534297 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren*** MAGIN (20TH/21ST CENTURY) (3)Untitled, Abstract in yellow, Triptych one signed 'Magin' (lower right) oil on canvas each canvas 180 x 60cm (unframed) (3)Condition reportSome dirt, dark spots and brown marks (some of which are a little sticky).Some small areas of drip and splash marks.Not inspected under uv light.
JUDAICA: A JEWISH BRASS SABBATH LAMP WIITH RATCHET HOOK (2)Possibly German, 19th Century The brass lamp with six burners, the lamp 35cm, the ratchet hook 29cm unextendedCondition report: Missing a drip pan from the underside of the star-shaped light well; there is a suspension loop. The ratchet mechanism is jammed and currently it is not possible to adjust. The gilt finish is tarnished. Some engraved/incised decoration to the upright and hook. The ratchet could be associated, given the slight difference in metal. The brass lamp with some areas of tarnishing. Later added in fittings to accommodate electrical wiring.
A NEAR PAIR OF CHINESE BLUE AND WHITE BALUSTER VASE TABLE LAMPS (2)19th / 20th Century One a pale celadon green ground with inverted rim, the other with everted rim, decorated with birds amongst peonies and rocks, with pierced shoulder handles, modern wood stands, 67cm high (excluding light fitment)
CANON; an XL2 video camera, together with a boxed Jessop video transfer unit, various lenses to include Canon EF 77mm example, with tripod and carrying case.Condition Report: Large lens with losses to paint, jessops lens with clouding, remaining lenses with light wear but no major scratches noticed.
SMITHS; a brass cased ships' clock, the enamelled dial set with Arabic and Roman numerals and signed 'Cricklewood N.W.2', diameter 23cm.Condition Report: Unable to assess the platform, escape. Light scratches and tarnishing to case, when wound the clock does run although we offer no guartee of working order, chipping to enamel dial,
Circa 1st-4th century A.D.. Fragment or portion of floor mosaic, showing a composition of alternated patterns of different coloured squares in chequerboard pattern, combined in diagonal rows of light yellow, light blue, off-white, pink, red, light violet, again off-white, light grey, light grey, dark grey, off-white, light yellow (repeated two times) light blue and off-white shadows; on the lower part a red line is edging the composition over an off-white band. Cf. Ling, R., Ancient Mosaics,London, 1998, p.114 (Mosaics from Ampurias,Spain) for parallel; Arce, J., Ensoli, S. & La Rocca, E., Hispania Romana. Da Terra Di Conquista a Provincia dell'Impero, Venezia, 1997, p.314, fig.3 (Mosaic of Quintanilla de la Queza). 82.5 kg, 156 cm wide including frame (61 1/4 in.). Acquired 1970s-1996.Property of a North American collector.London collection, 2016.This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11822-207409. The square-decorated mosaics had a strong presence in the Hispanic provinces, with some 1st century A.D. examples in the houses of Ampurias, up to the late imperial examples of the Villa of Palencia (archaeological site of La Tejada) where the main rooms show wall paintings with geometric, vegetal or decorations imitating marbles, and mosaics with simple geometric decorations alternating with elegant decorative motifs such as swastikas, chequered motifs or ropes, and Solomonic symbols. The chequerboard motif was widespread, and it is visible also in the 3rd-4rd century mosaic of the Roman Villa of Brading or in the house found under the Museum of Lincoln, in Britain. [No Reserve]
Circa 6th century A.D.. Comprising a triple geometric rhomboidal figure, where three rhombuses are drawn one inside the other and distinguished by different shades of yellow, white and light red, the latter figure marked in the centre by a white space; the three figures are vertically arranged in a perfect geometric axis on a light background. Cf. Miller, S., The Mosaics of Tiberias and Hammat Tiberias during the Roman, Byzantine and Early Islamic Periods, Jerusalem, II Vol., 2011, pl.11 nos.3,4,5; pl.17 no.3, pl.26, no.8. 36.3 kg, 114.5 cm including frame (45 in.). Acquired 1970s-1996.Property of a North American collector.London collection, 2016.This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11823-207411. The tendency to use abstract and geometric motifs characterises the mosaic art of the Levant under the domination of Byzantium. Close ties can be identified between these rhomboidal figures and those of some of the famous Lebanese mosaics of Beit el Dine, or the mosaics of Tiberias and Hammat, which represent the last expression of Roman art in that area before the Islamic conquest.
