We found 2121 price guide item(s) matching your search

Ho Pei Metropolitan Bank, 1938 Issue Banknote.China, 6 Coppers, P-S1710K (S/M#H63-31), Issued banknote, Brown, teahouse, back brown, PMG graded Gem Uncirculated 65 (Exceptional Paper Quality), 8 graded by PMG with this and 2 other notes at this level with none higher.

Canton Municipal Bank, 1933 “Canton” Issue.China, 20 Cents, P-S2277 (S/M#K24-41), Issued banknote, PMG graded Gem Uncirculated 66 EPQ, Unpriced in SCWPM. Only one other note graded at this high level by PMG with none higher. W&S.

Bank of Communications, 1935 Issue Specimen.Shanghai, China, 1 Yuan, P-153s (S/M#C126-241), Specimen banknote, S/N A000000 Z, “Specimen No. 37” on bottom margin, Oval embossed red “Specimen De La Rue Cancelled” overprint on face, Purple on light green with locomotive in middle, back purple with Pagoda on hill, PMG graded Choice Uncirculated 64, rare as specimen. TDLR. One of 3 graded by PMG , all at this high grade level.

Central Bank of China, 1948 Issue.China, 25,000 CGU, P-365 (S/M#301-74), Issued banknote, Brown on m/c/ with SYS at center, red seals, back brown, PMG graded Choice Uncirculated 64 EPQ (Exceptional Paper Quality), Rare note in high grade. Only 2s note graded in PMG census, both at this level. It will be almost impossible to improve on this note. ABNC.

Central Reserve Bank of China, 1945 Issue.5000 Yuan, P-J41a (S/M#C297-92), Issued banknote, Block ACF - Block letters only, 168 x 85 mm, Dark gray green on pale green, SYS at center, back gray, PMG graded Choice About Uncirculated 58 EPQ, but the note gives the appearance of Choice Unc. 12 graded by PMG with 4 graded at this level and only one note graded higher in the census.

Central Reserve Bank of China, 1945 Issue.5000 Yuan, P-J41a (S/M#C297-92), Issued banknote, Block ACH - Block letters only, 168 x 85 mm, Dark gray green on pale green, SYS at center, back gray, PMG graded Choice About Uncirculated 58 EPQ, but the note gives the appearance of Choice Unc. 12 graded by PMG with 4 graded at this level and only one note graded higher in the census.

Federal Reserve Bank of China, ND (1941) Issue.5 Yuan, P-J73a (S/M#C286-71), Issued banknote, Orange on m/c, Yueh Fei on right, Temple on left, back orange, S/N 0877637 Block 43, Watermarked paper, PMG graded Gem Uncirculated 66 EPQ (Exceptional Paper Quality), 16 graded by PMG with 6 at this grade level, none higher.

Board of Commissioners of Currency, ND (1985) Issue.Singapore, $100, P-23a KNB31a, Issued banknote, S/N A/6 774635, PMG graded Gem Uncirculated 66 EPQ (Exceptional Paper Quality), 10 graded by PMG with 2 notes graded at this level and also the highest graded.

National Bank of Viet Nam, ND 1955 Issue Specimen.Viet Nam, ND (1955), 200 Dong, P-14As1, SPECIMEN, Green, Soldier with rifle, left, S/N 000000, “Giay Mau” specimen overprint, PMG graded Gem Uncirculated 66 EPQ (Exceptional Paper Quality). Rare note in any condition and this will be difficult if not impossible to improve upon. SBNC. Only 4 notes graded by PMG and all at this level. SBNC.

A late 19th century mahogany cased Stanley surveyor`s level, together with Discoveries and Inventions of the 19th century by Robert Routledge, published 1891.

HORNBY 0 2E double track 3R Level Crossing and a 3R Viaduct with ramps - a Loading Gauge and Telegraph Pole - all Good and c mid 1930`s. A second tray containing a quantity of mostly Hornby 0 C/W items including 5 x Turntables, 2 x wooden Signals, 2 x Astra Signals and other items.

A quantity of HORNBY Track - 11 x R476, 20 x R600, 11 x R601, 6 x R604, 6 x R605, 6 x R607, 4 x R608, 8 x R609, 5 x R610, R615 Diamond Crossing, 7 x R612/613 Points, 636 Level Crossing and 6 x R640/641 Points ( some nos include Peco or Lima equivalent length track) - a small Box containing Gates, Buffer Stops and other items - PCU`s nos R902, 912 and 914. Mostly Good Plus. Sufficient Track and controllers for a reasonable sized and interesting layout.

Denys (G.W.) Machine versus Hand Labour in Mining, Sir Francis Level, near Gunnerside, in Swaledale, Yorkshire, NR, nd. [post 1876], Richmond, 16 page pamphlet, no wraps; Old Gang Lead Mines, near Richmond, Report of Inspection by ?M. Bewick, 1871, manuscript report, 12 pages, stapled; with a small quantity of related ephemera; Bowles, Bowles`s New Traveller`s Guide through the principal Direct and Cross Roads of England and Wales ..., 1795, Bowles and Carver, hand-coloured folding map, 503mm x 383mm, linen backed, original slipcase with printed labels, front and rear (worn); Crosfield (Miss A.), The History of North-allerton, in the County of York .., 1791, half calf; with a small quantity of others (qty)

A 9CT GOLD YORKSHIRE RUGBY LEAGUE MEDAL, with enamelled decoration, engraved `Winners 1933-34 G.L.Grainge`, marked 375, 17.7grams *** George Leslie "Les" Grainge (born 29 November 1910 in Keighley - died 29 August 1983(1983-08-29) (aged 72) in Keswick) was an English professional rugby league footballer of the 1930s, playing at representative level for England, and at club level for Bradford Northern, as a winger, i.e. number 2 or 5. Les attended Woodhouse Grove School, in Apperley Bridge, where he was Head Prefect and Victor Ludorum twice, and Captain of Cricket, Rugby and Lacrosse, as part of their 200 year anniversary the school is dedicating a sports field in Les Grainge`s name. Condition Report: Slight enamel bruises otherwise ok.

