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British GVIR Naval Officers Sword, regulation blade by Wilkinson etched with crowned royal cipher and fouled anchor together with bands of fruiting oakleaves, regulation brass hilt with folding side guard, bullion dress knot, wire bound composition grip, in its brass mounted leather scabbard. Blade 79.5cms. Good condition.

British GVR Royal Artillery Officers Sword, polished regulation Wilkinson blade (not numbered) etched with crowned royal arms, cipher and regimental title amidst scrolling foliage, reverse with Royal Artillery and thunder flash, regulation plated triple bar guard, wire bound fish skin covered grip, in its leather covered filed service scabbard. Blade 89cms. Good condition, minor wear to plating.

WW2 British Wilkinson Sword 2nd Pattern Fairbairn Sykes (F.S) Commando Knife, good example of a type with brass knurled grip. Unmarked oval cross guard with blued finish. Housed in its original leather scabbard with blackened brass lower chape. Complete with the leg tabs and belt loop with elasticated strap. Double edged blade etched with Wilkinson Sword Co Ltd London makers mark to one side and the other side etched with ‘THE F-S FIGHTING KNIFE’. Blade in good condition. The blade measures 16cms, overall 31 ½ cms. Leather scabbard slightly shrunk.

British 1912 George V Cavalry Sword Middlesex Yeomanry by Wilkinson, numbered 52301, regulation pattern officers sword with large dish guard, stepped pommel and grip retaining the wire binding. Housed in the leather field service scabbard. Regulation pattern blade with Wilkinson makers mark and number to the spine of the blade. Etched foliage and cyphers to the blade. Panel with etched initials “E.E.A”. Some surface rusting to the blade but generally still good condition. Blade 89cms, overall 112cms. The Wilkinson Sword ledger gives details of the sword being finished on 19th December 1916 and purchased by E E Anderson Middlesex Yeomanry.

WW2 British Nickel Plated 2nd Pattern Fairbairn Sykes (F.S) Commando Knife by Wilkinson Sword Co Ltd, good example with nickel plated knurled grip and oval cross guard. Housed in its original leather scabbard with nickel plated chape, leather leg tabs and belt loop with elasticated strap. Good double edged blade with etched Wilkinson Sword Co Ltd London makers mark and reverse etched ‘THE F-S FIGHTING KNIFE’. The blade measures 16cms, overall 30 ¾ cms.

British 1907 Prince of Wales Volunteers South Lancashire Regiment Regimentally Marked Bayonet by Wilkinson, two piece wooden grips, steel pommel with oil hole. Pommel stamped ‘2 PWV 223’ for the 2nd battalion of the Prince of Wales Volunteers South Lancashire regiment. Steel short cross guard with muzzle ring. Housed in its leather and steel mounted scabbard. 1945 dated webbing bayonet frog attached to the scabbard. Blade with fuller to the back edge, much of the blued finish to the blade. Crown over 1907 and ‘WIKINSON’ makers mark with various acceptance stamps. Blade 43cms, overall 57 ½ cms.

British Pattern 1888 Mk 2 Knife Bayonet by Wilkinson of London, crown over 'ER' for Edward VII, makers name, and date 1 '02 to one side of ricasso, Wilkinson inspection mark to the other side and stamped on wooden grips, held in leather scabbard with steel mounts, (Part of the Philip Bowes collection)

British Pattern No.5 Jungle Carbine Knife Bayonet made by the Wilkinson Sword Company, one side of ricasso stamped with 'X' bending mark, broad arrow, and inspection mark, the other side stamped 'W.S.C.' for the maker and 'S294', pommel stamped 'W 4908', held in steel scabbard, complete with webbing frog marked 'M.E.Co 1955', together with a steel scabbard for the No.5 Bayonet marked 'S294' held in a 1944 Pattern left basic pouch (1st Type) with bayonet loops, (3), (Part of the Philip Bowes collection)

British Pattern 1888 Mk I Type II knife bayonet by Wilkinson of London, crown over 'VR', various dates including 5 '99, and makers name to one side of ricasso, Wilkinson inspection mark to the other side and stasmped to wooden grips, '327' stamped to pommel, held in leather scabbard with steel mounts, vendor states bought directly from the collector and author Anthony Carter, (Part of the Philip Bowes collection)

Second World War British Pattern 1907 Sword Bayonet by Wilkinson Sword Company, maker mark 'WSC' and date 7 '42 to one side of ricasso, Enfield inspection mark to the other side, held in leather scabbard with steel mounts, later round frog stud to locket, (Part of the Philip Bowes collection)

British Pattern 1887 Mk3 Sword Bayonet by the Wilkinson Sword Company, blade marked to one side with crown over 'VR', makers name, and date /88, other side with broad arrow over 'WD' and Wilkinson inspection mark, pommel stamped '6499', held in Naval issue leather scabbard with brass mounts, locket throat rim stamped 'CH&SF 1899' with broad arrow, no non British (eg Nepalese) markings, vendor states purchased directly from the collector and author Anthony Carter, (Part of the Philip Bowes collection)

