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534325 Los(e)/Seite
Los 187
Film and TV George Formby 6x4 signed album page c/w 12x8 montage b/w photo. George Formby, OBE (born George Hoy Booth; 26 May 1904 - 6 March 1961), was an English actor, singer-songwriter and comedian who became known to a worldwide audience through his films of the 1930s and 1940s. On stage, screen and record he sang light, comical songs, usually playing the ukulele or banjolele, and became the UK's highest-paid entertainer. Good Condition. All signed items come with our certificate of authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.95
Los 60
Music Bev Bevan and Jeff Lynne 18x24 overall framed signature piece including 11x7 b/w photo, 12x7 signed album sleeve and authentic signature plaque Bev Bevan & Jeff Lynne all mounted to a high standard. Jeffrey Lynne (born 30 December 1947) is an English songwriter, singer, record producer, and multi-instrumentalist who co-founded the rock band Electric Light Orchestra (ELO). In 1972, two years after the group's formation, he took over its leadership and wrote, arranged, and produced virtually all of their subsequent records. In 1988, under the pseudonyms Otis Wilbury and Clayton Wilbury, he co-founded the supergroup Traveling Wilburys with George Harrison, Bob Dylan, Roy Orbison, and Tom Petty. Beverley Bevan (born 25 November 1944 is an English rock musician, who was the drummer and one of the original members of the Move and Electric Light Orchestra (ELO). After the end of ELO in 1986, he founded ELO Part II. Bevan also served as the touring drummer for Black Sabbath during the Born Again Tour, and later played percussion on The Eternal Idol album in 1987. Bevan was inducted into the Rock and Roll Hall of Fame in 2017 as a member of Electric Light Orchestra. Good Condition. All signed items come with our certificate of authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.95. Overseas shipping would be approx £150
Los 82
Laurel and Hardy 17x32 overall professional framed signature piece including 2, 9x7 b/w photos, 1, 5x4 b/w photo and a 5x4 signed album page all mounted to a very high standard. Laurel and Hardy were a comedy double act during the early Classical Hollywood era of American cinema. The team was composed of English thin man Stan Laurel (1890-1965) and American fat man Oliver Hardy (1892-1957). They became well known during the late 1920s through the mid-1940s for their slapstick comedy, with Laurel playing the clumsy and childlike friend of the pompous bully Hardy. The duo's signature tune is known variously as The Cuckoo Song, Ku-Ku, or The Dance of the Cuckoos. It was played over the opening credits of their films and has become as emblematic of the duo as their bowler hats. Hardy autograph a little light in places, priced accordingly. All signed items come with our certificate of authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.95
Los 84
History Titanic framed 23x30 overall First Light signed colour print. Signed by Titanic survivor Millvina Dean and the artist Martin Smith in pencil (352/750) mounted to a high standard. Eliza Gladys Millvina Dean (2 February 1912 - 31 May 2009) was a British civil servant, cartographer, and the last remaining survivor of the sinking of the RMS Titanic on 15 April 1912. At 2 months old, she was also the youngest passenger aboard. Good Condition. All signed items come with our certificate of authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.95. Overseas shipping would be approx £100
Los 117
"Kingdom of Macedon, Alexander III 'the Great' AR Dekadrachm. Babylon, circa 325-323 BC. Head of Herakles right, wearing lion skin headdress / Zeus Aëtophoros seated left, holding sceptre, on throne with eagle-tipped finials; [AΛEΞANΔPOY] to right, [monogram and M] below throne. Price 3600 = Mitchiner, The Early Indo-Greeks and their Antecedents p.11, illustration 4 = NAC 72, 344 = Price, Mnemata, 6 = Coin Hoard 1975 fig. 6, 2 (same dies); ACR 8, 198 (same dies). 