A.J. (Joey) Carter-Wood, (British 1890-1915), "Lingering Sun", a view of the Solway looking towards Criffel, signed, oil on canvas, inscribed to Stretchers verso "A.J. Carter-Wood", also indistinctly inscribed in pencil and with applied plaque for James Lanham Artists Colorman (sic) St Ives, Cornwall, mounted with a contemporary frame, 102 cm x 66.5 cm. NOTE - A talented artist who at the age of 25 volunteered his services in the Coldstream Guards under the rank of Lieutenant. He was in France only a matter of weeks before he received a fatal wound engaging in trench warfare at a battle at La Bassee. He is exhibited at the Royal Academy, the Walker Art Gallery and Lakes Art Society. Known as Joey to friends he was born in Newlyn, Cornwall in 1890, and was working under the influence of Stanhope Forbes (leader of the Newlyn School). The Carter-Wood's owned Artillery Place Brewery for several generations which in 1891 was purchased by Watneys and promptly closed down. It is then that the family relocated from the south of England to the Lake District, eventually residing at Skinburness Tower, Silloth. His sister Florence Carter-Wood has a very unhappy union with Sir Alfred Munnings. She was his first wife and so unhappy at the union and being parted from her secret lover she tried to commit suicide on the night of her honeymoon. This attempt was unsuccessful; however two years later took her life by swallowing cyanide (see illustration).
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SOUL/JAZZ 7". Approx 150 x 7" singles to include some killer titles and labels. There's George Stone - Hole In The Wall (SS 479, Demo, VG+), Sugar Simone - Suddenly (WI-4029, VG), Etta James - Anything to Say You're Mine (7N.25080, VG) and more from Professor Longhair, Johnnie Taylor, Tower of Power, Howlin' Wolf, Booker T, Inez and Charlie Foxx, Art Neville, Clyde McPhatter, Dean Parrish, Count Zebra and the Seasiders, Jack Good, Willie Mitchell, The Charmettes and more. Condition runs from VG to Ex+ (with two sealed titles included).
James Mahony ARHA (1810-1879)The Official Opening of 'The National Exhibition of the Arts, Manufactures and Products of Ireland' Cork, 1852Watercolour, 74 x 66cm (29 x 26'')This large watercolour by James Mahony depicts the building designed by John Benson for the “National Exhibition of the Arts, Manufactures, and Products of Ireland” held in Cork in 1852. The exhibition took place on the Corn Exchange site on Albert Quay-where City Hall now stands-and was opened by the Lord Lieutenant, Archibald Montgomerie, 13th Earl of Elginton, on June 10th of that year. The watercolour depicts a long line of eminent citizens, waiting to be introduced to the Lord Lieutenant, who stands on a carpeted dais in the foreground. A tipstaff announces the names of those who are to ascend the steps to the dais; they appear to be mainly men, while the audience looking on from both sides is composed mainly of women. First in line is a man, hat in hand, wearing a blue sash and medallion. Galleries on either side of the hall are also packed with spectators. Benson was a brilliant engineer and architect, who used innovative building methods; the roof of the Cork Exhibition hall, with its four transepts, was constructed of laminated wood trusses, bent into semi-circles, and linked together to form a strong but light structure. Large skylights admitted light into the building. The same system was used in his designs for other Cork buildings, including the Butter Market, the Firkin Crane and the English Market. Following on from his success in Cork, Benson was engaged to design the buildings for the Dublin International Exhibition in 1853. Unfortunately, being constructed mainly of wood, over the years all of Benson’s Cork buildings have been destroyed, or have lost their original truss roofs, as a result of fire. When the Cork National Exhibition ended, the building was dismantled and sold to the trustees of the Royal Cork Institution. Three years later it was re-erected, on a site beside the Cork School of Art (now the Crawford Art Gallery). Titled “The Atheneaeum”, it was inaugurated by the Lord Lieutenant, George Frederick Howard, Earl of Carlisle, and over the following decades was used mainly for lectures, exhibitions and performances. Re-named the Cork Opera House in 1877, it hosted many theatrical and opera performances before being destroyed by fire in 1955. Mahony’s watercolour depicts the first inauguration of the building in 1852. He depicts an ornate but functional interior, one that combined conventional architectural elements, including Corinthian columns, with proto-Modernist construction methods. When the building was re-erected as the Athenaeum three years later, it was a simpler structure, and by the time it was remodelled as the Cork Opera House in the later nineteenth century, it had lost most of its original embellishments. A contemporary wood engraving by Mahony, published in The Illustrated London News, shows another transept in the Cork Exhibition complex, the Fine Arts Hall. Born in Cork in or around 1810, James Mahony specialised in views of historical events and paintings with religious themes. He first exhibited in the 1833 exhibition of the “Cork Society for Promoting the Fine Arts” and during the following years travelled extensively on the Continent, mainly in France and Italy. Returning to Ireland, he settled at the home of his father, a carpenter, at 34 Nile Street. The date of his return has not been established precisely; Strickland gives it as 1841, but in 1839 Mahony painted a large watercolour of the blessing of the Church of St. Mary’s on Pope’s Quay, a painting now in the Great Hunger Museum in Quinnipiac, Connecticut. During those years Mahony also set about founding, along with fellow artist Samuel Skillen, a Cork Art Union. The concept of an Art Union, where works of art from an annual exhibition were distributed by lottery amongst a group of subscribers, had already been put into operation in London and in other cities. An Art Union in Dublin had been founded two years previously, and there was also one in Belfast. Each member paid an annual subscription of one pound. This gave the subscriber (and up to three friends) free admission to the exhibition, as well as participation in the lottery of paintings. In the first year of the Union's operation in Cork, it was reckoned that more than £100 would be spent on the purchase of paintings, to be distributed amongst the