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Lot 168
A poker and pen work decorated box with musical instrument motif to top, a pair of Kershaw Sportsman magnifying spectacles, an M & S map measurerer, treen and bone string box, Harris & Son of Gloucester pottery light pull or chain pull, Butterfly Brand tape dispenser, Souplex bakelite cased razor, pottery bell push and leather stud box inscribed "A stud in hand is worth two under the bed", etc.
Lot 499
ONE BOX OF COLLECTABLES, to include five razor blades in their original cases, Jordan & Sons punches, two books containing a variety of collectible cigarette cards, and loose cigarette cards, brass attachment, a large table lighter knight figure, vintage draughts pieces in their original box etc. (1 box) (s.d)
Lot 221
An outstanding 2004 Corvette Commemorative Edition celebrating the Corvette's success at Le Mans. A discernible improvement on its predecessor, the fifth-generation (C5) Corvette was introduced in 1996. Commendably light and stiff, its hydro-formed, box-frame chassis played host to composite transverse-leaf independent suspension, rack and pinion steering and four-wheel disc brakes. Powered by a new, alloy 5.7-litre LS1 V8 engine, initially rated at 345bhp and 350lb/ft, power output was increased to 350bhp and 365lb/ft for the 2001 model year, offering 0-60mph in 4.8 seconds and 164mph.No greater point could be made of the C5's dynamic abilities than its impressive race career with class victories at Le Mans in 2001, 2002 and 2004. By way of celebration, Chevrolet created the final year Le Mans Commemorative Edition, a superb example of which we have here today. 2,025 were built in total and a number were finished in Le Mans Blue with silver and red graphics which echoed the 24-Hour race cars. The Z06 Commemorative cars benefitted from the 405bhp, 5.7-litre LS6 V8 and were fitted with a carbon fibre bonnet in addition to most of the specification upgrades that had been used on the previous year's 50th Anniversary model.The car was sourced by a Corvette aficionado in the UK directly from America through a well-tried stream of Chevrolet contacts but, interestingly, on offer at a Mercedes-Benz dealer in Cary, North Carolina. Pleasingly, it was found to be in immaculate condition throughout with just one recorded keeper and a low recorded mileage which remains to this day at under 22,000. Importantly, there were no negative changes to the original factory specification with the only additions being the desirable options of an ACI front splitter, side-sills and B&B rear exhaust boxes.Since taking delivery in 2007, the Corvette has been maintained to the very highest of standards and is offered complete with all service records, an original sales brochure and advertising poster.The C5 offers thumping performance combined with the more flowing looks of the earlier cars, compared to the angular, razor-edge styling of the C7 and C8, whilst the high specification, more powerful engine, unique paintwork and Le Mans connection make this special edition highly sought after and an exciting opportunity for any collector of rare US performance cars.NB. The registration number depicted in our images does not form part of the sale. Specification Make: CHEVROLET Model: CORVETTE ZO6 COMMEMORATIVE EDITION Year: 2004 Chassis Number: 1G1YY125745129421 Registration Number: HV04 FOM Transmission: Manual Engine Number: 129421 Drive Side: Left-hand Drive Odometer Reading: 21850 Miles Make: LHD Interior Colour: Black LeatherClick here for more details and images
Lot 718
49 Heavy Metal/Hard Rock albums, one box set and one 12" to include: Anthrax; Iron Maiden; Motley Crue; Kiss; Hawkwind; Vinnie Vincent (still sealed); Ronnie Montrose (still sealed); Black-M Black 'n Blue; Bon Jovi x 3; ZZ Top x 2; Arrowsmith; Razor Baby; Hell's Bells; Meatloaf x 3; Thin Lizzie x 5; Deep Purple x 5; King Kobra; The Almighty; Alice Cooper; Blue Oyster Cult x 2; AC-DC (12") and others Condition: VG+ overall
Lot 182
A WW2 era Indian SMLE bayonet, with scabbard and webbing frog. Marked GRI with a crown at the ricasso, plus MKII and 5.42, indicating it was made in May 1942. The ‘RFI’ stamp is for the Rifle Factory Ishapore. Complete with wooden slab grips, and pommel with push button catch release. The scabbard is of leather construction, with steel chape and throat. Fitted with a tan webbing frog. Given the date on item, it likely saw service in Burma during the conflict. Approximately 45.8cm length in scabbard. Plus, a bone handled Kukri knife, with the usual curved blade, and leather sheath with the small Karda and Chakmak. The Kukri is likely from the same era as the SMLE bayonet. Approximately 46cm in the sheath. Condition: some age and service wear to both. The SMLE has a fair amount of wear to the leather part of the scabbard, but could certainly be improved by some cleaning. The blade is a little darkened in places, but is in good order. The webbing frog shows service wear but is otherwise good. The sheath for the Kukri is a little worn and tired in places, but is mostly complete. The blade is mostly clean, and shows evidence of sharpening (and is actually razor sharp to the cutting edge).
