We found 9689 price guide item(s) matching your search

A Victorian oval green marble plinth with applied titled brass plaque 'Tannhauser- Chalon', 48cm wide, a French bronze and marble mounted socle titled 'Suzon Rodin', 12.5cm wide, a female plaster bust 31cm high, a stone Corinthian capital and a Mask carved roof tile, (a.f.), (5).

CARVED OAK CORINTHIAN COLUMN, the scrolling capital above tapering fluted and turned base, height 150cm, width 22cm

A collection of 7 inch vinyl singles including The Ronettes London HLU 9922, 9931, 9826, The Chiffons SS202, The Impalas, Joe Brown and the Bruvvas, The Crickets 45Q72382, Georgie Fame, Del Shannon, Bobby Vee, Bill Haley, Jerry Lee Lewis, Duane Eddy, Nancy Sinatra, Elvis Presley, THEM, The Beach Boys, Marianne Faithful, Buddy Holly, Gene Vincent S4596, The Raindrops, Gamblers, Orlons, Crystals, Johnny Burnett demo CL 15347 Capital, Bob Dylan, Jack Good, Mighty Avengers, Hollies, Fortunes, etc.all in very good condition in cardboard sleeves.

Capital Map Paris In Black Wood Frame These Framed City Maps Pay Homage To Each City’s History And The Life Stories Of Its Streets, To Reminisce On Past Journeys Or To Inspire Brand New Ones 92 X 74cm RRP £600

A WILLIAM IV CAST FIGURAL TAPERSTICK in the form of a classically dressed lady supporting aloft the capital, with a fluted drip pan, on a domed & chased base, engraved with a ducal coronet and the initials "MR", by John & Joseph Angell, London 1834; 5.5" (14 cms) high; 4.75 oz

A composition bust of Julius Caesar,on a 19th century variegated marble column, the column capital rotates,column 257cm high (2)

World Coins, Switzerland, Chur abbey, Joseph Benedict von Rost (bishop 1728-1754), 8 ducats, 1747, cloaked bust r., rev. ornate central shield of arms surmounted by mitre, wt. 27.54gms. (Fr.218), certified and graded by NGC as Mint State 60, highly lustrous and well detailed, very rare (R5) and the only year of issue for this elegant type coin Chur in eastern Switzerland, now the capital of canton Graubunden, has existed since Roman times and has been the seat of dozens of Catholic bishops since the early Middle Ages. It is believed that the first bishop was in fact Saint Lucius, an obscure king of England who died at Chur about the year AD 176. Over time, the bishops acquired considerable temporal or civic power until the town became part of the Holy Roman Empire, and by the 12th century its bishops were selected in turn by either the emperor or the pope. Chur remains a diocese to this day, overseen by a bishop.

British Coins, George III, pattern five pounds, 1820LX, by B. Pistrucci, laur. head r., rev. St. George and the dragon (S.3783; W&R.177 [R4]; L&S.207; Montagu 176; Douglas-Morris 145; Selig 1158; KM.Pn84), showing faint hairlines, otherwise retaining its brilliant mirrored surfaces in contrast to the lovely cameo images of both the king’s portrait and St. George slaying the mythical dragon; a major rarity among rare large gold coins, always keenly sought for inclusion in some top-notch numismatic collection, certainly the finest to come on the market in decades, certified and graded by PCGS as Proof 64+ Deep Cameo, and the finest graded by both services. Today’s collectors call this magnificently engraved pattern a five-pound coin but in its day it was invariably called a five-sovereigns piece, doubtless because the term ‘sovereign’ had only been re-introduced as a piece of English money a mere three years previously, when the New Coinage gold was first minted. None was struck for release into commerce for several reasons, chief among which was the passing of George III on 29 January of this year, but it was also true that by 1820 it was nearly seventy years since a coin of this face value had been issued for commerce and thus the coin was simply unfamiliar and, many would argue, unneeded; the Bank of England’s paper bills had rendered coins of greater value than one pound essentially pointless, and resulting from the exigencies of the recent war against Napoleon the British public had come to accept paper money as being as good as gold, and a lot handier to carry. Perhaps the major appeal of this coin is that it bears the largest and sharpest image of engraver Pistrucci’s motif of Saint George defeating evil, incarnate in the dragon. This symbolism could not have been lost on many British subjects, who had just endured years of war against what most surely considered the evil empire of Napoleon and his family. It was also a moment in time when both the facilities and the staff of the Royal Mint were undergoing great changes. This coin was struck in the new proofing room of the new Tower Hill Mint, using equipment obtained from Boulton and Watt’s Soho Mint. In many ways, in fact, this coin and the similar two-sovereigns pattern of the same date reflect these stark advancements in the minting process; never before (save a handful of patterns of recent years) had large gold coins looked so wonderful. The man behind this coin, Pistrucci, also sensed that his days at the mint were numbered, and his last truly great creation for a gold coin is the one we see here, the 1820 pattern for a gold five-pound coin that never came to be. In this, of course, lies much of its appeal. While other coins are rarer, few possess the panache of this coin as the largest and most elegant image of the new line of gold coins which had first appeared in the summer of 1817. Hundreds of collectors, if not thousands, aspire to own an example of this coin, yet most must end frustrated because of the tiny mintage. As if he knew in advance that this was to be his ‘signature’ piece, the engraver spelled out his name in tiny capital letters on both the obverse and the reverse dies (whereas it was reduced to initials on the similar two-sovereigns patterns). As the dies were not quite finished upon the death of George III, it has been hypothesized that William Wyon, soon to take over the Italian’s function, may well have touched up the dies, in particular the reverse die holding the St. George image, in the days following the king’s passing. Two versions of this largest piece were produced, one with plain edge and one with a raised lettered edge featuring the legend DECUS ET TUTAMEN ∙ ANNO REGNI LX. The mintage figures were disclosed long ago by Hawkins as being a total of just 25 pieces of both edge varieties. The coin having a plain edge appears to be rarer, but the lettered edge offers the regnal year as LX, or 60. The ‘year’ consisted of 29 days in all. Of the 25 coins made, six went into museums, eight were awarded to Royal Mint officers and employees, and the rest were sold to some of the outstanding collectors of the day. A few were traded or sold soon afterward but most were retained for some decades until collections were dispersed. Each appearance of an example of this pattern over the years has been viewed as an opportunity. No matter what price is paid, nor how near to or far from perfection any specimen may be, this coin is spectacular in its beauty, it is one of only a few designs which bear no distracting legend on the reverse, and its execution by one of the finest of all numismatic engravers presents images which seem to float on golden fields. Few coins aspire to such heights!

