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A collection of Factory Y and New Hall items, tea bowls, cups, saucers, teapot stand, etc

Second Coming of The Theatre Royal Dublin Ephemera: Theatre Royal, Dublin. Souvenir Programme of the Gala Opening of the Theatre Royal, Dublin on September 23rd 1935, 4to D. (Ormond Printing) 1935. Sole Edn., 34pp. with illus., adverts etc., orig. pict. ptd. wrappers. Good & Scarce. (1) * The Second Grand Opening of The Theatre Royal. The first Theatre was built on the same site but was burned down in 1880. It was replaced by The Leinster Hall built in 1886, and subsequently the Theatre Royal Hippodrome, demolished in 1934. The new or Second Theatre Royal was opened to great fanfare on September 23rd, 1935, by Sean Lemass, supported by Dublin's great Lord Mayor, the Rt. Hon. Alfie Byrne, T.D., with Count John Mc Cormack as guest. The Theatre Royal with its 3850 seats was the biggest Theatre in Ireland, and one of the largest in Europe. However after only 27 years, and having hosted most of Ireland's greatest stars & personalities, and some of the world's greatest entertainers, the Theatre Royal closed its doors for the last time in July 1962. (1)

An octagonal silver comport with pierced corners, Walker & Hall, Birmingham 1919 and two US Sterling embossed dishes by J. E. Caldwell of Philadelphia and Whiting Manufacturing New York to/w an engine-turned napkin ring, Birmingham 1943 (4), 12.4 oz total

A good tray of mixed ceramics including C19th Davenport tongue stand, sprigware jug, two Quimper dishes, Poole jug, New hall teacup and an Art Nouveau Torquay type vase.

- The ex-Spectre Supersport demonstrator and last of 23 examples built - Three former keepers and 22,000 miles from new, MOT'd till Nov 2016 - Quoted 175mph top speed, 4.6 litre V8 (350bhp/335lbft) and 5-speed transaxle A very decent junior supercar, then? Indeed, but also one that fulfilled its creators' self-imposed brief, to be a supercar that was easy for a novice to drive, docile around town and, as Spectre's brochures suggested, 'a super sportscar that is no more expensive to maintain than a family saloon'. - Alastair Clements, Classic & Sportscar (May 2009) Conceived by Ray Christopher of GT Developments as a roadgoing GT40 for the 1990s, the R42 was based around a Group C-style honeycomb-reinforced folded aluminium sheet monocoque equipped with all-round independent suspension, four-wheel vented disc brakes and power assisted rack and pinion steering. Originally developed for Ford and Audi respectively, its 4603cc all-alloy 350bhp/335lbft V8 engine was allied to a five-speed Getrag transaxle. The GRP-bodied design was put into production by Anders Hildebrand of Spectre Supersport Ltd who got Stockholm University to hone its 0.28 drag coefficient and multiple Le Mans-winner Derek Bell to come on board as chairman and development consultant before securing the mid-engined, 175mph two-seater a starring role in the 1997 film RPM alongside David Arquette, Famke Janssen and Jerry Hall. Priced at a loss making £74,950 due to the 2,000 hours that each one took to complete, R42 production was strictly limited. A former Spectre Supersport Ltd demonstrator and the last of just 23 examples made, 'S759 KLJ' is further notable for being the very machine that Classic & Sportscar profiled. Having used the R42 to break the ice with petrolhead clients, the vendor describes it as 'a quick, well-appointed car with no known faults that is a joy to drive and easy to own'. Maintained during his tenure by ZUL Racing of Derby, recent work has seen the Spectre treated to a new battery, rear tyres, air-con pump overhaul and replacement fuel tank. A real rarity that has covered just 22,000 miles from new, 'S759 KLJ' is offered for sale with its Spectre company mileage logbook, CD stereo, sat-nav, manual and fresh MOT certificate.

