A costume design by Edith Head likely for Rosalind Russell as Kim Halliday in the film production The Girl Rush (Paramount 1955). The mixed medium illustration shows a posed full-length female figure in an elaborate embellished show-girl costume, wearing a headdress and bodysuit designed with drapped sleeves and an elaborate train. Russell wore a similar costume design for the film's promotional photos, which were placed on lobby cards and film posters. There is no signature present on the sketch.Edith Head began working at Paramount in 1923; she was hired by Howard Greer who was the head of the studio’s costume department. Greer taught her how to sketch when she began working for the studio and instilled in her how important it was to communicate with the actors they were dressing. She began designing and dressing supporting actors and background/extras. In 1933 Mae West's film She Done Him Wrong was Edith's first time designing a wardrobe and gowns for a lead. She said, "Mae West taught me everything I needed to know about sex, clothwise." DIMENSIONS: SKETCH 14.5 X 23 INCHES MOUNT 19.5 X 31 INCHES
We found 596772 price guide item(s) matching your search
There are 596772 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
596772 item(s)/page
Three helmets, two Irish Army and one Cavalier, as seen worn by various soldiers in Michael Curtiz's The Private Lives of Elizabeth and Essex (Warner Bros., 1939) starring Bette Davis and Errol Flynn.The cavalier helmet is made of fiber glass and has a Western Costume label inside reading "Gene Myers." The Irish Army helmets are made of pot metal. The braid detail was added to them for another production. The historical film recounts the complicated romantic relationship between Queen Elizabeth I and Robert Devereux, 2nd Earl of Essex. This was the first of two times that Davis played Queen Elizabeth I. Links to images are available upon request.
An early 19th-century-style black silk velvet embellished gown designed for Vivien Leigh as Emma Hamilton for the film That Hamilton Woman! co-starring Laurence Olivier (Alexander Korda Productions, 1941). An elaborate 19th-century-style evening gown designed for Vivien Leigh as Lady Hamilton. The gown features a low neckline trimmed with Alençon lace. The gown features beaded ears of wheat and a bow motif throughout the gown, the surface design is composed of metallic bugle and seed beads and faceted rhinestones. The sleeves are shortened to the elbow and fit close to the arm with a ruffle cuff lined with beige chiffon. This gown features a basque waistline and full skirt, the skirt has been altered. Originally, the design was worn with a hoop skirt so the velvet outer skirt was open to reveal a contrasting white under-skirt with lace. At the interior of the gown’s bodice is a Rene Hubert label. The film follows the rise and fall of Lady Emma Hamilton, an actress, dancer, and courtesan, who marries Sir William Hamilton the ambassador to Naples but falls in love with Admiral Horatio Nelson. Both married have an open affair; Emma being seen as a distraction from Nelson entering the Napoleonic wars is to be sent to Cairo. Leigh as Hamilton is seen wearing this velvet gown when she tells Nelson she has to leave Naples and go to Cairo, but neither can let the other go. They travel to England to carry on their affair, but Nelson is sent to fight in the Battle of Trafalgar where he is killed, his death leads Emma to spiral and fall into alcoholism and poverty. Rene Hubert designed the costumes for the film. Hubert’s first job in film was working with Gloria Swanson in 1924; they met in Paris to discuss Swanson’s role as Madame Sans-Gêne and his costume designs, which the actress accepted at first glance. He designed for Paramount, MGM, and 20th Century Fox. PROVENANCE Lot 189, Christies, Auction 1854, May 30, 2007.
