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Byars, James Lee. 100,000 Minutes/ Or the big sample of Byars / Or 1/2 An Autobiography / Or the first Paper of Philosophy. Antwerpen, Anny de Dekkers, 1969. 200 nicht nummerierte Seiten auf pinkem Papier. 27 x 21 cm. Original-Broschur (Rücken etwas geblichen).Eins von 250 Exemplaren der ersten Ausgabe. - Gutes Exemplar. - Dabei: I. Derselbe. The golden Tower. In Zusammenarbeit mit Joachim Sartorius. Köln, König, 1992. 22,5 x 14 cm. Schwarzer Original-Seideneinband im Original-Pappschuber (dieser leicht kratzspurig). - Eins von 333 Exemplaren. - II. Derselbe. The Palace of Good Luck. Turin, Castello di Rivoli, 1989. 22,5 x 17 cm. Original-Broschur (etwas berieben). - Vorderes Innengelenk angeplatzt. - III. Derselbe. Vierzehn Fotografien zu James Lee Byars 666. Köln, Diözesemuseum, 1999. 34 x 23,5 cm. Original-Pappband (etwas kratzspurig).

2 antique etchings depicting Clock Towers, both framed & glazed. The Clock Tower, Bruges by Andrew Afflick, together with Clock Tower Rouen by Percy James Westwood. Both signed in pencil to margin. Largest approx. 61cm x 46cm.

A German silver miniature of a young farmer sat on a fence with his cow & milk pail, stamped 930, Georg Roth & Co, London import marks, importer Cornelius Desormeaux Saunders & James Francis Hollings (Frank) Shepherd, London, 1904, 42g; A Dutch silver miniature of Dutch tower windmill, stamped J▾DH, 1906-53 sword mark 10.61g

All Limited Editions Dolmen Press: Miller (Liam)ed. Retrospect, The Work of Seamus O'Sullivan 1879-1958, Estella F. Solomons 1882-1968, Folio Dublin 1973. Lim. Edn. 750 Copies, illustrated, d.w.; Yeats (W.B.) A Tower of Polishes Black Stones, sm. folio Dublin 1971. Lim. Edn 1250 Copies, illus., d.w.; Gregory (Lady) Coole, folio Dublin 1971. Lim. Edn, 1050 Copies, d.w.; Daly (Leo) James Joyce & The Mullingar Connection, folio Dublin 1975, Lim. Edn., 250 Copies Only, Signed, d.w.; also A Festschrift for Francis Stuart, folio Dublin 1972. Lim. Edn. 1000 Copies, wrappers. As a lot. (5)

James Alder (1920-2007)/A High Tower of Birds/design for ceramic or aluminium, with quote by Dylan Thomas/signed James Alder/pencil sketch, 25cm x 23cm/Note: given to Henry Sandon by the artist while working for Royal Worcester, circa 1975/Provenance: from the Henry Sandon Study Collection CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.ukCondition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

JAMES DUFFIELD HARDING (1797/8-1863) 'BRANKSOME TOWER, BOURNEMOUTH' a coastal landscape with the tower to the distance, signed and dated 1858 to bottom corners, pencil on paper, approximate size 22cm x 49cm, Condition Report: light foxing to the paper, dirty marks to the mount, frame marked (PROVENANCE: The Arnold Fellows Collection)

William III (King of England, 1650-1702). Fine contemporary manuscript document entitled 'An Establishment of their Majestys Guards, Garrisons and Land-Forces Commencing the First day of April 1692 In the Fourth Year of their Majestys Reign', manuscript in brown ink on 60 pages, written in a single scribal hand, borders and columns ruled in red throughout, leaf size 520 x 360 mm, with an additional double-page manuscript bound in at end, entitled 'Abstract of the accounts of all the Fonds given for the Service of the Warr in the Yeare 1694 Made up to the 14th day of November 1694', sheet edges folded in on three sides, single blank leaf at front and four blank leaves at end, contemporary full calf, with gilt armorial to centre of each cover of Charles Montagu, 1st Earl of Halifax (1661-1715), worn with covers detached, and spine partly defective, large folio (525 x 360 mm)QTY: (1)NOTE:Contemporary fine copy of the 'establishment book' of the English Army under William of Orange, for the wars against Louis XIV of France, made for Charles Montagu, 1st Earl of Halifax, an important supporter of King William, and Chancellor of the Exchequer in 1694.The manuscript volume lists daily and annual rates of pay, allowances, and rewards for the different ranks in the regiments of Guards, Footsoldiers and Horse and for companies of Miners, Pensioners and Grenadiers; the costs of numerous garrisons, 'Regulation of Fire and Candle' and the Establishments of the Dutch and Danish forces in William's service. It includes payments to 'Generall Officers and Contingencies' (the 'Generall of the Ffoot' is paid six pounds a day, the Paymaster-General one pound, and the Surgeon General 10 shillings). The annual budget for the six regiments of Horse is £123,808, and for one company of the Coldstream Regiment of Foot Guards, £1864-10-10.The continuation of the Anglo-French conflict overseas is reflected in the wages of a company of foot in the Leeward Islands, and two companies for New York. Among numerous other expenses are wages and clothing for a company of 150 Pensioners 'to do duty constantly at the Castle of Windsor', and for various quaintly named officers at the Tower of London including 'The Yeoman Porter for Oyle and Candle at the Gates', 'The Scavenger' and 'Gentleman Gaoler'. The total cost of the Land Forces in the Establishment Book amounts to £1,124,867-10-1 per annum, and of the Garrisons, £1,143,183-10-11.The early years of the reign of William and Mary witnessed a massive increase in military spending and William added to James II's standing army the English and Scottish regiments formerly in the Dutch service, the forces of the gentry who had sided with him in the Revolution of 1688, and the Irish regiments raised against Tyrconnel. He also retained some of his Dutch troops, and German and Danish forces for use in Flanders.Charles Montagu, 1st Earl of Halifax (1661-1715) was a signatory to the letter of invitation to William III, and took part in the rising in Northamptonshire in his favour. He entered parliament for Maldon from 1689 to 1695, and became one of the Clerks of the Privy Council. He was appointed a Lord of the Treasury in 1692 and became Chancellor of the Exchequer in 1694. 

James I (1603-1625), Second coinage, gold Halfcrown, mm. tower, third bust, 1.30g/10h (SCBI Schneider 73; N 2094; S 2630). Very fine but weakly struck £400-£500

Elizabeth I, Sixth issue, Halfpenny, mm. key, 0.26g/10h (S 2581); James I, Second coinage, Halfpenny, mm. mullet over bell, 0.28g/12h (S 2663); Charles I, Tower mint, Halfpenny, no mm., 0.24g (S 2851) [3]. Fine to very fine £120-£150

Sir John Everett Millais, PRA (British, 1829-1896)Forget-Me-Not signed with monogram and dated '1883' (lower left)oil on canvas84 x 63.5cm (33 1/16 x 25in).Footnotes:ProvenanceThe artist and his wife, Effie, Lady Millais.Her bequest (will of 26 July 1897, Scottish Probate Office) to their son John Guille Millais.Sold by John Guille Millais, Christie's, 26 May 1900 (lot 100), bought by Sir James Kitson, Bart. (later 1st Baron Airedale), Gledhow Hall, Leeds, 1,500 guineas.By descent to his daughter Emily Kitson.Sold from her estate, Tower Lodge, Tunbridge Wells, Kent, 28 November 1961, bought by her first cousin once removed Grosvenor Talbot Griffith, Old Swindon House, Swindon Village, Cheltenham, Gloucestershire.Bequeathed to the present owners.Private collection, UK.Exhibited London, Royal Academy, 1883, no. 323.Dublin, Royal Hibernian Academy, 1884, no. 51.London, Royal Academy, Works by the late Sir John Everett Millais, Bart., President of the Royal Academy, 1898, no. 121.Kitakyushu, Municipal Museum of Art & Tokyo, Bunkamura Museum of Art, Millais, (exhibition organized by Tate, London), 2008, no. 55.LiteratureAthenaeum, 5 May 1883, p. 575.Morning Post, 5 May 1883, p. 5.Times, 5 May 1883, p. 12.Illustrated London News, 5 May 1883, p. 438.Illustrated London News, 12 May 1883, p. 470.London Evening Standard, 24 May 1883, p. 2.Graphic, 26 May 1883, p. 20.The Age, (Melbourne, Australia), supplement, 23 June 1883, p. 2.Art Journal, July 1883, p. 218.Art Journal, August 1883, p. 254.Beatrix Potter, journal entry, 11 November 1883, The Journal of Beatrix Potter 1881–1897, transcribed from her code writings by Leslie Linder, 1989, p. 56.Magazine of Art, volume VII, April 1884, p. xxviii.Marion Harry Spielmann, Millais and His Works. With special reference to the exhibition at the Royal Academy 1898 . . . with a Chapter 'Thoughts on Our Art of To-Day' by Sir J. E. Millais, Bart., PRA, Edinburgh and London, 1898, pp. 122 & 176 ('List of Oil Paintings', no. 252.).John Guille Millais, The Life and Letters of Sir John Everett Millais, President of the Royal Academy, 1899, volume II, pp. 236 (reproduced) & 482 ('Chronological List of Millais' Work').When Forget-Me-Not was first exhibited, at the Royal Academy exhibition of 1883, the critic of the Athenaeum magazine called it 'a portrait in character'. It was generally recognized as a likeness of the artist's daughter Effie James (1858–1911), although her outfit and the title of the work suggested something other than a straightforward portrait; she was both being herself and playing a part, both sitter and model. Her summer dress with matching sash and ribbons was closer to fancy dress than real-life clothing of the time, and the style vaguely eighteenth-century. This was what the critic meant by 'a portrait in character'. Millais presents his daughter as a Victorian young woman with a touch of the aristocratic lady of a bygone age. She sits against a park or garden background with little definition to anything beyond some sprigs of honeysuckle, hinting at a love of nature on Effie's part but with little to distract from her figure. The general presentation, like the costume, recalls portraits of the Georgian era. In his middle age Millais embraced  conventions and traditions of British painting which he had reviled as a young Pre-Raphaelite. A pioneer of the 'eighteenth century revival' in Victorian art and design, he painted loosely-brushed recollections of British masters of the past, Joshua Reynolds, Thomas Gainsborough, and George Romney—alluding to their works as they, in turn, had alluded to the works of their revered predecessor Anthony van Dyck. Gainsborough held a special appeal since he too had been a fond father who loved to paint his daughters. It is difficult to say whether Forget-Me-Not was begun primarily as a portrait or as a so-called 'fancy picture'—that is, whether it was private and intended for the family, or commercial and intended to be sold. Millais may have kept both possibilities open as he painted and exhibited the work, although as a young-woman subject it would not have been quite as immediately saleable as his nostalgic paintings of children. On balance it was likely painted more with family purposes in mind; the family certainly kept it, at least until the artist and his wife had died. It may even have had a private meaning for them. The forget-me-nots that Effie has been picking gently suggest what she might be thinking—'forget me not'—as a daughter who has left home; she was now twenty-four years old, married, and the mother of two little boys. Writing for the Art Journal, one critic thought Effie was in a state of yearning, with 'a soft, pleading expression in her wistful eyes'. One can imagine her father coming up with the 'forget me not' conceit as both an expression of paternal affection (he would hope she cared to be remembered) and, given his love of humour, a chance for quips and raillery. He would later use the title The Last Rose of Summer for the portrait of another daughter, Mary; she was his 'last rose of summer' as the one who never married and stayed in the family home, helping him in his work and public duties until the end. Alongside Forget-Me-Not, Millais began another painting of Effie on a canvas the same size, in more or less the same pose though wearing a different, more contemporary dress. Finished as a gift for Effie herself in 1885, it now belongs to one of her great grandchildren. Named after her mother, Effie was the artist's second child, his eldest daughter, and one of his favourite models. She appears in more of her father's works than any of her siblings; as a child she posed for the popular My First Sermon and its sequel, My Second Sermon. From the age of ten she attended a boarding school in Forest Hill, south London, with her sister Mary; when she was seventeen the girls stayed in Paris for a time to study languages and the piano. Good-looking and sociable, Effie was delighted by the round of balls, parties, and at-homes that she attended in London as a girl. On 28 November 1879 she married Captain William James, an officer in the Royal Scots Greys and son of the eminent judge Sir William Milbourne James. They had two sons, George and William ('Willie'), and two daughters, Phyllis and Sylvia. Willie was the model for Bubbles, which became famous as an advertisement for Pears' soap. Both sons pursued military careers like their father. George became an army captain and was killed in the First World War. Willie

