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A pair of officially issued posters, including the rare Eiffel Tower poster, each professionally framed and glazed.To commemorate James Bond's 25th Anniversary on screen, and to help launch Timothy Dalton as the new 007, EON Productions issued a limited run of smaller posters measuring 11ins x 17ins in 1987 for cinemas and video shops. Each original poster is framed, mounted and glazed and will hang beautifully on a study or man-cave wall, and we note that larger posters sell for tens of thousands and take up much more room.Click here for more details and images

* JULIAN BARROW (BRITISH 1939-2013),TOWER OF LETHENDYoil on canvas, signed and dated 1977, titled versoimage size 46cm x 62cm, overall size 61cm x 76cmFramed.Provenance: Private Edinburgh collection.Note: The Tower of Lethendy is a Scottish Baronial-style house in Perthshire which has been the subject of media interest in 2022. It was widely reported in the Scottish press that the current owner is a Russian Oligarch albeit one who was among the first to openly and strongly condemn the war in Ukraine. The property boasts a heated swimming pool, two tennis courts and an 18 hole golf course. The press and media also reported that The Tower of Lethendy was acquired by the current owner in 2016.Note 2: Julian Barrow was a painter, adept at catching the spirit of a place, who travelled widely. He was born in Longtown, Cumberland, and studied at RWA and Signorina Simi’s Academy in Florence, Italy. He was a full member of Chelsea Arts Club, living nearby, and from 1988 for 23 years was President of Chelsea Art Society. Group shows included RA Summer Exhibition, 1961–99; Paris Salon, 1965; and NEAC, 2002. He had solo exhibitions at Hazlitt, Gooden and Fox 1972–74–77; Morton Morris & Co, 1982–85; Leger Gallery, 1989–92–95; and Fine Art Society 1999–05, plus many others in America and the Middle East. For decades he lived, with his wife Serena, in a magnificent studio on Tite Street in Chelsea (London) in the building formerly occupied at various times by Sargent, Whistler, Glyn Philpot and Augustus John. Julian Barrow was described by James Lees-Milne as “a country house painter par excellence” and his commissions for interiors and exteriors of country estates took him all over England, Scotland, Ireland, and America. He also painted many of the private clubs in London and New York. John Julius Norwich, in his introduction to the catalogue of a one-man show at the Fine Art Society in London in 2005, notes that Barrow’s pictures “radiate a love of life, a joy in light and shade and colour, a grateful appreciation of all the blessedness that lies around us if we can only make the effort to see it. They warm us; they cheer us; they convince us that whatever terrible things happen in the world, there is a beauty there a-plenty for the asking – and for the taking.” Barrow was commissioned to paint "Her Majesty the Queen Addressing Both Houses of Parliament on the Occasion of Her Golden Jubilee in Westminster Hall" (2002) having previously been commissioned to paint "HM The Queen in Westminster Hall Receiving the Jubilee Address on the 25th Anniversary of Her Accession to The Throne" (1977). Both held in the UK Parliament Art Collection. Julian Barrow's paintings are held in large numbers of prestigious private, corporate and public collections in the UK, US, Middle East, India and the Far East.Condition is good overall, with no visible signs of restoration, damage, or known issues. Additional images have been uploaded to our website.

A small group of silver items, comprising an interesting early 18th century silver gilt shovel spoon, Hanoverian pattern, terminal engraved 'RRA', marks rubbed, 20cm long, a George III silver table spoon, Old English pattern, terminal engraved 'CB', Peter, Ann & William Bateman, London 1799, 22.5cm long, a George III silver table spoon, fiddle and shell pattern, terminal engraved 'JWC', James McKay, Edinburgh 1820, 21cm long, an Edwardian twin handled sugar bowl, a napkin ring, a pair of Albany pattern sugar tongs, a Victorian shell, fiddle and thread pattern teaspoon, William Coghill, Glasgow 1871, four commemorative / souvenir teaspoons, one with golf club terminal, one with Tower of London to bowl and crest terminal, one with 'Scarboro Castle' terminal, and one foreign 800 grade with enamel decoration, and a tea strainer with pierced silver bowl and turned wooden handle, together with a pair of Danish white metal dwarf candlesticks, weighted base, 6cm high, a white metal spoon with coin bowl and Maltese cross terminal, an EPNS 'Coley' bowl, and a silver plated serving spoon, 12.9toz total weighable silver. (17)

Harvey Seager (b1950, Ringmaster at Blackpool Tower), a series of original works, portraits of celebrities, Marlon Brando (x2), Steve McQueen, James Dean, Harvey Keitel and one other, various sizes from 26cm x 37cm to 29.5cm x 42cm, each one signed and dated, all framed and glazed.

P. D. James The Black Tower Ex. Lib. with complete Dust Jacket, Wrapper Hardback 1st Edition 1975 Book. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99

James Isaiah Lewis (1860-1934) - An Angler by an Old Bridge; A Stretch of Water Viewed from a Garden, a pair, signed, gouache, oval, 22.5 x 35.5cm, comprising Charles Bentley OWS (1806-1854) - Shipping in the Channel, watercolour, 21 x 31.5cm, Edwin St John (Fl. late 19th c) - Lake Scene with Laden Barge Moored by a Tower, signed with the artist's pseudonym F Catano, watercolour, 23 x 47.5cm and George Hodgson (1847-1921) - Kirke White's House on the Banks of the River Trent, signed and dated 1876, oil on canvas, 29 x 44.5cm (5) ConditionLewis - Good condition. Bentley - Browned and stained. St John - Good condition, pigments fresh and unfaded, in what is probably the original early 20th c gilt mount and frame. Hodgson - Unlined, cleaned, localised re-touching / overpainting, the extent of which not ascertained under UV, re-varnished, on the original stretchers, in gilt cavetto frame

An Elizabeth II Silver Commemorative Dish, by St James House Company, London, 1978, Number 183 of 900, in the form of an armada dish, the border applied with the various medallions and engraved to commemorate the 900th anniversary of the Tower of London, in fitted case and with certificate, the dish 20cm diameter, 9oz 9dwt, 295gr, the case 26cm wide,

Lawrence James ISHERWOOD (1917-1988)Tower BridgeOil on boardSigned, inscribed to verso40x50cmThere is a small amount of dust present on the surface of this piece, along with a slight mark located in the top right-hand corner (please see additional image). Other than this, the piece is in good condition.

GRAFENWOEHR TRAINING AREA SALAD SERVING FORK Rare salad serving fork from the Grafenworhr Training Area in Bavaria, near Nuremberg. The center was opened in 1907 and expanded under the Nazis to 90 sq. miles, then served as the largest American training base in Europe. The fork measures 8 in. long and the underside is engraved with an image of the facility's ornate water tower and the initials representing the name of the facility. The piece is also hallmarked 'WMF90-25' and '90' indicating heavy silver plating, with a waffenamt stamped thereon as well. Tarnished, else very good to fine. This same engraving appears on p. 220 of James A. Yannes definitive study 'The Collector's Guide to 3rd Reich Tableware', 2011.

GRAFENWOEHR TRAINING AREA TABLEWARE (2) Rare salad serving fork and spoon from the Grafenworhr Training Area in Bavaria, near Nuremberg. The center was opened in 1907 and expanded under the Nazis to 90 sq. miles, then served as the largest American training base in Europe. Each piece measures 8 in. long and the underside of each is engraved with an image of the facility's ornate water tower and the initials representing the name of the facility. Each piece is also hallmarked 'WMF90-25' and '90' indicating heavy silver plating, with a waffenamt stamped thereon as well. Tarnished, else very good to fine. This same engraving appears on p. 220 of James A. Yannes definitive study 'The Collector's Guide to 3rd Reich Tableware', 2011.

