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Lot 299
A VICTORIAN ENGRAVED SILVER SCENT FLASK, IN THE MANNER OF KATE GREENAWAY by Sampson Mordan II, London 1884. 14cm long, 1.1 troy ouncesKate (or Catherine) Greenaway (1846-1901) was a Victorian children’s book illustrator and writer. The daughter of a successful draftsman and wood engraver, she studied graphic design and art between 1858 and 1869. Her first book, “Under the Window”, was an instant best-seller, brought her immediate fame and was followed by numerous highly successful publications. At the same time as her writing career she excelled as a watercolourist, working with illustrators Walter Crane and Randolph Caldecott. Her distinctive old-fashioned style depicted children and young ladies dressed in early 19th Century costumes in quaint settings, a style of grace and charm that transformed the children’s book market, her talent described by Walter Crane as “captivating the public in a remarkable way”.Good overall, wear and tear commensurate with age, clear marks, there are a couple of splits to rim under the cover. The lid with cork liner.
Lot 160
A GEORGE V SILVER-GILT REPLICA OF THE RIDGES CUP PRESENTED TO COMMEMORATE THE FIRST CHARTER GRANTED TO THE SKINNERS COMPANY by Goldsmiths & Silversmiths Co Ltd, London 1926. 22.5cm high, 14.8 troy ouncesWear and tear commensurate with age, couple of nicks to rim, two dents to bowl, dent to top of dome where it meets stem, heavy wear to inside of cup
Lot 285
TWO NOVELTY LATE VICTORIAN SILVER PEPPERETTES the first by Cornelius Desormeaux Saunders & James Francis Hollings (Frank) Shepherd, Chester 1897, in the form of a coopered milk churn with twin handles, with gilded pierced cover, 2.4cm high; the second by maker JW, Birmingham 1900, as a kitchen pepper, cylindrical with S-scroll handle, with a pierced domed cover, 3cm high. (2)Good condition overall, wear and tear commensurate with age, the churn has clear marks, minor dents to foot rim and inside of cover rim, the pepper has clear marks, a few very minor dents, the rim of the cover is very dented
Lot 1002
The Beatles - A factory sample stickered first pressing of the 1963 release Please, Please Me - (45-R 4983) - RED Parlophone label and 'Made in GB' with original Parlophone company sleeve - Matrix / Runout 7XCE 17217 and 7XCE 17218 - with sticker 'property of the Changi Broadcasting Service' to the reverse, together with Please, Please Me/Ask Me Why - 45-R 4983 - stickered Factory Sample - black label - Matrix / Runout 7XCE 17218/7XCE 17217 - with Parlophone sleeve, Please, Please Me - Japanese release - Odeon – OR-1024, and The Beatles' Hits - GEP 8880. (4)
Lot 980
A World War One Military Medal for awarded to 435096 Pte H George RAMC, three First World War pairs to 22305 Pte F Bulger OXF & BUCKS L.I, 72437 GNR,R,Wright R.A, 1722 PTE G.H Wright Hunts,CYC,RN with bronze death plaque a brass Queen Mary Christmas 1914 tin and an enamelled sporting medal for the Lozells Harriers. (10)
Lot 40
Two Royal Doulton figures comprising Lambing Time HN1890 and The Shepherd HN1975, together with two Royal Doulton First Prize HN3911 and a Royal Worcester Freda Doughty 'Monday's child is fair of face' model 3519, all with printed marks. (5) NB - The Shepherd is marked with 'This item is the property of Royal Doulton (UK) Ltd and title to the property remains with the company at all times'.
