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Lot 119
Novohispanic School. Mexico. Circa 1800.‘The Apparition of the Virgin of Guadalupe’.Series of five pencil and ink drawings on paper.43,2 x 29,5 cm. eachThis is the entire series relating to the apparition of the Virgin of Guadalupe.Se trata de toda la serie relativa a la aparición de la Virgen de Guadalupe al Indio Juan DiegoNarra el origen milagroso de la imagen de la virgen de Guadalupe en cinco escenas independientes. En 1531, la Virgen María se le apareció al indio Juan Diego en Tepeyac y le encarga decir al obispo de México, fray Juan de Zumárraga, que edificara un templo. El obispo le pidió a Juan Diego que le llevara una prueba. La Virgen, en su tercera aparición, le pide que recoja flores del lugar para llevar al prelado, durante su visita Juan Diego abriendo su manto lleno de flores, apareciendo la imagen de la Virgen impresa milagrosamente en su túnica.Las representaciones gráficas se desarrollan paralelamente a los relatos escritos. La imagen de la Guadalupana, derivada de la Mujer apocalíptica, orante y aureolada por el sol, sobre el creciente lunar, se identifica con la Inmaculada Concepción, misterio aludido en el texto y defendido con particular afán por la orden franciscana. La Virgen elige para transmitir su mensaje a un indio cristiano, Juan Diego, manifestación expresa de amparo al pueblo indígena, del que toma idioma y color de tez.
Lot 329
Pierce (Michael) and others. '...So Few: a folio dedicated to all who fought and won the Battle of Britain 10th July - 31st October 1940', number 43 of 401 copies, signed by the creative team with 25 tipped-in silhouette portraits of surviving pilots by Michael Pierce, all signed in pencil by the artist and subjects and with photographic plates of them & their related memorabilia and facsimile accounts, in original RAF blue morocco upper cover inlaid with pilot`s wings and blocked in gilt, with accompanying leaflet in original cloth drop-back box, 4to Royal Air Force Benevolent Fund 1990.Some minor dents to the edges of the outer slipcase, with surface wear - the book itself has no apparent damage.
Lot 91
LANGUAGE: French | DIMENSIONS: 342 x 285 mm | THE FULL TITLE OF THE WORK: unnamed map file | CONDITION: torn cover, detached part of the endpaper, loose leaves, notes in pencil and pen | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.
Lot 22
Peter Cushing (1913-1994) Three Mabel Lucie Attwell colour postcards - each sent at the same time by the actor to his wife Helen, handwritten in pencil, dated '20.vii.52'.The first reads, 'In a café ‘on the front, Worthing, having a HARLICKS!! My dearest dear - thank you ever so much for your lovely letter . . . Cushing advised her he had just finished rehearsing a new scene with Bolling, 'I made them laugh by suggesting that Edith ? should be offered a special wish to play the ? Brown role in Cardiff . . .';The second postcard continues, 'with a Welsh accent! I’ve got a seat for you for the evening performance, darling, on Saturday and I’ve enquired about your trains from Victoria direct to Worthing (Central I think) so you don’t have to change at Brighton. I wasn’t sure if you would like to come earlier so as to have the morning here . . .' Cushing has also listed three Pullman train times departing from Victoria and arriving at Worthing arrival times;The third postcard (with a slight stain at top continues) '. . . it would be lovely to have you here dearest as long as it’s not a BARR FAR MUMMAR' and 'if (she) arrives in the morning I can meet you at the station, if you come in the afternoon will you come along to the theatre . . . Thank you for taking my shoes dear, the pairs I have are not comfy. I loved what Benhams said! All my love xxx', Cushing signs off with a doodle of a dog bone and paw print. (3)Peter Cushing was a prolific writer to his wife whilst they were apart, and frequently used pet names as in this case, and often sent postcards by Mabel Lucie Attwell. He was famously devoted to his wife, Violet Hélène Beck, and in later years Cushing became increasingly reclusive following her death in 1971.Provenance: ex- Peter Cushing Collection: Canterbury Auctions, 2023.
