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MODERN MOORCROFT VASE a boxed vase in the Wisteria design, designed by Philip Gibson and issued through the Moorcroft Collectors Club. Also with a boxed Moorcroft clock in the Green Finches design, a Moorcroft Iris jug, and a two handled Moorcroft vase. (4)

Moorcroft - Tall and Impressive Tubelined Vase ' Ingleswood ' Woodpecker and Other Birds Design. Designer Philip Gibson. Shape 364/12. c.2003. The Vase Stands 12 Inches - 30 cm Tall. 1st Quality and Mint Condition. Low Estimate.

Moorcroft - Nice Quality Modern Tubelined Lidded Ginger Jar ' Ingleswood ' Design. Designer Philip Gibson, Date 2003. Height 6.5 Inches - 16.25 cm. 1st Quality and Mint Condition.

Moorcroft - Nice Quality Modern Tubelined Cabinet Plate ' Ingleswood ' Design. Designer Philip Gibson. Date 2003, 10.25 Inches Diameter - 26.5 cm. 1st Quality and Mint Condition.

Moorcroft - Impressive Tubelined Tapered Vase ' Ingleswood ' Design. Designer Philip Gibson. Date 2003. Height 8.25 Inches - 21 cm. Light Crazing to Vase.

An early 19th century silk work sampler depicting stylised birds, architecture and flowers by Catherine Gibson, dated September 1828, framed 32cm x 42cm, frame size 43cm x 53cm.

Three Royal Crown Derby paperweights comprising a boxed The Nemean Lion numbered 739 of 750, a boxed Savannah Leopard (Endangerd Species for Sinclairs) with signatures to the base to include John Ablitt, and a Heraldic Lion numbered 1850 of 2000 and signed by Hugh Gibson and Louise Adams, all with printed marks, all with gold stoppers. (3)

Seven assorted Royal Crown Derby paperweights comprising Dragon No.1 Dragon of Happiness, Dragon No.2 Dragon of Good Fortune, an Imari Dragon, The Wessex Wyvern signed by Louise Adams and Hugh Gibson, a Crocodile specially commissioned by the Guild of Specialist China and Glass Retailers, a Coral Seahorse and a Chameleon, all with printed marks, all with gold stoppers, boxes for all bar Crocodile, Wessex Dragon and Chameleon. (7)

DURAS MARGUERITE: (1914-1996) French Novelist and Playwright. Signed programme `Bien cordialement, M. Duras´, 8vo, Paris, 1962. The programme being for the playwright Miracle en Alabama by William Gibson ("The Miracle Worker"),1957,with French text by Marguerite Duras, performed at the Theatre Hébertot. The paperback programme contains 60 pages, and is also signed by actors and actresses, including François Maistre and Françoise Spira. Together with five additional theatre programmes, 8vo, signed by actors and actresses, all for early 1960´s performances of Becket, by Jean Anouilh, Theatre Montparnasse, signed by Jean Anouilh, Daniel Ivernel, Bruno Cremer, etc..; Un mois à la Campagne, Theatre de l´Atelier, playwright by Ivan Turgenev, signed by Delphine Seyrig, Jacques François, etc..; Mon Père avait Raison, by Sacha Guitry, Theatre de la Madeleine, signed by André Luguet, Louis Velle, Madeleine Lambert, etc..; Le Mascaret, Theatre de l´Oeuvre, signed by Pierre Brasseur, etc.., and Les Hommes Proposent.., Theatre de la Renaissance, signed by Blanchette Brunoy, Jean Servais, etc.. G, 6

A Victorian 15ct yellow gold bar brooch set with a central amethyst stone and seed pearls, total weight 2.4g, in a F W Gibson & Son boxLocation: CAB

A silver kettle on stand, by the Goldsmiths and Silversmiths Company, Sheffield 1916, the burner by Gibson and Langman London 1896, oblong bellied form, gadroon border, with a central scroll carrying handle, the stand on four scroll legs on hoof feet, height 33cm, approx. weight 50oz.

