Pre-Columbian, West Mexico, Michoacan, ca. 100 BCE. A fascinating figural polychrome sculpture depicting a musician seated on a round base displaying several intriguing features. First, the figure is either wearing an antler-headdress or his/her head is morphing into that of a deer. Second, the figure has a curved cylindrical form emerging from its abdominal region and connecting to the round base; this may be interpreted as either an umbilical cord or a phallus. Size: 2" L x 3.95" W x 4.55" H (5.1 cm x 10 cm x 11.6 cm)The figure's head is a rich red; he/she wears matching conical earrings, and presents an expressive visage as he/she holds a white-painted horn/wind instrument with a flared end to his/her lips, seeming to play with abandon. How to interpret this figure? The antler headdress or half-human/half-animal shape of the head suggests a shaman; if the cylinder is a phallus, then that is often linked in Mesoamerican artwork to a state of religious ecstasy brought on by the use of drugs. Deer hunting is often associated with marriage, and deer symbolism also has a sexual connotation in Mesoamerica. Of course without a record from the sculptor of this piece, it is very difficult to definitively interpret this ancient sculpture. What do you think? Provenance: Ex-Triffo Collection, acquired in the 1970s Condition: The left side (facing) of the head has been repaired and repainted. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #119631
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Pre-Columbian, El Salvador/Guatemala/Honduras, Mayan Copador, ca 550 to 950 CE. A polychrome ceremonial cylinder with overall slip in orange, red, black, and cream hues, the exterior decorated with two panels depicting seated casiques or shaman elaborately adorned with magnificent headdresses, face paint or tattoos, necklaces, and bracelets, with hunchbacks signifying their sacred status. Between these panels are vertical bands of hieroglyphic text, above and below are registers of stylized glyphs. Size: 5" W x 7.5" H (12.7 cm x 19 cm)This large cylinder was most likely a cocoa cup. Did you know that chocolate was first cultivated by the Ancient Mayans? Perhaps odd to us, the way they consumed it was not like the sweet treats we know today. They preferred to imbibe thick, bitter, frothy chocolate drinks served cold. Imagine this vessel filled with such a beverage! Provenance: Ex-Private LA County collection acquired in the 1980's Condition: Repaired from about five pieces with some visible breaklines and losses as shown. Surface wear with abrasions and pigment loss. Nice areas of manganese deposits. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #119015
Pre-Columbian, Ecuador, Valdivian people, Earliest Horizon, ca. 2300 to 2000 BCE. An abstract human figure in the shape of a horn or long canine tooth, with the figure's features string cut and drilled out of a white chalky stone. The figure has a triangular face and long arms that come to hands meeting at the stomach; above the hands is a drilled hole that may represent the navel. Comes with custom stand. Size: 1.1" W x 4.4" H (2.8 cm x 11.2 cm)The Valdivian culture is the first in Ecuador that began to depict representations of the body. In this new phase in ancient Ecuadorian society, status and different occupations for individuals suddenly became important to show artistically - suggesting that this was the period when their culture began to stratify and become culturally complex, with individuals in the society having specialized roles like shaman. This fantastic figure stands on its own as a work of art but also reminds us of exciting developments in a long-lost world. Provenance: Ex-Private New York Collection, ex southwest collection Condition: Small chip from back top of head; small chip from one side near arms; some gentle surface weathering. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #119545
Pre-Columbian, Bolivia, Tiahuanaco (Tiwanaku), Middle Horizon, ca. 800 to 1100 CE. A wonderful basalt carving of a stylized feline - probably a puma based on similar ones from Tiahuanaco - colored with cinnabar and decorated with incised lines and small round seed-bead-like turquoise insets on its chest and nostrils. The puma stands with his head up, mouth slightly open, with canine teeth clearly carved out. The ears are back and the tail is flat along the back. Size: 5.9" L x 2.3" W x 4.8" H (15 cm x 5.8 cm x 12.2 cm)Tiahuanaco stone carving is often like this, with densely ornate incised designs. This is a style associated with the Middle Horizon in the Andes, a fascinating time period of new urban capitals in the highlands of Peru (the Huari/Wari) and near Lake Titicaca in Bolivia (Tiahuanaco). As the cities grew, this iconography spread. It was first documented by archaeologists at Tiahuanaco (and called Coast Tiahuanaco and Epigonal), but