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Click here to subscribeA silver candelabrum, with cancelled marks, and London Assay Office marks for 2019, case number 9378, the column modelled as a kneeling chained male figure holding the fluted baluster stem, on a triangular base, on three claw and ball feet, the unmarked branches with three scroll arms each supporting a spool shaped capital with a plain circular drip pan, height 33cm, approx. weight 52oz.
Postcards; collection of loose postcards, UK topographical/resorts (including London, Nottingham, Derby, Burton on Trent), to include RP Rexford Bridge disaster 1914, USA views/topo; including RP Capital Fire, Albany, New York 1911; RP family portraits, to include a football team taken by Partridge, Plumstead, and Pay Day November 28/1913, European views; ocean liners; railways/locomotives (including RP Shunters Cabin); Silver Leaves, greetings/Christmas (including cats); Deeks Puzzle Postcard x 2, together with six large Christmas cards in envelopes and several illustrated guides/views (USA interest) (one box)
THE CLASH - 7". Havin' a blast with The Clash - 19 x 7" here including an acetate and also with 1 x 12". Titles include London Calling/Rock The Casbah (Japanese promo YPS-015 - glossy Ex with original paper sleeve in Ex condition), Hitsville U.K. (including Aussie promo ES 578 - Ex+ record/with Ex condition original export 'Batman Records' sleeve, also with stock UK and Dutch copies), Capital Radio E.P. (CL 1 promo only - top Ex+ record/please note with generic sleeve), Topper Headon - Leave It To Luck (Phonogram acetate recording, single sided - Ex condition showing no deterioration to the lacquier), White Riot (Dutch p/s CBS 5058), This Is Radio Clash (12" A 13 1797), Clash City Rockers (CBS 5834 Italy - VG with scuff marks/Ex), Rock The Casbah (UK copy, with stickers), The Call Up (UK and EU picture sleeve copies), Remote Control, Complete Control, The Cost Of Living EP and Should I Stay Or Should I Go / Straight To Hell (pic disc). Condition is generally VG+ to Ex+.
AN AMERICAN SILVER ART NOUVEAU CARD CASE with embossed floral decoration, initialled & numbered "S" over "XXV", maker's mark unclear, c.1900, a 19th century North American silver card case, stamped in relief with a view of the Capital Building, Washington D.C., surrounded by leaves, the reverse with trophies & scrolls, unmarked 1850-70, and a Victorian silver engraved card case, initialled "C" by Frederick Marsden, Birmingham 1867; the latter 4" (10 cms) long; 5.1 oz (3)
A VICTORIAN SILVER TAPERSTICK on a shaped circular base with a flaring capital and a conical snuffer secured by a chain, by Henry Wilkinson & Co., Sheffield 1841 (loaded), together with an oval silver tea caddy with chased decoration and crimped borders, by Deakin & Francis, Birmingham 1906 and a set of three silver salts by J.N. Mappin (for Mappin & Webb), Sheffield 1881; the taperstick 4" (10 cms) high; 11.7 oz weighable silver (5)
A pair of George IV bronze table lamps, each with a leaf and lappet capital, above a faceted stem decorated with acanthus leaves and flaming torches, above further bands of lappets and a triform base with three eagles, lion's paw feet and scrolling leaves and palmettes, with a concave stepped base, c.1825, possibly originally candelabra bases, later fitted with three lights and with shades, 67.3cm high (excluding fittings). (2) Provenance: Property from the collection of Monty and Barbie Passes. For a similar pair of table lamps see Christie's, A Townhouse off Grosvenor Square: The Collection of Dr. Peter D. Sommer, 4th December 2014, lot 261.
Two American maps comprising A.J. Johnson (1827-1884) and B.P Ward, 19thC map of Washington D.C, 'Johnson's Georgetown and the City of Washington, the capital of the United States of America', 33 x 40cm, framed and glazed and 19thC map of the states of Virginia and Maryland, published by Seers and Co, 26 x 40cm, framed and glazed.