subscribers. The first exhibition was held in September 1841 at Marsh's Rooms on the South Mall, and in spite of the bad weather was an immediate success, with Mahony and Skillen both amongst the exhibitors.Mahony showed again in 1844, submitting two paintings to the Cork Art Union Exhibition, Strada di son Giardino a Subraio, and Nella Chiesa di San Maria della Fiore a Genzano vicino di Roma, both priced at four pounds and four shillings. In November 1846, his view of the Fr. Matthew Memorial Tower at Glanmire was presented to Queen Victoria. Around this time, he resumed his travels, spending a number of years in Spain, before returning to Ireland. In 1852, as well as depicting the inauguration of the Cork National Exhibition, he showed several watercolours in the Fine Arts section, including The City of Cork from the river near the Custom House and Queens College, Cork, along with views of Venice and Rome. Settling in Dublin four years later, he exhibited at the RHA, and was also made an associate of the Academy. A large panoramic view of Dublin, in the National Gallery of Ireland, shows his talents in rendering architectural detail. Also in the NGI is his watercolour depicting the visit by Queen Victoria and Prince Albert to the 1853 Dublin Exhibition. In 1859 Mahony moved to London, where he worked as an illustrator, until his death in 1879. While he produced paintings of notable building, and civic and cultural events, Mahony is best known nowadays for his graphic images of the effects of famine in Co. Cork, which were published in The Illustrated London News in the 1840’s. These harrowing images influenced public opinion, and helped changed the British government’s official stance of indifference to the Great Famine. James Mahony is not to be confused with a later Cork artist, James Mahoney, who also painted in watercolour. (See Julian Campbell Irish Arts Review Vol 28, No. 2 (2011) p. 98]Peter Murray, April 2018
James I, Shilling, second coinage, fourth bust, MM rose, rev QVAE DEVS etc; legend weakly struck between 11 & 1 o'clock & correspondingly on rev o/wise AFine, together with Charles I shilling Tower Mint under king, MM tun, no inner circles, rev. round garnished shield; bust weak apart from crown & part of drapery o/wise generally good edge & surfaces, bust Fair o/wise Fine & Ireland James I, 2 x shillings: (1) first coinage MM bell, rev. EXVRGAT DEVS etc around crowned harp, flan sometime creased & straightened, surface marks/small digs o/wise full flan, bust VG o/wise Fine & (2) second coinage MM escallop, rev. HENRICVS ROSAS etc around crowned harp; flan creased & straightened & small piercing at base of bust just above inner beaded circle, small edge striking crack at 2 o'clock, bust VG o/wise Fine
7 x Hammered Silver Pennies comprising: 2 x Henry VII: 'Sovereign Coinage,' both York Ecclesiastical Mint under Archbishop Rotherham: (1) obv King seated on throne with no pillars, rev CIVIS EBORACI, keys below shield & (2) King seated on throne with two pillars, rev. keys below shield; 2 x Henry VIII: 'Sovereign Coinage' Durham Ecclesiastical Mint, Sede Vacante issue (1529-1530) MM star, obv. King seated on throne, rev. plain shield & Posthumous Coinage London Mint, no MM, obv. facing bust; 2 x James I: first coinage, MM lis, rev. square shield with MM above & Second Coinage MM escallop, obv rose in centre, rev thistle in centre & Charles I Tower Mint under King, MM two pellets, rose within inner circle both sides, together with Mary Queen of Scots, First Period billon lion (1½d) 1588, obv. large crowned M, rev VICIT VERITAS around crowned lion rampant; generally AFine to GFine or+
Ex Libris / Bookplate Interest. Two volumes of 'The Paston Letters', 1872, each volume bearing the following bookplates to front paste-down endpapers: Hamilton Owen Robert (1843-1902), the engineer who designed and installed the original raising mechanism of Tower Bridge; the second bookplate, pasted over the edges of the first, for Josiah C. Wedgwood (1872-1943), the British Liberal and Labour politician who served in government under Ramsay MacDonald (and great-great-grandson of the famous potter and entrepreneur Josiah Wedgwood). Together with a copy of 'Select Statutes and Other Constitutional Documents Illustrative of the Reigns of Elizabeth and James I', G. W. Prothero, Oxford: Clarendon Press, 1894; again bearing an armorial bookplate (different design) for Josiah C. Wedgwood. (3)
JAMES RICHARD MARQUIS, RHA (fl.1853-1885)Shipping off Howth Harbour, looking towards Ireland's EyeOil on canvas, 61 x 92cmSignedSon of George Marquis, a Scottish builder, of James Street E, Dublin, and Park House, Baldoyle, James became a pupil in the Royal Dublin Society’s School in 1847, and afterwards practised as a landscape and marine painter in Dublin. He began to exhibit in the Royal Hibernian Academy in 1853; was elected an Associate in 1861, and a Member the following September. Between 1853 and 1885 he exhibited over 200 works at the RHA. He later went to London, but continued to send his pictures to the Dublin Academy until his death in 1885, and also made a few contributions to the London exhibitions. Towards the end of his life he married and lived mostly in Edinburgh. He exhibited in the Royal Scottish Academy from 1869 to 1873, when he was living in Edinburgh. Walter Strickland notes that ‘Marquis enjoyed some reputation in his day as a painter, but his works are now seldom met with. Several examples, one at least of considerable merit, belong to Mr. MacDougal of Drumleck, Howth’.Marquis was equally adept at landscapes as he was at coastal and pure marine works and the range of titles of works exhibited by him reflects this. The present work depicting a fishing boat returning to Howth Harbour, to the north of Dublin is one of many paintings of scenes around Howth and Baldoyle painted by Marquis. The fishing boat is heading away from us and in choppy seas is making headway towards the harbour which can be seen on the very left of the composition. The mass of Ireland’s Eye with it’s Martello tower on one side and the Stacks on the other neatly balances the red sails of the prominent fishing boat. Behind one of the fishermen can be seen Lambay Island in the distance. A small piece of flotsam in the foreground also adds to the composition by drawing the viewer’s eye from the base of the painting upwards in a zig-zag direction and leaves you admiring the expanse of wind blown sky which is painted with great skill.
