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Click here to subscribeCaptain W. Johns Biggles 1st Edition, both in dust jackets, Biggles Sets a Trap publ. H & S 1962 with foxing and browning to page edges, Biggles and the Plane that Disappeared publ. H & S 1963 ( has a neat ink inscription, in clear plastic protection wrapper light foxing to page edges). Later titles are harder to find.
Three Captain Johns Biggles 1st Edition, all three in dust jackets, Biggles Special Case publ. B.P dated 1963, Biggles Take a Hand publ. H & S dated 1963, Biggles Takes It Rough publ. B.P dated 1963, dust jackets have wear to head and foot to spine with light browning to page edges. Later titles are harder to find.
Six Captain W. Johns 1st editions, all six have dust jackets, Gimlet Goes Again Uni of London Press dated 1944, Gimlet's Oriental Quest publ. Brockhampton Press dated 1948, Gimlet Maps Up publ. B.P dated 1947, Worrals of the Islands publ. H & S dated 1945, Worrals Goes East publ. H & S dated 1944, Worrals Investigates publ. Lutterworth Press dated 1950, all with light wear to head and foot of spine on dust jackets, some may have an inscription, light foxing and browning to page edges.
A wood netsuke of a wasp in a loofah gourdBy Kogetsu, early 19th centuryThe wasp gnawing a large hole into the gourd, the smooth gourd pierced with decayed holes, the vine trailing down, the wood well patinated, the wasp's eyes inlaid, signed Kogetsu; with a wood storage box inscribed Kogetsu saku Kibori hechima ni hachi sashi netsuke (Wood sashi netsuke of a loofah gourd and wasp made by Kogetsu). 15.4cm (6cm). (2).Footnotes:木彫差し根付 糸瓜に蜂 銘「江月」 19世紀前期Provenance:S. Kaneko, Yokohama.A. V. K. Murray Collection.Purchased at Sotheby's, London, 13 March 1989, lot 94.Published:JINCS, December 1975, vol.3, no.3, p.17, no.9.INS, PE, no.94.For a very similar example signed Ittokusai, see J. Earle, NFR, p.228, no.192. Another similar example by Gekko is illustrated by R. Bushell, CN, p.102, no.139.For further information on this lot please visit Bonhams.com
A collection of important reference books on netsukeComprising the following: Atchley, Virginia G; Bushell, Frances; Goodall, Hollis; and Izzard, Sebastian, The Raymond and Frances Bushell Collection of Netsuke: A Legacy at the Los Angeles County Museum of Art, Chicago, Art Media Resources, 2003; Arakawa, Hirokazu, The Go Collection of Netsuke: Tokyo National Museum, Tokyo, Kodansha International, 1983 (first edition); Bandini, Rosemary, In A Nutshell: Japanese Netsuke from European Collections, London, Rosemary Bandini, 2013; Bandini, Rosemary, Shishi and Other Netsuke: The Collection of Harriet Szechenyi, London, Rosemary Bandini, 1999; Bushell, Raymond, Collectors' Netsuke, New York and Tokyo, Weatherhill, 1979 (first published 1971); Bushell, Raymond, Netsuke: Familiar and Unfamiliar, New York and Tokyo, Weatherhill, 1975 (first edition); Bushell, Raymond, The Wonderful World of Netsuke, Tokyo, Charles E. Tuttle, 1982 (first published 1964); Cohen, George, In Search of Netsuke and Inro, London, Jacey Group, 1974 (first edition); Coullery, Marie-Thérèse, Newstead, Martin S., The Baur Collection: Collections Baur – Netsuke, London and Boston, Kegan Paul, 1977 (first edition); Davey, Neil K., Netsuke: A Comprehensive Study Based on the M. T. Hindson Collection, London, Philip Wilson Publishers, 1982; Davey, Neil; and K., Tripp, Susan G., The Garrett Collection: Japanese Art – Lacquer, Inro, Netsuke, London, Dauphin Publishing Ltd, 1993; Earle, Joe, Netsuke: Fantasy and Reality in Japanese Miniature Sculpture, Boston, MFA Publications, 2001 (first edition); Hurtig, Bernard, Masterpieces of Netsuke Art: One Thousand Favourites of Leading Collectors, New York and Tokyo, Weatherhill, 1980 (first published in 1973); Jirka-Schmitz, Patrizia, Netsuke: 112 Meisterwerke – Masterpieces – The Trumpf Collection, (vols. 1 and 2), Stuttgart, Arnoldsche Art Publishers, 2000; Joly, Henri L., W. L. Behrens Collection: Part I. Netsuke, Saint Paul, Minnesota, Paragon Book Reprint Corp, 1966; Jonas, F.M., Netsuke, Tokyo, Charles E. Tuttle, 1973 (first published in 1960); Museum für Ostasiatische Kunst, Netsuke, Inro und Sagemono [Netsuke, Inro and Sagemono], Cologne, Klischees-Peukert, 1983; Sydney L. Moss, Eccentrics in Netsuke, Hong Kong, Andamans East International, 1982; Tsuchiya, Noriko, Netsuke: 100 Miniature Masterpieces from Japan, London, British Museum Press, 2014 (first edition); Ueda, Reikichi, The Netsuke Handbook, trans. Raymond Bushell, Tokyo, Charles E. Tuttle, 1981 (first published 1961); Weber, V.