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Lot 2575
Wagner, Siegfried, Sohn Richard Wagners, Komponist und Leiter der Bayreuther Festspiele (1869-1930). 2 eigh. Briefe und 3 (2 eigh.) Postkarten m. U. "Siegfried Wagner" bzw. "S. W.". Die Briefe und 1 Postkarte in engl. Sprache. Zus. 8 S. (Bleistift und Tinte). Verschied. Formate. 1912-1929.Die Briefe und 1 Postkarte an den Konzertveranstalter A. F. Wilshire in Bristol, über ein geplantes Konzert: "... Please excuse for writing with the pencil. I had a motor accident and cannot use my right hand. So I have to write with the left. Rather desagreable ... If I understand you right, you thought I was to conduct, is a complete Choral-Concert with fragments of the operas of my father. Is that so? I, in fact, only conduct symphonic Concerts how you can see by a few programs which I send inclosed. To tell you the truth: I don't like to conduct such pieces toren out of the whole and arranged at that purpose, not in the original form. Please let me know some details. Concerning the financial please make me your propositions. With best regards, also from my dear Winifred [Bayreuth 27.VI.1929] ... The rehearsals are going on very well! The first cycle begins the 16. My wife only comes for the second, and then we want to go on to Athens! - My editor Max Brockhaus is furious against Lockier, that he does not send him the money for the music! In Germany one is used to be very punctual in such matters [Ferrovia 30.VIII.1929] ... The following program, I think, will please you and the audience: (My part) 1.) a Ouverture Bruder Lustig b) Vorspiel Schwarzschwanenreich (Editor: Max Brockhaus, Leipzig, Querstrasse) 2) Meistersinger Vorspiel u. Choral 3) Siegfried Idyll 4) Tannhäuser Ouverture. - When is the rehearsal? ... [o. O. 21.XI.1929]. - Der Text auf einer Porträtfoto-Postkarte (Bayreuth, wohl 1912), an die Ehefrau des Dirigenten Karl Muck in Berlin gerichtet, ist diktiert, so dass nur die Unterschrift "S W" von Siegfried Wagner stammt: "Die Großtat Ihrer 8 Seiten so zu verkennen, ist allerdings empörend. Ich bitte gehorsamst um Verzeihung ... Morgen gehts auf Reisen. Am 25. bin ich in Berlin und wage mich ins Adlon ...". - Beiliegend ein eigenhändig adressierter großer Umschlag, der von Bayreuth nach Bristol geschickte wurde. - Ferner beiliegend 2 schöne Porträt-Photos (Brustbilder, Kabinett-Format 16,5 x 10,5 cm). Das erste stammt vom Wiener Hof-Photographen J. Löwy und ist von Siegfried Wagner auf der Bildseite signiert; das zweite, nicht signiert, zeigt den Künstler en face, mit verschränkten Armen. Es stammt vom Berliner Hof-Photographen W. Höffert.
Lot 2542A
-- Das unzensierte Original-- Durieux, Tilla, Theater- und Filmschauspielerin, überragende Charakterdarstellerin, kluge, intellektuelle Autorin, von vielen Bühnen begehrt, von den berühmtesten Künstlern porträtiert, mit dem Maler Eugen Spiro, dem Kunsthändler und Verleger Paul Cassirer und schließlich mit dem Konzernchef Ludwig Katzenellenbogen verheiratet, emigrierte 1933 in die Schweiz und nach Jugoslawien (1880-1971). Fragmentarisches Typoskript ihrer Lebenserinnerungen. Ca. 340 Bl., einseitig beschrieben und teilweise nachträglich mit Bleistift ungleichmäßig paginiert. Ohne ein Titelblatt. Lose Bl., teils mit handschriftlich beschrifteten Umschlagblättern für die einzelnen Kapitel. O. O. (wohl 1944-1945). Fragment der wohl ersten Fassung der höchst interessanten und wertvollen Memoiren, von denen 1954 eine sehr stark gekürzte und bearbeitete Ausgabe unter dem Titel "Eine Tür steht offen" und 1971 eine wieder ganz veränderte und durch Fortsetzung ergänzte Version unter dem Titel "Meine ersten 90 Jahre" erschien. Im vorliegenden Typoskript auf mangelhaftem Kriegspapier sind die Kapitel durch beschriftete Umschläge mit I-X, XV und XVII nummeriert; Kapitel X ist bezeichnet: "1910-1911. Pan und Polizeipräsident von Jagow" (entsprechend dem 9. Kapitel in der Buchausgabe von 1954), Kapitel XV lautet: "Krieg und Kgl. Schauspielhaus", und Kapitel XVII ist betitelt: "1917-1918-1919. Schweiz. Revolution" (entsprechend etwa dem 