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Juan Correa (Mexico City, 1646 - 1716).‘The Indian Juan Diego presenting the Virgin of Guadalupe to the bishop of Mexico Juan de Zumárraga’.Oil on canvas. Signed and located in Mexico.28 x 64 cm. Juan Correa is considered the principal painter of late 17th-century Mexico. Son of a famous Spanish surgeon and a freed black woman, Correa was one of the few mestizo painters who achieved fame in his time (the art of painting was generally considered the domain of white or Spanish masters). His two large-scale canvases for the sacristy of Mexico City's Cathedral (1691-98), for example, are considered masterpieces of Mexican Baroque.'"The National Institute of Anthropology and History of Mexico defines him as "one of the main exponents of the Baroque in Mexico, whose works are characterised by their sumptuousness, detail, and golden tones."His origins were reflected in his creations, "as his father was a man of African and Spanish descent, and Juan Correa was the first to paint angels with black or brown skin tones and the Virgin Mary with a dark complexion," a fact that "would become an unmistakable hallmark in his creations."Highlights among his extensive work include "The Coronation of the Virgin" at the National Museum of the Interventions, one of his masterpieces, and the "Expulsion from Paradise" at the National Museum of the ViceroyaltyOur Lady of Guadalupe, venerated in Mexico with great devotion, is the patroness of the country and the most important incarnation of the Virgin Mary in Latin America. Although the Our Lady of Guadalupe from Extremadura (Southern Spain) accompanied the conquistadors in their great adventure to the New World, the Mexican Virgin has her own origins. Both oral tradition and historical documentation, particularly the Nican Mopohua, narrate the different miracles and apparitions of this virgin to the indigenous man baptised with the name Juan Diego (1474-1548) on the hill of Tepeyac in 1531.According to the legend, there were four appearances of Our Lady of Guadalupe: In the first one, the virgin entrusted Juan Diego to see the bishop Fray Juan de Zumárraga and let him know her will to have a temple built in her honour in the place where she had appeared. Juan Diego obeyed, but the bishop did not believe him. In the second appearance, Juan Diego tells him what happened and asks the Virgin Mary to use another messenger because he was just a poor Indian. The Virgin Mary tells him that it was necessary for him to return to the bishop and repeat the message. Bishop Zumárraga asked him to bring a sign to be sure that it was "the lady from heaven" he was talking about. In the third appearance, the Virgin Mary asked the Indian to go up the hill and cut the flowers he would find there. Juan Diego knew that no flowers grew on that hill, especially not in December, but he found the summit turned into a flowered garden. He cut the flowers and took them to the Virgin Mary in his "ayate" (tunic). Our Lady of Guadalupe instructed him to go back to the Bishop, tell him where he had picked the flowers, and indicate that it was the sign that the Virgin Mary wanted him to build a temple. In the fourth appearance, on December 12, Juan Diego told the bishop everything that had happened, and when he spread out his "ayate", all the roses fell to the ground, and the image of the Virgin Mother of God miraculously appeared on it. After this event, the church was built, and this astonishing image is, according to tradition, zealously guarded by the Basilica of Our Lady of Guadalupe.As a result of this event, the worship of Our Lady Guadalupe became enormously prominent, especially within the indigenous sector of the population, becoming one of the most deeply rooted in Mexico and part of its identity. It is not surprising that soon the Mexican devotees wanted to have a copy of this miraculous image, so reproductions and the artists dedicated to creating them proliferated. The fame of this incarnation of the Virgin Mary soon became universal, gaining great veneration throughout Europe, especially in Spain.This representation of the Virgin of Guadalupe is a faithful rendering of the original, with the subtle variations that each artist can provide. The beautiful Virgin Mary is depicted as standing, crowned and surrounded by a mandorla of sun rays amid a cluster of clouds. She is seated on a crescent moon with the points facing upwards, supported by an angel with colourful eagle wings. She is portrayed as a young woman with a serene face and a lowered gaze reflecting love, tenderness, and respect. With her knee slightly bent, she clasps her hands in prayer in the Western manner. She wears a pink tunic adorned with floral elements and a blue mantle decorated with stars that also covers her head. She wears a ribbon around her belly as Aztec women did during their pregnancies, thus announcing that she is a pregnant woman. The iconographic type clearly derives from that of the Immaculate Conception.In this case, Our Lady of Guadalupe is depicted without the Apparitions or other ornamental elements that frequently accompany her and can therefore be considered a strictly faithful copy of the original. Most of these faithful copies, which are more iconographically straightforward, correspond to the earliest ones, generally dating from the 17th century. The more elaborate ones, with cartouches representing the apparitions and miracles, elaborate floral frames, views of the city of Mexico, or the inclusion of angels and archangels, are more typical of the 18th century. All these copies carry an implicit message, as most of them were "touched to the original," so the miraculous character was transmitted, making them bearers of her divinity."Enconchado" technique, so beloved and used in Mexico, actually has Oriental origins. It is a pictorial technique carried out on wood in which sheets of mother-of-pearl from shells and molluscs are inlaid, combined, and fused with oil paint to complete the image. This allows for the play of iridescence, gleam, sparkle, and subtle light effects that are highly valued. Provenance:- Former Pedro Vindel collection.Pedro Vindel was an antiquarian bookseller from Cuenca, as reported by the Royal Academy of History, ‘who became the first Spanish antiquarian bookseller of his time’, with one of the most important collections of books of hours. As the RAH continues, ‘Pedro Vindel, in the style of the great European booksellers, published his catalogues from 1895, and organised several book auctions, in premises rented by him, such as that of 1913, the catalogue of which he had printed. He also initiated what he called ‘graphic bibliography’ in Spain, by including [...] photolithographic reproductions of the covers or other elements of the books in his catalogues’.For further information, we recommend reading ‘Pedro Vindel: Historia de una librería (1865-1921)’, by Pavl Cid Noé. Bibliographical references:- Toussaint, M. Pintura colonial en México. Instituto de Investigaciones Estéticas. Universidad Nacional Autónoma de México. Mexico, 1965.- Vargas Lugo, E. "El indio que tenia "el don"..." in Anales del Instituto de Investigaciones Estéticas, no. 86, 2005.- Sánchez Mariana, Manuel. (n.d.). "Pedro Vindel Álvarez". https://dbe.rah.es/biografias/67005/pedro-vindel-alvarez- Mediateca Instituto Nacional de Antropología e Historia. (19 de octubre de 2020). "Juan Correa". https://mediateca.inah.gob.mx/repositorio/node/5231- Mediateca Instituto Nacional de Antropología e Historia. (22 de enero de 2022). "Juan Correa, pintor novohispano afrodescendiente". https://mediateca.inah.gob.mx/islandora_74/node/5383 