Lot 1065
A collection of Great Britain postage stamps, Queen Victoria to Queen Elizabeth II, all contained within thirteen green Lighthouse ring binder albums, including 2 x 1840 two margin 1d blacks, D-C and S-E, an 1883 5/- rose (double cancelled), and Edward VII 5/- carmine (heavily cancelled), George V Seahorses (used), and a large number of QEII issues, to include commemoratives and definitives, the majority of the decimal issues being unused, with high value definitives to £5, together with a collection of QEII first day covers. (13)
Lot 181
Four early 20th Century James Powell & Sons Arts and Crafts drinking glasses comprising two designed by Philip Webb, the first of swollen trumpet form with a rope twist stem in dark green, the second with ogee bowl with slender twisted stem and shallow conical foot, together with two further similar examples. (4)
Lot 1050
A collection of late 1990s First Day Cover stamp autographed editions, to include Spike Milligan, Terry Pratchett, Norman Wisdom, Esther Rantzen, Tom Baker and others, contained in four albums, also an empty stamp album and a collection of slides related to the Galileo space probe studying Jupiter. (7)
Lot 1012
The Beatles/Rolling Stones - Eight LPs to include The Beatles - Rubber Soul - PMC 1267, Please, Please Me - PCS 3042 - Reissue - Stereo, With The Beatles - PCS 3045 - Reissue - Stereo, Let It Be - PCCS 7096, The Beatles 1967-1970 - PCSP 718, Rolling Stones - Sticky Fingers - COC 59100 - first press, Goats Head Soup - COC 59101 - first press, and Made In The Shade - COC 59104. (8)
Lot 1003
The Beatles - A factory sample stickered first pressing of the 1963 release Please, Please Me - (45-R 4983) - red Parlophone label and 'Made in GB' - lacking sleeve - Matrix/Runout 7XCE 17217 and 7XCE 17218, together with a 1963 Please, Please Me/Ask Me Why - factory sample stickered third pressing - in Parlophone company sleeve, together with a factory sample stickered pressing of the 1963 release Please, Please Me - (45-R 4983), and Love Me Do/P.S. I Love You - Original UK release on Parlophone 1962 - (45-R 4949) - Red/Silver Labels without 'Made In Great Britain' text. (4)
Lot 61
Three Wedgwood Clarice Cliff Bradford Exchange chargers, the first decorated in the Blossom pattern, numbered 413 of 1999, the second in the Etna pattern numbered 1533 from 1999, with box and certificate, and the last in the Bird of Paradise pattern numbered 586 of 1999, with box and certificate, all 31cm (3)
Lot 444
Phyllis Ames Wiener (American, 1921-2013). Oil on canvas affixed to wood wedges titled "Amazons" depicting organic motifs on a rich green background. Comprised of seven separate triangular wedges, ca. 1986. Signed along the verso of the first wedge.Provenance: Distinguished Corporate Collection, Minnesota.Each; height: 83 1/2 in x width: 3 1/2 in x depth: 5 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Lot 435
Tom Taber and Hersey Kyle Jr (American, 20th/21st c). Carved and painted wooden Canadian goose. With a plaque from North Dakota First Habitat and Small Game Stamp. Limited edition 1982-1983; numbered 46 from an edition of 50.With base; height: 26 in x width: 25 1/2 in x depth: 10 1/4 in.Condition: The paint has yellowed. There is craquelure throughout the paint. Wear to the edges with small chips, especially along the tail feathers. Wear, chips, and a large crack to the wooden base. There are natural burls and indents to the body throughout, original to the artistic process. Some light dirt and dust in the recessed areas of the work.
Lot 441
Donald Gahr (American, b. 1940). Two large wall mounted carved wooden waterfowl, ca. 1980s. Oil painted and with attached wooden wings that extend downwards and with sinuous curved necks. Gahr was born in St. Paul, Minnesota, and lived for three decades there before settling in Wisconsin.Provenance: Distinguished corporate collection, Minnesota.First; height: 45 1/2 in x width: 45 in x depth: 15 in. Second; height: 50 in x width: 49 in x depth: 10 1/2 in.Condition: Small chips, losses, cracks, and general wear throughout. Dust collected along each sculpture. The bird with the craned neck has a significant crack along the neck. The other bird has a large crack in the wine. There are other cracks throughout each.
