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HENRY WILKINSON & CO. AN EARLY VICTORIAN CAST SILVER MINIATURE CHAMBER STICK DESIGN TAPER HOLDER of Rococo form, scrolls and acanthus leaf handle, Sheffield 1843, 88g

To be sold on behalf of Dove House Hospice, Driffield; a Lockerbie & Wilkinson Ltd, Tipton, Logwil patent brass toilet door lock.

A FOLDER OF LETTERS, NOTES AND DOCUMENTS RELATING TO THE FIRM OF A. J. WILKINSON IN THE POTTERIES, STAFFORDSHIRE, includes correspondence to and from Colley Shorter (husband of Clarice Cliff) including letters from Nancy Catford, an account of an Easter trip with Colley Shorter 1936 by Lois Keene, a draft history of the firm, reminiscences of Potteries, their owners and artists attributed to Uncle Arthur Shorter, Australia, correspondence from Dame Laura Knight dated 1934, correspondence to do with the settling of bills in 1959 of Mrs P. J. Elliott of The Lodge, Trentham and an agreement with Newport Pottery Co. Ltd. signed by both Colley Shorter and Clarice Cliff dated 1927This is a list of items in the folder that is lot 187:Newport Pottery Co. Ltd headed notepaper with hand written agreement signed by Colley Shorter and Clarice CliffAgreement between A J Wilkinson and Dame Laura Knight which is a typed copy together with a handwritten letter signed Laura Knight and a list of pottery designs for which she was to receive royaltiesTwo handwritten letters dated 20 March 1953 and 22 Dec 1953 to “My dear Colley” signed “Ernest”Three typed drafts of a letter dated 24-9-50 from 79 Brook Green, Hammersmith – “Dear Mr Shorter” from Nancy Catford, one hand signedA hand written letter “Dear Mr Shorter” from Nancy CatfordA further typed letter dated 19th September 1950 to Nancy Catford with thre copies of a description of carvingsFive typed copies of “A Brief Account of an Easter Trip with Colley Shorter 1936 by Louis KeeneA typed “Copy of Christmas message received from Colonel Louis Keene of Messrs Eaton & Co Ltd, Toronto, Ontario, Canada dated 15th December 1952”A typed draft “History of the Firm” (A. J. Wilkinson)A typed copy of “Reminisences of Potteries, their owners and artists” (handwritten on top “Uncle Arthur Shorter, Australia”)A typed copy “The Battle of Lump, Fought By The Tribe of Potters BC 7391Letters both to and about Mrs P. J. Elliott of The Lodge, Newpark, Trentham dated 1959 concerning paying or not paying her expensesA conveyancing bill from Harol Grindey solicitors dated 7th November 1952 for sale of land and property, Northwood Lane, Clayton and “Chetwynd”A typed letter from F. A. L. Kite of Timothy Whites & Taylors Ltd. to Mr C Shorter along with an extract from Readers Digest concerning a member of the Norwgian Resistance they had been discussingA letter headed Manor of Newcastle-under-Lyme dated 7th February 1939 to A. C. A. Shorter c/o A. J. Wilkinson signed Henry Freeman regarding Extinguishment of Manorial Incidents re house and land in Northwood LaneA letter headed Ellis & Ellis Solicitors of Burslem to A. C. Shorter dated 26th July 1931 regarding a property valuationA typed copy of an itinerary of a trip to Italy, undatedA Royal Insurance Company proposal for Annuity signed Colley A. Shorter and Margaret ElliottA handwritten letter dated March 5th 1942 “Dear Colley” signed Arthur ShorterSeven sheets of headed notepaper “Canadian Pacific Steamship Lines” with a handwritten letter to “Nick” and another to Colley with instructions to read out loud the one to Nick, all about a misplaced trunk. It is signed “Cronyn”Two invitation cards from Messrs A. J. Wilkinson Ltd. to the Annual Exhibition of Pottery and Display Craft in the Throne Room of the Holborn Restaurant, Newton Street Entrance, London from August 29th to September 9th inclusive including Clarice Cliff’s “Bizarre” Ware for Christmas 1932.  For the Trade Only.Headed paper “The Gramophone” letter dated 10/9/32 hand written to Mr Shorter signed Christopher Stone referring to how impressed he was with Miss Cliff’s designs at a recent show.

A George V 1821 pattern Royal Artillery officer's sword, the Henry Wilkinson spear-pointed blade with engraved "Royal Artillery" and "Ubique" cannon design joining a three bar steel hilt, textured grip, battledress leather scabbard

A British 1907 bayonet by Wilkinson with wartime date stamp (unclear), with Mk. II scabbard

A late Victorian officer's sword, the pierced steel guard with shagreen grip, engraved slightly curved blade by Wilkinson (faded), no scabbard

A MID 20TH CENTURY EGYPTIAN ARMY OFFICER'S SWORD the wire wound sharkskin hilt with guard bearing the Egyptian military crest, three stars and a crescent moon, the 83cm long blade with damascened decoration and the maker's name Henry Wilkinson, Pall Mall, London in leather bound steel scabbard with frog, overall length 99cm Condition Report: Available upon request

A George V dress sword, with a Proved engraved blade, leather scabbard, the pierced hilt with Royal Cipher and shagreen covered wire wound grip together with another Dress sword CONDITION REPORT: The sword with the engraved blade is 82cm long, the scabbard is 84cm long, marked Made in England to the top, the pommel is firm, some rusting to the guard and grip, grip wires appear intact, some rusting to the blade, Other sword stamped Wilkinson, blade 83cm long, scabbard 83.5cm long, the pommel is firm, the guard is rusting, some pitting and rusting to the blade,

William IV circular butter dish lid with recumbent cow finial, 12cm diam, Sheffield circa 1835 by Henry Wilkinson & Co, 91gms

Pair of late Victorian baluster peppers with fluted bases and scrolled handles, urn finials, (both with minor defects), London 1893 by Henry Wilkinson & Co, 120gms total (2)

Mixed Lot: pair of Victorian foliate engraved circular salts with beaded rims, gilt interiors supported on three curved and hoofed feet, gilt interiors, London, 1874 by Thomas White, together with a George V small circular mustard with pierced body bands and spreading circular foot plus liner and spoon, Birmingham 1934 by W Wilkinson Ltd, total net weight 122gms (4)

An 1822 pattern Infantry Officers sword, the single edged blade with flat edge, etched with scrolls, having VR cypher and inscribed initials HRMP?, makers mark, Henry Wilkinson - Pall Mall London, having shagreen wire bound hilt, blade 34½in.

