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Royal Mint Tower of London Coin Collection brilliant uncirculated 2019 UK £5 coin in The Crown Jewels presentation pack. Part of the Royal Mint Historic Royal Palaces collection, still in its original unopened packaging. The second coin in their set of four Tower of London series, the coin features the crown of Mary of Modena, the wife of the king of England and Ireland James II (James VII in Scotland). It was made for her by the goldsmith Richard de Beauvoir in 1685. The coin also features the Tower of London mint mark in the bottom left. When placed together the four coins in the series create a plan of the Tower of London. Good condition. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Royal Mint Tower of London Coin Collection brilliant uncirculated 2019 UK £5 coin in The Crown Jewels presentation pack. Part of the Royal Mint Historic Royal Palaces collection, still in its original unopened packaging. The second coin in their set of four Tower of London series, the coin features the crown of Mary of Modena, the wife of the king of England and Ireland James II (James VII in Scotland). It was made for her by the goldsmith Richard de Beauvoir in 1685. The coin also features the Tower of London mint mark in the bottom left. When placed together the four coins in the series create a plan of the Tower of London. Good condition. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

"Nouveau Theatre de la Grande Bretagne: ou description exacte des palais du roy et des maisons les plus considerables des seigneurs & des gentils hommes du dit royaume" originally published Thomas Millward, London 1735 containing eighty plates of St. James Palace, Windsor Castle, Hampton Court, Tower of London and country seats and parks of the nobility and gentry volumes I to IV tooled and gilded calf bound approx. 52 cm x 35.5 cm x 7 cm deep - book 5 (from the collection of books given by George III as a gift to the Chinese Emperor Qianlong circa 1793 produced by the First Historical Archives of China, produced after the discovery in 2005 of the originals, produced in a limited edition of 500 issued under the title "The British Illustrations from the Imperial Archives")

A collection of James Sadler octagonal teapots to include The Tower of London, The Battle of Agincourt and King Henry VIII and his 6 wives (3). In good condition with no obvious damage or restoration. Some crazing.

[Raleigh (Sir Walter)] A History of the World, engraved pictorial title by R.Elstrack but lacking initial 'The Minde of the Front' leaf, also lacking Preface (A-E4) and final 2 leaves (errata/colophon and blank), with 8 double-page engraved maps and plans, with blank 3K4, 2 plates a little frayed at left hand edges (one with slight loss), tables at end cropped at fore-edge, some soiling, water- & damp-staining, a few minor tears and repairs, contemporary calf, rubbed, rebacked, new endpapers, [STC 20637; Pforzheimer 820], folio, [printed by William Stansby for Walter Burre], [1614]; sold not subject to return⁂ Raleigh's ambitious project in which he sought to tell the history of the world from Creation up to his own times. It was written whilst he was imprisoned in the Tower of London, after being charged with conspiracy by James I.

James Bond A View to a Kill (1985) Original photocopied reduction storyboards from the production of the Eiffel Tower chase sequence (6 pages). Provenance: From the collection of Peter Davies, Film Editor and a veteran of five James Bond movies.

John, Penny, class IVb, Canterbury, Ulard, vlard · on · cant, 1.22g/9h (N 968/2; S 1348C); Henry VI, Annulet issue, Groat, Calais, 3.24g/3h (N 1424; S 1836); Elizabeth I, Fourth issue, Threepence, 1575/4, mm. eglantine, 1.30g/1h, Fifth issue, Sixpence, 1581, mm. Latin cross, 2.76g/3h (N 1997-8; S 2566, 2572); James I, Second coinage, Penny, mm. rose, 0.52g/1h (N 2106/1; S 2661); together with a Charles I Tower mint Halfcrown [6]. Last poor, second with chip and crack, otherwise fine and better £60-£80

James Willis A montage of the North Hertfordshire churches of Therfield, Kelshall, Hitchin, Ashwell and Baldock – with added gargoyles signed l.r., watercolour image 52 x 37.2cm framed 66.5 x 49.5cm James Willis is an established artist, scholar and tutor who specializes in painting buildings. He has exhibited widely including recent solo shows at the Coin Street Gallery in the OXO Tower; The Old Royal Naval College, Greenwich; and has been included in the Royal Society of Marine Artists at the Mall Galleries, London. He is currently working on a collection to exhibit with the celebrated architecture painter Carl Laubin in 2022.

The Indian Mutiny Medal for the Defence of Lucknow awarded to John Phillips, an Uncovenanted original defender who fought bravely at Germon's Post and was considered one of the bravest men in the defence, accompanying sallying parties on no fewer than 3 occasions and being described by Captain R. P. Anderson, 25th N.I. as a ‘brave old volunteer’ Indian Mutiny 1857-59, 1 clasp, Defence of Lucknow (John Phillips) one very minor edge bruise, otherwise dark toned, nearly extremely fine £2,000-£2,600 --- John Phillips was born in Calcutta around 1807, of British descent. Little is known of his life until 1 March 1834, when he married Sarah Christiana Joyce at Cawnpore, stating he was an Uncovenanted Clerk in the Jubbulpore Agency, Saugor. In 1840 he is shown as a clerk at the Delhi Magazine and later clerk in the Revenue department at Agra in 1843. These appointments indicate that he worked in the Non-Regulated States or Political Agencies under the control of a Resident, as against working in the direct Company governed provinces. On 9 November 1849, Phillips was appointed to the important position of Head Clerk of the Lucknow Residency, on a salary of 190 Rupees per month. The Head Clerk managed all the various agency departments, replacing the previous incumbent, Mr Hare, who had been terminated by Sleeman for embezzlement. Phillips worked directly under the orders of Captain Fletcher Hayes, head of the Military Secretary's Office. The demise of Mr Hare, who had been in the King's pay, gave Captain Hayes the opportunity to infiltrate the King's Palace via the newly arrived Head Clerk. Successive British Residents at Lucknow had become increasingly alarmed at the King of Oudh's profligate expenditure, chaotic administration and hedonistic lifestyle of the court, so Phillips was instructed by Captain Hayes to set about organising a loose network of informers who could pass back information and gossip from the various departments as to what was happening in the palace. He was assisted in this endeavour by having several relatives and in-laws within the various Residency departments. Phillips was assigned a most prestigious house set in a large compound to the South West of the Residency which became known during the siege as “Phillips’ House and Garden Battery”. It gave full view to the Judicial garrison (Germon’s Post) and was only silenced in early October after the arrival of the first relief force. After several warnings, Lord Dalhousie annexed the province on 7 February 1856, using an egregious political device called the Doctrine of Lapse which was instrumental in sowing the seeds for the disasters that would follow in 1857. On annexation Phillips became Head Clerk to the Military Secretary’s office in the Chief Commissioner's office. He continued working in the Chief Commission's Office until 1861, when he retired and returned to Calcutta. He died at Calcutta of ‘decline due to old age’ and was buried at the General Episcopal Cemetery, Lower Circular Road, Park Street, on 30 June 1888, aged 81 and 11 months. The grave is still extant and was erected by his daughter, Ellen, wife of Christopher Best who also served throughout the siege. John Phillips was aged 50 when the siege commenced and served throughout at Germon's Post, named after Captain R. C. German, 13th Bengal Native Infantry, the commanding officer. The Post was greatly exposed to fire from the tower of Johannes’ House, just outside the Residency perimeter, and from the gun and mortar batteries from Phillips’ House and Garden battery which opened up with such force and accuracy that the position became untenable, with the wives being evacuated to the cellars of the Tykhana where the wives of the officers were sheltering. Repeated attacks were made on Germon’s Post with the one on 20th July being the fiercest. The Uncovenanted distinguished themselves greatly, all being under arms from eight in the morning to eight at night. Copies of the original lists of those who served throughout the siege show that John Phillips, Christopher James Best (son in law) and William Charles Phillips (relative) all accompanied sallying parties out of the Residency on no fewer than 3 occasions. The Colonist newspaper of 6 April 1858, has an interesting article by one of the original defenders, probably the Uncovenanted Mr John Lawrence, whose notes of the siege were given to L. E. Rees and form the basis for his book Siege of Lucknow. Under the title “Siege and Bombardment of Lucknow” it makes for interesting reading revealing a litany of prejudices and some of the less savoury aspects of the siege: ‘They then took possession of all the highest houses adjacent to our garrison and loopholed the walls from whence they used to pick off our men unceasingly. It was scarcely safe to run from one house to another without making a good mark for their riflemen. They were so far safe that our cannon could not play on their buildings, our space being very limited, whilst they had every facility for bringing their guns to bear upon us; their guns and mortars were placed in the compounds of the houses of Messrs Jhn. Phillips and J. Johannes, the former an Uncovenanted servant and the head of the Chief Commissioner's Office and the other a merchant. One day in particular and on the consequent on the annoyances and losses that we had been subjected to, from the unerring shots of both matchlock and riflemen, from the above two houses, a storming party had been ordered to dislodge them from these strongholds, and Mr Phillips had been asked to point the way, through heaps of rubbish, to his residence. This old gentleman most willingly undertook to do, expecting neither reward or thanks for what he had already done, but satisfied he was doing his duty and a public benefit besides. He asked to be accompanied by one of his brother-in law, Mr Richard Joyce (a fine smart young stripling), who was also an Uncovenanted assistant in the Chief Commissioner's Office. They went with the storming party, who had been successful with but small loss and am most happy to add that Messrs P and J return unscathed... the Uncovenanted servants of Government have to express the hope that, should these lines meet the eyes of the Home authorities, that the families of those Uncovenanted servants who have fallen in action, and the widows who had conducted themselves properly, and the residue of the Uncovenanted, will in future be treated with the consideration they are entitled to, and that suitable provisions may be directed to be made and their grievances be redressed, for well may they be dubbed THE HEROES OF LUCKNOW.’ Sold with comprehensive research and maps including Napier's dispatch of the taking of Phillips' Battery.

