64 x Farthings, comprising: 2 x George II: 1737 rev. small date, and 1754; 3 x George III: 1773, 1799 and 1806 obv. K on truncation, an excellent example, about UNC; George IV 1828; William IV 1835, en medaille; 18 x Victoria: 1843, 1853 obv. WW on truncation, 1861 obv. 5 berries in wreath, 1862, 1866, 1869, 1872, 1875 H obv. older features, 1876H rev. normal 6, 1878(x2), 1882H, 1884, 1886(x2), 1887, 1898, 1899 and 1901; 9 x Edward VII: 1902, 1904, 1905(x2), 1906, 1907, 1908, and 1909(x2); 13 x George V: 1911, 1915, 1917, 1918(x2), 1922, 1923, 1925, 1927, 1928, 1929, 1931, and 1936; 16 x George VI: 1937, 1939, 1940, 1941, 1942, 1943, 1944, 1945, 1946, 1947, 1948, 1950(x3), 1951, and 1952; and Elizabeth II 1953; mostly Fair to Fine, some later issues VF or better; together with 2 x Victoria half farthings 1843 and 1844, AVF to VF; and 2 x pennies: 1883 Fair, and 1950 VF.
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80 x World Banknotes, mostly European second half of the 20th century, including examples from Guernsey, Scotland, Jersey, the UK, Belgium, France, Switzerland, Poland, Germany etc., highlights include: 2 x Guernsey: £1 1st June 1963, serial no.33/L 2137, Pick 43b, and 10 shillings 1st March 1962, serial no.14/V 1858, Pick 42b; 4 x Germany (Federal Republic) 100 deutsche marks 2nd January 1960 issue, Pick 22; 3 x Scotland: The British Linen Bank £1 12th May 1959, serial no. K/3 376578, Pick 157d; The Royal Bank of Scotland £1 1st November 1960, serial no. BB 905858, Pick 324b; and National Commercial Bank of Scotland Limited £1 1st November 1961, serial no. F097873, Pick 269a; Switzerland 100 CHF 21st January 1965, serial no. 52K 86383, Pick 49g; mostly VG to near Fine. Viewing recommended. Collection of 20th century European banknotes including examples from Guernsey, Scotland, the Bank of England etc.
§ WILLIE RODGER R.S.A., R.G.I., DUniv (SCOTTISH 1930-2018) BATHSHEBA, 1998 Signed and dated lower right, inscribed with title stretcher verso, oil on canvasDimensions:76.5cm x 102cm (30in x 40in)Provenance:Exhibited: Royal Scottish Academy Annual Exhibition, 2012Note: Note: Willie Rodger studied at Glasgow School of Art from 1948-52 and was a school art teacher until 1987 when he resigned to concentrate on his career as an artist.Rodger worked in a variety of media in a career which saw him design 11 stained glass windows (working collaboratively with John K. Clark), a Scottish Post Office Aerogramme, a set of postage stamps for Scottish Devolution, the award-winning Scottish Historical Playing Cards (for the late Angus Ogilvy of The Stirling Gallery), book jackets and record sleeves, letterheads, logos and alphabets.A gifted draughtsman, his drawing ability was already recognised whilst a student, and he always had a small sketchbook and a pen to hand. Having been dissuaded from painting whilst at Art School, he took it up several decades later after the late Angus McAuley of the Stenton Gallery prompted him to try his hand, and offered him a solo exhibition by way of encouragement.It was as a relief printmaker, working mostly in lino and wood, that Rodger established himself. His status as one of Scotland’s pre-eminent printmakers was recognised by his peers in 1989 when he became the first person elected an Associate of the Royal Scottish Academy in the category of Printmaker.The works included here show his humour and range across a variety of techniques from paint to print and collage.
§ WILLIE RODGER R.S.A., R.G.I., DUniv (SCOTTISH 1930-2018) THE FLEA SHALL NOT DINE AGAIN, 2004 Signed and dated lower left, signed and inscribed and dated stretcher verso, oil on canvasDimensions:100cm x 74cm (39.25in x 2n)Provenance:Exhibited: Royal Scottish Academy Annual Exhibition, 2014Note: Note: Willie Rodger studied at Glasgow School of Art from 1948-52 and was a school art teacher until 1987 when he resigned to concentrate on his career as an artist.Rodger worked in a variety of media in a career which saw him design 11 stained glass windows (working collaboratively with John K. Clark), a Scottish Post Office Aerogramme, a set of postage stamps for Scottish Devolution, the award-winning Scottish Historical Playing Cards (for the late Angus Ogilvy of The Stirling Gallery), book jackets and record sleeves, letterheads, logos and alphabets.A gifted draughtsman, his drawing ability was already recognised whilst a student, and he always had a small sketchbook and a pen to hand. Having been dissuaded from painting whilst at Art School, he took it up several decades later after the late Angus McAuley of the Stenton Gallery prompted him to try his hand, and offered him a solo exhibition by way of encouragement.It was as a relief printmaker, working mostly in lino and wood, that Rodger established himself. His status as one of Scotland’s pre-eminent printmakers was recognised by his peers in 1989 when he became the first person elected an Associate of the Royal Scottish Academy in the category of Printmaker.The works included here show his humour and range across a variety of techniques from paint to print and collage.
