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Click here to subscribeFleming (Ian). Diamonds are Forever, 1st edition, London: Jonathan Cape, 1956, slight shelf lean, ownership inscription to front free endpaper, original publisher's pictorial cloth, dust jacket, rubbing to spine extremities with slight loss, staining to rear panel, rubbing to dust jacket folds with slight loss, small marginal damp-stain to front flap, faint spotting to dust jacket verso, 8voQty: (1)Footnote: Gilbert A4a (1.1).
Fleming (Ian). Dr No, 1st edition, 1st impression, 1st state binding, London: Jonathan Cape, 1958, slight shelf lean, original publisher's pictorial cloth, dust jacket, price erased in pen, spine extremities rubbed and chipped with loss, portion of staining to rear panel, a couple of spots to spine, one very small closed tear to front panel, 8voQty: (1)
Fleming (Ian). Dr No, 1st edition, 1st impression, 2nd state binding, London: Jonathan Cape, 1958, slight lean, dust jacket, slight spotting to verso, faint spotting to rear panel, 8voQty: (1)Footnote: Gilbert A6a (1.3). The publisher's second state binding with the silhouette to front board.
Fleming (Ian). From Russia With Love, 1st edition, London: Jonathan Cape, 1957, ownership inscription to front free endpaper, spotting to preliminary leaves, slight shelf lean, dust jacket, adhesive tape repairs to folds and to head of spine, spotting to verso, spine toned and extremities rubbed with loss, joints and folds rubbed, spotting to rear panel, 8voQty: (1)
Fleming (Ian). Goldfinger, 1st edition, 1st impression, London: Jonathan Cape, 1959, bookseller's ticket to front pastedown, original publisher's cloth, spotting to top edge of text block, dust jacket, price-clipped, a few spots to rear panel, spine slightly toned, spine extremities rubbed, 8voQty: (1)
Fleming (Ian). Goldfinger, 1st edition, London: Jonathan Cape, 1959, a few light spots, Boots Booklovers Library label tipped-in to rear pastedown and sticker at foot of front cover, original cloth, dust jacket, a few chips and tears at spine ends and folds, panels a little toned, 8voQty: (1)
Fleming (Ian). Live and Let Die, 1st edition, 1st impression, 1st issue dust-jacket, London: Jonathan Cape, 1954, some loss to paper on pastedowns, some spotting and a few stains to text leaves, original publisher's cloth, slight rubbing to spine extremities, dust jacket, both flaps slightly cut down (affecting text on rear flap), flaps creased, large paper reinforcement to verso, paper repairs & staining to rear panel, spine extremities rubbed with loss, marginal damp-staining to rear panel, 8voQty: (1)Footnote: Gilbert A2a (1.1). In the scarce first issue jacket without the credit to designer Kenneth Lewis to front flap.
Fleming (Ian). Live and Let Die, 1st edition, 1st impression, 2nd issue dust-jacket, London: Jonathan Cape, 1954, original publisher's cloth, slight fading to gilt on spine, dust jacket, marginal toning to flaps, spine extremities rubbed with slight loss to head of spine, some toning & a few marks and spots to rear panel, joints faintly rubbed, 8voQty: (1)Footnote: Gilbert A2a (1.2).
Fleming (Ian). Moonraker, 1st edition,1st impression, 1st state, London: Jonathan Cape, 1955, original publisher's cloth, dust jacket, some spotting and marginal toning to rear panel, marginal toning to flaps, faint green mark to base of spine, 8voQty: (1)Footnote: Gilbert A3a (1.3). With 'shoo' on page 10.
Fleming (Ian). On Her Majesty's Secret Service, London: Jonathan Cape, 1963, front endpaper with small abrasions, bookseller ticket (Melbourne) to front pastedown, original cloth, dust jacket, slight toning to spine, 8voQty: (1)Footnote: Signed to front endpaper by George Lazenby, adding '007'. The Australian actor's only appearance as Mr Bond in the film of this novel.