First World War British 1907 bayonet by Wilkinson, marked on one side of the ricasso with crown over 'GR', 1907, Wilkinson, and the date 9/13, broad arrow and Enfield inspection marks to the other side, held in black leather scabbard with steel mounts and tear drop frog stud, scabbard stamped with Enfield inspection mark

A framed & glazed signed England rugby shirt, 2002 including Wilkinson etc. (approximately 29 signatures) COLLECT ONLY

* Spain & Portugal. A View of the City of Oporto [and] The City of Lisbon as before the dreadful Earthquake of November 1st. 1755, Robt. Wilkinson [and] Bowles & Carver, circa 1780, two engraved prospects with contemporary hand-colouring, titles repeated in French, each approximately 280 x 425 mm, uniformly mounted, framed and glazed, together with Bowles (T.). A Prospect of the New Aquaduct of Lisbon as Crossing over the Valley of Alcantra, Robt. Wilkinson, circa 1780, an engraved prospect with contemporary hand-colouring, 250 x 415 mm, mounted, framed and glazedQTY: (3)

* Rome. Bowles (T. & Parr N.), The Great Cascade of Spring Water at Rome call'd Travi Fountain, The Quirnal or Palace of the Pope on Mount Cavallo at Rome, The Inside of the Pantheon at Rome, The Inside of St. Pauls Church in Rome..., The Aelian Bridge and castle of St. Angelo with part of the City of Rome, The Place and Church of St. John de Lateran at Rome [and] The Magnificent Buildings and Fountains of the Plazza Navona at Rome, Robert Wilkinson and Bowles & Carver, circa 1780, together seven engraved views, all with contemporary hand-colouring, titles repeated in French, each approximately 290 x 425 mm, uniformly mounted framed and glazed with Frost and Reed Gallery labels to the versoQTY: (7)

* London. Bowles (T.). The South East Prospect of Westminster from Somerset House to Westminster Bridge, The South West Prospect of London from Somerset Gardens to the Tower, A View of the Bridge over the Thames at Walton in Surrey distance 20 miles from London, The Inside View of King Henry VII Chappel in Westminster Abbey, The Inside of St. Pauls Cathedral from the West End to the Choir [and] A View of the Bridge over the Thames at Hampton Court, Bowles & Carver and Robert Wilkinson, circa 1780, six engraved views, all with contemporary hand colouring each approximately 285 x 430 mm, uniformly mounted, framed and glazed with Frost & Reed Gallery labels to the versoQTY: (6)

* Holland. Bowles (T.), A View of Part of Amsterdam from the Harbour..., A View of the Stadt House new Church Weighing House and the Adjacent Buildings at Amsterdam [and[ A View at Amsterdam taken from ye bridge over ye River Amstel..., R.Wilkinson, circa 1780, together three engraved prospects with contemporary hand-colouring, titles repeated in French, each approximately 290 x 430 mm, uniformly mounted, framed and glazed, together with Wilkinson (Robert & Bowles & Carver, publishers). A View of Rotterdam and the River Maese with Variety of Shipping, circa 1780, an engraved prospect with contemporary hand-colouring, title repeated in French, 215 x 420 mm, mounted, framed and glazedQTY: (4)

* Alken (Henry, after). [Changing Horses at the Plough & Halt at the Black Swan, 1882], a pair of aquatints by C. R. Stock with bright contemporary hand colouring, small margins with loss of title, each approx. 300 x 605 mm, uniformly mounted, framed and glazed, each with Parker Gallery label to verso of frames, together with Wilkinson (Henry 1921 - 2011). Black Labrador with Pheasant & Pair of Spaniels with Rabbit, two hand-coloured dry point etchings, both signed by the artists in pencil below the image, limited edition 19/100 and 72/100 respectively, 265 x 305 mm & 265 x 355 mm respectively, uniformly mounted, framed and glazedQTY: (4)

* Russia & Eastern Europe. The City of Berlin, Bowles & Carver, Robert Wilkinson, Laurie & Whittle, circa 1770, engraved panorama with contemporary hand-colouring, title repeated in French, 290 x 435 mm, mounted, framed and glazed, together with Wilkinson (Robert, publisher). A View of St. Petersburg on either side of the River Neva..., The North View of the Summer Palace of her Imperial Majesty at St. Petersburg [and] The Buildings of the Imperial Colleges in St. Petersburg..., circa 1770, together three engraved views with contemporary hand-colouring, titles repeated in French and Russian, each approximately 280 x 430 mm, mounted, framed and glazed, with Carington Bowles (John Bowles, Robert Sayer & John Bennett, publishers). The City of Breslau, circa 1770, engraved view with contemporary hand-colouring, title repeated in French, 275 x 420 mm, mounted, framed and glazed, plus Bowles & Carver (Robert Wilkinson & Laurie & Whittle). The City of Leipzig, circa 1770, engraved view with contemporary hand-colouring, title repeated in French, 275 x 420 mm, mounted, framed and glazedQTY: (6)NOTE:The engravings are uniformly framed and glazed, each with a Frost & Reed Gallery label to the verso.

