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Lot 61
Glenn Seaborg Nobel prize mounted signature, matted with photo to an overall size of 10 x 8 inches. American chemist whose involvement in the synthesis, discovery and investigation of ten trans uranium elements earned him a share of the 1951 Nobel Prize in Chemistry. His work in this area also led to his development of the actinide concept and the arrangement of the actinide series in the periodic table of the elements. Good Condition. All signed items come with our certificate of authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.95, EU from £4.95, Overseas from £6.95
Lot 907
*Hitler (Adolf, 1889-1945). Half-length portrait in half profile by Heinrich Hoffmann, mid 1930s, vintage gelatin silver print, wet stamp credit to verso 'Photo-Haus Hoffmann , Mnchen 2 N.W. Amalienstr. 25', signed presentation inscription to lower blank margin from Hitler to David Lloyd George on the occasion of their historic meeting, 'Mister Lloyd George, zur freundlichen Erinnerung an seinen Beitrag in meinen Deutschland in umsichtiger Vorahnung, Adolf Hitler, Berchtesgaden den 4 /Sept. 1936', [translation: 'Mister Lloyd George, in kind remembrance of his contribution to my Germany with circumspect presentiment, Adolf Hitler, Berchtesgaden, 4th September 1936'], image size 198 x 150mm, sheet size 27 x 22 cm David Lloyd George's visit to Hitler at his villa, the Berghof, near Berchtesgaden, in September 1936, is invariably represented as an exercise in folly and Lloyd George (1863-1945) painted as a self-deluded victim of Nazi propaganda. His effusions in the press on his return, of a peace-loving Germany, determined never again to go to war with Britain, are an embarrassment to his admirers. Of all Hitler's British visitors, Churchill said 'no one was more completely misled than Mr Lloyd George'. This signed presentation photograph, a memento of that infamous meeting, is undoubtedly one of the most historically poignant and significant presentation photographs of Hitler to ever come up for sale, yoking together Britain's Great War-time premier on the one part with the Fhrer of Nazi Germany on the other. Lloyd George had a one-to-one policy meeting with Hitler on the afternoon of 4 September, in the Fhrer's office at his villa, the Berghof. The following afternoon the entire British party of six joined Hitler in the Great Hall there for a social gathering and tea. It was then that this photograph was presented. Printed below are account extracts of the occasion written by two of those also present, A.J. Sylvester, Lloyd George's private secretary, and Thomas Jones, a close associate of the then prime minister Stanley Baldwin. 'It was probably half-past five when we sat down in a large circle of low and easy chairs for tea and coffee and slices of cold ham and halves of hard-boiled eggs For some time the talk rambled over presentation of ancient buildings At this point a signed photograph of the Fhrer was produced, in a case, and handed by him to L.G. who responded with the hope that Hitler would not object to share a table in L.G.'s house with photographs of Foch and President Wilson. From this point on the talk became more serious and impressive Hitler spoke with a grave and sincere animation. Germany had lost the war [First World War], that had happened to nations before It was realized in Germany that if the war was won by the Allies, it was not due to the soldiers but to one great statesman - Lloyd George Lloyd George, speaking with a tear in his throat, was deeply touched by the personal tribute of the Fhrer and was proud to hear it paid to him by the greatest German of the age 'Thomas Jones, A Diary with Letters, 1931-1950 (1954), pp. 248-52. 'We all sat in easy chairs round a very low tea-table, on which candles were lit. It was a wonderful setting. It was a great moment when Hitler handed to L.G. a beautifully framed and autographed photograph of himself. L.G. immediately rose and shook Hitler very warmly by the hand. L.G. was immensely pleased with this. We had taken a number of photographs of Hitler with us and, after he had signed these, we took our leave. A most remarkable experience.' A.J. Sylvester, Life with Lloyd George, (1975), pp. 149-150. (1)
Lot 283
Box of assorted ephemera to include: unframed watercolour sketches and prints; vintage share certificates; magazine extracts and copies; catalogue of microscopes and accessories for W. Watson and Sons Ltd. of London; one edition 'Fragments from France' by Captain Bruce Bairnsfather; British Journal Photographic Almanac, 1890; 'Tips and Odd Jobs about the House'; 'Simple Lessons in Botany'; an early 20th Century Journal; an early 20th Century 'Home Diary' for 1915 and a 'Dean's Walt Disney pop-up book'. (B.P. 24% incl. VAT)
