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

A British Army 1907 pattern bayonet by Wilkinson, the straight fullered blade, in a metal mounted scabbard together with an American Remington 1917 bayonet and another bayonet

THREE GEORGE V SILVER SAUCEBOATS, LONDON, 1911, in typical Georgian style with three shell headed feet, a pair engraved with a crest and with flying C-scroll handles, Henry Wilkinson & Co. Ltd., 15cm long, the third similar but with attached scroll handle, Lambert & Co., 16cm long; 562gr

Assorted Collection of Silver Proof Coins, Specimen Sets and Currency, comprising: 9 x 'Silver Jubilee' silver proof crowns 1977, including examples from: Falkland Islands, Gibraltar, Guernsey, St. Helena, Jersey, Mauritius, the Seychelles, Tristan da Cunha, and the UK, encapsulated in Royal Mint/Spink & Son cases; Ireland 1 scilling 1966 '50th anniversary of the Easter Rising'; 5 x USA comprising: 'Morgan' dollar 1885O New Orleans Mint, EF; 'Peace' dollar 1924 AVF; 2 x half dollar 1982 '250th anniversary of the birth of George Washington'; and Eisenhower 1974 silver 3-coin set from $1 to quarter dollar, UNC; a Sir Winston Churchill silver commemorative medal, obv. facing bust above dates, rev. 'V for Victory' sign, Britannia hallmarks to edge; 11 x specimen sets: 2 x New Zealand 1977 7 coins from $1 to 1 cent, UNC; 4 x UK 'Britain's First Decimal Coins'; and 4 x USA proof sets 1974, 1975 and 1976(x2); a Victory Medal for Private A. Wilkinson, York & Lancaster Regiment; mixed commemorative coinage, including: 62 x cupro-nickel crowns, commemorative 50ps etc.; a very large quantity of cupro-nickel pre-decimal currency and copper coinage, gross weight circa 21kg; and Bank of England: 2 x £1 Series C, and 10 shillings Series C

3 x Provincial Banknotes, comprising: (1) Stockton & Cleveland Bank (Lumley, Wilkinson & Snowdon) £5 dated 19th October 1814, black and white, maiden sitting with cornucopia to left field, stamped to rev. 'In the matter of Robert Wilkinson, George Snowdon, and John Frederic Lumley, Bankrupt. September 1st, 1815. EXHIBITED TO USE C.A. FIELDING, JOSEPG FRANK, JOHN WARDELL, H.B.E. WRIGHT', numerous small pin holes otherwise near Fine or better; (2) Stockton on Tees Bank £5 dated 17th October 1889, cut-cancelled, light fold marks and pin holes, rev. taped, VG to about Fine; and (3) Darlington Bank £5 dated 22nd October 1895, cut-cancelled, discoloured, Fine

* Court Sword. A Victorian court sword, the 80 cm steel blade by H Poole & Co, Saville Row, London, etched with military trophies and foliate scrolls, cast brass shell guard depicting griffins, elaborate knucklebow, brass wire bound grip and knights helmet pommel, overall length 94 cm, with sword knot, in its black leather scabbard with brass mounts, together with another Victorian court sword by F.P Scholte, Saville Row, London plus an Elizabeth II period Masonic ceremonial sword by Wilkinson Sword LtdQTY: (3)

* Sword. A Victorian 1845 pattern infantry officer's sword, the 79.5 cm slightly curved steel blade by Landon, Morland & Landon, etched with VR cypher and scrolls (blade pitted and worn), brass guard with VR cypher and wire-bound fish skin grip, stepped domed pommel, overall length 93cm in an associated leather and brass scabbard by Wilkinson QTY: (1)

* Sword. A Victorian 1885 pattern cavalry troopers sword, the 85 cm slightly curved blade stamped Wilkinson, with steel guard pierced with Maltese cross, chequered composite grip, overall length 98 cm, in its steel scabbard (rusted and pitted)QTY: (1)

* Sword. A Victorian infantry officer's sword by Henry Wilkinson Pall Mall London, numbered 18113, the 82.5 cm slightly curved steel blade etched with VR cypher and scrolls, pierced brass guard with wire-bound fishskin grip and stepped pommel, overall length 97.5 cm long, in an associated steel scabbard QTY: (1)

* Swords. A 1912 pattern cavalry officer's sword by Henry Wilkinson numbered G0723, the 89 cm straight steel blade (later plated) with G.V.R. cypher, engraved steel bowl guard, wire-bound fish skin grip and stepped pommel, overall length 110 cm, together with another 1912 pattern cavalry officer's sword by Hawksworth of Sheffield, overall length 108 cm, in its brown leather scabbard (pitted throughout)QTY: (2)

* Swords. A Victorian 1821 pattern Royal Artillery officer's sword by Henry Wilkinson numbered 60637, the 87 cm slightly curved steel blade with traces of RA crest (pitted and worn), plated steel guard, wire-bound fish skin grip, overall length 104 cm, in its brown leather scabbard, together with another Victorian Royal Artillery sword by Henry Wilkinson, numbered 54107, plus an 1897 pattern sword by Henry Wilkinson, numbered 45446, both with brown leather scabbard QTY: (3)

* Fighting Knife. A 3rd Pattern Fighting Knife by Wilkinson Sword Co Ltd London, blackened steel, the 18 cm blade etched with the Wilkinson Sword trademark and E.II.R. royal coat arms, straight guard and steel chequered grip, overall length 30 cm, with brown leather scabbardQTY: (1)NOTE:The Willis Arthur Emery (1944-2022) Fighting Knife Collection.

