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A hunting knife by Jowika of the Republic of Ireland with 5" single-edged blade in leather sheath and two various combination hunting knives (3)

A Victorian Hunting Horn Stick Pin With Screw Top 9Ct

Country Pursuits & Sports 32 Titles On Deer Hunting, Otter Hunting, Hounds Etc.

A Silver Cuff Bangle With Hunting Scene

A Silver Hunts Man Buckle With Repousse Hunting Scenes 38 Gms

A Pretty Gold Fox Head And Hunting Horn Brooch With Ruby Eyes

An XP ADX250 metal detector and a large run of early Treasure Hunting magazines. (qty)

Rudolf Stone (British 1838-1914), Hunting scenes, three, oil on panel, all signed, each 12cm x 25cm (3) FramedCondition Report: Some scattered retouchings visible under u.v. light, some surface dirt, may benefit from a light clean.

Sebastian Vrancx, 1573 Antwerpen – 1647 ebenda, zug.FESTBANKETT MIT JAGDSZENE UND SCHLOSSANSICHTÖl auf Leinwand. Doubliert.143 x 202 cm.Um 1595.In aufwendig gearbeitetem perlmuttverzierten Rahmen.Als Zeitgenosse von Louis de Caullery und Lucas Van Valkenborch füllte Sebastian Vrancx eine Sonderstellung aus und das vorliegende Gemälde wiederum sticht aus den Vergleichsbeispielen der Zeit hervor. Die vorliegende Szene eines Festbanketts in einem Park kann mit einem großen Gemälde ähnlicher Größe (146,5 x 190,5 cm) von Sebastian Vrancx verglichen werden, das im Musée des Beaux-Arts in Rouen verwahrt und auf um 1595 datiert wird: Fête dans les jardins du duc de Mantoue (Inv.Nr. 1890. 1.1). Aufgrund des akzentuierten perspektivischen Effekts mit dem großen Banketttisch, kann auch ein anderes Gemälde desselben Künstlers (91 x 126 cm) im Museum der Schönen Künste in Budapest als Vergleich herangezogen werden (siehe Ursula Härting, S 369, Nr. 1645). Das vornehmliche Thema de vorliegenden Gemäldes, nämlich das Festbankett im Freien wird vom Maler ganz nah an den Betrachter heran gerückt, sodass die Distanz von Bild-und Betrachterraum gering ausfällt bzw. der Betrachter eingeladen ist, am Festmahl teilzunehmen, die Distanz von Ort und Zeit zu überwinden. Besonders ist neben dem kulturhistorischen Wert des Gemäldes mit der dargestellten Kleidung, den Gerätschaften und der Tischkultur auch die Kombination von Festbankett und Jagdszene mit Hirschhatz, die parallel zu einander dargestellt sind und gleichzeitig thematisch aufeinander aufbauen – etwa in Form der Fasanenterrine auf dem Tisch. Wie auch bei den Vergleichsbildern zeigt das Gemälde nicht nur die höfische Festkultur der Renaissance, sondern auch ein Gebäude der Zeit mit in der Zeit typischem parkähnlichem Anwesen. Manchmal lassen sich die Gebäude in Vrancx Schaffen verorten und vielleicht gelingt es auch bei diesem opulenten Werk, das vor Kolorit nur so strotzt, eines Tages das dargestellte Schloss und damit auch den Schlossherrn, der hier besonders prominent in Rot gekleidet dargestellt ist, zu identifizieren.Der Maler, der auch als Begründer des flämischen Militärgenres gilt, war laut dem Biografen