§ WILLIE RODGER R.S.A., R.G.I., DUniv (SCOTTISH 1930-2018) GOOD MORNING, MISS TRAVERS, 1993 Signed and dated lower left, oil on canvasDimensions:51cm x 51cm (20in x 20in)Note: Note: Willie Rodger studied at Glasgow School of Art from 1948-52 and was a school art teacher until 1987 when he resigned to concentrate on his career as an artist.Rodger worked in a variety of media in a career which saw him design 11 stained glass windows (working collaboratively with John K. Clark), a Scottish Post Office Aerogramme, a set of postage stamps for Scottish Devolution, the award-winning Scottish Historical Playing Cards (for the late Angus Ogilvy of The Stirling Gallery), book jackets and record sleeves, letterheads, logos and alphabets.A gifted draughtsman, his drawing ability was already recognised whilst a student, and he always had a small sketchbook and a pen to hand. Having been dissuaded from painting whilst at Art School, he took it up several decades later after the late Angus McAuley of the Stenton Gallery prompted him to try his hand, and offered him a solo exhibition by way of encouragement.It was as a relief printmaker, working mostly in lino and wood, that Rodger established himself. His status as one of Scotland’s pre-eminent printmakers was recognised by his peers in 1989 when he became the first person elected an Associate of the Royal Scottish Academy in the category of Printmaker.The works included here show his humour and range across a variety of techniques from paint to print and collage.
§ WILLIE RODGER R.S.A., R.G.I., DUniv (SCOTTISH 1930-2018) COLDINGHAM, 1984 Signed lower left, signed and dated stretcher verso, oil on canvasDimensions:76cm x 76cm (30in x 30in)Note: Note: Willie Rodger studied at Glasgow School of Art from 1948-52 and was a school art teacher until 1987 when he resigned to concentrate on his career as an artist.Rodger worked in a variety of media in a career which saw him design 11 stained glass windows (working collaboratively with John K. Clark), a Scottish Post Office Aerogramme, a set of postage stamps for Scottish Devolution, the award-winning Scottish Historical Playing Cards (for the late Angus Ogilvy of The Stirling Gallery), book jackets and record sleeves, letterheads, logos and alphabets.A gifted draughtsman, his drawing ability was already recognised whilst a student, and he always had a small sketchbook and a pen to hand. Having been dissuaded from painting whilst at Art School, he took it up several decades later after the late Angus McAuley of the Stenton Gallery prompted him to try his hand, and offered him a solo exhibition by way of encouragement.It was as a relief printmaker, working mostly in lino and wood, that Rodger established himself. His status as one of Scotland’s pre-eminent printmakers was recognised by his peers in 1989 when he became the first person elected an Associate of the Royal Scottish Academy in the category of Printmaker.The works included here show his humour and range across a variety of techniques from paint to print and collage.
§ WILLIE RODGER R.S.A., R.G.I., DUniv (SCOTTISH 1930-2018) WOOD SCRAPS - 1981 Signed lower right and titled lower left, collage with printed elementsDimensions:101cm x 75.5cm (39.75in x 29.75in)Provenance:Provenance: Willie Rodger Art TrustNote: Note: Willie Rodger studied at Glasgow School of Art from 1948-52 and was a school art teacher until 1987 when he resigned to concentrate on his career as an artist.Rodger worked in a variety of media in a career which saw him design 11 stained glass windows (working collaboratively with John K. Clark), a Scottish Post Office Aerogramme, a set of postage stamps for Scottish Devolution, the award-winning Scottish Historical Playing Cards (for the late Angus Ogilvy of The Stirling Gallery), book jackets and record sleeves, letterheads, logos and alphabets.A gifted draughtsman, his drawing ability was already recognised whilst a student, and he always had a small sketchbook and a pen to hand. Having been dissuaded from painting whilst at Art School, he took it up several decades later after the late Angus McAuley of the Stenton Gallery prompted him to try his hand, and offered him a solo exhibition by way of encouragement.It was as a relief printmaker, working mostly in lino and wood, that Rodger established himself. His status as one of Scotland’s pre-eminent printmakers was recognised by his peers in 1989 when he became the first person elected an Associate of the Royal Scottish Academy in the category of Printmaker.The works included here show his humour and range across a variety of techniques from paint to print and collage.
