Stargate Universe collection 9 cards 1 sheet Motion Chase nis L1-L9. Stargate Universe (often abbreviated as SGU) is a Canadian-American military science fiction television series and part of MGM's Stargate franchise. It follows the adventures of a present-day, multinational exploration team traveling on the Ancient spaceship Destiny several billion light years distant from the Milky Way Galaxy. They are now trying to figure out a way to return to Earth, while simultaneously trying to explore and to survive in their unknown area of the universe. The series, created by Brad Wright and Robert C. Cooper, premiered in the United States on Syfy on October 2, 2009. The series featured an ensemble cast and was primarily filmed in and around Vancouver, BC, Canada. A second season of 20 episodes was announced by Syfy in December 2009. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
534297 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
534297 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren- Liste
- Galerie
-
534297 Los(e)/Seite
Bronze elephant, in standing position, with rich drapery decorated with leaves and flowers; bronze cast with fine hand finish and engravings; later remounted and converted (the lid on the back no longer possible to reopen); original light brown patina; possibly French 18th/ 19th Century. 27X18cm
A Roman glass spoon and a Roman glass cosmetic implement Circa 1st-4th Century A.D.The spoon of colourless glass, with small circular bowl and straight, hollow handle, tapering to a point, 14.4cm long; the rod of drawn and tooled yellow glass, spiralling clockwise from a tip to a disc head, 19.7cm long (2)Footnotes:Provenance:Spoon: with Hadji Baba Ancient Art, London. Private collection, USA, acquired from the above 21 April 1998. Rod: Private collection, London. with Antiquarium Ltd, New York, acquired from the above in 1998. Private collection, USA, acquired from the above in 1999.Glass spoons are rare survivals. Cf. an almost identical spoon in colourless glass, formerly in the Pierpont Morgan Library collection and now in the Corning Museum of Glass, acc. no. 54.1.105.The glass rod is either a cosmetic implement, or a stirring rod. For a general discussion of this type of object, see M. Spear, Ancient Glass in the Israel Museum. Beads and Other Small Objects, Jerusalem, 2001, pp. 262-5, 385 and especially no. 635, made in light greenish glass with a white spiral trail.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Roman pale green glass jug with blue looped handle Circa late 1st Century A.D.The spherical body decorated with applied light blue threads spiralling around the body and lower neck, with a matching opaque light blue glass handle with looped thumbrest separately applied joining the rim and shoulder, with long cylindrical neck, flared mouth and rounded rim, on a ring base, 14.5cm highFootnotes:Provenance:with Antiquarium Ltd, New York. Private collection, USA, acquired from the above 1988.The combination of opaque blue trails and blue handle on a yellow-green body is rare, and may indicate a North Italian workshop.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A large Egyptian light blue glazed composition shabti for General Pa-Khas Late Period, 30th Dynasty, circa 380-343 B.C.The mummiform figure wearing a striated wig and plaited false beard, a seed bag over his left shoulder, holding a pick and hoe, the front with nine horizontal bands of hieroglyphic text naming General Pa-Khas born of Ib...(the remainder unintelligible), with dorsal pillar, 27cm highFootnotes:Provenance:Private collection, sold on the Swiss market 1984-1986.with Antiquarium Ltd, New York. Private collection, USA, acquired from the above.For another smaller shabti belonging to this General Pa-Khas, see a shabti sold at Christie's, London, 25 October 2007, lot 4, with the text running in a column down the front of the figure; it is not uncommon to find more than one type of shabti in the same cache.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A large Egyptian turquoise glazed composition Bes head amulet Third Intermediate Period, circa 1069-664 B.C.Light blue in colour, moulded in high relief with characteristic furrowed brow, large snub nose and curling beard, with thick lips open to reveal small teeth, his head surmounted by a small cavetto cornice crowned by short plumes, a suspension hole pierced diagonally from the reverse to the flat underside, 3.8cm high, 3.3cm wideFootnotes:Provenance:Mr. R. collection, Toronto.W.A. Meijer collection, Netherlands, acquired from the above in the 1980s.Canadian art market, ca. 2010.Private collection, Hong Kong, acquired from the above.