Peter Cushing (1913-1994) and Peter Ustinov (1921-2004) – a small selection of four original and one copy correspondence between the two actors. In 1955, whilst Cushing was appearing in a BBC drama based upon a play written by Ustinov, they commenced an exchange of humorous correspondence by fictional characters they created. Although their correspondence ended shortly after the play was broadcast, they remained great friends and occasionally reprised their characters’ correspondence in later years, usually with deliberate mis-spellings of names and events.Included in this lot is:1. A Comical handwritten telegram from Peter Ustinov (of Houltworthy, Riller, Riller, Spraffe & Bullim, Solicitor-at-law) being a summons (to Peter Cushing) for non-payment of monies. Laid down to a single, plain sheet of A4 paper;2. A photocopy of Peter Cushing's reply, an autographed letter, dated 23. Feb. 1955, 'mie veree dere Morrie' . . . Cushing has acknowledged the receipt of the telegram which has left him 'hart-broken', appeals to Ustinov to 'retrackt your ackshun’, and suggests they ‘meat at a mewtually conveneant tyme and playce’ to sort it out ‘frend too frend’, signed Peter;3. Orginal autographed letter signed from Peter Cushing, to Messrs. M. & D. Grosvenor, also dated 23. Feb. 1955, hand-written on the reverse of the page of an unknown play or film script. Cushing states . . . 'I am in receet of yore a/c receeved of toodai’s dayt and franklee, sirs, I am horryfyed – I never – repeet NEVVER – had me nipples done and me switch’s arr spynsters tew thys veree dai – further moor – yore pryces arr Xorbeedant. Reelucktantlee I am refurring thee whole soordyd ayefare too mi solelissiturs – Messurs Renfrick, Renfrick & Renfrick & Sons Ltd who no dout wil bea getting in touch wiv yew (?) Moyst unfaythfooly Yrs Peter Cushing';4. A further original autographed letter signed from Peter Cushing, also dated 23. Feb. 1955, sent to Mie Veree dere Morris (Ustinov) in which he states 'as old frends and busyness assosheates . . . he was ‘hart-broken' to have received the letter from his solicitors, Howuntrusty, Riller, Riporf, Swagge and Bullion, and asks how he (Morris/Ustinov) could have done it knowing his (Cushing’s) ‘sirkumstanzez’ with a wife, several children and his mother-in-law to feed, Cushing pleads with him to ‘retrackt yore ackshun’ and to meet at a ‘moochully conveneant tyme and playce and diskuss this busyness in a atmossfear of konvivealitty’ signing ‘Yrs Sinceerley, Peter’;5. A further autographed letter signed from Peter Cushing to Morris Grsovenor, dated '24 of Feb 1955', written from Hotel D’Or, Place de la Konkord, Paris, France, in which he says he has gone for a ‘breff vaykayshun wiv the family. I cannot nor I will not be kowtow’d by yore attitood which I do not lyke. I am on too a good busyness deel hear (tyres and sundries) and if yew dew rite by me, I mite be abel to kut yew inn on a gude thing. I shal be a abzentea from the Kalleydonian Road for sum tyme and wil deam it only write if you wil cease yore insessant korrespondence until such tyme as I am abel too meet yew harf way. Yrs without ackrinimy, Peter Cushing’; Provenance: ex- Peter Cushing Collection: Canterbury Auctions, 2023.
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A Gothic Revival bronze desk stand, 19th century, French, the removable roof over a revolving triangular body, fitted with a silvered dial 'thermomètre’, seven-day initialled gilt note-holders and a paper calendar, on a triform claw foot plinth,11.5cm diameter35.5cm highProvenance: The David Morris Collection.Condition ReportWith wear.
A cast bronze rococo-style mantel clock, c.1845, by Thwaites & Reed, the circular engine-turned dial with Roman numerals, enclosing a drum movement with single fusee and an anchor escapement, the case with latticed fretwork panels to the front and sides,17cm wide11cm deep30cm highProvenance: The David Morris Collection.Condition ReportFair overall.
