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Lot 69
carved wood, the squatting figure shown with large bulbous head, holding a shield-like openwork plaque, the inscription on the base reads: "NOEMFOR ISLAND ... Lt. J.D. SMITH ... USS LEON (APA - 48) ... DEC 1944"20.5cm tallFootnote: Provenance: Collected in situ by J.D. Smith of the USS Leon, December 1944 'The term korwar means "soul of the dead." Korwar figures were activated by calling upon the soul or spirit of the deceased to enter the figure. They were used to ensure success in hunting and fishing, to give protection in maritime travel and warfare, and to cure sick people. On the other hand, they were also used in sorcery practices to cause illness and death." (Friede, John, New Guinea Art - Masterpieces from the Jolika Collection of Marcia and John Friede, Fine Arts Museum of San Francisco, 2015, p. 178)
Lot 470
Westminster Mint The Millennium Commemorative Coin Cover Collection cover including UNITED KINGDOM silver proof £5 1999 The Greenwich Observatory, £5 1999 The Millennium, £5 1999 Spanning the Millennium, Landmarks of London coin, GIBRALTAR £5 John Harrison 1999, BAILIWICK OF GUERNSEY £5 1999, etc., (12 covers each mounted on information sheet), also two albums containing Millennium "Luxury First Day Cover Collections" which include: Above & Beyond; Fire & Light; Water & Coast; Life & Earth; Art & Craft; The Stamp Show 2000; People & Place; Stone & Soil; Tree & Leaf; Mind & Matter; Body & Bone; Spirit & Faith; Sound & Vision; The Future; Travellers' Tale; Patients' Tale; Workers' Tale; Entertainers' Tale; Citizens' Tale; Scientists' Tale; Farmers' Tale; Soldiers' Tale; Christmas' Tale; Artists' Tale; The Great Britain Millennium Timekeeper; and The Great Britain Dual-Dated Millennium Timekeeper. (3 albums).
Lot 23
ALBERTO GIACOMETTI (1901-1966)Tête (recto); Tête de femme (verso) signed 'A Giacometti' (lower right)coloured pencil and pencil on paper14.2 x 10.6cm (5 9/16 x 4 3/16in).Executed circa 1950Footnotes:The authenticity of this work has been confirmed by the Comité Giacometti. It is recorded in the online Alberto Giacometti Database as AGD 4236. ProvenanceB.C. Holland Gallery, Chicago, no. C84-9-4 (acquired by 1994).Private collection.Acquired by the present owner in 2020.'A blind man is feeling his way in the night'- The first line of a poem Alberto Giacometti wrote when asked to write about himself, quoted in D. Sylvester, Looking at Giacometti, New York, 1994, p. 110. Rendered with frenzied, swirling lines of red, blue, black and yellow, the present lot emphasizes an important technique of Alberto Giacometti's late period. Giacometti mastered all media – sculpture, drawing, and painting – but his exploration of the human figure is most obvious in his drawings, which exude the same feverish energy as his sculptures. Tête reveals the artist's confident handling of the pencil, and his expressive ability as a draftsman to reveal his hand and process. Despite his mastery of multiple media, Giacometti declared that 'one has to focus uniquely and exclusively on drawing. If one could master drawing, everything else could be possible' (Alberto Giacometti quoted in J. Lord, Dessins de Giacometti, Paris, 1971, p. 26). Intensely introspective, Tête is a revelation of Giacometti's exploratory genius as a draughtsman.Executed circa 1950, Tête shows an elongated head and neck floating atop a tangled network of sprawling lines against a vast expanse of paper. Detached from its corporeal support, Giacometti's delicate, yet incisive use of line not only gives vigorous definition to the figure's features, but also forcefully builds the perspectival focus, leading the viewer's eye directly to the sitter's haunting gaze. By this time, Giacometti felt he had exhausted the possibilities inherent in his stick-like, ghostly figures of the late 1940s, and he aimed to reclaim a more concrete sense of space. Barely visible under the tangled interplay of lines is a large 'X', crossing just atop the centre of the figure's brow, and again at the centre of the figure's throat. Throughout Giacometti's drawing oeuvre, the artist's fascination with representing visual perception is evident; here, these lines document Giacometti's attempt to situate the sitter's presence in space. His lines, fast moving, intensely layered in some areas while sparse in others, capture the ever-changing spirit of a human being's presence – a materialization of Giacometti's experience of perception. Like his mentor Paul Cézanne, Giacometti returned to the same motif time and again, relentlessly attempting to perceive visible nature and preserving the feeling of what is seen. Giacometti replicates his pencil in the same repetitive movement around the eyes. The outline around the eyes dissolve into a zone that no longer outlines, but rather energizes their centre. Jacques Dupin described these drawings as Giacometti's 'focus' compositions: 'The line is not so much a definition of forms as it is a challenge to them to appear, revealing themselves in the curve. Their frequency and emphasis are heightened as they near the focus' (Jacques Dupin quoted in B. Lamarche–Vadel, Alberto Giacometti, Paris, 1984, p. 94). Giacometti aimed to depict people as visual phenomena, stating that 'heads, figures are nothing but the perpetual movement of their inside, of their outside, they re-make themselves with no pause, they are not a real consistence... they are a moving mass' (Alberto Giacometti quoted in A. de la Beaumelle (ed.), Alberto Giacometti: Le dessin l'oeuvre, exh. cat., Paris, 2001, p. 190). After World War II, Giacometti almost entirely devoted his sculpture to the singular, skeleton-like figure which was an eerie reminder of alienation and loneliness in the aftermath of post-war Europe. His drawings, on the other hand, allowed the artist to move forward – acting as a neutral backdrop for his imagination. While it can be presumed that the present drawing is likely of Diego, the artist's brother who dominated the artist's creative output, Alberto did begin drawing his friends and associates during this time – including the composer Igor Stravinsky, Giacometti's biographer James Lord, and the poet Pierre Reverdy. In these portraits, almost all the sitters face frontally. They are depicted through rapidly applied lines which repeatedly encircle the outward region of the face, while narrower lines divide the sitter's features. In the present work, the sitter's eyes are reinforced by large and heavily drawn circles. Yves Bonnefoy has explained the significance of the figure's head: 'It is already surprising enough to find an artist at the height of his powers, who in the space of three or four years had sculpted some of the major archetypes of modern art