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A coloured engraving by James Basire after Dayes, 35 x 45cm; an Oxford Almanack engraving, 1766, 37 x 44cm; a small etching by T. Mackenzie c.1946, a 19th century pencil sketch of Magdalen Tower, 23 x 15cm, and a small oak box carved with the college shield (5)

An early 20thC Mauchline ware sycamore jar and cover, with Chelsea suspension bridge and Victoria Tower, Westminster scenes, 9cm high, a Glasgow bridge box with James Reed retailers label and a further box the beach, Worthing with sectional interior (3).

James Mudd (British, 1821-1906) A Tower before an estuary and harbour, with sailing ships in the foregroundsigned lower left 'James Mudd 1891'watercolourCondition report: No obvious damage to watercolour.Broken glass.Watercolour slightly discoloured.Image 52 x 73cm.

Hewitt & Son, London, a brass-bound mahogany desk chronometer: the gimballed two-day duration movement having spotted plates and detent chronometer escapement, the 3½-inch round silvered dial having black Roman hour numerals, a subsidiary seconds dial, Up and Down state-of-wind dial, gold spade hands and engraved with the maker's name Hewitt & Son, Makers to the Admiralty, London, No. 1890, the brass bound two-tier rosewood case with inset brass handles to the sides and a glazed circular viewing aperture to the top, height 12cms, depth 17.5cm, width 17.5cm.* Biography Thomas Hewitt, born 1799 in Prescot, Lancashire, moved to London in 1812 and is recorded as working at various addresses as a chronometer maker including 12 Upper Ashley Street, Clerkenwell in circa 1840 and 34 Windsor Terrace, City Road, from 1856 until at least 1859. With James Hewitt at Atherton Street, Prescot, Lancashire as Hewitt Brothers from circa 1854 until 1872 and then Montague Road until 1876, being the main centre of chronometer movement construction at this time. Thomas devised various forms of compensation balances and was known to use both Earnshaw spring detent and foot detent. The great innovator John Wycherley was apprenticed to Hewitt in Prescot. Thomas died in 1867. His son, Thomas J.P. Hewitt, born 1833 in Atherton, Lancashire, worked with his father at King Street, Tower Hill City, London. He was Director of the British Watch Company and elected to the Council of the British Horological Institute in 1863 becoming Vice-President. Thomas J.P. Hewitt died in Balham, South London in 1918.

A pair of early 19th century views of London, View of the New Mint on Tower Hill and The New Bethlem Hospital in St Georges Fields, published by James Whittle & Richard Holmes Laurie, hand coloured engravings, 10 1/2" x 17", unframed

Howard Koslow (New Jersey, New York, 1924 - 2016) "South Carolina's Morris Island Lighthouse" Signed lower left. Original Acrylic painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Fleetwood First Day Cover for the U.S. 37c South Carolina Morris Island Lighthouse stamp issue of June 13, 2003. The first lighthouse at Charleston was built in 1767, when South Carolina was still a British Colony; 70 years later a 120-foot-tall lighthouse replaced the original, but this beacon didn't last through the Civil War. Construction for the current Morris Island Lighthouse began in 1874, and was finished two years later. An earthquake in 1886 destroyed many of the buildings in the city of Charleston, but the lighthouse survived the disaster. Vegetable and flower gardens, livestock and an elegant three story Victorian style house for the light keeper, were all part of the stately lighthouse complex, on what used to be Morris Island. Now the tower is all that remains, standing in the ocean several hundred yards offshore. The buildings and even the land have succumbed to the ocean, but the lighthouse refuses to relinquish its spot where it safely guided mariners for many years. Image Size: 14 x 12 in. Overall Size: 20 x 18 in. Unframed. (B17082)

Howard Koslow (New Jersey, New York, 1924 - 2016) "Georgia's Tybee Island Lighthouse" Signed lower left. Original Acrylic painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was published on the Fleetwood First Day Cover for the U.S. 37c TyBee Island Lighthouse stamp issued June 13, 2003. Tybee Island light station was approved in the 1730s, and since there have been four lighthouses that have occupied the island. The first was finished in 1736, but had to be rebuilt in 1741 after a severe storm destroyed the original building. The third tower, completed in 1773, was the first to provide nighttime navigation and did so until the 1860s, when Confederate soldiers destroyed all but 60 feet of the tower with cannon fire. The fourth and final tower was completed in 1867. Constructed of cast iron and brick, the tower stands 145 feet, and includes a first order Fresnal lens, which is frequently struck by ducks and geese migrating for the winter. Having endured war, weather and wildlife, the Tybee Island Lighthouse has long provided safe passage along Georgia's coast. Image Size: 14 x 12 in. Overall Size: 20 x 18 in. Unframed. (B17063)

Marlborough, John Churchill, First Duke of Warrant signed ("Marlborough"), as Master General of the appointing William Weatherhead a Labourer in Ordinary in Her Majesty's stores at £26 per annum, in place of the late William Waterman, directed to Thomas Erle, Lieutenant General of HM Ordnance and the rest of the principal officers; counter-signed by his secretary and political ally, James Craggs the Elder, with Marlborough's papered armorial seal at the head, one page, folio, integral leaf removed, some browning and dust-staining, upper half laid down with associated tears, Office of Ordnance [Tower of London], 22 January 1707/8Footnote: Note: Signed while Marlborough was in London, outfacing the threat posed by Robert Harley who was attempting to replace Marlborough's ally Godolphin, and while preparing to counter a possible Jacobite invasion from Dunkirk.

Civil War pamphlets.- A collection of 31 Civil War pamphlets, woodcut ornaments and coats of arms, occasional light staining or soiling, together in contemporary wrappers with a contents list supplied in an early hand to inside covers, some chipping to covers, preserved in custom morocco-backed drop-back box, 1642; and a copy of The Prerogative of Parliaments in England, small 4to (2) ⁂ An excellent group of pamphlets, many rare, all from June and July of 1642 with the King and Parliament essentially irreconcilable, leading up Charles' raising of his standard at Nottingham Castle on 22nd August, marking the beginning of the Civil War. Pamphlets present include:1) Most Welcome Newes from York, Being a true and perfect Relation of what hath happened in York...Also the faithfull service of the Lord Paget for the Country... Also the Discovery of a most strange and terrible Attempt of M. Johnson in Darby, against Mr. James his wife in the same town, his damnable Design against the Town of Darby, and the Discovery thereof, [not in Wing], Willian Arding, 1642. 2) Charles I. His Majesties Resolution concerning the setting up of his Standard... Together,with the Resolution of certain Noblemen...who when His Majestie resolved to set up His Standard at York, did disswade him from it, [Wing C2758], I. Thomson and A. Coe, 1642.3) His Maieasties Resolution concerning the Magazine in the Tower of London. Like=wise the Parliaments Resolution concerning the same, [Wing C2754A], J.Smith, 1642.4) The Earle of Essex his Speech in the Artilrie garden to the Souldiers on Tuesday Last. With His Majesties Propositions to the Citizens of London, likewise Terrible and Bloudy News from Yorke, , [Wing E3335], Thomas Baley, 1642.5) The Kings Maiesties Resolution concerning the Lord Major of London, now Prisoner in the Tower...Likewise exceeding Joyfull News from Manchester and Hull, declaringtheir prosperous Proceedings against the Cavaleers, [Wing C2754], I.Smith, [1642].6) The City of Londons Resolution. Concerning their Loyalty to the King, and their Love and Affection to the Parliament, in laying down their lives, liberties, and goods for the maintenance of the true protestant Religion, [Wing C4362], I. Tompson and I.Coe, 1642.A complete list is available upon request.

