Great Britain - QV (surface printed) : (SG 135) 1867-83 10 shilling greenish grey letters B-G, white paper watermark anchor 'GEORGE ST EDIN(BURGH) (18)83' steel CDS cancel North-East, clear of profile. Light 'Richter' + dealer's proofer's signature upon reverse, neither affects appearance. Beautifully centred superb colour example with excellent perfs and no faults, simply stunning stamp, as close to perfection as one could ever hope to expect. London retail up to £4,000+, catalogue value includes CDS well-centred premium. Exhibition quality. Cat £7875 (image available)
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Great Britain - QV (surface printed) : (SG 133) 1882 £5 Orange blued paper high value letters C-J sound average used cancelled by single obliterator, well-centred example, fractional short corner perf SE, otherwise an extremely difficult space to fill at an affordable price for one of QV's rarest stamps catalogued £12,500 (a space which is usually filled by a 'specimen' overprinted unused stamp). We've seen sound average used singles offered for as much as £2,500 to £3,000= - perhaps making the opening price at which this most popular key high value is offered - appear to be something of a 'snip' Cat £12500 (image available)
Great Britain - KGV : (SG N14(15)) 1913 Royal Cypher ½d Deep blue-green, the famous 'Myrtle' shade, unmounted mint south-west corner marginal control 'L 18' block of six. Natural gum bend affects two values, one fractionally toned perf/ original paper inclusion below neck upper left-hand stamp, hinge remnant in margin, these being trivial imperfections, otherwise exceptionally rare brilliant fresh myrtle colour control block of 6. 'London' retail as singles at £225 each alone exceeds £1,350= but try finding another unmounted mint control multiple of this rare shade, if such exists. As near to perfection as we shall ever see, we estimate this to be a £2,000+ retail multiple in some quarters Cat £2000 (image available)
Malaya - B.M.A. : 1945 Revenue-$100 dull purple and ultramarine mounted mint, has the faintest trace of a gum tone mentioned for the sake of accuracy, a rare stamp in mint condition, the $25 in mint condition sold for E650- plus 20 % premium in Gartner 2018 sale, extrapolate the value of the $100! (image available)
Bradbury Wilkinson Collection : CANADA HEAD ESSAY: King Edward VII 1d 'SPECIMEN', recess printed in purple, a scarce imperforate block of eight on thinned gummed paper (right stamps with light crease), the lower right stamp appears to be printed double, unmounted mint. (image available) [US2]
Great Britain - QV (line engraved) : (SG 48/9) 1870 ½ d rose, the remarkable complete sheet reconstruction (less one stamp FF, but with extra FE), AA-TX, 102 stamps are mint/o.g. (incl. pl. 8 x 6, pl. 20 x 3 etc.), 29 stamps are unused no gum (incl. plate 9 cut into at right) and the rest used (incl. pl. 9 and a good minority with cds cancels). The condition is mixed as to be expected, but many fine items are noted incl. mint pair and strip. The whole would benefit from remounting, and the replacement of a few poor stamps. Nevertheless, a fantastic achievement by one collector, which deserves to be taken forward. Total Minimum Cat. Value £38,500 (taken as cheapest where plate numbers are unclear). (image available) [US8]
Great Britain - QV (surface printed) : (SG 153) 1873-80 4d sage-green, IMPERF IMPPRIMATUR HORIZONTAL PAIR, EK-EL, sheet margin with imprint at right '…el, 2s per …', light gum wrinkles, small tone spot on one stamp and in margin, o/wise very fresh, fine l.m.m. RARE. Cat £6400 (image available) [US5]
Australia - States : I've always liked collectors who accumulate classic material with the intention of sorting it out in the future because these are the real collections where there is a good chance of adding value by subsequent collector-owners making real 'finds'. This is one such 'collection' of Australia and Australian States (a great area to work with because the States are so complicated - for anybody prepared to put in the effort - this is where commitment can pay dividends... Presented here, by a collector who is retiring from philately, is an old A4 sized 'Pronto' 32 sides (page) stockbook, with 21 pages well-filled, predominantly tightly arranged used ranges well displayed, commencing Australia 'Roos' arranged by denomination from perhaps a few roos to up to circa 15 duplicated stamps - values from ½d through to 2 shilling, just one x 5s. Completely unchecked by us for wmks/types