* Rome. Bowles (Thomas), The Church of St. Peter at Rome, A View of St. Martin's Church also the Arch of Septimius Severus..., The Church of St. Mary ye Great at Rome..., The City of Ancient Rome as in the Reign of Caesar Augustus..., The Church of Santa Maria della Rotonda at Rome, The New Gallery of the Vatican Library at Rome..., [and] The Inside of St. Peter's Church at Rome, Robt. Wilkinson [and] Bowles & Carver, circa 1780, together seven engraved views with contemporary hand-colouring, titles repeated in French, the 'Inside of St. Peters Church' with repaired marginal closed tears, each approximately 300 x 440 mm, uniformly mounted, framed and glazed, Frost & Reed gallery labels to versoQTY: (7)

Wilkinson ceramic teapot in the Clarice Cliff manner formed as a cockerel, cover may be a later replacement, H: 20 cm. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)

Wilkinson ceramic teapot in the Clarice Cliff manner formed as a cockerel, cover may be a later replacement, H: 20 cm. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)

An A J Wilkinson Royal Staffordshire floral pattern part dinner service, to include graduated meat plates, 40cm wide etc, pair of lidded tureens with ladles, various plates, side plates, milk jugs, sugar bowls etc, each florally patterned with gilt highlights, printed marks beneath (a quantity)

Group of three Wilkinson hippo form ashtrays, two Bakelite napkin rings and six other napkin rings

Henry Wilkinson, signed coloured etching, two gun dogs in a landscape, No. 2 of 75 together with another similar, No. 7 of 75, 23cms x 30cms each approximately, framed

1758 Manuscript schedule connected with Richard Wilkinson, County Durham together with a bundle of related documents, 1671 manuscript relating to Kent and other miscellaneous documentsKent documents: - Possibly Robert Bryden (see additional photos)

A pair of Victorian silver salt cellars, on three ball feet, blue glass liners, 57mm diam, by H Wilkinson & Co, Sheffield 1876, a pair of silver pepperettes and George III silver tablespoon later chased and gilt as a berry spoon, 5ozs 10dwts (5) Good condition

An 1897 pattern British Infantry Officer's sword, Henry Wilkinson, No 47411, the etched blade with GVR cypher, leather covered service scabbard, sword knot and sword bag Very slight rust on blade, slight wear to leather of scabbard, sword cloth original retaining the suede lining but torn in one place and worn

Clarice Cliff. An A J Wilkinson Aurea Trieste tea set for two, 1934, with Conical cups, teapot and cover 13cm h, printed bizarre mark (9)

Clarice Cliff. An A J Wilkinson Beechwood vase, 1935, with mushroom glaze, 15cm h, printed Bizarre mark Good condition

Henry Wilkinson,Spaniels,etching, signed and numbered 2/75 in penci lon the margin,27x31cm.

An Edwardian silver salver, of shaped circular outline with a shell and scroll border and an engraved coat of arms in the centre, by Stoner and Evans, London 1904 and another slightly larger silver salver with a shaped and moulded border, and a small inscription in the centre by H. Wilkinson, Sheffield 1918, the latter 26.25cm diameter, 32oz. (2)

An assortment of books. Including N Wilkinson, Yvette in Venice and Titania's Palace, Oxford University Press 1927, plus three copies of Titania's Palace at Wookey Hole, Somerset booklets, Alice in Wonderland, Seven Pillars of Wisdom, guide books, A Dog Day, the Brushwood Boy, Swiss Family Robinson, The Complete Angler, Modern Gardening, several Journal of the Royal Horticultural Society and The Garden.

Norman Wilkinson (British, 1878-1971). Studies of Battle Cruisers, a pair, signed to verso of each, pencil sketches, 17cm by 23cm. Together with three unrelated watercolours, three pencil sketches, and one ink sketch, unsigned, late-19th Century, various sizes, all unframed (9)

North Eastern Railway Cast Iron Trespass Notice C N Wilkinson (Secretary), black lettering on white ground, 35 1/2x24", 90x61cmSign is original; From provate vendor

Königlicher Victoria-Orden, Ordensmantel für den Herzog Ernst Ausgust zu Braunschweig und Lüneburg. Ernst August Christian Georg, Herzog von Braunschweig, geboren am 17. November 1887 in Wien, Oberst der Ziethen-Husaren, gestorben am 30. Januar 1953. Farbiger Seidenmantel mit großem gestickten Ordensstern aus Silberpailletten, Samt und Seide und goldgestickter Ordensdevise "Victoria". Innen Herstelleretikett "Wilkinson & Son" Kostümschneider Seiner Majestät, ein weiteres Etikett "Duke of Brunswick". Der Königliche Victoria-Orden wurde Herzog Ernst August von König Georg V. von England anläßlich der Hochzeit des Herzog mit der Prinzessin Victoria Louise von Preußen, am 24. Mai 1913, einzigster Tochter des Deutschen Kaiser Wilhelms II., verliehen. Als einstiges Zeichen der engen Verbundenheit der Königshäuser verliehen, wurde dem Herzog Ernst August am 20. Juni 1917 in Folge des 1. Weltkrieges, die Ordenswürde durch König Georg V. entzogen. Provinenz: Königshaus Hannover, Marienburg - Zustand II

