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Lot 102
A Victorian micro mosaic brooch and a shell cameo brooch; the first brooch showcases micro mosaic with multi-coloured tesserae, depicting a spray of forget-me-not on an onyx ground, framed by a floral cannetille surround with intricate chasings, fitted with tube hinged pin stem and C-catch, overall measures 5.2 x 4.4 cm; the other Victorian shell cameo brooch depicting the side profile of Goddess Flora, mounted in a teardrop-shaped surround with ropework details and applied floral motifs, fitted with hinged pin stem and C-catch, overall measures 3.5 x 2.3 cm; Total weight of items 20.3 grams (2).The onyx ground of the micro mosaic brooch is cracked, surround damageRepairs and alterations of the fittings could be found on the shell cameo brooch.
Lot 204
A collection of a necklace, anklet, earrings and pin, The first necklace comprises a yellow metal diamond cut chain (tests 9ct) with a heart shape (tests 9ct) set with cubic zirconia, the anklet is in yellow metal (tests 9ct) with a heart shape Lapis stone, two sets of yellow metal earrings (tests as 18ct) with one single earring (tests as 18ct), a single earring (test as 9ct) and finally a pair of earrings, a single earring and yellow metal pin (All tests as 14kt) (9)
Lot 249
A collection of two chains, stud earrings, butterfly backs and an Albert chain T-Bar. The first chain features a star of David pendant in yellow metal stamped 9ct, the second chain is a hollow link yellow metal (tests as 9ct) broken chain, an assorted range of ear studs (untested) and loos butterfly backs (untested), finally, an Albert chain T-bar stamped 9ct. (10+)
Lot 322
Two Edwardian gem-set necklaces in 9ct gold; the first consists of four rhomboid / parallelogram-cut garnets, flanked by elaborate spherical spacers set with three turquoise cabochons, embellished with intricate granulation and ropework, attached to fine cable chain and completed with a later-added spring-ring clasp, hallmarked '9ct', approximately measuring 45.5 cm long; together with a garnet lavalier necklace in floral design, comprising three rhodolite purple garnets in yellow gold mount, to simple bail and suspending from a fine cable chain, hallmarked '9ct', measuring 51.0 cm long. Total weight of items 10.2 grams (2).
Lot 327
Georg Jensen - Two 18ct yellow gold and diamond rings from the 'MAGIC' collection; the first comprises a twist-around design, where both ends are tipped with brilliant-cut diamond highlights, No. 1513A, size M½; the second is a court-profile band flush-set with nine brilliant-cut diamonds, No. 1513B, size L½. London hallmarked '750' with maker's mark 'GJLd', 2012, cased in original packaging, total weight of items 8.1 grams (2).RRP £1,350.00RRP £1,200.00
Lot 401
An Omega Speedmaster Moonwatch model: 105.012-66 from 1966. Featuring a swiss made 17 jewelled movement caliber: 321, in a 42mm stainless steel case featuring the first asymmetric case/twisted lugs design. The black dial has three subdials and T Swiss Made T at its base, this is the first reference to have the PROFESSIONAL word on the dial, all surrounded by a black bezel with a 60-minutes scale all on a stainless Omega bracelet with 633 engraved on the end links and a deployment buckle stamped 1171/1.Year: 1966Model: 105.012-66Serial: 24950081Case back interior engraved: 105.012-66 CBPurchased by the vendor new in 1967 in Australia at Angus & Coote PTY LTD, while working in an iron ore mine in southern Australia and has been worn ever since.Receipts of purchase includedCurrently runs as it should, no long-term tests have been conducted a full service is advised on all watches after purchaseNo Box or papers but comes with a service case/travel caseNo major damage is visible.We cannot tell if parts have been replaced and what is or not original. The bracelet size is approximately 19cm
Lot 59
Three chain bracelets; the first consists of faceted belcher links in 9ct rose gold, connected by a heart-shaped padlock, an 1838 1½ pence coin charm attached to the safety chain, hallmarked '9ct', measuring 13.0 cm long; the second contains hollow flat curb links to a lobster clasp, yellow metal marked '750', measures 21.0 cm long; together with a gilt metal chain with Illuminati details, marked 'Gold Shell', no clasp, measures 15.5 cm long. Total weight of items 16.6 grams (3).Total weight of gold 11.6 grams.