Lot 2
Star Wars - eight assorted Star Wars Convention (Europe and North America) laminated passes, issued to Tim Rose, who appeared after his roles in Return of the Jedi (and later episodes) together with six 'Official Pix' pencil cases, all signed by Tim Rose, with Admiral Ackbar's famous line 'It's a Trap'. From the personal collection of Tim Rose, Animatronic Designer, Performer & Puppeteer, best known for his role as Admiral Ackbar in Star Wars Episode VI: Return of the Jedi (1983). Tim also puppeteered the characters of Sy Snoodles and Salacious B. Crumb, and worked on other projects with George Lucas and Jim Henson.Tim Rose's iMDb profile
Lot 556
A rare gold and enamel notebook charm pendant, late 18th/early19th century, designed as a miniature etui, with openwork floral panels in multicoloured gold against grounds of blue and violet basse-taille enamel, the hinged lid set with plaques inscribed 'SOUVENIR D'AMITIE' ('a memory of friendship') opening to reveal a miniature paper notebook and pencil, length 2.8cm, later early 20th century Dutch assay mark
Lot 76
Campbell Archibald Mellon (1878-1955) Oil on board “Boating Pond at Gorleston”, figures on beach with steam vessel and lighthouse in background, with Mandell's Gallery label verso and Mandell's Gallery invoice dated 1979, 21,5cm x 29cm From the collection of the late Maurice Costley Campbell Mellon was born in Berkshire and began his artist’s career in 1903. Moving to Norfolk he was taken under the wing of Sir John Arnesby Brown. He is known for his coastal scenes which are impressionistic, light and breezy, usually including busy little figures enjoying the beach. He was a member of the Royal Society of Oil Painters and exhibited at the Royal Academy. Condition ReportRecto: paint surface overall in good condition, very minor surface wear, canvas slip slightly dirty, fraying upper left corner. Odd slight but stable crack in mid left side of the frame. Verso: Board fixed with nails and cork. No covering tape. Board in good condition, inscribed August 3.30 in pencil. Dealer's label.
Lot 11
Nicolette Savage Etching "Pigwig", signed in pencil lower right and numbered 45/150, 10cm x 13cm P Thomas Black and white print "Cyclist, County Clare", signed in pencil and numbered 7/75 After Modigliani Colour print Female nude After Maud Earl Pair of colour prints "The Long Vacation", foxhounds and gun dog and duck (5) From the collection of the late Maurice Costley
Lot 7
Francis Edward James RWS (1849-1920) Triptych of watercolours Still life flowers, each signed in pencil lower left and 16cm x 16cm, gilt framed, glazed and mountedCondition ReportThere is an old infestation of small bugs inside the glazing (now dead), but this requires treatment and cleaning. The watercolours themselves are in reasonable order overall, one undulates slightly and is not sitting flat, some very minor surface foxing and discolouration. Uninspected out of the frame. The frame with some wear and chipping to gilding. 86.5cm x 39cm, the frame overall.
Lot 101
Sir John Alfred Arnesby-Brown (1866-1955) Oil on panel "Haddiscoe Church", initialled and titled verso, with Mandell's Gallery label verso and with Mandell's Gallery receipt dated 1984, 21cm x 26cm From the collection of the late Maurice Costley John Arnesby-Brown was a British landscape artist. Influenced firstly by the Barbizon School and then the Impressionists, Arnesby-Brown is known for his pastoral and coastal scenes, quite often including cattle, in the “en plain air” tradition. He came to painting after his career as a county football player in Nottinghamshire. He studied at the Bushey School of Art and then the Nottingham School of Art. He spent time in Cornwall and also Norfolk. He had a solo exhibition at the Leicester Gallery in London 1909 and his work is also represented in many public collections including the Tate. Condition ReportRecto: Overall in good condition, a little surface dirt, no signs of restoration under UV, including initials lower right. Frame in good order, canvas slip slightly dirty. Verso: Inscribed with pencil and original Mandell's label, panel in good condition, slight signs of wear and tear.
Lot 78
Campbell Archibald Mellon (1878-1955) Oil on board “Gorleston Beach with Jetty”, figures on beach with sailing vessels and lighthouse in background, signed, Mandell’s Gallery label verso and with Mandell's Gallery invoice dated 1981, 21.5cm x 29.5cm From the collection of the late Maurice Costley Campbell Mellon was born in Berkshire and began his artist’s career in 1903. Moving to Norfolk he was taken under the wing of Sir John Arnesby Brown. He is known for his coastal scenes which are impressionistic, light and breezy, usually including busy little figures enjoying the beach. He was a member of the Royal Society of Oil Painters and exhibited at the Royal Academy. Condition ReportRecto: Paint surface in good condition, minor surface wear. Canvas slip fraying at corners and slightly dirty. Frame in good condition. Verso: Board fixed with pins and cork with no tape covering. Board in good condition. Dealer's label and inscribed in pencil early September 6. pm
Lot 12
Paula Rego RA (1935-2022, British/Portuguese) Lithograph "Jane Eyre", woman seated on step, signed in pencil lower right and numbered 65/75, 37cm x 25cm, framed and glazed From the collection of the late Maurice Costley Condition ReportThe picture appears to be in very good condition, with no apparent issues. There is some slight buckling to the paper at the sides. Floating mount.
