155742 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

After David Hockney (1937), 'Rococo', Fax, dated September 1989, comprising of thirty two sheets of A4 paper together with a key (the image was suppose to comprise of sixteen pages, however for most pages the fax machine has produced extended pages, hence the additional number), 140 x 86 cm in total, each page titled DH in the hillsProvenance: From the estates of the late David & Ann Graves, David who was Hockney?s assistant and Ann who was his muse.Ann Upton met David Hockney in 1960 and by 1962 became his model and featured in many drawings and paintings. In the early 1970?s David Graves met Ann Upton through a mutual friend and they started living together. Graves, who was a sculptor and paper restorer, met Hockney at the opening night of Rakes Progress at Glyndebourne Opera where DH designed the set.By the late 1970?s DG became DH?s assistant, later moving to Hollywood with him and in the early 1980?s began to appear in his drawings.David and Ann married in Hawaii 1983 where Hockney was their ?wedding photographer? creating a photographic collage of the occasion, along with drawings.In 2013, after many years as assistant to David Hockney, David and Ann Graves retired to Sherborne, Dorset, where David liked to research and write plays. Ann died in 2017 to be followed by David in 2019

After David Hockney (1934), a series of thirteen photocopied fax pictures, many depicting the small dog, Stanley (or possibly Boodge), all variously dated October or November 1995, and inscribed DH in the hills***Graves, each 35 x 25.5 cmProvenance: From the estates of the late David & Ann Graves, David who was Hockney?s assistant and Ann who was his muse.Ann Upton met David Hockney in 1960 and by 1962 became his model and featured in many drawings and paintings. In the early 1970?s David Graves met Ann Upton through a mutual friend and they started living together. Graves, who was a sculptor and paper restorer, met Hockney at the opening night of Rakes Progress at Glyndebourne Opera where DH designed the set.By the late 1970?s DG became DH?s assistant, later moving to Hollywood with him and in the early 1980?s began to appear in his drawings.David and Ann married in Hawaii 1983 where Hockney was their ?wedding photographer? creating a photographic collage of the occasion, along with drawings.In 2013, after many years as assistant to David Hockney, David and Ann Graves retired to Sherborne, Dorset, where David liked to research and write plays. Ann died in 2017 to be followed by David in 2019

A Robert Tilling artist's proof etching, a cat, 11 x 25 cm, and Continental school, late 20th century, fishing boats, oil on board, indistinctly signed, 44 x 54 cmReport by RBThe Robert Tilling etching is in good condition, although the mount has some foxing and the glass is crackedThe oil painting of the fishing boats, generally good, some good build up of the paint using the palette, although some parts are thin of paint, some cracking. From a family who lived in Jersey

After David Hockney (1937), a series of twenty six photocopies of faxes, assorted designs and images, some dated December 1989, each 42 x 29.5 cm (folio)Provenance: From the estates of the late David & Ann Graves, David who was Hockney?s assistant and Ann who was his muse.Ann Upton met David Hockney in 1960 and by 1962 became his model and featured in many drawings and paintings. In the early 1970?s David Graves met Ann Upton through a mutual friend and they started living together. Graves, who was a sculptor and paper restorer, met Hockney at the opening night of Rakes Progress at Glyndebourne Opera where DH designed the set.By the late 1970?s DG became DH?s assistant, later moving to Hollywood with him and in the early 1980?s began to appear in his drawings.David and Ann married in Hawaii 1983 where Hockney was their ?wedding photographer? creating a photographic collage of the occasion, along with drawings.In 2013, after many years as assistant to David Hockney, David and Ann Graves retired to Sherborne, Dorset, where David liked to research and write plays. Ann died in 2017 to be followed by David in 2019

Colin Self (1941), portrait of a figure in a stripped top, initialled and dated 26.8.2006, pen and ink on brown paper, further inscribed 'for David and Ann xxx Colin', image size 14 x 9.5 cm (unframed)Provenance: From the estates of the late David & Ann Graves, David who was Hockney?s assistant and Ann who was his muse.Ann Upton met David Hockney in 1960 and by 1962 became his model and featured in many drawings and paintings. In the early 1970?s David Graves met Ann Upton through a mutual friend and they started living together. Graves, who was a sculptor and paper restorer, met Hockney at the opening night of Rakes Progress at Glyndebourne Opera where DH designed the set.By the late 1970?s DG became DH?s assistant, later moving to Hollywood with him and in the early 1980?s began to appear in his drawings.David and Ann married in Hawaii 1983 where Hockney was their ?wedding photographer? creating a photographic collage of the occasion, along with drawings.In 2013, after many years as assistant to David Hockney, David and Ann Graves retired to Sherborne, Dorset, where David liked to research and write plays. Ann died in 2017 to be followed by David in 2019

Colin Self (1941), figure with umbrella,etching, signed and dated 2008, limited edition 14/20, 18 x 16 cm (unframed)Provenance: From the estates of the late David & Ann Graves, David who was Hockney?s assistant and Ann who was his muse.Ann Upton met David Hockney in 1960 and by 1962 became his model and featured in many drawings and paintings. In the early 1970?s David Graves met Ann Upton through a mutual friend and they started living together. Graves, who was a sculptor and paper restorer, met Hockney at the opening night of Rakes Progress at Glyndebourne Opera where DH designed the set.By the late 1970?s DG became DH?s assistant, later moving to Hollywood with him and in the early 1980?s began to appear in his drawings.David and Ann married in Hawaii 1983 where Hockney was their ?wedding photographer? creating a photographic collage of the occasion, along with drawings.In 2013, after many years as assistant to David Hockney, David and Ann Graves retired to Sherborne, Dorset, where David liked to research and write plays. Ann died in 2017 to be followed by David in 2019

An early poster, by David Hockney, towards art?, the contribution of the RCA to the Fine Arts 1952-62. Held at Victoria Street Gallery Nottingham, September 1963, 76 x 51 cm, unframedProvenance: From the estates of the late David & Ann Graves, David who was Hockney?s assistant and Ann who was his muse.Ann Upton met David Hockney in 1960 and by 1962 became his model and featured in many drawings and paintings. In the early 1970?s David Graves met Ann Upton through a mutual friend and they started living together. Graves, who was a sculptor and paper restorer, met Hockney at the opening night of Rakes Progress at Glyndebourne Opera where DH designed the set.By the late 1970?s DG became DH?s assistant, later moving to Hollywood with him and in the early 1980?s began to appear in his drawings.David and Ann married in Hawaii 1983 where Hockney was their ?wedding photographer? creating a photographic collage of the occasion, along with drawings.In 2013, after many years as assistant to David Hockney, David and Ann Graves retired to Sherborne, Dorset, where David liked to research and write plays. Ann died in 2017 to be followed by David in 2019

Democratic Republic of Congo, Luba Shankadi headrest with decorated ends to the rest, supported by two female figures, 19cm x 21cm. Condition Report:Its fairly light.Collected by a diplomat who was in Kenya, Rwanda, Bujumbura and Cote D'Ivoire 1995-2005

Large Ashanti Akuaba fertility doll, the stand carved with twin female supports, the face with applied metal decorative headband, 54cm. Condition Report:It is fairly light, considering size.The piece was collected by a diplomat who was in Kenya, Rwanda, Bujumbura and Cote D'Ivoire 1995-2005

Beswick Beatrix Potter porcelain models including Samuel Whiskers, Lady Mouse, Timmy Willie, Johnny Town Mouse and Hunca Muncha each with gold back stamp 1955-1972 and Lady Mouse and the old women who lived in a shoe Knitting x2, (8)

Portrait of a lady, presumed to be Sarah, wife of Charles Johnstone of Pontefract, head and shoulders, in white with red-lined shawl, in a painted oval stone cartouche indistinctly signed or inscribed lower right on the stone cartouche oil on canvas 75 x 62cmFootnote: The sitter was the great-grandmother of John Gardner of Chatteris, who died in 1804. Provenance: By descent from the sitter to the Gardners of the Manor House, Chatteris, until removed in 1908 by Algernon Dunn Gardner (1853-1929), great-grandfather of the present owner, to Denston.Condition report: Oil on canvas which has been lined, the picture is in plane with good tension. There are a few small losses in the background above the sitter's head. Old retouchings to the left of the sitter have darkened. The varnish is dull, yellowed and collected in the texture of the paint surface creating a slightly mottled effect to tee flesh tones. There is a light layer of surface dust. The frame is in a good condition.

Portrait of Lieutenant General Christopher Jeaffreson (1761-1824) half-length, in the uniform of an officer in the East Norfolk militia oil on canvas 76.5 x 64cm; sold with a contemporary pen and ink and watercolour representation of the Jeaffreson of Dullingham coat-of-arms, 11 x 7.2cm (2)The sitter was at this stage a Lieutenant Colonel of the 4th Reserve Battalion formed in July 1803 until it became the 4th Garrison Battalion in October 1804, as the silver badge on his sword belt with “4 Reserve” indicates. The mourning band worn by the sitter on his left arm over his uniform is for the sitter’s only sibling Sarah-Elizabeth, who had died on 11th May 1804, thus dating this portrait between that date and October of the same year.  We are most grateful to Christopher Bryant for his assistance with this catalogue entry.  Provenance: By descent from the sitter, great-great-great-great-grandfather of the present owner Condition report: Oil on a twill weave canvas which has been lined. The twill weave is now evident on the texture of the paint due to lining. There are drying cracks in the lighter paint passages which would have formed as the paint layer dried. Overall the paint layers are in a good condition. Areas of retouching are mainly located in the background and are slightly darker than the original but acceptable. The varnish is yellowed and matte with a layer of dust across the surface. The gilding on the frame is worn in many areas but stable overall.

Portrait of Henrietta (Harriet Robinson, d. 1826) half-length, seated in a landscape oil on canvas, in a period gilt frame surmounted by a carved Viscountess' coronet upon a tasselled cushion 76 x 63cmFootnote: The sitter who was the daughter of Lieutenant Colonel John Robinson (d. 1772) married firstly Anthony, de jure 11th, Viscount Gormanston, who died in 1786. She married secondly in 1794 Lieutenant General Christopher Jeaffreson of Dullingham. Provenance: By descent from the sitter, great-great-great-great-grandmother of the present owner.Condition report: Oil on canvas which has been lined. The picture is in plane and the tension is stiff. The painting has some prominent drying cracks in a vertical orientation which have darkened and would have formed as the paint layers dried. The paint layers are stable overall. There are areas of retouching mainly located in the background and sitter's hair. The varnish is yellowed, dull and matte. The frame is in a sound condition.

