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Lot 175
A collection of UK cinema lobby cards part sets & stills including "The Organization", La Sorcerie, I Am a Camera, Becket, One Day in the Life of Ivan Denisovich, Night of the Generals, Chales Vanel still, Wayward Life, Great Race, Lady & The Tramp, Peter Pan, Three Caballeros, Afraid to Live, Kill or Cure, O la la Cheri, Barry Lyndon, Fugitive in Saigon, Royal Ballet, Otello, Monkeys Uncle My Dog the Thief, etc. All 10" x 8", Various conditions.
Lot 882
ALBERTO BIANCHI (1882-1969); oil on canvas, still life study of mandolin, violin, horn and Beethoven music score, signed and bearing Bolzani of Milan sticker verso, 50 x 70cm, framed and glazed. (D) CONDITION REPORT: As it is behind glass it has been well protected, a few surface marks but presented in original condition. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk Appears good with no obvious signs of faults, damage or restoration. Recommend external packer and shipper to post outside of the UK.
Lot 410
Kenneth Roland James Mundy (British, 1928-1993) Still life of tulips in a white vase signed lower right "Mundy" oil on board 59 x 49cm (23 x 19in) Kenneth Mundy exhibited in London at Harrods and the Park Lane Hotel. He lived in Cambridgeshire and held exhibitions at Cambridge Library. His work is in private collections including that of the late Benazir Bhutto. Condition appears fine.
Lot 909
FAITH TRESIDDER SHEPPARD (1920-2008); oil on artists board, still life, flowers in a vase, signed to lower right, bearing a hand inscribed label verso, "Roses painted on June 24th 1969, Faith Sheppard", 41.5 x 43cm, framed. (D) CONDITION REPORT: This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Lot 881
ALBERTO BIANCHI (1882-1969); oil on board, still life study of fruit beside a brass kettle, signed, inscribed verso and bearing Bolzani of Milan sticker verso, 44 x 54cm, framed and glazed. (D) CONDITION REPORT: This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk Appears good with no obvious signs of faults, damage or restoration. Recommend external packer and shipper to post outside of the UK.
Lot 635
*Nicholson (Ben, 1894-1982). Still life with blue, 1968, a reproduction of the original etching, issued sometime in the late 1980s or 1990s with the agreement of the estate of the artist, and issued in an edition of 300, on thick handmade paper, signed and dated in pencil, a few minor marks, plate size 266 x 122 mm (10.5 x 4.75 ins), sheet size 357 x 213 mm (14 x 8.4 ins) (1)
![*[Radcliffe, Ann, 1764-1823]. 'Mrs Radcliffe Authoress of the Mysteries of Udolpho', circa 1830, watercolour on paper, portr](https://cdn.globalauctionplatform.com/2eb3dfff-c50e-4326-b646-a625012bde72/c618e942-d819-4c20-9a28-8275ec08b9bc/468x382.jpg)
Lot 402
*[Radcliffe, Ann, 1764-1823]. 'Mrs Radcliffe Authoress of the Mysteries of Udolpho', circa 1830, watercolour on paper, portrait of a woman identified in ink with a contemporary inscription as above to lower margin, half-length, half facing left, wearing a pink and white bonnet with deep dark ringlets protruding over her forehead, pink scarf and white dress, holding a document with red seal in her right hand, Bristol Paper embossed stamp lower left, 230 x 180mm (9 x 7 ins), verso blank, tipped onto a contemporary album leaf at corners A very sensitive and intriguing watercolour by an unidentified artist, with great care and detail given to the face and strongly suggesting this was done from life. There is no known portrait from life of the author Ann Radcliffe and its attribution as her appears spurious for a number of reasons. The Bristol Paper stamp was introduced in 1800 and that and the age of the paper are consistent with the early 19th century. The woman appears to be aged 30 to 40, which if of Ann Radcliffe from life would date this to between 1794 and 1804. The hair and dress are completely wrong for this early date and these features indicate a date of perhaps the late 1820s; the waist on the dress is still above the natural waistline and the sleeves have yet to become as exaggerated