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Lot 1222
BELL'S Blended Scotch whisky. 37.5cl, 40%volume WHYTE & MACKA SPECIAL Blended Scotch whisky. 50cl, 43% volume. OLD REDWOOD Finest Canadian imported spirit. 35cl, 30% volume. CRAIGSMAN 5 YEAR OLD Blended Scotch whisky. 37.5cl, 40% volume. FAMOUS GROUSE Blended Scotch whisky. 18.75cl, 40% volume. GLENTARVIE 5 YEAR OLD Blended Scotch whisky. 18.75cl, 40% volume. LONG JOHN Blended Scotch whisky. 3 4/5 fl.ozs, 10.8cl, 70°proof. GLEN OSPREY blended Scotch whisky. 20cl, 40% volume. GRANT'S Blended Scotch whisky. 10cl, 40% volume. LOCH RYAN Blended Scotch whisky. 20cl, 40% volume. GLEN ROWAN 4 YEAR OLD Blended Scotch whiksy. 30cl, 40% volume. 11 bottles CONDITION REPORT: Some weathering to labels.
Lot 1226
OLD LEVEL 4 YEAR OLD Blended Scotch whisky. 20cl, 40% volume. LANGS SUPREME Blended Scotch whisky. 37.5% volume. STEWARTS CREAM OF THE BARLEY Blended Scotch whisky. 37.5cl, 40% volume. BAXTER'S BARLEY BREE 5 YEAR OLD Blended Scotch whisky. 35cl, 40% volume. WILLIAM MORTON SPECIAL RESERVE 5 YEAR OLD Blended Scotch whisky (Under Strength). 35cl, 37.2% volume. HIGHLAND CHIEF 5 YEAR OLD Blended Scotch whisky. 37.5cl, 40% volume. BRAVEHEART Blended Scotch whisky. 0.500L, 40% volume. JAMESON Irish whisky. 500ml, 433% volume. WINNER SPECIAL RESERVE 12 YEAR OLD Blended Spanish spirit. 37cl, 80 proof. 9 bottles CONDITION REPORT: Labels are slightly weathered
Lot 1243
THE DIRECTORS' BLEND An exclusive blend of specially selected Old & Rare whiskies from Diageo's 27 Malt & 2 Grain Distilleries. Bottled December 2005. 70cl, 45% volume. TRIUMPH 27 MALT WHISKIES Blended malt Scotch whisky. The blend of Scotch whiskies has been created from the spirit produced at Diageo's 27 malt distilleries to celebrate the opening of Roseisle Distillery, it's 28th. Bottle no. 0896. 70cl, 43% volume. 2 bottles CONDITION REPORT: Directors' Blend- Some foxing to labels
Lot 100
100 Book of Hours, - Use of Rome, with numerous other devotional texts Use of Rome, with numerous other devotional texts, in Latin and French, illuminated manuscript on parchment [Southern Netherlands (Bruges), c .1460] 313 leaves (including 9 leaves added at end in sixteenth century, and plus two paper endleaves at front and back), too tightly bound too collate, but wanting approximately 7 text leaves (see below), single column, 18 lines in two sizes of a fine and regular Burgundian lettre bâtarde with ornamental penwork cadels, red rubrics, Calendar leaves (24 in total) in gold, blue and red, with every leaf in this part of text opening with a 3-line initial KL in blue or pink with foliate infill on bright gold grounds and a single decorated border panel of single-line foliage ending in coloured flowerheads and gold bezants, every line of Calendar beginning with a gold initial on burgundy and blue grounds, main text with same initials (often several per page) from one to 4-lines in height, the larger accompanied by single border panels (approximately 250 of these), eleven leaves with similar borders which extend down outer edge and halfway across top and bottom margins, thirteen leaves with 5-line illuminated initials with full-borders of acanthus leaves and other foliage (including realistic studies of sprigs of hazelnuts) enclosing drolleries, animals, birds and a bear and a monkey playing chess , thirty-eight historiated initials enclosing portraits of saints by a follower of William Vrelant , initial on fol.47v smudged, slight wear and thumbing to edges in places, occasional offsetting, sections of borders of fols.122 and 305 cut away, remnants of sale ticket once pasted to front endleaf, marks showing original leaves at each end once pastedowns in earlier binding, else in bright and sparkling condition on excellent parchment with wide and clean margins, 175mm. by 121mm., seventeenth-century French mottled calf with floral gilt spine in six compartments, spine restored, marbled endleaves, in fleece-lined brown morocco box with gilt title by the Lakeside