Pflueger Scoop, USA wooden lure with glass eyes, 3.75" body with wounded minnow style side/rear hooks, front/rear 3 blade props, good, a Paw Paw 3.5" jointed wooden minnow, painted eyes, metal lip and double hooks, a Pflueger Mustang made in Hong Kong, 4.5" jointed wooden lure with metal lip, rainbow colour, some chips to paint. Southbend Oreno model 940-48, 4" early wooden lure with metal diving nose vane, c1929, a Surestrike mouse 3" wooden bait with glass eyes, some cracks to finish, and a Pflueger jointed Pike lure, 3.5" in green scale finish, glass eyes and metal lip, comes in Creek Chub worn box. (6)
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SIR WILLIAM NICHOLSON (BRITISH 1872-1949) NANCY IN A FEATHER HAT (THE ARTIST'S DAUGHTER), 1910 signed and dated (lower left), oil on canvas 75cm x 62.2cm (29 ½in x 24 ½in) with the Goupil Gallery, London, where purchased by the 9th Duke of Marlborough (Charles Spencer-Churchill 1871-1934) and returned;probably with P. & D. Colnaghi Ltd., London;Christie's, London, 7 December 1917, lot 21, as Portrait of the Artist's Daughter (260gns) to Frederick Leverton Harris MP (1864-1926);An unidentified Scottish collection;J. & R. Edmiston Auctioneers, Glasgow, 26 March 1929, lot 36, as The Artist's Daughter (The Feathered Hat) (£100 16s.);with Ian McNicol, Glasgow;Christie's, London, 1940-1 (catalogue untraced);with Piccadilly Gallery, London;J. E. (Jack) Posnansky and by descent to his daughter Gillian Raffles;The Collection of Gillian Raffles. Exhibited:Goupil Gallery Salon, London, October – December 1910, no. 108 (£315);XIV Esposizione Internazionale d’Arte della Città di Venezia, April - October 1924, no. 53, as Ritratto di ragazza con berretto piumato.Literature:Stokes, Hugh, ‘The Goupil Gallery Salon’, Country Life, Vol. XXVIII, no. 722, 5 November 1910, p.635;Ladies' Field, Vol. LII, no. 664, 3 December 1910, p.6;The Art Journal, December 1910, p. 383, illustrated;Baldry, A. L., ‘The Paintings of William Nicholson’, The Studio, vol. LIII, no.219, June 1911, pp.8-9, illustrated;Reed, Patricia, William Nicholson: Catalogue Raisonné of the Oil Paintings, Modern Art Press Ltd., London, 2011, p. 172, cat. no. 178, illustrated.This painting has been requested for inclusion in the William Nicholson exhibition at Pallant House Gallery, Chichester to be held from 22 November 2025 to 31 May 2026. Portrait of the Artist’s Daughter: Nancy in a Feather Hat by William NicholsonFirst exhibited in 1910 to widespread acclaim, the re-appearance in public of Nancy in a Feather Hat, a portrait by William Nicholson of his daughter, is a major event in the current evaluation of the artist’s standing within twentieth-century British art history. Nicholson met the Scottish artist Mabel Pryde (1871-1918) in 1888, when they were students at Hubert von Herkomer’s art school in Bushey, Hertfordshire. They eloped five years later and their children, the artist Benjamin (Ben), the soldier John (Tony), the designer Annie (Nancy) and the architect Christopher (Kit), were born between 1894 and 1904. The children sat for both of their parents and Patricia Reed has stated that ‘as a child, Nancy was Nicholson’s favourite model’ (Patricia Reed, William Nicholson: Catalogue Raisonné of the Oil Paintings, Modern Art Press Ltd, London, 2011, p. 67). His earliest recorded portrait of her dates from 1901 when she was aged about two (Reed, op.cit., no.33), whilst Nancy with Ribbons (Reed, ibid., no.34) of the same year became the first of his works to be acquired for a public collection when it was purchased for the Galleria d’Arte Moderna in Venice in 1905.Nancy in a Feather Hat was painted during a particularly auspicious period in Nicholson’s career. The family were established in homes in Mecklenburgh Square, London and Rottingdean in East Sussex, whilst his prowess as a portraitist was acknowledged by election to the Royal Society of Portrait Painters (1909) and his role as a founding member of the National Portrait Gallery (1910). A successful solo exhibition was staged at the Chenil Gallery in 1910 and William Marchant of the Goupil Gallery had become his main dealer.In her description of the present portrait, Reed has explained:‘The artist’s daughter, Nancy, aged ten, wears a blue shawl and a large feather hat, while the bouquet to her right suggests that she is a flower-seller. The apricot-coloured ostrich feathers and blue shawl were William Nicholson’s starting-point, but it is Nancy’s personality that attracts the viewer’s interest.’ (Reed, ibid., p.172). Indeed, the work encompasses not only the intimate yet unsentimental bond between father and daughter, but also Nicholson’s bravura use of dressing-up and other props to weave a suggested narrative, a deft manipulation of chiaroscuro and the use of contrasting colours to highlight aspects of a rhythmic composition. By presenting his sitter in a shallow, undefined space and in front of a plain, dark background, a palette based as much on monochrome as complimentary colour fields is used to the full, wielded by way of his beautiful handling of oil paint, in which fringe shawl and flower petals are realised with as much attention as tones of complexion and the texture of feathers. Nancy was to bear out the independence suggested at this age in adulthood, not least by applying feminist principles to her marriage to the poet Robert Graves and to her career designing and printing fabrics.When Nancy in a Feathered Hat was exhibited in the Goupil Gallery Salon in 1910, it was singled out for praise in the press from Country Life to The Studio. It was one of twenty-two works by Nicholson to be shown at the Venice Biennale of 1924, a milestone in his international career. Its illustrious provenance involves the 9th Duke of Marlborough (briefly) and includes the British businessman and Member of Parliament Frederick Leverton Harris. It was eventually acquired by Gillian Raffles’ father, J. E. (Jack) Posnansky, from whom she inherited it.This painting has been requested for inclusion in the William Nicholson exhibition at Pallant House Gallery, Chichester to be held from 22 November 2025 to 31 May 2026.
'Monsewer' Eddie Gray (1898-1969 - English stage comedian and member of The Crazy Gang) - a collection of Gray's personal stage props and other items, including: an original stage-worn sprung top hat by Henry Heath Ltd of London, an original unused Moustache made exclusively for him, and a pair of his stage-worn spectacles housed in their original case. Also included are a set of orchestra sheet music covers, all embossed 'Monsewer Eddie Gray'. Some containing original sheet music, doodlings or notes. Along with a collection of Crazy Gang memorabilia - a 1934 London Palladium programme, various other 1930s / 1940s programmes, 'Ring Out The Bells' programme, sheet music and other items. A unique collection.
A large collection of collectible items, to include - Kidrobot X The Simpsons Day of The Dead Homer (T13YL006), Kidrobot X The Simpsons Homer Buddah (T12YL022), box previously opened, Reel Toys Teenage Mutant Ninja Turtles Michelangelo (966N041420), Reel Toys Teenage Mutant Ninja Turtles Leonardo (966N061720), Reel Toys Teenage Mutant Ninja Turtles Donatello (966N061720), Reel Toys Teenage Mutant Ninja Turtles Raphael (966N061720), Reel Toys Teenage Mutant Ninja Turtles Splinter (966N062320), Reel Toys Teenage Mutant Ninja Turtles Foot Soldier (966N062320), Reel Toys Teenage Mutant Ninja Turtles Foot Soldier (966N062320), Reel Toys Teenage Mutant Ninja Turtles Shredder (966N062320), Replica of Bionic Arm from Metal Gear Solid V: The Phantom Pain, unboxed, Welly Back To The Future Delorean Time Machine 1:24 Diecast Metal, Hasbro Ghostbusters Mini-Pufts Plasma Series, Hero Club Bat Spotlight 1:6 scale movie props, Dream Batman Spotlight collectible movie scene fitting, DC Comics Variants Play Arts No.1 Batman figure, Supermad Toys 1:6 Cat Custom Made Action Figure, Running Press Batman Bat-Signal, Art By Art Hela 1: scale Headsculpt, King Arts Ant-Man Posed Character FFS003, Hot Toys Avengers Endgame Nano Gauntlet, and a Hot Toys Avengers Endgame Infinity Gauntlet
Reenactment - Theatre Props - A 1914 Princess Mary Gift Fund tin and reproduction contents (Sikh), a reproduction World War One medal trio, two contemporary military style wristwatches and other. [W] Condition Report: Original tin in good condition, no splits, hinge functions well and lid closes securely.