* Fighting Knife. A Fairbairn-Sykes 3rd Pattern Fighting Knife by Wilkinson Sword Co Ltd London, the 16 cm blackened steel blade etched 'The F-S Fighting Knife' on the ricasso, the opposite side with the Wilkinson Sword trademark (indistinctly marked), steel straight guard and ribbed grip, overall length 28 cm QTY: (1)

* Fighting Knife. A Tom Beasley commando fighting knife by Wilkinson Sword Ltd, circa 1946, the 17 cm steel blade etched on a three-part banner 'Hand Forged by Tom Beasley The Famous Sword Smith of Stalingrad Sword Fame', the reverse with Wilkinson Sword Co Ltd trademark and 'Commando Fighting Knife World War 1939-1945', oval brass crossguard, amber celluloid grip and gilt metal top nut, 29.5 cm overall, in its leather and brass scabbardQTY: (1)NOTE:The Willis Arthur Emery (1944-2022) Fighting Knife Collection. Tom Beasley knives were produced between 1946 and 1947 to promote Wilkinson's 'Empire Razor' campaign. There are three versions of this knife with the 'three banner' being the first type. Tom Beasley joined Wilkinsons in 1884 and spent his entire career with the company forging blades for swords and knives. was a famous swordsmith who was commissioned in 1943 to make the "Stalingrad Sword" which was presented by King George VI to Joseph Stalin in honour of the Russian troop's defence of the city of Stalingrad. Tom Beasley knives were made for showroom displays.

* Fighting Knife. A Victory Series Presentation Fighting Knife by Wilkinson Sword Co Ltd London, the 18 cm blued steel blade etched with the Wilkinson Sword trademark and 'In Honour of World War II Victory In Europe 8 May 1945, the opposite side '" Mission Fulfilled" General Dwight D. Eisenhower' straight brass guard and brass chequered grip, overall length 30 cm, brown leather sheath QTY: (1)NOTE:The Willis Arthur Emery (1944-2022) Fighting Knife Collection.

* Fighting Knife. A WWII Fairbairn-Sykes 1st Pattern Fighting Knife by Wilkinson Sword Co Ltd London, the 17 cm blade etched 'The F-S Fighting Knife' on the ricasso, the opposite side with the Wilkinson Sword trademark, "S" guard and steel chequered grip, overall length 30 cm, with brown leather scabbardQTY: (1)NOTE:The Willis Arthur Emery (1944-2022) Fighting Knife Collection.

* Fighting Knife. A WWII Fairbairn-Sykes 2nd Pattern Fighting Knife by Wilkinson Sword Co Ltd London, the 17 cm blade etched 'The F-S Fighting Knife' on the ricasso, the opppsite side with the Wilkinson Sword trademark, straight guard and steel chequered grip, overall length 30 cm, with brown leather scabbardQTY: (1)NOTE:The Willis Arthur Emery (1944-2022) Fighting Knife Collection.

* Fighting Knife. A WWII Fairbairn-Sykes 2nd Pattern Fighting Knife by Wilkinson Sword Co Ltd London, the 16.5 cm blade etched 'The F-S Fighting Knife' on the ricasso, the opposite side with the Wilkinson Sword trademark, blackened brass straight guard and chequered grip, overall length 30 cm, with brown leather scabbardQTY: (1)NOTE:The Willis Arthur Emery (1944-2022) Fighting Knife Collection.

* Fighting Knife. A WWII Fairburn-Sykes 2nd pattern fighting knife by Wilkinson Sword London, the 17.2 cm blade etched with FS logo to one side and Wilkinson's to the opposite side, platted steel straight guard and chequered grip, 29.5 cm, brown sheathQTY: (1)

A mixed lot, comprising - a continental white metal bag clasp, 24.5cms, a 'giant' calendar pencil for 1939 'F. Chambers and Co. Ltd., The Pencil Works, Stapleford, Notts', 22.5cms in box, celluloid fan, Copenhagen porcelain twin bird group, 10.5cms, miniature wicker baskets, painted bowl, wooden box, Wilkinson Sword razor in bakelite case, together with a copy of Kearsley's Peerage, London 1804, two volumes bound as one, old leather and Debretts Correct Peerage, 1802, old leather, split. (15)

A First World War Officer's Dress Sword in leather covered wooden Scabbard with leather frog by Wilkinson Sword Co. Ltd

A 1907 Pattern bayonet with a 43cm pointed, single edged blade with fuller, marked to the ricasso with a Crown, 'Wilkinson' and various proof marks. With a two part wooden grip and steel pommel. In a leather and steel scabbard on a webbing frog and belt hanger. 58cm overall. *CR: A nice example showing signs of use and age related wear. *BP 22.5% (18.75% plus VAT) plus a lot fee of £8 inc. VAT on each lot.

