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Lot 2067
1935 BSA B35-2 250cc OHV motorcycle, registration number ANY 312, with V5C and buff logbook. In the same family ownership for 40 years, purchased by the vendor's late uncle circa 1970's or early 80's and subsequently given to the vendor circa 1987, the vendor has ridden and enjoyed the bike ever since, now reluctantly offered as he's finding it increasingly difficult to mount. When being photographed it rode around the carpark very nicely, having started first kick. Together with crankcases, con rod, cylinder barrel and cylinder head to build up a spare engine, 1935 parts book and various receipts etc 10%+VAT buyer's premium on this lot
Lot 264
An Elizabeth II 2015 silver proof Piedfort coin set, number 439, comprising a five pound commemorative Winston Churchill coin, a five pound commemorative bicentenary of The Battle of Waterloo coin, a two pound coin to commemorate the contribution of The Royal Navy during the First World War, another marking the 800th anniversary of the Magna Carta, and a fifty pence coin to commemorate the 75th anniversary of The Battle of Britain, in fitted case with certificate and outer box.
Lot 390
Two Queen Elizabeth II Silver Jubilee stamp albums, a Stanley Gibbons 1977 Jubilee album complete with forty five issues of unused mint stamps commemorating the Silver Jubilee, and a commemorative book of first day covers featuring stamps of St Vincent depicting the Kings and Queens of England.
Lot 620
Forester (C.S.) The Commodore, 1945; The Good Shepherd, 1955; The Earthly Paradise, 1940; Hornblower And The Hotspur, 1962; Randall And The River Of Time, 1951, published and first editions, publishers boards, dust jackets, 8vol; and c.twenty five others, also by CS Forester, some with dust jackets.
Lot 14
Nixon (John, circa 1750-1818). Two Rustics at Astley's Amphitheatre, Lambeth, 1784, pen, ink and watercolour wash on laid paper, depicting a gentleman in a wig and bicorne hat leaning on a ledge, with a youth standing beside, initialled lower right and annotated by the artist 'Drawn at Astleys 1784', slightly dusty, sheet size 9.3 x 12.1 cm (3 5/8 x 4 3/4 ins), together with 3 other drawings by John Nixon, comprising head and shoulders portraits of: a portly gentleman; a woman in a mob cap inscribed 'Mrs Wilson Hostess of the Inn at Yarmouth: Isle Wight', initialled and dated 1788; and a gentleman in a wig seated beside a lady with curled hair, annotated 'Mr Precious', all mounted, matching frames, glazed (26.6 x 29.1cm)Qty: (4)Footnote: Provenance: Nixon Collection, The French Hospital of La Providence, Rochester, Kent.John Nixon was an accomplished amateur caricaturist of Georgian life and friend of Thomas Rowlandson, who exhibited 39 works at the Royal Academy between 1781 and 1815. Astley's Ampitheatre is generally considered to be the first British circus. Opened by Philip Astley as a riding school in 1768, displays of horsemanship to the paying public were soon augmented by acrobatic displays, clown antics, theatrical and musical acts, and dramatic battle re-enactments.
Lot 181
Blake (William, 1757-1827). The Pastorals of Virgil, with a course of English reading, adapted for schools: in which all the proper facilities are given, enabling youth to acquire the Latin language..., by Robert John Thornton, 3rd edition, London: F. C. & J. Rivingtons..., 1821, 17 wood-engraved illustrations designed and executed by William Blake, consisting of one larger illustration printed separately, and four leaves each printed with four wood engravings, illustrating Eclogue I, three wood-engraved portraits of Theocritus, Virgil, and Augustus, designed and engraved by Blake, one other plate entitled From Antique Coins, designed and engraved by Blake, numerous other wood-engraved illustrations by various artists, contemporary ownership inscription of Louisa Fox, dated 1821 to front endpaper, additional presentation inscription to head of title ‘ Edward Cathack with Louisa Fox’s best regards’ to head of title, contemporary polished calf, gilt decorated spine, a little rubbed and some minor marks, upper joint near-detached, 8voQty: (1)Footnote: Binyon 137-53; Bindman 602-18; Bentley 504; Keynes 77.The series of 17 wood engravings by William Blake illustrating Virgil's Pastorals, as issued in the first volume (of 2) of The Pastorals of Virgil, with a course of English reading, adapted for schools..., by Robert John Thornton, 3rd edition, 1821. This third edition was the first to contain these now legendary original illustrations by William Blake, which had a significant influence upon the young Samuel Palmer and his group.
Lot 196
Derkovits (Gyula, 1894-1934). 1514, Szikra Kiadas, 1945, 4 preliminary leaves (title, introduction and contents), and 11 original woodcuts, each numbered in roman numerals to lower right corner, sheet size 38 x 35 cm (15 x 13.75 ins), or inverse, loosely contained in original publisher's cloth-backed printed wrappers, rubbed and slight wear, slim square folio (39.5 x 36.5 cm)Qty: (1)Footnote: Hungarian painter and graphic artist Gyula Derkovits (1894-1934) suffered paralysis of his left arm in the first world war. From 1916 he lived in Budapest, where he learned painting and printmaking at the Art School of Karoly Kernstock. He met up with left-wing Hungarian immigrants in Vienna, where he joined the Austrian Communist Party, and witnessed the political upheavals of 1928-29, in the wake of the clashes between fascists and socialists subsequent to the April 1927 National Election. Derkovit's most important graphic series, '1514', inspired by the Dozsa peasant revolt, was completed during this period and published posthumously by the Circle of Friends of the Visual Art in 1945.
Lot 214
Sutherland (Graham, 1903-1980). Pecken Wood, 1925, etching, on heavy buff laid paper, a very good well-contrasted impression of the third to fifth state (with the artist's name and date added to upper right corner of the plate), signed in pencil lower right, one of a total edition of 85 published of the third to fifth states (there was one impression printed of the first state and two of the second), published by the Twenty One Gallery, with margins, light mount stain, outer edges strengthened with paper to verso, hinge-mounted, in pale cream card window mount, plate size 139 x 188 mm, sheet size 160 x 230 mmQty: (1)Footnote: Cooke, Graham Sutherland Early Etchings, 26, iii/iii. Man 24, v/v. Plate destroyed.
