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Make & Model:Daimler, 15 Date of Reg:NV2947 Colour:Red cc:1805 Fuel Type:Petrol Transmission:manual Summary:This rare early Daimler 15 was initially registered in August 1933 but has now fallen off the DVLA system so will need to be reregistered. Our vendor has kindly provided us with the following text:"We bought the car on the basis of a pub conversation in 1995. The car had been stored by the owner halfway under an awning. It appeared more or less complete and certainly all important parts were there, though in uneven condition: the left hand side appeared to be in better condition than the right hand side. According to the buff log book (continuation document) the car was first registered on 30 August 1933. A little brass plate fixed to the wooden instrument panel states that it had been "supplied by J.W. Hall Flecknoe" It was first registered to Clement Brown upon whose death it was inherited by his friend and the father of CJ Whittaker from whom we bought it.We decided to do a complete body off restoration, right to the bare chassis. This proved to be in a more or less rust free condition. The '15' spare parts manual proved to be of great help. With the help of an excellent painter from Nuneaton we were able to get the chassis coated in a dark red rather than the more orthodox black.Turning to the engine, we faced a slight puzzle: clearly, it had been reconditioned at an earlier stage but then completely re-assembled but without washers, seals, oil etc. At a later stage, we did re-assemble the engine again and managed to get it running in a most impressively smooth way.The body, having been made of steel over a wooden frame did of course show some signs of corrosion, mainly on the wings, but this was not insuperable. The vinyl roof had suffered badly over the years but we managed to find an expert who was willing to supply, shape and fit a new fabric roof with an excellent result. He also fitted a new woollen roof lining.The painting of the body shell was done by an experienced professional friend from our Nuneaton College days. The upper part of the body was, as is customary kept black, whereas all the side panels as well as the wire wheels were painted in a really dark maroon red. The exterior trunk is of the period and fits well the folding luggage rack, but is in fact not linked to the car and stems reputedly from a Vauxhall of the period.As to the brakes, we were pleased that the car, being an early version of the 15, featured hydraulic brakes as well as a De Wandre servo unit. All wheel cylinders were refurbished and new brake linings fitted.The lighting system follows the system for the 15 at that time: no trafficators, a single rear light with a single brake light incorporated in the same Lucas unit. We did however replace the torpedo shaped sidelights with a larger more imposing upright Lucas design as fitted to larger Daimlers. It was possible to save and recondition most of the reddish brown seats (Repeated coating with Hydrophane) as well as the door cartons. All glass, including the narrow glass ventilation strips at the top of the doors was replaced. Also replaced were the beige floor carpets, door surround trim and the lower parts of the door, whereas Ne decided to retain the carpets at the base of the seats.The tyres are totally new (Blockley). There is also quite a large number of smallish and varied items such as door handles, and window winders and related accessories, as well as a Lucas claxon and windscreen wiper motor, the latter we were reluctant to fit as it appeared to be rather lethal with levers protruding a mere few inches in front of the driver's face." As well as a considerable quantity of spare and duplicate parts, there's also a paperwork file that includes the buff continuation logbook, photos of the vehicle as found and its restoration underway, the owner's handbook, servicing data guide, the vendor's more comprehensive write-up of the car's history from 1995, spares catalogue, 14-page 1932 sales brochure, technical information and some older invoices. There is no V5C due to the car needing to be reregistered. 

Group of 18th century and later ceramics, to include Wedgwood Jasperware spill vase, New Hall milk jug, etc

Late 18th century Caughley 'Pagoda' pattern porcelain teapot, underglaze blue marks, together with a New Hall silver shape teapot, circa 1795, an oval early 19th century teapot, possibly Worcester, decorated with apricot banding and gilt highlights, and a Staffordshire earthenware teapot printed with floral decoration in underglaze blue, 26cm wide and smaller (4)

18th century Chinese blue and white porcelain ashet, pair of Delft vases, pair of Chinese brass vases, New Hall vase and other ceramics, and glassware.Blue and white serving dish has stencil repair, damage and losses to other dishes, general disrepair to ceramic items

A GROUP OF CERAMICS, to include a collection of small individual cookware/child's cookware, including three Royal Doulton stoneware covered pots, a similar terracotta covered pot (chipped), three soup bowls with handles and three lion paw feet, and similar handled soup bowls by CH Brannam and Bourne Denby (both have some crazing), two late eighteenth/early nineteenth century porcelain saucers/shallow bowls, possibly New Hall 'Striped Temple' pattern, unmarked (star hairlines to bases), a milk jug from a similar period, transfer printed with scenes of cows and milkmaids, indistinct backstamp (losses to spout, chip to foot), four blue and white tea bowls with oriental inspired designs (af, sd), a pair of Chinese blue and white jugs with painted scenes (both missing handles, chips, losses, hairlines), etc (19) (Condition Report: sd and as stated in description)

Middle Kingdom - New Kingdom, Ca. 2055 - 1069 BC.A group of four faience scarabs, all oval in shape, with three displaying detailed beetle forms on the obverse. The undersides are incised with hieroglyphic inscriptions and abstract motifs. One scarab remains partially embedded in its original setting. Reviewed by Simone Musso, consultant curator for Egyptian antiquities at the Stibbert Museum, Florence, Italy, member of the Nuri Archaeological Expedition.For similar see: The Metropolitan Museum of Art, Object Number: 22.1.311, SL.3.2015.25.6, 05.3.399; Hall H.R., Catalogue of Egyptian Scarabs, etc. in the British Museum, Cat. 74, 75, 76, 418, 478, 1014. The British Museum, Miscellaneous number: AN1896-1908-EA.926.Size: 14-18mm x 10-13mm; Weight: 7gProvenance: Private UK collection; Ex. European collection formed since the 1970s.

***MNG TO ARRANGE***19th century New Hall Bowl and a Charles Meigh 19th century plate Saucer diameter 7 cm approx Bowl diameter 15.5 cm approx. Spotting to inside of bowl (see picture)

***MNG TO ARRANGE***Mixed lot to include: 2 tea bowls and saucers, 5 mixed saucers and 2 bowls. All late 18th/Early 19th century New Hall and Keeling Height of teabowls between 4.5 cm - 5.5 cm approx Saucers range from 11.5cm - 14 cm approx 1 teabowl repaired (see picture) Keeling saucer cracked (see picture) 1 teabowl has a chip. Some have v minor rim nibbles.

18th century Worcester feather moulded saucers with floral pattern, circa 1760, together with Worcester fence pattern saucer, Liverpool slop bowl, New Hall tea bowl and other English ceramics

A New Hall porcelain tea pot and lid, of typical form, decorated with sprays of flowers, 15cm high, together with a jug, eight saucers and six tea bowls, with an English tea bowl and saucer, decorated with bands of flowers, two additional tea bowls and a saucer, probably New Hall, and an English porcelain saucer decorated in the Imari palette, together with a Sunderland lustre bowl and a jug, late 19th/early 20th Century, printed with nautical scenes and sailors mottos (Grp)

Brass Nameplate 'York & Lancaster Regiment' EX LMS 4-6-0 Royal Scot Class Locomotive, built in November 1927 by the North British Locomotive Company and numbered 46142. Rebuilt in March 1951 with a new boiler and remained in service until January 1964 when it was withdrawn and scrapped. Nameplate of curved shape, painted black with prominent painted lettering, 143cm long by 21cm. Named after a renowned line Infantry Regiment of the British Army. *Provenance - From an external plinth at the Regimental Headquarters of Army Reserve Unit, Endcliffe Hall, Sheffield.Total item weight - 21.9kg

