World War II Luftwaffe Ace Herman Buchner signed B30 Avro Lancaster Disbandment of 617 Squadron flown FDC very rare variation number 5 of only 10 signed PM Disbandment of 617 Sqd Jersey 31 Dec 81. Hermann Buchner (30 October 1919 - 1 December 2005) was a former Luftwaffe fighter ace and recipient of the Knights Cross of the Iron Cross during World War II. The Knights Cross of the Iron Cross was awarded to recognise extreme battlefield bravery or successful military leadership. Buchner is credited with 46 tank victories and 58 aerial victories, including 12 while flying the Messerschmitt Me 262 jet fighter, [1] accumulated in 631 combat missions. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
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WW2 Fantastic Bomber Command Collection inc Signatures, Information, Photos, Newspaper Clippings, Letters and Bios. Signatures on FDCs His Worship David Bill, Eric Johnson DFC AFC, GR Briggs, Bob Munns, John Clarke, John Chatterton, F/O Stanley Watson, SG Watson, Flt Lt Donald Trevethick, Sir Michael Beetham, Ken Rogers. This Whole Collection Relates To Bomber Command and Important Roles Played by Heroes. Approx 40 Various RAF Related Photos. Lots of Information about Bomber Pilots. A Rare Collection from a leading WW2 Collectors Personal Collection. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Transitional Romanesque-Gothic Christ, 13th-14th century.Carved wood, remains of polychromy.Measurements: 46.5 x 40 x 5 cm. (figure); 49.5 x 42 cm.(total).Christ with three nails, with the head leaning on the right arm and the eyelids closed. As was usual in Romanesque carving, the anatomy lacks naturalistic pretensions. Despite the fact that in terms of period we could be looking at a Gothic piece, it remains faithful to Romanesque solutions: the body is resolved in a synthetic manner, abstracting from the elemental, magnifying the hands and heads as the parts that are mainly intended to be shown. The cloth of purity is still of considerable length, but in the following centuries it will be shortened, leaving the thighs visible. The folds are marked with vertical incisions, in accordance with the medieval solutions of Castilian carvings.During the Romanesque period, sculpture was most often conceived as part of the architecture, as in the Gothic period. However, there were also examples of free-standing sculpture, the most frequent themes being the Crucifixion and the Virgin and Child (the pantheon of saints was still small). There were two models, the "colobium" and the "perizonium". The first is a Christ nailed to the cross, still alive, with a talar robe and four nails. It is a rare model, as it was only made in certain European territories (in Spain, only in the Crown of Aragon, especially in Catalonia, but always coexisting with the second model). The "perizonium" is also a Christ on the cross with four nails, dead or alive, but dressed in a cloth of purity. The piece presented here belongs to this second group. During the Romanesque period, four-nailed Christs were the norm, but this one has only three nails, a characteristic possibly due to the influence of external sources. The perizonium was the model that persisted, as the "colobium" was only made during the Romanesque period. They were also often polychrome pieces, whether worked in wood, metal, ivory or stone. This type of piece was designed to decorate the interiors of churches, mainly the chapel area, as they were not yet decorated with canvases.
Romanesque Christ, 12th-13th century.Polychrome wood. Support on wooden board upholstered in red.Size: 17.5 x 15.5 x 3 cm (Christ); 29 x 22.5 cm (panel).Round sculpture representing Christ crucified while still alive, with the wound in his side, his head fallen on his chest and his eyes open. Formally, the anatomy of Christ stands out: as was usual in the Romanesque, it lacks naturalistic pretensions; his anatomy is extremely synthetic, reduced to the elementary, representing concise elements detailed by incision, such as the hair or the cloth of purity.During the Romanesque period, sculpture was most often conceived as part of the architecture, as in the Gothic period. However, there were also examples of free-standing sculpture, the most common themes being the Crucified Christ and the Virgin and Child (the pantheon of saints was still small). There were two models, the "colobium" and the "perizonium". The first is a Christ nailed to the cross, still alive, with a talar robe and four nails. It is a rare model, as it was only made in certain European territories (in Spain, only in the Crown of Aragon, especially in Catalonia, but always coexisting with the second model). The "perizonium" is also a Christ on the cross with four nails, dead or alive, but dressed in a cloth of purity. The piece presented here belongs to this second group. During the Romanesque period, four-nailed Christs were the norm, but this one has only three nails, a characteristic possibly due to the influence of external sources. The perizonium was the model that persisted, as the "colobium" was only made during the Romanesque period. They were also often polychrome pieces, whether worked in wood, metal, ivory or stone. Such pieces were intended to decorate the interiors of churches, mainly the chapel area, as they were not yet decorated with canvases.Romanesque sculpture pursued mainly didactic purposes, and its images were conceived as a visual narrative, which should always be clearly legible. At this time, prior to the search for naturalism that would emerge during the Gothic period, the language is purely conceptual, and functions on the basis of symbols and conventions accepted by all. In this sense, anatomy is synthetic, representative rather than a reflection of the natural, as is the treatment of the face.
