![An early surviving reference of football being played in England [Cumberland] in the form of a manuscript ode composed in 180](http://lot-images.atgmedia.com/SR/34622/2778035/617.JPG)
An early surviving reference of football being played in England [Cumberland] in the form of a manuscript ode composed in 1803, an ode of 26 lines hand written in pen & ink and signed by two schoolboys Thomas Caddy and John Steel on August 18th 1803, the ode imploring their schoolmaster "... All holidays and feasts through the year ... likewise a football and a good fat hen against Shirovetide [sic] we claim from you again ..." Research has uncovered a Thomas Caddy, the son of William Caddy, born in 1786, and a John Steel, born in 1787, both in Cumberland. The history of football played on Shrovetide in Great Britain is well documented, and has an extensive account between pages 68 and 153 of "Uppies and Downies, The Extraordinary Football Games of Britain" by Hugh Hornby, published by English Heritage in 2008. The book also illustrates the painting by Alexander Carse of the Shrove Tuesday Match at Jedburgh in 1818. He was one of the first artists to depict football as his subject. A woodcut of "Football, Kingston-upon-Thames, Shrove Tuesday, Feb 24th 1846" by Phillipson is in the FIFA Museum Collection. This exciting manuscript discovery throws further light on the popularity of the sport when in its infancy and 60 years before the laws of the game were unified by the formation of the Football Association. The full 26 line ode reads as follows: Honoured, Master Wonder not Why these come to hand, For the naked truth you soon shall understand, To labour always neither man nor Beast, Is able, we require some rest, According to the old custom we Attempt, To bolt the door and take our merement, To day, also tomorrow we demand, For recreation can you this withstand, Ten days before Christ blest Nativity, With all the feasts until Epiphany, Ten days at Shirovetide ten at Easter just, All Saturdays, and ten at Pentecost, All Holidays & Feasts through the year, We may at Church but not at school appear, Likewise a football and a good fat hen, Against Shirovetide we claim from you again, And further more when we have let you in, Look that against us you comit no sin, Until one month be past give no abuse, For if you do you shall find no excuse, Tryumphantly we will turn you out of Doors, With patience submitting to our powers, And also we hope you will consent, To sign the bill and grant us meriment, In recompense whereof we will not fail, To give you and your friend a glass of Ale Signed by me Thos. Caddy, John Steel, Augt. 18th. 1803 the reverse signed William Caddy, Thomas`s father
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An Aesthetic Movement ebonised, gilt and painted side cabinet, 1870s, the shelved and mirrored back with titled painted panels and two small drawers, the canted base with two drawers above two painted panel doors flanked by leaded glass doors, 223.5cm high, 182cm wide, 55cm deep. See Stapleton, Annamarie `John Moyr Smith 1839-1912: A Victorian Designer` Hatch Beauchamp 2002, p. 27 for a comparable cabinet attributed to Cox & Son with panels by Moyr Smith and others of circa 1872. The door panels with similar dados to the present lot, there attributed to Charles Rossiter.. See also Sotheby`s Belgravia `Decorative Arts 1850-1940` 7th-8th September 1977, lot 96, where the attribution for the designs are catalogued `after Stacey Marks`. Visit www.dnfa.com for condition reports
A George III mahogany cased longcase clock having a swan neck pediment above a 20 inch dial painted with scenes of the four seasons with Roman numerals, subsidiary second and date dial having an eight day movement, signed M. Feguson, Mauchline, the trunk enclosed by a flame mahogany door, on a plinth base
A 19th century carved stained oak longcase clock. By John Sanderson. the twin train movement, the square brass dial with cast spandrels, Roman and Arabic numerals, subsidiary second and date dials,the hood swan neck pediment, Corinthian columns, trunk door flanked by quarter columns, stepped base, serpentine apron, the whole raised on bracket feet. 228cm high
A 19th century mahogany longcase clock. By J Cuthbertson, Whitburn. the twin train movement with painted arched face depicting battle scene, subsidiary second and date dials , the hood with swan-neck pediment, over glazed door flanked by columns, the bow front trunk door mounted by pediment with acorn finial, flanked by columns, paneled base raised on bun feet. 210cm high . Provenance: From the collection of the Late Jack Notman, Architect, Glasgow
A 19th century mahogany longcase clock. By Edwardson. the arched brass plate calendar, silver chapter ring, cast spandrels, with black Roman numerals and two subsidiary dials, the arched hood with swan-neck pediment and brass finials, open fretwork frieze, turned columns with Corinthian capitals, crossbanded trunk door flanked by pilasters, plinth base raised on bracket feet
EDWARDIAN INLAID MAHOGANY BEDROOM SUITE, 7 PIECES comprising triple door wardrobe, the central mirrored door enclosing graduated fitted drawers and hanging space, flanked by cupboard doors either side; matching drop-centre cheval mirrored dressing table with four jewellery drawers above two short and one long drawer, on tapering legs; inlaid panelled double bed 137cm wide; bedside cabinet and three matching bedroom chairs
