An Edwardian large painted wooden town dolls' house by W R Stark exhibited in the Children's Welfare Exhibition circa 1913, of two bays and three storeys, a French door to each bay, five working sash windows, stucco panels, grey tiled roof with three dormer windows, guttering with down pipe, Widow's Walk with twisted wire railings, flag pole and stairwell entrance, two large chimneys at the back, front opening in the middle two reveal six rooms with wood and metal fireplaces, the two ground floor rooms with wooden floors, skirting, picture rail and cornice, the other rooms with linoleum type floors, the first floor rooms with skirting and cornice, the top floor kitchen with range, wood panelling to dado and detailed bathroom with bath, toilet with pull cistern, sink on brackets and painted tiles, detachable front garden with working fountain and five pieces of original plywood furniture --72½in. (84cm.) high including flag pole x 39in. (99cm.) wide x 29½in. (75cm.) deep including garden (exterior repainted cream, original a textured stone colour (see chimneys) and slight damage) - sold with letters and photographs related to the Children's Welfare Exhibition in London circa 1913, the director of the exhibition Nevile Foster communicating with W.R. Stark about his house in 1912, three original photographs of the house, one showing lost contents; this house then was displayed at the Toy and Teddy Bear Museum, St Annes, Lancashire; before being sold by Capes Dunn in 2017
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A very large Gottschalk blue roof dolls' house circa 1907, with gabled roof, brick paper covered, the front door to right side with porch and balcony above, steps, two rooms in roof opening at windows and dormer window, five windows and a first floor door with balcony to front, opening in two parts to reveal four rooms, staircase leading to ornate wooden partition on first floor, downstairs water closet under stairs, two internal doors, two rear windows and original interior papers, 4 4255 pencil numbers to underside --40½in. (103cm.) wide x 41in. (104cm.) high x 25in. (63.5cm.) deep (exterior woodwork repainted and front first floor brickwork retouched)
A mid 19th century peep show box, the paper-covered wooden rectangular box with separate periscopic viewer inserted on top, a printed picture of four children sharing cherries on the front and slide up rear door, just two layers, the first a hand-coloured printed frame the centre with two winged figures holding a British Royal coat of arms laid on a piece of glass, the second layer a changeable view comprising people picnicking in a landscape, Granada, Der Hafen von Makao (Macau China), London with a paddle steamer, Kreuznach (German spa town), Lake Constance and Bodensee and three views of a European city with forking river, possibly Lyon --19½in. (50cm.) high (view rebacked and some damage to edges)
The Thompson Wine Glass: a highly important Beilby enamelled crested wine glass, circa 1769The ogee bowl with a slightly deceptive base, painted with the crest of the Thompson family in purple, white and yellow, an arm in armour embowed quarterly or and azure, holding in the gauntlet proper a broken lance of the first, on a ribbon wreath supported by a scrollwork bracket and flanked by foliage in opaque white, the reverse with a branch of fruiting vine, faint traces of gilding to the rim edge, on a double-series opaque twist stem containing a multi-ply corkscrew within two pairs eight-ply spiral bands, over a conical foot, 15cm highFootnotes:ProvenancePeter Lazarus CollectionSotheby's, 21 November 2006, lot 68Chris Crabtree Collection, Bonhams, 19 May 2010, lot 46Darell Thompson-Schwab CollectionLiteratureJames Rush, A Beilby Odyssey (1987), p.131, no.94ExhibitedBristol Museum and Art GalleryL'Association Internationale pour l'Histoire du Verre Exhibition, Ashmolean Museum, Oxford, 1979, no.44The Decorated Glasses of William and Mary Beilby, Laing Art Gallery, Newcastle-upon-Tyne, 1980, no.68The crest on this exceptional glass has been previously attributed to Stephen Thompson (1699-1763) of Kirby Hall in Little Ouseburn, North Yorkshire. However, he died without issue in 1763 and this perhaps just predates this glass. Upon his death title passed to his brother John Thompson (1701-1773). John's eldest son and heir Henry Thompson (1743-1814) married Mary Spence (1750-1843) on 30 January 1769 and it is likely that this glass was commissioned from the Beilby workshop to celebrate the occasion. To the wealthy, titled Thompson family Mary brought her own considerable inheritance as the only child of Thomas Spence of Harts Hall, Suffolk. Indeed, it is now known that Beilby glasses such as this were commissioned to celebrate marriages, with the most notable perhaps being the set of armorial Marriage Glasses made for the marriage of Jane and Crosier Surtees in September 1769, sold by Bonhams on 23 June 2021, lots 9-12.Whilst other Beilby crested and armorial wine glasses are known to have been made in sets, the present glass would appear to be the only example recorded bearing the Thompson crest. A portrait of Mary as Rachel at the Well by the American artist Benjamin West hangs in the Chrysler Museum of Art (inv. no.71.720). Interestingly, Henry Thompson's great-granduncle was Jonas Thompson (1608-1648) of Killerby in Yorkshire, who had married Frances Beilby (born about 1610) of Killerby and Micklethwaite Grange, Collingham, in 1629. The Beilbys of Newcastle-upon-Tyne were directly descended from the Micklethwaite Grange branch of the Beilby family, Francis being the great-grandaunt of the renowned enameller William Beilby. A related armorial goblet bearing the arms of Beilby Thompson (1742-1799) of Micklethwaite Grange was sold by Bonhams on 16 December 2009, lot 58.For further information on this lot please visit Bonhams.com
A rare enamelled Masonic tumbler attributed to Beilby, dated 1779The tapering bucket form with a solid base, one side inscribed 'I*M 1779' in opaque white, within an elaborate scrollwork and floral cartouche, the other side with the Square and Compasses enclosing the letter 'G' in yellow, red and white, the sides with foliate sprigs, 9.5cm highFootnotes:ProvenanceDarell Thompson-Schwab CollectionA tumbler of similar size and form inscribed and dated 'M*BELL 1778' in Corning Museum of Glass (inv. no.79.2.71) may be one of the latest datable pieces of glass from the Beilby workshop, see Simon Cottle, 'William Beilby and the Art of Glass', The Glass Circle Journal, Vol.9 (2001), p.34. William Beilby is known to have still been living in Newcastle in 1778 and we know for certain that he had moved to London by 1779, together with his sister Mary, see James Rush, The Ingenious Beilbys (1973), pp.119 and 122 and Cottle (2001), p.35. No further glass appears to have been decorated by the family after this. The present tumbler bears similarities to several Masonic tumblers decorated in the Beilby workshop in a similar style and palette a decade or so earlier, see the previous lot in this sale, raising the possibility that it may be by a Beilby hand. If William Beilby made the move to London early in 1779, when he is first recorded in Battersea, this may therefore represent the latest dated piece of glass attributable Beilby workshop.For further information on this lot please visit Bonhams.com
A massive ceremonial rummer, first half 19th centuryThe generous bucket bowl engraved with the arms of the Independent Order of Odd Fellows, the shield containing three human heads beneath the motto 'UPON MY HONOR', the crest a 'heart in hand', supported by a winged figure of Old Father Time holding a scythe and Bacchus holding a grapevine, a banner below inscribed 'QUI RIDES' (Why do you Laugh), the reverse with a rectangular panel depicting a recumbent stag, probably a reference to the Society of Bucks, an affiliated society, surmounted by the sign of a bell and flanked by the initials 'J K' and sprays of fruiting vine, on a short knopped stem and heavy circular foot, 23.4cm highFootnotes:In Georgian times, the Order of Odd Fellows was very much associated with Jovial evenings at the Lodge, when a generous glass such as this would have been used, accompanied by a favourite song... When Friendship, Love and Truth abound,Among a Band of Brothers,The cup of joy goes gaily round,Each shares the bliss of others.Then let us be social, be generous, be kind,And let each take his glass and be mellow,Then we'll join heart and hand, leave dissensions behind,And we'll each prove a hearty Odd Fellow.For further information on this lot please visit Bonhams.com