and was immediately recognized as such, practically abandoning this type of creation in order to devote himself to the portraits of a few individuals...During this final period, of almost fifteen years, the heads studies were exclusively Diego, Annette, Annetta [the artist's mother], Caroline and a very few other persons, all close friends, which proves that Giacometti had indeed chosen the existence of individuals, the here and now as the chief object of his new and future study; and he instinctively realized that this object transcended all artistic signs and representations, since it was no less than life itself' (Y. Bonnefoy, Alberto Giacometti, A Biography of His Work, Paris, 2012, p. 369). In May 1985, the artist's biographer James Lord wrote: 'Giacometti said that it was by means of style that works of art attain truth, and he added that, while art is interesting, truth alone is of enduring consequence. By main force and long-drawn-out labor he forged a style instantly recognizable as his, and his alone, owing nothing to anyone, and through it he attained his own truth, now bequeath to us all as part of our living heritage' (James Lord quoted in Alberto Giacometti, exh. cat., New York, 1985). Tête bears witness to the artist's intimate relationship with his subject, providing a way for Giacometti to emphasize the intensity of the sitter's gaze and symbolize man's existence in a post-war era.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 10
HENRI MATISSE (1869-1954)Nu (femme) debout, also titled Nu près du paravent signed 'Henri Matisse' (upper right)oil on canvas laid down on panel33.5 x 19.5cm (13 3/16 x 7 11/16in).Painted between late 1905 and early 1906Footnotes:The authenticity of this work has been confirmed by Georges Matisse.Please note this work has been requested for inclusion in the landmark exhibition Matisse: Life & Spirit, Masterpieces from the Centre Pompidou, Paris at the Art Gallery of NSW, Sydney, Australia, 20 November 2021 – 13 March 2022. ProvenanceMichael & Sarah Stein Collection, Paris and San Francisco (acquired directly from the artist through Galerie Druet by 28 April 1906, until at least 1942).James Vigeveno Gallery, Los Angeles (probably acquired from the above in the 1940s).Robert Ardrey & Helen Johnson Ardrey Collection, Oklahoma (acquired from the above in May 1950, until circa 1973-1974).Galerie Yoshii, Tokyo (acquired circa 1973-1974).Shoji Uehara Collection, Japan (acquired from the above on 27 December 1974).Galerie Yoshii, Tokyo (acquired from the above in 1977).Anon. sale, Sotheby's, London, 7 December 1977, lot 28.Private collection, South Africa (acquired at the above sale).Thence by descent to the present owner.ExhibitedParis, Galerie Druet, Henri Matisse, 19 March - 7 April 1906, no. 8.Los Angeles, University of California, Years of Ferment, The Birth of Twentieth Century Art 1886-1914, 24 January – 7 March 1965, no. 34 (later travelled to San Francisco and Cleveland; dated 1904-1905).Paris, Grand Palais, Henri Matisse, Exposition du Centenaire, 21 April - 21 September 1970, no. 80.New York, Museum of Modern Art, Four Americans in Paris, The Collection of Gertrude Stein and her Family, December 1970, no. 15 (later travelled to San Francisco).Tokyo, Galeries Seibu, Exposition les fauves, 15 August - 24 September 1974 (later travelled to Kanazawa).Dalhousie, Nova Scotia, Dalhousie Art Gallery, Aspects of 19th and 20th Century European Art, Part I: Henri Matisse (1869-1954), 23 October 1980 – 4 January 1981.LiteratureA.H. Barr Jr., Matisse, His Art and His Public, New York, 1951, p. 82 (illustrated p. 20).L.M. Golson, 'The Michael Steins of San Francisco: Art Patrons and Collectors', in Four Americans in Paris, The Collections of Gertrude Stein and her Family, exh. cat., New York, 1970, no. 15, p. 43 (illustrated pp. 41, 45 & 117).M. Luzi & M. Carra, L'opera di Matisse, dalla rivolta 'fauve' all'intimismo 1904-1928, Milan, 1971, no. 83 (illustrated p. 88).G-P. & M. Dauberville, Matisse, Vol. I, Paris, 1995, no. 64 (illustrated p. 399).H. Spurling, The Unknown Matisse, A Life of Henri Matisse, Vol. I: 1869-1908, London, 1998, pp. 348 & 352 (illustrated pp. 347 & 383).J.C. Bishop, C. Debray & R.A. Rabinow (eds.), The Steins Collect, Matisse, Picasso and the Parisian Avant-Garde, exh. cat., San Francisco, 2011, no. 112, pp. 133 & 148n15 (illustrated pp. 381, 382, 385, 387 & 411).S. Steinberg, 'Sarah Stein: The Woman Who Brought Matisse to San Francisco', in American Imago, Vol. 68, no. 3, Fall 2011, pp. 521 & 526 (titled 'Nude Woman with Red Hair' and 'Woman with Red Hair').Nu (femme) debout, also titled Nu près du paravent dates from the pinnacle of Henri Matisse's Fauvist period when his unbridled use of colour and handling of pigment was at its most radical and liberated. With an intensity and boldness of palette almost unparalleled in this first Fauve phase of Matisse's oeuvre, Nu (femme) debout stands as a quintessential example of Fauvism, while the manner of execution and figurative subject reveal the artist's tantalising first steps towards his celebrated decorative style. Acquired shortly after completion by arguably the most significant patrons and collectors of his early career, Michael and Sarah Stein, the present work is distinguished by exceptional provenance and remains a rare example of a figurative Fauvist work by Matisse not already housed in a museum collection. Nu (femme) debout also carries the important epitaph of being one of the first three works by Matisse to have ever been seen in America, and there is no doubt that the presentation of this work, along with the astounding promotional efforts of Sarah Stein, helped to secure Matisse's name in the United States, and beyond, as synonymous with the development of modern art in the twentieth century. Nu (femme) debout was painted in the immediate aftermath of the infamous Salon d'Automne of October 1905, the exhibition which appalled the French public and birthed the Fauvist movement. The site of the scandal was the ultimate showcase for modern and contemporary art with room VII, a central room at the Grand Palais, as the arena of the spectacle. Gracing the walls were the radically vibrant paintings that Matisse and André Derain had created in Collioure earlier that summer, along with paintings of a similarly clamorous palette by artists such as Henri Manguin, Albert Marquet, Maurice de Vlaminck and Georges Rouault. Contemporary art critic Louis Vauxcelles referred to the room as the 'cage of wild beasts' ('cage aux fauves'), and thus this cohort acquired its sobriquet. Visitors to the exhibition were aghast at the 'savage' presentation within Salle VII. The paintings employed a hitherto unseen style of execution and defied every prevailing artistic