A group of glass replicas of historic diamonds including the Koh-i-noor in its former and current state Europe, first half of the 20th centurycomprising two boxed sets, the first with fifteen glass diamonds with embossed metal labels, the second with three glass diamonds with card labels; and a further box demonstrating the nine stages of cutting down a diamond, each glass stone with metal stand the largest case 38 x 10.2 x 9.2 cm.(3)Footnotes:ProvenanceFormerly in the Elan Garini Collection, New York.For another example of a replica of the Koh-i-noor diamond see Davinder Toor, In Pursuit of Empire, Treasures from the Toor Collection of Sikh Art, pp. 234-5.The first box contains replicas of The Shah, Pasha of Egypt, Orloff, Piggot, Polar Star, Sancy, Florentine, Grand-Mogul, Kohinoor (old cut), Nassak, Blue Diamond (Hope), Kohinoor (newcut), Jubilee, Regent and South-Star; the second Cullinan, Cullinan II and Cullinan I.For further information on this lot please visit Bonhams.com
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Four illuminated Qur'an leaves Persia, Herat, circa 1550Arabic manuscript on paper, four leaves mounted together in one frame, 15 lines to each page, first, eighth and fifteenth lines written in thuluth script in gold, remainder of text in smaller naskhi script in black ink with diacritics and vowel points in black and red, gold and blue roundels between verses, naskhi text bordered by illuminated cusped vertical devices within side panels, inner margins ruled in blue and gold, catchwords in outer margins of two leaves each leaf 320 x 222 mm.; frame 113 x 95 cm.Footnotes:Text(upper left) Sura XI, Hud, The prophet Hud, bismallah, verse 1 to part of verse 10.(upper right) Sura VII, al-A'raf, The Heights, part of verse 184 to part of verse 194.(lower left) Sura VII, al-A'raf, The Heights, part of verse 143 to part of verse 150.(lower right) Sura VII, al-A'raf, The Heights, part of verse 164 to part of verse 172.Compare with an illuminated Qur'an, Herat, Afghanistan, 16th Century, in the British Library (MS 13087), with the area allotted to the text partitioned within a rectangular framework to enable the use of a number of scripts, and with similar illumination (see John Reeve (ed.), Sacred: Books of the Three Faiths: Judaism, Christianity, Islam, London 2007, p. 113 & colour illustration).For a bifolium from the same manuscript, see Christie's South Kensington, Arts and Textiles of the Islamic and Indian Worlds, 28th April 2017, lot 42. The format of this bifolium, with its three lines in gold and its panels of naskhi flanked by cusped vertical devices, is strikingly similar to that of a complete Qur'an, copied in Herat by Muhammad ibn Mirak, and dated AH 965/AD 1558, sold at Christie's, Islamic Art and Manuscripts, 29th April 2003, lot 18. There is another Qur'an, ascribed to Herat or Tabriz, circa 1525-50, written in a very similar if not identical hand, and with identical verse-markers, in the Nasser D. Khalili Collection (see D. James, After Timur: Qur'ans of the 15th and 16th Centuries, London 1992, pp. 128-135, no. 35).Important Notice to BuyersSome countries e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of Iranian-origin works. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) origin. It is each buyer's responsibility to ensure that they do not bid or import a lot in contravention of the sanctions or trade embargoes that apply to them.Lot to be sold without reserve.This lot is subject to the following lot symbols: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
An extremely rare and fine example of the Order of the Propitious Star of the Punjab (Kaukab-i-Iqbal-i-Punjab), INSTITUTED BY MAHARAJA RANJIT SINGH, SECOND CLASS, AWARDED BY THE SIKH COURT TO IMPORTANT COURTIERS, DIPLOMATS OR ENVOYS Lahore, dated [VS] 1894/AD 1837in the form of a radiating star in gold, in the centre a circular portrait of Maharajah Ranjit Singh seated on a chair holding a flower, in gouache and gold on paper under glass, the radiating arms consisting of five broad arms ending in a crescent shape and each inlaid with free-formed sectional tablecut diamonds, these interspersed with five narrower curved arms each inlaid with a principal tablecut diamond and tipped with a brilliant green cabochon emerald, the upper broad arm with small gold suspension loop below a gilded and enamelled bell- or parasol-shaped suspension, topped by a larger gold suspension ring, the reverse with a central roundel containing three lines of Punjabi text in nasta'liq script and the date in gold on a green ground, the broad arms with stylised floral motifs in gold on a green ground, the narrow arms cross-hatched in red enamel, in modern fitted case 9.4 cm. high overall; width 5.2 cm.; painting 20 mm. diam.; weight 57.8g.Footnotes:ProvenanceWith Spink & Son Ltd., London, 1965 (see below).Private collection, USA, acquired from Spink in 1965.Private collection, UK. PublishedSpink & Son Ltd., Numismatic Circular, 73 (September 1965), no. 5442 (illustrated).The inscription on the reverse reads:sri maharajah dehraj maharajah ranjit singh bahadur sat sri akal sahai 1894. 