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Lot 174
EARLY 20TH CENTURY SEVEN VOLUME SET OF PEOPLES OF ALL NATION A seven volume edition of Peoples of All Nations. All with red hardcovers edited by J. A. Hammerton and with cover page: “People of All Nations: Their Life Today and the Story of their Past, By Our Foremost Writers of Travel Anthropology & History, Illustrated with upwards of 5000 Photographs, numerous Color Plates, and 150 Maps”. Includes: Vol. 1 - Abyssinia to British Empire Vol. II - British Empire to Dahomey Vol. III - Danzig to France Vol. IV - Georgia to Italy Vol. V - Japan to Oman Vol. VI - Palestine to Sin Kiang Vol. VII - South Africa to Wales Condition: binding still intact to all, foxing to each book throughout, nicks and small tears/ use to covers of all Condition: Condition Report Condition: binding still intact to all, foxing to each book throughout, nicks and small tears/ use to covers of all This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Lot 150
A Rockingham Porcelain Plate, 1826, with anthemia moulded rim, claret ground border and painted with a still life of fruit and flowers, statent red griffin mark, 23cm wide, another Rockingham plate, Essex moulded with Brunswick blue border and painted with fruit, puce griffin, 23cm wide and three similar (5)Lot 150, red border painted with fruit with a hairline crack, which has had some atempt at restoration running right around the central well.White ground with floral sprays with a firing hairline and numerous losses to the paint work, remaining plates and dishes with varying degrees of crazing and wear
Lot 58
Jan Cybis (Polish, 1897-1972)Still Life with a Bouquet signed 'Jan Cybis' (lower right); inscribed 'Jan CYBIL, Bukietz popielniczka.../ WARSZAWA / AKADEMIA SZTUK PIEKNYCH' (on the stretcher)oil on canvas49.5 x 64.5 cm (19 1/2 x 25 3/8 in).framed 65.5 x 81.0 x 2.0 cm (2 4/5 x 31 9/10 x 4/5 in).Footnotes:ProvenanceAlfred and Maria Tarski, Berkeley, California; then by family descent to the Estate of Eva Kristina Ehrenfeucht.N.B.Along with his wife, Maria, Jewish-American logician and mathematician Alfred Tarski was an avid collector of Polish art and amassed an impressive collection of works from some of Poland's most influential artists. Like many artists in their collection, Mr. Tarski was born in Warsaw, Poland to Jewish parents in 1901. Mr. Tarski was educated in Poland at the University of Warsaw and became a member of the Lwów–Warsaw School, one of the most important schools of Polish logic and philosophy, and of the Warsaw School of Mathematics. In 1929 he married Maria Witkowska and they began collecting art. Maria worked as a courier for the army in the Polish–Soviet War. They had two children together, and in 1939 the family immigrated to the United States where Mr. Tarski taught and carried out research in mathematics at the University of California, Berkeley until his death in 1983.For further information on this lot please visit Bonhams.com
Lot 316
A RARE BLACK LACQUER AND MOTHER-OF-PEARL-INLAID DOCUMENTARY PIPA17th centuryThe musical instrument of elongated tear-drop shape, the finely-grained wooden belly decorated in gilt with a pair of birds and gnarled branches of prunus and bamboo, rising to a long shaft with four strings leading to four tuning pegs on the sides of the bent-back pegbox inlaid in mother-of-pearl with a rooster on a rock with crashing waves, the reverse of the body lacquered black and decorated in mother-of-pearl with two figures gazing at three tall rocks across the sea, a large cartouche with long calligraphic inscription below, Japanese wood box and cover. 