Press, Chicago Provenance: (1) Almost certainly written and illuminated in Bruges for a married couple who were close to the family of the Burgundian dukes: with prayers in both masculine and feminine forms, and in some cases asking for blessings for famulos tuos and servos tuos ( your servants , fols.254r-255v). The Bruges saint, Basil (who had a chapel dedicated to him on the central square in the city, which abutted up against the ancestral comital residence) is highlighted in gold on 3 April in the Calendar, and there are other local saints, such as Omer, Bertin, and Bavo in the Litany. The presence of SS. Iodocus or Josse (after whom Philip the Good named his second son, the boy sadly dying only days after birth in 1432) and Louis (patron of the French royal family and their descendants) points towards the Burgundian court, and this impression is confirmed by the inclusion of Anselm s meditation on chastity on fols.268r-76r and a series of the saints commemorated in the last part of the book. Anselm s text also appears in the prayer book of Philip the Bold, the first Valois duke of Burgundy (Brussels, Bibl. Royale MS.10392), and among the saints here are Adrian, Gregory, Claud, Bernadino (canonised in 1450), Anne and Barbara, who were added to Philip the Bold s book when it was later enlarged for the personal use of his grandson, Philip the Good (see S. Panayotova and N. Morgan, A Catalogue of Western Book Illumination in the Fitzwilliam Museum and Cambridge Colleges , I, 2009, for Fitzwilliam, MS 3-1954). There are no arms or heraldic devices in the book, and it would appear that the original owners were trusted (but perhaps not noble) servants of the Burgundian court. It may even have been a commission by a member of the ducal household for these recipients. (2) Within a few decades, the volume would appear to have been in the hands of an owner from the house of Luxembourg (whose title passed to the Burgundian dukes in 1467), and it was then that the last gathering was added with a suffrage to St. Peter of Luxembourg (fol.306r), and a prayer in French for one to whom God has entrusted rule of a kingdom but who has children (fol.308r). This owner presumably added the prayer to St Edmund of England in a fifteenth-century hand before the calendar, most probably in response to either the marriage in 1464 of Edward IV of England to Elizabeth Woodville, daughter from the second marriage of Jacquetta of Luxembourg, or the marriage of Charles the Bold and Margaret of York in 1468. Edward IV was briefly exiled in 1470 and took refuge in Flanders with the celebrated bibliophile Louis de Gruuthuse ( c .1422-92) whose house in Bruges stills stands and is the site of a museum. It is more than likely that the owners of this book met the English king during his sojourn there. (3) H.R.H. Frederick Augustus, Duke of Sussex (1773-1843), the rebellious sixth son of George III who secretly married Lady Augusta Murray in Rome in 1793, clandestinely renewing these vows in St. George's, Hanover Square (a few metres from our rooms) later that year, and continuing to live together despite the king s disapproval and parliamentary annulment of the union: his printed bookplate inside front cover. The book was catalogued by T.J. Pettigrew ( Bibliotheca Sussexiana , I:1, 1827, no.136, pp.cxci-cxcii, beautifully written … on thin vellum … there are various beautiful little miniatures of saints dispersed throughout the volume ), when in the library of Kensington Palace. (4) Edward Hailstone (1818-90) of Walton Hall, near Wakefield, Yorkshire antiquarian and book collector; his sale, Sotheby's, 23 April 1891, lot 1394. A late thirteenth-century Bible from the Bibliotheca Sussexiana also passed to him, re-appearing in Sotheby s, 2 December 1986, lot 38. (5) Alfred Higgins F.S.A. (d.1902), antiquarian and collector; his sale, Sotheby's, 2 May 1904, lot 91, thence Quaritch, cat.237 (1905), no.337, and then Hiersemann, cat.330 (1906), no.31. (6) Isabelle Corwith Cramer (1861-1954), the