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* Duke of Wellington. A group of three bronze gilded reliefs of the Duke of Wellington, the profile of Arthur Wellesley, Duke of Wellington in Field Marshal's uniform, one framed the others mounted on wood panelsQTY: (3)

A box containing a quantity of assorted ceramic and other collectable items including Bing & Grondahl wall plaques, Arthur Wood money box, carved wooden figures, etc.

* Bookplates. A collection of 46 bookplates engraved by John Augustus Charles Harrison (1872-1955), seventeen being on large paper and three bearing remarques and two signed in pencil by the artist, mostly armorial bookplates, including for the 8th Duke of Northumberland (seal armorials from 1919, two sizes), Thomas Trappes-Lomax, Lord & Lady Lee of Fareham, Ian Mackenzie, and Baron van Eetvelde, but sometimes with important pictorial elements, such as for Colman, Kruse, Arthur Shephard, and Thairlwall; owners of fully pictorial plates include newspaper magnate Alfred Harmsworth (WPB 1903), Ralph Cator, Maud King, Reginald Pontifex, and Herbert Wood, plus the engraver's own Garden of Eden pictorial ex-libris of 1896, and his last bookplate (a seal in black and in sepia dating from 1954 for his second son, Herbert), the majority in near mint condition with only half a dozen showing any foxing or signs of handling (and one folded), a few smaller ones hinged on to mounts but largely loose and all contained in a plastic folder, together with a copy of Brian North Lee's J.A.C. Harrison: Artist & Engraver (1983), with a biography and checklist of all of Harrison's bookplates, original printed wrappers, 4to, VGQTY: (2)NOTE:The collection comes from Harrison's archive. Whether armorial or pictorial, Harrison's ex-libris display the skill of a master copper-engraver. His work spanned six decades and resulted in the creation of some 350 bookplates. After training in Birmingham, Harrison was employed in 1891 by Waterlows where he worked for eight years as an ornamental engraver, then turning freelance before producing many stamps and banknotes while again working for Waterlows. From 1896 ex-libris were commissioned from him through London booksellers J. & E. Bumpus and bore the initials of their shop manager WPB. In 1908 Harrison severed the connection, partly out of frustration that his work was discredited. Other bookplates originated via Truslove & Hanson or by direct contact with the owners.

Art & Eroticism. A large collection of art & erotic literature & reference, Engravings on Wood, by E. Mervyn Taylor, 1st edition, Wellington: The Mermaid Press, 1957, original cloth in dust jacket, large 4to, The Evolution of Sex, by Patrick Geddes & J. Arthur Thomson, 1st edition, London: Walter Scott, 1898, original red cloth, 8vo, Studies in Sexual Inversion..., by John Addington Symonds, privately printed, 1928, original cloth, 8vo, & other art, eroticism, & sex reference, mostly original cloth, many in dust jackets, some paperbacks, G/VG, 8vo/folioQTY: (6 shelves & a carton)

Arthur Craco (1869-1955) - An Indigent Woman, etching in colour on Van Gelder paper, on the original mount, signed by the artist in pencil, dated 1944 and inscribed, 74 x 53cm Good condition. In what is probably the original stained wood cavetto frame

Mixed Lot: Arthur Wood lustre finish table basket, various small cruet items, pin dishes to include Wedgwood etc

A Victorian Silver Figural Centrepiece, by John Hunt and Robert Roskell, London, 1869 realistically modelled as a horse and rider, the rider depicted with cap, his boots complete with spurs, the horse saddled and with stirrups, on a base cast as rockwork and with a further ebonised wood basethe base 30cm wide, 92oz 13dwt, 2,882grAmong the oeuvre of Hunt and Roskell depictions of horses and figures, such as the present example, stand out. They seem to have been using a number of different designers through the second half of the 19th century, including Alfred Brown, see for example a pair of equestrian groups marked for 1854 which were exhibited at the International Exhibition of 1862 (sold Sotheby’s, New York, 20 October 2021, lot 134) and the Tweeddale Testimonial, now in the collection of Rosalinde and Arthur Gilbert Collection on loan to the Victoria and Albert Museum, London. Another designer was George Armson Carter who is recorded as working for Hunt and Roskell in the late 1860s. He is known to have designed the Huntingdon cup of 1869, the same year as the present example. It is formed as King John on Horseback.Fully marked on base. The figure part marked on right foot of with maker's mark and left foot with duty mark and lion passant. The horse part marked on right side of tail with maker's mark, lion passant and duty mark. The stirrups and each fixing nut each part marked with lion passant The side of the base further stamped 'Hunt & Roskell Late Storr & Mortimer' and numbered '5071'. The marks are all generally clear. The reins are apparently unmarked but appear to be original. There is some surface scratching and wear, consistent with age and use. There is some scuffing and marks to the ebonised base.

Kelmscott Press.- Morris (William) The Well at the World's End, [one of 350 copies on Flower paper], printed in red and black in Chaucer type, wood-engraved illustrations designed by Edward Burne-Jones and borders & initials by Morris, original limp vellum with ties, spine titled in gilt, [Peterson A39], large 4to, Kelmscott Press, 1896.⁂ Morris originally asked Arthur J.Gaskin to illustrate this work, his longest prose romance, but was unhappy with his designs and once again turned to Burne-Jones.

Europe.- Cunynghame (Lieut.-Gen. Sir Arthur Thurlow) Travels in the Eastern Caucasus, on the Caspian and Black Seas ..., first edition, wood-engraved frontispiece and 7 plates (2 detached and loosely inserted), 2 folding maps, publisher's advertisements at end, bookplate, ?ex-library with a printed label of readers to front free endpaper, original decorative cloth, gilt, slight bumping to corners and extremities, 8vo, 1872.⁂ Provenance: Bookplate of Peter Hopkirk to front pastedown.

