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An early 20th century wooden bound steamer trunk, leather corner reinforcements and handles, 92cm wide; another similar (2)

An early to mid 20th century steamer trunk, with various luggage labels including Peninsular & Oriental Steam Navigation Company, Shaw Savill Line, etc, 77cm wide; a mid 20th century Antler suitcase; another (3)

The Martyrdom of St. Sebastian: an important German engraved glass panel attributed to the master 'H I', late 17th centuryThought to be Heinrich Jäger, of octagonal shape with bevelled edges, finely wheel-engraved in intaglio with the Martyrdom of St. Sebastian, the wounded semi-nude saint bound to a gnarled tree, his right arm tied at the wrist with rope to a branch above his head, further rope wrapped around the base of the trunk, his body impaled with three arrows including two to his chest and one to his leg, a bow with a broken string together with two broken arrows at his feet, traces of silvering to the reverse, in a carved and ebonised pine 'ripple' frame, the panel 22.2cm high, 16.4cm wideFootnotes:ProvenanceDesmond Coke Collection, Sotheby's, 22 July 1931, lot 14 (part)Private Swiss Collection, BernPreviously thought to be Venetian, this remarkable panel depicts the Martyrdom of St. Sebastian after an original engraving of circa 1600 by Jan Harmensz. Muller (Dutch, 1571-1628), in turn based on the 1594 altarpiece by Hans van Aachen (German, 1552-1615) in St. Michael's Hofkirche, Munich. In the late 3rd century AD Sebastian had been a member of the Praetorian Guard, the personal security detail for Roman emperors. Christians were militantly persecuted by Rome at this time, and Sebastian was caught actively trying to convert several prominent individuals. As punishment, he was stripped and tied to a tree before being shot with arrows, as depicted on the present panel. He was rescued by St. Irene of Rome after being wrongly presumed dead. Unfortunately for Sebastian, he was clubbed to death by order of the emperor shortly after his recovery.The distinctive style of the figure of Sebastian himself, with his square jawline and heavily marked facial features, together with the rendering of his body with a series of soft curved depressions seamlessly merging into one another without the need for much further detailing in the musculature, are characteristics seen in many pieces attributed to the monogrammist 'H I'. His work is discussed in detail by R J Charleston, 'The Monogrammist 'H I': A Notable German Engraver', Journal of Glass Studies, Vol.4 (1962), pp.67-84, who states that this master ranks amongst the best German glass engravers of the Baroque period, particularly in his rendering of the human figure. Figures by this engraver are typically slightly androgynous in appearance, and almost always shown holding their heads in exact profile and their bodies frontally, as is the case here. This characteristic style deviates slightly from Sebastian's pose in the original source print. Two beakers engraved with semi-nude figures of Vulcan and Venus and of Meleager and Venus respectively in a very similar style to the present lot are illustrated by Rainer Rückert, Die Glassammlung des Bayerischen Nationalmuseums München, Vol.2 (1982), p.161, nos.564 and 565. The identity of the monogrammist 'H I', sometimes interpreted 'I H', has been the subject of considerable debate but is traditionally thought to be Heinrich Jäger, a glass cutter and engraver from Reichenberg in northern Bohemia who was active from at least 1690 or earlier. Little is known about Jäger, but he worked in Berlin throughout the 1690s until about 1706, then subsequently in Central Germany. He finished his career at Arnstadt, Thuringia, from circa 1715-20. His engraving style shows little Bohemian influence but has much in common with Gottfried Spiller's Brandenburg works. In 1696 Spiller's wife was recorded as the godmother to one of Jäger's children in Berlin, and he is known to have supplied glass to Charlottenburg circa 1705-06, so he was clearly moving in high circles. No other panels attributed to this engraver would appear to be recorded, but it is possible that it represents an early work undertaken prior to his more complex vessel forms.