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Click here to subscribeBooks - Ure, David ' The History of Rutherglen and East Kilbride ' published by David Niven, Glasgow 1793 together with a quantity of other Books including ' The Water Babies ' by Charles Kingsley illustrated by Jessie Wilcox Smith and ' Peter Pan & Wendy ' by J M Barrie illustrated decorated by Gwynedd M Hudson
Books - Gibbings, Robert ' The Wood Engravings ' published J M Dent 1959, 1st edition, including a loose engraving of a gull faintly signed by the artist, together with four other works by the author - Blue Angels and Whales, Over the Reefs, Till I end my song and Sweet Thames Run Softly (5)
Collection in six stockbooks, duplication from the very first issues onwards, the classics in mixed condition as to be expected yet much collectable quality incl. a range of 10cts Napoleon pairs with various postmarks, the 1fr Napoleon a fairly convincing forgery, also useful Bordeaux issues, imperf postage dues, peace and commerce to 5fr, coloured dues with mint top values, early charity issues and surcharges, 1936 10fr flying boat unused and used, 1937 PEXIP m/s mint (small faults), lots of useful 1930s to 1950s sets and high values incl. 1954 portraits set used, 1955 set mint and used, etc, continuing to 2001, the later years less solid. Needs inspection.
Collection of approx. 2000 mint and used stamps displayed in two Davo hingeless albums, beginning with (used unless otherwise stated) Geneva reference examples, 'orts-post' and ten Federal 'rayon' issues in varying condition, four with Sismondo certificates, followed by the imperf Helvetias to 1fr grey, 1862 perf Helvetias including 3cts black and 1fr bronze-gold (SG.60, cat. £500), numerals incl. 1894 12cts dull blue mint (SG.131Bd, cat. £425), extensive standing Helvetias with several types to 3fr, good varieties continuing through the early 20th century issues, then 1919/20 first airmail ovpts mint (the 30cts signed), 1936 pro patria m/s MNH and 1945 war relief fund m/s, 1945 PAX set with 2fr and 3fr used and 5fr and 10fr MNH (cat. £600), officials/departments incl. refugee set used, 'Industrielle Kriegswerkschaft' ovpts with and without serif sets mint including the good 7½cts type (SG.O299/O300, O302/O315, cat. £1,850), well-filled postage due first page, etc. A decent collector's collection often with mint/used and shades stacked in the same space, plus extra pages for varieties. Please inspect.
A group of collections in seventeen volumes, chiefly New Zealand, Australia, Canada and India, the New Zealand in three binders with range of perf Chalon heads and later QV mint, 19th century postal fiscals to £1, modern issues mostly used with some mint sets and m/s to 2000s. The Australia in three volumes with used incl. 'roos to 5/-, the mint incl. 1937/49 'robes' with 10/- and £1 imprint blocks, into 2000s, particularly 2006 incl. m/s. Then Canada in SG album incl. 1897 50cts jubilee cds used, Quebec set mint, etc, India on album pages with 4a red and blue cut-to-shape, revenues incl. green 'postage' ovpt on 6as lilac, KEVII to 10rs, KGV to 10rs mint and 15rs used, CEF ovpt set mint, useful Convention and Native States, Muscat, etc. Also South Africa album incl. SWA 1931 bi-lingual pairs set to 20/- mint, Ireland collection with 1922 first definitive set mint, an album of Omnibus sets incl. a few 1948 silver wedding high values, 1949 UPU, etc.
Two-carton accumulation of well over 20,000 stamps in over 25 volumes, including two-volume collection in green Ideal albums for foreign countries to late 1920s incl. Japan with imperf dragons and syllabics, Siam with handful of 'atts' incl. large numeral surcharge, etc, a Minkus Supreme Global album with Netherlands and US incl. many plate blocks, collection in three replete Swiftsure loose-leaf albums, three special hingeless albums for Rubens thematic sets and m/s with no empty spaces, etc, etc. Noted Russian area and Latin America, as well as useful British Commonwealth. Also two bonus boxes with a good range of mainly Stanley Gibbons catalogues - about 20 different 'parts' - incl. 2012 China.
Accumulation in over twenty volumes and loose in a grocer's box and jute bag, lots of vintage schoolboy albums of varying standard, pre-war correspondence from Europe, Russia, Sierra Leone, etc, with postage dues, re-directed, much cinderella affixed, also seen group of five essays for Austria prisoner of war relief, good range of mint pre-decimal Great Britain, 21st century face value about £100 mainly in m/s and booklets, a real mixture, needs thorough inspection.
