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Lot 250
A George III and later mahogany tripod table with a plain circular top and unusual "S" scroll openwork base, 54 cm diameter x 73 cm high. Together with a small late 17th-century style walnut oval "Barley Twist" gate leg table, possibly by Tozer of London 1920s, a George II style piecrust topped circular wine table, the first half of the 20th century.
Lot 345
Omega - a lady's vintage 9 carat yellow gold bracelet wristwatch, oval champagne baton dial in a 9 carat yellow gold case, fitted with a 9 carat yellow gold 6.5mm wide gate link bracelet, hallmarked London 1971, case ref. no. 5115602, gross weight including movement 13.9g, watch not running at present time.
Lot 689
An early 17th century portrait of a lady with cupOil on board, within an arched frame, 53cm wide, 70.5cm highThe reverse of the panel bearing stamped marks for the City of Antwerp Guild (two hands around a city gate) and 'G G', attributed to Guilliam Gabron, Master Panel Maker and responsible for reorganising the Antwerp Panel Makers' Guild in 1617. Gabron was the preferred panel maker to Anthony Van Dyck
Lot 70
Collection of Tri-ang Minic 1:1200 scale Dockside accessories, boxed five Quay straight sections, breakwater angle left, breakwater straight, two M857 seas, floating dock, pier head, crane unit and Statue of Liberty, condition: good boxes generally fair to good, unboxed breakwater straights, quay straights, breakwater angles, swing bridge, lifting bridge, factory, pier sections, light house pier ends, Ocean terminal, storage tank, warehouses and custom sheds, crane units and cranes, oil terminal, lifeboat station, slipway and lifeboat, lock gate, pier canopies, beacons and more and five empty boxes, condition: generally all good to very good, and a selection of play-worn accessories, (lot).
Lot 17
Wilson, Francesca Rambles in Northern India With Incidents and Descriptions of Many Scenes of the Mutiny, including Agra, Delhi, Lucknow, Cawnpore, Allahabad, etc. London: Sampson Low, Marston, Low, and Searle, 1876. 4to, original green cloth, rebacked and relined with original spine laid down, [8] 86 [2] pp., 12 carbon-print photographs (mounted within lithographic borders as issued), all edges gilt, covers slightly marked, Newcastle University deaccession ink-stamps to half-title, title-page, final page and versos of plates, one plate (Cashmere Gate, Delhi) guard loose, light spotting to a couple of mountsNote: Note: Rare in commerce, eight copies traced in British and Irish libraries. Notable photographs include the tomb of Ranjit Singh (last ruler of the Sikh empire) at Lahore and the Golden Temple at Amritsar.
Lot 248
Greece, chiefly Athens Collection of 1 watercolour, c. 21 engravings (3 hand-coloured) c. 40 photographs (mostly 19th century), including a carte-de-visite of Lord Elgin and son, 20th century postcards and pamphlets, mostly relating to the Parthenon, including some reproductions of drawings or paintings, unattributed watercolour of Gate of Hadrian, Athens, dated 1824 and initialled A.M., mounted on card, inscribed on versoNote: Provenance: From the library of the late William St Clair, FBA, FRSL.
