Cookery & Domestic.- Cobbe (Frances Power, writer, campaigner for women's rights and anti-vivisectionist, of Hengwrt House, Peniarth, 1822-1904).- Cobbe (Frances, née Conway, 1777-1847, wife of Charles Cobbe, of Newbridge House, co. Dublin, 1781-1857) Receipts [Collection of recipes], manuscript, 150pp. excluding blanks, inscribed: "Thomas Cobbe left me by my dear Mother Feb. 1847... Frances Power Cobbe...", bookplate of Frances Power Cobbe of Hengwrt, inscriptions and bookplate on front free endpaper, slightly browned, original boards, later morocco spine, dulled, sm. 4to, 1806-32.⁂ Recipes including: "Damson Cakes"; "Nectar... Take 30 Oranges & 30 Lemons..."; "Pig Sauce"; "To Pickle Walnuts"; "Cherry Brandy"; "Shrewsbury Cakes"; "Lobster Sauce"; "Lemon Bread Pudding"; "Red Round"; "Receipts purchased of George Power For cleaning Mahogany...."; "To Pollish Tortoise Shell"; "Cement, or Glue to mend China & Glass" etc."Cobbe was a person of considerable energy and enthusiasm with a great enjoyment of life. Her concern for animals caused her to refuse to decorate her hats with feathers, but she had no sympathy for vegetarianism or teetotalism, seeing them as an indication of the diminution of the vitality and animal spirits which had characterized the world of her youth. She always relished social occasions, especially dinner parties, she insisted, because even if the company was lacklustre she could entertain herself with her knife and fork. Cobbe's most important contribution to nineteenth-century feminism lay in her attempts to set out a feminist ethic, developed most extensively in The Duties of Women (1881). One reviewer described her as the person who 'excepting John Stuart Mill, ... has done more than anyone else to give the dignity of principle to the women's movement' (Life of Frances Power Cobbe, Academy, 46, 1894)." - Oxford DNB.
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David (Elizabeth) Summer Cooking, A.C.s. from the author loosely inserted, original boards, dust-jacket, light sunning to spine, minor chipping corners, light rubbing and creasing to spine tips, an excellent copy, 8vo, 1955.⁂ In the card, dated August 1st, 1989, David discusses eating at the restaurant of Nico (probably Nico Ladenis who had opened his restaurant "Simply Nico" in 1989): "Nico is certainly in splendid form... I don't think Michelin will like his Indian touches... Last time I dined there, a couple of weeks ago, he was telling some characters that they were very welcome to enjoy a meal but he did not repeat not wish to be included in any guide.".
Spanish.- Altamiras (Juan, pseudonym) Nuevo Arte de Cocina, sacado de la escuela de la Experiencia económica, woodcut head-pieces and decorative initials, imprimatur f. at end, ink inscription to title, B8 closed tear within text, without loss, occasional ink spotting, causing a small hole within text on D8, occasional spotting or staining, mostly lightly browned throughout, antique style mottled calf, spine richly gilt and with red leather label, [Bitting p.9 (note); cf. Cagle 1208 & 1209; Carmen Simon Palmer pp.9-10; Oberlé 128; Simon BG 90 & Vicaire 22], 8vo, Barcelona, Widow Maria Angela Marti, [1767].⁂ A rare little work at auction. Altamiras was a pseudonym of the Franciscan friar Raimundo Gómez, who was a cook at the convent of San Diego in Zaragoza.
Of R101 interest - printed handkerchief on paper: 'Souvenir in Affectionate Remembrance of the R101 Heroes Who Lost Their Lives in France, Sunday 5 October 1930, Buried at St. Mary's Churchyard..', approx. 320 x 340mm, together with a memorial card and two photographs of the airship on the mooring mast at Cardington airfield, near Bedford
A Victorian pine single door cupboard of slim proportions, the four panelled door enclosing four shelves on a plinth base 110 cm wide x 212 cm high x 34.5 cm deep CONDITION REPORTS Probably at one point painted as remnants to one groove to left hand side, therefore stripped and waxed though this appears to have been some time ago. There are slight shrinkage signs variously and some light splitting which could be filled with a simple wax. There is no key though the piece is unlocked so a key could be found or fitted. Please speak to the auctioneers who have a supply of keys for you to try should you so wish. Screws to hinges are Phillips screws in part obviously replacements and there is one screw to the door side of the hinge top missing and ditto to bottom hinge. See images for further detail.
Comics - 45 World & Space related comics to include 24 x World Illustrated (issues 502, 508, 509, 510, 511, 512, 513, 514, 518, etc), 8 x Classics Illustrated (issues 38, 39, 54, 55, 72, 76, 77 & 83), The Illustrated Story Of Flight, The Illustrated Story Of The French Revolution, The Illustrated Story Of Space, The Illustrated Story Of American Presidents, Walt Disney Showcase Paul Revere's Ride, Walt Disney's Ten Who Dared, Andy Panda, Famous Authors Illustrated La Svengali, Daniel Boone, Spire Jesus, All New Blondie, Fox And The Crow, Hot Stuff (issue 94) & Crossfire
Funko - 26 Boxed Funko Pop! Television series to include 10 x Seinfeld (1096 Jerry, 1090 Kramer Underwear, 1082 George, 1086 Yev Kassem, 1083 Elaine, 1094 George Holistic, etc), 3 x The Big Bang Theory (776 Sheldon, 778 Leonard Hofstadter & 781 Raj Koothrappali), 2 x Cheers (796 Norm Peterson & 797 Cliff Clavin), The Office 870 Jim Halpert, Bewitched 790 Samantha Stephens, Murder She Wrote 370 Jessica Fletcher, Doctor Who 223 Dalek, Stranger Things 803 Steve, 921 Australia Zoo Steve Irwin, Happy Days 1125 Richie, Star Trek 1142 Spock, Friends 1064 Gunther, Magnum Pi 964 Thomas Magnum & Battlestar Galactica 228 Capt. Apollo, ex (2 boxes)
Collection of tv related figures and models to include boxed Medicom Toy X-Men The Last Stand Wolverine figure (incomplete), Majestic Stadios 1/6 Battlestar Galactica (damaged), 4 x Gremlin figures, 1 x Final Fantasy Gabranth figure, 1 x Matrix Sentinel figure, 1 x Matrix Neo figure, quantity of Hellraiser figure's, Dr Who rc K9, etc (4 boxes)
Collection of circa 1990s TV related toys to include Dapol Doctor Who (Tardis, Cyber Man, Davros, The Dr and Ice Warrior), a boxed Thunderbirds 2 electronic play set (storage wear to box), 15 x Gerry Anderson figures (including Thunderbirds, Stingray and Captain Scarlett), Captain Scarlett SPV vehicle, 5 x Power Rangers figures (Titanus, Mighty Morphin Megazord, Dragonzord, etc), Pingu figures, Thunderbirds Pizza Hut cups, Star Trek Pizza Hut cups and Marvel Spiderman, plus a small quantity of Matchbox Carousel Collection ponies (2 boxes)
21 Boxed TV related figures & collectibles to include 4 x Thunderbirds (boxed DVD diecast set, carded Talking Watch, boxed Vivid Imaginations Scott Tracy, Bandai Action Vehicle Set, etc), 1 x The James Bond Car Collection (carded Aston Martin DB5), 5 x The Osborne Family (boxed Fun 4 All Ozzy, 4 x Noveltoy Bobbing Head Pens), boxed Street Life Michael Jackson Figure, 2 x Toybiz The Lord Of The Rings figures, carded Mattel Harry Potter and The Philosophers Stone Voldemort, 2 x boxed Character Doctor Who (Radio Controlled Dalek & Cyberman) (2 boxes)
Six boxed Bandai / Playmates Star Trek The Next Generation collectibles to include 4 x Collectors Edition 6151 Phaser (266347 with instructions, 266342 with instructions, 266255 with instructions & 26941 with instructions), 2 x Collectors Edition 6152 (219913 with instructions & 219836 with instructions), boxes gd with some storage wear & tape marks plus a boxed Marx BBC Dr Who Battery Operated The Mysterious Daleks in Silver (missing blast gun & eye), box poor (7)
The Kray Twins addressed art work with letter on the reverse. From one of Reggie Krays many young fans, who wrote to him whilst in prison. Dated 1997, this lovely letter is hand written and the young man talks about his admiration for his idol. The front of the card is written- Freedom Looks Sweet. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Col Arturo Molina Salvadoran politician and military officer, who served as President of El Salvador from 1972 to 1977. Signed card with typed letter from his office and original mailing envelope. He was born in San Salvador. He served between 1 July 1972 and 1 July 1977. The 1973 oil crisis led to rising food prices and decreased agricultural output. This worsened the existent socioeconomic inequality in the country, leading to increased unrest. In response, Molina enacted a series of land reform measures, calling for large landholdings to be redistributed among the peasant population. Molina was distrusted by the oligarchy and the right-wing military and was resented by the opposition from whom he had stolen power. His attempts to silence opposition included the military occupation of the University of El Salvador in 1972, as well as violently suppressing student protests that erupted after public funds were used to hold the Miss Universe contest in San Salvador. He also oversaw assassinations of priests in the country. His regime saw extreme polarization and violence in the country. His tenure ended in 1977, and then he left the country. Molina returned to El Salvador in 1992. He died on 18 July 2021 in California, United States, at the age of 93. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Denise Perrier signed James Bond Diamonds are Forever 10x8 colour photo. Denise Perrier (born February 13, 1935 in Ambérieu-en-Bugey)[1] is a French actress, former model and beauty queen who won Miss World 1953. She now goes by Denise Perrier Lanfranchi. She is still the only French woman to have won the Miss World title. