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LONDON 2012 OLYMPIC GAMES: UNION JACK BICORN HAT FROM NELSON'S COLUMN 2012, DESIGNED BY SYLVIA FLETCHER FOR LOCK AND CO. Modelled with an original London 2012 Paralympic torch, with plexiglass flame, now mounted on a display grey-painted wood bust of Nelson, signed and dated by Boris Johnson '8/1/2013',tThe hat 114 cm wide, overall height 183 cm This hat was displayed on top of Nelson's Column, Trafalgar Square as part of an exhibition held in central London during the London 2012 Olympic games where designers 'hatted' famous monuments across the capital. The bicorn was designed by Sylvia Fletcher and made by Lock & Co, who made Nelson's original bicorn hat. Established in 1676, Lock & Co are the oldest hatters in London.

VIVIENNE WESTWOOD: YELLOW METAL CHOKER, with cut out design spelling 'Tu-whit-tu-who' and decorated with the trademark ringed orb design, stamped to the inside, Vivienne Westwood London, circa 1980s.

FRAMED THEN NOW THE WHO CD

A GROUP OF EIGHT BESWICK BEATRIX POTTER FIGURES all with gold backstamps: 'Ribby', 'Tom Kitten', 'Peter Rabbit', 'Jemima Puddleduck', 'Hunca Munca', 'Mrs Tiggywinkle', 'Mrs Tittlemouse' and 'The Old Woman Who Lived in a Shoe'

A GROUP OF EIGHT BEATRIX POTTER FIGURES, VARIOUS MAKES: Border Fine Arts 'Jemima Puddleduck with Herbs', Royal Albert 'Foxy Whiskered Gentleman' 'Mr Jeremy Fisher Digging' 'Peter Rabbit' and 'The Old Woman Who Lived in a Shoe', and three Beswick 'Hunca Munca' 'Mrs Rabbit' and 'Tabitha Tittlemouse' (all brown backstamps)

The Who Boston Tea Party group signed poster. Signed by Roger Daltrey and Pete Townsend. Frames and glazed, slight crease to lower left. A rare piece of music memorabilia. Overall size 69 x 52cm. Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.

The Dambusters by the artist Robert Taylor Dambuster World War II 27x23 framed print signed by 17 air crew veterans who took part in the Dams Raid signatures include Bill Howarth, Len Sumpter, Frank Appleby, Douglas Webb, Johnnie Johnson, Sir Harold Martin, Basil Feneron, Lance Howard, Tony Burcher, Ray Grayston, Jim Clay, Steve Oancia and Bernhard Holmes. From Jim Shortland 617 Sqn Historians personal collection. Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.

Herbert Lom signed autograph presentation. High quality professionally mounted 17x11 inch overall sized display. 3D double mounted in acid free mountboard. Consists of an 10x8 inch colour portrait photograph and signature piece matted below the photo. Herbert Lom (11 September 1917 - 27 September 2012) was an Austrian-Czech-born British film and television actor who moved to the United Kingdom in 1939. In a career lasting more than 60 years, he appeared in character roles, often portraying criminals or villains early in his career and professional men in later years. He is best known for his roles in The Ladykillers, The Pink Panther film series and the television series The Human Jungle. Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.

Eight Beswick and Royal Albert Beatrix Potter porcelain figures, including Jemima Puddle-duck, Peter Rabbit, and Tom Kitten, all with gold stamps, Timmy Tiptoes (a/f), Amiable Guinea-pig (a/f), Little Pig Robinson, Tom Kitten & Butterfly and The Old Woman who lived in a shoe

Propoganda Posters A British Short 'Sunderland' Flying Boat patrolling the sea lanes, designed by Roland Davies, 38 x 51cm, and another A British 'Blenheim' bomber of the Coastal Command aids a British destroyer in smashing a German submarine 38 x 51cm, If you have not suffered will help those who have Send a donation today to the Lord Mayor's National Air-Raid Distress Fund, Mansion House, London, BCM CR27 76 x 51cm (3)

WWII - Operation Bernhard an excessively rare example of a fake British £20 note. In good condition, recovered from lake Toplitz by a family friend of the vendor in 1972. It was produced by the Germans as part of the notorious ‘Operation Bernhard’ - the attempt by the Nazis to flood the British economy with fake money in order to bring the country to its knees. The money was made under force labour conditions by Jews in Sachsenhausen Concentration Camp. The Nazis had 100 agents who attempted to put the fake money into circulation. The total produced amounted to more than £134million. The operation proved a failure as British intelligence got to hear of the idea as early as 1939 and steps were taken to identify and stop the circulation of the money. Remarkably of the almost 9 million notes actually produced the Bank of England only records one as having been paid out. Ironically for the Germans the possession of this money became a major factor in identifying German agents - leading to many successful arrests. Examples of these banknotes are now considered excessively rare. The operation was halted by the German High Command in early 1945 - with the majority of them believed to have been consigned to the bottom of Lake Toplitz in Austria. Divers rescued some examples from the lake and they continued to turn up in circulation - with the result that the Bank of England withdrew all notes with a value of larger than £5 from circulation and it was not until the 1970s that notes with the denomination of £20 started appearing again

A collection of studio pottery and other ceramics From the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating.