Lot 99
Three Wedgwood blue Jasperware jugs, late 19th century, each with classical figures, and impressed marks, 15.5-16cm high together with a sucrier, 13cm wide and another smaller sugar bowl, 9cm wide (5)Provenance: The property of the late Baron John Mauger Langin Condition ReportWith chip to the base of one of the jugs, The sucrier with loss to the cover finial and chip to one of the handles- the piece is present. Nibbles to the sugar bowl. LEFT to RIGHT1 - jug - base with chip to the edge. 2 - bowl - chip to the edge, pencil writing to the base. 3 - sucrier and cover - handle broken and piece inside4 - jug - some cracks to the raised work. Residue to the edge of the jug.
Lot 563A
A World War I French F Marshal's kepi, a pair of slippers, gold braided and leather, 29cm long, together with two Herbert Olivier coloured prints, 'Bomber Command Conference 1943' and 'Laying on the Target' each signed in pencil, 66 x 53cm an Indian waistcoat, a GWR cap (7)Provenance: from the family of Herbert Arnould Olivier, RI (1861-1952).In 1917, Olivier was appointed an official War Artist and in 1924 he presented to the nation, for display in 'the new War Museum at South Kensington', a number of paintings, including The Supreme War Council (the original of which was given to the French Government and displayed in the Palace of Versailles), The Armistice Meeting, The Military Representatives in Conference, The Peace Signature Table, and various portraits. The paintings now form part of the collections of the Imperial War Musuem. He also painted a number of studies, one of Marshal Joffre (1852–1931), Commander-in-Chief, French Armies. Condition ReportPrints faded. Frames knocked. Kepi - with wear and ridigity lost. Slippers fair
Lot 14
A pair of cotton type Zoffany "Lennel" screen print from The Black Book Collection 1989 interlined curtains with taped pencil pleat headings, the blue ground with scrolling chinoiserie style decoration, 243 cm drop x 554 cm wide at bottom, together with pelmet with goblet heading CONDITION REPORTS GOOD but linings poor. General wear and tear conducive with age and use. See images for further information.
Lot 3
Two pairs of cotton interlined curtains with fixed triple pencil pleat headings in William Morris "Chrysanthemum" design in pink and green colourway, 233 cm drop x 195 cm wide at bottom and 92 cm wide at top, together with matching swags, tails, etc. CONDITION REPORTS FAIR - some small tar like substance spots and linings foxed. General wear and tear conducive with age and use. See images for further information.
Lot 17
One pair of cotton type lined curtains with fixed triple pencil pleat and button headings, the beige ground with red and green floral / tulip pattern, 225 cm drop x 390 cm wide at bottom and 180 cm wide at top, together with a single cotton type interlined curtain with fixed triple pencil pleat heading, the rust pink ground set with woven floral sprays, 185 cm drop x 400 cm wide at bottom and 150 cm wide at top and a single chenille type lined curtain with fixed triple pencil pleat heading, the mustard ground with teal stripes, 296 cm drop x 596 cm wide at bottom and 242 cm wide at top CONDITION REPORTS Beige, red, green floral / tulip pattern curtains - FAIR - some sun-fading and linings poor Single rust pink curtain FAIR - some sun-fading to the edges and lining Single mustard and teal curtain FAIR - sun-fading in various places General wear and tear conducive with age and use. See images for further information.