After John Leech, 'A Capital Finish' and 'A Frolic Home after a Blank Day', a pair, colour lithographs, 52cm x 72.5cm

A Pair of Carved Limestone Corbels, in 14th century style, carved with the heads of a man and woman, 37cm long; and A Similar Capital, 42cm high (3)

A French Green Marble and Gilt Metal Mounted Plant Pedestal, late 19th/early 20th century, the pivoting square top above a leaf cast capital and column support with stepped base and egg and dart gilded metal mount, 24cm by 24cm by 106cmDimensions of the top are 24cm square. Height 106cm. Estimate £150 - £250.

A Large Victorian Electroplated Five Light Candelabrum, Richard Hodd & William Linley, circa 1870, with acanthus capital and sconces, the fluted column on stepped square base with neo-classical ornament, bead borders, 65cm high

A set of three George III style brass fire tools, with urn capital, 60cm long, a pair of brass coal tongs and a George III style pierced brass fender, 20th century, 154cm wide (5).

A group of early printed book leaves, including a leaf with illuminated capital from St Augustine's De Civitate Dei, 1470, mounted; a bifolio, aquatint by Hollar after Sheimer, 32 x 24cm, mounted; 2 other leaves

A collection of assorted vintage board games and puzzles to include; Six million Dollar Man puzzle , OnTarget , Scoop! game , Capital Adventure , Knapp Electric Questioner , KerPlunk and many more. 

Fiji : 1874-1916 A remarkable collection of the postmarks of Fiji in a Senator loose-leaf album. Starting with Levuka, the old capital, with cds cancels on 12 stamps, a page of 'Sunburst' killer cancels showing the Levuka oval type on 2 single KEVII adhesives & a strip of 4 of the 2d dull green on piece; the Suva killer on 8 values, two in bright red; Smaller post offices are represented by BUA, with three values with manuscript name cancel & date(1900-02); UDU KACU manuscript cancel across a pair of 1d mauve(1899); TAVIUNI on Edward 1d(1905); NANUKULOA RA on 1d mauve(1902); scarce cds cancels of P.O.BA (3), P.O.NADI (2), P.O.NAVUA(3) & undated violet double ring SAVU SAVU/POST OFFICE on Edward ½d pair. The a 'locally made' cancel of P.O.NAMOLI in violet (c1900-01) on 2 x ½d green. Violet LAUTOKA, part cancels in violet on 1d & 2d(c 1900-07) & 4 examples of the 23mm cds on 4 adhesives (1905-10). A manuscript cancellation by the postal agent at NAUSORI (1897) plus 3 values with the cancel of 'A.M.Brodziak & Co Nausori' (1898) & 1899,1900 & 1903 examples of the Nausori P.O.cds on 1d or 2d adhesives; 2 pages of SUVA with various cds cancels from 1892 & examples of the duplex (1895). Three pages of cancels, not written-up, at the back of the album include more 'killer' cancels & part straight line cancels of SOMO SOMO, NADARIVATU, NADROGA, WAINIBOKASI etc. Plus some possibly fiscal manuscript cancels. A terrific lot for the specialist, many marks are rarely seen. All on stamp(s).(114 items - 135 stamps) Scans & photocopies are available - please contact the office. [US5]