because that city seems to have been the center of a vast empire, the artistic style has since been found far and wide and is more accurately called the SAIS (Southern Andean Iconographic Series). This style is repeated on architectural features, small stone carvings like this puma, pottery, and textiles throughout the Tiahuanaco region of influence, which extended far south from the city into the Atacama of modern day Chile. Part of the definition of empire is the replication of social ideas through material culture (like this stone figure) that spreads from the center to the hinterlands. The reason for spreading this material culture was not just to build an economy in trade objects, but also to share ideas about how the empire would be run, and specifically, who held power. The feline image was used throughout pre-Columbian Mesoamerica, Central America, and South America as a stand in for a deity/ruler who was intimidating, powerful, and could be violent if they chose to be. It also reminds the viewer of the supernatural power of the ruler, by linking them to the supernatural power of an anthropomorphic feline. Particularly in Andean iconography, the feline is also associated with other animals believed to have supernatural powers, the snake and the llama, who are clearly seen in the incised designs on this puma's flanks. This object would have been a symbol of power for the elite rulers of a vast and, to us, who have no written record of it, mysterious empire. Provenance: ex-San Rafael Auction Gallery Condition: Excellent with expected surface wear All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #119386
Magna Graecia, Southern Italy, Apulia, Virginia Exhibition Painter, ca. 330 to 300 BCE. A masterful Apulian red-figure amphora attributed to A.D. Trendall’s Virginia Exhibition Painter, the vase of a grand scale, presenting an elegant, sinuous form with intriguing iconography (see extended description below) and extensive decoration, all finely delineated in red-figure technique with additional fugitive white, yellow, and beige pigments. An exceptional and important work displaying superb artistry and technique. Size: 14.75" in diameter x 39" H (37.5 cm x 99.1 cm)Virtually no ancient Greek paintings have survived the tests of time. This makes the painted compositions found on ceramic vessels like this example invaluable sources of information about ancient Greek visual art. Refined vases like this amphora were not merely utilitarian pottery, but rather works of art in their own right, highly prized throughout the classical world. Red figure pieces in particular allowed for the development of more naturalistic imagery than black figure examples. This innovative technique involved creating figures by outlining them in the natural red of the vase, making it possible for the painter to then enrich the figural forms with black lines to suggest volume, perspectival depth, and movement, bringing those silhouettes and their environs to life. Beyond this, fugitive pigments made it possible for the artist to create additional layers of interest and detail.Side A of this amphora features a pair of warriors sheltered by an ionic naiskos, one on horseback wielding a spear, his horse's right front leg lifted to mirror his own attack gesture targeted at his opponent who counters with his weapon and shield. Above this dramatic depiction of the pair of rivals, on the shoulder of the vase, is a female bust emerging from a blossom, a signature of the Virginia Exhibition Painter as well as the elite White Sakkos Painter. The Virginia Exhibition Painter also included floral elements beneath the warriors as well as a pair of plume-like elements beside the rider's torso, perhaps elements of his helmet and/or armor. This compares to another Apulian artist's (the Ganymede Painter's) penchant for adding iconography beyond the figures under the naiskos. On the obverse is a pair of draped standing youths facing one another, perhaps mourners of whomever did not survive the rivalry depicted on Side A, one leaning upon a staff or walking stick, with a distinct maker's mark between their heads. In addition to the figural imagery are the extensive decorative elements which are quite characteristic of the Virginia Exhibition Painter's known oeuvre. Note the ivy leaf motif beneath the rim created via fugitive white and creamy beige pigments, the black fan palmettes and white vertical rays on the neck painted just above the female bust who emerges from a blooming, foliated blossom with elaborate spiraled tendrils on the shoulder, this underscored by a tongue pattern, all in red-figure with fugitive white and yellow. Adorning the central naiskos scene are ivy leaf vines flanking the ionic columns as well as registers of dotted, scrolled, linear, and wave motifs below the scenes and continuing around the circumference