23175 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

A William IV silver seven bar toastrack, with ring handle, on winged paw feet, Settle & Wilkinson, Sheffield, 1830, length 16.7cm, 10oz.

Henry Robinson Wilkinson, (1884-1894), a watercolour, Coniston Lake from Beck Lea, signed and attributed verso, 24 x 30cm, mounted framed and glazed, 42 x 40cm

Two A J Wilkinson Honeyglaze Odilon shaped tureens and covers, and a matching jug, decorated with an orange floral pattern

Painted cast iron clown money box, small Persian brass casket and a Wilkinson Sword safety razor, boxed

Art Deco Wilkinson Ltd coffee set designed by Clarice Cliff

A Victorian silver-mounted oak wine bottle coaster, lobed form with relief embossed beaded edge, pierced floral gallery and lion paw feet, by Henry Wilkinson & Co, hallmarks Sheffield 1853, diameter 16cm, height 8cmNo major damage, silver quite heavily worn mainly on high points and top edge beads where there are a few small holes appearing, gallery has 1 small split and all feet have holes on bases, hallmarks rubbed

Garcilasso de la Vega: The Royal commentaries of Peru. 2 Tle. in 1 Bd. ... rendred into English by Paul Rycaut. London: M. Flesher for Ch. Wilkinson 1688. 31 x 19,8 cm. Mit gest. Portr.-Front. und 9 (von 10) Kupfertafeln. 4 Bll., 412 SS., 1 w. Bl., 1 Bl., SS. (417) - 1019, 4 Bll. (Index). Ldr. mit erneuertem Rücken, mit Rs. und etwas Vergoldung. (Leicht berieben und bestoßen. Vereinzelt etwas feucht- bzw. altersfleckig. SS. 413/14 weiß, kl. Brandloch auf SS. 598-603 teils mit Buchstabenverlust; es fehlt eine Tafel.)European Americana 688/105. Sabin 98760. - Seltene erste englische Ausgabe in der Übersetzung von Paul Rycaut, im selben Jahr bei Flesher mit verschiedenen Druckervarianten auf dem Titelblatt. Behandelt in zwei Teilen die Geschichte des Inkareiches vor und nach der Eroberung durch die Spanier, mit Mythologien, Sagen und Überlieferungen. Die zeitgenössischen Aufzeichnungen über die frühe spanische Periode in Peru beruhen auf wertvollen Augenzeugenberichten und persönlichen Beobachtungen.