CORNWALL. A VICTORIAN SERPENTINE THERMOMETER BY THE LONDON AND PENZANCE SERPENTINE CO, PENZANCE, WITH ARCHED-TOP IVORY SCALE (LACKS GLASS) ON OCTAGONAL SHAFT WITH TURNED CAPITAL, 36CM H, CHIPPED

Ernest Hemingway For Who The Bell Tolls 1940, The Old Man And The Sea in dustwrapper, War & Peace Leo Tolstoy, Orlando by Virginia Woolf 1933, John Steinbeck Cannery Row, Hungry Hill by Daphne Du Maurier in dustwrapper, Capital by Karl Marx (8)   

A 19th century cast iron torchere, the top with a wooden insert, above a gilt capital, on a plain stem with a lappet collar, on tripod monopodia legs and lion's paw feet, 87.5cm high. Provenance: The Collection of Sir Jeremy Lever.

A George IV goncalo alves breakfront side cabinet, the later marble top above a plain frieze and a central gilt brass lattice and pleated fabric door enclosing a shelf, flanked by leaf capital pilasters and two further conforming cupboards, 91.5cm high, 126.2cm wide, 40.5cm deep. Provenance: The Collection of Sir Jeremy Lever.

A carved marble Grand Tour Ionic capital fragment, 21.5cm wide. Provenance: The Collection of Sir Jeremy Lever.

An Italian painted and carved wood standard lamp, with a leaf and scroll capital, above a stem entwined with a grapevine, on a leaf base, originally gilt, with shade, c.1920, 193.2cm high (overall). Provenance: By repute from the collection of T. E. Lawrence, Lawrence of Arabia. The Collection of Sir Jeremy Lever. Thomas Edward Lawrence read History at Jesus College and Sir Jeremy, whilst at Oxford, resided in the same room as Lawrence and the lamp was acquired during this time.

A George III mahogany longcase clock by John Smith of Chester, the eight day brass movement with four turned pillars, with an anchor escapement striking on a bell, the arched dial with a silvered chapter ring, with Roman and Arabic numerals, the recessed centre with a subsidiary seconds dial and date aperture and engraved with scrolling leaves and flowers and with an eagle, with gilt brass foliage and mask spandrels, the arch with a painted moonphase, with figures gazing at sailing ships and signed 'JOHN SMITH CHESTER', with a swan neck pediment with eagle brass ball finials, above a shell and verre eglomise panels and Corinthian capital columns, with a conforming trunk, with a crossbanded and a panelled plinth, 242.5cm high.

Bruno Zach (Ukraine 1891-1945). A large Art Deco bronze figural lamp, modelled with a standing nude female, the base signed 'B. Zach', mounted with a brass Corinthian capital column fitted with three lights, on a veined black marble plinth, c.1925, the bronze: 80.5cm high, overall: 137.2cm high. Provenance: The Collection of Sir Jeremy Lever.

Domitian. Gold Aureus (7.56 g, 6h), AD 81-96. Mint of Rome, A.D. 92-4. DOMITIANVS AVGVSTVS, laureate head facing right. Rev. GERMANICVS COS XVI, Minerva standing right on capital of a rostral column, holding a spear and a shield, an owl stands at her feet on right (RIC 744; Calicó 849; BMC 208). An exceptional portrait of Domitian, a few very light marks, otherwise well-struck in high relief on a broad flan. very rare. Superb Extremely Fine. Ex Aurora Collection, The New York Sale XXXII, 8 January 2014, lot 13.