Mike Farrell signed MASH tv comedy series 10x8 colour photo. Michael Joseph Farrell Jr. (born February 6, 1939) is an American actor, best known for his role as Captain B.J. Hunnicutt on the television series M*A*S*H (1975-83). Farrell was a producer of Patch Adams (1998) starring Robin Williams, and starred in the television series Providence (1999-2002). He is also an activist and public speaker for various political causes. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Avro Lancaster Multi Signed Disbandment of 617 Squadron Flown FDC with Stamps and Postmarks. Signed by the Entire Crew Flt Lt A Walker. Flt Lt J Rooney, Flt Lt PC West, Flt Lt M J Grout, Fg Off BJ Masefield and Sqn Ldr MH Straw. Flown in a Vulcan B MK 2. RAF B30. 10p Jersey Stamp with 31st Dec 81 Jersey Postmark. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Multi Signed 50th Anniversary of the Glider Pilot Regiment Flown FDC With Stamps and Postmarks. Personally Signed by Parachutists including I Christie, C Dixon, M Sheridan, D Mitchell, D Alexander, M Gardener, G Maclennan, C Burman, J Grime, C Hartigan, S Tebbutt and G Wilson. JS(AC)61. Flown in a Britten Norman Islander. Military Medal Stamp with 9 May 92 Postmark. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
WW2 Sgt Ray Grayston, M Stevens and Steve Stevens DFC Signed Max Arthur Book Titled Dambusters- A Landmark Oral History. First Edition Hardback book with 339 Pages. Published in 2008. Spine and Dust-Jacket in. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
German Capital Ships of World War Two by M J Whitley Softback Book 2000 Second Edition published by Cassell and Co some ageing. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Westward, Varney, Highway Models, Western Precision Castings, Others - A boxed / bagged collection of eight white metal OO scale buses and commercial vehicles. Lot includes Westward Alexander M Bus; Western Precision Castings 'Cotswold' London RTL Double Deck Bus; Highway Models #2 1948 ERF; Transport Replicas Tilling London Bus no.5 and similar. Kits appear to be in Mint condition with loose parts majority of which are wrapped / encased within original packaging, and appear to come with instructions. Kits are all unchecked for completeness, and are housed in Very Good - Excellent boxes with some small areas of taping and general age related wear. Bagged model is in factory sealed bag. (This does not constitute a guarantee).
An extravagant Christian Dior 18ct gold amethyst set heavy five stonen ring, of knot design the largest stone measures 1.5ct, pierced designers monogram, etched Dior and no. A6743 54, French hallmarks, size M/N, weight 29.9g.Condition report: Apart from some minor scratches to the gold tone, there are no defects visible to the naked eye. under a loop, the amethyst stones are well set, with no chips. stones are in good condition with no visible scratches.No certification. We can send this item for £6 including the cost of postage.
A good 19th century Roman-Revival 18ct gold gold cross pendant, set with a possibly ancient Egyptian carved carnelian scarab to the centre, the reverse is intaglio carved with a seated man, the cross spelling R O M A within line borders, 32 x 32mm, weight 5.85 grams.Condition report: There is a small dent and crack under the letter M (visable in our image) but everything else is in good condition.
A George III gold, blue guilloche enamel pearl set ring, the navette head with glazed panel with inset needlework measuring 33mm x 19mm, size M, weight 7.7g.Condition report: One pearl is chipped and is visible to the eye. The enamel and glass is in good condition. We can post this for £6 plus the cost of postage.
Imposing writing cabinet set with its "contador". Lima. Viceroyalty of Peru. 18th century. This piece of furniture is decorated with inlaid shells - a technique known as "enconchado." The interior is made of red cedar covered with marquetry made from contrasting woods, tortoiseshell, stained bone and mother of pearl. Total measurements: 114 x 110,5 x 33 cm. Lower body: 70 x 110,5 x 33 cm. Upper body: 55’5 x 78,8 x 25 cm. Important example of Peruvian “enconchado” furniture. On each of its faces, as well as on the doors of the central body, there is a tortoiseshell and mother of pearl coat of arms of the Order of Our Lady of Mercy in an octagonal compartment in relief. Both bodies of the desk have three sides each and are topped with various pinnacles which give them a marked architectural character. The lower one has two doors at the sides and a double central door, which hides four drawers behind it. The central section has another drawer. The upper body follows the same scheme as the lower, but the sides do not open out with doors. Among old inventories we find a definition for this type of furniture, which was very probably sold accompanied by a gaming table. As the curator Jorge Rivas describes (2007), "the highest strata of Colonial society in Latin America had an excessive taste for luxury. Enormous sums of money were invested in sumptuous items which came from all around the world. The merchandise from Europe and the Far East were in competition with local products, which were often even more luxurious than those