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Lot 186
Matchbox - Keil Kraft - Hornby - A group of items including a shop counter box of Super Robot toys with whirling heads, Matchbox and Corgi cars, 2 x packs of Liberty bridge playing cards, some Test Match game pieces a boxed Foden Haulmaster kit in 1:72 scale and other items, unchecked for completeness, appear Fair overall. (This does not constitute a guarantee) [ba]
Lot 247
Telford (Thomas): Original ink and wash architects outline map/plan of a rivulet that proceeds from the Loch of Auchlossen. Showing the long and traverse sections and proposed drainage improvements, scale 200:1. Measures 74 x 53 cm, repaired and re-laid on Japanese paper. All manuscript notes on the plan and an indistinct address and signature of Thomas Telford on the top corner of the reverse. Believed to be in Thomas Telford’s own hand.
Lot 141
FREDERICK JAMES PARTRIDGE & MAY HART PARTRIDGE: WISTERIA BROOCH, CIRCA 1910The hanging vines of wisteria, each bud made of blue plique-á-jour enamel with green plique-á-jour leaves, suspended from a sinuous silver branch, with similarly-decorated veined leaves, signed Partridge, maker's mark FJMHP, some enamel repair, length 15.5cmFootnotes:Married in 1906, having met at the Birmingham Municipal School of Art, Frederick and May Partridge worked together throughout their marriage to create beautiful objets d'art and jewels, before May's death in 1917. They registered their joint maker's mark, FJMHP, around the same time they married.The branch is composed of the curving, sinuous lines so integral to the stylised, often ethereal aesthetic of the Art Nouveau movement, whilst May's enamel work gives the wisteria buds the soft, organic quality typical of what Robert Melville called 'The Soft Jewellery of Art Nouveau'. Similar enamel work by May can be seen on a pendant in the Victoria and Albert Museum (Accession No. M.32-1968). The impressive scale of this piece is perhaps why it bears Frederick and May's joint maker's mark, so rarely seen on pieces of jewellery by the couple.For further information on this lot please visit Bonhams.com
![WOOLHOUSE [W. S. B.] Essay of Musical Intervals, Harmonics and the Temperament of the Musical Scale. 1835. London; J. Souter,](https://cdn.globalauctionplatform.com/c03dad68-c438-4233-ae9e-b1d200a60560/9c5f7e6b-bb48-45ea-94f8-b1db01598377/468x382.jpg)
Lot 84
WOOLHOUSE [W. S. B.] Essay of Musical Intervals, Harmonics and the Temperament of the Musical Scale. 1835. London; J. Souter, 73, St Pauls. Slim 8vo, original cloth ink marks to front board, tear to the cloth spine. Half title, [5], vi-xii, 84pp. *Rare. With no auction results. **LORD BENHOLME Annotated copy. Ownership signature in ink to title of Lord Benholme. With ink and pencil annotations. Hercules James Robertson, Lord Benholme (13 October 1795 – 15 September 1874) was a Scottish judge. He became a Senator of the College of Justice in 1853.
Lot 188
Kathleen Muriel Scale (Muriel Harding-Newman) (British, 1913-2006). Four Nudes with Two Herons signed and dated 1935 (lower left), oil on board 108 x 93cm (42.5in x 36.5in) Footnote: Born in Jersey in 1913, the daughter of Lieutenant Colonel John Dymoke Scale, she married in Cairo Cathedral Brigadier Rupert Norton Harding-Newman in November 1939, he was awarded an MC in 1942 and served in the Secret Intelligence Service. Scale attended Farnham School of Art where she was taught by Otway Maconnell FRSA RBA, later going onto Goldsmiths College where she was taught under the guidance of James Bateman RA. She studied Early Renaissance painting and was greatly influenced by the work and palette of Michelangelo, Botticelli, Piero della Francesca, as well as El Greco. Rowland Hilder taught her line drawing, but she was much more interested in producing large scale mythological and biblically based subjects, such as the work offered here, which provided Scale with much more scope for adventure and fantasy. Her large-scale compositions were initially worked up in sketchbooks, she would then produce a working watercolour or drawing which would be squared up ready to place onto the gesso prepared board. In 1933 at the age of nineteen she had her first painting exhibited at the Royal Academy and between 1933-38 Scale had seven paintings accepted and hung. Later in 1936 she was invited by the National Gallery of Canada to exhibit at an exhibition of Contemporary British artists such as George Spencer Watson, Duncan Grant, Vanessa Bell and Stanley Spencer amongst others. She also exhibited at the RBA and for many years with the Society of Women Artists. She later settled in Somerset and then Dorset after her husband retired. In 1995 Kathleen Muriel Harding-Newman as she was now known had a retrospective of her work held at the Dorset Museum in Dorchester. 'Artist’s Resale Rights (ARR) may apply to this lot'.
