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18th May 2005

Sporting Memorabilia 18th May 2005

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Sporting Memorabilia 18th May 2005

Auction Details

Pre-Sale Viewing:

We are offering pre-sale viewing of lots at our Wellingborough Auction Room prior to the auction, this can be arranged timed appointment to be requested by email. 

Condition Reports:

Any requests for condition reports or additional photographs must be received by email prior to the auction. 

Graham Budd as a company do not issue COA’s. If one is supplied by the vendor details are included in the individual descriptions.

It is recommended that prospective Bidders inspect the lots on which they intend to bid, we accept bids from potential Buyers on the basis that Buyers (or their advisors) have fully accepted the lot prior to bidding and have satisfied themselves prior to bidding in relation to the condition and accuracy of the description of the lot.

Bidding:

Clicking the Bid button or placing an absentee bid is legally binding obligation to buy and pay for the lot should your bid be successful. For security, we track all bids placed.

Register Online & Id required:

All bidders are required to register in the auction Online before the auction commences in order to place a absentee bid or book a telephone line on any lot with the Auction House or bid on the Online Platforms.

A form of government-issued proof of identification (photographic identification with proof of current address) will be required at the time of registration, from all Absentee, Telephone and Online Bidders.

Room Bidding for Live Auctions:

Room bidding is available, bidders are welcome to email the auction house to pre-reserve a seat, either by telephone or via email prior to the auction, after which a confirmation email will be sent confirming seat reservation.

Due to limited space we can not accommodate unreserved room bidders on the day of the auctions.

Telephone Bidding for Live Auctions:

To reserve a telephone line for any lot in the auction, please email the auction house prior to the auction, after which a confirmation email will be sent to you.

Absentee Commission Bidding for Live Auctions:

Absentee commission bids are to be emailed to the auction house prior to the auction, after which a confirmation email will be sent to you.

Lots will only be invoiced to the name and address on the bid registration form and cannot be transferred to another name and address. We can only accept payment for the lot from the registered Bidder.  

Buyer’s Premium and VAT:

The final selling bid at auction is known as the ‘hammer price'.

For bidders who have registered directly at Graham Budd Auctions and on the-saleroom.com websites, a buyers premium of 24% of the hammer price will be charged.

Bidders who register directly at the-saleroom.com will also be charged a 4.95% Internet bidders surcharge. Both the buyer’s premium and the internet surcharge are subject to VAT at the current rate of 20%.

In completing the Online bidder registration on bidlive.grahambuddauctions.co.uk or www.the-saleroom.com and providing your credit/debit cards details you authorise GBA to charge the credit/debit cards given in full payment, including all fees, for items successfully purchased in the Live Auction, and confirm that you are authorised to provide these credit/debit card details to GBA through bidlive.grahambuddauctions.co.uk and www.the-saleroom.com and agree that GBA are entitled to ship the goods to the card holder name and card holder address provided in fulfilment of the sale.

Artists Resale Rights (ARR):

Some lots as indicated in the catalogue may be subject to Artists Resale Rights (ARR).
This was introduced by a European Directive in 2006 to ensure that artists receive a royalty when their work is resold by an auction house or gallery. This Right applies to living artists and to those who have died within the last 70 years who are from applicable countries.

This royalty is paid by the purchaser on top of the hammer price if the sale price reaches or exceeds 1000 euros. The amount payable is on a sliding scale e.g. up to 50,000 euros, the royalty rate is 4% of the sale price. The maximum royalty a work can earn is capped at 12,500 euros.