A Copy Of The Helmet Made For James II By Richard Holden in 1686With rounded one-piece skull etched with three bands of flowering scrolling foliage between double line borders, the central band with crown in splendour at the front, pierced plume-holder at the rear, pivoted fall with upper border etched en suite and with integral bluntly pointed peak, the latter carrying a face-guard pierced and etched with the royal arms and initials 'IR' (for Jacobus Rex) above symmetrical scrollwork, and with turned baluster terminal at the base, pointed neck-guard of three upward-lapping lames etched en suite with the skull, and single plate ear-pieces, the main borders turned and with dome-headed rivets throughout 25 cm. highFootnotes:For the original helmet preserved in the Royal Armouries see A.R. Dufty, European Armour In The Tower Of London, 1968, p.9, pl. LXVII (II. 123). For more information see Howard L. Blackmore & Claude Blair, 'King James II's Harquebus Armours and Richard Holden of London', J.A.A.S, vol. XIII, no. 5 (September 1991), pp. 316-334, pls. 4 and 5For further information on this lot please visit Bonhams.com

Five various stoneware advertising flagons to include James Shoolbred & co of London, Charles Eade of Ipswich, Owen A Diver of Wickham Market, James Gross & co of Woodbridge and Charnley & Abraham of Tower Street London, some AF

Four (4) British hammered silver coins, comprising a shilling of Charles I, 5.8 g, mm tun (1636-38 Tower Mint); a Scottish groat of David II, 2.6 g with star and Maltese cross marks; a possible groat of Edward III, 4.3 g; a sixpence of James I 1605, 2.6 g.

FOLIO PRESS - JOHN MILTON - "ON THE MORNING OF CHRIST'S NATIVITY & Other Poems" 1987, together with "Poems by Charlotte, Emily Jane & Anne Bronte" 1987, W. B. Yeats - "The Tower" 1987, and James Hogg - "A Memoir of Sir Walter Scott" 1987, all printed on Zerkall Rough Antique laid, acid-free, mould made paper and bound by Hunter & Foulis Ltd., Edinburgh, with sides of Rackenmarmor Swedish hand-marbled paper and buckram spine and label. Also Izaak Walton - "The Life of Dr John Donne" 1988, on Van Gelder Old Dutch laid acid-free, mould made paper, bound by Hunter & Foulis Ltd, Edinburgh with moiré silk spine and hand-marbled paper sides by Mitchell and Malik (5)

A George III oak and mahogany Neo-Classical long case clock, round painted 13.5in (34.2cm) dial, Roman and Arabic chapter, seconds dial, pierced gilt hands, ringed winding arbors, signed Condliff/Sheffield 8--day movement striking on a bell, Gothick trunk door with inlaid borders, inlaid in ebny and boxwood, curly pediment with marquetry inlaid paterae, grooved pylons to angles with central conforming fan, supported on unusual inlaid pillars with delicately carved Tower of the Winds capitals, shaped brass escutcheon with contemporary key flanked by fluted quarter columns, bracket feet, pendulum and weights, 85in (215.9cm) high (4)Martin Condliff and his brother Joseph (of Chapel-en-le-Frith) were apprenticed to Samuel Ashton of Ashbourne, Martin on 23rd September 1777 (having been born 1763); he set in Ashbourne in 1785, but by 1790 was married and working from 27, Far Gate, Sheffield. He was father to the eminent James Condliff of Liverpool (1790-1851)

Ronald Maddox (British, B. 1930) "Tower of London" Signed lower left. Original Watercolor painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the Great Britain 9p Towwer of London stamp issued March 1, 1978. Vast. Overpowering. Aloof from the rest of bustling, modern-day London. The fabled Tower of London stands as a monument to Medieval Great Britain. It is a silent witness to nine hundred years of political intrigue and royal crisis. Bombings, fires and mob violence. Coronation processions and lavish banquets. Torture and daring escapes. Henry VIII, Sir Thomas More, Anne Boleyn, Lady Jane Grey, Elizabeth I and Sir Walter Raleigh are just a few of the historic figures whose fame and fate -- was intimately tied to the Tower. The Tower is dominated by the massive White Tower built by William the Conquerer in 1078. The design, both interior and exterior, is Spartan. Every consideration is subservient to obtaining the greatest possible strength and security. The outer walls vary in thickness from fifteen feet on the bottom to eleven feet at the top story. Many legends and superstitions are tied to the Tower of London, but perhaps one of the most fascinating is the story of the ravens: There have always been ravens in the Tower of London. They have made their homes amid the rising turrets and battlements for centuries, making themselves useful as scavengers. But even after that service was no longer required, their presence was encouraged. For, the legend runs, if the ravens leave, the Tower will fall and the greatness and glory of Britain will fade. Today, six ravens are kept "on the establishment," with their wings clipped so they cannot fly away -- thus ensuring Britain's survival. Image Size: 8.75 x 10.5 in. Overall Size: 15.5 x 15.25 in. Unframed. (B05125)

Ronald Maddox (British, B. 1930) "Windsor Castle in England" Original Watercolor painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Fleetwood First Day Cover for the Great Britain 5 Windsor Castle stamp issued October 18, 1988. Windsor Castle -- located about twenty miles west of London on the River Thames -- is perhaps England's most famous castle, due primarily to the fact that it is the British royal family's chief residence, as well as a stopping point for many heads of state on official visits to Britain. Originally built around 1070 by William the Conqueror, the castle was a Norman motte and bailey with a timber stockade atop a dirt mound. The Round Tower and stone walls were added by Henry II a century later. The artwork depicts the Round Tower, viewed from across the River Thames. Since Henry II's additions, successive monarchs have remodeled and added to the castle. The decorations which adorn much of the interior are the result of George IV's massive redecorations in the 1820's. The Grand Reception Room and Waterloo Chamber are among the most lavish and magnificent rooms in the castle. Used for State receptions and other formal affairs, they -- like others of the State Apartments -- are open for public viewing during most of the year. In 1475, Edward IV began the construction of St. George's Chapel, one of the most magnificent of English churches. In this chapel are buried many monarchs, including Henry VIII, Charles I, and George VI. Today, Windsor Castle stands as an impressive and monumental reminder of the royal family's influence on British life throughout the centuries. In addition, it has remained a favorite residence among various monarchs, including Queen Victoria and the present Queen Elizabeth II. Image Size: 12 x 14 in. Overall Size: 19.5 x 20.75 in. Unframed. (B11764)

Donald Moss (1920 - 2010) "Trinity Church" Boston. Signed lower left. Original Oil painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.This painting was published on a Fleetwood First Day Cover for the U.S. 15c Trinity Church, Boston stamp issued on October 9, 1980. Trinity Church, one of America's great nineteenth century churches stands in Boston's Copley Square, both monument and temple of America's freedom of religion and the revolution in American architecture effected by architect Henry Hobson Richardson (1838-1886). Originally planned in 1872 at the urging of Trinity Church's Rector Phillips Brooks -- universally known for his beautiful Christmas carol, "O Little Town of Bethlehem" -- Trinity Church was consecrated in 1877, but was not completed until 1897. Its style was a free rendering of the French Romanesque which flourished in eleventh century France. Its silhouette was Byzantine. Its lantern tower influenced by Spain's Salamanca Cathedral. And its centralized Byzantine Greek-cross plan inspired by St. Mark's Cathedral in Venice, which the glowing color of the great barrel vaults evokes today. The effect was a temple of worship which made one think he had a pass-key to the Golden Gates. And it was most importantly Richardson's first use of what came to be called Richardson Romanesque style, which made him the first American architect to have an international reputation as well as the most important architect of his generation in America. Though truly neither Richardson's, nor Romanesque, the style inspired thousands of buildings across America between 1880 and 1895, and emphasized honest use of materials and structure -- a principle leading directly to the twentieth century's "new architecture." Image Size: 14.5 x 15 in. Overall Size: 20 x 17.25 in. Unframed. (B06019)

Charles Ist memorial (undated) 1649 medal in bronze bust right armoured and draped reverse hand from heaven holding celestial crown originally offered in 1695 at five shillings in the London Gazette described as being struck by James and Norbert Roettier at the Mint in the Tower of London and a bag of mixed stamps. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