Romanesque Christ, Spain, 13th century.Copper.Measurements: 17,5 x 13,5 cm .Christ crucified with three nails, the head is crowned and fallen on the chest with open eyes. Formally, the anatomy of Christ stands out: as was usual in the Romanesque, it lacks naturalistic pretensions; its anatomy is extremely synthetic, reduced to the elementary, representing concise elements detailed by means of incision, such as the ribs or the cloth of purity.During the Romanesque period, sculpture was most often conceived as part of the architecture, as in the Gothic period. However, there were also examples of free-standing sculpture, the most frequent themes being the Crucified Christ and the Virgin and Child (the pantheon of saints was still small). There were two models, the "colobium" and the "perizonium". The first is a Christ nailed to the cross, still alive, with a talar robe and four nails. It is a rare model, as it was only made in certain European territories (in Spain, only in the Crown of Aragon, especially in Catalonia, but always coexisting with the second model). The "perizonium" is also a Christ on the cross with four nails, dead or alive, but dressed in a cloth of purity. The piece presented here belongs to this second group. During the Romanesque period, four-nailed Christs were the norm, but this one has only three nails, a characteristic possibly due to the influence of external sources. The perizonium was the model that persisted, as the "colobium" was only made during the Romanesque period. They were also often polychrome pieces, whether worked in wood, metal, ivory or stone. Such pieces were intended to decorate the interiors of churches, mainly the chapel area, as they were not yet decorated with canvases.Romanesque sculpture pursued mainly didactic purposes, and its images were conceived as a visual narrative, which should always be clearly legible. At this time, prior to the search for naturalism that would emerge during the Gothic period, the language is purely conceptual, and functions on the basis of symbols and conventions accepted by all. In this sense, anatomy is synthetic, representative rather than a reflection of the natural, as is the treatment of the face.
Romanesque Christ. Spain, 12th-13th century.Bronze.Measurements: 16,5 x 14 cm .Round sculpture with a hollow at the back, which represents Christ crucified, with the wound in his side, his head fallen on his chest and his eyes open. Formally, the anatomy of Christ stands out: as was usual in the Romanesque style, it lacks naturalistic pretensions; its anatomy is extremely synthetic, reduced to the elementary, representing concise elements detailed by incision, such as the hair or the cloth of purity.During the Romanesque period, sculpture was most often conceived as part of the architecture, as in the Gothic period. However, there were also examples of free-standing sculpture, the most common themes being the Crucified Christ and the Virgin and Child (the pantheon of saints was still small). There were two models, the "colobium" and the "perizonium". The first is a Christ nailed to the cross, still alive, with a talar robe and four nails. It is a rare model, as it was only made in certain European territories (in Spain, only in the Crown of Aragon, especially in Catalonia, but always coexisting with the second model). The "perizonium" is also a Christ on the cross with four nails, dead or alive, but dressed in a cloth of purity. The piece presented here belongs to this second group. During the Romanesque period, four-nailed Christs were the norm, but this one has only three nails, a characteristic possibly due to the influence of external sources. The perizonium was the model that persisted, as the "colobium" was only made during the Romanesque period. They were also often polychrome pieces, whether worked in wood, metal, ivory or stone. Such pieces were intended to decorate the interiors of churches, mainly the chapel area, as they were not yet decorated with canvases.Romanesque sculpture pursued mainly didactic aims, and its images were conceived as a visual narrative, which should always be clearly legible. At this time, prior to the search for naturalism that would emerge during the Gothic period, the language is purely conceptual, and functions on the basis of symbols and conventions accepted by all. In this sense, anatomy is synthetic, representative rather than a reflection of the natural, as is the treatment of the face.
A RARE FLORENTINE SCAGLIOLA PANEL BY LAMBERTO CRISTIANO GORI SIGNED AND DATED EITHER 1752 OR 1782 A Scagliola panel of an Italianate harbour scene, the foreground with merchants and portside figures, castle tower with soldiers beneath, ships beyond, signed to the side of a box slightly indistinctly, "Lambertus Cristianus Gori, Fec: Florenze Anno Dom 1782 (or 1752?)", ink inventory (?) number to reverse, in a later swept gilt frame, provenance as per handwritten note to versovisible panel 37 x 54.5cm, the frame 53 x 71cmProvenance:The collection of His Royal Highness Prince Georg of Denmark 1975Lamberto Cristiano Gori (1730-1801) was apprenticed to the monk Don Enrico Hugford of Vallombrosa, regarded as one of the leading exponents of the art of scagliola in the 18th century. John Fleming in his article 'The Hugfords of Florence' (Connoisseur, October 1955) writes that Hugford's work displays "technical brilliance, his hand revealed by the charming but unvarying colour scheme of salmon pink, pale blue, light sandy brown and smokey grey, which gives his panels the appearance of gouache paintings under thick glass, their surfaces being exceptionally smooth and translucent". In his technical mastery Gori rivalled his master but, unlike him, his work tended to be less inspired by known observable landscapes and more by a leaning toward capricci- freer extemporizing interpretations of the scenes around him.In his article 'Masters of the Art of Scagliola', Country Life, September 29, 1994, Jonathan Cook suggested that Gori was drawing more on the painterly styles of artists such as Vernet and Pannini. The imaginary Mediterranean view of this panel shows similarities in the soft colouring and in the treatment of the figures with the central scene on a pair of scagliola table tops at Woburn Abbey (Bedfordshire) dated 1762 and made also by Lamberto Cristiano Gori and commissioned by the Marquess of Tavistock, eldest son of the 4th Duke of Bedford. For a pair of harbour scenes with similar treatment of the water and buildings, signed by Lamberto Gori, see lot 39 from the "The Collection of Prince and Princess Henry de la Tour d'Auvergne Lauraguais" sold Sotheby's, London, 3 May 2012, £27,500.Condition Report: There are some marks, scratches, knocks, chips, and abrasions consistent with age and use.The later frame with losses, damage and repairs.The panel with what appears to be a slightly discoloured wash- pale yellow tea coloured. There are small areas where a whiter undercolour is visible - possibly from surface abrasion. Traces of prior framing evident from traces of gilding to edges of panel. Edges also showing nibbling and small loss- most noticeable to lower right hand corner that has section approx 1cm replacedPlease see the additional photographs as a visual reference of condition and which form part of this condition report.Condition Report Disclaimer
A RARE GEORGE III MAHOGANY TRAY TOPPED SIDE TABLECIRCA 177078.5cm high, 116cm wide, 38.5cm deepThe design and style of this table shares similarities with the restrained furnishings at Dumfries House, Ayrshire. Dumfries contains documented furnishings by Chippendale as well as undocumented pieces that may have come from the same workshops or from the workshops of Alexander Peter or William Mathie. (see Dumfries House: A Chippendale Commission, vol. I, Christie's London, 12 July 2007 and R.Bird, 'Who was the Dumfries House Cabinet Maker?, vol II introduction). For a near identical table, see Christie's, London, 13th November 2014, The English Collector, lot 222 (£35,000). The Christie's table had provenance to Thomas Osborne, 4th Duke of Leeds (d.1789) and was supplied for Kiveton Park, and subsequently moved to Hornsby Castle, Yorkshire.