Lot 275
Rothenstein (William, 1872-1945). Portrait of Hannah Whittal Smith, July 1893, pastel on brown paper, full length portait, half-profile to right, of a bonneted elderly lady seated in a wicker armchair reading a book, signed and dated to right-hand margin 'Will R 93' and captioned in the artist's hand to lower margin 'Will Rothenstein, Hannah Whittal Smith, Friday's Hill. July 1893', 47.3 x 35.2cm (18 1/2 x 13 7/8ins), mounted, framed and glazed (67.2 x 54.3cm) Qty: (1)Footnote: Provenance: Oliver and Ray Strachey; thence by family descent; private collection, UK; Bonhams, 'Fine Art & Antiques', 5 November 2014, lot 37.Evangelist and religious writer Hannah Tatum Whitall Smith (1832-1911) was born into an influential Quaker family in Philadelphia. She married Robert Pearsall Smith who was also descended from a long line of Quakers. After struggles with her beliefs and the exploration of various other Christian doctrines and denoninations, Hannah came to a deep faith following the loss of her 5 year old daughter. She and her husband became speakers in the Holiness movement in the United States and the Higher Life movement in the UK, and they travelled to various countries in Europe to hold meetings and preach. Hannah wrote a widely-read book on the subject of Christian mysticism and practical Holiness theology entitled The Christian’s Secret of a Happy Life, published in 1875. She was also active in the women's suffrage movement as well as the temperance movement. One of her daughters, Mary, married the art historian Bernard Berensen.Ray Strachey, born Rachel Pearsall Conn Costelloe (1887-1940), was the daughter of Mary Berenson by her first husband Frank Costelloe. She was a feminist politician, mathematician, engineer, artist and writer, and, like her grandmother Hannah, worked tirelessly for the suffrage cause, publishing a number of writings on the subject, including The Cause published in 1928. She married Oliver Strachey, brother of Lytton Strachey, in 1911.The National Portrait Gallery holds a bromide print after Rothenstein's portrait by an unknown photographer (NPG Ax160542). It was given to the NPG in 1999 by Barbara Strachey, daughter of Ray and Oliver, who also donated a platinum print of Hannah and Robert outside Friday's Hill House (NPG Ax160670), their home in Fernhurst near Hazlemere, where they entertained artists, writers, musicians and intellectuals, William Rothenstein amongst them.
![Audenaerde (Robert van, 1663-1743). The Triumphs of Caesar (after Andrea Mantegna), 1692 [but later], copper engraving after](https://cdn.globalauctionplatform.com/9a21f8f7-bb3e-4455-8db4-ae4400b9af6b/c3ab8503-c591-4a05-be1f-ae4600db7ac9/468x382.jpg)
Lot 28
Audenaerde (Robert van, 1663-1743). The Triumphs of Caesar (after Andrea Mantegna), 1692 [but later], copper engraving after Andrea Mantegna, on 9 conjoined sheets of heavy wove paper, printed in dark brown, probably late 19th or early 20th century printing, after the original series published by Domenico de Rossi in Rome in 1692, plate size 39.5 x 378 cm overall (15.5 x 148 ins), with good blank marginsQty: (1)Footnote: A late reissue of the series of engravings by Van Audenaerde after Mantegna's Triumphs of Caesar, at Hampton Court, first published in 1692, here without the unnumbered frontispiece or title page bearing the title C. Iulii Caesaris Dictatoris Triumphi, the other 9 sheets numbered 1-9.
Lot 29
Bagford (John, 1650-1716). Seven letters (N, O, P and Q on one sheet, X and V on another, and Z on a third sheet), after the 1464 Alphabet, probably early 18th century, woodcuts printed from seven blocks on cream laid paper, good impressions though somewhat uneven, a few minor foxmarks, generally in very good condition, largest image 218 x 172 mm, sheet size 232 x 187 mm and smallerQty: (3)Footnote:John Bagford, a shoemaker by trade, but a collector by instinct, issued proposals in 1707 for the publication of a history of printing. These woodcuts were probably executed at around this time, by or for Bagford, and are copies of the very rare 1464 woodcut alphabet (see British Museum accession number B,10.1-23). It seems that the copies offered here were cut on seven blocks, the first five with 4 letters each, arranged as two rows of two letters, block six with just two letters in one row (X and Y) and the seventh block with just one letter (Z). One of the woodblocks, for the letters K and I, survives in the British Museum (B, 11.1), probably from Bagford’s collection.
Lot 291
Hale (Kathleen, 1898-2000). An archive collection of 44 drawings and sketches, most on paper, a few on thin card or board, several laid down, many signed, several inscribed or annotated on recto or verso, some numbered on verso, comprising: 9 pencil sketches, subjects include Bill, the family's black poodle, Frank Potter, Ronald Moody, and Jane Peers; 21 watercolours, most with pencil or pen & black ink, generally landscapes, a few abstract or still-life, a couple of nudes; 14 pen & ink sketches, including many humorous scenes, and a rough sketch of Celia Johnson, plus some later reworkings of two sketches reproduced in her autobiography, and a framed and glazed humorous pencil sketch produced in 1913, when Hale was just 15 years old, various conditions and sizes, contained together in a large drop-spine box (63.7 x 51.5cm)Qty: (44)Footnote: Bill, the black poodle, was the McClean's first family dog. In her autobiography A Slender Reputation, Kathleen Hale describes how "Bill became the boisterous anti-hero of my next book, Orlando Keeps a Dog". The watercolour landscapes include scenes in Spain, Portugal, Ireland, France, and Yorkshire. The reworked sketches reproduced in A Slender Reputation can be found on pages 174 & 219.
