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A small collection of 18th and early 19th century British porcelain, to include Worcester and New Hall, the blue and white moulded Worcester jug with blue floral spray design, circa 1760, the Newhall teapot with floral swags and gilt embellishment, large jug 20 cm high

New Toy Soldier Charles Hall SA Band with Fasces bearer and dog (Condition Excellent)

Nine historical account books, comprising 'Lord Macaulay's Essays and Lays of Ancient Rome', authorised edition, Longman's, Green & Co 1888, 'English Writers: The Writers Before Chaucer, With an Introductory Sketch of the Four Periods of English Literature' by Henry Morley, Chapman & Hall, 1864, 'Notes and Jottings from Animal Life' by the late Frank Buckland, with illustrations, a new edition, Smith, Elder & Co 1888, 'The Rise of the Dutch Republic: A History' by John Lothrop Motley, a new edition, complete in one volume, George Routledge & Sons, 1866, Volumes I & II of 'The History of England from the Accession of James the Second' by Lord Macaulay, popular edition in two volumes, Longman's, Green & Co 1889, 'The Biographical Treasury: A Dictionary of Universal Biography' by Samuel Maunder 1872, and two 'Pope's Homer' books, comprising 'Odyssey of Homer' and 'Iliad of Homer' (9).Condition Report: - We have not checked that every page is present, so we cannot give any guarantees. Some books on the hard cover have gilt tooling for schools, to include Blackheath Proprietary School and Oliver's Mount School, Scarborough.

A late 19th century English painted wooden dolls’ house, the exterior painted with red brick and cream stonework, central front door with acid etched windows and porch, five windows, central pediment, grey slate roof with two chimneys, back opening, but now converted to front open in two parts, to reveal four rooms, hall, stairs and landing, some original papers, and recently electrically lit —29 1/4in. (74.5cm.) wide x 26 3/4in. (68cm.) high x 20 1/2in. (52cm.) deep (the front has been cut and given new long brass hinged to make front opening, small drill holes for electrics, slight wear and damage) - the following twenty-six lots are the contents from this house

A large gilt brass hexagonal three light hall lantern, 20th century, with glass sides surmounted with scolled leaves to the corners 90 x 55 x 50cmProvenance:by repute from New Slains CastlePrivate collection, Launceston Place, London, W8Condition good

A New Hall pattern number 611 part tea service, circa 1805, painted with flower filled baskets within blue and gilt borders, comprising a teapot, cover and stand, milk jug, saucer dish, slop bowl, sucrier and cover and four tea cups and saucersthe teapot 26cm wide (16)Literature: The teapot is illustrated in Geoffrey Godden's Staffordshire Porcelain, colour pl IVExhibited: New Hall Bicentenary 1781 – 1981, cat. no. 51Slight niggle to rim of spout Pitting to the footrim of the saucer dishSlight rubbing to gilding

A New Hall part tea and coffee service, circa 1800, decorated in sepia with a band of strawberries and foliage, comprising two silver-shaped cream jugs, slop bowl, small slop bowl, three saucer dishes, teapot and stand, nine teacups and coffee cups and twelve saucers, the teapot 23cm wide (38)Please find further images.

A New Hall tea and coffee service, circa 1820, of London shape, bat printed and over painted with scenes of country houses and rural landscapes, reserved on a light blue ground gilt with foliate designs, comprising a teapot and cover, sucrier and cover, milk jug, slop bowl, two saucer dishes, six teacups, coffee cups and saucers, the teapot 25cm wide (26)Please see additional photographs for condition. Gilding is rubbed in places, especially one dessert plate, finials rubbed, there are also some scratches. Chips to the inside of the teapot.

John Linnell (1792-1882) Portrait of Stewart Marjoribanks, M.P. (1774-1863) standing three quarter-length with a top hat under his arm signed and dated 1842 lower right oil on panel 53 x 44.5cm Provenance: Private collection, Launceston Place, London, W8 Exhibited: London, Royal Academy, 1843, no. 105 Literature: Alfred T Story, Life of John Linnell, 1892, vol. II, p. 252 Stewart Marjoribanks (1774-1863) was a Whig politician and wine merchant. Born in Berwickshire, Scotland, he was also involved in the East India Company, the New Zealand Company and was a founder of the Pacific Pearl Fishery Company. He was first MP for Hythe from 1820-1837, when he voted in favour of parliamentary reform and expressed support for the abolition of slavery in the colonies and Catholic and Jewish emancipation. He was again elected Hythe MP in 1841, shortly before the execution of the present portrait, when he also married his second wife, Lucy, daughter of Edward Roger Pratt of Ryston Hall, Norfolk. In 1846, Linnell painted a further full length, life size portrait of Marjoribanks for the members of the Watford Masonic Lodge. The painting is executed in oil on a panel formed from a single board of thick wood. The support and paint layers are in a very good condition overall. The paint layer has developed a slightly wrinkled texture, notable in the face. The varnish is clear, even and slightly glossy. There are a few, localised areas of overpaint covering abrasion at the edges of the picture and small areas of wear in the figure. Framed 72 x 63cm

A New Hall tea and coffee service, circa 1810, painted in blue, iron and gold with a border of wheatears, scrolls and paterae, comprising a teapot, cover and stand, sucrier and cover, milk jug, slop bowl, saucer dish, seven teacup and eight coffee cans and eight saucers (31) Finial of the teapot has been chipped and glued. The handle of the sucrier has been restored. Some star cracking to the underside of some of the cups and saucers. One can is cracked. Rubbing to gilding the decoration to the underside of the saucer S

A New Hall tea and coffee service, circa 1820 – 25, of London shape, decorated with alternating panels of figures in various pursuits and flowers, within raised gilt borders and reserved on a pale blue ground body, incised ‘H. Bone’ and marked ‘New Hall 1799’, comprising a teapot and cover, sucrier and cover, milk jug, slop bowl, two saucer dishes, ten coffee cups and teacups and eleven saucersthe teapot 26cm wide (39)Illustrated: Rhead’s Staffordshire Pots and Potters, pub. 1906, pl. facing p. 280, signatures added laterTypical slight rubbing to the glazing and slight staining in places. One of the cups is badly cracked at the footrim. Slight loss in places to the enamel - especially one of the plates. The slop bolw is cracked at the rim. The teapot has a niggle at the rim and the body is cracked.

William Hodges RA (1744-1797) An extensive landscape with figures on a track and distant buildings beyond, probably Yorkshire oil on canvas 81 x 87.5cm Provenance: Private collection, Launceston Place, London, W8 The present picture, a significant new addition to the oeuvre of William Hodges, is likely to have been executed in the 1790s following the artist’s return from India. In 1793, Hodges visited Yorkshire and was commissioned by Walter Ramsden Fawkes of Farnley Hall to execute four oil paintings “about the size of half-lengths” based on sketches Hodges made of Farnley’s environs (Isabel Combs Stuebe, The Life and Works of William Hodges, 1979, p. 297-298). It is possible that this picture is one of these hitherto untraced works, which were not well received by Fawkes, or another composition deriving from the same trip. In October 1793, Joseph Farington recorded in his diary that Hodges had also visited Fountains Abbey which he “very much admired, and stayed a day there” (ibid). Hodges subsequently exhibited views of Fountains and Kirkstall Abbey at the Royal Academy in 1794 (Nos. 371 and 375). A contemporary newspaper reported more favourably that: “Hodges has been painting St. Fontaines’ [sic] Abbey, and some other beautiful scenery of Yorkshire, in size-colours, and for brilliancy and effect, as well as graceful imitation, they have much to boast of” (ibid). We are grateful to Charles Greig for endorsing the attribution to William Hodges following first hand inspection. The painting is executed in oil on a canvas support which has been lined. The canvas tension is good and the picture is in plane. The paint layers have a prominent craquelure pattern which was clearly raised and flaking in the past. This has been partially resolved through lining, although some areas are once again lifting. Several large damages in the paint layer have been repaired and overpainted, these are mainly in the darker foreground areas of the picture. Areas of overpaint in the sky cover losses and age cracks and have discoloured over time, no longer matching the surrounding original paint layers. The varnish is poor; at the left hand side it has degraded becoming spotty and opaque in areas. The gloss and saturation of the varnish varies across the surface. Framed 96 x 102cm. Remnants of Christie's stencil verso.

Two boxes of various china to include a Victorian Staffordshire Pottery figure of poodle with basket, New Hall type floral spray decorated teapot and similar cream jug, blue and white transfer decorated two section pen tray, George Jones & Sons Crescent china coffee cans and saucers, floral spray decorated tea bowl and five saucers, Allertons Ltd Old English bone china part tea set etc

A Caughley porcelain fluted tea bowl and saucer, circa 1783-93, Chamberlain's decorated in polychrome with a pair of Fancy Birds in landscapes, after similar decoration by Fidelle Duvivier at New Hall, within a blue and gilt border, unmarked, tea bowl 8.2cm diameter, saucer 14cm diameter (2)Provenance: Private Collection.Condition:Good condition with no damages or repairs. Some scratches through the birds and minor wear to the gilding on the saucer in a few areas.