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Large initial enclosing St. Jerome writing, on a cutting from a grand Bible, in Latin, manuscript on parchment [Austria (probably Vienna), mid-fifteenth century] Square cutting, with a large initial 'F' (opening 'Frater Ambrosius ...', Jerome's epistle 53 urging Bishop Paulinus of Nola to embrace and study the Scriptures, usually found opening the Vulgate Bible: Stegmuller 284 and 3306), in light grey swirls of acanthus leaves overlaid on dark grey panels, enclosing the author wrapped in a red cloak and wearing a galero, seated at a writing desk, and writing in an open book while gazing upwards, all on burnished gold grounds, sprays of blue-grey, pink and green acanthus leaves with gold fruit in margins, red rubric, 13 lines from a single column in an ornamental and angular hand whose descenders trail away to sharp tips, some paper adhering to back from old mounting, small spots and stains, else excellent condition, 169 by 140mm. Provenance:1. Written and illuminated for a wealthy patron or grand community in Austria, probably in Vienna, towards the end of the second quarter of the fifteenth century, or in the years immediately after. This cutting is from the frontispiece of the parent manuscript, and another complete leaf has been catalogued by C. de Hamel, Gilding the Lilly, 2010, no. 65, pp. 146-147, where he also notes a further leaf in Columbia, University of Missouri, Ellis Library, Rare Res. BS 1254.L3M6.1450.2. Perhaps owned by Erik von Scherling (1907-56): C.L. Ricketts acquired the Lilly leaf from von Scherling's cat. 11, Manuscript Fragments, Miniatures, Persian Miniatures, Greek Vases (1930), no. 953, but without mentioning a specific leaf or part of text there, suggesting he had several examples.3. Les Enluminures cat. 5 (1996), no. 34: with clipping from that catalogue included, most probably thence to a North American collector (see de Hamel, p. 146).4. Acquired by Roger Martin in Brunn Rasmussen Auctioneers, Copenhagen, 12 December 2017, lot 1750/6147. Published:Jonathan J. G. Alexander, 'The Author as Authority in theMedieval Illuminated Manuscript', in Bruce Ferrini and Les Enluminures, Important Illuminated Manuscripts, 2000, p. 15, fig. 7.C. de Hamel, Gilding the Lilly, 2010, no. 65, p. 146.
The original sin and the expulsion from the garden, miniatures perhaps from a Rosary, in German, decorated manuscript on parchment [Germany, early sixteenth century] Two leaves, each with an arch-topped miniature within thick gold frame, with (i) Adam and Eve either side of the Tree of Knowledge, the serpent entwined in its branches as Eve holds up an apple to her mouth, the whole within a medieval walled garden and before a wide pale blue sky, all above a large empty banderole; and (ii) Adam and Eve being driven out of the same garden by an angel who raises a sword to smite them as they flee, again within a medieval walled garden and before a wide pale blue sky; both with single column of short devotional text in German in early sixteenth-century hand on reverse (each opening with calligraphic red initial, perhaps an 'A', the second leaf perhaps opening 'Ave', and 9 and 8 lines respectively), these heavily erased (visible only under UV light, and further obscured on first leaf by later repair of a hole in upper centre there, with only short fragments such as 'die lob und' and 'Creaturer' legible), second leaf with inscription of perhaps nineteenth-century (erased but last word certainly 'Bamberg'), chipping from paint and scuffs to gold frames of both, discolouration to edges of borders from old mounting, overall in fair and presentable condition, each approximately 111 by 77mm. Provenance:Sheldon and Marcia Sacks; their sale at Doyle's, New York, 13 April 2016, lot 216; acquired there by Roger Martin. Text:The parent manuscript was a rare form of devotional text named a Rosary, an arrangement of 150 images alongside copies of the same prayer beginning 'Ave Maria', and may have had a Netherlandish model; compare the miniatures from just such a text sold by Sotheby's, 18 June 1991, lot 141.