Twelve glass advertising bottles 'Gateshead' to include; 3 Dowson Brothers, 2 J. Kershaw, J. Wilkinson, 2 Joseph Wilkinson, Gilpins, Davison and Wood, J. Kershaw and Sons, I. Tucker and Co.

Nine glass advertising bottles, 4 Bewick Bros. of Blaydon, 5 from North Shields to include M. Knott, Holliday and Co. W. A. Wilkinson, Andrew Woll and Robert Russell

Seven stoneware advertising bottles; Longbothams, Malton, Rutherford and Co. Crook, W. and H. Roome, Darlington, Joseph Wilkinson, Gateshead, J. W. Cameron Ltd, West Hartlepool, A. Deucharm South Shields, W. H. Wood, Durham and Sunderland (7)

Twelve glass advertising bottles 'Gateshead' to include; Joseph Wilkinson, 3 J. Wilkinson, Wood and Watsons, Kershaw's Limited, 4 J. Kershaw and Sons, 2 Davidson Brothers

J. G. WILKINSON, "Manners and Customs of the Ancient Egyptians", 1837 in 3 volumes, together with matching Second series in 2 volumes, 1841 in attractive gilt tooled full leather binding, content firm but foxing and minor defects

A Novocentenary Her Majesty's Tower of London limited edition Wilkinson dress sword, from a Pobjay Mint Edition of 500, with etched blade with 22ct gold plated hilt and sterling silver medallion, blade length 81cm, with certificate

CROMWELL; Etc.: 1- An Act for the better suppressing of theft upon the borders of England and Scotland, and for discovery of high-waymen and other felons. printed by Hen. Hills and John Field, 1657. PP:Title-page, 9, (1)blank. in black letter throughout. Disbound; 2- [Cromwell, O]: His Highness Speech To The Parliament In The Painted Chamber At Their Dissolution Upon Monday the 22nd of January 1654. Henry Hills Printer to his highness the Lord Procter, 1654. PP: Title-page, 36. Spine reinforced with white tape covering a few letters on the last page. Disbound;; 3- an act for the better and more effectual discovery and prosecution of thieves and highwaymen, John Field, 1651. 3pp; no title page, pages numbered 1571-1573. Disbound; 4- The information of Capt. Hen. Wilkinson, of what hath passed betwixt him and some other person… PP: viii, 11,(i)blank. Disbound; lacking bottom corner of title page (missing publication date). (4)

Two 20th century Japanese reproduction katanas, one with a watermarked blade, and a Celtic style reproduction sword by Wilkinson SwordCondition report: tangs unsigned, one marked 62

Eighteen various books on collecting military items, of which eleven are on collecting military medals, decorations & badges, and seven on weapons, equipment and bayonets, including British Military Bayonets and British Military Swords, by Wilkinson Latham, both 1972Condition report: Not collated but appear to be good condition generally

A Victorian silver naturalistic chamber stick by Henry Wilkinson & Co. Convolvulus in form and with separate snuffer. Assayed Sheffield 1841, 130 grams, 8.75cm high. Some slight bends and some slight pierce holes.

1907 Wilkinson Bayonet with military markings

MK5 2nd Model Jungle Carbine bayonet by Wilkinson marked WSC

A Victorian silver basket of decorative form with loop handle with marks for Sheffield 1839 and Henry Wilkinson & Co. Online viewing and bidding only. No in person collections, an additional charge of £30 (inc. VAT) applies to this lot to cover postage to registered address.

A William IV silver toast rack, Sheffield 1834, maker Henry Wilkinson & Co. 287.5gms.There is some bend to the base platform otherwise in good condition. 

Silver mounted claret jug, lion handle, clear shield cartouche, Bacchus pourer and grape and vine decoration, Henry Wilkinson and co Ltd London 1898. Approx 28cm h.This is in very good condition. No dents or deep scratches. Glass in good order. Clear cartouche. No inscriptions.Residue to inside base.

A Victorian wash jug and bowl with forget me nots and roses, Royal Staffordshire pottery, Wilkinson Ltd.

Three swords, comprising; a Victorian British Royal Naval officers sword, having an etched Henry Wilkinson blade, naval fouled anchor and family crest and motto 'sic donec', with a leather and gilt metal mounted Wilkinson scabbard, length 92cm, another similar (lacking scabbard) also an Edward VII court dress sword, with etched Hawkes & Co blade and leather scabbard (end lacking), length 95cm. (3). Footnote:, The family crest (with its motto) on the first of the naval officer's swords catalogued is that of Egerton. Given the date range of the three swords they will almost certainly have belonged to George Le Clerc Egerton R.N. (1852-1940, served R.N. 1866-1916). He ultimately became Admiral Sir George Le Clerc Egerton, K.C.B., serving as Aide-de-Camp to Edward VII (this ties in with the EVII court dress sword in the group) and as Second Sea Lord. Naturally his R.N. service also involved a number of other interesting appointments and prestigious commands.Of greater historical significance though was his membership (when a lowly Sub-Lieutenant) of the Arctic Expedition of 1875-6. This was an extremely arduous naval geographic expedition and Egerton was in charge of one of the overland sleds from H.M.S. Alert in the bid to reach North Pole. In this they failed, but not for any lack of effort or courage; they instead set the record for the farthest longitude north travelled. The details of the expedition and fascinating extracts from Egerton's expedition diaries are given in Parliamentary Papers, published in 1877. Condition Report There is no serial number.

