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Lot 250
WW1/WW2 Family Medal Group and Paperworkconsisting silver War medal and Victory named to “49545 Pte E Smith S Staff R” ... 1939/45 Star, Africa Star, Italy Star, Defence and War medal, all unnamed. Together with his Territorial Efficiency medal named “1429524 Gnr E Smith RA”. Together with various paperwork to both medal groups. Pte E Smith South Staffs Reg was invalided out due to gunshot wound in both thighs and abdomen. Gnr E Smith City of London RA 78th Div, called up 24th Aug 1939. Transferred to Army Reserve June 1946.
Lot 291
WW1 County of Flint Memorial Certificatecoloured certificate 1914-1919 in memory of “42989 Cpl R P Evans Royal Field Artillery”. Contained in a gilt glazed frame. Together with an Honourable Discharge certificate awarded to RFN Percy James Milnes 6th Batt Kings Liverpool Reg 23 May 1916 ... 1914-1918 coloured certificate from the Directors of the Castner Kellner Alkali Co Ltd to “George Hayes Royal G Artillery”. 3 items.
Lot 540
Joan MANNING-SANDERSLittle Negress Oil on canvas Signed and dated 193161.5 x 130cmExhibited at the Royal Academy 1931(See illustration)This picture is part of an important collection by a remarkable individual, who as a teenager was feted by the national media, the art establishment and the foremost artist's community of the day in her home of Cornwall. However, her artistic output lasted barely a decade and she later sank into relative obscurity.An exhibition at Penlee House in 2011 brought her name and her considerable talent to the forefront once again. Joan Manning-Sanders was born to bohemian parents Ruth and George in 1913. Creatively encouraged from an early age, it was Father Bernard Walke of St Hilary and his artist wife Annie, who really recognised her potential and told Joan when she was 11 that she 'must become a painter.' In 1927 at just 13 years old, she had her first painting accepted by the Royal Academy, although not hung in the Summer Exhibition for lack of space. The following year, 'The Brothers' was accepted and became one of the most talked about paintings of the exhibition. She was described as 'a child genius' and fast became a celebrity. In 1929, before her 16th birthday, Joan was elected to the Newlyn Society of Artists, having been proposed by Stanhope Forbes. She had another large work 'The Concertina Players' accepted to the RA Summer Exhibition in 1929 and two works in the Paris Salon. In July of that year, a book dedicated entirely to her work was published, with an introduction and commentary by R H Wilenski, one of the most respected art critics of the day. It was an unprecedented achievement for one so young. Her work was in huge demand and she could hardly keep up with the requests for paintings.Between the ages of 15 and 22 Joan had exhibited seven pictures at the Royal Academy. As she matured Joan had to cope with the high expectations her earlier status as child prodigy had created. She rented a studio in St Ives and then later enrolled in Chelsea Art School. Whilst at Chelsea in the mid 1930s, she met and married fellow student Roderick Floyd. They went to Paris and took a studio, working right up to the invasion in 1940. They fled, leaving their possessions behind in the scramble to escape France. By now, Joan had become a mother, but she continued to paint and took another studio in St Ives until she was called up for war service and went to work in the design department of Gloster Aircraft. It was at this point that Joan's artistic career really started to dwindle. She did not paint during the war, nor after until 1949 when she went to live in Canada. She had hoped to earn a living from portraiture but unfortunately there were not enough residents in Vancouver who wished to be painted. She gave some private art tuition, but this was to be her last involvement in the art world. She returned from Canada in 1958. She spent the rest of her life as an assistant and researcher to her mother Ruth who had become a prodigious writer of children's folklore stories. Ruth celebrated her 100thbirthday in 1988 but died eight weeks later. Joan died in 2002. It is an extraordinary story that a talent that burned so brightly could diminish so quickly. Looking at her work today, it is easy to see the influence of those who advised and encouraged her; Dod and Ernest Procter, Laura Knight, Harold Harvey - all towering figures of this prestigious artists colony. Although Joan was one of their contemporaries she was also still just a child. Her style of figurative painting belonged to the era of these much older artists. She returned to Cornwall in the 1950s, which was a golden era for a new artists colony in St Ives but perhaps, having had her moment in the spotlight, she did not wish to be part of it. Her style of work would hardly have fitted in. She spent the rest of her working life in a creative role and we can assume it was one she found productive and satisfying. Fortunately for us today, we still have some of the fruits of her early fame to admire and enjoy.