A continental pistol with 22cm octagonal barrel with scrolling decoration by the breech, with a flintlock action lacking hammer, the walnut handle with carved decoration and copper butt plate, 38cm. A 19th Century 'Pepper Pot' pistol with six barrel rotating action, 18.5cm. A small pistol with 4.5cm circular barrel, flintlock action, marked to the sideplates Wilkinson, Bristol, 15cm. A percussion cap firing pistol with a 6.5cm circular barrel with underslung bayonet, lacking parts, 19cm. (4). *CR: 1st in poor condition lacking parts. 2nd with significant surface degradation and lacking parts. 3rd Action loose, sliding safety does not move, and degradation to handle. 4th lacking hammer. *BP 22.5% (18.75% plus VAT) plus a lot fee of £8 inc. VAT on each lot.

A Bayonet and scabbard with a 43.5cm single edged fullered blade with marks marks including 'Wilkinson' '19' 'X' and other proof marks, with a two part wooden grip and leather scabbard with green webbing frog. 68cm overall. *CR: signs of age and scuffs, a nice example. *BP 22.5% (18.75% plus VAT) plus a lot fee of £8 inc. VAT on each lot.

A British Army drummer's sword, Mark I, double edged blade 20.5 in., brass hilt with treffoil quillons, brass mounted leather scabbard; together with a 1907 pattern bayonet, by Wilkinson, steel mounted scabbard; and a continental side arm of 'briquet' type, broad curved blade 23 in., brass stirrup hilt, brass mounted leather scabbard. [3]

An English 12 bore pinfire double gun, twist browned barrels 29.5 in., flame burst engraving at pin apertures, top rib engraved 'JAMES WILKINSON & SON. LONDON', London proof, colour hardened and scroll engraved under lever action, scroll engraved back action locks, chequered straight hand stock, fore end with polished horn tip; in a fitted oak case with flush folding round handle to the lid engraved 'FRANCIS GAMBLE JUNR'; together with a steel and brass holder for six pinfire cartridges.

A Victorian silver and mother of pearl fruit knife, Henry Wilkinson & Co, Sheffield 1886, the mother of pearl handle with scrolled motifs around a cartouche engraved "REBECCA", 14.5cm long overall, with six further silver and mother of pearl fruit knives, to include an example with an engraved blade, 12.7cm long overall (7) (at fault)