'Sri Maharajah Dehraj Maharajah Ranjit Singh Bahadur, may the Eternal Lord help him, [VS] 1894'.The date is Vikram Samwat 1894, which is equivalent to AD 1837.It is suggested in some sources that this Order, the Propitious Star of the Punjab (Kaukab-i-Iqbal-i-Punjab), was instituted in commemoration of the marriage of Ranjit Singh's grandson, Nau Nihal Singh. What is clear, however, is that in a more general sense, Ranjit Singh had become fascinated by the idea of European medals and orders, as a result of the well-known profusion of British and French officers and other figures at Lahore and in the Punjab more widely. Sir Henry Fane's medals had attracted the Maharajah's curiosity when he arrived at the court in 1837 for the marriage of Nau Nihal Singh (quoted in S. Stronge (ed.), The Arts of the Sikh Kingdoms, London 1999, p.229). General Allard, the French General in Ranjit Singh's service, also wore the Legion d'Honneur (instituted by Napoleon). In some accounts it was Fane who then suggested that medals be introduced at court. Other sources say that it was Captain C. M. Wade, Political Agent at Lodhiana, who developed the rules for granting the awards. But it was decided to make three fixed awards - the highest for Princes, the second class (as seen in our example) for 'relatives and brotherhood' of the Maharajah and the third for high dignitaries, colonels, and those providing honourable service. These would be differentiated by the quality of the stones: respectively, diamonds, diamonds and emeralds, or emeralds only. The recipient of our Order is unknown but its quality is of that intended for presentation to courtiers, sardars, governors of provinces, General officers, diplomats and envoys (see T. McClenaghan, Indian Princely Medals: a Record of the Orders, Decorations and Medals of the Indian Princely States, pp. 11-18; also discussed in Maharaja Ranjit Singh: First Death Centenary Memorial, Amritsar 1939, pp. 94-96).The portrait depicts Maharajah Ranjit Singh holding a flower, seated in one of the characteristic European-style chairs often seen in Sikh portraits (and here with the distinctive loop in the arm where it meets the backrest, as noted by Toor (for a painting of circa 1830-32 depicting Ranjit Singh with Hira Singh, in a similar pose and in such a chair, see D. Toor, In Pursuit of Empire: Treasures from the Toor Collection of Sikh Art, London 2018, pp. 80-81; see also another in the Kapany Collection, illustrated in S. Stronge, op. cit., p. 74, fig. 79). The present depiction seems to be unique amongst the known Orders (for which see below) in portraying the Maharajah full-length.Examples of these orders are very rare. A very similar medal, of the second class, which was presented to Lord Auckland in 1838, is now in the Sheesh Mahal Museum and Medal Gallery in Patiala (illustrated in S. Stronge (ed.), op. cit., p. 82, fig. 90). This has floral decoration on the reverse rather than an inscription.Another, of the third class, said to have been formerly owned by Duleep Singh, and which was sold at Christie's in 1981, is in the Victoria and Albert Museum (inv.no.IS.92-1981; illustrated in J. Guy, D. Swallow (edd.), Arts of India: 1550-1900, London 1990, p. 191, fig. 166).Two, of the third class, presented to the Political Agent General Henry Charles van Corlandt, are also in the Sheesh Mahal Gallery, Patiala.One, presented to Sir Frederick Currie, Bt. (1798-1875), who drew up the peace treaty after the First Anglo-Sikh War, appeared at Christie's, Islamic Art, Indian Miniatures, Rugs and Carpets, 28th & 30th April 1992, lot 138 (illustrated in the catalogue), and now in the collection of Gurshuran and Elvira Sidhu, San Francisco: illustrated in S. Stronge, op. cit., p. 187, fig. 215; see also note, p. 230). This had a miniature portrait in a more European style, after Emily Eden's portrayal), had fish and floral motifs on the reverse, and was lacking the bell and suspension loops.Another, one of a group of medals and swords presented to Colonel Sir Claude Martine Wade (1794-1861), was offered at Christie's, Art of the Islamic and Indian Worlds, 28th October 2020, lot 86, also dated VS 189[4]/AD 1838, but with the painting defaced or damaged, and with a cream and red ribbon.For further information on this lot please visit Bonhams.com
