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Darts Maureen Flowers signed 10x8 colour promo photo. Maureen Flowers (born 5 December 1946 from London) is a retired English professional darts player who was in the 1980s the number-one female darts player. 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

Football Harry Maguire signed England replica shirt size large. Jacob Harry Maguire (born 5 March 1993) is an English professional footballer who plays as a centre-back for Premier League club Manchester United and the England national team. 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

A STAINLESS STEEL AND DIAMOND-SET QUARTZ CHRONOGRAPH WRISTWATCH, BY TECHNOMARINE, LIMITED EDITION FOR THEO FENNEL, of quartz movement, pink dial with Arabic numerals, luminous hands, 3 subsidiary dials, tonneau shape case with diamond-set bezel, 4 screw case back, dial, case and bracelet signed, on leather brown strap, diamonds approx. 2.50cts total, case width (including crown): 4cm, length 24.2cmFounded in 1997 by Franck Dubarry, TechoMarine as a contemporary sports watch manufacturer, the company established itself in the fine jewellery and watches market with the introduction of the Techno Diamond in 1999. They soon became a highly sought after brand, attracting the attention of important clients, who were drawn to the clever combination of a practical sports watch with a fun yet elegant design. Condition Report: non running - possibly need new battery - has not been opened

An impressive cased George III silver-gilt twin handled cup and cover Benjamin Smith II & James Smith III, London 1810, the cup of traditional Neo-Classical urn form with a cast foliate border, two high relief Classical Bacchus masks to either side in a swag border of applied vines, with leaf-clasped fluted handles and applied acanthus leaves to the lower half of body, the stem with an everted gadrooned border to a circular foot with a flat chased foliate border; the pull off cover with a gadrooned border and a small central pull off lid with a leaf clasped emerging bud finial, presented in original fitted red leather case(Height: 34cm, weight: 104.8oz)Provenance: The cup was presented to William Jeffrey Lockett (1768-1839) a lawyer who received the cup and cover in lieu of payment for an apparent indiscretion of the Duke of Devonshire, and thence by descentFootnote: Note: By 1800 the vast wealth amassed from the Industrial Revolution had created a wealthy emerging middle class, this prosperity is clearly illustrated with the silver commissioned during this period. Requests for huge dinnerware services to presentation holloware were not unusual and highlight how this success was enjoyed. This prosperity was not only centred around London but was shared with emergent cities such as Glasgow, Sheffield and Birmingham and allowed silversmiths such as Benjamin Smith and his brother James to really make a mark for themselves as skilled silversmiths and chasers. Of the two brothers, Benjamin was the more prolific, born in Birmingham in 1764, he began his carrier with Matthew Boulton, before moving to London and later embarking on a partnership with his friend and silversmith Digby Scott in 1802. Their workshop in Greenwich supplied Rundell & Bridge, where they would have worked alongside eminent silversmith Paul Storr; many believe their work comparable in quality to his. His collaboration with Scott was a particularly fruitful one, it was at this time they were commissioned to create ‘The Duke of York Baskets’ for Prince Frederick, Duke of York and Albany (1763-1827), the second son of George III, previously exhibited in the Powerhouse Museum in Australia; and also the Jamaica Service, created in 1803 for William IV (1765-1837), then Duke of Clarence, still in the Royal collection today. This was no doubt facilitated by their connection with the Crown jewellers Rundell & Bridge, who were the retailers responsible for supplying all banqueting plate and jewellery of the Royal family. It would seem that Benjamin preferred to work in partnership with other silversmiths, rather than independently, however these collaborations were always short lived, though why is unclear. By 1809 he had left Scott and joined forces with his brother James; and though this only lasted until 1812, it was during this time that this this impressive cup and cover were commissioned. They may well have continued to produce for Rundell & Bridge, but regardless their craftsmanship remained impeccable, and their pieces typify the style of the period. In the wake of George III’s failing health and as he was deemed unfit to rule, the Prince of Wales succeeded as Prince Regent in 1811 until his father’s death in 1820. This period offered new beginnings with more influences from the continent and the French Empire style filtering through. The swags of applied fruiting vines, foliate motifs and Bacchus masks are a clear nod to the emerging Regency style, while the symmetry and sumptuous opulence of the piece have their origins in the French influence. For a similar example, see Christies 10th June 2010 auction, Centuries of Style: Silver, European Ceramics, Portrait Miniatures and Gold Boxes, lot 352 for The Doncaster Races Cup, 1805, also by Digby Scott & Benjamin Smith. This cup and cover with the presentation leather case is a rare example of not only an eminent silversmithing family but that of a new and exciting period where wealth was to be shown in the home with great commissions of silver and even grander examples of silver-gilt ware.

Hobinjatovo Henintsoa, "The Savika", unframed oil on canvas, 130 x 90cm, c. 2020. A Malagasy custom practiced especially by the Betsileo (southern coast of Madagascar) of the brave men who fight with the ferocious zebus, a spectacular fight against the zebus showing the fighting spirit the bravery and the recognition of the men especially towards the young girls. Shipping to the UK £125.

Marek Ja?kowiec, "My new house", watercolour and ink on paper, 55 x 56cm, c. 2020. The painting from my engaged art was part of „The Lost - Lacuna Festiwal’’ which was dedicated to our influence on environment, changes and our future. Inspired by the song „The Fall” from the English rock band whith the same name is a tribute to the band lider and poet Mark Edward Smith who passed away recently. Sun cover by smog and industrial landscape with woman and a cat on balcony makes clear message. Located in Sweden, UK delivery £70.

Marek Ja?kowiec, "Cosmos", watercolour and ink on paper, 50 x 70cm, c. 2021. Painting from the „Cosmos’’ series in wihich I combine different painting technique with my own technique. Woman on this painting is a space traveller who symbolie inspiration, life and future. The cosmos is the infinite concept, life and death, time, religion and other civilizations – the most important and basic mysteries for us. Located in Sweden, UK delivery £70.

Teresa Wells, "Eve Liberated", bronze on Welsh slate, 38 x 18 x 9cm, c. 2018. The fool is one who believes that joy can be found in someone else. As we grow we change. We develop new hopes and ambitions as the circumstances of our lives alter; the responsibilities lessen as children become independent and we reflect. Relationships change with time and if not strong enough fall apart due to neglect. This piece (either sold separately or as a pair) shows division. The stances reflect independence from one another, bold and strong, yet the space between them and the distinctive change of patina reflect separateness. UK delivery £75.