pmks/c.t.o., odd perfins noted. Similarly unchecked ranges KGV heads thru to 1s 4d, ovpts/perfins etc. The collection rolls out in like fashion for the 'States' - commencing Victoria, well loaded from very mixed condition imperfs, odd Stamp Duty' noted, followed by Queensland, good ranges imperf / perf chalons for Tasmania (usual cleaned fiscals noted - including a plausible imperf 2d green, mint with gum - stc £5,000 but cleaned and certainly re-gummed). South Australia from few 'imperfs' - noted 1 s. red-brown wmk large star perforate cds used ovpt. M.B. Marine Board, well worth checking with apparent 'blind' roulette to righ hand side, New South Wales follows from 'imperfs', then not so 'punchy' Western Australia 'Swans' perf types only - but possible postmark interest. Condition overall very mixed, many hundreds. Great opportunity for specialist - please ask for scans... HEAVY LOT, OVERSEAS BIDDERS PLEASE ENQUIRE FOR SHIPPING COST (One 'Pronto' Stock-book) [US2]
Great Britain - Covers - QV : 1820s-1950s Just how often does an original archive turn up these days? Looking back, I remember being on the periphery of the discovery of the ‘Corsini’ correspondence – even today when such letters turn up they seem to be avidly snapped up. But, all those tales of Solicitor’s cellars and crate-fulls of penny blacks on cover seem to be flights of fancy don’t they. Well, not any longer; I’d say this is the first original archive we’ve seen in thirty years. That’s remarkable, utterly remarkable. Understandably the vendor wished to keep the entire archive intact, preserving it for posterity. Unfortunately (but fortunate for the owner) the discovery of a 4 margin 1d black rare Plate XI on cover within the archive significantly ‘skewed’ the value of the archive increasing the estimate value by 5 figures upward so that the archive ‘intact’ - valued at £20,000+ was sufficient to deter most buyers. The plate XI cover has now been sold - thereby presenting postal historians and historic wine researchers/ wine aficioandos an unique unparalled opportunity to acquire the entire archive (excluding one cover only for which a scan is available) at a much more affordable collector/researcher’s price. This being the archive of Pulling & Co., Wine merchants of Hereford. The archive includes price lists, advertising cards, invoices dating from the 1820s, many 100s – at first we thought probably high hundreds of items housed in three large tubs, but when the team actually waded through we counted an extraordinary approximately 3,400 items of which in the region of half appear to be philatelic with a substantial balance in documents, receipts, invoices, uncancelled letters, and including hundreds of ‘Pulling’s’ own brand bottle labels, cards/marketing material etc. Highlights include 1d black Plate 10 on entire letter (4 margin but aged) from Worcester MY 11 1841 tied black Maltese Cross, close at top right otherwise four margins. There are a few other 1d black covers and a three margin 1840 2d blue on 1843 cover from Dublin, very late usage. Noted are many imperf and perf 1d red covers including much postmark interest, Irish, Spoons, etc. Invoices to Pulling & Co. postmarked from Cognac, France include four 1851-52 covers bearing Ceres imperf 40c orange pairs and three with Ceres imperf 40c orange horiz strips of four, including one 4 margins and unfolded – SG catalogue £600 - £700 each stamp depending upon shade and excluding premium for strips. An original lot, offered completely intact as received and condition variable throughout, but obviously including ‘plum’ items, excellent lot for a wine enthusiast with huge scope for research. Although perhaps not of pecuniary value what I particularly like about this archive is the social history and the fabulous engraved ‘letterheads’ and designs of invoices and receipts redolent of the period. This archive is the only lot offered in this auction which may be personally viewed at our offices, strictly by appointment only. HEAVY LOT - OVERSEAS BIDDERS PLEASE ENQUIRE FOR SHIPPING COSTS (image available) [US6]
Postal History, selection inc. Tonga Tin Can Mail cover dated 1936, plus two covers with stamps & cachets from the Mastson & Pacific Far East Lines covers, 1970's, also 5 Belgium covers each with a mourning stamp or stamps following the death of Queen Astrid, each postmarked 1936, two Transvaal stamps, 1/2d & 1d, both overprinted 'C.S.A.R.' (Central South African Railway) & 8 New Zealand Railways Newspaper stamps from the late 1800's.