second wife of Ambrose Cramer of Chicago: her inscription on label on book box and loose paper note recording gift of book in 1920 to her daughter, Isabelle Ryerson. (7) Christies, 2 June 2010, lot 207, for £32,450. Text: The Burgundian court in the fifteenth century was the scene of opulence, art patronage and conspicuous consumption of wealth on a scale never seen before or perhaps after. Breathtakingly large sums were regularly spent on single illuminated volumes, and Phillip the Good added 600 such books to the ducal library during his reign, as well as commissioning tapestries, jewellery and other artworks. He funded lavish tournaments, banquets and other forms of entertainment, founded the Burgundian school of music and sent no less than Jan van Eyk to Portugal in 1428 to paint an accurate portrait of Princess Isabella in advance of his betrothal to her. Any artwork produced in this environment is a testament to this abundance of wealth and power, and this book would appear to have belonged to a couple at the very centre of this world. It is a highly individual volume, with many more texts than are usually found in a Book of Hours. It comprises a Calendar (fol.2v); the Hours of the Passion (fol.15r, with matins wanting end and compline wanting opening); the Hours of the Cross (fol.32r); the Hours of the Holy Spirit (fol.39r, wanting terce, and prime wanting end); the Mass of the Virgin (fol.43r); Gospel Readings (fol.47v); the Hours of Virgin secundum usum romanum (fol.52r), with matins (fol.52r), lauds (fol.70r), prime fol.81r), terce (fol.85r), sext (fol.89r), none (fol.93r), vespers (fol.97r), and compline (fol.104r); the Hours of the Compassion of the Virgin (fol.108r), followed by prayers of compassion to the Virgin at the seven hours (A. Wilmart, Auteurs spirituels .........
Lot 58
The Annunciation to the Virgin, - large miniature on a leaf from the Upholland Hours large miniature on a leaf from the Upholland Hours, illuminated manuscript in Latin on parchment [northern France (Amiens), c .1430-40] Single leaf, with half-page arch-topped miniature with the Virgin kneeling and reading within a detailed Gothic interior as the angel enters from the right pointing to the Holy Spirit as it descends in the form of a dove, a starry night s sky above, all within thin gold frame, above 2-line initial in pink with white penwork and floral infill and on burnished gold ground, 5 lines of tall and angular text with 2 illuminated initials on coloured grounds and linefillers in same, full border of acanthus leaves and foliage, some forming scrolling interlacing patterns with gold infill, enclosing coat-of-arms in bas-de-page (lion gules rampant with bands vair all on or, charged with cross moleyn or on gules on sinister side), some slight water damage to top of leaf with slight cockling and discolouration, else good and presentable condition, 170mm. by 115mm., framed From an Book of Hours already missing a number of leaves, sold in Christie s, 2 December 1987, lot 33, as the property of Upholland College, Wigan, and sold again in Sotheby s, 5 December 1994, lot 94, and soon after dispersed with this leaf in Maggs cat.1283 (1999), no.7. This is the sole armorial leaf of the manuscript, which was part of a well defined group of Amiens manuscripts from the second quarter of the fifteenth century, closely centring on the Hours of Raoul d Ailly (Sotheby s, 11 July 1978, lot 48). Another member of this group, Cambridge, Fitzwilliam Museum, McClean MS.77, has a near identical miniature to this one (M.R. James, Descriptive Catalogue of the McClean Collection of Manuscripts , 1912, pl.XLVIII). The style developed as a local offshoot of the Boucicaut Master s work, standing immediately before the emergence of the young Simon Marmion (who was born in the city c .1425, where both his father and elder brother were painters). Exhibited in J.J.G. Alexander, Medieval and Renaissance Treasures in the North West , 1976, no.30, p.24, and briefly alluded to in Ker and Piper, Medieval Manuscripts in British Libraries IV, 1992, p.503