Doctor Who and Peppa Pig: A small collection of actor, David Graham’s personal memorabilia – Peppa Pig: British pre-school animated television series (2004-) Four Original draft Scripts for unreleased episodes, Karrotone Limited,unbound, 9-pages, stapled, titles include: 'Caring For Grandpa!' (2022) by Philip Hall, Draft two; Sticks, Bells and Ribbons (2022) by Jen Upton and Philip Hall, Draft three, 9-pages, with printed yellow highlights to Grandpa Pig's lines and yellow text for singing parts; Hospital Sleepover (2022) by Philip Hall, Draft two, 9-pages; Houseboat (2022), by Matilda Tristram and Philip Hall, Draft three, 9-pages, with line count of all characters to cover page, and yellow printed highlight for Grandpa Pig's lines; Magnets (2022) by Phil Hall and Seyi Odusanya, Draft five, 9-pages, with line count of all characters to cover page, and yellow printed highlight to Grandpa Pig's lines;Peppa Pig (2021) black Production crew T-shirt with Peppa Pig characters to front and Peppa pig character and text, ‘The Elf Factory’ on reverse, label reads, ‘Fruit of the Loom, size M’; David Graham signed photograph of Grandpa Pig, 10 x 8 inches; Peppa Pig, Afternoon Tea, Brigit’s Bakery thermal cup; Peppa Pig Thank You card, with a further Dalek drawing in pen, sent to David Graham to thank him for his work on Doctor Who: The Daleks in Colour (1963) ‘To Dear David, Just a quick note to say thank you for recording our Dalek voices last week. Very much appreciated!. All best wishes/ Mark & Ben’;Doctor Who: The Complete History: The Crusade, The Space Museum, The Chase and The Time Meddler, signed photograph by Maureen O'Brien and Paul Purves,10 x 8 inches; Doctor Who The Complete History: Farewell Great Macedon and The Son of Dr. Who, Peter Purves autographed photograph, signed in gold marker pen, 10 x 8 inches; Doctor Who: The Gunfighters (1966) Shane Rimmer signed photograph, dedicated in silver pen to David Graham, ‘Dear David, You're always getting in the picture/ love Shane R’, 8 x 10 inches; Doctor Who, The Daleks, 33 RPM mini album CD, 21st Century Records; Doctor Who: The Dalek and the Cyberman; a pair of collectors cards. (11)Provenance:The Collection of the late David Graham (1925-2024) who was an English actor and voice-artist best known for his portrayals of numerous classic Gerry Anderson supermarionation characters, Grandpa Pig in Peppa Pig, the Daleks in Doctor Who, and other early television series including, The Avengers, The Saint and Danger Man.Following service in the Royal Airforce as a radar mechanic, David Graham trained at the Neighbourhood Playhouse School of Theatre, New York and later, recommended by director, Michael Blakemore, he auditioned for Laurence Olivier’s theatre company, eventually appearing alongside him in Saturday Sunday Morning (1978) using an Italian accent.Graham’s long association with British producer, director and writer, Gerry Anderson began in 1958 and he went on to become the voice of many of Anderson’s characters throughout the 1960s including, his debut puppet roles, Grandpa Twink and Fernando, in Four Feather Falls, Dr. Beaker, Zarin and Mitch the Monkey in Supercar, Mat Matic and Lieutenant Ninety in Fireball XL5, various guest characters in Stingray, and Johnny in Crossroads to Crime.His most well-known role would come in Thunderbirds with his portrayal of Aloysious ‘Nosey’ Parker (whose voice he based on a waiter at the King’s Arms pub in Cookham), alongside his other regular roles as the voices of aquanaut Gordon Tracy, International Rescue engineer Brains, and the Tracy family’s faithful manservant Kyrano.

Colin Middleton MBE RHA RUA (1910-1983) The Promised Land (1947) Oil on canvas, 51 x 63.5cm (20 x 25'')  Signed; also signed verso, inscribed with title and dated October 1947 (AR no. 23) Provence: With Taylor Gallery, label verso Colin Middleton's complex reaction to World War Two worked itself out in his work over more than ten years. While some paintings make specific reference to the war or are clearly influenced by it, towards the end of the 1940s a broad humanist vision begins to dominate in which the isolated and anonymous figures dispossessed by the war and suffering its horrific consequences become even more universal figures that represent universal human alienation and suffering, often in the face of social indifference.'The Promised Land' belongs to the very beginning of this period. The rhythmic paint surface is a reminder of Middleton's interest in van Gogh and looks forward to the development of his work towards more energetic, looser and more heavily loaded brushstrokes. The two figures cling together as if to support themselves against the swirling energy of the sky, the woman almost naked against the harsh elements.Middleton was deeply affected by the newsreel footage of the liberation of the concentration camps at the end of the war and many of the figures in his work of this time seem as if they might have come from these films. It is unusual to find such a monochromatic palette as in 'The Promised Land', it’s almost electric blues heightening the tension and otherworldly mood of the work. The bareness of the landscape reflects the destruction of the war as well as increasing our sense of its victims' helplessness within this environment where there is no shelter or food. Titles drawn from the Bible occur increasingly towards the late 1940s in Middleton's painting, bringing a wider meaning to the suffering of the figures he painted. There is a sense of hope and of redemption in these paintings. While the literal search for a promised land was a fact for many who had been forced from their own homes by the war, there is an intensity of meaning that the biblical reference brings to this timeless couple. We are reminded that this search for a new land, for peace, recurs throughout history, that we cannot look at our own time in isolation. Middleton had recently returned from his own search for a different life at a farming commune in England, so perhaps thoughts were in his mind of how much the idea of a spiritual or physical promised land ahead is a part of the human condition.Dickon Hall 

[FINE BINDINGS - LITERATURE AND HISTORY]A library of approximately 150 finely bound books, including sets of English and American literary classics and history books, comprising, POE, EDGAR ALLEN. The Complete Works. New York: G. B. Putnam, 1902. 10 Volumes. Brown calf spines and corners, gilt, linen boards, top edge gilt. 8 x 5 1/4 (21 x 13.5 cm). A few spots of wear to extremities, including small chips to the head of spines on two volumes; Together with, MARK TWAIN. The Writings of... Hartford, Conn.: The American Publishing Company, 1899-1907. 25 volumes, The Royal Edition, copy "no. 3." Burgundy morocco spine and corners, gilt, with red cloth boards, top edges gilt. Very minor spots of wear to bindings, the fore-edges and, in rare instances, portions of the contents foxed; CHARLES DICKENS. The Biographical Edition. London: Chapman and Hall, [early 20th century]. 19 volumes. Red morocco spine and corners, gilt, red cloth boards, top edges gilt. Light wear, spines a bit faded, occasional pale spots; ROBERT LOUIS STEVENSON. The Novels and Tales... New York: Charles Scribner's Sons, 1899-1912. 27 Volumes. Red morocco spines and corners, gilt, red cloth boards, top edges gilt, signed by Stikeman & Co. Frontispieces, plates. Light wear, the final volume with some surface losses along the spine, bookplate of Duncan Sterling; GEORGE ELIOT. The Works. New York: Thomas Y. Crowell, [late 19th century]. 7 volumes. Gilt calf spines and corners, leather spine labels, marbled paper boards, top edges gilt. Light wear, some minor dampstaining mostly to exteriors, the green spine labels a bit faded; and with, three sets of history books, including 23 volumes of Alison's Europe, 4 volumes of Green's English People, and 10 volumes of Bancroft's History of the United States, as well as a small-sized set of Funk and Wagnall's encyclopedia and a small miscellaneous group of other books. The Alison and Bancroft bound in full gilt calf, the Green in purple half calf with cloth boards and marbled edges. General light wear; the books in this lot are altogether quite presentable, but they have not been collated and are being sold as is. Qty: (71)No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

A PAIR OF GEORGE III CARVED GILTWOOD DAY BEDS THE DESIGN ATTRIBUTED TO JAMES WYATT, CIRCA 1800 The frames with reeded and paterae to both sides, upholstered in yellow woven damask fabric 86cm high, 226cm wide, 76cm deep Provenance: Supplied to William, 3rd Viscount Courtenay, later 9th Earl of Devon (1768-1835) for Powderham Castle, Devon and thence by descent Sotheby's, Powderham Castle & Seaton Delaval Hall, 29th September 2009, Lot 47 Private Collection, Wolterton Hall, NorfolkSotheby's, Arts of Europe, London, 12th May 2015, lot 114; 'Inventory 1880, probably the `two lounging sofas with gilt legs and scroll tops', recorded in the Music Room. Illustrated 'Powderham Castle III', Mark Girouard, Country Life, July 18th 1963, Vol. CXXXIV, p. 142 in the Second Library. William, 3rd Viscount Courtenay, came into his inheritance and the family seat, Powderham castle, in 1788. As a young man he quickly set about transforming the castle, aided by the architect James Wyatt, the sculptor Richard Westmacott and the furniture makers Elward, Marsh and Tatham. An 1803 inventory of Powderham reveals a patron in the vanguard of taste ordering new neo-classical furniture, painted in white and gold and a variety of works of art. Lord Courtenay's most audacious addition was his great Music Room designed and furnished by James Wyatt containing '4 elegant sofas & cushions, striped satin covers & burnished gold frames'. Courtenay's elegant taste can be gauged from the items that survive from his commissions including these day beds. The pair of day beds were covered by Lady Venetia Devon, mother of the 18th Earl of Devon, who discovered the finely worked early 19th century silk panels at Powderham castle. Girouard in his Country Life article, op. cit. p. 142, writes that these may have been part of a commission by Marsh and Tatham and references these sofas with their 'contemporary white satin covers embroidered by some of the 13 Courtenay sisters' as a part of that group.