Miguel Cabrera (Antequera de Oaxaca, Mexico, 1695 - Mexico, 1768)‘Virgin of Guadalupe with apparitions’.Oil on copper. Signed "Michl Cabrera pinxit"42,5 x 42 cm. Important representation of the Virgin of Guadalupe, which includes the apparitions and the Indian Juan Diego.It has handwritten legend in Latin: "Non fecit taliter omni nationi" (He did nothing the same with any other nation) in reference to the words pronounced by Benedict XIV when he was presented with the image of the Virgin of Guadalupe and admiring its beauty, he approved the works of the Guadalupe patronage in Mexico.Cabrera is considered the greatest exponent of 18th century Viceroyalty painting, with a production that the Dallas Museum of Art defines as "legendary: more than 309 works from his great studio have been documented".Miguel Mateo Maldonado y Cabrera was born on February 27, 1695 in Antequera, present-day Oaxaca, Mexico, a fact known from the painter's will in 1768.He was the son of unknown parents and godson of a mulatto couple. He moved to Mexico City in 1719, where he began his artistic training, passing through the workshop of Juan Correa in the capital of the Viceroyalty.Cabrera painted altarpieces in the Jesuit church of Tepotzotlán, State of Mexico, in the church of Santa Prisca in Taxco, Guerrero and in the cathedrals of Mexico City and Puebla.Cabrera was not only a painter, but he also participated in the attempt to found an academy of Arts in 1753 and in 1756 he was consecrated as an intellectual, not only as an artist, since he published a narration about the image of the Virgin of Guadalupe in 1756 entitled "Maravilla americana y conjunto de raras maravillas observadas con la dirección de las reglas del arte de la pintura", a narration about the image of the Virgin Guadalupe in the printing press of the Jesuit college of San Ildefonso.In addition to easel painting, his production includes the design of altarpieces, large format works, as well as small copper works and nun's shields. Cabrera's religious painting produces figures of remarkable beauty, a beauty understood under the ideological assumptions of the devotion of the time. It is a refined art that possesses a well-arranged chromatic richness, is sustained by a great work of composition and, no less important, a subtle and expressive drawing.Of all the painters of that time, Cabrera was the one with the greatest personality; the conventional treatment in his figures was undoubtedly the basis of his way of painting, because he placed in his paintings models that were not ideal, but corresponded to people that the artist knew and treated, as when he incorporated in some paintings, portraits of donors or the so-called "prelates" because he had the need to observe directly and copy from nature. He was appointed chamber painter of Archbishop Manuel Rubio y Salinas, who commissioned him to study and paint the image of Our Lady of Guadalupe, reproducing the ayate. The image was sent to Pope Benedict XIV, from whom he obtained the highest recognition as a painter of Guadalupe. Among the portraits he painted, the one of Sor Juana Inés de la Cruz, kept in the National Museum of History, and the one of Juan de Palafox y Mendoza, located in the Museum of Colonial Art in Morelia, Michoacán,Mexico.He was also a painter for the Society of Jesus, for whose churches he produced numerous works.In 1753 he was named president for life of the Academy of San Carlos.His work is preserved in many churches and convents in Mexico.It is also present in numerous public and private collections.Two of his images of the Virgin of Guadalupe are in the Vatican Museum.Another, made in 1756, for the temple of San Francisco Javier, is preserved in the National Museum of the Viceroyalty.The Museum of Art of Dallas, conserves a Santa Gertrudis La Magna by Miguel Cabrera and another representation of the Saint, also by Cabrera and dated in 1768, is part of the collection of the Museum José Luis Bello y Zetina of Puebla, Mexico.Likewise, we highlight an important series of the Caste paintings of 1763 that is conserved in the collection of the Museum of America in Madrid. They depict families, father, mother and child of the various castes and social strata, in everyday life situations. Finally, mention should also be made of the Pinacoteca de La Profesa or the Andrés Blaisten Collection in Mexico, as depositories of Cabrera's work.The Museum of America in Madrid is currently exhibiting a very important retrospective of the painter. Procedencia:- Antigua colección Pedro Vindel.Pedro Vindel fue un librero anticuario conquense, como informa la Real Academia de la Historia, “el que llegó a ser el primer librero anticuario español de su época”, con una de las colecciones más importantes de libros de horas. Tal como sigue la RAH, “Pedro Vindel, al estilo de los grandes libreros europeos, publicó sus catálogos desde 1895, y organizó varias subastas de libros, en locales por él alquilados, como la de 1913, cuyo catálogo hizo imprimir. También fue quien inició en España lo que él denominó la “bibliografía gráfica”, al incluir en sus catálogos […] reproducciones fotolitográficas de las portadas u otros elementos de los libros”.Para más información, recomendamos la lectura de “Pedro Vindel: Historia de una librería (1865-1921)”, de Pavl Cid Noé. Reference Bibliography:- Andres Blaisten Museum. (n.d.). https://museoblaisten.com/Artista/79/Miguel-Cabrera- Sánchez Mariana, Manuel. (s.f.). "Pedro Vindel Álvarez". https://dbe.rah.es/biografias/67005/pedro-vindel-alvarez

Tribal Art: A small Samoan wooden bowl on legs, a Plains Indian wooden ladle, African carved wooden spoon, a Maori wooden box and an African Benin cast bronze anklet with bells

An Art Deco style Jonathan Charles 'Santos' centre table, modern, the circular Indian rosewood top with two short drawers, raised on four inverted swept ebonised legs united by an undertier74 x 77cmA few light surface scratches and marks, but overall in good condition.

ARR Katherine Blundell-Nixon (1895-1988)Chivalrydepicting a knight above a transcription from Cowpersigned and dated 1916watercolour29cm x 15.5cm An early work by Katherine Blundell-Nixon (1895-1988) Trained at Camden and Birmingham Schools of Art. After her marriage she lived in India for 25yrs, where she made illustrations for the Time of India Press and designed some thirty posters for Indian State Railways and the India Natural History Museum. On her return to England she worked with Enid Blyton

Ca. AD 1600 - 1700.A Safavid processional standard called an ‘alam'. This standard has a body roughly circular body with two curved spikes extending from the top, all decorated with floral motifs and Arabic inscriptions. There is a tubular socket at the bottom for mounting and two stylized dragon heads attached to the middle of the standard. For similar see: Christie's Art of the Islamic and Indian Worlds (Live Auction 12241), Lot. 15.Size: 560mm x 285mm; Weight: 1.11kgProvenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.

Desmond Haynes signed limited edition print with signing photo The West Indies team of the 1980's were undefeated in every test series they played. Regarded as one of the best opening pairs of all time, with Gordon Greenidge, Desmond's test average was 42.29 from 116 test matches and 41.38 from 238 one-day international matches. This stunning print shows Desmond despatching Ian Botham of England to the boundary in typical West Indian fashion during the fifth Test Match at Headingley, Leeds in July 1980. He has personally signed each print and you will receive a photo of the signing (as shown in inset image). Actual Size 560mm x 410mm - limited edition of 500 and part of the Sporting Masters editions - Photo printed on 250gsm, high quality art board - The accompanying photo of the personality signing this item will include a copyright over the image. Edition number may vary. Good condition Est. Good Condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Michael Holding signed limited edition print with signing photo To the umpires Michael Holding was malevolent stealth personified so they christened him Whispering Death. His over to Geoff Boycott in the cauldron of Kensington Oval, Barbados in 1981 has gone down in cricketing history as the finest, fastest, most ferocious gambit of all time. Michael took 249 Test wickets at 23.69 in his career and in one match took 14 wickets for 149, the finest match figures ever by a West Indian. This stunning print shows Michael in full flight seconds away from terrorising another batsman. He has personally signed each print and you will receive a photo of the signing (as shown in inset image). Actual Size 560mm x 410mm - limited edition of 500 and part of the Sporting Masters editions - Photo printed on 250gsm, high quality art board - The accompanying photo of the personality signing this item will include a copyright over the image. Edition number may vary. Good condition Est. Good Condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

East Asian Art and Documents - a folio of 19th century and later prints, including an almanac, Cantonese passport, Japanese passport, North Indian greeting cards, etc (qty)

Tribal Art - a Tesuque Pueblo Native American pottery ovoid vessel, decorated in polychrome with geometric shapes in the traditional manner, accompanying card inscribed 'Indian bowl made by an Indian of the Tesuque Pueblo near Sante Fe, New Mexico, 1936', 8.5cm high

An Indian bronze sculpture of Krishna dancing on a lotus, 18th C.H 17,5 cm Ref.:-A similar slightly smallerdancing Krishna offered at Christie's, Paris, Sale: Art d'Asie (5598), June 8, 2010, lot 395 (EUR 4.750, 2 sculptures, link).

Michael Holding signed limited edition print with signing photo To the umpires Michael Holding was malevolent stealth personified so they christened him Whispering Death. His over to Geoff Boycott in the cauldron of Kensington Oval, Barbados in 1981 has gone down in cricketing history as the finest, fastest, most ferocious gambit of all time.Michael took 249 Test wickets at 23.69 in his career and in one match took 14 wickets for 149, the finest match figures ever by a West Indian.This stunning print shows Michael in full flight seconds away from terrorising another batsman. He has personally signed each print and you will receive a photo of the signing (as shown in inset image).Actual Size 560mm x 410mm - limited edition of 500 and part of the Sporting Masters editions - Photo printed on 250gsm, high quality art board - The accompanying photo of the personality signing this item will include a copyright over the image. Edition number may vary. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Desmond Haynes signed limited edition print with signing photo The West Indies team of the 1980's were undefeated in every test series they played. Regarded as one of the best opening pairs of all time, with Gordon Greenidge, Desmond's test average was 42.29 from 116 test matches and 41.38 from 238 one-day international matches.This stunning print shows Desmond despatching Ian Botham of England to the boundary in typical West Indian fashion during the fifth Test Match at Headingley, Leeds in July 1980. He has personally signed each print and you will receive a photo of the signing (as shown in inset image).Actual Size 560mm x 410mm - limited edition of 500 and part of the Sporting Masters editions - Photo printed on 250gsm, high quality art board - The accompanying photo of the personality signing this item will include a copyright over the image. Edition number may vary. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

