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Zelda Nolte art works including paintings and sculptures( with providence- New Hall, now Murray Edwards  holds a collection of her stuff)

A collection of 19th century and later hand painted porcelain ceramic cups, saucers, jugs, pierced plate and teapots. Lot to include Coalport, Bargeware, New Hall, Leeds Cream Ware etc. Some marked to base. Largest measures 21cm (height).

Jimi Hendrix, born James Marshall Hendrix on November 27, 1942, was an American rock guitarist, singer, and songwriter. He is widely regarded as one of the most influential guitarists in the history of rock music. Here's an overview of Jimi Hendrix and his musical legacy:Early Life: Jimi Hendrix was born in Seattle, Washington. He began playing the guitar at a young age and showed great talent and passion for music. In his early years, he played in various bands and honed his skills as a guitarist.Rise to Fame: Hendrix gained recognition in the mid-1960s after moving to London and forming the Jimi Hendrix Experience with bassist Noel Redding and drummer Mitch Mitchell. They released their debut album, "Are You Experienced," in 1967, which showcased Hendrix's innovative guitar playing and songwriting. The album's success propelled Hendrix to international fame.Musical Style and Innovations: Hendrix's guitar playing was characterized by his virtuosic skill, innovative use of amplification and effects, and his ability to push the boundaries of what was possible on the instrument. He incorporated elements of blues, rock, funk, and psychedelia into his music, creating a unique and groundbreaking sound. Hendrix's performances were known for their energy, showmanship, and improvisational nature.Notable Songs and Albums: Some of Hendrix's most famous songs include "Purple Haze," "Hey Joe," "The Wind Cries Mary," "All Along the Watchtower," and "Voodoo Child (Slight Return)." His albums, including "Axis: Bold as Love" and "Electric Ladyland," are considered landmarks in rock music.Impact and Legacy: Jimi Hendrix's impact on music and popular culture cannot be overstated. He revolutionized the way the guitar was played, expanding its possibilities and inspiring countless guitarists in the decades that followed. His innovative approach to songwriting and production also left a lasting impact on the rock genre.Tragic Death: Sadly, Jimi Hendrix's life and career were cut short when he died on September 18, 1970, at the age of 27. His death was ruled asphyxia caused by a barbiturate overdose. Despite his short career, Hendrix's influence and legacy continue to resonate with music lovers worldwide.Posthumous Releases and Recognition: Several posthumous albums have been released featuring previously unreleased material and live recordings, keeping Hendrix's music alive for new generations. He has received numerous accolades, including inductions into the Rock and Roll Hall of Fame and the UK Music Hall of Fame.Jimi Hendrix's unique style, innovative guitar playing, and captivating stage presence have solidified his status as an iconic figure in music history. His impact on the guitar and rock music as a whole remains immeasurable, making him a timeless and legendary musician.Measures 48 x 36.

Two 19th century New Hall porcelain tea bowls with hand painted floral decoration (approx 8.5cm and 9cm diameter); plus 2 x Royal Crown Derby Imari circular trinket dishes, pattern no. 2451 (approx 10.5cm diameter)

Late 18th and Early 19th Century English Porcelain Tea and Coffee Wares, including Worcester, Barr, Flight and Barr, New Hall, and Derby, various patterns (two trays)

Four Boxes of Assorted Ceramics and Glass, 18th century and later, including Spode, Minton, Minton Shalimar pattern, New Hall etc (four boxes)

A pair of Ridgway porcelain apple green ground cabinet plates, mid-19th century, pattern No. 6741, painted with harbour views, the scroll edged rims with gilt enrichment, puce printed factory marks, diameter 23.8cm, together with a New Hall cabinet plate, painted with a building by a river within a cream glazed rim, and a small group of similar wares decorated with landscape views. Provenance: from the collection of the late Graham and Rhiannon Berridge.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A New Hall porcelain trio, circa 1800, decorated in the Boy and the Butterfly pattern, diameter of saucer 13cm, a pair of Spode blue and gilt decorated wrythen moulded custard cups and covers, height 8.3cm, and a small group of other late 18th/early 19th century English porcelain, including three Worcester teabowls and Caughley (minor faults). Provenance: from the collection of the late Graham and Rhiannon Berridge.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A New Hall porcelain botanical cabinet plate, circa 1830, painted with a tulip and rose against a shaded grey ground within a cobalt blue rim, gilt with foliate scrollwork and moulded with shells and scrolls, painted pattern No. 855, diameter 23.8cm. Provenance: from the collection of the late Graham and Rhiannon Berridge.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A Worcester sparrow beak jug, circa 1775, painted in coloured enamels with two Chinese figures, the rim interior with an underglaze blue geometric band, blue painted open crescent mark to base, height 9cm, together with two similar jugs, one painted with pink roses, the other with Compagnie de Indes flowers, a pair of New Hall coffee cups, painted with pattern No. 20, and a Lowestoft coffee cup (cracked and chipped).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A Georgian Neo-classical mahogany carved sideboard attributed to Duncan Phyfe, New York circa 1820, the gadrooned carved edge above a combination of cupboards and drawers interspaced by carved pilasters with twisted acanthus decoration, raised on lion paw feet, marked to the reverse Trentham Hall, 1832 and stamped TH to the top right drawer118 x 180 x 60cmProvenance:Trentham Park, Stoke-on-TrentProperty of a collector, removed from Moggerhanger Park, BedfordshireTrentham Hall was located on the southern edge of Stoke-on-Trent in Staffordshire and although first recorded in the Domesday Book in 1086, it was the architects, Henry Holland and later Charles Barry, who re-built the house for the Leveson-Gower family whose titles included; Earl Gower, Marquess of Stafford and later, Duke of Sutherland. The Hall was later demolished in 1912.Born near Loch Fannich in Scotland, Duncan Phyfe (1770-1854) emigrated along with his family to Albany, New York, in 1784. In 1794, he opened his own business and had his first shop at 2 Broad Street, close to where the New York Stock Exchange stands today. Phyfe’s work incorporated a wide range of the period’s Neoclassical styles. His earliest furniture bears the influence of his British predecessors, Thomas Sheraton and Thomas Hope, while his late works are simplified designs in the Grecian plain style. Today, works by Phyfe can be found in notable collections across the United States, including the White House in Washington D.C, the Robert William Roper House in Charleston, the Museum of Fine Art in Boston and the Metropolitan Museum of Art in New York.Some scratching, marks and wear commensurate with age and use

A collection of mostly 18th century English porcelain, being principally tea bowls, coffee cans, saucers, to include five New Hall blue and white 'trench mortar' pattern and four Swansea type moulded platesFloral plates rubbed with light scratching to the bowls, gilt rubbed, one with hairline crack chipping to foot rimsNew Hall bue and white trench pattern saucers multiple chips and rubbing to gilt, one hairline crack and one star crack to baseWorcester bowl crackedPlate with figures crackedMinor chipping and rubbing to gilt throughoutSee images

Two galvanised metal troughs with handles containing large quantity of Kilner jars with tops / covers together with 3 sets of glasses to include New Hall and a cutlery set in box.

A signed copy of The New Orleans Preservation Jazz Band - Preservation Hall, with twelve band-member 's signatures; John Lennon 9xLP Box Set; together with thirteen LPs: artists to include: Jimi Hendrix; The Who; Eric Clapton; Rolling Stones; Alice Cooper; America; and others. (Qty)

Two New Hall style teapots, c. 1800 decorated with floral sprays, both with faults.

Ten works on sailing. Ahto Walter and Tom Olsen. 'Racing the Seas,' first edition, original cloth, some nibbles and tears to rare unclipped dj, spotting throughout, plates and frontis, Hurst & Blackett, London, 1935; Herbert Warington Smyth. 'Mast and Sail In Europe and Asia,' new edition, original cloth, vg unclipped dj, illustrated throughout, spotting to edge of textblock throughout, William Blackwood & Sons, London, 1929; Robert C. Leslie. 'A Waterbiography,' first edition, original cloth with gilt decorations, slightly rubbed to extremities, frontis illustration, Chapman and Hall, London, 1894; With seven other works on sailing including 'Fishing Boats & Barges' and 'Songs by Charles Dibbin'. (10)

A large collection of late 18th and 19th century English porcelain teacups, saucers and side plates, including Flight Worcester Bluebell pattern tea bowl and saucer, Royal Worcester, Derby, Spode, New Hall, and others

