Gaitte (?Antoine Joseph) Recueil des plus belles maisons et des plus belles Edifices de la Ville de Paris, engraved throughout with calligraphic title and 25 plates of multiple vignettes of Paris, many oval, some spotting, mostly marginal, small ink stamp and bookplate of library of Abbey Val-Dieu to front endpapers, contemporary half green vellum over paste-paper boards, spine titled in gilt, a little rubbed and marked, folio, Paris, Jean, [c.1800].⁂ Rare suite of plates depicting 140 town houses and public buildings by architects of the day, and interesting for the inclusion of several designs by Claude-Nicolas Ledoux, for whom Gaitte worked during the 1790s. These were Ledoux's first published designs and show several buildings or details which never came to fruition such as the circular entrance to a farm building in plate 16.WorldCat lists only 2 copies in France.
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Aviler (Augustin Charles d') Cours d'Architecture qui comprend les Ordres de Vignole..., 2 vol., mixed edition, vol.1 first edition but lacking all after p.244, engraved additional pictorial titles, vol.1 with 22 double-page and/or folding plates and 63 illustrations, all but a few full-page, spotting to a couple of leaves, Q3 defective at lower outer corner just touching border of engraving (repaired), vol.2 with engraved bookplate of John Bosworth of Tortworth Rectory, uniform modern panelled sprinkled calf, spines ruled in gilt with red morocco labels, spines slightly faded, [Fowler 32 & 33; cf.Berlin Kat. 2388], Paris, Nicolas Langlois, 1691 & Jean Mariette, 1720 § Lucotte (J.R.) Le Vignole Moderne ou Traité Élémentaire d'Architecture, Parts I-III bound in 2 vol. (parts 2 & 3 in 1 vol., bound in reverse order), first editions, 3 engraved titles and 105 plates, Part I with some staining, title slightly smaller, some marginal soiling, contemporary cloth-backed and sheep-backed boards, rubbed, second spine worn, joints split, [Berlin Kat. 2430], Paris, 1772-81-84; and 3 others, d'Aviler & Vignola, v.s. (7)
Galli da Bibiena (Ferdinando) L'Architettura Civile preparata sú la Geometria, e ridotta alle Prospettive..., 5 parts bound in 2 vol., first edition, full-page engraved portrait and 72 plates, woodcut ornaments and initials, errata leaf bound after portrait, contemporary ink inscription "Ippolito Matteini pittore e Teodoro suo figlio pittore" to head of title, some soiling and staining, plates trimmed close at left-hand edge (a few frayed with slight loss) and mounted on stubs and/or reinforced, later half sheep, rubbed, [Berlin Kat. 2628; Fowler 134, variant title mentioning Bologna; Millard Italian 45], folio, Parma, Paolo Monti, 1711.⁂ "The five parts of this work treat of geometry, civil architecture in general, perspective, painting, theatrical scenes and the mechanics of lifting and moving objects. As an author Ferdinand is perhaps the most important of the five members of the great Italian architectural family of Galli da Bibiena, known for their theater designs and decorations in the full baroque style". (Fowler).
Gandy (Joseph) Designs for Cottages, Cottage Farms, and other Rural Buildings; including Entrance Gates and Lodges, first edition, 43 aquatint plates printed in sepia, advertisement leaf at end of text, plates 13, 14 & 16 slightly soiled and frayed at edges (repaired), otherwise an excellent clean copy in the original printed boards, uncut, rubbed and slightly stained, rebacked and recornered, upper cover detached, [Abbey Life 18], 4to, John Harding, 1805.⁂ Extraordinarily modern-looking asymetric designs by the pupil of Sir John Soane.
Gauger (Nicolas) Fires Improved: or a New Method of Building Chimnies, so as to prevent their smoking, second edition, engraved frontispiece and 10 plates, all folding, advertisement leaf at end, some spotting to frontispiece and title, contemporary calf, rubbed, corners worn, rebacked, red morocco label, [Harris 245], for J.Senex and E.Curll, 1736 § Accum (Fredrick) A Practical Treatise on Gas-Light..., fourth edition, 7 hand-coloured engraved plates, 4 aquatint, 2 folding, 6pp. publisher's catalogue at end, frontispiece soiled and torn along fold (trimmed and laid down), some spotting, modern half calf, uncut, spine slightly faded, [cf.Abbey, Life 436, first edition], R.Ackermann, 1818 § Richardson (C.J.) A Popular Treatise on the Warming & Ventilation of Buildings..., third edition, 17 folding lithographed plates, some tinted, Ernest Augustus, Crown Prince of Hanover and Duke of Cumberland's copy with red ink stamp to title and bound in red velvet blocked in gilt with ornamental border and crown to upper cover, g.e., ivory silk moiré endpapers, spine rubbed and faded, 1856; and 2 others on chimneys and coal fires, 8vo (5)⁂ The first item is "the earliest treatise on domestic heating and the basis of all eighteenth-century books on the subject in English...Desaguliers published a translation of Gauger's book, omitting what he thought superfluous and adding his own improvements to suit the burning of coal in England". (Harris). It was first published in Paris in 1713, and first in English in 1715.
![Gibbs (James) A Book of Architecture containing Designs of Buildings and Ornaments, first edition, [one of 550 copies], list](https://cdn.globalauctionplatform.com/7cebb886-88e1-48ab-996d-af1f010038fc/eba79e23-2531-49b2-ac1e-af1f011ada53/468x382.jpg)
Gibbs (James) A Book of Architecture containing Designs of Buildings and Ornaments, first edition, [one of 550 copies], list of subscribers, 150 engraved plates by H. Hulsbergh and others after Gibbs, 4 double-page, title a little soiled and creased, paper flaw creases to plate 53, a few with pencil sketches to margins, marginal water-staining to a few plates (mainly to last couple just touching corner of final plate), slight worming to fore-margin of plates 130 to end, old ink inscription "Thomas Rasell Chichester" to front free endpaper, modern bookplate, modern half vellum, tan morocco label, [Berlin Kat 2334; Fowler 138; Harris 257; Millard British 22], folio, [William Bowyer], 1728.⁂ "The first book by a British architect consisting entirely of his own designs, executed and projected". (Harris). An enormously influential pattern book, reaching far beyond the country gentlemen at whom it was aimed, to India, South Africa, the West Indies, and America, where it was a primary source for the builders of the White House. There was also a copy in Thomas Jefferson's library.
Gibbs (James) Rules for Drawing the several Parts of Architecture, 64 engraved plates, W. Bowyer for the Author, 1732; Bibliotheca Radcliviana: or, a short Description of the Radcliffe Library at Oxford, engraved portrait of Gibbs by Baron after Hogarth (bound as frontispiece to previous work), engraved portrait of Radcliffe by Fourdrinier after Kneller and 21 plates, for the Author, 1747, together 2 works in 1 vol., first editions, extra-illustrated copy with another smaller engraved portrait of Gibbs by Baron (?Gibbs's bookplate, issued as title-page vignette to second edition of the first work) mounted on front pastedown, also bookplate of the Radcliffe library, with an additional version of the Hogarth portrait (with architectural background and octagonal frame, lightly soiled & browned) loosely inserted, and engraved plan of the library and plan of a banquet in the library on June 14 1814 both tipped into second work, washed, modern half vellum, tan morocco label, [Berlin Kat. 2334 & Fowler 139, second work only; Harris 259 & 256; Millard British 23 & 24], folio
![Goodwin (Francis) Rural Architecture [Cottage Architecture], First & Second Series & 2 supplements, together 4 parts](https://cdn.globalauctionplatform.com/7cebb886-88e1-48ab-996d-af1f010038fc/f1c2f547-2087-4deb-9ab2-af1f011a06e4/468x382.jpg)
Goodwin (Francis) Rural Architecture [Cottage Architecture], First & Second Series & 2 supplements, together 4 parts bound in 1 vol., second edition, supplements first edition, 98 aquatint plates and plans, some light spotting to plates, text a little browned, bookplate of James Hunter of Hafton, contemporary half red morocco, spine gilt, rubbed, spine slightly faded, 4to, John Weale, 1835.⁂ Originally published as Domestic Architecture in 2 volumes in 1833-34, then this second edition as Rural Architecture with supplements titled Cottage Architecture in 1835, and another "second edition" of Domestic Architecture by Bohn in 1843 (see next lot).
