Smile: Photographs and Photobooks from the 60s by Dreweatts & Bloomsbury Auctions

Photographs & Photobooks from the 60s

BLOOMSBURY AUCTIONS

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PHOTOGRAPHS & PHOTOBOOKS FROM THE 60s Friday 20th May, 1pm Sale No. 36214 For bidding and more information: + 44 20 7495 9494 | info@bloomsburyauctions.com Specialist Justine Gruser jgruser@bloomsburyauctions.com Cataloguers Phoebe Wilkinson pwilkinson@bloomsburyauctions.com Carolin Rodler crodler@bloomsburyauctions.com Viewing Sunday 15th May 2016 Monday 16th May 2016 Tuesday 17th May 2016 Wednesday 18th May 2016 Thursday 19th May 2016 Day of Sale

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Photography – Front cover: lot 1 | Back cover: lot 21

Photographs & Photobooks from the 60s

Fr id ay 2 0 t h M ay 2 016 , 1 pm

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Swinging London

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“Twiggy arrived on the scene unlike any other model before or since – smaller, thinner and with extraordinary charm that enchanted everyone then as it does today. Twiggy is unique and a wonderful model, and can dance like a dream. She is as fresh as she was on the first day, and brilliant. She will last forever.” Mary Quant

Ronald Traeger (1936-1968) Twiggy for Vogue, Battersea Park, London, 1967 Gelatin silver print, printed 2002, titled, dated, editioned 3/20 and annotated by Tessa Traeger with photographer’s stamps verso, 36 x 24.3cm (14 1/4 x 9 5/8in) Provenance: Michael Hoppen, London

£800-1,200

‘The face of 1966’ The Daily Mail

Photgrapher unknown Twiggy, 1968 Gelatin silver print, with the ‘United Press International’ copyright and various stamps with press caption on label affixed verso, 20.5 x 25.5cm (8 x 10in)

“You could put her anywhere and she would always be happy.” Tessa Traeger (Mrs Ronald Traeger)

The press caption reads: ‘Twiggy models styles from her own summer collection. Left: a maxidress in all wool double knit jersey in culotte style. Right: white embroidered cotton voile. Both in various colours. January 18, 1968.’

£300-500

Photographer unknown Jean Shrimpton, 1968 Gelatin silver print, annotated in pencil with various stamps verso, 24 x 19cm (9 1/2 x 7 1/2in)

£300-500

“She is said to have the world’s most beautiful face - the “face of the moment” (a moment that had now lasted through three years of acclaim). She is above all, the symbol of swinging London, the “whit-it” girl who welds pop groups and mini skirts into the new age of Britain: morally shaky, economically disintegrating, but fun.” The Florence Time, 8th January 1967

“There she was, the world’s highest paid fashion model, snubbing the iron-clad conventions of fashionable Flemington with a dress five inches above the knee, NO hat, NO gloves and NO stockings!” The Sun News-Pictorial (Melbourne), 1st November 1965

δ Terry O’Neill (b.1938) Jean Shrimpton, Doll’s House, 1964 Gelatin silver print, printed later, signed and editioned 20/50 in black ink in the margin, accompanied by signed certificate of authenticity, 45.5 x 45.5cm (17 7/8 x 17 7/8in) Provenance: Gallery One, London.

£1,200-1,500

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“Parkinson wasn’t looking to show the ugly of life. He was trying to portray the beauty and the harmony. He controlled his lust through his art form. And he was such a gentleman.” Carmen Dell’Orefice

δ Norman Parkinson (1913-2000) Models, 1960s Four gelatin silver prints, each annotated in unknown hand in pencil verso, accompanied by an authenticity letter signed by Angela Williams, From 37 x 28.2cm (14 1/2 x 11 3/8in) to 19.8 x 29cm (7 3/4 x 11 3/8in)

Titles comprise: Christine Eastleigh Wearing Susan Small, 1964; Ina Balkes, Little Dress and Jewel, 1961; Unknown model, Hands in Pocket, 1963 and Model, Queen cover, 1960s. These fashion photographs were shot for Queen magazine in the early 1960s, known today as Harper’s Bazaar.

£1,200-1,500

δ Lewis Morley (1925-2013) Christine Keeler, London, 1963 Gelatin silver print, printed ca.1993, signed by Christine Keeler in black ink in the margin, editioned 1/9 in ink with copyright details on label affixed to verso, 21 x 18.2cm (8 1/4 x 7 1/4in)

Provenance: Acquired directly from Christine Keeler by the present owner Literature: First published Sunday Mirror, 9th June 1963; National Portrait Gallery, Lewis Morley: Photographer of the Sixties, 1989, cover & pl.10

£3,000-5,000

“I am always asked if I wore knickers for the shot astride the chair. I certainly did. But it had been a battle to keep them on. Morley had wanted to photograph me without any clothes on but I used the chair to cover my bust and pulled up my white knickers around my waist. Although the illusion was that I was totally naked, I wasn’t … It was awkward sitting on a chair in a pose which threw all my weight forward. It was difficult but I have very good balance. I like the photographs.” Christine Keeler

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“There was enormous luck in being young in that period, 1956-63. In the 60s, everything was exploding. There obviously is an interaction between one’s time and one’s life. But partly one was a child of the time and partly one was trying to take the argument ahead.” David Frost, 1993

** δ Lewis Morley (1925-2013)

David Frost, 1963 Gelatin silver print, printed 1989, signed, titled, dated and annotated in black ink verso, 45 x 35.2cm (17 3/4 x 13 7/8in)

£700-900

δ Richard Levin (1910-2000) That Was The Week That Was, ca. 1962

Two gelatin silver prints, one with photographer’s stamp verso, 26 x 20.6cm (10 1/4 x 8 1/8in); 38.8 x 50cm (15 1/4 x 19 3/4in)

£400-600

According to writer Graham McCann, TW3 challenged “the convention that television should not acknowledge that it is television; the show made no attempt to hide its cameras, allowed the microphone boom to intrude and often revealed other nuts and bolts of studio technology. He also denotes “a relaxed attitude to its running time: loosely structured and open-ended, it seemed to last just as long as it wanted and needed to last, even if that meant going beyond the advertised time for the ending [...] the real controversy of course, was caused by the content.”

“They were mostly mates. They were the easiest to get to come to the studio… But these pictures from the Box completely stand up and are simply against a white background… Still, they’re the hardest shots to do. You’ve got nothing in the background to help you... but all those things distract you anyway.” David Bailey

δ David Bailey (b.1938) David Bailey’s Box of Pin-Ups, 1965 Weidenfield and Nicolson, London, 36 half-tone prints, contained in original card box with sheet of brown corrugated card stamped ‘Packing Piece/To be Thrown Away.’, each print approximately 36.5 x 31.5 cm (14 1/2 x 12 1/2 in) or the reverse; box: 38 x 33cm (15 x 13in) Sitters include 60s stars Mick Jagger; Susan Murray; Gordon Waller; David Hockney; Michael Caine; John Lennon; Paul McCartney; Jean Shrimpton and Terence Stamp.

£5,000-8,000

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δ Lewis Morley (1925-2013) Pauline Boty, ca. 1964 Chromogenic print, printed later, signed in silver ink recto, 25 x 20cm (9 7/8 x 7 7/8in)

£600-800

Angus McBean (1904-1990) Robert Carrier in His Kitchen Garden, London, 1962 Gelatin silver print, flush mounted to card, signed, dated on card margin, signed, titled, dated and annotated in black ink on card verso, 30 x 24.5cm (11 1/2 x 9 3/4in)

£600-800

Tito Franco (active 1960s) David Hemmings and Vanessa Redgrave in Blow-Up, 1966 Gelatin silver print, titled with the photographer’s stamp verso, 19 7 x 25.7cm (7 3/4 x 10 1/8in) Literature: Philippe Garner and David Alan Mellor, Antonioni’s Blow-Up, Steidl, London, 2010 (full page illustration p. 53).