A 9CT GOLD YORKSHIRE SENIOR COMPETITION RUGBY FOOTBALL LEAGUE MEDAL with enamelled decoration, engraved `1931-32`, marked 375, 8grams *** former property of George Leslie "Les" Grainge (born 29 November 1910 in Keighley - died 29 August 1983(1983-08-29) (aged 72) in Keswick) was an English professional rugby league footballer of the 1930s, playing at representative level for England, and at club level for Bradford Northern, as a winger, i.e. number 2 or 5. Les attended Woodhouse Grove School, in Apperley Bridge, where he was Head Prefect and Victor Ludorum twice, and Captain of Cricket, Rugby and Lacrosse, as part of their 200 year anniversary the school is dedicating a sports field in Les Grainge`s name. Condition Report: Some slight enamel loss otherwise ok.

A 9CT GOLD YORKSHIRE SENIOR COMPETITION RUGBY FOOTBALL LEAGUE MEDAL with enamelled decoration, engraved `Supplementary Competition Winners 1930-31 G.L.Grainge` marked 375, 13.2grams *** George Leslie "Les" Grainge (born 29 November 1910 in Keighley - died 29 August 1983(1983-08-29) (aged 72) in Keswick) was an English professional rugby league footballer of the 1930s, playing at representative level for England, and at club level for Bradford Northern, as a winger, i.e. number 2 or 5. Les attended Woodhouse Grove School, in Apperley Bridge, where he was Head Prefect and Victor Ludorum twice, and Captain of Cricket, Rugby and Lacrosse, as part of their 200 year anniversary the school is dedicating a sports field in Les Grainge`s name. Condition Report: Some slight enamel loss otherwise ok.

ARR George Walker (British, b. 1930)`Car Joy I`, Teapot, circa 1999Earthenware, painted with vitreous slips, the form modelled as a woman with a pig`s head on her hair, sits astride a man driving a car, a man with a scull head forms the handle, a woman`s head forms the lid, the driver`s arm forms the sleeveH 44cm, W 27cm, D 19cmThis piece is a comment on the environment and the greed and irresponsibility of the public. People ignore the environmental drawbacks of the car. They want to enjoy motoring, and do not care about pollution. The piece was inspired by a felicitous combination of two disparate things. Former MP Teresa Gorman made a speech saying that complaints about pollution spoiled the enjoyment of her car. In Norfolk where George Walker’s family come from, a “gormandiser” is a ‘greedy guts’. Because of this attitude of greed and self-interest (represented by the pig head), the level of pollution from car emissions has risen. The fact that the woman is preventing the driver from seeing where he is going symbolises the fact that he does not care what harm he may cause. The car itself has a menacing grin.CONDITION: Perfect condition with no damage or restoration

*London, Chatham & Dover Railway. Issued 2nd Class singles from Maidstone to Sevenoaks Bat & Ball, and Victoria to Fawkham (light crease), together with 1st Class returns from Faversham to Sole Street (`000` 17/8/1892) and St. Paul`s to Ramsgate, Margate or Broadstairs (crease); 3rd Class returns from Faversham, Kemsing, Margate, and Teynham; a 3rd Class return from Victoria, etc. to Crystal Palace High Level in connection with the RSPCA Distribution of Prizes on 11/6/1892 (including Admission); a 3rd Class return from Holborn Viaduct, etc. to Herne Bay in connection with the Hillborough-on-Sea-Estate land sale on 15/5/1893; a Bicycle, etc. single from Victoria Main Line to Deal SE (light crease); a Dog (or Cat) single from Clapham Road to Victoria; fully-printed Dog singles at 3d from Brixton, Catford, Clapham, Crystal Palace South Side, and Herne Hill (4 with creases), and an Insurance Ticket `For an Excursion on the Railway Only` from and to Holborn Viaduct (18)

*Overseas selection. Issued Edmondsons, mainly from the early years of the 20th century, comprising 3 Argentina (Buenos Aires Province), 3 Australia (Victoria; 1 creased), 2 Brazil (Sao Paulo Railway), 2 Burma, 1 Ceylon, 1 Egypt, 1 Hong Kong (Hong Kong High Level Tramways Company), 3 India (EIR, ISR), 1 Japan (text in both English and Japanese), 1 Java, 2 Middle East (CIOB and Ottoman (Aidin) Railway), 1 Mozambique (C. de F. Louren?o Marques) 1 New Zealand (Cook`s Tour), 1 South Africa (Cape Government Railway; light crease), and 1 Sudan. The lot also includes a small Pullman Company Passenger Check paper ticket from New York and 10 severed halves - 3 Australia (1 creased) 1 Congo, 1 Kenya (Uganda Railway), 2 New Zealand, and 3 South Africa (Cape Government Railway) (35)