Kingdom of England - James I (1603-1625), gold Unite, 2nd coinage, mm. Tower (1612-1613), forth bust of King James I, right, holding sceptre, ./. quartered shield of arms, crowned, dividing Royal cypher

† JOHN EAVES (born 1929); a pierced triangular stoneware sculptural form/wall hanging with textured surface covered in iron staining and white tin glaze to the piercing, incised signature dated 1965, height 25.5cm.In the 1950s, James Tower, John Eaves and Roy Dale all used experimental methods of 'painterly pottery' making in contrast to the orthodoxy of anglo-oriental stoneware associated with Bernard Leach. However, Eaves and Dale failed to secure for themselves the kind of reputation later enjoyed by Tower. Eaves was a Course Director at the Bath College of Higher Education from 1958-1985 before focusing exclusively on his career as an artist. Condition Report: Small chip and the odd nick to edges, otherwise appears good with no further signs of faults, damage or restorations.

Etchings - London - a pair, Houses of Parliament, and St James Palace, indistinctly signed in pencil, 8.5cm x 13cm; another, The 'Elizabeth' Clock Tower [Big Ben]; H N Roome, a pair, The Bridge, Behara [Madagascar], and The Third Bridge, 24.5cm x 31cm (5)

Sydney Charles Seymour Lucas(1878-1954)Portrait pair of Great War soldiers Major James Leadbitter Knott DSO, and Captain Henry Basil Knott (1891-1915), each in military uniform,signed, dated, and inscribed, painted posthumously in 1918 and 1919 respectively,oil on canvas, each 90 x 70cms, uniformly framed.Following the deaths of the Knott brothers in the First World War, their father, Sir James Knott, donated the bell tower at St George’s Memorial Church in Ypres, Belgium in their honour. The Knott brothers were also memorialised closer to home; in Fenham, Newcastle, at St James and St Basil’s Church. The tenor bell inside the church bares the inscription ‘We ring in memory of James and Basil Knott, God knows’.

Various 20thC Grimsby postcards, Bargate, St. James' Church, later football cards Vs Mansfield 1939, other earlier, The Dock Tower, Salter and Salter Boots Are Best advertising postcard and a small quantity of Gainsborough postcards, black and white and in colour. (a quantity)

[JOYCE JAMES]: (1882-1941) Irish novelist and poet. An unusual partially printed document, completed and signed on behalf of Joyce in the hand of an administrative agent, four pages, 4to, Paris, 21st April 1939, in French. The official Reseau Telephonique de Paris (Paris Telephone Network) document is Joyce's contract to have a telephone line installed at 34 rue des Vignes in Paris for an annual fee of six hundred and sixty francs, the head of the first page stamped Transfert ('Transfer') and a further stamp with manuscript insertions to the third page confirming that the document replaces an earlier commitment to have a telephone line at 7 rue Edmond Valentin and that the minimum duration of the subscription is still in place. The foot of the third page is signed on behalf of Joyce with the observation 'Lu et accepté' (Translation: 'Read and accepted'). A moving document relating to Joyce's last private residence in Paris. Some very light, extremely minor age wear, VGJames Joyce first came to Paris in July 1920 and would reside in the French capital for almost two decades, although the writer never bought a home of his own. Joyce's health problems afflicted him throughout his Paris years and despite over a dozen eye operations his vision severely declined and by the 1930s he was practically blind, making the telephone an important method of communication and explaining why he was unable to sign the present document.Joyce lived in an elegant apartment at 7 rue Edmond Valentin, close to the River Seine and Eiffel Tower, for five years from February 1935 until April 1939 before moving into a smaller apartment (although blessed with a lot of natural light) at 34 rue des Vignes on 15th April 1939. Finnegans Wake was published whilst Joyce was living in the apartment, which he would leave after six months in mid-October 1939. Following the fall of France in 1940 Joyce and his family travelled to Zurich to flee the Nazi occupation. On 11th January 1941 Joyce underwent surgery and fell into a coma the next day, awaking briefly at 2 am on 13th January before dying fifteen minutes later.

CAPELL ARTHUR: (1631-1683) 1st Earl of Essex. English statesman who served as Chief Minister of Great Britain, First Lord of the Treasury 1679-84. Essex died as a prisoner awaiting execution for treason in the Tower of London, controversially discovered in his chamber with his throat cut, having been convicted of participation in the Rye House Plot against King Charles II and his brother, James, Duke of York. A scarce D.S., Essex, one page, folio, n.p., 1st July 1669. The manuscript document acknowledges a payment of 'the full summe of Twelve hundred and fifty pounds of lawfull money of England' from John Morris and Peter Clayton of London for the purchase of some land. Boldly signed by the Earl of Essex at the foot alongside a small blind embossed paper seal and countersigned by Francis Vaughan, John Morris and Peter Clayton (brother of Robert). Attractively matted in light beige with black borders alongside a colour reproduction image of the Earl of Essex and framed and glazed in a modern frame to an overall size of 20 x 17. VGSir Robert Clayton (1629-1707) British merchant banker and politician who served as Lord Mayor of London 1679-80. In partnership with John Morris, Clayton established the bank Clayton & Morris Co. and the two became successful businessmen.  

ENGLAND. James I, 1603-25. Gold unite, ND (1612-1615). London. Mintmark tower.Half-length fourth crowned bust of King James I right, holding orb and sceptre. Legend reads ·IACOBVS·D·G·MAG·BRIT·FRAN·ET·HIB·REX· [James by the Grace of God King of Great Britain, France and Ireland]. / Crowned quartered shield dividing monogram. Legend reads ·FACIAM·EOS·IN·GENTEM·VNAM· I R [I will make them one nation].In secure plastic holder, graded NGC AU53, certification number 6679334-004. Extremely attractive, with well-struck bust, rich tone and strong lustre. NGC Census in this grade: 1.NGC Census in higher grade: 4Total NGC Census: 7Reference: Fr-234; KM-46; North-2084; S-2619Weight: approx. 9.94 g. (AGW=0.2931 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.

A GEORGE III EBONISED TABLE CLOCK WITH TRIP-HOUR REPEATTHOMAS EARNSHAW WITH MOVEMENT SUPPLIED BY A. AND I. THWAITES, LONDON, LATE 18th CENTURYThe five pillar twin fusee bell striking movement now with anchor escapement regulated by lenticular bob pendulum, the geometric border engraved backplate with pendulum holdfast and signed Tho's Earnshaw, London to centre, the frontplate stamped A & I, THWAITES, 650 to lower edge, the 7 inch brass break-arch dial with calendar aperture and signed Tho's Earnshaw, LONDON to the silvered centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with delicate pierced steel hands and foliate scroll cast spandrels to angles beneath arch centred with a STRIKE/SILENT selection dial flanked by conforming mounts, the break-arch case with hinged brass carrying handle to the ogee above cavetto moulded top over hinged front with brass fillet inset glazed dial aperture, the sides with rectangular brass fish scale sound frets and the rear with break-arch door set within the frame of the case, on stepped ogee moulded skirt base with brass bracket feet.38cm (15ins) high with handle down, 28cm (11ins) wide, 19cm (7.5ins) deep. Thomas Earnshaw was an important maker with regards to the development of the marine chronometer. He is recorded in Betts, Jonathan MARINE CHRONOMETERS AT GREENWICH, A Catalogue of Marine Chronometers at the National Maritime Museum, Greenwich as born in Ashton-Under-Lyne, Lancashire in 1749 and is thought to have been apprenticed to William Hughes of High Holborn in around 1763-70. He married Lydia Theakston at St. James's Church Piccadilly in 1769 and by 1774 the had three sons - Manasseh William (b. 1770), James (b. 1771) and Thomas (b.1774). The financial pressure of having such large family early in his career proved unsustainable causing Earnshaw to abscond to Dublin in 1774 before returning to surrender himself to the debtors prison. Earnshaw however managed to come to terms with his debtors and was soon back in business.Thomas Earnshaw proved to be a very talented maker in particular with regards to watch finishing. Indeed he taught himself the highly specialised trades of watch jewelling and ruby-cylinder making and by 1780 he had turned his attention to chronometer making. He is generally credited with the improvement of the detent escapement through the introduction of a blade-spring (replacing a less effective pivoted arrangement). Earnshaw was introduced to the Astronomer Royal, Neville Maskelyne for whom he made a fine regulator for the Armagh observatory in 1789 and, in 1792, he acquired his former master's premises in High Holborn from where he set-about producing chronometers. By 1795 he had refined his designs for pocket and marine chronometers allowing him to start to see the prosperity of his perseverance.In 1806 the Board of Longitude awarded Earnshaw with £3,000 in recognition for his work, however his nose was put out of joint by John Roger Arnold (son of Earnshaw's contemporary rival John Arnold) receiving the same sum. By this time his son, Thomas Junior, was partly running the business allowing him to semi-retire to a comfortable villa in Greenford. In 1815 Thomas Earnshaw still had an involvement with the business however by 1820 he had pretty much retired leaving the workshops in the hands of his son who continued there until 1854. Thomas Earnshaw died in 1829. Ainsworth Thwaites was apprenticed in 1735 and worked from Rosoman Row, Clerkenwell, London 1751-80. He was an accomplished maker who supplied the clock for the tower at the Horse Guards Parade. His son, John, was born in 1757 and took over the business presumably on the death of Ainsworth in 1780 before moving to Bowling Green Lane. He entered into partnership with Jeremiah Reed in 1808 and he firm subsequently became well known for supplying all forms of clocks and movements either wholesale for others to retail or signed by themselves. The partnership continued under John Thwaite's leadership from several addresses in London until his death in 1842. The business has subsequently passed through a series of successors and is still trading today from Rottingdean near Brighton.Ronald E. Rose in his book English DIAL CLOCKS provides data allowing clocks by Thwaites to be dated from their serial number (Appendix III page 239); from this list the serial number of the movement of the current lot suggests that it was made around 1773-74. However, the style of engraving and overall design/form of the clock would suggest a date of around 1795-1805. From this it is perhaps appropriate to suggest the movement was probably held 'in stock' by either Thwaites or Earnshaw before being used for the present clock.Condition Report: Evidence (in the form of a series of filled holes) indicates that the present movement was originally made with verge escapement regulated by short bob pendulum. The conversion to anchor escapement has been executed very well and probably early in the clocks life with minimal alteration to the plates. The present pendulum holdfast unfortunately obscures the signature; there is also a spare threaded hole to the right hand edge of the backplate indicating the position of the original verge pendulum holdfast hook. The movement otherwise is in good relatively clean original working condition although is probably due for a gentle service. The dial has overall light wear and discolouration to the silvering otherwise is in good original condition. The minute hand has an old repair. The case is in sound original condition with notable faults limited to front-to-back shrinkage cracking to the arch-top of the case and a slight warp to the front door causing the top to project forwards slightly. The front and rear doors retain their original locks and hinges; the base of the case has been scooped-out slightly to allow for the present lenticular bob pendulum. The metal mounts (handle, mouldings, frets and feet are fairly heavily tarnished/discoloured, otherwise faults to the case are very much limited to relatively minor bumps, scuffs, scratches, minor shrinkage and other age-related blemishes.Clock has pendulum, winding key and a case key. Condition Report Disclaimer