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

Barry Arthur Peckham (b.1945)Evening in Ashurst Wood, with ponies grazing, signed and dated '96, oil on canvas, 64.5 x 100.5cm.

A quantity of vases including Oldcourt ware pottery, Manises, Arthur Wood and more.

A pair of Myott & Sons Art Deco plates, WH Grindey Art Deco jug, Arthur Wood Art Deco jugs

A BOXED ARTHUR WOOD 'TEA FOR ONE' TEAPOT, by Merrythought, together with a small linen 'Merrythought' printed in pink and blue shopping bag (2) (Condition Report: both appear unused and in good condition)

An oriental Ginger jar having painted flowers and butterflies, script to base, two other oriental ginger jars and Arthur Wood with English scene ginger jar, plus six hand painted Chinese rice bowls and two oriental blue and white painted plates.

A quantity of china including Beswick bowl, Govaneroff stoneware pink ribbed jug, Sylvac storage jar, Arthur Wood 'Wildflower' jug.

A Chinese burl wood rectangular box, 19th century. With metal mounts and handles, height 10.5cm, width 30cm, depth 15cm.Provenance: From the estate of William Arthur Blackburn Leach.DOB: 2nd Jan 1872.Leach was born in Norwich where he attended a local grammar school, later becoming an apprentice carpenter and engineer. In 1902 after he had qualified, he went to China where he obtained a position in the Public Works Department of the Shanghai Municipal Council. He spent his working life in Shanghai until he left in 1926.During his time in China he held interests in a Christian Mission school and helped to support street children.He seized every opportunity to visit other parts of China and took thousands of photographs. He purchased widely on his travels, particularly woodcarvings, bronzes, traditional kimonos, paintings and porcelain. He treasured silver items and bought much to take home. He travelled home at least four times during his stay in China and these return visits were round-the-world trips in which he travelled through and visited Europe, Russia, the Middle East, Egypt and The Holy Land, the Far East, Canada and USA.On his return to the UK he lived in Northampton where he was a lay preacher and a local councillor. He gave a great many talks on his experiences in China and the many other Countries he had visited.He died in 1962.

GOLDEN COCKEREL PRESS, Roses of Sharon, 1937, 12 wood engravings by Mary Groom. No 62/125. Quarter green morocco by Sangorski and Sutcliffe; Whitfield, Christopher, Mr Chambers and Persephone, A Tale. 1937. Wood engravings by Dorothea Braby. No 102/150. Quarter green morocco by S & S; DAVIES, Rhys, Daisy Matthews and Three Other Tales. 1932. Wood engravings by Agnes Miller Parker. No 40/325. Quarter tan morocco; STRONG, LAG, The Hansom Cab and the Pigeons. 1935. With 17 engravings by Eric Ravilious (but not credited). No 171/212. Quarter blue morocco. DUNSANY, Lord, Lord Adrian, A Play in Three Acts. 1933. Engravings by Robert Gibbings. No 307/325. Quarter red morocco. RUMMY, That Noble Game. 1932. Engravings by AE Coppard and Robert Gibbings. No 191/250. Quarter green morocco; CALDER-MARSHALL, Arthur, A Crime Against Cania. 1934. No 127/250. Quarter black morocco; LINDSAY, Jack, Storm at Sea. 1935. Wood engravings by John Farleigh. No 210/250. Quarter blue morocco; The Garden of Caresses. 1934. No 203/275. Quarter vellum. (9) (box)

Arthur Cyril Hilton (British 1897-1960) Sea Spectre, signed and dated 1953 lower right, oil on board with pastel highlights, measurements 47 x 27.5 cm, frame 67.5 x 46.5 cmProvenance: The artist, thence by descentArthur Cyril Hilton (1897-1960). Hilton was born and lived in the Manchester area and turned to art and painting during his convalescence, having been wounded on the Somme during World War One. His abstract-surrealist style was highly distinctive and he experimented with many mediums, including his elegant hand-carved sculptures in teak, mahogany and sycamore wood. Arthur Cyril Hilton was well-known in the Manchester art circle having been a member of the Manchester Society of Modern Painters from the 1930s, serving as its chairman during the 1950s. He exhibited regularly including solo shows at the Salford Art Gallery, Crane Kalman Gallery and exhibitions at the Manchester City Art Gallery.

Seven circa 1900 black glazed and gilt decorated teapots, various makers and designs, an Arthur Wood blue and gilt decorated fluted teapot and a Hadden white printed floral spray decorated teapot (9)

A box Burleigh Ware pottery jugs and basket, together with an Arthur Wood hunting scene jug.