Lot 292
Hale (Kathleen, 1898-2000). Dinghy park at Hamble, 1958, watercolour and pencil on paper, signed lower right, mount aperture 26 x 37.2 cm (10 1/4 x 14 5/8ins), framed and glazed (39.9 x 50.8 cm), verso with red ink numbers '66' (crossed-out) and '86' relating to the Kathleen Hale Memorial Exhibition held at the Redfern Gallery in 2001, together with: Spain, pen & black ink and watercolour on paper, titled and signed lower right, mount aperture 23 x 32.5 cm (9 1/8 x 12 3/4ins), framed and glazed (44.5 x 53.1 cm), plus: Amalfi, 1926, watercolour, pen & black ink over pencil on heavy paper, signed and titled 'Amalfi' lower right, verso with an unfinished sketch in pen & black ink, titled Amalfi and dated 1926, also annotated 'F47' & '257', and '7' in a circle, sheet size 22.8 x 30.3cm (8 7/8 x 12ins), window mounted, framed and glazed (44 x 50.5cm), verso with red ink number '38', relating to the Kathleen Hale Memorial Exhibition held at the Redfern Gallery in 2001, and three others: Abstract with geometry instruments, 1974; Mincer, 1974; Abstract with monkey wrench, 1975, all pencil on paper, the first with watercolour, the 2nd with wash, each signed and dated, window mounted, framed and glazed (48.9 x 39 cm and smaller)Qty: (6)
Lot 294
Hale (Kathleen, 1898-2000). My First Love, circa 1921, linocut portrait of Frank Potter, signed and numbered 4/10, mount aperture 19.8 x 13.8cm (7 7/8 x 5 1/2ins), framed and glazed (39.7 x 32.2cm), verso with red ink number '33', relating to Kathleen Hale Memorial Exhibition held at the Redfern Gallery in 2001, together with: Aquarium, or, Mediterranean Blues, 1920s, linocut in colours, signed and numbered 1/15, mount aperture 19.4 x 22 cm (7 5/8 x 8 5/8ins), framed and glazed (41.7 x 43.1cm), verso with printed label giving artist and title, plus: Sleeping woman in attic, linocut, pencilled number '150' to upper right, mount aperture 18.3 x 21.2cm (7 1/4 x 8 1/4ins), framed and glazed (36.5 x 37.5cm), and 14 unframed linocuts, comprising: Farmyard in Étaples (1); Owl and mouse (3); Aquarium (3 printed in colours, 1 in green only); Sweet Corn (mice and corn - 1 printed in shades of brown/yellow); Scratching hen (1); My First Love (4)Qty: (17)Footnote: 'My First Love' is reproduced in Kathleen Hale's autiobiography A Slender Reputation on p.78. 'Scratching hen' is reproduced on p.159. Several of the linocuts are listed in the catalogue of the Kathleen Hale Memorial Exhibition held at the Redfern Gallery in 2001, with 'My First Love' also appearing in the Michael Parkin exhibition Modern British Art, works on paper, 20-30 June 2001.
Lot 301
Hale (Kathleen, 1898-2000). Rabley Willow Sitting Room, oil on canvas, some areas of flaking and loss, mainly affecting left side, verso with ink manuscript numbers 'Pic 57' and '021', 61.5 x 46.5cm (24 x 18ins), unstretched and unframed, together with: Portrait of a young boy [Ian Blagg], oil on canvas, verso with ink manuscript 'Pic P4' and '004', 48.8 x 39.0cm (19 1/4 x 15 3/8ins), unstretched and unframed, plus: Peacock and stag, oil on canvas, top margin and verso with ink manuscript 'Pic I13' and '013', 39.5 x 48.5cm (15 1/2 x 19 1/8ins), unstretched and unframed, with: River and wooded cliffs [Rossdohan Island, County Kerry], oil on canvas, signed lower right, 51.0 x 61.3cm (20 1/8 x 12 1/8ins), framed (64.5 x 74.6 cm), verso with framer's label 'The Rowley Gallery Ltd., Kensington', and ink manuscript 'Pic ISL1' and '015', and 4 others similar: 3 oil on canvas landscapes, (unstretched and unframed), one oil on board depicting a pair of white egrets (title label on verso 'Two Cranes'), unframed, each 49 x 58cm and smallerQty: (8)Footnote: Rabley Willow in Hertfordshire was the home that Douglas and Kathleen moved to when their first son was born, to escape the noise and polluted air of London (A Slender Reputation p.183). The three additional landscapes depict: Kerry - inlet with rocks, trees and mountains; Lake and hills, Kenmark Estuary, Kerry; Rocky seashore, Kenmark Estuary, Kerry. On page 247 of A Slender Reputation the artist mentions a family holiday to Sneem, a village on the coast of County Kerry near Rossdohan Island, taken sometime during the late 1940s. She describes the "trees hung with bright green moss, ... immense boulders encrusted with orange, grey, white and black lichen ...".
Lot 38
Callot (Jacques, 1592-1635). La Carrière de Nancy (also known as Rue Neuve de Nancy), circa 1630, etching on laid paper, a very good, atmospheric impression of the first state (of two), before Israël Silvestre’s address, with thread margin or trimmed on the platemark at bottom, otherwise trimmed to the borderline, laid down at the sheet edges to a paper support, a small defect at upper left corner, a small repaired area at upper centre (generally in good condition), sheet size 16.6 x 51 cm (6 1/2 x 20 ins), together with Le Parterre de Nancy (Jardin de Nancy), circa 1630, etching, a delicate impression of the second (final) state, with Israël Silvestre’s address, with wide margins, laid down at the sheet edges to a paper support, in good condition, plate size 26 x 39 cm (10 1/4 x 15 3/8 ins), sheet size 31 x 44.2 cm (12 1/8 x 17 3/8 ins)Qty: (2)Footnote: Literature: Lieure 589 and 566 respectively.
Lot 39
Callot (Jacques, 1592-1635). Le Défilé à Pied, & Le Combat (from Le Combat à la Barrière), 1627, etchings on laid paper with watermark of a lion with a star (Lieure 39), both very good impressions, Le Défilé à Pied the first state of two, with the faulty biting in the curtain at right, Le Combat only state, Le Défilé à Pied with a small margin at top, otherwise trimmed on the platemark, in good condition, a small area of minor thinning and a couple of nicks at the upper sheet edge, Le Combat with a thread margin at top, otherwise trimmed on the platemark, thinning at the upper sheet corners, the extreme right corner tip lost, sheet sizes 15.5 x 24.5 cm (6 1/8 x 9 5/8 ins) and 15.1 x 24.2 (6 x 9 1/2 ins) respectivelyQty: (2)Footnote: Literature: Lieure 583 and 584.
Lot 41
Callot (Jacques, 1592-1635). Le Martyre de St. Sébastien, circa 1631-33, etching on laid paper, a fine impression of the first state (of two), before Israël Silvestre’s address, trimmed to the subject, in good condition, two vertical printer’s creases (inherent to production), a very faint area of discolouration upper right, laid to the support sheet at the upper and lower sheet edges, sheet size 16.2 x 32.5 cm (6 3/8 x 12 3/4 ins)Qty: (1)Footnote: Literature: Lieure 670.