Lot 499
A Stratocaster electric guitar, labelled Tokai Goldstar SoundBody: Solid, metallic 'Caribean' blue, white pickguardNeck: MapleFingerboard: Maple, inlaid black dot markers, 21 fretsHeadstock: Maple, S-style, polished steel tuners and keysPickups: 3Bridge: TremoloControls: 1 volume, 2 tone, 1 five-way switchSize: 38.5" overall, scale length 24.75"Accompaniments: Gator hard caseProvenance:The Neil Jackson collection.Footnote:This guitar bears no serial number and so it's authenticity is unverified.Condition:Immediately playable. Some signs of use including chips to the paintwork in places and some light scratches. Case good.
Lot 483
A Takamine 'Santa Fe' PSF-45C steel string electro-acoustic guitarTop: Spruce, ivorine and black bindings, inlaid soundholeBack and Sides: Rosewood, serial no.970****9, Takamine AcurAcoustic EQ pickupNeck: MahoganyFingerboard: Rosewood with turquoise inlay, 21 fretsHeadstock: Standard acoustic, inlaid abalone logo, gold-plated tuners with amber pearloid keysBridge: Rosewood acousticSize: 41" overall, scale length 24.75"Accompaniments: Factory hard case in dark brownProvenance:The Neil Jackson collection.Condition:Immediately playable. Good to very good condition overall with minor signs of use including a few shallow dints and scratches to the top. Really lovely sound. Case has some scuffing.
Lot 479
A Gibson Epiphone EJ-200 acoustic guitarTop: Natural spruce, 7-ply bindings, inlaid soundhole, patterned scratchplateBack and sides: Maple, Serial No. 99090009Neck: MapleFingerboard: Rosewood, inlaid pearloid markers, 20 fretsHeadstock: Solid, black lacquer top, applied Gibson plaque, inlaid pearloid Epiphone logo, polished steel machine headsBridge: Inlaid rosewoodSize: 42.25" overall, scale length 24.75"Accompaniments: Stagg hard case, after-market pick-up, associated strapProvenance:The Neil Jackson collection.
Lot 38
A large Coalport trophy vase, early 20th century, of three handled form, the cobalt blue ground with gilt handles and rims, painted with a large panel of birds and two smaller panels of flowers, with insects to the foot, pattern V5146, printed factory mark and other painted marks, 28.5cm high; together with a further Coalport vase, of twin-handled form, similarly decorated, with a scale blue cobalt ground, pattern V6718, printed and painted marks, 21.5cm high (2)Condition:Twin-handled vase - some crazing to glaze noted and a couple of areas of wear to the gilding on one handle. Small broken and re-glued section to one lobe on the foot.Trophy vase - Crazing to glaze noted to white areas and panels. No damages or restoration.
Lot 495
A Harmony 'Meteor' electric guitar, in sunburst colour, with associated hard caseBody: Hollow, sunburst, spruce top, maple sides and back, floating tortoiseshell effect scratchplateNeck: MapleFingerboard: Rosewood, inlaid pearloid markers, 21 fretsHeadstock: Solid, ebonised, applied logo, steel machine heads with ivorine keysPickups: 2Bridge: Tune-O-Matic type with trapeze tailpieceControls: 2 volume, 2 tone, 1 three-way switchSize: 40" overall, scale length 23.25"Accompaniments: Associated hard caseProvenance:The Neil Jackson collection.