The unique campaign pair awarded to Lieutenant J. Roper, West India Regiment, late Midshipman, H.M.S. Zenobia, Indian Navy, who served with the Naval Brigade ashore during the China War 1857-60, and subsequently died at sea in March 1874, returning from service in the Ashantee campaign 1873-74 China 1857-60, 1 clasp, Pekin 1860 (Midn. John Roper. H.M.S. Zenobia. I. N.) officially impressed naming; Ashantee 1873-74, no clasp (Lieut: J. Roper. 1st. W.I. Regt. 1873-4) minor edge bruising, otherwise very fine (2) £1,200-£1,600 --- Provenance: Captain K. J. Douglas-Morris Collection, Dix Noonan Webb, February 1997 (China 1857-60 Medal only). John Roper was born at Sedbury Hall, Gilling, near Richmond, Yorkshire, in January 1844. He was the second son of R. S. D. R. Roper, a banker and later J.P. for the North Riding of Yorkshire. John Roper was educated at Richmond Grammar School and the Royal Naval Academy, Gosport. He was passed by the Committee of the India Officer as a Cadet for the Indian Navy in April 1859. Roper embarked for Bombay, and, aged 15 years and 5 months, was appointed Midshipman in June 1859. His service includes with the steam frigate Zenobia, December 1859 - March 1861, during which time he landed in China as part of the Zenobia’s Naval Brigade, and was present at the actions of Chang-kai-Wan and Pa-li-Chian, and as part of the small Naval Brigade that entered Pekin on 13 October 1860. He returned to England, where he was retired in November 1862, with a pension of £60 per annum. The latter was due to the impending disbandment of the Indian Navy in April 1863. Roper was aged 19 and without a profession, this however did not last for long. Between 1864-66 he was employed on ships transporting Government emigrants from the UK to Australia and New Zealand. He resumed his military career by purchasing a commission as Ensign in the 3rd Battalion West India Regiment. Roper embarked for Jamaica in 1869, but before he arrived the 3/West India Regiment were disbanded and he was transferred to the 1st Battalion. He advanced to Lieutenant in October 1871, and sailed with the Battalion to be engaged in the Ashantee campaign 1873-74. He was invalided, and died at sea on passage to England 26/27 March 1874. He is commemorated on the Roper Family memorial window at St. Agatha’s Church, Gilling West, Richmond. China Medals to the Navy were issued unnamed, the only exception being those medals awarded to the Indian Navy, late of the H.E.I.C. service. As the Zenobia was the only Indian Navy ship to receive this clasp, it provides the only named medals with clasp Pekin 1860 awarded to the Navy as a whole. The Indian Navy was abolished in 1863. Sold with comprehensive file of research.

BOX SETS / LIMITED EDITIONS - COLLECTION. A collection of 1 x LP and 5 x box sets. Titles are The Jam - About The Young Idea (0255705558 - new/ sealed), Manic Street Preachers - Everything Must Go (8875189982), John Lennon - Imagine (5099967887316), Cream - The Royal Albert Hall (9362-49446-0), The Rolling Stones - Ladies And Gentlemen (034504981577) and Texas - Texas 25 (Box set). The condition is generally Ex+/ New/ Sealed.

Lancashire - Accrington Corporation blind, 42 Names in total, starting New Lane to Blackburn Via: Clayton Fern Gore Griffin Head Moscow Mill Dill Hall Accrington Football Ground Cricket Ground Private

Star Wars Episode I The Phantom Menace key sculptor Garry Pollard original concept sculpture of Yoda's head. Accompanied with a printed email from Gary Pollard which part reads " This piece is the original concept sculpture I showed to George Lucas and Frank Oz on The Phantom Menace. A rare object and gold dust for a fan, it is the first sculpture made of the new Yoda, an important piece in the development of the Yoda character. The only other piece like it is the cast I made from this for George Lucas to go in his personal collection, in other words this piece belongs in the 'Star Wars hall of fame' ".

A Chinese Porcelain Teapot and Cover With a Matching Waste Bowl, late 18th century, painted in coloured enamels with figures, together with a similar ogee shaped teabowl and saucer, another saucer and two New Hall teabowls and saucers (one tray)Teapot, cover broken into four and re stuck, base with some fritting and a star crack under the base.Bowl cracked and with some fritting. Ogee saucer slightly fritted.Teacup and saucer fritted and with a chip to the saucer rim.Figural Newhall with firing cracks and glaze pitting.The other none matching and with some firing imperfections and glaze pitting.

New Hall Tableware 20+pcs

New Hall helmet Shaped Cream Jug circa 1795

An 18th Century New Hall porcelain teapot of oval form with typical floral spray decoration (restoration to lid) - sold with a matching sucrier and an early English porcelain teapot of globe form (mismatched lid) - various condition

A collection of 19th century Worcester porcelain, to include tea bowls, cup, saucers, plates and a New Hall saucer

A selection of antiquarian books to include 'The History of England - from the Invasion of Julius Caesar to the Revolution in 1688' by David Hume, a new edition corrected in eight volumes 1763; Gilbert White 'Natural History and Antiquities of Selborne' by Gilbert White, London 1880; Oliver Goldsmith 'A History of the Earth and Animated Nature' in 2 Vols 1847; green leather bound copy of Charles Dickens 'The Posthumous Papers of the Pickwick Club' pub. Chapman & Hall n.d; 'The Poems of Ossian' translated by James Macpherson, printed London Aug 1924 in red leather binding with gilt text block, and others (20) Location: LAB

Ten assorted early 19th Century coffee cans includes Coalport, Spode, New Hall, Flight Barr & Barr and others (10)

* Gillray (James). True Reform of Parliament, i.e. - Patriots lighting a revolutionary bonfire in New Palace Yard, H. Humphrey, June 14th 1809, etching with contemporary hand-colouring, good margins, two additional old vertical folds, slight adhesion scaring to verso, 295 x 415 mmQTY: (1)NOTE:BM satires 11338. Sir Francis Burdett harangues his colleagues who are setting a fire, lit by historical statutes, on the cobbles of Palace Yard. He holds a 'bonnet rouge' and he points towards Westminster Hall, which is being stoned and demolished by the mob. To the right in the foreground, the Marquis of Buckingham and Lord Grenville, fat and gouty, skulk away, bent double, their heavy backsides exaggerated their heads removed by the right margin, each carrying a large bag of money, labelled Family Pickings, £400000; and Exchequer Pickings.

Keane (Marcus). The Towers and Temples of Ancient Ireland; their origin and history discussed from a new point of view, 1st edition, Dublin: Hodges, Smith and Co., 1867, additional title, wood-engravings, 4 pp. advertisements at end, MacDonnell bookplate, front hinge tender, top edge gilt, original cloth gilt, spine faded, light edge wear, 4to, presentation copy, inscribed at front "Major Wm. Armstrong-MacDonnell, with the kind regards of the author" (the recipient's seat of New Hall in Killone is described on p. 374), together with Blake-Forster (Charles Ffrench). The Irish Chieftans; or, a Struggle for the Crown, 1st edition, Dublin: McGlashan and Gill, 1872, a few light spots, original green cloth gilt, a few flecked stains, a little bowed, large 8vo, with others of Irish interest including Traits and Stories of the Irish Peasantry, by William Carleton, 5 volumes, 4th edition, 1836, Sir Jonah Barrington's Rise and Fall of the Irish Nation, 1843, and John O' Hart's Irish Pedigrees; or, the Origin and Stem of the Irish Nation, 3 volumes, First and Second series, 2 volumes 1876 & 1878, plus The Irish and Anglo-Irish Landed Gentry when Cromwell came to Ireland; or a Supplement to Irish Pedigrees, 1884QTY: (14)

* Devon. Greenwood (C. & J.), Map of the County of Devon from an actual Survey made in the Years 1825 and 1826..., July 4th 1829, engraved map with bright contemporary wash colouring, inset map of Lundy Island, calligraphic cartouche, compass rose, table of reference and an uncoloured vignette of Exeter Cathedral, 620 x 700 mm, mounted, framed and glazed, together with Cary (John). A New Map of Devonshire, Divided into Hundreds Exhibiting its Roads, Rivers, Parks &c. October 26th 1807, engraved map with contemporary outline colouring, ovoid cartouche, compass rose and mileage scale, very slight staining, 490 x 545 mm, mounted, framed and glazed, with Stockdale (John). A Map of Devonshire from the Best Authorities, 26th March 1805, engraved map with contemporary outline colouring, compass rose and a list of the hundreds, 430 x 475 mm, mounted, framed and glazed, plus Harrison (J.). A Map of Devonshire engraved from an Actual Survey, 2nd July 1789, hand-coloured engraved and reticulated map, 345 x 470 mm, mounted, framed and glazed, and Kitchin (Thomas & Jefferys Thomas). A Map of Devonshire, 1749, engraved map with contemporary wash colouring, a list of the market towns below the map, 185 x 145 mm, mounted, framed and glazed, with another seventeen maps of Devon, including examples by or after Weller, James, Cary, Sayer, Hall, Moule, Smith, Hatchett/Walpoole, Kitchin J & C Walker and Whittaker , some duplicates, various sizes and condition, all framed and glazedQTY: (22)

Parkinson (John). Theatrum Botanicum: The Theater of Plants. Or, An Herball of a Large Extent: Containing therein a more ample and exact History and declaration of the Physicall Herbs and Plants that are in other authours, encreased by the accesse of many hundreds of new, rare, and strange plants from all the parts of the world..., Distributed into sundry classes or tribes, for the more easie knowledge of the many herbes of one nature and property, with the chiefe notes of Dr. Lobel, Dr. Bonham, and others inserted therein. Collected by the many yeares travaile, industry, and experience in this subject, by John Parkinson apothecary of London, and the Kings Herbarist..., London: Printed by Tho. Cotes, 1640, initial blank and additional engraved title not present, letterpress title with several manuscript inscriptions 'A good edition of a curious work, invaluable as the plates are all coloured by some private hand well worth 3-3-0', with partially inked out inscription 'Michel Pierre, ce 26/16 October 1689 pore 03 pièce moins 3 lint(?)', and 'Job Lousley's Book Hampstead Norris Berks 1854', woodcut botanical illustrations throughout with near-contemporary hand-colouring, decorative initials, headpieces, chapter line breaks also with near-contemporary hand-colouring, lower outer corner of N4 with short closed tear and slight printing fault (not affecting meaning of text), closed tear to L5 partially repaired, 2X5 & 2X6 damp stained, short closed tear at foot of 4B6 and repaired closed tear to 5P4, first leaf of 'The Table of the English Names' (7H1) at rear of volume frayed to edges, errata leaf present at rear, occasional light dust-soiling to margins, slight marginal damp staining to few leaves, late 20th-century endpapers with 18th-century armorial bookplate of Henri-Joseph Rega (1690-1754) relaid to front pastedown, contemporary calf, neatly rebacked preserving morocco title label, board corners neatly repaired, folio (33.4 x 23 cm)QTY: (1)NOTE:ESTC S121875; STC 19302.Henri-Joseph Rega (1690–1754) was a professor of medicine and rector of Leuven University, in the Habsburg Netherlands, where he established a botanical garden, laboratories for chemistry and physics, and an anatomical theatre, as well as adding a new wing to the University Hall (originally Leuven's medieval cloth hall).Job Lousley (1790-1855) was born in South Moreton, Berkshire and lived in Blewbury and Hampstead Norris, near Newbury. He was an avid book collector and published widely on agricultural, botanical and historical matters relating to Berkshire.