    Lots (732)

    Showing 680 of 732
    A 9ct. gold and enamel Lonsdale Belt won outright by Tancy Lee in the feather-weight division, 1919, by Mappin and Webb, the gold belt with a central enamel oval plaque of a boxing match, beneath & above the Royal Coat of Arms and an English rose and surrounded by the inscription NATIONAL SPORTING CLUB FEATHER-WEIGHT CHAMPIONSHIP, CHALLENGE BELT, the reverse inscribed PRESENTED BY THE RT. HON THE EARL OF LONSDALE, flanked by rose roundels, further enamel plaques, two large commemoration plaques, the first inscribed OCT. 6TH 1913, KID LEWIS DEFEATED ALEC LAMBERT, 17 ROUNDS, £350, the other MAY 31 1915, LLEW EDWARDS DEFEATED OWEN MORAN, 10 ROUNDS, £750, the belt set with four smaller commemoration plaques, chronologically reading JUNE 1917, CHARLIE HARDCASTLE DEFEATED LET. CPL. WYE, ONE ROUND, £375; NOV. 5TH 1917, TANCY LEE DEFEATED CHARLIE HARDCASTLE, FOUR ROUNDS, £400; 21ST OCTOBER 1918, TANCY LEE DEFEATED JOE CONN, 17 ROUNDS; 24 FEBRUARY 1919, TANCY LEE DEFEATED DANNY MORGAN, 20 ROUNDS, the belt supported on a red, white & blue cloth backing; with a baize-lined leather carrying pouch, 84cm., 33in. (2)  James Tancy Lee from Leith, Edinburgh, was by any standards a marvel of the professional ring. Born in 1882, his professional boxing career officially started in 1910 following the ABA's decision to strip him of his bantamweight title due to breaches of amateur rules. In 1915 he embarked on a series of four championship bouts for the British flyweight title which included a win over Jimmy Wilde, his first pro defeat. After two postponed fights at bantamweight against Joe Fox, Lee moved up to featherweight and took on the reigning champion, Barnsley's Charlie Hardcastle whom he defeated in four rounds. His first defence was against Joe Conn. The fight turned into a battle of endurance, which suited Lee as he possessed seemingly endless reserves of stamina. Tancy Lee emerged triumphant with a KO in the 17th round. The all-important third notch on his belt was as a result of his win over Welshman Danny Morgan. It was a grueling fight that went all the way to the 20th and final round with Lee getting the verdict and his Lonsdale Belt accordingly.
    Lot 647

    A 9ct. gold and enamel Lonsdale Belt won outright by Tancy Lee in the feather-weight division, 1919, by Mappin and Webb, the gold belt with a central enamel oval plaque of a boxing match, beneath & above the Royal Coat of Arms and an English rose and surrounded by the inscription NATIONAL SPORTING CLUB FEATHER-WEIGHT CHAMPIONSHIP, CHALLENGE BELT, the reverse inscribed PRESENTED BY THE RT. HON THE EARL OF LONSDALE, flanked by rose roundels, further enamel plaques, two large commemoration plaques, the first inscribed OCT. 6TH 1913, KID LEWIS DEFEATED ALEC LAMBERT, 17 ROUNDS, £350, the other MAY 31 1915, LLEW EDWARDS DEFEATED OWEN MORAN, 10 ROUNDS, £750, the belt set with four smaller commemoration plaques, chronologically reading JUNE 1917, CHARLIE HARDCASTLE DEFEATED LET. CPL. WYE, ONE ROUND, £375; NOV. 5TH 1917, TANCY LEE DEFEATED CHARLIE HARDCASTLE, FOUR ROUNDS, £400; 21ST OCTOBER 1918, TANCY LEE DEFEATED JOE CONN, 17 ROUNDS; 24 FEBRUARY 1919, TANCY LEE DEFEATED DANNY MORGAN, 20 ROUNDS, the belt supported on a red, white & blue cloth backing; with a baize-lined leather carrying pouch, 84cm., 33in. (2) James Tancy Lee from Leith, Edinburgh, was by any standards a marvel of the professional ring. Born in 1882, his professional boxing career officially started in 1910 following the ABA's decision to strip him of his bantamweight title due to breaches of amateur rules. In 1915 he embarked on a series of four championship bouts for the British flyweight title which included a win over Jimmy Wilde, his first pro defeat. After two postponed fights at bantamweight against Joe Fox, Lee moved up to featherweight and took on the reigning champion, Barnsley's Charlie Hardcastle whom he defeated in four rounds. His first defence was against Joe Conn. The fight turned into a battle of endurance, which suited Lee as he possessed seemingly endless reserves of stamina. Tancy Lee emerged triumphant with a KO in the 17th round. The all-important third notch on his belt was as a result of his win over Welshman Danny Morgan. It was a grueling fight that went all the way to the 20th and final round with Lee getting the verdict and his Lonsdale Belt accordingly.