Atkinson (R.H.M. Buddle & Jackson, G.A.). Brougham and His Early Friends, Letters to James Loch 1798-1809, 3 volumes, privately printed, 1908, bookplates to front pastedowns, minor toning, uniform publisher's original gilt decorated vellum, spines slightly marked, 8vo, together with The Reminiscences and Recollections of Captain Gronow..., 2 volumes, limited edition 687/875, 25 hand coloured and black and white plates, bookplates to front pastedowns, some light spotting, uniform original brown cloth, gilt decorated armorials to front boards, slightly rubbed to head and foot, 8vo, and Ffoulkes (Charles J.), Inventory and Survey of the Armouries of the Tower of London, 2 volumes, H.M.S.O., 1914, 38 plates plus numerous black and white illustrations, colour frontispiece to volume 1, some minor toning, uniform original gilt decorated blue quarter cloth, spines and boards lightly rubbed to head and foot, large 4to, plus other late 19th and 20th century historical reference, literature and related including The Works of Samuel Johnson, LL.D, 12 volumes, new edition, 1801, mostly original cloth, some modern rebindings, G/VG, 8vo/folio (6 shelves)
Original vintage advertising poster for the American Bankers Association: Travel Money For Your Trip “A.B.A†Cheques Safe, Handy, Self-Identifying Good Everywhere Travel on A.B.A. cheques while seeing the world. Great painting featuring a group of well dressed travellers wearing suits, dresses and hats, some sitting on their luggage and others standing by the edge admiring the view of the world below as they fly on an A.B.A cheque styled like a magic flying carpet over landmarks and monuments of various world cities, including St Paul's Cathedral in London, skyscrapers in New York, the Coliseum in Rome, the pyramids in Egypt and the Eiffel Tower in Paris with the information text on the left in stylised black letters. The American Bankers Association (ABA) is a trade association that was founded in 1875 by James Howenstein as a result of the Panic of 1873; now based in Washington DC. Horizontal. Good condition, creases, defects and staining in margins.Country: USA, year: 1930s, designer: Unknown, size(cm): 28x53.
James I (1603-1625), fine gold Rose Ryal of Thirty-Three Shillings. Second coinage (1604-1619), King in robes seated facing on throne within tressure, holding orb and scepter, portcullis below, initial mark tower (1612-13), struck over mullet on obverse, Latin legend and beaded border surrounding, IACOBVS. D; G; MAG; BRIT FRAN; ET. HIBER; REX., rev. quartered shield upon large rose, within beaded circle.A. DNO. FACTVM. EST. ISTVD. ET. EST. MIRAB; IN. OCV. NRIS., weight 13.59g (SCH 10; Stewartby C/j; N 2079; S 2613; Fr 230; KM 42). Well struck on obverse, just a hint of weakness to high points of central design, reverse double struck at center, in PCGS holder graded AU 58, Pop 1; tied with another AU 58 at NGC as the only 2 examples graded at both services, rare this nice. Estimated Value $33,500 Ex: Munzen and Medallien, Basel Switzerland, Auction 95, 4th October 2004, lot 448. PCGS certification 34313457. Such large gold coins were struck in 23 and a third carat "fine" gold and were current at time of issue for 33 Shillings according to a new indenture of the 18th May 1612 with Sir Richard Martin and Richard Martin Master-Workers when the denominations were raised 10% in value. This sparked an increase in output as the total recorded of fine gold was £3,094 which is just over £1,100 more than any other fine gold output for the other mint marks. See also, Rose Ryals of James I 1605-17, by Lord Stewartby, British Numismatic Journal, Volume 71, 2005, six examples listed of this mint mark out of a survey of 59 pieces.
‡ James Tower RA (1919-1988) Winter Grasses-Opus 202, 1986 a stoneware vase, white tin-glaze with wax relief, incised James Tower 86, paper label James Tower 202, 45cm. high Literature Timothy Wilcox The Ceramic Art of James Tower, Lund Humphries, page 196 cat. no.202. Provenance Sheila Harrison Fine Art, 7th February 1989. Exhibited British Studio Pottery The Collection of a Discerning Academic, Monnow Valley Arts, 28th September- 8th November 2009, catalogue number 38. 20th Century British Studio Pottery from the Collection of an Oxford Graduate, Ashmolean Museum 14th April-14th August 1994, catalogue number 50.
