Lysons, Rev. Daniel "The environs of London being an historical account of the towns, villages and hamlets within 12 miles of that capital..." in 2 volumes, the second edition printed for T. Cadell and W. Davies 1811, folding map to Volume 1, plates, offsetting and some foxing, rebacked, full leather blind stamp to front boards, gilt rules and dentils, corners bumped and rubbed, library number to back strip, library book plateHunter, the Late Rev. Henry "The History of London and its environs..." in 2 volumes, printed for John Stockdale, 1811 folding view of London and folding view of the cities of London and Westminster with the suburbs and "circum jacent country", plates, folding map to Vol 2, and plates, some library blind stamps to plates, rebacked, full leather gilt rules, paste downs, gilt titles, raised bands, all marbled edges (4)
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Hutchins, John "The History and Antiquities of the County of Dorset..., 3rd edition corrected, augmented and improved by William Ship and James Whitworth Hodson" in four vols, printed by John Bowyer Nichols & Sons 1861, numerous plates and illustrations, large folio, rebound library cloth, bookplatesWarne, Charles"The Celtic Tumuli of Dorset...", John Russell Smith 1866, numerous plates, rebound library bookplate, gilt titles, library number to backstrapWarne, Charles"Ancient Dorset, the Celtic, Roman, Saxon and Danish Antiquities of the County...", printed for the author and subscribers only by D Siddenham, Bournemouth 1872, numerous plates, library stamps on the plates, rebacked and rebound, contemporary leather backstrip laid downHeath, Sidney and Prideaux, W De C "Some Dorset Manor Houses", Bemrose & Sons 1907, numerous plates and illustrations, blind library stamps on plates, red cloth, gilt titles and decoration and two other volumes (4 vols and 1 box) (9)
![[Stockdale, J]"A Geographical, Historical and Political Description of the Empire of Germany, Holland, The Netherlands, Switz](https://cdn.globalauctionplatform.com/b691fa9c-618d-4df7-a6a6-a6960126ff20/cb31b650-9328-4f55-867c-63838ec56cab/468x382.jpg)
[Stockdale, J]"A Geographical, Historical and Political Description of the Empire of Germany, Holland, The Netherlands, Switzerland, Prussia, Italy, Sicily, Corsica and Sardinia...", printed for John Stockdale London 1800, three large folding maps, various other engraved maps, frontis, some offsetting, rebound green library cloth, some blind library stampsHowell, James"A German Diet or the Ballance of Europe..." London printed for Humphrey Moseley 1653, engraved frontis repaired, red and black printed tp also repaired, rebound library cloth, library bookplateBatty, Captain"German Scenery from Drawings made in 1820" London 1823, various engraved plates, some offsetting and foxing, library bookplate half leather with pastedown titles (3)
Berry, William "The History of the Island of Guernsey...", London published by Longman Hurst Reece Orme & Brown 1815, folding plate of St Peter Port and a folding map, rebound library clothLeland, Thomas"The History of Ireland...", three vols. printed for J Nourse 1773, rebound blue library cloth, title titles and library numbers[Owen, H and Blakeway, J B]"A History of Shrewsbury in two volumes", Harding, Lepard & Co 1825, folding plates, maps, ills, rebound red library cloth, some library blindstampsClark, James"A Survey of the Lakes of Cumberland, Westmoreland and Lancashire...", 2nd edition, London printed for the author 1799, folio, some foxing, rebound contemporary board laid down, half leather gilt titlesLewis, Samuel "A Topographical Dictionary of Wales...", two vols., maps, rebound blue library cloth, library number, some blind library stamps"South Wales Illustrated in a Series of Views...", London published by Jones & Co and other volumes (2 boxes)
