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Lot 333
Kashan Carpet Central Iran, circa 1960 The ice blue field with an allover design of palmettes and vines enclosed by sky blue borders of meandering vines flanked by triple guard stripes, 399cm by 290cm. Both ends and both selvedge's complete and original. Pile, close clipped and in good condition might benefit if washed.
Lot 337
~ Large Indian Carpet, early 20th century The raspberry field with an all over design of palmettes vines and large flower heads enclosed by olive green borders of meandering vines flanked by guard stripes, 681cm by 448cm. Both ends and both selvedges original but fraying, pile- uneven wear and some heavy wear at one end. Some areas of moth damage, one small hole (burn?) approximately 2cm by 2cm
Lot 338
~ Feraghan Carpet West Iran, circa 1900 The deep indigo Herati field enclosed by terracotta borders of angular meandering vines and samovar motifs flanked by triple guard stripes, 490cm by 350cm. One end complete with web (fraying in places), the other end with very minor losses into outer guard stripe. Selvedges fraying and with binding cords absent. Pile very dirty, some evidence of moth damage throughout the carpet
Lot 294
Lotto Rug West Anatolia, 17th century The terracotta field with typical mustard medallions enclosed by a lattice framed by indigo borders of geometric devices and S motif outer guard stripes, 168cm by 110cm Rugs of this design take their name from the Venetian artist Lorenzo Lotto (1480-1557). The artist used rugs of this distinctive pattern as props in a number of his paintings. Evidently, by the beginning of the 16th century 'Lotto' rugs and carpets had been imported into Northern Italy and beyond from Istanbul and Smyrna. During this period rugs were hugely expensive in Europe and available only to the nobility, the Church and the wealthiest of merchants. They were status symbols. When a nobleman commissioned a painting from a well-known artist, and if he possessed a rug or carpet, the weaving would appear in the painting. Examples of 'Lotto' rugs can be seen in museums including the Victoria and Albert Museum in London and the Met museum in New York.. Both ends have been secured with linen panels sown to the back. Selvedges are placed and outer guard stripes extensively rewoven. Rewoven areas can also be seen in outer part of one side border. Some wear and minor repiling in the field consistent with age.
Lot 51
NASAA group of three images of James Lovell and Frank Borman during recovery, comprising:1) After splashdown Frank Borman is being hoisted from the water by a helicopter 18 December 1965Vintage gelatin silver print on fibre-based paper, 20.5 x. 20.5 cm (10 x 8 in), NASA photo no 65-H-2305, with a NASA caption and RCA stamp on the verso2) A portrait of euphoric expressions on James Lovell's and Frank Borman's faces after successful finale of Gemini 7 spaceflight (on deck of the recovery spacecraft carrier)18 December 1965Vintage gelatin silver print on fibre-based paper, 20.5 x. 20.5 cm (10 x 8 in), NASA photo no 65-H-2323, with NASA MSC caption on the verso3) Frank Borman and James Lovell get a red-carpet welcome as they arrive aboard the USS Wasp18 December 1965Vintage gelatin silver print on fibre-based paper, 20.5 x. 20.5 cm (10 x 8 in), NASA photo no 65-H-2318, with a NASA caption and RCA stamp on the verso
Lot 209
1960 Morris Minor 1000 Cotswold Blue, 64 000. The Morris first registered on 4th February 1960, engine number 9.M.U.H 401469, VIN/Chassis nr M/AS.3792663, two owners from new, with current owner since October 1968 and subject to professional restoration and ideal project for someone who wants to add the finishing touches. Background: First registered in February 1960, purchased by ourselves in October 1968. It appeared to have been a one owner Cheltenham based car, undersealed from new, with an odometer reading of 53100 miles. It had recently had a top overhaul and piston service, and was generally in sound condition. It was purchased for use as a second car, and was used as such (by my ex-wife) until mid 1969 (mainly in the garage at the family home) mileage 64100 miles and kept in reserve as a spare car. At this stage oil was injected into the cylinders to prevent corrosion and the motor hand cranked periodically. This continued until around 2012, when it needed to be moved and the decision was taken to re-build it. It was trailered to a professional body shop, where the bodyshell was dismantled, the glass, doors bonnet and boot removed. Four new (genuine) wings were fitted, the front two were showing the characteristic signs of corrosion along the rear edge, the back two had both had minor scrapes. After extensive preparation (the original paint was still in good, but faded, condition) and correctly repainted in the original blue colour. All of the new work was then stone chip painted to give further protection, the windscreen replaced (old was scratched) and rear window, both with new seals, and the car trailered back to its (current new) garage for final assembly in 2014 (brake service, electrical reconnections, interior upgrade and detailing. Outstanding works: The 'fits' of the various openings, doors etc. need to be finally adjusted. The original leather upholstery is basically sound, but the stitching on some of the panels needs to be redone and the cushion material replaced. New carpet sets readily available. It was the intention to replace the wheel and master cylinders (and maybe some of the rubber hoses) simply because of their age (genuine parts readily available) Routine lubrication service and battery, wiper blades etc.Service History: October 1968 - change of oils, new filter, wiper blades, gearchange grommet. New Michelin tyre.December 1968 - grease, replace top water hose and heater hoses. Change engine oil, new brake hoses, overall starter, replace O/s/r bulb.January 1969 - Fit new clutch and carbon thrust bearing.April 1969 - Replace battery, general light service, new air filter. July 1969 - Engine oil change service, from the mid 1970's laid up to date until 2014 it had two new tyres fitted. Kindly provided by the current owner. PLEASE NOTE THAT THE CHERISHED PLATE IS INCLUDED WITH THE PURCHASE ON THIS VEHICLE.
Lot 148
An amethyst and purple sapphire ‘Luna’ ring, by Shaun Leane, 2011, the polished fancy-cut amethyst within an abstract surround pavé-set with circular-cut purple sapphires, mounted in 18ct white gold, UK hallmark, maker’s mark, signed ’Shaun Leane’, maker’s case, ring size Q - R. £1,500-£2,000 --- Born in 1969, Shaun Leane is a British goldsmith and longtime collaborator with the late fashion designer Lee Alexander McQueen, CBE. At the age of sixteen, Shaun Leane started a seven-year apprenticeship in Hatton Garden with the company English Traditional Jewellery. On completion of his training, he continued to work for the firm for another six years, specialising in the restoration and reproduction of Victorian, Art Nouveau and Art Deco jewels. A chance meeting with Alexander McQueen in 1992 allowed Leane to begin creating his own pieces. Having initially bonded over a mutual desire for creative freedom, the pair went on to design and make iconic and provocative catwalk jewels that challenged perceptions of sculptural form and femininity. Their passion for craftsmanship and symbolic design bridged the worlds of fashion and jewellery and saw the creation of three-dimensional pieces considered contemporary works of art in their own right. The use of less traditional materials, such as aluminium, chosen for their creative versatility rather than intrinsic value, was a theme also seen in the designs of other British jewellers, such as Andrew Grima and John Donald. Leane and McQueen worked together for over 17 years up until McQueen’s death in 2010. During his career Leane has collaborated with various houses, including Asprey, Boucheron, De Beers and Givenchy. His jewels are regularly seen on the red carpet, worn by celebrities such as Björk, Elton John, Kate Moss and Lady Gaga. In 2011 thirty of his works were exhibited at the Victoria and Albert Museum’s retrospective exhibition, Alexander McQueen: Savage Beauty. He is the four-time recipient of the UK Jewellery Designer of the Year, and, in 2020, published an extensive and personal monograph charting his 36 years as a designer-maker.
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