* WILLIAM GEAR RA FRSA RBSA (SCOTTISH 1915 - 1997), AUTUMN STRUCTURE oil on canvas, signed, titled and dated '53 versoframedimage size 62cm x 46cm, overall size 69cm x 54cm Provenance: Family of William Gear.Note: William Gear was a painter born in Fife, Scotland, on 2nd August 1915, the son of Janet Gear and Porteous Gear, a coal miner. He studied at Edinburgh College of Art from 1932 – 6, gaining a postgraduate scholarship that enabled him to study art at Edinburgh University from 1936 -7. Winning a travelling scholarship enabled him to visit Italy, Greece, and the Balkans and to study in Paris with Fernand Leger. After serving throughout the Second World War as an officer in the Royal Corps of Signals he settled in Paris where he met many of the leading post-war Parisian artists. After meeting Appel, Constant, Corneille and Jorn, he joined the COBRA group, Europe’s most important avant-garde movement of the mid – twentieth century. COBRA is an acronym based on Copenhagen, Brussels and Amsterdam in acknowledgement of the founders’ nationalities and to emphasise the internationalism of their attitude. The COBRA painters emphasised spontaneity – an image, they felt, should appear on the canvas as naturally and quickly as a sudden change of weather in the world beyond the window. And it ought to be as impersonal as a thunderstorm. William Gear exhibited with the group in Amsterdam and Copenhagen in 1949; however, beyond his association with COBRA he had a long and successful career in his own right. For example, he was awarded a Festival of Britain Purchase Prize in 1951 and his work appeared at the 1954 Venice Biennale. He became a Senior Royal Academician in 1995 and his work is held in many major public and private collections around the world. In our auctions of 1st August and 12th September 2024, five examples of William Gear's work were offered and sold achieving £2000, £2400, £2400, £4000 & £4000 (all hammer prices).
* WILLIAM GEAR RA FRSA RBSA (SCOTTISH 1915 - 1997), UNTITLED oil on canvas, signed and dated '63 versoframedimage size 92cm x 62cm, overall size 96cm x 64cm Provenance: Family of William Gear.Note: William Gear was a painter born in Fife, Scotland, on 2nd August 1915, the son of Janet Gear and Porteous Gear, a coal miner. He studied at Edinburgh College of Art from 1932 – 6, gaining a postgraduate scholarship that enabled him to study art at Edinburgh University from 1936 -7. Winning a travelling scholarship enabled him to visit Italy, Greece, and the Balkans and to study in Paris with Fernand Leger. After serving throughout the Second World War as an officer in the Royal Corps of Signals he settled in Paris where he met many of the leading post-war Parisian artists. After meeting Appel, Constant, Corneille and Jorn, he joined the COBRA group, Europe’s most important avant-garde movement of the mid – twentieth century. COBRA is an acronym based on Copenhagen, Brussels and Amsterdam in acknowledgement of the founders’ nationalities and to emphasise the internationalism of their attitude. The COBRA painters emphasised spontaneity – an image, they felt, should appear on the canvas as naturally and quickly as a sudden change of weather in the world beyond the window. And it ought to be as impersonal as a thunderstorm. William Gear exhibited with the group in Amsterdam and Copenhagen in 1949; however, beyond his association with COBRA he had a long and successful career in his own right. For example, he was awarded a Festival of Britain Purchase Prize in 1951 and his work appeared at the 1954 Venice Biennale. He became a Senior Royal Academician in 1995 and his work is held in many major public and private collections around the world. In our auctions of 1st August and 12th September 2024, five examples of William Gear's work were offered and sold achieving £2000, £2400, £2400, £4000 & £4000 (all hammer prices).