HENRY WILKINSON, PUTTING, AND DRIVING coloured etchings, a pair, both signed in pencil each 28cm x 36cm Mounted and framed

WW2 RAF Survival Knife with heavy 182mm long blade marked Wilkinson Sword, Reg Design App For and 1B/4594 with WD Broad Arrow. Wooden grips. Overall length 320mm. Complete with brown leather scabbard, no makers marks. Missing retaining loop.CONDITION:Cut to leather of scabbard, see photos. Missing retaining loop.

Victorian Scottish Highland Light Infantry Warrant Officers Sword with 820mm long double edged, double fullered blade with etched decoration t both sides. Some rust pitting to blade. Maker marked Henry Wilkinson, Pall Mall. Serial number to spine of blade 25138. Wire bound shagreen grip. Straight crossguard. Brass pommel. Overall length 970mm. No scabbard.

Robert Taylor Height and Sun The Tribute Edition signed by 25 Battle of Britain veterans, number 79 175 with original Certificate of Authenticity. This print has been stored flat, out of the light and is in very good condition and also supplied with an original colour Height and Sun advertising pamphlet giving details about the print. Each limited edition print has been hand signed by the artist Robert Taylor and the following THREE Battle of Britain pilots: Group Captain BILLY DRAKE Hurricanes 213 Squadron, Flight Lieutenant RICHARD JONES Spitfires 64 Squadron, Squadron Leader GEOFFREY WELLUM Spitfires 92 Squadron. In addition to the three signatures of the Limited Edition, each copy of the Tribute Edition has been personally signed by twenty two Battle of Britain pilots and Aircrew, making for a total of TWENTY FIVE original signatures. Flight Lieutenant ALEXANDER APPLEFORD Spitfires 66 Squadron, Squadron Leader TONY IVESON Spitfires 616 Squadron, Flight Lieutenant BENJAMIN BENT Blenheims 25 Squadron, Squadron Leader MAURICE BROWN Spitfires 611 Squadron, Flight Lieutenant OWEN BURNS Blenheims 235 Squadron, Flight Lieutenant JOSEPH CHAMBERLAIN Blenheims 235 Squadron, Squadron Leader KENNETH LUSTY Blenheims 25 Squadron, Group Captain BYRON DUCKENFIELD Hurricanes 501 Squadron, Wing Commander JOHN ELKINGTON Hurricanes 1 Squadron, Squadron Leader ROBERT FOSTER Hurricanes 605 Squadron, Flight Lieutenant TREVOR GRAY Spitfires 64 Squadron, Flight Lieutenant ALBERT GREGORY Blenheims 219 Squadron, Master Pilot LEOPOLD HEIMES Blenheims 235 Squadron, Wing Commander TERENCE KANE Spitfires 234 Squadron, Squadron Leader ROBERT KINGS Hurricanes 238 Squadron, Flight Lieutenant KEITH LAWRENCE Spitfires 234 Squadron, Flight Lieutenant ROBIN LUCAS Defiants 141 Squadron, Squadron Leader JOCELYN MILLARD Hurricanes 1 Squadron, Wing Commander TOM NEIL Hurricanes 249 Squadron, Group Captain HERBERT PINFOLD Hurricanes 56 Squadron, Flying Officer KENNETH WILKINSON Spitfires 616 Squadron, Wing Commander GEORGE SWANWICK Spitfires 54 Squadron. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Aileen Murphy Gemüse, 2020 Collage, Vinyl Paint, Gesso, Acrylic and Ballpoint Pen Signed verso 15 x 10cm (5¾ x 3¾ in.) Aileen Murphy (b.1984, Sligo) is an Irish painter based in Berlin. Recent solo exhibitions include PANTING, Temple Bar Gallery and Studios, Dublin (2019), Bounty (with Diana Copperwhite), Kevin Kavanagh, Dublin (2018), Naked Cheerleaders in my Chest, Deborah Schamoni, Munich (2017). Recent group exhibitions include THE SAME AS EVER BUT MORE SO, curated by Miriam Bettin, Braunsfelder, Cologne (2018), And Creatures Dream... A new Language, The Wexford Arts Centre (2017), Opals, curated by Vincent Honoré, Galleri Opdahl, Stavanger (2016).   She is a co founding member of the Dublin based art collective Soft Blonde Moustache. Upcoming show's include a solo exhibition at Amanda Wilkinson Gallery, London Murphy studied at NCAD, Dublin, and Staedelschule Art Academy, Frankfurt am main.  

Aileen Murphy Spiegeleier, 2020 Collage, Vinyl Paint, Gesso, Ink, Pencil and Pen Signed verso 15 x 10cm (5¾ x 3¾ in.) Aileen Murphy (b.1984, Sligo) is an Irish painter based in Berlin. Recent solo exhibitions include PANTING, Temple Bar Gallery and Studios, Dublin (2019), Bounty (with Diana Copperwhite), Kevin Kavanagh, Dublin (2018), Naked Cheerleaders in my Chest, Deborah Schamoni, Munich (2017). Recent group exhibitions include THE SAME AS EVER BUT MORE SO, curated by Miriam Bettin, Braunsfelder, Cologne (2018), And Creatures Dream... A new Language, The Wexford Arts Centre (2017), Opals, curated by Vincent Honoré, Galleri Opdahl, Stavanger (2016).   She is a co founding member of the Dublin based art collective Soft Blonde Moustache. Upcoming show's include a solo exhibition at Amanda Wilkinson Gallery, London Murphy studied at NCAD, Dublin, and Staedelschule Art Academy, Frankfurt am main.

