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Lot 411
A rare Art Nouveau Zsolnay Pecs scarab vase, circa 1900, with an iridescent honeycomb eosin glaze and four organic shaped handles, with a red cabochon set jewelled neck, probably made for Tiffany & Co., 21cm highMissing one red cabochon. Dirty. Some fine crazing within the glaze and wear to the base. Unmarked, but the design and glaze has been attributed to the manufacturer/retailer.
Lot 16
REMEDIOS VARO (1908-1963) WITH POSSIBLE ADDITIONS BY ÓSCAR DOMÍNGUEZ (1906–1957) & ESTEBAN FRANCÉS (1913–1976)Composition surréaliste (tableau collaboratif) bears the signature and date 'Ó. Dominguez 1935' (lower left), further indistinctly signed (lower left) and indistinctly signed and dated (upper right)oil on copper20.4 x 13.9cm (8 1/16 x 5 1/2in).Painted circa 1935Footnotes:We are grateful to Dr. Salomon Grimberg for his assistance in cataloguing this work, with regards to the artistic input of Remedios Varo. We would also like to thank the Asociación en Defensa de Óscar Domínguez, including Mélodie Bonnat, and Josefina Alix for their assistance cataloguing this work.ProvenancePrivate collection, Paris; their sale, Blanchet & Associés, Paris, 19 October 2022, lot 43.Acquired at the above sale by the previous owner. Acquired from the above by the present owner.On a warm August evening in a Montparnasse studio, a lively gathering of artists was taking place. The year was 1938 and the studio belonged to Óscar Domínguez, an exuberant young painter from Tenerife. He and his guests were acolytes of a vanguard cultural movement known as Surrealism. Its tenets promoted the omnipotence of dreams, the sovereignty of collaborative experimentation, and sexual freedom as a precondition to unbridled artistic expression. In attendance were the artists Yves Tanguy and Georges Hugnet, as well as the writers Paul Éluard and Benjamin Péret. The centre of the group's attention had turned to the vivacious and attractive Remedios Varo, a vigorously talented Spanish artist who lived an openly polyamorous lifestyle. Somewhat unsurprisingly for a strong-willed woman in a predominantly male setting, her romantic and sexual life became the topic of debate. The antagonist was Esteban Francés, a Catalan artist six years her junior, whose adoration of Varo was sometimes marred by his complicated and jealous persona. He openly criticised her for her multiple relationships, despite the fact that he was part of one such ongoing tryst. Domínguez - another of Varo's lovers - rose gallantly to defend her, but he swiftly lost control and flew into a towering rage. Suddenly concerned, their friends intervened in the ensuing tussle. Victor Brauner - a Romanian artist with whom Varo would later reside – restrained Francés' arms. The strong and thickset Domínguez twisted free from his own captors, grabbing a glass and launching it at Francés. But in the chaos, the glass struck the face of the unfortunate Brauner and ripped his eye straight from its socket.The complex layers of this group dynamic form a necessary backdrop to understanding the total enigma which is the present work. Spontaneous, disturbing and eerily auspicious, Composition surréaliste (tableau collaboratif) is a painting partially authored by Varo, and for which one can surmise possible contributions from both Francés and Domínguez. Completed around two years before the shocking incident in Montparnasse, this small painting on copper is psychically charged, foreshadowing the love, violence and strife that would descend upon its creators. Indeed, the artists of the Surrealist milieu possessed an uncanny knack for artistic divination. Domínguez had, around seven years prior to the brawl, completed a disturbing self-portrait in which his hand was mutilated, his arm veins severed. Twenty-seven years later, after an unsuccessful exhibition, he was discovered in the bathtub of his Montparnasse studio, having slit his wrists. (Brauner, too, completed a captivating and gruesome self-portrait around seven years prior to his injury, with a gaping hole in place of his right eye. This was one of his many artistic explorations of one-eyedness from the early 1930s).Varo believed wholeheartedly in such premonitions. She approached her art and her life constantly attuned to magic and mysticism, with a dash of psychoanalysis mixed into the heady cauldron of her stimuli. For Varo and her friends, the spontaneity and surprise of collaborative compositions conjured up the magic of the unexpected, resulting in fascinating works that are iconic to the story of Surrealism. The present work is key in this regard. Upon the shifting tectonic folds of a barren volcanic landscape, distorted, nude, puppet-like figures engage in sexual and sadistic behaviour. Their jagged, jaunty stances and smiling faces generate a sinister hue of contradictions - the true elixir of Surrealism. Blood-red biomorphic gourds menstruate and sprout wriggling, sperm-like, sinuous roots, evoking a twisted mix of gore and desire. To the centre, a nude woman, possibly pregnant, is showered in droplets of white liquid, the bars of her figurative prison cell suspending her over a gaping abyss. At the base of the scene, an embryonic form within a drop of liquid rises from a seashell like a child of Venus, cowering in anguish at the terrifying realm it has entered. In the foreground, the severed head of Gerardo Lizarraga, Varo's husband, looks on passively, encased in a perilously hanging box. Although the scene lacks a cohesive narrative, its vignettes generate the rhythm and flow of a hallucinatory vision, one that gains its vitality through its juxtapositions. This engrossing disjointedness arises in part from the work's