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Click here to subscribeA modern Japanese black lacquered child's Samurai bow and arrow set on stand, height 59cm, a late 19th/early 20th century Imari decorated porcelain candlestick base, height 21cm, a Japanese green glazed ceramic mask of Hanya from Noh Theatre, 29 x 15cm, and a carved hardwood figure of a lion, with bone teeth, tongue, eyes and nails, length 25cm (4).
Star Wars - a unique quadruple signed 8x10" photograph of Darth Vader from The Empire Strikes Back. Autographed by George Lucas (Creator), Dave Prowse (d.2020 - Darth Vader), James Earl Jones (d.2024 - Darth Vader Voice), and Hayden Christensen (Anakin Skywalker). All signed in blue or black ink respectively, undedicated, Prowse adding character name. Prowse was obtained at a 1990s convention, Jones in-person at a London theatre and Lucas / Christensen at the Attack Of The Clones premiere in London. SWAU opinion of 'Likely Genuine' (covers Lucas only). Multi-signed photographs including Lucas are extremely rare.
REPERTOIRE GEN. DU THEATRE FRANCAIS (45 BINDINGS)| 1758-1813 | PUBLISHER: Paris, Ménard et Raymond | LANGUAGE: French | Entire title | Repertoire general du theatre francais (45 bindings)| Bidders are asked to inquire about the condition of the item before the auction. any complaints will not be taken into account. |
A c. 1925 German Reichsbanknote, 100000 Mark, repurposed as a play bill for "Tons of Money". Germany endured hyperinflation during this time making the currency essentially worthless and this was a tongue and cheek use of these notes. Similar note held in collection of Museums and Galleries Scotland for the same production at the Lyceum Theatre Edinburgh. Also another German note, stage money note and some coins, (A Lot).
KARAGÖZ/KARAGHIOZIS - SHADOW THEATRE -- "THEODOROS KOLOKOTRONIS" (and similar image on v°). -- "UNCLE GIORGOS IN NORTH AMERICA" (and similar image on v°). -- N.d. (first h. 20th c.?). 100 x 100 and 120 x 100 cm. -- Two-sided, handmade, poster painted shadow-puppet theatre decorations, texts in Greek, w. very colourful images of some popular antagonists. (Margins frayed and some splits in places, tear of ca. 20 cm. in 1 poster).NOTE: Karagöz or Karaghiozis is a shadow puppet and fictional character of Greek/Turkish folklore. He is the main character of the tales narrated in the Greek shadow-puppet theatre.
KARAGÖZ/KARAGHIOZIS - SHADOW THEATRE -- ROUSSEL, L. Karagheuz ou un théatre d'ombres à Athènes. Athènes, A. Raftanis, 1921. 2 vols. 59; 116 pp. Owrps., uncut. -- Added: E. LITTMANN. Das Malerspiel. Ein Schattenspiel aus Aleppo nach einer armenisch-türkischen Handschrift. Heidelberg, C. Winter, 1918. 50 pp. Owrp. -- And 3 o. on the same subject in Turkish. (6). NOTE: Ad 1: W. dedication in ms. and tipped in signed letter by the author to D.B. Valsamidès, dated Sept. 1921, Athens. Text in Greek and French. - Very scarce. - Books from the library of Prof. Dr. A.H. de Groot may contain some annotations in pencil.
PSALMS -- BUCHANAN, G. Paraphrasis Psalmorum Davidis poetica. (…) Eiusdem Buchanani Tragœdiæ duæ, Iephthes, & Baptites. Leyden, Ex Off. Plantiniana, 1609. 445, (1) pp. W. small woodcut vign. on ti. 16°. Cont. vellum w. overl. sides. (Faintly stained at beginning & end, sl. browned).NOTE: Pocket-size edition of the religious poetry and theatre of the Scottish humanist Buchanan (1506-1582), containing his Psalms Paraphrases, as well as the biblical tragedies "Jephthes" and "Baptistes". - STCN 058826491.