Lot 43
Callot (Jacques, 1592-1635). Frontispiece, & Le Mendiant à la Jambe de Bois (from Les Gueux), circa 1623, etchings, strong, black impressions of the first states (of two), together with La Noblesse de Lorraine, 1620-23, six etchings, fine, strong impressions (Lieure 551, the first state of two, the rest only states), plus Le Bossu à la Canne, & Le Joueur de Cornemuse (from Varie Figure Gobbi), 1616-1622, very good impressions, Le Bossu second (final) state, Le Joueur de Cornemuse first state (of two), both trimmed to the subject, largest sheet 14.3 x 9.2 cm (5 5/8 x 3 5/8 ins), smallest sheet 6.6 x 7.7 cm (2 5/8 x 3 ins), together with 18th century copies of Les Gobbis (16 plates on 3 sheets, cf. Lieure 279, 407, 409, 411-414, 416, 417, 419), three further copies of Lieure 479, and two in reverse after Lieure 387 and 401 (in total 6 etched copies)Qty: (16)Footnote: Literature: Lieure 479 and 493 (Les Gueux); 549, 550, 551, 553, 554, 556 (La Noblesse de Lorraine); 409, 424 (Varie Figure Gobbi).
Lot 5
Attributed to Stefano della Bella (1610-1664). Fantasia di Animali, fine pen and brown ink on laid paper, depicting griffins guarding a martial cartouche, a hunting dog chasing a hare on the first tier; two eagles supporting a banner with a Roman trophy on the second tier; and two chained dogs, a dog eating grapes and a Roman trophy, lined with laid paper with a pen and ink border in brown and rose ink, with an indistinct watermark, sheet size 12.2 x 20.4 cm (4 3/4 x 8 ins) framed and glazed (39 x 31.3 cm)Qty: (1)Footnote: Provenance: Unidentified owner (partial printed collector's mark of intertwined initials LL or LZ within a black oval, not in Lugt); Weschler's Auctioneers, Washington DC, where purchased in 1972 for $80.We are grateful to Dr Peter Fuhring of the Fondation Custodia, Frits Lugt Collection for pointing out that all the different elements of the drawing are inspired by three etchings from the series of 16 by Stefano della Bella, Ornamenti et fregi e fogliami, published in Paris shortly after 1647 (see A. de Vesme and P. Massar, Stefano della Bella, Catalogue Raisonné, New York, 1971, numbers 990, 992, and 995). The drawings are in the same direction as the etchings.
Lot 55
Leyden (Lucas van, 1494-1533). Christ before Annas, & The Flagellation (from The Passion), 1521, two engravings on laid paper, good impressions of the first state (of three), the former trimmed to the subject at left and right, fractionally within at top and bottom, the latter with a large armorial watermark, trimmed to the borderline, in good condition, the left corner tip re-attached, some minor paper crinkling (mainly verso) due to removal of adhesive, both with a short printer’s crease at the upper sheet edge; together with Esther before Ahasuerus, 1518, engraving, a later impression of the third (final) state, with watermark of a shield with Basel crozier, trimmed on the borderline, in very good condition, plus The Virgin and Child in a Niche, circa 1518, engraving, New Hollstein's later (B) impression, with thread margins or trimmed on the platemark, in good condition, and St. Luke, circa 1518, engraving on laid paper, a clear but slightly later impression, with thread margins, in good condition, largest sheet size 27.3 x 22.3 cm (10 3/4 x 8 3/4 ins), smallest sheet size 11.2 x 7.6 cm (4 3/8 x 3 ins)Qty: (5)Footnote: Literature: New Hollstein 31 (Esther before Ahasuerus); 46 and 48 (Christ before Annas, & The Flagellation); 81 (The Virgin and Child in a Niche) and 102 (St. Luke).
Lot 61
Piranesi (Giovanni Battista, 1720-1778). The Sawhorse (plate XII from Carceri d'Invenzione), 1749, etching, engraving, sulphur tint and scratching, a fine, rich impression of the fifth state (of six), on laid paper with an Auvergne watermark (Robison 78, dated 1800-1809), the usual central, vertical drying fold, in very good condition, small, inconspicuous brown stain lower centre, with good margins, plate size 41.4 x 55.5 cm (16 1/4 x 21 3/4 ins), sheet 52.5 x 78.5 cm (20 3/4 x 30 7/8 ins), in a fine gilded frame by Guido of Boston (77 x 91 cm)Qty: (1)Footnote: Literature: Robison 38.This work, first etched lightly in 1749, is one of sixteen plates published by Piranesi himself for the second edition (1761-1778), which he re-worked in darker, more detailed states, more fitting to the atmosphere of dark and cavernous prisons. This impression is in the fifth state (of six), after the artist's final round of re-work and with the addition of the letter 'C' in front of Piranesi's signature, and is from the first Paris edition (1800-1809).
Lot 62
Piranesi (Giovanni Battista, 1720-1778). The Grand Piazza (plate IV from Carceri d'Invenzione), 1749, from the second edition published by the artist, fourth issue, through early printings of the fifth edition, mid 1770s, etching, engraving, sulphur tint and burnishing, a fine, rich impression of the fifth state (of six), on laid paper, the usual central, vertical drying fold, with margins, the usual horizontal drying fold, in good condition, a horizontal crease in the lower margin, a few pale stains in the lower and right margins, plate 54.5 x 41.2 cm. (29 1/2 x 16 1/4 ins), sheet 75 x 52.4 cm (29 1/4 x 20 5/8 ins.), in a Guido of Boston gilded frame (88 x 72 cm)Qty: (1)Footnote: Literature: Robison 31.This work, first etched in 1749, is one of sixteen plates published by Piranesi himself for the second edition, 1761-1778, which he re-worked in darker, more detailed states, more fitting to the atmosphere of dark and cavernous prisons. The first edition, 1749-1760, had been published by Giovanni Bourchard as fourteen prints in lighter, more sketchy and airy states. This print is in the fifth state (of six), after the artist's final round of re-work, but before the addition of the number in Arabic numerals in the upper right corner of later printings.