convention. Colour was freed from its mimetic function and applied unfettered, as if directly from the tube, with liberal, even sketchy brushwork. The effect was, as Vauxcelles recorded, 'an orgy of pure tones'. Amongst the various landscapes of Collioure, the painting which caused the greatest uproar was Matisse's portrait of his wife, Amélie - the now iconic Femme au chapeau, which today resides in the collection of the San Francisco Museum of Modern Art. The inclusion of this work within the exhibition not only secured Matisse's position as the leader of the Parisian avant-garde but crucially marked the beginning of a profound relationship between him and the most significant friends and patrons of his early career, the Steins.Leo, Gertrude, Michael and Sarah Stein all attended the vernissage along with, now fabled collectors, Claribel and sister Etta Cone who were friends of Gertrude's and Leo's from Baltimore. The Americans were unique in their quiet admiration for Femme au chapeau. Therese Jelenko, who accompanied the Steins on their visit to the Salon, recalled seeing 'Frenchmen doubled up with laughter before it, and Sarah saying 'it's superb' while Mike couldn't tear himself away' (Four Americans in Paris, The Collections of Gertrude Stein and her Family, exh. cat., New York, 1970, p. 42). Were it not for the pioneering discernment of the family, Matisse would have considered the Salon d'Automne to have been an unmitigated failure. However, in the event, Sarah and her brother-in-law Leo decided to purchase the ground-breaking work for the family. The painting initially resided with Leo and Gertrude before latterly forming part of Michael and Sarah's collection. Up until this moment Matisse had, by and large, been overlooked or dismissed by the French, but the acquisition of Femme au chapeau was to alter the course of Matisse's fortunes, whereby his subsequent friendship with the Steins, most importantly Sarah Stein, not only transformed his financial circumstances, but secured his recognition and legacy internationally. As Matisse's grandson, Claude Duthuit, noted, 'Without the Americans...he would have starved' (Duthuit quoted in J. Bishop, 'Sarah and Michael Stein in America' in The... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 8
LÉONARD TSUGUHARU FOUJITA (1886-1968)Nu allongé signed and dated 'Foujita, 1932' and further signed in Japanese (lower left)mineral paint and ink on silk laid on paper70 x 100cm (27 9/16 x 39 3/8in).Painted in 1932Footnotes:The authenticity of this work has been confirmed by Sylvie Buisson.ProvenancePrivate collection, Argentina (acquired directly from the artist).Galerie Nichido, Japan (acquired from the above, through Galería Jorge Mara and Galería Bontempo in November 1989).Private collection, Japan (acquired from the above in 2011).LiteratureS. Buisson, T.L. Foujita, Inédits, Paris, 2007, no. C.32.183.H (illustrated p. 23).'[Foujita] represents one of those rare cases... of an artist of non-European race and essence, who has succeeded in becoming important from within the European conception of art... His sharp lines, the vast, blank surfaces, the true synthesis in its representation of theme, the relative coolness, or placidity of expression. All of those elements of his art, finally, leave me in a state of amazement.'-Mario de Andrade, the Brazilian modernist poet and critic, reviewing Foujita's gallery exhibition in Rio de Janeiro, the first stop along his South American tour. Díario Nacional, 20 January 1932.In 1931, Léonard Tsuguharu Foujita embarked on a world tour that would profoundly shift the narratives of his life and art. The close of the Roaring Twenties saw not just the devastating break of his third marriage to Lucie Badoul ('Youki'), but also the first stages of the Great Depression. Dodging the French government's pursuit of exorbitant taxes he had hitherto evaded, Foujita reached an impasse. He fled Paris with his new lover, a beautiful and charismatic young model named Madeleine Lequeux. A member of the thriving bohemian scene of Montparnasse, Madeleine was a hostess at Le Sphinx by day and a performer at the Casino de Paris by night. She is instantly recognisable throughout Foujita's early 1930s oeuvre from her handsome features: golden red hair, piercing blue eyes, a regal nose and a strong, elegant chin. These traits identify her as the resplendent subject of the present work, Nu allongé. The 'Flight of Fou Fou', as the pair's dramatic departure became known, brought them first to Brazil, then to Argentina, Bolivia, Peru, Colombia, Panama, Cuba, Mexico and the United States. Their tour was embellished with all the hallmarks of celebrity – press conferences, dinners with dignitaries, wildly successful solo exhibitions, and large spreads in national newspapers harking the arrival of the 'Foujita phenomenon'. Dancing under the dazzling lights of the Copacabana Grand Ball, the couple turned heads. Foujita cut an arresting figure with his pudding bowl haircut, Chaplin moustache, horn-rimmed spectacles and fashionable suit. Madeleine donned a glamorous, low-cut gown matched only by her vivacious spirit. Foujita worked fervently throughout the journey, as the fame he had garnered in Paris spread swiftly across the globe. His work took on a more dramatic air, as he introduced into his compositions exaggerated poses inspired by the cinema. He frequently captured the idle and intimate moments punctuating their taxing travels, with Madeleine stretching out into languorous poses. The present work is the most mesmerising of that series.A symphony of serene lines and delicate silk, Madeleine lounges, her body directly confronting the viewer while her face turns away, cold and mysterious. The soft ripples of the backdrop and diaphanous sheets flow into the waves of her auburn hair and the dips and curves of her supple form. Madeleine's very substance merges with her surroundings, their subtle gradients of pink, sepia and white in pure harmony with her alabaster skin, opal-coloured eyes and rose quartz lips. A figment of fantasy, her ideally proportioned figure emerges like a human tapestry, the perfect semi-circles of her breasts traced with a compass-like exactitude. A virtuoso trained in the Japanese arts of calligraphy and Nihonga painting, Foujita elucidates her curves with a deft, undulating outline, encased within a halo-like aura of white mineral paint – a technique solely of Foujita's creation. A visual haiku, the present work takes its power and essence from its measurement and simplicity. The entire effect is of a shrine to Madeleine – a gesture of utmost devotion to beauty incarnate. Foujita's eclectic materials and methods are key in his achievement of this unparalleled aesthetic. To invoke his sinuous