LEIDEN -- (MEURSIUS, J.). Illustrium Hollandiae & Westfrisiae ordinum Alma Academia Leidensis. Leiden, J. Marcius & J. à Coster, 1614. (28) lvs, 1-16 pp, (4 lvs), 17-231 pp. W. ti.-engr., lge. fold. plate of the academic procession printed on 2 conjoined lvs, 4 text-engrs. dep. academy building, botanical garden, library and anatomical theatre, & 54 fine engr. portrs. (& six empty medallions) in text. 4°. 19th c. hcl. w. marbled paper sides. (Margins cropped (but ample), small libr. stamp on ti.-p., small rep. to fold. procession plate, some ink stains in places, ms index of the portrayed at end).NOTE: Important work on the founding years of Leiden University, published 40 years after the founding of the university. Extended version of '(MEURSIUS, J.) Illustris academia Lugd-Batava (…)', 1613. Among those portrayed are famous men like Grotius, Dousa, Scaliger, Clusius, Dodonaeus, etc. - Brunet III, 1684; Willems 237 note; Rahir 1802; Van Someren I, 148; Haitsma Mulier/Van der Lem, 334k (ed. 1625).
UTAGAWA KUNISADA, (1786-1865). A group of 16 woodblock prints showing scenes from the kabuki theatre: 2 single sheets and 14 parts of multi-sheet compositions, variously signed. Dates range from c. 1850 to 1865. (Generally mediocre condition, trimmed, soiled, occasional paper loss and fading).
Registration – SE18 ZRKChassis No. – SCA665C03JUH25694M.O.T. – June 2025Odometer – 13,180Those that know their ancient Greek will remember that “adamas” means indestructible or unconquerable and is related to the etymology of the word diamond. There’s a reason for that. Apart from ‘SE18 ZRK’ being as rare as diamonds – only 40 Adamas Collection Wraiths were produced – it also features 88 laboratory grown diamonds in the cabin’s clock. In short, a very special example of an already incredibly exclusive Rolls-Royce. ‘SE18 ZRK’ is still in the ownership of the original buyer making this a single keeper car and one which could have well cost close to £350,000 in 2018. Just when you thought this sublime Wraith Black Badge couldn’t get any more desirable, we can report it has covered just 13,500 miles to date. ‘SE18 ZRK’ comes with a full service history with six services to date (plus the PDI) despite the miniscule mileage and is offered here with an advisory free MOT until June 2025 and the full, original book pack.Other notable attributes of ‘SE18 ZRK’s’ Adamas status is the very special spirit of ecstasy mascot. In this model it is crafted from 294 layers of aerospace-grade carbon with a weave angle of precisely 25 degrees. The iconic figure takes 68 hours to produce and sits on a special, titanium base. Inside the unimaginably luxurious cabin, the roof lining is studded with 1,340 fibre optic lights in the form of the “molecular structure of carbon as it becomes a diamond” instead of the “usual” Wraith starry sky arrangement. Mechanically, ‘SE18 ZRK’ is the usual, incredible Wraith Black Badge specification. This means a twin-turbocharged 6. 6-litre V12 engine, delivering an eye-widening 624 bhp and 643 lb-ft of torque. This is not a light car, but this is sufficient for a 0-60 mph time of just 4. 3 seconds. A seven speed, imperceptibly changing seven speed automatic transmission takes care of translating this physics defying power into forward momentum.Externally ‘SE18 ZRK’ is finished in pristine and stealthy looking, two tone Black and Morpheus Blue. Even the iconic Rolls-Royce radiator shell and vanes are finished in gloss black. That exclusive spirit of ecstasy proudly sits atop this feature reminding the lucky driver of the exclusivity of their steed. The rear hinged doors just add to the theatre and drama of this Wraith as do the 21-inch, black finished, carbon fibre composite wheels complete with 'R-R' gravity spinners. The lavish cabin is finished in black leather with distinctive accents of Cobalt Blue leather and matching stitching. Aside from the dramatic headlining treatment and that amazing diamond encrusted clock, there is a raft of exclusive and desirable attributes to relish in here. These include a multi-function steering wheel, folding infotainment screen, satellite navigation, parking sensors and cameras, and heated and ventilated electrically adjustable front seats with memory function plus much more than we can do justice to here. An incredible opportunity to acquire one of the rarest and most desirable Rolls-Royce, V12 coupes it is possible to imagine.Summary:One of just 40 Wraiths ever produced in ultra-exclusive Adamas guiseBoasting just one owner and a mere 13,500 miles to dateCompete with a full Rolls-Royce service history despite the miniscule mileage
A group of World War II RPG Board Games from Days of Wonder comprising MEMOIR '44 (2004) MEMOIR '44 EASTERN FRONT EXPANSION PACK (2005), MEMOIR '44 PACIFIC THEATRE EXPANSION PACK (2006), MEMOIR '44 TERRAIN EXPANSION PACK (2005), MEMOIR '44 WINTER DESERT BOARD MAP (2005), appear complete (5) NB: This lot is located in off-site storage facility (WD24) and only available for viewing by appointment with 24 hours notice. It will be available for collection from our main site after 2nd May.
