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TIMOTHY SHAY ARTHUR: THE ORGAN BOY AND OTHER STORIES AND POEMS, London, George Routledge, [ND], inscription dated 1872, coloured frontis, sexto-decimo, original decorative cloth gilt, re-cased + ANON: RIGHT IS RIGHT PART THE FIRST [-SECOND], London, Groombridge & Sons, circa 1850, wood engraved frontises, vignette title pages, bound in with ANON: DAVID ALLEN, A VILLAGE TALE, London, Groombridge & Sons, circa 1850, wood engraved frontis, vignette title page, 24mo, original cloth gilt, all edges gilt, + [GEORGINA MITFORD ANGRAM]: THE EAST INDIANS AT SELWOOD, OR THE ORPHANS HOME, London, Darton & Harvey, 1834, 1st edition, engraved frontis, 6 plates, 12pp adverts at end, duo-decimo, original roan backed boards + CAMILLA CROSLAND: THE YOUNG LORD, AND OTHER TALES, TO WHICH IS ADDED, VICTORINE DUROCHER BY MRS [MARY MARTHA] SHERWOOD, London, 1849-50, 1st edition, added engraved title, frontis, duo-decimo, original pictorial boards rebacked + WILLIAM S MARTIN: OUR SCHOOL DAYS, edited Charles Sumner Harrington, London, James Nisbet, 1869, 1st edition, 4 engraved plates, 4pp adverts at end, sexto-decimo, original cloth gilt soiled, 3 copies on COPAC (5)
ANON: SELECT STORIES, A COLLECTION OF SHIPWRECKS, ANECDOTES AND ADVENTURES, London, 1838, new edition, wood engraved frontis, duo decimo, original blind stamped cloth gilt, all edges gilt, plus JOHANN DAVID WYSS: THE SWISS FAMILY ROBINSON IN WORDS OF ONE SYLLABLE, ARRANGED AND ADAPTED FROM THE ORIGINAL STORY BY I F M [ie ISABELLA FYVIE MAYO], London, Cassel, Petter & Galpin [1874], 8 coloured plates including 2 by Walter Crane, 4pp adverts at end dated 7a.1.74, original cloth gilt, plus J H FORBES "ARTHUR LOCKER": ON A CORAL REEF, THE STORY OF A RUNAWAY TRIP TO SEA, London, [1874], 2nd edition, 8 plates, 4pp adverts at end dated 7a.10.74, original pictorial cloth gilt (3)
An Italian carved and painted wooden Monts Alvat (King Arthur) chess set, by Anri of Italy, in maple wood, depicting characters from the Arthurian legends including King Arthur and Guinevere as King and Queen, knights on rearing horses, circular towers as rooks and foot soldiers as pawns, the king 10¾in. (27.25cm.) high, the queen 10in. (25.3cm.) high, the pawns 6¾in. (17.2cm.) high; together with a good quality square rosewood and bird's eye maple chess table, on a short gun barrel column to four brass strung swept rosewood legs, on brass cap casters, 40in. (101.5cm.) square. (33)
Various Dictionaries of Artists including A Dictionary of Artists Who Have Exhibited Works In The Principal London Exhibitions From 1770 to 1893 by Algernon Graves, F.S.A. (1969), Dictionary of British Art Volume VI 20th Century Painters and Sculptors by Frances Spalding (1991), A Dictionary of Contemporary British Artists, 1929 by Bernard Dolman (1981), British Profile Miniaturists by Arthur Mayne (1970), The Dictionary of British Artists Working 1900-1950 by Grant M. Waters (1975), Dictionary of Victorian Painters by Christopher Wood (1978)
Instrumental records, 10 in: Sixty-four, by R. Dolmetsch, Gomez, Horowitz, Hambourg, Ionescu, Meger, Moiseiwitch (11), Rachmaninov (11), Stavenhagen, Stab and others; twelve organ, by Cunningham, Sittar, Viders, Dupré, Bret, Glahn, Vierne (Odeon 166147) and others; and 70 orchestral, by Arthur Wood, Haydn Wood, Eric Coates, John Ansell and others (147, in L34 and a carton)
John Sinclair (British, 1872-1922) Ascot 1822 Oil on canvas, 53” x 84” $30,000. – 50,000. The image above depicts the King’s Stand at Royal Ascot as recorded in an etching by James Pollard in 1822. The original drawing was given to the British Museum by Arthur Du Cane in 1933 along with a large collection of Pollard’s original etchings and drawings. John Sinclair transformed Pollard’s etching into this large, spirited painting which captures the horses and jockeys as they reach the winning post. Pollard captured the frenzied crowd in the grandstand and the royal patrons as they took in the Ascot races from the King’s Stand, a precursor to the Royal Enclosure that henceforth has become a permanent fixture at the Ascot Heath races. The history surrounding the