A collection of silver teaspoons comprising a set of twelve Queen's pattern teaspoons, by John Aldwinckle & Thomas Slater, London 1889, a set of six Fiddle pattern teaspoons, by Morris & Michael Emanuel, London 1828, a set of five teaspoons, by Josiah Williams & Co, London 1909, a Fiddle pattern salt spoon, by John Stone, Exeter, and a caddy spoon, London 1802, with a shell form bowl and bright-cut handle,total 20.3oztCondition ReportKnocks and wear. Marks rubbed, particularly to the salt and caddy spoons. The John Aldwinckle & Thomas Slater teaspoons are 14.5cm long - please see the additional images for the duty mark.
Two pairs of cotton interlined curtains with fixed triple pencil pleat headings in William Morris "Chrysanthemum" design in pink and green colourway, 233 cm drop x 195 cm wide at bottom and 92 cm wide at top, together with matching swags, tails, etc. CONDITION REPORTS FAIR - some small tar like substance spots and linings foxed. General wear and tear conducive with age and use. See images for further information.
Morris, F O: 1- A History of British Birds, in 6 vols. Bell and Daldy, 1870, 2nd. Edn. Numerous hand-coloured plates. Cont. full calf, worn and lacking 6 of the 12 covers; 2- A Natural History of the Nests and Eggs of British Birds, 3 vols. Bell and Daldy, 1870, 2nd. Edn. Numerous hand-coloured plates. Original pictorial boards, VG: 3- British Game Birds and Wildfowl. With 57 out of 60 colour plates. 4to. (33 x 27cm), Lacking all before page 17 and 3 out of the 60 plates. Original pictorial boards, stained and worn; The colour plates are bright and clean: Plus: The Minstrelsy of the Woods: or Sketches and Songs connected with the Natural History of some of the most interesting British and Foreign Birds. Harvey & Darton, 1832, 1st. Edn. With 17 hand-coloured plates. Original plain boards, lacking the label. Spotting to the one plate and a few pages. (11)
1964 Morris Minor ConvertibleBeing sold without reserveRegistration number BFB 186BChassis number MAT5D1076170Engine number 10MAUH100167Old English whiteLady owned since 1997Affectionately known as MoggyEnjoyed during this time with no issuesGaraged until a couple of months ago when moved houseOnly for sale due to house move and loss of garage All lots in this sale are sold as is and bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding. Please read our terms and conditions HPI clear, only V5C present, other paperwork lost in the move, car photographed in torrential rain!This lot must be collected by 12.30pm on Friday 25th October. If the buyer has not collected by this time it will automatically be removed and placed into storage, incurring a removal charge of £100 + VAT, to include the first week of storage, unless otherwise noted. Storage will then be charged at £10 + VAT per day or part thereof. If collecting from storage, please provide 24 hours notice
*LUCY HARWOOD (1893-1972) Suffolk landscape looking towards St. Mary's Church, Kersey, signed verso, oil on canvas, 43cm x 54cm, Framed dimensions: 52cm x 62cmProvenance: A gift from the artist. Note: Harwood was born at Belstead near Ipswich and moved with her family to East Bergholt while still a young child. A botched medical operation left Harwood partially paralysed on her right-hand side and ended her ambition to be a professional pianist. Turning to art, rather than music, Harwood enrolled in the Slade School of Fine Art in London prior to the start of World War I. In 1937 she studied at the East Anglian School of Printing and Drawing in Dedham run by Cedric Morris. Harwood remained with the School when it re-located to Benton End at Hadleigh in 1940 and was associated with the School in various roles for many years.Working with her left hand only, Harwood created still-life and landscape paintings of Suffolk, in particular of the area around her home at Upper Layham but also of other parts of Britain and abroad.