SAL MINEO - A collection of ephemera, autographs and advertising material pertaining to the life and career of actor Sal Mineo, who was Oscar-nominated when starring alongside James Dean in Rebel Without a Cause and was tragically murdered by a mugger at the age of 37. This lot includes 6 autographed items, a copy of his autopsy and police reports on his cause of death, a US insert and press pack for ESCAPE FROM ZAHRAIN (1962), a draft of the book 'Sal Mineo: His Life, Murder and Mystery' by H. Paul Jeffer, newspaper clippings, theatre programmes, etc... (Qty)
A group of vintage World War II RPG Board Games comprising GLOBAL WAR THE WAT AGAINST GERMANY AND JAPAN (1975) SPI, KASSERINE PASS ROMMEL HITS THE YANKS (1972) LUFTWAFFE THE GAME OF AERIAL COMBAT OVEER GERMANY 1943-45 (1971) Avalon Hill, THE FLIGHT OF GOEBEN (1970) SPI, THE GREAT PATRIOT WAR, NAZI GERMANY VS THE SOVIET UNION (1988) GDW, THEIR FINEST HOUR (1976) Game Designers Workshop, TURNING POINT: THE BATTLE OF STALINGRAD (1972) SPI, WORLD WAR II EUROPEAN THEATRE OF OPERATIONS 1939-45 (1973) SPI, not checked for completeness (8) NB: This lot is located in off-site storage facility (WD24) and only available for viewing by appointment with 24 hours notice. It will be available for collection from our main site after 2nd May.
Alan Napier 14x12inch overall mounted vintage black and white photo. Alan William Napier-Clavering (7 January 1903 - 8 August 1988), better known as Alan Napier, was an English actor. After a decade in West End theatre, he had a long film career in Britain and later on in Hollywood. Napier is best remembered for portraying Alfred Pennyworth, Bruce Wayne's butler in the 1960s live-action Batman television series. 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
Diary of a Very Busy Lawyer, 1895. Unsigned but identified from internal evidence as 33 year-old J. Wilkie, S.S.C., resident in Inveresk, with offices at 108 George Street, Edinburgh. Written in a distinctive hand on over 200 un-numbered pages with a further 7 pages listing Papers Written and Books Read (2pp.) followed by Books Sent for Review (5pp.).Tipped on are 3 pieces of printed ephemera (see images). Bound in unlettered red cloth 21.5 x 17.5 cms.Each month is prefaced by a numbered index identifying the significant entries cross-referenced by relevant dates. The entries vary in length from a few lines to a full page and chronicle a very active work ethic, usually rising by 6.30/7.00 and often summarised as "long day".Clearly a popular and respected figure, he was elected/appointed to such diverse bodies as The Edinburgh Pen & Pencil Club, The Committee of the Conservative Association and The Scottish Church Society, and served as Agent or Presiding Officer at a number of local elections as well as at the General Election which followed Roseberry's resignation. He also found time to enjoy regular lunches/dinners with friends and associates (all named) at the Cap and Gown Club and Conservative Club, whilst his leisure activities included skating on Duddingston Loch, golf, rowing, the theatre, opera and cinema, and attending or participating in lectures, debates and literary reviews.Frequent visits were made to Fife and Perthshire and holidays spent in the Forres area and the Western Highlands including a trip on the Caledonian Canal.His entry for Hogmanay summarises the highlights of the year in which he records that his "drawings have for the first time exceeded £400" [equivalent to £67, 325] and the heart-felt wish: "If only the record of 1896 comes to be as happy I shall have reason to be thankful. May it so be!".
