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Click here to subscribeWOLVERHAMPTON WANDERERS INTEREST, home programmes European matches 1954 to 1962, to include Honved, Real Madrid, Spartak, Moscow Dynamo, Halke, together with a selection of home programmes form 1956, 57, 58, 59, 60 through to the 1970s, also included in this lot is an interesting letter dated 1938 signed by Major Frank Buckley, a 1946 / 47 players season ticket and an autographed picture from the Billy Wright era
* Spanish playing cards. Madrid pattern, Madrid: unknown maker, 1707, 33 (of 40, without 4 & king of coins, ace & jack of cups, 5, 7 & jack of clubs) stencil coloured woodcut playing cards (Spanish suits), single figure courts, ace of coins with 'fechas en Madrid' and date, 'con licencia del rey N.S.' and date on 5 & 2 of swords, date also on 6 of clubs & swords, 2 of cups, and jack of swords, no pintas, soiled, some small stains, few minor creases, 4 clubs with small surface loss, cavalier of swords with tiny corner chip, square corners lightly rounded from use, versos plain white, each card 86 x 48 mm, together with: Parisian Spanish pattern, Madrid: Juan de Brugada, 1826, 22 (of 40, without 2-3 & 6-7 cups, 2-3 & 6-7 coins, 2 & 4-6 clubs, 2-7 swords) stencil coloured woodcut playing cards (Spanish suits), single figure courts, ace of coins with 'Faba de J.B.' and date, 4 of coins of R.H. (ie. Real Hacienda), lightly toned (ace of coins more so), small brown mark to KS and 5C (the latter with associated tiny hole), square corners, versos blue stars and dots pattern, plus: Non-Standard deck, Valencia: Manuel Lopez, 1846, 42 (of 48, without king & 7 coins, 6 cups, 6 swords, king & cavalier clubs) hand-coloured lithographed playing cards (Spanish suits), single figure courts representing different countries or continents, 4 cups with printing press emblem, dated imprint, and with two Valencia tax stamps, ace of coins with 'Fabrica de Valencia', with indices and pintas, few minor marks, 7 clubs with faint corner crease, otherwise apparently unused, square corners, versos small blue/black diagonal pattern, each card 74 x 46 mm, with: Spanish National pattern, Real Fabrica de Madrid, 1801, 48 (of 52, without ace of coins, 9 of clubs, 2 & 10 of cups) stencil coloured woodcut playing cards (Spanish suits), single figure courts, cavalier of cups with 'Aiva', 4 of coins with imprint and date, 4 of cups with rising sun (emblem of Felix Solesio), 3 of cups with possible maker's signature, with pintas, soiled and creased, some cards rubbed, 4 coins & king cups stained, 2 pip cards with corner loss (affecting one suit sign), square corners, versos blue dotted flowers, each card 89 x 57 mm, a quantity of card from each deck mounted with photo corners onto 4 display boards (55 x 40.5 cm), encapsulated in clear plastic (none examined out of boards), the remainder in plastic bags (second deck all mounted)QTY: (4)NOTE:Provenance: Collection of Dudley Ollis.First item: IPCS pattern sheet 51. Photocopies of the seven missing cards are included.Second item: Denning, Spanish Playing Cards, pages 45-46; Fournier, Spain 65, 138, 139; IPCS pattern sheet 22. This example has a very unusual mix of cup styles, with the five of cups bearing straight-sided cups, the other cards having chalice-form cups.Third item: An extremely rare, possibly unique, example from this apparently unknown maker, according to an enclosed note from Alberto Perez.Fourth item: uncommon in this 52 card version. Believed to possibly have been made for the Spanish Royal Court.