Pedro de Vargas (Montilla, Córdoba 1553 - activo hasta 1596)"Immaculate Conception, Mary crowned by angels" Oil on canvas 152 x 123 cm.  Picture painted at the time that he was living in Cuzco, Peru. A painter from Cordoba, who, like many other painters from the South of Spain, although most of these came from Seville, went to live in Peru, where he gave training in painting to indigenous artists.  The painting comes with a certificate by Professor Alba Choque Porras, dated in Lima on 5th April 2021. The extensive study notes, among other points, that: “This painting depicts the theme of the Coronation of the Virgin Mary, but under the title of the Immaculate Conception.  Pedro de Vargas was undoubtedly inspired by a 1574 print by Cornelis Cort which depicts the Coronation of the Virgin Mary, following a painting by Federico Zuccari… But additionally,, in this painting the Virgin Mary wears the characteristic garments associated with the Immaculate Conception, a white tunic and a blue cloak.  The cloak in the painting maintains the parameters of the engraving meticulously by including the embroidery at the edges of the fabric, which the artist has gilded. This iconographic theme is what is most remarkable.  The style of the painting is mannerist, with the lengthening of the figures, the twisting and positions of the hands, necks and mannerist gestures and postures.  Mannerism was still active even after the first decades of the 17th century in Latin America.”  Professor Alba Choque Porras continues in her description of the painting presented here: “In this study we attribute the painting to the artist from Cordoba, Pedro de Vargas, due to its technique, characteristics, and the treatment of the figures of the characters, comparing them with other paintings which have been proven to be by the artist. Pedro de Vargas was considered to be a master artist for the Jesuit order, and Bernardo Bitti’s most important collaborator in Peru. He arrived in Lima in 1575 where he joined the Society of Jesus at the age of 21, when he was already a professional painter.  He worked with Bitti in Lima and Cusco, and with him he moved to Juli (Puno) on Lake Titicaca.  He also spent time in Potosi and Quito. He had a restless and dissatisfied spirit, which is why he returned to Spain in 1596 and left the Society.  His artistic contribution fits within the mannerist style, his figures are slim and very beautiful. His paintings are often cited in the “Historia de la Pintura Cusqueña” (History of Cusco painting) by José de Mesa and Teresa Gisbert (1982), where he is mentioned in the 1576 Catalogue of the Jesuit Order as: “a novice of the age of 22, Diocese of Cordoba, he is a painter and gilder.” From 1577 for a period of eight years, he worked alongside Bitti, not only on paintings but also making the altarpieces, reliefs and sculptures for the churches of the order.  Gisbert also notes: “It is possible that [Pedro de] Vargas left some paintings in the Cuzco area that have not yet been identified.”  From that period, a painting of Saint Barbara kept in the church of Martín de Tours de Huarocondo, in Anta, Cusco is attributed to Pedro de Vargas. in 1587, after finishing the mannerist altarpiece for the Society of Jesus (now located in the collection of the Cusco Regional Museum) he returned to Lima and then, under the orders of the Superior General Atienza, he left for Quito, forming part of the second expedition of the Jesuits to this city, which at that time belonged to the Viceroyalty of Peru.  There is information about what he was doing circa 1591 due to the art he left in the city.  There is later evidence of Vargas’ activity in Potosi (Bolivia) circa 1592.  After his time in Potosi, he must have gone to La Paz, where he left an important triptych reredos of the “Madonna and Child surrounded by venerable Jesuit saints” which we include in the analysis to reveal the similarities with the painting in this lot.  Vargas returned to Lima and in 1593 he turned forty, having spent nineteen years as a Jesuit.  In 1596 he left the Society of Jesus and went to work in Trujillo (Peru) and in Quito, before returning to Spain.Finally, the study compares this painting to others by Vargas: “We mention the “Madonna and Child surrounded by venerable Jesuits” from his time in the city of La Paz, Bolivia (which at that time also belonged to the Viceroyalty of Peru).  The central detail of the reredos depicts Mary with very similar features to those in the Pedro de Vargas painting we are analysing, both in the hair and the poses as well as the viewpoint from below.  Moreover, the gesture of the hands which can also be appreciated in the accompanying saints’ and the child’s hands in the Potosi reredos, are characteristic of Vargas. Also, Vargas’ style is also recognisable by relating it to the Saint Barbara (dated approximately between 1577 and 1587) which he produced while he was in Cusco, in which the gestures of the hands and the saint’s facial features are clear to see." 

Andres Flores. Colonial School. Valle de Mexico. 18th century.Andres Flores. Colonial School. Valle de Mexico. 18th century. "Martyrdom of Philip of Jesus and scene of the baptism of Jesus" Oil on canvas with gold highlights. Signed and dated 1752. 89 x 87 cm. Philip of Jesus, (whose secular name was Felipe de las Casas y Martín) (Mexico City, New Spain, 1572 - Nagasaki, 1597) was a Franciscan friar of New-Hispanic origin who was martyred in Japan. He was the first native of Mexico to be canonised and the first Mexican martyr. With the inscription: "A devosion de Dn Jua Felipe Año d 1752. Andres Flores Fesi". Painted in the form of a diptych. Apparently, connecting two apparently unrelated scenes in one artwork is typical of this area.

Bartolomé de Castro (Artist working in Palencia at first half of 16th century)Bartolomé de Castro (Artist working in Palencia at first half of 16th century) Saint Blaise resuscitates a dead man Palencia, circa 1500-1525 Oil on panel 74 x 56 cm This is a previously unknown painting by the artist Bartolomé de Castro, a painter who was active in the Palencia area in Spain in the first quarter of the 16th century. The painting depicts a miracle from the life of Saint Blaise, in a style which leads us directly to the master, who we know from different signed paintings which have survived until the current time, such as a Saint Dominic in the Lázaro Galdiano Museum (Madrid), a Saint Onufrius in the Masaveu collection, and a Madonna and Child crowned by angels from Villoldo (Palencia), which is now in a private collection. The panel formed part of an altarpiece from which at least one other compartment is known, Anne and Joaquim’s embrace at the Golden Gate, which confirms that the original set combined hagiographical scenes with others dedicated to the Virgin Mary. Additionally, other panels are known that have the Virgin Mary and Christ as their themes, which are also in private collections and which could have formed part of the same reredos. The geographical provenance of the paintings by Bartolomé de Castro (Villoldo, Requena de Campos, Paredes de Nava, Lantadilla and Becerril de Campos) confirms that he must have trained and developed his career in Palencia, being directly influenced by Pedro Berruguete, whose paintings he appears to know first-hand. Provenance: Private collection, Switzerland. Reference Bibliography: PILAR SILVA MAROTO, “En torno a Bartolomé del Castro”, en Homenaje al profesor Hernández Perera, Madrid, Universidad Complutense de Madrid, 1992, pp. 437-452. ISABEL MATEO GÓMEZ, “Bartolomé de Castro: formación y estilo”, Boletín del Seminario de Estudios de Arte y Arquitectura, 68, 2002, pp. 199-224

Maestro de Becerril. Juan González de Becerril (Palencia, Primer cuarto del siglo XVI)Master of Becerril. Juan González de Becerril (Palencia, First quarter of the 16th century) "Scene of the life of Saint Peter: betrothal of the Catholic Monarchs" Oil on panel. 119 x 88,5 cm. In the scene, a royal couple, wearing crowns on their heads, kneel before Saint Peter accompanied by Saint John the Evangelist. The scene takes place in a paved, palatial space, a doorway opening on to the room in which a crowned Saint Peter, or Pope, is giving blessing to the couple. We believe the subject is the betrothal of Queen Isabella I of Castile and King Ferdinand II of Aragon, who were given papal dispensation by Pope Borgia and are being blessed by Saint Peter. The scene is a recreation of the private betrothal of the Catholic Monarchs in the palace of the Viscount of Altamira in Valladolid. With regard to the painter, there is no doubt that this it is derived from the art of Pedro Berruguete, because of the taste for making the viewer see the scene through the window, among other reasons. Influenced by Juan de Flandes and Pedro Berruguete, who were settled in Palencia, two painters appeared: the Maestro de Becerril and the Maestro de los Santos Juanes. Specifically, the Master (or Maestro) of Becerril can be identified, as Mateo notes, as, Juan González de Becerril, Pedro Berruguete’s son-in-law, who worked in Castile, and was influenced by his father-in-law and Juan de Flandes, and then in Toledo, being influenced by Juan de Borgonya, and especially by Correa de Vivar The painting comes with a certificate by Professor Isabel Mateo.