An Unusual Great War U-Boat Action Distinguished Service Medal Group of Four to a Mercantile Marine Apprentice Who Went on to Command Merchant Vessels in the Second World War, Distinguished Service Medal GV, “APPRENTICE J. LIETCH MEDITERRANEAN 27 FEB 1917”, British War and Mercantile Marine War medals, “JAMES LEITCH”, Shipping Federation Medal for Meritorious Service in silver, named on the edge “J LEITCH 27TH FEB 1917”. Medal fitted with pin and catch on the reverse. (Note difference in spelling of surname on D.S.M.)Distinguished Service Medal, London Gazette 12th May 1917 - The following awards have been approved to the following men of the British Mercantile Marine, in recognition of zeal and devotion to duty shown in carrying on the trade of the country during the war. Apprentice James Leitch. Recommendation – “ADM/1/8476/298 S.S. Bellorado Bell Brothers, Glasgow. Attack by submarine 27 February 1917. Singled out together with Leading Seaman John Hutcheon by the surviving officers as deserving of recognition for the manner in which they fought the gun.”Born in Glasgow in February 1899, James Leitch was serving as a Mercantile Marine Apprentice when he won his DSM for gallantry on board the SS Bellorado.If February 1917 the Bellorado was travelling through the Mediterranean with a cargo of 5,959 tonnes of coal when a lookout saw something strange which he took to be a periscope just disappearing. Approximately three quarters of an hour later a submarine appeared of the port quarter some 2 miles astern. The submarine immediately opened fire but did not hit the Bellorado until the fifteenth round. The Bellorado returned fire with a much better aim, one shot landing at the submarine’s stern, apparently scoring a hit.The Bellorado was then hit twice with one shot hitting the wheelhouse and killing the Master, Chief Officer and an A.B. it also destroyed the compasses and disabled the steering gear. The other shot wounded 3 men as it struck the galley. The gun crew on board kept up an accurate fire and scored a second hit on the submarine just below the conning tower causing the submarine to go under stern first at a 15-20 degree angle with the final shots being fired at 5.20pm. After adjusting her steering gear, the Bellorado managed to reach Malta.In July 1928 Leitch gained his Master’s certificate and just prior to the outbreak of the Second World War he was appointed to the command of the vessel British Science.In April 1941 he was designated Commodore of the 13 ship convoy AN27 bound for Piraeus and Istanbul with British Science, carrying some 10,600 tonnes of assorted flammable fuels and oil. On 18th April the vessel was attacked by three Italian torpedo bombers one of which managed to hit the vessel on the starboard side making a hole in No.7 tank containing kerosene. The explosion blew oil all over the ship but caused no fire. Due to the fact the ship was trailing oil it was ordered to proceed independently to Suda Bay but was spotted by two more torpedo bombers who managed to score a hit on No.1 tank , this time covering the vessel with benzine but once again there was no fire. Due to the imminent danger, Captain Leitch ordered the ship abandoned and no sooner had the 43 man crew got away in two lifeboats and got round the windward side of the vessel, the ship was engulfed in flame. The crew were very soon picked up by H.M.S. Hero.Post war Leitch was given command of the cargo coaster Empire Mayring which he took out to Hong Kong. James Leitch died in Matilda Hospital, Hong Kong in June 1954. Whilst clearly entitled to campaign medals for the Second World War, Leitch does not appear to have claimed these medals.

Whistler (James Abbott McNeill Whistler, 1834-1903). The “Adam and Eve”, Old Chelsea, London, 1879, etching and drypoint on cream laid paper with light plate tone, one of 92 known impressions, the third state (of three), published by Hogarth and Son, London, 1879, artist’s butterfly signature in the sky above the tower, a few light spots, plate size 175 x 302 mm (6.9 x 12 ins), with margins, period black frame, glazed, with early 20th century printed gallery and title labels of Thos. Agnew & Sons to verso QTY: (1)NOTE:Kennedy, 175; Glasgow, 182, iii/iii

British Isles. Wells (Edward), A New Map of the British Isles, Shewing their Present Genl. Divisions, Cities and such other Towns or Places..., circa 1700, hand-coloured engraved map, 380 x 500 mm, together with Sanson (Nicolas), Brtiannicae Insulae in quibus Albium sive Britannia Major Ivernia sive Britannia Minor tum et Orcades, Ebudes Cassiterides..., M. Tavernier, Paris, 1641, engraved map with contemporary outline colouring, 400 x 530 mm, with Laurie (Robert & Whittle James, publishers). Britanniae Antiquae Tabula Geographica ex Aevi Romani Monumentis..., 1794, engraved map with contemporary outline colouring, slight staining, 555 x 505 mm, plus Migeon (J. publisher). Iles Britanniques, Paris circa 1850, engraved map with contemporary outline colouring, inset map of the Shetland Islands and two uncoloured vignettes of the Thames Tunnel and the Tower of London, 405 x 295 mm, and a folding engraved map of Yorkshire and a map of the Isle of Man and the Channel Islands by John Cary, various sizes and conditionQTY: (7)

‡ JAMES DONOVAN acrylic on board - entitled 'Trophy, Tower Colliery', signed with initials versoDimensions: 48 x 56cmsProvenance:private collection Ceredigion, consigned via our Cardiff office, purchase receipt from Attic Gallery 1997 retained with usCondition Report:framed

Charles I, Tower mint, Shilling, Gp D, type 3a, mm. tun, 5.84g/11h (S 2791); George II, Shilling, 1735 (S 3700); SCOTLAND, Charles II, Second coinage, Sixteenth-Dollar, 1680? (S 5624); IRELAND, James I, First coinage, Shilling, mm. bell, 4.38g/11h (S 6512) [4]. Last fair, others better £80-£100

17th-century biography Collection of works comprising: Clarke, Samuel. The Lives of Sundry Eminent persons in this Later Age. In Two Parts, I. Of Divines. II. Of Nobility and Gentry of both Sexes. London: Thomas Simmons, 1683. First edition, folio (31.7 x 19cm), contemporary sheep, rebacked, engraved portrait frontispiece by R. White, engraved armorial plate, 10 engraved portraits in the text, binding worn, small worm-track in text from front to sig. X (never affecting more than a letter), a few sporadic worm-tracks in margins elsewhere, spill-burn in K4 affecting a word either side [ESTC R5310; Sabin 13466; Wing C4538]; Laud, William. The History of the Troubles and Tryal of the most Reverend Father in God, and Blessed Martyr, William Laud, Lord Arch-Bishop of Canterbury. Written by himself, during his Imprisonment in the Tower. London: Ri. Chiswell, 1695. First edition, folio (31.5 x 19.8cm), contemporary panelled calf, rebacked, engraved portrait frontispiece, title-page in red and black, advertisement leaf, light damp-stain in gutter at front [ESTC R354; Wing L586]; Hacket, John. Scrinia Reserata: a Memorial offer'd to the Great Deservings of John Williams, D.D. Who some time held the Places of Ld Keeper of the Great Seal of England, Ld Bishop of Lincoln, and Ld Archbishop of York. London: Edw. Jones for Samuel Lowndes, 1693. First edition, folio (37.7 x 22.8cm), contemporary mottled calf, rebacked, engraved portrait frontispiece, errata leaf, advertisement leaf, extra-illustrated with a contemporary engraved portrait of Williams from another work (mounted to title-page verso), front joint cracking, a few spots and marks [ESTC R9469; Wing H171]; Heylyn, Peter. Cyprianus Anglicus: or, the History of the Life and Death, of ... William [Laud] ... Lord Archbishop of Canterbury. Dublin: James Carson, for John Hyde, and Robert Owen, 1719. First Dublin edition (third overall), folio (30.2 x 19cm), contemporary panelled calf, wear to binding, small worm-track in lower margin [ESTC T107058]; and 6 others (these not collated): Thomas Carte, An History of the Life of James Duke of Ormonde, 1736 (first edition, 3 volumes, folio, non-uniform bindings, ex libris the Conservative Club); William Camden, The History of ... Princess Elizabeth, c.1680 (folio, contemporary panelled sheep, rebacked, title-page supplied in facsimile, edition unknown); William Sanderson, A Compleat History of the Lives and Reigns of Mary Queen of Scotland, and of her Son and Successor James, 1656 (first edition, folio, 18th-century mottled tan calf gilt, engraved portrait of James, lacking portrait of Mary); idem, A Compleat History of the Life and Raigne of King Charles, 1658 (first edition, folio, contemporary calf, portrait of the author, lacking portrait of Charles); Edmund Ludlow, Memoirs, 1771 (4to, contemporary calf); David Lloyd, Memoires of ... those ... that suffered ... for the Protestant Religion, 1668 (folio, modern cloth, frontispiece laid down, title-page margins extended) (12)Provenance: Professor G. E. Aylmer FBA (1926-2000), historian of 17th-century England and sometime master of St Peter’s College, Oxford (with his bookplates).