collaborative nature. Collective creativity was core to the Surrealists' toolkit, as they believed such collaborations could release the individual from the biases of conscious thought, thereby accessing a shared subconscious realm. This ideal came to fruition in the summer of 1935 in Barcelona, a critical chapter in the story of Surrealism and a catalyst for the present work. During that time, Varo, Francés, Domínguez and their fellow Surrealist Marcel Jean devoted themselves to the game of cadavre exquis ('exquisite corpse'). A game of words that the Surrealists transformed into a visual exercise, cadavre exquis involved one player creating a collage or drawing, obscuring their design and passing the paper to the next player, who would add their own image. This resulted in a fascinating series of works, many of which were composed vertically so as to generate the head, body and limbs of a quasi-humanoid form. The vitality of these spontaneous works led the group to evolve related exercises allowing for fuller, more cohesive compositions that were still grounded in hasard objectif ('objective chance'). Thence grew the jeu de dessin communiqué ('game of shared drawing'), whereby a player would draw an image and show it to the next participant for a brief instant, who would then interpret it in their own spontaneous composition, inviting contributions from the ensuing players. The imagery that Varo and her friends thus conjured would often comprise biomorphic entities with zoological and humanoid features, sometimes in erotic or tortuous positions, who were somehow connected to the features and objects of their surrounding terrain. On rare occasions, paintings would be created in this fashion, started by one artist and then re-worked or even partially erased by the ensuing collaborators. The present work is a unique token of this fervent period, offering a privileged glimpse into this captivating artistic methodology. Many of the group's paintings and drawings from this time have been lost, due in part to the surrounding turmoil of the Spanish Civil War, as well as their free circulation among other artists by post and itinera... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 18
SALVADOR DALÍ (1904-1989)Visage féminin pour l'hologramme 'Submarine Fisherman' signed 'Dalí' (lower left)oil on glass11.4 x 14cm (4 1/2 x 5 1/2in). (within the mount)Painted in 1972Footnotes:The authenticity of this work has been confirmed by Nicolas Descharnes.ProvenanceDr. Maury P. Leibovitz Collection, Connecticut (possibly acquired directly from the artist through M. Knoedler & Co., circa 1972).Private collection, US, UK and Greece (by descent from the above in 1992).Private collection, UK (by descent from the above).ExhibitedNew York, M. Knoedler & Co., Holograms Conceived by Dalí, 7 April - 13 May 1972 (as part of the hologram installation titled 'Submarine Fisherman').LiteratureS. & L. Lissack, Dalí in Holographic Space, Charleston, 2013 (illustrated p. 12; illustrated pp. 18 & 23 as part of the hologram installation titled 'Submarine Fisherman').S. Lissack, 'Dalí in Holographic Space, Salvador Dalí's contributions to art holograms', in Spie. The international society for optics and photonics, online article, January 2014 (illustrated as part of the hologram installation titled 'Submarine Fisherman').Salvador Dalí's enthusiasm for holography was proudly declared in his introduction to the catalogue for the important 1972 Knoedler Gallery exhibition dedicated to his holographic exploration: 'all artists have been concerned with three-dimensional reality since the time of Velázquez, and in modern times, the analytic cubism of Picasso tried again to capture the three dimensions of Velázquez. Now with the genius of Gabor, the possibility of a new Renaissance in art has been realized with the use of holography. The doors have been opened for me into a new house of creation' (Dalí quoted in Exh. cat., Holograms Conceived by Dalí, New York, 1972, p. 1).This interest started in the late 1940s with the discovery by British-Hungarian scientist, Dr. Dennis Gabor, that a three-dimensional image could be recorded on a two-dimensional space. It took several years and a few technical advancements before holograms finally took the shape they have today: a transparent photographic plate which has recorded a phenomenon of diffraction of light of a three-dimensional object. Then, when illuminated at a certain angle by a beam of light, the plate reproduces a relief image of the photographed object. This major discovery earned Dennis Gabor the 1971 Nobel Prize in Physics.Coincidentally, that year also marked Dalí's introduction to holography, when South African artist Selwyn Lissack approached him at the St. Regis Hotel in New York. Lissack recalls Dalí's immediate enthusiasm for the medium and what seemed like the endless possibilities it created, with laser lights now becoming the artist's brush. The hotel suite at the St. Regis became Lissack and Dalí's impromptu studio office as 'Dalí was thrilled with the notion of working with a medium which gave him the ability to create beyond the confines of linear space' (S. Lissack, 'Dalí in Holographic Space', in SPIE. The international society for optics and photonics, online article, 1 January 2014).The present work, Visage féminin pour l'hologramme 'Submarine Fisherman', is part of Dalí's second holographic work, executed under the guidance of Selwyn Lissack: Submarine Fisherman. It consisted of a holographic installation mixing different media: first, a holographic plate of a diver was isolated in a metallic box with laser. This was then incorporated within another larger box which had a separate source of lighting shining