Joseph Tudor (c.1695 - 1759)View of Dublin from the Phoenix Park Watercolour, 16.5 x 28.5cm (6½ x 11¼")Inscribed: View of DublinProvenance: With Hazlitt, Gooden & Fox, London from who acquired Sir Jack Baer (1924 - 2016) and from whose estate acquired by the present owner.A rare example of Joseph Tudor’s art dating from 1753 or a little earlier, this sheet is the preparatory drawing for his known well-known view of Dublin from the Phoenix Park which was engraved in London by James Mason and published by Laurie & Whittle as A Prospect of the City of Dublin, from the Magazine Hill, in his Majesty’s Phoenix Park. This was one of six views of the city after drawings by Tudor, titled, in French, Six points de Veue d’edifices publics et remarquables de la Ville de Dublin. As was standard practice, Tudor’s drawing focuses squarely on the architecture and the engraver has added the elegant figures and livestock who disport themselves in the foreground. Tudor also painted this same view in a large and unusually ambitious oil and this newly identified drawing, the print and the oil show the city from a spot in Chapelizod close to the Phoenix Park. In the middle distance can be seen the village of Island Bridge flanked to the left by the Magazine Fort while to the right the viewer catches a glimpse of the Royal Hospital, Kilmainham, which is shown more fully in the oil painting. Further into the distance appear the spires of St Patrick’s and Christ Church Cathedrals as well as the wooden clock tower of Dr Steeven’s Hospital, erected a few years earlier in 1735. Other Dublin views by Tudor which were engraved include the old Custom House and Essex Bridge and the Upper Yard at Dublin Castle. Nicola Figgis notes that the prints after Tudor’s drawings serve as important records of certain buildings that are no longer in existence’ and this is particularly so as Tudor was ‘adept at drawings architecture’ (AAI, 2, p. 480). Regrettably given this, only four other drawings by Tudor are extant, including one depicting the Parliament House on College Green. (Anne Crookshank and Desmond FitzGerald, Knight of Glin, The Watercolours of Ireland (London, 1994) p. 37).A presumed pupil of William Van der Hagen, Joseph Tudor enjoyed a busy practice as a landscape and decorative painter in the decades from about 1740 to his death in 1759. Like so many other Irish landscape artists of the period, he painted sets for the Dublin theatres, the experience of which gave him great versatility. However the ephemeral nature of much of his decorative work means that his surviving oeuvre is tiny, although it is amplified somewhat by engravings after his work. Tudor is recorded as winning premiums for landscape painting from the Dublin Society in 1740, 1742, 1743 and 1746. Three years later he executed a Perspective View of the Illuminations and Fireworks at St Stephen’s Green on Thanksgiving Day for the General Peace concluded at Aix-la Chapelle which was engraved by Thomas Chambers. He worked at Dublin Castle, the Rotunda Gardens and at Smock Alley where, in January 1739, he painted the scenery for The Harlot’s Progress and nine years later that for Henry Woodward’s Fairy Friendship, or the Triumph of Hibernia. Tudor was admitted to the Guild of St Luke in 1755 and died in his house in Dame Street on the 24 March 1759. Like his putative master Van der Hagen he was an adaptable artist and is recorded as having painted an altarpiece for Waterford Cathedral in 1750.

A collection of 22 mainly poetry volumes from the early to mid 20th Century, including D.S. Savage: 'The Autumn World', London, The Fortune Press, [1939], 1st edition, signed & inscribed by the author to the poet & crime writer Julian Symons verso FFEP, original cloth gilt; Andrew Young: 'Speak to the Earth', L, Cape, 1939, 1st edition, signed to FFEP, orig. cloth; W.J. Turner: 'Pursuit of Psyche', L, Wishart, 1931, 1st edition, publishers compliment/review slip loosley inserted, orig. cloth, d/w (worn); Duff Cooper: 'Translations and Verses', L, The Dropmore Press, 1949, limited edition (421/600), orig. cloth, d/w (slightly worn); D.H. Lawrence: 'The Collected Poems of D.H. Lawrence. Volume One Rhyming Poems. Volume Two Unrhyming Poems', L, Martin Secker, September 1929, 2nd printing, 2 volumes, uniform original cloth gilt; C.H. Lay: 'In and Out', L, The Swan Press, 1930, 1st edition, orig. quarter vellum, dust wrapper, collection of 36 poems by the Suffolk poet; Bernard Gutteridge: 'Traveller's Eye. Poems', L, 1947, 1st edition, signed & inscribed by the author to John Yeoman on FFEP "John Yeoman with my love Bernard. West Knoyle '34 to Chelsea '47", orig. cloth gilt; Archibald MacLeish: 'Poems', L, 1935, 1st edition, ownership signature of Bernard Gutteridge at head of FFEP, with later inscription to John Yeoman beneath from Gutteridge, orig. cloth; 'The Chapbook A Miscellany (No.39) 1924', Poetry Bookshop, 1924, illustrations by Edward McKnight Kauffer and Terence Prentis, original pictorial paper covered boards (lacks backstrip); WIllem van Doorn: 'Of the Tribe of Homer', Amsterdam, 1932, signed and inscribed by author to John Yeoman on half title and with two Autograph Letters Signed by van Doorn to Yeoman loosely inserted, orig. wraps; T.R. Henn: 'The Lonely Tower. Studies on the Poetry of W.B. Yeats', L, Methuen, 1950, 1st edition, Typed Letter Signed by author to John Yeoman loosely inserted, orig. cloth, d/w (worn with losses); James Laver: 'Whistler', 1930, 1st edition, signed & inscribed to John Yeoman, orig. cloth gilt; plus 9 others. From the estate of John Richard Harding Yeoman (1916-1988), Copy Writer and Director for several Advertising Agencies, Assistant Secretary (Publicity) for the Council for the Protection of Rural England, Borough Councillor for Kensington and Chelsea, Governor of the Chelsea School of Art, and lover of art, poetry and books. John Yeoman’s first wife was Antonia Yeoman, née Beryl Antonia Thompson (1907-1970), the Australian-English commercial artist, cartoonist and illustrator who worked under the name “Anton” (22)

NORTHERN/SOUL - US 7" COLLECTION. Dancefloor fillin' collection of 25 x (chiefly) original US Northern/Soul 7" cuts loaded with rarities. Condition is generally VG to VG+ this collection. Artists/labels/cat. numbers include Jerry Butler (Vee Jay 486 demo), Beverly Bremers (Scepter 12315), The Capitols (Atlantic 650152, French, Karen 1525, 1526), Mitty Collier, Barbara Carr (CHess 2120), James Carr (Goldwax 338, 332), Gene Chandler, Jerry Combs & The Mannix, The Charmaines (Minit 32074), Kenny Chandler (Tower 405), Freddie Scott (Shout 216), Dean Scott (Scepter 12137), Cookie Scott, Earl Scott, The Sound Judgment, Soul Brothers Six and The Soul City.

HUGH OAKLEY ARNOLD-FORSTER: IN A CONNING TOWER OR HOW I TOOK "HMS MAJESTIC" INTO ACTION: London, Cassell, 1891, 1st edition, reprinted from "Murreys Magazine", 5 plates as called for, 4pp, adverts at end, original cloth back pictorial wraps + GEORGE SYDENHAM CLARKE, Barron Sydenham "A Nelson Seaforth", Last Rate Naval War and Historical Retrospect, London, Cassell, circa 1891, 4th Thou, 3 folding plates as list, original cloth back wraps, plus SIR EDWARD JAMES REED: IRON-CLAD SHIPS, London, John Murray, 1859 first edition, folding frontis, decorative morocco gilt, prize binding, inner dentelles gilt, marbled end papers, all edges gilt, telford premium prize label to Richard Christopher Napier, vgc plus ADMIRAL MARK KERR: A NAVAL IN MY TIME, London, Rich & Cowan, 1933 first edition, original cloth d/w (small part losses) plus JOSEPH MONTAGUE KENWORTHY: SAILORS STATESMEN AND OTHERS, London, Rich & Cowan, 1933 second printing (same month as first), original cloth d/w, vgc plus JOHN FREDERICK THOMAS JANE: THE PORT GUARDSHIP (7)

James (P.D.) The Black Tower, 1975; Original Sin, 1994; A Certain Justice, 1997; Death in Holy Orders, 2001, first editions, signed or with signed presentation inscription from the author to titles, original boards, spine ends a little bumped, dust-jackets, light fraying or rubbing to extremities, still overall sharp copies; and 13 others, first editions by James, some signed, 8vo (17)

JAMES STINTON FOR ROYAL WORCESTER, a circular framed plaque hand painted with cock and hen pheasant in an Autumnal landscape with tower to the distance, signed lower right, gilt card mount, the wooden back with cut away showing puce printed mark, date cypher for 1914, plaque diameter 10.5cm, framed and glazed, frame 21cm square (Condition Report: plaque is sealed in frame and has not been removed for cataloguing, the gesso frame has losses, there is label to the backboard ' Pheasants 56/3')

S Middiman & F Jukes, after James Wathen/View of the Ruins of the West Tower and Front of Hereford Cathedral/published April 12 1788/engraving, 28cm x 36cm CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

Regency bracket clock by James Marston, Tower, with arched silvered dial, strike silent to arch, subsidiary seconds, fusee movement striking on bell with repeat in dome top ebonised case on gilt ball feet, key and pendulum present 53cm high

The Historie Of The Raigne Of King Henry The Seventh, Written By the Right Honourable Francis, Lord Verulam, Viscount St. Alban, London, Printed by W. Stansby for Matthew Lownes, and William Barret 1622, with five raised bands, a red label with gilt lettering and “1622” in gilt at the base of the spine, brown calf with triple-ruled borders, blank endpapers, a frontis portrait of King Henry the Seventh, a dedication page to Prince Charles paying homage to his father, the King of England, after the King died; 248 pages of text, with “Faults escaped” [errata or points of issue] on page 248; there are seven faults listed and none of them have been corrected, so this is a first edition, first state of The Historie of the Raigne of King Henry the Seventh. It also has “Highnesse” at the conclusion of the dedication page and “Souldiers” on line 12 of page 3, which are called for to make this a first state of Bacon’s book. Francis Bacon (1561 - 1626) was an English philosopher and statesman who served as Attorney General and Lord Chancellor of England. He led the advancement of natural philosophy and the scientific method and argued for the possibility of scientific knowledge based only upon reasoning and careful observation of events; he believed that scientists should use a skeptical and methodical approach to avoid misleading themselves. His public career ended in disgrace after he fell into debt and was convicted of taking bribes; he spent time in the Tower of London and was released after King James I remitted his fine and Bacon promised to write this history after he was released. More seriously, Parliament declared that Bacon could no longer hold public office and narrowly escaped being stripped him of his titles of nobility. After he completed the work in 1621 and sent a copy to James I, it was published the following year, and it remains his only completed work of history. It also showcases his scientific approach to writing history - he didn’t fancy anything up, but just described events in terms of observation and facts. In the1800’s, someone proposed that Bacon wrote a few or all of the plays attributed to William Shakespeare, an observable fact which is hard to prove. The book measures 11 5/8 x 7 3/4 in. wide, the binding is tight and secure, with light wear at the top of the covers and light foxing on just a couple of pages. So this is a scarce first edition, first state of Bacon’s important history of the reign of King Henry the Seventh.