*FRANK PHELAN (1932-2023) 'I Denizen, 22/1/06', abstract composition in blues, mixed media on paper, titled verso, 55cm x 74cm, Framed dimensions: 71.5cm x 84cmProvenance: The estate of the late Brian Phelan (1934-2024) and Dorothy Bromiley Phelan (1930-2024).Note: Born in Dublin, Frank Phelan was educated by the Christian Brothers and in Tipperary at Rockwell College, before studying at The Royal Architectural Institute of Ireland. He then worked as a draughtsman in a Dublin firm of structural engineers until 1953, when he, his father and his brother Brian emigrated to Canada. For six years, he worked in Ontario at various jobs while taking classes at the Doon School of Fine Arts in Kitchener.Around 1959, he returned to Ireland briefly before moving to London, where he lived with the sculptor Frank Morris. He found work as a stagehand at Joan Littlewood’s innovative Stratford East Theatre, and designed sets for the Unity Theatre and for Charles Marowitz’s Open Space Theatre Company. His theatre contacts eventually led to an introduction to Nancy Wynne-Jones, who invited him to be an artist-in-residence at Trevaylor, the Georgian house at Gulvel, near Penzance she had converted to a kind of artist’s colony.It was here that Phelan befriended the painter Tony O’Malley, who introduced him to many of the key figures in the early St Ives circle, including Roger Hilton, Bryan Wynter, Patrick Heron and Conor Fallon. Phelan also was particularly impressed by the work of Peter Lanyon. Throughout the decade, he worked between Cornwall and a rented studio off the Fulham Road, developing highly abstracted, compositional style.By 1966, he had had his first solo show of paintings at the Traverse Theatre in Edinburgh, organised by Richard Demarco. This partnership was one of the most fruitful of his early career, and he also showed his work at Demarco’s inaugural exhibition in Glasgow, in another solo show the following year at Demarco’s Edinburgh gallery, and in several important group shows, including an exhibition of contemporary British painting and sculptors at the Museum of Modern Art, Warsaw.During the past two decades and up to his death in 2023, Phelan re-engineered and re-energised his style and technique, exhibiting new works in Dublin, Cork London, Bath, Provence, Granada, and of course, St Ives. His paintings and mixed media works are now in private collections in England, Ireland, France, the United States, as well as in State Collection of Ireland (OPW) and the Cork Institute of Technology & Arts.
*FRANK PHELAN (1932-2023) ‘Sursum Corsa (Lift Your Heart)’, 2003, abstract composition, mixed media on paper,56cm x 74.5cm, Framed dimensions: 71.5cm x 85.5cm'Sursum Corda' is the motto of the Royal Brompton Hospital, where the artist underwent heart surgery, Provenance: The estate of the late Brian Phelan (1934-2024) and Dorothy Bromiley Phelan (1930-2024).Note: Born in Dublin, Frank Phelan was educated by the Christian Brothers and in Tipperary at Rockwell College, before studying at The Royal Architectural Institute of Ireland. He then worked as a draughtsman in a Dublin firm of structural engineers until 1953, when he, his father and his brother Brian emigrated to Canada. For six years, he worked in Ontario at various jobs while taking classes at the Doon School of Fine Arts in Kitchener.Around 1959, he returned to Ireland briefly before moving to London, where he lived with the sculptor Frank Morris. He found work as a stagehand at Joan Littlewood’s innovative Stratford East Theatre, and designed sets for the Unity Theatre and for Charles Marowitz’s Open Space Theatre Company. His theatre contacts eventually led to an introduction to Nancy Wynne-Jones, who invited him to be an artist-in-residence at Trevaylor, the Georgian house at Gulvel, near Penzance she had converted to a kind of artist’s colony.It was here that Phelan befriended the painter Tony O’Malley, who introduced him to many of the key figures in the early St Ives circle, including Roger Hilton, Bryan Wynter, Patrick Heron and Conor Fallon. Phelan also was particularly impressed by the work of Peter Lanyon. Throughout the decade, he worked between Cornwall and a rented studio off the Fulham Road, developing highly abstracted, compositional style.By 1966, he had had his first solo show of paintings at the Traverse Theatre in Edinburgh, organised by Richard Demarco. This partnership was one of the most fruitful of his early career, and he also showed his work at Demarco’s inaugural exhibition in Glasgow, in another solo show the following year at Demarco’s Edinburgh gallery, and in several important group shows, including an exhibition of contemporary British painting and sculptors at the Museum of Modern Art, Warsaw.During the past two decades and up to his death in 2023, Phelan re-engineered and re-energised his style and technique, exhibiting new works in Dublin, Cork London, Bath, Provence, Granada, and of course, St Ives. His paintings and mixed media works are now in private collections in England, Ireland, France, the United States, as well as in State Collection of Ireland (OPW) and the Cork Institute of Technology & Arts.