An original program from the 1939 release of Gone With The Wind (Selznick International Pictures, 1939). The program was available for purchase during the first release of the Academy Award-winnning classic and is filled with 19 pages of color and black and white illustrations as well as text, including personal stories about the production that are attributed to stars Vivien Leigh and Clark Gable.The back cover features images of secondary characters but not Hattie McDaniel. 9 x 12 inches
An original mixed medium costume illustration of Olivia De Havilland in her Oscar-winning role as Jody Norris in the film production To Each His Own (Paramount 1946). A mixed medium costume design by Edith Head, illustration likely by sketch artist Walter Angelo. The sketch features a full-length female figure in an early 20th-century style dress with a floral pattern, a gathered full skirt, a layered bodice with a scallop v-neck line, and flutter sleeves, complete with a fitted purple gathered band at the waist. Olivia de Havilland starred in this period drama Jody Norris, who has a baby out of wedlock with a soldier before he is sent off to fight in the First World War. The plot centers around Jody as she struggles to regain custody of her son in this heart-wrenching period drama. SKETCH 14.5 X 23 INCHES MOUNT 19.25 X 31 INCHES
Two original costume designs by Edith Head for Olivia De Havilland in her Oscar-winning role as Jody Norris in the film production To Each His Own (Paramount 1946). A set of two mixed medium costume designs by Edith Head, illustration likely by sketch artist Walter Angelo, who was credited for the film's wardrobe. Both sketches feature a full-length female figure in 20s period costumes, one sketch features the character Jody in a three-piece 20's ensemble, a black jacket with shawl lapel, a black pencil skirt, tan blouse with embroidery detail, tan gloves, a black cloche with a feather accent, necklace and earrings, complete with black mules. There are pencil notations at the bottom of the sketch reading, "Aug-1920, Corinnes Apt 13, #13-Sept. 1924 Seq F26-33-INT. Corinnes Apt." The second illustration features Jody in a sophisticated day ensemble, a cropped bolero jacket with a fold-over collar and surface design (likely embroidery), a draped tulip high-waisted skirt with a center front slit, and embroidered detail at the pockets, a white blouse, white gloves, topped with a hat with a large bow. There are no signatures present on either sketch. Olivia de Havilland starred in this period drama playing Jody Norris, who has a baby out of wedlock with a soldier before he is sent off to fight in the First World War. The plot revolves around Jody's struggle to regain custody of her son in this heart-wrenching period drama. DIMENSIONS:SKETCHES 14.5 X 23 INCHES MOUNT 34.5 X 28 INCHES
Two original costume designs by Edith Head for the film production To Each His Own starring Olivia de Havilland (Paramount 1946). A set of two mixed medium costume designs by Edith Head, likely sketched by sketch artist Walter Angelo, who was credited for the film's wardrobe. Both sketches feature a full-length female figure in period costumes, one sketch features Olivia de Havilland as Jody in bias cut full-length evening gown with a basque waist and peplum detail, accessories with elbow-length gloves, earrings, and a fur muff, at the bottom right corner is a smaller illustration of Jody in the gown, but wearing a fur capelet. The second sketch is of Corinne played by Mary Anderson wearing a draped evening dress with a cinched waist and a train that falls at the back. There is a notation in pencil at the bottom right corner, "#5 Oct 1919." There is no signature present on either sketch. Olivia de Havilland starred in this period drama playing Jody Norris, who has a baby out of wedlock with a soldier before he is sent off to fight in the First World War. The plot revolves around Jody's struggle to regain custody of her son in this heart-wrenching period drama.DIMENSIONS:SKETCHES 14.5 X 23 INCHESMOUNT 48.5 X 28.25 INCHES
A photo-matched black lace slip as seen worn by Barbara Hale as "Betsey Bennet" in The First Time (Norma Productions, 1952). The black chiffon slip dress features lace detailing on the bust and bottom trim, with a front slit, thin straps, and corset ribbing. An interior Columbia Pictures label reads, "Name: Barbara Hale." No size present.The First Time follows new parents Joe and Betsy Bennett as they must navigate the hardships of having their first child. Includes four black and white photographs featuring Hale in the gown. Photos, 8 x 10.25 inches (each)
