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Lot 209
A collection of silver and costume jewellery, including: a Danish silver oval link bracelet; an antique gilt metal snake pattern belt buckle; two Celtic silver necklaces; brooches; necklaces; a cased late Victorian silver spoon and fork set; Humpty Dumpty pusher and spoon set; and other items.
Lot 172
A selection of silver and other jewellery, including: a marcasite set silver violin pattern brooch; a silver filigree crucifix pattern pendant; an Arts & Crafts citrine and hammered pewter brooch; a bow pattern brooch; an Albert chain; an enamelled gilt metal Celtic cross; a pair of silver cufflinks; a Tiffany & Co silver keyring; and other items.
Lot 503
Autographed BILLY McNEILL and JOHN GREIG 12 x 8 Photo : Colorized, depicting Celtic captain BILLY McNEILL and his Rangers counterpart JOHN GREIG shaking hands in the centre-circle prior to the 1969 Scottish Cup Final at Hampden Park, the Hoops defeated their arch-rivals 4-0 in front of 132,000 spectators, signed by both players in black marker. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 133
Viv Anderson green and white No.13 Celtic v. Nottingham Forest short-sleeved shirt, 1983, Umbro, M, with v-neck collar and embroidered cloth badge inscribed THE CELTIC FOOTBALL CLUB 1888 The above gained by Viv as a swap after one of the UEFA Cup third round match against Celtic played on 23rd November 1983 or 7th December 1983Provenance: The Viv Anderson CollectionThe following lots 39 to 159 relate to the career of Viv Anderson MBE. See bio foot of lot 39
Lot 455
The Football League v. Scottish Football League match programme, 12th March 1921, played at Highbury, Football League players selected from Manchester United (Mew and Silcock), Liverpool, Sheffield Wednesday, Everton, Burnley, Sunderland and Arsenal, and Rangers, Celtic , Dundee , Partick , Clyde , Morton , Falkirk and Dundee providing the players for the Scottish League team, folds
Lot 17
A collection of silver and gem set necklace pendants and a brooch pin. The lot to include gem set pendants, pendant in the form of a bunch of grapes, gem set cross, locket, agate, silver leaf, swirl pendant and more. The lot to also include a pierced silver Celtic brooch set with a central black enamel dome. All jewellery marked 925 or surface tests indicate silver. Pendants measure largest 7cm x 4cm. Smallest 1.8cm x 2.6cm (including bale). Brooch measures 3.1cm x 3.1cm. Weighs 81g. All weights, measurements and sizes are approximate.
Lot 174
An assorted collection of silver and gem set jewellery. The lot to to include bangles, bracelets, gem set rings, necklace pendants, buckle and brooch pin. The bracelets and bangles to include charm bracelets, white stone set, heart padlock clasp bracelet, abalone butterfly bangle, popcorn link chain, mariner link chain, moonstone , cat bangle and more. All bracelets and bangles either hallmarked, marked silver or surface tests indicate silver. Three silver and white stone set rings, all marked 925 to inner shank. A hallmarked silver fob medallion with rose tone metal vacant cartouche, hallmarked for Birmingham, 1933. A silver Celtic-style buckle set with a blue hard stone cabochon, signed Tapaz to verso. A silver filigree flower brooch pin with safety chain, hinge pin and trombone clasp to verso, unmarked however tests as silver. Bracelets measure 18cm - 25cm. Bangle inner diameters measure 6cm-7cm. Rings measure size N- R.5. Celtic buckle measures 3.5cm x 3.5cm. Filigree brooch pin measures 4cm x 4cm. Fob medal measures 4.2cm x 2.8cm. Total weight 225g. All weights, measurements and sizes are approximate.
