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Lot 283
Seren Bell Harvest, 2020 Pen, Ink and Crayon Signed verso 10 x 15cm (3¾ x 5¾ in.) Seren Bell was born in Tiverton, Devon, in 1950 and educated at Tiverton Grammar School and Exeter University, graduating in 1986 with BA (Hons) in English and Fine Art. Shortly afterwards she returned to her family's roots in Mid-Wales. Seren has always had an interest in animals, sheep in particular, and it's for her intricately detailed depiction of animals in the Welsh landscape that she is known throughout Wales and beyond. Her method of working is to draw the picture lightly in pencil and then add colour with crayons before over lining in Indian ink. It is this very individual technique which gives Seren's paintings what one commentator has described as 'a frightening realism'. Examples of Seren's work are contained in a number of collections including Somerset Museum of Rural Life, Newport Museum and Art Gallery and Alcuin College, York. In search of her subjects she regularly attends the Royal Welsh Show and visits rare breed farms.
Lot 284
Seren Bell Flock, 2020 Pen, Ink and Crayon Signed verso 10 x 15cm (3¾ x 5¾ in.) Seren Bell was born in Tiverton, Devon, in 1950 and educated at Tiverton Grammar School and Exeter University, graduating in 1986 with BA (Hons) in English and Fine Art. Shortly afterwards she returned to her family's roots in Mid-Wales. Seren has always had an interest in animals, sheep in particular, and it's for her intricately detailed depiction of animals in the Welsh landscape that she is known throughout Wales and beyond. Her method of working is to draw the picture lightly in pencil and then add colour with crayons before over lining in Indian ink. It is this very individual technique which gives Seren's paintings what one commentator has described as 'a frightening realism'. Examples of Seren's work are contained in a number of collections including Somerset Museum of Rural Life, Newport Museum and Art Gallery and Alcuin College, York. In search of her subjects she regularly attends the Royal Welsh Show and visits rare breed farms.
Lot 285
Seren Bell Exchequer Cockrel, 2020 Pen, Ink and Crayon Signed verso 15 x 10cm (5¾ x 3¾ in.) Seren Bell was born in Tiverton, Devon, in 1950 and educated at Tiverton Grammar School and Exeter University, graduating in 1986 with BA (Hons) in English and Fine Art. Shortly afterwards she returned to her family's roots in Mid-Wales. Seren has always had an interest in animals, sheep in particular, and it's for her intricately detailed depiction of animals in the Welsh landscape that she is known throughout Wales and beyond. Her method of working is to draw the picture lightly in pencil and then add colour with crayons before over lining in Indian ink. It is this very individual technique which gives Seren's paintings what one commentator has described as 'a frightening realism'. Examples of Seren's work are contained in a number of collections including Somerset Museum of Rural Life, Newport Museum and Art Gallery and Alcuin College, York. In search of her subjects she regularly attends the Royal Welsh Show and visits rare breed farms.
Lot 286
Seren Bell Ewe & Lamb, 2020 Pen, Ink and Crayon Signed verso 15 x 10cm (5¾ x 3¾ in.) Seren Bell was born in Tiverton, Devon, in 1950 and educated at Tiverton Grammar School and Exeter University, graduating in 1986 with BA (Hons) in English and Fine Art. Shortly afterwards she returned to her family's roots in Mid-Wales. Seren has always had an interest in animals, sheep in particular, and it's for her intricately detailed depiction of animals in the Welsh landscape that she is known throughout Wales and beyond. Her method of working is to draw the picture lightly in pencil and then add colour with crayons before over lining in Indian ink. It is this very individual technique which gives Seren's paintings what one commentator has described as 'a frightening realism'. Examples of Seren's work are contained in a number of collections including Somerset Museum of Rural Life, Newport Museum and Art Gallery and Alcuin College, York. In search of her subjects she regularly attends the Royal Welsh Show and visits rare breed farms.
Lot 2944
A George lll mahogany longcase clock, signed Charles Read, Helstone, with an arched brass dial, height 219cm, width 45.5cm.Condition report: The clock has two (non-matching) brass weights and a pendulum, no key.It has been entered for sale from a local deceased estate and is dusty and does not appear to have been working recently.The movement is eight day and strikes on a bell. The case is a good colour and generally free of major damage, the finials are probably replacements.