An Indian Mutiny C.B. pair awarded to Brigadier-General Edward Brice, a veteran of the Coorg Expedition of 1834, who commanded ‘F’ Troop, Madras Artillery, throughout the campaign in Central India in 1858-59 The Most Honourable Order of the Bath, C.B. (Military) Companion’s breast badge, 22 carat gold and enamels, hallmarked London 1859, makers mark ‘WN’, complete with correct gold swivel bar suspension and ribbon buckle; Indian Mutiny 1857-59, 1 clasp, Central India (Bt. Major E. Brice, F. Tp. Madras Art.) good very fine (2) £3,000-£3,600 --- C.B. (Military) London Gazette 1 March 1861. Edward Brice was appointed Second Lieutenant, Madras Artillery, on 16 June 1826; First Lieutenant, Madras Artillery, 25 February 1828; Captain, by Brevet, 16 June 1841; Captain, Madras Artillery, 3 July 1845; Major, by Brevet, 20 June 1854; Lieutenant-Colonel, by Brevet, 20 July 1858; Lieutenant-Colonel, Madras Artillery, 5 November 1858; Colonel, Royal (Madras) Artillery, 25 September 1861; Inspector of Artillery with rank of Brigadier-General, from 1 November 1862. Served in the expedition to Coorg in 1834 - was present at affair at crossing of the river, and Ramasamy, Kanaway, Beebaby, and Hunninghy; served also with the Saugor Field division under Major General Whitlock in 1858, was present at the affair at Kubrai 17th April 1858, and at the battle of Banda 19th April 1858. Brice commanded ‘F’ Troop, Madras Artillery, throughout the campaign in Central India. The following extract is taken from the Memoirs of David Dinwiddie, who was Major Brice’s troop sergeant major: ‘To show you that all native troops during this time were not in open mutiny, I may mention that this very ‘F’ Troop when under the Command of Major Brice, in Secunderabad, was the means, under his well ordered plans, of keeping the large city of Hyderabad in awe and order, and under Providence, saved also the southern part of India from the fate of Bengal. For this important service, I believe, Major Brice received his military honours, and now, 1864, holds a good situation as Inspector of Artillery. Just think of the respect the native Mussel-men of this Troop must have held their Commanding Officer in, when they fired at and killed a number of their own caste and countrymen at a moment when the whole city of fanatics were ready to break out at the slightest success of their leaders, and murder every man, woman, and child of European descent belonging to the garrison of Secunderabad, which is situated a few miles from the Residence of their King or Rajah, the Nizam. If the Sepoys in Hyderabad city had not been held in check by this native troop at this critical moment, the entire people of the country from Cape Comorin to the river Nurbuddah, might have committed themselves, under the example of the Madras Native Army, which had been hourly expected to break out in open rebellion as had been the case in Bengal, in May and June the preceding year, viz., 1857.’ Troop Sergeant-Major Dinwiddie makes many mentions of Brice in his memoirs and also describes a close escape from an exploding gun-limber in May 1858: ‘Previous to finally quitting my troop; it was ordered out one morning, with a few of the 12th Lancers to reconnoitre the surrounding country, and to let the villagers know that they would be protected from the rebels, provided they would stay at home and cultivate the soil as heretofore. This being done, after a few hours fast riding, with the guns and Cavalry across country, we were on our way home, when an accident occurred, which proved more dangerous than the field of battle, viz., the blowing up of a gun-limber full of shot, shell and powder. On the leading gun-limber two unfortunate natives sat, whom we had taken with us from Bandah as guides to show the way from village to village. The ground was rough over which we passed at a quick pace, this shook the limber boxes in which was packed the ammunition, which ignited through friction, a rather uncommon occurrence, but it should be remembered the weather was very hot. The ammunition had been carefully packed a few days previously. First a single loud report was heard, when we looked over our shoulders to see what was the cause; quick as thought three shells burst in succession. The next moment, the guides before mentioned were blown up in the air, torn into pieces, their clothing on fire, portions of their bodies, being afterwards found half-roasted; the guns and cavalry, which were all in the rear had timely seen the danger, and halted. The six horses, yoked to the doomed limber, two of them within a yard of it, on the first report rushed to the front in terror, the drivers having no control over them, and they were only brought to a stand, when the pole horses sank exhausted, having been burnt by the explosion and wounded by the splinters of the carriage and limber, which were blown to a thousand pieces. Major Brice who commanded the party, and who was selected for this duty, on account of his knowledge of the language, Lieutenant Sewel, one of the subalterns of the Native troops, the Quarter Master Sergeant and myself were riding close in front of the leading horses. On the report of the explosion, our horses also stretched out at a full gallop in terror, but were closely followed by the exploding limber. We expected to have our bodies riddled by balls or splinters of wood and iron. In this case the strongest resistance to the force of the powder was from below, viz., from the strong frame of the carriage and axle tree-bed on which the two ammunition boxes were fixed, the consequence was, all the missiles of danger flew, sloping upwards over our heads, so we in front escaped uninjured: but the leading driver at the moment he was looking over his shoulder was struck on the mouth by a stray foot of one of the unfortunate guides, his lips were swollen for a few days; the centre driver, next in the rear, died of wounds received in his skull and neck; the pole driver, recovered of his wounds, which were (wonderful to say) very slight, he being next to the guides at a distance of two yards. One pole horse was shot to put him out of misery, the other five were soon fit for duty, a new limber was supplied from the large Park of Artillery, packed as its predecessor with ammunition, and the gun was again ready for action in a few hours after the accident. I shall always remember the blowing up of the limber, and thank God I escape. The families of the guides were paid a certain sum of money as compensation, and the widow of the unfortunate driver pensioned for life. Major Brice had, previous to the accident of the limber, been suffering from his chest and the extreme heat; he was now unable to do effective duty, so his Medical man recommended a change of climate. Doctor Ford doing duty with the force, was also seriously ill at the same time, thus they both left the Army a few days after the limber affair on sick leave to Madras, to enjoy the cool and bracing breeze of the Neilgherry [Nilgiri] Hills; I was likewise ordered to accompany the two sick officers, and have an eye to their wants as far as Madras, and then join my new appointment at Palavaram. Accordingly I bid farewell to camp life for a time, and made the best of my way down the valley of the Ganges to Calcutta.’ Sold with copied research including the above-mentioned ‘memoirs’.

A QUANTITY OF VINTAGE COPPER AND BRASS TO INCLUDE A KETTLE WITH ACORN FINIAL, LARGE TRENCH ART STYLE VASE, JUGS AND AN INDIAN WALL PLAQUE

Miscellaneous small silver articles, to include a crocodile hide wallet with silver mounts, Edwardian art nouveau silver photograph frame-mount, capstan inkwell, filigree silver box, Indian silver repoussé square box and several gold-mounted silver bar brooches, on the original retailer's cards, early 20th c

A collection of Art Deco china, an Adderley Ware drip glaze fruit bowl, a Wilkinson Ltd Indian Summer vase, a Shelley Hilda Cowhan cream jug, nursery rhyme cup and beaker, etc., handle on bone china cup broken

An Indian Folk Art Polychromed Carved Wood Tiger, early 20th Century, 18.5ins x 10ins high

SPANISH LANDSCAPE pen and indian ink on paper26.5 x 36cm; 10 1/2 x 14 1/4in39 x 48cm; 15 1/4 x 19in (framed)Exhibited London, Sally Hunter Fine Art, Albert Rutherston Drawings, Theatre Designs and Other Treasures, November 2016, no. 19

STUDY OF A NUDEsigned and dated Albert R 1938 lower left pen and indian ink and wash on paper 32 x 26cm; 12 1/2 x 10 1/4in 53 x 46cm; 20 3/4 x 18in (framed)Executed in the late 1930s / early 1940s, probably at the Ruskin School of Art.

⊕ Bernard Myers (lots 139-158) Work and travel in the Middle East and India introduced me to a world of colour. Under the influence of Islamic tiles and textiles, and Indian and Tibetan painting I set out to teach myself colour. My work at this time was mainly abstract and loosely based on astronomical and optical diagrams. Gradually I turned to realism via still life, working very precisely... (Bernard Myers) Introduction Trained as a gunner in the RAF during the Second World War, Bernard Myers studied at St Martin’s School of Art, Camberwell and the Royal College of Art. Fellow students included John Bratby and Jack Smith, Frank Auerbach and Leon Kossoff. After graduating ARCA in 1954, Myers taught, variously at Camberwell, Hammersmith and Ealing art schools, and was senior lecturer in drawing at the Architectural Association School. He returned to the RCA to teach for the following two decades, punctuated in 1968 and 1971 by stints as Visiting Professor at the Indian Institute of technology, New Delhi. His final teaching post was as Chair of Design Technology at Brunel University (1979-85). Students at the RCA treasured Myers’ good advice. James Dyson remembered him as ‘cheerful, irrepressible [and] rather dapper… with a tweed suit and bowtie…’ But as well as being upbeat Myers was also appreciated for his considerable range of mind and intellect. On being made a Fellow, in his welcome speech the Dean noted that Myers ‘…must without doubt be the most versatile graduate ever to emerge from the Painting School. Since joining the College in 1961 he has been, by virtue of an encyclopaedic knowledge which comfortably bestrides the boundaries between the humane and the technological, and of his superlative gifts as a teacher, in demand by virtually every School and Department within the College…’ The plus side for Myers was that teaching left him free to practise his own art exactly as he wished. As he noted: ‘Some artists find that teaching interferes with their work. I find it clarifies my work.’ Indeed, he had an unstoppable compulsion to paint, incessantly exploring a wide range of subject matter, in particular the landscapes he encountered on his varied travels (lots 209-213), the still-lifes he worked on in his studio (lots 194,197,,200 & 203), the nudes he painted in weekly life-classes (195, 198, 201, 204), and his not infrequent forays into abstraction, precipitated in part by his fascination with space (lots 196, 199, 202, 205). He married Pamela Fildes, grand-daughter of the painter Sir Luke Fildes in the early 1950s; they lived first in Windsor and then in Kensington before moving in 1974 into one of the studios overlooking the Thames at St Peter’s Wharf, purpose built by Julian Trevelyan, next to Hammersmith Terrace (lots 206-208). He had several one-man shows in the West End, the first at the New Art Centre in 1969; his last with Austin Desmond Fine Art in 1991. He wrote two books on Goya, others on the history of sculpture and How to Look at Art, and co-edited The Macmillan Encyclopedia of Art (1979). He also penned articles for The Artist (May 1988) on his highly original approach to pastel (lots 139-142 & 147-150), and Artists and Illustrators (1995) on his Venice views (lot 209).STILL LIFE WITH FLOWERS AND PEARS ON A PLATTER signed B Myers lower right; inscribed New Grafton 7 upper left margin oil pastel on paper 52.5 x 72cm; 20 3/4 x 28 1/4in (image) unframed In good original condition.

