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Click here to subscribeGreene (Graham) The Lawless Roads, first issue with yellow map endpapers, photographic plates, original cloth, spine gilt, marks to covers, dust-jacket, price-clipped, spine browned, tips frayed, joints a little rubbed, but a very good example overall, 8vo, 1939. *** The Lawless Roads is Greene's account of his 1938 trip to Mexico, a visit that would also provide the basis for The Power and the Glory.
Michael Graham Bilton (Cumbrian, contemporary)"Red Summer", an abstract depiction of the artist's environs, vibrant colours conveying the unusual heat of the season, mixed media, signed, in card mount and silvered frame under glass, 95 cm x 75 cm overall, together with Thank You card from the artist on purchase[Michael was born in Cambridge and spent most of his life in Leicestershire where he was the head of Foundation Studies at Loughborough College of Art and Design, and worked as an abstract artist part-time. He discovered his love for the Swaledale landscapes when travelling through the area, and it soon became his key source of inspiration. When given an opportunity for an early retirement, he chose the Dales without hesitation and continues to paint the surrounding landscapes on large canvases, working mainly in oil paints. He has exhibited in a number of galleries across the UK including the York Art Gallery and the Bowes Museum and has previously been recognised by the Royal Academy.]
TERRY PRATCHETT; a quantity of hardback books, to include 'Thud!', 'Dodger', 'Raising Steam', 'Snuff', 'Wee Free Men', 'A Hat Full of Sky', 'Wintersmith', 'I Shall Wear Midnight', 'The Shepherd's Crown', 'Hogfather: The Illustrated Screenplay', 'Unseen Academicals', 'Night Watch', 'Making Money', etc, also paperback 'Guards! Guards!' illustrated by Graham Higgins (2).Condition Report: -Please note that this lot is not suitable for our in-house postage service.We would recommend collecting this lot or contacting Mailboxes Etc for postage of this lot, their details can be found on https://www.adampartridge.co.uk/services/transport/
A quantity of vinyl LPs to include Cat Stevens 'Izitso', Barbara Dickson 'Answer Me', Graham Parker/Heat Treatment, Alice Cooper 'Lace and Whisky', Supertramp 'Even in the Quietest Moments...', Black Sabbath 'Technical Ecstasy', Alan Price 'Shouts Across the Street', Mr. Big 'Photographic Smile', Emerson Lake & Palmer 'Works', Starland Vocal Band, Barclay James Harvest 'Toberon', Kansas, Nils Lofgren 'I Came to Dance', Tom Petty and the Heartbreakers, Electric Light Orchestra 'A New World Record', Blue Oyster Cult 'Agents of Fortune', Sandy McLelland and The Backline, Earth Wind & Fire 'I Am', Dire Straits 'Communiqué', The Police 'Outlandos d'Amour', Gerry Rafferty 'Owl', The Babys 'Head First', Big Star 'Radio City', Mike Oldfield 'Incantations', Billy Joel '52nd Street', Magnum 'Kingdom of Madness', Van Morrison 'Wavelength', Elton John 'A Single Man', Renaissance 'A Song for All Seasons', Warren Zevon 'Excitable Boy', Tom Petty and the Heartbreakers 'You're Gonna Get It!', Joe Walsh 'But Seriously, Folks' etc, all contained in three leatherette record cases.
CRADOCK, (Fanny), Something's Burning, The Autobiography of two cooks, first edition, London, Putnam, 1960, together with Venus in the Kitchen, or Love's Cookery Book, introduction by Graham Greene, first edition, Heinemann Ltd, 1952, also James Beard's Fish Cookery, London, Faber & Faber, In a Persian Kitchen, published in Japan,1960, also Dr. E.A.Maury, Wine is the Best Medicine, French Country Cooking by Elizabeth David, and Alexander Watt, Paris Bistro Cookery, (7)
Graham Farish, Lima and Similar N Gauge mixed group of boxed and unboxed wagons and Coaches to include Graham Farish Ref. 377-529 20t Brake Van in Grey & Yellow Dutch Livery plus others (see photo). Conditions are Fair to Excellent (some items are slightly damaged) in Fair to Excellent boxes and sleeves.
Graham Farish by Bachmann N Gauge DMUs - Two pairs of 371-325 Class 150/1 'First North Western' 2 Car DMU. One set in cases, no sleeve, one set unboxed. Some sides have minor oil or grease stains. Conditions: varies from Fair to Good and Excellent to Excellent Plus, Where relevant, in Excellent Plus case.
Graham Farish & Dapol with some items specifically produced for the N Gauge Society N Gauge group of boxed Wagons and Coach to include Graham Farish Exclusive to N Gauge Society Ref. 374-875T EWS Maroon & Gold Inspection Saloon plus others (see photo). Conditions are Excellent to Excellent Plus in Good to Excellent boxes.