Lot 348
Nicholas Richard Brewer (1857-1949). Oil on canvas painting depicting two figures in a walled garden, one shrouded in shadow and the other bathed in sunlight. Signed along the lower right.Lot Essay:Born in a log cabin in Minnesota in 1857, Nicholas Brewer’s work typifies his frontier spirit and love for the American landscape. He grew up on a farm, where his days were defined by hard work, but he still found the time to draw and paint in between chores. At the age of 18, he moved to St. Paul. He received some art training there from Henry Koempel, a local painter and decorator, and ended up marrying Koempel’s daughter. He eked out a living for his swiftly growing family through portrait commissions and teaching.In 1885, Brewer first traveled to New York, determined to make it as a serious artist. He received a small amount of training there; however, he remained primarily self-taught. He began receiving some success in New York, and continued spending winters there for much of his career. His work was included in several exhibitions, and he was inducted into the illustrious Salmagundi Club. In his later career, he traveled the United States, giving traveling lectures and exhibitions, as well as taking portrait commissions wherever he went. During one productive visit to Washington D.C., Brewer even painted a portrait of President Franklin Delano Roosevelt.The main reason for his travels, though, was his love of the American landscape. Although Brewer was never able to fully make a living by landscape painting, it remained his true passion. His agrarian upbringing left him with a sense of reverence for the earth, and he delighted in experimenting with colors and textures to best capture the mood of a landscape. He paid particular heed to the flora he passed by, from the solemn Minnesota prairie grasses to southern blue bonnets to the tiny patches of scrub grass clinging to vertiginous California cliffs. His paintings rarely depict specific places; Brewer instead preferred to paint landscapes that he felt represented an ideal, more the spirit than the actuality of a location. Nevertheless, his travels provided him with a rich backdrop upon which to base his works.Sight; height: 25 in x width: 29 1/4 in. Framed; height: 32 in x width: 36 1/2 in.Condition: There are scattered restorations throughout the artwork; most notably along the upper left quadrant there is a large area of inpainting measuring approx. 1" x 2" in size. Further notable areas of inpainting along the canopy of the palm tree above the little girl, just above the girl, along the center left edge, amongst other, smaller scattered restorations. Wear along the verso. The keys have been replaced. Losses to the gilt wood frame and wear to the frame throughout.
Lot 345
Nicholas Richard Brewer (1857-1949). Oil on canvas titled "Pastoral Scene," depicting a Texas prairie scene of cattle grazing on rolling hills dotted with wildflowers, 1927. Signed and dated along the lower right.Lot Essay:Born in a log cabin in Minnesota in 1857, Nicholas Brewer’s work typifies his frontier spirit and love for the American landscape. He grew up on a farm, where his days were defined by hard work, but he still found the time to draw and paint in between chores. At the age of 18, he moved to St. Paul. He received some art training there from Henry Koempel, a local painter and decorator, and ended up marrying Koempel’s daughter. He eked out a living for his swiftly growing family through portrait commissions and teaching.In 1885, Brewer first traveled to New York, determined to make it as a serious artist. He received a small amount of training there; however, he remained primarily self-taught. He began receiving some success in New York, and continued spending winters there for much of his career. His work was included in several exhibitions, and he was inducted into the illustrious Salmagundi Club. In his later career, he traveled the United States, giving traveling lectures and exhibitions, as well as taking portrait commissions wherever he went. During one productive visit to Washington D.C., Brewer even painted a portrait of President Franklin Delano Roosevelt.The main reason for his travels, though, was his love of the American landscape. Although Brewer was never able to fully make a living by landscape painting, it remained his true passion. His agrarian upbringing left him with a sense of reverence for the earth, and he delighted in experimenting with colors and textures to best capture the mood of a landscape. He paid particular heed to the flora he passed by, from the solemn Minnesota prairie grasses to southern blue bonnets to the tiny patches of scrub grass clinging to vertiginous California cliffs. His paintings rarely depict specific places; Brewer instead preferred to paint landscapes that he felt represented an ideal, more the spirit than the actuality of a location. Nevertheless, his travels provided him with a rich backdrop upon which to base his works.Unframed; height: 32 1/2 in x width: 40 in. Framed; height: 39 1/4 in x width: 47 in.Condition: The painting is in fair condition. There is craquelure throughout. There are stretcher bar marks visible along all four margins. There are scattered small areas of restoration throughout, visible under UV light. The largest area is along the center of the painting along the right margin and is oval in shape, measuring approx. 1.5" x 2" inches. It is patched along the verso. Along the center near the left margin there is a 3 inch long restoration that is also visible along the margin; it was possibly a tear. Some light wear to the frame.