"AN IMPORTANT IMPERIAL RUSSIAN ICON TRIPTYCH, FABERGÉ & SIGNED N. EMELIANOV, CIRCA 1912 The central reserve displaying a finely painted image of The Serafimo-Ponetaevskaya Sign Mother of God, characteristically painted with a gem and pearl encrusted veil. The Christ Child as well as the head of the Virgin, encircled with ornate silver repousse haloes, the Virgin’s halo embellished with cabochons. Both hallmarked St. Petersburg, and with Cyrillic maker`s mark FABERGÉ beneath the Imperial Warrant and workmaster`s initials TR for Phillip Theodor Ringe. Below the Virgin are inscribed the standard troparion (left) and kontakion (right) celebrating icons of the “Sign”. And further still lower right the icon is signed in Cyrillic “Painted by N. Emelianov”. Above the Virgin on either side are painted two full length images identified by inscriptions as Angels of the Lord. To the Virgin’s right (viewers left) a vertical panel divided into six sections each depicting a church feast day or other related event. From top to bottom they are; The Birth of the Mother of God, The Entrance of the Mother of God Into the Temple, The Translation of the Relics of Saint Alexander Nevsky from Vladimir to St. Petersburg, Saints Peter and Paul, The Appearance of the Wonderworking Icon of Kazan, and The Translation of the Relics of Saint Theodore Stratelates. To the Virgin’s left (viewers right) a similar vertical panel divided into five sections depicting the following iconographical subjects; The Resurrection, The Transfiguration, The Apostle and Evangelist Saint Matthew, The Dormition, and The Assembly of the Archangel Michael. Further out, the left wing depicts a finely painted full length image of Saint Nicholas whose head is encircled by a silver repousse halo stamped with the workmasters initials TR and who stands beneath an image identified by the Slavonic inscription as the Not-By-Hand-Made Image of Our Lord. Below Saint Nicholas is a reserve divided into four sections depicting various subjects. Clockwise from upper left they are; The Transferring of the Vladimir Mother of God Icon, Saint George, Saints Konstantin and Helen, and the Translation of the Relics of Saint Nicholas. The right wing depicts a finely painted full length image of Saint Seraphim of Sarov whose head is also encircled by a silver repousse halo stamped with the workmaster initials TR and who stands beneath an image of The Old Testament Trinity. Below Saint Seraphim a reserve divided into two sections depicts the following subjects; The Discovery of the True and Life-Giving Cross and an image of The Kazan Mother of God. Each shaped panel separately painted and set into the ornately carved one piece frame displaying an eight-sided cross finial atop the left and right wings and the central section surmounted by a similar cross flanked by a pair of six-winged Seraphim. The wide lower margin with two medallions carved in high relief and depicting Saint George (left) and The Archangel Michael (right). The verso of carved frame lined with brass edging around the border and the entire back covered in kid leather and stamped in Cyrillic ?.??????? beneath the Imperial Warrant and with St. Petersburg address. Height 23.3 inches (59.4cm).Width 16.4 inches (41.5cm).Provenance:Colonel Dmitrii Nikolaivich Loman, circa 1912, presumably a gift from Empress Alexandra Feodorovna. With Bowater Gallery, London, where acquired by Mrs. Harold Leather of Hamilton, Ontario, Canada, accompanied by original receipt of purchase dated August 10, 1970. Thence by descent to her son, Sir Edwin Leather (1919-2005) former Governor of Bermuda, and acquired by the present owner from the estate of Sir Edwin Leather.The Mother of God of the Sign icon known as the Serafimo-Ponetaevskaya was imbued with particular significance for Tsar Nicholas II and his wife Alexandra Feodorovna. As the last icon of this iconographic type to be declared miracle-working in Russia (1885), it became for the Imperial couple a symbol of Holy Rus reborn and triumphant in the modern age, and a direct link to the miraculous powers and protection of Saint Serafim of Sarov, to whom the Empress Alexandra was especially drawn. When the couple attended the celebrations marking the canonization of the Nizhnii Novgorod saint in 1903, the Ponetaevskaya icon was one of three venerated for their connection to Serafim’s life and work. The Empress was given a copy to mark the occasion and this icon accompanied her until her final days and death in Ekaterinburg in 1918. The Ponetaevskaya icon was particularly associated with Tsarskoe Selo, which in 1901 became the official Imperial residence and from 1909 was the site of the Fedorovsky Gorodok, an elaborate complex intended to recreate the spirit and culture of an idealized Russian past in a modernized idiom. It is with Colonel Dmitrii Loman, the driving force behind the construction and conception of the Fedorovsky Gorodok and a trusted member of the Imperial family’s inner circle, that the offered lot is associated.The icon’s name derives from the Serafimo-Ponetaevskaya convent, established in 1864 in memory of Saint Serafim (1754/9 - 1833), whose hermitage was located at nearby Sarov. The convent was famous for its icon painting workshops, and in 1879, a novice named Klavdia Voiloshnikovna made a copy of an icon of the Sign that had been acquired from the artist Pavel Sorokin who oversaw the painting studio. In addition to the canonical features of Sign icons - the half-length figure of the Mother of God with her hands raised in prayer and the Christ Child encircled by a nimbus within Her womb - the icon that Voiloshnikovna copied had several distinctive features. The Mother of God’s eyes are lifted to heaven and a pearl and gem encrusted veil sheathes her head and shoulders, imparting to her face a teardrop-shaped contour. The faces are rendered in the painterly style popular in the nineteenth century and have a certain sentimental sweetness. On May 14, 1885 the icon performed the first of many miracles and by the end of the year was officially proclaimed miracle-working by the Holy Synod.In 1909 an exact copy of the icon arrived at Tsarskoe Selo as a gift from the Abbess of the Ponetaevskaya convent. That same year, Tsar Nicholas II approved construction of a temporary church to serve the devotional needs of His Majesty’s Own Regiment, who were permanently stationed there. Dedicated to Saint Serafim of Sarov, the church was an experiment in resurrecting an idealized Russian past. It was appointed with an iconostasis designed by Prince Mikhail Putyatin (see fig. #3 & #4) and filled with icons painted by noted iconographer Nikolai Emelianov executed in the 17th century style. The Ponetaevskaya icon occupied a place of honor in the church, along with relics associated with Saint Serafim.At the same time Nicholas and Alexander gave permission and funds to build a permanent cathedral on the grounds of the Alexander Palace at Tsarkoe Selo, where their family might worship surrounded by their most devoted troops as well as their favorite sacred images. Consecrated in 1912, the cathedral contained two churches. In the upper church dedicated to the Feodorovskaya Mother of God icon, a five-tiered iconostasis was installed, filled with new icons painted by Emelianov in the same 17th century style and lavishly adorned with silver basma. On the lower level, space was carved out for a crypt church and it was here that the temporary church’s altar, icons, relics and fixtures were transferred. To the Ponetaevskaya icon was added a copy of the Umilenie Mother of God that had been Saint Serafim’s personal icon, together with an icon of the saint himself. A second