‡ James Tower RA (1919-1988) a rare tin-glazed earthenware goblet vase, flaring footed form, decorated in resist with geometric panels in olive green-brown, incised Tower to foot, hairline to top rim, 20cm. high Provenance Contemporary Ceramics, Christie's King Street, 20th November 1989, lot 123. Exhibited 20th Century British Studio Pottery from the Collection of an Oxford Graduate, Ashmolean Museum 14th April-14th August 1994, catalogue number 52.
Germany. Homann (Johann Baptist, heirs of), Tractus Nordlingensis Germ. Ries dicti accurata descriptio..., 1738, engraved map with contemporary hand colouring, numbered key, inset town plan of Nordlingen, 495 x 590 mm, together with Wyld (James), The Prussian Government of Stralsund (formerly Swedish Pomerania), circa 1850, engraved map with contemporary outline colouring, inset plan of Stralsund, slight offfsetting, 570 x 570 mm The first described map depicts the area surrounding Nordlingen, in the northern portion of Swabia in Bavaria. Towns of various sizes, castles, mills, roads, and even fields are graphically illustrated. At bottom is a large view of the city, dominated by the Gothic church of St. George with its bell-tower named "Daniel." A numbered key identifies seventeen important locations on the map. Nordlingen was the site of two battles during the Thirty Year's War, and remains one of the few cities in Germany that maintains a fully preserved wall surrounding the city. (2)
*James I, Second Coinage, spur-ryal, m.m. tower, obv., King in galleon holding sword and shield, i on standard at prow and a rose on ship’s side, rev., Royal floriated cross with rose over sunburst at centre, 6.73g (N. 2080; S. 2614), unfortunately with a small piercing at 6 o’clock on obverse, outer rim lacking from 9 to 12 o’clock, otherwise extremely fine and rare
AYLWARD, J. D., The English Master of Arms from the Twelfth to the Twentieth Century (1956); BLACKMORE, Howard, The Armouries of the Tower of London, Volume 1, The Ordnance (1976); BLACKMORE, Howard, Royal Sporting Guns at Windsor (1968); BLAIR, Claude, A Royal Swordsmith and Damascener: Diego de Caias, Metropolitan Museum Journal, Volume 3 (1970); BLAIR, Claude, Three Presentation Swords in the Victoria & Albert Museum (1972); BLAIR, Claude, Two Toy Jousters (1966); BOSSON, Clement, Souvenirs de l'Escalade au Musee d'Art et d'Histoire (1952); CALVERT, Albert, Spanish Arms and Armour: The Royal Armoury of Madrid with 386 Illustrations (1907); FFOULKES, Charles, Arms & Armament, An Historical Survey of the Weapons of the British Army (1947); FFOULKES, Charles, Arms and the Tower (1939); HEWITT, J., The Tower: Its History, Armories and Antiquities (1845), together with an autographed letter by the authour; KAMNIKER, K & KRENN, P., Die Zweihander des Landeszeughauses in Graz (1973); KEEGAN, John & DARRACOTT, Joseph, The Nature of War (1981); KENNARD, A.N., French Pistols and Sporting Guns (1972); LAKING, Sir Guy Francis, Wallace Collection: Oriental Arms and Armour (1964); MANN, James (foreword), Exhibition of Arms, Armour and Militaria lent by H.R.H. The Duke of Brunswick (1952-53), two copies; MANN, James (introduction), Exhibition of Spanish Royal Armour in the Tower of London (1960); MANN, James, A European Sword of the late XIVth Century with an Arabic Inscription, Israel Exploration Society, Volume 7 (1963); MANN, James, Instances of Antiquarian Feeling in Medieval and Renaissance Art, The Archaeological Journal, Volume 89 (1933); MANN, James, The Funeral Achievements of Edward, The Black Prince (1951); MANN, James, The Lost Armoury of the Gonzagas: Part II, The Archaeological Journal, Volume 100 (1945); MANN, James, The Wallace Collection Catalogues, Volume 1: Armour; Volume 2: Arms (1962); NORMAN, A.V.B., Arms & Armour (1972); NORMAN, A.V.B., The Medieval Soldier (1971); REID, William, The Lore of Arms (1976); RICKETTS, Howard, Arms & Armour (1973); ROBINSON, H. Russell, Il Museo Stibbert (1974); ROBINSON, H. Russell, What Soldiers Wore on Hadrian's Wall (1976); ROBSON, Brian, Sword of the British Army (1975); SAILHAN, P., Typologie des Archeres et Canonnieres: Les Archeres et chateaux de Chauvigny, Bulletin des Antiquaries de l'Ouest, Volume 14 (1978); SILVER, George, Paradoxes of Defence 1599, Shakespeare Association Facsimiles No. 6, OUP (1933); SOTHEBY'S, The Hever Castle Collection: Arms and Armour (1983); UHLEMANN, H.R., Kostbare Blankwaffen aus dem Deutschen Klingenmuseum Solingen (1968); V&A, A Picture Book of Arms and Armour (1932); VARIOUS AUTHORS, The Canadian Journal of Arms Collecting, Volume 13 No. 2 (1975); VARIOUS AUTHORS, Varia, Svenska Vapenhistoriska Sallskapet, No. 4 (1976)