of the vessel. Finally, beneath the elegant twin handles are large, double, red-figure palmettes.A remarkable vase of the so-called Ornate Style by the Virginia Exhibition Painter of a grand scale, decorated in an elaborate manner with intriguing scenes and figures as well as a great deal of subsidiary ornament in added colors. For a comparable example at Royal Athena Galleries listed at $125,000, follow this link: http://www.masterart.com/Greek-the-Virginia-Exhibition-Painter-330-300-Apulian-large-red-figured-amphora-the-Virginia-Exhibition-Painter-PortalDefault.aspx?tabid=53&dealerID=361&objectID=502940Trendall named this artist the Virginia Exhibition Painter, because five of his vases which came from the same tomb were first featured in an exhibition of South Italic vases at the Virginia Museum of Fine Arts in 1982, and a few were published in the accompanying catalogue - M. E. Mayo and K. Hamma, "The Art of South Italy: Vases from Magna Graecia" (Richmond 1982). Cf. especially the naiskos scene on p. 179. No. 73, and the woman on the shoulder of no. 76 (p. 185), the latter also a neck-amphora. Provenance: Ex-Royal Athena Gallery, NYC, NY. Condition: Handles reattached. Drilled hole beneath one handle for thermoluminescence testing. Surface wear with expected scratches, pigment losses, and mineral deposits commensurate with age. Small chip on right column of naiskos. Painting still quite vivid and impressive. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #118744
China, ca. early 20th century CE. A stunning Chinese brooch comprised of an intricately carved translucent white jade central composition depicting a pair of fish swimming amidst waves and seaweed, set within a fine silver filagree and colorful (blues, purples, and white) floral cloisonne frame. Even the verso is gorgeous; here one can appreciate the technique and artistry of the metalwork as well as the intricately incised details of the fish. In addition, one can see a small rectangular plaque engraved with the word "SILVER" on the verso. Size: 2.375" W x 1.5" H (6 cm x 3.8 cm)Cloisonné first developed in China during the early fourteenth to fifteenth century. The earliest dated Chinese cloisonné was created during the reign of the Ming Xuande emperor (1426 to 1435). This said, records of cloisonné also appeared during the previous Yuan dynasty, and scholars have suggested that at that time the technique was introduced to China via the western province of Yunnan which was under Mongol rule and received an inflow of Islamic people. . Provenance: Ex-Sarkisian Gallery, Denver, CO Condition: Two tiny cloisons missing. Expected bit of tarnish to silver. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #118275
Ancient Egypt, Naqada II, ca. 3500 BCE. A Nile silt mud molded ovoid jar with a short neck, a slight rolled rim, and a rounded base. A light layer of silicate deposits cover the exterior. This is a compact form often seen in stone vessels, and may be a pottery imitation of a more precious vessel. Size: 3.5" W x 4.1" H (8.9 cm x 10.4 cm) This culture inhabited ancient Egypt in the pre-Dynastic period, and were first described by famous archaeologist William Flinders Petrie, but relatively little is known about them except that they were focused around the site of El-Amra in central Egypt, west of the Nile. This pot is made from Nile silt and benefited from the new kilning techniques the Egyptians invented during this period, which have been described by the British Museum from their excavation at Hierakonpolis. Provenance: Ex-Private NY Collection Condition: Surface spall marked, as shown, otherwise intact. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #119350
Ancient Egypt, Late Period, ca. 600 to 332 BCE. This is a small, hard, grey stone representation of the Pschent, the double crown worn by rulers of Egypt, also known as the sekhemti, the Two Powerful Ones. Size: 3" L x 2.45" W x 5.45" H (7.6 cm x 6.2 cm x 13.8 cm)It combines the Red Deshret Crown of Lower Egypt and the White Hedget Crown of Upper Egypt under one ruler. It bears a small bronze cobra, the uraeus, with incised details on its body, but there is no vulture head or second cobra, which would give us a better indication of the age of this piece. We know about the Pschent from the Palermo Stone, a year-by-year record of Egyptian kings compiled in the Fifth Dynasty, giving us evidence that the Pschent has existed since the middle of the First Dynasty. This particular example of the very ancient symbol - an enduring piece of iconography in ancient Egypt - was probably placed atop a statue, perhaps one of a god like Horus, who was often depicted wearing this crown. Provenance: Ex-French collection, purchased in the late 1980s. Condition: Small chips to and around the base; cobra has dark patina but details are clear. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #119785