Fleming (Ian). The Man with the Golden Gun, 1st edition, London: Jonathan Cape, 1965, original cloth, dust jacket, minor nicks at folds, 8vo, together with Octopussy and the Living Daylights, 1st edition, London: Jonathan Cape, 1966, original cloth, dust jacket, 8vo, signed to half title by Roger Moore, plus others related including On Her Majesty's Secret Service, 1st edition, 1963 (endpapers replaced), John Gardner's For Special Services, 1982, Roger Moore's My Word is My Bond, 2008, signed by the author, Sebastian Faulks' Devil May Care, 2008, and William Boyd's Solo, 2013Qty: (17)
Fleming (Ian). Thunderball, 1st edition, London: Jonathan Cape, 1961, original publisher's cloth, text block spotted, dust jacket, spine toned, small stain to spine, spine extremities chipped, 8vo, together with: The Spy Who Loved Me, 1st edition, London: Jonathan Cape, 1962, original cloth, joints heavily rubbed, boards stained, dust jacket, price-clipped, spine extremities rubbed with loss, rear panel toned and marked, 8vo, with 4 others: On Her Majesty's Secret Service, 1st edition, 1963, You Only Live Twice, 1st edition, 1964, The Man With The Golden Gun, 1st edition, 1965, Octopussy, 1st edition, 1966Qty: (6)
Graves (Robert). Good-bye To All That, 1st edition 2nd impression, inscribed by the author, London: Jonathan Cape, 1929, inscribed by the author to the front free endpaper, portrait frontispiece & maps, original publisher's cloth, dust jacket, some spotting to verso, spine extremities chipped with loss, joints slightly worn, chipped to panel extremities with loss, 8voQty: (1)
[Lawrence, Thomas Edward, 1888-1935]. The Death of the Gods by Dmitri Merejkowski, Translated by Herbert Trench, 3rd edition, Archibald Constable & Co., 1904, some mostly marginal spotting throughout, initialed 'TEL' by T.E. Lawrence in pencil to front free endpaper recto and small library bookplate of T.E. Lawrence to front pastedown, 'From the library of T.E. Lawrence, Clouds Hill', original decorative green cloth, slightly rubbed, spine browned and a little frayed at head and foot, 8voQty: (1)Footnote: This copy is identified in the catalogue of books at Clouds Hill in A.W. Lawrence (editor), T.E. Lawrence by his Friends, Jonathan Cape, 1937, p. 508.
* Apollo Mission Programme Autographs. A collection of 30 items with 28 NASA space programme autographs, including autographs of all 12 Moonwalkers, 1968/1972, comprising signed official colour photographs of astronauts in spacesuits including from Apollo 11: Neil Armstrong (1930-2012), the first man on the Moon, signed in blue fibre pen and inscribed in block capitals for R. Newcombe’ [please note that we now believe that this might be an autopen signature, conforming to 'pattern 6']; Edwin “Buzz” Aldrin (born 1930), the second man on the Moon, signed in blue fibre pen across white area of spacesuit; photograph of all three crew members of Apollo 11, signed by Michael Collins (1930-2021) in blue ink across white area of his spacesuit, all three photographs showing a large picture of the Moon behind them; Apollo 12: autographs of the third and fourth men on the Moon, Charles “Pete” Conrad Jr. (1930-1999) and Alan L. Bean (1932-2018), each inscribed in blue fibre pen on card, some toning, each 7.5 x 12.5cm; Apollo 14: photographs of the fifth and sixth men to walk on the Moon, Alan Shepard (1923-1998) and Edgar Mitchell (1930-2016); plus a group of all three crew member signatures (with Stuart Roose, 1933-1994) in pencil on light grey card, 100 x 110mm; Apollo 15: photographs of the seventh and eighth men to walk on the Moon, Commander David Scott (born 1932) and James Irwin (1930-1991), the first additionally inscribed, ‘Apollo 15 CDR’; Apollo 16: autographs of the ninth and tenth men to walk on the Moon, crew members Commander John Young (1930-2018) and Charles Duke (born 1935), blue ballpoint signatures on card, both partly toned, each 7.5 x 12.5cm; photograph of Duke walking on the Moon, signed and inscribed beneath his signature, ‘Apollo 16’; Apollo 17: signed photograph of Gene Cernan (1934-2017), the 11th man to walk on the moon; autograph signature of Harrison Schmitt (born 1935), the 12th and last man to date to walk on the Moon to date, in blue fibre pen on card, some toning, 7.5 x 12.5cm; plus Apollo 7: black and white photograph of Commander Walter Schirra Jr. (1923-2007), signed in blue fibre pen with ‘Apollo 7’ inscribed by him beneath his signature; Apollo 8: a series of 8 first day covers, Cape Canaveral/Port Washington, 21-27 December 1968, the first signed in blue ink by all three crew members, Frank Borman, James Lovell and William Anders, plus a British first day cover, Yatton, Bristol, 24 December 1968, with message and address to front, signed to verso in black fibre pen by all three crew members; Apollo 9: signed photograph of Commander James McDivitt (born 1929); Apollo 13: First day cover, Kawishiwi, 17 April 1970, signed in black fibre pen by Commander James Lovell (born 1928); signed photograph of lunar module pilot Fred Halse (born 1933), and inscribed ‘Apollo 13 LMP’ beneath his signature; plus an autograph signature on card of German-American aerospace engineer Wernher Magnus Maximilian Freiherr von Braun (1912-1977) and a signed photograph of test pilot and astronaut Scott Carpenter (1925-2013), all photographs 25 x 20cm or the reverseQty: (30)