A rare miniature early Leach small dish, of cylindrical form decorated with three blue brushwork fish, diameter 9cm x height 3cm, damage.From the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating. Condition report: Cracking to either side and some chips.

A Bernard Leach porcelain cosmetic box, with celadon glaze, the domed lid with incised flower, impressed St Ives seal and incised BL monogram, glued on label with number 252, diameter 7.2cm, height 4.5cm.From the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating. Condition report: No condition issues noted.

A Brett Guthrie tenmoku glaze tea bowl, personal and pottery marks, height 8.2cmFrom the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating.

A Leach Pottery stoneware tenmoku glazed and carved tea bowl, St Ives mark, height 8.8cm, diameter 7.7cm.From the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating. Condition report: No Condition issues.

Four celadon glazed stoneware bowls, each with simple roulette decoration, unmarked.From the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating.

A Brett Guthrie Leach stoneware shallow bowl, with greenish tenmoku glaze, impressed seals, diameter 6.5cm, height 6cm.From the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating.

Leach Pottery, mostly marked.From the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating.

A Brett Guthrie Leach Pottery tenmoku glazed stoneware tea caddy and cover.From the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating.

A rare and important Bernard Leach stoneware vase engraved with sgraffito kinked lines separated by cut vertical lines with clay and ash glaze, circa 1966, pottery mark only but a very similar vase is illustrated in 'Bernard Leach, A Potter's Work', Jupiter Books reprint 1977 edition, colour plate 5, that example being 14 inches high where as the present is 11 inches high. Bernard Leach's caption reads "Tall Engraved Stoneware Jar. Height 14in. the running glaze on this piece is composed of equal parts of clay and hard-wood ash and was first discovered by the Chinese before the time of Christ. The shape, although unlike any medieval pot I have seen, is none the less is influenced by our noble English tradition. Made at St Ives, 1966"(See illustration) From the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating.

A Bernard Leach tenmoku large stoneware vase, with impressed and personal seals, damage and repair, height 47cm.From the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating.

A small stoneware cut sided teapot.From the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating.

Attributed to David Leach, a tall cut sided stoneware vase with narrow neck, covered with a running speckled greenish glaze breaking to tenmoku on the angles, apparently unmarked but for an old price label of £175, height 36.5cm.From the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating.

A Brett Guthrie Leach Pottery stoneware teapot, with bamboo handle, personal and pottery seal.From the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating. Condition report: Slight roughness of spout.

Studio Pottery including Zennor.From the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating.

A traditional pottery jug, from the earliest days of the Leach Pottery, faint pottery mark, height 16.5cm.From the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating.

Two celadon glazed Leach Pottery seals.From the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating.

Three Leach Pottery seals with Brett Guthrie monogram and a fourth seal, potter unknown.From the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating.

A Bernard Leach celadon glazed porcelain bowl, with incised sea holly decoration, diameter 15.7cm, impressed personal and pottery seals.From the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating. Condition report: 1.5cm hairline and small chip from top border.

Vinyl records:- Five The Who LP records - 'My Generation' LAT 8616, 'Meaty, Beaty, Big & Bouncy' 2406 006, 'The Who By Numbers' 2490 129, 'Quadrophenia' 2625 037 and 'Live At Leeds' 2406 001 with inserts.

A needlework sampler, entitled 'Sacred to the memory of Thomas Barlow aged 66 years who died September 7th 1826' with religious verse, size 77 x 59.5cm.

A Delabole slate fireplace, 1946, by Naum Gabo (1890-1977), height 102cm, width 137.5cm. Mantle shelf, 137.5 x 20.5cm, depth 3.5cm. The following extract is from 'Constructing Modernity, The Art & Career of Naum Gabo' by Christina Lodder & Martin Hammer, reproduced here by kind permission of the authors: Gabo did see one functional design actually executed while he was in Cornwall. In 1946 he produced two identical fireplaces for the house of Mr Ince in Redruth. Gabo had met Ince, the chief obstetrician for Cornwall, through Jane Lowenstein, a friend of Mrs Ince and Miriam Gabo. The commission seems to have come from Mrs Ince who was interested in art. The fireplaces were produced for the family's new home; grey slate for the drawing room and brown for the dining room. Only the former has survived, although not in its original location. Gabo and Ince visited the Polyphant Quarries at Delabole near Tintagel together to choose the stones. The mantelpiece on the extant fireplace consists of one piece of unpolished polyphant stone, three slabs of which also form the hearth, while the bulk of the structure is built up of small pieces of slate, the selection and cutting of which Gabo apparently supervised. His initial design was for a surround completely flush with the wall, but Mrs Ince insisted on having a mantel shelf. The surround curves inwards towards the opening, which is recessed by approximately 4" at the centre, and in this respect the conception is the opposite of a conventional fireplace structure built out into the room. The design is simple and graceful. The small variations in colour and marking on the slates animate the curved surface, while the darker stone of the shelf and hearth highlights the curve and tonal graduations of the surround. Note: Russian-born Gabo was one of the most important and influential figures in Russia's post-revolution avant-garde, the development of modernism in St Ives and arguably, in twentieth century sculpture. This was one of two fireplaces by Gabo commissioned by the Inces. The other, in brown slate has been destroyed. This remaining piece is an intriguing and unique work and it illustrates the way in which the St Ives artists sought to bring their art into everyday life. Gabo emigrated to the United States in 1946 so this would have been amongst the last of his works created in Cornwall. Condition report: Some smoke discolouration above opening, bottom left and bottom right have slight damage/imperfections, Fireplace has been removed as one piece and is crated. Integrity is good. Mantle shelf is separate piece and crated. Also comes with its 3 original hearth slates.

