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Click here to subscribePink Floyd: Two Black And White Vintage Press Photos Of Syd Barrett, circa 1967, with ink stamp to one print Sincere Management, accompanied by a letter concerning the provenance, largest 8in x 10in (20cm x 25cm) Footnotes: Provenance From the collection of Peter Jenner. For further information on this lot please visit Bonhams.com
Syd Barrett / Pink Floyd: Three Black And White Vintage Press Photographs Of Syd Barrett, circa, 1967, two group shots including David Gilmour and a single portrait shot, believed to be taken by David Larcher, two prints with Sincere Management ink stamp to the back and handwritten Please Return After Use, accompanied by a letter concerning the provenance, each 10in x 8in (25cm x 20cm), (3) Footnotes: Provenance From the collection of Peter Jenner. For further information on this lot please visit Bonhams.com
Ian Emes (British, Born 1949): A Multi-Cel Set Up for 'The Dark Side Of The Moon' titled 'Speak To Me - I've Been Mad For Fucking Years', 1974, an original animation cel comprising two cel set-up, gouache on celluloid, depicting the album cover's iconic prism, against a black background in mount and framed, accompanied by a letter from the artist, 12 1/2in x 10in (32cm x 25.5cm) Footnotes: Provenance: Offered directly by the artist. Inspired by and created for Pink Floyd's World Tour of their landmark album The Dark Side Of The Moon. Made for projection onto the famous circular screen, aka 'Mr Screen', for the track Speak To Me. In July 1971 Ian Emes graduated with First Class Honours in Fine Art at Birmingham College of Art. While having no interest in animation, when he saw the Beatles' film Yellow Submarine and the Slit Scan sequence in Kubrick's 2001:A Space Odyssey, he was transformed and saw the unlimited scope that the medium offered. This coincided with another significant event in his life. Attending a party, Emes was enveloped by the pall of drug-related smoke in the air. Pink Floyd's album Meddle was playing at full volume and the track One Of These Days in particular, sparked an intense vision of a film. He immediately drafted a storyboard of the dream-like images he had imagined in his hallucinatory state. Over the next six months Emes set about creating an animated film called French Windows, without guidance and devising his own techniques. It was a technically ambitious project and he produced 5,640 drawings which were traced onto celluloid sheets and painted. He then spent a further two months filming frame by frame. Running the processed film on a 16mm picture synchroniser alongside a magnetic track of One Of These Days, he could hardly comprehend the film that he had produced - but the ground was laid for a lifelong career as an animator. In 1973 Emes moved to work in London. Meanwhile French Windows began garnering awards. It was also shown on BBC TV's flagship rock programme The Old Grey Whistle Test, where it was seen by Pink Floyd's Rick Wright. The next day Emes was contacted by the band's manager, Steve O'Rauk, who said that they wanted to see the film. Emes initially thought he was in trouble for using their music without permission. He booked a preview theatre in London's Soho and waited for the band to arrive. Writing in February 2023, Emes described the meeting: 'On time, one by one, the Pink Floyd members trooped into the theatre and sat beside me. A naive 24 year-old with no experience in the music industry, I was terrified. These musicians were my Gods. The lights dimmed and French Windows played in perfect sync to One of These Days . David Gilmour drummed his fingers on the armrest and three minutes into the film he paused and whispered, 'Did you cut out some of the music?' I had in fact edited 30 seconds out of a repeating riff thus reducing a five-minute track to 4 1/2 and saving an additional two months of drawing. The edit was undetectable to most but not Gilmour. Now I was certain that I was in trouble. The band thanked me politely and departed without saying another word. The next day I received a call from O'Rauk – Pink Floyd wanted me to animate their album, The Dark Side Of The Moon.' Three of the band's members were former architecture students and Emes believes this is one of the reasons they responded to the flowing spatial structures of his animation. His work also provided a way to replace lighting effects with moving images that were synchronised to the music, thus making a statement, albeit enigmatic. It allowed for unlimited imagery and avoided a human element because it was