Lot 63
Piranesi (Giovanni Battista, 1720-1788). Ara antica sopra la quale si facevano anticamente i sagrifizi, con altre ruine all'intorno, 1743, etching on laid paper, a very good,, rich impression of the second (final) state, with number and legend, published by Bouchard, Rome, 1750, with margins, generally in good condition, the paper folded at left and right, plate size 24.5 x 34.5 cm (9 5/8 x 13 1/2 ins), sheet size 38.4 x 53.8 cm (15 1/8 x 21 1/8 ins), framed (48 x 58 cm), together with Tempio antico inventato e disegnato alla maniera di quelli che si fabbricavano in onore della Dea Vesta, two impressions, the first a fine impression of the first state (of two), before numbers and legend, published by Pagliarini, Rome, 1743, with margins, some discolouration, small losses and holes at the corners and margins due to old stitching, plate size 40 x 25.8 cm (15 3/4 x 10.1/8 ins), sheet size 43.2 x 29.5 cm (17 1/8 x 11 5/8 ins), framed (64.5 x 49.5 cm), the second a very good impression of an intermediate state with the legend but without the number, published by Bouchard, Rome, 1750, on laid paper, with margins, in good condition, some pale discolouration, a pale stain in the left and lower margins, some surface dirt, some nicks at the right sheet edge, plate size 40.4 x 26.2 cm (15 7/8 x 10 1/4 ins) sheet size 53.8 x 42.5 cm. (21 1/4 x 42.5 ins), framed (64.5 x 49.5 cm) Qty: (3)Footnote: Literature: Focillon 16, 17; Wilton-Ely 19, 36.These etchings are from Prima Parte di Architetture e Prospettive (1743). Originally published as a set of twelve, with titlepage, by Pagliarini in Rome, in 1743, and subsequently as a set of sixteen in Opere Varie by Bouchard, Rome, in 1750.
Lot 69
Piranesi (Giovanni Battista, 1720-1788). The Ponte Lucano, with the Tomb of the Plautii (from Vedute di Roma), 1763, etching, a fine, richly inked impression of the first state (of four), with the artist's Roman address and price of 'paoli due e mezzo', with margins, the usual central vertical fold, a small repaired spot along the fold inconspicuously touched in with pen and black ink, plate size 44.5 x 65.7 cm (17 1/2 x 25 3/4 ins), sheet size 53.2 x 76.2 cm (20 7/8 x 30 ins), framed (71 x 89 cm) Qty: (1)Footnote: Literature: Hind 68.
Lot 71
Rembrandt (Harmensz. van Rijn, 1606 – 1669). Woman bathing her feet at a brook, 1658, etching and drypoint, a fine impression of New Hollstein’s first state (of two), before the scratches at upper centre, with inky plate edges, with small to narrow margins, in good condition apart from the lower left corner made up (slightly affecting the subject), a further small made-up area to the upper left corner with associated minor staining to the sheet, a few nicks to the extreme sheet edges, a couple of tiny thinned spots, remnants of previous hinging to upper corners verso, plate size 16.1 by 8.1 cm (6 1/4 by 3 1/8 ins), sheet size 16.6 by 8.7 cm (6 1/2 by 3 3/8 ins), framed (33.5 x 23.5 cm)Qty: (1)Footnote: Provenance: Bibliothek der Akademie der Bildenden Künste, Vienna, with their stamp to verso (Lugt 2575); Sotheby’s London, 30 June 2021, lot 79.Literature: Bartsch, Hollstein 200; New Hollstein 309; Hind 298.
Lot 72
Rembrandt (Harmensz. van Rijn, 1606 – 1669). Male Nude, Seated and Standing ('Het Rolwagentje'), circa 1646, etching and drypoint on paper with a Strasbourg Lily watermark (Hinterding G. c.), a very good impression of New Hollstein’s first state (of eight), with some slipped printing most evident in the lower left corner, with small margins, a few repaired areas towards the corners and at centre of the right sheet edge (mostly visible verso), a few further tiny repairs to sheet edges, pale mottled fox marks, a soft crease at the lower right corner, plate size 19.5 x 13 cm (7 5/8 x 5 1/8 ins), sheet size 25 x 13.8 cm (8 x 5 3/8 ins)Qty: (1)Footnote: ProvenanceL Private Collection, Austria; Sotheby’s London, Old Master Prints, 30 June 2021, lot 81.Literature: Bartsch, Hollstein 194; New Hollstein 233, i/viii; Hind 222.
Lot 78
Attributed to J.H. Gillespie (1793-circa 1838). Portrait miniatures of a lady and gentleman, circa 1820, 2 head and shoulder portraits in monochrome watercolour and gouache on card, the first profile to right depicting a lady with short dark curls, wearing a high-waisted black gown with muslin neckline and frilled collar, a brooch and drop earrings, and an elaborate hat with gathers and sequins, hat highlighted with touches of silver, 71 x 63mm (3 x 2.5 ins), the other profile to left depicting a grey-haired gentleman wearing a black gown over a black coat, and white bands, 75 x 60mm (3 x 2.5ins), matching cream satin-lined red morocco oval cases (90 x 75 mm), first item loose in case with loss of interior velvet rim and glassQty: (2)Footnote: Thought to be by the portrait miniature and silhouette painter J.H. Gillespie. He produced work in a number of different styles, in a range of prices, from plain silhouettes to profiles in watercolour, including monochrome portraits such as these which he advertised as: ‘Likenesses, with the features neatly shaded on Black grounds, in imitation of Copper-Plate busts’.
