A matched pair of yew and elm Windsor armchairs, second quarter 19th century, of Prior type, attributable to J & R Prior, Uxbridge, each 90cm high, 56cm wide, 48cm deepThe Prior family of Uxbridge, Middlesex are well known for being high quality chair makers throughout the second half of the 18th century and the early 19th century. The family business was started in the 18th century by John Prior, who passed away in 1816. John had two sons John Jnr and Robert. Robert took on the running of the firm from his father but it is common to find either, or both of the brothers names stamped onto high quality Windsor chairs. The use of high quality woods like Yew, the bell shaped seats, and the unusual triple splats to the back are all characteristics which help to attribute these unstamped chairs. Condition Report: Please note: The chairs in this lot should be described as a matched pair. Marks, scratches and abrasions comensurate with age and use. Some old chips and splits and some old repairs some small losses. Minor evidence of old worm (see images) Some uneven wear to base of feet (as expected for type of chair/ use) No obvious breaks to any elements. Some minor evidence of later re-gluing of joints including some legs into position to the underside of the seats. One rear leg of one chair is likely an associated replacement as the turning varies and it is made of an alternate timber (likely ash). The other rear leg to the same chair is made of beech. All of the legs to the other armchair are made of yew. This variance is likely a quirk of chairs made by a provincial chair maker of the period, however it is likely that the chairs were not conceived as a pair originally in any case. Please request additional images if required for visual reference to condition. Condition Report Disclaimer
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A pair of fine George III artificial 'Coade Stone' urn finials, late 18th century, stamped for Coade, Lambeth, the fluted ovoid bodies with domed integral covers and acorn finials, with waisted circular socles; one with stamp COADE LAMBETH 1794, the other with indistinct stamp COADE LA...; presented on square section artificial stone plinths cast with rams' masks and swags; approximately 120cm high overall, the plinths 34cm squareCoade stone is a vitrified ceramic or stoneware body developed by Mrs Eleanor Coade during the 1770s. Known components of the recipe for this distinctive pale orange material include ball clay from Dorset or Devon, flint and sand, though there was some secrecy about the exact proportions of ingredients used.Eleanor Coade and her daughter, who was also called Eleanor, ran a successful and prolific manufactory in Lambeth, and produced statuary and ornament for many royal and aristocratic houses, including by appointment to King George III, and the Prince Regent.The design of the present urns appears in Coade's 1778 trade catalogue, no. 94 (plate marked N. 2 in the Sir John Soane museum copy of the catalogue).A pair of finials of identical design, in that case not presented on plinths, were sold at Christie's, the Michael Roberts Collection of Garden ornaments, 27 September 2004, lot 278 (£35,850).A pair of similar Coade stone pedestals with rams' masks to the corners, though now lacking the swags it once had, supports a pair of vases after the Antique at Chiswick House, London. One is illustrated in John Davis, Antique Garden Ornament, the Antique Collectors' Club, 1991, p. 167, plate 4:6 Condition Report: The urns and plinths bear the usual minor marks, knocks and scuffs overall consistent with age and use.The surfaces have some mottled greyer areas, likely dirt or possibly evidence of a previous finish. The exposed edges are a little chipped in places including the fluting to the ovoid bodies, as is to be expected from the lot's age and brittle material. Losses and nibbles to edges of plinths (tops and bases), one with hairline cracking to top. Surfaces of plinths quite weathered in places. Small and quite subtle restorations in a number of areas, including to the edges of the fluting on one of the domed covers, the circular top edges, and to an extent, the bases and socles. The acorn finials have darker areas to the leaves, possibly repairs/retouching. However, despite the issues stated above, the urns retain their shape and integrity of design, and remain in highly presentable condition.There is evidence of a light brown residue near one of the socles, suggesting a possible repair. Condition Report Disclaimer
Circle of Adam Eck (Eger, fl. 17th century), a sculpted softwood bas-relief of a garden feast, mid-17th century, with a seated party in an elaborate architectural setting carved with a fountain, colonnades and balustrades before a hilly background, presented in a moulded and ebonised frame, 39 x 44cm overallThe present relief with its closely carved, very low relief and attention to architectural detail recalls known works produced by the Bohemian cabinetmaker Adam Eck and his workshop during the middle and third quarter of the 17th century. While Eck and his studio were best known for their marquetry or intarsia of different woods, panels in single wood species attributed to him also known. Note for example the panels adorning a casket attributed to Eck at the Metropolitan Museum of Art (acc. no. 2009.470). The games box offered at Christie's London, 7 July 2016 (the Exceptional Sale) also featured a panel with an articulated architectural portico in the foreground, like the present lot.It is possible that the subject matter represented here is the banquet of the 'rich man' from the Lazarus parable. This parable is known to have been rendered as a garden feast by several artists working during the 17th century, including the Dutch engraver Jacob Matham, who rendered the subject in around 1606 (See Boijmans van Beuningen Museum, Rotterdam, L 1983/8 (PK)