Two architectural prints: "The Temple of Jupiter, Stator, Rome" after Henshell and "St. James' Tower, Bury St. Edmunds"

James Holland ( British, 1799-1870), "The Tower of St. Lawrence in Rotterdam," 1852, oil on board, signed, dated, and titled verso, artist placard on frame lower center, board: 19"h x 25.5"w, overall (with frame): 25.5"h x 30.5"w

Dennis Lyall (American, B. 1946) "Marblehead, Lake Erie Lighthouse" Signed lower right. Original Oil painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S. 32c Marblehead Lighthouse stamp issued June 17, 1995. Located on the northeastern tip of Ohio's Marblehead Peninsula is the oldest continuously-operating light on the Great Lakes. Marblehead Lighthouse -- known as Sandusky Bay Lighthouse until 1870 -- was erected in 1812 on the northern border of Sandusky Bay. It is located in a region called the Lake Erie Firelands, which was so named for the Connecticut citizens who were burned off their land during the American Revolution. In compensation for their losses they were given a portion of the 500,000-acre tract dubbed the Firelands that now spans four counties. One reason the lighthouse was built at this site is because the area is often subjected to fierce winds accompanied by "nor'easters" -- powerful storms that churn Lake Erie's waters from Buffalo, New York, to Marblehead. In fact, it's not unusual for tremendous waves to crash up against this limestone beacon, sending sprays to the top of its 65-foot tower. For more than half a century -- before a separate rescue station was established in a nearby location -- Marblehead housed crews that consistently risked their lives to save those whose crafts had been battered by the menacing storms. Over the years the light has undergone several renovations. Between 1897 and 1903, the tower was extended by 15 feet to its present height of 65 feet, and in 1923 it was first powered by electricity. Today, Marblehead Lighthouse continues to guide ships in and out of Sandusky Bay. Image Size: 13.25 x 11.5 in. Overall Size: 16.25 x 14 in. Unframed. (B15037)

Skip Whitcomb (American, B. 1946) "Gladiolus" Signed lower right. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood Mint Stamps of the World Panel for Flowers of Guernsey issued May 15, 1993. The name of this gorgeous flower actually refers to its foliage. Gladiolus come from the Latin gladius, meaning sword. Yet, these "swords" merely complement the breathtaking blooms that appear on this popular plant. In both amateur and professional gardens, statuesque Gladioli tower above most other flowers, reaching heights of up to four feet. Image Size: 21 x 17.25 in. Overall Size: 24.75 x 20 in. Unframed. (B14385)

England, 1605 shilling, James I (1603-1625) bust facing right, rev; quartered shield above date, together with a Charles I (1625-1649) shilling, obv; crowned bust left XII, rev; quartered shield, Tower mint. (2)

John Stephens (20th/21st century) - Drax Power Station, charcoal and chalk on paper, signed twice and inscribed Drax Power Station, dated August 1984, 76 x 51.5cm approx, together with two signed black and white etchings by James Beale - Autumn Landscape edition number 2/70 and Tower House, edition 9/75, max size 52 x 53cm approx, also together with a pair of abstract tonal prints of landscapes inscribed verso June Radford, 74, 32 x 42cm approx, all framed (5)

James Lawson Stewart (1841-1929), 'On The Dee', 'Old Shot Tower, Thames', 'Tregrey Tower, North Usk' & 'Autumn Sunset, Surrey', set of four watercolours, all monogrammed, 15 x 10cm, (4)

A George III oak and mahogany Neo-Classical long case clock, round painted 13.5in (34.2cm) dial, Roman and Arabic chapter, seconds dial, pierced gilt hands, ringed winding arbors, signed Condliff/Sheffield 8--day movement striking on a bell, Gothick trunk door with inlaid borders, inlaid in ebny and boxwood, curly pediment with marquetry inlaid paterae, grooved pylons to angles with central conforming fan, supported on unusual inlaid pillars with delicately carved Tower of the Winds capitals, shaped brass escutcheon with contemporary key flanked by fluted quarter columns, bracket feet, pendulum and weights, 85in (215.9cm) high (4)Martin Condliff and his brother Joseph (of Chapel-en-le-Frith) were apprenticed to Samuel Ashton of Ashbourne, Martin on 23rd September 1777 (having been born 1763); he set in Ashbourne in 1785, but by 1790 was married and working from 27, Far Gate, Sheffield. He was father to the eminent James Condliff of Liverpool (1790-1851)

Dennis Lyall (American, B. 1946) "30 Mile Point - Lake Ontario" Signed lower right. Oil on Illustration Board painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S. 32c Thirty Mile Point Lighthouse issued June 17, 1995. For more than 75 years, 30-Mile Point Lighthouse warned vessels on Lake Ontario of nearby shoals and sandbars with a beacon that could be seen 18 miles offshore. Built in 1875, this impressive gray stone structure stands within the confines of Gold Hill State Park -- 30 miles east of the mouth of New York's Niagara River. The most commanding feature of this lighthouse is its four-story tower which houses a 10-sided lantern room glazed with long, rectangular panes and topped with a reddish-orange metal roof. The quaint residence features 12-paned windows and peaked gables supported by decorative arches. In 1984 -- more than 25 years after 30-Mile Point Lighthouse was taken out of service -- the Niagara Frontier State Parks Commission signed a long-term lease for the property. Today, the keeper's dwelling holds a museum and the tower affords those who make the climb up its twisting staircase a breathtaking view of Lake Ontario and the lovely grounds of Gold Hill State Park. Even the room that once housed a foghorn has been converted for recreational use, as well as the lighthouse's surrounding land which has been turned into campsites. 30-Mile Point Lighthouse represents one of the many beacons on Lake Ontario. Image Size: 13.25 x 11.5 in. Overall Size: 16.25 x 14 in. Unframed. (B15036)

Dennis Lyall (American, B. 1946) "Cape Hatteras Lighthouse" Signed lower center. Oil on Canvas. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.This painting appeared on the Fleetwood First Day of Issue Maximum Card for the U.S. 25c Cape Hatteras stamp issued April 26, 1990. The Cape Hatteras Lighthouse lies at the crook of a bending arm of barrier islands off the coast of North Carolina known as the Outer Banks. The turbulent waters and shifting sandbars of nearby Diamond Shoals have vexed mariners for centuries, and many a voyage has ended here in tragedy as storm and shoal conspired to defeat even the most experienced navigator. In an attempt to assist these hardy sailors, a lighthouse has been signaling from Cape Hatteras since 1803, but the lighthouse itself may soon become a victim of the sea. In its early days, more than a mile of beach protected the brick tower of the lighthouse from the threat of the sea. By the time a taller lighthouse replaced the original in 1870, about fifteen hundred feet of beach remained. Today, at high tide in winter, the beach may only measure one hundred fifty feet. Over the years, attempts have been made to halt the encroachment of the sea. The base of the more than two hundred foot high structure -- it is the tallest brick lighthouse in the nation -- buffered against the sea's attack by large nylon sandbags. Further, the beach has been replenished several times, sand fences have been planted to help build dunes, and artificial seaweed has been positioned offshore to create a sandbar to reduce wave erosion. In the future, rescue efforts like these may be funded at least in part through the efforts of concerned groups like The Lighthouse Preservation Society. Image Size: 12.5 x 17.5 in. Overall Size: 14 x 19.5 in. Unframed. (B12267)

