A very fine Heavy Cavalry Commander’s C.B. and Army Gold Medal pair awarded to Lieutenant-Colonel Serjeantson Prescott, 5th Dragoon Guards, who was slightly wounded when in command of his regiment in their famous famous charge at Llerena on 11 April 1812, when the French cavalry was thrown into confusion and swiftly broken; he subsequently commanded the 5th Dragoon Guards at Vittoria and Toulouse, for which he received the Gold Medal with Clasp, and was appointed C.B. in June 1815 - his premature death in June 1816 ‘was a very great loss to the regiment’ The Most Honourable Order of the Bath, C.B. (Military) Companion’s breast badge, 22 carat gold and enamels, hallmarked London 1815, maker’s mark ‘IN’ for John Northam, complete with correct 2-inch wide gold swivel-ring suspension and gold ribbon buckle; Field Officer’s Small Gold Medal, for Vittoria, 1 clasp, Toulouse (Lieut. Colonel S. Prescott) complete with gold ribbon buckle, the medal and the clasp each in their own individual silk-lined red leather Rundell Bridge & Rundell cases of issue, together with his Order of the Bath Chapel Stall Plate inscribed ‘Serjeantson Prescott Esquire, Lieutenant-Colonel in the 5th (or Princefs Charlotte of Wales’s Regiment of Dragoon Guards Companion of the Most Honourable Military Order of the Bath Nominated 4th June 1815’, a few very minor chips to the wreaths of the first, otherwise extremely fine (4) £24,000-£28,000 --- Serjeantson Prescott was appointed Lieutenant in the 5th Dragoon Guards on 8 March 1807, from Lieutenant, 91st Foot, becoming Captain on 14 March 1810. He was promoted Major on 26 December 1811, and Lieutenant-Colonel on 14 June 1815. He served with the regiment in the Peninsula from September 1811 and, in the absence of Ponsonby, commanded the regiment at Llerena (Villa Garcia) where he was slightly wounded and mentioned in despatches: “While the Major-General [Le Marchant] is perfectly satisfied with the zeal shown by every individual of the brigade in the execution of his duty on that occasion, he considers that the charge made by the 5th Dragoon Guards deserves his particular admiration and approval, and he requests that Major Prescott and the officers of that corps will accept his nest thanks as well for their services as for the credit which their gallant conduct reflects on the command, which he has the honour to hold.” Prescott was again in command of the regiment at the battles of Vittoria and Toulouse, at which last battle the 5th Dragoon Guards were instrumental in saving the Portuguese guns from capture. At the end of the war he received a gold medal with one clasp, and the C.B. Although the regimental history makes no specific mention of his presence at Salamanca, his presence there is confirmed in Challis’s Peninsula Roll Call. After the death of Le Marchant at Salamanca, Colonel Ponsonby took over the command of the brigade, Prescott getting the command of the 5th Dragoon Guards. Lieutenant-Colonel Prescott died on 23 June 1816. The charge at Llerena (Villa Garcia) On the evening of 10 April 1811, General Stapleton Cotton climbed the steeple of a church in Bienvenida. He knew that the French were occupying Llerena and saw that there were considerable numbers of French cavalry five miles closer to him near the village of Villagarcia. Cotton decided that he should attempt to trap the French cavalry with his superior forces. During the night he despatched Ponsonby with the 12th and 14th Light Dragoons to probe the Villagarcia area, whilst Le Marchant was sent on a circuitous march to get on the French left flank and, it was hoped, cut off their retreat. Slade was also instructed to concentrate his brigade on Bienvenida, though he seems to have been tardy in moving. Cotton retained the 16th Light Dragoons as a reserve. At some time during the night Cotton realised that Ponsonby's force might alert the French before Le Marchant was within striking distance and despatched an aide-de-camp with orders to halt the light cavalry; unfortunately the order arrived too late. Two squadrons of the British light cavalry