After Philip Webb for Morris & Co., a circular dining table, dated to underside 1995, the painted circular top on ring-turned oak legs joined by radiating stretchers73 x 152cmWhite painted top with some general minor adhesive marks, scuffs and scratches (would benefit from cleaning and/or re-painting)Support is in good clean condition with minor water marks probably from mopping.top is not currently fixed to base but screw holes are present
Philip Webb for Morris & Co., an ash Sussex chair, with rush seat 81 x 53 x 46.5cm Provenance: The Estate of Sir Ambrose Heal's Baylins Farm, thence by descent into the Heal family Please see further images. surface shows evidence of old black paintwork. left leg shows repaired split or break, right shows diagonal mark, difficult to say if this is a grain or repaired split. some glue within the rushwork seat some movement when sat on.
λ JOHN FARNHAM (BRITISH B. 1942) LIFE FORM Bronze Signed and numbered 1/7 and stamped with the Morris Singer foundry mark 33 x 24cm (12 x 9¼ in.)Provenance: The New Art Centre, London Condition Report: Base measures 24 x 24cm. One fleck of paint and some very light surface to the crevasses. Otherwise, in overall good condition.Condition Report Disclaimer
A collection of uniformly rebound books on Tapestries and Embroidery in brown half calf with orange cloth boards to include: Blazkova (J.) Wandteppiche, Prague: Artia, 1957, folio; Goebel (Heinrich) Tapestries of the Lowlands, New York: Brentanos, 1924, folio; Thomson (W. G.) A History of Tapestry, London: Hodder and Stoughton, 1906, 4to; Kendrick (A. F.) A Book of Old Embroidery, London: The Studio, 1921, 4to; Vallance (Aymer) William Morris, London: George Bell, 1909, 4to; Hunter (George Leland) Decorative Textiles, Philadelphia: J. B. Lippincott, 1918, folio; Thomson (W. G.) Tapestry Weaving in England, London: Batsford, 1914, folio (7)The Library of Raymond Benardout
GEORG JENSEN, 44A, A PAIR OF OVAL CUFFLINKS, AND A PAIR OF CUFFLINKS BY ROBERT LEE MORRIS The oval polished cabochon silver coloured panel to a bar with oval panel swivel terminal, stamped with Georg Jensen maker's mark 925S Denmark, with French import mark; together with a pair of shaped intersecting panel cufflinks, stamped Robert Lee Morris Size/dimensions: first 2.2cm long; second 2.8cm long Gross weight: 36.9 grams Condition Report: The cufflinks have some general light wear, surface scuffs Condition Report Disclaimer
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. A 'BIRD' PATTERN TEXTILE HANGING CIRCA 1890 Original design circa 1877 and 1878, jacquard-woven woollen double cloth approximately 150cm long by 125cm wide Provenance: Sir Edward Coley Burne-Jones (1833-1898); By descent to his daughter Mrs J W Mackail (nee Margaret Burne-Jones) (1866-1953); By descent to her daughter Clare Mackail (1896-1975); Thence by family descent. Literature: Parry, L., William Morris Textiles, V&A 2013, pp. 222-223, illus. This textile was the first hand-loom jacquard woven at Queen Square in London and later at Merton Abbey. In November 1879, Edward Burne-Jones ordered a set of bed hangings in this pattern and it is possible that this hanging may have formed part of this order. Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Some mild colour muting from sunlight. Small dark stain lower right of centre. Some loose threads. Edges have been folded over and then backing applied. 1/4 inch or less of edge can be felt to reverse edges. The edges themselves not completely straight. With hoops attached to top edge for hanging. Unevenness of weaving looks to be from manufacture Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
ATTRIBUTED TO GEORGE JACK, FOR MORRIS & CO., A MAHOGANY OCCASIONAL TABLE CIRCA 1890 The underside stamped Morris & C0 / 449 Oxford STW / 530 and a paper label with ink inscription 'WILLIAM MORRIS/ used to work at his designs /for the KELMSCOT CHAUCER/ in the studio at The Grange/ on Sunday Mornings/ while my father Edward Burne-Jones/ worked at his drawings for the/ same book. Morris used this table' and further label with ink inscription 'This Table/ left/ to/ CLARE' 65cm high, 61cm wide, 61cm deep Provenance:According to paper label the table belonged to Sir Edward Coley Burne-Jones (1833-1898) and was used at The Grange, Fulham; By descent to his daughter Mrs J W Mackail (nee Margaret Burne-Jones) (1866-1953); By descent to her daughter Clare Mackail (1896-1975); Thence by family descent. This occasional table was almost certainly a popular model, designed by George Jack (1855-1931), and supplied by Morris & Co., Oxford Street, London, in the late 19th century. An identical table sold Christie's, London, 13 May 2014, lot 162. George Washington Jack, architect, furniture-designer and wood carver, was chief furniture designer for Morris & Co. from 1890 onwards. Jack was born to Scottish and Irish parents in Long Island, New York in 1855 but on his father's death in 1860 the family returned to Glasgow. Jack was articled to a number of architectural practices in Scotland and London before joining Philip Webb's firm as a draughtsman and site architect in 1882. Webb introduced Jack to William Morris and from 1885 Jack began to work for Morris & Co. as chief designer while simultaneously working for Webb. This table in Jack's preferred 18th century revival style probably dates from c. 1890 suggested by its relationship to another similar walnut table now in St. Louis Museum of Art (189:1990). Jack was elected a member of the Art Workers Guild in 1906, and exhibited at the Arts & Crafts Exhibition Society. Another table designed by Jack and exhibited as per above was described as: 'a table [with piecrust top] six carved legs, executed by Sidwell and Thatcher, carving by H. Dodd, exh. Morris & Co. (cat. no. 415). In the Morris & Co. catalogue of this year it featured as No. 376, priced at 8 guineas, and a plain version No. 370 was available in oak or mahogany for £4 10 0' (). Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Old surface marking, small water stains, rings, surface scratches throughout and small dents to legs. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. Condition Report Disclaimer
AFTER WILLIAM MARLOW THE MONUMENT TO THE GREAT FIRE OF LONDON AT FISH STREET AND GRACECHURCH STREET Oil on canvas 104 x 87cm (40¾ x 34¼ in.) In a carved and pierced giltwood frame After the engraving by Morris of the picture exhibited at the Royal Academy in 1790Provenance: Property of Florence Julia, Lady Granet, mother in law to Denis Mackail, and thence by descentLiterature: The Connoisseur, May 1965, p.3Illustrated: The Connoisseur, May 1965, p.3
Three part rolls of furnishing fabric: Sanderson William Morris Sunflower in velvet (advised by vendor that there are two lengths on the roll, one of 2.6 m and the other of 2 m x 137 cm wide), a roll of fabric in red/rust tones with gold thread embroidery (advised by vendor that roll contains 14 m x 137 cm wide), a roll of Harlequin fabric "Best of Friends", in various colours and with glitter against a pink background (advised by vendor that roll contains 5 m x 137 cm wide) plus length of Emily Bond "Setter", vendor measured at 3 m x 137 cm
Charles I (1625-1649), Tower mint, Halfcrown, Gp III, type 3a2, mm, triangle, rough ground beneath horse, 15.25g/1h (SCBI Brooker 352; N 2212; S 2776). Some surface crazing, good fine and toned £120-£150 --- Provenance: Glendining Auction, 6 December 1992, lot 575; A. Morris Collection [from B. Dawson January 1993]; bt L. Bennett
Charles I (1625-1649), Tower mint (under Parliament), Halfcrown, Gp IV, type 4, mm. star, fourth horseman, 15.15g/12h (SCBI Brooker –; N 2214; S 2779). Nearly very fine, attractively toned but obverse a little weak £150-£200 --- Provenance: A. Morris Collection (from Baldwin February 1997); bt L. Bennett
An oak cocktail chest in Art Deco style, by Morris of Glasgow, circa 1930; the lacquered top with moulded brass edging; above a fall front, the vacant interior with applied metal maker's plaque MORRIS MADE GUARANTEE, GLASGOW, TRADEMARK; above three graduated drawers, all with faceted brass knob handles; on octagonal section feet; 110cm high, 78cm wide, 42cm deep
An oak dressing table in Art Deco style, by Morris of Glasgow, circa 1930; the inverted breakfront lacquered top with moulded brass edging; above three drawers with faceted brass knob handles, one drawer with applied metal maker's plaque within, MORRIS MADE GUARANTEE, GLASGOW, TRADEMARK; on octagonal section tapered legs; 76cm high, 108cm wide, 53cm deep
A Franklin Mint '1947 Bentley' diecast model, in its original packaging; and a Franklin Mint '1967 Morris Mini Cooper', in red, in its original packaging; together with a collection of diecast model vehicles, makers to include: Corgi Classic Cars; Atlas Editions Eddie Stobart exclusive first editions.
