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A GROUP OF FIVE SCOTTISH SILVER SAUCE LADLES including a Provincial ladle by Constable & McGregor, Perth, c.1870, Fiddle pattern; an Aberdeen ladle by James Pirie, c.1820, Fiddle pattern; etc., four engraved. (5) James Pirie 18.5cm long, 4.7 troy ounces gross

§ Maggi Hambling CBE (1945-) Wild Summer Sea IIsigned, titled and dated 07-08 to the reverseoil on canvas30 x 25.5cmProvenance:With Lynne Strover Gallery, Cambridge, where acquired in July 2008Often beginning her days by watching, hearing and feeling the voracious waves of North Sea from the shores of the Suffolk coast, Maggi Hambling has described the sea as ‘the widest of mouths, roaring or laughing’. Life and death, she says, ‘mysteriously co-exist in the timeless rhythm of the waves.’ Much like the Suffolk coastline, Hambling’s work and life have become shaped by the sea, indelibly carved by the inevitability of the tides.Unknowable, inexorable, and inconceivably vast, Hambling is certainly not the first artist to have been drawn towards the sea – indeed her North Sea series, initially conceived in 2002, can be contextualised within the traditions of the Romantic and the Sublime in art. Frequently compared to the works of Friedrich, Constable, and Turner, Hambling’s wave paintings possess an immediacy and potency that both describes the thrashing power of the sea and communicates Edmund Burke’s conceptualisation of the Sublime being bound to the awe and terror elicited by the natural world.Unlike the work of her predecessors, however, Hambling’s paintings, as exhibited by the present lots, place the viewer with the wave, amidst the swirling welter and crushing surf. Hambling succeeds in evoking the tumult of the sea not only through the positioning of the viewer, but also through the performative nature of her painting. Utilising thick impasto, energetic, lashing strokes and an explosive use of colour, Hambling’s paintings are close to sculptural and deftly mimic the screaming ferocity of the ocean.Overall good condition

A collection of etchings, comprising - Joseph Pennell (1857 - 1926) St Pauls Pavement, etching, plate 21.5cm x 28cm; Donald Shaw Maclaughlan (1876 – 1938) Low tide – London River, etching, signed, titled and dated within the plate 1910, signed in pencil within the margins, 23.5cm x 31.5cm; David Lucas (1802 – 1881) The Young Waltonians after J S Constable, mezzotint, unsigned, 30cm x 42cm; Hester Frood (1882 - 1971) Gloucester Cloisters, drypoint etching, number 2 of 2, signed within the plate, signed & titled in the margins, 25.5cm x 18.5cm; and Sir Frank Short (1857 – 1945) The Street, Whistable, etching, signed in pencil in the margins, plate 24cm x 34cm and Sunrise over Whitby Scaur, aquatint, signed in pencil in the margins, 20.5cm x 31cmThe collection of Joan Elizabeth Mary Streeter. Pennell, Frood and McLaughlin purchased Craddock & Barnard, February, May & October 1971 .

DYCK, Anthonis van, Kopie nach(1599 Antwerpen - 1641 London) 3er Satz Porträt-MiniaturenÖl auf Holz. Unsigniert. 10,5 x 8,5 cm. Gerahmt : 17 x 14 cm. Charles I. (1600 Dunfermline - 1649 London, aus dem Haus Stuart, 1625-1649 König von England, Schottland und Irland). Thomas Howard, 21th Earl of Arundel (1585 Finchingfied - 1646 Padua, Diplomat, Kunstsammler). Algernon Percy, 10th Earl of Northumberland (1602 London - 1668 Dublin, Lord High Constable of England, Earl Marshal of England). Profilierte Goldrahmen. Eine Platte leicht gewölbt. * Partnerauktion Bergmann. Provenienz : Berliner Privat-Nachlass. DYCK, Anthonis van, copy after(1599 Antwerp - 1641 London) Set of 3 portrait miniaturesOil on wood. Unsigned. 10.5 x 8.5 cm. Framed : 17 x 14 cm. Charles I (1600 Dunfermline - 1649 London, of the House of Stuart, 1625-1649 King of England, Scotland and Ireland). Thomas Howard, 21st Earl of Arundel (1585 Finchingfied - 1646 Padua, diplomat, art collector). Algernon Percy, 10th Earl of Northumberland (1602 London - 1668 Dublin, Lord High Constable of England, Earl Marshal of England). Profiled gold frames. One plate slightly convex. * Partner auction miner. Provenance : Berlin private estate. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Children's books and early 20th century theatre programmes to include Edmund Dulae illustrated Rubaiyat of Omar Khayyam printed from the second edition pub. Hodder and Stoughton, Arthur Rackham illustrated Grimm's Fairy Tales, pub. Constable & Co 1909, Lewis Carrol - Alices Adventures in Wonderland, New Edition 1928, Charles Folkard illustrated - The Arabian Nights, reprinted 1920, A & L Black, Ant Antus presented and illustrated by Estella Cave, London 1933, Charles Kingsley - Water Babies circa 1910 and two theatre programmes The Count of Comc and Princes Ida (3)