Band of Brothers multiple signed WW2 Robert Taylor print. 30 x 23 inches. Numbered 97/400. The mighty Lancaster, the mainstay of RAF Bomber Command, crewed by volunteers from Britain, Australia, Canada, New Zealand, Rhodesia, South Africa, and many other nations opposed to Nazi rule, flew day and night sorties whenever there was a chance of reaching the target. Their unflinching courage, and selfless devotion to duty paved the way for the D Day invasion, and the ultimate liberation of Nazi occupied Europe. Embellished with Goering's infamous quotation No Enemy Plane Will Fly Over The Reich Territory, S for Sugar took her bombs to Berlin, Hamburg, Schweinfurt, Bremen, Hanover, Wurzburg, Munich, Stuttgart, Frankfurt, Dusseldorf, and other prime targets, flying the second greatest number of operational sorties of any bomber in the Command. Time and again Sugar brought her crew home, often limping back riddled with flak and bullet holes, occasionally on three engines, and once all the way back from the German capital with a badly damaged wing following a mid-air collision over the target. Robert Taylor's emotive painting shows S for Sugar on the morning of 27th April 1944 after her 95th sortie a raid on the ball bearing factory at Schweinfurt. As the battle scarred bomber taxies in at RAF Waddington, other 467 Squadron Lancasters follow, heading for their dispersal points. Already the weary crews begin their informal debriefing. By the war's end this trusty bomber had completed no fewer than 137 operations over enemy territory, bringing her crew home every time. Now magnificently restored to her former glory, S for Sugar resides in the RAF Museum at Hendon, providing a lasting tribute to the gallant men of RAF Bomber Command. This famous aircraft was typical of, and ultimately came to symbolise, the men and machines of Royal Air Force Bomber Command. Flying initially with 83 Squadron Pathfinder Force, then 467 Squadron RAAF, Avro Lancaster serial number R5868, call sign S for Sugar, took part in almost every major attack on Germany between the summer of 1942 and the end of hostilities. With the life expectancy of a new Lancaster being just a few months, it was a miracle she survived the war. The RAF Aircrew Edition. Every print in the RAF Aircrew Edition is signed in pencil by artist as well as FOUR distinguished pilots who flew with RAF Bomber Command during World War II. Flight Lieutenant JOHN PETRIE ANDREWS DFC DFM, Squadron Leader TONY IVESON DFC AE, Flight Lieutenant HARRY HUGHES DFC DFM AE, Marshal of the RAF SIR MICHAEL BEETHAM GCB CBE DFC AFC FRAE. Condition report considerable fox marks to image and border. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
One bottle Berisford Solera established 1914 José Pemartin ,Capital Wine & Travers Ltd. (Harwich). One bottle Cumbrero Rioja 1974, one bottle Cépage Gamay 1977, one bottle Calvert Reserve Bordeaux 1999, one bottle Cairanne Cotes Du Rhone, Domaine de L'Ameillaed, 1998,one bottle Ribera Del Duero valdevannos Rosado 1992 (6).
Charles J Lundgren (New York, Connecticut, 1911 - 1988) "U.S.S. Honolulu" Oil on masonite painting. Signed lower right, titled lower left. Named after the capital of Hawaii, the light cruiser U.S.S. Honolulu participated in some of the most important battles of World War II. Commissioned on 15 June 1938 with Captain Oscar Smith in command, the U.S.S. Honolulu sailed on a shakedown cruise to England. She then sailed to San Pedro, California to join the Pacific fleet on 14 June 1939. On 5 November 1941 she sailed for the Naval Station at Pearl Harbor where she was operating when the Japanese launched their sneak attack. Suffering only minor damage, after repairs she continued convoy escort duty in the South Pacific. In 1942, when the Japanese pushed north toward the Alaskan peninsula, U.S.S. Honolulu was called upon to strengthen America's position in the area. On 21 August 1942 she screened the crucial first American landings in the Aleutians. Later in 1942, as part of Task Force 67, she fought valiantly at the Battle of Tassafaronga. Throughout the early months of 1943 she was engaged in heavy bombardments across the South Pacific in an attempt to derail the "Tokyo Express." Perhaps the greatest moment in this battle-proved cruiser's history came on 20 October 1944 during the Battle of Leyte Gulf. Her relentless bombardment and screening activities helped gain a decisive command of the South Pacific for America. Sadly, on that same day, the U.S.S Honolulu was struck by a torpedo from an enemy plane. For her service in World War II the U.S.S. Honolulu earned eight battle stars. Size: 20.5 x 22 in. Unframed.
dating: Late 19th Century provenance: Sumatra, Straight, single-edged blade with oblique tip. Typical, curved hilt, completely covered with silver foil, with iron and copper capital-base. Wooden scabbard with horizontal cap, slightly embossed, the rest covered with silver foil with braided band at the girdle. See similar examples in 'Traditional Weapons of the Indonesian Archipelago' by Albert G. van Zonneveld, pages 78 e 83. length 29 cm.