    Hammer Price:

    £19,000

    Estimated Price:

    £6,000 - £8,000

    Michael J. Browne (contemporary) LEWIS VS TYSON - THE ART OF JUDGEMENT signed & dated '02, oil on board, 152.5 by 167.5cm., 60 by 66in.   This work was privately commissioned from the Manchester artist Michael Browne, who is also responsible for the famous painting The Art of The Game depicting the former Manchester United & France footballer Eric Cantona (see lot 128), who also owns the work. The following is an account of the painting in the words of the artist himself written just before the Lewis v Tyson Heavyweight Championship bout of June 2002.  ''The painting concept is taken from Michelangelo's The Last Judgement which is situated within the Sistine Chapel in Rome. I have created an image based on the central portion of the fresco.  The concept has been created to express in a modern context the public images - idealised via the media and via myself - of Mike Tyson and Lennox Lewis as they prepare to face each other in one of boxing's greatest contests scheduled for June 8th 2002, in their quest for dominance of boxing's heavyweight division.  The project has not only been designed to look at public image, but also to look at stereotypical issues with religion, good and evil.  Tyson, branded as Minos (the Gatekeeper of Hell, taken from the lower section of the fresco) leads his entourage through a crowd of spectators who have all had an influence on his life. A punter besides him wields a bag of (Caucasian!) money hoping to gain some favour.  Below, Tyson again is seated as a Muslim disposing of his flayed skin; symbolically discarding his other image (casting away of ones sins). The bulls head here is intended to symbolise a minataur (a son of Minos in Greek mythology who was said to be offered the annual sacrifice of Athenian children to save Athens from the plague). This has been done in reference to Tyson's media quote of ''eating Lewis's children'' and to demonstrate the power of expletives heard through the media.  Behind Tyson a significant supportive Muslim figure to him also has his place at the Last Judgment (this being one of the broader areas where Muslims & Christians alike believe they share a similar fate). It is self acknowledged here that I ma taking a very bold stance in juxtaposing different religions in the same context.  Above and behind Tyson looms Holyfield, a devout Christian (hand on big heart). He was the boxer who changed the course of Tyson's revived career. To Holyfield's left Golota, who Tyson controversially beat, reaches out, and to his right Don King takes an outside position as a figure forced to the peripheries of the main event.  Immediately to Tyson's right are women of controversial significance in his life, two of them are sheepishly cloaked, one with a little blood on her hands.  Lennox Lewis here is shown in a straightforward manner, reflective of his public persona, seen with his entourage. But as his public persona suggests little is known of the women in his life - few scars. Behind, Lennox's mother Violet who does play a significant role in his life is reaching to his shoulder.  Above Violet, Hassim Rahman, a Muslim, leans forward as a reminder of a recent controversial loss in Lewis's career. To Rahman's left a sparring partner of Lewis prays for his loss in the bout (he sparred with ill-feeling towards Lewis).  Lewis's front central image is intended to depict him holding a symbolic ladder representing his career ascension to the top. Figures like the one cloaked in red (behind Lewis) have been floored in the process.  The figures depicted as angels in Michelangelo's The Last Judgement have been portrayed here to symbolise the media and audience, waving pieces of paper like reporters take information and transport it. These figures are also intended to be relative to Tyson (as well as the event) - in the form of a serpent around him, which conveys the varied interactions some people have with him.  In conclusion, as well as record of the Lewis v Tyson main event the painting draws attention to double meanings, our different perspectives & conflicts of interest; from much debated images of God to private and public identity and also the media's naked exposure of peoples lives.''  Michael Browne, 27th May 2002.
    Lot 664