ROGER BALLEN (New York ,1950)."Puppy between feet".1999.Gelatin silver on paper, copy 16/35.Signed, dated and titled on the back.Measurements: 35,5 x 35,5 cm; 59,5 x 59,5 cm (frame).American artist living in Johannesburg, South Africa, and working in the surrounding area since the 1970s. His work, spanning five decades, began with the field of documentary photography, but evolved into the creation of distinctive fictionalized realms that also integrate the mediums of film, installation, theater, sculpture, painting and drawing. Outcast people, animals, found objects, cables, and children's drawings inhabit the unlocatable worlds presented in Ballen's artworks. He describes his works as existential psychodramas that touch the subconscious mind and evoke the depths of the human condition. His aim is to break through repressed thoughts and feelings by engaging him in themes of chaos and order, madness or rebellious states of being, the human relationship with the animal world, life and death, universal archetypes of the psyche and experiences of otherness. After completing "Asylum of the Birds" in 2013, Roger Ballen began his latest series of images based on black and white negatives in which the Rats dominated each image. The unpublished project, which was completed in 2017 once again integrated drawing, painting, sculpture through the camera and the artist's eye. The results reveal a world immersed in chaos, absurdity and dreamlike reality. In 2020, he will complete a photographic and video project of a person dressed as a cartoon rat in which this character is involved in activities that could be considered politically and socially absurd. In 2015, Ballen created a conceptual installation artwork at the Serlachius Museum of Finland in Mantta. He transformed a dilapidated house in the Finnish forest into a complete sculptural entity that was installed in the museum's new pavilion.The work coincided with a new publication, The House Project (2015) with his longtime collaborator, writer Didi Bozzini. It moved away from a historical exposition of Ballen's work in favor of a psychological one, evoking possible literary and philosophical references in his work. Ballen has subsequently realized installations around the world, for example at the Istanbul Museum of Art (2016), Galleria Massimo Minini 2016, Brescia, Italy; 2017, Les Rencontres Arles (2017), Zeitz Mocaa, Cape Town (2017), City Passage, No Exit Revisited (2018) Wiesbaden; Museo de Fotografia, 2018, Fortaleza, Brazil. Ballen's collaboration with Comme des Garçons presented at Paris Fashion Week saw his work in the brand's Homme Plus A/W 2015 range, where his images were shot on the back of white coats for their Fall 2015 collection. In No Joke (2013), Ballen and Rossouw collaborated with Asger Carlson to create photosculpted figures, swapped self-portraits, substituted and reassigned body parts, strangely busy architecture, hand-drawn masks and cut-out and collaged graffiti, as well as spiders, foxes, angels, demons and dolls in an imaginary dreamlike setting in which an elusive narrative unfolds. In 2018, Ballen released his first series of color photographs after Leica gave him a color camera with which to experiment. In September 2019, Ballen opened his largest exhibition to date at the HalleSaint Pierre in Paris, entitled The World According to Roger Ballen, in which he exhibited numerous installations, drawings, videos, and photographs
Retro clothing comprising a Lerose cream sleeveless long dress with psychedelic swirls to the front in purple and brown, UK size 14, a Victoria Royal cornflower blue evening gown with beaded neckline and cuffs, UK size 10, a Luisa Spagnoli black halter neck evening gown with beaded neckline, approx UK size 10, a John Marks by Anne Tyrell cream halter neck evening gown with gold and white coloured beadwork to the front, UK 12, and a Raymond of London black velveteen full length cape with ornate cord fastening and two arm openings, approx size UK 10.