Lot 168
4th Northamptonshire Regiment first pattern cap badge circa 1908-15. Good scarce die-stamped white metal 4TH BATTALION scroll over Castle and Key on SOUTH AFRICA 1900-02 scroll, resting in laurel sprays bearing brass NORTHAMPTONSHIRE scroll. Loops. GC HQ in Northampton. 15th August, 1915 landed at Suvla Bay. PAYMENT BY BANK TRANSFER ONLY
Lot 103
A Victorian soup tureen, liner and cover The Barnards, London 1845, of baluster bombe form, applied cast acanthus, floral and C-scroll decoration throughout, with a centrally applied marital Armorials of Campbell and Bannerman, the scroll handles with applied similar decoration, raised on four foliate bold scroll feet, the pull-off lid with an interlooped handle numbered 2, with a plain liner, loop handles(Height: 35cm, weight: 201.8oz)Footnote: Heraldry Arms: (on the dexter) Quarterly 1st and 4th Gyronny of eight or and sable (for Campbell) 2nd and 3rd Argent a lymphad her sails furled and oars in action all sable flag and pennants flying gules (for Lorn) (on the sinister) Gules a banner displayed bendwise argent thereon a canton azure charged with a St Andrew’s Cross of the second (for Bannerman) Crest: A boar’s head couped or (for Campbell) Motto: Ne oblivis caris [Do not forget] (for Campbell) At the time of the manufacture of this tureen, Sir James bore these arms without authority, the arms being those of Campbell, Duke of Argyll. In order to correct this heraldic anomaly, he matriculated arms twice at the Court of the Lord Lyon, firstly on the 2nd September 1859 [Lyon Register – Volume 6, folio 15] and secondly on the 5th January 1869 [Lyon Register – Volume 8, folio 18]. Both these matriculations recognised Sir James in the territorial designation of ‘Campbell of Stracathro’. Note: The Victorian era epitomised social mobility. The wealth rapidly generated by individuals created new personal legacies and this was displayed through their charitable donations as well as their domestic settings, which were most often on a grandiose scale. The scale of this soup tureen in what would have been the latest fashion is a clear demonstration of success and wealth. The owner, Sir James Campbell was born into humble origins in 1790, but elevated his status as rose through the social ranks in classic Victorian fashion. Having been apprenticed to McLachlan & McKeand, who managed warehouse facilities in Glasgow, Campbell learnt his craft quickly and at the age of 20 started a clothier business with Matthew Paterson. Eventually, with his brothers, they formed J & W Campbell & co. which also retailed in drapery and dry goods. The success of his business ventures led to the post of Lord Provost of the City of Glasgow between 1840-43. He settled in Glasgow first at Kelvinside House, and then at Bath Street with his wife, who he married in 1822, where they had six children. Campbell’s investments in his work and personal life led to him becoming a well-respected member of society and his efforts were rewarded in 1843 when he was invited to St. James’s Palace to receive the accolade Knight Bachelor from Queen Victoria. In the space of one generation, the Campbell family had elevated their social status and this continued even further with the next generation; Campbell’s second son born 1836, Henry Campbell- Bannerman, became the First Lord of the treasury and Prime Minister of the Liberal Party in 1899-1905. In order to showcase newfound success overt displays of wealth were fashionable and what better way to do so than choose one of the most established silversmiths in London. The Barnard’s would become one of the great dynasties of British silver, able to trace their roots back to 1680 with Anthony Nelme, some of the most prominent silversmiths have been linked to the business over the years including Thomas Whipham, Thomas Chawner and the Emes silver dynasty. By 1910 the firm was converted into a limited liability company and in 1977 became a subsidiary of Padgett & Braham Ltd. (Pg29 The Directory & Silversmiths… John Culme’). Famous for reproducing iconic museum specimens such as The Warwick vase, the copy itself is now in the collections of the Victoria & Albert (2013,8016.1.a-b), the company was able to attract wealthy clients with their pre-manufactured wares, which in turn led to bespoke commissions. Pre-made casts and dies form part of the comprehensive archive which also includes corporate, financial and staff records; purchase, order, letter, stock and pattern books, all of which can now be found in the Victoria & Albert archives (reference: AAD5-1988, AAD7-1989.) While the Barnards produced a wide range of silver from small christening cups, table and tea wares their real skill can best be seen with the commissions requested from their clients. Their relationship with their clients can clearly be seen in their attention to detail, Lot 469 from The Ballyedmond Collection at Sotheby’s auction house on the 23rd May 2017, ‘A Soup Tureen of 1827’ has an impressive horse finial, achieving £7500 and lot 87 from a Bonham’s Silver auction on the 12th November 2014, A pair of Tureens with the finials modelled as wheatsheaves, plough harrow, barrow and a basket which made £31,250, indicate individual commissions with specific requests. By the time of the production of this soup tureen the firm had settled at Angel Street, St. Martin’s-le-Grand, right in the City of London off Cheapside. With members of staff skilled at casting, engraving and forging, the factory would have been a hive of activity. A personalised aspect of the tureen is the armorial fashioned by John Campbell it directly mirrors that of the Duke of Argyll. At the time of the manufacture of this tureen, Campbell bore these arms without authority, the arms being those of Campbell, Duke of Argyll. In order to correct this heraldic anomaly, he matriculated arms twice at the Court of the Lord Lyon, firstly on the 2nd September 1859 [Lyon Register – Volume 6, folio 15] and secondly on the 5th January 1869 [Lyon Register – Volume 8, folio 18]. Both these matriculations recognised Sir James in the territorial designation of ‘Campbell of Stracathro’. Campbell’s aspirations were never out of reach and two years after the commission of the tureens in 1847 the Campbell’s moved to an impressive estate in Stracathro. "Country Houses of Scotland," by John Connachan-Holmes, describes Stracathro "amongst the first rank of neo-classical architecture" and would have been a fitting home for such an impressive piece of silverware.
Lot 130
The Anson Service -An important George II serving dish Paul de Lamerie, London 1747, of scalloped oval outline with cast gadrooned border and foliate detail at intervals, armorial engraved to the raised rim, engraved to reverse, scratch weight, 22=10(Diameter: 28cm, weight: 20.3oz)Footnote: Provenance: Presumed Christie's 8th May 1893 auction Reputed to have been a gift to a member of staff at Fordell House in Fife Thence by descent Heraldry: Arms: Quarterly 1st and 4th Argent three bends engrailed gules in the sinister chief a crescent of the last (for Anson) 2nd and 3rd Sable a bend or between three spear heads argent (for Carrier) Motto: Nil desperandum [Never despair] Supporters: (Dexter) A sea-horse (Sinister) A sea-lion both proper and each gorged with a collar double gemel or the arms are ensigned with a baron’s coronet of rank. Note: George Anson (1697-1762), 1st Baron Anson, the famous Admiral who circumnavigated the globe in four years and captured Spanish Treasure to the value of approximately half a million pounds, and later elevated to Baron Anson of Soberton, from 1751 till his death in 1762 he was First Lord of the Admiralty. This serving dish forms part of a much larger service which included tureens, plates and inkstands, named the ‘Anson Service’, which would have been specifically commissioned and built up over a period of time. Crafted by one of the most regarded silversmiths of the day Paul de Lamerie, this serving plate forms part of an important part of the history of early 18th Century silver. George Anson was regarded as the Father of the British Navy and was key at introducing reform and even introduced the structure of naval uniforms. Participating