A Clichy faceted patterned millefiori paperweight and a miniature flat bouquet weight, circa 1850The first with two rows of pink and blue canes around a central oversized green pastry mould cane, within an outer row of white canes incorporating six oversized pink and green 'Clichy Roses', cut with a top window and six side printies, 6.4cm diam, 4.1cm high, the other with a central posy or nosegay set with three colourful pastry mould canes as flowers on a stem with five leaves, cut with a small top window and two rows of eight side printies, 5.1cm diam, 3.5cm high (2)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
A rare and early baluster goblet, perhaps Liège, late 17th centuryIn soda glass, the generous round funnel bowl heavily moulded with 'nipt diamond waies' at the base, the unusual multi-knopped stem moulded with fine flutes or ribs, with an upper hollow shoulder knop set between double collars above a wide cushion knop and hollow baluster also set on double collars, over a short plain section and conical foot nearly folded at the rim, 25.1cm highFootnotes:ProvenancePrivate British CollectionThe technique of 'nipt diamond waies' originated in Venice and was popular in northern Europe, particularly the Netherlands, in the 17th century. The term was first used in 1677 by George Ravenscroft who used the technique to decorate early English vessels of lead glass. The ribbed stem formation is most unusual and there do not appear to be any parallels recorded in the literature. A late 17th century table bell in the form of a double wine glass with 'nipt diamond waies decoration, attributed to Liège and now in the Grand Curtius Museum, is illustrated by Joseph Philippe, Glass History and Art (1982), p.88, fig.125 and may be of related manufacture. For a late 17th century English armorial baluster goblet of comparable form but in lead glass, perhaps a product of the Savoy Glasshouse at the end of the Hawley Bishopp period, see that sold by Bonhams on 21 November 2014, lot 81.For further information on this lot please visit Bonhams.com
Two Staffordshire 'Martha Gunn' Toby Jugs, circa 1810-20Modelled seated and holding a foaming jug and a cup, their black hats worn over white mob caps, one wearing a purple dress trimmed with a light blue collar, the other with a sprigged dress, purple collar and yellow apron, 22.8cm high (2)Footnotes:ProvenanceJames and Timmey Challenger Collection, ChicagoMartha Gunn was the most famous of the Brighton 'dippers', responsible for assisting the bathers on Brighton beach. Her notoriety was due to her reported friendship with the Prince of Wales who first visited the town in 1783.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 Battersea enamel plaques of George II, circa 1754-55Of upright oval form, printed in brown with a profile portrait of King George II portrayed as a classical hero, his flowing locks crowned by a laurel wreath, inscribed 'Georgius II Rex', engraved by Ravenet after John Sigismund Tanner, one with a tooled gilt metal frame, 10.7cm high including frame, the other in a plain metal frame, 9.2cm high including frame (2)Footnotes:ProvenanceWith Simon Spero, June 1981E and J Handley Collection, illustrated 18th Century English Transfer-Printed Porcelain and Enamels (1991), p.256 (first plaque only)Bunny and Paul Davies CollectionFor further information on this lot please visit Bonhams.com
Henry Pierce Bone (British, 1779-1855)A portrait miniature of the poet and playwright, James Thomson (1700-1748). Enamel, signed on the counter enamel and dated, James Thomson./ London. June 1834. Painted by Henry/ Pierce Bone. Enamel Painter to her Majesty and/ their Royal Highnesses the Duchess of Kent and/ Princess Victoria. After the Original by Aikman/ in the Collection of Lord Lyttelton, Hagley,/ Worcestershire., gilded composition frame with floral and foliate detail. Oval, 152mm (6in) highFootnotes:The original oil portrait by William Aikman (1682-1731) was exhibited in the Art Treasures Exhibition at the British Portrait Gallery in Manchester in 1857 (cat. 278, loaned by Lord Lyttelton). Of all the most famous 18th century landscapes, George Lyttelton's Park at Hagley was celebrated in its day by some of the era's most enlightened minds and James Thomson's first visit inspired his poem, 'The Seasons'. Lyttelton was a patron of Thomson, who is also best known for his poem, 'The Castle of Indolence', and for the lyrics of 'Rule, Britannia!'.For further information on this lot please visit Bonhams.com