Colonial School. Early 18th century.Colonial School. Early 18th century."Our Lady of Valvanera"Oil on canvas. 62 x 46,5 cm.The iconography comes from the anonymous engraving dedicated to the Captain General of Sea and Land Iñigo de la Cruz Manrique de Lara Ramírez de Arellano (1673-1733). In it one can observe the Virgin Mary’s clothing, the position of the tree, the chest in the foreground and the eagle of the throne, among other details. Before a large tree trunk, the Virgin of Valvanera rests on her throne – the patron of La Rioja— she is richly dressed, with the Child on her knees and a fruit and a flower in her left hand. According to legend, a sinner who repented and became a hermit found the image of the Madonna and Child inside the trunk of an oak, alongside a honeycomb and a spring. He built a hermitage in the place which became a monastery after a time. This painting must be related to the similar painting of Our Lady of Valvanera which presides over the main altarpiece at Saint Maron Cathedral, currently a Syriac Maronite church, but which was the Parish Church of Our Lady of Valvanera until 1922, and previously was the ‘Combento de Balvanera’ (Valvanera Convent). Carved, polychromed and gilded period wooden frame.

Colonial School. Cuzco. Peru. 17th century.Colonial School. Lima. Peru. 17th century. "True effigy of Señor de Huantamanga" Oil on canvas. 93 x 80 cm. It has two small tears. There is a handwritten inscription which notes that the Bishop of Lima granted indulgences to anyone who prayed to the image.

Attributed to Antônio Francisco Lisboa, "Aleijadinho". (Brazil, 1730 / 1738 - 1814)Attributed to Antônio Francisco Lisboa, "Aleijadinho". (Brazil, 1730 / 1738 - 1814) "Adam and Eve" Pair of carved and polychromed wooden sculptures. 84 x 50 x 45 cm. and 87 x 47 x 32 cm. Scene from the iconographic cycle of the story of Adam and Eve, told in chapters 2 and 3 of Genesis in the Old Testament. Eve stands, resting against the tree, holding the apple of original sin in her right hand and bringing her left hand to her chest as she slightly leans her head in a gesture of heaviness because she repents for the sin she has just committed. Adam begs for forgiveness with his look, as he raises his left hand. The scene depicts the shame of Adam and Eve, who cover themselves with leaves to hide themselves from God’s eyes.

Lower part of an "enconchado" cupboard. Colonial School. Mexico or Peru. 18th centuryLower part of an "enconchado" cupboard. The interior is made of red cedarwood and the exterior is covered in tortoiseshell, mother of pearl and ebony. Colonial School. Mexico or Peru. 18th century 133 x 117 x 65 cm. Important example of Peruvian “enconchado” furniture. As is habitual, it is completely covered in mother of pearl and tortoiseshell decoration, forming a type of flower and some geometric motifs which have been skillfully made very similar to each other. There are examples that can be used as a reference for the cataloguing of this piece in: The Convent of Buena Muerte in Lima, where a complete cupboard is kept, in the Pedro de Osma Museum in Lima, where there is a magnificent example, and in the Soumaya Museum in Mexico City, where there is a magnificent desk with cabinet. With regard to the origin of this type of furniture, which has the same origin and decoration as this one, it is very interesting to read the article by Professor Gustavo Curiel, published in the Mexican Institute of aesthetic research magazine "Imágenes", (http://www.esteticas.unam.mx/revista_imagenes/imago/ima_curiel05.html) about the analysis of a magnificent dresser which is kept at the Meadows Museum in Dallas : “With regard to the place where this furniture originated (characterised by rich tortoiseshell inlay, mother of pearl and silver thread) it has been repeated, without any kind of foundation, that this type of furniture was made in Mexico City, in the Philippines, on the Indo-Portuguese coast and in continental Asia. Recently, Jorge Ribas has confirmed, after meticulous study and many comparisons, that this type of furniture was made in the Viceroyalty of Peru. This very singular style of production of alt-luxury furniture continued until the 19th century. On the other hand, the evident Asian influence on the decoration of the dresser should be highlighted. There are Korean flowers and other elements derived from the repertoire of Asiatic ornamentation.” The quoted article by Professor Curiel continues: “In the decoration we can make out shapes that are reminiscent of Korean flowers, that Jorge F. Ribas has related to lacquered Korean pieces of the Joseon Dynasty. These same floral motifs are present on inlaid boxes and are, one can affirm, the “signature” of one particular workshop’s creations, which indicates that there was heavy activity in the workshop which managed to make these distinctive decorative forms which have endured over time.” Jorge Rivas, who Professor Curiel alludes to in his text, is currently the curator at the Frederick and Jan Mayer Center at the Denver Art Museum, and head of the Latin American Art department.

Corgi 007 The Directors Cut models, comprising CC04512 Lotus underwater (The Spy Who Loved Me), window boxed; CC05104 BMW 750I (Tomorrow Never Dies), window boxed and CC07503 Aston Martin V12 Vanquish, window boxed; Corgi 007 The Definitive Bond Collection, comprising 02101 Ford Mustang Mach I (Diamonds Are Forever), window boxed; 05101 BMW 750i (Tomorrow Never Dies), window boxed; CC04401 Moon Buggy (Diamonds Are Forever), window boxed; 04901 BMW Z3 Roadster (Goldeneye), window boxed; 04801 Aston Martin Volante (The Living Daylights), window boxed (2); 04601 Gyrocopter (You Only Live Twice), window boxed; 05701 Mercedes Saloon (Octopussy), window boxed; 04305 Aston Martin D.B.5. (Goldfinger), window boxed; 65102 Toyota 2000GT (You Only Live Twice), window boxed; 05001 BMW Z8 (The World Is Not Enough), window boxed; 04701 Lotus Esprit Turbo (For Your Eyes Only), window boxed and 65002 Lotus Espirit (The Spy Who Loved Me), window boxed (16)

Peter Williams (American 1934-2018)Highfield Stables at Bedford House Stables, NewmarketOil on canvasSigned (lower left)35.5 x 46cm (13¾ x 18 in.)Provenance:Private Collection of Nick Robinson, founder of Kennet Valley Thoroughbreds, a pioneer of shared racehorse ownership in the 1980's and esteemed publisher of horseracing books and magazines.Bedford House and Stables (formerly also including Bedford Cottage, now Rockfield House) were originally within the same small estate as Bedford Lodge (not Bedford Lodge Hotel) which itself was built circa 1820 for the sixth Duke of Bedford as his Newmarket residence. Its appears that the seventh Duke built Bedford House and Stables, for the stables are considered noteworthy and described in Thomas Knightley's Stable Architecture, published in 1862. After the Duke's death in 1861, the whole estate was purchased by Sir Joseph Hawley, who sold it on to the Duke's former trainer, William Butler. Butler demolished Bedford Lodge's original stabling and sold the Lodge to Joe Dawson who build the main range of stables adjoining it (now Highfield Stables) in 1864. 