Lot 563
Two 1935 Sotheby & Co. catalogues: the sale of the H.D. Ellis Collection of English silver spoons (May and Nov. 1935) bound in one volume. The collection, which was then owned by Lt.-Col. Benett-Stanford, was catalogued by the noted authority on English silver spoons, Commander G.E.P. How, and consigned to two sales. The first, which was the sale of medieval and London spoons, was held on May 30th 1935. The catalogue for the second sale, 252 lots of 16th and 17th century provincial spoons to be held in November 1935 was published that September, but the sale itself did not take place as this part of the collection was sold by private treaty en bloc . The November 1935 catalogue was reproduced in 1937, when the collection was put up for sale by Lt.-Col. Claude Beddington. Provenance: from the library of the Eastbourne and Exeter jewellers, William Bruford & Son. Both catalogues with prices realised and many purchasers noted to include How, Brufords, Crichton, Napier and Hyman. (The November 1935 catalogue lists prices realised in the 1937 sale.)
Lot 66
A pair of 19th century Chinese baluster-shaped porcelain vases, each hand-decorated in underglaze cobalt blue, the first with two opposing four-clawed dragons amongst peony and leaves, the second with two opposing fen further amongst peony and leaves, each with blue painted four-character mark to underside (similar matched pair) (one vase with damaged and repaired neck) (27.5cm high)
Lot 1324
Michael Harris and Elizabeth Harris - Isle of Wight - Two studio glass vases in the Flower Garden pattern in the Lavender colour way, the first of cylinder form with flared rim, height 17cm, the other of compressed sleeve form, both decorated with purple and green against the mottled opal ground above iridescent green and purple, both unsigned but retain labels. (2)
Lot 1325
Michael Harris and Elizabeth Harris - Isle of Wight - Two studio glass vases in the Flower Garden pattern in the Lavender colour way, the first of squat low shouldered form with flat rim, height 11cm, the other a similar smaller example, decorated with purple and green against the mottled opal ground above iridescent green and purple, both unsigned but retain labels. (2)
Lot 1331
Michael Harris and Elizabeth Harris - Isle of Wight - Two studio glass vases in the Flower Garden pattern in the Larkspur colourway, the first of compressed sleeve form, engraved signature and retains label, height 17cm, the other a similar smaller example, unsigned but retains label, both decorated with blue against the mottled opal ground above iridescent green and purple. (2)
Lot 1332
Michael Harris and Elizabeth Harris - Isle of Wight - Two studio glass scent bottles in the Flower Garden pattern in the Larkspur colourway, the first of compressed ovoid form with disc form stopper, unsigned but retains label, height 13cm, the other of squat form with globe stopper, unsigned but retains label, decorated with blue against the mottled opal ground above iridescent green and purple. (2)
Lot 1335
Michael Harris - Isle of Wight - Two studio glass vases in the Golden Peacock pattern in the Royale green colourway, the first of spherical form with flat rim, engraved Jonathan Harris signature and dated 1994, retains label, height 8cm, the other a similar smaller example, unsigned but retains label, each decorated with iridescent purple bands over the green and gold leaf ground. (2)
Lot 1336
Michael Harris - Isle of Wight - Two studio glass vases in the Golden Peacock pattern in the Royale green colourway, the first of cylinder form with flared rim, height 14cm, height 8cm, the other of compressed sleeve form, each decorated with iridescent purple bands over the green and gold leaf ground, both unsigned but retain labels. (2)
Lot 1337
Michael Harris - Isle of Wight - Two studio glass scent bottles in the Golden Peacock pattern in the Royale green colourway, the first of spherical form with flat rim, engraved Jonathan Harris signature and dated 1994, retains label, height 10cm, the other a similar smaller example, unsigned but retains label, each decorated with iridescent purple bands over the green and gold leaf ground with globe stopper. (2)
Lot 1350
Michael Harris - Isle of Wight - Two studio glass scent bottles in the Golden Peacock pattern in the Royale Pink colourway, the first of globe form with flat rim, decorated with iridescent purple bands and gold leaf over a pink ground, with globe stopper, engraved signature and retains label, height 11cm, the other a similar smaller example, unsigned but retains label. (2)