A miniature portrait of Lieutenant General Christopher Jeaffreson of Dullingham (1761-1824) half-length, in blue day dress, with engraved gilt metal plaque to the reverse water and bodycolour on ivory, oval 7 x 6cmFootnote: The sitter who rose to the rank of Lieutenant General was from 1783 until 1798 only Captain, probably in the 18th Regiment of Foot. We are grateful to Christopher Joll, Regimental Historian of the Household Cavalry, for his assistance with this catalogue entry. Provenance: By descent from the sitter, great-great-great-great-grandfather of the present owner

Two miniature portraits of Harriet Dunn Gardner (1870-1914), both head and shoulders in white, water and bodycolour on ivory, laid down on card, both oval, 9.5 x 7.5cm and 9.2 x 65.cm, each in gilt metal frames, inscribed with the identity of the sitter and dated 1904; and a miniature portrait of a gentleman (possibly Harvey [Harry] Leader, 1893-1972, who married Miriam Dunn Gardner, 1905-1977), three-quarter length, in a grey suit signed lower right in red ? 'Weisman' water and bodycolour on ivory laid down on card, 17.5 x 12cm all three in their original fitted cases (3)Footnote: Provenance: By descent from the sitters

Portrait of Hannah Fountaine (d. 1830) standing three-quarter length, in black, beside a column oil on canvas, in a period carved and gilt wood frame 125 x 101cmFootnote: The sitter who was the daughter of Thomas Penrice of Great Yarmouth married Andrew Fountaine of Narford Hall in 1805. Provenance: By descent from the sitter's sister Mary who married Thomas Trench Berney (1784-1869)Condition report: Oil on canvas which has a recent wax-resin lining. The picture is in plane and the paint layer is stable. The painting has numerous areas of brushy retouching which have discoloured and lightened over time, becoming visually distracting. The varnish is clear and even although slightly dull. There is a layer of surface dirt across the surface. The frame is in a good condition overall.

King George I on Newmarket Heath oil on canvas 61 x 155cmFootnote: Provenance: Commissioned by the Hon. Charles Colyear, later 2nd Earl of Portmore (1700-1785), By descent to Thomas-Charles, 4th Earl of Portmore (d.1835) and then by inheritance to his widow Frances (d.1845) and subsequently by descent through the descendants of Juliana Colyear (1735-1821) wife of Henry Dawkins of Over Norton, Oxon and Standlynch Park, Wiltshire, To her grandson Rev. Edward Henry Dawkins (1794-1859) of Moggerhanger House, Bedfordshire, His Beneficiaries Sale, London, Christie's, 28th February 1913, lot 44 as by 'J. Wootton', When bought by Fores of Piccadilly for 210 gns., By whom sold to Algernon Dunn Gardner (1853-1929) on 18th July 1916, for £850 and as signed and dated 1722, Thence by descent to the present owner Literature: Walter Shaw Sparrow, British Sporting Artists , London: John Lane, 1922, p. 67 and illustrated from a Fores colour reproduction of 1914 after the original, between pp. 64-65; Robert Raines, 'Peter Tillemans, Life and Work', in The Walpole Society , 1978-1980, vol. XLVII, p. 45, no. 12 Tillemans came from Antwerp to England in 1704 and settled here where he found many patrons amongst the nobility such as the Dukes of Somerset and Rutland and the Earl of Portmore (see Provenance) who is believed to be here represented in red riding alongside the King. At the time of King George I's only visit to Newmarket in 1717, Colyear was not yet a Page of Honour to the monarch's daughter-in-law, The Princess of Wales (Caroline of Brandenburg-Anspach) which he became in 1719. Portmore, as he was to become in 1729, was also painted by Tillemans' contemporary John Wootton, with his trainer watching King George I's horses at exercise (Mellon Collection, exhibited as no. 21, 'British Sporting Paintings, 1650-1850', Heywood Gallery, 1974-75). Tillemans painted another representation of King George I at Newmarket (oil on canvas, 62 x 130cm, in the Berkeley Castle Collection) which shows the King on Newmarket Heath watching two horses racing accompanied by others also on horseback (Raines, no. 16, see Literature). As Raines (see Literature) points out that Tillemans seldom dated his paintings and the bulk of his work was done after about 1720, the present work like others similar (Raines, nos. ?9, and 10-12) were painted a good while after the Royal visit as mementos for some of those present on the actual occasion in 1717. In the present painting, not only are the King and Portmore identified on the frame, but so is the interpreter, for of course the King, having spent most of his life in Hanover, hardly spoke English. Behind the King ride other nobles and dignitaries. To the right, a string of horses is brought for inspection by the King. To the far right 'The Father of the English Turf', Tregonwell Frampton, is seen riding with a companion (see lot 68). Beyond, Tillemans not only shows the town of Newmarket nestling within the panorama, but in the far right distance on the horizon can be seen Ely Cathedral.Condition report: Oil on canvas with a wax-resin lining. The surface has a slightly lumpy texture in areas but overall the picture is in plane. The paint layer is stable but has suffered from extensive losses in the left hand area of the sky. There are dark age cracks and some wear and abrasion. Overpaint is mainly located in the damaged areas of the sky but there are a few areas in the figures too. The varnish is generally clear and even. The frame is in a good condition.

The Bloody Shouldered Arabian, with an Arab attendant, within classical architecture, a landscape beyond oil on canvas 82 x 120cmFootnote: Provenance: Almost certainly painted for Edward Harley, 2nd Earl of Oxford (1689-1741) in or after 1724 when he succeeded to the earldom, Thereafter at Wimpole Hall, Cambridgeshire, until the estate was sold in 1740 to Philip, 1st Earl of Hardwicke, 2nd Earl of Oxford's deceased sale, London, Mr Cock, 8th March 1741/2 and the five following days, Third Day's Sale, March 10th, lot 15, as "A white horfe, by Mr. Wooton"; Acquired by Algernon Dunn Gardner (1853-1929) probably from Fores of Piccadilly, Thence by descent Literature: Walter Shaw Sparrow, British Sporting Artists , London: John Lane, 1922, p. 110 According to Sparrow (see Literature) there were some nine or ten versions of this painting, which is not surprising since the Bloody Shouldered Arabian is considered one of the most important stallions in English racing bloodlines and since the horse had at least 3 owners in its lifetime. The present version however can reasonably claim to be the prime original since it bears the coat of arms of its first owner, Edward, 2nd Earl of Oxford, who was given it by his uncle, also Edward to whom it had been sent from Aleppo in January 1720 by his brother Nathaniel Harley, who resided there. The Harley family themselves had one other version of the painting which being today at Welbeck Abbey, must have descended through the 2nd Earl of Oxford’s only child Margaret who married in 1734 the 2nd Duke of Portland. That version where the coat of arms is replaced by sculpted relief figures, is signed and dated 1724. Yet another version, signed and dated 1723 was acquired by a later Duke of Portland for Welbeck in 1914 and this has since been sold from there. Unlike both those Welbeck versions, the present painting is unusual – as other versions included it – for having no dog in the foreground. The horse was named after the blood coloured birthmark down its right shoulder and foreleg, to which is ascribed a romantic legend (see Literature, Sparrow, p. 110). The Bloody Shouldered Arabian along with the Darley Arabian, the Godolphin Arabian and the Byerley Turk was, as a true Arab horse, considered at the time a great status symbol, through the considerable problems and costs associated in bringing them to England where at stud they all unquestionably improved the bloodlines of subsequent thoroughbreds. For example, the Bloody Shouldered Arabian was the maternal great-grandsire of Whistlejacket, whose outstanding physical beauty was so famously captured by Stubbs’ portrait of him now in the National Gallery.Condition report: Oil on canvas which has been lined. The original canvas has been extended at a later date to include some of the architectural elements in the painting. The canvas is stable and in plane. There are some cracks in the upper left corner with raised and lifting areas of paint. The original paint layers are thinly applied in many areas and have suffered from wear and abrasion, resulting in different campaigns of overpaint. The varnish is slightly yellowed but even and semi-matte. The frame is intact but the gilding is suffering from flaking with scattered losses.

John Scott (1794-1871) at an early morning training trial between Cotherstone and probably Napier, with an attendant groom at Malton, North Yorkshire signed or inscribed lower right 'H Alken' oil on canvas 30 x 40cmFootnote: Provenance: Presumably acquired by John (1811-1908) or Algernon Dunn Gardner (1853-1929) and thence by descent Foaled in 1840, the bay Cotherstone was sired by Touchstone. His racing career lasted from September 1841 to July 1843, during which he won eight out of eleven races. Bred by John Bowes at his stud at Streatlam Castle, County Durham, Cotherstone was sent into training with John Scott at Malton, North Yorkshire. He was ridden in most of his important races by the trainer’s younger brother, Bill Scott. In 1843, he won the 2000 Guineas by 3 lengths at Newmarket. Shortly before the Derby, John Scott moved Cotherstone from Malton, to the stable at Leatherhead, where the colt was visited by Queen Victoria and Prince Albert. On the day, Cotherstone started at 13/8 favourite in a field of twenty-three runners and won an easy two length victory. Narrowly beaten in the St Leger by a head to Nutwith, he just missed the title of being the first winner of the Triple Crown. Cotherstone’s seven wins in 1843 earned his owner in excess of £12,000 thus making him the most successful horse of that year in Britain. In 1844, he was sold to John, 3rd Earl Spencer for £3000. He broke down in his first start at Goodwood and was retired to stud at Althorp. The chestnut Napier, by Gladiator belonged to Col. George Anson, who had a stable at Goodwood House and was a prominent owner of racehorses, including Attila who won the 1842 Derby. The use of Napier as a trial horse is very probable as he was effectively used as a lead horse for Cotherstone in a race at Doncaster where there were only three runners, which Cotherstone won with Napier coming in second. In the present painting both jockeys wear outfits that match the owner’s racing colours – black for Bowes, owner of Cotherstone, white for Colonel Anson, owner of Napier.Condition report: Oil on canvas which has been lined. The paint layer is stable but has suffered from wear and abrasion in the thinner paint passages. There are numerous areas of retouching across the surface and around the signature. Overall these are well matched to the original. The varnish is clear and even. There is some wera to the gilding on the frame but overall it is sound.