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A highly important engraved 'Adam and Eve' marriage goblet, dated 1714The generous round funnel bowl with a solid base, naively decorated in diamond-point with the 'Fall of Man', the semi-nude figures of Adam and Eve wearing leafy sprays around their waists, standing either side of the Tree of Knowledge, its branches laden with fruit and the serpent entwined around its trunk, a rabbit and a fox behind, the initials 'A/ I*E' to the left and the date '(17.14)' below the rim, a bestiary alternating with trees arranged in three tiers to the rest of the bowl, the animals including an elk, a dog, a seated fox, a unicorn, a lioness, a parrot perched on a branch, a large spotted elk, a recumbent lion and a doe, on a six-sided moulded stem containing an elongated tear, over a folded conical foot, 18.7cm highFootnotes:ProvenanceReverend and Mrs M de la Hey, North Cerney, GloucestershireMajor R M O de la Hey Collection, Sotheby's, 13 June 1977, Lot 69Stephen Pohlmann CollectionLiteratureW A Thorpe, A History of English and Irish Glass (1929), pl.CI, no.1F Peter Lole, 'Limpid Reflections', Glass Circle News, no.109 (December 2006), pp.12-13Dwight Lanmon, The Golden Age of English Glass (2011), p.153, figs.87a-dStephen Pohlmann, 'An Eclectic Collector', Glass Matters, no.14 (June 2022), p.21, fig.2The scene on this remarkable goblet depicts the Fall of Man in the biblical book of Genesis, in which Adam is seen accepting from Eve the fruit from the Tree of Knowledge of Good and Evil. The engraving is filled with symbolism. The parrot on a branch represents wisdom and other animals are emblematic of the four humours: cruelty, melancholy, sensuality and lethargy. The present lot is one of just six goblets decorated with similar depictions of Adam and Eve in diamond-point, and also represents the earliest dated glass with a moulded stem. The initials relate to an unknown couple whose surname began with A, with 1714 perhaps referring to the date of their marriage.Two early goblets of very different form to the present lot depict The Fall in diamond-point, both dating to the last quarter of the 17th century. One has a short swirled quatrefoil stem and is illustrated by W A Thorpe, A History of English and Irish Glass (1929), pl.XXXVII, reproduced by Dwight P Lanmon, The Golden Age of English Glass (2011), p.152, fig.85. Another virtually identical depiction features on a gadrooned goblet sold by Bonhams as part of the James Hall Collection on 17 December 2008, lot 22, illustrated by Lanmon (2011), p.152, fig.86. The scenes on both glasses are so similar to one another that they must have been inspired by the same source print, if not produced by the same hand, but are earlier than the present lot and thus of unrelated manufacture.Only two other goblets with moulded stems which depict The Fall would appear to be recorded, both with eight-sided stems. One of these is illustrated and discussed by Lanmon (2011), pp.148-53, no.45 and has a remarkably similar bestiary of animals and trees on the bowl, although the scene of Adam and Eve is a mirror image of that on the present lot. It bears the slightly later date of 1716 and features an octagonal stem moulded with 'GOD SAVE KING GEORGE' around the shoulder. In spite of some stylistic differences in the execution of the main scene and the date, close similarities in the rendering of the animals and trees suggests both this glass and the present lot were probably engraved by the same artist, perhaps using the same source print.The second is a fragmentary Dutch goblet applied with diamonds to the shoulder of