JOHANN ZOFFANY (1733-1810) Edward Townsend Singing 'The Beggar' painted in 1796, oil on mahogany panel, 76.2 x 63.5 cm; 30 x 25 inches, in its original eighteenth-century carved frame.Provenance: Johann Zoffany;Zoffany sale, Robins, 9th May 1811, lot.89;Henry Harris;Harris sale, Robins, 12th July 1819, lot.6;Thomas Wilkinson (1762-1837);Jane Anne Brymer (1804-1870), daughter of the above;William Ernest Brymer (1840-1909) of Ilsington House;Wilfred John Brymer (1883-1957); son of the aboveConstance Mary Brymer (1885-1963), sister of the above;John Hanway Parr Brymer (1913-2005); nephew of the above;Maureen Brymer (1924-2021) by inheritanceExhibited: London, Royal Academy, 1796, no.85 (‘Mr Townsend as the beggar in the pantomime of Merry Sherwood’);London, Royal Academy, Exhibition of Works by the Old Masters, 1893, no.44 (‘An Actor’)Literature: Victoria Manners and George Charles Williamson, John Zoffany RA: His Life and Works 1735-1810, London, 1920, p.276; Mary Webster, Johann Zoffany, New Haven and London, 2011, p.585 Martin Postle, Johann Zoffany RA: Society Observed, exh. cat., New Haven (Yale Center for British Art), pp.44-45, reproducedThis little-known theatrical portrait is one of the finest works by Johann Zoffany from the end of his career. Depicting the comic actor Edward Townsend singing ‘The Beggar’, a song by the playwright John O’Keeffe written and set to music by William Reeve for Merry Sherwood, or Harlequin Forester by William Pearce, an entertainment on the theme of Robin Hood. Zoffany captures Townsend with his mouth open wide in the midst of the song. This unusually animated portrait is rendered with Zoffany’s characteristic attention to the minute details of costume and physiognomy. Zoffany was a pioneer of theatrical portraiture, where individual actors are portrayed in the roles for which they were most celebrated, it is a genre which was uniquely developed in Britain in the eighteenth century. Here the comic singer Edward Townsend is shown on stage singing in the midst of William Pearce’s popular pantomime Merry Sherwood. But rather than merely being an illustration of the entertainment, Zoffany paints a portrait of Townsend en role, exploiting a complex layer of relationships between audience and actor, viewer and painting. Zoffany’s theatrical portraits are regarded as some of his most innovative and beguiling works and only a handful remain in private collections, of which this is one of the finest. Preserved in outstanding condition and painted on a mahogany panel, this portrait has not been on the open market since the early nineteenth century and has not been exhibited in public since 1893.By 1796 Johann Zoffany was at the height of his powers as a portrait painter, particularly paintings of complex conversation groups and interiors scenes, rich with domestic and decorative details. Recently returned from a period spent in India, where he had completed a series of remarkable images of European and Indian sitters, including Colonel Maudaunt’s Cock Match now in the Tate, London. Zoffany re-established himself as one of London’s leading portrait painters. Zoffany had found success in London in the 1760s producing a series of remarkable and hugely popular portraits of famous actors. Zoffany worked particularly closely with David Garrick, commemorating his most celebrated theatrical roles in a series of largely comic portraits.The comic singer Edward Townsend sang The Beggar at the first performance of Pearce’s popular pantomime Merry Sherwood at Covent Garden on 21 December 1795. Townsend made the song popular and it became a favourite peace in his repertoire: he sang it at his benefit on 20 May 1796, and was still rendering it at Covent Garden in June 1800. The entertainment, and Townsend’s performance, were an immediate sensation. The success of the pantomime may well have prompted Zoffany to paint Townsend and to submit the painting for the annual exhibition at the Royal Academy in 1796, where the painting is described in the exhibition catalogue as: ‘Mr Townsend in the Beggar, full of expression and character, and a striking resemblance.’ The painting was hugely admired by contemporaries at the annual exhibition. The critic Anthony Pasquin noted: ‘Mr Townsend, the Comedian in the Character of a Beggar. Zoffany. This portrait is eminently characteristic, with a strict adherence to the minutiae of the stage dress. The countenance partakes of all the muscular whim of the original contour and expression of this supplicating visage.’Robin Simon has noted that in his theatrical portraits, such as this, Zoffany’s: ‘nuanced approach enabled him to create a distinctive effect: that of depicting the actors both in and out of character at the same time. This duality lies at the heart of his achievement; but it also reflects the contemporary practice of a number of leading comic actors who, in a tradition that survives in the British pantomime, would interact, sometimes even verbally, with the audience during performance.’[1] There is a sense that in the present portrait Zoffany has caught Townsend totally absorbed in his performance. It is this duality which made Zoffany’s theatrical portraits so publicly successful.The present painting has not been publicly exhibited since 1893, when it was lent to the Royal Academy’s annual exhibition of old master paintings, as a consequence it has remained largely unknown to scholars. Mary Webster, in her authoritative 2011 monograph on Zoffany, assumed the painting was missing. The present portrait remained in Zoffany’s collection and was included in his posthumous auction in 1811. It was acquired in 1820 by Thomas Wilkinson the son of Jacob Wilkinson who was one of Zoffany’s most important supporters. A Director of the East India Company, Wilkinson acquired The Watercress Girl by Zoffany in 1780 and its pendant, The Flower Girl. Zoffany also painted his portrait in 1782 (The Chequers Trust) and Wilkinson, in turn, was one of those who supported Zoffany’s petition to travel to India. The painting passed to Thomas Wilkinson’s daughter Jane Anne, who married the Reverend William Thomas Parr Brymer, the painting has remained by descent in the Brymer family ever since.

A British 1907 pattern Wilkinson bayonet, 22.75in long

Victorian hallmarked silver table snuff box, finely chased in floral swag and scroll engraved decoration and crest within central cartouche, hinged lid opening to parcel gilt interior. Birmingham 1840, makers mark obscure, possibly John Wilkinson. 2.3 ozt, W7.5cm.