Babraham, a chestnut thoroughbred, held presumably by his then owner, Mr Benjamin Rogers of Mickleham, Surrey, standing beside classical columns oil on canvas 31.5 x 44cmFootnote: Provenance: Presumably acquired by John (1811-1908) or Algernon Dunn Gardner (1853-1929) and thence by descent Babraham was foaled in 1738, having been sired by the Godolphin Arabian, who was brought to England by 1730, when purchased by the 2nd Earl of Godolphin for his stud at Babraham in Cambridgeshire. His was to become one of the most important Arab bloodlines in English racing. Whilst Babraham’s racing record is generally dismissed as unexceptional - though he won six of his ten races - it is as a sire that he is most highly regarded. Having been acquired in 1747 by Mr Benjamin Rogers, his progeny include Babraham Blank, Bosphorus, and Cardinal Puff.Condition report: Oil on canvas which has been lined. There is some cracking to the paint layer along the upper edge where the stretcher sits behind it. But overall the paint layer is in a good, stable condition. The varnish is clear and semi-matte. There are some fly spots and dust on the surface. There are cracks to the hardwood frame but overall it is sound.

Waxy, winner of the 1793 Derby, held by a groom on a racecourse signed lower right 'Frs. Sartorius Pinxt 1793' oil on canvas 57.5 x 72cmFootnote: Provenance: Acquired by Algernon Dunn Gardner (1853-1929) from Isaacs of 44 New Oxford Street on 26th February 1902 for £25. Waxy was bred by Sir Ferdinand Poole, 4th Bt. at Lewes and foaled in 1790. Under Poole’s trainer Robert Robson, who was known in the racing fraternity as the ‘Emperor of Trainers’, he won between 1793 and 1797, nine out of his fifteen races, but due to injury was retired to stud. In 1804, on the death of Poole, Waxy was acquired by the 3rd Duke of Grafton (see lot 55) and entered the stud at Euston Hall where in fact he produced his most significant progeny – the colts Pope, Whalebone, Blucher and Whisker and the fillies Music, Minuet and Corrine.Condition report: Oil on canvas which has been lined, the picture is in plane and the paint layer is stable. Old wear and damages have been retouched, the retouchings are well matched to the original. Old area of damage through the front legs of the horse, smaller scattered areas of retouching mainly located in the background. Varnish is clear and even. Frame is in a good condition.

Eclipse and Bucephalus with jockeys about to race at Newmarket in 1770, signed lower left 'J N Sartorius', oil on card 15 x 20.5cmFootnote: Provenance: Thomas Miller Whitehead, sold to Algernon Dunn Gardner (1853-1929) in 1894 for £40, Thence by descent J N Sartorius must have painted this record (using drawings by his father Francis, according to John Lawrence in John Scott – see below) well after this celebrated race, where Bucephalus was put forward as the only horse who had proved good enough to possibly challenge the great Eclipse (see lot 56) took place. Run over the Beacon Course at Newmarket on 17th April 1770, it was the first race of the season for both horses, who met at level weights. Bucephalus, a lighter chestnut than Eclipse and belonging to Peregrine Wentworth whose racing colour was white, had been previously unbeaten in three races, though as Eclipse had never been beaten, the betting was 6-4 on Eclipse. The two horse race was said to have broken Bucephalus’ spirit and he never seems to have raced again. Eclipse retired to stud that same year and being unbeaten in any race and then siring over 350 winners, he can fairly claim to be the most famous racehorse of the English turf. Long after his death (1789) stories were ‘spread’ that Eclipse’s sire was in fact Shakespeare and not Marske. Indeed, an engraving by John Scott, presumably taken from this painting, was issued in 1820 in his, The Sportsman’s Repository; Comprising a Series of Highly Finished Engravings, Representing the Horse and the Dog, in All Their Varieties, pub. London by Henry G. Bohn, p.37, to give credence to that notion, in which Bucephalus is transformed and named as ‘Shakespeare’ the alleged sire of Eclipse. Both stallions had covered Eclipse’s dam Spiletta near together which gave rise to the speculation which is now largely dismissed. In the present painting according to Lawrence in John Scott ibid., Eclipse is ridden by John Oakley in the red colours of his then owner, William Wildman. CONDITION:Some surface dirt. Discoloured old varnish along the edges. Signed under the mount. Inscribed to the reverse. 

An Equestrian portrait of the 3rd Duke of Grafton (1735-1811) riding his hunter to covert, attended by his mounted groom, an extensive landscape beyond signed lower left 'Sartorius / Pinxt / 1786' oil on canvas 70 x 88cmFootnote: Provenance: Thomas Miller Whitehead, sold to John Dunn Gardner (1811-1908) on 23rd March 1872 for £25, Thence by descent The landscape almost certainly represents that of the Duke's estate at Wakefield on the borders of South Northamptonshire and North Buckinghamshire, near Stoney Stratford. The land, known as the Honour of Grafton, remained a Crown estate until 1706 when it passed along with the Rangership of Whittlewood Forest to the 2nd Duke who was grandson of King Charles II by his mistress Barbara Villiers, Duchess of Cleveland. The country thereafter became known as The Grafton where successive dukes maintained a pack of hounds and were invariably Master.Condition report: Oil on canvas which has been lined. The picture is in plane with good tension. The paint layers have suffered from wear and abrasion as well as old damages, mainly located on the left hand side. Areas of retouching are slightly yellowed and smooth but fairly well matched. The varnish is matte and even with scattered fly spots and dust. Some wear to the gilding of the frame but generally sound.

Eclipse with John [Jack] Oakley up signed lower left 'J. N. Sartorius pinx' and inscribed 'Eclipse by Marske' oil on canvas 34.5 x 42cmFootnote: Provenance: Thomas Miller Whitehead, sold to John Dunn Gardner (1811-1908) on 11th May 1891 for £120 with its pair of Smolensko, Thence by descent Exhibited: Grosvenor Gallery, Sports Exhibition, 1890, no. 225, lent by Thomas Miller Whitehead Eclipse, the most famous racehorse of the English turf by Marske out of Spiletta, was foaled during the great eclipse of the 1st of April 1764 at the stud of the Duke of Cumberland. At first, he displayed no remarkable character except bad temper (and interestingly in most portrayals of him he is shown with his head down and ears back). He first ran as a 5-year old on 3rd of May 1769 at Epsom in a race of 4-mile heats, winning easily at 4 to 1 on. For the 2nd heat, an Irish gambler Dennis O’Kelly made a wager that he would place all the horses, pronouncing as he did so, the most famous phrase in racing history: “Eclipse first, the rest nowhere.” Standing at just over 16 hands and of bright chestnut colour, Eclipse won all 18 of his races, usually beating his opponents by 10 or 20 lengths. He was retired early in 1770 mainly due to the lack of credible competitors, to the stud of O’Kelly who had bought him in two stages for 1750 guineas. His stud fee was 50 guineas a mare and he is believed to have sired in the region of 350 winners. Eclipse died in 1789 aged 24 following an attack of colic, when he was dissected by Charles Vial de Saint Bel, who published in 1791 An Essay on the Geometrical Proportions of Eclipse , in which he stated that it was worthy of notice “that the heart weighed 14 pounds”. His skeleton belonging to the Royal College of Veterinary Surgeons is on loan to the National History Museum.Condition report: Oil on canvas which has been lined. The picture is in plane. The paint layers are very worn, notably in the sky. The varnish is clear, glossy and even with a slight bloom across the surface. The frame is in a stable condition with some wear to the gilding.

Smolensko with Tom Goodison up, standing on Newmarket Heath signed lower left 'J N Sartorius pinx' and inscribed 'Smolensko by Sorcerer' oil on canvas 34.5 x 42cmFootnote: Provenance: Thomas Miller Whitehead, sold to John Dunn Gardner (1811-1908) on 11th May 1891 for £120 with its pair of Eclipse, Thence by descent Exhibited: Grosvenor Gallery, Sports Exhibition, 1890, no. 225 (?), lent by Thomas Miller Whitehead Bred by the politician and landowner, Sir Thomas Bunbury, 6th Bt., Smolensko was sired by Trumpator and thus carried on the bloodline of the Godolphin Arabian. He was winner in 1813 of the 2000 Guineas and the Derby. He won seven of his eight races and retired to stud at Great Barton, the Bunbury estate in Suffolk. Smolensko sired many winning offspring including the filly Gulnare (winner of the 1827 Epsom Oaks) and Jerry (a colt who won the 1824 St Leger).Condition report: Oil on canvas which has been lined. The picture is in plane and the paint layer is stable. Drying cracks present across the surface which formed as the paint layer dried. There are retouchings covering these cracks in the lower half of the picture and a few retouchings in the horse and sky. The varnish is clear, even and semi-glossy. The frame is in a stable condition with some wear to the gilding.

PHIL RAM BAND ORIGINAL REEL TO REEL MUSIC TAPES, WITH HAND WRITTEN LYRICS, EXPENSE SHEETS, AND LETTERS FROM HIS MANAGEMENT, SUPPLIED FROM DAVID F WERNHAM HIS MANAGER, BOD DYLAN CD, AC/DC SEWN PATCH, THE WHO LP, MOTORHEAD POSTER, AND IRON MAIDEN CALENDAR

A lovely 1940's vintage black velvet jacket with rabbit fur trim collar together with a antique Greek blouse from Northern Sporades island of Alonnioss bought in the late 1970's plus a Victorian cotton blouse in white and pink with pintucks to the front with lace collar trim.1920/30's crepe de chine belonged to sellers mother who was born in 1906 - may of come from Norman Hartnell - approx 4.5 yds x 36 - chocolate brown with cream mushrooms pattern

John Collier (1850-1934) Portrait of Joseph Crosfield the son of industrialist Joseph Crosfield (1792-1844) of Embley Park, oil on canvas, signed lower right, label en verso ‘Bot of Richard Turley carver and gilder, looking glass and picture frame maker’, 84cmWx97cmH including frame Provenance: Descent through the Crosfield family. Joseph Crosfield was an industrialist who established the soap and chemical manufacturing business Joseph Crosfield & Sons in Warrington. Embley Park was the former home of Florence Nightingale

A late 18th century Japanese netsuke from Edo period. Not signed. In carved elephant ivory portraying a sat dog who is holding a sphere with his paws and turning his head around, 3,2x3,4x1,8 cm. 15,2 gr. With an expert's report issued by the Spanish Federation of Antique dealers attached.