Ponetaevskaya icon hung nearby in the empress’s own private chapel, donated by the empress’s sister, Grand Duchess Elizaveta Feodorovna in 1912 and adorned with a sumptuous silver oklad and costly embroidered veil (Fig.1).The offered triptych of the Ponetaevskaya Mother of God with Saints Nicholas and Serafim can be securely traced to Dmitrii Loman (1868-1918), a Colonel in His Majesty’s Own Regiment, whose energy and organizational talents made him an indispensable and sympathetic aide to the Imperial couple and was by all accounts very close to the Empress, who was the Godmother of Loman’s son, Yuri. A contemporary photograph dated to 1914 shows the icon hanging in the upper corner of Loman’s office located in the refectory at Tsarskoe Selo (Fig.2). Colonel Loman served in countless capacities that reflected the Emperor and Empress’ trust. In addition to being churchwarden of the cathedral, during WWI he served as the Empress’ representative on the Tsarskoe Selo Military Hospital Train No. 143 and similar trains under the protection of the grand duchesses. He was also on friendly terms with Grigorii Rasputin (Fig.3) who was a frequent visitor and was one of the few people actually present at his burial. Loman’s great passion was the preservation of early Russian art, music, and popular culture, and his collections of liturgical and folk art were intended to serve as inspiration for the revival of a single national style in all facets of contemporary life. In 1915, he was instrumental in creating the Society for the Renaissance of Artistic Rus, a group that included the leading artists and architects working in a neo-Russian style. The society’s goals included the study and preservation of Russian antiquities, the revival of pre-Petrine aesthetic traditions adapted to contemporary conditions, publishing textbooks on Russian art for schools, and restoring the purity of the Russian language. The complex of buildings that grew up around the Feodorovsky Cathedral, the Feodorovsky Gorodok, was to be a prototype for the realization of these goals on a national scale.In every sense the offered triptych is a microcosm and memento of the Feodorovsky Cathedral whose construction and decoration Loman oversaw. The painting is the work of the Palekh- trained Moscow-based court iconographer and restorer Nikolai Sergeevich Emelianov. Having proved his ability to interpret the spirit of 17th century icons in a modern idiom with the iconostasis for the temporary church, Emelianov was among a select group of iconographers (including Mikhail Dikarev) commissioned to provide icons for the cathedral’s upper church (Fig.4). Emelianov also prepared the drawings for the mosaic icons that marked the multiple entrances to the cathedral. In addition to the iconostasis, in 1910-11 Emelianov painted 102 icons for the cathedral itself, including “an icon of the Mother of God of the Sign with attendant angels,” of which the present icon may have been the model for the Loman triptych. Icons by Emelianov from the Feodorovsky Cathedral and other late Imperial churches are preserved in the State Museum of the History of Religion and, like the present icon, are generally signed in the lower right corner. So pleased were the royal family with his work, that Emelianov was awarded a silver medal on a Vladimir ribbon for his icons in the Feodorovsky Cathedral together with the Emperor’s “personal thanks.”The elegantly elongated figures of the two attendant saints - the tsar’s name saint Nicholas and Saint Serafim himself - and the miniature painting of the marginal scenes of festivals and saints are subtly adapted to the distinctly modern features of the Ponetaevskaya Mother of God. An exceptionally rich visual rhythm is created by the variations in scale and size of the scenes that flank that central image and create a continuous horizontal band along the lower edge. The three panels are set within a carved wooden framework that echoes the elongated gables of the iconostasis designed by Vladimir Pokrovsky for the upper church (Fig 5.). The carved relief roundels on the lower margin reference the mosaic icons of Saint George and Saint Michael that Emelianov designed to mark the north and south entrances into the cathedral (St. George appropriately designated the officers’ entrance). Reflected in the cabochon-studded haloes is the rich intricacy of 17th century devotional icons that established the aesthetic ideal espoused by enthusiasts like Prince Shirinsky-Shikhmatov and Loman himself. The fact that they were made in the workshops of the Imperial silversmith Fabergé reflect the status and importance of the person who commissioned the offered triptych. The carving borrows some of the stylized folk motifs from the furnishings designed for the cathedral by Nikolai Bartram and executed in the workshops of the Moscow Zemstvo at Sergiev Posad. Here too a balance is sought between the lushly ornamented upper half in the neo-Russian style and the neoclassical simplicity of the lower section, so typical of Fabergé’s work in burl and Karelian birch.Clearly, the triptych is a testament to Loman’s deeply held conviction - one he shared with the Imperial couple - that a renaissance of Old Russian values in contemporary life was a goal within reach. In the absence of a presentation plaque or other documentation we can only speculate as to its origins. It would certainly have been a fitting gift of appreciation and remembrance from the Empress for whom Loman had proved so indispensable. It is displayed in Loman’s office near an assortment of personal photographs depicting Tsar Nicholas II and the Empress of the type known to have been given by the royal couple to those whom they held in high esteem. However, perhaps the best clue as to who might have commissioned this icon rests in the fact that it was decorated by the firm of Fabergé. For it is well known that when the Tsar and Tsarina wanted to favor someone special with an extraordinary gift they would call upon the workshop of Fabergé to fulfill such requests. When all known facts are taken into consideration, Imperial silversmith Fabergé, court iconographer Emelianov, and the triptych being situated in the office of dutiful royal confidant and administrator Dmitrii Loman, it is fair to presume that the offered lot was indeed a gift from Nicholas and Alexandra to Loman most likely upon the completion of the cathedral in the fall of 1913 which Loman oversaw, including the task of primary fundraiser. After decades of decay and destruction, in 2009 a concerted restoration of the Feodorovsky Cathedral at Tsarskoe Selo was undertaken and the iconostasis reconstructed on the basis of several surviving icons by Emelianov. Loman’s son Yuri (1906-1988) survived the times or terror, successfully adjusted to communist rule and towards the end of his life penned a biography, “Memories of the Empress’ Godson”. The Society for the Renaissance of Artistic Rus of which Loman was instrumental, ceased its activities in October 1917. Loman perished (was shot) during the terror of 1918 and by 1928 the old icons from the Feodorovsky Cathedral had been dispersed, some made their way to the Russian Museum, while others, including some painted by Emelianov went to the State Museum of the History of Religion. Others, like the offered lot, thankfully found safe haven elsewhere and after decades of silently preaching in places far removed from the splendor of Tsarskoe Selo, are now being enjoyed by a new generation of enthusiasts who have come to appreciate the true geniuses of those artisans who created a unique Russian style that has now risen from the ash heap of history to reign again in splendor."