Bradshaw Percy V. " The Art of the Illustrator" issued by the Art School, Tudor Hall, London, various artists including Lawson Wood, Russell Flint, Cyrus Cuneo, Louise Wright, etc. 19 in all, plates stitched into card folders, Bulley, Margaret " Art and Everyman, A Basis for Appreciation", Batsford 1951, 2 vols. numerous photographic ills., blue cloth, gilt titles, some library blind stamps, Aumonier W. " Modern Architectural Sculpture" London, The Architectural Press 1930, numerous photographic ills. original green cloth with silver and titles and decoration to front board, library book plate, library blind stamps, Brawne, Michael " The New Museum, Architecture and Display" the Architectural Press 1965, dust jacket, brown cloth, not price clipped, library book plate, and Granville , H. " The Art of H. Davis Richter" forward by Frank Brangwyn, Benfleet 1935, limited edition of one of 500 copies only, col. frontis, col plates, original green cloth with gilts titles"The Charm of the Etcher's Art" The Studio Graphic Arts Folios, no.1, no.2 and no.3
Houghton, Rev, W. " British Fresh- Water Fishes" William Mackenzie 1884. col. frontis. numerous col. plates, ills within text, rebound blue library cloth, gilt titles, library book plate, Frohawk F.W. " Natural History of Butterflies", Hutchinson and Co. (1914) numberous col. plates, two vols, original blue cloth, blind stamped titles to front board, gilt titles to back strip, library book plate, some library blind stamps (3)
** Laurence Stephen Lowry (1887-1976) - Street scene, print, pencil signed to lower right margin, Fine Art Trade Guild blind stamp lower left, 27.5 x 21.5 cm** ARR will be applicable Condition Report Good clean condition, blind stamp rather shallowUnknown if prints are stuck down as all are framed and glazedPossible fading
A late Victorian mahogany bookcase, pair of astragal-glazed doors enclosing two shelves, serpentine-fronted base with two drawers, embossed brass handles, blind-fret detail to drawers and pediment, on square tapering legs with shaped undertier, retailer's label S & H Jewell, Holborn, 2ft. 6in. wide; 5ft. 10in. high - sides split SEE ILLUSTRATION
Mother of God of Tikhvin dating: last quarter of the 19th Century provenance: Russia Two connected axis and two, convergent, blind crosspieces. Egg tempera on gold ground, finely engraved and embossed, crisography, assist. Gold leaf with scrapings. Mstera Region.In a gilt and painted frame; later. dimensions: dimensions 31 x 26,1 x2,4 cm.
Mandylion dating: mid-18th Century provenance: Russia Hollow plate, two axis and a blind crosspiece at the center. Egg tempera, gold-leaf halos, crisography. Micro-losses of pictorial films and preparations along the external outline and at the inside of the hollow. dimensions: dimensions 17,9 x 15,4 x 2,1 cm.
Archangel Michael dating: last quarter of the 18th Century provenance: Romania Full plate, one blind, crosspiece at the center, applied frame. Egg tempera, gold leaf halo; mecca-varnished wings, armour, chalice and frame. Dated "1790" at the back. dimensions: dimensions 35,2 x 28,2 x 3,2 cm.
Elijah with twelve scenes of life dating: last quarter of the 18th Century provenance: Bulgaria Three axis and two parallel crosspieces (one is blind); coeval frame, painted and gilt with leaves at the inside. Egg tempera on golf ground, featuring lacquered decorations on mecca-varnished ground around the medals. Some oil additional parts. dimensions: dimensions 89 x 70,3 x 4,2 cm.
St. Nicholas and St. John the Baptist dating: mid-19th Century provenance: Bulgaria Three connected axis and two blind, parallel crosspieces. Mixed technique, gold leaf chalice, embossed, silver-metallic halos. On the blessing hand of Saint Nicholas there is an embossed, silver-metallic hand. Wear from usage. dimensions: dimensions 84,6 x 64,6 x 2,7 cm.
Holy Trinity with the coronation of the Virgin dating: third quarter of the 19th Century provenance: Bulgaria Three connected axis, strengthened by six butterflies, two blind, parallel crosspieces. Frame with top moulding, sculpted and gilt at the sides, featuring two medals depicting Saints Mina and Caralampo. Oil on gold ground, partly engraved and embossed. Crisography. Integration along the juncture of the axis.Depicting Archangels Micheal and Gabriel. Saint George, Saint Nicholas, Saint John the Baptist and Saint Dimitri. dimensions: dimensions 76,5 x 64,8 x 5,5 cm.
The healing of the man born blind dating: third quarter of the 19th Century provenance: Romania Four connected axis, coeval, mecca-gilded frame sculpted with floral motifs and featuring two winged puttos, decorated with lacquers. Oil. Scraping, peeling and repainting. dimensions: dimensions 78,8 x 63,5 x 2,6 cm.