Henry Moore O.M., C.H. (British, 1898-1986)Recumbent Figure bronze with a brown patina on a wooden base13 cm. (5 1/8 in.) long (excluding the base)Conceived in 1938 and cast in bronze prior to 1948, in an edition of 9Footnotes:ProvenanceMarion and Gustave Ring, Washington D.C.Private Collection, New YorkWith James Goodman Gallery, New YorkWith Waddington Galleries, London, 2004, where acquired by the family of the present ownersPrivate Collection, U.K.ExhibitedFlorence, Forte di Belvedere, Henry Moore, 20 May-30 September 1973 (another cast)Caracas, Museo de Arte Contemporáneo, Henry Moore; Esculturas, Dibujos, Grabados. Obras de 1921 a 1982, March 1983, cat.no.E85 (another cast)Washington D.C., Hirshhorn Museum and Sculptural Garden, Selections from the Collection of Marion and Gustave Ring, 17 October 1985-12 January 1986, cat.no.35 (this cast)Jerusalem, The Israel Museum, Focus on the Collection: Henry Moore, July 2004-March 2005, cat.no.8 (another cast)LiteratureRobert Melville, Henry Moore: Sculpture and Drawings, 1921-1969, Thames and Hudson, London, 1970, p.100, cat.no.174 (monumental stone version illustrated, pp.100-101)Franco Russoli and David Mitchinson, Henry Moore Sculpture, With Comments by the Artist, London, Arthur A. Bartley, 1981, p.74, cat.no.121 (col.ill., another cast)Exh.cat., Henry Moore; Esculturas, Dibujos, Grabados. Obras de 1921 a 1982, Museo de Arte Contemporáneo, Caracas, 1983, p.100, cat.no.E85 (col.ill, another cast)Virginia Wageman (ed.), Selections from the Collection of Marion and Gustave Ring, Smithsonian Institution Press, Washington, D.C., 1985, cat.no.35, (coll.ill., as Reclining Figure)David Sylvester, (ed.), Henry Moore: Complete Sculpture, 1921-1948, Lund Humphries, London, 1988, Volume 1, p.11, cat.no.184 (monumental stone version illustrated, pp.112-113, no. 191)It is alleged that James Bolivar Manson, director of the Tate Gallery between 1930 and 1938, once said 'Over my dead body will Henry Moore ever enter the Tate'. Yet just one year following his retirement, the Tate (under the directorship of John Rothenstein) gladly accepted Moore's large green Hornton stone carving Recumbent Figure of 1938. Of all Moore's work perhaps, this carving (for which the present work is a maquette) came to symbolise not just Moore's output but to act as shorthand for modernity in 20th Century Britain.Recumbent Figure was commissioned by the architect Serge Chermayeff, who was building himself a modernist home on the Sussex Downs. The carving was to be positioned at the intersection of Chermayeff's terrace and garden, the connection point between his contemporary architecture and the ancient rolling countryside beyond. Moore recalled 'My figure looked out across the great sweep of the Downs and her gaze gathered the horizon. The sculpture had no specific relationship to the architecture. It had its own identity and did not need to be on Chermayeff's terrace, but it so to speak enjoyed being there, and I think introduced a humanising element; it became a mediator between modern house and ageless land' (Henry Moore in Sculpture in the Open Air, British Council film, 1955, transcript reprinted in Alan Wilkinson (ed.), Henry Moore: Writings and Conversations, Aldershot 2002, p.258–9).Chermayeff ran into financial woes, and Recumbent Figure was returned to the artist, from whom it was purchased by the Tate in 1939. The carving was immediately shipped to New York to be showcased at the British Pavilion of that year's World's Fair, and due to the outbreak of war this intended brief excursion turned into a several-year-long stay. The work was displayed at MOMA and this unplanned circumstance greatly bolstered Moore's reputation in North America. The museum's director wrote in 1946 'It was with great regret that we saw it leave. It had won wide esteem among the museum visitors.' (John James Sweeny, letter to John Rothenstein, 7 March 1946, Tate Public Records TG 4/9/568/1).Following Recumbent Figure's return to the UK, the carving was featured in Battersea Park's first open-air exhibition, where again it drew much attention. Vogue magazine featured the work across its pages alongside sharply dressed models, appropriating Moore's carving as a symbol of the newness so appreciated by its fashion forward readership. In contrast, cartoonists satirised the figure, and in this context the carving's status as a modern icon was subverted to poke fun at politics of the day. Through such broad exposure the carving soon became one of the most famous modern works within the Tate's collection, a status confirmed when its image was included prominently as part of the tiling display at Pimlico station.At the time Moore carved the four-and-a-half-foot Recumbent Figure it was his largest and most ambitious work to date and only made possible by his recent move from Hampstead in London to Burcroft in Kent. The larger studio-space, ability to work outdoors and the hiring of Bernard Meadows as an assistant enabled Moore to increase the scale of his work substantially. To aid this new practice Moore produced a maquette for Recumbent Figure in clay. This is the first time in his career that he adopted a method of scaling up, which would become a mainstay of his sculptural practice thereafter. Meadows recalled that he and Moore attempted, unsuccessfully at first, to cast the clay maquette to lead in a meadow field at Burcroft. Moore subsequently cast the clay to a bronze edition in 1945, to which the present cast belongs.Not only does Recumbent Figure represent one of Moore's earliest maquettes, most importantly it possesses one of the earliest instances of piercing the form, a major development of a highly important device the artist would frequently draw upon throughout his career. Speaking of this progression at the time, Moore stated that 'The first hole made through a piece of stone is a revelation. The hole connects one side to another, making it immediately more three-dimensional. A hole can have as much shape-meaning as a solid mass. Sculpture in air is possible, where the stone contains only the hole, which is the intended and considered form' (Henry Moore, 'A Sculptor Speaks', Listener, 18 August 1937, pp.338–40).