12th-13th century A.D.. An architectural structural element, carved in two pieces: the upper section formed as a tulip with rounded base, the Nativity scene depicted on all sides comprising: the Virgin and Child seated on a throne, surrounded by divine light; the three wise men bearing gifts to her right, the foremost man kneeling next to the throne; behind the wise men a scene depicting Mary resting on a bed with Joseph beside her, the Child in his cradle with a donkey and an ox looking over him bathed in divine light; the last scene representing the meeting between Mary and Saint Elizabeth; the square base with spandrels. See Hack, B., Mons, I mosaici della Patriarcale Basilica di Santa Maria Maggiore (The mosaics of the Patriarchal Basilica of Santa Maria Maggiore), Rome, 1967; Schug-Wille, C., L’arte bizantina (The Byzantine Art), Milano, 1970; Little, C.T., Set in stone, The face in medieval sculpture, Madrid, 2007; Turnock, J.A., Landscapes of Patronage, Power and Salvation: A Contextual Study of Architectural Stone Sculpture in Northern England, c.1070 - c.1155, Durham University, 2018. 812 grams total, 70-78 mm (2 3/4 - 3 in.). Acquired in the early 2000s.Ex Norfolk, UK, collection.Accompanied by an academic report by Dr Raffaele D’Amato.This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11782-205862. The treatment of the faces is similar to various English Romanesque ecclesiastical sculpture; see for example Christ in Majesty in St Andrew's Church in Bugthorpe or a loose corbel from the St Bees Priory Church of Saint Mary and Saint Bega (Cumbria). [2, No Reserve]
3rd-2nd century B.C. Each modelled in the round and and derived from a larger female figure, some wearing diadems and some with draped heads; each mounted on a custom-made display base. Cf. Summerer, L., Hellenistische Terrakotten aus Amisos: ein Beitrag zur Kunstgeschichte des Pontosgebietes, Stuttgart, 1999, figs.S II, 12,S II,16, for a similar draped head and for a female head in terracotta. 491 grams total, 9.5-13.5 cm high including stand (3 3/4 - 5 3/8 in.). Acquired in the 1970s.Ex European private collection.This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11795-206534. These figurines reflect sculptural prototypes. Interestingly the head of one of the women is draped in a himation, and the head is turned slightly to the right like the terracotta of Amisos which represents a dancer. These figurines were most probably manufactured in Hellenistic cities by craftsmen who used either light yellow or dark brown clay. After the firing, the surface of the clay became reddish, while the core became grey-brown. The majority of the figurines were made from untreated clay with many impurities, such as coarse grain. Due to the quality of the clay the surface of the figurines was often rugged, despite the retouch, but were painted with vivid colours, as is still visible on the pink polos on one of the heads. [4] [For this specific lot, 5% import VAT is applicable on the hammer price]
Herbert James Draper (1864-1920)ReveilSigned Herbert Draper (lower left)Oil on canvas, 1918204.2 x 107cm; 80½ x 42¼inProvenance:Property of the artist;And by family descentLiterature:The Connoisseur, 1918, vol.LI, p.115 ('marked by grace and refinement');Simon Toll, Herbert Draper 1863-1920: A Life Study (Antique Collector's Club, 2003), pp.48, 163-164, 197, no. HJD180, colour plate 52Exhibited:Royal Academy, 1918, no.304This was Herbert Draper's last major mythological work. Encompassing some of Draper's favourite themes, it shows nymph-like figures waking with the dawn autumn light. Simon Toll described it as a 'painting of sun-worship in which the nymphs owe their conscious existence to Apollo and Aurora'. This theme was extremely popular in the early part of the twentieth century, and was one in which Draper excelled. The two figures were based on the models Ruth Torr and Hilda Edgell, both of whom Draper had painted before.