Quantity of miscellaneous Militaria, two wooden British No.36 grenade transit cases, compartmentalised, rope handles to the sides, 56 cm x 16 cm x 12 cm, together with a New Hall Pottery mug stamped 'G VI R' and the date 1943, a military water filter stamped with the maker 'F.F. Ltd' and the date 1945, and a number of kit bags, one marked '57026 Duncan', another marked '582080 CPL Scriven', and a Naval kit bag marked 'Warner', (qty)

Somme Casualty 1914-1818 British War Medal (3962 PTE. J. WYARTT 18 BN. A.I.F.), records show Jacob Wyartt, born Burstall near Ipswich, Suffolk, served 3 years with the Royal field artillery before immigrating to Australia, joined 9th Reinforcements,18th Battalion, Australian Imperial Force at Cootamundra, New South Wales on 28th August 1915 age 27, after leaving Australia for Alexandria in February 1916, Jacob proceeded to join the 18th Battalion with the BEF in France, disembarking at Marseilles on 3rd April 1916, he was taken on the strength of the 18th Battalion from reinforcements on 1st August 1916, posted missing by C.O. 18th Battalion on 5th august, on 17th July 1917 it is noted that he was previously reported missing on 5th August 1916, now reported killed in action after a court of enquiry, the list of effects forwarded to his mother Mrs N. Wyartt still living at Burstall Hall include, 'Disc, 2 Wallets, Coin, Letters, Cards, Photos, Mirror (damaged), Gospel of St John, 7 Stamps, Union trinkets, Prayer book, he is entitled to the 1914-15 Star, BWM and Victory Medal, his Memorial Plaque and Scroll were sent to his mother, he is commemorated on the Villers Brettonneux Memorial, France, 18th Battalion AIF were part of 5th Brigade, 2nd Australian Division, at the time Jacob was reported missing the Division was engaged in the Battle of Pozieres, part of the wider Battle of the Somme

Boer War Memorial Pendant, 9 carat gold pendant in the form of a cross pattee, the obverse arms of the cross engraved with foliate decoration and a central disc with the legend 'Dulce et Decorum Est Pro Patria More' (It is sweet and fitting to die for one's country), to the reverse are the hallmark and maker 'GTW' and the engraved inscription 'Presented to Head Boy, Nelson College by Mrs Reid, in memory of her brother, John I. Moeller, an old college boy who fell in South Africa July 1900', Nelson College is the oldest state secondary school in New Zealand, established in 1856, John Isaac 'Jack' Moeller is recorded on the college memorial page as also having attended Otago Boys High School, he served with the Hotchkiss Battery, 2nd Contingent, New Zealand Mounted Rifles and died of enteric fever at Kroonstad, Orange River Colony, South Africa on 3rd July 1900, aged 23, and is buried at Springfontein Cemetery, Free state, South Africa, together with a bronze medal for service during the General Strike of 1926, by E. Gillick for the Royal Mint, the obverse bearing the seated figure of Brittania with the emblem of the London, Midland and Scottish Railway Company between a rose and thistle, and the legend 'FOR SERVICE IN NATIONAL EMERGENCY MAY 1926', the reverse with three figures holding locomotives in outstretched hands and the legend 'LARGETIS MUMERIS SALUS REIPUBLICAE' (The Immensity of the task, The Well Being of the Country), held in a fitted case and the original postage box with the address 'Capt. Chaytor, Pooley Hall Colly, Tamworth', and a wax seal of the Royal Mint,the items belonged to Colonel John Clervaux Chaytor, Royal Artillery, born 3rd February 1896 at Blenheim, Marlborough, South Island, New Zealand, attended Nelson College between 1908 and 1914 and was head boy in 1914, Colonel Chaytor served in the Royal Field Artillery as a Subaltern then Captain in the First World War entering France on 13th March 1917and joining 77 Brigade RFA, he was wounded at the Battle of Poelcapelle in October 1917 (Gunshot wound right thigh and gassed, Mustard and Phosgene) he returned to 77 Bde in France in December 1917 and is shown entitled to the 1914-1918 British War Medal and victory Medal, after WW1 he served with the British Army of the Rhine on occupation duties in Germany, while nominally a Royal Artillery officer Chaytor served with the Intelligence Corps in the Army of the Black Sea in turkey and the Balkans for four years overseeing Turkish compliance with the Armistice, after resigning his commission he rejoined the Territorial army in 1939 and went on to serve in the Second World War attaining the rank of Colonel in the Royal Artillery, once again, although a Royal Artillery officer, he served as GSO II (Intelligence) at Middle East forces in Egypt, returning to the UK he assumed command of 79 Light Anti aircraft Regiment Royal Artillery and was eventually posted to the 9th Army (PAIFORCE) in Persia and Iraq, he was seconded from his regiment as Frontier Control Liaison Officer for 9th Army and was 'Specially Employed' while in that role, his unit was the Inter Service Liaison Detachment which was controlled by but not officially part of the Intelligence Section, Allied Forces Headquarters (Mediterranean Theatre), there is some evidence to suggest he was involved in operations in Bulgaria in late 1944 with connections to SOE/OSS, he was married to Olive Mary Brittan, the daughter of Colonel Reginald Brittan DSO, whose items are also in this auction, Colonel Chaytor passed away on the 8th November 1957

DICKENS, Charles, Master Humphry's Clock, three vols. bound in one, lacking one frontispiece, half calf with original spine re-laid, Royal 8vo, Chapman Hall, first edition 1840; together with MAUNDER, Samuel, the Scientific and Literary Treasury, engraved frontispiece, full calf worn on the spine, small 8vo, new edition 1858, with PENDENNIS (William Thackeray) The Newcomes. Memoirs of a Most Respectable Family, two vols., 8vo, Bradbury and Evans, 1854. (4).

DICKENS, Charles, Sketches by Boz, illustrations of every-day life and every-day people, with forty illustrations by George Cruikshank, contemporary full green morocco with gilt borders, hinges rubbed, slightly loose in text block, 8vo, Chapman and Hall, new edition, 1839.

A Paris porcelain coffee can, c. 1800, painted en grisaille with figures in a landscape, gilt foliage, rim and scroll handle, 6.2cm h, a German example, c. 1800, painted in polychrome with a sheep and lamb, titled in gilt script, 6.2cm h, and a New Hall coffee cup, c. 1795, (3) The French and German cans good, their gilding worn in places. The New Hall cup repaired.

Miscellaneous British studio ceramics and a New Hall Boumier ware footed bowl, various sizes (9) Good condition

Miscellaneous English and Continental pottery and porcelain, to include a New Hall cream jug painted with Chinese figures, Sunderland pink marbled lustre jug, Wedgwood Queen's Ware teapot for James Powell & Sons London and a Worcester spirally fluted tapering gilt sucrier and cover Mostly in good condition

18k gold & enamel medal awarded to Ottorino Barassi on the occasion of Bologna FC's Divisione Nazionale title in 1928-29, the obverse with Olympic Rings and fasces symbol, inscribed FEDERAZIONE ITALIANA GIUOCO CALCIO, the reverse named OTTORINO BARASSI and inscribed 10 AGOSTO 1926 A.IV, 22 GIUGNO 2929, BOLOGNA, diameter 28mm., weight 10gr. Provenance: by family descent The following lots 428 to 460 were awarded to Italian Sports Official Ottorino Barassi. Lots 428 to 460 Ottorino Barassi (1898-1971) Italian football and sports official. Just before the 1966 World Cup in England the Jules Rimet Trophy was stolen whilst on display at the Stampex Exhibition in London’s Westminster Central Hall. Very famously, it was found abandoned in shrubbery by a dog called “Pickles” and after the Final Tie HM The Queen was able to present the World Cup trophy to England’s winning captain Bobby Moore. However, this was not the first time the trophy’s survival was at severe risk. During the Second World War, and with Italy as reigning champions, the Jules Rimet Trophy was in a bank vault in Rome. The city was occupied by the Nazis and the Secretary of the FIGC (Italian F.A.), Ottorino Barassi, had the foresight to hide the Rimet in a shoebox under his bed - fearing that if found the solid 18k trophy would have been requisitioned and destined for the melting pot. His house was indeed searched by the Nazis but they did not discover the hiding place. After that episode, Barassi sent the Cup to Foggia, to some relatives, who managed to keep it hidden until the end of hostilities. It was then returned to FIFA for the 1950 World Cup Tournament, where Barassi himself was called to collaborate with the local organisation committee. After the 1970 World Cup, however, the historic trophy had used all its luck. It was stolen again in Brazil, has never been recovered to this day, and is presumed to have been melted down for bullion. Ottorino Barassi had first come to the attention of the football world in 1934 with a highly prominent position organising the World Cup tournament held in his homeland of Italy. Before this Barassi had trained as an electronics engineer and it was while studying this in Cremona that his life-long passion for football was ignited. Having played, he then refereed at regional level before becoming the football correspondent for “La Provincia di Cremona.” Hence forth he entered sports administration. In 1925 he was elected Vice-President of the AIA (Italian Referees’ Association), from 1930 to 1932 he was President of the Italian Rugby Federation, and the following year he joined the FIGC (Italian F.A.) appointed by General Giorgio Vaccaro for the role of Secretary of the Federal Directory, specifically with the task of managing the organisation of the 1934 World Cup.   As a prominent official of the FIGC he initiated a series of reforms (“Lodo Barassi") to streamline and bring about a properly organised structure to the Italian football pyramid at all levels and in all regions of Italy. After the fall of the Regime and the reconstitution of democratic institutions, even sport, despite a war still ongoing in the country, began to organise its activity again. On 4 December 1944 Giulio Onesti, President of CONI (Italian National Olympic Committee) appointed Ottorino Barassi as Regent of the FIGC; and on 15th May 1946 the Assembly elected Barassi as Presidente  - a position he was to hold for 12 years. Barassi was also very active at international level and in 1952 he became a member of the FIFA Executive Committee. From that moment he began working to establish a European football governing body. On the initiative of the Italian, French and Belgian federations, UEFA was founded on 15 June 1954 in Basel with 25 national federations becoming affiliated. The Organisation set up its headquarters in Paris where it would remain until 1959, then moving to Bern. Barassi was also responsible for the new headquarters of the FIGC in Rome in Via Gregorio Allegri. After demolishing a residential villa, in 1952 work began on the construction of the six-storey building which, four years later, would be inaugurated. It has always been the case in sport that it is a results-driven business. Despite his tremendous contribution to Italian football and sport, Barassi paid a heavy personal price when the Italian national team was beaten 2-1 by Northern Ireland in Belfast on 15th January 1958. This result meant that Italy failed to qualify for the 1958 World Cup Finals in Sweden. Barassi, however, did not quit the game in Italy and decided to return to football by running for President of the newly formed National Amateur League. He was elected and remained in the role until his death in 1971. The Barassi Cup, an Anglo-Italian amateur football tournament (1968 – 1976) was to bear his name. He also developed amateur tournaments at Regional and Junior levels. In 2011 Ottorino Barassi was posthumously inducted into the Italian Football Hall of Fame. Ottorino Barassi's granddaughter, his only living relative, remarks "In regards to him football was his life. His inclusion in the Hall of Fame is richly deserved for dedication, especially as his early career was in challenging circumstances during the Fascismo reign and the Second World War. Although he officiated at the highest levels of the sport with FIFA and FIGC, he never lost his passion for football at its grass roots. I know he was immensely proud of the work he did in Italy at amateur, youth and regional levels of the game. Completely impartial to all, he always did what he thought was best for football."

for music performances at Judson Hall New York, October 12 1962. 28 x 11 cm, printed black on textured beige paper. Design and intricate drawings/writing by Marian Zazeela. Announcement for La Monte Young's 'String Trio' and 'Composition 1960 #7' performed by La Mar Alsop, William Schoen and Charlotte Moorman. The text introduces the artist and mentions that the performed scores (will) appear in several Fluxus publications such as 'An Anthology', Kalenderrole and Décollage. Scarce item in mint condition.