* Spanish playing cards. Spanish National pattern, Madrid: Real Fabrica de Madrid, 1787, the complete deck of 48 stencil coloured woodblock playing cards (Spanish suits), with pintas, single figure courts, ace of coins with imprint and date, 7 cups with maker's signature, 4 coins & 4 cups each with central sun or 'sol', several cards with blue ink smudges (probably from original printing), few cards lightly toned, occasional light spotting (9 cups more heavily so), 8 swords close-trimmed to border, with small loss to one corner, versos dark blue diagonal pattern of square dots within diamonds, each card 88 x 60 mm, 20 cards mounted with photo corners onto a display board (54 x 40 cm), encapsulated in clear plastic (none examined out of board), the remainder in a plastic bagQTY: (1)NOTE:Provenance: Collection of Dudley Ollis.Denning, The Playing-Cards of Spain, pages 35-37.Felix Solesio, who oversaw the Real Fabrica de Madrid used the sun as his trademark, derived from his family name. With fresh, bold colours, these cards are in generally excellent condition.
Striking contemporary canvas print titled Real Pass by the artist Ringo, known as the assistant to Steve Kaufman and part of the legacy of pop art initiated by Andy Warhol. This composition features a collage-style arrangement of the legendary footballer David Beckham in various poses during his tenure with Real Madrid, wearing the iconic Siemens Mobile jersey and number 23. Executed in bold, sepia-toned halftone print with layered imagery and a raw urban edge, the print is hand signed in red marker lower right. Presented in a silver-toned wood frame.Artist: Ringo (American, 20th c)Issued: 21st centuryDimensions: 13"L x 18"HCondition: Age related wear.
Attributed to Francisco del Pozo (Milan, Italy, XVI century - Active in Tunja at the end of the XVI century).“Saint Agnes”Oil on canvas.140 x 92 cm This painting is undoubtedly attributable to Francisco del Pozo.There are several elements to observe. Firstly, the comparison with Saint Margaret of Antioch by Francisco del Pozo, located in the Church of El Topo in Tunja, Colombia.The two paintings, in our opinion, share many striking similarities, starting with the faces of both saints—often the most revealing feature of a painter’s hand—which are almost identical. They both wear a very particular and distinctive type of dress. In both compositions, the saint appears in a prominent foreground with a high-quality painted landscape on either side, and, interestingly, both saints are shown with a lamb as their attribute—which it indeed is—and the lambs are also very similar.Furthermore, a particularly interesting observation was made a few years ago by a professor from the University of Madrid to the owner of the painting: the iconography (although translated into a Baroque style) follows that of the Byzantine mosaic of Saint Agnes found in the apse of the Basilica of Saint Agnes Outside the Walls in Rome. At that time, only an Italian painter would have been thoroughly familiar with it. Francisco del Pozo, born in Milan, settled in the New World as a painter. It is nearly impossible to imagine that any non-Italian artist of that era would have known of the mosaic, and the painting is evidently not Italian either.As for biographical information, little is known. According to the Real Academia de la Historia, this is what is recorded in Hispanic history: “Only one painting by this artist is documented, which depicts the Virgin of Candelaria. The image is accompanied by Saints Francis and Dominic, patrons of the Augustinian Hermit friars who commissioned the work, named Domingo de Anaya and Francisco Rodríguez. These friars chose the wilderness of La Candelaria in Ráquira as their place of retreat at the beginning of the colonial period, and the painting is still preserved in the monastery chapel. It bears the inscription: ‘Franciscus Puteus Medionalensis, fecit anno 1597’. Francisco del Pozo was part of the group of Italian artists who arrived in New Granada and left their mark on the first colonial painters. He lived in Tunja at the same time as Angelino de Medoro, and the marvellous Renaissance-style mural decorations in Tunja’s houses are probably their work.” Provenance: Private collection, Spain. Reference bibliography: - https://arcav1.uniandes.edu.co/artworks/16086- https://historia-hispanica.rah.es/biografias/37937-francisco-del-pozo