Lot 1352
Michael Harris - Isle of Wight - Two studio glass vases in the Golden Peacock pattern in the Royale Pink colourway, the first of cylinder form with flared rim, decorated with iridescent purple bands and gold leaf over a pink ground, height 14cm, and a vase of compressed ovoid form, both unsigned but retain labels. (2)
Lot 1353
Michael Harris - Isle of Wight - Two studio glass scent bottles in the Golden Peacock pattern, the first in the Royale Pink colourway and of globe form with flat rim, decorated with iridescent purple bands and gold leaf over a pink ground, with disc stopper decorated with trails, unsigned but retains label, the other of similar form but in the Royale Green colourway with green ground, unsigned, height 11.5cm. (2)
Lot 1358
Michael Harris and William Walker - Three studio glass scent bottles in the Gold Azurene pattern, all decorated with gold leaf on the black ground, the first of globe form with globe stopper, height 12cm, a similar smaller example, and another of conical form with globe stopper, all unsigned but retain labels. (3)
Lot 1360
Michael Harris and William Walker - Three studio glass pieces in the Gold Azurene pattern, all decorated with gold leaf on the black ground, the first a lollipop vase of compressed globe and shaft form, height 15cm, a scent bottle of compressed form with everted rim and globe stopper, and a similar smaller example, all unsigned but retain labels. (3)
Lot 1369
Michael Harris and William Walker - Isle of Wight - A group of later 20th Century Black Azurene glass vases, each decorated with gold and silver leaf over an ink blue ground, the first of cylinder form, height 17cm, a similar smaller example, and two of globe form, all unsigned but retain labels. (4)
Lot 1372
Michael Harris and William Walker - Isle of Wight - A collection of later 20th Century Black Azurene glass scent bottles, each decorated with gold and silver leaf over an ink blue ground, the first of globe form with flat rim and globe stopper, height 13cm, a similar smaller example, and two conical bottles with globe stoppers, all unsigned but retain labels. (4)
Lot 418
A Clarice Cliff and M.J.Riach wavy edged plate made for the Harrods Art in Industry Exhibition circa 1934, transfer printed and painted with stylised flowers and foliage within fine black banding over the white Latona glazed ground, full marks to the reverse, marked First Edition, width 23cm.
Lot 72
Mintons - Four 8 inch dust pressed tiles, the first in the style of Henry Stacey Marks with a medieval man playing a harp formed as a swan head, the second Odyssevs and the Syrens Homer [sic] in the style of John Moyr Smith, the third with a repeat pattern of sunflowers and apples and the forth in the Aesthetic style of Christopher Dresser with a crane, carp and flowers. (4)
Lot 16
Cristóvão de Figueiredo (c. 1490-c. 1555) and Diogo de Contreiras (c. 1500-1563), Attrib.Royal Painting StudioOil on oak panelLisbon, ca. 1530Restored at Edmundo Silva Workshop, Lisbon, ca. 1970121x59 cmA Bella ManieraVítor SerrãoArt HistorianProfessor at the School of Arts and Humanities of LisbonARTIS-IHA-FLULThe ‘Resurrection of Christ’ herewith described, with provenance from a private collection in São João do Estoril, near Lisbon (l), is a prime testimony to Lisbon produced art under the royal patronage of King João III.Nothing is known about its origin, but it is unquestionable that it was once part of an altarpiece composed of various other scenes of the ‘Passion of Christ’, which was eventually dismantled from a now extinct and unidentified convent. The number 66, painted in black on the back of the painting, together with a red wax seal of an unknown proprietor (m), suggest 19th century ownership and imply that the painting (most certainly considered as it was current practice in the 1800s, a “Portuguese primitive from the Grão Vasco School”), might have belonged to an important private collection, as can be inferred by its high inventory number and by the quality of the painting itself.It remains a mystery, considering the stupendous quality of the panel and its exceptional execution, how it had remained completely unknown to Old Master’s specialists and scholars until the end of the last century, and that it was not even