* WILLIAM GEAR RA FRSA RBSA (SCOTTISH 1915 - 1997), UNTITLED mixed media on board, signed and dated '77mounted, framed and under glassimage size 75cm x 55cm, overall size 92cm x 72cm Note: William Gear was a painter born in Fife, Scotland, on 2nd August 1915, the son of Janet Gear and Porteous Gear, a coal miner. He studied at Edinburgh College of Art from 1932 – 6, gaining a postgraduate scholarship that enabled him to study art at Edinburgh University from 1936 -7. Winning a travelling scholarship enabled him to visit Italy, Greece, and the Balkans and to study in Paris with Fernand Leger. After serving throughout the Second World War as an officer in the Royal Corps of Signals he settled in Paris where he met many of the leading post-war Parisian artists. After meeting Appel, Constant, Corneille and Jorn, he joined the COBRA group, Europe’s most important avant-garde movement of the mid – twentieth century. COBRA is an acronym based on Copenhagen, Brussels and Amsterdam in acknowledgement of the founders’ nationalities and to emphasise the internationalism of their attitude. The COBRA painters emphasised spontaneity – an image, they felt, should appear on the canvas as naturally and quickly as a sudden change of weather in the world beyond the window. And it ought to be as impersonal as a thunderstorm. William Gear exhibited with the group in Amsterdam and Copenhagen in 1949; however, beyond his association with COBRA he had a long and successful career in his own right. For example, he was awarded a Festival of Britain Purchase Prize in 1951 and his work appeared at the 1954 Venice Biennale. He became a Senior Royal Academician in 1995 and his work is held in many major public and private collections around the world. In our auctions of 1st August and 12th September 2024, five examples of William Gear's work were offered and sold achieving £2000, £2400, £2400, £4000 & £4000 (all hammer prices).
* WILLIAM GEAR RA FRSA RBSA (SCOTTISH 1915 - 1997), SPRING VERTICAL oil on canvas, signed, titled and dated '81 versoframed image size 122cm x 61cm, overall size 126cm x 64cm Label verso: Exhibitied R.B.S.A., Birmingham, 1981; Painting into Landscape Exhibition, Spacex Gallery, Exeter, June-July 1983.Partial label verso: The Scottish ShowNote: William Gear was a painter born in Fife, Scotland, on 2nd August 1915, the son of Janet Gear and Porteous Gear, a coal miner. He studied at Edinburgh College of Art from 1932 – 6, gaining a postgraduate scholarship that enabled him to study art at Edinburgh University from 1936 -7. Winning a travelling scholarship enabled him to visit Italy, Greece, and the Balkans and to study in Paris with Fernand Leger. After serving throughout the Second World War as an officer in the Royal Corps of Signals he settled in Paris where he met many of the leading post-war Parisian artists. After meeting Appel, Constant, Corneille and Jorn, he joined the COBRA group, Europe’s most important avant-garde movement of the mid – twentieth century. COBRA is an acronym based on Copenhagen, Brussels and Amsterdam in acknowledgement of the founders’ nationalities and to emphasise the internationalism of their attitude. The COBRA painters emphasised spontaneity – an image, they felt, should appear on the canvas as naturally and quickly as a sudden change of weather in the world beyond the window. And it ought to be as impersonal as a thunderstorm. William Gear exhibited with the group in Amsterdam and Copenhagen in 1949; however, beyond his association with COBRA he had a long and successful career in his own right. For example, he was awarded a Festival of Britain Purchase Prize in 1951 and his work appeared at the 1954 Venice Biennale. He became a Senior Royal Academician in 1995 and his work is held in many major public and private collections around the world. In our auctions of 1st August and 12th September 2024, five examples of William Gear's work were offered and sold achieving £2000, £2400, £2400, £4000 & £4000 (all hammer prices).