* Oxford. Basire (James), Magdalen Tower and Bridge, circa 1810, hand-coloured engraving after E. Dayes, 340 x 450 mm, mounted, framed and glazedQty: (1)

Elizabeth II Tower of London 1078-1978 commemorative limited edition (8/90) hallmarked silver gilt platter, London 1978, maker St James House Company, diameter 20cm, weight 294g, in original box

J. Craig Thorpe (American, B. 1948) "Minnesota Locomotive" Signed lower right. Original Oil painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which appeared on the Fleetwood Legendary Locomotives of the 50 States Minnesota Commemorative Cover postmarked July 31, 1995. With the discovery of rich, red iron ore in Minnesota's Vermillion Range came the means to transport this precious commodity to Lake Superior for transshipment to America's steel-making centers. In 1882, Charlemagne Tower and his son Charlemagne Jr. began construction of the Duluth & Iron Range Railroad (D&IR) to make such shipments possible. The following year work began on a wooden dock at Two Harbors, the terminus of this route. The dock was completed almost simultaneously with the driving of the last spike on the D&IR's main line. On July 31, 1884, the Duluth & Iron Range Railroad's locomotive No. 8 hauled Minnesota's first trainload of iron ore in five 20-ton wooden cars measuring 28 feet in length each. The iron ore came from the Breitung Mine near Soudan, and was carried to the new dock at Two Harbors, where it was loaded onto the steamer Hecla and the schooner Ironton. The engineer on this historic trip was Thomas Owens, who eventually became superintendent and vice president of the D&IR. During the first mining season, the Duluth & Iron Range shipped more than 62,000 tons of iron ore. In 1901, the railroad was purchased by U.S. Steel Corporation, and in 1930, the D&IR merged with the Duluth, Missabe & Northern to become the Duluth, Missabe & Iron Range. Pictured here is the D&IR's famed No. 8 at the ore docks at Two Harbors. This 2-8-0 freight engine was built by the Baldwin Locomotive Works in 1883. Image Size: 14 x 12 in. Overall Size: 18 x 15 in. Unframed. (B15144)

The 56 medals awarded between 1874 and 1897 to the pioneering photographic artist Frank Sutcliffe, from Whitby, Yorkshire, one of the first photographers to create 'art' from his images: International Exhibition of all Fine Arts Industries and Inventions, 1874, a bronze medal by G.T. Morgan, bust of Prince of Wales left, rev. Albert Hall, named (Francis Meadow Sutcliffe, Catalogue No. 4425 etc), 52mm (BHM 2992; E 1633); Un-named Society [perhaps Liverpool or Newcastle-upon-Tyne-related], a bronze medal, unsigned, robed and winged female inscribing tablet on pillar, rev. wreath, named (Swan Plate Competition, 1881, Awarded to Mr F.M. Sutcliffe, for Landscape), 50mm; Dundee and East of Scotland Photographic Association, 1882, a silver medal, unsigned [by Whytock & Sons, Dundee], arms and supporters, rev. exhibition dundee, un-named, 41mm, 27.54g (cf. DNW M11, 1121); Photographic Society of Great Britain, bronze medals (4), unsigned [by W.J. Taylor], bust of Prince Albert left, revs. female driving quadriga, named (Frank M. Sutcliffe, Exhibition 1882; F.M. Sutcliffe, Exhibition 1886; Frank M. Sutcliffe, Exhibition 1887; Frank M. Sutcliffe, Exhibition 1889), all 64mm (cf. BHM 2525; E 1478); Royal Cornwall Polytechnic Society, First Class, a bronze medal after W. Wyon, bust of James Watt left, rev. legend, named (Frank M. Sutcliffe, for Instantaneous Views, 1882), 45mm (E 1272); Bristol & West of England Amateur Photographic Association, medals by J.A. Restall for Lavars (4, two silver, two bronze), arms and supporters, revs. international exhibition, named (silver: Frank M. Sutcliffe, 1883-4, F.M. Sutcliffe; bronzes: F.M. Sutcliffe), all 55mm, silver total wt. 132.58g (cf. DNW 64, 1136); Photographic Exhibition, Northampton, Prize Medal, a bronze medal by J.S. & A.B. Wyon, arms and supporters, rev. legend, named (F.M. Sutcliffe, 1884-5), 51mm; Cardiff Photographic Society Exhibition, medals by J.A. Restall (3), in silver (2) and bronze, female seated left, head reverted, shield with Welsh dragon below, revs. wreath, named (silver: 1886, Figure Study, F.M. Sutcliffe, 1888, F.M. Sutcliffe, Class XXIIII; bronze: 1888, F.M. Sutcliffe, Class III), all 51mm, first hallmarked London 1887, silver total wt. 126.50g; Dundee and East of Scotland Photographic Association, 1886, a silver medal, unsigned [by Whytock & Sons, Dundee], arms and supporters, rev. exhibition dundee, un-named, 41mm, 28.45g (cf. DNW M11, 1121), reverse with brooch mount; Photographic Society of Ireland, a bronze medal, unsigned [by Woodhouse], cruciform shields, rev. wreath, named (Triennial Exhibition, Awarded to Frank M. Sutcliffe, Class 6 No.16, 1887), 51mm (cf. DNW 188, 757); Borough of Nottingham, Art Museum, Medal for Success in Art, a silver medal, unsigned, arms, rev. legend, named (Exhibition of Photographs, 1887, to Frank M. Sutcliffe for No. 47), 72mm, 119.67g; Crystal Palace Photographic Exhibition, 1888, a bronze medal by J. Pinches, Britannia holding caduceus and key, opening the doors to the exhibition, lamb and helmet at her feet, rev. legend above wreath, un-named, 41mm (Allen p.138; MJP p.33); Dundee and East of Scotland Photographic Association, 1888, a silver medal, unsigned [by Whytock & Sons, Dundee], arms and supporters, rev. exhibition dundee, named (Awarded to F.M. Sutcliffe), 41mm, 25.76g (cf. DNW M11, 1121); Gloucestershire Photographic Society, a silver medal by H.B. Sale, arms and supporters, rev. wreath, named (April 1888, F.M. Sutcliffe, Class 9), 45mm, 50.22g; Liverpool Amateur Photographic Association, Prize Medal, silver medals by Brookes & Adams (2), arms and supporters, revs. tablet above wreath, named (International Exhibition 1888, F.M. Sutcliffe), both 44mm, total wt. 79.00g (cf. DNW 131, 514); Borough of Oldham, bronze medals (2), unsigned, arms and crest, revs. wreath, named (Photographic Exhibition, F.M. Sutcliffe, 1888), both 45mm (cf. DNW 64, 1132); Coventry & Midland Photographic Society, a silver medal, unsigned, arms and crest, rev. camera within elaborate wreath, named (F.M. Sutcliffe, Champion, Class 5, 1889), 45mm, 42.65g; Crystal Palace Photographic Exhibition, 1889, a bronze medal by J. Pinches, Britannia holding caduceus and key, opening the doors to the exhibition, lamb and helmet at her feet, rev. legend above wreath, named (F.M. Sutcliffe, Series-Cl. A, Sec. 2), 41mm (Allen p.139; MJP p.33); Derby Corporation Art Gallery, 1882 [struck 1883], Industrial Art Prize Medal, a bronze medal by Phillips for P. Vaughton, crowned arms, rev. robed female with accoutrements of art, building in background, named (F. Sutcliffe, Whitby, June 1889), 39mm; Mechanics’ Institute, Keighley, bronze medals by J. Moore (2), robed female standing in landscape, camera at right, revs. legend, named (F. Sutcliffe, 7 Jany. 1889, Champion; F. Sutcliffe, 7 Jany. 1889, Picture), both 45mm; Photographic Exhibition, Richmond, Surrey, a silver medal, unsigned [by J.A. Restall], crowned arms, rev. wreath, named (Awarded to F.M. Sutcliffe for Series of Landscapes, 1889), 45mm, 48.33g; Photography, bronze medals by J.A. Restall (2), seated robed female, camera equipment at left, revs. wreath, named (Medal for General Study won by F.M. Sutcliffe, ‘Coventry’ Exhibition, 1889; Medal for Best Picture, won by F.M. Sutcliffe, Royton, 1890), both 38mm; FRANCE, Exposition Universelle, Paris, 1889, a bronze medal by L.A. Bottée, Marianne crowning seated artisan, Exposition pavilion and Eiffel Tower below, rev. Fame seated on branch of tree, blowing trumpet, named (F.M. Sutcliffe), 63mm (Maier 131; PBE 9; ANS Exh. Cat. 1910, 15; BDM I, 231; cf. DNW 176, 373); GERMANY, Photographische Jubiläums Ausstellung, Berlin, 1889, a silver medal by O. Schultz, male bust right, rev. radiant tablet, named (Zuerkannt Herrn Frank M. Sutcliffe), 45mm, 50.80g; U.S.A., Photographic Society, Chicago, Art Institute, bronze medals (3), unsigned, eagle with feet resting on U.S. shield of arms, revs. 1st annual exhibition may 1889, named (F.M. Sutcliffe), all 38mm; Crystal Palace Photographic Exhibition, 1890, a bronze medal by J. Pinches, Britannia holding caduceus and key, opening the doors to the exhibition, lamb and helmet at her feet, rev. legend above wreath, named (Frank Sutcliffe, Class C, Sec. 1), 41mm (Allen p.140; MJP p.33); Mechanics’ Institute, Keighley, medals by J. Moore (2), in silver and bronze, robed female standing in landscape, camera at right, revs. legend, named (silver: F.M. Sutcliffe, Champion, 1890; bronze: F.M. Sutcliffe, Subject Pictures, 1890), both 45mm, silver 46.70g; Newcastle-on-Tyne and Northern Counties Photographic Association, a bronze medal by J.A. Restall, elevation of church, rev. camera, central tablet named (Awarded to F.M. Sutcliffe, 1890), 45mm (cf. DNW M11, 1105); Liverpool International Photographic Exhibition, a silver medal by J.A. Restall, arms and supporters, rev. camera, tablet and portrait on easel, named (1891, F.M. Sutcliffe), 45mm, 39.00g; International Photographic Exhibition, Leeds, medals (3), unsigned [by J.A. Restall], in silver and bronze (2), classical male head right, radiant star around, revs. crested arms and supporters, municipal art gallery above, named (silver: F.M. Sutcliffe, Marine and Clouds, Leeds, 1891; bronze: Landscapes, F.M. Sutcliffe, Leeds, 1891, Outdoor Groups, F.M. Sutcliffe, Leeds, 1891), all 45mm, silver 40.17g (cf. DNW M11, 1119); U.S.A., The Society of Amateur Photographers of New York, Fourth Annual Exhibition, a silver medal, unsigned, American eagle above camera on radiant sun, rev. wreath, named (Frank M. Sutcliffe, for Artistic and Technical Excellence, 1891), 57mm, 53.78g; U.S.A., World’s Columbian Exposition, Chicago, 1893, a bronze medal by C.E. Barber, figure of Christopher Columbus mode...