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Actor Richard Paul Kiley signed card, hand written letter and original 1969 mailing envelope. March 31, 1922 - March 5, 1999 was an American stage, film and television actor and singer. He is best known for his distinguished theatrical career in which he twice won the Tony Award for Best Actor In A Musical. Kiley created the role of Don Quixote in the original 1965 production of the Broadway musical Man of La Mancha and was the first to sing and record The Impossible Dream, the hit song from the show. In the 1953 hit musical Kismet, he played the Caliph in the original Broadway cast and, as such, was one of the quartet who sang, And This Is My Beloved. Additionally, he won three Emmy Awards and two Golden Globe Awards during his 50-year career and his sonorous baritone[3] was also featured in the narration of a number of documentaries and other films. At the time of his death, Kiley was described as one of theatre's most distinguished and versatile actors and as an indispensable actor, the kind of performer who could be called on to play kings and commoners and a diversity of characters in between. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Mohammed Karim Lamrani signed 8 x 6 inch b/w photo at his desk, to Michael Pinchbeck. He was a Moroccan politician who was the Prime Minister of Morocco for three separate terms. He served his first term for one year which started in 1971 and ended in 1972, then from November 1983 to September 1986, and finally from August 1992 to May 1994. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Gracie Fields signed 6x4 album page. Dame Gracie Fields DBE OStJ (born Grace Stansfield; 9 January 1898 - 27 September 1979) was an English actress, singer, comedian and star of cinema and music hall who was one of the top ten film stars in Britain during the 1930s and the highest paid film star in the world in 1937. [citation needed] She was known affectionately as Our Gracie and the Lancashire Lass and for never losing her strong, native Lancashire accent. [5] She was appointed a Commander of the Order of the British Empire (CBE) and an Officer of the Venerable Order of St John (OStJ) in 1938, and a Dame Commander of the Order of the British Empire (DBE) in 1979. [. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Sir John Bagot Glubb signed 5x4 album page dated 25/11/55. Lieutenant-General Sir John Bagot Glubb, KCB, CMG, DSO, OBE, MC, KStJ, KPM (16 April 1897 - 17 March 1986), known as Glubb Pasha, was a British soldier, scholar, and author, who led and trained Transjordan's Arab Legion between 1939 and 1956 as its commanding general. During the First World War, he served in France. Glubb has been described as an integral tool in the maintenance of British control. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Fenella Fielding signed Carry on Screaming 6x4 promo post card. Fenella Fielding, OBE (born Fenella Marion Feldman; 17 November 1927 - 11 September 2018)[1] was an English stage, film and television actress who rose to prominence in the 1950s and 1960s, and was often referred to as England's first lady of the double entendre. [2] She was known for her seductive image and distinctively husky voice. Fielding appeared in two Carry On films, Carry On Regardless (1961) and Carry On Screaming! (1966). Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Geoffrey Keen as the British Defence Minister Sir Frederick Gray in 6 of the James Bond films (The Spy Who Loved Me, Moonraker, For Your Eyes Only, Octopussy, A View To A Kill, The Living Daylights). Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Charles Bronson signed art work on an A4 card with hand written poems. On the reverse is a note and another signature from Bronson, This lovely piece is hand made by Bronson himself whilst in prison. Charles Arthur Salvador (formerly Charles Ali Ahmed; born Michael Gordon Peterson on 6 December 1952), better known as Charles Bronson, is a British criminal who has been referred to in the British press as the most violent prisoner in Britain and Britain's most notorious prisoner. He has spent periods detained in the Rampton, Broadmoor and Ashworth high-security psychiatric hospitals. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Charles Bronson signed art work on an A4 card with inscription. On the reverse is dedication for Jan. This lovely piece is hand made by Bronson himself whilst in prison. Charles Arthur Salvador (formerly Charles Ali Ahmed; born Michael Gordon Peterson on 6 December 1952), better known as Charles Bronson, is a British criminal who has been referred to in the British press as the most violent prisoner in Britain and Britain's most notorious prisoner. He has spent periods detained in the Rampton, Broadmoor and Ashworth high-security psychiatric hospitals. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
DAMIEN HIRST (Bristol, United Kingdom, 1965)."Shark, New York, 20.07.2007.Ink on paper.Signed, dated and located in the lower margin.There is damage to the paper. The glass is missing.Size: 17 x 28 cm; 33 x 44 cm (frame).If Damien Hirst is known for anything, it is for his work 'The physical impossibility of death in the mind of someone alive', featuring a tiger shark more than four metres long suspended in a transparent pool with a 5% formic aldehyde solution. This controversial and transgressive work was priced at 9.5 million euros, paid for by an American billionaire.Damien Hirst was born in Bristol on 7 June 1965, in a financially troubled suburban environment. He never knew his biological father and his mother married a car salesman, who left them when Hirst was 13. His mother, an amateur artist and devout Christian, took care of him, but because of his father's abandonment he had to educate himself from the bottom up, which is perhaps the main reason why Damien Hirst argues that art has no class. He trained at the University of Leed while combining his studies with a job at the local mortuary, which he later left to move to London. During this time he was working in construction while also applying to various art schools such as St Martins and the Welsh College. He was eventually accepted at Golsdmiths College, which at the time, due to the economic recession in England, was a school that attracted bright students and creative tutors. While studying, Hirst financed his expenses by working on telephone surveys, a direct cause of his ability to fake any emotion over the phone. During his studies he also worked at McDonald's, and part-time at the Anthony D'Ofray gallery, where he learned the mechanics of the art market. Already in his second year, Hirst took on the role of artist and curator, and managed to stage an exhibition that would change the course of British art, his first solo exhibition at the age of 26. Four years later, in 1995, he won his second Turner Prize nomination for Mother and Child. At the age of 32, the Larry Gagosian Gallery offered him a major retrospective, after which he declared that he had run out of places to exhibit, he had done it all and too quickly. As a result, he was soon dubbed Hooligan Genius by the media. Although he became a millionaire at the age of 40, Hirst's hypersensitivity became suspect: wrapped in an aura of romanticism, he made revolutionising the art world look easy. On several occasions he has acknowledged his desire to be famous and in the face of criticism he has defended himself with phrases such as "they couldn't admit to themselves that they wanted to be famous and resented not being famous" or "I think my desire was to be more famous than rich, I think the desire to create art and be famous is like the desire to live forever with two obsessions: death and celebrity".
BANKSY (Bristol, England, 1975).Souvenir Wall Section, Palestine.Piece of concrete painted with graffiti and miniature figure in mixed media.Attached original payment receipt issued by "Walled Off Hotel".Measurements: 14.5 x 12.5 x 8 cm.Sculpture consisting of a piece of the Gaza wall accompanied by a small miniature figure of a graffiti artist. In March 2017, the "Walled Off" hotel was inaugurated in the Palestinian city of Bethlehem. With a slogan announcing it as the hotel with "the worst view in the world", it is located in front of the Israeli separation wall in the West Bank. All of its rooms are decorated by Banksy, and its stated aim is both to attract tourists to the city and to expose works by Palestinian artists to an international and Israeli audience. In a small museum inside the hotel is a statue of Lord Balfour signing his famous declaration.Banksy, the British artist whose identity is still unknown, is considered one of the leading exponents of contemporary street art. According to a study by Queen Mary University of London published in March 2016, Robin Gunningham, a resident of Bristol, is the artist behind the Banksy pseudonym. His works address universal themes such as politics, culture and ethics, mostly from a satirical and ironic point of view, combining graffiti writing with the use of stencil stencils. This technique is similar to that used by Blek le Rat, who began working with stencils in 1981 in Paris. In fact, Banksy acknowledged Blek's influence by stating that "every time I think I've painted something slightly original, I realise that Blek le Rat did it better, only twenty years earlier".
