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Lot 33
Steven R. McQueen signed 10x8 colour photo. Steven Chadwick McQueen (born July 13, 1988), known professionally as Steven R. McQueen, is an American actor and former model, best known for his role as Jeremy Gilbert in The CW fantasy supernatural drama The Vampire Diaries from 2009 to 2015 and in 2017, and its spin-off Legacies in 2018. He also starred as Jimmy Borelli in the NBC dramas Chicago Fire from 2015 to 2016 and Chicago P.D. in 2016, part of the One Chicago franchise. 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
Lot 619
WW2 Sgt C R Fowler Signed Flugt Gennem Danmark RAFES SC15 Flown FDC. An RAF Cover. German Stamp with German 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
Lot 750
Heroes of Bomber Command Lincolnshire by R Matthews Softback Book 2008 Revised Edition published by Countryside Books 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
Lot 119
Scalextric - Two boxed Scalextric Dodge Viper 1:32 scale slot cars. Lot comprises of Scalextric C2907 competition Coupe 'Naykid Racing' RN3; C2691D Competition Coupe '3-R Racing' RN92. Both models appear to be in Mint condition, presented within Mint perspex cases, C2619D has some slight storage wear to outer sleeve. 2) (This does not constitute a guarantee)
Lot 244
Hornby - 2 x boxed 00 gauge LMS steam locos, # R.357 Patriot Class 5XP 4-6-0 Duke Of Sutherland operating number 5541 and # R.376 Class 4P 4-4-0 Compound with smoke. Both show signs of use with light wear marks and there are a couple of grey paint marks on the Class 4 which may or may not come off. They appear in Fair to Good condition in Fair boxes, one has a damaged end flap. (This does not constitute a guarantee) (2)
Lot 245
Hornby - Airfix - 2 x boxed steam LMS locos, a Class 5 4-6-0 operating number 5231 # R.320 and Airfix 4-6-0 Royal Scots Fusilier operating number 6103. Both models show light signs of age and use and would benefit from cleaning. They appear in Good condition overall in Fair boxes with storage wear. (This does not constitute a guarantee) (2)
Lot 249
Hornby - Lima - Airfix - 7 x boxed LMS liveried 00 gauge coaches including Hornby Royal Mail Coach # R.413, Lima Dining Car 305312W, Grafar 3rd class coach and others. All show some signs of age and use, some may have minor damage, the Grafar is in an incorrect box. They appear in Fair to Good condition overall in Fair to Good boxes. (This does not constitute a guarantee) (7)
Lot 251
Hornby - A boxed Class 110 3 x car Diesel Multiple Unit in British Rail dark green. # R.369. The models show light signs of age and use, the coupling hooks are missing from the centre coach, it appears otherwise in Good condition in a Fair box which would benefit from cleaning. (This does not constitute a guarantee)
Lot 252
Hornby - Grafar - Lima - 6 x boxed 00 gauge models, a Class OF 0-4-0 LMS loco in black # R.300, three Parcel vans in LMS maroon livery # 305358W, a BR Bogie Milk van # R6054A and a Graham Farish LMS 3rd class coach. All show light signs of age and use, they appear in Fair to Good condition in Fair to Good boxes. (This does not constitute a guarantee) (6)
Lot 358
Airfix - Lima - Dapol - Bachmann - 10 x boxed 00 gauge wagons including Palethorpes Pork Sausages 6 wheel van # R.670, 14 Ton Tank Wagon # 33502, Courtaulds 7 plank wagon # B169 and others. All the items show light signs of use, there are a few coupling hooks missing but they appear overall in Fair to Good condition in Good boxes. (This does not constitute a guarantee)
Lot 72
Scalextric - Two boxed Scalextric 1:32 scale Dodge Viper slot cars. Lot consists of Scalextric C3087 Dodge Viper; together with C2522 Dodge Viper Competition Coupe '3-R Racing' RN22. Both models appear to be in Mint condition within Near Mint boxes which have some minor storage wear. (2) (This does not constitute a guarantee)
Lot 758
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.
Lot 2043
Collection of 7, 7 inch vinyl 45 records, to include Turkish Blue Odeon Beatles 'she loves you' and 'Ill get you' catalogue number 45-LA 4136, Turkish Odeon Herman's Hermits 'Wonderful world' and 'I'm Henery the eighth I am', Beatles Hits 'Please please me', 'love me do', 'from me to you' and 'Thank you girl' catalogue number GEP 8880, Beatles 'Lady Madonna' and 'The inner Light', Queen 'Friends will be friends' and seven seas of Rhye', Capitol Leadbelly 'take this hammer', 'Ella speed', 'back water blues' and 'sweet mary blues', Tateside R&B Chartmakers. (7).
