We found 77111 price guide item(s) matching your search
There are 77111 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
77111 item(s)/page
Lot 158
Vinyl - Roy Ayers - 7 original albums + 3 12”, including: Roy Ayers & Wayne Henderson - Step Into Our Life (1978 USA, Polydor PD-1-6179) VG+ (still in shrink) / EX (Appears Unplayed) + Printed Inner. Roy Ayers & Wayne Henderson - Prime Time (1980, USA, Polydor PD-1-6276) VG+ (Still in shrink) / EX (Appears Unplayed). No Stranger To Love (1979 USA, Polydor PD-1-6246) VG+ / EX + Printed Inner. Let’s Do It (1978 USA, Polydor PD-1-6126) VG / VG+ /EX- + Printed Inner. Roy Ayers Ubiquity - Lifeline (1977 UK, Polydor, 2391292) VG / VG+ / EX-. Drivin’ On Up (1983, UK, Melodic Uno records, UM LP2) VG+ / EX (Appears Unplayed). Fever (1979 USA, Polydor PD-1-6204) also Get Up Get On Down (UK 12”), (Sometimes)n Believe In Yourself (UK 12”), Running Away (US 12”)
Lot 377
Vinyl - Manic Street Preachers - set of 4 UK promo only 12”, all still sealed To include: Manic Street Preachers – If You Tolerate This Your Children Will Be Next (promo, MSP 12) still sealed. Manic Street Preachers – A Design For Life (promo, XPR 3043) still sealed. Manic Street Preachers – You Stole The Sun From My Heart (The David Holmes Mixes) (promo, XPR 3307) still sealed. Manic Street Preachers – Tsunami (Cornelius And Stereolab Mixes) (promo, XPR 3320) still sealed
Lot 378
Vinyl - Manic Street Preachers - set of 3 UK promo only 12”, all still sealed. To include: Manic Street Preachers – If You Tolerate This Your Children Will Be Next (promo, MSP 12) still sealed. Manic Street Preachers – A Design For Life (promo, XPR 3043) still sealed. Manic Street Preachers – You Stole The Sun From My Heart (The David Holmes Mixes) (promo, XPR 3307) still sealed
Lot 379
Vinyl - Manic Street Preachers - set of 3 UK promo only 12”, all still sealed. To include: Manic Street Preachers – If You Tolerate This Your Children Will Be Next (promo, MSP 12) still sealed. Manic Street Preachers – A Design For Life (promo, XPR 3043) still sealed. Manic Street Preachers – You Stole The Sun From My Heart (The David Holmes Mixes) (promo, XPR 3307) still sealed
Lot 380
Vinyl - Manic Street Preachers - set of 3 UK promo only 12”, all still sealed. To include: Manic Street Preachers – If You Tolerate This Your Children Will Be Next (promo, MSP 12) still sealed. Manic Street Preachers – A Design For Life (promo, XPR 3043) still sealed. Manic Street Preachers – You Stole The Sun From My Heart (The David Holmes Mixes) (promo, XPR 3307) still sealed
Lot 51
Vinyl - Soul Jazz / Jazz Funk / Jazz Fusion - 20 US original pressings albums to include : Dexter Wansel - Life On Mars, Shock - Shock, Hi-Gloss - Hi-Gloss, Azymuth - Outburo, Krystol - Gettin’ Ready, Sonny Rollins - Don’t Ask, Mark Murphy - Bop For Kerouac, Smoke City - I Really Want You (Still Sealed), Deodato, Dianne Reeves, Bob James, Lee Ritenour, Joe Sample, Marcio Montarroyos, Pieces Of A Dream, Whistling Midgets, Bobby Broom, Tania Maria, Neil Larsen. Condition varies but generally VG / VG+ with some examples still in shrink
Lot 52
Vinyl - Soul Jazz / Jazz Funk / Jazz Fusion - 20 US original pressings albums to include : Dexter Wansel - Life On Mars, Shock - Shock, Hi-Gloss - Hi-Gloss, Azymuth - Outburo, Krystol - Gettin’ Ready, Sonny Rollins - Don’t Ask, Mark Murphy - Bop For Kerouac, Smoke City - I Really Want You (Still Sealed), Deodato, Dianne Reeves, Bob James, Lee Ritenour, Joe Sample, Marcio Montarroyos, Pieces Of A Dream, Whistling Midgets, Bobby Broom, Tania Maria, Neil Larsen. Condition varies but generally VG / VG+ with some examples still in shrink
Lot 364
Large collection of over 100 war-date letters written by and to Lt. Lloyd P. Scott of the U.S. Army. Many of the letters are written in the early years of the war during his time training to be an aviation cadet, with Scott detailing his training exercises and flying cross country, and his family and friends telling him all of the gossip from home. Fourteen of Scott’s letters were sent through V-mail while he was overseas in 1945. Some of these letters read in part: ‘...I am at a Replacement Depot here in England. We don’t have much to do here. I worked for about two hours here this morning censoring enlisted men’s mail, that is all that I have done since I have been here...English pubs are a lot smaller than the U.S. beer joint...I don’t have a thing to except eat. Of course I never get up for breakfast...After a few months of this life I don’t know if I ever will be able to go to work...Well I have finally arrived at my final destination. It was two years to the day from the time I left for the army. I am now in France and living in the Chapel of a French convent. The beds that we sleep in were formerly occupied by German officers...Well I am still doing nothing. I go to a lecture now and then but that is pretty easy...We are getting a broadcast of Bob Hope on the radio now...I now have in 12 missions. The next one will be known as 12B, they don’t call it 13 around here not that the boys are superstitious, just as a precaution...I have a new bombardier now, they made a navigator out of my old one...The war news is looking better all the time. I listen to the to the radio every night and we have a large map here that we keep the battle lines marked up on...The war news is looking pretty good now. I have been taking some pictures...will send them home as soon as I get them printed...When I speak of a mission I mean the kind that you go over Germany with bombs in the bomb bay and let em have it. At one time I thought it was a gag about a German city being missing after an air raid, but it is done. The war news is looking better all the time...’ Accompanied by letters from the War Department to Scott along with his enlistment record, a photo postcard, depicting six pilots and their planes preparing to take off for night flying at Randolph Field, Texas, and a wooden frame, 11.5 x 7.75 in., presenting two photos of Scott, one as a young man in training and the other as a full-fledged pilot. Personal items of Scott’s in this lot include his belt and dog tag. The final piece of this lot is the April 3, 1945 edition of the ‘Frontpost’ newspaper, 4pp. 8 x 11 in., captioned ‘News for German Soldiers, Published by the American Forces in Western Europe’. Articles in the paper include ‘Mass Surrender in the West’, ‘Russians Deep in Austria’, ‘General Shoots Gestapo Flees’, ‘Shoot Ruthlessly on Population’, ‘Von Papen Arrested’, etc. Overall, very good. With over 100 war-date letters, this lot is certainly worthy of more research.