Lot 95
95 The Hours of the Cross, Use of Metz, - in Latin, opulently illuminated manuscript on parchment [north... in Latin, opulently illuminated manuscript on parchment [north east France (probably Metz), first half of fourteenth century (probably c.1340)] 24 leaves (including two blank original endleaves, and plus 7 modern paper endleaves at each end), collation: i-ii8 (central bifolium made up from two cut leaves), iii8 (reinforced at gutter with strips of other parchment, the first leaf of this bifolium from another place in book), each leaf with sparkling illumination and riotous activity , 17 lines in two sizes of a fine early Gothic bookhand, rubrics in liquid gold, one-line initials in gold on blue and burgundy grounds touched in white penwork, 2-line initials in same colours on gold grounds mostly containing sprays of foliage, drollery animals, an owl and human figures or heads (16 with the latter), twenty-four pages with simple illuminated borders of gold and coloured bars terminating in foliage and often bezants, seven historiated initials in blue or pink on brightly burnished gold grounds and with wider and more complex text borders set on angular grounds, the borders filled with numerous people and drolleries, whooping monkeys, dogs, hunting scenes with hares, stags, wild boar and birds, a hedgehog, fighting men, a fox, a squirrel, a lion, an owl, a performer with a dog holding a bowl in its mouth, bears, two goats, and a cat dressed as a scholar reading from a book , slight scuffs in places, and small amount of cockling, remnants of paper with nineteenth-century hand on last leaf, other marks showing this leaf once the pastedown, early twentieth-century pink ink foliation (superseding earlier pencil foliations, with erased $' on last leaf above #24;0 ff', doubtless the original number of leaves of this volume in the nineteenth or early twentieth century, else in good and bright condition, 138mm. by 101mm., nineteenth- or early twentieth-century binding of crushed red velvet over pasteboards (rubbed on boards and cracking at spine), fitted brown cloth slipcase This is a hitherto untraced section of an early and important Book of Hours, and the sister of those exhibited in Cologne in 1997 (private German collection: see Plotzek Andachtsbucher des Mittelalters aus privatbesitz, no. 11) and sold in the first Ritman sale at Sotheby's, 6 July 2000, lot 8 Provenance: (1) As Plotzek noted, the inclusion of a kneeling nun adoring the Virgin and Child on fol.20r of the part of the book catalogued by him, as well as the forms there of ancilla and peccatrix suggest that the original book was made for a female Benedictine. Its lavish opulence suggest her importance, perhaps as the abbess to her community or a wealthy benefactor who retired within its walls. Another nun peeps down at the text from the initial on fol. 13v here, and this may also be a portrait of the original owner. (2) By the seventeenth century the book appears to have been bound in at least two volumes (with the Ritman section surviving in a binding of that date), and at that time the volume containing this part appears to have contained 180 leaves. It was subdivided again in the nineteenth or early twentieth century, when it and the private German section were put into identical red velvet bindings and refoliated in pink ink by the same hand. Single leaves missing from the Ritman section appeared in Ferrini, cat.2 (1989), nos.10-11 and BEL, Illuminations, cat.1, no. 22. (3) This part from an American collection. Text: The text here is the Hours of the Cross, with Matins (fol. 1r), Lauds (fol.6v), Prime (fol.9v), Terce (fol.11r), Nones (fol.15r), Vespers (fol.17v) and Compline (fol.20r). It presumably sat at the end of the original codex, after the Hours of the Virgin, Penitential Psalms, Litany and prayers in French (as in the Ritman section) and the Hours of the Holy Spirit, the Psalter of the Virgin with prayers, and the