Lot 541
Joan MANNING-SANDERSDavid and the Globe, 1927Oil on canvas 61 x 61 cmExhibited in the Newlyn Society of Artist's Spring Show 1927This picture is part of an important collection by a remarkable individual, who as a teenager was feted by the national media, the art establishment and the foremost artist's community of the day in her home of Cornwall. However, her artistic output lasted barely a decade and she later sank into relative obscurity.An exhibition at Penlee House in 2011 brought her name and her considerable talent to the forefront once again. Joan Manning-Sanders was born to bohemian parents Ruth and George in 1913. Creatively encouraged from an early age, it was Father Bernard Walke of St Hilary and his artist wife Annie, who really recognised her potential and told Joan when she was 11 that she 'must become a painter.' In 1927 at just 13 years old, she had her first painting accepted by the Royal Academy, although not hung in the Summer Exhibition for lack of space. The following year, 'The Brothers' was accepted and became one of the most talked about paintings of the exhibition. She was described as 'a child genius' and fast became a celebrity. In 1929, before her 16th birthday, Joan was elected to the Newlyn Society of Artists, having been proposed by Stanhope Forbes. She had another large work 'The Concertina Players' accepted to the RA Summer Exhibition in 1929 and two works in the Paris Salon. In July of that year, a book dedicated entirely to her work was published, with an introduction and commentary by R H Wilenski, one of the most respected art critics of the day. It was an unprecedented achievement for one so young. Her work was in huge demand and she could hardly keep up with the requests for paintings.Between the ages of 15 and 22 Joan had exhibited seven pictures at the Royal Academy. As she matured Joan had to cope with the high expectations her earlier status as child prodigy had created. She rented a studio in St Ives and then later enrolled in Chelsea Art School. Whilst at Chelsea in the mid 1930s, she met and married fellow student Roderick Floyd. They went to Paris and took a studio, working right up to the invasion in 1940. They fled, leaving their possessions behind in the scramble to escape France. By now, Joan had become a mother, but she continued to paint and took another studio in St Ives until she was called up for war service and went to work in the design department of Gloster Aircraft. It was at this point that Joan's artistic career really started to dwindle. She did not paint during the war, nor after until 1949 when she went to live in Canada. She had hoped to earn a living from portraiture but unfortunately there were not enough residents in Vancouver who wished to be painted. She gave some private art tuition, but this was to be her last involvement in the art world. She returned from Canada in 1958. She spent the rest of her life as an assistant and researcher to her mother Ruth who had become a prodigious writer of children's folklore stories. Ruth celebrated her 100thbirthday in 1988 but died eight weeks later. Joan died in 2002. It is an extraordinary story that a talent that burned so brightly could diminish so quickly. Looking at her work today, it is easy to see the influence of those who advised and encouraged her; Dod and Ernest Procter, Laura Knight, Harold Harvey - all towering figures of this prestigious artists colony. Although Joan was one of their contemporaries she was also still just a child. Her style of figurative painting belonged to the era of these much older artists. She returned to Cornwall in the 1950s, which was a golden era for a new artists colony in St Ives but perhaps, having had her moment in the spotlight, she did not wish to be part of it. Her style of work would hardly have fitted in. She spent the rest of her working life in a creative role and we can assume it was one she found productive and satisfying. Fortunately for us today, we still have some of the fruits of her early fame to admire and enjoy. Condition report: There is craquelure all over the painting with some more severe areas, however all the paint is stable. Areas of woodworm mainly to the bottom section of the painting.