Lot 40
A mixed group of jewellery, including an Art Deco paste set brooch/clips; costume jewellery pendants and chains; a blue faced dress watch; a vintage Avia watch; two long service badges dated 1941 & 1945; a Celtic style ring; and a selection of silver jewellery including a brooch, medal, pin badge with enamelling, Mizpah brooch, Celtic cross and chain, etc, silver either hallmarked, marked 925 or STG, total gross weight of silver 45.5grams, (Qty)
Lot 089
ITEM: Openwork fibulaMATERIAL: BronzeCULTURE: RomanPERIOD: 2nd - 3rd Century A.DDIMENSIONS: 33 mm x 30 mmCONDITION: Good conditionPROVENANCE: Ex Spanish private collection, bought in English auction house. Ex English private collection, London, acquired before 2000.Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman openwork fibulas are intricate brooches used primarily to fasten garments, serving both practical and decorative purposes in Roman society. These fibulas, which were the ancient equivalent of modern safety pins, were often designed with openwork patterns, meaning they featured cut-out designs that created a lattice-like appearance. The openwork technique allowed for intricate, lightweight designs that could incorporate complex geometric, floral, or zoomorphic patterns. Made from bronze, silver, or sometimes gold, these fibulas were not only functional items of dress but also highly personal adornments that reflected the wearer's status, taste, and regional influences.The designs of Roman openwork fibulas varied significantly, often depending on the region and the period. Some featured abstract or geometric patterns, while others displayed more elaborate motifs, such as animals, mythological creatures, or symbols with cultural or religious significance. The openwork design allowed artisans to showcase their skill, creating delicate patterns that were both aesthetically pleasing and structurally sound. Fibulas with such intricate designs were often worn by wealthier individuals or members of the military, as they conveyed status and were often used to signify rank or allegiance within the Roman army.Openwork fibulas were not just limited to personal adornment; they also played a role in the cultural and artistic exchanges within the Roman Empire. As Roman territories expanded, fibula designs began to incorporate styles and motifs from the different regions they conquered, blending Roman traditions with local artistry. For example, Celtic, Germanic, and Eastern influences can be seen in the evolving styles of fibulas, making them a rich source of information about the cultural interactions within the empire.
Lot 215
ITEM: Duck mountMATERIAL: SilverCULTURE: Iron Age, CelticPERIOD: 2nd Century B.C - 1st Century A.DDIMENSIONS: 10 mm x 17 mmCONDITION: Good conditionPROVENANCE: Ex English private collection, Suffolk, acquired in U.K art market in 2015, before from English private collection, Kent.Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Iron Age Celtic silver duck mount is a remarkable artifact that reflects the artistic and cultural sophistication of the Celtic peoples during the late Iron Age (around 500 BCE to the Roman conquest). The Celts, known for their intricate metalwork and symbolic art, often created decorative mounts and fittings for various objects, including weapons, chariots, and ceremonial items. The silver duck mount is an example of their skill in metalworking and their use of animal motifs, which were common in Celtic art, symbolizing various spiritual and cultural beliefs.This silver duck mount likely served as a decorative piece, possibly attached to a ceremonial object such as a shield, helmet, or chariot. The duck itself holds symbolic significance in Celtic culture, often associated with water, fertility, and the otherworld. Waterfowl, like ducks, were believed to be creatures that could traverse both the earthly and spiritual realms, making them potent symbols of transition and connection between worlds. The use of silver, a precious metal, further indicates the mount's importance, suggesting it may have belonged to a person of high status, perhaps a chieftain or a warrior of significant rank.The craftsmanship of the Celtic silver duck mount is notable for its detailed and stylized representation of the bird, reflecting the Celts' deep appreciation for nature and their ability to infuse symbolic meaning into their art. The design likely incorporated the flowing, curvilinear patterns typical of La Tène art, the dominant artistic style of the Celts during the Iron Age. This style is characterized by its intricate patterns and abstract forms, often inspired by natural elements.