34.78g, 34mm, 10h.Good Fine; harshly cleaned; light cabinet tone. Extremely Rare. From a private European collection; Privately purchased at Numismata, Munich, 2011.Silver dekadrachms, be they of Athens, Syracuse, Akragas or Carthage, have ever been amongst the most desired and sought-after of ancient coins by virtue of their impressive size and weight, and the large canvas they presented for the showcasing of the engraver's art. Though considered 'rare', the surviving dekadrachms of Syracuse number in the high hundreds or low thousands, and those of Athens in the dozens. Fewer than twenty dekadrachms of Alexander are known to exist today - figurative grains of sand on a beach amidst the hundreds of thousands of surviving tetradrachms, drachms, staters and other fractions. The extreme rarity of Alexander's dekadrachms has therefore contributed an aura of unobtainability to the mystery of this most iconic coinage. Missing from most of the world's major institutional collections, the majority of the examples known today originated from the 1973 'Babylon' Hoard (sometimes also referred to as the Mesopotamia Hoard), and a smaller 1989 find that Martin Price believed to be a part of the original 1973 deposit. The eight coins that are known to have come from these two groups form the backbone of the Dekadrachm corpus. Struck in three emissions from a mint generally considered to be at Babylon, but possibly Susa or Ekbatana, the dekadrachms formed part of a massive conversion of bullion seized from the Persian Royal treasuries at Susa and Persepolis - some 180,000 Attic talents (4,680 metric tons) were liberated from those vaults, converted by decree of the King into ready coinage to meet the expenses of his vast empire and to pay his beloved soldiers. That so few examples of this large denomination survive today is potentially indicative of a special significance or purpose for these coins. It is certainly tempting to think - as many often have - that they represent presentation pieces intended for certain men of rank, and that Alexander, who was well known for his love of giving gifts, may have distributed them personally. In reality though, their low survival rate is probably due to the impracticality of the denomination, since the ubiquitous tetradrachm was the more common and more convenient medium of payment.Regardless of its intended purpose, and though it represents only a small splinter that survives of Alexander's great vision, today his dekadrachms are one of the most tangible artefacts of his reign, and amongst the greatest prizes of ancient Greek numismatics. "
Los 283
"Seleukid Empire, Antiochos I Soter AR Tetradrachm. Seleukeia on the Tigris, circa 281-261 BC. Diademed head right / Apollo Delphios seated to left on omphalos, testing arrow and resting left hand on grounded bow; ΒΑΣΙΛΕΩΣ to right, ΑΝΤΙΟΧΟΥ to left, AP monogram to outer left, ΔΩP monogram to outer right. SC 379.3d; HGC 9, 128g. 17.11g, 29mm, 1h.Mint State; highly lustrous with light golden iridescence around the devices. Preserved in spectacular condition for the type.Antiochos I was the son of Seleukos I and Apama, Seleukos' Persian wife. His date of birth is unknown, but was probably circa 320 BC as he was old enough to lead the Seleukid cavalry at the battle of Ipsos in 301. When Seleukos was assassinated in 281, Antiochos was probably in Ekbatana or Aï Khanoum, where he had maintained court ruling the eastern satrapies on behalf of his father since 294.With his accession, Antiochos faced immediate attacks by Ptolemy II in Asia Minor and revolts of the cities of Syria. He left his eldest son, Seleukos, as governor of the eastern satrapies and marched west to meet the threats, which he soon overcame. However, it was not long before his attention was once again drawn to disturbances, this time from a menacing force of warlike Celtic tribes that had crossed over the Hellespont in the winter of 278/7 and invaded Asia Minor, and also shortly thereafter renewed hostilities with Ptolemy II (First Syrian War, 274-271 BC). After defeating the Celts and receiving the title of Saviour (Soter) by the Greek cities of Asia Minor, Antiochos concluded an uneasy truce with Ptolemy which allowed him to focus on public relations and administrative work in Asia Minor. His subsequent reign was relatively peaceful, with the exceptions of sedition by his son and co-regent, Seleukos, whom he was forced to execute and replace with his younger son, the future Antiochos II, and the loss of northwest Asia Minor to Eumenes I of Pergamon.The figure of Apollo seated on the omphalos gained prominence under Antiochos, publicising his supposed descent from the god, and became the characteristic reverse type for most Seleukid precious metal coinage down through the reign of Antiochos IV."