depicting the globe viewed from over the North Pole showing air routes to New York, Cape Town, Delhi, Shanghai, Sydney and other destinations, with illustration of personnel inset at bottom, with legend 'Round the World on Airy's Projection' in lower border 25x40", 63x102cm (G, except cuts across the full width have been made below the lower banner and above the personnel and the poster reassembled in frame)
Dark Seas The Battle of Cape Matapan from Britannia Naval Histories of WW2 2012 Softback Book published by University of Plymouth Press.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
* China. Darrell (Sir Harry), Taking of the Island of Chusan by the British, July 5th 1840, Day & Son, 1852, tint stone lithograph after a drawing by Sir Harry Darell, 325 x 460 mm, mountedQty: (1)Footnote: Uncommon. Published in 'China India Cape of Good Hope and Vicinity a Series of Thirteen Treble-Tinted Views'. Plate no. 2. ‘Sir Harry Darell served with the 18th Royal Irish on the China Expedition, as aide-de-camp to Brigadier-General Burrell, and was present at the first taking of Chusan (medal). He served also with the 7th Dragoon Guards against the insurgent Boers in South Africa in 1845; also during the whole of the Kaffir war of 1846-7, and commanded the squadron of his regiment at the Gwanga, on the 8th June 1846, and received two severe wounds in the charge and his charger wounded in five places’ (The New Army List, No. XLI, 1849, p. 27 n. 3).
Blake (William). The Songs of Experience, London: David Nutt, circa 1902, black & white illustrations by Celia Levetus, period inscription 'Jennie Cohen with love from Celia Levetus, June 1902' to the front endpaper, some minor toning, publishers original illustrated green cloth, boards & spine lightly faded & rubbed, 8vo, together with; Bridges (Robert), The Testament Of Beauty, a poem in four books, Oxford: Clarendon Press, 1930, monochrome portrait frontispiece, some light marginal toning, publishers original quarter vellum, spine rubbed & cracked with minor loss, 4to, Niffenegger (Audrey), Her Fearful Symmetry, limited edition, London: Jonathan Cape, 2009, signed by the author to the limitation page, publishers original boards in slipcase, 8vo, 238/750, and other modern literature & miscellaneous reference, including The Witch of Ramoth and other tales, illustrated by Fritz Eichenberg, limited edition, Pennsylvania: The Maple Press, 1950, 8vo, 1053/1700, mostly original cloth in dust jackets, some paperbacks, G/VG, 8vo/folioQty: (6 shelves )
Gropius (Walter). The New Architecture and the Bauhaus, translated from the German by P. Morton Shand, with an introduction by Frank Pick, 1st English edition, London: Faber & Faber, 1935, monochrome illustrations after photographs, original white cloth, lettered in red, lightly rubbed and pale discolouration to spine and edges, in price-clipped dustwrapper (designed by L. Moholy-Nagy), minor fraying and a few marks to extreme edges, several light annotations in pencil to margins [probably in the hand of Rex Martienssen], 8voQty: (1)Footnote: Author's signed presentation copy, inscribed in ink to front endpaper 'Fur die Architektur-Fakultat der University of the Witwatersrand in Johannesburg. Walter Gropius London, April 1936'. Provenance: Rex Martienssen (1905-1942), architect Heather Martienssen (1915-1979). The South African pioneer of International Modernism Rex Marteinssen (1905-1942) was the principal figure in the small modernist Transvaal Group, which included W. G. McIntosh and Norman Hanson. Martienssen published an article on "The International Tendency in Contemporary Architecture" in the South African Architectural Record in December 1931. In April 1936 Gropius wrote in response to a letter, most likely written by Martienssen, thanking him for some journals sent, sending his good wishes, as well as permission to reprint The New Architecture and the Bauhaus. See Gilbert Herbert, Marteinssen, and the International Style: the modern movement in South Africa (A. A. Balkema, Cape Town, 1975) for further information.
