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Click here to subscribeSPACE EXPLORATION; a first day cover, commemorating Apollo 11, signed to the front by Neil Armstrong, Michael Collins and Buzz Aldrin with dedication 'We came in peace for all mankind'.Condition Report: - We have not authenticated this signature, please satisfy yourself as to the veracity of the item prior to bidding.
WESTMINSTER MINT; two 'Britain's First Christmas Coin Commemorative Silver Cover', each containing a £20 fine silver encapsulated coin, limited edition no.3/500 and 4/500, in presentation albums, together with three Royal Mint 'The Snowman' 50p coin packs from the 'Treasures for Life' series, sealed, 'Make a Wish: The Christmas Silver Sixpence 2018' coin pack, sealed, and two 'Start the Festive Season with a Much-Loved Tradition The Christmas Silver Sixpence 2017', from the 'Treasures for Life Series' (8).
BACHMANN, BRANCH LINE; seven boxed carriages and wagons, 39-290B BR Mk1 FP Pullman first parlour, umber & cream, 'Amethyst', 39-310B BR Mk1 SP Pullman second parlour umber & cream, car no. 349, 37-2013K1 fourteen-ton tank wagon Regent, exclusive to Bachmann Collectors Club, 33-179A ten-ton salt wagon 'Fleetwood Salt', 37-2018K five plank wagon 'Ministry of Munitions', 37-2012K seven plank wagon Gloucester Railway Carriage and Wagon Co Ltd, exclusive to Bachmann Collectors Club, 37-2016K seven plank end door wagon 'Horlicks' red oxide, exclusive to Bachmann Collectors Club, together with two Hornby 00 gauge wagons, R6548 open wagon and R6603 open wagon, both with LLanfairpwllgwyngyllgogerychwyrndrobwlllantysiliogogogoch (9).
Four collectible porcelain figures, comprising a Spanish high glaze figure of a lady with amphora by a well, height 30cm, a Lladró angel boy praying, a Spanish figure of a girl with basket and duck and a Capodimonte figure titled 'Mode Liberty', dated 1985, height 24cm (4).Condition Report: - The first figure is probably by Lladro, but it has green baize to the underside.
NELSON MANDELA; a first day cover commemorating the 25th Anniversary of the United Nations Postal Administration, signed to the front by Nelson Mandela and Desmond Tutu.Condition Report: - We have not authenticated these signatures, please satisfy yourself as to the veracity of the item prior to bidding.
COALPORT; five fine bone china cottages in the Victorian manner, comprising 'Thatched Cottage', 'The Umbrella House', 'Keeper's Cottage', 'The Master's House' and 'The Summer House', height of tallest 11cm, the smallest 9cm (5).Condition Report: - On first impressions, they all look to be in good order, no obvious repairs, however the fragility of the leaf tips we can't guarantee.
WORLD CUP 1966; a first day cover commemorating, 'England - World Champions', signed to the front by Alf Ramsey, Bobby Charlton, Ian Callaghan, Bobby Moore, Jimmy Greaves, and Harold Shepherdson.Condition Report: - We have not authenticated these signatures, please satisfy yourself as to the veracity of the item prior to bidding.
WESTMINSTER; four silver commemorative coin covers, comprising 'Ian Rank-Broadley Fourth Portrait Silver Coin Cover' with one ounce silver Britannia, no.101/495, 'Article 50 Commemorative Silver Coin Cover One Ounce Fine Silver Britannia', no.521/995, 'The Welcome to London 2012' silver (925) coin first day cover, no.18/950, 'First World War Centenary Silver Coin Cover £20 Fine Silver Coin', no.84/195 and a 'First Grand Slam Commemorative Stamp Cover', no.538/950 (5).
Four albums of first day covers, to include three Royal Commemorative examples of Charles and Diana and the Royal Baby, The Royal Baby Album, many covers signed by John E. Cooter, an album of miscellaneous royal and other covers and a Royal Mail album of presentation stamp packs, to include RSPCA, Christmas, Swans, Art in the 20th Century, Roman Britain, Sherlock Holmes, Robert Burns, etc (5).
Six resin models of African tribal figures and groups, to include three Leonardo Collection examples, two from the Maasai Collection, comprising 'Suhjaa First Born the Morani' and 'Mapal Best Friends', depicting a boy and goat (lacking an ear and a hand), and one other, height of tallest 35cm (6).
