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Click here to subscribeA Masonic gold fob seal, depicting a pillared tabernacle over an alter, with Greek and English inscription 'We Have Found' around the base and hardstone seal, a 9ct gold pendant depicting a compass, scale and star, the reverse with lodge details, Birmingham hallmarks, both attached to a swivel split ring to the gold faceted belcher and snake-link long chain necklace
JAMES BOND, ‘THE SPY WHO LOVED ME’, 1977 – PHOTOGRAPHAlarge black and white portrait photograph of Lewis Gilbert on the set of TheSpy Who Loved Me, the verso with handwritten label attached inscribed in anunknown hand Martin Godwin / Guardian Picture Desk…[see also Lot 520] -29.2 x 36.8 cm. The famous set Gilbert is pictured on was known as the “Jonah Set” built specifically for The Spy Who Loved Me to house Ken Adam’s astonishing design for the interior of the villain, Karl Stromberg’s, super tanker the Liparus. It was the largest soundstage and studio water tank in the world. Adam’s shimmering set contained three five-eighths-scale nuclear attack submarines, seen behind Gilbert in the photograph; also an armoured control room, catwalks, a monorail, assembly and weapons rooms. $1 million dollars of the film’s $13.5 million budget was spent on building this set which became one of the most celebrated motion picture interiors of all time.Sold Without CopyrightConditionReport: Some light rubbing to edges and corners,some light surface wear; overall very goodBellmans is grateful to Wallace and Hodgson for their assistance with cataloguing the Lewis Gilbert Film Script and Production Archive.
JAMES BOND, ‘THE SPY WHO LOVED ME’, 1977 – PHOTOGRAPHAlarge black and white portrait photograph of Lewis Gilbert on the set of TheSpy Who Loved Me, uncredited but taken by Martin Godwin from the GuardianPicture Desk [see Lot 512] - 29.2 x 36.8 cm. The famous set Gilbert is pictured on was known as the “Jonah Set” built specifically for The Spy Who Loved Me to house Ken Adam’s astonishing design for the interior of the villain, Karl Stromberg’s, super tanker the Liparus. It was the largest soundstage and studio water tank in the world. Adam’s shimmering set contained three five-eighths-scale nuclear attack submarines, seen behind Gilbert in the photograph; also, an armoured control room, catwalks, a monorail, assembly and weapons rooms. $1 million dollars of the film’s $13.5 million budget was spent on building this set which became one of the most celebrated motion picture interiors of all time.Sold Without CopyrightConditionReport: Some light rubbing to edges and corners,crease to lower left corner appox. 14 cm. long; two smaller creases to topedge; small tear to lower edge approx.. 1 cm. long; overall good. Footnote: The Spy Who Loved Me (1977), the tenth in the Eon Productions official 007series, initiated a number of records for the James Bond franchise. It wasCubby Broccoli’s first solo 007 venture without co-producer Harry Saltzman, andhe was determined that it should become the biggest and best Bond yet. From the outset, the film’s path to successwas beset with numerous difficulties and the screenplay itself went throughmore adaptations and revisions than any production during the 40-year historyof 007 on screen. Problems began with Ian Fleming’s source material for thefilm’s title. Like the movie, it was Fleming’s tenth Bond novel in order,however it represented a departure from Fleming’s usual 007 format in that itis told from the viewpoint of a young Englishwoman who only meets the famousspy in the last few chapters of the book. For this reason, Fleming never wantedthis book to be sold as a film project. His estate, however, gave Broccolipermission to use the novel’s title only. The book and film do also share onesignificant common element – Jaws, whois loosely based on Fleming’s villain, `Horror’, who had steel-capped teeth.Nevertheless, the screenplay for The Spy Who Loved Me is considered tobe the first Bond film whose story is completely original. After a visit toRussia, Broccoli devised a plot for a new story which suited the film’s title and focused on a beautifulRussian agent who falls in love with James Bond. It is said that twelve different screenwriters worked on fifteen separate drafts for the screenplay over a period of three years, in one of the most fiendishly complicated film pre-production processes in Eon’s history. Considering the quantity of different variants of the screenplay here in Lewis Gilbert’s personal film script archive, it appears that just over half of the fifteen screenplay versions are represented between lots 13-18.Looking through the different variations of treatments and screenplays for The Spy Who Loved Me, a large proportion of which are represented in this collection, in the words of film historian Steven Jay Rubin they : “…offer a textbook look at script development…the material is priceless, since it allows the reader to see how typical Bondian situations are workshopped…” Literature:RUBIN, Steven Jay Spy Who Loved Me Script Wars in The James Bond Movie Encyclopaedia, Chicago Review Press Incorp. Chicago, 2021GILBERT, Lewis All My Flashbacks The Autobiography of Lewis Gilbert, Sixty Years A Film Director, Reynolds & Hearn, London, 2010FIELD, Matthew & CHOWDHURY, Ajay Some Kind Of Hero, The Remarkable Story of The James Bond Films, Cheltenham Glouc., 2015The Spy Who Loved Me Script History www.M16-HQ.comwww.IMDB.com Bellmans is grateful to Wallace and Hodgson for their assistance with cataloguing the Lewis Gilbert Film Script and Production Archive.
