1904 Swift 7hp Two-Seater Registration no. H 51 Chassis no. 182 Engine no. 2893•Early example from a quality make•Present family ownership since 1931•Successfully completed 57 London-Brighton Runs•Trailer included (buyer to collect)Footnotes:Coventry-based bicycle maker Swift turned to motor manufacture at the turn of the century with a single-cylinder voiturette powered by a De Dion-style MMC engine, progressing to a 10hp twin-cylinder light car, entirely of its own design, in 1904. Both larger and smaller models were made at this time using a variety of engine types but the 10hp twin was Swift's most popular offering. The twin was replaced by an 1,100cc four-cylinder 10hp model in 1914, and this was revived after WWI and periodically improved and up-dated throughout the 1920s. Swift continued to concentrate on the manufacture of small family cars, and as the firm made almost all its own parts these were invariably of higher-than-average quality. Sadly, this policy did not enable it to compete with its mass-producing rivals and the firm struggled on until finally it was forced to close in 1931. According to the Swift Register, only a little over 200 Swift motor cars of all types are known to survive worldwide, mostly in the UK but spread as far as South Africa, Australia and New Zealand. This early single-cylinder Swift was purchased by the vendor's grandfather in 1931 from a farmer in Eversley, Berkshire. Since then, the car has completed no fewer than 57 London-Brighton Runs plus numerous other events and rallies over the years. It has only failed to finish on four occasions, and in 1968 successfully completed the Run despite having tailgated another vehicle following a brake failure. The Swift was professionally repaired. Earlier this year the car successfully completed the Ellis Journey celebrating the first recorded motorised carriage journey in the UK.'H 51' comes with various trophies, pendants, badges and other memorabilia accumulated over the last 90 years together with a VCC dating certificate and three journals dating from the present day back to the 1930s, including photographs. Also included in the sale is a (copy) maintenance manual; spare trembler assembly; spare inlet valve and housing; spare exhaust valve, spring, cotter and retainer; and numerous other parts and spanners. The Swift also comes with a Bantam Smart two-wheeled trailer with customised enclosing wooden top, which features a hand winch and spare wheel and has been designed for storage in a domestic garage (buyer to collect). This Lot is available to view at Classic Car Storage near Petersfield, Hampshire (by appointment with the Car Department only) from Monday 24th October to Wednesday 2nd November. It will then be available to view at Bonhams, 101 New Bond Street on Friday 4th November from 10am.For further information on this lot please visit Bonhams.com
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1917 Lancia Theta 35hp Tourer Registration no. RG 9540 Chassis no. B3950 Engine no. 3913•Present enthusiast ownership since 1973•Long-term restoration completed 1997•Well known in Lancia and VSCC circles•Comfortable cruising at 50mphFootnotes:This magnificent Lancia Theta is believed to have been imported as a rolling chassis by the UK's Ministry of War in 1917; many were used initially to mount anti-aircraft guns, and later served as mobile searchlight units. The car was bought by the current owner in 1973 as a project that would occupy him for some 20 years, with the fully restored car attending the 50th anniversary rally of the Lancia Motor Club in 1997. The rally was successfully completed, including ascending Prescott Hill in several demonstration runs. Since then, the car has lived near Bath in a heated garage and is well known among VSCC members and Lancia enthusiasts. It is believed that only 19 Lancia Thetas survive worldwide, built between the commencement of the marque in 1908 and 1917 when this example was made. Its owner Roland Grazebrook, now in his mid-eighties, has been involved with Lancias all his life, including roles as both Chairman and Librarian of the Lancia Motor Club. He has owned 20 Lancias including both inter-war and post-war cars. The Theta is the only car to have remained in his constant ownership for all of the last 49 years. In regular use, the engine (a replacement of correct type) is described as in sound condition, starting easily on its electric starter motor. This and the original dynamo have been converted to 12v. The gearbox was fitted with many new components as part of the restoration and is said to function well. The clutch is an 18-plate unit, light in action, which we are advised makes for a smooth gearchange that is well in advance of its time. The chassis is said to be in good condition, having been totally stripped and coated with specialist chassis paint during the restoration. The Holcombe body was built circa 1995 with an ash frame and aluminium panelling. The decision on body style was made when the owner, having looked at examples of the Theta clad in a variety of bodies, found a photograph in the Beaulieu library of a 35hp Theta owned by Noel Macklin: he of Invicta and Railton fame, and designer of the Fairmile torpedo boat. Subsequently a second photograph was found, confirming his ownership of such a car in the early 1920s.Chosen to match period fire engines, the two-pack paint - chosen for its durability - was applied circa 1995. The colour maintains a deep lustre, which beautifully complements the brass lights and fittings. The interior is reported as excellent, having been reupholstered in the 1970s with deep-buttoned Connolly hide typical of the original cars. The brass instruments are all original and working, although the speedometer could usefully be re-calibrated. The gear lever is original with a brass handle, and the handbrake likewise has a brass handle and the original plated lever. The steering wheel was rebuilt in the 1970s with a new rim and grips. The levers for ignition timing and hand throttle are original. The steering wheel and levers have been re-covered as original. The car was re-wired using mainly aluminium-bound wiring. The headlamps are original, as is one sidelight, while the second side light was hand-made as a close copy. Both taillights were hand-made using photographs and the parts manual for reference. All lights function correctly, as do the modern indicators, which are painted black. A great deal of care has been taken to restore the car to factory specification in every possible detail. The original Lancia front axle is still fitted; this was a folded axle in deference to Vincenzo Lancia's commitment to saving weight. Many improvements have been made in the light of experience, particularly to the steering, which involved correcting and adjusting the Ackerman angles. Five rear axle ratios were available in 1917, and the second highest has been chosen for easy cruising, although the torque is so great that top gear can be used to pull away from 15mph! The Theta cruises comfortably at 50mph with an occasional maximum in excess of 60mph. The car is never used in winter conditions and is kept garaged in a heated building.Details of the Theta's history were recounted in an illustrated article in the Lancia Motor Club magazine, a copy of which is on file together with Veteran Car Services Ltd's dating report and certificate. This Lot is available to view at Classic Car Storage near Petersfield, Hampshire (by appointment with the Car Department only) from Monday 24th October to Wednesday 2nd November. It will then be available to view at Bonhams, 101 New Bond Street on Friday 4th November from 10am.For further information on this lot please visit Bonhams.com