James Valentine (1815-1880) - an albumen print depicting the Tower of London from the Thames, marked 3634 J.V to the bottom, 20cm x 13cm

Gerhard Marcks - Hommage à Gerhard Marcks. Herausgegeben von Henrik Rolf Hanstein. Köln, Galerie Lempertz Contempora 1980. Mit einer Lithographie und einem verkleinertem Klischeedruck nach einem Holzschnitt, beide signiert, sowie zwei Holzschnittvignetten auf dem Umschlag, alle von Gerhard Marcks sowie einer Tafel nach Henry Moore. Originalbroschur in hellbraunem Kalbledereinband mit blindgeprägtem Deckeltitel.Eins von 270 Exemplaren. - Herausgegeben anlässlich der Kölner Ausstellung zum 90. Geburtstags von Gerhard Marcks. Am Anfang des Buches die ganzseitige und signierte Reproduktion seines Holzschnitts »Kölner Engel« und ein faksimilierter Brief. - Dazu: Thomas Merton. The Tower of Babel. [Hamburg für James Laughlin, Norfolk und New York, 1957]. Mit sechs Holzschnitten von Gerhard Marcks, darunter zwei Schriftzüge. Originalhalbpergamentband mit vergoldetem Rückentitel (Theophil Zwang, Hamburg). Im Schuber mit Deckelschild. Eins von 250 Exemplaren. Gedruckt für den Verleger James Laughlin.41,7 : 28,7 cm. [16] Seiten; 38, 4 : 26, 8 cm. 30, [6] Seiten. - Rücken minimal verfärbt.Lammek L 150 und H 479 und 489.35, vgl. H 162. - Beigabe: H 487, 2-7

American Revolution.- Philadelphia.- Faden (William) A Plan of the City and Environs of Philadelphia, Survey'd by N. Scull and G. Heap, with vignette view of the Philadelphia State House in the lower centre, the second state of Faden's map, with soundings in the Delaware and Port Island present, engraving on laid paper with large Strasbourg lily watermark and countermark 'W F', platemark 640 x 480 mm (25 1/4 x 18 7/8 in), sheet 750 x 550 mm (29 1/2 x 21 5/7 in), faint horizontal drying crease, expert repairs to splitting and fine perforations to the tower of the State House and below within plate and margin, with corresponding faint browning, otherwise minor surface dirt, unframed, 1777Provenance:Ex-collection of the Late James Stevens Cox F.S.ALiterature:Nebenzahl, Atlas of the American Revolution no. 26

An 18-Bore Flintlock Brass-Mounted PistolBy T.K. Hutchinson, No. 232 Borough, London, Circa 1800With octagonal barrel signed in full along the top flat (worn), foliate engraved tang, signed border engraved flat bevelled lock with engraved cock, safety-catch and roller, figured full stock (minor old damage on the side flat, old split in the ramrod channel) with flat-sided rounded butt, border engraved mounts comprising butt-cap with a flower-head centred on the retaining screw, trigger-guard with pineapple finial and decorated with a Britannia shield and foliage on the border engraved bow, turned ramrod-pipes, shield-shaped escutcheon engraved '6', and original horn-tipped ramrod with iron worm (barrel and lock with old surface rust and patination), Tower private proof marks 17.5 cm. barrelFootnotes:Thomas Keck Hutchinson was James Purdey's brother-in-law having married James's elder sister Martha in 1793. Hutchinson took on Purdey as his apprentice at the age of fourteen in 1798 and 'was a directly responsible influence on Purdey's standards, which were to form the basis of his illustrious career.' See L. Patrick Unsworth, The Early Purdeys, 1996, pp. 16-17For further information on this lot please visit Bonhams.com

The 1914-15 Star awarded to Petty Officer S. J. C. Kenchington, Royal Navy, who was taken prisoner when the Submarine E15 ran aground in the Sea of Marmara and was disabled by Turkish gunfire in April 1915 1914-15 Star (183194. S. J. C. Kenchington, P.O., R.N.) good very fine £70-£90 --- Sidney James Cromwell Kenchington was born at Fordingbridge, Hampshire on 19 June 1879, and joined the Royal Navy on 23 March 1899. He passed for Petty Officer in October 1908 and was confirmed in the rate on 27 February 1911. He joined the submarine service in July 1914, being posted to H.M.S. Dolphin and later assigned to H.M. Submarine E15 on 1 April 1915. His record of service carries the note ‘missing as the result of the loss of submarine E15 in Dardanelles reported believed to be a prisoner of war’ and is stamped ‘Repatriated NP 13996 1918’. During World War I, E15 served in the Mediterranean, participating in the Gallipoli Campaign against the Ottoman Empire. On 16 April 1915, under the command of Lieutenant Commander Theodore S. Brodie, E15 sailed from her base at Mudros and attempted to break through the Dardanelles to the Sea of Marmara. Early in the morning of 17 April, the submarine, having dived too deep and become caught in the vicious current, ran aground some ten miles in near Kepez Point, directly under the guns of Fort Dardanos. E15 was soon hit and disabled; Brodie was killed in the conning tower by shrapnel and six of the crew were killed by chlorine gas released when the submarine's batteries were exposed to seawater after a second shell strike. Forced to evacuate the vessel, the remaining crew surrendered, to be incarcerated in a prisoner of war camp near Istanbul where six later died. Sold with copied record of service.