Lot 2150
Harry Houdini (1874-1926) Hungarian-American Magician & Escapologist. Vintage hand signed photo 'To R. B. Ogle Good Luck Houdini May 14 / 20', signed clearly in green pen, the photo is stuck on a piece of the artists work, overall, 25 x 31 cm. Provenance: The vendor was a family friend of the Ogle family in Dorset. Richard Bertram Ogle painted Harry Houdini in 1920 and they had various correspondence. Richard Bertram Ogle (British, 1889 - 1976) was known for his landscapes and his work as an illustrator, Richard Ogle studied at the Royal Academy Schools where his tutors included John Singer Sargent and Solomon J. Solomon.
Lot 2152
Harry Houdini (1874-1926) Hungarian-American Magician & Escapologist. Vintage hand signed photo 'Best Wishes Houdini', signed clearly in black pen, the photo was likely used by the artist Richard Ogle as it has been sketched over, overall, 20 x 25 cm, with an original hand drawn sketch of Harry Houdini in paint and pencil, signed 'R. Ogle 20/5/20 Bedford Theatre of Varieties Camden Town, on board, overall 27 x 37 cm and a Houdini booklet from 1920 (3). Provenance: The vendor was a family friend of the Ogle family in Dorset. Richard Bertram Ogle painted Harry Houdini in 1920 and they had various correspondence. Richard Bertram Ogle (British, 1889 - 1976) was known for his landscapes and his work as an illustrator, Richard Ogle studied at the Royal Academy Schools where his tutors included John Singer Sargent and Solomon J. Solomon.
Lot 387
ARSENAL Twenty seven programme for season 1980/1: home Reserves v Birmingham X 2, Bristol C, Bristol R, Chelsea, C.Palace, Fulham, Leicester, Luton, Norwich, Oxford, Plymouth, QPR, Swindon, Brighton SJFC, Bristol R SJFC, Swansea SJFC X 2, QPR FA Youth Cup, Wimbledon FA Youth Cup, A.Villa Presidents Cup and away v Enfield Friendly. Home Friendly v Cologne X 5. Single sheets are folded in half. Generally good
Lot 388
ARSENAL Thirty two programmes for season 1981/2: home Reserves v Birmingham, Bristol C, Bristol R, Chelsea, C.Palace, Fulham, Ipswich, Leicester, Luton, Norwich, Orient, Plymouth, QPR, Reading, Southampton, Swindon, Watford, West Ham. Reserve aways v Birmingham, Bristol C, Chelsea, C.Palace, Ipswich, Norwich, Oxford, Plymouth, Swindon, Watford, West Ham. Away to Harrow (Fr). Arsenal homes v Leicester SJFC, v Southampton FA Youth Cup. Plus Supporters Club yearbook 81/2. Single sheets are folded in half. Generally good
Lot 390
ARSENAL Fifty four programmes for season 1982/3; home Reserves v Birmingham, Brighton, Bristol R, Chelsea, C.Palace, Fulham, Ipswich, Leicester, Luton, Millwall, Norwich, Oxford, QPR, Reading, Southampton, Swansea, Swindon X 2, Tottenham. Reserve aways v Birmingham, Brighton, Bristol R X 2, Chelsea, C.Palace, Fulham, Ipswich, Leicester, Luton, Millwall, Norwich, Oxford, QPR, Reading, Southampton, Swansea, Swindon, Tottenham, West Ham X 2. Away friendlies to Barnet (Powling), Barnet (Brinkman), Chelsea, Gillingham, Soham Town Rangers, Carshalton Athletic, Rotterdam Tournament. Spartak v Arsenal UEFA - 2 different versions. Arsenal homes v C.Palace SJFC, v Portsmouth SJFC, QPR SJFC, v Norwich FA Youth Cup, away to Norwich FA Youth Cup. Generally good
Lot 391