A Chinese Canton ivory concentric ball ornament, 1900-1920, finely carved and undercut with dragons and clouds with the interior spheres delicately pierced and carved with floral and diaper patterns and supported upon a vertical stand, the base of which is carved in relief with a rocky outcrop under a pine tree beneath which is a figure of Lao Tzu holding a staff and scroll accompanied by an Emperor style figure, probably Kao Tsung who canonised Lao Tzu, above the base the stand is mounted with a miniature concentric ball, a rocky outcrop and a cotton reel shaped cylinder, pierced and carved with a delicate net pattern, stand height 45cm, stand width of base 12cm, puzzle ball diameter 11.5cm, total height 55cm. Condition report: One very small piece missing.983g.

A 19th Century Victorian miniature dolls house mahogany bureau having brass batwing key escutcheons fold down front and brass handles. Marked ' J. Bubb. Maker ' to the underside of the bureau. Makers John Bubb who produced large scale dolls house furniture during the 19th Century. Measures 20cm tall x 18cm wide x 8.75cm deep.

A selection of Beswick Beatrix Potter ceramic figurines to include 'Jemima Puddleduck', 'Miss Moppet', 'Tommy Brock', 'Tabitha Twitchit', Mrs Tiggy Winkle', 'The Old Woman Who Lived in a Shoe', 'Pigling Bland', 'Appley Dapply', 'Aunt Pettitoes', 'Goody Tiptoes', 'Mr Benjamin Bunny', 'Foxy Whiskered Gentleman', 'Johnny Town - Mouse with Bag' and 'Cousin Ribby' along with Royal Albert 'Jeremy Fisher', 'Foxy Reading', 'And this pig had none' and a Beatrix Potter Classics A2438 'Tom Kitten'. Tallest 12cm high. 

HIGHLAND PARK 30 YEAR OLD REBUS DISTILLERY ACTIVE one of 30 bottles, signed and 'doodled' by Ian Rankin, in oak presentation case with booklet 70cl/ 45.7% Note: This rare bottle of Highland Park 30 year old is one of only 30 produced by the Orcadian distillery in 2017 to celebrate the 30th anniversary of Ian Rankin's famous detective Inspector Rebus. Lot 89 and 90 come directly from the collection of the Scottish author, who chose the casks for the Highland Park single malts on a visit to their distillery. Rankin, who has signed and 'doodled' the presentation boxes specially, has joined with Lyon & Turnbull in donating the full hammer price for each bottle sold to Streetwork, an Edinburgh charity providing support to the city's homeless.

HIGHLAND PARK 20 YEAR OLD REBUS DISTILLERY ACTIVE one of 150 bottles, signed and 'doodled' by Ian Rankin, in oak presentation case with booklet 70cl/ 44.7% Note: This rare bottle of Highland Park 20 year old is one of only 150 produced by the Orcadian distillery in 2007 to celebrate the 20th anniversary of Ian Rankin's famous detective Inspector Rebus. Lot 89 and 90 come directly from the collection of the Scottish author, who chose the casks for the Highland Park single malts on a visit to their distillery. Rankin, who has signed and 'doodled' the presentation boxes specially, has joined with Lyon & Turnbull in donating the full hammer price for each bottle sold to Streetwork, an Edinburgh charity providing support to the city's homeless.

SPEYSIDE 30 YEAR OLD - JOHN CRABBIE & CO. DISTILLERY ACTIVE bottle number 224 of 330, with presentation case and certificate of authenticity 70cl/ 48.6% Note: The name of John Crabbie has its roots in the earliest incarnations of the Scottish whisky industry. The whisky brand has recently been revived and the true spirit of the company brought to a new generation of connoisseurs. Not in a small part due to this award-winning Speyside 30 year old. John Crabbie was a titan of the whisky industry in the early 19th century who built his substantial business through sourcing and selling exceptional whiskies from some of the best known distilleries across Scotland including Laphroaig, Bunnahabhain, Dalmore, Bowmore, Oban and Macallan. From his bonded warehouses in Leith, Crabbie exported whisky throughout the world, developing a reputation for outstanding quality and consistency. He distilled single malt whisky in Leith and Haddington, and in 1885 he, along with Andrew Usher and William Sanderson, founded the North British Distilling Company to produce grain whisky for his revolutionary new blend. By 1897 their new distillery was producing over 13 million litres of grain whisky each year. Like many family whisky brands the Crabbie name disappeared during a period of market consolidation, living on only in the 'ginger wine' created by his wife. However he really must be remembered as a visionary in the whisky trade. His commitment to fine whisky is honoured in the recent bottlings released in his name. The new team behind the reborn John Crabbie & Co have their roots in many of the big names in the Scottish whisky industry including Managing Director David Brown (formerly Dalmore) and have the support of influential figures such as Bob Dalgarno (the former Master Whisky Maker at Macallan). Following in John Crabbies footsteps they have been sourcing exceptional whisky from around Scotland. This 30-year-old Speyside was the first rare cask release under the Crabbie name and is from an 'unknown' Speyside distillery. Although never revealed by the tight lips at John Crabbie & Co, the distinct quality and character of the whisky clearly points to one distillery. Described by David Brown as a "unicorn whisky" which has not been produced since 1988, the Crabbie 30 has found favour with the judges in international competition scooping double gold at the 2018 San Francisco world spirits challenge and Master at the Hong Kong whisky masters the highest possible award.