BÄUMEL, Jutta (ed.), Dresdner Rüstkammer (1992); BORG, Dr. Alan, Royal Armouries, Torture and Punishment; CAPPELLI, Licinio (ed.), Le Armi Degli Estensi, La collezione de Konopiste (1987); CAPWELL, Tobias, Masterpieces of European Arms and Armour in the Wallace Collection (2011); DE BORCHGRAVE D'ALTENA, Joseph (Preface), Armes Anciennes des Musée de Belgique, Collection Solvay, Bruxelles (1972); EDGE, David, The Wallace Collection, European Arms and Armour (1992), four copies; GAIER, C., Le Musée d'Armes de Liège sort de sa réserve (1990); GAIER, Claude, Prestige de l'armurerie portugaise. La part de Liège (1991); GOLDLINE, Georges (foreword), Musee d'armes de Liege, Collection Pierre Solvay (1976), two copies; GRANCSAY, Stephen V., The Metropolitan Museum of Art, Historical Armour, A Picture Book (1951); HAMMOND, Peter, The Royal Armouries at the Tower of London: Official Guide (1986); HAYWARD, J. F., Victoria and Albert Museum, European Armour (1951); HAYWARD, J. F., Victoria and Albert Museum, Swords and Daggers (1963), two copies; HOLMES, M. R., The London Museum: Arms and Armour in Tudor & Stuart London (1970); INGAMELLS, John (forward), The Wallace Collection, Guide to the Armouries (1982); JACOBS, E. A. (preface), Musée Royal de l'Armée et d'Histoire Militaire, Bruxelles, Armes and Armures (1992); KRENN, Peter, The Landeszeughaus of Graz, English Edition (1991); MANN, Sir James, Wallace Collection Catalogues, European Arms and Armour, Volume I Armour; Volume II Arms (1962); MILLER, Dr. Jurij A., Masterpieces of Russian Hunting Arms from The State Hermitage Museum, St. Petersburg (1996); MILLER, Dr. Yurij A., Caucasian Arms from The State Hermitage Museum, St. Petersburg (2000); MÜLLER, Heinrich (foreword), Alte Hieb- & Stich-waffen (1986); MUSEE DUCAL DE BOUILLON, Belles Armes Anciennes (1971); NORMAN, A. V. B. & WILSON, G. M., Treasures from the Tower of London, An exhibition of Arms and Armour (1982); NORMAN, A. V. B., Wallace Collection Catalogues, European Arms and Armour Supplement (1986); PYHRR, Stuart (introduction), The Metropolitan Museum of Art, Arms and Armor: Notable Acquisitions 1991-2002 (2002); REVERSEAU, Jean-Pierre, Musée de l'Armée, Armes et Armures (1993); ROBINSON, H. R., Treasures of the Tower, Armours of Henry VIII (1977); SCHOBEL, Johannes, Historisches Museum, Staatliche Kunstsammlungen Dresden (1987); TARASSUK, Leonid, The Art Institute of Chicago, Italian Armour for Princely Courts, Renaissance Armor from the Trupin Family Trust and The George F. Harding Collection (1986); TEMESVÁRY, Ferenc, Arms and Armour, The treasures of the Hungarian National Museum (1992); TEMESVÁRY, Ferenc, Waffenschätze Prunkwaffen (1982); THE METROPOLITAN MUSEUM OF ART, Guide to the Collections, Arms and Armour (1968); THOMAS, Bruno & GAMBER, Ortwin, Die Innsbrucker Plattnerkunst, Katalog (1954); TOJHUSMUSEET (Copenhagen), The Royal Danish Arsenal Museum, Illustrated Guide to the Permanent Exhibition (1979); UNKNOWN AUTHOUR, Oude Wapens uit de Musea van Belgie (1972); VLADESCU, Christian, KONIG, Carol & POPA, Dan, Arme in Muzeele din Romania (1973); VLADIMIRSKAYA, N. S., Treasures of the Moscow Kremlin,
BLAIR, Claude, European Armour, c. 1066 to c. 1700 (1958); BLAIR, Claude, The Silvered & Engraved Armour of Henry VIII in the Tower of London (1965); BURGESS, Martin, The Mail-Maker's Technique, The Antiquaries Journal, Volume 33 (1953); DE REUCK, Anthony (compiler), Arms and Armour Society: The Art of the Armourer, Victoria & Albert Museum (1963); DUFTY, A.R., European Armour in the Tower of London (1968); FRANZOI, Umberto, Armoury of the Doge's Palace in Venice (1966); MANN, James (foreword), Exhibition of Armour made in the Royal Workshops at Greenwich at the Tower of London (1951); MANN, James (foreword), Exhibition of Armour of Kings and Captains from the National Collections of Austria at the Tower of London (1949); MANN, James, Notes on European Armour including: The Evolution of Plate Armour in Germany; Notes on the armour worn in Spain, 10th-15th centuries; The Sanctuary of the Madonna delle Grazie; Notes on the Armour of the Maximilian Period (1929-32); MANN, James, The Decoration of Armour, C. A. Parsons & Co. Ltd House Magazine No. 54 (1962); ROBINSON, H. Russell, Problems in Reconstructing Roman Armour (1972); ROBINSON, H. Russell, Roman Armour: Reconstructions by H. Russell Robinson (1969); ROBINSON, H. Russell, Roman Body Armour in the First Century A.D. (1974); ROBINSON, H. Russell, The Armour of Imperial Rome (1975); THOMAS, Bruno, Harnische (1947) (15)