the band's remit to remain enigmatic. Pink Floyd were reluctant celebrities and preferred anonymity. Emes was given carte blanche with the project. His storyboards visualised the entire album, with sequences for all tracks. In a tiny studio and with three assistants, frame by frame he animated the clock sequences for Time, which were formatted for 'Mr. Screen', the now-iconic circular screen used by the band in their live shows. The Time animation was first shown at the band's performance at the Empire Pool, Wembley in November 1974. Together with VIPs including Paul McCartney and Mike Oldfield, Emes watched the show, which dazzled the audience with its combination of incredible music and futuristic visuals. This was a first in the history of rock concerts and a precursor of today's immersive experiences. While Pink Floyd were on tour, Emes expanded his team and worked around the clock on his animation. When the band returned he screened the completed animation and Roger Waters remarked: 'You have made your own film on our money.' Not exactly a stamp of approval but Roger then proffered some of his own ideas for sequences. He had realised the potential of animation, which would become the medium of choice for his spectacular solo concerts. Pink Floyd continued to use Emes' footage for the next fifty years and his animation has become intrinsic to the band's legacy. Released in March 1973, the statistics for The Dark Side Of The Moon are impressive. These include: Third equal on the list of best-selling albums of all time; Billboard album chart for 736 consecutive weeks (March '73-July '88); in 2006, combined total of 1,716 weeks on Billboard 200 and Pop Catalog charts; in 1998 certified x15 platinum in the US; certified x14 platinum in the UK; in 2017, seventh best-selling album in the UK; best-selling album of the 1970s; total worldwide sales by 2013 estimated at 45 million; 55th on Rolling Stone magazine's 2020 list of 500 Greatest Albums Of All Time; in 2012 selected for preservation in the US National Recording Registry by the Library of Congress. This lot is subject to the following lot symbols: † † VAT at the prevailing rate on Hammer Price and Buyer's Premium. For further information on this lot please visit Bonhams.com
Jamie Reid (British, born 1947): God Save The Queen, 1997, no.173/350, screenprint in gold and blue, with original 'Artificial' blind stamp and official Polygram Sex Pistols license stamp to the verso, signed, numbered and dated by the artist to the lower edge, 29in x 39in (74cm x 99cm) Footnotes: Provenance: The Andrew Wilson Collection This lot is subject to the following lot symbols: AR AR Goods subject to Artists Resale Right Additional Premium. For further information on this lot please visit Bonhams.com
Jamie Reid (British, born 1947): God Save The Queen, 1997, No.76/20, screenprint, blue and green variant, designed by Jamie Reid, signed and numbered by the artist in pencil to the lower edge, with original Artificial blind stamp and Polygram/Sex Pistols stamp to verso, 29in x 40in (74cm x 101.5cm) This lot is subject to the following lot symbols: AR AR Goods subject to Artists Resale Right Additional Premium. For further information on this lot please visit Bonhams.com
Jamie Reid (British, born 1947): Never Mind The Bollocks, Here's The Sex Pistols, 1997, No.68/200, screenprint, signed and numbered in pencil by the artist to the lower edge, with original Artificial blind stamp and official Polygram Sex Pistols license stamp, 29in x 39in (74cm x 101.5cm) This lot is subject to the following lot symbols: AR AR Goods subject to Artists Resale Right Additional Premium. For further information on this lot please visit Bonhams.com
The Penny Black 170th Anniversary Stamp and Gold Coin Set, containing an original 1840 Penny Black Stamp along with the world's first Penny Black commemorative struck in pure 24 carat gold, with pearl black finish, from the London Mint, cased with certificate together with the 170th Anniversary Victorian Crown and Stamp set including an 1845 Crown, 1840-41 Penny Black, 1841 Penny Red and an 1841 Tuppenny Blue, cased
A German Third Reich DLV/ NSFK Flyers Dagger by F & A Helbig, with full aluminium fittings, blue leather covering to the grip, cross guard with blackened central swastika, housed in its original blue leather covered scabbard with aluminium fittings, NSKK acceptance emblem stamp to the top scabbard throat mount. Original short leather hanging strap attached to the scabbard. Double edged knife blade with makers mark to the base. The blade measures 17.5 cms, overall 35cms.