After David Wright a signed limited edition Steam Loco print Blackpool Tower Summer Showers and after James B Hayes, a similar limited print Kings Lynn 1936

Großbritannien - - Sammlung von 47 Original-Photographien von George Washington Wilson (30), James Valentine (13) und Alexander Inglis (4). Vintages. Albuminabzüge. Montiert. Um 1870-1890. Bildformate: 11,5 x 19 cm bis 14 x 21 cm. Trägerkartons: Ca. 43,5 x 35,5 cm.Die Photographien des schottischen Photographen George Washington Wilson (1823-1893) zeigen vor allem Motive aus Schottland (Bau der Forth Bridge, Rosslyn Chapel, Stirling Castle, Melrose Abbey, Holyrood Palace, Burns Cottage und Alloway), die Sammlung enthält aber auch einige Aufnahmen aus England, insbesondere London (Westminster Abbey, Tower, Hampton Court Palace) und Canterbury. - Die Photographien des anderen großen schottischen Photographen James Valentine (1815-1879) geben die Dryburgh Abbey und die Abbotsford Library in Schottland wider, acht Aufnahmen entstanden in York (Dryburgh Abbey, Minster, Micklegate Bar etc.). - Die Aufnahmen von Alexander Inglis zeigen Abbotsford, einen Highland Piper sowie das Porträt von Sir Walter Scott. - Dabei: Zwei weitere Porträttafeln. - Die Photographien im Negativ nummeriert, betitelt und mit "G.W.W." bzw. "J.V." oder dem ligierten Monogramm "AI" signiert. - Die Trägerkartons teils leicht fleckig und lichtrandig, teils mit Randläsuren und -fehlstellen, zwei mit handschriftlichem Eintrag, die Albuminabzüge meist sehr gut, wenige leicht berieben oder minimal fleckig.

A flintlock single barrelled fusil, probably by Daniel Moore the second of Fenchurch St., London, circa 1770, the steel lock plate engraved DL Moore, the octagonal section breech with London proof marks, 42inch barrel, the walnut full stock with brass furniture including family crest, the butt plate stamped GEO. FORBES BELLABEG, 142cm in length overallNote: MOORE: Daniel 1 Apprentice to John Jackson, 1722; free of Gunmakers Co., 1734. died 1746. Daniel 2 Son of Daniel 1. Apprenticed to George Mark by, 1746; free of Gunmakers Co., 1756. Proof piece & mark, 1758. Elected Assistant, 1761. Furbisher, Tower of London, 1754. Gunmaker, corner of Rood Lane, Fenchurch Street, 1762; 24 Fenchurch St., 1767-77; 34 Lime St., 1771-8; 15 Fenchurch St., 1779-83; 9 Cullum Street., 1784-6. Contractor to Ordnance, 1778-80; East India Co., 1772-1802. Died 1802.Bellabeg is a village in Aberdeenshire near Forbestown (founded by the Forbes family). George Forbes of Bellabeg (1668-1745) was the first Forbes of Bellabeg and would not have been the owner of this gun. It would appear likely that this gun was ordered by his son George, a London wine merchant, or perhaps his grandson George from his other son James Forbes.Condition Report: Corrosion to the barrel and lock, ramrod replaced. Old country house condition.Condition Report Disclaimer

James I, Second coinage, Halfgroat, mm. rose, 0.85g/4h (N 2104; S 2659); Charles I, Tower mint, Halfgroat, Gp D, mm. obscured, rounder shield, 0.80g/3h, Halfpence (2), no mm., rose both sides, 0.21g, 0.20g (N 2257, 2274; S 2832, 2851); Commonwealth, Halfgroat, 0.78g/4h, Penny, 0.42g/6h ( 2729-30; S 3221-2) [6]. Good fine and better, but last two crimped £100-£120

Miscellaneous Tokens and Checks, The Woodside Collection of Irish Masonic Pennies: Co ANTRIM, Ahoghill, Ancient Blue 704, Ballycarry, Red Hall 260; Ballymacarrett, Star of the East 37, Leslie Thompson 61 (2, one enamelled), Abercorn 114 (2, different), McCammon 221, Gothic 293 (2, different), Templemore 306 (2, different), William Shannon 373 (2), Meredith 380, Muskerry 433 (2, different), City Temperance 481, T. Hay 685, Ballymena, Seven Towers 476, Three Brothers 775, Belfast, Ark 10 (2, different), Truth 22, Duke of Abercorn 36, Temple 51, Sir Charles Lanyon 64 (3, different), Rosemary Street 88, Bydand 92 (2, different), Arthur Square 106, Prince of Wales 154, Golden Pillar 156 (3, different), St George’s 166 (2, different), Freedom 169, Castletown 181, Tyrian 182, Kinahan 229, George Andrews 258, M.M.M. 274, Tower of Lebanon 285 (3, different), Queen Victoria 294 (2, one a uniface trial), Rosetta 305, Redfern Kelly 312 (2), James Chambers 318, Redfern Kelly 324, James H. Stirling 345 (2, different), Sir Charles Cameron 353, The Maze 356, Fortwilliam 359 (3, one a duplicate), Minerva 389, Unity 383, Minerva 389, Claremont 423 (2), Civic 425, Belfast Volunteers 439 (3, one duplicate), Crusaders 440 (3, different), W.T. Braithwaite 441, St Andrew 469, Civitas 483, Unitas 485, M.M.M. 501, Meredith 502, Ashlar 528, Albertbridge 535 (2, different), Windsor 538, Finiston 541, Friendly Companions 609, anonymous 613, True Friendship 663 (2, different), Killeen 705, Britannia 726, Sharon 770, Broomhedge, Star of the North 335, Broughshane, Broughshane 246, Thiepval Memorial 1020, Carrickfergus, Carrickfergus 253 (3, different), Harmonie 282, Cullybackey, Ancient Blue 537, Derriaghy, St Patrick’s 602 (4), Glenarm, Glenarm 45, Holywood, Wallace 146, County 381 (2), Craigantlet 486 (3, different), Islandmagee, St John’s 162, Larne, St Patrick’s Union 175, Latharna 375, Lisburn, St John’s 178, Thomas Campbell 489, Rechab 667, Newtownabbey, Abbey 180, Richmond 262, Sidon 275, Westland 461, St Andrews 1012, Sydenham, Sydenham 188; Co DOWN, Ballywalter, Lightship 386, Bangor, Century 284 (2, different), Harmony 286, Bangor Union 746, Blaris, Lord Arthur Hill 147, Crawfordsburn, Rising Sun 170, Comber, Temple of Fame 46, Dromore, Dromore 70 (3, different), Downpatrick, St Patrick’s Union 367, Maralin, Iveagh 184, Melrose, Melrose 612, Millisle, Morning Star 193, Newcastle, Donard 377, Newtownards, Unity 443; Co DUBLIN, Dublin, M.M.M. 2; Co LONDONDERRY, Ballinderry, Oak 326; Co TYRONE, Strabane, Abercorn 251; stock tokens (4) [148]. Lodges 2, 377, 485, 667 and 775 fine, others all very fine or better; an extremely comprehensive group, probably the best of its kind in private hands £800-£1,000 --- Many of these tokens are the specimens illustrated on the late Mr Woodside’s website, irish-tokens.co.uk