A superb 1:2 scale model of a 1901 Curved Dash Oldsmobile child's car,painted black with red details and gold coach-lining, black deep buttoned upholstery, the car with mudguards, steps, horn, lamps (with modern LEDs), based upon the car displayed at the Haynes Motor Museum in Sparkford, 2 x 400W geared units electrically powered by 2 x 12N 8Ahr Leisure batteries, with top speed of approximately 12.5 kph, Akerman Geometry Tiller operated steering, front beam axle, rear live beam axle with 'flat' differential, cantilever leaf spring suspension, 4 x cable operated wheel disc brakes, wire spoked wheels with pneumatic tyres, maximum carrying capacity 175lb. 155 x 132 x 112cm overall, weight of 155Kg. Sold together with a detailed and illustrated instruction manual. This lot is subject to the following lot symbols: ◊◊◊◊◊◊ Requires specialist shipping and storage at the buyer's expenseFor further information on this lot please visit Bonhams.com
Rolls Royce Merlin 1933 50 (All Engine Models) Owners' Workshop Manual 2015 First Edition Hardback Book with 157 pages published by Haynes Publishing Spine in Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
De Havilland Mosquito 1st Ed Haynes Manual by Johnathan Falconer. Published in 2013. 177 Pages. Spine in Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
TWO WOODBLOCK PRINTS FROM THE MUSTARD SEED GARDEN PAINTING MANUAL QING DYNASTY, 18TH CENTURY 清 《芥子園畫傳》木刻版畫（兩幅） ink and colours on paper, both depicting peonies, unframed Dimensions:27.4cm x 32.6cm; 27.5cm x 32cmProvenance:Provenance: Private English collection; formerly acquired from Galerie Zacke, 1994.Each verso with partially inscribed respective labels: 'GALERIE ZACKE alte Kunst aus Asien WIEN 1994 / Nr. 216' & 'GALERIE ZACKE alte Kunst aus Asien WIEN 1994 / Nr. 418'Note: Note: The political stability and economic prosperity in the Ming dynasty (1368–1644) brought wealth, literacy, and social mobility to China's burgeoning urban population. Cities such as Nanjing and Suzhou became centres for the educated elite and wealthy merchants who fostered an avid consumption of culturally sophisticated goods, including finely printed material. In the early seventeenth century, the technique for high-quality printing in graded colours had been perfected. Some often without the use of ink outlines, enabled printers to create images that closely resembled paintings executed with a brush. This quest for technical refinement significantly impacted and inspired the development of colour printing in Japan.The two prints presented in this lot are leaves from The Mustard Seed Garden Painting Manual, first compiled by Wang Gai, and published in 1679AD. The manual aimed to showcase the ‘scholarly’ painting to the townsmen of Jiangsu, Nanjing. This work is recognised by many scholars as a preeminent painting handbook. Due to its success and popularity among the literati, The Mustard Seed Garden Painting Manual has been reprinted in China, Japan and Korea. Not only were classical painting compositions translated into the print medium, but contemporary artists also contributed painterly designs that served as both inspiring models and actual painting manuals.Both two prints in this lot depict peonies, the images are complemented with poems in fine calligraphy and with seals by the artist who designed them. The print with two seals is from the fourth volume of the manual. Compare the two seals in a related example, which also depicts peony sprays, dated to the Qing dynasty, Kangxi period, 1701AD, is in the British Museum, museum no. 1982,1011,0.1; The other related print with a comparable seal, dated similarly as the above, ca. 1700, is also in the British Museum, museum no. 1982,1011,0.19
A FINE AND RARE POLYCHROME LACQUER RECTANGULAR RECESSED-LEG TABLE, PINGTOU'AN17th centuryFinely decorated with designs in varying shades of brown and red incised with black outlines, the long top with incised designs of a bird hovering above a large shrub of blossoming peonies issuing from jagged rocks, all within a border enclosing shaped cartouches with further peonies alternating with diaper designs, the edge with tendrils entwined with archaistic interlocking designs, the apron, spandrels, side stretchers and legs all with designs of scrolling lotus and foliage. 141cm (55 1/2in) long x 82cm (32 2/8in) high x 44cm (17 3/8in) deep.Footnotes:十七世紀 填漆花鳥紋平頭案Provenance: Alice Boney (1901-1988), New York來源：古董商Alice Boney（1901-1988), 紐約Alice Boney was a renowned Chinese art dealer based in New York City. In 1924 she married Jan Kleykamp and after their honeymoon tour of European cities they returned to New York with a large shipment of Tang dynasty sculptures and opened the Jan Kleykamp Gallery, the first gallery in the city to sell Chinese art. After her divorce, she made a significant name for herself in the burgeoning field of Chinese art appreciation and collecting, despite competing in a male-dominated business with C.T. Loo and C.F. Yau. Recognised as a preeminent authority on Chinese art, Boney earned the moniker 'Doyenne of Oriental Art Dealers.' Her clients included the Metropolitan Museum of Art, the Freer Gallery of Art, Mrs. William H. Morris, and President Herbert Hoover. Boney moved to Japan in 1958, where she remained for the next sixteen years. She returned to New York in 1974 and continued to deal from her Park Avenue apartment until her death in 1988.Compare with a similar polychrome lacquer and qiangjin table, mid Qing dynasty, in the Qing Court Collection, illustrated in Gugong shoucang: ni yinggai zhidao de 200 jian caihui jiaju, Beijing, 2009, p.229, no.160. The present lot was clearly inspired by the simple yet elegant forms of classical Chinese furniture in huanghuali that best epitomise a Chinese scholar's fondness for unassuming and functional furniture. This iconic Ming design is referred to in the 'Classic of Lu Ban' (Lu Ban Jing), a carpentry manual dating to the early Ming dynasty, as a 'Character One Table' due to its similarity in profile to the single horizontal stroke of the Chinese character for the number one (yi 一); see C.Clunas, Chinese Furniture, London, 1988, p.47. The present table would have been used in domestic as well as religious contexts and would most likely have been placed against a wall to display ornamental objects or support