REEL: Abu Ambassadeur 6500C silver multiplier reel, in as new condition, high speed model, foot stamp 790804, free spool with level wind, c/w spares, tools and drawstring bag, in maker`s black leather case.

REELS: (2) Abu Ambassadeur 6000 red multiplier reel, grooved end plates, foot stamp 060600, single black handle, free spool level wind, minor chips to edges otherwise good, in maker`s leather case with tools and spare spool in tub and an Abu 501 closed face reel, anti-back wind fitted, retaining good original finish, c/w spare spool, in rexine covered wooden box.

REEL: Abu Ambassadeur 6000 multiplier reel, single black handle, foot stamp 060600, level wind, free spool, grooved end plates, most original finish, see image, c/w handbook and spares in maker`s leather case.

SELECTION OF CIRCA 1950`s MARKLIN GERMANY MAINLY BOXED HO MODEL RAIL ACCESSORIES to include electric level crossing with control hut No 7054, good, straw colour box good ELECTRIC SIGNAL No 7039 almost mint box good ANOTHER BOXED SIGNALS 1st 446/2, THREE ITEMS OF GOODS ROLLING STOCK No 4503, 4511 and 4514, track to include ELECTRIC LEFT AND RIGHT HAND POINTS with instructions unboxed items include four goods wagons/tankers, electric standard lamp, control switches etc together with a 1957 MARKLIN MINIATURE RAILWAY BOOKLET a LAYOUT GUIDE and SIGNALS GUIDE 1955 and COLOUR CATALOGUE FOR 1958 EST 80-120

A PAIR OF 10 X 50 PERISCOPE BINOCULARS BY CARL ZEISS, CIRCA 1962, now finished in polished steel and stamped with maker’s mark and number 1331847 on baseplate, viewing aperture with shade cowl, bubble level filters, anti-mist silica gel chamber, adjustable eyepiece, lockable 360º swivel action, 60º up angle, 20º down angle, mounted on adjustable wood and metal tripod -- approximate height 78in. (198cm.); copy of instruction manual, spare sachets of silica gel, cleaning cloth and brush

A GOOD MID 19TH-CENTURY DIPLEIDOSCOPE BY E.J. DENT, constructed in oxidised-brass, signed on the polished-brass cap, countersigned and numbered to side E.J. Dent Patentee 624, levelling screw, bubble level and compass, contained within original mahogany box, together with a copy of Dent’s Table for the equation of time, 1846 to accompany his new meridian instrument, and a note attributing provenance to Captain Thomas Levois, in the slave trade most of his time, the lid containing polarising filter. Overall measurements -- 6in. (15cm.) square, The dipleidoscope was patented in 1843 by James Bloxam and marketed by Edward Dent for timing the meridian transit of the sun. The mirror cell contains a hollow, right-angled prism, with two sides silvered and one of glass. The meridian transit was determined by the coincidence of two images of the sun by single and double reflection, one from the top glass and the other from both mirrors. With the base properly levelled and oriented, the meridian transit could be read to seconds.

