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Lot 2
Illustrations of British Entomology or, A Synopsis of IndigenousInsects: containing their generic and specific distinctions; with anaccount of their metamorphoses, times of appearance, localities, food,and economy, as far as practicable. Embellished with coloured figuresof the rarer and more interesting species by James Francis StephensF.L.S. Printed for the author; published by Baldwin and Cradock; soldby J. Churchill, Saville-House, Leicester Square, and by allbooksellers. 1828-1835 (Supplement dated 1846)12 volumes including supplement, complete with 95 hand-colouredplates as called for (though occasionally eccentrically numbered andone or two misplaced, but all the plates are present)A note from West to the pastedown states that 'The Supplement dated1846 is the original. The one dated 1867 is a reprint having the platesbadly coloured.' The Supplement volume here, as West states, is the1846 first.Large octavo (250mm x 160mm). Half-leather, marbled paper-coveredboards. Rubbed, but still in good order. The spines faded to a uniformdull brown. Titles in gilt-ruled compartments are still bright enough.Occasional wear to the spine leather, some small abrasions, fraying atheads. The leather of volume six is peeling from the spine but withoutloss and is still attached. A very decent set of this importantpublication which was in competition with Curtis' 'British Entomology'published around the same time.The publication is notable for the first appearance in print of the nameof Charles Darwin. Darwin was at Cambridge in 1828, where he wasintroduced to entomology by his second cousin, William Darwin Fox.Darwin collected several species of beetles and these are recorded inStephen's work. There are about 30 mentions of Darwin's name acrossStephens' work and he took great pride in seeing his name in print'No poet ever felt more delighted at seeing his first poem publishedthan I did at seeing, in Stephens’ Illustrations of British Insects, themagic words, “captured by C. Darwin, Esq.”’(Life and letters, 1887,pp.50-51).(12)The following lots of books represent the library of George West.West's biographical details are hard to pin down, his date of birthunknown, (probably around the 1880's) and his death sometime after1945. He is known to have worked as an assistant and then lecturer inBotany at the University of Dundee from 1906. At that time theuniversity was a constituent college of St Andrews University. Westseems to have remained there until around 1926. In his publication'Practical Principles of Plain Photo Micrography' (1916) he describeshimself as a lecturer in Botany. Most of the books in the sale bear thehandstamp, 'George West' to the front pastedowns. Many volumes bearextracts from booksellers' catalogues with prices of the titles,suggesting that West liked to keep up with the current values of hislibrary.The books represent a working library and many are alsoannotated in pencil in his hand, cross-referencing other works andadding his comments. To the front of the first volume of Walker'sDiptera (see lot no.) he has inserted his handwritten poem, 'To theFuture Owners of this book'.Geordie has now turned up his toesAnd gone aloft to seek reposeFrom various varmints nips and stings,Especially those base mankind brings...........He trusts the child who gets this bookWill on the various notes just lookAnd feel that every pencil strokeHelps on the game dear Walker wrote...Although a botanist by profession, his main interest, judging byhis library appears to have been entomology and amongst the booksare some rare titles in that field many dating from the nineteenthcentury, a golden age for the natural sciences. Many of the giants inthe field of Entomology are represented in the books and there aregood sets of Curtis, Donovan and Stephens with many exquisite, hand-coloured illustrations. Geology was another of his interests, as well asmicroscopy.What little is known of George West is largely gleaned from apublication from Hereford Museum published in 2007. West haddonated a large collection of mineralogical specimens to the Museumin 1945. His connection with Hereford, however, appears to betenuous and the man remains something of an enigma.
Lot 735
* Fabric Collage. Still-life of flowers in a vase, possibly Continental, 18th century, oval still-life of flowers in a double-handled vase, including a sunflower, carnations, Tudor roses, tulips, lilies, and daisies, composed of layered fragments of coloured silk laid on card, some discolouration and small losses, mounted on an oval of brown fabric laid on card (some edge-stains and short tears), 31 x 25.5 cm (12.25 x 10 ins), laid down on a grey painted background, framed and glazed (41 x 36.5 cm)QTY: (1)NOTE:Provenance: Collection of David Battie.
Lot 3099
WW2 Mary Mary Quite Contrary chocolate Easter Egg in original blue and white paper, complete with decorative garden scene of a little girl with a watering can. The egg was given to the vendors late mother by her uncle during the second World War and remained uneaten, intact & treasured for six years during the Second World War – September 1, 1939 to September 2, 1945 and was never touched for the remainder of her life. The box still bears her name, ‘Sybil Cook’, written in pencil, and the year ‘1939’.