ceremonial offerings. For discussion about the importance of Chinese side tables and altar tables, see S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley, 2001, pp.224-238.This lot is subject to the following lot symbols: † TP† VAT at the prevailing rate on Hammer Price and Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A RARE PAIR OF 'PRUNUS' TIANQI LACQUER STOOLS17th/18th centuryThe distinctive top shaped as a prunus flower, one finely decorated with a pair of cranes in a lotus pond, the other with a phoenix and magpies perched amidst flowering shrubs of chrysanthemums and peonies, both incised designs on a leiwen ground and all incised with black outlines, the straight edges with continuous lotus scrolls above the recessed waist decorated with reticulated ruyi designs decorated with further lotus, the shaped apron and curving legs similarly decorated and set into the base stretchers of matching shapes. Each 50.5cm (19 5/8in) high. (2).Footnotes:十七/十八世紀 填漆梅花式花鳥紋香幾一對Provenance: Alice Boney (1901-1988), New York來源：古董商Alice Boney（1901-1988), 紐約Alice Boney was a renowned Chinese-art dealer based in New York City. In 1924 she married Jan Kleykamp and after their honeymoon tour of European cities they returned to New York with a large shipment of Tang dynasty sculptures and opened the Jan Kleykamp Gallery, the first gallery in the city to sell Chinese art. After her divorce, she made a significant name for herself in America in the burgeoning field of Chinese art appreciation and collecting, despite competing in a male-dominated business with C.T. Loo and C.F. Yau. Recognised as a preeminent authority on Chinese art, Boney earned the moniker 'Doyenne of Oriental Art Dealers.' Her clients included the Metropolitan Museum of Art, the Freer Gallery of Art, Mrs. William H. Morris, and President Herbert Hoover. Boney moved to Japan in 1958, where she remained for the next sixteen years. She returned to New York in 1974 and continued to deal from her Park Avenue apartment until her death in 1988.Ubiquitous in Chinese painting, poetry, ornament, and in nature, the flowering plum, the inspiration for the present lot, is uncontested as China's favourite blossom. Over the centuries it has acquired a wealth of meaningful associations, not only foretelling the welcome coming of spring but also identified with understated elegance, the fragility and transience of female beauty, and the solitary enjoyment of nature by the noble recluse, detached from worldly pursuits. The famous Song dynasty scholar Su Dongpo (1037-1101) wrote in one poem that: 'The flowering plums' bones are of jade and snow, and their souls of ice', as the plum blossom was endowed with the Confucian virtues of resilience and perseverance for blossoming in deep winter.Stands and stools such as the present pair served a variety of purposes, as contemporaneous paintings and woodblock prints illustrate. They were usually positioned in the centre of a shrine or in a room and often supported incense burners. Incense was not just used during the performance of religious rituals as it often accompanied flower appreciation and tea drinking, demonstrating the essential role incense played as part of literati aesthetics and lifestyle. Incense also purified and concentrated the mind, producing that exaltation necessary for both playing and appreciating music. Lu Yu, a Southern Song scholar, often described the pleasure of reading while burning incense, a luxury he enjoyed despite an otherwise simple lifestyle due to his modest salary as a government official. 'Listening to the Qin', attributed to Emperor Huizong of the Song dynasty, depicts fragrant incense as the elegant companion to the sound of the guqin. Another Sothern Song connoisseur, Zhao Xigu, in his guidebook focusing on the scholar's elegant taste, has a chapter dedicated to the antique zither where he refers to the burning of incense whilst playing music; see S.Handler, The austere Luminosity of Chinese Classical Lacquer, Hong Kong, 2001, p.225 and 297.Compare with a related 'prunus' flower tianqi and qiangjin incense stand, Kangxi, but additionally decorated with a dragon, illustrated in Ming Qing gongting jiaju daguan, vol.2, Beijing, 2006, p.637. See also a black lacquer stool and a zitan stool, both 'prunus' form, mid Qing dynasty, which are illustrated in Ming Qing gongting jiaju daguan, vol.1, Beijing, 2006, p.135, nos.116 and 117.The design of flowers and birds on the present lot, seems to be related to woodblock prints of flowers and birds, such as in the Jiezi yuan huazhuan (Mustard Seed Garden Manual of Painting), circa 1679, and the Shizhuzhai shuhua pu (Ten Bamboo Studio Manual of Calligraphy and Painting), printed between 1619 and 1633. The increasing availability of illustrated woodblock printed books helped facilitate their design on lacquer such as the present lot.A related 'prunus' qiangjin and tianqi lacquer stand, Kangxi, was sold at Sotheby's Paris, 6 July 2017, lot 55.This lot is subject to the following lot symbols: † TP† VAT at the prevailing rate on Hammer Price and Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
AN RARE PAIR OF TIANQI 'FLOWER AND BIRD' RECTANGULAR STANDS17th centuryFinely incised and coloured in varying shades of red, green and burnt amber shading to black, the rectangular tops finely incised with a central panel enclosing a ruyi-cartouche depicting a pair of long-tailed birds amidst a shrub of blossoming peonies and chrysanthemums issuing from jagged rocks, surrounded by blooming chrysanthemums and lotus and within a border enclosing further peonies within cartouches reserved on a leiwen ground, the straight edges with scrolling foliage and flower heads, the recessed waist with openwork ruyi designs over a broad, cusped and barbed apron decorated with further flowerheads, all raised on four curling legs terminating in outward curving acanthus feet connected by rectangular stretchers. 70cm (27 1/2in) wide. (2).Footnotes:十七世紀 填漆花鳥紋長方香幾一對Compare the scrolling acanthus feet to those on a qiangjin and tianqi lacquer flower and bird kang table, 17th century, illustrated in The Creation of Natural Immensity and Grandeur: The Yang Ming Shan Fang Collection of Lacquer from Song, Yuan, Ming and Qing Dynasties, Beijing, 2020, pp.134-135, no.40. The shaped aprons are also similar to those found on a lacquer incense stand, Wanli, in the Los Angeles County Museum of Art (acc.no.M.2004.51).Compare also with a related elm-wood square table with traces of lacquer, 17th/18th century, of similar shape, illustrated by C.Evarts, C.L.Ma Collection: Traditional Chinese Furniture from the Greater Shanxi Region, Hong Kong, 1999, pp.188-189, no.87. See also the related acanthus-leaf feet and the reticulated cartouches on the apron of a huanghuali incense burner stand, Ming dynasty, in the Palace Museum, Beijing, illustrated in Imperial Furniture of Ming and Qing Dynasties, Beijing, 2007, p.303, no.331.The design of flowers and birds on the present lot, appears to be related to woodblock prints of flowers and birds, such as in the Jiezi yuan huazhuan (Mustard Seed Garden Manual of Painting), circa 1679, and the Shizhuzhai shuhua pu (Ten Bamboo Studio Manual of Calligraphy and Painting), published by Hu Zhengyan (1584-1674) and printed between 1619 and 1633. The increasing availability of illustrated woodblock printed books, including pharmaceutical literature dealing with plants and their medicinal properties helped facilitate their design on lacquer such as the present lot.The flower and bird designs closely compare with the subjects decorating the top of a related qiangjin and tianqi table, Wanli, which was sold at Bonhams London, 13 May 2021, lot 57.