§ WILLIE RODGER R.S.A., R.G.I., DUniv (SCOTTISH 1930-2018) IN MY FATHER'S HOUSE, 2000 Signed and inscribed with title and dated lower right, collaged linocut printed elements on a white groundDimensions:136cm x 100cm (53.5in x 39.5in)Provenance:Exhibited: Royal Scottish Academy Festival Exhibition, 2000Note: Note: Willie Rodger studied at Glasgow School of Art from 1948-52 and was a school art teacher until 1987 when he resigned to concentrate on his career as an artist.Rodger worked in a variety of media in a career which saw him design 11 stained glass windows (working collaboratively with John K. Clark), a Scottish Post Office Aerogramme, a set of postage stamps for Scottish Devolution, the award-winning Scottish Historical Playing Cards (for the late Angus Ogilvy of The Stirling Gallery), book jackets and record sleeves, letterheads, logos and alphabets.A gifted draughtsman, his drawing ability was already recognised whilst a student, and he always had a small sketchbook and a pen to hand. Having been dissuaded from painting whilst at Art School, he took it up several decades later after the late Angus McAuley of the Stenton Gallery prompted him to try his hand, and offered him a solo exhibition by way of encouragement.It was as a relief printmaker, working mostly in lino and wood, that Rodger established himself. His status as one of Scotland’s pre-eminent printmakers was recognised by his peers in 1989 when he became the first person elected an Associate of the Royal Scottish Academy in the category of Printmaker.The works included here show his humour and range across a variety of techniques from paint to print and collage.
§ WILLIE RODGER R.S.A., R.G.I., DUniv (SCOTTISH 1930-2018) 'THE ROUND HILL' - COLDINGHAM SANDS, BERWICKSHIRE - 1973 Woodcut and linocut, 2/25, signed, dated, titled and numbered in pencilDimensions:60cm x 105cm (23.5in x 41.25in)Provenance:Provenance: Willie Rodger Art TrustNote: Note: Willie Rodger studied at Glasgow School of Art from 1948-52 and was a school art teacher until 1987 when he resigned to concentrate on his career as an artist.Rodger worked in a variety of media in a career which saw him design 11 stained glass windows (working collaboratively with John K. Clark), a Scottish Post Office Aerogramme, a set of postage stamps for Scottish Devolution, the award-winning Scottish Historical Playing Cards (for the late Angus Ogilvy of The Stirling Gallery), book jackets and record sleeves, letterheads, logos and alphabets.A gifted draughtsman, his drawing ability was already recognised whilst a student, and he always had a small sketchbook and a pen to hand. Having been dissuaded from painting whilst at Art School, he took it up several decades later after the late Angus McAuley of the Stenton Gallery prompted him to try his hand, and offered him a solo exhibition by way of encouragement.It was as a relief printmaker, working mostly in lino and wood, that Rodger established himself. His status as one of Scotland’s pre-eminent printmakers was recognised by his peers in 1989 when he became the first person elected an Associate of the Royal Scottish Academy in the category of Printmaker.The works included here show his humour and range across a variety of techniques from paint to print and collage.
LIVERPOOL FOOTBALL CLUB; an interesting archive of ephemera including an autograph book bearing signatures of players from 1950/51 to include Liddell, Paisley, etc, also two pages of Everton signatures from the same period, including the captain Peter Farrell, further autograph book from 1968/69, including Callaghan, Ian St John, Roger Hunt, etc, five ticket stubs for matches in the 1977/78 European campaigns and a quantity of 1960s and 70s programmes, to include European games and FA Cup. CONDITION REPORT: Ticket stubs include: Liverpool V St Etienne, 16th March 1977, Main Stand, Row 1, Seat 74, Liverpool V St Etienne, 16th March 1977, Kemlyn Road Stand Block K, Row 7, Seat 155, Liverpool V Borussia Monchengladbach (Champions of West Germany), 12th April 1978, Ground Ticket, Spion Kop No.5707, Two tickets for European Champion Clubs Cup Competition Semi-Final at Anfield, Kemlyn Road Stand Block K, Row 28, Seats 166 and 167. The handwriting on the brown envelopes/packaging simply describes the contents of the individual packets.