£300-500

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Tony Frank (b.1945) The Who, ‘Rails et Charbon’, 1966 Chromogenic print, printed later, signed in black ink in the margin, titled in pencil the photographer’s and with ‘Galerie Grace Radziwill’ stamps verso, 31.3 x 47.2cm (12 3/8 x 19in)

£800-1,200

** δ Lewis Morley (1925-2013)

Charlotte Rampling, London, ca.1963 Chromogenic print on Fujicolor Crystal paper, printed 2006, signed in black ink recto, signed, titled, dated and annotated in black ink verso, 27 x 35.7cm (10 5/8 x 14in)

£600-800

Beatlemania

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Four archival pigment prints, printed later, each editioned 3/25 in pencil in the margin, signed and editioned 3/25 on accompanying label, each approximately 26.8 x 34.6cm (10 1/2 x 13 1/2in)

“Beatlemania, noun: Extreme enthusiasm for the Beatles pop group, as manifested in the frenzied behaviour of their fans in the 1960s: the band took to spending weeks on end in the studio as a way of escaping from the mayhem of Beatlemania”

£2,500-3,500

Oxford Dictionaries

δ Robert Freeman (b.1936) The Beatles, A Hard Day’s Night LP Cover Session, 1964

Jean Barthet (1920-2000) The Beatles NYC, 1965 Gelatin silver print, printed later, titled, dated and editioned 1/15 in black ink with the photographer‘s and various stamps verso, 55 x 38.5cm (21 5/8 x 15 1/8in)

£800-1,200

“I never felt people came to hear our show, I felt they came to see us.” Ringo Starr

“There was a lot of screaming - beautiful girls. We were young, we were healthy and we were ready to roll.” Paul McCartney

Jean Barthet (1920-2000) The Beatles NYC, 1965 Gelatin silver print on aluminium, printed later, with photographer’s stamp recto, editioned 6/15 on photographer’s estate stamp along with various stamps verso, 89 x 85cm (35 x 33 1/2in)

£1,000-1,500

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Robert Whitaker (1939-2011) The Beatles, Outtake for the Butcher Cover, 1966 Eight gelatin silver prints, one signed and annotated in pencil verso, 24 x 18.5cm (9 1/2 x 7 1/4in) to 30.5 x 38cm (12 x 15in) (or the reverse) These photographs were taken for what was to become the ‘Butcher Cover’, also known as ‘Yesterday and Today’ on Capitol records. Printed by Robert Whitaker at the time, they are the only original prints remaining from this photo shoot. One of the prints has been modified by the photographer’s friend and Pop art artist, Martin Sharp, who has annotated one print and the verso of another. Provenance: Acquired by the present owner from the family of Robert Whitaker.

£3,000-5,000

“We were all on this ship in the sixties, our generation, a ship going to discover the New World. And the Beatles were in the crow’s nest of that ship.”

John Lennon

£800-1,200

** Robert Whitaker (1939-2011)

John Lennon, Tokyo, 1966 Lambda print, printed 2002, signed in gold ink recto, signed in blue ink verso, 29.5 x 39.6cm (11 5/8 x 15 5/8in)

“There can be few surer indications of the iconic status of a photograph than discovering that the original image has been re-cast in three-dimensions; a number of intriguing examples exist. In each case, it is almost as if the momentous nature of the historical event, documented in the photograph, has insisted upon its subsequent immortalisation as a statue. Were it not for the fact that it would probably cause yet more traffic congestion in North London than there already is, there is little doubt that there would already be four bronze figures, unmistakably striding in step across one particularly celebrated pedestrian crossing in NW8. Iain Macmillan’s universally acclaimed photograph, featured (of course) on the cover of the Beatles’ ‘Abbey Road’ of 1969, is responsible for enough traffic disruption in any case, given that fans from across the globe continue to seek to emulate the most celebrated album cover of all time.

Iain Macmillan (1936-2006) The Abbey Road Session, The Complete Set, 8 August 1969 Seven chromogenic prints, printed later, each signed and annotated ‘AP’ in silver ink in the margin, artist’s proofs aside from the edition of 25, 34.5 x 34.5cm (13 1/2 x 13 1/2 in) Now among music photography’s best known images, the original idea was conceived by Paul McCartney who sketched exactly how he wanted the cover to look. Holding up the traffic, local police gave Macmillan ten minutes to photograph the road and he managed to get six shots. Here are the six frames as well as the back cover.

£50,000-70,000

Encapsulating a significant cultural moment, it is an image that launched a notorious conspiracy theory, and that clearly still provides a touchstone for fans. The opportunity to see the image in close relation to the only other frames originally shot by the photographer is undoubtedly instructive. By judgment or serendipity (or more likely a bit of both), Macmillan was able to seize upon an instant that continues to have the power to resonate, forty-five years on. Whilst the desire to turn famous images into statues may be understandable, the truly iconic photographs of our times don’t actually need to be cast in bronze, or chipped out of marble; in their power to haunt our collective consciousness, they are monumental already.” Edward Dimsdale, Senior Lecturer, Photographic Theory University of the Arts, London

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δ Terry O’Neill (b.1938) Rolling Stones at Tin Pan Alley, 1963 Chromogenic print, printed later, signed and editioned 3/50 in silver ink in the margin, 53 x 53.6cm (20 3/4 x 21 1/8in) ‘Tin Pan Alley’ is the name given to Denmark Street in London’s West End with a high density of music shops and music publishers.

£3,000-5,000

“In those days - there were no PAs. And 3,000 screaming chicks could just wail you out of the whole place. Just looking at the crowd, you could see them dragging the chicks out, sweating, screaming, convulsing. Astonishing, even at that age. At the same time, a whole roomful of chicks yelling at you is not so shabby, either. Because the year before, nobody would look at you. But they talk about us - the Beatles, those chicks wore those guys out. They stopped touring in 1966 - they were done already. They were ready to go to India and shit.” Keith Richards

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Jean-Louis Rancurel (active 1960-70s) & others The Rolling Stones on Stage, 1965-1969 Four gelatin silver press prints, three with photographer’s or press agency stamps verso, each approximately 25.6 x 20.2cm (10 1/8 x 8in) (or the reverse)

£400-600

Various photographers The Rolling Stones Backstage, ca.1967 Four gelatin silver press prints, most of them annotated with printed press captions affixed verso, each with press agency stamps verso, 17.2 x 25.2cm (6 3/4 x 10in) to 22.5 x 31 cm (8 7/8 x 12 3/4 in) (or the reverse)

£400-600

“Some people think I’m a mythical genius, others think I’m a junkie madman.” Keith Richards

Michael Joseph (b.1941); David King (active 1960s) The Rolling Stones, 1968 Archival pigment print, printed later, signed in black ink in the margin, together with a chromogenic print, with ‘The Hayward Archive Print’ stamp in the margin, 56 x 46cm (22 x 18in); 56.2 x 36.1cm (22 1/8 x 14 1/4in)

£800-1,200

Michael Joseph (b.1941) The Rolling Stones, Beggar’s Banquet, London, 1968 Chromogenic print, printed later, signed and editioned 5/25 in black ink in the margin, 45.8 x 35.7cm (18 x 14in)

£800-1,200

δ Emilio Lari (active 1960s-80s) Anita Pallenberg and Keith Richards on Barbarella film stage, 1967 Gelatin silver print, annotated in pencil with the photographer’s and ‘Aldo Palazzi Editore’ stamps verso, 29.5 x 21.7cm (11 5/8 x 8 5/8in)

£300-500

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Icons 25

Inspired by Brigitte Bardot, this young and vivacious star, Sam Levin broke with many of the traditions and conventions of Post-War cinema portraiture to create a series of images that encapsulate the spirit of the 1960s woman. Sam Levin’s photographs are amongst the most iconic ever taken of Bardot. He contributed perhaps more than any other photographer to Bardot’s early imaging as a ‘sex kitten’ with his sensual, risqué images.

Portraying her in vibrant colours, with tousled hair and bare feet, Levin broke away from traditional studio shoot conventions to create a new fashion aesthetic and sexual vocabulary. Levin’s photos of Bardot were one of the main forces that propelled Bardot’s image and thus France to compete with Hollywood sirens for publicity. In 1960 it was rumoured that Levin’s photo of Bardot from behind in a white corset sold more postcards than that of the Eiffel Tower.

Brigitte Bardot, Golden Chair, 1963

Brigitte Bardot, Black Lace, 1963

Brigitte Bardot, Photoshoot with Stool, 1958

Chromogenic print on A Kodak paper, signed in red ink with ‘Bardot Brigitte’ stamp verso, 30 x 23.5cm (11 3/4 x 9 1/4in)

£1,000-1,500

Sam Levin (1904-1992)

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B 30

Sam Levin (1904-1992)

Brigitte Bardot, La Séance en Pantalon, 1967 Chromogenic print on A Kodak paper, signed in blue ink with ‘Bardot Brigitte’ stamp verso, 30.5 x 24cm (12 x 9 1/2in)

£1,000-1,500

Sam Levin (1904-1992) Brigitte Bardot, Golden Chair, 1963 Chromogenic print on A Kodak paper, signed in red ink with ‘Bardot Brigitte’ stamp verso, 23.5 x 30cm (9 1/4 x 11 3/4in)

£1,000-1,500

In the mid 1960s, Brigitte Bardot released a series of pop records, the most interesting of which revolved around her collaborations with Serge Gainsbourg. Images from this specific photo shoot, titled The Pant Session (La Seance en pantalon) appeared on the covers of CINE and LUI magazines of that year. Though these images were taken at the peak of Bardot’s career, Levin makes sure Bardot still exudes the same sexual freedom of the 1960’s mentality, complete here with disheveled hair and tight orange trousers.