Earle (T. Algernon). List of Officers who have served in the Lancashire Hussars, Yeomanry Cavalry, with some short notes and annals of the regiment, since its formation in 1848 to the present time, 1889, 5 chromolithographed plates of uniforms, a little light toning, modern half morocco, 4to, together with Willcox (Walter Temple). The Historical Records of the Fifth (Royal Irish) Lancers, from their foundation as Wynne's Dragoons (in 1689) to the present day, London: Arthur Doubleday, 1908, colour and monochrome maps and illustrations, a few small annotations, a little light spotting, previous owner inscription of 'Anglesey, 1961' to front endpaper (possibly 7th Marquess Anglesey, author and historian), top edge gilt, original cloth gilt, spine and margins of lower cover toned, 4to, plus The History of the 5th (Royal Irish) Regiment of Dragoons from 1689 to 1799 afterwards the 5th Royal Irish Lancers from 1858 to 1921, by Colonel J.R. Harvey & Lieut.-Colonel H.A. Cape, 1923Qty: (3)
Jackanory, The eyes of the Amaryllis, ill.Paul Birkbeck 1939-2019, written by Natalie Babbitt, read by Joanna David, Jenny Reade and her grandmother seated in the dunes at Cape Cod talking to Jenny's father?,, 38 x 55 cms., inscribed verso Part 2 Cap 1, not signed, BBC broadcast 1980. ABOUT PAUL BIRKBECK; an appreciation, written by one of his daughters and published in the Guardian following his death. "My father, Paul Birkbeck, who has died aged 80, was an artist and illustrator whose work is familiar to those of a certain generation brought up on BBC childrens TV programmes such as Crystal Tipps and Alistair, Play School and Jackanory. His distinctive style and keen eye for detail ensured that he became one of the BBCs most-used artists through the 1970s and 80s. Born in Woolwich, south-east London, Paul attended Brighton College and Epsom School ofArt. After completing his national service, he also became the banjo player for the Dedicated Men Jugband, who signed to Pye Records in 1965. The bands single, Boodle Am Shake, did not trouble the charts but Paul soon began designing sleeves for Decca Records. In 1965 working with BBC childrens TV he became a prolific illustrator for its programmes. For Jackanory he illustrated 14 stories, including A Dog So Small (read by Judi Dench) and Peter Pan, (some in this sale), as well as the BBC Sunday afternoon Bible stories series In the Beginning. His work for Jackanory continued for many years. He created the memorable opening titles for The Vikings in 1980, presented by Magnus Magnusson, and the iconic Miss Marple series, starring Joan Hickson. Paul also drew the backgrounds for the ground-breaking TV series Jane, starring Glynis Barber, which mixed cartoon backgrounds with live actors and was based on the 1940s comic strip of the same name. (some in this sale). In 1991, as well as supplying illustrations, he was in front of the camera playing himself each week in the BBCs six-part childrens TV history programme Now Then, an educational show that cleverly brought our ancestors to life. Paul taught illustration at Leicester Polytechnic, Epsom College and the Royal College of Art, but continued to work in TV, including delivering the titles for the Stanley Baxter Show on Channel 4. He branched out into book illustration with Salman Rushdies 1990 childrens fairy tale Haroun and the Sea of Stories, for which his lavish pictures were much lauded, not least by Rushdie. My father spent the latter part of his life on personal commissions. His work appeared at the Keith Chapman Gallery, London, in Royal Academy summer shows and Sunday Times watercolour exhibitions between 2003 and 2008, and in the Mall Galleries Discerning Eye exhibitions. PROVENANCE The artworks in this sale have been consigned by his family. NOTES: The pictures in this sale were prepared in various mediums often used by the artist and often in conjunction with one another, including, pen and ink, crayon, water-colour, gouache, pastel, and oil and acrylic paints on card or on paper. The auctioneers acknowledge the help of his family in cataloguing this collection, and where-ever known each picture has been listed under its broadcast designation. but the vendors do not guarantee that all attributions in this respect are correct. The family do however guarantee that the pictures, both signed and unsigned are the work of Paul Birkbeck. . All sizes are approximate.
