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Lot 192
A collection of costume jewellery including a Citizen wristwatch. The collection to include necklaces, earrings, rings, pendants, clip-on earrings, bracelets, wristwatches, brooch pins and powder compact. The necklaces to include two Buckingham white metal and gem set necklace and earring suites, yellow tone metal multi-strand chain necklace, rolled gold locket pendant necklace, a pearl necklace and a beaded necklace. Earrings to include gem set clip-ons, clover pendant earrings, assorted single stud and pendant earrings. A Sarah Coventry panel bracelet together with another white tone metal panel bracelet. Rings to include a 9ct gold on silver signet ring and an adjustable white tone metal ring. Brooch pins to include three white metal and gem set brooch pins. Pendants to include a rolled gold locket and a white metal razor pendant. Watches to include a Citizen EcoDrive EW127201A ladies wristwatch in original box, a gold tone Avia wristwatch and a Le Chaminant wristwatch. The lot to also include a powder compact. Necklaces measure 41cm - 150cm. Bracelets measure 18cm. Earrings measure largest 3.8cm x 0.9cm. Smallest 0.5cm x 0.5cm. Rings size M.5 -R.5. Watches measure 17.5cm -22.5cm. Combined weight 400g. All weights, measurements and sizes are approximate.
Lot 161
Tod (Norman Carter) Slaughter (1885 -1956) a theatrical prop of a razor blade, labelled 'Razor used by Tod Slaughter in Sweeney Todd', 31.5 x 47.5cm together with two letters by Daphne Scorer, explaining the historyProvenance: The collection of John Savident (1938-2024)Condition Reportglazed and mounted.
Lot 284
SAKATA HAROLD: (1920-1982) American actor, Olympic silver medal winning weightlifter, and wrestler, remembered for his portrayal of the villain Oddjob in the James Bond film Goldfinger (1964). An extremely rare signed and inscribed 8 x 10 photograph of Sakata in a head and shoulders pose, the image issued to promote his appearance as Karate Pete in the American horror thriller film Impulse (1974). Signed by Sakata in pink ink to a largely clear area of the image, ´To Herb, My Best Wishes, Harold "Oddjob" Sakata´. The actor has also added a drawing of Oddjob´s razor-edged bowler hat to the base of the image. Some light surface and corner creasing and with a very small tear to the upper white border, otherwise VG
Lot 282
A group of jewellery, comprising: an 18ct gold brilliant cut diamond ring, London hallmarks; an 18ct white gold textured wedding band, London hallmarks, 1972; a 9ct gold textured wedding band, Birmingham hallmarks; a two row cultured pearl necklace with a 9ct gold clasp; a 9ct gold razor blade pendant, London hallmarks, 1976; a turquoise horseshoe pendant, stamped 15ct, (three cabochons lacking); a platinum wedding band; and a Tiffany Elsa Peretti open heart pendant, stamped 750 (8)
Lot 764
ROCK / PROG - LP COLLECTION. A collection of approx 35 x (mostly) LPs. Artists/ Titles include Van Der Graaf Generator - Pawn Hearts (scroll), Atomic Rooster - Death Walks Behind You, Audience inc The House On The Hill (scroll) and Audience, Deep Purple - The Royal Philharmonic Orchestra, Alan Bown - Stretching Out, Taste - Taste, Kevin Coyne - Marjory Razor Blade, Bruce Springsteen, Genesis, Cass Elliot, Derek & The Dominos and Barclay James Harvest. The condition is generally VG+ to Ex+ with some falling below this.
Lot 904
BUZZCOCKS - LP/ 12" PACK (INC REISSUES). A selection of 11 LPs & 12" by Manchester punk icons Buzzcocks. Titles include Another Music In A Different Kitchen (UAG 30159, Record Ex/ sleeve VG+), Flat-Pack Philosophy (Damgood 262LP, 2006 yellow vinyl), Volume 1 (Demrec94, pic disc), Volume 2 (Demrec80, picture disc), Love Bites (UAG 30197), A Different Kind Of Tension (UAG 30260), The Fab Four (12EM 104), Alive Tonight EP (PPAC3T), Parts One Two Three (SP 70507), Times Ups (Rewiglp112) & Razor Cuts (clear vinyl). Condition is generally VG+ to Ex+, odd one may drop to VG.
Lot 715
ROCK / POP - LP COLLECTION. A collection of approx 40 x (mostly) LPs. Artists/ Titles include Eno - Here Come The Warm Jets, Thin Lizzy - Jailbreak, Keef Hartley Band - The Time Is Near..., The Beatles - With The Beatles, Rory Gallagher inc Tattoo and Live! In Europe, Lou Reed - Berlin, Van Morrison - Hard Nose The Highway, Kevin Coyne - Marjory Razor Blade, Electric Light Orchestra - A New World Record, The War Of The Worlds, The Icicle Works, Labi Siffre, Bryan Ferry, Eagles, Bob Dylan, Sanatana, 10cc and Rod Stewart. The condition is generally VG to Ex.
