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Lot 65
Khazar, an imitation of an Abbasid dirham of ‘Madinat al-Salam 163h’, obv., legends and annulets as Lowick 1231, rev., Muhammad sul (sic) Allah | sali Allah ‘alayhi wa salam | al-khalifa al-Mahdi | Musa rasul Allah, 2.61g (cf Lowick 1232; Kovalev p.114), very fine/good very fine and extremely rare
Lot 68
Khazar, an imitation of an Abbasid dirham of al-Muhammadiya 188h, without sanat in mint/date formula and with mint-name slightly blundered, rev., similar to Lowick 1881 but plain above, Ja‘far below, 3.05g (Album K1481.1 RR), test-cut on obverse, die crack evident on reverse, very fine and very rare
![Great Seljuq, Sanjar (511-552h), dinar, Damaghan [5]21h, citing the caliph al-Mustarshid (512-529h), 4.66g, almost very fine](https://cdn.globalauctionplatform.com/b9e8b6b7-aee3-4033-b4bf-a68800efc520/39c82990-f72e-47d5-a980-491ab88d81e2/468x382.jpg)
Lot 8
‡Arab-Armenian, Muhammad b. Marwan, drachm, ‘ŠY’ (for Shiraz – a frozen mint-signature, the coin itself possibly in Harran), circa 75-78h, obv., Muhammad in Arabic in obverse margin; Roman letter ‘T’ replaces star-in-crescent at 6 o’clock, rev., date (frozen year ‘29’?) to left, mint-letter Š to right, 2.19g (cf SCC 17), clipped, fine and very rare
Lot 9
Abbasid governors of Tabaristan, Rawh b. Hatim (146-148h), hemidrachm, Tabaristan 146h, obv., to right and left of bust: al-Mahdi Muhammad – ibn amir al-mu’minin, rev., to left: mimma amara bihi Rawh b. Hatim; to right, in two lines: mint and date written in Arabic, 2.07g (Malek 53), light deposit on reverse, good very fine and extremely rare
Lot 90
Arab-Sasanian, ‘Ubaydallah b. Abi Bakra, drachm, SK (Sijistan) 79h, obv., in margin: Pahlawi pl (?) – bismillah – ‘Ubaydallah lillah, 3.96g (SICA 1, 368 var; cf Morton & Eden auction 64, 5 June 2013, lot 657), slight central weakness, good very fine and cleaned, very rare. Most of ‘Ubaydallah b. Abi Bakra’s drachms have the conventional legend bismillah – rabbi in the obverse margin (see the following lot). This variety, which carries his name in Arabic, is a much rarer type.
Lot 98
Arab-Sasanian, AE pashiz (2): ART (Ardashir Khurra), undated, bust of Khusraw II to right, rev., standing angel, 0.76g (Gyselen 103), fine to good fine; and without mint or date, janiform bust with unread legend around, rev., fire-altar and attendants, 1.00g (Gyselen -), fine to good fine and rare (2)
Lot 677
Kyser & Rex - a rare original mechanical 'Lion and Two Monkeys' cast iron money bank, 22cm wide, 23cm high, patent July 17, 1883The Lion And Two Monkeys was designed and patented by Louis Kyser and Alfred C. Rex of Philadelphia, Pa., July 17, 1883, and made by their company, Kyser & Rex, of the same city. The bank as produced closely follows the patent drawings, both as to configuration and operation.