Gospel Sequence from John (as in the privately owned German section). The complete book may also have included a Calendar or even a full Psalter at its beginning. Illumination: Sandra Hindman definitively identified the artist as the Master of Boethius of Montpellier (named after Montpellier, Bib. De la Faculté de Médecine, MS. 43; see F. Avril, Les Fastes du Gothique, 1981, no. 256). He was a gifted artist based in Metz c.1340-50, who was influenced by the great Parisian artists Jean Pucelle and Jean le Noir, and executed commissions for the aristocracy and growing bourgeoisie there. This is the earliest period of Metz illumination, and the book was one of a handful of closely related codices, including two contemporary Books of Hours (Paris, Bibl. De Arsenal, MS.570; and Cambridge, Fitzwilliam Museum, MS.9-1951), a Missal of Metz use (Trier, Bistumarchiv cod.407) and two compendia of devotional texts (BnF. MSS.17115 and lat.2568); see also Collin-Roset in Tresors des bibliotheques de Lorraine, 1998. The artist's handing of the larger historiated initials is refined and skilled, with soft green-grey fleshtones used on the faces of the finest examples to lift emotion from the passivity of their expressions, but his real talent is in his inventive and whimsical borders. In these men loll and relax, a kitten in scholar's robes pensively studies a book, animals scamper and whooping monkeys swing out from the foliage and brandish clubs and bucklers. The book delights the eye, and a new animal or drollery seems to be found tucked away in a corner or peeping out from behind foliage every time the pages are turned. The significant illuminations are: (1) fol.1r, 7-line initial with the Kiss of Judas, a rabbit, a bird, a green dog, two battling warriors and a wild boar guzzling red bezants in the full border; (2) fol.2v, human-headed dragon in green and brown with a hairy back, in decorated border; (3) fol.3v, 2-line initial with tiny white biting animal, a rabbit in the border; (4) fol.4r, 2-line initial with smiling man, an owl and a monkey eating a bezant in lower border; (5) fol.4v, 3-line initial with Christ as Man of Sorrows, small hairy drollery in corner; (6). fol.5r, 2-line initial with man's face, a grumpy looking bird and a stag leaping in the border; (7) fol.6r, rabbit running away from a red dog in lower border; (8) fol.6v, 4-line initial with Christ bound before Pilate, a knight peeping around at the scene from behind the initial, a seated stag, a hedgehog with fruit stuck on its spines, a shaggy-maned dragon-like creature and a small bird in the rich three-quarter borders; (9) fol.7r, a comic drollery with a long red striped tail, wrapped in a blue cloak and poking its tongue out at the reader; (10) fol.7v, 2-line initial with orange drollery and a hare in border; (11) fol.8r, a realistic hound chasing a leaping stag in the lower border; (12) fol.9r, a 2-line initial with a singing head, and a human-headed drollery with a long flowing cloak in border; (13) fol.9v, a 7-line initial showing the stripping of Christ, with him seated passively with bound hands before a tesselated ground as three men hold him, the lowermost clasping his cloak, a 2-line initial with a bearded face, a stern looking bishop, sprawled human with outstretched arms and a hare in rich near-full border; (14) fol.10r, 2-line initial with singing head and a red fox gnawing at the lower border; (15) fol.10v, 2-line initial with green drollery and a whooping monkey in border; (16) fol.11r, 6-line initial with the Scourging of Christ, tied to a pole between two attackers, a squirrel, a bird and a reclining man in the near-complete borders; (17) fol.11v, 2-line initial with human head wearing conical hat, a man spearing a bird in lower border; (18) fol.12r, 2-line initial with dragon-like drollery; (19) fol.13r, bearded cloak-wearing drollery in lower border; (20) fol.13v, nun's head in 2-line initial; (21) fol.14r, 2-line initial with human face and an owl in border; (22) .............