Jean Barthet (1920-2000) Brigitte Bardot, ca.1960 Gelatin silver print, printed later, signed in black ink with photographer’s blindstamp recto, with photographer’s and ‘Galerie Grace Radziwill’ stamps verso, 60 x 60cm (23 5/8 x 23 5/8in)

£700-900

“A photograph can be an instant of life captured for eternity that will never cease looking back at you.” Brigitte Bardot

Jean Barthet (1920-2000) Brigitte Bardot, ca.1960 Gelatin silver print, printed later, signed in black ink in the margin with photographer‘s blindstamp recto, with photographer‘s estate and various stamps verso, 60 x 42cm (23 5/8 x 16 1/2in)

£600-800

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δ Terry O’Neill (b.1938) Connery Meets Bardot, 1968

“I am not an actress. I can only play me - on and off the screen.” Brigitte Bardot

Gelatin silver print, printed later, signed and editioned 12/50 in black ink in the margin, 50.5 x 34cm (19 7/8 x 13 3/8in)

£1,000-1,500

Ray Bellisario (b.1936) Brigitte Bardot, 1968 Gelatin silver print, signed in black ink in the margin, dated in black ink with gallery stamp verso, 46 x 34.4cm (18 1/8 x 13 1/2in)

£400-600

δ Terry O’Neill (b.1938) Heavenly Bardot, 1970 Gelatin silver print, printed later, signed and editioned 4/50 in black ink in the margin, 38.5 x 58.5cm (15 1/8 x 23in) £2,000-3,000

Jean Pierre Fizet (b.1942) Jane Birkin and Serge Gainsbourg, 1969 Gelatin silver print, printed later, signed in black ink in the margin with photographer‘s blindstamp recto, signed, dated and editioned 7/20 in black ink with the photographer‘s and various stamps verso, 60.5 x 42cm (23 3/4 x 16 1/2in)

£600-800

The Pope has been our best PR’ Gainsbourg told Jane in 1968. That year “Je T’Aime Moi Non Plus” was released. The record was banned in a few countries including Italy, under the Vatican’s instructions, due to Jane’s heavy sensuous breathing and the erotic lyrics. Meyerstein, Phillips director at the time, requested an album to be built around the song since he ‘would not mind going to prison, but not only for a song’. Although being banned on many radio stations, the song became a hit and also a symbol of the sexual revolution that would shake countries such as France at the time. It is still considered a masterpiece today.

Alain Nogues (b.1937) Jane Birkin & Serge Gainsbourg, 1969 Gelatin silver print on aluminium, printed later, signed in black ink recto, signed, titled, dated and editioned 4/25 in black ink with the photographer‘s and various stamps verso, 49.5 x 79cm (19 1/4 x 31 1/8in)

£700-900

Alain Nogues (b.1937) Jane Birkin, 1969 Gelatin silver print on aluminium, printed later, signed in silver ink recto, signed, titled, dated and editioned 13/25 in black ink with ‘Galerie Grace Radziwill’ stamp verso, 72.4 x 100cm (28 1/2 x 39 3/8in)

£1,000-1,500

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Henri Elwing (b.1925) Yves Saint Laurent, 1967 Gelatin silver print, printed later, signed, titled, dated and editioned 2/20 in pencil with photographer’s and ‘Galerie Grace Radziwill’ stamps verso,40 x 60cm (15 3/4 x 23 5/8in) £400-600

δ Willy Rizzo (1928-2013) Willy Rizzo and Model, 1960 Gelatin silver print, printed later, signed and editioned 1/8 in black ink verso, 79.5 x 64.5cm (31 1/4 x 25 3/8in) This lot comes in a signed Willy Rizzo frame.

£1,200-1,500

δ Terry O’Neill (b.1938) Raquel Welch, 1970 Chromogenic print, printed later, signed and editoned 13/50 in silver ink in the margin, 65.5 x 66cm (25 3/4 x 26in)

£4,000-6,000

“It came about because one day she complained to me that she was “being crucified” by feminists for her sex symbol status. They accused her of demeaning women (by) wearing bikinis like that from One Million Years B.C. I thought ‘that’s the shot I need’ and had a set built at 20th Century Fox Studios where she was filming another movie. She went along with it willingly but I lost my nerve and never published the picture until I found it in my archive 30 years later. Even today it makes people angry. They regard it as blasphemous.” Terry O’Neill

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“I was preparing for Marilyn’s arrival like a lover, and yet I was here to take photographs,” said Stern. “Not to take her in my arms, but to turn her into...an image for the printed page.” Bert Stern

Marilyn Monroe, 1962

Not Bad for 36, from The Last Sitting, 1962

Archival pigment contact print, printed 2006, signed, titled and editioned 15/25 in red crayon in the margin, dated and annotated in pencil and red crayon with photographer’s stamp verso, accompanied by signed certificate of authenticity, 27.5 x 30cm (10 5/8 x 11 3/4in)

Chromogenic print on A Kodak paper, printed later, signed, editioned 86/250 in brown ink in the margin recto, 48.2 x 48cm (19 x 18 7/8in)

£2,000-3,000

Douglas Kirkland (b.1934)

Bert Stern (1929-2013)

Bert Stern (1929-2013) Marilyn Pulling Beads, 1962 Chromogenic print on Epson paper, signed and editioned 7/72 in red crayon recto, signed in red crayon with the photographer’s stamp verso, 27.7 x 35.8 cm (10 7/8 x 14 1/8 in)

Bert Stern (1929-2013)

£700-900

Marilyn Monroe, 1961 Giclee print, flush-mounted to board, printed later, signed, titled, dated and editioned 2/25 in pencil in the margin, accompanied by signed certificate of authenticity, 38.5 x 53.3cm (15 1/8 x 21in) Provenance: Gallery One, London.

£1,000-1,500 £1,200-1,500

Douglas Kirkland (b.1934) Marilyn Monroe, 1961 Giclee print, flush-mounted to board, printed later, signed, titled, dated and editioned 3/25 in pencil in the margin, accompanied by signed

certificate of authenticity, 38.5 x 53.3cm (15 1/8 x 21in) Provenance: Gallery One, London.

£1,200-1,500

Lot numbers 48 to 51 show the creative partnership between the Swiss born photographer Jean Clemmer (1926-2001) and the fashion designer Paco Rabanne (b.1934) that started in the 1960s and produced some of the most iconic fashion photographs of the time – an erotic interplay between the female body and embellishment, also break with the common view of fashion photography by depicting black and Asian models which was revolutionary at this time. Depicting nude female models ‘dressed’ in Rabanne’s ‘unwearable’ fashions, these photographs do not only break with common view at fashion, they also epitomise the radical culture of sexual freedom of the 1960s at its apex in 1969. The fertile collaboration of Jean Clemmer and Paco Rabanne peaks in the execution of the iconic photobook “Canned Candies” in 1969.