had forced the French vedettes out of the village of Villagarcia but, around dawn, had run into the full force of the French cavalry and were then chased back. Ponsonby subsequently found his two regiments faced by the three strong regiments under Lallemand and had to make a controlled withdrawal whilst skirmishing against heavy odds. Following his orders, Le Marchant had moved his brigade through the night over tortuous terrain for a considerable distance. Coming down from rugged hills bordering the plain where the action was fought, Le Marchant and the 5th Dragoon Guards had pulled considerably ahead of the other two regiments of the brigade. Le Marchant noticed, looking through the trees of the wood his men were moving through, that French cavalry, drawn up in two deep columns of squadrons, were pushing the six squadrons of light dragoons back towards a narrow ravine flanked by stone walls. Le Marchant realised that an immediate charge was needed before Ponsonby's squadrons were forced into the congested and broken ground to their rear. Lallemand, it is recorded, caught a glimpse of red-coated figures in the woods to his left and rode to alert General Peyremmont, who was leading the 2nd Hussars. Peyremmont scorned Lallemand's concerns, saying that the British dragoons were probably a small detachment who had lost their way. At this point the advantage that the French had enjoyed in the action was suddenly reversed and Le Marchant, with the 5th Dragoon Guards, who were his leading regiment, emerged out of the woods entirely unobserved. Instantly realising the situation, he did not wait for the whole of his brigade, but, forming the 5th Dragoon Guards into line of echelon of squadrons as they came out of the defile, bore down at their head straight on to the left flank of the five French regiments, completely rolling them up and pursuing them for four miles, almost into Llerena. The French rallied briefly at a ditch halfway to Llerena, but they were outflanked by the 16th Light Dragoons and were forced into flight once more. A few hours later the French abandoned Llerena and continued their retreat out of Extremadura. Llerena, though now almost forgotten, created a great stir at the time, and rightly so, as it was a most gallant feat of arms, never excelled on any occasion, even by British cavalry. 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![Ornithology and natural history Collection of works Maxwell, Sir Herbert. Memories of the Months. First [-Seventh] Series. Lo](https://cdn.globalauctionplatform.com/21b99c08-7e41-44b1-b2bb-b00e00af8ab0/a196031b-a83b-47fa-8776-b00e0116fbb1/468x382.jpg)
Ornithology and natural history Collection of works Maxwell, Sir Herbert. Memories of the Months. First [-Seventh] Series. London: Edward Arnold, 1900-22. First editions (except volume 1: third edition), 7 volumes, 8vo, original green cloth, numerous plates (mainly photogravures), volumes 1-6 each with a tipped-in autograph letter signed from Maxwell to J. Logan Mack (Edinburgh solicitor and author of The Border Land: From the Solway Firth to the North Sea, 1926), volume 7 inscribed by Maxwell, Mack's bookplate to each volume, volume 3 half-title repaired, bindings slightly rubbed and marked;Scott, Sir Peter. Wild Chorus. London: Country Life, 1938. First edition, deluxe issue, one of 1,250 copies signed by the author, 4to, original blue cloth, top edge gilt, others untrimmed, 24 mounted colour plates, numerous halftone plates;Seebohm, Henry. Coloured Figures of the Eggs of British Birds. Edited (after the Author's Death) by R. Bowdler Sharpe. Sheffield: Pawson and Brailsford, 1896. 8vo, original red cloth, 60 chromolithographic plates, binding slightly marked, plates spotted, rear inner hinge cracked;Armour, G. Denholm. Thoughts on Hunting. In a Series of Familiar Letters by Peter Beckford. London: Hodder and Stoughton, c.1910. First edition, deluxe issue, one of 350 copies signed by the artist, 4to, original brown pigskin gilt, 25 tipped-in colour plates, spine sunned and rubbed and with loss to head;and 5 others similar