VICTORIAN MAHOGANY QUEEN ANNE-STYLE BEDROOM SUITE, 3 PIECES comprising swing mirror dressing table with four jewellery drawers and shaped top raised on heavily carved legs with undertier; double door wardrobe with carved frieze above two panelled doors enclosing fitted drawers and hanging space, and matching spar ended double bed
? The Little Ranelagh House by Peter Hill Jones modern 366cm.; 144ins high by 225cm.; 88½ins deep by 303cm.; 119ins wide, together with chestnut picket fence, laid hedges entwined with hawthorn, guelder rose, hazel and field maple together with a miniature wooden seat and carved stone birdbath Quotations can be obtained for reconstructing the Little Ranelagh House and gardens in the UK Little Ranelagh House was so named because in it`s prime incarnation in May this year, it appeared within Ranelagh Gardens which forms part of the site that comprise the RHS Chelsea Flower Show. The building which is also considered to be a `Sculpted Casket for Diverse Purpose` by its creator, Peter Hill Jones, was exhibited as a Trade Stand and was complete "with an interior specifically designed to be hostile to children yet with an exterior that was appealing to them! The garden was designed to be appealing to passerine birds in particular and bryologists!" (Bryology is the study of mosses, liverworts and hornworts) "The building does not have an age or purpose bias", says Peter. "But there are 2 distinct entrances: the front door which is clearly for people under 30" in height and a `secret` side door which could accommodate a tall person or even a wheel chair bound adult. "In short it can be used for whatever you like: to keep the dogs, pigs, chickens or donkey in. As a hide, study - particularly for natural history, dark room, explosives factory or drug manufacturing unit! A wendy house - whatever that is - or an area for children to attempt to fulfil themselves or not, or just address the problems encountered from being a child! A den for adults to keep children out? A private cinema to watch dubious films or library to collect operatic scores or decent First Editions. A space to encourage bats to go when the Planning Authority has deemed the bat roost in your loft is going to really Muck Up your Application to demolish all/some/a bit of your house!"! The building/casket is designed to have an upstairs which is present in a basic form here in The Walled Garden. The building itself is constructed entirely from FSC accredited timber which means that it all comes from sustainable forests. The original building, Little Burndell House, which is the prototype of this one, is situated at Peter`s yard in Yapton, West Sussex and is largely constructed from recycled timber. The window design was extensively researched (despite it`s apparent simplicity) to achieve the `correct look` and designed by Peter and features a design of glazing bar based on the so-called Georgian `knife-edge` glazing bar. The undersized `Sussex Red` roof tiles and half round ridges were hand made as were the clay chimney stack and its 2 undersized pots (one of which is in fact a bird nesting box and other could function as a real pot). The `mortar` on the stack is specially coloured to mimic lime mortar. Such detail was of major importance to Peter! An important feature present are the two `Teddy windows` at either end of the the buildings upstairs area. The term is self explanatory (if you possess a pair of psycho-killer teds as Peter does: Teddy Binns and Hopscotch). Every quarter has a look out point and the house is equipped with three above ground `escape` points and the facilities for an underground tunnel. The `wall paper` at the opposite end to the `secret/adult` door comprises an original motif by Peter. The pattern consists of 4 squares with a central square - like the side depicting `5` on a dice. The 4 outer squares depict a man looking at his dog: the dog has the man`s eyes and the man`s eyes are dentures! The central motif depicts one of Michelangelo`s sculptural male heads but with inserts into the face of Walker`s `Special Edition Spice Girls` crisp packets! Peter`s stand and garden of Little Ranelagh House won an Award of Commendation at the RHS show and over 6,000 people viewed it including Prince Charles and the Duchess of Cornwall. (John Savings of Abingdon, who provided Peter with the plants for his laid hedge is Prince Charles` teacher in the methods of laying a hedge. The Prince is an enthusiast of this ancient country craft. Peter Hill Jones who has exhibited at the Royal Academy of Art Summer Exhibition twice and the Royal Society of British Artists some 4 times is a scrap metal merchant and general dealer by trade and botanist, free-lance journalist and occasional-artist by inclination! He was - he admits - born with an EPNS spoon in his mouth and was slightly over educated "on the proceeds of scrap" he is also on show in London 24 hours a day 365 days of the year as `Peas` one of the 120 sculpted motifs on the gates at The Globe Theatre.
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