A large of assortment of mainly circular badges comprising of twenty three Whitehead & Hoag badges depicting portraits of President of America and the dates of their term, 20mm diameter; seventeen Whitehead & Hoag badges depicting prominent American ladies to include Adele Ritchie, Emma Juch and Della Fox, 22mm diameter; nine assorted Whitehead & Hoag Sweet  Caporal Cigarette advertising pin badges, 20mm diameter; Let's Round the Corner badge, black lettering and shoe design, 20mm diameter; five unnamed slogan badges with different colour lettering, 20mm diameter; unnamed R.U. On The Hog badge, with blue lettering and blue hog design, 20mm diameter; unnamed Open All The Year Round, with central alligator design, 20mm diameter; a Whitehead & Hoag Up To Date badge, depicting a ballerina, 20mm diameter; twenty five badges depicting various boats and ships, to include members of the White Squadron and Winners of the America's Cup, two Save 'Old Ironsides' 1797-1925, 20mm diameter; five larger cigar advertising pin badges depicting various American War Ships comprising of U.S Cruiser 'Newark', Remember the Maine, Smoke Maine Cigar and three Maine examples, one with black border and other with the stars and stripes, five depicting bicycles to include League of American Wheelmen, Eldorado Cycle Co, Chicago; three depicting portraits of jockeys, 20mm diameter; portrait badge depicting Nicholas II Czar of Russia and Napoleon Bonaparte, 20mm diameter; 'I'Se in Town Honey' Aunt Jemma badge, depicting portrait of gentleman wearing headscarf, 20mm diameter; Gold Dust advertising badge, depicting two children in bath, five assorted different ranks in the military, 20mm diameter; Fenton, I Admire Bicycles badge, red wheel with blue text, 22mm diameter; one similar Joerns-Thien badge, with grey rim, 30mm diameter; twelve assorted Buster Brown related badges for various related items to include Buster Brown Shoes and Buster Brown Supporters Club, twenty one assorted Little Pinkies celluloid badges depicting various characters to include Soldier; Uncle Sam; Letter Carrier and Shine, fifteen assorted tin plate badges depicting various characters to include Popeye, Olive Oil and Mama Katzenjammer, 20mm diameter; Better Housing Program, with blue and white lettering and cottage, blue and white Atlantic City All the Time badge, Palmer Method, hand holding a paint brush, 50 badge depicting black stick telephone, 22mm diameter; blue oval Sam Weingarten Tailor & Furnisher badge, with white lettering, 28mm wide; a Third Liberty Loan badge with central white bell on blue background, 20mm diameter; New Chevrolet Six 'Queen of the Shows' depicting portrait of a lady, 22mm diameter; Hoffmann's Rice Starch, with central seated cat on blue background, 20mm diameter; Canadian Northern Railway Company badge, black writing on white background, 20mm diameter; Hello Give me Pearline, with blue bell on gilt background with white lettering, 20mm diameter; Studebaker, gilt star with white lettering on blue background, 22mm diameter; Band of Mercy A.H.E.S. with central white star and gilt lettering, 20mm diameter; Lion Coffee, with central portrait of lion, with white lettering on red background, printed tin plated Ritz Crackers badge, 22mm diameter; Scarlett Tools celluloid badge, white lettering and tools on red background, 20mm diameter; Underwood Nequalled badge, with central typewriter in orange border, 20mm diameter; badge depicting Pepsi-Cola lid, 25mm diameter; Lithography is Art badge, depicting artists equipment, 20mm diameter; Persil advertising badge, white writing on red background, 23mm diameter; Join the Army of recruit Little Cigar Smokers, portrait of soldier on red background, 25mm diameter; Plucky Lindy badge, depicting a portrait and a sleigh, 25mm diameter; Flexible Flyer; Member of the Flexible Flyer Club, blue badge with white lettering,18mm diameter; Why Not Now, Evenually Gold Medal Flour, circular badge with black lettering, 20mm diameter; Tess & Ted School Shoes, decorated with two dancers, 22mm diameter; Its Spring; Get a Pontiac, two red birds singing, with black text, 22mm diameter; Favorite Stoves & Ranges, blue badge with central sunrise decoration, 22mm diameter; Bill Dugan Cigar badge, depicting central portrait with Stars and Stripes border, 20mm diameter; Uncle Jerry's Pan Cake Flour advertising badge, depicting portrait of a man wearing yellow hat, 22mm diameter; Hendee Manufacturing Co. Indian Motorcycles badge, depicting smiling Native American, 20mm diameter; Maendler Brothers Boss Rubber  badge, with central paint brush; Lanphers Hats advertising badge, brown border with central black hat, 20mm diameter; unnamed tin plate I Wear Poll Parrot Shoes, red and blue text with multi coloured parrot decoration, 18mm diameter; Gordon Hat advertising badge with red lettering and gilt lined decoration, 20mm diameter; Charlie McCartny badge, witth central portrait of the puppet within red banner and white lettering, 30mm diameter; Keystone Operator badge, blue lettering on cream background, 30mm diameter; Hal Roach Studio Safety First, depicting Stork Nodder badge, 30mm diameter; High Admiral Cigarette Ah There badge, depicting man removing his hat, 30mm diameter; Warner Theatres Sun Telegraph Junior Komic Club, blue writing on cream background, 30mm diameter; unnamed Great Military Mystery Serial Pearl of the Army, depicting a lady standing in front of the Union Jack and American flags, Dan Leno's Comic Journal Clock, depicting a sepia portrait of a gentleman, 20mm diameter; Universal Peg O'The Ring, female breaking through a drum skin, 21mm diameter; Clean-Up Week, lady standing before the French tri-colour, 28mm diameter; Rockfeller Centre badge, depicting the building at sunset, 30mm diameter; two Peters Shells badges, one with picture of a bullet, other showing the bullet from bottom, 21mm diameter; red I Wanna B.1. Too badge with white lettering, 22mm diameter; two O U Kid, one with girl diving into a pool and other within floral border, 22mm diameter; Stop It! I Like It, couple kissing badge, 20mm diameter; St. Joseph's Hospital Preparedness Fund, depicting ambulance with red lettering, 18mm diameter; blue tin plate Racers badge, depicting black racing car, 15mm diameter; Mothers' Day badge, blue badge with white lettering and white flower, 20mm diameter; blue Hoover badge with white lettering, 15mm diameter; 1939 New York World's Fair, I Was There, with golf club and golf ball, 15mm diameter; 1892 K & L of S, depicting couple handing hands, 15mm diameter; Bell Pianos, gilt badge with central blue bell decoration and white lettering, 10mm diameter; an oval Plymouth Twine, depicting bundle of wheat with black lettering; 25mm long; unknown badge depicting sunburst within blue background, 15mm diameter; Our Pride depicting American flag within a star border, 18mm diameter; two oval New Departures, one green background, other red, 25mm long; an oval Setson Hats,  badge, depicting American coat of arms, 25mm wide; unnamed Birthday Greetings badge, depicting birthday cake, 18mm diameter; 

The Uniform Coinage of India, British Imperial Period, George V, silver Rupee, 1911, Calcutta, crowned and robed bust left, b.m. [Bertram Mackennal] on truncation, elephant on decoration resembles a pig, george v king emperor, rev. one rupee india and date, yek rupiya surrounded by ornate scroll containing rose, thistle and shamrock, lotus flowers above and below, edge grained, 11.68g/12h (Prid. 207 [Sale, lot 133]; SW 8.11; KM. 523; cf. Fore III, 2439). Very light bagmarks, otherwise brilliant mint state £150-£200 --- Provenance: Bt 1980. Owner’s envelope. The obverse punch for the new coinage of George V, showing the king wearing the Imperial Crown, Robe of State, collars of the Orders of the Star of India and Indian Empire and the badge of the Order of the Bath, was received by the Calcutta mint in July 1911. This was paired with the new reverse engraved from a design by Percy Brown (1872-1955), head of the Government School of Art, Calcutta, and accordingly stocks of the new coins, in silver and bronze, were built up in preparation for their release into circulation on 12 December 1911, the day of the Delhi Durbar. Unfortunately, political agitators in the bazaars started a rumour that a ‘pig’ was depicted on the new rupee, claiming that the elephant’s body and legs on the collar chain of the Star of India were out of proportion, no tusks were visible and the short trunk looked like a pig’s snout. Among Muslims and certain other religious sects the pig is an unclean animal and public aversion to the coin was swift and hostile. The government was left with no option but to announce on 23 January 1912 that the rupee, of which some 700,000 had been issued, was to be withdrawn, and notices were placed in the Times of India to that effect (Garside, SNC March 1912, cols. 13455-6). Poor engraving of the design was to blame for the confusion; the image on the smaller denominations had not caused offence and most of these remained in circulation. The elephant was re-drawn with a longer tail, better-defined tusks and ears on rupees dated 1912 and later