16. Kapitel in der Ausgabe von 1954). Vor allem das letzte Kapitel ist mit zahlreichen, teils großflächigen Streichungen und handschriftlichen Änderungen versehen. Die hier vorliegenden Kapitel entsprechen rein thematisch den Kapiteln "Theaterschule in Wien - Olmütz - Breslau - Paris - Berlin - Paul Cassirer - Neben den Kulissen - Arbeit und Hochzeit - 'Pan' und der Polizeipräsident - Calderon und Freiballon - Krieg und Kgl. Schauspielhaus - 1917/18 Schweiz" der Buchausgabe von 1954. Die Texte jedoch unterscheiden sich ganz erheblich von dieser ersten Buchausgabe. Das vorliegende Originalmanuskript, in dem die Schauspielerin ungehemmt drauflosplaudert und sozusagen "ihrem Herzen Luft macht", wurde, wie ein durchgehender Vergleich ergibt, damals für die Buchausgabe durch eine nicht genannte Person offenbar einer umfassenden Redaktion unterzogen: Alle Kapitel wurden stark gekürzt, ein großer Teil der Anekdoten und Bekenntnisse aus dem Privatleben der Künstlerin wurden entfernt, unzählige sprachliche Formulierungen wurden geändert, geglättet, gekürzt oder korrigiert wie auch die vielen falsch geschriebenen Eigennamen. Dadurch wird zwar in der Buchausgabe der Eindruck einer hochgradig intellektuellen Schauspielerin mit scharfsichtiger Beobachtungsgabe und Urteilsfähigkeit bestätigt und im Klappentext ihr "brillanter" Stil gelobt, aber dieser Stil ist oft nicht identisch mit dem tatsächlichen Wortlaut der Erinnerungen im vorliegenden Typoskript. Hier nimmt Tilla Durieux kein Blatt vor den Mund, scheut sich nicht, Zeitgenossen drastisch zu beschreiben, Städte häßlich zu nennen, Personen mit ihren Schwächen zu schildern (z. B. Paul Cassirers Gewichtsprobleme). All diese Textstellen, die irgendwo Anstoß erregen könnten, sind in der Buchausgabe entweder vollständig getilgt oder geändert und zwar häufig so, dass eine fremde Hand deutlich erkennbar wird, die nicht dem Stil des hier vorliegenden Originals der Künstlerin entspricht. Das vorliegende Typoskript ist also, wenn auch Fragment, eine höchst wertvolle Ergänzung und in mancher Hinsicht auch Korrektur der vorhandenen Buchausgaben der Durieux-Memoiren. Die Darstellung reicht, wenn auch mit Lücken, bis zum Ende des Ersten Weltkriegs und umfaßt die ganze Glanzzeit der Max- Reinhardt-Ära, die Episode am Berliner Königl. Schauspielhaus sowie das konfliktreiche Leben mit den Ehemännern Spiro und Cassirer. - Es fehlen ein Titelblatt sowie die paginierten Seiten 2-5, 54 und 179; andererseits sind ca. 85 Bl. laufenden Textes und weitere Blätter mit Textvarianten unpaginiert eingeschoben. Die Kapitel-Umschäge jeweils mit Vermerk "Durchdruck II" (was aber nicht immer zutrifft). Einige Bl. mit z. T. stärkeren Randschäden. - Trotz dieser Mängel ist das vorliegende umfangreiche Typoskript mit seinen großenteils unbekannten Texten und dem unredigierten "Originalton" der zeitlebens umschwärmten Schauspielerin ein ebenso informatives wie unterhaltsames und kostbares Beispiel theater- und zeithistorischer Erinnerungen, das in seinen treffenden Schilderungen und Urteilen über den größten Teil der bekannten Schauspieler-Memoiren weit hinausragt. - Zahlreiche Beilagen: 6 Bl. handschriftliche Listen der von Tilla Durieux gespielten Rollen; ein Teil des Scheidungsvertrags zwischen Ludwig Katzenellenbogen und seiner Frau Estelle (Berlin 19.XII.1928); 2 Listen der Gemälde im Besitz Katzenellenbogen-Durieux; 5 Typoskripte verschiedener Autoren mit 4 Theaterstücken und 1 Roman; diverse Typoskripte mit Abschriften von Gedichten für Frau Durieux' Vortragsabende und weitere Schriftstücke; ferner ca. 100 Porträt- und Rollenfoto-Postkarten (jeweils fotografische Original-Abzüge) der Künstlerin aus frühen und späten Jahren, überwiegend Altersporträts, aber z. B. auch Bilder von ihrer Tätigkeit als Krankenschwester im Ersten Weltkrieg. Schließlich eine größere Anzahl kleiner Privatfotos von und mit Freunden und Bekannten. Provenance: The documents were sent by the artist to her friend Hertha Olga Kučera (1902-1984), with whom she also maintained a lively correspondence from Germany. Hertha Kučera was the