Letters patent. King George V grant of title appointing Sir Thomas Jeeves Horder as Baron Horder of Ashford in the County of Southampton, 23 January 1923. Manuscript red & black ink on vellum, illuminated capital, Great Seal within red morocco case bearing gilt Royal coat-of-arms, the whole housed in velvet-lined wooden case with red morocco by John Peck & Son, Southwark. Good, clean, bright; case worn with loss to leather. The case includes an empty envelope, blind-stamped House of Lords, inscribed, 'Key of Patent Box, The Lord Horder'. Thomas Jeeves Horder, 1st Baron Horder (1871-1955), was an English physician recognised as one of the greatest clinicians and diagnosticians of his day; his patients included Edward VII, George V, George VI, Elizabeth II, and two prime ministers
by Elizabeth Jones, London 1791, the base of oval form with reeded edge, crested, the applied simple handle with leaf capped thumbpiece and slot to take the simple dome shaped snuffer, fully marked to match, the short central column with urn shaped capital and reeded sconce, 9.7ozt (Dimensions: h: 10cm w: 16.5cm d: 13cm)(h: 10cm w: 16.5cm d: 13cm)
by Martin Hall & Co, Sheffield 1896, each square base with fluted decoration, the twisted column topped with acanthus style decorated sconce and supporting an S shaped twisted branch each end terminating in a capital, drip pan and detachable part marked nozzle, the centre of the branch with a raised pear shaped section, twisted design to match, and supporting the third light, loaded bases, the branches 40.1ozt gross, 39cm high (2)Footnote: Provenance: From the collection of Lord Hastings Other notes: Metamorphic candelabras are the most versatile of all styles, and this example can be used as a pair of single sticks, by removing the branch and removing and replacing one of the nozzles, or as a full three light.
by Carrington & Co, London 1904, in the neo classical style, the square gadroon edged base decorated with swags and urns, monogrammed, crested and with presentation engraving, supporting the Corinthian style reeded column and foliate capital, the top featuring a vintage electric socket, loaded (Dimensions: h: 46cm w: 14.50cm d: 14.50cm )(h: 46cm w: 14.50cm d: 14.50cm )Footnote: Provenance: From the collection of Lord Hastings
by William Hutton & Sons, London 1901, in the neo classical style, the square bases with concave sides featuring goat's mask and swag decoration, the short columns with swirled foliate decoration to the acanthus decorated capital with removable and beaded edged nozzles, green felt table protectors to the underside (Dimensions: h: 16cm d:8cm) (Qty: 2)(h: 16cm d:8cm)
A pair of French patinated bronze and ormolu candlesticks 19th century, the tapered fluted columns with gilt floral and foliate capital and mounts to patinated floral and foliate circular bases, 8¼in. (21cm.) high plus fittings, later converted to lamps, 10in. (25.4cm.) high overall. (2) *Condition: In working condition, re-wired (would need pat test), good condition.
A French 19th century gilt bronze candlestick lamp the urn sconce with beaded drip pan, on a fluted and swagged waisted column, to a fluted, husk and bead decorated circular base, 10 5/8in. (27cm.) high; together with a brass Corinthian column candlestick lamp; and a pair of neo-classical black painted reconstituted marble table lamps, 16¾in. (42.5cm.) high. (4) *Condition: - Gilt bronze lamp: Wear to gilding throughout, otherwise good. - Brass candlestick lamp: Corner of drip pan slightly bent, base drilled. - Pair lamps: A few paint chips and rubs to edges, small chip to one base, one lacks the fluted mount on top of column capital.
* Baden-Powell (Robert, 1857-1941). Pen and ink self portrait with presentation inscription in capital letters, circa 1900, in full 'You may rejoice!! Wunhi has returned from the Wars!! A wreck of his former self - but still alive - and that, after all, is something to be thankful for', written in eight lines above a pen and ink portrait of Baden-Powell with pith helmet and unshaven look leaning decrepitly on his sword, a few minor spots, the whole of a narrow strip of off-white laid paper with slightly roughened edges and a small tear to upper blank area of left margin, overall 34 x 10.5 cm (Qty: 1)NOTESFrom the Pamela Dugdale collection. Mrs Dugdale and Baden-Powell had been in amateur dramatics together while Baden-Powell was in Meerut in 1897. Baden-Powell had played the part of a Chinese man called 'Wunhi' in the play of The Geisha , a late Victorian Edwardian musical comedy by Sidney Jones, Lionel Monckton and Harry Greenbank. Baden-Powell remained friends with the Dugdales and often signed himself 'Wunhi' when writing to Mrs Dugdale. This characterful pen and ink self portrait and note may have been sent by Baden-Powell when he was briefly back in the United Kingdom in October 1901 following the Second Boer War.