BANKSY (Bristol, England, 1975).Souvenir Wall Section, Palestine.Piece of concrete painted with graffiti and miniature figure in mixed media.Attached original payment receipt issued by "Walled Off Hotel".Measurements: 10 x 9.5 x 3 cm.Sculpture consisting of a piece of the Gaza wall accompanied by a small miniature figure of a graffiti artist. In March 2017, the "Walled Off" hotel was inaugurated in the Palestinian city of Bethlehem. With a slogan announcing it as the hotel with "the worst view in the world", it is located in front of the Israeli separation wall in the West Bank. All of its rooms are decorated by Banksy, and its stated aim is both to attract tourists to the city and to expose works by Palestinian artists to an international and Israeli audience. In a small museum inside the hotel is a statue of Lord Balfour signing his famous declaration.Banksy, the British artist whose identity is still unknown, is considered one of the leading exponents of contemporary street art. According to a study by Queen Mary University of London published in March 2016, Robin Gunningham, a resident of Bristol, is the artist behind the Banksy pseudonym. His works address universal themes such as politics, culture and ethics, mostly from a satirical and ironic point of view, combining graffiti writing with the use of stencil stencils. This technique is similar to that used by Blek le Rat, who began working with stencils in 1981 in Paris. In fact, Banksy acknowledged Blek's influence by stating that "every time I think I've painted something slightly original, I realise that Blek le Rat did it better, only twenty years earlier".
CRONICA TEAM (Valencia, 1964 - 1981)"Conde-duque", 1972.Acrylic on papier-mâché. Copy 85/100. Current print run of 100 copies.With slight restorations.Signed and justified on the base.Measurements: 21,5 x 14 x 10 cm.Sculpture in small format that simulates the figure of the Count Duke of Olivares without a concrete or defined face in such a way that the artists have only chosen to represent the most characteristic features of the character such as his beard or his suit. The figure of the Count Duke was highly reinterpreted by Equipo Crónica and later by Manolo Valdés, who used the effigy of this historical figure for the design of the poster against NATO.Equipo Crónica, or Crónicas de la Realidad, was a group of Spanish painters active between 1964 and 1981. It was founded by Manolo Valdés, Juan Antonio Toledo, who soon left the group, and Rafael Solbes, whose death in 1981 put an end to the project. The historian and critic Tomás Llorens was also a member of the group, and he explains the theoretical basis of Equipo in a text entitled "La distanciación de la Distanciación" ("The Distancing of Distanciation"). The three painters also signed a manifesto in 1965, in which they defined themselves as a working group with collective methods and supra-individual aims. Equipo Crónica moved away from the prevailing informalism to cultivate figurative painting, closely linked to pop art. Fed up with introspection, these artists took to the streets and observed the world around them, a society of incipient industrialisation and tourists. Their themes critically analysed the political situation in Spain, as well as the history of art, drawing inspiration from classic works such as Picasso's "Guernica" and Velázquez's "Las Meninas". Their style was a unique blend of realism, criticism, pop, pictorial quotations, anachronisms and bittersweet pastiches. In contrast to the grandiose and picturesque image of Spain that Franco's regime wanted to project abroad, Equipo Crónica focused on another, darker and more sombre image of the country, always resorting to irony. Starting from their own direct style, with clear images that everyone could read, they tried to "chronicle reality", a kind of social realism but using contemporary visual systems. The group produced paintings, sculptures and engravings, and tended to work in series, which made it possible to analyse the same subject with different variations. Equipo Crónica started from a very simple language, with monochrome and repeated images, very close to contemporary media, especially newspaper photographs. From there, after the turning point represented by "Latin Lover" in 1966, the members of the group gradually enriched their language to place it at the service of political satire.
FRANCISCO RODRÍGUEZ RUIZ (Zújar, Granada, 1982)."Parish Church of Saints Justo and Pastor, Granada".Acrylic on canvas.Signed in the lower left corner.Measurements: 162 x 130 cm.We are dealing with a painter with a realistic technique but who takes his inspiration from dreams and memory, as he himself states: "Sometimes I go back to known landscapes that sleep inside me, the dream of memory. And it is childhood with its games full of everyday and fantastic objects. And it is the longing for that which I have left behind and which appears to me more vivid than ever in the landscape of memory". Self-taught, Francisco Rodríguez Ruiz studied at the School of Arts and Crafts in Terrassa, and Aerography at the School of Joso. Solo exhibitions (selection): 2014 Paisatges de la memoria, Auditori municipal Montcada i Reixac, 2013 Galeria Nova-3, Intel-lecte Sabadell, 2012 Galeria Nova-3, Intel-lecte Sabadell Aguilart Galeria d'art, Castellar del Vallés, 2011 "De vegades... Somnis" Galeria ART 7, Manresa "Sueños y Recuerdos" Galeria Aguilart, Castellar del Vallés, 2005 "Perspectiva desde la mirada", Casa Soler y Palet, Terrassa. 2002 Joan Costa Foundation, Hospital de Terrassa 2000 Sala de cultura, Zújar Town Hall, Granada. Group exhibitions (selection): 2018 Acquisition of work, Castellar del Valles City Council; Spring Collective, Granadacapital Gallery, Granada; Collective of hyperrealist painters, Subex Gallery, Barcelona. 2017 Something more than realism, Artelibre Gallery, Zaragoza. Collective exhibition of hyperrealist painters Galeria Subex Barcelona.
CRONICA TEAM (Valencia, 1964 - 1981)"Conde-Duque", 1970.Acrylic on papier-mâché. Copy 13/25. Collection of 25 original copies.Work reproduced in the catalogue raisonné Michéle Dalmace. IVAN. p 147.With slight restorations.Signed and justified on the base.Size: 106 x 50 x 35 cm.Sculpture in papier-mâché representing the effigy of the Count Duke of Olivares wearing boxing gloves. The work, which comes from the Spanish historical-artistic tradition, rescues one of the most important figures of the Baroque period portrayed by Velázquez himself, in fact, his influence can be slightly appreciated in this sculpture. A piece reinterpreted in a pop key, seeking the synthetism of the concept and an irreverent and even ironic expression that is evident in the presence of the boxing gloves. This work is one of Equipo Crónica's most recognised works, an example of which is the collection of the Centro Andaluz de Arte Contemporáneo, which has a work from the same series.Equipo Crónica, or Crónicas de la Realidad, was a group of Spanish painters active between 1964 and 1981. It was founded by Manolo Valdés, Juan Antonio Toledo, who soon left the group, and Rafael Solbes, whose death in 1981 put an end to the project. The historian and critic Tomás Llorens was also a member of the group, and he explains the theoretical basis of Equipo in a text entitled "La distanciación de la Distanciación" ("The Distancing of Distanciation"). The three painters also signed a manifesto in 1965, in which they defined themselves as a working group with collective methods and supra-individual aims. Equipo Crónica moved away from the prevailing informalism to cultivate figurative painting, closely linked to pop art. Fed up with introspection, these artists took to the streets and observed the world around them, a society of incipient industrialisation and tourists. Their themes critically analysed the political situation in Spain, as well as the history of art, drawing inspiration from classic works such as Picasso's "Guernica" and Velázquez's "Las Meninas". Their style was a unique blend of realism, criticism, pop, pictorial quotations, anachronisms and bittersweet pastiches. In contrast to the grandiose and picturesque image of Spain that Franco's regime wanted to project abroad, Equipo Crónica focused on another, darker and more sombre image of the country, always resorting to irony. Starting from their own direct style, with clear images that everyone could read, they tried to "chronicle reality", a kind of social realism but using contemporary visual systems. The group produced paintings, sculptures and engravings, and tended to work in series, which made it possible to analyse the same subject with different variations. Equipo Crónica started from a very simple language, with monochrome and repeated images, very close to contemporary media, especially newspaper photographs. From there, after the turning point of "Latin Lover" in 1966, the members of the group gradually enriched their language to put it at the service of political satire.