-F., Ko-ji Ho-ten: Dictionnaire à l'usage des amateurs et collectionneurs d'objets d'art japonais et chinois (Dictionary of Japanese and Chinese Art for Collectors), New York, Hacker Art Books, 1975 (first published 1923), complete set of 2 volumes. (22).Footnotes:根付参考書コレクション 21冊For further information on this lot please visit Bonhams.com
A collection of gallery and dealer catalogues from various locations related to netsuke and Japanese artIncluding incomplete runs of the following: Eskenazi (1978-1998), including Eighteenth to Twentieth Century Netsuke (1978), Japanese Netsuke from Private Collections (1979), Japanese Netsuke, Ojime, Inro and Lacquer-ware (1984), Japanese Netsuke, Inro and Lacquer-ware (1986). Japanese Netsuke from the Lazarnick Collection (1990), Japanese Netsuke from the Carré collection (1993), Japanese Netsuke, Ojime and Inro from the Dawson Collection (1997), Japanese Netsuke, Ojime and Inro from a Private European Collection (1998); Barry Davies Oriental Art (1990-2002), including Netsuke Classics (1990), The Netsuke Collection of W.G. Bosshard: Part I (1994), 100 Selected Pieces from the Netsuke Collection of Scott Meredith (1995), Netsuke from the Teddy Hahn Collection (1996), Netsuke Through Three Centuries (1996), The Robert S. Huthart Collection of Non-Iwami Netsuke (1998), Oriental Art (1999), Netsuke and Inro from European Collections (2002); Sydney L. Moss (1989-2006), including Japanese Netsuke: Outstanding Works Selected from American Collections (1989), Japanese Netsuke for Connoisseurs (1993), Unique Works by Individualist Japanese Artists (1998), Aesthetics and Connoisseurship in Japanese Netsuke (2000), two copies of Netsuke from the Willi G. Bosshard Collection (2008), Japanese Netsuke and Lacquer (2004), Japanese Netsuke and Ojime (2006); Sagemonoya (1975-2013), including Netsuke, Ojime and Masatoshi's Kabuki (1975), Sagemono and Netsuke Selection (1997), Netsuke and Sagemono (1998), Netsuke That Never Left Japan (2001), Ninety-Nine Netsuke and One Inro (2004), Sagemono and Netsuke (2004), The Netsuke Dancers (2005), Netsuke at the Miami Kappa Convention (2007), Netsuke and Sagemono Omnibus (2008), Sans Ivoire [Non Ivory] Netsuke and Sagemono Selection (2009), Netsuke Opus 20 (2011), Masatoshi Netsuke (2013), Netsuke and Sagemono (2013), So School Netsuke, Netsuke Selection (the first publication by Sagemonoya in the series of catalogues entitled 'Selection'); Rutherston and Bandini (2010, 2011), including Japanese Netsuke, Inro and Works of Art (2011), The Sheila M. Baker Collection of Japanese Netsuke and Inro (2011); Rosemary Bandini (2010-2016), including Japanese Netsuke, Inro and Works of Art (2010), Japanese Netsuke, Inro and Lacquerware (2013), Japanese Netsuke from the collection of Teddy Hahn (2014), Japanese Netsuke, Ojime, Kiseruzutsu and Inro (2015), Japanese Netsuke and Kiseruzutsu (2016); several duplicates of the above catalogues listed are included. (46).Footnotes:ギャラリー・ディーラー日本美術・根付カタログコレクション 46冊For further information on this lot please visit Bonhams.com
A wood netsuke of FukurokujuBy Tsuji, late 18th centuryFukurokuju in mid-stride, his face with an amused expression, holding his fan to his left side; signed with a small incised character Tsuji. 5.9cm (2 5/16in) high.Footnotes:木彫根付 福禄寿 銘「辻」 18世紀後期Provenance:S. Bing Collection.H. Seymour Trower Collection.F. Meinertzhagen Collection, no.47.Purchased at Klefisch, Cologne, 26 January 2008, lot 148.Published:Joly, LIJA, p.155.Joly, HST, pl.VIII, no.222.Meinertzhagen, MCI, pp.960-961.Two similar examples from the M. T. Hindson collection are illustrated by N. Davey, MTH, p.16, nos.2 and 3; another example is illustrated by A. Ducros, NS, p.69.For further information on this lot please visit Bonhams.com