Lot 221
Pinxton - a rare cup plate painted to the centre with a sepia landscape, gilt rim, 12.7cm diameterSee C.Barry Sheppard - Pinxton Porcelain 1795-1813 and the porcelain of MANSFIELD and BRAMPTON-IN-TORKSEY page 72, plate 49 and N. D. Gent - The Patterns and Shapes of the Pinxton China Factory 1796-1813, page 153, figure 230
Lot 661
A rare Black Forest 'trumpeter' cuckoo clock of conventional design with applied vine, leaf and branch cresting, the recessed case with upper cuckoo door, circular chapter ring with applied ivorine Roman numerals and pierced hands flanked by a pair of leafy branches, the base with additional door revealing the polychrome decorated carved trumpeter, on a skirted plinth with carved apron, brass movement stamped CHS striking on two coils, 74cm high, late 19th Century
Lot 223
Pinxton - a rare Mansfield William Billingsley decorated yellow ground trio comprising: tapered coffee can, cup and saucer decorated wtih polychrome landscapes within gilt frames and borders, on a yellow ground, saucer 13cm diameterSee C.Barry Sheppard - Pinxton Porcelain 1795-1813 and the porcelain of MANSFIELD and BRAMPTON-IN-TORKSEY page 228, plate 242 and N. D. Gent - The Patterns and Shapes of the Pinxton China Factory 1796-1813, page 92, figure 92
Lot 229
Pinxton - a rare oval fish tail spoon tray similar to pattern 218, monochrome decorated with a cottage in hilly landscape, possibly by William Billingsley, gilt line rim, 18.5cm widesee N. D. Gent - The Patterns and Shapes of the Pinxton China Factory 1796-1813, page 140, figure 205, also page 176, figure 278 for a teapot stand
Lot 212
Attributed to William Holman Hunt (1827-1910) A Troubadour resting with his Capuchin monkey, 19th Century, oil on canvas, unframed, 45 x 36cmThere have been performances in public places for gratuities in every major culture in the world, dating back to antiquity. This art form was the most common means of employment for entertainers before the advent of recording and personal electronics. Prior to that, a person had to produce any music or entertainment, save for a few mechanical devices such as the barrel organ, the music box, and the piano roll. Organ grinders were commonly found busking in the old days. The term "busking" was first noted in the English language around the middle 1860s in Great Britain. Up until the 20th century buskers were commonly called minstrels in America, Europe and other English-speaking lands.The word "busk" comes from the Spanish root word "buscar", meaning "to seek" - buskers are literally seeking fame and fortune. Busking is common among some Gypsies, also known as the Romani people. Romantic mention of Gypsy music, dancers and fortune tellers are found in all forms of song poetry, prose and lore. The Roma brought the word busking to England by way of their travels along the Mediterranean coast to Spain and the Atlantic ocean and then up north to England and the rest of Europe. In medieval France buskers were known by the terms troubadours and jongleurs. In northern France they were known as trouveres. In old German buskers were known as Minnesingers and Spielleute. In obsolete French it evolved to busquer for "seek, prowl" and was generally used to describe prostitutes. In Italian it evolved to buscare which meant "procure, gain" and in Italy buskers are called buscarsi or, more simply, Buskers (see loan word). In Russia buskers are called skomorokh and their first recorded history appears around the 11th century.Mariachis are Mexican street bands that play a specific style of music by the same name.] Mariachis frequently wear ornate costumes with intricate embroidery and beaded designs, large brimmed sombreros and the short charro jackets. Mariachi groups busk when they perform while traveling through streets and plazas, as well as in restaurants and bars.Around the middle 19th century Japanese Chindonya started to be seen using their skills for advertising, and these street performers are still occasionally seen in Japan.In the US, medicine shows proliferated in the 19th century. They were traveling vendors selling elixirs and potions to improve the health. They would often employ entertainment acts as a way of making the clients feel better. The people would often associate this feeling of well-being with the products sold. After these performances they would "pass the hat".Easily recognized as the "organ grinder" or "greyhound jockey" monkeys, capuchins are sometimes kept as exotic pets. Sometimes they plunder fields and crops and are seen as troublesome by nearby human populations. In some regions they have become rare due to the destruction of their habitat. They are also used as service animals, sometimes being called "nature's butlers". Some organizations have been training capuchin monkeys to assist quadriplegics as monkey helpers in a manner similar to mobility assistance dogs. After being socialized in a human home as infants, the monkeys undergo extensive training before being placed with a quadriplegic. Around the house, the monkeys help out by doing tasks including microwaving food, washing the quadriplegic's face, and opening drink bottles. Capuchin monkeys are featured in the movies Pirates of the Caribbean: The Curse of the Black Pearl (and its sequels), The New Adventures of Pippi Longstocking (and its sequels), Night at the Museum (and its sequel), Anacondas: The Hunt for the Blood Orchid, Ace Ventura When Nature Calls, and Monkey Shines. Ross Gellar(David Schwimmer) on the NBC sitcom Friends had a capuchin monkey named Marcel.