Alfred Blundell - The Cathedral of St James and The Norman Tower of Bury St Edmunds, etching, signed and titled in pencil to the margin, 39x22cm

Scotland Collection of deeds and indentures, 16th-19th century 20 on vellum, approx. 30 on paper, mainly 18th century, a large proportion relating to the estate of Kinloch in Fife and to the Anderson, Balfour, Boyd, Bruce, Kinnear and other families, and including sasines, inventories, charters of resignation, special retours, and similar, notable documents including: William Boyd, 3rd Earl of Kilmarnock (?-1717), deed of obligation, 1705, signed 'Kilmarnock', on paper, old repairs verso; idem, deed of tack, 1705, signed 'Kilmarnock', on paper, torn along folds; David Lindsay, 11th Earl of Crawford (1547-1607), charter, 17th March 1607, signed 'David erle of Craufurd', in Latin, with seal; James VI and I deed of sale of land at Kinloch from Sir James Scott of Abbotshall to one Robert Aytoun, in Scots, with seal (worn smooth); a 1592 charter concerning one Andrew Bruce and one John Johnston (with Bruce's seal); and othersNote: Note: William Boyd, 3rd Earl of Kilmarnock sided with the Hanoverians in the 1715 Jacobite rebellion, whereas his son, the fourth earl, was a prominent Jacobite commander in the Forty-Five and was executed at Tower Hill after its defeat.

J. Craig Thorpe (American, B. 1948) "Ohio Locomotive" Signed lower right. Original Oil painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Fleetwood Legendary Locomotives of the 50 States Ohio Commemorative Cover postmarked June 12, 1995. During the predawn hours of June 12, 1905, engineer Jerry McCarthy received a call imploring him to make up time on the Pennsylvania Special's much-publicized inaugural run. McCarthy was assigned to engine No. 7002 and given the formidable task of shaving time off the next leg of the westbound trip. Because the Pittsburgh, Fort Wayne & Chicago Railway (a subsidiary of the Pennsylvania Railroad) was locked in a speed war with its rival, the New York Central, a timely run was imperative. Both companies were vying to trim their Chicago-to-New York schedules to 18 hours. While McCarthy was pulling out all the stops with No. 7002, switch-tower operators compared timings and estimated his train's speed along a three-mile stretch between AY Tower and Elida, Ohio. Although they concluded that the engineer had achieved a world-record speed of 127.1 miles per hour, it is now believed that this finding was speculative at best. Nonetheless, McCarthy was traveling at a tremendous clip and did indeed make up a sizable amount of time on the lagging Pennsylvania Special's maiden run. In this painting, No. 7002 is steaming across flat lands in western Ohio. This storied E2-class 4-4-2 engine was built in the Pennsylvania Railroad's Juniata Works in 1902. To avoid confusion with its similarly-named Pennsylvania Limited, the Pennsy in November 1912 renamed the Special to become its flagship Broadway Limited -- a name it has held ever since. Image Size: 14 x 12 in. Overall Size: 18 x 15 in. Unframed. (B15099)

J. Craig Thorpe (American, B. 1948) "Missouri Locomotive" Signed lower right. Original Oil painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Fleetwood Legendary Locomotives of the 50 States Missouri Commemorative Cover postmarked September 1, 1994. Intended as "a modern version of a feudal gateway," St. Louis' Union Station provided an impressive welcome to train travelers entering Missouri's largest city. Designed in Romanesque style, the Station was said to have been inspired by the walled city of Carcasonne, France. One of the most outstanding features of the railroad terminal is its 230-foot clock tower. Four faces, with massive dials measuring 10 feet in diameter, provide a 360-degree view of the time. Reminiscent of a medieval castle, the station's main entrance is flanked by handsome turrets. Perhaps this structure's most awe-inspiring sight is the Grand Hall. Constructed with a 65-foot-high, barrel-vault ceiling suspended over a massive 8,500-square-foot floor, it was originally intended as a haven for travelers who had long layovers between trains. Another impressive component of the station was the trainshed. At the time of its construction, it was the largest in the world, capable of accommodating the trains of 22 railroad companies on its 30 tracks. At 1:45 a.m. on September 2, 1894 -- one day after Union Station's official opening -- a fast mail of the Vandalia line became the first train to enter the terminal. Locomotives like the No. 15, an 0-6-0 switching engine built by Baldwin Locomotive Works in 1880, shuffled cars moving between the platform tracks and servicing areas. Today this marvelous building has been renovated into a hotel and shopping complex. Image Size: 14 x 12 in. Overall Size: 18 x 15 in. Unframed. (B14853)

“We judge the worth of a scientist by the benefits he or she brings to science and society; by this measure Archer Martin was outstanding, and rightfully his contribution was recognized with a Nobel Prize” (James Lovelock, CH, CBE, FRS [1919-2022], writing in 2002) The honours and awards bestowed upon Archer Martin, National Institute for Medical Research, London, awarded the Nobel Laureate Prize for Chemistry, 1952, for his invention, with Richard Synge, of partition chromatography: SWEDEN, Svenska Läkaresällskapet [Swedish Medical Society], Stockholm, Jacob Berzelius Medal, 1951, a gold award medal by P.H. Lundgren after C.G. Qvarnström [1849], bust of Jacob Berzelius right, rev. winged Genius standing, filling a cup held by Isis seated right, sphinx at right, edge named (A.J.P. Martin), edge stamped mjv guld 1951, 56mm, 23ct, 144.35g (Storer 332; Brettauer 99), in blue case of issue, lid gilt-blocked ‘Svenska Läkaresällskapet ät A.J.P. Martin’; SWEDEN, The Nobel Laureate Prize for Chemistry, 1952, a gold award by E. Lindberg for the Kungliga Svenska Vetenskapsakademien [Royal Swedish Academy of Sciences, 1902], bust of Alfred Nobel left dividing legends, rev. robed female figures representing Science and Nature, the former holding a scroll and raising a veil over the head of the latter, who holds a cornucopia, tablet below named (Archer J.P. Martin, mcmlii), edge stamped mjv guld 1952, 66mm, 23ct, 204.08g (Storer 2615), in maroon gilt-blocked case of issue, named (Archer J.P. Martin); The Presentation Certificate for the Nobel Laureate Medal, inscribed Kungliga Svenska Vetenskapsakademien har víd sín sammankomst den 6 November 1952 í enlíghet med föreskrifterna í det av Alfred Nobel den 27 November 1895 upprättade testamentet beslutat att överlamna det prís som detta är bortgives för den víktígaste kemiska upptäckt eller förbättríng till A.J.P. Martin och R.L.M. Synge gemensamt, med hälften till vardera, för deras uppfínníng av fördelníngskromatografíen. Stockholm den 10 December 1952. Sigurd Nauckhoff, Kgl. Vet. Ak:s Preses Arne Werttgren Kgl. Vet. Ak:s Sekreterare [The Royal Swedish Academy of Sciences, at its meeting on November 6, 1952, in accordance with the provisions of the will drawn up by Alfred Nobel on November 27, 1895, decided to award the prize for the most important chemical discovery or improvement to A.J.P. Martin and R.L.M. Synge jointly, with half to each, for their invention of partition chromatography. Stockholm, 10 December 1952. Sigurd Nauckhoff, Prizes, Arne Werttgren, Secretary], in maroon gilt-blocked binding as presented, with the monogram of Alfred Nobel; USA, City of Philadelphia, The John Scott Medal, 1958, a light bronze award medal, unsigned, arms of the city of Philadelphia and supporters, rev. wreath, named (A.J.P. Martin, Ph.D., F.R.S., for inventions in Chromatography and particularly Vapor Phase Chromatography, May 16, 1958), 102mm, in fitted maroon and black display case, lid gilt-blocked ‘John Scott Medal, A.J.P. Martin’; USA, The Franklin Institute, Philadelphia, John Price Wetherill Medal, 1959, a plated bronze award medal, unsigned [1925], bust of John Wetherill left, rev. oak wreath, legend at right, named (1959...A.J.P. Martin R.L.M. Synge – A.T. James), 51mm, in fitted blue display case, lid gilt-blocked ‘F.I.’; The Most Excellent Order of the British Empire, [1960], C.B.E. (Civil), Commander’s second type neck badge by Garrard & Co, 65mm, in original black fitted case by Garrard & Co Ltd, 112 Regent Street, W1, with instructions for wear; The Royal Society Tercentenary, London, Leverhulme Medal, 1963, a gold award medal, unsigned, by the Royal Mint, crest of the Society, rev. shield with arms of England in upper left quarter, edge named (Dr Archer John Porter Martin, C.B.E., F.R.S., 1963), hallmarked jhj [Jack James, Deputy Master] London 1963, 73mm, 9ct, 279.89g, in original red gilt-blocked case by the Royal Mint; USA, American Pharmaceutical Association, Academy of Pharmaceutical Sciences, Arlington, VA, Kolthoff Medal, 1969, a gold award medal by A. Belskie for Medallic Art Co, New York [1967], bust of Izaak Kolthoff facing, head turned to left, rev. legend, named (In recognition of contributions to Analytical Chemistry, A.J.P. Martin, 1969), 63mm, 10ct, 132.81g, in original black case of issue stamped Medallic Art Co, New York; Institute of Measurement and Control, London, Callendar Medal, 1971, a frosted silver award medal, unsigned, for A.E. Poston, bust of Guy Callendar right, rev. legend, named (A.J.P. Martin 1971), hallmarked Birmingham 1971, 51mm, in blue fitted case by A.E. Poston & Co Ltd, Lonsdale House, Dowgate Hill, London EC4; JAPAN, Japan Society for Analytical Chemistry, Honorary Member, 1971, a silver and partially gilt medal, unsigned, lion couchant to right, legend below, rev. JSAC logo, named (Prof. A.J.P. Martin, 1971), stamped 1000, 73mm, in black fitted case with gilt-blocked legend, hinges of case deficient; JAPAN, Order of the Rising Sun [1972], Second class, set of insignia, comprising neck badge including paulownia flowers suspension, silver-gilt and enamel with red cabochon in centre, 83 x 55mm; star, silver and silver-gilt, with red cabochon in centre, ‘triple hook’ retaining pin, 94mm, complete with neck riband, in rio-nuri lacquered case of issue; The Presentation Certificate for the Order of the Rising Sun, together with a translation in English, inscribed ‘The Second Class of the Order of the Rising Sun is hereby conferred upon Mr Archer John Porter Martin, Englishman, by His Majesty the Emperor of Japan...the Imperial Palace...the Thirty-first of the Third Month of the Forty-seventh Year of Showa’ [31 March 1972], with the seals of office of Eisaku Sato, Prime Minister, and Kazuma Yoshihara, Director of Decoration Bureau; GERMANY, 25 Tagung der Nobelpreisträger, Lindau [25th Meeting of the Nobel Prize Winners], 1975, a heavy cast bronze medal by Marianne Kiesselbach, three naked females, their modesty hidden by shields bearing the signs of the planets, the staff of Æsculapius and a model of the atom, rev. cityscape, arms above, 126mm, in a blue plastic box, inside of lid with label ‘Dr Marianne Kiesselbach, Bildhauerin, 4 Düsseldorf, Moorenstr. 84’; USA, The Mikhail Tswett Medal for Distinguished Research in Chromatography, 1976, a light bronze award medal, unsigned, for Medallic Art Co, Danbury, CT, bust of Mikhail Tswett half-left, rev. oak wreath, tablet named (A.J.P. Martin), 63mm, in dark blue fitted case; ESTONIA, 75th Anniversary of the Discovery of Chromatography, Tallinn, 1978, a bronze award medal, unsigned, bust of Mikhail Tsvet facing, head turned to right, rev. names of the cities associated with Tsvet, named (A.J.P. Martin), 70mm, in wooden case with glazed lid; USA, Merck & Company and the University of Connecticut, Randolph Major Medal, 1979, a light bronze award medal, unsigned, for Medallic Art Co, Danbury, CT, bust of Randolph Major half-right, head facing, rev. wreath, named (A.J.P. Martin 10-5-79), 76mm, in white card box of issue; Chromatography Society Discussion Group, Martin Medal, 1983, a silver-gilt award medal by Tower Mint [1978], bust of Archer Martin left, rev. wreath, named (Dr Archer Martin F.R.S.), hallmarked London 1983, 45mm, in red leatherette case of issue; AUSTRIA, Österreichische Gesellschaft für Mikrochemie und Analytische Chemie [Austrian Society of Analytical Chemistry], Fritz Pregl Medal, 1985, a bronze award medal by W. Gosser [1931], bust left, rev. legend, named (Archer J.P. Martin, in Würd...