Maureen Lipman signed Theatre History FDC PM First Day of Issue 28 Apr 1982 Stoke On Trent Staffs. 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
LESLIE HURRY (BRITISH 1909-1978) FOLIO OF COSTUME DESIGNS AND A STAGE SET DESIGN FOR 'THE BEGGAR'S OPERA', 1963 twenty-two costume designs, all but one signed and dated, pen, ink, watercolour and fabric swatches on paper, twenty-one 35.5cm x 25cm (14in x 9 7/8in) and one 24cm x 27cm (9 ½in x 10 5/8in); the stage set, pen ink and watercolour on paper, 42cm x 59cm (16 ½in x 23 ¼in), all unframed (23) The Collection of Gillian Raffles. Hurry produced the designs for John Gay's The Beggars’ Opera produced by the Royal Shakespeare Company in 1963. The music was arranged by Raymond Leppard, and the production directed by Peter Wood at the Aldwych Theatre, opening on 16 July 1963. According to The Daily Mail Hurry’s costumes caught ‘Gay’s bitter spirit perfectly’ (17 July 1963).
ROBERT MACBRYDE (BRITISH 1913-1966) STILL LIFE - FRUIT IN A DISH (DESIGN FOR ASCHER SQUARE), c. 1947 signed and titled ‘Still Life / MacBryde’ in blue ink (to reverse), monotype on paper 34cm x 33cm (13 3/8in x 13in) Redfern Gallery, London, 1983, from whom acquired by Gillian Raffles;The Collection of Gillian Raffles. The painter and theatre designer Robert MacBryde collaborated with Ascher Ltd. in the 1940s to create artist-designed scarves. This current original design ‘Still Life’ went into production in 1947 in silk twill in an edition of 225, and MacBryde gave particular thought to the practical nature of the commission and material in designing this work: “I imagine more could be learned from the past about the application of decoration in textiles – not mere imitation of old patterns, but the correct proportion inside the function of the material.Presuming a square to be worn as headgear, it would have a variety of draping dictated by the form of a head and this should not conceal entirely the main pattern.This design is from a still life painted some time ago and adapted to my idea of a square as something to be worn.” Zika Ascher, the founder of Ascher Ltd., was known for commissioning contemporary artists to design textiles, resulting in unique and collectible pieces. MacBryde's collaboration with Ascher is a testament to the fusion of fine art and fashion during that era. The National Gallery of Victoria in Melbourne holds an example of this scarf in its collection.