A Lund's Bristol or early Worcester high-footed sauceboat, circa 1751-52Of generous size with a pronounced lip and undulating rim, the handle with a leaf-moulded thumbrest picked out in green, the body embossed with cornucopias of flowers and fruit forming festoons hung from ribbon bows, a shell motif and a curious fish, the relief moulding picked out in enamel colours, further drapery festoons embossed and painted around the pedestal foot, the interior painted with flowering plants around the border and within the base, the rim edged with a brown line, 22cm longFootnotes:Much has been written about an important group of sauceboats made both in Bristol and in Worcester during the first year or two of the factory's production. Some examples are marked 'Bristol' in relief and these correspond to the items described by Dr Pococke when he visited Lund's Bristol factory and noted 'beautiful white sauceboats adorned with reliefs of festoons' selling for 16 shillings a pair. Sauceboats moulded with bows and floral garlands occur with two very different handle forms. A few have remained 'in the white', although most have the moulded decoration picked out in enamel colours. It is difficult to determine where the enamelling was carried out. Some are believed to have been manufactured at Bristol with the enamelling added slightly later, perhaps at Worcester or in London. Others may have been made and decorated at Worcester using moulds brought up the River Severn from Bristol. Most recently Ray Jones has attempted a classification of different Lund's Bristol and early Worcester sauceboat types in his book, The Origins of Worcester Porcelain (2018), pp.376-8. He observes that none of the festooned boats with the present handle form are known with an embossed Bristol mark. An example very similar to the present lot was in the R David Butti Collection, sold by Bonhams on 10 May 2006, lot 1. This is illustrated by Nicholas Panes, British Porcelain Sauceboats (2009), fig.174 where the author suggests this is London decoration on Lund's Bristol porcelain. Another on loan to Bristol Museum and Art Gallery is illustrated by Simon Spero, The A J Smith Collection (2006), fig.44 with an attribution to very early Worcester. Other similar sauceboats are in the Klepser Collection, the H Rissik Marshall Collection and in the Museum of Royal Worcester.For further information on this lot please visit Bonhams.com
A Chelsea serving dish or platter, circa 1755Of 'Warren Hastings' type, the rococo style scrolling border finely painted with four landscape vignettes with figures amongst towers, buildings and ruins, within scroll moulded panels outlined in puce and flanked by diaper pattern sections, the centre with a bouquet of flowers, scattered sprigs and damsel flies, all within a brown line rim, 33.3cm wide, red anchor markFootnotes:ProvenancePhillips, 15 December 1999, lot 61Sir Warren Hastings and the Chelsea porcelain service bearing his name are discussed by Rosalie Sharp, Ceramics Ethics and Scandal (2002), pp.246-7. The 1755 Chelsea sale catalogue, 1st day, lot 66 comprised 'One oval Dish first size, 2 ditto second size, and 2 ditto 4th size, fine pattern, enamelled with landskips wrought and figures'.For further information on this lot please visit Bonhams.com
A fine pair of William Cookworthy, Plymouth figures, circa 1768-70Of a lady and gentleman gardener, both figures smartly dressed with aprons over their work clothes and each holding a basket, his full of cherries, hers with flowers picked from the elaborate bocage which forms an arbour behind her, their rococo bases with shell and scroll moulding and further applied flowers, 27cm and 28cm high, male figure impressed TO on the reverse for the modeller John Toulouse (2)Footnotes:A pair of the same models in white porcelain, but somewhat misfired, is in the Victoria and Albert Museum and these are discussed by J V G Mallett, Cookworthy's first Bristol factory of 1765, ECC Trans, Vol.9, Pt.2 (1974), pl.118. Part of the Schreiber collection, it is possible that Lady Charlotte Schreiber acquired them directly from descendants of Cookworthy himself. Another pair, also in white is illustrated by William King, English Porcelain Figures of the Eighteenth Century (1925), fig.63. A pair of coloured examples is illustrated by F Severne Mackenna, Cookworthy's Plymouth and Bristol Porcelain (1946), pl.48, fig.84B, while a further coloured pair is also in the Schreiber Collection catalogue (1928), pl.76, fig.704.For further information on this lot please visit Bonhams.com