A SILVER CIGAR CUTTER AND A SILVER SINGLE CIGAR CASE, BOTH ASPREY PLC the cutter with steel blade guillotining a smaller and a larger aperture, on oblong stand stamped 'Asprey', Birmingham, 1990, the case as a plain tube with silver-gilt collar stamped with the Asprey 'A', London, 1997, both 15cm long; together with a paperweight, also Asprey PLC, London, 1988, formed as a burr wood rectangle sawn into by a silver saw initialled W, leather covered base with silvered stamp 'Asprey', 10cm long (3)
AFTER ANTONIN MERCIE (1845-1916): DAVID a French bronze figure, Bardedienne Foundry, Paris, late 19th century, posed sheathing his sword, one foot resting on the head of Goliath, inscribed 'A. MERCIE', the circular base with strapwork border centred by a roundel titled 'דוד' for David in Hebrew, inscribed to rear 'F. BARBEDIENNE, Foundeur' and 'RÉDUCTION MECANIQUE A. COLLAS BREVETÉ' circular stamp, 61cm highModelled in Rome in 1869, Mercié presented the life-size figure at the Paris Salon of 1872, the first Salon held since the tumult of the Paris Commune and the preceding disaster of the Franco-Prussian war. Widely admired for its elegance, the figure was also seen as a symbol of France’s hopes for vengeance on the Prussians. The bronze cast by Thiébaut Frères was acquired by the state, exhibited primarily at the Luxembourg Palace and now at the Musée d’Orsay (RF.186). The Barbedienne foundry produced a number of variously sized reductions, adding a loincloth not found on the original.
A rare size 2 Tete Jumeau bisque head Bebe doll, French circa 1890, the pale bisque head with fixed brown glass paper-weight eyes, finely painted lashes and feather brows, closed mouth and pierced ears, original brown wig and cork pate, on a good fully jointed wood and composition body with fixed wrists and blue ‘Jumeau’ stamp to rear, wearing original red and blue dress, socks and brown leather shoes, 11 ½” (29cm) tall, red stamp to back of head, (condition: head perfect, body good).
A size 4 Depose Emile Jumeau bisque head Bebe doll, French circa 1885, the sweet small size bebe with pale bisque head, fixed blue paper-weight eyes, feather brows, painted and shaded closed mouth, pierced ears, original cork pate and long brown wig, on a good jointed fixed wrist eight ball joint body, with ‘Jumeau, Medaille D’or, Paris’ blue stamp to rear, wearing antique cream satin dress with lace and peach ribbon, bonnet, underclothes, socks and antique brown leather shoes, 12 ½” (32cm) tall, incised DEPOSE, E4J, (condition: excellent, small flake to paint on left hand, some splits to leather shoes).
A size 6 Depose Emile Jumeau bisque head Bebe doll, French circa 1890, with pale bisque head, fixed brown paper-weight eyes, feather brows, painted and shaded closed mouth, pierced ears, original cork pate and long brown wig, on a good jointed fixed wrist eight ball joint body, with ‘Jumeau, Medaille D’or, Paris’ blue stamp to rear, wearing antique cream cotton dress with red collar and trim, underclothes, socks and antique brown leather shoes, 15” (38cm) tall, incised DEPOSE, E6J, (condition: excellent, a little wear to body and shoes).
A rare Schmitt bisque head Bebe doll, French circa 1880, beautiful pale bisque head, fixed brown paper-weight eyes, feather brows, painted and shaded closed mouth, pierced ears, original cork pate and auburn wig, on a good jointed fixed wrist eight ball joint body, with crossed hammers on shield stamp, wearing antique cream dress with red stripes and polka dot pattern, straw bonnet, underclothes, socks and antique brown leather shoes, 15” (38cm) tall, incised ‘crossed hammers in shield’, SCH, 1, in 1878 Schmitt & Fils won a silver medal at the Paris Exposition for their Bebe dolls, (condition: head in perfect condition, one tiny wig flake to right temple, good original body with some slight wear).
A fine Leopold Lambert ‘Russian tea server’ Tete Jumeau automata, French circa 1890, the pale bisque head with fixed blue glass paper-weight eyes, feather brows, nicely painted closed mouth, pierced ears with gold thread earrings, cork pate and brown shoulder length wig, having bisque lower arms, and composition legs, wearing a cream and gold Russian costume with metallic ribbon detail, headdress with jewels, original underclothes, socks and shoes, standing on a red velvet covered base with LB initialled key and stop/start lever, holding a painted cream wooden tray with milk jug, two cups and saucers and holding tea pot, when wound she moves head from side to side, moves tray towards tea pot and pours the tea, whilst music plays, 19” (49cm) tall, head is marked with red stamp, Depose Tete Jumeau, 4, (condition: good working order, head perfect, possibly professional restoration to bisque lower arms).
A scarce Steiner Figure A bisque head Bebe doll with rare bisque hands, French circa 1895, the good pale bisque head with fixed deep blue paperweight eyes, finely painted lashes and feather brows, open mouth with well detailed painting to lips and row of upper teeth, pierced ears and blonde shoulder length wig, on a good fully jointed wood and composition body and with extremely well moulded detailed bisque hands and ‘Le Petit Parisian’ Steiner stamp to body, wearing white cotton and lace dress with red sash, underclothes, socks, leather shoes and straw bonnet decorated with pink bow and spring flowers, 20 ½” (52cm) tall, (condition: head and hands perfect, slight dent to left lower arm).