Attributed to Michael Pacher (German, circa 1435-1498): A carved wood and polychrome and parcel gilt decorated figure of a male saint, possibly St JohnSouth German or Tyrolean, late 15th centurythe figure with rope tied wavy shoulder length fair hair looking slightly to sinister, clad in a draped and folded cloak held about his body, his left hand clutching the upheld hem, raised on a later stained wood rectangular base, the figure, 78cm high, the later base 5cm high Footnotes:ProvenanceWith Reinhold Hofstätter, ViennaThe sculptor, architect and painter Michael Pacher was active during the later part of the 15th century. Cited as perhaps one of the earliest artists to introduce the Renaissance style to a German clientele, he was famous for producing elaborate painted and sculpted works in both wood and stone showing a uniquely personal side incorporating elements of the Italian Renaissance and the Northern Gothic.Producing works including painted structures for altarpieces on an unparalleled scale in North European, his finest work is perhaps the St Wolfgang Altarpiece (1471-1481) in Salzkammergut which is considered to be one of the most outstanding examples of a carved and painted altar shrine illustrating scenes from the life of Christ and the Virgin Mary. Pacher's other great work, the Altarpiece of the Church Fathers was created in 1483 for Neustift Monastery and this also combined painting and sculpture to produce a unique composition. Influenced primarily by North Italian art, Pacher's work however shares characteristics with the work of the Italian artist Andrea Mantegna whilst also reflecting the heritage and tradition of a number of South German carvers.The plump facial features of the present lot with his upturned nose, distinctive waving to the hair and crinkled folds of the drapery compare closely to figures in Pacher's St Wolfgang Altarpiece, see T. Müller, Gotik in Tirol, Bozen, 1976, figs. 122-124 and pl. XXVII.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
MINIATURE FURNITURE - A carved walnut armchairpossibly late 17th/early 18th century in the Charles II styleThe frames carved with scrolled acanthus foliage and flowers, the crest rail and fore rail each carved with a Royal crown, with spiral twist-turned stiles, conforming arm terminals and foliate wrapped scrolled arm supports, on ring turned block-and-baluster legs, stamped several times: 'T.I.', 21cm wide x 23cm deep x 50cm high, (8in wide x 9in deep x 19 1/2in high)Footnotes:The offered lot has featured twice on the renowned BBC television program, 'Antiques Roadshow'. The present chair was first inspected on 15 June 1994 and then also subsequently appeared for a second time on 9 July 2019. Copies of this 'Antiques Roadshow' paperwork are available for inspection upon request. Although chairs of this scale have often been cited erroneously as 'apprentice pieces', the existence of two beech armchairs of this scale in The V&A Museum collection, with their accompanying late 18th century wooden dolls, makes the case for these 'miniature chairs' being intended for use as 'toys' all the more likely. The V&A examples (T.846Y-1974 and T.846V-1974) which accompany the celebrated Lord and Lady Clapham dolls (circa 1690-1700) follow the pattern of full sized chairs of the period. The chairs would almost certainly have been made by a professional chair maker and the construction techniques mirror those found on full sized examples from the period. The scarcity of surviving late 17th century dolls, although many were produced, may well reflect the few surviving miniature chairs. Other surviving period miniature chairs, including one of the 'Clapham' chairs are in poor condition implying the likelihood of them having been played with and hence the few surviving examples.The Lord and Lady Clapham dolls are thought to have belonged to the Cockerell family who were descendants of Samuel Pepys. Pepys' nephew John Jackson married a Cockerell and the dolls were named 'Lord' and 'Lady' of the family home in Clapham. The remarkable condition of the Clapham dolls suggests that in this instance they may have been admired by adults rather than being played with by children and were viewed more as decoration for the home.For further information on this lot please visit Bonhams.com