Dennis Lyall (American, B. 1946) "Spectacle Reef - Lake Huron" Signed lower right. Original Oil on Illustration Board painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was published on the Fleetwood First Day Cover for the U.S. 32c Spectacle Reef Lighthouse stamp issued June 17, 1995. About 11 miles east of the Straits of Mackinac lies a treacherous shoal that rises to only seven feet from the water's surface. Known as Spectacle Reef, this hidden danger had caused numerous naval mishaps, including the wreck of two ships in 1867. Proclaiming that the reef was "more dreaded by navigators than any other danger now unmarked throughout the entire chain of lakes," the Lighthouse Board urged Congress to authorize the construction of a beacon to warn of the shoal's presence. The construction of Spectacle Reef Lighthouse was considered to be one of the greatest engineering feats in American lighthouse history. In 1870, after choosing a spot on the shoal that had but 11 feet of water over it, engineers set about the task of building a crib dam. This part of the structure was made on shore in four sections and later transported to the reef site. To secure it to the shoal, three-foot-long bolts were driven into the base rock. In addition to the difficulty of working on the shoal, severe weather conditions also hampered the lighthouse's progress. In the spring of 1874, builders were forced to chop through 30 feet of massive ice sheets to gain access to the nearly-finished tower. By June of that year Spectacle Reef Lighthouse was finally operational. Today, after many improvements -- such as the addition of solar power -- the limestone tower continues to guide those who ply the waters of Lake Huron near Spectacle Reef. Image Size: 13.25 x 11.5 in. Overall Size: 16 x 14 in. Unframed. (B15030)

Dennis Lyall (American, B. 1946) "Sandy Hook Lighthouse, NJ" Signed lower left. Oil on Canvas. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.This painting was published on the Fleetwood First Day Cover for the U.S. 25c Sandy Hook stamp issued April 26, 1990. The Sandy Hook Lighthouse is the oldest maritime light tower still in use in the United States. Built by the British, the beacon was lighted for the first time on June 11, 1764. Though it was originally called the "New York Lighthouse," the tower stands on the New Jersey side of Lower New York Bay. Upon its completion, Sandy Hook Lighthouse was described as a "house of an octagon figure, having eight equal sides; the diameter at the base, twenty-nine feet; and at the top of the wall, fifteen feet. The lantern is seven feet high; the circumference, fifteen feet. The whole construction of the lantern is iron; the top covered with copper. There are forty-eight oil blazes. The building from the surface is nine stories; the whole from bottom to top, one hundred and three feet." After the revolutionary war, Sandy Hook Lighthouse was ceded to the infant United States by the state of New Jersey, and the new government agreed to maintain the beacon thereafter. One of George Washington's first acts as President was to direct that a light be kept burning permanently at Sandy Hook. Over ten thousand dollars was raised for its maintenance between 1804 and 1817, and by 1832 there were two lighthouses lighting Sandy Hook, one to the north and one to the west. Today, one beacon remains, and will hopefully survive for many years through the efforts of the federal government and the lighthouse preservation movement. Image Size: 13.5 x 12 in. Overall Size: 15.5 x 14 in. Unframed. (B12314)

Dennis Lyall (American, B. 1946) "Admiralty Head Lighthouse" Signed lower right. Oil on Canvas. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.This painting appeared on the Fleetwood First Day of Issue Maximum Card for the U.S. 25c Admiralty Head stamp issued April 26, 1990. From man's earliest seafaring days, beacons have guided ancient navigators through troubled waters. As early as 280 B.C., man-made lighthouses like the Egyptians' Pharos marked harbors and headwaters. Considered one of the seven wonders of the world, the Pharos reputedly rose four hundred and fifty feet into the air and had a wood fire burning at its top. From these beginnings, the lighthouse developed into a priceless navigational tool such as the beacon at Admiralty Head, Washington, positioned at the east entrance to Admiralty Inlet and the Puget Sound. The life of this lighthouse was relatively brief. The lighthouse was built in 1903 and was touted as the most comfortable dwelling on the coast, but the maritime traffic pattern had changed by the mid 1920's and the lantern was removed from this tower in 1927. Though no light has gleamed from Admiralty Head in more than six decades, the structure has become one of the most popular tourist attractions of the area. The lighthouse was restored and opened to the public by the Washington State Parks and Island County Historical Society and though there is still no lantern on the tower, a lantern used at the nearby Alki Lighthouse is on display in Admiralty Head's rotunda. Similar efforts by The Lighthouse Preservation Society and its friends will hopefully keep America's early lighthouses from disappearing quietly into the annals of history. Image Size: 12.5 x 17.5 in. Overall Size: 14 x 19.5 in. Unframed. (B12336)

RALEIGH (WALTER)TASSO (TORQUATO) Rime et prose... Parte terza. Novamente poste in luce, WALTER RALEIGH'S COPY, signed ('W Ralegh') on the title-page above the woodcut printer's device and with his his motto ('Mediu[m] medijs') at foot, nineteenth century inscription on front free endpaper ('Questo Volume già fu del Cavaliere Gualtero Ralegh, il di cui nome sta scritto nel titolo dalla propria mano'), woodcut initials and tail-pieces, occasional light foxing and browning, later vellum, titled in ink on spine [this edition not in Adams], 12mo, Venice, [Vittorio Baldini], appresso Giulio Vasalini, 1584Footnotes:WALTER RALEIGH'S COPY OF TASSO - A NEWLY-DISCOVERED VOLUME FROM HIS LIBRARY. In a remarkable echo of the occasion twenty-three years ago when volume two of the Ferrara edition appeared for sale in our Phillips rooms, a third volume has come to light, making it a total of seven printed books now known to have survived from Raleigh's library. These include volumes one, two and three of Tasso's Rime et prose, which constitute the only works of literature in the library, the others being on military or historical subjects. The publication history of the Rime et prose is quite complex. The Parte prima and Parte seconda were first printed by Aldo Manuzio in 1581 and 1582 while Tasso was imprisoned in the asylum of St Anna, and without his cooperation. Further editions of these two volumes were printed by Vittorio Baldini in Ferrara (1582), and the publisher Giulio Vasalini also had them reprinted in 1583, before adding his own selection of verses and prose for the Parte terza published in Venice in 1583 (a copy of which exists with Tasso's autograph corrections). The present copy is Vasalini's reprint of the following year. Raleigh's copy of the Parte prima (Ferrara, ad instanza di Giulio Vassallini, appresso Vittorio Baldini, 1583) is at the Beinecke Library, Yale (1975 380). Like the present copy, it is inscribed with Raleigh's signature and motto (although the signature has been struck through) and, like this copy, it bears the ownership signature 'L. Berard' (it also has the bookplate of Charles Bruce, Earl of Elgin, 1712). The Parte seconda (Ferrara, G. Vassallini per Vittorio Baldini, 1583), similarly inscribed by Raleigh, was sold at Phillips on 13 November 1997 (lot 351, current whereabouts unknown). This also had an inscription in an Italian nineteenth century hand, but did not bear Berard's signature.Raleigh's library is known to have consisted of several hundred books, and he listed over 500 of these in the notebook held in the British Library which he kept while imprisoned in the Tower. The notebook, which was the basis for an article by Walter Oakeshott published in December 1968 ('Sir Walter Ralegh's Library', The Library, 5th Series, vol. 23, no. 4), does not mention any volumes of Tasso and indeed Oakeshott remarks on the absence of poetry. The few volumes of books and manuscripts known to have survived from the library are described on CELM, the online adaptation and extension of Peter Beale's Index of English Literary Manuscripts 1450-1700, where the copies of the Parte prima and Parte seconda now take their place (as RaW 1037 and 1037.5) among the seven printed books.'Ralegh's copy of Tasso provides an evocative link between the doomed golden figure of Elizabeth's court - himself a poet of haunting originality and power - and probably the greatest poet of the later Italian Renaissance. The lives of both poets were marked by the most extrordinary swings of fortune. Both spent long years in prison after dazzling careers at court, both having been befriended by patronesses, Ralegh by the Queen, Tasso by the Duchesses Lucrezia and Leonora; and both afterwards enjoyed contemporary fame as poets while languishing in gaol. In fact this particular volume was published while Tasso was imprisoned by the Duke of Mantua in the hospital of St Anna; and it might well have been among the books Ralegh had with him when he in his turn was imprisoned by James I in the tower... Ralegh's ties with the culture of the Italian Renaissance are further exemplified by the volume's ownership inscription with its carefully-formed Italic script, a script which of course derives from Italian Humanist hands and which at the time had still not supplanted the native Secretary script in Britain: elsewhere Ralegh usually employed a mixed, predominantly Italic, hand; although like many of his contemporaries he could write fluent Secretary when occasion served' (Felix Pryor, Phillips sale catalogue, 1997).Provenance: Walter Raleigh, signature and motto on title-page; inscription on front free endpaper in an Italian nineteenth century hand attributing the volume to Raleigh; L. Berard, signature on title-page; Frederick William Cosens (1819-1889), noted book collector and wine merchant (whose extensive library included Raleigh manuscripts listed on CELM), armorial bookplate; his sale Sothebys, 22 November 1890; Paulin Martin, Abingdon (doctor and antiquary), bookplate; acquired by the present owner's grandfather.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