Doctor Who and Peppa Pig: A small collection of actor, David Graham’s personal memorabilia – Peppa Pig: British pre-school animated television series (2004-) Four Original draft Scripts for unreleased episodes, Karrotone Limited,unbound, 9-pages, stapled, titles include: 'Caring For Grandpa!' (2022) by Philip Hall, Draft two; Sticks, Bells and Ribbons (2022) by Jen Upton and Philip Hall, Draft three, 9-pages, with printed yellow highlights to Grandpa Pig's lines and yellow text for singing parts; Hospital Sleepover (2022) by Philip Hall, Draft two, 9-pages; Houseboat (2022), by Matilda Tristram and Philip Hall, Draft three, 9-pages, with line count of all characters to cover page, and yellow printed highlight for Grandpa Pig's lines; Magnets (2022) by Phil Hall and Seyi Odusanya, Draft five, 9-pages, with line count of all characters to cover page, and yellow printed highlight to Grandpa Pig's lines;Peppa Pig (2021) black Production crew T-shirt with Peppa Pig characters to front and Peppa pig character and text, ‘The Elf Factory’ on reverse, label reads, ‘Fruit of the Loom, size M’; David Graham signed photograph of Grandpa Pig, 10 x 8 inches; Peppa Pig, Afternoon Tea, Brigit’s Bakery thermal cup; Peppa Pig Thank You card, with a further Dalek drawing in pen, sent to David Graham to thank him for his work on Doctor Who: The Daleks in Colour (1963) ‘To Dear David, Just a quick note to say thank you for recording our Dalek voices last week. Very much appreciated!. All best wishes/ Mark & Ben’;Doctor Who: The Complete History: The Crusade, The Space Museum, The Chase and The Time Meddler, signed photograph by Maureen O'Brien and Paul Purves,10 x 8 inches; Doctor Who The Complete History: Farewell Great Macedon and The Son of Dr. Who, Peter Purves autographed photograph, signed in gold marker pen, 10 x 8 inches; Doctor Who: The Gunfighters (1966) Shane Rimmer signed photograph, dedicated in silver pen to David Graham, ‘Dear David, You're always getting in the picture/ love Shane R’, 8 x 10 inches; Doctor Who, The Daleks, 33 RPM mini album CD, 21st Century Records; Doctor Who: The Dalek and the Cyberman; a pair of collectors cards. (11)Provenance:The Collection of the late David Graham (1925-2024) who was an English actor and voice-artist best known for his portrayals of numerous classic Gerry Anderson supermarionation characters, Grandpa Pig in Peppa Pig, the Daleks in Doctor Who, and other early television series including, The Avengers, The Saint and Danger Man.Following service in the Royal Airforce as a radar mechanic, David Graham trained at the Neighbourhood Playhouse School of Theatre, New York and later, recommended by director, Michael Blakemore, he auditioned for Laurence Olivier’s theatre company, eventually appearing alongside him in Saturday Sunday Morning (1978) using an Italian accent.Graham’s long association with British producer, director and writer, Gerry Anderson began in 1958 and he went on to become the voice of many of Anderson’s characters throughout the 1960s including, his debut puppet roles, Grandpa Twink and Fernando, in Four Feather Falls, Dr. Beaker, Zarin and Mitch the Monkey in Supercar, Mat Matic and Lieutenant Ninety in Fireball XL5, various guest characters in Stingray, and Johnny in Crossroads to Crime.His most well-known role would come in Thunderbirds with his portrayal of Aloysious ‘Nosey’ Parker (whose voice he based on a waiter at the King’s Arms pub in Cookham), alongside his other regular roles as the voices of aquanaut Gordon Tracy, International Rescue engineer Brains, and the Tracy family’s faithful manservant Kyrano.
Paranormal interest. A collection of vintage reference books on British ghosts and spectres. The lot to include A Bottomless Grave and Other Victorian Tales of Terror ed. Hugh Lamb, Ghosts of Cornwall by Peter Underwood, Burke & Hare - The Year of the Ghouls by Brian Bailey, The Maul and the Pear Tree - The Ratcliffe Highway Murders 1811 by T. A. Critchley & P. D. James, Haunted Houses by Joseph Braddock, Haunted Churches of England - Ghosts Ancient and Modern by Graham J. McEwarn, Witchcraft out of the Shadowsds by Leo Ruickbie, A Natural History of Ghosts - 500 Years of Hunting for Proof by Roger Clarke, Haunted Britain by Anthony D. Hippisley Coxe, The Encyclopaedia of Ghosts and Spirits by John and Anne Spencer, and Britain's Haunted Heritage by J. A. Brooks. Those issued in smart dust wrappers, a spooky collection. 8vo.
Blackwood (Algernon) Pan's Garden. A Volume of Nature Stories, first edition, signed presentation inscription from the author to George A. Van Nosdall to frontispiece recto, frontispiece and illustrations by W. Graham Robertson, 12pp. advertisements, some very light edge-spotting and light browning to endpapers, original pictorial cloth, very slight fading to spine, light rubbing and slight bumping to spine tips and corners, slight rubbing to extremities, an excellent copy, custom morocco-backed slip-case, [Tymn 3-35], 8vo, 1912.