Wilkinson Sword fork, shovel and garden sprayer

Henry Moore (1898-1986). Working Model for Figure: Arms Outstretched (1960). Conceived in 1960 and cast by the Fiorini Foundry, London in 1984 in a numbered edition of 9 plus 1 artist's proof Cast numbered 6/9 Casts: Cast 0/9 Henry Moore Foundation Cast 4/9 Montréal Museum of Fine Arts: David R. Morrice bequest 1981 Bronze Provenance: Private Collection, London.  Property of a Distinguished Gentleman of Title. Dimensions:  Height (including base): 62cm. Lot Essay:  The human figure was Henry Moore’s abiding passion and the primary subject of his art. Working Model for Seated Figure: Arms Outstretched, conceived in 1960, belongs to a series of sculptures that Moore created in the 1960s that occupies a key position in his oeuvre. Paul Cézanne, Bather With Outstretched Arms, 1878, Oil on Canvas, Private Collection. The influence of Cézanne on Moore’s work is particularly apparent in the present sculpture. Reflecting on his lifelong passion for Cézanne’s work and its importance to him, Moore wrote with particular reference to Les Grandes baigneuses: “Cézanne’s figures had a monumentality about them that I liked. In his Bathers, the figures were very sculptural in the sense of being big blocks and not a lot of surface detail about them. They are indeed monumental but this doesn’t mean fat. It is difficult to explain this difference but you can recognise a kind of strength. This is a quality which you see only if you are sensitive to it. It’s to do with the full realisation of the three-dimensional form; colour change comes into that too, but not so importantly as human perspective. Bathers is an emotional painting but not in a sentimental way. Cézanne had an enormous influence on everyone in that period, there was a change in attitudes to art. People found him disturbing because they didn’t like their existing ideas being challenged and overturned. Cézanne was probably the key figure in my lifetime†(quoted in Alan Wilkinson, ed., Henry Moore, Writings and Conversations, Lund Humphries, 2002, pp. 150–51). In 1959, a year before the conception of the present work, Moore managed to acquire for himself one of Cézanne’s paintings of bathers, later declaring, "It's the only picture I ever wanted to own. It's...the joy of my life. I saw it [in 1959] in an exhibition and was stunned by it. I didn't sleep for two or three nights trying to decide whether to [buy it]...To me it's marvellous. Monumental." (quoted in Monitor, first broadcast in 1960). The figures in Moore's sculptures rarely engage in gestures of extrovert display. Mothers may embrace or cradle their children, but Moore's single figures, in their typically seated or reclining positions, usually hold their arms close to their sides, or angle them to support their bodies. This lack of gesture does not necessarily imply an emotional aloofness on the part of the sculptor, rather it relates to the significant structural difficulties in carving or casting a fully extended or raised arm as part of a sizeable sculpture--the arms, together with the ankles, are often the most fragile parts of a standing figure. Given the large, block-like mass of most Moore sculptures, which the sculptor related to landscape forms, a raised or extended arm should be a rarity, and so it is in Moore's oeuvre--the present Working Model for Seated Figure: Arms Outstretched is the only major Moore sculpture that exhibits this gesture. Without hands, the emotional context of the woman's gesticulation is ambiguous, and probably intentionally so. She may be engaged in an act of lamentation, or quite the opposite: she may be prepared to warmly greet and even embrace the approaching viewer, eager to engage in a spirited conversation while gesturing with her arms. Moore is known to have admired an Arawak Indian bird man from Jamaica in the collection of the British Museum, a figure with the body of a man and the head and beak of a bird, with outstretched arm that act as wings (fig. 1). "What I liked about this," he wrote, "is the way the sculpture was built up in divisions, lump upon lump, as though it were breathing in matter, up from the toes, along the arms from the fingers, into the great swelling chest" (quoted in D. Finn, Henry Moore at the British Museum, New York, 1981, p. 117). Although Seated Figure: Arms Outstretched does not actually exhibit the same "lump by lump" manner of construction, the alternate swellings and constrictions of form along the course of the figure generate a similarly powerful effect. The truncated legs take on more mass at the hips, then grow narrower at the waist, and finally expand most broadly at the upper body and arms to make them the most salient features of the sculpture. Moore extended the central horizontal axis of the arms across the ledge-like overhang of her breasts, more pronounced in this working model than in the smaller maquette done in 1960, which emphasises the rising gesture that characterises this sculpture, in contrast to the earthbound weightiness one ordinarily associates with Moore's figures. No less striking and unusual than the outstretched arms in this Seated Figure is the large hole in her head. Moore frequently defined the faces of his figures with a pair of small, shallow holes for eyes, or with a single sizeable concavity, as if the face were simply a mouth only. There is an opening under the beak of the Arawak Birdman. To pierce the head of the woman with such a large, gaping hole, making it like the huge eye of a needle, is an extreme but effective measure that opens up the sculpture, while adding a further note of uncertainty concerning the woman's emotional state and the nature of her expression. Moore wrote, "For me the hole is not just a round hole. It is the penetration though the front of the block to the back. This was for me a great revelation, a great mental effort... The hole as form--there is as much shape in a hole as in a lump...There's no doubt a deep psychological explanation of the fascination of the hole" (quoted in A. Wilkinson, ed., Henry Moore: Writings and Conversations, Berkeley 2002, pp. 206 and 207). Literature:  Alan Bowness, ed., Henry Moore, Sculpture and Drawings, 1955-1964, vol. 3, London, 1986, no. 463a, illustration of another cast pp. 98-99 David Mitchinson, ed., Celebrating Henry Moore, Works from the Collection of the Henry Moore Foundation, London, 1998, no. 192, illustration of another cast n.p.