Jean Clemmer (1926-2001) For Paco Rabanne, Nude 1,1969 Gelatin silver print, with photographer’s copyright stamp verso, 40 x 30cm (15 3/4 x 11 3/4in)

£800-1,200

Jean Clemmer (1926-2001) For Paco Rabanne, Nus Féminins (Parures 3), 1969 Gelatin silver print, printed 1972, signed and dated in black ink recto, with photographer’s copyright stamp verso, 38.5 x 28.8cm (15 1/8 x 11 3/8in)

£800-1,200

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Jean Clemmer (1926-2001) Nue Allongée sur le Sable, ca.1960 Gelatin silver print, signed in black ink recto, with photographer’s copyright stamp verso, 40.2 x 30.6cm (15 7/8 x 12in)

£800-1,200

Jean Clemmer (1926-2001) For Paco Rabanne, Nus Féminins (Parures 6), 1969 Gelatin silver print, printed 1972, signed and dated in black ink recto, with photographer’s copyright stamp verso, 38.5 x 27.8cm (15 1/8 x 11in)

£800-1,200

Douglas Kirkland (b.1934) Audrey Hepburn, 1965 Archival pigment print, printed later, signed, titled and dated in pencil in the margin, signed in black ink on accompanying certificate of authenticity, 45 x 45.5cm (17 3/4 x 17 7/8in)

£1,200-1,500

δ Terry O’Neill (b.1938) Audrey Hepburn with Dove, 1967 Gelatin silver print, printed later, signed and editioned ‘A/P’ in black ink in the margin, 60 x 41.5cm (23 5/8 x 16 1/4in)

£1,200-1,500

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Born in the

Jean Jacques Bugat (b.1948) Andy Warhol, 1966 C-type print on aluminium, printed later, signed in silver ink recto, signed in black ink and editioned 2/6 with ‘Galerie Grace Radziwill’ stamp on photographer’s printed label affixed verso, 109 x 74.5cm (43 x 29 3/8in)

£1,000-1,500

“I like to be the right thing in the wrong place and the wrong thing in the right place. Being the right thing in the wrong place and the wrong thing in the right place is worth it because something interesting always happens.” Andy Warhol

Andy Warhol (1928-1987) Index Book, 1967 Random House, New York, first edition, softback, with seven multiples, 4to, 28 x 21.5cm (11 x 8 1/2in) Literature: Martin Parr and Gerry Badger, The Photobook: A History (Volume I) , 2004, pp.144-145

£800-1,200

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δ Jack Smith (1932-1989) Untitled (Composite), for The Beautiful Book, ca.1960 Gelatin silver print, four images on the same sheet, 12.5 x 12.5cm (4 7/8 x 4 7/8in)

This uncut composite was used by Jack Smith and Piero Heliczer to create The Beautiful Book published by Heliczer’s Dead Language Press in 1962. Smith is regarded as a pioneer of underground cinema and performance art and was a major influence on Andy Warhol. Only two other copies of this print are known. No more than 50 copies of the book were published.

£1,500-2,000

δ Gered Mankowitz (b.1946) Jimi Hendrix, 1967 Gelatin silver print, printed 1992, signed and editioned 10/50 in black ink with photographer’s archival blind stamp in the margin, photographer’s copyright label verso, 49.5 x 48cm (19 1/2 x 18 7/8in)

“I’m the one that has to die when it’s time for me to die, so let me live my life, the way I want to.” Jimi Hendrix

£3,000-5,000

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Tony Frank (b.1945) Dylan Government, 1966 Chromogenic print, printed later, signed in black ink in the margin, titled and dated in pencil with ‘Galerie Grace Radziwill’ stamp verso, 30.2 x 45.2cm (11 7/8 x 17 3/4in)

£1,000-1,500

David Steen (1936-2015) Cliff around the clock, ca.1960 Two gelatin silver prints, titled, annotated in pencil with Camera Press Ltd. and further stamp verso, 18 x 25.7cm (7 1/8 x 10 1/8in)

£600-800

“Peace is not something you wish for; it’s something you make, something you do, something you are and something you give away.” John Lennon

Tony Grylla (b.1941) John Lennon and Yoko Ono, Bed Sitting Amsterdam, 1961 Gelatin silver print, printed later, titled, dated and editioned 2/30 in pencil on mount recto, signed, titled, dated and editioned 2/30 in pencil with photographer’s and ‘Galerie Grace Radziwill’ stamps verso, 41.3 x 51cm (16 1/4 x 20in)

£400-600

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Photographers unknown Vietnam War, 1960s 19 gelatin silver press prints, each approximately 16 x 23cm (4 3/4 x 9in) These press prints were used by Vietnamese magazines and newspapers to cover the war news in the 1960s.

ÂŁ400-600

Mark Edwards (active 1960s) Untitled, ca. 1968 Two gelatin silver prints, printed later, each flush-mounted to card, each with photographer’s stamp, 26 x 24.5cm (6 3/8 x 9 5/8in); 21.5x 18cm (8 1/2 x 7 1/8in)

£300-500

“Woodstock was not about sex, drugs, and rock and roll. It was about spirituality, about love, about sharing, about helping each other, living in peace and harmony.” Richie Havens

Jim Marshall (1936-2010) Sunset Strip, 1968; Dancers at Woodstock, 1969 Two gelatin silver prints on Agfa paper, printed later, each titled and dated in black ink with photographer’s stamp verso, each 16.2 x 24.2cm (6 3/8 x 9 1/2in) Jim Marshall, the chief photographer during the Woodstock festival, his picture of the Woodstock couple was the cover of Newsweek magazine, 25th August 1965, “Age of Aquarius” issue.

£800-1,200

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** Leon Levinstein (1910-1988)

Times Square, NYC, ca.1968 Gelatin silver print, flush mounted to card, with photographer’s label affixed verso, 35 x 27cm (13 3/4 x 10 5/8in)

£1,200-1,500

δ Ernst Haas (1921-1986) One, NYC, 1968 Chromogenic print, printed later, signed by Alexander Haas, titled, dated and editioned 6/30 in black ink on accompanying Haas Studio label, 48 x 66cm (18 7/8 x 26in) Provenance: Ernst Haas Estate

£3,000-5,000

Hank Walker (1921-1996) John F. Kennedy and Robert F. Kennedy at the Democratic Convention, 1960 Gelatin silver print, printed 1988, signed in black ink in the margin, signed, titled, dated and annotated in pencil verso, 31 x 24.2cm (12 x 9 1/2)

ÂŁ500-700

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Jean-Pierre Laffont (b.1935) Robert Kennedy Funeral, 1968 Gelatin silver print, printed later, with the photographer’s blindstamp recto, signed, titled and editioned 1/20 in black ink with the photographer’s and various stamps verso, 34.5 x 52.5cm (13 5/8 x 20 5/8in)

£700-900

“Since the dawn of history man had been chained to this planet. No matter what the species of Homo sapiens would accomplish, it seemed to be preordained to share the ultimate fate of its earthly abode, extinction. With the flight of Apollo 11 the fateful chain was broken. For man now showed that he could land on other heavenly bodies and that he could live and work there.”

NASA The Mercury Seven, January 1961 Large-format vintage chromogenic print on fibre-based paper, “A Kodak Paper” watermark on verso, 27.8 x 35.6cm (11 x 14in.) Provenance: Collection of Donald “Deke” Slayton, with his EER Systems Corporation business card. NASA’s first group of astronauts, all former military test pilots, standing by an F-106 Delta Dart supersonic interceptor aircraft. From left to right, Scott Carpenter, Gordon Cooper, John Glenn, Virgil Grissom, Walter Schirra, Alan Shepard and Donald Slayton.

£600-800

Wernher von Braun in Moon, Man’s Greatest Adventure, 1970

NASA / James McDivitt Ed White’s spacewalk, Gemini 4, 3 June 1965 Four vintage chromogenic prints on fibre-based paper, “A Kodak Paper” watermarks on versos, each 185 x 185cm (7 1/4 x 7 1/4in), NASA negative numbers S-65-30428, 30429, 30432, 30433 in red at top left, printed NASA captions on versos McDivitt’s dramatic photographs of his Gemini partner’s twenty-minute spacewalk, the first by an American, created huge public interest in the space programme.

£3,000-5,000

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NASA 70

NASA Apollo 11, July 1969 A collection of 32 vintage gelatin silver prints on fibre-based paper, each 203 x 254cm (8 x 10in), each with NASA caption and file number on verso, preserved in a ring-binder (32) A comprehensive record of the first mission to land men on the moon, comprising pre-flight preparations (8), 16 July launch (4), lunar landing and moonwalks (15), splashdown and recovery (5).

£2,000-3,000

NASA / Neil Armstrong Buzz Aldrin and the American flag next to the lunar module “Eagle”, Apollo 11, July 1969 Large-format vintage chromogenic print on fibre-based paper, borderless as issued, 40. 8 x 50 cm (16 x 19.6in), “A Kodak Paper” watermark on verso, on original NASA card mount, [NASA negative number AS11-40-5874]

£3,000-5,000

flicks the

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δ Willy Rizzo (1928-2013) Jane Fonda, Beverly Hills, 1961 Chromogenic print, printed later, signed and editioned 2/8 in black ink verso, 80 x 60.6cm (31 1/2 x 23 7/8in) This lot comes in a signed Willy Rizzo frame.

£800-1,200

δ Willy Rizzo (1928-2013) Jean Paul Belmondo, Willy’s Studio, 1965 Gelatin silver print, printed later, signed and editioned 1/8 in black ink verso, 80 x 57.8cm (31 1/2 x 22 3/4in) This lot comes in a signed Willy Rizzo frame.