Carel van Mander d. Ä. (1548-1606) ein Schüler des Adam van Noort (1562-1641). Er begab sich, wie die meisten seiner Kollegen, 1597 nach Italien, was in der Folge Einfluss auf die Darstellung antiker Ruinen und römischer Bauwerke in seinem Werk nahm. 1600 wurde er Mitglied der Antwerpener Lukasgilde, wo er mit seinen Zeitgenossen wie Jan Brueghel d. Ä. (1568-1625), Frans Francken d. J. (1581-1642) oder auch Hendrik van Balen d. Ä. (1575-1632) befreundet war. So weist sein Werk auch manche Gemeinsamkeiten mit denen dieser Künstler auf. Sein Ruhm führte schon zu Lebzeiten zu Vervielfältigung seiner Bilder in Kupferstichen.Provenienz: Château de Joancy, Frankreich. Sammlung Bernard Collette, Chef des Monuments Historiques.Sammlung des Duc de Tamames, Mesia del Barco, Urgroßneffe von Ferdinand de Lesseps (1805-1894, Diplomat und erfolgreicher Erbauer des Suezkanals). Anmerkung:Das Schloss Joancy, aus dem das hier angebotene Gemälde stammt, wird erstmals im 12. Jahrhundert erwähnt. 1563 wurde nach Abriss das heutige Schloss durch Nicolas Dange de Troyes unter Inspiration durch Sebastiano Serlio errichtet, der von Francois I zum Bau des Schlosses von Fontainebleau geholt worden war. Jüngst wurde das Schloss liebevoll und fachkundig innen wie außen vom Vorbesitzer des Gemäldes renoviert. 1976 war das Schloss Bestandteil einer Reportage des Fernsehsenders Antenne 2 TV.Literatur:Vgl. Ursula Härting, Gärten und Höfe der Rubenszeit. Im Spiegel der Malerfamilie Brueghel und der Künstler um Peter Paul Rubens, Ausstellungskatalog, Gustav-Lübcke-Museum, Hamm, 15. Oktober 2000-14. Januar 2001, Landesmuseum, Mainz, 4. März 2001-24. Juni 2001, München 2000, S. 380-381.Vgl. T. Fusenig, Komödianten im Lustgarten. Zur Funktion von Gärten und Gartendarstellungen um 1600, Die Gartenkunst, 14, 2002.Rép Magazine L‘Événement. Biennale des antiquaires, hier beschrieben als: „Ein außergewöhnliches Gemälde, außerordentlich dekorativ, reich im Kolorit (.) Dieses Gemälde mit respektablen Abmessungen ist auch wegen seiner damals kaum genutzten Thematik außergewöhnlich: Jagdszenen, Festessen, höfisches und galantes Leben“ (übersetzt aus dem Französischen), mit Farbabb., 22. April 1993, Nr. 3.Ausstellung: Fontainebleau, Cercle International, Biennale des antiquaires, François 1er et la Renaissance, 26. April-5. Mai 1991. Ecole de Fontainebleau fin du XVIe siècle – début du XVIIe siècle, Les plaisirs de la vie seigneuriale (Stand Vidal – Naquet). (1380171) (13)Sebastian Vrancx,1573 Antwerp – 1647 ibid., attributedBANQUET WITH HUNTING SCENE AND PALACE VIEWOil on canvas. Relined.143 x 202 cm.Ca. 1595.He was accepted into the Guild of Saint Luke in Antwerp in 1600, where he was acquainted with contemporaries such as Jan Brueghel the Elder (1568 - 1625), Frans Francken the Younger (1581 - 1642) and Hendrick van Balen the Elder (1575 - 1632). Hence, his oeuvre shows some similarities with these artists. During his lifetime his reputation led to his paintings being reproduced in copper engravings.