The Black Tower, signed James (P.D.) James (P.D.). The Black Tower, 1st edition signed by the author with inscription 'Dalgliesh nearly dies in Dorset', Faber and Faber, 1975Dustjacket creased to the top and worn around the corners and spine area.

Sterling silver Judaic spice tower in the form of blooming flowers with delicate leaves rising from a tripod base. The hinged container in the form of a flower bud. Marked along the underside with "MSS Sterling Silver."Provenance: Property from the distinguished collection of Mr. James Lee Soffer, Pittsburgh, Pennsylvania.Height: 6 1/2 in x diameter: 3 1/4 in.

Postcards, Clowns and Entertainers, a collection of 80+ postcards RPs printed and artist drawn to include 'Bingo The Pleasing Jester', Norman Langford's Famous Manx Mascots, Blackpool Tower Circus, Mr James Welch & Mr G H Snazelle, Erick's Entertainers, 1907 Flushing Circus and Carnival 1907, The Lewmiho's, The Rascals, Morpeth Pierrots, Rolando Martin (signed), Harry Reynold's Smart Entertainers, Tom Browne etc. (gen gd)

British War Medal 1914-20 (5) (M.Z.4567 S. W. Barker. Tel. R.N.V.R.; B.Z.1098 G. Bishop. A.B. R.N.V.R.; A.A. 2123 A. G. Swan. A.B. R.N.V.R.; R.3962 A. Thompson. A.B. R.N.V.R.; C.Z.1107 G. Watt. A.B. R.N.V.R.; Measam J. Farmer; James D. M. Swanson) edge knocks, contact marks, generally very fine (7) £100-£140 --- George Watt a Labourer from Aberdeen attested for the Royal Naval Volunteer Reserve and served during the Great War, first in the Mediterranean theatre. Following a spell in hospital as a consequence of dysentery, he served in the Balkans and later on the Western Front where he was taken prisoner on 7 February 1917. He spent the remainder of the war in Germany. Repatriated on 9 December 1918, he was demobilised on 22 January 1919. Measam James Farmer was born in Cardiff in 1878. He served in the Mercantile Marine as First Engineer in SS. Euterpe during the Great War and died aged 39, on 7 January 1916 when she hit a mine and sank in the North Sea. He is commemorated on the Tower Hill Memorial, London.

SOUL/ BLUES/ DISCO - LP/ 12" COLLECTION. Another smashing collection of around 200 LPs. Artists/ titles include The Excello Story (2683 007), Sade - Diamond Life, Percy Sledge - The Ultimate Collection, Don Cornelius - The Soul Train Gang, Muddy Waters - King Bee, Fred Wesley and the JBs - Damn Right I Am Somebody, Al Green - Let's Stay Together, Randy Crawford - Secret Connection, Cerrone - Love In C Minor, Solomon Burke - Cry To Me, Gloria Gaynor - Never Can Say Goodbye, Tower Of Power inc Urban Renewal, Back To Oakland, Luther Vandross - Come Back. Barry White, Tradition, JALN Band, Rick James, Millie Jackson, Stevie Wonder, Billy Preston, War, Weather Report, Bobby Womack, Grover Washington Jr, Sam & Dave, Ashford & Simpson, The Atlanta Disco Band. Condition is generally VG to Ex+.

A Quantity of books; Nature Rambles by Edward Step. Scottish Psalter and Church Hymnary. Bees, wasps, ants & allied insects of the British isles. Hours in the Scottish National Gallery by James L. Caw. The Whaling story from Moby Dick. Great Painters by A. Cunningham. Sir Thomas Browne's- Religio Medici. A Cigarette Maker's Romance. The Tower of London by Ainsworth. Aristotle on the art of poetry translated by Ingram Bywater.

Framed 1793 mezzotint 'Lioness and whelps : whelped in Tower of London in 1792' by Richard Earlom (1743-1822) after James Northcote (1746-1831) - frame 58cm x 71cm ~ slight shadow lines / creases otherwise in good used condition

After Nicolas Lavreince (1737-1807) SwedishL'heureux momentBlack and white print, together with a further print "Le Petit Jour" after Freudeberg (1745-1801) Swedish, and three further prints to include Royal Horse Guards, Luptons Tower Quadrangle, and a view of St James' Park (5)

James (P.D.). A group of 10 first edition novels, all published Faber, 1972/2003, titles comprise, An Unsuitable Job for a Woman, 1972, The Black Tower, 1975, Death of a Expert Witness (2 copies), 1977, Innocent Blood, 1980, A Taste for Death, 1986, Devices and Desires, 1989, A Certain Justice, 1997, Death in Holy Orders, 2001, The Murder Room, 2003, all but the first signed by the author on titles, some dated, original cloth in dust jackets, 8vo, plus a signed postcard portrait of the author from the painting by Michael TaylorQTY: (10)

Three c.19th century watercolours to include: Attributed to Tristram James Ellis (1844-1922) - 'Byzantium, Constantinople, Istanboul', watercolour and bodycolour on paper, unsigned, inscribed 'Byzantium, Constantinople, Istanboul, original by Tristram Ellis, painted from the ship in 1907', 37 x 24 cm; William Gray (British, 19th century) - 'Barden Tower', watercolour and bodycolour on paper, titled and dated lower right, title, location, artist's name and date inscribed verso, 24.5 x 32 cm; together with English Coastal Scene, signed 'M.H.K.' lower left, 31 x 19 cm, all framed and glazed (3)

William James, tätig 1730 – 1780 GemäldepaarVEDUTE MIT DER CHIESA San GEREMIA UND DER PONTE DELLE GUGLIE A CANNAREGIO sowieVEDUTE MIT DEM CANAL GRANDE MIT DER SANTA MARIA DELLA CARITÀÖl auf Leinwand.46,2 x 76,3 cm.Jeweils in vergoldetem, vegetabil verziertem Rahmen.Beigegeben eine Expertise von Dario Succi, Gorizia.Die beiden hier gezeigten Ansichten, die 1956 bei Christie’s als autografe Arbeiten von Canaletto versteigert wurden, stellen zwei der beliebtesten Ansichten der Lagune dar: Das erste zeigt den Palazzo Labia mit der Ponte delle Guglie, die ihren Namen den vier Obelisken an ihren Enden verdankt. Die Balustrade und die Statue des Heiligen Johannes von Nepomuk, des in der Moldau ertrunkenen Märtyrers, des Bildhauers Giovanni Marchiori, sind auf dieser Darstellung noch nicht vorhanden. Dieses Detail ist entscheidend für die Datierung des Gemäldes, das daher vor 1742 anzusiedeln ist. Der Palazzo, der von der Kirche San Geremia flankiert wird, deren romanischer Glockenturm zu sehen ist, wurde mit einem Freskenzyklus geschmückt, der einen der Höhepunkte der Kunst Tiepolos (ca. 1743-1750) darstellt. Wenngleich sich beide Gemälde auf Kupferstiche von Visentini beziehen und stilistisch an Canaletto angelehnt sind, erzeugt James doch einen eigenwilligen Stil. Das zweite Gemälde stellt Santa Maria della Carità dar, eine entweihte Kirche im Stadtteil Dorsoduro, die zum gleichnamigen Klosterkomplex gehört. Die Kirche wurde im 12. Jahrhundert anstelle einer älteren Holzkirche erbaut, zusammen mit dem Kloster der Regularkanoniker, denen sie anvertraut wurde; dank der Unterstützung des venezianischen Papstes Eugen IV konnten die Mönche sie Mitte des 15. Jahrhunderts im gotischen Stil unter Verwendung der Werke von Bartolomeo Bon umbauen. Das Gemälde zeigt die gotische Fassade der Kirche, die in den Himmel ragt.William James war zwischen 1746 und 1771 als Vedutist tätig; die einzigen Informationen über seine künstlerische Persönlichkeit finden sich in Edward Edwards’ „Anecdotes of Painters“ von 1808, in dem James als „Schüler“ oder Mitarbeiter von Canaletto während dessen Aufenthalt in England zwischen 1746 und 1755 erwähnt wird. Sein künstlerischer Werdegang wurde teilweise durch eine Reihe von Londoner Ansichten rekonstruiert, die sich im Besitz des Ashmolean Museums in Oxford und der British Royal Collections befinden. Im Text des oben genannten Edwards findet sich jedoch die einzige Erwähnung seiner Malerei venezianischer Sujets, die der Biograf selbst als stark mit Canaletto verwandt ansieht. Die Zuschreibung einiger Ansichten, die auf den internationalen Markt gelangten, an William James und vor allem das Vorhandensein einiger Gemälde, auf denen sein Name vollständig auf einer an den Originalrahmen angebrachten Plakette steht, lassen auf eine reiche Produktion von Stadtpanoramen schließen, die im Allgemeinen dem malerischen Repertoire von Antonio Canal entnommen sind, Werke, die es dem englischen Maler ermöglichten, zu den „vedutisti di Venezia“ (Vedutenmalern von Venedig) gezählt zu werden, obwohl seine biografische Abfolge keinen Hinweis auf einen möglichen Aufenthalt in der Lagunenstadt gibt. Aus der von Antonio Visentini zusammengestellten Sammlung „Prospectus Magni Canalis Venetiarum“ gibt es zahlreiche Gemälde, die ihm zugeschrieben werden. James war einer der bekanntesten Schüler Canalettos, der den Geschmack der venezianischen Stätten indirekt aufnahm, indem er die Werke betrachtete, die der Meister mit nach England gebracht hatte, und indem er an seiner Seite arbeitete, als er die große Nachfrage seiner Auftraggeber nach Ansichten der von ihnen so geliebten Lagunenstadt befriedigte. Dieses Gemälde kann als eines der Meisterwerke des Malers betrachtet werden: Inspiriert von einem Prototyp von Canaletto, hat das Gemälde eine fast unwirkliche atmosphärische Stabilität und einen typisch englischen Geschmack in der festen, schillernden Farbgebung, ohne die verblassende Wirkung der Sonne. Die lebhaften, kräftigen Farben und die Verwendung eines sehr starken, kristallinen Lichts, das dazu beiträgt, jedes minimale Element der Architektur analytisch zu erfassen, sind Konstanten in seinen Bildern. Biografische Angaben über den Künstler sind weitgehend unbekannt, er war jedoch zwischen etwa 1755 und 1775 in London tätig. Wie in Edward Edwards’ „Anedoctes of Painters“, das 1808 posthum veröffentlicht wurde, bestätigt wird, war William James ein Assistent oder Schüler von Giovanni Antonio Canal (1697-1768), genannt Canaletto, während des langen Aufenthalts des venezianischen Malers in London, der - abgesehen von einer kurzen Unterbrechung im Jahr 1751 - zehn Jahre lang von 1746 bis 1756 dauerte. William James war im London des 18. Jahrhunderts ein hochgeschätzter Künstler: Einige seiner Londoner Ansichten wurden zwischen 1767 und 1771 auf der jährlichen Ausstellung der Society of Artists ausgestellt: In der Ausstellung von 1767 wurden zwei Gemälde präsentiert, die das westliche Ende der Westminster Bridge darstellten. (1320125) (13)William James,active 1730 – 1780A pair of paintingsVEDUTA OF THE CHURCH OF SAN GEREMIA AND PONTE DELLE GUGLIE A CANNAREGIOandVEDUTA WITH GRAND CANAL AND SANTA MARIA DELLA CARITÀOil on canvas.46.2 x 76.3 cm.Accompanied by an expert’s report by Dario Succi, Gorizia.The two vedutas on offer for sale here, auctioned at Christie’s in 1956 as works by Canaletto himself, depict two of the most popular views of the lagoon: the first shows the Palazzo Labia with the Ponte delle Guglie, which owes its name to the four obelisks at its ends. The balustrade and the statue of Saint John of Nepomuk, the martyr who drowned in the Vltava River, by the sculptor Giovanni Marchiori, are not yet present on this painting. This detail is crucial for dating the painting, which must therefore have been created before 1742. The palazzo, flanked by the Church of San Geremia, whose Romanesque bell tower can be seen, was decorated with a cycle of frescoes representing one of the pinnacles of Tiepolo’s (ca. 1743 -1750) art. This painting can be considered one of the painter’s masterpieces: inspired by a paragon by Canaletto, the painting has an almost unreal atmospheric stability and a typically English flavour in the solid, iridescent colouring without the fading effect of the sun. The vivid, bold colours and the use of a very strong, crystalline light, which helps to analytically capture every minute element of architecture, are constants in his paintings.