91cm (36in) long. (3).Footnotes:十七世紀 黑漆嵌螺鈿花鳥人物紋詩文琵琶Provenance: R.H.van Gulik (1910-1967), and thence by descent來源：高羅佩（1910-1967）舊藏，並由後人保存迄今Robert Hans van Gulik (1910-1967), also known as Gao Luopei (高罗佩) was a famous Dutch diplomat, musician, writer and sinologist. He was a great admirer of traditional Chinese literati culture and apart from practicing Chinese calligraphy everyday, he also learnt to play the guqin. The guqin was often played by van Gulik at diplomatic events, helping him to forge close ties with China's elite; and his book The Lore of the Lute was the first academic study of the instrument and its role in Chinese culture, introducing it to a Western audience for the first time. Van Gulik was one of the rare and great sinologists at the time who embodied the literati ideal and through his rigorous study and translations of classical Chinese texts allowed Chinese culture to speak for itself, acting as a bridge of understanding between East and West.Van Gulik was born in Zutphen in the Netherlands, but from the age of three he lived in Jakarta, with his father who was a medical officer in the Dutch East Indies. While there, he learned Indonesian and Chinese as well as other languages. In 1935, van Gulik earned his PhD from Utrecht University with a dissertation on Hayagriva, the Mantrayanic aspect of Horse-cult in China and Japan. His linguistic skills allowed him to have a position in the Dutch Foreign Service from 1935 where he was largely based in Japan and China. During the Second World War he was with the Dutch mission in Chongqing. While in Chongqing, he married Shui Shifang (1912-2005), the daughter of a Qing dynasty official.Van Gulik was a polymath with broad interests and expertise. Aside from his interests in the guqin and traditional Chinese culture, van Gulik was a writer of Detective fiction. His 'Celebrated Cases of Judge Dee' (first published in Tokyo in 1949, with illustrations by himself) was based on the 7th century statesman and detective Di Renjie. Based on this, his earned a reputation as an expert on Imperial Chinese jurisprudence. His other pioneering scholarly works were in sexuality and his Sexual Life in Ancient China and Erotic Colour Prints of the Ming Period are still major reference works in the field. Van Gulik was also an enthusiast of gibbons and kept them as pets as well as writing a study of them: The Gibbon in China.Although van Gulik is most well known as a musician of the guqin, he was interested in Chinese music and musical instruments in general. The pipa, or Chinese lute, was introduced from Central Asia during the Han dynasty, and gradually evolved within different areas of China since the Tang dynasty. The term 'pipa' describes two original playing motions of the plectrum held in the performer's right hand: pi is 'to play forwards' (towards the left), and pa, 'to play backwards' (towards the right). The pipa was originally held horizontally, and its twisted silk strings were plucked with a large triangular plectrum until the end of the Tang dynasty when musicians began using their fingernails to perform the more exuberant music; see for example, the painting The Night Revels of Minister Han Xizai, attributed to Gu Hongzhong (10th century), in the Palace Museum, Beijing, which shows a lady holding the instrument horizontally with a plectrum. To make it easier to use fingers, the instrument began to be held in an upright position which slowly became the beipa (northern pipa).However, the concept of early horizontally-held pipa was preserved in Nanyin music. Nanyin, also Nanguan, literally 'southern pipe' music, is popular in the Minnan area (southern Fujian Province) from whence it spread to Taiwan and other Southeast Asian countries. Minnan musicians are tempted to assign the origins of Nanyin music to the Tang and Song dynasties, which to a certain degree can be supported by the the survival of many archaic features, such as the tradition of horizontally held pipa. The music today is seen by academics as primarily part of an amateur tradition with ancient historical roots, that is played both for the musicians' own entertainment and occasionally for ritual practice and storytelling. the present lot's relatively small size may indicate that it is a Nanyin pipa. Pipa is the leading instrument in