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Lot 381
Quantity of Marvel Warlock comics, includes Strange Tales: Warlock #178-181, The Power of Warlock #1-15, The Warlock Chronicles #1-8, Warlock Vol.2 #1-4, Warlock & The Infinity Watch #1-41, Hulk #177 & 178, Marvel Team Up #55 and Thor #165 (first appearance of Warlock) & 166. Conditions vary. (60 approx.)
Lot 529
Four EFE (Exclusive First Editions) 1/76 scale London Country bus sets: Country Buses Limited Edition Set 2; London Transport Museum Covent Garden Piazza GS & RF Ltd.Ed. Bus Set 13; London Transport Museum London Connections Bus Set 7 High Wycombe; 1950-1960 Three Bus Collection. M and boxed.
Lot 373
Quantity of Marvel Captain Marvel comics, Volumes 1 & 2, includes Vol.1 #1 1968 issue and Marvel Spotlight On Vol.2 #1 1979 issue. Together with Marvel's first graphic novel 'The Death Of Captain Marvel', Jim Starlin and FOOM (Friends Of Ol' Marvel) Fanclub magazine Vol.1 No.9 1975 special Cosmic Issue. Conditions vary. (115 approx.)
Lot 140
The Cellar-House of Pervyse, a tale of uncommon things from the journals and letters of the Baroness T'Serclaes and Mairi Chisholm, published by A & C Black, 1917, bearing extensive annotations and autograph signatures of the authors, their colleagues and patients, together with a 1916 letter on S.10 Army Post Office, British Expeditionary Force headed paper from one of the authors to the publisher, a hand-written letter of thanks from a Major Gordon in which he describes presenting a copy of the book to King Albert, and a later press cutting The authors, two British women, long time friends and motorcycling companions, decided at the outbreak of hostilities that their place was at the front assisting Belgian soldiers. They nursed, and prepared and served food, often delivering meals to trenches and front line outposts. They avoided the ruling of 1915 expressly forbidding women from entering the front line. This book takes its title from their aid station, this being located as close to the front line as possible, the authors having learned from experience that the further a wounded serviceman was from the point of first treatment, the less likely he was to survive. Such was their dedication that for many months they occupied a frequently shelled cellar measuring just twelve feet by ten feet, sleeping on straw and taking their water from a ditch
Lot 45
A sidepod taken from the Jordan 197 Formula 1 racing car driven by Giancarlo Fisichella at the 1997 Formula 1 Grand Prix held in July 1997 at Hockenheim, Germany, signed by the driver, together with certificate of authentication, and two framed photographic displays of the incident and subsequent display of sportsmanship from Michael Schumacher. Fisichella took his first ever front row start and was challenging Gerhard Berger for the win until he punctured a tyre on the debris from Jan Manussen's blown engine. Michael Schumacher gave Fisichella a lift back to the pits following the race, the driver seated on the back of his Ferrari.
Lot 533
Edward Atkinson Hornel (Scottish, 1864-1933)Rolling Easter Eggs, kaleidoscopic springtime depiction of three young girls, each crouched amid wild Forsythia blossom as they roll brightly-coloured Easter eggs downhill towards a steam, a fourth girl stands barefoot to the fore, eagerly gazing on at the progress they make, oil on canvas, signed and dated 1924, framed under glass, 90 x 75 cmProvenance: Private estate. From the artist and thence by descent. Born in Victoria, Australia, Hornel was raised and lived almost all of his adult life in Scotland after his family moved to Kirkcudbright in 1866. He studied for three years at the Edinburgh School of Art, and for two further years at Antwerp under the direction of Professor Verlat. Upon his return to Edinburgh in 1885 Hornel met fellow artist George Henry RA (1858-1943) and through this connection began his association with The Glasgow Boys. Combining their interest in the depiction of light with his own experiments in colour and paint application, it was during this period that Hornel developed his distinctive impasto technique of loading and scraping the canvas using the palette knife. This approach is visible in Rolling Easter Eggs, where Hornel has to a considerable extent exposed the rough texture of the canvas, apparently effortlessly and imperceptibly incorporating it into the finished surface of his work. Inspired by the rise in 'Japonisme', the Western take on Japanese art and culture, so popular in the avant-garde art scene of the day; in 1893 Hornel travelled to Japan with Henry. There they spent eighteen months in the country in order to imbibe and study its environment and culture, and