Ramón Torres (Active in Mexico from 1740 - 1790)‘Patronage of Saint John Nepomucene over the Spanish Kingdom and Empire and New Spain’.Oil on canvas. Signed.64 x 48 cm. Exquisite canvas signed and dated in 1743, in the first half of the 18th century, by Ramón Torres (‘fecit’), one of the most renowned painters in New Spain, almost a copyist in the way he replicated the stroke and tenderness of Miguel Cabrera's brush, which is very similar in his work. He perfectly captures the Novo-Hispanic society´s particular taste of the time, a very refined taste for religious portrayals, full of mysticism and rapture.In this splendid work we contemplate Saint John Nepomucene who, in ecstasy and already flying in Glory, surrounded by angels, exercises his protection over Spain (venerated in his Queen Maria Amalia of Saxony 1724-1759, wife of Charles III), and the native vicereine of New Spain and Mexico, both on their knees and in adoration of the martyred saint, to whom they ask for help. Patron saint of Bohemia and martyr of fidelity to the sacrament of confession (in a low cartouche on a lapis lazuli blue background we read: SAN JUAN NEPOMUCENO, PROTO MÁRTIR DEL SIGILO DE LA CONFESSION. ESPECIAL ABOGADO PARA CONFESARSE BIEN, Y CONSERVAR LA FAMA: Y COMO TAL ADMIRADO PATRÓN DE LA REAL UNIVERSIDAD DE MÉXICO EN SU CLAUSTRO PLENO DE 21 DE JUNIO DE 1743. (SAINT JOHN NEPOMUCENE, PROTO-MARTYR OF THE SEAL OF CONFESSION. SPECIAL ADVOCATE FOR GOOD CONFESSION AND PRESERVING FAME: AND AS SUCH ADMIRED PATRON OF THE ROYAL UNIVERSITY OF MEXICO IN ITS PLENARY CLOISTER OF 21 JUNE 1743.)Ramón Torres was a prominent painter amongst the ruling classes. On numerous occasions, he was commissioned to paint portraits of monarchs and notable figures, and the examples of his paintings that are preserved are testament to this.Amongst these, we highlight those mentioned by José María de Francisco Olmos and David Ramírez Jiménez in an article in Hidalguía magazine: “We know that he painted several portraits of monarchs, at least of Charles II and Charles III, as well as some viceroys, and that of Antonia de Mendoza, [1st Viceroy of New Spain and 2nd of Peru (1490–1552), dated 1786, which is part of the collection of the Museum of the Americas in Madrid]". As the Museum explains, Viceroy Antonio de Mendoza governed New Spain between 1535 and 1550, as indicated by the explanatory caption at the bottom of the painting, accompanied by the heraldry of his lineage. The Museum's catalogue dates this piece to 1786 and states that it is a copy of an anonymous painting kept in the National History Museum in Mexico City, with certain modifications introduced by the artist—portraying the subject with a less stern appearance, suggesting that Torres was not merely a copyist. The explanatory cartouche bears the number I, which can lead us to believe that at some point Ramón Torres was commissioned to reproduce the full series of viceroys.The painting we have here, given its dimensions and subject matter, was undoubtedly a commission destined for a private noble residence, as its size makes it unsuited to a church or religious congregation.It is evident that it was produced during the reign of Charles III (1759–1788), since, as mentioned, the figure representing the Kingdom of Spain is none other than his wife, Queen Maria Amalia of Saxony (1724–1759).Additionally, it is worth remembering that it was Ramón Torres who painted the great 1762 portrait of King Charles III now housed in the National Museum of History in Mexico. (https://arcav1.uniandes.edu.co/artworks/9788#)Several viceroys served during the reign of Charles III, but in the context of this painting, there is one in particular who is of greatest relevance from both a chronological and historiographical perspective. This is Don Alonso Núñez de Haro y Peralta, a Spanish cleric who served as Archbishop of Mexico from 1772 until his death in 1787, and as Viceroy of New Spain during the final year of his life.Considering that Ramón Torres painted him in the major