the stem, excavated in Utrecht and illustrated by Ina Isings et al., Schitterend! (2009), pp.130-1 and front cover. Only the figure of Adam, the base of the tree trunk and serpent's tail, and the legs and hand of Eve holding the apple remain, but it is clearly a different interpretation of the scene. The reverse is decorated with the Crucifixion of Christ, with the scenes titled 'De Boom de Doods' (The Tree of Death) and 'De Boom des Levens' (The Tree of Life) respectively.The only other goblet recorded with The Fall is a heavy baluster of circa 1720 in the Ashmolean Museum (inv. no.HM477), illustrated by Lanmon (2011), p.153, fig.88. Whilst the engraving is slightly less naïve, Lanmon suggests that this goblet is likely to be by the same hand as the two dated moulded-stem examples, including the present lot, based on compelling stylistic similarities. The Ashmolean goblet is thought to have been acquired in Bristol. Goblets depicting The Fall have traditionally and almost certainly erroneously been attributed to Bristol on account of it being a centre for the production of delftware 'Adam and Eve' chargers in the 17th and 18th centuries, see Lanmon (2011), p.150.The contrapposto stance of Adam and Eve in the scene on this important group of goblets, with Adam's right arm distinctively raised, bears a number of similarities to Albrecht Durer's celebrated 1504 engraving of the couple, which inspired a number of later artists. The source is in fact likely to be De Royaumont's History of the Bible, translated from the original French and first published in London as two volumes in 1688 (History of the New Testament) and 1690 (History of the Old Testament) by Richard Blome. Third and Fourth editions were published in London in 1705 and 1712 which both expanded upon the previous versions. Containing many detailed and beautiful plates by various artists, 'The Fall of Adam' was engraved by the Dutch draughtsman Johannes Kip (1653-1722) after George Freman. Indeed, the two distinctively placed rabbits in the foreground of the engraving are almost exactly reproduced on the Ashmolean goblet, leaving little doubt as to the source.The distinctive way in which the figures on these glasses are executed, with very dense opaque scratching filling the bodies, but details including the facial features and breasts left completely blank to denote shadow, is seen on several 18th century glasses engraved in diamond-point in the Netherlands, including the aforementioned fragmentary example. Another Dutch engraved moulded-stem goblet featuring three Commedia dell'Arte figures engraved in a very similar style, attributed to Thomas van Borckelo, is illustrated by Anna Laméris, 'Lead Glass in Eighteenth-Century Holland', in Frides Laméris, Canes, Serpents and Ships (2018), p.43. A heavy baluster goblet signed by van Borckelo and dated 1748, featuring an orange tree engraved in very similar style to the Tree of Knowledge on the present lot, is in the Victoria and Albert Museum (inv. no.C.163-1956). Whilst these glasses post-date the present lot by some years, the stylistic similarities raise the interesting possibility that a Dutch hand may have been responsible, perhaps working in England.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A George III oak cased swan neck pediment longcase clock with silvered dial, eight day movement, maker John Scott, Edinburgh. Height 205 cm. CONDITION REPORT: We have the two weights and pendulum. We have not had the movement operating but it does appear to be complete. The seat board is original and in our opinion the case and movement are not a marriage. The case is in generally good condition with no significant issues. The hood is in good order. The trunk door is not warped. It closes as it should and we have the key. The plinth base is in generally good condition. The bottom edge moulding looks to be a fairly old but later replacement. We can see no evidence of any woodworm.