onto a transparency of Pablo Picasso's masterpiece, Les Demoiselles d'Avignon. This second box projected the image around the hologram – contained within the first box - like stained glass. Finally, Dalí painted an oil portrait of a Catalan girl on a glass plate – the present work – which he superimposed over the holographic plate. The multi-layered result showed the portrait of the Catalan girl projected over the hologram of a diver in the sea, superimposed on the reproduction of Les Demoiselles d'Avignon. The superposition of the oil portrait and the hologram was measured by Dalí so that the nose of the girl would coincide with the elbow of the diver in the holographic image projected. Dalí thus produced a three-dimensional image while mixing media and merging artistic and scientific dimensions, at the crossroads of painting, sculpture, and photography. Selwyn Lissack, who witnessed the creation of Submarine Fisherman, recalls that he 'stood mesmerized as Dalí created a perfect merging of three-dimensional space on a two-dimensional plane' (S. & L. Lissack, Dalí in Holographic Space, Charleston, 2013, p. 23).Dalí's choice of imagery for the final hologram was no coincidence and the individual images each have their own importance. Picasso's Les Demoiselles d'Avignon depicts prostitutes in a Spanish brothel on Avignon Street in Barcelona, and Dalí's Catalonian face is thought to be one of the young girls, her visage certainly reminiscent in appearance to the figures in Picasso's work, with her abstracted features and Cubist appearance. For Dalí, the underwater world, with its deep and dark waters, was the place of all buried secrets and a perfect metaphor for the human subconscious. As such, the diver is projected onto the Picasso, which we can interpret as a materialisation of the deeply buried sexual desire in the human psyche. This interpretation is further confirmed by the luscious red lips which recall Dalí's lifelong obsession with Mae West, a sex-symbol and an often recurring motif in his oeuvre. Visage féminin pour l'hologramme 'Submarine Fisherman' is an extremely rare piece, as Dalí only ever conceived of six other holograms. Thus, creating a new way of painting using light and technology and contributing to a new artistic paradigm, Dalí's process recalled the Renaissance geniuses who had been revolutionising painting with camera obscuras. The Nobel Laureate Dr. Gabor himself saw in Dalí, 'a genius [...], creating a new art of which old, great painters may have dreamed, but which could only be realized by combining art with the most modern technology' (Gabor quoted in Exh. cat., Holograms Conceived by Dalí, New York, 1972, p. 2).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 5
GIORGIO DE CHIRICO (1888-1978)Vita silente signed 'G. de Chirico' (lower right); signed, inscribed and dated 'Opera eseguita nel 1931 a Parigi Giorgio de Chirico' and further signed 'Giorgio de Chirico' (on the reverse)oil on canvas38.3 x 55.5cm (15 1/16 x 21 7/8in).Painted in Paris in 1931Footnotes:ProvenanceGalleria d'Annunciata, Milan, no. 1908 (probably acquired directly from the artist in the 1940s).Private collection, Italy (acquired from the above in the 1950s).Galleria Bergamini, Milan.Galleria Gussoni, Milan.Anon. sale, Brera Galleria d'Arte, Rome, 16 December 1964, lot 241.Private collection, Rome (acquired at the above sale).Private collection, Rome (by descent from the above).LiteratureC. Bruni Sakraischik, Catalogo Generale Giorgio de Chirico, Vol. III, Opere dal 1931 al 1950, Milan, 1983, no. 180 (illustrated; incorrect dimensions).Vita silente presents assorted fruits; apples and lemons stand alongside a ripe tomato and a clementine, delicately arranged on a white cloth. The bed of ivory fabric accentuates the contrast of this chromatic range of warm colours, with a diffuse light that crosses the work, casting soft shadows. The work is a harmony of yellow, red and orange hues, enhanced by a complementary blue woven softly into the background and foreground through classically Impressionistic strokes.Painted in Paris in 1931, the present work stands testament to the renewed interest for the still life genre from twentieth century Italian painters and it remained an important subject for artists until well into the 1960s. Arguably Giorgio de Chirico and Giorgio Morandi were at the forefront of this revival and the style's most prolific protagonists in Italy, however, the subject was also widely explored by many fellow Italian artists such as Carlo Carrà, Gino Severini, and Renato Guttuso. Despite this modern revival of the subject, de Chirico sought to draw inspiration from the past more than from his contemporaries. When he settled in Rome in 1918-1919, he spent his time in museums, copying and studying the works of Old Masters. Thus when he returned to Paris in 1925, his technique was imbued with the influences of the Baroque and the Renaissance, which reveal themselves through his luxurious brushwork, dramatic stage settings and grandiosity in sumptuously elaborated paintings. Nevertheless, despite de Chirico's negative opinion of the Impressionist group, his pared down composition in the present work is brighter, and his technique tends more to their handling, particularly through the thin strokes of complementary colours etched into the background. His focus on volumes standing out on the white cloth also recalls one of the masters of still life and of the modern painting genre, Paul Cézanne. The most unequivocal reference here however, is to Pierre-Auguste Renoir. One of the few Impressionists de Chirico openly admired, he once wrote that: 'Renoir [was] the only French painter to hold his own without camphor oil injections or oxygen