A group of twenty-eight watercolours of tradespeople, servants, bearers and other figures, some inspired by works by John Gantz and Balthazar Solvyns Company School, South India, circa 1830-40watercolours on watermarked paper, removed from the original album and laid down on to modern card, original handwritten English inscriptions also excised and laid down on the same card, loosely tipped into modern album the smallest 120 x 90 mm.; the largest 200 x 285 mm.; original album 287 x 230 mm.; modern album 29.5 x 38 cm.Footnotes:ProvenanceFrom an album formerly in the collection of Lord Bath, Longleat (two paintings bear the impressed seal marks BATH/THYNNE, and an image of a crown (nos. 6 and 11 below).Private UK collection.The subjects of the paintings are as follows:1. Basket makers (watermark J Green & Son 1832).2. A carriage drawn by bullocks (watermark J Green & Son 1832).3. Bhishtis, 'or water carriers, who sell that article' (watermark J Green & Son 1832).4. The state carriage of the Rajah of Tanjore, drawn by elephants.5. A Parsee, 'an intelligent class of native, chiefly devoted to commerce. They were originally from Persia, and are fire-worshippers'.6. Toddy-wallahs, 'or men who climb Coca-nut trees to obtain the juice therefrom called Toddy when slightly fermented'.7. The fort on the rock at Trichinopoly.8. A fakir: 'A wretched fanatic, who has taken a vow that he will never remove his arm from its present position. Taken from nature'.9. A hookah bearer, 'a native servant whose exclusive duty is to attend to his master's hookah' (watermarked Whatman/Turkey Mill).10. Palanquin bearers 'in the act of travelling'.11. 'Natives halting with their bullock carts, under a Banyan tree, to take their meal'.12. Two men with a large pestle and mortar, turned by oxen, 'mode of expressing oil from coca-nuts'.13. Men drawing water from tanks: 'A tank, or reservoir of water, with mode of drawing the latter from it. These tanks are used for irrigation' (watermark J Green & Son 1832).14. A sepoy.15. A mendicant, or perhaps a seller of cloth (no inscription).16. A moonshee, 'or native teacher of languages', holding a book (watermark J Green & Son 1832).17. A sepoy cavalry trooper, on his mount.18. An Indian officer on horseback, 'not of the Company's service'.19. A Moty-boy [?], 'a native servant in the act of waiting at dinner'.20. A moonshee, seated in a chair with a book (watermark J Green & Son 1832).21. An Indian merchant, perhaps a seller of cloth, or beads (no inscription).22. 'A Peon, or Native Constable' (watermark J Green & Son 1832).23. A fakir, holding a staff and begging cup.24. 'A palanquin-bearer, fanning his master with a hand-punkah' (watermark J Green & Son 1832).25. A tailor.26. A seller of linen [?]27. A private of sepoys, carrying a rifle.28. A havildar, a sergeant of sepoys (watermark J Green & Son, date obscure).A fine group of varied figures studies by an Indian artist, several of them directly inspired by two European artists working in India: John Gantz and Balthazar Solvyns.Two in particular are almost exact copies after Solvyns: the hookah-bearer (9), and perhaps the seated tailor (25). Several are strongly reminiscent of scenes from John Gantz's Indian Microcosm, a volume of seventeen plates (coloured lithographs) of 1827 (basket-makers; carriage drawn by bullocks; bhishtis; the fort at Trichinopoly; carts under a banyan tree; pestle and mortar with coca-nuts; men drawing water from a tank; and the toddy-wallahs [?]).A larger group of paintings, with strikingly 'free and impressionistic' brushwork, seems to derive from a type tentatively attributed by Losty perhaps to Madras (though he admits there is nothing definite in this attribution), circa 1840-50. These are: the Parsee; the 'fanatic' fakir; the mendicant/seller of cloth; the moonshee; the moty-boy; the seated moonshee; the merchant (21); the Peon; the fakir holding a staff; and the bearer with a hand-punkah. This last figure, as well as the mendicant cloth-seller, appear in two almost identical paintings in the Tapi Collection, illustrated and discussed in J. P. Losty, Indian Life and People in the 19th Century: Company Paintings in the Tapi Collection, New Delhi 2019, p. 181, no. 46 (the latter described as a 'purveyor of skins').John Gantz (1772-1853) and his son Justinian (1802-62), both probably Austrians, were employed as draughtsmen by the East India Company circa 1800-1803. There are maps, survey drawings and sketches of forts by the former, who was also described as an architect. For two watercolours by John Gantz, depicting temples near Madras, dated 1818 and 1822, see Christie's, Exploration and Travel, with Visions of India, 21st September 2000, lots 259 and 260.Balthazar Solvyns (1760-1824), who was from Antwerp, arrived in Calcutta in 1791. He did not find success in portrait-painting, but was encouraged by Sir William Jones, the 'Orientalist', to start work on a series which would become A Collection of Two Hundred and Fifty Coloured Etchings Descriptive of the Manners, Customs and Dress of the Hindoos. This was not a great success in itself, but had a good deal of influence on other European artists, and on Indian painters producing studies of Indian figures for British consumption - as here.See Christie's, Visions of India, 10th June 1997, lot 129, for an album of forty watercolours by a European artist after Solvyns (the illustration in the catalogue shows the same figure of the hookah bearer (no. 9 above). For the hookah-bearer once more, along with three other lots from Solvyns' series, see Christie's, Visions of India, 25th May 1995, lot 25, and 23, 24 and 26.A number of paintings have the watermark J Green & Son (handmade wove paper produced at Hayle Mill, Kent, from 1815 until its closure in 1987), and the date 1832. One painting (no. 9) has the watermark Whatman/Turkey Mill. The mill, also in Kent, was the largest papermill in Britain from the mid-18th Century.For further information on this lot please visit Bonhams.com