A collection of early 19th century tea cups and saucers London shape, to include two Spode 'Bowpot pattern' cups and saucers, pattern 1869 in iron red and gilt and 3636 in green, two New Hall basketweave examples, another decorated in pattern 505, another decorated with a fruit basket and seven Hilditch type Chinoiserie decorated 'clobbered' cups and saucers , unmarked, (13)various Condition: All in good condition

AS NEW SET OF 6 HORN HANDLED STEAK KNIVES & FORKS - by Walker & Hall Sheffield, all have decorative ferrules, presented in original fitted case, 21.5cms L the knives, 17.5cms the forks

Sporting Art. A collection of Victorian lithographic sheet music covers, including baseball, horse racing, yachting, rowing, boxing, ping-pong, billiards, football, rugby, golf, archery. The collection includes the following notable examples: That Baseball Rag, by Wolff & Jones, New York & Chicago: Harold Rossiter Music Co., 1913, complete score with covers [an example of the same is in the collections of the Library of Congress]; Off We Go Polka, by Charles Coote, London: Hopwood & Crew, [c. 1890], complete score with colour lithographic covers depicting anthropomorphic monkeys riding dogs in a race; Little Tommy Topweight, by Bowyer & Campbell, London: Francis Bros & Day, [1886], cover only with hand-coloured lithographic portrait of a jockey by Alfred Concanen [leading lithographer of the Victorian era]; Ping Pong, by John Read, London: Charles Sheard & Co., 1902, complete score with lithographic covers depicting comical table-tennis scenes; Edwin Boyde's Football Referee Song, by Albert Hall, London: Francis Day & Hunter, 1897, complete score with colour lithographic covers depicting a riotous rugby scrum, and others, condition generally very good but varied and thus sold with all faults (36)

English porcelain coffee cans including Worcester, Spode, Wolfe Mason, Derby and Chamberlain, two New hall cans and saucers and a New hall Warburtan Patent saucer dish, the largest 20cm in diameter

TWO BOXES OF SUNDRY VINTAGE ITEMS, to include five horn cups, one carved with a scene of a man shooting, a house, a windmill and 'R + Hall', a small wooden tilting mirror with inlaid decoration on a turned stand, a pair of antique curling stone handles, bearing brass shield shaped cartouches monogrammed 'J. C.', a brass three drawer telescope, a small jelly mould stamped 'M162', a collapsible spirit cup, marked 'C T & S, No 54707', contained in a pocket watch style case engraved with a mill scene, a boxed replica Lusitania (German) medal, a cased pair of antique spectacles, a tiny copy of the New Testament, a napkin ring with plaque reading 'From the teak of HMS Iron Duke, Admiral Jellicoe's flag ship, Jutland 1916', etc (2 boxes) (sd)

Ford Madox Brown (1821-1893)Study for The Spirit of Justice" - An Abstract representation of Justice (1845) Signed and dated 1843, pencil and watercolour, 80.5cm by 47cm with arched top cornersSpirit of Justice was intended as a subject for entry to the third public exhibition of works entered to the competition to award commissions for the decoration of the newly built Palace of Westminster. On that occasion, in 1845, entries were intended to serve as ‘personifications of abstract representations of Religion, Justice and the spirit of Chivalry’. Brown’s full-scale cartoon, made in black chalk and which measured about 192 x 111 inches (destroyed), was announced in the summer of 1844 and displayed in Westminster Hall a year later. On that occasion, it was accompanied with a description of what was represented, written by Brown himself, and printed in the exhibition catalogue:The five figures at the top are personifications of Justice, with, on her right, Mercy and Erudition, and on her left, Truth and Wisdom.The two groups in the foreground are indicative of power and weakness. An unbefriended Widow is seen to appeal to Justice against the oppression of a perverse and powerful Baron, who is assisted by a hired adviser, and supported by the wealth of his father, although not countenanced by his approbation. The Widow is attended by her helpless parents.The throne of Justice is surrounded by an allegorical representation of the House of Lords, consisting of Lords Spiritual, Temporal, and Barons armed for the maintenance of Justice.Spirit of Justice was not a prize-winner at the 1845 competition, although it was commended by fellow contributor Benjamin Robert Haydon and admired by both William Holman Hunt and Dante Gabriel Rossetti. The theme represented – one of conflict between the rich and powerful, and folk without privilege who were subject to cruelty and injustice – was close to Brown’s heart, and as one whose sympathies were with the dispossessed.The present drawing is one of two watercolour sketches made by Brown at the time in early 1845 when he was working on the full-scale cartoon (the other sketch entered the collection of Manchester City Art Gallery in 1925 (1925.94)). Broadly equivalent to the full-scale cartoon although with minor variations of stance and positioning of the figures, the two sketches were intended to demonstrate the artist’s intentions for the colouring of the prospective fresco. The present sketch was in fact exhibited at Westminster with the black chalk cartoon and a specimen of work in fresco showing the head of the Lord Temporal.Provenance: Sold to Henry Boddington, 1889; his executors; offered for sale by private treaty for £84 in 1925; Canon Smythe; anonymous sale, Christie’s, 2 March 1971 (lot 70); Stone Gallery, Newcastle upon Tyne, from where purchased. From the Estate of the late Ian Stephenson of Laithes, Penrith, Cumbria.Exhibited: London, Works of Art sent in pursuant of the notices issued by Her Majesty’s Commissioners on the Fine Arts for exhibition in Westminster Hall, (the third Westminster Hall Competition), 1845 (number 99); London, Grafton Galleries, 1897, Exhibition of the Works of Ford Madox Brown, (number 10); London, Leicester Galleries, 1909, Collected Works of Ford Madox Brown, (number 26); Manchester City Art Gallery, 1911, Loan Exhibition of Works by Ford Madox Brown and the Pre-Raphaelites, (number 55); Newcastle upon Tyne, Stone Gallery, and London, Duke Street, St James’s, 1971, Some Pre-Raphaelite Works, (number 17)Literature: Mary Bennett, Ford Madox Brown – A Catalogue Raisonné, two volumes, New Haven and London, 2010, I, catalogue number A31.3, p. 39In a fairly poor state of preservation. Significant staining across the sheet with pronounced reduction and bleaching of colour. There would look to have been some possible attempted restoration in patches towards the upper section and the arched top (see images) where more pronounced pattern of staining look to have had disguising pigment or materials added which now have a milky and chalky quality with some further possible overpainting within background. Essentially to mostly horizontal fine lines or creases just below the upper apex. There are a couple of further slightly less visible creases to the sheet within the background behind the standing female figure on the left at her right shoulder. Odd further minor crease to the drapery of justice, small hole just below ear of justice, odd sporadic foxing spot mostly to the upper section, pinhole to lower right-hand corner. Essentially horizontal tear to sheet approx 10cm from lower right corner and 1cm in length. Minor horizontal surface scuff to lower section of the skirts worn by animated female figure in lower right-hand corner and approx 2-3cm in length. Odd further minor imperfection to surface elsewhere. Some deteriation to parts of paint work e.g. the back thigh of the standing knight. Slight cockling to sheet, pinhole towards lower left-hand corner etc. Not examined out of the frame, AF. For more information please contact the department.