ROBERT POLHILL BEVAN (BRITISH 1865-1925) SMITHY BARN, BOLHAM - 1919 Lithograph, from the edition of 40, signed in pencil, with the stamped monogram the sheet 28.5cm x 44.5cm (11.25in x 17.5in), unframed Estate of the Artist; and thence by descent to the present owner. Literature: Dry, Graham, Robert Bevan 1865-1925: Catalogue Raisonné of the Lithographs and other Prints, The Curwen Press, London, 1965, another example from the edition repr. b/w no. 26Note: According to Graham Dry, this work was drawn the stone in the artist’s Hampstead studio and was printed by Vincent Brooks Day & Son under the artist’s supervision.‘Lithography was a very important part of his artistic expression. He found it a very suitable medium for his skills . . . At all times he loved the feel of lithographic chalk and the handling of it on the smooth stone’ - Robert Alexander Bevan, the artist’s son, 1968We are delighted to present a group of eight lithographs by Robert Polhill Bevan, which come from the Artist’s Estate and thence by descent to the present owner, in our Prints & Multiples sale of 26 March 2025. Consisting of four of his celebrated London horse images and four of his attractive rural scenes, each reveals his love of and technical brilliance in the medium of lithography.Bevan was born in Hove, Sussex in 1865 and grew up in Horsgate, near Cuckfield. He studied at Westminster School of Art, London and at the Académie Julian in Paris. His training during the 1890s also included two periods in Pont-Aven in Brittany – where he met Paul Gauguin – as well as time spent in Madrid and Tangier. He was a member of the Fitzroy Street, Camden Town, London and Cumberland Market Groups, founded in London between 1907 and 1914. In 1897, Bevan met and married the Polish artist Stanislawa de Karlowska (1876-1952). Three years later they moved to 14 Adamson Road, London, which remained their base for the rest of Bevan’s life. The couple became key figures in London’s art world before and after the First World War and held popular ‘at homes’ on Sunday afternoons during the 1910s.Printmaking was an important part of Bevan’s artistic practice. He used lithography early in his career but turned away from the medium in 1901. After 17 years Bevan returned to lithography with aplomb at the end of the War. A work like The Plantation, 1922 (lot 44), shows his mature mastery of the technique, along with a simplification of form, angular structure and clarity of composition. He brought this sensibility to all his landscape prints, capturing the essence of English villages and Polish homesteads in images including The White House, 1921 (lot 43), A Polish Homestead, 1922 (lot 42) and Smithy Barn, Bolham, 1919 (lot 41).Bevan was a highly-skilled horseman and his images of horses are amongst the most celebrated of his oeuvre. He would sketch during the horse sales in London, where he enjoyed the interaction between people and animals as much as the pace and spectacle of the event. This interest expanded into his printmaking practice and can be seen in lithographs such as Horse Dealers (Ward’s Repository No.1) (lot 38), The Horse Mart (Barbican No. 1) (lot 37) and Horse Dealers at the Barbican (Barbican No.2) (lot 39) produced from 1919 to 1921. Crocks of 1925 (lot 40) was his final lithograph and shows a pair of horses having been taken out of a cab’s shafts and led to a trough for a drink.Following Bevan’s death in 1925, memorial exhibitions of his work were held at the Goupil Gallery in London and at Brighton Art Gallery. Bevan is represented in many major public collections, including the British Museum, Victoria & Albert Museum and Ashmolean Museum, Oxford.
ROBERT POLHILL BEVAN (BRITISH 1865-1925) THE WHITE HOUSE - 1921 Lithograph, 25/50, numbered in pencil to margin, with the stamped monogram the sheet 26.5cm x 33.5cm (10.5in x 13.25in), unframed Estate of the Artist; and thence by descent to the present owner. Literature: Dry, Graham, Robert Bevan 1865-1925: Catalogue Raisonné of the Lithographs and other Prints, The Curwen Press, London, 1965, another example from the edition repr. b/w no.30Note: Graham Dry has explained that this lithograph is based on a painting of Gould’s Farm Luppitt, where the artist worked in 1920.‘Lithography was a very important part of his artistic expression. He found it a very suitable medium for his skills . . . At all times he loved the feel of lithographic chalk and the handling of it on the smooth stone’ - Robert Alexander Bevan, the artist’s son, 1968We are delighted to present a group of eight lithographs by Robert Polhill Bevan, which come from the Artist’s Estate and thence by descent to the present owner, in our Prints & Multiples sale of 26 March 2025. Consisting of four of his celebrated London horse images and four of his attractive rural scenes, each reveals his love of and technical brilliance in the medium of lithography.Bevan was born in Hove, Sussex in 1865 and grew up in Horsgate, near Cuckfield. He studied at Westminster School of Art, London and at the Académie Julian in Paris. His training during the 1890s also included two periods in Pont-Aven in Brittany – where he met Paul Gauguin – as well as time spent in Madrid and Tangier. He was a member of the Fitzroy Street, Camden Town, London and Cumberland Market Groups, founded in London between 1907 and 1914. In 1897, Bevan met and married the Polish artist Stanislawa de Karlowska (1876-1952). Three years later they moved to 14 Adamson Road, London, which remained their base for the rest of Bevan’s life. The couple became key figures in London’s art world before and after the First World War and held popular ‘at homes’ on Sunday afternoons during the 1910s.Printmaking was an important part of Bevan’s artistic practice. He used lithography early in his career but turned away from the medium in 1901. After 17 years Bevan returned to lithography with aplomb at the end of the War. A work like The Plantation, 1922 (lot 44), shows his mature mastery of the technique, along with a simplification of form, angular structure and clarity of composition. He brought this sensibility to all his landscape prints, capturing the essence of English villages and Polish homesteads in images including The White House, 1921 (lot 43), A Polish Homestead, 1922 (lot 42) and Smithy Barn, Bolham, 1919 (lot 41).Bevan was a highly-skilled horseman and his images of horses are amongst the most celebrated of his oeuvre. He would sketch during the horse sales in London, where he enjoyed the interaction between people and animals as much as the pace and spectacle of the event. This interest expanded into his printmaking practice and can be seen in lithographs such as Horse Dealers (Ward’s Repository No.1) (lot 38), The Horse Mart (Barbican No. 1) (lot 37) and Horse Dealers at the Barbican (Barbican No.2) (lot 39) produced from 1919 to 1921. Crocks of 1925 (lot 40) was his final lithograph and shows a pair of horses having been taken out of a cab’s shafts and led to a trough for a drink.Following Bevan’s death in 1925, memorial exhibitions of his work were held at the Goupil Gallery in London and at Brighton Art Gallery. Bevan is represented in many major public collections, including the British Museum, Victoria & Albert Museum and Ashmolean Museum, Oxford.