Lot 98
Book of Hours, - Use of Rome, in Latin, illuminated manuscript on parchment [French... Use of Rome, in Latin, illuminated manuscript on parchment [French Flanders (perhaps Liege or Mauberge), c. 1460] 83 leaves (including a blank leaf at end; plus one modern paper and one early parchment endleaf at front and two of each at back, the early ones recovered from legal documents of perhaps sixteenth century), complete, i6, ii8 (with a bifolium cut away with stubs after iii and v, but no text loss, perhaps due to a planning error by original scribe), iii-viii8, ix8, xi6, xii7 (last probably a cancelled blank), single column, 18 lines in a professional late Gothic bookhand, capitals formed of unconnected penstrokes joined by yellow wash, red rubrics, gold and blue line fillers in Litany, one-line initials in gold or blue with contrasting penwork, 2-line linitials in gold on pink and blue grounds heightened with white penwork, these with sprays of coloured and gold foliage in the margins, fourteen large initials in pink or blue with fine penwork enclosing scrolling foliage on gold infill, all on coloured grounds and within thin gold and coloured frames, these frames extending around the text on three sides, full border of acanthus leaves and other foliage enclosing a peacock on the first such page, fols.18v, 34v and 51v once with miniatures from another Book of Hours pasted to them (note offset of other side of leaf and small miniature on fol.51v), these now removed, numerous marks on last endleaves from attachment of pilgrim badges there, small areas of rubbing and discolouration, leaves slightly cockled, some small wormholes, slight water damage to inner edge affecting Calendar leaves, edges trimmed with loss to edges of a few decorated borders, else in good condition and on thick parchment with wide and clean margins, nineteenth-century French note inside front board explaining the sixteenth-century additions at end (see below), 180mm. by 125mm., nineteenth-century parchment binding over pasteboards (front now bowed), stamped at top of front pastedown in purple ink A. Clavaux (presumably the binder), spotting to paper endleaves Provenance: Written and illuminated for a patron in French Flanders, perhaps Liege or Mauberge: the decoration suggests the influence of Bruges and Flanders, and the Calendar includes SS. Hubert of Liege (December), and Lambert of Liege, his predecessor (17 September), to whom the Cathedral in the town is dedicated; Amalberga of Mauberge appears in the Litany. In the hands of members of the de Blois family by the mid-sixteenth century, and perhaps originally commissioned for one of them: the ex libris of a L de Blois on the last leaf, with other inscriptions dated 1549 and 1550 suggesting that this is Loys de Blois, who married Helene Tatin and had two children named Laurens and Margaritte, he was most probably a member of the family of the seigneurs de Jumigny, who also included the Flemish mystical writer, Louis de Blois (1506-66, also known as Blosius) who was born at the château of Donstienne, near Liège, was educated at the court of the Netherlands with the future emperor Charles V, his lifelong friend, and became the abbot of Liessies Abbey in Hainaut. Text: The volume comprises: a Calendar (fol.1r); the Hours of the Cross (fol.7r); the Hours of the Holy Spirit (fol.10r); the Mass of the Virgin (fol.13r); the Hours of the Virgin (fol.21r), with Lauds (fol.29r), Prime (fol.37r), Terce (fol.40r), Sext (fol.43r), Nones (fol.45r), Vespers (fol.48r) and Compline (fol.52r); the Seven Penitential Psalms (fol.55r) followed by a Litany; the Office of the Dead (fol.67r); the Obsecro te and O intemerata (fol.78r).