‘Soldier Boy’ an early German teddy bear circa 1910, with blonde mohair, black boot button eyes, pronounced clipped muzzle, black stitched nose, mouth and claws, swivel head, jointed elongated limbs with felt pads, card lined feet, hump, inoperative growler and copper and brass bugle hung around neck —26½in. (67.5cm.) high (pads repaired, thinning to chest, slight general wear and nose/mouth stitching expertly replaced) - when this bear was being restored the two sheets of newspaper were found scrunched up inside the legs, both Birmingham Gazettes dating from 1918. Amongst the many reports there is an obituary for a Lance Corporal William Broadfield of Ladywood, Birmingham who died of his wounds on 9th August 1918; is it possible that this bear has something to do with this family? If only this bear could tell us. Soldier Boy appears on page 136 of Miller’s 'Teddy Bears a Complete Collector’s Guide' and in the 1999 Diary and stars as January in Sue’s 1999 calendar (the book, diary and proof of calendar covers is included with this lot) by Sue Pearson

‘Joan’s Teddy Bear’ an early British teddy bear 1916, with golden mohair, replaced button eyes, pronounced clipped muzzle, black stitched nose, mouth and claws, swivel head, jointed elongated limbs with cloth pads, the feet pads card lined and narrow, hump and inoperative growler —20in. (51cm.) high (some general wear) - Sue bought this bear directly from Joan Haggard, who had owned him all her life. It comes with a lovely copy of a photograph of Joan seated with her bear and dolls, his history and various correspondence from Joan to Sue - “A Teddy Bear from World War One - Teddy arrived quite unexpectedly, not for Christmas nor my birthday, but on an ordinary September day in 1916. Opening the enormous parcel, and seeing his friendly face gazing up at me, I was completely entranced and think of nothing else. My mother, who had other things on her mind, was glad of this for it was the day my father was due to leave for active service abroad, and the splendid bear had been sent to me, in a timely and kindly gesture by the Colonel of his Regiment. Teddy and I bonded immediately and we did everything together. My mother and I stayed for awhile in East Anglia, and when we were woken up at might by Zeppelin air raids, which were fairly frequent near the East Coast, he always took cover with using the cellar so that I could spend my time reassuring him there was nothing to be afraid of. Two years later, when the war over and my father had come home, I decided it was time for Teddy to marry and settle down. I chose my favourite doll for his bride. Then I press-ganged the two little boys next door to help with the ceremony. One of them officiated as the vicar, wearing his shirt back to front as a surplice and a black tie across his shoulders. His brother gave the bride away. Teddy proudly wore medal ribbons on his chest and carried a minute ring specially made of gold wire to fit his bride’s tiny porcelain finger. The vicar valiantly stammered and stumbled through the whole of the marriage service with great fortitude. Then the bride and groom were showered with home-made confetti and driven away from their honeymoon in the dolls’ pram solemnly pushed by the ‘bride’s father’. After which the guests enjoyed a superb wedding breakfast. As I grew older I was encouraged to give away my toys to children less fortunate than myself. One by one I bade farewell to my dolls, but nothing would have induced me to part with my bear. He lived through the Second World War with me, still wearing his First World War medal ribbons. We were bombed again, more frequently and severely this time, but fortunately neither of us came to any harm. Now that Teddy has retired to civilian life he no longer wears his ribbons, but sports a blue satin cravat which also serves to support his slightly dropping head. It is 82 years since we first met. We are both slightly worse for wear but still together, and happy to be so. Joan Haggard, 24th January ’98" - from the private collection of Sue Pearson

'Johnny' Teddy Bear the childhood toy of Grace Tyler,   an early German teddy bear in World War One uniform, with golden mohair, black boot button eyes, black stitched nose, mouth and claws, slotted-in ears, swivel head, jointed limbs with felt pads, slight hump and detailed home-made khaki uniform jacket and cap —9¼in. (23.5cm.) high (slight wear, slight darn to right cheek and neat repairs to pads) - a letter from Grace accompanies this bear “A small brown teddy bear was sitting in a toy shop window in Torquay & seen there by a six year old girl who wanted him very much! But she had not 2/6 which was his price, a lot of money to her. But luckily she was staying with a kind cousin, who heard about the lovely Teddy and promptly produced the half-crown much to her mother’s dismay! So she was taken the next day to the shop and Johnny Teddy Bear came to his new home in Cornwall! He had 11 brothers & sisters and was never lonely again. They had bear tea parties on the lawn and went climbing the rhododendron bushes with their owner and had many happy adventures. Now he is 84 years old (believed to bought circa 1911) so he likes a quiet life and I am sure he will be happy!" Grace Tyler - this bear appears in Sue Pearson’s A Collector’s Guide to Teddy Bears page 169 (and is sold with a German version of this book), Sue’s 1997 diary and April 1996 calendar (and is sold with a copy of both), living through the 1st World War it was very typical for a young girl to dress a bear in the uniform of her father or brother, but this exact information is not known.

Valentina the childhood teddy bear of Doris Willis circa 1910, an early Strunz teddy bear with blonde mohair, black boot button eyes, pronounced muzzle, black stitched nose, mouth and five claws, swivel head, jointed limbs with replaced felt pads, card lined feet, hump, inoperative growler, grey dress with lace trim, underclothes and leaf shaped ‘Mother’ brooch —23½in. (60cm.) high (thinning and wear, a little balding and black stitching replaced) - a photograph of the original owner in later life holding Valentina with a note ‘Mrs. Doris Spooner, born in 1906 has had this bear for 74 years. It was bought for her by her father George Edward Willis who was a fish carter on Grimsby Docks. The dress and pinafore (no longer with her) were made from alpaca dress material by her grandmother'. This bear appears on page 7 of Miller’s Teddy Bears A Complete Collector’s Guide by Sue Pearson (and is sold with a copy) and pages 160 and 168 of Bears by Sue Pearson

The Three Musketeers the childhood toys of Esme Susan and David, ‘Old Ted’ an early Steiff Teddy Bear, circa 1907, with golden mohair, black boot button eyes, pronounced clipped muzzle, replaced black stitched nose and mouth, swivel head, jointed elongated limbs with replaced felt pads, hump, inoperative growler and FF underscored button —24in. (61cm.) high (three patches to muzzles, bald and stained top of head, some balding to right arm and front, general wear); a late 1930s Alpha Farnell teddy bear with golden mohair, orange and black glass eyes, pronounced muzzle, re-stitched black nose, mouth and claws, swivel head, jointed arms with oil-cloth pads and black stitching coming slightly onto pads, slight hump and inoperative squeaker —19in. (48.5cm.) high (most of bear’s muzzle replaced, ears chewed and a few small bald spots); and ‘Wowie’ a British white terrier nightdress case with black mohair ears with zipper down back - sold with two letters from Esme Arwall, a reprint of a photograph of Susan and the Steiff bear when she was a toddler circa 1907, two photographs of Esme in later life with Teddy and Sue Pearson during the handing over of the Three; a Christmas card sent to Old Ted from Esme later the same year - Old Ted was originally given to Susan who is seen sitting with him in the photograph, sadly she died shortly after this photo was taken and then was looked after by Esme who was born in 1909. She grew up in the Liverpool area and Old Ted was a lifelong companion. Even during World War Two, when Liverpool was heavily bombed, Old Ted was a great comfort for the frightened children in the shelter. It was during World War Two that the Farnell and Wowie were added to the group, Esme’s neighbour David was called up and joined the R.A.F., one day he came to Esme’s house on his motorbike bring this bear and asked Esme to look after him, sadly he was killed on a raid over Germany and Esme had kept the three together until she trusted them to Sue Pearson’s care. There is some confusion over some of Esme’s story, as during the war, Esme would have been 29 to 35 and if this Farnell bear was David’s as a child he would have been too young to fight in the war, I wonder if he as a teenager had a bit of a crush on Esme and decided to buy her a bear as love token? - the story of The Three Musketeers appears on pages 18, 19 and 145 of A Collector’s Guide to Bears and Bears by Sue Pearson; and comes with a copy of the second book

An early Steiff teddy bear with provenance circa 1908, with blonde mohair, black boot button eyes, pronounced muzzle, black stitched nose, mouth and claws, swivel head, jointed elongated limbs with felt pads, hump and inoperative side-squeaker --9½in. (24cm.) high (bald spots, wear and thinning and pads re-covered); this was the childhood bear of Violet Dalrymple Meeke who was born in Dublin in 1905 and comes with a copy of a photograph of his owner and her sister