tents, [...] because his painting pleases and because he was a real painter.' (G. de Chirico, 'L'eterna questione', in L'Ambrosiano, Milan, March 1938). Following Renoir's example, de Chirico applied vibrant strokes of paint, using diagonals to his advantage while playing on the convolution of folds, and combining the broken lines of the cloth with the circular volumes of the fruit. Another of Renoir's greatest talents was his masterful use of coloured shadows, which de Chirico subtly implements here, with soft blue shadows tucked into the folds. As with his contemporary Giorgio Morandi, whose almost vocational pursuit of the still life sculpted some of the most renowned pieces of twentieth century Italian painting, for de Chirico, a still life was more than a simple exercise in style and technique, hence his peculiar choice of title: Vita silente rather than 'natura morta', the Italian translation of 'still life'. As much a painter as a theorist, he wrote extensively on the subject: 'In the German and English language 'natura morta' has another name that is far more beautiful and correct. Its name is Still leben and Still life: 'vita silenziosa' (silent life). It refers to a painting, in fact, which represents the silent life of objects and things, a calm life, without sound or movement, an existence that expresses itself by means of volume, form and plasticity.' (G. de Chirico, 'Le Nature morte', in L'Illustrazione Italiana, Milan, 24 May 1942). This form of inner life, hidden beyond reality, is the essence of what metaphysical painting was all about. Indeed, the term 'metaphysical' refers to the painter's perpetual search for the hidden meaning of objects. De Chirico's work was always guided by the idea that there was meaning hidden behind the surface of the objects represented. Thus, the subject of the silent life is not so far removed from de Chirico's imagined impossible landscapes, his juxtapositions of objects, and his oneiric scenes that seem to come directly from the subconscious and go beyond physical reality. As he explained in a 1919 text: 'every object has two appearances: one, the current one, which we nearly always see and which is seen by people in general; the other, a spectral or metaphysical appearance beheld only by some rare individuals in moments of clairvoyance and metaphysical abstraction, as in the case of certain bodies concealed by substances impenetrable by sunlight yet discernable, for instance, by X-ray or other powerful artificial means' (G. de Chirico, 'Sull'arte metafisica', in Valori Plastici, April-May 1919, p. 16).Despite the apparent simplicity of Vita silente, the composition illustrates de Chirico's mastery of both practice and theory. While referring to a traditional subject inherited from the Old Masters, later reinvented by Impressionists, he gave it new meaning while subtly showing that the genre also belonged to the metaphysical dimension. As J.M. Faerna writes: 'throughout his long career [de Chirico] spoke with different voices [and] he entered and left different spheres with freedom; but in some sense, the Metaphysical realm was the domain of all his paintings.' (J.M. Faerna, De Chirico, Barcelona, 1995, p. 14).Aside from its rich heritage among de Chirico's oeuvre, the present work comes from the family of the artist's notary, who compiled an eminent private collection of carefully curated Italian Novecento works, assembled during the twentieth century. Having since descended through the family to the present owners, Vite Silente has not been seen publicly since its acquisition in the 1960s.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 11
1991 Range Rover CSK 3.9 litre V8 3 door SUV No Reserve Estimate £25,000 to £35,000 Registration: H105 JKV Chassis: SALLHABM3GA463498 Colour: Black Fuel Type: Petrol Engine Size: 3900cc Transmission: Auto -- One of 200 ever manufactured -- Unfortunately on the insurance list as damage repairable Outside As can be seen from the photgraphs this is a restoration project where the majority of the hard work has been completed. It has benefitted from all new panels including inner wings front and rear, slam panels, sills etc etc. These are the hidden areas that most Range Rover Classics suffer from but hide well. The sale includes the original aluminium body panels which are all in good order and a replacement bonnet, both stainless steel front bumpers are present with the front one being a NOS item. We understand from the vendor that all the parts are with car to complete the restoration, but invite all bidders to inspect the car and its parts in order to satisfy themselves this is the case. Inside The original tan leather interior is with the project and looks to be in very good order, and there is a receipt on file for a new headlining. Like with the outside we understand that everything to complete the project is with the car but invite any bidder to inspect the parts to satisfy themselves this is the case. Mechanicals The engine was stripped and rebuilt in 2016 with new pistons, a re-bore, heads skimmed, valves re-seated, polished crank, performance cam fitted, timing chain etc etc with a supporting invoice on file. The ZF type 699 automatic transmission was rebuilt by Ashcroft Transmissions in 2011. Both the engine and transmission have been refitted tot he car but haven't been run. In addition both front and rear axles have been rebuilt as have the braking systems, and there is a very rare replacement ABS pump unit included in the sale. As with the other parts of this restoration project, we understand that all parts are with the car to finish to rebuild but would encourage serious bidders to inspect the car and its parts to satisfy themselves of this.