A PAIR OF GEORGE III GILTWOOD OVAL MIRRORSATTRIBUTED TO WILLIAM & JOHN LINNELL, CIRCA 1760The ribbon tied entwined palm frond frames incorporating 'C' scrolls and acanthus each 130cm high, 94cm wideThis pair of mirrors or 'pier glasses', of Roman medallion form, is conceived in the George II picturesque style and relates to a flower entwined example at Uppark, West Sussex. John Linnell designed a pier glass circa 1760 and such mirrors appear to be derived from that drawing (Illustrated in H. Hayward & P. Kirkham, William & John Linnell, vol. II, London, 1980, p.115. fig.220). A closely related white painted pier mirror was supplied to Brownlow, 9th Earl of Exeter for Burghley House, Lincolnshire; although no specific bill remains, Exeter is known to have employed Linnell during the 1760's. A related mirror was designed and supplied by the architect John Vardy (1718-1765) to the 1st Earl Spencer for the Palm Room, the Earl's mansion, St. James's London. It is very rare to find a pair of mirrors of this design, most commonly only single examples are found. The current examples are also of larger size and a more sophisticated model than many other recorded examples, incorporating additional ornament to the main palm fronds forming the frames. A related but single and smaller example was sold; Christie's, London, A Private Collection from Belgravia' 26th January 2011 (£15,000). Another related single example, also attributed to William and John Linnell was sold; Christie's, London, Property of the Late Lady de Trafford, 9th December 2010, Lot 58 (£34, 850). Condition Report: Both with marks, knocks, scratches and abrasions commensurate with age and use. Some old chips and splits to frames. Both mirror plates have age and could possibly be original. They bear the expected depletion, sparkle and spots of loss. The surfaces of both frames appear to have been sympathetically cleaned and refreshed at some point. The gilt surface to both mirrors with the expected wear and rubbing. Various old glued repairs to the carved extremities of both mirrors - please see additional images. Some old vacant screw holes to the backs from previous fixtures. The backboards have age but are later replacements. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Y A RARE PAIR OF JAPANESE EXPORT NAGASAKI BLACK LACQUER AND MOTHER-OF-PEARL KNIFE BOXES LATE 18TH/EARLY 19TH CENTURY Of shaped slanting form, decorated overall with birds, flowering stems, each with stepped interiors retaining original matrix and lined with green velvet, fitted with 18th century silver flatware and later silver plate and steel,the boxes 36.5cm high, 22.5cm wide, 20cm deep, weighable silver 67oz.In 1799 the Dutch East India Company's American chartered ship the Franklin of Salem arrived in Nagasaki. Its captain's personal account books record that he brought back a considerable quantity of lacquer, all of it apparently in contemporary European shapes, including '22 lacked knife boxes'. (Charles H.P.Copeland, 'Japanese export furniture', Antiques, LXVI, July 1954, pp. 50-1). As well as the tall urn form knife boxes- the Company was also importing cases in this swept slant box form with the shell inlay distinct from earlier hiramaki-e decorated ware. The Clive Collection at Powis Castle holds a similar shaped example in its collection but with the earlier style of decorative design (Mary Archer and others, Treasures from India: The Clive Collection at Powis Castle, London, 1987, cat. no. 193)For a similar single example in this shape please see Christie's "The Collection of Giorgio Marsan and Umberta Nasi", lot 133, 13th December 2007, sold for £1,750Condition Report: There are some marks, scratches, knocks, chips, cracks and abrasions consistent with age and use.Both have suffered from shrinkage cracks- with some old remedial work, Strong light reveals old touching up to black surface throughout. Edges with some wear, small chips and loss. Interior to one lacking baize to lid and with visible later paper repair. One clasp detached but present- will require remedial work. 1 key. Hinges with later pins. 1 foot loose but present. Please see the additional photographs as a visual reference of condition and which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
A REGENCY MAHOGANY LIBRARY BERGERE ARMCHAIRATTRIBUTED TO BANTING, FRANCE & CO., CIRCA 1820-30OF MASSIVE PROPORTIONS138.5cm high, 103cm wide, 68cm deepOf rare oversized form, this chair was possibly designed as a 'show piece', and conforms to the early 19th century fashion combining Grecian and Louis XIV ornamentation, popularised by Thomas King's The Modern Style of Cabinet Work Exemplified (1835). Related furniture was supplied by Messrs Banting France & Co. in 1821 for Frederick William Hervey, 5th Earl and 1st Marquess of Bristol (d.1859) at no.6, St James Square (J. Shurmer, Ickworth, 1998, p.12). For a closely related bergere armchair, also attributed to Banting & France, see Christie's Important English Furniture, 23rd November, Lot 127, £22,800. Condition Report: Marks, scratches and abrasions comensurate with age and useSome old chips and splits. Some old repairs. There is a strip of replaced veneer at each side of the lower edge of the reverse of the back (see additional images) To the side of one front leg the moulded elements are later replacements (see images) Some wear to upholstery as expected for age. The upholstery is a later replacement. All other visible elements are original. We cannot guarantee the originality of the elements beneath the upholstery as it cannot be viewed. Of solid structure overall. The casters are highly polished but appear original. The surfaces of the cappings are very clean. There are a small numbe rof screws lacking from the cappings and several screws are replaced with modern examples. Some of the cappings are slightly loose where screws are lacking.Please refer to additional images for visual reference to condition. Condition Report Disclaimer