Lot 1
Duncan Grant (British, 1885-1978)Still life with compotier and glass signed with initials 'D.G.' (lower right)oil on canvas41.9 x 31 cm. (16 1/2 x 12 1/4 in.)Painted circa 1916Footnotes:ProvenanceThe Artist, until 1970, by whom gifted toRichard ShoneWith The Mayor Gallery, London, where probably acquired byChristopher Hull, thence by family descentPrivate Collection, U.K.The opaline compotier depicted was a favourite object at Charleston. It was given to Duncan Grant by Barbara Bagenal (née Hiles), and is still at the house today. It appears in numerous still lifes by both Grant and Vanessa Bell, including the major canvas Interior (c.1918 Ulster Museum, Belfast), a painting of the dining-room at Charleston depicting Bell painting the fruit-filled compotier.We are grateful to Richard Shone for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 16
Helen Bradley (British, 1900-1979)Aunt Edith was Sixteen and Wept for Love signed 'HELEN BRADLEY' and with fly insignia (lower right)oil on board30.6 x 38 cm. (12 x 15 in.)Footnotes:ProvenanceThe Artist, thence by family descentThe Estate of Margaret BradleyFour Paintings from the Family of Helen Bradley (1900-1979)Born in 1900 as Nellie Layfield in Lees, a small industrial town on the northern fringe of Oldham, Helen Bradley would become one of the nation's most loved painters, but not until her late sixties.Helen (who changed her name from Nellie by deed poll) was born into a well-established family of local business owners. She attended art school in Oldham where she met fellow student Tom Bradley, who was considered the star pupil. Following a long engagement, the couple would marry in 1926 with two children to follow, Peter born in 1927 and Betty in 1931. Whilst both Helen and Tom painted throughout their lives, and it was accepted between them that if either had a chance of painting professionally Tom was the stronger candidate, neither pursued this career initially. Throughout the interwar years Tom worked in textile manufacturing for a Manchester based firm who specialised in hand printed fabrics (including several Omega patterns by Vanessa Bell and Duncan Grant) whilst Helen kept the home. Following the Second World War, Tom's work led the family to relocate to Middlesex. This afforded Helen the opportunity to visit the National Gallery and British Museum regularly and to attend art school in Harrow. The family returned to the North West in 1952 when Tom took early retirement to allow him to focus on his painting which consisted of portrait and flower commissions. They initially settled in Cheshire before buying a cottage in Cartmel on the edge of the Lake District in 1964. Now in her 60s, Helen painted with a renewed vigour, traveling around the Lakes producing misty landscapes in watercolour, whilst Tom rented a second nearby cottage as a studio for his portrait work. Together the couple joined the local Saddleworth Art Society, through which Helen first met L.S. Lowry. She once expressed to Lowry that she had always struggled to paint figures and he suggested that she should 'paint someone you know well, go home and paint your mother'. This she did, and the resultant portrait proved to be an important turning point. Shortly after she began painting scenes from her own childhood that she would become so loved for, depicting a world full of incident viewed with innocence and rendered in exquisite detail.It was not until 1965, at the age of sixty-five that Bradley had her first solo exhibition. Staged by the Saddleworth Art Society to much local acclaim, it led to a request from Cork Street's Mercury Gallery for six of her works to be included in an exhibition of naïve art the next year. There followed a little over a decade of subsequent highly successful exhibitions in Britain, America and Japan, and the publication of many much-loved books and prints. Bradley enjoyed a broad public profile that few artists ever achieve; she was announced by the media as 'The Jolly Granny' and 'England's own Grandma Moses' (although she notes her personal inspirations as Avercamp and Turner). She was appointed an MBE in the 1978 Queen's Birthday Honours, but sadly died before her investiture.The following four works were given by the artist to her son Peter. They have remained in the family collection since then, with Uncle Tom's Funeral Procession taking pride of place above the dining table.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