A porcelain seated boy with pocket knife, Royal Copenhagen, 20th century. Marked on the bottom, height 18.5 cm. Here is a porcelain hunting dog, tot. 2x.

A Fine & important French bronze 8 day clock garniture in the Orientalist style, circa 1880. The 8 day clock with a time and strike mechanism, is housed in a lavish bronze case heightened with silver gilt, to the top is an engraved 'Minaret' shaped finial and below a gallery of silvered and gilt bronze leaves. The silvered clock dial having black Arabic numerals, the center of the dial with a bas relief of palm trees and figures below the sun and a fort to the background. The front of the clock is shaped like a Mihrab (a niche in a mosque), to the base is another bas relief of an East Indian scene with gilded bronze figures holding muskets and spears, with an elephant and tiger, the clock raised on engraved cabriole feet. The clock garniture having twin side vases with handles, each having a fine cartouche with bas relief hunting figures. Every piece is standing on a wooden plinth. The original key is present. (3)

A pair of Siena maiolica dishes, probably workshop of Ferdinando Maria Campani, circa 1745Painted with classical scenes after Pietro Santi and Francesco Bartoli, the first depicting a kneeling nymph presenting the newborn Adonis to Venus, attended by another nymph to the right, all before drapery in a landscape, the second depicting Venus, seated on a chair and accompanied by two nymphs, attempting to stop Adonis from going hunting, ochre-edged rims, 25cm and 25.3cm diam. (the first with a haircrack to rim, the second with some glaze flaking to edge and reverse of rim) (2)Footnotes:The scenes are based on plates 3 and 6, respectively, of 'le pitture antiche delle grotte di Roma [...]' by Pietro Santi Bartoli and Francesco Bartoli, published by Gaetano Zenobi in Rome in 1706.A series of twenty-three similar Siena plates was in the historic collection of the Princes Reuss in Schloss Thalwitz; it includes a plate with the same depiction of Venus and the two nymphs attempting to stop Adonis from going hunting (in a slightly different landscape) (published by Steffen Berg, Eine Serie bisher unbelannter Campani-Majoliken um Kunstgewerbemuseum Dresden, in Keramos 151 (1996), pp. 133-165, ill. 24). Others are in the Museum für Angewandte Kunst, Vienna (see T. Wilson et al., Tin-Glaze and Image Culture (2022), nos. 114-119).For further information on this lot please visit Bonhams.com

A large Meissen porcelain ewer emblematic of 'Earth', circa 1880After the model by Johann Joachim Kändler, of flattened baluster form with a scroll handle modelled as a sheaf of corn entwined with pink ribbon and surmounted by a putto holding a basket of fruit, the body with a high relief hunting scene depicting hounds attacking wild boar, deer and bear flanked by figures of Diana holding a gilt bow and a satyr playing pipes, the obverse painted with a mountainous lakeside scene, all raised on circular foot applied with putto digging with a spade, 68cm high, crossed swords in underglaze-blue with a single cancellation mark, incised 309., impressed 66 or 99 (chips and losses, firing crack along the neck)For further information on this lot please visit Bonhams.com

SEVEN LEATHER SHOT-FLASKS, LATE 18TH/19TH CENTURIES the first of black leather embossed with a hunting vignette on one face, with Dixon & Sons spring cut-off, with a loop at the base; the second with brown-leather bladder-shaped body, the outer face tooled with a neo-rococo hunting scene, fitted with Dixon & Sons spring cut-off, and with a loop at the base; the third with flattened bag-shaped body embossed with a series of concentric rings on each face, fitted with brass nozzle with spring-cut-off; the fourth, with plain leather body and Britannia metal nozzle by Dixon & Sons; and three further shot-flasks, the first: 21.0 cm (7)

˜ A RARE FOLDING HUNTING KNIFE, J. NOWILL & SONS, SHEFFIELD, CIRCA 1845 with long tapering wavy blade of burnished steel, signed by the maker between a ‘D*’ and crossed keys mark on one face at the forte, locked by a spring-catch and released by a heart-shaped German silver button in a half-length grip, German silver fillets, engraved German silver terminals decorated with flowers and foliage, and chequered ivory grips, in its leather scabbard, probably the original, 26.0 cm (closed) ProvenanceDavid Hayden-Wright (1936-2006)LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 91. The D* mark was first used by one Thomas Nowill (circa 1676-1704), recorded as a ‘Maker of Knives’. J. Nowill & Sons won a prize medal at the Great Exhibition in London in 1851 for ‘…..a display of cutlery comprising…..pocket knives, Indian hunting knives…..and an ‘assortment of knives for the Levant’. The firm had considerable export business with outlets in Turkey, Greece and Egypt, and the influence is clear in the kris-style blade on the present knife. This lot is offered with UK Ivory Act 2018 certificate number YYVM6VNZ

˜ A SALESMAN’S DISPLAY OF TWENTY-SIX POCKET KNIVES, LOCKWOOD BROTHERS, SHEFFIELD, LATE 19TH/EARLY 20TH CENTURY each struck with the maker’s details at the ricasso, comprising four with ‘Real Pampa’ blades; four with German silver scales, eighteen with ivory or ivorine scales, two with coloured enamel scales and two with tortoiseshell scales, mounted on board with stock numbers in ink and the makers details in gilt letters, with cover, 43.0 x 35.0 cm ProvenanceDavid Hayden-Wright (1936-2006)LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 197. This lot is offered with UK Ivory Act 2018 certificate number RXSIY057 The apparent founder of Lockwood Brothers Ltd was John Lockwood of Ecclesfield, who was apprenticed to file maker John Burgin and became a Freeman in 1767, when he was assigned the mark ‘CX’. In 1861 Lockwoods employed 500 staff and in 1865 they expanded their premises at Arundel Street. The enterprise became more closely involved in cutlery and trade catalogues show a wide range of knives and pocket cutlery with an emphasis on complicated sportsman’s patterns, hunting and skinning knives. By 1862 German counterfeiting had forced the company to adopt another mark: a Pampas rhea with the words ‘REAL KNIFE’ and ‘PAMPA’. The firm’s main trade mark was ‘C:X’. Lockwood’s also acquired a Maltese cross ‘L’ mark.