A very rare Steiff hot-water bottle Teddy Bear circa 1907, with golden mohair, boot button eyes, pronounced clipped muzzle, swivel head, jointed elongated limbs with felt pads, black stitched claws, hump, front opening with brass hooks, lined in brown cotton with cotton wadding insulation, original tin canister with screw cap at each end and small size FF underscored button in left ear --20in. (51cm.) high (bald strip on right hand about 2in x 1in, going into a hole, hole in pad same hand pad, nose stitching missing, probably muzzle re-stuffed, slight thinning to front of body, dusty top of head, slight general thinning and wear, two other small holes in pads and lace fastening a replacement); sold with an old leather suitcase where this bear has been stored for many years alongside the two previous lots Bonzo and the Man from Mars, a tag and written inside is 'Mrs Marshall and E.J. Marshall, 47 Croft Lane, Bromborough, Wirral, Cheshire - the vendor inherited these toys from his grandmother, but it is believe it from a previous generation, sadly this information or who the Marshalls are, is not known - 1907 and 1908 were cold years in Europe, so perhaps the idea of a hot-water bottle teddy bear was inspired by this, for some reason they were just not a big seller and between the years 1907 and 1914 only 90 examples were ever made. Perhaps they were expensive to produce and priced too highly compared to standard bears or possibly could they even have been considered dangerous? I have sold three of these hot-water bottle bears before, the first at Christie's South Kensington on the 3rd December 2002 for £32,900, the second at CSK on the 4th December 2006 for £31,200, then this same bear was sold again from the Paul Greenwood Collection at CSK for £20,250 and the last example sold in these rooms on the 6th November 2014 for £15000.

A G & J Lines Brothers dolls' house circa 1919, with brick paper façade, central green painted front door, five tinplate windows with green shutters, paper tiled roof with two large stippled chimneys, front opening to reveal four rooms, staircase, original papers, fireplaces and dresser --29¼in. (74.5cm.) high - the childhood house of Margaret Farmer of Ightham Kent, she was given this house by her grandfather James Burges who was married to Agnes Quarrier, daughter of William Quarrier who founded 'Quarriers' in the 1870s

A colonial cabinet on stand, Java, end 17th century.Provenance: ex collection Beltman, The Hague; René Wassing (Purwakarta 1927 - The Hague 2011). Wassing was a well-known anthropologist who went to former Netherlands New-Guinea in 1961 as a civil servant. There he accompanied Michael Rockefeller on his expeditions in the Asmat area to collect for the Museum of Primitive Art in New York. Michael was the son of The Republican politician and billionaire Nelson Rockefeller. The last expedition became world news when the catamaran on which they travelled capsized. Michael Rockefeller took the decision to swim ashore in order to fetch help, but disappeared. Wassing returned to the Netherlands end 1962 and became curator of the Oceanic dept. and assistant director of the Museum of Ethnology in Rotterdam till 1988.H. 196 cm. W. 140 cm. D. 55 cmCondition report available onrequest.

Fu Yaosheng (1936-2003)A set of four polychrome porcelain plaques in a wooden frame. Each panel depicts one of the four famous beauties of ancient China. Marked Jingdezhen. Signed and dated, Fu Yaosheng, 1985. China. Provenance: bought in Hong Kong, 1991. Background information: Fu Yaosheng, senior ceramic and porcelain artist, member of the China Artists Association and China Arts and Crafts Association. Skilled in various painting techniques, not only blue and white, but also color glaze and underglaze painting. He has also done in-depth technical research on famille rose, new colors and other overglaze paintings. The Japanese newspaper 'Yomiuri Shimbun' once introduced Fu Yaosheng's artistic creations as 'Chinese Treasures'. His achievements are listed in the 'Dictionary of Contemporary Chinese Painters' and 'Who's Who in Ceramic Artist' and other documents.H. 74.5 cm. W. 21.5 cm.Condition Report: http://www.zeeuwsveilinghuis.nl/notices

Prince Rupert of the Rhine 1619 - 1682, an autographed letter, Whitehall 30th September 1662, signed ' most faithful friend and servant, Rupert ' to an unnamed peer recommending the bearer Sir William Carr who requires his assistance, with contemporary endorsement verso together with a fine vellum document signed Rupert (large signature at the foot) appointing Richard Conquest Colonel of One Regiment of Cuirrasiers (papered with holes behind), 20th October 1642

An autograph letter signed by James Graham Montrose, one of the great military heroes of Scottish history, on a single sheet dated 7th June, 1639 to the Laird of Glenorchy, ' My honour and loving cousin ' requesting him to accompany the Earl of Atholl who has been desired ' to bring with him all the Highland mend he can get for this expedition ............', events subsequently lead to Montrose's execution in Edinburgh on 21st May 1650, an impression of an armorial seal in dark wood wax together with a typed translation

American interest - two volumes (three volumes in two) ' Catching a Tartar ' by G. Webb Appleton, published by Samuel Tinsley and Co., London 1879, Appletons second book - he was an American journalist who worked at one time for the ' New York Times ', scarce title, together with also an American author, two volumes ' Romantic Love and Personal Beauty ' - their development, casual relations, historic and National peculiarities, by Henry Fink, published by Macmillian and Co, London, 1887, Fink was a musical editor for the ' New York Evening Post '

Isherwood, Christopher"Goodbye to Berlin", The Hogarth Press 1939, front hinge cracked, boards stained, red titles, backstrip faded, facsimile dj,  with a typed page "The Berlin Stories, the Last of Mr Norris Chapter 1, "My first impression was that the strangers eyes were of an unnaturally light blue ...",  signed at the bottom of the page 'For Joe from Christopher Isherwood, October 8th 1980'.  It would be nice to think that 'Joe' was Joe Mastroff who was instrumental in creating the film Cabaret, loosely based on the Berlin stories, together with an invoice dated 9/15/2004 of the typescript purchased from the Gallery of History in Las Vegas, Nevada (3) BOOKS NOT COLLATED UNLESS OTHERWISE STATED, PLEASE ENSURE YOU ARE SATISFIED BEFORE YOU BID, 

Quantity of ephemera to include various Ordnance Survey and other maps, various travel guides to include North Wales, Cornwall, Devon, cooking brochures and recipes, childrens 'School Friend' annuals, Owners Workshop Manual, other motoring and touring ephemera, De Bretts Cricketers Who's Who with various signatures to include Geoffrey Boycott, Richard Ellis, David Lloyd, Peter Granville-Lee, 'By the King a Proclamation Revising the List of Articles to be Treated as Contraband of War' (2 boxes) 

Sporting interest: various prints and coloured engravings to include 'Fencing Jerry's Admiration of Tom in an Assault with Mr O'Shaunessy at the Rooms in St James', bowling, horse racing, 'A Sketch on the Road' and cricketing illustration 'The London Daily Paper having prophesied the downfall of English sport owing to a reverse at Sidney, the British line who is keeping Southerners in', 'The cricketers at Mitcham, plays a single wicket match with the Australian kangaroo on Mitcham Green' (6)  

Assorted volumes to include Fitzgerald Percy , Luker W. Jr. (ills) " London City Suburbs As They Are Today" The Leadenhall Press 1893, numerous ills throughout, name on title page and inside front board,bloue cloth, gilt titles, Roscoe Thomas " The Tourist in Switzerland and Italy" illustrated from Drawing by S. Prout Esq. Robert Jennings 1830. engraved half title, engraved frontis with tissue guard, engraved plates with tissue guards. front hinge cracked, full leather, gilt titles, various volumes on Devon to include  Devon by Lady Rosalind Northcote, Devon by Arthur Mee,  Devon by W G Hoskins etc," Who's Who 1979", The Army and Navy Co-Operative Society Price list 1925-6,  etc. ( 1 box)BOOKS NOT COLLATED UNLESS OTHERWISE STATED, PLEASE ENSURE YOU ARE SATISFIED BEFORE YOU BID