Leaf from Thomas Aquinas, Commentary on the Sentences of Peter Lombard, in Latin, decorated manuscript on parchment [Italy (most probably Florence), second half of fifteenth century (probably c. 1475)] Single leaf, with double column of 37 lines of a small and precise humanist bookhand (with part of Book I, Distinctio XIX), paragraph marks in alternate red or dark blue, simple red or blue initials with remainder of opening words of these sections in capitals, a few spots and stains, else excellent and fresh condition, 287 by 210mm. Provenance:In a blogpost released as this catalogue was in its final stages, Peter Kidd has added greatly to the provenance of the parent volume of this leaf. He notes a probable Florentine origin, and that the arms occur for a number of Italian families, but was unable to conclusively identify a Florentine family (citing examples from neighbouring Siena instead). One possible Florentine identification are the Neri family of Florence, whose arms are found in the form here, but with crescents argent, not or, in a seventeenth-century armorial in private ownership. The family was numerous in Renaissance Florence, but one possible candidate is the Francesco di Neri di Filippo del Nero, recorded in the 1450s as an official of the Medici studio (the intellectual centre of the court). Kidd then traces the parent volume in a catalogue of the Florentine bookseller T. de Marinis (cat. VIII, 1908, no. 3); with it reappearing in Davis & Orioli of Florence and London, in 1925-26; and then to Philip C. Duschnes, by 1941, when leaves appeared in his cat. 48 of that year. By 1944, a substantial part of it had passed to Duschnes' associate, Otto Ege (1888-1951), and he included leaves in his Fifty Original Leaves from Medieval Manuscripts and Original Leaves from Famous Books portfolios. The remnant of the book came to light in Sotheby's, 26 November 1985, lot 80 (some 32 single leaves; full page illustration there). See S. Gwara, Otto Ege's Books, 2013, pp. 131-32, his HL 40. The present leaf acquired from a UK collector in 2016.
Ɵ Psalter in Old French translation, with Latin rubrics, illuminated manuscript on parchment [northern France (probably Paris), first half of fourteenth century] To view a video of this lot, click here. 61 leaves (plus a modern paper endleaf at front and back), wanting a single leaf from fourth gathering, else complete, collation: i-iii8, iv7 (wants first leaf), v8, vi6, vii8, viii6, ix8, horizontal catchwords, single column of 29 lines of a rounded vernacular bookhand, red rubrics, one-line initials in red or pale blue, 2-line initials in gold on pink and blue grounds heightened with white penwork, many leaves with late medieval French additions in margins, five large historiated initials in pink or blue, heightened with white penwork, before tessellated or gold backgrounds, and within thin gold frames and with foliate extensions in margins terminating in coloured and gold fruit and foliage, these enclosing (i) fol. 12r, the anointing of David, (ii) fol. 19r, David pointing to his eye as God appears to him in the heavens above (with a long-beaked dragon-like animal in the border), (iii) fol. 30v, David naked in the waters (iv) fol. 39r, David laying the bells (with a grinning long-eared creature in the margin above him), (v) fol. 33r, the Trinity, the frontispiece with a large square miniature enclosing David before Goliath on a burnished gold ground, within a pink and blue decorated frame, extensions of coloured and gold bars along upper and inner edges of text block, these with foliage and triangular protuberances, one long curving foliate shoot across bas-de-page supporting two squat trees and a hound chasing a white hare, the latter looking over his shoulder at his pursuer, some leaves with original flaws to parchment, first leaf discoloured and much scuffed with serious losses to initial and opening text there, two further initials rubbed (those on fols. 30v and 33r), most leaves with stains from old water-damage, this leading to numerous hard to read areas with leaves at front and back of volume, overall fair condition, 215 by 155mm.; bound in nineteenth- or early twentieth-century green velvet over pasteboards, this rubbed at corners Provenance:1. Written and illuminated in France in the fourteenth century, perhaps for a wealthy patron: most large Biblical codices in French were produced for the devotions of secular aristocratic owners, or female ecclesiastics; the endleaves at the back filled with contemporary and near-contemporary instructions in French on the use of the volume during certain feasts and services.2. Most probably surviving the Middle Ages in a monastic or cathedral library, with the numerous additions demonstrating use then, and then entering private hands during the Secularisation: with the initials 'I.F.D.S' in bas-de-page of frontispiece in an apparent eighteenth-century hand. Text:The Psalter was the first book of the Bible to circulate in French prose. The original early twelfth-century translation into Anglo-Norman French was based on Jerome's Latin translation of the Hebrew Psalter, and formed the basis of several French versions on both sides of the Channel. That here opens Psalm 1 with '[Boin eures] est li hons qui [nala p]as el conseil [des] felons' and ends Psalm 150 with '... chose qui a esprit loes nostre seigneur'. It provided the basis of the Psalter in the first complete Bible in French, compiled and translated in the thirteenth century and so usually known as the Bible du XIIIe siècle. While the earliest manuscripts to survive date to the end of the thirteenth century, the text probably reached a final form by about 1260 in Paris, or just perhaps Orléans (see C. Sneddon, 'On the creation of the Old French Bible', Nottingham Mediaeval Studies, 46 (2002), pp. 25-44, and 'The Bible du XIIIe siècle: its medieval public in the light of its manuscript tradition', in The Bible and Medieval Culture, 1979, pp. 127-40), in part driven on by the Dominican Order and their mission of lay instruction.They are far from common on the market, with the last recorded copies offered by Les Enlumineres, Text Manuscripts 2, Before the King James' Bible (2012), no. 16; Laurent Coulet, cat. 29 (2003), no. 29; and a slim volume of 27 leaves, probably abstracted from a larger Bible, sold by Christie's, 30 April 2008, lot 165, for £18,500.