Nanyin music, accompanied by pai (wood clapper), erxian (two-stringed fiddle), sanxian (three-stringed lute), and xiao (vertical flute, also called dongxiao). Although a Nanyin pipa preserves some features of types of pipa from the Tang dynasty, its modern form appears to have been finalised no later than the Ming dynasty. Compare with a pipa in the Metropolitan Museum of Art, New York, late 16th/early 17th century, illustrated by J.K.Moore, J.K.Dobney and B.Strauchen-Scherer, Musical Instruments: Highlights of the Metropolitan Museum of Art, New York, 2015, pp.48-49, fig.II. The backs of pipa are usually plain since it is unseen by an audience, but the extraordinary pipa in this lot is decorated and has an inscription, which reads as:予家小築小溪灣，漁父村西指顧間。竹槿編篱依綠水，柴荊成戶對青山。有時□釣歸明月，盡□看雲坐翠鬟。倘肯杖藜過曲徑，新茶堪煮荀堪刪。吳趨陳衷並書Which may be translated as:My little hut is built on the bay of the creek, the fishermen live only a stone-throw away to the west. The bamboo and hibiscus woven into the fence is by the green waters, the gate formed by firewood trees faces the green hills. Occasionally, I come back from fishing accompanied by the moon, and watch the clouds curling up on the verdant hills like ladies' hair buns. If you could walk through the winding road on a crutch (to my home), the fresh tea could be boiled, and bamboo sprouts could be chopped for you.Written by Chen Zhong of the land of WuThe seal reads: 字能坦, 'Courtesy name Nengtan.'Chen Zhong (陳衷), courtesy name Nengtan (能坦), was a scholar active in the late Ming and early Qing dynasties. Very little is known about him. However, the inscription alludes to many of the eremitic ideals of the literati including a life away from the perils of the Court and dedicated to fishing, tea, and meeting with friends.Compare with a related black lacquer and mother-of-pearl-inlaid pipa, late Ming/early Qing dynasty, which was sold at China Guardian, Beijing, 7 June 2021, lot 5184.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 355
A RARE WOODBLOCK PRINT OF LADIES AND BOYCirca 1750-1800 Ink and colours on paper, depicting a boy carrying a blue vase issuing a cloud with five bats, behind him an elegant lady sits beside a table, her sleeves decorated with orchids, her left hand raised, behind her another elegant lady stands before a table with vases and antique vessels, collector's seal of van Gulik. 96cm (37 3/4in) long x 46.5cm (13 1/2in) wide.Footnotes:約1750-1800，版畫美人嬰戲圖Provenance: R.H.van Gulik (1910-1967), acquired in 1936, and thence by descent來源：高羅佩（1910-1967）獲得於1936年，並由後人保存迄今Robert Hans van Gulik (1910-1967), also known as Gao Luopei (高罗佩) was a famous Dutch diplomat, musician, writer and sinologist. He was a great admirer of traditional Chinese literati culture and apart from practicing Chinese calligraphy everyday (the cover of the box on the present lot was written by him), he also learnt to play the guqin, of which, the present lot was said to be his favourite instrument. The guqin was often played by van Gulik at diplomatic events, helping him to forge close ties with China's elite; and his book The Lore of the Lute was the first academic study of the instrument and its role in Chinese culture, introducing it to a Western audience for the first time. Van Gulik was one of the rare and great sinologists at the time who embodied the literati ideal and through his rigorous study and translations of classical Chinese texts allowed Chinese culture to speak for itself, acting as a bridge of understanding between East and West.Van Gulik was born in Zutphen in the Netherlands, but from the age of three he lived in Jakarta, with his father who was a medical officer in the Dutch East Indies. While there, he learned Indonesian and Chinese as well as other languages. In 1935, van Gulik earned his PhD from Utrecht University with a dissertation on Hayagriva, the Mantrayanic aspect of Horse-cult in China and Japan. His linguistic skills allowed him to have a position in the Dutch Foreign Service from 