A SET OF SIX GEORGE III GILTWOOD ARMCHAIRS CIRCA 1770 93.5cm high, 71cm wide, 53cm deep Provenance: Possibly supplied to Philip Yorke, 2nd Earl of Hardwicke (1720-1790), for Wimpole Hall, Cambridgeshire, Wrest Park, Bedfordshire or St. James's Square, London, thence by descent Illustrated: The Connoisseur, May 1965, p.4Sets of giltwood Louis XV-style chairs were fashionable in Britain from the 1750s onwards with the publication of Thomas Chippendale's first edition of the Director (1754), which featured several designs for 'French chairs' (plates XVII, XVIII, XIX, XX). Chippendale's contemporary, John Linnell, was also making chairs derived from French patterns (Victoria & Albert Museum, E.59-1929; E.85-1929; E.102-1929). The 1835 inventory for Wimpole Hall, Cambridge, included two large sets of such chairs including: '8 Gilt Framed Cabriole Elbow Chairs stuffed seats & backs & Elbows covered to match' (No. 49, Red Drawing Room). A comparable set at Wimpole was probably commissioned by Philip, 2nd Earl Hardwicke, between 1777-80 when a new Eating Room and a Grand State Dining Room was added to the mansion; this set sold Sotheby's New York, 23 October 1998, lot 341. At Wrest Park, the 1917 sale of the contents of the mansion show that three sets of carved and gilt fauteuils in the Louis XV-style were sold (Wrest Park: Contents of the Mansion, Messrs. Foster, 10/9/1917 and four following days, lots 65, 77, 155). Condition Report: Condition Report Disclaimer

Y A GEORGE III KINGWOOD, AMARANTH, TULIPWOOD PARQUETRY AND LACQUERED GILT BRONZE MOUNTED BUREAU PLAT PROBABLY BY AN EMIGRE CRAFTSMAN IN THE MANNER OF PHILIPPE-CLAUDE MONTIGNY AND RENE DUBOIS, LAST QUARTER 18TH CENTURY The gilt-brass banded rectangular top inset with a gilt-tooled blue leather writing surface, above a panelled frieze inlaid with Greek-key motif with two frieze drawers centred by masks headed by acanthus flanked by rosettes and opposing false drawers, with lateral writing slides, the lower border with a ribbon-twist mount, the brass reeded incut square tapering legs headed by laurel swags with square sabots terminating in castors, with a paper label to the pine panelling to underside inscribed in ink 'Brynkinalt RM' 72.5cm high, 122cm wide, 63cm deep Provenance: Possibly supplied to Arthur Hill-Trevor, 2nd Viscount Dungannon (1763-1837) or acquired by Arthur Hill-Trevor, 3rd Viscount Dungannon (1798 - 1862) for 3 Grafton Street, London, thence by descent at Brynkinalt Hall, Denbighshire until sold, Of Royal And Noble Descent; Sotheby's, London, 19 January 2017, lot 382, where acquired by present owner. Although this sophisticated desk, with its 'Etruscan' decoration and interlaced key frieze, has the outward appearance of a French bureau à la grec, a number of constructional idiosyncrasies help to identify it as an unusual example of English craftsmanship. Until recently the bureau plat formed part of the resplendent Hill-Trevor collections at Brynkinalt Hall in Denbighshire and is most likely the output of an émigré ébéniste working in London in the last quarter of the 18th century. London had long tradition of attracting émigré craftsman with the perpetual cycle of European political and religious turbulence of the 17th and 18th centuries spurring their arrival. The lure of the capital reached new heights following the favourable conclusion of The Seven Years' War (1756-1763), a pan-European conflict which did little to dampen the appetite for French fashions in Britain. The maker of the present bureau plat would certainly have had excellent knowledge of French workshop practices and prototypes, namely the output of the celebrated Parisian cabinet-makers Phillippe-Claude Montigny (1734-1800) and René Dubois (1737-1799). The goût grec style swept to popularity in France from the mid-1750s with the celebrated suite of furniture supplied for the collector and financier Ange-Laurent Lalive de Jully. Veneered in kingwood, amaranth and tulipwood and decorated with rosette and laurel swag mounts, the Brynkinalt bureau plat closely follows a well-documented group of bureau à la grec by Montigny and Dubois. However, the Brynkinalt bureau plat diverges in several distinct ways which preclude the possibility of a French origin. Whereas French-made bureau plat use oak, the present desk employs pine in the construction. Further, the oak-lined drawers have front-to-back oak drawer bottoms, where French antecedents would have the grain running side-to-side. The dovetails, with the pronounced fan-shaped tails, are distinctly un-French and quite idiosyncratic being covered by a very thin veneer. The original locks are English, and the lacquered-gilt-brass banding to top, mounts, capping and castors (French models typically employ sabots without castors) all present as English derivatives or casts taken the originals. The presence of a distinctly English 'rococo' influenced ring-pulls to the writing slides further anglicises the French character of the present lot. Interestingly, an almost identical version of this model, sharing the same constructional traits but lacking brass reeding to the legs, is preserved in the collections of the Marquesses of Bute at Mount Stuart, Scotland. The Bute bureau plat is almost certainly from the same émigré workshop and points to a definitive group made for the most prominent families of the day. The present desk formed part of the collections of the Hill-Trevors at Brynkinalt Hall, Denbighshire, on the English-Welsh borders. The family fortune was built at first by Sir John Trevor (1637-1717), an unscrupulous lawyer-turned-politician, who twice held the position of Speaker of House of Commons before being unseated because of a bribery scandal involving the East India Company. He also served as Master of the Rolls 1685 to 1689 and from 1693 until his death in 1717. The financial gains Sir Trevor accrued in these prominent positions allowed him to acquire two London houses on St Clements Lane and Trevor Square, Knightsbridge. All four of his sons predeceased him and his estates, including Brynkinalt, passed to his daughter Anne who married Michael Hill of Hillsborough in Ireland.Arthur Hill, 1st Viscount Trevor (1694-1771), later Arthur Hill-Trevor, 1st Viscount Dungannon, was the second son and also pursued a political career, this time in Ireland as Chancellor of the Irish Exchequer and Commissioner of Irish Revenues. Arthur built Belvoir house in Ireland to designs of Christopher Myers in circa 1750. His son, the Hon. Arthur Hill Trevor (1738-1770), predeceased him also, making him an unlikely candidate for the acquisition of the present bureau plat. Instead, the Dungannon estates, including Belvoir and Brynkinalt, passed to Arthur Hill-Trevor, 2nd Viscount Dungannon (1763-1837) who inherited the title at the age of eight. In 1795, at the age of thirty-two, he married the Hon Charlotte Fitzroy, daughter of General Charles FitzRoy, 1st Baron Southampton (1737 -1797) and grand-daughter of Charles FitzRoy, 2nd Duke of Grafton (1683-1757), and consequently sold Belvoir Park choosing to live between No. 3 Grafton Street, London (built by the Augustus Henry FitzRoy, 3rd Duke of Grafton (1735-1811) to designs of Robert Taylor in 1767) and Brynkinalt Hall. It is conceivable to bureau-plat was acquired before or during this phase of ownership as the Viscountess was a woman of highly cultivated taste and oversaw the significant re-modelling of Brynkinalt which had not been altered since the early 18th century. Condition Report: Overall there are some scratches, marks, chips, cracks and abrasions consistent with age and use.Observations include: the leather to the top has a different gilt tool edging and is either different to the leather on the sliding ends or is faded; the leather to the top also has cracks along the underlying constructions joints; some ormolu mounts are slightly loose eg the edging to to the top of the desk, one of the swags (with a later screw), some of the ribbon edging has vacant holes from missing pins, one brass inlay to one leg is sprung; it is not possible to remove the right frieze drawer as there is a fixed peg/screw preventing it from sliding out; there are two keys that operate the two different locks that suggest one is a later replacement; there is some evidence of old worm; some fading to the back.The Greek key parquetry and ormolu mounts to all sides.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition - they are a vital part of this report. Condition Report Disclaimer

Exhibition Hall Letters A remarkable archive of letters from children evacuated during the war to their previous teacher, Miss Gay. Mrs Gay continued to live and work in Bristol while most of her pupils were evacuated. Consisting of nineteen letters back to their former teacher, each detailing their new lives in the countryside, many discussing serious events such as air raids, with others light-hearted, with one discussing the Cornish dialect, ‘All of the children here have been calling us Bristol Bombers, but it’s starting to wear off now. The Cornish people call potatoes taddies and instead of saying ‘Why aren’t you coming out’ they say ‘How aren’t you coming out’. Also they call you ‘my biddy’.’ Each letter mounted within a display, together with a metal sign, newspaper articles linked to the story and three poems related to evacuees.