A Victorian silver rose bowl, by Gibson and Langman, London 1897, circular form, swirl-fluted and beaded decoration, scroll border with cherubs, on a circular foot, diameter 27cm, approx. weight 29.9oz.

A late-Victorian silver teapot, by Gibson and Langman, Sheffield 1890, oval form, part-fluted decoration, scroll handle, flush-hinged fluted cover, length handle to spout 25.5cm, approx. weight 16oz.

A contemporary Moorcroft slender ovoid vase, Hibiscus pattern trial piece, designed by Philip Gibson, 18.5cm, impressed and painted marks, dated' 04, original sale label Condition Report: Good condition

A contemporary Moorcroft Atlantica pattern tapering cylindrical vase, designed by Sian Leaper for the American and Canadian market, 15cm impressed mark, signed in gold, dated 2002; a Moorcroft Tree Fern pattern bottle vase, designed by Philip Gibson, The New Zealand Collection, 13cm, impressed mark, monogrammed, dated 2003 92) Condition Report: Both in good condition

A mixed lot of silver items, comprising: a Victorian bowl, by Gibson and Langman, London 1890, circular form, embossed with signs of the zodiac, plus a silver-mounted glass scent bottle, a set of six cased Italian spoons and an Italian circular box, embossed with a basket of flowers, approx. weight 7.9oz. (4)

A Victorian silver easel back mirror,by William Gibson and John Lawrence, London 1899, in the rococo style, the scrolling frame around a shaped plate with a bevelled edge, 31cm wide, 40cm high

A VERY LARGE, LATE VICTORIAN SINGLE VASE tapering and decorated with embossed wrythen fluting below a corded border and rows of stamped simple motifs (crosses, acorns and leaves), domed foot and everting rim, crested, by W. Gibson and J. Longman, London 1887 (retailed by the Goldsmiths and Silversmiths Co.Ltd.); 17.2" (43.5 cms) high; 52.7 oz

A LATE 19TH / EARLY 20TH CENTURY AMERICAN STRAWBERRY PATTERN, FRUIT SERVING SPOON by Tiffany & Co. of New York, c.1900 (fitted case), a late Victorian inkstand with a mounted glass ink bottle, crested, by W. Gibson & G. Langman, London 1898 and a salver engraved with the badge of the Warwickshire Yeomanry and numerous facsimile signatures, by Elkington & Co., Birmingham 1934; the spoon 9.6" (24.5 cms) long; 37.4 oz weighable silver

A SET OF SIX GEORGE III IRISH OAR PATTERN DESSERT SPOONS engraved on the terminals with the initial "R" below a Baron's coronet, by S. Neville, Dublin 1800 with the Cork retailer's mark of "GIBSON" (for Joseph Gibson); 4.9 oz (6)

A Victorian silver mustard pot, maker William Gibson and John Langmore, London, 1896: the domed hinged lid with pierced foliate panels and garland decoration, the beaded scroll handle with foliate capping, 11cm. long, with blue glass liner, 111gms, 3.56 oz.

19th Century C D Gibson drawing books & a punch example

20th Century English School. Portrait of a Young Lady in Fur Coat, Oil on Canvas, Signed Gibson? and Dated 1933, 24" x 20".

A King's South Africa medal (1901-02), with South Africa 1901 and 1902 clasps, naming 4659 SAPR. C. GIBSON. R.E.

A Shell Cameo by Tommaso Saulini, mid 19th century, as a young lady in profile with her hair in a plaited bun, signed Saulini F, 8.3cm by 4.5cm; and A Shell Cameo, depicting the Archangel Michael after Guido Reni, 4.4cm by 4cm, in a yellow metal scroll frame, both in glazed copper frames with hinged stands (2) See illustration Tommaso Saulini (1793-1864) was a cameo carver in Rome during the 19th century and together with his son, Luigi, he produced shell and hardstone cameos which were exhibited at the Great Exhibition in 1851 and the International Exhibition of 1862. Saulini was highly regarded for his depictions of famous sculptures and for classical and contemporary portraits. Through John Gibson, the English sculptor living in Rome, Saulini received commissions for cameos from Queen Victoria from 1854-1860. First with some typical surface flaws to background. Second with section broken out and restuck. Frames with some wear and scratching.