Lot 2
Duncan Grant (British, 1885-1978)Portrait of Peter Morris Seated in a Wing Chair signed with initials and inscribed 'Peter Morris/DG' (verso)oil on canvas76.2 x 50.8 cm. (30 x 20 in.)Painted circa 1928Footnotes:ProvenancePaul RocheWith The Parkin Gallery, LondonSale; Christie's, London, 7 March 1986, lot 244, where acquired by the present ownerPrivate Collection U.K.Peter Morris was a painter, great friend and for a brief period lover of Duncan Grant. Grant painted him several times in the late 1920s, and Morris's sister Dora (later Lady Romilly) was painted by Vanessa Bell (now in the collection of Leeds City Art Gallery). Here Grant depicts Morris in rich and fluent colours positioned in a green upholstered wingback chair, that formerly belonged to Sickert. The chair, along with a similarly upholstered chaise-lounge, came into Grant's possession when he took over Sickert's Fitzroy Street studio.We are grateful to Richard Shone for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 3
Duncan Grant (British, 1885-1978)Girls on the Lawn, Charleston oil on canvas40.2 x 50.7 cm. (15 7/8 x 20 in.)Painted circa 1963Footnotes:ProvenancePierre van HerrewegeSale; Bonhams, London, 26 June 2007, lot 85Private Collection, U.K.The present work is thought to depict the daughters of Quentin and Olivier Bell, Virginia (left) and Cressida (right). The work previously belonged to Pierre van Herrewege, a young French Jazz musician and friend of Grant's.We are grateful to Richard Shone for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
![[Brontë (Charlotte)], "Currer Bell". Shirley. A Tale, 3 vol., without half-titles or advertisements, ink ownership inscriptio](https://cdn.globalauctionplatform.com/9b1d4b63-7075-4a87-90a4-ac5d00aa8621/19bba5eb-4449-4fe1-8c01-ac5d011c358b/468x382.jpg)
Lot 190
[Brontë (Charlotte)], "Currer Bell". Shirley. A Tale, 3 vol., without half-titles or advertisements, ink ownership inscriptions, hinges starting, contemporary calf-backed boards, cloth corners, rubbed and rather worn, 1849 § Hazlitt (William) Political Essays, without half-title, upper hinge starting, contemporary half morocco, rubbed, 1819, first editions, some light spotting or soiling; and c.25 others, 19th century prose, v.s. (c.30)
Lot 286
A FRENCH FOUR-GLASS TABLE CLOCK, LATE 19TH CENTURY the oval typical case with curved and bevelled glass, the white enamel dial with recessed visible Brocot escapement and Roman numerals, the eight-day movement striking the hours and half hours on a bell, unsigned, numbered 9503, with chamfered brass pendulum, with key and watch key for the suspension regulator 34.5cm high
Lot 602
A FRENCH ORMOLU MANTEL CLOCK WITH SEVRES STYLE PORCELAIN DIAL AND PANELS, C1860, IN LOUIS XVI STYLE, THE ARCHED CASE SURMOUNTED BY A RAMS HEAD HANDLED URN, THE DIAL AND PANELS TO THE FRONT AND SIDES PAINTED WITH FIGURES OR FLOWERS RESERVED ON A BLEU CELESTE GROUND, A LARGE SATYR MARK TO EACH SIDE, THE BELL STRIKING MOVEMENT AND DIAL INSCRIBED WRIGHT LEAMINGTON, 33CM H, PENDULUM Slight wear to decoration on dial
Lot 556
A LOUIS PHILIPPE GILT AND PATINATED BRONZE MANTLE CLOCK 1830-1848, IN THE FORM OF MERCURY, THE NAKED MESSENGER STANDING ON THE ROCKS, PAUSING TO TIE HIS SANDAL, HIS CADUCEUS BY HIS SIDE, THE SILVERED DIAL WITH BREGUET HANDS IN MILLED BEZEL, THE BELL STRIKING MOVEMENT WITH SILK SUSPENSION, ON RECTANGULAR BASE WITH EGG-AND-DART BORDER AND BRACKET FEET, 53CM H, ON EBONISED STAND, BENEATH GLASS DOME, 61CM H OVERALL Good preservation, movement complete with pendulum. The shade undamaged
Lot 661
VINTAGE MOTORING. A 1920'S GREEN AND YELLOW PAINTED SHELL-MEX & BP LIMITED LAMP OIL CAN, ANOTHER LAMP OIL CAN, A BOTTLE JACK, VICTORIAN SALTGLAZED STONEWARE BIRD FEEDER, SEVERAL BRASS BELL WEIGHTS, TWO VINTAGE ENGINEER'S OIL CANS, ETC Some rust and wear but all basically complete and unrestored
