There are 9112 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribecomprising five circular bowls and six cups, predominantly New Hall, decorated with floral and leaf designs, including patterns 270 and 472, also a Warburtons Patent (pattern 846) circular bowl and a Thomas Wolfe bowl Provenance: The Collection of the late Dr John Corley Richards (1954-2022), Senior Lecturer in History of Art, University of Glasgow.
Velocette MSS 500-engined KTS frame being offered with No Reserve. Hall Green-based Veloce Ltd started manufacturing bikes in the early 1900sWith numerous TT victories in the 1920s and a reputation for build quality, Velocettes quickly became desirable bikesThis mostly unrestored machine has been laid up for some considerable timeThe frame has been changed from its original 1946 MSS to an earlier 1936 KTS exampleThe engine and forks are correct for the 1946 MSS and gearbox appears to be a pre-war unitNo current V5C present but is registered still on its original number, showing incorrect frame numberComplete with an old V5, RF60 log book and a collection of Velocette handbooksWill require recommissioning or restoring before road use. Obtaining a new V5C will be the responsibility of the buyerBeing offered with No ReserveSpecification Make: VELOCETTE Model: KTS Year: 1939 Registration Number: GFJ 728 Engine Number: MSS 6168Click here for more details and images
Ex-Scotland Yard Velocette LE Mk II being offered without Reserve. Built by Velocette in Hall Green between 1948 to 1971Mark Is were 149cc and then later the engines were expanded to 192ccFavoured by the Police, hence the nickname Noddy Bikes, as they were quiet, reliable machinesThis older restoration example is ex-Scotland Yard and is presented in good overall condition803 BGF was part of a large batch of machines bought by the Metropolitan Police in late 1960. This Mk II example was registered new in 1961 by the Met but was manufactured c.1957This example is fitted with a 1954 Mk II engine as it was easier to swap engines in period than fix them in placeIn running order and complete with its original RF60 'buff' logbookComplete with some spare parts including panniers and old hand booksTransferrable registration numberUK-registered on a current V5COffered with No ReserveSpecification Make: VELOCETTE Model: LE MK II Year: 1961 Registration Number: 803 BGF Engine Number: 7749/3Click here for more details and images
DESIGNERS - PATRICIA URQUIOLA; TOM DIXON; MARCEL WANDERS ETC Comprising; Patricia Urquiola: Time to Make a Book, Patricia Urquiola, Rizzoli, 2013 Lisa Perry: Fashion, Homes, Design, Lisa Perry, Assouline, 2019 Barber Osgerby Projects, Edward Barber and Jay Osgerby, Rizzoli, 2017 Marcel Wanders: Behind the Ceiling, Marcel Wanders, Gestalten, 2009 Campana Brothers - Complete Works (So Far), Albion, 2010 Tom Dixon, Davide F. Colaci, 24 Ore Cultura, 2011 India Mahdavi, India Mahdavi, Chronicle Books, 2017 Woman Made: Great Women Designers, Jane Hall, Phaidon Press, 2021 Gert Voorjans, Gert Voorjans, Lannoo Publishers, 2018 Design in Asia: The New Wave, Aric Chen, Thames & Hudson, 2020 Design by Nature, Tanov, Ten Speed Press, 2018 Tom Dixon: Dixonary, Tom Dixon, Violette Editions, 2013 (12) Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
A 19thC Chinese porcelain famille rose Teapot, of cylindrical form with twist handles and foliate finial to cover, H 16cm, together with a 19thC Chinese blue and white Vase and cover, decorated in typical style, four character apocryphal Kangxi mark to base, H 26cm, also with a Chinese octagonal Teapot of small proportions, an octagonal blue and white willow type Plate, D 16.5cm and three antique porcelain Chocolate Cups, possibly New Hall, each with monograms, H 10cm etc.
An early 19th century New Hall porcelain children playing and similar printed pattern wares - teapot and stand, cup and two saucers (6)teapot and lid - flake to lid, flake to spoutstand - old firing markssaucer - surface scratch saucer - oktea cup - restoration to handlegenerally in good condition - adhesive marks from old stickers
Approximately sixty five Rock / Pop / New Wave LPs including Siouxsie & The Banshees, The Police, Madonna, U2, John Lennon, Wings, Simple Minds, Talking Heads, Suzanne Vega, Christopher Cross, Depeche Mode, Elton John, Daryl Hall, a-ha, Fleetwood Mac, Lionel Richie, Spandau Ballet, Rick Wakeman, Gloria Estefan, Thompson Twins, Echo & The Bunny Men, Toto, Eurythmics, Human League, Slade, Joe Jackson, Frankie Goes To Hollywood, Big Country, Proclaimers, Squeeze etc
Thirty eight Soul, Reggae, New Wave and Rock LPs, two 10" singles and twenty 12" singles, including John Holt One Thousand Volts Of Holt, Trojan, Bob Marley Exodus, Michael Jackson Thriller, The Stylistics, The Miracles, Diana Ross, Randy Crawford, Philip Bailey, Sade, Van McCoy, The Temptations, Men Without Hats, The Pretenders, Mike Oldfield, Blondie Parallel Lines, Rare Bird, Talk Talk The Colour of Spring, Rod Stewart, Abba, Fleetwood Mac, Eurythmics, Pat Benatar, The Communards, Daryl Hall, New Order True Faith, Sisters of Mercy, Lene Lovich, Hyper Vyper Easy Livin', Scarlet Fantastic, Curiosity Killed The Cat, Billy Idol, The Bluebells, Turtle Power and Iggy Pop, LPs appear generally VG+ with some grading higher or lower, 12" singles appear generally VG+ to Ex+
Religion – Birket Foster (Myles), illus. Sabbath Bells Chimed by the Poets, new edn., London, Ward, Lock & Tyler, n. d. (1874), 8vo, unpaginated, chromolithographic frontis., numerous engraving and vignettes, some in colour, gilt edges, bound black and gilt embossed bevelled boards with titles to front board and spine; Severin (Mark) and Reid (Andrew), European ex Libris 1950-1970: Engraved Bookplates, Pinner (Middlesex) Private Libraries Association 1972, royal 8vo, 176pp, profuse monochrome illus., orange end-papers matching printed dust wrapper, green cloth boards, virtually mint; Book of Common Prayer, stereotype edition, Cambridge 1822, small 8vo, Acts and Preliminaries, tables, etc. 32 + 33-60 + addendum: prayers and forms of service for use at sea, gunpowder Treason, Restoration of the Royal Family, King’s Accession, Articles of Religion, Tables of Kindred and Affinity, bound with Tate (Nahum 1652-1715) & Brady (Nicholas, 1659-1726), A New Version of the Psalms of David, Cambridge 1824, 84pp, heraldic book plate, arms of de Rodes in garter with motto and crest above, Barlborough Hall below, gilt edges, blue endpapers, bound maroon boards, gilt lines and lettered Barlbro’ Hall/1826 to front board, five raised bands and gilt titles to spine with date 1822, front board and spine coming away (2) *** The prayer book is from the domestic chapel of Barlborough Hall, Derbyshire, one of a number commissioned by Cornelius Heathcote de Rodes, (d. 1825) the squire. The hall was built c. 1590 by Robert Smythson of Judge Sir Francis Rodes (d. 1588), whose son was created a baronet and whose line became extinct in 1743 (albeit with a surviving branch in the US), but the family continued through three female lines, retaining the name de Rodes until inherited by Godfrey Locker-Lampson, MP. Since his death the house has been a Catholic prep school; Various – Smiles (Samuel, 1812-1904), Lives of the Engineers: Early Engineering, popular edition, London, John Murray, 1904, 8vo, xxxiv + 380pp, 6 plates and 49 line illus., Sir Cornelius Vermuyden, Sir Hugh Myddleton, Bt., Captain Perry, James Brindley with an appendix on Pierre-Paul Riquet, bound embossed red boards, gilt titles to spine; Smiles (Samuel, 1812-1904), Lives of the Engineers: Smeaton and Rennie: Harbours-Lighthouses-Bridges, popular edition, London, John Murray, 1904 12mo, 459pp, frontis of Smeaton, 7 plans 78 line illus., label to inside cover Evans, Fraser & Co. Bombay, library sticker inside rear board, red embossed boards, gilt embellishments, gilt spine titles, spine tearing at top; Smiles (Sameul 1812-1904), The Story of the Life of George Stephenson including a Memoir of his son, Robert Stephenson, revised edn., London, John Murray, 1864, 12mo, 380pp, engraved frontis., illustrations, bound embossed red boards, gilt titles and spine titles, spine tearing at top); Blackburn (Henry), Randolph Caldecott: A Personal Memoir of His Early Art Career, 1st edn., London, Sampson Low, 1886 8vo, xvi + 216pp, 172 illus., gilt edges, gilt and black printed green boards, gilt spine titles (4); Various – Aldin (Cecil 1870-1935) Old Inns, new impression, London, William Heinemann 1921, large 8vo, 149pp, 16 coloured plates and 12 monochrome, black boards, gilt titles and to spine; Cundall (H, M., ISO, FSA), Birket Foster RWS, London, A & C Black, 1st edition, 1906, 8vo, xx + 216pp, 73 colour illus., 78 monochrome, bound colour printed blue boards, gilt titles; Crane (Walter), Line and Form by Walter Crane, London, 1st edn., George Bell, 1900, 8vo, xvi + 282pp, profusely illustrated, pink and white printed endpapers, gilt titles and design on blue boards