An early 19th century Scottish inlaid mahogany cased longcase clock, with two train striking movement and circular dial, the case with long trunk door and fluted column corners. Height including brass finial 218 cm. CONDITION REPORT: The clock case is in generally good original unrestored condition. There are some minor veneer losses in places and some scuffs around the extremities of the base but no major issues with the case. We have the pendulum and weights. The pendulum bob is however detached from the pendulum itself. The movement winds on both trains and seems to operate when weight is applied to both the going and strike trains. The dial is in generally good order with only minor marks and scratches. We can see no evidence of any woodworm. The glass to the hood door is cracked.

A George III mahogany longcase clock by John Smith Chester, with brass dial and two train striking movement, the trunk with fluted quarter column corners. Height 195 cm. CONDITION REPORT: The clock is in fairly good unrestored condition. The hood is in generally good condition, the only exception being losses to the giltwood and gesso at the top and bottoms of the capitals and some evidence of old woodworm in these areas of soft wood. The glass appears to be original. The mask around the dial fits as it should. The brass dial has clearly lost the majority of its silvering. The trunk door is not warped but does have some surface marks and scratches. The quarter columns are in good condition but generally dirty. The sides of the case again are in generally good structural order with no significant splits. The same comments apply to the sides of the base. The base front board has small sections of crossbanding missing around the edges. The original oak rear boards have some evidence of old long gone woodworm. The movement is extremely dirty but when pressure is applied to the going train the movement appears to operate. The same comment applies to the strike train. We have a key but no weights or pendulum. Having removed the hood, the top board which would sit beneath the cornice is missing which probably explains the dust and dirt on the movement. We do not think that the clock is a marriage.

A late 18th century mahogany longcase clock by Barwise of Cockermouth with eight day striking movement, weight and pendulum. 223 cm high including finial (see illustration). CONDITION REPORT: We have both weights and the pendulum. The movement seems fairly clean. The silvered brass dial is also in very good order. We have had the clock ticking for a short period of time. When the hands are advanced the movement does strike. The hood and case are in generally very good order. The trunk door is not warped. We have the lock and key. The plinth base is in good condition all round. We can see no evidence of any woodworm.

A Victorian Elkington plate table centrepiece, modelled as an ostrich under palm trees. Height 41 cm. CONDITION REPORT: This centre piece has one of the two palm trees unattached where there was a fitting which no longer exists to attach the branches of the palm tree to the trunk, so this currently sits separate from the rest of the centre piece and would need repairing. Otherwise, the centre piece is in used and reasonable condition with no other apparent losses.

A George III mahogany brass bound trunk, with open interior and brass lock escutcheon. Height 70 cm, width 84 cm, depth 54 cm.

A Georgian walnut longcase clock, with eight day striking five pillar movement by Cornelius Herbert London Bridge, with long arched trunk door. Height 247 cm. CONDITION REPORT: The cornice has a loss to the front left-hand corner. The rear right-hand return top moulding also has small losses. The remainder of the hood is in generally good order with only minor blemishes and small nibbles to the veneers. The bottom edge moulding to the hood has a loss to the very rear against the wall and there is a stress fracture or two to the left-hand side. The trunk door is not warped, it closes correctly and locks in place. We have the pendulum and both weights. We have not had the movement ticking, however when weight is applied to the going train the movement does seem to operate. The movement is dirty but appears to be all present. The bottom of the case has some water marks. We can see no evidence of any woodworm.

An early 19th century mahogany longcase clock with brass strung case and with eight day striking movement with moonphase by Fenton Mansfield and with painted dial. Height 218 cm. CONDITION REPORT: The movement winds on both apertures. We do not have either weights or pendulum. When pressure is applied to both the going and strike trains, the movement does appear to operate however. The dial is as you see it, generally tired and rubbed. The hood door has a cracked glass and the centre to the swans neck pediment has been broken and reattached. The rest of the hood is in generally good order. The trunk door is slightly warped but closes as it should. The door is currently locked. We do not have a key. The front of the case is in generally good order with minor veneer losses around the base. The sides are in generally good condition. A section of the backboard is missing from the rear side of the left-hand cheek up to the rear of the hood. Clearly this is not visible with the hood in place.

An Indian teak brass bound and studded trunk of rectangular form, the top opening to reveal a sectional interior with well, 50 cm x 30 cm x 24 cm high

A 19th Century elm trunk, the single piece top over single piece sides on a plinth base 87 cm wide x 43 cm deep x 42.5 cm high

A METAL TRAVEL TRUNK

VINTAGE TRAVEL TRUNK

BROWN METAL TRAVEL TRUNK

TRAVEL TRUNK CONTAINING 1 LARGE & 1 SMALL PARACHUTE & CANVAS COVER, POSSIBLY SMALL TENT

VINTAGE TRAVEL TRUNK

RICHARD SYMONDS, LONDON. A QUEEN ANNE FIGURED WALNUT EIGHT-DAY LONGCASE CLOCK with 12" square brass dial fitted with crown and cherub spandrels enclosing a silvered chapter ring with Roman numerals and matted centre, date aperture and seconds dial. Fronting an eight-day five pillar weight-driven movement with countwheel strike on a bell and anchor escapement. The case with applied pillars and long trunk door on a plinth base.215cm highThe movement and dial belong to each other, the movement is complete and has brass weights and a pendulum, it is dirty and would require a service to get function correctly, there are moulding and veneers which have become loose in the hood, these are present. the trunk door is slightly warped and has a missing piece of moulding, the base is original but has a replaced plinth.