daughter-in-law of the famous Croatian astronomer Oton Kučera (1857-1931) and his wife Jelena (Jelka) Kučera and the second wife of their son Vlaho Kučera (1898-1983). Tilla Durieux had probably given her the letters as a souvenir, because they are not found as inventoried in the so-called "Protected Collection", which had been confiscated under the Museums of the Department of Art and Culture of the Ministry of Education of the Federal Republic of Croatia immediately after the end of the war. Rather, the documents were legally in the private possession of the Kučera family or then physically also in Germany. Only the works of art that were under the protectorate of the Croatian state (Yugoslavia) were then publicly exhibited by Tilla Durieux in a permanent exhibition in Zagreb; the letters and other written documents were not part of the collection here either (cf. MK-UZKB-KOMZA, Privatne zbirke, Zlata Lubienski Collection, document no. 25406-III-1- 1945, of November 13th , 1945. 22 MK-UZKB-KOMZA, Privatne zbirke, Zlata Lubienski Collection, document no. 315-1945; SLADE ŠILOVIĆ 1995, pp. 73-81. 23 GZZSKIP-DTD, document no. 02-1028/1-1967. Decision of registration of Tilla Durieux collection in Nation register of moveable Cultural Heritage, of November 9th, 1967. In 1948 a list of items in the collection was made). Thus the original typescripts of Durieux's memoirs, which were the basis for the publication (in 1954 a very much abridged and edited edition under the title "A Door Stands Open" and in 1971 a "My First 90 Years", again completely changed and supplemented by continuation), were also partly written after the war in Berlin (after 1951) where they served as the basis for the publishing house, so they were in Germany together with the other documents. The rightful owners of the documents in our possession, the heirs of the Kučera family, sold them after the documents had first been offered to the aforementioned museum in Zagreb. There is a deed from a state-sworn notary ("Republika Hrvatska Zabreb Za vršitelja dužnosti bilježnika predsjed") confirming not only the ownership of the Kučera family, but also officially confirming the sale of the documents already in Germany (copy available on request).
Lot 148
Sherer, John. Europe illustrated: its picturesque scenes and places of note. First series. France, Belgium, and the Rhine. 2 Bände. XII, 240, II S.; 1 Bl., 198, II S. Mit 2 gestochenen Titeln mit Vignette und zusammen 118 Stahlstichansichten nach Turner, Allom, Bartlett, Leitch u. a. 31,5 x 24 cm. Halbleder d. Z. (etwas fleckig und berieben, Ecken bestoßen, Rücken von Band II restauriert, Gelenke beschabt und teils angeplatzt). London, Printing and Publishing Company, (1875).Enthält 79 Ansichten aus Frankreich, 16 aus Belgien und Holland sowie 23 aus Deutschland, darunter z. B. Bacharach, Bad Ems, Bingen, Braubach, Heidelberg, Köln, Mainz, Oberwesel, St. Goar usw. - vereinzelte schwache stockflecken, insgesamt wohlerhalten.
Lot 1217
Bye, Marcus de. Folge von 25 Kupfertafeln mit Löwen, Bären, Ziegen und Schafen von Marcus de Bye nach Paul Potter. 17 x 20 cm. Späteres Halbpergament (berieben, bestoßen und fleckig). O. O. (Amsterdam), Nicolaes Visscher I, o. J (1664). Vgl. Wurzbach 9-13, allerdings in anderer Reihenfolge. Hollstein 1-8 je II (von IV), 79-94/III (v. IV). - The publishing history for De Bye's etchings after Paulus Potter is well documented. Rare first state impressions lack the address of N. Visscher on the frontispiece plate and were printed in only a handful of impressions. ln the second state impressions Nicolaas Visscher's name appears. This major publisher printed editions of De Bye's sets from approximately 1660 to 1700. In 1726 Petrus Schenk acquired the plates and printed sets bearing his name along the lower margins of the frontispiece etchings. Gute Drucke des II. Zustands mit der Adr. von Visscher, der etwa von 1660-1700 die Folgen von de Bye druckte. - Block gebrochen, teils papierbedingt gebräunt und leicht stockfleckig sowie einen kleinen hinterlegten Einriss. Titel beschnitten und aufgezogen.