watercolour on paper, signed, titled label verso mounted, framed and under glass image size 55cm x 37cm, overall size 79cm x 61cm Note: Angus McEwan was born in 1963 in Dundee, Scotland. Angus studied at the Duncan of Jordanstone College Art in Dundee, graduating in Fine Art and a Post Graduate Diploma in the same discipline. Angus was elected to the Royal Scottish Society of Painters in Watercolours (1995) and in 2012 the Royal Watercolour Society. In 2005 he was recognized as an Associate of the International Guild of Realism USA. He is also an associate member of the AWS and NWS in the USA. Angus has been Finalist three times of the ''International Artist Magazine'' and won first place in the John Blockley Prize in the RI open exhibition. Angus has also won second prize in the Sunday Times Watercolour Competition (2007) in London and the International Prize ''Marche d'Acqua'' Fabriano, Italy in 2012. In 2013 Angus won Bronze Award, at the Shenzhen International Watercolour Biennial, in China. He was recently awarded the May Marshall Brown award at the Royal Scottish Society of Painters in Watercolours (RSW), Edinburgh, 2015 and was elected RGI in May 2016. Many galleries display McEwan's works, including Ok Harris Gallery in New York and Quanhua Gallery, Shanghai. Recently highlighted in Shenzhen Biennale and the Qingdao Hall of Watercolor. He has exhibited in Fabriano, Italy in the ''Marche d'Acqua'' International Award, as special guest and Vicenza, Italy, where he had a solo show in the ''Artbox''. McEwan was one of the 23 finalists in Narbonne, France at the Concours Mondial de l'Aquarelle 2014 1st World Watercolour Competition. Angus also exhibited at the World Watermedia Exposition, Thailand and Myro Gallery, Greece. He also participated in the Second International Watercolour Exhibit in Thessaloniki, Greece. In the UK McEwan exhibits with Thompson's Gallery (London) and The Open Eye Gallery (Edinburgh). Notable collectors include: Dundee Art Galleries and Museums; The Qatar Royal Family; the Royal Scottish Academy Collection; Ernst & Young, Glasgow; Scottish Enterprise; Scottish Equitable; Historic Scotland; Perth Royal Infirmary.
oil on canvas, signed, titled verso framed image size 75cm x 100cm, overall size 93cm x 118cm Provenance: The artist's studio sale, 2021 Note: Born in Kirkcudbright's Atkinson Place in 1933, John Halliday lived for nearly ninety years just two doors along from the house in which he was born. In the intervening decades, his restless life had been one of exploration: creatively, culturally, geographically and personally. Born into a family background where a career in art was not a likely or realistic prospect, Halliday found himself leaving Kirkcudbright Academy at the age of sixteen to take up work as a trainee on the local Galloway News. And there the story might well have ended. But a benign fate, never far away in the Halliday life story, began to take a hand in events. In 1948, Cecile Walton, daughter of the celebrated E.A. Walton, had decided to settle permanently in Kirkcudbright. Although in straitened financial circumstances, she was a woman of some style and flair which extended beyond her art and into her lifestyle. Introduced to Halliday at an Arts Council touring exhibition in St Cuthbert's Hall, Cecile took an interest in the talented teenager. Along with Jean Menzies, John's art teacher at school, Walton worked hard to have him accepted at the Glasgow School of Art despite his lack of formal educational qualifications. But Walton's influence did not end with Halliday's entrance to art school in 1949. Life in Cecile's Millburn studio was a far cry from the more humdrum life-style of Atkinson Place. Despite a lack of money, Cecile did not lack glamour in young John's eyes: "It was a magical place, with its old pot-bellied stove. I remember the furniture, particularly a big bureau, and the chairs were William Morris. She seemed to entertain everybody there, great Sunday lunches in particular, with all kinds of interesting guests from all the arts. And she managed to bring it all off in a single-end in the Millburn." (Tales of the Kirkcudbright Artists: Gordon, 2006). This passion for style and sparkling company left its mark on the young man. His life has been marked by enrichment through association with beautiful objects and with people who have made their mark on the world of the arts and society in general. 1949 was a good year to be arriving at the Glasgow School of Art. Teaching giants such as William and Mary Armour, Geoff Squire and John Miller greatly impressed the young but impecunious Halliday. His digs in a theatrical boarding house adjacent to the School of Art meant he spent more time than most students in the School, drawing every ounce of input from the learning experience before eventually finding himself a tiny studio in the city centre. In his final year at art school, he won two Royal Scottish Academy Awards: the Chalmers Bursary and the award for outstanding Diploma show. Output from this period featured in an exhibition, largely organised by Cecile Walton, in a Castle Douglas gallery shortly after graduation. Here again, fate took a hand. The largest canvas in the exhibition was bought by Douglas Lorimer, managing director of North British Locomotives, who financed Halliday for a year to 'see the world', as he put it. Lorimer's help, together with money from his awards saw John setting out with his friend and experienced traveller, Gerald Ashton, for his first trip abroad - to Sicily. It was a seminal experience, the beginning of a life-long love of this location to which he has returned countless times. An introduction to Glasgow architect Jack Notman led, over the years, to a series of over 70 mural commissions. Ten of these were for panels of famous Scots at Prestwick Airport, others for the Clydesdale Bank, the Bank of Scotland, the Marquis of Bute, Hope Scott, the National Trust for Scotland, Scottish and Newcastle Breweries, Glenfarclas whisky, to name only a few. In many of them his love of architecture, symmetry and the baroque technique of trompe l'oeil was fully explored. It is, however, to Whistler, friend of his own patron, Cecile Walton, that his own work is most often compared, a comparison with which Halliday was not unhappy. " It is his half-tones and quarter tones which I really love and these play an important part in my work also. The light in the early morning or evening can only be realised through them. People talk a lot about my preoccupation with light but it is to those tones that I am really referring," he remarks. New York-based Clare Henry, doyenne of international art critics, is among those happy to make the comparison: "Landscape is Halliday's real love, be it a damp day by the Tweed or noon in Sicily...while studies of ancient facades in Venice are positively Whistlerian." (The Herald, 25th November 1998). Richard Jacques in The Scotsman has seen similar parallels: "Specially rewarding are those Whistlerian images of Kirkcudbright and Galloway in which the elements of landscape are seen in a penumbral create an almost magical effect." (The Scotsman, 18th November 1991). Some might also see a parallel closer to home. In his love of penumbral light and muted tones and outlines, Halliday at times forays into the concerns, if not the palette, of another Kirkcudbright artist, Macaulay Stevenson. John Halliday remained however, very much his own man with a vision of Galloway to which he had been drawn irresistibly throughout a long career. Travels throughout Europe, homes across Scotland have resulted in glorious oils, gouache and crayon images from all parts: from Calabria to Coldstream, from the baking sun of Sicily to wintry scenes in Edinburgh.
Original vintage advertising poster for a show at the famous French cabaret music hall Folies Bergere - The new revue by Helene Martini with direction, set design and costume by Michel Gyarmathy. Colourful pin-up style illustration by the notable artist and designer Erte (Romain de Tirtoff Erte; 1892-1990) showing a stylised image of a semi-nude dancer with a feather headpiece swirling down around her elegant body as she holds a large red fan above her head with the stylised lettering for Folies Bergere on it, set against a blue background with the rest of the text below in white letters. Helene Martini (aka The Empress of the Night; b 1925) was a showgirl who managed the Folies Bergere from 1974-2000 (she bought the club in 1977) with the Hungarian set and costume designer Michel Gyarmathy (Miklos Ehrenfeld; 1908-1996). Printed in France by Editions Martinet, Paris. Large size. Good condition, creasing, tears. Country of issue: France, designer: Erte (Romain de Tirtoff), size (cm): 149x100, year of printing: 1971.