Lot 21
1993 Sylva Striker 2 door kit car Registration: Q353 HVF Odometer: Colour: Green Fuel Type: Petrol Engine Size: 1600cc Transmission: Manual MOT: Expired -- Barn find condition ready to be tinkered with and enjoyed -- Ford X-Flow breathing through twin 40's makes a glorious sound -- Rare wire wheels with spinners Outside - The vendor rescued this 90's kit car from a barn last year where he reports it had lots of "stuff" piled on top of it - The windscreen and surround has been damaged whilst in the barn which was repaired and a new windscreen fitted by the vendor - The body work is generally good with a few imperfections in the paint which could be addressed as the buyer feels necessary - Painted steel wire wheels are in good condition, tyres are obviously quite old - Roll over bar could do with a lick of paint as has some surface rust - Comes with side screens and a hood which has a couple of mouse holes - Tonneau cover looks in good order Inside - Everything where it should be and perfectly functional - To be used as is or improved where seen fit by the winning bidder Mechanical - The vendor informs us he changed the fluids, filters and spark plugs when recommissioning the car - Starts well and the induction noise sounds wonderful through the twin 40's - We've driven the car around our site and its very spritely, picks up well and stops as it should History - We have no history with the car, and only know it was pulled from a barn last year a partly recommissioned by the vendor - There is no V5 with the car so this will have to be applied for by the winning bidder Our Opinion A great fun little kit car which with a little more work would soon get through an MOT and provide hours of fun motoring for a small outlay.
Lot 215
G E FUSSELL: 2 Titles: THE OLD ENGLISH FARMING BOOKS FROM FITZHERBERT TO TULL 1523-1730, London, Crosby Lockwood, 1947, first edition, original cloth d/w (price clipped): MORE OLD ENGLISH FARMING BOOKS FROM TULL TO THE BOARD OF AGRICULTURE 1731-1793, London, Crosby Lockwood, 1950, first edition, original cloth d/w, plus THE ARK MONTHLY JOURNAL OF THE RARE BREEDS SURVIVAL TRUST, 1984-85, vol 11 nos 3-4, vol 12 nos 1-2, original pictorial wraps, publishers cloth binder (3)
Lot 1508
1908 Picture postcard of Twain-Muscat or H.B.M Consulate Muscat, both with an India 1a cancelled by "LONDON / 174" double ring c.d.s. These London datestamps with number 172-177 were used on naval mail sent to London in closed bag; such mail should have had G.B stamps, and these cards should therefore have been treated as being unpaid and charged. A rare origin for British naval mail. (2).
Lot 1560
1903 2/- Small Arms issue Die Proof printed in greenish blue, sunk within a thick card surround, endorsed "Specimen approved. Duplicate D.E.B, 17.12.03", 71x100mm. Three sunken die proofs were produced in differing colours, two marked as rejected with this proof approved; despite this no 2/- value was ever issued. A rare and attractive proof, one of three such sunken die proofs recorded, unique in this colour and with this approved endorsement. Ex. Dyer, mentioned on page 346 of "Rhodesian Philately to 1924". Photo included on Back Cover.
Lot 1669
1889 (May 3) India 1a6p postcard commercially used to Germany, posted into the French Post Office, the card unusually accepted as valid and not charged, cancelled by the "ZANZIBAR" French P.O c.d.s with a second strike on the front, La Reunion A Marseille LV No. 3 backstamp and Hamburg arrival datestamps. Creasing and a little soiled, nevertheless exceptionally unusual and rare. Photo on Page 242.
Lot 180
Maheno. 1915 Stampless O.H.M.S covers with "N.Z Expeditionary Force, No. 1 Hospital ship" printed in the lower left corner (differing headings and imprints), the first with violet boxed "N.Z Expeditionary Forces / 5 OCT 1915 / No. 1 HOSPITAL SHIP", the second with similar handstamp of 17 NOV 1915 with "No. 1" removed, both with manuscript "On my honour I certify that the contents of this envelope refer to private and family affairs" on the reverse. A rare pair, both to New Zealand, the second with minor edge faults. (2).
Lot 182
Maheno. 1916 Covers posted at Cowes, Isle of Wight, both with blue boxed dated "N.Z Expeditionary Forces / No. 1 HOSPITAL SHIP", a stampless cover dated 14 OCT 1916 with Cowes c.d.s the following day, red "PASSED BY CENSOR" and "RECEIVED FROM H.M SHIP / NO CHARGE TO BE RAISED"; the second cover registered to Southampton with 14 AUG 1916 boxed datestamp and three 1d stamps cancelled at Cowes the following day, blue "ON ACTIVE SERVICE / N.Z HOSPITAL SHIP / "MAHENO"", right numbered portion of a registration label applied with "N.Z HS "Maheno"" written alongside, the label and endorsement ringed. A fine pair, the registered cover very rare. Also two postcards of the ship. (4). Photo on Page 32.