WILHELMINA BARNS-GRAHAM C.B.E. (SCOTTISH 1912-2004), AFTER WATER DANCE (PORTHMEOR) VII - 2007 Screenprint, 53/100, numbered in pencil, with the Wilhelmina Barns-Graham Trust inkstamp verso, published by Graal Press, with their blindstamp; with the accompanying hardcover book ‘The Prints of Wilhelmina Barns-Graham: A Complete Catalogue’ by Ann V. Gunn, housed together in grey slipbox, as issued (2) the sheet 19.5cm x 26cm (7.75in x 10.25in), unframed The Wilhelmina Barns-Graham Trust, where acquired by the current owner
ROBERT POLHILL BEVAN (BRITISH 1865-1925) HORSE DEALERS AT THE BARBICAN (BARBICAN NO. 2) - 1921 Lithograph, from the edition of 70, inscribed ‘Barbican No 2’ in pencil to lower edge Estate of the Artist; and thence by descent to the present owner. Literature: Dry, Graham, Robert Bevan 1865-1925: Catalogue Raisonné of the Lithographs and other Prints, The Curwen Press, London 1965, another example from the edition repr. b/w no.35.Note: This print is one of eleven from the edition on thin white wove paper, with no signature. It is based on an oil painting of the same title, with some alterations, the location of which is unknown. ‘Lithography was a very important part of his artistic expression. He found it a very suitable medium for his skills . . . At all times he loved the feel of lithographic chalk and the handling of it on the smooth stone’ - Robert Alexander Bevan, the artist’s son, 1968We are delighted to present a group of eight lithographs by Robert Polhill Bevan, which come from the Artist’s Estate and thence by descent to the present owner, in our Prints & Multiples sale of 26 March 2025. Consisting of four of his celebrated London horse images and four of his attractive rural scenes, each reveals his love of and technical brilliance in the medium of lithography.Bevan was born in Hove, Sussex in 1865 and grew up in Horsgate, near Cuckfield. He studied at Westminster School of Art, London and at the Académie Julian in Paris. His training during the 1890s also included two periods in Pont-Aven in Brittany – where he met Paul Gauguin – as well as time spent in Madrid and Tangier. He was a member of the Fitzroy Street, Camden Town, London and Cumberland Market Groups, founded in London between 1907 and 1914. In 1897, Bevan met and married the Polish artist Stanislawa de Karlowska (1876-1952). Three years later they moved to 14 Adamson Road, London, which remained their base for the rest of Bevan’s life. The couple became key figures in London’s art world before and after the First World War and held popular ‘at homes’ on Sunday afternoons during the 1910s.Printmaking was an important part of Bevan’s artistic practice. He used lithography early in his career but turned away from the medium in 1901. After 17 years Bevan returned to lithography with aplomb at the end of the War. A work like The Plantation, 1922 (lot 44), shows his mature mastery of the technique, along with a simplification of form, angular structure and clarity of composition. He brought this sensibility to all his landscape prints, capturing the essence of English villages and Polish homesteads in images including The White House, 1921 (lot 43), A Polish Homestead, 1922 (lot 42) and Smithy Barn, Bolham, 1919 (lot 41).Bevan was a highly-skilled horseman and his images of horses are amongst the most celebrated of his oeuvre. He would sketch during the horse sales in London, where he enjoyed the interaction between people and animals as much as the pace and spectacle of the event. This interest expanded into his printmaking practice and can be seen in lithographs such as Horse Dealers (Ward’s Repository No.1) (lot 38), The Horse Mart (Barbican No. 1) (lot 37) and Horse Dealers at the Barbican (Barbican No.2) (lot 39) produced from 1919 to 1921. Crocks of 1925 (lot 40) was his final lithograph and shows a pair of horses having been taken out of a cab’s shafts and led to a trough for a drink.Following Bevan’s death in 1925, memorial exhibitions of his work were held at the Goupil Gallery in London and at Brighton Art Gallery. Bevan is represented in many major public collections, including the British Museum, Victoria & Albert Museum and Ashmolean Museum, Oxford.