A group of 124 mica paintings of tradespeople, musicians, religious devotees, servants and other figures Company School, South India, circa 1830-40gouache on mica, removed from the original album and laid down on 31 sheets of modern card, four per card, together with original English handwritten inscriptions excised from the album; including a group of fifteen damaged paintings from the original album, the original card mounts, and the album binding each painting 104 x 70 mm.; card sheets 303 x 255 mm.Footnotes:ProvenanceFrom an album formerly in the collection of Lord Bath, Longleat (embossed stamp on two paintings in lot 132).Private UK collection.The subjects are as follows (per sheet):1. A cook and his wife; a village headman and his wife.2. A man and his wife selling toddy; a potter and his wife.3. A 'devotee of high caste' and his wife; two musicians.4. A dancing girl and a 'man who beats time' (with a pair of small cymbals); a dancing girl and a drummer.5. A moochee and his wife: 'makes harness and builds conveyances' [?]; a Brahmin and his wife.6. A palanquin bearer and his wife; 'Some official headman in the village' and his wife.7. A devotee and his wife: 'there is some magical ceremony to be performed with the rice contained in the barrels borne on his shoulders'; a male and a female devotee, 'of which there are an immense variety in India, from rags to costly attire'.8. A Rajah and his wife; a Brahmin and his wife.9. A Moochee Painter [?] and his wife; a barber and his wife.10. A head carpenter and his wife (wielding an axe); a dyer and his wife.11. A coolie or day labourer and his wife; a gardener and his wife.12. A Jewel merchant and his wife; a devotee and his wife, 'a wretch who extorts charity by cutting and maiming himself'.13. Two toddy cutters or sellers; a fortune teller and his wife.14. An 'oil man' and his wife; a village palanquin bearer and his wife.15. A devotee 'bearing an idol' [a portable shrine] and begging, and his wife'; a goldsmith and his wife.16. Two well-dressed and bejewelled women; a harness and saddlemaker and his wife. 17. A fortune teller and his wife (on the same sheet of card as no. 18).18. A religious mendicant, wearing a metal grille round his neck and his wife: 'Has made a vow that the ornament round his neck shall never be removed until he obtains in charity sufficient money to build a place of worship'.19. Two musicians, one with a European violin; a washerman and a washerwoman.20. A devotee and his wife, 'going to the jungle to perform poojee' [puja]; two religious devotees with Shiavite marks: 'they all live on charity'.21. Two religious devotees; a man selling bangles, and his wife.22. A Muslim nobleman and his wife; 'some kind of headman', wearing a sword and carrying a flywhisk, and his wife.23. 'A Peon Official, attendant on civilians', and his wife; 'A Moor Man, or Mohammedan, smoking the hubble-bubble', and his wife (also smoking a hookah).24. A shoemaker (chuckee) and his wife; a mat-maker and his wife, carrying baskets.25. A weaver carrying wool and his wife; a snake charmer with his baskets 'setting out on a journey', and his wife and child.26. A female grasscutter, and a male housekeeper; a woodman and his wife.27. A musician 'beating the Tom-tom', and another 'singing and dancing; a gentleman's head servant, and his wife.28. A Peon or native constable, and his wife; a religious devotee with shaven head and long robe, and his wife.29. A chobdar (a bejewelled woman depicted), and a tribal village headman; a musician; a man of the Mahratta caste.30. A torch bearer, 'accompanying a set of palankeen bearers', and his wife; a male and a female grasscutter.31. A writer (a secretary), and his wife; a 'beggar of caste' and his wife.32. A Subadar, 'a military official of rank under some native power', and his wife; a 'Dahite' [?], 'an official attendant on a judge', and his wife.For further information on this lot please visit Bonhams.com

Constable, D., Silver Spoons of Britain, 1200-1710, Constables Publishing, 2016, volume I and II, hardback with dust jackets, plus Constable, D., The Benson Collection of Early Silver Spoons, Constables Publishing, 2012, hard back with dust jacket. (3)

An Elizabeth I silver Maidenhead spoon, marked with a pellet mark to the bowl, possibly with a capital I or anchor mark between the pellets, possibly for John Ivie, Salisbury, circa 1600, fig-shaped bowl, the reverse with a rudimentary rat-tail, faceted tapering stem with a gilded maidenhead finial, length 15.8cm, approx. weight 1.1oz. Provenance: The David Constable Collection. Anderson and Garland, Newcastle 15 June 2001, lot 1657. A private deceased estate. Illustrated and written up in Constable, D., Silver Spoons of Britain 1200-1710, Constables Publishing, 2016, Volume 1, pages 320-322 , entry number 51. For a similar John Ivie mark see Kent, T., West Country Silver Spoons and their makers, 1550-1750, J.H. Bourdon-Smith Ltd., 1992, page 103, entry M.75.

A Charles I silver Virgin and Heart spoon, maker's mark of a crescent enclosing a mullet, for William Lovejoy, London 1625, fig-shaped bowl, the reverse with a rudimentary rat-tail, tapering faceted stem, gilded finial, length 13.6cm, approx. weight 0.6oz. Provenance: The David Constable Collection. Bonhams, New Bond Street London, The Britton Smith Collection of Early Spoons, Part 2, 19 November 2008, lot 96. Christie's London 13 July 1994, lot no. 57 (part). The Property of A Lady. Christie's London 31 March 1971, lot no. 42. Sotheby and Co., Bond Street 1-2 July 1954, J.H. Walter Collection, lot no. 92, purchased by Biggs. Illustrated and written up in Constable, D., Silver Spoons of Britain 1200-1710, Constables Publishing, 2016, Volume 1, pages 328-330 , entry number 53 .

A James I West Country silver Aphrodite spoon, by John Quick, Barnstaple circa 1620, fig-shaped bowl, the reverse of the bowl with a rudimentary rat-tail and prick dot initialled 'S.C' over S.R within scroll motifs, faceted stem with a gilded finial, length 20cm, approx. weight 1.8oz. Provenance: The David Constable Collection. Sotheby's New Bond Street, London, 29 November 2005, The Charles L. Poor Collection, lot 113. S. J. Shrubsole, New York, December 1995 Christie's 23 February 1983, lot 212. A Private Collection. Illustrated and extensively written up in Constable, D., Silver Spoons of Britain 1200-1710, Constables Publishing, 2016, Volume 1, pages 348-358, entry number 59 .

A Charles I Sussex silver Vase Seal-top spoon, by John Wood, I, Chichester, circa 1630, fig-shaped bowl, the reverse with a rudimentary rat-tail, faceted tapering stem, with a gilded finial, prick-dot initialled 'R.K', length 18cm, approx. weight 1.5oz. Provenance: The David Constable Collection. J.H. Bourdon-Smith, Masons Yard, London. Bonhams, Bond Street, Fine Silver, lot 55, A Private Collection.

