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Three Music posters.- including Zodiac Midwarp and the Love Reaction, for a concert held at Riley Smith Hall, Leeds University Union, 1987, rolled, 95.5 x 101cm; New York Dolls, rolled, 83.7 x 59.3cm; Iggy Pop, Now I Wanna be your Dog, rolled, 72.5 x 57cm. (3)Condition Report: Zodiac Midwarp and the Love Reaction - overall creasing, a clean edge tear to centre of right hand edge, a few small chips to edges, some blue tack residue to verso.New York Dolls - light creasing and a few small chips to some edges, overall good condition.Now I Wanna be your Dog - a few light creases and marks, overall good condition.

Postcards - mainly Edwardian, including high street Sutton, 1907, 1908 and 1909, the Booth Hall infirmary, Blackley; advertising including Scarborough kippers, street scenes, the new cattle market at Wellingborough, Grenville's hosiery, shirt, glove and athletic warehouse, Bull Street, Birmingham, shipping including SS Scarborough, comical, railway interest, naval submarine, portraits including military, etc (qty)

Collection of ceramicscomprising of: a Lambeth of London delftware dish in the 'Ann Gomm' style pattern, 26cm across, a New Hall cabinet plate with floral decoration, 22cm across, a Chinese export mug or cup, with floral swag decoration, 6cm high, a 19th Century jug with floral design, 14cm high and a tin glazed lidded tankard with pewter mounts, 17cm high approx overallAll with overall wear, scratches, crazing and marks. Some have been written on with permanent marker. Delftware plate with Firing faults, possible restoration. Chinese export piece with firing faults. Jug is restored. The lidded tankard with faults and cracks.

Fullt title: A very large Chinese gilt-lacquered wood figure of Weituo, 17th C.Description: H.: 145 cm Ref.:- Sotheby's, New York, Sept. 17, 2014, lot 441, for another large Weituo figure. (sold USD 52.500) (external link available on rm-auctions.com)- Sotheby's, New York, March 15, 2017, lot 541, for another large Weituo figure. (sold USD 137.500) (external link available on rm-auctions.com) Weituo appears in Buddhist temples as the 'Entry Guardian.' He leads the thirty-two heavenly generals who come under the Four Heavenly Kings and has earned such titles as the 'Protector of the Buddhist Faith,' the 'Protector of Monasteries,' and the 'Protector of Dharma Books.' In all temples where his image is found, he is always placed with his back to the statue of Maitreya Buddha so that he faces the Main or Grand Hall where the principal deities of the temple are enshrined.

A group of English pottery and porcelain, circa 1800 and later. Including: New Hall printed blue and white teawares, a Spode Stone China two-handled small tureen cover and stand, a Coalport floral moulded plate painted with bouquets and other items and two items of Studio style glazed stoneware (damages)

A selection of 18th Century and later teacups and saucers, many New Hall, or in the style of, various patterns.

A selection of 18th Century and later teacups and saucers, many New Hall, or in the style of, various patterns.

Two boxes of collectables to include New Hall biscuit barrel and small wall barometer, Cottage sculpture and dog figures etc

Pair: Private A. Mann, 15th Battalion, Canadian Infantry British War and Victory Medals (193466 Pte. A. Mann. 15-Can. Inf.) very fine Pair: Private W. D. Hall, 21st Battalion, Canadian Infantry British War and Victory Medals (171108 Pte. W. D. Hall. 21-Can. Inf.) very fine Pair: Acting Lance-Sergeant W. Sargent, 26th Battalion, Canadian Infantry British War and Victory Medals (79139 A/L/Sgt. W. Sargent. 26th. Can. Inf.) somewhat later issues, very fine Pair: Private A. Newman, New Zealand Expeditionary Force British War and Victory Medals (36661 Pte. A. Newman. N.Z.E.F.) very fine (8) £120-£160 --- Sold with copied service papers.