ROBERT POLHILL BEVAN (BRITISH 1865-1925) A POLISH HOMESTEAD - 1922 Lithograph, 34/45, signed and numbered in pencil to margin, with the stamped monogram the sheet 33cm x 38cm (13in x 15in), unframed Estate of the Artist; and thence by descent to the present owner. Literature: Dry, Graham, Robert Bevan 1865-1925: Catalogue Raisonné of the Lithographs and other Prints, The Curwen Press, London, 1965, another example from the edition repr. b/w no. 32‘Lithography was a very important part of his artistic expression. He found it a very suitable medium for his skills . . . At all times he loved the feel of lithographic chalk and the handling of it on the smooth stone’ - Robert Alexander Bevan, the artist’s son, 1968We are delighted to present a group of eight lithographs by Robert Polhill Bevan, which come from the Artist’s Estate and thence by descent to the present owner, in our Prints & Multiples sale of 26 March 2025. Consisting of four of his celebrated London horse images and four of his attractive rural scenes, each reveals his love of and technical brilliance in the medium of lithography.Bevan was born in Hove, Sussex in 1865 and grew up in Horsgate, near Cuckfield. He studied at Westminster School of Art, London and at the Académie Julian in Paris. His training during the 1890s also included two periods in Pont-Aven in Brittany – where he met Paul Gauguin – as well as time spent in Madrid and Tangier. He was a member of the Fitzroy Street, Camden Town, London and Cumberland Market Groups, founded in London between 1907 and 1914. In 1897, Bevan met and married the Polish artist Stanislawa de Karlowska (1876-1952). Three years later they moved to 14 Adamson Road, London, which remained their base for the rest of Bevan’s life. The couple became key figures in London’s art world before and after the First World War and held popular ‘at homes’ on Sunday afternoons during the 1910s.Printmaking was an important part of Bevan’s artistic practice. He used lithography early in his career but turned away from the medium in 1901. After 17 years Bevan returned to lithography with aplomb at the end of the War. A work like The Plantation, 1922 (lot 44), shows his mature mastery of the technique, along with a simplification of form, angular structure and clarity of composition. He brought this sensibility to all his landscape prints, capturing the essence of English villages and Polish homesteads in images including The White House, 1921 (lot 43), A Polish Homestead, 1922 (lot 42) and Smithy Barn, Bolham, 1919 (lot 41).Bevan was a highly-skilled horseman and his images of horses are amongst the most celebrated of his oeuvre. He would sketch during the horse sales in London, where he enjoyed the interaction between people and animals as much as the pace and spectacle of the event. This interest expanded into his printmaking practice and can be seen in lithographs such as Horse Dealers (Ward’s Repository No.1) (lot 38), The Horse Mart (Barbican No. 1) (lot 37) and Horse Dealers at the Barbican (Barbican No.2) (lot 39) produced from 1919 to 1921. Crocks of 1925 (lot 40) was his final lithograph and shows a pair of horses having been taken out of a cab’s shafts and led to a trough for a drink.Following Bevan’s death in 1925, memorial exhibitions of his work were held at the Goupil Gallery in London and at Brighton Art Gallery. Bevan is represented in many major public collections, including the British Museum, Victoria & Albert Museum and Ashmolean Museum, Oxford.
ROBERT POLHILL BEVAN (BRITISH 1865-1925) THE HORSE MART (BARBICAN NO. I) - 1920 Lithograph, from the edition of 65 the sheet 46cm x 59cm (18in x 23.25in), unframed Estate of the Artist; and thence by descent to the present owner. Literature: Dry, Graham, Robert Bevan 1865-1925: Catalogue Raisonné of the Lithographs and other Prints, The Curwen Press, London, 1965, another example from the edition repr. b/w no. 34.Note: This work is based on the oil painting The Horse Mart of 1917-18, in the collection of the Yale Center for British Art (acc.no. B2001.2.110).‘Lithography was a very important part of his artistic expression. He found it a very suitable medium for his skills . . . At all times he loved the feel of lithographic chalk and the handling of it on the smooth stone’ - Robert Alexander Bevan, the artist’s son, 1968We are delighted to present a group of eight lithographs by Robert Polhill Bevan, which come from the Artist’s Estate and thence by descent to the present owner, in our Prints & Multiples sale of 26 March 2025. Consisting of four of his celebrated London horse images and four of his attractive rural scenes, each reveals his love of and technical brilliance in the medium of lithography.Bevan was born in Hove, Sussex in 1865 and grew up in Horsgate, near Cuckfield. He studied at Westminster School of Art, London and at the Académie Julian in Paris. His training during the 1890s also included two periods in Pont-Aven in Brittany – where he met Paul Gauguin – as well as time spent in Madrid and Tangier. He was a member of the Fitzroy Street, Camden Town, London and Cumberland Market Groups, founded in London between 1907 and 1914. In 1897, Bevan met and married the Polish artist Stanislawa de Karlowska (1876-1952). Three years later they moved to 14 Adamson Road, London, which remained their base for the rest of Bevan’s life. The couple became key figures in London’s art world before and after the First World War and held popular ‘at homes’ on Sunday afternoons during the 1910s.Printmaking was an important part of Bevan’s artistic practice. He used lithography early in his career but turned away from the medium in 1901. After 17 years Bevan returned to lithography with aplomb at the end of the War. A work like The Plantation, 1922 (lot 44), shows his mature mastery of the technique, along with a simplification of form, angular structure and clarity of composition. He brought this sensibility to all his landscape prints, capturing the essence of English villages and Polish homesteads in images including The White House, 1921 (lot 43), A Polish Homestead, 1922 (lot 42) and Smithy Barn, Bolham, 1919 (lot 41).Bevan was a highly-skilled horseman and his images of horses are amongst the most celebrated of his oeuvre. He would sketch during the horse sales in London, where he enjoyed the interaction between people and animals as much as the pace and spectacle of the event. This interest expanded into his printmaking practice and can be seen in lithographs such as Horse Dealers (Ward’s Repository No.1) (lot 38), The Horse Mart (Barbican No. 1) (lot 37) and Horse Dealers at the Barbican (Barbican No.2) (lot 39) produced from 1919 to 1921. Crocks of 1925 (lot 40) was his final lithograph and shows a pair of horses having been taken out of a cab’s shafts and led to a trough for a drink.Following Bevan’s death in 1925, memorial exhibitions of his work were held at the Goupil Gallery in London and at Brighton Art Gallery. Bevan is represented in many major public collections, including the British Museum, Victoria & Albert Museum and Ashmolean Museum, Oxford.