A pair of George III giltwood open armchairs attributed to John Linnell (1729-1796)1770-1775, both chairs requiring re-upholsteryEach with a cartouche shaped back carved with a husk-trail surround surmounted by an interlaced bow-tied ribbon cresting, with foliate wrapped and patera roundel capped arms above downswept husk pendant carved terminals, over a serpentine fluted seat frame flanked by rosette angles, on drapery swagged fluted tapering front legs, with splayed fluted tapering rear legs, terminating in block feet, one chair numbered: '7', the other with a label inscribed: '90/200', the rails with 'cramp cuts' and period nail heads visible, also with slight remnants of what appears to be some of the original packing thread, each approximately: 62cm wide x 60cm deep x 90cm high, (24in wide x 23 1/2in deep x 35in high) (2)Footnotes:The offered armchairs appear closely related to a suite comprising various chairs and sofas which date to the period 1770-1775 and are attributed to the celebrated London cabinet maker John Linnell. Some of this important group of seat furniture is illustrated in H. Hayward and P. Kirkham, William and John Linnell, 1980, New York, fig.'s 84-85, p. 44. In fact some of the chairs from this set form part of the Victoria and Albert Museum. The attribution is largely due to the fact that this aforementioned seat furniture, including the above pair of chairs, has a number of characteristics in common with Linnell designs executed between circa 1768 and 1770. These shared elements include the overall form and ornamentation of such pieces, discussed therein by the authors, Ibid, fig.'s 79 & 83, pp.'s 42-43. The Linnell drawings are also of particular interest and significance since they are comparable to a design for a chair produced by J.C. Delafosse, Ibid, fig. 80, thus showing the strong influence of French output in this area then. Indeed, more specifically, the carved drapery swags appearing to the tops of the legs on this Linnell seat furniture seem to be a direct reference to some contemporary Louis XVI pieces. These swags also appear in the form of ormolu mounts on examples known, or recorded, to have been made by Linnell and can be seen most notably in this guise on various games tables. This latter work was provided by Linnell for Alnwick Castle upon behalf of the Duke of Northumberland, as well as for comparable pieces supplied to Kedleston Hall for Viscount Scarsdale, op. cit., pp.'s 141-143. Furthermore, the pronounced fluting on the seat frames and the distinctive husk carving recurs in a very similar way throughout much of Linnell's marquetry designs for larger furniture at that time.A virtually identical pair of John Linnell armchairs to the present lot, albeit of slightly larger proportions, sold Christie's, London, 8 February 2024, Philip Hewat-Jaboor: An Eye for the Magnificent, lot 70. Another pair of this same model sold Christie's, New York, 8 April 2004, Important English Furniture, lot 290 whilst a single example sold Christie's, New York, 7 October 2015, Living with Art, lot 153.A set of four armchairs of practically the same type sold Phillips, London, 8 October 1996, lot 86. This may be the same group that was sold Christie's, London, 6 July 1962, lot 128. Another similar pair of chairs sold Christie's, London, 10 April 1986, lot 34. A further related pair, albeit with turned feet, was offered, the Property of a Lady, Christie's, London, 26 June 1986, lot 75.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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 George IV gothic revival rosewood, brass inlaid and parcel gilt library table1825-1830, possibly originally provided for Eaton Hall, in Cheshire, upon behalf of the Grosvenor familyThe top with a reverse ogee moulded edge above a frieze inlaid with scrolled honeysuckle and stylised foliage interspersed with quatrefoils, on two vertical end supports, each comprised of a multiple cusped arched X-frame with oak-leaf clasped crockets intersected by a central blind pointed arched panelled stile, each stile with a central tied bundle of wheat sheaves carved in relief within a shield shaped cartouche, terminating in four oak-leaf wrapped crocketed feet and recessed castors, the stretcher is a later replacement, 185cm wide x 91cm deep x 77.5cm high, (72 1/2in wide x 35 1/2in deep x 30 1/2in high)Footnotes:The single tied wheat sheaf (set in this instance within a shield shaped surround), which appears proudly emblazoned to the centre of each opposing end support on the offered lot, has been historically emblematic of the Grosvenor family. Unfortunately, though, there is no way of being certain that the present library table was originally made for a member of the Grosvenors, nor is there any documentation to directly prove this association.However, the exuberant gothic revival style of this piece appears highly redolent of much of the furniture and furnishings provided for Eaton Hall, following its large scale redesign and reconstruction by William Porden (c.1755-1822) in the period 1803-1813, and also slightly later on during the following decade. The extensive gothicising was completed before the end of the 1820s upon behalf of Robert Grosvenor, who was, at the time this work began, the 2nd Earl Grosvenor but who would later become the 1st Marquess of Westminster. This project was enacted due to the fact that the former estate had been in dire need of renovation and was in the then unfashionable high Baroque style.In the contemporary opinion of some, the ebullience of this gothic revival architecture, and more specifically its interiors, appeared to border upon extravagance. And, in the case of a Mrs Arbuthnot, it went even further than this, as she describes the inside of Eaton Hall in the following way in 1826: '...the most gaudy concern I ever saw. It looks like the new bought and new built place of a rich manufacturer... the house decorated with a degree of gorgeousness that is quite fatiguing and takes away all appearance of real grandeur.' See F. Collard, Regency Furniture, 1985, Woodbridge, pp.'s 172 and 182.It is important to note that the renowned firm of Gillows are recorded as supplying Eaton Hall with this type of gothic revival furniture, often to designs executed by William Porden. This happened in particular over the course of 1820-1830, once the vast majority of the re-building had been finished. Indeed, an impressive gothic style bergere attributed to Gillows, circa 1825, sold Bonhams, Knightsbridge, 7 and 8 February 2023, The Connoisseur's Library Sale, lot 77. The furnishings at Eaton Hall are further discussed in C. Payne, British Furniture, 1820 to 1920: The Luxury Market, 2023, ACC Art Books, pp.'s 52-53.This lot is subject to the following lot symbols: TP YTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
A good and historical important George IV 'Cisalpine Club' large silver salverRichard Sibley, London 1829, reverse also incuse stamped MAKEPEACE, LONDON Circular form, the cast border with acanthus banded rim, interspersed with six winged angel masks with anthemions, broad laurel border, the centre finely engraved with the full armorial for Charles James TURVILE, engraved above the inscription'The Cisalpine Club To Charles Turvile Esquire Their Treasurer And Secretary. In grateful acknowledgment Of His Past Services. By their Vote of 15th April 1828. Presented 20th April 1830',surrounded with some 91 inscribed members names within a ribbon scroll, the reverse also with inscription including deceased and retired members, the whole on three foliate and anthemion capped claw feet, diameter 62cm, weight 165oz.Footnotes:The reverse of the salver also with the following inscription'Names of the deceased and retired members of The Cisalpine Club from its commencement 12 April 1792 to 1830'below two columns of engraved names, some 40 deceased and some 49 retired members.At the bottom further inscribed'The Cisalpine Club Was Dissolved On The Day This Piece Of Plate Was Presented (20th April 1830) A New Club Was Then Formed, Entitled The Catholic Emancipation Club Of Which All The Members Of The Cisalpine Club Were Invited To Become Original Members'Provenance: presented to Charles James Turville thence by descent to the present ownerLiterature: accessed via https://www.ncregister.com/features/sacred-catholic-objects-seeking-new-home-a-window-into-england-s-rich-recusant-history This was originally part of a collection from Bosworth Hall, other notable items found within this collection include a rosary of Marie-Antoinette and a Book of Hours which belonged to Adrian Fortescue (martyr) who was executed for treason without a trial by Parliament for undisclosed acts. Most likely, these acts were to do with opposition against Henry VIII's church policies and that Fortescue supported Pope Clement VII's refusal to annul the marriage between Henry VIII and Catherine of Aragon.The Cisapline Club was formed on 12th April 1792 and disbanded in 1830 following the passing of the Roman Catholic Relief Act (Catholic Emancipation Act) in 1829. The members re-formed themselves in 1830 as the 'Emancipation Club' which continued for 17 years before dissolving in 1847. The Cisalpine Club was dissolved on the day the Salver was presented to Charles Turville (20th April 1830). The Cisapline Club's intentions was to aid the fight for Catholic Emancipation following the violent persecution of Catholics after the Reformation. The belief was that loyalty to the Crown was not incompatible with loyalty to the Pope.The engraving depicts the arms of the Turvile family but also it lists many major Catholic families involved in the Catholic Emancipation of 1829. The engraving of 1830 commemorates the cessation of the Cisapline Club and the inauguration of the future Catholic Emancipation Club, celebrating the role of Charles Turvile as secretary and treasurer of the former.Charles James Turvile (earlier Turville) (1790-1839) of Bosworth Hall and the Husbands Bosworth Estate in Leicestershire, the son of Francis Fortescue Turville (1755-1839) by his wife Barbara Talbot (1756-1806) sister of the 15th Earl of Shrewsbury. Notably he inherited the Bosworth Estate by descent from his great-great grandfather William Turville (1667-1703) by his wife Frances Fortescue. The estate had in 1630 been purchased by Lady Grace Fortescue, widow of Sir Francis Fortescue of Salden Buckinghamshire and daughter of John Manners of Haddon Hall, Derbyshire.The present owner of the salver has notable Catholic lineage – most noteworthy is Saint Thomas More, author of Utopia (1516), and a fellow Catholic who refused to acknowledge Henry VIII as supreme head of the church of England – despite serving Henry VIII as Lord High Chancellor of England (1529-1532). He was consequently executed in 1535 after refusing to swear the Oath of Succession following Henry VIII's marriage to Anne Boleyn. 