Steiff Antique Teddy bear First quarter 20th 18” Light golden Mohair teddy bear with amber inset eyes and very dark brown Claws , snout and smile and embossed signature metal ear button , (with curved underscore F below Steiff ). Firm body, some variation in Mohair as teddy has been dressed for a lot of his life so his head is slightly lighter in pats. Good long arms and firm, smooth articulation , centre seam, deep firm pronounced rear back hump, cup ears and original feet felt beige pads and historically recovered paws in same colour velvet all neatly stitched. Teddy has a Worcester German lederhosen , shirt and jacket outfit included. A very Handsome chap.(1 + suit)
Two early Laura Ashley pieces, Made in Wales label from the late 60s/ early 70s. The first being a red cotton apron dress, tabard style with patch pockets and a blossom print, the second being a cafe au lait prairie dress with milk chocolate floral print in the Indian block print style, sz 12 label (2) Both pieces are in good, strong and clean condition. The red apron dress has overall fade from wash and wear.
A very rare Robert Morden Miniature Map Playing Cards probably circa 1676, complete set of fifty-two cards with Explanation card, each featuring a county of Great Britain, the King features a roundel of Charles II, the Queens, Catherine of Braganza and various males as Jacks, hand-coloured, square corners, gilt edges, held in purpose made conservator’s box —3 3/4in. (9.5cm.) height of cards (eight of clubs slightly larger and not coloured, from a later edition) - this set is believed to be a first or early edition as adjacent counties not named, some of the first maps to show main road
An all-bisque dolls’ house doll, with fixed head, blue glass eyes, pin-jointed at shoulders and hips and green micro-knitted outfit —3 3/4in. (9.5cm.) (neatly glued ankle); a replica all-bisque doll; and a hamper of micro-knitted clothes comprising a dress, pinafore and hat, to accompany first doll; and a baby’s outfit
A Bliss (American) keyhole type dolls’ house, of printed paper over wood, depicting brick and stonework, balustrading and wood grained front door with ‘R Bliss’, a front verandah with turned posts, keyhole to first floor, red painted roof and front opening to reveal two rooms with wall papers —16 1/4in. (41cm.) high (some wear, hinges need attention)
A mid 19th century educational toy English Sovereigns in Blocks, thirty-six hand-coloured paper on wood blocks numbered one to thirty-six, from William the First to Queen Victoria, date 1937, in original wooden box with sliding lid, the base indistinctly inscribed —10 3/4in. (27cm.) width of box
A B P Grimaud Grand Jeu de Mlle Le Normand Tarot playing cards, probably first quarter of 20th century, set of fifty-two cards, two consultant cards, a blank card, colour printed with tartan backs, tax stamp on Ace of Clubs, instructions, in original box —just over 5in. (13cm.) height of card (box ends loose and wear, cards good)
Attributed to John Michael Wright (1617-1694) Portraits of Lord Henry Howard, later 6th Duke of Norfolk (1628-1684) and his first wife Lady Anne Somerset (1631-1662) both half-length, Lord Henry in armour with a white lace cravat, Lady Anne wearing a blue dress and pearls oil on canvas 66.5 x 57cm, a pair Provenance: Acquired by the vendor's Great Uncle in the decade 1930-40, Thence by descent Although previously thought to represent the 3rd Lord and Lady Arundell of Wardour (as inscribed to the reverse) the present portraits can now be securely identified as of Henry Howard, 6th Duke of Norfolk and his first wife Lady Anne Somerset, eldest daughter of the 2nd Marquess of Worcester. The likeness of the Duke corresponds closely with Wright’s three-quarter-length portrait, of which at least four versions are known (see Exhibition catalogue John Michael Wright, Edinburgh, 1982, p. 70, under no. 15) which depict him at a parapet holding a plumed helmet in a landscape with a page and horse beyond; all were formerly described as various other sitters, but the Duke’s identity in these portraits has since the 1982 Edinburgh exhibition (op. cit.) been verified by a 1660 work by Adriaen Hanneman at Arundel Castle. The former Wardour Castle three-quarter length of the Duke exhibited in 1982 (ibid) proposes a date based on the style of the sword to circa 1660. Therefore, at the time of these portraits, Lord Henry was not yet Duke as he only succeeded his insane elder brother in 1677 and Lady Anne dies in 1662 so they must predate that year. From Lord Henry's apparent age in this portrait, he is therefore still only Lord Henry Howard and certainly not even yet Baron Howard of Castle Rising or Earl of Norwich which he was created in 1669 and 1672 respectively. In 