A PAIR OF VENETIAN MIRRORED GLASS THREE LIGHT WALL APPLIQUES LATE 19TH CENTURY OR EARLY 20TH CENTURY Each with reverse engraved classical figure within shaped plate, moulded slip with flowerhead and mask detailing 86.5cm high, 42cm wide Condition Report: Marks, scratches and abrasions commensurate with age and use. Some old chips of loss as expected for age. Some elements are loose in position, and require simple re-securing by a restorerThere is depletion to mirror plates as expected for age in the form of black/ great areas and spotting.Some cracks to the more detailed sections of glass, and some losses. Please refer to the additional images available via email for visual reference.No obvious cracks detected to the main central plates. Please refer to the additional images available via email for visual reference to condition. Condition Report Disclaimer
A PAIR OF CARVED GILTWOOD TWIN LIGHT WALL APPLIQUES MID 18TH CENTURY, POSSIBLY ITALIAN Each with backplate with flaming urn above branches issuing from winged grotesque sea monster, metal scrolling branches each 42cm high, 30cm wide (across the arms), 22.5cm protuberance Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Both formerly drilled for electricity, some weakness to holes in pans, - loss to gilded surface throughout- reverse showing signs of old glued repairs. 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. 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 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. 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
A REGENCY BURR ELM, BRASS AND HOLLY INLAID SOFA TABLE ATTRIBUTED GEORGE BULLOCK, CIRCA 1815 78cm high, 160.5cm wide (with leaves up), 61cm deep A closely related sofa table sold Christie's London 21st April 1994, Lot 311 (£32,200) and another at the same venue 6th April 2000, lot 123 (£44,650). This table is attributed to the cabinet maker, sculptor and designer, George Bullock (d 1818). Bullock had set up in business in London by 1813. He pioneered the use of native British wood, in particular light coloured timbers such as oak, elm, holly and the burr cuts of some of these timbers and combined them with brass 'buhl work' borders and friezes. In May 1816, Ackermann's Repository of Arts noted with reference to his work: 'There are no woods more beautiful, or better suited to the purpose of cabinet embellishment than those indigenous to our own country', and in a posthumous review of his career, Richard Brown in his 1820 Rudiments of Drawing Cabinet and Upholstery Furniture wrote: 'Most of his ornaments were selected from British plants... He has shown that we need not roam to foreign climes for beautiful ornaments, but that we have abundance of plants and flowers equal to the Grecian, which if adopted, would be found as pleasing as the antique (E T Joy, 'A Modernist of the Regency: George Bullock, Cabinet-maker, Country Life, 22nd August 1968, p456). Condition Report: Overall there are some scratches, marks, knocks, cracks, abrasions and minor repairs consistent with age and use.There is exceptional figuring to the timber of this table.Some patching to the veneers, probably contemporary to the piece, there is some fading, probably most evident from the colour differentiation to the centre of the table top.The stretcher is oak.Some restorations include ebonisation to the frame around the drawers, metal braces to the underside of the leg/lyre area, the feet have been re-tipped with a later black wash to the underside of the feet and possibly later casters.The drop leaves have some bowing, and the underside of the leaves have inset sections of timber to counter this.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer
A PAIR OF FRENCH GILT METAL MOUNTED HARDSTONE TABLE LAMPS LATE 19TH OR EARLY 20TH CENTURY In the Empire manner with urn shaped mottled green and white stone bodies within swan head handles, fitted as lights 77.5cm high overall, bases 13.5cm wide Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Both have build up of surface dirt with discolouration and verdigris to the mounts. One with section of restoration at base of one handle- visible under strong and UV light. Gilding rubbed from use. These are sold without shades ELECTRICAL GOODS. These are sold as decorative items only, with plugs removed, and if bought for use must be checked over for compliance with safety regulations by a qualified electrician before use. 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. 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 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. 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
A collection of Chinese works of art, comprising a gilt metal temple dog, 12cm high, a hardstone figural group of two figures on a hardwood stand, 26cm high, another hardstone figure and two damaged jade figures, AF (5)The group of two figures with some scratches and marks visible on both sides, some minor wear to the underside. Additional images under brighter light attached.
A pair of decorative 20th century lamps, brass with enamel panels, on shaped onyx bases, with paw feet, both 44cm high, will require re-wiring (2)Untested and require re-wiring as catalogued. Some marks, discolopuration, small cracks and minor losses to the decorative panels. The brass with small areas of patination, and pitting. The onyx base with some minor marks and light scratches.
A collection of Perthshire and other caned glass paperweights and a small scent bottle. The paperweights of assorted sizes and designs, Max H13cm Condition Report: Generally in good-very good condition. No obvious cracks, chips or restoration. Some signs of slight wear including light scratches and rubbing to the bases.