A writing box (qalamdan), ivory, interior with dividers for writing supplies, silver applications, Indian, 17th/18th C., minor faults and defects, silver without marks, ipursuant to Decreto-Lei nº 120/2017, of September 15th - art. 2nd, no. 2, paragraph c). Notes: a) This lot is subject to CITES export/import restrictions and is duly certified: nº 12-PT-LX1386/C; b) It is currently prohibited by several countries to import goods that incorporate materials from protected wild fauna and flora species, including, among others, ivory, coral and tortoiseshell; c) In Portugal, in accordance with the planned transposition into national legislation of the most recent EU guidelines on ivory trade, the issuance of re-export certificates to countries that are not part of the EU is suspended; d) In this context, potential buyers are advised to inform themselves in advance about the legislation of their country and applicable international restrictions., Dim. - 4,7 x 23,5 x 6,5 cm

Indian Bidri ware - two fish shaped boxes and covers and another box, nine novelty concentric circular wood boxes, a pair of trench art RA shell cases, a cannon model and four others, tallest 22cm. Condition - fair

ITEM: RingMATERIAL: BronzeCULTURE: Iron Age, Central Asia, Amlash or BactrianPERIOD: 1st millenium B.CDIMENSIONS: 22 mm x 27 mmCONDITION: Good conditionPROVENANCE: Ex English private collection, acquired from London Gallery (1970s - 2000s)Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 4 to 6 weeks and has a cost of 5% of the amount of the sale, this amount will be added to the final invoice.The Bactrian culture thrived in the region of Bactria, which encompassed parts of present-day Afghanistan, Uzbekistan, and Tajikistan, during the Bronze Age, roughly from the 3rd to the 2nd millennium BCE. Bactria served as a crucial crossroads along the ancient Silk Road, connecting the civilizations of the Mediterranean, Central Asia, China, and the Indian subcontinent. The culture is known for its advanced urban centers, sophisticated metallurgy, and rich artistic traditions. Bactrian art often depicted scenes of daily life, mythical creatures, and religious motifs. The Bactrians are also believed to have played a significant role in the spread of early Indo-Iranian languages and culture.On the other hand, Amlash culture was prevalent in the Amlash region of northern Iran during the Iron Age, dating roughly from the 1st millennium BCE. The Amlash culture is characterized by its distinctive pottery styles, including painted ceramics adorned with intricate geometric and zoomorphic designs. Archaeological evidence suggests that Amlash society was organized into small-scale agricultural communities, with evidence of terraced agriculture and irrigation systems. Additionally, Amlash culture is notable for its burial practices, which often included inhumation in cemeteries and burial mounds, sometimes accompanied by grave goods such as pottery vessels and metal objects.While the Bactrian and Amlash cultures developed in different time periods and geographical regions, they both represent important stages in the cultural evolution of the broader Central Asian and Iranian regions.

ITEM: RingMATERIAL: BronzeCULTURE: Iron Age, Central Asia, Amlash or BactrianPERIOD: 1st millenium B.CDIMENSIONS: 22 mm x 27 mmCONDITION: Good conditionPROVENANCE: Ex English private collection, acquired from London Gallery (1970s - 2000s)Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 4 to 6 weeks and has a cost of 5% of the amount of the sale, this amount will be added to the final invoice.The Bactrian culture thrived in the region of Bactria, which encompassed parts of present-day Afghanistan, Uzbekistan, and Tajikistan, during the Bronze Age, roughly from the 3rd to the 2nd millennium BCE. Bactria served as a crucial crossroads along the ancient Silk Road, connecting the civilizations of the Mediterranean, Central Asia, China, and the Indian subcontinent. The culture is known for its advanced urban centers, sophisticated metallurgy, and rich artistic traditions. Bactrian art often depicted scenes of daily life, mythical creatures, and religious motifs. The Bactrians are also believed to have played a significant role in the spread of early Indo-Iranian languages and culture.On the other hand, Amlash culture was prevalent in the Amlash region of northern Iran during the Iron Age, dating roughly from the 1st millennium BCE. The Amlash culture is characterized by its distinctive pottery styles, including painted ceramics adorned with intricate geometric and zoomorphic designs. Archaeological evidence suggests that Amlash society was organized into small-scale agricultural communities, with evidence of terraced agriculture and irrigation systems. Additionally, Amlash culture is notable for its burial practices, which often included inhumation in cemeteries and burial mounds, sometimes accompanied by grave goods such as pottery vessels and metal objects.While the Bactrian and Amlash cultures developed in different time periods and geographical regions, they both represent important stages in the cultural evolution of the broader Central Asian and Iranian regions.

A mixed group of cast brass or bronze comprising a Dhokra lost wax technique Indian tribal art figure of a gazelle/Chinkara (h- 8cm, w- 9cm), an Indian candlestick holder modelled as a deity atop a lotus throne, a cast model of a scorpion, and a bull figure (4)

Creswell (K.A.C.) A Bibliography of the Architecture, Arts and Crafts of Islam..., first edition, Cairo, 1961 § Walsh (Rev. Robert) Constantinople and the Scenery of the Seven Churches of Asia Minor, Illustrated, 2 vol. in 1, First Series only (of 2), engraved frontispiece, additional vignette title, map and 45 plates after Thomas Allom, foxing, bookplate of Lord Gwydyr, contemporary morocco blocked in gilt & blind, g.e., rubbed, rebacked preserving old spine, n.d. § Goodwin (G.) A History of Ottoman Architecture, 1971 § Fergusson (James) History of Indian and Eastern Architecture, original roan-backed cloth, spine worn, 1899 § Havell ( E.B.) Indian Architecture, 1913 § Harada (Jiro) The Lesson of Japanese Architecture, 1936, plates and illustrations, all but the second and fourth original cloth, the third with dust-jacket, all rubbed; and 22 others on Eastern art & architecture, v.s. (28)

λ&nbspFRIEDRICH KUNATH (GERMAN B. 1974) ALL THE SLEEVES ARE BROWN AND THE TIE IS GREY (CALIFORNIA DREAMING), 2011 Charcoal, Indian ink, lacquer and watercolour on canvas 247 x 226cm (97 x 88¾ in.) Unframed Provenance: White Cube, London Acquired from the above in 2011 Exhibited: London, White Cube, Friedrich Kunath, The Most Beautiful World in the World15 April - 4 June 2011 German-born Friedrich Kunath has equal recourse to popular and high culture in his tragicomic works. Kunath has exhibited at Art Basel, Modern Art Oxford, and White Cube, London. Often surreal, Kunath's works construct and inhabit universes of bright colour and forbidding black, inspiring hope as much as they threaten the viewer with loneliness. Characteristically, The sleeves are brown and the tie is grey features a solitary figure lost at sea, a scene infused with Romantic sensibilities. The picture draws its title from the celebrated refrain of California Dreamin' - 'All the leaves are brown / And the sky is grey' - with slight modifications, reproduced in cursive text on the work itself. Kunath has updated the song's autumnal vocabulary as if to evoke notions of oppressive corporate uniformity. The artist's relocation to Los Angeles from East Germany may have informed this yearning for a better, brighter life, though the insistent pathos of his work suggests this dream was never fully realised - perhaps the grass is, after all, always greener on the other side. Condition Report: The canvas is very fine and slack on the stretcher resulting in some areas of rippling, noticeable in a raking light. There is one area to the centre of the lower half of the composition with a 10cm line of indentation and associated undulation to the canvas. Otherwise, the work appears to be in good original condition.Condition Report Disclaimer

λ&nbspKEITH COVENTRY (BRITISH B. 1958) ALEXANDER THE GREAT; A MILLWALL FAN Oil on canvas, wood, glass & goldleaf, in two parts Both signed and dated 1993 (verso) Each 69 x 39cm (27 x 15¼ in.) (2)Provenance: Curt Marcus Gallery, New York Sale, Christie's, Contemporary Art, 8 December 1999, lot 167In 326BC Alexander The Great singlehandedly attacked a fortress containing 50,000 Indian Soldiers. In 1985, a Millwall fan singlehandedly attacked over 200 Luton fans.The restrained and often abstract works of Keith Coventry engage meaningfully with sociohistorical concerns. Coventry won the John Moores Painting Prize in 2010; his works can be found in the collections of Tate Modern, MoMA, and the Walker Art Center. The artist's practice is diverse, ranging from monochromatic impasto to Walter Sickert references and interpretations of Han van Meegeren's forgeries. Coventry has classified the present diptych - a typically unusual and tongue-in-cheek juxtaposition - as 'abstract history paintings' (Keith Coventry, Hirst, Fairhurst, Hume, Coventry, Quinn, p. 14). Reminiscent of Kazimir Malevich's suprematist canvases, these works support the Derridean understanding of title as parergon, without which the image itself remains indeterminate. The Millwall picture alludes to the 1985 Luton riot, which saw the notoriously unruly visitors clash with home supporters. This instance of hooliganism is associated with Alexander the Great's triumphant Siege of Aornos in a somewhat misleading David-and-Goliath arrangement, as in both cases the warring parties were evenly matched. The similarity and visual impact of this pair alludes to their overarching significance as a monument to narrative: moments across millennia, from the theatre of war to the sporting arena, are linked by their readiness to be chronicled and, more often than not, mythologised.     