A Charles I Sussex silver Seal-top spoon, by John Wood I, Chichester, circa 1631, fig-shaped bowl, the reverse with a rudimentary rat-tail, faceted tapering stem, with a gilded finial, prick-dot initialled 'D.B' over '1631' with a scroll motif, length 16cm, approx. weight 1.1oz. Provenance: The David Constable Collection. J.H. Bourdon-Smith, Mason's Yard, London. Lawrence's, Crewkerne, Somerset, 12 April, 2011, lot 154. This mark has been identified on a chalice in Chichester Cathedral and is an alternative makers mark for John Wood I.

A Charles I Sussex silver Seal-top spoon, by Daniel Seymour, Chichester, circa 1643, fig-shaped bowl, the reverse with a rudimentary rat-tail, faceted tapering stem, with a gilded finial, prick-dot initialled 'P' over 'H.R' over '1646', length 16.3cm, approx. weight 1.1oz. Provenance: The David Constable Collection. Michael Baggott, November 2011. For a write up on this maker an image of the maker's mark see: Kent, T., Sussex Silver and It's Makers, by J.H. Bourdon-Smith Ltd., 2002, pages 13- 16, and figure 20.

A Charles I silver Seal-top spoon, by Edward Hole, London 1634, fig-shaped bowl, the reverse with a rudimentary rat-tail, faceted stem, gilded finial, length 18cm, approx. weight 1.9oz. Provenance: The David Constable Collection. J. Paint and Son, Guernsey. Illustrated and written up in Constable, D., Silver Spoons of Britain 1200-1710, Constables Publishing, 2016, Volume 1, pages 478-479, entry number 91. This spoon was the first spoon purchased by David Constable and it started the Collection.

A William III West Country silver Lace-back Trefid spoon, by Richard Sweet II, Chard circa 1700, oval bowl, the reverse of the bowl with a raised rat-tail and foliate scroll decoration, the terminal with stylised flowers, the reverse of the terminal with prick-dot initials 'D.D' over '1701', length 20.1cm, approx. weight 1.89oz. Provenance: The David Constable Collection. J. H. Bourdon-Smith Limited, Mason's Yard, London. Phillips, New Bond Street, London, 7 November 1997, lot 183. Illustrated and written up in Constable, D., Silver Spoons of Britain 1200-1710, Constables Publishing, 2016, Volume 2, pages 680-683, entry number 136 .

A William and Mary silver Engraved Trefid spoon, by Thomas Issod, London 1691, oval bowl, the reverse of the bowl with a raised rat-tail and engraved foliate scroll decoration, the front and back of the stem also with engraved foliate scroll decoration, the terminal with two oval cartouches, the reverse one with scratch initials 'A' over 'WM', length 20.1cm, approx. weight 1.6oz. Provenance: The David Constable Collection. J.H. Bourdon-Smith, Mason's Yard, June 2008. A Private Collection. Illustrated and written up in Constable, D., Silver Spoons of Britain 1200-1710, Constables Publishing, 2016, Volume 2, pages 716-719, entry number 146.

A Charles II Wessex area silver Shaded Roundels spoon, marked once to the bowl and three times to the stem with a fleur-de-lys within a beaded circle, Wiltshire / Hampshire area, circa 1679, shaped oval bowl, tapering stem with shaded roundel decoration, the reverse of the stem prick-dot initialled 'AP' over 'RP' over '1679', length 19.4cm, approx. weight 1.36oz. Provenance: The David Constable Collection. J. H. Bourdon-Smith Ltd., Mason's Yard, London Phillips, New Bond Street, London, Fine Silver, 7 July 2000, lot 413. Private Collection. Illustrated and written up in Constable, D., Silver Spoons of Britain 1200-1710, Constables Publishing, 2016, Volume 2, pages 734-735, entry number 152 . The maker's mark is from the Wiltshire / Hampshire area, and a similar mark has been found on church plate at Wherwell near Andover.

A Charles II silver Trefid spoon with a Mask, by Adam King, London 1677, the reverse of the oval bowl with a raised rat-tail and acanthus leaf decoration, the terminal with a rare mask with a beard within flower, foliate scrolls and acanthus decoration, the reverse of the terminal scratch initialled 'M.V' over 'MB' over '1678', length 19.3cm, approx. weight 1.92oz. Provenance: The David Constable Collection. Christie's, King Street, London Centuries of Style, 26 November 2014, lot 464. The Runnymede Collection. J.H.Bourdon-Smith, Mason's Yard, London. Edwin Wilfrid Stanyforth, inherited from this great-uncle. Rev. Thomas Staniforth (1807-87) of Storrs Hall, Windermere. Illustrated and written up in Constable, D., Silver Spoons of Britain 1200-1710, Constables Publishing, 2016, Volume 2, pages 692-695, entry number 139 . Literature: Almost certainly E. W. Stanyforth, A Collection of Early English Spoons of the 15th, 16th and 17th Century, Formed by the Rev. Thomas Staniforth, the Property of E. W. Stanyforth, 1898. A Collection of Silversmiths' Work of European Origin, Burlington Fine Arts Club, London, 1901, p. 50, case E, no. 72, pl. XXI. J. Starkie Gardner, ed., Old Silver Work Chiefly English from the XVth to the XVIIIth Centuries, London, 1902, no. D21, pl. LXXIII. Exhibited: London, Burlington Fine Arts Club, Exhibition of a Collection of Silversmiths' work of European Origin, 1901, E72 lent by Mr. E. W. Stanyforth. London, St. James's Court, Old Silver Work Chiefly English from the XVth to the XVIIIth Centuries, 1902, G49, lent by Mr. E. W. Stanyforth.

A Charles II West Country silver Trefid spoon by John Peard I, Barnstaple circa 1670, the reverse of the shaped oval bowl with a rudimentary rat-tail, the tapering stem with marked guide lines, the reverse of the terminal with later prick dot initials '1699' over T.D' over 'M.C' within scroll decoration, length 19.8cm, approx. weight 2oz. Provenance: The David Constable Collection. Dreweatt's, London, 3 June 2010, The Griffin Collection, lot 82. Illustrated and written up in Constable, D., Silver Spoons of Britain 1200-1710, Constables Publishing, 2016, Volume 2, pages 634-635, entry number 119 .