Matchbox - Dinky - Tuf Tots - Other - An unboxed collection of 26 diecast model vehicles mainly consisting of Matchbox Regular Wheels. Lot includes Dinky Dublo Morris Pick Up; Matchbox #37 Karrier Bantam Coca Cola Truck (even load); Matchbox #46 Pickfords Removal Van and similar. Models all show age and play wear with conditions appearing to range mainly Fair - Fair Plus a few Good. Some models appear to have had some retouching / repainting. Models are unchecked for completeness. (This does not constitute a guarantee) (K)
Corgi - Dinky - Matchbox - EFE - An assortment of 15 diecast vehicles and sets to include #D14/1 The Dandy Beano Special Edition set, #D47/1 Morris J Van & AEC Bus, #DY-1 1968 Jaguar E Type Mk 1 1/2 and others. Items appear to be in excellent condition and come with there certificates where necessary. Very good-excellent boxes. (This does not constitute a guarantee) RG
Matchbox - Corgi - Dinky - Lone Star - A group of unboxed vehicles including Lamborghini Miura # 33, Dodge Dart Phoenix, Morris Mini Cooper # 249, James Bond Aston Martin # 270 and others. Also a Matchbox Superfast Double Track Race Set # SF-5. The items show signs of age and use, some have damage / parts missing, appear Fair overall. (This does not constitute a guarantee) [ba-2]
Philadelphia Mint. The obverse side features Mark Twain holding a pipe, the smoke of the pipe forms a silhouette of Huck Fin and Jim on a raft. The reverse side features an assortment of Mark Twain's characters leaping out from an open book. The coin is in a protective case and displayed in an original US Mint box. The box is approximately: 3.5"L x 3.5"W x 0.75"H. Artist: Chris Costello, Michael Gaudioso, Patricia Lucas-Morris and Renata GordonIssued: 2016Dimensions: See DescriptionManufacturer: United States MintCountry of Origin: United StatesCondition: Age related wear.
Philadelphia Mint. The obverse side features Mark Twain holding a pipe, the smoke of the pipe forms a silhouette of Huck Fin and Jim on a raft. The reverse side features an assortment of Mark Twain's characters leaping out from an open book. The coin is in a protective case and displayed in an original US Mint box. The box is approximately: 3.5"L x 3.5"W x 1"H. Artist: Chris Costello, Michael Gaudioso, Patricia Lucas-Morris and Renata GordonIssued: 2016Dimensions: See DescriptionManufacturer: United States MintCountry of Origin: United StatesCondition: Age related wear.
Philadelphia Mint. The obverse side depicts the American Legion emblem, and the reverse side shows the founding of The American Legion in Paris in 1919. The coin is in a protective case and displayed in an original US Mint box. The box is approximately: 3.5"L x 3.5"W x 1"H. Artist: Paul C. Balan, Renata Gordon, Patricia Lucas-Morris, and Michael GaudiosoIssued: 2019Dimensions: See DescriptionManufacturer: United States MintCountry of Origin: United StatesCondition: Age related wear.