Lot 3299
-- "Die neue Zeit beginnt"-- Dada. - Der Dada. Direktion R. Hausmann. Heft I (von 3). 4 Bl. Mit 4 Orig.-Holzschnitten von R. Hausmann. 29 x 22 cm. OBroschur. (Berlin-)Steglitz (15. Juni 1919).Motherwell 289 und S. 146. Dada global 41. Dok.-Bibl. III, 159. Verkauf S. 57 (mit Abb.) und 109. Ades 4.66. Dada Kat. Frankfurt 1958, 453. Raabe, Zeitschr. 78. - Erste Ausgabe. Das erste von nur 3 Heften unter der Direktion von Raoul Hausmann, auf rosarotem Papier gedruckt. Mit Texten von Baader, Hausmann, Huelsenbeck und Tzara. "Angekündigt als 'Zeitschrift der deutschen Dadaisten, einzig authentisches Organ der Dada-Bewegung in Deutschland'." (Dada global) "The first number ... is characteristic of Dada's intentional disorder. Letter of all types and sizes, Hebrew characters, printed in every direction and according to a personal design, are mingled with sentences in French and vignettes borrowed from the illustrations of dictionaries" (Motherwell). Provenienz: Aus der Familie von August Strindberg. - Einige wenige winzige Randeinrisse, insgesamt von außerordentlich guter, wohl einzigartig schöner Erhaltung.
Lot 185
Manual, the circular quartered champagne dial with black Arabic numerals, calibrated outer ring, subsidiary seconds dial at 6 o'clock, the case back inscribed 'Presented to H Bernard Parkes on his Twenty First Birthday by the staff of Geo. Parkes and Sons 1938', on a later plated bracelet with later flex extension, width of case 28mm
Lot 3308
Beautiful model with lobed edges and in the middle a Maria Theresia Taler from 1780. Austria, Vienna, Silberwarenfabrik Alexander Sturm, first half of the 20th century, hallmarks: content / city hallmark, 800, maker's mark - light signs of use. 61 grams, 800/1000. Dim. H 2.2 cm, diam 10.7 cm.
Lot 10
Chinese Wukai vase, Qing dynasty, Kangxi period. First quarter of the 18th century.Hand-painted porcelain.Slightly chipped and hair on the mouth.Seal on the reverse.Measurements: 60 cm (height); 24 cm (largest diameter).Wukai porcelain vase from the "Green Family" of the Kangxi period (1662-1722), with circular forms, elongated neck and open circular mouthpiece. Hand-painted with scenes of warriors, plant decorations and borders.The Kangxi Emperor was a great promoter and patron of the porcelain industry. It was during his rule that the ailing industry received a major revival. The artistic achievements made between the late 17th and early 18th centuries place these pieces among the finest in history. Wucai or Wu tsai porcelain for export, produced by folk kilns during the Kangxi period, has historically been referred to by Westerners as "green family porcelain". This name was given by Albert Jacquemart in the book Historie artistique, industrielle et commerciale de la porcelain, Paris 1862, to denote a group of wares where the green glaze presents a certain leadership in the decorative composition. The term 'famille verte' sometimes refers to a range of wares which, in the opinion of Chinese experts, is often erroneous. Wucai porcelain of the Kangxi period is a type of porcelain produced between the late 17th and early 18th centuries, the distinctive feature of which is a polychrome decoration based on the use of low-temperature glazes of various colours.