A REGENCY MAHOGANY LUGGAGE RACK ATTRIBUTED TO GILLOWS, CIRCA 1815Of rare galleried form 84cm high, 62cm wide, 50cm deep For a closely related example see Christie's London, Important English Furniture, 6th July 2000, Lot 46 (£35,250). For a further closely related example (also with rear gallery) see Bonhams, London, Important Design, 25th April 2018, Lot 74 (£16,875). In 1812 Gillows supplied eight related trunk stands with reeded legs (but without rear gallery) to Wilbraham Egerton for Tatton Park, Cheshire. The current lot is particularly unusual for having a back as most models do not. The current example follows Gillows design dated 12th September 1822 for a 'trunk stand with back' (Gillows Sketch Books, pl. 3190). Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use, Some old chips and splits. Some additional dark scratches and pitting to the cross planks and tops of rails. Old repair and sections of replacement timber to top of one front leg - see image. All joints secure. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
A RARE AMERICAN SPECIMEN WOOD BOX BY ADOLPH SINNING MID 19TH CENTURYWith single drawer containing a handwritten note, signed by Sinning detailing the various Yosemite woods used to make the box,12.5cm wide, 4.5cm high, 10cm deepThe very little we know about Adolph Sinning (1813-1889) is derived from the early history of The Sierra Club- the American environmental and conservation club established in 1892 under the presidency of the American-Scottish John Muir. The club's earliest headquarters was established in "Sinning's Cottage" in Yosemite Park with the former owner described in the literature of the time as a German woodworker who sold "beautiful and dainty souvenirs in California woods". Very few examples of work by him seem to have survived with this being seemingly the second only example to be offered at auction- the other being offered at Dreweatts Tunbridge Wells, lot 101, 24th February 2001 "American specimen wood tea caddy, the octagonal body with concealed drawer with letter of Provenance signed Adolph Sinning, Yosemite, California, 5.75in".The handwritten note that accompanies this box details the woods used in its construction and are testament not only to the broad arboreal diversity within the park- but also to his skill at utilizing their timbers for elegant effect;No 1. Description of a cabinet inlaid with different woods from Yosemite, the inside of the draw are the wood of the big tree and the bottom of the box are of laurel.Front Top border; Splicewood, Manzanila, Mt Mahogany, Buckeye- panel LeilakFront Border; Manzanila, Mt Mahogany, Buckeye, drawer Curly ManzanilaRight side border; Manzanila, Arrow Panels Indian Arrow, Manzanila, BuckeyeRear end panel; Juniper, Ceanothus, BuckthornLeft side panels; laurel, Alpus Viridus, Blak OakA Sinning, Yosemite Cal."Condition Report: Generally good condition- later baize roundels to the base, which shows some polish or oil marks, small loss to knot of timber below drawer handle.Condition Report Disclaimer
A WILLIAM AND MARY BLACK AND POLYCHROME JAPANNED CABINET ON STAND LATE 17TH / EARLY 18TH CENTURY AND LATER with engraved brass mounts, the front and sides painted with Delft style vases of flowers and floral sprays, with a pair of doors enclosing an arrangement of ten drawers around a central cupboard, enclosing three further drawers, painted with scrolling leaves and flowers, the stand with conforming decoration, on square section legs united by a shaped 'X' stretcher 168cm high, 104.5cm wide, 53cm deep Catalogue Note This rare cabinet painted with still lives of flowers in the Netherlandish manner is part of a small group of similar examples, all painted with colourful flowers in vases on a black japanned ground. It is unclear whether the workshop was based in England or Holland. For similar cabinets see Adam Bowett, English Furniture 1660-1714, from Charles II to Queen Anne, p.163 pl.5:32, the J. Paul Getty Museum, Los Angeles, inv. 78. Da. 117, the V&A Museum, accession no. W.50:1-1948, a cabinet on stand formerly in the collection of the Duke of Buccleuch and Queensberry, sold at Christie's New York, 13th April 2000, lot 212 and illustrated in G. Beard and J. Goodison, English Furniture 1500-1840, p.38 and finally a cabinet formerly in the collection of Christian, Lady Hesketh, sold at Sotheby's, 7th March 2007, lot 25.
A RARE DIMINUTIVE GEORGE III MAHOGANY SERPENTINE SIDEBOARD ATTRIBUTED TO THOMAS SHEARER, C.1780 inlaid with stringing, the crossbanded top above a long frieze drawer and two small drawers, on panelled square tapering legs and spade feet 76cm high, 102.4cm wide, 54.4cm deep Provenance The Wallace Family, Eden Park, Batheaston, Bath, Somerset. Purchased from Haughey Antiques at the Lapada Fair, October 1991.
A RARE GEORGE III BOTANICAL FAN PUBLISHED BY SARAH ASHTON LONDON, C.1792 'The Botanick Fan', hand-coloured engraving on paper, depicting the sexual anatomy of plants, arranged according to the Swedish botanist, Carl Linneaus's classification specimens, with eight lines of a lettered verse from Darwin's 'Botanic Garden', with boxwood guards and sticks, later mounted in a glazed gilt faux bamboo frame 46cm wide Catalogue Note The name of the fan comes from lines of the poem printed on the leaf, 'The Botanic Garden' by Erasmus Darwin, grandfather of Charles Darwin. The Botanic Garden was intended to pique the readers' interest in science whilst educating them at the same time. Whereas Linneaus' classification focused on male plants, Darwin gave female plants a central role. It has been argued that the poem encouraged women to engage in scientific pursuits. Sarah Ashton was a prominent publisher of fan leaves in the late 18th century from her business in Little Britain, near St. Martin's Court, Covent Garden. She was admitted in 1770 into The Worshipful Company of Fan Makers and carried on the printing business after her husband's death. For an identical fan, see the V & A Museum, accession number E. 3191-1938.