Private Press, Printing, Typography), a collection of approx. 31 titles, including Tern Press, Jericho, Cadenza, Fleece, Libanus etc, Herbert Cahoon; Frank Altschul (foreword): 'The Overbrook Press Bibliography 1934-1959', Stamford CT, [1963], one of 150 copies only, inscribed presentation copy to the printer "To Bernard Roberts. With appreciative regards. Frank Altschul" on FFEP, ix,[1],101,[3]pp, 4to, original cloth gilt. "The Overbrook Press is known for its high quality-in materials, design, and printing. Frank Altschul was a senior partner at Lazard Freres, an occasional hobby printer, and an important collector of fine books. He had the means, knowledge, and taste to create a private press of distinction..." Roderick Cave, The Private Press; 'The Book of Ruth. [Text of the Authorised Version.]', Nonesuch Press, London, 1923, number 89 of 250 copies printed in modified Caslon on Van Gelder paper at the Pelican Press, [24]pp, decorative borders after Bernard Salomon printed in sienna. Sewn into batik paper-covered boards, orig. card slipcase, printed paper title label; Samuel Taylor Coleridge: 'The Rime of the Ancient Mariner', Portland OR, Graphic Arts Workshop, Reed College, 1952, limited edition, No. 27 of 100 signed copies, signed by Lorene Schmidt, the designer, illustrator and typographer, errata slip tipped in, original quarter green cloth gilt, dust wrapper. An uncommon book, the binding was supervised by Rudolph Ernst and technical assistance was given by Lloyd J. Reynolds, a teacher at Reed College and well known calligrapher, and Don MacGregor; 'Herbert Hodgson, Printer. Work for T.E. Lawrence & at Gregynog', The Fleece Press, 1989, ltd. edn., one of 340 copies, tipped in port. frontis, orig. quarter cloth, printed label to spine, patterned paper covered boards; Andrew Motion; Andy English (ill.): 'Destination Norfolk: A Childhood Trip to Burnham Overy Staithe', Front Street, 2015, ltd. edn., No. 21 of 135 copies, wood engraved ills., oblong, orig. quarter cloth, printed title label mounted to front cover, matching cloth slipcase; John Randle: 'One Rainy Day', Whittington Press, 2000, one of 100 copies with an initial letter O by Miriam Macgregor on Zerkall Rosa paper, orig. stitched wraps, dust wrapper, card slipcase; Anton Francesco Doni: 'A Discussion about Printing which took place at "I Marmi" in Florence', 2003, limited edition, No.42 of 250 numbered copies, printed by Alberto Tallone, William Caslon types, 4to, original printed wraps, housed loose in orig. cloth backed boards folder, slipcase; Margot Coatts; Ian Beck (ill.): 'Portable Pleasures: Picnics for all Seasons', Libanus Press, 1992, ltd. edn., No. 176 of 250 copies, colour ills. (some full page), 4to, orig. quarter cloth gilt over decorative paper covered boards, printed title label mounted to front cover; Francis Meynell: 'Seventeen Poems', L, Fanfare Press, 1945, reissue of original 1944 edition by Nonesuch Press & J.M. Dent, signed & inscribed by Francis Meynell at front and dated November 1950, plus with an additional 7 line manuscript poem by Meynell at end, title page engraving by Eric Gill, orig. pictorial wraps by Leonard Beaumont; 'The Story of the Holy Mar Pappos', The Jericho Press, 2017, one of 60 copies, orig. cloth gilt; 'The Hebrew Types of the Jericho Press', Ely, 2010, No.15 of 60 copies only, orig. cloth gilt; David Grubb: 'A Country Alphabet', Nicholas & Mary Parry, Tern Press, 1998, No. 53 of 95 copies only, numbered & signed by Nicholas & Mary Parry, hand coloured ills,. throughout by Mary Parry, oblong small 8vo, orig. quarter cloth, acetate d/w; Hal Bishop: 'Romantic Landscape: The wood engravings of Raymond Hawthorn', Libanus Press for Bishops Books, 1999, limited edition, 140 copies in total, this number IX of 20 special casebound copies with wood engraving "A Foresaken Garden" in pocket at rear, numbered and titled in pencil to margin, original paper covered boards; plus others Black Light Press, Kit-Cat Press, The Reading Room Press, Grapho Editions, Cadenza Press, etc (approx 31 in total)
Hilary Mantel, The Thomas Cromwell trilogy, all signed UK first editions published London, Fourth Estate, all generally fine/fine in unclipped wrappers, comprising 'Wolf Hall', 2009, signed piece mounted to title page, 'Bring Up the Bodies', 2012, signed to title page, 'The Mirror & the Light', 2020, signed piece mounted to title page; together with 'The World of Wolf Hall', 4th Estate, 2019, 1st edition, original wraps. Signed first editions of Hilary Mantel's acclaimed trilogy of historical novels charting the rise and fall of Thomas Cromwell, the first two in the series having won the Booker Prize in their respective years. (4)
Stephen Hawking: 'A Brief History of Time: From the Big Bang to Black Holes', London, Bantam Press, 1988, 1st edition, printed Mackays of Chatham Ltd and with introduction by Carl Sagan (later printings were printed at the Bath Press, and had the introduction removed as it was copyrighted by Sagan, rather than by Hawking or the Publisher), light sporadic foxing, original cloth gilt, dust wrapper (£14.95 price intact to inside front flap). Hawking's seminal scientific text in which he in introduces the theories of general relativity and quantum mechanics.