Lot 6
India and Pakistan Photograph album of views in the Punjab, Himachal Pradesh, Bengal and the Andaman and Nicobar Islands, c.1875 all albumen prints, mounted mainly on rectos only, most with pencilled captions in a contemporary hand, and comprising:'The drawing room at Upper [?], Howrah', 18.5 x 23.5cm;'Group at [?], Howrah', 19 x 23.5cm (showing a British family with Indian servants);[Group in theatrical dress], 19 x 24cm;[River scene], 24.5 x 29.5cm, probably the Hooghly;[Riverside factory], 23.5 x 28cm, probably the Hooghly; 'View of fort & mosque from Johari Gate, Multan', 20.5 x 27cm;'Mosque in Fort, Multan', 21 x 27.5cm;'Monument to Vans, Agnew & Anderson in fort, Multan, showing sepoy lines, mosque & neighbouring country';'The great bazar - Multan', 20.5 x 28cm;'Bakrota Hill, Dalhousie', 18 x 23.5cm;'Post office & temporary church, Dalhousie', 18 x 24cm; [Settlement near Dalhousie, behind palisade fence], 18 x 23.5cm;'First view of Chumba [Chamba]', 18.5 x 23.5cm;'Chumba Bridge', 18.5 x 23cm;'The bazar, Chumba', 17.5 x 23.5cm;'Ross Island - Port Blair', 19.5 x 30cm;'Hope Town pier, Port Blair', 23.5 x 29cm (annotation to mount: 'Lord Mayo was killed at the end of the pier');'The jail at Viper Island - Port Blair', 23.5cm x 29cm;'St Thomas' Church - Howrah', 18 x 25cm (oval form);[Group portrait of British officers and local notables], 20 x 27cm (one figure indicated with caption 'Mr Jenkins, killed at Cabul');'Dharamsala, Panjab', 28.5 x 21cm (showing exterior of a church);'Dharamsala, Panjab', 27.5 x 21.5cm (showing church interior);2 views in Sydney, Australia, each 15 x 20.5cm; 2 views of Port Said by Hippolyte Arnoux, approx. 19 x 25cm; 11 ethnographic 'types', all 9 x 5cm, captioned 'Port Said women' and 'Port Said people'; 30 views of Oxford, Cambridge, Crediton and Cheltenham (various dimensions); numerous prints from engravings or paintings by Turner and others. Contemporary half morocco binding, front inner hinge gone, occasional light spotting (chiefly to mounts), marginal fading to a few prints.Together with another photograph album containing: 7 large views of Malta (platinum prints, 22.2 x 29.8cm, captioned 'Malta' on mounts); 2 similar platinum prints captioned 'Redan, Crimea' and 'Bala'; 4 large albumen prints of city views, probably Melbourne (23 x 35cm); 9 other albumen prints depicting Rochester, 'Royal Engineers at work', etc.; binding defective, several leaves evidently removed
Lot 60
Attributed to Charles George Hood Kinnear (1830-1894) Album of salt prints from calotype negatives, c.1846-8 containing 120 photographic salt prints from calotype negatives, pasted onto rectos only of thick paper leaves, photograph dimensions mainly approx. 15.5 x 11.5cm or similar (leaf dimensions 27 x 22cm), many with bevelled corners, a few arch-topped or in octagonal, oval or circular form, with pencilled captions, dates and foliation, prints towards rear within brown ink frames, the album retaining two initial blanks, one with partial list of subjects, one with ownership inscription reading in part 'Letham Grange, Arbroath, the photographs comprising: 32 portraits of sitters of various social classes, including 'a poacher', 'a smith', various other tradesmen or farmhands (e.g. a man seated with horse tack, a man holding a trowel, and a man holding a log and axe), and smartly-dressed figures, several named, including 'R. Rutherford', 'Dr Burt, 'Capt Maitland R.N.', 'J. G. Murray' (this figure holding a shotgun), Robert Murray (2 portraits), 'An A.R.S.A.' (identified in list at front as J[ohn] C[rawford] Brown [Scottish painter, 1805-1867]), a young woman in a patterned dress (2 portraits), a young boy with a riding crop, a boy seen through a gate in a garden wall, and a man in top-hat posing in stone Gibbs-surround doorway; studies including a still life of game; 2 smaller prints on one mount, respectively titled 'Lacock Abbey, Wilts, from a Talbotype;' and 'Shakespeare's house from a Talbotype'; 14 prints not from life (i.e. from prints or paintings); and numerous views of Kinloch House and its grounds and outbuildings, Collessie (village in Fife), Kames House (Berwickshire), Cunnoquhie House, Falkland Palace, Inchrye Abbey, and Edinburgh (Scott Monument, St George's Church, St John's Chapel, High School, Pitt statue, gaol, and similar); together with 4 photogenic drawings of tree-leaves or grasses (these not from negatives, and in addition to the 120 mentioned). Contemporary fine-diaper cloth album, gilt-lettered 'Calotypes' on front cover, rebacked and recornered, endpapers renewed with bookplate (containing arms of the Kinnear family) reimposed to front pastedown, a few mounts stained from adhesive, a few prints with pencilled embellishments in some cases adding architectural detail, final 11 leaves detached but remaining conjugate, lacunae in foliation indicating a few leaves excised.The album is sold with an extensive collection of related material, including:1. 