Hadrian. Æ As (13.18 g), AD 117-138. Rome, AD 134-138. HADRIANVS AVG COS III P P, laureate and draped bust of Hadrian right. Rev. ADVENTV-I AVG IV]DAEAE, S C in exergue, emperor standing right, extending hand towards Judaea standing left, holding patera in and cup; at her feet, two children before her, one behind, each holding a palm branch; between the emperor and Judaea, a lit altar. Cf. Hendin 1606 (only two children on reverse); RIC 893; cf. BMC 1661. Extremely Rare. Light brown patina. Very Fine. From the S. Moussaieff Collection, This lot has been officially exported from Israel through the Israel Antiquities Authority. This copper as of Hadrian belongs to that emperor's popular "travel series" which commemorated his visits to various provinces throughout the Empire, including Hispania, Macedonia, and Egypt among others. This particular issue celebrates a visit to Judaea. On the reverse, the togate emperor greets the female personification of Judaea, who offers a sacrifice in his honor and is surrounded by three children holding palm branches. The amicable relationship between Hadrian and Judaea expressed by the type belies the deep crisis that unfolded in the province under Hadrian.In AD 130, Hadrian passed through Judaea on his way to Egypt. During this trip he saw the ruins of Jerusalem left from the destruction of the city by Titus in AD 70 and vowed to rebuild it as the capital of the province. As a philhellene and respecter of antiquity, Hadrian was generally concerned with the upkeep of the old cities of the Empire. Unfortunately, he decided not to restore the city as a Jewish religious center, but rather as a pagan capital dedicated to the cult of Jupiter Capitolinus and renamed as Aelia Capitolina. It is not entirely clear whether this refoundation was really intended by Hadrian as an affront to Jewish sensibilities or rather as a misguided attempt to bring Judaea into the Hellenic cultural oikeumene that the emperor was constructing throughout the Greek East. The Seleukid king Antiochos IV Epiphanes (175-164 BC) had courted disaster with similar attempts to Hellenize Jerusalem and Judaea and centuries later, Hadrian had not learned from the mistake. Just as Antiochos' attempts at Hellenization had sparked the Maccabean Revolt against Seleukid rule, Hadrian's refoundation of Jerusalem horrified the remaining Jewish inhabitants of Judaea and sparked the armed uprising known as the Bar Kokhba War (AD 132-135). Rebels under the leadership of the messianic figure, Simon bar Kokhba, fought a bloody guerilla war and inflicted severe losses on the Roman legions before they were finally crushed. Enraged by the revolt and its high cost in men and money, Hadrian took steps to eradicate Jewish nationalism by burning sacred texts, forbidding the use of Torah law or the Hebrew calendar, and changing the name of the province from Judaea to Syria Palaestina. Although sometimes associated with a supposed imperial visit after the conflict, the happy reverse type and the use of the name Judaea on this travel issue strongly suggests production in AD 130 and the period before the outbreak of the Bar Kokhba War. The personification of Judaea offering a sacrifice over a pagan altar (an image that would have been offensive to many Jews of the period) underlines the kind of cultural insensitivity that incited the conflict in the first place. Although Hadrian was himself a great lover of Hellenism, he was very much blind to the fact that it was not something for everyone and that its imposition would not always result in the joyous reception depicted on the reverse of this coin.

Vespasian. Gold Aureus (7.36 g), AD 69-79. Judaea Capta Issue. Antioch, AD 72/3. IMP VESPAS AVG P M TRI P P P COS IIII, laureate head of Vespasian left. Rev. PAX AVG-VSTI, Vespasian nude except for cloak floating behind, standing facing, head left, holding spear and raising draped woman (Jewess?) r. wearing a 3-tipped crown, who clasps his right hand with hers. Hendin -; RIC 2, pl. 82, 1550; RPC 1924; BMC 504; Calicó 664 (this coin illus.). A great rarity! This is the plate coin in Calicó and is listed as R2. It is in fact much rarer. Toned. Choice Very Fine. From the S. Moussaieff Collection, This lot has been officially exported from Israel through the Israel Antiquities Authority. The eight years between AD 66 and 73 had been long and exhausting for Rome indeed. In AD 66, a revolt against Roman rule broke out in Judaea that had the potential to destabilize the Roman East. When Cestius Gallus, the legate of Syria, failed to crush the rebels and suffered the defeat of an entire legion, command of the war was transferred to the general Vespasian. Despite Vespasian's early successes against the rebels in Galilee, the conflict dragged on. It was a tiring, dirty affair, often involving massacre and atrocity on both sides. At the same time, the Jewish and Greek populations that had long lived side by side in the cities of Syria and Judaea fell upon one another. In the spring of AD 68, Vespasian pressed his advance into Judaea proper, systematically capturing rebel strongholds and crushing resistance on his inexorable march towards Jerusalem. Then, the unthinkable happened. On June 9, AD 68, the increasingly unpopular emperor Nero killed himself in order to escape a potentially worse fate at the hands of his senatorial enemies and Servius Salpicius Galba, the rebel governor of Hispania Tarraconensis. This event sparked the infamous Year of the Four Emperors (AD 69), in which Galba and his rivals, M. Salvius Otho and Aulus Vitellius embroiled the Roman world in bloody civil war as they struggled to claim the imperial purple. Vespasian joined the fray as the fourth imperial claimant and was ultimately successful, his forces crushing the legions of Vitellius at Bedriacum and taking possession of Rome in the late autumn of AD 69.While all of this chaos was taking place in the West, Vespasian had left his son, Titus, in command in Judaea. Titus continued to prosecute the war against the Jewish rebels and besieged a Jerusalem crowded with refugees in AD 70. After a grueling seven months, bringing the defenders to their knees through starvation, disease and factional conflict, Titus at last stormed the city, plundering the Temple and slaughtering or enslaving many of the survivors. Victory was in Roman hands and in AD 71 Titus embarked for Rome to share in a great triumph with his father. Nevertheless, pockets of Jewish rebels still remained in the countryside to harass the Roman victors. Only in AD 73, after the capture of the Dead Sea fortress of Masada and the mass suicide of its Jewish defenders, was the First Jewish Revolt fully repressed. Rebuilding after years of destruction in both the East and West could begin in earnest.The present gold aureus struck in AD 72-73 celebrates the much longed-for return of "Augustan Peace" to the Roman Empire. The reverse features Vespasian represented as a spear-wielding hero (this heroic quality is indicated by the emperor's nudity) raising up a female figure wearing a turreted headdress. She is normally described as Tyche (Roman Fortuna), the Greek personification of a city's fortune, but it is somewhat unclear how she should be understood here. On the one hand, she could represent the oikoumene — the entirety of the Greco-Roman world — freed from war by the victories of Vespasian (and Titus). On the other hand, since this coin was struck at Antioch, Tyche here may represent the fortune of that city in its capacity as the capital of the Roman province of Syria. As Judaea was under the jurisdiction of the Syrian legates and the province at large had suffered great upheavals over the course of the First Jewish Revolt, it would have been fitting to advertise the restoration of Syria’s fortune at the conclusion of the war. A further comment by David Hendin, American Numismatic Society and author of a Guide of Biblical Coins:Among all of the known coins of Vespasian, the only subjugated men or women depicted are Jews or personifications of Jews in relation to the Roman victory in the Jewish War (66 - 73 AD). Thus this rare coin is almost certainly a local-Antiochean-variation on the Judaea Capta theme, but instead suggesting that this victory was pointing to "The Emperor's Peace."Mattingly suggests that the kneeling woman is wearing a "crown of towers." If this was true it would suggest that the Jewess was also representing the city goddess of Jerusalem, in her defeat. However, this specimen is better centered and better struck than the RIC specimen and the crown appears to have three pointed tips rather than three rectangular towers as usually seen related to a city goddess figure.