Lot 146
Strutt, Joseph: A Compleat View of the Manners of the Inhabitants of England, in 2 vols. Benjamin White, 1775; Plus Voi. 3, W Shropshire, 1776. Vo. 1 has the index for all three vols. With a total of 157 plates. Ex-Libra, but with only a label to front pastedown of each volume, no stamps. Cont. half leather, hinges cracked and some covers detached. Some underlining in pencil and ink. (3)
Lot 44
*JOHN PIPER (1903-1992) 'Alpilles', signed and numbered 51/70 in pencil to the margin, etching with aquatint, printed at the Kelpra Studio. published by Marlborough Fine Art in 1990, the image 40cm x 61cm, Framed dimensions: 65cm x 85cmExhibited: 'John Piper Retrospective', Bridport Arts Centre, Dorset, 6th December 1993-15th January 1994, number 44, Provenance: Purchased from the above exhibition, 14th January 1994 Deceased estate, Dorset, Literature: 'The Prints of John Piper, A Catalogue Raisonné, 1923-91', Levinson, Orde, publ. Lund Humphries, number 425.
Lot 24
*JOHN NORTHCOTE NASH (1893-1977) ‘Wood Study’, en grisaille watercolour and pencil on paper, with pencil annotations, 23cm x 34cm, Framed dimensions: 43cm x 53cmProvenance: The collection of the late Barrie St. Clair McBride (1938-1992) Private collection, Dorset, Exhibited: New Grafton Gallery, Old Bond Street, London, May 1978, Note: This work has previously been certified by David Wolfers (1917-2001), founder of the New Grafton Gallery and John Nash's artistic trustee.
Lot 55
WALTER WHALL BATTISS (1906-1982) 'Nose Man', signed and numbered 3/25 in pencil lower left, silkscreen in colours, 44cm x 57cm,Framed dimensions: 63.2cm x 74.5cmNote: Walter Battiss, whose work draws on his interest in archaeology, prehistory, and African rock art, has earned a reputation as one of South Africa’s most celebrated abstract painters. Unlike many South African artists, Battiss did not study overseas but instead researched the artistic traditions of local Indigenous peoples; he later travelled to Greece, the Seychelles, Madagascar, Fiji, and other islands around the world. In the 1970s, Battiss created his imaginary “Fook Island,” a utopia that fused elements of the islands he visited. Battiss conceptualised an entire society located on the make-believe island, including maps, sketches of inhabitants, taxonomies of local plants, and even currency, stamps, and driver’s licenses, which he created and exhibited with other African artists. Although not intended as a straightforward political statement, Fook Island can be interpreted as an alternate reality compared to South Africa’s then apartheid state.
Lot 183
*STANLEY DONWOOD (b. 1968) 'Operation Phantom Fury', 2005, signed, dated, titled and inscribed "To Simon from Stanley" in pencil to the margin, artist's proof six-colour screenprint on 270gsm acid-free archival stock, aside from the edition of 200, the image 55cm x 40cm, Framed dimensions: 79cm x 61cmNote: Stanley Donwood is an English artist and writer best known for his collaborations with the band Radiohead, for whom he has created all of their album covers since 1995. Donwood, born Dan Rickwood on October 29th 1968 in Essex, studied at the University of Exeter where he met Radiohead frontman Thom Yorke, beginning a creative partnership that has lasted over a quarter of a century. Yorke stated on meeting Donwood “When I met him, first day, he sat there with a book, totally aloof. I thought, I’m either really going to hate this bloke or I’m going to end up working with him forever. One of the two.”Donwood remarked on the work offered here "What we have here is some kind of hateful monster orchestrating a rain of incendiaries upon a burning city. Operation Phantom Fury was the codename given to the US military assault on the Iraqi city of Falluja in November 2004. You can read as much or as little into this picture as you like."
Lot 13
*KATHARINE CAMERON (1874-1965) 'The Mountain Fern', signed in plate lower left, signed in pencil to the margin, etching, the image 42.5cm x 19cm, Framed dimensions: 62.5cm x 37.3cmNote: The younger sister of fellow artist David Young Cameron, Katharine Cameron RWS RE was a Scottish artist, watercolourist, and printmaker, best known for her paintings and etchings of flowers. She was associated with the group of artists known as the Glasgow Girls.
Lot 184
*STANLEY DONWOOD (b. 1968) 'A fucked etching that I started again', signed titled and inscribed 'St Barnabas Press, Cambridge, 2007' in pencil to the margin, etching, the image 56cm x 46.5cm, Framed dimensions: 91cm x 74cmNote: Stanley Donwood is an English artist and writer best known for his collaborations with the band Radiohead, for whom he has created all of their album covers since 1995. Donwood, born Dan Rickwood on October 29th 1968 in Essex, studied at the University of Exeter where he met Radiohead frontman Thom Yorke, beginning a creative partnership that has lasted over a quarter of a century. Yorke stated on meeting Donwood “When I met him, first day, he sat there with a book, totally aloof. I thought, I’m either really going to hate this bloke or I’m going to end up working with him forever. One of the two.”