Lot 89
Edward Ladell (British, 1821-1886)Still life of a wine glass with a vase of poppies and rosessigned with monogram 'EL' (lower left) oil on canvas 53 x 43cm (20 7/8 x 16 15/16in).Footnotes:ProvenanceWith MacConnal-Mason & Sons Ltd., LondonFor further information on this lot please visit Bonhams.com
Lot 85
Gerald A. Cooper (British, 1899-1975)Still life of flowers signed 'Gerald Cooper' (lower right) oil on canvas 76.5 x 64cm (30 1/8 x 25 3/16in).Footnotes:ProvenanceLady Virginia Williams, UK. Thence by descent to the current owners.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 84
Cecil Kennedy (British, 1905-1997)Still life of lilies, fuchsias and Japanese anemones signed 'Cecil Kennedy' (lower right) oil on canvas 76.5 x 64cm (30 1/8 x 25 3/16in).Footnotes:ProvenanceWith MacConnal-Mason & Sons Ltd., London.Lady Virginia Williams, UK. Thence by descent to the current owners.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 72
λ DENIS PEPLOE (SCOTTISH 1914-1993) STILL LIFE OF PANSIES WITH PEARS Oil on canvas Signed (lower left) 62 x 77cm (24¼ x 30¼ in.) Condition Report: The canvas is not relined. There are a couple of spots of paint loss to the centre of the lower edge and some rubbing to the framed edges. The paint surface is slightly dirty. Otherwise, in good original condition. No evidence of retouching visible under ultraviolet light.Condition Report Disclaimer
Lot 70
HENRI FANTIN-LATOUR (FRENCH 1836-1904) ROSES THÉ Oil on canvas Signed and dated 74 (upper right) 44 x 39.5cm (17¼ x 15½ in.)Provenance: Private Collection, Edwin Edwards, London The Lefevre Gallery (Alex. Reid & Lefevre, Ltd.), Glasgow Acquired from the above by the family of the present owner Thence by descentExhibited: Poughkeepsie, New York, Vassar College Art Gallery (now The Frances Lehmann Loeb Art Center), circa 1977-1980 (loaned by the mother of the present owner)Literature: Madame Fantin-Latour, Catalogue de l'Oeuvre complet de Fantin-Latour, Paris, 1911, p. 79, no. 722 (Titled 'Roses') The authenticity of this work has been confirmed by Brame & Lorenceau and it will be included in the forthcoming Catalogue Raisonne of the artist's paintings and pastels currently being prepared. Exquisite still life paintings such as the present work are synonymous with the work of Fantin-Latour. Initially trained by his father who was also a painter, Fantin-Latour went on to study alongside Edgar Degas and Alphonse Legros at the Ecole des Beaux Arts in Paris in the 1850s. The artistic milieu in which he was surrounded comprised Edouard Manet, Pierre-Auguste Renoir and Claude Monet amongst many others that would go on to be instrumental in the Impressionist movement. Fantin-Latour's work at this time comprised many group portraits of his contemporaries, but it was his flower compositions that brought him both critical and commercial success. James Abbott McNeil Whistler was instrumental in encouraging Fantin-Latour to visit London where, in 1862, he exhibited at the Royal Academy for the first time, finding success with a flower composition. He would go on to return and exhibit there almost every year until 1881. Whistler was also pivotal in introducing Fantin to Edwin and Ruth Edwards who would become his most important supporters and patrons, buying many of his still lifes and promoting his work to their friends. Fantin-Latour prioritised simple compositions, focussing his energy on the intricate representation of each element of the flower. The result is almost always a sumptuously rendered harmony of colour imbued with a sublime delicacy and an unparalleled attention to detail. The more complex compositions with both flowers and fruit show him to be the worth successor to Chardin and Courbet, bridging the artistic divide between Realism and Impressionism.Edward Lucie-Smith writes that 'Fantin's flower pieces have a special quality which is well summed up in Jacques-Emile Blanche's description of them: "Fantin studied each flower, its grain, its tissue, as if it were a human face". But this is true with one proviso: he looked at flowers, as he did at faces, with no perceptions. His belief, academic in origin, that technique in painting was separable from the subject to which the artist applied it, enabled him to see the blooms he painted not as botanical specimens, but as things which, though not necessarily significant in themselves, would generate significant art upon the canvas' (Henri Fantin-Latour, New York, 1977, pp. 22-23). Condition Report: Please refer to the department for a condition report on this lot.Condition Report Disclaimer
Lot 208
λ PEGGY SOMERVILLE (BRITISH 1918-1975) STILL LIFE OF PEONIES AND ROSES IN A BLUE VASE Oil on canvas Signed (lower right) 46 x 36cm (18 x 14 in.) Provenance: Messum's, London & MarlowExhibited: Marlow, Messum's, British Impressions, 2012 Condition Report: The canvas is not relined. Some minor surface dirt but otherwise in good original condition. No evidence of retouching visible under ultraviolet light.Condition Report Disclaimer
Lot 167