YAYOI KUSAMA (Matsumoto, Japan, 1929)."Pumpkin red", 2015.Lacquered resin.Stamp on the base.Size: 10 x 7,5 x 7,5 cm.This red pumpkin sculpture depicts the artist's signature optical patterns of brightly coloured polka dots. Kusama first used the gourd design at the 1993 Venice Biennale.Yayoi Kusama is an artist and writer who, throughout her artistic career, has experimented with and developed a wide variety of artistic techniques including painting, collage, sculpture and performance and installations, most of which exhibit her thematic interest in psychedelia. Kusama is a forerunner of the pop art, minimalism and feminist art movements and influenced artists contemporary to her such as Andy Warhol and Claes Oldenburg. Born in Matsumoto (Nagano) to an upper middle-class family of seed merchants, Kusama began to develop an interest in art from an early age, which led her to study Nihonga (Japanese-style paintings) in Kyoto in 1948. Frustrated with this Japanese style, she became interested in American and European avant-garde, mounting several solo exhibitions of her paintings in Matsumoto and Tokyo during the 1950s. In 1957 she moved to the United States, settling in New York City where she produced a series of paintings influenced by Abstract Expressionism. Kusama switched to sculpture and installation as her primary media and became a fixture of the New York avant-garde with her works exhibited alongside Andy Warhol, Claes Oldenburg and George Segal in the early 1960s when the artist became associated with the Pop Art movement. Embracing the rise of the hippie counterculture of the late 1960s, Kusama came to public attention when she organised a series of happenings in which nude participants were painted with brightly coloured polka dots. She returned to Japan permanently in 1973, where she has lived ever since in a psychiatric hospital, committed of her own free will. Throughout her career, Kusama has received major awards both in Japan and abroad, including the French Ordre des Arts et des Lettres in 2003 and the Japanese Praemium Imperiale in 2006 in the category of painting. The artist has become particularly well known for her installations with mirrors, red balloons, toys and other objects, in the midst of which she placed herself on stage. Her works of recent years are paintings on cardboard in an ingenuist style. Among the most recent exhibitions devoted to her work is the complete retrospective devoted to her by the M.N.C.A. Reina Sofía, in collaboration with the Tate Modern in London, in 2011, which subsequently travelled to the same Tate, the Centre Georges Pompidou in Paris and the Whitney Museum in New York. Kusama is currently represented at MoMA in New York, the Fukuoka Art Museum, the National Gallery of Modern Art in Tokyo, the Haus der Kunst in Munich, the Art Institute of Chicago and many other museums and art centres around the world.
JOSEPH BEUYS (Germany, 1921 - 1986)."Filzpostkarte, 1985.Silkscreen on felt and silkscreen on pinewood.References: The Multiples, Schellmann, fig. 539. (felt), References: The Multiples, Schellmann, fig 104., Joseph Beuys: Multiples. IVAM 2008, page 124 (wood).Sizes: 10.5 x 15 x 1 cm (felt), 10.5 x 15 x 3.3 cm (wood).Joseph Beuys Multidisciplinary conceptual artist, today considered one of the most influential artists of 20th century Europe, his biography begins during the Second World War. Although his veracity has often been doubted, Beuys claimed that he fought as a pilot in the war, crashing in the Crimea. Near freezing to death, he was rescued by natives, who wrapped him in grease and felt to prevent his death. In any case, both elements appear constantly in his work. Between 1946 and 1951 he studied at the Düsseldorf School of Fine Arts, where he later taught sculpture and was subsequently expelled. His work produced during these years addresses the relationship between pedagogy and the study of art, as Beuys completely changed the approach to teaching that had been taken up to that time. In 1962 he began his activities with the neo-Dada Fluxus movement, of which he became the most significant member. His greatest achievement was the socialisation of art, bringing it closer to all kinds of audiences. His actions or "happenings" were not so much to do with neo-Dadaist fussiness to shock the bourgeoisie, but concealed a deeper meaning. Throughout his career the artist repeats many objects, which he uses in various works. These objects differ from the Duchampian "ready mades" not because of their poor and ephemeral nature, but because they are part of Beuys's own life, and he uses them after having lived with them and left his mark on them. Many are related to his biography, such as the honey or the fat used by the Tartars who saved him during the war. In 1979 the Guggenheim Museum in New York exhibited a major retrospective of his work, cementing his reputation as one of the most important artists of his time. Beuys used art, a dynamic, fluid and corrosive art to the point of becoming arti-art, to educate, heal and redeem mankind and society, spiritually sick and lost in the chaos of the world. Beuys is currently represented at the MoMA and the Guggenheim in New York, the Kunstmuseum in Basel, the Hamburger Banhof in Berlin, the Museum of Fine Arts and the Guggeheim in Bilbao and the Tate Gallery in London, among many other contemporary art museums around the world.
JEAN-MICHEL BASQUIAT (New York, USA, 1960 - 1988) for DUNNY KIDROBOT.Untitled.Vinyl.With stamped signature of the Estate of Jean-Michel Basquiat and the publisher.Original box enclosed.Measures: 20 x 13,5 x 7 cm.In collaboration with the Estate of Jean-Michel Basquiat, Kidrobot presents Jean-Michel Basquiat Faces Dunny Art Figure focusing mainly on the "faces" of Basquiat's works. Each art figure represents a face or an image from one of the prolific New York artist's most iconic paintings.A prolific artist, Jean-Michel Basquiat began drawing at the age of three, inspired by urban culture through the cars, taxis and buses that roamed the streets, as well as through television and comic books. He captured this view of his surroundings in his paintings throughout his life, especially in the form of vibrant lines, intense strokes, figures cut in black, facial expressions pushed to the limit, and so on. During the early 1980s he began to emerge as an artist, at a time when the reign of conceptual art and aesthetic minimalism in all its forms was predominant. The presence of urban culture and graffiti mixed with the European figurative tradition. His first solo exhibition took place in 1982, at the Annina Nosei Gallery in SoHo, New York. This marked the beginning of a series of solo and group exhibitions that brought together his work with that of other important contemporary artists, such as Julian Schnabel and David Salle. During these years he produced more than two hundred canvases with portraits of influential figures belonging to that culture, including Muhammad Ali and Dizzy Gillespie. It was at this time that his works began to be highly sought after, and logically his presence was in demand at the most exclusive events of the time. It is worth mentioning his close relationship with Andy Warhol, who had a powerful influence on their work. The intensity with which Jean-Michel Basquiat created was mirrored in his life. A fan of drugs and nightlife since his teenage years, his consumption increased to such an extent that he developed a strong addiction to heroin and cocaine, which led to his death in 1988. From his first solo exhibition to the present day, his work has toured the world's most famous museums. His media power, the outrageous auction prices of some of his works and his visual intensity continue to move crowds. The strong influence of his canvases, graffiti and writings on contemporary art explains the enormous interest in his figure. He is currently represented in museums and institutions such as the Museum of Modern Art (MoMA) in New York, the Centre Pompidou in Paris, the Gagosian Gallery, the Museu d'Art Contemporani de Barcelona - MACBA in Barcelona, the Guggenheim Museum of Modern and Contemporary Art in Bilbao, The High Museum of Art in Atlanta, The Modern Art Museum of Fort Worth in Fort Worth, the Castellani Art Museum in Lewiston, the Whitney Museum of American Art in New York, the Broad Contemporary Art Museum in Santa Monica, the Fondation Carmignac in Paris, the Fukuoka Art Museum in Fukuoka, Japan, as well as in numerous private collections, such as that of David Bowie.
JOËL MESTRÉ (Castellón de la Plana, 1966)"La cançó de stelarc", 2000.Oil on canvas.Signed, dated and titled on the back.Measurements: 80 x 100 cm.With a doctorate in Fine Arts from the Polytechnic University of Valencia, Joël Mestre belongs to the group of Levantine painters who, during the nineties, developed a surrealist figuration with a literary and critical content. Together with Sicre and Charris, he was part of the exhibition "El muelle de Levante" (1994), which served as the starting point for the so-called Valencian metaphysical painting. Since 2002 Mestre has combined his artistic practice with teaching, as a lecturer at the San Carlos Faculty of Fine Arts in Valencia. He has won several prizes in national competitions and grants, has held exhibitions in Spain, Italy, France, the Dominican Republic, Cuba, Vietnam, China, Japan, Korea and the United States and is currently represented in the IVAM in Valencia, the Artium in Vitoria, the CAC in Malaga, the Museum of Teruel, the Pilar and Joan Miró Foundation and many other important collections, both public and private.