artwork Portraits of the Archbishop of Mexico and Viceroy Don Alonso Núñez de Haro y Peralta and of Abbot José Félix Colorado under the Protection of the Virgin of Guadalupe, an oil painting dated circa 1776, which is kept in the Museum of the Basilica of Guadalupe, it is our hypothesis that the painting we present may have been commissioned by Archbishop Núñez de Haro to Ramón Torres, as a tribute to his king and to the New World over which he governed as Viceroy.Returning to the life of Saint John of Nepomucene, he was canonised by Benedict XIII on 19 March 1729. He was martyred at the request and order of Wenceslas IV, King of Bohemia, for having refused to reveal the Queen's confession. The process of canonisation was carried out quickly, above all at the request of the Society of Jesus, who, in search of a patron saint, made this devotion their own due to the series of attacks and persecutions they were undergoing. It was Pope Clement XIII who approved the patronage to alleviate the plight of the Jesuits and this saint would be invoked to protect the ‘good name’ of the Society. Another important reason that popularised the worship of this saint was the fact that he was considered a martyr for the secrecy of confession.A tender and devotional image, possibly commissioned by the Royal University of Mexico, which would have hung in the professors' room or cloister. The angels of Glory hold his bonnet, the palm of martyrdom and lilies of his purity, and a phylactery that reads: EXTENDET MANUM SUAM SUPER AQUILONEM. Sophon. 2, v. 13) a verse from the prophet Zephaniah, ‘He will stretch out his hand over (against) the north’, which indicates that the God of Israel will destroy, annihilate and exterminate the people of Assyria (in general ‘all the enemies of Spain and New Spain’).Bibliography:- Olmos, José María de Francisco y Ramírez Jiménez, David (2017). “La heráldica y la falerística en la identificación de las obras de arte: el supuesto retrato de Matías de Gálvez del museo de América de Madrid”. Revista Hidalguía, nº 374 (enero-abril 2017), pp.113-146.- Katzew, Ilona. (2004). "La pintura de castas: Representaciones raciales en el México del siglo XVIII". Turner Publicaciones S.L.
[Argentina, Viceroyalty of Rio de la Plata; Philippines interest] Real ordenanza para el establecimiento é instruccion de intendentes de exercito i provincia en el Virreinato de Buenos-Aires De orden de su Magestad [Part 2:] Leyes de la recopilacion de Indias. Madrid: imprenta Real, 1782. Folio (29.6 x 20.5cm), [62] 326 [140] [24] pp., sigs. pi-O2 P1 A-4M2 4N1 a-2l2 A-F2, contemporary limp vellum, manuscript spine-title and decoration, looped twine fasteners with vellum catches, edges sprinkled red, engraved arms at front (pi1), occasional manuscript marginalia, 3 related manuscript documents bound in at rear, respectively 10, 2, and 1 pp. dated Manila, 1785-6-7, each written in a secretarial hand, the first two signed at foot ‘Gonzalez’, the third signed ‘Ciriaco Gonzalez de Carvajal’ (see note), second part sigs. G-2K with variable worming in gutter, ramifying up to about sig. 2A then receding, occasionally touching text to minimal effect on legibility, a few old paper repairs [Palau 202982] Convent of San Nicolas de Tolentino, Manila, Philippines (inscription to verso of title-page). Library Hub traces one copy in UK libraries (National Library of Scotland). This copy contains three manuscript documents apparently signed by Ciriaco Gonzalez Carjaval (1745-c.1828), a high-ranking Spanish colonial official in the Philippines, who arrived in Manila as a judge in 1777 before serving as director of the Sociedad Patriótica de Manila between 1781 and 1787, after which he was appointed to the Audencia de Mexico, eventually returning to Spain in 1810. Similar documents bearing his signature are held by the Archivo General de Indias (e.g. shelfmark Contratacion 5534, N.1, R.8).
RONALDO CRISTIANO: (1985- ) Portuguese Footballer, five-time European Cup and Ballon d´Or winner. Signed colour 10 x 8 photograph by Ronaldo, the image showing him in a head and shoulders pose wearing his Real Madrid F.C. strip, holding his last Ballon d´Or award. Signed in bold black ink to the image. EX.