Four stands dating: last quarter of the 19th Century provenance: Russia Two axis, two convergent, moulded, blind crosspieces. Egg tempera and lacquers on mecca-varnished, partially engraved and embossed ground. Etched heightening.Mother of God of Tichvin, Mother of God "Assuage my Sorrow", Beheading of Saint John the Baptist. Christ "Blessed Silence" at the center. dimensions: dimensions 52,3 x 45 x 3,4 cm.
Quadripartite of the Crucifixion dating: late 19th Century provenance: Russia Two larch axis, teo blind, parallel crosspieces. Egg tempera and lacquers with partially engraved halos and details made of gold leaf.Mother of God "Joy of All who Sorrow", Mother of God by Fedorov, Mother of God of the seven Sorrows and Mother of God "Assuage my Sorrow". dimensions: dimensions 44,6 x 38,9 x 2,9 cm.
Quadripartite of the Crucifixion dating: last quarter of the 19th Century provenance: Russia Two connected axis, two convergent, blind crosspieces. Egg tempera on mecca-varnished ground, partially engraved at the frame.Mother of God Hodegetria, Burning Bush, Mother of God "Softener of the Evil Hearts" and Mother of God "Assuage my Sorrow". Mary Magdalene, Mother of God, John the evangelist, Saint Longinus. dimensions: dimensions 35,2 x 31,4 x 2,7 cm.
A George III mahogany chest on chest, the moulded and dentil cornice above a blind fret carved frieze, with two short and three graduated long drawers, the base having a brushing slide above three graduated long drawers, on ogee bracket feet, 113 cm wide See illustration Condition report Report by GHVarious losses to blind fretwork and some patched and repaired sections, notably on the right hand side and the rear left around the top. Cornice generally chipped, dented and with losses to moulding, particularly down the right hand side. Various chips and losses to cockbeading and several handles loose, but all seemingly present and correct. Drawers all in reasonable condition, a couple with cracked bottom boards, but otherwise reasonably good. Usual age related wear, light cracking to veneer, dents, scratches etc. Very much saleroom fresh condition.
A George III oak bureau, the fall-flap revealing conventionally fitted interior with pigeon holes, central door flanked by a pair of secret compartments and sliding well, the front with pair of slides above one blind and three long graduated cockbeaded drawers, bracket feet, 92cm wide, Circa 1770
Augustus Samuel Boult, (Fl. 1815-1853) Labourers quarrying and loading sand with shire horses, c.1840's, signed lower centre, oil on canvas, 45 x 56cmShire Horses were traditionally used by quarrymen to help with the process of extracting sand from countryside sand quarries. The horses who were bread to cope with heavy loads of quarried sand from the sand that was transported in robust carts to the network of canals and from the 1830's the growing network of railways. This painting by Augustus Boult illustrates this particular countryside activity.The Shire horse is a breed of draught horse. They are a tall breed, with mares standing 16 hands (64 inches, 163 cm) and over and stallions standing 17 hands (68 inches, 173 cm) and over. The breed has an enormous capacity for weight pulling, and Shires have held the world records for both largest overall horse and tallest horse at various times. Throughout its history, the breed has been popular for pulling brewery wagons that delivered ale to customers. This practice continues today, with the breed also being used for forestry, leisure and promotional pursuits. The breed descends from war horses brought to England by William the Conqueror in the 11th century. These were crossed with other breeds, including the Friesian, to create the Shire of today. In 1884, the organization now known as the British Shire Horse Society was created, with the American Shire Horse Association beginning in 1885. The breed was exported from Britain to the United States in large numbers during the late 19th and early 20th centuries, but popularity fell with the advent of mechanization, reaching a low point in the 1950s and 60s. Popularity began to increase again in the 1970s and after. However, population numbers are still considered to be at critical levels by both the UK-based Rare Breeds Survival Trust and the US-based American Livestock Breeds Conservancy. Shire stallions may be black, bay or gray. They may not be roan or have large amounts of white markings. Mares and geldings may be black, bay, gray or roan. In the UK stallions may not be chestnut but the color is allowed by the US registry. Stallions stand 17 hands (68 inches, 173 cm) high when mature, and they average around 17.2 hands (70 inches, 178 cm). Geldings stand at least 16.2 hands (66 inches, 168 cm) high and mares at least 16 hands (64 inches, 163 cm).