[Insane 17th-century annotator] The Most Notable Antiqui[ty] of Great Britai[n], vulgarly called on Salisbury Plain. Restored by Inigo [Jones]. London: printed by James Flesher, [1655]. First edition, folio (27.7 x 18.2cm), disbound, lacking E2, portrait frontispiece and 4 folding woodcut plates (of 7; the remaining plates with old repairs), with 3 initial blanks (all detached), title-page defective, browning, damp-staining towards front. With profuse ink marginalia throughout in a contemporary hand (closely trimmed in places; occasional concomitant paper corrosion), in English and occasionally Latin (and a few phrases in French), unrelated or only tangential to the printed text, in a rambling, scurrilous and repetitive style, with numerous references to 17th-century figures and events, and exhibiting a fixation with large sums of money, the printed dedication 'To the Favourers of Antiquity' (A4) signed 'Pembroke & Muntgomrye' in the same hand as the marginalia, the signature asterisked with an accompanying annotation by an 18th-century hand, 'This Philip E. of Pembroke and Mongomery [sic], was the writer of these wild notes. A Wood woud have less belyed him, in calling him a mad man, than in saying he was illiterate & coud not write his name', 19th-century annotation to initial blank, 'There is reason to believe that the notes scrawled upon these pages are written by the Philip Earl of Pembroke & Montgomery to whom the book is dedicated, E. D.'Note: The dedicatee of the work was Philip Herbert, fifth earl of Pembroke (1621-1669), though the 'writer of these wild notes' is more likely to have been his son, the infamous seventh earl (1653-1683), also Philip, who succeeded in 1674 and 'quickly acquired an unenviable reputation for barbarous and violent behaviour' (ODNB). He was reported by John Aubrey in Brief Lives (1680) to keep at the family seat of Wilton House a menagerie of exotic animals, was committed to the Tower for blasphemy, and killed two men in separate drunken incidents, escaping punishment first through claiming privilege of peerage, and second by royal pardon. The character who emerges from these annotations is obsessed with money, and those who have it, motifs which recur throughout a bewildering variety of ravings, doggerel verse and arbitrary lists, written in spelling eccentric even for the period, altogether suggesting a person of entirely unsound mind. If he was not the earl of Pembroke, references to Wilton House and Ramsbury suggest that he at least thought he was, and the annotations are perhaps dateable to the 1660s on the basis of a recollection that 'some 40 or rather 44 years agoe, there was a great faction betwixt ye Digberians & ye Buckingamians' (p. 26); another remark, 'How ould art thou? fifteen come Lent. If Christmasse lasted all ye year, then what should become of Lent' (p. 15), suggests that the annotator was an exact contemporary of the seventh earl's. Further examples include: 'If hee be mad as my Lady Harewood says whose tongue is not slaunder it is rather for wantinge ye ten thousand pounds an year his father promisd to give him tha[n] yt hee thinkes 6000 an year to bee too mutch for him to manage with Wilton & Ramesberye' (p. [vi]); 'And was it not strange, that in one week His Grace should loose one thousand pounds at gleeke? or 4000 ls at gleeke. Hath hee burned ye teats of her virginity? Certayneley that ould woeman wanted businesse that sette London bridge afyre, shee did [?] the city of London to ye value of cent mil escu au moins' (p. 1) 'The house of ye Howards is now goinge towards theyre woonted declininge, for when they are great, they emprison & beat, & then ye sunne leaves shining then thousand hee & shee hereticks, ten thousand hee & shee Armineans, ten thousand hee & shee Armenians, London lickpenny, Lincolne lickpenny, Mrs Sarah Graunty widdow hath a 1000 an year land of inheritance to live on' (p. 14); 'Ravilliack Crummewell is to bee pulld apeices wth 4 wild horses upon London streets & then to bee hang draiwen & quartered not decapite[d]' (p. 31); 'Hinnico Jones alias Iniguity Jones a justice of peace of ye qudrum and custos rotilorum hath for keepinge ye kinges houses in repayre deaux cens mil escu per an, three score thousand ls starlinge an year and well payed hee is 4 score years ould. Midwife Mrs Bullard midwife Mrs Whiteby midwife Mrs Cutler twoo parsons widdowes' (p. 34); 'Mathew Cardroe lyeth heer, whooe drunke too mutch of bottle bear. I care noe more to kill them in bravado then forto drinke a pipe of Trinidado [...] Tom Tippett uppe & downe doth walke & cannott see himself in his owne optick glasse' (p. 41); 'Wilton House Ramsberye house Pembrokes Earl Pembrokes & Muntgomeryes then Lord Chamberlaynes. Personal suppositum intelligens ten of 20 ls an year augmentation monye to ye Greeke lecture or buildinge at Cambridge, Oxford Caius de Antiquitate Cantabrigi' (p. 43); 'I kneaw ye 3 Mackullyes taylours all three Scottshmen & brothers ye woorst of them dyed woorth twenty-thousand pounds they three dyed in all woorth three score thousand starlinge deaux cens mil escu au moins' (p. 50); 'I was nurst 2 years at Mourtleack two years togither [...] by Nurse Beck, whoe nurst ould mad Besse Tallmatch' (p. 61); 'Sr Ferauncis Cranes hanginges all ye suits at Mourtleck upon ye Thames where I was nurst cost ten thousand pounds at least. Hee made my Lord keeper Williams ye 4 seasons of ye year & sould them to him for £500 Sir Firauncis Crane of Grafton Auditour Crane' (p. 63); 'Hee & shee marquesse Ormonde, hee & shee Marquesse Toosmond, Hee & shee Marquesse Desmond, Rabshekais & Achitophells, Madam you must bee whippt at a cart stayble, or you shall ride in a dunge cart, or have rotten eggs throwne at you[r] Irish honour' (p. 69).