Lot 183
Augustus Samuel Boult, (Fl. 1815-1853) Labourers quarrying and loading sand with shire horses, c.1840's, signed lower centre, oil on canvas, 45 x 56cmShire Horses were traditionally used by quarrymen to help with the process of extracting sand from countryside sand quarries. The horses who were bread to cope with heavy loads of quarried sand from the sand that was transported in robust carts to the network of canals and from the 1830's the growing network of railways. This painting by Augustus Boult illustrates this particular countryside activity.The Shire horse is a breed of draught horse. They are a tall breed, with mares standing 16 hands (64 inches, 163 cm) and over and stallions standing 17 hands (68 inches, 173 cm) and over. The breed has an enormous capacity for weight pulling, and Shires have held the world records for both largest overall horse and tallest horse at various times. Throughout its history, the breed has been popular for pulling brewery wagons that delivered ale to customers. This practice continues today, with the breed also being used for forestry, leisure and promotional pursuits. The breed descends from war horses brought to England by William the Conqueror in the 11th century. These were crossed with other breeds, including the Friesian, to create the Shire of today. In 1884, the organization now known as the British Shire Horse Society was created, with the American Shire Horse Association beginning in 1885. The breed was exported from Britain to the United States in large numbers during the late 19th and early 20th centuries, but popularity fell with the advent of mechanization, reaching a low point in the 1950s and 60s. Popularity began to increase again in the 1970s and after. However, population numbers are still considered to be at critical levels by both the UK-based Rare Breeds Survival Trust and the US-based American Livestock Breeds Conservancy. Shire stallions may be black, bay or gray. They may not be roan or have large amounts of white markings. Mares and geldings may be black, bay, gray or roan. In the UK stallions may not be chestnut but the color is allowed by the US registry. Stallions stand 17 hands (68 inches, 173 cm) high when mature, and they average around 17.2 hands (70 inches, 178 cm). Geldings stand at least 16.2 hands (66 inches, 168 cm) high and mares at least 16 hands (64 inches, 163 cm).[citation needed] The Shires' head is long and lean, with large eyes, set on a neck that is slightly arched and long in proportion to the body. The shoulder is deep and wide, the chest wide, the back muscular and short and the hindquarters long and wide. There is not to be too much feathering, and the hair is fine, straight and silky. Smaller horses, under 17 hands (68 inches, 173 cm), are generally preferred for working horses, while taller horses, especially those over 18.2 hands (74 inches, 188 cm), are used for show and promotional purposes. The breed is known for its easy-going temperament. The Shire has an enormous capacity for weight pulling. In 1924, at a British exhibition, a pair of horses was estimated to have pulled a starting load equal to 45 tons, although an exact estimate could not be made as they exceeded the maximum reading on the dynamometer. Working in slippery footing, the same pair of horses pulled 16.5 tons at a later exhibition. The largest horse in recorded history was probably a Shire named Mammoth, who was born in 1848. He stood 21.2 hands (86 inches, 218 cm) hands high, and his peak weight was estimated at 1,500 kilograms (3,300 lb). At over 19 hands (76 inches, 193 cm), a Shire gelding named Goliath was the Guinness Book of World Records record holder for the world's tallest horse until his death in 2001. Like its close relative, the Clydesdale, the Shire horse is descended from the Great Horse brought to England in 1066 by William the Conqueror.[dubious - discuss] Only stallions were imported, to carry knights in armour into battle-weighing up to 32 stones (450 lb or 205 kg)-and it is probable that they bred with native mares in the vicinity.[citation needed] Though oxen were used for most farm work into the 18th century, horses 'fit for the dray, the plough, or the chariot' were on sale at Smithfield Market in London as early as 1145. The English Great Horse was valued during the reign of Henry VIII, when stallions measuring less than 'fifteen handfuls' could not be kept, but the advent of gunpowder in the late 16th century brought an end to the use of heavy horses in battle. Oliver Cromwell's cavalry favoured lighter, faster mounts and the big horses began to be used for draught work instead. Stage coaches needed strong horses to draw them and the Great Horse found a new niche. During the 16th century, Dutch engineers brought Friesian horses with them when they came to England to drain the fens, and it is probable that these horses had a significant influence on what became the Shire breed.From this medieval horse came an animal called the Old English Black Horse in the 17th century. The Black Horse was improved by the followers of Robert Bakewell, of Dishley Grange in Leicestershire, resulting in a horse commonly known as the "Bakewell Black."