Lot 489
A Gretsch 1959 Double Anniversary hollow-bodied electric guitar, model 6118Body: Hollow, two-tone smoke green with ivorine bindings, floating scratchplate, serial no.39732Neck: Maple, mid-greenFingerboard: Rosewood, inlaid pearloid markers, 21 fretsHeadstock: Solid, inlaid pearloid logo, applied 'Anniversary Model' plaque, polished steel machine headsPickups: 2 GretschBridge: Bigsby roller tremoloControls: 3 chrome volume knobs, 2 three-way switchesSize: 41.5" overall, scale length 24"Accompaniments: Associated period hard caseProvenance:The Neil Jackson collection.Footnote:Introduced in 1958, the Gretsch Anniversary models followed the same construction pattern as the firm's cornerstone models such as the 6120 Chet Atkins. Both had hollow bodies that were 16 inches wide and 2.5 inches deep, made from braced laminated maple, with dual f-holes and rounded cutaways. Likewise, their necks had ebony or rosewood fingerboards, and they were made to the shorter traditional 24.5-inch Gretsch scale length. The Single Anniversary had one Filter’Tron humbucking pickup in the neck position, a tone switch, and a single volume control. The Double Anniversary boasted two Filter’Tron pickups, a three-way selector switch beside the tone switch on the upper bout, plus an individual volume control for each pickup in addition to the master volume on the horn. Each was available in a sunburst finish or a stylish two-tone, which had a light ‘Smoke Green’ on the top and contrasting darker green on the back and neck, as in the present lot.Condition:Immediately playable. Signs of age and use including minor craquelure to lacquer, some de-chroming to one of the control knobs, wear to the underside of the neck around frets 1 to 7, minor chips and scratches in places, one tuner bent. Case showing some wear but is serviceable.
Lot 493
A Burns, London, 'Vista Sonic' electric guitar, circa 1962Body: Sunburst cherry red, black scratchplate with etched logo, serial no.197Neck: Sunburst cherry redFingerboard: Rosewood, inlaid pearloid dots, 22 fretsHeadstock: Solid S-type, applied acrylic Vista Sonic logo, polished steel machine headsPickups: 3 Burns Tri SonicBridge: Roller tremoloControls: 1 volume, 1 tone, 1 three-way 'Base/Treble/Wild Dog', 1 two-way switchSize: 39" overall, scale length 24"Accompaniments: Vintage hard caseProvenance:The Neil Jackson collection.Footnote:Introduced in June 1962, the Vista Sonic joined the Split Sonic in Burns London line-up, replacing the Vibra-Artist models. Featuring a bolt-on neck design and new polyester finish, the instrument also boasted 'split sound' giving stereo bass and treble, 'Wild Dog' treble, promising brilliant highs with no distortion, and a sensitive manual vibrato. The model lasted until 1964 when the Nu-Sonic replaced it.Condition:Immediately playable. Good overall with some signs of age and use including stress hairlines to the scratchplate, minor scratches to the lacquer in places. Case fair to good with some signs of age and use.
Lot 488
A Fender 'Mustang' electric bass guitar, circa 1972Body: Solid, metallic red with applied yellow racing stripes, pearloid scratchplate, Serial No.375760Neck: MapleFingerboard: Rosewood, inlaid pearloid dots, 19 fretsHeadstock: Solid, lithograph Fender decals, Fender steel machine headsPickups: 2 Plebe passiveBridge: 4-saddle MustangControls: 1 master volume, 1 master toneSize: 41.75" overall, scale length 29"Accompaniments: Period hard caseProvenance:The Neil Jackson collection.Footnote:The original Mustang Bass was introduced in 1966 as a companion to the Mustang guitar range, though as a single-pickup model. It featured a fully intonating bridge (separate saddles for each string) and a mute function. It was the last original Fender bass designed by Leo Fender in 1965. Livery was presented in solid nitrocellulose colours until 1968 when Fender began using the more modern and durable polyester finish. In 1969, they were released with 'competition' finishes, including racing stripes as in the present lot. Sunburst finishes were also added to the range. The bass remained in production until 1981 when it was discontinued.Condition:Immediately playable. Some signs of age and use including chips and scratches. Some varnish wear to the bottom edge of the neck. Case fair but noticeably worn.