String, beads and agapanthus roots pieces(2) Comment: These two are nursing necklaces, worn by mothers who are breastfeeding their babies, in a sense they are an outward sign of her status hence are primarily white. Now rare. height both 30 cm PROVENANCE Current owner purchase from Meneghelli in the early 1990s

Walter Whall Battiss (South African 1906 - 1982) SNOW IN THE FREE STATEsigned; signed, titled, dated June 1959, and inscribed with a message from the artist on the reverseoil on wood panel20,5 by 30,5cmPROVENANCEGifted by the artistFor our June 2021 Auction we are delighted to offer a Walter Battiss painting that has never come to market. This delightful work was gifted to a fourth year student at Pretoria Boys High School in 1959 for looking after Battiss' class. The inscription on the back of the frame reads:'To my friend Mr NelIn appreciation of his help at the boys high school.Walter BattissJune 1959'Battiss spent much of the 1960's travelling to East Africa, Southern Arabia and Greece, in what turned out to be an incredibly prolific creative period. It was at this time Battiss worked as an art teacher at Pretoria Boys High School.We can assume that Battiss was travelling locally when he produced Snow in the Free State, which explains his absence from his class and his need to ask the fourth year student for assistance.Interestingly, though dated 1959, before many of his travels to East Africa and beyond, the work presages many of the characteristics of the paintings he produced in the 1960s. The cerulean blue that appeared liberally in Battiss' paintings from this period appears throughout this canvas. His use of a palette knife as a tool would have been a recent discovery for him in 1959. A few confident swipes of the knife is all he required to spread snow onto the foreground.Battiss' use of dark blue lines to define stacks of rocks out of flat planes of colour is a forerunner to the artist's use of sgraffitto (scratching marks into wet paint) which would feature greatly in the work he produced in the 1960s. While his use of sgraffito was burgeoning before his travels, inspired by graffiti and African petroglyphs, it was a few years later, during his visit to the Hadramaut is southern Arabia, while documenting ancient rock engravings, that the technique was truly impressed upon the artist.This painting is a transitional work bearing indicators of a style of work that the artist would adopt during his time travelling in the 1960s. It is also rare to find a painting that has never been displayed outside of the private collection, passed down by descent from the pupil who received it as a gift for looking after Battiss' class in his absence. S.DSiebrits, W. 'Walter Battiss: I Invented Myself', In 'The Five Lives of Walter Battiss', edited by Warren Siebrits. Johannesburg: The Ampersand Foundation.

NINE HAND COLOURED PENCIL SKETCHES by J.W. [J. White]signed with artist's initials, c1845, foxing, framed1. Untitled (plate 2: Herdsman), 'VII' behind window mount, 21 by 16,5cm2. Fingoo (plate 11: Bechuana Woman), 'XXVIII', 23,5 by 17cm3. Kafir (plate 16: An Old Amakoora Caffre), 21,5 by 16,5cm4. Untitled (plate 26: A Malay Woman), 21,5 by 16,5cm5. Coolie (plate 30: A Negro Mozambique), 'XXVII', 24 by 16,5cm6. Bechuana Woman (Mantatee) Playing on the Jomoa, (plate 35: A Hottentot Musician), 21 by 17cm7. Zoolo Warrior Chief (plate 40: Matabele), 20,5 by 15,5cm8. Bushman, (plate 41: A Bosjesman or Bushman), 21 by 15cm9. Bushwoman, (plate 42: A Hottentot), 19 by 16cmAnd SKETCHES OF SOME OF THE VARIOUS CLASSES AND TRIBES INHABITING THE COLONY OF THE CAPE OF GOOD HOPE AND THE INTERIOR OF SOUTHERN AFRICA, WITH A BRIEF ACCOUNT DESCRIPTIVE OF THE MANNERS AND CUSTOMS OF EACH by J.W. [J. White] London: W Robt and Lowes Dickenson, MDCCCLI [1851]4to, 41 tinted lithographs (plate 7 absent as issued) + 21 text pp, original cloth rebacked in leather; some soiling on eps, light to more extensive foxing and tanning throughout, edges of preface, plate 2, 22 and 41 repaired with tissue backing; bookplate: HarveyPROVENANCE:Previously owned by John and C Gertrude E Leveson-Gower. They were in South Africa in 1847.Sold Strauss & Co, Cape Town, 16 March 2015, Lot 388(10) The mystery surrounding the identity of the artist J.W. intrigued scholars, librarians and collectors for many years. In his book, Pictorial Africana, Gordon-Brown (1975) details the different paths of inquiry over the years, as well as the dead ends and finally, an unexpected discovery. A fascinating clue was a reference in the Cape Town Mail of 4 October 1851, which refuted the claim by the publisher's of "Sketches of Some of the Various Classes and Tribes Inhabiting the Colony of the Cape of Good Hope" (offered as part of this lot) that the lithographs in the book were based on watercolours by a gentleman resident in the Cape for many years. The editor called the book a "curious literary fabrication" and that the actual artist was "a colonial amateur now in Government service who was formerly accustomed to send his sketches to booksellers for sale". According to the paper the artist was "not a little astonished at the use which some unscrupulous purchaser has made of his productions" (AN&N, 1972). However, the elusive J.W. was not identified in the article. The major breakthrough occurred when a London lawyer showed Gordon-Brown a folder of watercolours in 1972. The watercolours were signed with the familiar J.W., but all indications, from the red wax to the provenance, were that the folder was the original wrapping used when the watercolours were purchased. And on the wrapping was written "A Collection of characteristic 24 sketches by J. White, Esq., Cape of Good Hope?.REFERENCESAfricana Notes and News. Vol 20 No 1, p 17-19, Johannesburg: Africana Museum, 1972Africana Notes and News. Vol 15 No 7, p 306 - 314, Johannesburg: Africana Museum, 1963Gordon-Brown, A. Pictorial Africana, p 240, Cape Town: A A Balkema, 1975Kennedy, R.F. Johannesburg Africana Museum Catalogue of Pictures (W.J.), Volume 5, T-Y, P103, Johannesburg: Africana Museum, 1968Kennedy, R.F. Africana Museum Catalogue of Prints, Volume 2, W2-43, Johannesburg: Africana Museum, 1975

Medal of Jewish interest awarded to Rocky Graziano in 1977 by the American Friends of the Hebrew University in Tel-Aviv, Israel, bronzed circular medal with blue ribbon, obverse inscribed SOCIETY OF THE FOUNDERS HEBREW UNIVERSITY OF JERUSALEM surrounding stylised flower, reverse with engraved script and WISDOM HATH BUILDED HER HOUSE and stylised torch, diameter 55mm., in original navy velvet case with applied plaque engraved PRESENTED BY AMERICAN FRIENDS OF THE HEBREW UNIVERSITY TO ROCKY GRAZIANO DECEMBER 18, 1977 Rocky Graziano (1919-1990), also known as Thomas Rocco Barbella, was an American professional boxer who held the World Middleweight title and was considered one of the greatest knockout artists in boxing history, seemingly able to take out an opponent with a single punch. His career lasted from  1942 to1952, during which time he fought among others Sugar Ray Robinson and Chuck Davey. His record reads 83 fights including 67 wins, 52 by knockout. His turbulent life story was told in the1956 Oscar-winning film 'Somebody Up There Likes Me'.