[9] Bakewell imported six Dutch or Flanders mares, notable since breeders tended to concentrate on improving the male line. Two different types of black horse developed: the Fen or Lincolnshire type and the Leicester or Midlands type. The Fen type tended to be larger, with more bone and extra hair, while the Midlands type tended to have more endurance while being of a finer appearance. The term "Shire horse" was first used in the mid-17th century, and incomplete records begin to appear near the end of the 18th century. The "Packington Blind Horse", from Leicestershire, is one of the best-known horses of the era, with direct descendents being recorded from 1770 to 1832. This horse is usually recognized as the foundation stallion for the Shire breed, and he stood at stud from 1755 to 1770. During the 1800s, Shires were used extensively as cart horses to move goods from the docks through the cities and countryside. The rough roads created a need for large horses with extensive musculature. A bay-colored Shire, showing Clydesdale influence in colour and markingsIn 1878, the English Cart Horse Society was formed, and in 1884 changed its name to the Shire Horse Society. The Society published a stud book, with the first edition in 1878 containing 2,381 stallions and records dating back to 1770. Between 1901 and 1914, 5,000 Shires were registered each year with the British registry.The first Shires were imported to the United States in 1853, with large numbers of horses being imported in the 1880s. The American Shire Horse Association was established in 1885 to register and promote the breed. The Shire soon became popular in the United States, and almost 4,000 Shires were imported between 1900 and 1918. Approximately 6,700 Shires were registered with the US registry between 1909 and 1911. Around the time of World War II, increasing mechanization and strict regulations on the purchase of livestock feed reduced the need for and ability to keep draft horses. Thousands of Shires were slaughtered and several large breeding studs closed. The breed fell to its lowest point in the 1950s and 1960s, and in 1955 fewer than 100 horses were shown at the annual British Spring Show.Today, the British Shire Horse Society receives around 500 annual registrations. Shire horse was originally the staple breed used to draw carts to deliver ale from the brewery to the public houses. A few breweries still maintain this tradition in the UK. These include the Wadworth Brewery in Devizes Wiltshire, the Hook Norton Brewery, the Samuel Smith Brewery in Tadcaster, and Thwaites Brewery in Blackburn, which resumed horse-drawn deliveries in 2008. Several breweries have recently withdrawn their Shire horse teams, including the Tetley brewery in Leeds.
Lot 156
John Opie (British 1761-1807) A young boy playing with a cat, oil on canvas, unframed, 76 x 64cmProvenanceColognaghi, Faulkner, 1930BiographyOpie, John (1761-1807), portrait and history painter, was born in May 1761 at Blowing House, Mithian, St Agnes, near Truro, Cornwall. When he was fourteen or fifteen, Opie was 'discovered' by Dr John Wolcot, an amateur artist and critic who was both a pupil and a friend of Richard Wilson, and who had valuable acquaintances in the artistic world (a portrait of him by Opie is in the National Portrait Gallery, London). Wolcot proved to possess something of genius as a publicist and he and Opie went into partnership in the promotion of Opie's career. Wolcot introduced Opie to Sir Joshua Reynolds, who was very much impressed and rather crushed his former pupil James Northcote, who was then trying once again to establish himself in London: 'You have no chance here', Northcote recorded Reynolds as saying to him, 'There is such a young man come out of Cornwall … Like Caravaggio, but finer' (Leslie and Taylor, 2.341-2). Northcote nevertheless became a lifelong friend of Opie, for whom he retained the highest regard, remarking to Hazlitt, 'He was a true genius' (Earland, 31), and Opie's portrait of Northcote dates from about 1799.On 4 December 1782, at St Martin-in-the-Fields, Opie married, unhappily as it turned out, Mary, daughter of Benjamin Bunn. Her father was described as 'a Jew broker to whom Opie used to sell his pictures' (Earland, 46). Alfred Bunn, the tyrannical theatre manager, was apparently a relation of his wife's with whom Opie stayed in touch.The marriage led to Opie's parting from Wolcot. Opie was earning more than Wolcot, but now had a wife to support. Wolcot, on his side, was later wont to point out that he had given up his medical practice and £300 or £400 a year in order to promote Opie. While they were in partnership Wolcot earned some money with his Peter Pindar satires, which also provided a useful vehicle for favourable publicity on Opie's behalf as, for example, with one of two portraits of the organist and composer William Jackson, exhibited at the Royal Academy in 1783. The break with Wolcot was not final at this stage: Opie and his wife together with Wolcot visited Wales in 1783 or 1784, and Wolcot and he toured the south-west in 1783-4. Opie's particular gift