WALES V SCOTLAND 1964 B/W 12" X 9" photograph of Dave Gibson scoring Scotland's first goal in the International in Cardiff. Generally good

DON GIBSON B/w 12 x 8 photo of Man United right-half Don Gibson in an action pose for photographers prior to a game, c1954, signed in blue marker. Good

SCOTLAND / BELGIUM Programme Scotland v Belgium at Hampden Park 28/4/1948. Signed by W Gibson, the Scotland and Queen's Park trainer. Vertical fold. No writing. Generally good

Ornament.- Elliot (A.) A Study of Ornament, a composite [?] architectural student's album with over 20 pp. of manuscript text on the history of ornament, the text illustrated with numerous small original vignette diagrams tipped in, followed with over 100 further original illustrations pasted onto album leaves thereafter, including five folding diagrams of the architectural orders, pen and inks, pencil, some fully finished in watercolour, pencil inscription to front free endpaper 'a study of Ornament by/ A. Elliot', one sheet with watermark date '1869', various sizes, the folding diagrams each approx. 450 x 310 mm (17 3/4 x 12 1/4 in), and smaller, some loosely inserted in album, handling creases, finger-soiling and surface dirt throughout, Ex Libris blind stamp of 'Derek Gair Gibson', contemporary half calf, spine gilt, rebacked, worn, folio, [circa 1870].

GIBSON LES PAUL STUDIO MODEL ELECTRIC GUITAR WITH HARD CASE. A fine example here. This a Gibson Les Paul Studio in black circa 1992. Serial number: 93572520. Sold with Stagg hard case.

GIBSON SG BLACK ELECTRIC GUITAR. A 2004 Gibson SG Standard with hard case. Very good condition. Serial number is: 01564.

GIBSON LES PAUL 1959 MAPLE FLAME COPY ELECTRIC GUITAR. In superb condition . Serial 9 1447. SKB hard case.

1963 GIBSON 335 CHERRY RED ELECTRIC GUITAR. A beautiful example of classic model, guitar of choice for some of the greatest ever. This 1963 cherry red example of the 335 is equipped with an original Bigsby whammy pedal. Serial number to sticker and headstock is: 121881. Some light marks to body but otherwise in very good condition. Sold with hard case. THIS GUITAR HAS ARTICLE 10 CERTIFICATION.

GIBSON J160-E GUITAR. A Gibson J160-E electro-acoustic guitar, similar to the one John Lennon used on iconic albums 'Please Please Me' and 'With The Beatles' and used to compose Beatles hits like 'I Saw Her Standing There', 'All My Loving' and 'She Loves You'. Made from Sitka spruce, mahogany back and sides and rosewood fretboard, this guitar was first manufactured in 1955 and one of Gibson's first attempts at a electro-acoustic. The body shows some signs of age with some marks/scuffs on front and back, the headstock also has minor scuffs around edges. Comes in a hard case.

GIBSON LES PAUL CUSTOM 1969 BLACK BEAUTY ELECTRIC GUITAR - OWNED BY BILLY DUFFY OF THE CULT. A fascinating collector's item here. Already a desirable guitar in its own right, this 1969 Les Paul was purchased by our current vendor from legendary Cult guitarist Billy Duffy. Serial number is extremely faint. Some minor amendments have been made. Comes with circa 1970s hard case, also used by Billy Duffy.

FOUR GUITARS. Collection of guitars to include: Japanese made 'Kimbara', Kimbara acoustic model 179/0, Matsumoko Aria copy, Japanese made Gibson copy no strings. Most in need of strings / restoration work.