Postcards, Surrey, a Kingston-upon-Thames mix of approx. 17 cards with RPs of Kinston Bridge the first tram, and opening of new Electric Tramway across Kingston Bridge (1/3/1906), Coronation stone (5 different), Coach & Horses at Kingston Marketplace, Surrey County Hall and Queen's Prom, Karno's Island, Old Post House, aerial view. Also printed Tiffins Girls School, Alms Houses London Rd, Pavilion Cromwell House etc (mainly gd)

BOOKS PRESENTED TO ANTHONY EDEN. Please see the full listing below. (c.90)BOOKS PRESENTED TO ANTHONY EDEN (arranged chronologically) - George MEREDITH. Modern Love, London, 1892, reprint, 8vo, dark blue buckram, inscribed, "From Dolly, Xmas 1892," and further inscribed in a different hand, "& handed on to Anthony Eden, Feb. 1923", bookplate [please see the note regarding bookplates at the end of this lot]; Walter PATER. Greek Studies, London, 1904, 8vo, morocco, inscribed, "Robert Anthony Eden, Honoris causa, from E.L.C. [identity unknown for certain, but presumably a school friend - please see lot 26 for some idle speculation], Eton, Xmas, 1912", bookplate; Louis BARTHOU. Mirabeau, Paris, [c.1913], 8vo, buckram, wrappers bound in, inscribed, "A son Excellence M. Anthony Eden ... [followed by a lengthy, partly illegible, inscription in French] ... Louis Barthoud, Genève, 1934", bookplate; The Book of Common Prayer [bound with:] Hymns Ancient and Modern, London, [n.d., 2 works in one vol., "Elon. 48mo. Thin", suede wallet with button-down flap, the upper cover lettered in gilt "R.A.E. [i.e. Anthony Eden] 1915", the front free endpaper inscribed, "Anthony from Mother, Xmas 1915", with inserted photographed portrait of Eden's mother in oval "window" on front pastedown, slip with the words of the National Anthem laid down on rear pastedown; MOLIERE. Théâtre complet illustré, Paris, [n.d.], 7 vols. bound in 2, 8vo, attractively bound in dark blue calf gilt by Bickers & Son, inscribed, "R.A. Eden, from H.M.B. [identity unknown, but presumably a school friend], honoris causa, Eton College, July 1915", bookplate; Laurence HOUSMAN. Angels & Ministers, London, 1921, 8vo, boards, inscribed, "Anthony from Mummie. Jan 1. 1922. 'Most of the stones of the building of the City of God, & the best of these were made by Mothers'", bookplate; Timothy EDEN [i.e. Sir Timothy Calvert Eden, 8th Baronet (1893-1963), and Anthony Eden's older brother]. Five Dogs & Two More, London, 1928, 8vo, cloth, inscribed, "Anthony, from Tim, Auctori Auctor! October 10th, 1928", bookplate; Ragnar ÖSTBERG (Swedish architect). The Stockholm Town Hall, Stockholm, 1929, 4to, wrappers, inscribed, "Anthony Eden, from the Author, Stockholm, 15/10/34"; Timothy EDEN. The Tribulations of a Baronet, London, 1933, large 8vo, hessian-backed boards, inscribed, "Anthony from Tim, 1933", bookplate; Ragnar SVANSTRÖM & Carl Fredrik PALMSTIERNA. A Short History of Sweden, Oxford, 1934, 8vo, cloth, inscribed, "For Mr Anthony Eden, on his journey to Sweden Oct. 1934. [illegible words], [?C.] Palmstierna", bookplate; G. LOWES DICKINSON. A Modern Symposium, London, 1937, 8vo, cloth, reprint, inscribed, "Anthony, from S. B." [possibly Stanley Baldwin], bookplate; Nicolas de BASILY. Russia Under Soviet Rule. Twenty Years of Bolshevik Experiment, London, 1938, 8vo, cloth, inscribed, "To the Right Honble. A. Eden with the kind regards of N. de Basily"; C. TEMPERLEY. The Whispering Gallery of Europe, London, 1938, 8vo, cloth, inscribed, "Anthony Eden, in gratitude & remembrance, from A. C. Temperley, April 1938"; Sonia DE CONTADES. Pénombre, Paris, 1938, small 4to, wrappers, inscribed, "A Anthony Eden, Sonia de Contades"; F. ROSSEL-STALDER. Morale Nouvelle ou Vers la Paix, Monte-Carlo, L'Intercontinentale d'Edition, [n.d. but ?c.1939], 8vo, red morocco, inscribed, "A Monsieur Anthony Eden, Londres [followed by a long unidentified quotation in French] F. Rossel", with, in addition, a printed dedication to Eden; Alan Campbell JOHNSON. Viscount Halifax. A Biography, London, 1941, 8vo, cloth, inscribed, "To Anthony Eden, With the author's compliments and best wishes from Alan Campbell Johnson, October, 1941"; Bomber Command. The Air Ministry Account of Bomber Command's Offensive Against the Axis September, 1939 - July, 1941, London, 1941, 4to, wrappers, detached, inscribed, "To the Right Honourable Anthony Eden ... from the author, [?illegible name but possibly Saunders]; Hugh R. WILSON. Diplomat between Wars, New York, 1941, 8vo, cloth, inscribed, "To Anthony Eden with warm regards, Hugh R. Wilson, New York, 1941"; Emery REVES. A Democratic Manifesto, New York, 1942, 8vo, cloth, inscribed, "To the Rt. Hon. Anthony Eden, in esteemed recollection of our past collaboration, E. Reves, New York, July 14, 1942"; Wanda WASSILEWSKA. Rainbow. A Novel, London, [1943], 8vo, cloth, inscribed "Farewell greetings to Mrs Eden, Agnes Maisky, 13/9 - 43, London" [Agnes Maisky was the wife of The Soviet Union's Ambassador to the United Kingdom, Ivan Maisky]; Jacques DEBU-BRIDEL (also using his pseudonym 'Argonne'). Angleterre (D'Alcuin a Huxley), Paris, Aux Éditions de Minuit, 1943, 12mo, wrappers, ONE OF 25 "H.C." COPIES, inscribed by the author to Eden on the half title, the inscription incorporating the printed word 'Angleterre'; Nicolas G. LÉLY. [After the title in Greek:] Victorial Poems, New York, 1943, 8vo, buckram, inscribed, "To the Right Honorable Anthony Eden, A Companion of the Muses and great friend of Greece, with highest regards, Nicholas G. Lély (Nickel!), The Hague, May 10, 1948"; G. Lynn SUMNER. Meet Abraham Lincoln, Chicago, "Privately Printed", 1946, large 8vo, buckram, inscribed, "For the Right Hon. Anthony Eden, with all good wishes and enduring admiration, G. Lynn Sumner, New York, 2/7/46"; Samuel HOARE, Viscount Templewood. Ambassador on Special Mission, London, 1946, 8vo, cloth, inscribed "In memory of your help and patience at the F. O., Templewood"; Herbert AGAR (editor). The Formative Years. A History of the United States during the Administrations of Jefferson and Madison by Henry Adams, Boston, 1947, 8vo, 2 vols., buckram, vol. one inscribed, "For Anthony, with deepest affection from Barbie & Herbert, March 1947"; The Lands of the Bohemian Crown. Their History and Glory. Published by M. Hipmanová, Prague, 1947, 4to, wrappers, inscribed "[indistinctly in Czech], Milka Hipmanová", with note on upper wrapper indicating page numbers with illustrations of Eden; Brian FITZGERALD. Emily, Duchess of Leinster. 1731-1814, London, 1949, 8vo, cloth, inscribed, "Anthony Eden, from Betty & Bobbity [i.e. not the author, but Robert "Bobbity" Arthur James Gascoyne-Cecil, 5th Marquess of Salisbury], Christmas 1949"; Stéphane DE CHALON. Notes sur l' Élégance Masculine, Paris, 1949, 8vo, wrappers, inscribed "A Monsieur Antony [sic] Eden, le plus élégant des ministres anglais, Hommage de l'autre, S. de Chalon"; Alexander PAPAGOS. The Battle of Greece. 1940-1941, Athens, 1949, large 8vo, stiff wrappers, inscribed, "With the compliments of the author, A. Papagos"; Helen D'ABERNON (editor). Stolen Fruit, Welwyn Garden City, 1949, small 4to, leatherette boards, inscribed, "A. E. from H. D'A. June 1950", with Eden's highlights to 2 aphorisms, namely Robespierre's 'Avoid the ancient insanity of Governments - the mania of wishing to govern too much' (p.59) and John Morley's 'In recent years Progress has been technical not mental' (p.62), bookplate; Richard LAW, 1st Baron Coleraine. Return from Utopia, London, 1950, 8vo, cloth, inscribed, "Anthony Eden, from the author, with affection & regard, November 1950", with the author's printed name crossed out on the title and replaced with his signature; Yves DELBARS. Le Vrai Staline, Paris, 1950, 8vo, wrappers, inscribed, "à Monsieur Anthony Eden, qui [illegible words], Yves Delbars, 21/11/50"; A. ROSSI. Les Communistes Français Pendant la Drole de Guerre, Paris, 1951, 4to, wrappers, inscribed, "A M. Anthony Eden, en hommage [illegible words], 1951, A. Rossi"; Moustapha EL-HEFNAOUI. Les Problémes Contemporains Posés par le Canal de Suez, Paris, 1951, wrappers, inscribed, "A l'Honorable M. Anthony Eden, avec l'expression de ma haute consideration, Paris, 2 juillet 1951, Moustapha El-Hefnaoui";  John BIGGS-DAVISON. George Wyndham. A Study in Toryism, London, 1951, 8vo, cloth, inscribed, "To the Right...