for child portraiture was demonstrated at this time (c.1784), with paintings of the children of the fifth duke of Argyll and his famously beautiful duchess, the former Elizabeth Gunning (priv. coll.). One of Opie's finest fancy pictures, A Peasant's Family (Tate collection) is also of children and was painted c.1783-5, while Opie further demonstrated his range in a groundbreaking genre group showing a schoolmistress and her varied pupils (priv. coll.). It was exhibited at the Royal Academy in 1784 under the title A School and drew Walpole's approving note, 'Great nature, the best of his works yet' (Earland, 54). At the same time in his more original portraits, for example, Thomas Daniell and Captain Morcom, with Polperro Mine, St. Agnes, in the Background (1786; Truro, County Museum and Art Gallery; another version ex Sothebys, London, 13 July 1994, no. 66), Opie developed this same rare seam of realistic genre, of a kind which seems to reach back to John Riley's portraits in the preceding century.Opie was also attracted, however, by that chimera of the British school, history painting on a large scale. By the winter of 1786 he was signed up to create a substantial number of canvases for Alderman John Boydell's Shakspeare Gallery. This commission followed close upon Opie's dramatic success with his first large history picture, The Assassination of James I of Scotland, when it was exhibited at the Royal Academy that year. Caravaggio, not only in the lighting but also in the gestures, although contemporary reference was more often made to the influence of Lo Spagnoletto (Jusepe Ribera).One can only speculate about how these influences came to bear upon Opie, since the tracks of his artistic education were so carefully covered by Wolcot, but prints after Caravaggio were certainly in circulation in eighteenth-century Britain. At the time, however, Opie was even more widely talked of as an 'English Rembrandt' and Caravaggio's influence would have been mediated through the many works of Rembrandt which Opie could have come across in English collections. The success of Opie's history pictures assisted his election as associate of the Royal Academy in 1786 and as Royal Academician in 1787.Like many another English artist, Opie was frustrated by having to paint portraits for a living rather than grander history paintings, and his income was also augmented by a few pupils: Henry Thomson RA; Theophilus Clarke ARA; Thomas William Stewardson; Jane Beetham; William Chamberlain; John Cawse; and the amateurs Elizabeth Mary Booth and the Revd John Owen (both referred to above) and Katherine St Aubyn. However, despite his yearning for fancy pictures and histories, and his skill at them, Opie exhibited his last historical painting at the academy in 1804, a scene from Gil Blas, and thereafter painted only portraits. The focus and freshness of his vision in portraiture gave way in his last years to imitative eclecticism, picking up a hint of Gainsborough here or a touch of Hoppner there.Opie's further ambition to become professor of painting at the Royal Academy began unpromisingly with a course of lectures at the British Institution in 1804-5 which he failed to finish. Nevertheless, when, on his becoming keeper, Henry Fuseli resigned the professorship at the academy in 1805, Opie was elected to the post, and the four lectures he managed to deliver in February and March 1807 were both better written and better presented than his earlier series. They were published as Lectures on Painting (1809). The last lecture was given on 9 March and, after a visit to Henry Tresham a few days later, Opie caught cold and subsequently a fever. He died in London on Thursday 9 April 1807. Opie enjoyed a remarkable reputation in his lifetime, although his own high estimation of his achievement has not lasted. He had genuine, if often sarcastic, wit and real talent and produced a handful of striking and original images. He struck a distinctive note among his contemporaries which can still be recognized. Technical shortcomings in drawing and in creating coherent figures, of a kind not unknown among his peers, made him inconsistent as a portraitist, but his fancy pictures and portraits of children can be better than those of almost any British artist of his time. He was not congenial and was liked and disliked in almost equal measure, not always for the right reasons in either case. It was noticeable at the time, for instance, that he was reluctant to stay long with his second wife's relations on visits to Norwich, and it may be that they did not heartily approve of him. A story told of Amelia's cousin Robert Alderson after the funeral on 20 April (a lavish affair at St Paul's Cathedral, where Opie was interred in the same vault as Reynolds) suggests this family mistrust, and also Opie's idiosyncratic character. The undertaker apologized to Alderson for putting the coffin the wrong way round (with Opie's feet towards the west rather than the east). 'Shall we change it?' he asked. 'Oh, Lord, no!' replied Alderson. 'Leave him alone! If I meet him in the next world walking about on his head, I shall know him' (Earland, 234).