Original vintage advertising double-sided poster card Buy British West Indian St. Vincent Arrowroot 1930s. This card is one of a series being issued to retail grocers by the Empire Marketing Board. The series is designed to include a variety of Empire groceries and provisions, each Empire country being represented by a different animal. Good condition, punch hole on top of the card, creases on margins, pen and pencil writings on the back side. Country: UK. Year: 1930s. Designer: Frederick Charles Herrick, born 1887, died 1970. Designed posters for the Underground Group and London Transport 1920-1933. Educated; Leicester College of Art and Crafts, Royal College of Art. Was also known by the name F C Herrick. Printed on thick stiff card. Size (cm): 19x13.

Edward Curtis (American, 1868-1952). Group of 20 items pertaining to Edward Curtis including one framed print of a handsome woman signed by Curtis along the lower right, a print of two children in a folder labeled "Edward S. Curtis Studio; Biltmore Hotel, Los Angeles," a compilation of excerpts from publications that reviewed Curtis’s "The North American Indian," one brochure from the Green Hotel Pasadena, a copy of Scribner’s Magazine with an article written by Curtis, extracts from reviews and commentary on Curtis’s "The North American Indian," a poster endorsing "The North American Indian," a print of a woman taken at the Curtis's Imperial Studio in Seattle, an introduction written by Theodore Roosevelt for Vol. 1 of "The North American Indian," a print of a man taken at the Imperial Studio, two prints titled "Dawson Indian Boy" signed by Curtis, an advertisement for an exhibition of Curtis’s "Early Photographs of the North American Indian," a Dutch newspaper clipping from May 1973, a Royal Netherlands’ review of Curtis’s work, a photo of a Seattle First Hill Church Elder, a photograph signed by Curtis of John E. Jardine, a pamphlet for an exhibition at the Indianapolis Museum of Art, a photo of a bride, and the wedding album of a couple named "June and Floyd" .Provenance: From the Estate of Christopher Cardozo.Shipping dimensions; height: 4 in x width: 20 1/2 in x depth: 17 in.Condition: Wear associated with age and use throughout. There may be tears and creases throughout. If there is something specific you would like to see, please contact us at condition@revereauctions.com.

George Morrison (Ojibwe, 1919-2000). Woodcut on paper depicting an intricate pattern of contrasting woodgrains in gold metallic ink, 1976-78. Pencil signed and dated along the lower right; numbered 14/79 along the lower left; Vermillion Editions Limited blindstamp along the lower left.Provenance: Private Minnesota Collection.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Height: 29 1/2 in x width: 44 1/2 in.Condition: The colors are bold and deep. There are no tears, creases, losses, or restorations when viewed under UV light. There is a slight undulation to the sheet. Light wear along the edges of the sheet, possibly original to the deckled nature of the paper. The work is not framed.

George Morrison (Ojibwe, 1919-2000). Lithograph on paper titled "Red Cube" depicting undulating interlocking forms, reminiscent of the artist's found driftwood collages, 1983. Pencil signed and dated along the lower right. Titled and editioned "Artist Proof" along the lower left.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 29 3/4 in x width: 22 1/4 in. Framed; height: 34 1/2 in x width: 26 1/2 in x depth: 1 1/2 in.Condition: The colors are bold and bright. There are no visible tears, losses, or restorations. Very light undulation to the sheet. The sheet is floated in frame. Framed under glass. Some wear to the frame.

Fritz William Scholder V (American/La Jolla Band of Luiseno Indian, 1937-2005). Color lithograph on paper titled "Kachina Dancers" depicting a group of figures in a line with adobe houses in the background, 1970-71. Pencil signed along the lower right; editioned "Artist Proof" along the lower left.Scholder spent much of his early life moving throughout the Midwest, living in Minnesota, South Dakota, and Wisconsin. At seventeen, he attended the Mid-West Art and Music Camp at the University of Kansas where he studied with Robert B. Green. As a freshman at Wisconsin State University, he studied with Arthur Kruk, James Grittner, and Michael Gorski. In 1957 he followed his family to Sacramento, California where he studied with Wayne Thiebaud. He has met and worked with numerous designers and artists including Lloyd Kiva New, Charles Loloma, Max Cole, John Heric, and Bruce McGrew.His works often show the harsh, realistic side of Native Americans' lives and deaths including the effects of alcohol. His unique experience as a figure who never lived on or around other Native Americans allowed for a fresh perspective on Native American art, though it was sometimes controversial. He fused together Expressionism, Color Field, and Pop art to convey his perspective on his subjects.Unframed; height: 22 1/4 in x width: 30 1/2 in. Framed; height: 31 1/2 in x width: 39 1/2 in x depth: 3/4 in.Condition: The colors are bold and bright. There are no visible tears, creases, losses, or repairs. Light wear along the deckled edge. The work is floated in frame. Framed under plexiglass; light wear to the frame. Not inspected out of frame.

A CASED PAIR OF SECRETARY OF STATE FOR INDIA SEALS EARLY 20TH CENTURY STEEL SEALS, ENGRAVED BY FRANK BOWCHER CIRCA 1903 the larger of circular outline, engraved with the short post-1837 Royal Arms of Great Britain and Royal Mint stamp, within an inscription, ‘EDWARDUS VII D.G. BRITANNUARUM OMNIUM REX F.D. IND. IMP’; the smaller similarly inscribed, the Royal Arms within a belt border, both contained in a red morocco leather bound, velvet lined box retailed by Wickwar Manufacturer, Poland Street, London  6.6cm + 5.9cm (diameter) The Matrix Collection The secretary for State for India was created in 1858 when India was brought under direct British rule, known as the British Raj. The role of the Indian Secretary was to therefore govern the British Indian Empire which included Aden, Burma and the Persian Gulf Residency. The secretary oversaw the Indian Council which consisted of 15 members. The Council was there to assist, but acted mainly as an advisory role.These two seals were most likely made either for St. John Brodrick (Secretary for India 9 October 1903- 4th December 1905) or for John Morley, 1st Viscount Morley (1908) (secretary of State for India 10 December 1905 – 3 November 1910).St. John Brodrick 1st Earl of Midleton (1856-1942) was a Conservative politician and was Secretary for War (1900-1903) during most of the second Boer War before embarking on his role as Secretary for State for India (1903-1905). He married Lady Hilda Charteris (the daughter of 10th Earl of Wemyss) in 1880 with whom he had 5 children, after her death he re-married and had two sons.John Morley 1st Viscount Morley of Blackburn on the other hand was a Gladstonian Liberal and opposed the eight-hour working day. He began his career originally when he was called to the bar before changing to become a journalist editing the newly Radical-Liberal Pall Mall Gazette  from 1880 to 1883. Whilst Secretary for State in India he showed his tolerance by appointing two Indians to the council of India.The seals themselves were engraved by Frank Bowcher (1864- 1938). Born to an etcher and cartoonist, following his training at the National Art Training School and then in Paris he was considered to represent the late 19th-century French style of medallists in Great Britain. Leonard Forrer, (1869-1953) the numismatic specialist and coin dealer with Spink and Son stated that Bowcher was “gifted with an uncommon faculty for creation, a genuine artistic feeling and manipulative dexterity”. His commissions were many and he shone particularly at portraiture following his first medal work for Tewfik Pacha, Khedive of Egypt in 1886. In 1903 he was appointed engraver to the Royal Mint. Pieces by his hand can be found in the Natural History Museum including a depiction of Charles Darwin, accession number 1019/05.  

A pen and ink drawing in Plains styledepicting a mounted figure spearing another figure with a bow and arrow,14.5cm x 20.5cm.ProvenanceBonhams, London, The Colin and Jeanette Gross Collection of North American Indian Art, 20 September 2006, lot 88.