DIDI: (1928-2001) Waldyr Pereira. Brazilian footballer who played in three FIFA World Cups (1954, 1958 & 1962), winning the latter two. Vintage signed 3.5 x 5 photograph of the midfielder in a head and shoulders pose, wearing his Real Madrid jersey, in a football stadium. Signed in blue ink with his first name only to a light area of the image. VGDidi played for Real Madrid from 1959-60, making just nineteen appearances for the Spanish club. Despite the brief stint, Didi became the first Brazilian player to win both the FIFA World Cup and the European Cup.
Collection of Manchester Utd match day private boxes, VIP, carvery, grill room etc, pre-match dinner menus to include 1995/96 (3) including Rotor Volgograd (26 September), 1998/99 Arsenal (17 February) (1), 1999/2000 Sturm Graz (2nd November), Valencia (8 December), Bordeaux (1st March), Fiorentina (15 March) x2, Real Madrid (19 April) x2, 2000/2001 (14) including Bayern Munich (3 April), Valencia (20 February), Panathinaikos (21 November), Anderlecht (13 September), 2001/02 (10) including Lille (18 September), Deportivo La Coruna (10 April), Bayern Munich (13 March), Deportivo La Coruna (17 October), 2002/03 (12) including Deportivo La Coruna (11 December), Real Madrid (23 April), Zagreb (27 August), Olympiakos (1st October) Maccabi Haifa (18 September, 2003/04 (11 including Leeds Utd, Manchester City, Arsenal etc.; generally good. Total (58)
Football programmes, a Big Match collection of 100+ programmes, 1950's onwards, inc. England Homes (approx. 70) noted, Scotland 53, Germany 54, Spain 55, Brazil,, Wales & Yugoslavia 56, etc also Austria v Uruguay World Cup 54, Rep of Ireland v Czechoslovakia 61, Benfica v Real Madrid EC Final 62, Benfica v AC Milan EC Final 63, Atletico Madrid v Fiorentina ECWC Final 62, also Charity Shield games, League Cup Finals, Amateur Finals etc (some with minor faults but mostly gd)
Football programmes, Manchester Utd, a collection of 50+ programmes, 1950's onwards, mostly Homes inc. Aston Villa Charity Shield 1957, A C Milan EC Semi-Final 1957/58, Dulka Prague EC 1957, Real Madrid Fr. 1959, Luton 55/56, WBA 57/58, Leeds 59/60, sold with a few Away programmes and Big Match issues etc (some with faults, mostly gd)
Sean Scully 1945 Dublin - lebt und arbeitet in Königsdorf und Berlin, Barcelona und New York 8.23.04. 2004. Pastell. Rechts unten signiert und datiert bzw. betitelt '8.23.04'. Auf Aquarellkarton von Arches (mit dem Präge- und dem Trockenstempel). 58 x 77,2 cm (22,8 x 30,3 in), nahezu blattgroß. [CH]. • In der Verbindung von leicht versetzten, asymetrisch aufeinandertreffenden Farbfeldern, fließenden Linien und warmtoniger kontrastierender Farbigkeit entsteht eine spannungsvolle Komposition von großer Anziehungskraft. • Die samtige Materialität des Pastells, der malerische Pinselduktus und die weichen Kanten, an denen verdeckte Farbschichten zum Vorschein kommen, verleihen der Arbeit eine besonders lebendige, sinnliche Qualität. • Die Pastelle des Künstlers befinden sich weltweit in den bedeutendsten musealen Sammlungen, darunter das Museo Nacional Centro de Arte Reina Sofía, Madrid, die Phillips Collection und die National Gallery of Art, Washington, D.C., das Metropolitan Museum of Art und das Museum of Modern Art, New York. PROVENIENZ: Sammlung Rudolf Grass, Politischer Club Colonia, Köln. Privatsammlung Nordrhein-Westfalen (2004/2005 vom Vorgenannten erworben). 'Ich male in Schichten und die Ränder sind komplex und unbestimmt. Das verleiht meinen Bildern einen echten Bezug zur Zeit und zur Arbeit: Ein wirklicher Mensch hat sie ausgeführt, er hat echte Zeit und echte Arbeit und Suche hineingesteckt [..]