![Goodwin (Francis) Domestic Architecture [Cottage Architecture], First & Second Series and 2 Supplements, together 4 parts](https://cdn.globalauctionplatform.com/7cebb886-88e1-48ab-996d-af1f010038fc/0f365fda-a6c2-4bd8-9145-af1f0119d056/468x382.jpg)
Goodwin (Francis) Domestic Architecture [Cottage Architecture], First & Second Series and 2 Supplements, together 4 parts in 2 vol., "second edition", supplements first edition, half-titles, 99 aquatint plates and plans, 70 hand-coloured, bookplate of Peter Carmichael, original cloth titled "Rural Architecture" in gilt on upper covers, rubbed, spines faded, recased, [Abbey Life 20 & 21, first edition, without supplements], 4to, Henry G.Bohn, 1843-35.⁂ With many more plates hand-coloured than in the first edition of 1833-35.
Gordon (Alexander) A Treatise upon Elemental Locomotion... and prospects of Steam Carriages, second edition, 13 lithographed plates, 5 folding, with final blank, occasional spotting, C.F.Dendy Marshall's copy with his signature, A.L.s. to him from another railway historian James F.McEwan and some other ephemera loosely inserted, contemporary half calf, rebacked, new endpapers, 1832 § Proceedings of the Public Meeting...for erecting a Monument to the late James Watt, title with contemporary ink signature of Richard Davey to head and light water-staining, photograph of list of contributors tipped in at end, original boards, roan label to upper cover, spine torn, 1824 § Galloway (Elijah) History and Progress of the Steam Engine, edited by Luke Hebert, wood-engraved frontispiece, additional vignette title, illustrations, contemporary half morocco, 1836, all rubbed; and 8 others on steam engines, 8vo (11)⁂ The first is an early treatise on steam carriages, and their usage, with the engineers of the day reporting to the select committee trusted with examining the matter, and its ramifications. The high turnpike penalties dealt a lasting blow to this fledgling industry which was quickly overtaken by the spread of the railway network. Gordon states in his preface to the second edition, "I have added so largely to some parts of my work, and have made such changes in its arrangement, - advisable at this more advanced period of locomotive science.... that this edition may almost be considered a new book".
Two pairs of silver entrée dishes and coversfirst pair, Brook & Son, Sheffield 1935, second pair, Mappin & Webb, Sheffield 1926First pair, oval form with leafy bands and rim, bayonet fastening handle, second pair, rectangular with canted corners, gadroon rims, with bayonet fastening handles, the covers engraved with the crest and motto for Sir Alexander GRANT (1864-1937), length 34.5cm and 27.5cm, weight 204oz. (4)Footnotes:The second pair of entrée dishes are engraved with the crest and motto for Sir Alexander GRANT (1864-1937) who in 1924 was created Baronet Florres. In 1887 he married Elizabeth NORRIS (died 1940).Alexander was a Scottish entrepreneur but is best remembered as director of the biscuit manufacturer McVities, being responsible for creating the recipe for the digestive biscuit.For further information on this lot please visit Bonhams.com
A George III silver baby's rattle with coral teether and two othersWilliam Turton and William Walbancke, London 1790 Of traditional form, topped with an ovoid silver whistle inscribed 'S*D TO S*M' and suspension ring, the whole chased with floral and bright cut decoration, six bells suspended from the shaped body, terminating in a coral teether; another silver baby's rattle, possibly Brown and Clark, Birmingham circa 1840, similar in style to first but smaller with more intricate chasing and finer modelling, terminating in amber, and finally a silver rattle, unmarked, plain bodied silver whistle with embossed scrolling girdle featuring four hanging bells, terminating in coral. (3)Footnotes:Property of a private collector.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
A pair of George III silver sauce tureens and coversFrancis Crump, London 1771 Shaped-oval bellied form with undulating gadroon rims, raised on four shell and scroll feet and scroll handles either side, the covers with gadroon band and pomegranate and leaf handles, the covers and sides of bases engraved with crest and viscount's coronet, length handle to handle 23cm, weight 45oz.Footnotes:It is likely that this crest belongs to Stephen MOOR (1730-1790), 2nd Viscount Mount Cashell, who in 1781 was created 1st Earl Mount Cashell, both titles being in the Irish peerage. He was the second son but eldest surviving of Stephen MOOR (1696-26 Feb 1766) 1st Viscount Mount Cashell by Alicia COLVILLE. Until his succession he was the MP for Lismore in the Irish Parliament. On 3rd June 1769 he married Lady Helena RAWDON (1744-1792) second daughter of John RAWDON 1st Earl of Moira by his first wife Lady Helena PERCEVAL the daughter of the 1st Earl of Egremont.The MOOR family seats were: Moore Park, County Cork; Galgorm Castle, County Antrim; Mount Cashel Lodge, County Dublin.For further information on this lot please visit Bonhams.com
A George III silver coffee potThomas Law, Sheffield 1795Broad tapering cylindrical form, engraved with a band of foliate scrolls, engraved armorial to one side and initialled reserve to the opposite, both among ornate neo-classical engraved mantling, spread circular foot and with a wood handle, height 26cm, weight total 24.8oz.Footnotes:The paternal arms (first and fourth quarters) refer to the PERKINS family of Orton Hall, Leicestershire, as you had suggested. They inherited the manor and hall at Orton on the Hill, Leicestershire as a result of the marriage in 1710 between John PERKINS (1677-1728) and the heiress Sarah STEELE (1681-1735). The usual corresponding motto for the PERKINS armorial is TOUJOURS LOYALE (always loyal), however in your image the recorded motto is LOYAL AU MORT (loyal to death). The proximity of these mottoes suggest that your image includes a differenced version of the original motto, for the same PERKINS family. The PERKINS family ancestry before their move to Orton has not been found.We would expect that the second and third quarters include earlier maternal ancestors of which one of these is for the STEELE family. I have been able to identify the arms in the third quarter as BEALE of Surrey. However the rather unusual arms of the second quarter remain unidentified. For further information on this lot please visit Bonhams.com
A George III silver salverPaul Storr, London 1808 Circular form with gadroon rim interspersed with small anthemions, engraved arms to the centre belong to Alexander ERSKINE (1775-1855), on four shell scroll bracket feet, diameter 25.7cm, weight 26.5oz.Footnotes:The arms belong to Alexander ERSKINE (1775-1855), formerly of Bath and then Bryanston Square Middlesex who also had properties in Balthill Forfar, Longhance Aberdeenshire and Lima Jamaica, and his first wife Elizabeth JACKSON daughter of Robert JACKSON of Hampton Jamaica and earlier of Cumberland and Combhay Devon. They married in 1798 but had no issue. Alexander ERSKINE married for a second time in 1810 Elizabeth BRISSETT of Hampton Jamaica. He was the son of John ERSKINE (died 1786) of Lima Jamaica, by Elizabeth IRVINE (1747-1808) daughter of James IRVING the elder. This line of the ERSKINE family were descended as heirs from the ancient baronial family of ERSKINE of Dun near Montrose, Scotland which was confirmed in 1833 by matriculation in the Lyon Office, and it is the arms of that family that are displayed in dexter.For further information on this lot please visit Bonhams.com
TWO SILVER GEM-SET AND HARDSTONE BROOCHES, VICTORIANThe first: Of open circular form applied with thistle spray with amethyst terminals to an engraved mount set with vari-coloured agates, 50mm diameter; the other similar with thistle spray set with paste terminals, 50mm wide, both unmarked (2)For further information on this lot please visit Bonhams.com
TWO SILVER AND HARDSTONE BROOCHES, VICTORIANThe first: An engraved garter brooch enclosing a shield inlaid with banded agate and jasper forming a saltire cross, 45mm wide; the other a shield brooch inlaid with various hardstones, 54mm long, diamond registration mark for 1875, both unmarked (2)For further information on this lot please visit Bonhams.com