A champagne-colored duchess satin wedding gown designed for Judy Garland as Manuela in the film production The Pirate, co-starring Gene Kelly (Metro-Goldwyn-Meyer 1948). A highly-elaborate early 19th-century style duchess satin champagne-colored wedding gown with princess sleeves, fitted bodice, and full skirt. The gown is trimmed with satin Van Dyke pearl embellished points at the neckline, sleeves, waistline, and hem. The sleeves have layered petals and Van Dyke points and pipped bows as well as small silk white flowers tacked at the neckline (most of the flower heads have fallen off of the wire stems). Various lace accents are used on the gown such as Belgian lace at the neckline (in the film the lace trim at the neckline was layered, one layer appears to have been removed), embroidered needle-point tulle panels on the skirt, Alencon lace, and nylon lace trimming for the underskirts. The original design of the gown did have a sheer overlay at the skirt with a gathered-ruffled lace trim accent, this overlay has been removed or was damaged. There are hook-and-eye closures at the back of the bodice, the interior of the bodice is boned and each panel is backed with a cotton twill. A material tag is scribed in pen reading, "1400-Judy Garland," and a paper tag is stapled at the right side of the interior of the bodice reading “MGM, 34963.” Tom Keogh was the costume designer for the film; he has four film credits for costume design. His first foray into costume design was working with ballet costume designer Barbra Karinska; he went on to design for theatre productions as well. Once he moved to Paris, he began illustrating at French couture houses: Lanvin, Balmain, Balenciaga, and Jean Dessès. He even went on to design costumes for the Ballet des Champs-Elysèes as well as having his sketch work and illustrations featured on the cover of French Vogue. PROVENANCE Originally from The Collection of Debbie Reynolds
An original costume design by Edith Head for Anne Baxter as Queen Nefretiri for the film The Ten Commandments (Paramount 1956). A mixed medium costume design by Edith Head for Anne Baxtor, illustration likely by sketch artist and costume designer Adele Balkan, who was uncredited for wardrobe. The sketch features a full-length Queen Nefretiri lounging on a couch surrounded by Ancient Egyptian decor in a pleated sheer gown, showing the character's body outline. The gown is a two-tone jade and cypress green, the gown fits close to the body, and the pleated cape is cut below the bust at the front but goes into a floor-length train at the back (the cape's hem is casually draped on the lower legs). The look is accessorized with jewelry, gold bracelets, a collared bib necklace, rings, earrings, hair ornaments, and a pair of wedge gold sandals. There are two chiffon swatches at the top right corner; then at the bottom right corner is a profile illustration of Nefretiri in the outfit. The illustration is signed at the bottom left corner with Edtih's first name, and notated with the character's name and scenes where the costume is featured, "To John With Love Edith, Nefretiri, #2-Nefretiri's Balconey-Scenes-B-32-33-34." Then at the back, there are two notations in pencil at the top right corner, "HEADRESS PLATE #27, COSTUME PLATE # 907" and the left bottom corner "To John Anderson."Anne Baxter wears this costume when Rameses comes to express his growing concern for Moses, both he and Nefretiri argue as Rameses dictates his authority over her and acknowledges her as his wife and property. Nefretiri says how she could never love him, and he responds that she must obey him even if she doesn't love him. Sketch: 14.5 x 19.75 inches; Mount: 18 x 29.25 inchesPROVENANCE Lot 218 Christie's, Sale 1854, May 30, 2007
Three Edith Head costume designs of Ann Blyth as Gloria Brent in the film The Buster Keaton Story (Paramount 1957). Three mixed medium costume designs by Edith Head, illustrations likely by sketch artist Grace Sprague, no signatures present. The first sketch is a full-length female figure wearing a black skirt suit ensemble with leopard accents, a fastener, gloves, and oxford pumps. At the upper right corner is an outline of a female figure in a black skirt suit but with light pink accents at the lapel and pockets. Then at the top left-hand corner are notes for specific scenes. This illustration shows a detailed setting, it appears to be the front house of a theater with a Buster Keaton lobby card. The second sketch is a full-length female figure modeling a corded-check-pink taffeta house dress, and apron holding a spatula. There is a swatch of what appears to be silk taffeta at the top right corner and the top left corner a handwritten annotation reading, “#9-Sc. 195 INT BUSTER’S KITCHEN (D) BREAKFAST." The third sketch is a full-length female modeling a fitted grey dupioni silk dress with a fitted bodice and full-length pencil skirt tapered to the ankle. The collar and cuffs have a white accent adding a subtle sophistication to the design. There is a grey fabric swatch at the left corner and the right corner is handwritten notes, "#3 INT WINTERS OFF. SO. 91-95 (PREVIEW CARDS)."This film was based on the life of Buster Keaton known for his extreme physical and slapstick comedy in silent films. His work went on to inspire comedians like Lucille Ball. DIMENSIONS:SKETCHES 14 X 16.75 INCHESMOUNT 32 X 39.25 INCHES