4 additional photograph albums:a & b) Two albums respectively containing 60 and 25 albumen prints mainly of architecture in Scotland and Northumberland, 1890 & 1892, all approx. 15 x 20cm, mounted rectos only on stiff card, and including Drygrange House and Compstone House, both designed by Kinnear's architectural firm Peddie & Kinnear (with captions to that effect, i.e. 'Drygrange House - C.G.H.K. fecit'; 'Compstone House, Kirkcudbright, C.G.H.K. fecit'), and a few family portraits and non-architectural views, pencilled captions to mounts (in a similar hand to those in the calotype album);c) Album of 52 albumen prints, 1887, including Oxford colleges, Scottish houses including Drygrange (see above), jubilee celebrations at Kinloch, a portrait Wellwood Herries Maxwell of Munches House (Liberal politician, 1817-1900; Kinnear's wife was Jessie Jane Maxwell), outdoor scenes including three figures on a wooded path (one figure identified in a later hand as 'C. M. K.', i.e. Kinnear's son Charles Maxwell), and similar, all approx. 15 x 20cm or slightly smaller, pencilled captions throughout (in a similar hand to the preceding items);d) Album of approx. 60 silver gelatin prints, c.1902, mainly Scottish views and family scenes, including the Maxwell family at Munches House, puffins on Handa Island, etc.2) Album of architectural sketches, signed and dated C. G. H. Kinnear, Genoa, 1854, approx. 30 leaves + blanks, annotated pencil sketches on rectos and versos, including studies of architectural detail (tracery, mouldings, doorways, elevations, etc.) in both Genoa and Pisa;3) Charles George Hood Kinnear's diploma of election as associate of the Royal Scottish Academy, 1893, lithographic document on vellum, signed by Queen Victoria ('Victoria R');4) A large volume of Kinnear family documents and letters, 18th-20th century, approx. 200 in total, including letters from Charles's brother John Boyd Kinnear (1828-1920), Liberal politician, letter to John Boyd Kinnear from John Bright, various deeds (including sasines, on vellum), bonds, contracts, inventories, album of 15 watercolour views in France and Ireland, 1920s, scrap albums belonging to Elizabeth Anne Kinnear including a menu inscribed by ornithologist Peter Scott (1909-1989), and similarNote: Note:A highly important and newly discovered album by a pioneer of photography, dating from within a few years of Fox Talbot's invention of the calotype method and its introduction to Scotland in 1841 by Sir David Brewster.Charles George Hood Kinnear was born in 1830 at Kinloch House, near Collessie, Fife, into a wealthy banking family. In 1849 he was articled to Edinburgh architects William Burn and David Bryce. It is suggested in the Dictionary of Scottish Architects that he may have learnt photography from Bryce, though the dates in this album indicate that his photographic experiments pre-date their known professional association.Kinnear became a founding member of the Photographic Society of Scotland in 1856, and in the same year entered into partnership with Edinburgh architect John Dick Peddie. In 1857 he went on an architectural and photographic tour of northern France using a new form of camera with a conical bellows which 'set the pattern for nearly all subsequent cameras' (Schaaf & Taylor). His final public exhibition of photographs was in 1864, after which his architectural work absorbed most of his efforts; the firm of Peddie & Kinnear had become hugely successful, securing major commissions for private houses, public buildings and churches throughout Scotland which remain major landmarks to this day, including Edinburgh's Cockburn Street, and the hydropathics at Dunblane, Craiglockhart and Callander. He was elected associate of the Royal Scottish Academy in 1893, and died suddenly at his offices in Edinburgh in 1894.A full list of the contents of the main album in this lot is available on request. Lot 57 in the sale, the Kinnear family autograph album, contains letters to C. G. H. Kinnear from various figures including Fox Talbot.Further reading: Schaaf & Taylor, Impressed by Light: British Photographs from Paper Negatives, 1840-1860 (2007), p. 338.Provenance: Inherited by the vendor from Elizabeth Hay (née Kinnear, 1924-2017), descendant of C. G. H. Kinnear.
Lot 136
A 9ct rose gold gate bracelet,plain and textured rose gold gate links, to a padlock clasp and trace link safety chain, Birmingham, approximately 180mm long, 10.15gCondition ReportMaker's mark B&S.Clasp probably a later replacement.Clasp secures.Safety chain links worn.Marks/scratches to surface.
Lot 139
A 9ct gold gate bracelet,a five bar bracelet, with plain inner bars and crimped outer bars, to a heart shaped padlock and safety chain, Birmingham 1973, 20.62gCondition ReportMaker's mark G&S.One inner link dented, possibly repaired as crimping does not match surrounding links.Jump rings either side of padlock showing excess solder.Marks/scratches to surfaces.Some tarnish.