![[Bronte (Charlotte)] Bell (Currer), Jane Eyre: An Autobiography, Smith, Elder and Co., 1848, third edition, three volumes, so](https://cdn.globalauctionplatform.com/5965b0c8-046f-4845-ad8e-ac4400bf696f/8a337ba5-1eb8-4b6b-934e-ac6b008fded6/468x382.jpg)
Lot 3065
[Bronte (Charlotte)] Bell (Currer), Jane Eyre: An Autobiography, Smith, Elder and Co., 1848, third edition, three volumes, some foxing and corner creases, small hole in Q5 margin of volume 2, two words censored in pencil on page 258 of volume 3, half titles, advert leaf and catalogue all present, top edges gilt, half morocco gilt by Bayntun (slight wear to head of volume 3) [Smith page 29]xi, [3], 303,[1] + [advert leaf]; [4], 304; [4], 304, 8
![[Bronte (Anne)] Bell (Acton), The Tennant of Wildfell Hall, T.C. Newby, 1848, first edition, second issue with 'second editio](https://cdn.globalauctionplatform.com/5965b0c8-046f-4845-ad8e-ac4400bf696f/7aa6d33e-366a-4a24-addb-ac6b008fdf8f/468x382.jpg)
Lot 3066
[Bronte (Anne)] Bell (Acton), The Tennant of Wildfell Hall, T.C. Newby, 1848, first edition, second issue with 'second edition' title page, three volumes, a little foxing to initial and final leaves, occasional spotting in places, some corner creases, half titles not called for, top edges gilt, half calf gilt (spines faded with a little wear to extremities) [Smith page 91] vi, 358; [2], 366; [2], 342 pages.
![Tolstoi (Leon, Count) [Tolstoy (Leo)] War and Peace, A Historical Novel, translated into French by a Russian Lady, and from t](https://cdn.globalauctionplatform.com/5965b0c8-046f-4845-ad8e-ac4400bf696f/ec5a7948-d5d4-4be5-b1d8-ac6b008ff10e/468x382.jpg)
Lot 3098
Tolstoi (Leon, Count) [Tolstoy (Leo)] War and Peace, A Historical Novel, translated into French by a Russian Lady, and from the French by Clara Bell, New York: Harper & Brothers, January 22, 1886 - July 9, 1886, a very early translation published in serial form in Harper's Franklin Square Library Numbers 508, 521 and 521a. 3-94, 3- 80, 3-98 pages (closed tears to fore-edge of first leaves of part two, page 27 of same part torn with loss). Entered by William S. Gottsberger in O.L.C. in 1885. Bound with a Life of Saint Paul; with five other volumes containing editions of the Franklin Square Library, uniform half roan (bar one) (6)
Lot 3245
Bell (Joseph) A Treatise on Confectionary, In All Its Branches, with Practical Notes, and Illustrated with Appropriate Engravings, Newcastle, printed for the author by G. Angus, 1817, five plates (one folding), original quarter style marbled boards (worn, boards detached, spine cracked); Anon., The Housekeeper's Instructor: or, Practical Guide to Domestic Economy, T. Colmer, 1834, twelve pages (corners turned), blue paper wraps; Williams (Thomas), The New and Economical Guide to Confectionary, Sugar Boiling, Icing, Candying ...., Hamilton Adams, no date, enlarged twelfth edition, 60 pages (worn, lacking wraps) (3)
Lot 4089
Olympic Memorabilia: A collection of assorted autographs, obtained at World Junior Championships 1988, UK National Championship Games 1979, 1984 Los Angeles Olympic Games and 1980 Winter Olympics to include: Istvan Bagynla; Edvard Hamalyainen; Tomasz Jedrusik; Anthony Ezivka; Galina Astafei; Andre Cason; Heiye Rohrmann; Roger Bell; Gordon Rimmer; David Baptiste; Paula Fudge; Sue Reeve; Chris Black; Christine Boxer; Ian Chipchase; Nicky Slater; Karen Barber; Scott Hamilton; Ronald Davidson; Vic Nistor; Judy Blumberg; John Summers; Michael Seibert; Anton Winkler; Frank Ullrich; Carole Anding; Barbara Petzold; Andreas Dietel; Eric Heiden; Leonhard Stock; Trixi Schuba; Susan Garland; Bonnie Blair; Ben Johnson; Carl Lewis; and many others. (one bag)Provenance: These autographs were collected personally by Professor Arnold H Beckett (1920-2010) who for 20 years was a member of the IOC Medical Commission and an advisor and member of a number of other sporting bodies, and an expert on doping in sport. He collected these autographs during these eventsPlease inspect photographs.