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A PAIR OF TIANQI AND QIANGJIN LACQUER ARMCHAIRS17th/18th centuryEach with a shaped top rail supported by an openwork shaped back panel incorporating the design of two phoenix among scrolling lingzhi stems, each arm's side panel carved with a cloud-scroll edge, the seat panel decorated with large lotus and birds, the square-section legs joined by rectangular-section stretchers. 11cm (43 3/4in) high x 63cm (24 3/4in) wide x 48cm (19in) deep. (2).Footnotes:十七/十八世紀 戧金填漆花鳥紋扶手椅一對Meticulously incised and coloured in the qianjin-and-tianqi (gold-engraved and filled-in) lacquer technique with vibrantly-coloured dynamic designs of phoenix and floral scrolls, these remarkable chairs may have been made for the use of one of the highest-ranking ladies of the Imperial household.Lacquer wares and furniture worked in polychrome palettes became popular in the late Ming dynasty. The Xiushi lu, a manual for lacquer manufacture compiled during the early 17th century, mentions two types of filled-in lacquer: the 'carve and inlay' type, loukan, according to which certain areas were cut out of the otherwise finished lacquer surface and inlaid with variously coloured lacquer, and the 'filled-in' or 'polish-reveal' method, moxian, when certain portions of the design were raised through multiple layers of lacquer as the ground was filled with additional lacquer and the boundaries between the different colour fields defined by engraved and gilt lines.Compare with a related tianqi lacquer chair, Ming dynasty, illustrated in The Complete Collection of Treasures in the Palace Museum: Furniture of the Ming and Qing Dynasties, vol.3, Hong Kong, 2002, p.54, no.44. Also see a related pair of lacquered armchairs, Wanli, in the Lord Fairhaven collection in Anglesey Abbey, Cambridgeshire, illustrated by S.Jenyns, Chinese Art, London, 1980, pl.176.This lot is subject to the following lot symbols: † TP† VAT at the prevailing rate on Hammer Price and Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A FINE POLYCHROME LACQUER RECTANGULAR TABLE17th century Finely incised and coloured in varying shades of red, green and burnt amber shading to black, the large rectangular top depicting a central shaped cartouche decorated with a flock of long-tailed birds hovering above a shrub issuing flowering peonies, pomegranates and magnolias, all above a large pitted rock, the straight edges decorated with geometric designs above the recessed waist defined by reticulated narrow panels, all above a cusped, shaped and barbed apron depicting a continuous scroll of blossoming lotus and peonies, the design continuing onto the four curling legs ending in upturned acanthus feet connected by rectangular stretchers. 58cm (22 3/4in) high x 95cm (37 1/2in) wide x 63cm (24 3.4in) deep. Footnotes:十七世紀 填漆花鳥紋帶托泥供桌Compare with a related red lacquer kang table, decorated with clouds, bats and wan symbols, early Qing dynasty, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Furniture of the Ming and Qing Dynasties (I), Hong Kong, 2002, p.182, no.155. See also a related small brown kang table, 16th century, with an incised and coloured design of dragons on the top, illustrated by Lee Yu-kuan, Oriental Lacquer Art, New York and Tokyo, 1972, p.321. See also a huanghuali table, of similar shape, Ming dynasty, illustrated by Wang Shixiang, Connoisseurship of Chinese Furniture, vol.2, Hong Kong, 1990, p.64, no.B6.The design of flowers and birds on the present lot, appears to be related to woodblock prints of flowers and birds, such as in the Jiezi yuan huazhuan (Mustard Seed Garden Manual of Painting), circa 1679, and the Shizhuzhai shuhua pu (Ten Bamboo Studio Manual of Calligraphy and Painting), published by Hu Zhengyan (1584-1674) and printed between 1619 and 1633. The increasing availability of illustrated woodblock printed books, including pharmaceutical literature dealing with plants and their medicinal properties helped facilitate their design on lacquer such as the present lot.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A GILT-DECORATED BLACK LACQUER BAMBOO BRUSHPOT, BITONG17th/18th centuryThe bamboo vessel coated in a dark-brown lacquer of dark-chocolate tone and meticulously incised around the exterior with a profusion of plum blossoms issuing from gnarled trunks, bamboo and rocks, with four birds with exquisite plumage with gilt decoration, the grooved mouth rim with floral scrolls, the interior lacquered red, the base lacquered with a marbled faux bois design. 16.4cm (6 1/2in) high.Footnotes:十七/十八世紀 黑漆填金竹刻花鳥紋筆筒The present lot is replete with auspicious symbolism and wordplay. The theme of magpies (xique 喜鵲), a homophone for 'happiness' (xi 喜), on top (shang 上) of prunus branches (meishao 梅梢), which puns with 'eyebrows' (meishao 眉梢) forms a rebus for the blessing, 'May happiness reach up to your eyebrows' (喜上眉梢).The design appears to be related to woodblock prints of flowers and birds, such as the Shizhuzhai shuhua pu (Ten Bamboo Studio Manual of Calligraphy and Painting), published by Hu Zhengyan (1584-1674) and printed between 1619 and 1633. The increasing availability of illustrated woodblock printed books, including pharmaceutical literature dealing with plants and their medicinal properties, helped facilitate their introduction as designs on brushpots such as the present lot.The technique of incising in black lacquer can be seen on an unusual incised two-tier black and coloured lacquer cylindrical box and cover, 18th century, also decorated with birds and prunus, illustrated by M.Hughes, An Important Collection of Chinese, Korean and Ryukyuan Lacquer, New York, p.73, no.58.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
GENTLEMAN'S ROLEX OYSTERDATE PRECISION STAINLESS STEEL MANUAL WIND WRIST WATCH,model 6694, serial number 566657, the round cream dial with baton hour markers, outer seconds track in black, date aperture at 3, 34mm case, on a riveted expanding Oyster bracelet with foldover clasp, lacking box and papers
LADY'S NINE CARAT GOLD MANUAL WIND WRIST WATCH,the round white dial with Arabic hour markers, dot outer seconds track, 25mm case, on an ornate nine carat gold expanding bracelet, 25gMOVEMENT: Ticking at present. WEAR: Well worn. DIAL: Marks and nicks visible. CRYSTAL/ACRYLIC: Missing. HANDS & MARKERS: Intact. CROWN: Intact. BRACELET/STRAP: Heavily stretched.