POSTCARDS, topographical, Edwardian to modern, inc. London and suburbs (65), Trafalgar Square, Regent Street, The Strand, Knightsbridge, Oxford Street, Tower Bridge, St James Palace, Parliament Square, Tower, Westminster Abbey, Royal Exchange, Rotten Row, Albert Hall, Lambeth Palace, British Museum, Buckingham Palace, Lambeth Town Hall, Horniman's Museum Forest Hill, Town Hall Southall etc., pu (15)modern Leicestershire, inc. Coalville, Whitwick, Thringstone, Charnwood; street scenes, churches, industry, mining, shops, railway, pubs etc., modern Leicestershire, inc. Coalville, Whitwick, Thringstone, Charnwood; street scenes, churches, industry, mining, shops, railway, pubs etc., G to EX, 135*

* Trade advertising. Printed advert on silk for Watt's Patent Shot Bristol, Plumbing in all it's Various Branches, Common Shot, of all sorts, Pig-Lead &c., [Bristol], circa 1790, advertisement on dark cream coloured silk printed to one side, engraved by John Doddrell, advert illustrated with image of figures shooting game and royal armorial above, some light wear to edges, & few marks mostly to corners, image plate mark dimensions 15.6 x 11.3 cm, silk sheet size 16.7 x 12 cm, together with: Broadside invitation , St. Mary Islington, Sir you are desir'd to meet many others, natives of this place on Tuesday, ye 11th day of April 1738 at Mrs Eliz. Grimsead's ye Angel & Crown, in ye upper Street, about ye hour of one: Then & there with full dishes, good wines & good humour, to improve, & make lasting that harmony, and friendship which have long reign'd among us. Stewards Walter Sebbon, John Booth, Bourchier Durell, James Sebbon. N.B. The dinner will be on the table peremptorily at two. Pray pay the bearer five shillings, [London], 1738, illustrated single sheet invitation engraved by Toms printed to one side, within decorative border, some toning, torn to upper & left margin with infill repairs, lined with tissue to verso, image 26 x 18 cm, sheet size 29.5 x 20.7 cm, Stationers trade advert , Montagu Lawrence Stationer, at the Globe near Durham Yard in the Strand London, circa 1770, single sheet engraved advert, printed to one side, 14.5 x 11.5 cm (Qty: 3)NOTESFirst item: Rare provincial advert printed on silk. The engraving by the Bristol engraver John Doddrell of Temple, Bristol (d.1810). In 1775, William Watts, a plumber, started converting his house, near St Mary Redcliffe Church, into the world's first shot tower, in order to make lead shot by his innovative tower process. He did this by adding a tower to his house, and by excavating a shaft into the ground below, achieving a total drop of around 90 feet (27 m). By 1782, the tower was complete and in production, and Watts' process was granted a patent, which involved pouring molten lead through a perforated zinc pan into water below. William Watts was declared bankrupt in 1794, but his tower survived various changes of ownership until it was taken over by the Sheldon Bush and Patent Shot Company Limited in 1868. The tower remained a well-known feature of Redcliffe until 1968, when it was demolished to make way for road improvements.

* England and Wales. Ogilby (John), A New Map of the Kingdom of England & Dominion of Wales. Whereon are Projected All ye Principal Roads Actually Measured & Delineated by John Ogilby Esq, [1676], hand coloured map, engraved by James Moxon, ornate strapwork cartouche and mileage scale, inset table or 'Catalog' of roads to the upper right, 380 x 500 mm, mounted, framed and glazed (Qty: 1)NOTESR. W. Shirley. Printed Maps of the British Isles 1650 - 1750. Ogilby 1 state 2 lacking the spire and tower symbols used to denote towns and represented by simple circles but now with ships decorating the sea. Published as the key map to John Ogilby's 'Britannia'.

James Tower (1919-1988), a tall stylised cat Incised and dated Tower 1952 to base with other faint inscriptions above A large tin glazed earthenware model of a stylised cat decorated with typical abstract resist motifs all over in shades of dark grey/blue36cm high (ARR) Note: James Tower almost entirely used vases and plates for his experimental techniques of decoration but three of his contemporaries; Margi Hine, William Newland and Nicholas Vergette (the so called 'Picasettes') all used more figurative forms for their ceramics so it is possible that Tower had been inspired by their work in this instanceLiterature: A similar cat can be seen in a photograph with the artist at the Bath Academy of Art, Corsham Court, 1952, which is reproduced in Timothy Wilcox's 'The Ceramic Art of James Tower', Lund Humphries, 2012, pg. 27Provenance: Bonhams, 20th June 2013, Lot 188Please refer to department for condition report

Howard Koslow (American, 1924 - 2016) "North Carolina's Cape Lookout Lighthouse" Signed lower right. Acrylic on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S. 37? Cape Lookout Lighthouse stamp issued June 13, 2003. War and the forces of mother nature have often worked against the Cape Lookout Lighthouse, however it has endured, and is still used today. In 1804 Congress authorized the lighthouse, but it wasn't actually built until 1812, even though it was desperately needed to aid ships navigating the treacherous Lookout Shoals. Often sailors complained that the original tower was too short and not bright enough, making it difficult and dangerous to find. Passage into Lookout Bight Harbor wasn't enhanced until 1859, when a new lighthouse was approved, completed and lit. Erosion washed away 1,000 feet of land between the lighthouse and Core Sound from 1940 to 1970, and today the wind and sea continue to bring the water closer to the tower. The existing Cape Lookout Lighthouse became automated and unmanned in 1950. And with today's advanced navigation systems, ships no longer rely on the security of a single light, blinking at intervals. Image Size: 14 x 12 in. Overall Size: 20 x 18 in. Unframed. (B17062)

Dennis Lyall (American, B. 1946) "American Shoals Lighthouse" Signed lower right. Oil on Canvas. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This artwork originally appeared on the Fleetwood First Day of Issue Maximum Card for the U.S. 25? American Shoals stamp issued April 26, 1990. The American Shoals Lighthouse stands in solitude with its feet in the sea, and is visible from the Overseas Highway at Saddlebunch Keys. Oblivious to the onslaught of waves even after the passage of over one hundred years, the lighthouse blinks its staccato warning of dangerous reefs to give mariners their bearings in a seascape that can appear as foreign as the surface of a planet from another galaxy when blanketed in darkness. As early as 1851, plans were in the works for a series of great offshore lighthouses like American Shoals to mark the reefs which lurk perilously silent in Florida's waters. These towers, all of skeleton iron construction to help them withstand the hurricane's fury, were built one at a time over a period of almost thirty years. American Shoals, the last of the series, was completed in 1880. The ironwork for this tower was fabricated in the north and, along with other necessities, shipped to Key West, the base of the operation. The site of the lighthouse itself was fifteen miles to the east of the key in four feet of water on Florida's outermost reefs. It was first lighted on the night of July 15, 1880, and the American Shoals Lighthouse has since helped to significantly reduce the number of shipwrecks along this treacherous coastline. Today, this tower is just the sort of vintage lighthouse that The Lighthouse Preservation Society seeks to save for the future. Image Size: 12.5 x 17.5 in. Overall Size: 14 x 19.5 in. Unframed. (B12269)