referred in the literature about art auction sales and domestic collecting. Such is indeed an astonishing and unexplained void.The painting’s importance was recognised on the occasion of a 1999 International Seminar at the José de Figueiredo Institute, in Lisbon, after a preliminary assessment by Art Historian Dagoberto L. Markl and by the undersigned. The assumption that it represented a precocious work by Diogo de Contreiras was at once accepted as viable, based on affinities of style, of models and of execution, when compared with other paintings of undoubted authorship by the same artist, such as those from the churches of São Silvestre of Unhos (1537-1538), of São Quintino of Serramena (ca. 1540), and of Santa Maria of Almoster (1542-45) (n). The manner of portraying the heads (of the soldiers on the lower section) and the characteristic treatment of hands for instance, find similarities in the above mentioned Contreiras paintings, allowing for the authorship attribution of at least a substantial part of this ‘Resurrection’. As we have written in 1999, “it was only from that moment onwards that the panel was granted its study in the historical-artistic context of Portuguese paintings dating from the reign of King João III, and was hence brought stylistically close to the ‘first period’ of the painter Diogo de Contreiras (ca. 1500-1568), considered by Joaquim Oliveira Caetano, the key personality of the generation that marked the twilight of the late Renaissance canons and the rising of the new language of International Mannerism” (o).We are indeed in the presence of a painting of depurated artistic conception, evident brushstroke elegance, with figures and other plastic richness’s, as well as weaponry, architectures, and backgrounds, distributed on a spatial organization that adheres to rules of Renaissance perspective. In addition to this exemplary effect there is also obvious elegance of execution, so much so in the drafting of the human figures (particularly the soldiers sleeping by the open tomb, with their suits of armour of Dutch ornamentation) as well as in the transparency of atmospheres, the mastery of colours, the poetry of the landscape background to the left (emphasizing the detail of the Noli me tangere - the apparition of the resuscitated Jesus to Mary Magdalene by the fountain in the garden), an in the general unearthly light effects that shroud the whole scene.If it is certain that Jesus Christ’s pose over the tomb confirms full adherence to an orderly and precise canon of elegance that finds acceptance in the paintings produced by the Lisbon Royal Studio, directed by the painter Jorge Afonso and continued by his followers (see the Resurrection of Christ from the Monastery of Jesus in Setúbal, attributed to Jorge Afonso (p), that from the altarpiece of Funchal’s Cathedral, produced in the Royal Studio (q), and that from the former altarpiece of the Monastery of the Santíssima Trindade, by Garcia Fernandes (1537), now at the Museu Nacional de Arte Antiga in Lisbon, as well as that of the Monastery of Ferreirim, from 1533-34, by his followers Cristóvão de Figueiredo and Garcia Fernandes (r)), it is also clear that the excellence of drawing of the three soldiers, the one on the right with remarkable expression and surprised gesture, the ones on the left still asleep, is assertive of a new, clearly Mannerist dynamic, under which they were conceived, and one which evidences differing modelling processes and a formal boldness that overcomes the normative seemingly suggested by the basic compositional model. Particularly attractive is the pose of the sleeping soldier leaning on his helmet, with a wonderful facial expression, and the drafting of the hand on which the face rests, which is repeated on the panels from Unhos and São Quintino. On the other side the powerful surprised expression of the soldier on the right-hand side has an almost portrait-like quality.In other words, to a model within the Jorge Afonso tradition, that softly merges the Northern European influences from Bruges and Antwerp, was juxtaposed a new Italian breeze, that is evident in the Mannerist resourcefulness with which the proposed model was, in practice, executed. Such incongruity values even more this painting, by suggesting that it might relate to an early commission, from circa 1530, faithful to the canons of the Royal Painting Studio, but painted by a younger