LAURENCE STEPHEN LOWRY (BRITISH 1887-1976) GOING TO THE MILL, 1925 signed and indistinctly dated (lower left), oil on panel 43.2cm x 53.4 cm (17in x 21in) Acquired directly from the Artist by A.S. Wallace, 1926, and thence by descent to the present owner. Exhibited:On long-term loan to Pallant House Gallery, Chichester, 2013-2024L S Lowry’s early masterpiece Going to the Mill was painted a hundred years ago and, quite remarkably, has been in the same private family collection for all but one of those hundred years. It was acquired directly from Lowry by the journalist A.S. Wallace, an editor at the Manchester Guardian who had illustrated three of Lowry’s works in the special ‘Manchester Civic Week’ supplement published by the paper. Civic Week was held from the 2nd to the 9th of October 1925, ostensibly to celebrate Manchester’s industrial success, but also with an ulterior motive to discourage the city’s disgruntled workers from going on strike. It was the grim nature of the workers’ lives that, of course, interested Lowry, but which also made it hard for him to find an audience for his visual elegies of the industrial city – a concept that is perhaps hard to fathom now, for those of us that have grown up knowing Lowry as one of Britain’s most celebrated ‘painters of modern life’. During Civic Week, Lowry’s works were displayed in Lewis’s department store, where they were mostly passed by – despite the favourable reviews the Guardian had given his first solo show in 1921. A.S. Wallace, however, fell for Lowry’s depictions of the ‘lovely, ugly town’ (to borrow from Dylan Thomas’s description of his hometown of Swansea), striking up a friendship with the artist and asking to buy one. Lowry duly obliged: Going to the Mill is marked on the back as being £30 – Lowry let Wallace have it for £10. If not his first ever sale, this has to have been one of his earliest. He also threw in an additional work - The Manufacturing Town. The Wallace family still have Lowry’s letter of 9th November 1926, in which the artist writes: ‘Many thanks for your letter and cheque £10. I am very glad Mrs Wallace likes the picture Going to Work and take the liberty of asking you to please accept The Manufacturing Town as a souvenir of the Civic Week. I can assure you that it will always be with great pleasure that I shall think of that Saturday morning.’ The latter painting was sold by the Wallace family – with Lowry’s blessing, as he understood that a new generation of the family needed help getting set up – and is now in the collection of the Science Museum in London. Going to the Mill was kept – recently being on long term loan to Pallant House Gallery, Chichester, and only comes to market now as a further generation finds themselves in need of a ‘leg up.’Going to the Mill is the epitome of a 1920s Lowry, when he truly becomes a unique voice. In the overall smoky, sooty quality of the sky and buildings – it will be a few years yet before Lowry begins to stage his visions of the city against isolating backgrounds of plain flake-white – we see the influence of his teacher, Alphonse Valette, who had been drawn to Manchester precisely for its grit and the Romantic quality of its dark streets and thick polluted skies, the poetic fallacy of heavy-set architecture shrouded in smog, from which individual stories emerged, lamp-lit for moments, before being swallowed up by the gloom. Yet Lowry holds our attention to these individual lives much longer (and this is eventually the function of those white backdrops, to separate individuals from the mass and to hold them in time). Looking at Going to the Mill, initially all we see is a crowd, drawn inextricably – like water pouring towards a drain – to the gate of the mill on the left. But Lowry invites us to spend time looking, and slowly the painting reveals the men walking away from the mill, the woman standing alone looking out at us, drawing the viewer into the lives of others, or the man carrying what seems like a large portfolio, who could be an avatar of Lowry himself. As such, the crowd is broken down into individuals, each with a story – a story that Lowry himself manages to capture with a flick of the brush, a weighting of the paint, a bend of the knee or turn of the shoulder. Going to the Mill shows us that he is no naif painter of ‘matchstick men and matchstick cats and dogs’ as the old pop song goes – this is an artist of true dexterity who is making a deliberate formal choice, abstracting the figure, in order to express a concept, the sense of a life lived in even the smallest, most incidental figure. His works are as composed and deliberate as Seurat’s A Sunday on La Grande Jatte but imbued with an intensity of feeling more easily found in Van Gogh’s early paintings of Dutch peasants. These comparisons are not over-blown, not least as Lowry, in the early 30s, was one of the very few British artists exhibiting in the Salon in Paris and gaining recognition for the precision and intensity of his vision. And it is important to note that it was T. J. Clark, the great art historian of French painting of the late 19th and early 20th century, who curated Lowry’s 2014 Tate retrospective and presented Lowry deliberately as another of the great ‘painters of modern life’.Lowry’s paintings are never simple renditions of what he saw on the streets of his beloved city (or, more accurately, cities – Salford and Manchester). Works such as Going to the Mill are theatrical in their conception, which is why the ‘backdrop’ of the mill at Pendlebury repeats itself, often in altered configurations, throughout his works – such as the slightly later A Town Square, formerly in the Midland Bank collection, which sold at Sotheby’s in 2024. The city becomes a stage for an exploration of loneliness, isolation, loss, hope, although in Lowry’s hands the buildings themselves function as actors – figuring birth, marriage, death and the tyranny of mill-time, before, in later works, they are enveloped in an all-consuming white of Beckettian structure. Lowry was an inveterate theatre-goer who – intriguingly, instructively – cited both the 1920s ‘kitchen sink’ drama Hindle Wakes and Luigi Pirandello’s absurdist masterpiece Six Characters in Search of an Author as highly influential on his work. The breadth between these two plays indicates the breadth of Lowry’s conceptual framework for his apparently ‘simple’ painting. This conceptual reach, centred on the urban experience, is – as T. J. Clark argues so persuasively - what makes Lowry so relevant today, in our world of megalopolises, many of them growing at the same break-neck speed as Victorian Manchester once did.