Muhammad Baqir Majlisi (d. 1110/1699), Miqbas al-Masabih, a text on prayers to be recited after daily prayers, copied for a certain Muhammad Quli Bikazadeh, by Muhammad Ibrahim Qumi, the well-known Safavid calligrapher, and formerly in the library of the Qajar Prince Farhad Mirza (1818-1888) Persia, dated Ramadan 1104/May-June 1693Arabic and Persian manuscript on paper, 84 leaves, 11 lines to the page written in naskhi script in black ink within cloudbands on a gold ground, gold roundels marking verse-endings, inner margins ruled in colours and gold, occasional significant words in red, one illuminated frontispiece in colours and gold, with floral illumination to the borders of ff. 1v-2r probably added in the 19th Century, catchwords and marginal commentaries outlined within gold cartouches, Qajar lacquer binding with a pattern of gold strapwork superimposed on a ground of finer scrolling vegetal motifs, cloth covers 181 x 115 mm.Footnotes:As this copy was made during the life of Majlisi, it may be one of the earliest recorded copies of this text. The patron, Muhammad Quli Bikazadeh (or his father), have not been identified. The colophon reads: The Miqbas al-masabih was copied by the order of the one close to the monarch, Muhammad Quli Bikazadeh, the beloved son of 'Abbas Quli Bikazadeh by Muhammad Ibrahim al-Qumi in Ramadan 1104 (May-June 1693).The design on the binding is similar to that on a mid-19th Century bookcover in the Khalili Collection: see N. D. Khalili, B. W. Robinson, T. Stanley, Lacquer of the Islamic Lands: Part Two, London 1997, p. 197, no. 420.Hand-written notes record that the manuscript was in the library of Prince Farhad Mirza in Sha'ban 1293/August-September 1876 and then in that of his son, Ihtisham al-Dawlah after AH 1306/AD 1888-89.These various ownership notes in the front flyleaves are as follows in detail:A. 'In turn, it entered (my library) and I am the sinner servant (of God), Farhad son of the Crown Prince - may his grave be fragrant - in the honoured month of Sha'ban 1293 (August-September 1876)'.Farhad Mirza (1818-1888) was the 15th son of 'Abbas Mirza Na'ib al-Saltanah and younger brother of Muhammad Shah. He is referred to as a Qajar Prince, Governor and bibliophile as well as a fine writer of the Persian language, with an excellent knowledge of Arabic. His love of collecting Persian and Arabic manuscripts is well-known and his library was considered as one of the best private libraries in Persia. His library was scattered after his death. For more on his political life and his achievements see M. Bamdad, op. cit., vol. iii, Tehran 1966, pp. 86-92; and Encyclopaedia Iranica (http://www.iranicaonline.org/articles/farhad-mirza-motamad-al-dawla).B. 'In turn, it entered (my library) after my father's turn [...] and I am the servant of God, 'Abd al-'Ali Mirza Ihtisham al-Dawlah son of Farhad Mirza Mu'tamidal-Dawlah son of [...] Nayib al-Saltanah, the Crown Prince, 'Abbas Mirza - may their graves be fragrant. The oval seal impression reads 'Ihtisham al-Dawlah 1306 (1888-89).''Abd al-'Ali Ihtisham al-Dawlah (Ihtisham al-Mulk & Mu'tamid al-Dawlah) was the second son of Farhad Mirza. He received the title Ihtisham al-Dawlah after his father's death when his brother Uways Mirza received his father's title Mu'tamid al-Dawlah and 'Abd al-'Ali that of his brother's Ihisham al-Dawlah in AH 1305/AD 1887-88. He was Governor of Khamsah and Zanjan. He is first described as a young educated man and a poet but later on Bamdad comments: 'Despite being a literate and educated prince, he was self-satisfied, silly, undignified and a gambler'. (M. Bamdad, op. cit., vol. 2, Tehran, 1966, pp. 270-273).C. 'It is the hand of the deceased Aqa Ibrahim Qumi- may his grave be fragrant, there are eighty-four folios'.Muhammad Ibrahim Qumi was a calligrapher and illuminator of the Safavid period. Not much is known about him, though he is recorded as the teacher of Ahmad Nayrizi. The colophons of his works indicate that he copied a manuscript for Shah Sulayman. His recorded work, which includes manuscripts and lacquer illumination, is dated between AH 1070-1118/AD 1657-1706. See M. Bayani, Ahval va athar-e khawshnavisan, vol. 3, Tehran, 1348sh, pp. 625-626 and vol. 4, 1358 sh, pp. 127-129.Important Notice to BuyersSome countries e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of Iranian-origin works. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) origin. It is each buyer's responsibility to ensure that they do not bid or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: • R• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.R This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