Lot 23
England. 1829-1970 Postally used covers, cards and an entire letter, including a rare 1829 letter from the Secretary to the Hackney Alliance Cricket Club posted to a Marquee Manufacturer in London enquiring about sizes and prices of Marquees as the cricket club wishes to buy one; 1886-1911 postal stationery postcards with printed messages from cricket clubs (9); QV ½d stationery envelopes with printed headings "Cambridge University Cricket Club - Seasons Arrangements 1901" (2) or "Croydon House of Commons Cricket Match"; 1898 postcard posted in Birmingham with an illustration of a batsman alongside the address; 1916 cover to a soldier at Lords Cricket Ground; 1937 (July 24) postcard with Mobile Post Office A c.d.s used at Old Trafford Cricket Ground, etc. (39).
Lot 239
Centaur. 1943 Stampless covers with violet "H.M.A / HOSPITAL SHIP" and boxed A.I.F censor cachets, one with "Passed Free Surface Postage" machine of Fremantle, the other with enclosed letter headed from the ship. The "Centaur" was sunk by a Japanese submarine just four days into her second voyage with the loss of 268 personnel, including Pte N. McLean, the writer of this letter. A few opening faults but rare, believed to be the only covers recorded from this hospital ship. (2). Photo on Page 40.
Lot 293
1942-45 Japanese P.O.W postcards from Pte. M. Hazell R.A.O.C in Changi, to his mother in Manchester, comprising first/second type cards with large Malaya cachet in red or violet (both undated) or small violet Malaya cachet dated 25.12.43, third/fourth type card (with Malaya printed at left) dated 10/8/44, and fifth type card with "Malai Furyo Shuyo Sho. No. " printed at left and handstruck "5", dated 21/3/45, all with Japanese chops. A fine and rare correspondence, only five examples of the first type card with small Malaya handstamp recorded by Tett, the final card very scarce. (5). Photo on Page 52.
Lot 302
1840-1960s QV - QEII Collection in seven large stockbooks, virtually all used, the majority collected for their cancellations with large numbers of fine single ring datestamps and other unusual cancels, with used or cancelled abroad, numbers in Maltese Cross (19, all numbers), camps, F.P.Os and military, Boer War and WW1, T.P.Os, stations and R.S.Os, rubbers and skeletons, Salisbury "683" trial cancels, boxed "No. 1" (2), Liverpool P.L.O (2) or Landing Stage (8), British Army P.O Egypt, Tresco on 1884 1/-, "OXO" on embossed 6d (cut to shape), rare Edinburgh 131 experimental duplex, Cape Packet Plymouth, Dartmoor F.P.O duplex on piece, Paquebots and Ship Letters, oval railway cancels, VR Scrolls, 1862 International Exhibition on piece, Islands, Azemars, etc., some better stamps with 1d blacks (5, all four margins), 1840 2d blue (three margins), 1883 Anchor 10/-, 1884 Imperial Crown £1 brown (small thin), 1900 £1 Green, a few mint with 1841 1d reds (3), many multiples and plate varieties, watermark varieties, postal fiscals, officials, postage dues, etc. Also many unusual items with railway and other perfins (many on Line Engraved), BT perfins, underprints and overprints (37), several mint surface printed stamps with "HUTH" perfins, telegraph stamps, Circular Delivery Co., postal stationery cut-outs with 1887 dotted Hoster and Ethridge machines and a few advertising rings, labels and cinderellas, revenues, railway parcel and newspaper stamps (154) or letter stamps (65), etc. Also an eighth stockbook of c.d.s and rubber cancels mainly on piece. A very unusual and interesting collection that should be viewed to be fully appreciated. (1000s). Photo on Page 50.
Lot 319
1842 (May 13) Long entire letter from Truro to St Austell bearing 1841 2d blue plate 3 NC-OC vertical pair each tied by a superb blue Maltese Cross with matching Truro datestamp on the front. Small stain at upper left, NC touched at right, OC cut into at right with fault at lower right corner, still a spectacular cover and a very rare blue cross on the 2d blue. Ex. Pickering collection. S.G. £8,500 (for a single 2d on cover). Photo on Page 54.
Lot 325
1862 (Jan 8) G.P.O London printed circular "Postage Stamps of the value of four-pence, of a new color, and also a new stamp of the value of nine-pence, being about to be issued for the payment of postage upon letters posted in the United Kingdom; I enclose, for your information, specimens of these two stamps", signed by F. Hill in manuscript, bearing 1862 4d plate 3 with type 5 "SPECIMEN" overprint and 9d plate 2 overprinted "SPECIMEN" type 6 (torn prior to being applied to the notice), sent to The Postmaster General, Sydney. The notice endorsed "Enclosing specimens of new nine penny and four penny postage stamps" and "Supt, note & show to Letter Branch 15/3/62" with dated initials of three officials in New South Wales who saw this notice over the following three days. Edges of the notice (clear of all wording) folded back to display the notice on an album page, minor staining of the blue paper and a repaired horizontal split, an exceptionally rare notice intended for Postmasters and Postal Agents overseas, one of just two recorded examples (the other being slightly reduced in size), ex. Conrad Latto Collection (sold in 1992). Photo on Page 56.