A most unusual Second War submariner’s D.S.M. group of eight awarded to Acting Stoker Petty Officer E. J. James, Royal Navy, for services in H.M. Submarine Graph, formerly the U-570 captured in August 1941 and, taken into service by the R.N., carried out three combat patrols becoming the only U-boat to see active service with both sides during the war Distinguished Service Medal, G.VI.R. (KX.85507 E. J. James. A/Sto. P.O. R.N.) impressed naming; 1939-45 Star; Atlantic Star; Africa Star; Pacific Star; Defence and War Medals 1939-45, the Second War campaign stars and medals all privately named; Royal Navy L.S. & G.C., G.VI.R., 2nd issue (KX.85507 E. J. James. D.S.M. P.O.S.M. H.M.S. Tabard.) official correction to ship on this last, mounted as worn, good very fine (8) £1,000-£1,400 --- D.S.M. London Gazette 5 January 1943: ‘For great courage, skill and determination in a successful submarine patrol. - Acting Stoker Petty Officer Edwin John James.’ Seedies Roll confirms award for a ‘successful attack on a U-boat on 21 October 1942.’ The remarkable story of the capture of the U-570 and subsequent service in the Royal Navy as H.M. Submarine Graph is told in detail online in Wikipedia from which some of the following has been extracted: Graph departed from Holy Loch for her first Royal Navy war patrol on 8 October 1942, with the intention of patrolling the Bay of Biscay. On the afternoon of 21 October 1942, about 50 nautical miles north-north-east of Cape Ortegal, Graph dived to evade a German Fw 200 long-range patrol aircraft. A loud hydrophone contact made Lieutenant Marriott believe a nearby submarine had likewise dived and, 12 minutes later, he observed its conning-tower against the setting sun. After pursuing the German boat, Graph fired four torpedoes. Explosions were heard, and also banging noises, leading the British to believe they had hit the other submarine and the banging noises were caused by her breaking up as she sank. In early 1943, Marriott was awarded the Distinguished Service Order for “great courage, skill and determination in a successful submarine patrol” - Lieutenant Swanston gained a Bar to his D.S.C. and six D.S.M.’s went to other members of her crew. After the war, examination of German records showed the submarine attacked was the U-333, badly damaged after being rammed by the Flower-class corvette H.M.S. Crocus off the coast of West Africa. German lookouts had seen the torpedoes’ tracks, enabling U-333 to evade them. The torpedoes then self-detonated for unknown reasons. The commander of U-333 was Peter-Erich Cremer who, in his post-war account of the attack, suggested the rattling and banging noises Graph’s crew had heard were due to the severe damage previously inflicted on U-333. His route back to France closely hugged the Spanish coastline, a pattern followed by other U-boats, and he had also believed that Marriott was aware of this and had been lying in wait. Graph completed two further war patrols but defects, exacerbated by a shortage of spare parts, led to her being placed in reserve and decommissioned from active service on 21 June 1943.

A Request from Mr. Joyce Joyce (James) Autograph Letter Signed to 'Dear Mr [Thomas] Pugh,' 3 pp (folded sheet), on paper of Grand Hotel Britannique, Spa, Belgique [where Joyce is on holiday], dated 6.8.1934, asking Pugh to visit him when next in Paris, and making several requests. 'My American publisher would like to have for a circular he publishes some photographs of scenes mentioned in Ulysses so I wondered if you would consent to have some of yours reproduced... the Martello Tower (Sandycove), Holles Street Hospital and the view on the strand at Sandymount.. Of course he would use your name and I take it these things are paid for.' He also asks if Pugh knows of any illustrated weekly published in Dublin around 1904, for the use of the French painter Henri Matisse, who is working on designs for a new edition-de-luxe of Ulysses. 'He knows the French translation very well, but has never been in Ireland. I suppose he will do only the human figures but even for that he would perhaps need some guidance.' 'With many thanks in advance / Sincerely yours / James Joyce.' It seems Matisse never looked at the Dublin illustrations, which Pugh duly supplied; his illustrations are drawn entirely from Greek myth. Fold marks, one beginning to tear, a few minor marks, no loss. With the associated envelope-front, postmarked (stamp removed), showing it went to several addresses before reaching Pugh. Original letters of substance from Joyce are now of the greatest rarity. As a m/ss., w.a.f. (1) Provenance: From the Collection of Joyce's friend - Thomas Pugh.

A quantity of pictures to include; an engraving from a picture after Mr Wooton, an engraving by S. Middiman titled 'The View of the Ruins of The West Tower and Front of Hereford Cathedral', a quantity of James Law watercolours of Coastal scenes, a small oil painting signed 'Camino' titled 'Venezia', a watercolour of French Alps by Martin Preece, etc.

A fine and rare second quarter of the 19th century gilt brass carriage timepieceJames F. Cole, No. 1 Maddox St., Regent Street, LondonThe case surmounted by a stylised facetted Greek key handle with four ribbed mushroom finials above slender Doric columns to octagonal feet, the sides, top and front panels all engine turned, the rear panel patinated and with rotating winding shutter. The 1.75-inch engine-turned silvered Roman dial with subsidiary seconds and slender blued steel moon hands reading against the finely textured centre. The going barrel movement with underslung English lever platform escapement, cut and compensated bimetallic balance, the backplate signed James F. Cole No 1 Maddox Stt Regent Street. 13cms (5ins) highFootnotes:Based on the address on the backplate, this clock was likely made between about 1829-1835. James Ferguson Cole was born around 1798 in Nether Stowey, Somerset to Catherine and James Cole, the latter of whom was a clockmaker, and known throughout the village as 'Conjuror Cole'. It also seems that the family were personally acquainted with both William Wordsworth and Samuel Taylor Coleridge. The Coles had two more children after James, Thomas (born around 1800) and Elizabeth (born around 1808). Both James Ferguson and Thomas became clockmakers, presumably being apprenticed to their father, with evidence that at least James Ferguson began his apprenticeship at 11 years old. According to some sources, James Ferguson was named after the self-taught Scottish astronomer of the same name, who published books and travelled Britain explaining the concepts of Astronomy to lay people. He also made orreries and clocks, eventually becoming a Fellow of the Royal Society. James Ferguson Cole certainly lived up to his namesake and became renowned for his mechanical skill and dexterity; he took out his first patent, for a form of pivoted detent escapement, at the age of 23. Thomas Cole would be lauded for his fine cases and dials, though does not seem to have achieved the same mechanical superiority as his brother.The Cole family moved out of Nether Stowey in 1811, eventually settling in London by 1818. Clocks are known from James Ferguson beginning around 1821, when he seems to have established his own premises, seemingly working out of Hans Place, Chelsea. There is some confusion around this address, it is possible this was the family home. Later in 1821, though, Cole moved to 10 Park Lane, Piccadilly. It does also seem that both brothers were making clocks beginning in their mid-teens, though this was likely done as part of their apprenticeship.Beginning in 1823 the brothers formed a partnership at 3 New Bond Street and began making clocks together. They were responsible for producing some of the most complicated carriage clocks available, which included standard complications such as moon phase and days of the week, and more advanced complications such as perpetual calendar and daily times for sunrise and sunset. They also made watches and chronometers at this time. It is unclear when the partnership dissolved, or why, with the date of dissolution being variously given as 1829, up to 1832. James Ferguson's first shop, after Thomas Cole's departure, was located at 1 Maddox Street, Regent Street, where he stayed until about 1835, then moving to 9 Motcomb Street, Belgrave Sq. Throughout this period he advertised as a chronometer and clock maker. Around 1846, he moved again, this time to 30 Granville Square. At some point, possibly around the time of his move to Belgrave Sq. or a bit after, he married Charlotte Wyatt. The couple would have four children together: James Ferguson Cole Junior, Mortimer George Cole, Ada Martha Cole, and Jessie Cole. Both James Ferguson Junior and Mortimer would become horologists. Ada was a painter, miniaturist, and lithographer who exhibited her work at the Royal Academy. She also printed lithograph portraits, most well-known being of the chronometer maker William James Frodsham. It is unclear if she was or was related to the photographer Ada Cole, who was an early campaigner for animal rights. Cole continued to make high-quality, complicated pieces, relocating first to 20 Devonshire Street and then 11 Great James Street during the 1850's, while his place of residence remained 5 Queen Square Bloomsbury.James Ferguson became quite involved with the British Horological Institute from the beginning, becoming Vice President in 1859. Through his involvement, professional watchmakers began to share information with each other, when previously they had kept the most inconsequential of workshop procedure to themselves, fearing competition from others. For decades afterwards it would be said that 'he broke the ' Conspiracy ' of secrecy' amongst watchmakers. Despite this he relinquished the post in 1862, having become sick of the continual bickering and politicking at council meetings. Another BHI member, however, suggested that it was Cole's 'peculiarity of temperament' which caused the unrest during the meetings. Regardless, in 1875, Cole was commissioned by the BHI, for the sum of £100, to write a series of articles which, taken together, would form a Treatise on Isochronism. It was said that this was partially done to prevent the still new British Horological Institute from appearing antagonistic towards Cole; his possibly forced resignation was warned as being 'no compliment to such an eminent man and also bad taste'. The reviews of the Treatise, after it was published in 1877 were mixed with some members commenting it 'was difficult to criticise [the Treatise] because it contained more language than fact' and others protesting Cole's assertion that flat watchsprings demanded on overcoil if they were to keep accurate time. Some defended the Treatise, including a watchmaker named Joyce Murray, who had been practicing for over three decades. Murray claimed that Cole's Treatise was 'the most valuable work on the subject extant'. Murray further stated that 'Had it been published 30 or 40 years ago, when we began to adjust lever watches, the saving of time and mental labour would have been enormous.' This might suggest that politics and personality clashes biased some reviewers.Cole refused to debate the merits of his Treatise with the various BHI members. He died shortly after, in January 1880, though he continued to practice his horological skills until a few years before his death. James Ferguson Jr. moved into his house, Belvedere (later Tower) House, Bexley Heath, and lived there until 1935. In his obituary, James Ferguson Cole Snr.'s, it was noted that he was one of the foremost practical horologists of his time, and in his particular field of study (springing and timing) he was without equal. Paul M. Chamberlain was well-acquainted with James Ferguson Cole Junior, and his summary of James Ferguson Cole Snr. is probably the most apt: 'Exemplary in his private life, a devoted husband and father, brilliant as artist and scientist, he was in every way fitted to rank with the illustrious men of his time.'Good, R. (2001) 'James Ferguson Cole, Maker Extraordinaire', Horological Journal, Vol. 143(5), pgs. 166-170Murray, J. (1877) 'Letters to the Editor', The Horological Journal, Vol. 19 (6), p. 84Donovan, D. (1975) 'Thomas Cole, Clockmaker 1800-1864. Part 1: The Cole Family', Antiquarian Horology, Vol. 9 (2), pgs. 186-189.Cronin, K. (2016) The Ada Cole Story. Available at: https://unboundproject.org/the-ada-cole-story/British Horological Institute (1958) 'The Rumbustious Days when the Institute was Formed', Horological Journal, Vol. 100 (9), pgs. 566-568.Royal Collection Trust (2022) Astronomy explained upon Sir Isaac Newton's principles and made easy to those who have not studied mathematics / James Ferguson. 1756. Available at: https://www.rct.uk/collection/1090094/astronomy-explained-upon-sir-isaac-newtons-principle... For further information on this lot please visit Bonhams.com