become personally in touch with the people, to live their life, and discover the source of their inspiration. He became particularly fascinated by the gestures and movement of Japanese dance. This period and experience would prove formative to Hornel's oeuvre. As an avid photographer, he gleaned much from his associations with Japanese photographers catering to the Western market and producing compositions known locally as 'shashin'. These studies focused on Japanese tradition, costume and feudal customs, and were highly valued for their colours and design. Following his return to Scotland in 1894, Hornel honed his approach to painting, using photography as his starting point; taking the twists and turns of the female form found in traditional Japanese poses and translating them into paint. His first exhibition of Japanese paintings was enormously successful, and from the proceeds he purchased Broughton House at Kirkcudbright in 1901. The house came with a studio and here he began using photography on a grand scale, utilising local children to move and stand in ways that reflected the specific poses of his Japanese dancers. This influence can be especially seen in Rolling Easter Eggs where hands and feet are poised, and the young girl standing to the right cranes her neck and bends her back in a contorted fashion. This was a theme Hornel would return to repeatedly, with the young girls submerged within a landscape or beside a body of luminous water. This near-enhanced impressionistic approach to both composition and colour is further endorsed by the equal prominence with which Hornel depicts subject and context, the two interwoven to form a rich tapestry of light and texture. Something Hornel would continue to explore right up until his death in 1933.
Lot 62
A 1940s John Selby wedding dress, in champagne satin with applied paint spots forming a scrolling floral design, an overlayed bodice forming a square neckline, padded shoulders and tapering full sleeves terminating in covered buttons, cummerbund waist and peplum, and a full length panelled skirt First worn in 1948, and is accompanied by a copy of a photograph of the original owner wearing the dress on her wedding day.
Lot 68
A George V Distinguished Conduct Medal to 102341 Sapr R Davis, 175 / Tlg Co RE. "Awarded for conspicuous courage and devotion to duty near Hooge, 1st / 2nd December 1915. Sapper R Davis twice carried out the actual mining into a German gallery, after his officer had been wounded, he was the first to attempt to re-enter the gallery"
Lot 74
A First World War 3rd Dragoon Guards and Machine Gun Corps gallantry medal group comprising 1914 Star, British War and Victory medals to 2061 Pte R Rollo, 3/D Gds, together with Military Medal to 50562 Pte R Rollo, MGC, also 1914 Army Boxing Championship Egypt light weights runner-up medal to the same, one other, a bronze boxing medallion, MGC cap badge etc
Lot 79
A First World War Royal Flying Corps casualty group comprising Edward VII Volunteer Long Service Medal and miniature to 141 Sgt H Devlin, 1st Volunteer Battalion Argyle & Sutherland Highlanders, together with British War and Allied Victory medals with Memorial Plaque to the former's son Lieutenant Henry Little Devlin, a 1903 2nd Greenock Company Boys Brigade silver fob to Pte Henry Devlin, an Argyle and Sutherland Highlanders swagger stick and two sets of RFC pilots' wings, one having a metal horseshoe device affixed verso Henry Little Devlin, transferred from the A&SH, 2nd Lieutenant upon appointment as a flying officer on 17 March 1917, temp Lieutenant 1 April 1917, shot down and killed in his 9 Squadron RE8 by German ace Erwin Bohme at Boesinghem, 19 September 1917
Lot 876
A silver-mounted flintlock pistol of Epiro, dating: first quarter of the 19th Century, provenance: Greece, dating: first quarter of the 19th Century, provenance: Greece, Smooth, round, 16 mm cal. barrel with short rib at the base. Lock with flat plate, hammer engraved with spirals, batterie with anti-friction, spring wheel (mechanic to be checked). Silver full stock, richly decorated with bas-relieved rocaille and floral motifs on ground with remains of gilding and small, kneeled elements. Slightly-curved grip with typical, bulb-shape butt-plate provided with a big, carved button. Long, silver ramrod holder decorated en suite. Typical, fake ramrod. , length 60,6 cm.
Lot 531
A pillow sword, dating: circa 1700, provenance: England, dating: circa 1700, provenance: England, Straight, double-edged blade ribbed at the center, the first part with three, richly-pierced grooves. Iron hilt with floral engravings, top-pommel, wooden grip covered with iron wire binding and moor's heads. , length 72.5 cm.