Ephemera, mixed collection of items inc. Crystal Palace home & away football programmes, 1960's onwards (approx. 30), Wimbledon Stock Car Racing programmes 1969-72 (7 inc. Stock Car World Championships, 1969, 71 & 72), Harlem Globetrotters programme 1972, selection of cigarette & trade cards, Shell coin sets on special cards (4), some motoring items, stamp album etc (mixed condition) (1 box)
Military Wrist Watches, 2 Eterna wrist watches. 1 approx. 3.5 cm black face with Broad Arrow stamp and engraved 'W.W.W. P 1268 3109596' to the reverse (scratched glass, winder detached, no strap), the other approx. 2.75 cm black face (luminous parts showing some corrosion, no strap). Further pictures now loaded. (2)
Postal History, USA, Baltimore & Ohio Railway Co envelope with circular date stamp of 16 Sep 1862 complete with truculent letter from Railway employee, sold with another cover sent from the South Shore Line Fast Freight office of Minnesota bearing 1871 3c Washington stamp with cancel, both mounted on album pages (gd)
§ David Hockney (British B.1937) Paper Pools Signed and dated '80 and numbered 453/1000 in pencil, published by Tyler Graphics, Ltd., Mount Kisco, New York, bears blindstamp, on Arches Cover paper, lithograph; Together with 'Paper Pools', the accompanying book, signed by the artist in red ink and stamp numbered 453 on the justification, with blue canvas covers and original slipcase (Dimensions: 26.5cm x 23cm (10.5in x 9in) (2))(26.5cm x 23cm (10.5in x 9in) (2))Footnote: Think of David Hockney, and immediately picture the sunshine-soaked, boldly-hued scenes of California homes and swimming pools that he is widely known for. After formative years spent in comparatively dreary Yorkshire, Hockney was immediately captivated by the bold colours and widespread luxury of Los Angeles. Private swimming pools were an extravagance in the U.K., but in the City of Angels, Hockney found them everywhere: he had discovered a subject. Paper Pools is a book chronicling a very specific moment in Hockney's creative process, a short period in 1978 when on route to California from England, he made a de-tour to Tyler Graphics studios in upstate New York, to visit friend and previous collaborator Kenneth Tyler. Here he was introduced to a new medium, the paper pulp process. This involved dyeing wet pulped rags, which were then applied in various ways to recently-created and still wet paper, until they were finally fully pressed and dried; there were opportunities for the artist to manipulate the application of colour at all stages. The result was a cross between paper-making, print-making and painting. Hockney found learning this new technique and its specific restrictions, creatively freeing. He realised the process could be very conducive to variations on a theme, and the swimming pool and the effects of different lights and movements on the water was captivating him once again - as he swam in and looked at Tyler's outdoor pool each day. In the resulting series, Paper Pools, Hockney creatively addresses a formal, and paradoxical problem: how to depict the elusive, ever-changing qualities of a body of water, in a flat, stationary, two-dimensional form. There is something conceptually satisfying in such a water-heavy process being used to attempt this. In these works, colour does not sit, it is fused, completely integrated into the medium. Water is the same; light and movement are subsumed into it, and thus its appearance and qualities change. The beautiful book fully illustrates this process, with a reflective text written by Hockney and accompanied by various illustrations - reference polariods he took of the swimming pool in different lights, line drawings capturing the physical process, reproductions of each work in the series as well as some in-process photographs; of the works still at the wet pulp stage before they were pressed. There is a vivid sense of the finished product, but also of the process that went into it: physical effort, litres of water, eclectic equipment, artistic imagination and a strong feeling of camaraderie. To celebrate the publication of the work, Hockney produced a six-colour, hand-drawn lithograph, which he signed and numbered. It revives his favoured subject, boldly depicting the swimming pool and diving board in strong colours. The gently rippling water is depicted with surface watery, wavy marks, overlaying the deeper, overlapping shadows - there is depth and movement, as Hockney manipulates different effects of lithographic mark-making. Paper Pools is a celebration of the artistic innovation and imagination of a very particular moment in Hockney's career, but also an encapsulation of some of the key themes and subjects of his wider oeuvre.