£1,200-1,500

δ Martine Franck (1938-2012) Jean-Paul Belmondo in Le Voleur by Louis Malle, 1967 Gelatin silver print, annoted in pencil and black ink in unknown hand with the photographer’s and ‘Rapho Agence Photographique’ stamps verso, 34.5 x 24cm (13 5/8 x 9 1/2in)

£700-900

δ Martine Franck (1938-2012) Louis Malle and Jean-Paul Belmondo in Le Voleur by Louis Malle, 1967 Gelatin silver print, annoted in pencil and black ink in unknown hand with the photographer’s and ‘Rapho Agence Photographique’ stamps verso, 34 x 23cm (13 3/8 x 9in)

£700-900

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£700-900

δ Martine Franck (1938-2012) Jean-Paul Belmondo and Genevieve Bujold in Le Voleur by Louis Malle, 1967 Gelatin silver print, annoted in pencil and black ink in unknown hand with the photographer’s and ‘Rapho Agence Photographique’ stamps verso, 26.2 x 34.3cm (10 3/8 x 13 1/2in)

£700-900

Jane Fonda, 1968

Claudia Cardinale on the set of La Viaccia, 1960

Note: This photograph pictures Claudia Cardinale starring in La Viaccia (1961) directed by Maruo Bolognini and entitled in English The Lovemakers.

Gelatin silver print, annotated in pencil with the photographer’s and ‘Aldo Palazzi Editore’ stamps verso, 21.7 x 29.7cm ( 5/8 x 11 3/4in)

£700-900

Alfonso Avincola (b.1931) Gelatin silver print, titled, dated and annotated in pencil with photographer‘s stamp verso, 26.5 x 20.5cm (10 1/2 x 8in)

Pierluigi Praturlon (1924-1999)

£300-500

Shahrock Hatami (b.1928) Steve McQueen, 1968 Chromogenic print, printed later, signed in black ink in the margin with photographer‘s blindstamp recto, titled and dated in black ink with various stamps on photographer‘s label affixed verso, 40 x 60cm (15 7/8 x 23 5/8in)

£600-800

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Tazio Secchiaroli (active 1960s-80s) Satyricon, 1969 Gelatin silver print, with the photographer’s and various stamps verso, 29.7 x 19.7cm ( 11 5/8 x 7 3/4in)

£400-600

** δ Lewis Morley (1925-2013)

Marcel Marceau, ca.1960 Gelatin silver print, printed 1998, titled, dated and annotated in black ink verso, 41 x 50.7cm (16 1/8 x 20in)

£600-800

The following lots 83-87: These images picture Audrey Hepburn and Cary Grant in the 1963 film Charade.

Aldo Palazzi (active 1960s) Audrey Hepburn and Cary Grant in Charade, 1962 Gelatin silver print, with the photographer’s and ‘Apis-Paris’ stamps verso, 27.3 x 21cm (10 3/4 x 8 1/4in)

£400-600

Aldo Palazzi (active 1960s) Audrey Hepburn in Charade, 1962 Gelatin silver print, annotated in pencil and blue ink in unknown hand with the photographer’s and ‘Apis-Paris’ stamps verso, 27.3 x 21cm (10 3/4 x 8 1/4in)

£400-600

Aldo Palazzi (active 1960s) Cary Grant in Charade, 1962 Gelatin silver print, with the photographer’s and ‘Apis-Paris’ stamps verso, 27.3 x 21cm (10 3/4 x 8 1/4in)

£400-600

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Aldo Palazzi (active 1960s) Cary Grant in Charade, 1962 Gelatin silver print, with the photographer’s and ‘Apis-Paris’ stamps verso, 27.3 x 21cm (10 3/4 x 8 1/4in)

£400-600

Aldo Palazzi (active 1960s) Audrey Hepburn and Cary Grant in Charade, 1962 Gelatin silver print, annotated in pencil in unknown hand with the photographer’s and various stamps verso, 18.3 x 23cm (7 1/4 x 9 1/8in)

£400-600

David Hurn (b.1934) Jane Fonda as Barbarella, 1967 Gelatin silver print, annotated in red ink with the photographer’s stamp verso, 19.4 x 25.2cm (7 5/8 x 10in)

£800-1,200

David Hurn (b.1934) Jane Fonda as Barbarella, 1967 Gelatin silver print, dated, annotated in pencil with the photographer’s stamp verso, 19.5 x 29.5cm (7 3/4 x 11 5/8in)

£700-900

David Hurn (b.1934) Jane Fonda as Barbarella, 1967 Gelatin silver print, dated, annotated in pencil with the photographer’s stamp verso, 19.5 x 29.5cm (7 3/4 x 11 5/8in)

£700-900 “One day in 1967, Hurn answered a call from a publicist on a promising-sounding science-fiction romp called Barbarella, which was being produced in Italy by Dino De Laurentiis. “They’d been having quite a tough time with Jane,” recalls Hurn, now 70. “She’s slightly difficult to photograph when she’s uptight. They asked me if I’d come to Rome and work with her. So that’s what I did. As luck would have it, we hit it off straight away - and I hit it off with Vadim too. I ended up spending about nine months with them.” Hurn photographed Fonda in her whole wardrobe of sexy “astronavigatrix” outfits, and says the 29-year-old star and her 39-year-old husband, Roger Vadim, were “very trusting and incredibly generous to me. At one time on the movie, I had my photographic equipment stolen. They went to the trouble - without telling me - of finding out exactly what it was and buying all new equipment. We’re talking Leicas, which are not cheap.” The Sunday Times, 22 May 2005

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δ Emilio Lari (active 1960s-80s) Barbarella,1967 Five gelatin silver prints, each annotated in pencil with the photographer’s and ‘Aldo Palazzi Editore’ stamps verso, each 29.8 x 22.2cm (11 3/4 x 8 3/4in)

£800-1,200

Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (commonly known as Dr. Strangelove), the 1964 black comedy directed by Kubrick and starring Peter Sellers in three of the major roles, including Group Captain Lionel Mandrake, President Merkin Muffley and Dr. Strangelove. The original plan was to end the movie with a scene in which everyone in the war room was involved in a cream pie fight. This scene ended removed from the final cut. In a 1969 interview, Kubrick stated: ‘I decided it was farce and not consistent with the satiric tone of the rest of the film.’ As Nile Southern, son of screenwriter Terry Southern suggests, the fight was originally meant to appear less humorous but ‘Since they were laughing, it was unusable, because instead of having that totally black, which would have been amazing, like, this blizzard, which in a sense is metaphorical for all of the missiles that are coming…you just have these guys having a good old time.’ These photographs thus provide a fantastic insight into a secret piece of cinematic history.

Dimitri Kasterine (b.1932 ) and others The Cream Pie Fight removed from the Final Cut of ‘Dr. Strangelove’, 1963 Seven gelatin silver prints, each with photographer’s and Stanley Kubrick’s “Dr. Strangelove: Or how I learned to stop worrying and love the bomb” stamp and various annotations verso, 23.7 x 35.3cm (9 3/8 x 13 7/8in) to 35.3 x 27.6cm (13 7/8 x 10 5/8in) (or the reverse) Other photographers includes Bob Penn (1925-2002) and Nicolas Tikhomiroff (b.1925)

£800-1,200

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Orlando Suero (b.1928) Brigitte Bardot as Charlie Chaplin, 1965 Gelatin silver print, annotated ‘Bardot Brigitte’ in red ink with the photographer’s and various stamps verso, 25.5 x 20.5cm (10 x 8 1/8in) This work is part of a rare photo-shoot done in Mexico in 1965 during the filming of Viva Maria.

£500-700 The following lots 93-94: These photographs are part of a rare photo-shoot done in Mexico in 1965 during the filming of Viva Maria.

“Towards the end of the seventeen weeks allotted to location work, time began to drag and the altitude became more difficult to bear. Brigitte was showing the strain. (...) She still had her moments. Her colleagues - fellow artists, production staff, camera crew, stage handlers - were wildly enthusiastic about her splendid impersonation of Charlie Chaplin. Emerging from her trailer complete with a little moustache, bowler hat, cane and oversized boots, she shuffled and swivelled on her heels and looked endearingly pathetic. Considering Brigitte did not remember seeing a Chaplin film, the act came off remarkably well.” Biographer Willi Frischauer on filming the movie Viva Maria (Bardot: An intimate Biography, p. 131)

Brigitte Bardot as Charlie Chaplin, 1965

Brigitte Bardot on the movie set Vie Privée, Rome, 1961

Orlando Suero (b.1928) Gelatin silver print, titled and annotated ‘BB’ in red ink with the photographer’s and various stamps verso, 20.5 x 25.4cm (8 x 10in) This work is part of a rare photo-shoot done in Mexico in 1965 during the filming of Viva Maria.