* Yorkshire. Tomlinson (G. D.), To the Rt. Revd. Charles Thomas Longley, Lord Bishop of Ripon, This view of Huddersfield is by permission most respectfully dedicated..., Day & Son, circa 1840, uncoloured lithograph, slight marginal creasing and water staining, 310 x 430 mm, together with Le Keux (J.). The Prospect of Leeds from the Knostrop Road, Robinson & Son, Leeds, 1815, hand-coloured engraving, some marginal spotting and mount staining, some fraying to lower margin with partial loss to the publishing legend, 245 x 395 mm, mounted, with Smith (J. R.). Crown Street Halifax, Looking West..., Stott Brothers, Halifax, 1888, hand-coloured lithograph, slight spotting and mount staining, 365 x 365 mm, plus Illustrated London News (publisher). The New Town Hall Leeds, Cuthbert Brodrick, Architect, Sept. 11th 1858, chromolithograph slight marginal spotting, upper margin with some marginal fraying and repaired closed tears but not affecting image, 350 x 450 mmQTY: (4)

Hawkins (Sir John). The Life of Samuel Johnson, LL. D., 1st separate edition, London: printed for J. Buckland..., 1787, bookplate of Sir Walter Rawlinson, Stow Hall, Suffolk to verso of title page, light water stain to first few leaves, and some light spotting elsewhere, contemporary calf, worn with covers detached, 8vo, together with The Lives of the Most Eminent English Poets. With critical observations on their works, 3 volumes, new edition, corrected, London: Printed by J. Nicholls & Son, 1810, engraved portrait frontispiece to first volume, occasional light spotting, contemporary black half morocco, some wear to joints and spines scuffed, 8vo, plus Richardson (Samuel). Pamela; or Virtue Rewarded. In a series of familiar letters from a beautiful young damsel, to her parents..., 4 volumes, 10th edition, London: Printed for W. Strahan.., 1771, contemporary uniform full calf, gilt decorated spines with morocco labels, rubbed and minor wear, small 8vo, and Jonson (Ben). The Works of Ben. Jonson, 6 volumes, London: 1756, engraved frontispieces and 6 engraved plates, 19th-century bookplate of Hugh F. Marriott, contemporary uniform full calf, gilt spines with morocco labels rubbed and some marks, 8voQTY: (14)

Bible [English]. The Imperial Family Bible containing the Old & New Testaments, London: Blackie and Son, 1845, engraved frontispiece, additional title and plates, occasional scattered spotting, front free endpaper inscribed 'George and Alicia Maria Lloyd, Stockton Hall. From their affectionate children Yarburgh and Editha C. Lloyd - October 1856. This Bible was given to me as a memorial of my parents after the death of my dear mother in Jany. 1867. Geo. John Yarburgh', all edges gilt, contemporary gilt decorated morocco, joints rubbed and some wear, folio, together with:Scott (Walter), The Lady of the Lake, a poem, 2nd edition, London: John Ballantyne and Co., 1810, etched portrait frontispiece, half-title & 6 plates, some light toning & spotting throughout, contemporary gilt decorated full calf, boards detached, slightly rubbed with some minor loss, 8vo, plusMaxwell (Herbert), The Story of teh Tweed, London: James Nisbet and Company, 1905, illustrations by D. Y. Cameron, some minor spotting & toning, top edge gilt, original ilt decorated green cloth, spine & boards slightly faded & rubbed to head & foot, folio, limited edition un-numbered of 375, and other miscellaneous 19th-century literature, mostly leather bindings, G, 8vo/folio QTY: (2 cartons)

Muybridge (Eadweard). The Human Figure in Motion, 7th impression, London: Chapman & Hall, 1931, numerous monochrome illustrations, period inscription to the front endpaper, some light marginal toning, original red cloth, boards slightly rubbed & marked, spine faded & rubbed to head & foot, oblong 4to, together with:Di Grappa (Carol), Fashion:Theory, 1st edition, New York: Lustrum Press, 1980, numerous monochrome illustrations, some minor toning & marks, original cloth in dust jacket, covers slightly toned & rubbed, large 8vo, plusNewby (Eric), What the Traveller Saw, 1st edition, London: Collins, 1989, numerous monochrome illustrations, period inscription to the front endpaper, some minor marginal toning, original cloth in dust jacket, covers lightly toned & rubbed to head & foot, 4to, and other modern photography reference, including Silver and Grey, fifty years of Australian photography 1900-1950, edited by Gael Newton et al, London: Angus & Robertson, 1980, original cloth in dust jacket, large 8vo, some original cloth in dust jackets, some paperbacks, G/VG, 8vo/4to70 volumesQTY: (3 shelves )