Two Edith Head costume designs, a sketch of Rhoda Flemming as Laura Denbow, and a sketch of Jo Van Fleet as Kate, in the film production Gunfight at the O.K. Corral, starring alongside Burt Lancaster and Kirk Douglas (Paramount, 1957).The first sketch is a mixed medium costume design by Edith Head, an illustration likely by sketch artist Pat Barto. The illustration is of Fleming as Denbow poised against a fence wearing a fringe leather jacket, gaucho pants, boots, cowboy hat, bandana, and gloves. On the illustration stapled at the right-hand corner is a swatch of suede. There are several hand-written notations documenting the costume for production continuity reading, “#3 COAT #1 SUIT, #6 + #7 INT RANCH HOUSE SC. 147, EXT. K RANCH SC. 148, EXT. ROAD TO TOWN SC. 149-177, INT. CHANCE SALOON SC. 175-212, EXT NO CHANCE SALOON SC. 213, EXT. K RANCH SC. 221.” There is no signiture present. The second sketch is a mixed medium costume design by Edith Head, an illustration likely by sketch artist Pat Barto. This illustration is of Jo Van Fleet as Kate dressed in all black posed with her left hand on her hip and the right at her gun holster. The outfit is comprised of a western bib shirt with a folded collar done up with a beige knotted bandana, belted high-waisted pants that taper to the ankle, knee-high cowboy boots, and a cowboy hat, complete with a holster slung on the hips. "Kate" is written in pencel at the left side of the sketch, there is no signiture present. This western drama features Lancaster and Douglas, opposites who team up, to take on a gang of cattle stealing thugs in Tombstone, Arizona. These straight shooters bring adventure and excitement, illustrating the lawless Wild West. DIMENSIONS:SKETCH 1 12.5 X 16.5 INCHESSKETCH 2 14 X 16.75 INCHES MOUNT 33 X 26 INCHES
Three pairs of vintage gloves, owned by Elizabeth Taylor. The first pair are mid-length beige nylon gloves embellished with copper colored seed beads, some of which form a foliate motif, marked size 7 ½. The second pair are long black suede gloves with embroidered pastel tulips and cutwork; one of the gloves is stamped “T” at the interior. The third pair are short ivory nylon with embroidered dots and scallop trim, marked a size regular.PROVENANCE From the Collection of Jorjett Strumme, Elizabeth Taylor's assistant.
Circa 85,000-40,000 B.C. Comprising twenty transverse style arrowheads. 149 grams total, 30-47 mm (1 1/8 - 1 7/8 in.). From Grotte des Pigeons in Taforalt, Morocco. From the Arthur Halcrow Versage collection, Reigate, Surrey, UK. The tang would have been inserted into a split handle or shaft material, like wood or bone, and then bound in position with cord, or with a binding agent which would have harden to form a permanent bond. The Aterian is the name given to a distinctive stone tool industry made by anatomically modern humans between about 80,000 and 40,000 years ago. The tools are found on sites in northern Africa between the Atlantic coast to the Kharga Oasis and the western edge of the Nile River Basin. The manufacturing process for these tools is derived from the earlier Mousterian methods for working stone, using prepared and shaped cores from which were struck off large flakes which were then often unifacially trimmed into the desired tool shapes. They continued with the same basic stone working processes, but with a major conceptual difference. The Aterian style tools are the first to have clearly been designed and manufactured to be mounted on handles, with the projectile points and the scrapers having distinctive prepared tangs at the base of the tool or projectile point. [20, No Reserve]
Late 2nd-early 1st millennium B.C. Leaf-shaped, with bevelled edges and lozenge-sectioned mid-rib, socket pierced twice. Cf. Leshtakov, L., ‘Late Bronze and Early Iron Age Bronze Spear- and Javelinheads in Bulgaria in the Context of Southeastern Europe’ in Archaeologia Bulgarica, XV, 2, (2011), 25-52, fig.2, no.4. 211 grams, 37.4 cm (14 3/4 in.). Acquired 1980-2015. Ex Abelita family collection. The shape of the blade resembles a willow leaf with its widest part situated in the middle of its length. The origin of this shape is still not very clear. It was probably invented somewhere in Anatolia or the Near East. In the Aegean it appears for the first time in LH II A, before spreading around Western Europe.