A GROUP OF VINTAGE MISCELLANEOUS ITEMS comprising a partial Longtons art deco style dinner service and tea ware comprising two lidded tureens (visible restoration work seen to the finial of one lid and chip to the rim), a rectangular double handled tray (heavy crazing and staining), five side plates (all chipped), a cup and saucer (both chipped),a Falcon Ware Coronation Trio, a Chenson armistice commemorative mug and side plate, a group of Foley blue and white tea wares comprising four tea cups with two side plates, a milk jug, and a slop bowl (all dull when tapped), a pair of royal commemorative glasses, a quantity of vintage glass bottles to include a green Allsopp's bottle, three green Marston's bottles, a clear Schweppes soda water with nozzle, a vintage Coca Cola bottle, etc (various levels of damage to stoppers), a Churchill Indian Tree part coffee set, a Sylvac ashtray (sd), a plaster cast statue of a young girl in a dress, height 57cm, marked BCM/002C 163 on the reverse of the base, etc, (visible repair to neckline and wrists, chips to chest and head) (qty) (Condition Report: all main damage mentioned in the description)

A box of collectables - including a late 20th century kukri knife; a trench art bullet case ornament; a Japanese tinplate friction drive toy fire engine, 32.25cm long (catch and springs on ladder a/f); a small brass lantern clock style mantel clock; a carved wooden native Indian mask; etc.

Set of seven American Indian and Tribal Art publications ranging 1984-1995. It includes two Sotheby's New York Fine American-Indian Art (1984 and 1989); two Christie's London Tribal Art (1989-1990); one Bonhams London Tribal Art (1991); one 1984-85 Update, Smithsonian Institution Traveling Exhibition Service; and one American Indian Art Magazine (Summer 1995.) Combined catalogues dimensions: 8.50"L x 11"H x 2"W. Issued: 1984-1995Dimensions: See DescriptionCountry of Origin: United StatesCondition: Age related wear.

Set of six American Indian, Inuit and Ethnographic publications ranging 1983-1994. It includes two Butterfield's auction house catalogues; one catalogue from D&J Ritchie Ltd. Fine Art Auctioneers and Appraisers, Toronto; one auction catalogue from Robert Skinner, Mass.; one Riba Auction Inc. Ct. auction catalogue; One 1994 American Indian Art Magazine; and one Native American missing art alert published by the International Foundation for Art Research (IFAR.) Combined catalogues dimensions: 8.50"L x 11"H x 1"W. Issued: 1983-1994Country of Origin: United StatesCondition: Age related wear.

A small group of Asian art, mostly 19th century, including a Chinese blue and white small circular dish, mark of Chenghua but later, painted with a blossoming prunus, diameter 14cm, a Canton enamel circular box and cover, mark of Qianlong but 20th century, painted with a seated female flautist, diameter 5.5cm, and an Indian bronze figure of Shiva Nataraj dancing on Apasmara Purusha, height 19.7cm.

* JAMES FULLARTON (SCOTTISH b. 1946), SUNSET mixed media on board, signed and dated '80mounted, framed and under glassimage size 38cm x 50cm, overall size 62cm x 73cm Note: Born in Glasgow, James Fullarton studied at the Glasgow School of Art under Donaldson, Goudie and Shanks. Since gaining his Diploma in Drawing and Painting in 1969, he has worked full-time as a professional painter based in Ayrshire. He is a regular exhibitor with the Royal Glasgow Institute of Fine Arts and has exhibited with the Royal Scottish Academy and lectured for the Scottish Arts Council. He has also won several prizes and awards throughout his career including the David Cargill Award and the Britoil Award. James has enjoyed a long and successful career with many solo shows. His work is sold in a number of galleries across Scotland and England and has been acquired for many public and corporate collections including; Adam and Company, Arnold Clark Organisation, The Bank of Scotland, Greenock Art Gallery, Guinness Plc, Heriot-Watt University, Lillie Art Gallery (Milngavie), Lord Macfarlane of Bearsden, Macfarlane Group Plc, Maclaurin Gallery (Ayr), Northern Corporate Bank, Proctor and Gamble, Robert Fleming Holdings Ltd, Royal College of Physicians and Surgeons, Scottish Power Plc, Scottish Television, Stirling Smith Art Gallery and Museum, TSB Collection, The Earl of Wemyss and March, The Indian Empress (Yacht), United Distillers and many private collections worldwide.

Sharon Brindle (British b.1958) Seated Nude, chalks on Indian paper, signed and dated 19(93) lower right, framed, 38.1 x 28.6cm. *Provenance: Falle Fine Art, St Helier, Jersey.

Indian Mutiny 1857-59, 2 clasps, Lucknow, Delhi (Qr. Mr. Sergt. John Salter, 3rd. Tp. 3rd. Bde. H. Art.) mounted from ornate riband buckle with wearing pin, good very fine £240-£280

Pair: Colonel F. H. McLeod, Royal (late Bengal Horse) Artillery India General Service 1854-94, 1 clasp, North West Frontier (Lieut. F. H. McLeod, C By 19th Bde R.A.); Indian Mutiny 1857-59, 3 clasps, Delhi, Relief of Lucknow, Lucknow (1st Lieut. F. A. McLeod 2nd Tp 3rd Bde Bl. H. Art.) very fine or better (2) £1,800-£2,200 --- Francis Hastings McLeod was made 2nd Lieutenant on 8 December 1848; 1st Lieutenant on 7 July 1853; 2nd Captain on 27 August 1858; Major on 5 July 1872; Local Lieutenant-Colonel on 8 December 1874; Lieutenant-Colonel, Royal Artillery, on 16 January 1875; and Colonel on 31 December 1878. He retired on 24 January 1880, and died at Jersey on 26 June 1889. McLeod served with Field Force under Sir Sidney Cotton against the Hill Tribes at Boree, Peshawur Valley, in 1853-54 (Medal and Clasp). He also served throughout the siege and capture of Delhi including actions of Budlee-ke-Serai and Nuzzufghur; with Column under Brigadier Greathed from Delhi; at actions of Bolundshuhur, Allyghur and Agra, with Force under Lord Clyde, throughout whole of actions and operations tending to Relief of Lucknow and actions at Cawnpore and subsequently at Futtyghur, throughout siege and capture of Lucknow, with Field Force in Oudh under Sir Hope Grant, at actions of Baree (thanked by Commander-in-Chief), Simree and Nawabgunge and Fyzabad. (Medal and three Clasps, mentioned in despatches G.G.O. No. 150 of 1858).

Walter Langhammer,  Austrian 1905-1977 -  Temple in India;  watercolour and pencil on paper, signed lower right 'W Langhammer' and dated in Devanagari, 36 x 47.5 cm (unframed) (ARR)  Note:  Austrian born Walter Langhammer was one of the foremost patrons and critics of the Bombay Progressive Artists’ Group. Born in Graz in 1905, Langhammer fled to India with his Jewish wife Käthe Urbach in 1938, shortly before the Second World War. Although their initial time in the country was turbulent, with the couple being arrested by the British and interned in different cities, they were released once their political leanings were confirmed through evidence in the form of Langhammer’s caricatures.  Walter and Käthe set up a studio in their apartment at Nepean Sea Road in Bombay, and became an active part of the artistic community of the city. Langhammer secured a position at The Times of India as the newspaper’s first Art Director, and every Sunday, held an open salon for artists to discuss their work. He exposed the young Progressives to European and Indian art and encouraged them to examine and dissect these paintings. According to S H Raza, “He used to put in front of me paintings by Raphael, El Greco, Monet and Cezanne; paintings of the Persian, Rajput and Mughal miniatures and he would say, ‘Look at these paintings and tell me what is happening there.’ It was a tough job but it was an eminent awareness of form which started developing in me which I started to follow in time to come.” (Quoted in Yashodhara Dalmia, The Making of Modern Indian Art: The Progressives, New Delhi: Oxford University Press, 2001). Langhammer’s own artistic practice flourished in India, and he exhibited frequently at the Bombay Art Society. His fellow émigré and art critic Rudolf von Leyden, reviewing one of Langhammer’s exhibitions at the University Convocation Hall in Bombay in 1945, wrote, “The creative play on the sheer beauty of colour has been the preoccupation of many artists, past and present… for years he has struggled to break down the fence and reach the realm of pure colour… I would not be surprised if the impact of Indian light and colour on his artistic temperament has accelerated the process and will continue to influence it.” (Dalmia) Langhammer was also an influential member of the Bombay Art Society Committee, and collaborated with Kekoo Gandhi, who founded Chemould Art Gallery, to design frames of a superior quality for individual artworks. He maintained that modern Indian art had great potential and would continue to grow.As Langhammer’s health deteriorated, he returned to Europe with his wife. He died in 1977. 

A 19th century Indian embossed copper pot, an Art Nouveau style pewter photograph frame, oriental brass teapot, two further teapots, dressing table jar, etc.

A 19th century Indian heavily embossed brass planter, three brass Art Nouveau picture frames, lion mask wall bell, a further brass figural door knocker and an antler handled carving knife with skewer.