Louis le Brocquy HRHA (1916-2012)Battersea BoyOil on canvas, 30.5 x 25.5cm (12 x 10'')Signed and dated (19)'54; inscribed versoLondon, Gimpel Fils, 1955Provenance: With Mark Adams Fine Art; Private Collection, Northern Ireland; de Veres Art Auctions, Sale June 2007, Lot 73; Private Collection Dublin.In her introduction to the 1966 le Brocquy Retrospective exhibition at The Municipal Gallery of Modern Art and The Ulster Museum, Prof. Anne Crookshank noted that the artist ‘is one of the strangely few artists who were born into an environment where a knowledge and love of art and literature were matters of everyday concern. Nevertheless, it was not until he was twenty-two, after he had been in the family’s business for some four years, that he decided he wanted to paint above all else. He set about it in an unconventional way which is, however, the oldest method of learning: from the paintings of the past. ‘He was enthralled by Spanish painting and its influence has remained a feature of his work, where the precision of his tone values and his use of greys and whites, both very prominent factors in Spanish painting, are constantly important. ‘From the beginning le Brocquy had remarkable fluency and the early academic paintings have a beauty and authority which is astonishing in view of his inexperience. Occasionally, much later, he again used old masters as the basis of his composition, but with much freer treatment. For instance, in Children in a Wood (1954) which is based on a Nicolaes Maes, he has raised the original into the complexity of a nearly cubist work, the figures and the background creating a closely related pattern like a carved high-relief.‘About 1950, a noticeable change takes place in the artist’s style. His subject matter is still concerned with human beings, but now more directly with the concept of family. The paintings are much simpler and for the first time he realizes empty spaces and relates forms to them with conviction. His family groups are placed in shallow, unidentifiable settings and represent the essential qualities of humanity rather that of particular human beings.’The present work, ‘Battersea Boy’ painted in 1954, when the artist was living and working in London, is one of a small series of works depicting children from the locality where the artist lived. A similar sized work entitled ‘Battersea Child’, also painted that year, was exhibited in the 1966 Retrospective (Cat. No. 29). Crookshank comments further ‘His pictures of children, which occur frequently during these years, evoke the innocence, wonder and clumsiness of the very young. But all his figures, though usually grouped, produce an impression of isolation. During these years he uses colour very sparingly and the overall effect is one of tonal contrast. In 1955 this ‘grey period comes to an end.’

Frederick E. McWilliam HRUA RA (1909-1992)Peace B - Banner Series (1975)Bronze, 35cm high x 28.5cm wide x 16cm deep (13¾ x 11¼ x 6¼''), raised on a polished limestone baseSigned with initials and numbered 4/5(Plaster maquette, collection of F.E.McWilliam Gallery and Studio, Banbridge.)Exhibitions: Gordon Gallery, Derry, 1987, cat. no. 10; Sotheby’s 1996; Solomon Gallery 1998.Literature: The Sculpture of F.E McWilliam, Denise Ferran & Valerie Holman, Lund Humphries in association with the Henry Moore Foundation, 2012, no. 424, illus, p. 161 and fig. 44, p. 72.It was inevitable that McWilliam followed his series ‘Women of Belfast’ with his series of ‘Banners’ as he responded to events in Northern Ireland, with each series lasting no more than 3 years from the first idea to completion. Out of the carnage of the bombings and murders during the ‘Troubles’, grew the ‘Peace People’ and their ever-increasing number marched through the main towns of Northern Ireland, rallying people to join them in their call for ‘Peace’. This group was comprised mainly of women who did not want any other mother to lose their son or daughter. McWilliam, through his friendship with T.P. Flanagan’s wife, Sheelagh, who like me, had joined the ‘Peace People’, designed a Christmas card in 1974, which featured a lone woman, carrying a banner with the word ‘Peace’ written on it. The ‘Banners’ combined McWilliam’s delight in depicting the female form with his humour in developing the theme beyond the ‘Peace’ theme to those with a play on words ‘No Broken Province’ or ‘Up the Grass Roots’. The sculptor, from his early childhood in Banbridge, had witnessed vicious sectarian riots, which gave him a lifelong detestation of bigotry in any form and he resolved to leave Northern Ireland as soon as he could. By 1977, McWilliam had returned to his much more playful series of ‘Legs’ because he himself was aware that ‘The things you start a theme with are usually the best at the beginning. After a while a sort of repetition seems to set in….’ McWilliam in conversation with Louisa Buck for the Irish Art series, 1983, p.5 Tate Gallery Archive. In these two figures, apparently fighting one another with their Banners, one of which carries the word ‘Peace’. McWilliam uses their clothing, including head coverings to give movement and an angular power to the material, and, as always, carefully maintaining the anonymity of the subjects.Dr Denise FerranNovember 2018