artist of that “school” that was familiar with works by Cristóvão de Figueiredo and Garcia Fernandes. It is thus understandable why, amongst other details, the marble tomb, close to which the soldiers sleep, includes in its decoration two classical tondi depicting, on the left, ‘Joseph thrown into the pit’ and on the right, ‘Jonah being swallowed by the whale’, both themes precisely featured in the renowned ‘Deposition in the Tomb’ panel by Cristóvão de Figueiredo (1522-1530), originally from Coimbra’s Monastery of Santa Cruz and now at the Museu Nacional de Arte Antiga, in Lisbon. The presence of these two circular medallions featuring episodes from the Old Testament, beyond reflecting a discourse of association of the figure of Jesus Christ with themes from those texts, according to the system of biblical conformity that Christian Humanism then pursued, does also evidence that the artist that executed the essential of this painting was acquainted with models from Cristóvão de Figueiredo’s workshop, and had learned under the light of the so called “Masters of Ferreirim”, albeit with enough originality to free himself of such tutelage and assert his own style and individuality. The result is indeed glaring: the Renaissance compositive order giving place, with greater clarity in the lower section of the painting, to the restlessness, whims, and formal elongations of the Mannerism. A Bella Maniera perceived in fact by two approaches; the Romanised Northern fiamminghi (Jan Van Scorel, for instance) and the Rafaelesque tenderness that, if it is already suggested in Garcia Fernandes, it has here a deeper meaning of appropriation. […]Full text available at https://veritas.art/en/lot/royal-painting-studio-628630212/?chosen=1
Lot 31
Francis Picabia (1879-1953), Jeudi (Thursday), signed and dated 'Francis Picabia 1951' (lower right), oil on canvas, 46x38,5 cm, The elusive and mercurial Francis Picabia (1879-1953) dedicated his life escaping any and every label that couldpossibly be put on him, whether it regarded his personal life or his artistic endeavours.In 1912 a New York Times critic called him the “Cuban who out-cubed the Cubists”, much to Picabia’s pleasure,as he loved to provoke and to play up his “exotic” background. Born in Paris to a wealthy Cuban father and aFrench mother with her own fortune, Picabia actually never fitted in any specific culture or art scene, nor couldhe or would he play the ‘poor Romantic painter’ card.After studying at the École des Arts Décoratifs in Paris, Picabia tries his hand at Impressionism, but whereasMonet and his colleagues work en plein air, Picabia uses postcards as inspiration. This approach is key tohis art: he is playing with the assumptions and structures of a certain style, translating these into a ready-madestyle, and thus questioning the whole movement altogether. The next typical Picabia move is to then make aclean break and jump to a completely different style, while vehemently condemning the previous one. Thisprocedure would become Picabia’s very trademark.Picabia’s career is one that covers most art movements of the first half of the 20th century. After a brief periodof experimenting with Impressionism and Fauvism, he transitions to Cubism, only to denounce the latteragain at the onset of World War I. During WWI Picabia spends quite some time in New York, then a haven forEuropean artists escaping the war. Here he plays a catalytic role in bringing modern art to America. He diveshead over heels into Dadaism together with his Dada friends Marcel Duchamp, Man Ray and the photographerAlfred Stieglitz. His Portraits Mécaniques, in which bodies morph into pistons and pumps, were exhibited atAlfred Stieglitz’s gallery 291 while Stieglitz’s journal of the same name carries numerous other Picabia’s Dadacontributions. Travelling between New York, Zürich and Barcelona, Picabia picks up new artistic ideas and artfriends as new toys to play with, ever ready to let go of them as soon as he becomes captivated by new ones.By 1920 Dada slowly sizzles out and we see Picabia denounce the movement in his typical way with the crypticstatement: “I separated from Dada because I believe in happiness and I loathe vomiting; the smells of cookingmake a rather unpleasant impression on me.”Dadaism is followed by a short fling with Surrealism while the frenzied mood of the 1920s and 1930s is reflectedin Picabia’s skipping between