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19303 item(s)/page
Large quantity of coarse, carp and pike fishing equipment - comprising over one hundred lures, plugs, spoons and spinners by ABU, Rapala, Mepps and other makers, many boxed and unused, a Shimano reel, a North Western Carbon-Kevlar carp rod, two other rods - one by ABU, a large piano box containing lures, a cantilever tackle box and contents, a Belstaff anglers waterproof suit and a box containing assorted carp tackle
A large quantity of paraphernalia relating to Guernsey Oddfellows to include Queen Victoria jubilee medals x 2 ( Island of Guernsey district ), large amount of medal ribbons, four sash badges, aprons,three rolls of uninscribed certificates (18) " independent Order of Odd Fellows, Manchester Unity, Friendly Society", banquet settng hand painted poster dating to 1938 all contained in vintage brown leather suit case. * Please Note: A further 500 lots from this sale (which are not available for live bidding) can be viewed on our website: www.martelmaidesauctions.com
A brown/black dog toothed (1960s) dress and jacket (zip broken on dress) with woven buttons - coral boucle 1960s skirt suit with short jacket; together with a lime green linen late 1960s/early 1970s skirt suit with wide lapels - a cream suit by Mabel Hartley, woven mix in brown and cream (4)
A Wilson T2000 steel frame tennis racket:, with brown leather grip and red and white racket cover, size 4 1/2 grip, 69cm long.* Notes The T2000 was the first modern steel frame racket to be introduced in 1967 and is perhaps best known as Jimmy Conner's preferred choice of racket. The frame and the small head size did not suit all players styles, but the construction began to influence the use of materials rather than traditional wooden rackets.
A RARE IRISH PROVINCIAL SILVER SOUP LADLE, Limerick c.1785, mark of Maurice Fitzgerald, the pointed taper handle engraved with initials, (c.217.7g). 38cm longMaurice Fitzgerald, Mary Street Limerick, working 1760-1817. He is possibly the Maurice Fitzgerald, son of James Fitzgerald (no address given), who was apprenticed to Vere Forster, a Dublin goldsmith in 1752. He obtained his freedom of Limerick in October 1774. He served as bailsman in the Tholsel Court in 1787 and 1789. His advertisement in the Limerick Herald, 7 December 1789, announced his moving 'to Bridge St (formerly Quay Lane) where Geo. Moore had his shop, and has received from London and Dublin a fashionable assortment of silver and plate work'. He leased part of his Rutland Street dwelling in 1815. He died in Rutland Street in May 1817 and was buried in St. John's; his wife predeceased him in November 1815. (Bowen and O'Brien, 2007 p203)Hallmarking was introduced to Ireland in 1637 in order to control the practices of goldsmiths which had become increasingly dubious due to a lack of an established body to monitor the craft as a whole in Ireland. King Charles I established the ‘Wardens and Company of Goldsmiths of our said City of Dublin’ with a charter that would match their counterpart in London in relation to powers of law. The standards of production in place in England were replicated in the assay office set up in Dublin in April 1638 where every piece of silver produced in the country was stamped with ‘The King’s Majesty Stamp called the Harp Crowned.’ A second mandatory mark identified the maker of the item, usually the goldsmith’s initials. Or at least that was the idea, but as with any rule there is always the exception. Limerick silversmiths managed to defy these sanctions which mostly applied to those practicing the craft within a three mile radius of Dublin rather than farther afield. It was expected that those working in provincial centres would follow suit, however the specifics were somewhat vague. Equally the physical distance and difficulty of travel in the 17th century largely discouraged Limerick silversmiths to send their wares, of which many were highly valuable goods, to the assay office in Dublin. As a city, Limerick had their own trade guilds with their own set of rules, whose privileged position created a monopoly over the commercial economy of the city. The practice continued well into the 18th century despite the fact that the situation became more delicate for Irish provincial silversmiths with the introduction of a duty tax of 6d. per ounce on all gold and silverwares wrought in Ireland. This manifest evasion was tolerated by the State who turned a blind eye to the various unsanctioned marks. When a Limerick silversmith struck his mark upon a piece it acted as their guarantee to the customer. These marks vary with a castle gateway and six or eight pointed star stamped on late 17th century items, while from 1710 onwards ‘STERLING’ appeared along with the silversmiths initials. As ‘STERLING’ is not technically a hallmark the accompanying maker’s initials took on the equivalent weight of an official stamp. By staking their reputation through putting forward their own name rather than using the relative safety of a standard mark assured by the assay office, this suggests that Limerick silversmiths took particular pride and confidence in the high quality of their work.