Lot 2
Samurai suit of armor from the Edo Period, Japan, XVIII century.Steel mesh, leather, cloth and lacquered.It consists of helmet, mask, breastplate, shoulder pads, sleeves, thigh pads, shin guards and stirrups.It comes with its original storage box in polychrome wood.It has slight flaws. Wear and tear due to use and passage of time.Measures: 140 x 60 x 50 cm (mounted armor); 54 x 40 x 42 cm (box).The Japanese armor, regardless of its evolution over time, always tried to combine protection with mobility, so that the warrior had an acceptable freedom of movement. For this reason, the "gushoku-shi", the master craftsmen of this art, always sought materials that would allow this balance, such as metal and leather.The armor we now present consists of a kabuto or helmet from which hangs a shikoro neck protector. The somen (mask that covered the entire face) is polychromed in black. It was intended as a facial armor designed in such a way that the heavy helmet could be tied and secured to it by several metal stakes. The breastplate, sleeves (kote) and thigh pads (haidate) combine earth-colored cloth, leather and steel. It is also accompanied by shin guards and stirrups.The samurai's interest in distinguished armor arose in the Edo period, a period considered peaceful, also known as the Era of Uninterrupted Peace (1603-1868). In this period, the absence of warlike conflicts led to less activity on the part of the samurai who, however, had to attend the court of the Shogun or commander of the army to render accounts on a regular basis. The catwalk or parade that they had to walk until they reached the commander gave rise to a desire to exhibit the samurai's armor as authentic works of art. Thus, the armor became a showcase for the arts of many craftsmen (embroiderers, blacksmiths, weavers, etc).At the end of the Heian period (794-1185), the first full armor as we know it today began to appear, constructed from iron plates joined with strips of leather and silk cords, which again allowed for increased mobility and lightness. In fact, the manufacture of armor became so complicated that by the 19th century it was considered an independent art, the "odoshi-gei". Thus, in the eighteenth and nineteenth centuries the armor will include numerous variations designed to reflect the clan and rank to which the warrior who wore it belonged. Special mention should be made of the colors, not only because of their association with certain families, but also because of their symbolic content. In fact, the color white corresponds in Japanese culture to mourning, and if it appeared on a suit of armor it represented the conviction of leaving one's life in battle. This progressive complication generated, however, an important controversy, since the complexity of the silk and leather weaves made it easy for enemy weapons and projectiles to get caught in them during battle, and their nooks and crannies could harbor mold and parasites.
Lot 22
Chinese Tibor sang de boeuf. Qing dynasty, 19th century.Sang de boeuf polychrome porcelain.Wear, chipping and irregularities on the base.Measurements: 43 cm (height); 28 cm (largest diameter).Chinese porcelain polychrome sang de boeuf tibor of the Qing dynasty, 19th century, in polychrome porcelain. The sang de boeuf glaze, a deep red ceramic glaze, first appeared on Chinese porcelain in the early 18th century. The name means "ox's blood". Sang de boeuf is a flamed and glazed glaze, marked by unpredictable but highly decorative and varied effects.Tibores, lidded vases, are very popular in Asia. In China, tibores are not only used for decoration, but are also used in the kitchen to store food, tea or utensils. Tibors were very popular especially in stately homes in ancient China.
Lot 27
Pair of throne chairs. China, late Qing dynasty, 19th centuryCarved hongmu (sourwood) or Huanghuali (rosewood) wood.Very slight flaws in the wood. Cracks in the seats.Measurements: 97 x 64 x 47 cm.Pair of antique Chinese throne armchairs possibly made of Huanghuali or hongmu rosewood,19th century. The back is decorated with hand-carved vegetal and geometric motifs, in a combination of intricate swirling forms and the more square geometric structure of the chairs. Chairs first appeared in China in the form of portable chairs used by commanders on the battlefield. Their use spread rapidly in domestic life, used by all classes and sectors of society. By the early Ming dynasty, various styles had been developed and little changed for several hundred years. In a society as hierarchical as China, different styles of chair were associated with different ranks of society.No early references to hongmu have yet been discovered; however, the South Chinese equivalent term 'suanzhi' appears during the Middle Qing period; its literal meaning, 'sour wood' describes the pungent odour emitted when worked. Most of the dark furniture of the Qing period is made of hongmu.