Lot 160
GEORGE III MAHOGANY AND BRASS REPEATING BRACKET CLOCK LATE 18TH CENTURY the circular white enamel dial with Roman and Arabic chapters and twin winding holes, in an arch brass dial plate with a calendar dial to the arch and pierced spandrels, in a mahogany bell top case with canted angles to all sides mounted with gilt brass terms and flower trails, the glazed sides with bail handles and pull repeat, enclosing a twin train movement with verge escapement and bell strike and engraved backplate with bob pendulum, the bell top with brass banding and pinecone finials, all on a moulded base with brass ogee bracket feet(37cm wide, 59cm high, 24.5cm deep)
Lot 163
GEORGE III MAHOGANY BRACKET CLOCK, WILLIAM LIPTROT, LONDON, THE CASE AFTER A DESIGN BY THOMAS the arched brass dial with a silvered chapter ring with Roman and Arabic numbers and a matte centre and pierced brass spandrels, with two winding holes, date and false pendulum apertures, and signature plate inscribed 'William Liptrot/ LONDON', the arch with a subsidiary Strike/ Silent dial, in a carved arched topped mahogany case with pierced fretwork and carved with acanthus scrolls, the canted corners with Doric columns, on a moulded base with acanthus carved scroll feet, pull repeat on the right side; the eight day movement with verge escapement striking a bell and chiming on six bells, enclosed by an engraved backplate signed 'Wm. Liptrot/ London', with a bob pendulum(47cm wide, 68.5cm high, 23cm deep)Footnote: Note: The model for this clock case, which is rich in rococo embellishments, is taken directly from Thomas Chippendales 'Gentleman's and Cabinet Maker's Director', first appearing in the 1754 and 1755 editions as plate CXXXVIII, then renumbered as plate XLXV in the edition of 1762.
Lot 190
LATE GEORGE III MAHOGANY LONGCASE CLOCK, JAMES MCCABE, LONDON EARLY 19TH CENTURY the white enamel Roman numeral dial with two winding holes and signed James McCabe/ Royal Exchange/ LONDON; in a moulded arch case with brass finial and canted stop-fluted angles with brass insert, above an arched moulded door flanked by stop fluted angles with further brass inserts, on a moulded plinth base with a shaped apron and bracket forefeet; the eight-day twin train movement striking a bell(50cm wide, 232cm high, 26cm deep)
Lot 297
CABINETMAKER'S SAMPLE MINIATURE MAHOGANY LONGCASE CLOCK EARLY 19TH CENTURY the swan neck pediment above an arched 5 1/4 in. brass dial with Roman numeral chapter and basket engraving to the arch, flanked by bobbin moulded corners, above a shaped trunk door flanked by futher bobbin moulding, on a plinth base raised on bracket feet; the eight day twin train movement striking a bell(104cm high, 27cm wide, 14cm deep)
Lot 344
SCOTTISH MAHOGANY LONGCASE CLOCK, JOHN SMITH, PITTENWEEM EARLY 19TH CENTURY of neat size, the signed painted dial with Arabic chapter, subsidiary calendar and seconds dials and two winding holes, the arch painted with a bird and flowers, in a swan neck case with brass eagle finial above a crossbanded door flanked by quarter columns, on plinth base with bracket feet; the eight day twin train movement striking a bell(42cm wide, 209cm high, 22cm deep)
Lot 412
FRENCH BRASS FOUR GLASS MANTEL CLOCK LATE 19TH CENTURY the white enamel Roman numeral dial with a visible escapement and compensating mercury filled pendulum, in a gorge brass case with bevelled glass sides, the eight-day bell striking movement stamped 6857(20.5cm wide, 35cm high, 16cm wide)
Lot 461
LOUIS XIV STYLE GILT BRONZE MANTLE CLOCK, BY SUSSE FRERES, PARIS 19TH CENTURY the circular signed white enamel dial with Roman and Arabic chapters and twin winding holes, in an architectural case with lion mask loop handles, acanthus, laurel trails and an urn finial, raised on paw feet on a shaped platform base; the eight day movement striking a bell and stamped 1482(55cm high, 35cm wide, 20cm deep)
Lot 479