East India Company, Madras Presidency, European Minting, 1803-8, Soho, copper 20 Cash, 1803, heavy issue, arms and supporters, east india company above, date below, rev. bist kas chahar falus ast [Twenty cash make four falus], xx . cash in exergue, 11.98g/6h (Prid. 190 [Sale, lot 384]; Stevens 5.110; KM. 321). Extremely fine, a hint of original colour £60-£80 --- Provenance: Bt R. Weir (Unionville, ONT) August 1998. Owner’s ticket. The English entrepreneur Matthew Boulton (1728-1809) received his first coining order from the Company in 1786. Once his Birmingham manufactory had been established, Boulton’s coins were sent to St Botolph’s Wharf in London and thence shipped to the Far East on the Company’s vessels. Robert Wissett (1750-1820), the Company’s secretary who was Boulton’s chief contact, had enquired about the possibility of a coinage contract for Madras at the turn of the century, but Boulton’s full order book meant that it was another two years before such an order could be considered. Sir Charles Wilkins (1749-1836), the Company’s librarian and a noted linguist, designed the coins, the dies for which were engraved by the sculptor John Phillp (1778-1815), an employee of Boulton. The three larger denominations were struck first, the initial order arriving at St Botolph’s Wharf in early November 1802; the tiny Cash coin was problematic to make and it was not until January 1803 that Boulton devised a way of manufacturing them, but ultimately almost half of the entire order, which amounted to a total of 37,936,000 copper coins across the four denominations, comprised these single Cash. A second order of coins for Madras was first mooted in September 1807, but delays caused by the decision as to whether Boulton or the Company would provide the copper for them meant that coining did not commence until late in 1807 and continued until February 1808. Subsequently two further batches of coins were struck, in June-July 1808 and December 1808 to June 1809, and it is these that are almost certainly of the lighter weight standard; in all a total of 86,515,000 1808-dated copper coins were struck. A large percentage of the light issue was lost in the sinking of the Admiral Gardner, a Company ship, on her sixth voyage to the East, on the Goodwin Sands on 25 January 1809. Currency coins dated 1803 and 1808 are common in low grades but difficult to find in EF or better condition as they saw a wide contemporary circulation
East India Company, Bombay Presidency, Early coinages: Mughal style, silver Fifth-Rupee for the Malabar Coast in the name of Shah Jahan II (1131h/May-August 1719) but struck under the auspices of Muhammad Shah (1131-61h/1719-48), Mumbai, type A/I, yr 1 [1719], sikka mubarak badshah shah jahan 5 [The auspicious coin of the victorious emperor Shah Jahan 1/5th], rev. zarb munbai sanah ahd julus maimanat manus [Struck at Bombay in the 1st year of tranquil prosperity], 2.29g/1h (Prid. 34 [not in Sale]; Stevens 7.19; KM. 270). About extremely fine £70-£90 --- Provenance: SNC (London) November 1980 (9340), ticket. Owner’s ticket. The earliest British-inspired silver coins circulating in the Malabar Coast region were introduced c. 1719-20 and, though they bear the name of Shah Jahan II, were almost certainly issued in the reign of Mohammed Shah. The extensive series of 18th century ‘velli fanams’ or ‘billies’ have been the subject of much detailed research by Shailendra Bhandare and Paul Stevens (cf. The Coinage of the Bombay Presidency, p.329 et seq.), who have suggested a chronological order based on style, with the title of the Moghul emperor and the regnal year each coin bears being of secondary significance and complicated by the ‘frozen date’ sequence employed
The Murdoch/Caldecott/Brand Bombay Copperoon, year 7 East India Company, Bombay Presidency, Early coinages: English design, copper Copperoon, type A/I, yr 7 [1672], arms of the Company, hon : soc : ang : ind : ori · [The Honourable English Company of the East Indies] around, scrolls around shield, rev. a : deo : pax : & : incr[ementvm :] [Peace and increase cometh from God] around mon : bombay anglic regims Ao.7o. [Money of the English Government of Bombay year 7] in five lines in centre, 14.03g/10h (Prid. 78 [Sale, lot 460]; Stevens 1.33; KM. 131). About extremely fine and extremely rare, especially in this condition, almost certainly the finest A/I Copperoon in private hands [certified and graded NGC MS 61 BN] £2,000-£2,600 --- Provenance: J.G. Murdoch Collection, Sotheby Auction (London), 21-30 July 1903, lot 51 J.B. Caldecott Collection, Sotheby Auction (London) 11-13 June 1912, lot 44 V.M. Brand Collection, Spink Auction 50 (London), 6-7 March 1986, lot 220 Bt Spink Australia (Sydney) 1986. Owner’s ticket and envelope. The designs for the coinage of copperoons, or pice, introduced in late 1672, imitated those of the contemporary silver anglinas. Most of the coins bearing the year 7 were probably struck in 1673, although by 1675 the standard of manufacture and weight of the coins was causing concern. Despite the annual arrivals of Company ships, some bringing Swedish bar copper to augment the local supply from Surat, there were frequent shortages of pice to pay workers and the army, who refused the tin equivalents. The situation was not helped by the fact that the chief coiner had, in the summer of 1676, ‘run away, having stolen another man’s wife’, and the other mint workers were ‘inefficient and most tedious’ (Pridmore, p.102). It took more than a year for a replacement chief coiner, Govindji Madharji, to move from Surat and take up his post at Bombay. Slight changes to the design of the copperoons were made in the 1690s, when subsequent coinages took place
An exceptionally fine and rare Double-Tinny or Bujerook, 1675 East India Company, Bombay Presidency, Early coinages: English design, tin Double-Tinny or Bujerook, [16]75, arms of the Company, rev. 2 above 75 [value above last two numerals of date], 2.72g/12h (Prid. 228, this coin illustrated [Sale, lot 503]; Stevens 1.69; KM. 138). Extremely fine with traces of original mint bloom, extremely rare, only two others believed to be in private hands [certified and graded NGC MS 62] £2,000-£3,000 --- Provenance: H.A. Parsons Collection, Part II, Glendining Auction (London), 11-13 May 1954, lot 893 F. Pridmore Collection, Part II, Glendining Auction (London), 18-19 October 1982, lot 503, ticket. Owner’s ticket, ‘over the nearly 40 years I have had this coin I have traced only one other sold by Spink in Nov. 79’ [subsequently Fore Collection, lot 1893]. Literature: Illustrated in Fred Pridmore, The Coins of the British Commonwealth of Nations...Part 4, India, Volume I, p.166. Gerald Aungier (1640-77), president of the Surat mint, oversaw the production of the first tinnies, or bujerooks (the latter name derived from the Portuguese bazarrucco, or so-called ‘market money’), in December 1672. Metal was supplied from Surat and, in later years, England. Coining of tin continued in a haphazard manner until 1716, with the balemark replacing the Company’s arms, although the coins did not see wide circulation and were mostly used to pay the wages of Company labourers and soldiers, who struggled to obtain the denominated exchange rate of 11 tinnies to one copperoon when trying to spend them. A final coinage in tin, using surplus metal in the Government’s warehouse, was made in 1717-18
The unique Ford/Pridmore small letters Pattern Half-Anna, 1821 East India Company, Bombay Presidency, Later coinages: Stewart’s machinery, copper Pattern Half-Anna, 1821, unsigned, arms and supporters, east india company around, date below, rev. scales, one half anna in small letters above, adil [Justice] between pans, 1231 (sic) below, edge plain, 12.78g/6h (Prid. 334 obv. [Sale, lot 560]; Stevens 4.5, this coin illustrated; Stevens website image 973, this coin; KM. Pn15, this coin). Some obverse scratches and a rim knock at 8 o’clock, otherwise very fine and of the highest rarity, the only known specimen £3,000-£4,000 --- Provenance: R.J. Ford (Detroit, MI) Collection SNC (London) November 1979 (10401) F. Pridmore Collection, Part II, Glendining Auction (London), 18-19 October 1982, lot 560, ticket [acquired January 1980]. Owner’s ticket. Literature: Illustrated in Paul Stevens, The Coins of the English East India Company, Presidency Series: A Catalogue and Pricelist, p.260 Illustrated in Paul Stevens, The Coinage of the Bombay Presidency, p.198. The exceptional group of late copper patterns of the Bombay presidency offered at Bonhams (London) on 26 March 1997, which was reputed to have an ancestral connection with someone working at the mint in the 1820s, did not include a specimen of this coin. While mechanisation at the mints at Madras and Calcutta had been achieved by 1807, another decade was to pass before the mint master at Bombay, Dr Stewart, turned his thoughts to constructing machinery that could strike coins. Using workers from the gun carriage factory, progress was slow and inhibited by Stewart’s sudden departure for England in May 1819, and subsequent death from ill-health. The project passed into the hands of a Mr Henderson, a Bombay civil servant, who ordered further plant and machinery. Some 1819-dated coins were said to have been machine-struck, but apparently none are known today. With the equipment still housed in the building formerly occupied by Dr Stewart, itself deemed inadequate as a mint per se, pattern annas, half-annas, quarter-annas and pies were produced on it in 1820 and 1821, dates of the latter year bearing the rogue hegira date 1231, perhaps instead of the intended date 1237. By 1824 Stewart’s machinery had been moved to the mint and the following year most of it was scrapped in the knowledge that machinery for a new mint, supplied by Boulton & Watt, would be forthcoming