ROBERT POLHILL BEVAN (BRITISH 1865-1925) THE PLANTATION - 1922 Lithograph, 13/40, signed and numbered in pencil to margin, with the stamped monogram, inscribed with title in pencil at lower edge the sheet 41cm x 56cm (16.25in x 22in), unframed Estate of the Artist; and thence by descent to the present owner. Literature: Dry, Graham, Robert Bevan 1865-1925: Catalogue Raisonné of the Lithographs and other Prints, The Curwen Press, London 1965, another example from the edition repr. b/w no.37.Note: This work is based, in reverse, on an oil painting of the same title of 1919, the location of which is unknown.‘Lithography was a very important part of his artistic expression. He found it a very suitable medium for his skills . . . At all times he loved the feel of lithographic chalk and the handling of it on the smooth stone’ - Robert Alexander Bevan, the artist’s son, 1968We are delighted to present a group of eight lithographs by Robert Polhill Bevan, which come from the Artist’s Estate and thence by descent to the present owner, in our Prints & Multiples sale of 26 March 2025. Consisting of four of his celebrated London horse images and four of his attractive rural scenes, each reveals his love of and technical brilliance in the medium of lithography.Bevan was born in Hove, Sussex in 1865 and grew up in Horsgate, near Cuckfield. He studied at Westminster School of Art, London and at the Académie Julian in Paris. His training during the 1890s also included two periods in Pont-Aven in Brittany – where he met Paul Gauguin – as well as time spent in Madrid and Tangier. He was a member of the Fitzroy Street, Camden Town, London and Cumberland Market Groups, founded in London between 1907 and 1914. In 1897, Bevan met and married the Polish artist Stanislawa de Karlowska (1876-1952). Three years later they moved to 14 Adamson Road, London, which remained their base for the rest of Bevan’s life. The couple became key figures in London’s art world before and after the First World War and held popular ‘at homes’ on Sunday afternoons during the 1910s.Printmaking was an important part of Bevan’s artistic practice. He used lithography early in his career but turned away from the medium in 1901. After 17 years Bevan returned to lithography with aplomb at the end of the War. A work like The Plantation, 1922 (lot 44), shows his mature mastery of the technique, along with a simplification of form, angular structure and clarity of composition. He brought this sensibility to all his landscape prints, capturing the essence of English villages and Polish homesteads in images including The White House, 1921 (lot 43), A Polish Homestead, 1922 (lot 42) and Smithy Barn, Bolham, 1919 (lot 41).Bevan was a highly-skilled horseman and his images of horses are amongst the most celebrated of his oeuvre. He would sketch during the horse sales in London, where he enjoyed the interaction between people and animals as much as the pace and spectacle of the event. This interest expanded into his printmaking practice and can be seen in lithographs such as Horse Dealers (Ward’s Repository No.1) (lot 38), The Horse Mart (Barbican No. 1) (lot 37) and Horse Dealers at the Barbican (Barbican No.2) (lot 39) produced from 1919 to 1921. Crocks of 1925 (lot 40) was his final lithograph and shows a pair of horses having been taken out of a cab’s shafts and led to a trough for a drink.Following Bevan’s death in 1925, memorial exhibitions of his work were held at the Goupil Gallery in London and at Brighton Art Gallery. Bevan is represented in many major public collections, including the British Museum, Victoria & Albert Museum and Ashmolean Museum, Oxford.