LARGE FRENCH GILT AND PATINATED BRONZE MANTEL CLOCK 19TH CENTURY the circular white enamel dial with Roman and Arabic chapters and twin winding holes, in a cylinder case surmounted by an urn with pinecone finial, flanked by seated putti holding flower garlands, on a shaped rectangular base with a shell motif and raised on scroll feet, the eight-day movement striking a bell(56cm wide, 67cm high)
Lot 480
FRENCH GILT AND PATINATED BRONZE AND MARBLE MANTLE CLOCK GARNITURE, AFTER CLODION 19TH CENTURY the white enamel dial with Roman and Arabic chapters and twin winding holes, in a waisted white marble case surmounted by a pair of putti emblematic of Autumn, the eight-day movement striking a bell and stamped 146/416; together with a pair of four light figural candlebra each with a putto holding a cornucopia issuing floral candle arms, on matching bases(Clock 59cm wide, 34cm high; candelbra 59cm high)
Lot 484
FRENCH ROUGE MARBLE AND GILT METAL CLOCK GARNITURE EARLY 20TH CENTURY the signed cream enamel dial with Arabic numbers and twin winding holes, in a rectangular rouge marble case with urn finial and gilt metal mounts, the eight-day movement striking a bell; together with a pair of five branch candelabra to match(Clock 51.5cm high, 29cm wide; candelabra 52cm high)
Lot 57
GEORGIAN OAK LONGCASE CLOCK, JOHN BOWN, PORTSEA 18TH CENTURY the signed brass dial with a silvered Roman numeral chapter, date aperture and subsidiary seconds dial, in a case with a dentil moulded cornice, above a shaped trunk door and plinth base; the eight-day twin train movement striking a bell(56cm wide, 190cm high, 29cm deep)
Lot 66
SCOTTISH OAK LONGCASE CLOCK, J. & W. MITCHELL, GLASGOW 19TH CENTURY the circular Roman numeral enamel dial with two winding holes and a subsidiary seconds dial, in an straight oak case with moulded trunk door and conforming plinth base; the eight day twin-train movement striking a bell(48cm wide, 185cm high, 25cm deep)
Lot 88
GEORGE III BLACK LACQUERED LONGCASE CLOCK, ROBERT CLIDSDALE, EDINBURGH 18TH CENTURY the arch brass dial with a silvered chapter ring marked with Roman and Arabic numbers, with a matted centre with two winding holes, date aperture, subsidiary seconds dial, and Strike/Silent dial to the arch, the name plate signed 'Robt Clidsdale/ Edinburgh', in an arch moulded hood and corner columns, above an arch moulded trunk door with prints of George III and Queen Charlotte, on a plinth base decorated with Chinoiserie; the eight day twin train movement striking a bell(49cm wide, 222cm high, 23cm deep)
Lot 428
A mixed lot relating to knitting, comprising a 19th Century goose wing wooden knitting sheath, 29.5cms, two umbrella form knitting needle cases, 30.5cms, a pair of glass knitting pins, 29cms, a pair of brass top steel knitting pins, 40.5cms, a Felix the Cat ‘Felix Keeps on Knitting’ plywool wool winder, 16.5cms, a plated metal spool knave, 22cms, two pricking wheels on turned handles, 13 and 15 cms, a Bakerlite type wool ball ‘British Ware AB 797286’, 9.5cms, a skein holder ‘Briggs Court Embroidery Silk’, in home made canvas cover, 23 x 7cms, a ‘Viyella Needle Gauge / Knitting Recorder’ of drum form, 4cms dia., an ‘Alfred Shrimpton’ bell form knitting gauge, 7cms, a ‘Woman’s Day’ plastic knitting gauge, 10.2cms, and a ‘Sew and Knit Gauge – Made in USA’, 15.2cms. (17) From the collection of Margaret Blakeley
![Music - three copies, Dix Cahiers Manuscrits de Mozart, Donnés a la Bibliothèque de l'Institut de France par M. B[asil] Zahar](https://cdn.globalauctionplatform.com/6a6a64ee-e3f7-4140-9ab3-ac63010a9d31/d203b033-ee0e-4daf-8ce7-ac72010fb153/468x382.jpg)
Lot 605
Music - three copies, Dix Cahiers Manuscrits de Mozart, Donnés a la Bibliothèque de l'Institut de France par M. B[asil] Zaharoff, [?Paris: c. 1920], ten facsimile MS musical scores in portfolio, cloth and buckram boards, slipcased, oblong 4to, (3); Gilbert (W.S.), The Pinafore Picture Book, London: George Bell & Sons, 1908, lacking title-page, colour plates, contemporary pictorial binding, 8vo, (1), [4]
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