Lot 527
A composite rapier, dating: 18th Century, provenance: Europe, dating: 18th Century, provenance: Europe, Straight, double-edged blade, ribbed at the center, grooved and pierced at the first part, with remains of writings inside the fuller. Iron hilt with pierced valves, stars and circles. Flat, counter-curved quillon with quillons. Grip with iron wire binding. Pommel with grooved button., length 119 cm.
Lot 246
A flintlock pistol, dating: late 18th Century, provenance: Spain, dating: late 18th Century, provenance: Spain, Fine, smooth, two-stage, 13 mm ca. barrel, octagonal at the first part, then round, featuring acanthus leaves, engraved and gilded with floral motifs; miquelet lock; wooden full stock, decorated with brass plaques and with smooth, brass mounts; iron belt-hook. Brass-tipped, wooden ramrod with iron cartridge extractor., length 26 cm.
Lot 635
A flintlock gun, dating: first quarter of the 19th Century, provenance: Brescia, dating: first quarter of the 19th Century, provenance: Brescia, Smooth, two-stage, shortened, 15 m cal. barrel with clutch for the bayonet; flintlock with brass pan, marked 'M.ra. R.le di Brescia'; wooden stock with brass pan, marked 'M.ra. R.le di Brescia'; wooden stock with iron and brass mounts. Missing ramrod. , length 84.5 cm.
Lot 741
A shamshir, dating: third quarter of the 19th Century, provenance: Persia, dating: third quarter of the 19th Century, provenance: Persia, Curved, flat, single-edged blade made of damask, featuring two cartouches with Arabic writings at he first part; iron hilt with cross quilt and angled pommel, bone grip scales (in two pieces)., length 89.5 cm.
Lot 263
A flintlock pistol by A. Medesina, dating: circa 1700, provenance: North Italy, dating: circa 1700, provenance: North Italy, Smooth, four-stage, 12 mm cal. barrel, octagonal at the first part, signed 'LAZARI COMINAZ', the second part of sixteen faces, the remaining two segments are round; flintlock signed 'Aandrea Medesina' and decorated with bas-relieved floral motifs; slightly carved, wooden full stock (small restorations), with iron mounts (the fore barrel bracket is missing), partially engraved and pierced. Iron-tipped wooden ramrod. Scarce signature. , length 49.5 cm.
Lot 522
A cup hilted sword, dating: circa 1800, provenance: Spain, dating: circa 1800, provenance: Spain, Thin, straight blade of rhomboidal section; grooved at the first part and featuring the writing 'SEBASTIANO ERNANDEZ TOLEDO'; iron hilt with small cup with undulated border, checkered guard and pommel. Wooden grip, covered with copper wire binding and brass moor's heads. , length 106 cm.
Lot 868
A silver mounted flintlock pistol, dating: mid-19th Century, provenance: Turkey, dating: mid-19th Century, provenance: Turkey, Smooth, two-stage, 14 mm cal. barrel; the visible part is decorated with silver floral motifs; octagonal at the first part with gold, Arabic stamp; tang with decorations; slightly-engraved lock, marked 'Rossl'; wooden full stock with silver mounts, engraved en suite with Arabic stamps. Fake ramrod. , length 46.5 cm.
Lot 479
A ballock dagger, dating: 16th Century, provenance: Italy, dating: 16th Century, provenance: Italy, Straight blade of lozenge section, with hollow faces at the first part and then flat toward the tip. Small, iron quillon with quillons bent toward the bottom and slightly toward the external part. Wooden grip with ballocks (later). facedeted, iron cap engraved with small lilies on the border. , length 39,8 cm.
Lot 777
A beautiful sabre, dating: first quarter of the 19th Century, provenance: India, dating: first quarter of the 19th Century, provenance: India, Curved, slightly-grooved, single-edged blade, finely engraved and gilded with floral motifs on polished ground; massive, gilded-brass hilt finely engraved with floral motifs and decorated with green and red stones with floral motifs. Beautiful, gilded-brass scabbard, richly decorated with animals among floral motifs in bas-relief. Two suspension rings. , length 90 cm.
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596780 item(s)/page