Africa, Democratic Republic of the Congo, Bakongo peoples, ca. 19th century CE. This hand-carved wood power figure, called a nkisi nkondi, is carved in the likeness of a human being which symbolizes its purpose, as each nkisi nkondi has traditionally been of service in human affairs. Wrapped in cloth, innumerable nails have been driven into the form over time. Each nail represents an occasion when two or more parties met to come to an agreement, make peace, settle an argument, investigate or solve a problem that had troubled villagers. Size: 5" W x 10.5" H (12.7 cm x 26.7 cm)Power figures like this have traditionally been used during judicial procedures of the Kongo peoples. In addition to settling legal disputes, nkisi nkondi have traditionally been used to protect a village, demonstrate innocence or guilt, heal the ill, and put an end to disasters. The types of nails or blades used reflects the kind of agreement made or the severity of the offense.Beyond this, Nkisi Nkondi derive their spiritual powers from the medicinal powers deposited in cavities, either the stomach or the head of such figures. In this example those powdery substances are visible through a translucent face of the protruding round cavity over the abdominal region. The Bakongo peoples believe in the deity Ne Kongo who presented the first sacred medicine (or nkisi) from the celestial realm in an earthenware vessel that he carefully placed upon three termite mounds or stones. Nkisi generally translates as "spirit" and manifests in a container of sacred medicines or substances that are thought to be catalyzed by the supernatural when summoned into the earthly world. Oftentimes an nkisi manifests as a modest bundle; however, carved wooden figures like this marvelous example are more impressive visual manifestations.This particular example is quite dramatic. The visage is quite expressive peering out from deep eye sockets which represent the "other world" where spirits of the deceased reside and a slightly opened mouth, suggesting prayer or chanting. Said spirits are thought to peer through the eyes and identify enemies and guilty parties. Provenance: Ex-Private Pasadena, CA collection acquired before 1970 Condition: Surface wear and encrustations commensurate with age and use. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #118630
Ancient Near East, Ur, dated to year 2 of King Amar-Suen of Ur III, 2046 to 2038 BCE. A fired clay biscuit tablet carved with a reed instrument when soft and then fired to preserve the text. It is an administrative tablet noting the issue of sheep; it records the disbursement of sheep and goats to the kitchen. Size: 1.25" W x 1.1" H (3.2 cm x 2.8 cm)Many related tablets involving the same official Abba-shaga are known. "11 ewes, 6 lambs, 5 goats: Unfit for work (?). Disbursed by Abbashaga on day 3. Month VIII, year (named:) -King Amar-Suen destroyed Urbilum- (Total 22 animals recorded)". 11 total lines of Sumerian cuneiform. These cuneiform tablets are some of the roughly 2 million known from this culture; of these, between 30,000 and 100,000 have been translated. Cuneiform tablets seem to have been used mainly as a way of tabulating economic concerns. Although it might be more romantic to imagine that these tablets discussed the doings of kings and gods, from a historical standpoint, it is much more interesting to learn about the daily transactions of humanity's first great urban center. Provenance: Ex Chess Collection, New York City and then by descent to his son and then to Mr. S. Oron, E 87th Street, NYC. Condition: Complete and intact. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #119374
Ancient Greece, Athens, ca. 510 to 500 BCE. A graceful Attic, lekythos of an elegant form. This slender vessel, used to store precious olive oil or perfume, is finely decorated in black-figure technique, the central register depicting a rider in a chariot with three charioteers who are preparing two horses for a race or ride, this band on a red ground, the shoulder, neck, and lower bands on a white ground. Above is a border featuring a checkerboard pattern, and a ray band pattern adorns the shoulder. Size: 2.25" in diameter x 7.125" H (5.7 cm x 18.1 cm)Athens excelled in ceramics from the first half of the sixth century BCE, and its creations outnumbered those of all other artistic centers in the ancient world. Greek pottery became synonymous with Attic ware, the pottery created in the region around Athens, as it was regarded as the most beautiful and the most 'modern', and thus, the most widely exported. Artists used the black-figure vase painting technique, applying figural and ornamental motifs with a slip that turned black during the firing process; however the background remained the inherent color of the clay. As we see in this example, vase painters articulated individual forms by incising the slip. Sometimes additional white (and sometimes purple) slip details were added. The form of representation was still somewhat Archaic, with heads and bodies shown in strict profile; however, this example begins to demonstrate an interest in three-dimensional modelling of the figures and conveying movement and the illusion of depth. Provenance: Ex-Cathcart Collection Condition: Repaired with visible breaklines, pigment loss, and abrasions as shown. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #119081