Vespasian. Gold Aureus (6.98 g), AD 69-79. Judaea Capta type. Lugdunum, AD 72. MP CAES VESPAS AVG P M TR P IIII P P COS IIII, laureate head of Vespasian right. Rev. DE IVDAEIS, trophy. Cf. Hendin 1472; RIC 1179; BN 305; BMC 402; Calicó 627c. Very Rare. Fine. From the S. Moussaieff Collection, This lot has been officially exported from Israel through the Israel Antiquities Authority. This gold aureus belongs to the vast coin series struck to celebrate the victory of Vespasian (and his son Titus) in the First Jewish Revolt, a bloody conflict that rocked the eastern territories of the Roman Empire between AD 66 and 73. Although the last pocket of Jewish rebels was only defeated at the desert fortress of Masada in AD 73, the major fighting was over and Titus had captured the Judaean capital at Jerusalem in AD 70. The Holy City was besieged for seven terrible months, during which the defenders were decimated by starvation, disease, and factional conflict among the rebel leadership. At last, Roman forces stormed Jerusalem, slaughtering and enslaving the defenders and plundering the sacred wealth of the Second Temple. Slaves and treasure were carried off to Rome by Titus in AD 71 to adorn the great triumph that he was to celebrate along with his father. This procession, in which a variety of Temple instruments, including a menorah, were carried before the Roman people is immortalized in a famous frieze from the Arch of Titus in Rome. The trophy type on the reverse of the present coin, with the simple statement, DE IVDAEIS ("From the Judaeans") serves as shorthand for the vast booty that was taken from Jerusalem and especially from the Temple. The historian Josephus reports that the quantities of gold, ivory, jewelry, and purple cloth in Vespasian's triumph that the procession resembled "a running river of wealth." The emperor subsequently tapped this river to cover the expenses of a grand new project to reshape Rome itself. He ordered an artificial lake belonging to the palace complex of the dead and disgraced Nero to be drained and used as the foundation for an enormous amphitheater. This amphitheater was to be used for the display of the gladiator shows and wild beast hunts that were such popular entertainments for the Roman public. It was officially described as the Flavian Amphitheater, but came to be known as the Colosseum after its location near a colossal statue of Nero in the guise of the sun god. This aureus and other gold coins produced in the context of Vespasian's triumph very well may have been struck from the gold objects carried off from conquered Judaea. And some were struck in order to pay for the construction of the Colosseum, which in its own somewhat sinister way was also DE IVDAEIS.