1935 where he was largely based in Japan and China. During the Second World War he was with the Dutch mission in Chongqing. While in Chongqing, he married Shui Shifang (1912-2005), the daughter of a Qing dynasty official.Van Gulik was a polymath with broad interests and expertise. Aside from his interests in the guqin and traditional Chinese culture, van Gulik was a writer of Detective fiction. His 'Celebrated Cases of Judge Dee' (first published in Tokyo in 1949, with illustrations by himself) was based on the 7th century statesman and detective Di Renjie. Based on this, his earned a reputation as an expert on Imperial Chinese jurisprudence. His other pioneering scholarly works were in sexuality and his Sexual Life in Ancient China and Erotic Colour Prints of the Ming Period are still major reference works in the field. Van Gulik was also an enthusiast of gibbons and kept them as pets as well as writing a study of them: The Gibbon in China.Compare with two rare Suzhou prints of ladies with children, 18th century, which were sold at Bonhams New York, 10 September 2018, lot 216. See also a rare set of three Suzhou prints, Qianlong, by Guan Ruiyu, which were sold at Bonhams London, 5 November 2020, lot 128.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 8
AN EXCEPTIONALLY RARE AND IMPORTANT INSCRIBED BLUE AND WHITE AND COPPER-RED 'VIRTUOUS OFFICIALS' BRUSHPOT, BITONGKangxi six-character mark and of the periodExpertly potted of cylindrical form with straight sides inscribed around the exterior in kaishu calligraphy with the prose-poem 'The Wise Emperor has Worthy Officials', a seal in underglaze copper-red reading Xi chao chuan gu, 'antique to be handed down from our glorious dynasty', the small recessed base with the mark in underglaze blue. 19.1cm (7 1/2in) diam.Footnotes:清康熙 青花釉裡紅「聖主得賢臣頌」筆筒青花「大清康熙年製」楷書款Provenance: Sotheby's Hong Kong, 30 April 1996, lot 457Published and Illustrated: S.Marsh, Brushpots: A Collector's View, Hong Kong, 2020, pp.126-127. 來源：香港蘇富比，1996年4月30日，拍品編號457著錄：S.Marsh，《筆筒淵鑒：收藏家的隨心所悟》，香港，2020年，第126-127頁The poem on the present lot is 'The Wise Emperor has Worthy Officials' (聖主得賢臣頌) by the Western Han dynasty poet Wang Bao (王褒, 84-53 BC) for the Han Emperor Xuan (74-48 BC). The Han dynasty under Emperor Xuan prospered economically and militarily to become a regional superpower. Emperor Xuan was considered a diligent and brilliant ruler by historians. Unusually, despite his noble birth as a prince, because his grandfather was framed for witchcraft against Emperor Wu and committed suicide after being forced into a failed uprising, the young Emperor Xuan survived the tumult and lived as a commoner after an amnesty from Emperor Wu in 87 BC. His understanding of life as a commoner made him more sympathetic and humane as a ruler, and he lowered taxes, and employed many capable officials. Wang Bao's prose-poem on the present brushpot, therefore, was not just the usual flattery offered to Royalty, but genuine praise. Some sections can be translated as follows:賢人君子，亦聖王之所以易海內也。是以嘔喻受之，開寬裕之路，以延天下之英俊也。夫竭智附賢者，必建仁策；索人求士者，必樹伯跡... 由此觀之，君人者勤於求賢而逸於得人。Sage and gentlemen are also a sharp tool for a wise emperor to govern the country. Therefore, to accept talented people with an open mind would only aid in the country's best interest. Knowing this truth, you should establish a strategy for recruiting talents. Recruiting talents from all over the country is a necessary procedure for becoming a hegemon... As a king, only by making painstaking visits to talents in advance can he enjoy the long-term peace and stability brought by talents.故世平主聖，俊乂將自至，若堯舜禹湯文武之君，獲稷契皋陶伊尹呂望之臣，明明在朝，穆穆列布，聚精會神，相得益章。When the world is peaceful and the emperor is sage, talented people will show up. Just like 'Yao, Shun, Yu, Tang, Wen, and Wu' and 'Ji, Qi, Gaotao, Yiyin, and Lu Wang', the names of sage emperors and loyal ministers throughout the dynasties are too many to count. There is a diligent king above, and respectful ministers below. They work together and bring out the best in each other.