Henry Wilkinson (British, 1921-2011), Hunting Dogs and Prey, four drypoint etchings highlighted with colour, limited editions of 75, each signed by the artist in pencil, approximate image size 24cm x 30cm, together with another similar, limited edition of 150, all framed and glazed (5)

Two British 20th century coloured etchings: 1. After TOM CARR (1912-1977) - 'In the Snow: The Hunt Wicket', signed, numbered (71 of 75) and titled in pencil in the lower margin (24.5 x 20 cm). (Frame size 43 x 38 cm). 2. After HENRY WILKINSON (1921-2011) - Duck Shooting, numbered (59 of 75) and signed in pencil in the lower margin (22.5 x 28.5 cm). (Frame size 36.5 x 41.5 cm).

CONCORD 'THE WELCOME HOME' Sample print by Mark Wilkinson, showing the flight over the Clifton Suspension Bridge. November 2003. 67cmx43cm. THE LAST FLIGHT HOME by Stephen Brown depicting Concorde flying over the Clifton Suspension Bridge. Signed by artist and a crew member. 140/400.71cmx46cm. THE SUPERSONIC THOROUGHBRED by S.B. showing the record breaking flight from London to New York. Signed by artist and Senior Flight Officer Tim Orchard. 13/200. 71cmx47cm. THE HOMECOMING by S.B. Another view over the Clifton Suspension Bridge. Signed by artist and 6 crew members, including Capt David Rowland. Signed by artist.234/400. 71cmx50cm. (4)

Casualty K.I.A WW1 Medal pair to coldstream guards pte.w.p wilkinson C.GDS

Pair of Clarice Cliff Wilkinson & Co bookends in the form of pixies with otters sitting on toadstools.

ART DECO WILKINSON LTD POTTERY JUG WITH COVER AND FURTHER DECORATIVE CERAMICS, GLASS AND METALWARE comprising a Crown Devon lidded jar, a Belleek jug, a Japanese vase, a soda glass goblet and a Beldray copper dishthe jug 18cm highQty: 6

A set of four William IV silver-gilt wine coastersHenry Wilkinson & Co, Sheffield 1833 Of compressed spherical form, the whole gilded, cast and chased acanthus leaf-embellished rims, pierced galleries composed of fruiting vines, horned Bacchus and classical urns, a turned wooden base centred and inset boss, engraved with double crest, a cock proper and a lion's head erased ducally crowned between two ostrich feathers, all on a spreading domed foot with ovolo rim, height 7cm, diameter 15cm. (4)Footnotes:The arrangement of the crests represents a husband and wife combination.The second crest (sinister) is identifiable as belonging to the arms of the JOHNSON family.There are numerous examples of this crest being used by Stuart Henry James JOHNSON (1869-1957), his residence was at 4 Eton Place, Grosvenor Square a property he inherited from his father Edmund Charles JOHNSON (1822-1895) a surgeon and later a welfare reformer who in 1866 had married Sophia S WOODCOCK (born 1831). His father was Richard JOHNSON a hatter of Edmonton, Middlesex who in 1809 married Ann PARSONS (1787-1858).For further information on this lot please visit Bonhams.com