LADY'S ROIROL NINE CARAT GOLD MANUAL WIND WRIST WATCH,the round cream dial with applied wedge and Arabic hour markers, outer seconds track in black, 21mm case, on an openwork bracelet with foldover clasp, 15.4gMOVEMENT: Ticking at present. WEAR: Well worn. DIAL: Worn - marks, discolouration etc. CRYSTAL/ACRYLIC: Scratched and scuffed. HANDS & MARKERS: Intact. CROWN: Intact - does not fully push down. BRACELET/STRAP: Generally worn. Has been soldered at the lug. CLASP: Working order. Hallmarked to clasp.
GENTLEMAN'S OMEGA GOLD PLATED MANUAL WIND WRIST WATCH,the round champagne dial with applied baton hour markers, outer seconds track in black, date aperture at 3, 34mm case, on a black leather strap, lacking box and papersMOVEMENT: Ticking at present. WEAR: Heavily worn. DIAL: Spotted and marked. CRYSTAL/ACRYLIC: Scuffed and scratched. HANDS & MARKERS: Intact. CROWN: Intact. BRACELET/STRAP: Heavily worn.
LADY'S ART DECO DIAMOND SET PLATINUM MANUAL WIND WRIST WATCH,the rectangular dial with Arabic hour markers, outer railroad seconds track in black, 13mm diamond set case, the diamonds totalling approximately 1.62 carats, in platinum, 18.3g, lacking box and papers MOVEMENT: Ticking at present. WEAR: Generally worn. DIAL: Marks and nicks visible. CRYSTAL/ACRYLIC: Some light marks visible. HANDS & MARKERS: Intact. CROWN: Intact. BRACELET/STRAP: Generally worn.CLASP: Working order.Additional images of strap added. Bracelet is partially diamond set and other section is expandable.
LADY'S OMEGA NINE CARAT GOLD MANUAL WIND WRIST WATCH,the rectangular champagne dial with applied baton hour markers, 11mm case, on a textured gold bracelet with foldover clasp, 24.7g, in box, lacking papersMOVEMENT: Ticking at present. WEAR: Generally worn. DIAL: Fair condition. CRYSTAL/ACRYLIC: Some light marks visible. HANDS & MARKERS: Intact. CROWN: Intact. BRACELET/STRAP: Generally worn. CLASP: In working order.
LADY'S SWISS EMPRESS NINE CARAT GOLD MANUAL WIND WRIST WATCH,the square champagne dial with applied baton hour markers, 14mm case, on a yellow, rose and white gold bracelet with foldover clasp, 30g, lacking box and papersMOVEMENT: Ticking at present. WEAR: Generally worn. DIAL: Fair condition. CRYSTAL/ACRYLIC: Some light marks visible. HANDS & MARKERS: Intact. CROWN: Intact. BRACELET/STRAP: Generally worn.CLASP: Working order.Hallmarked to clasp.
LADY'S OMEGA NINE CARAT GOLD MANUAL WIND WRIST WATCHthe round cream dial set with applied baton hour markers, 29mm case with presentation inscription to the reverse, on an integral nine carat yellow gold bracelet with foldover clasp, 25g, in box, lacking papersMOVEMENT: Ticking at present. WEAR: Generally worn. DIAL: Light nicks visible. CRYSTAL/ACRYLIC: Scuffs visible. HANDS & MARKERS: Intact. CROWN: Intact. BRACELET/STRAP: Generally worn.CLASP: Working order.
GENTLEMAN'S OMEGA NINE CARAT GOLD MANUAL WIND WRIST WATCH,the round champagne dial with applied baton hour markers, outer seconds track in black, date aperture at 3, 33mm case, on a textured bracelet with foldover clasp, 51.5g, in box, lacking papersMOVEMENT: Ticking at present. WEAR: Generally worn. DIAL: Marks and nicks visible. CRYSTAL/ACRYLIC: Some light marks visible. HANDS & MARKERS: Intact. CROWN: Intact. BRACELET/STRAP: Generally worn.CLASP: Working order.