half-tones and shading, he would stroke the picture plane with a cotton ball loaded with charcoal power, a method related to his estompe drawing technique. Foujita's pale mineral paint seeps directly into the silk, purposefully revealing the fineness of the material and each of its perfectly calibrated threads. The resulting sfumato ('haziness') – an aesthetic extracted from the Italian Renaissance painters Foujita revered – stands in contrast to the impasto layering of vibrant oil paints favoured by his French contemporaries. In paradoxical departure from European influences, he applies sumi-e ink in razor-thin lines with a menso, the thinnest brush in the Japanese painter's repertoire. All of this is finished with Foujita's grand fond blanc: his magical, secret glaze. Likely an emulsion of crushed chalk, white lead, talc, magnesium silicate and flaxseed oil, the glaze conjures up Foujita's nyuhakushoku or 'milky white' effect, its mesmerising quality causing Foujita's 1920s and early 1930s works to be his most sought-after. The present work's spectacle of pearly iridescence and soft grey shading achieves a dual effect: Madeleine exhibits at once the gravitas of a Michelangelo sculpture and the flat, smooth texture of Japanese lacquerware designs.Foujita's confluence of Western chiaroscuro and precise Japanese painting techniques echoes the innovations of Modern Japanese Nihonga painters, such as Yokoyama Taikan, whose monumental silk scroll Metempsychosis graces the permanent collection of Tokyo's National Museum of Modern Art. Nihonga employs traditional Japanese methods – namely the application of ink and mineral paint onto paper or silk – together with elements of Yōga (European-style painting), particularly shading and perspective. Nihonga artists derive pigments from minerals and other organic materials, such as shells, corals and semi-precious stones. Foujita's use of mineral paint in the present work adopts Nihonga to achieve his authentic vision of the grand nu, a distinctly European genre. These intercultural experiments are hallmarks of the increasingly cosmopolitan outlook of Meiji-era Japan, a period of profound cultural change. At the time of Foujita's birth, Japan's identity was swiftly evolving from that of an isolated, feudal society into a modern, industrialised power open to foreign aesthetic, political, scientific and technological ideas. The present work evidently had enormous personal significance to Foujita. His 1931 self-portrait in the National Museum of Fine Art, Argentina, displays a near replica of the present Madeleine's visage and décolletage. This painstaking repetition – down to the gentle curl of hair over her ear, and the taut muscles of her elegant neck – offers a rare glimpse into Foujita's method. The continual copying of one's own designs echoes the tendencies of the Japanese printmakers – such as Katsushika Hokusai – that Foujita was directly inspired by. The practice of... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 134
THREE SALT GLAZE STONE WARE FLAGONS, VARIOUS CERAMICS, PICTURES,ETC including four limited edition prints after Zarubin and Ward, 'The Original Designs of the Bolshoi Nutcracker 1919', B Goodall & Son Wine & Spirit Merchants flagon (a.f) two A & NCSL flagons, a Bass jug, a diecast Saico 1/26 Morris Minor Bisto van, etc (two boxes and loose)
Lot 380
FOUR BOXED SCALEXTRIC RENAULT F1 RACING CARS, R23 F1 Jarno Trulli No.7 (C2397), Fernando Alonso No.8 (C2398), R24 F1 Team Spirit No.7 (C2581) and No.8 (C2582), all appear complete and in very good condition, look to have hardly ever been removed from boxes which are all complete and in good condition with only minor marking and wear
Lot 1020
CLASSIC/ FOLK/ HEAVY ROCK - 7" UK DEMOS. A magic selection of 30 7" singles. All UK demo pressings. Artists/ titles include Dr John - Right Place Wrong Time (K10291), Van Morrison - Warm Love (K16299), Ozzy Osbourne - Crazy Train (JET197), Bob Dylan - Knockin' On Heavens Door (SCBS 1762), The Kinks - Celluloid Heroes, Jaki Whitren - Give Her The Day, Frampton's Camel - All Night Long, Leon Russell - Slipping Into Christmas, Aztec Two-Step - On The Road, Fleetwood Mac - Black Magic Woman, Plainsong - Even The Guiding Light. Stealers Wheel, Seals & Crofts, Howard Werth, Spirit, The Guess Who, John Stewart, Arrival, Rab Noakes, Kenny Loggins, Dr Hook, David Buskin, Rita Coolidge, Hoyt Axton, Art Garfunkel, Wilson Gale, The Climax Invasion, Trickster, Alan Price. Condition is generally VG+ to Ex+
Lot 1022
METAL/ HEAVY ROCK - 7" PACK. A tremendous pack of 21 7" singles. Artists/ titles include Jimi Hendrix inc Hear My Train A Comin (K14286, demo), The Wind Cries Mary (604004), Voodoo Chile (2095 001), No Such Animal, Let Me Light Your Fire, Little Wing. Ozzy Osbourne inc Crazy Train (x2) (JET 197, demo), Mr Crowley (JET 7003, demo). Black Sabbath - Sabbath Bloody Sabbath (WWS002), Hawkwind - Silvermachine (UP35381), Philip Lynott - Dear Miss Lonely, Nazareth - Big Boy, Thin Lizzy inc Hollywood, Waiting For An Alibi Juicy Lucy - Who Do You Love, Kiss inc Unmasked, Def Leppard - Let It Go, Rush - The Spirit of Radio, The Who inc Heaven And Hell, Won't Get Fooled Again. Condition is generally wonderful VG+ to Ex+.
Lot 1063
50s TO 00s - ROCK & POP 7" COLLECTION. An extensive collection of around 750 7" singles. Artists include Art Garfunkel, Sandie Shaw, Elvis Presley inc You're The Devil In Disguise, Good Luck Charm, Let Yourself Go, Puppet On A String, She's Not You, Kissin' Cousins, I Feel So Bad, Its Now Or Never. Dusty Springfield, Whitesnake, AC/DC, Geordie, Queen, Titanic, Ian Anderson, Kevin Coyne, Nils Lofgren, Gillan, Rainbow, Todd Rundgren, The Lloyd Langton Group, Darien Spirit, Maxx Webster, Bebe Buell, The Rolling Stones, Robert Palmer, U2, Falco, Eddy Grant, Fine Young Cannibals, Whitney Houston. Condition is generally VG to Ex
Lot 1077
CLASSIC/ HEAVY/ PROG - ROCK 7" COLLECTION. A quality collection of around 140 7" singles. Artists/ titles include Pink Floyd inc One Of These Days (3C006-05013), Point Me At The Sky (3C006-05459), Free Four (3C006-05086), Have A Cigar, Not Now John. Queen inc Crazy Little Thing Called Love, Body Language, Las Palabras De Amor, A Kind Of Magic, Thank God It's Christmas, It's A Hard Life, I Want To Break Free, Jealousy. Rush inc Live!, Subdivision, Countdown, Spirit Of Radio. Black Sabbath inc Paranoid, Neon Knights. Nazareth inc Live, Whatever You Want Babe. ZZ Top inc Velcro Fly, Legs, Gimme All Your Lovin, Sharp Dressed Man, TV Dinners. Rainbow, ELO, Girlschool, Foreigner, Steve Hillage, Fleetwood Mac, Stevie Nicks, Deep Purple, Barclay James Harvest, Status Quo, Kiss, The Rolling Stones, Bruce Springsteen, Toto, Eagles, Slade, Krokus, Hawkwind. Condition is generally VG+ to Ex+.