A double-sided page depicting a Persian nobleman wearing an elaborate late Safavid turban, from a dispersed album of Deccani rulers and noblemen Deccan, Golconda, circa 1680gouache and gold on paper, laid down on an album page with gilt-decorated floral borders, numbered 62 or 68 at top; verso, Gujari ragini, depicting a female musician seated in a palace garden, Deccan, late 17th-18th Century, with a single line of Persian text in nasta'liq above and below, inner and outer gilt-decorated floral borders, the page laid down on a later separate sheet paintings 197 x 118 mm., 160 x 117 mm.; album page 335 x 215 mm.Footnotes:Another folio from this album, with the same illuminated borders, is in the British Museum (1920,0917,0.69), dated to the early 18th Century. Zebrowski observes that 'it was the custom at Golconda for painters of modest talent to produce albums of Deccani and Mughal notables for sale in the bazaar to European and other foreign travellers' (M. Zebrowski, Deccani Painting, London 1983, p. 194). We might also compare in connection with both our painting and the British Museum example, two folios in the Los Angeles County Museum of Art (M. 81.8.9, and M. 87.20.1), of circa 1690: the first a Mughal-influenced portrait with the same light green background and flowers at the subject's feet; and an oval portrait in the same style and that of the British Museum. (See P. Pal, Indian Painting: a catalogue of the Los Angeles County Museum of Art Collection, Los Angeles 1993, vol. I, pp. 348-351, nos. 110 and 111.The nasta'liq script verso is a demonstration of how to join letters of the alphabet to others, and is not related to the painting.For further information on this lot please visit Bonhams.com
Nikhil Biswas (Indian, 1930-1966)Two works: Untitled (Horse and Carriage); Untitled (Cityscape) both signed lower right and lower left respectively, the second dated indistinctly first dated '62, the second dated ink and wash on paper37.7 x 27.5cm (14 13/16 x 10 13/16in).and slightly smaller(2)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Maqbool Fida Husain (Indian, 1915-2011)Untitled (Horse) signed upper leftoil on canvas120.5 x 120cm (47 7/16 x 47 1/4in).Executed in the early 1980sFootnotes:ProvenancePrivate Indian Collection: presented by the artist to the singer, Mohammed Rafi. Thence by descent.Private Dubai Collection: acquired from the above by the owner in 2015.Born in Maharashtra, India in 1915, Maqbool Fida Husain's initial interest in art was piqued through his study of calligraphy at a Madrasa, and his interest was further developed during his studies at the Sir J J School of Art. He honed his skills in the 1930s painting posters for the Bollywood industry whilst also painting landscapes in Gujarat. As a founding member of the 1947 Progressive Artists Group, formed after the partition of India, he sought to create a new movement in art that was in direct opposition to the nationalistic rhetoric espoused by the Bengal School.He held numerous exhibitions over his career, notably his first solo exhibition in Zurich in 1952, at India House in New York in 1964 and the São Paulo Biennale in Brazil in 1971.Over a career that straddled decades, he employed his modified Cubist style to depict themes and topics that include the Ramayana, Mother Teresa, the Mahabharata, the British Raj and motifs of Indian urban and rural life.He was the recipient of multiple awards, some of which include honorary doctorates from the universities of Benares, Mysore and Jamia Millia, the Padma Shri in 1955, the Padma Bhushan in 1973, the Padma Vishushan in 1989 and the Aditya Vikram Birla Kala Shikhar Award for lifetime achievement in 1997.The horse has been one of the key elements in the artist's oeuvre over the course of his career, and is here portrayed with a gaping mouth and wide staring eyes. The crazed animal has been executed in opposing colours exemplifying its vigour and strength. 'Like his bulls, spiders and lamps on women's thighs, boastful snakes and blackly passionate suns, Husain's horses are subterranean creatures. Their nature is not intellectualized; it is rendered as sensation or as abstract movement, with a capacity to stir up vague premonitions and passions, in a mixture of ritualistic fear and exultant anguish.' (R. Bartholomew and S. Kapur, Husain, New York, 1972, p. 42)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Sadequain: The Holy SinnerKarachi : Mohatta Palace Museum in collaboration with Unilever Pakistan, 2003. 