A late 19th century Japanese netsuke from Meiji period. Signed Mitsuo. In carved elephant ivory portraying a Japanese costumbrist character sat on the floor petting a 'Shishi' who is sat on a stand, 2,6x3,9x2,3 cm. 14,1 gr. With an expert's report issued by the Spanish Federation of Antique dealers attached.

A late 19th century Japanese netsuke from Meiji period. Signed on the base. In carved elephant ivory depicting a kneeling 'Sarumawashi' who is playing the drum while a monkey sat over his back is wearing a bag and holding a fan with his left hand. With an expert's report issued by the Spanish Federation of Antique dealers attached.

Six Noddy Strip Books Enid Blyton, including Noddy and the Cuckoo's Nest; Noddy gets Captured; Noddy and the Bear who lost his Growl; Noddy's Car gets a Squeak; Noddy's Penny Wheel Car; Noddy and the Witches Wand, published by Sampson Low, in paper wrappers, these are in good overall condition. Please note: Although we have taken care to assess each book, we cannot inspect each page of every book. Please look carefully at the images to assess condition as they form part of the description.

Forty Three issues of TV Comic circa 1964, nr 629 Jan 4th 1964 through to 675 21st November 1964. Missing 630, 632 and 669, 671 has a BMC car supplement and 674 marks the start of Dr Who. Note: previous owner's name on the covers, better paper quality than earlier issues. Please note: Although we have taken care to assess each book, we cannot inspect each page of every book. Please look carefully at the images to assess condition as they form part of the description.

Twenty Seven TV comics and eight annuals. Twenty seven issues of TV Comic 1965-72 and eight annuals 1954/55/56/67/68/71 plus two undated ones from the 1950's they include Dr Who, Sooty, Diddymen etc...Please note: Although we have taken care to assess each book, we cannot inspect each page of every book. Please look carefully at the images to assess condition as they form part of the description.

Five Mid-20th Century Noddy Strip Books, including Noddy tricks Mr Sly; Noddy and the Bear who lost his Growl; Noddy and the Cuckoo's Nest, Noddy Gets Captured and Noddy is very Silly, published by Sampson Low, in paper wrappers.Please note: Although we have taken care to assess each book, we cannot inspect each page of every book. Please look carefully at the images to assess condition as they form part of the description.

Finnegan's of New Bond Street bespoke picnic set, presented to Mr and Mrs Hughes Macklin in 1916, circa 1916, a honey leather case with handle, nickelled lock and catch, fall front opening to blue cloth-lined interior, comprising wicker-handled kettle with burner, glass milk bottle, set of three gilt-handled bone china tea-cups with saucers, food tin and three teaspoons, the inside of the lid with gilt lettering 'from the members of the Carl Rosa Coy., to Mr & Mrs Hughes Macklin 20/10/2016, case embossed with the initials H.M to lid and measuring 29 w x 15 x 17 cms overall.  Note: Hughes Macklin (1886-1936) was a Welsh actor and tenor, who entertained members of the British forces on stage in Liverpool during the Great War. 

An excellent box of reggae, prog rock and rock LP vinyl records to include Led Zepplin, Tangerine dream, The Who, Deep Purple, Van Morrison, Jimi Hendrix, Mikey Dread, Spinal Tap, Captain Beefheart etc Condition Report: Available upon request

A machined art deco silver cigarette case with rose gold trim given to "Matron" by WW1 soldiers "The Old Wargravians" for her services 1920-1930, still with three cigarettes 94.2g twinned with a silver plated Cigarette Case inscribed "In memory of F Waters who was illed in France Dec. 12th 1917".

Various Vinyl LPs The Who - Live At Leeds red printing with poster and assorted reproduction papers/contracts; King Crimson - In The Wake Of Poseidon; The Velvet Underground - Loaded; Mountain - Nantucket Sleighride; Cream - Disraeli Gears and Fresh Cream (6)

Fleming, Ian Two James Bond Novels Dr No. London: Jonathan Cape, 1958. Second impression (May 1958), 8vo, original cloth, dust-jacket not price-clipped, a few chips to dust-jacket; [Idem] The Spy who Loved Me. London: Jonathan Cape, 1962. First edition, 8vo, original cloth, dust-jacket not price-clipped but with some chips and tears, fore-edges slightly foxed, bookplate (2)

Fleming, Ian 6 James Bond Novels Goldfinger. London: Jonathan Cape, 1959. First edition, 8vo, original black cloth gilt, facsimile dust-jacket, ownership inscription on front free-endpaper erased with green pen; [Idem] Dr No. London: Jonathan Cape, 1958. Second impression, 8vo, original cloth, dust-jacket with a little wear and a few small holes; [Idem] The Spy who Loved Me. London: Jonathan Cape, 1962. First edition, 8vo, original cloth, dust-jacket not price-clipped but with a few small chips; [Idem] You Only Live Twice. London: Jonathan Cape, 1964. First edition, 8vo, original cloth, dust-jacket not price-clipped but with a few small chips; [Idem] Man with the Golden Gun. London: Jonathan Cape, 1965. First edition, 8vo, original cloth, dust-jacket not price-clipped, erased ownership signature; and another copy, in a facsimile dust-jacket (6)

Macdiarmid, Hugh [Grieve, C.M.] 26 items, 43 signed, comprising Northern Numbers. [First] and Second Series, 1920-21, original cloth-backed lettered boards; Annals of the Fife Senses. Montrose, 1923, First edition, signed & inscribed "To my friend Elma Robertson", original cloth; Sangschaw. 1925, original cloth, dustwrapper slightly frayed; Penny Wheep. 1926, First edition, original cloth, dustwrapper slightly frayed; A Drunk Man Looks at The Thistle. 1926, First edition, presentation copy to Edward Nairn and Ian Watson, original cloth, dustwrapper slightly frayed and soiled; To Circumjack Cencrastus or The Curly Snake. 1930, First edition, inscribed to Wm. Johnstone, 1933, original cloth; The Islands of Scotland. 1939, dustwrapper; Separitism. Broadside, limited to 150 copies, signed by Macdiarmid In Memoriam James Joyce. 1955, First edition, original cloth, dustwrapper; Francis George Scott. 1955, inscribed by the author, original wrappers; On a Raised Beach. 1967, inscribed to Edward Nairn from the author, original black wrappers; Collected Poems. 1967, inscribed for William Johnstone, with a non-related inscription, dustwrapper; A Political Speech. Number 11 of 50 copies,signed by the author; original wrappers; The Fire of the Spirit. 1965, First edition, original wrappers;The Company I've Kept. 1965, presentation copy to Major F.A.C. Boothby from the author, original cloth; More Collected Poems. 1970, author's copy with bookplate and holograph correction on p. 35, dustwrapper; Song of Seraphim. Number 17 of 100 copies signed by the author, original cloth, dustwrapper; Cunninghame Graham. Caledonian Press, [1952], dustwrapper; Speaking for Scotland. 1939. Broadside, blue calf-backed cloth folder; To Those of My Old School Who Fell in the Second World War. [n.d.], 3pp., 4to, blue calf-backed cloth; Leslie, Arthur The Politics and Poetry of Hugh Macdiarmid. Caledonian Press, [n.d.], original wrappers, signed by Macdiarmid; Three Hymns to Lenin. Castle Wynd Printers, n.d., signed by the author, dustwrapper; A Tribute of Duncan Macrae. [n.d.], 4to, original wrappers, signed by Macdiarmid on p2; Wright, Gordon Macdiarmid, an illustrated biography. 1977, Number 17 of 50 copies signed by Macdiarmid, black half morocco gilt, slipcase (26)

Rowling, J.K. The Harry Potter Gift Set, Signed Harry Potter and the Philosopher's Stone. London: Bloomsbury, 1997. First edition, 4th impression, signed by J.K. Rowling on front endpaper; Harry Potter and the Chamber of Secrets. Bloomsbury, 1998, First edition, 7th impression, signed by J.K. Rowling on front endpaper, dustwrappers, both combined in the original slipcase, with the telephone number of Bloomsbury written in biro on the verso of the title page of Harry Potter and the Philosopher's Stone, with light pencil inscription "98, Darling Fraser, Much Love, Mummy and Daddy" on title of Philosopher's Stone & half-title of Chamber of Secrets, Philosopher's Stone with very small crease and 2mm tear to p.201 and with 27mm. vertical biro mark to margin of p.26, Chamber of Secrets with marginal crease and 1cm. tear to p. 161, extremely light creasing to extreme edge of dustwrappers, slipcase with very slight loss to foot panel (c. 15mm x 45mm.); with a colour photograph of J.K. Rowling loosely inserted, housed in a folding grey cardboard box lettered "Special Book"Footnote: Note: The gift set was bought in August 1998 by the vendors from Waterstones Bookshop in Richmond upon Thames as a present for their oldest son, Fraser, who turned eight in August 1998. They wrote on the inside title page in light pencil - ’98, Darling Fraser, Much love, Mummy and Daddy". At the same time, Fraser had started a Harry Potter book club with his Tower House school friends and Fraser's mother emailed Bloomsbury to see if JK Rowling would visit to do a reading, something that seemed perfectly reasonable in 1998 before Rowling had become famous. Bloomsbury replied in the negative but sent a publicity photo of the author - included in the lot - as a 'stand in' and hoped it would help and encourage the boys. It is an original photo print dated 28/8/98 on the back and there is a written note on the back of the photo asking for it to be returned to Bloomsbury, something however they failed to do.