CAFÉ DU DÔME; THEATRE PALAIS ROYAL (SASOWSKY 2; 7)Two lithographs, 1928, on Chine appliqué on wove paper, signed and inscribed 30 Proofs in pencil, edition of 30, with full(?) margins, the first framed.Image (first) 8 1/2 x 12 1/8 inches; 216 x 310 mm.Sheet (first) 12 3/4 x 18 1/2 inches; 324 x 470 mm.Frame (first) 16 1/4 x 19 1/2 inches; 413 x 495 mm.Image (second) 7 1/2 x 9 1/4 inches; 191 x 235 mm.Sheet (second) 11 x 14 3/4 inches; 279 x 375 mm.
LE COIFFEUR (PROGRAMME DU THEATRE LIBRE) (DELTEIL 14; ADHEMAR 40; WITTROCK 15; ADRIANI 40)Color lithograph, 1894, on wove paper, from the edition of unknown size, printed by Eugène Verneau, Paris, published by Théâtre Libre, Paris, for the plays Une Faillite and Le Poète et le Financier, the full sheet, framed.Sheet 12 5/8 x 9 3/8 inches; 321 x 238 mm.Frame 17 5/8 x 14 3/8 inches; 448 x 365 mm.Provenance:Purchased from William Weston Gallery Ltd., London, 1976
After Waldo Sullivan Lanchester (1897 - 1978) Four 1950s portrayals of leading contemporary artists in Shakespearian roles in the manner of 17th Century ballad sheet woodcuts, watercolour tinted lithographic prints, published by Waldo S Lanchester, Stratford-upon-Avon, 1953 and 1954, in ebonised frames under glass, 24 cm x 19 cm overall[Puppeteer Lanchester founded the Lanchester Marionettes Puppet Theatre in Stratford-upon-Avon, 1936. He argued for the teaching of puppetry to children in his 1937 book "Hand Puppets and String Puppets" as he claimed it "develops the power of initiative, teaches skillful use of tools, paintbrush, and needle, makes practical use of historical research for costume design and architecture". He created a wide range of puppets used to perform Circus and Underwater Ballet stories, some of which were performed at Buckingham Palace for the young Royals.]
JF Schreiber (Germany) juvenile toy antique theatre small size uncut lithographed sheets: (1) Nr 427 Sea-coast Side-scenes; (2) Nr 428 Sea-coast Background; (3) & (4) Nr 431 Shifting-scenes; (5) Nr 432; (6) Nr 434 Shifting-scenes; (7) Nr 436 Side-scenes of a city; (8) Nr 437 Background of a city (middle age); Fair Plus to Good Plus; (8).