Howard Koslow (American, 1924 - 2016) "St. Augustine Florida Lighthouse" Signed lower left. Acrylic on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Fleetwood First Day Cover for the U.S. 37? Virginia Old Cape Henry Lighthouse stamp issue of June 13, 2003. Lighthouses are sentries to men and women returning home from sea, and the Old Cape Henry Lighthouse was no different. A welcoming beacon to ships for nearly 90 years, the lighthouse stands on the grounds of Fort Story, a U.S. Army base in Virginia Beach, Virginia. Old Cape Henry was the first lighthouse to be authorized by the first United States Congress. John McComb Jr. was the designer who plotted a 90-foot-tall octagonal tower made of brick that became the Old Cape Henry Lighthouse, and in October 1792, its lantern was lit for the first time. This historic lighthouse guided commerce and trade along the Virginia and Maryland coasts for nearly a century, but had to be replaced in 1881. The New Cape Henry Lighthouse stands some 350 feet southeast of the original, which remains the third oldest lighthouse in the United States. Image Size: 14 x 12 in. Overall Size: 20 x 18 in. Unframed. (B17093)

JAMES BASIRE AFTER EDWARD DAYES 'Magdalen Tower and Bridge', engraving, 31 x 44cm; and one further - 'Front View of Christchurch' (2)

2nd century BC-2nd century AD. An iconic Pagan sculpture securely dated to the Irish Celtic Period of 200 BC-200 AD, this large and imposing carved sandstone head was modelled from a substantial hemispherical boulder; the elegantly simplistic facial features comprise convex lentoid eyes flanking a rectangular flat nose, above a horizontal slit mouth with a suggestion of cheeks; the current owner, James Moore, has written about the various scholars that viewed it prior to his acquisition at auction: 'the head was viewed prior to the auction by many people experienced in these matters. They included Dr Patrick Wallace, director of the National Museum of Ireland and his staff; Dr Richard Warner former director of the Ulster Museum; eminent archaeologist and author Dr Peter Harrison; Professor Etienne Rynne, author of Celtic Stone Idols in Ireland in the Iron Age in the Irish Sea Province (available on the web"). All of the above gave favourable opinions, concurring with Dr Lacy's view. I have in my possession an exhibition catalogue of Celtic stone sculpture with an introduction by Martin Retch held by Karsten Schubert & Rupert Wace Ancient Art Ltd. in London 1989. There were eleven stone heads in this exhibition but in my opinion none of them had the qualities / provenance of the Ballyarton Head'; provided with a custom-made iron hoop stand for display. See Ross, A. Pagan Celtic Britain, London, 1967 for overview of the iconography of pre-Christian Britain and Ireland; Rynne. E. Figures from the Past, Studies on Figurative Art in Christian Ireland in Honour of Helen M. Roe, Dublin, 1987. 63 kg, 46 x 36cm including stand (18 x 14"). From the private collection of James Moore; acquired from Whyte’s Auctions 23 April 2010, lot 1 (front cover piece); formerly the property of Mr Pinkerton, Castlerock, County Derry; found by his father in the 1930s while repairing a stone wall in the Ballyarton Area of Claudy in the Sperrin Mountains, County Derry, Northern Ireland; accompanied by: a hand-written letter of the owner discussing the piece and its history; a copy of the relevant Whyte’s Auction catalogue pages with report by Kenneth Wiggins (MIAI, BA and an MPhil in archaeology), archaeologist and author; an original copy of an article on the item in the Irish Times newspaper (dated 1 May 2010); an original photograph of the head by Pinkerton when sited in his garden in 1976, inscribed as such to the reverse; original hand written correspondence with Dr Brian Lacy, Director of the Discovery Program and of The New University of Ulster, dating it to the period 200BC to 200AD (dated 29 July 1976), original signed correspondence with Craig McGuicken of the Heritage & Museum Service for Derry City Council requesting a loan of the object for display at the Tower Museum (affiliated to the Ulster Museum of N. Ireland); and with an orginal letter from Matt Seaver of the Irish Antiquities Division, National Museum of Ireland, dated 8 November 2019, showing interest in acquiring the head but suggesting that it be offered to the Ulster Museum first who were under-bidders in 2010. The subject of the iconography of pre-Christian stone heads is explored in Ross (1967, p.115ff) alongside the difficulty of establishing accurate dating for this artefact type. Stylistically, the Irish group of stone heads demonstrate a simplicity and economy of line which suggest an origin in the Iron Age (Rynne, 1987"). Professor Rynne is one of the 'many people experienced in these matters' who had the opportunity to view the head before the Whyte's auction in 2010, alongside Dr. Patrick Wallace (director, National Museum of Ireland), Dr. Richard Warner (former director of the Ulster Museum) and Dr. Peter Harbison, the eminent archaeologist. The opinion of this group agreed with that of a previous researcher, Dr. Brian Lacy, who wrote to the then owner of the piece in 1976 that '[t]hese heads normally occur in craft schools and on the basis of this example [and another from Alla townland nearby] it may be possible to identify a 'school' in the Claudy area.' It was Lacy who suggested a date range '200 BC to 200 AD' for the head. Professor Ian Armit has written several books and papers on the significance of the 'severed head' motif in Celtic (Iron Age) culture. In Death, decapitation and display? The Bronze and Iron Age human remains from the Sculptor's Cave, Covesea, north-east Scotland, Cambridge, 2011; and later in Headhunting and the Body in Iron Age Europe, Cambridge, 2012, he demonstrates that the human head carried symbolic associations with power, fertility, gender, and other social factors in the context of the Iron Age in Europe. The range of evidence for beheading and the subsequent curation and display of severed heads includes classical literary references, vernacular iconography and the physical, skeletal remains of the victims of this custom. The idea has arisen of a head-cult extending across most of Continental Europe and the islands of the North Atlantic including the British Isles. This notion is in turn used to support the idea of a unified and monolithic 'Celtic culture' in prehistory. However, head-veneration was seemingly practised across a range of Bronze Age and Iron Age societies and is not necessarily linked directly to the practice of head-hunting (i.e. curation of physical human remains"). The relations between the wielders of political power, religious authority and physical violence were more nuanced than a simple reading of the literary and physical evidence would suggest. The stone heads of Ireland are an enduring expression of this strong association between the human body and the numinous powers of the intellect. Fine condition. An important Irish antiquity, of a type very rarely in private ownership.

JAMES KINNEAR Cattle before a Liberton Tower, Edinburgh and farm steading, signed, watercolour, dated, 1902, 23 x 33cm Condition Report: Available upon request

James Lawrence Isherwood F.R.S.A., F.I.A.L. (1917-1989), "Tower Bridge Nocturne", signed, titled and dated '70 on verso, oil on board, 24.5 x 34.5cm, 9.75 x 13.5in. Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The painting is in very good, original condition with no obvious faults to report. The painting is framed but not glazed.

James Longueville PS (British Northern School 20th-21st Century), Tower on the Herault , Langnedoc, oil on board, signed, framed PLEASE NOTE VAT AT 20% IS PAYABLE ON THE HAMMER PRICE ON EACH LOT IN THIS AUCTION

James Lawrence Isherwood (1917-1989), The Thames near Tower Bridge, oil on board, signed and indistinctly dated, 39.5cm x 50cm. ARR

A Late 18th Century Officer's 15 Bore Flintlock Pistol by Theophilus Richards, London, the 23cm round steel barrel signed on the top flat and with Tower proof marks centred by TR, the signed lock plate with slide safety, walnut full stock with steel ramrod pipes, trigger guard with pineapple finial, with flat sided bag butt and horn mounted ebony ramrod with steel worm screw, 36cm; a Copper Powder Flask, of plain form, with external spring, brass charger stamped James Dixon & Son (2). Action works, holds at full and half cock. Grey patching and pitting to metalwork. Bruising to stock with two small cracks to the side of the fore-end near the muzzle. Smalll dents to flask.