Amended 'ON AND OFF DUTY' A RARE PAIR OF BRONZE FIGURESBY JOHN EVAN HODGSON, CAST BY ELKINGTON & CO, LATE 19TH CENTURYdepicting Naval Brigade sailors, one with his sennet hat hanging on his bayonet, each standing leaning on their rifle, indistinctly signed 'Hodgson' and dated '1883; stamped 'Elkington & Co.' (2)62.6cm high
A RARE FRENCH STEEL 'TIRE-BOUCHON A CAGE' CORKSCREW LATE 18TH CENTURY with a brass collar above the turned handle and an openwork cage barrel, the slender helix with a removable cover 12cm long Catalogue Note For a similar slightly earlier example, see Bernard Watney and Homer Babbidge, Corkscrew for Collectors, p.35, pl.23.
A collection of Star Wars trading cards and collectors cards, including Journey To The Force Awakens, Rogue One, Heritage Attack Of The Clones, Heritage Revenge Of The Sith, Heritage Empire Strikes Back, Heritage Return Of The Jedi, Heritage Episode I, Heritage A New Hope, Star Wars Galaxy, Shadows Of The Empire, Star Wars Trading Card Game, Young Jedi, Jedi Knights, Pocket model TCG, Merlin stickers, Tazos. Including various rare, holo and foil examples. Approximately 1500 cards, some in complete sets.
A large collection of Star Wars CCG Customisable Card Game cards, from various sets including Premiere, A New Hope, Cloud City, Death Star I, Death Star II, etc including light and dark examples including rare cards. Mostly bagged in terms of rarity and in decks, together with empty booster pack boxes. Approximately 6000 cards
A VERY RARE AND PROBABLY UNIQUE ROYAL CROWN DERBY SAUCEBOAT AND STAND FROM THE JUDGE GARY SERVICE (2)Circa 1908Each painted with two baskets of flowers by A.Gregory, signed, within raised and tooled gilt frames against a banded cobalt-blue and turquoise ground finely gilt by G. Darlington, signed on the stand, with foliate scrolls around a `G' monogram, gilt printed marks including the Royal Arms and Tiffany & Co. New York, stand impressed 2-08, stand 21cm length, sauceboat 20.25cm lengthJudge Elbert H.Gary ( 1846-1927) was a corporate lawyer and founder of The United States Steel Corporation. He commissioned this service From Royal Crown Derby through Tiffany and Co. in New York between 1907 and 1910. It was thought it was meant to compliment a 566 gold service which Gary also commissioned from Tiffany and Co. As one of the most expensive and elaborate services produced by the Derby factory it took several years to fulfill the order. The service ,comprising of over 400 pieces, was passed through the family and sold at Sotheby's, New York, 28th October, 1998, lots 149 to 156. Condition Report- very good condition.
A RARE ROYAL CROWN DERBY GOOSE EGG CUP FROM THE JUDGE GARY SERVICECirca 1909painted with two baskets of flowers by A.Gregory, signed, with raised and tooled gilt frames, against a banded cobalt-blue and turquoise ground gilt by G.Darlington, signed, with foliate scrolls around a `G' monogram, gilt printed marks including the Royal Arms and Tiffany & Co. New York, 9cm highHaircrack to the rim which immediately forks into 2 haircracks, each approx. 6cm length
Audemars Piguet: a rare Royal Oak wrist watch A-series model 5402ST, stainless steel case, automatic movement, c.1972, signed dark blue tapisserie dial with applied stainless steel baton hour markers with lume inserts, date aperture at 3, stainless steel pencil hands with lume inserts, octagonal bezel with screwheads, hexagonal crown with AP logo, the caseback with Royal Oak No. A 1485, on an integrated stainless steel bracelet strap formed by tapering flat bar links joined by smaller perpendicular rounded rectangular links, with a signed foldover clasp with BREVETE, AUDEMARS PIGUET & CO., SWISS STEEL, INOX SWISS MADE to the interior, no box and papers, with branded service-style cardboard box(Case: 39mm excluding crown)The watch was inherited by the vendor from his late father in 2020. His father lived and worked in Germany and was a keen amateur pilot, and watch collector, who purchased this as his 'dress watch.' He also owned the Heuer watch at lot 153. Read the full article at lyonandturnbull.com
Rolex: a rare GMT Master wrist watch Oyster Perpetual GMT Master 'Pepsi' model 6542, stainless steel case, signed Rolex calibre 1030 automatic movement, 1957 from serial number between lugs, round black dial with lume plots, triangular and baton hour markers, date aperture at 3, outer seconds track in white, stainless steel lume-filled Mercedes hands, stainless steel sweep centre seconds hand with lume plot, red GMT hand with stainless steel lume-filled pointer terminal, red and blue bakelite GMT bezel with 24 hour scale, screw-down crown with coronet, on a hollow-link Oyster bracelet strap with 280 to the end links and 7836 to the first links, with a signed Rolex foldover clasp numbered 270, no box and papers(Case: 37mm excluding crown)
A rare 1864 copper/ nickel Indian head penny with 'L' rotated reverse (180 degrees), pointed bust, Liberty visible on the headband with ribbon/ hair detail, fine condition, together with a 1999 $1 bill, green seal printed in Washington DC and issued by the Bank of Atlanta Georgia, Withrow an Summers signatures, circulated but in fine condition with a single crease.
Two 19th century blue and white transfer printed china spouted spittoons, both in 'Tower' design, one with removable upper dish and with a loop handle, 12cm diameter approximately. Both with transfer printed marks. Together with two similar Spode china blue and white transfer printed eye bath shaped pedestal tureens, one in net design, the other leaf design, having matching ladle, 19cm across approximately. One with rare scroll Spode mark. (5)(B.P. 21% + VAT) Consigned from a large home counties of England estate collection.