Los 342
"Greco-Baktrian Kingdom, Eukratides I 'the Great' AR Tetradrachm. Circa 170-145 BC. Diademed and draped bust right, wearing helmet adorned with bull's horn and ear / ΒAΣΙΛEΩΣ MEΓAΛOY EYKPATIΔOY, the Dioskouroi on horseback to right, holding palms and lances; monogram to right. Bopearachchi 6E; SNG ANS 465. 16.97g, 30mm, 12h.Extremely Fine; light iridescent tone."
Los 363
"Augustus Æ Dupondius of uncertain mint, north-western(?) Spain. Circa 27-23 BC. IMP AVG DIVI F, bare head left; palm to left, winged caduceus to right / Celt-Iberian shield. RPC I 3; SNG Copenhagen 413. 10.77g, 25mm.Near Extremely Fine. Attractive patina. Very Rare.It is possible that the coinage listed in RPC under the title of 'uncertain mint' in north-western Spain was actually a Roman Imperial coinage similar to that which the legate Publius Carisius struck in Emerita during the Cantabrian War (29-19 BC), with which this coin shares similarities in style and obverse titulature. The lack of identification with a city or dynast (besides Augustus) strengthens the case that this coin is a military issue commemorating the war and displaying a shield of the enemy on the reverse. The Cantabri fought off the Romans with guerrilla tactics and skill with light armour, requiring the strength of eight legions and auxiliary troops to finally be defeated. Augustus himself began the campaign from Segisama in 26 BC but was forced to retire due to ill-health, leaving his legates Caius Antistius Vetus and Publius Carisius to finish the job. "
Los 47
"North Africa, Carthage AR Shekel. Time of Hannibal. Carthago Nova, circa 218-206 BC. Bare male head (Hannibal?) left / Horse standing right, palm tree behind. MHC 142; ACIP 603; SNG BM Spain 104-5. 6.98g, 21mm, 11h.Very Fine; light scuff on edge. Very Rare. This coin is conventionally believed to carry the portrait of Hannibal on the obverse.In 237 BC Hamilcar Barca, after having lost the First Punic War against Rome, but having won the Mercenary War against the Libyans, disembarked at Gadir with a Carthaginian expedition with the purpose of ""re-establishing Carthaginian authority in Iberia"" (Polybios, Histories, 2.1.6), and within 9 years he had expanded the territory of Carthage well into the Iberian peninsula, securing control of the southern mining district of Baetica and Sierra Morena, before dying in battle in 228. Hamilcar was succeeded by his son-in-law Hasdrubal the Fair who expanded the new province by skilful diplomacy and consolidated it with the foundation of Akra Leuka, Mahon and finally in 227, Qart Hadasht (Latin: Carthago Nova) as his capital. After his untimely death in 221 he was succeeded by Hannibal (247-182), oldest son of Hamilcar Barca, and Hamilcar's second son Hasdrubal (245-207 BC). The Barcids now wielded control over much of the mineral rich Mediterranean side of the peninsula until 219 when Hannibal made the fateful move of taking and sacking Saguntum, a well established Roman ally. The wholesale slaughter of this Roman allies’s population, and the arrogance with which the Roman ambassadors sent to Carthage to seek redress were met, led directly to the Second Punic War: the great statesman Quintus Fabius, speaking to the Carthaginian senate, gathered a fold of his toga to his chest and held it out, saying ""Here, we bring you peace and war. Take which you will."" The Carthaginians replied ""Whichever you please - we do not care."" Fabius let the fold drop and proclaimed ""We give you war."" "
Los 631
"Sabina (wife of Hadrian) AR Denarius. Rome, AD 128-136. SABINA AVGVSTA HADRIANI AVG P P, draped bust right, with hair waved and wearing diadem / CONCORDIA AVG, Concordia seated left, holding patera and leaning left elbow on figure of Spes; cornucopiae under chair. RIC 398 (Hadrian); BMCRE 895 (Hadrian); RSC 12. 3.01g, 20mm, 6h.Very Fine; attractive light tone. "
Los 447
Manchester United 'Busby Babes' iconic match and programme 1952/53 Manchester United Youth v Nantwich Youth dated Tuesday 4 November 1952 kick-off 7.15pm at The Cliff, Broughton. Single sheet, has the score 23-0 penned thereon (the record score in the FA Youth Cup) with Duncan Edwards 5 goals, David Pegg 5 goals, Johnny Doherty 5 goals, Eddie Lewis 5 goals, has the 'To read-hold programme to light' price 1d. Extremely scarce issue.