A RARE EDWARD VII SILVER PIN CUSHION IN THE FORM OF AN ELEPHANT PULLING A MOTHER OF PEARL CART by Adie and Lovekin, Birmingham, 1910.11.5cm acrossThe shell has a small polished out flaky chip, the trunk has a small dent on the end, there is a small split on the seem on top of the head.

REID. AN EDWARDIAN MAHOGANY THREE TRAIN WEIGHT DRIVEN QUARTER CHIMING LONGCASE CLOCK the 10" arched brass dial with crown and cherub spandrels, silvered chapter ring with Roman numerals and matted dial centre fitted a name plaque and seconds dial. The arch with three tune selections for St. Michael Westminster Whittington fronting a substantial weight driven eight-day three train movement playing the tunes on graduated tubes, with anchor escapement and brass weights. The glazed trunk with applied pillars to the arched hood and plinth base.206cm high

GEORGE CLARKE, LEADEN HALL STREET, LONDON. AN EARLY 18TH CENTURY BURR WALNUT QUARTER CHIMING LONGCASE CLOCK the arched moulded pediment above a pierced sound fret and moulded edge arched glazed door flanked by gilt brass-capped corinthian reeded columns on a slender trunk with moulded edge crossbanded door on a matching base raised and double plinth. The 12" arched brass dial having an engraved wheatear border and gilt spandrels with a silvered Roman chapter ring surrounding a matted centre with subsidiary seconds dial and calendar aperture, Strike/Not strike lever at 3 o'clock, the large three train eight-day weight driven movement chiming the quarters on eight bells and the hour on a larger bell - comes with original brass cased weights and pendulum231.5cm highThe case has been repolished but is complete with no losses. The movement and dial are original to the case. It comes with original brass-cased weights and a pendulum. The movement is complete and does run and chime but may need a service, we do not guarantee mechanical parts or functionality. The width of the bottom plinth is 54cmThe depth of the bottom plinth is 27.5cmThe width of the trunk is 35 cm.

WILLIAM WALL, RICHMOND. A GEORGE III MAHOGANY EIGHT-DAY LONGCASE CLOCK the 12" arched brass dial with engraved silvered spandrels and chapter ring with Roman numerals enclosing a matted centre with shaped name cartouche and seconds dial, having two corner subsidiary dials for date and strike/silent with rolling moon to the arch. Fronting an eight-day five-pillar movement with rack strike on a bell and anchor escapement. The trunk with reeded pillars and long arch-topped flame mahogany trunk door with plinth base.216cm high The base to the case is missing applied mouldings to the front panel, the bottom plinth has been replaced, the hood door is loose, the hood mask has been replaced. The left column is loose, the movement is complete and original to dial but is dirty and will require attention, comes with weights and pendulum.