India 1887 - Envelope Bombay to Chiswick London - To Mrs Gibson, Chiswick, transit datestamps on the back (Ex Gibson Correspondence)

LIMITED EDITION PRINTS OF ORIGINAL WATERCOLOURS 10/500 AND 17/500 ENTITLED GIBSON'S CONCHES BY GEORGE GIBSON F/G 15 X 19CM APPROX

A Moorcroft 'Derwent' vase dated 2004 designed by Philip Gibson, a limited edition edition numbered 181/200, impressed and painted marks, 20.5cm high - boxed

A collection of hickory shafted golf clubs, makers to include Hull, T Tate of Leven, William Gibson & Co., of Kinghorn, Cedric Sayner, Doncaster Golf Club and the Athletic Stores Ltd of Belfast.

After Peter Read. Dambusters, May 1943, depicting David Shannon, Jack Buckley, Guy Gibson, Brian Jagger, and Len Sumpter, 50cm x 71cm.

Charles Dana Gibson - 'Everyday People' - 1904

A four piece Victorian silver tea service, by Goldsmiths & Silversmiths Co (William Gibson & John Lawrence Langman), London 1882, each with gadrooned rim and reeded band to body with leaf decoration, raised on ball pattern feet, coffee pot 22cms high, 55.5oz gross.

SWING BIG BANDS - 16" TRANSCRIPTION DISCS. Sought-after bundle of 36 x 16" transcription discs released by Armed Forces Radio Service. Artists/titles include Benny Goodman, Stan Kenton, Harry James, Ray Anthony, Bing Crosby, June Christy, Harry "the Hipster" Gibson, Woody Herman, Jack Hunter, Helen Forrest, Tommy Tucker, Lionel Hampton, Jimmie Lunceford, Jane Withers, Andrew Sisters, Eddie Miller. Condition is generally VG to Ex.

A rare custom order left handed Alden Clarks-12 semi acoustic 12 string guitar. Gretsch style. Flame tobacco with cream bindings. With inspection labe. In a Gibson acoustic cardboard box. Recent professional setup. Excellent condition. Minor wear signs only.

A Moorcroft vase, Blue Rhapsody, Philip Gibson, 2001, MCC 1465, Collectors Club, 25cm, with box

Pack of Alice in Wonderland Pictorial Cards from Sir John Tenniel's original design By Miss E. Gertrude Thomson, pub. H.P. Gibson & Sons Ltd, Manufacturers to his Majesty Condition Report complete with 48 cardsClick here for further images, condition, auction times & delivery costs

CAMDEN WILLIAM.  Britannia ... with Additions & Improvements by Edmund Gibson. 2 vols. Eng. port. frontis, plates & text illus. but no maps. Folio. Calf, rebacked. 1772.

William Alfred Gibson (1866-1931), Dutch river landscape with two windmills, oil on canvas, signed, 71cm by 101cm, with paper profile on the artist from The McEwan Gallery

A Gibson ES 335, lefty gloss finish vintage sunburst Electric Guitar, with case - believed left handed

Original Press Photographs of Guy Gibson VC, three excellent images all dated 23/6/43 showing Guy Gibson the legendary Dam Buster at a "Stag Party in the West End" were he was guest of honour" Photographs show Gibson signing a large photograph of the smashed dam which all the airmen signed, Group image of all the guests "including the RAF personnel responsible for the "dam busting" exploit" and the final shows Gibson with Squadron Leader Maltby, Roy Chadwick designer of the Lancaster and Tom Sopwith. Minor wear to the edge of one photograph, otherwise very good condition (3)