[citation needed] The Shires' head is long and lean, with large eyes, set on a neck that is slightly arched and long in proportion to the body. The shoulder is deep and wide, the chest wide, the back muscular and short and the hindquarters long and wide. There is not to be too much feathering, and the hair is fine, straight and silky. Smaller horses, under 17 hands (68 inches, 173 cm), are generally preferred for working horses, while taller horses, especially those over 18.2 hands (74 inches, 188 cm), are used for show and promotional purposes. The breed is known for its easy-going temperament. The Shire has an enormous capacity for weight pulling. In 1924, at a British exhibition, a pair of horses was estimated to have pulled a starting load equal to 45 tons, although an exact estimate could not be made as they exceeded the maximum reading on the dynamometer. Working in slippery footing, the same pair of horses pulled 16.5 tons at a later exhibition. The largest horse in recorded history was probably a Shire named Mammoth, who was born in 1848. He stood 21.2 hands (86 inches, 218 cm) hands high, and his peak weight was estimated at 1,500 kilograms (3,300 lb). At over 19 hands (76 inches, 193 cm), a Shire gelding named Goliath was the Guinness Book of World Records record holder for the world's tallest horse until his death in 2001. Like its close relative, the Clydesdale, the Shire horse is descended from the Great Horse brought to England in 1066 by William the Conqueror.[dubious - discuss] Only stallions were imported, to carry knights in armour into battle-weighing up to 32 stones (450 lb or 205 kg)-and it is probable that they bred with native mares in the vicinity.[citation needed] Though oxen were used for most farm work into the 18th century, horses 'fit for the dray, the plough, or the chariot' were on sale at Smithfield Market in London as early as 1145. The English Great Horse was valued during the reign of Henry VIII, when stallions measuring less than 'fifteen handfuls' could not be kept, but the advent of gunpowder in the late 16th century brought an end to the use of heavy horses in battle. Oliver Cromwell's cavalry favoured lighter, faster mounts and the big horses began to be used for draught work instead. Stage coaches needed strong horses to draw them and the Great Horse found a new niche. During the 16th century, Dutch engineers brought Friesian horses with them when they came to England to drain the fens, and it is probable that these horses had a significant influence on what became the Shire breed.From this medieval horse came an animal called the Old English Black Horse in the 17th century. The Black Horse was improved by the followers of Robert Bakewell, of Dishley Grange in Leicestershire, resulting in a horse commonly known as the "Bakewell Black."[9] Bakewell imported six Dutch or Flanders mares, notable since breeders tended to concentrate on improving the male line. Two different types of black horse developed: the Fen or Lincolnshire type and the Leicester or Midlands type. The Fen type tended to be larger, with more bone and extra hair, while the Midlands type tended to have more endurance while being of a finer appearance. The term "Shire horse" was first used in the mid-17th century, and incomplete records begin to appear near the end of the 18th century. The "Packington Blind Horse", from Leicestershire, is one of the best-known horses of the era, with direct descendents being recorded from 1770 to 1832. This horse is usually recognized as the foundation stallion for the Shire breed, and he stood at stud from 1755 to 1770. During the 1800s, Shires were used extensively as cart horses to move goods from the docks through the cities and countryside. The rough roads created a need for large horses with extensive musculature. A bay-colored Shire, showing Clydesdale influence in colour and markingsIn 1878, the English Cart Horse Society was formed, and in 1884 changed its name to the Shire Horse Society. The Society published a stud book, with the first edition in 1878 containing 2,381 stallions and records dating back to 1770. Between 1901 and 1914, 5,000 Shires were registered each year with the British registry.The first Shires were imported to the United States in 1853, with large numbers of horses being imported in the 1880s. The American Shire Horse Association was established in 1885 to register and promote the breed. The Shire soon became popular in the United States, and almost 4,000 Shires were imported between 1900 and 1918. Approximately 6,700 Shires were registered with the US registry between 1909 and 1911. Around the time of World War II, increasing mechanization and strict regulations on the purchase of livestock feed reduced the need for and ability to keep draft horses. Thousands of Shires were slaughtered and several large breeding studs closed. The breed fell to its lowest point in the 1950s and 1960s, and in 1955 fewer than 100 horses were shown at the annual British Spring Show.Today, the British Shire Horse Society receives around 500 annual registrations. Shire horse was originally the staple breed used to draw carts to deliver ale from the brewery to the public houses. A few breweries still maintain this tradition in the UK. These include the Wadworth Brewery in Devizes Wiltshire, the Hook Norton Brewery, the Samuel Smith Brewery in Tadcaster, and Thwaites Brewery in Blackburn, which resumed horse-drawn deliveries in 2008. Several breweries have recently withdrawn their Shire horse teams, including the Tetley brewery in Leeds.