PATERSON, SUNDERLAND. A MID 18TH CENTURY PINE 30HR LONGCASE CLOCK the 11" brass dial with rococo cast brass spandrels, silvered Roman chapter ring and engraved matted centre, with name cartouche and date aperture fronting a 30 hour weight driven movement with hour strike on a bell and anchor escapement. The pine case with stepped hood and applied pillars, having arched long trunk door and plinth base190cm high

HADWEN, LIVERPOOL. A GEORGE III FIGURED MAHOGANY 8 DAY MOON DIAL LONGCASE CLOCK No. 315 the 13" arched brass dial with cherub's head Rococo spandrels enclosing a signed silvered chapter ring with Roman hours and Arabic minute markings, scrolled leaf engraved matted centre, subsidiary seconds dial and date aperture beneath a revolving painted moon dial fronting a numbered 8-day movement with anchor escapement and bell strike. The flame veneered figured Mahogany case with swan neck pediment above a blind fretwork frieze and reeded side columns, long shaped-top trunk door with side quarter columns and Gothic blind fretwork frieze over, the canted shaped panelled base raised on ogee bracket feet.240.5cm highThe case has been re-polished in the past and is in good undamaged condition. The seatboard is original and sits nicely on the cheeks of the case, the dial is clean and original to movement, the movement is complete and looks to have been serviced in recent years, it does run and strike but we can't guarantee mechanical parts. Extra images have been uploaded.

WILLIAM WINSTANLEY, WIGAN. A GEORGE III FLAME MAHOGANY EIGHT-DAY MOON ROLLER LONGCASE CLOCK the 13" brass arched dial with rococo style cast brass spandrels enclosing a silvered chapter ring with Roman numerals and outer minute markers, the matted and engraved centre fitted with seconds dial and date aperture beneath a rolling moon and signed arch fronting an eight-day weight driven movement with anchor escapement and striking the hours on a bell. The Chippendale style case with blind fretted panel to the base, canted corners and long shaped trunk door, the hood with swan-neck pediment fitted with glass painted panels.240cm high

A FINE REGENCY FIGURED MAHOGANY LONGCASE OBSERVATORY REGULATOR CLOCK the substantial case with a moulded pediment above a glazed door with canted corners on a slender glazed trunk and box base with sunken panel, the back board mounted with a heavy cast iron movement bracket with integral pendulum support as used on only the finest regulators, the 12" silvered dial with regulator format fronting a numbered high quality weight driven eight-day movement probably made by Dent, Morrison or Gillette & Johnson having a high count train with jewelled bearings and pallets, Harrison maintaining power and integral roller taking the brass weight to the side of the case, the glass jar pendulum has mercury compensation and roller suspension. Recently serviced and overhauled195cm high

A reproduction trunk with studded decoration and drawer under, H45cm, W36cm

LARGE LEATHER SAILORS TRUNK

NAUDIN BERNARD: (1876-1946) French painter, designer, caricaturist and engraver. A small group of three original pen and ink illustrations drawn and signed ('Bernard Naudin', and one with his initials) by Naudin, each one page, folio, n.p., n.d. (c.1930). The drawings feature a blacksmith's anvil and sledgehammer, with several other tools strapped to the tree trunk upon which the anvil is placed; a bright sunrise over country fields with several trees in the foreground and edges; and two haystacks in a field with a river running to one side. Each of the illustrations were published in the Pax Mundi book. Some very light, extremely minor age wear, VG, 3 The Pax Mundi book, an anthology of sentiments on peace, was published in Switzerland by the World League for Peace. Between 1925 and 1932 many notable persons from around the world were asked to comment on the prospects of world peace and the volume included contributions from Marie Curie, Guglielmo Marconi, Albert Einstein, Rabindranath Tagore and many others.  