Lot 133
1899 American Electric Vehicle Co. A miniature 8pp brochure with an orange card cover advertising the 'The 20th Century Movement', being electric-powered vehicles, including the 'Runabout' and Brougham. Together with four extra illustrated handbills and three press cuttings. Also, The Tripler & Liquid Air & Power Company Ltd. A suite of documents relating to this unusual and ill-fated Boston (USA) company, which proposed powering automobiles with 'Liquid Air', in fact air that has been lowered to cryogenic temperatures condensing it into a mobile liquid and protected from room temperature in a vacuum insulated flask. The c1900 period documents include an explanation of its use in a vehicle, share prospects and leaflets. All in fine condition (15)
Lot 99
The Common Road Steam Conveyance Company. Dated 1840 (in manuscript, but likely to be 1841), a most interesting prospectus for the company, offering 40,000 shares at each with a provisional management committee of Messer's Beningfield, Ekin, Herring, Hullmandel, Parry and Watson. A folded double-sided broadsheet, opened and sandwiched between glass in a double-sided frame, and hand-addressed to Mr D Brown, Oxford Buildings, Cheltenham. Verso is printed a testimonial by Mr J T Beale to Colonel Maceroni's steam-engines and boilers, together with various overviews of 'Steam Locomotion' dating from the 1830s, and with a profile of Col. F. Maceroni and his personal introduction to Mr Gurney, etcetera Historic Note: It seems that Col. F. Maceroni was perhaps one of the most colourful entrepreneurs of self-propelled road locomotion, at a time when steam road transport was road tested by many. He designed a number of steam carriages which he built at his own works in Paddington in the 1830s, but was brought to debt by creditors. He then got involved with steam carriages built by Beale in East Greenwich, which were tested to great aplomb in Kent, but the share floatation failed to fund the £1100 bill for the building of the carriage, which was subsequently seized by bailiffs. The well-detailed image at the top of the handbill is believed to be that of Maceroni's carriage, with a very similar, although not the same image, as illustrated in Dr Dionysius Lardner's 'The Steam Engine Explained' of 1840. (1)
Lot 518
CLASSIC SOUL/FUNK/R&B LPs - Another fine tuned collection of sweet grooves with 71 x LPs! Artists/titles include Richard Groove Holmes - A Bowl Of Soul (VS 114), The Best Of Solomon Burke (Atlantic plum 587016), Young-Holt Unlimited - Born Again (Cotillion original SD 18004 - Ex/VG+), Willie Mitchell Live, The Sound Of Wilson Pickett, The Best Of Ruth Brown (ATL 5007), Swamp Dogg - Have You Heard This Story??, Gloria Jones - Share My Love, Marvin Gaye, Bunny Sigler, Soul Fever, The Meters, Joe Tex, Willie Mitchell, Jimmy Rogers and Bob & Earl. Condition is generally VG to Ex.
Lot 409
HALIFAX 1921 Halifax Town AFC Share certificate dated 26 April 1921. Issued a few months prior to Halifax Town joining the newly formed Football League Division 3 North. The certificate has been hand signed by the clubs directors and secretary in pen to the front and twice by the clubs secretary to the back. It appears that this was one of the original share certificates produced around the time of the clubs formation back in 1911 as the date 1911 was amended to 1921 in pen. Small tear along fold. Generally good
Lot 302
Freud, Sigmund Typed letter signed ("Prof. Freud"), in German, to the Germanist Pieter Smink ("Sehr geehrter Herr"), about his work "massenpsychologie und ich-analyse", discussing a proposed Dutch translation, asking him to write to his publisher for the conditions, requesting that he inform him of the name of the intended translator, as he cannot authorise a translation by somebody he does not know, and suggesting, finally, that he approach Dr J. van Emden in the Hague, who can either supply a translator or report on the one chosen by him: ...Der Autorisation wegen wollen Sie mir den Namen des Uebersetzers nennen, dem Sie die Aufgabe übertragen XXXXXX werden. Einer mir ganz unbekannten Person kann ich keine Autorisation geben..., 1 page, 8vo (223 x 150mm.), later manuscript annotation in pencil, Vienna, 27 August 1924, split along horizontal fold, creasing, a few tiny tears to lower edge, browning, two small stains Note: Freud's work on group psychology and the analysis of the ego, Massenpsychologie und Ich-Analyse, was first published in Zurich in 1921. Partly motivated by observations made during the First World War, it underlines "the leader of the group's central role and demonstrates that group cohesiveness derives from the fact that the members share a common ego-ideal or superego". The typing errors in the letter suggest that it was Freud himself who typed it.