* Philip (Duke of Edinburgh, born 1921). A fine three-quarter length portrait of the Duke of Edinburgh in his Field Marshal uniform, by Baron (Sterling Henry Nahum), gelatin silver print, signed 'Philip' and dated in brown ink on the mount beneath, signed in white china ink in capital letters by Baron to image lower right, image size 36 x 28.5 cm, original white backing board with Baron's copyright wetstamp to verso (Qty: 1)
* Rossetti (Christina Georgina , 1830-1894). Signed cheque, 'Christina G. Rossetti', 17 May 1894, drawn on a London & Westminster Bank account, pre-printed cheque completed in manuscript in Rossetti's hand and made out to Miss Reid for the sum of £50, small perforated cancellation stamp with a few pin-prick holes touching capital initials 'G' and 'R', the recipient identified as Harriet Reid in Rossetti's hand to cheque verso, 8.5 x 20 cm (Qty: 1)NOTESWith Christina Rossetti confined to her bed for the final months of her life she was nursed by Harriet Reid who acted as her amanuensis. Harriet was with Christina when she died on 29th December 1894 and among those present at the funeral the following week.
World. Chatelain (Henry Abraham), Mappemonde ou description generale du globe terrestre, circa 1719, hand coloured engraved hemispheral map, text below map with explanations of geographical terms and a list of countries and their capital cities, insular California, slight marginal finger soiling, 335 x 445 mm (Qty: 1)
Rare American Publication1798: [O'Connor (A.) & Finnerty (P.)] Extracts from The Press: A newspaper Published in the Capital of Ireland, During the Years 1797 and 1798. Including numbers sixty-eight and sixty-nine which were suppressed by The Irish Government, before the usual time of Publication. 8vo Philadelphia (Wm. Duane) 1802. First American Printing, cont. hf. calf, tooled gilt spine. V. good. Ex. Rare. (1)* First No. issued Thursday Sept. 28th, 1797. The virtual owner of the paper was Arthur O'Connor, and the printer was Peter Finnerty of Loughrea, Co. Galway. Contributors included Thos. Addis Emmett, Rob. Emmett, Wm. Drennan, etc.
Historically Interesting Document Appointing Adolf Hitler as Godfather to a Child Born in the Air Raid Shelter of the Reichs Chancellery on 6th September 1941, the document known as “PATENURKUNDE” has large NSDAP political eagle to the top, wording as follows, “AM 6.SEPTEMBER 1941 WURDE IN DEN LUFTSCHUTZRAUMEN DER NEUEN REICHSKANZLEI KARL HEINZ KUTSCHE GEBOREN ALS KIND DER EHELEUTE PAUL KUTSCHE UND ILSE. GEB.LUTH. ICH UBERNEHME DIE EHRENPATEN-SCHAFT UBER DIESES KIND UND VWEBINDE HIERMIT MEINE BESTEN WUNSCHE FUR SEIN GEDEIHEN UND SEINE KUNFTIGE ENTWICKLUNG. BERLIN – DEN 6.SEPTEMBER 1941. DER FUHRER” and with ink signature of Adolf Hitler. The document shows some wear and has fold lines and creases to the edge. Mounted into a glazed display frame which measures 45 ½ x 56cms. In 1940 after the first British air raids on the national capital, Berlin. Adolf Hitler, resolved to sponsor those children born into the Reich, in air raid shelters under the New Reichs Chancellery. There were very few children born in such manner, so as such these documents are extremely scarce. A very interesting document relating to Berlin during WW2. Would be interesting to know if this person was aware that their god father was Adolf Hitler.
