inundations, crossed by a road along which a caravan of dromedaries is passing ...The two colossi, with great difficulty diminished by the distance, reappear, seen from the back, their royal tresses gathered and knotted behind their heads like a queue à la prussienne. Farther on, the eye discovers blackish lands, besprinkled with trees and palms, and to the right hillocks, or rather mounds formed of ruins, fragments of which stick up through the ground. In the background a chain of distant mountains, rosy and purple; over them a sky mixed with heat, which seems to lie far above and behind the shimmering, luminous atmosphere, and on which a flock of wandering storks make microscopic points,' (quoted in Fanny Field Hering, Gérôme: The Life and Works of Jean Léon Gérôme, New York, 1892, pp. 66-7; Gautier's original French text appeared in L'Artiste, 28 December 1856, p. 23). The 'shimmering, luminous' atmosphere that Gautier describes in the Plain of Thebes is repeated in the present work.
Lot 8858
William Hogarth (British 1697-1764): 'Frontispiece and its Explanation (for Samuel Butler's Hudibras)' and 'St Hudibras', pair 18th century engravings; After George Cruikshank (British 1792-1878): Frontispiece to 'Prince Egan's Finish to the adventures of Tom, Jerry and Logic...', engraving with hand-colouring; together with 17th century engraving after Peter Paul Rubens and a collection of other antique engravings including an original 18th century pen sketch on canvas (approx. 15)
Lot 8891
Ernest Forbes RBA (British 1879-1962): Sketchbook, containing five pages with sketches and a collection of nine letters each signed with small sketches, the other pages containing various prints and examples of master artists' work Provenance: Direct from the family of the receiver of the letters - Frederick Charles 'Chas' Ellis, the Land Agent for the Bramham Estate, also depicted in the sketch of the gentleman with his feet up
Lot 8836
Frederik Bouttats the Younger (Flemish 17th century): Scene from the Iliad, 17th century etching; 18th/19th century engraving study of Castor and Pollux from Pompeii; 17th/18th century etching of Roman farmers; 18th century engraving of the Muse 'Music Introduced to Apollo by Minerva'; four other Classical themed antique etchings and engravings including Telemachus and Mentor and an early 19th century pencil sketch of a maiden (8) (unframed)
Lot 2
† ABDEL HADI AL GAZZAR (EGYPTIAN 1925-1966) SOAD'S PORTRAIT IN RAS EL BAR (PREPARATORY SKETCH FOR A FIGURE IN PEACE)signed, titled and dated in Arabic Abdel Hadi Al Gazzar / 29/5/1964 Head of / Soad lower leftpen and indian ink on paper27.5 x 21.5cm; 10 3/4 x 8 1/2in58.5 x 50.5cm; 23 x 19 3/4in (framed)ProvenanceCollection of Dr Mohammed Said FarsiThence by descentLiteratureDr Sobhy Al Sharouny, A Museum in a Book, Cairo, 1998, pp. 281 and 288, illustratedTo be included in the Abdel Hadi El Gazzar: Catalogue Raisonné of the paintings by Valerie Didier and Hussam Rashwan
Lot 4
KEITH MCBRIDE, MR FOX collage on card album cover, signed31cm x 31cm Born in South Shields and inspired by London, Keith McBride transformed his medium from oils, watercolours and inks to collages using Vogue and Tatler. Keith’s work offers something of fascination, he refers to his collages as “a massive jigsaw puzzle in reverse.” Research is a massive part of the process, Keith will spend hours and hours turning the pages of magazines until his hands hurt to find the best snippets for these bespoke collages. These striking pieces of artwork begin with a sketch of stick men, which Keith allows to develop unknowingly: "it is as much as a surprise to me how it will finish as it is to anyone else." His contemporary and unique collages are eye-catching and there is always something new to find in them. Instagram: keithmcbride
Lot 196