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 Figures signed and dated 'Moore/39.' (lower right)pencil, crayon, chalk, watercolour, pen and ink on paper laid on thick card25.7 x 43.6 cm. (10 1/8 x 17 1/8 in.)HMF1426Footnotes:ProvenanceRoger Senhouse, London With Redfern Gallery, London Lew KaplanWith Lefevre Gallery, LondonPrivate Collection, U.K.ExhibitedBrussels, Palais des Beaux-Arts, Henry Moore: Sculptures et Dessins (organised by the British Council), 1949-50, cat.no.71; this exhibition toured to Paris, Musée d'Art Moderne, Amsterdam, Stedilijk Museum; Hamburg, Kunsthalle; Düsseldorf, Städtische Kunstsammlung; Berne, KunsthalleLondon, Tate Gallery, Sculpture and Drawings by Henry Moore, 2 May-29 July 1951, cat.no.101Berlin, Schloss Charlottenburg, Moderne Englische Zeichnungen und Aquarelle, 1951-52, cat.no.38; this exhibition toured to Vienna, Graphische Sammlung Albertina; Linz, Neue Galerie de StadtHanover, Kestner-Gesellschaft, Henry Moore, 1953-54, cat.no.43; this exhibition toured to Munich, Haus der Kunst; Frankfurt, Städelisches Kunstinstitut; Stuttgart, Staatsgalerie; Mannheim, Städtische Kunsthalle; Bremen, Kunsthalle; Göttingen, Stadverwaltung Göttingen; Berlin, Der Senat für VolksbildungRye, Rye Art Gallery, Henry Moore, 10 April-4 May 1968, cat.no.31London, Lefevre Gallery, Small Bronzes and Drawings by Henry Moore, 30 November-23 December 1972, cat.no.42LiteratureRobert Melville, Henry Moore: Sculpture and Drawings 1921-1969, Thames and Hudson, London, 1970, pl.219 (ill.b&w)Alan Wilkinson, The Drawings of Henry Moore, Garland, London and New York, 1984, p.286, pl.210 (ill.b&w)Ann Garrould (ed.), Henry Moore: Complete Drawings 1930-39 (Volume 2), The Henry Moore Foundation in association with Lund Humphries, London and Much Hadham, 1998, p.232, cat.no.AG39-40.14 (ill.b&w)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)Forms in Space signed and dated 'Barbara Hepworth 1946' (lower right)pencil, gouache and crayon on gesso-prepared board23.5 x 28.9 cm. (9 1/4 x 11 3/8 in.)Footnotes:ProvenanceWith Piccadilly Gallery, London, April 1964, where acquired by E. SommerTheir sale; Christie's, London, 10 June 2005, lot 103, where acquired by the family of the present ownersPrivate Collection, U.K.The present work is catalogued as D 84 A in the forthcoming catalogue raisonné of Barbara Hepworth's paintings.The 1940s were the most prolific decade for Hepworth in terms of drawings, for having moved to Cornwall in 1939 with Ben Nicholson and their three triplets, she spent less time carving but made, in her words, 'innumerable drawings in gouache and pencil' (Barbara Hepworth quoted in Alan Wilkinson, The Drawings of Barbara Hepworth, Lund Humphries, Farnham and Burlington, 2015, p.59). Kept busy by the domestic necessities of their three children, the drawings were an important outlet for her creativity, as she wrote in a letter to E. H. Ramsden in 1943: 'If I didn't have to cook, wash-up, nurse children ad infinitum, I should carve, carve, carve. The proof of this is in my drawings. They are not just a way of amusing myself nor are they experimental probings – they are my sculptures born in the disguise of two dimensions.' (Ibid., p.69). Hepworth was indeed very productive in creating these abstract drawings during this period, a way of overcoming the historic difficulties of juggling motherhood with furthering her artistic career which were hampered yet further by the scarcity of food and materials during the Second World War, with rationing continuing in Britain until 1954. The present lot, created in 1946, stems from this challenging time. Determined and exceptionally hard-working, Hepworth would endeavour to work through illness or difficulty many times in her life, noting too the societal disadvantages that she often had to fight against as a sculptor: 'I am constantly plagued by this 'little woman' attitude'. Not only did these drawings allow her a creative outlet, but they also sold well, with examples bought by close friends who visited her in Carbis Bay, including C.S. Reddihough, Margaret Gardiner, John Wells, Alastair Morton and others. Indeed a letter detailing a visit from Jim Ede in 1944 shows just how desperate times could be: 'Jim was charming - so nice to the children & so refreshing to be with. He enjoyed all the work, the stones, the shells & crystals & he's lent us a delightful deep blue Miro which looks wonderful in the studio with the sculptures. He bought 3 little paintings of Bens & though he may not realise it completely saved our life - we were at bottom & could not pay either school bills or grocer!' (Barbara Hepworth quoted in Eleanor Clayton, Barbara Hepworth: Art & Life, Thames & Hudson, London, 2021, p.112). Hepworth's approach to these drawings was one of an exploration of ideas, but they were not works that she relied upon for the creation of a particular sculpture, in comparison to Moore's reliance on preparatory drawings. She noted that: 'These drawings I call 'drawings for sculpture'; but it is in a general sense – that is – out of the drawings springs a general influence. Only occasionally can I say that one particular drawing has later become one particular sculpture' (Barbara Hepworth, quoted in Alan Wilkinson, op. cit., p.59). Similarities and ideas stemming from this drawing can be seen however in sculptures such as Pendour, 1947 (Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington DC), and Pelagos, 1946 (Tate, London).The present lot, Forms in Space, has a crispness and definition which is particularly satisfying: a twist of pencil lines convey the tension of strings, tightly radiating out from a curved arc near the centre, which would have been drawn using a ruler and compass. The sculptural shape in the centre of the work emerges from a blue-grey background, flecked and varied, as though the rippling waves of an incoming tide, seen through a veil of mist. Smoothed onto the shapes of the form are shades of white, grey and blue, contrasted with bright areas of sky-blue and yellow. Always intimately connected to the natural world which surrounded her in Cornwall, the sculptures and related drawings of this time had a particularly poetic resonance for Hepworth: 'I used colour and strings in many of the carvings of this time. The colour in the concavities plunged me into the depth of water, caves, or shadows deeper than the carved concavities themselves. The strings were the tension I felt between myself and the sea, the wind or the hills'. (Ibid., p.71).The drawings of the 1940s were for Hepworth then an important outlet, a lifeline for her creative impulses and a vital source of income when domestic duties limited her ability to carve. Always in tune with the landscape around her, she deeply felt and absorbed the inspiration that came to her from the sky, waves, and land that rolled through and around the Cornish peninsula. Independent, finished art works in their own right, these drawings are a special testament to her resolute determination to work whatever the circumstances, and Forms in Space is an important example of this.We are grateful to Dr. Sophie Bowness for her kind assistance with the cataloguing apparatus for the present work.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