Lot 351
Controls. 1937-41 KGVI Perf type 6B Control blocks of six all with cylinder numbers unrecorded in this perforation type, comprising ½d dark green B37 cylinder 31 no dot, 1d scarlet C38 cylinder 18 no dot, 1½d red-brown B37 cylinder 71 no dot, E39 cylinder 135 dot, E39 cylinder 144 dot, F39 cylinder 150 no dot, E39 cylinder 156 no dot, 2d pale orange R45 cylinder 40 dot, 2½d light ultramarine L42 cylinder 104 dot (2, one unmounted), L42 cylinder 113 dot (mounted), M43 cylinder 131 no dot. A rare group, mounted in the margin only, otherwise fine. (12). Photo on Page 62.
Lot 432
Macclesfield. 1903 Picture postcard posted within Macclesfield, the KEVII ½d cancelled oval "POSTED IN ADVANCE / M.C / 1903 / FOR DELIVERY ON XMAS DAY". A fine strike of this rare postmark, just 2,700 items posted for Christmas delivery in 1903, the only year this scheme operated in Macclesfield. Photo on Page 72.
Lot 461
Channel Islands. 1796 (Mar 25) Letter (first page missing) from Paul Le Mesurier (M.P for Southwark, later Lord Mayor) to Thomas De Sausmarez in Guernsey with a fine Free c.d.s and "2" charge for delivery by the Guernsey Postmistress Ann Watson, with her bill for postage on letters delivered to Sausmarez between May 1795 and March 1796, the final entry being the 2d charge for this letter on March 27th. A rare letter and matching Guernsey postage account. (2).
Lot 489
Chevalier. 1903 (Jan 3) Cover franked 1d from Innellan to Paisley, backstamped partial "(GK & A)RDISHAIG PACKET / B / CHEVALIER" wide type c.d.s, very scarce, especially as a transit datestamp. Also a 1903 (Feb 5) piece with KEVII 1d cancelled by this rare "CHEVALIER" c.d.s code "A", cut around the cancel. (2).
Lot 6
1752 (Oct 26) Entire letter from Antigua to Charles Tudway in London charged 9d, handstamped "SHIP" (18x5mm) with "19/JA" Bishop Mark. This "SHIP" marking would appear to be Tabeart type S1a of Waterford or Kinsale (both possibly used in Dublin?), a single example of each recorded. A rare and intriguing ship letter, probably landed in Ireland; "SHIP" handstamps are recorded from eleven British ports, eight of which are in Ireland (with the marks of Greenock, Lancaster & Liverpool all being far larger than this handstamp). The letter reports the purchase of 17 seasoned negroes for £523.8.9, the high cost due to the low numbers brought to the island as a result of a large number of French vessels on the coast. Photo on Page 6.
Lot 606
1840-43 Entires from the Danish Ministry of Finance to Rothschild & Son in London both endorsed "Recommandirt" on reverse, with Altona Danish P.O and London backstamps and (crown) / REGISTERED" applied in the London Foreign Branch. The 1840 letter with the handstamp in black, charged 2/6 registration + 3/4 postage; the 1843 letter with the handstamp in red, charged 1/- registration + 3/4 postage. A rare and superb pair, the black Registered handstamp very unusual, the 1840 letter received prior to the introduction of inland registration. (2). Photo on Page 106.
Lot 637
Various letters and ephemera (88+) concerning the islands during the war, many from the British Red Cross or Channel Islands Refugee Committee, some 1945 letters sent between Miss Trouteaud at the R.C.M.B in Guernsey and the British Red Cross concerning forwarding further Red Cross messages, etc., also Red Cross & St. John War Organisation letters with copies of telegram messages from Guernsey received via the I.C.R.C in Geneva (5), Christmas Greetings cards from the British Red Cross packing centres (2), a few Red Cross message forms, card and lettersheet from internees at Biberach, etc. Also two rare cloth patches with a crown, one above "H.30 / H.65 / H.91" (B Class destroyers H.M.S Beagle, Bulldog, Boadicea) apparently acquired at the time of the island's liberation. An interesting group. (90+).
Lot 667
1941-44 Forms to or from Jersey (2) or Guernsey (5) with differing German censor cachets, comprising red boxed "Gepruft / Dienststelle / Feldpost Nr. 35372 / IC" applied in Jersey, red 28mm Wehrmacht censor code "6" applied in Berlin (2, one with sideways 5 at right), red 33mm Wehrmacht censor with "gepruft" at top (very rare, apparently unrecorded on Channel Island Red Cross forms), black 34mm Wehrmacht censor with "gepruft" at base and code "h" applied in Berlin (2, one also with boxed "833"), black 34mm "Zensurhelle / gepruft" applied in Berlin by the Gestapo, all fine, the final form from Guernsey dated 29 July 1944. (7).