A French white painted cast iron Gothic Revival garden bench, attributed to the Val d'Osne foundry, late 19th century, the openwork back- and armrests cast with Medieval style tracery and quatrefoils, the seat with honeycomb pattern, 87cm high, 142cm wideProvenance: Collection of a Titled Gentleman, LondonThe present bench is derived from a design published in the 1858 Barbezat et Cie. foundry catalogue. It is illustrated in John Davis, Antique Garden Ornament, Antiques Collectors Club, 1991, p. 280, pl. 6:31The present bench may have been produced by the Val d'Osne foundry, who purchased the company of Barbezat in the later 19th century and continued to produce its designs.
A Flemish carved walnut relief,probably 17th century, 'The Lamentation of Christ', on a later fabric-covered mount, surmounted by 19th century carved and pierced Gothic tracery,group 54cm wide54cm high overall 67cm wide77cm highCondition report: Old restoration to head of left-hand figure, who also has some losses to his shoulder.The right-hand figure with split to shoulder.Fabric to mount worn.
John William Waterhouse RA (1849-1917)Study for 'Psyche opening the Golden box'black and red chalk22.5 x 30.5cmInscribed by a previous owner ''study' by J W Waterhouse RA bought by me at Christie's sale 23.7.1926 (Mrs J W Waterhouse's sale) James Nivel (?)' in pencil.Provenance: The artist’s widow, Mrs. Esther Waterhouse, by whom sold Christie’s, London, 23 July 1926, ‘The Remaining works of the Late J.W. Waterhouse, Esq., R.A.’,Mrs George Packham; presented to her by Mrs L A Duran; by descent to Mrs M Duran in 1980.The story of Psyche, like many Greek myths, is one of great drama and passion. Psyche, a mortal princess, is cursed by Venus who is jealous of her beauty, which has inspired many to worship her rather than pay their respects to Venus. She sends her son Cupid to shoot an arrow at her to make her fall in love with a monstrous creature. Instead, Cupid scratches himself and falls in love with Psyche. Abandoned by her family, she is saved by Zephyrus, god of the west wind, and carried away to Cupid’s palace where she is waited on by invisible servants. There, Cupid visits her every night but she is not allowed to see his face. Encouraged by her jealous sisters, she lights a lamp one night to see her lover’s face and injures Cupid in the process by dropping hot oil on him and he flees. She travels the earth searching for him and entreats Venus to help her. Venus instead sends her on a series of impossible tasks, the fourth of which is to take a golden box to the underworld to obtain a dose of beauty from Proserpine. She is told not to look in the box. Like Pandora, however, she cannot resist and opens the box, finding within it not beauty, but sleep, and she falls into a deep slumber. Cupid eventually finds her, takes her to Zeus, who allows her to become a goddess and marry Cupid on equal terms.Waterhouse painted many mythological subjects including several depictions of Psyche: Psyche Entering Cupid’s Garden, 1904 (Harris Museum and Art Gallery) and Psyche opening the Golden Box, exhibited at the Royal Academy in 1903 (private collection). The finished picture shows Psyche, seated in a dark wood, bending her head low as she peers into the slightly open box. A small plume of smoke rises from the interior. Fewer than 150 preparatory sketches by Waterhouse are known. They consist mainly of model’s heads - generally the most important element of the painting - in chalks. Here we have a typical preparatory sketch, confidently exploring the composition with fluid strokes, exquisitely modelling the flesh of the shoulder and back of the model. Not much is known about Waterhouse’s models and while it has been argued that he had a single muse who he returned to repeatedly over the decades (Miss Muriel Foster has been identified as a contender), it may also be the case that he chose a series of women with the same swan-like neck, doe eyes, modest features, full of understated grace that made his paintings both sensual yet innocent; a duality that has delighted viewers for more than a century.Condition report: Inscribed in pencil by previous owner. The paper is a light beige/grey and could be a little faded. Some scattered spots of foxing. Some light discolouration and smudges of surface dirt throughout, in particular close to the edges. Lots of pentimenti visible. The pencil writing is a little smudged, and there is a pencil mark lower left. A pin hole centre top, and at each extreme corner. Attached to backing card by hinges of tape. A thin border of tape around the outside of the back of the sheet. Many specks of brown discolouration and grey lines verso (we assume dirt). The surface of the paper verso has some scuffs as if it was stuck down previously.