Powell (Thomas). The Attourneys Academy: or, the Manner and Forme of proceeding practically, upon any Suite, Plaint or Action whatsoever, in any Court of Record whatsoever, within the Kingdome, 1st edition, London: for Benjamin Fisher, 1623, bound with: Direction for Search of Records remaining in the Chancerie, Tower, Exchequer, with the Limnes thereof, 1st edition, London: by B. A. for Paul Man, 1622, and: The Attornies Almanacke. Provided and Desired for the Generall Ease and Daily Use of all such as shall have Occasion to remove any Person, Cause or Record, from an Inferiour Court ot any the Higher Courts at Westminster, 1st edition, London: by B. A. and T. F. for Ben. Fisher, 1627, 3 works in 1 volume, The Attourneys Academy without quire pi (half-sheet with 'Epistle Dedicatory' to Sir James Ley and Sir Henry Hobart), contemporary inscription (recording price) to title-page, Direction retaining initial and terminal blanks (par. 1 and L4), The Attornies Almanacke retaining initial leaf A1 (blank except for signature-mark 'A'), contemporary blind-ruled calf, small chip to head of spine, worm-tracks to top spine compartment, 4to (18.4 x 13.6 cm) (Qty: 1)NOTESProvenance: Private Collection, Shropshire. ESTC S124370, S115034, S115029; STC 20163.5, 20166, 20165; Sweet & Maxwell I p. 275.119-120 ( The Attourneys Academy & The Attornies Almanacke ). 'Powell was appointed solicitor-general in the Welsh marches on 13 November 1613, a position he held until 5 August 1622. He appears to have been searching assiduously through the legal records in the chancery , the Tower of London, and the exchequer in this period—research which was to form the basis of his most important works' (ODNB); of these The Attourneys Academy is especially noteworthy as the first printed treatise on common-law proceedure.

Bottle of Gordons gin St James white rum 43 liqueur and a Black Tower

PUYPE (J.P)The Visser Collection Vol. 1 parts 1-3; ROTH (R): Vol. 2, Ordnance; YABLONSKAYA (A): Dutch Guns In Russia; VISSER (H.L.) & BAILEY (D.W.) eds.: Aspect Of Dutch Gunmaking, all uniformly bound in blue cloth with dustwrappers, Zwolle, 1996-97 - BOS (JOHAN) & SCHMIT (LEO): Restoration Project 'Dutch guns in Russia', 1998 - The H.L. Visser Collection of Ivory Stocked Pistols, Tower of London, 1988 - KIST (J.B.) et al: Dutch Muskets and Pistols, d.w., 1974 - HOFF (ARNE), Feur-Waffen, Vols. I and II, d.w., 1967; ?ldre Dansk Bøssemageri Isaer I 1600-Tallet, 1951 - GRANCSAY (STEPHEN V.): Master French Gunsmith's Designs of the XVII-XIX Centuries, no. 517 of 1000 copies, cloth binding, 1970; Master French Gunsmiths' Designs Of The Mid-Seventeenth Century, 1950 - ESSENWEIN (A.): Quellen Zur Geschichte Der Feuerwaffen, 2 vols. (text and plates), d.w., text in slip-case, 1969 - SCHEDELMAN (HANS): Die Grossen Büchsenmacher, d.w., 1972 - SCHALKHAUBER (ERWIN): Handfeuerwaffen, d.w, in slip-case, 1988 - LEWERKEN (HEINZ-WERNER): Kombinations Waffen..., d.w., 1989 - DREJHOLT (NILS): Firearms of the Royal Armouries I from Gustav II Adolf to Charles XIII, d.w., 1996 - WENNBERG (KAA): European Firearms in Swedish Castles, signed by the author, 1986 - LAVIN (JAMES D.): A History Of Spanish Firearms, d.w, 1695 - SCHAAL (DIETER): Suhler Feuerwaffen, 1981 - PYHRR (STUART W.): Firearms From The Collections Of The Prince Of Liechtenstein, The Metropolitan Museum Of Art Exhibition Catalogue, 26 October 1985 - 1 May 1986, 1985 - BROOKER (ROBERT): Landeszeughaus Graz, Austria, signed by the author, d.w., 2007 - EHRENTHAL (MAX Von): Die Waffensammlung des Fursten Salm-Reifferscheidt zu Schloss Dyck, 1906 - TARASSUK (LEONID): Russian Pistols In The Seventeenth Century, 1968; Antique European And American Firearms At The Hermitage Museum, d.w., 1971 - MAURODIN (VALENTIN): Fine Arms From Tula, d.w. (damaged), in slipcase, 1977 - MILLER (YURI): Russian Arms And Armour, d.w., 1982; Masterpieces of Russian Hunting Arms from The State Hermitage Museum, St. Petersburg, 1996 - TUMANOVSKY (V.) ed.: The Moscow Kremlin, The Imperial Ryst-Kamera, d.w, 2004 - MOLLO (EUGENE): Russian Military Swords 1801-1917, 1969 - and fifteen publications relating to European antique firearms (47)This lot is subject to the following lot symbols: •

FFOULKES (CHARLES J.)Inventory and Survey of the Armouries of the Tower of London, 2 vols., coloured frontispiece, plates and text illustrations, blue cloth (vol. II cover worn), t.e.g., 4to, 1916; The Armourer And His Craft, plates, original red cloth gilt, bookplate of R.T. Gwynn,, t.e.g., folio, 1912; Arms & Armament..., 1945; European Arms And Armour In The University of Oxford (2 copies), plates, original blue cloth gilt, one with bookplate of R.T. Glynn, the other with four photographs of antique armour and swords tipped-in at the back, t.e.g, 1912 - BLAIR (CLAUDE): European Armour, d.w., 1979 reprint; The Silvered Armour of Henry VIII In The Tower Of London, 1965 - MANN (SIR JAMES): The Wallace Collection Catalogues, European Arms And Armour, vol. I Armour, and vol. II Arms, 2 vols., photographic plates, faux green leather, 8vo, signed by the author to Eric Valentine, 1962; another set, 3 vols. including supplement, in original paper covers, 1962-86; together with past catalogues of the collection for the years 1924 and 1945 bound in 3 vols. - DUFTY (ARTHUR RICHARD): European Armour In The Tower Of London, d.w., 1968 - NORMAN (A.V.B.) & WILSON (G.M.): Treasures from the Tower of London, exhibition catalogue, 8 June 1982 - 19 June 1983 - ORTIZ (ANTONIO DOMINGUEZ) et al: Resplendence Of The Spanish Monarchy, exhibition catalogue, d.w., The Metropolitan Museum of Art, 11 October 1991 - 5 January 1992 - PHYRR (STUART W.) & GODOY (JOSÉ -A.): Heroic Armor Of The Italian Renaissance Filippo Negroli And His Contemporaries, exhibition catalogue, d.w., The Metropolitan Museum of Art, 8 October 1998 - 17 January 1999 - PYHRR (STUART W.): European Helmets, 1450-1650, 2000; The Art of Chivalry..., exhibition catalogue, The Metropolitan Museum of Art, 1982 - BERTOLOTTO (CLAUDIO) et al: L'Armeria Reale Di Torino, d.w.., 1982 - BOCCIA (LIONELLO G.) & COELHO (EDUARDO T.): Armi Bianche Italiane, d.w., in slip-case, 1975 - CARPEGNA (NOLFO DI): Antiche Armi Dal Sec. IX AL XVIII, exhibition catalogue, Rome, May-July 1969 - BLAIR (CLAUDE): The James A. De Rothschild Collection At Waddesdon Manor, Arms, Armour And Base-Metalwork, d.w., in slip-case, 1974 - Die Innsbrucker Plaltnerkunst, 1954 - Landshuter Plaltnerkunst, 1975 - THOMAS (BRUNO) et al: Die Shön Waffen und Rüstungen..., d.w., in slip-case. 1963 - NICKEL (HELMUT): Arms and Armour through the Ages, d.w., 1969 - GRANCSAY (STEPHEN V.): Catalogue of Armor, The John Woodman Higgins Armory, 1961 - ASHDOWN (CHARLES HENRY): British & Foreign Arms and Armour, 1909 - STONE (GEORGE CAMERON): A Glossary Of The Construction, Decoration and Use of Arms and Armor... (2 copies), original cloth-covered boards, 1934 - BOCCIA (LIONELLO GIORGIO): Il Museo Stibbert A Firenze, l'armenia europea, 2 vols., slip-case, Milan, 1975 - TIRRI (ANTHONY C.): Islamic Weapons Maghrib To Moghul, d.w., 2003 - and approximately fifty related publications including guidebooks and off-prints (a lot )This lot is subject to the following lot symbols: •