Lot 346
Nicholas Richard Brewer (1857-1949). Oil on canvas titled "The Toilet," depicting a young woman preparing her hair in a mirror, ca. 1906.Lot Essay:Born in a log cabin in Minnesota in 1857, Nicholas Brewer’s work typifies his frontier spirit and love for the American landscape. He grew up on a farm, where his days were defined by hard work, but he still found the time to draw and paint in between chores. At the age of 18, he moved to St. Paul. He received some art training there from Henry Koempel, a local painter and decorator, and ended up marrying Koempel’s daughter. He eked out a living for his swiftly growing family through portrait commissions and teaching.In 1885, Brewer first traveled to New York, determined to make it as a serious artist. He received a small amount of training there; however, he remained primarily self-taught. He began receiving some success in New York, and continued spending winters there for much of his career. His work was included in several exhibitions, and he was inducted into the illustrious Salmagundi Club. In his later career, he traveled the United States, giving traveling lectures and exhibitions, as well as taking portrait commissions wherever he went. During one productive visit to Washington D.C., Brewer even painted a portrait of President Franklin Delano Roosevelt.The main reason for his travels, though, was his love of the American landscape. Although Brewer was never able to fully make a living by landscape painting, it remained his true passion. His agrarian upbringing left him with a sense of reverence for the earth, and he delighted in experimenting with colors and textures to best capture the mood of a landscape. He paid particular heed to the flora he passed by, from the solemn Minnesota prairie grasses to southern blue bonnets to the tiny patches of scrub grass clinging to vertiginous California cliffs. His paintings rarely depict specific places; Brewer instead preferred to paint landscapes that he felt represented an ideal, more the spirit than the actuality of a location. Nevertheless, his travels provided him with a rich backdrop upon which to base his works.Height: 30 in x width: 26 in.Condition: The artwork is in generally good condition. The surface is stable and the colors are bold and bright. There is craquelure throughout the work. When inspected underUV there are areas of restoration along the extreme edges, most concentrated along the upper right corner. There are minor losses to the extreme edges of the work, most noticeable along the upper right corner. Wear to the edges of the artwork. The keys have been replaced and are newer, likely within the past 10 years. Some wear to the frame.
Lot 507
FAILE, Brooklyn, New York. Serigraph on paper print depicting a coat of arms featuring a lion, a horse, and a pigeon. With a scroll reading "New York," underneath the animals. Pencil signed and dated 2003 along the lower right.FAILE is a Brooklyn-based collaboration between Patrick Miller, born in Minnesota, and Patrick McNeil, born in Alberta, Canada. The name comes from an anagram of their first project together, "A Life." Japanese street artist Aiko Nakagawa (Lady Aiko) was once a part of their collective.Provenance: from the collection of an important Minnesota institution.Unframed; height: 40 in x width: 31 1/2 in.Condition: There are no visible rips, losses, or restorations. Light creases throughout, possibly from handling or hinging. The work is floated in the frame. Light wear to the frame; framed under plexiglass - there is some wear and scratches to the plexi; not inspected out of frame.
Lot 385
Edna Imm (American, 1906-2009). Oil on board painting depicting flowers blooming in the brown vase and fruits on the table. Pen signed along the lower right.Edna Imm was born in Sabetha, Kansas in 1906 to her parents Alfred and Helena Seitz. Her family moved from Kansas to Missouri and settled in St. Joseph for most of Imm’s childhood years. She showed an interest in art at an early age having her first sketchbook at the age of five. Imm attended Hardin College and received her Associate of Art Degree in Physical Education and held leadership and membership roles in various associations and clubs in college. In 1926, she married Wendell Imm and shortly after began to pursue her strong interests in art. She attended Mt. Scolastica College, the University of Minnesota, the Art Institute of Chicago, and the Chicago Academy of Fine Art. While attending these schools she studied under the well know artist Cameron Booth. Edna Imm was a prolific artist who painted several different genres and loved to paint children. She spent a lot of her adult years in Minnesota where she taught art. One of her classes in White Bear Lake, Minnesota became known as the “Monday Painters†which was attended by several known artists in the area. She was a lifetime member of the St. Paul Women’s Club and the Art Institute of Chicago.Sight; height: 11 3/4 in x width: 9 1/4 in. Framed; height: 15 3/4 in x width: 13 1/2 in.Condition: The painting is in good condition with no visible tears, creases, or losses. The surface is stable, and the color is bold and bright. Along the upper and lower margin, there are areas that appear to be a paint loss; however, when inspected under UV light, they appeared to be original. No visible sign of restoration under UV light.
Lot 384
Stephen Gjertson (American, b. 1949). Oil on canvas still life depicting a bouquet of flowers and a basket of fruit. Signed along the lower left. There are two copyright stamps along the verso of the frame. Gjertson was born in Minneapolis, Minnesota and was a part of the first generation of students taught by Richard F. Lack, another renowned Minnesotan artist, at Atelier Lack.Sight; height: 18 1/2 in x width: 22 1/2 in. Framed; height: 23 1/2 in x width: 28 1/4 in.Condition: There are no visible rips, losses, or restorations when inspected under UV light. The colors are bold and bright and the surface is stable. Very light wear to the frame.