Two 9ct yellow gold floral dress rings, one with green citrine and small white diamonds, size J, the other with pale amber-coloured stones and small white diamonds, size J, and two rose gold coloured dress rings, one cluster set with white stones, size K, and the other floral set with white enamel and multicolour stones, size K, combined weighable gold approx 6g (4)
Four 9ct yellow gold dress rings comprising two marquise-shaped examples set with cubic zirconia, both size J, a floral set ring with three central aquamarine-coloured stones and white stone surround, and a wishbone ring with amethyst-coloured and aquamarine-coloured stones, both size K, combined approx 10.1g (4).
Three gold rings comprising an example with large claw set pale blue stone, size K, marks rubbed, a 9ct gold ring set with small white opal within a ring of six tiny sapphires (one missing), on open love heart shoulders, on 9ct gold shank, approx 1.2g, size Q and a 9ct gold half eternity ring with nine small tension fit diamonds, size M, approx 0.9g (3).
Three-hundred-and-twelve paper cased collector's shotgun cartridges in a purpose built mirror backed oak display cabinet, including K D Radcliffe of Colchester, Greenwood & Batley of Leeds & Farnham, The Greenwood, Elton Stores Darlington, Thomas Turner, Gallyon & Sons, Curtis & Harvey's, William Evans Mark Over, George Hinton & Sons of Taunton, Purdey, Steven Grant & Sons, C Smith & Sons Newark, W Richards of Liverpool and Preston The Mark Down, Boss & Co, T Page-Wood Ltd The Bristol etc. From the collection of Ken Rutterford. PLEASE NOTE THAT A VALID RELEVANT FIREARMS/SHOTGUN CERTIFICATE IS REQUIRED TO HANDLE/PURCHASE THIS ITEM.We are not able to post this lot.
A 20th Century Brunei South East Asian silver trinket box together with a similar napkin ring and silver ring. The box of round form with foliate engraved details, the napkin ring with cartouche panels with engraved dedication, and the ring with repousse detailing. Box measures 6.6cm wide. Box marked H. A. K. with arabic silver mark, all tests as silver. Total weight 82.9g.
Radio - EKCO Type A22 Valve Radio An Ekco Model A22 vintage bakelite radio, circa 1940's, designed by Wells Coates for E K Cole Ltd, 33.5cm dia, 36cm high From a private Berkshire collection. Condition, untested but visually very good, we maintained by the previous owner who was a radio engineer
A Mamiya K/L f/3.5 75mm Camera Lens, body G, optics G, some haze present, together with a Mamiya-Sekor Z f/4.5 180mm lens, body F-G, optics F-G, some haze presentNote: Lot imported under Temporary Admission. 5% UK import VAT will be charged on the ‘hammer’ and 20% UK VAT will be charged on the ‘buyer’s premium’ and invoiced on an inclusive basis under UK Margin Scheme rules.
A Third Reich K98 bayonet, by W K C, the blade with later etched panels inscribed "3 Panzer Regt:- "Grossdeutschland" and "Der Sieg unser Sein-1943", the pommel etched with swastika and "GD" in panel, with brown bakelite grips and steel scabbard. GC (scabbard worn and slightly dented). £150-180
Twelve Cavalry cap badges: KDG (1915-37), chrome plated QDG, 3rd Carabiniers (lugs), 4/7th DG (lugs); pre 1948 Royal Dragoons, post 1920 3rd K O Hussars, 5th (Inniskilling) DG, 11th Hussars, 12th Lancers, small size cast WM post 1910 18th Hussars, 15/19th Hussars, and WWII 22nd Dragoons (Marples & Beasley). GC £30-60
MILCHKÄNNCHEN / SAHNEGIESSER / KLEINE MILCHKANNE, deutsch / Berlin, 1. H. 19. Jh., wohl 12lötiges Silber (750er Silber, 149 Gramm). Gemarkt mit Berliner Stadtpunze (stehender Bär mit Buchstabe »K« - Beschauzeichen des Ersten Zeichenmeisters J. C. S. Kessner; 1819-1854), "B im Kreis" und "N". Gebauchte Form mit mehrpassiger Wandung auf Rundstand; eingezogene Schulter und weit ausgestellte Mündung mit breitem Ausguss; Henkel mit plastischem Rocaillendekor. Innen vergoldet; Wandung mit graviertem Blütendekor. H. 9,2 x L. 15 x B. 10 cm. (Gebrauchsspuren).
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137170 item(s)/page