Staffordshire and Derbyshire potteries A collection of works Godden, Geoffrey. Staffordshire Porcelain. London: Granada, 1983. Original cloth gilt, dust-jacket; Schkolne, Myrna. People. Passions, Pastimes and Pleasures. Staffordshire Figures, 1810-1835. Winston Salem: Hot Lane Press, 2006. Original black cloth gilt, dust-jacket;Falkner, Frank. The Wood Family of Burselm. London: Chapman & Hall Limited, 1912. Original red cloth gilt;Read, Herbert. Staffordshire Pottery Figures. London: Duckworth, 1929. Original blue cloth gilt;Hayden, Arthur. Spode and his Successors. London: Cassell & Company, Ltd., 1925. Original blue cloth git with vase motif, dust-jacket;Jones, Alyn Giles. Catalogue of the Minton Manuscripts. Bangor, 1971-73. Folio, 2 volumes of photocopied work, with a gift inscription from the compiler to Geoffrey Godden, blue cloth gilt;Furnival, William James. Leadless Decorative Tiles, Faience, and Mosaic, comprising notes and excerpts on the history, manufacture & use of ornamental flooring tiles... Stone: W.J. Furnival, 1904. 8vo, original blue cloth gilt;Twitchett, John. Derby Porcelain, 1748-1848, an illustrated guide. Woodbridge: Antique Collectors' Club, 2002. Original blue cloth gilt, dust-jacket;Mountford, Arnold R. The Illustrated Guide to Staffordshire Salt-Glazed Stoneware. London: Barrie & Jenkins, 1971. 8vo, original orange cloth gilt, dust-jacket; and 34 othersProvenance:Provenance: From the library of a collector
![[Dusart, Cornelis (1660-1704) and Jacob Gole (1660-1724)] Les héros de la ligue ou la procession monacale. Conduitte par Loui](https://cdn.globalauctionplatform.com/21b99c08-7e41-44b1-b2bb-b00e00af8ab0/40e9d600-9dbf-4fcd-aef9-b00e01165775/468x382.jpg)
[Dusart, Cornelis (1660-1704) and Jacob Gole (1660-1724)] Les héros de la ligue ou la procession monacale. Conduitte par Louis XIV, pour la conversions des Protestans de son royaume. Paris [Amsterdam?]: Pere Peters, 1691. 4to (22.5 x 16.5cm), contemporary vellum, engraved arms of the dukes of Queensberry gilt to boards, engraved title-page, 20 mezzotint roundel caricatures (of 24), engraved leaf of text ('Sonnet'), bookplate of John Erskine Esqr, Advocate, boards sprung and marked, variable spotting and soiling to contents, contemporary inscription to head of title-page, closed marginal tear to 'Le roy de France' plate, 'Le père Petres' with repaired closed tear to gutter just extending into platemarkNote: Note: Rare collection of grotesque caricatures of figures implicated in the repression of French Protestants after the revocation of the Edict of Nantes in 1685. Each portrait is accompanied by a satirical quatrain. Sold as a collection of prints.
Shaykh Muhammad Amir of Karraya or studio (fl. c. 1830-50) The Balfour album 26 watercolours on wove paper, each approx. 27 x 21cm (all portrait format except numbers 9, 12 and 25, landscape; numbers 8, 10, 18 and 24 with J. Whatman Turkey Mills watermarks visible), corner-mounted to varicoloured paper leaves in contemporary green half morocco album, contemporary manuscript titles in ink to foot, many additionally with contemporary English translations of the title in pencil to lower left (given below in round brackets where applicable; supplied titles in square brackets), all annotated lower right 'Shekh Mahomed Ameer, Calcutta at Karyah', 'S. Mohammed Ameer Painter, situated at Kurrya' or similar (except 'A teacher of Hindostanee', in the same style but not annotated). Contents comprise:1. Assabardar (Mace bearer)2. Sotaburdar (Mace bearer)3. Hooka burdar4. Serkar (Native clerk)5. Dewan (A landed proprietor)6. (A teacher of Hindostanee)7. Barber8. Chouruburdar [Fly-whisk wallah]9. Palankeen10. Matoy walla (Sweet meat seller)11. Burkundaz (Watchman)12. Hindoostany Carriage13. Dorcah (Dog keeper)14. Maytur[?] (House sweeper)15. B. Woman [Bengali water carrier]16. Estruwallah [Iron wallah]17. Dancing girl18. Grass cutter19. Abdawr (Wine cooler & table servant)20. Coachman21. Ayah (Ladies attendant)22. Serdawr Bearer (Body attendant & house servant)23. Hurkarah (Letter carrier or message bearer)24. Khansamah (Head