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JOHN AUGUSTUS: (1878-1961) Welsh Painter. A good collection of ten A.Ls.S., Augustus John (and two signed with his first name only, and one unsigned), twelve pages (total), 8vo, Fryern Court, Fordingbridge, Hants, February 1960 - August 1961 (a few with n.d.), all to [the art collector, Stephen] Teltch. John writes a series of letters about his work, in part, 'I had had a number of paintings photographed and four more are being done today. I will send you the lot as soon as possible....None of these things have been exhibited and as you will see, some of them are unfinished but maybe I can use a model and so complete them in some cases....I have started another of the same child who is rather elusive as she goes to school, but comes here sometimes during her holidays.' (4th February 1960), 'It is no good me trying to think in terms of money. I simply can't do it as my absurd estimate for the drawings shows. I have now got Dudley Tooth to undertake such matters for me, as he is known to you & has always been straight with me. I find it difficult to think of anything but The Triptych, which is well on the way to getting done. I hope you'll find time to come....& have another look at it....' (19th December 1960), 'Please do not show your God-child my hasty remarks about her drawings. I was in a hurry and found it impossible to flatten out the drawings as they had been so tightly rolled up. My wife was engaged in packing them up again when I caught sight of some I hadn't seen. But I was too late & I only caught a glimpse of one or two which I would have been glad to examine for they gave me "the impression" of being far more interesting than those I had seen. Perhaps after all I needn't have mentioned Rembrandt whom your Godchild may know as much about as I do! I would hate to have done her an injustice & now look forward to seeing more of her work but not rolled up.' (23rd February 1961), 'Since meeting you at Tooth's exhibition....I have been working on the left hand panel of those monstrosities which you have seen. A large fund left by some artist called Abbey....have decided to acquire the middle panel at a price which my wife assures me will ruin me in taxation. Having as you know, no talent for arithmetic I have left it to Tooth....to conduct my affairs.' (6th April 1961), 'How very good of you to send me that noble present of brandy!....I have been working on the Triptych which shows signs of completion....I have a good model here, though Sara is good - in parts. Like most school girls, she can't keep still for more than a minute.' (August 1961?), 'I keep working on the Triptych every day & sometimes it keeps me awake at night. It is impossible to know when to stop.' (June n.y.). Together with Dorelia John (1881-1969) Model for Augustus & Gwen John, latterly the former's common-law wife. A.L.S., Dorelia John, one page, 8vo, 19th August 1960, also to Teltch, apologising for not having thanked him previously for the brandy ('but there has been so much to do lately') and continuing to send the regards of herself and her husband. Also including Josette Jones (1894-1989) English Painter, pupil of Augustus John and Walter Sickert. A.L.S., Jo, three pages, 8vo, n.p., n.d. ('Friday'), to Emo (?), announcing 'I feel most distressed that John should have written to you like that....He says he so hopes his letter did not sound pompous and offend you...."This I should greatly regret as I find Mr. Teltch "maj simpatico".....Augustus obviously feels he wrote a tactless letter. How extraordinary about the drawings - what could he have meant?' A good series of letters with interesting content. Some very minor, light age wear to a few letters, otherwise VG, 12 As these letters illustrate, John continued to work right up until his death. He makes several references to his last work, a studio mural in three parts. The left hand panel showed a Falstaffian figure of a French peasant in a yellow waistcoat playing a hurdy gurdy while coming down a village street. It was the artist's final goodbye. International Autograph Auctions
GLAMOUR: Selection of signed colour 8 x 10
GLAMOUR: Selection of signed colour 8 x 10 photographs by various contemporary models and actresses, all in topless poses to a greater or lesser extent, including Claudia Schiffer, Isabelle Huppert, Jamie Lee Curtis, Stella Stevens, Kim Basinger etc. G to VG, 7 International Autograph Auctions
KOUFAX SANDY: (1935- ) American Baseball player
KOUFAX SANDY: (1935- ) American Baseball player, winner of four World Series Championship rings. A white Rawlings official National League baseball signed to a clear area in blue ink by Koufax. Attractively mounted to a wooden plinth within an opening perspex case and alongside a colour trading card featuring an image of Koufax, also encased in perspex. Some light age wear, about VG International Autograph Auctions
GRANT CARY: (1904-1986) British-born American Actor, Academy Award
GRANT CARY: (1904-1986) British-born American Actor, Academy Award winner. Bold blue ink signature and inscription ('To Mona! Cary Grant') on a slightly irregularly trimmed card, bearing the printed name of P & O Orient Lines Oriana at the base and evidently removed from a menu (a printed list of various wines appears to the verso). Accompanied by an unsigned candid 6 x 4 photograph of Grant standing in a three quarter length in the ship's control room, alongside his wife Dyan Cannon and their young daughter, Jennifer, and the ship's captain. Some light traces of former mounting to the versos of both, about VG, 2 International Autograph Auctions
LEAR EDWARD: (1812-1888) English Artist
LEAR EDWARD: (1812-1888) English Artist, Illustrator and Poet. A.L.S., Edward Lear, four pages, 8vo, Villa Tennyson, Sanremo, 25th May 1884, to Mr. Rawson. Lear writes an interesting, social letter to his friend, stating that he returned to Sanremo the day before and remarking 'I have looked out all the sets of Autographs which Constance nearly had a month ago, but must now wait for till further notice'. He continues to comment on his travels and health, 'I have latterly gone through a most serious attack of Pleurisy & Bronchitis from which I was not expected to recover at the beginning of April last. However, thank God (& also thanks to Dr. Hassall) I was able to get about again after being in bed for 5 weeks, & 8 days ago I left Sanremo for a change, & with a view of seeking some cooler & quiet place for the 8 or 10 hottest weeks of summer, when Sanremo, now a paradise, becomes intolerable for the cessation of the sea breeze. So I went up to Recoaro (a place close to the Austrian or Tyrol mountns.) above Vicenza & Verona: it is not beautiful as Monte Generoso, - (where my dear good servant died in August last) but in many respects has more advantages....George's [Giorgio Kokali] 2 Sons (eldest & youngest) will take care of me, - or rather Dimitri the younger will take care of me & his poor brother Nicola who at 32 years of age is struck down by consumption, or at least must eventually succumb to that complaint if my efforts to save him are in vain.' Lear further writes of his work, 'I am, as usual, always working whenever I can, but I have no longer any Gallery here, as my health, now so broken & feeble, - is no longer equal to seeing many people. So all my small works are sent to Messrs. Foord & Dickenson's, 129 Wardour Street, Oxford St., & that is the only place where those who wish for small or large memorials of Edward Lear, as birthday or wedding presents or what not, - can see any at all. My last, - & perhaps best, - large oil paintings (Argos, Pentedatelo, Gioalior, & Ravenna) should have been sold at Christie's, but just now Christie's have odiously set forth that they have not been applied to early enough - so these 4 will also be shewn at Foord's, & if you are in London I believe you would like to see them.' A letter of good content. One large, although light, stain to the lower half of the final page, not affecting the text or signature. Some light age wear, about VG Giorgio Kokali became Lear's valet, house-servant and cook in 1856 and accompanied Lear on all of his travels, becoming his companion in later years. Lear was more affected by the death of Giorgio than by that of anyone else in his life other than his sister Ann. Lear later raised a tablet to Giorgio's memory at San Remo beside the spot which he had chosen for his own grave. International Autograph Auctions
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