Wilkinson, William An Account of the Principalities of Wallachia and Moldavia London: Longman [&c.], 1820. First edition, 8vo, [xi], 294, contemporary half calf, slightly rubbedNote: Note: The appendix is by Thomas Gordon, the historian of the Greek Revolution, and a close friend of Wilkinson.Provenance: From the library of the late William St Clair, FBA, FRSL.

Badge and Medal Orientated Books including Ribbons And Medals by Dorling ... Badges Of The British Army 1820-1960 by Wilkinson ... British Army Collar Badges 1881, printed by Churchill & Westlake ... Coronation & Royal Commemorative Medals 1887-1977 ... The Punjab Campaign 1848-1849.

Xena Adrienne Wilkinson hand signed 10x8 inch photo. This beautiful 10x8 hand signed photo depicts Adrienne Wilkinson as Eve in the smash hit tv show, Xena: Warrior Princess. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

BRITISH PATTERN 1907 RIFLE BAYONET, maker marked to Wilkinson, 7-18 marks together with proof marks, together with scabbard, good condition for its age, together with a further British Rifle bayonet for the Lee Metford Rifle 1888 pattern MKII, possibly 1893

A LARGE MIXED LOT TO INCLUDE SANDLAND WARE JARS WITH TRANSFER PRINT, WINSTON CHURCHILL JUG, KINGSTON POTTERY QUEEN VICTORIA , WILKINSON SWORD VINTAGE RAZOR, LARGE CHARGER, BRASS PLAQUE, ETC

Militaria: [1798, W.W.1 / W.W.2] a collection of various Spears, Bayonets, and 'Wilkinson' Short Swords, as is, as a collection, w.a.f. (5) Provenance: Private Irish Collection, Co. Wexford .

WWI Wilkinson bayonet with leather scabbard

Henry Wilkinson Curling Limited edition coloured etching, 107/150.

A leather jewel box containing prehistoric shark teeth, Wilkinson Sword pen knife, coinage, etc

An Art Nouveau silver bombe shaped tea caddy, embossed with stylised flowers on whiplash stems, hinged cover, pedestal foot, 10.5cm wide, Henry Wilkinson, Sheffield 1910, 198g

Coins and Tokens - a Macclesfield half penny, 1790; a Stafford Penny 1801; John Wilkinson, Ironmaster half penny 1788; The Anglesey Mines Halfpenny 1788; various copper coinage, cartwheelsProvince Du Bas Canada Half Penny Bank Token 1837; other copper coinage, cartwheels, etc

A World War One British 1907 pattern bayonet, single edged fullered blade, makers marked Wilkinson, dated 1917, chrome plated