Los 630
Scarce 1953 Gilgryst Cup Final Manchester United v Ashton United football programme single sheet 'Hold programme to light' dated 1 April 1953 at The Cliff, Broughton (United training ground) with a 7.30pm kick-off floodlight match. Score penned in, United won 4-0 with goals from Duncan Edwards (1 goal), Denis Viollet (1 goal), Eddie Lewis (1 goal), Albert Scanlon (1 goal). Good.
Los 780
Collection of programmes relating to ground closing/ground opening 2005 Coventry City Highfield Road, 2005 Coventry City Ricoh Arena x 2, 1999 Wigan Athletic Springfield Park, 1997 Stoke City Victoria Ground, 2002 Hull upon Kingston, 2002 Leicester City Filbert Street, 1999 Wigan Athletic JJB Stadium, 2005 Swansea City New Stadium, 1997 Sunderland Roker Park, 1997 Stoke City Victoria Ground (Stan Matthews signature to cover), 1997 Bolton Wanderers Reebok Stadium, 1997 Stoke City Britannia Stadium, 1997 Bolton Wanderers Burnden Park, 2002 Hull City Boothferry Park, 2005 Swansea City New Stadium, 1997 Sunderland Stadium of Light,1997 Bolton Wanderers Burnden Park, 2005 Swansea City New Stadium, plus FIFA World Stars v Socceroos (opening of Stadium Australia, 1979/80 Newport County - A season of triumph. Good. (21)
Los 125
1930’s Christ College, Brecon, Rugby Caps and Shirts – issued to Harries Collins Bowen to incl navy velvet 2nd XV 1936 honours cap with light blue badge and date with silver tassel, named inside, green velvet 1st XV 1937 honours cap with gold braid badge, date and tassel, 1st XV broad green and narrow yellow hooped rugby jersey, 2nd XV equal-hooped navy and sky blue rugby jersey, with ‘Collin Bowen’ name tag and neck scarf in navy blue and gold, all overall good condition (5) Note: Harries Collins Bowen attended Christ College, Brecon in 1934 to 1938 and played for the college 2nd XV in 1936 and 1st XV in 1937-38, he received an OBE in the birthday honours list in 1973. (5)
Los 254
The Musical Family: A Scarce Mid to Late 18th Century Fan, probably English, the leaf applied with ivory, the monture carved and pierced, silvered and gilded. The gorge sticks feature three vignettes, the central oval encompassing six sticks and featuring gilded figures. All sticks are delicately carved and pierced and shaped, to include small ovals containing stars. The double silk leaf features a large central cartouche with unusually shaped border, the scene one of family musical entertainment. A young boy plays the oboe, his older sister the hurdy-gurdy, his mother seemingly the castanets, and the father conducts with a slender baton. The faces of each family member have been applied in ivory, much as those later applied in the case of Chinese Mandarin fans. The family are wearing 18th century costumes, the ladies in pink or blue with tall hairstyles and ringlets topped with small hats, the gentleman all in blue. The border of this and two other cartouches are embroidered with sequins of silver and gold, the vignette to the left featuring another lady dresses similarly in pink, and to the right, a man in blue. Between the cartouches are classical urns filled with bright flowers, in mainly pink and blue. The verso is plain. Guard length 28cmSome light orange marks on the verso. Folds rubbed and the leaf is somewhat grimy. Note, one stick seemingly absent from right hand side.