ROBERT POLHILL BEVAN (BRITISH 1865-1925) HORSE DEALERS (WARD'S REPOSITORY NO.I) - 1919 Lithograph, from the edition of 80 the sheet 44.5cm x 57cm (17.5in x 22.5in), unframed Estate of the Artist; and thence by descent to the present owner. Literature: Bevan, R.A., Robert Bevan 1865-1925: A Memoir by his Son, Studio Vista, London 1965, another example from the edition repr. b/w pl.62 (as 'Horse Dealers' and dated 1921),Dry, Graham, Robert Bevan 1865-1925: Catalogue Raisonné of the Lithographs and other Prints, The Curwen Press, London 1965, another example from the edition repr. b/w no.33 (as 'Horse Dealers (Ward's Repository No.1)' and dated 1919).Note: This work is also known as Ward's No.1. It is related to the oil painting Horse Dealers (Sale at Ward's Repository No.1) of 1918 which was purchased by Manchester Art Gallery in 1935 (acc.no.1935.157). Ward's Repository off the Edgware Road, London, was the first of the horse sale yards to close.‘Lithography was a very important part of his artistic expression. He found it a very suitable medium for his skills . . . At all times he loved the feel of lithographic chalk and the handling of it on the smooth stone’ - Robert Alexander Bevan, the artist’s son, 1968We are delighted to present a group of eight lithographs by Robert Polhill Bevan, which come from the Artist’s Estate and thence by descent to the present owner, in our Prints & Multiples sale of 26 March 2025. Consisting of four of his celebrated London horse images and four of his attractive rural scenes, each reveals his love of and technical brilliance in the medium of lithography.Bevan was born in Hove, Sussex in 1865 and grew up in Horsgate, near Cuckfield. He studied at Westminster School of Art, London and at the Académie Julian in Paris. His training during the 1890s also included two periods in Pont-Aven in Brittany – where he met Paul Gauguin – as well as time spent in Madrid and Tangier. He was a member of the Fitzroy Street, Camden Town, London and Cumberland Market Groups, founded in London between 1907 and 1914. In 1897, Bevan met and married the Polish artist Stanislawa de Karlowska (1876-1952). Three years later they moved to 14 Adamson Road, London, which remained their base for the rest of Bevan’s life. The couple became key figures in London’s art world before and after the First World War and held popular ‘at homes’ on Sunday afternoons during the 1910s.Printmaking was an important part of Bevan’s artistic practice. He used lithography early in his career but turned away from the medium in 1901. After 17 years Bevan returned to lithography with aplomb at the end of the War. A work like The Plantation, 1922 (lot 44), shows his mature mastery of the technique, along with a simplification of form, angular structure and clarity of composition. He brought this sensibility to all his landscape prints, capturing the essence of English villages and Polish homesteads in images including The White House, 1921 (lot 43), A Polish Homestead, 1922 (lot 42) and Smithy Barn, Bolham, 1919 (lot 41).Bevan was a highly-skilled horseman and his images of horses are amongst the most celebrated of his oeuvre. He would sketch during the horse sales in London, where he enjoyed the interaction between people and animals as much as the pace and spectacle of the event. This interest expanded into his printmaking practice and can be seen in lithographs such as Horse Dealers (Ward’s Repository No.1) (lot 38), The Horse Mart (Barbican No. 1) (lot 37) and Horse Dealers at the Barbican (Barbican No.2) (lot 39) produced from 1919 to 1921. Crocks of 1925 (lot 40) was his final lithograph and shows a pair of horses having been taken out of a cab’s shafts and led to a trough for a drink.Following Bevan’s death in 1925, memorial exhibitions of his work were held at the Goupil Gallery in London and at Brighton Art Gallery. Bevan is represented in many major public collections, including the British Museum, Victoria & Albert Museum and Ashmolean Museum, Oxford.
WHILHELMINA BARNS-GRAHAM C.B.E. (SCOTTISH 1912-2004) MILLENNIUM SERIES, RED - 2000 Screenprint, 97/100, signed, dated and numbered in pencil; with the accompanying hardcover book ‘W. Barns-Graham: A Studio Life’ by Lynne Green, housed together in red slipbox, as issued (2) the sheet 22cm x 28.5cm (8.75in x 11.25in), unframed The Wilhelmina Barns-Graham Trust, where acquired by the current owner
Registration No: Unregistered Frame No: 1731 MOT: ExemptAuthentically restored example of an AJS 'Boy Racer'Extensive recommissioning by Stuart Tonge in 2018Thought to be one of Tom Arters 1961 team bikesA.J. Stevens began producing motorcycles in 1897 and soon became known as simply AJS. An amalgamation with Matchless in 1931 formed AMC which continued until the group's closure in the mid-1960s. The company promoted its standard road bikes by successfully competing in sports events with some advanced designs such as the pre-war AJS 500 with a water-cooled and supercharged V4 engine. On resumption of sports events after WW2, Les Graham won the first 500cc World Championship on the twin-cylinder AJS Porcupine in 1949. The 7R was an OHC single-cylinder 350cc racing motorcycle built from 1948 to 1963 that was soon nicknamed the ‘Boy Racer’. Together with its bigger brother, the Matchless G50, it was the mainstay of racing throughout the 1950/60s winning many events for both the works team and privateers alike, becoming one of the most successful over-the-counter competition motorcycles of all time.This stunning-looking 7R was bought by the vendor 10 years ago to add to his small private collection of British classics. In 2018 the bike was recommissioned by recognised expert Stuart Tonge who carried out an in-depth engine overhaul and a brakes and suspension service at a cost of £3,758. Once completed it was run up on a dyno showing it putting out just under 32bhp with an open 'mega'. Since then it has been run each year and then returned to dry storage. It is thought to be one of three bikes run by legendary sponsor and tuner Tom Arter in 1961, as part of his race team that fielded riders such as New Zealander Hugh Anderson and Canadian Mike Duff. As is always the case with race bikes, it is difficult to verify this as the bikes would have been constantly taken apart and rebuilt throughout their competition career. It's rare to find such an iconic and originally presented bike as this and it will make a fantastic addition to any collection. It comes supplied with copies of the dyno charts and the receipt for the recommissioning work from Stuart Tonge. For more information, please contact: Ian Cunningham ian.cunningham@handh.co.uk 07415871189