table attendant)25. Karachee (Native carriage)26. Bheshtee (Water carrier).With a similar watercolour bound between numbers 22 and 23, titled Hindoostanee Lady, signed 'Zayn al-Abidin musawwir [painter]', 19 x 15.5cm, Qajar-style, heightened with gum arabicNote: Note: A major collection of watercolours by one of the leading practitioners of ‘Company School’ painting for European patrons in 19th-century India. The only sets of any comparable extent which we can identify are a group in the British Library comprising 17 pictures of servants, castes, and tradesmen (Add. Or. 171-187), and the famous Holroyd album, produced for Calcutta merchant Thomas Holroyd, given by him to the Oriental Club in 1839, sold by them in 1961 and now dispersed.Acknowledged as 'by far the most talented and original' of all Calcutta painters specialising in work for the British (Archer, 1972), Shaykh Muhammad enjoyed an enthusiastic following among the city's colonial elite in the second quarter of the 19th century. In 1844 the traveller Fanny Parkes purchased a set of paintings evidently similar to the present album, publishing versions of the serkar, burkundaz and the Bengali water carrier in her 1850 travel memoir, Wanderings of a Pilgrim in Search of the Picturesque.In 2019-20 Shaykh Muhammad's work featured in the Forgotten Masters exhibition of Company School paintings at the Wallace Collection, London, at which six of his paintings were shown. William Dalrymple, historian of British India and curator of the exhibition, paid tribute to his inimitable fusion of European and Indian techniques:‘The Shaykh was equally at home painting a Palladian house or thoroughbred horse, a group of dhobis or a pair of dogs. His single figures are sometimes shown in the Mughal tradition, in profile … but when he wished to, the Shaykh could paint in a more European style than any of his rivals, with low horizons and expanses of blank white space that no Mughal artist would have allowed. He had completely mastered perspective, foreshortening and shading, giving his work a realism and naturalism unique among Indian artists of his generation. Yet while in anatomical accuracy his horse portraits can stand comparison even with Stubbs, there is still an indefinable Indian warmth about his work, a Mughal application of the heart as well as the head'.Unlike his contemporary in Vellore, Yellapah, Shaykh Muhammad is not known to have produced a self-portrait, and little is known of his life or background. His paintings, however, have provoked speculation on his potentially ambivalent attitude towards to his patrons, who are either omitted entirely or, if they are present, are shown with their faces artfully concealed. One such painting, his depiction of a palanquin with a partially visible British passenger, is found in the present album (item 9). If this figure is indeed Thomas Holroyd, as stated in the Forgotten Masters catalogue, Shaykh Muhammad apparently had no reservations about reproducing the likeness for other customers.Provenance: By family repute acquired by Edward Green Balfour (1813-1889), surgeon and naturalist in India; thence by descent. Balfour travelled to India in 1834 as an assistant surgeon in the Madras medical service, and ended his career as surgeon-general in the presidency. An acknowledged polymath, he wrote on subjects including Indian languages and literature and forestry in addition to medicine. His most influential work in his own day was his Enyclopaedia of India and Southern Asia, published at Madras in 1857. Today he is also remembered for his pioneering ecological writings, which explored what he believed to be the 'direct relationship between deforestation, climatic change, and environmental degradation' (ODNB).Literature:Mildred Archer, Company Drawings in the India Office Library (1972), p. 76, cf. catalogue numbers 59-61.idem, Company Paintings: Indian Paintings of the British Period (1992), cat. nos. 80-82.William Dalrymple, ed., Forgotten Masters: Indian Painting for the East India Company (2019), pp. 17 and 122-131, cat. nos. 66-71.