TWO VICTORIAN SILVER CHRISTENING MUGS AND AN ELIZABETH II SILVER CHRISTENING MUG, comprising a repousse decorated and wrythen baluster example with S scroll handle, stepped circular foot, maker Edward Edwards II, London 1844, height 8cm, another baluster example with S scroll handle, applied shield shaped cartouche surrounded by foliate scrolls, beaded foot, gilt interior, makers Henry Wilkinson & Co, Sheffield 1868 and a cylindrical mug with repousse clown's face to the base, makers C J Vander Ltd, Sheffield 2005, gross weight 7.69ozt, 239.2 grams (3) (Condition report: London mug has wear to the gilt interior, cartouche is vacant but maybe erased, 1868 mug has applied cartouche, likely to cover name, otherwise ok, modern mug has two dents around the base)

The Dragon Book of Verse compiled by W A C and N H Wilkinson 1952 Sixth Edition Hardback Book with 464 pages published by Oxford University Press some ageing good condition. All lots sold on behalf of the Michael Sobell Cancer Charity. UK shipping from £4.99, 20kg box £14.99, Europe from £6.99, ROW at cost from £9.99.

Extensive collection of postcards depicting Castle Combe, Wiltshire, to include Wilkinson, Salmon, Scott, Frith etc

Pair of Henry Wilkinson Limited Edition Coloured Etchings of Hunting Scenes, each signed in pencil to the margin, no. 36/100 and 43/150, largest image 34cm x 25cm, framed and glazed

Monmouth, Henry Earl of. trans. Biondi, Sir Francis. 'A History of the Civill Warres of England betweene the two houses of Lancaster and Yorke'. 2 vols in one. John Benson, London 1641 (Vol 1) and Richard Whitaker, London 1646. 4to. Full calf re-backed. Ex lib. (260 x 180mm) plus Henshall, Samuel and Wilkinson, John, Domesday or an actual survey of South Britain 1799 bound with Bawden, Rev. William. 'A Translation of the Record called Domesday as far as it relates to Middlesex, Hertford, Buckingham, Oxford and Gloucester'. Longman et al, Doncaster 1812. 4to. Full reversed calf, re-backed with red labels (250 x 206mm) (2)

Hills, John Waller. 'A Summer on the Test'. With twelve dry points (etchings) by Norman Wilkinson, Philip Allan & Co (1924). Ltd Ed. 18/300 signed by the author. Untrimmed paper, green and red cloth, faded, some foxing, b/p. Small Fo. (320 x 250mm)

Clarice Cliff Wilkinson Coronet jug, hand painted in the 'Blue Firs' pattern by former paintress and 'Bizarre' girl Marjory Higginson, signed, 5.75" high  - **  with the book 'The Fantastic Flowers of Clarice Cliff, A Celebration of her Floral Designs, by Leonard Griffin - see page 90 for reference where it shows a photograph of Marjory Higginson painting a plate. Marjory was a paintress between 1929-1956 and was so inspired by the Clarice Cliff revival she started painting again in 1989 

Good 19th century mahogany D end dining table with a Wilkinson type concertina action, upon twist reeded legs, with three extra leaves, 118" wide extended, 43" deep, 28" high

An officers dress sword with steel pierced hilt (GR) also with shagreen handle by henry Wilkinson in Steele scabbard

Selection of C18th/19th conder tokens, medallions and other tokens incl. 1792 Coventry halfpenny, Green River Whiskey Token, 1797 John Wilkinson Iron Master factory token, George III Irish silver bank token, 1795 Bakers halfpenny token etc with some later C20th examples

A lot of England rugby memorabilia including a signed poster by Martin Johnson plus Gilbert rugby ball and print of Johnny Wilkinson

Framed England Rugby World Cup 2003 shirt with signed Jonny Wilkinson “Newcastle Falcons” picture, 72x79cm

Lynne Wilkinson: a modern art print depicting a group of four Hereford cattle

A CHROME SPECULUM, BOXES OF DUREX CORAL SUPERTRANS, TWO BOXED ROLLS RAZORS WITH TWO BOXES OF STROP DRESSING, A WILKINSON RAZOR, A SMALL BRUSH, A NAZAL DOUCHE, A BELCROY TUBE FEEDER, A GRAVITY LIQUID MEASURE AND A MERCURY SWITCH

BRITISH 1907 PATTERN BAYONET BY WILKINSON, DATED 1916, TOGETHER WITH ANOTHER SIMILAR DATED 1917, BOTH WITH SCABBARDS AND A BOX OF BAYONET BOOKS AND PAPERS. (PARCEL)

A SILVER TRIPOD SAUCE BOAT BY HENRY WILKINSON & Co., LONDON 1905, ITS RIM BEADED TOGETHER WITH ANOTHER TRIPOD SAUCE BOAT, BIRMINGHAM 1898, WITH A CUT WORK RIM, 275.5Gms.