*Trevor Crocker (1934-1995)'First to land China 1900', the four funnel ship 'Douglas Raymond' signed 'Trevor Crocker' and inscribed l.l., oil on canvas board51 x 61cm, unframedBorn in Croydon, Trevor studied at the Reigate School of Art and carried out his National Service in the Royal Artillery. Trevor spent much of his career at the well-respected London-based design company Castle Chappell & Partners where he started as a graphic designer, later becoming a Director of that business as well as a Director of the Pack Design Company.He was an award-winning Design Consultant who specialised in advertising design for clients such as Hilton Hotels and British Gas and packaging design for clients such as Marks & Spencer, Duracell and Terry’s Chocolate. While at Castle Chappell he also designed album covers for the rock band Deep Purple. These included Deep Purple & The Royal Philharmonic Orchestra, 1970, Fireball, 1971, and Come Taste the Band, 1970. It was a contract to design advertising material for Mobil Oil that ignited his passion for marine painting. Trevor was fascinated by large steel vessels and he did extensive work for Mobil and later for Elf Total, not only being commissioned to paint their oil rig Alwyn North, but also designing their annual reports and accounts and their sponsorship related material for events at the Royal Opera House and the Sisley exhibition at the National Gallery.His marine painting work was varied, and included paintings of their fleet for Brittany Ferries, private commissions for yacht owners, as well as book jackets for seafaring tales. In the early 1990s he regularly exhibited at the Royal Society of Marine Artists annual exhibition at the Mall Galleries.Trevor died aged 61 from cancer, leaving a studio of work which is now to be sold. The first selection of work offered here, with more to follow in our Modern British & 20th century art timed online sale, in April. *Artist's Resale Right may apply to this lot. Condition report: Annotations in pencil to margins. Appears to be in good condition.
A SUBSTANTIAL 18TH CENTURY IRON MAN TRAP, blacksmith made, with semi circular teethed trap, 97cm wide over all approx. Following the widespread enclosure of previously common lands in England, poaching became a necessity for many of the rural poor who had lost their livelihoods with the common lands. Man traps were commonly used by estates in the 18th and early 19th centuries to deter and catch poachers. The first ban on their use was introduced in 1826, although they could be used under licence until 1861.
A CLEAN 1857 PATTERN ROYAL ENGINEERS OFFICER'S SWORD, 82cm blade by Wilkinson, serial no. 5280 for 1854, etched with scrolling foliage, crowned VR cypher, regimental motif and owner's crest, a burning hill, and motto, STAND FAST, regulation pierced brass hilt, wire bound fishskin grip, contained in its brass scabbard. Probably Lieutenant Robert Grant (as of 1860) who joined in Oct 1854 and went on to become Lt.-General who commanded the Royal Engineers during the 1885 Sudan Campaign. Born in Bombay, India in 1837, Grant attended Harrow and ended up being appointed a GCB in 1902.
A BIRMINGHAM POLICE SENIOR OFFICER'S SWORD, 82.5cm clean blade by Robinson, etched with scrolling foliage, crowned VR cypher, BIRMINGHAM POLICE and maker's details, 1822-form white metal Gothic hilt incorporating the crest and title of The Birmingham Police, wire bound fishskin grip, contained in its steel scabbard. Tang button loose. George Robinson & Co were Birmingham sword cutlers who operated from 1860 through to 1880.