The first appearance of what is presumed to be Robert Gordon’s interpretation of Peter Rouw’s model of John Flaxman’s classic design for a new Indian coinage East India Company, Bombay Presidency, Later coinages: English design, copper Pattern Mohur, Bombay, 1828, machine-struck issue, type A/II, unsigned [probably by R. Gordon after P. Rouw], star, garter inscribed bombay, date in centre, rev. lion walking left, palm-tree behind, edge plain, thin flan, 6.66g/12h (Prid. 336 [Sale, lot 561]; Stevens 5.3; KM. Pn18). Extremely fine and very rare [certified and graded NGC MS 62 BN] £2,000-£3,000 --- Provenance: SNC December 1978 (14438), two tickets. Owner’s ticket. Ever since 1806, when the Company’s Court of Directors expressed their desire to have one general currency for all their Indian possessions, a steady movement led by James Prinsep (1799-1840) resulted in parity across the coinages of the three presidencies in 1833 and the establishment of a new uniform range of issues in 1835. One of the elements inherited by those involved in the transition was the design of the ‘lion and palm’ coppers struck at the new Bombay mint at the end of 1828 and described in a letter from Capt (later Major) John Hawkins, Bombay Engineers, to Boulton, Watt & Co in February 1829; they had met with a mixed reception. The design had originated with Capt (later Major-General) William Nairn Forbes (1796-1855), Bengal Engineers, who superintended the sourcing of machinery for the new mint at Calcutta. Before Forbes left London to return to Calcutta in 1823 he is known to have shared his idea with the Court of Directors for a simple emblem for future Indian coinage, in the form of ‘a solitary Lion’ which might be ‘completely localized by the ever flourishing Palm’ to replace the ‘vulgar and inelegant appearance of the [Company’s] arms’. In turn, the Court commissioned the eminent sculptor John Flaxman (1755-1826), whose work was then modelled by the sculptor and wax modeller Peter Rouw (1771-1852) in 1823. An impression of Rouw’s model is thought to have been sent to Bombay and used as the basis for a locally-based engraver, thought by many sources to be Robert Gordon, who transferred to the mint from the 2nd battalion of the Bombay Artillery and whose military background is likely to have influenced the obverse design. The reverse was also the prototype for the extremely rare Opening of the Bombay Mint medal (Pudd. 828.1) found on the cover of Mr Puddester’s book, Medals of British India, Volume One (London 2002). Subsequent interpretations of Flaxman’s original work were made by Kasinath Dass in 1834 and by William Wyon between 1847 and his death in 1851
East India Company, Bengal Presidency, Calcutta Mint: Third milled issue, silver Rupee in the name of ‘Shah ‘Alam II (1173-1221h/1759-1806), no hegira date, frozen regnal yr 19 [1819-29], naming Murshidabad, sikka zad bar haft kishwar saya fazl ilah hami din muhammad shah alam badshah [defender of the religion of Muhammad, Shah ‘Alam emperor, shadow of the divine favour, put his stamp on the seven climes], no private marks, rev. zarb murshidabad sanah 19 julus maimanat manus [struck at Murshidabad in the 19th year of his reign of tranquil prosperity], privy mark s at top left, edge straight-grained, 12.45g/12h (Prid. 176 [Sale, lot 618]; Stevens 6.13; KM. 109). Extremely fine and with mint bloom, scarce [certified and graded NGC MS 63+] £150-£200 --- Provenance: Bt P.H. Davis (Tampa, FL) June 1981. Owner’s ticket. The significance of the s privy mark remains the subject of debate. Pridmore suggested it represented the initial of George Saunders (1782-1836) who was the mint master at Calcutta from December 1815 to 1820. If Pridmore’s suggestion is correct, the mark might represent the earliest pieces struck of this issue (i.e. 1819-20, before Saunders, who later became the collector of customs at Agra, was replaced temporarily by J.M. McNabb, himself later the commissioner for revenue at Benares, and then by his namesake, Robert Saunders (1792-1856)), as there are minor design differences between them and non-s marked coins. Robert Saunders, who took up his post in January 1826, is well-known from the placing of his initials on many of the first post-1835 uniform issues
East India Company, Bengal Presidency, Calcutta Mint: Introduction of Steam, red-brown vulcanite ‘Trial’ Pice in the name of ‘Shah ‘Alam II (1173-1221h/1759-1806), frozen regnal yr 37 [1831], unsigned, sanah julus 37 shah alam badshah [in the 37th year of the emperor Shah ‘Alam], rev. ek pai sikka/yek pai sikka/ek pai sikka [one pai sikka], edge plain, 21mm, 2.00g/8h (Prid. 209 note, this piece; Stevens –; KM. –). Dark fibre, very fine and probably unique £300-£400 --- Provenance: R.J. Ford (Detroit, MI) Collection SNC (London) April 1982 (3315), ticket. Owner’s ticket. This intriguing piece poses many questions, not least about its physical content, which is unlikely to have had use in a numismatic context before c. 1890. Dick Ford showed it to Fred Pridmore who noted it in his book, but in later discussions with Pridmore about the coin the cataloguer was left in no doubt that he considered it a fabrication
The finest early Mohur of Muhammadabad Benares struck under the auspices of the EIC in private hands East India Company, Bengal Presidency, Benares Mint: First phase, gold Mohur in the name of ‘Shah ‘Alam II (1173-1221h/1759-1806), 1192h, yr 18 [1778-9], sikka zad bar haft kishwar saya fazl ilah hami din muhammad shah alam badshah [defender of the religion of Muhammad, Shah ‘Alam emperor, shadow of the divine favour, put his stamp on the seven climes], fish and sun symbols, differentiating or darogah mark B, rev. zarb muhammadabad banaras sanah 18 julus maimanat manus [struck at Muhammadabad Benares in the 18th year of his reign of tranquil prosperity], 10.89g/10h (Prid. – [not in Sale]; Stevens 7.2; Stevens website image 1625, same dies; KM. 13; F 1534). Small test mark on obverse at lower left, otherwise extremely fine and well-struck, retaining original brilliance, exceptionally rare, perhaps only one other known of this early date £2,000-£2,600 --- Provenance: Bt in London June 1984. Owner’s ticket and envelope. The Company first acquired Benares (present day Lucknow, or Varanasi) in 1764, but it was not until 1775 that it took more permanent possession. Responsibility for the currency, which had been reformed in 1767, was given to the rajah, Chait Singh (†1810) in 1776 (year 17). Production of gold coins was intermittent, but silver was struck in large quantities in each year down to 1805, although the last few years were marred by an internal investigation into corruption and malpractices by the darogahs (officials). These were unproven by the Calcutta Council, but control of the mint eventually passed to Dr Thomas Yeld, who enjoyed a lengthy career as mint master until the Benares mint closed in 1829
A unique 1819-dated Rupee of the Saugor mint East India Company, Bengal Presidency, Saugor Mint: First Phase, Rupee, in the name of in the name of ‘Shah ‘Alam II (1173-1221h/1759-1806), 1819, yr 55, sikka zad bar haft kishwar saya faz ilah hami din muhammad shah alam badshah saugor [defender of the religion of Muhammad, Shah ‘Alam emperor, shadow of the divine favour, put his stamp on the seven climes, Saugor], rev. zarb ravishnagar sagar sanah 55 julus maimanat manus 1819 [struck at Farrukhabad in the 55th year of his reign of tranquil prosperity, 1819], 11.02g/10h (Prid. – [not in Sale]; Stevens 8.137, this coin illustrated; Kulkarni, Numismatic Digest 12-13, pp.119-22, this coin; KM. –). Punchmarks on edge, otherwise very fine and exceptionally rare, the only known specimen [certified and graded NGC XF Details: Shroff Marked Edge] £1,500-£2,000 --- Provenance: With R.D. Shah (London) Taisei/Baldwin/Gillio Auction 25 (Hong Kong), 4 September 1997, lot 676, label. Owner’s ticket and envelope. Literature: Illustrated in Prashant Kulkarni, ‘Saugor Mint and the E.I.C. Coins’, Numismatic Digest 12-13, p.120 Illustrated in Paul Stevens, The Coins of the Bengal Presidency, p.483 Illustrated in Paul Stevens, The Coins of the English East India Company, Presidency Series: A Catalogue and Pricelist, p.164. In the wake of the Third Maratha War the British acquired Saugor, where a mint had been in operation for some 35 years. Its rupees had been extensively copied by private minting operations in the surrounding towns and, in an attempt to mitigate this, Thomas Herbert Maddock (1792-1870), who was on the Governor-General’s staff, instructed the darogah to insert the word ‘Saugor’ in crude script and the date 1819 on the dies. The following year the Bengal government confirmed the plan to build a new mint but, with Lt (later Major, later Col.) Duncan Presgrave in charge, machinery on order and the mint building to be made ready, some of the machinery was diverted to Benares and it was not until 1824, and the closure of the Farrukhabad mint, that Presgrave was able to finally oversee the installation of its equipment at Saugor. Production started in 1825 and, despite instructions from various authorities to close the mint in 1828, 1831 and 1833, it remained open until late 1835
Two early philatelic links to India East India Company, Bengal Presidency, Patna (Azimabad): Patna Post, copper Two Annas, 1774, patna post two anns 1774 in four lines, rev. azimabad dak do ani [Azimabad post two annas], 25mm, 8.81g/2h (Prid. 363 [Sale, lot 682]; Stevens –; KM. –). About fine, very rare £900-£1,200 --- Provenance: Bt Baldwin (London) June 1985, ticket. Owner’s ticket and envelope. This and the following lot are copper tickets issued by the Patna postmaster at the inception of the General Post Office in Bengal in April 1774. The need for them arose because of problems in realising payment for post-paid letters that recipients, in many cases, refused to receive. Full details of the background to the issue was provided by Pridmore (SNC June 1977) who inferred that the use of the tickets was discontinued by government order on 14 September 1774