The 1907 Irish International Exhibition Broadside Poster: [Dublin 1907] Irish International Exhibition, Daily Time Table, Programme for Week ending Saturday, November 9th; events on show Great Water Chute, Indian Theatre, Baby Incubators, Somali Village, Crystal Maze etc (with prices), Music and Cinematograph, also Cookery Demonstrations at the Gas Pavilion; broadside D. (Helys Ltd.) [1907], approx. 66cms x 47cms (26" x 18 1/2") as a Poster, w.a.f. (1)
Yeats (W.) The Shadowy Waters, 4to L (Hodder & Stoughton) 1900, First Edn., full blue cloth, gilt motifs, git lettered spine; Last Poems and Plays, 8vo, L. (MacMillan & Co.) 1940, First Edn., blind decor. green cloth; Plays for an Irish Theatre, 8vo, L. .(A.H. Bullen) 1911, First Edn., illus., cloth backed boards, ptd. label; Fairy and Folk tales of the Irish Peasanty, sm. 8vo, L. (Walter Scott Pub. Co.) n.d., red cloth; Four Plays for Dancers, 4to L. (MacMillan & Co.) 1921, First Edn., illus., cloth backed decor. boards; and four other books by W.B. Yeats, as a lot, w.a.f. (9)
Fine Collection [Mahon (Derek)] Harbour Lights, 2005; Selected Poems, 1991, Signed; Cyrano de Bergerac, 2004; Life on Earth, 2008; An Autumn Wind, 2010; Selected Prose, 2012; New Selected Poems, 2016; Birds, 2002; The School for Wives, 1986; The Chimeras, 1982; The Hudson Letter, 1995, Signed; Adaptations, 2006; Hightime, 1985 (h.b. & p.b.); New Collected Poems, 2011, Signed; Theatre, 2013; Red Sails, 2014; Raw Material, 2011; Oedipus, 2005; The Yellow Book, 1997; Antarctica, 1985, Signed; Words in the Air, 1998; Journalism, 1996, Signed; all 8vo, Gallery Press, cloth & d.j. Good clean lot. (23)
A WORLD WAR TWO GVI MILITARY MEDAL, GROUP OF SIX TO A SOLDIER WHO SERVED IN THE 4TH BTN WELCH REGIMENT, IN THE ARDENNES OFFENSIVE OF LATE 1944/EARLY 1945, & LATER THE SPECIAL CONTABULARY & SONS MEDAL/BADGE FOR LONG SERVICE IN THE PRISON SERVICE, The group consists of GVI Military Medal(B)(INDIAE-IMP), correctly named to 3968753 L/CPL T C HARDING Welch Regiment, together with 1939-45, France & Germany, Defence & War medals. This group is Court mounted on a wearing bar. This group is also accompanied by Harding's Dog Tags. After the War,Harding was also awarded the QE11 Special Constabulary Long Service (faithful Service) Medal named Thomas C Harding, by Glamorgan Constabulary 12th October 1959. Thomas Christmas Harding, enlisted for service in WW2 at the age of 20yrs, in early 1940(2 dates appear in his Service Book, 21st Feb, & 18th April) as a driver, having been born on 27/2/1920. He trained in the UK in a variety of roles and eventually entered the European Theatre with the 4th Btn (53rd Welsh Division) after “D” Day,1944 in the Divisions push through Northwest Europe and into Belgium/Holland & into the “Ardennes” in the area around Hertogenbosch. HARDING would earn the Military Medal for his actions and conduct on January 7th 1945, His Citation reads “On January 7th, 1945 Sgt Harding(then L/Cpl) as Section Commander with the 4th Btn of his Regiment, during the advance into the Ardennes, lost his complete Section under German Machine Gun fire, armed with hand grenades, he cleared the German position single handed, & took command of another Section, which had lost its Commander and continued the Advance.” When World War 2 ended, he was awarded his MM by none other than Sir Brian Horrocks, Lt.General 30th Corps, G.O.C. KBE CB DSO MC, at the 21st Holding Btn HQ Harding then began a Career with the Glamorgan Constabulary as a Special Constable, he would go on to receive the Faithful Service medal, which is also included, boxed with original issue paperwork. This family group is further enhanced by his Sons Prison Service Long Service & Good conduct medal correctly named OSG J HARDING BM916 & a hallmarked silver circular 25 yrs Service pin badge named Jeffrey Harding on the rim. Both these awards in original Royal Mint boxes. Other items included in this lot, include Original Wrexham Newspaper cutting of the citation/action etc, Pay/Service book, Release book, various black and white of the Recipient with friends, a WW2 era Beret, black with bright red patch affixed, a small circular enamelled Military Medallists league, various cuttings from a Dutch Newspaper, which shows the Recipient meeting then Prince Charles in Hertogenbosch Holland, when all the living members of the Btn were given a Scroll for their bravery in the liberation of their City, other photos, both colour black and white, including New Testament in both English and Welsh versions, WW2 medal awards card, MM presentation card, & South Wales Infantry Brigade card, offering congratulations to Harding for his gallant actions on Jan 7th, 1945. & Police/ARP whistle and chain. A fine and almost totally complete archive to a Father and Son.