Cinema, an album containing 90+ lobby cards, together with approx 50 loose, mostly 10" x 8", various films inc. The Money Trap, Africa Texas Style, Blind Man (featuring Ringo Star), Come Fly With Me, Death Kick, Inn for Trouble, Personal Services, Strange Obsession, several 'Confessions of ' etc, b/w & colour (gen gd)
SYNTH/AMBIENT/NEW WAVE/INDIE - A diverse and eclectic collection of 17 x LPs with some limited edition 12" releases. Artists/titles will include Lives Of Angels - Elevator To Eden (very rare album on Fire - FRE LP2 - Ex/VG+), Shoc Corridor - A Blind Sign (sought after 12" - XW1203 - Ex/VG+), Johnny Moped - Cycledelic (WIK 8 with printed inner - Ex/VG+),Duet Emmo - Or So It Seems (STUMM 11), Crazy House, The Method - Chances (MET-AL 1), Human Switchboard, The Go-Betweens - Tallulah (test pressing white label 2 x LPs BEGA 81), The Damned - The Black Album, John Cooper Clarke, and The Boys - Alternative Chartbusters (33 1/3 on labels). Condition is generally VG to Ex.
A collection of 19th century and later maps, engravings, etc, comprising: an early 19th century map of eastern Europe including Cyprus, Syria, Crete, etc, 30 x 46 cm approx, a map of Rutlandshire by J Cary, two plans of building land at Skelmersdale, one dated 1836, a plan of an estate in the Parish of Keynsham, etc together with two early 20th century coloured lithographs after William Nicholson, both of architectural subjects and both with blind embossed stamps, published November 1905 at the Stafford Gallery, 35 x 28 cm approx, further topographical prints and engravings, etc, various sizes, mostly framed
An 18th century coloured engraved road map showing the roads from London to Wells in Norfolk and St Edmons Bury in Suffolk by John Ogilby, 39 x 48 cm approx together with a collection of late 18th and 19th century engravings, caricature subjects, etc including a scene with elegant ladies and gentlemen in a fishing punt, a further pair of fishing engravings after J Pollard - Live-Bait Fishing for Jack and Fly Fishing for Trout, 37 x 44 cm approx, a caricature showing Light Infantry Volunteers on a march, etc together with a late 19th century monochrome study of fruit with blind embossed stamp ESK, various sizes, all framed
George III mahogany marquetry and line inlaid bureau bookcase, the blind fretwork cornice with a broken arch pediment above two astragal glazed doors, the base with a fall front enclosing a fitted interior above two short and three long drawers with brass swan neck handles, raised on bracket feet
Watson 1/2 Plate Camera with Kershaw Soft Focus Lens. Watson & Sons 1/2 plate wood & brass camera, circa 1910. Roller blind shutter inoperative & shutter mounting panel split (easy repair). Missing one side strut and bellows VERY dry & stiff. Will need some work to allow camera to fully close, so condition 7G. Fitted with RARE 11" Kershaw f5.6 Soft Focus lens # 231. (condition 5F). Rear element has a few minor marks etc commensurate with its' age. Please note that this lens does require a front element.
Wrayflex 1a Camera & Case. Wrayflex 1a (film counter to 40) 35mm camera #3919. Plating eroding from body on both bottom corners, front & back and on the base. (condition 6G - shutter cocks & fires, 2nd blind occasionally slow) with Wray 50mm f2 Unilite standard lens (condition 5E) plus ERC with strap, aftermarket hood in pouch & extension ring.
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44918 item(s)/page