Very rare complete set of 19 vintage poster announcements, 1963-1980: one poster for each of the 15 Festivals, and one poster featuring different versions for Festivals 1, 2, 8 and 9. Founded by cellist and performance artist Charlotte Moorman, the festival ran from 1963 to 1980. The events took place in various locations around New York, including Judson Hall (Nos.1-3, 1963-1965), Central Park (No.4, 1966), the Staten Island Ferry (No.5, 1967), and on train cars at the Grand Central Station (No.10, 1973). Among the hundreds of artists and performers were John Cage, Ray Johnson, Yoko Ono, John Lennon, Nam Jun Paik, Laurie Andersen, Yvonne Rainer, Meredith Monk, Carolee Schneeman, Alison Knowles, Allan Kaprow, Stan Brakhage, George Brecht, Dick Higgins, Allen Ginsberg, Ben Vautier and Robert Filliou. The first three posters were designed by Moorman herself (offset printed black on white), No.4 was a collaboration with Jim Mc Wiliams, who designed all following copies, in extravagant colour and design. All posters unfolded except the 2 versions of No.9 (unobstrusive) and No.2 (with profound dog ear on upper left corner). Amazing set, generally in mint condition. Detailed pictures upon request. (total 19)

Speyburn 15YO (1)Balblair 12YO (1)Thomson Whisky South Island Peat Single Malt Whisky (New Zealand) (1)Egan's Endeavour Irish Single Malt Whisky (1)The Lakes Whiskymaker's Reserve No.5 (1)High Coast Chevaleresk Autumno (Sweden) 50cl (2)High Coast Hand Filled Distillery Exclusive (Sweden) 50 cl (1)High Coast Lagereld Private Bottling (Sweden) 50cl (1)Three Ships 12YO (South Africa) (1)The proceeds from this lot will be donated to the following charities: EACH (East Anglia's Children's Hospices), RNLI, The Beeston Hall School Trust Ltd and the Worshipful Company of DistillersLying at LCB Barking

Milk & Honey Elements Red Wine Cask (Israel) (2)Manly Spirits Coastal Stone Nor'Easter Single Malt Whisky (New South Wales, Australia) (1)Bellevoye Finiton Triple Malt Grand Cru Malt Whisky (France) (2)The Oamaruvian Cask Strength Doublewood Whisky (New Zealand) (1)Hercynian Emperor's Way The Imperial Abbey (Germany) (1)The proceeds from this lot will be donated to the following charities: EACH (East Anglia's Children's Hospices), RNLI, The Beeston Hall School Trust Ltd and the Worshipful Company of DistillersLying at LCB Barking

NEVIN HOLMES (TURKISH) AN 18CT GOLD ABSTRACT ANKLET OR LEG BROOCH, Signed ‘Nevin’. Born in Budapest, Nevin was the daughter of the Turkish ambassador, the niece of the Turkish poet Named Kemal and the niece of Abidin Dino of Paris, a painter closely associated with Picasso. Holmes studied painting and etching at the Central School of Arts and Crafts in London from 1958 - 1962 and gained a reputation as of the first modern jewellers to use rough, unpolished stones. She played a vital role in the British revival of jewellery as a creative art and earned a unique reputation as one of the most innovative jewellers of the 20th century in Britain. Nevin began producing her innovative designs in 1960, and her works were thereafter exhibited globally including London, America, France, Belgium and Turkey. Nevin’s works have been exhibited in some of the most prestigious galleries including the Greer Gallery in New York in 1962, the Egg and Eye Gallery in Los Angeles in 1970/1971, Goldsmith’s Hall in London and the esteemed Topkapi Museum in Istanbul. Her solo exhibition in Rome in 1960 at the LaFeluca gallery won critical acclaim. In 1961, she received the silver cup, the first prize at the National City of Marino, Italy and was the first living jeweller to have a solo exhibition at the Topkapi Museum in Istanbul. Provenance: Consigned by the niece of the acclaimed Turkish jewellery maker Nevin Holmes.Weight: 82gmsThe gold tested 18ct 12cm x 11cm x 6cm excluding chain.

NEVIN HOLMES (TURKISH) AN ABSTRACT PAIR OF RAW RUBY EARRINGS,6.5cm x 4cm each Born in Budapest, Nevin was the daughter of the Turkish ambassador, the niece of the Turkish poet Named Kemal and the niece of Abidin Dino of Paris, a painter closely associated with Picasso. Holmes studied painting and etching at the Central School of Arts and Crafts in London from 1958 - 1962 and gained a reputation as of the first modern jewellers to use rough, unpolished stones. She played a vital role in the British revival of jewellery as a creative art and earned a unique reputation as one of the most innovative jewellers of the 20th century in Britain. Nevin began producing her innovative designs in 1960, and her works were thereafter exhibited globally including London, America, France, Belgium and Turkey. Nevin’s works have been exhibited in some of the most prestigious galleries including the Greer Gallery in New York in 1962, the Egg and Eye Gallery in Los Angeles in 1970/1971, Goldsmith’s Hall in London and the esteemed Topkapi Museum in Istanbul. Her solo exhibition in Rome in 1960 at the LaFeluca gallery won critical acclaim. In 1961, she received the silver cup, the first prize at the National City of Marino, Italy and was the first living jeweller to have a solo exhibition at the Topkapi Museum in Istanbul.Provenance: Consigned by the niece of the acclaimed Turkish jewellery maker Nevin Holmes 52.7gms 6.5cm x 4cm each including drop.

NEVIN HOLMES (TURKISH) A GOLD BROOCH INSET WITH QUARTZ, Signed ‘Nevin’. Born in Budapest, Nevin was the daughter of the Turkish ambassador, the niece of the Turkish poet Named Kemal and the niece of Abidin Dino of Paris, a painter closely associated with Picasso. Holmes studied painting and etching at the Central School of Arts and Crafts in London from 1958 - 1962 and gained a reputation as of the first modern jewellers to use rough, unpolished stones. She played a vital role in the British revival of jewellery as a creative art and earned a unique reputation as one of the most innovative jewellers of the 20th century in Britain. Nevin began producing her innovative designs in 1960, and her works were thereafter exhibited globally including London, America, France, Belgium and Turkey. Nevin’s works have been exhibited in some of the most prestigious galleries including the Greer Gallery in New York in 1962, the Egg and Eye Gallery in Los Angeles in 1970/1971, Goldsmith’s Hall in London and the esteemed Topkapi Museum in Istanbul. Her solo exhibition in Rome in 1960 at the LaFeluca gallery won critical acclaim. In 1961, she received the silver cup, the first prize at the National City of Marino, Italy and was the first living jeweller to have a solo exhibition at the Topkapi Museum in Istanbul. Provenance: Consigned by the niece of the acclaimed Turkish jewellery maker Nevin Holmes.Weight: 40.9gmsThe gold 14ct or better 7.3cm x 3.6cm

NEVIN HOLMES (TURKISH) AN 18CT GOLD RING INSET WITH A PEARL, Born in Budapest, Nevin was the daughter of the Turkish ambassador, the niece of the Turkish poet Named Kemal and the niece of Abidin Dino of Paris, a painter closely associated with Picasso. Holmes studied painting and etching at the Central School of Arts and Crafts in London from 1958 - 1962 and gained a reputation as of the first modern jewellers to use rough, unpolished stones. She played a vital role in the British revival of jewellery as a creative art and earned a unique reputation as one of the most innovative jewellers of the 20th century in Britain. Nevin began producing her innovative designs in 1960, and her works were thereafter exhibited globally including London, America, France, Belgium and Turkey. Nevin’s works have been exhibited in some of the most prestigious galleries including the Greer Gallery in New York in 1962, the Egg and Eye Gallery in Los Angeles in 1970/1971, Goldsmith’s Hall in London and the esteemed Topkapi Museum in Istanbul. Her solo exhibition in Rome in 1960 at the LaFeluca gallery won critical acclaim. In 1961, she received the silver cup, the first prize at the National City of Marino, Italy and was the first living jeweller to have a solo exhibition at the Topkapi Museum in Istanbul. Provenance: Consigned by the niece of the acclaimed Turkish jewellery maker Nevin Holmes.Weight: 32.81gmThe gold tested 18ct. 28mm x 25cm

A blue riding whip (as new) and a pair of ladies Aigle knee high black Riding Boots, made in France, size 39 (UK 6), outer rubber based, inner leather lined, Stablemates riding boot jack, ladies Harry Hall breeches, size 10-12 and a ladies Charles Owen Prima black velvet riding hat, size 7, etc.