A 1940s Clarice Cliff wall pocket modelled as a shell or clam, printed mark, Wilkinson Ltd, length 19cm.

William IV silver swing-handled cake basket with shell and scroll border, on shaped foot, by Henry Wilkinson & Co., Sheffield, 1835, 16oz, 497g,

dating: 1849 provenance: London, Smoothbore, octagonal, browned, 15 mm cal barrels signed 'WILKINSON LONDON', with marks of the London test bench, engraved at the ends, front sight; boxlock type frames finely engraved with floral motifs and provided with secure-lock; micro-rifled wooden butt. Iron mounts decorated en suite, butt-plates with small opening. Belt hook. Partially engraved iron knotted ramrod. In its wooden case with brass mounts and foldaway handle, lined with green cloth, lid with Wilkinson label. Complete with accessories and key. Provided with the owner's note with the price debt of these Wilkinson dated March 1849. length 22 cm.

A collection of x3 English Wilkinson Sword fencing foils. The metal bell guards all with padded cushions in the socket, Wilkinson makers mark to the outer side and flexible taper blades.

Four original WWI First World War era 1907 pattern Lee Enfield sword bayonets. The bayonets having a hooked steel pommels with push / release studs, wooden grips and cross guards with muzzle ring. The ricasso marked with Kings crown, 1907 date and Wilkinson makers. Broad arrow mark to the reverse. Housed in steel and leather wrapped scabbards with frog. Relic condition, heavily greased blades. Measures approx 58cm.

WW2 Battle of Britain multisigned 1994 Guernsey D Day FDC. Autographed by 10 fighter pilots inc. W Clark 219 Sqn, Ken Wilkinson 616 Sqn, Ron Smyth 111 Sqn, R Jones 64 Sqn, W Walker 616 Sqn, K Lawrence 234 Sqn, Bill Green 501 Sqn, P Beake 64 Sqn, John Keatings 219 Sqn, D Denchfield 610 Sqn. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

FOOTBALL, signed selection, mainly magazine & newspaper photos, inc. Everton, Leicester City; Kelly, Young, Simms, Wallington, Davies, Wilkinson, Osman etc., duplication, G to VG, 100+

A British 1856 Pattern Infantry Pioneer Sword by Wilkinson, London, the 57cm saw-back steel blade stamped at the ricasso with maker's name, inspection marks, issue date for July 1900, bend mark and broad arrow, the brass stirrup hilt with ribbed grip and down-scroll quillon, lacks scabbard, 70cmBlack patching and minor pitting to blade, minor bruising to the surface of the hilt, lacks scabbard.

Norman Wilkinson CBE 1878-1971, 'The Stream Pool', c1930, drypoint etching, signed in pencil to lower margin, 24.5 x 31.5cm, glazed frameLocation:

A Clarice Cliff novelty cruet set, modelled as fish, comprising a sugar bowl, a pepperette and a salt shaker, stamped 'Wilkinson Ltd.' to the underneath,7cm high together with a Clarice Cliff novelty vase, modelled as a pair of Moorish Idol fishes, with perforations for single flowers, stamped with 'Bizarre' mark, 19cm high (4)Condition ReportOne of the cruets missing its bottom plug. All with some loss do their decoration. The vase with some bubbling to one of the stripes of the upper fish. The frog vase with jonsognes of restoration. With a faint line running around the circumference of the vase - does not appear to be a restoration, but located underneath the glaze - possibly a mould line from assembly. Additional photos of the bubbling uploaded. 

A collection of Clarice Cliff figural items,comprising; a sailor-shaped sugar shaker, a clown-shaped cuet set, a mug with a handle modelled as an acrobat, an Arab candle holder, and a bookend modelled as a cottage, all decorated in polychrome, the sailor stamped with 'Bizarre' mark, the mug and bookend both stamped with large signature mark, the candle holder impressed 'Clarice Cliff' and the clown shaped cruets stamped 'Wilkinson Ltd.' in underglaze green, the largest 17cm high (6)Condition ReportThe clown cruet set missing one piece. The decoration to all with some rubbing. The sailor shaker with its stopper fallen through to the inside.