Lot 487
A Hofner electric 'violin' bass guitarBody: Sunburst mapleNeck: Sunburst mapleFingerboard: Rosewood, inlaid pearloid dots, 22 fretsHeadstock: Solid, applied Hofner logo, steel machine heads with yellow acrylic keysPickups: 2 HofnerBridge: Hofner tailpieceControls: 2 volume, 3 switches for Rhythm/Solo, Bass and TrebleSize: 42.75" overall, scale length 29.5"Accompaniments: Modern hard caseProvenance:The Neil Jackson collection.Footnote:The Höfner Violin Bass, model 500/1, was introduced in 1955, unveiled at the Frankfurt Music Fair the following year. The instrument gained celebrity status during the 1960s as the primary bass of choice for Paul McCartney of The Beatles, giving rise to its nickname 'The Beatles Bass'. Constructed with a hollow maple body without soundholes, the 500/1 is often referred to as a semi-hollow bass, making it light and easy to play while retaining a rich tone.Condition:Immediately playable. Significant wear to varnish throughout. Frets 15, 16 and 18 have been patched. Neck possibly re-attached. Case good.
Lot 498
A Gibson Les Paul Special electric guitar, 2012Body: Mahogany, TV Yellow, black 5-ply scratchplate, serial no. 109*****3Neck: Mahogany, TV YellowFingerboard: Rosewood, inlaid pearloid dots, 22 fretsHeadstock: Black lacquer top, gilt decals, applied 'Special' plate, Kluson Delux machine heads with pearloid keysPickups: 2 P90Bridge: Tune-o-MaticControls: 4 'top hat' knobs, 1 three-way switchSize: 38.5" overall, scale length 24"Accompaniments: Associated hard caseProvenance:The Neil Jackson collection.Condition:Immediately playable. Minor signs of use including some very small chips and a little wear to the scratchplate. Case is good with some scuffing in places.
Lot 476
A Hawaiian Club steel string acoustic parlour guitar, late 1930sTop: Mahogany with ivorine bindingsBack and sides: Mahogany, serial number 3426H1043Neck: MapleFingerboard: Maple, 18 fretsHeadstock: Slotted classical, painted black with applied Hawaiian Club decal, ivorine keysBridge: Rosewood acoustic, painted blackSize: 36" overall, scale length 24.5"Accompaniments: Period hard caseProvenance:The Neil Jackson collection.
Lot 480
An Ovation 12-string electro-acoustic guitarModel 1659, serial no. 271456, mid 1980sTop: Natural spruce, ivorine and pearloid bindings, pearloid soundholeBack and sides: Moulded plastic, 1 volume controlNeck: Mahogany and mapleFingerboard: Rosewood, inlaid pearloid markers, 20 fretsHeadstock: Acoustic, inlaid pearloid logo, gilt polished machine headsBridge: Carved rosewoodSize: 42" overall, scale length 24.75"Accompaniments: Supplied Ovation hard caseProvenance:The Neil Jackson collection.
Lot 491
A Gretsch Chet Atkins 'Country Gentleman' electric guitar, circa 1963 Body: Hollow dark cherry mahogany, ivorine bindings, floating scratchplate Neck: Maple Fingerboard: Ebony, inlaid pearloid markers, 22 frets Headstock: Solid, black lacquer top, inlaid pearloid logo, applied Chet Atkins plaque, Grover gilt machine heads Pickups: 2 Bridge: Gretsch Bigsby roller tremolo Controls: 1 volume, 2 tone, 3 three-way switches, 2 damper switches Size: 42" overall, scale length Accompaniments: Period hard case Provenance:The Neil Jackson collection. Footnote:The Gretsch Country Gentleman guitar, introduced in 1957, is one of the most iconic models produced by the firm, designed in collaboration with the legendary guitarist Chet Atkins, who sought a sleek, stylish instrument with a versatile tone suitable for various music styles.The original Gretsch Country Gentleman featured a hollow body design with a double-cutaway shape, allowing for easier access to the higher frets. It was made of laminated maple and had a 17 inch wide body with a stylish walnut finish. The guitar also came equipped with unique 'hump block' inlays, a Bigsby vibrato tailpiece, and Gretsch's 'Filter'Tron' humbucking pickups, which provided a warm, clear sound with reduced noise, making it suitable for both country and rock musicians.The Country Gentleman gained widespread popularity in the early 1960s, particularly after George Harrison of The Beatles adopted it as his main guitar. Harrison's use of the guitar on numerous Beatles recordings, such as I Want to Hold