Lot 218
Henry Calvert (British, fl. 1813-61) A Spaniel and a Terrier in a Kennel, oil on metal panel, signed 'H. Calvert' in paint lower left, framed, 25 x 25cmHenry Calvert was born in Tuxford, Nottinghamshire. He lived most of his working life in Manchester, but moved in later life to Southport (home of the Waterloo Cup). Calvert "is a comparatively little known and underestimated artist whose ability deserves greater recognition. His work is of a high standard, his horses well drawn, his composition good and his detail...accurate. Although he would seem to have led a fairly active artistic life his work is now fairly rare" (Dictionary of Equestrian Artists). His best known works are of Hunt Meets (all of which were engraved): 'The Cheshire Hunt' 1839, 'The Vine Hunt Meeting' 1843 and 'The Wynnstay Hunt' 1855.This painting has been sympathetically restored and cleaned, and is housed within a fine contemporary style gilt frame.
Lot 1128
Dirk Bogarde and Robert Morley signed photo. Vintage Rank films 8x10 black and white still from the movie Hot Enough for June (known as Agent 8 3/4 in the US) signed clearly by Dirk Bogarde. Also has a signature piece attached signed by Robert Morley. Both stars are pictured in this scene. Quite rare. Good condition. All items come with a Certificate of Authenticity and can be shipped worldwide.
Lot 165
William Hartnell, Patrick Troughton and Jon Pertwee signed Christmas 1968 FDC. Very, very rare 1968 GPO Christmas first day cover signed by the first incarnation of the Doctor in Doctor Who - William Hartnell, the second Patrick Troughton and the third Jon Pertwee. Good condition. All items come with a Certificate of Authenticity and can be shipped worldwide.
Lot 184
Prime Ministers autographed cover. Rare 1999 Millennium single stamp cover signed by former British Prime Ministers James Callaghan, Edward Heath, Gordon Brown, Tony Blair, John Major, Margaret Thatcher and David Cameron. Good condition. All items come with a Certificate of Authenticity and can be shipped worldwide.
Lot 185
Johnnie Johnson autographed cover. Rare 1997 Supermarine Spitfire Benham coin first day cover with the full set of Aviation stamps and Duxford postmark. Autographed by the all time top scoring Allied ace of World War Two AVM Johnnie Johnson. Good condition. All items come with a Certificate of Authenticity and can be shipped worldwide.
Lot 188
Vernon Presley signed photo. Rare and unusual 4x3 inch colour vintage photograph of The King - Elvis Presley, in his Vegas era days, with his father Vernon Presley. Autographed on the reverse of the photo by Vernon Presley. Good condition. All items come with a Certificate of Authenticity and can be shipped worldwide.
Lot 189
Mother Teresa autographed postcard. Very, very rare vintage religious postcard of Madonna, Child and Singing Angels by Botticelli, autographed on the front by the late great Mother Teresa, winner of the Nobel Peace Prize who was recently canonised, now known as Saint Teresa of Calcutta. She has added God Bless You to her signature. Good condition. All items come with a Certificate of Authenticity and can be shipped worldwide.
Lot 286
Maltese Shackleton Limited edition print - 1/1000. THE FIRST IN THE EDITION. Very rare, your chance to own number 1 of 1000. Maltese Shackleton is taken from a painting by Timothy O'Brien and is signed by the artist, as well as Stuart Stephenson, Wing Commander G A King, Wing Commander D White, Flt Lt C Kitching and Flt Lt G Shine. Good condition. All items come with a Certificate of Authenticity and can be shipped worldwide.
Lot 31
Multi-Signed Return to Colditz Castle cover. Scarce, never before seen variant of the RAF Escaping Society SC1 Return to Colditz Castle. This unusual variant has EIGHT German signatures on the reverse. We can't confirm that these people were Colditz workers - but some careful research could indeed yield some very rare signatures. Good condition. All items come with a Certificate of Authenticity and can be shipped worldwide.
Lot 52
Rare excellent article bringing togetherÜformer adversaries of the Battle of Britain PILOT OFFICER EDWARDÜSHIPMANÜ41 Squadron andÜOBERLIEUTNANTÜHANS KETLING.ÜThey discuss theirÜcombat of 15 August 1940Üwhich ended with Ketling becoming a prisoner of war. Good condition. All items come with a Certificate of Authenticity and can be shipped worldwide.
Lot 192
Malaya Garnet Tennis Bracelet, a row of oval cuts of the unusual malaya garnet, in a dark rose pink shade, totalling 8.75cts, set in platinum vermeil and silver; mined in east Africa, close to Tanzania and Kenya, both known for rare gem varieties, malaya garnet is a mix of two types of garnet, producing a rare and attractive colour; 7.5 inches long
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