A collection of African tribal art, two pipes, a mask, a beadwork bowl and an axe, together with an Indian carved wood figure and a card case (7)

LARGE MIDDLE EASTERN DALLAH COFFEE POT50cm high, a pair of Persian style brass vases with figures and foliate design, 27cm high, a pair of brass and copper Art Nouveau vases with rose band, 33cm high and an Indian brass jardiniere, 18cm high (6)

Persia, 20th century A.D.. Depicting a series of lavish tents erected in a green landscape, populated by a prince and men in attendance of a punishment, dark blue arboreal border, Indian workmanship; mounted in a reveal and a glazed wooden frame. 915 grams, 37.5 x 30 cm (14 3/4 x 11 3/4 in.). Acquired on the UK art market, 1980s-1990s. The Woodbridge collection of Indo-Persian art. [No Reserve]

Circa 2200 B.C.. Drum-shaped vessel with gently flared rim; painted interlocking geometric patterns to sidewall, low basal ring. See Satyawadi, S., Proto-Historic Pottery of Indus Valley Civilisation: Study of Painted Motifs, Perspectives in Indian Art and Archaeology vol.2, New Delhi, 1994. 69 grams, 72 mm wide (2 7/8 in.). Joseph G Gerena Fine Art, New York, 27 October 2003. Acquired by the present owner from the above. (For this specific lot, 5% import VAT is applicable on the hammer price.)

3rd-2nd millennium B.C.. Squat in profile with flared mouth and low foot; painted horizontal rings to the equator and neck, geometric panels to the shoulder. See Satyawadi, S., Proto-Historic Pottery of Indus Valley Civilisation: Study of Painted Motifs, Perspectives in Indian Art and Archaeology, vol.2, New Delhi, 1994. 369 grams total, 14 cm (5 1/2 in.). From a collection acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent. [No Reserve]

Persia, 20th century A.D.. With two lines of a poem, permitting a view into a grand architectural setting, populated by falconers, musicians, attendants and others entertaining a prince seated beneath a pagoda, hilly landscape beyond the walls, broad stylised floral border to three sides, Indian workmanship; mounted in a reveal and a glazed wooden frame. 782 grams, 38.6 x 25.5 cm (15 1/4 x 10 in.). Acquired on the UK art market, 1980s-1990s. The Woodbridge collection of Indo-Persian art. [No Reserve]

2nd-4th century A.D. or later. A carved schist head with tightly curled hair, wreath to the brow with a vine-leaf at each temple, curled moustache and beard, ears with long lobes; mounted on a custom-made stand. For a similar head, in terracotta, see The Metropolitan Museum of Art, accession no.1979.507.2. 3.75 kg, 29.5 cm (11 1/2 in.). With the arrival of Greek colonists into Central Asia and Northern India and the establishment of the Indo-Greek kingdom, came Greek culture and religion which merged with that of the local population. Greek deities, such as Dionysus, were often merged with Buddhist deities, or worshipped in their own right. The image of Dionysus as a mature male with beard and wreath is often referred to as the Indian Dionysus as it depicts the god after his triumphant return from the East with his retinue of Maenads. The adventures of Dionysus in India are recounted in the Greek epic poem, the Dionysiaca. The image of Dionysus returning from India in a chariot pulled by tigers was a favourite for Classical artists and often appeared on sarcophagi as an allegory for the rebirth of the soul. Drinking wine, dancing, and music making were popular subjects for the embellishment of early Buddhist religious centres. The Buddha condemned intoxicants, and music and dance were considered unfit for the monastic community, although they were tolerated in lay contexts. The reason for the depiction of scenes of revelry, along with the Greek god Dionysus, may be the earlier, pre-Buddhist practices celebrating abundance and agricultural prosperity, which involved wine drinking. Dionysus may have been transformed and and understood in the Gandharan context as the South Asian god Indra, whom lay followers would have known as the deity who rules over the paradise known as the Trayastrimsa heaven. As the lay Buddhist community was more concerned with having a positive rebirth (enlightenment being out of reach for all but the most learned of monks) the idea of being reborn in a heaven associated with Indra would no doubt have been attractive. It is thought that the influence of Dionysus on Indian culture may have inspired the development of the Hindu deities Shiva and Krishna, both of whom share similar characteristics to the Greek god.Acquired 1960-1980s. From an important London, W1, collection. Private collection, England.

Counter-Culture Magazines, a group of four 1960s and 70s British and American publications Gandalfs Garden, issue no.3, (of 6) printed by Socialist Review Publishing, London,1968, pictorial card wrappers, priced 3/-, illustrated throughout by Muz Murray, John Hurford and others, , 32 orange, pink, purple and yellow pages, 21 x 30cm. Six issues of this British underground magazine, were published in London from 1968 to 1969, and featured mystical interest and promoted meditation in preference to drugs. An affiliated shop of the same name was situated in the Worlds End area of Chelsea, London. This short-lived 'underground' magazine, edited byMuz Murrayand illustrated by John Hurford and others, dealt with 'mystical interests' and promoted meditation in preference to drugs, first appearing in May 1968 and surviving for only 6 issues.Earth, vol. 2, No. 6, August 1971, published by Earth Publishing Corporation, San Francisco, California, edited by James Goode, photo. illustrated glossy paper wrappers, priced 75 cents, photo. illustrated throughout, some of which are colour, articles include, Underguide Cities, Where Are the Leaders of Our Country?, Rainbow Bridge, Music, and Indian Guide, 95 pages, 21.5 x 18cm. Earth was a monthly counterculture magazine co-founded by James A. Goode, former articles editor at Playboy. The publication reflected the vibrant cultural landscape of the late 1960s, early 1970s, and later became Earth New, an alternative news agency for radio stations. Student, Vol.1, No. 2, Summer Issue, 1968, published by Connaught Publications Ltd., London, photo illustrated glossy paper wrappers, contributors include, Richard Branson, R.D. Laing, Bertrand Russell, Dudley Moore, Kenneth Tynan, with photographs and illustrations after Keith McEwan, Gerald Scarfe, Robert Capa and others, articles include, Pro-America, Anti-America, Spain-Franco: The Rise to Power, Contraception, Poetry, Move on Fashion and Letters, 55 pages, 21 x 29cm.Richard Branson left school aged 16 to start his own business and launched Student magazine in 1968 to challenge perceptions of youth culture. His magazine covered everything from pop culture to the Vietman and Biafra Wars and provided an alternative to the publications and school magazines of the day, Cyclops, billing The First English Adult Comic Paper) issue No. 1, July, 1970, first issue of four published by Innocence and Experience (Publishers) Ltd., London, comic-strip broadsheet format, folded in half as issued, priced 3/-, illustrated throughout, edited by Graham Keen, contributors include, Edward Vaughn Bode, Martin Sharp, William Burroughs, Malcolm McNeil, Bernard Power Canavan, Ray Lowry, Larry Lewis, and others, 20 pages, 30 x 47cm.Cyclops was published by former International Times art editor, Graham Keen, who worked with Matt Hoffman, an American handling advertising and distribution. When the magazine was raided by police in 1969 for publishing a gay lonely-hearts section, Graham and three other directors were sent for trial in 1970 and found guilty of conspiracy to corrupt public morals and issued with a £2,000 fine. (4)Condition Report: Cyclops toning to pages and some tears and nicks to spine and page edges. The other publications with light wear to covers, otherwise internally clean and overall good conditions.

Michael Holding signed limited edition print with signing photo To the umpires Michael Holding was malevolent stealth personified so they christened him Whispering Death. His over to Geoff Boycott in the cauldron of Kensington Oval, Barbados in 1981 has gone down in cricketing history as the finest, fastest, most ferocious gambit of all time.Michael took 249 Test wickets at 23.69 in his career and in one match took 14 wickets for 149, the finest match figures ever by a West Indian.This stunning print shows Michael in full flight seconds away from terrorising another batsman. He has personally signed each print and you will receive a photo of the signing (as shown in inset image).Actual Size 560mm x 410mm - limited edition of 500 and part of the Sporting Masters editions - Photo printed on 250gsm, high quality art board - The accompanying photo of the personality signing this item will include a copyright over the image. Edition number may vary. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Desmond Haynes signed limited edition print with signing photo The West Indies team of the 1980's were undefeated in every test series they played. Regarded as one of the best opening pairs of all time, with Gordon Greenidge, Desmond's test average was 42.29 from 116 test matches and 41.38 from 238 one-day international matches.This stunning print shows Desmond despatching Ian Botham of England to the boundary in typical West Indian fashion during the fifth Test Match at Headingley, Leeds in July 1980. He has personally signed each print and you will receive a photo of the signing (as shown in inset image).Actual Size 560mm x 410mm - limited edition of 500 and part of the Sporting Masters editions - Photo printed on 250gsm, high quality art board - The accompanying photo of the personality signing this item will include a copyright over the image. Edition number may vary. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99