. Streifen und Bänder und Linien und Schachbrettmuster verwende ich, um Rhythmus zu erzeugen. Ich möchte permanent Kombinationen, Figuren und Verbindungen neu schaffen, die wie der Rhythmus der Musik des Lebens sind [..].' Sean Scully, 1996, zit. nach: Kirsten Claudia Voigt (Hrsg.), Inner. Gesammelte Schriften und ausgewählte Interviews von Sean Scully, Berlin 2018, S. 54. Aufrufzeit: 07.06.2025 - ca. 15.32 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONSean Scully 1945 Dublin - lebt und arbeitet in Königsdorf und Berlin, Barcelona und New York 8.23.04. 2004. Pastel. Signed and dated/titled “8.23.04” in the lower right. On Arches watercolor paper (with embossing- and blindstamp). 58 x 77.2 cm (22.8 x 30.3 in), nearly the full sheet. [CH]. • The combination of slightly staggered, asymmetrically intersecting color fields, flowing lines, and warm contrasting colors makes for a striking composition. • The velvety materiality of the pastel, the painterly brushwork, and the soft edges where hidden layers of color emerge lend the work a remarkably vibrant, sensual quality. • The artist's pastels can be found in major museum collections worldwide, including the Museo Nacional Centro de Arte Reina Sofía, Madrid, the Phillips Collection and the National Gallery of Art, Washington, D.C., the Metropolitan Museum of Art and the Museum of Modern Art, New York. PROVENANCE: Rudolf Grass Collection, Politischer Club Colonia, Cologne. Private collection, North Rhine-Westphalia (acquired from the above in 2004/2005). 'I paint in layers and the borders are complex and undefined. This lends my pictures a genuine connection to time and work: a real person created them, investing real time, real work, and real exploration [..]. I use stripes, bands, lines, and checkerboard patterns to create rhythm. I always want to create new combinations, figures, and connections that are like the rhythm of the music of life [..].' Sean Scully, 1996, quoted from: Kirsten Claudia Voigt (ed.), Inner. Gesammelte Schriften und ausgewählte Interviews von Sean Scully, Berlin 2018, p. 54. Called up: June 7, 2025 - ca. 15.32 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
Francisco Targarona of Madrid: a fine and rare cased pair of Spanish 22 bore convertible 'Madrid' lock pistols from the personal collection of Prince Augustus Frederick 1st Duke of Sussex (1773-1843), each with a 13 inch two-stage octagonal-to-round barrel, the breech stages named to the Prince in gold inlay 'DE. S.A.R.P. AUGUSTO', and with the maker's gilded seal marks (punzón) all amid geometric and floral accents in gold, divided from the round upper stages by bands of foliate moulding, gold sighting beads at the muzzles, gold lined touch holes; the locks with internal mainsprings and sears projecting through the lock plates, serpentine cocks with ring-head jaw screws, the breasts with projecting spurs to engage the half-cock sears, flying scrolls rising to meet the undersides of the jaws, all with fine foliate engraving and the plates inscribed 'FRAN-CO. TARGARONA' and with a monogram for MADRID; walnut full-stocks with finely engraved steel furniture including trigger guards with ornate finials recessed into moulded borders in the stocks, scrolling side plates engraved with bell husks, and heavy butt caps with long spurs, moulded details to the ram rod channels, steel mounted ram rods; one of the pair with a separate fluted shoulder stock interchanging with its pistol butt by means of a bayonet fitting and having a threaded muzzle under a screw off cover to receive the removable barrel of the other pistol, all resulting in the conversion of the first pistol into a carbine or fowling piece; in a close fitted velvet lined mahogany case with an oval silver plate to the lid engraved 'PURCHASED AT THE SALE OF His Royal Highness The Duke Of Sussex, 1845', the base with three flush drawers, one drawer fitted to accommodate a very fine velvet shot bag by Carlos Montargis, the steel head with fluted and engraved spout and a sprung shutter with