    Michael J. Browne (contemporary) LEWIS VS TYSON - THE ART OF JUDGEMENT signed & dated '02, oil on board, 152.5 by 167.5cm., 60 by 66in. This work was privately commissioned from the Manchester artist Michael Browne, who is also responsible for the famous painting The Art of The Game depicting the former Manchester United & France footballer Eric Cantona (see lot 128), who also owns the work. The following is an account of the painting in the words of the artist himself written just before the Lewis v Tyson Heavyweight Championship bout of June 2002. ''The painting concept is taken from Michelangelo's The Last Judgement which is situated within the Sistine Chapel in Rome. I have created an image based on the central portion of the fresco. The concept has been created to express in a modern context the public images - idealised via the media and via myself - of Mike Tyson and Lennox Lewis as they prepare to face each other in one of boxing's greatest contests scheduled for June 8th 2002, in their quest for dominance of boxing's heavyweight division. The project has not only been designed to look at public image, but also to look at stereotypical issues with religion, good and evil. Tyson, branded as Minos (the Gatekeeper of Hell, taken from the lower section of the fresco) leads his entourage through a crowd of spectators who have all had an influence on his life. A punter besides him wields a bag of (Caucasian!) money hoping to gain some favour. Below, Tyson again is seated as a Muslim disposing of his flayed skin; symbolically discarding his other image (casting away of ones sins). The bulls head here is intended to symbolise a minataur (a son of Minos in Greek mythology who was said to be offered the annual sacrifice of Athenian children to save Athens from the plague). This has been done in reference to Tyson's media quote of ''eating Lewis's children'' and to demonstrate the power of expletives heard through the media. Behind Tyson a significant supportive Muslim figure to him also has his place at the Last Judgment (this being one of the broader areas where Muslims & Christians alike believe they share a similar fate). It is self acknowledged here that I ma taking a very bold stance in juxtaposing different religions in the same context. Above and behind Tyson looms Holyfield, a devout Christian (hand on big heart). He was the boxer who changed the course of Tyson's revived career. To Holyfield's left Golota, who Tyson controversially beat, reaches out, and to his right Don King takes an outside position as a figure forced to the peripheries of the main event. Immediately to Tyson's right are women of controversial significance in his life, two of them are sheepishly cloaked, one with a little blood on her hands. Lennox Lewis here is shown in a straightforward manner, reflective of his public persona, seen with his entourage. But as his public persona suggests little is known of the women in his life - few scars. Behind, Lennox's mother Violet who does play a significant role in his life is reaching to his shoulder. Above Violet, Hassim Rahman, a Muslim, leans forward as a reminder of a recent controversial loss in Lewis's career. To Rahman's left a sparring partner of Lewis prays for his loss in the bout (he sparred with ill-feeling towards Lewis). Lewis's front central image is intended to depict him holding a symbolic ladder representing his career ascension to the top. Figures like the one cloaked in red (behind Lewis) have been floored in the process. The figures depicted as angels in Michelangelo's The Last Judgement have been portrayed here to symbolise the media and audience, waving pieces of paper like reporters take information and transport it. These figures are also intended to be relative to Tyson (as well as the event) - in the form of a serpent around him, which conveys the varied interactions some people have with him. In conclusion, as well as record of the Lewis v Tyson main event the painting draws attention to double meanings, our different perspectives & conflicts of interest; from much debated images of God to private and public identity and also the media's naked exposure of peoples lives.'' Michael Browne, 27th May 2002.

    Hammer Price:

    £5,000

    Estimated Price:

    £10,000 - £15,000

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