Leaf from Thomas Aquinas, Summa Theologiae, in Latin, decorated manuscript on parchment, with another leaf from a contemporary legal concordance [France, thirteenth century] Leaf from the Summa Theologiae, in double column of 57 lines of a tiny and rounded university script (with distinct. V, quaestio I, solutio III-quaestio II, articulus II), red or pale blue paragraph marks, running titles ('D/V') in capitals in same colours, original folio no. '32' at upper outer corner of recto, 3-line initials in red or blue with long whip-like penwork in contrasting colours, these sometimes terminating in clusters of three coloured dots, some 'nota bene' marks with 'clover-symbols' at head and long vertical penstrokes parallel to text columns with human faces picked out in penstrokes, some contemporary and near-contemporary marginalia indicating use, some spots and stains, a few tears at edges, else good condition, 342 by 226mm., France, thirteenth century; with another leaf from an apparent legal concordance, in three columns of approximately 85 lines of tiny script with numerous abbreviations, and cadels in uppermost lines, paragraphs marks in red or dark blue, running titles in vertical margin in blue and red capitals ('QII'), with one contemporary marginal addition 'Causa XI', discoloured in places with splits to edges and scuffs in places, overall fair condition, 323 by 236mm., France, thirteenth century The first leaf here is a fine example of a medieval university copy of perhaps the most influential theological work of the Middle Ages by one of its greatest scholars. Thomas Aquinas (1225-74) was a leading light of the scholastic movement, rediscovering, translating and synthesising the previously lost works of Aristotle with Christian thought. The present work is unfinished, but still acted as the fundamental compendium of the entire teachings of the Church intended to instruct students in medieval theology.
Leaf from an Antiphonal, most probably of Franciscan Use, with a large illuminated initial, in Latin, manuscript on parchment [Italy (most probably Central, or perhaps Bologna), late thirteenth century] Single large leaf, with single column of 5 lines of a large and rounded liturgical bookhand, with music on a 4-line red stave (rastrum 45mm.), instructions to painter who added ornamental capitals in tiny hairline script in border, catchwords within penwork frame at foot of verso, capitals encased with elaborate penwork, rubrics in red, opening letters after the large initial in tall red or blue capitals with penwork, one very large initial 'F' (opening 'Francisci pia plantua ...', the first response after the first lection in the first nocturn of Matins for the Feast of St. Clare) in grey-white acanthus leaves with blue and red leaves (the uppermost trailing off into a long curling penstroke surmounted by a large gold bezant), the cross bar and infill of the letter with geometric mirrored foliage enclosing burnished gold panels on dark blue grounds, the whole initial on burnished gold (heightened with curling white penwork) and blue grounds to its left, an apparent folio no. '56' twice in middle of vertical border of recto in seventeenth- or eighteenth-century hand, some light flaking from ink in places, small scuffs to acanthus leaves in places, a fold or two, small spots and stains, else in good and bright condition, 600 by 415mm. As the office here is that of the Feast of Saint Clare, the parent volume was most probably made for use in a Franciscan community. The geometric work within the initial and the use of white penwork overlaid on the gold grounds points to Central Italian and Bolognese work of the late thirteenth century (see the antiphonal of similar age reproduced in M.M. Manion and V.F. Vines, Medieval and Renaissance Illuminated Manuscripts in Australian Collections, 1984, no. 5, pp. 39-40 and fig. 27). The leaf here was acquired from a private European collector in 2018.
A collection of signed photographs and ephemera to include - Strangeness in Space, Raintown, The Light of September, Brad Paisley, James Best, Roy Scheider, Mary Stuart Masterson, Sylvester Stallone, Zoe Wanamaker, Robert Lindsay, Garth Brooks, Jim Ross, Bret Hart, Harrison Ford, Daniel Bryan, Bruce Boxleitner and more. (Q)
A PAIR OF ITALIAN GILTWOOD WALL LIGHTS EARLY 20TH CENTURY the backplate in the form of a flaming torch with twin-leaf scroll arms, together with a pair of giltwood three-light chandeliers, each carved with leaves and with bud pendants (4) 38.5cm high, 47cm wide (max) Provenance From the collection of Edward Croft-Murray CBE (1907-1980).