λ PAUL NASH (BRITISH 1889-1946) SEAGULL EYE WIND WAVES Wood Printed with artist's address to Bourlet & Sons Ltd., London label (to underside) 52 x 40cm (20¼ x 15½ in.) In the avant-garde English journal Axis no 8 for Early Winter 1937, Paul Nash's object Burnt Offering was reproduced - one of the few images we have of his objects, once quite numerous but now virtually all disappeared. Burnt Offering seems to be a composite object, with what appears to be a turned wooden finial (upside down) or door handle partially destroyed by fire fixed to a concrete or stone base with markings and encrustations that make it look as if it had long been submerged in the sea.Nash's objects were a major presence in the surrealist exhibitions in England in the 1930s. At the 1936 International Surrealist Exhibition at the New Burlington Galleries he showed two objects - untitled, but described as "Designed Object", and one "Found Object Interpreted" whose medium was given as "Vegetable Kingdom" (Marsh Personage). Burnt Offering was also shown at the London Gallery exhibition "Surrealist Objects and Poems" (1937). As Michel Remy says, "Hardly any exhibit has survived from the exhibition", (so far as we know). True to the complexity of the surrealist interest in the object, fifteen categories of object were listed in the catalogue; in "Surrealist objects" Nash exhibited Homes without Hands and Forest; in "Found Objects" Long-gom-pa ("a five-branch root named after a Tibetan runner famous at the time" (Remy); in "Found Objects Interpreted" Goodness How Sad, Encounter of Wild Stones, Not Cricket and Nest of Wild Stones; in "Objects Collages", Aquarium and Only Egg; in "Oneiric Objects" Tree Man; in "Objects for Everyday Use" (with Margaret Nash) Basket for Found Objects; Burnt Offering in "Perturbed Objects"; Moon Aviary in "Constructed Objects".For the Cambridge University Arts Society "Exhibition of Surrealism" (1937) he showed three: Only Egg, The Nest of Wild Stones and Long-gom-pa. In the same exhibition Eileen Agar showed Le père Ubu. In 1938, following the great success of the London International Surrealist Exhibition, Nash showed several works, including Objets aux champs and Objets balancés (probably photographs rather than actual objects, the latter possibly Poised objects [Causey 1973 pl. 27].)Of the twenty-five or so known and named objects, most were dismantled, scrapped, "not made" or have simply melted away. Forest from Roland Penrose's collection (trees made from glove stretchers) and Only Egg "seem to be the only two objects by Nash to have survived", according to the catalogue raisonné. As the Tate catalogue entry for Nash's important photomontage/drawing Swanage, c. 1936 says, "Almost none of these objects survives except as depicted in Nash's work, though he apparently continued to keep and collect objects until his death".It is therefore extraordinarily difficult to place the object in question with any certainty although there is plenty of leeway for the existence of a hitherto unknown "found object" - or possibly "found object interpreted". A typewritten label on the back of the object gives the title "Seagull Eye Wind Waves" and an address for Paul Nash: Whitecliffe Farm, near Swanage, which is where he lived from October 1934 until he moved to the centre of Swanage in 1935. In March 1936 the Nashes left Swanage. So the object (or its collection) would date from roughly the same period as Marsh personage, his first found object, which in some respects, especially visually, it resembles.Whereas Marsh Personage and Long-gom-pa are clearly found "natural" objects, (the latter furze-wood, the former driftwood, "salvaged from a stream", and the first of the found "vegetable" objects), Seagull Eye Wind Waves is "interpreted" and worked on. It is composed of three pieces of wood, each with a strong character: the thickly gnarled outer rim of a hollow tree, which embraces a curved form, perhaps once part of a piece of furniture. This has been carved to enhance its resemblance to outspread seagull wings, and the tip of the top wing becomes a bird head; through a hole in the top of this shape runs a thin, antler-like branch. Perhaps this worn forked stick that has pierced the wooden curve was encountered thus in a curious natural formation, and the curve was then interpreted as wings and the bird's head, crudely carved. Gashes and striations in the side of the wooden base, some circling knots in the wood, some indicating the lines of a torso, must belong to the same intervention. It might have been worked by Nash, or found by him as a piece of rough carving, a kind of primitive interpretation by an unknown hand, with a sense of the phallic and sexual suggestions in the lump of wood and its odd impaling. This would be wholly in line with surrealist taste and there are plenty of examples of such finds. For example the construction made by an aliéné, (a frame filled with broken scissors and other sharp implements) found and exhibited by André Breton. This rural find by Nash is in line with his profound love of the natural world and its innumerable forms. He wrote in Axis (January 1935) "...I find I still need partially organic features to make my fixed, conceptual image. I discern among natural phenomena a thousand forms which might, with advantage, be dissolved in the crucible of abstract transfiguration; but the hard cold stone, the rasping grass, the intricate architecture of trees and waves, or the brittle sculpture of a dead leaf - I cannot translate altogether beyond their own image, without suffering in spirit. My aim in symbolical representation and abstraction, although governed by a purpose with a formal ideal in view, seeks always to give life to a conception within the formal shell..." In my opinion Seagull Eye Wind Waves is a found interpreted object by Paul Nash. Professor Dawn AdesCausey, Andrew and Eates, Margot Paul Nash Paintings and Watercolours Tate 1975Causey, Andrew Paul Nash's Photographs, Document and Image Tate 1973Evans, Myfanwy "Paul Nash 1937" Axis no 8 Early Winter 1937Exposition internationale du surréalisme Exb. cat. Galerie Beaux-arts Paris 1938 Exposition surréaliste d'objets Exb. cat. Charles Ratton Paris 1936Jenkins, David Fraser Paul Nash, The Elements Dulwich Picture Gallery 2010Montagu, Jemima (ed.) Paul Nash, Modern Artist, Ancient Landscape Tate 2003Nash, Paul "For, but not with" Axis 1 January 1935Nash, Paul "Swanage or Seaside Surrealism" Architectural Review November 1936Nash, Paul "The Object", Architectural Review November 1936Nash, Paul Fertile Image Ed Margaret Nash [1951] 1975Nash, Paul Writings on Art ed. Andrew Causey Oxford 2000Paul Nash, Places Exb. cat. South Bank Centre 1989Read, Herbert (ed.) Surrealism 1936Remy, Michel Surrealism in Britain Ashgate 1999Surrealism Exb. Cat. Cambridge University Arts Society 1937Surrealist Objects and Poems London Gallery Ltd. 1937 The International Surrealist Exhibition New Burlington Galleries Exb Cat. 1936 The London Bulletin 1938-1940