Aileen Murphy Tanz, 2020 Collage, Ink, Vinyl Paint and Pen Signed verso 15 x 10cm (5¾ x 3¾ in.) Aileen Murphy (b.1984, Sligo) is an Irish painter based in Berlin. Recent solo exhibitions include PANTING, Temple Bar Gallery and Studios, Dublin (2019), Bounty (with Diana Copperwhite), Kevin Kavanagh, Dublin (2018), Naked Cheerleaders in my Chest, Deborah Schamoni, Munich (2017). Recent group exhibitions include THE SAME AS EVER BUT MORE SO, curated by Miriam Bettin, Braunsfelder, Cologne (2018), And Creatures Dream... A new Language, The Wexford Arts Centre (2017), Opals, curated by Vincent Honoré, Galleri Opdahl, Stavanger (2016).   She is a co founding member of the Dublin based art collective Soft Blonde Moustache. Upcoming show's include a solo exhibition at Amanda Wilkinson Gallery, London Murphy studied at NCAD, Dublin, and Staedelschule Art Academy, Frankfurt am main.

Aileen Murphy Mund, 2020 Collage, Vinyl Paint, Acrylic Paint, Gesso, Ink, Pencil, Pen and Acrylic Ink Signed verso 15 x 10cm (5¾ x 3¾ in.) Aileen Murphy (b.1984, Sligo) is an Irish painter based in Berlin. Recent solo exhibitions include PANTING, Temple Bar Gallery and Studios, Dublin (2019), Bounty (with Diana Copperwhite), Kevin Kavanagh, Dublin (2018), Naked Cheerleaders in my Chest, Deborah Schamoni, Munich (2017). Recent group exhibitions include THE SAME AS EVER BUT MORE SO, curated by Miriam Bettin, Braunsfelder, Cologne (2018), And Creatures Dream... A new Language, The Wexford Arts Centre (2017), Opals, curated by Vincent Honoré, Galleri Opdahl, Stavanger (2016).   She is a co founding member of the Dublin based art collective Soft Blonde Moustache. Upcoming show's include a solo exhibition at Amanda Wilkinson Gallery, London Murphy studied at NCAD, Dublin, and Staedelschule Art Academy, Frankfurt am main.

Vue d'optiques.- Wilkinson (Robert, map and printseller, fl. 1758-1825) and others. Album of 91 original hand-coloured views of European cities and gardens, including over 25 views of London, including Vauxhall Gardens, Richmond, Twickenham, and Chiswick; two views of Windsor Castle; one of Oxford; eight views of the Earl of Temple Gardens, Buckinghamshire; one view of Stonehenge; two views of the harbour of Dublin; eight Scottish views by John Slezer; and views of Venice, Florence, Athens, Naples, Paris, including the gardens Versailles and Fontainebleau, one of Honduras, and many others, etchings and engravings, all with contemporary hand-colouring in watercolour and gouache, on various wove and laid papers, some bearing Whatman watermarks with date '1794', each sheet approx. 300 x 470 mm (11 3/4 x 18 1/2 in), numerous nicks and tears throughout, some into images, many marginal losses, surface dirt and browning throughout, lacking boards, spine remains but very worn with heavy losses, with gilt number '106' and title '[C]olour'd/ [V]ie[ws], many leaves almost loose, folio, [probably circa 1780-1800]⁂ A comprehensive collection of views, all with contemporary hand-colouring. Full list available upon request.

A 1907 pattern Lee Enfield bayonet, by Wilkinson, length 55cm, together with another bayonet, (2).