Lot 425
REPORTS ON THE HAMBURG-NUENGAMME CONCENTRATION CAMP (3) Incredibly detailed grouping of three retained carbon copies of prisoners' statements, likely collected for use at the Nuremberg Trials ca. 1946, each providing chilling details of the shocking conditions at the Nuengamme concentration camp and the atrocities committed therein. INCLUDES: a statement from witness 'Hagenah', 1p. 8vo., concerning the brutality of camp commander SS-Oberscharfuhrer Emanuel Eichler. In part: '...Eichler was brutal and coarse; he used to boast, among other things, that he was the executioner of Husum. This was the impression he produced on us also. He gave orders for amusement to prisoners who did not need to work - there were, in the final weeks, only about 100 of them. In addition, Eichler, together with some SS guards, beat a man who apparently attempted to escape so severely that the latter suffered four wounds in the head, a broken left arm, a displaced left kidney and several fractures from kicks. Eichler gave orders that no bandaging was to be applied. The doctor and I, however, bandaged him immediately. Eichler came back around 2300 hours, and wanted to see the man. When he set eyes on him, he tore the bandage from his face, and struck both the doctor and myself for doing it...He plundered the Red Cross parcels, and shared the booty with SS Rottenfuhrer Maas; E....'; WITH: a similar statement, 1p. 4to., Aug. 23, 1945 by Franziska Turowski, in part: '...Report on the conditions at the firm of Jung, in the Witternstrasse, Hamburg Wilhelmsburg, where prisoners from the Neuengamme Concentration Camp...were employed...the treatment of prisoners by the foremen and the SS was mean and brutal. The firm demanded an output from our people which could not be attained, on account of their weak physical condition which was further affected by deficiencies in food; they got only a litre of thin soup from the firm, as they themselves have testified. In order to drive the workers on to still greater efforts, the firm gave special privileges on a generous scale to the foremen who, on their part, incited the prisoners to work by the well-known methods. The firm of Jung must also be held responsible for failing to observe the required safety practices in connection with the clearing-up work done by prisoners. For this reason, it came about, (among other things), that one prisoner lost his life and another was severely injured...'; WITH: a similar statement, 1p. 4to., by political prisoner Michael Muller, in part: '...Report on Unterscharfuhrer/Rapportfuhrer Dreimann...for several years a hut commander in the Neuengamme camp, and finally became company sergeant-major...Dreimann behaved particularly brutally in respect of the ill-treatment and killing of prisoners. He took special pleasure, when he rode his bicycle across the parade ground...carrying a rawhide whip and striking out indiscriminately at the prisoners standing there. He behaved particularly cruelly towards sick prisoners, lashing them if they wished to transfer from the barrack block to the hospital with his riding whip. He had great sport with prisoners who were to be hanged, when he was taking them to the place of execution. Out of purely depraved pleasure he called those condemned to die by insulting names, such as 'filthy swine', 'Communist sow'; he himself regularly struck them in the face with his riding whip. He also distinguished himself on the occasion of the shooting of 59 Russian officers; he came out of the bunker dripping with blood, and took pride in having shot 21 of them personally. On the next morning, the heroes of this massacre...boasted about how many each of them had killed...he had beaten to death, out of completely sadistic pleasure, prisoners in the Wittenberg working party...' Some copy just a little blurred, else ver`y good. With full translations.
Lot 1614
CHARLES MANSON (1934 - 2017) Drifter whose 'family' committed the infamous Tate-LaBianca murders in 1969. A.L.S. 'C. Manson' with a reversed swastika added across his name, and 'Manson' twice in the text, 12pp. 4to., Vacaville, Ca., Nov. 15, 1979 to his biographer Nuel 'Mel' Emmons. In part: '...I love Red [Lynette Fromme] & she told one lie & she spent 10 years running to git her own word back - its like a train that dont run on time...I told you the first lie that came between us & I told you the next time. I understand & know what excuses are...you can trick me 10000 times but its still your word...' He goes on to chastise Emmons about money splits, promises he made to fellow inmates he could not fulfill, etc. He continues: '...me is what I must look out for & Im not gonna git in no cross for no money...I'll end up with your wifes fear & your fear up my ass when you see Ive been playing out of that dead head on that cross all my life. We were in the same prison...So far I've faced the point of death 4 times because you didnt do what you said...Im carrying too much fear far too much & my minds brain cant hold that balance...' Much more. Very good, with transmittal envelope. From the estate of Manson's biographer NUEL (MELTON) EMMONS (1927-2002), who had once been jailed with and later befriended Manson. He co-wrote 'Manson in His Own Words'.