1672, he would also be created Earl Marshal and thus become the most senior citizen in the Kingdom. In 1669, he was appointed Ambassador to Morocco where the city of Tangiers, which was a Portuguese enclave, had already been ceded to England as part of the dowry of Charles II's consort Catherine of Braganza in 1662. Lady Anne's distinctive appearance likewise corresponds with Wright’s three-quarter-length portrayal of her at Powis Castle (NT 1180957). Two other half-length compositions, similar to her present portrait, are also recorded but appear of inferior quality. It is therefore possible that the present work is Wright’s prototype for the half-length composition of Lady Anne, to which a companion portrait of the Duke was added based on the artist’s three-quarter-length version. As a matched pair, the present works are therefore significant in corroborating the iconography of both sitters. Both paintings are executed in oil on canvas supports attached to wooden stretchers. At some stage in the paintings history they have been cut down to ovals. It is possible that they were conceived as oval portraits, however, Wright painted fictive ovals which were fashionable in portraiture of the time. On the portrait of the Duke, faint diagonal lines are visible in the top corners which possibly suggest the painting was at one time attached to a rectangular wooden stretcher with diagonal cross braces, further research would be required to verify this. The portraits have been made into rectangular formats with canvas additions at all four corners prior to being lined. The direction of the canvas weave is slightly skewed at some of the corners suggesting they were never part of the original picture. Cracks have formed in the paint layers following the seam. The canvas tension is good and the pictures are in plane. The paint layers are in a good, stable condition overall. There are a few small, localised losses. The portrait of the Duke has some areas of slightly raised craquelure, but this is secure. The overpaint at the corners is well executed and the original paint layers are blended well to the additions when seen from a normal viewing distance. The portraits have been partially cleaned at some stage in their history with thicker layers of varnish present in the background and dress compared to the faces. This may have been done to preserve the overpaint at the corners. There is some overpaint present in the blue of the dress which now has a slight green hue when compared to the original. Both pictures have areas of wear and abrasion mainly located in the dress and armour, where the paint passages have been thinly applied. Both sitter’s hairstyles have been reinforced, under ultraviolet light dark touches to emphasis the outline and form are present, this is more extensive on the Duke. It is unclear if an earlier campaign of restoration lies beneath the old varnish layers. The sitter’s features are well preserved, an age crack pattern has developed in the flesh paint and there appears to be little overpaint apart from a few small touches. The paint on either sides of the join on both pictures has a slightly uneven texture which is probably related to too much heat being used during the lining process in these areas. The varnish layers are clear, semi-matte and even. There is a light layer of surface dirt present. The portraits are framed in wooden frames with carved decorative elements at the corners. The frames have been prepared with a warm red bole before gilding. A toning layer has created a craquelure pattern across the surface which is uniform across the surface of both frame. There are a few chips, losses and surface scuffs to the frames but overall they are in a good condition. Poorly held in place with bent nails. Protrude at reverse. Framed 82 x 72.5cm
Abraham Pether (1756-1812) Landscape with a church near Chichester; and a Country landscape with cattle drovers and a folly beyondthe first signed and inscribed 'Chichester'oil on canvas, a pair40.5 x 52.5cmBoth paintings are executed in oil on canvas supports which have been lined. The canvas tension is good and the pictures are in plane. Overall the paint layers are in a stable condition. There is an area of raised paint in one of the pictures but this is related to an old repair rather than original paint. Small losses and areas of wear have been overpainted. The overpaint is reasonably well matched and not noticeable from a normal viewing distance. The varnish layers are clear, even and semi-glossy.Framed 52 x 64cm