William Roberts R.A. (British, 1895-1980)Women Playing with Cats signed 'William Roberts.' (lower left); titled 'Women Playing with Cats' (on the backboard)pencil, ink, watercolour and gouache29 x 20.3 cm. (11 3/8 x 8 in.)Executed circa 1919Footnotes:ProvenanceMichael A. Tachmindji, 1956With Hamet Gallery, London, 16 February 1971, where purchased by the mother of the present ownerPrivate Collection, U.K.ExhibitedLondon, Tate Gallery, Wyndham Lewis and Vorticism, organised by Arts Council of Great Britain, 5 July-19 August 1956, cat.no.72 (as Drawing 1913); this exhibition travelled to, Manchester, City Art Gallery, 1-22 September, Glasgow, Kelvingrove Art Gallery and Museum, 29 September-20 October, Bristol, City Art Gallery, 27 October-17 November and Leeds, City Art Gallery, 25 November-15 DecemberLondon, Hamet Gallery, William Roberts: A Retrospective Exhibition, 16 February-13 March 1971, cat.no.9Printed here in colour for the first time ever, over one hundred years after its execution by William Roberts, probably circa 1919, the remarkable and dynamic Women Playing with Cats is testament to the artist's affiliation with Vorticism and his close acquaintance with both Percy Wyndham Lewis and David Bomberg.Accompanied by prestigious exhibition history at Tate's 1956 show, Wyndham Lewis and Vorticism, their gallery label attached on the backboard dates the work to 1913; reiterated again on the Hamet Gallery label. Stylistically, however, this mesmerising and sophisticated work on paper is more in keeping with Roberts' work produced directly following World War I, which was still firmly grounded in Vorticism. A date of circa 1919 has been proposed by David Cleall who compiled the artist's Catalogue Raisonné, available online only at: www.englishcubist.co.uk. Certainly, when one considers his two canvases The Diners and The Dancers of 1919 (Tate collection and Glasgow Museums: Art Gallery & Museum, Kelvingrove, respectively), designed as part of a three-panel work to be situated in the bohemian Hôtel de la Tour Eiffel on Percy Street in Fitzrovia, the revised dating seems entirely accurate.During the spring of 1914 Lewis visited Roberts at home in Cumberland Market, on the edge of Regent's Park, where a small artistic community flourished. Roberts had only left The Slade in the summer of 1913, and following a trip to France, taking in Paris, had already begun to experiment with incorporating Cubist elements into his work; The Return of Ulysses (Castle Museum and Art Gallery, Nottingham) and The Toe Dancer (Victoria & Albert Museum, London) are two of the finest examples. The story of Lewis leaving Cumberland Market with two of Roberts' Cubist paintings, The Dancers and Religion, now both sadly presumed destroyed or lost, is well known. He returned with these to his Great Ormond Street studio where the recently established Rebel Art Centre was founded. Andrew Gibbon Williams comments, 'Lewis had come to view the visual arts as merely one element in a larger cultural war that might overturn all the tired nostrums, prejudices and conventions that persisted into the new century from Victorian times. For him, art possessed the potential to transform society itself; the entirety of Western culture needed to be wrenched out of the doldrums of bourgeois passivity and forced to correspond with the new violent age of the machine.' (Andrew Gibbon Williams, William Roberts, An English Cubist, Lund Humphries, Aldershot, p.23). With the partnership of the American writer and poet Ezra Pound, Lewis announced Vorticism (named by Pound) with the publication in July 1914 of a small magazine entitled BLAST: The Review of the Great English Vortex. Dancers and Religion by Roberts were both illustrated alongside images by Sir Jacob Epstein and Edward Wadsworth, among others.With Women Playing with Cats Roberts draws on the abstract pictorial language laid down by Lewis in key works from the period 1913-1915, such as Composition (Tate collection) and Plan of War (lost). The emphasis on highly stylised geometric forms, overlapping angular shapes used to distort reality and the dramatic use of black and white superimposed over rusty-brown all point to Roberts' engagement with Vorticism's main visual protagonist, prior to him being called up for active service in April 1916. Whereas the faces, in particular, reference the new machine age with their simplicity and clean lines, and in the central standing figure's head we are specifically reminded of Sir Jacob Epstein's seminal Torso in Metal from 'The Rock Drill', 1913-15 (Tate collection).During Roberts' time at The Slade his friendship with David Bomberg, a fellow student, developed. Five years older, Bomberg played a significant role in guiding Roberts' aesthetic. As Gibbon Williams notes, 'It was Bomberg who was largely responsible for converting Roberts to the philosophy of modern art and Roberts himself paid tribute to his friend on this account in a fine example of his mastery of understatement: 'an additional stimulant to my interest in abstract art was the example of David Bomberg, a friend and fellow student''(op. cit. p.16). Both artists visited Paris during the summer of 1913 at a time when Bomberg began to produce some of the most radical abstract work of his entire career, inspired by the European avant-garde. The celebrated paintings of Ju-Jitsu (Tate collection) and In the Hold (Tate collection) acted as a prologue to his early masterpiece The Mud Bath of 1914 (Tate collection). The complexity of these compositions with the interplay of limbs and their optical energy were the most audacious and forward-thinking paintings produced by any British artist during this period of enormous change. Roberts did not escape their massive impact, and when one considers Women Playing with Cats and its fragmented, dazzling use of black ink and bare paper to describe the subjects, Bomberg's daring pre-war imagery is among the first to spring to mind.Another of Robert's contemporaries from The Slade, Edward Wadsworth, also played a fundamental role in Vorticism. But much like Roberts, the outbreak of war seriously disrupted his creative momentum. By 1915 Wadsworth joined the Royal Navy Volunteer Reserve and a year later was serving as an Intelligence Officer on Lemnos, Greece. By 1917 the Admiralty had embraced the idea put forward by the artist Norman Wilkinson of camouflaging its ships with boldly painted, dazzling designs which not only created an optical distortion of the shape of the vessel, but also confused the German enemy of its speed and angle, thus making it a far more difficult target for submarines. Later based in Liverpool docks, Wadsworth oversaw the transposition of the designs onto the ships themselves and then produced a small series of works which depicted them; a striking woodcut, Liverpool Shipping of 1918 (see fig.1) was used as a basis for his 1919 Dazzle-Ships in Dry Dock at Liverpool (National Gallery of Canada, Ottawa) commissioned by the Canadian War Memorials Fund and arguably Wadsworth's greatest picture. Roberts, too, was commissioned by the Canadians, and The First German Gas Attack at Ypres also of 1918 (National Gallery of Canada, Ottawa) was, like Wadsworth's, noticeably more naturalistic and descriptive than their abstracted pre-war creations, owing to the commission's strict orders which included having nothing 'Cubistic' about them.Women Playing with Cats continues this effective and appealing mix of realism with the principles of Vorticism, making for an accessible yet arresting image. When the eyes become almost hypnotised and a little confused by the bravura design of the five black and white figures and two cats, which are thru... This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Dame Barbara Hepworth (British, 1903-1975)Maquette (Variation on a Theme) bronze with a brown and white patina43.8 cm. (17 1/4 in.) high (excluding the wooden base)Conceived in 1958, the present work is number 2 from the edition of 9Footnotes:ProvenanceWith Laing Gallery, TorontoMichael Tollemache, 1970With James Goodman Gallery, New York, 1971Private Collection, U.S.A.With James Goodman Gallery, New York, September 1999, where purchased byWith New Art Centre, Salisbury, February 2000, where purchased byRoss D. Siragusa Jr., from whom acquired by the present ownerPrivate Collection, U.K.ExhibitedOttawa, National Gallery of Canada, Recent British Sculpture, organised by the British Council, 13 April 1961, cat.no.4 (another cast); this exhibition travelled to Québec, Montreal Museum Of Fine Arts, May, Winnipeg, Art Gallery, June, Regina, Norman Mackenzie Art Gallery, July, Toronto, Art Gallery Of Ontario, August, London (Ontario), Regional Art And Historical Museum, September, Vancouver, Vancouver Art Gallery, 1-30 April 1962, Aukland, City Art Gallery, 5-29 July, Wellington, Dominion Gallery, 21 August-9 September, Dunedin, Otago Museum, 9-28 October, Christchurch, Canterbury Museum, 20 November-9 December, Adelaide, Art Gallery Of South Australia, January 1963, Canberra, Australian National Museum, 13 January-23 February, Perth, Art Gallery Of Western Australia, 24 January, Adelaide, Adelaide Festival, 4 April-5 May, Hobart, Tasmanian Museum And Art Gallery, May, Launceston, Queen Victoria Art Gallery, 30 May, Melbourne, National Gallery Of Victoria, July, Sydney, Art Gallery Of New South Wales, August, Brisbane, Queensland Art Gallery, September, Newcastle, Newcastle Region Art Gallery, October and Canberra, National Gallery, 1 January-31 March 1964London, Whitechapel Art Gallery, Barbara Hepworth: An Exhibition of Sculpture from 1952-1962, May-June 1962, cat.no.37 (another cast)Florence, British