shell thumbpiece, the arm of the shutter engraved 'Montargis'; 1790s. Prince Augustus Frederick (1773-1843), was the 6th son of King George III and became Duke of Sussex (in the first creation of the title) on the 24th of November 1801. He was notable in his day as an enlightened thinker and abolitionist. He was a supporter of his niece, the popular but unhappy Princess Charlotte, in her struggles with her father the Prince Regent, and he enjoyed the honour of giving away his great niece Queen Victoria on her wedding day.The Duke died in 1843 and the sale of his chattels was conducted by Messrs Christie and Manson over thirteen days at their King’s Street, St James’s premises. Saturday, 1st of July was devoted to ‘Arms and canes’ and the pistols offered here appeared as lot 655 among a total of 110 weapons of various kinds. It is probable that this fine suite, with its gold inlaid dedications 'DE. S.A.R.P. AUGUSTO' (De Sui Alteza Real Príncipe Augusto / Of His Royal Highness Prince Augustus) was presented to him as a diplomatic gift at some point prior to the outbreak of hostilities between Britain and Spain in 1796. The Prince spent much of his early life on the continent, and his correspondence shows that in 1790 he was the guest of María Luisa of Spain, Queen Consort of Hungary, daughter to King Charles III and brother to King Charles IV of Spain, who became Holy Roman Empress later that year. Augustus appears to have enjoyed María's friendship, and this cordial connection to the royal court of Spain may lie behind the gift of these pistols. Francisco Targarona was prominent among the elite gun makers of Madrid, where he was active from c. 1778. In 1792 he was appointed gun maker to King Charles IV of Spain (Arcabucero de su Magestad) in succession to Francisco Antonio García with whom he had trained under Francisco López. He joined Diego Alvarez, Juan de Soto and Isidro Soler in the Royal Household. These men were part of a lineage of outstanding craftsmen with its origins in 1530, in which year the Holy Roman Emperor Charles V, who ruled Spain as King Charles I between 1516 and 1556, brought the brothers Simon and Peter Marquarte from the important gun making centre of Augsburg, to Madrid, where they established one of the finest fiream manufacturing traditions in the world. The terminal date of Targarona’s floruit is uncertain, but he did not survive the violence and upheaval of the first decade of the 19th century.The characteristic lock constructed by the Spanish makers is the type known to collectors as the Miquelet lock, distinguished by an external mainspring and sears that act laterally through the lock plate. The Madrid lock – a term of convenience employed by the late W. Keith Neal – is a scarce variant form of the Miquelet in which the lateral sears are retained but the mainspring is internal. The cock has the appearance of a conventional (French) flintlock, differing in having discrete projections to engage with the sears. Refined locks of this type were particular to the best Madrid makers between about 1700 and 1800, and are found on arms of the highest quality. The fluted shoulder stock is also typical of Madrid. The system for converting the two pistols into a single short gun is ingenious: the donor pistol has, instead of a true octagonal breech section, a sleeve of the same form, out of which its continuously round barrel is drawn after the key fastener is removed. The breech plug is shallow and slotted at the rear and may easily be removed to expose the female threads. The receiving pistol has a threaded muzzle, concealed in normal use, onto which the donated barrel screws to form a perfect fit. The ram rods are combined in a similar manner, and the butt of the pistol grip is replaced by the shoulder stock. This exhibits a truly remarkable standard of workmanship.