Lot 478
A MIXED LOT OF COSTUME JEWELLERY including a white enamelled rose brooch, a sterling silver coin mount, a imitation turquoise cluster brooch, a black and white scotty dog brooch and a Viking long boat in silver, set with a piece of abalone mother of pearl, a single floral clip earring / brooch and a spare Rolls Razor blade, unused and in original branded paper packaging and Bakelite box
Lot 545
SIX BOXES AND LOOSE METALWARE, EPHEMERA AND SUNDRY ITEMS, to include a sewing box with contents, a Kenwood food processor, an Eveready Bakelite cased razor, a pair of pink enamelled opera glasses, a Mag Lite torch, a boxed Olympus X-925 digital camera in metallic pink, commemorative newspapers, OS maps, etc (6 boxes + loose) (sd, untested)
Lot 1346
A cream coloured jewel Casket, the lid set with five polished stones of various colours and three beads (one missing) 11'' x 8'' x 4 1/2'' high approx and containing a lady's small fabric handbag with oval scenes of gardens within a stylised floral surround, a Yardley London brass powder compact, the lid with a scene outside an early residence with a lady holding a basket and an old plastic and celluloid type purse in blue and cream, pocket tool set, two piece buckle set with simulated stone, enamelled cloisonne style napkin ring, old metal lidded trade case "Rolls Razor Imperial Blade", epns candle snuffer tray, silver teaspoon, etc. ***V.A.T. will be added to the hammer price of this lot.
Lot 1281
A quantity of miscellanea to include a Victorian leather bound photograph album, 6 1/2" x 5 1/2" x 2 1/2" and a small leather bound Bible, 1945 Baynell Ltd. Flag bag, three cameras; Kodak Retinette 18, Yashica and an Olympus, boxed 'A Clipper by Burman' boxed set of hair clippers, 'Solingen' boxed Razor, boxed Slide rule, Bosson's England Squirrel plaque and Horn carved fish art.
Lot 137
HOKKYO SHIMA SESSAI: A RARE AND SUPERB WOOD SASHI NETSUKE OF FUKUROKUJU GETTING A SHAVE By Hokkyo Shima Sessai (1820-1879), signed Sessai 雪斎 to 刀Japan, Echizen province, mid-19th century, Edo period (1615-1868)Published:Joly, H. L. (1913) Catalogue of the H. Seymour Trower Collection of Japanese Art, no. 56, illustrated on pl. D.Davey, Neil K. (1974) Netsuke: A Comprehensive Study Based on the M.T. Hindson Collection, p. 266, no. 821.Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part B, p. 724.Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures, vol. 2, p. 939.Kurstin, Joe (1994) Netsuke: Story Carvings of Old Japan, Epcot Centre, Disney World, p. 40.Earle, Joe (2001) Netsuke: Fantasy and Reality in Japanese Miniature Sculpture, p. 158, no. 124.Exhibited:Eskenazi Oriental Art, 19-24 September 1991, San Francisco International Netsuke ConventionEpcot Center, Disney World, Orlando, Florida, 11 May 1993-10 May 1997Museum of Fine Arts, Boston, September 2001-November 2002Carved with mastery and charm, the amusingly tall head of the seated Fukurokuju twisting up like a tree, wrapped by the rope scaffolding the barbers require to shave the highest point of his head. The body of Fukurokuju, only a fifth the size of the rest of his head, is enveloped in the front by his bushy beard, his face wearing a bemused look with full cheeks and elongated lobes. One barber summitting the god's tall head, leaning over the side with a razor as the other clings to the side of his head with a comb. Signed along the side of the head SESSAI to ['carved by Sessai']. The pale wood has a rich, dark patina in the recesses.HEIGHT 16 cmCondition: Very good condition with minor typical wear, a natural age crack to the side of Fukurokuju, and small repairs to the left hand and comb of one barber.Provenance: Ex-collection of H. Seymour Trower. Ex-collection of J. Bellhouse Gaskell. Glendining's Auction, 8 March 1926, lot 832. Ex-collection of G.E. Duveen, acquired from the above. Glendining's Auction, July 1952. Ex-collection of Isobel Sharpe, acquired from the above. Ex-collection of Mark T. Hindson, acquired from the above. Sotheby's London, 26 June 1967, lot 299. Ex-collection of Emiel Veranneman, acquired from the above. Ex-collection Joe Kurstin, acquired from the above. Dr. M. Joseph 'Joe' Kurstin (1931-2021) was a prominent Miami ophthalmologist who arguably built one of the greatest netsuke collections of all time. He was known by netsuke and inro lovers worldwide and made many lifelong friends in this tight-knit community. He published several books and articles on the subject and generously lent his collection for exhibitions at the Yale University Gallery, Museum of Fine Arts, Boston, Epcot Center at Disney World, and The Tobacco and Salt Museum, Tokyo.Hokkyo Shima Sessai (1820-1879) was an excellent carver who earned the honorary title of Hokkyo during his lifetime and served the lord of the Echizen clan. Sessai was a master of exaggeration, using his artistic license to endow his netsuke with humor. His work is scarce as he died at a relatively young age; only 15 netsuke from his hand have been documented. Using primarily wood, Sessai's works are powerful and original, never failing to display some point of artistry in each carving, often using distortion to bring the pieces to life.Literature comparison:Compare a related tall wood netsuke of Ashinaga, by Sessai and signed Sessai, in Davey, Neil K. (1974) Netsuke: A Comprehensive Study Based on the M.T. Hindson Collection, p. 265, no. 819..Also compare a related sashi netsuke of a hossu (Buddhist fly whisk), by Sessai and signed Sessai, illustrated in Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures, vol. 2, p. 940.