故聖主必待賢臣而弘功業，俊士亦俟明主以顯其德。上下俱欲，懽然交欣，千載一會，論說無疑。Therefore, a wise ruler must rely on the help of virtuous ministers to expand his achievements, and the talents must rely on the appreciation of their wise master to fully unleash his potentials and virtues. Harmony between monarchs and ministers is rare in a thousand years. They trust each other and appreciate each other, like a feather following the wind, like a fish in water, how can it be possible to not let it happen? This harmonious ruling style will surely bring auspiciousness and far-reaching influence to all over the country, benefiting the people with its boundless effect.The Kangxi Emperor clearly thus wanted to link his reign - which began shakily with the Revolt of the Three Feudatories (1673-1681) - with invoking the glorious Han dynasty and the reign of the Emperor Xuan. This is significant because the Han dynasty, which lends its name to the Han Chinese ethnic group, was also a time of stability and prosperity giving rise to Han rhapsodies and grandiloquent prose-poems praising the emperors. The Kangxi Emperor, a Manchu, aware of his perceived 'foreignness', needed to show himself as the custodian of Han culture and civilisation and thus win over scholars and gentry still reluctant to support the Qing dynasty. There were scholars such as Zhang Dai who still looked back longingly to the Ming dynasty as late as 1684. The present lot therefore, with a Han prose-poem, not only exhibits the erudition of the Kangxi Emperor, but his role as custodian of Han civilisation, and his appreciation of Confucian scholars whom he needed to help administer the empire justly. In 1682, during his second pageantry tour to Manchuria, to make offerings to his ancestral tombs, the Kangxi Emperor often stressed his desire to search for talented officials:朕禦極以來，恆念山林藪澤必有隱伏沉淪之士，屢詔徵求，多方甄錄，用期野無遺佚，庶愜愛育人材之意Regarding the concealed and dejected scholars who must be hiding in forested mountains or marshes in the realm. Repeatedly I have issued edicts to recruit them, enlisting their services from all directions, with the intention that no talent will be left unappreciated in the fields.Written after the rebellion of the Three Feudatories (1673-1681) which was the last substantive threat to Manchu Qing rule, the Kangxi Emperor's reiteration of his daily intimacy with 'literature and ink' (俾日親文墨) and appeal to hidden talent in the marshes is a victor's gesture of benevolent reconciliation.See a very similar blue and white and copper-red brushpot, Kangxi, with the same inscription, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglazed Red (III), Hong Kong, 2000, p.207. Another very similar brushpot with the same inscription, Kangxi six-character mark and of the period, in the Shanghai Museum, is illustrated in Kangxi Porcelain Wares from the Shanghai Museum Collection, Hong Kong, 1998, no.19. Another blue and white and copper-red brushpot with the same inscription, Kangxi six-character mark and of the period, is illustrated in A Loan Exhibition of Chinese Art of the Early Periods, Singapore Art Society, British Council Centre, Singapore, 1953, no.94. Another very similar blue and white and copper-red brushpot, with the same inscription, Kangxi mark, was donated by Sir Augustus Wollaston Franks (1826-1897) to the British Museum, London (acc.no.Franks.146). Another very similar blue and white and copper red brushpot, with the same poem, Kangxi mark and of the period, is in the National Palace Museum, Taipei, illustrated in Ceramics Gallery of the Palace Museum, Taipei, 2009, p.325, no.306. Compare also with a related blue and white brushpot inscribed with a different inscription, Kangxi, dated 1684, in the Art Gallery of the Chinese University of Hong Kong, illustrated in Qing Imperial Porcelain: of the Kangxi, Yongzheng and Qianlong Reigns, Hong Kong, 1995, no.14.A similar underglaze blue and copper-red brushpot with the same poem, Kangxi six-character mark and period, was sold at Sotheby's Hong Kong, 8 November 1982, lot 170, and again in the same Rooms, from the collection of Sir Quo-Wei Lee, on 3 October 2018, lot 141.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 22