1788 John Wilkinson Iron Master token. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

1792 John Wilkinson iron master token. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

SPORT, good selection of part sets & odds, inc. football, Newcastle United (150), Tops, Cadet, Francis, Barratt, Bassett, The Sun, Wilkinson, Thomson, Fosse; rugby, Motte Cordonnier, Gilbert, Pattreiouex, Daily Telegraph, phonecards, matchbox labels etc., G to EX, 520*

MIXED SPORTS, photos, inc. signed, Jim Watt, Audley Harrison, Alan Minter, Horace Notice, Herbie Hide; unsigned, Paul Carberry, Frankie Dottori, Jamie Osborne, Dan Luge, Johnny Wilkinson, Bill Beaumont, Lawrence Dallaglio etc., mainly 8 x 10 and smaller, VG to EX, 50*

Seven various mortice chisels: including one by Wilkinson, three with MOD issue broad arrow stamp, together with two other chisels.

A Victorian silver presentation milk jug and sugar bowl (Christening set), both engraved vacant oval cartouche with ribbon tied wreath style framing, gilt interiors, hallmarked by Henry Wilkinson, Sheffield, 1881 together with a matched George V silver spoon, Sheffield, 1915, approx 4.75 ozt (147.8 grams) 

A .450/.455 WILKINSON-WEBLEY MODEL 1911 TARGET REVOLVER, serial no. 128810, for 1913, with blued 7 1/2in. barrel, blade fore-sight. drift adjustable rear-sight blade, the top of barrel signed 'WILKINSON GUNMAKERS PALL MALL LONDON S.W.', the left side of top-strap marked 'WILKINSON WEBLEY '11', break-open frame with quick-release fluted six-shot cylinder, the right side of frame with the Webley 'winged bullet' trademark, 'WEBLEY PATENTS' and the serial number, double-action mechanism with chequered trigger blade and spurred hammer, flat-heeled chequered walnut grips, the left inset with a white metal oval escutcheon and lanyard swivel at heel, the trigger guard bow engraved with the Wilkinson number '3985', much finish remaining. S5 - Sold as a Section 5 Firearm under the 1968 Firearms Act, Sections 7.3 and 7.1 Eligible.Unless prior arrangement has been made, two weeks after the Sealed bid sale, all Section 5 (and Section 7.1 / 7.3) items will be moved to a Section 5 carriers where storage charges will be incurred.Goods will not be released until all outstanding charges have been met. Collection will be by arrangement.

A .450 (BOXER) WILKINSON RETAILED TRANTER REVOLVER, serial no. 55131, circa 1870 and of the so-called 'long pear extractor' style, with nickel plated 4in. octagonal barrel, crescent fore-sight, the top-flat signed 'WILKINSON & SON, PALL MALL, LONDON', engraved band at muzzle, scroll engraving at throat, borderline and scroll engraved solid frame with side loading gate, plain cylinder with carved rope-band to leading edge, double-action mechanism (trigger return spring weak or broken) and chequered walnut semi saw-handled one-piece grip numbered '4222' and with lanyard ring and lanyard at heel, retaining a fair amount of faded plating throughout, complete with a period patent leather full-flap holster (finish degraded). S5 - Sold as a Section 5 Firearm under the 1968 Firearms Act, Sections 7.3 and 7.1 Eligible.Unless prior arrangement has been made, two weeks after the Sealed bid sale, all Section 5 (and Section 7.1 / 7.3) items will be moved to a Section 5 carriers where storage charges will be incurred.Goods will not be released until all outstanding charges have been met. Collection will be by arrangement.

A GOOD EDWARD VII PATTERN 1897 INFANTRY OFFICER'S SWORD BY WILKINSON, numbered '41989' for 1909, with 32 1/4in. nickelled steel blade fullered on each side and etched both sides with scroll-work and royal cyphers, ricasso with brass 'proved' plug, with 'HENRY / WILKINSON / PALL MALL / LONDON' over, numbered to the blade back, nickelled steel basket guard and hilt, black fish-skin grip bound with white metal wire, black painted leather scabbard with nickelled steel throat, black leather sword-knot, a few stains and rust marks to the blade edge, a little wear to the grip and some grazing to the scabbard; together with research provided by Wilkinson Sword advising it was completed for an S Rayner of 6th Durham Light Infantry on 17 August 1909. This bladed product is not for sale to people under the age of 18. By bidding on this item you are declaring that you are 18 years of age or over.Please be aware that we are unable to send edged weapons or bladed products by postal courier to a UK residential address (Offensive Weapons Act 2019)