HISTORICAL IMPORTANCE: a Cromwellian silver portrait plaquette of William Lenthall'CT' unknown maker, probably Dutch circa 1653 Shaped-oval in form, intricately embossed in high and low relief, featuring a side view of the male bust with head turned facing right, staring outwards, the hair long and wavy, a plain Puritan shirt collar at the neck, the official robes of the 'Speaker of the Long Parliament' beneath, either a lion or devil's mask to his shoulder, 'CT' stamped under the truncated body, and in the background a chased foliate landscape within an elaborate cartouche border, ornamented with a skull, masks and two outstretched naked figures to the upper rim, width 7.6cm, height 8.9cm, weight 1oz.Footnotes:ProvenancePreviously held in several famous numismatic collections, including:The Montagu Collection of Coins, 'Catalogue of the Collection of Medals', sold Sotheby, Wilkinson & Hodge, London, Tuesday 25th May, 1897, Lot 233.The John G Murdoch Collection, 'Catalogue of the Valuable Collection of Coins and Medals - The Series of Scottish and Anglo-Gallic Coins', sold Sotheby, Wilkinson & Hodge, London, Monday 11th May, 1903, Lot 175.The Arthur Loebbecke Collection, 'Kunstmedaillen und Plaketten des XV bis XVII Jahrhunderts', sold Munich, 26th November, 1908, Lot 255.Spink & Son, sold London, 20th January, 1910, purchased by Vernon James Watney (24 October 1860 - 27 August 1928) of Watney Brewery fame, and owner of Cornbury Park, Oxfordshire. The plaquette comes with a letter of provenance from Spink to Vernon J. Watney, dated 1910.Thence by descent to the present owner.Biography of William Lenthall (1591-1662)William Lenthall, (born June 1591, Henley-on-Thames, Oxfordshire — died September 3rd, 1662, Burford, Oxfordshire), was an English Parliamentarian who, as Speaker of the House of Commons, was at the centre of repeated struggles between the Parliamentarians and Royalists during the English Civil Wars.Trained as a lawyer and called to the bar in 1616, Lenthall was chosen as Speaker of the House at the beginning of the Long Parliament, in November 1640. On 4 January 1642, King Charles I entered the House of Commons to arrest five Members of Parliament for high treason. Speaker Lenthall bravely defied the King to uphold the privileges of Parliament, refusing to reveal their whereabouts and uttering the infamous words 'May it please your Majesty, I have neither eyes to see nor tongue to speak in this place but as the House is pleased to direct me, whose servant I am here.' Lenthall believed in upholding the supremacy of the House of Commons and freedom of speech; as Speaker, he was a servant beholden to the House and not the King while within its walls. As such, Charles I had to leave without arresting the five Members, and no monarch has entered the House of Commons since then.During the Civil Wars Lenthall sided with Parliament, and upon the outbreak (1647) of the power struggle between the Presbyterians and Independents, he supported the Independents. At the same time he was probably secretly in sympathy with the Royalist cause. Lenthall continued as Speaker in the first Parliament (1654) held under Oliver Cromwell's Protectorate, and after the collapse of the Protectorate in 1659 he was speaker of the restored Long Parliament. Although he supported the Restoration of King Charles II in 1660, he was thereafter barred from public office. However, he soon regained royal favour by testifying against a man accused of participating in the trial and execution (1649) of Charles I.William Lenthall was therefore a remarkable man, not only intellectually astute but fearless. He survived twenty uninterrupted years as Speaker of the House, at a turbulent and violent time in British history. A period which bore witness to the execution of Charles I, the Civil War, the Interregnum years of Oliver Cromwell (1599-1658), and then the Restoration of Charles II as Monarch. This rare, silver uniface plaquette was commissioned around 1653 to possibly commemorate Lenthall's endeavours. However, it can be read in two different ways, either viewed as a celebration of his achievements and character, a lion's mask (how it had been traditionally described in past auction catalogues) on his shoulder symbolising his valour in defying the King; the border embossed with a skull, masks and naked figures, metaphorically illustrating that he had fearlessly risen above the temptations of evil, his moral integrity intact. Or alternatively, this plaquette can be viewed as an overt criticism of Lenthall, for on closer examination the lion's mask on his arm actually resembles 17th century imagery of the Devil.It is pertinent to note that Lenthall was viewed as a somewhat controversial figure, his political allegiance openly switching sides dependent on who was in power. An alternative reading therefore could be that this plaquette was created as an open condemnation of Lenthall, and that the mask on his shoulder was in fact a representation of Oliver Cromwell, who Royalists quite literally saw as the Devil incarnate. Lenthall was viewed by his enemies as politically 'in bed' with Cromwell, dancing to his tune, symbolised by the devil's mask on his shoulder and the dark imagery embossed around him. The common myth perpetuated, was that Oliver Cromwell had used satanic forces to win the Battle of Worcester in the English Civil War. In 1651, on the eve of the Battle of Worcester, Oliver Cromwell allegedly met Satan in Perry Wood. According to legend, he was granted seven years' prosperity in return for his soul, starting with his Civil War victory in 1653. At this point Oliver Cromwell was declared Lord Protector of the Commonwealth, which is interestingly around the time this silver plaquette was created. Nevertheless, with remarkable precision, the leader of England's only experiment in republican government died exactly seven years later, amid terrible storms, in September 1658.Simultaneously loved and loathed, Cromwell was seen by some as a revolutionary figure, freeing England from the absolutist Charles; others saw him as a regicidal, religious maniac who was one of the signatories of Charles I's death warrant. Cromwell was demonised in satirical illustrations by Royalist propagandists throughout the civil war period, their authors making fun of both Cromwell's appearance as well as his politics. After the restoration of the monarchy in 1660, Cromwell's body was exhumed and publicly hung. However, what cannot be denied is that Lenthall's survival strategy had worked. Despite walking a precarious ministerial tightrope, negotiating unimaginable parliamentary and civil unrest, he had prevailed over adversity and emerged triumphant; the consummate political player.Portraits of Lenthall as Speaker by Cornelius Johnson, Henry Paert and Van Weesop are to be found in the Palace of Westminster. The National Portrait Gallery also holds an anonymous portrait and a miniature likeness by Samuel Cooper.We would like to acknowledge Christopher Eimer for his assistance and expertise.LiteratureBritannica, 'William Lenthall, English politician', accessed 26/05/2023 via www.britannica.com/biography/William-LenthallBritish Library, 'Oliver Cromwell as the Devil', image 1660, accessed 12/06/23 via www.bl.uk/learning/timeline/item104116.htmlAndrew Thrush and John P. Ferris,'The History of Parliament: the House of Commons 1604-1629 - Willam Lenthall (1591-1662)', (published Cambridge University Press, 2010), accessed 26/05/2023 via www.historyofparliamentonline.orgPalace of Westminster, 'Speaker Lenthall defends Parliament', accessed 26/05/2023 via UK Parliament www.parliament.ukFor further information on this lot please visit Bonhams.com