GENTLEMAN'S OMEGA STAINLESS STEEL MANUAL WIND WRIST WATCH,the round cream dial with Arabic hour markers, outer railroad seconds track in black, 32mm case, along with an expanding strap and original black leather strap, lacking box and papersMOVEMENT: Ticking at present. WEAR: Well worn. DIAL: Spotted, discoloured. CRYSTAL/ACRYLIC: Some light marks visible. HANDS & MARKERS: Intact. CROWN: Intact. BRACELET/STRAP: Black strap heavily worn. The other lightly worn.
LADY'S ACCURIST NINE CARAT GOLD MANUAL WIND WRIST WATCH,the round silvered dial with baton hour markers, 17mm case, on a floral motif bracelet with foldover clasp, 12.1g, lacking box and papersMOVEMENT: Ticking at present. WEAR: Generally worn. DIAL: Marks and ndust specs visible. CRYSTAL/ACRYLIC: Some light marks visible. HANDS & MARKERS: Intact. CROWN: Intact. BRACELET/STRAP: Generally worn.CLASP: Working order.Hallmarked to the bracelet.
GENTLEMAN'S OMEGA DE VILLE GOLD PLATED MANUAL WIND WRIST WATCH,the round champagne dial with applied and painted hour markers, 27mm case, on a brown leather strap, lacking box and papers MOVEMENT: Ticking at present.WEAR: Well worn. Some plating wearing off. DIAL: Spotting and wear to the dial.CRYSTAL/ACRYLIC: Some light scuffs visible. HANDS & MARKERS: Worn, loss of paint to most. CROWN: Intact. BRACELET/STRAP: Well worn.
GENTLEMAN'S RECORD NINE CARAT GOLD MANUAL WIND WRIST WATCH,the round cream dial with applied Arabic hour markers, outer seconds track in black, 31mm case, on a later brown leather strap, lacking box and papers MOVEMENT: Ticking at present. WEAR: Worn condition. DIAL: Spotted and marked. CRYSTAL/ACRYLIC: Scuffed and scratched. HANDS & MARKERS: Intact. CROWN: Intact. BRACELET/STRAP: Well worn.
LADY'S ROTARY NINE CARAT GOLD MANUAL WIND WRIST WATCH,the round cream dial with applied baton hour markers, 15mm case, on an openwork bracelet with foldover clasp, 11.2g MOVEMENT: Ticking at present. WEAR: Genrally worn. DIAL: Some marks visible. CRYSTAL/ACRYLIC: Scratched and scuffed. HANDS & MARKERS: Intact. CROWN: Intact. BRACELET/STRAP: Generally worn. CLASP: In working order.Hallmarked to the clasp.
LADY'S DELMA NINE CARAT GOLD MANUAL WIND WRIST WATCH,the round silvered dial with applied baton hour markers, 16mm case, on a nine carat gold bracelet with foldover clasp, 13.6g, lacking box and papersMOVEMENT:Ticking at present. WEAR: Worn condition. DIAL: Some marks visible. CRYSTAL/ACRYLIC: Scratches visible. HANDS & MARKERS: Intact. CROWN: Intact. BRACELET/STRAP: Generally worn. CLASP: In working order.
GENTLEMAN'S BAUME GOLD PLATED MANUAL WIND WRIST WATCH,the round cream dial with applied baton hour markers, 34mm case, on a rolled gold bracelet with foldover clasp, lacking box and papersMOVEMENT: Ticking at present.WEAR: Worn condition, scratches, nicks, etc visible.DIAL: Discolouration around the 3 marker.CRYSTAL/ACRYLIC: Scratches visible.HANDS & MARKERS: Intact.CROWN: Intact.BRACELET/STRAP: Generally worn.CLASP: In working order.
GENTLEMAN'S OMEGA NINE CARAT GOLD MANUAL WIND WRIST WATCH,the round cream dial with applied baton hour markers, outer seconds track in black, 33mm case, on a generic brown leather strap, lacking box and papersMOVEMENT: Has not been removed from case. Ticking at present. WEAR: Generally worn - marks visible. DIAL: Some marks and specs visible. CRYSTAL/ACRYLIC: Fair condition. HANDS & MARKERS: Intact.CROWN: Intact - hands changing.BRACELET/STRAP: Lightly worn.
LADY'S ROTARY NINE CARAT GOLD MANUAL WIND WRIST WATCH,the round dial with applied baton hour markers, 18mm case, on an expanding bracelet, in box, lacking papers MOVEMENT: Ticking at present. WEAR: Generally worn. DIAL: Fair condition. CRYSTAL/ACRYLIC: Scratched. HANDS & MARKERS: Intact. CROWN: Intact. BRACELET/STRAP: Generally worn.Marked to clasp.
LADY'S NINE CARAT GOLD CASED MANUAL WIND WRIST WATCH,the round cream dial with Arabic hour markers, outer railroad seconds track in black, subsidiary dial at 6, 20mm case, on a brown strap, in box, lacking papers MOVEMENT: Ticking at present. WEAR: Well worn. DIAL: Marked, discoloured. CRYSTAL/ACRYLIC: Cracked, left hand side. HANDS & MARKERS: Intact. CROWN: Intact. BRACELET/STRAP: Heavily worn.