George Romney (1734-1802) John Howard visiting a prison pen and ink and wash on paper 29 x 52cm Provenance: [By repute and according to a label to the reverse: Collection of Alfred de Pass (1861-1952); Royal Institution of Truro by 1961; Sotheby's, where acquired by Agnew's by 1966] Exhibited: Kenwood, George Romney, Paintings and Drawings: Exhibition at the Iveagh Bequest, 1961, when loaned by Royal Institution Truro; Agnew's, French and English Drawings 1780-1965, 1966 The present drawing is one of a series on the subject of John Howard visiting a Lazaretto which captured Romney’s imagination over several years and recorded the suffering of prisoners. A philanthropist and social reformer, John Howard (1726-1790) had experienced captivity in 1756 when on board a ship taken by a French privateer where all the passengers and crew had been imprisoned in dreadful conditions. From circa 1773 onwards, he carried out inspections of prisons and lazarettos (plague hospitals) throughout Britain and Europe. He campaigned for the humane treatment of inmates and in 1777 published his first report - The State of Prisons in England and Wales. Romney was inspired by Howard’s heroism and initially planned to paint ‘two or three large pictures’ of prison scenes, according to his son John (see Patricia Jaffé, Drawings by George Romney from the Fitzwilliam Museum, 1977, pp. 58-59). The paintings however never materialised and instead Romney captured the subject in a series of studies and sketches depicting figures in dungeon-like prisons, which according to Patricia Jaffé can be interpreted as ‘generalised pictures of the miseries of pestilence ridden lazarettos’ (ibid, p. 58). It has been suggested that the crouching figure at the back of the scene looking on bears some resemblance to Romney himself. Not examined out of frame. Some creasing visible along the left and right hand edges. Small diagonal crease in bottom right corner. Light surface dirt under glass. Framed 50.5 x 72cm
C.J.F.E. (19th century) View of Athens, Greece; and View of 'Balouk Serai - Great Ruin of Alexandrian Troy'the first signed, dated and inscribed with title lower right 'CJFE 1842'; the second inscribed with title and dated 'Aug 1853'watercolour50 x 70cm, a pairProvenance:Private collection, Morpeth Mansions, London, SW1Framed 56 x 76cm
Charles Hunt (1803-1877) after J F Herring Spaniel, winner of the Derby Stakes, Epsom, 1831 aquatint40.5 x 50.5cmtogether with three engravings after Barraud and Davis of huntsmen including William Long on Bertha and Mr Charles Davis on the Traverser (4)Provenance:Private collection, Launceston Place, London, W8First framed 52 x 62cm; three others larger
Rembrandt Harmensz. van Rijn (1606-1669) A Hurdy-Gurdy Player followed by Children at the Door of a House (The Schoolmaster) (B., Holl. 128; H. 192; New Holl. 191)signed within the plate 'Rembrandt f 1641'etching on laid paper, 1641, first state (of four), trimmed to platemark9.3 x 6.3cmProvenance:Collection of the late Sir Georg and Lady SoltiDiscoloured throughout. Several tears and losses around the margins.
After David Loggan Jesus College, Cambridge oil on canvas 94 x 121cm The present work, an aerial view of Jesus College, Cambridge, appears to be based closely on David Loggan's circa 1690 print of the same subject. Loggan (1634-1692) was made Engraver to the University of Cambridge in 1690, two years before his death. His Cantabrigia illustrata, a sister publication to his earlier Oxonia illustrata, depicted various views of Cambridge colleges, including the engraving that inspired this image. This painting therefore provides a faithful representation of Jesus College towards the end of the 17th century. A notable feature is the famous walnut tree to the centre of First Court, first mentioned in the late 16th century and immortalised in a poem by Jesus College alumnus John Hall-Stevenson: "At Cambridge, many years ago In Jesus was a Walnut-tree; The only thing it had to shew The only thing folks went to see. Being of such a size and mass And growing in so wise a College I wonder how it came to pass It was not called the Tree of Knowlege. It overshadow'd every room And consquently more or less, Forc'd every brain in such a gloom To grope its way, and go by guess." The painting is executed in oil on a canvas support which has been lined. The reverse of the canvas has an extensive layer of mould present. The lining canvas is larger than the dimensions of the original picture and the edges have been overpainted. There are a few small, scattered losses to the paint layer and some localised areas of raised and flaking paint. There is wear and abrasion to the thinly applied paint layers. This has led to an extensive campaign of overpaint which is fairly crudely applied, probably covering original paint in many areas. The overpaint is milky in appearance, although blends into the original at a normal viewing distance. The varnish is very matte but even.