Lot 29
Pair of Foo "sang de boeuf" dogs, Qing dynasty. China, 19th century.Hand-polychromed porcelain.Red export wax seals on the back.Measures: 29 x 11 x 25 cm .Wear and tear. This lot can be seen in the SetdartBarcelona Gallery located in C/Aragón, 346.Pair of Foo "sang de boeuf" dogs, Qing dynasty. China, 19th century. In hand painted porcelain. These pieces were made in China for the foreign market (export to other countries). This is confirmed by the sealing wax seals on the back.Sang de boeuf enamel, a deep red ceramic glaze, first appeared on Chinese porcelain in the early 18th century. The name means "ox's blood". Sang de boeuf is a flamed and glazed glaze, marked by unpredictable but highly decorative and varied effects.The foo dog, similar to a lion, is an important symbol in Chinese Taoist culture and, through its influence, also in Japanese and Thai culture. It is identified with protection against evil spirits, and hence they are often depicted in pairs at the entrance of temples, imperial tombs, palaces, government buildings, etc. They are also known as Imperial Guardians, and were very common in traditional Chinese art. They are attributed with mythical powers of protection, and appear as early as the Han Dynasty (206 BC - 220 AD) at the entrance of important buildings.
Lot 34
Pair of Chinese garden stools. First half of the 19th century.Glazed Sancai ceramic.Measures: 40 x 54 x 23 cm .Pair of Chinese garden stools. From the first half of the 19th century in glazed Sancaiglazed Sancai ware, depicting elephants.Sancai (literally 'three-coloured' in Chinese) is a type of pottery that uses three intermingled colours as decoration. The body of Sancai ware was made from white clay, painted with a layer of glass glaze, and fired at temperatures of about 800 degrees Celsius. A style of porcelain made in China during the Tang dynasty (618-906 BC), characterised by veins and dots in three colours, mainly navy blue, turquoise and aubergine. The term also refers to ceramics made during the Ming and Ching dynasties (1368-1912), with the same three colours but separated by stripes of clay outlining the pattern.
Lot 1074
A pair of vintage British Rail coach destination panels. The first double sided panel reads: PADDINGTON / FISHGUARD and PADDINGTON / CARDIFF / SWANSEA. The second panel reads: PADDINGTON / OXFORD. Approx. 46cm x 56cm. During the 1960s and 1970s, Western Region of British Rail began to use these yellow destination panels on some of their coaching stock. These small panels on the waist line of the railway coach were carried in brackets and could easily be reversed for return journeys (similar to continental practice).
Lot 1077
A collection of autographed Great Train Robbery Memorabilia, to include: Real Life Crimes, Issue 20, the feature covering The Great Train Robbery, with a signed picture of Ronnie Biggs on front cover. A copy of Private Eye - an original vintage issue of Private Eye magazine dated 24th October 1969 with the headline ' Biggs - The End Of The Line? ' Together with a book entitled “The Inside Story”- Ronnie Biggs: The Inside Story - Author's presentation first edition hardcover book, No. 11/20. Signed by author Mike Gray. The Great Train Robbery was the robbery of £2.6 million from a Royal Mail train heading from Glasgow to London on the West Coast Main Line in the early hours of 8 August 1963, at Bridego Railway Bridge, Ledburn, near Mentmore in Buckinghamshire, England. After tampering with the lineside signals in order to bring the train to a halt, a gang of fifteen, led by Bruce Reynolds, attacked the train. Other gang members included Gordon Goody, Buster Edwards, Charlie Wilson, Roy James, John Daly, Danny Pembroke, Jimmy White, Ronnie Biggs, Tommy Wisbey, Jim Hussey, Bob Welch and Roger Cordrey, as well as three men known only as numbers "1", "2" and "3". A 16th man, an unnamed retired train driver, was also present. With careful planning based on inside information from an individual known as "The Ulsterman" (erroneously named as Patrick McKenna in 2014), the robbers escaped with over £2.6 million (equivalent to £53.5 million today). The bulk of the stolen money was never recovered. Though the gang did not use any firearms, Jack Mills, the train driver, was beaten over the head with a metal bar. Mills' injuries were severe enough to end his career. After the robbery, the gang hid at Leatherslade Farm and famously used the money in a game of Monopoly - unwittingly incriminating themselves whilst doing so as the Monopoly set was used to garner finger prints of the suspects and was instrumental in the Police arresting most of the gang. The ringleaders were sentenced to 30 years in jail.