KAN: A MASTERFUL RITSUO STYLE INLAID LACQUER BUNKO AND COVER REFERENCING SUGAWARA NO MICHIZANEBy a follower of Ogawa Haritsu (Ritsuo, 1663-1747), most likely by Mochizuki Hanzan (1743-1790), sealed KanJapan, second half of 18th century, Edo period (1615-1868)Published & Exhibited: Cornell University, Herbert F. Johnson Museum of Art, Scattered Gold and Midnight Gloss: Japanese Lacquer from the Anbinder Collection, 31 March – 8 July 2007, p. 11. Of rectangular form with lobed edges, the top and sides each with a shaped sunken panel bearing a beautiful gold kinji ground, the cover finely decorated with inlays of aogai, mitsuda, eggshell, coral, and glazed ceramic as well as gold, black, and red takamaki-e to depict three cranes in front of an entrance to the Dazaifu shrine with a blossoming plum tree in the courtyard, the gate tower with subtly inlaid glass windows, the gate and wall roughly textured imitating plaster, the edges and base finished in ishime, the sides gold-lacquered in low relief with Chinese poems (kanshi) by Sugaware no Michizane. The interior of roiro with gold fundame edges, the interior of the cover with gold, red, and black hiramaki-e and takamaki-e with kirigane and mura-nashiji as well as inlays of aogai and mitsuda (pewter) to depict an ox bucking before a meandering river, the lower right corner with an inlaid ceramic seal KAN. SIZE 10.6 x 37.6 x 28.8 cmCondition: Very good condition with minor wear, few tiny nicks, occasional light scratches, minor flaking to ceramic inlays, little rubbing to lacquer and mitsuda inlay. Provenance: Heian Art, Kyoto, Japan. The Paul and Helen Anbinder Collection, acquired from the above. Paul Anbinder (b. 1940) is a retired editor who was a director at important publishers, including Random House and Hudson Hills. Helen Anbinder (1942-2022) was an education administrator who ran the Inter-village Continuing Education Program for Ardsley, Dobbs Ferry, Hastings, and Irvington, New York. The couple were avid museumgoers and collectors of art. They donated many books and prints from their collection to their alma mater Cornell University and the Herbert F. Johnson Museum of Art.The style of the present bunko is clearly that of Ogawa Haritsu (Ritsuo, 1663-1747), but it is more likely to be by Mochizuki Hanzan (Haritsu II, 1743-1790) or a close follower.The design on the cover, depicting the Dazaifu shrine, a blossoming plum tree, and cranes, allegorizes the legends surrounding Sugaware no Michizane, who at the age of ten composed a Chinese poem praising the beauty of plum blossoms under the full moon. The inscriptions on the sides of the box and cover are Chinese poems by Michizane written during his exile. The inside of the cover also refers to Michizane, as after his death his body was carried in a cart by an ox, which suddenly stopped in front of a stream as if it could not be induced to go farther. Michizane's attendants interpreted this as a sign of where their master wanted to be buried and dug his grave at the exact spot the ox stopped. Later, the Shinto shrine of Dazaifu Tenmangu, visible to the front of this masterful lacquer box, was erected there in his honor. Sugawara no Michizane (845-903) was a scholar, poet, and politician of the Heian period. He is regarded as an excellent poet, particularly in waka and kanshi poetry. Although he reached the high rank of Dajo Daijin (Supreme Head of the Council of State), due to a political rivalry against Fijiwara no Tokihira, he was exiled and died in Dazaifo, Kyushu. After Michizane's death, plague and drought spread and sons of Emperor Daigo died in succession. The Imperial Palace's Great Audience Hall (shishinden) was struck repeatedly by lightning, and the city experienced weeks of rainstorms and floods. Attributing this to the angry spirit of the exiled Sugawara, the imperial court built a Shinto shrine called Kitano Tenman-gu in Kyoto, and dedicated it to him. They posthumously restored his title and office, and struck from the record any mention of his exile. Even this was not enough, and 70 years later Sugawara was deified as Tenjin-sama, a god of sky and storms. Eventually Tenjin evolved into a benign kami of scholarship. With a wood storage box. Auction comparison: Compare a related woven rattan suzuribako by Mochizuki Hanzan, with a similar shaped panel to the top of the cover, dated to the 18th century, at Bonhams, The Edward Wrangham Collection of Japanese Art Part II, 10 May 2011, London, lot 361 (sold for 19,200 GBP). Also compare to a related suzuribako by Mochizuki Hanzan, sealed Hanzan, worked with similar bright inlays, at Zacke, Fine Japanese Art, 3 December 2021, Vienna, lot 165 (sold for EUR 50,560).

AN OTSUKI SCHOOL SENTOKU TSUBA DEPICTING THE HUMILIATION OF KANSHIN By Otsuki Mitsuhiro, signed Mitsuhiro with kakihanJapan, 19th century, Edo period (1615-1868)Published: Satsuo, Ando (1980) Kodogu/The World of Sword Furnishings: Fittings from the Collection of Raymond Bushell, no. 89.Exhibited: Mikimoto Hall, Mikimoto Ginza, Tokyo, 14-23 March 1980.The sentoku tsuba of square form with indented corners, with a kozuka hitsu-ana, finely worked in shishiaibori engravings to depict Kanshin crawling between the legs of a peasant, the reverse with a figure carrying a basket, signed MITSUHIRO with kakihan (artist's cursive monogram). HEIGHT 6.6 cm, LENGTH 6 cmWEIGHT 105.6 gCondition: Very good condition with minor wear.Provenance: Ex. Bushell Collection. Christie's, Bushell Collection of Japanese Sword Fittings & Works of Art, 28 October 1998, New York, lot 616 (sold for USD 3,680). A collector's number inscribed, '764.'With a fitted tomobako storage box.Otsuki Mitsuhiro (1795-1841) is listed in the Haynes Index of Japanese Sword Fittings and Associated Artists on pp. 1056 (H 05188.0) and was the first son of Otsuki Mitsuoki (H 05375.0). He was also an expert on armor and wrote about the subject.In Chinese legend, Kanshin (in Chinese, Han Xin, 231-196 B.C.) was the celebrated son of a prince of Han who was challenged by a ruffian to crawl between his legs in a public place. He consented to this humiliation rather than create a disturbance or fight with a man of lowly rank.Museum comparison:A closely related sentoku tsuba with herons in a lotus pond by Otsuki Mitsuhiro is in the Walters Art Museum, accession number 51.137.Auction comparison:Compare a related sentoku tsuba with cranes and lotus by Otsuki Mitsuhiro at Christie's, The Duncan Beresford-Jones Collection of Japanese Art from Important Historic European Collections, 7 June 2000, London, lot 177 (sold for GBP 8,460).

Tom Phillips (British, b 1937-2022) A Humument - A collection of 3 different editions of "A Humument" comprising The First edition 1980, signed. The First revised edition, published 1987, signed The Second revised edition 1997 which is limited, numbered 68/100 along with a hand coloured print signed and numbered by the artist.  Tom Phillips was born in London in 1937. He attended St Catherine’s College, Oxford in 1957, where he read English and at the same time studied drawing at the Ruskin School. In 1961 he went to Camberwell School of Art where his chief source of inspiration was Frank Auerbach. He went on to teach at Bath Academy of Art, Ipswich and Wolverhampton Art College between 1965 and 1972. Phillips’s first solo show was in 1965 at the Artists International Association Gallery in London, followed by an exhibition at the Angela Flowers Gallery in 1970. He won a prize at The John Moores Liverpool Exhibition in 1969 and subsequently went on to exhibit in many solo and group exhibitions around the world. Two early exhibitions of particular significance were the 1973 showing of A Humument in its entirety at the ICA, London and the 1975 retrospective at the Kunsthalle in Basel. In 1989 he had a solo exhibition at the National Portrait Gallery (which holds his portrait of Dame Iris Murdoch) and in 1993 a major exhibition of his work was held at the Royal Academy of Arts. To celebrate his 60th birthday in 1997, retrospectives of his work were held at the Dulwich Picture Gallery and the South London Gallery. More recently in 2001 an exhibition of his drawings was held at the Modern Art Museum, Fort Worth. Phillips was Vice-Chair of the Copyright Council from 1985 to 1989 and was Chairman of the Royal Academy’s Exhibitions Committee from 1995. He curated the Royal Academy’s exhibition Africa: The Art of a Continent (1995) which subsequently travelled to the Martin Gropius Bau, Berlin and the Guggenheim Museum in New York. He was appointed a Member of the Royal Society of Painter Etchers and Engravers in 1987 and an Honorary Member of the Royal Society of Portrait Painters in 1999. He was an Honorary Fellow of St Catherine’s College, Oxford, Leeds University (Bretton Hall) and the London Institute as well as an Honorary Member of the Royal Institute, a Trustee of the National Portrait Gallery (from 1998) and a Trustee of the British Museum (from 1999). Phillips was also a writer and a composer. Much of his music (including the opera Irma) has been broadcast and is available on CD. Tom Phillips lived and worked in London. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Tom Phillips (British, b. 1937-2022)  Sing through the Hushed Ear, 1992  Screenprint proof Signed and numbered 46/50 Framed and glazed Original label to Angela Flowers Gallery PLC, London 22 x 15cm (8 2/3" x 6")  Together with the first edition (1912) of  "A HUMAN DOCUMENT"  book by W.H. Mallock (British, b. 1849-1923) Tom Phillips was born in London in 1937. He attended St Catherine’s College, Oxford in 1957, where he read English and at the same time studied drawing at the Ruskin School. In 1961 he went to Camberwell School of Art where his chief source of inspiration was Frank Auerbach. He went on to teach at Bath Academy of Art, Ipswich and Wolverhampton Art College between 1965 and 1972. Phillips’s first solo show was in 1965 at the Artists International Association Gallery in London, followed by an exhibition at the Angela Flowers Gallery in 1970. He won a prize at The John Moores Liverpool Exhibition in 1969 and subsequently went on to exhibit in many solo and group exhibitions around the world. Two early exhibitions of particular significance were the 1973 showing of A Humument in its entirety at the ICA, London and the 1975 retrospective at the Kunsthalle in Basel. In 1989 he had a solo exhibition at the National Portrait Gallery (which holds his portrait of Dame Iris Murdoch) and in 1993 a major exhibition of his work was held at the Royal Academy of Arts. To celebrate his 60th birthday in 1997, retrospectives of his work were held at the Dulwich Picture Gallery and the South London Gallery. More recently in 2001 an exhibition of his drawings was held at the Modern Art Museum, Fort Worth. Phillips was Vice-Chair of the Copyright Council from 1985 to 1989 and was Chairman of the Royal Academy’s Exhibitions Committee from 1995. He curated the Royal Academy’s exhibition Africa: The Art of a Continent (1995) which subsequently travelled to the Martin Gropius Bau, Berlin and the Guggenheim Museum in New York. He was appointed a Member of the Royal Society of Painter Etchers and Engravers in 1987 and an Honorary Member of the Royal Society of Portrait Painters in 1999. He was an Honorary Fellow of St Catherine’s College, Oxford, Leeds University (Bretton Hall) and the London Institute as well as an Honorary Member of the Royal Institute, a Trustee of the National Portrait Gallery (from 1998) and a Trustee of the British Museum (from 1999). Phillips was also a writer and a composer. Much of his music (including the opera Irma) has been broadcast and is available on CD. Tom Phillips lived and worked in London. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Hénard, Charles -- Miniatur Portrait einer jungen Frau mit Rosen und blauem Seidenband im gepuderten Haar, in hellblauem Seidenkleid mit weißen Mousselinärmeln und Gaze-Fichu, Rosen am Dekolleté. Mittig rechts beschriftet "hall". Aquarell und Gummiarabikum auf Elfenbein. 5,4 x 4,4 cm (oval). In Goldrahmen mit Guilloché Rand, rückseitig hellgrüne Seide in Silberfassung mit Punze des Pariser Goldschmieds Alexandre-Jean-Marie Leferre (1790 - 1855). Die Miniatur um 1780/1785.Eine identische Miniatur von Hénard, aber rund, und ebenfalls rechts "hall" beschriftet, befindet sich im Metropolitan Museum of Art. Sie ist abgebildet in Graham Reynolds und Katharine Baetjer: European Miniatures in The Metropolitan Museum of Art, New York 1996, S. 92. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