Patrick Morin (1928-2002)

Gelatin silver print, printed later, editioned 24/50 with photographer’s estate stamp on label affixed verso, 70 x 42.5cm (27 1/2 x 16 3/4in)

£1,000-1,500 £500-700

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street

photography 63

δ Tony Ray Jones (1941-1972) Glyndebourne, 1967 Gelatin silver print on Agfa paper, with photographer’s blindstamp in the margin, 16.5 x 25.4cm (6 1/2 x 10in)

£700-900

δ Willy Rizzo (1928-2013) Cinderella, 1963 Gelatin silver print, printed later, signed and editioned 1/8 in black ink verso, 53.8 x 78cm (21 1/4 x 30 3/8in) This lot comes in a signed Willy Rizzo frame.

£1,200-1,500

Euan Duff (b.1939) How We Are, 1960s Four gelatin silver prints, with photographer’s stamp verso, each 16.2 x 24.5cm (6 3/8 x 9 5/8in)

£400-600

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Î´ Colin Jones (b.1936) Sunderland, 1963 Gelatin silver print, signed, titled, dated and annotated in pencil verso, 27 x 38.2cm (10 5/8 x 15in)

ÂŁ1,200-1,500

100

δ Colin Jones (b.1936) C.F.B. Train Running Through The Countryside, The Benguela Railway, Zambia, 1965 Gelatin silver print, printed later, flush mounted to card, signed in white ink on card verso, 24.5 x 36.5cm (9 5/8 x 14 3/8in)

£1,200-1,500

101

δ Colin Jones (b.1936) Passengers On Board The Train, The Benguela Railway, Zambia, 1965 Gelatin silver print, printed later, flush mounted to card, signed in white ink on card verso, 24.5 x 37cm (9 5/8 x 14 1/2in)

£1,200-1,500

102

δ Colin Jones (b.1936) Angola, 1964 Gelatin silver print, signed, titled, dated and annotated “no neg, only image” in pencil with photographer’s copyright stamp verso, 24.8 x 37cm (9 3/4 x 147 1/2in)

£1,200-1,500

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103

δ Colin Jones (b.1936) Hong Kong, 1961 Gelatin silver print, signed, titled, dated and annotated in pencil verso, 30 x 37.6cm (11 7/8 x 14 7/8in)

£1,200-1,500

104

δ Colin Jones (b.1936) Tokyo, 1961 Two gelatin silver prints, one with photographer’s blinsdtamp recto, each signed, titled, dated and annotated in pencil, one with photographer’s copyright stamp verso, 27.5 x 38cm (10 7/8 x 15in); 30 x 38cm (12 3/4 x 15in)

£1,200-1,500

105

106

107

Cowboy Kate & Other Stories, 1975

Goodbye Baby & Amen, A Saraband for the Sixties, 1969

Perspective of Nudes, 1961

Sam Haskins (1926-2009)

David Bailey (b.1938)

Haskins Press, London, first limited edition, black and white photographic illustrations, grey cloth hardcover with dust-jacket, folio, 35.8 x 27.8cm (14 x 11in)

The Conde Nast Publications Ltd, London, first edition with dust-jacket, silver gilt-titled black cloth, folio, 36.4 x 29cm (14 3/8 x 11 3/8in)

£250-350

£200-300

Bill Brandt (1904-1983) Amphoto, New York, first edition with dust jacket, 90 black and white plates, hardcover, 4to, 28 x 24.5cm (11 x 9 3/4in) Literature: Martin Parr and Gerry Badger, The Photobook, A History (Volume I), 2004, p.216

£400-600

Photo Books

108

Imogen Cunningham (1883 - 1976) Photographs, 1970 University of Washington Press, Seattle, first edition, second printing, signed by the photographer on title-page, black and white photographic illustrations, with dust-jacket, 4to, 27.5 x 22.5cm (10 5/8 x 8 7/8in)

£150-200

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110

111

Joan Van Der Keuken (1938-2001)

Brassaï (1899-1984); Izis (1911-1980)

Paris Mortel, 1963

Graffiti de Brassaï, 1961; Le Cirque d’Izis, 1965

first edition with dust jacket, grey linen boards, 4to, 28.9 x 22.8cm (11 3/8 x 9in)

Two photobooks, first editions, each with dustjacket, 4to, 28.8 x 23.2cm (11 3/8 x 9 1/8in); 25 x 33cm (9 7/8 x 13in)

Literature: Martin Parr and Gerry Badger, The Photobook: A History (Volume I), 2004, pp. 248-249

£200-300 £700-900

109

Danny Lyon (b.1942) The Bikeriders, 1968 The MacMillan Company, New York, first edition with dust jacket, signed in black ink on the title page, 8vo, 24 x 17cm (9 1/2 x 6 5/8in) Literature: Martin Parr and Gerry Badger, The Photobook, A History (Volume I), 2004, p.256 This lot also includes Psycles, Aspen Magazine (Vol. 1, nb.4), a rare promotional brochure of The Bikeriders.

£500-700

112

Ed van der Elsken (1925-1990); Karel Appel (1921-2006); Jan Vrijman (1925-1997) Musique Barbare, 1963

Booklet of photographic plates in black & white and colour, 33rpm 12” vinyl record in paper envelope, laid loose within clothbacked-portfolio of colour pictorial boards, separate stiff-paper printed ‘Enclosure’ with an original colour lithograph by Karel Appel laid in loose, 32 x 32.7cm (12 5/8 x 12 7/8in)

£400-600

INDEX Name

Lot Numbers

A Appel, Karel

112

Laffont, Jean-Pierre

Avincola, Alfonso

Lari, Emilio

26, 90

Levin, Richard

Levin, Sam

27, 28, 29, 30, 31

Bailey, David

9, 106

Barthet, Jean

16, 17, 32, 33

Bellisario, Ray

Levinstein, Leon

Brandt, Bill

107

Lyon, Danny

109

Brassaï

111

Bugat, Jean Jacques

Macmillan, Iain

Mankowitz, Gered

48, 49, 50, 51

Marshall, Jim

108

McBean, Angus

Morin, Patrick

Duff, Euan

Morley, Lewis

6, 10

Morley, Lewis

7, 14, 81

Clemmer, Jean Cunningham, Imogen

E Edwards, Mark

Elsken, Ed van der

112

NASA

67, 68, 69, 70

Elwing, Henri

Nogues, Alain

38, 39

O’Neill, Terry

4, 21, 34, 36, 42, 53

Fizet, Jean Pierre

Franck, Martine

73, 74, 75, 76

Franco, Tito

Frank, Tony

13, 58

Palazzi, Aldo

Freeman, Robert

82, 83, 84, 85, 86

Parkinson, Norman

Praturlon, Pierluigi

G Grylla, Tony

H Haas, Ernst

Haskins, Sam

105

Hatami, Shahrock

Hurn, David

87, 88, 89

I Izis

111

R Rancurel, Jean-Louis

Rizzo, Willy

41, 71, 72, 97

S Secchiaroli, Tazio

Smith, Jack

Steen, David

Stern, Bert

43, 44, 45 93, 94

Jones, Colin

99, 100, 101, 102, 103, 104

Suero, Orlando

Jones, Tony Ray

Traeger, Ronald

Joseph, Michael

24, 25

Vrijman, Jan

1 112

Kasterine, Dimitri

Keuken, Joan Van Der

110

Walker, Hank

King, David

Warhol, Andy

Kirkland, Douglas

46, 47, 52

Whitaker, Robert

18, 19

GLOSSARY OF TERMS The following glossary describes the terminology used in the catalogue description for each lot. Every reasonable effort is made in ensuring that the statements and terms in the catalogue are correct, but buyers are directed to our Conditions of Sales & Business and the

provisions therein, specifically with regard to the Limited Warranty. No Consignor or Gallery make any warranties or representations with respect to any lot. Buyers are advised to contact the photographs department for any additional information they may require.