A Worcester plate from the Duke of Clarence service, circa 1789, painted with the arms of the Duke of Clarence and St. Andrew surrounded by the blue and gold garter and the motto ‘Honi.Soit.Qui.Mal.Y.Pense’, flanked by oak tree branches, the border with the order of The George, the badge of The Thistle, and the jewels of the Garter and Thistle, amongst pink roses and thistle flowers, marked Flight under a crown and above the crescent 25.5cm diameter Provenance: Geoffrey Godden collection The Duke of Clarence service was the first royal armorial service made at Worcester and it was ordered to commemorate Prince Wiliam Henry having been awarded the Order of the Thistle, along with the title 'Duke of Clarence and St Andrews'. It has been broken in half and riveted, Poor restoration to a small section to the underside of the rim
John Linnell (1792-1882) Portrait of Stewart Marjoribanks, M.P. (1774-1863) standing three quarter-length with a top hat under his arm signed and dated 1842 lower right oil on panel 53 x 44.5cm Provenance: Private collection, Launceston Place, London, W8 Exhibited: London, Royal Academy, 1843, no. 105 Literature: Alfred T Story, Life of John Linnell, 1892, vol. II, p. 252 Stewart Marjoribanks (1774-1863) was a Whig politician and wine merchant. Born in Berwickshire, Scotland, he was also involved in the East India Company, the New Zealand Company and was a founder of the Pacific Pearl Fishery Company. He was first MP for Hythe from 1820-1837, when he voted in favour of parliamentary reform and expressed support for the abolition of slavery in the colonies and Catholic and Jewish emancipation. He was again elected Hythe MP in 1841, shortly before the execution of the present portrait, when he also married his second wife, Lucy, daughter of Edward Roger Pratt of Ryston Hall, Norfolk. In 1846, Linnell painted a further full length, life size portrait of Marjoribanks for the members of the Watford Masonic Lodge. The painting is executed in oil on a panel formed from a single board of thick wood. The support and paint layers are in a very good condition overall. The paint layer has developed a slightly wrinkled texture, notable in the face. The varnish is clear, even and slightly glossy. There are a few, localised areas of overpaint covering abrasion at the edges of the picture and small areas of wear in the figure. Framed 72 x 63cm
Marion Margaret Violet Manners, Duchess of Rutland (1856-1937) Portrait of a lady playing the piano; Portrait of a girlthe first signed in monogram and dated 1883; the second signed in monogram and inscribed 'Anne / Felixstowe / Aug 187(0?)' pencil14.5 x 11cm; 17 x 11.5cmProvenance:Private collection, Launceston Place, London, W8Framed 29 x 25cm; 31.5 x 26cm
Marion Margaret Violet Manners, Duchess of Rutland (1856-1937) Portrait of Mary L'Estrange, Countess of Erroll (1849-1934); and Portrait of her sister, Constance, Lady Muncaster (1839-1917) the first dated 'Oct. 2 1873', the second dated 'Sept. 19 1872'; each inscribed with the sitter's identity pencil 25.5 x 17cm; 24 x 22cm (2) Provenance: Private collection, Launceston Place, London, W8 Mary - Signs of mount burns to the edges. Minor surface dirt. Small pin hole mark lower centre.Constance - Signs of discolouration in top corners. Light spotting throughout predominantly to the outer edges.Not examined out of frames. Framed 47 x 38cm; 45 x 41.5cm
Fang Zhaoling (1914-2006) The Heart Sutra Calligraphy scroll mounted for framing, signed with seal mark and dated 1960 ink on paper 33.5 x 124.5cm Provenance: Given by the artist to her son, J.M.S Fang, and by him to his tutor in the Faculty of Oriental Studies at Cambridge in about 1971 The Heart Sutra is a popular sutra in Mahāyāna Buddhism.Fang Zhaoling was born in 1914 in Wuxi, Jiangsu Province, China, to an affluent family who placed her among the minority of the 1910s well-educated women. During her studies, while living in Shanghai, she excelled in traditional Chinese paintings under the supervision of Qian Songyan and Chen Jiucun. After many troubled years during the war in 1937, she left China for the United Kingdom to study European Modern History at the University of Manchester, becoming the first female Chinese student at the university. After graduating, along with her husband and children, she moved to Hong Kong in 1948. Whilst in Hong Kong she learned under Lu Xinnong and Zhao Shao’ang. In 1953, she later became a student of Zhang Daqian developing her artistic practices by exploring Daqian’s expressionist styles. Zhaoling paved the unprecedented way for Chinese female artists with her highly expressive work developed in an artistic language embedded in tradition. Some staining and discolouration evident to the mount. The calligraphy panel with some very minor scattered foxing, and some grubby handling marks which are mostly isolated to the peripheries. Appears to be stuck down to mount with some creasing visible to the right hand edge. See additional images.