A mid Victorian specimen marble, hardstone, mineral and blue John inlaid Ashford marble centre tableThe octagonal top inlaid with a central pietra dura parrot on a fruiting and foliate branch, within a rope twist border comprised of a mosaic or simulated patchwork of assorted marbles, hardstones and minerals, on a ring turned baluster column terminating in a concave tripartite base with bun feet, approximate diameter of the top: 71cm; 71.5cm high.Footnotes:The marble typically referred to as Ashford marble is in fact a form of limestone which comes from two quarries in Derbyshire, near Ashford-in-the-Water. When polished up, its surface builds up to a deep lustrous and glossy black and this can be clearly seen on the above table.Records indicate that Ashford marble was probably first used in the 16th century and the earliest instance of this was during the 1590s, where it was used in the production of chimney pieces for Hardwick Hall, Derbyshire. Thereafter, it appears to have been manipulated for both architectural and decorative purposes. The operations at Ashford and Derby are referred to in 'Glover's History and Gazetteer of Derbyshire' of 1829, where it is mentioned that the stone: 'is wrought into articles of domestic elegance and into monuments, chimney pieces are sold at various prices, from 30s to upwards of £60, and beautiful tables of black marble, enriched with elegant engravings, are also made there'. A further notable element is that during this period it seems that much of the marble output of these quarries was subsequently either etched or engraved.From the 1830s onwards this material became highly fashionable among the wealthy and aristocratic in Britain. Included among the patrons for Ashford marble was William Cavendish, 6th Duke of Devonshire (d.1858), who was a major collector and connoisseur of mineral specimens, particularly indigenous ones. Cavendish commissioned craftsmen who were based close to his home at Chatsworth to execute, among other things, enormous doorways for a new wing there.W. Adam, then working at (and later to manage) John Mawe's establishment at Matlock, claimed to have revolutionised the inlaying of black marble; he published his Gem of the Peak in 1838 (1st ed.), which described Florentine mosaic or pietra dura in intricate floral and geometric patterns, and he supplied a 'magnificent table... inlaid with a wreath of flowers and foliage' to Windsor Castle on behalf of Queen Victoria in 1842.The new processes, designs and practicalities which were expounded by Adam influenced a great number of local makers and workers in this stone, and this resulted in the latter quickly adopting them in their own practices. Also, as a direct consequence of this fact, new workshops were founded in Matlock, Bakewell, Buxton and Castleton which used other minerals, either likewise mined in the nearby area or otherwise imported. All of these locations rapidly became popular tourist destinations, whilst they experienced a concomitant increase in requests for souvenirs such as clock cases, candlesticks, ink stands and vases, as well as for smaller pieces of furniture.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

The 'Worshipful Company of Stationers' silver-gilt and enamel table centrepieceWilliam Hutton & Sons, Sheffield 1924Depicting the polychrome enamelled coat of arms of the 'Worshipful Company of Stationers', flanked by two classical angel supporters blowing their trumpets triumphantly, both standing on a pierced scrolling foliate back-plate, the Company's motto enamelled in Latin beneath, two scroll panels reading 'VERBUM DOMINI MANET, the third panel 'IN AETERNUM' is missing, all raised on an elaborate knopped baluster stem, terminating in a spread domed oval base embossed in high and low relief with angels, scrolls and acanthus leaves, inscribed 'The Gift of Herbert Fitch Master 1922/23', height 60cm, width 34cm, weight total 188oz.Footnotes:ProvenanceCommissioned by Herbert Fitch in 1924 and presented to the 'Worshipful Company of Stationers', to commemorate his time as Master of the 'Stationers' Company' from 1922 to 1923. For use at members banquets and prestigious occasions, hosted within the historic 'Stationers' Hall', Ave Maria Lane, in the City of London. It would either be placed in front of the Master on the top table, or clearly exhibited during ceremonial occasions and Court meetings.Henceforth held at 'Stationers' Hall' since 1924, up until the present day.Introduction to the 'Stationers' Company'The 'Worshipful Company of Stationers' and Newspaper Makers', also known as the 'Stationers' Company', has represented publishing and communications professionals since 1403. Originally formed to represent members of a manuscript-based book trade, the 'Stationers' Company' rose to prominence with Caxton's introduction of the printing press to England in 1476. As the subversive potential of this new technology was recognised, successive English governments during the turbulent sixteenth and seventeenth centuries enlisted the Stationers' help in regulating the press, making the Company a dominant force in the publishing landscape for some time to come. The Stationers' embraced their position, fully participating in the pomp and pageantry of the City of London. Rebuilt in the 1670s on its original foundations after the Fire of London ravished its medieval structure, 'Stationers' Hall' is a testament to the Company's rich social and cultural life over the centuries. Today the headquarters of a vibrant professional membership organisation, in the Hall's fabric, fittings and fixtures are inscribed the history of a London Livery Company where tradition and innovation have always gone hand in hand. Lot ResearchThis is the present full armorial of the 'Worshipful Company of Stationers' and Newspaper Makers'. Created in 1403 as the 'Worshipful Company of Stationers', this has been their official title since the incorporation of the Newspaper Makers in 1937. The arms were granted in 1557 to the then 'Worshipful Company of Stationers' but without crest and supporters, which should only officially appear after 1951. However the Company did unofficially adopt a crest and supporters from the eighteenth century and crests have been found to appear from 1789, and supporters from 1834. These are useful dating attributes. The Stationers' Company's motto is 'Verbum Domini Manet in Aeternum', Latin for 'The Word of the Lord endures forever'.In terms of the provenance of this piece on offer, Court Orders for 1st December 1925 note: 'Mr Herbert Fitch (Master 1922/23) ... said that when he was Upper Warden the Court on the 4th day of April 1922 resolved on his proposition 'that it is desirable that a Standard Emblem or Device be adopted.'' Consequently, he decided to 'provide and present to the Company a piece of plate embodying the approved design in a permanent and artistic form.' 'The work of art which he asked the Court to accept was of silver gilt and consisted of a pillar and base carrying the Arms and Crest of the Company (which were shown in enamels of correct Heraldic colours) flanked on either side by the angels which had been the supporters for over 100 years.''That the Court of Assistants do offer to Mr Herbert Fitch their most cordial thanks for his unique and valuable gift.'Herbert Fitch (1849-1933) established a respected printing business on Bury Street, in the City of London. In 1922 he received the honour of being elected as Master of the 'Stationers' Company', and was also an esteemed member of Lloyds. After a full life, he passed away at the age of 84 and was duly buried at Brompton Cemetery. As a wealthy business owner, his life was commemorated with a Grade 2 listed tomb made of Portland Stone and green marble columns. Over time, his wife Jeannie and their three sons were laid to rest with him. His son, also named Herbert, was a member of Special Branch Police and his memoirs detail how he listened to a secret meeting by Lenin and his comrades, whilst hiding in a pub cupboard.Literature'Stationers' Hall' Court records, accessed via the Stationers' Company archivist.Friends of Brompton Cemetery,'Tomb of Herbert Fitch', accessed 26/10/23 via https://brompton-cemetary.org.ukFor further information on this lot please visit Bonhams.com