Simon & Halbig 1299 bisque head doll, German circa 1910, the pale bisque head with weighted blue glass eyes, raised eyebrows and open mouth with two upper teeth, pierced ears and short brown wig, on a fully jointed wood and composition body and wearing a later boys ‘tweed’ trouser suit, (lacks one finger).
Rare A.M 320 miniature all-bisque character doll, German circa 1910, with side glancing blue intaglio eyes, smiling closed mouth and painted moulded hair, swivel head and jointed at shoulders and hips, wearing later blue check trouser suit and beret, 6 ¾” (17cm) tall, together with an all-bisque ‘googly’ doll with blue glass side glancing eyes, smiling closed mouth, swivel head and jointed at shoulders and hips, with painted blue socks and black shoes, wearing regional costume, 4 ¾” (12cm) tall, (2 items).
Kammer & Reinhardt 121 bisque head doll, German circa 1910, lovely pale bisque head with weighted blue glass eyes, feather eyebrows and open mouth with two upper teeth, later brown wig and on a fully jointed wood and composition toddler body, wearing a blue velvet trouser suit with lace collar and straw boater, incised K star R, Simon & Halbig, 121, 42, 19” (48cm) tall.
A gentleman's chalk-stripe suit with turn-ups to trousers, J. Dege & Sons Ltd., 16 Clifford St., Savile Row, a Sandon & Co. Ltd. Savile Row grey check suit with long-line jacket - the trousers with turn-ups and two other J. Dege & Sons suits - a dark grey suit with red satin lining and a brown dog-tooth check suit - all 40" waist, 54 cm across chest (4)
A dark claret gentleman's velvet evening suit and a claret silk brocade waistcoat and another Condition Report There are black evening trousers with jacket. Label inside jacket pocket for J. Dege & Sons, Savile Row dated 30/7/74, the jacket is 55 cm across chest, the trousers are approx. 40" waist (with adjustment)Good worn condition
A BOX OF 19TH CENTURY COSTUME To include a Victorian soft silk dress embellished with braid and tassels. A white Edwardian walking suit. A disintegrated white silk court dress with wonderful bead work that has survived. A pair of white silk shoes, lace parasol and cream wool christening cape. (6)
A 1950'S IRISH TWEED TROUSER SUIT Gorgeous heavy wool plaid tweed in brown, gold and cream. Tailored jacket Labelled 'GW Plase Made in England' with original buttons, shaped pocket flaps over two deep pockets. Lined in gold sateen with Capri style trousers, fastened at the front with metal zip and hook and eye fastener. Chest 40" x 28" Length x 30" trouser waist. moth damage to lining only. (2)
A COLLECTION OF 1980'S DESIGNER CLOTHES To include a blue/green linen, skirt and jacket suit labelled 'Yves St Laurant diffusion femmes'. Jacket size M Skirt, Size S. 26" Waist. A wine coloured taffeta silk off the shoulder dress 30" waist x 30" bust. Dark brown suede top, tapered sleeves with zips at cuffs. 28" waist x 34" Bust x 26" length. And a 1980's jersey viscose, 'Ossie Clark' black coat with scarlet sequined epaulets, pockets. 42" Length. (4)
A COLLECTION 1960'S COLOURFUL DESIGNER OUTFITS A tangerine skirt and jacket suit, lined. Labelled 'Modele Denzler Paris' 26" waist x 34" Bust. A red couture shift dress, pure wool, lined Labelled 'Kimberly WPL 6690'. (Light damage). 34" Waist x 34" Bust x 37" length. A turquoise linen shift dress with cutwork and embroidered flowers, lined. 34" Bust. (3)
A CIRCA 1968 'OSSIE CLARK' MOSS CREPE TROUSER SUIT Duck egg green long fitted and tailored jacket with tab collar buttoned to the neck with small fabric covered buttons closely buttoned to below the waist. Long fitted sleeves, deep pockets with diagonal flaps. High waisted trousers with front metal zip. 8cms of hem fabric. The fabric has light damage. Labelled on both 'Ossie Clark Made in London England' Size 10. Bust 32" x 26" Waist. (2) (light damage and small hole on front jacket and right leg)
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19303 item(s)/page