Tete Jumeau bisque head Bebe doll, size 10, French circa 1890, the pale bisque head with fixed blue glass paper-weight eyes, feather brows and open mouth with upper teeth, pierced ears with pearl earrings and blonde wig, on a fully jointed wood and composition body with walking mechanism and ‘Bebe Jumeau’ blue stamp, wearing a lovely ivory silk pleated dress with light blue jacket and sash, straw bonnet, socks and original brown leather size 10 Jumeau shoes with bee stamp, 23” (59cm) tall, (condition: good).
A Kestner mould 168 bisque head doll, German circa 1905, with weighted brown glass eyes, raised brows, open mouth with upper teeth, brown hair wig, on a good fully jointed wood and composition body with red ‘GERMANY 3369’ stamp, wearing white cotton dress with silk and lace bodice, underclothes, socks and shoes, black straw hat with feather and fur stole, 22” (56cm) tall, (condition: good).
A ‘Traumerchen’ Kathe Kruse Sand Baby, German circa 1925, the life size doll of a sleeping new born baby, stockinette sand filled body and moulded muslin head with oil painted features, closed eyes/mouth and light brown hair with wisp to fringe, body with detailed stitched fingers and toes and belly button, wearing white cotton night dress with lace collar and sleeves, and pink knitted booties, 2?626 stamp to left foot, 21” (54cm) tall, (condition: in lovely original condition, some flakes to painted hair and a little wear to fingers), these dolls were inspired by Kathe Kruse after the birth of her son Max in 1922 and were used in hospitals as training aids for new mothers.
Three bisque head girl dolls, German circa 1910, including A.M 390 with weighted blue glass eyes, open mouth, upper teeth and original blonde wig, on a good fully jointed wood and composition body with red stamp and wearing original underclothes, 19” (49cm) tall, (condition: very good), together with a similar A.M 390 with original wig and wearing a white cotton dress and an A.M 1894 bisque head doll, (3 items).
A rare Marklin tinplate stroller, German circa 1905, the painted cream stroller with embossed back panel and foot rest, painted pink line detail to seat, metal scroll side panels and turned wooden handle, four cream spoked wheels with grey painted wheels and Marklin stamp to underside, 7 ¼” (18cm) high, (condition: very good).
A 16-Bore Tubelock D.B. Sporting Gun By Joseph Manton, Hanover Square, London, No. 8769 For 1822 With rebrowned twist barrels with silver fore-sight, signed in full along the rib and with bright bores, recessed patent breeches engraved with foliage between and each with short platinum line, rectangular platinum-lined maker's stamp (one replaced in copper) and platinum-lined touch-hole, tang engraved with foliage involving addorsed hound's heads at the top, serial numbered border engraved flat locks each decorated en suite, signed 'Joseph Manton Patent' and with square tail, hammers (one retaining screw missing) each engraved with a foliated serpent, and engraved tube-retainers (one with replaced screw) each acting against a reblued spring roller, figured half-stock with chequered grip, reblued border engraved steel mounts comprising butt-plate decorated with a martial trophy and foliage on the heel tang, trigger-guard with a martial trophy on the border engraved bow, trigger-plate with pineapple finial, rear ramrod-pipe en suite, vacant silver escutcheon and barrel-bolt escutcheons, and original brass-mounted ramrod, London proof marks and Charles Lancaster's barrelsmith's mark 74.3 cm. barrels Footnotes: Previously unrecorded For further information on this lot please visit Bonhams.com
A Cased Pair Of 20-Bore Flintlock Duelling Or Officer's Pistols By Wilbraham, Probably George, London, Circa 1820 With browned twist octagonal sighted barrels each engraved 'London' in gothic script along the top flat, case-hardened breeches each with rectangular gold-lined maker's stamp, gold line and platinum-lined touch-hole, case-hardened tangs each with back-sight and engraved with a part martial trophy and foliage, border engraved flat bevelled locks each signed in gothic script and decorated with a starburst behind the rainproof pan and with foliage at the stepped tail, cocks decorated en suite, engraved safety-catches and blued roller springs, figured half-stocks each with chequered rounded butt and silver fore-end cap, blued steel mounts including spur trigger-guards each engraved with a martial trophy and foliage on the bow and with pineapple finial, vacant silver escutcheons and barrel-bolt escutcheons, original brass-mounted ramrods, and in fine condition: in their lined and fitted mahogany case with some accessories including brass-mounted powder-flask (cut-off spring incomplete), the exterior of the lid with circular flush-fitting brass carrying handle, London proof marks 21.5 cm. barrels Footnotes: George Wilbraham is recorded as a viewer of finished arms to the East India Company between 1807 and 1818, and as a Gunmaker & Sword Cutler at 26 Goulston Square, London between 1819 and 1830. He was at 123 Leadenhall Street, London between 1826 and 1836 For further information on this lot please visit Bonhams.com