Patrick Scott HRHA (1921-2014)Gold Painting 5.94Gold leaf and tempera on canvas, 130 x 130cm (51¼ x 51¼'')Signed, dated and inscribed versoPatrick Scott was born in Kilbrittain, Co. Cork, in 1921, trained as an architect but did not become a full-time artist until 1960. He worked with architect Michael Scott, on the design of Busáras, the central bus station in Dublin. He was also responsible for the orange livery of Irish intercity trains.Scott was perhaps best known for his gold paintings, abstracts incorporating geometrical forms in gold leaf against a pale tempura background. These works in particular are distinguished by their purity and sense of calm, reflecting his own interest in Zen Buddhism. Paintings by Scott are in several important international collections including the Museum of Modern Art in New York. He won the Guggenheim Award in 1960 and represented Ireland in the Venice Biennale of that year. The Douglas Hyde Gallery held a major retrospective of his work in 1981 and the Hugh Lane Gallery in Dublin held a major survey in 2002. Scott, who was a founding member of Aosdána, was conferred with the title of Saoi in 2007, by President of Ireland, Mary McAleese, the highest honour that can be bestowed upon an Irish artist.Patrick Scott died on 14 February 2014 at the age of 93.

Michael Farrell (1940-2000)The Third Very Real Irish Political Picture - Miss O'Murphy, d'apres BoucherOil on canvas, 104 x 118cm (41 x 46½'')Signed verso, dated 1978 and inscribed 'en Ardêche'A key element in Farrell’s Madonna Irlanda series, ‘The Third very real Irish Political Picture’ was completed in 1978, part of a larger body of works all focused around the reassurance in violence in Northern Ireland in the 1970s. This series has become synonymous with the artist’s oeuvre, in which he produced a number of paintings and lithographs based around a very similar composition. He is not the first artist of his generation to use his work to comment directly on the political and social issues of his country of birth. Farrell was deeply affected by the bombings in both Dublin and Monaghan in May 1974 and this manifested itself in his Pressé Series. The later Madonna Irlanda series, focused on a larger theme of modern Ireland and the country’s long and protracted history of colonisation and sectarian violence. As Farrell remarked on the work, ‘I thought, here we go; this is the right way to do it. You’d have Ireland as a whore, ridden by everybody, mixed up with religion and the whole business, and as Ireland was a woman…that seemed to be a better political way of doing the thing than the other paintings I’d done before….Ireland is a feminine country and constantly referred to as she' (Michael Farrell quoted in David Farrell, Michael Farrell, The Life and Work of an Irish Artist, The Liffey Press, 2006, p.81).He found an allegorical model for the country in François Boucher’s 18th-century erotic painting of Louise O’Murphy (1737 - 1814), the youngest daughter of an Irish soldier turned shoemaker who had settled in Rouen. Following her father’s death, Marie-Louise’s mother moved the family to Paris where she traded old clothes and put her daughters to work as actresses, dancers and models. In 1752, at the young age of 15, Marie - Louise posed nude for Francois Boucher’s provocative portrait of her, now in the Alte Pinakothek, Munich. O’Murphy was for a period of time a mistress of Louis XI. She remained in France until her death in 1814.In Farrell’s reworking of Boucher’s study, she becomes a profane “Madonna Irlanda”, the personification of Ireland, one scandalously at odds with pious stereotypes. While he is clearly equating Ireland with the courtesan, he’s also implying that she is exploited and abused. Her body stretched out on the chaise longue, her exposed pearly white skin and halo above her head. His inclusion of printed lettering for the title, is reminiscent of political posters of the period. It is a work that Farrell has repeatedly included himself, either in profile with lit cigarette hanging from his lip, as in the painting in the Hugh Lane collection, or standing nude on top of an open book, or as in this present example submerged in a tumbler of water. The figure in every expression, is diminutive in comparison to the reclining body of Marie-Louise, and she is entirely oblivious to his presence. Although she is sexually submissive in the pose, it is immediately clear to us that he is not the dominant masculine presence in the work. In the same way that she has been exploited, he has been emasculated, rendered to an ineffectual presence, barely keeping his head above water. Niamh Corcoran, BA 2018

Erskine Nicol RSA ARA (1825 - 1904)'It Won't Slip this Time'Oil on canvas, 100 x 70cmSigned and dated 1874Erskine Nicol was a Scottish painter whose frequent visits to and love for Ireland allowed him to slip into our collective of Irish artists. First visiting the country in 1846, Nicol became enamoured by scenes of Irish rural life and continued to paint such subjects for the length of his career. It is interesting to note the difference with which Nicol addressed his Irish subjects compared to the approach used when painting his fellow Scotsman. In the current lot, we are presented with a Scottish fisherman. Despite his flaming red hair, we are immediately alerted to his nationality by the presence of his Balmoral Bonnet, a hat traditionally worn in the Scottish highlands. This differs from the dress of his Irish models that are usually shown with the customary soft ‘top hat’.Unlike hunting and shooting, fishing was a sport for every class and it is fair to assume that this man is of the same social standing as Nicol’s rural Irish subjects. However, the Victorian age was a time in which science was developed and devoured with an insatiable hunger and several theories were spread regarding the evolution of man and its effects on the present physical make up of different races. In particular, physiognomy became popular, a study in which an emphasis was placed on the formation of the head in order to tell someone’s character or race. Still in the grips of a colonial Britain, such ideologies were placed onto the Irish population and, affected by these concepts, Nicol often transferred various attributes onto his depictions of Ireland and her inhabitants. In particular, Nicol would use the angle and size of his subject’s nose in order to portray their social character. A small, upturned nose was seen as denoting an uneducated demeanour and was often falsely applied to an Irish face. In contrast, we see Nicol’s Scotsman as boasting a strong and straight nose, casting him in a more favourable light.Regardless of who he is painting, it is evident, through his work, that Nicol held a genuine fondness and sympathy for those that he illustrated. In this piece, delicate brushstrokes bring his fisherman’s face to life, enabling us to feel the determination with which he works. Such empathy turns a figure into a story and we cannot help but root for his success. Behind him, the wistful rendering of the receding mountains is obscure enough to allow the viewer to place the scene in any mountain pass, bringing a personal romanticism to the piece. In a similar manner, Nicol’s Irish scenes were painted so as to mimic each and every town, their caricatured tenants, as here, easily taking the form of a brother, sister, neighbour or acquaintance.