Harley Davidson – PatentW. S. Harley „Compression Relieving Mechanism“Original US Patent LithographNo. 1,301,256Eingereicht: 19. September 1917Patentiert: 22. April 1919Edition: 100 ExemplareJe Blatt, 28 x 18,5 cmSehr selten!Dieses Patent wurde noch nie versteigertDieses Original US-Patent besteht aus zwei Blatt Zeichnungen und einem Blatt Beschreibung (Seiten 1 und 2). Die Zeichnungen zeigen einen Vertikalschnitt durch einen Verbrennungsmotor mit verbessertem Ventilöffnungs-Mechanismus (siehe die Figur 1) und einem Horizontalschnitt durch die Linie 2-2 aus Figur 1 (siehe die Figur 2). Die zwei Blatt Zeichnungen sind unten mit dem USA Lithographer „THE NORRIS PETERS CO., PHOTO-LITHO., WASHINGTON, D.C.“ gestempelt.Die Beschreibung beginnt mit:Be it known that I, WILLIAM S. HARLEY, a citizen of the United States, and resident of Milwaukee, in the county of Milwaukee and State of Wisconsin, have invented certain new and useful Improvements in Compression-Relieving Mechanism…William S. Harley (1880 – 1943) war Chefingenieur der 1907 in Milwaukee, Wisconsin (USA) von William S. Harley & Arthur Davidson gegründeten Harley Davidson Motor Co. (jetzt Harley Davidson Inc.). Ab 1913 wurden einige neue Entwicklungen im Bereich der Ventilsteuerungen im Zylinderkopf patentiert. Diese USA Patentschrift beschreibt eine dieser frühen Entwicklungen!Extrem selten, vor allem in diesem erstklassigen Zustand.Provenienz:Sammlung Barenyi (Konstrukteur des VW Käfer)Edition and Rarity of US Patent LithographsUS Patent Lithographs are complete copies of the specifications and drawings of every US Patent issued. They contain of photo-lithographic drawing sheets which are single sided along with the full specification of the Patent on mostly double-sided sheets.Edition of US Patent Lithographs during the period 1871 to 1926Beginning with July 1, 1871 one hundred and fifty copies of every US Patent issued were printed (1, see “first attempt”) and this edition was kept constant during the first two decades of reproduction. The edition was afterwards reduced to 100 copies since the fiscal year 1891 (7) and to 75 copies since the fiscal year 1899. After the year 1904 the edition was after all increased to 100 copies and kept constant until the end of the examined period (1926) (2) (3) (4) (5).Rarity of US Patent LithographsStarting with July 1, 1871 the US Patent Lithographs were mainly distributed to the libraries around the country in so-called weekly bounded volumes and only a few of them were sold.Already one year later these weekly bounded volumes were substituted by monthly bounded Library Editions (July 1, 1872) because it was found that the fifty-two volumes per year fill up the shelves of the libraries so fast as to make the custody of the volumes somewhat irksome and expansive. The Library Editions also contain the full specifications and drawings of every US Patent, but printed on both sides of the page, the drawings, four on a page (6).Because the US Patent Lithographs failed almost wholly to supply the public want (1, see “supplemented by the Official Gazette”) they were additionally supplemented by the Official Gazette of the US Patent Office, instituted on May 18, 1872.Therefore, most US Patent Lithographs (especially within the first two or three decades of reproduction) remain in the US Patent Office after the midyear of 1872 and are of course already disposed.For example, in the report upon the damage of the fire from 1877 at the US Patent Office it was roughly estimated that the whole edition of 150 copies of every lost US Patent has been destroyed, about 40,000 sets or 600,000 copies at all (1, see “loss by fire”).Original US Patent Lithographs are thus extremely rare and only a handful of these Lithographs have certainly survived.Due to the fact that US Patent Lithographs before the fire from 1877 were printed by the American Photo-Lithographic Company until July, 1874 and by the Graphic Company of New York until June 30, 1875, respectively (1, see “American Photolithographic”), and thereafter by the Norris Peters Photo-Lithographer of Washington D.C. (also the reproductions of the lost sets), and because the particular Lithographer is marked at the bottom of the drawing sheet(s) in most cases, an original US Patent Lithograph before the fire from 1877 can be identified through the marked Lithographer in some extent.References:(1) Brief History of the United States Patent Office from its Foundation – 1790 to 1886(2) Official Gazette of the United States Patent Office, Vol. 126, No. 5, January 29, 1907, pages 1779 and 1780(3) Annual Report of the Commissioner of Patents for the Year 1915; Washington Government Printing Office 1916, page VII(4) Annual Report of the Commissioner of Patents for the Year 1922; Washington Government Printing Office 1923, page IX(5) Official Gazette of the United States Patent Office, Vol. 344, No. 3, March 16, 1926, page 541(6) Official Gazette of the United States Patent Office, Vol. 3, No. 1, January 7, 1873, page 28, Bound Volumes of Patents, column II(7) Senate of the United States for the First Session of the Fifty-Second Congress, 1891-1892. Washington: Government Printing Office. 1892, Page 344, see “The only reduction…”
HERMÈS; a rare silver, marked 925, Touareg necklace with a silver pendant marked to the back by the maker and stamped 'Hermès' with a twisted orange and blue leather chain and a silver closure, length 50cm. Additional InformationThe necklace is in an excellent condition with very few signs of use although the silver clasp is quite tarnished.
ISAAC COOKSON (probably); a pair of rare George II hallmarked silver sauce boats with cast rims, raised on three pad feet, with floral knees, Newcastle 1751, length 18cm, approx weight 11.4ozt/354g.Additional InformationLight tarnishing and wear, polish residue, the marks are on each example are slightly rubbed, one example with old solder repair to each of the legs, numerous dents and knocks to the body, a second example with denting to the legs which has pressed into the body.