A wood netsuke of Gama SenninBy Toyokazu, Tanba Province, mid-19th centuryGama Sennin seated, crying out, attempting to push away the large warty toad clambering on his head and back, the wood stained dark, the eyes of both inlaid; signed Toyokazu. 5.4cm (2 1/8in) high.Footnotes:木彫根付 蝦蟇仙人 銘「豊一」 19世紀中期For similar example by the artist from the Robert S. Huthart Collection, see Barry Davies Oriental Art, RSH, p.159, no.116. For another example by Toyomasa, see ibid., p.159, no.115.For further information on this lot please visit Bonhams.com
A wood netsuke of RyujinBy Tametaka, Nagoya, 18th centuryThe Dragon King with a fierce expression, standing and holding the tama (sacred jewel) with both hands, his dragon headdress trailing down the length of his body; signed Tametaka with a kao. 7cm (2¾in) tall.Footnotes:木彫根付 竜神 銘「為隆（花押）」 18世紀Provenance:S. Bing Collection.A. Brockhaus Collection.A German private collection.Purchased at Klefisch, Cologne, 9 December 2006, lot 35.For a similar example, see H. Arakawa, GO, p.28, no.29.For further information on this lot please visit Bonhams.com
A quantity of 1950's to 1970's ladies hats, mainly purchased from Harrods to include Otto Lucas fur and feather hats, an R.B.Hat Company silk felt ladies bowler hat with black netting, a Swiss Creation de Paris grey formal hat with fuchsia pink band and hat pin and mixed Harrods hats together with two Harrods cardboard hat boxes
A Victorian silver muffin style dish by S Smith & Son, London 1876, the retractable lid engraved with floral swags, a wreath and M S initials, enclosing a silver plated liner, over swags, on rams masks and hoof feet, 15.5 cm dia, 826g combinedCondition report: One foot broken off, one of the chains is broken off, there are surface scratches including one large vertical mark along the lid due to wear from rubbing when opening and closing, the system of sliding it open and closed is rather fiddly, maybe due to warping of the silver, no breaks
A William & Mary oak side table, circa 1690, the rectangular top above a frieze drawer and S-shaped supports united by an X-frame stretcher, and on pommel feet, 70cm high, 85cm wide, 61cm deepCondition Report: Marks, knocks, scratches, abrasions consistent with age and use,The top with marks and staining, the handle to the drawer is a replacement - this probably originally had a central drop handle Signs of old woodworm, also old rot and losses around the feet, one rear leg with a particularly 'chewed' appearance Some old chips and lossesCondition Report Disclaimer
A fine Victorian parcel-gilt satinwood centre table, attributed to Holland & Sons, circa 1860, with figured circular tilt-top on a baluster stem and tripod base carved with foliage, 74cm high, 142cm diameter Provenance: The Dukes of Leeds, Hornby Castle, YorkshirePossibly acquired by Sir George Godolphin Osborne, 8th Duke of Leeds (1802-72), for the principal family seat, Hornby Castle, North YorkshireThis table can be ascribed to Holland & Sons, one of the largest and most prestigious cabinet-making firms in the 19th century, based on a number of stylistic attributes; the superb choice of timbers, the figuring of the satinwood tilt-top, the fine foliate giltwood carving and the distinctive giltwood borders. Holland & Sons were known for their diversity of style - in the mid-1860s, supplying furniture in the fashionable 'Louis XVI-style', such as the table offered here, but also making 'Elizabethan' furniture, neo-Gothic and furniture inspired by Robert Adam, Sheraton and Chippendale (S. Jervis, 'Holland & Sons, and the furnishing of the Athenaeum', Furniture History, 1970, p. 46). First established in 1815 as Taprell & Holland at 25 Great Pulteney Street, London, the firm was renamed Holland & Sons in 1843 when William Holland, a founding member, and probably related to George IV's architect-designer, Henry Holland, took over the firm. In the 1850s, William was replaced by his son, James Holland, and the firm moved to 19 Marylebone Street and Ranelagh Works, Lower Belgrave Street, and from 1852, 23 Mount Street. They exhibited at all the major international exhibitions, including