A Cased 54-Bore Percussion Deane-Harding Patent Second Model Double-Action Five-Shot Revolver By Deane & Son, London Bridge, No. 6, 139 L, Circa 1865 With blued octagonal sighted take-down barrel (small area of scratching) hinged to the top of the standing breech, blued top-strap signed in full, blued serial numbered cylinder and frame, the latter engraved 'Deane Harding Patent No. 6,139 L' and with indistinct conjoined 'DH' acceptance stamp on the right, blued pivoting barrel-catch and cylinder-stop, bright hammer and rammer, the latter with sprung side-catch, trigger-guard and ovoidal butt-cap, chequered figured rounded butt, and most of its old finish: in original lined and fitted oak case with accessories including James Dixon & Sons powder-flask with split-ring for suspension, and retaining most of its original finish, and brass bullet mould, the exterior of the lid (old repaired split) with circular vacant brass and keyhole escutcheons, London and Birmingham proof marks 15.3 cm. barrels Footnotes: John Deane & Son, successors to Deane, Adams & Deane, were the manufacturers of revolvers under William Harding's British Patent Nos. 669 & 1159 of 1858. See J. Bell and J. Philpott 'Brief Notes on Deane-Harding Percussion Revolvers', Black Powder, December 1960, pp. 10-12 The original blued two-piece fluted cylinder for .450 centre-fire cartridges can be made available to holders of the appropriate section 5 authority, or under both categories of s.7 Heritage Pistols in the UK For further information on this lot please visit Bonhams.com
A Cased Pair Of 40-Bore Flintlock Duelling Pistols By Joseph Manton, London, No. 6090 For 1813 With heavy twist octagonal sighted scratch-rifled barrels (one with small patch of pitting on one flat) each retaining some original browning on the bottom flats at the breech, silver fore-sights, case-hardened recessed patent breeches each with rectangular platinum-lined maker's stamp, platinum line and platinum-lined touch-hole, border engraved case-hardened tangs each with large back-sight and decorated with foliage, case-hardened border engraved detented locks each signed in capitals and decorated with a starburst behind the rainproof pan with foliage, engraved safety-catches, foliate engraved cocks, and steels each with roller bearing on a ramp on the blued steel-spring, the steels engraved 'JOSEPH MANTON PATENT' and numbered respectively '5839' and '5840', figured half-stocks each with dark horn cap and chequered rounded butt (one with old slender split), border engraved blued steel mounts comprising butt-caps each with a flower-head centred on the retaining screw, trigger-guards each with serial number in an oval against a martial trophy on the border engraved bow, trigger-plates each with pineapple finial, and turned rear ramrod-pipes, silver escutcheons each engraved with owner's crest and initials 'HS', horn-tipped ramrods, probably original, and retaining most of their original case-hardened and blued finish: in original lined and fitted mahogany case (compartment lids repaired, one knob incomplete) with some accessories including James Dixon & Sons Britannia metal three-way powder-flask, one side of the body engraved with a gothic 'H' within a garter, brass powder-measure, and brass and wooden loading and cleaning rods, the interior of the lid with maker's trade label (two small areas of damage), the exterior (scratches and small old repair) with circular brass escutcheon engraved with owner's crest and initials, and centred on a flush-fitting circular brass carrying handle, William Fullered's barrelsmith's mark 24 cm. barrels Footnotes: Provenance Olympia Auctions, Antique Arms, Armour & Militaria, 30 June 2021, lot 165 Literature W. Keith Neal & D.H.L. Back, The Manton Supplement, 1978, p. 239 D.H.L. Back Great British Gunmakers, The Mantons 1782-1878, 1993, p. 104 The crest appears to be that of Henry Sansom For further information on this lot please visit Bonhams.com