Lot 637
Scripophily: a group of share certificates comprising Saturn Silver Mining Company of Utah Ltd., a group of sixty three bearer warrants for one share of £5,1871, scrollwork at left, black, embossed duty stamp and Utah-Bingham Mining Co. (ME), a group of thirty five certificates for $5 shares, 190[8], miners at work underground top left, green and black, red embossed British revenue stamp, together with a Bradford Motor Car Company Souvenir album bound as a fold out collection of six early photographs with hand written annotations dated 1900 to 1905, 28 by 22cm, and a John Players complete album of cigarette cards of vintage Motor Cars. (104)
Lot 71
ZIMBABWE/RHODESIA COINS, NOTES & MEDALS - large collection to include banknotes, cheques, share transfer documents, stamps, coins, medals and postcards. Highlights include 18 cheques from the 40's to 70's, 13 x $20,000 notes (dated 2003), 10 banknotes dating from 1983 to 2003 ($2 to $10,000 denomination), 2 share documents relating the Railway and Exploration, a silver independence medal from 1965, 2 school medals from "Ruzawi" and more.
Lot 427
A COLLECTION OF SHARE AND BOND CERTIFICATES, including Indiana Southern Railway Company, First Mortgage Bond, 1866; Oriental Bank Corporation, £25, no.9997; The Ottoman Company Limited, £20, 1865, no.1666; The Oriental Inland Steam Company, £10, 1860, no.32781; two "Rothschild" bonds, 720 and 960 roubles, 1822; four talons; etc. (14)
Lot 878
Michael III, with Theodora and Thecla, AV Solidus. Constantinople, AD 842-850. +ΘEOdORA dESPVn’ A, facing bust of Theodora, wearing crown with pendilia and loros, and holding cruciform sceptre and globus surmounted by patriarchal cross / •mIXAHLS ӨЄCLA, facing busts of Thecla on left, wearing crown with pendilia and loros and holding patriarchal cross, and Michael on right, wearing crown and chlamys and holding globus cruciger. DOC 1; Füeg 1 (these dies not listed); Sear 1686. 4.51g, 21mm, 6h. Near Mint State; light edge bruise at 1 o'clock (rev), and traces of overstriking, as expected for this issue. Uncommonly refined style for the type, which is normally characterised by crude and cartoonish engraving. Born in AD 840, Michael III assumed the throne at the age of three following the unexpected death of his father Theophilus. His mother Theodora governed as regent during his infancy, apparently along with her daughter Thecla (Michael’s oldest surviving sister), who seems to have been entitled to share in the regency since she is portrayed on the coinage and named on official government documents of the period. On this type the domination of Theodora and Thecla can be clearly seen in how the emperor himself is belittled as a lesser figure in the depiction. Theodora’s desire for power reportedly led her to restrict Michael’s education in order to make him less fit for the throne and more malleable in her grasp. However, as the boy grew up he developed a close bond with his wily uncle Bardas, and in 856, aged fourteen, Michael consented for Bardas to overthrow the regency, having murdered Theodora’s most trusted minister the year before. Theodora and her daughters, including Thecla, were banished to a nunnery by the new sole ruler. Michael went on to be a successful military leader against the Arabs and the Slavs. Under his rule many ruined cities were rebuilt, monasteries were reopened and the imperial university was rejuvenated. Michael invaded Bulgaria, and adopted its ruler Boris I, and through the said monarch’s baptism replaced Tengrism with Christianity in that area. The conversion of the Bulgarians has been evaluated as one of the greatest cultural and political achievements of the Byzantine Empire. Despite these successes Michael had failed to produce any offspring with his wife Eudocia. Their marriage was not a particularly happy one, and Michael was instead enamoured by his mistress named Ingerina. In order to avoid any scandal by wedding her, he joined Ingerina with his favourite courtesan Basil