'Cisalpine means this side of the Alps; implying that the government of the Church should be in the hands of authorities in this country to whom control from Rome should be secondary' – quote from letter dated 24th October 1984 which came with the salver. The Cisalpine Club met around four to five times a year, initially the Club took an active part in Catholic affairs – a school was established at Oscott where it was directed by a governing body of Catholic laymen, overseen by the headmaster, who was a priest, who himself was appointed by the bishop. The Cisalpine Club, after its initial few years, evolved into a dining club rather than completing any active work in the Catholic world.The blazon: quarterly of four – 1,4: gules, three chevronels vair, a crescent for difference (Turvile) – impaling – azure, a bend engrailed argent cotised or, a crescent for difference (Fortescue).The Crest: a dove closed holding in the beak a branch of olive slipped vert of three or (Turvile)Motto engraved is: Virtus Semper Eadem = translated as Virtue is always the same.For further information on this lot please visit Bonhams.com
A Berlin gold-ground topographical cabinet cup and saucer, circa 1832-37The cup reserved with a rectangular view of Windsor Castle and the saucer with four other views of the castle, enclosed by tooled panels of gothic tracery on the burnished gilt ground, the cup on three paw feet, with an iron-red border of gothic arches inside the rim, the saucer: 18.3cm diam; the cup: 10cm high, sceptre marks in underglaze-blue, orb and KPM stencilled in red, painter's mark I in gold to the cup, impressed 10 and I (cup) and 28 (saucer) (minor wear to gilding in well of saucer) (2)Footnotes:Provenance:Possibly a gift from Prince Wilhelm and Princess Augusta of Prussia;Anon. sale, Sotheby's London, 8 July 1997, lot 101;The Twinight CollectionLiterature:S. Wittwer, Raffinesse & Eleganz: Königliche Porzellane des frühen 19. Jahrhunderts aus der Twinight Collection, New York (2007), no. 96Exhibited:Berlin, Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg, Schloss Charlottenburg, Rafinesse & Eleganz - Königliche Porzellane des frühen 19. Jahrhunders aus einer amerikanischen Privatsammlung, 28 July-4 November 2007;Vienna, Liechtenstein Museum, Die Sammlung Cohen. Porzellane der grossen Manufakturen 1800-1840, 16 November 2007-11 February 2008;Paris, Musée national de la céramique à Sèvres, Sèvres - Vienne - Berlin, Ors et décors : 1800-1850, 26 March-13 July 2008;New York, Metropolitan Museum of Art, Refinement & Elegance - Early Nineteenth Century Royal porcelain from an American private collection, 9 September 2008-19 April 2009The scenes on the saucer are after prints from a series of views of Windsor by W. Westall after S. Scarthwaite published in London in 1831 and depict: York and Lancaster Towers, St. George's Gate, The Quadrangle and The Round Tower (Wittwer, p. 313).The site of Windsor Castle were chosen by William the Conqueror who selected the site, high above the River Thames and on the edge of a Saxon hunting ground. Easy access from the capital and proximity to a royal hunting forest made it an ideal location for a royal residence.It evolved from a strategic fortification to a royal palace by the late 12th century under Henry II. Significant enhancements over the centuries included Henry III's stone walls and Edward III's transformation of the Castle into a Gothic palace. In the Tudor era, Henry VII and Henry VIII added state apartments, a gate, and a terrace. Elizabeth I undertook extensive repairs and built a long gallery. Charles II modernized the apartments into grand baroque state rooms by 1684, and George III neoclassicised several rooms, beginning a transformation of the Castle's exterior into a Gothic palace with the help of architect James Wyatt.George IV, who ascended to the throne in 1820, continued his father's Gothic makeover with significant contributions. He raised the Round Tower, added massive masonry, towers, and battlements, enhancing the Castle's imposing appearance. His efforts focused on remodelling the Upper Ward, commissioning Jeffry Wyatville to extend the entrance hall and install a new Grand Staircase. George IV also created new spaces, such as the Waterloo Chamber and the extended St George's Hall. He contracted Morel & Seddon to furnish the interiors in the latest French Empire style. By the time he took up residence at Windsor towards the end of 1828, his improvements had cost nearly £300,000.Although renovations were incomplete at the time of his death in 1830, George IV greatly shaped Windsor Castle's Gothic appearance and luxurious interiors. The work continued under his successor, William IV, and by 1832, the new Grand Staircase was finished, cementing George IV's lasting impact on the most famous of royal residences.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
Henry Bone R.A. (1755-1834)Sir Thomas Smythe (c.1558-1625), wearing black robes, cap and fur stole, his right hand resting on a globe, a ring on his left hand, which holds a pair of gloves. enamel on copper, signed, dated and inscribed in full on the counter-enamel: Aetis suce, 33__/ Sir Thos: Smythe Born March 28th 1512/ Died Augst 12th 1577__/ 1526__ Sent to Queens Coll: Cambridge__/ 1535__ Brought in a new manner of pronouncing/ Greek, which prevailed in the University/ 153*__ Made University Pastor__/ 1539__ Took the Degree of Dr of Civil Law at P[...]/ 1542__ Regi[...] Professor of Civil Law at Cambridge/ Preceptor to Edward 6th/ Master of Requests to the Duke of Somerset./ Steward of the Stanaries. Provost of Eaton./ Dean of Carlisle./ 1548__ Secretary of State & Knighted by Edward 6/ 1551__ Ambassador to France/ Allowed a Pension of £100 per annum in Marqis Reign/ 1558__ Employed by Elizabeth in the Settlement of Religion/ S[...] Ambassador to France/ 1571__ Made Chancellor of the Garter/ 1572__ Secretary of State - author of several Works/ & a Man of great Learning &c. &c./ London Decr 1814 Painted by Henry Bone R.A./ Enamel painter in Ordinary to His Majesty & Enamel/ painter to HRH the Prince Regent after the Original/ by Holbein in the Possession of Sir Willm Smythe [...]/ of Hill Hall Essex, gilt-metal slip engraved, ENAMEL HBONE, gilt-wood frame. Rectangular, 175mm (6 7/8in) highProvenance: The Collection of Lady Lanesborough, previously at Swithland Hall, LeicestershireLyon and Turnbull, 14 January 2015, lot 22;The Twinight CollectionFootnotes:Sir Thomas Smythe was an English merchant and politician. He was the first Governor of the East India Trading Company and was elected a Member of Parliament in 1614 and 1622. The present lot derives from a painting by Hans Holbein once at Hill Hall, Essex. A number of variants of Holbein's portrait exist, including one by Thomas Hudson in the Collection of Queen's College, Cambridge University and one from the Collection at Spains Hall, Finchingfield that was sold in these rooms on 24 October 2018 (lot 44).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
COLLECTION OF EARLY ENGLISH PORCELAIN, 18TH/19TH CENTURY comprising cups, tea bowls and saucers, predominantely New Hall, decorated with floral designs in mainly blue and gilt, including patterns 22, 439, 501 and 1162Provenance: The Collection of the late Dr John Corley Richards (1954-2022), Senior Lecturer in History of Art, University of Glasgow.
COLLECTION OF EARLY ENGLISH PORCELAIN, 18TH/19TH CENTURY comprising cups, saucers and a circular dish, each decorated with rust red bands and floral designs, including New Hall, Spode, Ridgway, Miles Mason and Worcester Provenance: The Collection of the late Dr John Corley Richards (1954-2022), Senior Lecturer in History of Art, University of Glasgow.
COLLECTION OF EARLY ENGLISH PORCELAIN, 18TH/19TH CENTURY comprising tea pots, bowls, cups and plates, predominantely New Hall, decorated with floral designs, including New Hall pattern 195, 241 467, 599 tea potsProvenance: The Collection of the late Dr John Corley Richards (1954-2022), Senior Lecturer in History of Art, University of Glasgow.
COLLECTION OF EARLY ENGLISH PORCELAIN COFFEE CANS, 18TH/19TH CENTURY predominately New Hall, decorated in colours and gilt with foliage, including patterns 288, 318, 362 and 365, also examples by Coalport, Spode, Ridgway and Thos.RoseProvenance: The Collection of the late Dr John Corley Richards (1954-2022), Senior Lecturer in History of Art, University of Glasgow. Condition across the lot is good / fair, several cups have some damage present detailed in the additional images now available.
COLLECTION OF EARLY ENGLISH TEA BOWLS AND SAUCERS, 18TH/19TH CENTURY predominantely New Hall, decorated with figures, urn and floral designs in colours and gilt, including patterns 274, 319 and 347Provenance: The Collection of the late Dr John Corley Richards (1954-2022), Senior Lecturer in History of Art, University of Glasgow.