8th-7th century B.C. Comprising a pair of opposing wire coils decreasing in thickness from edge to centre, a figure-of-eight to the centre; integral pin and catch-plate to the reverse. Cf. Bietti-Sestieri, A.M. and Macnamara, E., Prehistoric Metal Artefacts from Italy (3500–720 BC) in the British Museum, London, 2008, fig.615, for similar; Hambleton, J.M., Fibulae of the ninth through seventh centuries BC in Central Italy, Florida, 2008, fig.2-2b. 84 grams, 13.3 cm (5 1/4 in.). From the family collection of a Surrey gentleman since before 1960. The spectacle fibula was widely distributed from the Balkans and northern Greece to southern Italy. Seven variations occur under this type with modifications made to the discs of the fibulae as well as the central connecting device. In the first and second variations (variant 2-2b of Hambleton, the type here), the discs are coiled, whereas in the third and fourth the centre of the coil is left open. The figure eight loop also becomes shorter and wider in the fourth variant. [No Reserve]
10th century A.D. With five attachment pins to the reverse, panel of Borre style ring-chain ornament with transverse ribbed panel, mask to the tip. Cf. Thunmark-Nylén, L., Die Wikingerzeit Gotlands I.: Abbildungen der Grabfunde, Stockholm, 1992, fig.198, items 25-27, 28, 29; Thomas, G., A Survey of Late Anglo-Saxon and Viking-Age Strap-Ends from Britain, London, 2000, fig.3.29,6.6B-C. 7.61 grams, 44 mm (1 3/4 in.). Acquired before 1990. Ex property of a professional collector. The Borre style was a Viking art style which had a significant impact on the material culture of Britain during the Viking age of the latter 9th and 10th centuries. The type is mainly divided into three sub-types on the basis of motifs used: a) animal masks and ring-knot; b) vertebral ring-chain; and c) other interlace designs. Our specimen belongs to the first sub-type. [No Reserve] [For this specific lot, 5% import VAT is applicable on the hammer price]
Circa 8th century A.D. Comprising mainly Thomas's Class A Types 1, 2 and 5, many with silver inlay and niello; two tongue-shaped types. See Thomas, G., Late Anglo-Saxon and Viking Age Strap-Ends 750-1100: Part 1, Finds Research Group datasheet 32, Sleaford, 2007. 54.6 grams total, 34-51 mm (1 3/8 - 2 in.). From the collection of a North American gentleman, formed in the 1990s. Thomas' Class A is the classic ‘long’ 9th-century strap end with animal-head terminal, often depicted in the Trewhiddle style. During the 9th century, for the first time in the Anglo-Saxon period, we see the adoption of what may be termed a 'national' artistic style - the Trewhiddle style - which has been recognised on objects from Anglo-Saxon England, from as far as Cornwall and Talnotrie, Dumfries & Galloway, Scotland. [10, No Reserve] [For this specific lot, 5% import VAT is applicable on the hammer price]
15th century A.D. and later. Composed of glazed and decorated fragmentary vessel fragments. Cf. Taylor, K., Hull, G., 'Excavation of Post-medieval Features and a Dump of Late Eighteen-century Artefacts from 5/6-7 Market Street, Oxford' in Oxoniensia, LXVII, pp.313-357, figs.1-3-10 (dishes-bowls). 11.7 kg total including box, 53 x 23.5 cm (20 7/8 x 9 1/4 in.). Acquired 1990s-early 2000s. East Anglian private collection. Bowls similar to the specimen in this group, dated to of the first half of the 17th century, were present in very small numbers in the Oxford excavations of late Medieval and Post Medieval levels. Locally manufactured bowls of the second half of the 17th century were found in large numbers from the various layers, made up of Oxford Type B, with their distinctive angular profiles, dated circa 1650-1690. [10, No Reserve]