[18th century religious manuscript account] Wilson, William Memorial of Free Mercy containing 'The Particular account of the Year 1731' and running until 1756, 392 manuscript pp., ending with the lines (prior to an index): "This Day I commit, and refer myself, both soul and body, Books, Papers... wholly, solely and only to the wise providence of God...", 8vo, bound in contemporary quarter vellum over boards, some dust-soilingFootnote: Note: An account covering 25 years of a Scottish man's life in the mid-eighteenth century, presented as religious musings. Topics covered include: "an account of a Great Drought"; "An Invitation for the Lord Jesus Christ to return to Britain and Ireland, especially to Covenanted Scotland"; "Predictions of the French invading these Lands"; and the more mundane "of having sore Shoulders". More perplexing accounts include: "Upon the 26th Day of July, out of a tent before a large Congregation at Crawford John: Mr Alexander Marshall, in a ? of Malicious Jury, named me our name and sirname, Laid grievous things to my Charge falsely, and compared me to Elimas the sorcerer, who was a Child of the Devil..."Regarding the Jacobite uprising in 1745, he writes: "About this time, the young popish pretender was come to Scotland; and had a malignant army gathered together to set him upon the throne of Britain..." and subsequently mentions people "fleeing from Edinburgh and Glasgow &c. and peoples fleeing here and there to hide and keep their horses from the pretender's men."

Archive of the Gill / Hutchison Family Including the naval adventures of Commander Thomas Gill, Typescript of the memoirs of the late Commander Gill, R.N., b.1774, dictated to his daughter, Emma, comprising 72 bound typed pages, signed in typescript by T. Hutchison (Emma's husband and nephew of William Wordsworth); Manuscript written by Commander Gill comprising pp.1-8 and 13-47 only of the complete document; Emma Gill Manuscript journal, dated 1840, describing a tour of the Isle of Wight and Sussex, accompanied by her father, 52pp., bound in wrappers; [Idem] Manuscript notebook and diary dated 1847, 22pp.; [Idem] Commonplace album in 19th century embossed plum calf; Nautical Sketches by the Ancient Mariner. Stockton: W. Robson, 1833. 12mo, original card wrappers, with the ownership inscription of Elizabeth Hutchison to the title-page; Pencil drawing of the Hutchison home, Grantsfield, in Leominster, along with three photocopied sheets listing the Grantsfield libraryFootnote: Note: Commander Gill's daughter, Emma, married T, Hutchison. Hutchison was the poet William Wordsworth's nephew. One of the books listed as having being in the Grantsfield library is accompanied by a note: "This Ed. of Shakespeare together with those of Chaucer, Spencer & Milton, was purchased by Charles Lamb for Dorothy Wordsworth, who, upon receiving her portion of the debt due from Lord Lonsdale's estate, wished to record the event by a gift to her friend Sarah Hutchison M.W. July 8th 52..." Commander Gill's typescript describes his life from his birth in 1774 at the Vicarage House of Newchurch, Isle of Wight and leads on to his naval career, beginning at the age of 15 when he boarded the Resolution, heading for Nevis. He was imprisoned by the French in Guadeloupe and subsequently taken on by an American ship. Following a brief stay in America, Gill boarded the Merchant, to return to Liverpool but was shipwrecked. Finally returning to London, Gill was press ganged and returned to sea eventually as Midshipman. Gill describes taking part in the Battle of St Vincent, under Captain George Murray on the Colossus, and then in the Siege of Cadiz and then in convoy service under Nelson. His naval career continued after this, until 1818, including being once again shipwrecked on board the Anson when it was wrecked in Mount's Bay in 1807. He died in 1841.

Marlborough, John Churchill, First Duke of Warrant signed ("Marlborough"), as Master General of the appointing William Weatherhead a Labourer in Ordinary in Her Majesty's stores at £26 per annum, in place of the late William Waterman, directed to Thomas Erle, Lieutenant General of HM Ordnance and the rest of the principal officers; counter-signed by his secretary and political ally, James Craggs the Elder, with Marlborough's papered armorial seal at the head, one page, folio, integral leaf removed, some browning and dust-staining, upper half laid down with associated tears, Office of Ordnance [Tower of London], 22 January 1707/8Footnote: Note: Signed while Marlborough was in London, outfacing the threat posed by Robert Harley who was attempting to replace Marlborough's ally Godolphin, and while preparing to counter a possible Jacobite invasion from Dunkirk.

Magic Including a large Will Goldston collection Frost, Thomas. The Lives of the Conjurors. 1881 ; Strutt, J. The Sports and Pastimes of the People of England. 1831, hand-coloured engravings, later quarter cloth; The Popular Recreator. [c.1875], vol. 1-2, half calf, vol. 1 lacks title; and another copy of vol. 1 with title; Barnum, P.T. The Humbugs of the World, 1866; Valentine, Mrs. Games for Family Parties and Children, 1869, modern quarter red morocco; Williams, C.O. Catalogue of Conjuring Apparatus, and 2 others, 1915-25, wrappers bound in; Neil, C.L. The Modern Conjuror, 1903 and 1911, 2 copies; Modern Card Magic. 1906, pictorial boards, rubbed; Cassell's Book of In-Door Amusements &c., n.d., pictorial cloth, becoming loose; "Trim" Old Wilds, [c.1888], wrappers bound in Leat, H. Forty years in and around Magic. 1923, wrappers bound in; Hopkins, N. Twentieth Century Magic. 1898, pictorial cloth; Collins, S. A Conjuring Melange. 1947, dw; Deceptive Conceptions in Magic. n.d., pictorial boards, rubbed; Original Magical Creations, n.d., pictorial boards, rubbed; Boys, C.V. Soap Bubbles. 1902, pictorial cloth; Fischer, O. J.N. Hofzinsel's Card Conjuring. 1931; Hoffman, Prof. Card Tricks without Apparatus, [c.1890], wrappers bound in; Goldston, Will. Tricks and Illusions, 1905, pictorial cloth; Goldston, Will. The Young Conjuror. part 2, pictorial boards, n.d.; Goldston, Will. More Tricks and Puzzles, [c.1927], copy of conjurer & escapologist Tom Burke, pictorial boards; Goldston, Will. More Modern Card Tricks. Book 1, n.d., hinge broken; Goldston, Will. Tricks and Illusions, [c.1916]; Stage Illusions, n.d., pictorial boards worn; another copy, later edition; Goldston, Will. Great Tricks Revealed. 1935, dw; Goldston, Will. Tricks and Illusions. 3rd edition, n.d., later cloth; Goldston, Will. More Tricks and Puzzles, wrappers bound in, Christopher Brinson Magic Library copy, black half calf; Goldston, Will. Latest Conjuring [1905], later cloth; Goldston, Will. Simple Conjuring Tricks. 1922, later cloth; Goldston, Will. Magical Tricks. n.d., boards, worn; Goldston, Will. Secrets of Famous Illusionists. 1933; Goldston, Will. Tricks of the Masters, 1942; Goldston, Will. A Magician's Swan Song, 1934; Goldston, Will. Who's Who in Magic, n.d.; Goldston, Will. Modern Card Tricks without Apparatus, n.d., pictorial boards, rubbed; Chambers, R. The Book of Days. 1883, 2 vol., contemporary calf, rebacked; Chambers, R. Fireside Amusements. 1850, pictorial boards, rebacked; Verne, T. Dr Ox's Experiment. 1892, pictorial cloth; Hoffmann, Prof. Modern Magic. 1901, 11th edition, pictorial cloth; Browne, V. Secrets of Scene Painting. n.d., pictorial cloth; Dicks One Hundred Amusements for Evening Parties. New York, [c.1890]; all original binding except where noted (quantity)Footnote: Provenance: From the collection of the Late Trevor Dawson

Magic Books, a collection, including Houdini, Harry A Magician among the Spirits. New York, 1924, First edition, plates, original cloth; Whaley, Bart, Gardner, Martin & Jeff Busby . The Man Who was Erdnase. 1991, one of 200 leather bound copies, signed by Whaley, Gardner, Busby and Milton Andrews, blue leather; Hopkins, Albert A . Magic, Stage Illusions and Scientific Diversions including Trick Photography. New York, 1906, original pictorial cloth, hinges weak, rubbed; Wehman, Henry J. Wehman's Parlor Conjurer. New York, c. 1875, cloth, original wrappers bound in; Herrmann, Alexander. Herrman's Black Art. New York, 1898, modern cloth, slightly browned; Hull, Burling. Rope Ties and Chain Releases. New York: Magnotrix, [1915], cloth, original wrappers bound in; Clark, K. Encyclopedia of Cigarette Tricks. 1952, original cloth, dustwrapper; Magic Info Mini Mag. Special Issue, Erdnase. a Real Miracle, 1994, cloth, wrappers bound in; The Gardner-Smith Correspondence. 1999, number 243 of 250 copies, cloth, wrappers bound in; Ganson, Lewis. Dai Vernon's Tribute to Nate Leipzig, [n.d.], signed "De Vega" on title, original cloth, dustwrapper; Cruikshank, G. Punch and Judy. 1870, half calf gilt; Hoffmann, Professor. Conjuring Tricks. G. Routledge, [n.d.], title slightly torn and numbered in ink, modern cloth; Bamberg, T. Okito on Magic. Chicago, 1952, dustwrapper; Gardner, Martin. After the Dessert. 1942. Second edition, bound with 3 others, blue cloth; Victor, Edward. Further Magic of the Hands. 1945, signed copy, original cloth; Alfredson, J.B. Magical Ex Libris, a Checklist. 1991, cloth, wrappers bound in; Minch, Stephen. By Forces Unseen. Seattle, 1993, dustwrapper; Kaplan, G.G. The Fine At of Magic. 1948, original cloth, card of J. Demaline glued in, lacks front free endpaper; Koval, F. The Illustrated Houdini Research Diary. 4 parts bound in one, a reprint ?, blue cloth; Ascanio, A. de. The Magic of Ascanio. [n.d.], dustwrapper; McClintock, R. Knuckle Busters, vol. 1-6 bound in one, cloth; Andrews, V. A Gift from the Gods. 1981, dustwrapper; Kay, Ricky. Learned Pigs & Fireproof Women. 1987, First British edition, Magic Library of Margaret Yates bookplate, dustwrapperFootnote: Provenance: From the collection of the Late Trevor Dawson