STEVE MCCRACKEN, FREE IN CHAOTIC TIMES acrylic, spray paint, paint pen and ink on card album cover, signed31cm x 31cmInspired by everyday life, human encounter and romanticism Steve McCracken aka None Here explores situations which sometimes get lost. His work is romantic capturing individual moments of our lives which he explores by creating a painted collage allowing his viewers to get lost within. His paintings are made up from layers of acrylic paint, with ink scratched in the form of text and sketching, there is also a use of permanment markers which brings a more controlled feeling to his work. As well as this Steve uses pencil spending more time expressing a sense of time and a greater exploration of his subject matter. Steve is excited by the initial feeling or idea humans get, that instant idea, that instant influence, that instant inspiration that inspires anyone to write, draw or create. This initial energy is usually put on paper or lost within sketch books, Steve tries to capture this initial energy within his paintings, expressing that feeling of romantic angst along with a sense of success within self development. Instagram: stevemccrackenart_nonehere
Lot 26
JOSEPH EDWARD SOUTHALL (BRITISH 1861-1944) FIRST SKETCH FOR PORTRAIT OF GERALDINE CADBURY Pencil Signed with monogram and dated 1 IX 1920 (lower left), titled (lower centre) 44 x 30cm (17¼ x 11¾ in.)Provenance: Sale, Christie's, London, 24 January 2007, lot 205 Condition Report: Executed on buff coloured paper, hinged to the mount at two points along the upper edge. There is some discolouration throughout and some light spots of scattered foxing. There is also some surface dirt and scuffing to the paper surface, notably to the upper corners and along the lower edge. The sheet may benefit from treatment by a professional paper restorer. Framed under glass.Condition Report Disclaimer
Lot 428
Bolton Castle-A very atmospheric pencil on card sketch of Bolton Castle which is located in Wensleydale, Yorkshire. Built between 1378 and 1399 by Richard, 1st Baron Scrope, this grade I listed building remains in the family and is often used for a location in films and TV series, this excellent 19thc drawing measures approx.9"x7" overall.
Lot 429
Bradley Rectory-A pencil sketch dated 1857 of Bradley Rectory which is situated in Great Bradley on the Suffolk Cambridgeshire boarders. The old rectory was built on the site of an older building erected on Glebe land and first documented in 1709, as we go to print the house is for sale in a value range of £680,000 to £716,000. The much cheaper drawing measures approx 7"x9".
Lot 228
Malaya, an interesting collection of six pieces of design work for the face and reverse of various denomination notes, including three incomplete pencil sketches on paper with tracing paper overlays for 50 and 100 Ringgit notes, the 100 Ringitt sketch has notes and annotations in the margin, all three are signed 'John Austin', the illustrated areas measuring 9.5cms x 16.5cms, along with three early stage design essays for 1, 10, and 50 Ringgit notes, hand illustrated in pencil and watercolour on paper, with some pencil annotations to the designs and also on the back, the smallest measuring 6.4cms x 12.1cms, the largest measuring 9.5cms x 16.7cms, all in good condition
Lot 215
Hong Kong and Shanghai Banking Corporation, a pair of original hand drawn design essays for the face and reverse of the $100 circulation note issued 1959 to 1972, produced by Bradbury Wilkinson, most likely by Derek Friday, the two designs on paper in pencil, ink, and watercolour, measure 9.5cms x 17.1cms, the face design is dated 1946, in good condition with a small number of minor spots and stains and minor rounding of the corners, accompanying the design essays is a coloured pencil sketch on tracing paper of the reverse a $100 note similar in appearance to the 1959 note, and may have been an earlier design idea for this note
Lot 161
§ Eric Arnold Roberts Ennion (British 1900-1981) Study of a male wagtailsigned and titled lower rightwatercolour and pencil27.5 x 21cm; framed 49 x 41cmProvenance:A sketch produced in 7 minutes and filmed by BBC Bristol in 1971 for the Country File programmeMinor undulations to paper. Little spotting near bottom centre. Very light creasing to the edges of the paper. Dirt to glass. The first image reflects the truest colour of the watercolour, not taken with flash.
Lot 3
A large ceramic dish made and designed by Norman Stevens & David Hockney. Circa 1957-58. The dish with applied colours of willow blue and black. (Slight damage to one end) Size 57cm x 18cm. Provenance:made and gifted to the Vendor Mr Peter Richards. The dish with the pencil and ink sketch from both David Hockney and Norman Stevens. The original pencil sketch will be sold with the dish and a copy of the letter to the vendor from David Hockney.