Your Hand and during their iconic 1964 performance on The Ed Sullivan Show, solidified the instrument's place in rock history and led to a surge in its popularity.Over the years, Gretsch has released several versions and reissues of the Country Gentleman, maintaining the guitar's classic aesthetic while incorporating modern innovations to meet contemporary players' needs. Today, the Gretsch Country Gentleman remains a beloved and sought-after model, celebrated for its rich heritage, distinctive sound, and connection to some of the most influential guitarists in music history.Chet Atkins (1924–2001) was an influential American guitarist, songwriter, and record producer, widely regarded as one of the most important figures in the development of country music and the Nashville sound. Born in Luttrell, Tennessee, Atkins displayed an early talent for music, learning to play the guitar, mandolin, and fiddle. His innovative fingerpicking style, influenced by Merle Travis, Django Reinhardt, and Les Paul, set him apart as a guitarist and earned him the nicknames 'Mister Guitar' and 'The Country Gentleman'. Condition:Immediately playable. Some signs of age and use including small chips and light scratches, wear to gilding on tailpiece and tremolo arm and wear to gilding on tuners. The dampers have both vulcanised. There is some light craquelure to the headstock. The case is heavily worn.
Lot 490
A Gretsch Chet Atkins 'Tennesean' electric guitar, circa 1961 Body: Hollow, natural mahogany, simulated inlaid F-holes, ivorine bindings, floating plexiglass scratchplate with Gretsch logo Neck: Maple Fingerboard: Rosewood, inlaid pearloid thumbprint markers, 22 frets Headstock: Solid, inlaid pearloid logo, polished steel machine heads, serial no.74211 Pickups: 2 Hi-lo 'Tron Bridge: Gretsch Bigsby roller tremolo tailpiece Controls: 1 master volume, 2 pickup volumes, 3 three-way switches Size: 41.5" overall, scale length 24" Accompaniments: Associated period hard case Provenance:The Neil Jackson collection. Footnote:The Gretsch Chet Atkins Tennessean was introduced in 1958 as an affordable alternative to the higher-end models. While it was the same size and shape with similar specifications including a hollow, laminated-maple body, f-shaped soundholes, maple neck with dark centre lamination, and 6120-style thumbprint fingerboard inlays on the bass side, this was the only Atkins-endorsed model with just one pickup, and it had less ornamentation. Typical of 1958, it had a Filter’Tron pickup of the same style used on the more deluxe Atkins models of the same year, placed in the bridge position. While the top and back of the body were bound, with the same bridge and Bigsby tailpiece as other Atkins models, the headstock and fingerboard of the early Tennesseans were unbound. The pickguard was constructed of Plexiglas with Atkins signpost logo, Gretsch logo, and black back-paint, whereas the other Atkins models of that year had gold back paint on the guards.In 1961, the specs of the Tennessean were altered, as with the present lot, to include a 2.25 inch deep body, painted on simulated f-holes on a dark cherry-walnut stain, two single-coil Gretsch Hi-Lo’Tron pickups, master volume knob on the cutaway bout, three-position pickup selector, tone toggle on the upper bass bout, two volume knobs on the lower bout, and white binding on the fingerboard and top of the body.
Lot 517
Hasbro Star Wars Black Series Boba Fett Re-Armored 1:1 scale Helmet, Mint UNUSED complete, within Excellent opened box, Episode 1 Darth Maul 3 3/4" fugre, within Good sealed packaging, Kenner Mos Eisley Cantina Pop-Up Action Diorama, Excellent, Large scale Stromtooper figure, Excellent complete and Large scale First Order Stormtrooper, Excellent complete. (5)
Lot 193
Master Replicas Star Wars E-11 Stormtrooper Blaster Rifle (ANH) 1:1 scale Prop Replica, Blaster is Mint complete, with case (small crack to one corner), mirrored plinth (one crack to the mirror by one of the stands) see picture, plaque and all paper work, within Near Mint opened packaging, includes inserts and shipping box. NO INTERNATIONAL SHIPPING ON THIS ITEM DUE TO CUSTOMS RESTRICTIONS.
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