which were imported." Rivas adds that this type of luxurious furniture was considered to be indispensable in showing a family’s social status. With regard to the technique used, "inlay was one of the most employed decorative techniques for decorating desks and writing cabinets. Generally, they were inlaid with precious materials such as bone, ivory, mother of pearl, ebony and tortoiseshell.” Jorge Rivas, who we quote, is currently the curator of the Frederick and Jan Mayer Center in the Denver Art Museum, and head of the Latin American Art department. He has correctly identified this furniture set as being originally from Peru, and, as we can read in Professor Gustavo Curiel’s interesting article: “it has been repeated, without any kind of basis, that this type of furniture was made in Mexico City, the Philippines, the Indo-Portuguese coast and continental Asia. Recently, Jorge Ribas has confirmed, after meticulous study and many comparisons, that these pieces were made in the Viceroyalty of Peru”. There are some comparable examples to this piece of furniture in the Dallas Meadows Museum, the Museo Pedro de Osma in Lima, the Museo Soumaya in Mexico and in the Buenamuerte church and convent in Lima. Finally, there is an example with two body sections which is practically identical to ours which was sold at auction in Sotheby's in New York on the 5th November 1998 for $1690. Reference bibliography: - Campos Carlés de Peña, M. (2013). Un legado que pervive en Hispanoamérica. El mobiliario del Virreinato del Peru de los siglos XVII y XVIII. (pp. 241-287). Ediciones El Viso. - Curiel, G. (2009). Mostrador limeño. Imágenes, del Instituto de Investigaciones estéticas de Mexico. Http://www.esteticas.unam.mx/revista_imagenes/imago/ima_curiel05.html - Rivas, J. F. (2007). Observaciones sobre el origen, desarrollo y manufactura del mobiliario en América Latina. In J. J. Rishel y S. Stratton-Pruitt (Comps.), Revelaciones. Las artes en América Latina, 1492 – 1820. (pp. 498-499). Fondo de Cultura Económica.This lot comes from importation and therefore has the export license from spanish culture guaranteed.
Attributed to Juan Patricio Morlete (San Miguel el Grande, Guanajuato, Mexico, 1713/1715 - Mexico, 1772)"Triumphal entrance of Alexander in Babylon"Six-panel folding screen. Oil on canvas. 192 x 312 cm. The first panel is missing.An oil painting on canvas (n.d.) by Juan Patricio Morlete was exhibited in 2015 at the Museo Nacional de San Carlos in Mexico, as part of the permanent exhibition “Neoclasicismo” with the same theme and great compositional similarities to this painting. There is another canvas also by Morlete which is very similar to the former, which forms part of the artistic patrimony of the Fomento Cultural Banamex. It is one of the paintings of the set of battles of Alexander the Great which the artist painted in 1767, inspired, as Ilona Katzew explains (2014), by a monumental series of engravings by Charles Le Brun (Paris, 1619 – 1690) of “The Triumphs of Alexander”, which were commissioned by Louis XIV and sent to European governors as propaganda. One of the engravings by Jean Audran (Lyon, 1667 – Paris, 1756), can be found in the Barcelona Museu Nacional d’Art de Catalunya (MNAC). We find it curious that the scene in our painting is in reverse, compared with the two canvases we mentioned, the engravings and the original picture by Le Brun (1665), which is exhibited in the Louvre Museum. This may also be due to the fact that, as this is a screen and not a fixed painting, the final location of the piece of furniture would have influenced whether the painter would decide to develop the scene in this direction, considering that this would have been a commission, which is most likely. Moreover, the artist moved the scene to an environment with more vegetation and no architectural structures, he varied the treatment of the colour by adding more reddish tones, incorporating some native elements (feathers, cloaks, etc.) and he even draws some faces which, in our opinion, have more indigenous features. It is known that Morlete made variations on the original engraving on occasions, for fun or because the commission he received required it. He would augment the margins or add characters and vegetation, which could explain these modifications. In any case, as well as the obvious similarity in the theme, composition and main elements of the painting, we would like to go deeper with this comparison and point out the treatment that the artist gave to the horses, giving them special expressivity, as if he was painting their portraits or wished to humanise them or give them a certain personality, with some features that are recognisable in the three paintings we are concerned with. With regard to the support of our painting, folding screens arrived in the New World through the route that united the Far East and Spain via Mexico, on vessels known as the China Ship or Manila Galleon. It is not exactly known when the first contact with New-Hispanic society with this and other products of an Asian origin happened, but it is known that they formed part of the embarkations in 1585, when a Japanese ambassador came to Mexico City as part of her voyage to visit Philip II