Magic, 20th Century, a large collection including 3 limited de luxe copies comprising: Britland, David . The Mind & Magic of David Berglas. 2002; Goldston, W . The Goldston Reader. 1990, no. 267/300 copies, cloth; Conjuror's Monthly Magazine. 1991, 2 vol., cloth, one of 500 copies; Dexter, W . Notes for the Riddle of Chung Ling Soo. Quarter morocco binding; Lyons, P.H . Ibidem, 1993, vol. 1 & 3, slipcase; James S . Stewart James in Print: the first 50 years. 1989, dw; Slaight, A . The James File. 2003, 3 vol. including index; Gardner, M . Martin Gardner Presents. 1993, boards; Leveridge, M . The Master Routine Series. 2004, dw; James, S . The Essential Stewart James. 2007, dw; Kabbala . Vol. 3, Racherbaumer. 1976; Sisti, J . The Magic Menu. 2002, dw; Sisti, J . The Magic Menu, 1995, dw; Regal, D . Approaching Magic, 2008, dw; Craggs, D . ABC of Ventriloquism. [c.1944], wrappers, worn; Houdini, H . Miracle Mongers & Their Methods, wrappers; Skinner, M . Classic Sampler 1996, de luxe Limited edition, no 203, signed, slipcase; Ortiz, D . Cardshark. 1995, number 20/50 de luxe limited edition, signed, slipcase; Fernandes, S . Magic of the Second Millenium. 2000, no. 115/500 copies, signed, dw; Alfredson, J.B . A Bibliography of Conjuring Periodicals in England 1791-1983, 1986; Cervon, Bruce . Castle Notebooks, volume 2, 2008, number 422/500 copies; Oritz, D . The Annotated Erdnase, 1991, dw; Racherbaumer, J . Card Finesse II. 1992, dw; Racherbaumer, J . Don England’s Gagged to the Hilt, 1993, dw; Racherbaumer, J . Card Fixes. 1990, dw; Leveridge, M . The British Close Up Magic Symposium, 1 st Decade, 2001, dw; Lovell, S . Simon Says. The Close up Magic. 1997, dw; Ouellet, G . The Pass. Card Magic. 1994, dw; Christopher, M . Christopher’s Favourite Routines, 2000; Christopher, M . Houdini, the Untold Story. 1969, dw; Kaufman, R . Close Up Collection. 1982; Kaufman, R . Card Magic. 1979, wrappers; Starke, G . Stars of Magic. 2008; Cannell, J.C . The Secrets of Houdini. 1932; another copy, 1938; Houdini, R . Memoirs, edited by Mackenzie. Philadelphia. 1860, new spine; Houdini, R . Memoirs. 1942; Houdini, H . The Unmasking of Robert Houdin. 1909, rebound; Gresham, W . Houdini, the man who walked through walls. 1959 & 1960; Beaufort, D . Nothing up my Sleeve, 1938; Gibson, W . Houdini’s Escapes and Magic. 1930, rubbed; Gibson, W . Houdini on Magic. 1953; Gibson, W . Houdini’s Escapes. 1931, rubbed; Ernst, B . Houdini and Conan Doyle, 1933, rebound; Kellock, H . Houdini, 1928, rubbed, 2 copies; Hand, C . I was after Money, 1949, presentation copy; Ortiz, D . Designing Miracles, 2006, dw; Ortiz, D . Strong Magic. 1949, dw; Buckley, A . Card Control. 1946; Hobbs, S . Gene Maze and the Art of Bottom Dealing. 1994, dw; Hindle, D . Twice Nightly. 1999, wrappers; all original cloth or boards unless notedFootnote: Provenance: From the collection of the Late Trevor Dawson

Magic, a large collection, including 5 limited edition de luxe copies signed comprising: Wonder, Tommy and Steven Minch . The Book of Wonder, vol. 1, 1996, dw; Fulves, K. Epilogue. 1993, number 72/150 de luxe limited edition, signed, slipcase; Fulves, K . The Pallbearers Review, volumes 1-10 in 3, 144/150 de luxe limited edition, signed, slipcase; Hammond, R . The Magic of Edward Victor’s Hands. 1995, number 27/50 de luxe edition, signed; The New Jinx. 1962-68, edited by B. Madsen, 1987, dw, leather style binding; Ammar, M . The Magic of Ammar. 1991, number 110 of a deluxe collector’s edition, signed, slipcase; Hallas, P . Small but Deadly. 2002, dw, signed; Pierce, L . Roger Klause’s Concerto. 1991, no, 39/200 de luxe limited edition, signed, dw., slipcase; Gardner, M. Encyclopaedia of Impromptu Magic. 1978; Ortiz, D . Scams & Fantasies with Cards. 2002, dw; Fulves, K . The Chronicles. 1997; Minch, S . The Magic of Milt Kort. 1999, dw; Kaufman, R . Lou Gallo, the Underground Man. 1996, dw; The New Jinx. 1966, vol. 5, cloth; Derris, J . Come a little Closer. 1998, dw; Powers, M . Top Secret Stuff, 1990, dw; Riser, H . Secrets of an Escamoteur. 2006; Berland, S . The Close Up Magic of Berland. 1970, wrappers; Vincent, M . The Magic of Vincent. 1989, wrappers; Riser, H . The Feints and Temps of Riser. 1996; Kaufman, R . Sawa’s Library of Magic, volume 1, 1998; Sperber, B . A Checklist of Conjuring Catalogs and their Dealer or Magic Shops in English, 2006; Burger, E . The Performance of Close-Up Magic. 1987, dw; Burton, J . Heyday of a Wizard. Daniel Home the Medium. 1948; Rooklyn, M . Spherical Sorcery & Recollections of a Pro. 1973, dw; Christopher, M . The Illustrated History of Magic, 1973 dw; & 1975, dw; The Wizard. Vol. 1, nos. 1-12 in 1 volume, cloth, 1947-48; Griersham, W . Houdini, 1960; Watson, B . The Man who changed how boys and toys were made. 2002, dw; Boston, B . Inside Magic. 1947, dw; Stone, A . Fooling Houdini. 2013, wrappers; Iremonger, L . The Ghosts of Versailles. 1957, dw; Sandford, C . Houdini and Conan Doyle. 2011, dw; The Magic Circular, volumes, 49-50, 52-58, 60, 62-63, 65-66, 69-76, 78-82, all cloth; Holland, C . Strange Facts & Clever Turns. 1998, wrappers; Magicol. 3 issues, 2014-15, wrappers; Hull, B . Experimental Billiard Ball Manipulation. 1928, wrappers bound in, all original cloth or boards unless where statedFootnote: Provenance: From the collection of the Late Trevor Dawson

Magic, Twentieth Century A large collection, including 8 limited editions, a few signed Findlay, J.B . Collectors Annuals, numbers 1-7 and 10, bound in cloth, 1949-1994; Lewis, E.C . P.T. Selbit. Magical Innovator, 1989, number 885/1000 copies, cloth; Sharpe, S . Devant’s Delightful Delusions. 1990, number 480/1000 copies, cloth; Warlock, P . Buatier de Kalta, Genius. 1993, 656/1000 copies; Christopher, M . Howard Thurston’s Illusion Show Workbook. 1991, 2 vol., 271/500 copies, slipcase; Blackmore, K . Levante, His Life. 1997, number 521/1000 copies, dw.; Caveney, M . The Great Leon. 1987, number 758/1000 copies, cloth; Findlay, J.B . Professional Hoffmann, a Study. 1977, number 134/500 copies, dw; Charvet, D . Alexander the Man who Knows. 2004, number 75/1000 copies, inscribed copy; Reilly, J.V . Same Men, Different Clothes. 1993, number 24/500 copies, dw., inscribed copy; Charvet, D . Alexander the Man who Knows. 2004, standard edition, dw; Olson, R.E . Illusion Builder to Fu Manchu. 1986, dw, inscribed; Dornfield, W . Trix and Chatter. 1921; Hagy, J . Magic for Free. 1887-1945, 2006, cloth; Michel, J . Phenomena. 1977, wrappers; Frank, G.R . The Collector’s Scrapbook. 1994, wrappers; Dawes, E.A . Circle without End. Magic Circle 1905-2005, wrappers; Woods, R . Josephine Langley, Lady Ventriloquist. 2007, wrappers; Findlay, J.B . Anderson and His Theatre. 1907, cloth; Findlay, J.B . How’s your Library. 1958, cloth; Findlay, J.B . Bookishly Yours. 1987, cloth; Goodsell, D.R . Finding Daniel Fitzkee, dw; Heys, E . Cues for Collectors. 1964, cloth; Woodward, C . The London Palladium. 2009, dw; Waldron, D . Blackstone. A Magician’s Life. 1999, dw; Christopher . Panorama of Prestidigitators. 1956, cloth; Demackine, J . Demagic. 1990, dw; Haversal D . Chania, the Man with Magic Hands. 2002, signed copy; Heard, M . Phantasmagoria… Magic Lantern. 2006, wrappers; Yate, T . Clue and other Mysteries. 1986, wrappers; Fajuri, G . Laurant. The Man of Many Mysteries. 2005; McKinven, A.A . Stage Flying 431 BC to Modern Times. 2002, dw; Index to Magicol, 1959-2004, cloth; Andrews, Val . Murray. 1974, dw, inscribed copy; Moehring, T . The Magical Life of Marshall Brodien. 2007, wrappers; Leat, H . Forty Years in and Around Magic. 1923, cloth; Charvet, David . Willard, a Life under Canvas. No. 78 of 150 de luxe copies, with slipcase, signed; Gordon, P . Edward George Brown, a Magical Life. 2005, 1/500 copies, boards; Keable, Ian . Magic Shows. 2010, 1/500 copies; Dudgeon, F . Ray Goulet, 2011, 1/800 copies; Alfredson, J.B . Jean Hugard, 1997, 160/750 copies; Dawes, E.A . Stodare, the Enigma Variations. 1998, 1/500; Smith, J . Breslaw’s Last Legacy. 2013, 32/150 copies; Allen, G . History of Automata. Reprint, no. 58/300 copies, cloth; Rauscher, W . Jim Calvert. 1987, presentation copy to John Dawson, dw; Woodward, C . Rameses, the Forgotten Star. 2011, presentation copy to Trevor Dawson; Warlock, P . Walter Jeanes Illusioner. 1986, presentation copy to Trevor Dawson; Bamberg, David . Illusion Show, a life in Magic; Dawes, E.A . The Wizard Exposed. Glenwood, 1987, 1991, dw; Spooner, W.E . In Search of Eugene Hellman. 2010, wrappers; Owen, R . Rovi, the Story of a Man. Cairn Press, 2000; Romano, C . House of Cards…. Paul Rosini, 1999; Moehring, J . Del Ray. America’s Foremost. 2020, dw; Burrows, J.F . Programmes of Magicians. C. 1910, wrappers; Woodward, C . Maurice Fogel. 2007, wrappers; Caveney, M . Classic Correspondence from Egyptian Hall Museum, 2020, slipcase; Parrish, R . Words about Wizards. 1994; Cooper, J . The Case of the Cottingley Fairies, 1990, dw; Davenports Popular Magic., c.1960, 2 copies, wrappers; Dingwall, E.J . The Haunting of Borley Rectory, 1956, wrappers; Whaley, B . Encyclopedic Dictionary of Magic 1584-1988, vol. 1; Sharpe, S.H . Magic Artistry. 1938, cloth; bound with 2 others by Sharpe; Thurston, H . My Life in Magic. 1929, with bookplates of Margaret Yates Magic Library & Weirdo Library; Carter, C.J . Carter’s Magic and Magicians. C. 1900., original wrappers bound in; Bayer, C.P . The Great Wizard of the North. John Henry Anderson. 1990, dw; Davenport & Co . Magical Catalogue, [n.d.]; wrappers; Steinmeyer, J . Device and Illusion, 1991; Rinn, J . Sixty Years of Psychical Research. NY, 1950, Margaret Yates bookplate; Collector’s Bulletin. 1959-64, numbers 1-18 in one volume, cloth; Hanson, H . The Magic Man. 1974; Selbit . The Magical Entertainer. 1906; Rhindress, A . Memoirs of an elusive Moth. 2011; dw; Fleischman and Gunther . Top Secrets. Oakland, 1947; Meyer, D . Inclined towards Magic. 2003, dw; Steinmeyer, J . Charles Fort. 2008, dw; Waters, T.A . The Encyclopaedia of Magic and Magicians. 1988, dw; and a few pamphlets.Footnote: Provenance: From the collection of the Late Trevor Dawson