Lot 3
Italian school; 17th century."Interior of a kitchen".Oil on canvas. Re-coloured.It presents restorations.Measurements: 46,5 x 41 cm.Oil on canvas in which we can appreciate an interior with a seated woman and a little boy crouched next to a brazier. The two protagonists, despite sharing the same scene, do not interact with each other, conveying a sense of solitude and melancholy to the viewer. In this work the artist combines still life and genre painting, two of the genres that enjoyed great development in the Baroque school. Thus, the space is clearly defined and minutely described, and the figures are depicted at a large size, although the group of objects in the central area of the painting compete with them for prominence, posed as a true independent still life.The work is aesthetically close to the stylistic precepts of Giacomo Ceruti (Milan, 1698-1767). Active in the north of the Italian peninsula (Lombardy, Brescia and Venice), where he produced a varied and uneven oeuvre, little is known of his early years. From 1726 to 1728 he worked on the fresco decoration of the Palazzo Broletto, the governor's residence, and the series of paintings of beggars commissioned by the Avogrado family that earned him the nickname of Pitocchetto (the little beggar) dates from the same period. Among his most important commissions was the series of works executed in 1736 for the Venetian palace by Marshal Matthias von Schulenburg, an important German collector, to which the Thyssen painting belongs. Also in 1736 he worked on the fresco decoration of the Palazzo Grassi in Venice. From 1737 to 1742 Ceruti lived in Padua where he is documented working for the churches of the Franciscans and Santa Lucia, where there is an altarpiece dedicated to the saint. Around 1743 he settled permanently in Milan, with occasional trips to Piacenza where he received various public commissions, working on sacred subjects and portraits.
Lot 50
Italian school; 17th century."Still life".Oil on canvas. Re-drawn.Size: 100 x 75 cm (x2)Couple of still lifes that present the same format and similar composition, although they differ in the elements that conform each one of the scenes. However, the birds are the protagonists in both works, being arranged by the author in the upper area, hanging recumbent on a neutral background which gives a greater monumentality to their volumes. In both cases the artist structures one upper and one lower register, although it is true that in one of the images the two overlap, as we can see a vase with completely vertical flowers, which merge with a group of small birds. In the other image, the artist has a large horizontal board in the lower part of the picture that cuts diagonally to the right with the intention of creating a three-dimensional space in the image.Both pieces stand out for their sobriety both in the dark chromatic range and in the compositions. Furthermore, aesthetically the work follows the Baroque precepts of the Baroque, a period in which the genre was revitalised, especially in certain areas such as the Low Countries, where an incipient bourgeoisie was beginning to demand this genre. Furthermore, the interest of the time in painting that captured reality encouraged the development of this type of image.
Lot 60
Granada School; second half of the 17th century."Angels".Oil on canvas.It presents losses on the pictorial layer, repainting and scratches from a later period.Measurements: 61 x 43 cm; 67 x 48 cm (frame).Two angels are the protagonists of this devotional image which stands out for the subtlety of the brushstrokes and the atmospheric vaporousness achieved by the artist with the application of ochre tonalities and an open pictorial finish. One of the older angels is in the foreground on the right, curled up on himself, avoiding the viewer's gaze, to whom he is presented in a reflective manner. In the background, a small cherub peeps out its infantile face, giving the scene dynamism and expressiveness.Given the importance given to religious images in the Hispanic world, the 17th century saw the creation of ambitious pictorial series and extensive iconographic programmes for churches and convents, as well as printed prints, medals and reliquaries for private devotion. As a whole, regardless of their size or medium, these images fulfilled the aim of sacralising everyday life beyond the altars. As for the Granada school, when Alonso Cano returned to Granada in 1652, he attracted all the artists to him. It could almost be said that the features that characterise the school are the features of its style. Thus, in all of them, the search for the ideal and elegant in the types, the avoidance of realism and genre scenes, paying little attention to portraiture and almost no attention to still life. Rich colour intonations abound in all of them, with specific palette preferences, such as the use of asphalt.
Lot 74
European school; 19th century."Still life".Oil on canvas.The original canvas is preserved.It presents faults and repainting.Measurements: 64,5 x 82 cm.In this canvas the author offers us a still life of classic style, rooted in the tradition of the genre, with a clear and ordered composition and an expressive treatment of the light. The still life was one of the most characteristic genres in Europe. The term appeared as early as the end of the 16th century. The still life or still life occupied the lowest rung of the hierarchy of genres in the history of art, but it became increasingly popular with buyers. In addition to the independent subject of the still life, it addressed other types of painting themes by using prominent, usually symbolic elements and images that drew on a multitude of elements from nature apparently to reproduce a part of life.
Lot 151
NO RESERVE Cookery.- Hammond (Elizabeth) Modern Domestic Cookery..., eighth edition, engraved frontispiece, additional vignette title and 4 plates, 2 advertisement leaves printed on yellow paper bound in at end, light foxing to plates, original blind-stamped cloth, recased preserving original spine, corners neatly repaired, new endpapers, [Cagle 722], [1828] § [Phillip (Robert Kemp)] The Practical Housewife..., only edition, wood-engraved frontispiece and additional title with vignette of a kitchen, illustrations, original cloth, gilt, rather faded, [Bitting p.593], [1855] § Marshall (Agnes B.) Mrs. A.B.Marshall's Cookery Book, revised and enlarged edition, half-title, wood-engraved portrait and illustrations, 33pp. advertisements at end and on endpapers, original cloth, [c.1888] § Kirk (Mrs. E.W.) Tried Favourites Cookery Book, fourteenth and enlarged edition, advertisements to endpapers featuring modern ovens, carpet cleaners etc. (browned), original cloth, Edinburgh & London, 1915, 8vo et infra (4)⁂ The second mentioned contains information on all household and other matters and the particularly useful advice, "Never jump from a rapidly-moving vehicle, unless...you see a precipice in front, in which case any risk of personal damage is preferable to remaining still. A Duke of Orleans lost his life by neglecting these simple precautions". p.128
Lot 53
Bob Dylan (b.1941) American, 'Still Life with Peaches', from the 'Drawn Blank Series', signed limited gicleée edition print on paper, numbered 87/295, 56 cm x 39 cm with margins, framed and glazed, with original COA.Private collection, purchased by the vendor from Castle Fine Art, October 2014.Good, clean condition with no apparent faults.