14th-16th century A.D. Composed of tools, fittings, cleavers, sickles, spurs, rowels and various other miscellaneous artefacts. See Read, B., Identifying Detector Finds, figs.356-357, pp.62-63, for similar. 5.9 kg total, 15-35.5 cm (1/2 - 14 in.). Acquired 1990s-early 2000s. East Anglian private collection. The spurs in this group can be identified and chronologically dated due to the multipoint rowels, which are typical of mid-late 15th century A.D. The rapid development of the armour in 15th century did not influence the trend for necks of rowel-spurs to considerably increase in length, a style which persisted well into the first half of 16th century A.D. [95, No Reserve]
15th century A.D. and later. Including a jar with scalloped foot, a piriform juglet, footed pot with handle, small jar with remaining handle, likely bird water feeder and a stamped tripod dish; most glazed; most chipped or cracked. See similar jars in Jennings, S., Medieval Pottery in the Yorkshire Museum, York, 1992, fig.44. 3.3 kg total, 10-18 cm (4 - 7 in.). Acquired 1990s-early 2000s. East Anglian private collection. The salt-glazed stoneware jugs, like some of the specimens here presented, had a distinctive pitted ‘orange-skin’ surface. These tall jugs often have grooves around their bodies to support them during the high-temperature firing which was necessary to achieve the hard fabric. First imported into Britain in the early 14th century stone wares became common in the 16th and 17th centuries. Most came from production centres in the Rhineland, notably Cologne, Frechen, Langerwehe, Raeren and Westerwald. [6, No Reserve]
13th-14th century A.D. Formed as a cross-crosslet, the symbol of the Knights of the Holy Sepulchre, with punched-point border; central pin to reverse. Cf. Mitchiner, M., Medieval Pilgrim & Secular Badges, London, 1986, items 939-41. 1 grams, 22 mm (7/8 in.). Found Nottinghamshire, UK. The 'Equestrian Order of the Holy Sepulchre of Jerusalem' was an order of knighthood under the protection of the Pope, formed around 1099 A.D. by Duke Godfrey of Bouillon, the leader of the First Crusade. It was established for the protection of pilgrims travelling to the Holy Land and was recognised by a Papal Bull in about 1113 A.D. [No Reserve]
Mid 19th century A.D. Composed of a chalcographic print representing the Evangelist Luke who, depicted with a brush and easel, is painting a true image of the Virgin and Child, who appear to him in a cloud radiating Divine Light; a winged ox above; inscription 'S. Lucas Evang.' (St Luke the Evangelist) below; the central image enclosed within a lace frame, decorated with embroidery, containing relics of Saints Magnus, Diodorus and Prosperus; all enclosed in a gilded wooden frame. See Trassari Filipetto, G., 'Le stampe di traduzione del dipinto San Luca che dipinge la Vergine: osservazioni e spunti di riflessione, in Arte italiana del Novecento : dalla metafisica agli anni Sessanta : atti della giornata di studio in onore di Pia Vivarelli : 19 febbraio 2009, 1 (2015), pp. 155-158. 1.06 kg, 35 x 28.5 cm (13 3/4 x 11 1/4 in.). Acquired in Germany. Property of RWM Collection. According to Christian tradition, St Luke made the first pictorial representations of the Mother of God, which were defined as acheiropitae, that is, not created by humans. The presence of the relics of Saint Magnus (saint patron of Anagni, Lazio), of the Roman martyr St Diodorus and of St Prosperus, (patron saint of Reggio Emilia), would suggest an Italic environment as the centre of production of the sacred image. [No Reserve]
18th-19th century A.D. Leather-bound book of a religious treatise with Naskh text in red on the first page beneath a banner with cross images and Greek text below; many pages with large Greek letters in black and Naskh script sub-headings in red ink; red Arabic numerals to the corner of some pages; marginal notations and other markings; probably from North Africa. 555 grams. 19 x 14 cm (7 1/2 x 5 1/2 in.). Acquired 1970s-1996. Property of a North American collector. London collection, 2016. [No Reserve]