An Arts and Crafts carved wood fire surround, the mantle supported on stylised fruit tree capital tapered columns, in the Art Nouveau style, flanking a central fruiting foliate panel, below an overmantle of oval mirror between two further panels, tiled to the inner border, carved numbers to reverse, 169cm wide, 181cm high, 31cm deep
SAM BOUGH R.S.A.., R.S.W. (SCOTTISH 1822-1878) UNLOADING THE CATCH, NEWHAVEN, 1859 Signed and dated 1859, oil on canvas . (Dimensions: 67cm x 100cm (26.25in x 39.25in))(67cm x 100cm (26.25in x 39.25in))Footnote: Note: It is unsurprising that an artist such as Sam Bough was drawn to the dramatic visuals of day-to-day life working on the coast. The fishing village of Newhaven in the late 19 th century, despite its close proximity to Edinburgh, was extremely distinctive, particularly in the striped attire of the Newhaven fishwives. Such was the variation, that the village was the subject of much early photography by innovators David Octavius Hill and Robert Adamson. For Bough, these striking differentials must have appealed, but ultimately he was drawn to all coastal villages as an intersection between water and land - a hub of busy industry and scene of dramatic and changeable weather conditions. By the late 1850s, Bough was settled in Scotland and had moved east to Edinburgh, hoping to make his mark in the country’s capital city. At this point, artistically, he was reaping the rewards of many years working and sketching outside, most particularly amongst the ships and shores of the Clyde, Forth and the Fife coast. Largely self-taught as an artist, he had trained his eye sketching from nature across the countryside of the north of England, before working in set painting in Manchester and Glasgow, continually creating his own paintings out with these hours, eventually building enough success to move to painting full-time. The two scenes presented here are vibrant and full of bustling activity. Bough is confident in his artistic powers, successfully balancing a busy and dramatic foreground with distant, identifiable landscape and leaving plenty of room for expansive skies. He displays his particular talent for the depiction of clouds – his ability to translate their mutability, lightness and patterning into paint. In each, we get the sense of a true snapshot - just a second later everything will change - the positioning of boats and figures, the moments of movement and conversation, a new slice of weather drawing in.Condition report: Wax re-lining - some craquelure - largely good condition - only very minor cosmetic work
SAM BOUGH R.S.A., R.S.W. (SCOTTISH 1822-1878) INCOMING STORM, NEWHAVEN HARBOUR Signed, oil on canvas . (Dimensions: 56.5cm x 85.5cm (22.5in x 32.75in))(56.5cm x 85.5cm (22.5in x 32.75in))Footnote: Note: It is unsurprising that an artist such as Sam Bough was drawn to the dramatic visuals of day-to-day life working on the coast. The fishing village of Newhaven in the late 19 th century, despite its close proximity to Edinburgh, was extremely distinctive, particularly in the striped attire of the Newhaven fishwives. Such was the variation, that the village was the subject of much early photography by innovators David Octavius Hill and Robert Adamson. For Bough, these striking differentials must have appealed, but ultimately he was drawn to all coastal villages as an intersection between water and land - a hub of busy industry and scene of dramatic and changeable weather conditions. By the late 1850s, Bough was settled in Scotland and had moved east to Edinburgh, hoping to make his mark in the country’s capital city. At this point, artistically, he was reaping the rewards of many years working and sketching outside, most particularly amongst the ships and shores of the Clyde, Forth and the Fife coast. Largely self-taught as an artist, he had trained his eye sketching from nature across the countryside of the north of England, before working in set painting in Manchester and Glasgow, continually creating his own paintings out with these hours, eventually building enough success to move to painting full-time. The two scenes presented here are vibrant and full of bustling activity. Bough is confident in his artistic powers, successfully balancing a busy and dramatic foreground with distant, identifiable landscape and leaving plenty of room for expansive skies. He displays his particular talent for the depiction of clouds – his ability to translate their mutability, lightness and patterning into paint. In each, we get the sense of a true snapshot - just a second later everything will change - the positioning of boats and figures, the moments of movement and conversation, a new slice of weather drawing in.Condition report: Wax re-lining - largely good condition - some re-touching to extreme left hand edge
Sam Bough R.S.A, R.S.W. (Scottish 1822-1878) Unloading the wreck Inscribed on an old trade label verso, watercolour (Dimensions: 25.5cm x 36cm (10in x 14in))(25.5cm x 36cm (10in x 14in))Footnote: Note: It is unsurprising that an artist such as Sam Bough was drawn to the dramatic visuals of day-to-day life working on the coast. The fishing village of Newhaven in the late 19 th century, despite its close proximity to Edinburgh, was extremely distinctive, particularly in the striped attire of the Newhaven fishwives. Such was the variation, that the village was the subject of much early photography by innovators David Octavius Hill and Robert Adamson. For Bough, these striking differentials must have appealed, but ultimately he was drawn to all coastal villages as an intersection between water and land - a hub of busy industry and scene of dramatic and changeable weather conditions. By the late 1850s, Bough was settled in Scotland and had moved east to Edinburgh, hoping to make his mark in the country’s capital city. At this point, artistically, he was reaping the rewards of many years working and sketching outside, most particularly amongst the ships and shores of the Clyde, Forth and the Fife coast. Largely self-taught as an artist, he had trained his eye sketching from nature across the countryside of the north of England, before working in set painting in Manchester and Glasgow, continually creating his own paintings out with these hours, eventually building enough success to move to painting full-time.