A FINE PERCUSSION CAP DISPENSER, SECOND HALF OF THE 19TH CENTURY of gun lock form, with hinged lid secured by a central stud with pivoting hook, sprung release catch, inlaid with large game in gold and with silver scrollwork on the front and a further hunting scene in silver on the reverse, all on a blued ground (refinished), 9.8 cm

‡ A GERMAN SMALL HUNTING TROUSSE, MID-18TH CENTURY comprising knife with broad single-edged blade struck with the letter 'P' on one face, moulded ferrule, natural staghorn scales retained by three rivets on foliate washers and engraved silver pommel, fork and bodkin mounted en suite, in its iron-mounted tooled leather scabbard (light insect damage), 26.0 cm overall ProvenanceJoe Kindig III (1923-2021), thence by descent

A CONTINENTAL SILVER-HILTED HUNTING SWORD, THIRD QUARTER OF THE 18TH CENTURY with associated blade formed with a pair of long fuller and double-edged towards the point, silver hilt cast and chased in low relief, comprising down-turned shell-guard decorated with a woodland pastoral scene, and tapering grip decorated with two differing biblical scenes front and back (rubbed), 54.7 cm blade

A HUNTING SWORD SIGNED PALMER, CIRCA 1880 with robust blade double-edged at the point and stamped with the bladesmith's name on one face, recessed ricasso, burnished steel hilt formed of a pair of straight quillons with rounded terminals and back-strap, and a pair of hardwood grip scales in the Ottoman fashion (one small crack), carved with pairs of chevrons and retained by three rivets with low domed heads, it its steel mounted leather scabbard with locket and chape engraved with pair of lines, the locket with a stud for a belt and locking lever, 36.8 cm blade

British India by John Ruddle: Elephants at work logging, hunting and ceremonial with conversions, Blenheim, Nostalgia, Kingcast, Toy Army Workshop etc. (Condition Good, some damage and repairs) (82)

Britains Hunting Series including RARE 623 Huntswoman with RARE Kew Huntspeople hound and a few others with Hill Innkeeper, a repainted Farmer, Boy on pony and four foxes (Condition Good-Fair, six damaged) (52)

A late 19th/early 20th century Swiss 18ct gold full hunter minute repeater pocket watch, the case heavily engraved with hunting scene and floral swags, the white enamel dial having Roman numerals, subsidiary seconds dial and blued hands, the cuvette engraved 'Repetition A Minutes', the 32 jewel movement having lever escapement, 54mm, 116.8 grams

A Quantity of Militaria, including a French Legion d'Honneur medal af, a black patent leather pistol holster and cartridge belt with silver buckle engraved ARIZONA BILL, HIGH CUP NICK, with hallmarks for Birmingham 1911, a pair of silver rowel spurs, with hallmarks for Birmingham 1917, a brown leather pistol holster and cartridge belt, three hunting horns, two brass baggage handles, a shot flask, two powder flasks, an Indian kukri, a Sarayevo knife etc, all contained in a pine explosives box

Four Various Hunting Knives with Leather Sheaths, comprising a Blackjack Blackmoor Dirk, an Outdoorsman by Cold Steel Inc., Ventura, Canada, a Wilkinson Sword with wood grip, and a Carl Schleiper with Ice Tempered steel blade; fourteen Various Knife Blades, including four by Brusletto, Norway and three by Frosts, Sweden (18)

A 1930s British hunting fox, with cinnamon mohair head, hands and tail, clear and black glass eyes with brown painted backs, black mohair behind eyes and edges of ears, white wool plush ear lining, felt and wool plush hunting pinks and leather boots --16 1/2in. (42cm.) high (some moth damage and wear, damage to boot)

A 19th century Continental miniature shadow box with bone hunting scene, in composition frame —4in. (10cm.) wide

HUCKLECOTE; a green gentleman's field country jacket, lined with plaid wool, with two large front pockets and quilted lining, size 42, and a Beaver 100% hunter green gentleman's hunting field jacket, lined with brown quilting, with front zip, leather trim and collar, chest 44" (2)Condition Report: Both jackets in good condition with some signs of use.