British Topographical School, 19th century Views of Coonoor and Ootacamund, Indiaeach signed with initials 'E. L. G.', the first inscribed 'Glenview Coonoor 1858', the second 'Mount Stuart' and dated 'Dec 13th 1858'pencil and watercolour18 x 22.5cm, 20 x 24.5cm;together with a drawing of The Water Palace, Mandoo, 1834, signed with initials 'J. H. L.' on Whatman Turkey Mill card dated 1830; and a small watercolour portrait of an Indian dignitary inscribed 'A. C. fecit Glenormiston September 1st 1838', all unframed (4)
§ Edward Seago RWS RBA (1910-1974) 'The Sunlit Spire', a view of Salisbury Cathedral signed lower left titled on handwritten label verso oil on canvas 41 x 51cm Provenance: Acquired by Gerald Robarts (1878-1961) great-grandfather of the present owner Views of Salisbury Cathedral were a favourite subject of Edward Seago, perhaps inspired by John Constable who Seago much admired. Indeed, Constable's first recorded drawing of the cathedral, executed in July 1820, is known to have been once owned by Seago. Oil on linen canvas support which is unlined. The tension is good and the picture is in plane. Two small holes at the far left side. The paint layers are in a very good, stable condition overall. Thin varnish layer and a semi-matte surface. There is a light layer of dust across the surface.52 x 63cm framed. 39.5 x 49.5cm sight size.
William Hodges RA (1744-1797) An extensive landscape with figures on a track and distant buildings beyond, probably Yorkshire oil on canvas 81 x 87.5cm Provenance: Private collection, Launceston Place, London, W8 The present picture, a significant new addition to the oeuvre of William Hodges, is likely to have been executed in the 1790s following the artist’s return from India. In 1793, Hodges visited Yorkshire and was commissioned by Walter Ramsden Fawkes of Farnley Hall to execute four oil paintings “about the size of half-lengths” based on sketches Hodges made of Farnley’s environs (Isabel Combs Stuebe, The Life and Works of William Hodges, 1979, p. 297-298). It is possible that this picture is one of these hitherto untraced works, which were not well received by Fawkes, or another composition deriving from the same trip. In October 1793, Joseph Farington recorded in his diary that Hodges had also visited Fountains Abbey which he “very much admired, and stayed a day there” (ibid). Hodges subsequently exhibited views of Fountains and Kirkstall Abbey at the Royal Academy in 1794 (Nos. 371 and 375). A contemporary newspaper reported more favourably that: “Hodges has been painting St. Fontaines’ [sic] Abbey, and some other beautiful scenery of Yorkshire, in size-colours, and for brilliancy and effect, as well as graceful imitation, they have much to boast of” (ibid). We are grateful to Charles Greig for endorsing the attribution to William Hodges following first hand inspection. The painting is executed in oil on a canvas support which has been lined. The canvas tension is good and the picture is in plane. The paint layers have a prominent craquelure pattern which was clearly raised and flaking in the past. This has been partially resolved through lining, although some areas are once again lifting. Several large damages in the paint layer have been repaired and overpainted, these are mainly in the darker foreground areas of the picture. Areas of overpaint in the sky cover losses and age cracks and have discoloured over time, no longer matching the surrounding original paint layers. The varnish is poor; at the left hand side it has degraded becoming spotty and opaque in areas. The gloss and saturation of the varnish varies across the surface. Framed 96 x 102cm. Remnants of Christie's stencil verso.
Two pearl necklaces, the first a graduated single-row, diameters ranging from 3.2mm to 5.8mm, length 44cm; the second of roughly uniform double row swag design, dimensions all approximately 3.5mm, to an Edwardian half-pearl cluster clasp (majority of pearls deficient), length 39cm (2)A verbal opinion from the Gemmological Certification Services, GCS, London, reference 5784-0420 states that one necklace is composed of natural salt water pearls with two beaded cultured pearls. the other reference 5784-0421 composed of natural saltwater pearls with four beaded cultured pearlsCondition Report: Gross weight 20.7g
A Coalport cabinet plate by Thomas Keeling, circa 1901, fully painted with a scene of 'Mother and Child' after Joshua Reynolds, with gilt gadrooned rim, signed 'T. Keeling, '01', green printed factory mark, titled to the reverse, 23cm diameterThomas Keeling was born in 1864 in Stoke-on-Trent, Staffordshire. He is first shown working for Copeland 1882-84 painting figure subjects on tiles and slapped and later worked as a principal artist Coalport in the early 1900s, specialising in fruit, animal studies, figures and portrait heads. In 1909 he left Coalport to open a china shop in Kidderminster.Condition:Good condition with no damages or repairs. Crazing to the glaze. A couple of spots of gilt wear to the rim.