An impressive 18th century brass-bound ebony quarter-repeating table clock with moonphaseClaude Duchesne, LondonThe case surmounted by an inverted caddy top with central finial over a silk-backed pierced soundfret framed by four further finials over an elaborately moulded cornice raised on brass-mounted Tuscan three-quarter columns to each corner framing the long shaped pierced brass-framed sound frets backed in silk to each side, the front and rear doors with similar brass frames, all on a multi-layered moulded base bound in brass to the top and bottom, on substantial brass bun feet. The 8-inch arched brass dial with rare 'Chronos' spandrels depicting a bearded Father Time below a sandglass and pair of wings, framing the silvered Roman and Arabic chapter ring with lozenge half-quarter marks and fleur des lys half-hour markers signed Claudius DuChesne Londini between V and VII, the finely matted centre with ringed winding holes, chamfered and engraved calendar and mock pendulum apertures under intricately pierced blued steel hands, the arch decorated with foliate scrolls and a pair of birds within strapwork enclosing a strike/not strike lever, moonphase (the outer scale marked 1-59) and aperture for setting the phase of the moon. The twin gut fusee movement with five knopped pillars and knife-edge verge escapement, the backplate with extensive floral and strapwork engraving, a partridge in the centre and a beast mask below, framed by a stylised wheatear border. Ticking, striking and repeating with a door key and a winding key. 73cms (28.5ins) highFootnotes:Claude Duchesne was seemingly born around 1670. It is commonly accepted that he lived in Paris, until just after the Revocation of the Edict of Nantes in 1685, at which point he joined many other Huguenot refugees and fled to the U.K. It is uncertain exactly when he arrived, with some putting it as early as 1689. The first concrete evidence of his life in the U.K. is from 1693; not only was he made free of the Clockmaker's Company in this year, he also married Elizabeth Bossu in Stepney. The couple would have at least three children; Claudius, born in 1699, Elizabeth born in 1706, and Anthony, born in 1708, though there are some contemporary reports of the couple having five children at one point. Claudius would eventually become a weaver, and Anthony would become a goldsmith. It is not known what became of Elizabeth. Duchesne became a British citizen in 1711. Duchesne was known to sign his clocks as either 'Claude' or 'Claudius' and 'Duchesne' or 'Du Chesne'. The exact location of his shop is questionable; most clocks give a location of either 'Dean Street, Soho' or 'Long Acre', so it seems likely that he was working in Soho. Wherever he worked, Duchesne appears to have been a highly regarded maker, especially in the construction of musical clocks. An account given by Jane Squire in 1731, notes that she 'understood he had made the musical Part of most of the musical Clocks of Note in Town'. Duchesne set himself apart from other makers of the time by featuring interchangeable music barrels, a style that had last been extensively practiced by William Jourdain in the later 17th century. Both makers also featured twelve bells with multiple, variable hammers and parallel motion music work. This suggests a detailed knowledge of music theory, in addition to the horological skill required to make such clocks. It seems that Duchesne may also have had some acquaintance with George Graham and John Harrison, the latter being introduced to Duchesne by the former. It is thought that Harrison contacted Duchesne in order to obtain the large quantities of brass he, Harrison, needed for his horological experimentations. Claude Duchesne is believed to have died in April 1733, and been buried in St. James, Paddington. His son, Anthony, married Anne Gagnon, and the couple had six children, one of whom, Claude (born in 1735) would go on to be a clockmaker. Duchesne's other known son, Claudius, married Anne, and the couple had four children. One of their children, Elizabeth 'Betty' Duchesne was born in 1724 and was known to be close friends with John, Charles and Sarah Wesley, with John Wesley conducting her funeral in 1776. It is thought that Elizabeth was responsible for gifting a walnut, moon phase eight-day longcase clock, made by her grandfather, to the Wesley's. The clock is reported to have never left Wesley's house, where it remains to this day. A late 19th century account suggests that the clock is the very timepiece that inspired Henry Wadsworth Longfellow to write The Old Clock on the Stairs, though this is not definitive: 'Half-way up the stairs it stands/And points and beckons with its hands.By day its voice is low and light/But in the silent dead of night,Distinct as a passing footstep's fall/It echoes along the vacant hall,Along the ceiling, along the floor/And seems to say, at each chamber-door, --'Forever -- never!/Never -- forever!''Blake, G. (2011) 'A Record of the Death of Claude Duchesne', Antiquarian Horology, Vol. 32 (5), pgs. 730-731.Turner, A. (2014) 'Charles Clay: fashioning timely music', Antiquarian Horology, Vol. 35 (3), pg.933.Betts, J. (2017) Marine Chronometers at Greenwich. Oxford: Oxford University Press. Pg. 143.Blake, G., Wintle, C., Gill, J. (2010) 'Claude Duchesne- Huguenot Clockmaker', Antiquarian Horology, Vol. 32 (1), pgs. 43-51.British Horological Institute (1891) 'Correspondence', The Horological Journal, Vol. 34 (1), pg. 16.Wesley's Chapel & Leysian Mission (2023) Virtual Tour: Wesley's House, Study. Available at: https://www.wesleyschapel.org.uk/your-visit/virtual-tour/ Dawber, E. G. (1898-1899) 'Some Thoughts on Clocks and Their Decoration: Part Two', The Architectural Review Vol. 5, pg. 261.Longfellow, H. (1890) The Poetical Works of Henry Wadsworth Longfellow, with Bibliographical and Critical Notes, Riverside Edition, Boston and New York: Houghton, Mifflin.Ord-Hume, A. W. J. G. (1995) The Musical Clock, Ashbourne: Mayfield Books.For further information on this lot please visit Bonhams.com

Dickens (Charles) The Life and Adventures of Nicholas Nickleby, first edition in original 19/20 parts, part 4 first issue with "visiter" on p.123 and part 5 first issue with "latter" on p.160, 40 etched plates by Hablot K. Browne (part 14 with 2 additional duplicate plates from part 15), parts 1 and 2 plates with publisher's imprint, part 8 plate no.16 third steel with "in" omitted, part 12 plate no.23 with "Mr" present, part 15 plate no.29 third impression, most front adverts present (part 11 without "New books for Children" yellow paper slip; part 18 lacking pp.7-10, 15-16 from "Nickleby Advertiser"), most back adverts present except part 16 (additionally part 1 with additional advert "Ripon & Burton's Furnishing Ironmongery"; part 7 lacking "immense Saving in the purchase of Tea"; part 8 lacking Mechi's catalogue; part 12 lacking "New and Popular Works by Tyas"; part 15 lacking "Mr Adolphus History of England"; Part 19/20 with 3 seal wafers present), plates occasionally browned or offset, part 15 front adverts loose, original pictorial wrappers, some repairs and restorations to spines and joints, some joints split or chipped, lightly soiled and chipped at edges, but very good generally, preserved in custom drop-back box (lightly faded), [Hatton & Cleaver, 131- 160], 8vo, Chapman & Hall, 1838-39.

Dickens (Charles) Great Expectations, "new edition in one volume", half-title, frontispiece, title with vignette illustration, bookplate of Frank O. Rowland to front pastedown, original cloth, spine gilt, spine faded, rubbed, some light bumping and slight fraying to spine tips and corners, but a very good copy generally, 8vo, Chapman and Hall, 1863.⁂ A rare edition that may constitute a second issue of the second edition, seemingly not recorded by Margaret Cardwell. The first one-volume edition was published in 1862, this edition appears largely similar to that except for the later date on the title and the lack of advertisements at the end.

Chess.- Damiano de Odemeira. [The Pleasaunt and wittie Playe of the Cheasts renewed], first edition in English, translated by James Rowbothum, printed in black letter, woodcut diagrams, lacking first and last gatherings (* and G, each 4ff.) and A1, title supplied in facsimile, some leaves in sig.B misbound, marginal damp-staining, inner margins repaired, modern calf, gilt spine with red morocco label, [STC 6214], 8vo, [Printed...by Roulande Hall, for James Rowbothum], 1562.⁂ The first work in English on the game of Chess. Extremely rare. ESTC locates 4 copies in British Isles and 6 in N. America. Rare Book Hub cites the last copy at auction in 1967 although there was also a complete copy in the Richard Ford sale at Phillips in 1985 (£2,500 hammer) but none other since that we know of.Included in this lot is a photocopy of an article in The Chess Collector, vol.IV no.2 on this work, its publishing history and rarity, by Michael Mark; and a EEBO editions softback facsimile of the work.Despite its faults, this is an important book and reflects the new promotion of the Queen to "the best piece on the chessboard... because that the game is seldome wonne, after that she is once lost." A7v

Quantity of 18th Century teawares, to include New Hall and a Victorian soup plate with armorial decoration (qty)

Items of Newhall blue and white 'Broseley' pattern porcelain, to include a cream jug, three tea cups and saucers, a coffee can and stand, a coffee can, saucer and side plate; Newhall blue and white 'Two Ducks' pattern porcelain, to include a trio, a tea cup, a coffee can and a cream jug; New Hall blue and white 'Man on a Bridge' pattern porcelain, to include a slop bowl, three coffee cups, three saucers and a tea bowl; a Newhall tea bowl and saucer and two tea bowls