* JULIAN BARROW (BRITISH 1939-2013),TOWER OF LETHENDYoil on canvas, signed and dated 1977, titled versoimage size 46cm x 62cm, overall size 61cm x 76cmFramed.Provenance: Private Edinburgh collection.Note: The Tower of Lethendy is a Scottish Baronial style house in Perthshire which has been the subject of media interest in 2022. It was widely reported in the Scottish press that the current owner is a Russian Oligarch albeit one who was among the first to openly and strongly condemn the war in Ukraine. The property boasts a heated swimming pool, two tennis courts and an 18 hole golf course. The press and media also reported that The Tower of Lethendy was acquired by the current owner in 2016.Note 2: Julian Barrow was a painter, adept at catching the spirit of a place, who travelled widely. He was born in Longtown, Cumberland, and studied at RWA and Signorina Simi’s Academy in Florence, Italy. He was a full member of Chelsea Arts Club, living nearby, and from 1988 for 23 years was President of Chelsea Art Society. Group shows included RA Summer Exhibition, 1961–99; Paris Salon, 1965; and NEAC, 2002. He had solo exhibitions at Hazlitt, Gooden and Fox 1972–74–77; Morton Morris & Co, 1982–85; Leger Gallery, 1989–92–95; and Fine Art Society 1999–05, plus many others in America and the Middle East. For decades he lived, with his wife Serena, in a magnificent studio on Tite Street in Chelsea (London) in the building formerly occupied at various times by Sargent, Whistler, Glyn Philpot and Augustus John. Julian Barrow was described by James Lees-Milne as “a country house painter par excellence” and his commissions for interiors and exteriors of country estates took him all over England, Scotland, Ireland, and America. He also painted many of the private clubs in London and New York. John Julius Norwich, in his introduction to the catalogue of a one-man show at the Fine Art Society in London in 2005, notes that Barrow’s pictures “radiate a love of life, a joy in light and shade and colour, a grateful appreciation of all the blessedness that lies around us if we can only make the effort to see it. They warm us; they cheer us; they convince us that whatever terrible things happen in the world, there is a beauty there a-plenty for the asking – and for the taking.” Barrow was commissioned to paint "Her Majesty the Queen Addressing Both Houses of Parliament on the Occasion of Her Golden Jubilee in Westminster Hall" (2002) having previously been commissioned to paint "HM The Queen in Westminster Hall Receiving the Jubilee Address on the 25th Anniversary of Her Accession to The Throne" (1977). Both held in the UK Parliament Art Collection. Julian Barrow's paintings are held in large numbers of prestigious private, corporate and public collections in the UK, US, Middle East, India and the Far East.Condition is good overall, with no visible signs of restoration, damage, or known issues. Additional images have been uploaded to our website. 

A SET OF TWELVE GEORGE III SILVER SHAPED CIRCULAR DINNER PLATESWILLIAM FOUNTAIN, LONDON 1802With gadrooned borders and engraved with a coronet above a crest25cm (9 3/4in) dimeter6492g (208.7 oz)The crest for the ELPHINSTON(E) sometime ELPHENSTON family. From 1510 the principal holder of the arms was identified as Lord ELPHINSTONE of the County of Haddington, Scotland. They were created baronets in 1510 by James IV of Scotland. The first holder Sir Alexander was killed at the Battle of Flodden (1513). At the time of assay (1802) the holder of the title and arms was John ELPHINSTONE (1764-1813), 12th Lord Elphinstone, who had inherited the title on the death of his father John ELPHINSTONE, 11th Lord, in 1794. In 1885 William Buller Fullerton ELPHINSTONE (1826-1893), 15th Lord, was created Baron Elphinstone of Elphinstone, Co. Haddington in the UK peerage and it is he and his descendants who at the right to use a baron's coronet with their crest. In 1864 the 15th Lord married Lady Constance Euphemia MURRAY (1838-1922) daughter of Alexander MURRAY 6th Earl of Dunmore. The blazon of the crest: a demi lady from the girdle, richly attired, argent and gules, holding in her dexter hand a tower of the first and in the sinister a branch of laurel proper. Coronet: Baron Condition Report: Marks are generally clearCrests are generally crisp, one wornOne with whippy centreOne with original manufacturing fault to the reverse at the border, does not show through to the front sideLight scratches and wear commensurate with age and use Condition Report Disclaimer

A GEORGE II SILVER SUGAR BOWL AND COVERSAMUEL TAYLOR, LONDON 1753The cover with a beaded border and circular foot, the ogee body engraved with a crest and on a circular moulded spreading foot10cm (4in) high229g (7.35 oz)The crest for MacDERMOTT This is the crest that is uniquely associated with the arms of a branch of the MacDERMOTT family, descended from MacDERMOTT of Carrig, Co. Roscommon, Ireland. The arms were granted in 1690 to Sir Thomas MacDERMOTT, a merchant and the last Roman Catholic Lord Mayor of Dublin. He was a Jacobite and supporter of James II who was exiled to France, where he died in 1699, despite many attempts to negotiate a return to Dublin. Very little is known about him and even less about his descendants. That this item is assayed in London in 1753 and may be significant in locating them. At the same time use of the crest may be indicating MacDERMOTT family support for the Jacobite cause. The blazon for the crest: a demi lion azure holding between the paws a tower azure. Condition Report: Marks are partially obscuredStands wellCrest crispCover fits wellThe cover slightly wobbles when stood on it's foot, foot slightly dentedLight scratches and wear commensurate with age and useCondition Report Disclaimer

JAMES BUTLER - MBE RA (1931-2022) - LARGE BRONZE OF ST PETER & ST PAUL, YORK MINSTER a large verdigris bronze of St Peter & St Paul, cast for York Minster. With St Peter holding keys in one hand and a Church in the other, and St Paul holding a sword and book. 56cms high *James Butler was a British Sculptor who was a member of the Royal Academy from 1964, he was a Fellow of the Royal Society of British Sculptors and Member of the Royal West of England Academy. His sculptures and monuments stand in London and other British Cities, and all around the world. He is best known for his 1980 sculpture of King Richard III in Leicester, and was regarded as one of the best figurative sculptors of his time. This sculpture was a limited edition and was cast for York Minster in 1988. Following the devastating fire in 1984, this sculpture was designed as a roof boss for the lantern tower as part of the repairs. *Artist Resale Rights applies to this lot.

Coins - A Charles I shilling, tower mint, type 3a; a Charles II four pence, 1683; a William III half crown, 1700, first DR bust, edge DVODCIMO; A Queen Anne half crown, pre union, roses and plumes, 1707; a James II six pence, 1687, later shields; A quantity of George III, George IV and William IV silver coinage (qty)

William James, tätig 1730 – 1780 GemäldepaarVEDUTE MIT DER CHIESA S. GEREMIA UND DER PONTE DELLE GUGLIE A CANNAREGIO sowie VEDUTE MIT DEM CANAL GRANDE MIT DER SANTA MARIA DELLA CARITÀ Öl 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 paintings VEDUTA OF THE CHURCH OF SAN GEREMIA AND PONTE DELLE GUGLIE A CANNAREGIO and VEDUTA 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. (†)