in matrimony. He continued his relationship with her, and in order to maintain positive relations with Basil, brought his sister Thecla back from the nunnery and gave her to his friend as an offering. Ingerina bore a son named Leo, much to the joy of Michael, although to this day it is uncertain who the father of the future ruler of the empire was. Basil gained increasing influence over Michael, and in April 866 he convinced the emperor that the Caesar Bardas was conspiring against him, and so was duly allowed to murder Bardas. Now without serious rivals, Basil was crowned co-emperor on 26 May 866. Basil soon became wary of an intimate relationship Michael was forging with a new courtier named Basiliskianos, and conspired to put an end to it. Accompanied by some close relatives and friends, he brutally murdered Michael as he lay insensible with drink following a banquet. The unsavoury reputation of Michael as a spineless drunk was partially created by Byzantine authors operating under Basil and his successors in order to legitimise the new emperor’s vicious act of homicide. Indeed, some Arab accounts describe him as a strong and capable military leader, and his reign was in fact beneficialin many ways, particularly in stabilising the internal state of the empire.
Lot 420
Antinous Æ Hemidrachm of Alexandria, Egypt. Dated RY 19 of Hadrian = AD 134/5. ANTINOOV HPωOC, draped bust right, wearing hem–hem crown / Antinous, cloaked and holding caduceus, on horseback right; L/I–Θ (date) in field. Köln -; Dattari (Savio) 8007-9; K&G 34a.2; Blum 10; Emmett 1347.19; Kellner p. 108, Abb. 14. 16.59g, 31mm, 12h. Good Extremely Fine. Tiny flan flaw to horse's head and slight flatness to tail and caduceus, but well centred and struck, and engraved in the finest style. An outstanding example of the type, and among the finest known. Antinous' death by accidental drowning in the Nile in October AD 130 was a severe blow to Hadrian, for the youth had been his close companion and confidant for nearly five years, and had accompanied the emperor throughout his great tour of the empire beginning in March 127. Hadrian's marriage to Sabina was an unhappy one, and Antinous has been described as "the one person who seems to have connected most profoundly with Hadrian" throughout the latter's life (see R. Lambert, Beloved and God: The Story of Hadrian and Antinous, 1984, p.30). It is unsurprising therefore that Hadrian decreed that Antinous should be elevated to the Roman pantheon as a god, and that a city should be built at the site of his death. What was most unexpected however was that he deified the young man without consulting the Senate, and that he ordered Antinous' image to be placed on coinage across the empire. The coinage in the name of the deified Antinous was substantial. In all, over thirty cities issued bronzes bearing his image, though none as prolifically as Alexandria in Egypt, where his cult, associated with Osiris, was particularly strong. Hadrian himself, we are told, preferred to associate Antinous with Mercury/Hermes, but across the Empire he was far more widely syncretised with the god Dionysus. A great many busts and statues of his were set up in cities across the Roman world, of which numerous examples survive including the iconic 'Braschi Antinous', now in the sala rotonda of the Vatican Museums. That statue, on whose head modern restorers placed a sort of pine cone, would have originally been topped with a lotus flower or hem-hem crown, as on the present coin type. To create the myriad busts, statues and engraved images Hadrian turned to Greek sculptors to perpetuate the melancholic beauty and diffident manner of Antinous, in the process creating what Caroline Vout (Power and Eroticism in Imperial Rome, 2007) described as “the last independent creation of Greco-Roman art”. All of his images share certain distinct features, including tousled curls, a perfect Hellenic nasion, and a downcast gaze – that allow him to be instantly recognized.