A FRENCH ONYX AND ORMOLU CLOCK GARNITURE LATE 19TH / EARLY 20TH CENTURY the brass eight day drum movement with an outside countwheel striking on a bell, with a mercury pendulum, the backplate stamped 'A la Gerbe d'or rue de Rivoli A chapus Paris' and numbered '31339', the circular dial with Arabic numerals and painted with floral swags and signed indistinctly, the four glass case with a bowfront front door flanked by faceted columns surmounted by an urn and finials, together with a pair of conforming five-light candelabra, each with a flaming urn snuffer (3) the clock: 43cm high, 29cm wide the candelabra: 51cm high Provenance By direction of the executors of the late Sylvia Quance (d.20th September 2020). From the collection of Gordon W Quance LLM (1931-2017).
A FRENCH KINGWOOD BONHEUR DU JOUR IN LOUIS XV STYLE LATE 19TH / EARLY 20TH CENTURY with ormolu mounts, the raised shaped back fitted with five lattice parquetry veneered drawers, flanked by twin-light leaf and flower sconces, the serpentine front with a conforming frieze drawer on cabriole legs 125.7cm high, 126.5cm wide, 65cm deep Provenance By direction of the executors of the late Sylvia Quance (d.20th September 2020). From the collection of Gordon W Quance LLM (1931-2017).
A PAIR OF GILT BRONZE FOUR-LIGHT CANDELABRA C.1870-80 each with detachable drip-pans and hung with tasselled chains, above a naturalistic leaf stem and tripod monopodia hoof feet (2) 54cm high, 20cm wide Provenance From the family collections of Captain George Lionel Jameson OBE (1880-1961) and by descent.
A PAIR OF CUT GLASS TABLE LUSTRES 19TH CENTURY each with two tiers hung with faceted pear shapes, with gilt brass nozzles and a baluster stem and scalloped edge bases, together with a large cut glass twin-light table lustre (3) the pair: 25.4cm high, single: 42.3cm high Provenance From the family collections of Captain George Lionel Jameson OBE (1880-1961) and by descent.
Roman Imperial Coinage, Theodosius II, Solidus, Constantinople, 408-20, d n theodosivs p f avg, pearl-diademed and cuirassed bust facing, holding spear and shield, rev. concordia avgg z, Constantinoplois seated front, resting right foot on ship prow, holding Victory on globe and sceptre, 4.34g (RIC 202; RCV 21127). Light graffito in obverse field, otherwise good very fine £400-£500
19th Century Tokens, STAFFORDSHIRE, Perry Barr, William Booth, Penny, 1811, wheatsheaf, rev. value, edge plain, 20.78g/5h (W 955). Usual flaw over n in token, some light surface marks, otherwise very fine and with an unusual die-axis, extremely rare as an original £300-£500 --- Provenance: DNW Auction T14, 1 October 2014, lot 553; bt W. McKivor May 2013
![George III (1760-1820), New coinage, Shillings (2), 1819, 1820 (ESC 2152, 2157; S 3790) [2]. Light surface marks, otherwise e](https://cdn.globalauctionplatform.com/ba8c9bdb-ec51-4d24-9687-ad4e00ce6a5c/42df2feb-9081-4b3b-b6b1-ad4e00d25c89/468x382.jpg)
Miscellaneous Tokens and Checks, Co-operative Societies: Brightside & Carbrook CSL, hexagonal brass 1 Cwt Nuts Coal by Gill (Rains 34), lozenge-shaped brass 1 Cwt Best Coal by Gill, 38 x 29mm (R –), hexagonal aluminium 2lb Loaf (R 35), plastic 2lb Loaf (4), dark brown (2), green (2) (R 37, 37a), brass 1 Pint by Gill, Sheffield (2, different) (R 41), hexagonal brass 1 Pint by Gill, Attercliffe (4) (R 42), brass 1 Pint, unsigned (2, striped and solid numeral) (R 43-4), 1 Pint (2), yellow plastic painted black, bevelled rims, and light blue plastic (R 47b, 48), Milk Dept (3), grey plastic (one overpainted red) (R 50, 51, 51a), Canteen, hexagonal Penny, Threepence and Eightpence (R 58, 58b, 60); B[righthouse] & C[arbrook] C[oal?], brass 1/2, stamped 19, aluminium 1/2, stamped 54, brass 1, stamped 4, aluminium 2, stamped 27 (R 66-9); B[righthouse] & C[arbrook] CSL (Broughton Lane), brass Barrow Check by Gill (R 71); Brightside & Carbrook (Sheffield) CSL, 1 Pint, first series (4, different) (R 74-7) [32]. Generally fine to very fine, second and Barrow Check rare £80-£100 --- Brightside & Carbrook CSL, founded by William Carr in 1868; a planned merger with the Sheffield & Ecclesall CSL in 1985 never took place