abstraction, figuration and optical illusion on an almost daily basis. Time andtime again he is playing with the fictional idea of originality and the boundaries of good taste. Materials likehousehold paint, feathers and pasta are put to good use in his everlasting attempt to deliberately mock theholiness of a certain style.In 1937, Picabia’s work takes yet another surprising turn as he starts to produce realistic nude portraits. Subjectsfrom soft-core pornographic magazines are worked over with smooth, fluid brushwork to imitate the sheen ofphotographic paper. Initially, their garish appearance was much frowned upon, decennia later to be connectedwith the work of Rauschenberg, Warhol and Koons and considered a tongue-in-cheek attack on mass media.After WWII Picabia leaves Southern France to return to Paris and although plagued by ill health during his finalyears, he keeps on working tirelessly. True to his fierceful dislike of consistency he creates hybrid works thatmerge the very disciplines he had previously helped shape. See the present lot (Jeudi/Thursday, no. 31) on sale,showing one of his latest works of 1951 and in itself reminiscent of a work by him of 1949, titled ‘Colloquium’.“Notre tête est ronde pour permettre à la pensée de changer de direction: Our heads are round so ourthoughts can change direction”, is another famous quote by Picabia. In 2016 the Museum of Modern Art in NewYork took this citation as the title for its extensive exhibition of Picabia’s work. (MoMa, 2016-17). After havingconsidered his manifold and capricious career we can see why. Impressionism, Cubism, Dadaism, Surrealism,Realism: Picabia has been there and done that. As his friend Marcel Duchamp once said, his oeuvre was a ‘akaleidoscopic series of art experiences’.Consistent in being inconsistent is one thing, but the true genius of Picabia does reveal itself if you try to lookpast Style with a capital S. With wispy watercolours on the one hand and kitschy photo-realism on the other,often in one and the same year, he is the first to push the boundaries between high art and low art, betweendelicate good taste and downright kitsch.Especially in this era where the premises of high art and low art are continuously being questioned, Picabia canbe looked upon as a refreshing example who knew how to scramble elements of good and bad taste. Or, in hisown words: “If you want to have clean ideas, change them like shirts.”-Francis Picabia: ‘the grasshopper of contemporary art’ in: Christies, stories, 18-02-2022, Francis Picabia: ‘the grasshopper of contemporary art’ | Christie’s(christies.com)-Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction / by Anne Umland et al. (Catalogue accompanying the major 2016 exhibitionon the artist, jointly organized by The Museum of Modern Art, New York, and the Kunsthaus Zürich. NY : MoMa, 2016-Francis Picabia: the art ‘loser’ who ended up winning it all : an extravagant new retrospective of the avant-garde French-Cuban artist highlights oftentroubling yet always distinctive work / by Jason Farago, in: The Guardian 23-11-2016.-Dada and beyond: The many Artistic lives of Francis Picabia / by Albert Mobilio, in: New York Times 02-12-2016.-Francis Picabia, 1879-1953, MoMa, Art and artists, Francis Picabia | MoMA-Francis Picabia, awful artist and provocatuer of genius / by Michael Gibson, in: New York Times 21-12-2002-Picabia / by W.A. Camfield, NY : Guggenheim Foundation, 1970, Provenance:-Anon. sale, Loudmer Paris, 23 March 1992, cat. no. 175.-Collection Galerie Beaubourg, Marianne and Pierre Nahon, Ventes.-Galerie Lasés, Amsterdam, where acquired by the present owner.Literature: M.L. Borràs, 'Picabia', London 1985, p. 500, cat. no. 1149, illustrated.'Francis Picabia Anthology', p. 195, cat. no. 124, illustrated in colour.Exhibited:-Paris, Palais des Congrès, 'Picabia: dandy et héraut de l'art du XXe siècle', 1980-81, cat. no. 79.-Milan, Studio Marconi, 'Picabia, Opere 1898-1951', February - March 1986, cat. no. 48, illustrated in colour.-Florence, Galleria Vivita 1, 'Francis Picabia', 14 October - 10 December 1988, p. 47, illustrated in colour.-Montrouge, 39ème Salon de Montrouge, 'Picabia et Montrouge-Barcelone', April - May 1994, p. 56, illustrated in colour.-Lisbon, Centro Cultural de Belém, 'Francis Picabia antologia/anthology', 1997, p. 195, cat. no. 36, illustrated in colour.-Vence, Galerie Beaubourg, 'Picabia', July - October 1998.