Magic, Twentieth Century comprising: Hamilton, T . The Hermanns in San Francisco 1870-1927, 1995, wrappers, inscribed copy; Holzinser, J.N . Non Plus Ultra. 1998, 2 vol., slipcase; Caveney, M . Wonders, the Conference Illusions. 2013, slipcase; Christopher, M . Panorama of Magic. 1962, wrappers; Ewing, T.A . Conjurors and Cornfields, 1999, wrappers, inscribed; Olson, R . Carl Rosinik is Life and Magic. 1966, wrappers; Dauscher, W . SS. Adams. High Priest of Pranks, 2002; Davenport Book Catalogue. 1981, rebound, 2 copies; Andrews, V . The Triumphs and Tragedies of Horace Goldwin. 1983, cloth, inscribed; Fuscher, O . Illustrated Magic. 1951; Wels, B.G . The Great Illusion of Magic. 1977, dw; Behnke, L . Will Rock Presents. 2007; Waldman, C . The Art of Magic. 1997, dw; Magic Circle Jubilee Souvenir 1905-1995, cloth; Ryder, W. & G . Gilbert. The Great Book of Magic. 1976, wrappers; Micky Hades Encyclopaedia of Suspensions and Levitations. 1976; Whaley, B . Who’s who in Magic. 1991, cloth; Warlock, P. New Pentagram. Vo. 20, no. 5, cloth; Vaucason, J . An Account of the Mechanism of an Automata. 1979, cloth; Farrer-Brown, T . Charming Pollock, wrappers; Andrews, Val . Fred Culpitt, 2001, wrappers, Margaret Yates Magic Library bookplate; Andrews, Val . Lyle’s Cavalcade of Mysteries. 1983, cloth; Bergern, B . Willard the Wizard. 1978, dw; Rauscher, W.V . Goebel… Man with Magical Mind. 2010, dw; Rauscher, W.V . The Mind Readers. 2002, dw.; Thurston, G . My Magic Husband. 2006, dw; Dawes, E.A . The Magical Writings of. (c. 1996), wrappers; Hugard, J . John Hugard Testimonial. 1945, wrappers; McCullagh. B . Under the S. Cross. 2001, wrappers (quantity)Footnote: Provenance: From the collection of the Late Trevor Dawson

Magic, Twentieth Century, a large collection including 3 signed limited edition copies comprising: Price, D. Magic . Pictorial History. 1985, dw; Houdini, Harry . Miracle Mongers and their Methods. 1929; Houdini, Harry . Houdini’s Paper Magic. 1922, ex Magic Circle Library copy, cloth; Kalush & Sloman . The Secret Life of Houdini. 2006, 2 vol., slipcase, no. 65/1000 copies, signed; Toole-Stott, R . Circus & Applied Arts Bibliography. 1971, 90/1000 copies, signed, vol. 4 & 5; Hillgert . Houdini comes to America. 1996, 1/300 copies, signed; Brandreth, G . The Magic of Houdini. 1978, dw; Cartridge, R . Houdini’s Texas Tours. 2002, dw; Trikosko, M . Trouping with Dante. 2006, dw; The Magic Circular, for 1947-53, 1964-66, 1969, 1976, cloth; Bayer, C. The Great Wizard of the North. 1990, dw; Warlock, P . Pentagram. 1950, vol. 5, cloth; Shevlin, C . Historian’s Guide to Conjuring. 1981; Ayling, Will . The Art of Illusion, [n.d.], dw; Dawes, E . The Great Illusionists. 1979, dw; Burlinghame, H . Magician’s Handbook. 1942, cloth; Meyer, D . Memoirs of a Book Snake. 2002, dw; Gibson, W . Houdini on Magic. 1953, cloth; Beedham, A . Randini. 2009, wrappers; Greshan, W.L . Houdini, 1959, dw; Kellock, H . Houdini. 1928, cloth; Bamberg, D . Illusion Show. 1988, dw; Haining, P. M.R . James. 1979, dw; Rooklyn, M . Spherical Sorcery. 1973, dw, a signed copy; Alfredson, J . Newmann. The Pioneer Mentalist, number 153/250 copies; Ewing, T . Two Hartes that Beat as One. Number 78/250 copies, wrappers; Jay, R . Extraordinary Exhibitions 2005, dw., signed copy; Schwartz, P . Magical Woodcrafts. 2001, wrappers, inscribed copy; Waters, T.A . Mind Myth and Magick. 1993, dw; Wood, R . Victorian Delights. 1967, dw; Magicol. Numbers 6-59, in one blue box, wrappers; The Looking Glass. 4 issues, 1996-98, wrappers; Read, R.W . The Calostro Mind Reading Act. [c.1930], original typescript, rebound; Charvet, D . Jarrow the Humourist Trickster. 2013, inscribed to Trevor Dawson; Magicol, nos. 60-69, 90-99, 100-109, 130-139, 150-159, 160-169, 170-177, in 7 volumes; Kauffman, R . The Collector’s Almanac. 1992; Rapaport, B.K . Houdini, Art and Magic. 2012; Andrews, A . Nyle’s Cavalcade of Mystery. 1983, wrappers; Rauscher, W . The Wand in Story and Symbol. 1978, wrappers; Norrington, G . Who’s Who in Story and Symbol. 1978; Saint-Enre . Magic in the Desert. 1978-2002, dw; Richman, M . The Magic House of Babcock. 2003, dw; Loomis, B . The Quest for the Ultimate Secret. 1993, wrappers; The Magic Circle Centenary Celebrations. 20-23 July 2005, wrappers; Hagy, J . Magic for Free 1887-1945, 1995, wrappers; Brinson, C . The Great Lafayette 1871-1911, wrappers; Riccard, R . A Short Account of Automata Histories. 2004, wrappers; Evans, C . Has this ever happened to you ?, 2009, wrappers; Cannick, M . Clayton Rawson: Magic & Mystery. 1999, wrappers; Gordon, P . Victor Farelli. Magical Memoir. 2006, 8/150 copies, wrappers, signed; Field, R . Linking Britain. 2011, wrappers; Goldston, W . Annual of Magic. 1915-16, photocopy; Clark, H.M . The World’s Greatest Magicians. 1976, dw; Honri, P . Working the Halls. [n.d.]., wrappers; Kellar. Kellar’s Wonder Book. 1999, wrappers; Fulves, K . Epilogue. 1993, boards; Blackstone, G . The Blackstone Legend, wrappers, a signed copy; Taylor, T . Spotlight on 1010 Greatest Magical Acts. 1964, wrappers; Davenport’s Book Catalogue. 1982, wrappers; Fajuri, G . Child Prestidigitators. 2001, wrappers; Furst, Arnold . Great Magic Shows. 1968, copy no. 262, signed copy; all original cloth or boards, unless notedFootnote: Provenance: From the collection of the Late Trevor Dawson

Magic, Twentieth Century, a large collection including 7 signed limited editions comprising: Kauffman & Greenberg . Mahatma, 2 vol., no. 41 of the de luxe edition, limited to 50 copies, 1994, leatherbound, slipcase; Clarke, S.W . The Annals of Conjuring, edited by E.A. Dawes. Miracle Factory, 2001, no. 10 of 75 copies signed, dustwrapper, original box with ties; Levant & Todd Karr . Roy Benson By Starlight. Miracle Factory, 2006, no. 81 of 100 copies, signed, dustwrapper, original box with ties; Fisher, John . Cardini, the Suave Deceiver. The Miracle Factory, 2007, no. 47 of 100 copies, signed, dustwrapper, original box with ties; Fechner, C . The Magic of Robert Houdin. An Artist’s Life. 2002, 2 volumes, dustwrapper, slipcase; Caveney, M . Kellar’s Wonders. 2003, number 11 of 1000 copies, presentation copy, signed, dustwrapper, slipcase; Rausscher, W . The Great Raymond. 1996, dw; Olson, R . Illusion Builder to Fu Manchu (David Bamberg), 1986, dw; Howard, D . London Theatres and Music Halls 1850-1950, 1970; Temple, P . A Magician’s Tour Revisited. 2000, dw; Temple, P . Dante, the Devil Himself, 1997, dw, signed copy; Dawes, E.A . Charles Bertram, the Court Conjuror. 1997, dw; Findlay, J.B . The Travels of Testot. 1965, 93/150 copies, presentation copy, dw.; Kuethe, F. W . Magic Cauldron, numbers 2-64 bound in one volume; Marshall, F . The Magic Bookman. 1974, new cloth; Hagy, J . The One Young. 1986, cloth; Findlay, J.B . Eighth Collectors Annual. 1972, cloth; Singer, I.B . The Magician of Lublin. 1961; Littlejohn, J.H . The Scottish Music Hall, 1990; Read, J . Empires, Hippodromes & Palaces. 1985, dw; O’Connell, S . Mandrake Incomparable. 1998, dw; Magic Sounds. Nos. 1-35, bound in one vol., 1976-81, cloth; Gibson, W.B . Houdini’s Fabulous Magic. 1961, dw; Bell, D . The Man who killed Houdini. 2005, wrappers; Sandford, C . Houdini and Conan Doyle, 2011, dw; Silverman, K . Houdini!, 1996, dw; Kalush, W . The Secret Life of Houdini. 2006, signed copy; Lamont, P . The Rise of the Indian Rope Trick. 2004, dw.; Sawyer, T . Hoffman Collector. 1974-80, in one volume; Minch, S . A Life among Secrets, 1992, dw; Charney, D . Magic, 1975; Nightingale Magic for Magicians. 1964, no. 238, inscribed, slight dampstain; Andrews, V . Dedicated Magic. N.d.; Lamb, G . Victorian Magic. 1986, dw; Branson, LH . A Lifetime of Deception. 1953; Steinmeyer, J . Hiding the Elephant. 2003, dw.; Gibson, W . Houdini’s Fabulous Magic. 1961, dw; Taylor, G . Workshop Plans.; Taylor, G . Wonders Never Cease. 1997, no. 18/25 copies, signed; Taylor, G . Further Workshop Plans.; Taylor, G . John Martin, 2004, no. 38/250 copies, signed; Gamage’s General Catalogue. 95 th edition; Hagy, J . Perennial Mystics. Numbers 1-21 in 5 volumes, 1983-2009; Magicol. 1950-52; Hagy, J. Early English Conjuring Collectors. 1985, cloth; all original cloth unless except where notedFootnote: Provenance: From the collection of the Late Trevor Dawson