An Isleworth tart pan and a sauceboat, circa 1768-75The first with a gently flaring rim, painted in dark blue with the 'Man with Speared Bird' pattern, a 'Mansfield' border around the rim, 11.8cm diam, the sauceboat of lobed helmet shape with a high thumbrest, moulded with a floral ground reserving panels painted in blue with bouquets, a further bouquet inside, 16.4cm long (2)Footnotes:ProvenanceGeoffrey Godden Collection, Bonhams, 30 June 2010, lot 90 (sauceboat)A similar tart pan from the Maurice and Lyn Hillis and Geoffrey Godden Collections is illustrated by Dr Trevor Darling, Take Six Small Tart Pans, ECC Trans, Vol.19, Pt.1 (2005), p.127, fig.43 and was sold by Bonhams on 30 June 2010, lot 95. The sauceboat is illustrated by Geoffrey Godden, English Blue and White Porcelain (2004), pls.303-4. Also by Nicholas Panes, British Porcelain Sauceboats of the 18th Century (2009), p.217, figs.359-60 and by Anton Gabszewicz and Roderick Jellicoe, Isleworth Porcelain (1998), no.3, with related shards from Isleworth shown in figs.C and D.For further information on this lot please visit Bonhams.com
Three Derby creamjugs, circa 1780One of ewer shape in the French taste painted with a delicate border of roses and forget-me-nots, 7.5cm high, another of similar shape with a spray and sprigs in the manner of Edward Withers, with a brown line rim, 8.2cm high, the third of sparrow beak shape after Worcester, also with flowers in the Withers manner, 8.8cm high (3)Footnotes:ProvenanceAlasdair Morrison Collection (first mentioned)Billie Pain Collection, Bonhams, 26 November 2003, lot 312 (second mentioned)Geoffrey Sell CollectionFor further information on this lot please visit Bonhams.com
A good Worcester mug, circa 1754-56Of large size and cylindrical form, with a grooved strap handle, printed in outline and hand-coloured with the 'Red Bull' pattern, Chinese figures in conversation beside cattle, the landscape washed in a distinctive palette of turquoise and pink, 11.7cm highFootnotes:ProvenanceRobyn Robb CollectionBased on a Chinese Export prototype, the 'Red Bull' pattern was one of the first designs to be transfer-printed at Worcester. A mustard pot and cover in this pattern from the Frank Wheeldon Collection was sold by Bonhams on 23 January 2008, lot 63. The present lot provides a larger canvas for the decoration and the inclusion of an additional female figure to one side of the handle, standing by colourful vases and holding a bowl of flowers.For further information on this lot please visit Bonhams.com
A Nuremburg engraved goblet, first quarter 18th centuryIn the manner of Johann Wolfgang Schmidt, the round funnel bowl wheel-engraved with a hunting scene, the unfortunate stag and doe together with a fox and a hare being pursued by three hounds and two hunters, one on horseback, within a continuous landscape containing a variety of different trees, stylised birds in the sky above, a formal stiff-leaf border below, the elaborate tall hollow multi-knopped stem with a central inverted baluster flanked by cushion knops set between pairs of collars, over a broad conical foot with a formal leafy garland, 29.8cm highFootnotes:ProvenanceChris Crabtree CollectionA glass of very similar form attributed to Johann Wolfgang Schmidt is illustrated by Rainer Rückert, Die Glassammlung des Bayersischen Nationalmuseums München, Vol.2 (1982), no.488 where the author states that the form deviates from that typical of Nuremburg and suggests a possible Upper Franconian or Spessart origin. A goblet decorated with a similar hunting scene, also by Schmidt, is illustrated at no.489.For further information on this lot please visit Bonhams.com
A Chamberlain, Worcester card tray and a Grainger, Lee and Co. mug and cover, circa 1835-40Painted with views of 'Worcester' within wide gilded borders on blue grounds, the first of rectangular basket form with a moulded floral border and overhead rustic handle, 22.8cm wide, the mug with a domed cover with a gilded bud finial, 15cm high, script marks and titles in red (3)For further information on this lot please visit Bonhams.com