An early George II 'Warning Carrier' notice. London, 1730. The notice numbered 11854 and dated June 2, 1730. The printed text reading 'Lost this day about Two o' Clock, between Red-Lion-street and New Bond-street; an Oval yellow Brilliant Diamond, set in a Ring, weight about 8 Grains, of a lively Colour. If offer'd to be sold, pawn'd or valued, you are desir'd to stop it, and give Notice to Mr James Seamer, Goldsmith, at the Flower-de-Luce in Fleet street, and you shall have Ten Guineas Reward; or if already bought, your Money again with Content. Benjamin Pyne, Beadle at Goldsmiths' Hall', the notice with a later line added above reading 'Mr Clarke at the Flower-de-Luce, near the New-Exchange',  7.9 x  8.9cm

Registration No: WSJ 792 Frame No: RS7995 MOT: ExemptVenom 500 with an Alton electric starter kitRestored in authentic and standard conditionSupplied with a manual and a current V5CVelocettes motorcycles were manufactured by Veloce Ltd in Hall Green Birmingham between 1905 and 1971, a family-owned firm producing mainly hand-built motorcycles and competing favorably with the bigger concerns such as BSA, Triumph and Norton. Veloce was a great technical innovator and many of its patented designs are commonplace on motorcycles today, including the positive-stop foot shift and swinging arm rear suspension with hydraulic dampers. Renowned for the quality of its products, the company was "always in the picture" in international motorcycle racing from the mid 1920s through to the 1950s, culminating in two 350cc World Championship titles and its legendary, and still-unbeaten, record of averaging over 100mph for 24 hours on a 500cc single cylinder machine. This was achieved on a Venom in 1961 cementing its reputation as one of the best sports bikes of its day. This well presented Venom, part of an enthusiast private collection, has been authentically restored in the past keeping a good degree of originality. Most importantly it has been converted to 12v coil ignition and fitted with an Alton electric starter kit. These kits cost over £2,000 and are a fantastic way of keeping these 'hard to kickstart' bikes on the road. It has recently had new tyres fitted and the wheels rebuilt with CWC rims and the vendor gave the clutch an overhaul in October including new plates. Not run since, it will need the normal checks before use but with the electric start, it will make a great bike for summer runs and rallies. It comes supplied with a Haynes workshop manual and a current V5C. For more information, please contact: Ian Cunningham ian.cunningham@handh.co.uk 07415 871189

Registration No: DDG 473 Frame No: MD9816 MOT: ExemptOwnership history from newRegistered in Gloucestershire on the 17th May 1939A great deal of paperwork and receiptsCurrent V5C and 2 continuation logbooksVelocette is the brand name of motorcycles made by Veloce Ltd in Hall Green, Birmingham between 1905 and 1971. One of several motorcycle manufacturers in Birmingham, Velocette was a family-owned firm selling almost as many hand-built motorcycles during its lifetime as the mass-produced machines from the likes of Triumph and Norton in the wartime era. Veloce, while small, was a great technical innovator and many of its patented designs are commonplace on motorcycles today including the positive-stop foot shift and swinging arm rear suspension with hydraulic dampers. Renowned for the quality of its products, the company was 'always in the picture' in international motorcycle racing from the mid-1920s through to the 1950s, culminating in two 350cc world championship titles and its legendary and still-unbeaten record of averaging over 100mph for 24 hours on a 500cc single cylinder machine. This was achieved on a Venom in 1961, cementing its reputation as one of the best sports bikes of its day. On offer is a Velocette MAC registered in Gloucestershire on 17th May 1939 and purchased new by a Mr Bliss from Newent. It subsequently changed hands to a Mr Evans in September 1947, who kept it for a few years before passing it onto a Mr Powell in late 1951. Mr Evans purchased the Velocette back from Mr Powell and kept it until approximately 2021. During his ownership, Mr Evans restored the Velocette over many years, however, sadly it was never completed and was sent to auction. The vendor purchased the MAC from auction intending to complete the work, but due to other commitments, this never happened. Requiring recommissioning and with parts to be sourced, this would make a worthy project to finish. It comes with current V5C, two old logbooks and many receipts for parts in the 1940s and '50s. For more information, please contact: Mike Davis mike.davis@handh.co.uk 07718 584217

Registration No: Unregistered Frame No: 3768 MOT: ExemptPart of a private collection for many yearsThe subject of an older restorationRare surviving example of what was a popular modelPartners in a cycle parts business, Ernie Humphries and Charles Dawes diversified into motorcycle manufacture during 1899. Based in Hall Green, Birmingham, they utilised a variety of proprietary engines and marketed their products under the ‘OK’ brand name. Keen to capitalise on the public’s appetite for motorised transport post-WW1, Humphries and Dawes adopted a one model policy in the form of the OK Junior. A simple lightweight design, it was powered by a Union 293cc two-stroke engine allied to belt drive. Later versions could be had with a Villiers single and Albion two-speed chain-cum-belt transmission. Sales climbed as high as 20,000 per annum before dwindling as the 1920s wore on. Reputedly restored to a high standard prior to joining the late owner’s collection, this particular example boasts the Albion transmission. Not run for years, the OK Junior will require recommissioning prior to use. Entered from a deceased estate, the executors cannot find any corresponding paperwork. As such the new owner will have to apply to the DVLA for an age related number plate should they wish to return it to the road. Offered without reserve. For more information, please contact: Mike Davis mike.davis@handh.co.uk 07718 584217

Released in February 1962 in the United States, Desmond Blue features Paul Desmond's smooth alto saxophone accompanied by a lush string orchestra. This album, produced by George Avakian and recorded at Webster Hall in New York City, includes renditions of classics like My Funny Valentine and I've Got You Under My Skin. The vinyl and sleeve are both in excellent condition, making it a valuable addition for jazz enthusiasts and collectorsIssued: 1962Dimensions: 12.25"HCountry of Origin: USACondition: Age related wear.

Nobility Recording Company presents 'Dixieland Hall Presents Louis Cottrell And His New Orleans Jazz Band', a classic Dixieland jazz LP. Featuring the legendary clarinetist Louis Cottrell Jr., this record captures the essence of traditional New Orleans jazz, filled with rich instrumentation and lively rhythms. The album includes well-known jazz standards such as When The Saints Go Marching In and A Closer Walk With Thee. This rare edition is autographed by Louis Cottrell Jr., adding to its collectible appeal. A must-have for jazz enthusiasts and vinyl collectors.Artist: Louis Cottrell And His New Orleans Jazz BandIssued: 1963Dimensions: 12.5"L x 12.5"HCountry of Origin: United StatesCondition: Age related wear. Signature not authenticated.

Edmond Hall's Rumpus on Rampart Street, released in 1959 on Rae-Cox Records in the United States, is a standout album by the celebrated jazz clarinetist. This LP showcases Hall's mastery of the New Orleans jazz style with vibrant, expressive performances featuring classics such as Rampart Street, Hallelujah, and Swingin. Hall's clarinet work is both soulful and technically impressive, capturing the spirit of early jazz while infusing it with his signature energy. The album is further elevated by the talented ensemble of musicians accompanying Hall, adding depth and authenticity to the recording. This particular copy is made even more desirable by its inscription and autograph from Edmond Hall, adding a layer of historical and collectible appeal.Issued: 1959Dimensions: 12.25"HCondition: Age related wear.

Hennet (George) A Map of the County Palatine of Lancaster Divided into Hundreds and Parishes from an accurate survey made in the years 1828 and 1829, London: Henry Teesdale, 1830, 163.5cm x 115.5cm, large map with ornate title upper right, vignette view of the New Custom House, Liverpool, just below, engraved map by James Bingley, with bright original hand-colouring, mounted on linen, edged with green silk, presented in full calf faux book case with marbled edges, with green leather title label 'Teesdale's Map of Lancashire', armorial bookplate for Sir Tonman Mosley, Bart. Rolleston Hall'

Oxfordshire & Warwickshire to include: Wade (W.M.) Walks in Oxford comprising original, historical, and descriptive Account of the Colleges, Hall, and Public Buildings of the University, Oxford: Law & Whittaker, 1818, second edition, 16mo, full later blind stamped and gilt calf rebacked, folding frontispiece, multiple plates and large linen-backed fold-out map, bound with manuscript notations to the plates to back, armorial bookplate for Douglas A. Shields; Smith (William), A New and Compendious History, of the County of Warwick, Birmingham: W. Emans, 1830, vignette title, map of Warwickshire, multiple engraved plates; A Guide to the Architectural Antiquities in the Neighbourhood of Oxford, Oxford: John Henry Parker, 1842-1845, 8vo, three volumes comprising Bicester, Cuddesdon and Woodstock, volume 1 rebound in modern boards, volumes 2 and 3 with quarter roan and cloth boards (5)A Gloucestershire book collector

Michael Seward Snow, British 1930–2012 - Nova, 1959; oil and mixed media on board, signed, titled and dated on the reverse 'M. Seward Snow Nova 1959', 49.5 x 58.2 cm (ARR) Note: Snow was one of the group of Modernist artists associated with St. Ives, living and exhibiting there from 1952, alongside figures such as Terry Frost and Patrick Heron. His works are now in public collections including New County Hall, Truro and The Box, Plymouth 

CONCERT FOR GEORGE - EXCLUSIVE DELUXE EDITION (2018 LP/CD/DVD BOX SET - CONCORD MUSIC 888072030077). Highly limited (1000 copies) only exclusive deluxe edition copy of The Concert For George. The set is still Mint and factory sealed in 'as new' condition. "The Deluxe Box Set features the complete sound and film recordings from the concert (on 4 180-gram audiophile LPs, 2 CDs, 2 DVDs and 2 Blu-rays), a 12”x12” hard-bound 60-page book, plus an opportunity to own a piece of the historic event, by way of a cutting from the original hand-painted on-stage tapestry used as the backdrop at the Royal Albert Hall on November 29, 2002."