Lot 140
A 9ct gold fourteen row gate bracelet,fourteen rows of plain and twisted bars, to plain stepped links either side, to heart shaped padlock clasp and trace link safety chain, London 1979, 165mm long without padlock clasp, 24.11gCondition ReportMaker's mark ASJ.Safety chain broken, links worn.Signs of repair work to links on one side of the bracelet. Excess solder showing to some end links.Longest bars do not lay flat. Longest bar links loose but secure.Some tarnish.
Lot 299
A collection of gold jewellery,a 9ct gold heart shaped locket pendant, to an articulated plain bale, Birmingham 1990, a gold barleycorn link chain, tested as approximately 9ct gold, 404mm long, and a 9ct gold gate bracelet, common control mark, 183mm long, 7.45g total (3)Condition ReportGate bracelet heavily dented and twisted to over half of the links. Does not lay flat. No safety chain or clasp.Locket dirty and with some tarnish. Front and back compressed slightly and dented.One barleycorn link gently out of shape - fourth link from clasp to one side.Tarnish and scratches to surfaces.
Lot 337
A large collection of silver jewellery,to include a sterling silver gate bracelet, London 1977, a sterling silver five band twist ring, Birmingham 2009, a sterling silver shell pendant, common control mark, a sterling silver and moonstone pendant, Birmingham 2008, a sterling silver labradorite and chrome diopside pendant, Birmingham, a silver key wind pocket watch, 38mm diameter, with a white enamel dial and black Roman numerals, hand engraved cuvette, stamped c0,935c, Swiss assay mark, case no.12164, a sterling silver amethyst pendant, common control mark, Birmingham 2008, chains, earrings, necklaces, etc.,together with a section of gold snake chain,and a single gold cultured freshwater pearl earring, tested as approximately 9ct gold, 1.49g total, and a small quantity of costume jewellery, (qty.)Weighable silver approximately 1406.10gCondition ReportPocket watch not currently running. Hands deficient, one loose in case. Winding keys deficient. Hand engraved dust case. Hairline cracks to white enamel dial. Case closes properly 9ct white gold hoops, one butterfly tested as approximately 10ct gold, one tested as approximately 14ct gold.with no gaps.Some tarnish.Marks/scratches to surfaces.As found.
Lot 182
A quantity of Scenecraft Buildings etc. A Steel Frame Crane, Pagoda Shed & Store, Parachute Water Tower, Low Relief Portal Tunnel, 3x 2 Curved Platforms Radius Two. A Low Relief Modular Mill Entrance. Keyside Walls x2. Keyside Corners x2. Low Relief Kevin's Carpets. Waiting Room & Ladies. Fishing Net Lofts. Station Waiting Room Building. Great Central Lamp Huts, Coolant Trollies x4. Fresh Fish Stall. Corrugated Metal Shed. Plus a Dry Stone Walling & Gate. All boxed, minor wear to a few. Contents as new. £100-150
Lot 634
Budgie long distance refrigeration truck, "coast to coast refrigeration ", red detachable cab unit with clear glazed plasic windows, metal wheels and plastic treaded tyres, trailer is in silver with drop down tail gate door and transfers applied to each size. Contained in a solid card picture box, "Litteltois" Benelux, Belgium. stamped koelwagen. Boxed, with some wear and minor creasing. contents GC - VGC. £40 - £60
Lot 22
British School (18th Century)The Royal Observatory, Greenwich and its meridian buildings from the south-south-east, c. 1790Oil on canvas 63.8 x 86.4cm (25 x 34in).Footnotes:Whilst we have never come across an oil painting with the Royal Observatory being the sole focus of the picture, the National Maritime Museum, Greenwich has a similar view, in watercolour, probably by the same hand, which they date to 1779-89 (I.D. - NMM AST0042).Dr Pieter van der Merwe, Curator Emeritus for the National Maritime Museum, writes about the watercolour:'Watercolour of the Royal Observatory and its meridian buildings from the south-south-east, the artist's viewpoint being roughly from in front of the entrance to the late-19th-century South Building. Modern Blackheath Avenue would be to his right, where the ground is also more level than shown.Notable features include the tall chimney of the rear extension to Flamsteed House that was added under James Bradley (1692-1762) as 3rd Astronomer Royal from 1742. His extension was demolished in 1789 and replaced by a larger one (with two tall chimneys) by Nevil Maskelyne (1732–1811), 5th Astronomer Royal from 1765. The two-storey building with a classical pediment is Bradley's 'New Observatory' of 1749 comprising a ground-floor computing room with an assistant's quarters above and two single-storey wings holding a