Jacobite Interest: Acts of Parliament Relating to the 1715 Uprising An Act to Attaint John Earl of Mar, William Murray Esquire, commonly called Marquess of Tullibradine, James Earl of Linlithgow, and James Drummond Esquire, commonly called Lord Drummond, of High Treason. London: John Baskett, 1715; An Act for Appointing Commissioners to Enquire of the Estates of Certain Traytors, and of Popish Recusants... Edinburgh: James Watson, 1716; An Act for the Attainder of George Earl of Marischall, William Earl of Seaforth... and others of High Treason, unless they shall render themselves to Justice... [n.p., n.d., part of a bound set without title-page, ESTC N53703]; An Act Indeminise such Persons who have Acted in Defence of his Majesties Person...in and about the time of the late Unnatural Rebellion, from Vexatious Suits and Prosecutions...[n.p., n.d., part of a bound set without title-page, ESTC N53699]; An Act for the Attainder of Thomas Forster Junior, Esquire, and William Mackintosh Esquire...of High Treason... [n.p., n.d., part of a bound set without title-page, ESTC N53726]; An Act for Vesting the Forfeited Estates in Great Britain and Ireland in Trustees... London: John Baskett, 1718; and 4 others

Robert Strange - Jacobite Banknotes Proof Printed and Signed by Sir D.Y. Cameron, R.A. From the copper plate, with eight designs, 563 x 420mm., of C.P. (monogram for Charles Prince, or Carolus Princeps), on a cartouche with coronet and Prince of Wales' feathers above, over a trophy of arms and flags, on the entablature below are the values of the designs, - One, Two, Three and Six-Pence; the other four being left blank, "the interior part to be filled up by clerks" (Sir Robert Strange's Memoirs), the whole engraved surface 223 x 224mm., inscribed "Printed by D.Y. Cameron 10.7.1928", margins somewhat brownedFootnote: Note: The original copper plate was found near the West end of Loch Laggan, April 1746, probably thrown aside during the flight after Culloden. The plate is the work of Sir Robert Strange, who hastily prepared plates due to a sudden need by the Prince for currency caused by the loss of the "Hazard" sloop on its way from France with a large sum of money on March 25th 1746. Strange was commissioned for notes of amounts from £200 downwards, but no notes were printed, and nothing of the proposed issue has survived, with the exception of the original copper plate. The reason for this is that the Plate was only delivered to Prince Charles's Treasurer a day or two before the battle of Culloden, and the other copper plate for larger notes was never completed. The original plate was purchased by The West Highland Museum in 1928 for £430 at the Cluny sale, with the assistance of a £100 grant from the National Art Collections Fund. In 1928 the Museum arranged for the distinguished Sir D.Y. Cameron R.A., Scottish artist and etcher, to print a limited edition of 57 impressions of special signed proofs, although this one is not numbered, which were sold for the benefit of the Museum.

Williamson, Peter French and Indian Cruelty Exemplified, in the Life, and various vicissitudes of fortune of Peter Williamson, who was carried off from Aberdeen in his Infancy, and sold for a Slave in Pennsylvania. Edinburgh: printed for and sold by the Booksellers, 1792. 12mo, modern quarter calf, lacking frontispiece some browningFootnote: Note: As a boy, whilst living with an aunt in Aberdeen, Peter Williamson was kidnapped and, after a long voyage, sold as an indentured servant in Philadelphia for a sum of £16. Claiming that he was 8 years old when this happened, this work is Williamson's narrative of his experiences: his master left him the means to settle on a farm in Delaware. In 1754, he was taken prisoner by a group of Cherokee Indians but escaped the following year. He subsequently joined the army before being wounded and was shipped back to Plymouth, in England, where he embarked upon the long walk back to Aberdeen. En route, his stories attracted interest. He published his book, and was charged with libel by the Aberdonian authorities after accusing them of playing a part in the kidnapping of children from the city. Instead, Williamson successfully prosecuted the Burgess of Aberdeen and proceeded to establish a coffee house in Edinburgh's High Street. Williamson is also credited with introducing the postal service to Edinburgh - the "Penny Post" - and produced the first directory of gentry, merchants and tradesmen in the city.

1930's literature 24 volumes, including Freeman, H.W. Down in the Valley. 1930, number 113 of 132 copies signed by the author, original buckram-backed patterned boards; Davies, Rhys Rings on her Fingers. 1930, number 21 of 175 copies signed by the author, original green cloth, t.e.g., slipcase; Sherriff, R.C. and Vernon Bartlett Journey's End. 1930. Number 79 of 600 copies signed by the author, original quarter vellum, gilt, uncut; Young, Francis Brett Jim Redlake. 1930, limited to 275 copies, signed by the artist, unnumbered, original blue vellum, binding soiled; Black Roses. 1929, number 250 of 525 copies signed by F.B. Young, original vellum, uncut; Mr and Mrs Pennington. 1931, signed by the author, dustwrapper; Hodson, James Lansdale Red Night. 1930, presentation copy, dustwrapper; Cozzens, James G. S.S. San Pedro. 1931, first edition, original cloth, dustwrapper; Bone, A.H. Bowsprit Ashore. 1932, woodcuts by Fred Bone, dustwrapper price clipped; Kaye-Smith, Sheila Shepherds in Sackcloth. 1930, number 208 of 250 copies signed by the author, dustwrapper; Waddell, Helen The Abbé Prévost. 1933, original vellum-backed cloth, dustwrapper, small stain at foot of cloth and wrapper; Young, Andrew Winter Harvest. Nonesuch Press, 1933, first edition, presentation copy with A.L.S. loosely inserted, original cloth-backed boards, binding faded, wrapper bit soiled; Spender, Stephen Vienna, 1934, original cloth, dustwrapper; Beith, Janet Sand Castle, 1936, illustrated & inscribed by Keith Henderson, dustwrapper; Walpole, Hugh John Cornelius. 1937, one of 175 large paper copies signed by the author, dustwrapper; Bellamy, H.S. Moons, Myths and Man. 1936, dustwrapper price clipped; Mitchison, Naomi We have been warned. 1935, dustwrapper; [Sutor, Allan] Somnolia. Glasgow: Kinnaird Head Press, [1934], first edition, inscribed by the author; Kipling, R. Thy Servant a Dog. 1930, dustwrapper; Cronin, A.J. Hatter's Castle. 1931, dustwrapper; Belloc, H. The Man who made Gold. 1930, dustwrapper; Blane, Fergus Money-Lender in Gloves. 1939, dustwrapper; Sellar, R.J.B. The Macnabs Rampant. 1937, dustwrapper ; Bottrall, Ronald The Turning Path. 1939, first edition, original cloth-backed boards, boards lightly dampstained (24)

Japanese School (Edo/Meiji period), a figure of the shogunate, seated in official dress within a feigned curtain-framed interior, the background with prunus and blossom, inscribed with verse in black calligraphic script, woodblock print picked out in colour, 41cm x 27cm; Japanese School (Edo period), a natural history book illustration, depicting a bird and crabs, 22.5cm x 15.5cm, [2] Provenance: 1) Ex Richard Lane Collection. Richard Lane (1926-2002), well-noted and regarded scholar of Japanese art and literature of the Edo period (1615-1868), who established a reputation as one of the leading experts on Ukiyo-e (''Images of the Floating World''). Later his strong ties to Hawaii, commencing with his appointment to the Honolulu Academy of Arts as Research Associate for Ukiyo-e in 1959, led to them in 2003, after Lane's death, acquiring a substantial collection of Japanese, Chinese and Korean paintings, prints and rare books from his estate. 2) The Honolulu Museum of Art (formerly the Honolulu Academy of Arts), until their de-acquisition of some portions of the collection in 2018.

Macabre, Memento Mori - Japanese School (Edo/Meiji period) Anatomical study, of a skeleton in various forms of animation, pen and ink on paper, 23.5cm x 30.5cm, [1] Provenance: 1) Ex Richard Lane Collection. Richard Lane (1926-2002), well-noted and regarded scholar of Japanese art and literature of the Edo period (1615-1868), who established a reputation as one of the leading experts on Ukiyo-e (''Images of the Floating World''). Later his strong ties to Hawaii, commencing with his appointment to the Honolulu Academy of Arts as Research Associate for Ukiyo-e in 1959, led to them in 2003, after Lane's death, acquiring a substantial collection of Japanese, Chinese and Korean paintings, prints and rare books from his estate. 2) The Honolulu Museum of Art (formerly the Honolulu Academy of Arts), until their de-acquisition of some portions of the collection in 2018.