Lot 113
*DAME ELISABETH FRINK (1930-1993) 'Bull', 1986, signed and numbered 35/100 in pencil to the margin, etching with aquatint in grey, printed at Kelpra Studio and with their blindstamp, on Velin Arches paper, 29.8cm x 27.4cm (sheet), Framed dimensions: 37.5cm x 36cmpublished by Harpvale Books as the frontispiece for the 1984 deluxe edition of 'Elisabeth Frink: Sculpture', a copy of which is included in this lot, signed to the frontispiece and further inscribed "Brian and Dorothy, with love from Alex and Lis" to the flyleaf, both in the hand of the artist (2), Provenance: The estate of the late Brian Phelan (1934-2024) and Dorothy Bromiley Phelan (1930-2024)Literature: 'Elisabeth Frink, Original Prints, Catalogue Raisonne', Caroline Wiseman, 1998, number 136
Lot 59
*MICHAEL ROTHENSTEIN (1908-1993) 'Purple Flowers', 1989, numbered 14/29 in pencil to the margin, colour woodcut printed in green, blue, black, pink, red and orange-yellow, published in an edition of 29 proofs, printed by Anna Elinson at the Argus Studio in May 1989, image size 48cm x 41cm, Framed dimensions: 61cm x 55.5cm
Lot 146
*NORMAN STEVENS (1937-1988) 'Orchard Gate', 1976, signed, dated, titled and inscribed "For Brian with best wishes" in pencil to the margin, etching, the image 11.4cm x 16.1cm, Framed dimensions: 45cm x 39cmProvenance: The estate of the late Brian Phelan (1934-2024) and Dorothy Bromiley Phelan (1930-2024).Note: Lifelong friends with David Hockney, Norman Stevens was described as "one of the most particular and distinguished painters and printmakers of his generation" by William Packer. His prizewinning prints were the focus of solo exhibitions at the Arnolfini and Tate during the 1970s, and a posthumous retrospective was held at the Royal Academy of Arts in 2014.
Lot 20
*LAURENCE STEPHEN LOWRY (1887-1976) 'Sailing Boats', signed in pencil to the margin lower right, Fine Art Trade Guild blindstamp lower left equating to 706, limited edition offset lithograph from the edition of 850 printed in 1975 by Venture Prints Limited of Bristol, the image 29cm x 34cmFramed dimensions: 55cm x 59cm
Lot 145
*NORMAN STEVENS (1937-1988) ‘Laurel Tree, Nettlecombe Court’, 1985, signed, titled, dated and numbered 93/150 in pencil to the margin, screenprint, printed by Brad Faine at Coriander Studio, London, and published by Christie's Contemporary Art, London, the image 63.5cm x 79cm, Framed dimensions: 84.5cm x 98.7cmProvenance: Purchased from Redfern Gallery, St. James's, London, 17th May 1985 The estate of the late Brian Phelan (1934-2024) and Dorothy Bromiley Phelan (1930-2024). Note: Lifelong friends with David Hockney, Norman Stevens was described as "one of the most particular and distinguished painters and printmakers of his generation" by William Packer. His prizewinning prints were the focus of solo exhibitions at the Arnolfini and Tate during the 1970s, and a posthumous retrospective was held at the Royal Academy of Arts in 2014.
Lot 71
*BETTY SWANWICK (1915-1989) 'The Sightless Man', signed lower right, pencil on paper, 50cm x 38cm, Framed dimensions: 71cm x 58cmNote: Betty Swanwick was a painter, illustrator, designer and writer of novelettes. She studied at Goldsmith's College under Edward Bawden who became a life-long friend. While still a student she fulfilled advertising commissions for London Transport, as well as Bendick's and Barrow's, competing with E McKnight Kauffer and her teachers, Edward Bawden and Clive Gardiner. From 1965, her unique visionary watercolours are in the tradition of William Blake and Samuel Palmer. They are often compared to Stanley Spencer, though she refuted that she was directly influenced by him. In her watercolours she developed a distinctive world reflecting her dreams and experiences with a strong spiritual component. Behind day-to-day events she saw images and concepts which she used to symbolise a more meaningful understanding of life.
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