London 1851, Paris 1855, London 1862 and Paris 1867; for example, at the 1862 London International Exhibition, they exhibited a fine marquetry and gilt-bronze centre table veneered with tulipwood, kingwood, New Zealand spicewood, boxwood and purple heart to a design by a 'Mr. Rosenberg' that included engravings by Old Masters, all centred by a spider's web in silver and ivory (J. Meyer, Great Exhibitions: London, Paris, New York, Philadelphia 1851-1900, Woodbridge, 2006, p. 122). The firm worked on the interiors of several of the London gentlemen's clubs, the Army & Navy, the Athenaeum, the Carlton and the Reform. They undertook Royal commissions at Buckingham Palace, Osborne House and Windsor Castle, and were a major contractor for H.M. Works until circa 1852, including the Palace of Westminster. Other significant contracts were for the Great Western Railway and the Royal Academy of Arts. The firm employed many well-known, independent designers, Sir Charles Barry, Gottfried Semper and J.K. Collins. The Holland & Sons ledgers comprising 235 volumes dating from 1824 to 1942 and covering most of their major commissions are held in the Archive of Art & Design at the Victoria & Albert Museum, London.Hornby CastleThis table was possibly acquired by Sir George Godolphin Osborne, 8th Duke of Leeds (1802-72), for the principal family seat, Hornby Castle, North Yorkshire. Built in the 15th century as a fortified house, it was significantly remodeled by the architect John Carr of York, and probably James 'Athenian' Stuart, in the 1760s, for Robert Darcy, 4th Earl of Holdernesse. The mansion was altered to Classical proportions and regular, enlarged sash windows were installed combined with gothic architectural detailing. When the 4th Earl's only daughter, Amelia Darcy, married Francis Godolphin Osborne, Marquess of Carmarthan, and later 5th Duke of Leeds, a new family arrived at Hornby by inheritance, and the house became a ducal seat. Due to a series of important family relationships, Hornby Castle became a repository for a magnificent collection of Restoration furniture that embodied their glorious political past. The halcyon days of Hornby Castle were undoubtedly in this period but also in the early to mid-19th century when the 7th Duke of Leeds commissioned A.W.N. Pugin to prepare a set of drawings for the remodeling of Hornby Castle. Although never executed, Pugin submitted detailed plans on a grand scale for two floor of the castle courtyard, and perspective sketches for the rest.Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Some old splits and chips. Gilt elements have been refreshed in areas. Gilding with some rubbing and small losses. Some evidence of old worm to undersides of legs. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
A Louis XVI blue painted console table, late 18th century, the rectangular grey marble top with moulded edge, above a pierced S-scroll frieze centred by a fluted tablet, on stop fluted turned tapering legs headed by stylised flowerhead terminals, 85cm high, 131cm wide, 64cm deep Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Old chips and splits. The marble top with some additional darker scratches and small chips to the edge. Evidence of old worm. Some later supporting blocks to the interior of the carcass. Various chips, rubbing and losses to the painted surface. Painted surface appears to be entirely later but has some age. Signs of previous bracing to corners of frame. Old dowel repair to split to rear rail. Please refer to additional images for visual reference to condition.Condition Report Disclaimer