A George II walnut armchair1750-1755, either made by the firm of Wright and Elwick or executed by Paul SaundersThe shaped beaded and scrolled acanthus wrapped toprail carved with a central sunflower head, with volute scrolled and acanthus clasped arms, above a shaped, foliate scroll carved and channelled seat frame centred by a shell and acanthus spray, on bellflower pendant, scrolled and foliate adorned cabriole legs terminating in scroll feet, with an old metal plaque which reads: 'ANTIQUE FURNITURE FROM NORMAN ADAMS LTD., 8-10 Hans Road, London, SW3', approximately: 71cm wide x 74cm deep x 96cm high, (27 1/2in wide x 29in deep x 37 1/2in high)Footnotes:ProvenanceThe present lot was previously with Norman Adams Ltd., most likely during the 1970s and also into the early 1980s, from which period the metal plaque applied to its seat rail appears to date.The same model of chair sold Christie's, New York, 25 October 1986, Fine English and Continental Furniture, lot 54. Much more recently, an identical pair of these chairs (possibly part of the same set originally as the offered example) sold Christie's, London, 20 May 2021, The Collector, lot 32. It seems highly probable that the partnership of Wright and Elwick, active from 1748 and based in Wakefield, West Yorkshire, was responsible for the making of the present chair. Also it is interesting to note that Richard Wright, who formed one half of this impressive duo, had earlier on worked alongside Paul Saunders (1722-1771). The latter of whom was one of the most significant cabinet makers (and notably chair makers) who flourished in England during the 1750s and 1760s. Saunders also served as Tapestry Maker to His Majesty the King, whilst being based at 'The Royal Soho Manufactory, Soho Square'. During the early part of his career he operated with George Smith Bradshaw (1717-1812), who was then much like a business partner of his. Together they took over, circa 1755, the workshop of William Bradshaw, which was based at 59 Greek Street, also in Soho, and at the same time acquired the stock and pattern books already there. As a consequence of this, there are many similarities among the contemporaneous design elements and motifs employed by Wright and Elwick, Saunders and indeed Bradshaw as well.An example of this shared visual vocabulary is the acanthus carving to the legs of the above chair which appears, albeit slightly varied upon each individual model, on seat furniture produced by all three of the aforementioned makers. These include; a set of four armchairs with tapestry upholstery which were evidently provided for Chesterfield House, London by Bradshaw but are today housed at the Metropolitan Museum of Art, New York, and which feature in G. Beard, Furniture Maker and Tapestry Weaver Metropolitan Museum Journal, Vol.37, 2002, p.168, fig. 1; two sets of dining chairs (1755-1758) made by Saunders on behalf of the 1st Earl of Leicester at Holkham Hall, Norfolk, illustrated in A. Coleridge, Some Mid-Georgian Cabinet-Makers at Holkham, Apollo, February 1964, fig.'s 1 and 2; and a group of twelve chairs most likely supplied by Wright and Elwick to Nostell Priory, Yorkshire, National Trust, NT 959745.The Nostell Priory variant of this type, which was seemingly devised and executed by Wright and Elwick, incorporates a very similar carved cartouche to that appearing on the seat frame of the offered chair. Further to this, the present lot relates to a group of dining chairs, also believed to have been provided by this same firm, albeit for Kippax Park, Yorkshire. The latter appear in M. Harris and Sons, The English Chair, London, 1946, pl. LI, p. 123. All of this lends serious weight to the view that the above is a production of the renowned Wakefield business.Additional seat furniture of this closely comparable design was previously located at Swaines Hill Manor, Hampshire. Whilst a pair of armchairs together with a sofa from this suite, which had formed part of the collection of the late Marjorie Wiggin Prescott, Belle Haven, Greenwich, Connecticut, sold Christie's, New York, 31 January 1981, lot 354. Subsequently, the same sofa sold Christie's, London, 11 May-1 June 2020, lot 108. These notable pieces feature in R. Edwards, C. Claxton-Stevens and S. Whittington, 18th Century English Furniture, The Norman Adams Collection, 1983, Woodbridge, pp.'s 38 & 39. It is possible that the present lot is indeed the exact same armchair which is illustrated therein.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

An early Victorian hardstone inlaid Ashford black marble centre table1850-1860, in the manner of Samuel BirleyThe detachable top inlaid with a wreath of assorted flowers including forget-me-nots and jasmine, with an ogee moulded edge, on a ring turned baluster column with a lobed collar, the concave tripartite base inlaid with similar flowers, terminating in squat bun feet, approximate diameter of the top: 66cm; 76cm high approximately.Footnotes:An almost identical example to the offered lot, also described as being in the manner of Samuel Birley, sold Sotheby's, London, 2007, Important English Furniture including furniture from the Horlick Collection, lot 236. Whilst another very similar model sold Sotheby's, London, 15 September 2009, Fine English Furniture and Continental Furniture, lot 22. A further 'manner of Samuel Birley' comparable, albeit with more intricate and colourful inlay than the present one, sold Sotheby's, London, 5 March 2008, lot 115.The marble typically referred to as Ashford marble is in fact a form of limestone which comes from two quarries in Derbyshire, near Ashford-in-the-Water. When polished up, its surface builds up to a deep lustrous and glossy black and this can be clearly seen on the above table. Records indicate that Ashford marble was probably first used in the 16th century and the earliest instance of this was during the 1590s, where it was used in the production of chimney pieces for Hardwick Hall, Derbyshire. Thereafter, it appears to have been manipulated for both architectural and decorative purposes. The operations at Ashford and Derby are referred to in 'Glover's History and Gazetteer of Derbyshire' of 1829, where it is mentioned that the stone: 'is wrought into articles of domestic elegance and into monuments, chimney pieces are sold at various prices, from 30s to upwards of £60, and beautiful tables of black marble, enriched with elegant engravings, are also made there'. A further notable element is that during this period it seems that much of the marble output of these quarries was subsequently either etched or engraved.From the 1830s onwards this material became highly fashionable among the wealthy and aristocratic in Britain. Included among the patrons for Ashford marble was William Cavendish, 6th Duke of Devonshire (d.1858), who was a major collector and connoisseur of mineral specimens, particularly indigenous ones. Cavendish commissioned craftsmen who were based close to his home at Chatsworth to execute, among other things, enormous doorways for a new wing there.W. Adam, then working at (and later to manage) John Mawe's establishment at Matlock, claimed to have revolutionised the inlaying of black marble; he published his 'Gem of the Peak' in 1838 (1st ed.), which described Florentine mosaic or pietra dure in intricate floral and geometric patterns, and he supplied a 'magnificent table... inlaid with a wreath of flowers and foliage' to Windsor Castle on behalf of Queen Victoria in 1842.The new processes, designs and practicalities which were expounded by Adam influenced a great number of local makers and workers in this stone, and this resulted in the latter quickly adopting them in their own practices. Also, as a direct consequence of this fact, new workshops were founded in Matlock, Bakewell, Buxton and Castleton which used other minerals, either likewise mined in the nearby area or otherwise imported. All of these locations rapidly became popular tourist destinations, whilst they experienced a concomitant increase in requests for souvenirs such as clock cases, candlesticks, ink stands and vases, as well as for smaller pieces of furniture.At the 1851 Great Exhibition a significant number of inlaid Ashford marble pieces and objects were displayed. Amongst them was a table made by John Tomlinson which was inlaid with: 'a wreath of flowers and leaves in their natural colours... entirely formed of the spars of Derbyshire'. This item features in the Art Journal Illustrated Catalogue of the Great Exhibition, 1851, p. 111 but also appears in J. Meyer, Great Exhibitions, London - New York - Paris - Philadelphia, 1851-1900, 2006, p. 46.Another person operating in the same oeuvre was Samuel Birley. He won three medals at the 1862 London International Exhibition, including for a table now in the collection of the Victoria & Albert Museum (157-1864). A further related table in the Oak Room at Chatsworth appears in The Duchess of Devonshire, Chatsworth, The House, 2002, p.108.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

ATHELHAMPTON HALL: AN ORIGINAL LOCOMOTIVE NAMEPLATE FROM THE GWR with embossed gold lettering and green livery, 193cm wideProvenance: Duke's Athelhampton House, Auction on the premises, 9th October 2019, Lot 494.In 1928 the Great Western Railway introduced a new class of express passenger locomotives. Named after English and Welsh country houses with Hall in their title, they were known as the Hall Class. They were very successful and 259 were built up to 1943. From 1943 the locomotive was redesigned and brought up to modern standards, while retaining its essential characteristics, and a new class was introduced, known as Modified Halls, of which 71 were built between 1944 and 1950. Athelhampton Hall, number 6971, was built at Swindon and went into service in October 1947. It was originally based in Bristol but spent much of its working life at Tyseley, Birmingham. Withdrawn in October 1964, it was broken up shortly afterwards. When Hall Class locomotives were withdrawn it was quite common for the owners of country houses which had Hall Class locomotives named after them to buy the nameplates.

(Classics, Ancient Greece, Rome.) A collection of 20 works including Catullus, Tibullus & Propertius: 'Catulli, Tibulli, et Propertii Opera.', Birmingham, Johannis Baskerville, 1772, 176pp, ownership signature John Barlow Feb. 1882." at head of title page, (possibly John Barlow 1857-1932, Liberal Party Politician?), with numerous manuscript pen & ink and pencil notes to margins and text throughout, 12mo, contemporary calf gilt, Rev. Robert Bland; J.H. Merivale (ed.): 'Collections from the Greek Anthology', London, Longman, 1833, new edition, inscribed by the editor on FFEP, contemporary cloth worn, majority others ex Repton School library, including G.T. Griffith: 'The Mercenaries of the Hellenistic World', Cambridge University Press, 1935, 1st edition, original cloth gilt, very scarce, Dr. Henry Schliemann: 'Mycenae; A Narrative of Researches and Discoveries at Mycenae and Tiryns', London, John Murray, 1878, 1st UK edition, 21 plates (some folding) + 4 colour plates of terra-cotta figures + 8 plans (some folding) + 549 ills. in text/vignettes showing more than 700 objects as called for, lxviii, 384 pp., original pictorial cloth gilt, rebacked retaining original backstrip, top edge gilt. After Schliemann's spectacular discoveries at Troy in 1873 and the ensuing court case brought against him by Turkey, he was prevented from excavating in Troy for several years. In 1876 he turned his attention to Mycenae and carried out excavations on the site from August to November with the resulting discovery of 'Agamemnon's Treasure'. Runnels 1878a; Blackmer 1498, scarce, H.R. Hall: 'The Oldest Civilization of Greece: Studies of the Mycenaean Age', L, David Nutt, 1901, 1st edition, frontis + 75 b/w ills. as called for, original decorative cloth gilt, top edge gilt, scarce, George S. Farnell: 'Greek Lyric Poetry', L, Longmans, 1891, 1st edition, 5 ills. on 4 full page plates as called for, orig. cloth gilt, Theodor Gomperz: 'Greek Thinkers', L, John Murray, 1901, authorized edition, orig. cloth gilt, John Burnet: 'Early Greek Philosophy', 1908, 2nd edition, orig. cloth gilt, A.W. Verrall: 'The 'Choephori' of Aeschylus', L, Macmillan, 1893, 1st edition, original cloth gilt, Henry Nelson Coleridge: 'Introduction to the Study of the Greek Classic Poets', L, Murray, 1835, 2nd edition, engraved folding map, old half calf worn, Bywater: 'Heracliti Ephesii Reliquiae.', Oxford, Clarendon Press, 1877, orig. cloth gilt, plus 9 others including Plato, various A.E. Housman edited titles including Lucanus, Manilii, Saturae etc, Hephaestion, Manual of Greek Antiquities 1895 etc (20)