BONNELL, James (1697-1774). A manuscript journal of travels in Europe between 1718 and 1720 comprising 'The Grand Tour' and detailing visits to Dover, Calais, St. Omer, Boulogne, Paris, Lyon, Turin, Genoa, Parma, Bologna, Florence, Milan, and other towns and cities, and further trips to Holland and Belgium, large 8vo (245 x 150mm). c.85 leaves, with 13 written on both sides, the text preceded by 6 leaves of notes including the front endpaper, c. 9 blank leaves, followed by c.43 leaves detailing expenses of the trip, c. 37 of which written on both sides (possibly lacking some leaves, some fraying to lower fore-corner of first few leaves with slight loss). Bound in contemporary limp vellum wallet with tie, stitched (many leaves loose, binding partially detached). A DETAILED ACCOUNT, PREVIOUSLY UNPUBLISHED, OF A YOUNG MAN'S 'GRAND TOUR', INTERMINGLING CULTURAL SIGHTS WITH DESCRIPTIONS OF CURIOSITIES, SOCIAL OBSERVATION AND PRACTICALITIES ALONG THE WAY. "[In St. Omer] Din'd at 2, and then proceeded to the Great church, called St Omer, where I observ'd a new organ plac'd over the Entrance at ye West Door of ye church, very magnificent ... At the Entrance of Montreville are four draw Bridges, & a large Handsome city being pav'd throughout ... on the way I mett thousands of women on Horseback a straddle, and some cows wch are in France but small, very small horns, bags, and teats ... Came to Paris Wednesday ye 3rd Septr O.S. 1718 - Lodge at Hotelle de Flamb'd - went on Friday to Invalids, an Hospital, saw the Hall to dine - beds for ye sick - beds for those in health - the chapel very fine ... went to ye opera ... very indifferent singing, good dancing, bad musick ... The dress of the French women is a head of hair much powder, a great pleated tail, no hoopes, a deal of furbelows, and altogether considered ugly ... Chambery is but an indifferent built city but walled all around, mostly paper windows, except in ye very best houses. Here I heard children of 4 years all sing tunes exactly right ... Turin is remarked for a thick air ... [it] is a City compleatly uniform, tho' small, most streets are contiguous, so that you have a prospect from one end of ye city to tother ... No Hackny Coaches, but Sedans & Boats rowed by women ... [In Genoa] Neuf Street the finest in ye world - Pritty broad & pav'd by ye Palace flat - mostly stone - Palaces uncarved, painted on outside - Mostly 4 story but as high as 7 ... [Parma] is counted Ye Capital city of ye Dutchy of Parma, there are some good pritty Churches wth good pictures, in them many fine Equipages, wch partake more of ye French fassion - ye nearer Rome, ye Duke has a sort of Menagerie where are Lions, Bears, a Tyger, wolf, eagles, a Porcupine, and a strange Beast in ye nature of a Baboon, viz Man Tyger ... Entd Florence Saturday 9 Oct 1718 - The Streets pav'd wth large ... stones all flat but large Separations ... The Cathedrall outside, all inlaid Marble, of various colours, excepting ye fronts, being painted plasture - the dome only brick - ye inside not very fine ... At Milan they've excellent Fish from ye Lakes - I found here no Gnats - they have a favourite Bird somewt less than a Quail ..." Provenance: "The Manuscript Journal of James Bonnell Esq. of Upton House Essex & Pall Mall, London, during a three years Foreign Tour, at that period supposed to be of the age of 21. - With two original letters [not included in the lot] written by him to his Sister Miss Sarah Bonnell while many besides, much more interesting written to the same Lady - were unfortunately (to the great regret of the surviving family) given away by his late Son James Beal Bonnell to Mr Cambridge of Twickenham Meadows, Middlesex" (later note, loosely-inserted). Please see the footnote to the previous lot for biographical information relating to James Bonnell.
BARTON EDMUND: (1849-1920) Australian Politician, the first Prime Minister of Australia 1901-03. A.L.S., Edmund Barton, two pages, 8vo, Commonwealth Offices, Melbourne, 23rd October 1901, to Flaton (?). Barton explains that he has deferred writing to his correspondent as he understood that he was going to give him a letter from Mr. A. S. Gordon and continues ‘I do not know whether he has called, but I have not seen him. This however would not be surprising as I am often too busy to be visible’, further referring to a Bismuth mine and the formation of a company and asking if the capital is sufficient, remarking ‘It is very kind indeed of you to propose presenting me with some shares, but you really must not think of robbing yourself in that way. I wish I could see you make your fortune. By the way how is the Quicksilver mine at Yulgilbar going on? I never hear of it’. Lightly mounted to a 4to page removed from an album, otherwise VG
‡A RARE FLINTLOCK BLUNDERBUSS FOR HIS MAJESTY'S MAIL COACHES BY H.W.MORTIMER, GUNMAKER TO HIS MAJESTY, NO. 150, CIRCA 1784-99 with brass barrel flaring towards the muzzle, inscribed '*For His Majesty's Mail Coaches' around the muzzle face in bold capital letters, signed and inscribed 'H.W.Mortimer Gun-maker to His Majesty No. 150 Devizes to Wells;' along its length, iron tang, signed stepped bevelled lock (safety-catch removed, perhaps in its working life), figured walnut full stock (small cracks and chips, a working repair behind the lock and tang), full brass mounts of regulation type, and later wooden ramrod 35.0 cm; 13 3/4 in barrel Provenance Wallis & Wallis, 1993 The number on the barrel matches the first mail coach to which this was assigned. In 1836 the Post Office accepted a petition for a Mail Coach to run between Devizes and Wells. On 12th May of that year James Rennells became the sole employee of the Post Office working as guard on this route. Rennells previously worked for the Earl of Lichfield, a member of the Privy Council and Postmaster General from 22nd May 1836. Four year later he is recorded as a Mail Guard on the railways and around 1851 he became landlord of the Rose & Crown Public House in Knightsbridge.