Virginia Woolf: 'Jacob's Room', London, Hogarth Press, 1922, first edition, half title, 290pp + 14pp catalogue of adverts at end, Ex Boots circulating library, label to rear paste-down; some light foxing; inner joints weak. Original yellow cloth, somewhat grubby, Boots label removed from upper board, spine worn, printed paper title label to spine (rubbed/worn). First edition of Woolf's third novel. Protagonist Jacob Flanders' story is told through the narrative of the women who interact with him throughout his life. One of 1,200 copies of the first of Virginia Woolf's novels to be published by the Hogarth Press.
Jack B. Yeats: 'Sligo', London, Wishart & Co, 1930, 1st edition, original cloth gilt; Oscar Wilde: 'The Ballad of Reading Gaol', ill. Frans Masereel, L, Methuen, 1924, [but with errata slip tipped in stating the later than intended actual publication date of October 22nd 1925), 1st illustrated edition, limited edition (450/450), numbered, 37 woodcut illustrations by Frans Masereel (of which 7 full page) as called for, ex library, ink reference number verso title page and inkstamp on half title, light foxing, else leaves generally clean/VGC, rebound green cloth gilt; plus 'Brendan Behan's Island: An Irish Sketch-book', L, Hutchinson, 1962, 1st edition, orig. cloth gilt, d/w, and 'James Joyce', by Djuna Barnes, 1984 (600), large folding printed leaf in French language (4)
A collection of 11 poetry titles, including Seamus Heaney: 'Electric Light', London, Faber & Faber, 2001, 1st edition, original cloth, dust wrapper, 'Death of a Naturalist', L, Faber, 1966, 3rd impression, ex library, original cloth gilt, dust wrapper, plus 5 others Seamus Heaney; Tom Stoppard: 'Salvage: The Coast of Utopia Part III', L, Faber, 2002, 1st edition, original paper covered boards, dust wrapper; Ted Hughes: 'Lupercal', L, Faber, 1961, 3rd impression, orig. cloth gilt, d/w, 'Birthday Letters', L, Faber, 1998, 1st edition, orig. paper covered boards, d/w; plus 1 other T.S. Eliot (11)
Harriet Beecher Stowe: 'Uncle Tom's Cabin; Or, Life Among the Lowly', Boston & Cleveland, John P. Jewett, 1852, 1st edition, 1st state, 2 volumes, Hobart & Robbins stated on both copyright pages, engraved vignette title pages + 6 engraved plates as called for (3 in each volume), 312; 320pp, original publisher's blindstamped pictorial cloth gilt. "In the emotion-charged atmosphere of mid-nineteenth-century America Uncle Tom's Cabin exploded like a bombshell. . . . Whatever its weaknesses as a literary work . . . the social impact of Uncle Tom's Cabin on the United States was greater than that of any book before or since." (PMM)Externally Volume I cloth a bit chipped and frayed at head and foot of spine with a couple of small part losses of cloth here (approx. 4mm squared). Slight bump/minor damage at fore edge of cloth towards bottom corner. Some faint marking/water staining to cloth on front and rear covers. Spine a bit cocked/slanted, else gilt fairly bright and otherwise cloth VGC commensurate with age Volume II slightly bumped head and foot of spine and corners, spine a bit cocked/slanted, some light rubbing and faint marking to cloth on covers, gilt fairly bright, generally VGC commensurate with age. Internally Both volumes with no previous owner names or inscriptions. Volume I title page with some light toning/foxing, some leaves with some light sporadic foxing, else leaves generally clean/VGC . Volume II with minor foxing affecting a very small number of leaves, else leaves clean/VGC. NB both volumes with some loose gatherings, but both with all leaves completeVolume I pp.159-166 completely loose, pp.123-158 leaves slightly looseVolume II pp. 39-46 nearly completely loose, some other leaves becoming slightly loose