![East India Company, Bengal Presidency, European Minting, Soho, bronzed-copper Pattern Pie, 1809, unsigned [by J. Phillp], Com](https://cdn.globalauctionplatform.com/3b2c014c-cc49-45c3-88c3-af570091d435/0c557608-587e-497f-ab66-af5700a1d448/468x382.jpg)
East India Company, Bengal Presidency, European Minting, Soho, bronzed-copper Pattern Pie, 1809, unsigned [by J. Phillp], Company arms, ausp : regis & senat : angliæ [By the authority of the King and Parliament of England] on ribbon, date below, rev. yek pai sikka [one pai sikka] around ek pai sikka/ek pai sikka [one pai sikka], borders of small beads, edge plain, 27.5mm, 7.73g/3h (Prid. 384 [Sale, lot 691]; Stevens 10.9; KM. Pn23). Trifling spots, otherwise virtually as struck, very rare [certified and graded NGC PF 64 BN] £900-£1,200 --- Provenance: R.J. Ford (Detroit, MI) Collection SNC (London) November 1979 (10412), ticket. Owner’s ticket. Joseph Thompson, a senior official with the Company in London who worked with Robert Wissett, contacted Soho in 1809 with a view to having a new copper coinage struck for Bengal, but for a number of possible reasons that are not fully clear (doubtless the Company’s ire at Soho striking 22 excess tons of copper for Madras the previous summer being one of them) the issue was not proceeded with. The series of pattern coins in this and the following lots were the last coins made by Soho for the Indian subcontinent
![East India Company, Bengal Presidency, East India Company, brass Recruiting Ticket [1817-33], lion rampant within wreath, wan](https://cdn.globalauctionplatform.com/3b2c014c-cc49-45c3-88c3-af570091d435/8f50af4f-a453-47f3-9e7a-af5700a2fe8d/468x382.jpg)
East India Company, Bengal Presidency, East India Company, brass Recruiting Ticket [1817-33], lion rampant within wreath, wanted fine young men around, rev. east india recruiting departt. around no. 35 soho square london within wreath, edge straight-grained, 24mm, 4.62g/6h (Prid. 397 [Sale, lot 698]). About very fine, scarce £90-£120 --- Provenance: P. Snartt (Bristol, UK) Collection SNC (London) April 1980 (3163), ticket. Owner’s ticket. Company recruiting in Great Britain was confined to private soldiers for its artillery and infantry units, apart from a short period during the Mutiny when special European cavalry regiments were raised. Recruiting methods were amongst the first subjects discussed between the Company and the newly created Board of Control in 1784. The Company's efforts had long been hampered by Parliamentary feeling against standing armies and an Act of 1781 had limited the number of recruits who could be held in England awaiting embarkation to 2,000 in time of war and 1,000 in peace time. Although such recruits as were obtained were inspected by a Company's officer and surgeon, and then by a Crown officer, there were frequent complaints from India about the quality of the men provided. After a long agitation, it was agreed that the Company ought to be allowed to follow the same pattern as the Crown's forces. An Act passed in 1799 permitted the Company to train, array, exercise and discipline recruits in England, and to subject them to martial law prior to embarkation and during the voyage to India. As a result, full-time recruiting officers, each with a staff of NCOs, were stationed in London, Liverpool, Dublin and Edinburgh, with additional officers at Cork from 1822, and at Bristol and Newry from 1846. The actual numbers of recruiting sergeants employed varied according to the urgency of the demand. Considering the parallel needs of the British army, it is hardly surprising that the Company always had great difficulty in obtaining sufficient men. For instance, during the season 1819-20, in the wake of the Third Maratha War, 1,354 were embarked, against an estimated deficiency of 4,009, and a good proportion of those who initially enlisted in the various districts were either rejected at the depot on medical grounds, deserted before joining the depot, or bought themselves out. A permanent training depot was first established at Newport, Isle of Wight, in 1801; it moved to Brompton Barracks, Chatham, in March 1815 and then to Warley, near Brentwood in Essex, in May 1843. The London office was located at 35 Soho square between 1817 and 1833 (incidentally, the former home of Gabriel Roberts, governor of Fort William, Calcutta, from 1712 to 1733), when it removed to 28 Soho square; a similar ticket for Liverpool (not in this collection) names a recruiting office located in London road (Withers 2140; Pridmore Sale, lot 698)
Set of four T.Goode & Co, Spode Copeland, pattern ‘Trapnell’; other; Paragon tea service for one; Aynsley ware; Wedgwood; etc Provenance - the set of four bowls belonged to a Elizabeth Lawless who had received the bowls as a gift when she left the service in 1954 from Roma Slingsby Jenkins in Victoria square.
Pair of German Kriegsmarine Third Reich binoculars Pair of German WWII Kriegsmarine Third Reich 8x60H binoculars by Carl Zeiss Jena, an early pair with the makers name to the left side, below the mark 'T' for coated, also marked H for Helligheit (increased brightness). The left side marked with an eagle over swastika and 'M' for Marine, with issue number N 896. The left drum has a screw capped cover for red light to allow for torpedo work at night.These binoculars came into the possession of the vendor's Uncle, Jack White who served as an engineer throughoput WWII in Merchant Navy. Whilst in Rouen, France he swapped cigarettes for the binoculars.25.5cm longThe binoculars show a fairly clear and sharp image when sighting through them. Both lenses will adjust and focus on different ranges. The view through the binoculars has slightly yellow tint to it. When viewing the objective lenses, the right hand lens (if you were using the binoculars the correct way round) has a mistiness that can be seen on the inside. There is a prominent 3mm scratch around 10mm from the edge at 3 o'clock as well as a very minor one close by of similar size. The left hand objective is much clearer there are no obvious signs of scratches or damage. The right-hand barrel has a verticle line with short cross hair that can be seen when sighting through the binoculars.The exteriors of the binoculars show no signs of major damage but there is significant wear to the enamel finish as well as the protective textured covering. There is no serial number on the washer on the bar between the two objective lenses.
Japanese 54 bore Matchlock, Japanese 54 bore Matchlock, 33.5 inch barrel with script reading ‘23’ made by Daishido Jinzaemon (Dai-shi-do , Jin-za-e-mon) the tube decorated with a flaming pearl and dragons, fitted into Akagashi, red oak stock, together 50 calibre bullet mould and a fitted case with foam inner, leather backed with leather handle and strap, made of pitch pine.Section 58 (2) Antique / obsolete calibre, can be owned without a licence. Buyer must be over the age of 18, age verification will be required if the lot is to be posted out. This matchlock was used and shot in competitions until recently, the breach plug has been re-threaded and replaced in 2015. The touch hole and pan were mended and laser welded in 2015.The maker was probably from Settsu City, Osaka although the gun has some features relating to the town of Kunitomo which is located in the central part of Honshu Island quite near Lake Biwa.The Mon is: Sagari-fuji mon - usually used by the Fujiwara clan, The wisteria itself has a very long lifespan and an especially high rate of propagation, traits that the mon's users hoped to receive themselves! On the barrel is: A flaming pearl or 'Hoju' the precious jewel of life and mystery This represents wisdom/wealth/luck and the eternal pursuit of it. This along with the Dragons were added on possibly for sale to the western market The script in the wooden barrel channel - highly likely production number of gun, with the same number written inside the barrel. This is the number 23 of a lot order by one daimyo (clan leader) for his troops.Under Urabe's gunsmith list there is a Daishido Jinzaemon in Settsu Province who signed a gun with the date 安永4年, (1776) which (assuming this is the same smith) tells us that he was making guns before and/or after 1776, so this can be used as an approximate date.’121cm long
'The Gurwood Papers' contained in five volumes:vol. 1. Mrs Fitzherbert (Maria Anne Fitzherbert 1756-1837) in excess of 50 m/s letters some with wax seals to Lt. Col. John Gurwood (1788-1845) dated between 1827-1837.vol. 2. Lt. Col. John Gurwood to Mrs Fitzherbert, twenty one m/s letters written between 1835-1837vol. 3. Lytton, Edward Bulwer, 1st Lord, 1831-1891. In excess of sixty m/s letters to Fanny Gurwood (d 1872), wife of Lt. Col. John Gurwood dated between 1839-1867, some with seals and postmarked envelopes.vol. 4. Lytton, Edward Bulwer, 1st Lord, in excess of seventy m/s letters to Fanny Gurwood and after her death in 1872 to Adele, her daughter and 'Tomasina' or 'Tom' perhaps sobriquets most with original stamped envelopes.vol. 5. Lytton, Edward Bulwer, 1st Lord, in excess of sixty m/s undated letters to Fanny and Adèle Gurwood, some with original envelopes.All bound in chronological order in half brown calf volumes (approximately 200 x 150mm), in fair condition, b/ps.Provenance: Esher family by descent The Gurwood Papers The Gurwood papers are a collection of around 300 well-preserved letters, written during the late Georgian and early Victorian era by three notable historical figures - Lt. Col. John Gurwood, Lady Maria Fitzherbert, and Lord Edward Bulwer-Lytton. The letters are all hand-written, using pen and ink, in the cursive English Roundhand script and they have been put into chronological order and bound into a five book set. Lt. Col. John Gurwood served in the Peninsula War where he was presented with the