Lot 99
Book of Hours, - Use of Rome, in Latin, illuminated manuscript on parchment... Use of Rome, in Latin, illuminated manuscript on parchment [Southern Netherlands (probably Bruges), c.1460] 98 leaves (plus a modern parchment endleaf at front and back), wanting a number of single leaves (after fol.14, 17 and 73), some groups of leaves (3 after fol. 11; 4 after fol. 17; 2 leaves after 77), and last few leaves, other leaves with holes where small miniatures have been cut away (fols. 8, 14, 81 and 84), single column, 21 lines in a fine late Gothic bookhand, capitals touched in yellow, red rubrics, small initials in gold on blue and pink grounds heightened with white penwork, linefillers in same with small compartments of gold, coloured and gold text bars ending in tri-lobed red and blue flowers on one side of text and decorative border panels of foliage and fruit on other on every text page, thirteen larger initials in pink and blue enclosing foliage sprays, all on burnished gold grounds, with full foliate borders, four historiated initials in same (Scourging of Christ, Crucifixion, Descent from the Cross, Holy Spirit descending as a dove), five small arch-topped miniatures (SS. Michael the archangel trampling a hairy devil underfoot, Andrew and his Cross, Stephen holding a handful of rocks, Mary Magdalene and her jar of ointment, Catherine and her wheel), two full-page miniatures from another Flemish manuscript of perhaps a decade or so earlier mounted on modern parchment leaves, with the miniatures set in wide rectangular frames with gold quadrilobed flowers at their corners and full decorated borders (fol. 7: Dormition of the Virgin, and 49v: Pentecost; both trimmed to edges with losses to outermost borders, the second with smudge affecting a few figures on lefthand side), spots, small smudges, stains and losses to top inner part of last few leaves (now restored), but overall in appealing condition with wide and clean margins, 220mm. by 150mm., nineteenth-century gilt-tooled leather over pasteboards, marbled endleaves This volume comprises: a Calendar (fol. 1r); the Hours of the Cross (fol.8r); the Hours of the Holy Spirit (fol. 12r, wanting opening); the Mass of the Virgin (fol. 13r); Suffrages to the Saints (fol. 15r); Hours of the Virgin (fol. 18r), with Lauds (fol. 26r), Prime (fol. 37r), Terce (fol. 40r), Sext (fol. 43r), Nones (fol. 46r), Vespers (fol. 50r), Compline (fol. 55r); readings for office of Virgin for whole year (fol. 58r); Seven Penitential Psalms (fol. 64r) followed by a Litany; Office of the Dead (fol. 77r, ending imperfectly).
Lot 737
CRIME INTEREST: ORIGINAL LETTER BY REGGIE KRAY written and sent from Gartree Prison to the boxer Terry 'Hook' Parnham, reading 'Dedicated to Teddy 'Hook' Parnham as a fighter and a man... Bloody nose, head bowed, but not beaten, he rose to fight on when all but his spirit was gone. By your friend Reg Kray', written on lined paper and dated 1987, the letter was published in Poems by the Professionals by Terry Parnham (1988); the letter by Kray is accompanied with a letter signed by Parnham to Mainstone Publications and discussing the letter for publication
Lot 156
An 18ct gold long service tie stud for the Anglo-American Oil Co set with diamonds to four points of the six pointed star, enamelled in blue and white, inscribed verso 'W. J. Goodwin Feb 1906' The Anglo American Oil Co started in 1888 and had offices in Queen Anne's Gate, London. They were a distributor of motor spirit and over the years they expanded and merged with other companies, eventually changing their name to ESSO, a household name
Lot 365
A FINE QUALITY 13TH CENTURY KHMER STONE STELE OF AN APSARA, from Angkor Wat, carved in deep relief, the female spirit holding a garland in each hand, her face with a serene expression, the whole mounted on a display stand, 19.9in high overall, the stele itself 16.5in high x 12.25in wide x 2in deep. (this lot is accompanied by a letter confirming provenance of acquisition in the 1960’s in South East Asia by a Danish diplomat seconded to the UN as an economic advisor).
Lot 375
A FRENCH GOURD-SHAPED GLASS SODA SYPHON with a wire mesh cover, the top stamped to the collar 'Veritable Seltzogene D Fevre / Paris', 52.5cm high; together with a stoneware flagon, impressed 'W.H. Crocker / Wine & Spirit Merchant / South Petherton', 38.5cm high (large chip to footrim); and another stoneware flagon, printed 'James Weir & Co. / Burgh Quay / Dublin', 31.5cm high (chip to collar), (3).
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49464 item(s)/page