CHRISTIAN DIOR; a 100% lambswool grey scarf with embroidered logo, a Ralph Lauren burgundy red 100% lambswool scarf, an unused box of six black Pringle socks, UK 7-11, three pairs of Burberry socks, and a pair of Ralph Lauren socks, all unused, two pairs of Pringle golf socks, UK 7.5-10.5, in package, a pair of green unworn hunting socks, two Liberty silk hankerchiefs, and six further silk hankerchiefs, with a Fabio Ferretti silk tie and two further silk ties, unused.

A sterling silver snuff box of rectangular form, length 6cm, six modern sterling silver pill boxes to include novelty example in the form a sweet with transfer printed fox hunting scene and modern sterling silver miniature flask, combined weight 4.4ozt/136g (9).

A collection of assorted cufflinks, shirt studs and earrings, including a pair of Norwegian silver and guilloche enamel cufflinks, with green enamel decoration, a pair of sterling silver and hardstone examples, hunting examples, etc.

A Great War 1915 ‘Bellewaarde Ridge’ M.C. group of six awarded to Captain C. W. Brown, C.B.E., Royal Scots Fusiliers, latterly attached Egyptian Army, who served with distinction on the Western Front and later served with the Colonial Engineering Service Military Cross, G.V.R., the reverse privately engraved ‘Capt. C. Wilson Brown. R.S.F. Bellewaarde Ridge, 16th. June 1915.’; 1914-15 Star (2. Lieut. C. W. Brown. R. Sc. Fus.); British War and Victory Medals, with M.I.D. oak leaves (Capt. C. W. Brown.); Jubilee 1935, unnamed as issued; Coronation 1937, unnamed as issued, nearly extremely fine (6) £1,000-£1,400 --- M.C. London Gazette 14 January 1916. M.I.D. London Gazette 1 January 1916. Christopher Wilson Brown was born on 6 July 1891, the son of Samuel Brown of Dumfries. Educated at Dumfries Academy and the Royal Technical College, of which latter establishment he became Associate in 1911, Brown went on to take employment in Canada with the Civil Engineering works. Returned home to Scotland at the outbreak of hostilities, Brown was appointed to a commission in the Special Reserve, being posted to the 3rd Battalion of the Royal Scots Fusiliers soon thereafter. Sent to France on 5 December 1914, he arrived at a time when both sides had ‘dug in’ and trench warfare was in its infancy. Preparing for a harsh winter and mourning the loss of the original Expeditionary Force, the British army began to focus heavily upon localised operations seeking tactical advantages. As the Germans succeeded in their efforts to drive the Allied forces from the high ground around Ypres, an assault on Bellewaarde Ridge offered the opportunity to recover some important ground and act as a diversion. Just after sunrise on 16 June 1915, two infantry brigades of the British 3rd Division leapt out of their shallow trenches and charged into No Man’s Land. The First Attack on Bellewaarde by author Michael R. B. McLaren takes up the story: ‘What followed, on a hot summer’s day, was a somewhat typical British disaster of the early fighting on the Western Front; almost 4,000 casualties were suffered for a very little territorial gain that saw German retention of the dominant ground.’ For the gallantry which he displayed that day, Brown was awarded the Military Cross. He was further Mentioned in Despatches on 1 January 1916, before witnessing further action during the Battle of the Somme; it is believed by the current vendor that he was wounded at around this time and evacuated to hospital in Eastbourne to recover. Returned to duty with the war Office in 1917, Brown was seconded for service with the Egyptian Army. Sent to the 9th Sudanese Battalion on 8 October 1917, he joined the trek to Darfur on 16 October 1917 and spent the next three years maintaining law and order in the region. Transferred to the Gold Coast, Brown became Deputy Director of Public Works in Sierra Leone in 1928, before serving ten years from 1938 as Director of Public Work in Palestine. Retired from the Colonial Service in 1948, he later published a book which examined The Water Supply of Kumasi, Ashanti, 1939. Brown was further decorated with an O.B.E. in 1934, and C.B.E. in 1942. Sold with an exceptional hand-written diary detailing approximately three years of service in the Sudan from 1917 until 1920. Including some fine technical drawings, it focusses heavily upon his life at that time, including efforts to construct roads, houses and barracks, and recreational hunting trips, especially the pursuit of guinea fowl, waterbuck and gazelle in the local desert wadis. Approximately 194 x A5-sized pages, 20,000 words+.