Two Derbyshire salt-glazed tobacco jars, mid-19th century the first, with inner and outer cover, dated 1843, inscribed to 'A. Waine, Nottingham', decorated with the reverse heads of Victoria and Albert and 'Prince Albert Queen Victoria' inscription, 21cm high; the second, lacking cover, moulded with monkeys smoking pipe, 10cm high (2) Provenance: Collection of Roy G. Hughes, former curator of Derby Museum and collaborative author of 'English Brown Stoneware 1670-1900' (Faber and Faber, London, 1982). A Victoria and Albert tobacco jar is illustrated in plate 126a.
Two Worcester porcelain teapots, the first, circa 1760, painted in bold enamels with an array of packed and trailing flowers, with a floral finial to the cover, unmarked, 15cm high; the second, circa 1770, painted in the Chinese export famille rose style with a floral panel edged in gilt and scattered sprays, flat knop the cover, unmarked, 15cm high (2)Provenance: Private Collection, purchased in 1966.Condition:1760 teapot - chip to the underside of the cover, nibbles to the flower finial. Small nibble and loss of gilt to the tip of the spout.1770 teapot - Rubbing to gilt on the knop, the original gilding on the spout on the teapot is now 85% rubbed. Good condition with no damages or repairs.
A pair of Coalport dishes painted by Frederick Herbert Chiversspecially commissioned for Rt. Honourable Charles James Milnes Gaskell, of oblong form with twin handles and pink grounds highlighted with gilt, the first painted with a still life of yellow and red tulips, with gilt by C.H. Deakin, the second painted dated August 1909, the second with assorted pansies, with gilt by J. Shelley, dated May 19th 1910, both artist signed, each with presentation inscriptions to the reverse together with green printed factory mark and 7580/D in gilt, 32cm wide (2)Provenance: Ivor Southorn Collection. Previously loaned to the Coalport Museum for the 'Coalport at the Court of the Tsar -1996 Bicentenary Exhibition'.Condition:Pansies - on close inspection, this dish has been broken cleanly into two pieces down the centre and restored. The quality of this restoration is good but the crack is still visible when back lit with a torch and the overprinting around the gilt lettering to the reverse is noticable. The gilding and the paint remain in good order. There is glaze crazing.Tulips - good condition with no damages or repairs. Some gilt wear to the shell handles. A few very minor spots of wear to the pink ground. Rings true when tapped. Some very fine glaze crazing.
Two continental fob watches The first open-faced, key wind, gold-coloured dial with decorative engraving, Breguet-style hands, unsigned case and movement, caseback with blue enamelled decoration; the second open-faced, key wind, round white enamel dial with Roman numerals, Breguet-style hands, unmarked case and movement, caseback with rose-cut diamond star motif to a green enamel surroundDimensions:Case: 33.5mm & 30.5mm
The First World War A Photographic History 1933 Hardback Book by Laurence Stallings. A Daily Express Publication. Showing Signs of Age. =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
Aviation. Collection of Five 80th anniversary of the first aeroplane flight in Britain FDCs JS (AC) 32. Four are Signed. All Contain Stamps and 16th Oct 88 Postmarks. =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
Dowding and Headquarters Fighter Command by Peter Flint 1996 First Edition Hardback Book with 222 pages published by Airlife Publishing Ltd. =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
Daring Raids of World War Two by Peter Jacobs First Edition 2015 Hardback Book published by Pen and Sword Aviation (Pen and Sword Books Ltd) . =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
WWII Multi Signed Book Voices From The Battle of Britain Surviving Veterans Tell Their Story by Henry Buckton 2010 First Edition Hardback Book with 304 pages Multi Signed by 10 Veterans including Tim Elkington, Michael Wainwright, Tony G Pickering, Terence Kane, plus others on the Title page published by David and Charles Ltd spine in good order. =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
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