A James II silver Trefid spoon, by Edward Hulse, London 1685, the reverse of the oval bowl with a beaded raised rat-tail, the reverse of the terminal scratch initialled 'E.S' over M.B' over a crest, length 19.6cm, approx. weight 1.57oz. The crest is that of Lethbridge Baronets of Westaway House (Devon) and Winkley Court (Somerset). This title was created in 1804 and the family also held Sandhill Park in Somerset from 1767. Provenance: The David Constable Collection. J. H. Bourdon-Smith, Mason's Yard, London. Sotheby's New York 1996. Illustrated and written up in Constable, D., Silver Spoons of Britain 1200-1710, Constables Publishing, 2016, Volume 2, pages 628-629, entry number 116.

A Charles II Sussex silver Notched Puritan spoon, by Robert Colegate, Lewes circa 1682, the reverse of the shaped oval bowl with a rudimentary rat-tail, the tapering stem with a notched terminal, the reverse of the terminal scratch initialled 'M.H' over 'I.A' over '1682', the 'A' has been scratched over the original letter 'H', length 18cm, approx. weight 1.7oz. Provenance: The David Constable Collection. Christie's, South Kensington, London, Early Silver Spoons, The Patterson Collection, 10 November 1998, lot no.33. Illustrated and written up in Constable, D., Silver Spoons of Britain 1200-1710, Constables Publishing, 2016, Volume 2, pages 516-517, entry number 102 . Written up and illustrated in: Kent, T., Sussex Silver and It's Makers, by J.H. Bourdon-Smith Ltd., 2002, pages 31, figure 78, and page 59, figure 94.

A George I Sussex silver Hanoverian pattern tablespoon, by Anthony Dodson, Lewes circa 1715, the oval bowl with a plain raised rat-tails, the reverse of the terminal with scratch initials 'E*M', length 19.5cm, approx. weight 1.2oz. Provenance: The David Constable Collection. J.H. Bourdon-Smith, mason's Yard, London Lawrence's, Crewkerne, July 2011.

A Queen Anne Sussex silver Dog-nose tablespoon, by Anthony Dodson, Lewes circa 1710, the oval bowl with a plain raised rat-tail, the reverse of the terminal with scratch initials 'H' over 'R.M', length 20.1cm, approx. weight 1.6oz. Provenance: The David Constable Collection. Woolley and Wallis, Salisbury, Early Silver Spoons, 17 October 2001, lot 59. Illustrated and written up in Constable, D., Silver Spoons of Britain 1200-1710, Constables Publishing, 2016, Volume 2, pages 746-747, entry number 157. Illustrated in: Kent, T., Sussex Silver and It's Makers, by J.H. Bourdon-Smith Ltd., 2002, pages 27, figure 59 and 60.

A Charles II Scottish silver Trefid spoon, by Edward Cleghorne, Edinburgh circa 1669-79, oval bowl, the reverse with a ribbed rat-tail, the reverse of the terminal scratch initialled 'H' under a rainbow, for the Hopes Family of Hopetoun House, length 18.5cm, approx. weight 1.5oz. Provenance: The David Constable Collection. Nicholas Shaw Antiques. Sir John Noble Collection. How of Edinburgh. Sotheby's Gleneagles, August 1994. Colonel Price Wood Collection. Illustrated and written up in Constable, D., Silver Spoons of Britain 1200-1710, Constables Publishing, 2016, Volume 2, pages 918-919, entry number 209. Illustrated in How, Silver Spoons, (vol II, Page 364), plate 2, and Findlay, I., Scottish Gold and Silver Work, 1991, pages 123 and plate 53). Exhibited Royal Museum of Scotland 1948. This spoon originally came from a set of four that was the earliest known set of Scottish Trefid spoons.

Oil on canvas – Constable copy. Image 13” x 16”, frame 18” x 20.5”

A collection of coloured prints, after Constable, Monet and various others

A vintage three piece split cane fly fishing rod, by C Constable of Bromley, 9ft with canvas bag.

A SMALL COLLECTION OF PAINTINGS AND PRINTS, to include a continental alpine landscape scene, signed Bach?, oil on canvas, approximate size 39cm x 79cm - 3cm tear to the sky, Ansel Adams winter scene poster print, Alfred Vickers 'Spring Afternoon' print on canvas, small unsigned water landscape, oil on board, possibly of Chinese origin, Constable prints etc

A QUANTITY OF PICTURES AND PRINTS ETC, to include a print reproduction on canvas of a Francois-Hubert Drouais portrait, with print reproductions of paintings by Colin Vokes, D Keith Johnson, David Smith, Karen Armitage, Carleton Grant, Vincente Gonzalez, Constable and others together with an oil on canvas depicting a windmill, signed Walters (some damage)

Antique Stirlingshire Constable police baton, Special Constable and Inspector collar badges and Long service medal belonging to Tom Watson. Together with Boys Brigade badges and silver medal.