Lot 7
ROGER FRY (BRITISH 1866-1934) STILL LIFE OF A JAR, APPLES AND A CANDLESTICK HOLDER Oil on board Signed (lower right) 32.5 x 40.5cm (12¾ x 15¾ in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read Condition Report: The paint surface is dirty and would benefit from a clean. There is some damage and associated paint loss to the edges and corners of the board. There is a surface scratch (approx 1.5cm long) to the lower left quadrant and some other further light surface scratches. There is no evidence of retouching visible under ultraviolet light. Condition Report Disclaimer
Lot 8
BRITISH SCHOOL (20TH CENTURY) STILL LIFE OF COFFEE POT, TUREEN AND DISH Oil on canvas 36 x 46cm (14 x 18 in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read
Lot 9
BRITISH SCHOOL (20TH CENTURY) STILL LIFE OF APPLES AND PEARS Oil on canvas 41 x 51cm (16 x 20 in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read
Lot 37
* Dixon (George, 1731-1785). Still Life with Flowers, 1762, gouache and ink on paper, some areas of pencil underdrawing, various flowers including roses, tulips, and geums in a wicker basket placed on a stone plinth, set against a black background, signed lower left 'Geo: Dixon 1762', mount aperture 35.5 x 50.5 cm (14 x 20 ins), framed and glazed (57.5 x 72 cm) QTY: (1)NOTE:George Dixon primarily worked in the coal industry, first working in his father's colliery in Cockfield, County Durham, and then manufacturing coal tar and pitch which was used by Sunderland's shipyards. He was one of the first people to realise coal's potential for lighting. As a young man, he worked in London as a china painter at the Chelsea Pottery Works. His other interests included mathematics, mineralogy, engineering, painting and engraving.
Lot 19
* Dutch School. Still Life, circa 1850, oil on canvas, unsigned, depicting a large number of flower varieties including poppies, dahlias, roses, bluebells and tulips in a terracotta vase sat on a stone plinth, with a bird's nest and eggs beside, 77 x 64 cm (30 1/4 x 25 1/4 ins), ornate gilt frame with old gallery label to verso 'A breezy day / V. de Ville', frame size 106 x 94 cm QTY: (1)
Lot 391
* Keen (Henry Weston, 1899-1935). Odalisque, a small collection of 45 lithographs (some duplicates), mostly all with artist's ink stamp to lower right margin, one signed in pencil to lower margin, subjects including: nudes, animals, still life, topography etc., largest image 35 x 19 cm (13 3/4 x 7 1/2 ins), sheet size 44 x 29.5 cm (17 1/4 x 11 5/8 ins)QTY: (1 folder)NOTE:Henry Keen was a book illustrator and lithographer whose powerful symbolist style and decadent imagery is reminiscent of the work of Aubrey Beardsley and Sidney Sime. He exhibited lithographs at the Senefelder Club in London, and did a great deal of illustrative work for The Bodley Head, as well as for other publishers. After his death in 1935 a memorial exhibition of his work was held at the Twenty-One Gallery in London.
Lot 278
* Dutch School. Still Life of Flowers in a Vase, early 20th-century, oil on canvas, depicting white chrysanthemums in an oriental-style vase, and a length of fabric with colourful tassels draped behind, indistinctly signed upper left in red, old gallery label to verso 'Kuntshandel Weissenbruch / Weissenbruchstraat 126', one small area of wear and show-through to canvas near lefthand flower, two tiny pin-prick holes, a few areas of paint loss, canvas size 52.5 x 42 cm (20 3/4 x 16 1/2 ins), in a gilt wood frame (66 x 56 cm)QTY: (1)
Lot 339
* Welch (Denton, 1915-1948). Portrait of Noel Cousins, circa 1940s, ink and wash on buff paper, a characterful sketch of the semi-nude sitter reclining in a deckchair, his left arm drawn across his torso, with the use of light pink wash to highlight his lips, nipples and thumb nail, unsigned, remnants of another work in ink to verso, the lower half of two nude male figures and a Faun, with a conch shell and scabious-like flower at their feet, and a small area of repeated patterning to the lower left corner, even mount staining to recto, roughly trimmed edges, three very small closed tears to two margins, a few old creases, remnants of old adhesive to verso, sheet size approx. 32.5 x 21 cm (12 3/4 x 8 1/4 ins), window mounted, together with another sketch by the same artist, Reclining Male, 1943, pencil on laid paper, a recumbent semi-nude male leaning on his left arm, inscribed 'Noel Adeney' and 'July 30 1943' in pencil to left of image, with a manuscript note 'sketch by Denton Welch bought from Henry Boxer 39, Kew Road, Richmond Dec. 1984’, remnants of another sketch in pencil and ink to verso of a partially dressed figure, mount staining to recto, a few small stains, some spotting and remnants of old tape to verso, sheet size 17.5 x 24.5 cm (7 x 9 3/4 ins).QTY: (2)NOTE:“Noel Cousins who frequently went out painting with Denton Welch in the Hadlow Road years, remembers that DW did not have a very clear idea what the finished picture would be like.’’ James Methuen-Campbell interviewing Cousins for his biography Denton Welch: Writer and Artist (1984). Noel Cousins was a painter who was active from 1957 to 1965.Noël Gilford Adeney (1890-1978) was a British artist, known for her landscape and still life paintings and a member of The London Group. She is known to have drawn a portrait of Welch which sold at Sotheby's in 1997. Welch also appears as "Merton Hughes" in Adeney's 1956 novel No Coward Soul.