Charles I (1625-49). Gold Half Unite or Double Crown of ten shillings, 1643, Oxford mint, crowned bust of king left to edge of coin, mark of value X behind head, cross on crown breaks pellet and linear circles, Latin legend and outer pellet border surrounding, legend commences lower left, CAROLVS. D: G: M: BR: FR: ET. HI: REX., Rev. Latin legend on ruled scroll leading continuously into Latin Declaration in three lines, date below, three Oxford plumes above, EXVRGAT. DEVS. DISSIPENTVR. INIMICI. RELIG. PROT./ LEG. ANGL. / .LIBER. PAR., weight 4.45g (Schneider 332; Brooker 858; Beresford-Jones dies III/5; N.2395; S.2742; Fr.260; KM.248.1). Lightly toned, some flat spots in highest points of striking, otherwise an attractive piece, good very fine and very rare. Ex Glendining, 13th March 1975, lot 103. Ex Property of a Lady, Spink Coin Auction 168, 15th April 2004, lot 166. Ex Dr Andrew Wayne, Triton Auction IX, Classical Numismatic Group, 9th January 2006, lot 2295. Ex Ian Gordon Collection, Classical Numismatic Group, Auction 90, 23 May 2012, lot 2585. Ex Property of a gentleman, Mark Rasmussen Numismatist, Summer 2015, fixed price list 27, item C103. The abbreviated obverse legend translates as "Charles, by the Grace of God, King of Great Britain, France and Ireland. The abbreviated reverse Declaration translates as "The religion of the Protestants, the Laws of England, the Liberty of Parliament". The outer reverse legend translates as "Let God arise and let his enemies be scattered". This gold Double Crown of Ten Shillings or Half-Unite was struck at the Oxford Mint where Charles I had moved his capital from London after the Battle of Edgehill to the Royalist Universities of the City of Oxford, where he made a state entrance on 29th October 1642. The King lived at Christ Church, with the Queen installed at Merton; the Royalist Parliament met in the Upper Schools and Great Convocation House; the Privy Council at Oriel; and the Mint worked at New Inn Hall from the 3rd January 1642/3.

Cartography - Olympia 1936: Map of Berlin, a thirty-two fold chromolithographic map of the German capital, the front fold with the Olympic Rings and the Brandenburg Gate, the margins with guides and instructions for international visitors to the city and Olympiad, 82cm x 79cm overall; England _ East Coast: River Tyne, Jarrow Slake to Elswick, Soundings by Commander H.J. Gedge, R.N., Topography from the Ordnance Survey [...], large corrected edition, Published at the Admiralty, London 1948, 53.5cm x 70cm; others maps, British Grand Fleet in the Great War, Complete Chart of North Sea Movements 1914 - 1918 and Air Raid Map of the Metropolitan Are and Central London, [4]

A pair of c.1950's/60's floor standing Capital HiFi speakers

Royal Dux Bohemia Fine Quality Pair of Impressive Hand Painted Porcelain Figurines. c.1900. Depicts Classical Maidens / Attendants In Flowing Robes, One Holding an Ewer / Pitcher Containing Wine, The Other Holding a Bowl of Fruit. Each Figure Raised on a Circular Base. Each Figure Marked Royal Dux Bohemia with a Capital E to Base of Figure Within a Pink Triangle. Mould Number 2112 & 2113. Each Figure Stands 14.75 & 15.5 Inches Tall - Please See Photo. Some damaged.

Beke, Charles The Late Dr Charles Beke's Discoveries of Sinai in Arabia and of Midian. Trubner & Co., 1878. 4to, org. red pebbled cloth, upper board with dual-ruled gilt-fillets enclosing central gilt block, lower board with fillets in blind, spine lettered in gilt, a.e.g.; pp. xviii, [2], 606; port. frontis., 13 wood-engr. plates, 2 geological sections,1 folding map at rear; provenance: Peter Dowding Prankerd (Bristol-born land developer and mine operator in Australia, bought The Knoll, Sneyd Park on his 1872 return; armorial bookplate to upper pastedown). First edition. Beke undertook his three month journey in 1874 at the age of 73 to locate Mount Sinai (which he believed was in Saudi Arabia). He died the same year after returning to announce the discovery of the capital of Midian. His book was completed by his wife Emily, edited from his letters. Spine a touch dulled with rubbing at head and foot, lower board detached from text block but still attached to spine, variable foxing, a good copy of a major work.

Set of four 20th century table candlesticks, each of shaped octagonal form with turned removable sconce above the turned and girdled capital, the faceted knopped column raised upon a stepped faceted base, Goldsmiths & Silversmiths Company, London 1937, 63 troy oz approx