Lot 304
Monumental French old Paris Sevres style porcelain vase. The vase is painted along one side with three cherubs; the other with a still life of musical instruments and a basket of fruit. With bronze handles in the form of a woman's torso holding an overflowing basket of flowers. The porcelain and bronze base is detachable. With a Sevres style mark along the inside of the rim of the vase, possibly a mark by Edme Samson.Height: 35 in x width: 13 1/2 in x depth: 10 1/2 in.
Lot 133
MANUEL VIOLA (Zaragoza, 1916 - San Lorenzo de El Escorial, 1987)."Composition", 1954.Acrylic on card.Signed and dated in pencil in the lower right corner.Certificate can be issued at the request and expense of the buyer.Measurements: 65 x 38 cm.Manuel Viola returned to Spain in 1949 after his exile. Self-taught, he had been in contact with many artistic and cultural groups during his youth, in fact his signature is included in the logicofobist manifesto or in the writing, "De la Revolución Surrealista al Surrealismo al Servicio de la Revolución" (From the Surrealist Revolution to Surrealism in the Service of the Revolution). However, it was not until 1958 that he began to develop a truly personal style, while at the same time joining the avant-garde pictorial group El Paso, to which Antonio Saura, Rafael Canogar, Luis Feito and Manolo Millares, among others, belonged. He began to express himself through abstract painting with a strong expressionist character and great attention to colour. He definitively left behind the figuration that had prevailed until then in his work. Throughout his life he was awarded numerous prizes, such as the Condado de San Jorge Prize, the Lissones Prize (Milan) and the Gold Medal of the City of Saragossa. He exhibited in the most important galleries in Spain and also abroad, in cities such as Oslo, New York, Venice, São Paulo and Houston. While he was still alive, important retrospective exhibitions of his work were held: in 1965 at the Dirección de Bellas Artes in Madrid, in 1971 at the Museo de Arte Contemporáneo in Madrid, in 1972 at the Lonja in Zaragoza, in 1983 at the Armas Gallery in Miami, and in 1986 in Houston. After his death, anthological exhibitions of his work continued to be held in international galleries and museums. Manuel Viola's work can be seen in the Reina Sofía Museum, the Museum of Modern Art in Cologne, the Museum of Fine Arts in Bilbao, the Guggenheim in New York and Bilbao and the Museum of Spanish Abstract Art in Cuenca, among many others.
Lot 134
MANUEL VIOLA (Zaragoza, 1916 - San Lorenzo de El Escorial, 1987)."Composition", 1961.Acrylic on cardboardSigned and dated in pencil in the lower right corner.Certificate can be issued at the buyer's request and expense.Measurements: 50 x 32,5 cm.Manuel Viola returned to Spain in 1949 after his exile. Self-taught, he had been in contact with many artistic and cultural groups during his youth, in fact his signature is included in the logicofobist manifesto or in the writing, "De la Revolución Surrealista al Surrealismo al Servicio de la Revolución" (From the Surrealist Revolution to Surrealism in the Service of the Revolution). However, it was not until 1958 that he began to develop a truly personal style, while at the same time joining the avant-garde pictorial group El Paso, to which Antonio Saura, Rafael Canogar, Luis Feito and Manolo Millares, among others, belonged. He began to express himself through abstract painting with a strong expressionist character and great attention to colour. He definitively left behind the figuration that had prevailed until then in his work. Throughout his life he was awarded numerous prizes, such as the Condado de San Jorge Prize, the Lissones Prize (Milan) and the Gold Medal of the City of Saragossa. He exhibited in the most important galleries in Spain and also abroad, in cities such as Oslo, New York, Venice, São Paulo and Houston. While he was still alive, important retrospective exhibitions of his work were held: in 1965 at the Dirección de Bellas Artes in Madrid, in 1971 at the Museo de Arte Contemporáneo in Madrid, in 1972 at the Lonja in Zaragoza, in 1983 at the Armas Gallery in Miami, and in 1986 in Houston. After his death, anthological exhibitions of his work continued to be held in international galleries and museums. Manuel Viola's work can be seen in the Reina Sofía Museum, the Museum of Modern Art in Cologne, the Museum of Fine Arts in Bilbao, the Guggenheim in New York and Bilbao and the Museum of Spanish Abstract Art in Cuenca, among many others.
Lot 135
MANUEL VIOLA (Zaragoza, 1916 - San Lorenzo de El Escorial, 1987)."Composition", 1961.Oil on cardboardSigned and dated in pencil in the lower right corner.There is damage in the margins.A certificate can be issued at the buyer's request and expense.Measurements: 70 x 34 cm.Manuel Viola returned to Spain in 1949 after his exile. Self-taught, he had been in contact with many artistic and cultural groups during his youth, in fact his signature is included in the logicofobist manifesto or in the writing, "De la Revolución Surrealista al Surrealismo al Servicio de la Revolución" (From the Surrealist Revolution to Surrealism in the Service of the Revolution). However, it was not until 1958 that he began to develop a truly personal style, while at the same time joining the avant-garde pictorial group El Paso, to which Antonio Saura, Rafael Canogar, Luis Feito and Manolo Millares, among others, belonged. He began to express himself through abstract painting with a strong expressionist character and great attention to colour. He definitively left behind the figuration that had prevailed until then in his work. Throughout his life he was awarded numerous prizes, such as the Condado de San Jorge Prize, the Lissones Prize (Milan) and the Gold Medal of the City of Saragossa. He exhibited in the most important galleries in Spain and also abroad, in cities such as Oslo, New York, Venice, São Paulo and Houston. While he was still alive, important retrospective exhibitions of his work were held: in 1965 at the Dirección de Bellas Artes de Madrid, in 1971 at the Museo de Arte Contemporáneo de Madrid, in 1972 at the Lonja de Zaragoza, in 1983 at the Armas Gallery in Miami, and in 1986 in Houston. After his death, anthological exhibitions of his work continued to be held in international galleries and museums. Manuel Viola's work can be seen in the Reina Sofía Museum, the Museum of Modern Art in Cologne, the Museum of Fine Arts in Bilbao, the Guggenheim in New York and Bilbao and the Museum of Spanish Abstract Art in Cuenca, among many others.