‘Colonel Cameron, informed by a staff officer of the critical state of affairs, formed the 9th regiment in line under a violent fire, and, without returning a single shot, ran in upon and drove the grenadiers from the rocks with irresistible bravery, plying them with a destructive musketry as long as they could be reached, and yet with excellent discipline refraining from pursuit, lest the crest of the position should be again lost, for the mountain was so rugged that it was impossible to judge clearly of the general state of the action’ (Napier, Peninsular War, book xi. chap. 7, Battle of Busaco, 27 September 1809) ‘We sprang over the wall and moved rapidly against a strong body of the enemy posted outside of the convent, and on seeing these a very galling fire opened upon us from the adjacent buildings which I ordered to be forced. Woodham entering the largest in which he was killed after gaining the first floor at the point of the bayonet. The row was now at its height, some charging those posted at the convent, others clearing the houses of which the windows and other outlets the enemy availed themselves to escape and all uniting in full chase to the village of San Martin.’ (The recipient describes the assault and capture of the fortified convent of San Bartolomeo in front of San Sebastian - from ‘The Letters of Lt. Colonel Sir John Cameron, 1st Battalion, 9th Regiment of Foot, 1808-14’) The rare Regimental Commander’s Peninsula War group of four awarded to Lieutenant-General Sir John Cameron, K.C.B., who first saw action with the 43rd Light Infantry in the West Indies in 1794 at the captures of Martinique, St Lucia and Guadaloupe, displaying his gallantry and winning his captaincy at the storming of the Fortress of Fleur d’Epée; subsequently, as a junior captain placed in command of his sickness reduced regiment, he suffered severe wounds and was captured in the defence of Berville Camp, 4 October 1794, spending 2 years in a prison hulk off Pointe-á-Pitre, Guadaloupe. Appointed Lieutenant-Colonel in the 9th Foot in September 1807, Cameron commanded the 2nd Battalion at Vimeiro the following year, and then, assuming command of the 1st Battalion - a position he retained throughout the Peninsula War - served under Sir John Moore in 1809 at Corunna where his intrepid bravery gained the approbation of his superior in command; he returned to Portugal in March 1810 at head of his Battalion, being Mentioned in Despatches for Busaco where he ‘exerted himself with the greatest gallantry in front during the charge, when his horse was killed under him’; was wounded and fell from the breach at the final assault on San Sebastian; and in the fiercely contested Battle of Nive, finding his regiment surrounded by superior numbers, made a successful charge to the rear taking between three and four hundred prisoners - the following day, while reconnoitring, he became engaged en tirrailleurs and had his horse shot from under him once more. Appointed one of the first K.C.B.s on his return from the Peninsula Wars, in which campaign the 9th’s losses exceeded those of any other regiment, and from which his important journals and letters survived to be later published under the title, ‘The Letters of Lt. Colonel Sir John Cameron, 1st Battalion, 9th Regiment of Foot, 1808-14’, he was later appointed Colonel of the Regiment he had commanded for upwards of thirteen years The Most Honourable Order of the Bath, K.C.B. (Military) Knight Commander’s, a contemporary Paris-made breast star, circa 1815, 75mm, silver with appliqué centre in gold and enamels, the reverse centre inscribed ‘Mortier Bijoutier Palais Royal No. 34 A Paris’, fitted with silver pin for wearing; Army Gold Cross 1806-14, for Vimeiro, Corunna, Salamanca, and St. Sebastian, 3 clasps, Buzaco, Vittoria, Nive, the edge of the lower three arms of the cross inscribed ‘Lt. Colonel John Cameron 1st. Bn. 9th. Foot’, with usual oak and laurel suspension ring and swivel-ring gold bar suspension; Field Officer’s Small Gold Medal, the reverse centre inscribed ‘Vimiera, & Corunna. 1808-9.’, 1 clasp, Salamanca (Lieut. Coll. J. Cameron, 9th Foot.); Portugal, Kingdom, Military Order of the Tower and Sword, Knight’s breast badge, gold, 45mm, some light enamel chips to the first, very fine, otherwise nearly extremely fine (4) £70,000-£90,000 --- John Cameron was born on 3 January 1773, the second son of John Cameron of Culchenna, Inverness, Scotland and nephew of Cameron of Caltort, Inverness-shire, whose ancestor was a younger son of Lochiel, chief of the clan. He was educated at Eton College and entered the 43rd Foot as an Ensign on 25 September 1787, gaining promotion to Lieutenant in September 1790. In this latter year, Cameron served in the West Indies under Sir Charles Grey and was present at the reduction of Martinique (including the siege of Fort Bourbon and other minor engagements) and at the captures of St. Lucia and Guadaloupe, particularly displaying his gallantry and winning his captaincy in the storming of the fortress of Fleur d’Epée and in the sortie from and the defence of that place. In 1794, Sir Charles Grey returned to England in the mistaken belief that his West Indian conquests were secure, leaving the 43rd Regiment, which had been so reduced by sickness that Cameron, though only a junior captain commanded it, forming part of Brig.-Gen. Graham’s garrison at Berville Camp in Guadaloupe. Cameron led his Regiment in the action of 30 September 1794 and in the different attacks made by the enemy, until 4 October when he was severely wounded and taken prisoner, remaining on a prison hulk at Pointe-à-Pitre for two years. Exchanged for release in 1797, he was immediately ordered to rejoin his regiment in the West Indies, remaining on foreign service again for over three years. He was appointed a Majority in the 43rd Foot on 28 October 1800 and brought his regiment home after it had suffered terrible losses from the West Indian climate. In 1803, whilst stationed in the Channel Islands, he married Miss Amelia Brock, eldest daughter of Henry Brock, of Belmont, Guernsey, and niece of Admiral James Saumarez, notable for his victory at the Battle of the Gut of Gibraltar, and first cousin of Major-General Sir Isaac Brock. He gained the rank of Lieutenant-Colonel by transferring to the 7th West India Regiment on 28 May 1807; from which he was removed to the 9th (East Norfolk) Foot from 5 September 1807. On his return to England, he was then ordered with the 9th Foot to the seat of war in Portugal, where in August 1808 he commanded the 2nd Battalion at the Battle of Vimiera before assuming command of the 1st Battalion following the death in action of its commander, Colonel Stewart, at the earlier Battle of Roliça. He would remain its commander throughout the Peninsula War, the Walcheren Expedition and Canada 1814 and 1815. Cameron led the 1st into Spain with Moore during the advance to Salamanca, and afterwards, at the Battle of Corunna where he displayed intrepid bravery, gaining the approbation of his superior in command. In July 1809, Cameron embarked on the expedition to the Scheldt under the Earl of Chatham, in command of the 1st Battalion of the 9th Regiment, and returned the following September to England from where he proceeded, in March 1910, to increase the force in Portugal under the command of the Duke of Wellington, at the head of the 1st Battalion of 9th Regiment (the 2nd Battalion, aside from their participation at Barossa, remained confined to Gibraltar during this period). Likely having received news of the death of his brother, Captain Ewen Cameron, 43rd Regt., at the Battle of t...

PSYCH/ PROG - LP PACK. A quality pack of 16 LPs. Mostly 60s/ 70s psych & prog. Artists/ titles include The Chocolate Watchband - One Step Beyond (Tower ST-5153, record Ex/ sleeve has a split appearing on the top edge, VG), Julie Driscoll - Open (608 002, record Ex/ sleeve has some tearing on the cover that's been coloured in, VG), Brian Auger - S/T (SPB-4044), Aquila - S/T (SF8126, VG/ VG), The Cake - A Slice Of (DL75039), The Chosen Few - S/T (LSP-4242), Vanilla Funk/ The Challengers (GNPS 2056), The American Dream (A10101), The Boston Tea Party (FLS 45000), Tommy Boyce & Bobby Hart - It's All Happening On The Inside (212 060), The Cryan Shames - Sugar & Spice (CL2589), Iron Butterfly - Heavy (2465 015), Tommy James and the Shondells - Cellophane Symphony (SRLP3), Arrival (CBS 64733), ARS Nova (EKL 4020) & Clear Light - Black Roses (ED245). Condition is generally VG to Ex+.

Circle of Michael Angelo Rooker, ARA (British, 1746-1801) An Irish brewerypen and ink with watercolour on paper, unframed23 x 33cmProvenance:With The Fine Art Society, London, by 1967, when sold as 'James Malton' to Walter Brandt,Thence by descent to his grandsonLiterature:Apollo Magazine, vol. LXXXV, April 1967, p. XXXV;J. FitzMaurice Mills, 'Art Forum', The Irish Times, 31 October 1967Several tears along the edges and right top and bottom corners. 2 Large tears - one running horizontally, about 2 inches long, centre left edge; the other running vertically, about 1.5 inch long, above the tower top centre. Diagonal creases both bottom corners. Little loss of colour. Foxing spots in the sky. There appear to be some localised losses in the sky. Image size 23 x 33cm. Stuck down to card measuring 25.5 x 35.2cm. Overall mount size 39.5 x 47.5cm

Group of five sterling silver Judaica items including one spice tower with two towers with flag finials and four unique spice boxes; one mandolin, one house, one caboose, and one box. All marked along the base or along the underside.Provenance: Property from the distinguished collection of Mr. James Lee Soffer, Pittsburgh, Pennsylvania.Height ranges from 3/4 in to 6 in; width ranges from 1 1/2 in to 3 in; depth ranges from 1 1/4 in to 4 in.

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.

Group of three silver objects. Includes one lidded box with engraved scrolling decoration; one Mexican sterling letter opener with figural decoration marked "Stanhope, Mexico 1959;" and one Russian Judaic spice tower in the form of an apple.Provenance: Property from the distinguished collection of Mr. James Lee Soffer, Pittsburgh, Pennsylvania.Letter opener; Length: 10 in x width: 2 in x depth: 1 1/2 in. Apple; Height: 3 3/4 in x width: 3 3/4 in x depth: 3 in. Box; Height: 2 in x width: 3 1/4 in x depth: 2 3/4 in.