Lot 635
FROM THE STUDIO OF HELEN GREENFIELD (BRITISH 20TH CENTURY) WORKS ON PAPER, several hundred works on paper and card, to include college work, subjects include figure studies, nude figure studies, still life, and wallpaper and fabric designs, most of the work appears to be by Helen Greenfield, some are signed (early work in her maiden name), however, there may be a small number of works by other artists, Helen was a member of Leicester Sketch Club, Treasurer of Leicester Society of Artists and a founder member of The Friday Group who were an all-female group of artists (artist resale rights apply)
Lot 638
FROM THE STUDIO OF HELEN GREENFIELD (BRITISH 20TH CENTURY) APPROXIMATELY SIXTY WORKS OF ART, to include portraits, nude figure studies and still life studies, various media including oils, acrylic and mixed media, most works are on board but a smaller number are on paper, all unframed, largest size approximately 90cm x 60cm, most of the work appears to be by Helen Greenfield, some are signed, however, there may be a small number of works by other artists, Helen was a member of Leicester Sketch Club, Treasurer of Leicester Society of Artists and a founder member of The Friday Group who were an all-female group of artists (artist resale rights apply)
Lot 641
A SMALL QUANTITY OF PAINTINGS AND PRINTS, to include Vincent Selby (1919-2004) a winter landscape with farmhouse, signed bottom right, oil on wood panel, approximate size 24cm x 37cm, two watercolours depicting hunting dogs with prey, signed and dated 1922, approximate sizes 17cm x 15cm, unsigned late 20th century still life study of flowers in a vase, oil on canvas, approximate size 19cm x 24cm, Tim Bulmer limited etching, pencil sketch depicting a nude female figure from behind, Signed Elsie '88, together with other pictures
Lot 322
CIRCLE OF WILLIAM TURNER OF OXFORD (1789-1862) 'BEAULIEU RIVER, HANTS', an unsigned sketch depicting a river with trees to the right bank, town to the distance, pencil on paper, approximate size 17cm x 25cm, Condition Report: light foxing in places, paper marked in places (PROVENANCE: The Arnold Fellows Collection)
Lot 1490
*Local interest - After William Heaton Cooper RA (1903-1995), a coloured print, 'Rydal Water', framed, mounted, and under glass, 21cm x 32cm, & 36cm x 46cm overall, together with a pencil sketch of Pelter Bridge at Rydal, and an illustrated coloured map of the Rotary International District 1190 in North Lancashire, Westmorland, and Cumberland
Lot 487
VERSCHIEDENE KÜNSTLER: New York International. Portfolio mit 8 (statt 10) meist farb. Orig.-Graphiken versch. Künstler 1965/66 sowie einer Einführung von Henry Geldzahler. (New York), Tanglewood Press Inc., 1966. Gr.-Fol. Lose (bzw. Plexiglas in Passepartout montiert) in OLwd.-Kassette. Expl. 20/225. Enthält je eine Arbeit von Arman (Boom-Boom, Farbsérigraphie 1966. Otzmeguire/Moreau/Arman 254), Mary Bauermeister (Sketch for Tanglewood Press; Photolitho mit Collage und stellenweisem Farbstiftkolorit 1965), John Goodyear (Two-Sides Movement, Farb-/Sérigraphie auf Vinyl mit separater ausgestanzter Vinylauflage 1965; dazu eine Anleitung zum Hängen), Charles Hinman (Print Collage, Collage aus Farbsérigraphien auf Karton 1965), Allen Jones (Self, Farbsérigraphie 1965. Lloyd 28), Robert Motherwell (Untitled, Lithographie 1966. Belknap 28), Ad Reinhardt (Abstract Print, Sérigraphie auf Plexiglas 1966) und James Rosenquist (Somewhere to Light, Farbsérigraphie 1966. Glenn 16). Im Impressum und sämtlich numeriert (Hinman: Expl. „X“ der mit A-Y bezeichneten 25 Exemplaren für die Künstler, Verleger und Mitarbeiter). Sämtlich signiert (Goodyear auf der Innenseite der gestanzten Auflage) bzw. monogrammiert (Reinhardt), teils mit „65“ datiert (Goodyear, Hinman, Jones) sowie mit dem Drucker-Trockenstempel der Chiron Press (Arman, Jones) bzw. des Irwin Hollander’s Workshop (Motherwell), beides New York. Meist auf kräftigem Vélin. Graphiken in gutem Zustand, nur Collage (Hinman) an den Rändern etwas unfrisch und in einer Ecke geringfügig berieben. Kassette leicht fleckig, am Rücken und Seitenteil leicht beschädigt. [ms]
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