‡A CASED PAIR OF 40 BORE FLINTLOCK TRAVELLING PISTOLS BY H.W.MORTIMER & SON, GUNMAKERS TO HIS MAJESTY, LONDON, NO. 1303, CIRCA 1810 with octagonal barrels fitted with brass blade fore-sights, signed in capital letters and engraved with a band over the breeches, stamped with the serial number, barrelsmith's stamps and proof marks beneath, engraved tangs decorated with trophies-of-arms and incorporating the back-sights, signed border-engraved locks fitted with bolt safety-catches, 'French' cocks and rollers, figured walnut full stocks faintly numbered in ink inside, pineapple chequered butts with a delicate flowerhead pattern over the pommels, engraved iron mounts comprising trigger-guards with the address '89 Fleet St' on an oval carried by trophies-of-arms and with pineapple finials, and original ramrods with iron worms enclosed within brass tips: in original fitted mahonany case lined in green baize (the lid and lip cracked), with flush-fitting brass carrying handle and trade label for 89 Fleet Street inside (small holes, light moth damage), complete with some accessories including leather-covered three-way flask, turn-screw and bullet mould 10.2 cm; 4 in barrels Provenance Ray Petry, Pennsylvania, 1978 The trade label was drawn by Thomas Stothard and engraved by Samuel John Neel of 352 Strand.
CHRYSOLORAS (EMANUEL)????????? [Erotemata. Incipit:] '[?]?? ???? ??????????? ?? ????????????? ????????...', 64 leaves, 22 lines, Greek type, capital space on 1r, very light browning throughout, inscription cut from top of fly-leaf, dark purple straight-grained morocco by Gruel (signed at foot of spine), sides with wide gilt outer borders and quatrefoil tool in each corner, double gilt rule inner panel, ornate gilt panelled spine with 5 raised bands, inner gilt dentelles and red silk endpapers, g.e., slightly rubbed in places [ISTC ic00490000; BMC VI 668; Goff C490; GW 6694; Hain 5016; Proctor 6413], 8vo (158 x 110mm.), [colophon:] Florence, Lorenzo di Alopa, [c.1496]This lot is subject to the following lot symbols: •
GRAZIO (ANTONIO)Corona florida medicinae, sive De conservatione sanitatis, FIRST EDITION, 126 leaves (including 2 blanks), Roman type, 55-57 lines, 2 columns, the title printed in red, printer's woodcut device at end, ?later floral cartouche in coloured inks, large opening initial 'D' and ornamental circular heraldic panel on title, index rubricated, capital spaces filled in blue, ink and silver in a later hand (some off-setting of ink onto facing pages), lower margin of title strengthened, short tear repaired to margin of ai, 2 small wormholes in lower margin of final few leaves, small repair to corner of one blank and errata leaf, a few marginal annotations in an early hand, eighteenth century Italian half calf over boards, flat spine with blue and brown morocco lettering labels and portrait medallion device, small losses to worming [ISTC ig00111000; BMC V 341; Goff G111; GW10563; HC7501*], folio (315 x 218mm.), [colophon:] Venice, Johannes and Gregorius de Gregoriis, de Forlivio, 20 June 1491This lot is subject to the following lot symbols: •
ATHENAEUS OF NAUCRATISDeiphosophistae, in Greek, FIRST EDITION, edited by Marcus Musurus, Greek italic type, 45 lines and 2 headlines, capital spaces with guide-letters, dolphin and anchor device on first and last pages, last blank leaf of preliminaries lacking as often, occasional light soiling (mostly in margins and to first and last 2 or 3 leaves, these with some small chips or repairs), early ink marginalia in Greek and Latin (extensive at first) and some underscoring, eighteenth century panelled calf, sides with gilt rule and ornamental blind-tooled borders, gilt panelled spine with raised bands (neatly rebacked), inner gilt dentelles [Ahmanson-Murphy, 105; Renouard p.67; Vicaire 50], folio (313 x 205mm.), Venice, Aldus Manutius and Andreas Torresanus, August 1514This lot is subject to the following lot symbols: •