ELEMENTS OF A RARE HORSE CAPARISON, FIRST HALF OF THE 18TH CENTURY, PROBABLY ENGLISH of velvet-covered leather (extensive wear, perished), retaining eight gilt-brass plaques decorated in an openwork design with the owner's arms within an oval foliate frame, six with his crest framed en suite, numerous gilt brass rectangular bosses, flowers, small foliate panels and buckles, and the brass elements remaining in generally good condition Provenance Sotheby's, 9th February 1970, lot 110. The arms are those of Sir John Parsons (1613-1717) and his son, Humphrey Parsons (circa 1676-1741). Sir John Parsons was from a prosperous London brewing family. He was proprietor of the Red Lion brewery in East Smithfield and his operations included export and naval contracting. He was knighted by James II and became a prominent figure in Civic London, being alderman (from 1689), lord mayor (1703-4), and a member of parliament for Reigate in 1685 and from 1689 almost continuously to his death in 1717. He was a pronounced Tory with Jacobite leanings. His third and only surviving son Humphrey inherited the brewery and followed his father, becoming alderman (1721), sheriff (1722-3), and twice lord mayor of London (1730, 1740), as well as master of the Grocers' Company (1726-31) and president of the Bethlem and the Bridewell hospitals. He was a member of parliament for Harwich (1722-7) and London (from 1727 until his death in 1741). His great personal popularity in London added significantly to his political importance as its member of parliament. Humphrey was a keen horseman and is described as being passionately addicted to the hunt as well as keeping a 'brilliant stable', which is borne out by the sumptuous nature of the present caparison. Humphrey continued his father's success at the Red Lion Brewery and it became one of the four largest breweries in the capital in the second quarter of the eighteenth century. He handled the principle export trade in beer to France, its success no doubt driven largely by his goods being exempted from import duty. This exemption was a privilege bestowed on him by Louis XV, when he came to the king's notice during a hunt in France. Parsons's spirited English courser outstripped the rest, and, in contravention of the usual etiquette, brought him in at the death. In response to the king's enquiries, Parsons was maliciously described to him as 'un chevalier de Malte.' At an interview which followed, Parsons offered his horse, which had attracted the king's admiration, for his majesty's acceptance. The horse was accepted, and the king, who showed him every mark of favour, presented him with his portrait set in diamonds on 16 Feb. 1731. A broadside of 1741 entitled 'A Hymn to Alderman Parsons, our Lord Mayor,' describes him as a churchman, an incorruptible tory, and continues: in France he is respected / The French King does agree / That he should bring his beer / Over there duty free. Humphrey was a frequent visitor to France before this time and became one of the Pretender's most valued correspondents in London, though it is not clear precisely what services he was able to render beyond acting as a conduit for the introduction of Jacobite tracts. He died on 21 March 1741 during his second term as lord mayor, and was buried at Reigate. His popularity is suggested by a number of engravings published around the time of his death.

Football, mixed selection of items, various ages, including magazines, books, newspapers, fanzines, etc. Several Chelsea related items including a packet of home match tickets (30+, mostly 1990s onwards, a Chelsea flag and club toast puncher, book 'The United Alphabet' (a complete Who's Who of Manchester Utd FC), Bobby Robson autobiography etc. (gen gd) (one large crate).

Collectables, a collection of assorted ephemera to include memorial card 'Peace Perfect Peace now that Old Adolf's Gone - In Repulsive Memory of Adolf Hitler', book 'I Paid Hitler', photograph with facsimile signature of actor Paul Henreid (who played Victor Laszlo in the film Casablanca), assorted vintage birthday and Christmas cards, invitation to the opening of 'London House' by HM Queen Mary 3rd Dec 1937 (mixed quality poor to vg) (50+).