Lot 542
Joan MANNING-SANDERSYoung AndrewOil on canvasSigned and dated 1927 51 x 41 cm'Young Andrew' depicts one of the mason's that were working on the granite and thatched house for her family in Esther's Field beside Maria's Lane above Sennen.(See illustration)This picture is part of an important collection by a remarkable individual, who as a teenager was feted by the national media, the art establishment and the foremost artist's community of the day in her home of Cornwall. However, her artistic output lasted barely a decade and she later sank into relative obscurity.An exhibition at Penlee House in 2011 brought her name and her considerable talent to the forefront once again. Joan Manning-Sanders was born to bohemian parents Ruth and George in 1913. Creatively encouraged from an early age, it was Father Bernard Walke of St Hilary and his artist wife Annie, who really recognised her potential and told Joan when she was 11 that she 'must become a painter.' In 1927 at just 13 years old, she had her first painting accepted by the Royal Academy, although not hung in the Summer Exhibition for lack of space. The following year, 'The Brothers' was accepted and became one of the most talked about paintings of the exhibition. She was described as 'a child genius' and fast became a celebrity. In 1929, before her 16th birthday, Joan was elected to the Newlyn Society of Artists, having been proposed by Stanhope Forbes. She had another large work 'The Concertina Players' accepted to the RA Summer Exhibition in 1929 and two works in the Paris Salon. In July of that year, a book dedicated entirely to her work was published, with an introduction and commentary by R H Wilenski, one of the most respected art critics of the day. It was an unprecedented achievement for one so young. Her work was in huge demand and she could hardly keep up with the requests for paintings.Between the ages of 15 and 22 Joan had exhibited seven pictures at the Royal Academy. As she matured Joan had to cope with the high expectations her earlier status as child prodigy had created. She rented a studio in St Ives and then later enrolled in Chelsea Art School. Whilst at Chelsea in the mid 1930s, she met and married fellow student Roderick Floyd. They went to Paris and took a studio, working right up to the invasion in 1940. They fled, leaving their possessions behind in the scramble to escape France. By now, Joan had become a mother, but she continued to paint and took another studio in St Ives until she was called up for war service and went to work in the design department of Gloster Aircraft. It was at this point that Joan's artistic career really started to dwindle. She did not paint during the war, nor after until 1949 when she went to live in Canada. She had hoped to earn a living from portraiture but unfortunately there were not enough residents in Vancouver who wished to be painted. She gave some private art tuition, but this was to be her last involvement in the art world. She returned from Canada in 1958. She spent the rest of her life as an assistant and researcher to her mother Ruth who had become a prodigious writer of children's folklore stories. Ruth celebrated her 100thbirthday in 1988 but died eight weeks later. Joan died in 2002. It is an extraordinary story that a talent that burned so brightly could diminish so quickly. Looking at her work today, it is easy to see the influence of those who advised and encouraged her; Dod and Ernest Procter, Laura Knight, Harold Harvey - all towering figures of this prestigious artists colony. Although Joan was one of their contemporaries she was also still just a child. Her style of figurative painting belonged to the era of these much older artists. She returned to Cornwall in the 1950s, which was a golden era for a new artists colony in St Ives but perhaps, having had her moment in the spotlight, she did not wish to be part of it. Her style of work would hardly have fitted in. She spent the rest of her working life in a creative role and we can assume it was one she found productive and satisfying. Fortunately for us today, we still have some of the fruits of her early fame to admire and enjoy.