Lot 136
MANUEL VIOLA (Zaragoza, 1916 - San Lorenzo de El Escorial, 1987)."Composition", 1961.Acrylic on card.Signed and dated in pencil in the lower right corner.Certificate can be issued on request and at the buyer's expense.Measurements: 50 x 35 cm.Manuel Viola returned to Spain in 1949 after his exile. Self-taught, he had been in contact with many artistic and cultural groups during his youth, in fact his signature is included in the logicofobist manifesto or in the writing, "De la Revolución Surrealista al Surrealismo al Servicio de la Revolución" (From the Surrealist Revolution to Surrealism in the Service of the Revolution). However, it was not until 1958 that he began to develop a truly personal style, while at the same time joining the avant-garde pictorial group El Paso, to which Antonio Saura, Rafael Canogar, Luis Feito and Manolo Millares, among others, belonged. He began to express himself through abstract painting with a strong expressionist character and great attention to colour. He definitively left behind the figuration that had prevailed until then in his work. Throughout his life he was awarded numerous prizes, such as the Condado de San Jorge Prize, the Lissones Prize (Milan) and the Gold Medal of the City of Saragossa. He exhibited in the most important galleries in Spain and also abroad, in cities such as Oslo, New York, Venice, São Paulo and Houston. While he was still alive, important retrospective exhibitions of his work were held: in 1965 at the Dirección de Bellas Artes in Madrid, in 1971 at the Museo de Arte Contemporáneo in Madrid, in 1972 at the Lonja in Zaragoza, in 1983 at the Armas Gallery in Miami, and in 1986 in Houston. After his death, anthological exhibitions of his work continued to be held in international galleries and museums. Manuel Viola's work can be seen in the Reina Sofía Museum, the Museum of Modern Art in Cologne, the Museum of Fine Arts in Bilbao, the Guggenheim in New York and Bilbao and the Museum of Spanish Abstract Art in Cuenca, among many others.
Lot 137
MANUEL VIOLA (Zaragoza, 1916 - San Lorenzo de El Escorial, 1987)."Composition", 1954.Acrylic on cardboard.cSigned and dated in pencil in the lower left corner.Certificate can be issued at the request and expense of the buyer.Measurements: 32,5 x 16 cm.Manuel Viola returned to Spain in 1949 after his exile. Self-taught, he had been in contact with many artistic and cultural groups during his youth, in fact his signature is included in the logicofobist manifesto or in the writing, "De la Revolución Surrealista al Surrealismo al Servicio de la Revolución" (From the Surrealist Revolution to Surrealism in the Service of the Revolution). However, it was not until 1958 that he began to develop a truly personal style, while at the same time joining the avant-garde pictorial group El Paso, to which Antonio Saura, Rafael Canogar, Luis Feito and Manolo Millares, among others, belonged. He began to express himself through abstract painting with a strong expressionist character and great attention to colour. He definitively left behind the figuration that had prevailed until then in his work. Throughout his life he was awarded numerous prizes, such as the Condado de San Jorge Prize, the Lissones Prize (Milan) and the Gold Medal of the City of Saragossa. He exhibited in the most important galleries in Spain and also abroad, in cities such as Oslo, New York, Venice, São Paulo and Houston. While he was still alive, important retrospective exhibitions of his work were held: in 1965 at the Dirección de Bellas Artes de Madrid, in 1971 at the Museo de Arte Contemporáneo de Madrid, in 1972 at the Lonja de Zaragoza, in 1983 at the Armas Gallery in Miami, and in 1986 in Houston. After his death, anthological exhibitions of his work continued to be held in international galleries and museums. Manuel Viola's work can be seen in the Reina Sofía Museum, the Museum of Modern Art in Cologne, the Museum of Fine Arts in Bilbao, the Guggenheim in New York and Bilbao and the Museum of Spanish Abstract Art in Cuenca, among many others.
Lot 138
MANUEL VIOLA (Zaragoza, 1916 - San Lorenzo de El Escorial, 1987)."Composition", 1954.Acrylic on card.Signed and dated in pencil in the lower right corner.Certificate can be issued at the request and expense of the buyer.Measurements: 50 x 14,5 cm.Manuel Viola returned to Spain in 1949 after his exile. Self-taught, he had been in contact with many artistic and cultural groups during his youth, in fact his signature is included in the logicofobist manifesto or in the writing, "De la Revolución Surrealista al Surrealismo al Servicio de la Revolución" (From the Surrealist Revolution to Surrealism in the Service of the Revolution). However, it was not until 1958 that he began to develop a truly personal style, while at the same time joining the avant-garde pictorial group El Paso, to which Antonio Saura, Rafael Canogar, Luis Feito and Manolo Millares, among others, belonged. He began to express himself through abstract painting with a strong expressionist character and great attention to colour. He definitively left behind the figuration that had prevailed until then in his work. Throughout his life he was awarded numerous prizes, such as the Condado de San Jorge Prize, the Lissones Prize (Milan) and the Gold Medal of the City of Saragossa. He exhibited in the most important galleries in Spain and also abroad, in cities such as Oslo, New York, Venice, São Paulo and Houston. While he was still alive, important retrospective exhibitions of his work were held: in 1965 at the Dirección de Bellas Artes de Madrid, in 1971 at the Museo de Arte Contemporáneo de Madrid, in 1972 at the Lonja de Zaragoza, in 1983 at the Armas Gallery in Miami, and in 1986 in Houston. After his death, anthological exhibitions of his work continued to be held in international galleries and museums. Manuel Viola's work can be seen in the Reina Sofía Museum, the Museum of Modern Art in Cologne, the Museum of Fine Arts in Bilbao, the Guggenheim in New York and Bilbao and the Museum of Spanish Abstract Art in Cuenca, among many others.