Arts Council, Barbara Hepworth: Mostra Fotografica con Disegni e Originali, 8-16 October 1966, cat.no.4 (another cast)New York, Memorial Art Gallery, Twentieth Century Art: The Charles Rand Penny Collection, November 1983-August 1984, cat.no.47 (another cast); this exhibition travelled to New York, State University Art Gallery, October-December 1984, California, San Jose Museum of Art, September-November 1985, Wheeling, Stifel Fine Arts Centre, January-March 1986, Baton Rouge, Louisiana Arts and Science Centre, April-May, Tampa, Tampa Museum of Art, June-July, Little Rock, Arkansas Art Centre, August-September, Oklahoma, Oklahoma Art Centre, November-December, Jackson, Mississippi Museum of Art, January-February 1987, Spokane, Cheney Cowles Memorial Museum, June-July, Oshkosh, Paine Art Centre, September-November, Texas, Beaumont Art Museum, January-February 1988 and Shreveport, Meadows Museum, March-May 1988Liverpool, Tate, Barbara Hepworth: A Retrospective, 14 September–4 December 1994, cat.no.57 (another cast); this exhibition travelled to New Haven, Yale Centre for British Art, 4 February-9 April 1995 and Toronto, Art Gallery of Ontario, 19 May-7 August 1995LiteratureJ.P. Hodin, Barbara Hepworth, London, Lund Humphries, 1961, cat.no.247 (ill.b&w) (another cast)Matthew Gale and Chris Stephens, Barbara Hepworth, Works in the Tate Collection and the Barbara Hepworth Museum St Ives, Tate Publishing, London, 2001, p.182Owing to her desire to have direct contact with materials, Barbara Hepworth came to bronze casting somewhat later in her career with the first appearing in 1956. Alongside wood and stone, bronze was a medium which the artist would continue to explore until the end of her life, producing some of her finest and most memorable work from it. Maquette (Variation on a Theme) was conceived in 1958 and belongs to the early stages of development in one of the artist's important commissions. At Lillian Somerville of the British Council's recommendation, Hepworth was put in touch with the architects Trehearne & Norman Preston who were designing a sixteen-story office block on High Holborn for The Wohl Group. This was to become the now demolished State House with the sculpture presiding over the entrance titled Meridian. As Somerville explained, 'for once these architects do not want symbolism or a subject or a theme but an abstract sculpture', which must have been a particular draw for the artist (M. Gale and C. Stephens, Barbara Hepworth, London, 1999, p.182). Indeed, in an interview at the time, Hepworth described how 'with this commission I felt no hesitation whatsoever. By next morning I saw the sculpture in my mind quite clearly. I made my first maquette, and from this, began the armature for the working model. The architect must create a valid space for sculpture so that it becomes organically part of our spiritual perception as well as our three-dimensional life. To do less is to destroy sculpture and admit to an impoverished architecture' (P. Curtis and A.G. Wilkinson, Barbara Hepworth, A Retrospective, Liverpool, Tate Gallery, 1994, pp.154-155). Following an initial plaster model, Hepworth first created Maquette for State House (Meridian) (BH 245), which was later cast in an edition of 9. The present work, Maquette (Variation on a Theme), followed and was also to be cast in an edition of 9 with this being number 2. The work displays a complex tangle of ribbons which bind together and form triangular loops with the ultimate intention of contrasting with the building's linear architecture. The sculpture is clearly derived from the landscape with its strong sense of form and texture which was always at the forefront of the artist's mind. Maquette (Variation on a Theme) conveys a vivid sense of the artist's experience with the childhood memories of hills in Yorkshire and the weathered coast of Cornwall both translated into sculptural form. When explaining her choice of title for Meridian to the architect Harold Mortimer, Hepworth commented that 'it refers either to an imaginary arc of longitude (quintessentially, the Greenwich Meridian) or to the highest point in the arc of the sun' (M. Gale and C. Stephens, loc. cit.). Meridian was erected in London in 1960, the year after Hepworth claimed the Grand Prix at the Sao Paulo Art Biennial and was unveiled in front of a wall of Cornish granite by Sir Philip Hendy, Director of the National Gallery. Upon its demolition in 1990, the sculpture was sold to the Donald M. Kendall Sculpture Gardens in Purchase, New York, which is the headquarters of PepsiCo. The success of Meridian was an important development for Hepworth and led to future commissions including Winged Figure for the John Lewis building on Oxford Street. We are grateful to Sophie Bowness for her assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Henry Moore O.M., C.H. (British, 1898-1986)Reclining Figure stamped with a 'C. VALSUANI CIRE PERDUE' foundry mark (on top of the base)bronze with a black patina15.2 cm. (6 in.) longConceived in 1945 and cast in an edition of 7Footnotes:ProvenanceSale; Kornfeld & Klipstein, Bern, 10 May 1963, lot 794With Samlaren Gallery, Stockholm, from whom acquired byTheodor Ahrenberg, from whom acquired byLa Boetie Inc., New York, 1967, from whom acquired byPrivate CollectionTheir sale; Sotheby's, New York, 4 November 1993, lot 370, where acquired by the present ownerPrivate Collection, SpainExhibitedStockholm, Samlaren Gallery, Henry Moore: Sculptures and Drawings, 1952Stockholm, Akademien, Henry Moore, 1952, cat.no.121LiteratureDavid Sylvester, Henry Moore: Volume 1, Complete Sculpture 1921-1948, The Henry Moore Foundation in association with Lund Humphries, Much Hadham & London, 1988, p.15, cat.no.246During his long and distinguished career, the 'reclining figure' along with the 'mother and child' theme were the two subjects that obsessed Henry Moore more than any other. Recent information from the Henry Moore Foundation indicates there are 270 examples of the reclining figure and 140 of the mother and child, perhaps confirming the former as the most significant; certainly the most fundamental. By 1968, Moore admitted this was the case: 'From the very beginning the reclining figure has been my main theme. The first one I made was around 1924, and probably more than half of my sculptures since then have been reclining figures' (John Hedgecoe, Henry Moore, London, Thomas Nelson, 1968, p.151). The origins of that first reclining figure (male and now destroyed) can be traced back to the Toltec-Mayan idol Chacmool. Impressed by a life-sized limestone carving from the eleventh or twelfth century found in Chichen Itza in Mexico, Moore came across a plaster cast of Chacmool on a visit to the Trocadero Museum in Paris in 1925. The curious reclining posture of the figure on its back, with knees drawn up and head twisted to the right fascinated Moore and it became 'undoubtedly the one sculpture which most influenced my early work' (Henry Moore Writings and Conversations, ed. Alan Wilkinson, London, Lund Humphries, 2002, p.98).The present work was conceived at the end of WWII in 1945 as a preparatory study for the 30 in. Hornton stone carving Reclining Figure (1947-49, LH 273, now in the collection of the Philadelphia Museum of Art). It was originally modelled in terracotta (whereabouts unknown) with an edition of seven cast in bronze. This was a particularly significant time as the end of conflict meant a renewed availability of metals and Moore was able to break free from the constraints of two dimensions and work more regularly in three. Reclining Figure is therefore one of the first sculptural examples of what the artist had absorbed through his graphic observations of the public sheltering from The Blitz in the London underground. The undulating profile of the sculpture draws on both the example of a body sheltering on the platform floor and the artist's early preoccupations with the naturalistic rendering of bones, rocks and mountainous landscape, as such she can be read as both abstract and human at the same time. Writing of the scaled up carving of the present form, John Russell writes 'After many Reclining Figures in which the central hole was the dominant compositional feature here is one in which, on the contrary, the central area is filled in. Such is the modelling of that area that two complementary movements are set up: one begins below the heart and swings up and away to the left, while the other begins at the bottom of the right thigh and swings up and away to the right. The relationship, here, between the thing seen and the thing imagined is one of the most moving in all Moore's work, in that the spreading and subtly modulated area between heart and knees is continuously alive in terms both of human anatomy and of the landscape-analogy, the sublimations of moorland and bluff, which Moore keeps going at the same time. This is not one of Moore's largest carvings – it is only thirty inches long – but it is one in which social duty is laid aside and the imagination runs free to glorious effect.' (John Russell, Henry Moore, The Penguin Press, London, 1968, p.177)Another example from this edition is in the collection of the Memorial Art Gallery, University of Rochester, U.S.A.We are grateful to the Henry Moore Foundation for their assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A VICTORIAN SILVER BASKET, HENRY WILKINSON & CO., SHEFFIELD, 1845 shaped circular, the everted rim diaperwork pierced and applied with fruit laden trailing grape vine, the swing handle of openwork further trailing vine, the pedestal foot pierced with stylised foliage 27cm diameter, 699gr (22oz)