COLLECTION OF EARLY ENGLISH PORCELAIN, 18TH/19TH CENTURY comprising tea pots, tea caddy, cups, saucers, plates and sucrier with cover, including New Hall, Worcester, Keeling and Miles Mason, decorated in shades of blue on white with willow pattern and Chinese scenery Provenance: The Collection of the late Dr John Corley Richards (1954-2022), Senior Lecturer in History of Art, University of Glasgow.
COLLECTION OF EARLY ENGLISH PORCELAIN SUCRIERS, 18TH/19TH CENTURY comprising ten lidded sucriers, by New Hall, Thomas Wolfe and Coalport, decorated with floral designs in colour and gilt, including New Hall patterns 274 and 672Provenance: The Collection of the late Dr John Corley Richards (1954-2022), Senior Lecturer in History of Art, University of Glasgow.
COLLECTION OF EARLY ENGLISH PORCELAIN TEAPOTS AND TEA POT STANDS, 18TH/19TH CENTURY comprising six teapots and eight stands, decorated with floral and scenic decoration in colours and gilt, including New Hall, Thomas Wolfe and CoalportProvenance: The Collection of the late Dr John Corley Richards (1954-2022), Senior Lecturer in History of Art, University of Glasgow.
COLLECTION OF EARLY ENGLISH PORCELAIN CUPS AND SAUCERS,, 18TH/19TH CENTURY predominantly New Hall, decorated with fruit and foliage, including patterns 422, 752, 779 and 856Provenance: The Collection of the late Dr John Corley Richards (1954-2022), Senior Lecturer in History of Art, University of Glasgow. Same with this lot.
COLLECTION OF EARLY ENGLISH PORCELAIN, 18TH/19TH CENTURY comprising cups, tea bowls and saucers, predominantely New Hall, decorated with foliate and scroll designs, including patterns 142, 198 and 324, also a pattern 202 sucrier with cover and a Chamberlains Worcester sucrier with cover Provenance: The Collection of the late Dr John Corley Richards (1954-2022), Senior Lecturer in History of Art, University of Glasgow.
COLLECTION OF EARLY ENGLISH PORCELAIN CREAM JUGS, 18TH/19TH CENTURY comprising eight jugs, including New Hall pattern 202, 272, 280 and 425, also a Miles Mason, Chamberlains Worcester and Thomas Wolfe examples Provenance: The Collection of the late Dr John Corley Richards (1954-2022), Senior Lecturer in History of Art, University of Glasgow.
COLLECTION OF EARLY ENGLISH PORCELAIN PLATES, 18TH/19TH CENTURY predominantely New Hall, decorated in colours and gilt with florals, including patterns 336, 562, 575 and 813, also a Coalport circular plate and three saucers Provenance: The Collection of the late Dr John Corley Richards (1954-2022), Senior Lecturer in History of Art, University of Glasgow.
COLLECTION OF EARLY ENGLISH PORCELAIN, 18TH/19TH CENTURY predominantely New Hall, including pattern 446 two tea pots, sugar bowl, cream jug, cup and three circular dishes, also two cups, a bowl and further dishes Provenance: The Collection of the late Dr John Corley Richards (1954-2022), Senior Lecturer in History of Art, University of Glasgow. We wouldn't be able to sell the remainder of the items in the lot in the same sale. However if you are successful in buying the lot we can enter the bits you don't want into a future auction.
NEW HALL PORCELAIN COMPOSITE TEA AND COFFEE SERVICE, EARLY 19TH CENTURY including a tea pot, cream jug, cups, saucers and plates, each decorated in blue and gilt on white, including patterns 524, 564, 583 and 623Provenance: The Collection of the late Dr John Corley Richards (1954-2022), Senior Lecturer in History of Art, University of Glasgow. Each in overall fair condition. Surface scratches and sore related wear. Areas of gilit loss. Teapot with several hairline cracks. Handle reattached in several places. Most cups and saucers with wear, scratches and gilt loss. Some with flea bites. Some pieces with crazing. One coffee cup with small chip. Scalloped dish with glue marks. Additional images now available.
COLLECTION OF EARLY ENGLISH PORCELAIN, 18TH/19TH CENTURY comprising tea and coffee cups, saucers and dishes, decorated with floral designs in colours and gilt, including New Hall, Coalport, Miles Mason, Thomas Wolfe and Grainger examples Provenance: The Collection of the late Dr John Corley Richards (1954-2022), Senior Lecturer in History of Art, University of Glasgow.
COLLECTION OF EARLY ENGLISH PORCELAIN CUPS AND SAUCERS, 18TH/19TH CENTURY predominantly New Hall, decorated in colours and gilt, including patterns 445, 471 and 542, also a Thomas Wolfe cup and saucerProvenance: The Collection of the late Dr John Corley Richards (1954-2022), Senior Lecturer in History of Art, University of Glasgow.
Literature, French – Lesage (Alain-René, 1668-1747), Gil Blas di Santillano: Storia Gallante Tratta dell’Idiome Francese nell’Italiano, 2nd edn., Venice, Bortoli, 1737 3 Vols of 4 (lacks Vol. II), 32mo, heraldic bookplate John Conyers, Copt Hall, Essex, bound untitled cream vellum, four raised bands to spines, Vol. I: 312pp; Vol. III: 357pp, Vol. IV 366pp, slight foxing to titles otherwise firm; Cowper (William), Poems, Vol. I of 2, new edition, London, J. Johnson, 1798, 18mo, 252pp, bound leather with gilt lines to spine and titles on black reserve; Poe (Edgar Allan), The Tales of Edgar Allan Poe, New York and London, G. P. Putnam’s Sons, Knickerbocker Press, 1902, 16mo, frontis and 12 plates bound quarter calf over marbled boards, cover repaired with tape, spine cracking at top (5)
Gell (Hon. Mrs. Lyttleton) The More Excellent Way: Words of the Wise on the Life of Love, a Sequence of Meditations, London, Henry Frowde, n. d. [1898] 12mo, xiv + 301pp, 2 colour printed illus., lacks front flyleaf, grey pastedowns, gilt embossed decorative teal boards, gilt titles, spine sl. dirty; Khayyam (Omar), trans. FitzGerald (Edward, 1809-1883), illus. Robert Stewart Sherriffs, The Rubáiyát of Omar Khayyam, introduction Laurence Housman, London, Collins, new edn., 1947, roy. 8vo, 221pp, colour printed frontis and 12 other illus., repair inside from board, bound pink cloth. Gilt and black titles and to spiner (externally sl. faded).(2) ***Hon. Mrs Lyttleton Gell is a local author. Born at Peper Harow, Surrey in 1860, she was a daughter of Wiliam Brodrick 8th Viscount Midleton, and sister of the notable Conservative cabinet minister, Rt. Hon. William, 1st Earl of Midleton PC. In July 1889 she married Philip Lyttleton Gell (1852-1926) of Gate House, Wirksworth, but later moved to Gell’s ancestral home nearby, Hopton Hall, when her husband managed to buy it back from the Chandos-Pole Gell family. She was a prolific published writer, and presided over numerous good Works in both Wirksworth, Hopton and Carsington. She died without issue in 1944.