(Holkham Hall, Norfolk, Guidebooks.) 'New description of Holkham, the magnificent seat of T.W. Coke, Esq. M.P : containing a full and accurate account of the paintings, statues, tapestry, &c. : with a picturesque tour of the gardens and park : embellished with a view of the south front.', Wells-Next-The-Sea, H. Neville, 1835, folding lithograph view of Holkham Hall from South frontispiece, iv,78pp, contemporary cloth. Scarce

(Essex.) [Peter Muilman]: 'A New and Complete History of Essex, from a late survey: compared with the most celebrated historians; containing a natural and pleasing description of the several divisions of the County...By a Gentleman', Chelmsford, Lionel Halsall, 1770-72, 1st edition, 6 volumes, 56 engraved plates, maps and plans as called for (of which many folding), comprising 3 folding maps/plans (Essex, Hinckford Hundred, and plan of River Chelmer) and 53 engraved plates (of which 14 folding, including Copped Hall, Audley End House etc, small number with closed tears, multi folding plate of Maplestead Church in vol. II worn with vertical tear along fold/in 2 parts), uniform half calf gilt (worn) vol. I boards detached but present. Scarce (6)

(Spain, Travel & Topography), ten late C19th/early C20th travel titles on Spain, including J.S. Campion: 'On Foot in Spain. A Walk from the Bay of Biscay to the Mediterranean.', L, Chapman & Hall, 1879, 2nd edition, 6 mounted illustrations as called for, original cloth gilt, Maud Howe: 'Sun and Shadow in Spain', London, Gay & Hancock, 1909, 1st edition, colour frontis + numerous colour and b/w plates from photographs as called for, original pictorial cloth gilt, top edge gilt, Charles W. Wood: 'Glories of Spain', L, Macmillan, 1901, 85 ills. as called for, orig. pictorial cloth gilt, John Hay: 'Castilian Days', Boston & New York, 1903, numerous ills. throughout as called for, original pictorial cloth gilt, Edmundo de Amicis: 'Spain', NY, Putnam's, 1881, orig. cloth gilt, Paul Gwynne: 'The Guadalquivir', L, Constable, 1912, numerous colour plates as called for, orig. pictorial cloth gilt, plus others Gertrude & Muirhead Bone, Catalonia etc (10)

(Interior Design, Georgina Fairholme, John Fowler.) Five books on interior design, art etc. from the estate of the interior designer Georgina Fairholme (1921-2019,) protégé of decorator John Beresford Fowler (1906-1977), founder of the esteemed London firm of Colefax & Fowler, some with autograph letters signed from John Fowler to Georgona Fairholme loosely inserted, others signed & inscribed by Fowler to Fairholme or by the author to Fairholme. Items include Richard Hampton Jenrette: 'Adventures With Old Houses', foreword by HRH The Prince of Wales, Charleston, Wyrick & Company, 2005, 1st edition, content includes 1 Sutton Place North (p.33-41), New York town house purchased by Richard H. Jenrette in 1972. Jenrette decided that he wanted a distinctly British look for the interiors, so he called New York designers Harrison Cultra (1941-1983) and Georgina Fairholme (1927-2019) for a “quick fix on this grand English-style Georgian house.” (p.37.) With 25 mainly black & white photographs of the interior of the property loosely inserted, Cultra-Fairholme inkstamps verso, together with 2 Autograph Letters Signed from John Fowler to Georgina Fairholme 1974, "...My Dear Georgina. It was so nice to hear from you and to hear that you are doing well & enjoying it. I am so glad...I am better thank you but feel weak & very tired but i'm getting better I am sure. I probably work too hard both for the N.T. & now that P.[rince] Charles has decided to make Chevening his home there is a great deal to do & organise. I saw him there last week & he's so thrilled with the possibilities of the house it's very fine & we must make it really nice; he's such a dear fellow...I shall much look forward to seeing you when you are over & I do hope you will come for a weekend here. No more now as i've got to go up to London this morning. I hate it! Lots of Love J.", 39 lines, 2 leaves, The Hunting Lodge, Odiham, Hampshire headed paper, original hand written addressed postally used envelope, with another 23 line ALS from Fowler to Fairholme similar period, plus original Typed Letter Signed from the firm Sibyl Colefax and John Fowler Ltd., 10th September 1964, to Georgina Fairholme offering her the job as advertised, signed D.J. Nuttman, secretary, all loosely inserted in the book, original pictorial wraps; plus John Fowler and John cornforth: 'English Decoration in the 18th Century', L, Barrie & Jenkins, 1974, 1st UK edition, 20 page ALS from John Fowler to Georgina Fairholme c.1970's loosely inserted, together with some other associated cuttings and ephemera incl. John Fowler in memoriam Order of Service 24th November 1977 etc., orig. cloth gilt, dust wrapper (d/w worn); plus Stalker & Parker: 'A Treatise of Japanning Varnishing and Guilding 1688', L, Alec Tiranti, 1960, John Fowler's copy with his ownership signature dated Jan. 1961 at head of FFEP, subsequently signed & inscribed by Fowler to Georgina Fairholme beneath and dated October 1970, orig. boards gilt, Stella Margetson: 'Leisure and Pleasure in the Eighteenth Century', L, Cassell, 1970, 1st edition, signed & inscribed on FFEP from Fowler to Fairholme Christmas 1970, orig. cloth, dust wrapper, plus Erica Brown: 'Interior Views - Design at Its Best', NY, Viking Press, 1980, 1st edition, signed & inscribed by the author to Georgina Fairholme on FFEP "For Georgina With love - & admiration Erica Brown", orig. cloth gilt, dust wrapper. Interior designer John Beresford Fowler CBE (1906–1977) joined the decorating and antiques firm Thornton Smith, where he painted Chinese-style wallpaper (sold as 18th century originals), and learned other paint decoration techniques, such as marbling and graining, and subsequently decorated furniture for Peter Jones. He established his own business on the Kings Road in Chelsea in 1934, and then went into business with Sybil Colefax, founding Colefax & Fowler. Nancy Lancaster employed him to help with the decoration of her own rooms but became fascinated with decoration herself. At the end of World War II she bought the firm that became Colefax and Fowler from the retiring Colefax. He leased the Hunting Lodge at Odiham in Hampshire from the National Trust in 1947, and his simple but elegant decorative scheme made a great impact. Fowler was involved in the redecoration of dozens of substantial country houses and town houses, including Radbourne Hall, Daylesford House, Tyninghame House and Grimsthorpe Castle. He also worked on decorative schemes for Buckingham Palace, Holyroodhouse, Chequers, Chevening, Christ Church, Oxford, and the Bank of England. In the 1960s and '70s Fowler was still engaged in major commercial projects but increasingly preferred to work with the National Trust. By the time of his death in 1977, at the age of 71, John Fowler was recognized as the éminence grise of English decoration.Georgine Fairholme was born in London, 18 August 1927, and attended St Martin’s School of Art in London. She subsequently worked at interior designer Joy King’s Elizabeth Eaton shop in Belgravia before joining the esteemed London firm Colefax & Fowler in 1964, where she became a protégé of decorator John Fowler, founder of the firm. She re-located to New York to work in the firm’s Manhattan office and later joined Rose Cumming, in whose studio she presumably met the designer Harrison Cultra (1941-1983.) Together they formed the Cultra-Fairholme partnership, clients included Richard H. Jenrette and Jacqueline Kennedy Onassis amongst others. Following the dissolution of the partnership, in 1978 she opened her own firm in New York City in a fiercely competitive sector but ran a book with many famous and notable clients including Jacqueline Kennedy Onassis, Mr. and Mrs. Paul Mellon as well as Mr. and Mrs. John Hay “Jock” Whitney. In 1986, Architectural Digest called Fairholme the “doyenne of English Country Style.” In addition to designing interiors, she designed furniture, china, fabrics and wall coverings. On retirement she moved to Italy thence for the last 17 years of her life to Lavenham, Suffolk. She died in Bury St Edmunds 27 August 2019 – soon after her 92nd birthday. Provenance by descent

(Supernatural, Occult, Ghost Stories.) James Reynolds: 'Gallery of Ghosts', New York, Creative Age Press, 1949, 1st edition, colour frontis + 23 full page b/w illustrations as called for, colour pictorial end papers/pastedowns, 4to, original cloth gilt, dust wrapper. Covers 23 authentic ghost occurrences from 11 countries, including Norway, Italy, Saxony, France, Belgium, Holland, India, England, America etc., each with accompanying full page illustration by the author, together with Charles G. Harper: 'Haunted Houses: Tales of the Supernatural with some Account of Hereditary Curses and Family Legends', London, Chapman & Hall, 1907, 1st edition, portrait frontis (loose) + 64 illustrations on 57 full page plates + 5 ills. in text as called for, binding a/f, original cloth worn and soiled, rebacked retaining majority of orig. backstrip, boards laminated, inner joints weak (reinforced with tape to front inner joint), top edge gilt, bookplate of Robert Frederick Green, 1909, to front pastedown, plus Oswald Wirth: 'Introduction to the Study of Tarot', 1983, 2nd impression, orig. wraps, and Peter Underwood: 'Haunted London', Fontana, 1975, 1st paperback edition, orig. wraps, Mandrake Press promotional pictorial card promoting edition of Aleister Crowley 'The Rites of Eleusis' depicting Leila Waddell (1880-1932) who became a Scarlet Woman of Aleister Crowley, and a powerful historical figure in magick and Thelema in her own right. (4)