A PAIR OF VICTORIAN SILVER CANDLESTICKS, HENRY WILKINSON & CO., SHEFFIELD, 1837 the shaped square bases, waisted stems, campana shaped sconces and detachable nozzles all embellished with stamped matted-ground acanthus leafage, bases and nozzles engraved with a crest 24cm high, loaded

CLARICE CLIFF. AN A J WILKINSON CARPET BEE SKEP HONEY JAR AND A COVER, 1930, 9CM H, PRINTED BIZARRE MARK Jar - fine descending hairline crack. Cover - one of the bee's wings broken off and neatly restuck. No professional restoration

Henry Robinson WILKINSON (1884-1975) watercolour "Early winter snow, Coniston", signed, original label verso, good mount and framed,47 x 62 cm

TWO FRAMED WATERCOLOURS OF A LANDSCAPE AND FLOWERS TOGETHER WITH AN UNFRAMED WATERCOLOUR OF CATTLE IN A FIELD SIGNED JACK SAVAGE AND AN ABSTRACT LIMITED EDITION PRINT SIGNED WILKINSON (4)

WILKINSON, Popular Footballers, Nos. 2-9, some scuffing to edges, FR to generally G, 8

FOOTBALL, Sheffield Wednesday signed album pages, 1939 (six signatures), Ashley, Fellows; 1960s (14 signatures), Froggard, Wilkinson, Shaw, Wood etc., 1939, 5 x 6.25 (folded to 4 x 5.75), 1960s, 3.5 x 4.75 (laid down to slightly larger page), G, 2