A PAIR OF EDWARDIAN SILVER-MOUNTED HORN SALAD SERVERSBY William Dunningham of Aberdeen, Two marks: W.D.&CO, STG., Each with chevon-engraved silver terminals and ball finials, length 33cm, together with two silver-mounted horn napkin rings by the same maker, the first with a shield engraved with a Viking longboat and motto 'Stromness per Mare', the other 'Montrose', and a silver-mounted spoon attributed to Dunningham, inscribed 'Mabel'. (5)For further information on this lot please visit Bonhams.com
A VERY RARE PROVINCIAL FIDDLE PATTERN TEASPOONBy Alexander Glenny of Stonehaven Seven Marks: A.G, S,T,O,N,H,N Engraved 'WSD', height 13.8cm, weight .47oz.Footnotes:Little is known about Alexander Glenny. He first appears in the Stonehaven census of 1841 and is recorded as a jeweller aged 35 when he was working from a shop located in the town's High Street.Findlay, in his work on Scottish silver commented that Alexander Glenny's work must be among the rarest of all 19th century provincial silversmiths. 2nd edn, p.228,Approximately five items of silver are known in total from Stonehaven, making silver produced in this town the rarest of all Scottish provincial silver.Three other teaspoons from the same set were sold in: Walley and Wallis, Salisbury, 27th January 2009, lot 352, another in Toovey's, Washington, 31st January 2012 and a third in Bonhams, Edinburgh, 15th October 2021, lot 345. Another teaspoon from a different set was sold by Lyon and Turnbull, Edinburgh, 13th February, lot 141.For further information on this lot please visit Bonhams.com
![[WATKINS (DUDLEY DEXTER)]The Broons, no. 1, illustrated throughout, first few leaves and edges slightly browned, text block](https://cdn.globalauctionplatform.com/8d78902b-1711-42b6-949d-af2b00cde630/952b33e0-2dc1-4e8b-b366-af2b00cf9ab4/468x382.jpg)
[WATKINS (DUDLEY DEXTER)]The Broons, no. 1, illustrated throughout, first few leaves and edges slightly browned, text block loose in original pictorial covers, soiled and worn with clear tape repairs to spine and adjoining cover edges, one other small repair, some loss to spine, remnants of brown paper adhered to inside covers, 4to, London, Manchester & Dundee, D.C. Thomson, [1939]Footnotes:The rare first Broons Annual. Dudley D. Watkins's cartoons were first published in March 1936 in The Sunday Post, their popularity growing to such an extent that the first Christmas Annual was printed three years later. The Broons and Oor Wullie were then published in alternate years, starting with The Broons in 1939 and continuing to the present day. Watkins was also known for his early contributions to the The Beano and The Dandy.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
![[WATKINS (DUDLEY DEXTER)]Oor Wullie, no. 1, illustrated throughout, occasional slight browning, mostly at edges, text block](https://cdn.globalauctionplatform.com/8d78902b-1711-42b6-949d-af2b00cde630/6f1a2679-5395-4c3a-9df4-af2b00cf9c92/468x382.jpg)
[WATKINS (DUDLEY DEXTER)]Oor Wullie, no. 1, illustrated throughout, occasional slight browning, mostly at edges, text block loose in original pictorial covers, slight soiling, some creasing and tears to spine, remnants of brown paper on inner covers, 4to, London, Manchester & Dundee, [1940]Footnotes:The first Oor Wullie annual.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
ELGIN – MANUSCRIPTSGroup of deeds and manuscripts pertaining to Elgin dating from the fourteenth to the eighteenth century, comprising: record of transactions between the town of Elgin and Patrick Balfour ('maister of the grammar school' and later minister of Alves and Urquhart), one page, folio (380 x 295mm.), 1566; Carta feodifirma issued by provost Robert Tulloch of Tannachie of the burgh of Forres, in favour of William [Scot] burgess of Forres, son of Thomas Scot commendator, signed by Tulloch and several others, vellum, red wax seal of the burgh of Forres depicting St. Lawrence with his griddle encased in white wax attached by vellum tag, folio (c.475 x 530mm.), 30 August 1592; document issued by Alexander Seton, Lord Fyvie (lord president of his Majesty's College of Justice and provost of the burgh of Elgin), and Mr. Alexander Douglas, minister, appointing John Mow, son of John Mow burgess of Elgin, to the office of master of music and singing at the kirk of Elgin, and granting him possession of the preceptory of ?Messinden next to the burgh of Elgin, with responsibility for the maintenance of a hospital for the poor, signed by Fyvie and others, one page, 200 x 310mm., Elgin, 1603; with a pocket book containing accounts of Colin Dunbar of Moy (mentioning names of John and Donald Campbell), notes on his family (beginning 'My faither John Dunbar was cabsman at the milny of Fores the zeir of God [...] 1656'), mentioning Robert Dunbar, sheriff of Elgin and Forress and his brother Patrick of Balnaferry, other notes on religion and business, c.30 leaves, some loose, dust-stained and creased, original vellum with remains of leather thong, 8vo (165 x 105mm.), seventeenth century/early eighteenth century; with two others including grant of admission as a freeman, burgess and Guild Brother of James Dick, formerly of Jamaica, signed by William Dunbar, 8 October 1783 (6)Footnotes:Among the signatories to these documents is Alexander Seton, first earl of Dunfermline (1556-1622), created Lord Fyvie by James VI in 1598, who became president of the court of session in 1593 and lord chancellor of Scotland in 1604. James Dick (1743-1828), here admitted as freeman burgess of Forres, a wealthy merchant lately returned from Jamaica, became a great benefactor, setting up a fund to benefit schoolteachers and schools in Aberdeenshire, Banffshire and Moray, known as the Dick Bequest.For further information on this lot please visit Bonhams.com
GEIKIE, Walter:Proof Etchings, first edition, A collection of etchings prefaced by a page of biographical text, blue paper front cover, back cover missing, 28cm high,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
SCOTT (WALTER)Autograph letter signed ('Walter Scott') to Peter Buchan ('Dear Mr Buchan'), thanking him for the '...excellent stockings... for here we can get none but what are wrought upon machines which are not half as good and comfortable as them wrought by the hands...', enclosing £1 as a subscription to his new work and advising him to take the advice of '...an old stager...', advising him to ensure he has enough subscribers and warning that he may make a loss ('...an onerous business...'), ending by wishing him well ('...I am sorry to say any thing which may appear discouraging but Mr Murray was of the same opinion... There is a fashion in books...'), 2 pages on a bifolium, watermark 'G.Wilmot 1827', dust-staining, small holes at folds repaired with tape, some water-staining, integral address panel with red wax seal, 4to (225 x 186mm.), Abbotsford, 11 November [1830]Footnotes:ADVICE FROM AN 'OLD STAGER': Peter Buchan (1790-1854) was a prolific printer and publisher working out of a small printing shop in Peterhead. An avid collector of songs and ballads collected during his walking tours of north-east Scotland, he published his Gleanings of Scotch, English, and Irish, Scarce Old Ballads in 1825. The publication brought him to the attention of Walter Scott '...who with fine condescension, referred to him as 'the hirsute poet of Peterhead'... Scott's coolness may have derived from the fact that Buchan sought to establish the north-east rather than the borders as the locus classicus of 'tradition' in Scotland...' (William Donaldson, ODNB). A further two volumes, edited by Scott's associates David Laing and Charles Kirkpatrick Sharpe were published as Ancient Ballads and Songs of the North of Scotland in 1828.Seemingly unpublished, the present letter appears to be Walter Scott's belated response to two letters from Peter Buchan ('...I have been very ungrateful in not thanking you...'), which serve to confirm the dating. Both are listed in the Millgate Union Catalogue of Walter Scott Correspondence online; the first, dated 9 October 1830, sending the present of a half-dozen pairs of lambswool stockings referred to here (NLS MS 3914) and the second follow-up letter of 8 November sending a prospectus for his work (NLS MS 3915).For further information on this lot please visit Bonhams.com