SCOTTISH HISTORYFORDUN (JOHN OF) Scotichronicon, cum Supplementis et Continuatione Walter Boweri, 2 volumes, speckled calf with ridged gilt spine, label ex libris Bibliothecam S.Emerami, folio, Edinburgh 1759--CHALMERS (GEORGE) Caledonia or An Account Historical and Topographic of North Britain..., 3 volumes, speckled half calf with ridged gilt spine, fold-out map in first volume, Caddell and Davies London 1807--GORDON (SIR ROBERT) A Genealogical History of The Earldom of Sutherland From Its origin to the Year 1630, half calf with gilt ridged spine, marbled endpapers, engraved portrait frontispiece, ex libris Alexander Cunighame, folio, Constable Edinburgh 1813--General Post Office Annual Directory 1812-13--Herman Moll's 'Atlas of Scotland' publisher's gilt cloth with calf spine, Limied edtion 147 of 500, with slip case, folio, Heritage Press (5)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

Six volumes on hunting and four others: 'The Passing Years' - Lord Willoughby de Broke (Constable & Co 1924) (with dustjacket);The Lonsdale Library - Vols. I and VII, 'Horsemanship' and Fox-Hunting';'Hunting England' - Sir William Beach Thomas (Batsford 1936);'An Artist’s Life' - Sir Alfred Munnings (Museum Press 1950);'Baily’s Hunting Directory 1929-1930';'Rogues in Porcelain'- compiled and decorated by John Austen (Chapman & Hall 1924); 'Manual of Seamanship Vol II (HMSO - Admiralty 1951);'Christie's Since the War - 1945-1958 -Denys Sutton  (Christie, Manson & Woods 1959);'Borough Seals of the Gothic Period' - Gale Pedrick (J.M. Dent & Co. 1904).

Woolf, Virginia: The Moment and other essays, 1st Edition, The Hogarth Press, London, with maroon cover gilt lettering and original dust wrapper designed by Vanessa Bell (creases, tears to wrapper, damp damage to cover top and lower section) together with Shaw, Bernard: The Doctor's Dilemma, Getting Married & The Shewing-up of Blanco Posnet, 7th impression, Constable & Company 1924, leather cover, gilt lettering, gilt crest to spine, Coat-of-Arms to front cover (2) 

Robert Colquhoun (British, 1914-1962)Figure with music stand oil on canvas76.2 x 63.5 cm. (30 x 25 in.)Footnotes:In the present work, Colquhoun uses intense saturated colour to provide a highly dramatic backdrop for the figure who emerges from a dynamic grid of colour. In the only interview given by Colquhoun, the artist summarised his pre-occupation with form and colour when he stated that, 'Each painting is a kind of discovery, a discovery of new forms, colour relation, or balance in composition' (Malcolm Yorke, The Spirit of Place: Nine Neo-Romantic Artists and their Times, Constable, London, 1988, p.243).This painting has been in the same private collection for several decades.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

SELF-PORTRAITSigned l.r. 'Durrant'; signed, titled and dated on the reverse 'RTurnerDurant Self Portrait 1949'Oil on canvasImage size: 36 x 47cm (14¼ x 18½in)Framed size: 49 x 60cm (19¼ x 23½in)Provenance: Bonhams, Oxford, March 2015, No 213; John Constable Collection

λ ALGERNON NEWTON (BRITISH 1880-1968)RIVER STOUR, ESSEX Oil on canvas laid down to boardInscribed and dated "To Sally/with love and best wishes/from Grandfather/Nov. 1951" (to label verso) 12.5 x 17.5cm (4¾ x 6¾ in.)Provenance:The artist's granddaughter, Sally Newton (a gift from her grandfather in 1951)Thomas Agnew & Sons Ltd., London (stock no. 47340)Private Collection, UKAcquired from the above by the present ownerPainted in December 1939 at a time when Newton and his wife were living near Dedham. Synonymous with the work of John Constable, Newton's paintings during this period reflect his interest in Constable's brushwork. We are grateful to Sir Mark Jones for his assistance in cataloguing this lot, which will be included in the forthcoming catalogue raisonné of the artist's work being prepared by Sir Mark and Nicholas Newton.   Condition Report: The board is very slightly bowing. Very light surface dirt. A small loss to the centre of the tree at the left edge, hardly noticeable. Inspection under UV reveals a green varnish throughout but no evidence of restoration or repair. Condition Report Disclaimer

* English School. Sheep Grazing, watercolour, in manner of Constable, some minor rubbing with loss of colour to right and lower edges, small crease to top edge, sheet size 14.4 x 22.6 cm (5 5/8 x 8 7/8 ins), framed and glazed (33 x 43 cm) QTY: (1)

AR * Hitchens (Ivon, 1893-1979). For John Constable, 1976, colour screenprint on wove paper, from the published edition of 100 impressions printed by Advanced Graphics, London, and published by Bernard Jacobson, signed, titled and numbered in pencil 75/100, countersigned by Betambeau, image size 37.5 x 84 cm (14 3/4 x 33 1/8 ins), with full margins, mount aperture 41.7 x 87.4 cm, framed and glazed (66 x 111 cm)QTY: (1)

Ross (Martin) and Somerville (E. OE) - A Patrick’s Day Hunt, Westminster: Archibald Constable & Co. Ltd; together with Leech (John) - Pictures of Life & Character by, London: Bradbury and Evans, 1860. (2)

A mounted pencil sketch, coastal scene, signed J Constable and titled Osmington.

Children's/Illustrated. Kingsley, Charles - The Water-Babies. London: Constable & Co. Ltd. 1915. Illustrated by W. Heath Robinson (8 colour plates, 1 loose). With; three others. (4)

London & North Eastern Railway cast iron Lever Plates, quantity 2: No 44 MINIATURE SIGNAL Dn TO UP YARMOUTH LINE 40.43.; No 34 MINIATURE SIGNAL LOCO TO UP SIDING 35. Both embossed GER 121 on rear. Ex box condition. Believed to be from Melton Constable East.  (2 items) 

Scottish provincial silver toddy ladle, celtic point, William Ritchie, Perth, 15cm, a Dundee silver ladle by William Constable and an Aberdeen silver ladle by Rettie & Son (3)

Sasha Constable (British, Contemporary), 'Tonlé Sap Scene', limited edition woodblock print, numbered 3/34, signed and inscribed

British,18th century, 'Melton Constable in the county of Norfolk, the seat of Sir Jacob Astley Baronet', engraving, 6.5x9ins, pub.1752, framed and glazed.