Name of Artist Bloomsbury Auctions warrants the authorship described in the BoldType headings of each lot description.Where an artist’s name and dates are so described then that lot, in our best judgement, is by the artist. Every attempt is made to ensure the accuracy of the subsequent catalogue description, but the descriptive information is not encompassed within in our Limited Warranty. Where a lot is attributed to an artist then it is our opinion that the work may be by that artist but cannot be definitively determined to be so. Dates The date given in the title is that of the negative. When only one date is given it indicates that the print is vintage. This indicates that, to the best of our knowledge, the print was made within ten years of the negative. Where known, the print date of non-vintage work is given or otherwise, ‘printed later’ is stated in the description. Dreweatts and Bloomsbury Auctions do not guarantee the dates within the general description. Measurement Measurements refer to the image only and are described in centimetres (rounded to 1 decimal point) and inches (rounded to the nearest 1/8 inch) showing the height of the image followed by the width.

Medium Where indicated, this refers to BloomsburyAuctions’ opinion on the photographic technique that most closely describes how the print was produced. Framing Photographs are sold unframed unless otherwise stated in the lot description Condition Bloomsbury Auctions make no guarantee regarding the condition of any print. Please refer to the photographs department directly for a written condition report, though as all lots are offered for sale ‘as is’, interested buyers are strongly urged to examine lots in person. Estimates The estimates in bold refer to the pre-sale estimate of the lot in the currency of the Session of the sale and subsequent estimates in light type are provided as a currency conversion guide only. In all cases, estimates cannot be interpreted as prices. Copyright Buyers are advised that all lots are sold without copyright. Images may not, under any circumstance, be reproduced without the permission of the copyright holder.

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

These Conditions of Sale and Business constitute the contract between Dreweatts and Bloomsbury Auctions (the “Auctioneer”) and the seller, on the one hand, and the buyer on the other. By bidding at the auction, you agree to be bound by these terms. INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand. 2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller. 3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive. 4. Buyer’s Premium. The Buyer agrees to pay a buyer’s premium on the hammer price of each lot purchased. The buyer’s premium is charged per lot at 24% of the hammer price (28.8% including VAT) up to and including £150,000, 18% (21.6% including VAT) of the hammer price from £150,001 up to and including £1,000,000, and 12% of the hammer price (14.4% including VAT) in excess of £1,000,001. VAT at the prevailing rate of 20% is added to all of these premiums and additional charges as defined below. 5. VAT. (*) indicates that VAT is payable by the purchaser at the standard rate (presently 20%) on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The double symbol (**) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax. 6. Descriptions and Conditions. Condition reports are provided on our website or upon request. The absence of a report does not imply that a lot is without imperfections. The detail in a report will reflect the estimated value of the lot, and large numbers of such requests received shortly before the sale may not receive a response to all lots. Members of staff are not trained restorers or conservators and, particularly for higher value lots, you should obtain an opinion from such a professional. We recommend that you always view a lot in person. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale). 7. Electrical goods. These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. 8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required and (b) whether there is any specific prohibition on importing goods of that character because, e.g. they may contain prohibited materials such as ivory. Ask us if you need help. 9. Bidding. Bidders may be required to register before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification may be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding. 10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax. 11. Methods of Payment. The following methods of payment are acceptable. Debit Card drawn on a UK bank and registered to a UK billing address. There is no additional charge for purchases made with these cards. Bank transfer direct into our bank account, all transfers must state the relevant sale number, lot number and your bid / paddle number. If transferring from a foreign currency, the amount we receive must be the total due in pounds sterling (after currency conversion and the deduction of any bank charges). Our bank details can be found on the front or your invoice or in the sale catalogue under ‘Important Notices’. Sterling cash payments of up to £12,000 (subject to money laundering regulations). All major UK issued credit cards registered to a UK billing address with the exception of American Express and Diners Club. A surcharge of 3% is payable on all payments made by credit cards. Sterling personal cheques drawn on a UK bank account and made payable to ‘Dreweatts 1759’. It will be necessary to allow at least six working days for the cheque to clear before collecting your purchases. 12. Collection and storage. Please note what the Conditions of Sale state about collection and storage. It is important that goods are paid for and collected promptly. Any delay may involve the buyer in paying storage charges. 13. Droit de suite royalty charges. From 1st January 2012 all UK art market professionals (which includes but is not limited to; auctioneers, dealers, galleries, agents and other intermediaries) are required to collect a royalty payment for all works of art that have been produced by qualifying artists each time a work is re-sold during the artist’s lifetime and for a period up to 70 years following the artists death. This payment is only calculated on qualifying works of art which are sold for a hammer price more than the UK sterling equivalent of EURO 1,000 – the UK sterling equivalent will fluctuate in line with prevailing exchange rates.

respect to these charges will be retained by the auctioneers. The royalty charge that will be applied to qualifying items which achieve a hammer price of more than the UK sterling equivalent of EURO 1,000, but less than the UK sterling equivalent of EURO 50,000 is 4%. For qualifying items that sell for more than the UK sterling equivalent of EURO 50,000 a sliding scale of royalty charges will apply – for a complete list of the royalty charges and threshold levels, please see www.dacs.org.uk. There is no VAT payable on this royalty charge.

TERMS OF CONSIGNMENT FOR SELLERS 1. Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract. Similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers. 2. Warranty. The Seller warrants that possession in the lots can be transferred to the with good and marketable title, free from any third party right and encumbrances, or potential claims. The Seller has provided all information concerning the ownership, condition and provenance, attribution, authenticity, import or export and of any concerns expressed by third parties concerning the same.

Buyer claims items history

3. All commissions and fees are subject to VAT at the prevailing rate. 4. Commission is charged to sellers at the following rates:- please enquire at our salerooms. 5. Removal costs. Items for sale must be consigned to the saleroom by any stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility. 6. Loss and damage of goods. (a) Loss and Damage Warranty - Dreweatts is not authorised by the FSA to provide insurance to its clients, and does not do so. However Dreweatts for its own protection, assumes liability for property consigned to it at the lower pre-sale estimate until the hammer falls. To justify accepting liability, Dreweatts makes a charge of 1.5% of the hammer price plus VAT, subject to a minimum charge of £1.50, or if unsold 1.5% of our lower estimate. The liability assumed by Dreweatts shall be limited to the lower presale estimate or the hammer price if the lot is sold. (b) If the owner of the goods consigned instructs us in writing not to take such action, the goods then remain entirely at the owners risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 6 (a) is inapplicable. 7. Illustrations. The cost of any illustrations is borne by you. If we consider that the Lot should be illustrated your permission will be asked first. The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue. 8. Minimum bids and our discretion. Goods will normally be offered subject to a reserve agreed between us before the sale in accordance with clause 9. We may sell Lots below the reserve provided we account to you for the same sale proceeds as you would have received had the reserve been the hammer price. If you specifically give us a “discretion” we may accept a bid of up to 10% below the formal reserve. 9. Reserves. (a) You are entitled to place prior to the auction a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve (in which case goods carry the storage and loss and damage warranty charges stipulated in these Terms of Consignment). (b) A reserve once set cannot be changed except with our consent. (c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally. (d) Reserves are not usually accepted for lots expected to realise below £100 10. Electrical items. These are subject to detailed statutory safety controls. Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense. 11. Soft furnishings. Soft furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense. The rights of disposal referred to in clause 10 and 11 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request 12. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. 13. Unsold. Unsold. If an item is unsold it may at our discretion be re-offered at a future sale. Where in our opinion an item is unsaleable you must collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred. We reserve the right to charge for storage in these circumstances at a reasonable daily rate. 14. Withdrawn and bought in items. These are liable to incur a charge of 15% commission, 1.5 % Loss and Damage Warranty and any other costs incurred including but not limited to illustration and restoration fees all of these charges being subject to VAT on being bought in or withdrawn after being catalogued.

It is entirely the responsibility of the buyer to acquaint himself with the precise EURO to UK Sterling exchange rate on the day of the sale in this regard, and the auctioneer accepts no responsibility whatsoever if the qualifying rate is different to the rate indicated.

15. Conditions of Sale. You agree that all goods will be sold on our Conditions of Sale. In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking. We will also, at our discretion, and as far as practicable, confirm that an item consigned for sale does not appear on the Art Loss register, which is administered by an independent third party.

All items in this catalogue that are marked with δ are potentially qualifying items, and the royalty charge will be applied if the hammer price achieved is more than the UK sterling equivalent of EURO 1,000.The royalty charge will be added to all relevant buyers’ invoices, and must be paid before items can be cleared. All royalty charges are passed on to the Design and Artists Copyright Society (‘DACS’), no handling costs or additional fees with

(a) You authorise us to deduct commission at the stated rate and all expenses incurred for your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement.