A VERY RARE BLUE AND WHITE 'SPRING EVENING BANQUET' BRUSHPOT, BITONGJiajing six-character mark, KangxiThe cylindrical vessel with slightly waisted sides painted around the exterior in vibrant tones of cobalt-blue with a continuous scene of an elegant gathering of scholars, the moon and stars in the sky and the lanterns in the trees indicating it is night, a servant pours wine from an ewer to a scholar at a desk with paper and brushes, another scholar at the same desk pushes a cup towards a seated gentleman, another with cup in hand has let his robes fall to reveal his bare back, all within a balustraded garden setting with gnarled rocks and trees, across the wall more scholars read from books, while one sits on a mat in the centre with a fan, the recessed base with the six-character mark. 18.6cm (7 1/4in) diam. Footnotes:清康熙 青花「春夜宴桃李園」筆筒青花「大明嘉靖年製」楷書款Provenance: Marchant & Son, London, 21 November 1997Professor D.R.Laurence (1922-2019)Marchant & Son, London, 4 November 2010Published, Illustrated and Exhibited: S.Marchant & Son, Selected Chinese Porcelain from the Collection of D.R.Laurence, London, 2010, p.32, no.18.S.Marsh, Brushpots: A Collector's View, Hong Kong, 2020, p.136.來源：Marchant & Son Ltd.，1997年11月21日D.R.Laurence教授 (1922-2019年)倫敦古董商Marchant & Son Ltd.，2010年11月4日展覽著錄：S.Marchant & Son，《Selected Chinese Porcelain from the Collection of D.R.Laurence》，倫敦，2010年，第32頁，編號18S.Marsh，《筆筒淵鑒：收藏家的隨心所悟》，香港，2020年，第136頁Desmond R. Laurence (1922-2019) was Professor Emeritus of Pharmacology and Therepeutics at University College London, and co-author of nine editions over 40 years of a highly successful medical textbook. He also compiled Chinese Porcelains: 25 Years of Unscholarly Collection. He first became interested in Asian ceramics in 1947-1948 during his military service in Japan as a medical specialist in the Royal New Zealand Army medical Corps: see R.Davids and D.Jellinek, Provenance, Oxford, 2011, p.289.Congregations of scholarly and cultivated friends, known as 'elegant gatherings' (yaji 雅集) were an important form of social interaction in traditional China. These gatherings were held for various reasons and could be either large or small. The host and guests not only enjoyed fine food and drink, but also took part in other refined activities such as reciting poetry, performing on the guqin, playing weiqi, viewing paintings and calligraphy, and enjoying tea. These parties offered opportunities for inspiration and friendly competition.Numerous elegant gatherings became immortalised in cultural memory and works of art such as the 'Orchid Pavilion Preface' by Wang Xizhi (303-361), 'Elegant Gathering in the Western Garden' (circa 11th century), with guests such as Su Shi (1037-1101) and Huang Tingjian (1045-1105), which probably never happened, but which still fed peoples' imaginations. Gu Ying (1310-1369) held as many as thirty elegant gatherings which became known collectively as the 'Elegant Gathering at Jade Mountain'. The elegant gathering thus sometimes was not necessarily a real one-time historical event, but an imagined gathering of all the great scholars and artists of a particular period. Another such example, often seen on brushpots, is the 'Eighteen Scholars of the Tang Dynasty'. See for example a similar blue and white brushpot, Kangxi, depicting the 'Eighteen Scholars', illustrated in Kangxi Porcelain Wares from the Shanghai Museum Collection, Hong Kong, 1998, pp.70-71, pl.46.The present lot has a very similar scene to a blue and white brushpot which was sold at Sotheby's New York, 21 April 2023, lot 604. The said brushpot has a poem by Li Bai (701-762), Chunye yan tao liyuan xu 春夜宴桃李園序 (Preface to the Spring Evening Banquet at the Peach and Pear Blossom Garden). It is therefore very