Los 299
A Fine 18th Century Ivory Fan, the monture carved and pierced giving a very light appearance, complimented by the pastel shades of painting both on the gorge and on the leaf. The guards are underlaid with a dark pink foil, the ivory finely pierced, and flowers feature in two small painted panels. The gorge sticks are intricately carved, except where three panels are painted, two in cream with blue and pink flowers, green leaves, the third painted in pastel blue and featuring a colourful bird. The double paper leaf depicts an oriental couple seated in the garden, the lady in a decoratively carved chair with a grey cat in residence on her knee. The man, dressed in a grey robe with a large brown hat, and dark boots, is seated next to a container of fire crackers? An attendant approaches with a tray on which is a grey vase with coral floral stems. The cream reserves feature white flowers and blossom branches. The verso is painted with a delicate spray of pastel blue blossom. Guard length 28.5cmVery slight soiling to the verso, appearing to be from glue on the sticks.
Los 303
A Very Fine Late 17th/Early 18th Century Painted, Carved and Pierced Ivory Brisé Fan, possibly Dutch, with twenty-eight inner sticks and two guards, and tortoiseshell thumb guards. The guards are carved with a figure and flowers in relief, their backgrounds of a deep powder blue, giving good contrast, some features gilded. Central to the gorge is a delicately painted oval vignette containing a portrait of a European lady who appears to be holding a bow, two further vignettes to either side with flowers, two pink roses and an orange parrot tulip. The body of the fan is in three main sections, each bordered with pairs of pierced and highly decorative gilded sticks, painted with Chinoiserie scenes, roses and tulips. The panel to the left shows a man seated on a stone terrace with balustrade, a small pond to his side with water lily leaves. The central scene shows ladies dressed in medieval costume, one with a wimple, gathering around a king on the ground, being tended by a lady, an elderly bearded man looking on. In the final panel a young woman is seated outside in a rural location. All panels are bordered in gold and surrounded by elaborate gilding and some repetition of the blue. The verso is a mirror image outline. The deep cream ribbon is plain, possibly a replacement .Guard length 23.5cm See Nancy Armstrong's ''The Book of Fans'' pages 60 and 61 for a brisé with similarities, described as Dutch.Some light rubbing, plus one small patch of missing paint in the panel to the right.
Los 328
Aphrodite Ipdated?: A Mid-19th Century White Mother-of-Pearl Fan, the monture pierced and carved and clouté with steel. The double silk leaf is embroidered with silver sequins, the central painted scene perhaps leaning towards a more modern depiction of Aphrodite, with a lady, helped by a gentleman, descending from her gilded carriage, and a lady to her right accompanied by a winged cherub who is riding a white swan. Cherubs, making flower garlands, are airborne to the left, where a third lady, a cherub seated at her feet holding a tray of refreshments, is passing roses for the garlands. The verso is plain. Guard length 27cm; and A Circa 1880's Plain Tortoiseshell Fan, with a double fabric leaf, the cream silk showing signs of previously being the base for a lace fan leaf. Brown stones to the rivet, simple metal loop. The verso is plain. Guard length 27.5cm (2)Fan 1 - light foxing to the leaf. The monture is badly broken, one guard broken but present, as are parts, but perhaps not all, of the other broken sticks. Fan 2 - Staining to verso.
Los 332
The Flower Girl: A Large Circa 1890's Bone Fan, the guards and sticks simply pierced, slightly more detail to the upper guard. The cream gauze leaf shows a flower girl, with a tray of colourful blossoms, dressed in light Spring colours. The leaf has a light and airy border of pink and lemon flowers. The verso is plain. Simple gold metal loop. Guard length 32.5cm; and A Circa 1890's Large Wooden Fan, the sticks painted and gilded on the gorge. The light brown gauze leaf is painted with a simple spray of unusual flowers and foliage, the leaves quite dark and shaded, the spikey flowers ginger, orange and yellow, the buds tipped with deep red. The verso is plain. Guard length 35cm. Together with a black silk-covered fan box (2)Fan 1 - nothing noted. Fan 2 - Some small stains near the top edge of the leaf, the leaf is lifting at the bottom right corner. One stick is loose.