 HITLER ADOLF: (1889-1945) Fuhrer of the Third Reich 1934-45. An extremely rare D.S., A Hitler, in the form of an endorsement, being a signed cheque issued by Elisabeth Graber (?), the partially printed cheque, drawn on Copley’s Bank Limited, London, and dated 7th May 1937 is completed in Graber’s hand and made payable to Adolf Hitler for the sum of ‘Two pounds sterling’. Boldly signed by Hitler in black fountain pen ink to the verso and further countersigned beneath by several officials of the Reichsbank. The cheque bears a number of official ink stamps and cancellations made by the Reichsbank in Berlin and the overseas branch of the Midland Bank in London to the recto and verso, none of which affect Hitler’s signature and only lightly affecting the text and signature of Graber. Accompanied by a small oblong 12mo slip bearing red printed text issued by the overseas branch of the Midland Bank in London for Special Collection. Some very light, extremely minor creasing and age wear, otherwise VG   On the same day that the present cheque was issued, 7th May 1937, the United Press reported that Hitler was called from his bed in the early hours to receive news of the worst disaster to German air transportation in history with the loss of the Hindenburg. The dictator was apparently stunned by the news and refused to comment formally. The world’s largest airship, the dirigible Hindenburg, had been destroyed by fire at 7.23pm on 6th May 1937 at Lakehurst Field in New Jersey. The present cheque was paid into a National Disaster Fund authorised by Hitler following the tragedy.    It is of interest to note the address of Copley’s Bank Limited at Old Jewry in London as printed at the centre of the cheque. Old Jewry is situated in the historic and financial centre of England’s capital city and, following the Norman Conquest became a ghetto populated with Jews as William the Conqueror encouraged them to settle in his new domain.    Just a few years after signing the present cheque Adolf Hitler, along with Hermann Goring, the commander-in-chief of the Luftwaffe, authorised the mass air attacks and bombing offensive against Great Britain, known as The Blitz. Many buildings and streets in the area close to Old Jewry were to be seriously damaged by the bombings.    We can find no other record of a cheque bearing Hitler’s signature to be in existence and, as the Fuhrer famously did not maintain a bank account, any other possible cheque bearing his signature would also have to be in the form of an endorsement.   

A set of four silver candlesticks, by William Comyns & Sons, assayed London 1905, fashioned in the neo-classical style, of square section, having detachable nozzles, the capital embossed to sides with goddess holding a laurel wreath, reverse tapering stem below the shoulder embossed to sides with an archangel holding shield and spear, the out swept square base embossed to all sides with Hercules standing by a lion with club to one hand and serpent to the other and with laurel festoons to edges, weighted, height 24.2cm, (gross weight approx. 2607g). (4)

A pair of carved oak newel posts, each with a Corinthian and leaf carved capital etc.

A GEORGE III SILVER CHAMBERSTICK, by John & Thomas Settle, Sheffield, 1815, circular form, urn shaped capital, gadrooned border, scroll handle, thumb piece, conical snuffer, engraved with a crest, 16cm dia (c. 10.7oz) and one later plated example (2)

An Austrian cold painted bronze figure of a seated Arab,the figure seated reading a book, stamped to base with a capital G surmounted by seated figure, flanked by made in Austria, 3in. (8cm.) high,

A single box of mixed military items and ephemera to include capital lapel badges, military buttons, etc

World War Two small scale model Battleship HMS Repulse in original box. HMS Repulse was a Renown-class battlecruiser of the Royal Navy built during the First World War. Originally laid down as an improved version of the Revenge-class battleships, her construction was suspended on the outbreak of war because she would not be ready in a timely manner. Admiral Lord Fisher, upon becoming First Sea Lord, gained approval to restart her construction as a battlecruiser that could be built and enter service quickly. The Director of Naval Construction (DNC), Eustace Tennyson-D'Eyncourt, quickly produced an entirely new design to meet Admiral Lord Fisher's requirements and the builders agreed to deliver the ships in 15 months. They did not quite meet that ambitious goal, but the ship was delivered a few months after the Battle of Jutland in 1916. Repulse, and her sister HMS Renown, were the world's fastest capital ships upon completion. Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.

World War Two small scale model Battleship Scharnhorst Battleship in original box. The Scharnhorst class were the first capital ships, referred to as either battleships or battlecruisers, built for Nazi Germany's Kriegsmarine after World War I. The class comprised two vessels: Scharnhorst and Gneisenau. Scharnhorst was launched first, [6] and is considered to be the lead ship by some sources; they are also referred to as the Gneisenau class in some other sources, as Gneisenau was the first to be laid down and commissioned. They marked the beginning of German naval rearmament after the Treaty of Versailles. The ships were armed with nine 28 cm (11 in) SK C/34 guns in three triple turrets; plans to replace these with six 38 cm (15 in) SK C/34 guns in twin turrets were never realized. Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.

LONDON 2012 OLYMPIC GAMES: UNION JACK BICORN HAT FROM NELSON'S COLUMN 2012, DESIGNED BY SYLVIA FLETCHER FOR LOCK AND CO. Modelled with an original London 2012 Paralympic torch, with plexiglass flame, now mounted on a display grey-painted wood bust of Nelson, signed and dated by Boris Johnson '8/1/2013',tThe hat 114 cm wide, overall height 183 cm This hat was displayed on top of Nelson's Column, Trafalgar Square as part of an exhibition held in central London during the London 2012 Olympic games where designers 'hatted' famous monuments across the capital. The bicorn was designed by Sylvia Fletcher and made by Lock & Co, who made Nelson's original bicorn hat. Established in 1676, Lock & Co are the oldest hatters in London.