West Africa, Mali, Bankoni style, ca. 12th to 16th century CE. A wonderful abstract figure with an elongated, expressive form with massive long legs and smallish upper body. The head is in an upward position and the large hands are bent at the elbows facing upward. The figure is holding something against his shoulder that has been pierced, perhaps for attaching a ring or feathers. Comes with custom stand. Size: 4.25" W x 14.8" H (10.8 cm x 37.6 cm)Bankoni figures are named for the first place they were discovered, a village close to Bamako. They are some of the oldest known representative figures from the Western Sudan region, and were found buried in ritual mounds. The huge bracelets and anklets presumably relate to a style of clothing that was worn by people during this little-studied time. Provenance: Ex Private New York Estate Condition: Repair to torso; expected age wear All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #119357
Rome, Imperial Period, ca. 193 to 217 CE. A small, well-struck silver denarius of Julia Domna, Empress and wife of Emperor Septimius Severus; she was famous for her learning and her political influence. She is shown in a right-facing bust, with an impressively-detailed hairstyle; on the obverse shows Laetitia standing. Size: 0.95" W (2.4 cm)The denarius was a small silver coin first minted during the Second Punic War ca. 211 BCE. This was the most common coin in production in the Roman Empire, and its history, like much ancient coinage, is one of slow debasement in weight and silver content and attempts to reset it. Its legacy lives on in the words dinar, denaro, dinheiro, and dinero. Provenance: Ex-London art market, 1990s Condition: VF All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #119589
Ancient Near East, Luristan, ca. 1000 BCE. A large, well-formed cast bronze sword presenting a long, straight blade with a broad, flat ridge; it ends in a short, sharp point. The handle has a crescent-shaped guard and a thin handle with multiple areas for inlays - probably comprised of precious metals like gold or silver, but possibly of cut gemstones. A larger open area atop the hilt may have had an inlay as well. Size of sword: 18.75" L x 2.6" W (47.6 cm x 6.6 cm); size on stand: 14.75" L x 3" W x 14.45" H (37.5 cm x 7.6 cm x 36.7 cm)This is particular sword was made via the lost wax casting, and this was a cast-on hilt style, meaning the blade was cast first and then the handle was cast onto the blade. You can see the detail showing how this was done, if you look closely where the blade meets the guard. The region of Luristan, which encompasses the rugged Zagros Mountain chain, is famous for its bronze work that was above and beyond the skill level of contemporary groups. The affluent group in Luristan society that patronized the metalworking industry and purchased fine items like this sword were nomadic horsemen. They would travel into towns and purchase swords and other bronze and iron objects from craftsmen there. Although these horsemen were pre-literate, we know from the records of the Elamites and other southern neighbors that these tribesmen functioned as mercenaries in the constant warfare between the Sumerians, Babylonians, Assyrians, and Elamites. When they died, they were buried in rock-covered tombs with their swords. Ah yes, such dramatic material, ideal for the silver screen! Provenance: Ex-Private LA County collection formed over the period between 1980 and 2000. Condition: There may be a loss to the top of the hilt - it has a ragged edge, but that may just be an inlay. Small losses to edges of blade with smooth patina overall and some small areas of encrustation. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #119823
Football programmes, a selection of British v Foreign, European games, Testimonial etc, noted London v Frankfurt I.C.F.C. 1955, Manchester United v Real Madrid 59, West Ham v F.C. Austria 59 & First Vienna 62, P.N.E. v Servette 52, Sporting Club Portugal v Manchester United 64, Chelsea v Real Madrid 66, Leeds United v Glasgow Rangers 68, 1975 European Cup Final, Valencia v Manchester United 82-3. (gen gd) (20)
Cigarette cards, Will's, a large collection contained in six modern albums, mostly sets inc. Soldiers of the World no 'Ltd' on back (100/101), Vanity Fair 1st & 2nd Series (both complete), Cricketers 1928, Safety First, Dogs etc, sold with two albums of cigar cards (some fair, many gd/vg) (1000's of cards)