An important archive relating to the early years of steeplechasing: a collection of 32 handwritten, personally signed letters, circa 1830-50, from eminent members of aristocracy and the Turf to Thomas Coleman, known as 'The Father of Steeplechasing' and instigator of the St Albans Grand Steeplechase, letters dating between 1827 and 1874, from notable figures including Lord George Bentinck, 'Squire' Osbaleston, John Gully, Lord Verulam, Lord Grosvenor, Marquess of Titchfield and others, one written on behalf of Queen Victoria, the majority from 1830-50, discussing sales of horses, upcoming races and other racing-related topics, addressed to trainer and entrepreneur Thomas Coleman at the Turf Hotel, St Albans from where in 1830 he organised the St. Albans Grand Steeplechase, widely recognised as the first of its kind in England and the inspiration for Aintree's Grand National, the letters contained in a ring file, each carefully encased in individual plastic sleeve with accompanying typed transcription, many with original envelopes, wax seals and postmarks, condition fair, tears, fold marks, stains relevant to age, with modern-day typed account detailing racing at St Albans Thomas "Tommy" George Coleman (1796-1877) worked as a stable lad for Lord Arthur Wellesley, later the Duke of Wellington, and progressed to be a trainer and landlord of the Turf Hotel coaching inn, St Albans, Hertfordshire. Officers of the Household Cavalry staying there suggested he organise a steeplechase and this became a reality with the inaugural running of the four mile event in 1830. During the race's eight-year brief but successful history, top riders took part including Coleman's good friend Captain Martin Becher who in turn persuaded William Lynn (founder of the Grand National in 1839) to introduce steeplechasing at Liverpool.

Edward Hide's 1978 St Leger winning jockey commemorative cap,the traditional memento for the winning jockey of the world's oldest Classic race embroidered in green, orange, white and black velvet, surmounted  by a black 'jewelled' crown, with silver wire lettering reading DONCASTER ST. LEGER, WINNING JOCKEY, 1978, satin lined interior, maker's label for Frost, Saddler, Bawtry, Yorkshire, excellent condition, mounted in a custom made acrylic display case, teh base set with a plaque inscribed THE CAP AWARDED TO JOCKEY EDWARD HIDE WHEN WINNING THE 1978 ST. LEGER ON JULIO MARINER, overall size 32 by 40 by 30cm.; sold together with a matted colour photograph of Julio Mariner and Edward Hide being led back into the winner's enclosure after the 1978 St Leger win, signed by the jockey and inscribed "Best Wishes", 26 by 33cm.; the lot also including an official racecard for the 1978 St Leger (3)In a fine career Edward Hide rode the winners of six Classic races including two St Legers. In addition to Julio Mariner he is perhaps most associated with the champion racehorses Morston, Waterloo, Lochnager, Mrs McArdy and Cantelo. Julio Mariner was a bay colt sired by the Derby winner Blakeney out Set Free. He was owned by Marcos Lemos and trained at Newmarket by Clive Brittain. He won three of his twelve starts and was later as a stallion who established a fine record as a sire of show jumpers, dressage horses and eventers.

ONE OF THE FINAL AUTOGRAPHS OF THE BRAZILIAN F1 RACING DRIVER AYRTON SENNA:Ayrton Senna signed San Marino Imola Grand Prix programme 1st May 1994,official programme signed by Senna on the driver profile page in blue marker and dated by Senna 94, the programme is additionally signed by Senna's team-mate Damon Hill, annd also by Niki Lauda and Gerhard BergerThe tragic events of this race weekend need no reiteration. Suffice to say this is a rare opportunity to acquire one of the last signatures given by a legendary driver whose life ended at Imola on May Day 1994.Provenance:Signatures obtained by a Director of the Woking-based company Grand Prix Merchandise Products who had pit lane accreditation on race day.

Michael Schumacher signed photographic display,comprising a 25 by 19cm. colour portrait signed in silver marker, mounted next to another photograph (unsigned) of the F1 World Champion standing in front of his Ferrari, title plaque, mounted, framed & glazed, 46.5 by 61cm., COA pasted to the backboard Michael Schumacher (born 3 January 1969) is a German retired racing driver who competed in Formula One for Jordan Grand Prix, Benetton, Ferrari (where he spent most of his career), and Mercedes upon his return to the sport. Schumacher is widely regarded as one of the greatest Formula One drivers of all time.

George Best (Manchester United & Northern Ireland) 1970's match-worn Adidas black and green football boots,the boots are accompanied by a signed Letter of Provenance; the boots are sold together with a pair of George Best 1970s Manchester United blue training shorts with supporting photos (from the same collection); the lot also includes a selection of George Best memorabilia comprising: an official match programme for Manchester United v Ipswich Town 29th December 1973 (Best's last Manchester United home match); an England v Northern Ireland official match programme 10th November with original ticket; an official match programme of Manchester United v West Bromwich Albion 30th November, 2005, also with original match ticket, special edition titled ''Farewell George 1946-2005''; a George Best signed Northampton Town v Manchester United programme FAC5 7th February 1970, the famous game in which Best scored 6 goals; Northern Ireland v Holland programme 12th October 1977, Best's last international appearance; a scanned copy of a George Best and Pele dual signed NASL colour photo; and an original George Best Manchester United A&BC 1968 collector's card, (qty)The letter of provenance for the George Best football boots comes from Mr Joel Bertrand of Frankfurt in Germany and is dated 17th October 2014. He was given the boots (and shorts) from his uncle in Belfast. The uncle acquired the boots and other items of football memorabilia from the estate of a Belfast football collector who was a personal friend of the George Best and his family.

Andrew Johnson blue Everton No.8 home jersey from the 2006 Premier League match against Arsenal at the Emirates Stadium, 28th October, short-sleeved, BARCLAYS PREMIER LEAGUE badges, club crest and sponsor logo, reverse lettered JOHNSON, bearing some foxing/damp marks on the front collar and white mark on front lower right The match finished in a 1-1 draw. Johnson, who played the whole 90 minutes, was at Everton from 2006 to 2008, making 61 appearances and scoring 17 goals. He was capped eight times for England between 2005 and 2007.

Winston Reid claret and blue West Ham United No.2 Poppy home jersey from the 2015 Premier League match against Everton at the Boleyn Ground, Upton Park, 7th November, short-sleeved, BARCLAYS PREMIER LEAGUE badges, club crest, sponsor logo and printed THE BOLEYN GROUND 1904-2016, reverse lettered REID The match finished in a 1-1 draw. Reid, who played the full 90 minutes, joined West Ham United in 2010, made 194 appearances and scored nine goals. In 2020 he went on loan to Sporting Kansas City and in 2021 to Brentford. He played at under-age level for Denmark and, since 2010, at senior level for New Zealand, making 25 appearances and scoring one goal.

Geoffrey Kondogbia red and white AS Monaco No.22 jersey from the 2014-15 UEFA Champions League Round of 16 Leg Two match against Arsenal at Stade Louis II, Monaco, 17th March 2015, short-sleeved, UEFA starball and RESPECT badges, club crest and sponsor logo, reverse lettered KONDOGBIA Monaco were beaten 2-0, giving a 3-3 aggregate score, but won the tie on the away goals rule. Kondogbia, who was yellow-carded in the 52nd minute, played for AS Monaco from 2013 to 2015, making 49 appearances and scoring two goals.

George Best signed Manchester United print,after the original painting by artist Ralph Sweeney titled "Almost Full Time" features Sir Matt Busby sat in the stands with George Best who has signed in black sharpie. stylishly framed, 62 by 67cm.