Vinyl Records – 7" Singles – various artists and genres including Ice Cube – AmeriKKKa's Most Wanted – 4th & Broadway – BRW 192 (a/f); Naughty By Nature – O.P.P. / Wickedest Man Alive – Big Life – BLR62; Black Abbots – She Looked My Way, demo disc – Chapter 1 – CH123; Elvis Presley – Le Cavalier Du Crépusculte (Love Me Tender) – RCA – 75 364; Jimmy Radcliffe – Long After Tonight Is All Over – DJM Records – DJS 10772; The Pogues – Fairytale Of New York - Pogue Mahone Records – NY 7; Dennis Clancy – The Road Bridge To Bonnie Dundee – Thistle Records – TM 88; Various – Les Vieilles Chansons De France N°1 – Pathé – A 10 701; Todd Rundgren – Hello It's Me – Bearsville – K 15513; Max Romeo – Wet Dream – Unity - UN-503; Todd Rundgren – A Dream Goes On Forever – Bearsville – K 15515; Steely Dan – My Old School – Probe – PRO 606; The Kinks – You Really Got Me, picture disc – PRT – KPD 1; Μ. Χριστόπουλος, Θ. Σοφός – Αναγκάστηκα / Δεν Γιατρεύεται Ο Πόνος – Columbia – SCDG 4107; Rolling Stones – Honky Tonk Women / Sympathy For The Devil – Decca – F 13635; Iron Maiden – Can I Play With Madness, white labels – EMI – EM 49; Billy Bragg – Greetings To The New Brunette – Go! Discs – GOD 15; Lonnie Donegan – World Cup Willie – Pye Records – 7N 15993; Tony Clarke – Landslide / The Entertainer – Chess – 6145 030; The Realistics – Someone Oughta Write A Song About You, promo – Epic – S EPC 5156; The Tubes – Prime Time, white vinyl – A&M Records – AMS 7423; Ten Years After – Portable People – Deram – DM 176; Squeeze – Slap & Tickle, in red vinyl – A&M Records - AMS 7466; Genesis – Twilight Alehouse, flexidisc – Charisma; LL Cool J – Change Your Ways flexi disc, HHC Magazine; others artists including Madonna, Diana Ross, The Four Seasons, The Eurythmics, Soft Cell, Kate Bush, Rod Stewart, The Tourists, David Bowie, Big Country, Eric Clapton, Todd Rundgren, Roxy Music, U2, China Crisis, Hall & Oates, Judge Dread, Whitesnake, Nazareth, Marillion, Europe, Status Quo, T'Pau, Orchestral Manoeuvres In The Dark, Bananarama, Spandau Ballet, A-Ha, Simple Minds, Alison Moyet, Terence Trent D'Arby, The Police, ELO, Duran Duran, Depeche Mode, Atomic Rooster, Queen, Bread, Abba, Robert Palmer, Blondie, The Communards, XTC, Nik Kershaw, Eddi Reader, Ian Dury and The Blockheads, The Steve Miller Band, The Beatles, Elvis Costello & The Attractions, Glen Campbell, Twisted Sister, Elvis Presley, The Shadows, The Police, Cream, Jefferson Starship, Genesis, Lindisfarne, Swing Out Sister, The Who, Mungo Jerry, Roger Daltrey, The Beat, Pink Floyd, Alan Parsons, Kate Bush, Jellyfish, etc (large quantity in two boxes)