Lot 1078
A Collection of Autographed Great Train Robbery Memorabilia, to include: Crimes & Punishment, Issue 3, the front page featuring “The Great Train Robbery” signed by Ronnie Biggs. Together with a book intitled “The Inside Story”- Ronnie Biggs: The Inside Story - Author's presentation first edition hardcover book, No. 8/20. Signed by author Mike Gray and Tel Currie. The Great Train Robbery was the robbery of £2.6 million from a Royal Mail train heading from Glasgow to London on the West Coast Main Line in the early hours of 8 August 1963, at Bridego Railway Bridge, Ledburn, near Mentmore in Buckinghamshire, England. After tampering with the lineside signals in order to bring the train to a halt, a gang of fifteen, led by Bruce Reynolds, attacked the train. Other gang members included Gordon Goody, Buster Edwards, Charlie Wilson, Roy James, John Daly, Danny Pembroke, Jimmy White, Ronnie Biggs, Tommy Wisbey, Jim Hussey, Bob Welch and Roger Cordrey, as well as three men known only as numbers "1", "2" and "3". A 16th man, an unnamed retired train driver, was also present. With careful planning based on inside information from an individual known as "The Ulsterman" (erroneously named as Patrick McKenna in 2014), the robbers escaped with over £2.6 million (equivalent to £53.5 million today). The bulk of the stolen money was never recovered. Though the gang did not use any firearms, Jack Mills, the train driver, was beaten over the head with a metal bar. Mills' injuries were severe enough to end his career. After the robbery, the gang hid at Leatherslade Farm and famously used the money in a game of Monopoly - unwittingly incriminating themselves whilst doing so as the Monopoly set was used to garner finger prints of the suspects and was instrumental in the Police arresting most of the gang. The ringleaders were sentenced to 30 years in jail.
Lot 1081
A collection of three 20th century British presentation pack unfranked unstamped booklets celebrating Speed, Regularity and Security In Celebration of Royal Mail as well as The Sixtieth Birthday of Her Majesty the Queen. Alongside a large collection of first day cover stamps all being held within fourteen presentation albums with some loose examples.
Lot 1090
A collection of approx 40x original Reece Winstone Bristol related books to include Bristol in the 1880's, Bath As It Was, Bristol in the 1920's, Victorian & Edwardian Bristol, History of Bristol Suburbs, Bristol History, Miss Ann Green of Clifton, Bristol Trade Cards, Rambles form the Darkroom, Changes In The Face Of Bristol, Bristols Trams and many more. Mostly hardback examples with signed / first editions present.
Lot 1092
A collection of vintage 20th century UK collectable and commemorative coins comprising of 1977 proof coin set, 1977 silver crown, 1973 Peace Hands 50p x 2, Bailiwick of Guernsey 25p, SS Great Britain solid bronze coin, City of Bristol & Council coin, Wedding Anniversary 25p coin, Silver Jubilee Crown, Silver Wedding One Dollar 1972, SS Great Britain 1970, Britain First Decimal Coins, United Kingsdom Uncirculated coin collection 1982, Coinage of Great Britain 1970 proof coin set and more.
Lot 1113
An early 19th century King George III .925 silver half crown having smaller laureate head of George III facing right, with larger lettering reading GEORGIVS III DEI GRATIA to the obverse, and the reverse having larger shield within a garter, with a plainer crown and bearing the inscription: HONI SOIT QUI MAL Y PENSE. The shield is quartered with a central crowned shield shaped inescutcheon, larger than the first type with a larger, plainer crown. The garter is not enclosed by a decorative border. There is no St. George and dragon, which is replaced by a buckle of the garter, and the legend lettering is larger. The legend reads: BRITANNIARUM REX FID DEF. It measures approx. 3cm in diameter & weighs approx. 14.1g. Dated 1817.
Lot 1123
A late 18th century King George III copper Britannia penny with the observe showing the legend (incuse) "GEORGIUS III D:G REX". This is the first copper coin in circulation to show D:G. The legend surrounds a laureate portrait of George III. The reverse bears the iconic seated Britannia holding an olive branch. Dated 1797. It measures 3.5cm in diameter & weighs 28.7g.
Lot 1127
A late 17th century King William III & Mary II .925 silver half crown with the observe having the conjoined first busts of William III & Mary II, laureate and draped, both facing right, with the legend reading GVLIEMVS ET MARIA DEI GRATIA. The reverse having the shield of royal arms, crown atop frosted at the caul and showing pearls in the band, legend reading MAG BR FR ET HIB REX ET REGINA. Dated 1689. The coin weighs 14.7g & measures 3cm in diameter.
Lot 1128
A collection of approx 80 Royal Mail mint First Class presentation packs to include Industry Year, The Linnean Society, Welsh Bible, Sport, Transport & Communications, Australian Bicentenary, Armada Exhibition, Edward Lear, Medical Discoveries, Compliments of the Season, Birds, Food & Farming.