Registration No: OVU 200Chassis No: B73WGMOT: ExemptSupplied new to a successful button maker and inherited by successive generations of his familyHighly original throughout with a delightful, timewarp interiorRecently recommissioned following nine years' inactivity and running nicelyFirst registered in Manchester and resident in the surrounding areas ever since An obvious evolution of its MKVI predecessor, the Bentley R-Type was introduced at the 1952 Earls Court Motor Show. Subtly reworked from the previous model by in-house stylist John Blatchley, it boasted a notably larger boot and reprofiled rear wings. Switching from riveted to welded frame construction at chassis B349TO, the newcomer featured independent coil-and-wishbone front suspension, a leaf-sprung 'live' rear axle and servo-assisted four-wheel drum brakes (hydraulic front / rod rear). Powered by a 'big bore' 4566cc straight-six inlet-over-exhaust engine allied to either four-speed manual or automatic transmission, the R-type was a surprisingly strong performer, able to reach more than 100mph. Praised by the contemporary motoring press for its high-speed handling and well-appointed interior, the model remained in production until 1955 by which time some 2,017 Standard Steel Saloons are thought to have been made.First issued with the Manchester registration number ‘OVU 200’ on April 22nd 1954, chassis B73WG has been in single family custodianship from new. Literally bought for buttons, the first owner was a large-scale manufacturer of clothing fasteners, the Bentley is highly original with a particularly delightful interior. The rich Red leather and polished wood veneers still reek of quality. The gloss Black paintwork has a deep shine but there are some imperfections to the bodywork which are to be expected of an unmolested but still sixty-seven year old car. Recently recommissioned following almost a decade of dry storage, the R-Type started readily upon inspection and is said to ‘drive very well’. A decidedly rare opportunity to acquire a one family owned from new Bentley. Offered for sale with V5C Registration Document, sundry paperwork and fresh MOT certificate.
A collection of antique ceramics including a Worcester teapot with Chinoiserie decoration, a Cream ware teapot with flower finial, painted with a Chinese figure and pagoda, a Worcester fisherman and cormorant bowl, a scale ground and floral bouquet dish, Dresden style leaf dishes, teabowls, saucers etc Condition Report: a Worcester teapot - body has a very large s shaped crack, spout is chipped. Cream ware teapot with flower finial - spout restored, some paint flakes to decoration, lid is cracked and restored. Worcester fisherman and cormorant bowl - pings well but is badly scratched and rubbed to the inside of the bowl. a scale ground and floral bouquet dish - Worcester, surface scratches, rubbed to gilt rim, chipped to base rim. Dresden style leaf dishes - one has broken handle. flower dish - badley cracked and decoration rubbed. teabowls,wear and rubbing as expected. saucer - chipped and cracked, . small blue and white bowl rubbed. teacup, coffee cup and saucer, rubbed and surface scratches. black and white cup cracked. squat vase cracked to base. Derby ok.
A stainless steel wristwatch by Longines, the circular dial with arrowhead, bead and baton markers alternating with Arabic numerals, centre seconds hand and outer scale 0-60, to a jewelled manual wind movement numbered 7180158 and 12.68N, the case back numbered 23341, the case back and shoulder lugs numbered 118, dial, movement and case signed, on an unassociated strap, case width 3.5cm (without crown)Condition report: Patchy brownish staining and spotting to dial, numerals and hands, with corrosion to the blued finish on the hands. Scuffs and nicks to dial, with occasional losses to the outer scale. Scuffs, scratches, chips and nicks to case and glass, commensurate for use, and tool marks to case back. The winder is currently functioning but may be later replaced and operates the hands/winds the movement. The shoulders are fitted with sprung bars that are not fixed. The movement is currently running but is untested for working order, which cannot be guaranteed. Case dimensions approx. 3.5cm width x 4.5cm length (excluding crown). General wear to strap.
An open face fob watch, the circular white dial with black Roman numerals and outer scale 0-60, to a keyless wind manual movement, the monogrammed engine-turned case with French gold import marks, numbered 34948 and 40377, case diameter 3.1cmCondition report: Surface wear, spotting, dust residue and possible faint hairline fractures to dial. Scuffs, scratches and nicks to glass and case, shallow dings to case sides, pinpoint dent to case back. Movement runs when wound but is untested for working order, which cannot be guaranteed. Case covers close fairly tightly. Gross weight approx. 25.7gm.