OF GRAND TOUR INTEREST - A George IV amboyna, rosewood and rosewood marquetry table with an Italian early 19th century specimen marble and hardstone top The specimen top 1810-1820, the table 1820-1825 and possibly by William Atkinson The circular top with an overhanging lappet clasped moulded edge, inset with a circular marble slab comprised of a central malachite roundel encompassed by six concentric circles incorporating a total of one hundred and forty radiating segments of assorted marbles, hardstones and minerals, each segment within black marble tablet surrounds, the specimens apparently including: porphyry, porfido verde antico, jaune brocatello, rouge incarnat, Sicilian jasper, val d'aosta, pietra paesina, granito antico, lumachella, alabastro, rouge griotte, agate, onyx, portasanta, rouge languedoc, portoro, breccia taccagnina, petit antique, occhio di pavone and lapis lazuli, within a verde antico border, above a frieze inlaid with floral and foliate tendril inlay interspersed by six lappeted rosette applied block angles, three of the blocks with pendant lotus-leaf wrapped baluster shaped urn finials below, on three scrolled acanthus headed, acanthus wrapped and scrolled foliate carved monopodiae terminating in lion paw feet, the concave tripartite plinth base surmounted by a central stiff leaf clasped and knopped urn finial, each facade of the base inlaid with an ivy, honeysuckle and waved foliate tendril trail, terminating in three lotus leaf and scrolled honeysuckle carved scrolled corbel feet with recessed brass castors, approximate diameter of the inset specimen marble and hardstone top: 78cm; approximate diameter of the table top: 98cm; 75cm high approximately. Footnotes: Provenance The present lot was donated to the Tudor Lodge of Rifle Volunteers, No. 1838 by a former member of this Lodge, reputedly some time during the 1930s. The name of the donor who gifted the table to the lodge is not known, but it is believed that the member was a doctor or surgeon, who when moving house had no room to display it in his smaller residence. Since that time the table has remained as a display piece at the Tudor Lodge until only very recently. This Masonic Hall, which was established in 1879, is located in Wolverhampton, West Midlands (formerly Staffordshire). The lodge was consecrated in 1879 and its original members were officers in the local Wolverhampton militia tasked with maintaining lawful order within the area. The wonderful Italian early 19th century specimen marble and hardstone top which is inset into the offered table is of the exact same design as one which surmounted a Regency mahogany or padouk centre table sold in these rooms last year, Bonhams, New Bond Street, 29 November 2022, Fine Decorative Arts, lot 15. This is also the case with reference to the specimen marble slab forming the top of a rosewood centre table, dated circa 1820 and attributed to Gillows, which sold Christie's, London, 22 January 2009, Lord St. Helens and Sir William Fitzherbert, The Collections of a Diplomat and a Courtier, lot 550. Importantly each one of these three models incorporate a total of 141 different specimen segments organised in the exact same radiating pattern. During the early 19th century, a dealer called François de Sanctis, whose operation was based in Rome, was one of a number of retailers who sold colourful specimen table tops, just like the present model, to his largely 'Grand Tour' clients. One such top was evidently purchased from de Sanctis by R.W. Bland of Belfast. In 1826 this comparable was then exported from Leghorn. However, interestingly the documentation which accompanied this particular table top referenced the fact that it had in fact been made in Florence in 1817 and was inscribed: 'Pietre in Tavola Rotunda, Firenze'. It sold Christie's, New York, 29 January 1994, lot 305. Another closely related top is housed within the collection of what was formerly known as the London Geological Museum, but which has since been amalgamated with the Natural History Museum. This is very similar to the present example with a conforming lapis lazuli central medallion whilst a total of thirty-two of the different marble specimens therein have since been identified, one must assume by the Museum itself. A further Gillows table connected to the aforementioned Christie's models of this type, albeit one possibly commissioned by the Marquess of Zetland for St. Nicholas after he purchased the estate in 1813, sold from the collection of the late Lady Serena James, St. Nicholas, Richmond, Yorkshire, Christie's London, 16 May 2001, lot 260. A Regency brass inlaid brown oak centre table attributed to George Bullock (c.1777-1818), which has very closely comparable inlay to its top as appears on the offered lot, sold Christie's, London, 14 June 2001, Important English Furniture, lot 176. This specific inlay design also features on a teapoy possibly supplied to the Portuguese ambassador to London, Don Pedro de Souza e Holstein, 1st Duke of Palmella (d.1850), which sold Christie's, London, 6 July, lot 43. The pattern for the inlay on these related pieces, comprised of almost identical meandering English flowers and foliage to those on the present example, forms part of the collection known as the Wilkinson tracings. These tracings are the most important source relating to the output of George Bullock, and are housed at the City Museums and Art Gallery, Birmingham. They are compiled together in what is essentially a scrapbook comprising an assortment of engravings produced by Thomas Wilkinson either directly from or based upon designs by Bullock. This was evidently done in 1820 (which is the date of the inscription on its first page), and this is significant since it was two years after the latter's death, C. Wainwright et al, G. Bullock, Cabinet-Maker, 1988, London, pp.'s 13-14. Aside from the furniture made as part of the commissions undertaken at Tew, Cholmondeley, Blair Castle, Abbotsford, Scone and St. Helena, it is actually difficult to attribute any furniture directly to Bullock due to the limited archival evidence proving his involvement in other projects. This issue tends to be exacerbated by the fact that even only shortly after Bullock's death in 1818, a group of cabinet makers, furniture designers and architects, who were all influenced greatly by Bullock's output, appeared to establish themselves rapidly as his natural successors. These figures include Joseph Gandy, Richard Brown, George Morant,  the partnership of Banting and Son, and Richard Bridgens. There is a possibility that the above table might have been made by one of the last three figures or firms. However it seems possible, due to its fairly restrained design and prominent use of Wilkinson pattern inlays, to have been supplied either by Bullock's workshop (since it's recorded that this was still operating in the same capacity even a couple of years after his death), or it was instead executed by the cabinet maker William Atkinson. While Gandy and Brown were primarily architects, Bridgens tended to principally produce furniture in what he described as the 'Old English' style, which is often referred to as either 'Antiquarian' or somewhat disparagingly as 'Jacobethan revival'. For further information on this lot please visit Bonhams.com