ART AND COLLECTINGManuscript notebook containing an index of notable picture collections, including 'Pictures at Lord Folkstone's', Hampton Court, 'at Mr Sarjant's may place, Kent', 'Sr Gregory Page's Blackheath', Penshurst, 'Sr Geo. Colebrook's – Gatton, Surrey', Devonshire House, 'Ld Temple's at Stow', 'Sr Matthew Fetherstonhaugh's Up Park', Cowdray Place, 'Mr Child's at Edge Hill', 'Mr Hoare's at Stourton', 'Lord Waldegrave's most capital Pictures', 'Ld Spenser's at Wimbledon', 'Pictures at the D.of St Albans's at Windsor', with notes from 'Webb's Essay on Painting', on the 'Sale of Pictures at Prestage's February 1764' and 'Gems from the collection of the Elector Charles the 7th, sold at Langford's', 115 numbered pages, inscribed 'Phillipps Mss 10254' on front inside board with additional pencilled note 'Phillipps sale Sotheby's 1895 March 25, lot 887/ I think this mss is by T. Martyn – of the English Connoisseur, 1761', ownership inscription of W. Roberts, Clapham Park, original vellum, 4to (200 x 160mm.), [c.1762/3]; manuscript inventory of goods belonging to T.C. Devenish (cabinet maker and upholsterer), 33 Villiers Street, Strand, 'Mr Coomb's property damaged by fire' and other properties, listing books, plate, linen etc., 37 ruled leaves interleaved with blotting paper, calf, inscribed in ink on front board, worn, oblong 8vo (112 x 180mm.), London, February 1802; manuscript school book of Master James Pilcher of Kent, dated January 1864, with later notes on hop farming, accounts, lists of pickers etc., c.36 leaves, marbled boards, 4to (225 x 185mm.), [1864-1902] (3) This lot is subject to the following lot symbols: •
Attributed to Liverpool; a c1770 farmer's jug with wheat sheaves and farming implements to one side and reverse 'A Health to the Farmer and God Speed the Plough, God Send All Things to Prosper, E'er He Takes in Hand, For the Farmer Indeed is a Capital Man' and underneath 'R:N 1792', height 22cm. CONDITION REPORT From the private collection of Mr Paul Breen. Age-related wear throughout, hairline crack to the rim approximately 2.5cm, no other obvious signs of damage.
ƟJohannes de Andrea, Lectura super arboris consanguinitatis et affinitatis, on the table of consanguinity, manuscript on parchment and paper [northern Italy (probably Venice), late fifteenth century]five leaves (4 parchment with a contemporaneous paper singleton added at end), with two full-page genealogical diagrams (the Arbor consanguinitatis as a stylised tree with naturalistic roots touched in brown wash, and the Arbor affinitatis as a series of interconnected roundels beneath a single arched yellow bar), text in two columns, approximately 65 lines in a late fifteenth-century hand showing influence of humanist script, initials and paragraph marks in red, watermark of the paper leaf a capital ‘F’ surmounted by a flower, a close variant of Briquet no. 9397 (recorded in Venice, 1477), printed blue nineteenth-century label with ‘35’ on back pastedown, some small stains and worm holes, else good condition, 235mm. by 172mm.; modern parchment over pasteboards, boards bowed, splitting at spineJohannes de Andrea (c. 1270-1348) was an expert in canon law who wrote extensive commentaries on papal decretals, and who was closely associated with the University of Bologna. He is reported to have died there of the Black Death in 1348. This manuscript includes the first part of the text, followed by the diagrams for the Arbor consanguinitatis and Arbor affinitatis. It closes with the Specialis benedicto cuius libet indumenta, and the Declaratio novum arbor consanguinintatis in a later hand as an index. Ɵ indicates that the lot is subject to buyer’s premium of 25% exclusive of VAT (0% VAT). Please see our Terms & Conditions for more information.
Enthnographia: a hardwood sapakana or paddle-shape war club, probably Guyana or Brazil, late 19th Century, traces of woven cane banding, old repairs, 76cm.Footnote: The features of this ceremonial paddle club are typical of those found from Cayenne (the capital of French Guinea), north and west through Surinam, and Guyana to the Orinoco River of Venezuela.
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