A FIRST PATTERN FAIRBAIRN-SYKES COMMANDO KNIFE, 17.5cm flattened diamond section blade etched with the Wilkinson and F-S panels to either side of the forte, characteristic machined grip with recurving crossguard, contained in its white metal mounted leather sheath. By descent the property of Peter Worthington who is believed to have taken part in some of the early Commando raids in Norway then went on to serve in Bomb Disposal.
INCLINE PRESS: A collection of soft-bound booklets, including CARROLL, Lewis: “Jabberwocky”, illus. Alice Smith, 2010, (2 copies) Nos. 128 & 131/200; “Sentence First, Verdict Afterwards”, one of 275 copies; BARLOW, Derek; “Bullrushes”, 1995, illus. Anna Ravenscroft, signed, No. 95/175; “An Unsolicited Testimonial”, 2006, one of 250 copies; MOSLEY, James; “Handmade Type”, 2007, one of 350 copies; MARX, Enid; “Who Killed Cock Robin”, 1996, No. 43/150; BRUNS, Robt.; “The Rose-Bud, The Rose & the Thorn”, 1994, illus. Ann Tout, No. 34/250; DOBSON, Austin; “Song of the Four Seasons”, 2011, illus. Edward Ege, No. 91/150; GRAHAM, Robt., “Playing Gershwin”, 1997, illus. Peter Allen, No. 96/200, signed; & others similar. (20).
PRIVATE PRESSES (VARIOUS): PARROT PRESS: EVANS, George Ewart; “Ask The Fellows Who Cut The Hay”, 1999, wood engravings by Harry Brockway, Anthony Christmas, David Gentleman, Miriam Macgregor, Howard Phipps, Peter Reddick, & George Tute, No. 264/280 on Zerkall mould-made paper, linen-backed with gilt-lettered spine & printed paper-covered boards; SEVEN ACRES PRESS: HABERLY, Loyd; “Cymberina – An Unnatural History In Woodcuts & Verse”, 1926, No. 215/600, printed paper-covered boards; & SAINT BERNARD PRESS: BARTON, Richard; “Portrait of a Monk’s Prayer, & Other Poems”, 1975, illus. by Father Bernard Hedge, No. 118/350, soft cover. (3).
WHITTINGTON PRESS: Seven soft-bound publications: “Some Who Do…and One Who Doesn’t”, 1998, intro. by Hal Bishop, No. 68/150; “More Who Do…and One Who Did”, 1999, No. 17/150; MAWDESLEY, Bruce; “Song of the Scythe”, 1983, wood engravings by Mariam Macgregor, one of 650 copies; BERRY, Frank; “Bench, Saw, & Plane – A Cotswold Apprenticeship”, one of 350 copies, signed; TURNER, Jim; “Cotswold Days”, 1977, wood engravings by Miriam Macgregor, one of 1000 copies, signed by the artist; also “Other Days”, 1979, No. 459-525, signed by the author; & “Lost Days”, 1981, one of 500 copies.
NONESUCH PRESS: SIDNEY, Sir Philip; “Astrophel & Stella”, Kynoch Press, 1931, number 333 of 1210 copies on Van Gelder paper, original patterned paper-covered boards designed by Albert Rutherston, matching chemise & slip-case; PHILIPS, Ambrose; “The Illustrations of William Blake for Thornton’s Virgil…”, Curwen Press 1937, No. 75 of 1000 copies (Lacking plates – Stephen Marks notes this book belonged to BERNARD MENINSKY, who removed them for teaching purposes); BUNYAN, John; “The Pilgrim’s Progress…”, Kynoch Press 1928, wood-cuts by Karl Michel, number 665 of 1600 copies on Arches paper, full marbled cloth; & NONESUCH DICKENSIANA: “Retrospectus & Prospectus – The Nonesuch Dickens”, Bloomsbury 1937, blue cloth. (4).
ROBERT ROBINSON DRABBLE (1827-1908). A pair of wooded river landscapes with figures. Unsigned, oil on canvas: 25” x 36”. (Note: Robert Robertson Drabble is listed as residing at Woodside, Sundridge, Kent, the same residence as Beatrice Mary Polhill (1867-1925, later Mrs Alfred George Breadnell) who was in possesion of the next lot, the portrait of Bridget Ireton).