* WILLIAM GEAR RA FRSA RBSA (SCOTTISH 1915 - 1997), SPRING STRUCTURE oil on canvas, signed, titled and dated '89 versoframedimage size 91cm x 61cm, overall size 111cm x 79cm Note: William Gear was a painter born in Fife, Scotland, on 2nd August 1915, the son of Janet Gear and Porteous Gear, a coal miner. He studied at Edinburgh College of Art from 1932 – 6, gaining a postgraduate scholarship that enabled him to study art at Edinburgh University from 1936 -7. Winning a travelling scholarship enabled him to visit Italy, Greece, and the Balkans and to study in Paris with Fernand Leger. After serving throughout the Second World War as an officer in the Royal Corps of Signals he settled in Paris where he met many of the leading post-war Parisian artists. After meeting Appel, Constant, Corneille and Jorn, he joined the COBRA group, Europe’s most important avant-garde movement of the mid – twentieth century. COBRA is an acronym based on Copenhagen, Brussels and Amsterdam in acknowledgement of the founders’ nationalities and to emphasise the internationalism of their attitude. The COBRA painters emphasised spontaneity – an image, they felt, should appear on the canvas as naturally and quickly as a sudden change of weather in the world beyond the window. And it ought to be as impersonal as a thunderstorm. William Gear exhibited with the group in Amsterdam and Copenhagen in 1949; however, beyond his association with COBRA he had a long and successful career in his own right. For example, he was awarded a Festival of Britain Purchase Prize in 1951 and his work appeared at the 1954 Venice Biennale. He became a Senior Royal Academician in 1995 and his work is held in many major public and private collections around the world. In our auctions of 1st August and 12th September 2024, five examples of William Gear's work were offered and sold achieving £2000, £2400, £2400, £4000 & £4000 (all hammer prices).Condition of the picture is good overall, with no visible or known issues.
▲ Mimmo Paladino (Italian, b.1948) Untitled, figures with arrow;Untitled, heada pair, both signed and indistinctly dated 199(?) l.r., mixed media and collage on paper76 x 56cm (2)Provenance: The collection of Robert and Jenny ​Borgerhoff Mulder​.Condition ReportFramed: 97.5 x 77.5cmCockling. Stuck down in the corners. Both works are well presented and ready to hang. Not viewed out of glazed frames.
▲ John Banting (1902-1972) ​'The Art Critic'cyanotype, signed and dated 'Banting/1931' l.l., inscribed with title and also signed with initials l.r.sheet 49.5 x 35.5cmProvenance: With the Mayor Gallery, London;the collection of Robert and Jenny ​Borgerhoff Mulder.​ Condition ReportFramed: 68 x 52cmCrease marks. Time staining and discolouration, please refer to illustration. Not viewed out of glazed frame.
Alphabet.- Giovanardi (Lampridio) [Alfabeto Figurato], engraved broadside, charming alphabet with the letters formed of Pierrot-style figures in a variety of acrobatic positions (occasionally with props, including a broom, ladder, and hunting-horn), water-stained, very small split to lower margin, lightly spotted and browned, some creasing, 227 x 331mm., [?Reggio Emilia], [c.1860]. *** Rare work (WorldCat recording only two copies (Yale & Newberry)) by this Italian engineer, inventor, engraver, and cabinet maker (1809-1878). He created an inlay technique using wood, mother-of-pearl, gold, silver and marble. With this he produced four highly-regarded round tables, one of which won him a gold medal at the Great Exhibition of 1851.

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3253 item(s)/page