Smurthwaite (Henry) Racing Illustrated, Vols I - III, 1895-96, The Sportsman, three folio volumes, original cloth gilt; Heber (Reginald), An Historical List of Horse-Matches Run ... Volumes IV (1754), V, VII to XVIII (1768), 1755 to 1769, fourteen volumes, calf; Tuting (William) & Fawconer (Thomas), The Sporting Calendar ..., Volumes I (1769) to VIII (1776), 1770-nd., eight volumes, calf; Weatherby (James & Edward), Racing Calendar: Containing An Account of the Plates, Matches and Sweepstakes.,,, Volume 5 (1777) to Volume 42 (1814), 1777-1815, thirty-eight volumes, calf; Pick (William), The Turf Register, and Sportsman & Breeder's Stud-Book ... Volumes I & II, 1803-5, two volumes, calf (joints cracked); with one other [from the library of Short-Flatt Tower, Northumberland]
British Coins, Henry VI, rosette-mascle issue (1430-1431), groat, Calais, mascle before second L in VILLA (S.1859), very fine; Charles I, halfcrown, Tower mint, under Parliament, type 3a3, mm. (R) (1644-1645) (S.2778), fine; with Edward VI, sixpence, mm. tun; Elizabeth I and James I, shillings (2), much clipped; Scotland, James VI, eighth coinage, ⅛-thistle merk, 1602 (S.5500); Ireland, second coinage, shilling, mm. rose (S.6515), last shows no portrait, fair to fine, except as stated (7)
(US) 60s-80s 7" - Around 95 x 45s ready for your jukebox! Artists/cat. numbers include The Chaps (Paula TM 1773), Marvin Gaye (T 54161, T 54095, T 54122, T 54068), Max Frost And The Troopers (Tower 419), Vickie Lawrence (Bell 45 303), The Temptations, B J Thomas - Hooked On A Feeling (promo SCE 12230), Rufus Thomas (S-140, STA 0079), The McCoys (inc. W 10054), James Brown (inc. 45-6155), Solomon Burke (45-2196), The Ikettes (45-6212, 45x1008, Modern 1003), Stonewall Jackson (4-41533, 4-41393), The Left Banke, The Magic Lanterns, Otis Redding, Chic, Candi Staton, Crystal Gayle and Smokey Robinson And The Miracles. Condition is generally VG to Ex.
A quantity of various stoneware flagons and jars including examples for The Aylesbury Brewery Company Limited, John White & Co of Leighton Buzzard, James Pettit of Aylesbury, Tadcaster Tower Brewery Co Grimsby, Robert Horne & Co Kingston, Walter and Alfred Gilbey London, W Calverley & Son North Shields etc (20) and a pestle and mortar by S Maw Son & Sons CONDITION REPORTS North Shields flagon - part of a drilled cork to the top, crack near the top of the handle. Body with many various scratches and scuffs. Various general signs of wear and tear conducive with age and use throughout. Bottom has been drilled by the back so once used as a table lamp base. Remaining flagons/jars etc all with various chips, scratches and scuffs. All show various general signs of wear and tear throughout - see images for further details. Jar marked Walter & Alfred Gilbey Pantheon Oxford Street London W approx 32 cm tall - handle missing and crack and loss to the bottom. The Robert Horne & Co Distillers Kingston of Surrey bottle - handle missing approx 49 cm tall, some crazing and possible crack to the front. The Tadcaster Tower Brewery Co Bethlehem Street Grimby bottle - various cracks to the plaque at the front, bottom has been drilled at the back as a table lamp, two chips to the rim, approx 49 cm tall. The James Pettit of Aylesbury bottle - various chips to the rim, approx 40 cm. The John White & Co Wine and Spirit Merchants of Leighton Buzzard approx 32 cm tall - a chip to the rim and The Aylesbury B22596 bottle is chipped to the rim - 26 cm tall
Joyce (James) Ulysses, 4to L. (folio) 1998, Ltd. Edn., 215 (1760) Copies, bound in full goatskin with design by Jeff Clements, in clam box; Joyce (James) Th Cat and the Devil, 4to, L. (Faber & Faber) 1965, illus. by Gerald Rose, decor. cloth; Yeats (W.B.) The Tower, 8vo, L. (Folio) 1987, uncut, decorative cloth backed marble boards, clean copy. (3)
A Regency mahogany and barber pole strung stick mercury, silvered scale with alcohol thermometer, sliding indicator, signed Whitehurst & Son/Derby, broken architecturally pedimented top, domed reservoir cover, the case with brass presentation plaque below scale inscribed Revd. J. Pattinson/Repton, 96.5cm high.John Whitehurst II (1761-1834) was apprenticed in Congleton to his father James and succeeded to the firm started in Derby by his famous uncle, John Whirtehurst FRS (1713-1788). His son John (1788-1855) was apprenticed to him 1802-1809 after which he joined his father in business, their products thereafter being signed Whitehurst & Son/Derby and numbered from a year or so later, suggesting this instrument was made c. 1809/1810.Revd. John Pattinson was vicar of Repton from 1804. Dr. J C Cox, writing in 1878 of an ancient stone under the tower of the church, 'It will scarcely be credited that a late incumbent (Rev. John Pattinson) had it taken away and cut and dressed to form a door-step for the parsonage dairy!'.