A stainless steel wristwatch by Longines, the circular dial with Arabic numerals, centre seconds hand and outer scale 0-60, to a jewelled manual wind movement numbered 6996103 and 12.68N, the case back numbered 22919, with possibly later added inscription, the case back and shoulder lugs numbered 49, on an unassociated strap, case width 3.5cm (without crown)Condition report: Patchy brownish staining and considerable brownish spotting to dial, numerals and hands, possibly due to moisture damage, with traces of corrosion to the blued finish on the hands. Scuffs and nicks to dial, with occasional losses to the outer scale. Scuffs, scratches, chips and nicks to case and glass, commensurate for use, with dings to side of case and tool marks to case back. The case back inscription may be later added. The winder is currently functioning but may be later replaced and operates the hands/winds the movement. The shoulders are fitted with fixed bars. The movement is currently running but is untested for working order, which cannot be guaranteed. Case dimensions approx. 3.5cm width x 4.4cm length (excluding crown). General wear to strap.
The Pogues: Darryl Hunt's Fender Precision Bass guitar,1963,serial no.L05378 stamped on the neckplate, wide C profile maple neck with dark Brazilian rosewood fingerboard and clay dots, double cutaway solid ash body, black refinish, and tortoiseshell-effect plastic scratch-plate, with a 'Top of The Pops' sticker applied to the body from the band's performance on the show in 1994, accompanied by a red plush-lined Fender guitar case with a pink label on the outside inscribed The Pogues Darryl Hunt as well as a 'global motion' sticker, together with a packet of 32-34in standard gauge swing bass strings, a maroon leather Westbury guitar strap, a black fabric guitar strap, three packs of Rotosound short and long scale swing bass strings, and a letter of provenance from Darryl Hunt, CITES no.596239/01, 46 1/2in (118cm) longFootnotes:Provenance:Purchased by bass guitarist singer, songwriter, Darryl Hunt from Manny's Guitar Shop in New York in 1988, and used by Hunt as his primary instrument for the next eight years, featuring on numerous studio recordings, tours, promotional work, and live performances whilst with Celtic punk band, The Pogues.Founded in London in 1982, Hunt joined The Pogues in 1986 as bassist. During the next ten years the band reached international prominence recording several hit albums and singles, specifically their Christmas hit Fairy-tale of New York (1987) for which the band may best be known, as well as Peace and Love (1989), Hell's Ditch (1990), Waiting For Herb (1993) and the band's seventh and final studio album Pogue Mahone (1996). Released in 1987, 'Fairy-tale of New York' reached No.1 in the Irish charts and No.2 in the British charts over Christmas, and has since become a festive classic in the UK and Ireland.Hunt stayed with the Pogues until 1996 when the band separated. Apart from playing the bass guitar, Hunt contributed to drums, guitar and backing vocals to the band. He also wrote several songs for The Pogues one of which 'Love You Till The End', from the album Pogue Mahone was used in the credits of the Burt Reynolds film Mystery Alaska (1999), and was also used throughout the Richard LaGravenese film P.S. I Love You (2007).Following the 1996 split, the band has reunited on several occasions, playing the GuilFest festival in Guildford and three shows in Japan in 2005, several shows on US and UK tours in 2006-2007, and again in 2011-2013. The Pogues' last performance in Britain was on 5 July 2014 at the British Summer Time festival in London's Hyde Park, this being the last public performance at which Hunt used this guitar.Please contact the department for further images of Darryl Hunt with this guitar.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
A museum quality scale model of the famous 1845-1854 Brunel designed Great Western Passenger Steam Ship S.S. Great Britain. Built to take passengers and freight to and from Bristol to New York in the U.S.A. A plank-on-frame wooden model with an overall length of 105cm, with 6 masts, rigged without sails, with 5 lifeboats, capstans, hatches, anchors, single black painted funnel, wheel to stern, single propeller with rudder and fitted with Union Jack flag. In a natural wood finish. Mounted on a simple display stand with 'S.S. Great Britain 1845' . VGC £750-1000
comprising a 1912 dress uniform with original buttons and collar badges, with paper label for the Royal Army Clothing Factory, '6 DR. GDS./ OCT. 1912', with a 1914 medal inscribed '3790 PTE. C. H. SMITH/ 6TH D. GD.S'; and an 1871 pattern trooper's brass dress helmet for 6th Dragoon Guards (Carabiniers), with laurel spray, rosettes, side bosses and leather-backed fish scale chin strap, cruciform spike with original horsehair plumeHelmet 32cm high
Eight Boxed Corgi collectors cars mostly film & TV related to include Green Hornet 1:36 scale CC50902, Knight Rider 1:36 scale CC05601, Blues Brothers CC06001, The New Avengers Steed's Range Rover 57604, The New Avengers Gambit's Jaguar 57405, Dukes of Hazzard Dodge Charger CC05301, Back to the Future Delorean CC05501 & Lock Stock Big Chris CC01901. (8)
Raise Up A fine 1/48th scale travel agent model of an SE210 Caravelle by Raise-Up of Rotterdam circa 1960, the impressive metal model in Swiss Air Livery and with aircraft number HB-ELF to the upper and lower tip of wing, with manufacturers label printed in red to the undercarriage, some light scratches and wear commensurate with age, but in completely unrestored and in original condition, 69 cm wingspan x 65 cm long, displayed on a matching chrome standQty: (1)Footnote: The Caravelle was a French jet airline produced by Sud Aviation and was one of the first jet-propelled commercial airplanes. It was built from 1958 to 1972 and was used by Air France, Scandinavian Airlines, Swiss Air and Finn Air.