First World War pair of medals, 1914-1918 British War Medal and Victory Medal (7039 PTE. S. LEON. 8 - LOND. R.), in addressed postage box, together with a WW2 medal entitlement slip to RFN. R.J.A LEON ' in respect of whose service these awards are granted did not live to recieve them', records show Private Stanley Leon of the 8th ( City of London) Battalion London Regiment (Post Office Rifles) entitled to the BWM and Victory Medal, he also served with the 8th London Regiment with the service number 373887 and the Royal Engineers with the service numbers 347032 and 207804, they also show that Stanley Leons son, 6914890 Rifleman Ronald James Alfred Leon of the 10th (2nd Tower Hamlets Rifles) Battalion The Rifle Brigade was killed in action in Italy in WW2 on the 7th June 1944 aged 25 and is buried at the Beach Head War Cemetery, Anzio, the personal inscription on his grave reads, ' His fight is o'er he rests in peace, ever in our thoughts'

CLASSIC SOUL/ FUNK/ DISCO - LPs. Here we have a groovin' collection of around 52 LPs and a 14 LP box-set: Atlantic Rhythm And Blues 1947-1974 (781 620-1, 7 double albums in gatefold sleeves, housed in a lovely slip-case), Eddie Hinton - Very Extremely Dangerous, Dobie Gray inc Drift Away, Loving Arms. Ben E King inc Supernatural, The Ultimate Collection, Music Trance, I Had A Love. Earl Klugh inc Finger Paintings. Chuck Jackson inc S/T (A609), Mr Emotion. Roy Young inc Mr Funky. Sticky Fingers. Colin Areety - Tender Moments. Tell Me Something - The Songs Of Mose Alison. Jack Mack and The Heart Attack, James Ingram, Average White Band, Tower Of Power, Labi Siffre inc S/T, Crying Laughing Loving Lying, The Singer And The Song. Condition is generally VG+ to Ex+

James Kinnear (SCOTTISH 1846 - 1917), 'Liberton Tower', watercolour, signed and framed under glass, 35 x 24cm

A weight-driven three-wheel 'Franklin' wall timepieceThwaites and Reed Limited, London, third quarter of the 20th centuryThe four pillar movement with plates measuring 8.5 by 4.75 inches enclosing three-wheel train including the escape wheel for the anchor escapement regulated by seconds pendulum, the 5.5 inch brass break-arch dial applied with silvered plate engraved with spiral chapter ring annotated with sequential Roman hour numerals to the centre of each quadrant within outer track calibrated 0-60 minutes or every quadrant divided into single minute intervals, with single hour hand revolving once every four hours beneath subsidiary seconds dial to arch above, mounted on a mahogany wall bracket with cavetto moulded platform and frieze applied with brass plate inscribed Benjamin Franklin's Clock 1757, built in London to his original design by Thwaites and Reed Ltd. Founded 1740, No. 39 in a limited edition of 1000 over twin cavetto-shaped supports, 40cm (15.75ins) high. Provenance: The property of a private collector, Hertfordshire. The partnership between John Thwaites and George Jeremiah Reed is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as being formed in 1808. John Thwaites was the son of Ainsworth Thwaites who 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. John Thwaites was born in 1757 and took over the business presumably on the death of his father in 1780 before moving to Bowling Green Lane. The firm 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. The current lot is built to the design devised by Benjamin Franklin in 1757 which was illustrated and described by James Ferguson in his 1773 publication Select Mechanical Exercises: Shewing how to construct different Clocks, Orreries, and Sun-Dials, on Plain and Easy Principles. 

Of Jacobite interest: A rare, fine and large George II pewter strawberry dish, circa 1740-47The narrow eighteen lobed wavy edge rim with triple reed and small embossed domes which relate to the eighteen flutes in the deep booge, the flat well engraved with a ducal coronet and the arms of FRASER, touchmark of Thomas Chamberlain, London, (fl.1732-1775), (PS1603) on rear of well, overall diameter 29.3cm (11¾in), rim width 1.7cm (¾in) Footnotes:The arms to the rim of this dish are Quarterly, first and fourth, azure three fraises argent; second and third, argent three antique crowns gules, beneath a Duke's coronet. They refer to Simon Fraser, 11th Lord Lovat (1667-1747) who was created Duke of Fraser, Marquess of Beaufort, Earl of Stratherrick and Upper Tarf, Viscount of the Aird and Strathglass and Lord Lovat and Beaulieu in the Jacobite Peerage of Scotland by James Francis Edward Stuart (1688-1766), in his soi-disant capacity as the rightful James III of England and VIII of Scotland. These titles were not recognised in English, Scots or Irish law, but the titles were used in Jacobite circles in Continental Europe and recognised by France, Spain and the Papacy. The ducal coronet helps to date the dish more precisely to between 1740 and 1747, when Simon Fraser was executed. His coffin plate is also engraved with these arms beneath a Duke's coronet, rather than a Baron's. It is rare to find a title granted in the Jacobite peerage on a pewter plate. Nicknamed 'the Fox', Simon Fraser had a tumultuous career. A Scottish Jacobite and Chief of Clan Fraser of Lovat, in 1715 he supported the House of Hanover during the Jacobite uprising following Queen Anne's death but, in 1745, was slow to support the royal cause against the claims of Charles Edward Stuart (1720 – 1788), and was amongst the Highlanders defeated at the Battle of Culloden. He was subsequently confined in the Tower of London, convicted of treason and executed by beheading (he narrowly escaped being hanged, drawn and quartered) on the 9th of April 1747.LiteratureDiscussed and illustrated Journal of the Pewter Society, Vol. 18, Autumn 2002, pp. 38-39, in an article by John Douglas, which also references the very small number of other recorded examples. The author concludes 'these fluted strawberry dishes are obviously very rare and to find one with such dramatic associations produces a thrill not often experienced'.Peter Hornsby in Pewter of the Western World 1600-1850 (1983), illustrates two of the recorded comparable strawberry dishes, p. 135, pl. 357 and 358A garnish of wavy edge sadware of thirty-four pieces, by the same maker and bearing identical armorials is in the collection of the Worshipful Company of Pewterers. See Supplementary catalogue (1979), SI/113/1-34.For further information on this lot please visit Bonhams.com

A silver limited edition circular plate by St. James House Company, London 1978, no. 109/900, commemorating the 900th anniversary of the Tower of London, 20cm (8in) diameter, 294g (9.45 oz), with a fitted a caseCondition Report: Marks are well struckLight scratches and wear commensurate with age and useCondition Report Disclaimer

White Tower Miniatures Legends of the West Wild Bill Hickok, Wyatt Earp, Frank James, The Preacher, Tom Mix, Roy Rogers, Buck Jones and others, nine mounted, and, possibly by another maker, The Long Branch Saloon timber façade, very neatly made 27cm tall by 24cm wide approx. and seven original plain shipping boxes, most with separated labels (Condition Excellent, boxes Excellent) (20)

James Prinsep (1799?1840) Britishdepicting a church tower in Britain, signed lower right and indistinctly dated 181?, watercolour and pencil on paper, 18 cm x 13.5 cm

Bindings. Burnet (Gilbert). The History of the Reformation of the Church of England, first part, London: printed by T.H. for Richard Chiswell, 1679, imprimatur leaf, additional engraved title, letterpress title in red & black, seven engraved portrait plates, borders red ruled throughout, marbled endpapers (without rear free endpaper), hinges crudely repaired, armorial bookplate of Joseph Wren to upper pastedown, all edges gilt, contemporary red morocco, with gilt decorated spine and gilt panelled and decorated boards incorporating armorial of William Sancroft, Archbishop of Canterbury (1617 -1693), joints and head & foot of spine repaired, corners repaired, some light rubbing, folio, together with: ibid, The History of the Reformation of the Church of England, third part. Being a Supplement to the two volumes formerly publish'd, London: J. Churchill, 1715, title in red & black, four engraved portrait plates, marbled endpapers (without rear free endpaper), hinges crudely repaired, armorial bookplate of Joseph Wren to upper pastedown, all edges gilt, contemporary red morocco, elaborately gilt decorated spine, gilt panelled and decorated boards, joints and head & tail of spine repaired, corners repaired, folioQty: (2)NOTESWilliam Sancroft (1617-1693) was the second son of Francis Sandcroft or Sancroft, of Fressingfield in Suffolk, and Margaret, daughter and coheir of Thomas Butcher. The family were of yeoman stock. William was educated at Bury St Edmunds Grammar School and was admitted to Emmanuel College, Cambridge 10 September 1633 where his uncle was Master. He graduated B.A. in 1637, M.A. in 1641, and B.D. in 1648. In 1642 he was elected Fellow and, because of his exemplary character was not ejected until 1651. When he was ejected, he at first lived with his brother, and then, in 1657, went abroad. At the Restoration, he was restored to his fellowship and in 1662 he was elected Master of Emmanuel, where he turned the chapel into a library, and procured plans for a new chapel. In 1664 he was made Dean of York on the 8 January, and Dean of St Paul's on the 10 December. In the latter office he was instrumental, with Sir Christopher Wren, in the rebuilding of St Paul's after the Great Fire of London. He was appointed Archbishop of Canterbury 27 January 1678, but opposed James II who sent him to the Tower. Despite this, at the Glorious Revolution he remained faithful to his oath of allegiance to James II. As a result he was suspended and returned to Fressingfield, where he built himself a modest house. He had intended to leave his library to Lambeth Palace, but changed his mind, sending his books remaining at Lambeth to Emmanuel College as a gift. He intended his manuscripts and the larger part of his printed books at Fressingfield, to go to the college after his death, reserving for his nephews such books as would suit a gentleman's library. As he took no formal steps to arrange this, his heirs made no attempt to carry out his wishes, and are said to have sold his manuscripts to the bookseller Bateman for eighty guineas, of whom they were bought by Bishop Tanner who presented them to the Bodleian Library in Oxford.