The Victoria Cross group of miniature dress medals worn by Major General Henry Edward Manning Douglas, V.C., C.B., C.M.G., D.S.O., Royal Army Medical Corps, comprising: Victoria Cross; The Most Honourable Order of the Bath, Companion's Badge; The Most Distinguished Order of St Michael and St George, Companion's Badge; Distinguished Service Order; Queen's South Africa Medal, 3 clasps: Cape Colony, Orange Free State, South Africa 1901; Africa General Service Medal 1899-1956, Edward VII, 2 clasps: Somaliland 1902-04, Jidballi; 1914-15 Star; British War Medal 1914-20; Victory Medal; General Service Medal 1918-62, George V, clasp: N.W. Persia; Coronation Medal 1937; Serbia: Order of St Sava; Red Cross Society Decoration; Commemorative Medal for the 1912 War; 1913 Commemorative Cross; France: Croix de Guerre with Palm, the foregoing mounted for wearing, good very fine and better; together with two loose miniatures: The British Red Cross Society Medal for the Balkan Wars 1912-13, damage to central enamel, ribbon frail; and a second C.B., nearly extremely fine. [16 / 2] London Gazettes: V.C. 29/03/1901, D.S.O. 19/04/1901, MID 16/03/1900 Born at Gillingham in Kent, 11th July 1875; Lieutenant Royal Army Service Corps, 28th July 1899; served in the South African War 1899-1901; won the V.C. at Magersfontein where he was also severely wounded; Captain, 27th July 1902; served in Somaliland 1903-04 and India 1904-08; Major, 1911; served in the Balkans 1912-13 and in the European war from 1914; Lieutenant Colonel 1915. Lieutenant Douglas was medical officer in charge of the Black Watch (2nd Bn. Royal Highlanders) when he performed his V.C. action: "On the 11th Dec. 1899, during the action at Magersfontein, Lieut. Douglas showed great gallantry and devotion, under a very severe fire, in advancing in the open and attending to Capt. Gordon, Gordon Highlanders, who was wounded, and also attending to Major Robinson and other wounded men under a fearful fire. Many similar acts of devotion and gallantry were performed by Lieut. Douglas on the same day."
Four medals to Sergeant George W. Maskell, Army Service Corps (late Royal Engineers): Queen's South Africa, 2nd reverse, 3 clasps: Cape Colony, Transvaal, South Africa 1902 (7035 DVR: G.W. MASKELL. RL: ENGINEERS.); 1914-15 Star (M1-6759 PTE. G. MASKELL. A.S.C.); British War and Victory Medals (M1-6759 SJT. G. MASKELL. A.S.C.); mounted for wearing, good very fine. [4]; together with a post war photograph of the recipient. Served in South Africa with 17th and 12th Company Royal Engineers. Discharged by purchase 17th November 1903 giving a Natal hotel as a forwarding address. Entered France and Flanders with the ASC 18th August 1915. Discharged as no longer physically fit for war service 28th July 1916.
A Queen's South Africa Medal to Private F. Stewart, Gordon Highlanders (Mounted Infantry), 2nd reverse, 5 clasps: Cape Colony, Orange Free State, Transvaal, South Africa 1901, South Africa 1902 (7366 PTE F. STEWART. GORDON HIGHRS: M.I.), blemishes to obverse at 3 and 9 o'clock, cleaned, otherwise about very fine.