Lot 204
Eight Kenner 'Robin Hood: Prince of Thieves' action figures: Crossbow Robin Hood; Friar Tuck; Azeem; Sheriff of Nottingham; The Dark Warrior; Will Scarlett; Long Bow Robin Hood; Little John. All sealed on G+-E cards. (8) The items in this line are mostly retooled versions of other Kenner figures, figures mostly reuse parts from the Super Powers line and the Star Wars Gamorrean Guard and Friar Tuck share a body.
Lot 379
A rare Charles II brass lantern clock Edward Webb, Chew Stoke, dated November 7th, circa 1680 The posted countwheel bell-striking movement now with anchor escapement for regulation by short lenticular bob pendulum swinging outside the frame to the rear, the dial with central alarm disc within stylised symmetrical foliate engraved infill incorporating a winged female mask at twelve o'clock and with pierced black painted brass hand within applied narrow Roman numeral chapter ring with stylised fleur-de-lys hour markers and engraved with date nove -7 to the dial plate behind the V numeral, the upper angles engraved with signature Edward Webb, the typical 'Chew Valley' frame with one-piece column turned corner posts beneath lion and unicorn armorial engraved and pierced frets, integral multi-knopped tall vase-and-cover turned finials and domed bell bearer cast with pierced leaf decoration between the limbs, with brass side doors and iron backplate between hanging hoop above spurs to rear, on tall disc-knopped ball feet, (mostly retrained using original pivot plates/bars, alarm lacking), 40cm (15.75ins) high. Edward Webb is recorded in Moore, A. J. THE CLOCKMAKERS OF SOMERSET 1650-1900 as married to Anne with sons Walter (1667), James (1670), Richard (1674), George (1678) and William (?). He was probably the son of Charles Webb who owned a foundry in Chew Stoke. Both Edward and his wife Anne died in 1694. Nine lantern clocks by Edward Webb dated 1676, 1678, 1681, 1684, 1688, 1691, 1692, 1692 and 1693 are recorded with the 1684 and 1688 clocks fully described an illustrated in White, George English Lantern Clocks on pages 232 (Figures V/39 and 40), 233 (V/42 detailing date March 10 engraved beneath the chapter ring of the 1684 clock) and 237 (V/51 and 52). In addition to these Moore notes a further undated lantern clock signed Edward Webb of Chewstoke fecit , and a posted musical longcase clock movement and dial (also illustrated by White on page 233, Figure V/43). From these references it would appear that the present clock is currently an unrecorded example of Webb s work. The current lot utilises frame castings that were favoured by the Bristol and Chew Valley school of clockmakers with the earliest surviving being the Edward Webb 1676 example (private collection). All the other recorded lantern clocks by Webb (dates ranging from 1678-93) all share the same frame castings. These castings were also used by John London of Bristol, Thomas Veale of Chew Magna and latterly by Edward Bilbie of Chew Stoke (who is believed to have succeeded Edward Webb in around 1695). Bilbie appears to have persisted with the use of such castings long after Bristol makers had moved onto patterns more closely related to London work of the period, suggesting that such frames were probably cast locally (in the Chew Valley) - perhaps initially by Edward Webb at his foundry in Chew Stoke then by the Bilbie family after Webb's death in 1694. Another noteworthy detail is the distinctive dial engraving which is executed with scrolling foliage issuing from a central point at the base of the dial centre, continuing symmetrically around the alarm disc and terminating with a central winged female mask motif at the top. The design of this decoration is typical of Webb and appears to have its roots in the work of Thomas Brown of Bristol who was most active during the 1650's (see White, George English Lantern Clocks page 232) and can can be directly compared to a clock by John Clarke of Bristol which was sold in these rooms on 15th September 2015 (lot 185) for £9,500 hammer.