Registration No: LPX 174 Frame No: 1446 MOT: ExemptThis AJS 7R has been in family ownership for many yearsAlways maintained in good orderUsed on many parade events over the yearsRoad registered and offered with a V5A.J. Stevens began producing motorcycles in 1897 and soon became known as simply AJS. An amalgamation with Matchless in 1931 formed AMC which continued until the group's closure in the mid-1960s. The company promoted its standard road bikes by successfully competing in sports events with some advanced designs such as the pre-war AJS 500 with a water-cooled and supercharged V4 engine. On resumption of sports events after WWII, Les Graham won the first 500cc World Championship on the twin-cylinder AJS Porcupine in 1949. The 7R was an OHC single-cylinder 350cc racing motorcycle built from 1948 to 1963 that was soon nicknamed the ‘Boy Racer’. Together with its bigger brother, the Matchless G50, it was the mainstay of racing throughout the 1950/60s winning many events for both the works team and privateers alike, becoming one of the most successful over-the-counter competition motorcycles of all time. This 1950 AJS 7R was purchased by the current owner's father for his collection many years ago. He used it as much as he could and at many VMCC events and parades during his ownership. It has always been kept in its current condition as he felt it didn't need to be restored like many others. It has always been maintained and we have been advised that it is a very willing machine and eager to gallop along at a fair old lick. This AJS 7R is road-registered with a V5 present, although it might be very loud! For more information, please contact: Mike Davis mike.davis@handh.co.uk 07718 584217
Registration No: N/A Frame No: None MOT: N/AGenuine Formula 1 bike built by Harris PerformanceSupplied with a spare engine, wheels and bodywork etc.A ready to race CRMC registered race team packageThe Formula One, Two and Three World Championships were announced in 1977 as a way of keeping the IOM TT on the international calendar and encouraging road bike-based 4-strokes into racing, at the time dominated by 2-strokes. Formula One became the most popular class using 1000cc engines in bespoke chassis from the likes of Harris and P+M and proved to be the forerunner to the current World Superbike Championship. This historic Formula One bike was built by Harris Performance for well-known sponsor Colin Aldridge in 1982, originally with a Z1000 engine built by Jim Wells at John Carpenter’s Mistral Engineering. When the rules changed in 1984, Harris fitted a Z750 motor and it was ridden in that year's TT by Bernard Murray and later ridden to 4th place at Assen by Kevin Wrettom, with an interesting letter from Steve Harris telling the story of the ride. Many years later it was actually used by Harris to re-make the jigs to manufacture the F1 frame for classic racing, so all later frames are a copy of this one. The vendor, a former Chairman of the CRMC, has successfully campaigned it in CRMC races from 2007, initially as a 750 and then returned to original 1000cc spec with an engine tuned by respected engineer Graham Salter of Diptune producing 122bhp at the rear wheel (full spec and dyno chart supplied). The vendor has competed on the bike as one of the Team GB riders in the Phillip Island International Classic between 2007-2013 and with an alternator and lights fitted, raced successfully many times in endurance events at Spa-Francorchamps (Belgium) and Circuit Carole (France) in 4-hour races and in England at Snetterton in 2015 and then Donington 2018. In 2011 the bike finished 8th out of 70 starters at Spa with the story featured in Classic Racer magazine. In 2018, the bike had an extensive recommissioning that included a full engine strip down, the frame re-jigged and checked for being straight and the tank, seat and fairing resprayed. Included in the full race team package is a spare engine built by Graham Salter that's never been run, a spare pair of Astralite wheels, spare tyres and a freshly repainted spare seat and fairing. Also to be included in the sale is the original Red fairing and seat, as used in 1984 and a mechanical anti-dive system, along with all the original brackets and fixings. A bike with a great history that is a ready to go package for competing in classic endurance and Formula 1 events. For more information, please contact: Ian Cunningham ian.cunningham@handh.co.uk 07415871189
A QUANTITY OF ASSORTED MODEL RAILWAY ITEMS, to include an unboxed Graham Farish N gauge class 4P locomotive & tender No.67, S & DJR blue livery, tender missing body (1207), with four S & DJR blue 4 wheel coaches (667), an OO9 gauge static kit built model of Lynton & Barnstaple Railway 2-6-2T locomotive 'Taw', loosely mounted on a wooden plinth, Merit push along plastic locomotive and two coaches, constructed Airfix locomotive kits, boxed Royal Mail Great British Locomotives Heritage Collection - Series One 1/160 scale pewter model of 'Evening Star', large scale modern tinplate model of Evening Star, quantity of loose Tri-ang Big Big O gauge red plastic track, Britains? wooden Stable Block etc. (2 boxes)
Graham Farish N Gauge (By Bachmann) Wagons - to include 373-700Y Set of 12T ventilated Vans BR bauxite (Early) weathered, produced exclusively for modelzone. 373-665 set of 14T tank wagons TARMAC (weathered) 373-675 14T tank wagon 'Power' produced exclusively for Osborne's Models, Plus others. Conditions: Generally Excellent Plus to Near Mint in Excellent Plus to Near Mint boxes/cases and outer sleeves. SOme boxes have mild sun damage.
Graham Farish N Group of items - To include No. 8125 HST 125 set, plus 2x No. 0705 coaches. Plus No. 8807 Class 91 BR Inter-City Power car along with Ref 0867 BR Inter-City Mk4 Driving Van Trailer Coach. Conditions: Mostly Good Plus to Excellent, in the case of No 8807 the motor bogie is loose from body, and has some yellowing of the windscreen.
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