A GROUP OF THREE STUDIO POTTERY ITEMS TO INCLUDE LOVATT STONEWARE KEITH MURRAY STYLE JUG, 1930'S VASE AND ARTHUR WOOD POT

AUTHENTIC VINTAGE ARTHUR WOOD QUEEN AW&S TEAPOT SET

A Collection of Arthur Wood China to Comprise Indian Tree Jug, Tankard, Baskets etc

A pair of blue and white china reclining hounds and a pair of Staffordshire style spaniel ornaments by Arthur Wood

Walton (Izaak) The Compleat Angler, colour frontispiece and 11 plates by Arthur Rackham, captioned tissue-guards, illustrations, half-title with later ink gift inscription, light spotting to peripheral ff., endpapers lightly toned, original green pictorial morocco, gilt, very light rubbing to spine ends and corners, t.e.g., 1931 § [Holland (John)] The History and Description of Fossil Fuel, the Collieries, and Coal Trade of Great Britain, first edition, wood-engraved illustrations, front endpaper with contemporary ink inscription "The Gift of the County of Lonsdale to John Peile", title with short tear to head, some light spotting to peripheral ff., occasional soiling, contemporary navy calf, gilt, neatly rebacked, old covers rubbed with wear to corners, g.e., London & Sheffield, 1835; and others, attractively bound in leather or half leather, v.s. (c.44)

A ROMAN LIMESTONE PORTRAIT HEAD OF JULIUS CAESAR, AUGUSTAN PERIODAugustan period, c. late 1st century BC to early 1st century AD. Sculpted with finely detailed features, the face revealing an intense expression, with deep-set eyes beneath arched eyebrows, a sharp nose, slim, narrow lips, and a prominent chin. A minor wrinkle is noticeable on his forehead, positioned between the eyes and extending to the sides of the mouth, denoting maturity but not advanced age. His hair is meticulously carved. Mounted to a modern wood and metal stand. Condition: Good condition commensurate with age. Extensive wear with signs of natural weathering and erosion, some nicks, and losses. Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book "Remembrances of a Journey in Tartary, Tibet, and China". French Export License: Certificat d'exportation pour un bien culturel Nr. 185424 dated 3 July 2017 has been granted and a copy is accompanying this lot.Dimensions: Height c. 39 cm (incl. the stand)Julius Caesar, born in 100 BC, was a key figure in Roman history and played a pivotal role in transforming Rome from a regional power to a vast military empire. His achievements set a standard for leadership that influenced world leaders for centuries.

Vintage ceramics to include 3 Arthur Wood string dispensers in the form of cats and dogs, a Royal Doulton Lambeth jug and Portmeirion Totem ware. Location:R1.2

A Gordon Russell Workshops English walnut circular occasional table, c.1925, with octagonal support, chip carved decoration, the undertier on four splay legs, 69 cm high x 61 cm diameter.See article on our website: https://www.dawsonsauctions.co.uk/news-item/a-private-collection-of-furniture-by-gordon-russell-and-arthur-romney-green/?pc=16The table is in good untouched order and has a dusty surface with the odd white water mark on the top and a couple of deeper dark liquid marks to the top and feet. The top seems consistent with the timber used for the other components of the table. One of the the expansion buttons that holds the bearers in place has some historic wood worm where sapwood has been touched upon in its manufacture.

ARTHUR WOOD GINGER JAR, 13CM HIGH

ARTHUR WOOD TEAPOT AND LIGHTHOUSE BAROMETER, BAROMETER IN NEED OF RESTORATION

Two silver cigarette boxes, comprising: a Victorian example of rectangular form, Birmingham, 1899, A & J Zimmerman Ltd (Arthur & John Zimmerman), with engraved facsimile signature to lid, with wood lined interior, 7cm high, 21cm wide, 9.5cm deep; and a smaller rectangular example, Birmingham, 1905, A & J Zimmerman Ltd (Arthur & John Zimmerman), marks rubbed, with name Jack engraved to lid, with wood lined interior, 6cm high, 13.5cm wide, 8.5cm deep, total gross weight approx. 48.7oz (2)  

Tray of assorted ceramics etc Worcester Shorter & Sons, Arthur Wood, Susie Cooper, Shelley etc

A collection of commemorative ceramics to include; cups, mugs, jugs, saucers, plates and tankards to include; Ridgways, Arthur Wood, Johnson Bros, Shelley, Alfred Meakin and others. (2 boxes)

A collection of mixed ceramics to include; 19th century transfer printed wares including Blue and White tea bowl with saucer, other pieces including Royal Worcester, Arthur Wood, Crown Devon, Beswick etc. (3 boxes)

A Great War ‘Vimy Ridge’ M.M. group of three awarded to Sergeant A. C. Wood, 28th Battalion, Canadian Expeditionary Force, for ‘great bravery’ in the attack on Thélus, a small village on the Ridge, 9 April 1917 Military Medal, G.V.R. (199183 Sjt: A. C. Wood. 28/Can: Inf:); British War and Victory Medals (199183 Sjt. A. C. Wood. 28-Can-Inf.) mounted as worn, toned, good very fine (3) £700-£900 --- M.M. London Gazette 9 July 1917. The official recommendation states: ‘For great bravery at THELUS April 9th 1917. His platoon had to proceed for a considerable distance under heavy shell fire when advancing to the attack. During this period he showed the greatest coolness and directed the men under his command with great skill, saving many casualties. During the actual attack he directed the Mopping-up with great ability. His conduct throughout was a splendid example to the men.’ Alexander Currie Wood was born at Manchline, Ayrshire, Scotland, on 7 July 1877, and enlisted into the 94th Overseas Battalion C.E.F. at Port Arthur, Ontario, on 27 March 1916, and served in France with the 28th Battalion. He was discharged at Winnipeg on 25 February 1919. He died on 3 September 1943. Sold with copied attestation and discharge papers.