Los 346
The Art Class: A Charming Late 19th Century Tortoiseshell Fan, the ribs a continuation of the sticks, the sticks and guards plain. The black silk leaf is painted with a top border of frilly flowers, in shades of white and light blue, tinged with ginger, possibly lilacs, and pointed green leaves. Seated in various poses amidst the blossoms are eleven cherubs of various ages and sizes, all engaged in painting, some revealing the results of their endeavours, others with their back to the viewer. Thus we see a variety of detail, from the shapes and colours of their clothes, to the colours and styles of hair. The single leaf is plain on the verso. Signed to the right ''J Gautrier?''. Guard length 34.5cmThe silk is very slightly rumpled. A small amount of the top border braid is detached.
Los 347
An Early 19th Century Horn Fan, with a double silk leaf, the guards incised with a curly or perhaps feather design, flanking a central elongated V, and piqué with steel. The gorge is embellished in a similar fashion, giving a light and airy feel. The leaf, of buttermilk silk, is embroidered, to the top and sides, with embossed gold foil, shaped as feathers, and tipped with silver sequins. The upper and lower edges of the leaf are applied with a slim gold looped braid. In the centre of the leaf, next to a painted palm tree with hanging fronds of embroidered sequins, is a lady in a lilac robe embroidered with gold sequins, a pink ribbon In her hair, and holding a fixed fan, the fan most unusually applied with iridescent red and green feathers. The lady is offering pink roses to a young girl, wearing a short jacket, a blue straw hat and a pink skirt embroidered with sequins. To the sides, a small stone fountain, more trees with sequins for foliage, a planter containing pink roses, two stone urns painted in blue, and planted with miniature trees. The verso is plain silk. Guard length 26.5cm, with a lilac stone in the rivetSome damage to the silk seen from the left on the verso, which is also affecting the fold next to the front guard when seen from the recto.
Los 367
Arcadian Love: A Large 19th Century Mother-of-Pearl Fan, with gilded and silvered, carved and pierced monture. The gorge is particularly striking with a central vignette featuring three men, wearing helmets, and two young ladies, standing next to columns, and to each side other vignettes each with frolicking cherubs. The double paper leaf is in pastel colours giving a light and airy feel to the depiction of young people at leisure in a rural area, gathering flowers for garlands. The verso has an unusual central gilded heart, inside which appear to be music score and bagpipes, this feature within a large spray of flowers. The gorge sticks have been damaged and there are at least two pieces of mother of pearl effecting repairs. The gilding is bright and strong.
Los 378
A Chinese Carved Ivory Feather Fan, Qing Dynasty, the heavily carved guards deeply and intricately carved with a head at the tips, followed by numerous buildings, figures and blooms in relief, the gorge sticks less so, mounted with white feathers; and A Light Carved Sandalwood Fan, mounted with mottled and white feathers (2)White fan: the feathers are tatty and one guard needs to be secured.
Los 462
A Circa 1890's White Gauze Fan, on plain painted wooden sticks, the leaf painted with mauve and white lilacs and veined leaves. Unsigned and unbacked. Simple gold metal loop with pearl button; A Circa 1890's Large Bone Fan, the monture completely plain, the simple loop of silver metal, mounted with a dark cream gauze leaf on which are painted meandering tendrils of pink and yellow honeysuckle, with green foliage, bees and butterflies seeking pollen. The verso is plain. The leaf supports are a continuation of the main sticks. Guard length 36cm; and The Iris: A Large Late 19th Century Wooden Fan, with light gilding to the monture, the upper guard carved at the sides to produce leaf shapes and entwined stems, the lower guard straight but lightly carved and gilded. The single cream gauze leaf is well painted with several large yellow Iris and their leaves, the open flowers variegated in shade, their petals with brown veining, the skin shed as the buds have opened shown as shrivelling, and bees searching for pollen crossing the upper section of the leaf. The verso is plain. Guard length 35cm (3)Fan 1 - Surface dust present, faint foxing to the leaf. One 3 cm split to the gauze just below the centre of the leaf. Fan 3 - Some glue visible where the ribs have been secured to the gauze.