conception and construction of the King’s Stand is a sordid affair, as are many of the accounts that accompany the reign of King George IV. King George IV began to set his mark as sovereign upon his reign and its pleasures. Ascot received the Royal attention and the man whose taste was so splendidly elegant and whose morals were so gross, brought to Ascot the atmosphere which sets it apart from all other racecourses. First, he had constructed for himself a new Royal box designed by architect than John Nash—responsible for Buckingham Palace, Regent Street and the Nash Terrace of Regents Park. The New Stand was described in The Sporting Magazine as: These races have for many years been distinguished above all others in the kingdom by the immediate patronage and presence of the Sovereign; hence forward however they will be still more identified with Royalty by the erection of a Royal Stand a substantial building of brick and stone calculated to endure for ages, this regal sporting box has been erected immediately opposite to the grand stand. It is a square stuccoed building of two stories and each story is divided into two apartments. One of these is elegantly furnished for the use of his Majesty and the Royal family the other is also handsomely furnished for the attendants…The exterior of the building in front has a handsome appearance. The basement story is of stucco rusticated horizontally and from this springs a series of fluted stone columns of the Doric order supporting a remarkably ponderous entablature and parapet which enclosing the flat leaded roof forms a stand capable of containing nearly a hundred persons. The interstices between the columns are filled up with light sashes so that two sides of each upper apartment are entirely window and afford an admirable view of the whole course. These windows were hung with spotted muslin draperies which gave a light and elegant appearance to the whole. The stand is very pleasantly situated as independent of the attractions of the passing scene the front has a very fine look over a beautiful wood land and picturesque country. It was completed in the short space of five weeks by Mr. Perkins, the clerk of the works and able assistants under the architectural direction of Mr. Nash.
OLYMPICS, selection, inc. two sets of Honav pins from the 2008 Beijing Olympiad, Modern Pentathlon (five pins) & Long Jump (seven pins), each in presentation box; circular cardboard Waddington jig-saw puzzle from the 1964 Tokyo Olympiad; a 1930s Arthur Wood pottery tankard (sprint race), VG to EX, 4
Ritson (Joseph). The Life of King Arthur: from Ancient Historians and Authentic Documents, 1st edition, 1825, scattered spotting especially to preface, marbled endpapers, front pastedown with wood engraved bookplate of Robert Pinkney by Thomas Bewick, showing his arms and a view of Newcastle (spotted), top edge gilt, green morocco gilt by Marcus Ward & Co. (corners and spine ends slightly rubbed), gilt tooled turn-ins, 8vo (1)
A quantity of Samford ware Art Deco dinner wares with orange and yellow painted floral decoration comprising a pair of tureens and covers with angular knops, three oval graduated meat plates, sauce boat, twelve dinner plates, twelve dessert plates and twelve side plates together with a Shelley green and buff coloured banded bowl and a Arthur Wood relief moulded jug with hunting scene detail
LONGFELLOW HENRY W.: (1807-1882) American Poet. A.Q.S., Henry W. Lonfellow, one page, oblong 8vo, n.p., 13th October 1865. Longfellow pens a four line stanza, in full, 'The very tones in which we spake/ Had something strange, I could but mark:/ The leaves of memory seemed to make/ A mournful rustling in the dark'. Signed and dated at the conclusion. Laid down to a portion of a page removed from an album and with some staining to the corners and edges, caused by the mounting, one stain only very slightly affecting the date and none touching the text or signature, G Longfellow's quotation is taken from his poem The Fire of Drift-Wood. Provenance: The present quotation originates from the autograph collection of Arthur Bryant Triggs (1868-1936) Australian Grazier & Collector.