Three: Able Seaman E. W. Carver, Royal Navy, who was drowned when H.M.S. Opal ran around and sank on 12 January 1918 1914-15 Star (J.29711, E. E. [sic] Carver. A.B. R.N.); British War and Victory Medals (J.29711 E. E. [sic] Carver. A.B. R.N.) very fine Three: Private E. Carver, Royal Marine Light Infantry 1914-15 Star (PO.13252, Pte. E. Carver, R.M.L.I.); British War and Victory Medals (PO.13252 Pte. E. Carver. R.M.L.I.) very fine (6) £100-£140 --- Eric Woodward Carver, a Wood Carver from Nottingham, was born on 22 December 1897. He attested as a Boy into the Royal Navy on 8 October 1915. Advanced Able Seaman in November 1915, he served during the Great War in H.M.S. Royal Arthur, H.M.S. Attentive, and later in the submarine depot ships H.M.S. Vernon and H.M.S. Diligence, the later from which he was posted to H.M.S. Opal, in which he was drowned when she ran aground during a storm off South Ronaldsay, Orkney Islands, on 12 January 1918. He has no known grave and is commemorated on the Portsmouth Naval Memorial. Edgar Carver, a Groom and Gardener, was born on 4 January 1886 in Copwell Butler, Nottingham. He attested into the Portsmouth Division of the Royal Marine Light Infantry on 19 December 1903 and served during the Great War in H.M.S. Antrim and H.M.S. Canada. He transferred into the Plymouth Division on 29 July 1923, and later died in Nottingham, aged 42, in January 1927.

Three: Captain A. M. Lewis, Devonshire Regiment, later 52nd Sikhs, who was three times wounded in action and was Mentioned in Despatches for his gallantry on the First Day of the Battle of the Somme, 1 July 1916, on which date he was also wounded; he was subsequently killed in action at the Mazurka Gorge in Kurdistan on 8 August 1919 1914-15 Star (2. Lieut. A. M. Lewis. Devon. R.); British War and Victory Medals, with M.I.D. oak leaves (Lieut. A. M. Lewis.) extremely fine (3) £600-£800 --- Provenance: Dix Noonan Webb, June 2002. M.I.D. London Gazette 4 January 1917: ‘For gallantry on 1 July 1916.’ M.I.D. London Gazette 5 June 1919: ‘For distinguished and gallant services ands devotion to duty (Mesopotamia).’ Arthur Milton Lewis was born on 14 March 1894, and was educated at King William’s College, Isle of Man, and Corpus Christi, Cambridge, where he served in the O.T.C. He was commissioned Second Lieutenant in the 9th Battalion, Devonshire Regiment on 7 December 1914, with whom he served in France, being wounded on the first day of the Battle of the Somme. Details of a letter written by Lewis, and recorded in his school magazine, The Barrovian, state: ‘Lieut. A. M. Lewis of the Devons, writes: “My luck still follows me. I was in the casualty list for the third time today, with another soft wound. A Boche machine-gunner legged me in front of Mametz wood on the morning of July 1st. We were one of the first divisions to go over the top, and I feel no small pride that G.H.Q. sent a special aide-de-camp to congratulate our brigade after the attack.” He was in the same attack that his brother, Lieut. J. W. Lewis, was killed.’ Promoted to Lieutenant on 7 September 1916, Lewis was selected as a probationer for the Indian Army on 23 March 1917 and attached to the 52nd Sikhs, attaining the rank of Captain in July 1919. He was killed in action in Mazurkha Gorge, Kurdistan on 8 August 1919, when his column was attacked by a large band of Kurds under the leadership of Rashid Beg. He has no known grave and is commemorated on the Basra Memorial, Iraq. (Additionally entitled to G.S.M., clasp, Kurdistan). His obituary notice, as published in The Barrovian, states: ‘His name appeared three times in the casualty list while serving in France. He was twice mentioned in Despatches, firstly by Sir Douglas Haig in the first Despatch of the Battle of the Somme, and secondly by General Marshall, after the surrender of the Turks, for services rendered as advanced guard commander in the advance from Samara to Mosul.’ Sold with copied research.

Staffordshire and Derbyshire potteries A collection of works Godden, Geoffrey. Staffordshire Porcelain. London: Granada, 1983. Original cloth gilt, dust-jacket; Schkolne, Myrna. People. Passions, Pastimes and Pleasures. Staffordshire Figures, 1810-1835. Winston Salem: Hot Lane Press, 2006. Original black cloth gilt, dust-jacket;Falkner, Frank. The Wood Family of Burselm. London: Chapman & Hall Limited, 1912. Original red cloth gilt;Read, Herbert. Staffordshire Pottery Figures. London: Duckworth, 1929. Original blue cloth gilt;Hayden, Arthur. Spode and his Successors. London: Cassell & Company, Ltd., 1925. Original blue cloth git with vase motif, dust-jacket;Jones, Alyn Giles. Catalogue of the Minton Manuscripts. Bangor, 1971-73. Folio, 2 volumes of photocopied work, with a gift inscription from the compiler to Geoffrey Godden, blue cloth gilt;Furnival, William James. Leadless Decorative Tiles, Faience, and Mosaic, comprising notes and excerpts on the history, manufacture & use of ornamental flooring tiles... Stone: W.J. Furnival, 1904. 8vo, original blue cloth gilt;Twitchett, John. Derby Porcelain, 1748-1848, an illustrated guide. Woodbridge: Antique Collectors' Club, 2002. Original blue cloth gilt, dust-jacket;Mountford, Arnold R. The Illustrated Guide to Staffordshire Salt-Glazed Stoneware. London: Barrie & Jenkins, 1971. 8vo, original orange cloth gilt, dust-jacket; and 34 othersProvenance:Provenance: From the library of a collector