Lot 291
Hohner harmonica, harmonicas, cut throat razor, penknife etc. This bladed product is not for sale to people under the age of 18. By bidding on this item you are declaring that you are 18 years of age or over. Please note that if you require P&P for this lot, this can only be done using an age verified method.
Lot 959
Voltaire.: Candide ou L'optimisme. Paris, J. Porson (1948). 34x26 cm. Mit 48 (27 ganzseitigen und 1 doppelblattgr. auf dem OUmschlag) Orig.-Lithographien von Antoni Clavé. Lose Doppelbogen in illustr. OUmschlag bzw. lose Tafeln in OUmschlag in OHlwd-Decke (Rücken teils gelöst) und Schuber (dieser etwas gebräunt und lädiert). Strachan 328f. Rauch 190. Monod 11390. - Eines von 205 nummerierten Exemplaren. Druck der Lithographien bei L. Detruit. "The sense of matière is a fundamental to Clavé's graphic work as to his painting. Chalk, brush, razor-blade, finger-tip all are evident in his inspired lithographs for Candide (1948), a text that the artist had always wanted to illustrate. There is scarcely a facet of Voltaire's satire that Clavé has not illuminated, from the tender portrait of the ingenious Candide" (Strachan 110). Von Antoni Clavé auf dem Vortitel signiert. - Bis auf den etwas angestaubten Schuber gutes und sauberes Exemplar. Year printed 1948.
Lot 241
Hooke, Robert, Micrographia, or some Physiological Descriptions of Minute Bodies made by Magnifying Glasses with Observations and Inquiries thereupon. By R. Hooke, Fellow of the Royal Society, London printed for James Allestry, Printer to the Royal Society and are to be sold at his shop at the rose and crown in Duck Lane. MDCLXVII (1667)Condition: no boards or spine present, text block complete, old damp throughout, minimal to no foxing, edges of pages lightly oxidised, all stitching failed, end papers still present.Plate Count:Plate I – missing Plate II – opposite page 2 Plate III – opposite page 6 Plate IV – Missing Plate V – opposite page 47 Plate VI – opposite page 61 Plate VII – opposite page 82 (loss to edge) Plate VIII – opposite page 88 Plate IX – opposite page 93 (water stain to top and bottom) Plate X – opposite page 107 (water stain) Plate XI – opposite page 112 (water Stain) Plate XII – opposite page 123 (water stain to top) Plate XIII -opposite page 131 (water stain and loose from stitching) Plate XIIII – opposite 141 (water stain) Plate XV – opposite page 142 (water stain to top) Plate XVI – opposite page 163 (water stain) Plate XVII – opposite page 152 (water stain) Plate XVIII – opposite page 153 (water stain) Plate XIX – opposite page 154 (water stain) Plate XX – opposite 156 Plate XXI – opposite page 162 (water stain, chip to edge) Plate XXII – opposite page 167 (water stain) Plate XXIII – opposite page 196 (water stain) Plate XXIV – opposite page 182 (the famous fly’s eyes, no water stains) Plate XXV – opposite page 181 (water stain, tear from corner 7cm)Plate XXVI - opposite page 183 (water stain) Plate XXVII - Opposit page 185 (water stain) Plate XXVIII – opposite page 193 (loose from stitching) Plate XXIX – opposite page 193 (water stain to top, loose from stitching) Plate XXX – opposite page 196 (loose from stitching) Plate XXXI – opposite page 198 Plate XXXII – opposite page 203 (water mark to top left corner) Plate XXXIII – opposite page 204 (loose from stitching) Plate XXXIV – opposite page 210 (the famous flea, tear to fold on bottom right leg, no loss, no water stains) Plate XXXV - missing Plate XXXVI – opposite page 214 Plate XXXVIII – opposite page 245 (tear from top to centre, no loss) Hooke’s Micrographia: or Some Physiological Descriptions of Minute Bodies Made by Magnifying Glasses. With Observations and Inquiries Thereupon. Is an important work by Robert Hooke, delving into his observations through an array of lenses. This historically significant book stands as the first to feature illustrations of insects and plants as observed through microscopes. It marked the first major publication of the Royal Society and swiftly emerged as the pioneering scientific best-seller of its time, sparking widespread fascination with the burgeoning field of microscopy.One of Micrographia's enduring legacies lies in its introduction of the term "cell" to the biological lexicon, inspired by Hooke's examination of plant cells, which bore a resemblance to the compartments of a honeycomb. Through meticulous prose and vivid illustrations, Hooke unveiled the intricacies of nature on a miniature scale, offering captivating depictions