A rare airtwist cordial or gin glass and an incised twist wine glass, circa 1750The first with a pan-topped bowl solid at the base, on a multi-spiral stem with a central swelling knop, over a heavy circular firing foot, 13.9cm high, the other with a round funnel bowl on a tall stem with a fine wrythen incised twist, over a domed foot, 17.2cm high (2)Footnotes:ProvenanceWith Delomosne and Son (wine)Henry Fox Collection (cordial)With Jeanette Hayhurst, 3 May 2007 (cordial)Patrick and Mavis Walker CollectionA similar cordial glass is illustrated by Arthur Churchill, Glass Notes, No.10 (December 1950), p.6, fig.7 and was sold as part of the Walter F Smith Collection by Sotheby's on 4 December 1967, lot 189.For further information on this lot please visit Bonhams.com
A large early goblet and an unusual composite-stem goblet, circa 1720-40The first with a generous drawn trumpet bowl on a tapering plain stem enclosing a central tear, over a conical folded foot, 20.3cm high, the other with a deep cup-shaped bowl with an everted rim, on a multi-spiral airtwist stem set into a beaded inverted baluster knop, over a domed foot, 23.5cm high (2)Footnotes:ProvenanceJohn Towse Collection (composite)With Delomosne and SonPatrick and Mavis Walker CollectionFor further information on this lot please visit Bonhams.com
An engraved composite-stem glass and a mixed twist wine glass, circa 1740 and 1760The first with a generous waisted tulip-shaped bowl finely engraved with a spray of fruiting vine, the plain stem set into a beaded inverted baluster knop, over a domed foot, 16.1 cm high, the other with a waisted bucket bowl, the stem with a multi-spiral airtwist gauze corkscrew entwined with a single opaque white spiral tape, over a conical folded foot, 16.3 cm high (2)Footnotes:ProvenanceWith Delomosne and Son, 3 October 1981 (composite)With Jeanette Hayhurst, 17 July 2001 (mixed twist)Patrick and Mavis Walker CollectionFor further information on this lot please visit Bonhams.com
An engraved Nelson commemorative tumbler, circa 1798-1805Of tapered cylindrical form, decorated with four anchors and ribbon-tied swags, each inscribed 'HOWE 1ST. JUNE 1794', 'ST. VINCENT 14TH. FEBRUARY 1797', 'DUNCAN 11TH. OCTOBER 1797', and 'NELSON 1ST. AUGUST 1798', the rim with a formal border of polished starbursts and ovals, the base cut with a band of narrow flutes, 12.1cm highFootnotes:ProvenanceIan Robertson CollectionWith Delomosne and Son, 12 October 2013Patrick and Mavis Walker CollectionLiteratureDelomosne and Son, Engraved Glass from North East England 1800-1860 (2013), no.9aThis tumbler was produced between the battles of the Nile and Trafalgar to celebrate an extraordinary series of British naval victories - Howe and the Glorious First of June, Jervis and the Battle of Cape St Vincent, Duncan and the Battle of Camperdown, and Nelson and the Battle of the Nile. In their catalogue, Delomosne and Son draw comparisons between the border on this tumbler and that on a glass signed by Richardson to suggest a possible North-eastern origin.For further information on this lot please visit Bonhams.com
British, 20th century, a framed, unsigned watercolour "Caerphilly Castle" No. 4073, with inscription Four cylinder 4-6-0 type Year 1923 First Castle Class locomotive, now preserved in the Science Museum, London, with GWR logo in green and gilt, 27.5 x 35cm, presentation inscription on back dated 1962.
British National Antarctic Expedition 1901-04. A silver plated fork engraved 'Discovery 1901' formerly the property of Louis Charles Bernacchi: 20.5cm long.*Notes- Louis Charles Bernacchi was born in Belgium in 1876 to Italian parents who subsequently emigrated to Australia. Attending Melbourne Observatory in 1895 he developed an interest in Antarctic exploration and joined Carsten's Borchgrevink's Southern Cross expedition (1898-1900) when he was just 22 years old. This was the first expedition to spend the winter on the Antarctic continent and the first to sledge towards the South Pole. Louis then joined Robert Falcon Scott's Discovery expedition (1901-1904) and was the only man on board the Discovery who had previously been to the Antarctic (in relative terms he was a "veteran" of the Antarctic) . As one of the scientific officers on board his role was to collect geomagnetic data as they approached the South Pole, something that had not been studied to any extent before. Scott was Louis's best man at his wedding. He was awarded the Polar Medal and the French Legion d'honneur amongst other awards.*Provenance- By direct family descent.