Lot 1153
CLASSIC ROCK/POP & SOUL - LPs PLUS CASSETTES. Great mixed collection of 21 x LPs plus a collection of around 75 x cassettes. Artists/titles (LPs) include The Beatles - White Album (UK side opening non-numbered stereo copy RE, PCS 7067/8 - Ex+ top condition records/with photos and poster/Ex clean sleeve), Yes - The Yes Album (EU RE), The Eagles, Paul McCartney - II, Santana, Van Morrison, Thin Lizzy - Live And Dangerous, Michael McDonald, Eric Clapton, Tina Turner and Ry Cooder. With cassettes from the likes of Fleetwood Mac, Robert Cray Band, Billy Cobham, Steely Dan, Jackson Browne, Quincy Jones, Stevie Wonder, Bobby Womack, Paul Simon and Spirit. Condition is generally VG+ to Ex+.
Lot 625
PROG/ BLUES/ CLASSIC ROCK - LPs. A quality selection of 19 LPs. Artists/ titles include Pink Floyd inc Dark Side Of The Moon (SHVL 804), Meddle (SHVL 975), The Wall (SHDW 411 printed inners). Family inc Family Entertainment (RSLP 6340, tri-colour label). Uriah Heep - Live (ISLD1). Yes inc Close To The Edge (KSD 19133), Tales From Topographic Ocean, Going For The One. Queen inc A Kind Of Magic (EU 3509), A Night At The Opera (EMTC 103). Wishbone Ash, Son Of Spirit, Spooky Tooth, Jethro Tull, The Doors, Rory Gallagher, Focus, Humble Pie. Condition is generally VG to Ex+.
Lot 651
CLASSIC ROCK/ WEST COAST PSYCH - LPs. A superb selection of 15 LPs. Artists/ titles include Love inc Forever Changes (EKL 4013, red/ black label. A1/ B1 matrix. Record has some light but feelable marks, VG/ sleeve VG+), Out Here (SHDW 3/4, records Ex/ sleeve strong VG+). Cream - Disraeli Gears (593 003, UK mono on Reaction. VG/ Ex), Spirit - Twelve Dreams Of Dr Sardonicus. Jefferson Airplane - Surrealistic Pillow (SF7889). Traffic inc On The Road, John Barleycorn Must Die. The Who inc Tommy (2657 002, with non-numbered booklet), Who Are You, Meaty Beaty Big & Bouncy. Janis Joplin - Anthology. Derek & The Dominos - Layla. Various - Bumpers (IDP1, pink Island labels) & Various - You Can All Join In (IWPS2, pink Island label). Condition is generally VG to Ex.
Lot 683
INDIE/ALTERNATIVE - LPs.... (2000s ONWARDS TITLES/RELEASES). Killer alternative taste with these 25 x LPs from the 2000s onwards. Artists/titles include Teenage Fanclub - Here (PEMA009LP, black vinyl), Wolf Parade - Cry Cry Cry (black vinyl), The Smiths - Hatful Of Hollow (2564665882, c. 2012 pressing), Cheatahs - Extended Plays, Marine - Fable Electric (sealed), Pion, Wet Hair - In Vogue Spirit and Spill Into Atmosphere, Cults - Offering, Christopher Owens - A New Testament, Cs Yeh - Transitions, Arc Iris, Whitney - Forever Turned Around, Dum Dum Girls, Coves and The Bohicas. Condition is primarily Ex+/as new.
Lot 733
PROG/ PSYCH/ CLASSIC ROCK - LPs. A smashing collection of around 55 LPs. Artists/ titles include Nektar - Remember The Future (PPS-98002, record VG+, sleeve VG+), Robert Wyatt - Rock Bottom (VGD 3505, records Ex/ sleeve Ex). Gong - Shamal (V2046), The New Spirit Of Capitol (SNP-6), Medicine Head - One And One Is One. Mother Gong - Fairy Tales. Gentlemen Without Weapons - Transmission, Gryphon - Raindance, Roger Waters - The Pros And Cons Of Hitch Hiking. Wizzard - Wizzard Brew. Peter Frampton inc Frampton's Camel, Where I Should Be, Something's Happening, I'm In You, WInd Of Change. Peter Green - In The Skies, Yes inc Yes Shows, Big Generator, Special Limited Edition. Various inc Switched On Rock, EMI Introduce The New Bronze Age. Robin Thrower, Phil Manzanera, Man inc Be Good To Yourself, Back Into The Future. Mahavishnu Orchestra, Jean Michel Jarre, Blue Oyster Cult, Genesis, Family, Focus. Condition is generally VG to Ex.
Lot 749
CLASSIC/ HEAVY ROCK/ METAL - LPs. A smashing selection of around 55 LPs. Artists/ titles include Steppenwolf inc Monster (SSL 5021). Queen inc S/T (EMC 3006), Saxon inc S/T (CAL110), Samson - Survivors, Scorpions inc Tokyo Tapes, Virgin Killer, Best Of Scorpions. Def Leppard inc Hysteria. UFO - Obsession, Ken Hensley - Free Spirit. Deep Purple inc Last Concert In Japan, In Rock. Wishbone Ash inc Just Testing, Smoke Without Fire. Boston, Sweet, Cozy Powell, Nazareth inc Rampant, Greatest Hits, Razamanaz. Ted Nugent, Sammy Hagar, Rose Tattoo, Rory Gallagher, Scorpions, Carlos Santana & Buddy Miles, Santana, Mott The Hoople inc Brain Capers, Behind Enemy Lines. Please note that a number of the records contain warps that range from light to heavy and we ask bidders to take this into consideration when placing bids. Records can be 'de-warped' using a specialist machine. However, the playing surfaces appear VG+ to Ex+.