A SPECIAL POLICE CONSTABLE TRUNCHEON decorated with a Royal coat of arms, inscribed "Manchester Special constable G.W. Pendlebury 1914-1919"

A 1932 dated Palestine Police velvet wallhanging bearing name Constable A.L.W. Trivett No. 1099 B.S.P.P. A 1938 Empress of Britain World Cruise photo album covering world travels including India, Egypt, Fiji, Thailand, Greece, New Zealand etc. An Utrecht Liberated April 1945 booklet with comical propaganda printed sketches (3).

* HAMISH CONSTABLE PATERSON (SCOTTISH 1890 - 1955),CRUMPLED MAN AT LE PONT ROYALE, PARISwatercolour on paper, signed and dated 1926image size 21cm x 31cm, overall size 46cm x 56cm Mounted, framed and under glass. Note: The third son of the artist James Paterson, cousin of Viola Paterson and thus a member of the distinguished Scottish painting family. He was actually named James Constable Paterson but was always known as Hamish. In 1910 he began studying at Edinburgh College of Art and his talent was obvious to all. He became an officer in The Black Watch during Army service in World War I and was severely wounded. Although he eventually recovered physically, his experiences left a lasting mental mark and he suffered from "depressions" for the rest of his life. His uncle William Bell Paterson gave him a show in Bond Street (London) in 1922 which included portraits of the former Prime Minister David Lloyd George and many titled people. Hamish's talent as a portraitist was widely admired but instead of accepting lucrative commissions he chose to live in France painting landscapes. It's possible that he sought a life away from the people he knew, perhaps embarrassed by his issues. The vendor believes the crumpled figure in the foreground to be Hamish Paterson. If he's right, Paterson depicts himself as a lonely and forlorn figure with his back turned to the spectacular view and the nearby Louvre. Although his work continued to be exhibited at the RSA regularly until 1949, many of these pictures were loaned by friends, fellow artists or collectors. His pictures were also shown at the RSW, RA, Royal Glasgow Institute and was included in "The Paterson Family" at Belgrave Gallery (London) in 1977. He retained lifelong friendships with some of the Kirkcudbright group including W.O. Hutchison, Robert Sivell and Mac Fleming. It seems Hamish Paterson largely financed his life in France with the sales of his pictures there and he only returned to the family home at Moniaive (Dumfriesshire) a couple of years before his death. Hamish Paterson's war experiences had a dramatic impact on the rest of his life but his watercolours show the influences and qualities which brought his father such success and had Hamish felt able to remain in Scotland, it's likely that his reputation in his own country would have better matched his abilities and talent.

GEORGE V POLICE CONSTABLE'S TRUNCHEON,painted with Royal cipher and inscribed 'CONSTABLE', 38cm long, with leather strapUsual general surface wear, scratches, nicks, etc; no visible splits or chips; additional images available

SASHA CONSTABLE (BRITISH) - CONTEMPORARY STONE SCULPTURE & PLINTH. (d) A large Portland stone carved sculpture in the form of an elongated face, of geometric twisted form (91cms high). Signed underneath, 'SC' monogram, and numbers (possibly 95). Also with a stone plinth with a metal screw to hold the sculpture in position, plinth 46cms high, *Artists Resale Rights applies to this lot. * The sculpture has a crack which runs around the body (possibly repaired), it has a chunk out of the corner of the base, and some other small chips in places. It has been used outside so both the sculpture and plinth has some wear as you would expect. **BP 22.5% inc VAT + Lot Fee of £8

Jansen (Leo et al, editors). Vincent van Gogh - The Letters, 6 volumes, London: Thames & Hudson, 2009, numerous colour & monochrome illustrations, original cloth in dust jackets & slipcase, large 4to, together with:The Scolar Press, publisher, Letters of Vincent van Gogh 1886-1890, 2 volumes, facsimile edition, London, 1977, numerous colour facsimiles, original uniform cloth in slipcase, slipcase slightly rubbed, 4to, plusConstable And Company, publisher, The Letters Of A Post-Impressionist, being the familiar correspondence of Vincent van Gogh, 1st edition, London, 1912, monochrome frontispiece & vignettes, some light spotting, original green cloth with illustration to the front board, lightly rubbed, 8voQTY: (9)

Hedin (Sven). Central Asia and Tibet, 1st edition, 2 volumes, London: Hurst and Blackett, 1903, portrait frontispieces, 8 full-page colour plates, 5 maps on 4 sheets, further black and white illustrations to text, lightly spotted, a few gatherings loose, a couple of plates a little frayed to margins, original red cloth gilt, top edge gilt, some wear, small stickers to backstrip, 8vo, together with:Goodrich-Freer (Adela). Arabs in Tent & Town, 1st edition, London: Seeley, Service & Co, 1924, frontispiece, 15 black and white plates after photographs, a few light spots, original red pictorial cloth, dust jacket, chipped to extremities with loss, spine torn to centre, 8vo, withFergusson (W.N). Adventure Sport and Travel on The Tibetan Steppes, 1st edition, London: Constable and Company, 1911, portrait frontispiece, two folding maps to rear, black and white illustrations after photographs throughout, portion of front free endpaper upper margin lacking, lightly spotted, original green pictorial cloth gilt, rubbed and marked, 8vo, with 20 others relatedQTY: (23)

Cabell (James Branch). Jurgen, a comedy of justice, London: The Bodley Head, 1923, original blue cloth, dust jacket, some wear to extremities, rear panel and spine toned with a few marks, 8vo, together with:Mansfield (Katherine). The Garden Party, 1st edition, London: Constable & Company, 1922, spotting, library ticket to rear pastedown, front hinge cracked, original blue cloth gilt, sticker removed to front cover, worn, 8vo, withSackville-West (Vita). All Passion Spent, 1st edition, London: The Hogarth Press, 1931, lightly spotted, sticker removed to rear pastedown, original green cloth gilt, worn, 8vo, with Middleton Murry (John). The Things We Are, 1st edition, London: Constable & Company, 1922, spotting, endpapers toned, rear hinge broken, library stamp to rear pastedown, original blue cloth, Boots sticker partially removed to front board, worn, 8vo, with 82 other early 20th-century literature books, predominantly 1st editionsQTY: (85)