Lot 283
* Detmold (Edward Julius, 1883-1957). Still Life, circa 1935, watercolour over pencil on thick card, heightened with gum arabic, pansies, anemones and other spring flowers in a white oriental-style bowl, secured to mount with tape to verso, image size 31.5 cm (12 1/2 ins) diameter, sheet size 41 x 38 cm (16 x 15 ins), framed and glazed (54 x 53 cm), together with Roses, 1930, watercolour, two pink roses displayed in a spherical glass posy vase, contrasting with a white background, signed with initials and date, 'The Fine Art Society, Ltd.' gallery label to verso with attribution and date, mount aperture 31 cm (12 1/4 ins) diameter, displayed in a circular frame (approx. 55 cm diameter).QTY: (2)
Lot 49
The outstanding Great War Tigris Flotilla operations posthumous V.C., Euphrates Flotilla operations D.S.O. awarded to Lieutenant-Commander E. C. Cookson, Royal Navy: severely wounded in winning the latter distinction for extricating the armed launch Shushan out of an Arab ambush in May 1915, he paid the ultimate price for his gallantry in the river gunboat Comet four months later, when, under a storm of point-blank fire, he leapt aboard a Turkish dhow brandishing an axe - a fellow officer later observed ‘there were more bullet holes in him than they cared to count’ Victoria Cross, reverse of suspension bar engraved ‘Lt.-Comdr. E. C. Cookson, D.S.O., Royal Navy’, reverse of Cross dated ‘28 Sep. 1915’, with an old fitted case, the lid gilt inscribed ‘V.C.’; Distinguished Service Order, G.V.R., silver-gilt and enamel, both housed in a old fitted glazed display case, loose centre on the last, otherwise extremely fine (2) £180,000-£220,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Provenance: Sotheby’s, January 1977, when sold by Cookson’s direct descendants. V.C. London Gazette 21 January 1916: ‘The King has been graciously pleased to approve of the grant of the Victoria Cross to Lieutenant-Commander Edgar Christopher Cookson, D.S.O., R.N., in recognition of the following act of most conspicuous gallantry during the advance on Kut-el-Amara: On 28 September 1915, the river gunboat Comet had been ordered with other gunboats to examine, and if possible destroy, an obstruction placed across the river by the Turks. When the gunboats were approaching the obstruction, a very heavy rifle and machine-gun fire was opened on them from both banks. An attempt to sink the centre dhow of the obstruction by gunfire having failed, Lieutenant-Commander Cookson ordered the Comet to be placed alongside, and himself jumped on to the dhow with an axe and tried to cut the wire hawsers connecting it with the two other craft forming the obstruction. He was immediately shot in several places and died within a few minutes.’ D.S.O. London Gazette 13 September 1915: ‘Lieutenant-Commander Cookson was conducting a reconnaissance up a creek of the Euphrates, west of Qurnah, in the armed launch Shushan on 9 May 1915, when he was heavily attacked by Arabs concealed in the reeds. Although severely wounded early in the action, he resumed command after his wounds had been temporarily dressed, and succeeded in most ably extricating the vessel from a most perilous position under heavy rifle fire.’ Edgar Christopher Cookson was born at Cavendish Park, Tranmere, Cheshire, in December 1883, the younger son of Captain William Edgar de Crackenthorpe Cookson, R.N. Receiving his early education at Hazelhurst, Frant, he entered the Royal Navy as a Cadet in Britannia in September 1897, where, according to his official service record, he quickly came to the notice of his superiors: ‘Tried by the Portsmouth Magistrates for creating a disturbance at a music hall and using obscene language in the streets: he should not have been out of the college, being confined to college at the time. Deprived of three months time and Their Lordships severe displeasure expressed. To be reported on the end of three months.’ Here, then, early signs of an adventurous character whose youthful transgressions were quickly brought to heel by his seniors, and he duly passed out as a Midshipman with an appointment in H.M.S. Jupiter in the Channel Squadron. Removing to the Dido in early 1900, he witnessed active service off China during the Boxer Rebellion (Medal), and was advanced to Sub. Lieutenant in February 1903. And by the outbreak of hostilities in August 1914, he was serving as a recently promoted Lieutenant-Commander in the sloop Clio in the Far East. Immediate D.S.O. Ordered to Basra to reinforce the Navy’s small flotilla operating on the Euphrates and Tigris in Mesopotamia in early 1915, the Clio and her consort, Espiegle, were largely incapacitated from further operations owing to the shallowness of the waters that had to be navigated, and, in their place, a remarkable ‘gallimaufry of vessels’ was formed, a flotilla best described by Colonel Sir Mark Sykes: ‘There are paddle steamers which once plied with passengers and now waddle along with a barge on either side, one perhaps containing a portable wireless station and the other bullocks for heavy guns ashore; there are once respectable tugs which stagger along under the weight of boiler plating - to protect them from the enemy’s fire - and are armed with guns of varying calibre; there is a launch which pants indignantly between batteries of 4.7s, looking like a sardine between two cigarette-boxes; there is a steamer with a Christmas-tree growing amidships, in the branches of which its officers fondly imagine they are invisible to friend or foe. There is also a ship which is said to have started life as an aeroplane in Singapore, but shed its wings, kept its propeller, took to water, and became a hospital. And this great fleet is the cavalry screen, advance guard, rear guard, flank guard, railway, general headquarters, heavy artillery, line of communication, supply depot, police force, field ambulance, aerial hangar and base of supply of the Mesopotamian Expedition.’ Among this ‘great fleet’ was the newly commissioned stern-wheel river launch Shushan and, in April, Cookson was appointed to her command. Nor did it take long for him to make his mark - Deeds That Thrill the Empire takes up the story: ‘It was in the early days of the advance on Kut-el-Amara, when the advanced sections of our forces had reached the junction of the Tigris and Euphrates; and before pushing on along the valley of the former river, it was necessary to ascertain whether any considerable body of enemy troops had withdrawn up the Euphrates with the intention of coming down upon our lines of communication after the main force had passed on. The task of carrying out the reconnaissance fell to Lieutenant-Commander Cookson and his armed launch, the Shushan. The little steamer plugged her way up the Euphrates for some distance, a sharp look-out being kept on either side; but no sign of the enemy was discovered. Presently Cookson came to a tributary branching off to the left, and, impelled more by instinct than anything else, slackened the speed of the lumbering launch and steered her out of the main stream between the closer banks of the creek. On either side the tributary was flanked by a dense growth of rushes, which gently swayed in the wash of a passing vessel. For some distance the Shushan pushed on, the men on deck scanning every yard of the banks as they passed, still without finding a trace of a living soul. The Lieutenant-Commander was about to give up this particular part of his search as useless, and had already given orders preparatory to putting the vessel about for the return journey, when suddenly from among the rushes on both sides of the creek there burst forth a furious fusillade of rifle-fire. The Arabs, lying concealed amidst and behind the dense-growing rushes, could not be seen; but the guns, machine guns and rifles on board the Shushan instantly got to work and rained a steady stream of bullets along the banks. With all possible haste, but still all too slowly, the cumbersome Shushan was turned round in mid-stream, and off she set at the best of her poor speed to break out of the hornet’s nest into which she had stumbled. The enemy had disposed themselves well, but fortunately the launch had been well fitted up for the work she had to do,...
Lot 148
Pair: Commander E. T. Inman, Royal Navy, a distinguished Destroyer Captain who was killed in action on 22 January 1917 China 1900, no clasp (Lieut. E. T. Inman, R.N., H.M.S. Dido) rank and first initial officially corrected; British War Medal 1914-18 (Commr. E. T. Inman, R.N.) minor edge bruising, generally very fine and better (2) £400-£500 --- Provenance: Dix Noonan Webb, December 2006. Edward Tyrell Inman, who was appointed a Naval Cadet in July 1892, served aboard the cruiser H.M.S. Dido from May 1899 to November 1902, a period that witnessed his advancement to Lieutenant and active service off China during the Boxer Rebellion - He added the Royal Humane Society’s Certificate on Vellum to his accolades in September 1905, for rescuing a boy from the military moat at Cosham. A Commander by the outbreak of hostilities in August 1914, Inman initially served in the battleship Dreadnought, aboard which ship he was present at the ramming of the U-29 on 18 March 1915. But shortly afterwards, as recounted by his friend. Lieutenant Lionel Dawson, R.N., he was appointed to the command of the torpedo boat destroyer Mentor at Harwich: ‘Poor “Ted” Inman! It was his great desire to serve in destroyers, and he often discussed it with me. A very shy and reserved man, he unbent with difficulty, was not universally popular, and knew it. I saw a lot of him at Harwich during the ensuing eighteen months, and he was killed on his bridge during a night action soon after I left there. We had always got on together in the Dreadnought, and became intimate friends when he came to destroyers. He loved the life, and brought to his new experience all the throughness and conscientiousness towards his duty that had marked him as a gunnery and executive officer. I know that in him I lost a good friend and the Service an able officer. Like many who fell, I do not think that he had any great confidence in his survival of the War.’ One of Inman’s more notable destroyer actions - a contretemps in the Heligoland Bight on the night of 17-18 August 1915 - is described in Endless Story: ‘The senior officer of the escorting destroyers was Commander E. T. Inman, in the Mentor, and when darkness came the divisions had been disposed on each quarter of the Princess Margaret, a minelayer. It was a very dark night, calm but heavily overcast. Shortly before reaching the area to be mined, the force sighted a division of hostile destroyers, which at once fired torpedoes and then made off at full speed in the darkness. They had fired at the Princess Margaret, which, with her huge hull and three funnels, was a conspicuous and tempting target. The torpedoes luckily missed her; but one unfortunately hit the Mentor, the resulting explosion completely blowing away her bows under water ... The Mentor, meanwhile, seemed to be completely disabled, and found herself quite alone within a few miles of the enemy coast, and in water which generally teemed with German patrol vessels. The lower portion of her bows had been completely blown away, until the deck of the forecastle, from about the foremost