Y A Fine Reformed Gothic walnut and specimen parquetry inlaid trumpet work table, circa 1880, attributed to being designed by Charles Bevan for Gillows, with internal removable tray above the trumpet paper lined 'bag', the specimen marquetry including oak, walnut, tulipwood, and maple, 71.5cm high, 37cm wide, 37cm deepCharles Bevan was born in the late 1820's and started gaining recognition for his work as a furniture designer and manufacturer in around 1865.Three London addresses are recorded from which he operated, firstly at 66 Margaret Street between 1865-6. Here he advertised a 'New Registered Reclining chair' made by Marsh and Jones of Leeds, whose London show rooms were near his own premises. In that year with the help of Marsh and Jones he supplied the Yorkshire mill owner Sir Titus Salt with a large group of furniture including a bedroom suit, and in 1867 with the case of an Erard grand piano. These can all now been seen at Temple Newsam House inLeeds.In 1866 he moved to 46 Bemers Street, during which time, his fortunes improved, working with the Manchester firm of James Lamb whose work was shown in the Paris Exposition Universelle of 1867. The following year he went into collaboration with one of the largest and most notable of 19th century furniture manufacturers, Gillows of Lancaster and London. Finally, in 1872 his works were exhibited at the International Exhibition in London with Gillows. They, in partnership, produced a pair of ebonised cabinets, decorated with Doulton stoneware plagues which now form part of the V&A collection in London. His final move was in 1872 and coincided with a partnership with his son forming C.Bevan and Son and a move to 100 High Holborn where the firm remained for the following ten years.Stylistically his furniture tends to be very heavily ornamented and in the Gothic taste, elaborately decorated with geometric ornamental inlays, described at the time as in the 'medieval taste', something clearly evident in our work box.Condition Report: Marks, knocks, scratches, abrasions consistent with age and use, some scuffs and knocks around the base,The internal tray probably originally with lids, these are all lacking, the pin cushion elements with rips,Some staining/deposit to the interior velvet of the lid - this may benefit from a light cleanThe top with fading and is a lighter colour than the rest, the base retaining good colour, Some splitting and cracking near the hinges of the top, The velvet interior to the lid worn and with losses and a stain to one lower side Please refer to additional images for visual reference to conditionCondition Report Disclaimer
Maps, plans and paperwork relating to the London-Brighton motorway or Southern Motor Road, circa mid to late 1920's, including Parliamentary, drawings showing junctions, bound book of plans and sections dated 1929 68 x 102cm and approximately 20 drawings relating to the Northern & Western Motorway
A late 19th century Bristol blue glass decanter of mallet form with flared rim and polished pontil, etched 'S' to the base, a Bohemia blue and clear cut glass ship's decanter, six wine glasses with blue bowls and twist stems, five smaller wine glasses with blue bowls and rope twist stems and two clear decanters, one lacking stopper (15).
Three pieces of late 19th and early 20th century scrimshaw, comprising a mother of pearl shell inscribed 'James Bisset of Liverpool, 1600 Tons Registered...' and decorated with a triple-masted vessel and thistles, width 20cm, a cowrie shell engraved with an anchor and inscribed 'Remember S/S Louise, 07', length 9cm and a rectangular section of alabaster in the form of a book engraved with an anchor to the front, length 13cm (3). CONDITION REPORT The mother of pearl plaque has chips around the edges, some are larger than others. This is slightly encroaching on the decoration and writing to the right. There is also a split through the thistle decoration. The other two pieces have general surface wear and chips to the edges. Provenance: this lot is from a private collection in Surrey and the vendor's father taught at Liverpool Maritime College many years ago.
Four books appertaining to marine art to include Alan Russett; 'George Chambers 1803-1840', local author A S (Sam) Davidson; 'Marine Art and the Clyde' and two others, all profusely illustrated, mainly in colour (4). CONDITION REPORT All fine in dust jackets.
Vintage 1940s and 50's Umbrellas and Oriental Parasols (5 however they are mostly damaged but would be excellent restored) in an Oriental decorated iron umbrella stand. One umbrella has a very attractive porcelain pommel showing a Lady and her son in 17th Century style dress.
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