of insects and plants as seen through the lens of his microscope.The book's captivating copperplate engravings, notably its fold-out plates showcasing insects, conveyed the awe-inspiring power of the microscope. These plates, extending beyond the dimensions of the large folio, magnified the minute creatures to an astonishing scale, with the engraving of a louse unfolding to four times the size of the book itself. Yet Micrographia goes further than its microscopic prowess; it ventures into diverse realms of inquiry, touching upon topics ranging from distant celestial bodies to the wave theory of light and the organic origins of fossils.Hooke's meticulous observations extended beyond the natural world, encompassing human artifacts such as the jagged edge of a razor and the seemingly blunt tip of a needle under the microscope. Through such juxtapositions, he subtly contrasted the imperfections of human craftsmanship with the innate perfection of nature, echoing prevailing notions of divine creation.Published under the patronage of The Royal Society, Micrographia not only elevated Hooke's stature as a scientist but also bolstered the society's reputation as England's foremost scientific institution. Its enchanting illustrations and illuminating narratives captivated the public imagination, earning accolades from luminaries such as Samuel Pepys, who hailed it as "the most ingenious book" of his lifetime. In its pages, Micrographia unfurls a wondrous panorama of the microscopic realm, forever altering humanity's perception of the infinitesimal world that lies beyond the naked eye.The difference between the 1665 & 1667 editions.Micrographia was first published in 1665, its rapid popularity prompted reprints. This particular edition is a 1667 printing, printed by John Martyn, the Royal Society’s appointed printer. Micrographia, an early cornerstone of the Royal Society’s publications, played a pivotal role in bolstering the Society's reputation, extending its influence beyond the scientific comunity.Although the years 1665 and 1667 might suggest distinct editions, they actually denote different issues of the same edition. A close examination reveals that both were produced from identical typesetting, with the text remaining unchanged across both printings. However, differences arise in the title page and certain particulars of the engraved plates, especially plate 5 which is in reverse in the 1667 print.In the 1665 edition, the title page features red and black printing, a technique not replicated in the 1667 issue, where all letterpress appears in black. Both versions include an image of the Royal Society’s arms, printed from an engraved copper plate. This method was somewhat unconventional, as engraved plates required a separate rolling press for printing. This necessitated a meticulous alignment process to ensure proper registration between the image and the text.Moreover, employing dual-color printing, as seen in the 1665 edition, posed additional challenges, demanding multiple printings. This technique, while capable of producing visually striking results, often struggled to maintain precise registration between the two colours. Consequently, advancements in typography, particularly the development of new "titling" typefaces, gradually rendered the need for dual-color printing obsolete by the eighteenth century.The intricate process involved in combining copperplate imagery with letterpress printing led to its gradual abandonment by the late seventeenth century. Despite its initial allure, the expense and technical limitations associated with this method ultimately contributed to its decline in favor of more efficient printing techniques.
Lot 346
A collectors' lot to include three Rolls Razor Imperial No.2 razors, one boxed, an M. Hohner 'Unsere Lieblingue' harmonica, a cigarette case, a Ronson Cadet lighter, boxed, a 'The Aintree' lighter, a silver plated oval bowl, a Ridgways Charles Dickens 'Pickwick' blue and white plate (af), a Liverpool Education Committee medallion for Attendance and General Good Conduct, four coins, etc.
Lot 172
Collection of Miscellaneous collectables to include Ladies miniature Boudoir Razor in its tin, Singer Sewing Machine Domino cards, various book matches, match holders, Owzthat Cricket dice game in tin, hand carved clogs, post cards, lace making items, Miniature Pack of Players Navy Cut Cigarettes , and other items
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6063 item(s)/page