Dickens, Charles - The Works, Centenary edition, 36 vols, ¾ blue leather with blue boards by Oxford binders, Chapman and Hall, London and New York, 1910-11

Jean Palardy,'The Early Furniture of French Canada',published by Macmillan, 1965,Allison Boor et al,'Philadelphia Empire Furniture',published by University Press of New England, 2006,Charles L Venable,'American Furniture in the Bybee Collection',published by The University of Texas Press, 1989,John J Snyder Jr.,'Philadelphia Furniture and its Makers',published by Main Street-Universe Books, 1975,Reinhild Kauenhoven Janzen and John M Janzen,'Mennonite Furniture - A Migrant Tradition (1766-1910)',published by Good Books, 1991,Thomas Gordon Smith,'John Hall and the Grecian Style in America',published by Acanthus Press, 1996,Jeremy Adamson,'American Wicker - Woven Furniture from 1850 to 1930',published by Rizzoli, 1993,Samuel Chamberlain and Narcissa Chamberlain,'Southern Interiors of Charleston, South Carolina',published by Hastings House, 1956,Morrison H Heckscher and Leslie Greene Bowman,'American Rococo, 1750-1775: Elegance and Ornament',published by Metropoli

HAHN OTTO: (1879-1968) German Chemist, Nobel Prize winner for Chemistry, 1944. Hahn is considered the father of nuclear chemistry. A vintage signed 4 x 6 colour postcard, the image depicting a botanical plant and with a printed calligraphic quotation in German. Signed in bold blue fountain pen ink by Hahn to a clear area at the base and dated Gottingen, 1964 in his hand. Together with an autograph envelope signed by Hahn, addressed in his hand to Miss Clara Lieber at Butler Hall, 119th Street, New York City, also providing an alternative address at West Washington Street in Indianapolis, signed (‘Prof. Otto Hahn’) by Hahn in fountain pen ink to the verso. Although not bearing any post marks, the envelope most likely dates from the time when Hahn was interned at Farm Hall in England, 1945-46. Some tears to the right edge of the envelope, where originally opened, otherwise VG, 2 Clara Lieber (1902-1982) American Chemist and student of Hahn.

GEORGE VI: (1895-1952) King of the United Kingdom 1936-52. A.L.S., Albert, as Duke of York, four pages, 8vo, Holwick Hall, Middleton-in-Teesdale, 8th September 1925, to [Henry] Newcombe. The Duke sends another film for his correspondent to develop and remarks 'I was sorry about the light getting into the last one as it is a great nuisance. I think I know the reason for this. When you put the film in & start the machine the join of the red paper to the sensitive paper causes the motor to stop, due to the difference in thickness of the two papers. The papers should be bevelled off so as to get rid of the hard edge. This film may also have a bad start, & when I put the present new film in it stuck at the join', asking his correspondent to point the fault out to Kodak, and asking for the developed photographs to be sent to Balmoral. Together with a second A.L.S., Albert, as Duke of York, four pages, 8vo, Piccadilly, 26th July 1928, also to [Henry] Newcombe. The Duke asks for a film to be printed and developed 'on the dull paper as before' and further commenting on a previous film, 'I think what must have happened to the film which has been through twice is that I must have put it back instead of a new one. But is this possible as there is no red paper at the end?', also adding 'I remember you telling me that a film I sent from Scotland last year was blank & then you could not find another one which I had sent you. So perhaps this is the explanation, though it does not seem possible'. Also including four original vintage photographs, presumably taken by the Duke himself (and quite possibly unpublished), three of the images (4.5 x 3) taken from Buckingham Palace and depicting a Royal procession, The Mall and a large group of people encircling the Victoria Memorial opposite Buckingham Palace, and the fourth image (6 x 4.5) depicting the Duchess of York seated outdoors in a three quarter length pose accompanied by the young Princesses Elizabeth and Margaret. Further including Prince Henry (1900-1974) Duke of Gloucester, brother of King George VI. A.L.S., Henry, five pages, 8vo, Sandringham, Norfolk, 27th January 1931, to [Henry] Newcombe, requesting a number of enlargements of photographs, and listing the relevant numbers from various books and further asking that Kodak make different titles for the albums, including The Races, A Safari through the Arussi district, On Mt. Chilalo, On the way to the River Hawash & last camp etc., and remarking 'I will put them in myself & then will send you all the films to be copied'. The Prince concludes by asking about the whereabouts of six negatives that he had sent previously for enlargement and which he has not yet seen ('They were of people shooting') and requests that everything be sent to him at Buckingham Palace. An interesting series of letters. VG, 7 Harry Sainsbury Newcombe (1901-1988) English Photographer and General Manager of Wallace Heaton of Bond Street, responsible for the personal photography of the Royal Family.