Lot 386
Edna Imm (American, 1906-2009). Watercolor on canvas painting depicting peaceful beach scene. Pen signed along the lower right.Edna Imm was born in Sabetha, Kansas in 1906 to her parents Alfred and Helena Seitz. Her family moved from Kansas to Missouri and settled in St. Joseph for most of Imm’s childhood years. She showed an interest in art at an early age having her first sketchbook at the age of five. Imm attended Hardin College and received her Associate of Art Degree in Physical Education and held leadership and membership roles in various associations and clubs in college. In 1926, she married Wendell Imm and shortly after began to pursue her strong interests in art. She attended Mt. Scolastica College, the University of Minnesota, the Art Institute of Chicago, and the Chicago Academy of Fine Art. While attending these schools she studied under the well know artist Cameron Booth. Edna Imm was a prolific artist who painted several different genres and loved to paint children. She spent a lot of her adult years in Minnesota where she taught art. One of her classes in White Bear Lake, Minnesota became known as the “Monday Painters†which was attended by several known artists in the area. She was a lifetime member of the St. Paul Women’s Club and the Art Institute of Chicago.Sight; height: 10 1/2 in x width: 14 in. Framed; height: 17 in x width: 21 in.Condition: The painting is in good condition with no visible tears, creases, or losses. The color is bold and bright. No visible sign of restoration under UV light. Framed under plexiglass; not inspected out of frame. Very light wear to the frame.
Lot 438
Donald Gahr (American, b. 1940). Two large wall mounted carved wooden birds. Oil painted and with attached wooden wings that extend upwards. Gahr was born in St. Paul, Minnesota, and lived for three decades there before settling in Wisconsin.Provenance: Distinguished corporate collection, Minnesota.First; height: 51 in x width: 39 1/2 in x depth: 13 in. Second; height: 55 in x width: 41 1/2 in x depth: 14 in.Condition: Small chips and losses throughout. There are small cracks throughout each as expected with age of the wood. Dust collected along each sculpture. One of the bird's legs has a significant crack throughout. One of the legs of the birds has detached completely.
Lot 476
Charles Schulz (American, 1922-2000). Original four panel "Peanuts" comic strip, the daily strip for Friday, July 22, 1960. Black ink over pencil on drawing board. Pen signed above the first two panels and inscribed "Best Wishes." Dated along the verso.Charles Schulz grew up in St. Paul, Minnesota, and fostered a love of comics throughout his childhood. He spent his later teen years studying drawing and cartoon work through a correspondence course with Art Instruction Schools. Following deployment in Europe during WWII, Schulz returned to St. Paul and got a job working as an instructor for the Art Instruction Schools. After a short lived comic strip for the St. Paul Pioneer Press, he hit it big with Peanuts in 1950, which was syndicated by United Features. The strip quickly became an enormous success, with legions of fans across the country–and world–falling in love with his quirky cast of characters and charming illustrations.The present lot typifies the characteristics for which Schulz’s comics were best-loved. It shows the characters’ personalities, always distinctive and lovingly mocked by Schulz. The strength of the character depictions, together with Schulz’s crisp, mobile linework, makes this a wonderful example of a Peanuts daily strip and of Schulz’s facility with character.Sight; height: 6 1/2 in x width: 28 1/4 in. Framed; height: 10 1/4 in x width: 32 1/4 in.Condition: There are no rips, losses, or restorations. The comics are on two sheets, split down the middle and taped together along the verso. The sheets are toned and there is light acidic mat burn along the edges. They are affixed a matboard along six points: two along the left and right edges and two along the top edge - one for each side. There is soiling throughout, visible in the lot listing. The date along the lower right of the first panel has been covered with white paint. It is dated along the verso - unable to photograph this well due to the hinging, though it is visible upon careful inspection. There is light wear along the edges. The artwork is housed under a double matboard that due to the coloration is likely acidic. Light wear to the frame; framed under glass.Please see the following link for additional condition photographs: https://www.dropbox.com/sh/skolnrxjqihq20l/AADQ-wRj62g0aEv7VjlPclBwa?dl=0
Lot 862
RARE: ROLEX SUBMARINER 6538 'JAMES BOND' STAINLESS STEEL AUTOMATIC WRIST WATCH of early production in 1958, serial number 472882, the round chocolate dial with gilt hour markers, outer seconds track in gilt, black aluminium bezel insert with red triangle marker, 37mm case with distinctive big crown signed 'BREVET', on a stainless steel Oyster bracelet with foldover clasp, in box, lacking papersThe Rolex Submariner 6538 was only in production for four years with this example being one of the first 1,000 models to come to the market. Affectionately referred to as the 'James Bond', this was worn by Sean Connery as 007 in films such as Dr. No, From Russia With Love, Goldfinger and Thunderball. Worn with various straps, this was the timepiece of choice for the elusive spy whilst undertaking his missions. When Dr. No was released in 1962, the Submariner was utilised mainly for its sole purpose of diving and sales were weak in comparison to that of the Datejust. However, thanks to 007 incorporating the Submariner as part of his uniform and highlighting the versatility of the watch whilst wearing it either with nothing but a pair of swimming trunks or a tuxedo, Submariner sales rocketed and Sean Connery was credited as 'the Bond star who sold a million Submariners'. Although the span of the 6538 was short, with supply only spanning four years, this has become one of the most iconic and sought after models that rarely come to the market.Watch is heavily damaged and requires attention.Movement has succumbed to water damage and is rusted. See images.Minute hand sweeps freely (requires attention)Crown fully extracts.Hands cannot be changed.Bezel difficult to turn and comes off easily.Dial and hands are later replacements.Bracelet stretched (likely a replacement). End links numbered 7206, lugs numbered 58.Clasp in working order.