DOLCE & GABBANA; a rare vintage Noir Rose pink and black 'poodles' coat with a black leather fitted belt and lined with leopard print satin, size small, the coat has a double breasted pop stud fastening front and a wide collar. N.B a similar coat was worn in an episode of Friends by Lisa Kudrow and became iconic.Additional InformationThe coat is in good condition with signs of use to the belt but otherwise in very good condition.
A fine and rare example of a taxidermy Chillingham bull, on oak shield with ivory plaque inscribed 'Shot by Sir John Christopher Willoughby, Octr 6th 1878, at Chillingham Castle', 53 x 67 x 100cms.Note: The Wild Cattle of Chillingham are remarkable survivors of the ancient cattle which once roamed Britain’s forests.Sir John Christopher Willoughby, 5th Baronet DSO (20 February 1859 – 16 April 1918) was a British army officer, Justice of the Peace for Oxfordshire, and landowner of properties in Oxfordshire and Buckinghamshire. After education at Eton and Trinity College, Cambridge, John Christopher Willoughby became in 1879 a lieutenant in the 3rd Battalion Oxford Light Infantry. He became a 2nd lieutenant in the 6th Dragoon Guards and entered the Royal Horse Guards in 1880. He served in the Egyptian campaign in 1882 (awarded medal with clasp, and bronze star), in the Nile expedition in 1884–1885 (mentioned in despatches), and with the British South Africa Company's Force in Matabeleland in 1893. In South Africa in the Second Boer War from 1899 to 1900, he was present with Cavalry Headquarter Staff during the siege of Ladysmith and at the relief of Mafeking was appointed major, under General Hunter, in charge of Transport of Flying Column (mentioned in despatches and awarded a medal). Willoughby served in World War I from 1914 to 1917 and was awarded DSO in 1917. He was ultimately major in command of the 1st Motor Battery of the Army Service Corps before his death aged 59 in April 1918. He was buried in Kensal Green Cemetery, London.
A rare 19th Century Chinese embroidered silk Han society women's informal overcoat or waitao, fastening down the centre front, in Ming style, and finely embroidered on the front and back in satin stitch, depicting a kaleidoscope of butterflies and moths sewn over a midnight-blue ground, the deep yellow sleevebands meticulously embroidered with "forbidden stitch" Chinese knots and applied gold fabric depicting brightly-coloured butterflies and blossoming vines, blue lining. 142cms wide x 73cms long.
A rare Ottoman gold-damascened steel dagger (kindjal) with silver wire inlaid wood and niello silver mounts Caucasus, 19th Centurythe double-edged steel blade with three central fullers, decorated in gold overlay with vegetal designs, the wood hilt with waisted grip and two applied domed bosses inlaid with silver wire floral interlace, the wood scabbard decorated ensuite with niello silver mounts to each end, suspension loop to one side 47.5 cm. longFor further information on this lot please visit Bonhams.com
A silver Seringapatam Medal issued by the Honourable East India Company Birmingham, 1801-02circular, depicting the British lion overcoming the Tiger, above a standard inscribed in Arabic asadullah al-ghalib ('The Lion of God is Triumphant'), inscribed below IV MAY MDCCXCIX, reverse depicting a view of the fortress of Seringapatam with troops massing outside, Persian inscription at bottom, with suspension ring, contemporary 'Seringapatam' silver bar and clasp, yellow ribbon diam. of medal 48 mm.; the medal 40 g., total weight 56.2 g.Footnotes:The Persian inscription on the reverse reads: khodadad seri rang patan ra 28 dhi'l-qa'da 1213 ba hijra, 'God-given, Seringapatam, 28th dhu'l-qa'da 1213 of the hijra' [3rd May 1799].The medals were designed by Conrad Heinrich Küchler and 850 were produced in silver at the Soho mint in Birmingham between 1801 and 1802. They were issued unnamed and without any means of suspension for wear. Recipients were expected to arrange their own ribbons, rings and bar suspenders, and some would have their own details engraved on the medal. The present lot includes a rare contemporary bar with the name of the battle and original English made silver suspension. Although there was no formal regulation, the medal was usually worn on the left chest from a watered pale orange ribbon, the shading representing the stripes of a tiger. For other examples, see Sotheby's, The Tipu Sultan Collection, 25th May 2005, lots 42, 44 and 45 and Bonhams Islamic and Indian Art, 25 October 2021, lot 227. A gilt silver example is in the British Museum (M.4391).For further information on this lot please visit Bonhams.com
Lady Login, Sir John Login and Duleep Singh, rare first (and only) edition, in original blue cloth embossed with the coat of arms of Maharajah Duleep Singh London, W. H. Allen & Co., 1890580 pp., lithographed frontispiece portrait of Sir John Login, introduction by Colonel G. B. Malleson CSI, blue cloth binding, embossed in gold, bookplate of George Whitley (pencil superscription of Gabriel Ludham), 230 x 160 mm.; and Original Papers of the Norfolk and Norwich Archaeological Society, including 'An Account of Blo' Norton Hall', by Prince Frederick Duleep Singh, inscribed by Prince Frederick for Herbert Hudson, 1925-26, Norwich 1914, the article on pp. 211-260, various plates and diagrams, paper covers 225 x 150 mm.(2)Footnotes:In 1909, after some years spent house-hunting, Prince Frederick (1868-1926), a younger son of Duleep Singh, bought the 16th Century moated house, Blo' Norton Hall, near Thetford in Norfolk. He was a keen antiquarian, having read History at Cambridge, and he was particularly interested in the Stuarts and Charles I. He was a member of numerous historical societies, but was most associated with the Norfolk & Norwich Archaeological Society, joining in 1897 and becoming its President in 1924.For a stand-alone, bound version of the same account of Blo' Norton Hall, and also inscribed to Herbert Hudson, see the sale in these rooms, Bonhams, Islamic and Indian Art, 30th March 2021, lot 137.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