SLEEZER (JOHN)Theatrum scotiae. Containing the Prospects of their Majesties Castles and Palaces, FIRST EDITION, 32 engraved armorial head-pieces, 56 double-page engraved plates (only, of 57, lacking no. 34), some soiling and occasional stains (mostly in margins), a few small wormholes at lower edges of sheets, contemporary calf, rubbed, corners bumped, rebacked, spine with gilt tooling and red leather label [ESTC R19602], folio, London, Abell Swalle, 1693Footnotes:Provenance: 'Al. Dunlop/ London, Decr. 14. 1697/ V. Bp Nicholson's Scottish Hist. Library, p.25, 26', inscription on front free endpaper; Barnard Harman[?], signature on front paste-down.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
CAREY (DAVID)Craig Phadric, Visions of Sensibility, with Legedary Tales, and Occasional Pieces, contemporary mottled calf, joints split, 8vo, [Edinburgh], Printed for the author, 1811--[MACPHERSON (JAMES) The Poems of Ossian, 2 vol., new edition, contemporary calf, bookplate of The Laird of Altyr, 8vo, W. Strahan & T. Becket, 1773; and 3 others, BURT, Edward: Letters from a Gentleman in the North of Scotland to his friend in London, 1759; The Edinburgh Review 1810; The Records of Elgin, New Spalding 1903 (6)Footnotes:NotesThe first is a rare volume by the Arbroath-born journalist and poet David Carey(1782-1824), the title poem referring to a hill just west of Inverness.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
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
JILLI BLACKWOOD (SCOTTISH, born 1965)Millennium Kilt No. 2 PhilabegWool, cotton velvet and silk, on steel hanger61cm high, 142cm wide.Footnotes:NotesTextile designer Jilli Blackwood began the Millennium Kilt series in 1999. The first of these, Millennium Kilt No. 1, took three months to create and was exhibited at the McManus Gallery and Museum, Dundee, where it was awarded first prize. As a result of it's popularity, it was then exhibited at the Victoria & Albert Museum, London, where it garnered such interest that the museum and other companies wished to add it to their collections. Such was the sentimental value of Millennium Kilt No. 1, Blackwood declined to sell it, this demand however brought about the Millennium Kilt series of which there are now six completed pieces. The present lot, Millennium Kilt No. 2 Philabeg, is the second of Blackwood's kilts to be produced and it is the first to ever come to auction. It has been created through an intricate and painstaking process of weaving and embroidering, but also, in the artist's words, 'un-embroidering' which involves the removal of previously worked up areas, this method leaves impressions and memories on the fabric. This unique process creates a vividly colourful and highly textured and tactile surface.Jilli Blackwood's textile work can be found in important public collections including The National Museum of Scotland, the Kelvingrove Art Gallery and Museum, Aberdeen Art Gallery, and the Victoria & Albert Museum, along with numerous significant private collections.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
A FINE GLASGOW SHIPBUILDER'S SCALE MODEL OF THE CARGO SHIP 'GUJARAT'The cased model with rigged masts, derricks and deck details including anchors, winches , deck rails, companionways, deck house, lifeboats and lowered gangway, and four blade propeller, finished in black, with red below the waterline and brass fittings, in original rounded rectangular mahogany lazed library case , with engraved brass plate inscribed 'Steel single screw Motor Cargo & Emigrant ships 'GUJARAT' 'KATHIAWAR' & 'LUXMI' built for The Bank Line Ltd, Andrew Weir & Co Managers by Messrs Harland & Wolff Ltd Glasgow, Length 370'-0 Breadth 48'-0 Depth K to B 37'-0 Gross Tonnage 4148', raised on turned tapered legs, 152cm wide, 151cm deep, 42cm high (59 1/2in wide, 59in deep, 16 1/2in high) Footnotes:NotesThe SS Gujarat was the first Harland & Wolff ship to be built for Andrew Weir, delivered by the Govan Shipyard in 1923, launched 11th October and completed 20th December 1923. The Gujarat was a motor cargo-passenger ship with single-screw propulsion 6-cylinder engine built at Harland's Govan engine works along with 'Kathiawar' & 'Luxmi' in the same class. There was accommodation for 12 First Class, 20 Second Class & 400 Deck Passengers on the Indian-African Line travelling from Calcutta, Rangoon, Madras, via Colombo to Mozambique & Southern Africa. In 1957 Gujarat was sold after sailing over 1 3/4 million miles to Cathay Shipping, Singapore and renamed 'Everlife', scrapped in Hong Kong 1961.For further information on this lot please visit Bonhams.com
A rare Victorian silver and enamel vesta caseJohn Millward Banks, also stamped with flower motif, Birmingham 1900 Rounded oblong form, the front enamelled in red, white and blue, 'MAJUBA WIPED OUT', between the dates '1881' and '1900' with ring attachment, length 4.5cm.Footnotes:The battle of Majuba Hill (near Volksrust, South Africa) in 1881 was the main battle of the first Boer War and a resounding success for the Boers. On 27th February 1900 at Paardeberg, Majuba, the 2nd Battalion, Royal Canadian Regiment of Infantry helped with the first significant victory in the second South African war. This Boer defeat took place on the 19th anniversary of the Majuba disaster of 1881.For further information on this lot please visit Bonhams.com
A silver and enamel 'Punch' vesta case and a silver and enamel 'Devil' vesta caseJoseph Whitten Birmingham 1886, and John Millward Banks, Birmingham 1893The first, the Monochrome enamel lid depiction of Punch magazine, the second, the hinged lid enamelled with an image of a red devil holding a trident and with the legend, 'I am G Goulding Who the devil are you', length 3.8cm and 4.5cm. (2)For further information on this lot please visit Bonhams.com
LIN SPROULE: a unique 18 carat gold vari-coloured gold grass and reed sculptureLondon 2022, the central reed also stamped with the commemorative Platinum Jubilee mark With three reed stems, applied with red gold fluorescence's and a single grass stem with green gold seed head, one reed stem with a butterfly issuing from the side, the stems gently sway issuing from a natural stone base, with a small grass protruding, height 38cm.Footnotes:LIN SPROULEThis work follows on from her flower and grasses which have been exhibited at the Victoria and Albert Museum. In addition, Sproule's work is housed in various collections in England and New York.Five grasses are included in the Goldsmiths' Hall Collection and are illustrated in the publication Treasures of the 20th Century, exhibition catalogue, 2000. page 100.A unique Buttercup sculpture originally exhibited at Goldsmith's Hall, Gold, Power and Allure in London 2012 sold in these rooms in 2013.Lin Sproule trained in painting and drawing at Colchester School of Art, and jewellery at The Central School of Arts and Crafts and The Royal College of Art, where she received a First Class Honours and a Silver Medal.Sproule has worked in London and New York, where she exhibited at MOMA. She was at the Slade School of Art for three years as the guest student of Ron Bowen, where she studied life painting and drawing.Notable commissions include an 18 carat gold tiara for Norman Parkinson to photograph on occasion of H.R.H Princess Anne's 21st birthday, two large murals for John Aspinall's club in Curzon Street, London, as well as gold grasses, which are in the collection at Goldsmiths' Hall, London.For further information on this lot please visit Bonhams.com