Lot 6
Pokémon TCG - Base Set - Team Rocket Collection. This lot contains a collection of original Wizards of the Coast era Pokémon cards from the first 4 sets. Containing over 260 cards this collection includes partially complete Base Set, Jungle and Fossil all organised in the way of the Pokedex. This collection contains over 60 holographic cards and barring a few cards across each set contains close to full sets of the first four expansion. This lot also contains a number of Black Star Promos such as Ancient Mew, Pikachu 27, Mewtwo 14 and many others. This collection contains a number of 1st Edition Cards and 4th light/print cards. All cards are neatly stored in the original Wizards ring binder. Condition Report: With over 260 cards in this collection the majority of cards are in Excellent condition. The condition of the Base Set Charizard is Poor The condition of the Base Set Blastoise is Played The Fossil Draginite is in Good condition The Fossil Gengar is in Excellent condition The Team Rocket holo Dark Charizard is in Excellent condition
Lot 2
Pokémon TCG - Base Set Complete Set 102/102 This lot contains a complete Base Set, the first Pokémon TCG set released in 1999. The set is neatly organised in an official 4-page binder and in Near Mint condition. The majority of this set is made up of 4th print cards (every common, uncommon and rare has the 1999-2000 date).
Lot 79
Yu-Gi-Oh! TCG - Vintage Collection This lot contains over 600 cards from the first two years of the game. It includes a mixture of rares and commons, of which most are in 1st Edition. All cards come complete in an OCG Kaiba case. Condition Report: The cards range from near mint to played condition. This is an unsorted 'childhood' collection.
Lot 80
Yu-Gi-Oh! TCG - Vintage Collection Secret & Ultra Rares This lot contains 30 cards from the first two years of the game. It includes a mixture of Secret and Ultra rare cards, of which most are in 1st Edition. Some highlights include:1st Ed Serpent Night Dragon Mirror Force MRL 1st Ed Injection Fairy Lily Gate Guardian All cards come complete in an offificial Yu-Gi-Oh! folder. Condition Report: The cards range from Excellent to Poor condition.
Lot 9
Pokémon TCG - Original Base Set to Neo Collection. This lot includes an official Wizards of the Coast ring binder safely storing approximately 250 cards from the original Base Set to the Neo era. The highlights include a Bas Set Charizard, Blastoise and Venusaur - this collection nearly includes full sets of the first three Pokémon sets. This lot also includes a number of Black Star Promo cards including two Ancient Mew cards, one of which is sealed. This lot also contains two open theme decks, 'Body Guard and Devastation', both decks have been open but the majority if the contents are there. Condition Report: The conditions range from Excellent to Poor. This is what we call a 'childhood' collection untouched and kept in storage for over 20 years. The Base Set Charizard is in light Played condition.
Lot 8
Pokémon TCG - Complete Base Set 102/102. This lot features a complete Base Set, the very first Pokémon Trading card set released in 1999. It features all 102 cards including all holos and the coveted Charizard. This is an unlimited set presented in an original Wizards of the coast 4-Pocket folder, also in excellent condition. Condition Report: The overall condition of this set is Excellent. The Charizard is Excellent to near mint with minimal edgewear
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596780 item(s)/page