quadrant room to the west and Bradley's transit room to the east: the roof of the latter is shown open for transit observations on Bradley's Greenwich Meridian, established in 1750 (about 6 metres west of Airy's, the current Prime Meridian of 1851).The image dates to after 1779 since the so-called 'Advanced Building' – the one with the sloping (and opening) roof was built to contain new instruments in that year, south of Bradley's quadrant room and as an upward extension of John Flamsteed's 1670s sextant house: neither now survive. The side windows of Flamsteed House are also inaccurately shown as three panes wide when in fact they had four and were vertical-opening upper and lower casement pairs from 1779 until changed to single sashes in 1790. The vent-like finial on the west turret is the rotating lens of the camera obscura that Maskelyne installed there by 1778.The domed building at left seems to be at the south-west corner of Bradley's Flamsteed House extension but this is owing to misleading perspective. It is in fact the western summerhouse on the Observatory's north terrace, though it may not have been so fully visible from the artist's apparent viewpoint. Its eastern pair is hidden by Bradley's New Observatory. In 1773 Maskelyne raised the height of the summerhouses and extended them south, adding hemispherical domes and upper horizontal windows (of which one is shown here). The domes opened to observe comets using a pair of equatorial sectors installed under them.The pitched-roof building at lower left (in fact more square than rectangular) is the 1670s 'Garden House' used as a stable through the 18th century, with sloping access up to the gate shown in the perimeter wall: it is today a flat-roofed plant room. The other shed, apparently wooden, is undocumented and probably for an associated purpose (e.g. a hay store). The foreground shows former sand and gravel workings on the south-west and south side of the hill, now a partly terraced garden area. This early quarrying had stopped when the Observatory was built in the 1670s, or very soon after.The drawing arrived, originally on loan to the National Maritime Museum from the Royal Greenwich Observatory, in a rather damaged gilded wooden frame. It may be the image of the Observatory that is second on a list of a dozen pictures, formerly belonging to Nevil Maskelyne, that his wife presented to the Observatory and left at Flamsteed House when she moved out in 1811, following his death. When the Royal Greenwich Observatory closed in 1998, ownership of this and other items belonging to it was transferred to the Museum. See ZBA0692 for further details.'Into the later 19th century Blackheath itself (south and east of the Park walls) was largely gravel and sand pits between the roads until they started to be filled in. This was finished after World War II with bombing rubble from the London blitz, grassed over level as it now is, except the Maze Hill pit which still survives just outside the south-east corner of the Park - now a large grassy and gorsey declivity about 15 to 20 feet below the road: it tended to be a hangout for the highwaymen and footpads who infested the Heath in older days. However, robbery wasn't a problem in the Park which was fully walled round in 1619-25 (replacing about 200 years of only being fenced) under James I, a large job finished in the year he died.Dr van der Merwe also comments on the similarities between the watercolour and our picture – 'The (fanciful) rocks are a little different but the figures are the same, the turret domes the same (one with a vent finial) the other not, the trees at the back of the building the same and also the half-open sash window at lower right.' He also points out that our oil painting shows the central south window of Flamsteed House being three panes wide, as opposed to four in the Museum's watercolour version. As there is a watercolour of 1843 which also shows a clear view of the south window as a sash, also three panes wide, one might infer that the oil painting follows the watercolour, perhaps after the long Great or Octagon Room windows were all changed to sashes in 1790.The Royal Observatory of Greenwich is known for hosting the Prime Meridian of the world. During the second half of the 19th century, the expansion of transport networks created the need for an international time standard as almost every city in the world had its own local time. In 1884, delegates representing 25 different nations met at the International Meridian Conference in Washington DC. Greenwich was chosen to be the Longitude 0° 0' 0''; the centre between the Eastern and Western hemispheres.We would like to thank Dr Pieter van der Merwe for his help in cataloguing this picture.For further information on this lot please visit Bonhams.com