Los 464
An Early 18th Century Ivory Fan, with carved and pierced monture, the slender guards carved with a figure and flowers, the gorge most delicately carved all over with a trompe l'oeil ribbon design with further ornate detail. The vellum leaf , mounted à l'anglaise with a cream ground, is painted with a simple but detailed scene of a young boy, dressed in bright blue, playing a flute, his mother seated to his right and resting against a low stone plinth, on which sits a large urn. The mother, wearing cream, sports a bright blue hat, and sits in front of a small pond, perhaps fishing, and these flashes of blue continue into the reserves with blue flowers, and a hint of gold. In the near distance, a building in front of which sit another two figures, dressed in cream and blue. A few simple pink flowers and cream leaves grace the verso. Guard length 27.5cmThe rivet is missing. Some light staining and dirt to the verso. Old repairs to the upper sections of both guards.
Los 466
Formal Portraits: An 18th Century Ivory Fan, circa 1780, the monture pierced and carved and silvered in the ''battoire'' fashion. The upper guards are carved with a large figure. The gorge sticks are intricately carved with some worked in pairs. Others, singly, are carved with profiles near the shoulders, possibly wearing crowns. The central three sticks each feature a silvered figure, and others in pairs form large hearts. The double paper leaf is painted on an unusual background of light peach, several shades of blue for skies and water catching the eye. Centrally, a family have taken a stroll in a park, with a bridge behind them, a rowing boat passing under. The lady is seated and the young boy, dressed in yellow and blue, leans close to her as his dog jumps up, his father more occupied with offering flowers to his wife. The lady is finely dressed in a lilac gown with white petticoat, white lace at her neckline and elbow length sleeves. She holds a folding fan part- open in her right hand. The gentleman wears a short wig and a long blue jacket, over a waistcoat and breeches in strong pink. To the right of this scene is an oval portrait of a very similar lady, wearing a pink gown and white cap. To the left, an oval portrait of a gentleman in a similar wig wearing a dark green jacket and white necktie. To the extreme left, a couple attired in rich red and blue are relaxing in the countryside. To the far right, a solitary lady dressed in lilac reclines whilst reading a handwritten letter. The reserves are painted with elaborate swags of blue and pink flowers, and the top and bottom of the leaf are bordered in silver, some of the floral decoration meandering into this area. On the verso, a lady with a front lacing bodice and rather unusual hairstyle sits close to a river, accompanied by a small dog. Guard length 25.5cm Provenance:Believed to be one of the fans from HRH The Duke of Connaught sale and bears a label noting thisOne gorge stick is badly broken. Loss to some of the silvering. The leaf is stained to the verso. Some rubbing to the folds. The rivet is lacking.
Los 475
Flora and Zephyr: An 18th Century Carved and Pierced Ivory Fan, with mother-of-pearl thumb guards. The upper guards are elaborately carved with two figures and a large urn, with some light colour painting. The lower sections are more classical. The gorge is carved to the left with a lady dancing, her skirts swirling, and to the right with three more dancers, the background piercing very finely worked. The vellum leaf, mounted à l'anglaise, depicts Flora, Goddess of Flowers and of the Spring and her husband Zephyr, the Wind God, a winged cherub to the side, a lady gathering flowers with a child to the right, the verso with a simple painting of a lady with a panier. Guard length 26cmThe leaf is quite rubbed at each side. The verso is dirty and has a few stains. The upper guards are likely to be later replacements.