Lot 7
1765 (Aug 31) Entire letter from Antigua to Charles Tudway at Wells "p. Cap. Martin", endorsed "Ship" and charged 8d, with "31/OC" Bishop Mark. A rare early "Ship" endorsement, the port of landing unknown but possibly London, the first London Ship Letter handstamp not recorded until 1766. Photo on Page 6.
Lot 708
Sark. 1941 (Jan 15) - 1944 (Feb 3) British forms from Gertrude Topliss, at R.C.M.B 14 in London to her mother "Nellie Topliss, Maison Rouge, Sark, Channel Isles", all with replies on reverse sent back from Sark (24), various cachets including "COUPON-REPONSE", the final form with black Gestapo censor cachet (with the final reply sent back on 1st June 1944). Also another form from Gertrude Topliss to Rev. Greenhow at Torteval Rectory, Guernsey. A rare correspondence to and from Sark. (25).
Lot 709
Australia/Internees. 1942 (Sep 4) Swiss Red Cross form from Hazel Marsh, Wangaratta, Victoria, sent to Gwen Barnett in Guernsey, reverse with the reply sent on March 25th 1943 from Gwendoline Barnett at Biberach Internment Camp "Interned in Germany. Teaching Camp School", boxed "STATES OF GUERNSEY / RED CROSS BUREAU" cachet. With Red Cross window envelope bearing German Red Cross in France cachet and German censors, Wangaratta backstamp (23 July 1943), envelope and form both with Australian censor. Also 1943 Australian Red Cross letter and leaflet about communicating with P.O.Ws and Internees. A very rare origin, especially forwarded from Guernsey to Biberach. (4).
Lot 726
France. 1945 French Red Cross forms with "Taxe Percue" printed in the upper left corner, sent by Jean Mattas from Paris or Creuse to Dr. Mattas in Jersey, Swiss Red Cross cachets, the first with 30c pair + 2f cancelled in Paris and a 1f.50 meter mark. Rare forms, presumably delivered after the war. (Also see lot 728). (2).
Lot 733
Iraq. 1943-44 Iraq Red Cross forms (6) all from S. Brouard to Guernsey, the senders address deleted (his Paiforce address later written on the forms), also German forms (2) from Guernsey to S. Brouard, R.A.F No 2 Squadron, Baghdad, Iraq, the six forms from Iraq all with replies on the reverse. All forms with Swiss and German Red Cross cachets and circular "COMITE / INTERNATIONAL / DE LA / DELEGATION / EN / TURQUIE", four also with boxed Iraq censor cachets. One form stained, otherwise fine, a rare origin and destination. (Also see lots 724, 743). (8). Photo on Page 118.
Lot 740
Netherlands Colonies - Curacao. 1942 (Nov 21) German form from Guernsey to D.P Plummer, c/o C.P.I.M Curacao, Netherlands West Indies, reverse with reply sent on 9 July 1943, Swiss and German Red Cross cachets, both sides also with rare circular "CENTRAL COMITE "ROODE KRUIS" / CURACAO". Photo on Page 120.
Lot 746
Southern Rhodesia. 1942 Southern Rhodesia Red Cross forms, a typewritten form and a red printed from both from Owen Brown in Salisbury to his parents in Jersey with replies on the reverse sent back in 1942-43, Swiss and German Red Cross cachets, British hexagonal censors including numbers "DE/8", "DE/25" or "DE/28", one with an Egypt censor. Very rare. (2). Photo on Page 120.
Lot 751
Trinidad. 1941 (July 7) German form from Stanley Ogier in Guernsey to Thomas Ogier in Port of Spain, reverse with reply sent back on 5th February 1942, Swiss Red Cross cachets and boxed "Deutsches Rotes Kreuz / Eing.: 24 JUIL 1941 / Ausg.: 25 JUIL 1941", with an accompanying slip "With the Compliments of the British Red Cross Society Trinidad and Tobago Branch" and a printed Red Cross. A very rare destination and origin.
Lot 821
Maritime/Railway Cancels. Stamps and pieces in two stockbooks with Paquebot, Sea Post or other maritime cancels, or with T.P.O cancels, maritime items (c.640) including Loose Ship Letter handstamps on Solomon Islands 2d and Australian States, rare "B16" mailboat numeral on India 4a, violet ship handstamps on Solomon Islands and Straits Settlements, French Seapost datestamps on Japan and Hong Kong, "H.M.S" security handstamps on Hong Kong (2), Plymouth to Bristol T.P.O, Barbados Ship Letter datestamp on Trinidad 1d pair, Liverpool Br. Packet, Mobile Boxes, Hong Kong cancels on Macau and Philippines, Hull cancels on Sweden, French, Dutch, German, Japanese and U.S Sea P.Os, etc.; also a second stockbook with worldwide T.P.O cancels (c.670) with Australia, Sierra Leone, Nigeria, etc. (c.1,300). Photo on Pages 74 & 130.
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