Pottery, mainly English including English Delftware, Ralph Wood and medieval pottery Lipski, Louis L. Dated English Delftware. Tin-glazed earthenware 1600-1800. London: Sotheby Publications, 1984. 4to, number 440 of 1000 copies, original blue cloth, dust-jacket;Sotheby's. The Lipski Collection of English and Irish Delftware, 10th March 1981 - 6th December 1983, four auction catalogues in original wrappers;Faulkner, Frank. Ralph Wood Pottery, George Stoner Collection. London: 1910. 50 copies only, original vellum gilt;Partridge, Frank. Ralph Wood Pottery. London: [1929?] Original blue cloth gilt;Andrade, Cyril. Old English Pottery. Astbury Figures. London: 1924. One of 500, original red cloth gilt;Burton, William. A History and Description of English Earthenware and Stoneware. London: Cassell and Company, 1904. 8vo, out-of-series copy of 1450, original cloth;Rackham, Bernard - Herbert Read. English Pottery. London: Ernest Benn, Limited, 1924. 4to, original grey cloth gilt;Price, R.K., Captain. Astbury, Whieldon, and Ralph Wood Figures, and Toby Jugs. London: John Lane, 1922. 4to, one of 500 copies, original cloth gilt;Earle, Cyril, Major. The Earle Collection of early Staffordshire Pottery. London: A. Brown and Sons, [1915?] 4to, original red cloth gilt;Smith, R.H. Edinburgh Museum of Science and Art Loan Collection of English Pottery. Edinburgh: Neill and Company, 1889. 8vo, brown cloth gilt, pp.15-end only, title-page repaired with some loss;Freeth, Frank. Old English Pottery. London: Morgan, Thompson and Jamieson, 1896. 4to, one of 100 copies, original blue cloth gilt, some foxing;Hobson, R.L. Catalogue of the collection of English Pottery in the department of British and Mediaeval Antiquities and Ethnography of the British Museum. London, 1903. 4to, blue cloth gilt;Hodgkin, John Eliot and Edith. Examples of Early English Pottery... London, 1891. 4to, original cloth;Austin, John C. British Delft at Williamsburg. Williamsburg: The Colonial Williamsburg Foundation, 1994. 4to, original blue cloth gilt, dust-jacket;Ray, Anthony. English Delftware Pottery in the Robert Hall Warren Collection Ashmolean Museum Oxford. London: Faber and Faber Limited, 1968. 8vo, original red cloth gilt, dust-jacket price-clipped;Downman, Edward Andrews. Blue Dash Chargers. London: T. Werner Laurie Ltd., 1919. 8vo, original boards; and 9 othersProvenance:Provenance: From the library of a collector
India - Meghalaya Report on Successions to Siemships in the Khasi States by Captain D. Herbert, Indian Army, Deputy Commissioner, Khasi and Jaintia Hills. Shillong: Assam Secretariat Printing Office, 1903. Folio (32.5 x 19cm), original printed boards, rebacked and recornered, [2] iv 127 pp., 8 folding genealogical tables (counted in pagination), covers marked, wear to fore edges of boards, variable browning, title-page and final leaf heavily washed, title-page also with small hole not affecting text, small stipple of worming to foot of gutter throughout, marginal repair to pp. 1/2, closed tear in pp. 11/12Note: Note: First edition, specified 'confidential' on the title-page, perhaps one of 100 copies according to the printer's slug on the final page, no other copy traced in libraries or in commerce (such records as do exist appearing to pertain to a 1991 facsimile reprint published by the government of Meghalaya's directorate of arts and culture). In Khasi culture, eligibility to hold the office of siem (ruler) is passed down by matrilineal descent, though the office-holder is male. The power of the siem is not absolute, with authority dispersed among various ministers, clan chiefs, elders and other figures, and in the case of Khyrim state a high priestess (ka siem-sad).