Lot 543
Joan MANNING-SANDERSBertha-LouiseOil on canvas Signed and dated 192861.5 x 41 cmThis picture is part of an important collection by a remarkable individual, who as a teenager was feted by the national media, the art establishment and the foremost artist's community of the day in her home of Cornwall. However, her artistic output lasted barely a decade and she later sank into relative obscurity.An exhibition at Penlee House in 2011 brought her name and her considerable talent to the forefront once again. Joan Manning-Sanders was born to bohemian parents Ruth and George in 1913. Creatively encouraged from an early age, it was Father Bernard Walke of St Hilary and his artist wife Annie, who really recognised her potential and told Joan when she was 11 that she 'must become a painter.' In 1927 at just 13 years old, she had her first painting accepted by the Royal Academy, although not hung in the Summer Exhibition for lack of space. The following year, 'The Brothers' was accepted and became one of the most talked about paintings of the exhibition. She was described as 'a child genius' and fast became a celebrity. In 1929, before her 16th birthday, Joan was elected to the Newlyn Society of Artists, having been proposed by Stanhope Forbes. She had another large work 'The Concertina Players' accepted to the RA Summer Exhibition in 1929 and two works in the Paris Salon. In July of that year, a book dedicated entirely to her work was published, with an introduction and commentary by R H Wilenski, one of the most respected art critics of the day. It was an unprecedented achievement for one so young. Her work was in huge demand and she could hardly keep up with the requests for paintings.Between the ages of 15 and 22 Joan had exhibited seven pictures at the Royal Academy. As she matured Joan had to cope with the high expectations her earlier status as child prodigy had created. She rented a studio in St Ives and then later enrolled in Chelsea Art School. Whilst at Chelsea in the mid 1930s, she met and married fellow student Roderick Floyd. They went to Paris and took a studio, working right up to the invasion in 1940. They fled, leaving their possessions behind in the scramble to escape France. By now, Joan had become a mother, but she continued to paint and took another studio in St Ives until she was called up for war service and went to work in the design department of Gloster Aircraft. It was at this point that Joan's artistic career really started to dwindle. She did not paint during the war, nor after until 1949 when she went to live in Canada. She had hoped to earn a living from portraiture but unfortunately there were not enough residents in Vancouver who wished to be painted. She gave some private art tuition, but this was to be her last involvement in the art world. She returned from Canada in 1958. She spent the rest of her life as an assistant and researcher to her mother Ruth who had become a prodigious writer of children's folklore stories. Ruth celebrated her 100thbirthday in 1988 but died eight weeks later. Joan died in 2002. It is an extraordinary story that a talent that burned so brightly could diminish so quickly. Looking at her work today, it is easy to see the influence of those who advised and encouraged her; Dod and Ernest Procter, Laura Knight, Harold Harvey - all towering figures of this prestigious artists colony. Although Joan was one of their contemporaries she was also still just a child. Her style of figurative painting belonged to the era of these much older artists. She returned to Cornwall in the 1950s, which was a golden era for a new artists colony in St Ives but perhaps, having had her moment in the spotlight, she did not wish to be part of it. Her style of work would hardly have fitted in. She spent the rest of her working life in a creative role and we can assume it was one she found productive and satisfying. Fortunately for us today, we still have some of the fruits of her early fame to admire and enjoy.
Lot 544
Joan MANNING-SANDERSGracieOil on canvasSigned and dated 192782 x 64 cmExhibited Irish Salon, Dublin 1927, New English Exhibition 1927.This picture is part of an important collection by a remarkable individual, who as a teenager was feted by the national media, the art establishment and the foremost artist's community of the day in her home of Cornwall. However, her artistic output lasted barely a decade and she later sank into relative obscurity.An exhibition at Penlee House in 2011 brought her name and her considerable talent to the forefront once again. Joan Manning-Sanders was born to bohemian parents Ruth and George in 1913. Creatively encouraged from an early age, it was Father Bernard Walke of St Hilary and his artist wife Annie, who really recognised her potential and told Joan when she was 11 that she 'must become a painter.' In 1927 at just 13 years old, she had her first painting accepted by the Royal Academy, although not hung in the Summer Exhibition for lack of space. The following year, 'The Brothers' was accepted and became one of the most talked about paintings of the exhibition. She was described as 'a child genius' and fast became a celebrity. In 1929, before her 16th birthday, Joan was elected to the Newlyn Society of Artists, having been proposed by Stanhope Forbes. She had another large work 'The Concertina Players' accepted to the RA Summer Exhibition in 1929 and two works in the Paris Salon. In July of that year, a book dedicated entirely to her work was published, with an introduction and commentary by R H Wilenski, one of the most respected art critics of the day. It was an unprecedented achievement for one so young. Her work was in huge demand and she could hardly keep up with the requests for paintings.Between the ages of 15 and 22 Joan had exhibited seven pictures at the Royal Academy. As she matured Joan had to cope with the high expectations her earlier status as child prodigy had created. She rented a studio in St Ives and then later enrolled in Chelsea Art School. Whilst at Chelsea in the mid 1930s, she met and married fellow student Roderick Floyd. They went to Paris and took a studio, working right up to the invasion in 1940. They fled, leaving their possessions behind in the scramble to escape France. By now, Joan had become a mother, but she continued to paint and took another studio in St Ives until she was called up for war service and went to work in the design department of Gloster Aircraft. It was at this point that Joan's artistic career really started to dwindle. She did not paint during the war, nor after until 1949 when she went to live in Canada. She had hoped to earn a living from portraiture but unfortunately there were not enough residents in Vancouver who wished to be painted. She gave some private art tuition, but this was to be her last involvement in the art world. She returned from Canada in 1958. She spent the rest of her life as an assistant and researcher to her mother Ruth who had become a prodigious writer of children's folklore stories. Ruth celebrated her 100thbirthday in 1988 but died eight weeks later. Joan died in 2002. It is an extraordinary story that a talent that burned so brightly could diminish so quickly. Looking at her work today, it is easy to see the influence of those who advised and encouraged her; Dod and Ernest Procter, Laura Knight, Harold Harvey - all towering figures of this prestigious artists colony. Although Joan was one of their contemporaries she was also still just a child. Her style of figurative painting belonged to the era of these much older artists. She returned to Cornwall in the 1950s, which was a golden era for a new artists colony in St Ives but perhaps, having had her moment in the spotlight, she did not wish to be part of it. Her style of work would hardly have fitted in. She spent the rest of her working life in a creative role and we can assume it was one she found productive and satisfying. Fortunately for us today, we still have some of the fruits of her early fame to admire and enjoy.