Football, scrapbook & diary of Ron Reynolds Aldershot & Tottenham Hotspur goalkeeper. Both formerly the property of Ron Reynolds, the diary is large format book, starting 27th Aug 1945, when Reynolds was a 17 and with Aldershot. It contains hand written reports and press cuttings from Aldershot’s first and Reserve teams games. The Scrapbook starts in November 1947 and goes through to the late 50s when he was with Tottenham. It contains hundreds of cuttings and a few extracts from programmes. Unique item & great insight into the life of footballer from this era (gd) (2)
Horseracing books, three volumes of the Racing Calendar for 1785, 1786 & 1787. All first editions and each with ownership plate to front in the name of 'T. Perren'. Perren was a racehorse trainer from the period and trained several big race winners inc. 1800 Derby & St Leger. (1785 & 1787 editions with wear & some loss to spine binding, 1786 without spine & some staining, fair) (3)
First Day Covers, good collection in album, 1960's, approx. 100, mainly GB issues inc. Scout Jamboree, Shakespeare, Battle of Britain etc, also including 16 World flown covers inc. Australian Antarctic Territory, Air New Zealand Hong Kong/Sydney inaugural flight etc. Sold with an album of approx. 50 Benham silk covers, 1992 & 93 (gd/vg)
Books - Dick Francis - signed first editions, including Straight, 1989, hb, dj, applied with signed bookplate; Come To Grief, 1995, hb, dj, publisher's invitation to the Ritz en suite; Second Wind, 1999, hb, dj; Shattered, 2000, hb, dj, publisher's invitation en suite; further first editions, Enquiry, 1969, hb, dj; Rat Race, 1970, hb, dj; Bone Crack, 1971, hb, dj; Smokescreen, 1972, hb, dj; Slay-Ride, 1973, hb, dj; Knock Down, 1974, hb, dj; High Stakes, 1975, hb, dj; In The Frame, 1976, hb, dj; Risk, 1977, hb, dj; Trial Run, 1978, hb, dj; Whip Hand, 1979, hb, dj; Reflex, 1980, hb, dj; Twice Shy, 1981, hb, dj; Banker, 1982, hb, dj; The Danger, 1983, hb, dj; Proof, 1984, hb, dj; Break In, 1985, hb, dj; Bolt, 1986, hb, dj; Lester: The Official Biography, 1986, hb, dj; Hot Money, 1987, hb, dj; The Edge, 1988, hb, dj; Longshot, 1990, hb, dj; Comeback, 1991, hb, dj; Driving Force, 1992, hb, dj; Decider, 1993, hb, dj; Wild Horses, 1994, hb, dj; To The Hilt, 1996, hb, dj; 10-lb Penalty, 1997, hb, dj; Field of 13, 1998, hb, dj; Under Orders, 2006, hb, dj; Dead Heat, 2007, hb, dj; Silks, 2008, hb, dj; Even Money, 2009, hb, dj; Francis (Felix), Gamble: A Dick Francis Novel, first edition, Michael Joseph, London 2011, hb, dj; etc [39]
Elvis Presley Vinyl Records - 12 inch Lps, 33RPM, Elvis Scotty and Bill The First Years special collectors edition, live from Eagles Hall 1955, Virgin Records; others RCA Camden CDS 1118 Elvis Separate Ways; RCA 461010; RCA PL42003 In Demand; PL 85418 Elvis Sings The Blues, blue vinyl; etc (30)
A silver fancy link Albertina chain, double rope twist chains, bead dividers, waisted ring drop, T bar, feathered droplet terminals, suspending silver watch key, 25cm long; a chrome charm bracelet, suspending 1960s liberty head dimes, silver and other charms etc; a BRGC first position medal dated 1922; a silver cocktail stirrer (4)
Witchfinder General (1968) Original First Release British Quad Horror Tigon film poster from Edgar Allen Poe's The Conqueror Worm starring Vincent Price as Matthew Hopkins. Also starring Wilfred Brambell, Rupert Davies and Patrick Wymark as Cromwell. Telling the true story of Hopkins who executed 300 people, mainly women, under the guise of witch hunting in the 1600's. Directed by Michael Reeves. Printed by Progressive Publicity of London E.8. Very good folded condition. (1) [BROWSER 78]
James Bond 007 Dr No (1962) This is the first release original British Quad film poster and the first James Bond poster too! Mitchell Hooks painted artwork features Sean Connery as James Bond with smoking pistol in one hand and a cigarette in the other and was the first image of Bond for the British cinema audience surviving well and setting the trend for later campaigns. Design by David Chasman. Folded. 30x40" (1) [BROWSER 71]
A Collection of trimmed British Quads (most 2 or 3 inches trimmed off) including The Dirty Dozen (first release), Arabian Adventure, Videodrome, The Thing, Poltergeist, Time After Time, plus Christine, War Games, Man Bites Dog, Long Riders, Jaws 3D, Cujo, Quest for Fire, 1941, Breaking Glass etc (15+)
The Man Who Could Cheat Death (1959) first release British Quad Hammer Horror film poster. Based on Barre Lyndon's play The Amazing Dr Clitterhouse. Directed by Jimmy Sangster and starring Christopher Lee, Hazel Court andd Anton Diffring. Printed by Leonard Ripley and Co. Folded. 30x40" (1) [BROWSER 55]
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