Vinyl Records – LP's – Jazz – a large collection of Jazz LP's – various styles, swing, cool jazz, post bop, vocal, contemporary, bossa nova, smooth, gypsy, big band, rock, etc, including Joe Pass – Virtuoso – Pablo Records – 2310 708; Hank Garland – Jazz Winds From A New Direction – Columbia Special Products – JCS 8372; Bill Evans.Jim Hall – Undercurrent – Memoir – MOIR 504; Johnny Pisano* And Billy Bean – Makin' It - Guitar Duets – Brunswick – LAT.8272; Barney Kessel – Kessel's Kit – RCA Victor – SF8098; The New Johnny Smith Quartet – The New Johnny Smith Quartet – Vogue Records – LAE 12202; Herb Ellis – Nothing But The Blues – Columbia – 33CX 10139; Chico Hamilton – The Best Of – Impulse! – MIPL 517; Johnny Smith – Plays Jimmy Van Heusen – Vogue Records – LAE 12169; Paul Desmond – "First Place Again" Playboy – Warner Bros. Records – WM 4020; Joe Pass/Tommy Gumina Trio – Sound Project – Polytone Productions – 1600 101; Barney Kessel – Some Like It Hot – Contemporary Records – LAC 12206; Crusaders – Ongaku Kai, Live In Japan – Crusaders Records – CRP-16002; Grover Washington, Jr. – Winelight – Elektra – K 52 262; Django Reinhardt – Django – His Masters Voice – CLP 1249; Stan Getz And J.J. Johnson – At The Opera House – Columbia – 33CX 10127; Hampton Hawes Quartet – All Night Session Vol. 1 – Contemporary Records – LAC.12161; Frank Evans – Soirée – Blue Bag – BB102; The Hampton Hawes Quartet – All Night Session! Vol. 2 – Contemporary Records – LAC.12162; Billie Holiday – The Voice Of Jazz, Volume One – Verve Records – 2304 104; Billie Holiday – The Voice Of Jazz, Volume Two – Verve Records – 2304 109; Kenny Burrell – Cool Cookin' – Checker – 6467 310; Barry Galbraith – Guitar Improv – Weybridge Productions Inc. – 0903; Barry Galbraith – Guitar Comping – Weybridge Productions Inc. – 0902; John Graas – Jazz-Lab-1 – Brunswick – LAT 8145; Dizzy Gillespie – World Statesman – Columbia – 33CX 10077; Barney Kessel – Vol. 3, To Swing Or Not To Swing – Contemporary Records – LAC 12058; Billie Holiday – The Voice Of Jazz Volume Three – Verve Records – 2304 113; Billie Holiday – The Voice Of Jazz, Volume Five – Verve Records – 2304 115; Roy Eldridge And His Orchestra – Little Jazz - Big Band, in red vinyl – Sounds Of Swing – LP-108; others, including Wilton Felder, 4 Freshmen, Erroll Garner, Lena Horne, Eric Gale, Brubeck, Count Basie, Acker Bilk, Chris Barber, Luis Russell, Artie Shaw and his Orchestra, Lu Watters' Yerba Buena Jazz Band, Stanley Clarke, George Duke, Bill Coleman, Jamey Aebersold, Buddy Greco and Strings, The Ragtimers, Stanley Jordan, Chico Hamilton Quintet, Herb Ellis/Joe Pass, Gene Krupa, Stan Kenton, Mahavishnu John McLaughlin, Cleo Laine, Branford Marsalis, Scott Joplin, Pete Rugolo and his Orchestra with The Rugolettes, Julie London, Dave Pell, Billy Eckstine, Terry Smith with the Tony Lee Trio, George Shearing, The Original Dixieland Jazz Band, Kenny Ball, Spyro Gyra, Julian Bream and John Williams, Emile Ford, Barney Kessel, Johnny Smith, The Dave Brubeck Quartet, Benny Goodman, Chris Barber, Frank Evans, compilations, etc (2 boxes)