Lot 399
A fine George III mahogany musical longcase clock with automaton Samuel Deacon, Barton-in-the-Beans for Robotham, Leicester, dated 1788 The substantial eight-day triple train movement with decoratively shaped thick plates united by four generous baluster-turned pillars enclosing large barrels with concealed winding clicks, the going train with anchor escapement regulated by seconds pendulum with distinctive heavy ring-turned bob mounted on decorative brass slider, the hour striking train with counting via pins set into the rim of the great wheel and sounding on a bell vertically planted above the plates, the music train released every three hours via additional pins in the strike train great wheel to play one from a selection of seven lively tunes automatically selected on a daily basis via a 5 inch pinned cylinder and graduated nest of twelve bells with twelve hammers transversely planted to the upper right hand corner of the movement within Y shaped rear sub plate extension incorporating conforming pair of fine baluster and single long columnar pillar, the frontplate engraved with decorative scroll initials S. D. B. incorporating date 1788, the 14 inch white painted Roman numeral break-arch dial inscribed ROBOTHAM and with day-of-the week tune indication dial to centre, fine engraved and pierced gilt brass hands, Arabic five minutes to outer track and floral spray polychrome decorated spandrels beneath arch finely painted with figural automaton scene of a quintet with six separate movements operated via linkages connected to the musical work behind, in a swan neck pedimented case with fretwork leafy tendril infill over hinged break-arch glazed and crossbanded hood door flanked by Corinthian columns, the sides with rosette-pierced sound frets and shaped bargeboards to the rear, the trunk with concave throat moulding and swollen frieze over shaped-top caddy moulded door flanked by fluted quarter columns, on shaped raised panel fronted plinth base with moulded skirt incorporating shaped apron, 249cm (98ins) high. Samuel Deacon is recorded in Hewitt, P.A. THE DEACON FAMILY OF LEICESTERSHIRE CLOCKMAKERS as born in Ratby, Leicestershire on 6th February 1746 and, after initially going in to farm service, he was offered an apprenticeship with the clockmaker Joseph Donisthorpe (as a result of a chance recognition of his practical abilities). In 1769 Deacon was employed as a journeyman to the Leicester clockmaker Thomas Lindley before setting up on his own as a clockmaker in the small hamlet Barton-in-the-Beans in 1771. Whilst in Leicester Deacon became acquainted with the Rev. William Ludlam who went on to tutor Deacon on the theoretical aspects of clockmaking as well as hone his skills on the practical side with particular attention to musical clocks. These skills enabled him to set-up business on his own in a highly cost-effective manner as he was able to make most of his workshop tools rather than buy them. In 1803 his wife, Elizabeth, died after a short illness; Samuel died after a stroke in 1816 leaving the business in the hands of his cousin, also named Samuel. The workshop passed down through successive generations until 1951 when the last of the Deacon clockmakers, Thomas William retired. Leicester Museums acquired the contents of the workshop and archive preserving it as one of the only 18th century clockmaking workshops to remain intact. Samuel Deacon s work is highly distinctive with many features such as baluster pillars, use pin countwheel, distinctive design of pendulum and hammer shapes making his work unmistakeable. In addition to making work for clients Deacon also supplied parts, movements or complete clocks to other local makers. Indeed his records indicate that he first started supplying the maker Robotham of Leicester in 1778. In 1774 Samuel Deacon advertised the fact that he was able to make musical clocks with the first being a four train quarter-chiming musical clock built under the direction of Ludlam for Lindley to supply to Samuel Darker of Tugby. This clock is described and extensively illustrated in Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 on pages 186-191. In 1790 Samuel Deacon made his masterpiece - a four train quarter chiming musical clock with interchangeable cylinders and automaton for the Rev. Severn of Hinckley. Both of these complex musical clocks share strong similarities with the current lot, the first most noticeably in its basic layout incorporating transverse music barrel, the second with the inclusion of an automaton depicting musicians, whilst all three share a wealth of details typical of Deacon s finest work. The current lot presents as a fine example of this highly regarded regional maker s work and is in fine original condition.