James Tower (1919-1988) small bowl, 1979 earthenware on shallow cylindrical foot, resist decorated in green on a grey tin glaze, incised Tower, 79, paper label no.70. fine stress crack to well, 27.5cm. diam. 9cm. high Literature Timothy Wilcox The Ceramic Art of James Tower, Lund Humphries, page 145 catalogue number 70 (whereabouts unknown).

2 x Hammered Shillings, comprising: (1) James I 1605-6 (31mm, 5.55g), second coinage 1604-19, mm rose, obv. fourth bust right, rev. shield of arms, (S.2655), scratches to obv., some weakness to legends, otherwise full round flan, Fine; and (2) Charles I 1632-3 (31mm, 5.41g), Tower Mint under the King 1625-42, mm harp, obv. fourth bust left, rev. garnished oval shield divides C R, (S.2789), scratches to bust, otherwise full round flan with strong clear legends, Fine

Group of three Judaic spice towers; the tower and box marked sterling silver and the chest tested as 82.6% silver. Two in the form of chests and one in the form of a tower with a flag finial.Provenance: Property from the distinguished collection of Mr. James Lee Soffer, Pittsburgh, Pennsylvania.Height ranges from 1 3/8 in to 3 1/2 in; width ranges from 1 3/8 in to 1 7/8 in; depth ranges from 1 1/8 in to 1 3/8 in.

Attributed to Henry Brocas Snr. (c1760 - 1837) “Watermill, thought to be the O’Sullivan Flax Mill at Blarney,” c. 1810, watercolour on paper, 66cms x 47cms (26” x 18 ½”). Dating from the early nineteenth century, this watercolour painting of a mill by a river can be confidently attributed to Henry Brocas the Elder. The location of the building (not given on the watercolour), has been identified by Alison Muir, researcher on the history of Irish mills, as likely the five-storey mill that once stood in the village of Blarney, beside the River Martin. Owned by James B. O’Sullivan, this flax mill flourished for several decades. However, today little or nothing remains of the buildings depicted by Brocas, as O’Sullivan’s mill was demolished to make way for the Blarney Woollen Mills. The watercolour is therefore an important document relating to Ireland’s industrial archaeology. The location is idyllic, and the artist clearly intended to represent how nature has been improved through the addition of these buildings and industrial works. Although best known for his portraits, mainly of actors, politicians and lawyers, Brocas also depicted landscapes in watercolour, using a rapid technique of representing leaves and trees that relates to the present work. In this painting, he depicts a range of industrial and domestic buildings, set in a woodland landscape beside a bridge. In the foreground, a party consisting of a man, woman and child, walk along a curving riverside path, viewing the mill and its surroundings. Rising five storeys, the mill is an impressive building, with the top of the waterwheel visible just behind the five arched bridge. It is protected by a high wall, extending along the riverbank. Brocas has enlivened the scene by adding in the figure of a man fishing by the bridge, and three men, also fishing, in a boat. Beside the mill are two bird houses, or dove cots, raised high on poles. Beyond the bridge is a three-storey house, seen from the rear. Another domestic house is visible on the left, a two-storey building with outbuildings attached. On the brow of the hill, behind the mill, is a ruin. At the time this watercolour was painted, there was an early eighteenth-century wing of Blarney Castle falling into ruin. Only a circular tower survives today, some distance from the castle. The windows on this eighteenth century wing correspond to Brocas’s view. On the extreme right in the watercolour is a series of low buildings. Including at least five artists, over two generations the Brocas' were influential in Dublin’s art world. Henry Brocas Snr was born in Dublin in 1762, the fifth son of Robert Brocas and his wife Bridget (neé Taylor) Largely self taught as an artist, in the 1790’s he lived in the Grafton Street area of Dublin, before settling around 1825 in Henry Street. In 1800 he was appointed to teach landscape and decorative painting at the Dublin Society’s Drawing Schools, a post which he kept until his death in 1837. Brocas set an example to students at the School by making sketching tours to beauty spots around Dublin, and sketching scenes from life, rather than working exclusively in the studio. His four sons were pupils at the Dublin Society and also became professional artists, giving the family a long association with the Schools. The family was also associated with the Society of Irish Artists, with the third son, William, serving as President. William was also a member of the RHA, elected in 1860. Brocas’s other three sons were James Henry Brocas, born c 1790, Samuel Frederick, born in 1792, and Henry Jnr, who was born six years later.  Samuel Frederick Brocas is best known for his views of Dublin, while James Henry Brocas was a landscape, portrait and equestrian painter: his landscapes and paintings of horses and cattle were shown at exhibitions in Dublin between 1801 and 1816. John Henry studied at the Dublin Society's Drawing Schools, winning awards in 1802 and the year following, as well as a medal for etching. He moved to Cork around 1834. The youngest son Henry Brocas Junior (1798-1873) succeeded his father at the Dublin Society’s Schools, where he taught for around two decades. A detailed account of the Brocas family is given in Patricia Butler, The Brocas Collection, (NLI, Dublin, 1997).

Wrottesley (George). Life and Correspondence of Field Marshal Sir John Burgoyne, Bart, 2 volumes, 1st edition, London: Richard Bentley, 1873, frontispiece to each, publisher's catalogue at end of volumes I, a few light spots, volume II hinges a little tender, bookplates of Charles Viscount Halifax, original cloth gilt, a little rubbed, a few marks to volume I upper cover, 8vo, together with Maurice (Sir J.F., editor) The Diary of Sir John Moore, 2 volumes, London: Edward Arnold, 1904, portrait frontispiece to volume I, folding maps, errata slip, bequeathal bookplates, original cloth gilt, water stain to volume I lower cover, 8vo, plus Carr-Gomm (Francis Culling). Letters and Journals of Field-Marshal Sir William Maynard Gomm, G.C.B. Commander-in-Chief of India, Constable of the Tower of London &c. from 1799 to Waterloo, 1815, London: John Murray, 1881, portrait frontispiece (detached), bequeathal label from the author, original cloth gilt, spine faded, 8vo, and Oman (Charles). A History of the Peninsular War, 7 volumes, Oxford: Clarendon Press, 1902-1930, numerous colour maps, some folding, illustrations, a couple of volumes with added rear pockets containing maps and press cuttings, occasional spotting, original cloth gilt, some fading to spines, small ink stains to volume I upper cover, 8vo, together with approximately 85 other cloth-bound including Recollections of Sir George B. L'Estrange, circa 1880, Napoleon's British Visitors and Captives 1801-1815, by John Goldworth Alger, 1904, J.W. Fortescue's The County Lieutenancies and the Army 1803-1814, 1909, The Great Duke, by W.H. Pritchett, 2 volumes, 1911, Recollections of a Peninsular War Veteran, by Lt.-Colonel Joseph Anderson, 1913, The Life of a Regimental Officer During the Great War 1793-1815, compiled from the correspondence of Colonel Samuel Rice... by A.F. Mockler-Ferryman, 1913, and The Depot for Prisoners of War at Norman Cross Huntingdonshire. 1796 to 1816, by Thomas James Walker, 1913 QTY: (approximately 100)

[Collyer, James N. & John Innes Pocock]. An Historical Record of the Light Horse Volunteers of London and Westminster; with the muster rolls from the first formation of the regiment MDCCLXXIX to the relodgement of the standards in the Tower MDCCCXXIX, London: William Nicol for Wright, 1843, 12 lithograph plates, occasional light spotting, original blindstamped cloth, spine repaired, light fading, 8vp, together with Leeke (William). The History of Lord Seaton's Regiment, (the 52nd Light Infantry) at the Battle of Waterloo, 2 volumes, 1st edition, London: Hatchard and Co., 1866, portrait frontispiece to volume I, 3 battle plans with outline colour, small library ink stamps to front endpapers, contemporary half calf, joints and edges rubbed, 8vo (a Supplement, not present here, was published in 1871), plus Cadell (Lieut.-Colonel Charles). Narrative of the Campaigns of the Twenty-Eighth Regiment, since their return from Egypt in 1802, a little minor spotting, modern tan half calf, 8vo, with three other regimental histories: David Stewart's Sketches of the Character, Manners and Present State of the Highlanders of Scotland..., 2 volumes, 3rd edition, 1825, W. S. Moorsom's Historical Record of the Fifty-Second Regiment) Oxfordshire Light Infantry) from the year 1755 to the year 1858, 1860, and Historical Records of the 79th Queen's Own Cameron Highlanders, compiled by Captain T..A. Mackenzie and others, 1887QTY: (8)

James I (1603-1625), Second coinage, Britain Crown, mm. tower, third bust, 2.38g/12h (SCBI Schneider 50; N 2091; S 2625). Trace of crease, fine, reverse a little better £300-£360

William James Boddy (1832-1911)York MinsterSigned and dated 1909, watercolour, together with a further watercolour by Paul Marny depicting a street scene possibly York, an example by E Moore "Easby" (Abbey), two examples by Jessie Dudley and a half length portrait of a young boy leaning on a column, in the style of George Richmond 33.5cm by 24cm and various other sizes (6)Brief condition report, given number in lot as follows.Marny - Stome staining and discolouration to mount. Light discolouration to sheet. Unworked areas appear broadly clean. No evidence of cockling. Not examined out of the frame. Style of Richmond - Significant staining across sheet. Colour depth faded and muted. No evidence of cockling. Not examined out of the frame. Boddy (Minster) - Notable staining to sheet. Somewhat more pronounced within bands or scorch marks, possibly in line with old backing board at height of tower and roof line in general. Colour depth diminshed as a result of this. Possibly some staining in addition. No evidence of cockling. Not examined out of the frame. Boaters before cottage - Poor overall condition with significating staining, large sized foxing spots, reduction to colour. No evidence of cockling. Not examined out of the frame.Easby - Staining across entire sheet. Reduction to overall colour depth. Some foxing. No evidence of cockling. Not examined out of the frame. Figures with parasolls before abbey  - Signigicatng stainiga cross sheet. Reductuion to colour. No evidence of cockling. Not examined out of the frame. 