46.5 x 28.5cm (18 5/16 x 11 1/4in).Edition of 1200; in slip caseFootnotes:Sadequain: The Holy Sinner was published to accompany a retrospective held in 2002-2003 that featured over two hundred of Sadequain's non-calligraphic works. It reflected the artist's existential preoccupations with human suffering underpinned by his famous notion of 'mystic figuration.' This catalogue is a first edition and was part of the numbered first edition of 1200 catalogues that were published for the exhibition.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Maqbool Fida Husain (Indian, 1915-2011)Untitled (Possibly a scene from the Mahabharata, depicting Vyasa) signed lower rightacrylic on canvas91.5 x 122cm (36 x 48 1/16in).Footnotes:ProvenancePrivate Indian Collection: acquired by the owner in Dubai from the artist in 2006. ExhibitedTimeless Treasures: A Collection of Modern and Contemporary Masters from across the region, Online Exhibition, Singapore Art Week, 22nd-30th January 2021Husain's first works depicting the Mahabharata were done for the Sao Paulo Biennale, held in September 1971, and it was in the catalogue for the Biennale, that he quoted K.M.Munshi, the distinguished scholar of Indian philosophy and epics, regarding the significance of the poem: 'The Mahabharata is not a mere epic; it is a romance, telling the tale of heroic men and women and of some who were divine; it is a whole literature in itself, containing a code of life, a philosophy of social and ethical thought on human problems that is hard to rival.' (K. Bikram Singh, Maqbool Fida Husain, New Delhi, 2008, p. 142)The present lot, painted in 2005, appears to have been inspired from the incidents or stories of the Mahabharata, with the depiction of Vyasa, its compiler, seated in the top right corner and two warriors aiming their bow and arrows at the horse. Husain continued to depict the epic in various forms for the remainder of his career. The Mahabharata appealed to him given its moral and emotional complexity, which encompassed the perennial human emotions of ambition, greed, love, violence, heroism, vengeance, and deceit.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Syed Haider Raza (Indian, 1922-2016)Germination signed and dated '98 lower centre, signed and dated 1998 verso with titleacrylic on canvas120 x 120cm (47 1/4 x 47 1/4in).Footnotes:ProvenancePrivate French Collection: acquired directly from the artist. Private Dubai Collection: acquired by the vendor from Auctionata in 2013. Raza was a founding member of the Progressive Artists Group formed in Bombay, alongside M.F. Husain, F.N. Souza, K.H. Ara and H.A. Gade, in 1947. They advocated the rejection of the style pioneered by the Bengal school of Art, which married folk styles and Hindu imagery and instead focussed on synthesizing the influences from Indian art history along with the various styles that emerged in North America and Europe during the first half of the 20th Century that included Cubism, Expressionism and Post-Impressionism.By the 1970s Raza grew increasingly restless with his work and wanted to give it a new direction. It was during this period that he was captivated by the Tantric traditions, philosophy, and art of his homeland. The confluence of these influences led to the invention of the bindu or beej in his work which would be a key motif that would be repeated in the works he created thereafter. Beej, which means 'seed,' symbolises the bearer of life or the source of space, time and consciousness in Indian philosophy. This black dot or beej, became the epicentre of the canvas and gave birth to other geometric forms such as horizontal and vertical lines, squares and downward and upward triangles that signified the complementary forces of male (purush) and female (prakriti) energy for instance. His fascination with spirituality and nature were reflected through his symbolic shapes as well as the use of colour. Raza stated: 'There was a state of emptiness. I stopped painting for a while. I tried to look within instead of looking around. It was a complex and very difficult period when everything seemed dark and empty. But I continued. I followed my states, my intuitions. And from this blank space emerged a black point. The black point grew and grew and became a black circle. I stared. I found there was a horizontal line hardly perceptible and yes, there was a vertical line too. A certain electric charge came which engendered energy. The condition of the subway became clearer and slowly colours started appearing. White then yellow, blue and red. It was obvious that along with the initial black, this would form the colour spectrum' (G. Sen, Bindu: Space and Time in Raza's Vision 1997, p. 107)The present lot dating from 1998 incorporates all the geometric and aesthetic elements that defined his marked shift from expressionistic landscape to becoming a master of geometric abstraction. Black symbolises the black hole where everything ends and from where everything emerges. 