likely that the present brushpot is also depicting the Spring Evening Banquet, which is confirmed by the moon and stars decorated on it. The poem was composed around 733, and begins with a rumination on the transience of life while describing Li Bai drinking and composing poems during a spring evening with friends, the fragrance of peach blossoms hanging in the air, and concludes with a drinking punishment for those who fail to compose a poem.See a related blue and white brushpot of slightly waisted cylindrical form but with the same scene, Kangxi, illustrated by Chen Runmin, Gugong bowuyuan cang Qingdai ciqi leixuan, Qing Shunzhi Kangxi chao qinghuaci, vol.1, Beijing, 2004, pl.211.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 535
Vinyl - 8 Mountain and members albums to include: Flowers Of Evil (UK), Live: The Road Goes Ever On (UK), Flowers Of Evil (New Zealand), Twin Peaks (US Double album), Go For Your Life (UK), Leslie West - The Great Fatsby (US), Leslie West - Mountain (US), Still Climbing (EU 2013). Condition VG+ overall
Lot 648
Vinyl / Autograph - 1 album and 4 12” singles by The Charlatans and Tim Burgess, including Signed example and Promos, to include: Us And Us Only (UK 2019 RSD Limited Transparent Vinyl, Universal Records, 7730935) Still Sealed, Tim Burgess – Oh Men (Remixed) (UK 2014 12" Limited to 500 copies and signed by Tim Burgess on the front, O Genesis Records, OGen 073R) EX / EX. The Charlatans - Jesus Hairdo (UK 1994 Demo Promo, CHAR 10) VG+ (would benefit from a clean). I Never Want An Easy Life If Me And He Were Ever To Get There (UK 1994 Promo 12”, CHAR 9) VG+ (would benefit from a clean). Then (UK 1990 12”, SIT 74T) EX- / VG+
Lot 1029
A collection of Cliff Richard LPs, box sets, and Ephemera, to include: Always Guaranteed Box Set; Silver Box Set; Cliff Richard Story box set; various early pressings of Summer Holiday; Wonderful Life; Private Collection; and others; together with programmes and ticket stubs; and a large collection of 7" EPs, singles and box sets, to include: Cliff black box set; 40 Golden Greats 2xcassette box set; Carrie; I Still Believe In You; Never Let Go; Peace In Our Time; From A Distance; Christmas '91 Souvenir We Should Be Together; and many more. (Qty)
Lot 1083
A fantastic collection of 23 Rolling Stones LPs, to include: The Rolling Stones; Rolling Stones No.2; Aftermath; Out of Our Hearts; Between the Buttons; Sticky Fingers; Black and Blue; Goats Head Soup; Still Life; Tattoo You; Dirty Work; Let It Bleed; Beggars Banquet; Metamorphosis; and others. (23)
Lot 13
RUPERT SHEPHARD (BRITISH 1909-1992) STILL LIFE- FLOWERS AND A POSTCARD Oil on canvas Signed and dated 1974 (lower right) titled (verso) 41 x 30.5cm (16 x 12 in.)Provenance: Private Collection, Lady Caroline Conran Please note measurements do not include frame unless otherwise stated Condition Report: No obvious condition issues. Please note Dreweatts is not liable for damage to picture frames.Condition Report Disclaimer
Lot 521
GLYNN BOYD HARTE (20th century); three limited edition colour lithograph prints, each a still life of cricket ball, bat, pad and Pimms glasses, signed in pencil and numbered 34/500, 51/500 and 350/500 (3).Condition Report: † This lot may qualify for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org
Lot 522
GLYNN BOYD HARTE (20th century); three limited edition colour lithograph prints, each a still life of cricket ball, bat, pad and Pimms glasses, signed in pencil and numbered 36/500, 296/500 and 355/500 (3).Condition Report: † This lot may qualify for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org
Lot 541
ERNEST HIGGINS RIGG (Staithes Group, 1868-1947); oil on board, still life of garden roses, signed lower left, 38.5 x 32cm, framed.Condition Report: - Frame 57 x 50cm. There is some crackle to the painting, but still looks good. The top right corner of the front of the frame has been reattached. Otherwise good.
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