Derbyshire, Buxton – Goodacre (J. A.), Buxton Old and New, A Study of its Rise and Growth During 2000 Years, Buxton, J. Goodacre, 1928, large 4to, limited edn. of 540 copies, 96 + viii pp, hand printed in script with numerous monochrome dwgs by author, bound purple boards, gilt titles (spine faded); Baxter (W. G.), Pen and Ink ketches of Scenes and Incidents at Buxton, Cartwright Rattray n. d. 36pp of 50 illustrations with captions, recovered grey cloth over cream boards; Rayner (Samuel), Rayner’s Sketches of Derbyshire Scenery Lithographed by Hand, Bath, Rayner, n. d. (1830) small 4to, six engravings, MS flyleaf inscr. ‘to Rosemary Meynell from GHS, June 1962’, bound blue boards, title black printed on reserve, covers worn and faded; Carrington (W. A.), Selections from the Stewards’ Accounts Preserved at Haddon Hall from 1549 to 1671, Derby, Bemrose, n. d., small 8vo, 56pp, grey boards, gilt titles (4)
Vinyl - 8 Jazz albums and one 10” album to include: Clare Fischer – Surging Ahead (LP on Fontana - 688 133 ZL, UK 1963), Annie Ross – Sings A Handful Of Songs (LP on Ember Records - NR 5008, UK 1963), Mick Mulligan's Magnolia Jazz Band – Meet Mick Mulligan (LP on Pye Records NJL 21, UK 1959), Billie & De De Pierce / Jim Robinson's New Orleans Band – Jazz At Preservation Hall 2 (LP on Atlantic - SD 1409, US), Ruby Braff – Hustlin' And Bustlin’ (LP on Vogue - LAE 12051, UK 1957), The Second City Jazzmen – A Tribute to Madge (LP on Esquire Records - 32-053, UK 1958 1st pressing), Art Farmer Quartet Featuring Jim Hall – Interaction (LP on London / Atlantic Records - HA-K 8135, UK 1964 1st pressing), Charles Mingus And His Jazz Groups – Mingus Dynasty (LP on CBS Records - BPG 62261, Original UK 1966 mono pressing), Paul Smith Quartet – Paul Smith Quartet (10” LP on Vogue Records – LDE 168, UK 1956). Condition VG overall with higher examples
Simone Pignoni (Florence 1611-1698)Proserpina oil on canvas97.7 x 87.2cm (38 7/16 x 34 5/16in).Footnotes:ProvenanceThe Collection of the Scrimgeour family, Steadham Hall, Midhurst, since the early 20th century and thence by descent to the present ownerThe abduction of Proserpina to the underworld is recounted in Ovid's Metamorphoses (5: 385-424). Whilst the goddess, daughter of Ceres, was picking flowers with her companions she was abducted by Pluto, who has been struck by one of Cupid's arrows, and taken to the underworld. The figure of Proserpina appears in several other works by Pignoni, including one in Schloss Ambras, Innsbruck, and a work offered at Christie's, New York, 23 January 2004, lot 127.We are grateful to Prof. Sandro Bellesi who, based on photographs, has endorsed the attribution to Pignoni and suggests that the flowers are by Andrea Scacciati (1642-1710).For further information on this lot please visit Bonhams.com
Bronze portrait plaque of Colonel R.E. Crompton, in profile, dated 1924, 26.5 x 19cm, bears a label to the reverse "The plaque was presented to Stan Wood, Stapleford, by the late C.R. Crompton Esq. Stanton Hall; cousin of Col;. R.E. Crompton. The presentation was intended to mark the occasion of Mr Crompton's 80th birthday on Feb. 1st. 1949. In 1881, Col. Crompton (then a director of the Stanton Ironworks Co Ltd.) using his explosion-proof switchgear fitted the Stanton Company's Pleasley Colliery for electric lighting, thus making it the first colliery in the world to be so lighted. Four years earlier, the company's new works foundry had been equipped with electric lighting and so became the first iron foundry in the world to use this form of lighting"
SILTZER (CAPTAIN), THE STORY OF BRITISH SPORTING PRINTS new edition, London, Halton & Truscott, 1929; DU MAURIER (G), TRILBY, Folio Society, 1947; BESANT (W), THE CHARM AND THE DRAWING ROOM, pictorial green binding, 1896; WAUGH (E), PUT OUT MORE FLAGS, London, Chapman & Hall, 1942, no d.j., ex-libris; with other books including Baedecker’s (qty)
THE RUGBY LEAGUE CLUB HOUSE: 1936 GREAT BRITAIN RUGBY LEAGUE JERSEY WORN BY HAROLD 'HAL' JONES (1907-1955) for tour of Australia and New Zealand for which Hal Jones was selected as one of four props. With sewn-on embroidered 'Rugby League Tour' breast patch dated 1936, label for 'Sports & Pastimes Ltd' Bradford, size 40, inscribed in ink '20 Jones' under label, rear sewn on patch No20.Harold James Jones was a Welsh rugby union, and professional rugby league footballer who played in the 1920s and 1930s. He played representative level rugby union for Wales, and at club level for Neath RFC, Maesteg RFC, Cardiff RFC, Glamorgan Police RFC and Glamorgan County RFC, as a lock, i.e. number 4 or 5, and representative level rugby league (RL) for Wales, and at club level for Wigan and Keighley as a prop, or second-row, i.e. number 8 or 10, or, 11 or 12, during the era of contested scrums. Born in Ogmore Vale, Wales, he and his wife; Ida were the landlord, and landlady of The Goat public house in Steeton, West Riding of Yorkshire, England, and he died aged 47 in Staincliffe, Batley, West Riding of Yorkshire. Jones made his début for Wigan in the 7–8 defeat by Leigh at Mather Lane (adjacent to the Bridgewater Canal), Leigh on Saturday 31 August 1929, he scored his first try for Wigan in the 23–6 victory over Wakefield Trinity at Central Park, Wigan on Wednesday 1 January 1930, he scored his last try for Wigan in the 15–8 victory over Widnes at Naughton Park, Widnes on Saturday 4 March 1933, he played his last match for Wigan in the 10–11 defeat by Halifax at Thrum Hall, Halifax on Saturday 11 November 1933.[5] and played right-prop, i.e. number 10, in Keighley's 5–18 defeat by Widnes in the 1937 Challenge Cup Final during the 1936-37 season at Wembley Stadium, London on Saturday 8 May 1937, in front of a crowd of 47,699. He won caps for Wales (RU) while at Neath RFC in 1929 against England, and Scotland. Jones also won three caps for Wales Rugby League in 1935–1936.It was while at Keighley that Harold Jones was selected for Great Britain was issued this jersey for the 1936 Great Britain Lions tour of Australia and New Zealand in which he played in some of the games against representative sides. The tour took place between May and August and involved 24 games, 16 in Australia and the last eight in New Zealand, with five Tests: three vs Australia and two against the Kiwis. The tourists travelled to Australia by boat, the SS Cathay which was later used as an armoured merchant cruiser during World War II.The team docked at Melbourne on the May 25 and travelled to Sydney by train the following day. There was much fanfare around the first Test on June 29, with interest being so high that it only took 30 minutes after the gates opened at 9am at the Sydney Cricket Ground for the stadium to fill. The kick-off was not until 3.00pm! The Test was notable for being the first time the Courtney Goodwill Trophy was awarded in international competition to promote goodwill between the Test-playing nations. Near to reaching half-time, Australian prop Ray Stehr started a fight with his opposite number, Nat Silcock of Widnes, who was later described by a British journalists as “one of the toughest and best forwards ever to wear the red, white and blue” Despite Silcock’s efforts, the Lions lost the game 24-8.For the second Test played at Brisbane played just six days later, Australia were fired up for the challenge of winning back the Ashes for the first time since 1920. However, through the sheer power of second row Martin Hodgson, centre Gus Risman and Alan Edwards, the Lions roared back to level the series with a 12-7 victory. Edwards, a Welsh winger with Salford, made a big impression on Australia’s Vic Hey, who would go on to enjoy success in England at Leeds. “Of the moderns, the men I saw in England during the last Kangaroo tour (1933-34) and those with the present team, this lad is the daddy of the lot. The instantaneous pace he makes is amazing, and how he can fool ’em with the variety of his attacks!” During the third Test at the SCG on July 18, Ray Stehr provoked another fight, this time involving Warrington prop Jack Arkwright. This resulted in Stehr receiving a three-match ban and Arkwright games being suspended until July 31. A 12-7 victory saw the Lions take the series and retain the Ashes before going on to New Zealand where they won all eight games, including a 10-8 and 23-11 successes in two Tests played at Carlaw Park.For the second Test played at Brisbane played just six days later, Australia were fired up for the challenge of winning back the Ashes for the first time since 1920. However, through the sheer power of second row Martin Hodgson, centre Gus Risman and Alan Edwards, the Lions roared back to level the series with a 12-7 victory. Edwards, a Welsh winger with Salford, made a big impression on Australia’s Vic Hey, who would go on to enjoy success in England at Leeds, “Of the moderns, the men I saw in England during the last Kangaroo tour (1933-34) and those with the present team, this lad is the daddy of the lot. The instantaneous pace he makes is amazing, and how he can fool ’em with the variety of his attacks!” During the third Test at the SCG on July 18, Ray Stehr provoked another fight, this time involving Warrington prop Jack Arkwright. This resulted in Stehr receiving a three-match ban and Arkwright games being suspended until July 31. A 12-7 victory saw the Lions take the series and retain the Ashes before going on to New Zealand where they won all eight games, including a 10-8 and 23-11 successes in two Tests played at Carlaw Park.Provenance: private collection West Yorkshire