An 18th Century English porcelain dish probably New Hall

Marmet Baby carriage pram coach built in cream and iron grey-Hardly used and the 37” long bassinet is in beautiful condition , together with hood apron , mattress and a white sun canopy. Owned by family from new and hardly used with pop off wheels can be removed for cleaning-Photographed in The Georgian gardens at Bishton Hall.( 1 pram and 1 canopy and shopping tray)

**Please note we were unable to start the car when it was delivered to the auction hall**An attractive 1969 Bentley T1 in need of recommissioning and offered without Reserve.  Supplied originally by J D Barclay Ltd to Bromfield Estates as its first custodian. Originally finished in Shell Grey, now with Caribbean Blue panels. Original Grey hide interiorShowing some 75,000 miles with some history, believed four previous keepers, the last for 26 yearsSupplied with a factory Certified Record of Authenticity, original build specification and a copy of the Bill of Sale for £7,155 on the 20/07/1969The car does start, run and drive having benefited from electronic ignition being fitted, new fuel pumps and carburettor needles. Just requiring the brakes to be looked at prior to being used again (vendors subsequent comment on the condition report - Engine - Presently doesn't have a spark, but has been running in the last 12 months.) Registration number SCN 151 will remain with the carSpecificationMake: BENTLEYModel: T1Year: 1969Chassis Number: SBH7217Registration Number: SCN 151Transmission: AutoEngine Number: 7217Drive Side: Right-hand DriveOdometer Reading: 75000 MilesMake: RHDInterior Colour: Grey LeatherClick here for more details and images

A set of four The New Hall Vault Kronheim prints: "Weaving a Garland", "The Organ Grinder", "The Pet Rabbit", "In the Garden",12x7.5cm, framed and glazed (4)

A New Hall teapot circa 1810 pattern number 984, painted with views of Winstone Cottage and similar view verso (crack to spout)

A Worcester porcelain sparrow beak jug with floral decoration together with a New Hall helmet shaped jug and Chelsea Derby tea bowl

18th Century and Later Chinese and English Porcelain Teabowls and Saucers New Hall saucer - rim chip, matching teapot stand, cracked.One Chinese blue and white teabowl - cracked.Both Armorial teabowls - cracked.Blue and White saucers with polychrome borders - two with heavy loss to rim.Octagonal beaker - with a rim chip.Imari saucers - cracked.Fluted Export saucer - chips and crackedChinese landscape coffee cup blue and white - badly crackedEnglish puce scale cup and saucer - in good condition

A signed photograph of New York Knicks legend Walt Frazier, featuring an action shot of the Hall of Fame point guard on the court. The autograph is prominently displayed across the lower portion of the image in bold ink. The photo bears an official NBA-licensed product hologram for authenticity verification and is produced by Photo File Inc. (2001). Encased in an elegant wood-grain frame with a black inner border, the piece includes a sturdy easel backing and hanging hardware for versatile display options. A fantastic collectible for basketball enthusiasts and Knicks fans.Dimensions: 8"L x 10"HCondition: Age related wear.

This official Rawlings Major League Baseball is signed by legendary Hall of Fame catcher Yogi Berra. Known for his remarkable career with the New York Yankees, Berra was a 10-time World Series champion and three-time American League MVP, widely celebrated for his contributions both on and off the field. The baseball measures 3" dia. and features Berra's clear signature in blue ink. It comes with a protective display case measuring 3.25"L x 3.25"W x 3.25"H, ideal for showcasing this collectible piece of baseball history. Includes holographic sticker from Steiner Sports.Dimensions: See DescriptionCondition: Age related wear.

This is an original letter dated July 31, 1961, on official Chock Full o'Nuts letterhead, personally signed by Jackie Robinson, the legendary Hall of Fame baseball player and civil rights advocate. Addressed to Robert Fischel of the New York Yankees, Robinson expresses his gratitude for the handling of the "Old Timers' Day" event and conveys his appreciation to Messrs. Topping and Webb. The letter showcases Robinson's gracious character and connection to baseball history beyond his playing years. Measuring 8.5"L x 11"H, this letter is a significant piece of sports memorabilia, highlighting Robinson's post-baseball career involvement and continuing influence.Dimensions: See DescriptionCondition: Age related wear.

A selection of hardback coffee table and other books relating to art, titles including: The Artists of Northumbria, by Marshall Hall; The Artists of Cumbria, by Marshall Hall; Master of the Sea: Charles Napier Hemy RA, by Margaret Powell; Daumier, by Sarah Symmons; The Pre-Raphaelites, by Christopher Wood; Pissaro, by Martin Reid; A View of Delft Vermeer Then and Now, by Anthony Bailey; Florentine Painting, by Rolf Schott, New York: Masterpieces of Architecture, by Andras Kaldor; Ukiyo-E Paintings in The British Museum, by Timothy Clark; and other titles, one box.

SIR EDWIN LUTYENS (BRITISH 1869-1944) SIDE TABLE, 1902 oak, with brass fittings, made by William Skull & Son Ltd., High Wycombe 81cm high, 124cm wide, 48.5cm deep (32in high, 48 ¾in wide, 19 ¼in deep) Edward Hudson, Deanery Garden, BerkshireWith John Ashton Beer Sir Edwin Lutyens is renowned for his architectural achievements, including Castle Drogo, Little Thakeham, and Campion Hall, as well as his role in designing war memorials for the Imperial War Graves Commission and planning New Delhi. Yet his influence extended to furniture design, where he applied the same meticulous attention to detail and craftsmanship that defined his architectural work.Growing up in the Surrey countryside, Lutyens developed a keen interest in architecture from a young age, spending his childhood sketching buildings and honing his drawing skills. Although illness kept him from public school, his early immersion in construction influenced his later career. By the age of twenty, he had established his own practice in London, combining his architectural knowledge with an intuitive understanding of proportions and spatial relationships that would later shape his furniture designs.Lutyens’ furniture is noted for its eclecticism, drawing inspiration from historical styles but always adapting them in his own distinctive way. While he drew from historical references, he never replicated designs verbatim; instead, he adapted and subtly altered proportions and details to suit his own vision. For example, Lutyens had a particular aversion to "dead proportions," often opting for slight adjustments to standard measurements—either slightly more or less than a half or quarter proportion.The side table offered here was conceived as part of the interior scheme for Deanery Garden in Sonning, Berkshire, a ‘quintessential’ Lutyens property built 1899-1901. The illustrated scale plans of the furniture include annotations naming Edward Hudson, editor of Country Life and Lutyens’ good friend, for whom he designed Deanery Garden. Also mentioned is ‘Skull’, referencing the furniture workshop Walter Skull and Sons Ltd in High Wycombe, commissioned to complete the piece. The design for the set of ladderback chairs after Lutyens offered here is also featured on this sheet.The table’s frieze and drop handles echo 17th and 18th century furniture, influenced by Lutyens' “furniture hunting” with Edward Hudson at Lindisfarne Castle. The bulbous legs, reminiscent of 16th-century refectory tables, are executed with a lighter touch, while the delicately arched stretchers at the base blend 17th-century elements with the Arts & Crafts style, seen also in the work of Sir Robert Lorimer. These adaptations showcase Lutyens’ skill in merging historical references with his modern sensibility and his ability to work closely with craftsmen like Skull allowed him to create furniture that was both aesthetically refined and technically sophisticated.

Y JOHN VICAT COLE (1903-1975) In the Dale of the Nidd, signed lower right, inscribed with title and artist's name in ink on label verso, oil on canvas, 23" x 29 1/2", unframed (subject to Artists Resale Right) (Est. plus 24% premium inc. VAT)Notes: Though he was born and educated in London, where he was a slightly younger contemporary of painters such as Paul Nash and Staney Spencer, John Cole was closely connected to Yorkshire. His mother grew up at New Hall Farm, Bolton Abbey, where John Cole stayed and painted extensively in the 1920s and 30s. He travelled throughout the Yorkshire Dales, and particularly appreciated the dramatic scenery of Nidderdale. The present work can tentatively be identified as the painting titled In the Vale of the Nidd exhibited at the Royal Society of British Artists in 1929. The twelfth century castle is seen from below, with the plumes of smoke of a mill echoing the dramatic geometry of the trees in the foreground Condition Report: Significant paint loss to the left and right edges of the canvas. Overall, the canvas is intact but with ingrained dirt in places. The stretcher to the rear has been modified and is in three parts.

American Film Awards, eight American Awards comprising Kine Weekly Award to A H Moss 1st Prize 1953 (small cast Lion on plinth 10cm high), New York Chapter Academy of TV Arts & Sciences presented Certificate for telecast MNEM -TV 1962-63 (23cm x 28cm), Directors Guild of America Inc trophy awarded to Carolin Ivanich outstanding directional achievements 1988 (gold coloured Director Chair 10cm high), Cinema Editors Inc Award 1958 Robert B. Hoover for editing the TV comedy series Kathy's Romance (25cm high needs attention), Video Hall of Fame Award (plaque on heavy base) Shelley Duvall for 'Innovator in Video programming 1985, Grand Shorts award 1936 short film 'Neighborhood House' voted by readers Jay Emanuel publications bronze medal/statue 16cm high and The Photoplay Magazine Medal boxed and Film & Television Festival of New York 1983 award 'This is the life' (medal in presentation box) various conditions

A quantity of New Hall gilt rimmed dinner wares

A New Hall porcelain tea cup and saucer, decorated in gilt and cobalt blue, circa 1815; together with three other early 19th century English porcelain tea cups and saucers, factories unknown (8)

An early 19th century Coalport porcelain cup and saucer, decorated with leaves and flowers in iron-red and gilt; together with a New Hall Japan pattern tea cup and saucer, circa 1815; and two pairs of English porcelain blue and white printed tea bowls and saucers, circa 1830 (8)

Two boxes of mixed principally 19th century ceramics, to include New Hall teapot (hairline to spout), various plates, Staffordshire groups, Wedgwood blue jasper biscuit barrel with plated cover, Carltonware match striker etc

Two pairs of New Hall porcelain tea cups and saucers, decorated in the Japan pattern, circa 1815; together with a New Hall tea bowl on stand, polychrome decorated with floral sprays; another similar example by New Hall; a late 18th century Worcester tea bowl on stand, both being fluted and decorated with gilt banding; and two early 19th century tea cups and saucers, factories unknown (14)Pale blue ground cup & saucer with some wear to gilt, no cracks, chips or restoration. Some light marks. Impressed 'M' and various labels to the undersides.