AIRFIX; eight aeroplane model kits, mostly 1:72 scale, comprising 'Supermarine Spitfire Mk.1XC', 'Messerschmitt BF 109E-4/E-7', 'Supermarine Spitfire Mk.VB', 'Boulton Paul Defiant Mk.1', 'Grumman Martlet Mk.IV', 'Messerschmitt BF 109E-7/Trop', 'Supermarine Spitfire Mk.1/Mk.11A' and 'Hunting Percival Jet Provost T.3', all boxed (8)Condition Report: - These all belonged to the vendor's father. The vendor states that to the best of their knowledge, none of these have had items removed, and they should be complete. However, this is no guarantee that all components are present. Some boxes will also have white labels with writing on, with extra description.

Metalware - Brass comport inset with copper dish, in relief with hunting scene, diameter cm; a 19th century copper warming pan; brass jam pan; artillery shell; miniature brass tilt top table, etc.

A Hungarian Hollohaza figure, soldier on horseback, 27.5cm; another, post-hunting group, 21cm; a Hollohaza figure, girl in traditional costume, 30cm; a similar figure, gent with pipe (4)

A Royal Doulton figure, Genevieve, HN1962; a Royal Worcester Connoisseur Collection candle snuffer, Robin; a Royal Crown Derby 1128 pattern cake slice; a porcelain cup and saucer, painted by Rita Blyth, signed, ripe fruit on mossy ground; a Royal Doulton model, of a Siamese Cat; a Coalport Hunting Scene fruit bowl; a Royal Worcester Blind Earl cup and saucer; etc, qty

First world war memorabilia to include three handkerchiefs, one with "it's a long way to Tipperary", some framed embroidered postcards, a framed, part coloured photolithograph by Charles Johnson 'snaffles' "The Gunner, Good Hunting Old Sportsman" C1916 amd a Japanese paper hand fan.   

A Chinese blue and white porcelain small moon flask, Qing Dynasty late 19th century, painted with leafage and flower heads, dragons to the shoulders21.5cm high; and a modern Chinese baluster vase and cover painted with hunting dogs 20.5cm high (2)blue and white vase - one dragon with restored tailmodern vase - good condition

Henry Thomas Alken (1785-1851) A set of three hunting scenesone signedwatercoloureach 26 x 35.5 cm45 x 57cm framed

A set of seven Nymphenburg porcelain hunting figures, circa 1960, by Frankenthal, after the 18th century originals, each naturalistically painted and modelledlargest 18cm high Small chip to the end of one of the reigns, same figure has a broken end to the riding crop. Head and horn restored to the larger figure. One figure had a restored hand and a missing riding crop. 

A large goblet, 19th century, the bowl engraved with a continuous hunting scene 22cm highProvenance:Private collection, Launceston Place, London, W8

A 19th Century Chinese polychrome decorated dish decorated with lilies with gilt highlights 22.5 cm diameter together with a blue and white decorated Chinese vase with figural and flower design 21 cm high, a Delft blue and white floral decorated plate 22.5 cm diameter and a 19th Century Japanese charger decorated with figures hunting and fishing with oxide red and gilt highlights, bears oxide red six character mark to base and further mark in blue 40 cm square together with a tea pot lid (5)

A wooden wine crate containing an early 20th Century oak cased mantel clock with dove and sunburst decoration, the white enamelled dial set with Arabic numerals together with a copper and brass hunting horn, kettle and jardiniere/pan, decorative china wares etc

Two boxes of books, mainly on the subject of Gardening, including "Lowden's Landscape Gardening of Humphrey Repton", ANNE SCOTT JAMES "The Cottage Garden", "Wyman's Gardening Encyclopedia", Reader's Digest "New Illustrated Guide to Gardening", Reader's Digest "The Gardening Year", Reader's Digest "Complete Library of the Garden in Three Volumes", etc., FRANCIS GEORGE HEATH "Fern World", together with some Sporting books including GODDARD & CLARK "The Trout and The Fly", DERMOT WILSON "Fishing the Dry Fly", KURT G BLÜCHEL "Game and Hunting", ALEX QUICK "102 English Things To Do", etc, etc.