Attributed to SIR PETER LELY (1618-1680). A portrait of Mrs Bridget Cromwell Ireton, eldest daughter of Oliver Cromwell, seated, three-quarter length, her shoulder-length hair in ringlets, wearing pearl necklace, burgundy silk dress adorned with jewels, & green cape; 50” x 40”; in giltwood & gesso frame with plaque “MRS IRETON, Daughter of Oliver Cromwell, Left By Her Son Henry Ireton To His Nephew David Polhill, See His Will At Somerset House, AD 1712”. (Painted c. 1650; relined with old restoration).A Brief History Of The Portrait: Bridget Irerton (1624-1662) was the eldest daughter of Oliver Cromwell. In 1642, she married Henry Ireton, a close colleague of Oliver Cromwell, who died in Limerick in 1651. In 1652, she married General Charles Fleetwood, Lord Deputy of Ireland from 1652 to 1655. After Bridget's death, the portrait passed to her son from her first marriage, Henry Ireton, who upon his death in 1711, bequeathed it to his nephew David Polhill (1674-1754). It continued to pass down through the Polhill family until it came into the possession of Beatrice Mary Polhill (1867-1925, later Mrs Alfred George Breadnell), of Sundridge, Kent. The British Museum holds a copy of a photogravure of this very portrait, produced by Messrs Goupil in 1899 for use as an illustration for Samuel Rawson Gardiner's book "Oliver Cromwell", published the same year. The portrait continued by descent to the present owner, and having remained in the family's possession for its entire existence, this is the first time it has ever been offered for sale.Note: Images of the Polhill family tree are illustrated, but this is not included with this lot.
Battle of Britain WWII Fighter Pilot Profile Collection, album containing twenty seven profiles of famous pilots of WWII, each profile with original pencil signature and certificate of authenticity, together with Bomber Air Crew Profile Collection of twenty-two profiles of air crew who served with distinction in fighter Command during the Second World War, each profile with original pencil signature. The signatures comprise: Fighter Pilots: Wing Commander P. P. C. Barthropp; Group Captain F. Carey; Air Marshal Sir Denis Crowley Milling; Group Captain Hugh Dundas; Air Chief Marshal Sir Christopher Foxley Norris; Colonel J. A. Goodson; Group Captain D. Gillam; Squadron Leader P. Whaley Heppel; Group Captain P. H. `Dutch` Hugo; Air Commodore P. G. Jameson; Air Vice Marshal Sandy Johnstone; Wing Commander D. E. Kingaby; Wing Commander P. B. Lucas; Group Captain R. W. Oxspring; Air Vice Marshal David Scott Malden; Sir Alan Smith; Group Captain Duncan Smith; Wing Commander Rod Smith; Wing Commander R. R. Stanford Tuck; Wing Commander H. M. Stephens; Group Captain Peter Townsend, Group Captain J. L. Waddy and Air Commodore Peter Brothers. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)
An iron Memorial Plaque for all those who served in the RAF during the Battle of Britain, the modern painted plaque with RAF badge to the top, with raised lettering underneath, including a quote from a Winston Churchill speech ''Never in the field of human conflict was so much owed by so many to so few'', 23cm x 26cm
Simon van den Berg (Dutch, 1812-1891) and Christiaan Immerzeel (Dutch, 1808-1886)oil on panelOpen landscape with figures, sheep, a cow, donkey and goatsigned by both hands lower left20 x 28.25in.CONDITION: Oil on panel in good original condition, possibly in need of a very light clean but no real faults noted, slight lines running through the sky in line with the grey of the panel and very minor rubbing marks around the edges, housed in probably the original gilt gesso frame which suffers from some losses, label verso for what looks to be a Christie's sale 20th June 2002 lot 113. A Director of the Mauritshuis Museum (1880-1889), Simon van den Berg, who was considered as one of Holland's leading animal-painters, often collaborated with his brother-in-law, Christiaan Immerzeel.