Lot 671
A collection of vintage 20th century Regency Fine Arts limited edition porcelain figures / statuettes to include "Victorian Collection - Dancing" n. 2821 of 20000, "Countryside Collection - Spring Posy" n. 1038 of 15000, "Victorian Collection - Arriving at the Ball" n. 1245 of 15000, "Victorian Collection - Demure", "Countryside Collection - First Fall" n. 1094 of 15000, "Victorian Collection - Strolling" n. 2256 of 20000. "Edwardian Collection - A Stroll in the Park" n 193 of 20000, "Victorian Collection - The Final Touch" n. 257 of 15000. Together with a Coalport porcelain figurine "Sally" from Silhouettes series. Tallest figure measuring 25cm tall. The Regency Fine Arts figures coming with certificate of authenticity.
Lot 905
Camberwick Green – Robert Harrop – a collection of five statues / figurines. To include; CG28 Mrs Lovelace - CG107 Cuthbert - CGM01 Trumpton Townhall - CGQ02 The jogger limited edition 600 first edition - CGQ03 Uncle Guber limited edition 600 first edition.Note; from a large collection of Robert Harrop & other statues / figurines. Condition is stated within each description, however buyers are reminded that such statements are not forensic reports and all items will remain sold 'as is'. As a rule, statues do appear mint and undamaged, but this is not guaranteed. Boxes range in condition, and some have wear from storage. In all instances buyers are required to satisfy themselves. Certificates / paperwork are present if photographed, if there are no photographs of certificates then one isn't present.
Lot 910
Camberwick Green – Robert Harrop – a collection of four statues / figurines. To include; CGM06 The bakery - CGMILL02 Winnie Farthing & Lord Belbourough 'Winnie wonderland' - CGS11 Chippy Minton's work shop 'I like my job as a carpenter limited edition 1000 first edition - CGCS03 Paddy & Mary Murphy Windy wonderland limited edition 1500.Note; from a large collection of Robert Harrop & other statues / figurines. Condition is stated within each description, however buyers are reminded that such statements are not forensic reports and all items will remain sold 'as is'. As a rule, statues do appear mint and undamaged, but this is not guaranteed. Boxes range in condition, and some have wear from storage. In all instances buyers are required to satisfy themselves. Certificates / paperwork are present if photographed, if there are no photographs of certificates then one isn't present.
Lot 912
Camberwick Green – Robert Harrop – a pair of statues / figurines. To include; CGQ01 Molly's car limited edition 600 first edition - CGMB5 Mickey Murphy's bakers van musical box limited edition 2000 first edition. Note; from a large collection of Robert Harrop & other statues / figurines. Condition is stated within each description, however buyers are reminded that such statements are not forensic reports and all items will remain sold 'as is'. As a rule, statues do appear mint and undamaged, but this is not guaranteed. Boxes range in condition, and some have wear from storage. In all instances buyers are required to satisfy themselves. Certificates / paperwork are present if photographed, if there are no photographs of certificates then one isn't present.
Lot 919
Camberwick Green – Robert Harrop – a collection of six statues / figurines. To include; CGQ03 Uncle Guber limited edition 600 first edition - CG49 Mr Swallow (wharfinger) - CG13 Cuthbert - CG101 Mickey Murphy baker - CG82 Mr Robinson (window cleaner)Note; from a large collection of Robert Harrop & other statues / figurines. Condition is stated within each description, however buyers are reminded that such statements are not forensic reports and all items will remain sold 'as is'. As a rule, statues do appear mint and undamaged, but this is not guaranteed. Boxes range in condition, and some have wear from storage. In all instances buyers are required to satisfy themselves. Certificates / paperwork are present if photographed, if there are no photographs of certificates then one isn't present.
Lot 922
Camberwick Green – Robert Harrop – a collection of six statues / figurines. To include; CGFG09 Miniature Dutch organ - CG25 Mrs Cobbit (flowers seller) - CG109 Grubb (fireman) - CGQ02 The jogger limited edition 600 first edition - CG59 Dora Minton - CG66 Horace (bricklayer) Note; from a large collection of Robert Harrop & other statues / figurines. Condition is stated within each description, however buyers are reminded that such statements are not forensic reports and all items will remain sold 'as is'. As a rule, statues do appear mint and undamaged, but this is not guaranteed. Boxes range in condition, and some have wear from storage. In all instances buyers are required to satisfy themselves. Certificates / paperwork are present if photographed, if there are no photographs of certificates then one isn't present.
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