Lot 128
Film and TV Sophia Loren 10x8 signed b/w photo c/w PSA DNA certificate. Sofia Villani Scicolon, known as Sophia Loren, Dame of the Grand Cross, O. M. R. I.; born 20 September 1934) is an Italian film actress and singer. Encouraged to enrol in acting lessons after entering a beauty pageant, Loren began her film career in 1950 at age 16. She appeared in several bit parts and minor roles in the early part of the decade, until her five-picture contract with Paramount in 1956 launched her international career. Notable film appearances around this time include The Pride and the Passion, Houseboat, and It Started in Naples. Good Condition. All signed items come with our certificate of authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.95
Lot 13
Military Battle of Britain collection 9, 5x3 Battle of Britain signed One of the Few blue cards signatures include Keith Lawrence, Derek Yapp, R Wotton, F D Finlay. Good Condition. All signed items come with our certificate of authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.95
Lot 98
Lord of the Rings Journeys of Frodo multi signed hardback book signed on the front and inside title page signatures include Peter Jackson (Director), Ian McKellen (Gandalf), Ian Holme (Bilbo Baggins), & Sean Bean (Boromir), Vigo Mortenson (Aragon), Cate Blanchet (Lady Galadriel), Liv Tyler (Arwen) and more. Journeys of Frodo: An Atlas of J. R. R. Tolkien's The Lord of the Rings by Barbara Strachey is an atlas based on the fictional realm of Middle-earth, which traces the journeys undertaken by the characters in Tolkien's epic. Good Condition. All signed items come with our certificate of authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.95
Lot 371
"Augustus Ӕ As of Sabratha, Syrtica. 27 BC-AD 14. Head of Serapis right, wearing calathus; SBRTN'N in Neo-Punic script behind, R in Neo-Punic script before / Bare head of Augustus right; CAESAR behind, lituus before. RPC I 814; MAA 43a; SNG Copenhagen -. 9.53g, 25mm, 7h.Good Very Fine / Very Fine. Weak obv. strike. A highly attractive portrait of Augustus for the issue."