Lot 751
PROG/ BLUES/ HEAVY ROCK - LPs. A lovely selection of around 36 LPs. Artists/ titles include The Greatest Show On Earth inc Horizons (SHVL 769), S/T (SHSM 2004). Groundhogs inc Split (LBG83401), The Mighty Groundhogs (fold-out sleeve), Crosscut Saw. Spirit - Potato Land (BEGA 23). Soft Machine inc Third (CBS 66246), The Soft Machine (CPLP 4500, die-cut sleeve). Spooky Tooth inc The Mirror (ILPS 9292), Ceremony, You Broke My Heart. Bruce Spelman - You DOn't Know What You're Peddling In. Edgar Froese - Epsilon In Malaysian Pale. The Enid - Six Pieces. Rush inc S/T (9100 011), Caress Of Steel, All The World's A Stage, Exit... Stage Left. Robin Trower, Emerson Lake & Palmer, Family, Milton Carroll, Mike Oldfield. Please note that a number of the records contain warps that range from light to heavy and we ask bidders to take this into consideration when placing bids. Records can be 'de-warped' using a specialist machine. However, the playing surfaces appear VG+ to Ex+.
Lot 274
A FRENCH SILVER TRAVELLING TOILET SET BY GUSTAVE KELLER (KELLER FRERES)1838-1972 1st (.950) STANDARD, STAMPED G. KELLER PARIS, CIRCA 1920 Engine turned and engraved with a monogram, comprising: Two rectangular section eau de cologne flasks, one engraved Eau de Lavande beneath, 18cm (7in) high An oblong spirit flask, 15.5cm (6in) high, in a suede pouch A rectangular section cologne flask, 13.5cm (56/8in) high, in a pigskin case Three small flasks in sizes, two cylindrical pots, a shaving brush, a powder box, a toothbrush holder, an oblong brush, a shoe horn, a boot hook, a steel clippers, a plastic tool and a shaver head, all in a pigskin case, 21.5cm (8 1/2in) longApprox 2588g (83.2 oz)Keller traded from 65 rue de Turbigo, Paris from 1881 to 1922.Condition Report: Nicks and light scratches throughout commensurate with age and useTwo rectangular section eau de cologne flasks, first with light dent in cover side, Keller. Eau de Lavande dent in top of cover, dent to one top corner, dent to one base corner, another 1cm dent to foot rim, Keller.An oblong spirit flask- fine, Keller; suede pouch- damp stained, dirtyA rectangular section cologne flask- fine, Keller; pigskin case- damp stained, scuffed, knocks, no breaksThree small flasks in sizes- largest fine, Keller; medium fine, Keller; small fine' KellerTwo cylindrical pots- both fine, both KellerShaving brush- 0.5cm dent to side of cover, a few shallow dents in case, brush head fine but bristles falling out, KellerPowder box- fine, KellerToothbrush holder- no toothbrush, fine, KellerOblong brush- bristles going array, fine, Keller, leather bristle holder fine Shoe horn- fine, KellerBoot hook- silver handle, stainless steel hook end, fine, KellerSteel clippers- stamped PL ELOI, finePlastic tool- nick to one end, not markedShaver head- steel, stamped Gillette; pigskin case- repaired with later leather to 5.5cm back edge corner of cover going down 3.5cm of that corner, corners rubbed down to wood beneath, scuffed, one strap to cover implement sheet broken, one stud fastening to sheet cover has lost its leather covering. Looks like three implements missingCondition Report Disclaimer
Lot 14
Figure of fairy with flowers and bird. China, XX century.Lapis lazuli hand carved on wooden base.Measurements: 21 cm (figure height); 4 cm (base height).Round sculpture made of lapis lazuli, carved with great detail representing a lady. It is the representation of a Chinese fairy, a type of female spirit of great beauty, belonging to the celestial kingdom but living on Earth. Closely related to nature, they are often represented covered with flowers that seem to be born from their floating clothes. The image of the fairy scattering flowers symbolizes happiness and good omens. It is a divine entity considered a dispenser of goods, beauty and happiness to mankind, and symbolically related to spring. Some fairies are part of Chinese legends, such as Tai Bai (identified with the star we know as Deneb), which acts as a chaperone between two star lovers, the weaver fairy (Vega) and her human lover (Altair). It stands on a carved wooden base decorated in the upper area with a fretwork, also openwork plant forms.
Lot 6
Figure of fairy with bird. China, 20th century.Jade carved by hand on wooden base.Measurements: 13 cm (height figure); 4 cm (height stand).Round sculpture made of jade, carved with great detail representing a lady. It is the representation of a Chinese fairy, a type of female spirit of great beauty, belonging to the celestial kingdom but living on Earth. Closely related to nature, they are often represented covered with flowers that seem to be born from their floating clothes. The image of the fairy scattering flowers symbolizes happiness and good omens. It is a divine entity considered a dispenser of goods, beauty and happiness to mankind, and symbolically related to spring. Some fairies are part of Chinese legends, such as Tai Bai (identified with the star we know as Deneb), which acts as a chaperone between two star lovers, the weaver fairy (Vega) and her human lover (Altair). It stands on a carved wooden base decorated in the upper area with a fretwork, also openwork plant forms.Jade (nephrite) has been used in China since the Neolithic period, at first worked by abrasion and later by carving. Since ancient times it had a value equivalent to that given in Europe to gold, silver or precious stones. Since prehistoric times it has been the funerary material par excellence in China, and it also conferred status, since it was the material used by the powerful. It was therefore a material that was believed to protect in life, and hence it was used for the realization of amulets, ornaments or ritual knives. It is also associated with the five virtues: charity, for its luster that shines but does not dazzle; righteousness, for its transparency, which reveals the veins; wisdom, for its purity and sound; courage, because it breaks but does not fold; and justice, because its sharp edges do not hurt.