OF GRAND TOUR INTEREST - A George IV amboyna, rosewood and rosewood marquetry table with an Italian early 19th century specimen marble and hardstone top The specimen top 1810-1820, the table 1820-1825 and possibly by William Atkinson The circular top with an overhanging lappet clasped moulded edge, inset with a circular marble slab comprised of a central malachite roundel encompassed by six concentric circles incorporating a total of one hundred and forty radiating segments of assorted marbles, hardstones and minerals, each segment within black marble tablet surrounds, the specimens apparently including: porphyry, porfido verde antico, jaune brocatello, rouge incarnat, Sicilian jasper, val d'aosta, pietra paesina, granito antico, lumachella, alabastro, rouge griotte, agate, onyx, portasanta, rouge languedoc, portoro, breccia taccagnina, petit antique, occhio di pavone and lapis lazuli, within a verde antico border, above a frieze inlaid with floral and foliate tendril inlay interspersed by six lappeted rosette applied block angles, three of the blocks with pendant lotus-leaf wrapped baluster shaped urn finials below, on three scrolled acanthus headed, acanthus wrapped and scrolled foliate carved monopodiae terminating in lion paw feet, the concave tripartite plinth base surmounted by a central stiff leaf clasped and knopped urn finial, each facade of the base inlaid with an ivy, honeysuckle and waved foliate tendril trail, terminating in three lotus leaf and scrolled honeysuckle carved scrolled corbel feet with recessed brass castors, approximate diameter of the inset specimen marble and hardstone top: 78cm; approximate diameter of the table top: 98cm; 75cm high approximately. Footnotes: Provenance The present lot was donated to the Tudor Lodge of Rifle Volunteers, No. 1838 by a former member of this Lodge, reputedly some time during the 1930s. The name of the donor who gifted the table to the lodge is not known, but it is believed that the member was a doctor or surgeon, who when moving house had no room to display it in his smaller residence. Since that time the table has remained as a display piece at the Tudor Lodge until only very recently. This Masonic Hall, which was established in 1879, is located in Wolverhampton, West Midlands (formerly Staffordshire). The lodge was consecrated in 1879 and its original members were officers in the local Wolverhampton militia tasked with maintaining lawful order within the area. The wonderful Italian early 19th century specimen marble and hardstone top which is inset into the offered table is of the exact same design as one which surmounted a Regency mahogany or padouk centre table sold in these rooms last year, Bonhams, New Bond Street, 29 November 2022, Fine Decorative Arts, lot 15. This is also the case with reference to the specimen marble slab forming the top of a rosewood centre table, dated circa 1820 and attributed to Gillows, which sold Christie's, London, 22 January 2009, Lord St. Helens and Sir William Fitzherbert, The Collections of a Diplomat and a Courtier, lot 550. Importantly each one of these three models incorporate a total of 141 different specimen segments organised in the exact same radiating pattern. During the early 19th century, a dealer called François de Sanctis, whose operation was based in Rome, was one of a number of retailers who sold colourful specimen table tops, just like the present model, to his largely 'Grand Tour' clients. One such top was evidently purchased from de Sanctis by R.W. Bland of Belfast. In 1826 this comparable was then exported from Leghorn. However, interestingly the documentation which accompanied this particular table top referenced the fact that it had in fact been made in Florence in 1817 and was inscribed: 'Pietre in Tavola Rotunda, Firenze'. It sold Christie's, New York, 29 January 1994, lot 305. Another closely related top is housed within the collection of what was formerly known as the London Geological Museum, but which has since been amalgamated with the Natural History Museum. This is very similar to the present example with a conforming lapis lazuli central medallion whilst a total of thirty-two of the different marble specimens therein have since been identified, one must assume by the Museum itself. A further Gillows table connected to the aforementioned Christie's models of this type, albeit one possibly commissioned by the Marquess of Zetland for St. Nicholas after he purchased the estate in 1813, sold from the collection of the late Lady Serena James, St. Nicholas, Richmond, Yorkshire, Christie's London, 16 May 2001, lot 260. A Regency brass inlaid brown oak centre table attributed to George Bullock (c.1777-1818), which has very closely comparable inlay to its top as appears on the offered lot, sold Christie's, London, 14 June 2001, Important English Furniture, lot 176. This specific inlay design also features on a teapoy possibly supplied to the Portuguese ambassador to London, Don Pedro de Souza e Holstein, 1st Duke of Palmella (d.1850), which sold Christie's, London, 6 July, lot 43. The pattern for the inlay on these related pieces, comprised of almost identical meandering English flowers and foliage to those on the present example, forms part of the collection known as the Wilkinson tracings. These tracings are the most important source relating to the output of George Bullock, and are housed at the City Museums and Art Gallery, Birmingham. They are compiled together in what is essentially a scrapbook comprising an assortment of engravings produced by Thomas Wilkinson either directly from or based upon designs by Bullock. This was evidently done in 1820 (which is the date of the inscription on its first page), and this is significant since it was two years after the latter's death, C. Wainwright et al, G. Bullock, Cabinet-Maker, 1988, London, pp.'s 13-14. Aside from the furniture made as part of the commissions undertaken at Tew, Cholmondeley, Blair Castle, Abbotsford, Scone and St. Helena, it is actually difficult to attribute any furniture directly to Bullock due to the limited archival evidence proving his involvement in other projects. This issue tends to be exacerbated by the fact that even only shortly after Bullock's death in 1818, a group of cabinet makers, furniture designers and architects, who were all influenced greatly by Bullock's output, appeared to establish themselves rapidly as his natural successors. These figures include Joseph Gandy, Richard Brown, George Morant,  the partnership of Banting and Son, and Richard Bridgens. There is a possibility that the above table might have been made by one of the last three figures or firms. However it seems possible, due to its fairly restrained design and prominent use of Wilkinson pattern inlays, to have been supplied either by Bullock's workshop (since it's recorded that this was still operating in the same capacity even a couple of years after his death), or it was instead executed by the cabinet maker William Atkinson. While Gandy and Brown were primarily architects, Bridgens tended to principally produce furniture in what he described as the 'Old English' style, which is often referred to as either 'Antiquarian' or somewhat disparagingly as 'Jacobethan revival'. For further information on this lot please visit Bonhams.com

[PILGRIM FATHERS THE]: WINSLOW EDWARD (1595-1655) English Separatist and New England political leader, one of the Pilgrim Fathers who travelled on the Mayflower in 1620. One of several senior leaders on the Mayflower, Winslow was a signatory of the Mayflower Compact, one of the most historic documents in American history. An extremely rare D.S., Edw: Winslow, one page, folio, Haberdashers' Hall, London, 17th March 1651. The manuscript document is issued by the Committee for Sequestration and Advancement of Money and relates to Oliver Saul of Penrice, Cornwall, and discharges him of an earlier assessment by which he was ordered to pay £200. Signed by Winslow at the foot and countersigned by several other commissioners including Richard Moore. With the original manuscript certificate signed and issued by Martyn Dallison, also dated 17th March 1651, neatly attached as a second page in the upper left corner with a small red wax seal. Autographs of any of the Pilgrim Fathers are of the utmost rarity and highly desirable. Some light staining and minor age wear to the edges, and with a small area of paper loss to the lower left edge and corner of the primary document. About VGProvenance: Previously with Roger Collicott Books and acquired by the English history collector David Stather (1940-2022) for his library.

TWAIN MARK: (1835-1910) Samuel Langhorne Clemens. American writer and humourist. A fine, long A.L.S., Samuel, eight pages, 8vo, 'Study' [Hartford, Connecticut], n.d. ('Tuesday. P.M.', October 1880), to his wife, Olivia. Twain commences his letter in German, stating that he arrived at 7.15pm and continuing to inform his wife of the preparations being made at their house, 'Georg hat alles gethan wie du hast es befordert. Die halle-Teppiche sind aufgehoben, die Thuren von das FrauenZimmer unde deine Schlaf-Zimmer sind geschlusselt, die Mobel sind.....weggenommen. O nein, Ich habe nicht die Warheit gesprochen: er hat nicht das Tuch vor das Sideboard fest genagelt. - Also - eferydings else ist all und ganz gut gemacht' (Translation: 'George did everything as you requested. The hall carpets are lifted, the doors of the women's room and your bedroom are locked, the furniture is……removed. Oh no, I wasn't telling the truth: he didn't nail the cloth in front of the sideboard - Also - eferydings else is all very well done'), completing the remainder of the letter in English, writing, in part, 'I found Mr. Beals hard at work in the rain, with his decorations. With a ladder he had strung flags around our bedroom balcony & thence around to the porte cochere, which was elaborately flagged - thence all the flags of all nations were suspended from a line which stretched past the green house to the limit of our ground. Against each of the two trees on the mound half-way down to our gate stands a knight in complete armour. Piles of still bundled flags clutter up the ombra (to be put up) also gaudy shields of various shapes (arms of this & other countries); also some huge glittering arches & things, done in gold & silver paper, containing mottoes in big letters. I broke Mr. Beal's heart by persistently & inflexibly annulling & forbidding the biggest & gorgeousest of the arches - it had on it, in all the fines of the rainbow, "The Home of Mark Twain" in letters as big as your head. O, we're going to be decorated sufficient, don't you worry about that, Madam. At least I infer so, from what I have seen of Mr. Beals's hand & what he holds in reserve. I don't know but he is really going to decorate us too much. However, I'm letting him go on…..But wasn't it lucky that I arrived in time to bust up that Mark Twain business? I'm in the study…..& I've got a cheerful wood fire & four gas burners going…..It would be perfect if you were here to help me enjoy it, sweetheart….I hope you are reading & not half as lonesome as you were expecting to be' and concluding by referring to an important principle in the play of the cards during Bridge, 'I've been puzzling over it, and - but you better ask Whitmore, because I want to be certain about it - is it always second hand low, even when you haven't got a high card? - & if you do, what do you infer from it? Or do you infer at all, in that case? It being your partners turn to infer, likely. I wish I had brought the book along; several of those things are not clear to me'. Twain signs off the letter in an affectionate manner, 'Acres of love to you, my best & dearest, & love also to the kids, including Jean', and in a postscript returns to the decoration of their home, 'P.S. I'm going to get Mr. Beals to change that to God Bless Our Home. He said he would have to have a new motto; so that will do first rate for a novelty. It is to go over the front gate'. A letter of excellent content providing a superb glimpse of Mark Twain in his intimacy. VGOlivia Langdon Clemens (1845-1904) Wife of Samuel Langhorne Clemens from 1870. Livy, as she was known, assisted her husband with the editing of his books, articles and lectures and Twain once wrote of her "I am as proud of her brain as her beauty". The couple had three daughters, including Jean who had been born in July 1880.The extensive decorations to their home which Twain makes reference to in the present letter were in preparation of the visit of former United States President Ulysses S. Grant (1822-1885) to Hartford on 16th October 1880. Grant was seeking the Republican presidential nomination for a third term and upon his train arriving in Hartford he found that 'the city was thronged with visitors…..and the streets were lined with decorations, not only along the line of march of the procession, but elsewhere'. Twain gave a welcoming address to Grant in which the writer declared 'Your country loves you. Your country is proud of you. Your country is grateful to you. Her applauses which have been thundering in your ears all these weeks and months, will never cease while the flag you saved continues to wave. Your country stands ready from this day forth to testify her measureless love and pride and gratitude toward you in every conceivable inexpensive way. Welcome to Hartford, great soldier, honoured statesman, unselfish citizen'. 