gun, hung vertically down towards the water with the stem-head submerged. Realising the danger of capture, Inman destoyed his confidential books. Then, with his guns and torpedoes ready for instant action, he set the rest of his men to work to shore up bulkheads, place collision mats, and do all in their power to make the ship tolerably seaworthy for the 360-mile passage home. Luckily the weather was fine, and showed every prospect of remaining so. While this work was still in progress, Inman sighted some ships in the darkness and wished to ask them to stand by him. To his great annoyance, the smashing of lights and lamps made communications impossible, and the vessels steamed on and vanished in the darkness. It was not until some days later that he blessed the failure of his lights. Those ships were German cruisers. They passed him within a few hundred yards. Had he shown a solitary gleam he would have been sunk outright. Her temporary repairs finished, the Mentor made her tracks for home, gradually working up to 10 knots. At this speed, in the words of her captain, “she pushed the whole ocean in front of her.” The fine weather held, and she duly arrived at Harwich, where we watched her coming up the harbour, an extraordinary sight.’ Inman’s final action, in the Flanders Bight on the night of 22 January 1917, by which stage he was in command of the Simoom, is similarly described: ‘A torpedo exploded under the bow of his ship with such a terrific force that the forepart of the destoyer was blown clean over the foremost funnel. The Captain of the Simoom, Commander Inman, and his First Lieutenant were both killed, but notwithstanding that fact, and indifferent to the damage done to their boat, the after-gun crew fought their gun until the ice-cold sea water reached their knees, and the guns blazed forth in defiance for the last time only when the men were swept off their feet as their ship sank from under them. The miracle is that even 57 of her crew were saved that dark, bitterly cold night.’ Inman is commemorated on the Chatham Naval Memorial.
Lot 221
Eleven: Petty Officer C. F. Wakeham, Royal Navy, who served in H.M.S. Exeter during her epic encounter with the Admiral Graf Spee at the Battle of the River Plate on 13 December 1939 1939-45 Star; Atlantic Star, 1 clasp, France and Germany; Africa Star, 1 clasp, North Africa 1942-43; Italy Star; War Medal 1939-45; Naval General Service 1915-62, 1 clasp, Malaya, E.II.R. (P/JX. 135923 G. F. Wakeham. P.O. R.N.); Korea 1950-53, 1st issue (P/JX. 135923 G. F. Wakeham. P.O. R.N.) officially re-impressed naming; U.N. Korea 1950-54, unnamed as issued; Coronation 1953, unnamed as issued; Royal Navy L.S. & G.C., G.V.R., 3rd issue, coinage head (JX 135923 G. F. Wakeham. P.O. H.M.S. Mull of Kintyre.) mounted as worn; together with the recipient’s H.M.S. Ajax and H.M.S. Exeter Chilean Medal of Gratitude 1939, presented by the Chilean Municipality of Concepción for the Earthquake of 24 January 1939, bronze, an officially named later issue, the obverse featuring the Eagle coat of arms of Concepción, ‘Municipalidad de Concepción Chile’ around, the reverse inscribed ‘Gratitud a Marinos “Exeter” y “Ajax” Terremoto del 24-1-39.’, and named ‘C. F. Wakeham HMS Exeter’, light contact marks, good very fine (11) £800-£1,000 --- Charles Frederick Wakeham, a shop assistant from Brentford, Middlesex, was born on 4 February 1916. He attested into the Royal Navy as a Boy on 23 June 1931 and served in H.M.S. Exeter from 31 October 1936. Whilst serving in the 8th Cruiser Squadron on the South America Squadron, Exeter assisted with the humanitarian mission following the devastating earthquake at Concepción, Chile, on 24 January 1939. The earthquake, the deadliest in Chile’s history, measured 8.3 on the Richter scale and led to a death toll of approximately 28,000, and around 95% of the town’s buildings were completely destroyed. A medal was struck to be awarded to the crews of H.M.S. Exeter and H.M.S. Ajax, but owing to the outbreak of the Second World War, the majority of the unnamed medals were never issued. However, in March 2017, a second named issue was awarded to surviving crew members who had not received the earlier award. ‘Upon the outbreak of the Second World War, H.M.S. Exeter, still on the South America Squadron, under Rear-Admiral Henry Harwood, was heavily engaged against the Graf Spee on 13 December 1939. Just five minutes after the start of the action, an 11-inch shell burst alongside the British ship, killing torpedo tubes crews. A minute later she received a direct hit on “B” turret which put its two 8-inch guns out of action. Splinters swept the bridge, killing or wounding all but three of the officers and ratings standing there. The Captain escaped and, finding the bridge out of action and the wheel-house communications wrecked, he made his way aft to the fight the ship from there. As he did so, Exeter received two more direct hits from 11-inch shells forward ... The Exeter was still receiving punishment, although it was at this stage of the battle that the light cruisers were taken in and out with such skill, striking the enemy with their full weight whenever he turned to tackle the largest of the British cruisers. Two more 11-inch shells hit the Exeter, causing further casualties and extensive damage. One entered the hull and started a fierce fire between the decks. The other put the foremost turret and its two 8-inch guns out of action. It was on the occasion of these hits that the spotting aircraft reported she had completely disappeared in smoke and flame, and it was feared that she had gone. However, she emerged and re-entered the action. In doing so