Maurice Lacroix Serena ladies wristwatch, Ref. SE1021, 9ct gold ladies manual wind wristwatch, on brown leather strap, 9ct gold brooch, silver jewellery including peridot ring, white zircon ring, bangles, brooches and earrings and other costume jewellery including Swarovski bangle and a Jaguar fountain penCondition Report:Lacroix wWatch not tested, 9ct brooch approx 1.6gm (back pin not gold), watch back case only approx 2gm
Gold jewellery and watches including stone set eternity ring, single earring, Accurist watch and a ladies manual wind wristwatch, all 9ct, silver stone set butterfly brooch and a collection of vintage and later costume jewellery and watchesCondition Report:9ct ring and earring approx 2.5gm, 2 watches gold back case only approx 7.1gm (Accurist movement not working other is),
ATTRIBUTED TO QI BAISHI (1864-1957)PumpkinsHanging scroll, ink and colour on paper, inscribed and bearing signature of Baishi Laoren, with two artist's seals Qi Da, Wushier nian Bashiba. 102cm (40 1/4in) long x 33cm (13in) wide.Footnotes:傳齊白石 南瓜與蚱蜢 設色紙本 立軸Provenance: Mrs Hazel Elfwendahl (1923-2018), and thence by descent來源：Hazel Elfwendahl夫人（1923-2018）舊藏，並由後人保存迄今Hazel Elfwendahl (1923-2018) was wife of Bo Elfwendahl (1928-2004) Sweden's Vice Consul with the Royal Swedish Consulate in Hong Kong 1957-1962. During their diplomatic posting to Hong Kong, Mrs Elfwendahl took great interest and acquired during these years a deeper knowledge into Chinese art, and also an opportunity to peruse painting and calligraphy studies for the Chinese Master, Mrs Chow Leung Chen Ying. Mrs Elfwendahl's keen interest established several friendships with Hong Kong art collectors.Qi Baishi (1864-1957) is perhaps the most famous Chinese artist of the 20th century. He is noted for his whimsical, playful, and seemingly simple style of painting. Born to a peasant family from Xiangtan, Hunan, Qi became a carpenter at 14, and learned to paint by himself. When he came across the 'Mustard Seed Garden Manual of Painting', that sparked his interest to paint. He did not start learning painting and calligraphy until he was 27. After he turned 40, he travelled, visiting various scenic spots in China. After 1917 he settled in Beijing. Qi is known for the freshness and spontaneity that he brought to the familiar genres of birds and flowers, insects and grasses, hermit-scholars and landscapes.Compare with a similar painting of pumpkins and grasshopper, by Qi Baishi, which was sold at Christie's Hong Kong, 8 July 2020, lot 1081.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Omega gentleman's 9ct gold manual wind wristwatch, Cal. 30T2, case hallmarked Birmingham 1941, on tan leather strapCondition Report:Movement currently functioning (time keeping not checked), discolouration to dial, possibly new crown, hands moving freely, case diameter = 32mm (excluding crown)
Early 20th century gentleman's silver rectangular manual wind wristwatch, silvered dial with Arabic numerals and subsidereary seconds dial, back case inscribed C.W.F. Read, London import marks 1926, on brown leather strapCondition Report:Movement not working (overwound), dial with some tarnishing, lugs good, hands moving freely, case diameter = 24mm (excluding crown)
A RARE BLUE AND WHITE 'MASTER OF THE ROCKS' JARShunzhi/early KangxiOf elegant baluster form, painted around the exterior with a continuous scene of craggy mountains in pencilled line around a lake with fisherman on a sampan, pavilions with scholars dotted throughout, all amidst various trees, the sky with V-shaped flocks of geese, all beneath a border of pine trees on the shoulder, the neck with a border of lotus. 27.8cm (11in) high. Footnotes:清順治至康熙早期 青花山水紋罐Provenance: Professor Desmond R. Laurence (1922-2019)S. Marchant & Son, London, 17 October 2003Marchant, London, 6 December 2010Published, Illustrated and Exhibited: Marchant, Selected Chinese Porcelain from the Collection of Professor D.R. Laurence, London, 2010, pp.20-21, no.12來源：Desmond R. Laurence 教授 (1922-2019)倫敦古董商 S. Marchant & Son，2003年10月17日倫敦古董商 Marchant，2010年12月6日展覽及錄著：《Selected Chinese Porcelain from the Collection of Professor D.R. Laurence》，倫敦，2010年，頁20-21，編號12The present jar is decorated with a landscape in the so-called 'Master of the Rocks' style. This style, which seems to have developed towards the mid-17th century in the final years of the Ming dynasty, continued to be popular in the early years of the Kangxi reign, with a very few examples being made as late as the turn of the century. The 'Master of the Rocks' style was by no means limited to the brush of a single artist, and appears in a number of versions on porcelains from about 1640 to 1700. It was used on porcelains decorated in underglaze cobalt blue and also those decorated in underglaze blue and copper red. There are even very rare examples where the style has been combined with famille verte enamels. The style itself is characterised by the use of 'hemp-fibre' strokes to produce rocky landscapes full of movement and drama, often combined with the use of fluid dots to depict scrub and foliage.This development in porcelain painting reflected elements seen in the landscape painting of certain artists working on silk and paper. The use of 'hemp-fibre' brush strokes can be seen in the work of the famous late Ming dynasty literatus Dong Qichang (1555-1636), for example in his hanging scroll 'Autumn Landscape' in the Nü Wa Chai Collection illustrated by J.Cahill, Chinese Painting, Lausanne, n.d., p.150. The dramatic, almost writhing, rock forms as well as the 'hemp-fibre' brush strokes can also be seen in paintings such as 'Returning Home from Gathering Fungus' painted in 1628 by Wang Jianzhang (fl.1628-1644), illustrated by S.Little, Chinese Porcelains of the Seventeenth Century: Landscapes, Scholars' Motifs and Narratives, New York, 1995, p.36, fig.2. The influence of such paintings on the porcelain decorators at Jingdezhen was not necessarily direct. This style of painting was not only well-regarded, it also lent itself to translation into woodblock printing, and it is quite possible that it was through this medium that aspects of style, such as 'hemp-fibre' strokes were transmitted to the ceramic artists of Jingdezhen. See for example 'hemp-fibre' brushstroke mountain landscape in the Mustard Seed Garden Manual of Painting, circa 1679, illustrated by T.Canepa and K.Butler, Leaping the Dragon Gate: The Sir Michael Butler Collection of Seventeenth-Century Chinese Porcelain, London, 2021, p.404.For a blue and white brushpot with this 'master of the rocks' style landscape, Kangxi, see Ibid., p.404; other pieces including a gu vase, and dish, Kangxi, all with related decoration, are in ibid., pp.406-417. Compare with a related large blue and white 'master of the rocks' style landscape vase, 18th century, which was sold at Sotheby's New York, 15 September 2015, lot 107.