ROD KELLY: a unique 18 carat gold beakerLondon 2006Hand raised and chased in low relief, circular with curved sides, the linear design features a 'Green Man' mask to the front framed with oak leaves, all below a polished rim, height 7.8cm, diameter at top 7.7cm, weight 293.8gms.Footnotes:Although he had made several pieces in gold, this was Rod Kelly's first commissioned beaker to be made in 18 carat gold.Rod Kelly, a highly regarded master silversmith and goldsmith, is one of the country's leading chasers. This beaker shows his distinctive technique of low relief chasing.ROD KELLY MA (RCA)Rod Kelly was born in Reading, Berkshire in 1956. In 1975 he went on a foundation course in art at Lancashire Polytechnic. He then trained at Birmingham School of Silversmithing and Jewellery and at the Royal College of Arts under Professor Gerald Benney, graduating in 1983.After graduating, Kelly first worked from a studio in London, then he went on and set up his workshop in Norfolk. Working almost exclusively to commission, his work can be found in many public and private collections including The Victoria and Albert Museum, No. 10 Downing Street, members of the Royal Family, The Royal Mint, De Beers, St Paul's Cathedral, The Worshipful Company of Goldsmiths, The Worshipful Company of Clothworkers, Eton College Chapel, New College Oxford, The Ashmolean Museum Oxford and the Fitzwilliam Museum Cambridge. Now based in rural Shetland, Rod Kelly specialises in making one off commissions in silver and gold.A passionate educator, he has trained many talented silversmiths and students at Bishoplands Educational Trust and now runs his own Charitable Trust, which helps train young silversmiths.In 1999, Kelly was commissioned by The Royal Mint to design a first class stamp to celebrate the Millennium. He was the designer for the obverse of the £2 coin, commemorating the 200th anniversary of Isambard Kingdom Brunel's birth. One of his latest commissions has been the design of the 2008 £5 crown to celebrate the 450th Anniversary of the Accession of Queen Elizabeth I.www.rodkellysilver.co.ukThis 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
GERALD BENNEY: a pair of silver and enamel wine coastersLondon 1985 Circular form, the upper border decorated with a black enamel band against a plain polished body, with a removable turned wooden base to the interior, diameter 13cm, weight total without wood inserts 22oz. (2)Footnotes:Benney was one of the most outstanding goldsmiths of the 20th century. With works being continuously produced for over fifty years, from private commissions to mass production. Born in Hull, Yorkshire, in 1930, Benney received many commissions from the Royal Family and was the first craftsman to hold four Royal Warrants simultaneously: from HM The Queen, Queen Elizabeth The Queen Mother, the Duke of Edinburgh and the Prince of Wales.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
A rare American silver and enamelled 108 piece 'Lap-Over-Edge' flatware serviceTiffany & Co, New York, circa 1891, stamped 'M' for Edward Moore period (1873-1891) or 'T' for Charles Tiffany period (1892-1902), incuse stamped TIFFANY & CO / STERLING / PAT. 1880 The handles acid-etched and engraved with naturalistic flowers, foliage and others with geometric aesthetic style decoration, hand embellished with polychrome champlevé enamelling, the reverse mostly plain terminating with a script initial 'T', either engraved or etched in relief Comprising:-Thirty six dessert forks decorated with buttercups, daisies, roses, ferns, leaves and various abstract geometric patterns, consisting of: - twelve Moore period, engraved initial - twelve Tiffany period, in relief initial - twelve Tiffany period, in relief initial, the reverse of these with acid-etched foliage, the fronts with differing floral and leaf designs including primroses, thistles, pansies, violets, dahlias, sweet-peas, forget-me-nots and daisiesEighteen dessert spoons designs echoing the above, consisting of:- twelve Moore period, engraved initial- six Tiffany period, in relief initialEighteen large soup / chowder spoonsTiffany period, in relief initial, fronts featuring a broad range of flowers and foliage, including poppies, holly, nasturtiums, carnations, daffodils, blue iris, tulips, lily-of-the-valley, snow drops, amongst others, length 20.5cmEighteen dessert knives with gilt blades, incuse stamped '426', designs echoing the dessert spoons and forks, consisting of:- twelve Moore period, engraved initial - five Moore period, in relief initial - one Tiffany period, in relief initial Eighteen egg spoons with gilt bowls, designs echoing the dessert spoons, forks and knives, consisting of:- eight Moore period, engraved initial - eight Moore period, in relief initial - two Tiffany period, in relief initial weight excluding knives 157 ozweight of knives 37.5 oz. (108)Footnotes:Lot ResearchFor Tiffany & Co., 'Lap Over Edge' is often regarded as the most innovative silver flatware they ever produced. This opulent and ground-breaking design incorporates Japanese style naturalistic motifs, such as flora and fauna, animals and insects, and is in the aesthetic taste. It is not merely an imitation of Japanese decoration, but an adaptation of Japanese artistry and traditional techniques. This cross-cultural hybrid approach generated originality of form, creating a new and exciting experimental approach to silverwork. Tiffany & Co. broke with the rigidity of the past to create a new artistic sensibility, which was in turn both beautiful and functional. To therefore understand why 'Lap Over Edge' is regarded with such high esteem, and why the service on offer here is so rare, it is worth summarising its creation relative to Tiffany & Co.'s history. In 1837, Tiffany & Co. was founded in New York by Charles Louis Tiffany (1812-1902) and partners, as a luxury goods business (formerly known as 'Tiffany & Young', then 'Tiffany, Young & Ellis'). Around 1848, after forming close importing ties with Europe, Tiffany began to focus on two mercantile lines – silver and precious stones, which established the foundation for their future worldwide reputation. From 1847 to 1851, Tiffany retailed silver from several New York silversmiths, which included Henry Hebbard, Gale & Hughes, Wood & Hughes, and John C. Moore amongst others, with pieces they sold always stamped with the maker's mark and also that of Tiffany ('Tiffany, Young & Ellis' at that time). The demand in silverware increased, both for household and presentation pieces, which led Charles Tiffany and his partners to the decision that it made economic sense to bring the silver-manufacturing in-house. John C. Moore was their man of choice, who happened to be one of the finest silversmiths in New York at that time, working from his silver manufactory in Prince Street. Moore was to manufacture exclusively for Tiffany, but they still retailed silverware from other makers besides Moore. Moore was only making the hollow-ware during this period, with the flatware coming from outside makers. In 1853, Charles Tiffany gained total control of the firm on the retirement of his partners Young and Ellis, with the firm officially acquiring the name 'Tiffany & Co.'.Tiffany & Co. was soon regarded as the leading silverware house in New York, but what is of note is that in 1851, soon after the arrangement with John Moore was made, John retired and handed the reins over to his twenty-four-year-old son Edward Chandler Moore (1827-1891). Trained by his father, Edward Moore was a first-rate silversmith and designer, who had the eye and emotional response of an artist. In addition, he had the people skills to manage a silver workshop, combined with an innate entrepreneurial spirit. As a man he was a quiet visionary who did not encourage the limelight, and an educator who liked others to flourish under his leadership. It therefore made sense that in 1868, given the success and size Tiffany's had grown, that Edward Moore's silver manufactory was officially incorporated into Tiffany & Co. Moore was assigned chief designer and director of the firm's silverworks, serving from 1868 until his passing in 1891. Prior to the date of incorporation with Moore, Tiffany's silver was well made but rather conservative and traditional in form, following simple classical lines. The Civil War (fought between 1861 and 1865) negatively impacted many aspects of American life (which included silver design and production) and after such a grim period in the history of the United States, the American people desired change and a sense of newness; a departure from the old. For Moore, trips to Europe and specifically the 1867 Exposition Universelle opened that creative door. After Japanese ports reopened to trade with the West in 1854, shiploads of exotic oriental merchandise began pouring into France. In 1867, to nurture new business opportunities with the West, Japan decided to hold its first formal arts and crafts exhibition at the Paris Exposition Universelle, sharing their pavilion area with China and Siam. The exhibition attracted a great deal of international interest. Attended by Moore, Tiffany & Co.'s first trade show was held at this exhibition and was a relatively modest offering by European standards. To the astonishment of the established order, Tiffany & Co. won the bronze medal, which was the first time an American company had been awarded a medal by a foreign jury. For Moore, the exposure to International Exhibitions helped open up a world outside of the narrow constraints of America and Europe, and he became fascinated by the art which existed outside of the western canon. The possibilities of the exotic 'other', specifically Japanese inspired and 'Orientalism', fuelled his creativity. However, from a business point of view, Charles Tiffany and Edward Moore were also astute enough to know that for the company to achieve financial success, they needed to expand internationally and offer silver that was artistically unique. International Exhibitions and their capacity for worldwide exposure and creative input, were the ideal marketing tool for an American company with big ambitions. Therefore, in response to what he had seen in 1867, Moore began to assemble a significant collection of non-Western art and artefacts, to both educate and inspire Tiffany's designers and craftsmen. Over the following years he acquired over 2000 objects..... 