16. Authority to deduct commission and expenses and retain premium and interest.

(b) You authorise us in our discretion to negotiate a sale by private treaty not later than the close of business 48 hours after the day of sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these Terms apply. 17. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient sale instructions and reserve the right to make minimum warehousing charge of £10 per lot per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within three weeks we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal. 18. Settlement. After sale settlement of the net sum due to you normally takes place within 28 days of the sale (by crossed cheque to the seller) unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 12 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.

CONDITIONS OF SALE Dreweatts carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein. 1. Definitions In these Conditions:

(a) “auctioneer” means the firm of Dreweatts or its authorised auctioneer, as appropriate;

(b) “deliberate forgery” means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description; (c) “hammer price” means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) “terms of consignment” means the stipulated terms and rates of commission on which Dreweatts and Bloomsbury Auctions accepts instructions from sellers or their agents; (e) “total amount due” means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f ) “sale proceeds” means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising;

(g) “You”, “Your”, etc. refer to the buyer as identified in Condition 2.

(h) The singular includes the plural and vice versa as appropriate. and

satisfy

any

(b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion.

(2) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved. 3. Increments. Bidding increments shall be at the auctioneer’s sole discretion. 4. The purchase price. together with a premium thereon of 28.8% which shall include VAT on the premium at the rate imposed by law. The buyer will also be liable for any royalties payable under Droit de Suite as set out under Information for Buyers. 5.

Value Added Tax. Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant Lots. (Please refer to “Information for Buyers” for a brief explanation of the VAT position).

6. Payment

(1) Immediately a Lot is sold you will:

(a) give to us, if requested, proof of identity, and

(b) pay to us the total amount due or in such other way as is agreed by us.

(2) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied.

(3) Buyers who utilise the services of ATG Live Auctions or any other live internet services are hereby informed that the payment method details that are provided to ATG Live Auctions or any other live internet services as part of the process of registration will, in the absence of compliance with paragraph (1) of this clause, be utilised by us to settle any amounts owing by such buyers to us.

7. Title and collection of purchases (1) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (2) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment after which you shall be responsible for any removal, storage and insurance charges.

storage charge.

8. Remedies for non-payment or failure to collect purchases (1) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies:

(a) to proceed against you for damages for breach of contract;

(b) to rescind the sale of that Lot and/or any other Lots sold by us to you;

(c) to resell the Lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (d) to remove, store and insure the Lot at your expense and, in the case of storage, either at our premises or elsewhere; (e) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale;

(f ) to retain that or any other Lot sold to you until you pay the total amount due;

(g) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of ) any of your property in our possession for any purpose until the debt due is satisfied. (2) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9.

Third party liability. All members of the public on our premises are there at must note the lay-out of the accommodation and security arrangements. the auctioneer nor our employees or agents shall incur liability for death (except as required by law by reason of our negligence) or similarly for property of persons visiting prior to or at a sale.

their own risk and Accordingly neither or personal injury the safety of the

10. Commission bids. Whilst prospective buyers are/\strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made. 11. Warranty of title and availability. The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign for sale and is able to transfer good and marketable title to the property free from any third party claims. 12. Agency. The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.

2. Bidding procedures and the Buyer (a) Bidders are required to register their particulars before bidding security arrangements before entering the auction room to view or bid;

(3) No purchase can be claimed or removed until it has been paid for.

(4) Dreweatts can accommodate packing and shipping for certain items. For lots they are unable to provide this service for, successful buyers must make these arrangements independently, though the saleroom may be able to suggest specialist shipping companies who can advise buyers, this advice is not a recommendation and the saleroom is not liable for any aspect of the packaging and shipping process. Please note that the cost of packaging and shipping depends on the size/weight of the item(s) purchased, insurance requirements, and the shipping destination, not on the value of the item(s) purchased. Please note that any items not collected within one week of the sale date may be automatically removed to commercial storage and subject to a

13. Terms of sale. The seller acknowledges that Lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the Lot. 14. Descriptions and condition (1) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf ) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 “information to buyers”. (2) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation. 15. Forgeries. Notwithstanding the preceding Condition, any Lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the Lot is a deliberate forgery we shall refund the money paid by you for the Lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition.

The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.

General 16. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. 17. (1) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (2) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them. 18. Any notice to any buyer, seller, bidder or viewer may be given by first class mail, email or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting. 19. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing at the commencement of the catalogue. 20. Any indulgence extended to bidders, buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect. 21. English law applies to the interpretation of these Conditions.

GROUP DEPARTMENTS

LONDON – MADDOX STREET Bloomsbury House 24 Maddox Street London, W1S 1PP Tel: +44 (0) 20 7495 9494 info@bloomsburyauctions.com

BOOKS AND MANUSCRIPTS Simon Luterbacher Director, Manuscripts & English Literature Clive Moss Director, Children’s Books Roxana Kashani Middle Eastern Books & Manuscripts Michael Heseltine Consultant Stephen Massey Senior International Consultant Dr Timothy Bolton Head of Western Manuscripts and Miniatures PICTURES AND MAPS James Harvey International Head of Traditional Art Robert Hall Director Richard Carroll Head of Old Master Paintings

MODERN AND CONTEMPORARY ART AND PRINTS Shane Xu Specialist Alexander Hayter Consultant Phoebe Wilkinson Cataloguer Carolin Rodler Ellie Meyer PHOTOGRAPHS Justine Gruser Cataloguer John Cumming Consultant VINTAGE POSTERS Richard Barclay Consultant AUTOGRAPHS AND MEMORABILIA Valentina Borghi

LONDON – 399 STRAND 399 Strand London WC2R 0LX Tel: +44 (0) 20 7930 6879 info@baldwin.co.uk

NEWBURY – DONNINGTON PRIORY Donnington Priory Newbury, Berkshire, RG14 2JE Tel: +44 (0) 1635 553 553 donnington@dnfa.com

NUMISMATICS Edward Baldwin Chairman of Baldwin’s, European, Russian, Colonial and Oriental Coins Stephen Hill Director, English hammered and milled Coins Seth Freeman Director, Banknotes and Tokens Graham Byfield Indian & Islamic Coins & Commemorative Medals Paul Hill Ancient Greek, Roman and Byzantine Coins Andre de Clermont Islamic, Indian & South American Coins David Kirk Military Medals and English hammered and milled Coins Caroline Holmes Numismatic Books Julie Lecoindre World Coins Randy Weir Consultant, Canada Ma Tak Wo Consultant, Hong Kong Daniel Fearon Commemorative Medals, Consultant Peter Donald Byzantine Coins, Consultant Peter Brooks Consultant, Australia

PHILATELICS Rick Warren Director, UK & World Stamps Tim Francis Director, UK & World Stamps Colin Avery UK & World Stamps Heather Babington Smith Mixtures Olivia Odell Autographs Peter Elwood Approvals

ASIAN CERAMICS AND WORKS OF ART Mark Newstead Head of Asian and European Ceramics and Works of Art

JEWELLERY, SILVER, WATCHES AND OBJECTS OF VERTU James Nicholson Deputy Chairman (Dreweatts) David Rees Director, Silver & Objects of Vertu Ian Pickford Silver Consultant Nick Mann Alexandra Francis Tessa Parry

CLOCKS AND SCIENTIFIC INSTRUMENTS Leighton Gillibrand Director COUNTRY SPORTING Geoffrey Stafford Charles Director DECORATIVE ARTS David Rees Director ENGLISH AND CONTINENTAL CERAMICS Mark Newstead Head of Asian and European Ceramics and Works of Art Geoffrey Stafford Charles Director FURNITURE AND CARPETS Will Richards Deputy Chairman (Dreweatts) Richard Madley Senior Director Cristian Beadman Associate Director Ben Brown Associate Director Emma Terry Associate Director Elaine Binning Consultant Ashley Matthews

LONDON – MALLETT

May Geolot

Ely House, 37 Dover Street London, W1S 4NJ Tel: +44 (0)20 7499 7411 info@mallettantiques.com

NEW YORK – MALLETT 929 Madison Avenue (at 74th Street) New York NY 10021, USA Tel: +1 212 249 8783 info@mallettantiques.com

Andrew Ogletree Assistant Vice President and Head of Sales Ana Gutierrez-Folch

PICTURES James Harvey International Head of Traditional Art Jennie Fisher Richard Carroll Lucy Gregory STEAM MODEL ENGINEERING Michael Matthews Consultant WINE Chris Hambleton Consultant Jack Chapman