Lot 410
"Antinous Æ Hemidrachm of Alexandria, Egypt. Dated year 21 = AD 136/7. ANTINOOV HPѠOC, draped bust left, wearing hem-hem crown / Antinous (as Hermes) on horseback to right, wearing chlamys, holding caduceus with his right hand; L below horse, [KA] (date) before. Köln 1278 var. (placement of date); Dattari (Savio) 2090 & 8015; K&G 34a.6; RPC III 6235; Emmett 1347.21. 13.01g, 27mm, 11h.Near Very Fine. Rare. Antinous' death by accidental drowning in the Nile in October AD 130 was a severe blow to Hadrian, for the youth had been his close companion and confidant for nearly five years, and had accompanied the emperor throughout his great tour of the empire beginning in March 127. Hadrian's marriage to Sabina was an unhappy one, and Antinous has been described as the one person who seems to have connected most profoundly with Hadrian"" throughout the latter's life (see R. Lambert, Beloved and God: The Story of Hadrian and Antinous, 1984, p.30). It is unsurprising therefore that Hadrian decreed that Antinous should be elevated to the Roman pantheon as a god, and that a city should be built at the site of his death. What was most unexpected however was that he deified the young man without consulting the Senate, and that he ordered Antinous' image to be placed on coinage across the empire. The coinage in the name of the deified Antinous was substantial. In all, over thirty cities issued bronzes bearing his image, though none as prolifically as Alexandria in Egypt, where his cult, associated with Osiris, was particularly strong. Hadrian himself, we are told, preferred to associate Antinous with Mercury/Hermes, but across the Empire he was far more widely syncretised with the god Dionysus. A great many busts and statues of his were set up in cities across the Roman world, of which numerous examples survive including the iconic 'Braschi Antinous', now in the sala rotonda of the Vatican Museums. That statue, on whose head modern restorers placed a sort of pine cone, would have originally been topped with a lotus flower or hem-hem crown, as on the present coin type. To create the myriad busts, statues and engraved images Hadrian turned to Greek sculptors to perpetuate the melancholic beauty and diffident manner of Antinous, in the process creating what Caroline Vout (Power and Eroticism in Imperial Rome, 2007) described as ""the last independent creation of Greco-Roman art"". All of his images share certain distinct features, including tousled curls, a perfect Hellenic nasion, and a downcast gaze – that allow him to be instantly recognized."""
Lot 469
"Roman Republic AV 60 Asses. Circa 211-207 BC. Bearded and draped head of Mars right, wearing crested Corinthian helmet; LX (mark of value) below / Eagle standing right on thunderbolt with spread wings; ROMA below. Bahrfeldt 4; Crawford 44/2; BMCRR 185. 3.35g, 15mm, 3h.Near Extremely Fine. From a private Swiss collection.Struck circa 211 BC during the latter stages of the Second Punic War, the types chosen for the three small gold denominations valued at 60, 40, and 20 asses like the present piece, could not have been more fitting. On the obverse we find Mars, God of War and defender of Rome, who in myth was the father of Romulus, the city founder. The eagle on the reverse symbolised strength and immortality in the face of adversity, and together these types make a very appropriate opening statement for the gold coinage of Rome, most especially when struck at a time of war. The war with Carthage had ravaged the Italian peninsula, and in addition to the wholesale destruction of Rome's armies, the most crucial damage inflicted by Hannibal's invasion of Italy was the total collapse of Rome's young monetary system. At that time, the Roman currency was based entirely on bronze, for which the demand in wartime was competing with the needs for weaponry. The weights of the bronze currency were radically decreased, and it therefore became necessary to make bronze convertible to silver which, however, was also in short supply. The strain on the Roman treasury was extreme. The decision was therefore taken in circa 216 BC to issue a gold coinage as an attempt to provide further stability for and increase faith in the bronze coinage by creating the impression that bronze could be freely exchanged for gold, thus making the token bronze coinage acceptable. In 'The Mars/eagle and thunderbolt gold and Ptolemaic involvement in the Second Punic War' (Essays Hersh, 1998) A. R. Meadows convincingly argues that the influx of gold after the decision of 216 most likely came from the Ptolemaic kingdom in response to a direct appeal for help and that the reverse type of eagle on thunderbolt, so clearly similar to the Ptolemaic coinage, was the tacit acknowledgement of the financial aid that was received by Rome."
Lot 532
"Octavian AR Denarius. Military mint travelling with Octavian in Greece, autumn 42 BC. Helmeted and draped bust of young Mars right, spear over left shoulder; CAESAR III VIR•R•P•C around / Aquila between two signa, all set on ground line; above, trophy, holding oval shields; S-C flanking aquila. Crawford 497/3; CRI 138; Sydenham 1320; RSC 248. 3.79g, 19mm, 11h.Extremely Fine; attractive old cabinet tone. Rare."