An Ancient Assyrian fragment of a cuneiform alabaster slab, probably 9th century BC from Kouyunjik (Nineveh) and two clay cuneiform tablets, old collector's label verso inscribed '..an Assyrian royal proclamation probably of Assur-naisr-pal (9thc BC.) It commences With the help of Assur my Lord... to all the people, Probably from Ninive, sent to England by Captain Anthony Hormuzd Rassam', 10.3cm x 6.3cm, the two clay cuneiform tablets relating to law, bearing old labels inscribed in arabic which refer to a ruling on the accused to imprisonment for months and students being innocent of all that is attributed to them, each 3.5cm Provenance - A. T. Arber-CookeCONDITION: Provenance - Alfred Theodore Arber-Cooke (c.1905-1993); thence by family descent. Arber-Cooke was an antiquarian and avid collector of Antiquities and Asian works of art, principally collecting from the 1930s to the 1970s. He initially lived in Wimbledon, Greater London and was involved with local archaeological digs undertaken by the Surrey Archaeological Society. He wrote the book 'Old Wimbledon', with a foreword the MP Sir Arthur Fell, published in 1927. He later moved to Llandovery in Carmarthenshire, Wales, again involved with local archaeology and wrote the History of Llandovery, published in 1975. The inscription probably relates to Hormuzd Rassam (1826 -1910), an Iraqi-Assyrian Assyriologist who made a number of important archaeological discoveries from 1877 to 1882, including the clay tablets that contained the Epic of Gilgamesh, the world's oldest literature. He carried out spasmodic excavations at Nineveh (July-October 1849, April-May 1851, May-October 1851, October 1851-March 1852, October 1852-April 1854). Hormuzd Rassam began his own archaeological career as an assistant to Austen Henry Layard (q.v.) and went on to excavate himself at Nineveh (1878, 1879, 1880).cf. similar fragments from an alabaster slab ascribed to Ashurnasirpal II in the British Museum accession no. K.8887.
A collection of WWII Second World War type British SAS Special Air Service cloth uniform / cap patches. Varying forms - but each with the SAS emblem to centre and ' Who Dares Wins ' motto. Mounted on a vintage piece of card marked ' Collection of SAS Beret Badges WW2 '. Exact age is unknown, and buyer discretion advised.
An original WWII Second World War Imperial Japanese flag, handed over at the surrender of Japan in Korea, 1945. The flag of typical form, on white ground, with large red centre roundel. To the seam are two leather re-enforcement panels, each with a brass ferrule. Accompanying the flag is a note which reads ' Original Japanese flag gifted to Lieutenant General Hodge, who was present when Thomas Kinkaid and John Hodge as they accepted Japanese surrender in the General Government Building in Seoul, Korea, 9th September 1945. The flag was flown by the Japanese outside the Government buildings and I believe then gifted to Lieutenant General Hodge in 1945...' The provenance was supplied to the with the flag when purchased by the vendor some years ago. We are naturally unable to verify the history of the item, and buyers are reminded for the need to satisfy themselves as to such things prior to bidding. Nonetheless, an interesting flag. Measures approx; 116x173cm.
A 1914-1815 STAR TRIO OF MEDALS, named Lieutenant G.H. Davis, Captain on the pair Royal Munster Fusiliers, who served in France and Gallipoli in WWI, also present is an original Mentioned in Dispatches certificate mounted on board relating to MID dated 11 December 1915 from General Sir Ian Hamilton Davis also went on to serve in WWII with the 8th Army in Africa with the RAMC, where he was mentioned in dispatches for a second time, also present is a 8 x 6 photo of Davis in WWII uniform, together with WWI miniatures and original press cuttings, a pocket watch marked GSTP T17544 Military issue face background shattered, and a glass cover for a smaller watch, Davis died 56
A BOX CONTAINING A LARGE AMOUNT OF PAPER EPHEMERA, including military documents, postcards, telegrams and two WWII era British MKII spike bayonets, the paperwork relates to a 257878 Pte. J. Wright, who served during WWII with the Royal Army Service Corps, and appears to have been taken a POW, out in the Far East Theatre, there are airletters and airgraphs addressed to him, many pieces of original army paperwork including his soldiers pay book and a large number of colour postcards from the 'Queen and People Series', blazer badges, box for WWII medals, etc
A LARGE 56CM X 36CM GLAZED FRAME CONTAINING A PERIOD PRINTED MEMORIAL SCROLL TYPE DOCUMENT, by the Povost Magistrates of the Burgh of Paisley, relating to the death of 'James A Archibold', who died in WWI, the scroll is signed and dated December 1915, further searched needed on CWGC, regarding date of death and with Regiment/unit, etc
THREE BOXES OF BOOKS, MAGAZINES AND WORKSHOP MANUALS to include Daimler 2½ litre V8 saloon service manual, manuals for Riley Four Sixty Eight, Austin Cambridge, BMC 1800, Maxi, Francis Barnett and Honda 90 service information booklets, The Star BSA Owners magazines, Cheval De Fer Ariel motorcycle magazines, motorcycle books by Roy Bacon, Bob Currie, Harley Davidson books, together with five volumes of Dods parliamentary Companion, Who's Who 2008, People of Today three volumes
George Bests Trophy For Playing In Eusebios Football Testimonial: Match was played on 25th September 1973 in Lisbon. Best, who had just come out of retirement aged 27, played for an International XI v Eusebios old team mates from Benfica. George had famously played against them 5 years earlier when winning the European Cup. It is said with all these famous players on display that the crowd of 45000 saved its biggest cheer for George.