Einstein signs his scientific equations, noting that they are ‘From the graveyard of buried hopes’ EINSTEIN ALBERT: (1879-1955) German-born theoretical physicist, Nobel Prize winner for Physics, 1921. A very fine, rare Autograph Manuscript Signed, Albert Einstein, one page, 8vo, n.p., n.d. The working manuscript, penned in bold, dark fountain pen ink, features over ten lines of scientific equations and calculations in his hand, with just one line of German text. Signed by Einstein with his full signature at the foot of the page, adding a line of text in his hand, in German, immediately beneath, 'Aus dem Friedhofe begrabener Hoffnungen' (Translation: 'From the graveyard of buried hopes'). Together with Elsa Einstein (1876-1936) Cousin and the second wife of Albert Einstein, married from 1919-36. T.L.S., Elsa Einstein, one page, 8vo, Bayard Lane, Princeton, 20th October 1933, to a lady ('Chere madame'), most probably Juliette Adant, wife of Professor Arthur de Groodt, on the printed stationery of the Peacock Inn, in French. Einstein writes 'C'est avec beaucoup de plaisir que je vous retourne les petits feuilles signes. Mon mari vous remercie pour les aimables lignes que vous lui avez ecris' (Translation: 'It is with great pleasure that I return the small, signed sheets to you. My husband thanks you for the kind lines you wrote to him') and adds that they have only been in America for a few days, observing 'Princeton est une  petite Universite d'une grande charme en style anglais, une vraie copie d'Oxford. Nous sommes encore dans un hotel, mais en peu de temps nous demenageons dans une maison, qui est situee excessivement belle au milieu des grands jardins avec une vue splendide. Nous avons loues cette maison pour une demie annee. Nous voulons mener ici une vie surtout calme et tres loin de chaque publicite. Le professeur ne veut rien que faire son travail scientifique' (Translation: 'Princeton is a charming little university in the English style, a true copy of Oxford. We are still in a hotel, but in a short time we will move into a house, which is exceedingly beautifully located in the middle of large gardens and with a splendid view. We have rented this house for half a year. We want to lead a mostly calm life here and very far from publicity. The professor wants nothing but to do his scientific work'), further thanking her correspondent for all of their kindness, and also for offering to keep a trunk and small suitcase in their home until they return next year, 'Je vous remercie de tout mon coeur pour cette faveur. La malle contient des choses, qui sont de grande importance pour moi' (Translation: 'I thank you with all of my heart for this favour. The trunk contains things which are of great importance to me'). Whilst Einstein clearly created many such pages of scientific formulae during his career, they remain highly sought after by collectors, and signed examples are of exceptional rarity. Furthermore, the present example is greatly enhanced by both Einstein's handwritten observation (reflecting on the possibility of what he wished to have achieved with his calculations) and the fine accompanying letter of provenance from Elsa Einstein. Some very light, minor creasing to the page of calculations and a couple of very small, neat tears to the edges, one only very slightly affecting one small part of an equation. VG, 2Juliette De Groodt-Adant (1892-1964) Belgian writer, wife of the Flemish doctor Arthur de Groodt (1883-1952).  In March 1933 Albert and Elsa Einstein returned to Europe from America and learned that Hitler had seized power and that the Gestapo had raided their Berlin apartment, confiscating many possessions. Landing in Antwerp, Belgium, Albert Einstein immediately visited the German consulate and surrendered his passport, formally renouncing his German citizenship. At the invitation of Arthur de Groodt and his wife (who counted Rabindranath Tagore amongst their friends) Albert and Elsa Einstein stayed for a few days at Cantecroy Castle before Juliette De Groodt-Adant suggested that they hire two cottages in De Haan, the Villa Savoyarde for the Einsteins and the Maisonette for themselves. The Einstein's stayed in the West Flanders municipality for six months before departing for London in September 1933.  On 3rd October 1933, Einstein delivered a speech on the importance of academic freedom before a packed audience at the Royal Albert Hall in London. Four days later he returned to America with his wife and took up a position at the Institute for Advanced Study, noted for having become a refuge for scientists fleeing Nazi Germany. Einstein's association with the Institute at Princeton University would last until his death in 1955.  

Wooden and metal bound travelling trunk

Britains model farmers and farmhands, sets of farmyard items, beehive, well, rabbit hut, etc and link hurdles (3 bags and a tin trunk) 

Wedgwood pottery green glazed dolphin shaped jug, 20th century, printed marks to base from a design by Josiah Wedgwood (1730-95), (cracked and repaired to base) 22cm high,  a tree trunk moulded majolica jug and a large pottery tree trunk fairy house moulded jar and cover, inscribed Woods Lodge and Bron & Jack

Late 20th century grandmother clock with broken arch dial and glazed door to trunk, 177cm

A mid-20th century Enfield longcase clock with domed top, 10” dia. silvered dial with Arabic numerals & inscribed “James Walker, London”, three-train chiming movement, in oak case with glazed trunk door, 72¾” high.