Accoutrements Tin of Lieutenant Colonel C V C Hobart, First Commanding Officer of the 8th Battalion (Princess Beatrice’s Isle of Wight Rifles) Hampshire Regiment Territorial Force, the japanned storage tin with brass name plaque to the lid ‘Lt Col C. V. C. Hobart 8th Bn Hampshire Regt’. Inside the tin is a pair of officers gloves, three regimental cap badges, pair of plated spurs, tunic medal ribbons and regimental ribbons etc. The DSO register gives the following details, ‘HOBART, CLAUD VERE CAVENDISH, Lieutenant, was born 12 March 1870, only son of Sir Robert Henry Hobart, Baronet, KCVO, CB, Official Verderer of the New Forest, of Langdown, Hants, and of the Honourable Julia Trollope, eldest daughter of the first Baron Kesteven. He was educated at Eton and Sandhurst, and entered the Grenadier Guards 16 July 1890. Lieutenant Hobart, after serving nearly seven years in the Grenadier Guards, was in 1897 seconded for service in the Uganda Protectorate, at that time under the administration of the Foreign Office, and joined the Protectorate Forces, consisting chiefly of Sudanese, who had previously served under Emin Pasha at Wadelai, whilst on a punitive expedition in the Nandi country. Order having been restored, he was detailed to march two companies of Sudanese back to Headquarters at Kampala. On the way he received news of the disaffection of Mwanga, the native King of Uganda, who had raised the standard of revolt in Buddu, one of the southern provinces of his kingdom. He hastened on to the capital, and was thence despatched with his men in a fleet of canoes down the west coast of Victoria Nyanza to occupy and hold the crossing over the Katonga River, separating Buddu from the rest of Uganda, whilst the main forces of the Protectorate under Colonel T P B Ternan, DSO, moved down overland. He successfully carried out his instructions, and the rebels were subsequently defeated in two engagements, at which he was present, which resulted in King Mwanga fleeing into German territory and the bulk of his followers dispersing into the wilds of Ankole. Lieutenant Hobart was left in charge of the reconquered province with two and a half companies of Sudanese. These remained loyal during the subsequent mutiny of portion of the same force in the eastern part of the Protectorate, and though hard pressed at one time, he succeeded in holding his own against the Baganda rebels, who collected again on the news of the mutiny, being joined by the ex-King Mwanga, who contrived to escape from German custody. After several expeditions had been organized against them, in all of which he took part, he was fortunately enabled, whilst in command of an advanced guard composed of Baganda levies, to come up to and inflict a decisive blow on King Mwanga's main forces at Kisalera. Mwanga's ally, the rebel King of Koki, was killed, and Mwanga himself barely escaped, only to be captured a few months later in the north of the Protectorate with the remnants of the Sudanese mutineers, who were finally defeated with the assistance of a native regiment from India.For his services during the above operations he was mentioned in Despatches, and also in Parliament, and received the Uganda Medal and clasp. He was also created a Companion of the Distinguished Service Order [London Gazette, 20 May 1898]: "Claud Vere Cavendish Hobart, Lieutenant, Grenadier Guards. In recognition of the, services during the recent operations in Uganda". On the outbreak of the South African War in 1899, Captain Hobart had just returned to England, and was sent out with the first contingent of troops to the Cape to act as Staff Officer on the Midland Line of Communications. In this capacity he assisted in raising several corps of local volunteers, by whom the Midland Line of railway from Port Elizabeth to Naauwpoort was seized and garrisoned; but falling a victim to a severe attack of enteric fever, he was invalided home in the summer of 1900, subsequently receiving the Queen's South African Medal with clasp for Cape Colony. In 1902 Captain Hobart officiated as a Gold Staff Officer at the Coronation of King Edward VII and Queen Alexandra, and was also in charge of Apolo Kagwa, the native Prime Minister and Regent of Uganda, who came over to attend the ceremony, and for whom he interpreted on the occasion of his being granted an audience by King Edward. In December 1906, Major Hobart retired from the Regular Army, and was placed on the Reserve of Officers; but in 1908, on the inauguration of the Territorial Force, he was appointed Lieutenant Colonel Commanding Princess Beatrice's Isle of Wight Rifles (8th Battalion The Hampshire Regiment), which he raised and reorganized from a small volunteer nucleus and commanded till 1913, when he retired. He again acted as Gold Staff Officer at a Coronation—that of King George V and Queen Mary, in 1911. On the European War breaking out in 1914, Lieutenant Colonel Hobart, after serving for short periods on the Embarkation Staff at Southampton and the Military Landing Staff at Havre, was sent to the front in Flanders as a Railhead Commandant, being subsequently appointed Administrative Commandant of the railheads of an army. He was mentioned in Despatches in 1916 and 1918, and received the 1914 Star. Lieutenant Colonel C V C Hobart married, on 10 December 1900, at St Peter's, Eaton Square, London, Violet Verve, second daughter of John Wylie, of West Cliff Hall, Hants, and they had one son, Robert Hampden, born 7 May 1915. Late Rod Flood collection. Provenance Christies 1st February 1991, Lot 107.
Quaritch (Bernard) [Trade Sale Catalogues], No. 1-25 bound in 1 vol., some soiling, contemporary cloth, 1868-80; [Rare Books & Manuscripts], bound volume of c.15 pamphlets by M.R.James & others, including BQ's handlist for potential bidders of rarer books in the Huth Library sale, cloth, some original wrappers bound in, 1902-14 § Wyman (C.W.H.) B.Q. A Biographical & Bibliographical Fragment, one of only 25 copies, presentation copy from the author to W.J.Gilks Esq., presentation leaf lightly soiled and stained, modern morocco-backed marbled boards, uncut, [for the Sette of Odd Volumes], 1880 § G[rinke] (P[aul]) The Georges de Belder Collection of Neo-Classicism, 2 vol. including folder of 15 mounted photographs of bindings, original boards, Bernard Quaritch, [1984]; and a collection of others relating to Quaritch including a bound volume of 3 catalogues of 1927 & 1950 with pencil markings showing evidence of the book auction ring in operation and JC's note on such on front pastedown, a fascinating scrapbook on the firm compiled by JC (see below), a book box containing material on Howard Radclyffe (JC's mentor at Quaritch), a bound copy of Quaritch's cable code, and various other catalogues etc., v.s. (sm.qty)*** The scrap book, which is compiled in an old stock book, includes a wealth of material relating to the firm, particularly during JC's early days there at 11, Grafton St. and the clear-out of the shop in 1969 prior to the move to Lower John St. There are many photographs of the rooms and employees, cataloguing cards, press cuttings, details of the plasterwork revealed behind the bookshelves, demolition, the new premises etc., all annotated in detail by JC. At the end are pasted in all his rejection letters from various bookshops when looking for his first job in the trade in 1962. "Much of the wood, and some of the less important bookcases were left, so I begged them from Watson...In particular there were two corner cases perched above doors and attached to a large chunk of cornice in the 1st floor back, I got near the door, gave a giant heave, and ran. The[re] was a whale of a crash, the light went out and a great cloud of dust pursued me into the hall. I got my cases, though in their fall they broke the fireplace. Nobody seemed to notice that I'd stuck the mantlepiece [sic] back in two pieces!"All the departments left huge heaps of books, through some of which I had time to barrage. Found some rather nice things. Mr. Jeffries, to whom we sold all the residue, must have made a fortune!"
Postcards, Berkshire, a large collection of approx. 350 cards of Reading and its environs. With RPs of Broad St, shop front C Turner Oil & Domestic Stores (unidentified), West St Corner, Friar St, All Saints Church, Barracks, Caversham Lock, Finchampstead The Ridges, Baptist Chapel Finchampstead, Old Pump, Church Lane Earley, Wokingham Rd, Kings Rd, Reading P.S.A Society Train (in Reading Stn) to Torquay, Forbury Gardens, Prospect Park, Town Hall, New Caversham Bridge etc. Also 18 local covers, and many printed street scenes, scenic views etc (mixed condition)
A blue and white transfer ceramic meat plate, with willow pattern decoration, 43cm wide, a large Chinese Kangxi bowl 35.5cm diameter, a Japanese blue and white porcelain bowl, decorated with figures and pagodas 25.5cm diameter, an English export New Hall tea bowl 7.5cm diameter, together with a Chinese famille rose small square dish 9.5cm square (5)Condition ReportAll in need of cleaning. Knocks and wear, rubbing to decoration, loss to Japanese bowl with staple repair to several cracks. Chips to New Hall bowl. Chip to the foot of the Willow meat plate. paint to the underside of the Chinese Kangxi bowl.Please see additional images.
A quantity of books by G A Henty A Roving Commission,William Rainey Blackie and Son,1900,?First;The Treasure of the Incas ,Wal Paget,Blackie and Son,1903,First;Rujub the Juggler,Chatto & Windus,1896,New Edition,First 1893 Both Sides the Border,Ralph Peacock,Blackie and Son,1899,First;In the Heart of the Rockies,G C Hindley,Blackie and Son,1895,?First;The Tiger of Mysore,W H Margetson,Blackie and Son,c. 1896?First;With Clive in India,Gordon Browne,Blackie and Son,c.1884?First;With Cochrane the Dauntless,Blackie and Son;Maori and Settler,Alfred Pearse Blackie and Son,1891,First; In Freedom's Cause,Gordon Browne,Blackie and Son,c. 1889,? First;With Lee in Virginia,Gordon Browne,Blackie and Son,c. 1890,? First;At Agincourt,Wal PagetBlackie and Sonc. 1897;The Dash for Khartoum,Joseph Nash and John Sch�nberg,Blackie and Son1892,First;The Lion of St. Mark,Gordon Browne,Blackie and Son c. 1889,first;Officers and Gentlemen,Evelyn Waugh,Chapman and Hall,1955,First,Look out for others in the trilogy. Men at Arms (1952), Unconditional Surrender (1955) and Officers and Gentlemen (1955) .