ARSENAL Sixty two programmes for season 1983/4: home Reserves v Birmingham, Brighton, Bristol R, Charlton, Chelsea, C.Palace, Fulham, Ipswich, Leicester, Luton, Millwall, Norwich, Oxford, QPR, Reading, Southampton, Swansea, Swindon, Tottenham, Watford, West Ham. Reserve aways v Birmingham, Brighton, Charlton, Chelsea, C.Palace, Fulham, Ipswich, Leicester, Luton, Oxford, QPR, Reading, Southampton, Swansea, Swindon, Tottenham, Watford, West Ham. Arsenal homes v Reading SJFC, Ipswich SJFC, Millwall SJFC S-F, Norwich SJFC Final, A.Villa Youth Cup, Cambridge Youth Cup, Stoke Youth Cup S-F X 2, Away v Chelsea SEC S-F, Bristol R Youth Cup, Carshalton Youth Cup, Stoke Youth Cup S-F. Away friendlies v Aldershot, Windsor & Eton, Dunstable X 2, KB Copenhagen Tournament, Baldock, Portsmouth, Charlton (Berry), Chelsea (Droy), Hearts, Aberdeen, Werder Bremen. Good
Lot 393
ARSENAL Forty three programmes for season 1984/5; home Reserves v Birmingham, Brighton, Bristol R, Charlton (9/2/85), Charlton (29/4/85), Chelsea, C.Palace, Fulham, Ipswich, Luton, Millwall, Norwich, Orient, Oxford, Portsmouth, QPR, Reading, Southampton, Swansea, Swindon, Tottenham, Watford, West Ham. Reserve aways v Fulham, Luton, Millwall, West Ham. Arsenal v A.Villa SJFC. Arsenal away friendlies v Brighton X 2, Hendon X 2, FC Twente, Bob Wilson Intl. XI, Barking, Glossop, Celtic, Armenia Bielefeld, Indoor Soccer Tournament. Arsenal homes v Australia X 2, Tottenham SEC Final. Neutrals: QPR v Partizan UEFA, QPR v Reykjavik UEFA. Good
Lot 394
ARSENAL Forty three programmes for season 1985/6: home Reserves v Birmingham, Brighton, Bristol R, Charlton, Chelsea (1/3/86), Chelsea (26/3/86), C.Palace, Fulham, Ipswich, Luton, Millwall, Norwich, Oxford, Portsmouth, QPR, Reading, Southampton, Swansea, Tottenham, Watford, West Ham. Arsenal v Watford SECLC S-F, Tottenham SECLC Final, Bournemouth SJFC, Chelsea SJFC, Ipswich SJFC Final, Luton Youth Cup, Wimbledon (Youth Cup), Millwall Youth Cup, Man C Youth Cup S-F X 2), Away v Man C. Youth Cup S-F. Arsenal away friendlies v Shamrock X 2, Maidstone, Barnet (1/2/86), Barnet (13/8/85), Reading, Colchester, Tottenham (Hoddle), Windsor & Eton, Brighton and Gunners Shop price list. Good
Lot 39
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
Lot 206
James II (1685-1691), Gunmoney coinage, Shillings (4), all 1689 Nov:, plain R (3), 6.29g/12h (Withers 9/9, this coin illustrated), 7.13g/12h (Withers 16/18), 4.81g/12h (Withers 28/30), R with loop around upright, 6.14g/12h (Withers 36/41; S 6581E) [4]. Generally about fine, last scarce £80-£100 --- Provenance: First Croydon Coin Auction 40 (Croydon), 3 December 1986, lot 207; others from an O’Reilly’s Auction (Dublin) before 2000, bt Baldwin
Lot 207
James II (1685-1691), Gunmoney coinage, Shillings (5), 1689 Nov:, plain R, 5.34g/12h (Withers 28/30), R with loop around upright, 6.68g/12h (Withers 36/41), 4.96g/12h (Withers 37/42), Novr:, 7.13g/12h (Withers 41/50), 6.59g/12h (Withers 31/51; S 6581E) [5]. Varied state £60-£80 --- Provenance: First two bt Baldwin June 1992; third from an O’Reilly’s Auction (Dublin) before 2000, bt Baldwin; fourth bt Baldwin September 1996; last DNW Auction 104, 5 December 2012, lot 821 (part)
Lot 209
James II (1685-1691), Gunmoney coinage, Shillings (5), 1689 Dec (2), plain R, 6.68g/12h, 6.43g/12h (both Withers 2/2), Dec: (3), plain R, 6.48g/12h (Withers 11/10), 7.19g/12h, 6.32g/12h (both Withers 13/12; S 6581F) [5]. Second about fine, last good fine with dark patina, others in varied state £90-£120 --- Provenance: Third DNW Auction 143, 12-14 December 2017, lot 1430 (part); last J. O’Byrne Collection, Part VII, Christie’s Auction, 4 July 1967, lot 410 (part), bt Baldwin June 1992; others from an O’Reilly’s Auction (Dublin) before 2000, bt Baldwin
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297887 item(s)/page