WWII. German Prototype Missile Designs, March 1945, contemporary typescript report in German on the prototype designs for the Fire Lily, or Orange Lily (Feuerlilie) F55 surface-to-air missile (Flakrakete), in development at the Hermann Goering Research Institute, near Braunschweig (Brunswick) in central Germany, consisting of 8 single-sided typescript leaves containing a general description and overview, numbered 1-8, plus 5 leaves of single-sided typescript describing the means of jet propulsion (Antrieb) with minor pencil annotations (with an additional copy of the first four leaves on propulsion, heavily corrected and augmented in German by a contemporary hand in pencil), an additional leaf entitled Zusammenstellung der Forderlichen Teile fur ein Gerät SG20 (Compilation of required parts for a SG20 device), 5 handwritten tables of data on the various prototypes (pages numbered 1-4 and 4a), and Roneo copies of 6 folding technical drawings (of the M-62, SC50, M62-1, M62-2, M61-1, and M62, dated 28.2.45, 9.3.45, 8.3.45, 6.3.45, 6.3.45, 28.2.45 respectively), minor fraying to extreme margins of one or two leaves, without loss, hole-punched to left margins, text leaves 30 x 20.5 cm or slightly smaller, technical drawings measuring 29 x 85 cms or smaller, all now contained in modern soft plastic binderQty: (1)Footnote: Provenance: Private collection, Wiltshire. This typewritten and photocopied document describes secret research carried out at the Hermann Goering Institute, also known as the Aeronautical Research Insitute, near Brunswick (or Braunschweig), in the early months of 1945. The research institute facilities consisted of wind tunnels to test scale models and focused on issues such as directing missiles and identifying the best means of propulsion. The site was carefully camouflaged and never bombed directly; by the end of the war about 1500 people were working there, including around 150 scientists. The American army occupied this site on the 11th of April 1945, and, contrary to prior orders from Berlin to destroy all documentation, thousands of pages of aeronautical research were handed over to the Allies. In July 1945 the Americans transferred the site to the British, who questioned the remaining scientists and brought some of the remaining apparatus back into use under the control of the Ministry of Aircraft Production. The author of the initial portion of the document is not given, but it was very likely composed during the period of Allied control sometime in 1945. The six technical drawings are dated February and March 1945 and were thus created during the war itself. The information provided is highly technical and concerned principally with questions of propulsion. Of the seven prototypes suggested, A1 was driven by powder (perhaps saltpetre or ammonium nitrate), and A2-7 by a mixture of liquid oxygen and alcohol, subsequent to a powder ignition. A scale model was tested in the wind tunnel, and then A1 and A2 prototypes were actually tested, although A2, the first use of complex fuel, stalled immediately due to instability. A3 was never tested due to war circumstances. Feuerlilie, or 'Orange Lily', a two-stage supersonic surface-to-air missile, never came into production. It would have been a weapon of great strategic importance, designed for easy mass production, and planned to reach a height of 20km with a range of 50km, and a payload of 150kg of explosives. Its operation was simple, under the radio control of an observer. The mass production of such a weapon would have made it possible to shoot down Flying Fortresses and Lancasters and could have transformed the balance of power in the sky over Germany. As a defensive weapon, Orange Lily was given less attention by Goering (and the Third Reich leadership in general), than aggressive weapons such as the V1 and V2, which were more in tune with Nazi ideology. This document offers a tantalizing glimpse of a weapon whose prompt and effective development might well have changed the course of the war. We are grateful to E. D. R. Harrison, former lecturer in Modern History at the University of Salford for his important contribution to this catalogue note.