THREE VICTORIAN STAFFORDSHIRE POTTERY PORTRAIT FIGURES AND A SIMILAR JAR AND COVER, the figures comprising a pair titled 'PR OF WALES' and 'PR ALFRED', modelled as wearing military dress and standing by chairs, heights 27cm and 26cm, a family group of Queen Victoria and Prince Albert with Princess Victoria as a baby, height 20cm and a Victorian Staffordshire pottery jar and cover modelled as a queen wearing crown and robes, bears label to the base 'NEW HALL EX.COLLECTION OF SIR ALFRED OWEN', height 20cm (4) (Condition Report: Wales has paint loss and some crazing, Alfred has minor paint loss and a glaze scuff to the jacket, family group has some crazing and light staining, a few patches of paint loss, firing crack around Albert's neck, fine crack to the front of the base, the jar has crazing and staining)

Glamping and Cookery Experience for 2 Kenton Hall Estate is set in the heart of the Suffolk countryside and boasts a wonderful glamping site, wedding venue and cookery school. Kenton Hall Estate is delighted to offer 1 night glamping and a cookery experience for 2 in our state-of-the-art cookery school. Enjoy a night under the stars and have a wonderful ‘date night’ experience learning new skills in the kitchen! https://www.kentonhallestate.co.uk/

An Evening of Wildlife Photography Voucher for one valid for six months. Subject to availability.  The Bawdsey Hall Wildlife Photography Hides which was featured on BBC Winter Watch with Michaela Strachan, provides you with a unique and unmatched view into the heart of Suffolk wildlife from purpose-built hides. Designed specifically for wildlife photographers and enthusiasts, The Bawdsey Hall Wildlife Photography Experience offers magical new perspectives and brings you closer to the action than ever before.   https://bawdseyhallwildlifephotographyhides.co.uk/experiences-1   