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A monumental American silver covered jugAndrew Ellicott Warner, Baltimore circa 1845, stamped A.E. WARNER in serrated rectangle, 11 with superscript 2 over horizontal line in rectangle Substantial cylindrical form, the tapering neck featuring a flared lip with rolled edge topped by an s-shaped hinged cover, surmounted by a cast and applied naturalistic strawberry finial with accompanying leaves, to the side a high mounted angular fluted handle emerging from two pairs of applied foliage and berry mounts, the whole decorated with high and low relief repoussé work and intricate chasing, featuring a variety of motifs including oriental temples, junk boats on choppy water, village scenes with traditionally dressed villagers, prunus, coconut trees, diaper work and elaborate scrolls both top and bottom, mixed foliage and flowers, juxtaposed against a textured matted ground, a vacant cartouche to the front, all on a plain circular base, height 32.5cm, diameter 13cm, weight 57.5oz.Footnotes:ProvenanceOwned by the Edmondson family of Baltimore and thence by family descent.Lot ResearchThe Metropolitan Museum in New York, Fifth Avenue, has a stylistically similar 'Milk Pot' and other comparable items by Andrew Ellicott Warner on view in the American Wing, Gallery 774. What makes this lot on offer so rare is its large size and despite thorough research, nothing resembling the capaciousness of this jug has to date been found.Andrew Ellicott Warner Sr. (1786-1870) was one of Baltimore's most celebrated silversmiths. He was a skilled craftsman and provided stiff competition for Samuel Kirk (1793-1872) during the second quarter of the nineteenth century. Warner contributed to the popularity of silver work featuring excessive repoussé ornamentation, a style that defined Baltimore silver amid that time period. In his working lifetime, Warner generated eleven different maker's marks and in addition, his son Andrew Ellicott Jr. (1813-1896) created three of his own maker's marks. Each mark's use sometimes overlapped the time span when other Warner marks were also employed, so dating items after 1830 can only ever be approximate. Baltimore tried to enforce an official assay mark system from 1814 to 1830, but instigation proved unsuccessful and implementation ceased. Hence after 1830 only the maker's name and the figures indicating silver purity were stamped on a silver item, applied by the maker rather than an official body. Regarding the Baltimore usage of the '11' standard mark, 'numerical quality marks first appear after the passage of the 1830 Assay Law ... The new law required silver that was not assayed to be marked with a numeral which indicated the amount of silver contained per troy pound of twelve ounces. Thus, the numerical quality mark '11' refers to the Old Baltimore assay standard alloy composed of 11 ounces of pure silver to 1 ounce of base metal'. Under Baltimore Statutes and Ordinances in February 1830, the standard mark '11' indicates that the item has to have a minimum fineness of 91.7% pure silver content. These marks can be seen on the Baltimore silver entered into the current auction.Andrew Ellicott Warner Sr. (1786-1870) was the second son of Cuthbert Warner and Ann Smith, and was born in Harford County, Maryland on November 27, 1786. He learned his trade from his father, a watch maker and silversmith, who had moved to Maryland at the close of the Revolution, and then on to Baltimore in circa 1798. In 1805, Andrew E. Warner formed a partnership with his eldest brother Thomas Warner, opening a silversmith shop at 5 North Gay Street. This partnership was dissolved in 1812, the same year Warner married Dorothy Litsinger of Baltimore, with whom he had several children. He also participated in the War of 1812, commissioned as a captain in the Maryland Militia, and consequently took part in the Battle of North Point in 1814. From 1812, 'Andy' Warner, as he was known, had his working premises located at his former shop at 5 North Gay Street, working continuously there at his forge and anvil until his death in 1870. His son, Andrew E. Warner Jr. carried on his father's profession, moving the shop to 135 West Baltimore Street until his retirement in 1893.If you were a prestigious family in Baltimore during the nineteenth century, it would have been a symbol of status to purchase your silver (an indicator of wealth and class) from the two pre-eminent silversmiths of the day - either Andrew E. Warner Sr. or his rival Samuel Kirk. The Edmondson family of Baltimore were one such family, and it is their collection of silver which is on offer today. The Baltimore silver items listed, from Lot 206 to 211, were commissioned by the Edmondson's in Baltimore in the nineteenth century, and have been handed down by descent to the current owner.The original purchaser was Dr Thomas Edmondson, who was born in 1808 as the son of a prosperous local merchant, graduating in medicine from the University of Maryland in 1834. He never practiced medicine, but instead focussed on art and horticulture, building a grand mansion and greenhouses on a hill now bounded by Edmondson Avenue, Harlem, Fulton and Mount. Dr Edmondson died in 1856 and his estate presented a section of the property to the City of Baltimore on November 11th 1867, as a gift for the creation of a public park or square. 'Harlem Park' was dedicated in 1876, and still exists in modern-day Baltimore as a testament to the Edmondson family.LiteratureJennifer Faulds Goldborough, Martha Gandy Fales and Patrick M. Duggan, 'A. E. Warner Gold and Silversmiths', accessed via www.nutmeggraters.com, Investigation Profile #7Jennifer Faulds Goldborough, 'Silver in Maryland Catalogue and exhibition Paperback', 1983J. Hall Pleasants and Howard Sill, 'Maryland Silversmiths 1715-1830', originally published 1930, (New York: Robert Allan Green reprint, 1972), pp.193-200Eli Pousson, 'Harlem Park', Explore Baltimore Heritage, accessed via https://explore.baltimoreheritage.orgFor further information on this lot please visit Bonhams.com