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A RARE AND LARGE FAMILLE VERTE 'MAGPIES AND PRUNUS' BRUSHPOT, BITONGKangxiThe cylindrical vessel exquisitely decorated around the exterior with angular blue and green rocks and gnarled branches issuing sprays of red, green and blue prunus with gilt stamens, a magpie rests on one branch with four others in flight, the base with small recessed circular section and maker's mark forming a wan-character in underglaze blue. 18.2cm (7 1/4in) diam.Footnotes:清康熙 素三彩花鳥紋筆筒Provenance: S. Marchant & Son, London, 13 November 2000來源：倫敦古董商 S. Marchant & Son，2000年11月13日Published and Illustrated: S.Marsh, Brushpots: A Collector's View, Hong Kong, 2020, pp.230-231錄著：S.Marsh《Brushpots: A Collector's View》，香港，2020年，頁230-231The present lot is laden with auspicious symbolism and wordplay. The theme of magpies (xique 喜鵲), a homophone for 'happiness' (xi 喜), on top (shang 上) of prunus branches (meishao 梅梢), which puns with 'eyebrows' (meishao 眉梢) forms a rebus for the blessing, 'May happiness reach up to your eyebrows' (喜上眉梢).The decoration on the present lot is rare for its gilding, which is a most unusual feature to survive to the present day. The design also appears to be related to woodblock prints of flowers and birds, such as the Shizhuzhai shuhua pu (Ten Bamboo Studio Manual of Calligraphy and Painting), published by Hu Zhengyan (1584-1674) and printed between 1619 and 1633. The increasing availability of illustrated woodblock printed books, including pharmaceutical literature dealing with plants and their medicinal properties helped facilitate their design on porcelain. See for example, a blue and white brushpot, cyclically dated to 1638, with similar design of flowers and birds, and its source from the Ten Bamboo Studio Manual of Calligraphy and Painting, illustrated by T.Canepa and K.Butler, Leaping the Dragon Gate: The Sir Michael Butler Collection of Seventeenth-Century Chinese Porcelain, London, 2021, p.231.Compare with a related but narrower famille verte brushpot, decorated with flowers and birds, Kangxi, illustrated in The Complete Collection of the Treasures of the Palace Museum: Porcelains and Contrasting Colours, Shenzhen, 2007, p.97, no.89. Another related famille verte brushpot with lotus and kingfisher and calligraphic inscription, Kangxi, is also illustrated in ibid., no.91.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
MILITARY GUNNERY AND ARTILLERY: 'Addiscombe Its Heroes and Men of Note', Westminster 1894. Boards stained, internally good. 'Treatise on Military Carriages and Stores Connected with them', 6th ed. Many plates/fold outs. 'History of the Royal Sappers and Miners', Vol 2 only, London, 1857, Longmans. 'Treatise on Ammunition' 1875; an annotated/edited proof in the author's hand. Recently rebound (even the fragmentary titele page etc). 'Manual of Gunnery for Her Majesty's Fleet Confidential No 1284, 1885/6, London, Eyre and Spottiswoode. 'Textbook of Military Topography', 1884. And others as added.
NAVAL ARCHITECTURE AND RELATED MATTERS: A very intersting small collection. 8 volumes: YOUNG, Charles F.T., 'The Fouling and Corrosion of Iron Ships: their causes and means of Prevention, with The Mode of Application to the Existing Iron-Clads'. Irrespective of the importance of the book (condition 'good' but with small flaws), interesting as it carries the gilt decoration of H.M.S.S. WARRIOR to the front board. The London Drawing Assoc., 1867. With Scott, Michael, 'Occasional Papers Vol. II, Gunnery and Naval Architecture', Longmans, 1874. With: White, W.H., 'A Manual of Naval Architecture etc.', 3rd rev. ed., John Murray, London, 1894. And: Walker, Sir Charles, 'Thirty-Six Years at the Admiralty', Lincoln Williams, London, 1933. And: Hamilton, Sir Vesey: 'Naval Administration', Bell, London, 1896. Three later but quite rare volumes: Pool, Bernard, 'Navy Board Contracts 1660-1832', Longmans; Rodger, N.A.M., 'The Admiralty', Terence Dalton, Lavenham, 1979; and Morriss, Roger: 'The Royal Dockyards During the Revolutionary and Napoleonic Wars', Leicester University Press, 1983.
MILITARY HANDBOOKS to include: 'The Machine Gunners' Handbook' (with trajectory card etc. in flap to front board) in the 'Kingsway' Service Series. 10th ed. prev.owner's name (Royal Flying Corps) and handwritten notes to rear; 'Infantry Training (4-Company Organization) 1914 General Staff War Office, HMSO; 'Naval and Military Technical Dictionary French-English English-French by Major M. Maunsall 4th ed., 1918; 'Regulations of the Danger Buildings Royal Laboratory' 5th ed., 1916; 'Combined Operations Pamphlets No 34 and 34A' Royal Artillery, April 1943: 'This document must not fall into Enemy Hands'; 'Field reconnaissance and Protection Against Unexploded Bombs', 1952, Pamphlet No. 9; Infantry Training Volume VI TACTICS, 1950; 'Combined Operations Pamphlets' Nos. 1, 2, 6, 6B and 6C; 'Signalling Regulations', War Office 1904; 'Training Manual - Signalling (Provisional)', General Staff, War Office, 1915; 'Infantry Training', Published by The Church Lads Brigade, London, 1908. And a copy of the King's Regulations, 1912.
Eight publications The Craft of the Potter: A Practical Guide to Making Pottery. Michael Casson. Published 1977 British Broadcasting Corporation. Softcover.Ceramic Review. Magazine. Issue Number 165, May/June 1997.Dancing the Clay: Ceramics by Tony Lattimer. Exhibition catalogue. Plymouth City Museum & Art Gallery 2008.South Devon Pottery. Exeter Museums Publication No. 85.Kiln Building. Ian Gregory. Published 1977 by Pitman Publishing Limited. Softcover.Getting Into Potes: A Basic Pottery Manual. Geroge and Nancy Wettlaufer. Published 1976 by Prentice-Hall Inc.Domestic Pottery. Exhibition catalogue. Crafts Advisory Committee 1977.Techniques of the Truro Pottery. Truro Pottery and Old Kilm Museum. Booklet.
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