JAMES WATT INTEREST: A GEORGE III GOLD AND BLACK ENAMEL MOURNING RING FOR MATTHEW BOULTON LONDON 1809The gold coloured script running around the band stating Matw. Boulton Died at Soho 17 Aug. 1809 Aged 81, with milled and reeded borders, stamped with maker's mark J.P possibly for John Pottinger or John Pritchard Size/dimensions: finger size L 1/2Gross weight: 5.3 gramsProvenance: Sotheby's James Watts sale, 20 March 2003, lot 289 James Watt (1736-1819), the celebrated inventor, mechanical engineer and chemist, and Matthew Boulton (1728-1809) inventor and manufacturer, first met in person in 1768 after James Watt had previously gone to visit the Soho Works, Matthew Boulton's large scale manufacture factory which used both man and machines in the processes, Birmingham in 1767. Matthew Boulton was brought up in Birmingham and in 1759 took over his father's silver manufacturing business, and after marrying subsequent sisters he was able to use the dowry to establish the Soho works. They instantly recognised each other's intellectual prowess and Boulton recognised the great importance of Watt's stream engine with separate condenser, which was to become a great catalyst in the industrial revolution of the late 18th and first half of the 19th century. In the early 1770S Watts financier John Roebuck of the Carron Ironworks was sadly bankrupted, and so the door was open for Matthew Boulton to buy out Roebuck's interest and go into business with Watt in 1774. Despite their polar opposite attitudes to life, with Boulton being optimistic, outgoing and bold, and Watt being far more conservative and cautious in nature, and secretive with regards to his inventions, the partnership was a tremendous success and brought many revolutionising inventions and patents. The close tie and juxtapositions between the two great men can be seen in a sentence of a letter between James Watt Junior and Matthew Boulton, upon Watt Juniors' falling into debt and asking for help from Boulton rather than his father 'Never having been a young man himself he is unacquainted with the inevitable expenses which attend my time of life'. Another important facet to the lives of Watt and Boulton was their involvement as founding members of the Lunar Society (named due to the groups gathering on the first Monday of a new moon enabling them moonlight to ride home by), an assembly of some of the most brilliantly intellectual minds of the time, including and Josiah Wedgwood. Watt and Boulton both retired form their business in 1800, which continued with James Watt Junior and Matthew Robinson Boulton at the helm. The ring was hallmarked in London, which is ironic as Matthew Boulton was the driving force in the creation of an assay office in Birmingham and was also the first person to use the assay office when it opened in 1773 to assay silver, however Birmingham wasn't permitted to assay gold until 1824. The ring was written in the James Watt family inventory in 1851 as: Transferred to Doldowlod from Aston Hall, May 1849 as an heirloom;1851: Mr Watt's Room in Marquetry Double Chest, Doldowlod, page 36 Condition Report: Some light wear commensurate with age and use, no noticeable chips or repair to the enamelCondition Report Disclaimer

A pair of Noritake vases, 12.5cm high, c.1930; a New Hall tea bowl and saucer, tobacco leaf pattern, inspired by the Chinese export wares of the time, c.1790; oriental ‘gem tree’, (4).

A collection of late 18th century and later English ceramics, comprising two tea bowls and four saucers by New Hall, the saucers 13.5cm diameter, a blue and white transferware teacup and saucer, with heightened gilt, two porcelain plates with hand-painted floral design with gilt shaped rims, marked to the undersides, 22.5cm diameter, A J. Burn & Co. pearlware blue and white transferware plate, impressed mark to the underside, 25.5cm diameter and another pearlware blue and white plate by Mayer & Newbold c.1817-1833, the pattern Indian View of Charles Satoon , 25.5cm diameter (12)

A collection of Pop LPs and 7" Singles to include artists, Michael Jackson, Billy Joel, Kim Wilde, Bonnie Tyler, Natasha, Nena, Madonna, Hall & Oats, Joe Jackson, 5 Star, Bangles, Boris Gardiner, Kid Creole & The Coconuts, Kool & The Gang, Holly Knight, Mai Tai, Marilyn, New Edition, 'Til Tuesday, UB40, Maria Vidal, Wet Wet Wet, Mick Lowe and Malcolm McLaren. All conditions vary from Very Good Plus to Excellent with generally Very Good Plus to Excellent sleeves. (42)

EIGHT 18TH AND 19TH CENTURY ENGRAVING PRINTS, comprising two Joseph Wilson Lowry 'Perspective projection of the Northern Hemisphere on the plane of the horizon of London' and 'Perspective projection of the Southern Hemisphere on the plane of the horizon of London' published by Chapman and Hall 1852, two views of Somerset House on the Strand by W. Moss, 'The Royal Exchange of London' by R White published 1671, Robert West 'A perspective view of the Bank of England' published 1739, two views of the 'New Building for the University of Edinburgh' published 1791, some damage to frames

A collection of Art Deco New Hall Manley tea and dinner ware items to include tea cups, saucers, serving plate, side plates etc (1 tray)

Laurence Noga Soft Green Filtered Red 2/-, 2023 Acrylic, Vintage papers and collage on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About I am interested in peripheral associations and imperfect colour relationships interplayed through an industrial and geometric aesthetic. Personal themes and undercurrents and a sense of history comes from collective and individual memories. Many of the elements in my work are from my father's collection of objects and memorabilia in his garage - hundreds of tools, sheet music, packets, washers, menus, books and photographs. Their selection and use activates an open approach reliant on the environment and experimentation, alongside a human response to the mysterious, and forgotten items and their poetic sense of history. A long term interest in the "Bauhaus' particularly Moholy Nagy, Josef Albers and Paul Klee drives the unpredictability/predictability of the colour handling. These relationships aim to disorientate the viewer, as surface facture is used translucently, or with a sudden density. The colour is often disbursed, or used in compartments, to create a deliberate, and odd depth of field. Education Wimbledon College of Art in 1981 - 4, Byam Shaw (Central St Martins) 1990 -1. Select Exhibitions/Awards 2023 Die Wat Spaart Die Wat Heeft - Robert Drees Gallery Hanover The New Accelerator Ruskin Gallery Cambridge (Co - Curated project), A little Closer the Bindery Aleph Contemporary London. 2022 Strange Windows (the found and forgotten) Solo Show, Standpoint Gallery London, Small is Beautiful Flowers Gallery London, The aesthetics of enchantment in abstract art Aleph Contemporary The In and Out Club London, Tension Gallery Paste Table London, Saturation Point Projects Sunday Salon 21 Solo Show London. 2021Aleph Contemporary at Home House, April - September London. RA Summer show 2021, 'The poetics of obsolescence' with Aleph Contemporary London, Shape Chroma Tension Gallery 2021 London, Then and Now, Terrace Gallery, London, 2020: Covimetry an international exhibition of current trends in geometric art - BWA Gallery, Ostrowiec Swietokrzyski, Poland 4/12 - 31/12/20, Multilayer vision 20/20 curated by Juliane Rogge and Ivo Ringe - Raum Schroth, Museum Wilhelm Morgnet Soest. 11 /10 - 31/1/21. 2019 Possible Architectures Stephen Lawrence Gallery, University of Greenwich, London, Collision Drive 3 RMIT Gallery Melbourne Australia, Panel paintings 3 : Diptych, Eagle Gallery London, Playtime (2019) curated by Sharon Hall at Arthouse 1 London. 2018 John Moores Painting Prize Walker Art Gallery Liverpool Gallery Representation Aleph Contemporary London Statement about AOAP Submitted Artwork Layers of acrylic, collage, and found items, are combined in grids and pattern in a semi intuitive process. I am exploring a personal iconography and phenomenology and how that can be important within both memory and place: such as the look and feel of my mother's musty sheet music collection from her time as a jazz vocalist in clubs and dance bands, or the crumpled menus (some with hand written changes) from the Caprice restaurant that my father worked at for many years. The colour is built up through close colour tones in an intimate and personal way, through transparency and opacity allowing the surface of the paint to permeate structure.   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.    