(Marine Algae, Seaweed, Herbarium, Botany), a circa 1863 Herbarium containing approximately 55 British Marine Algae plant specimens, the vast majority carefully pressed onto paper and mounted to leaves of the album, vast majority of specimens in a very good state of preservation, all with neat contemporary manuscript corresponding captions & notes stating species, where obtained, and other observations, examples include "Padina Pavonia. The Peacock's Tail. Order Dictyotea. This remarkable plant is found at one station only on the British shores, at Exmouth. It is a native of warm seas, & in the Mediterranean is abundant. - Since the above was written, Padina has been taken in other localities on the Southern coasts. W.H.G. 1863", "Desmarestia Viridis. Peterhead. Deep-water, rare. Perfect Specimen. Order. Sporochnaceae. Species. Desmarestia Viridis", "Laminaria Digitata. early growth. On rocks at low water. Hastings", "Cystoseira Granulata. A deep-water plant, cast ashore after storms - east coast Brighton.", "Series 2 Rhodospermeae. Red Seaweeds. Order. Ceramiaceae. Genus. Callithamnion. Species. Callithamnion Brachiatum. In capsular fruit. Parasite found on the tips of Laminaria Digitata. Mewstone. near Plymouth. Extremely rare", etc etc, other specimens stated as being found in various places around the UK including Isle of Arran, Peterhead, the Clyde, Jersey, Isle of Wight, Hastings, St. Leonards, Brighton, South Devon, majority Plymouth and environs including Bovisand Bay, harbour, breakwater, Mewstone rock etc, the compiler "W.H.G." appears to be W.H. Grattann, author of 'British marine algae : being a popular account of the seaweeds of Great Britain, their collection and preservation', London, 1873-74, 237pp, with a printed advertisement for lectures by W.H. Grattann tipped in at end of album "Assembly Room, St. Leonards. Mr W.H. Grattann, will deliver Two Lectures at the above room, on the evenings of Friday and Saturday, November 2nd and 3rd, 1860, Entitled Flowers of the Ocean...", with related contemporary news cutting reviewing Mr Grattann's lectures tipped in alongside "The Flowers of the Ocean. Was the subject of a public lecture delivered...on Saturday evening last, by a Mr W.H. Grattann, of Plymouth...The lecturer's information concerning our neglected but beautiful seaweeds was considerably aided, and rendered much more attractive, by the exhibition of real specimens, or of accurate drawings, by means of the oxy-hydrogen light-with which he was assisted by Mr. John Banks..." plus tipped in manuscript poem "Call us not weeds we are flowers of the sea, For beautious & bright & gay tinted are we, And quite independent of sunshine and flowers, Thou call as not weeds we are oceans gay flowers...", contemporary half green morocco gilt album (24 x 19cm), green morocco gilt title label "British Marine Algae" to front cover
Royal Vale 7978 part tea service, 3x mounted train prints and Coalport Country Branch Lines limited edition collectors plates - London & North Western Railway Cockermouth, Keswick and Penrith line 379/2500, Great Eastern Railway Mildenhall to Cambridge Branch 287/2500, London & South Western Railway Axminster and Lyme Regis Light Railway 411/2500 and Great Western Railway Totnes to Ashburton Branch Line 638/2500
Full size early to mid 20th century slate bed snooker table in mahogany with a suspended light. The table is at a property approximately 10 miles from Louth & can be viewed by making an appointment with the auctioneers, the purchaser will be responsible for the dismantling & removal of the table.
Loading...
![Hilary Mantel: '[Wolf Hall trilogy]: Wolf Hall; Bring Up the Bodies; The Mirror and the Light', London, Fourth Estate, 2009-2](https://cdn.globalauctionplatform.com/d24779a1-c782-48cc-8192-b069008bfcdc/1574d620-28bf-4b42-aeba-b069010e6db9/468x382.jpg)