Joyce (James). Ulysses, 8th printing, Shakespeare and Company, Paris, 1926, some light spotting and soiling, original wrappers, lacking part of spine (reinforced and splitting), some soiling and short tears, 4to, together with Our Exagmination round his Factification for Incamination of Work in Progress, by Samuel Beckett and others, 1st edition, [1929], a little light toning, original cloth a few faint spots, price-clipped dust jacket, spine a little toned with small nicks, slight soiling, 8vo, plus The Cat and the Devil, 1st edition, 1965, illustrations by Gerald Rose, original boards, price-clipped dust jacket, small 4to, with others including 'James Joyce's Tower' Sandycove, by Rigby Graham, Brewhouse Press, 1975, limited edition of 80, Letters of James Joyce, edited by Stuart Gilbert and Richard Ellmann, volumes I-III, 1957-66, issues 1-4 of Two Worlds, 1925-26 and five volumes of Transition, a Quarterly Review, 1928-36 (20)
Natural history, travel etc. DOYLE, (Sir Arthur Conan) The Great Boer War. London 1900, 8vo, 1st edition, maps; HUMPHREYS (H N) The Butterfly Vivarium, 1858, colour plates, binding detached, some leaves loose; COUES (E) Field and General Ornithology, 1890, illustrated; MAHAFFY & ROGERS. Sketches from a tour through Holland and Germany, 1889; GALTON (F) The Art of Travel, 3rd edition 1860; LAMB (Charles & Mary) Tales From Shakespeare, tipped in plates by May Mulliner, 1915, 1st edition; JAMES (Henry) The Ivory Tower, 1st edition 1917; GRIMM'S Fairy Tales, translated from the German. F. Warne (no date), green cloth gilt; others including poetry and general literature (38)
YEATS (W.B.).A collection including The Tower, first edition, Macmillan 1928, 8vo, occasional scattered light foxing, original gilt pictorial green cloth, slightly rubbed; Autobiographies: Reveries over Childhood and Youth...First Edition Macmillan & Co, 1926; Where there is Nothing, 8vo, first English London 1903 , original green linen-backed grey paper boards, slight spotting; The Wind Among the Reeds. London: Elkin Matthews, 1903. 8vo, contemporary gilt cover (faded), top edges gilt, inscription M.T.M August 1899 on front free endpaper; Samhain: edited for the Irish Literary Theatre by W.B. Yeats. Dublin: Sealy Bryers & Walker 1901, 1903, 1904, 1905 (two copies), illustrations, original printed paper wrappers, illustrations; also others by James Joyce etc. (21)
![Hardy (Thomas) Two on a Tower. A Romance, 3 vol., first edition, first impression, [one of 1000 copies], half-titles, vol.1 l](https://cdn.globalauctionplatform.com/dee7acb7-0eba-4924-bdfc-a79000f74b48/4c5e49dd-2251-4097-bd19-0eb4902f95b1/468x382.jpg)
Hardy (Thomas) Two on a Tower. A Romance, 3 vol., first edition, first impression, [one of 1000 copies], half-titles, vol.1 lacking R4 (final leaf, blank apart from imprint), some foxing, mostly to beginning and end of vol.1 & 3, vol.1 shaken with one gathering becoming loose, bookplate of Henry James Charles Leishman, original dark green cloth, both covers with 3-rule border and central publishers' monogram in blind, yellow endpapers, rubbed and a little stained, labels removed from upper covers of vol.2 & 3, preserved in modern cloth drop-back box, [Purdy p.41], 8vo, Sampson Low, Marston, Searle, & Rivington, 1882.
Five bound volumes of the Sporting Magazine for 1826, 1828, 1831, 1832 and 1836, printed for M.A Pittman, bindings af plus volumes 2 - 4 of the Rural Cyclopedia, A Complete and Universal Dictionary of the English Language by the Reverend James Barclay, published in 1823, two books on horses, a bible and a book on the life of the saviour, etc plus a modern book box containing plans of Dover Castle, the Tower of London, the Palace of Westminster and Windsor Castle (17). CONDITION REPORT: The Sporting Magazines are damaged with the fronts coming off however they appear to be complete, the other books are in various conditions but also appear to be complete.
A FLINTLOCK MECHANISM FOR AN EAST INDIA COMPANY NEW LAND PATTERN SERVICE PISTOL, DATED 1816; ANOTHER FLINTLOCK MECHANISM AND ANOTHER FOR A SPORTING GUN, CIRCA 1815-20 the first with flat bevelled border-engraved plate stamped with the date on the tail, East India Company Rampant Lion, and crowned '2' beneath the pan; the second a flintlock mechanism (cock missing) with flat bevelled plate with 'GR' crowned beneath the brass pan, rounded tail stamped with bale mark, 'PR' over 'C' beneath 'Tower' (some pitting); the third with bright bevelled stepped plate, rainproof pan and steel-spring with roller the first 13.6 cm; 5 3/8 in (3) Provenance James S. Gooding, sold Bonhams, Knightsbridge part of lots 181 and 205.