'Forms emerge from darkness. Their presence is perceptible from obscurity. They become relevant if their energy is orientated, through vision, into form orchestration. For these certain prerequisites are indispensable.' (G. Sen, Bindu: Space and Time in Raza's Vision, 1997, p. 107)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A GROUP OF BEATRIX POTTER RELATED PLATES, LAMP, ETC, comprising two Beswick plaques Jemima Puddle-duck with Foxy Whiskered Gentleman (first Edition) and Peter Rabbit (2nd Edition) both BP3, diameter 19.5cm, a Wedgwood Peter Rabbit lamp, height 14cm (not including fitting) with shade, a boxed Frederick Warne & Co musical figure group depicting two rabbits under umbrella to the tune of We Wish you a Merry Christmas, height approximately 17cm, a Masons Tom Kitten soap dish and three boxed Royal Doulton plates, two depicting Jemima Puddleduck and Foxy Whiskered Gentleman diameters 17cm and 20cm and Tabitha Twitchit diameter 20.5cm (8) (Condition report:- all appear ok, shade to lamp faded and lamp not tested)
Bobby Moore Signed West Ham Football Programme: From the Remfry family who were stadium announcers and commentators. Home programme dated 16 3 1974 which the first West Ham match he wasn’t a West Ham player for the first time in 20 years. Bobby came back after signing two days earlier for Fulham to say goodbye to his friends and colleagues.
George Bests Own Original Painting By Jack Kershaw: Commissioned by George Best for his new home Che Sera. This painting later notouriosly ended up in Bests first club Slack Alices night club. One night George Best threw a glass of wine at the painting: The marks are still visible on the painting. Incredibly large painting with great history for collection only.
Manchester United Dawn Football Covers: 2 relating to the Premiership win in 2003 and a further 2 relating to the Treble win in 1999. C/W a special 1999 World Club Championship cover hand stamped in Toyko when United became the first British Club to win the trophy. All the covers are hand signed by Alex Ferguson the legendary Manchester United manager. (5)
West Ham Home Football Programmes 50/51 - 65/66: First team matches must be around 80% complete with the benefit of some friendlies and Practice Matches. Please note all programmes appear to have an ex tape mark to left hand spine making me believe they may have been previously in a scrap book. Some hard to find programmes amongst this lot plus and original 62/63 binder without lid. Quantity in poor condition.
Maurice Setters 1956 Army Match Football Memorabilia: Quality medal in original case presented to West Brom player Maurice for participating in the Kentish Cup between the Belgium and England Army. A competition first played in 1921 named after Brigadier General RJ Kentish. Duncan Edwards also played in this match. C/W blazer badge which is expensively embroidered entitled Army Football Assoc. There are two press photos one of Setters receiving his Army blazer from the West Brom chairman and another of the Army team group. (4)
Panini Football 1993 Manchester United Signed Football Stickers: Man Utd won the Premiership in 1993 for the first time in 26 years. 10 Stickers individually signed by Denis Irwin, Bryan Robson, Paul Parker, Steve Bruce, Lee Sharpe, Brian McClair, Mark Hughes, Gary Pallister, Andrei Kanchelskis and Clayton Blackmore.
George Best Press Photo With Jaguar: Georgies love for the Jag is famous but we believe this is the first time this photo here pictured with Mike Summerbee in a white E-Type has surfaced. Found in the Maurice Setters Collection with press stamp to rear measuring around 12 x 8 inches. Tiny tear.
Mint Condition Old Football Autobiography Books: Never have you seen mainly original first editions that look like they have just been printed. Includes Roy Paul Walley Barnes Gil Merrick Harold Shepherdson George Young Trevor Ford John Charles Bert Trautmann Harry Johnson Ronnie Allen Tommy Lawton Raich Carter Don Revie Frank Swift Alan Ball and many more. (2 large boxes)
1999 Manchester United League Title Signed FDCs: Hand stamped In Manchester on 16 5 1999. United clinched the league title in their famous treble season. 18 covers individually signed by Phil Neville, Wes Brown, David May, Raymond Van Der Gow, Johnathan Greening, Peter Schmeichel, Denis Irwin, Jaap Stam, Ronny Johnsen, Nicky Butt, Ryan Giggs, Jesper Blomqvist, Andy Cole, Dwight Yorke, Teddy Sheringham, Ole Gunnar Solskjaer, Roy Keane and Paul Scholes. First day covers are for the match v Tottenham the day they clinched the title. (18)
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596772 item(s)/page