as they become in the 1830s. Mrs Radcliffe was supposed to be small-proportioned while this sitter seems to be big-featured and broad-shouldered. Mrs Radcliffe had blue eyes and brown hair and a nose 'inclining to aquiline', all of which could be interpreted as true in this portrait. The document held by the sitter is indeterminate and in a portrait of Mrs Radcliffe one would expect here to be holding a novel, or something at least more romantic. One of the founders of Gothic literature, Ann Radcliffe's most famous novel and for which she is lastingly famous, The Mysteries of Udolpho, was published in 1794. The only known image we have of Mrs Radcliffe is an imaginary portrait dated to 1853, some 30 years after her death, which appeared in J.S Pratt's edition of The Romance of the Forest. Provenance: From an album of prints and watercolours compiled by Sir Theodore Martin (see lot XXX). There is no evidence that Theodore Martin or his wife, the noted actress Helen Faucit, met or knew Ann Radcliffe, nor does the inscription on the watercolour appear to be in either of their hands. How it came to be in Sir Theodore Martin's possession and why he chose to keep this in this album without any additional notes or remarks isn't obvious. Certainly, there were no other watercolours or drawings in the album that were remotely related or in the same hand. The portrait is the work of a highly skilled artist in the manner of Andrew Plimer and other similar miniaturists and portraitists of the period and for the artist not to sign this at all is another mystery. TBC - LEAVE SPACE FOR UP TO 10 MORE LINES. (1)
Lot 537
*@Gormley (Antony, 1950-). Still life on a kitchen window, circa 1974-75, pen and black ink on 3 conjoined black postcards (each with printed address to top margin), with handwritten message by Antony Gormley and Alison Bromhead to verso, overall size 85 x 420 mm (3.4 x 16.5 ins), framed and double glazed Provenance: Executed by Antony Gormley for the architectural draughtsman John Nankivell while the artist was staying with Alison Bromhead at the Glebe House, Abbots Leigh, near Bristol, who was a mutual friend. (Letter of provenance provided). (1)
Lot 530
*Colquhoun (Robert, 1914-1962 & MacBryde, Robert, 1913-1966). Original sketch book of Colquhoun and MacBryde, circa 1949, containing 30 leaves of notepaper with printed all-over small check, containing sketches and figure studies, initially in dark brown and occasionally blue ink, including still life compositions, figures and horse, bull's head, donkey, etc., later with 21 studies of a standing female figure, in brown ink, the final 11 leaves with small stain to lower outer corners, and singed with slight loss to edge, original black morocco-backed upper wrapper printed with the words 'Blocco per Appunti', inscribed in pencil to upper margin 'Colquhoun MacBryde', and additionally inscribed 'Siena Pensione Senese Main St.', blue ink stain and some other marks, 120 x 180 mm (4.75 x 7 ins) Provenance: Private collection, Dorset. An important artistic document of the Scottish painters Robert Colquhoun and Robert MacBryde, which would appear to have been used by them during their trip to Italy between May and October 1949, accompanied by the poet and friend George Barker, who had been commissioned by John Lehmann to write an illustrated book about Italy (never realised). 'In Modena, Colquhoun made drawings of the puppet shows and, as planned, they visited Siena to see the famous Palio horse race which Colquhoun also sketched, intending to use these and other Italian drawings as the basis of paintings to be completed later on their return to Britain' (Roger Bristow, The Last Bohemians, 2010, page 224). (1)
Lot 217
Rima, a still life of flowers, oil on canvas, signed, 75 x 62 cm Condition report Report by NG Canvas loose on stretcher, dents in canvas and paint losses. It appears to have another picture showing through under canvas. Edges lifting. Re-lined. Backing canvas without holes or dents. Front canvas damaged but no large holes.
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