A collection of eight The Royal Mint £5 commemorative coins to include Mr. Men, The Unknown Warrior, William Wordsworth, The Tower of London and James Bond examples.

Henry VII, Penny, York, Abp Rotherham, 0.54g/8h (S 2237); Henry VIII, Second coinage, Penny, Durham, Bp Tunstall, 0.66g/1h (S 2354); James I, First coinage, Penny, mm. thistle, second bust, 0.44g/11h (S 2650A); Second coinage, Halfgroats (2), mm. key, 0.79g/10h, mm. tower, 0.74g/11h (S 2660); Commonwealth, Penny, 0.45g/11h (S 3222); together with other coins (4) [10]. Varied state £150-£200

Ackroyd (Peter) Hawksmoore, signed presentation inscription by the author to title 1985 § Brookner (Anita) Latecomers, signed presentation inscription from the author to title, 1988 § James (P.D.) The Black Tower, 1975 § Hill (Susan) The Woman in Black, 1983 § Fitzgerald (Penelope) The Golden Child, 1977, first editions, original boards, dust-jackets, extremities bumped and creased, very lightly rubbed; and 3 others, similar, first editions, 8vo (8)

TRAPP (OSWALD, GRAF)The Armoury of the Castle of Churburg, translated by J.G. Mann, no. 17 of 400 copies, plates, line illustrations in text, reproductions of marks, red cloth, bookplate of Arthur Norris Kannard and including a handwritten postcard from James G. Mann to Kennard dated 1 Sept 1938 following a 'few days at Churburg', 4 to., 1929Footnotes:ProvenanceA.N. Kennard (1911-1995), former Assistant Master, H.M. Tower of London ArmouriesChristie's London, Fine Antique Arms and Armour..., 27 March 1996, lot 67For further information on this lot please visit Bonhams.com

Two 50-Bore Flintlock Box-Lock Pocket PistolsThe First By Barbar, James 1, London, Mid-18th Century, The Second Signed Archer, London, Late 18th CenturyThe first with turn-off cannon barrel, border engraved action (steel, top jaw and screw replaced) signed on a foliate and rococo scroll over each side, sliding trigger-guard safety-catch engraved with a flower-head in a diamond-shaped panel on the bow, and figured flat-sided butt (bruised, some old pitting), Tower private proof marks; the second with turn-off rifled barrel, border engraved action signed in script, folding trigger, and figured flat-sided butt, private Birmingham proof marks (2)5.5 cm. barrels Footnotes:Thomas Archer is recorded in Birmingham between 1776 and 1807. He marked his firearms 'London'For further information on this lot please visit Bonhams.com

A small collection of coins, comprising: James I, silver shilling, second or third issue, 5.38g, about fair; Charles I, silver halfcrown, Tower mint under the king, cloak flying from shoulders, mm. triangle in circle (1641-43), 15.25g, clipped, less than fine; silver shilling, Tower mint under the king, mm. triangle in circle (1641-43), 5.72g, misstruck and clipped, good fair; silver halfgroat, Tower mint, with bust and oval arms, no circles, 1g, much clipped, otherwise near fine; copper farthing, rose type, 0.9g, fine or better; The Commonwealth (1649-60), silver halfgroat, 0.88g (S 3221), about fine; George I, silver shilling, 1723, South Seas Company, 5.86g (S 3647), nearly very fine; George II, silver sixpence, 1746, Lima, 2.9g (S 3710), about fine. [8]

James I, Second coinage, Sixpence, 1604, mm. lis, 2.66g/9h (S 2657); Charles I, Tower mint, Shilling, Gp D, type 3a, mm. tun (over crown on obv.?), 5.41g/7h, Sixpence, Gp D, type 3a, mm. tun, 2.89g/9h (S 2792, 2813); IRELAND, James I, First coinage, shilling, mm. martlet, first bust, 3.81g/12h, Second coinage, Sixpence, mm. escallop, 2.09g (S 6513, 6517); together with other silver coins of Charles I (3) [8]. Varied state £80-£100

Henry VII, Facing Bust issue, Groat, class IIa, mm. cinquefoil, 2.81g/7h (S 2195); Elizabeth I, Third issue, Sixpence, 1568, mm. coronet, 2.98g/11h (S 2562); James I, Second coinage, Shilling, mm. lis, third bust, 5.93g/9h (S 2654); Charles I, Tower mint, Shilling, Gp D, mm. crown (?) on obv., tun on rev., 5.67g/5h (S 2791) [4]. Fine or better, third scratched £80-£100

James Basire , 'The procession of King Edward VI from the Tower of London to Westminster' engraving 65 x 131cm in an ebonised frame

Tudor And Stuart Hammered Coins. Elizabeth I (1558-1603). Shillings, mm, Hand, mm.Tun, Sixpence, 1566, mm. Lion, Threepence, 1568, James I (1603-25). Shilling, mm, Tower, Charles II (1660-85). Halfgroat (pierced)QTY: (6)

JAMES TOWER (1919-1988); a tin glazed earthenware footed bowl with black and white decoration, incised signature, made circa 1955, diameter 27cm. (D)Additional InformationProfessional restoration to hairlines and chip to glaze run on foot ring, otherwise appears good with no further signs of faults, damage or restorations. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

Benjamin Upton (American, 1818-1910). Cabinet card photograph depicting the Old Government Flour Mill in 1857 in Minneapolis, Minnesota. Titled "Old Government Flour Mill, Erected in 1822 where Northwestern Flour Mill now stands, Minneapolis, Minn., Photographed in 1857." Labeled in ink below the photograph indicating Spirit Island, Lower Bridge, 1856-7, Cheever's Tower, O.G. Flour Mill, 1823, and O.G. Saw Mill, Erected 1820-21. Additionally labeled in ink below the formal title "Looking down the river." Numbered "19" in ink along the upper right corner of the mat. Stamped along the verso "Published by E. A. Bromley, Minneapolis, from the original Upton negatives." and "Hill Reference Library St. Paul" along with a library catalog number in pencil.Provenance: Collection of the James J. Hill Reference Library.Certain individuals are prohibited by law to purchase items in this auction. Descendants of James J. Hill within three generations (Great Grandchildren and closer) are not allowed to purchase items. Additionally, board members of the foundation and their families (spouses, children, spouses of children, grandchildren) are also prohibited from purchasing items.Unframed; Height: 6 in x width: 8 1/4 in. Matted; Height: 10 in x width: 12 in.

Italy.- Harding (James Duffield, 1798-1863) Landscape with bell tower and fisherman, traditionally understood to be in Italy, pencil and watercolour, heightened with white on buff wove paper, signed lower left, sheet 180 x 270 mm (7 x 10 1/2 in), inscribed '[?]Yalland' verso, minor spotting and surface dirt, unframed, circa 1830.