A collection of studio pottery and other ceramics From the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating.

A rare miniature early Leach small dish, of cylindrical form decorated with three blue brushwork fish, diameter 9cm x height 3cm, damage.From the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating. Condition report: Cracking to either side and some chips.

A Bernard Leach porcelain cosmetic box, with celadon glaze, the domed lid with incised flower, impressed St Ives seal and incised BL monogram, glued on label with number 252, diameter 7.2cm, height 4.5cm.From the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating. Condition report: No condition issues noted.

A Brett Guthrie tenmoku glaze tea bowl, personal and pottery marks, height 8.2cmFrom the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating.

A Leach Pottery stoneware tenmoku glazed and carved tea bowl, St Ives mark, height 8.8cm, diameter 7.7cm.From the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating. Condition report: No Condition issues.

Four celadon glazed stoneware bowls, each with simple roulette decoration, unmarked.From the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating.

A Brett Guthrie Leach stoneware shallow bowl, with greenish tenmoku glaze, impressed seals, diameter 6.5cm, height 6cm.From the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating.

Leach Pottery, mostly marked.From the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating.

A Brett Guthrie Leach Pottery tenmoku glazed stoneware tea caddy and cover.From the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating.

A rare and important Bernard Leach stoneware vase engraved with sgraffito kinked lines separated by cut vertical lines with clay and ash glaze, circa 1966, pottery mark only but a very similar vase is illustrated in 'Bernard Leach, A Potter's Work', Jupiter Books reprint 1977 edition, colour plate 5, that example being 14 inches high where as the present is 11 inches high. Bernard Leach's caption reads "Tall Engraved Stoneware Jar. Height 14in. the running glaze on this piece is composed of equal parts of clay and hard-wood ash and was first discovered by the Chinese before the time of Christ. The shape, although unlike any medieval pot I have seen, is none the less is influenced by our noble English tradition. Made at St Ives, 1966"(See illustration) From the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating.

A Bernard Leach tenmoku large stoneware vase, with impressed and personal seals, damage and repair, height 47cm.From the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating.

A small stoneware cut sided teapot.From the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating.

Attributed to David Leach, a tall cut sided stoneware vase with narrow neck, covered with a running speckled greenish glaze breaking to tenmoku on the angles, apparently unmarked but for an old price label of £175, height 36.5cm.From the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating.

A Brett Guthrie Leach Pottery stoneware teapot, with bamboo handle, personal and pottery seal.From the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating. Condition report: Slight roughness of spout.

Studio Pottery including Zennor.From the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating.

A traditional pottery jug, from the earliest days of the Leach Pottery, faint pottery mark, height 16.5cm.From the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating.

Two celadon glazed Leach Pottery seals.From the Bret Guthrie CollectionOriginally born in Barrow-in-Furness in 1916, to a Russian mother and English father, Bret Guthrie moved to Cornwall in 1926 when his father's work took the family to Falmouth, where he enjoyed his school years before the family moved again to East London. He later returned to Cornwall to await his army call-up for WWII. Whilst living in Nancledra, a cycling accident in St Ives threw him quite literally, at the feet of David Leach, son of the renowned potter. This led to a life-long friendship with both father and son, as well as a job dealing with the pottery's accounts. During his time at the Leach Pottery he also learnt about glazes, clay preparation and fired a few of his own pots. When the original kiln hearth, built by Tsurunosuke Matsubayashi in 1922 came to the end of its useful life, Guthrie and David Leach constricted a new one. At this time, Bernard Leach was away teaching at Dartington and as he and his son were so busy, Bret was tasked with experimenting with clay mixes and glazes and recording the results for the use of the pottery. Through Leach, Bret met and befriended many of the St Ives artists, Peter Lanyon, Naum Gabo, Adrian Stokes, Barbara Hepworth and Ben Nicholson etc. He married, and despite his role as a pilot in the RAF, he survived the war unscathed and took up teaching in 1946. Bret and Wendy became close friends with Francis Horne and her daughter Marjorie. It was Francis a local wealthy philanthropist who lived at Tremorna in Carbis Bay who offered Bernard Leach a capital loan of £2500 to set up his pottery with Hamada and also an assured income of £250 for 3 years and it was from Marjorie that Wendy inherited a cottage and collection of Leach pottery. It is a tantalising thought that some of the lots offered in this sale may have been personal gifts from Leach to his benefactor.Bret followed a productive and satisfying career, teaching in various Cornish schools and enjoying the exciting social life of post-war St Ives. He took an active interest in archaeology and joined many important digs and his work in Cornish pre-history led to his induction as a Bard in the Cornish Gorseth in 1959. In later life, he travelled extensively and involved himself in many local community projects including the creation of the Tate St Ives. It was here at the Tate in 2001, where Bret passed away whilst invigilating.