![Portolan chart Carte Particulieres de la Mer Mediterannée [sic]. Faict A Marseille par Bremond, 1663.Manuscript portolan char](https://cdn.globalauctionplatform.com/21b99c08-7e41-44b1-b2bb-b00e00af8ab0/5120148a-518f-4157-b7e1-b0270096f82b/468x382.jpg)
Portolan chart Carte Particulieres de la Mer Mediterannée [sic]. Faict A Marseille par Bremond, 1663.Manuscript portolan chart in pen and ink and watercolour heightened in gold, on single sheet of vellum (54 x 78.5cm), showing the Mediterranean from Portugal in the west to the Levantine seaboard in the east, names of coastal settlements written perpendicular to coastline, rivers and deltas also included, 13 compass roses each with projecting rhumb lines, several with flourishes incorporating mascarons and foliate decoration, decorative title cartouche lower left with allegorical figures either side, decorative unnumbered scale bar lower right, captions 'Europa' and 'Grecia' within strapwork cartouches (the latter incorporating mascaron), inset view of Marseilles upper left, Habsburg coat of arms within Spanish landmass, vignette of a man-of-war in the Atlantic (adjacent to the straits of Gibraltar), vignettes of Islamic rulers in turbans and robes within the landmasses of Africa, Turkey and Egypt, those for Turkey and Egypt each with adjacent vignette of fanciful coat of arms incorporating crescent surmounted by a crown, vignette of Jerusalem cityscape and the three crosses of Calvary at a right angle to right-hand border, Red Sea picked out in red, broad red and green border around all sidesNote: Note: The Bremond family were a dynasty of cartographers active in Marseille in the late 17th and early 18th centuries. The family member responsible for this example is likely to be Estienne: the Huntington Library holds a portolan chart of the Aegean Sea which bears the signature 'Facit a Marseille par Estienne Bremond, 1655' (mssHM 31); the University of Cambridge holds a similar chart, depicting the Aegean and eastern Mediterranean, signed only with the initials 'E B' but now attributed to Estienne and dated to c.1650 (Maps.Ms.Plans.697); it is thought to be the only portolan in their collections. One notable feature of the present example is that that the place-names are in large part not in the forms standard to any one major language and in some cases appear to show an Occitan influence, such as Gibarta for Gibraltar, Antibou for Antibes, and Nisa for Nice. A descendant of Bremond, Laurent, published in the 1720s a collection of charts Recueil de plusieurs plans des ports et rades de la mer Mediterranée, describing himself on the title-page as 'Hydrographe du Roy et de la Ville'.Provenance: Paxton House, Berwickshire, Scotland.
ARR Oskar Kokoschka (1886-1980) Anima / Mania, Meissen terracotta medallion, 9.8 cm diameter, in a clear standAnima seemingly depicts an artist at work on a portrait, and on the verso is the contrasting Mania scene showing two figures in an intimate embrace. The two contrasting scenes reflecting upon two very different juxtaposing emotional states and activities.Provenance: Presented to composer Sir Michael Tippett (1905-1998) by the artist following the performance of his oratorio A Child of Our Time at a benefit in aid of the Children of Warsaw held at the Royal Albert Hall in 1945. Artists Augustus John (1878-1961) and Oskar Kokoschka both donated drawings which were sold to raise money for the cause. Gifted by Tippett to his secretary Nicholas Wright and thence by descent.
A pair of KPM Berlin trembleuse cups and saucers, one lacking cover19th centurypainted with Antoine Watteau-esque scenes of male and female figures in a garden setting, with scattered insects and flowers, the cover with a flame finial, underglaze blue sceptre mark, saucers 13.2cm diameter and cup with cover 13cm high overall (a.f)Condition:Cup and cover - small chip to flame finial, some wear to gilding on finial and the dentil gilt rim of the cover. Both saucers - breakages and losses to reticulated cup holders. Wear to gilding around rim.