Thatcher Rare 2002/2003 Match Issued Tottenham Football Shirt: Short sleeve light blue Kappa shirt number 18. Issued for the last match of the season v Blackburn on 11 5 2003. This match was used to promote next seasons football shirt. Thatcher who didnt play was issued number 18 and in 2003/2004 that number was issued to Defoe.
1972 Russia CCCP Away Match Worn Football Shirt: White short sleeve with red trim including a prominent number 5 to rear and a bold CCCP to front. Worn v Republic Of Ireland on 18 10 1972 at Lansdowne Road. Swapped with Ireland and Manchester United player Mick Martin who will provide a COA. Mick seems to remember the player was named Vladimir Kaplitchny a CSKA Moscow player. Rare shirt.
1974 Turkey Match Worn Football Shirt: White long sleeve with red trim including stripe to middle and number 9 to rear. Worn in the match v Republic of Ireland on 20 11 1974 by Galatasaray player Mehmet Oguz in a 1976 Euro Qualifier. Swapped with Ireland player Mick Martin who will provide a COA.
1948 International Football Youth Tournament Plaque: Held in London between 8 teams including Italy Belgium Holland and England. This was the first tournament of its kind and later went on to be the UEFA Under 19s. England beat Holland in the final at Tottenham. It is not known who this was awarded to. It has the badges of the 8 teams and states London 1948 Association Football International Youth Tournament.
1967 FA Cup Final Original Football Poster: Tottenham v Chelsea the first all London Cup Final. Measuring 24 x 25 inches in good condition stating Sporting Events Wembley Stadium with date and teams. Would look stunning framed as a great picture of Wembleys Twin Towers in yellow blue and white. Rare item is folded both ways. Marylebone written in pencil to rear. This was removed from the station after the match by vendor who was travelling through.
PFA Signed Awards Dinner Menus: 1995 signed by Gordon Taylor and all the guests pictured on inside page which are Ray Wilkins Jimmy Tarbuck Denis Law Kenny Dalglish and Graham Davies and nominees Fowler Redknapp McManaman Le Tissier dedicated and finally the winner Alan Shearer. C/W 1996 signed by Jack Charlton and Nominees Ginola Fowler McManaman plus winner Les Ferdinand and guests who are pictured Banks Rush Worthington and comedian Alistair McGowan. (2)
* PETER HOWSON OBE (SCOTTISH b 1958), IMAGINE pastel on paper, signed 60cm x 45cm Mounted, framed and under glass. Note: A Howson tribute to John Lennon MBE. John Winston Ono Lennon was an English singer, songwriter, musician and peace activist who achieved worldwide fame as the founder, co-lead vocalist, and rhythm guitarist of The Beatles. His songwriting partnership with Paul McCartney remains the most successful in history. On 8th December 1980 Lennon was shot twice in the back and twice in the shoulder at close range by Mark David Chapman at approximately 10.50pm outside the Dakota Apartment Building in New York. At 11.15pm he was pronounced dead. His senseless death was headline news around the world and for many of his generation it was an "everyone remembers where they were when they heard" moment just as it had been when the assassination of US President John F Kennedy shocked the world almost two decades earlier. The day after Lennon's death, his wife, Yoko Ono, made an announcement in which she stated "John loved and prayed for the human race. Please do the same for him".