Published 1997 A.D. Hastings, Elizabeth Anne, The Sculpture from the Sacred Animal Necropolis at North Saqqara, 1964–1976, Sixty-First Excavation Memoir, Egypt Exploration Society, London, 1997; hardback; illustrated. 1.13 kg, 32 x 25.2 cm (12 5/8 x 10 in). Ex libris a Hertfordshire gentleman. [No Reserve]
1430-1431 A.D. First reign. Obv: facing bust within tressure with HENRIC DI GRA REX ANGL Z F legend with rosette stops and mascle after REX. Rev: long cross and pellets with POSVI DEVM ADIVTORE MEVM and VIL[mascle]LA CALISIE[rosette] legend for Calais mint. S. 1862; N. 1448. 1.73 grams. Found Essex, UK. [No Reserve]
1464-1467 A.D. First reign, light coinage. Obv: facing bust within tressure with trefoils on cusps knot on breast and EDWARD DI GRA REX ANGL Z FRA legend and 'pall' mintmark. Rev: long cross and pellets with POSVI DEV ADIVTOREM MEVM and CIVITAS CANTOR legends with spur below O of TOR for Canterbury mint. S. 2026A. 1.37 grams. Found Essex, UK. [No Reserve]
13th century A.D. First reign, light coinage. Obv: facing bust with trefoils at neck and EDWARD DI GRA REX legend with 'lis' mintmark. Rev: long cross and pellets dividing CIVI TAS EBO RACI legend for York mint. S. 2076; N. 1610. See See British Museum Portable Antiquities Scheme, reference DENO-C315DC (this coin). 0.32 grams. Found Nottinghamshire, UK. [No Reserve]
1637-1642 A.D. Third coinage, Falconer's first issue. Obv: profile bust with XL behind and CAR D G SCOT ANG FR ET HIB R legend. Rev: crowned and leaved thistle with sideways F above and SALVS REIPVB SVPREMA LEX legend S. 5579. 1.48 grams. Property of a Cambridgeshire, UK, dealer. [No Reserve]
Circa 5th-7th century A.D. Composed of a medallion (orbiculus) decorated with geometric interlaced patterns on a purple background, framed by a minute recurring spiral, surrounded by an external circle. Cf. Pritchard, F., Clothing Culture: Dress in Egypt in the First Millennium AD,, Manchester, 2006, pp.52ff, and fig.4.4 (c for the detail) for similar orbiculus. 149 grams, 36.5 x 36.5 cm (14 1/4 x 14 1/4 in.). Acquired 1970s-1996. Property of a North American collector. London collection, 2016. Tapestry technique on natural linen. It is highly probable that this tapestry was part of a tunic decoration, an orbiculus, medallion in purple applied to the shoulders and the lower part of the garment, front and back. [No Reserve]
Circa 5th-7th century A.D. Part of a tunic, the rectangular segment in yellow and green linen and wool, the central part decorated with interlaced geometric motifs, surrounded by an edge of similar motifs and border edged of crenellated blossoms. Cf. Pritchard, F., Clothing Culture: Dress in Egypt in the First Millennium AD,, Manchester, 2006, pp.74-75, and fig.4.23, for similar textile style. 264 grams, 64 x 37 cm (25 1/4 x 14 1/2 in.). Acquired 1970s-1996. Property of a North American collector. London collection, 2016. Among the many fragments from wool tunics are several long strips that match to form nearly full-length central pectoral clavi. They are patterned with a profusion of small figures or interlaced abstract designs, birds, plants and animals with a contrasting border filled with geometric motifs. [No Reserve]
Circa 6th-7th century A.D. Comprising a pair of simple segmenta on a woven background, formed of a spiral line surrounding floral images, closed at both ends by a pair of petals. Cf. Pritchard, F., Clothing Culture: Dress in Egypt in the First Millennium AD, Manchester, 2006, p.62, fig.4.12, for similar segmenta. 121 grams, 38 x 30 cm (15 x 11 3/4 in.). Acquired 1970s-1996. Property of a North American collector. London collection, 2016. The textile shows a pair of segmenta, probably from a sleeve of a linen tunic. The wool here seems to be Z-spun, a spin direction not very common in Roman Egypt and suggesting that the spun yarn may have been traded from another province of the empire. Frequently, like in our case, the wool is purple in hue. [No Reserve]