India Quantity of works, including Indian imprints Firminger, Rev. W.K., editor. Bengal Past and Present. Journal of the Calcutta Historical Society; Volumes:I. No. 1, July-December 1907, 4to, blue half morocco;II. No. 1 and 2, January-December 1908, 2 volumes, blue half morocco;III. No. 1 and 2 (Serial No. 7-8), January-June 1909, 2 copies;IV. (Serial No. 9), July-December 1909, 2 copies;VIII. Part 1 and 2 (Serial No. 15-16), January-June 1914;IX. Part 1 and 2 (Serial No 17-18), July-December 1914;X. Part 1 and 2 (Serial No. 19-20), January-June 1915;XI. Part 1 and 2 (Serial No. 21-22), July-December 1915;XII. Part 1 and 2 (Serial No. 23-24), April-June 1916;XIII. Part 2 (Serial No. 26), October-December 1916;XIV. Part 2 (Serial No. 28), April-June 1917;Grierson, George A. Bihar Peasant Life, being a Discursive Catalogue of the Surroundings of the People of that Province. Calcutta: Bengal Secretariat Press, 1885. 8vo, map, lithographed plates, contemporary half calf, binding (only) lightly wormed;Mukerji, Nitya Gopal. Hand-book of Indian Agriculture. Calcutta, 1901. First edition, 8vo, presentation copy inscribed by the author, illustrations, contemporary half calf;M'Cann, Hugh W. Report on the Dyes and Tans of Bengal. Calcutta: Bengal Secretariat Press, 1883. 8vo, original brown cloth;Anderson, J.D. A Collection of Kachari Folk-Tales and Ryhmes. Shillong: Assam Secretariat Printing Office, 1895. 8vo, original cloth-backed blue boards, slightly rubbed;Hume, Allan. List of the Birds of India, Reference Edition, corrected to 1st March 1879. Calcutta: Calcutta Central Press Co., 1879. 8vo, title from upper board, original cloth-backed boards;Bengal Camp Guide. Coronation Durbar at Delhi. Notes and Information for the use of the Guests of his Honour the Lieutenant-Governor of Bengal. Small 4to, photographic plates, 7 folding plans in pocket at end, original blue cloth gilt;Hunter, William Wilson. North-Eastern Frontier. Political Dissertation prefixed to a Comparative Dictionary of the Languages of India and High Asia. Calcutta: Bengal Printing Company Limited, 1869, 8vo, original wrappers slightly stained and small hole without loss, spine worn; RARE;Sastri, Pandit Sivanath. Remtanu Lahiri, Brahman and Reformer, a History of the Renaissance in Bengal. London: Sonnenschein; Calcutta: S.K. Lahiri, 1907, presentation copy to the Honble. W.C. Macpherson Esq. from S.K. Lahiri, plates, original cloth;Bradley-Birt, F.B. Chota Nagpore, a little known province of the Empire. 1903. 8vo, presentation copy from the author, plates, folding map, original red cloth gilt, slightly marked;Pennell, T.L. Amongst the Wild Tribes of the Afghan Frontier. 1909. 8vo, plates, spine faded;Russell, William Howard. My Diary in India, in the year 1858-9. 1860. 2 volumes, 8vo, plates, original cloth, a little dampstaining or spotting, rubbed, hinges weak;Crawford, Arthur. Our Troubles in Poona and the Deccan. 1897, 8vo, original cloth;Foster, William. The English Factories in India 1618-1621 [1622-23], Oxford, 1906-08, 2 volumes, 8vo, frontispiece, original blue cloth gilt, t.e.g.;Neve, Major Arthur. The Tourist's Guide to Kashmir, Ladakh, Khardo, &c, Lahore: Civil and Military Gazette, 1918. 8vo, 11th edition, folding maps, original cloth-backed boards;Ronaldshay, Earl of. Lands of the Thunderbolt. Sikhim, Chumbi & Bhutan. 1923. 8vo, plates, original cloth;Beveridge, Henry. A Comprehensive History of India. 1842, 3 volumes, large 8vo, plates, illustrations, contemporary half calf, slightly rubbed;Fraser, Sir Andrew H.L. Among Indian Rajahs and Ryots. London, 1911, 8vo, plates, original pictorial cloth, spine slightly faded;Carstairs, R. The Little World of an Indian District Officer. 1912, 8vo, original cloth;Hoernle, A.F.R. A History of India. Cuttack: Orissa Mission Press, 1909. 8vo, original cloth;O'Malley, L.S.S. Bengal District Gazetteers. Saran. Calcutta: The Bengal Secretariat Book Depot, 1908. 8vo, original blue cloth;Thornton, Thomas Henry. General Sir Richard Meade and the Feudatory States of Central and Southern India. London, 1898, original cloth;Case, Mrs. Day by Day at Lucknow. A Journal of the Siege. London, 1858. 8vo, original cloth;Fay, Mrs Eliza. The Original Letters from India. Calcutta: Thacker, Spink & Co, 1908. 8vo, original cloth;Younghusband, Sir Francis. Kashmir. A. & C. Black, 1917, original pictorial cloth;Penny, F.E. Southern India, painted by Lady Lawley. A & C. Black, 1914, original pictorial cloth;Shakespear, John. Dictionary of Hindustani & English. London, 1849, 4to, contemporary half calf, lacks title page, margins of dedication leaf repaired;Roberts of Kandahar, Lord. Forty-one Years in India. 1902, 2 volumes, 8vo, original blue cloth gilt;[Rousseau, Samuel]. A Dictionary of Words used in the East Indies... the leading word of each article being printed in a New Nustaleek type, to which is added, Mohammedan Law & Bengal Revenue Terms. London: for James Asperne, 1805. Second edition, 8vo, contemporary calf, neatly rebacked, corners neatly repaired, extensively annotated;Smith, R. Bosworth. Life of Lord Lawrence. 1883, 2 volumes, 8vo, original cloth, worn;Livingstone, David. Missionary Travels and Researches in South Africa. London: J. Murray, 1857. First edition, 2 folding maps (1 in pocket at end, on linen), folding tinted lithograph frontispiece, engraved portrait plate, 2 tinted lithographs, 20 wood-engraved plates, 1 folding plan, original brown cloth, neatly recased, hinges strengthened, bookplate of George Armistead;and a quantity of later, India-related volumes; sold as a collection not subject to return