A collection of hardback and other books, primarily relating to aircrafts, titles including: Eagles of the Third Reich, by Samuel W. Mitcham; British Aircraft of World War II, by John Frayn Turner; Jane's Fighting Aircraft of World War II; The Illustrated Directory of the United States Air Force, by Michael Roberts; Encyclopaedia of Aviation, by Squadron Leader C. G. Burge; The World's Navies, by Chris Chant; Battleships, by Anthony Preston; History of the US Navy, by James M. Morris; Cruisers, by Anthony Preston; Destroyers, by Anthony Preston; History of the RAF, by Chaz Bowyer; The World's Air Forces, by Chris Chant; Fighter, by Ralf Leinburger; RAF: An Illustrated History from 1918, by Roy Convers Nesbit; and others. (50)
Iain Morris (Contemporary)Pair of abstract colour block stripesInscribed and dated verso, Sat 11 - Sun 12 July 2015 and Tue 21 - Th 23 July 2015 respectively, acrylic on canvas; Together with two further abstract works by the same hand 102cm by 76cm and 91.5cm by 70.5cm respectively (4) (unframed)
CRICKET & FOOTBALL AUTOGRAPHS 1938 - 1941 A lined book with many autographs, most of which are laid on paper including West Indies Cricket 1939 X 14 including Stollmeyer, Headley, Weekes and Constantine, Middlesex CCC 1939 X 12 including Bill Edrich, Les and Denis Compton, West Ham United 1939 X 24 including Bicknell, Medhurst, Walker, Fenton, Macaulay, Small, Goulden, Bell, Corbett, Forde, Banner, Woodgate and Wood, Aston Villa 1939 X 6 including Edwards, Allen, Massie, Callaghan and Iverson, Preston North End 1939 X 7 including Bill Shankly signed as William, Gallimore, Milne, White, Mutch and McIntosh, Manchester United 1939 X 9 including Wrigglesworth, Pearson, Whalley, McKay, Warner and Rowley, Manchester City X 27 including Brooks, Westwood, Pritchard, Clark, Barr, Walsh, Marshall, Freeman, Fagan and Jones, Sheffield United 1939 X 8 including Carr, Smith, Pickering, Johnson and Hagan, Derby County 1939 X 10 including Stockill, Crooks, McCullock, Bailey, Boulton, Howe, Ward and Duncan, Everton 1939 X 1 Tommy Lawton, Arsenal 1939 X 9 including Kirchen, Hapgood, Male, Bryn Jones, Lewis, Les Compton, Cartwright, Wilson and Drury, Wolves 1939 X 9 including Morris, Scott, Westcote and Cullis, Stoke City 1939 X 6 including Bingham and Steele, Middlesbrough 1939 X 17 including Fenton, Butler, Martin, Shepherdson, Smith, Cumming, Forrest and Mannion and Beattie of Preston North End, Stanley Matthews of Stoke City and Les Jones of Arsenal. All autographs are on one side of the book. None are back-to-back. Generally good
Natural history, ornithology – Butler (Arthur Gardiner, PhD, FLS, FZS) et al. [Aplin (Revd. O. V.), Forbes (Henry O. FRGS), Coveleaux (John, FRGS), MacPherson (Revd. A. M.), Mathew (Revd. Murray A, FLS), Slater (Revd. Henry H.),& Tegetmeier (W. B.)], illus. Frohawk, F. W., British Birds with Their Nests and Eggs, 6 Vols., 1st edn., London, Brumby & Clarke, n. d. (1896), large 4to, engraved illus. in text throughout, bookplt. Geoffrey Paulson, bound red moquette over red cloth. Gilt lines and titles, and to spines, spines slightly faded, Vol., I 208pp, three chromolithographic plates of eggs to frontis with tissue guards; Vol. II., 192pp, chromolithographic plate of eggs to frontis with tissue guard; Vol. III., 175pp, six chromolithographic plates of eggs to frontis with tissue guards; Vol. IV., 219pp, two chromolithographic plates of eggs to frontis with tissue guards; Vol. V., 178pp, three chromolithographic plates of eggs to frontis with tissue guards & Vol. VI., 252pp, four chromolithographic plates of eggs to frontis with tissue guards; also Morris (Beverley R., MD, TCD), British Game Birds and Wildfowl, 1st edn., London, Groombridge, 1855 4to, 252pp, chromolithographic frontis and 59 other similar plates, gilt edges, bound gilt and embossed grey boards, both detached and lacking spine (7)
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