BOOK TRADE & BANKINGWarrant signed by George II ('George R'), granting permission to John Baskett ('Our Printer') and Robert Gosling ('...of our City of London, Bookseller...') to search the records and make transcriptions from the archives of the Tower of London, the Houses of Parliament, the libraries of St James's and Westminster and the Paper Office and Parliamentary archives for their '...compleat Collection of all the Acts of Parliament from Magna Charta to this present time, together with the preambles to all the Statutes... six large Volumes in Folio...', two pages on a bifolium, papered seal, dust-staining and small tears, folio (304 x 190mm.), 'Our Court at Kensington', 4 November 1726; with an album of printed and manuscript ephemera relating to the Gosling family including tradesmen's receipts ('Jno. Hinckes Tinn Man At ye Lamp & Crown in Fleet Street', 'William Nelson oylman', 'Samuel Price Shoe Maker', 'James Ward Cheesemonger'), tax and rent receipts, annuity certificates and other receipts pertaining to Sir Francis Gosling, 1760's, insurance certificate for John Pyle from the Sun Fire-Office, his will, printed cheques from Mssrs Goslings & Sharpe, 1760's, etc., c.53 leaves, several leaves excised, dust-staining and marks, original calf, worn, remains of old labels, upper and lower boards detached, lacking spine, folio (266 x 220mm.), eighteenth-century; with indenture appointing Sir Francis Gosling and John Pyle executors of the will of John Walsh of the parish of St Mary le Strand, one sheet of vellum, papered seal and duty stamps, folio (370 x 435mm.), London, 10 March 1766Footnotes:The recipient of the Royal warrant, John Baskett (1664/5-1742) was the King's Printer and became infamous as the publisher of the 'Vinegar Bible'. The present warrant relates to his printing of 'The Statutes at Large, from Magna Charta to the seventh year of King George the Second inclusive', printed in conjunction with stationer and bookseller Robert Gosling (1684-1741), of Middle Temple Gate. Gosling's son Francis, later Sir Francis Gosling (1719-1768), was apprenticed to his father and worked for him until around 1757. In 1742 he became a partner in a bank founded by Henry Pinckney which became known as Goslings Bank, trading at the sign of the Three Squirrels. In the second half of the eighteenth century the bank became Goslings and Sharpe and was one of the banks merged into Barclays Bank in 1896.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

A ‘Q-Ship’ group of four awarded to Stoker Petty Officer W. J. Birch, Royal Navy, who was serving in H.M.S. Farnborough, ‘Q5’, when she sank the German submarine U-83 on 17 February 1917, an action for which her captain, Gordon Campbell, was awarded the Victoria Cross 1914-15 Star (135711, W. J. Birch, S.P.O., R.N.); British War and Victory Medals (135711 W. J. Birch S.P.O. R.N.); Royal Navy L.S. & G.C., G.V.R., 1st issue (135711. W. J. Birch, Sto. H.M.S. Colleen.) official correction to ‘M’ on LSGC, very fine (4) £500-£700 --- William James Birch was born in Portsmouth, Hampshire, on 5 November 1865 and attested for the Royal Navy on 1 December 1885. Advanced Stoker Petty Officer on 1 July 1906, he was shore pensioned on 10 September 1908 and joined the Royal Fleet Reserve the following day. Recalled for service during the Great War, he was borne on the books of the Irish depot ship H.M.S. Colleen when he was awarded his Long Service and Good Conduct Medal on 26 October 1916, having joined H.M.S. Farnborough, the converted Q-Ship ‘Q5’, on 9 November 1915, under her Captain Gordon Campbell. He was present in Q5 on 17 February 1917 when off the west coast of Ireland at 9:45 a.m., Campbell, following proscribed Q-ship tactics, turned into the track of an enemy torpedo so as to allow it to hit Q5 aft by the engine-room bulkhead. The ‘panic party’ made a convincing departure in boats as the ship began to settle by the stern. Campbell and the guns’ crews, meanwhile, lay prone in their hiding places on the upper deck as the barely submerged U-boat, U-83 commanded by Hoppe, closed to within twenty yards. At 10:05 the submarine broke surface 300 yards off the port bow, but in a position where none of Q5’s guns could bear. Gradually, however, the submarine passed down the port side with the intention of securing the ship’s papers from the ‘crew’ in the boats. As U-83 motored abeam of Q5, Campbell could see that she was fully surfaced, with the conning tower open and Hoppe on the bridge. At 10:10 he gave the order to open fire. The guns’ crews got off forty five rounds at point blank range, nearly all of which hit. U-83 sank with the loss of all hands save for one officer and a seaman. Q5 in sinking condition was taken in tow by the destroyer H.M.S. Narwhal and the sloop H.M.S. Buttercup and eventually beached. Birch was one of the few crew members to leave Q5 on 24 February 1917, when he did not elect to follow Gordon Campbell to his next command, another Q-Ship, H.M.S. Pargust, which later sank UC-29, leading to the award of two Victoria Crosses under Rule Thirteen, with Lieutenant Stuart being selected by ballot as the representative officer and Seaman William Williams as the representative rating. Serving ashore for the rest of war, he was invalided from the service on 20 November 1918. Sold with copied service records, medal roll extracts and research.

Ordnance Survey. Mudge, William. Cased set of four Ordnance Survey maps in book-box, including Isle of Wight & Part of Hampshire: No. IX, n.d.; No. X, 1 June 1810; No. XI, 10 April 1810; No. XII, 14 August 1817. Sectional & linen-backed. Published by Col. Mudge. Engraved at the Drawing Room in the Tower, by Benjamin Baker & Assistants, the writing by Ebenezer Bourne. Printed by Ramshaw. Sold by James Gardner, Agent for the Sale of the Ordnance Maps, 163 Regent Street, London. Priced Twelve Shillings and Six Pence. With the exception of No. XI, the maps are very well-preserved, clean and bright, with some pale offsetting; rich impressions with the county letters in velvety black ink; No.XI has some ink staining at fold lines, which has caused slight wear/loss at those folds, reinforced with tape verso. Housed in an attractive crushed green morocco lidded case in the form of a leather-bound book, the spine lettered in gilt, the cover with ownership name in gilt, 'C. R. Fox', all edges gilt, leather worn Major-General C. R. Fox, Ordnance Office, is recorded as a correspondent in the archives of the Royal Society

Attributed to Francis Swaine (London circa 1720-1782)Thames shipping, a pair both bear a title and signature 'F Swaine' (on label attached to the reverse)pen, ink and washeach 27 x 36.2cm (10 5/8 x 14 1/4in). (2)Footnotes:ProvenanceJonathan Janson, UK.In the first drawing, a tall church spire is apparently St. Brides, Fleet Street. There is a small cutter-rigged hoy on the far left, a Thames peter boat fishing at 5 o'clock below it and a rowed lighter carrying sawn planks in the foreground. There is a City of London barge leading a larger barge in the centre of the composition, the latter with an unreadable design on the flag astern.In Ralph Hyde's A Prospect of Britain: the town panoramas of Samuel and Nathaniel Buck (London, 1994), this drawing clearly relates to both the right side of Plate 42, the third of five (Plates 40-44) comprising the Buck panorama of London from Westminster Bridge to the Tower, and the left side of Plate 43: the Buck version has moved the barges and lighter further west (left) from the drawing and they are on Plate 42, with the second barge - rather than the stern of the first - centred squarely in front of St Bride's (no. 47 in the Buck key), and the 'Fleet Ditch' (no. 49, with the small bridge over it) shifted to the left edge of Plate 43 in front of the square tower of St Sepulchre's (no. 50, but of which there is barely a trace on the drawing). The wide stairs off a square to the right of the Fleet are Blackfriars Stairs (no. 51).Plate 42's inscription says the view (from the south side of the river) was taken 'from Mr Everard's summer-House opposite to St Bride's Church' and that Plate 43 was from 'the West part of the Leads of St Mary Overy's church in Southwark' (i.e. Southwark Cathedral today)In the second drawing, there is an upstream barge at the riverfront in the background and a small four-oared and cabined barge at left of the sort used for official purposes such as the Navy Board and other government offices. There are lots of passenger wherries shown with pairs of oars and a typical Thames jetty (or 'bridge') of the grander sort, with stairs at the end, from which they operated before the river was embanked.In Ralph Hyde's A Prospect of Britain: the town panoramas of Samuel and Nathaniel Buck (London, 1994), this drawing is a coherent single study for the right side of Plate 43 and shows the view east of St Paul's. On the very left edge there is just the ghost of the spires of St Austin's (no. 65 in the Buck key) and Christ Church (no. 66) right up against the east end of St Paul's. St Mildred's (no. 67) and St James Garlickhythe (no. 68), also close together, are the first two spires more clearly visible to the right. The last relatively low steeple at far right (as in the print) is St Michael's Bassingshaw (no. 82). The 'bridge' jetty ending in stairs end seen on the drawing is identified on the prints as Steelyard Stairs (no. 76, on the site of Cannon Street Station today), with the three churches immediately behind being St Mary Aldermary (no. 73, square tower with pinnacle corners), St Michael, Colarts Hill (no. 74, spire) and the tallest spire that of St Mary-le-Bow (no. 75).Most of the vessels shown in the drawings reappear in the prints; slightly bigger or smaller, repositioned, with slight differences of detail but generally recognisable. All the Buck London panorama plates bear the same imprint date of 11 September 1749. It is a credible hypothesis that the pencilling of the background may be something Samuel Buck provided and asked Swaine (if it was Swaine) to supply the shipping taken from the same two viewpoints. The changes in the prints - of scale, slight detail, and positioning - would then have been those effected in transfer-copying by others, with the drawings generally more convincing as by someone who knew what they were doing in nautical terms. If Swaine did it, it would have been when he was in his early to mid-20s for things printed in 1749.We would like to thank Dr. Pieter van der Merwe for his help in cataloguing this lot.For further information on this lot please visit Bonhams.com