A British Army Bayonet with Wooden Handle, 1907 Pattern, 41.5cm Blade inscribed Wilkinson 1907

Two Aircraft books- Aircraft Engines of the world by Paul H Wilkinson and Reach for the Sky by Paul Brickhill - NO RESERVE

A collection of silver to include: a pair of dwarf candlesticks, by B&C, Birmingham, 1977 (filled); pair of George V bon bon dishes with gallery rail by William Hutton & Sons, Birmingham, 1928; an Edwardian circular jardiniere with flared rim on four ball feet, by Henry Wilkinson, London, 1906 and a George VI two handled small trophy, Birmingham, 1931, weighable silver 13.63 zt (424 grams) (6) 

A collection of silver to include: A pair of Edwardian Neo-Classical style desk candlesticks, by Fordham & Faulkner,, Sheffield, 1908, 13cm high, filled (CR: marks good, otherwise AF); a large trumpet shaped vase with openwork lattice decoration to stem, by WT, Birmingham, 1906, filled (CR: marked on stem, marks good - central green glass liner broken AF); a tall posy vase with flared rim, by Henry Wilkinson, London, 1900, filled and a matched pair of posy vases, flared rims above bodies chased with swags of flowers, by William Comyns, 1897 & 1899, filled (6) 

A Wilkinson Ltd., Royal Staffordshire Pottery, Military Character Jug, after a design by Sir Charles Carruthers Gould, depicting Marshal Foch, he seated, holding a glass of champagne, a bottle to his left inscribed, ''Au Diable Le Kaiser'', the circular base relief with animals representative of the Allies, printed marks to the underside, circa 1918, 29.5 cm high; and another, depicting General John French, seated holding a jug, inscribed, ''French pour les Francais'', circa 1918, 25 cm high (2) . Marshall Foch - Slight flaking of enamels on bottle. Small flake chip to base rim. General John French - Overall firing faults including crazing and glaze pitting. Some enamel colours - particularly reds and browns - have also misfired.

Barry Wilkinson (British, B. 1923) "Monaco -- 1929 Bugatti Type 35B" Signed lower right. Original Watercolor painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was published on the Fleetwood Europa Cover for the Monaco 3,00 Europa stamp issued May 10, 1984. The idea of a "Grand Prix" was introduced by the French in 1906. It was to become the most prestigious form of motor racing ever devised. With a formally laid-out course and spectators restricted in enclosures, the Grand Prix was unique in that it tested cars on ordinary roads, avoiding artificially constructed track. In 1929, Antony Noghes of the Soci?t? des Bains de Mer of Monaco joined with the Automobile Club de Monaco to found the Monaco Grand Prix -- the most durable and romantic of all Grand Prix events. The three kilometer circuit was the first "round-the-houses" route. And the star of that race was none other than the Bugatti Type 35B. Created by Ettore Bugatti -- said to be one of the greatest makers of racing cars ever -- the Type 35B was an elegant, finely proportioned vehicle. Its chassis was called "a masterpiece of design, the depth swelling out from the delicate front spring supports to meet the varying stresses, then tapering down again at the rear, while it conforms to the body shape." Inside, the 35's were powered by the Bugatti straight eight single overhead camshaft engine while twin carburetors fed the angular powerpack. The artwork depicts a recreation of the first Monaco Grand Prix, won by W. Grover Williams driving a Type 35B Bugatti. The car -- with its pointed tail and familiar horseshoe radiator -- was destined to become the most prolific race winner of the 1924-1939 era. Image Size: 10.75 x 9 in. Overall Size: 13 x 11.5 in. Unframed. (B08907)

A 1940s oak presentation gavel, inscribed ''United Wards Club'' and with presentation plaque, inscribed ''Presented by Sir George H Wilkinson Bt Lord Mayor of London 1940-1941. This Gavel is made from wood which formed part of the roof of Guildhall Destroyed by Enemy Action 29th Dec 1940''. 23 cm high.

A Clarice Cliff Wilkinson Art Deco lady wall plaque, no 787, 14cm tall, in generally good condition

Quantity of Antiquarian and Later First Edition Books on the Scottish Borders, To include A Roman Frontier Post & Its People - The Fort of Newstead, By James Curle F.S.A, Published by James Maclehose and Sons, to the University of Glasgow, First Edition of From the Border Hills by Molly Clavering, In Praise of Tweed by W. S. Crockett, Printed by James Lewis Selkirk 1899, Some Scottish Border Souvenirs by Margaret D. Hayward, Printed by Andrew Elliot 17 Princess st Edinburgh, Strange Tales of the Borders Old and New, by Halbert J. Boyd, First Edition of Folk Tales of the Borders by Winifred Petrie, Drawings by Barbara Gray, First Edition of Tell the Towers Thereof by Madge Elder, Illustrated by John Mackay, First Edition of Portrait of the Border Country by Nigel Tranter, Two First Edition Copies of Andrew Lang by Roger Lancelyn Green,One copy with Dust Cover, The Illustrated Portrait of The Border Country by Nigel Tranter, Illustrated by Sue Scullard, Also with some books on Scotland, To include The County of Caithness, First Edition of Tartans of the Clans & Families of Scotland by Thomas Innes of Learney, Dated 1938, Hugh MacDiarmid and the Scottish Renaissance by Duncan Glen, The County of Sutherland, Edited by John S. Smith, First Edition of Puppets into Scotland by Walter Wilkinson, And with a First Edition of The Churches and Graveyards of Berwickshire by G. A. C. Binnie etc, (22)

GEORGE VI OFFICERS DRESS SWORD, by Wilkinson, with brown leather scabbard

HENRY WILKINSON limited edition (39/75) etching with colour - gundog with mallard, entitled 'In the Ditch', signed and numbered in pencil, 25 x 36cms Condition Report: paper slightly yellowing, incorrectly titled label verso.