Dulac (Edmund, illustrator). Rubaiyat of Omar Khayyam, rendered into English Verse by Edward Fitzgerald, London: Hodder and Stoughton, [1909], 20 tipped-in colour plates, decorative endpapers, original cream cloth gilt, 4to, together with Robinson (William Heath, illustrator). Shakespeare's Comedy of A Midsummer-Night's Dream, London: Constable & Co., 1914, 12 tipped-in colour plates, occasional light spotting, contemporary presentation inscription, original decorative cloth, spines ends a little rubbed, 4to, plus Clarke (Harry, illustrator). Tales of Mystery and Imagination, by Edgar Allan Poe, London: George Harrap, January 1928 reprint, 8 tipped-in colour plates, auctioneer description cut and pasted to rear pastedown, some light spotting, original cloth, edges slightly rubbed, 4to, with 4 others illustrated: Walter Crane's Shakespeare. The Merry Wives of Windsor, 1894 (limited signed edition 61/650), Rudyard Kipling's A Song of the English, illustrated by William Heath Robinson,[1909], The Golden Legend, by H.W. Longfellow, illustrated by Sidney H. Meteyard, [1910], and Washington Irving's Rip Van Winkle, illustrated by Arthur Rackham, 3rd impression, 1907 QTY: (7)

Jowett (Benjamin). The Dialogues of Plato, 4th edition 4 volumes, Oxford: The Clarendon Press, 1953, modern orange half morocco gilt by Asprey, all edges gilt, raised bands finished in gilt, 8vo, together with:Waddell (Helen). Mediaeval Latin Lyrics, signed limited edition, London: Constable & Co Ltd, 1929, signed by the author to the limitation page, modern dark blue morocco gilt by Asprey, all edges gilt, raised bands finished in gilt, boards with single gilt rule, 8vo, 39 of 100 copies, withThe Wandering Scholars, London: Constable & Co Ltd, 1930, black and white frontispiece, modern dark blue morocco gilt by Asprey, all edges gilt, raised bands finished in gilt, boards with single gilt rule, 8voQTY: (6)

Hockney (David). A Bigger Picture, 1st edition, London: Thames & Hudson, 2012, numerous colour & monochrome illustrations, original cloth in dust jacket, large 4to, together with:Percheron (René & Christian Brouder), Matisse From Color To Architecture, 1st edition, New York: Harry N. Abrams, Inc., 2004, numerous colour illustrations, original cloth in dust jacket & slipcase, large 8vo, plus other British & modern art reference, including works on Edward Seago, Marc Chagall, Edward Hopper, John Constable, some original cloth in dust jackets, some paperback editions, G/VG, 8vo/folioQTY: (3 shelves )

SIX ROBERT HARROP DOGGIE PEOPLE OF POLICE WITH AN ODD CONSTABLE

50 People who Buggered Up Britain by Quentin Letts 2009 First Paperback Edition Softback Book with 277 pages published by Constable and Robinson some ageing good condition. Sold on behalf of Michael Sobell Cancer Charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99

Family Group: A Second War M.B.E. group of six awarded to Warrant Officer Class I J. E. Eames, Royal Sussex Regiment, late Hampshire Regiment, who was captured and taken Prisoner of War near Amiens on 20 May 1940 - escaping, he was recaptured 24 hours later, and held in captivity for the rest of the War The Most Excellent Order of the British Empire, M.B.E. (Military) Member’s 2nd type breast badge, silver; British War and Victory Medals (24603 Sjt. J. E. Eames. Hamps. R.); 1939-45 Star; War Medal 1939-45; Army L.S. & G.C., G.V.R., 3rd issue, Regular Army (5485467 W.O. Cl. II J. E. Eames. Hamps. R.) generally very fine and better Coronation 1911, County and Borough Police (P.C. Joseph Eames Winchester City Police) good very fine (7) £600-£800 --- M.B.E. London Gazette 29 November 1945: ‘In recognition of gallant and distinguished services in the Field.’ The original Recommendation states: ‘Regimental Sergeant Major Eames, 7th Battalion, Royal Sussex Regiment, served with the Battalion from its inception at the outbreak of War. This Warrant Officer was invaluable in helping lay the foundation of general discipline and in training and building up a healthy structure of non-commissioned officers, in spite of the almost complete lack of any real experience amongst those from whom he had to draw. His assistance in training young officers was also of great importance. He set a fine example to all and his deportment and patience at all times went far in guiding the numbers of young recruits onto the right lines. This example was carried out in full, when, on the weekend of 18-20 May 1940 the Battalion, entirely alone in a French Sector (just west of Amiens) was attacked by General Rommel’s Panzer Division. A very great deal is owing to this fine old soldier (who had been a pensioner and was 52 years old at the time) for the manner in which all ranks carried out their orders and held their ground until he and other survivors had not alternative to being taken Prisoner. After being taken Prisoner he escaped with some others on the same evening (20 May 1940), but they were overtaken by Armoured Cars 24 hours later. I recommend that this Warrant Officer be awarded the M.B.E.’ Joseph Edward Eames was born in 1889, the son of Police Constable Joseph Eames, Winchester City Police, and served during the latter stages of the Great War with the Hampshire Regiment. Advanced Company Sergeant Major, he proceed to Guernsey on 19 December 1924 for posting to the Permanent Staff, 1st Battalion, Royal Guernsey Light Infantry, and served on the island for a number of years. Returning to his parent unit, he was awarded his Long Service and Good Conduct Medal in April 1933. Eames subsequently transferred to the Royal Sussex Regiment, and served with the 7th Battalion as part of the British Expeditionary Force during the Second World War. He was captures and taken Prisoner of War on 21 May 1940 (see M.B.E. Recommendation), and held in captivity for the rest of the War. For his services leading up to his capture he was created a Member of the Order of the British Empire. He died at Ryde, Isle of Wight, on 10 September 1949. Sold with a postcard photograph of the recipient, and copied research.