Rugby Union, embroidered cap dated 1926/7 relating to Llandovery College RFC awarded to D E Roberts who later played at Oxford University, London Welsh etc. Roberts was also once capped once in the game v England in 1930. Cap with embroidered dragon motif and gold wire tassel (vg) (1)

Music poster, Concert for Kampuchea, US - 1 sheet Movie Poster 1980 featuring the documentary of the 1979 Charity Gig featuring The Clash, The Who, Ian Dury, Elvis Costello, Paul McCartney, Robert Plant, The Pretenders etc 27" x 41" (folded, gd)

Collectables Military, a quantity of RAF and other related items to include an Air Ministry 8 day clock 1131/42, a framed, signed photograph of Air Marshal Sir Lawrence Darvall who was 2nd pilot in one of the lead aircraft during Operation Overlord, a wartime Combined Operations brevet, RAF Service and Release Book for LAC JA Dodsworth (1713703) Wireless Operator from 25.3.42 to 22.10.46, a student Pilots Licence (1971), British Gliding Association Pilot's Log Book (1969), a PFA International Air Rally programme from 1981 (gd) (8)

Postcards, a selection of modern cards in box, mainly Radio, TV and entertainment inc. Dr Who, Star Trek, Local Radio Broadcasters, Thunderbirds, Last of the Summer Wine, The Avengers, also flowers, historical, greetings inc. some duplication (mainly vg)

Rugby Union Autographs, 7 fold-out cards from the first ever 7's World Cup Tournament held in Scotland 1993, the cards bearing a variety of signatures inc. New Zealand (14), England (14), Scotland (14), Fiji 14, Australia (12), South Africa (10) & Wales (11) sold with Tournament guide. A good selection of signatures inc. some players who later became stars of the Rugby game (vg)

R.M.S. Titanic - a rare memorial paper napkin, Souvenir in Affectionate Remembrance of the Captain, Mates, Crew, & Passengers, Who Lost their Lives by the Foundering of the World's Largest Liner S.S. "Titanic", Whilst on Her Maiden Voyage from Southampton to New York, On the 15th, April 1912, "In the Midst of Life We Are in Death", centred by an image of the ship sailing, the lower margins with the King and Queen's Message and the Last Hymn, printed in mourning black within a frame of purple violets and green leafy stems, Printer: S. Burgess, 8 York Place, Strand, [London] W.C., 35.5cm x 35.5cm, 1912Reputedly and most likely made for a remembrance lunch or dinner.

Local Interest - Cammell of Brookfield Manor, Hathersage, Derbyshire - a collection of 19th century and first half of the 20th century ephemera, including photograph albums, some postcard and manuscripts, including a late Victorian embossed leather photograph album of the house, garden, estate and the family at leisure and country pursuits, many taken by F. Arkwright and some dated 1887, each annotated in ink MS with scene and sitters; a late Victorian/Edwardian buckram album, Sunny Memories, similar to the former but with some additional interiors and Derbyshire topography; a holiday album, Relating how G.H. Cammell Esqr and Family went to Jersey and back in 1902, compiled, inscribed by Iris Cammell (presumed daughter), signed and titled, applied with b/w photographs and heavily annotated and inscribed throughout in ink manuscript, b/w photographs include fellow Derbyshire neighbour the Strutts who holidayed alongside, ships sailed, hotels, local characters and topography; accompanied by an ink manuscript on paper poem regarding the holiday, with references to travelling, scenes and attending Sherlock Holmes the play; a folio of watercolours, by I.G. Cammell (Iris?), including cowboys and fanciful scenes of the American West, Windsor Castle and presumed Derbyshire topography; late Victorian portrait silhouette of a lady; cabinet card and carte de visite portraits; later photograp albums; postcards; (archive)

λWalter Steggles (British 1908-1997) Church Street, Bathford Oil on board Signed lower left, titled verso 26 x 30.5cm (10 x 12 in.) Provenance: The family of the artist Walter Steggles was born in Highbury in London in 1908. His family had no immediate artistic connections and yet Walter and his younger brother Harold both became members of what was later known as the East London Group. Between the wars, this Bow-based group of artists were widely exhibited and appreciated, most notably with the Lefevre Gallery, who ran a series of shows between 1929 and 36. Steggles’s work was shown alongside such eminent British artists as Duncan Grant, Mark Gertler, Vanessa Bell, Ivon Hitchens, Christopher Wood and Stanley Spencer as well as international icons such as Cezanne, Degas, Vuillard and Renoir. Wally, as he was known, continued to paint until his death in 1997, the East London Group and all but forgotten addendum to the inter-war years. However, his catalogue of works reveals an artist and a movement that merits closer attention. Walter’s landscape works from this early period are hauntingly emotive and his cityscapes are imbued with the stylistic simplicity so defining of this period of English art history. λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.