in significant battles such as the Austrian Succession and the Seven Years War, his efforts closer to home Anson prevented a French invasion on British shores in 1759. Further afield, by 1760, he had assisted in capturing Canada, Senegal and Guadeloupe from the French. Anson’s most celebrated victory was the 1843 capture of a Spanish treasure ship sailing from Manila to Acapulco with a cargo of nearly half a million pounds, and it has been reputed that there were 2,600,000 Pieces of Eight, 150,000 ounces of plate, 10 bars of Gold, and a large quantity of gold and silver dust aboard. The treasure was so vast that it was paraded through the streets of London on the way to the King in thirty-two wagons. Following his three-year circumnavigation of the globe concluding in London in June 1744 and the successes of his naval pursuits he was elevated to the peerage as Baron Anson of Soberton. To mark this occasion, he invested his wealth in the family estate at Shugborough in Staffordshire and his home Moor Park in Hertfordshire adding further silverware to the collection. In fact, this plate hallmarked in 1747 matches the date of his elevation to Baron and emphasises the importance of silver to Georgian society. The epitome of Georgian wealth Anson is captured in portraits by Thomas Hudson and, currently in the National Portrait Gallery, a portrait after Joshua Reynolds. Anson died without issue and the house being regarded of National importance was laterally entrusted to the National Trust. Parts from the service can still be found in their collection at Shugborough, including a pair of salvers (NT 1271250.1 and .2) and a meat plate (NT 1271293). The Victoria and Albert Museum also display an inkstand as part of the Gilbert Collection (LOAN:GILBERT.664:1-2008) These examples and more were all crafted by Paul de Lamerie, who was an obvious early 18th-Century choice to produce the finest silverware. De Lamerie was born in the Netherlands to Huguenot parents, but the family fled religious persecution on the continent and settled in England. He became a freeman of the Goldsmith's Company, London and registered his hallmark in 1712. The continental and in particular French influence of the Roccoco style was to heavily inspire his work especially from the 1730s and he became perhaps the finest designer and maker working in this style. He was regarded as one of the most famous silversmiths of his age due to his craftsmanship and this was aided his business acumen. With most work based on commissions, these important connections helped his reputation, becoming known as the King’s silversmith for the numerous commissions for the Royal Households. Other key clients included Catherine the Great, who commission a wine cistern of 1726, still housed in the Hermitage, (pg 77, Paul de Lamerie, At the Sign of the Golden Ball, An Exhibition of the Work of England's Master Silversmith) and the Walpole salver for Robert Walpole. A remarkably finely engraved salver with the design of the Second Exchequer Seal of George I, housed at the Victoria and Albert Museum (M.9-1956). Although working mainly on commissions, his shop based at 40 Gerrard Street from 1738 stocked further delights for the eye to behold. The majority of the Anson service was sold at auction on the 8th May in 1893 by Christie’s and is rarely at auction, but when it appears it still attracts much interest. In 2010, Sotheby’s offered a piece from the service, which had appeared in the 1893 auction, lot 195, ‘A snuffer’s tray’ which achieved USD$50,000, other appearances of the Anson Service include the 2012 Christies sale of the ‘Property from the Estate of Benjamin F. Edwards II’ where a pair of sauceboats, lot 2591 achieved USD$43,750 In 2008, as part of The Chen Collection, Lyon & Turnbull sold ‘A pair of George II silver circular serving dishes’ (lot 197, 23rd November 2008, The Chen Collection), which had formed part of the Anson service, for £26,250 (inc. premium).
Lot 142
A Military Presentation 9ct gold vesta and cigarette case - 5th Battalion Yorkshire Regiment Sampson Mordan & Co Ltd, Chester 1909, the cigarette case of rounded square outline, the vesta case of circular outline, each engraved with monogram and banner of the regiment 1907-1910 to one side and crest and motto engraved above italic initials ELPE(Length: 8cm, weight: 89g)Footnote: Eric Lea Priestly Edwards (1877-1914) Killed in action at the beginning of the First World War at the First Battle Aisne in 1914, Edwards was a professional military serviceman and dedicated his life to the army. His military service defined his character, and it is fitting that he was presented with such a rewarding gift. Educated at Harrow and The Royal Military College, Sandhurst, Edwards then joined the East Yorkshire Regiment and remained there throughout his career. The Yorkshire Regiment also known as Alexandra Princess of Wales’s own regiment, was formed in 1875. During the Army reforms of 1881, the regiment’s title changed to The Princess of Wales's Own and following Alexandra’s coronation as Queen Consort to King Edward VII in 1902, its title changed again, becoming Alexandra, Princess of Wales's Own (Yorkshire Regiment). A celebrated Regiment, in total the East Yorkshire Regiment was awarded 1,125 British medals and 94 foreign awards and received 397 mentions in dispatches during the First World War; the presentation of this cigarette case is a reference to his contribution to his regiments successes; and his medal card, held within the National Archive at Kew, reveals his short but notable career Early on in his career Edwards served as Captain and it would appear that he was an Officer with various battalions, in August 21st 1908 he is mentioned in the London Gazette ‘5th Battalion, Yorkshire Regiment; Captain Eric Lea Priestley Edwards, The East Yorkshire Regiment, from the Adjutancy of the 2nd Volunteer Battalion, The East Yorkshire Regiment, to be Adjutant for the residue unexpired of his tenure. Dated 1st April 1908.’ Prior to this he served on the Indian Frontier between 1897 and 1898 during the Tirah expedition, attempting to control the Khyber Pass and manage the rebelling tribes of the region with the First Battalion. At the beginning of the First World War Edwards joined the British Expeditionary Force. At the time, it was assumed that any future conflict with Germany would be at sea and that Britain’s part in defeating Germany would be through a naval blockade. Before the First World War Britain’s regular Army was just under 250,000 men and most of them were scattered around the Empire. Consequently, the BEF combined battalions to form what was thought was a contingency only needed for a six-month war. The Battle of Aisne lasted only two nights, the 13th to the 15th September, and Edwards lost his life only five weeks into the war. The vesta and cigarette case are engraved 1907-1910, presumably for the contribution made to the battalion. Remembered by this presentation gift, he is also remembered on the Le Fert-sou-Jouarre Memorial outside of Paris.
Lot 88
RAILWAY INTEREST - A late Victorian presentation silver-mounted oak tray Hammond, Creake & Co, Sheffield 1893, of oval outline, inset to the centre with an oval plaque with engraved presentation inscription, '...to Mr. J. J. MURRAY/ ...by/ A FEW FRIENDS AND EMPLOYEES/ OF THE/ NORTH EASTERN RAILWAY COMPANY/ MARCH 1894', with a raised gallery border with ball spacers, the handles of scroll form, raised on four silver ball feet(Width: 59cm)Footnote: John James Murray was born in Shildon in County Durham in 1850. By the 1890s Murray was employed at Darlington Railway Works working in various posts and eventually settled in South Shields as their locomotive Department Engineer. The railway industry boom of the 1840s connected British towns, and between 1845-1900 around £3 billion was spent on building the railways for business development as well as travel pursuits. It is clear to see that Murray's contributions to the railway industry were well received and rewarded with this tray. During the First World War, Murray's regiment merged with the Australian Corps and was presented a Military Cross for his efforts.