Miscellaneous Tokens and Checks, Transport: L[ondon] M[idland] & S[cottish] R[ailway], Sheffield (Goods), oval nickel (2), stamped 250, 298, both 46 x 28mm; Sheaf [Motors], Coal Aston, uniface brass Carwash, 34mm; Sheffield and Rotherham Railway, 1838, copper (2), omnibus check, stamped 692, 889, both 27mm (W 2888; Smith 685A; D & W 330/50); Stringer & Co (Sheffield) Ltd, brass, 23mm; Charles Thompson, brass Threepence, 23mm (Smith –); George Wright, brass Threepence, from the newmarket to cherry tree hill, etc, 24mm (Smith 685E) [8]. Fine and better, last two rare £60-£80 --- Stringer & Co (Sheffield) Ltd, manufacturers of light cars and motorcycles, 3 Fowler street, Wincobank; Charles Thompson (1815-97), a second-generation member of a family that built up an extensive transport business in the Sheffield area in the 19th century, based on the Glossop road, including landaus, broughams, 4-horse buses, wedding carriages, mourning coaches, wagonettes, gigs and drays; George Wright (b. 1807), omnibus and cab proprietor, 18 Change alley
Miscellaneous Tokens and Checks, Transport: County Borough of Rotherham Tramways, white Penny, black Threehalfpence, orange Twopences (2, varieties) (Smith 685BA, BC, BD); Rotherham Transport Department, white Penny, blue Threehalfpence (Smith 685CA, CB); Sheffield Corporation Tramways, type 1, shield with helmet crest, Twopence, dark blue (Smith 685AG), type 2, shield with lion crest, Central Schools, Halfpenny, dark blue (Smith 685AK), Halfpenny, white (Smith 685AM), Pennies (6), red (4, varieties), dark red, maroon (Smith 685AP, AQ, AR), Threehalfpence (3), grey (2, varieties), black (Smith 685AU, AW); Booth & Fisher W[est] T[horpe] L[ine], grey celluloid (Smith 685BW); Sheffield Transport Department, type 1, large arms, Halfpenny, Penny, black Threehalfpence, Twopences (5, two varieties), yellow hexagonal Twopence-Halfpenny, light purple, hexagonal Threepence, black Fourpence, Fivepence (Smith 685CA, CB, CF, CG, CH, CK, CL, CO, CQ), type 2, small arms, Twopences (2), Threepence, Fourpence, Fivepence and Sixpence (Smith 685DA-DE inclusive), type 3, dodecagonal Twopence-Halfpenny and Threepence-Halfpenny (Smith 685DK, DL), type 4, black Pennies (3), pink Twopences (2), orange Fourpences (2), blue Fivepences (2) (Smith 685EA, ED, EI, EK); National Transport Token, aluminium Fivepence and Twopence [50]. Generally very fine £80-£100 --- The first electric tram route in Sheffield ran from Nether Edge to Tinsley and opened in 1899. The electrification of the rest of the system followed soon after, and the last horse tram ran in 1902. In 1910 Sheffield tram routes covered a total of 39 miles; subsequent extensions increased this to 48 miles by 1951, the year before they started to be abandoned and replaced by buses; the last of the old public trams ran on 8 October 1960. Booth & Fisher (Motor Services) Ltd, established 1921; their bus and coach fleet was subsumed within South Yorkshire Passenger Transport Executive from 1975
Victoria, Coronation, 1838, a silver medal by B. Pistrucci, bust left, rev. Victoria receiving crown from standing figures, 36mm (W & E 88.2; BHM 1801; E 1315). Some light hairlining, otherwise extremely fine or better, lightly toned £300-£400 --- Provenance: Baldwin Auction 98, 3 May 2016, lot 2305
Loading...-
534297 Los(e)/Seite