A mixed lot including a Pewter tankard H12cm stamped Baronial Pewter 122, Arthur E. Furniss Pewter, Sheffield, England, a 1966 Safe driver medal, a bakelite "The Laurel" box containing a ladiers boudoir safety razor 2.8x4.3x1.5cm, a carved wooden box with slidding top and secret compartment probably for matches, an oriental metal locket 4.6x4.3.cm, an unsual Past Times of three rings together, , four white metal, wood and bone spoons, a Charles and Diana's wedding silve platted commemorative spoon, A silver plated letter opener with two entwined snakes engraved Neals, a silverplate butter knife and salt spoon, A cooper round dish on round foot H 11cm 16cm diameter, a Swiza Coral round travelling alarm clock in case, nine three pence from 1937 to 1952, a necklace of white metal with chain tassel as pendant length 66cm, a silver plated Christening beaded and engraved W B 1893 H12cm, a Sillver electro plated fourtoast holder, a white metal dish with Acanthus engraving on three scrolling feet together with a white metal lampe base H 25cm together with a wooden box 9.5x14.5x8cm and others
A 16-bore Algerian coral mounted miquelet lock musket, 55.5inch swamped barrel with raised sighting rib, brass lock decorated with scrolling foliage to the mountings, full stock inlaid with pierced brass foliate panels and set with corals and bone, wood ramrod. Niles Arthur Anderson Gold and Coral pages 176 and 177 for similar examples, losses to inlays and fore-end shortened.
E. Eckhardt for KPM Berlin Portrait on Porcelain Plaque, entitled 'Maria', presented in the original gilt wood frame, circa 1860, approx 12 x 15 cms. Provenance: Bought by the Vendor's Grandfather in the 1950's whilst accompanied on a London buying spree by famous broadcaster and antiques expert Arthur Neagus OBE (1903-1985)
MONTY PYTHON AND THE HOLY GRAIL (1975) - Model Miniature Trojan Rabbit A model miniature Trojan rabbit from the cult comedy Monty Python and the Holy Grail. King Arthur (Graham Chapman) and his knights used the rabbit as a ruse to try to infiltrate the French soldiers’ castle. The rabbit was later catapulted from the battlements. The piece comes from the collection of renowned model-maker Valerie Charlton. This model was filmed by co-producer Julian Doyle after main location shots with the full size rabbit were completed. A fishing wire was used to simulate its flight from the battlements, although this actually took place over a rooftop in Hampstead, London. Constructed from balsa wood, the rabbit’s body features layered wood bark with four detailed balsa wheels. Its head is covered in thick patchwork, brown-stained cotton with adhered eyes and nose that are coloured with marker pen. Signs of wear are evident, including bending on the ears, light fraying on the wood bark and exposed remnants of glue residue. The rabbit comes with a detailed letter of authenticity from Charlton who made the model for the production. Accompanying the rabbit is a copy of the book Monty Python and the Holy Grail, published by Methuen. The book lavishly details the making of the film, including a reproduction of the script. Valerie Charlton has added an extensive handwritten foreword to the first two pages. Dimensions (rabbit): 23 cm x 15cm x 51 cm (9" x 6" x 20") VAT Status - Margin
ORDERS, DECORATIONS AND MILITARY MEDALS, Campaign Groups and Pairs, A Great War “Night Attack” Military Cross Group of 3 awarded to Lieutenant W.A. Wood, 1st Battalion North Lancashire Regiment, attached 1/5th Battalion York and Lancaster Regiment T.F., comprising Military Cross G.V.R, un-named as issued; British War and Victory Medals 1914-1920 (Lieut. W.A. Wood). Generally very fine, toned, contact marks and scratches to obverse of Victory. (3) Military Cross London Gazette, 30 February 1919 Military Cross Citation London Gazette, 30 July 1919 Temporary 2nd. Lieutenant W.A. Wood 1st Battalion North Lancashire Regiment, attached 1/5th Battalion York and Lancaster Regiment T.F. For conspicuous gallantry and leadership. On 21 and 22 September 1918, near Gavrelle, north of Arras, during a night attack, this officer’s platoon was the only one which managed to reach and keep its objective. They maintained their position for some time, but, seeing that the enemy were working round them and that they were in, danger of being surrounded, he succeeded is spite of heavy machine-gun fire, in withdrawing his men to a more favourable position about 150 yards in the rear, in which he maintained himself, although very much in advance of the remainder of the line. By doing so he made possible a subsequent operation which was successful. He has previously done fine work on patrol. Acting Captain William Arthur Wood landed in France with the Loyal North Lancashire Regiment as 14108 C.Q.M.S. Wood on 31 July 1915 (entitled to 14-15 Star), after Commissioning he was attached to the 1/5th Battalion York and Lancaster Regiment. Sold with m.i.c. confirming 140-15 Star, copied London Gazette entries and copies of Battalion War Diary.
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3938 item(s)/page