The Mystery Of Edwin Drood, By Charles Dickens, With Illustrations. London: Chapman & Hall, 193, Piccadilly, Advertisements to be sent to the Publishers, and Adams & Francis, 59, Fleet Street, E.C. [The right of Translation is reserved.] on the front cover, in the original green wrappers and in the original six monthly parts, house in a maroon slipcase, and based on Eckel and Hatton and Cleaver, this is a first edition, first issue set. This was Dickens’ last novel. He began writing Edwin Drood in August, 1869 and toiled to get it done, and after he had finished six parts, he died on June 9, 1870, and it became one of the best unfinished mystery stories ever told. The story is named after Edwin Drood, although the text largely focuses on his uncle John Jasper, an opium addict and choir master who is romantically interested in his nephew’s fiancee. In the story, Edwin disappears under mysterious circumstances, and due to Dickens’ premature death, the mystery is never resolved - readers never found out what happened to Edwin Drood after he disappeared. The cover design and the vignette title page were done by Charles Collins, brother of the famous novelist Wilkie Collins; Charles Collins was also the son-in-law of Charles Dickens. Collins married Dickens’ daughter, Kate, but bowed out of doing more designs due to ill health. Dickens then turned to Luke Fildes to illustrate the monthly parts. Fildes produced twelve illustrations before Dickens died. The engraved portrait of Dickens in the last part was done by J.H.Baker, and along with the vignette title page, there are a total of fourteen engraved plates in the six monthly parts. The first number came out April, 1870 and the last September, 1870, and each part was priced at one shilling, until Dickens died and the last part was sold for eighteen pence. There are several points of issue - details - that make this a first edition, first issue. It has the all-important “eighteenpence” slip pasted over the original one shilling price on the front wrapper of No. VI; this is the earliest issue of Part VI - later states are printed with the corrected price - and it cannot be a first issue without this slip at the top of No. VI. The “Edwin Drood Advertiser” is present in each part. There are numerous uncut pages in each part - uncut pages are usually a sign of an early printing - and all the slips and ads in the six parts, including remnants of the Cork Hat ad at the rear of No. II, are present, as called for by Hatton and Cleaver. All the plates are present and very clean in each part, as well. Part VI also has a four-page ad for Willcox & Gibbs titled “A New World At Home For Busy People” rather than a four-page Willcox & Gibbs ad titled “Concerning Stitches”, and Hatton and Cleaver make it clear that either four-page ad is okay in the first issue - “The above two insets are seen alternatively in copies of this part, and in about equal proportions” - so either ad will be acceptable to make this a first edition, first issue set. (See Hatton and Cleaver, page 383. Hatton and Cleaver number the two ads 1A and 1 respectively.) No. I has 36 pages of ads in the front, page 28 is missing part of the 8 in “28” (a printing error), there is a yellow two-page ad for Dr. De Jongh’s Light-Brown Cod Liver Oil, a four-page ad for the Scottish Widows’ Funds Life Assurance Society, four pages of ads for Cassell’s Books, eight pages of ads on yellow paper for Chapman & Hall’s books, and an uncut two-page colored ad for Henry Brett Distillers & Wine Merchants at the rear, and light soiling and wear on the front cover. No. II has 20 pages of ads in the front, with an imperfect 2 on page 2 and an imperfect 6 on page 6 of the front ads, as well as uncut pages in the front, there are four pages of ads for the Willcox & Gibbs Sewing Machine Co. after the text, and remnants of the Cork Hat ad sit between the last page of ads for the Willcox & Gibbs Sewing Machine Co. and the John Brogden ads on the inside of the green wrappers at the rear, with a thin chip at the bottom of the spine. No. III has 20 pages of ads preceding the two plates in front, uncut pages in the text, a yellow two-page ad for Dr. De Jongh’s Light-Brown Cod Liver Oil, a yellow slip for All The Year Round, eight pages of ads for Chapman And Hall’s Recent Publications, four yellow pages of ads for Chapman & Co’s Entire Wheat Flour, and four pages of ads for Cassell’s Books, including a re-issue of the Dore Don Quixote illustration at the rear, with light wear at the bottom of the spine. No. IV has 24 pages of ads preceding the two plates in front, uncut pages in the text, with four pages of ads for Willcox & Gibbs Sewing Machines, four pages of ads in blue for the Scottish Widows’ Funds Life Assurance Society, eight pages of ads for Chapman & Hall’s Recent Publications (including uncut pages), and a full leaf for Chapman Co’s Entire Wheat Flour at the rear. No. V has 20 pages of ads in the front, the two regular plates followed by the text, which has numerous uncut pages, and a two-sided leaf for Land And Water followed by a four-page ad in yellow for Chapman Co’s Entire Wheat Flour at the rear, and page 152 has a one-inch horizontal tear in the margin, which does not affect the text. No. VI has 18 pages of ads in the front, an engraved portrait of Charles Dickens followed by an engraving of a cathedral after the ads in front, with a tissue guard in between, followed by the two regular plates titled “Up The River” and “Sleeping It Off”, with a tissue guard in between these two plates, uncut pages of text, four uncut pages of Contents followed by an Illustrations page and two uncut pages for Dickens books, and an ad for Willcox & Gibbs Sewing Machines and four yellow pages of ads for Chapman & Co’s Entire Wheat Flour at the rear. All the parts have tissue guards between the plates except No. II, there are some light tears or creases here and there, and the original wrappers and pages are completely unrestored - no repairs whatsoever. The maroon slipcase measures 9 1/8 x 6 3/8 in. wide and has five raised bands, six compartments and gilt lettering on the spine, and the date in gilt at the heel of the spine; the gilt lion couchant (a lion laying down) with a star-like cross in one paw (a patoncy) and the initials “C.D.” appear in a gilt ring on the cover of the slipcase, and the wrappers are 8 Vo. and measure 8 7/8 x 5 11/16 in. wide., very light soiling and light wear on the covers, and light soiling and modest wear on the spines. A scarce first edition, first issue set of Edwin Drood in the monthly parts, in a beautiful slipcase, with all the ads and points of issue called for by Eckel and Hatton and Cleaver. See The First Editions Of Charles Dickens, Their Points and Values, John C. Eckel 1932 and A Bibliography of the Periodical Works of Charles Dickens: Bibliographical, Analytical & Statistical, by Thomas Hatton and Arthur Cleaver 1933, reprinted by Martino Publishing 1999.