A SURVEYOR’S LEVEL BY BAKER, LONDON, in oxidised-brass with lacquered fittings, signed on the main tube Baker, 244 High Holborn, London 2818, bubble levels, compass, levelling screws and base plate for tripod attachment, contained in fitted mahogany box with leather strap -- 16in. (40.5cm.) wide; together with a ‘Walker’s’ yacht log and impellor, (2)

AN 18TH-CENTURY MAHOGANY AND BRASS SURVEYOR’S LEVEL BY COTTAM & HALLEN, LONDON, comprising a lacquered-brass quadrant, signed and inscribed Cottam & Hallen Winsley Strt, London No 180, the scale divided 12-0-12 and inscribed to left Inches Full In 3 Feet, and to the right Inches Rise In 3 Feet, thumb-screw retention, the crossbar with folding pin-hole and cross-hair sights, shaft terminating in a sharp point with foot plate; accompanied with matching surveyor’s staff -- dimensions overall 56½ x 54in. (143.5 x 137cm.), (2)

BERGMAN INGRID: (1915-1982) Swedish Actress, Academy Award winner. Bergman`s personal school exercise book, the 8vo book with blue paper covers comprising eighteen pages of text entirely penned by Bergman in her neat juvenile hand in black fountain pen ink, in Swedish, c.1925. The cover features a printed label affixed to the centre with the words Heikes Linjerade Skrivbocker II, Kalligrafias Forlag, Stockholm printed upon it. To the label Bergman has added, in her own hand, the words `Ovningsbok, Klass I` and signed her name in full. The contents of the notebook appear largely to be handwriting exercises relating to the months of the year, the number of months and days in a year etc. Just one schoolteacher`s mark appears in red ink to the border of one page-Bergman was awarded a B+ for her efforts. Rare. VG. . . . In her autobiography, My Story, Bergman briefly recalls memories of her school education where she describes herself as a shy pupil and also tells of her father`s influence on her education-`Papa thought education after a certain level was a waste of time….What d`you want to go to school for? You can do your sums and you can write. Now you`re wasting time.`

A SET OF SIX HANS WEGNER TEAK AND CANE ELBOW CHAIRS MADE BY JOHANNES HANSEN CIRCA 1949, with shaped back and rail arms, partially wrapped with cane, cane seat, on tapered supports, branded Johannes Hansen, Copenhagen, Denmark. Hans Wegner`s career began with the designer and architects education being rooted in the School of Arts and Crafts in Copenhagen. His chairs are primarily championed for their level of high craftsmanship as well as their comfort. At a time when the furniture market was flooded by imitations and pieces influenced by the Bauhaus style of Weimer, Wegner`s chairs were among the first to reflect the new modernist movement and to exploit the opportunities provided by increased standardization in furniture production. Wegner designed furniture for manufacturers Johannes Hansen and Fritz Hansen throughout his career and through the mass production of these firms his chairs earned the high status of classic yet comfortable chairs which helped mould the modern design movement of the era. The iconic design of this set of chairs gains its notoriety from its role in the Kennedy versus Nixon debate of 1960. As Dara Flynn dutifully notes this was the first ever televised live debate and so the role of the chair reached new parameters and fame through this auspicious event. Especially imported from Denmark for the debate, the chair reflects the wider functionalist demands of the new domestic and interior sphere. Its formal composition promotes comfort while meeting the age old demand for pleasing aesthetic in interior design. Hans Wegner, a well-known artist in the medium of furniture marries environmentalism with a chic, fresh design and creates in this set an iconic and endurable style reflecting the Nixon and Kennedy era, yet remaining relevant and functional in the 21st Century. Interestingly `The Chair` was not so called by the designer himself as he always allowed either the consumer or manufacturer to name his designs. The title, thus suggests the notoriety gained by the populace and the high esteem paid to it by national popular culture.

A 19thC mahogany horse scale with spirit level, by Arnold & Sons, West Smithfield, London, and a shepherd`s crook. (2)

A Fine Quality Historic German KPM Large NSDAP Porcelain Vase, Circa 1933-38, the vase of Roman style, on a square pedestal base, decorated to the front with a polychrome image of the Old Reich Chancellery, Berlin, flying the Fuhrer standard, the reverse with a large gilded spread-wing Third Reich eagle over swastika, 45cm high. . The Reich Chancellery. In 1869 the Prussian state government had acquired the Rococo city palace of late Prince Radziwill on Wilhelmstraße No. 77 (former "Palais Schulenburg”), which from 1875 was refurbished as the official building of the Chancellery. In the days of the Weimar Republic the Chancellery was significantly enlarged by the construction of a Modern southern annex finished in 1930. In 1932/33, while his nearby office on Wilhelmstra?e No. 73 was renovated, the building also served as the residence of Reich President Paul von Hindenburg, where he appointed Adolf Hitler chancellor on 30 January 1933. . In 1935 the architects Paul Troost and Leonhard Gall redesigned the interior as Hitler’s domicile. They also added a large reception hall/ballroom and conservatory, officially known as the Festsaal mit Wintergarten in the garden area. The latter addition was unique because of the large cellar that led a further one-and-a-half meters down to an air-raid shelter known as the Vorbunker, once completed in 1936, it was officially called the "Reich Chancellery Air-Raid Shelter” until 1943, with the construction to expand the bunker complex with the addition of the Führerbunker, located one level below, devastated by air raids, the ruins of the Old Reich Chancellery were not cleared until 1950.View on dnfa.com

MID 19TH CENTURY LINE INLAID FIGURED MAHOGANY WHEEL BAROMETER INSCRIBED CARTWRIGHT AND SON, PRESTON, the 9 3/4" silvered dial with brass bezel, housed in a typical case with brown swan neck pediment OVER A HYGROMETER, REMOVABLE MERCURY THERMOMETER AND A SILVERED LEVEL, the case outlined in barber`s pole inlay, 42 1/2" (108cm) high

A Surveyor`s level by R. Watts & Son, no. 60086

A surveyor`s level by A Hall & Bros Ltd London in unpainted metal case

A Victorian rosewood banjo barometer with hydrometer, thermometer, Butler`s mirror, circular silvered dial and spirit level inscribed "Tanner & Son, Cirencester"

An early 19th Century mahogany and boxwood lined and boxwood strung banjo barometer, with hydrometer, thermometer, spirit level and circular silvered dial inscribed "F Amadio, St. John`s Street, Rode, No. 118"

A Surveyor`s Level by Wood & Co., Liverpool in oak case.