Timothy Gatenby Untitled, 2023 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Tim Gatenby's popular culture parodies often combining classical with modern imagery to create humorous paintings. His work uses examines art histories' relationship with the Internet world we now inhabit. There is a twisted nostalgia to Gatenby's paintings. His work subverts not only through subject matter, but also through technique. Gatenby distorts familiar characters, typically drawn as brightly-coloured and crisp cartoons, by blurring lines between classical painting and modern imagery. As with a lot of appropriation art his work inherently says something about its time as it reflects collective imagery back onto society, reanalysing information in a sort of mirror. Often combining deconstructed cartoon characters with dark humour, his images reflect the pressures of consumerism and modern societal tendency towards over indulgence. Fast food is an ever present theme in Gatenby's work and is used as a vehicle to convey the easiness of modern life. The radical notion that never has becoming obese required less effort. Despite the darkness found in the various styles and themes explored in Gatenby's work, there are often playful, idiosyncratic moments that crop up, as if for his own amusement as much as the viewer's. A joke or pun can be found through a depicted object seen out of place, or an expectation subverted by an oddity, giving the work a comedic touch of the absurd to cleverly contrast the heaviness found elsewhere. Education He studied a BA in film at Queen Mary University before undertaking the rigorous atelier programme at Charles Cecil Studios, Florence. Select Exhibitions/Awards 2016 Affordable Art Fair, Northcote Gallery, Battersea, London Chelsea Art Society, Chelsea Town Hall, London The Many Faces of a Narcissist, St Mark's Church, Florence Technicians Make it Happen, Mall Galleries, London 2015 Affordable Art Fair, Northcote Gallery, Battersea, London Emerging Artists, Oil&Water Gallery, London Chelsea Art Society, Chelsea Town Hall, London New English Art Club, Mall Galleries, London Human Form, Oil&Water Gallery, London 2014 Sargent Today, Morgan, Fairford Emerging Artists. Oil & Water Gallery, London Broadway Arts Festival Competition, Little Buckland Gallery, Broadway   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.  

Laurence Noga Soft Grey Filtered Red (Ronnie Hilton), 2023 Acrylic, Vintage papers and collage on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About I am interested in peripheral associations and imperfect colour relationships interplayed through an industrial and geometric aesthetic. Personal themes and undercurrents and a sense of history comes from collective and individual memories. Many of the elements in my work are from my father's collection of objects and memorabilia in his garage - hundreds of tools, sheet music, packets, washers, menus, books and photographs. Their selection and use activates an open approach reliant on the environment and experimentation, alongside a human response to the mysterious, and forgotten items and their poetic sense of history. A long term interest in the "Bauhaus' particularly Moholy Nagy, Josef Albers and Paul Klee drives the unpredictability/predictability of the colour handling. These relationships aim to disorientate the viewer, as surface facture is used translucently, or with a sudden density. The colour is often disbursed, or used in compartments, to create a deliberate, and odd depth of field. Education Wimbledon College of Art in 1981 - 4, Byam Shaw (Central St Martins) 1990 -1. Select Exhibitions/Awards 2023 Die Wat Spaart Die Wat Heeft - Robert Drees Gallery Hanover The New Accelerator Ruskin Gallery Cambridge (Co - Curated project), A little Closer the Bindery Aleph Contemporary London. 2022 Strange Windows (the found and forgotten) Solo Show, Standpoint Gallery London, Small is Beautiful Flowers Gallery London, The aesthetics of enchantment in abstract art Aleph Contemporary The In and Out Club London, Tension Gallery Paste Table London, Saturation Point Projects Sunday Salon 21 Solo Show London. 2021Aleph Contemporary at Home House, April - September London. RA Summer show 2021, 'The poetics of obsolescence' with Aleph Contemporary London, Shape Chroma Tension Gallery 2021 London, Then and Now, Terrace Gallery, London, 2020: Covimetry an international exhibition of current trends in geometric art - BWA Gallery, Ostrowiec Swietokrzyski, Poland 4/12 - 31/12/20, Multilayer vision 20/20 curated by Juliane Rogge and Ivo Ringe - Raum Schroth, Museum Wilhelm Morgnet Soest. 11 /10 - 31/1/21. 2019 Possible Architectures Stephen Lawrence Gallery, University of Greenwich, London, Collision Drive 3 RMIT Gallery Melbourne Australia, Panel paintings 3 : Diptych, Eagle Gallery London, Playtime (2019) curated by Sharon Hall at Arthouse 1 London. 2018 John Moores Painting Prize Walker Art Gallery Liverpool Gallery Representation Aleph Contemporary London Statement about AOAP Submitted Artwork Layers of acrylic, collage, and found items, are combined in grids and pattern in a semi intuitive process. I am exploring a personal iconography and phenomenology and how that can be important within both memory and place: such as the look and feel of my mother's musty sheet music collection from her time as a jazz vocalist in clubs and dance bands, or the crumpled menus (some with hand written changes) from the Caprice restaurant that my father worked at for many years. The colour is built up through close colour tones in an intimate and personal way, through transparency and opacity allowing the surface of the paint to permeate structure.   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.  

Susan Ryder The Gothic Window, 2023 Pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About My father was an amateur painter, so I borrowed his oil paints from the age of 13. He was my greatest influence with his love of the Impressionists and then I discovered Vermeer and Vuillard through my inspirational art school teacher Bernard Dunstan RA. I was elected a member of the New English Art Club and the Royal Society of Portrait Painters. I was Vice President of The RP from 2002 to 2008. I have been commissioned to paint a wide range of people, most notably in 1981, commissioned by the then Prince of Wales, H.R.H. The Princess of Wales in her wedding dress and in 1997, H.M.The Queen, to celebrate the Royal Automobile Club's Centenary. Although, as you can see from this site, most of my portraits are of less well known people. My Interiors are mostly sold at exhibitions - either with the New English Art Club or through other galleries and dealers. My London gallery is Panter and Hall where I hold solo exhibitions every four years - "Lamplight and Flowers" in 2016, "Looking Through" in 2020 and my next solo exhibition will be in 2024. Education 1960-1964: Byam Shaw School of Painting in London   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.  

* JOYCE W CAIRNS PPRSA DEd (hc) HRA (2018-2022) HRHA HRWA HRBA RSW MA (RCA) (SCOTTISH b. 1947), HOMESICK watercolour on paper, signed and dated 1975framed and under glassimage size 49cm x 69cm, overall size 59cm x 79cm Provenance: authenticated by the artist (02.05.23) and although untitled, Ms Cairns suggested "Homesick" as at the time (1975) she was in London and missing her homeland. This is a rare early work by one of Scotland's most significant and critically acclaimed artists of her generation.Note: In 2018 Joyce W Cairns was elected the first woman President of The Royal Scottish Academy in its 192 year history. Given the extraordinary talent of many Scottish women artists both past and present, this honour reflects the high esteem of the Royal Academicians who elected her and her status as one of the most important and respected artists of her time. Note 2: Joyce W Cairns was born and brought up in Edinburgh. She studied painting at Grays School of Art, Aberdeen from 1966 -71 and The Royal College of Art, London 1971 -74. She was awarded a Fellowship at Gloucester College of Art and Design 1974-75 returning to London where she did the Art Teacher’s Certificate Course at Goldsmiths College, University of London 1975-76. In 1976 she returned to Aberdeen where she taught Drawing and Painting at Grays School of Art until 2004 when she took early retirement to complete the vast body of work which culminated in ‘War Tourist’. It was exhibited for 3 months in 2006 at Aberdeen Art Gallery, attracting nearly 30,000 visitors. Her work is mainly autobiographical based on past memories intertwined with present experiences, woven around the backcloth of the once fishing village of Footdee at the mouth of Aberdeen harbour where she has lived for the past 33 years. ‘War Tourist’ was based on her Father’s war backed up by extensive research following in his footsteps through Europe and Tunisia. She now paints in Dundee working in a house and garden overlooking the Tay which will add a further dimension to her work but still retains a residence in Footdee. Cairns has won many awards and is featured in many publications and in the wider media. Cairns’ work has been exhibited in serious group exhibitions since 1970, as well as having numerous celebrated solo exhibitions in Scotland, London and Canada. Her work is held in numerous public collections including Aberdeen Art Gallery, The Scottish Arts Council, BBC Television, Edinburgh City Arts Centre, Fife Regional Council, Fleming’s Bank, Glasgow City Art Gallery & Museum, Glasgow Gallery of Modern Art, Grampian Television, Graves Art Gallery & Museum, Sheffield, Gray’s School of Art, Aberdeen, Lanarkshire County Council, Manchester City Art Gallery, McMaster Museum, Hamilton, Ontario, Mobil, Perth City Art Gallery & Museum, Shell UK, Tidaholm Government Office, Sweden, The Contemporary Arts Society, The Royal Scottish Academy, University of Aberdeen, University of Strathclyde, Unilever, Aberdeen Asset Management, The National Museums of Scotland, The Robert Gordon University, Aberdeen Asset Management,Asia, Singapore, The British Museum, The Victor Murphy Trust, Pier Arts Centre, Inverness Museum and Art Gallery, The Maritime Museum, Irvin, New Hall Art Collection, Cambridge, The National Galleries of Scotland. Further biographical information at: www.joycecairns.co.uk