A fine builder's R.N.L.I presentation scale model of the Hydraulic Steam Lifeboat 'City of Glasgow , 1894': gilt brass funnel, capstan, anchor, binnacle and fittings with side grab ropes, the hull painted in RNLI blue red and coral pink, polished brass rudder, raised on turned brass support within an ebonised glazed case, presentation plaque inscribed 'Hydraulic Steam Lifeboat City of Glasgow' Built For The Royal National Lifeboat Institution, by R & H Green, Blackwall Yard, London , 1894', model length 100 cm , the case 40 x 124 x 47.5, raised on a turned leg presentation table, 131cm overall height. Together with a facsimile blue print 'Proposed Hydraulic Life-boat for the service of the Royal National Lifeboat Institution' , 61 x 104cm, two copies of 'The Life-Boat and its Work' by Sir John Cameron Lamb, one with personalised dedication to Sir Fitzroy Clayton, four black and white photographs of the Filey pulling lifeboat 'Hollon The Third' (in use 1907-1937) being hauled ashore and related ephemera.*Notes- At the end of the 19th century the RNLI began considering the use of stem powered lifeboats due to the number of times that the pulling of sailing boats towed to rescue was undertaken by steam powered tugs. In June 1888 a design by R & H Green of Blackwall, London was selected and the first hydraulic steam lifeboat 'Duke of Northumberland' was ordered and completed in 1889. During summer trials in 1890 the Duke of Northumberland impressed the Harwich committee and in 1894 the RNLI's second steam lifeboat 'City of Glasgow' arrived at Harwich on the 7th November, 1894. Funded through the Glasgow Lifeboat Saturday Fund and designed by RNLI architect George Lennox Watson, she was built by R& H Green at a cost of £2,639 10s 0d. The City of Glasgow was beset by many problems during her service when in March 1895 on returning to the station her condenser tubes started leaking. Later on in the same year alterations were needed to improve her trim and whilst returning from service in October the exhaust pipe cracked and needed repairs. In 1897 the port inlet joint started leaking so much that she needed to be returned London for repairs. On the journey the problem became such an issue that she needed to be grounded on a mudbank near Sherness and subsequently towed to R&H Green's yard. Despite her issues, 'City Of Glasgow' undertook a number of services during the period 1894 to 1897 and after repairs 1898 to 1901, rescuing thirty -two lives. Technical issues were to lead to her replacement in 1901 when she was withdrawn from service and eventually sold for £100. The facsimile blue print is signed and dated 'HDC 27.6.88' indicating that Harold Clayton had put forward his own design to the RNLI for the proposed steam lifeboat.*Provenance- Clayton family descent* A similar model can be seen in the Science Museum (Object number 1912-130) which has a white painted hull below the water line rather than the coral pink of the model here.
A presentation model depth charge launcher by Thornycroft, circa 1917: constructed in lacquered brass and stamped 'Thornycroft Patent' to one side with crown and 'GR cipher to the other, mounted on a wooden base, 13cm high (lacks depth charge)*Notes- The first trials of the Tornycroft bomb thrower were carried out aboard HMS Linnet in Portsmouth 22nd June 1917.
Belleek porcelain teapot with first black mark for Whyte & Sons, Marlboro Street, Dublin, with bird spout and decorated with floral sprays on a white ground, 20cm high.CONDITION REPORT: There is some rubbing to the gilt of the finial. There is a series of very minor firing bubbles across the lid, the underside of the lid and nibbles to the unglazed rim. There is some rubbing to the paintwork and gilt, particularly surrounding the handle and the spout. Has minor staining and fading to the glaze in areas. Backstamp is clear.
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