A pink lustre New Hall Boumier ware Bowl

Two similar late 18thC New Hall porcelain oval, lobed dishes, decorated in colours with simple floral designs pattern nos.191 & 312

Two similar late 18thC New Hall porcelain pedestal cream jugs of tapered form, decorated in colours with simple floral designs pattern nos. 186 & 208

Two similar late 18thC New Hall porcelain pedestal cream jugs of tapered form, decorated in colours with simple floral designs pattern nos.191 & 298

A late 18thC New Hall porcelain, wavy edged, twin loop handled cup and saucer, decorated in colours with floral borders and gilding pattern no.83

A late 18thC New Hall porcelain teapot of oval, serpentine outline, having straight sides, an upstand rim, a ventilated finial cover, a loop handle and an angled spout, decorated in colours in Chinese taste with figures on a terrace

An early 19thC New Hall porcelain tea cup and saucer with a ring handle and a matching coffee can, decorated in gilded iron red and cobalt blue; and two contemporary New Hall cups and saucers of similar design, respectively decorated with silvered iron red and gilded midnight blue designs

A late 18thC New Hall porcelain teapot of tapered, oval, bulbous form, having a domed cover, finial and S-shaped spout, decorated in colours with simple floral designs pattern nos.353

A late 18thC New Hall porcelain helmet shaped cream jug, decorated in colours with simple floral designs pattern no.122; and another, similar of multi-panelled form pattern no.139

A late 18thC New Hall porcelain cream jug of tapered, oval, serpentine outline, decorated in colours with simple floral designs pattern no.195; and another, oval with straight sides and similar ornament pattern no.297

A late 18thC New Hall porcelain asparagus server, decorated in blue and white with floral designs

Two similar late 18thC New Hall porcelain oval dishes, one decorated in monochrome a woman and a dog, seated beside a tree within a gilt border pattern no.462; the other, in Chinese taste with three figures in a garden setting pattern no.421 6.75''w

Three similar late 18thC New Hall porcelain tea bowls and saucers, decorated in colours with simple floral designs pattern nos. 467, 3 & 594

Three dissimilar late 18thC New Hall porcelain tea cups and saucers, one having a ring handle, decorated in silvered cobalt blue and red; another with a loop handle, in gilded midnight blue pattern no.248; and a third, ornamented in simple floral designs pattern no.139

Two similar late 18thC New Hall porcelain coffee cans and saucers, one having a ring handle decorated in monochrome with buildings and figures; the other pattern no. 462 in gilded midnight blue and iron red pattern no. 446; and a contemporary New Hall porcelain tea cup and saucer with gilded orange coloured designs pattern no. 459

A late 18th/early 19thC New Hall porcelain punch bowl, decorated in iron red and pink on a midnight blue ground with uniform designs pattern no. 1474 11''dia

Three similar late 18thC New Hall porcelain tea bowls and saucers, decorated in colours with simple floral designs pattern nos. 519, 213 & 366

A late 18thC Bristol New Hall porcelain tea cup and saucer, decorated with floral sprigs and patterned gilded borders

Three late 18thC New Hall porcelain tea bowls and saucers, respectively decorated in monochrome with floral sprigs pattern no.295; another with gilded blue and red floral ornament pattern no.202; and the third with floral sprigs and vignettes pattern no.449

Three similar late 18thC New Hall porcelain tea bowls and saucers, decorated in colours with simple floral designs pattern nos.241, 171 & 191

Three late 18thC New Hall porcelain tea bowls and saucers, respectively decorated with random gilded stars (possibly pattern no. 180); another with floral sprigs pattern no. 297; and the third with entwined green and gilded floral ornament

Five late 18thC New Hall porcelain oval spoon trays 6.75''w, viz. one featuring Chinese figures in a fenced garden; another with floral gilded sprigs; the third decorated in colours with gilded flora; the fourth in gilded midnight blue foliate designs; and the fifth with flora and swags

Seven 18th or 19th century English porcelain saucer dishes, Spode, Worcester and New Hall.