This is the second of two sets of The Mystery of Edwin Drood that are in the auction; it is housed in a green custom slipcase, to distinguish itself from the other set that is housed in a a maroon slipcase. The Mystery Of Edwin Drood, By Charles Dickens, With Illustrations. London: Chapman & Hall, 193, Piccadilly, Advertisements to be sent to the Publishers, and Adams & Francis, 59, Fleet Street, E.C. [The right of Translation is reserved.] on the front cover, in the original green wrappers and in the original six monthly parts, and we believe this is a first edition, second issue set. This was Dickens’ last novel. He began writing Edwin Drood in August, 1869 and toiled to get it done, and after he had finished six parts, he died on June 9, 1870, and it became one of the best unfinished mystery stories ever told. The story is named after Edwin Drood, although the text largely focuses on his uncle John Jasper, an opium addict and choir master who is romantically interested in his nephew’s fiancee. In the story, Drood disappears under mysterious circumstances, and due to Dickens’ premature death, the mystery is never resolved - readers never found out what happened to Edwin Drood after he disappeared. The cover design and the vignette title page were done by Charles Collins, brother of the famous novelist Wilkie Collins; Charles Collins was also the son-in-law of Charles Dickens. Collins married Dickens’ daughter, Kate, but bowed out of doing more designs due to ill health. Dickens then turned to Luke Fildes to illustrate the monthly parts. Fildes produced twelve illustrations before Dickens died. The engraved portrait of Dickens in the last part was done by J.H.Baker, and along with the vignette title page, there are a total of fourteen engraved plates in the six monthly parts. The first number was dated April, 1870, and the last September, 1870, and each part was priced at one shilling, until Dickens died and the last part was sold for eighteen pence. There are several points of issue - details - that probably make this a first edition, second issue. It has the all-important “eighteenpence” slip pasted over the original one shilling price on the front wrapper of No. VI; this is the earliest issue of Part 6 - later states are printed with the corrected price - and it cannot be a first edition without this slip at the top of Part 6. The “Edwin Drood Advertiser” is present in each part. There are some uncut pages in No. I - uncut pages are usually a sign of an early printing - and all the ads are present in the six parts. except for the Cork Hat ad in No. II. No. I has 36 pages of ads in the front, no tissue guard between the two plates after the ads, page 28 is missing part of the 8 in “28” (a printing error), there is a yellow two-page ad for Dr. De Jongh’s Light-Brown Cod Liver Oil, a four-page ad for the Scottish Widows’ Funds Life Assurance Society, four pages of ads for Cassell’s Books, eight pages of ads on yellow paper for Chapman & Hall’s books, and an uncut two-page colored ad for Henry Brett Distillers & Wine Merchants at the rear, with soiling and wear on the front cover and some creases at the lower tips on a few pages of text. For No. II, the owner’s name is inscribed in the margin at the top of the front cover, there are 20 pages of ads in the front, there is an imperfect 2 on page 2 of the front ads, four pages of ads for the Willcox & Gibbs Sewing Machine Co. after the text, the Cork Hat ad is lacking, and there is some browning or spots on the fore-edge on some of the pages and the back cover. No. III has 20 pages of ads preceding the two plates in front, no uncut pages, a yellow two-page ad for Dr. De Jongh’s Light-Brown Cod Liver Oil, a yellow slip for All The Year Round, eight pages of ads for Chapman And Hall’s Recent Publications, four yellow pages of ads for Chapman & Co’s Entire Wheat Flour, and four pages of ads for Cassell’s Books, including a re-issue of the Dore Don Quixote illustration at the rear, with light wear at the edges and two tips. No. IV has a new yellow two-page ad for John F. Dunn (Hatton and Cleaver don’t mention this ad), followed by 24 pages of ads preceding the two plates in front, no uncut pages in the text, with four pages of ads for Willcox & Gibbs Sewing Machines, four pages of ads in blue for the Scottish Widows’ Funds Life Assurance Society, eight pages of Chapman & Hall’s Recent Publications and a full leaf for Chapman & Co’s Entire Wheat Flour at the rear, and slight nicks on the edges of the front cover. No. V has 20 pages of ads in the front, the two regular plates followed by the text, no uncut pages in the text, and a two-sided leaf for Land And Water followed by a yellow four-page ad for Chapman & Co’s Entire Wheat Flour at the rear, light nicks and creases at the bottom of the front cover, a small chip on the rear cover, and light foxing in the text. No. VI has 18 pages of ads in the front, an engraved portrait of Charles Dickens followed by an engraving of a cathedral after the ads in front, followed by the two regular plates titled “Up The River” and “Sleeping It Off”, no uncut pages of text, two pages of ads for Charles Dickens’ works, followed by a title page, three pages of Contents, an Illustrations page, four pages of ads for Willcox & Gibbs Sewing Machines titled “Concerning Stitches” and four yellow pages of ads for Chapman & Co’s Entire Wheat Flour at the rear, and there are brown spots on some ads in the front and a chip on page 180. All the parts have the Edwin Drood Advertiser in the front, but no tissue guards in between the plates in any parts for this set, the plates are very clean, there are some light tears or creases here and there, and the original wrappers and pages are completely unrestored - no repairs whatsoever. The custom green slipcase measures 9 11/16 x 6 11/16 in. wide and has “The Mystery Of Edwin Drood” and “Charles Dickens” in gilt lettering on the spine, followed by “Original Parts” in black lettering and “1870” in gilt at the bottom of the spine of the slipcase, and the wrappers are 8 Vo. and measure 8 7/8 x 5 5/8 in. wide. A scarce first edition, second issue set of Dickens’ last work in the monthly parts, in a custom green slipcase. See The First Editions Of Charles Dickens, Their Points and Values, John C. Eckel 1932 and A Bibliography of the Periodical Works of Charles Dickens: Bibliographical, Analytical & Statistical, by Thomas Hatton and Arthur Cleaver 1933.