A vintage 7" single wallet containing a collection of 1960's Psych, R&B, Pop, Rock and other 7" singles and EP's to include Cardboard Orchestra 'Nothing But A Sad Sad Song / Yes I Heard A Little Bird', John McNally 'Mary In The Morning / My Love Forgive Me (Amore scusami)' (promo), Them 'Them' EP (no sleeve), Linda Saxone 'I've Got To Say No / Another Day Another Night', Pepper 'We'll Make It Together / (Look Out) I'm On The Way Down' (promo), Harry James And His Orchestra 'Love Theme From "In Harms Way" / Green Onions Part I and II' (promo), The Undertakers 'Just A Little Bit / Stupidity' (promo), Screaming "Lord" Sutch 'Dracula's Daughter / Come Back Baby', Lucien Alexander 'Baby You've Been On My Mind / Play Along (Miss R.)', The Big Three 'Some Other Guy / Let True Love Begin', Don Charles 'Tower Tall / Look Before You Love', John Mayall's Bluesbreakers 'Sitting In The Rain / Out Of Reach' (promo) and 'No Reply / She's Too Young', The Platters 'Sweet, Sweet Lovin' / Going Back To Detroit', The Beach Boys 'God Only Knows' EP and Michael Chaplin 'I Am What I Am / Restless' (promo) (16, vinyl generally VG)

James I, First coinage, Sixpence, 1603, mm., thistle, 1.95g/6h, Second coinage, Sixpences (2), 1604, mm. lis, 2.66g/1h, 1610, mm. bell?, 2.52g/6h (S 2647, 2657-8); Charles I, Tower mint, Sixpence, Gp F, mm. triangle, 2.73g/12h, Halfgroat, Gp G, mm. sceptre, 0.89g/6h (S 2817, 2836); together with other silver hammered coins (3) [8]. Poor to fair £60-£80

James I, First coinage, Sixpence, 1603, mm. thistle, second bust, 2.74g/4h, Third coinage, Sixpence, 1624, mm. trefoil, 2.77g/11h (S 2648, 2670); Charles I, Tower mint, Penny, Group D, no mm. 0.38g/8h (S 2845) [3]. First two fair, last better £60-£80

Charles I, Tower mint, Halfcrown, type 3a2, mm. anchor (S 2775); Charles II, Fourpence, 1677 (S 3384); James II, Crown, 1687, edge tertio (S 3407); William III, Crown, 1695 (S 3470); George I, Shilling, 1723 ss c (S 3647) [5]. Varied state £150-£200

Office of John Nash (1752-1835) - Two Italianate Villas for Sir James Murray Pulteney, the first inscribed verso "A house intended to be built in Scotland by Sir James Murray Pulteney. This view given to Mary Countess Harcourt. Sir James was the... friend of William Earl of Harcourt and his Countess... his death was occasioned by the...", the second inscribed verso "This is of a house... to be built by... [signed] Mary Harcourt", oil on paper laid on panel, 36.5 x 55cm, each with printed trade label of Baker Carver & Guilder to Her Majesty Thames Street Windsor, unframed (2) Provenance: Sir James Murray-Pulteney (1755-1811) by whom presumably commissioned from John Nash; William Harcourt, 3rd Earl Harcourt (1743-1830) and Mary Harcourt, nee Danby, Countess of Harcourt (1749-1833); acquired in the mid-20th century by the family of the present vendor.One or other of these newly discovered alternative perspective designs by Nash, differing in scale but not in style, was to be built at Clermont, Fifeshire for Sir James Murray Pulteney.The larger villa was to be closed modelled on Nash’s Cronkhill of 1802, the earliest example of an Italianate villa in England. This similarity is not surprising as Pulteney would have been familiar with the design of Cronkhill. That was originally intended to be a larger building and much closer to that in the present lot as is clearly evidenced by the drawing by Nash’s assistant George Stanley Repton (1756-1858), now in the Sir John Soane Museum, London. It is entirely possible that the present works, executed in pen, ink and thin oil on paper instead of pen, ink and watercolour, are also from the hand of Repton.Both the siting of Cronkhill at Atcham near the River Severn and the Wrekin, and the area around Clermont are not particularly mountainous but in country with relative ‘hills’.The soldier and politician General Sir James Murray-Pulteney, PC, 7th Baronet, was the son of Sir Robert Murray, 6th Baronet and his first wife Janet Murray. His lengthy military career included service in the American War of Independence in which he was injured at the Battle of Brandywine in 1777. He assumed the additional name of Pulteney when, in 1794, he married Laura Pulteney, 1st Baroness Bath (1766-1808), the daughter and heiress of his cousin Sir William Pulteney, 5th Baronet and MP for Shrewsbury (1729-1805).The familial link between Sir James Murray-Pulteney and Sir William Pulteney (his cousin and father-in-law) who’s home was only five miles distant from Lord Berwick’s Attingham Park, where not only Cronkhill, but the picturesque estate village of Atcham (c1797) was also built by Nash (a prolific visitor of his clients) is strongly suggestive of an introduction to  or recommendation of Nash.The present designs were almost certainly commissioned in the years immediately following the death of Sir William Pulteney. Sir James Murray Pulteney’s death in 1811 removed the raison d’etre for a house at Clermont.Her father, who also married an heiress and took her name, was said to be the wealthiest man in Great Britain. Remembered for his role in the development of Bath, he was a patron of the architect Robert Adam and the civil engineer and architect Thomas Telford. Sir William Pulteney purchased Shrewsbury Castle in 1775 as a family home. Thomas Telford was responsible for the improvements and alterations that swiftly followed. These included the building of ‘Laura’s Tower’, a picturesque folly of c1790 commissioned for his daughter (she who later married Sir James Murray-Pulteney) as a Summer or Tea house. Mary, Countess of Harcourt (1749-1833), nee Danby, was the daughter of a Yorkshire clergyman. She married, firstly, Thomas Lockhart and secondly, in 1778, General William Harcourt, 3rd Earl Harcourt (1743-1830). A pupil of Alexander Cozens, the countess was herself a keen and accomplished artist. The couple enjoyed a close friendship with the royal family and their various interests and activities were recounted by the diarist Joseph Farrington RA (1749-1821).Nash was by far the most successful, fashionable and subsequently controversial British architect of the regency. He worked throughout England, Wales and Ireland but it is surprising that he built hardly anything in Scotland. The influence of Nash's design for Cronkhill on the history of British architecture has long been recognised. Sources:Summerson (Sir John) - The Lift and Work of John Nash ArchitectWilliams (Gareth) - The Country Houses of ShropshireTyack (Geoffrey) - Cronkhill Shropshire, article in Country Life,  February 19 2004 Further potential sources (not examined)William Pulteney paper, Huntington Library, CaliforniaCorrespondence of Sir James Murray-Pulteney, his family and contemporaries (in 33 volumes), The Morgan Library, New York Condition ReportBoth require conservation but in basically good original condition, varnish dirty, paper lifting in places, panels sound

James Basire After Samuel Hieronymous GrimmThe Procession of King Edward VI from the Tower of London to Westminster, February 1547, previous to his Coronation, engraving with hand-colouring, 56 x 129cm, unframed

AFTER CHARLES CATTERMOLE; four drypoint etchings, comprising 'A Preston Guild in the 17th Century - An Old Fashioned Lancashire Holiday', 'The Last Days of Whalley Abbey', 'The Battle of Preston and Walton, Storming of the Bridge by the Lancashire Regiments August 17th 1648', and 'The Palmy Days of Hoghton Tower, The Arrival of James I August 15th 1617', all marked 'Proof' lower left and all of similar size, approx 46 x 62cm, in matching stained wooden frames with ornate floral inner border, frame sizes approx 70 x 87cm (4).

Britain. Bronze 17th century Charles I Memorial medal by James & Norbert Roettier and struck at the Tower Mint. OBV bust of King Charles facing right / REV Heavenly hand holding a celestial crown against an agricultural scene. Surrounded by text "Virtut ex me fortunam ex alijs". D50mm.