An English porcelain tankard, circa 1840, decorated with floral garlands amidst gilt borders, h.10cm; together with New Hall porcelain cream jug, h.11cm; and an early Victorian porcelain pedestal vase, probably Rockingham, decorated with a river landscape opposing a floral cartouche within a blue and gilt ground, h.19cm (3)Tankard - Crazed. No chips, cracks, or repairs. Some minor wear to gilt decoration.Cream jug - no chips or repairs, but there is a crack through the handle where the body and handle join at the top.Vase - no chips, cracks or repairs. Some wear to gilt decoration.

A New Hall porcelain blue and white printed saucer, circa 1810, dia.13cm; together with an early 19th century blue and white printed sauceboat, factory unknown, w.22cm (firing crack along spout); and an early 19th century blue and white sucrier and cover, decorated in the Willow pattern (3)

John Constable (1776-1837)Dedham Vale looking towards Langham, c.1809-14Oil on millboard laid onto canvas, 31.5cm by 39cm (12 x 15 3/8 inches)Provenance: Ann Durning Holt (1899-1980), either acquired by her on the art market during her lifetime, or possibly to her by descent from her father Sir Richard Durning Holt (1868-1941), nephew of the distinguished Liverpudlian collector, George Holt (1825-1896); by descent to the current owner.Dedham Vale looking towards Langham is an impressive and vigorous early plein-air sketch by John Constable which has not previously been recorded in the Constable literature. It bears a close relationship to the painting, Dedham Vale, c.1825, in Munich Bayerische Staatsgemäldesammlungen, Neue Pinakothek; Graham Reynolds, The Later Paintings and Drawings of John Constable, Yale University Press, 1984, no 25.39; see fig. 001). Constable is well known for his commitment to making oil sketches in the open air - an exercise he first embarked on in 1802 and continued to practice until as late in his career as 1829. In 1802 he was still a young man undertaking his artistic training in London at the Royal Academy Schools but had already decided that he wanted to specialize in landscape painting. However, that year he decided he no longer wished to imitate the work of earlier landscape artists but rather to turn to ‘Nature herself’. He resolved to return to his home in East Bergholt in Suffolk and make some ‘laborious studies from nature’ (John Constable’s Correspondence II, 1964, Suffolk Records Society, Ipswich, p.32; letter to John Dunthorne, 29 May 1802). Determined, then, to paint his native Suffolk scenes – being those with which he had the greatest attachment – Constable at first made slow progress with this new procedure. However, by around 1810 he had developed a colourful and highly expressive oil sketching style. Moreover, until 1816 when he married and moved permanently to London, he continued to make many, usually quite small, plein-air sketches of the scenery in and around East Bergholt. These consisted mainly of panoramic vistas over Dedham Vale, more often than not, like this example, looking westwards from the Suffolk side of the Vale, more enclosed views taken in the lanes nearby, or scenes in and around Flatford where his father owned a mill for grinding corn. Occasionally Constable dated these plein-air oil sketches. Otherwise, as is the case with Dedham Vale, they can usually be broadly dated on the basis of style or on the support which Constable used when painting them. Dedham Vale looking towards Langham is painted on board (and subsequently laid down onto canvas). Constable is known to have started using millboard for plein-air work from around 1809. Although he continued to use this support at intervals during his career, his most frequent use of board for oil sketching was generally in these earlier years, and especially around the period 1809-10. Furthermore, with its relatively smoothly applied brushstrokes, Dedham Vale looking towards Langham is close in style to other oil sketches Constable made around 1809 at Epsom and at Malvern Hall in Warwickshire (see, for example, Graham Reynolds, The Early Paintings and Drawings of John Constable, Yale University Press, 1996, nos. 09.08, 09.18 and 09.19). This sketch, by comparison with the latter examples, is notable for the more dramatic way in which he handles light and shade. Rays of sunlight can be seen bursting through cloud and sharply illuminating stretches of Dedham Vale in the middle and far distance. Meanwhile, a tiny touch of white paint indicates the tower of Langham Church close to the horizon on the right. These on-the-spot sketches would often prove useful to Constable many years later when he was working in his London studio and planning new pictures for exhibition or sale. Rarely now able to spare time for visits to Suffolk, he would often turn to his earlier sketches for inspiration. Around the mid-1820s Constable used this sketch to serve as the basis of the aforementioned painting of Dedham Vale now in Munich, which shows the same stretch of the Vale, albeit somewhat extended on the left, and the tower of Langham Church in the same position on the far right. The biggest difference between the two works is in the extensive foreground which Constable added to the Munich picture, and into which he inserted a couple of seated figures (one of whom is seen pointing to the view) as well as a few animals such as donkeys and cows. Constable even incorporated into the Munich picture the idea of the sun bursting through cloud, albeit now positioning this feature further to the left. Constable’s expressive use of light and shade (‘chiaroscuro’) lends animation to his landscapes and was something he wrote about in a letterpress accompanying the publication in 1830-32 of a series of mezzotints from his work known as English Landscape. By 1836 he was even arguing (in a draft for a lecture) that chiaroscuro was the very ‘soul and medium of art’.NoteThere is another oil sketch recorded in the Constable literature similar to this one, in oil on paper set onto panel, which Graham Reynolds described as being ‘somewhat damaged’ (The Early Paintings, op.cit, no.08.58). Meanwhile, Ian Fleming-Williams referred to this sketch as ‘puzzling in the extreme’, as it shows Langham church in the wrong place (The Burlington Magazine, vo.130. no.1025, August 1988, p.654; review of Constable exhibition at Salander-Reilly Galleries, New York). Given this discrepancy, and also the recent appearance of this sketch from the Holt collection, perhaps the attribution of R.08.58 should now be re-evaluated.Anne Lyles, 2025We are grateful to Anne Lyles for her assistance with this catalogue entry.The board is backed with a canvas on stretcher, which has four keys missing. It is not possible to see if/how the board is adhered to the canvas. Please click HERE for the condition report on this lot

Nameplate VULCAN. Ex Manning Wardle 0-6-0ST built as works number 1577 in 1902. and delivered new to the Ackton Hall Colliery Company Ltd Featherstone and named Vulcan and numbered Acton Hall No4. It spent its entire working life at Ackton Hall Colliery being withdrawn from service and scrapped on site by Wakefield Metal Traders Ltd in October 1968. Rectangular cast brass face cleaned measures 24.125in x 6.5in. Together with its original purchase receipt from the NCB dated 5th March 1971 and a photo of the loco.

Worksplate YORKSHIRE ENGINE CO LIMITED MEADOW HALL WORKS SHEFFIELD No 784 1903 ex 0-4-0 ST delivered new to Park Gate Iron & Steel Co Works, sold to Charwelton Quarries in 1952 and withdrawn in November 1961 and cut up on site in December 1963. Oval cast brass, face lightly cleaned measures 13in x 7.5in. One of the earlier larger pattern plates.