Austin Osman Spare (British, 1886-1956)The Torment of Futurity; Illustration for The Starlit Mire signed with monogram and dated '09' (lower left)pen and ink on paper18 x 12.5cm (7 1/16 x 4 15/16in).Footnotes:ProvenanceWith Victor Arwas Gallery, London, where acquired by the present owner, 17 December 2014 Private Collection, South KoreaLiteratureJ. Bertram & F. Russell, The Starlit Mire, The Bodley Head, London, 1911, illustrated to face p. 4In 1908, Austin Spare began a professional involvement with John Lane (1854–1925), the publisher most firmly associated with Aubrey Beardsley, and English fin-de-siècle culture. Lane agreed to reprint Spare's political, privately published folio, A Book of Satyrs (London: John Lane, 1909), but he also pursued collaborative projects, such as The Starlit Mire. A series of philosophical aphorisms by J. Collingwood (1872–1934), a Professor of Physiology at the University of Dublin, and Russell Facey Wilkinson (1888–1968), later a respected Royal Physician, The Starlit Mire provided a rich source for Spare's decadent pen and ink work. Original drawings from the book rarely appear on the market, and the present lot is one of the few to include a self-portrait. Here a young Spare regards his own image in the form of Pan, whose goat horns were a favoured reference to the artist's Capricorn birthdate. Lower left, Spare's monogram echoes that of Albrecht Dürer, a mark of his increasing confidence and the comparison made by contemporary critics.We are grateful to Robert Shehu-Ansell for compiling this catalogue entry.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

BAYLY ADA ELLEN: (1857-1903) English novelist and supporter of women's suffrage who wrote under the pseudonym Edna Lyall. A.L.S., A. E. Bayly, one page, 8vo, Eastbourne, 5th July 1894, to Miss. Wilkinson. Bayly states that she has received 'a request to send my guitar for a few days to a possible purchaser' and continues 'As your sister may not use it perhaps you would kindly give it to the bearer. I hope to call & say goodbye tomorrow afternoon…..'  A few very light, minor stains and very slight traces of former mounting to the corners, otherwise VG

Fragments of a Zeppelin metal, boxed, shot down in 1916In the First World War Britain suddenly became vulnerable to aerial attack. Alf Wilkinson records a memorable turning-point in the battle against the Zeppelin menace.On the night of the 2-3 September 1916 Lieutenant William Leefe Robinson became the first pilot to shoot down a Zeppelin raider over Britain. He was immediately acclaimed as a hero and awarded the Victoria Cross. He was feted wherever he went, and received a bounty of £4,200 – an absolute fortune at the time. What was so special about Lieutenant Robinson’s action, and did he deserve a VC?We are used to talking about the Blitz during the Second World War but in 1914 nothing like aerial bombing had taken place before. It was only a few years since Bleiriot had managed to cross the Channel, and the old idea of Britain as an ‘island fortress’ was still strongly held. And yet, soon after the start of the war, the German Navy had bombardedeast-coast ports – especially Hartlepool – inflicting casualties. Count von Zeppelin had been developing airships since 1900 and both the German Navy and Air Force had ordered some, seeing them primarily as airborne reconnaissance, although one did bomb Brussels in August 1914. The Kaiser was very reluctant to order bombing of Britain, feeling that the reaction of neutral countries would have an impact on Germany

A late Victorian Cast Sterling Silver and Tortoiseshell Paper. Clip. Henry Wilkinson & Co (John Brashier) London 1892. 9cm wide.