Lot 536
"Marc Antony and Octavian AR Denarius. Military mint moving with Antony (Ephesus?), 41 BC. M. Barbatius Pollio, quaestor pro praetore. Bare head of Antony right; M•ANT•IMP•AVG•III•VIR•R•P•C•M•BARBAT•Q•P around / Bare head of Octavian right, with slight beard; CAESAR•IMP•PONT•III•VIR•R•P•C• around. Crawford 517/2; CRI 243; RSC 8a. 3.82g, 19mm, 12h.Near Extremely Fine; attractive old cabinet tone.Ex Bernard Poindessault (1935-2014) legacy; tickets included."
Lot 539
"Marc Antony Legionary AR Denarius. Military mint moving with Antony, autumn 32 - spring 31 BC. ANT•AVG III•VIR•R•P•C, praetorian galley to right / Aquila between two signa; LEG VII across fields. Crawford 544/20; CRI 357; RSC 34. 3.47g,18mm, 6h.Good Very Fine. Toned. Banker's marks on both sides, minor graffiti on reverse. "
!["Claudius I Brockage Æ Quadrans. Rome, AD 41-54. [TI C]LAVDIVS CAESAR [AVG], hand holding balance scales; P N R between pans](https://cdn.globalauctionplatform.com/d7f2130e-d626-4cb2-b7ea-a915011373da/bd4dec40-236a-4714-90b9-50e82d930685/468x382.jpg)
Lot 605
"Trajan AR Denarius. Rome, AD 112-113. IMP TRAIANO AVG GER DAC P M TR P COS VI P P, laureate bust right, drapery on far shoulder / S P Q R OPTIMO PRINCIPI, Trajan on horseback left, holding spear and small Victory. RIC 291; RSC 497a; BMC 445. 3.33g, 20mm, 6h.Near Very Fine. Flan crack at 1h."
Lot 606
"Trajan AV Aureus. Rome, AD 113-114. IMP TRAIANO AVG GER DAC P M TR P COS VI P P, laureate, draped, and cuirassed bust right / S•P•Q•R•OPTIMO PRINCIPI•, aquila between signum and vexillum. RIC 294 var. (bust not cuirassed); Biaggi 544; Calicó 1120; BMCRE 456 var. (aquila between vexillum and signum); BN 735. 7.02g, 20mm, 7h.Good Fine. "
Lot 798
"Probus BI Radiate. Rome, AD 279. IMP PROBVS AVG, radiate and cuirassed bust right / ADVENTVS AVG, emperor on horseback left, raising hand and holding sceptre, about to trample captive seated to left before horse; R(crescent)Δ in exergue. RIC 157; Pink VI/1, p. 57. 3.82g, 24mm, 12. Extremely Fine. Most silvering remaining. "
Lot 898
"Honorius AV Solidus. Mediolanum, AD 394-395. D N HONORIVS P F AVG, pearl-diademed, draped and cuirassed bust right / VICTORIA AVGGG, Emperor standing right, holding labarum and Victory on globe, treading on captive to right; R-M across fields, COMOB in exergue. RIC 1254. 4.34g, 21mm, 12h. Good Very Fine. Well centred and struck. Privately purchased from Chris Hutton, Coins Galore, Eastbourne, 25th August 2012."