Lot 456
UK Quad cinema posters, six UK Quad Posters comprising Empire Of The Sun (1987) with John Alvin illustration, Tales From The Crypt (1972), Heaven’s Gate (1980), A New Leaf (1971), The Ten Commandments (1960’s re-release) with Frank McCarthy illustration and Richard III with Laurence Olivier (a later re-release), all folded and rolled, various conditions but mainly good, all 30”x 40”
Lot 54
Savory, J. Harry (arranged by)"Sporting Days - A Book for Visitors and House Parties", E.W. Savory Limited and J.N. Dent & Co. 1907, to include illustrations by Cecil Aldin, Louis Baumer, C.E. Brock, Arthur Rackham, G.D. Armour, Edwin Noble, etc., the book is unused, numerous illustrations, some light foxing, marbled end papers, original brown cloth with printed titles and huntsmen and women and hound on front board, the green ribbon ties are slipped and need repairing, folio, Dobson, Austin"Proverbs in Porcelain" illustrated by Bernard Partridge, Keegan Paul Trench Trubner 1893, inscription on half-title, red and gilt pictorial boards, the backstrips fadedThompson, Hugh (Ills)"The Chase - A poem by William Somervile Esq" George Redway 1815 -1896, blue pictorial cloth, Caldecott, R"The Milkmaid - An old song exhibited and explained in many designs by ...", along bound with "A Frog he would a woo-ing go""The Great Panjandrum Himself""Mrs Mary Blaize - An Elegy on the Glory of her Sex""Ride-a-cock horse to Banbury Cross and a Farmer went trotting upon his grey mare""The Fox jumps over the parson's gate", etc., blue pictorial cloth, bumped, rubbed and text separating, and hinges separatingThackeray, W M"The Works of William Makepeace Thackeray", Smith Elder 1879, 10 only of 24 vols"Catherine; Lovell the Widower; Denis Duval; Ballads"; etc, Smith Elder & Co 1872, frontis with tissue guard, green cloth, black rules and initials to front board, uniform with "Christmas Books", Smith Elder 1872, frontis with tissue guardBuchan, John "Castle Gay", Hodder & Stoughton 1930, ink inscription dated October 1930 Shanghai ffep, green cloth"Witchwood", Hodder & Stoughton 1927, inscription dated Shanghai October 1927, blue cloth, backstrip separating from the front board"A Prince of the Captivity", Hodder & Stoughton 1933, green cloth, backstrip separating"Dancing Floor", 1926, pale blue cloth and various other volumes Farrar's 'The Life of Christ' and 'The Life and Work of St. Paul' (2 boxes)
Lot 100
Contemporary and earlier fiction to include:-Lawrence, D H "The Lost Girl", Martin Secker 1920, inked name and date 1920 inside front board, brown cloth with glassine coverJerome, K Jerome"The Passing of the Third Floor Back", Hurst & Blackett (n.d.), green cloth with red rules and titlesHuxley, Aldous "Heaven and Hell", Chatto & Windus 1956, pink cloth with silvered titles, dj price clipped, glassine coverGreene, Graham "The Quiet American", William Heinemann Ltd 1955, Book Society, dj not price clipped, inked name and date 1956 on ffep and other volumes (1 box) Condition ReportIncluding photographs of the limitations pages of the following:'The Lost Girl' by D.H. Lawrence'True Confessions of Adrian Albert Mole' by Sue Townsend'Chatterton' by Peter Ackroyd'The Loss of El Dorado: a History' by V. S. Naipaul'Curriculum Vitae' by Muriel Spark'The Reader Over Your Shoulder' by Robert Graves & Alan Hodge'Heaven & Hell' by Aldous Huxley'Reflections on the Psalms' by C. S. LewisModern fiction containing the number '1' in the number line on the limitations page are:'The Iceman' by John Sandford'If You Are Afraid of Heights' by Raj Kamal Jha'Visiting Mrs Nabakov' by Martin Amis'The Aviary Gate' by Katie Hickman - signed'Coward at the Bridge' by James Delingpole - signedCondition:Modern firsts are in excellent condition, generally near fine with slight occasional wear to the dust wrappers. Older titles in dust wrappers have slight sunning to the spines and are a little chipped to the dust wrappers, with occasional ownership inscriptions to the pastedown or endpapers. Binding occasionally a little loose, pages occasionally a touch spotted.
Lot 545
Edwardian 9ct gold gate bracelet with integral clasp, approximately 17.5cm.Good condition commensurate with age, the clasp is secure and works well, very little signs of wear and no obvious signs of any damage or repairs. Not hallmarked but stamped 9ct on the clasp. Gross weight 13.23 grams.
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