Two trays of china and glass to include: Arthur Wood pitcher, Coalport floral teapot and coffee pot, Crown Devon Fieldings vase, Franklin Mint 'Georgian porcelain' teapot, Alka Kunst Bavarian 'Pompadour' design oval footed dish, a Poole pottery dolphin ornament, a blue glass vase and pale pink glass centre bowl, a lustre Carlton Ware leaf shaped dish etc. (2)(B.P. 21% + VAT)

Arthur Joseph Gaskin (1862-1928)Warren Wood, 1923etching on paper, framedsigned AJG titled and dated Xmas 23 in pencil,13.5 x 12cm. (image)

A LARGE MIXED LOT TO INCLUDE GLASS VASES, NIBBLES TRAYS, STUDIO POTTERY JUG AND VASES, AN ARTHUR WOOD PLANTER, COMMEMORATIVE MUGS, ETC

A collection of ceramics including an Arthur Wood jug depicting fox hunters, Royal Doulton Impressions Willow wind vases, Commemorative plates, Indian tree vase etc. postage cat D- NO RESERVE

A Majolica foliate footed shallow bowl or jardiniere, the lilac bowl within a turquoise border moulded with flowers and leaves in relief, raised on three leaf feet, faintly painted numerical mark to underside, 33cms high; together with an Arthur Wood jug.

JOHN WILLIAM GODWARD (BRITISH 1861-1922)A BIRTHDAY PRESENTOil on canvasSigned and dated 'J. W. Godward 97' (lower left)46 x 56cm (18 x 22 in.)Provenance: Messrs. Thomas McLean, London 21 September 1897Private Collection, UKLiterature:McLean letter to Godward (21 Sept 1897) Mio-Turner CollectionSwanson, Vern Grosvenor, The Eclipse of Classicism¸ 1997, p.195Swanson, Vern Grosvenor, The Eclipse of Classicism¸ 2018, p.275John William Godward (1861-1922) was one of the last of the classical painters of the Victorian age. Slightly younger than his better-known counter parts: Sir Frederic Leighton (1830-1896), Lawrence Alma-Tadema (1836-1912), and John Poynter (1836-1919) he was working in the dawn of a new, modernist era at the end of the 19th century, one which had little place for the Classical ideals of Antiquity which had dominated art for the last 500 years. His career has been described by Swanson as the 'Eclipse of Classicism'. The author goes on to expand that Godward's career 'offers the clearest example of the demise of classical Greco-Roman subject painting' (Swanson, p.8). As a reclusive genius, and someone who almost certainly had Asperger's Syndrome, little is known about Godward's private life. This is partly due to his strict family upbringing and somewhat overbearing mother, Sarah Eboral, who outlived her son by 13 years, dying at the age of 100 in 1932. When Godward moved to Italy with one of his models in 1912, his family broke contact with the artist, destroyed many papers, and removed his image from family pictures. Indeed, only one photo of the artist is thought to exist. Although little is known about the young artist's schooling, as the eldest of five children, by all accounts Godward came from a respectable bourgeois family and ideal Victorian home. It is therefore likely that his family would have been able to afford to send him a private school, as was common for middle class children at that time. What is certain, is that there was pressure for all the Godward children to follow their father's lead into the family profession of insurance, investing and banking. Although his siblings all seem to have succeeded in this expectation, John William did not. Between 1879 and 1881, it is believed Godward studied under the architect William Hoff Wontner (1814 - 1881). This apprenticeship seems the likely source for Godward's ability to render perspective and architectural elements, as well as being able to realistically depict marble and porphyry. It was around this time that Swanson believes Godward turned his aspirations to becoming a fine artist. Whether Godward received any formal art training is purely a matter of speculation as there are no records, but given his family's insistence that he follow in his father's footsteps into the work of business, it seems unlikely that he would have had access to any instructional study. We do know however that by 1881, Wontner had died, and his son William Clarke had taken over the family business. By 1885, Wontner and Godward had become best friends, and the former had taken a post at St. John's Wood Art School. It is perhaps not too much of a leap then, to assume that at least some instruction was taken from his friend. It is most likely that Goward's exposure to specifically Graeco-Roman subject painting came through seeing contemporary work at the Royal Academy or Royal Society of British Artists. In 1887, his own debut work, A Yellow Turban, (No. 721) was accepted into the Royal Academy Summer Exhibition. He continued to exhibit with the Royal Academy until 1905. It was also during 1887, that Godward exhibited for the first time at the RBA, with a painting called Poppaea (No. 401). Three years later, he was officially elected as a member of the organisation. In 1888, Godward exhibited his oil, Ianthe (No. 941), at the Royal Academy. Upon seeing the painting, he was approached by the infamous art dealer Arthur Tooth who asked whether he might include it in his own Winter Show of that year. In addition to Ianthe, Godward produced nine further paintings for Tooth's show. His relationship with Tooth ultimately failed to extend beyond the exhibition however, as he decided to proceed with another dealer and Tooth's next-door neighbour, Thomas Miller McLean (1832-1909). Throughout his career Messers. Thomas McLean would deal hundreds of oils for the artist with great success.The present lot is no exception, and together with another work from the previous year, Winding the Skein (Sawnson, p.69, illustrated), is one of only a handful of works from this period to include more than one figure. Here, in a marble walled garden, we see the skill in which the artist depicts the red and grey tones in the smooth creamy stone set against a planter of poppies and blooming oleanders. Classical motifs are arranged throughout the work, including a small bronze statue of Venus, a white marble carving of Pan pulling a thorn from a hoofed Satyr, a variation of the sculpture in the Pio-Clementine Museum, and to the right of the work, a bronze vase atop a round marble table with lion monopodia leg. Centre stage are two figures dressed in beautiful turquoise and purple tunics. One woman seated on a tiger skin, a common motif in Godward's work, is presented with a birthday gift by her attendant: a beautiful Portland cameo glass vase. The first decade of the new century was one of the best for Godward as an artist. Imperial interest grew as prosperity throughout the British Empire rose. However, by 1911, the art scene in Britain had changed significantly, and this would shortly be echoed throughout the whole of society with the start of the Great War. The founding of the Camden Town Group in 1911, followed by the death of Alma Tadema in 1912, and the emergence of the Vorticist movement just before the start of World War I in 1913-14, as well as the Great War itself, marked the beginning of the end of the Classicist painters. It was amongst this backdrop that Godward moved to Rome, perhaps believing that he could escape the new dawn on the horizon which was already a reality in London. In Italy he found a seductive blend of ancient, medieval, and classical cultures. Unsurprisingly, little is documented of Godward's time in Italy, however by 1916, the new way of painting which he had so hoped to escape in London had made its way to the Continent. Nonetheless, Godward stayed in Rome until 1921. He spent most of his time working out of a studio at the Villa Strohl-Fern despite the villa's one hundred or so studios being filled with younger, more modern looking artists. He returned to England briefly in 1919, to attend his nephew's funeral and again in 1920 to attend his brother's wedding. Returning to Rome, his mood was low. The following year his health deteriorated, affected by Spanish influenza and depression. As a result, he only produced five paintings. This reduced to two in 1921. London was much more hostile to his art than Rome had been, and his depression and ill health did not improve once home. He became a recluse, and failing to feed himself properly, soon became malnourished and fell ill to a peptic ulcer. Rather than continue in his misery, and see his art suffer further at his inability to paint, the artist committed suicide on 13 December 1922, aged 62.