A fine and rare 1940s Stainless Steel Rolex Oyster Chronograph, REF 3525, together with its original Rolex guarantee card, dated 5/7/1943, plus the original RAF owner's WW2 medals, inscribed Irvin Gold Caterpillar Club pin and other personal effects. Description of watch: Stainless steel 'monobloc' Oyster case, ref 3525, serial number 186045. Black dial signed - Rolex Oyster Chronograph Antimagnetic - with gold coloured numerals and outer telemetric and tachometric scales; gilt, luminous hour and minute hands; subsidiary dials for running seconds and minutes elapsed. Signed 17 jewel, manual wind chronograph movement with overcoil hairspring and monometallic balance. Dial, case and movement signed. Fitted, signed Rolex leather strap with Stainless steel Rolex buckle. Diameter 35mm excl. crown and pushers. This Rolex chronograph was ordered by P/O (later Flt/Lt) John Francis Williams, known as Jack, while he was a POW in Stalag Luft III. It was delivered to him at the camp in August 1943. He took part in the Great Escape in March 1944, and was no. 67 out of tunnel "Harry".  He was recaptured and was one of the 50 to be executed by the Gestapo. His watch and a few other personal items were returned to his family after the war, by his friend and fellow POW, Flt/Lt Donald Wilson. Provenance: Left in Trust to the present owner by Jack's mother in 1973, whereby he inherited it in 1983.  It has remained in the same family for the past 70+ years.  The items in this lot were recently displayed in a special exhibition at the Bourne Hall Museum, Ewell, Surrey. Condition Report: Overall the watch is in exceptional condition. The hand wound movement is very bright and is currently running with a good action.  Both the hand-set and chronograph feature function correctly, as does the screw down crown. The original black dial with gold lettering is in very good condition with slight fading around the hour numerals, noticeable with an eyeglass. Original luminous hour and minute hands have a light patina. There are signs of rusting and pitting to the centre seconds hands due to having had a cracked glass, which has since been replaced. The steel case with screw down crown is in very good, crisp condition with minor light scratches to the case - back. The watch was serviced by the Rolex Service Centre in Bexley in 1984, when it was fitted with a new, period, leather Rolex strap and buckle, as well as one new pusher. It still has the box in which it was returned from Rolex. An accompanying tag from Rolex states that this watch is not waterproof. It has had very little use since it was serviced. As with all watches sold, we do not guarantee the accuracy or working of this watch.

Paul Henry RHA RUA, 1976-1958 COTTAGES CONNEMARA 1922-23 Oil on canvas 10½ x 12 in (25 x 30cm), Provenance: Major William Kirkwood and his wife Harriet Kirkwood, who received it as a gift from the artist, and by whom passed to Elizabeth May McGeown (nee Wall); thence by descent. Exhibited: New Irish Salon, Mills' Hall, Dublin, 4-31 March, 1923; Exhibition of Pictures by Paul and Grace Henry, Magee's Gallery, Belfast, from 12 April, 1923; (?) Exhibition of Pictures of Ireland by Paul and Grace Henry, Dublin Painters' Society, Dublin, 12-27 June, 1923

Jack Butler Yeats RHA, 1876-1957 MAN IN A TRAIN THINKING (1927) Oil on canvas, 18" x 24" (46 x 53.5cm), signed. Provenance: Ex collection of Terence de Vere White; James Adams, 1974 (lot 51); Private Collection, Dublin; Adams Important Irish Art Auction, 5th December, 2006 (lot 34); Private Collection, Dublin. Exhibited: 'Jack B Yeats' exhibition, The Tooth Gallery, London, March-April 1928, Cat No. 14;. The Royal Hibernian Academy Annual Exhibition, 1929, Cat No. 27; 'Jack B Yeats - Later Work' exhibition, Contemporary Picture Galleries, Oct-Nov 1941, Cat No. 8 where purchased by Terence de Vere White; Jack B Yeats - National Loan Exhibition', National College of Art, Dublin, June-July 1945, Cat No. 60. 'Society of Scottish Artists 52nd Exhibition', Royal Scottish Academy, Edinburgh, Spring 1946, Cat No. 147; 'Jack B Yeats Loan Exhibition', Temple Newsam House, Leeds, June-Aug 1948; 'Jack B Yeats Loan Exhibition', The Tate Gallery, London, August-September 1948, Cat No. 11. This exhibition was organised by the Arts Council of Great Britain and travelled on to the Aberdeen Art Gallery and Edinburgh, Royal Scottish Academy; 'Jack B Yeats - A Selection of Paintings' exhibition, Sligo County Library and Museum, August-September 1960, Cat No. 19;'Jack B Yeats - Loan Collection' exhibition presented by Sligo Arts Society, The Town Hall, Sligo, August 1961, Cat No. 56; 'Jack B Yeats - A Centenary Exhibition', The National Gallery of Ireland, Dublin, September - December 1971, Cat No. 47;'Jack B Yeats - A Centenary Exhibition', The Cultural Centre, New York, April-June 1972, Cat No. 47. Literature: Hilary Pyle, 'Jack B Yeats' - A Catalogue Raisonne of the oil paintings Vol I No. 349, page 317 - full page black and white illustration Vol III, page 146.