A pair of glass shipping rummers, c.1780, each engraved with a ship at full sail, titled ‘Alfred’, the reverse engraved with a cypher, the conical bowl raised on a short stem and lemon-squeezer base, 15.9cm high (2)Provenance: The Peter and Pat Crofts Collection.Possibly relating to HMS Alfred, which featured in the Battle of Cape St Vincent, the Battle of Saint Kitts and the Battle of Saintes.Condition report: Each with chips tothe foot rim.
Lawrence (T.E.) - Seven Pillars of Wisdom, London: Jonathan Cape, 1935; together with a selection of other hardback books including: The Works of Charles Dickens, Our Mutual Friend; David Bailey's Trouble and Strife; Gustav Klimt by Di Stefano; and others; also including a resin sculpture of a man at a window.
A set of medals awarded to Pte.C.Sands. Consisting of Queen's Sudan Medal 1899 and Khedives Medal, 21st Lancers Pte C Sands 3939. Queens South Africa medal to Pte C Sands, 16th Lancers 4667 with 4 bars South Africa 1901,1902, Orange Free State, Cape Colony, 1914/5 star 240529 Yorks Light Infantry, 1914-18 medal 2297 K.O.Y.L.T (Kings Own Yorkshire Light Infantry), 1914/19 Great War medal.(not pictured)
JOSEPH LANG & SON A JACOBY-ENGRAVED .470 NITRO EXPRESS BROWNING B25 SINGLE-TRIGGER OVER AND UNDER EJECTOR DOUBLE RIFLE, serial no. 60446 S6, completed in 2011 and constructed on a 1966 vintage B25 action, 23 5/8in. nitro monobloc barrels with three-piece fore-end, file cut sight rib with unmarked open sights and two folding leaf sights, ramp-mounted bead fore-sight with fold-over moonsight, hold-open toplever, manual safety with integral barrel selector switch, the action and furniture finely carved in high relief with scrolling acanthus leaves on a stippled background, surrounding game scene vignettes of an African bull elephant to the left, a Cape buffalo with an oxpecker bird to the right, the underside with a lion, scrolling banners to each side gold-inlaid in script 'JOSEPH LANG & SON', the triggerplate signed 'Jacoby', bright finish, 14 1/2in. boldly-figured pistolgrip stock with cheekpiece, engraved steel pistolgrip-cap (with trap) and including 3/4in. leather covered recoil pad, weight 8lb. 14oz., in a fitted brass-cornered leather case with gold-tooled red Joseph Lang trade label. S1 - Sold as a Section 1 Firearm under the 1968 Firearms Act
BEHRENDS, GERMANY A 20-BORE PERCUSSION CAPE-RIFLE, no visible serial number, circa 1840, with browned 27in. barrels, the raised flat top-rib signed in white metal inlay 'BEHRENDS IN MAGDEBURG', white metal dove-tailed blade fore-sight, dove-tailed standing notch rear-sight, engraved breech-blocks and rib-end, engraved long and narrow top-tang, borderline and acanthus scroll engraved bar-action locks fitted with roller-mounted hinged nipple-guards and carved and engraved dolphin headed hammers, chequered walnut half-stock, the complex chequered panels decorated geometrically with applied white metal pins, carved and raised cheek-piece with relief carved acanthus foliage behind, chequered horn sliding patchbox cover, horn heel-plate with bone enhancement, moulded and carved horn trigger-guard bow and lower tang cover, single set trigger for the rifle barrel, plain for the shot barrel and replacement white metal tipped ramrod.
TWO IAN FLEMING JAMES BOND NOVELS Casino Royale, Ian Fleming, Jonathan Cape 1959 reprint, with 2nd revised dust jacket Live and Let Die, Ian Fleming, The Reprint Society Ltd, London 1956, hardcover, owners inscription to end papers, with a later associated dust jacket Condition: Minor signs of wear commensurate with age and use; the first few pages of Live and Let Die are slightly torn from the spine.
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