Elizabeth Fry (née Gurney, 1780-1845), English prison reformer, social reformer and philanthropist. An 1839 Holy Bible, Camridge, Printed John W. Parker, signed & inscribed by Elizabeth Fry to her nephew John Gurney (1809-1856) and his wife Laura Elizabeth Gurney (née Pearse, 1824-1899) on blank leaf preceding title page "John and Laura Elizabeth Gurney. With the best wishes of their very affectionate aunt Elizabeth Fry. 5th Month 1842.", double column, thick 4to, contemporary full black leather gilt worn, all edges gilt. Elizabeth Fry was born in Gurney Court, off Magdalen Street, Norwich, into a prominent Quaker family, the Gurneys. Her childhood family home was Earlham Hall, which is now part of the University of East Anglia. Her father, John Gurney, was a partner in Gurney's Bank. Her mother, Catherine, was a member of the Barclay family, who were among the founders of Barclays Bank. Fry was a major driving force behind new legislation to improve the treatment of prisoners, especially female inmates, and as such has been called the "Angel of Prisons". She was instrumental in the 1823 Gaols Act which mandated sex-segregation of prisons and female warders for female inmates to protect them from sexual exploitation. Fry kept extensive diaries, in which the need to protect female prisoners from rape and sexual exploitation is explicit. She was supported in her efforts by Queen Victoria and by Emperors Alexander I and Nicholas I of Russia and was in correspondence with both, their wives and the Empress Mother. In commemoration of her achievements she was depicted on the Bank of England £5 note, in circulation from 2002 until May 2017.

A George III New Hall porcelain tobacco leaf pattern bowl together with a floral shallow dish, latter 21.5 cm

Yoko Ono: A Signed and Inscribed Copy of Grapefruit and Other Related Material,1970s-00s,paperback edition, New York, 1971, signed and dedicated To Hilary, High! Yoko in black ink to the inside blank page; an 'instruction' postcard; a flyer for Works of Yoko Ono at Carnegie Recital Hall signed to Hilary by Yoko; a card for the Imagine Peace Tower in Iceland; various booklets, invitations and cards for the Indica Gallery (one signed by Yoko); the book Half-A-Wind Show A Retrospective by Yoko Ono signed to Hilary and dated 2013; a copy of Yoko Ono/Plastic Ono Band; a copy of approximately Infinite Universe by Yoko Ono; and a copy of Fly by Yoko Ono; (Qty)Footnotes:Provenance:From the Estate of the late Hilary Gerrard (1933-2023), formerly Business Manager to Ringo Starr from the 1970s onwards.For further information on this lot please visit Bonhams.com

Postcards, Yorkshire, approx. 200 cards to include Robin Hoods Bay, Wath, Middlesborough Docks, Ossett, Pocklington Level Crossing, High Street Normanton, New Earswick, advertising Peter Patrick & Son Gate Manufacturers Otley, Calder Farm Ravensthorpe, Richmond, Slaithwaite, Stainforth Station and Crossing, Town Hall Sowerby Bridge, Selby Market Place, funeral of Sir C. Stoddart Rotherham, etc. (gen gd)

Postcards, Warwickshire, a collection of approx. 200 cards, with RPs of The Guildhouse Knowle, The Well Berkswell, Bishop Tachbrook, Smithford St Coventry, B.C.S Jubilee Exhibition 1931 Bingley Hall Birmingham, Welford on Avon, Four Arches, Tetley Rd Hall Green, Travellers Rest Wootton Wawer, Old Boat House Welford on Avon, printed Lord Mayors Distress Fund Birmingham decorated tram, New Motor Bus Birmingham. Also good printed street scenes (mixed condition)

Postcards, Nottinghamshire, a collection of approx. 160 cards, with RPs of Normanton Inn Clumber, New Ollerton Colliery, Trent in flood Nottingham, Nottingham Rd Mansfield, Bridge St Worksop, Old Grammar School Tuxford, Clumber House, Cannon Sq Retford, Blyth Church and Green, Rifle Range Trent Long Eaton, Thrumpton Ferry, Tech School Mansfield, Clifton Arms Hotel Newark etc. Also good printed street scenes and villages, heraldic (Tuck), Albert Hall fire etc (mixed condition)

Frank O. Salisbury,  British 1874-1962 - Ten portraits:  W H. Watson, Dec 16 1943;  Mrs Jane Lambert Wilson, 1949;  Sir John Tweedie, eye specialist, former president of the Royal College of Surgeons and the Ophthalmological Society, 1914; Sir John Tweedie, 1914; Rt Hon Marquess of Bath Thomas Thin, painted for county hall Trowbridge to commemorate 35 years as chairman, 1941;  Mrs Millard Evelyn Tydings, daughter of former ambassador to Moscow, husband to the former senator and speaker of the house, 1946;  G.M White, 1955;  Myron Charles Taylor, Director of the MET and Chairman of Cornell University;  Myron Charles Taylor;  Sir Edward Wilshaw, British businessman and the Chairman for Cable & Wireless (1936 to 1947), 1953; chalk and pastel on paper, 64 x 52.5 cm and smaller (unframed) (10) (ARR)  Provenance:  The Walpole Society, donated by Philip Mould & Company on behalf of a private collector  Note: Frank O. Salisbury was one of the leading society portrait painters of his day. The son of a plumber and glazier, he was drawn to art at an early age and throughout his career painted many important figures in the cultural and political sphere, including Queen Elizabeth II and Sir Winston Churchill. His portraits of Dame Maud McCarthy and Prince Edward, Duke of Windsor (King Edward VIII) are currently on display as part of the inaugural display at the newly reopened National Portrait Gallery in London. Salisbury also painted large-scale ceremonial, historical and religious scenes, many of which are now in public collections.  Salisbury painted in a classical but lively style, bringing his sitters to life while remaining vehemently opposed to modern methods. The works for sale with Roseberys include portraits of glamourous society figures, politicians, eminent businesspeople, and members of the aristocracy. Interesting examples include portraits of Will Keith Kellogg, founder of the eponymous cereal company, Her Highness the Ameera of Bhahwalpur and Mrs Dunlap Hopkins, President of the Women’s School of Design in New York. There is also a highly moving study of a Nurse in Wartime uniform. Alongside these portraits, there is also a collection of large-scale studies for religious scenes.  These works have remained unseen for several decades and were recently donated to The Walpole Society by Philip Mould & Company on behalf of a private collector. 

Scarce WW2 A black and white portrait photograph bearing the original wartime signature of Hermann Wilhelm Göring (or Goering) (1893 1946). Göring was a German politician, military leader, and convicted war criminal. He was one of the most powerful figures in the Nazi Party. which ruled Germany from 1933 to 1945. A veteran WW1 fighter pilot ace, Göring was a recipient of the Blue Max. He was the last commander of Jagdgeschwader 1 (JG I), the fighter wing once led by Manfred Von Richthofen. An early member of the Nazi Party, he was among those wounded in Adolf Hitler's failed Beer Hall Putsch in 1923. After Hitler became Chancellor of Germany in 1933, Göring was named as minister without portfolio in the new government. Goring was Chief of The Luftwaffe High Command from 1st March 1935 to 24th April 1945 and was found guilty on four charges at The Nuremberg Trials in 1946, Goring committed suicide with a cyanide pill the night before he was due to be hanged. This is a rare original black and white wartime portrait photograph overall measuring approx 8 inch x 10 inch (20cm x 25.5cm) bearing the original wartime signature of Herman Göring in black ink, the photograph is in very good condition (see photographs)Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10

A Collection of early English ceramics C1790-1820  (15) Factories to include Machin, Hicks and Meigh, Spode, Minton, New Hall, Worcester, Chamberlains Worcester. A hand painted coffee can C1800 , damage as shown A Chamberlains Worcester coffee cup and saucer , spiral fluted C1800, damage as shown to saucer, cup ok. 2 Worcester Barr period spiral fluted coffee cups C1792-1804...Good condition A Spode coffee can an tea cup C1800-1820 , restoration to rim on can, cup ok , as shown A Minton coffee can and bat print tea cup , both in good condition. A New Hall bat can C1812-1815,  In good condition. A Machin Cup and saucer C1810,  feint star crack to base of cup, saucer ok, as shown. 3 Creamers, Hicks and Meigh C1825, Davenport C1825 and a Broseley pattern one. Condition. All Good Please view all picture for damages mentioned

A Collection of Coffee cups, tea bowls  & saucers , dates vary between  C1770-1800 Factories such as Liverpool , Lowestoft , Caughley, Coalport , Worcester, Miles Mason & New Hall.  ( 19 ) All Coffee cups in good condition, apart from one with a rim chip, some wear to gilt rims.     As shown. Saucers are as shown in pictures, with one stapled to reverse. The Swinton pearlware Tea canister C1790 , stands 9.5 cm tall and has a few rim nibbles and staining to the Base, As shown  Please view all pictures

A late 18th century New Hall ‘Pink Ribbons’ porcelain cream jug. Circa 1790. 13x6x10cm

Rolling Stones / Solo LPs, nine albums by members of the Rolling Stones comprising Charlie Watts Orchestra - Live Fulham Town Hall (EX/EX+), Keith RIchards - Talk Is Cheap (EX/EX+), Bill Wyman - Green Ice (VG/EX+), Bill Wyman (VG+/EX) and WIllie and the Poor Boys (EX/EX+), Mick Jagger - She's The Boss (EX/EX) and Primitive Cool (EX/EX, Ronnie Wood - New Look (VG/EX+) and I've Got My Own Album To Do (VG/EX)