Gill (Eric, illustrator). Glue and Lacquer. Four Cautionary Tales Translated from the Chinese by Harold Acton & Lee Yi-Hsieh, Preface by Arthur Waley, with Illustrations from Drawings by Eric Gill Interpreted on Copper by Dennis Tegetmeier, Golden Cockerel Press, 1941, 5 copper-engraved plates, a little spotting throughout, top edge gilt, remainder uncut, original morocco-backed cloth gilt, a little rubbed and slightly faded on spine, 4to, (limited edition, 322/350 copies), together with:Gill (Eric), Art & Prudence, An Essay, Waltham St Lawrence: Golden Cockerel Press, 1928, 2 copper-engraved plates by Gill, uncut, original buckram in dust jacket, slightly rubbed and soiled, 8vo, (limited edition, 59/500 copies), plus Gill (Eric, illustrator), Uncle Dottery, A Christmas Story by T.F. Powys, Bristol: Douglas Cleverdon, 1930, 2 wood-engraved vignettes by Gill, original buckram-backed batik boards, slim 8vo, (limited edition, 89/350 copies, signed by the author), plus 2 other books by Eric Gill, Work & Property [and] Sacred & Secular, 1st editions, 1937 & 1940, both with illustrations by Dennis Tegetmeier, original cloth in dust jackets, a little spotting and fading, 8voQTY: (6)

Golden Cockerel Press. A Ballad upon a Wedding, by Sir John Suckling, Golden Cockerel Press, 1927, wood-engravings by Eric Ravilious, partly unopened, bookplate of Emanuel E. Harper, original buckram-backed boards, dust jacket, a couple of small chips, spine toned, 8vo, limited edition 39/375, together with A Rapture, by Thomas Carew, Golden Cockerel Press, 1927, wood-engravings by J.E. Laboureur, bookplate, original buckram-backed boards, dust jacket, a couple of short closed tears, spine toned, 8vo, plus The Apple Trees, by Hugh Walpole, Golden Cockerel Press, 1932, wood-engravings by Lynton Lamb, slight toning to endpapers, top edge gilt, original calf-backed boards, spine a little faded, 8vo, limited edition 232/500, signed by the author, together with 9 others by or relating to the press, including A Crime Against Cania, by Arthur Calder-Marshall, 1934, limited signed edition 224/250, The Cricket on the Hearth, by Charles Dickens, printed for the members of the Limited Editions Club, 1933, limited edition 214/1500, The New London Letter Writer... by Samuel Johnson, 1948, limited signed edition 72/100, and Euphormio's Satyricon, 1954, limited edition 251/260 QTY: (12)