James I (1603-1625), Second coinage, Shilling, mm. tower (over mullet on obv.), fifth bust, 5.90g/4h (N 2101; S 2656). Good fine, scarce £200-£260

Henry VI, Annulet issue, Groats (2), London and Calais (N 1423-4; S 1835-6); Edward IV, Light coinage, Groat, London, mm. crown (N 1570; S 2000); Henry VIII, Second coinage, Groats (2), Tower, bust D, mm. rose, lis/rose (N 1797; S 2337E); Philip and Mary, Groat, mm. lis (N 1973; S 2508); James I, First coinage, Sixpence, 1603, second bust, mm. thistle (N 2075; S 2648); Charles I, Tower mint, Sixpences (3), mm. tun (2), anchor (N 2241-2; S 2813-14) [10]. Varied state, two pierced £150-£200

A James I gold Unite coin, fourth bust, 1612-13, mm. Tower, slight crease with weakness to the area, small split at mm., otherwise F

James Mahony ARHA (1810-1879)The Official Opening of 'The National Exhibition of the Arts, Manufactures and Products of Ireland' Cork, 1852Watercolour, 74 x 66cm (29 x 26'')This large watercolour by James Mahony depicts the building designed by John Benson for the "National Exhibition of the Arts, Manufactures, and Products of Ireland" held in Cork in 1852. The exhibition took place on the Corn Exchange site on Albert Quay-where City Hall now stands-and was opened by the Lord Lieutenant, Archibald Montgomerie, 13th Earl of Elginton, on June 10th of that year. The watercolour depicts a long line of eminent citizens, waiting to be introduced to the Lord Lieutenant, who stands on a carpeted dais in the foreground. A tipstaff announces the names of those who are to ascend the steps to the dais; they appear to be mainly men, while the audience looking on from both sides is composed mainly of women. First in line is a man, hat in hand, wearing a blue sash and medallion. Galleries on either side of the hall are also packed with spectators. Benson was a brilliant engineer and architect, who used innovative building methods; the roof of the Cork Exhibition hall, with its four transepts, was constructed of laminated wood trusses, bent into semi-circles, and linked together to form a strong but light structure. Large skylights admitted light into the building. The same system was used in his designs for other Cork buildings, including the Butter Market, the Firkin Crane and the English Market. Following on from his success in Cork, Benson was engaged to design the buildings for the Dublin International Exhibition in 1853. Unfortunately, being constructed mainly of wood, over the years all of Benson's Cork buildings have been destroyed, or have lost their original truss roofs, as a result of fire. When the Cork National Exhibition ended, the building was dismantled and sold to the trustees of the Royal Cork Institution. Three years later it was re-erected, on a site beside the Cork School of Art (now the Crawford Art Gallery). Titled "The Atheneaeum", it was inaugurated by the Lord Lieutenant, George Frederick Howard, Earl of Carlisle, and over the following decades was used mainly for lectures, exhibitions and performances. Re-named the Cork Opera House in 1877, it hosted many theatrical and opera performances before being destroyed by fire in 1955. Mahony's watercolour depicts the first inauguration of the building in 1852. He depicts an ornate but functional interior, one that combined conventional architectural elements, including Corinthian columns, with proto-Modernist construction methods. When the building was re-erected as the Athenaeum three years later, it was a simpler structure, and by the time it was remodelled as the Cork Opera House in the later nineteenth century, it had lost most of its original embellishments. A contemporary wood engraving by Mahony, published in The Illustrated London News, shows another transept in the Cork Exhibition complex, the Fine Arts Hall. Born in Cork in or around 1810, James Mahony specialised in views of historical events and paintings with religious themes. He first exhibited in the 1833 exhibition of the "Cork Society for Promoting the Fine Arts" and during the following years travelled extensively on the Continent, mainly in France and Italy. Returning to Ireland, he settled at the home of his father, a carpenter, at 34 Nile Street. The date of his return has not been established precisely; Strickland gives it as 1841, but in 1839 Mahony painted a large watercolour of the blessing of the Church of St. Mary's on Pope's Quay, a painting now in the Great Hunger Museum in Quinnipiac, Connecticut. During those years Mahony also set about founding, along with fellow artist Samuel Skillen, a Cork Art Union. The concept of an Art Union, where works of art from an annual exhibition were distributed by lottery amongst a group of subscribers, had already been put into operation in London and in other cities. An Art Union in Dublin had been founded two years previously, and there was also one in Belfast. Each member paid an annual subscription of one pound. This gave the subscriber (and up to three friends) free admission to the exhibition, as well as participation in the lottery of paintings. In the first year of the Union's operation in Cork, it was reckoned that more than £100 would be spent on the purchase of paintings, to be distributed amongst the subscribers. The first exhibition was held in September 1841 at Marsh's Rooms on the South Mall, and in spite of the bad weather was an immediate success, with Mahony and Skillen both amongst the exhibitors.Mahony showed again in 1844, submitting two paintings to the Cork Art Union Exhibition, Strada di son Giardino a Subraio, and Nella Chiesa di San Maria della Fiore a Genzano vicino di Roma, both priced at four pounds and four shillings. In November 1846, his view of the Fr. Matthew Memorial Tower at Glanmire was presented to Queen Victoria. Around this time, he resumed his travels, spending a number of years in Spain, before returning to Ireland. In 1852, as well as depicting the inauguration of the Cork National Exhibition, he showed several watercolours in the Fine Arts section, including The City of Cork from the river near the Custom House and Queens College, Cork, along with views of Venice and Rome. Settling in Dublin four years later, he exhibited at the RHA, and was also made an associate of the Academy. A large panoramic view of Dublin, in the National Gallery of Ireland, shows his talents in rendering architectural detail. Also in the NGI is his watercolour depicting the visit by Queen Victoria and Prince Albert to the 1853 Dublin Exhibition. In 1859 Mahony moved to London, where he worked as an illustrator, until his death in 1879. While he produced paintings of notable building, and civic and cultural events, Mahony is best known nowadays for his graphic images of the effects of famine in Co. Cork, which were published in The Illustrated London News in the 1840's. These harrowing images influenced public opinion, and helped changed the British government's official stance of indifference to the Great Famine. James Mahony is not to be confused with a later Cork artist, James Mahoney, who also painted in watercolour. (See Julian Campbell Irish Arts Review Vol 28, No. 2 (2011) p. 98]Peter Murray

A Bishop Of Penal Times, The Life and Times of John O'Brien, Bishop of Cloyne and Ross 1701-1769 by James Coombes, Tower Books 1981; Ecclesiastical History of Ireland from the Introduction of Christianity into that Country to the Year 1829, Dublin and The Irish Republic by Dorothy MacArdle with preface by Éamonn De Valéra, Dublin 1851 (3)

Bloomsday An Interpretation of James Joyce's Ulysses by Saul Field & Morton Levitt, 1973, dj and James Joyce's Tower, Sandycove, Co. Dublin by Ricard Ellmann, 1969, Hely Thom Ltd, Dublin (2)

James Joyce's Tower, Sandycove, Co. Dublin by Ricard Ellmann, 1969, Hely Thom Ltd, Dublin and James Joyce Facsimile Documents National Library of Ireland (2)

An 8 day long case clock, the movement signed James Bush, Tower Street, London, with pierced brass spandrels, silvered chapter ring, contained in a later mahogany case. Overall height 218cm.Condition report: This all seems to be a genuine and original clock from the first half of the 18th century. Original case.