Lot 119
ITEM: Statuette of a horseMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 40 mm x 41 mmCONDITION: Good conditionPROVENANCE: Ex English private collection, acquired between 1970 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 4 to 6 weeks and has a cost of 5% of the amount of the sale, this amount will be added to the final invoice.In the Roman period, statuettes of horses held various symbolic and practical roles in Roman society. Horses were crucial to the Roman military, agriculture, and transportation, and their representation in art and statuary reflected their importance. Small bronze or terracotta horse statuettes were popular as decorative items in domestic settings, showcasing the Romans' appreciation for the beauty and strength of these animals. These statuettes were often crafted with great attention to detail, capturing the anatomy and spirit of the horse in a miniature form.Horse statuettes also had a significant role in religious practices and rituals. In the Roman pantheon, various deities were associated with horses, such as Neptune, the god of the sea, who was often depicted with sea horses. Epona, a Celtic-Roman goddess, was specifically linked to horses and was worshipped as a protector of horses and riders. As such, horse statuettes were used as votive offerings in temples dedicated to these deities or as personal talismans for those seeking divine favor or protection for their equine companions.Additionally, horse statuettes were employed in funerary contexts. They were sometimes placed in tombs or used as grave markers to symbolize the deceased's affinity for horses or their status in the afterlife. The Roman belief in an afterlife and the importance of personal possessions in burial practices led to the inclusion of various symbolic items, including horse statuettes, to accompany individuals into the next realm.
Lot 1432
LEIGH RICHMOND ROOSE 1910 WALES INTERNATIONAL CAP Leigh Richmond "Dick" Roose, MM, (27 November 1877 – 7 October 1916) was a Welsh international footballer who kept goal for several professional clubs in the Football League between 1901 and 1912. A celebrated amateur at a time when the game was played largely by professionals, Roose was renowned as one of the best players in his position in the Edwardian period. He was also well known as a footballing eccentric, and many stories about him are still told t He began his footballing career in 1895 with Aberystwyth Town, playing for the club on 85 occasions. His debut came in a 6–0 win over the Shropshire team Whitchurch in October 1895, and he was carried from the pitch shoulder-high following the team's 3–0 victory over Druids in the Welsh Cup final of 1900. It was during this phase of his career that Roose was seen playing by the eminent Welsh historian Thomas Richards, who would later refer to him as Yr Ercwlff synfawr hwn ("This wondrous Hercules"). Signed by Stoke, Roose made 147 league appearances for the Staffordshire club from 1901 to 1904 and 1905–1906 – the latter spell, consisting of only three games, being terminated by a broken wrist. Roose kept 40 clean sheets (that is, did not concede a goal) during his Stoke career, a remarkable record not least because his team flirted dangerously with relegation in 1901, 1902 and 1904. Roose punctuated his two spells at Stoke with 24 appearances for Everton, whom he helped reach the semi-final of the FA Cup in 1905. He arrived partway through the 1904–05 season and replaced the Irish goalkeeper Billy Scott, who had conceded 17 goals in the first 12 games of the season. Roose kept 8 clean sheets for Everton, a record proportionately better even than that he had set at Stoke. After leaving Everton, Roose went on to play in 91 league matches and seven cup games for Sunderland between 1907 and 1910, helping the club to finish second in the league on two occasions, and "almost single-handedly" saving the team from relegation on a third. When a second broken wrist terminated his Sunderland career, there was some call for Roose's services to be recognised with a testimonial match. Since the player's amateur status forbade this, an illuminated address was presented instead. In the course of his career, Roose also turned out for Port Vale and Celtic (both 1910). He played one game for Celtic, a Scottish Cup semi-final in which Celtic lost 1–3 to Clyde on 12 March 1910. He made his mark on this game by running after the goalscorer of one of the Clyde goals and shaking his hand! Other clubs he represented on at least one occasion included Druids, Huddersfield Town (1910–1911), Aston Villa (August to December 1911)[1] and Woolwich Arsenal (1911–1912). Roose's international career began in 1900 when he played for Wales in a 2–0 defeat of Ireland. He won a total of 24 caps, turning out for his last international game against Scotland in March 1911. He was one of Wales's key players when the team won the British Home Championship for the first time in 1907. Ref GA
Lot 1718
1930'S FOOTBALL TEAM PHOTO CARDS X 14 Teams are Manchester United, Leeds United, Sheffield United, Charlton Athletic, Preston North End, Sunderland, Aston Villa, Middlesbrough, Wolverhampton Wanderers, Glasgow Rangers, Arsenal, Celtic, Everton & Leicester City All plain backs & mixed conditions Ref SM
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