A Mameluke-Hilted Officer's Levée Sabre Of The 11th (Prince Albert's Own) Hussars By Henry Wilkinson, Pall Mall, London, Mid-19th Century With bright curved blade etched against a matt ground over two thirds of its length with symmetrical designs of foliage involving along one side crowned regimental badge and battle honours, and along the other with crowned 'VR' cypher and further battle honours, the forte on one side with maker's details, and on the other with Wilkinson's circular brass proof stamp centred on an etched star, ormolu-mounted hilt including cross-guard cast and chased with symmetrical designs of foliage, ivory grip-scales secured by floret-headed rivets, and complete with its bullion sword-knot, in its original bright steel scabbard (minor dents) with ormolu mounts cast, pierced and chased with running foliage within borders of small rocailles, and in fine condition 80 cm. blade Footnotes: For a related sword see Bonhams, Oxford, The Alan Barauskas Cavalry Collection, 13 July 2010, lot 142 This lot is subject to the following lot symbols: Y Ф Y Subject to CITES regulations when exporting items outside of the EU, see clause 13. Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU. For further information on this lot please visit Bonhams.com
17th Middlesex Rifle Volunteer Corps (North Middlesex) Officer’s Black Cloth Helmet. A fine example c.1902-08, the scull complete with blackened silvered fittings, the frontal plate eight pointed star with crowned laurel wreath, and Maltese Cross, to the centre ‘North Middlesex’ and bugle, inside manufacturer’s stamp ‘Hawkes & Co. London’, some moth nips, otherwise good condition £360-£440
A collection of mainly 1970s crown sized coins all A/unc. but uncased, including, Bermuda (1987) Cook Is (two 1986), Cyprus (1989); Gibraltar (two 1977); Guernsey (1977); Isle of Man 1970, 1972-74, 1976 (two issues), 1977-1979; Jamaica (1976); Jersey (two 1977); Liberia (1994 (three variants, also 1996); New Zealand (1982, 1983, 1987); Niue (1997); Samoa (1980, 1992); Sierra Leone (1974); St. Helena (two 1977); Tokelau (two 1980, 1981); Tonga (1967 In memoriam 1965-1970 over-stamp, also 1986); Tristan da Cunha (two 1977), UK (two 1977); USA (1974, 1976), also Shipley, West Yorkshire proof brass medallion Golden Jubilee (qty)
A set of four Royal Crown Derby paperweights, Tropical Fish Series, Pacific Angel Fish, exclusive limited edition 1,744/2,500, gold stopper, 12cm; Tropical Fish Guppy, 12cm high, Koi Carp, 18cm long and Tropical Fish Guppy, 12cm high, all with gold stoppers, red printed marks and Royal Crown Derby stamp to the base (4)
JAMES MACINTYRE; a pair of twin handled meiping shaped vases decorated in the 'Aurelian Ware' pattern, printed marks and retailer's stamp for AM Shepherd of Batley, height 32cm (2).Condition Report: Light wear to the gilding of each vase, areas of the gilding that have possibly been retouched or later painted, light scratches to the glaze to the body.
ATTRIBUTED TO WILLIAM VAN DE VELDE (1633-1707); watercolour, beach scene with ships, with window verso to the back panel showing a pencil signature and ink stamp, 17.5 x 31cm, framed and glazed, with a David Cox monocrome watercolour landscape, 15 x 22cm (2) Provenance: The Van De Velde with label stating 'ex coll Bruce Ingram', 'Lucy sale Alderley Edge July 1971'. The Cox with a Fine Art Society label dated April 1970.
† NEAVE PARKER (1910-1961); a collection of fifty-seven watercolour and gouache pictures, many as illustrations for the Story of Mammals, with paper guards with artist's stamp in ink, the largest 46 x 31cm, all unframed.Condition Report: C/R Wear to edges with some chips and losses and general wear through being in a box, some of the designs are not named for the artist but are presumed to be so, some of the cut board designs are for a different publication to the story of mammels.
† LAURENCE STEPHEN LOWRY RBA RA (1887-1976); a limited edition pencil signed print, 'The Family', with Fine Art Trade Guild blind stamp, EDF, 436, signed lower right, 22 x 29cm, framed and glazed.Condition Report: Image appears to be in good condition however the glazing has been smashed so that will need replacing.
† SIR STANLEY SPENCER (1891-1959); monochrome lithograph, 'Marriage at Cana', titled, signed and numbered 49/75 in pencil, with Friary Studio blind stamp, with label verso for Cookham Exhibition 1961, 55.5 x 48cm, framed and glazed.Condition Report: Previous signed of slight damp, the mount is foxed and the frame has scuffs ans scratches throughout.
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