Post-Medieval, a silver hammered halfgroat of James I (1603-1625) dating c. 1610-1611. Second coinage, initial mark: bell. Tower mint. Obverse: I.D.G ROSA SINE SPINA, crowned Rose. Reverse: TVEATVR VNITA DEVS, crowned Thistle. Some areas of weakness, about Good Fine. Diameter: 17mm. Weight:    N2127. Provenance: from the collection of a metal detectorist.

A collection of hardback books, to include several volumes of The Gentleman's Magazine Library English Topography, We Didn't Need To Go To Sea by Arthur Ransome, and The Ivory Tower by Henry James

Edged Weapons Manuscript Catalogue. An archive of 51 spring-backed loose leaf volumes of original historical research and descriptions of swords, daggers, shafted weapons, etc., from 1600 to World War Two, compiled by A[rthur] N[oel] Ingram of Ewell, Epsom, Surrey, circa 1950, each volume containing between 100 and 200 leaves of typed (and some manuscript) notes and detailed and annotated pencil drawings of sword hilts, etc., numerous additional notes and occasional corrections, unpaginated but arranged systematically to include books or sections on English militia, infantry officers, heavy cavalry officer and non cavalry, bayonets, India, departmental, army pay corps, troopers, battleaxe, pike, etc., occasional printed material tipped in or inserted, leaf versos blank, ownership name of A.N. Ingram to front pastedowns of many volumes, contemporary cloth of varied colours, slightly rubbed and soiled, 8vo (Qty: 51)NOTESA monumental, unpublished work by the seemingly unknown Arthur Noel Ingram (1889-1960). Ingram served in the 4th Battalion, East Lancashire Regiment during World War One, being appointed Second Lieutenant on 14 October 1914. He was appointed Lieutenant with the Royal Regiment of Artillery on 18 December 1940 and Captain on 4 February 1941. In an initialled preface dated at Ewell, 1951, Ingram describes the scope of work: 'The object of this series of books, the first complete one of its kind, is to place on record an authentic and comprehensive catalogue of the swords used by our fighting men from the year 1600 AD to the present day... the author has been engaged in research for the last twenty-five years, and no illustration or detail appears which has not been taken from the actual weapon, and where the specimen is known to exist, that has not yet been examined, a space is left vacant, as it is hoped that some at any rate will eventually come to light and enable an illustration to be made and details ascertained for publication in supplement form subsequently. Further volumes will deal with - Household, Heavy, and Light Cavalry, Artillery, Infantry, Light Troops and Light Officers, Departmental, Bayonets, Band Swords and Swords of the East India Company'. Ingram acknowledges the friends who have assisted with the project, 'Particularly to Sir James Man, who made research at the Tower of London a real pleasure, the Library of the Royal United Services Institution, G.W. Latham Esq., of Wilkinson Sword Company, and to my very great friends Captain Newgent Bosanquet, CVO, RN and S. Dudley Ward whose invaluable help has made this work possible'. In a loose typed three-page preface Ingram notes: 'This work is altogether not intended as a comprehensive treatise, but primarily as a help to those collectors who may have acquired a piece which they prize as an exquisite work of art, but have no knowledge of the date of its manufacture, or the country of its origin, also whether it is in its complete form or whether a piece of the hilt is missing or - a question that occurs frequently - whether the shortness in the blade is due to accident or design, or what type of scabbard belongs to it'.

Donald James White : Tower, watercolour, signed with initials, dated Dec '90, 100 cm x 70 cm, together with four similar, all parts unframed. (5)

Donald James White : Scaffolded Tower, charcoal, 80 cm x 49 cm, framed.

Donald James White : Tower Study in Black and White, oil on canvas, 168 cm 122 cm, on stretcher but unframed.

Donald James White : Tower Study in Black and White, oil on board, 123 cm x 91 cm, unframed.

Donald James White : Polish Tower, monoprint, 46 cm x 66 cm, framed.

WILL EVANS oil on canvas laid to board (behind glass) - 'Belle Vue Street 1941' a fine quality and historically important view of a Swansea street with figures and trees capturing the essence of pre-war Swansea just before the destruction of large parts of the city by German bombs in February 1941, entitled verso on Glynn Vivian Art Gallery label for The Will Evans Memorial Exhibition, signed, 37 x 53cms Provenance: Mr. A Frederick James and by descent. The Late Mr. James lent the painting to the Will Evans Memorial Exhibition in 1958. Facsimile of exhibition catalogue available with annotations regarding the ownership Auctioneer's Note: the composition shows a vibrant and well-heeled street looking up to Trinity Place (also later demolished by the bombs). The Blitz took place in February 1941, the same year that the painting is dated and appears to depict a spring or summer's day. It is suggested that the painting was finished in 1941 but was started earlier - perhaps in 1940. The bombs obliterated this part of Swansea and one account of a resident at Trinity Place recalled that he had resided in a cellar on the street during the bombing and when they came out of the cellar, the bell from Trinity Church was lying at the bottom of the bell-tower while Trinity Church was in ruins. The same witness described lead from a typesetting room of a company of printers further down Belle Vue street, melting from the fires and flowing down the stairway, adding to the devastation. .

LE CARRE JOHN: (1931-     ) British Author of espionage novels, a former officer with the Secret Intelligence Service. A.L.S., David, two pages, 4to, ‘as from’ Penzance, Cornwall, 28th August 2008, to Willard J. Morse. Le Carre announces ‘No idea who James Wood is’ and continues to offer the correct spelling of his pen name, ‘It reads thus: John/le/Carré, three words, lower case l, & who gives a damn?’, further writing ‘McCain is nobody, which makes him eligible. I love ‘Memorial Day’…….Read ‘The Dark Side’ – Janet Mayer – ‘The Torture Team’ – Philippe Sands – ‘The Looming Tower’ – forget who by, & felt bemused. Wrote a book called ‘A Most Wanted Man’, coming out in US in October. I don’t expect anyone but you will get it. We’ll see’. Accompanied by the original envelope hand addressed by Le Carre. Together with a photocopy of Morse’s original handwritten letter to Le Carre, four pages, 4to, Pembroke, Maine, 22nd August 2008, stating, in part, ‘I guess James Wood knows “How Fiction Works” but does it make any difference? “Why Nellie Gives Charlie a Hardon” – more than you need to know! John Le Carre (is it upper or lower case ‘L’ – I’ve seen it both ways?) knows about critics and shows them – them as can, do; them as can’t, teach. “Why Critics Matter” would be a great navel-gazer of a book for them, wouldn’t it?......John McCain fancies himself a warrior patriot for having been a POW forty years ago. Trouble is a lot of Americans agree….’ and also referring to Memorial Day by Steve Kowit, commenting ‘It hit me. Thoughts I’d been stewing on for years nicely expressed’. VG, 2 James Wood (1965-     ) English Literary Critic, Essayist & Novelist who was the chief literary critic at The Guardian from 1992-95 and senior editor of The New Republic 1995-2007.  The present letters were written at the time of senator John McCain’s presidential campaign, having been formally nominated by the Republican party on 4th September 2008.