Lot 610
Autographed items to include Sheffield Wednesday v Everton 1950/51 Football programme 5 May 1951 with full signatures of the Wednesday team to include Alan Finney, Jackie Sewell, Denis Woodhead, Redfern Frogatt plus others (11). Also Bolton Wanderers 1950 publication 'All about Bolton Wanderers' 50 page booklet with penned signatures Moir, Lofthouse, Barrass, Hanson, McShane, Langton, Howe, Gillies, Banks R, Murphy, Dillon, Hernon, Ridding, Taylor, Elvey, Barrass, Banks R, Hughes, Moir, Webster, Banks (T), Murphy. (22) (2 items, 33 signatures)
Lot 629A
1957/58 Letter invitations to a player from Runcorn FC dated 1st August 1957 for a trial match and to meet the new player/manager Cyril Lello (ex. Everton) and signed by the secretary Mr. Turner; also letter invitation from Northern Nomads FC dated 31 July 1957 to play in a trial match at the ground Belle Vue Stadium Manchester and signed by the secretary R. Highland Longdon. Fair-Good. (2)
Lot 69
Scarce British Lions signed rugby book - titled Bill McLaren's "Dream Lions" first edition 1998 signed by Bill McLaren and all 66 players autographs on card and neatly laid down to the corner of each individual player profile photograph - notable players include JP R Williams, Andy Irvine, Gerald Davies, Ieuan Evans, David Duckham, JJ Williams, John Dawes, Mike Gibson, Ian McGeechan, Ray Gravell, Phil Bennett, Gareth Edwards, Barry John, Ian McLauchlan, Fran Cotton, Bobby Windsor, Graham Price, Jason Leonard, Willie John McBride, Bill Beaumont, Martin Johnson, Gordon Brown, Peter Dixon, Roger Uttley, John Taylor, Fergus Slattery, Finlay Calder, Peter Winterbottom, Mervyn Davies, Willie Duggan et al - a unique book signed by all-time great Lions players (VG)
Lot 977
1951 New Brighton FC letter from the Chairman and signed R. Whitby explaining the financial predicament facing the club due to losing league status and playing non-league football. The official New Brighton Club headed letter (lists directors, chairman (R. D. C. Whitby) and president) and indicates the club were, then, members of Division 3 (Northern section) and gives the reasoning behind their financial demise due to the requisition of the original ground (Rake Lane for housing purposes) the starting point of the overall problems. The letter is an appeal for financial support with the intent to strive and regain League status to put New Brighton once again in the Football world. To the reverse of the letter is the proposed Tower Ground new amended layout, the drawing was put forward by Councillor K. Kinna for the purposes of bringing the spectators closer to the football pitch to create an improved atmosphere on match days; the drawing is dated 1951. The letter represents a chapter in the New Brighton FC history that we now realise was doomed to fail and eventually, after a few more years, the club folded. Good.
Lot 1037
"United Kingdom of Portugal, Brazil and the Algarves, João VI AR 960 Reis. Rio de Janeiro, 1821-R. Overstruck on a 8 Reales of Ferdinand VII (1809 LM-JP). JOANNES•V•I•D•G•PORT•BRAS•ET•ALG•REX•, crown above denomination, date and mintmark with wreath / SUBQ SIGN NATA STAB, Portuguese coat-of-arms on globe. KM 326.1; LDMB-P479; Gomes-25.20. Under-type: KM106.1; Cal-473. 26.75g, 40mm, 12h. Good Very Fine. Much of the undertype visible. "
Lot 1048
"Holy Roman Empire, Hungary. Ferdinand III (1637-1657) AV Ducat. Kremnitz, 1653. FER•III•D:G•R•I•S•A•GE•HV•B•REX, monarch standing right, crowned and wearing robe, holding orb and sceptre; K-B across fields / AR•AV•DV•BV•MA•MO•CO•TY•1653, seated Madonna in flames, holding sceptre and infant Christ; coat-of-arms below. Friedberg 109; Huszar 1216. 3.28g, 22mm, 9h.Near Very Fine. Pierced. Very Fine. Traces of mounting."
Lot 1050
"Holy Roman Empire, Hungary. Ferdinand V (1835-1848) AV Ducat. Kremnitz, 1848. FERD•I•D•G•AVST•IMP•HVNG•B•REX•H•N•V•R•L•V•D•G•L•I•A•A•, monarch standing right, crowned and wearing robe, holding orb and sceptre / S•MARIA•MATER•DEI•PATRONA•HVNG•1848•, seated Madonna holding sceptre and infant Christ; coat-of-arms below. Friedberg 222; Huszar 2075. 3.45g, 21mm, 12h.Very Fine. Pierced. Traces of mounting."
Lot 644
1937-50 Airmails group of seven covers incl. 5/- and 6d on 240 x 105mm envelope to Detroit; 1938 230 x 105mm printed S. R. Daily Airmail envelope 1st day of service (Feb. 1st 38) with 1½d, Gatooma - Salisbury, and two other different covers from this service; 1945 I.R.C. printed envelope to Geneva with 3d Falls, 6d and 1/-, red boxed O.A.T. on front; 6d used on printed envelope for C.A.A. First Airmail Jo'burg - Dar-es-Salaam, 6d with Salisbury CDS 1 APR 50, Dar CDS of same date on reverse (this slightly foxed); Royal Visit pair plus 3d Falls and 2/6d on flown cover to Canada, this tatty
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