Lot 67
SALVADOR DALÍ Y DOMÈNECH (Figueres, Girona, 1904 - 1989)."Etude por le tableau Nature morte vivante (1956) et croquis éroques", circa 1956.Black ink on paper.Attached certificate issued by Archives Descharnes, file no. d 6976.With stamp of the Perrot-Moore collection.It presents frame with faults and damages.Measurements: 30.8 x 20 cm; 57 x 51 cm (frame).In this study carried out around 1956, Salvador Dalí presents a still life in which the objects that make up the still life are levitating with respect to the table, such as the bottles and the fruit (or spheres). A mode of representation that he later developed in the painting of the same name, which is in the Salvador Dalí Museum in St Petersburg, Florida. Thus describing what Dalí called "nuclear mysticism", in which objects form an independent part of space, floating in a concrete and conceptual area, a revolutionary characteristic in the world of pictorial representation. In this sketch, Dalí not only presents this innovation, but also sketches several bodies, or anatomical sections with a highly erotic content, a frequent feature in many of his works. It should be noted that the work bears the hallmark of the Perrot-More collection, whose owner, John Peter Moore, was Dalí's personal secretary, who worked with the artist from 1960 to 1974.During his early years, Dalí discovered contemporary painting during a family visit to Cadaqués, where he met the family of Ramon Pichot, an artist who travelled regularly to Paris. Following Pichot's advice, Dalí began to study painting with Juan Núñez. In 1922, Dalí stayed at the famous Residencia de Estudiantes in Madrid to begin studying Fine Arts at the San Fernando Academy. However, before his final exams in 1926, he was expelled for claiming that there was no one there fit to examine him. That same year Dalí travelled to Paris for the first time. There he met Picasso, and established certain formal characteristics that were to become distinctive of all his work from then on. His language absorbed the influences of many artistic styles, from classical academicism to the most groundbreaking avant-garde. At that time, the painter grew an eye-catching moustache in imitation of Velázquez's, which was to become his personal trademark for the rest of his life. In 1929, Dalí collaborated with Luis Buñuel in the making of "An Andalusian Dog", which depicted scenes typical of the surrealist imaginary. In August of the same year he met his muse and future wife Gala. During this period Dalí held regular exhibitions in both Barcelona and Paris, and joined the Surrealist group based in the Montparnasse district of Paris. His work greatly influenced the direction of Surrealism for the next two years, and he was acclaimed as the creator of the paranoiac-critical method, which was said to help access the subconscious by releasing creative artistic energies. The painter landed in America in 1934, thanks to the art dealer Julian Levy. Following his first solo exhibition in New York his international reputation was definitively consolidated, and from then on he showed his work and gave lectures all over the world. Most of his production is housed in the Dalí Theatre-Museum in Figueras, followed by the collection of the Salvador Dalí Museum in St. Petersburg (Florida), the Reina Sofía in Madrid, the Salvador Dalí Gallery in Pacific Palisades and the Salvador Dalí Gallery in New York.
Lot 76
A Great War 1916 ‘French theatre’ M.M. group of three awarded to Private R. R. Jones, 18th (Service) Battalion, King’s Royal Rifle Corps (Arts and Crafts) Military Medal, G.V.R. (C-6034 Pte R. R. Jones. 18/K.R.R.C.) edge additionally engraved ‘July 12th 1916.’ after naming details; British War and Victory Medals (6034 Pte. R. R. Jones. K.R.R.C.) cleaned, nearly very fine (3) £300-£400 --- M.M. London Gazette 23 August 1916. Reginald R. ‘Babs’ Jones was a native of Biggleswade, and served with the 18th (Service) Battalion, King’s Royal Rifle Corps (Arts and Crafts) on the Western Front. His act of gallantry is described thus in a local Biggleswade paper of the time: ‘Private Reginald R. Jones of the Rifle Brigade [sic] has been awarded the Military Medal for his bravery in the field on July 6th. On that occasion, although exposed to a perfect hail of shells from the German batteries, he brought in from ‘No Man’s Land’ no less than seven of his comrades who had been wounded, with some 50 others of ‘A’ Company, in one of the big struggles which formed a part of the great advance of the Allied Forces on the Western Front during that period. Private Jones is the eldest son of Mr Walter Jones of Romford, formerly chief goods clerk at Biggleswade Station, and his grandfather, Mr T. C. Jones of Alexandra Villa, formerly Station Master of Biggleswade... Private Jones, M.M., is still but a boy in years for he has not yet reached his eighteenth birthday. The youngest of the regiment, he is familiarly known among his comrades as ‘Babs’. He enlisted in the eighteenth Battalion of the Rifle Brigade [sic] soon after the outbreak of the war and has spent many months on the Western Front. According to the testimony of some of the senior non-commissioned officers of the regiment this is not the first time that this heroic lad has displayed great courage during periods of great danger.... Since the above period, Private Jones has again displayed heroism, and he has received from the General Officer Commanding the Brigade card stating the General’s recognition and appreciation of the gallantry of Private Jones on July 12th, when he crossed ‘No Man’s Land’ on three occasions under shell fire towing wounded comrades.’ Sold with small leather scrapbook containing newspaper cuttings, some relating to recipient including photographic image of him in uniform; photographic images of recipient in later life.
Lot 268
MARTHA REEVES - NO ONE THERE/ (I'VE GIVEN YOU) THE BEST YEARS OF MY LIFE 7" (MOTOWN TMG 843). A beautiful northern ballad 7" by Motown queen Martha Reeves; No One There/ (I've Given You) The Best Years Of My Life (TMG 843, 1971 UK pressing on Tamla Motown. 4-prong centre labels have some minor age-related handling wear, still bright and legible. The record displays a small number of wispy hairline paper marks, beautiful Ex).
Lot 87
VAN DER GRAAF GENERATOR - LP PACK. A quality pack of 9 LPs by prog group Van Der Graaf Generator. Titles include H To He Who Am The Only One (CAS 1027, 1970 UK press on pink scroll Charisma label. Record Ex/ sleeve VG+), The Least We Can Do Is Wave To Each Other (CAS 1007, 1970 UK press on pink scroll Charisma label. 3rd mix, A3/ B3 matrix. VG+/ VG+), Live At Rockpalast (MOVLP2625, Triple LP with insert. Records Ex/ sleeve Ex), Do Not Disturb (EANTLP 1062, printed inner. Ex+/ Ex+), The Quiet Zone (CAS 1131, includes insert. Small Mad Hatter label. Ex/ VG+), World Record (CAS 1120, Blue label. VG+/ VG+), Godbluff (CAS 1109, Printed inner. Ex/ VG+), Still Life (CAS 1116, Ex/ Ex) & 68-71 (CS2, pink scroll Charisma label. VG+/ VG).