Jen Orpin The Gate, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About The visual representations of landscapes in my paintings and the framed view from the car make up and form the basis of visceral memories and nostalgia, liminal spaces that occupy the landscape between the places and people that mean the most to us. The importance of these external landscapes is often mirrored by the internal dialogue of the driver and passenger with the confinements of the car at times offering an intimate confessional space. The mundanity of these every day actions often belies the truth of deep routed emotions that come with these well-travelled routes and connections to these familiar places. In these paintings I aim to portray this feeling, emotionalism is a key element in the success of each one and as a viewer you are forced to look down the road as its sole traveler and undertake each journey as your own.   Education 1993-1996 BA Hons in Fine Art, Manchester Metropolitan University, UK   1992-1993 Art Foundation, West Surrey College of Art and Design, UK   Solo Exhibitions 2024 We Left Nothing Behind, Union Gallery, London, UK A Navigation Of Memory, Jari Lager Gallery, Seoul, South Korea Art Busan, solo presentation, Jari Lager Gallery, South Korea 2023 The Journey Continues, Saul Hay Gallery, Manchester, UK 2022 Thirteen Bridges, London Modern, Waltham Forest Town Hall, London, UK 2021 The Manchester Modernist Society, Silent Cursors Punctuated Journeys, Manchester, UK   Group Exhibitions 2025 London Art Fair, Saul Hay Gallery, UK A Bell Is A Cup Until It Is Struck, BLOC Projects, Sheffield, UK Journeys, Taylor-Jones & Son, Deal, UK Rolling Action...Paint!, Jari Lager Gallery, Vestfossen, Norway 2024 Here is My Favourite Place, Jari Lager Gallery, Seoul, UK London Art Fair. Encounters Space, Saul Hay gallery, London, UK New Light Art Prize, Bankside Gallery, London, UK New Light Art Prize, Rheged Arts Centre, Penrith, UK A Small Space On Tour, TAT Art Space, Bali Royal Academy Summer Show, London, UK Terrace Open, Patchworks, London, UK Friends Of Dorothy, Refuge. Manchester, UK New Light Art Prize, The Biscuit Factory, Newcastle, UK Connections. MAFA, Stockport War Memorial art Gallery, UK New Light Art Prize, The Mercer Art Gallery, Harrogate, UK Rogue Women 3, curator, Rogue Studios, Manchester, UK The Pearls & The Oyster, The Birley Studios, Preston, UK Manchester Contemporary. Rogue Women stand, Manchester, UK 2023 Rogue Women II. Co-Curated, Rogue Artists' Studios, Manchester, UK Coalescence, Contemporary Six Gallery, Manchester, UK Royal Academy Summer Exhibition. London, UK MAFA Summer Exhibition, Dean Clough, Halifax, UK A Generous Space 3, Huddersfield Art Gallery, UK New Light Art Prize. Williamson Art Gallery, Birkenhead, UK Sight Ingested, part performance. Tokyo My Brutal Life, Moore Street substation, Sheffield, UK Sight Seeing, School of Fine Art, Athens The Bury Open, Bury Museum and Art Gallery, UK ING Discerning Eye, Mall Galleries, London, UK The London Group Open, Copeland Gallery, London, UK Manchester Contemporary. Rogue Women, Curator, UK A Small Space, Square Feet Space, London, UK Daegu Art fair, Jari Lager Gallery, South Korea In Case You Missed It, The Modernist, Manchester, UK Gallery Representation Saul Hay Gallery, Manchester, UK Jari Lager Gallery, London/South Korea Public Collections Manchester Art Gallery, UK New Art Gallery Walsall, UK   Statement about AOAP Submitted Artwork My night driving paintings capture the interplay of artificial and natural light, evoking a sense of solitude, romanticism, mystery, and the fleeting nature of night time journeys. These paintings emphasise contrasts, car headlights pick out the shadowy details and subtle shapes. The soft glow of distant lights offers a visual narrative of transition, introspection, and the quiet beauty of the darkened world outside the car. Through this lens, night driving becomes both a literal and metaphorical journey, often exploring themes of isolation, motion, and the search for meaning in the vastness of the night.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Sal Jones I Smiled Back Anyway, 2025 Oil on primed paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Drawing inspiration from sources such as film, media, and popular culture, Sal's oil paintings, weighted with psychological tension, defy the usual portrait genre and gender stereotypes. The subjects are mostly women, often fictional or notorious, with a social or cultural relevance. The painted surface draws attention to the process of painting and to the artist's choices in transforming the photographic source image. Sal has a BA Hons in Fine Art and a PGCE in Art & Design, she lives and works in Hackney, London. She has over 20 years of experience working in the education sector teaching and undertaking art residencies; she is a freelance Artist, Museum educator and exam board Assessment Associate and has exhibited widely in London and the UK, in selected and solo shows. Sal has been shortlisted for Wells Art Contemporary (WAC 2023), Wales Contemporary Art Prize (2022); long-listed for the BEEP Biennial (2024), the Women's United Art Prize (2021), and the Jackson's Open Art Prize (2016), winning the interim oil painting prize. Sal has also had work selected for the Royal Cambrian Academy open and the Wales Contemporary open. She was an invited artist for the ING Discerning Eye exhibition (2020) as well as being selected for the Discerning Eye, annual open exhibition at the Mall galleries in 2014. She has had work selected for the Society of Women artists annual open exhibition (2023, 2020 and 2015) and has shown with the Bath Society of Artists, Royal Birmingham Society of Artists, Visual Arts Scotland, and Feren's gallery Hull in their annual open exhibitions. She was one of 21 visual women artists invited to produce new work for 'Dear Christine', an arts council-funded touring exhibition in tribute to Christine Keeler (the exhibition toured during 2019 - 2020 to Newcastle, Swansea, and London). Education 1989 - 1990 Postgraduate Certificate of Education in Art & Design, Middlesex Polytechnic 1983 - 1986 BA(hons) degree in Fine Art, Sunderland Polytechnic Solo Exhibitions 2021 No Time Like The Present, Hampstead Garden Gallery, London 2018 Something that Feels Like the Truth, Unit G gallery, London 2017 Appearances, Solo show, Nude Tin Can gallery, Herts 2014 Moving Scenes, solo show, Gallery at Hackney Picturehouse, London Group Exhibitions 2024 Linden Hall Winter Open, Linden Hall, Deal BEEP Painting Biennial, Elysium Swansea Now & Then, Visual Arts Scotland, Dalkeith Palace, Edinburgh 2023 Scandal '63 Revisited, De Montfort University Gallery, Leicester Wells Art Contemporary, Wells Cathedral Somerset Society of Women Artists 162nd Annual Exhibition, Mall Galleries, London The Look of a Woman, The Stash Gallery, London 2022 Fenella Fielding: Actress, Gallery 286, London Wales Contemporary, Waterfront Gallery, Pembrokeshire and Gallery@Oxo London British Painting III, Bermondsey Project Space, London Royal Cambrian Academy Open Exhibition, Conwy, Wales 2021 Bath Society of Artists 116th Open Exhibition, Victoria Art Gallery, Bath The Marks We Make, The Curator's Salon 2020 ING Discerning Eye, Annual Open Exhibition, Invited Artist Society of Women Artists, 159th Annual Open Exhibition Healthcare Heroes, Google Arts and Culture Dear Christine, Touring Exhibition, Arthouse 1, London 2019 Dear Christine, Touring Exhibition, Vane Gallery, Newcastle & Elysium, Swansea Bath Society of Artists, Open Exhibition, Victoria Art Gallery, Bath Awards 2024 Longlisted BEEP Painting Biennial 2023 Shortlisted Wells Contemporary Art 2022 Shortlisted Wales Contemporary Prize 2021 Longlisted Women United Art Prize 2016 Longlisted for the Jackson's Open Art Prize, Winner Interim Oil Painting Prize Public Collections De Montfort University, Leicester The Fenella Fielding Foundation, London Space Park, Leicester Statement about AOAP Submitted Artwork I am particularly drawn to a gesture captured rather than conventional poses, those unguarded moments; something we can relate to as viewers. These two works depict fictional subjects, in moments of quiet introspection, suggesting darker undercurrents. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Jen Orpin The Sign, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About The visual representations of landscapes in my paintings and the framed view from the car make up and form the basis of visceral memories and nostalgia, liminal spaces that occupy the landscape between the places and people that mean the most to us. The importance of these external landscapes is often mirrored by the internal dialogue of the driver and passenger with the confinements of the car at times offering an intimate confessional space. The mundanity of these every day actions often belies the truth of deep routed emotions that come with these well-travelled routes and connections to these familiar places. In these paintings I aim to portray this feeling, emotionalism is a key element in the success of each one and as a viewer you are forced to look down the road as its sole traveler and undertake each journey as your own.   