MARX GROUCHO: (1890-1977) American film comedian, one of the Marx Brothers, and the recipient of an Honorary Academy Award. A good T.L.S., Groucho, one page, 4to, New York, n.d. (1933/34), to ´Dear Svensk, Kids and Mother´, on the printed stationery of the Hotel Elysee. Marx writes a social letter, largely concerning his friend Harry Ruby and their first wife Chloe ´Cleo´ Carter, commencing ´You certainly are full of that Ruby - Cleo case. Possibly because you are there on the ground. I don´t care anything about it one way or another. I regret it happening, I am sorry for both of them, outside of that, the hell with it. I am glad you befriended Cleo, whether she is guilty of sexual indescretions (sic) or not, I don´t think that´s important, most everyone goes a little cockeyed on the little matter of sex, and I think it was poor judgement and bad taste for Harry to shout if (sic) from the housetops, if that is what he did´, further adding ´I don´t believe he is responsible for what he is saying, I think he is temporarily deranged. I privately think he is making all the noise because he fears that if he doesn´t Cleo will nick him financially´. Marx further writes of his current work, ´We are scheduled to audition next Thursday, but we as yet haven´t an idea that is going to make a sponsor throw his hat up in the air with glee. We are meeting again this morning to see if we can´t work out something that will be worth hearing, if we don´t the thing will fall through, and us with it´, before concluding ´I went to the fights last night and had a pretty good time. The night previous when you phoned me, I was very nervous and couldn´t sleep, finally winding up with a five grainer, the first in weeks. Last night I took a pine needle bath right after the fights and slept pretty well. I wrote you all the news yesterday and this is just velvet´. A letter of particularly candid content. Two small tears to the edges, otherwise VGHarry Ruby (1895-1974) American pianist, composer, songwriter and screenwriter. A close friend of Groucho, Ruby composed the scores and provided musical numbers for the Marx Brothers´ films Animal Crackers (1930), Horse Feathers (1932) and Duck Soup (1933), as well as also contributing to the screenplays of all three movies. Chloe Carter (1903-1993) American showgirl and Music Hall dancer, also known by her stage name Cleo Cullen. Carter had married Ruby in 1930 and the couple moved to Beverly Hills where, in 1933, Cleo was introduced to the actress Jean Acker (1892-1978) who had been divorced from Rudolph Valentino in 1923. The two women fell in love and in 1934 (presumably around the time of the present letter) Carter obtained a dvorce from Ruby. Carter and Acker would spend the rest of their lives together living in an apartment within a building they owned in Beverly Hills.The fights that Marx refers to attending are likely to have involved Primo Carnera, either in his Heavyweight victory over Jack Sharkey on 29th June 1933, or his subsequent loss to Max Baer on 14th June 1934. Both events took place at the Madison Square Garden Bowl in Queens, New York.
BOOGIE NIGHTS: A good selection of signed 8 x 10 photographs by various cast members of the American drama film Boogie Nights (1997) comprising Mark Wahlberg (Eddie Adams/Dirk Diggler; a printed label neatly affixed to the verso indicates that the signature was obtained in person at Los Angeles International Airport (LAX) on 20th June 1999), Julianne Moore (Maggie/Amber Waves; a printed label neatly affixed to the verso indicates that the signature was obtained in person following her appearance on the Late Show with David Letterman at the Ed Sullivan theatre in New York on 24th September 2004), Burt Reynolds (Jack Horner; with a note in the actor´s hand to the verso, ´If it´s such a "good friend - an big admirer" - you should know their name. I find when they are not signed - they are sold!´), Don Cheadle (Buck Swope; a printed label neatly affixed to the verso indicates that the signature was obtained in person at the Actors Gang Theatre in Los Angeles on 1st August 2002), William H. Macy (Bill ´Little Bill´ Thompson), Heather Graham (Brandy/Rollergirl), Philip Seymour Hoffman (Scotty J.), Philip Baker Hall (Floyd Gondolli), Alfred Molina (Rahad Jackson; a printed label neatly affixed to the verso indicates that the signature was obtained in person at Cannes in May 2006), and Joanna Gleason (Dirk´s mother). All are boldly signed (two in fountain pen inks) by the actors, largely to clear areas of the images, and all with their names alone. Colour (6). Generally VG to EX, 10
WESTWOOD VIVIENNE: (1941-2022) English fashion designer, largely responsible for bringing modern punk and new wave fashions into the mainstream. Signed colour 8 x 10 photograph of Westwood in a typically flambouyant half-length pose. Signed in bold black ink to the lower white border and with an image of a love heart in her hand alomgside her signature. A pencil note in the hand of a collector to the verso indicates that the signature was obtained in person at the Hotel Imperial in Vienna at the time of the Life Ball at the city hall in Vienna. EX
JAMES BOND: Small selection of signed colour 8 x 10 photographs and smaller (1) by various actors and actresses who starred in James Bond films featuring Daniel Craig, comprising Mads Mikkelsen (Le Chiffre in Casino Royale), Mathieu Amalric (Dominic Greene in Quantum of Solace; a printed label neatly affixed to the verso indicates that the signature was obtained in person at the American premiere of The Blue Room at the Alice Tully Hall in New York on 29th September 2014) and Lea Seydoux (Madeleine Swann in both Spectre and No Time to Die). Also including Barbara Broccoli (1960- ) British-American film producer who took over control of the James Bond film franchise from her father, Cubby Broccoli, in 1995. Signed colour 8 x 10 photograph of the producer in a head and shoulders pose. All four images are signed by the subjects with their names alone. VG to EX, 4
BOB DYLAN - LP COLLECTION. A collection of 23 x LPs. Titles include Desire (MFSL2-416), The Real Royal Albert Hall 1966 Concert! (sealed), Walkin' Down The Line (sealed), The Times They Are A-Changi n', Bob Dylan Unplugged (private release), Fallen Angels, Knocked Out Loaded, Blonde On Blonde, Bob Dylan/ The Band, Another Side of Bob Dylan, Highway 61 Revisited, Nashville Skyline, Greatest Hits, Street Legal, Greatest Hits, New Morning and At Budokan. The condition is generally VG+ to Ex+ with some falling below.
° ° A group of assorted Bindings: The Spectator, vols 1, 4, 5, 7 and 8, c.1750,The Guardian, 2 vols, 1756The Tatler, vols 1, 2 and 4, 1756Hall, Basil - Fragments, 2 vols, 1831John Inglesant, 1882Cooke's Edition. Vicar of Wakefield, ndAinsworth - Lancashire Witches, ndMacaulay - Biographies, 1865, Godolphin School PrizeMaurois - Histoire d'AngleterreCreswicke - Roxanne, 1899LaMartine - Confidences, 1897Holmes - Poet at The Breakfast Table, ndHolmes - Professor at Autocrat, ndDumas - Dame aux Camelias, ndDumas - Border and Bastille, 1864Taylor, J. - Contributions of Q.Q., 2 vols, 1837Lamb - Last Essays, 1900Veitch, J. - Border History, 1878Karr, A. - Les Femmes, 1871Johnson, S. - The Rambler, 3 vols, 1826Southey, R. - Life of Nelson, 1831Bacon - Essays, 1817Maurois - Vie de Disraeli, 1931Rogers, S. - Poems, 1812Greek New Testament, 1836Longfellow - Poetical Works, ndVigny - Cinq-Mars, 1852Moliere - Works, nouvelle edition, 3 vols, ndSpectator - Vol 2.Johnson, S. - Rambler, 1801, vol 1Carlyle - Passages, 1855Keats - Poetical Works, ndEsmond, H. - History of 1858Mitford - Our Village, 2 vols, 1848
A George V silver presentation trowel with Plymouth provenance. Inscribed 'PRESENTED TO THE MAYOR OF PLYMOUTH T.BAKER ESQ ON LAYING THE FOUNDATION STONE OF THE NEW HALL Y.W.C.A. PLYMOUTH...........JULY 28TH 1914', with ebony handle, maker James Dixon & Sons, Sheffield 1913, length 26cm, 4.89 oz. The estimated in-house shipping to a UK mainland address is available from £20
Loading...
![Quaritch (Bernard) [Trade Sale Catalogues], No. 1-25 bound in 1 vol., some soiling, contemporary cloth, 1868-80; [Rare Books](https://cdn.globalauctionplatform.com/0252a742-362c-457e-b7f6-b18f00e49597/14595682-70a2-4e9b-967f-b18f00ecc5ed/468x382.jpg)