An American three-piece silver tea serviceAndrew Ellicott Warner, Baltimore circa 1840, stamped A.E.WARNER in serrated rectangle and 11 in small rectangle All tapering octagonal form, comprising a teapot on spirit stand, with a flush hinged domed cover topped by a compressed baluster finial, a leaf-capped S-shape handle with mahogany insulators, an octagonal tapering spout with tongue-capped opening, on a moulded collet foot which sits securely on an octagonal raised spirit stand on four leaf bracket feet, in addition a matching jug and large bowl, all plain polished with delicate chasing top and bottom, featuring scrolls, floral and foliate decoration to each panel, an inscribed armorial for the 'GOUGH' family on each, height teapot 19cm, weight 76oz. (3)Footnotes:Provenance Acquired by the Edmondson family of Baltimore and thence by family descent.FootnoteThe crest appears to be that of the GOUGH family and the family is identified in many indexes as of Ireland and Somerset. However Burkes General Armory leads to an identification for the GOUGH family of Oldfallings and Perry Hall, Staffordshire.Blazon of the crest: a boars head couped, pierced by a spearHarry Dorsey Gough (1745-1808) was a prominent 18th-century merchant, planter, and patron of the fledgling Methodist Church in Baltimore Maryland, in the early United States.Harry's father was the English merchant Thomas Gough, who emigrated to the United States prior to the outbreak of its Revolution against Britain. As his new home was near Patapsco Ferry and his new wife had extensive holdings in the colonies, Thomas would later side with the revolutionaries against the Crown. Thomas had already married the American Sophia Dorsey, who bore him Harry on January 28, 1745, in Annapolis.In addition to his father's wealth, Harry inherited £70,000 at a young age and became a successful merchant. The money came from his English half-brother John William Gough (1729–1767), by Thomas Gough's first wife Ann Brooksby. John's year-old son was subsequently brought to America and raised in Maryland. Confusingly, this nephew was also named Harry Dorsey Gough (1766–1807) and his son (1793–1867) would later also bear the same name.The eldest Harry Dorsey Gough's estate eventually comprised 2,000 acres (810 ha) along the Great Gunpowder River northeast of Baltimore. Much of this was Corbin Lee's 1,000-acre (400 ha) plantation The Adventure, which Gough purchased for £5,000 in 1774 from Archibald Buchanan after Corbin's death in 1773. He renamed it Perry Hall in honour of his family's ancestral home in Staffordshire and completed construction of its 16-room manor in 1776. Many years later, modern Baltimore's Bel Air Road (U.S. Route 1) was known as 'Gough's Road' or 'Perry Hall Road'.For further information on this lot please visit Bonhams.com
A George III Irish provincial silver basting spoonWilliam Ward, Limerick, circa 1800, struck with maker's mark W.W and STERLINGPointed end with engraved crest with motto 'PRO REGE LEGE CREGE' of Henry Peter BROUGHAM (1778-1868), length 32.7cm, weight 3oz.Footnotes:Property of a private collector.This is the crest of Henry Peter BROUGHAM (1778-1868), later in 1830 and again in 1860 created Baron Brougham and Vaux of Westmoreland. He was born Edinburgh the son of Henry BROUGHAM (1742-1810) a landowner of Brougham Hall and Scottish lawyer of 21 St Andrew Square, Edinburgh, by Eleanor SYME. He was educated in Edinburgh and served as a Scottish Advocate before becoming a Whig MP: Camelford (1810-1812), Winchelsea (1816-1830), Knaresborough (1830). In the period 1830-1834 he acted as Lord Chancellor during which time he promoted in 1832 The Reform Act and in 1833 the Slavery Abolition Act. Later he returned to his life in Edinburgh as a Scottish Advocate. Notably his motto, with his crest, is derived from the motto for the Burgh of Edinburgh. Henry Peter BROUGHAM married Mary SPALDING (died 1865) and had two daughters. On his death the first barony became extinct and the second passed to his nephew by special remainder.For further information on this lot please visit Bonhams.com
Two George III silver 'hen and chicks' picture-back teaspoonsEbenezer Coker, London, circa 1760 and Thomas Evans, London, circa 1775, both with maker's marks and lion passant onlyDie-struck, the first with a hen and four chicks in a farm surround, initialled 'E*T' to back of stem, the second with a hen and five chicks, initialled 'M.B' to back of stem. (2)Footnotes:Property of a private collector.For further information on this lot please visit Bonhams.com
Three George III silver 'squirrel' picture-back teaspoonsLondon, varying makers, each with maker's marks and lion passant only, George Greenhill Jones, circa 1760, William Pinder, circa 1770, and Thomas Deltry, circa, 1770Die-struck, the first two with a squirrel perched on a leafy stump, the third with a squirrel on a stump within a wreath of oak leaves and acorns, this one initialled to back of stem. (3)Footnotes:Property of a private collector.For further information on this lot please visit Bonhams.com
A George II silver cup and coverWilliam Grundy, London 1747 Cylindrical with baluster form cover chased with fruiting vines and entwined vine finial, the rim with ribbon and flower head motifs, the sides with caryatid scroll handles capped respectively with a male and female faun, with fur bodies and hoof feet, trailing vines below, finely cast and chased detailed with 'lion pelt' among vines, rococo scroll cartouches above an applied girdle, the lower body with a band of scrolls and foliate festoons, the pedestal with twist-flutes on a spreading circular foot with further fruiting vine band, the cartouches with later engraved crests, height 40.5cm, weight 115oz.Footnotes:The arms and crest are assumed and unrecorded and are used by the HUGHES family of East Bergholt, Suffolk. They are recorded in the index: Armorial Families (1895) 'as used but for which no authority has been established in the College of Arms'. The family could have been using the arms and crest from any date but 1895 was the first recorded use. In 1773 the family were created Baronets and in 1895, when the first record appears, the holder was Sir Alfred HUGHES (1825-1898) 9th Baronet who married Maria SMITH daughter of Col. John SMITH of Ellingham Hall, Norfolk.For further information on this lot please visit Bonhams.com
A George III silver Old English pattern feather edge soup ladle and an Old English pattern bright-engraved basting spoonHester Bateman, London 1777 and 1783 The first bottom marked, both crested, length 33cm and 29.5cm, weight 8.9oz. (2)For further information on this lot please visit Bonhams.com
A large Chinese Export silver presentation tray in caseWang Hing, Hong Kong circa 1900, stamped WH, character mark and 90 Of rectangular form, the centre engraved with chrysanthemums and foliage against a hammered ground, the central oblong cartouche inscribed 'Presented to Alfred Holland Skelton Esquire by the incoming partners of Lane, Crawford & Company, Hong Kong on his retirement from the firm. February 1919', the raised rim heavily embossed in high and low relief with chrysanthemums and scrolling leaf motifs, all on four cast bracket feet, within a bespoke velvet-lined wooden case, length 53.5cm, diameter 38.5cm, weight 78oz.Footnotes:ProvenancePresented to Alfred Holland Skelton (British, 1862-1930) and thence by descent to the present owner.FootnoteAlfred Holland Skelton (British, 1862-1930) was born in 1862 in Hackney, London. In 1889, as an enterprising and ambitious young man, Alfred replied to an advert in the Telegraph for employment in Hong Kong. It was for the Assistant Manager position in one of Hong Kong's oldest and most successful firms; Lane Crawford - a prestigious department store retailing designer label luxury goods (much like Harrods in London).Lane Crawford was founded in August 1850 by two Scots, Thomas Ash Lane and Ninian Crawford, who opened a shop in a makeshift bamboo structure on the waterfront of what is now Des Voeux Road. Since that time, Lane Crawford has occupied a number of prime retail sites along Des Voeux Road and Queen's Road Central. In the early 1900s, it also had stores in Guangzhou and Shanghai in China, and Kobe and Tokyo in Japan. It has been a tailor, and outfitter, a draper, a provisions dealer, a wine and spirits merchant, an auctioneer of antiques, a baker, a restaurant, and a bar. In 1899 the company slogan was 'The Place to Buy Anything from a Pin to an Anchor' to 1926, 'Whatever You Need, Get It at Lane Crawford's.'David Robert Crawford, Ninian Crawford's brother, became a partner in the firm and ran Lane Crawford's successful Hong Kong operation. On 15th February 1889, he travelled especially from Hong Kong to London to interview Alfred. Alfred Skelton clearly impressed him and a letter of employment swiftly followed, dated 27th February. In that letter were clear instructions that Alfred should depart for Hong Kong on the SS Caledonia ocean liner, leaving Marseilles on 10th March 1889. It was to prove an inspired move, and Alfred rapidly climbed up the Lane Crawford ranks, being appointed a director alongside David Crawford a few years later. When Alfred first travelled to Hong Kong, it appears from official correspondence and a presentation cup awarded