AKEHURST, Richard, Sporting Guns: Pleasures and Treasures (1968); CAPWELL, Tobias, Catalogue of the Collection of European Arms & Armour formed at Greenock by R.L. Scott (2006); DREJHOLT, Nils, Firearms of the Royal Armouries I from Gutsav II Adolf to Charles XIII (1996); DRUMMOND, James (illustrations), Ancient Scottish Weapons (2006); KELVIN, Martin, The Scottish Pistol: Its History, Manufacture and Design (1996); MEYERSON, Ake & RANGSTRÖM, Lena, Wrangel's Armoury (1984); NORMAN, A.V.B. & WILSON, G.M., Treasures from the Tower of London: Arms and Armour (1982); RIMER, Graeme, Wheellock Firearms of the Royal Armouries (2001); TØJHUSMUSEET, The Royal Danish Arsenal Museum: Illustrated Guide to the Permanent Exhibition (1990); WILKINSON, Frederick, Antique Firearms (1969) (10)
RICHARDSON, Thom & RIMER, Graeme, Littlecote: The English Civil War Armoury (2012); DUFTY, Arthur Richard, European Swords and Daggers in the Tower of London (1974); DUFTY, Arthur Richard, European Armour in the Tower of London (1968); RIMER, Graeme, RICHARDSON, Thom & COOPER, J.P.D. (eds.), Henry VIII: Arms and the Man 1509-2009 (2009); DILLON, Viscount, Illustrated Guide to the Armouries, Tower of London (1910); MANN, James (foreword), Exhibition of Armour of Kings and Captains from the National Collections of Austria (1949); HOLMES, M.R., Arms and Armour in Tudor and Stuart London (1957); ROWSE, A.L., Folio Miniatures: The Tower of London (1977); DICK, W.R., A Short Sketch of the Beauchamp Tower, Tower of London: and also a Guide (missing pages); UNKNOWN AUTHOR, The Tower of London: Ministry of Public Building and Works Guide-book (1967); RICHARDSON, Thom, The Armour & Arms of Henry VIII (2002); CHARLTON, John (ed.), The Tower of London: its Buildings and Institutions (1978); NORMAN, A.V.B. & WILSON, G.M., Treasures from the Tower of London: Arms and Armour (1982), two copies (14)
A pair of 18-bore flintlock Light Dragoon pistols of Waterloo interest, 9inch barrels, stepped and bolted locks stamped with a crown over GR and TOWER across the tails, full stocked with regulation brass mounts, the trigger guards incised 12LD for the 12th Light Dragoons, the butt caps bearing the rack numbers F75 and F27, each ramrod pipe area reinforced with a heart-shaped white metal plaque bearing the initials J.D. research notes that there were two Troopers with the initials JD who served with the 12 Light Dragoons Private John Donnally of Captain Alexander Barton's Troop and Private James Doolan of Captain Erskines Troop but given that Barton's Troop was F Troop in all likeliness the rack numbers of F75 and F27 point to Private John Donnally.
Limited edition Armada-style silver dish commemorating the 900th anniversary of Her Majesty's Tower of London 1078-1978, by St James House Collection, London 1978, No.94/900, of circular form with decorative roundels in relief and engraved inscription, 20cm diameter, 10oz, in fitted case with certificate
Escheats. Indices of Escheats to the Crown from Henry III to Henry VI (1216-1460), manuscript on paper, circa 1600, 175 leaves written on both sides in a legal hand in narrow columns, margins ruled in red, alphabetical lists of places arranged by regnal years with references to shelf-marks (eg. 24 E1 38) for the original record, at end an index listing manors, chapels and abbeys without distinction of reign, another in regnal order listing private persons, contemporary vellum, gilt arabesque on sides, paper shelf-labels on spine, small 4to, together with a partially completed manuscript book of accounts and inventory, late 18th & 19th century, possibly for Browsholme Hall, Lancashire and the Parker family, approximately 22 leaves completed, the remainder blank, contemporary vellum, soiled and worn, narrow folio Escheats are estates lapsing to the Crown usually for want of heirs, but also by forfeiture (e.g. the escheated lands in Ulster planted by the Crown under James I). Around 1600 these records would have probably been housed in the Tower of London. (2)
A finely composed statuette of a 'tower' on a rectangular base from banded green malachite. 100 grams, 70mm (2 3/4). From a historic ‘Victorian Museum’ collection; from the stock of Gregory, Bottley & Lloyd (1981-2014); formerly with Gregory, Bottley & Co. (1932-1981) and previously with J. R. Gregory & Co. (1898-1932); originally in the collection of the famous James Reynolds Gregory (1858-1898). This item is part of a historic collection of fossils and minerals which has recently been reviewed by leading geological expert Dr. Ronald Bonewitz. [No Reserve, No Reserve]. Extremely fine condition.
ACTORS: Selection of vintage signed 8 x 10 photographs, two smaller, by various actors, all images corresponding to unusual film scenes, including Richard Crenna (in a scene from Death Ship, 1980), Kevin Anderson (in a scene from The Wrong Man, 1993, alongside Rosanna Arquette), Stacy Keach, James Garner, Joseph Cotten (in a scene from Portrait of Jennie, 1948, alongside Jennifer Jones), Elliott Gould, Ben Gazzara, John Shea (in a scene from Hussy, 1980, alongside Helen Mirren), Tony Roberts (in a scene from Annie Hall, 1977, alongside Woody Allen and Diane Keaton), Mickey Rooney, Burgess Meredith (in a scene from The Man of the Eiffel Tower, 1949, alongside Charles Laughton), Michael Beck (in a scene from The Warriors, 1979), Elliott Gould, Peter Coyote, Bobby Di Cicco (in a scene from The Big Red One, 1980), Armand Assante, John Saxon, Patrick O´Neal, Keenan Wynn, Tony Musante, Richard Benjamin, Tom Hulce, etc.. All are signed in bold inks to clear areas of the images, and many are inscribed to French collector Pierre Gouillard. Very small duplication. VG, 41 £100-150
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