Football memorabilia, comprising a 19th century coloured print of a football match on Parker's Piece, Cambridge, framed & glazed, 24 by 29cm.; a framed photograph of the England 1966 World Cup winning team, framed & glazed, 33 by 38cm.; a Roger Coleman artist drawn poster of Bobby Charlton in action for England, Sunday Times Magazine supplement, rolled, some damage; two Sir Stanley Rous signed 90th Birthday celebration brochures; Hunter Davies's book The Glory Game signed by Ralph Coates; 75th Anniversary Real Madrid history book 1902-1977 pasted with a signature of Di Stefano, and containing a sheet of paper signed by Puskas; an autograph album that includes football and cricket autographs including Statham, Hutton, Tyson, Compton, Wolstenholme, Mortensen, Bartram, a Crewe Alexandra team-group and others; a collection of football collector's cards published by Chix; a folder containing a selection of programmes including England v Hungary 1953 and a Hungarian brochure for the 1954 7-1 rematch, the 1953 F.A. Cup Final signed by 14 players from both teams (but not Matthews); a sheet signed by the England team at the 1950 World Cup, European Championship programmes for 1968 & 1976 and other items including the autographs of the England Ashes winning cricket team in 1953, (a lot)
Gareth Bale white No.11 Real Madrid v. Atletico Madrid Champions League final match prepared long-sleeved shirt, 2016, Adidas, 6, with printed badge and FINAL MILANO 2016 STADIO SAN SIRO - 28 MAY Real Madrid CF vs Club Atletico de Madrid decal, the reverse lettered BALE, the right sleeve with Champions League flash, the other with Champions League 10 and UEFA Respect flash
Hugo Ibarra blue and yellow No.4 Boca Juniors v. Real Madrid Inter Continental Cup match issued short-sleeved shirt, 2000, Nike, l, with crew-neck collar and embroidered cloth badge inscribed CABJ, the reverse lettered IBARRA In the match played on 28th November in Tokyo, Boca defeated Real 2-1
Manchester United Multi Signed 18 x 12 black and white Print titled 'Glory At The Bernabeu’. Signatures from Bill Foulkes, John Ashton, Alex Stepney, David Sadler. Print shows the Man United line-up prior to their historic 3-3 draw with Real Madrid in the 1968 European Cup semi-final 2nd leg. 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
Alan Kennedy 16x12 signed colour photo, Autographed Editions, Limited Edition. Photo Shows Liverpool Legend Kennedy clutching the European Cup after his winning goal defeated Real Madrid in the 1981 European Cup Final. 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
Football, John Aston signed 12x18 black and white photograph pictured as Manchester united celebrates with his teammate George Best scored the only goal in the 1968 European Cup semifinal 1st leg Vs Real Madrid. Aston won 17 England caps between 1948 and 1950, all at left back, and featured in the 1950 FIFA World Cup. He played in the 1948 FA Cup Final triumph over Blackpool at Wembley Stadium. He left the club in 1954 after scoring 30 goals in 284 appearances. 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
David Sadler 16x12 signed colourised photo, Autographed Editions, Limited Edition. Photo Shows the Manchester United player Sadler scoring to bring his team level with Real Madrid in the 1969 European Cup Semi-Final 2nd Leg. 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
Zinédine Zidane - Real Madrid Club de Fùtbol - Season 2001-2002 - Home match shirt, Adidas, short sleeves, size XL. Front: embroidered technical sponsor and club crest. Right sleeve: sewn LFP patch. Left sleeve: embroidered inscription “Real Madrid 1902–2002”. Back: player name and number 5 in paint. Shirt prepared for Zinedine Zidane for a match during the 2001–2002 season. Provenance: Private collection.
Ferenc Puskas white No.10 Real Madrid v. Kilmarnock European Cup long-sleeved shirt, 1965, with crew-neck collar and embroidered badge inscribed FCM, some areas of stainingThe above shirt was gained by McLean as a swap after the 1st Round, 1st Leg match against Real Madrid played on 17th November 1965 at Rugby Park, the match ending in a 2-2 drawThe following lots 83 to 131 relate to the career of Scotland International, Kilmarnock, Rangers legend Tommy McLean
Celtic v. Inter Milan, European Cup Final match programme, 25th May 1967 and a collection of twenty-four European final programmes including Barcelona v. Slovan Bratislava, 1969, Inter Milan v. Real Madrid, 1964, Inter Milan v. Ajax, 1972, Dynamo Kiev v. Ferencvaros, 1975, Aberdeen v. Real Madrid, 1983 etc
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