A NAMED PATTERN 1822 ROYAL ARTILLERY OFFICER'S SWORD BY WILKINSON TO AN OFFICER IN THE CINQUE PORTS ARTILLERY VOLUNTEERS, serial number 30952 for 1891, with 34 3/4in. nickelled steel single-edged blade fullered on each side, etched both sides with Royal Artillery cyphers and 'PRESENTED TO / CAPT. H.H. ROGERS R.A. / ON HIS RETIREMENT AS ADJUTANT / AS A / TOKEN OF RESPECT' plus 'BY THE / STAFF SERGEANTS & SERGEANTS / OF THE / 2nd C.P.A.V. / JANUARY 1893', ricasso with brass 'proved' plug with 'HENRY / WILKINSON / PALL MALL / LONDON' over and numbered on the blade back, steel three-barred guard and hilt, black fish-skin grip bound with white metal wire, together with its steel scabbard with brass throat and two suspension loops; together with research from Wilkinson Sword stating the sword was completed on 22 June 1891 and sold to Army & Navy Co-op stores; Rogers was present at Tel-el-Kebir in 1882. This bladed product is not for sale to people under the age of 18. By bidding on this item you are declaring that you are 18 years of age or over.Please be aware that we are unable to send edged weapons or bladed products by postal courier to a UK residential address (Offensive Weapons Act 2019)

A .550 PERCUSSION DOUBLE-BARRELLED RIFLED ORDNANCE CARBINE BY WILKINSON, LONDON, no visible serial number, circa 1850-55, with 22in. side-by-side browned damascus barrels, dovetailed blade fore-sight, broad plain top-rib signed 'WILKINSON, LONDON', rear-sight of one standing notch and three folding leaves, borderline engraved colour hardened top-tang, borderline engraved colour hardened bar-action locks signed 'WILKINSON', sliding safes behind the slab-sided colour hardened hammers, walnut half-stock chequered at the wrist, the left hand side of butt stamped with an inverted Board of Ordnance letter and arrow mark, repeated on the underside of fore-end (both possibly spurious), borderline engraved iron furniture including raised pistol-grip lower tang with chequered tip, captive pan-headed iron ramrod, much original faded finish and colour remaining.

A GOOD CASED 54 BORE TRANTER FOURTH MODEL DOUBLE-ACTION PERCUSSION REVOLVER, RETAILED BY WILKINSON, CIRCA 1865, serial no. 19,929T, with 6in. octagonal Birmingham proofed barrel having some engraved line decoration at muzzle, the breech strap engraved 'WILKINSON & SON, PALL MALL, LONDON" enclosed within borderlines, the left-side of the barrel fitted with Kerr's patent rammer, and on the right barrel lug Tranter's patent horizontally pivoting arbour latch, borderline engraved frame fitted with a bolt safety, and engraved 'No 19,929T, five shot cylinder having the usual Tranter roped decoration to front edge, chequered one piece walnut grips, with domed oval butt-cap, in its blue baize lined and partitioned oak case the front with inset brass locking hooks, and the lid with brass escutcheon, metal corner edges have been added at a later date, accessories include; a 54-bore double cavity brass mould, a copper bodied powder flask, nipple key, wad puch and oil bottle, the revolver has most of its deep charcoal London blue finish, probably done by Wilkinson when new.

Norman Wilkinson (1878 - 1971) British Marine Painter, 'Cargo Ship Unloading', Watercolour with Gallery label verso, 53 x 36cm (excl. frame), F & G, A/F

A Victorian silver inkwell, with octagonal dish stand, cut glass bottle and hinged cover, Henry Wilkinson & Co, Sheffield 1864, 8.04toz weighable silver, 19 by 9cm high overall.

An Elizabeth II British ceremonial diplomatic service uniform, post 1957, comprising: dress coat with gilt mounted Royal Arms buttons and black velvet facings, the collar edged with gilt oakleaf lace; companion trousers with gold oakleaf lace stripes; a fine black silk bicorne hat with gold bullion insignia, by Henry Milbourne & Sons of Saville Row; white gloves; a Diplomatic court sword by Wilkinson, with gilt hilt having shell guard and brass pommel, the 81cm long blade etched to both sides with scrolling foliage, EIIR cypher, and makers mark, having outer black waterproof carrying case, gold wire sword knot, and sword strap Please refer to department for condition report

* HENRY WILKINSON (BRITISH 1921 - 2011) CURLERcoloured etching on paper, signed and numbered 32/100image size 25cm x 35cm, overall size 48cm x 59cm Mounted, framed and under glass.

DEREK WILKINSON (1929-2001) A framed and glazed artists proof embossed print 'The meeting of the waters.' Pencil signed. Image size 49cm x 37cm

Pair of William IV silver candlesticks, Sheffield 1836, made by HY Wilkinson & Co  Condition report Clear hallmarks, minor surface abrasions, some tarnishing, small indentation on base, two holes on Acanthus leaves knop overall  in good condition

Wilkinson officers sword, slightly curved single edged blade, etched with floral decoration crowned GR cypher, three bar hilt, wire bound fish skin grip, leather bound scabbard and brown leather belt and frog, 82cm bladeCONDITION REPORT:The Wilkinson's sword is in very good condition, serial No. 23299 on the spine.  Leather scabbard with wear and tear - rubbing to leather surface.  Sword blade has some areas of corrosion - see additional photographs of the worst affected areas, on the spine and to one side of the blade.