‡ Hebrew Bible, Amos 5:7-7:11, manuscript on parchment [Oriental (Near East), tenth or eleventh century] Single large square leaf, with three columns of 22 lines of large square script with nikkud, Masora magna above text and Masorah parva below text, small Masorah inserted between the columns, small stains and tears to edges, else excellent condition and on fine and heavy parchment, 395 by 350mm. Provenance:1. Most probably from the famous Cairo Genizah, the repository of the Jewish community located in the Ben Ezra Synagogue of Fustat (established in 882 AD.). This storehouse of obsolete books fell into disuse and was forgotten until renovations to the building in 1891 opened the hoard and released some leaves onto the antiquities market. The linguist Archibald Sayce was in Cairo in 1892, and records that the Genizah was being dispersed leaf-by-leaf to dealers and collectors. Sayce repeatedly attempted to acquire the entire collection for the Bodleian, but the negotiations fell through, and he left Cairo blaming the constant inebriation of the local officials for the failure of his attempt. Subsequently, a leaf from the long-lost Hebrew version of Ecclesiasticus found its way via the redoubtable twins and early Bible hunters, Agnes Lewis and Margaret Gibson, to the Cambridge scholar Solomon Schechter. He mounted a rescue mission and acquired the remaining 140,000 fragments for Cambridge University. The discovery captivated public imagination in Europe in a way comparable only to the opening of Tutankhamen's tomb in 1922. For half a century, until the discovery of the Dead Sea Scrolls, these were the oldest Hebrew manuscripts known.2. Schøyen Collection, Oslo and London, their MS 1630: acquired from Quaritch, November 1992. A sister leaf with Amos 7:11-9:8 was sold in the Schøyen sale at Sotheby's on 10 July 2012, lot 12, for £42,000, and another in our rooms with parts of Zechariah and Malachi, 10 July 2018, lot 6 for £37,500. Text:This is a noble relic of one of the earliest surviving codices of the Hebrew Bible. Its text is set in three columns and it is nearly square, the oldest extant codex format, echoing early papyrus codices, and perhaps fixed in this format from the cutting up of Ancient scrolls and binding them together down one edge. The earliest surviving Hebrew biblical books date to the ninth or tenth century, such as the surviving parts of the Aleppo Codex (c. 920, now Jerusalem, Shrine of the Book), the Damascus Pentateuch (c. 1000; also Jerusalem, Hebrew University), the St. Petersberg Codex (dated 1008/09, now National Library of Russia, MS.B19a), British Library, Or. 4445 (Pentateuch only, tenth-century), and the near complete ninth- or tenth-century codex, ex D.S. Sassoon, sold in Sotheby's, 5 December 1989, lot 69, for £2,035,000. These are the fundamental witnesses to the format of the text as selected by the Masoretic scholar, Aaron Ben-Asher (d. c. 960), in Tiberias, modern Palestine. The resulting text was accepted by Maimonides as the most accurate, and remains in use today. The late Professor Chimen Abramsky assigned the script of this leaf to the scribe of the tenth-century British Library, Or. 4445, and the lack of a eulogistic acronym for Aaron Ben-Asher in that manuscript has been taken as an indication that Ben-Ascher was alive at the time it was written. Moreover, Kahle has suggested that Or. 4445 was the work of Ben-Asher himself in the early period of his work on the text (The Cairo Genizah, 1959, pp.117-18), placing the scribe of this leaf within the circle of Ben-Asher himself, at one of the formative stages of the Hebrew Bible. 