Four boxes containing various jardinieres, fake flowers, china plates etc together with a copper warming pan and a mirrored door bathroom cabinet (4 boxes + 2) CONDITION REPORTS Please note that the hunting horns previously mentioned in this lot have been removed

A Georgian period glass hunting cup of unusual form, with fine Baroque engraving, 14cm high, circa 18th Century (some old damage)

A MIXED LOT TO INCLUDE SET OF FOUR COPPER HUNTING HORNS, STAND ETC

Number of hard back books including 'Nimrods Hunting Tours' illustrated and published in London in 1903

Large selection of Staffordshire china cups, saucers, bowls, tea cups and others with fox hunting scene

Print of hunting scene, horses and hounds

Large crate of mixed copper and brass items including hunting horns, ornamental figures, trivets and wall ornaments

Mixed lot of ceramics including hunting scene Staffordshire cups and saucers and containers with dinner plates, additional Royal Crown Derby plates, side plates, Royal Doulton jug

A SOUTH STAFFORDSHIRE ENAMEL HUNTING BONBONNIÈRE, CIRCA 1765-1770 oval-shaped and moulded in high relief with hunting trophies including a pistol, powder flask, hunting horn, game bag and a shot hare, with a ribbon inscribed A la chasse amoureuse, the sides with a blue ground enhanced with a lattice of raised white enamel dots, the cover with a mixed flower spray within a white ground panel, also edged with gilt scrolls, fitted with a hinged metal-mount. 6cm wide

Manner of Munnings. Rural scene with shire horses, coloured print, 29cm x 35cm, other rural prints including hunting. (5)

A Beswick part hunting set, comprising huntsman on brown horse and four hands.

20thC Russian School. Duck Hunting, coloured print, 33cm x 44cm.

Large gilt framed hunting print on canvas, overall 98 x 72cm. Not available for in-house P&P

Meticulous tankard with lid featuring a raised hunting scene along the body. Made in West Germany impressed to underside. Dimensions: 4.5"L x 5.75"W x 8.5"HCountry of Origin: GermanyCondition: Age related wear.

Luigi Vanvitelli (Naples, 1700 - Caserta, 1773)Autograph letter signed, dated Naples September 15, 1770, in which the distinguished architect, author of the design of the Royal Palace of Caserta (1752-1845) informs the correspondent of his wish to accept the task related to the design of a garden near a hunting lodge in the countryside of Palermo. "...l'avermi conceduto la grazia di comandarmi la disposizione del giardino presso il Casino di Campagna nella via di Morreale che a Vostra Eccellenza appartiene...". He also shows gratitude for the gift of some "alcuni Barilotti de' preziosi vini della Sicilia". 1 page, in-4. Slight moisture stains.

Giacomo Puccini (Lucca, 1858 - Brussels, 1924)Autograph letter signed, dated Milan, February 16, 1921, addressed to "Tonino" [Antonio Bettolacci]. A beautiful letter with musical references. He expresses his intention to sell his estate La Tagliata but he finds the offered price too low. Therefore, he decides that "non se ne fa nulla (...) non ho fretta". He then discusses his musical endeavors: "lo non lavoro per ora, lavorerò quando avrò il libretto" (he refers to "Turandot" with libretto written by Renato Simoni in collaboration with Giuseppe Adami, basing on Carlo Gozzi's tale. This opera engaged Puccini for six years and was left unfinished. It was performed, in its incomplete form, at La Scala on April 25, 1926, conducted by Toscanini). Puccini wishes to return to Torre del Lago: "Di Milano sono saturo, solo mi attarda l'idea delle persone di servizio che sono qui e non posso averne a Torre. E mangiare da Emilio, anche facendomi servire in casa non mi va". He then alludes to his latest international success: "Ad Amburgo e a Praga TRITTICO gran successo" ("The Triptych" – "Gianni Schicchi", "Suor Angelica", "Il Tabarro" – was first performed at the Metropolitan in New York on December 14, 1918). He continues by discussing his hunting exploits and repeating that he is not willing to sell his estate "La Tagliata" for less than 60,000 lire “vuota”. 2 pp. In-4°.