and Pope Gregory XIII. Katzew (2014) also reminds us that screens were also the central items in 1614 in a gift from the Japanese shogun Tokugawa Ieyasu (Okazaki, 1543 – Shizuoka, 1616) to the viceroy Luis de Velasco (1607 – 1611). This growing Exchange between Asian and Colonial Latin American civilisation was not an accident, it happened in the context of the empowerment of the creoles in which, according to Gauvin A. Bailey (2007) “feelings contrary to Spain” began to grow, and “Asian art gave Hispanic-Americans a way of expressing their pride in the indigenous antiquity of their land.” With regard to folding screens, these were extremely popular in New-Spanish houses, becoming an essential piece of furniture in practically all the homes of the period, almost regardless of the household’s economy. In fact, Sofía Sanabrais (2007) tells of the existence of “biombos ordinarios” (ordinary screens) with cheap textiles and no paintings in humble homes. However, this did not mean that screens became unattractive to richer families; it was quite the opposite, they were widespread among the houses of the élite, and their multifunctionality may be a possible reason for this. On the one hand, New-Hispanic screens were used to delimit spaces or hide furniture, in their most practical aspect, as occurred with the “biombos de cama” or bed screens (Sanabrais, 2007). On the other, their decorative use also had many devotees, whether as “backdrops or as central pieces for social meetings, in which they would serve as a subject of conversation,” (Katzew, 2014); we imagine that these conversations would be especially lively when they were referring to screens painted by the best artists of the period: Cabrera, Correa or Morlete himself. In fact, the majority of screens that have survived to the present day are anonymous as they were not normally signed by the artist (Codding, 2007). We know of a screen in the Franz Mayer Museum in Mexico that is signed by Juan Correa: “The four elements and the liberal arts” (c. 1670); and “Folding screen with fête galante and musicians” (c. 1760) can be attributed to Miguel Cabrera.Finally, focussing on the artistic value of the “protection against the wind” (if we refer to folding screens using the literal translation of the Japanese term ‘byôbu’, which the Spanish ‘biombo’ comes from), the suitability of their format with, usually, ten screens around two metres high, for depicting narrative compositions must be highlighted. It is not surprising, therefore, that they made the ideal support for mythological and allegorical subjects which we see in the screen by Correa that was previously mentioned. They are also ideal for views of cities, as we see in one of the first screens that illustrates the Mexican capital (1690 - 1692), in the Franz Mayer Museum, as well as scenes of high-class parties, such as the screen attributed to Cabrera;, or for historical themes, good examples of this being "The Conquest of Mexico" attributed to Miguel González (Mexico, active 1662 - 1698) or the folding screen we have here, which we attribute to Morlete. Bibliographic references: - Bailey, G. A. (2007). Asia en las artes de la América Latina colonial. En J. J. Rishel y S. Stratton-Pruitt (Comps.), Revelaciones. Las artes en América Latina, 1492 - 1820. (pp. 57-71). Fondo de Cultura Económica. - Brown, J. (2014). De la pintura española a la pintura novohispana, 1550-1700. En L. E. Alcalá y J. Brown (Eds.), Pintura en Hispanoamérica, 1550 - 1820. (pp. 103-148). Ediciones El Viso. - Codding, M. A. (2007). Las artes decorativas en América Latina, 1492 - 1820. En J. J. Rishel y S. Stratton-Pruitt (Comps.), Revelaciones. Las artes en América Latina, 1492 - 1820. (pp. 98-145). Fondo de Cultura Económica. - Kagan, R. L. (Ed.). (1998). Imágenes urbanas del mundo hispánico. 1493 - 1780. Ediciones El Viso e Iberdrola. - Katzew, I. (2007). Estrellas en el Mar de la Iglesia: los indios en la pintura novohispana del siglo XVIII. En J. J. Rishel y S. Stratton-Pruitt (Comps.), Revelaciones. Las artes en América Latina, 1492 - 1820. (pp. 337-481). Fondo de Cultura Económica. - Katzew, I. (2014). Pinceles valientes. La pintura novohispana, 1700-1785. En L. E. Alcalá y J. Brown (Eds.), Pintura en Hispanoamérica, 1550 - 1820. (pp. 149-204). Ediciones El Viso. - López Guzmán, R. (Ed.). (2021). Tornaviaje. Arte iberoamericano en España. Museo Nacional del Prado. - Museo Nacional de San Carlos (30 de marzo de 2015). Juan Patricio Morlete Ruiz, Mexico,1713-1772 Entrada triunfal de Alejandro el Grande, s.f. Óleo sobre tela, 83 x 127 [Tweet] [Imagen adjunta]. Twitter. Https://twitter.com/museo_sancarlos/status/582608136462204928
10 Bottles Mixed Lot Champagne, Wine Society Saumur Brut and Prosecco di Valdobbiadene comprising : 3 bottles Champagne Alfred Gratien Private Cuvee Brut Selected by ‘The Wine Society’ (all at 1cm inverted), 1 bottle Champagne Larive Brut Ay (1 cm. - damage to capsule and label), 1 bottle Champagne Blanc de Blancs M. Hostomme et Fils – selected for Fortnum and Mason (1cm.), 3 bottles Gratien & Meyer Saumur Brut ‘The Wine Society’ (all at 1cm.), 2 bottles Prosecco di Valdobbiadene ‘La Riva dei Frati’
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