Lot 780
Share in the Victory, Save for your Country, Save for Yourself, Buy War Saving Stamps, artwork by William Haskell Coffin (1878-1941), showing an allegorical female figure holding a sword and a palm branch, published by Mural Advertising, marked WS-A2 to lower left, approx 51x76cm some damage to the top right corner, taped to reverse slight creasing to the edges, otherwise generally good condition, rolled
Lot 166
TERESA MOTHER: (1910-1997) Albanian Roman Catholic Nun, Nobel Peace Prize winner, 1979. T.L.S., M Teresa MC, one page, slim oblong 8vo, Calcutta, n.d., to Mr. Graham Thomas and Students. Mother Teresa writes a letter of religious content, in part, 'God loves you and wants you to share this love with all those around you. Be an angel of comfort to the sick, a friend to the little ones and love each other as God loves each one of you with a special, most intense love.' To the verso appears a printed image of Mother Teresa in a head and shoulders pose with a young child in her arms and with printed text from Isaiah to the right border. VG
Lot 269
DERBY EARL OF: (1799-1869) British Prime Minister 1852, 1858-59, 1866-68. A.L.S., Derby, one page, 8vo, St. James's Square, n.d. ('Tuesday'), to Barrington. The Earl informs his correspondent, in full, 'I enclose my receipts for the quarters' salary, and a cheque for your share of the public spoil for the last half year.' With light age toning. G George Barrington (1824-1886) British Conservative Politician.
Lot 204
MOORE-BRABAZON JOHN: (1884-1964) Baron Brabazon of Tara, English Aviation Pioneer, the first Englishman to pilot a heavier-than-air machine under power in England. T.L.S., Brabazon of Tara, one page, 4to, Berkeley Square, London, 24th June 1957, to Mrs. A. F. Sullivan. Brabazon thanks his correspondent for their letter, adding, in part, 'I am glad you share my views about Tara. I note you have written to two Societies which will undoubtedly get in touch with the Irish Museum in Dublin.' VG
Lot 4
THERE IS NO DOING WITHOUT MONEYby The Royal Mint Designer - Dominique Evans 1450 mm long x 920 mm high x 700 mm deep, 36 kg This BookBench design was inspired by the sketchbook for the new £2 coin that will come into circulation this year to commemorate Jane Austen's life. The BookBench project explores the pages of the Royal Mint designer Dominique Evans's sketchbook, to share with the public some of the ideas and concepts that evolved out of her painstaking research and development for the final coin design.Dominique EvansDominique is one of The Royal Mint's team of graphic designers. After studying Graphic Design at the University of Brighton she has had a diverse career, fostering her love for fashion, interior design and product design while working across a variety of fields. For 12 years she has brought her talents to her role as a graphic designer at The Royal Mint, bringing to life the rich and interesting stories behind coins and medals. Her first design for The Royal Mint was for a bullion coin commemorating the Gold Standard. This is her first circulating coin design.From the first brief through to the final design, Dominique was delighted to research Jane Austen's life in detail, immersing herself in her books, her wealth of colourful characters and the romance. With the passing years Dominique finds herself having a stronger fondness for the past and for exploring different eras, and particularly admires the richness and elegance of the Regency period.Dominique was struck that whether on a crowded train, in a busy classroom, cosy book nook or on a TV screen, the words and characters enjoyed the world over have been created by one pen, one hand and one mind - that of Jane Austen.A silhouette of Jane is thus centre to the design Dominique created. Jane Austen is such a fundamental part of literary history, even more so now that she will be in the hands and minds of the nation on a coin. Dominique felt it was appropriate to have the writer at the heart of the design, maintaining the air of simplicity and grace she deserves. She felt it fitting to place a frame around Jane's silhouette, and as this coin is bi-colour, it effortlessly lends itself to this feature. To complete the design, stripes have been placed underneath the text to set the frame, as though on a Regency era wall. Dominique imagined the framed silhouette in one of the houses featured in Jane Austen's books, on the wall of a corridor as guests pass by to attend a dance, perhaps in Pride and Prejudice or on the wall in the home of Emma.
Lot 1122
Assorted collection. Includes old share certificates, cigarette cards, envelopes, postcards, stamps. Also includes collection of Denmark stamps. Good Condition. All signed items come with our certificate of authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.95, EU from £4.95, Overseas from £6.95
Lot 371
Number One, Sheffield United Shareholders Oval Disc, circa 1900, in a nickel metal, one side "The Sheffield United Cricket & Football Club Limited" with "Ordinary Share" to the centre, the other side having similar border with "1" impressed to the centre, 3 x 4cm, key ring hole present. A fantastic opportunity to obtain a first ever item from The Bramall Lane Club.