* JENNIE TUFFS (BRITISH b 1943 - ), STILL LIFE WITH YELLOW FLOWERS watercolour on paper, signed 63cm x 48cm Mounted, framed and under glass. Label verso: L Freedman Picture Framers, Edinburgh. Note: Jennie Tuffs is originally a Londoner who is now based in rural Scotland near Edinburgh. Her paintings of flowers are recognised, not least by botanists, for their ability to capture and release the spirit trapped in the heart of the bloom. During the 1960's Jennie trained at St Martin's School of Art & Goldsmiths College in London and at the Academia dei Belli Arte in Florence. Jennie's work has been shown in solo and mixed exhibitions nationwide and her work is collected internationally. Jennie's work is known to millions of travelers in London through her posters commissioned by London Underground for display on the tube. Her most recent commission for the Royal Botanic Gardens both promotes and celebrates the newly redesigned and replanted Broad Walk at Kew. Other commissions include HMRC, Amnesty International. Cassells Publishers, BBC Scotland, London Transport Museum, The New York Graphic Society, The Property Services Agency, Practical Gardening, The Tree Council, Agricultural Risk Management, The Wine Society and Ricordi Grafiche.
* JOHN G BOYD RP RGI (1940 - 2001), FLOWER PIECE oil on canvas, signed; further signed and titled verso 50cm x 50cm Framed and under glass. Provenance: Exhibited and acquired in 1996 at The Contemporary Fine Art Gallery, Eton. Labels verso and original sale ticket with price (£2000). Note: John Boyd was born in Stonehaven, Kincardineshire in 1940. He studied at Gray's School of Art, Aberdeen (1958 - 1962) where he was taught by Robert Henderson Blyth. He briefly studied at Hospitalfield where he met John Byrne and Sandy Fraser, who was to become a lifelong friend. Boyd moved to Glasgow and from 1967 - 1988 he taught at Glasgow School of Art before turning to painting full time. His first solo show was held in Edinburgh in 1967, after which he exhibited regularly at the RA, the RSA, the RGI and RSPP. A major retrospective of his work was held in Glasgow, in 1994. Boyd won numerous awards and was elected a member of the Royal Glasgow Institute of Fine Arts in 1982 and a member of the Royal Society of Portrait Painters in 1989. His work is held in private collections owned by, among others, the Earl of Moray and Lord MacFarlane as well as numerous corporate collections including The Fleming Collection, Bank of Ireland, Murray Johnson and Arthur Anderson. Public collections include the Paisley Art Gallery, the People's Palace, Glasgow Museums and the Lillie Art Gallery, Milngavie. He was noted for his strongly coloured landscapes, portraits and still life's, mostly in oils, with his best work being produced in the last ten years of his life.
* EDMOND XAVIER KAPP (BRITISH 1890 - 1978), VIOLINIST charcoal and watercolour on paper, signed and dated '41 34cm x 25cm Mounted, framed and under glass. Label verso: Cyril Gerber Fine Art. Titled and dated 1941. Note: Edmond Xavier Kapp was born in London and was educated at Christ's College in Cambridge, in Paris and Rome. Kapp was a British portrait painter, draughtsman and caricaturist who during his career depicted many of the most famous politicians, artists and musicians of the time. He had several dozen one man shows in London and provincial galleries as well as on the continent, in Canada and America. There was a major retrospective exhibition of his work at the Whitechapel Art Gallery in 1961. Kapp's work is represented in many public and private collections including 26 pictures in The National Portrait Gallery, London.
* JULIAN GORDON MITCHELL, THE CONTRAPTION oil on canvas, signed verso 120cm x 100cm Framed. Note: Julian Gordon Mitchell is an English artist who uses painting as a window into an imaginary, dreamlike world. His work is sometimes macabre, often unsettling and invariably crafted with obsessive care. His unique pictures make conscious references to the European canon of painting as well as metaphysical and surreal art. Julian's critically acclaimed paintings have been shown at the National Portrait Gallery, The Royal Society of Portrait Painters, and The Cabinet Office in Westminster (London).
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