Radio Fun (1939) 26, 27, 29-46, 50-61 incl. Easter, Anniversary and Whitsun Holiday numbers. Propaganda war comic strips and stories. Starring Big-Hearted Arthur, Flanagan and Allen, Over Enemy Lines, Radio Fun Music Hall, Sandy Powell and Inspector Stanley. No 56 heralded new patriotic title design. Bright covers, some spine wear, cream/light tan pages. 46 [vg-], balance [vg/vg+] (32)

ROCK AND POP POSTERS, VARIOUS ARTISTS INCLUDING PHIL LYNOTT, STATUS QUO, THE ROLLING STONES, GENESIS - A TRICK OF THE TAIL, NEW BINGLEY HALL, STAFFORD, SATURDAY 10th JULY 7.30, WISHBONE ASH, LEVEL 42 [16]

A New Hall teapot and cover – pattern 748

A New Hall silver shaped cream jug – pattern 195

A New Hall tea bowl and saucer – pattern 173 (2)

A New Hall teacup and saucer – pattern 835 (2)

A New Hall tea bowl and saucer – pattern 984 (2)

A New Hall fluted coffee cup and saucer – early pattern 90

A group of English porcelain, late 18th century, comprising; a Bristol milk jug, circa 1775, painted with flowers beneath a border of undulating laurel leaves, (a.f), 12cm.high; a New Hall helmet shaped milk jug painted with a basket of flowers, 12.5cm. high; a Derby spiral fluted coffee cup and saucer; A Coalport cream jug of low Chelsea ewer form, and a Caughley blue and gilt fluted saucer.

***PLEASE NOTE THAT THE DESCRIPTION FOR THIS LOT HAS CHANGED. ***PLEASE SEE LOT 1A FOR THE WALES v NEW ZEALAND JERSEY. ****THE JERSEY IN THIS LOT IS MATCH-WORN BY GEORGE NEPIA IN THE CARDIFF v NEW ZEALAND MATCH PLAYED ON THE 22ND NOVEMBER 1924The All Blacks won the match 16-8. After the match Nepia swapped jerseys with his opposite number Tom Albert 'Codger' Johnson. Tom Johnson, retained the jersey and is the maternal grandfather of our vendor who is offering the jersey at auction. The jersey is in the traditional black with white collar, it is complete with draw-string, embroidered New Zealand fern to a stitched felt panel to the breast and with white felt number '1' to a square stitched panel to the back. The jersey is in an excellent complete state without any damage of note.Accompanying the jersey is a printed cardboard plaque which reads 'NEW ZEALAND JERSEY WORN BY ''NEPIA'' THE FAMOUS ALL BLACK'. The plaque stood alongside the jersey in a 1930s window-display at James Howells department store - an historic and landmark retailer located in Cardiff city centre (now part of the House of Fraser group).During the tour George Nepia won lavish praise for his faultless displays of kicking, tackling and fielding. The tour gained them the nickname 'The Invincibles' due to their record of playing 32 games and winning all 32, including four test matches. In the process they scored a formidable 838 points with only 116 points having been scored against them. Nepia was the only player out of the 29-strong squad to play every match, he was the scorer of 77 points. Nepia's performances prompted one leading British journalist to write, 'it is not for me to question whether Nepia was the best fullback in history. It is a question of, which others are fit to loosen the laces of his Cotton Oxford boots'George Nepia is regarded as one of rugby's finest ever full-backs and the most famous Maori of his generation. He was the third inductee to the New Zealand Sports Hall of Fame and one of the first fifteen players to be inducted to the International Rugby Hall of Fame during its inaugural year. In 2004 he was selected as number 65 in 'New Zealand's Top 100 History Makers' television show. George Nepia's portrait was featured in a set of New Zealand postage stamps in 1990 and in 'A Concise History of New Zealand' by Philippa Mein Smith, George Nepia is described as New Zealand's 'first rugby superstar'.George Nepia is also an important figure in terms of Maori racial history; the player was stopped from touring South Africa at the 'eleventh hour' as described in his biography '…it would be impolitic for us, as non-caucasians, to attempt to travel in a country whose policies toward non-Whites were even then severely restrictive.