John Varley (British 1778 – 1842) Figures Resting by a Lakeside, signed and dated 1839 lower right, watercolour, 14.5 x 27.5 cm, frame 39 x 52 cm.Provenance: Collection of Peter RobertsFootnote: Peter Roberts was born in Shropshire and brought up in the market town of Shrewsbury. He attended the Priory Grammar School before leaving for Cambridge University where he studied Classics and English. He qualified as a teacher, working first at Rydal School in North Wales before being appointed Head of English at Oundle School in 1982 where he remained until his retirement in 2007. Later in life he returned to his roots in Shropshire and spent his time pursuing his love of the arts, and built up a very carefully curated collection of antique furniture, antiquarian books and in particular, 19th Century English Watercolours. Roberts had a keen eye and focused on some of Britain’s best loved landscape painters such as David Cox, John Varley, Paul Sandby, Peter de Wint and William Leighton Leitch.Condition:The painting is a watercolour, framed under glazing - not examined external to the frame. The sheet appears in generally good condition, no obvious faults or losses, some general ageing (browning) of the paper. The paint surface appears stable, some colour fade. Frame general wear and tear
John Varley OWS (British 1778 – 1842) Figures Resting at a Lakeside, track leading into a woodland beyond, watercolour, 11 x 13.5 cm, frame 35 x 37 cmPurchased from Phoenix Fine Art, collection of Peter RobertsFootnote: Peter Roberts was born in Shropshire and brought up in the market town of Shrewsbury. He attended the Priory Grammar School before leaving for Cambridge University where he studied Classics and English. He qualified as a teacher, working first at Rydal School in North Wales before being appointed Head of English at Oundle School in 1982 where he remained until his retirement in 2007. Later in life he returned to his roots in Shropshire and spent his time pursuing his love of the arts, and built up a very carefully curated collection of antique furniture, antiquarian books and in particular, 19th Century English Watercolours. Roberts had a keen eye and focused on some of Britain’s best loved landscape painters such as David Cox, John Varley, Paul Sandby, Peter de Wint and William Leighton Leitch.
Two Chinese Republican period Bowls and Stands and a similar pedestal Saucer, each decorated numerous figures in a landscape 4in diam. two Tongzhi pedestal Dishes, one with two figures in a landscape 5 1/2in and the other with dragon design 4in and a small pair of Japanese Kutani double gourd Vases decorated exotic birds and flowers 4in H
A collection of complex French engraved bone and colour painted gaming counters in the style of Mariaval le Jeune, Paris, comprising a group of ten circular each engraved with a flower stem or head, the obverse of each individually engraved with variantly captioned borders enclosing images of animals, figures, boat, flaming heart, etc., 2.6cms dia., two further groups of three but variant, 2.3cms dia., together with fourteen elongated cut corner rectangular examples, again three variant patterns, largest 7cms, and a single smaller example. (31)
Two early Tunbridge ware white wood print and paint decorated rectangular boxes, the larger with plain sides, the pin hinge lid with a full colour print titled 'Bank of England From Bartholomew Lane', with a carriage at the halt amid numerous figures, original red paper lining, two small divisions lacking, 16.5cms. The other with plain sides, the pin hinge lid with a rectangular colour print titled 'Canterbury Castle', within end panels of painted flowers and black line and dash borders, original pink paper lining, divisions neat replacements, 12.7cms. (2) From the collection of Dr. Brian Austen
A good late 18th Century gilt metal chatelaine incorporating an etui, the leaf and figural decorated hook mount incorporating filigree panels with five fancy link chains to an octagonal thimble case decorated with leaf scrolls, an oval section tapering needle or bodkin case decorated with figures and vases, the central chain comprised of three linked filigree panels to a comprehensively fitted etui externally decorated with figures and leaf scrolls. The contents apparently complete and original comprising gilt pencil cover, steel scissors with hinged handles, ivory swivel tweezers, folding knife with insect and scroll decorated handle, steel tweezer / file, gilt ear spoon / pricker, and a gilt bodkin. The two further chains with an octagonal vinaigrette with floral and trellis decoration and a bodkin or needle case of hexagonal tapering form decorated with figures and leaf scrolls, max. length 24cms. Ivory licence number F5R2E3JV.