Mahogany longcase clock, the hood with moulded cornice, (adapted), fluted columns, trunk with long door, bracket feet, 12" brass dial with cast spandrels, subsidiary seconds dial and date aperture, signed L Bradley, London, eight day movement striking on a bell, 205cm, as found.Condition report:This clock has two weights and a pendulum with it, however they may not be the originals, the longcase clocks in the property were a little unorganised and we have associated these with the clock. Image uploaded to the lot page on our website for you to view.

Oak longcase clock, hood with moulded cornice, trunk with long door, plinth base, (adapted), 12" brass dial with cast spandrels, silvered chapter ring, date aperture, signed Roger Lee, Leicester, thirty hour timepiece movement, 204cm, as found.

Oak longcase clock, the hood with moulded cornice, engaged column, trunk with long arched door, bracket feet, (adapted), 10" brass dial with single hand, cast spandrels, silvered chapter ring, date aperture, signed Chris Holtum. Long Lawford, thirty hour movement striking on a bell, 213cm.

Oak longcase clock, the hood with moulded cornice, turned columns, trunk with long door, bracket feet, 12" brass dial with cast spandrels, silvered chapter ring, subsidiary seconds dial and date aperture, signed John Williamson in Leeds fecit, eight day movement striking on a bell, 193cm.Condition report:Has a pendulum and weights, probably associated. Does not work, case is generally ok.

Oak cased Railway regulator longcase wall clock, the hood with architectural pediment, trunk with long door, 18" painted dial with Roman numerals, London, Brighton & South Coast Railway, number 409, partial movement, the backplate signed Webster, Cornhill, London, 185cm.

A FULL COURT DRESS ENSEMBLE TO R.W. SMITH ESQ. M.P., the named japanned trunk containing a pristine cut steel hilted court sword and scabbard, bicorn hat, velvet tunic and breeches, waistcoat, stockings, shoes, cased shoe buckles, and sword belt.

An 18th Century George III Ponyskin Covered Dome Topped Travelling Trunk with Brass Stud Work and Iron Carrying Handles, 36x28x62cms

A Vintage Wooden Mounted Travelling Trunk Containing Various Pictures, Prints, Drawings etc

A mahogany brass bound shipping trunk.

A 19th century mahogany shipping trunk with brass handles, height 59 cm, width 107 cm, depth 55 cm.

A 19th century Scandinavian oak dome topped shipping trunk with metal fittings and hand painted decoration.

A 19th century pine dome topped shipping trunk fitted with a drawer.

A 19th century Scandinavian painted oak dome topped shipping trunk, with key, height 65 cm, width 129 cm, depth 58cm

Pine trunk, 47cm by 95cm by 50cm.

Eastern carved camphorwood trunk, 61cm by 103cm by 51cm.

Floral painted pine trunk, 57cm by 124cm by 52cm.

Oriental carved camphorwood trunk, 60cm by 103cm by 53cm.

Collection of vintage measuring equipment, trunk, case, etc.

Eastern camphor wood rectangular trunk, the hinged cover above brass lock plate and loop end handles, 31ins wide x 15ins high x 20ins deep

Victor Luggage green canvas and leather trimmed travel trunk with Union Castle label24ins wide x 16ins tall x 8ins thick

Small painted wooden dome top trunk and a green painted box decorated with birds

Victorian walnut fold-over writing slope, (for restoration) small glazed and gilt wood display box and a reproduction Chinese dome topped painted wooden trunk

Doll's trunk containing a large quantity of dolls clothes, together with a box containing a further quantity of dolls clothes