Lot 618
Historically Important WW2 American M1 Helmet Belonging to Major General Robert McGowan Littlejohn, Chief Quartermaster for the European Theatre of Operations (E.T.O), Hugely Responsible for the Equipment of the US Troops During the D-Day Landings and the Normandy Campaign, fine example of a fixed bale M1 steel combat helmet shell with split to the front seam. Helmet has a rough textured green paint finish to the exterior and fitted with two Generals rank stars which have been screwed into the shell with small bolt fittings to the reverse. Helmet is complete with the original webbing two piece chinstrap which has his name inked to the underside. Remains in very good overall condition. Major General Robert McGowan Littlejohn was born on 23rd October 1890 in Jonesville, South Carolina. He attended the United States Military Academy at West Point on 2nd March 1908. He graduated from West Point on 12th June 1912. His first post was to the American 8th Cavalry regiment in the Philippines. He returned with his regiment to the USA and was involved in the Pancho Villa Expedition. He later moved to the 17th Cavalry regiment where he was placed in charge of the Machine Gun Unit. On 11th June 1918, he assumed command of the 332nd Machine Gun battalion of 86th Division. The unit moved to the Western Front in September 1918, but did not see active service until after the armistice was signed. They took part in the occupation of the Rhineland in 1919. Between the wars, Littlejohn continued to serve in the US Army, mostly in the USA, rising up through the ranks in many of the staff and logistical departments. In January 1938, he was sent for his second tour of duty in the Philippines, he ended his tour as the Quartermaster of the Philippine Department. He returned to the USA in June 1940. From June 1940 to May 1942, Littlejohn commanded the Clothing and Equipage Branch in the Office of the Quartermaster General. The division was primarily concerned with procurement, but was accustomed to working closely with the Standardisation Branch, which was responsible for design and development. He was promoted to Colonel on 16 November 1940 and Brigadier General on 30 January 1942. In May 1942, Littlejohn was appointed Quartermaster General of the European Theatre of Operations (ETO) by the new CG-SOS-ETO Lt. Gen. John C. H. Lee, a position he held for the rest of the war, with the rank of Major General from 3 November 1943. For his services as Quartermaster General, Littlejohn was awarded the Army Distinguished Service Medal with a Bronze Oak Leaf Cluster, the Legion of Merit, the Bronze Star Medal, and foreign awards that included the British Order of the Bath, French Croix de Guerre and Dutch Order of Orange Nassau. His first Distinguished Service Medal citation read, in part:“General Littlejohn displayed marked aggressiveness, exceptional organizing ability, and a superior quality of leadership in rapidly establishing a quartermaster service throughout the theatre which met and solved the many unexpected and seemingly insurmountable problems of supply. By his broad experience, foresight and splendid ability which was largely instrumental under his leadership in solving many complex questions in organization and supply of the African Task Force. His untiring efforts and devotion to duty in this connection contributed markedly to the successful landing of this force in North Africa on November 8, 1942.” His later Oak Leaf Cluster citation noted that he "not only maintained anticipated requirements, but exceeded them". However Littlejohn was severely criticised when winter clothing was not delivered in a timely manner, resulting in thousands of cases of trench foot and frostbite.He was made Major General just before the D-Day landings in June 1944. He was responsible for the complex and difficult task of supplying the allied troops for the invasion of mainland Europe. The US Army Quartermaster Foundation gives the following details, “After a successful landing on D-Day, a stalled drive inland and failure to capture port facilities right away meant that Quartermaster supply soldiers had to continue bringing material in over the beach: sort, store and distribute it along a fairly narrow and dangerous front. If Littlejohn felt good about the initial landing, he was none the less surprised by the effects of strenuous fighting in the Normandy hedgerows. In a matter of weeks, U.S. troops slugging it out in the mud consumed roughly 2 1/2 times the amount of clothing and other Quartermaster items of equipment that he and his staff had planned for. “The capture of each hedgerow meant a life and death race,” he noted afterwards; and in trimming down to meet that race, the American soldier “frequently left behind his overcoat, overshoes, blanket and shelter.” As a result, Littlejohn had to completely re-equip the better part of a million soldiers while still in the early stages of the campaign. The breakout and pursuit that followed only intensified pressure on the Chief Quartermaster, who saw the overall supply picture go from feast to famine. The situation in late summer and early Autumn 1944 illustrated the old adage that a stationary front is the Quartermaster’s dream come true, while a war of unchecked manoeuvre poses as the ultimate nightmare. By September the Allies were required to deliver to forward areas no less than 20,000 tons of supplies daily. As the lines stretched further and further from Cherbourg, the inevitable shortages began to be felt-with crippling effect. Whether it could have been otherwise is debatable. Letters from Littlejohn to a colleague in mid-September give some indication of the trials faced during this period of “frantic resupply:” “It is very difficult,” he wrote, “to sit here and determine current requirements on clothing and equipage. We know that the Maintenance Factors on many items are entirely too low. We also hope that the war will come to an end before many weeks and it will not be necessary to ship troops as originally planned. Somewhere in the field I must make an educated guess.”Littlejohn was discharged from the army in 1946. President Truman appointed him head of War Assets Administration with the responsibility of approximately 34 billion dollars of surplus government property. He died on the 6th May 1982 and is buried at Arlington Military Cemetery. This helmet was gifted to the current vendor back in the 1950’s by a family friend, who had worked as a secretary in Major General Littlejohn’s office. She took the helmet shell from the office as it was left behind when Littlejohn moved. She was using the helmet to store knitting material in. The helmet has never been offered on the collecting market before.