A rare slip-painted pottery albarello Persia, 10th Centuryof cylindrical form on a short foot with flaring rim, decorated in manganese and red on a cream ground with a rectangular cartouche filled with inscriptions in kufic, a rosette to the opposite side 20.5 cm. highFootnotes:Inscriptions: al-yumn, 'Good-fortune'.For a slip-painted albarello of similar form see Oliver Watson, Ceramics from Islamic Lands, London 2004, p. 221, Cat. Gb.3.This lot is subject to the following lot symbols: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
A rare Kashan blue lustre pottery albarello Persia, 12th/ 13th Centuryof multifaceted form on a splayed foot with flattened shoulder, short cylindrical neck and everted rim, decorated in a golden-brown lustre on a cobalt-blue glaze with circle motifs and scrolling vegetal interlace, in fitted box 22.3 cm. highFootnotes:ProvenanceAcquired at Mansour Gallery, London in April 2013. For a blue glazed dish decorated in lustre in the same fashion see Oliver Watson, Persian Lustre Ware, London 1985, p. 66, Plate 35.This lot is subject to the following lot symbols: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
A rare Mamluk engraved-brass basin from the reign of Sultan Qaytbay (reg. 1468-1496) Egypt, late 15th Centuryof rounded multifaceted form, the sides tapering towards an inverted rim, the underside of rounded form with hammered s-shaped grooves leading to a central rosette, the sides profusely engraved with alternating panels containing inscriptions and rosettes formed from interlaced tendrils, all on a ground of vegetal and geometric interlace, the foot with vegetal interlace, the interior with roundel containing a heraldic blazon 36.5 cm. diam.Footnotes:Inscriptions: mimma 'umila bi-rasm al-maqarr a/ al-maqarr al-karim a/ al-karim(?) al-'ali/ al-'ali al-mawlawi/ al-amiri al-kab[iri]? / al-maliki al-makhdumi/ al-makhdumi al-humami .../ ... al-nizami/ al-'adili al-ghaz[i] /al-'alimi al-'adi[li]/ al-'amili al-humami/ al-sayyidi al-sayyid al-mal[iki] / al-maliki 'azza ansarahu, 'One of what was made for the authority, the honourable authority, the high, the high, the lordly, the great commander, the possessing, the masterful, the masterful, the valiant .../ ... the administrator, the just, the holy warrior, the learned, the just, the diligent, the valiant, the masterly, the Sayyid, the possessing, the possessing, may his victories be glorified'.The present lot displays the complex decorative language typical of the late flowering of Mamluk metalwork towards the end of the 15th Century. The division into compartments, filled with designs or inscriptions, is a recurrent theme of Royal Mamluk and Veneto-Saracenic metalwork of the time. Other examples of bowls displaying this scheme are a Basin dedicated to Qaytbay in the Museum of Islamic Art in Cairo, a basin dedicated to Nasir al-Din Sidi Muhammad, son of Saif al-Din Uzbak, Atabek of Qaytbay, in the Victoria & Albert Museum (inv.no.206.1892) and a bowl in the M.C. Collection (see Malikian Chirvani Cuivres inedits de ;'Epoque de Qa'itbay in Kunst des Orients, Vol.6, H.2, 1969, pp. 99-133.For further information on this lot please visit Bonhams.com
A Rare Clarice Cliff Solid Conical Handled Coffee Can and Saucer, Autumn Crocus Cup. Both stamped 'Bizarre by Clarice Cliff' and 'HANDPAINTED' and 'NEWPORT POTTERY ENGLAND'. Cup also stamped 'REGISTRATION APPLIED FOR'. Part of a private collection put together over the past 25 years (remainder of collection to feature in future sales)Height 5.8 cmsCondition report: No cracks, hairlines or repairs or restoration,
A Very Rare Conical Clarice Cliff Sugar Sifter, Autumn Crocus. This sifter is in perfect condition with no issues - no restoration, no paint loss, wear or scratches. It has the very desirable narrow brown banding and it has the original red metal and cork stopper. Stamped 'Bizarre by Clarice Cliff' and 'CROCUS, HANDPAINTED' and 'NEWPORT POTTERY ENGLAND'. Part of a private collection put together over the past 25 years (remainder of collection to feature in future sales)Height 14.1 cmsCondition report: This sifter is in perfect condition with no issues - no restoration, no paint loss, wear or scratches. It has the very desirable narrow brown banding and it has the original red metal and cork stopper.
A Rare Clarice Cliff Thumbnail Miniature Cruet Set, Autumn Crocus. Mustard stamped 'Bizarre by Clarice Cliff' and 'CROCUS HANDPAINTED' and 'NEWPORT POTTERY ENGLAND'. Pepper hand written 'CROCUS' under glaze, salt is unmarked. Part of a private collection put together over the past 25 years (remainder of collection to feature in future sales)Height of mustard 4.5 cmsCondition report: Good but a tiny 1mm square chip to lid of the mustard, tiny chip under the rim of salt (not in view).
Rare Clarice Cliff Three Piece Muffineer/Lighthouse Cruet Set, Autumn Crocus. Mustard Pot stamped 'CROCUS, HANDPAINTED', 'Bizarre by Clarice Cliff' and 'NEWPORT POTTERY ENGLAND'. Both salt and pepper stamped to base 'NEWPORT POTTERY ENGLAND'. Salt and pepper each have a cork stopper. Part of a private collection put together over the past 25 years (remainder of collection to feature in future sales)Height of salt 8.2 cmsCondition report: Good, no issues
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