Lot 84
The Children’s Theatre Company (CTC): Elf the Musical x 4 family tickets at the Apex Bury St Edmunds, Suffolk, 30 December 2021 – 2 January 2022 Step into the Christmas spirit and enjoy a family night out with the award winning Children’s Theatre Company at the Apex Bury St Edmunds. Elf, the Broadway musical based on the hit Will Ferrell movie, the heart-warming story of how human Buddy, raised by Santa’s elves at the North Pole, travels to New York to find his real father, falls in love and brings Christmas happiness to everyone. Faced with the harsh realities that his father is on the naughty list and his half-brother doesn't even believe in Santa, Buddy is determined to win over his new family and help New York remember the true meaning of Christmas. This modern-day holiday classic is sure to make everyone embrace their inner Elf. After all, the best way to spread Christmas Cheer is singing loud for all to hear! Suitable for ages 3+ Donated by: The Children’s Theatre Company (CTC) https://thectc.co.uk T&C’s apply: Chosen time & date for performance to be mutually agreed (subject to availability) between the final bidder and The Children’s Theatre Company from 30 December 2021 to 2 January 2022. Experience comprises 4 family tickets Subject to related government guidelines This experience cannot be re-sold or reauctioned Travel not included
Lot 54
Roland-Garros: French Open Poster 2021 signed by the artist Jean Claracq with 2 beautifully illustrated books Au centre le court Philippe Chatrier & Trophies Your chance to bid for a unique item of tennis memorabilia, donated by La Fédération française de tennis (FFT) and signed by the artist, capturing one of the most important new features at this year’s tournament, the introduction of night sessions. The view from the Fond des Princes, an area located on the outer edge of the stadium, served as inspiration for Jean Claracq. Instead of choosing one of the show courts, he decided to shine the spotlight on one of the lower profile courts. He was touched by the multiple challenges at stake on the smaller courts, where the players’ ambitions and hopes are displayed in such a raw way, far away from the media spotlight. This multi-faceted piece also seems to evoke the players’ solitude. The stunning poster is accompanied by 2 beautifully illustrated books from Les Carnets de Roland-Garros collection, reflecting the spirit of the stadium, whilst inviting you to discover the unique stories that make the Parisian Grand Slam so special Au centre le court Philippe Chatrier 106 pages with illustrations: Every year, the Porte d'Auteuil becomes a hive of activity for three weeks. Roland-Garros stadium throws open its gates and the second Grand Slam of the year gets everyone's adrenaline pumping. At the epicentre of the action is the beating heart of the stadium, Philippe-Chatrier Court. This book invites readers to dive into the history of this legendary court, which stands the test of time thanks to its players, its spectators, its groundsmen and everyone whose passion brings it to life every year. Trophies 106 pages with illustrations: Celebrating the 40th anniversary of the Coupe des Mousquetaires, when sport and the art of silversmiths come together, giving rise to magnificent pieces of silverware that have become iconic emblems of the tournament. Every year, the trophies are infused with the winner's emotion, and no victory would be complete without lifting this Holy Grail. Full of laughter and tears, the prizegiving ceremony is an extraordinary tournament highlight. Poster: 80 cm h x 53 cm w Carnets: 22 cm h x 16.5 w – 106 pages Donated by: La Fédération française de tennis, FFT https://www.fft.fr T&C’s Apply Shipping can be arranged at cost to the final bidder
Lot 53
Roland-Garros: French Open Poster 2020 signed by the artist Pierre Seinturier with 2 beautifully illustrated books Au centre le court Philippe Chatrier & Trophies Your chance to bid for a unique item of tennis memorabilia, donated by La Fédération française de tennis (FFT) and signed by the artist, shining the spotlight on the people who work in the shadows of the tournament; the craftsmen of the red clay, in a poster bursting with intensity. Pierre Seinturier’s original piece is a poignant depiction of the courts being prepared at Roland-Garros, portraying the moment before the players step out on court as a dramatic and artistic event in its own right. The poster features vegetation in the foreground, which frames the actions of the grounds-men who work every day to prepare the red clay. The clay symbolises Roland-Garros. It is the only Grand Slam tournament to be held on this surface, so I had to include it in my piece. The court grounds-men also take centre stage. The president of the FFT calls them terriens. It’s a great nickname, very poetic. This poster evokes the preparation of the courts, just before the start of the matches, which are often amazing to watch. It was quite natural for me because I have always created paintings or drawings that depict the moments just before the action. These ‘terriens’, who we only see for a few seconds on television, play a vital role in the tournament,” explains the artist Pierre Seinturier. This stunning poster is accompanied by 2 beautifully illustrated books from Les Carnets de Roland-Garros collection, reflecting the spirit of the stadium, whilst inviting you to discover the unique stories that make the Parisian Grand Slam so special Au centre le court Philippe Chatrier 106 pages with illustrations: Every year, the Porte d'Auteuil becomes a hive of activity for three weeks. Roland-Garros stadium throws open its gates and the second Grand Slam of the year gets everyone's adrenaline pumping. At the epicentre of the action is the beating heart of the stadium, Philippe-Chatrier Court. This book invites readers to dive into the history of this legendary court, which stands the test of time thanks to its players, its spectators, its groundsmen and everyone whose passion brings it to life every year. Trophies 106 pages with illustrations: Celebrating the 40th anniversary of the Coupe des Mousquetaires, when sport and the art of silversmiths come together, giving rise to magnificent pieces of silverware that have become iconic emblems of the tournament. Every year, the trophies are infused with the winner's emotion, and no victory would be complete without lifting this Holy Grail. Full of laughter and tears, the prizegiving ceremony is an extraordinary tournament highlight. Poster: 80 cm h x 53 cm w Carnets: 22 cm h x 16.5 w – 106 pages Donated by: La Fédération française de tennis, FFT https://www.fft.fr T&C’s Apply Shipping can be arranged at cost to the final bidder
Lot 64
Ca. 1368–1644 AD. Ming Dynasty. An elaborate male figure with beautifully glazed pigment. The man is standing with his feet apart on a large lotus throne on top of a high hexagonal plinth. He is dressed in a long green coat lined with yellow and tied at the waist by a light pink belt. He is wearing dark shoes and a high conical hat with elaborate decoration. His face shows a calm expression with closed eyes, a broad nose, and small lips. The hair preserves traces of a dark colour. He is carrying what appears to be a scroll on his left shoulder and the left hand grasps the string across his chest, while the other arm lies at his side. These types of figurines were tomb attendants, a class of artefacts called 'mingqi' – sometimes known as "spirit utensils" or "vessels for ghosts". They became popular in the Han Dynasty and would persist for several centuries. Alongside figures like this one were musicians, athletes, and animals. Mingqi often show a high level of detail and naturalism. These were designed to assist the 'po', the part of the soul of the deceased that remained underground with the body while the 'hun', the other part of the soul, ascended. Hundreds of pottery figures like these were placed into tombs during the Ming period. In one undisturbed Ming Dynasty prince's tomb, archaeologists found an array of small figures placed as if in ceremonial procession; the deceased's books, paintings, clothing, and other personal effects were also present. Good condition. For a general overview of the art of the Ming Dynasty, see Department of Asian Art. (2000). "Ming Dynasty (1368-1644)"; In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art (http://www.metmuseum.org/toah/hd/ming/hd_ming.htm). Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong. Size: L:550mm / W:130mm ; 3kg