Lot 658
Historically and Regimentally Important Uniform, Paperwork & Equipment Grouping of Major D O Faulkner Royal West Kent Regiment, Taken Prisoner of War in 1940, Made Numerous Escape Attempts and Became the Camp Locksmith, Making Keys so Storerooms Could be Opened to Steal Supplies for Escape Attempts, tunics consist of his Royal West Kent No1 dress tunic which originally was issued to another officer, with brass regimental tunic buttons, rank crown to shoulders and medal ribbons for WW2 and post WW2 service; Royal West Kent regiment officers mess dress uniform with the trousers having some moth damage; post WW2 jungle shirt with regimental slip-on rank slides and cloth formation signs; Royal West Kent regiment field officers No1 dress peaked cap with sterling silver cap badge, regimental forage cap with blue piping to the crown and regimental cap badge; various items of equipment, badges and insignia. Some of the equipment having the name of a different officer, but this was the equipment he was issued with after being released from captivity when he continued to serve in Malaya. Various items of pre-war and post war ephemera relating to him and the regiment. Fine Pre-WW2 photograph album compiled by Major Faulkner of the Royal West Kent regiment in camp and training. Many good photographs in this album showing the troops training in battle dress and steel helmets etc. All bar a couple of the images are believed to have been taken by Faulkner, a pack of negatives also are included with the lot. The most interesting items in the grouping are in what he called his “POW Bag”, these items in my opinion are of incredible historical and social importance and tell the story of his POW life, the first item is a metal handle for a suitcase, but when you look through one end, hidden inside is a tissue paper escape map, the idea being that the case handle would be broken open and then the map removed; an envelope with his name inked, “Denis”, reveals a hand written reconnaissance of the various escape routes which can be taken and gives fascinating insight into what they could do to aid their escape, one extract is as follows, “GERMANY’S WESTERN FRONTIERS – HOLLAND. Apart from VENLO area, which is closely watched, the Dutch station is not well guarded, not difficult to cross.” Later goes on to say, “In the MAASTICHT district it is dangerous to attempt to cross the MEUSE on the ALBERT CANAL, it is better to go due south rather than west into BELGIUM”. This reconnaissance notes covers Holland, Belgium, Luxembourg, Baltic Ports and the Swiss Frontier. The reconnaissance also covers information on Railway Travel, Travel Permits, Travel on Foot and Stowing Away. These five pages of handwritten reconnaissance would have been vital for Major Faulkner, when attempting to escape captivity. Other items in his ‘POW BAG’ include tissue escape map, silk escape maps and an interesting selection of lock picking tools and keys, which were useful to him as he was in charge of picking locks for the escape committee in the camps he was held in. A photograph taken inside a camp is included and also some un-issued WW2 German cloth insignia which he must have picked up whilst in a camp, possibly for use in a escape attempt? Overall this is an incredible grouping and with the escape reconnaissance sheets, which we have never seen before and possibly unique, a truly historic grouping. Sold by direct descent of the family of Major Faulkner. Major Faulkner’s daughter has written the following account about her father, “Like most POWs my father did not talk about his five years as a POW but he considered himself far more fortunate than those who had been Japanese POW’s. His BEF ID card is dated 2.5.1940 and he was captured on 29.5.1940 in “Godversveldt near Hazebrouk” in northern France near the Belgian border. He did say that as prisoners they were first marched through Belgium and that the locals, particularly when they halted for food and water, were unhelpful.He did talk about trying to escape several times and on his release questionnaire he mentions unsuccessful attempts whilst at Biberach and Warburg. The escape from Warburg is detailed in The London Gazette supplement no 37568 dated 17/5/1946 on page 2340 under the details for Flt Lt Peter Stevens RAFVR. He did say that he became downhearted by his failed attempts to escape and found the penalty of solitary confinement very difficult to bear. He concentrated his efforts on making lock picking tools and perfecting the techniques required so that he could help by opening (and closing) locked buildings and store rooms to obtain or examine things needed to improve their lives or for other escape attempts. He said he had to hide the pick locking tools in the wooden frames of his bed at each camp and it was always a struggle to hide anything when they were being transferred between camps. After the war when he did need his pick locking tools we would ask to see his other few POW mementoes which included the paper thin escape map and the suitcase handle which he said contained another very thin escape map within it. We were never allowed to open it up so I can only assume that is what can be seen in it. We are keeping his dog tags and his POW ID card number 547 dated 21.7.1943 for Rotenburg, his last camp but a photo of it is available. There is a set of 5 escape instructions and one refers to travel since March 1942; they are not written by him but were presumably provided to him in preparation for an escape attempt; I do not remember being told anything more about them. In the small photo of POWs my father is in the back row, second from the right hand end.He did speak about the lack of food as it was a daily problem and his questionnaire commends the Red Cross, British Legion in Switzerland and the English in the Argentine for their help with food parcels. He said they were told that they must eat the skins of potatoes as most of the goodness/vitamins were to be found just under the skin and that it was OK to eat mouldy food just as long as the mould was not orange! We were never quite so convinced by this last piece of advice but my mother would always defer to him on whether we should still eat any food that she was not sure about.In August 1980 Flight Lieutenant Roth raised issues about pay having been deducted from POWs against the issue of camp money and my father wrote to his MP about this. In his letter he says that except in the early days at Laufen there was little or nothing to buy with the camp money. His CO had been a prisoner in the first war for a short time and he told them that a proportion of their pay had been withheld but it had been returned after the war. He said this had the effect of devaluing the camp money between prisoners and that for example a tennis ball with camp money cost £200. In Biberach they had put vast quantities of spoil from at least one tunnel in the roofs of the barrack blocks and were subsequently charged a considerable sum for repairs. He was asked by the escape committee in various camps to put in requests for battle dress, particularly trousers as they were required for cutting up to make bags for carrying soil from escape tunnels. The cost of the uniform was deducted from his credits and he thought from his pay at home. Also at various times fuel for their “chip heaters” for cooking ran out and they burned camp money in order to heat food from their Red Cross parcels.
Loading...-
77111 item(s)/page