Governor’s Sword by the Duke of Wellington. He campaigned for better conditions for soldiers and prisoners of war and he took it upon himself to collate as much as he could of Wellington’s notes and dispatches from battles, which outlined how everything had been organised. He then edited these into succinct volumes for publication, which made a very useful contribution to military affairs. Lady Maria Fitzherbert loved to move in fashionable circles and was a sort of Georgian it girl with some very powerful acquaintances, including the Duke of Wellington. She had been a scandalous personality in her day, as the mistress and unlawful wife of the shockingly extravagant George IV. The Right Honourable Lord Edward Bulwer-Lytton was a Whig member of parliament from 1831- 1841, a Conservative member of parliament from 1851- 1866 and Secretary of State for the Colonies between 1858 and 1859. He was also a hugely successful poet, playwright and novelist, specialising in science-fiction, the supernatural and the occult and he is responsible for the phrase “the pen is mightier than the sword”. Gurwood’s letters show that he was a devoted and resourceful serviceman and that he was concerned with improving his income and bettering his position within the army. Not being wealthy enough to afford to buy promotion (as was the practice in the military at the time) he relied on his influential friends to pull strings for him in order to climb the ladder. Despite support and encouragement from Lord Lytton and Lady Fitzherbert, his papers contain evidence that various requests he made to be compensated for his efforts were denied, much to his distress. His correspondence with Lady Maria Fitzherbert is particularly colourful. It spans from 1827 until her death in 1837 and comprises two of the five books. Fitzherbert, in her 70s, acts as a confidante and personal advisor to Gurwood, who is in his 40s. There is an agreement between them that she will do her best, whenever possible, to speak well of him to the Duke of Wellington, who is mentioned a great deal throughout, particularly by Gurwood, with marked admiration and deference. Often, he laments to Fitzherbert at his lack of support from the army. On one occasion he confides in her his bitter disappointment and frustration when a promotion he had been expecting is scuppered by a jealous rival. As well as many earnest descriptions of the weather and enthusiastic enquiries after one another’s health, avid exchanges of news are written at regular intervals. Gurwood and Fitzherbert clearly share a passion for being in the know about the latest current affairs. References to polite society goings on include the scandal of Lord de Ro cheating at cards; the various movements of Lord and Lady Stafford, Lady Jerningham, Lord Beauchamp, Mrs. Damer, other fashionable figures of the day and the current state of “la grippe” (influenza). There are some captivating passages written during Gurwood’s Spanish mission of 1835, where he keeps her abreast of developments and there is a letter dated 1837, where he appears to be writing, discreetly, from the House of Lords, describing events as they unfold. This episode revolves around Lord Londonderry’s orders to leave for St. Petersburg, leaving Gurwood wondering how this may affect the Whig cause. Other mentions are made of Peel, Stanley, Methuen and King William IV. The letters from Lord Lytton are generally more matter of fact. They begin in 1839 and a number of them simply request the pleasure of Lt. Col. Gurwood’s company. After Gurwood’s suicide in 1845, the letters are then addressed to Mrs. Gurwood. Additionally, there is a letter from Downing Street from around this time, rejecting Mrs. Gurwood’s application for a pension, explaining apologetically that the fund has already been exhausted. Lord Lytton stays in touch with Mrs. Gurwood for many years, always asking after her and her two daughters, particularly Adele, for whom he has a fondness. For the most part, the content consists of easy going conversation - there is weather and health, there is a request for advice on how to get a decent housemaid for one of his residences that’s got rather dusty and there is a simple tale of how he took a fishing trip to Surrey, along the banks of the river Thames, and all he caught was a cold. From his hurried, rather ambiguous handwriting, we can tell that he is a busy and important man, nevertheless, his letters continue until her death some thirty years later and fill three of the five books in the set. The first Lytton book spans from 1839- 67, the second from 1868 - 73 and the third is entitled ‘undated’, although many of the letters from this volume are bound along with their original envelopes, which have postage dates stamped on them. Grace Exley of Jesus College Library January 2023
A pair of autographed Dr Who promotional stamp sheets from the 2000 Stamp Show, Earls Court and Dr Who's birthday 2000, Padbury Court.Featuring signatures of various Doctors and their companions, please note, no COA. - Colin Baker, the 4th Doctor - Peter Davison, the 5th Doctor - Colin Baker, the 6th Doctor - Sylvester McCoy, the 7th Doctor - Carole Ann Ford, Susan Foreman - Wendy Padbury, Zoe Heriot - Caroline John, Dr. Elizabeth Shaw - Elizabeth Sladen, Sarah Jane Smith - Nicola Bryant, Perri Brown - Sophie Aldred, Ace
WW2 German Luftwaffe Wehrpass to a Flying Instructor who in 1945 Flew Operationally with II Kampfgeschwader 200 / 5 Staffel, the book was issued to Oberfahnrich Phillip Muller, enlisted in 1937, trained with K98, MG13 and 08 pistol. Served with various Luftwaffe schools from 1938 until March 1945 when he joined II Kampfgeschwader 200 5 Staffel, a special operation squadron which flew specially difficult bombing missions, transport missions and long range reconnaissance. He was awarded his pilots badge. No other awards appear to be noted. Aircraft flown include Ju52, Ju86, He111 and Do17. Also accompanied by his typed flight clearance document dated 2nd November 1944.
2x WW2 Japanese Type 30 Arisaka Bayonets, both having wooden grips and housed in steel scabbards. Both bayonets with down turned quillons. Both have original rubber bayonet frogs attached, one being personalised by American naval troop who brought the item back after WW2. One bayonet has the arsenal mark for Matsushita, the other bayonet has arsenal marks for Hikari Seiki. Both are in good condition. (2 items) Ex John Ingham collection.
Scarce lance or Pike for the Ill-Fated Strathspey Fencibles ( 1793-1799), triangular section head with short side straps rivetted to rudimentary wooden haft prominently painted with No.354 STRATHSPEY, small iron shoe. Head 15cms, overall 244cms. Quite good condition, haft now slightly curved. The Grant or Strathspey Fencibles were raised when Sir James Grant of Grant, having offered to raise a regiment, he obtained permission to do so, and two months after the declaration of war by France, the regiment was assembled at Forres in the end of April, 1793. With the exception of 41 Scottish Lowlanders, three Englishmen, and two Irishmen, the regiment consisted of Highlanders. On 5 June it was embodied and inspected by Lieutenant-general Alexander Leslie, marched to the southward in August, and quartered successively in most of the towns in the south of Scotland. Whilst stationed at Dumfries in 1795, a mutiny broke out amongst the Strathspey Highlanders. A spirit of jealousy and distrust of their officers had taken deep root in the breasts of the men, in consequence of an attempt that had been made the preceding year at Linlithgow, to induce them to extend their service, which was confined to Scotland. They erroneously conceived that there was a design to entrap them; a suspicion which appears to have originated in the conduct of the officers, some of whom did not explain the nature of the proposals to their men, whilst others entirely mistook their import and meaning. For a time the good understanding between the officers and the men appeared to have returned; but an incident which occurred at Dumfries rekindled the dying embers of dissension, and led to the most unpleasant consequences. A soldier in the ranks having made a jocular remark, which was considered as offensive by the officers, he and some of his comrades, who appeared to enjoy the joke, were put into confinement, and threatened with punishment This injudicious step roused the feelings of the Highlanders, who considered themselves as insulted and disgraced in the persons of the prisoners, and they could not endure that such a stain should "attach to themselves and their country from an infamous punishment for crimes, according to their views, not in themselves infamous in the moral sense of the word". The consequence was, that many of the soldiers, in open defiance of their officers, broke out, and released the prisoners. After this unfortunate affair, the regiment was marched to Musselburgh, when Corporal James Macdonald, and privates Charles and Alexander Mackintosh, Alexander Fraser, and Duncan Macdougall, were tried, and being found guilty of mutinous conduct, condemned to be shot. The corporal's sentence was restricted to a corporal punishment. The four privates were marched out to Gullane Links, East Lothian, on 16 July 1795, and when they had arrived on the ground they were told that only two were to suffer, and that the two Mackintoshes would be permitted to draw lots. They accordingly drew, when the fatal one fell on Charles, who, with Fraser, was immediately shot in presence of the Scots Brigade, (afterwards the 94th regiment) and the Sutherland, Breadalbane, and Grant Fencibles. The others were ordered to join regiments abroad. No other act of insubordination occurred in the regiment, which was disbanded in the year 1799. Please note we are not able to offer in house post and packing on this lot.
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