Los 476
Venus and Adonis: A Fine 18th Century Mother-of-Pearl Fan, circa 1760's, the monture carved, pierced, silvered and gilded, the gorge carved with medallions. The guards both have a gilded profile, birds and symbols. The monture features six sticks in three pairs which each have two carved ovals, within which are either a portrait (male to one side, female to the other), flowers, urns, or gilded cupids. The remaining sticks are classical, lightly carved in crossbanding and highly gilded. Towards the head, all sticks are carved with small circles, in which are symbols or entwined circles. The vellum leaf, mounted à l'anglaise, has a striking use of blue and pink. In a woodland clearing, Venus, wearing blue, seated in her giant scallop shell, is holding the hand of Adonis, his cloak in pink, a grey dog lounging at his side in front of a winged cherub. Two white doves flutter to the right of Venus and in the distance a dog can be seen chasing a deer. To either side of this tender scene are two gravures, to the left showing Cupid with his bow and quiver and another winged cherub, to the right a small and a larger winged cherub. The reserves are filled with flowers, from climbing blue and yellow and lilac specimens and blue carnations, to large pink roses and some in bud. The verso is most unusually painted in orange, blue and green in dashes and irregular short brush strokes, creating movement. The centre, in comparison is painted with a young woman in blue, her straw hat with a blue ribbon, relaxing with either a dog or perhaps a lamb, as her staff lays to the side, decorated with a blue ribbon. Guard length 27cmSome folds are rubbed. From the verso, some light brown staining suggests previous use of glue for some repair.
Los 478
Aeneas and the Healer: An 18th Century Ivory Fan, the guards and gorge carved, a wide band of carving and light piercing just under the leaf depicting two figures, flowers and foliage in relief, with a central shell. One guard has a metal thumb guard, the other one of mother-of-pearl. The vellum leaf, mounted à l'anglaise, shows an army encampment and Aeneas, a Trojan hero, seated outside a draped tent, his soldiers around, a winged angel above, the healer Lapis at his feet, removing an arrowhead from his leg. The verso is plain. Guard length 27.5cmThe leaf paint is rubbed. There are repairs to the leaf folds seen from the verso, and there are a few black marks.
Los 218
1935 Pictorial issue, the unique series of working Die Proofs from the Waterlow archive, twenty in all. Master Die of King's Head (as for Northern Rhodesia 1925 high values); Catboat and Booby Bird vignettes; three Map design without King's Head, undenominated, ¼d and 3d; three vertical Conch shell designs without King's Head, undenominated, 1½d and 10/- (these three cut into at right); four Catboat frame designs, undenominated, ½d, 2d and 1/-; four Turtle designs without King's Head, undenominated, 2½d, 6d and 5/-; three Booby Bird designs with King's Head, undenominated, 1d and 2/-. Each with Die number, roller number, proof number and with manuscript CANCELLED/1.11.38/RECORD PROOF (date of Dies' destruction) in red. Four with punch holes, some faults and light soiling as appropriate for these working proofs. On two exhibition pages. Ex Marston, Cooley and Maisel. For SG 96-107
Los 27
1937-51 mint and unmounted mint collection in maroon album with basic stamps, watermark varieties, lots of booklet panes, plate varieties and others. We note 10/- dark blue (three, one unmounted, one with R2/5 blot on scroll), 1d pale scarlet with unprinted band at base and in a paper-join block of four, 2½d light ultramarine with a good doctor blade flaw, 1/- broken cross, Victory 2½d in a large unmounted block with R16/1 porthole, 2½d UPU mint blocks with R14/1 Lake in Asia (variety unmounted) and R18/2 'retouched Americas' (variety unmounted), Postage Dues, German Propaganda forgeries definitives (six) unused. Also a good range of Channel Islands with imprints, Jersey ½d imperf pair (extensively hinged), and 1d chalky block of four with part imprint (light hints of foxing)
Los 47
1948 6d Olympics bottom three rows of sheet from Cyl. 9 stop, showing 'HLP' retouches below R20/4-6, unmounted mint, with minor bends affecting the left-hand block of six; also a very scarce corner block of six showing 'HLP' not retouched, unmounted mint but with some light foxed spots on reverse, and a 3d corner pair with R20/1 boil in ear and 20/2 Crown flaw. SG 496a, QCom 16a, b
Los 693
1929 cover to UK carried on board the 'Duchess of Athol', with a good strike of the Type IV cachet in magenta at top right, overstruck on arrival by London F.S. wavy-line PAQUEBOT cancel. 1½d F.B. tax marking, also G.B. ½d and 1d Dues cancelled on arrival at Painswick on March 19th, some light staining and the backflap missing. Ex Jack Cole
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534325 Los(e)/Seite