Norman Wilkinson - 'The Silent Pool', 20th century etching, signed in pencil, 24cm x 32cm, within an ebonized frame, together with a similar etching by the same hand, 'Strathspey'.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

Henry Wilkinson - Fishing and Shooting, a pair of 20th century etchings, both signed and editioned in pencil, each 18.5cm x 22cm, both within stained wood and gilt frames.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A matched set of six Victorian silver-gilt Vine pattern fruit knives and forks,the knives by George Adams, London 1850, the forks by H. Wilkinson and Co., Sheffield 1869,the blades with a chased border of trailing vines, engraved with a crest. (12)The crest is that of Barker, Barnack, Barnake, Carroll, Hurd.

A mixed lot of silver items,various dates and makers,comprising: a sugar caster of octagonal baluster form, by James Deakin and Sons, Sheffield 1897, a Victorian chamberstick, by Henry Wilkinson and Co., Sheffield 1850, and a small pill box with import marks for London 1901, approx. weighable 9oz. (3)

A GOOD CASED .450 CALIBRE PERCUSSION PRESENTATION RIFLE BY JAMES WILKINSON & SON, 30inch sighted damascus barrel engraved with the manufacturer's details and fitted with blued rear leaf and ladder sights, border engraved case colour hardened breech with platinum vent, stamped with the serial no. 5939, border and finely scroll engraved bolted lock signed WILKINSON & SON, half stocked with crisply chequered fore-end and wrist, border and scroll engraved steel mounts, the butt with good traces of original blued finish, the trigger guard with fine pineapple finial and the tang engraved with the serial no. 5959, brass topped wooden ramrod, contained in its green baize lined case, with maker's trade label and complete with planished tin rifle flask, large cap tin with label, oil bottle, ball mould, flanged bullet mould, plain hollow back bullet mould, patch tin, wad tin, two-piece cleaning rod, secondary loading rod, printed loading instructions, turnscrew and key to the case, this of brass mounted mahogany construction, the lid inset with a large circular presentation plaque, PRESENTED BY THE British Government TO M: CHARLES LOUIS BENJAMIN GABRIE in acknowledgement of important Services rendered on occasion of the Wreck of the British Store Ship Enchantress FEBRUARY 20.21. 1861. Works well on FC and HC with a clean bright bore.

AN 1834 PATTERN GENERAL OFFICER'S SWORD TO GENERAL VILLIERS HATTON, 80.5cm blade by Wilkinson, serial no. 35791 for 1898, etched with scrolling foliage, crossed swords and batons, laurel wreaths, owner's name, maker's panel and EVIIR cyphers, regulation gilt hilt with two-piece riveted ivory grips, contained in its plated steel scabbard, some lifting, complete with chamois bag. Major General Villiers Hatton CB (1852-1914), commanding officer of 1st Bn Grenadier Guards, mentioned in despatches after taking part in the Nile Expedition in the Mahdist War, also Commander of the British troops in South China. Ivory Declaration Submission Reference TEB3Z92H

A GOOD 1897 REGIMENTAL PATTERN NORTHUMBERLAND FUSILIERS OFFICER'S SWORD, 82cm blade by Wilkinson, serial no. 39452 for 1902, etched with scrolling foliage, regimental motifs and battle honours, owner's initials MMC, EVIIR cypher and the Royal arms, regulation pierced plated hilt incorporating the Royal cypher and applied with the regimental badge, wire bound fishskin grip, contained in its plated scabbard. Sold with a small amount of research detailing Lieutenant Malcolm Methven Carlisle who joined the 2nd Battalion in January 1904 and died in May 1906.

A CLEAN EIIR 1897 PATTERN NCO'S SWORD, 82.5cm blade by Wilkinson, serial no. 79901 for 1958, regulation plated steel hilt incorporating a crowned EIIR cypher, wire bound fishskin grip, contained in its plated steel scabbard, complete with white knot.

A 1908 PATTERN CAVALRY TROOPER'S SWORD, 89cm fullered clean blade by Wilkinson with various Ordnance stamps at the forte and date November 1915, regulation black and tan painted steel bowl guard, ergonomic grip, contained in its dark green painted steel scabbard.

A GVR NAVAL OFFICER'S DIRK BY WILKINSON, 45.75cm blade etched with scrolling foliage, crowned fouled anchor, crowned GVR cypher and maker's panels, regulation brass hilt, lion's head pommel, wire bound fishskin grip, contained in its engraved brass mounted leather scabbard, the upper mount with owner's initials JLM, remnant knot.

THREE WILKINSON SWORD BLADES, the first with serial no. 8345 for 1857, Crimea and Indian Mutiny, the second 47979 for 1914-17, etched to the RASC, the last with nvn and of Scottish broadsword form and etched with the initials HW. (3)