A Hornby Series gauge O clockwork No. 2 4-4-0 locomotive 2783 (wheels replaced), a six wheel tender 2711, both finished in green livery with gold pinstripe decoration, two cabooses, other goods rolling stock, a guard`s van, a level crossing and buffer stop, a Hornby Trains No. 51 passenger set, comprising 0-4-0 locomotive, tender, two carriages, guard`s/luggage van and track, boxed, a No. 20 0-4-0 locomotive, tender, four items of rolling stock, a locomotive buffer stop, a No. 1 footbridge, a No. 3 station and a scratch built island platform, some boxed (playwear, faults, boxes creased, torn and scuffed).

A fine Scottish George III mahogany slender bowfronted mercury stick barometer. Alexander Adie, Edinburgh, early 19th century. With gadrooned dome surmount and slender silvered vernier scale calibrated in barometric inches and annotated Stormy, RAIN, Change, FAIR and Very Dry beneath signature A. Adie, Edinburgh to upper margin, behind bowed glass within reeded surround above trunk with the same bowed profile and moulded border over vase shaped cistern cover with gadroon carved waist and underside applied with a foliate bud finial with level adjustment square beneath, 99cm (39ins) high. Alexander Adie is recorded in Goodison, Nicholas English Barometers 1680-1860 as born 1774 and apprenticed to his uncle the eminent Scottish instrument maker John Miller in 1789. In 1804 his uncle took him into partnership under the name of Miller and Adie, the business continued until after Miller’s death in 1815. Adie was particularly interested in meteorological instruments and is perhaps best known as the inventor of the Sympiesometer in 1818. In recognition of his work he was elected a Fellow of the Royal Society of Edinburgh in 1819. He was appointed optician to William IV and later Queen Victoria and took one of his sons, John, into partnership in 1835. Two of his other sons set up businesses; Robert in Liverpool and Patrick in London. Unfortunately John Adie was prone to ‘Fits of Despondency’ which resulted in him shooting himself in 1857, Alexander Adie died the following year -no doubt expediated by the stress of his son’s demise. The current lot is an earlier example of perhaps Adie’s most attractive design of domestic barometer. The classic elegant simplicity of this model endured as subsequent versions were supplied by his sons. The instrument has survived in good original, unrestored condition however needs some attention in order to bring it back to working condition.

An early 20th Century mahogany wheel barometer with silvered register, thermometer, dry/damp dial and spirit level all within boxwood strung border, length 100cm, Bellotti & Guger, London. S/D.

A private archive of Stanley Vivian Bacon the British gold medal winning wrestler from the 1908 London Olympic Games, being an extensive and rarely seen documentation of the career of an early Olympic Games gold medal winner and athlete, extensive mostly contained in a large album pasted with pictures, programmes, tickets identity cards, newspaper cuttings and other ephemera, pasted chronologically covering Bacon’s career as a wrestler between 1904 and 1928, over 300 items in the album, of which 80+ are related to the Olympics in Athens 1906, London 1908, Stockholm 1912, Antwerp 1920, Paris 1924 & Amsterdam 1928, highlights including Bacon’s competitor’s card from Antwerp, further details are available on request; sold with a separate scrap book relating to the Stockholm Games of 1912, and a quantity of loose private photographs, also Army service papers, documents, magazines with content relating to Bacon etc. Stanley Bacon (1885-1952) won the gold medal at the 1908 London Olympic Games in the middleweight freestyle competition. He also competed at Stockholm in 1912 and Antwerp in 1920. He was still involved in wrestling at the Paris and Amsterdam Games of 1924 & 1928, latterly as a judge. Stanley Bacon was the eldest of five brothers who were all top-flight British wrestlers, whilst Edgar & Ernest Bacon also competed at Olympic level. Between them they accumulated 30 British Championship titles, Stanley half of these. By profession Stanley Bacon was a civil servant and an enthusiastic supporter of their sports club where he was diving and middleweight boxing champion, and played in the 1st XV at rugby.

A 2012 London Olympic Games bearer’s torch, of tapering, triangular form, gold coloured, bearing the official 2012 logo, designed by Edward Barber and Jay Osgerby, manufactured in collaboration by Tecosim, LPG Gas, Bullfinch and Premier Sheet Metal, inner and outer aluminium alloy skin, held in place by a cast top piece and base, perforated by 8,000 circles representing the total number of torch bearer’s in the London 2012 Relay, and also allowing a high level of transparency including viewing of the burner system, length 80cm., 31 1/2in., weight 800gr., 28oz.; sold together with a London 2012 Torch Relay bearer’s two-piece uniform, by Adidas, men’s medium size, bearing London 2012 inscriptions and Olympic Rings, plus a bearer’s information pack, and a 2012 Great Britain team supporter’s scarf produced by the retailer Next

A George III mahogany wheel barometer early 19th century, the case edged with boxwood and ebony and with broken arch pediment, silvered hygrometer dial, alcohol thermometer, convex mirror in a reeded ebonised mount, 7¾in. silvered dial, turned ivory pointer wheel and silvered spirit level signed `S. Hart Malmesbury`, 39in. (99cm.) high.