§ Edward Bawden C.B.E., R.A. (British 1903-1989) Covent Garden Flower Market Linocut, 32/75, signed, inscribed and numbered in pencil to margin, with Willie Rodger Art Trust stamp, unframed (Dimensions: 58.5cm x 78.5cm (23in x 31in))(58.5cm x 78.5cm (23in x 31in))Footnote: Provenance: The Willie Rodger Art Trust Willie Rodger studied at Glasgow School of Art from 1948-52, and was a school art teacher until 1987 when he resigned to concentrate on his career as an artist. Rodger worked in a variety of media in a career which saw him design 11 stained glass windows (working collaboratively with John K Clark), a Scottish Post Office Aerogramme, a set of postage stamps for Scottish Devolution, the award-winning Scottish Historical Playing Cards (for the late Angus Ogilvy of The Stirling Gallery), book jackets and record sleeves, letterheads, logos and alphabets. A gifted draughtsman, his drawing ability was already recognised whilst a student, and he always had a small sketchbook and a pen to hand. Having been dissuaded from painting whilst at Art School, he took it up several decades later after the late Angus McAuley of the Stenton Gallery prompted him to try his hand, and offered him a solo exhibition by way of encouragement. It was as a relief printmaker, working most usually in lino and wood, that Rodger established himself. His status as one of Scotland’s pre-eminent printmakers was recognised by his peers in 1989 when he became the first person elected an Associate of the Royal Scottish Academy in the category of Printmaker. During his long life he built a small collection of works by fellow artists. These included artists whom he knew personally; others, like Bawden, whom he regarded as personal heroes, and others for whom he was the source of inspiration. His acquisitions reflected places he knew, or addressed gardening and music, pastimes which filled his time away from family and art. Above all he knew what he liked, and acquired to reflect this, either by gift or exchange, or from exhibitions, dealers, or auction sales. Lyon & Turnbull are delighted to offer a small group of works from his private collection within this auction.
§ Edward Bawden C.B.E., R.A. (British 1903-1989) Smithfield Market Linocut, 18/75, signed, numbered and titled in pencil to margin, with Willie Rodger Art Trust stamp, unframed (Dimensions: 56cm x 76cm (22in x 30in))(56cm x 76cm (22in x 30in))Footnote: Provenance: The Willie Rodger Art Trust Willie Rodger studied at Glasgow School of Art from 1948-52, and was a school art teacher until 1987 when he resigned to concentrate on his career as an artist. Rodger worked in a variety of media in a career which saw him design 11 stained glass windows (working collaboratively with John K Clark), a Scottish Post Office Aerogramme, a set of postage stamps for Scottish Devolution, the award-winning Scottish Historical Playing Cards (for the late Angus Ogilvy of The Stirling Gallery), book jackets and record sleeves, letterheads, logos and alphabets. A gifted draughtsman, his drawing ability was already recognised whilst a student, and he always had a small sketchbook and a pen to hand. Having been dissuaded from painting whilst at Art School, he took it up several decades later after the late Angus McAuley of the Stenton Gallery prompted him to try his hand, and offered him a solo exhibition by way of encouragement. It was as a relief printmaker, working most usually in lino and wood, that Rodger established himself. His status as one of Scotland’s pre-eminent printmakers was recognised by his peers in 1989 when he became the first person elected an Associate of the Royal Scottish Academy in the category of Printmaker. During his long life he built a small collection of works by fellow artists. These included artists whom he knew personally; others, like Bawden, whom he regarded as personal heroes, and others for whom he was the source of inspiration. His acquisitions reflected places he knew, or addressed gardening and music, pastimes which filled his time away from family and art. Above all he knew what he liked, and acquired to reflect this, either by gift or exchange, or from exhibitions, dealers, or auction sales. Lyon & Turnbull are delighted to offer a small group of works from his private collection within this auction.
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165598 item(s)/page