![THREE HUMMEL FIGURES POSTMAN ,BEGGING HIS SHARE , & A BOY WITH TOOTHACHE EST [£25- £50]](https://cdn.globalauctionplatform.com/daf8a484-5bfc-4efa-8558-a7d3010fdc98/69bd493f-019d-4a8f-824c-9da9bd21da48/468x382.jpg)
Lot 154
cummings e.e.: (1894-1962) American Poet, Author, and Playwright. T.L.S., Cummings, (a very truncated form of his signature) one page, 4to, Silver Lake, New Hampshire, 16th September 1958, to Bernice. cummings states, in full, 'Mr Schlessiger, to whom I wrote after receiving your letter of August 24th, writes "I am sending the agreements down to Miss Baumgarten who will be writing you shortly about the matter" but "As far as I can judge… the only share" which Harcourt legally has "would come from a cheap edition of a complete book of poetry." This naturally pleases me, since (as I wrote you on August 20th) I wish Grove Press, which has already republished eimi, to publish a selection of my poems next fall.' With a very small tear to the upper right corner, and light creasing. VGEIMI, a travelogue by e.e. cummings, dealing with a visit to the Soviet Union in the spring of 1931, published by Covici-Friede, New York, 1933.
Lot 223
An exciting lot of two signed Sir Stirling Moss OBE Prints'722' by Joel Clark, signed Sir Stirling Moss OBE'722' by Joel Clark. A2 limited edition print, This piece is number 3 of 73 and signed by Joel Clark and Sir Stirling Moss, OBE of the iconic 1955 Mille Miglia winning Mercedes-Benz 300SLR.Measures 60cm x 40cm, weight 3KgAnd also,DBR1 at Goodwood, signed Sir Striling Moss OBE & Tony BrooksPhotographed at the Goodwood Revival, 12th - 15th September 2013 taking part in the Jim Clark tribute. Tony Brooks and Sir Stirling Moss OBE, share the Aston Martin DBR1 they raced at the circuit in period. Signed Sir Stirling Moss OBE & Tony Brooks.Measures 50cm x 30cm, weight 2.5Kg Both are high quality mounted and framed and come with signed Certifificates of Authenticity.
Lot 1438
Football Interest Collection Of Official Accrington Stanley Certificates etc An interesting collection to include one pound share certificate dated 1922. Also a postcard photo of Accrington Stanley F.C. players from 1910-1911. Also club winding up papers, dated 22/01/1964. Also a paperback book 'The Official History Of The Colne Dynamoes Football Club' by Phillip Terry. Finally, a harbound copy of 'The Pilgrim' the official club newspaper of Plymouth Argyle Volume 3 1976 - 77.
Lot 269
*Theatre Royal - Drury Lane. A printed vellum indenture completed in manuscript, 13 June 1793, granting Thomas Mendham of the Petty Bag Office in His Majesty's Court of Chancery now residing at Hoxton in the County of Middlesex, share number 183 in the renovated theatre, uncoloured aquatint view of the theatre to upper margin, signed by Albany Wallis, Richard Ford and Thomas Hammersley to lower margin with remains of their red wax seals, wafer duty seal upper left, some dust soiling and a little wear at fold intersections, printed docket details to folded verso (soiled), 61 x 52 cm The major shareholders are named in the document and include the playwright Richard Brinsley Sheridan, and his father-in-law, Thomas Linley. (1)
Lot 200
SAVOY BROWN - Fab pack of 7 x original title LPs. Titles are A Step Further (SKL 5013 unboxed original - VG+/VG+), Raw Sienna (UK SKL 5043 P1/P1 1st - G+ to VG), Looking In (SKL 5066 P1/P1 1st UK - clean Ex/VG+), Hellbound Train (TXS 107 green label/silver text - VG copy), Lion's Share (SKL 5152 P1/P1 - VG+ copy), Jack The Toad (TXS 112, green label/silver text - VG/VG+) and Street Corner Talking (TXS 104 dark blue label/silver text - Ex/VG+). ( Vinyl Records )
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