Golden Cockerel Press. Initiation. Translations from Poems of the Didinga & Lango Tribes by J.H. Driberg, Golden Cockerel Press, 1932, wood-engravings by Robert Gibbings, bookplates including John Raymond Danson (book collector), all edges gilt, original buckram gilt, some toning, tall slip 8vo, limited signed edition 179/325, together with Count Stefan, by A.E. Coppard, Golden Cockerel Press, 1928, wood-engravings by Robert Gibbings, original cloth-backed marbled boards, dust jacket, small nicks to head of spine, 8vo, limited edition 465/600, plus Strawberry Time and the Bnnquet, by R.H. Mottram, Golden Cockerel Press, 1934, wood-engravings by Gertrude Hermes, top edge gilt, original morocco-backed patterned boards, 8vo, limited edition 55/250, with others by the press including Lucina Sine Concubitu, 1930, limited edition 112/500, A Crime against Cania, by Arthur Calder-Marshall, 1934, limited edition 95/250, A Compendium of the East being an account of Voyages to the Grand Indies, 1937, limited edition 236/300, Shelley at Oxford, 1944, limited edition 152/500, and a disbound copy of The Amazons. A Novel by Ivor Bannet, 1948, limited edition of 500, this copy unnumbered QTY: (18)

Golden Cockerel Press. Directions to Servants, by the Rev. Jonathan Swift, Golden Cockerel Press, 1925, wood-engravings by John Nash, original vellum-backed boards, 4to, limited edition 160/350, together with When Thou Wast Naked. A Story by T.F. Powys, Golden Cockerel Press, 1931, wood-engravings by John Nash, small bookplate of Christian Heuer, top edge gilt, original morocco-backed decorative boards by Sangorski & Sutcliffe, 8vo, limited edition 214/500, signed by the author, plus Hymn to Proserpine, by Algernon Charles Swinburne, Golden Cockerel Press, 1944, wood-engravings by John Buckland-Wright, top edge gilt, original cloth, some fading to spine, 8vo, limited edition 150/350, together with 5 others by the press: A Crime Against Cania, by Arthur Calder-Marshall, 1934, limited signed edition 215/250, The First Crusade, translated by Somerset de Chair, 1945, Jurgen, by James Branch Cabell, 1949, limited edition 336/500, Topiary, by Cecil Stewart, 1954, limited edition 31/100, and The Ephesian Story, by Xenophon of Ephesus, 1957, limited edition 30/75 QTY: (8)

A Small Collection of Mason's Regency Pattern Teawares Together with an Arthur Wood Glazed Pot

An Arthur Wood Art Deco period jug, moulded with foliate detail, sold along with a selection of other jugs and vases.

A quantity of Hunting scene tankards to include three Gibson, two Arthur Wood, one Cheerio 'Lawleys Always' and two Denby, together with Widdecombe teapot and matching milk jug, small dark brown Sylvac tankard of horses head, three dark brown Sylvac tankards of horses head, fox and hound, Sylvac ceramic cottage teapot and a Paragon King George VI and Queen Elizabeth 1937 Coronation cup.

Charles William Bartlett (British, 1860-1940)'Taj-Mahal. Agra. 1916' signed in red ink 'Charles W Bartlett.' (in margin lower left)woodcut in coloursplate 26.6 x 38.1cm (10 1/2 x 15in)mounted but unframedFootnotes:There is an Arthur H. Hahlo & Co of New York label attached to the backing board that bears the following inscription: ''The Taj Mahal by Moonlight'/ Original Wood Engraving printed in colors/by Charles W Barlett./Artist's Proof/Block destroyed/Editions Limited/Rare'.For further information on this lot please visit Bonhams.com

Two trays of china to include: a Craft studios Hornsea pottery vase by John Clappison, Roseville USA conch shell, Kensington K.B Ware asymmetric mid Century vase and another similar, mushroom shape candle holder, various jugs; Doulton Burslem 'Nankin', Arthur Wood, Pilkington Royal Lancastrian etc. (2)(B.P. 21% + VAT)

Four Carleton Ware small pieces and an Arthur Wood jug

A QUANTITY OF CERAMIC ITEMS TO INCLUDE COMMEMORATIVE MUGS, STUDIO POTTERY VASES AND JUGS, AN ARTHUR WOOD PLANTER, ETC

A group of Arthur Wood pottery, each piece decorated with a hippopotamus against a white ground, to include jar and cover, teapot, milk jug, and a creamer in the form of a hippopotamus, 10cm high, etc.

Thackeray, W M "The Newcomes. Memoirs of a Most Respectable Family, edited by Arthur Pendennis Esq", illustrations on steel and wood by Richard Doyle, Bradby Evans 1954, 2 vols, frontis, half-title, plates, illustrations throughout, foxing, rebacked with original cloth blindstamped boards and the original backstrips laid down Cobbett, William"Rural Rides ...", 2 vols, Reeves & Turner 1893, frontis with tissue guard, green cloth with gilt decorations to front board and backstrip"Who's Who 1961"Thackeray, W M"Vanity Fair", Birmingham, Holliday & Son, Warwick House (1848), red cloth, black and gilt decorations Longfellow, Henry Wadsworth"The Poetical Works", Frederick Warne & Co 1869, green, gilt and red pictorial boards, colours bright, a.e.g.Shelton"Don Quixote", 4 vols, 1895, red cloth and assorted other volumes (2 boxes) 

Roland Oudot, French 1897-1981 - Floral still life, 1931; oil on canvas, signed and dated lower left Roland Oudot 1931', 80 x 65 cm (ARR) Note: this beautiful still life composition is typical of interwar painting in Europe, the handling of paint and flattened colour reminiscent of British artists such as Christopher Wood, Winifred Nicholson and Cedric Morris during this period. There is a work in a public UK collection at The Wilson Art Gallery & Museum in Cheltenham, gifted via the Tate and Contemporary Art Society. Oudot exhibited with Arthur Tooth & Sons Gallery, London and Wildenstein & Co. Gallery in London.