A New Zealand All Blacks rugby jersey worn by the great George Nepia (1905-1986) in the first ever All Blacks defeat of Wales at Swansea in 1924. The All Blacks won the match 19-0 with the Maori full back in superb form, a remarkable display considering he was only nineteen at the time. The jersey is in the traditional black with white collar, it is complete with draw-string, embroidered New Zealand fern, which points vertically, to a stitched felt panel to the breast and with white felt number '1' to a square stitched panel to the back. There is ‘diamond’ cross-stitch to the shoulders and upper-chest. It bears an internal label inscribed D.HIDDLESTONE. The jersey is in an excellent complete state without any damage of note. Provenance: As per the internal label, the jersey was in the ownership of David ‘Dai’ Hiddlestone. Dai Hiddlestone (1890-1973) was a Welsh international rugby union player who was capped five times for Wales including against New Zealand in the aforementioned 1924 test - he only played against the All Blacks this once for either club or country. The 1924 test was played on the 29th November at St Helen’s rugby ground in Swansea. Apart from the outcome being Wales first defeat against the All Blacks, the match was notable for Dai Hiddlestone’s impromptu and ill-advised war-dance, a response to the New Zealander’s pre-match Haka. It is thought that George Nepia, unlike other witnesses, wasn’t offended by Hiddlestone’s antics and actually sought the player out to swap jerseys. What is absolutely clear is that both jerseys must have been swapped as Hiddlestone only played against the All Blacks once. Dai Hiddlestone’s family confirm these circumstances. This type of jersey with the ‘vertical fern’ is supported by a pre-match photograph, included in our on-line cataloguing. In the years after the match, Hiddlestone intermittently displayed the jersey at his home rugby-club Hendy RFC and in the 1960s the jersey was donated to the club on a ‘permanent loan’. The jersey has been viewed by many tourers including a Maori Youth touring team whilst visiting Llanelli, the team included the late great Jerry Collins. After Dai Hiddlestone’s death in 1973, the jersey was passed on to his daughter and then to her children by descent. One of the children being the Welsh capped and British Lions player Terry Price (1945-1993). Joint ownership has been agreed between the Price family and Hendy RFC. It was reported that during the match Nepia and fly-half Jack Wetter, the Welsh captain were in a collision. The Welshman temporary retiring from the field of play but returned early in the second half to play out the game with a pronounced limp. Consequently, Hiddlestone who was employed as flanker was pushed out of the forwards in to the back-line as extra cover. Thus in a more opposing role to George Nepia’s position and so providing further reasoning as to why Nepia and Hiddlestone swapped jerseys. It is explained in his autobiography 'I, George Nepia' (A H & A W Reed, 1963) that the Wales victory was regarded as retribution for the 1905 loss for 'The Originals' in Cardiff which was regarded by many as '…..a miscarriage of justice attributable to incompetent refereeing. We had been brought up to believe that Bob Deans, the centre who scored the try which was disallowed, had exclaimed on his death-bed, only three years later ''It was a try'', and every New Zealand witness of the game was prepared to swear his life away to the same effect. All this had convinced us that whatever we did, we must beat the Welsh'.  During the tour he won lavish praise for his faultless displays of kicking, tackling and fielding. The test match against Wales was the twenty-first match of their 1924-25 tour of UK, Ireland, France and Canada. The tour gained them the nickname 'The Invincibles' due to their record of playing 32 games and winning all 32, including four test matches. In the process they scored a formidable 838 points with only 116 points having been scored against them. Nepia was the only player out of the 29-strong squad to play every match, he was the scorer of 77 points. Nepia's performances prompted one leading British journalist to write, 'it is not for me to question whether Nepia was the best fullback in history. It is a question of, which others are fit to loosen the laces of his Cotton Oxford boots' George Nepia is regarded as one of rugby's finest ever full-backs and the most famous Maori of his generation. He was the third inductee to the New Zealand Sports Hall of Fame and one of the first fifteen players to be inducted to the International Rugby Hall of Fame during its inaugural year. In 2004 he was selected as number 65 in 'New Zealand's Top 100 History Makers' television show. George Nepia's portrait was featured in a set of New Zealand postage stamps in 1990 and in 'A Concise History of New Zealand' by Philippa Mein Smith, George Nepia is described as New Zealand's 'first rugby superstar'. George Nepia is also an important figure in terms of Maori racial history; the player was stopped from touring South Africa at the ‘eleventh hour’ as described in his biography ‘…it would be impolitic for us, as non-caucasians, to attempt to travel in a country whose policies toward non-Whites were even then severely restrictive’. 