A large Kukri with two smaller Kukri`s set in scabbard, horn handle, inlaid with silver coloured metal mounts, the scabbard being leather with a silver coloured metal tip, a similar smaller, a small dagger with horn handle within a leather case, Schafer biro, set of dice, various other penknives, small spirit level and a decorative paperknife (1 box)

A Victorian mahogany wheel barometer with hygrometer, thermometer, a spirit level inscribed S Oreggia, Nottingham

A Stanley surveyor`s 20" level (no.55870) in original fitted carrying box

Paul Marx, late 20th century, `Rhubarb`, Westland Whirlwind Mark I`s of 137(F) Squadron RAF Chalmy Down (Bath), on a low level strike (Rhubarb) against enemy shipping in February 1942, oil on daler board, signed and dated, 60cm by 45cm

Antique brass ship`s compass, the bezel inscribed Azimuth Circle, no. 4, ref no. 6A/890, fitted with an adjustable eye glass and spirit level over the base inscribed no. 41215E, within a fitted mahogany guard case with brass carrying handle, 10" wide

Royal Lochnagar The Manager`s Dram 10 Year Old malt whisky bottled January 2006, bottle number 0182, level at lower neck, 70cl, 57.2% vol, Royal Lochnagar Selected Reserve Single Highland Malt Scotch Whisky, distilled and bottled by Royal Lochnagar Distillery, Limited Edition bottle number 43832, in original wooden presentation box with certificate of authenticity, 750ml, 43% vol (2 bottles)

Dalwhinnie The Distillers Edition 1986 Single Highland Malt Scotch Whisky level at top of shoulder, 70cl, 43% vol (boxed), Dunhill Old Master Finest Scotch Whisky, labelled for the Thai market, cellar master`s number 34988, level at lower neck, 750ml, 43% vol, boxed (2)

Soccer-Leopold Club Brussels-A gold coloured metal medallion commemorating Leopold Club`s victory in the Coupe Dupuich held in Brussels in 1920 (tests as gold). The Coupe Jean Dupuich was one of the many forerunners of todays Champions League or European Cup. It was donated by Adolphe Dupuich in memory of his son Jean who played for Leopold Club. It was held twice in 1914 and 1920 the latter of which resulted in a final between Racing Club and Daring Club which the former won 3-2. It is not known whether this item is in fact a winners medal or a commemorative medal. This club founded in 1893 forms an important part of Belgian Football History and participated in the first championship in 1895 before falling from grace prior to World War I. Now known as Royal Leopold Uccle F.C. it now plays in Promotion Series D, the sixth level of Belgian football

Various car lamps, camera tripod, spirit level and Woolworth`s boxed set of carpentry hand tools including drill, saw and sander.

Cartographic Miscellany (Botanische Geographie), Meyer, Meyer`s Handatlas, ca. 1860. 14.3 x 10”. (BW) This fascinating chart depicts the plants in the equinoctial regions of America, according to their elevation above sea level. This engraving was issued in Meyer`s Handatlas, one of the finest German atlases of the mid-nineteenth century. Wide margins with a few faint spots and a tiny hole at top left only visible when held to bright light. (+B)

London, England ([Lot of 2 - London Street Views]), Tallis, Tallis`s London Street Views, London, ca. 1840. 16.5 x 4.8”. (BW) These two rare plans depict the building views from street level along Bishopsgate Street Without and Newington Causeway. Bishopsgate Street, one of the original Roman roads in the city of London, derived its name from an ancient gate in the city walls adorned with statues of bishops of London. Newington Causeway is located in central London. Each plan includes views of the buildings on both sides of the street, with many proprietors named, in addition to a bird`s-eye plan of the area and a vignette with a close-up of one merchant`s building. Light offsetting with some light creasing and a few small binding holes along centerfold. (+B)

A rivet work iron pot with flat loop handles spirit level designs, Port Kembla 1950’s 60cm high, 58cm diameter

German WWII Knight`s Cross Order of the Iron CrossThis is a Knight`s Cross level of the Iron Cross. High centered swastika is perfectly squared. Attachment loop and Iron Cross are both stamped .800. A great example of a very rare medal. Unmarked examples are usually jewelers` copies. Condition: Excellent.Starting Price: $1500

An oak cased ‘Admiral Fitzroy’s’ barometer, Davis and Company, late 19th century, with syphon tube applied over paper double scale calibrated in barometris inches and with the usual observations beneath incsription DAVIS AND COMPANY ‘Fitzroy’s Prize Medal Barometer’ the lower section with instructions for interpreting observations above storm tube opposing alcohol Fahrenheit scale thermometer, the arch top case with Gothic revival style foliate finial and gilt brass Royal Warrant crest beneath glass above twin level recording screws to the uprights and on short skirt base, 119cm high

Rowling, J. K. "The Tales of Beedle the Bard", The Children`s High Level Group, December 2008, deluxe edition, the bound leather with silver coloured metal mounts with a central skull and blue glass jewels, a portfolio of ten drawings by J.K. Rowling and an envelope within a suede pocket, the book is held within a maroon velvet bag with gold ties and gold embroidered signature of the author, all contained within a box designed to look like a book, with blind stamped decorations to the front board and gilt titles to the spine with raised bands, contained within a white envelope saying "This side up", folio

McConnell`s Distillery Ltd Stromness Old Orkney Real Liqueur Whisky in hand made bottle. McConnell`s was the third distillery in Stromness Orkney and closed in 1928. Condition report: foxing to label, foil cork cover in good order and contents of bottle level with the shoulders.