An autograph album late 1960s/early 1970s - cricket and football; including Lancashire CCC, Gooch, Fred Hayes; Derbyshire CCC, E Smith, Chris Wilkinson, Mike Page; Leicestershire CCC John Steel; Somerset CCC Brian Longford; Kent CCC Graham Johnson; Warwickshire CCC; Glamorgan CCC Stuart Hannah, John Hopkins; Derby County FC Colin Boulton and others; Notts County FC Brian Shilton, Bob Worthington and others; etc

A Wilkinson Ltd Royal Staffordshire Pottery hexagonal vase, decorated with Art Deco stylized foliage on a grey ground, 25.5 cm high, to/w a Linden Cresswell cylindrical vase with a monochrome abstract design, 15 cm high (2)

An Art Deco Memory Lane Wilkinson vase and a Wedgwood Jasper ware jug.

FIVE PEN KNIVES, the first a 'Leatherman wave' knife encased in a leather pouch, a 'Leatherman Juice XE6' knife encased in a textile pouch, two 'Leatherman Micra' knives, together with a 'Wilkinson Sword' knife, encased in a textile pouch, (condition report: general moderate wear, overall condition good)

A mid-Victorian silver salver, of shaped circular form with shell and scrolling rim and engraved centre, standing on three scroll feet, maker Henry Wilkinson & Co, London 1876, dia.23cm, 12.7oz

An Elizabeth II court sword, the gilded hilt with gold gilt sword knot, the Wilkinson & Sons etched steel blade with E II R cypher in leather scabbard, with metal mounts all in weather bag, overall length 97cm

A 1907 Wilkinson pattern bayonet in leather scabbard and canvas frog together with a US Remington 1917 bayonet in scabbard (metal chape missing) (2)

A FIRST WORLD WAR PAIR AND MEMORIAL PLAQUE TO THE ARMY CYCLIST CORPS. A Great War pair comprising War Medal and Victory Medal named to 20512 E.S. Wilkinson A. Cyc Corps. the plaque to Sam Wilkinson. Mounted in a glazed frame with Army Cyclist Corps cap badge. Sam Wilkinson from Halifax, Yorkshire rose to the rank of Lance Corporal before being killed in action on the 8th September 1917 whilst serving with the 18th Battalion of the Army Cyclists Corp. He is buried at the Vlamertinghe New Military Cemetery West of Ypres. He also served as number 3137 with the West Riding Division Cyclists Corps.Maximum dimensions 44 x 34cm. With a collection of printed research including an image of the recipient's headstone and an obituary "I am sorry to say he was killed on the 8th inst. in the very early morning by a hostile bomb. ... I, along with several of his comrades, buried him in a quiet cemetery well behind the lines. ... I feel his absence sincerely, for we were the only two, about here from the same village.". *CR Not examined out of the frame.

Criminal Interest. A bundle of manuscript indictments for the Midsummer Sessions, Liberty of Peterborough, 1872, with charges including that of a 14-year-old boy who 'did feloniously steal take and carry away certain sweets called Butter Scotch of the value of sixpence', sentencing him to be imprisoned in the House of Correction and kept to hard labour; someone committing murder, 'John Clifton did kill and slay Andrew Macdonald'; someone committing bestiality, 'feloniously wickedly & against the order of nature carnally to know a certain animal (to wit) a mare and then feloniously wickedly and against the order of nature with the said mare did attempt to commit and perpetrate that detestable and abominable crime of buggery (not to be named among Christians)'; a woman committing grievous bodily harm against her husband; several for theft, including a man sentenced to six weeks' Hard Labour in the House of Correction for stealing one pair of boots. Together with several signed oaths of allegiance for Justices of the Peace, on vellum; Instructions for the City Police Force, Peterborough, 1892, printed booklet, 23pp., bound in morocco with silk ties; several certificates for the Court of Sessions; a large folding plan of proposed alterations to the officers quarters at Peterborough Gaol; a Sun Fire Office certificate for Justices of the Peace, Peterborough, 1853; a printed Calendar of Prisoners, Peterborough, 1885; a note from Thomas Southam, surgeon, reporting that there has been no illness and 'the general health of the prisoners has been satisfactory', 1872, and a letter from N Wilkinson, supplying descriptions of three cases of theft for the indictment of three individuals