Lot 101
Blundell Guitars Double-cut Custom electric guitar in need of restoration; Body: natural solid birds eye maple, various imperfections; Neck: neck through with clean break at the heel end in need of repair; Fretboard: rosewood, visible wear to first position; Frets: generally good; Electrics: in need of assessment, Schaller pickups installed; Hardware: generally good, Grover tuners and Gibson harmonica bridge installed; Overall condition: in need of repair *Blundell was a guitar maker based in Manchester in the early 1980s before he went on to teach guitar making at Edinburgh University. The serial number would suggest that this was his third production instrument
Lot 116
1970 Framus Texan M electro-acoustic guitar; Back and sides: laminated mahogany back, solid mahogany sides, various scratches; Top: mahogany, minor dings; Neck: maple; Fretboard: rosewood, wear to first position; Frets: wear to first position; Electrics: working; Hardware: generally good; Case: fitted hard case; Weight: 2.22kg; Overall condition: fair
Lot 23
2004 Fender American Standard Stratocaster electric guitar, made in USA, ser. no Z4xxxx4; Finish: three-tone sunburst, heavy wear to body contour edge, further large blemishes and dings; Neck: maple; Fretboard: rosewood, wear to first position; Frets: good; Electrics: working; Hardware: good; Case: original hard case and tags; Weight: 3.68 kg; Overall condition: fair
Lot 238
2006 Fender Lite Ash Stratocaster electric guitar, made in Korea, ser. no. 06xxxx5; Body: natural finish, ding to top otherwise good; Neck: maple; Fretboard: maple; Frets: minor wear to first position; Electrics: working; Hardware: good; Case: RockBag gig bag; Weight: 3.35kg; Overall condition: good
Lot 30
1961 Gibson Melody Maker electric guitar, made in USA, ser. no. 1xxx4; Body: sunburst finish, checking, dings and scars; Neck: various blemishes and lacquer loss; Fretboard: rosewood; Frets: indent wear to the first position; Electrics: working; Hardware: replacement Schaller tuners, later chrome compensated stop bar; Case: period hard case in tired condition; Weight: 2.77kg; Overall condition: fair *Sold with non transferable CITES A10 certificate no. 612599/01
Lot 31
Gibson Dove acoustic guitar, made in USA, circa 1969, ser. no. 8xxxx0; Back and sides: cherry finish maple, lacquer checking and other marks; Top: natural spruce, restorations to correct bellying made evident from enforcement plates under the lower bouts and bridge and the additional pearl dot inlay to the bridge concealing screw heads, deep scratch to centre of lower bout, lacquer checking and further dings; Neck: lacquer checking, finish wear to first position, BGN stamp to back of head; Fretboard: rosewood, heavy wear to first position; Frets: indent wear to first position, minor wear throughout; Hardware: good; Case: original hard case: Weight: 2.62kg; Overall condition: fair *The 'BGN' stamped to the back of the head was a factory stamp used to designate the guitar as a 'bargain' due to a cosmetic flaw in the manufacturing process. These guitars were not released for public sale and instead made available to the Gibson employees *Sold with non transferable CITES A10 certificate no. 612152/01
Lot 321
2008 Gibson J-160E acoustic guitar, made in USA, ser. no. 0xxxxx8; Back and sides: brown finish mahogany, small professionally repaired crack to the back, carried out by Mansons Guitar Shop (repair invoice included); Top: sunburst finish; Neck: good; Fretboard: rosewood; Frets: minor indent wear to first position, otherwise good; Electrics: working; Hardware: good; Case: original hard case with tags; Weight: 2.53kg; Overall condition: good
Lot 360
Antoria Pro-Star electric guitar, made in Japan; Body: sunburst finish, scuffs and blemishes; Neck: bolt-on, dings and marks, small section of binding repaired to the edge of the first fret; Fretboard: rosewood; Frets: good; Electrics: working; Hardware: good; Case: hard case; Weight: 4.06kg; Overall condition: fair
Lot 46
1961 Hofner Colorama electric guitar, made in Germany, ser. no. 502; Body: red refinish; Neck: maple, refinish; Fretboard: rosewood, wear to first position; Frets: minor wear; Electrics: working; Hardware: various damages to pickguard, lower E tuner button replaced; Case: period correct fibreboard case; Weight: 3.39kg; Overall condition: fair
Lot 507
Queen - 'A Day at the Races' original ink and fine airbrushed artwork for the album front cover, including the original penned linework on tracing paper; also the original airbrushed artwork for the credits panel for the album reverse, each piece bearing the original mount pin holes to the corners (3) *All three pieces illustrated by David Costa for 'A Day at the Races? in 1976, following his work on the 1975 album 'A Night at the Opera'. The original concept was imagined by Freddie Mercury / Queen with this being the final result that became the album cover An incredibly rare piece of original fine artwork that became the iconic cover for Queen's fifth studio album 'A Day at the Races', released on 10th December 1976, the band's first completely self-produced album gaining platinum and gold certification globally ** The David Costa Collection
Lot 73
1992 Guild X-500 electric hollow body guitar, made in USA, ser. no. JBxxxxx7; Body: blonde finish; Neck: good, minor lacquer imperfection behind the first fret; Fretboard: ebony; Frets: good although oxidised throughout and require cleaning; Electrics: working; Hardware: generally good, minor loss to gold plating in places, minor tarnishing to pickup edges, tuners with heavier oxidisation and tarnishing including plate loss; Case: original hard case; Weight: 3.77kg; Overall condition: good
Lot 84
Charvel/Jackson 550CE electro-acoustic guitar, made in Korea; Back and sides: mahogany, minor scuffs; Top: natural spruce; Neck: minor dings; Fretboard: rosewood, wear to first position; Frets: indent wear to first position; Electrics: working, however intermittent due to oxidisation on the battery contact which will require cleaning; Hardware: missing low E tuner button and requires replacement; Overall condition: fair
Lot 9
1961 C.F. Martin 00-21 acoustic guitar, made in USA, ser. no. 1xxxx7; Back and sides: rosewood, minor clouding to lacquer; Top: natural spruce; Neck: mahogany, minor wear to thumb resting first position; Fretboard: rosewood; Frets: good; Hardware: good; Case: later hard case; Weight: 1.73kg; Overall condition: good *Sold with non transferable CITES A10 certificate no. 612032/01
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