‡ JAMES LAWRENCE ISHERWOOD FRSA, FIAL (1917-1989) oil on board, 'Tower Bridge', signed and dated '69, titled and priced 42 gns verso, 34.2 x 39cms

WALLACE-DUNLOP (MARION)Two autograph letters signed ('Marion Wallace-Dunlop') to Mr Hankinson, writing shortly after her release from Holloway, the first saying she has been discharged ('...I felt a little mean in entering prison as a Unitarian for I am what people call a Free thinker... Miss Pankhurst had especially told me to apply for you. I also knew you were a friend of our movement all the same I had an uncomfortable feeling I was not quite playing the game and I'm quite glad we never met! Please excuse this untidy letter... The doctor strictly forbids my getting up as I am still weak from my long fast...'); the second asking about Unitarianism and asking him to pass on her advice to fellow hunger strikers ('...I can't help feeling a little anxious about the stone throwers who will probably go to prison today. I do hope they won't try & follow my example... for young healthy women with normal appetites starvation would be horrible torture... I am naturally a very small eater... If you see any of them please tell them to keep on drinking water, to lie down all the time, to think of other things and above all to keep their minds on the funny side of it all...'), 7 pages, 8vo (168 x 124mm.), Ellerslie Tower, Ealing, W., 9 July and 'Monday' [1909]; with a letter of discharge from James Scott, Governor of H.M.P. Holloway dated 8 July 1909 (3)Footnotes:'TELL THEM TO KEEP ON DRINKING WATER, TO LIE DOWN ALL THE TIME, TO THINK OF OTHER THINGS AND ABOVE ALL TO KEEP THEIR MINDS ON THE FUNNY SIDE OF IT ALL': The instigator of the hunger strike gives advice to fellow inmates.Scottish artist Marion Wallace-Dunlop was the first to undertake a hunger strike in prison, an action which became a powerful and emotive tool in the suffragette fight for the vote. An active member of the WSPU she was arrested several times and in June 1909 she was imprisoned for stencilling an advertisement for the 29 June deputation to the House of Commons and an inflammatory message on the wall of St Stephen's Hall (see lot....). She fasted for 91 hours before she was released: 'As with all the weapons employed by the WPSU, its first use sprang directly from the decision of a sole protagonist...' (Crawford, p.179). Her success quickly led to the adoption of the hunger strike as official policy of the WSPU and the subsequent government practice of force-feeding a few months later. She asked Hankinson to visit her at the request of Emmeline Pankhurst who perhaps saw him as a useful conduit of information between prison and the outside world but it would appear from these letters that they never actually met. Resourceful and determined, as demonstrated in our letters, she also devised a new stencilling machine to quickly add messages to the walls of Downing Street, designed many of the spectacular WSPU processions and was one of the organisers of the window-smashing campaign of November 1911. She was close to the Pankhursts and was a pallbearer at Mrs Pankhurst's funeral in 1928. Provenance: The Rev. Frederick Hankinson (1875-1960); Reginald Andrew Couzens (b.1904); thence by descent to the present owner.For further information on this lot please visit Bonhams.com

(Ireland), 'The Irish tourist's illustrated handbook for visitors to Ireland in 1852', London & Dublin, 1852, 3rd edition, 6 folding maps + engraved illustrations throughout, original decorative cloth silvered; R.A. Scott-James: 'An Englishman in Ireland. Impressions of a Journey in a Canoe by River, Lough and Canal', Dent, 1910, 9 black & white plates from photos + map as called for, orig. cloth gilt, top edge gilt; 'Murray's Handbook for Traveller's in Ireland', 1878, 4th edition, revised, 8 folding maps/plans, lacks railway map in rear pocket, original cloth gilt; J. Bartholomew: 'Philips' Handy Atlas of the Counties of Ireland', G. Philip & Son, 1882, 33 double page coloured maps as called for, original cloth gilt; [William Doherty]: Derry Columbkille. Souvenir of the centenary celebrations in honour of St. Columba, in the Long Tower Church, Derry, 1897-99', Dublin, [1899], [10],181pp, illustrations throughout, original pictorial cloth gilt; plus others Belfast; 'A Grammar of Old Irish', 1980; Sinn Fein 1905-06 16pp printed booklet (10)

A signed James Tower modernist stoneware vase,47 cms high.

James Webb (1825-1895)Dutch harbour scene at dusk, probably DordrechtSigned, oil on canvas, 100cm by 125.5cm Condition report: General surface dirt and discoloured varnish, stretcher shadow particularly to top-edge. The canvas is slightly loose on the stretcher and buckling in areas. Widely spaced but mostly stable cracquelure, mostly contained to the centre-right of the canvas to the distant tower. Paint thin in some areas, the odd minor scuff/scratch to paint surface. Surface score towards top of canvas towards right no more than 2cm in length. Slight frame rubbing to top-edge. Several passages of retouches and infilling throughout the sky, the area above the tower, centre right, likely to be infilling to old cracquelure.

Group of three sterling silver Judaic Havdalah spice towers. All towers feature tall spires rising from the spice boxes, which are decorated with hanging bells. All towers are marked along the footrim. The flag finial on one of the spice towers reads "Presented to the Manchester Heb. Con. CN" on one side and on the other "By Harris Isaacs Sep. 25th 5659-1898." The tower with a missing finial is marked "M. Wakszlak 12" along the footrim.Provenance: Property from the distinguished collection of Mr. James Lee Soffer, Pittsburgh, Pennsylvania.(Flag Finial); Height: 9 3/4 in x width: 3 in x depth: 2 1/2 in. (Missing Finial); Height: 10 in x width: 2 1/2 in x depth: 2 1/2 in. (Sail Finial); Height: 10 in x width: 3 in x depth: 2 1/4 in. Gross weight of sterling: 17.09 Troy oz.

Large sterling silver Judaic Havdalah spice tower with four hanging bells and a flag finial. With a rounded body perched on atop a pole resting on a Star of David base. Marked in Hebrew along one side. Decorated throughout with scrollwork.Provenance: Property from the distinguished collection of Mr. James Lee Soffer, Pittsburgh, Pennsylvania.Height: 11 1/4 in x width: 6 1/2 in x depth: 4 1/2 in. Gross weight of sterling: 7.79 Troy oz.

Group of three pieces of Judaic silver including one Kiddish cup and two Havdalah spice towers. The Kiddish cup with a Hebrew inscription in two cartouches along the side. Each work is marked along the bottom.Provenance: Property from the distinguished collection of Mr. James Lee Soffer, Pittsburgh, Pennsylvania.Cup; Height: 6 in x diameter: 3 1/4 in. Tower with flag; Height: 7 1/4 in x diameter: 2 1/2 in. Spice tower; Height: 7 in x width: 2 1/4 in x depth: 2 in. Gross weight of sterling: 14.72 Troy oz.

Five pieces of silver including one Middle Eastern spice tower in the form of a leaping fish, one spice tower with hanging decorations, and three South East Asian betel nut dishes with lids.Provenance: Property from the distinguished collection of Mr. James Lee Soffer, Pittsburgh, Pennsylvania.Large beetle nuts (Each); Height: 2 1/4 in x diameter: 3 1/4 in. Small beetle nut; Height: 1 3/4 in x diameter: 2 1/4 in. Tiered spice tower; Height: 5 in x diameter: 3 3/4 in. Fish-shaped spice tower; Height: 5 in x width: 2 in x depth: 3 1/2 in. Gross weight of sterling: 9.97 Troy oz.

GLAM - LP COLLECTION. More stone-cold classics with 15 x (predominantly) LPs included here. Artists/titles are T. Rex - Electric Warrior (UK original HIFLY 6 A-2U/B-2U PORKY/PECKO DUCK - clean Ex record/with inner, no poster/solid VG sleeve, light paper tear on the front) and A Beard Of Stars/Unicorn (TOOFA 9 double), Gloria Jones - VIcen (EMC 3159 - VG/VG), Mick Ronson (x4) - Heaven And Hull (ltd edition picture disc, 474742 0 - Ex condition), Just Like This (ltd edition 2018 release on red vinyl, EARS140LP), Slaughter On 10th Avenue (APL1 0353 A-1T/B-1T UK og) and Play Don't Worry (APL1 0681 1A-1/1B-2, UK og), New York Dolls (UK 1977 comp, 6641 631 CF), Iggy Pop & James Williamson - Kill City (10" LP, black vinyl, 1995 RE, BLP 4042/10), Brett Smiley - Sunset Tower (2019 release), Queen - Jazz (2 x embossed cover copies, one with loose poster, the other without poster), Cockney Rebel - The Psychomodo (EMC 3033) and Faces. Condition is generally VG to Ex+