A graceful bone china figurine by Royal Doulton titled Premiere, model HN2343. Designed by Peggy Davies and issued in 1967, this charming piece features a finely dressed lady in a pale blue gown with a deep green floral-patterned cloak. She holds opera glasses in one hand and a program in the other, capturing the elegance of a night at the theatre. The figure is marked on the underside with the Royal Doulton stamp, model name and number, and various registration numbers.Artist: Peggy DaviesIssued: 1969 - ?Dimensions: 7.5"HCountry of Origin: EnglandCondition: Age related wear.
A pair of Bow white-glazed theatrical figures, c.1750-54, modelled by the 'Muses' modeller as a Turk and his companion, the former possibly David Garrick in his role as Tamerlane, holding a scimitar and wearing a fur-lined costume, his companion wearing an elaborate headdress and fur-lined cloak, raised on square bases, some restoration, 21cm. (2)Provenance: the Barbara Horn Collection.Cf. Raymond C. Yarbrough, Bow Porcelain and the London Theatre, p.38.
Ephemera: Bath Theatre Broadsides, 1830s A collection of posters for performances at Bath theatres, predominantly the Theatre Royal to include:a large poster in red and black (65cm x 43cm) for 'Press-Gang', 'Lawyer's Clerk', 'Inchcape Bell!', 'Eugene Aram', 'The Lunatic Asylum', 'Black Hugh' and 'Oberon to be entitled the Charmed Horn!', n.d., circa 1830; a broadside printed on silk and fringed with metal thread trim for the Theatre Royal Bath 'Money' and A Day well Spent' 1841; together with 'The Lady and The Devil' 1833, 'Rent Day' 1833, 'Othello' 1832 with the 'Singular Novelty! First appearance here of the celebrated African Roscius The Actor of colour', 'Foundling of the Forest' 1834, 'Who wants a Guinea' 1831, 'Honey Moon' 1832, 'Ducrow's National Establishment with the extensive stud of Beautiful Horses ... and ... The Bull Fight', 'Eugene Aram' 1832, 'Cinderella' 1831 (2), 'Hyprocrite' 1831, 'The Provoked Husband' 1832, 'Foundling of the Forest' 1828, 'William Tell' and 'Vampyre!' 1833, 'The Royal Wizard', 'The Rivals' 1835, 'Siege of Jerusalem!' 1839, 'Ryan's Circus' 1833, 'Concert' and 'Gladiator Feats of Gymnastic Exercises by The Dahli Family. Or , Anglo-Bedouin Arabs' 1839 (qty) A Private Collector
Belgium, The Theatre Royal, 1855, a bronze medal by Hart, named for Charles de Broukère, Mayor of Brussels, 68mm, 165.34g; International Exposition in Brussels, 1910, a bronze medal by G. Devreese, 68mm, 123.89g (Forrer 574-7); NETHERLANDS, International Colonial Exposition, Amsterdam, 1883, a large copper medal by A. Fisch, 70mm (2) (Zw 597); together with miscellaneous (5) [9]. The medals generally extremely fine, the rest varied state £50-£70
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