Education 1993-1996 BA Hons in Fine Art, Manchester Metropolitan University, UK   1992-1993 Art Foundation, West Surrey College of Art and Design, UK   Solo Exhibitions 2024 We Left Nothing Behind, Union Gallery, London, UK A Navigation Of Memory, Jari Lager Gallery, Seoul, South Korea Art Busan, solo presentation, Jari Lager Gallery, South Korea 2023 The Journey Continues, Saul Hay Gallery, Manchester, UK 2022 Thirteen Bridges, London Modern, Waltham Forest Town Hall, London, UK 2021 The Manchester Modernist Society, Silent Cursors Punctuated Journeys, Manchester, UK   Group Exhibitions 2025 London Art Fair, Saul Hay Gallery, UK A Bell Is A Cup Until It Is Struck, BLOC Projects, Sheffield, UK Journeys, Taylor-Jones & Son, Deal, UK Rolling Action...Paint!, Jari Lager Gallery, Vestfossen, Norway 2024 Here is My Favourite Place, Jari Lager Gallery, Seoul, UK London Art Fair. Encounters Space, Saul Hay gallery, London, UK New Light Art Prize, Bankside Gallery, London, UK New Light Art Prize, Rheged Arts Centre, Penrith, UK A Small Space On Tour, TAT Art Space, Bali Royal Academy Summer Show, London, UK Terrace Open, Patchworks, London, UK Friends Of Dorothy, Refuge. Manchester, UK New Light Art Prize, The Biscuit Factory, Newcastle, UK Connections. MAFA, Stockport War Memorial art Gallery, UK New Light Art Prize, The Mercer Art Gallery, Harrogate, UK Rogue Women 3, curator, Rogue Studios, Manchester, UK The Pearls & The Oyster, The Birley Studios, Preston, UK Manchester Contemporary. Rogue Women stand, Manchester, UK 2023 Rogue Women II. Co-Curated, Rogue Artists' Studios, Manchester, UK Coalescence, Contemporary Six Gallery, Manchester, UK Royal Academy Summer Exhibition. London, UK MAFA Summer Exhibition, Dean Clough, Halifax, UK A Generous Space 3, Huddersfield Art Gallery, UK New Light Art Prize. Williamson Art Gallery, Birkenhead, UK Sight Ingested, part performance. Tokyo My Brutal Life, Moore Street substation, Sheffield, UK Sight Seeing, School of Fine Art, Athens The Bury Open, Bury Museum and Art Gallery, UK ING Discerning Eye, Mall Galleries, London, UK The London Group Open, Copeland Gallery, London, UK Manchester Contemporary. Rogue Women, Curator, UK A Small Space, Square Feet Space, London, UK Daegu Art fair, Jari Lager Gallery, South Korea In Case You Missed It, The Modernist, Manchester, UK Gallery Representation Saul Hay Gallery, Manchester, UK Jari Lager Gallery, London/South Korea Public Collections Manchester Art Gallery, UK New Art Gallery Walsall, UK   Statement about AOAP Submitted Artwork My night driving paintings capture the interplay of artificial and natural light, evoking a sense of solitude, romanticism, mystery, and the fleeting nature of night time journeys. These paintings emphasise contrasts, car headlights pick out the shadowy details and subtle shapes. The soft glow of distant lights offers a visual narrative of transition, introspection, and the quiet beauty of the darkened world outside the car. Through this lens, night driving becomes both a literal and metaphorical journey, often exploring themes of isolation, motion, and the search for meaning in the vastness of the night.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Sal Jones Keep Me Alive, 2025 Oil on primed paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Drawing inspiration from sources such as film, media, and popular culture, Sal's oil paintings, weighted with psychological tension, defy the usual portrait genre and gender stereotypes. The subjects are mostly women, often fictional or notorious, with a social or cultural relevance. The painted surface draws attention to the process of painting and to the artist's choices in transforming the photographic source image. Sal has a BA Hons in Fine Art and a PGCE in Art & Design, she lives and works in Hackney, London. She has over 20 years of experience working in the education sector teaching and undertaking art residencies; she is a freelance Artist, Museum educator and exam board Assessment Associate and has exhibited widely in London and the UK, in selected and solo shows. Sal has been shortlisted for Wells Art Contemporary (WAC 2023), Wales Contemporary Art Prize (2022); long-listed for the BEEP Biennial (2024), the Women's United Art Prize (2021), and the Jackson's Open Art Prize (2016), winning the interim oil painting prize. Sal has also had work selected for the Royal Cambrian Academy open and the Wales Contemporary open. She was an invited artist for the ING Discerning Eye exhibition (2020) as well as being selected for the Discerning Eye, annual open exhibition at the Mall galleries in 2014. She has had work selected for the Society of Women artists annual open exhibition (2023, 2020 and 2015) and has shown with the Bath Society of Artists, Royal Birmingham Society of Artists, Visual Arts Scotland, and Feren's gallery Hull in their annual open exhibitions. She was one of 21 visual women artists invited to produce new work for 'Dear Christine', an arts council-funded touring exhibition in tribute to Christine Keeler (the exhibition toured during 2019 - 2020 to Newcastle, Swansea, and London). Education 1989 - 1990 Postgraduate Certificate of Education in Art & Design, Middlesex Polytechnic 1983 - 1986 BA(hons) degree in Fine Art, Sunderland Polytechnic Solo Exhibitions 2021 No Time Like The Present, Hampstead Garden Gallery, London 2018 Something that Feels Like the Truth, Unit G gallery, London 2017 Appearances, Solo show, Nude Tin Can gallery, Herts 2014 Moving Scenes, solo show, Gallery at Hackney Picturehouse, London Group Exhibitions 2024 Linden Hall Winter Open, Linden Hall, Deal BEEP Painting Biennial, Elysium Swansea Now & Then, Visual Arts Scotland, Dalkeith Palace, Edinburgh 2023 Scandal '63 Revisited, De Montfort University Gallery, Leicester Wells Art Contemporary, Wells Cathedral Somerset Society of Women Artists 162nd Annual Exhibition, Mall Galleries, London The Look of a Woman, The Stash Gallery, London 2022 Fenella Fielding: Actress, Gallery 286, London Wales Contemporary, Waterfront Gallery, Pembrokeshire and Gallery@Oxo London British Painting III, Bermondsey Project Space, London Royal Cambrian Academy Open Exhibition, Conwy, Wales 2021 Bath Society of Artists 116th Open Exhibition, Victoria Art Gallery, Bath The Marks We Make, The Curator's Salon 2020 ING Discerning Eye, Annual Open Exhibition, Invited Artist Society of Women Artists, 159th Annual Open Exhibition Healthcare Heroes, Google Arts and Culture Dear Christine, Touring Exhibition, Arthouse 1, London 2019 Dear Christine, Touring Exhibition, Vane Gallery, Newcastle & Elysium, Swansea Bath Society of Artists, Open Exhibition, Victoria Art Gallery, Bath Awards 2024 Longlisted BEEP Painting Biennial 2023 Shortlisted Wells Contemporary Art 2022 Shortlisted Wales Contemporary Prize 2021 Longlisted Women United Art Prize 2016 Longlisted for the Jackson's Open Art Prize, Winner Interim Oil Painting Prize Public Collections De Montfort University, Leicester The Fenella Fielding Foundation, London Space Park, Leicester Statement about AOAP Submitted Artwork I am particularly drawn to a gesture captured rather than conventional poses, those unguarded moments; something we can relate to as viewers. These two works depict fictional subjects, in moments of quiet introspection, suggesting darker undercurrents. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Cas Campbell Hidden Rivers (Contd. 2), 2025 Recycled paper and pigments on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Cas Campbell's works explore the places where nature, ancient history, mythology and queer culture meet. Using intricate, transformative material processes, she creates paintings and wall hangings from paper pulp, alongside installations and ceramic pieces. Works are formed through cyclical, ritualistic techniques: colour is applied from mineral pigments, oak gall ink, and gathered material, and old pieces are reworked and recycled into new ones. Campbell (b. 1995) grew up in New Zealand and works between London and Brighton, UK. She holds an MA in Painting from the Royal College of Art (2022), and a BA from the University of Brighton (2018). Campbell is a recipient of an Arts Council England Developing Your Creative Practice grant and an A-N Artist Bursary, and has been shortlisted for the Chaiya Art Awards and the Visual Open Art Awards. Recent residencies include Studio Verde's 'Art and Ecology' in Italy and Sachaqa Centro de Arte in the Peruvian Amazon. Campbell's work is included in several public and private collections, including the Soho House Brighton collection of queer art. She has exhibited in the UK and internationally.   Education 2020 - 2022 MA in Painting, Royal College of Art, London, UK 2015 - 2018 BA in Painting, University of Brighton, Brighton, UK   Solo Exhibitions 2024 Hidden Rivers, Redkite Floating Gallery, London, UK   Group Exhibitions 2024 Fair Ground, Glyndebourne, Lewes, UK Walk While You Have The Light, Safehouse 1, London, UK Can you Afford to Pay Attention? Greatorex Street, London, UK Traveling Memories, The Modern Showroom, London, UK A Daughter and Feral Mothers, AMP Gallery, London, UK 2023 What's Your Superpower? Safehouse 1, London, UK Futility of Camouflage, Sachaqa Centro de Arte, San Roque, PE Liminal Cracks, ASA Briggs Hall, London, UK Terra, SET Kensington, London, UK 2022 Home, Regency Townhouse, Brighton, UK Graduate Show, Royal College of Art, Battersea, London, UK   Awards 2024 Artist's Bursary, A-N 2022 Developing Your Creative Practice, Arts Council England 2021 Shortlist, ColArt Awards 2019 Longlist, Visual Open Art Awards 2018 Shortlisted, Chaiya Art Awards   Public Collections Soho House Brighton Beacon, Brighton, UK   Statement about AOAP Submitted Artwork 'Panthalassa' and 'Hidden Rivers' were both large-scale installations exhibited in 2024: A five-metre wall hanging created from recycled paper pulp, seaweed and mineral pigments and a twenty-metre installation using the same. The installations reflected a life's journey mostly taken on the ocean and the detritus and ephemera of the everyday.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

* ANGUS MCEWAN RWS RGI RSW (SCOTTISH b .1963), LOCKED TIGHT BUT FOR WATER II watercolour on paper, signed, titled and dated 2008 versomounted, framed and under glassimage size 20cm x 14cm, overall size 36cm x 29cm 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.

Charles III (b.1948) then HRH Prince of Wales; a signed Christmas and New Year card {2000} inscribed "To you both, from Charles", folded card with cypher to cover and a colour photograph of the Prince of Wales with Princes William and Harry at Birk Hall, envelope lacking. Provenance: Alan Maxwell MVO, of photographic and camera specialist, Wallace Heaton Ltd., official suppliers to the Royal Family