Grey Friars Tower Kings Lynn 8 x 8 inches James Tuck

James I, Second coinage, Sixpence, 1605, mm. rose, third bust, 2.84g/8h (N 2102; S 2657); Charles I, Tower mint, Shilling, Gp E, type 4.3, mm. upright anchor, 5.21g/4h, Sixpence, Gp D, type 3a, mm. tun, 2.85g/4h (N 2229, 2241; S 2796, 2813) [3]. Fine or better £120-£150

Hall Marked Silver -A cased set of 6 Albany pattern Teaspoons , maker JD WD (James Deakin & Sons) Sheffield 1913 64 gms , a Gorham Manufactoring Co. America heavy Silver Knapkin Ring 32 gms engraved ? 1929?, a Danish silver ( tower mark and 50 under) having a silver and blue enamel HC Anderson ? looking right bust to shield at top 15.5 cm 41.5 gms 6 1/8/ 15.5 cm together with a hall marked silver octagonal pepperette standing on four feet,3 1/4? / 8.2 cm high 31 gms, Birmingham 1924 (4)

Skip Whitcomb (American, B. 1946) "Summer Garden Flowers - Gladiola" Signed lower left. Original Mixed Media painting on Cold Press Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which appeared on the Fleetwood First Day Cover for the 29c Gladiola stamp issued April 28, 1994. The name of this gorgeous flower actually refers to its foliage. Gladiola comes from the Latin gladius, meaning sword. Yet, its sword-like leaves merely complement the breathtaking blooms that appear on this popular plant. In Africa, where most Gladioli originated, the bulbs of some species are an important source of food and beverage. Throughout the tropical rain forests surrounding Zimbabwe's Victoria Falls, for example, it is possible to find Gladiolus primulinus in perpetual bloom. This same species was introduced to England around the turn of the century. At that time, authorities from London's famed Kew Gardens referred to this flower as a "unique and brilliant discovery" stating that it "ought to be the starting point for a new race of garden gladiolus." Eventually Gladiolus primulinus did become the parent of a multitude of graceful Gladiola hybrids. But Gladioli aren't limited to the tropics. There's even a European native, the magenta-colored Gladiolus segetum, a plant that thrives amidst grain, flourishing in fields throughout the Continent. In America, Gladioli are cultivated in both amateur and professional gardens. There, these statuesque plants tower above most other flowers, reaching heights of up to four feet. Growing in a wide range of colors from pastels to vibrant hues, the Gladiola is also a favorite among floral designers who use these magnificent flowering spikes in large, showy arrangements. Image Size: 15.25 x 13 in. Overall Size: 18 x 15 in. Unframed. (B14711)

James (P.D.) The Black Tower, jacket with some light rubbing to extremities, 1975; Death of an Expert Witness, jacket price-clipped, 1977; Innocent Blood, jacket price-clipped, 1980, first editions, original boards, dust-jackets, near-fine generally; and 2 others by the same, 8vo (5)

Thomas Salmon: 'Modern History: Or, the Present State of all Nations .... Volume 1. In which the Empire of China; The Kingdoms of Japan, Tonquin, Cochin-China and Siam; The Ladrone and Philippine Islands, and that of Macassar are comprehended.... illustrated.....by Herman Moll', London, James Crokatt, 1725, 3rd edition, volume 1 only, title page and following two leaves of preface with large part loss affecting text, else all leaves and plates present, 3 engraved folding maps and 11 engraved plates (of which 4 folding) as called for, maps comprise 'The Empire of China and Island of Japan', printed size approximately 25 X 25cm, very curious shape for the Korean peninsula, above Japan the semi mythical islands of 'Jesso' & 'Company's Island', names the sea of korea; 'India beyond Ganges', showing present day Myanmar, Thailand, Malaysia, Cambodia, Laos, Vietnam and part of Bangladesh, Southern China, Borneo and Sumatra, printed area approximatley 25 X 20cm; Philippine Islands' printed area approximate size 20 X 25cm, other plates including 'Tower of Nanking', 'Triumphal Arch', 'Tonquin Pagoda', 'Siamese House', religious habits/costumes, idols etc., contemporary calf worn, lacks top board

Elizabeth I, Sixth issue, Shilling, mm. A, bust 3B, 5.75g/6h (N 2014; S 2577); James I, First coinage, Shilling, mm. thistle, second bust, 5.70g/10h (N 2073; S 2646); Charles I, Tower mint, Shilling, Gp G, 6.01g/4h (N 2231; S 2799) [3]. About fine but first pierced, second cleaned, last better but with areas of striking weakness £100-£150

James I, Shilling, mm. coronet, fifth bust, 5.87g/9h (N 2101; S 2656); Charles I, Tower mint, Shillings (2), both Gp G, type 4.4, mm. triangle-in-circle, 4.69g/5h, 6.04g/4h (N 2231; S 2799); together with a Durotriges Quarter-Stater [4]. First fair but scarce, second very fine but heavily clipped, others in varied state £80-£100

James I (1603-1625), Second coinage, Rose Ryal, mm. cinquefoil (over trefoil over tower over mullet over coronet on obv., over trefoil over tower on rev.), 13.60g/3h (Stewartby dies Cj; SCBI Schneider –; N 2079; S 2613). Has been repaired at 9 o’clock, possibly plugged, creased and flattened, otherwise good fine or better, the sequence of mint-marks extremely rare £2,000-£2,600 --- Provenance: Baldwin Auction 44, 2 May 2006, lot 763

* Eddystone Lighthouse. Winstanley (Henry), Edystone Light-House, This draught was made & engraven by Henry Winstanley of Littlebury, Gent. and is sold at his Waterworks; where also is to be seen at any time ye Modle of ye said Building & principal Roomes for six pence a peice, circa 1700, large uncoloured engraving on three conjoined sheets, old folds, occasional short closed tears along old folds, 990 x 690 mmQty: (1)NOTESThis first incarnation of the Eddystone ligthhouse was designed by Henry Winstanley (1644-1703) in 1696 and completed in 1699. It was a timber building and the first to be built on the Eddystone Rocks. The rocks were a major hazard to shipping and are some nine miles off Rame Head at the approach to Plymouth Sound. Winstanley - a successful businessman and ship owner - had lost two ships on the Eddystone and this undoubtedly encouraged him to find a solution. A violent storm on the night of 26 November 1703 destroyed the lighthouse, killing the light-keepers, the workmen and Winstanley himself. It was replaced in 1709 by an oak and iron lighthouse designed by John Rudyerd, which survived until 1755 when was destroyed in a fire. The third attempt, also known as Smeaton's Tower stood until 1877 and its upper portion now stands on Plymouth Hoe as a monument. The current, fourth, lighthouse was designed by James Douglas, using Robert Stevenson's developments of Smeaton's techniques and opened in 1882.

In order to view full details and any additional images for this lot as well as place advanced bids or bid live, please click here to view this lot on the auctioneer's websitePair: Chief Engineer E. S. Duncan, Mercantile Marine, who was killed when S.S. Alastair hit a mine and sank 4 miles East of Southwold, 6 November 1915 British War and Mercantile Marine War Medals (Edwin. S. Duncan.) good very fine Pair: J. Wyllie, Mercantile Marine British War and Mercantile Marine War Medals (John Mc D. Wyllie) very fine Pair: J. H. Grant, Mercantile Marine British War and Mercantile Marine War Medals (James H. Grant.) officially renamed, good very fine (6) £80-£120 --- Edwin Stephen Duncan was born in Peterhead, Scotland, and was the husband of Elsie Duncan, residing at 89 Argyll Place, Aberdeen. He served as Chief Engineer with S.S. Alastair (Duncan & Leith), and was killed with the Captain and 5 other members of the crew, when she struck a mine and sank 4 miles East of Southwold, 6 November 1915: ‘Mr Edwin Duncan, chief engineer, was a brother of Mr Duncan, a member of the owning firm. He went to sea four years ago on the Dunleith, and transferred with other members of the crew to the Alastair on that vessel’s maiden voyage for the new owners. He was 37 years of age, and a widower, with a daughter eight years of age.’ (Copied newspaper cutting included with lot refers) Duncan is commemorated on the Tower Hill Memorial.