Manchester United 1968 European Champions official signed limited edition 25th anniversary framed print,numbered 432/1968, colour artwork, signed in pencil to the lower margin by all eleven victorious players plus manager who defeated Benfica at Wembley, comprising John Aston, Bill Foulkes, Alex Stepney, Brian Kidd, George Best, Bobby Charlton, Pat Crerand, Nobby Stiles, Tony Dunne, David Sadler, Shay Brennan and manager Sir Matt Busby, measures 62 by 71cm.

The autographs of the Uruguayan Club Nacional de Football team who won the Copa Libertadores in 1971,neatly signed in ink by the Nacional squad and including Club President Miguel A. Restuccia; also included are three Uruguayan $10 commemorative postage stamps for the 1971 Copa LibertadoresProvenance:Originally from the collection of Ronald Landy Antinoris ('Scot Landy'), the renowned Glasgow collector of autographed football philately.

World War I Trench Football propaganda game, circa 1916, a skill game in which the player has to navigate a small ball-bearing along a trench to the goal while avoiding the attention of the German team who guard each turn with a pocket that will drop the ball back to the start, German team comprises Little Willie, Von Terpitz, Von Kluck, Von Bulow, Von Hindenburg, Von Der Golt, Von Moltke, Enver, Pasha, Vo Sanders, Count Zeppelin, and The Kaiser, under glass, wooden frame, reverse printed ‘mode of attack’, 24 by 16.5cm., good condition with some wear to exterior wooden frame, green and pink board slightly faded with some spotting, wear to instructions on reverse

Lord Mayor of London Denys Lowson's 1951 F.A. luncheon menu and seating plan, luncheon menu from the Mansion House, 27th April 1951, on the eve of the 1951 F.A. Cup Final, with image of the building by Thomas Malton to front with red & white ribbon; a seating plan for the luncheon with list of dignitaries and journalists; together with an invitation and place card for Mr S. W. Jacob, (4)                                       Sir Denys Colquhoun Flowerdew Lowson, 1st Baronet JP (1906-1975), was a British barrister and financier who served as Lord Mayor of London 1950–51 and Alderman of London between 1942 and 1973.

Player's Contract for Tommy Harmer and Tottenham Hotspur FC season 1950-51,the Season Spurs Won the First Division Championship,signed by Tommy Harmer and Spurs Assistant Manager Jimmy Anderson who went on to become the first team manager in the mid-50s

Gibson (Alfred) and Pickford (William). Association Football and the Men who Made It, four volumes, published by the Caxton Publishing Company, London, each with illustrated blue hardcover, some wear to spines, and hardcovers, some wear internally

1886 Bootle Fc v Blackburn Olympic match programme, played at Hawthorne Road, on 4th December,four fold programme card with centre page line-up, bears wear to edge Bootle FC defeated Blackburn Olympic 2-1.Blackburn Olympic have a place in football history when in 1883 they defeated Old Etonians in the FA Cup Final 2-1 to become the first northern professional club to win FAC, the amateur side of the sport had been broken. However Olympic were the poor relations of Blackburn Rovers who then won the Cup the next three seasons 1884, 1885 and 1886. Only Hunter remained onf the FAC winning team.

Four 'tennis legends' signatures on individual album pages, comprising HW ‘Bunny’ Austin in pencil, Henri Cochet in pencil, Charles P Dixon in black ink and Francis Russell Burrow in black ink, minor wear to each page   Henry Wilfred ‘Bunny’ Austin (1906-200) was the last British tennis player to reach the Wimbledon Men's Singles Final for 74 years until Sir Andy Murray in 2012. He was a vital member of the British  team who won three consecutive Davis Cups in 1933, 1934 and 1935 and is also remembered as the first tennis player to wear shorts.   Henri Jean Cochet (1901-1987) was world ranked No.1 for four consecutive years from 1928 to 1931 and won 22 Majors including seven Grand Slam Singles, five Doubles and three Mixed Doubles titles.  French-born, he won titles on three different surfaces - grass, clay and wood.   Charles Percy Dixon (1873-1939) won four Olympic tennis medals, including gold, silver and bronze, captained the British Davis Cup team to their 1912 victory and represented his country in many other competitions.   Francis (Frank) Russell Burrow was an early 20th century British tennis player, Wimbledon Championships referee from 1919 to 1922 and author of many books including ‘Lawn Tennis -  How to Succeed’.

Three tennis related books, comprising Burrow (F.R.). Lawn Tennis, first edition, Hodder & Stoughton Ltd., London, 1922; Burrow (F.R.). The Centre Court and Others first edition, Eyre & Spottiswoode, 1937;  Lacoste (Rene). Lacoste on Tennis, for Dunlop Sports, Burrow, 1931 inscribed and SIGNED BY THE AUTHOR on page 60; Burrow (J.). Wimbledon Who’s Who and Tennis Celebrities, first edition, for Dunlop Sports, 1934, good condition, some wear to spine of The Centre Court

Six early individual tennis player postcards by Trim & Co., Wimbledon, featuring British and International players Max Decugis, James Cecil Parke, A.F. Wilding, F Karl, Madame Marie Decugis and T.M. Mavrogordato, each 14 by 8.5cm., all with minor wear, some pencil writing to each individual cards on the reverse Maxime Decugis (1882-1978) was a French tennis player who held the French Championships record for winning the tournament eight times, a feat which Rafael Nadal only surpassed in 2014. James Cecil Parke (1881-1946) was an Irish tennis and Rugby Union player, golfer, solicitor and WW1 veteran. In tennis, he was an Olympic silver medallist, Davis Cup champion, Wimbledon Doubles winner and Australasian Championship winner in both singles and doubles. Anthony Frederick Wilding (1883-1915) was New Zealand's world No.1 tennis player and soldier, killed in action in WW1 at the age of 31. Theodore Michel Mavrogordato (1883-1941) was an early 20th century British tennis player, winning the Welsh Covered Court Championships, Scottish Championships and, in the doubles, the British Covered Court Championships. He played for the British Davis Cup team and in the 1912 Stockholm Olympic Games. He served in the Army Service Corps in WW1 and from 1928 until his death in 1941 was chairman of the All England Lawn Tennis Ground Company. Marie Decugis (1884-1969) was a French tennis player who, with her husband Max Decugis, won the mixed doubles at he 1906 Intercalated Athens Games and participated at the 1912 and 1920 Wimbledon championships.

The boxing gloves worn by Henry Cooper when defending his heavyweight title against Joe Erskine, a pair of red Baily's of Glastonbury boxing gloves complete with original lacing, mounted in a glass-fronted oak display case with printed title caption, 36 by 41 by 13.5cm. Henry Cooper defended his heavyweight title on two occasions against Joe Erskine, in 1961 and 1962. It is not known from which one of these bouts that the gloves were worn. Provenance: Formerly on display at the Henry Cooper pub in the Old Kent Road. The current vendor's uncle ran the pub - he was Teddy Haynes, who fought in the same camp as Henry Cooper. 

Pernell Whitaker former four weight World Champion worn training jacket,the blue and white zipped jacket with embroidered TEAM WHITAKER emblem, reverse lettered PERNELL “SWEET PEA” WHITAKER POUND 4 POUND 6 TIME WORLD CHAMPION, size XL, with COA, bears some wearPernell Whitaker Sr. (1964-2019), was an American professional boxer who competed from 1984 to 2001 and worked as a boxing trainer. He was a four-weight World Champion, having won titles at Lightweight, Light Welterweight, Welterweight and Light Middleweight, the undisputed Lightweight title and the Lineal Lightweight and Welterweight titles.