to him (one of the lot's on offer), that alongside his Assistant Manager role he also volunteered as a Sergeant in the Hong Kong Volunteer Corps. Interestingly, he was in one of the earliest known Machine Gun Company's, in squadron 'A'. In April 1900, after four years serving in the Hong Kong Volunteer Corps, he resigned his post due to ill health, but was thanked personally for his good service by the Commandant (letter dated 2nd April 1900).In 1906 Alfred married Wilhelmina Johanna Mathilda Van Oppen, who was Dutch, and they bore two children, one of them being Alfred Purcell Skelton (the father of the current owner of this collection of Chinese Export silver). The whole family lived in some luxury in Hong Kong, residing in an upmarket area called The Peak for many years. In February 1919, Alfred Holland Skelton retired from Lane Crawford, and was formally presented with the inscribed Wang Hing tray on offer here. Alfred and his wife left Hong Kong and moved back to England, living comfortably by the sea in Bournemouth. It is here that Alfred died, on 18th May 1930.The collection of Wang Hing and Chinese Export silver on offer (Lot 347 to 355) was presented to Alfred Holland Skelton during his time in Hong Kong, and has been passed down by descent to the current owner. This is the first time the collection has been offered on the open market.For further information on this lot please visit Bonhams.com
A Chinese Export silver presentation gobletWang Hing, Hong Kong circa 1890, stamped WH and 90 Of traditional form, the body elaborately embossed with panels of prunus, dragons, Chinese characters, bamboo and chrysanthemums, against a fretwork ground, the round cartouche to the front inscribed 'H K V / M.G.Co. / 500 yards WON BY Sergt. A.H.Skelton', on a tapering stem with fluted knop, the domed circular foot embossed with prunus against a matted ground, height 18cm, diameter 9.5cm, weight 8oz.Footnotes:ProvenancePresented to Alfred Holland Skelton (British, 1862-1930) and thence by descent to the present owner.FootnoteThe front is inscribed 'H K V / M.G.Co. / 500 yards WON BY Sergt. A. H. Skelton'. This is highly unusual as it signifies the fact that Alfred Holland Skelton (1862-1930) was in the 'Hong Kong Volunteer Corps' during his time working for Lane Crawford in Hong Kong, and was a volunteer Sergeant in 'A' Machine Gun Company, from 25th October 1896 to 1st April 1900. This 'Machine Gun Company' had to be one of the earliest created, given the Maxim machine gun (the first fully automatic machine gun) was only developed by engineer and inventor Hiram Maxim in circa 1884. In April 1900, after four years in the Hong Kong Volunteer Corps, Alfred Skelton resigned his post due to ill health, but was thanked personally for his good service by the Commandant (letter dated 2nd April, 1900).For the biography on Alfred Holland Skelton, please read the Footnote for Lot 347.For further information on this lot please visit Bonhams.com
A Chinese silver beakerthe first two characters reads 天津 (Tianjin), following 物華 (Wu Hua), circa 1900 Tapering sides, with a central ribbed band and chased with four lozenge shaped panels, narrow bands above and below with engraved bamboo, on a collet foot, height 6cm, diameter 6.5cm, weight 2.7oz.Footnotes:Property of a private collector.For further information on this lot please visit Bonhams.com
A pair of silver figural candlesticksmaker's mark rubbed, with French first standard mark for Paris 1819 - 1838Modelled as a Carib Indian girl kneeling with her arms aloft supporting short spiral fluted column and nozzle, on a pedestal and spreading square base on paw supports, height 23cm, weight 22.3oz.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Two Mexican 17th century silver altarpiece panelsunknown maker 'HNA' or 'RNA', Mexico circa 1620 The two silver panels intricately embossed in high and low relief with key Biblical scenes, the first featuring the Virgin Mary and Baby Jesus, surrounded by the three Wise Men and other attendants, in front of a classical temple, with a shooting star in the background, the second scene features Jesus after he has been taken down from the Cross, his followers around him in mourning, three crucifixes in the background, the whole later mounted in a divided wooden frame, height each panel 20cm.Footnotes:LiteratureThe Mexican hallmarks can be located in:-A Fernandez et al, 'Marcas de la Plata', (Madrid: Antiqvaria S.A., 1992), p.334Exhibition catalogue, organised by Fundacion Cajamurcia, Centro Cultural Las Claras, 'Plateria Antigua Espanola Y Virreinal Americana (Siglos XV-XIX)', 7th March to 28th April, published by Industrias Graficas Sanmar, 2019, p.336For further information on this lot please visit Bonhams.com
Three George III silver mugsfirst two, of baluster form with leaf-capped scroll handle, maker's mark W.B, London 1785, front initialled, height 12.6cm, second, John Payne, London 1774, height 12.3cm, third, Edward Mayfield or Elizabeth Morley, London 1805, slightly tapering form with two ribbed bands, engraved initial and crest, height 10.8cm, weight 30.5oz. (3)For further information on this lot please visit Bonhams.com
Two silver salversShaped-circular, first Charles Reily & George Storer, London 1844, scroll rim, centre engraved with acanthus scrolls, on four bracket feet, diameter 26.4cm, the second, Boardman, Glossop & Co, Sheffield 1921, scroll rim, centre engraved with a vacant shield reserve, on three claw and ball feet, diameter 32cm, weight 50oz. (2)For further information on this lot please visit Bonhams.com
A pair of Edwardian silver candlesticks and a pair of silver dwarf candlesticksfirst pair J Sherwood & Sons, Birmingham 1906, second pair Harrison Bros & Howson, Sheffield 1908Corinthian column on spreading square bases, with flutes and bead rims, loaded bases, height 25.2cm, the second pair with slender tapering octagonal columns, with fluted panels, loaded bases, height 19.1cm. (4)For further information on this lot please visit Bonhams.com
Two George III silver tankardsPeter and Ann Bateman, London 1795 and Benjamin Bickerton, London 1761 Both of traditional baluster form, with later decoration, with leaf-capped double scroll handle on a spreading circular foot, the first later embossed in high and low relief with a hunting scene featuring two hounds and pheasants in a woodland landscape, the whole overhung with trees forming a cartouche bearing an inscribed armorial and the motto 'TIMERE SPERNO', and a gilt interior, the other tankard later embossed with a pastoral landscape roaming with sheep and surrounded by trees, inscribed with the same armorial as the first, height 13cm, weight total 21.5oz. (2)For further information on this lot please visit Bonhams.com
Two George III silver teapotsthe first Hester Bateman, London 1783, the second Rebecca Emes & Edward Barnard, London 1817The first, oval form with bead rims, side initialled, wood handle, length 25cm, the second, cape style collar with gadroon rim, circular form, wood handle, weight total 34.5oz. (2)For further information on this lot please visit Bonhams.com
A matched Dresden porcelain part service, first half 20th century, painted and printed with floral sprays beneath gilt rims, comprising sugar bowl, four teacups and three saucers, two coffee cans and five saucers, and two larger saucers.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A blue printed Durham Ox rectangular meat platter, first half 19th century, decorated with the bull standing beside his owner, John Day, from the print by J. Whessell after the painting by John Boultbee, the rim with flowerheads and foliate scrollwork, unmarked, length 51cm (minor faults).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A pair of Royal Doulton Kingsware Dewar's Scotch Whisky flasks or jugs, the first depicting Ben Jonson (sic), the second the Jovial Monk, height 20.5cm, each with a matched Black Forest carved bear stopper (minor faults), together with a Coachman figure.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Two First World War commemorative character jugs, the first modelled as Kitchener, the second as Jellicoe, heights 16cm and 17cm, together with a Dutch Delft plate (minor faults).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
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