Apprentice Training Aids. A collection of apprentice aluminum training aids, comprising scale aircraft skin with access panel, 49 x 91.5cm, section of a wing leading edge, 42cm high x 20cm wide and stressed skin with ribs and stingers, mini wing section with slat and frame section, a large semi-monocoque fuselage section, 77cm high x 61cm diameter plus an aircraft panel, finished in white, green and red, 76.5 x 60cmQty: (8)Footnote: Provenance: 2152 (North Bristol) Squadron ATC.
Battle of Waterloo. A fine model 9lb field gun, the 20cm long bronze barrel with GR cypher (drilled touch hole) mounted on a wooden carriage with four large 12 spoke wheels, fitted with all corresponding accessories including a bucket and ramrod, approximately 70cm long, presented in a glass display case with brass plaque engraved 'British Royal Artillery brass 9lb Field Piece, as employed at Waterloo on June 18. 1815. Built in England to the scale of 1/10th, for Major Estcourt Cresswell M.C. late 15/19th The King's Royal Hussars sometime Captain Coldstream Guards, Gun Number 011 in a Limited Edition of 156', case size 25cm high x 80cm wide x 41cm deep, together with a Panorama Sketch Battle of Waterloo, printed circa 1815Qty: (2)
B.A.C./Sud Aviation 'Concorde'. A collection of approximately 100 maps, circa 1978 (1"=3000 scale) each measuring Concorde's Carbon Monoxide level in a 1 Hour Average, issued by the U.S. Department of Transport Federal Aviation Administration, they include John F Kennedy International Airport (JFK) and Dulles Airports, 39.5 x 40cmQty: (Approximately 100)
Queen's South Africa 1899-1902, 3 clasps, Cape Colony, Transvaal, South Africa 1901 (13029 Tpr: N. Green. 51st Coy 19th Imp: Yeo:), toned, good very fine, with a portrait photograph of the recipient in uniform, 7 letters written from the recipient to his mother whilst stationed at Mafeking (1900-01), two Philip's Large Scale Military Maps of South Africa for Orange Free State, W. & S. Frontier (with annotations around Mafeking) and Durban to Pretoria, plus a WWI period map for Gallipoli and other related ephemeraQty: (1)Footnote: 13029 Trooper Noel Green was born in San Mathews, Ealing in 1878, he served during the Boer War with 51st Padget's Horse Company 19th Battalion and was discharged from service on 24 June 1901. The letters give an informative insight into Green's time in South Africa, detailing the aftermath of the Siege of Mafeking noting the shell and bullet damage to buildings, escorting Boer prisoners and general movements around South Africa. Green re-engaged for service during WWI and was commissioned Lieutenant with the Sherwood Foresters and was wounded on 1 July 1915.
Model Ship. Wooden scale model of the ship 'Charles M [sic] Morgan', with three fully rigged masts, deck fittings and life rafts, planked hull, mounted on a wooden display stand, 66cm long x 67cm highQty: (1)Footnote: Charles W. Morgan was an American whaling ship built in 1841, she served during the 19th and 20th century being used to harvest the blubber of whales for whale oil. She resides in Mystic, Connecticut.
Model Ship. Wooden scale model of the 'U.S. Constellation 1798', with three fully rigged sales, deck fittings including brass cannon and figures, life rafts and planked hull, presented on a wooden display stand, 95cm long x 75cm highQty: (1)Footnote: USS Constellation was a 38-gun frigate of the United States Navy. She was named by George Washington to reflect a principle of the United States Constitution. Launched in 1797, her first duties were to provide protection for the American merchant shipping during the Quasi-War with France and to defeat the Barbary pirates in the First Barbary War (1801-1805).
Model Ship. Wooden scale model ship of 'Juan Sebastian Elcano', with four fully rigged sails, deck fittings, life rafts, white and black planked hull, presented on a wooden stand with plaque inscribed 'J.S. Elcano, Spanish Training Ship 1927', 101cm long x 59.5cm highQty: (1)Footnote: Juan Sebastian Elcano was a training ship for the Royal Spanish Navy. Named after the Spanish explorer Juan Sebastian Elcano, captain of Ferdinand Magellan's last exploratory fleet and the man who completed the first circumnavigation of the world.
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