Attributed to Mather Brown (American 1761-1831) Portrait of William Leyborne Oil on canvas 128 x 102cm (50¼ x 40 in.) Provenance: Leyborne-Popham Family, Sale: Sotheby's,The Contents of Littlecote House, 22nd November 1985, lot 871 This portrait once hung in historic Littlecote House, set amidst gardens and water-meadows on the banks of the River Kennet between Hungerford and Ramsbury on the Wiltshire/Berkshire border.Developed and extended over the years, the house has Tudor, Elizabethan and Georgian quarters which extend from the medieval core. Littlecote has hosted many famous visitors including Charles II, James I, James II, William III and Henry VIII, who is said to have courted Jane Seymour there.The story for this picture begins in 1589 when John Popham, later Sir John, Lord Chief Justice to Elizabeth I, acquired Littlecote following the sudden death of its notorious owner “Wild” William Darrell. The estate remained in the Popham family until 1929.Sir John Popham’s line of male descent failed in 1779 with the death of Francis Popham. Francis had married Dorothy Hutton, daughter of the Archbishop of Canterbury. They had no children, and when Francis died, Dorothy inherited. When she died in 1797, she left the Littlecote estates to Francis’s illegitimate son, also called Francis. However, he only outlived Dorothy by six years, and under the terms of her will, the Littlecote estates then reverted to Francis’s nephew, Edward William Leyborne, eldest son of Anne Popham and General William Leyborne Leyborne, who was obliged to add the name Popham to his own in order to inherit.His father, William Leyborne Leyborne, was Governor General of Grenada, Dominica, St Vincent and Tobago and died in the West Indies in 1775. In 1762 he had married Anne Popham, only daughter of Edward Popham of Littlecote, MP. The Leybornes lived at Westwell House, Westwell near Burford, Oxfordshire, and had four children: Edward William Leyborne, later Leyborne Popham; Shippen Leyborne; a daughter Marianne Leyborne, and finally, William Leyborne.William, born 1773, entered the Royal Navy and died in service shortly afterwards in 1790 aged 17. This portrait captures the young man in his naval uniform with a fleet of ships in the distance. It is likely that this was the last visual record of William Leyborne before his premature death. A memorial tablet was placed in the church at Chilton Foliat, in loving memory of the boy lost too soon: “Lamented youth! Tho’ thy too early doom has nipt these op’ning virtues in the bloom, still may we hope hereafter they’ll be blest with joys immortal, with eternal rest”.This portrait is mentioned in Vernon Watney’s guide to Littlecote House published in 1900. He notes that the portrait hung in the drawing room alongside a portrait of his sister Marianne, and was initially believed to be by George Romney. It was sold as part of the house contents in 1985 by Peter de Savary at Sotheby’s. Since 1996, the house has been owned by Warner Leisure and is now a hotel.We are grateful to genealogist Pauline Mobey, who has been immensely kind and informative in helping to compile this catalogue note

Jose Weiss (British 1859-1919) River landscape Oil on canvas Signed lower left 61 x 102cm (24 x 40 in.) Jose Weiss (1859 - 1919) was a French artist who is known for his Sussex landscapes. Originally embarking on a career in the wine trade at the insistence of his father, the sale of a painting during a trip to London helped to convince Weiss that he could make a living as an artist. In 1894, he married Agnes Mary Ratton and in 1897, the couple moved to Houghton where they would stay for the next 23 years. Weiss became a British citizen in 1899. During his career Weiss exhibited at the Royal Academy 33 times and was particularly successful with patrons from the United States. As well as being a fine artist, Weiss’s second passion was in aeronautics. He would use proceeds from art sales to fund experiments with and making model gliders. In 1905 Weiss took his models to Paris to attend the “Premier Concours d’Aviation de l’Aero Club de France” and won a medal for the longest flight. He was also an exhibitor at the British Aero Club’s show at The Agricultural Hall in 1907. A year later he patented his own wing design. Examples of Weiss’s work can be found in Winnipeg, Chicago, St Louis, Buenos Aries, Johannesburg and Dublin.

After Benjamin West (American 1738-1820) The Death of General Wolfe Oil on tin Oval 59.5 x 74.5cm (23¼ x 29¼ in.) Provenance: A Cheyne Walk Property Depicting the Death of British General James Wolfe at the 1759 Battle of Quebec during the French and Indian War, West painted his masterpiece in 1770, completing a second almost identical version in 1771 for King George III.Also known as the Battle of the Plains of Abraham, the Battle of Quebec was one of the pivotal events in the Seven Year’s War, deciding the fate of France’s colonies in North America. This later copy of West’s prolific work differs very little from the original. Wolfe is depicted beneath the British flag in a scene reminiscent of Christ’s descent from the Cross with the soldiers and Indian surrounding the General taking the place of apostles and Holy Family.Dressed in simple red clothes with his musket, cartridge and bayonet laid out in front of him, Wolfe is depicted as a humbleand noble General who went into battle armed as his men were. Beside the original another four copies by the artist are known to have been produced with the primary copy being housed in the National Museum of Canada. Three others can be located in the Royal Ontario Museum, the University of Michigan Museum of Art and Ickworth House Suffolk. Each reproduction has variations in the depiction of Wolfe’s death. The fifth autographed copy for George III from 1771 is still housed in the Royal Collection.Please Note: the estimates are incorrectly printed in the catalogue and should read £2000-3000 

Television History - Dr Who, an early and important BBC - 1, Rehearsal Script, Dr Who, Serial 'R', "The Chase", Ep.5: 'The Death of Dr Who' by Terry Nation, [...], Rehearsals: 24th, 25th, 26th, 27th May 1965 at L.T.E. Assembly Room, Wood Lane, W.12, [...], Transmission: Saturday, 19th June 1965, typed script and dialogue, pp: [i] (torn and loose at top-left margin of front page but present), each page 33cm x 21cm

SCARCE ROYAL WORCESTER ARMISTICE DAY PRESENTATION POWDERED CRIMSON AND GILDED URN AND COVER PRESENTED TO THOMAS SEDGLEY DRAUGHTSMAN WHO SERVED IN THE GREAT WAR 1914-1918-PUCE MARK RN669184-2712 TO BASE