Lot 71
Ca. 1368–1644 AD. Ming Dynasty. An elaborate male figure with beautifully glazed pigment. The man is standing with his feet apart and dressed in a green coloured tunic, and a long green coat lined with yellow tied at the waist by a green belt. He is wearing heavy boots and a conical hat with a thick brim. His face shows a calm expression with wide-open eyes, a broad nose, and small lips painted in red. He holds a fascinating implement which may indicate that he is a merchant or trader. These types of figurines were tomb attendants, a class of artefacts called 'mingqi' – sometimes known as "spirit utensils" or "vessels for ghosts". They became popular in the Han Dynasty and would persist for several centuries. Alongside figures like this one were musicians, athletes, and animals. Mingqi often show a high level of detail and naturalism. These were designed to assist the 'po', the part of the soul of the deceased that remained underground with the body while the 'hun', the other part of the soul, ascended. Hundreds of pottery figures like these were placed into tombs during the Ming period. In one undisturbed Ming Dynasty prince's tomb, archaeologists found an array of small figures placed as if in ceremonial procession; the deceased's books, paintings, clothing, and other personal effects were also present. Good condition. For a general overview of the art of the Ming Dynasty, see Department of Asian Art. (2000). "Ming Dynasty (1368-1644)"; In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art (http://www.metmuseum.org/toah/hd/ming/hd_ming.htm). Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong. Size: L:235mm / W:80mm ; 510g
Lot 8
Ca. 100–200 AD. A grey chlorite-schist rectangular panel, carved with the impressed footprints of the Buddha. Each footprint is et within its own section, framed by a stylised leaf border with flower motif to the central upper and lower bands. Each foot is deeply carved with the toes appearing long and the ends carved in relief with the Triratna symbol. Below these, each toe has a Sawastika symbol of good fortune. The heel of each foot has a stylised flower that symbolises the Chakra wheel of the Buddhist law. Below this is a high relief Triratna symbol with stylised flower motif below.Prior to the arrival of the Greeks into India and Central Asia the depiction of the Buddha was forbidden. This was in accordance with the wishes of the Buddha who expressly forbid his followers to worship him, only to honour him as an enlightened teacher. Thus it was, that the Buddha was usually represented either by the Chakra wheel, an empty throne, the Triratna or the footprints of the Buddha. The use of the footprints as an object of veneration find their origins in Hinduism, the difference with Buddhist examples, being the inclusion of the Chakra wheel and other symbols.In that form they are found on Ashokan pillar capitals, as well as earlier carvings at Amaravati. the Dharmachakra form developed from a solar disc image and that it was a recognised holy symbol prior to the Mauryan period, when it became associated with Buddhist art. Here, the lotus at the centre is a development on the solar disc form, the lotus symbolising the Buddha’s purity of spirit. This appears to be a Gandharan innovation. Another Buddhist symbol, the Triratna, symbol of the Threefold Way, appears close to the heel and this incorporates the same lotus. A single lotus appears between the feet. On the toes, as well as the repeated Triratna, Swastika forms appear below, another long established and auspicious solar symbol which became incorporated into Buddhist and Jain art in this period.Sometimes the feet have two female figures to either side, which have been recognised as Yakshis, celestial maidens who have their origins in Hinduism. This Buddhapada slab is surrounded by a crossed border, an ornament frequently seen in Gandharan art, in narrative friezes, on the throne of the Buddha. This border effectively sanctifies the area within. Otherwise, the slab is smooth and unornamented, underlining the essential simplicity which characterises the Gandharan style and provides such a contrast with the crowded, energetic forms which featured in artworks from India.The veneration of the feet of gurus or deities was commonplace in ancient India, placing one's head at or under their feet being a ritual gesture signifying a hierarchy. These were made during the pre-Greco-Buddhist phase of Buddhist art at Sanchi, Bharhut, and other places in India, along with other symbols, such as the Bo-Tree and the Dharmachakra. Later, the footprint-making tradition became prominent in Sri Lanka, Cambodia, Burma, and Thailand. The Triratna is the symbol of the Three Jewels of Buddhism, being the Buddha, the teaching of the Buddha and the community of Buddhist practitioners. In early, pre-figurative Buddhist art, the Triratna is often seen as the principle image of veneration, taking the place of the Buddha.The footprints of the Buddha symbolize the Buddha's presence, as they are believed to be the imprints where the Buddha actually touched the ground. At the same time, the Buddhapada signify the Buddha's absence now that he has entered nirvana, and thus are a reminder of the Buddhist ideal of non-attachment.The item was researched by Bret Gaunt. For a similar example see The Yale University Art Gallery, accession number 2015.141.1. For more information about Gandharan art, see Jongeward, D. (2019). Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford: Oxford University Press. Provenance: London private collection; formerly acquired in the 1990s in London; formerly in 1960s/70s British collection. Size: L:640mm / W:560mm ; 30k+g
Lot 1205
A GERMAN THIRD REICH SILVER TEA SERVICE, by Hessenberg & Co, comprising spirit kettle on stand, teapot, coffee pot, cream jug, two-handled covered sugar bowl and open sugar bowl; together with A THIRD REICH SILVER OVAL TRAY, by Margraf & Co, 800 grade. (7) Spirit kettle 41cm high, approx. 145 troy ounces
Lot 4195
A collection of stoneware jars including a J. J Rolfe Brewer and Spirit Merchant Kings Lynn 1 gallon measure, a Zummerzet scrumpy 1 gallon measure, tallest 34cm (10).PROVENANCE: The Raymond Rush Collection. Mr Rush was an engineer, farmer and lay preacher who lived at Golden Cross Farm in Siddington, Cheshire. He was also a historian, broadcaster, author and speaker who regularly gave talks on local history, agricultural history and historic curios. In addition, he was also an accomplished maker of corn dollies.PLEASE NOTE: This lot is being sold in-situ from a local farm house in Siddington. Collection within the week by Friday 26th. Full collection and payment information will be emailed with invoice following the sale.
Lot 66
A cased set of six silver teaspoons, modelled on an original Roman spoon from 2nd Century AD, Sheffield, 1972; together with another cased set of six silver teaspoons, a silver trumpet-shaped vase, silver backed dressing table set and assorted silver plated items including a spirit kettle and cased carving set by the Goldsmith's & Silversmith's Company Ltd (one tray)
Lot 175
Lima - A boxed Lima OO gauge Class 156 2-Car DMU 'Super Sprinter' in Northern Spirit livery. Lot consists of Lima #205036 Power Car Op.No.57491 and Dummy Car Op.No.52491. Models appear to be in Excellent condition with signs of use plus some labelling to undersides, housed in Very Good window boxes with some general wear and labelling to ends. (2) (This does not constitute a guarantee)
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