Lot 10
Star Trek Star, Alice Krige signature piece featuring a signed white card in black marker pen plus a colour 12x8 photograph pictured during her role as the Borg Queen in Star Trek: First Contact (1996). Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 101
Football, Ricky Villa signed 1980/81 FA Cup Final commemorative cover. This lovely cover features match info for the Manchester City vs. Tottenham Hotspur FA Cup Final game, Official football league series, number 10. It is postmarked Wembley, 14th May 1981 and celebrates the first ever FA Cup replay at Wembley. 1 of 25 covers issued. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 103
Ian Ross signed Aston Villa V Norwich City 1975 Dawn Official Football First Day Cover. This commemorative cover is postmarked 1st March 1975, Wembley. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 105
Politician, Willy Brandt signed 6x4 black and white photograph. Willy Brandt (born Herbert Ernst Karl Frahm; 18 December 1913 - 8 October 1992) was a German politician and statesman who was leader of the Social Democratic Party of Germany (SPD) from 1964 to 1987 and served as the chancellor of West Germany from 1969 to 1974. He was awarded the Nobel Peace Prize in 1971 for his efforts to strengthen cooperation in western Europe through the EEC and to achieve reconciliation between West Germany and the countries of Eastern Europe. He was the first Social Democrat chancellor since 1930. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 106
Jamie Lee Curtis signed 6x4 black and white photograph dedicated. Jamie Lee Curtis, Lady Haden-Guest (born November 22, 1958) is an American actress, producer, author, and activist. She first came to prominence with her portrayal of Lt. Barbara Duran on the ABC sitcom Operation Petticoat (1977-78). In 1978, she made her feature film debut playing Laurie Strode in John Carpenter's seminal slasher film Halloween, which established her as a scream queen and led to a string of parts in horror films such as The Fog, Prom Night, Terror Train (all 1980) and Roadgames (1981). She reprised the role of Laurie in the sequels Halloween II (1981), Halloween H20: 20 Years Later (1998), Halloween: Resurrection (2002), Halloween (2018), Halloween Kills (2021), and Halloween Ends (2022). In 1997, she was inducted into the Fangoria Hall of Fame. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 109
John Cleese signed 7x5 black and white photograph. John Marwood Cleese ( born 27 October 1939) is an English actor, comedian, screenwriter, and producer. Emerging from the Cambridge Footlights in the 1960s, he first achieved success at the Edinburgh Festival Fringe and as a scriptwriter and performer on The Frost Report. In the late 1960s, he co-founded Monty Python, the comedy troupe responsible for the sketch show Monty Python's Flying Circus. Along with his Python co-stars Terry Gilliam, Eric Idle, Terry Jones, Michael Palin and Graham Chapman, Cleese starred in Monty Python films, which include Monty Python and the Holy Grail (1975), Life of Brian (1979) and The Meaning of Life (1983). Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 159
Peter Snow signed 6x4 black and white photograph. Peter John Snow CBE (born 20 April 1938) is a British radio and television presenter and historian. Between 1969 and 2005, he was an analyst of general election results, first on ITV and later for the BBC. He presented Newsnight from its launch in 1980 until 1997. He has presented a number of documentaries, including some with his son, Dan Snow. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 181
Battle of Britain official FDC coin cover. This beautiful first day cover commemorates The Battle Of Britain, 1940 and is limited edition number 3725. It showcases a five dollar coin and has4 stamps from a stamp sheet and a post mark dating September 15th 1990. 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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