the men of the Exeter proved again the indomitable spirit of the Royal Navy. Their ship was badly stricken. Two of the three turrets were out of action, leaving no guns forward. She had a 7 degrees list and was down by the head. All her compasses had been smashed, and the Captain was handling his ship with the aid of a small boat’s compass. In these circumstances she altered course towards the enemy and fired her torpedoes ... The Exeter, gradually dropping astern, fought on until she had nothing left to fight with. At about 7.30 a.m. her sole remaining turret was flooded. Ten minutes later she turned to the south-east and slowly limped away, making necessary running repairs as she went ... Exeter made her way to the Falkland Islands, where she underwent repairs until January 1940, before she could undertake the return voyage to the U.K. Meanwhile, her casualty return spoke volumes: five officers and 56 ratings killed, three ratings died of wounds, and three officers and 17 ratings otherwise wounded. So, too, the resultant awards to her gallant ship’s company: a C.B., two D.S.Os, seven D.S.Cs, three C.G.Ms, 17 D.S.Ms and 18 “mentions”.’ (The King’s Cruisers, by Norman Holman, refers). Appointed Petty Officer on 6 November 1942, Wakeham saw later Second World War service in H.M.S. Glenarn, H.M.S. Grebe, H.M.S. Cleopatra, H.M.S. St. Angelo, H.M.S. Effingham, H.M.S. Druid and H.M.S. Caroline, as well as other shore establishments. He was awarded his Long Service and Good Conduct Medal on 3 February 1949, after having re-enlisted to complete his pension on 14 May 1946. Post-War, he served in Malaya and Korea and was awarded the 1953 Coronation medal. Pensioned to shore on 8 March 1956, he died in Plymouth, aged 77, on 6 February 1993. Sold with copied service papers; a quantity of original related photographs, including several of the recipient in uniform and in later life wearing his medals; the original menu card for the Corporation of London’s Guildhall luncheon held in honour of the officers and men of H.M.S. Exeter on 23 February 1940; original newspaper cuttings relating to the battle; the 50th anniversary edition of Memories of the Battle of the River Plate containing contributions from the recipient; his named ‘Crossing the Equator’ parchment whilst serving in H.M.S. Exeter, dated 1937; original programme for the Coronation 1953 review of the fleet at Spithead; original medal ribbon bar; rank badges; and newspapers cuttings relating to the late issue of the Chilean award.
Lot 1281
GODZILLA (1998) - Model Miniature Building Pieces and Fire Extinguisher - Model miniatures of building pieces and a fire extinguisher from Roland Emmerich's Godzilla. Despite Godzilla being brought to life primarily through CGI, much of the destruction that Godzilla wreaked on New York City buildings was created using model miniatures.This model miniature set consists of one section of the side of a building created in resin and acrylic painted gray and brown to resemble aged stone with sculpted architectural flourishes and rectangular windows, one of which still has a brown frame and shattered clear acrylic window in place; a smaller strip of a matching building section made of resin, and a red and white resin fire extinguisher with black embellishments. The window insert exhibits loosening and the model miniatures exhibit paint chipping and additional cracking beyond their production-made distressing. Dimensions: (largest) 17.5" x 14" x 3" (44.5 cm x 35.75 cm x 7.75 cm)This lot is offered at a $100 starting bid with no reserve.Bidding for this lot will end on Thursday, March 14th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, March 12th or Wednesday, March 13th.
Lot 116
THE GODFATHER PART II (1974) - Vito Corleone's (Robert De Niro) Photo-Matched Pea Coat - Vito Corleone's (Robert De Niro) photo-matched pea coat from Francis Ford Coppola's The Godfather Part II. The young Vito wore his signature pea coat in several key flashbacks to his early years in New York during the late 1910s, including when he helped Peter Clemenza (Bruno Kirby) steal an expensive rug after losing his job in a grocery store and when he was extorted by Don Fanucci (Gastone Moschin). Distinctive patterns on the tortoiseshell-patterned buttons and wear on the left lapel of this coat match it to set photographs from the production.Not many actors could effortlessly portray a character initially brought to life by Marlon Brando, an actor often described as the greatest of all time. Still, De Niro managed to do it, winning his first of two Oscars® as well as a permanent place in film history for his role of young Vito.This double-breasted rust-color woolen pea coat features exterior pockets on either side of the hip and another on the left side of the chest. A Western Costume Co. Hollywood label in the inside pocket reads "Robert De Niro #1 - Chest 39 1/2 - Sleeve 17 1/2." The coat exhibits pulled threads through the button holes, fading wool on the pockets, and small stains on the back and right arm from wear and age.Estimate: $20,000 - 40,000Bidding for this lot will end on Tuesday, March 12th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, March 13th or Thursday, March 14th.
Lot 457
Maria Samora, British 20th century - Garden scene; oil on panel, signed lower right 'Maria Samora', 50.3 x 60.3 cm: together with an unsigned interior scene and a painting by Stanley Walton Smith, British 20th century - Still life of flowers (with 'Portrait study' on the reverse); oil on panel, signed with initial lower right 'SWS' and inscribed with artist's details on the reverse (3) (ARR)
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