Ɵ Vergil, Georgics III:259-458 and IV:393-564, in Latin didactic hexameter verse, leaves from a decorated manuscript on parchment in situ in an Oxford binding by Dominique Pinart[England, c. 1200] Remains of two bifolia, trimmed at edges with losses to one column on each, each leaf with single column of 48 lines in an early gothic book script, with initials set apart in margin as common for verse, simple red initials with baubles and pen flicks added to their bodies, one dark pastel green initial, contemporary running titles, some contemporary marginalia, modern pencil marks giving textual notes, some staining, scuffing and small holes, else in good condition, each leaf 190 by 100mm.; in situ in binding of a copy of a printed book: William Thomas, The historie of Italie, London: Thomas Berthelet, 1549, binding of blindtooled calf, using rollstamps identified as nos. XII and XVIII in S. Gibson, Early Oxford Bindings, 1903 (see also Ker, Pastedowns in Oxford Bindings, 1955, pp. 210-11), suggesting a binding date of c. 1581 or before, sewn on 3 thongs, by Dominique Pinart, a French immigrant and the principal Oxford binder of this period, skilfully rebacked; with a letter from Neil R. Ker to a "Mr Edwards" dated 21 March 1964, noting that he had "not found Virgil before in Oxford bindings, save in one insignificant late manuscript" Provenance:1. Most probably written and decorated for English scholarly use around the turn of the thirteenth century, probably in Oxford. Later discarded and reused there for binding material at the close of the Middle Ages.2. Various English owners, with ex libris marks from "Peter ...son" in a sixteenth-century hand on the back pastedown, and another partly erased name dated 1676 on the front pastedown.3. William Charles de Meuron, 7th Earl Fitzwilliam (1872-1943): his armorial bookplate on front pastedown; his library sold in the Wentworth Woodhouse sale at Sotheby's, 27 April 1948, doubtless including this volume.4. Quaritch cat. 664 (1949), no. 289.5. Hodgson, 19 March 1964, lot 254, to "Mr. Edwards", an apparent bookseller.6. Quaritch, London, November 1991.7. Schøyen Collection, London and Oslo, their MS 1395, acquired from Quaritch. Text:The celebrated Roman poet, Vergil (70-19 BC.), wrote the Georgicsc. 29 BC. for Maecenas, the ally and political agent of Octavian, to whom it was reportedly read after his return from defeating Anthony and Cleopatra in 31 BC. The text surveys the field of agriculture, namely raising crops and trees, livestock and horses and beekeeping, set within the context of farming as a noble and senatorial pursuit in Roman society. It enjoyed great popularity and had enormous literary impact from its composition onwards, surviving in numerous fifth- and sixth-century manuscripts as well as an explosion of Carolingian witnesses, these demonstrating serious study and careful correction of the text in eighth- and ninth-century France.To view a video of this item, click here.

Two Catholic documents from Reformation Scotland, leasing lands at Quhithil from the estate of the Dean of the College and Royal Chapel at Restalrig, Edinburgh, to avoid permanent confiscation at the Dissolution, issued by Cardinal Laurentius, Bishop of Prevestin, and confirmed by Johannes Dingwall, Papal Protonotary, in Latin, single sheet documents on parchment[Italy (Bologna) and Scotland (College of the Holy Trinity, Edinburgh), dated 9 January 1530 and 28 April 1530 respectively] Two large and impressive documents: (i) the Authority of Cardinal Laurentius, Bishop of Prevestin, allowing the Dean of the College and Royal Chapel at Restalrig, Edinburgh, to lease out lands at "Quhitehil", 29 long lines in a rounded Italian secretarial, calligraphic initials in uppermost line, some folds, cord tags but no seal, else excellent condition, 290+40 by 450mm.; (ii) Gargantuan charter of Johannes Dingwall, Papal Protonotary, and Willielmus Gibson, Dean of the Royal Chapel at Restalrig, Edinburgh, in Confirmation of the Charter of Cardinal Laurentius, Bishop of Prevestin, Concerning the Leasing of Lands at Quhithil, witnessed by William Preston, rector of Beltoun, Adam Franthe, Walter Turnbull, Henricus Mow, William Meldrum, Notary and William Preston, 94 long lines in the fine Scottish secretarial hand of the Papal notary Willelmus Stevinsoun of the diocese of St. Andrews (the text including the full text of the other earlier document in this lot, thereby repeating and endorsing it), flourished opening initial, red wax seal (diam. 40mm., in metal skippet, of Iohannes Dingwall, Papal protonotary, with his arms surmounted by cardinal's hat, and the inscription: "magistri johannis dingwall prothonotarii"),another seal wanting 670+23 by 650mm.; together in red folding fitted case with two levels Provenance: 1. College and Royal Chapel at Restalrig, Edinburgh, founded 1487 on the estate of the parish church of Restalrig, that founded by King James II of Scotland. The building was described by Pope Innocent VIII himself as "a sumptuous new work", and was apparently a high vaulted chapel with no central pillar, lit by large traceried windows. Papal fears of the destruction of this powerful symbol of Catholic sympathising Scotland were not misplaced, and by 1552 the prebendary houses on the site had been burned down, with the chapel itself declared by the Reformed General Assembly in 1560 "a monument to idolatrie" and ordered "raysit and utterlei castin downe and destroyed" (I. Cowan and D. Easson, Medieval Religious Houses: Scotland, 1976, pp. 224-25). The destruction process was so complete that now only the lowest level of the aisle and some small walls have survived. What stands today is a restoration of 1906. 2. Dr. Jeremy Griffiths (1955-1997) of Oxford.3. Schøyen Collection, London and Oslo, their MS 1689, acquired from Dr. Griffiths in July 1993. Text and script: These two complimentary documents offer a fascinating insight into the Catholic Church's preparations on the eve of the Scottish Reformation, openly seeking to enmesh important estates at Quhithil in a complex lease to a lay sympathiser in order to isolate them from the coming depredations and seizures. As Restalrig was both a monastery and the Royal Chapel of Scotland it presumably would face such losses first, demanding the attentions here of a cardinal based in Bologna and local Catholic officials.  The script of the second document is of interest as it is by a named scribe (Papal notary Willelmus Stevinsoun of the diocese of St. Andrews) and is in the type of secretarial hand commonly used for Scottish literary manuscripts at the close of the Middle Ages, such as the copies of the Scotichronicon and the Haye and Sinclair witnesses to the Canterbury Tales (M.B. Parkes, English Cursive Bookhands, 1969, pl. 13.ii). Among scribes working in this period in Scotland, unlike those of its southern neighbour England, there was no clear division between bookhands and secretarial hands when dealing with literary manuscripts, and notaries were often employed on copying non-diplomatic texts, carrying across their usual scripts with them (see R.J. Lyall, 'Books and Book Owners in Fifteenth-Century Scotland', in J. Griffiths and D. Pearsall, Book Production and Publishing in Britain, 1375-1475, 1989, pp. 242-43). 