Lot 374
Tray of collectables; Two antique cut glass and white metal bucket vestas, Cat and the fiddle brass finial, The Metropolitan Birmingham City Police whistle, The Dalvey pocket cup, St Andrews cork screw and matching door knocker, Two Trench art brass shells, The Haddon Brand cut throat razor and many more items
Lot 847
Sundry small collectables including a travel ink pot, a British Linen Bank savings box, a "Magic Pocket Savings Bank", a Jew's harp, silver-handled and folding button hooks, a "The Laurel" ladies boudoir and one other safety razor, sewing scissors, a Golden Kernels advertising tape measure, a Royal commemorative glass scent bottle etc
Lot 78
Collection of primarily British coins including a small amount of pre-1947 and pre-1920 silver, a large volume of bronze Pennies and a selection of decimal issues. Total weight of the coins: 3kg. To be sold with a selection of banknotes, two watches, hairpins, a Jew's harp and a Gillette razor in the original box.
Lot 512
A papier mache table cabinet, circa 1860, raised on a bracket plinth, the sides with pearl embellished floral painted panels within broken mother of pearl borders, the front enclosed by a pair of doors each with a mother of pearl figure of a child within fruiting vine oval panels incorporating mother of pearl, the shaped border overhanging lid with a raised razor blade panel painted with a ruined church in wooded landscape. The box form top lined in ruched silk, the doors opening to reveal a centre arched niche flanked by three small drawers with a long drawer above and below, the lower drawer fitted with a writing slope complete with brass top inkwell, the drawers with mother of pearl flowerhead knobs, replaced to the top drawer, overall rubbing to gilt embellishments, 33.5 x 25 x 34cms. From the collection of Ann Wick
Lot 787
A fine Scottish sycamore slant top double needle packet box, the slant top with a finely painted panel of two birds on a tree in a rural landscape, the front with a pen and ink razor blade cartouche 'Coleman's Patent Needles - GR - Flanking Crown', internal division lacking, probably by Stiven Laurencekirk, 5.1 x 2.6 x 6.5cms. From the collection of Michael Finlay
Lot 165
Three whitewood label decorated Tunbridge ware pen boxes, all rectangular with sliding lids comprising an example with black on green razor blade form printed label 'R. Rowney's Portable Box of Superior Pens, Wafers and Sealing Wax, 106, Hatton Gardens, London', four compartment unlined interior, 11cms, another with black on green rectangular printed label 'Morrell's Late Deacon and Morrell's Portable Pens, 149, Fleet Street, London', original blue paper lining, 10.6cms, and another with oval printed black label 'Tunbridge Wells Portable Pens Manufactured by Fenner and Co, Sold by Oriel, 159, Aldersgate Strt., London', within painted black and red star motifs, slight loss to label, interior unlined, 11.5cms. (3) ) In respect of the second, Henry Morrell established business in his own right in 1817 at 149, Fleet Street as pen and quill warehouse. In respect of the last, Phillip Oriel is recorded as this address in Kent's original London Directory in 1823 but he is also recorded at this address as early as 1811. From the collection of Ann Wick
Lot 13
Miranda, Kodak, Agfa, Vivitar, Asahi Pentax, Other - A lot consisting of mostly cameras and camera lenses, and other items - Lot includes a boxed Miranda EE-2 35 mm Single Lens Reflex camera. An Agfa Jsolette Apotar 8.5cm, 1:4.5 camera. A Sangamo Weston Master 5. A Lloyd's Cassette tape recorder. A small amount of vintage metal razor hair clippers, tweezers, and similar. One empty box. Most cameras and lens comes in either their boxes or cases. (This does not constitute a guarantee) (M)
Lot 421
A collectors' lot comprising a six-piece porcelain dressing table set with candlestick, lidded boxes, pin tray and larger tray with printed panel to the centre, two pocket pen knives, a cut-throat boxed razor, various tins and boxes, one in the form of a Jaguar XJ220, Oxo, etc, two wooden boxes, and a quantity of National Transport tokens including an unopened roll, etc.
Lot 350
COMPILATIONS - LP COLLECTION. A collection of 50 x LPs. Titles include Punk And Disorderly, Too Slow 2 Disco, The Ladies Of Too Slow To Disco, Razor Sharp Cuts, Oi! The Album, The First Great Rock Festivals Of The Seventies, Mods May Day'79, The Best Of British Ska... Live!, This Is Reggae Music, Pillows & Prayers, Electra Glide In Blue (OST), Island Life - Media Sampler, Club Folk Volume 1, Nice Enough To Eat, This Is Sue!, This Is Blues, CBS Disco Pool, Fool's Gold, A Whiter Shade and The Honky Tonk Demos. The condition is generally VG to Ex. Some sleeves may drop below.
Lot 152
KEVIN COYNE & RELATED - LP COLLECTION. 7 x LPs featuring Kevin Coyne including a test pressing. Titles are Pøliticz (original test pressing, BRED 30, Enchantillon - VG+ condition), Marjory Razor Blade (VD 2501 UK double LP), Heartburn (V 2047), Matching Head And Feet (VR 13-117), Sanity Stomp (301 427-406 double), I'm Living Black And White and Strange Locomotion - Siren (EKS-74087). Condition is generally VG+ to Ex+.
Lot 1253
Hooke, Robert, Micrographia, 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.
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