A 19th century tea bowl, painted in the New Hall style with panels of Chinese figures, 8cm diameter, another 19th century floral painted tea bowl, 8cm diameter and a bowl and cover of osier moulded oval form painted with sprays of flowers within gilt-borders, 9.5cm diameter (3)

CONTEMPORARY JAZZ - Nice collection of 26 x LP's to include rare titles. Artists/titles to include Erik Truffaz - Bending New Corners (French Blue Note original issue from 1999), Howard Riley (x2) (GCM 771/781 Mosaic), Meredith Monk - Key, The Martin Hall Concept - Cutting Through, Miles Davis - In A Silent Way, Jan Garbarek/Kjell Johnsen, Keith Jarrett - Hymns Spheres and Michael Fahres.

John Northcote Nash (1893-1977) - Nigella Hispanica, c1926, pencil & watercolour, signed, titled and inscribed with notes in pencil, paper labels verso for 'New Grafton Gallery, Exhibited 18.5.78, the property of Hugh Johnson Esq, Sailing Hall, Great Sailing, Nr. Braintree, Essex' and 'Art at the Minories, Memorial Exhibition to John Nash, January-February 1979, no. 11, private collection', 42 x 27cm approx.

A New Hall PORCELAIN teapot stand, LATE 18TH CENTURY silver shaped fluted, painted with flower sprigs inside an orange lined rim 18cm long

A New Hall teabowl and saucer with matching saucer dish c.1790, decorated in pattern 421 of Chinese figures in a garden, a boy trying to catch a butterfly, and a pearlware teabowl and saucer decorated in the same pattern, some faults, 21.4cm max. (5)

A small collection of Chinese export porcelain tea wares 2nd half 18th century, decorated in the Mandarin palette with scenes of Chinese figures in garden settings, within elaborate scrolled borders of landscape panels and floral motifs on gilt or diaper grounds. Comprising: a saucer dish, a milk jug, a rare salt, two saucers, a coffee cup and an ogee shape cup. (7) Elements of the designs shown here were picked up and recreated on New Hall (especially the Boy in the Window pattern), and also on Swansea pieces from c.1815-17 which echoed the elaborate border as well as the palette used. Provenance: from the Geoffrey Godden Reference Collection.

A New Hall teapot and cover late 18th century, the shaped straight-sided body decorated with a stylized gilt leaf border, a New Hall sucrier and cover decorated in pattern 288, a slop bowl in pattern 4710, and a milk jug painted with simple flower sprigs and pink diaper panels, some restoration to the teapot, 24.5cm max. (6)

A New Hall tea service with scroll borders in gilt and dark amber, comprising teapot, cover and stand, 11 tea bowls, 11 saucers, 7 cups, 2 circular dishes and a spoon tray Condition Report: Old repair to handle at top of teapot with meets body. Stand with section riveted. Star crack to base on one plate. One saucer with hairline crack, one badly cracked and riveted. Some minor chips to base rims of teabowls. On with section riveted. One with chip to rim. One with cracks to body.

A New Hall porcelain bat printed silver-shaped teapot, early 19th Century, decorated with scene on the Nile and with rural vignettes, pattern number 1063, 15cms and a New Hall bat printed tea cup and saucer, decorated with English scenes, (3).

A New Hall polychrome porcelain tea bowl and saucer, boy and butterfly pattern, circa 1800, decorated with Mandarin figures and two other New Hall tea cups and saucers, each with polychrome decoration of Mandarin figures, (6).

A New Hall polychrome porcelain trio, late 18th Century, decorated with floral sprigs and a ribbon twist and a New Hall tea bowl and saucer, lightly fluted, decorated with dispersed sprigs, (5).

A New Hall polychrome porcelain tea bowl and saucer, late 18th Century, decorated with floral sprigs and pendant flowers and two other New Hall tea bowls and saucers, each with floral sprigs, festooning, (6).

A New Hall polychrome porcelain tea cup and saucer, circa 1800, decorated with floral sprays and sprigs, a New Hall tea bowl and saucer, decorated with flower-filled vases and with pink hatched segments, together with a New Hall basin, decorated with Mandarin figures, (5). Provenance: The former labelled "Municipal Museum, Hull.

A late 18th century New Hall cream jug and matching pair of teabowls, the jug 12cm high.