Circa 6th century B.C. The piriform bottle with broad everted rim and strap handle, polychrome painted dashes and concentric bands to the upper body and rim; accompanied by a custom-made display stand. Cf. a similar Etrusco-Corinthian alabastron in Princeton University Art Museum, inv. no.y1959-23. 36 grams total, 77 mm high including stand (3 in.). Acquired 1980s-1990s. From the H.N. collection, Milton Keynes, Bedfordshire, UK. The alabastron takes its name from the material (alabaster) from which it was originally produced by the people who inhabited Mediterranean Africa from where it spread in the classical world. From an archaeological point of view, our specimen belongs to the first type of alabastrons, a conventional form of Corinthian origin, widespread throughout Greece from the second half of the 7th century BC. to the mid-6th century B.C., characterised by an elongated body with a maximum diameter towards the base, and continuous profile. It seems to be an Etrusco-Corinthian variant. [No Reserve]
Commemorative first day covers, mint stamps and coin covers, many relating to Queen Elizabeth II and Royal Events, including Her Majesty Queen Elizabeth The Queen Mother 95th Birthday, The Life and Times of Her Majesty Queen Elizabeth The Queen Mother, various Benham covers etc, housed in seven ring binder folders
Football programme etc, Tranmere Rovers v Northwich Victoria 1 Nov 1913 Lancs Combination (professionally cleaned & repaired), 16 page issue being Tranmere's first ever First Team issue sold with b/w team group of Tranmere & a selection of head & shoulder player portrait photo's (10) (mixed condition, fair/gd)
Cricket, Wisden's Cricketers' Almanack, 1864-1878, the first 15 editions, set of 15 facsimile reprints in hard-back cloth cover box (box with one spine detached and slightly grubby, reprint almanack's all excellent) sold with a selection of other modern Wisden issue books inc. Wisden on Grace, Wisden on India, The Wisden Collectors Guide, Anthologies 1864-1900, 1940-1963 & 1978-2006 etc (mostly vg)
Ephemera, a selection of items to include a pencil sketch of a hunting scene, a TH Marthinsen Norwegian silver spoon, a qty. of vintage magazine advertising pages, 1962 Canadian Pacific map and tickets, Santa Fe train tickets, letters dating from 1845 and later, Queen Victoria artist drawn cabinet card, April 1969 Concorde First Flight Supplement newspaper, RAOC sweetheart brooch, Blue Train route guide and other passenger info, an autograph with a selection of celebrity signatures to include Bernard Miles, Ronnie Hilton, Jimmy Tarbuck, Ken Baker, Max Robertson etc. Interesting selection (gd)
Postcards, Military, a good selection of approx. 33 early military cards published by Blum & Degen, the majority illustrated by F O'Beirne. First issued in the late 19th C. Cards are numbered 1764-1807, 1122-1136 and a few naval cards from the same series, with some unlisted in 'Collecting British Army Postcards' (18 cards with wtf, mixed condition)
Postcards, Comic, a transport comic selection of approx. 29 cards. Artists include McGill, Wimbush (Women in Wartime tram conductor), Buxton, Thackeray, MacLeod, Christie, Reg Carter etc. Themes mostly tram related with 'The First Car', 'The Last Car', Scottish humour, VW motor car, tramway parcels express, joy rides on tram, Last car from the Exhibition etc (mixed condition)
Postcards, Trams, a selection of approx. 50 UK topographical cards of trams, mostly from the North of England. With RPs of Washway Rd Sale, Pole Bank Woodley, tram terminus Whalley Range, Timperley, First Car for Spring Lane, Market Place Ashton-under- Lyne, Milnrow Rd Shaw, Terminus Hollinwood, first electric car to Haslingden, accident Darwin Lancs., car terminus Abbey Lakes, The Centre Burnley, Heyshaw Petrol Car at Morecambe, Waterfoot from the Glen, Accrington, Cross Cup Heysham, Gisburn Rd Barrowford, Church St Trawden, first tram Preston etc (mixed condition)
Loading...-
596772 item(s)/page