An unusual early Tunbridge ware white wood print and paint decorated rectangular box, plain white wood sides, the pin hinge lid with a detailed colour print titled 'View of The New Church Margate From Austins Row', with horse drawn vehicles and elegant figures to the fore, simple black dash border, original deep red paper lining, 16.5 x 10.5 x 4.7cms. This print is based on a steel engraving produced in 1829 drawn by G. Shepherd, engraved by J. Cleghorn. From the collection of Dr. Brian Austen
Two early Tunbridge ware white wood print and paint decorated rectangular boxes, both with sliding lids and plain sides, the larger with label to front 'The Pavilion Brighton', the lid with appropriate rectangular colour print with elegant figures to the fore and depicting Hollands Marine Pavilion from the Steine, circa 1810, original pink paper lining, 9cms, the other of shallow form, the lid with an untitled circular colour print of a rock arch with shipping beyond set on a green and black line panel, original pink paper lining with pencil date '1820', 8.7cms. (2) From the collection of Dr. Brian Austen
An unusual early Tunbridge ware small format print, gilt and grain decorated sewing box of rectangular form, the simulated rosewood ground decorated to the front and sides with flowers in gilt within painted line borders, the lid with a rectangular colour print titled 'Tunbridge Wells', with numerous figures and stage coaches, within a dog tooth border and an outer concave moulding with painted and gilt line decoration, bun feet in rosewood, the interior in original red paper, tray lacking, the lid in later pink velvet with tool provision, later ink inscription to marble paper base with date 1875, 20 x 12.5 x 11.5cms. From the collection of Dr. Brian Austen
A good Mauchline ware Scottish wooden hinge snuff box by Wm. Murdoch, of rectangular form, the lid with pen and wash picture of two women standing in washing tubs with other figures in an open landscape, the sides and base decorated with berried leaves, interior with 95% foil and stamped 'Wm. Murdoch', 8.5cms. From the collection of Hilbre Marriott
Two early Tunbridge ware white wood print and paint decorated rectangular boxes, the larger with plain line decorated sides, the pin hinge lid with a rectangular colour print depicting The Parade, Tunbridge Wells, with numerous elegant figures set within end panels of black and red fruiting vines and line borders, five internal compartments in original but stained pink paper, 17cms. The other with plain whitewood sides labelled to the front 'Royal Mews, Brighton', the pin hinge lid with the appropriate rectangular colour print with a horse being led and a soldier to the left, black line and dash borders, interior lacking divisions, pink paper worn and lacking in parts, the front with three thread holes, 13.2cms. (2). The second illustrated Austin(B), Tunbridge Ware, page 32, plate 7. From the collection of Dr. Brian Austen
An early Tunbridge ware print, pen and paint decorated small sewing box of sarcophagol form, the sides painted with flowers and leaves, the lid with an untitled circular colour print depicting three terraced houses with a park and elegant figures, within a fancy border and amid painted flowers and leaves, the concave moulded border in geometric pen work, original pink paper lining, male part of lock lacking, gadrooned gilt brass ball feet, 15 x 10 x 7cms. From the collection of Dr. Brian Austen
An early Tunbridge ware white wood print and paint decorated rectangular box, the sides with simple line decoration and with label to front 'A Brighton Gift', the pin hinge lid with a rectangular colour print depicting Brighton Pavilion with horse drawn carriage, elegant figures and a boy with a hoop, on a simulated rosewood ground within black line and dash borders, old but replaced lining paper, 18 x 11 x 5cms. Illustrated Austen(B), Tunbridge Ware, page 32, plate 7. From the collection of Dr. Brian Austen
A late 18th Century gilt metal chatelaine, the mount with a basket of flowers amid leaf scrolls with five hinged multi-link chains to an octagonal form pendant thimble case, a needle case, a scissor case, a pendant case of oval section and a bodkin case, all decorated variously with flowers and leaf scrolls, the scissor and bodkin case with figures of Harlequin and Columbine, 18cms max. drop.
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