Vinyl Records - 7” singles and Promotional copies including Jerry Byrne - Lights Out - SON 5011; Stevie Wonder - Outside My Window - TMG 1179 - Promotional Copy; Masterblaster (Jammin') - TMG 1204; Send One Your Love - TMG 1149; Steeleye Span - Hard Times of Old England - CHS 2085 - Promotional Copy; Merle Haggard - It's Been A Great Afternoon - MCA 388 - Promotional Copy; Neil Young - Four Strong Winds - K 14493; Jo Jo Gunne - Run Run Run - AYM 501; Ronnie Lane - Kuschty Rye - GEMS 12; T,Rex - Children Of The revolution - MARC 20; John Denver - Welcome to My Morning - PB 9046 - Promotional Copy; Randy Meisner - I Really Want You Tonight - K 13130; Others including The Gibson Brothers; Neil Diamond; The Jam; The Who; The Rolling Stones; T. Rex; Booker T. & The M.G.'s; Diana Ross & Lionel Richie; The Commodores - There's A Song In My Heart - TMG 902; Tubeway Army; Dollar; Duran/Duran; Elvis Costello; Nick Lowe; Gary Numan (Qty)

A Gibson ES-125TC electro acoustic guitar with f-hole body and single cut away, single P-90 pickup, circa 1965, serial 422624, original hard case by Lifton

A Gibson ES-335 Custom electric guitar, circa 2008, serial no. 02118721, in black matt finish, model no. ESDSTBKCH7, with Gibson fitted hard case, Gibson Custom Shop certificate of authenticity and Gibson Gold Warranty certificate

A contemporary Moorcroft pottery vase, of waisted form, with tube lined decoration of flowers upon a cream ground, signed by the designer Philip Gibson with impressed factory marks and 'WM' monogram to the base, height 20.5cm, in the original box

A contemporary Moorcroft pottery vase, of squat form, in the 'Trout' pattern designed by Philip Gibson, impressed factory marks and 'WM' monogram to the base, height 14.5cm, in the original box

A contemporary Moorcroft pottery vase, of ovoid form, in the 'Trout' pattern designed by Philip Gibson, impressed factory marks and 'WM' monogram to the base, height 11cm, in the original box