A George I silver punch ladle, London, 1723, James Goodwin, the rounded bowl to a turned wooden handle, 36.7cm long, together with a pair of smaller Victorian toddy labels, Sheffield, Henry Wilkinson & Co., with twisted baleen handles, 20.5cm long (3)Please refer to department for condition report

A 19th Century Naval officer's sword by Henry Wilkinson, ray skin grip with lion pommel, 78cm blade, an early iron basket sword and a bayonet, A/F. (3)

A 19th Century officer's dress sword by Henry Wilkinson London, VR cypher to 83cm blade, pierced brass basket and wire grip, with leather scabbard.

A 19th Century officer's dress sword by Henry Wilkinson Pall Mall London, engraved 82cm blade, with brass mounted steel scabbard and shield mount for Wilkinson, pierced guard and ray skin grip.

A Clarice Cliff Lynton shape cheese dish and cover circa 1936, hand painted with flower heads with green and brown banding, A.J. Wilkinson mark only.

A Clarice Cliff cake stand, hand painted in the green Sundew pattern with stylised flower heads in green and pink, width 26.5cm, together with a Wilkinson twin handled vase, jug and soup dish in the matching pattern also four other Lynton soup bowls in the Honeydew pattern with green and pink stylised flower heads, various printed marks. (8)

Norman Wilkinson, British (1878-1971) "Single Handed," etching, signed  approx. 25cms x 32cms (10" x 12 1/2"), framed. (1)

A Clarice Cliffe Rhodanthe pattern Wilkinson Ltd pottery jug, 16cm highLocation:

Folding Maps. Cary (John), A New Map of Kent divided into lathes, and subdivided into hundreds, exhibiting its roads, rivers, parks &c., 1806, engraved map with contemporary outline colouring, sectionalised and laid on linen, slight staining, 490 x 550 mm, contained in a contemporary marbled card slipcase with publisher's labels to the verso and recto, slipcase a little stained and worn, together with Smith (C.). A New Map of the County of Surrey, divided into hundreds, 1827, engraved map with contemporary outline colouring, sectionalised and laid on linen, very slight staining, 460 x 505 mm, contained in a contemporary linen slipcase with printed label to the upper cover, with Bowen (Emanuel). An Accurate Map of the County of Surrey divided into its hundreds..., Carington Bowles, Robert Wilkinson and Robert Sayer, circa 1765, engraved map with contemporary outline colouring, sectionalised and laid on linen, some staining, some splits along old folds, 535 x 715 mm, contained in a contemporary marbled card slipcase with publisher's labels to the verso and recto, slipcase worn and frayed, plus Agas (Ralph). Civitas Londinium. A Survey of the Cities of London and Westminster, the Borough of Southwark and parts adjacent..., by William Henry Overall, Librarian to the Corporation of London, The Facsimile by Edward J. Francis, Adams and Francis, Edward Stanford, 1884, thirty-page pamphlet of descriptive text, folding uncoloured lithographic panorama, sectionalised and laid on later linen, heavily toned overall, 740 x 1880 mm, marbled endpapers, contained in a contemporary cloth slipcase, with another three folding maps by or after Ordnance Survey and Adam and Charles Black, various sizes, good conditionQTY: (7)

* Bird (Cyril Kenneth, pseud. 'Fougasse'). Careless Talk Costs Lives, circa 1940, three colour lithographic posters, each approximately 320 x 200 mm, together with Wilkinson (Norman). A Few Careless Words may end in this, H. M. Stationery Office, circa 1940, colour lithographic poster, 375 x 245 mm, plus Warning. Thousands of Lives were lost in the last War because valuable information was given away to the Enemy through Careless Talk. Be on your Guard. H. M. Stationary Office, circa 1940, red & black poster, 380 x 250 mm, and another three similar World War II propaganda and instructional posters, each approximately 360 x 240 mm, good condition QTY: (8)

A George V 1897 pattern Infantry Officer's sword by Henry Wilkinson 32 1/2" straight fullered blade, etched on both sides with crowned arms and signed Henry Wilkinson Pall Mall London, numbered 54206, the hilt with wire bound shagreen grip and pierced and engraved guard with GVR cypher, plated scabbard, outer waxed canvas carrying caselength 103cm.Condition:Some marks to blade and small areas of corrosion/ pitting. Plating to scabbard blistering / corroded with loss to some areas, outer waxed canvas case worn

A Victorian 1845 pattern infantry officer's sword by Wilkinson 32 1/2"straight fullered blade, etched on both sides with crowned VR cypher signed Henry Wilkinson London, numbered 5709, regulation hilt with folding side guard, wire bound shagreen grip and knot, brass scabbardoverall length 99.5 cm.Condition:Some minor oxidation to blade. Knot very distressed and worn. Scabbard with dents and knocks