Attributed to James Renwick Brevoort (1832-1918) American Figures traversing a path at dusk Indistinctly signed, oil on canvas, 82.5cm by 56cm (a.f.) See illustration . There is a large and significant triangular tear to the canvas within the upper right hand quarter. The torn canvas remains attached. There is a further Y shaped tear within the pathway below and left of the two figures standing at the wall and is approx 3 cm on its longest edge. Small horizontal tear with some paint losses approx 7 cm from the top of the tower and approx 1 cm in length. Further small damage with losses on the lower right component of the tower, broadly vertical and no more than 0.5 cm in length. Relatively minor diagonal surface scuff to canvas in between these two damages. Covered in a layer of dirt and discoloured varnish. There is a rectangular patch repair to lower edge approx 10 cm by 20 cm in overall dimensions with associated retouching to the front. Canvas now slightly loose on stretcher. Some minor and sporadic retouching left hand side centre and probably a small amount around the figures within the lower right hand corner. Minor rubbing to edges in general. Varying sized stable craquelure mostly contained to background and sky, architectural and vegetation areas displaying a degree of bloom and in essence some general retouching to denote shadows and definition. Sold as found.

* Alinder (James, 1941-). A group of 6 vintage gelatin silver panoramic prints, c. 1975, all but one on card mounts, all with printed labels to mount versos and 4 with photographer's wetstamp, images 30 x 13.5 cm or the reverseQty: (6)NOTESThe titles are: Neil Armstrong Space Center, Ohio; Highway, Hawaii; Christmas at Hinky Dinky Supermarket, Lincoln, Nebraska; Liberty, New York; Tower Ypsilanti, Michigan; Plymouth Rock, Massachusetts.

* Bisson Freres et al. A good album of 60 architectural and landscape albumen print and salt print views of Italy, Venice, France, Switzerland, England and Wales, Germany and Belgium, c. 1850-63, including large-format prints by Robert Macpherson, Bisson Frères, Édouard Baldus, Roger Fenton, et al., mostly flush-mounted on card, pasted onto rectos of paper album leaves, contemporary half morocco, large folio (56 x 42 cm)Qty: (1)NOTESPhotographs include (albumen prints except where noted): Louis Auguste Bisson and Auguste Rosalie Bisson, Mont Blanc, 1860, photographers' circular initial stamp in red ink on the image lower left, 29.5 x 45 cm; Ledot Ainé et Donas, View of Paris with the Baths of Samaritan, 1853-1863, 35.4 x 44 cm; Gioacchino Altobelli & Pompeo Molins, View of Ponte Nomentano, c. 1863, 26.5 x 36 cm; Roger Fenton, Tintern Abbey, 1857, 33.5 x 42 cm; Édouard Baldus, Portal, Amiens cathedral, 1855, signed in the negative, no. 53, 44.5 x 34 cm; Attributed to Édouard Baldus, Portal, Rouen Cathedral, c. 1855-60, 44 x 33.5 cm; Édouard Baldus, Portal, Chartres Cathedral, c. 1855, signed in the negative, no. 4, 44 x 34 cm; Édouard Baldus, Amiens, Porte de la Vierge, c. 1855, signed in the negative, no. 41, 44 x 34 cm; Attributed to Édouard Baldus, West Façade of Saint-Ouen Cathedral, Rouen, c. 1855, 44 x 32 cm; Édouard Baldus, Amiens Cathedral, Abside, c. 1855, signed in the negative, no. 36, 37 x 27 cm; Attributed to Fratelli Alinari, Falls of Terni, Rome, c. 1855-60, no. 217, 41.5 x 30 cm; Attributed to Fratelli Alinari, Doors (Lorenzo Ghiberti) for the Baptistery of Florence Cathedral, c. 1855-60, no. 152(?), 42 x 29.5 cm; Robert Macpherson, Arch of Titus, Rome, c. 1860, 39 x 30 cm; Robert Macpherson, Arch of Constantine, Rome, c. 1855-60, 28 x 39 cm; Attributed to James Anderson, Theatre of Marcellus, Rome, c. 1855-60, 31 x 22 cm; Attributed to James Anderson, Castel Sant'Angelo, the Ponte Sant'Angelo spanning the Tiber, dome of St. Peter in the background, Rome, c. 1855-60, 25 x 37.5 cm; Eugene Piot, Tower of Pisa, c. 1849-50, salt print, 28 x 20.5 cm; Attributed to Eugene Piot, Baptistery, Pisa, c. 1850, salt print, 14 x 18 cm; Attributed to Georg Schmidt, Liebfrauenkirche, c. 1850s, 31 x 25.5 cm. Other views include: Rialto Bridge, Venice, salt print, 27.5 x 35.5 cm; Bridge of Sighs, Venice, salt print, 35.5 x 29 cm; Staubbach Falls, Switzerland, 32 x 25.5 cm; The Wetterhorn, Switzerland, 32.5 x 25.5 cm; Entrance to King’s College Chapel, Cambridge, c. 1855, 22 x 28.5 cm; Wooded river view with reeds, England(?), c. 1855-60, 19.5 x 25 cm; Ludlow Bridge, c. 1860, 14 x 18 cm; Ludlow Castle, c. 1860, 14 x 18 cm; Wells Cathedral, c. 1860, 23.5 x 19.5 cm.

A Spode blue and white transferware soup tureen with cover and stand 19th century, printed with the Lucano Bridge pattern, figures and cattle crossing an arched bridge before a tower, within a wide leaf border, printed marks, 42cm. (3) Cf. The Bridge of Lucano by James Merigot, published in 1798 in A Select Collection of Views and Ruins in Rome and Its Vicinity - Executed from Drawings Made Upon the Spot in the Year 1791 for the source print.

[Dolmen Editions] O'Connor (Frank)trans. The Little Monasteries, 8vo D. 1963, cloth & slipcase; Skelton (R.)ed. J.M. Synge, Some Sonnets from Laura In Death, 8vo D. 1971, cloth & d.j.; Devlin (D.) The Heavenly Foreigner, lg. 8vo D. 1967, boards & d.j.; Skelton (R.)ed. J.M. Synge - Riders to the Sea, lg. 8vo D. 1969, illus., cloth & d.j.; Clark (D.R.) & Mayhew (G.P.)ed. A Tower of Polished Black Stones, lg. 8vo D. 1971, illus., cloth & d.j.; Daly (Leo) James Joyce & The Mullingar Connection, 4to D. 1975, cloth & d.j.; together with various Dolmen Press Booklets, Flyers etc., as a lot, w.a.f. (1)

Edgar James MayberyTower BridgeAn etchingSigned in pencil to the margin and titled Tower of London12 x 20cm

JOHN SKELTON MBE, FRBS (1923-1999) - TOWER OF BABEL, SCULPTURE (CONSTRUCTION), OAK, COPPER, WIRE AND LETTER CUT MARBLE ON VERMONT MARBLE, 132CM H; 50 X 48CMCreated in 1965Sold with the artist's signed certificate of authenticity and hand written valuation, dated 28 February 1989Acquired directly from the artist by the late owner, Barbara DoyleJohn Skelton was a student of his Uncle, Derek Gill (1882-1940). He was afterwards commissioned to execute the headstone of Edward James at Westdene and his work is at Chichester, Norwich and Salisbury Cathedral. There is a memorial by Skelton in the crypt of St Paul's Cathedral

Mauchline Ware – eleven pieces, comprising a ‘Clark and Cos. Anchor …’, rectangular sewing box (floral print to lid), 21.5cms, a circular reel box (Edinburgh National Gallery and Castle, photographic), 9.5cms, a circular pin cushion (Ripon Cathedral from the River, photographic), 10cms, a cylinder reel box (The Minstrel), 8cms, a cylinder box (floral colour print ‘A Wish’), 9cms, a dome top reel box (South Pier, Blackpool), 8.2cms, a canted corner rectangular reel box, hinges broken, (flowers and scrolls / internal label James Chadwick and Bror.), 10.4cms, a rectangular box (winter rural landscape / internal label James Chadwick and Bror.), 9.5cms, a rectangular box containing reel and brass thimble (Ecole Riggs), 5.8cms, a note book (The Tower of Refuge), 9cms, and a sliding lid pin cushion box, end lacking, 5.5cm, condition generally poor to fair some images chipped.    (11)                                                                                                                     From the collection of Margaret Blakeley

A STUDIO POTTERY VASE in the style of James Tower, 18cm diameter x 21.5cm high Condition: small chip to the top rim, a nibble glaze hole to the side 1 cm diameter