These are two volumes of first edition Christmas books by Dickens in a custom-fitted slipcase. The first is The Chimes: A Goblin Story Of Some Bells That Rang An Old Year Out And A New Year In. By Charles Dickens. London: Chapman And Hall, 186, Strand. MDCCCXLV [1845] on title page, with the imprint “London Bradbury And Evans Printers Whitefriars” on the reverse of the title page, with a list of thirteen illustrations after the imprint page, and it’s a first edition, second issue, with the name of the publishers “Chapman and Hall” at the bottom of the vignette title page, just outside the vignette; the first issue has “Chapman and Hall” printed inside the border of the plate, not outside the vignette. (The location of the publishers’ names on the vignette title page is the only point of issue listed for The Chimes.) The spine shows an image of a bell, the title, and “By Charles Dickens” in gilt, and the red covers are decorated with the title, six chimes, and Dickens’ name in gilt, with an embossed floral border around the gilt decorations on the cover; these are the original red covers. There are yellow endpapers followed by an ad for A Christmas Carol, as called for by Eckel. All the edges are gilt, with 175 pages of text, followed by the imprint of Bradbury And Evans again after page 175. The thirteen illustrations include the frontispiece and the vignette title page, both done by Daniel Maclise, and the rest were done by John Leech, Clarkson Stanfield, and Richard Doyle. This is Dickens’ second Christmas book in his Christmas Books series. Dickens wrote it when he was in Genoa, Italy, but the city didn’t seem to have the local atmosphere he wanted - he went there to see Joseph Grimaldi perform pantomime, but he missed London - and when he got back to London, he performed a reading of the book in front of friends at John Forster’s home, the person who became the noted biographer of Dickens. The top edges of the covers have light soiling, the frontispiece and vignette title page have very light spots on them, the tips have light wear, and the endpapers, text, and the rest of the plates are very clean. The second Christmas book is The Battle of Life, and the title page reads “The Battle Of Life. A Love Story. By Charles Dickens. London: Bradbury & Evans, Whitefriars. MDCCCXLVI” [1846], with the imprint of Bradbury & Evans on the reverse of the title page (“London: Bradbury And Evans, Printers, Whitefriars”), the book is dedicated to “My English Friends In Switzerland”, with a list of thirteen illustrations after the dedication page, and again the frontispiece and the vignette title page were both done by Daniel Maclise, and the rest by John Leech, Clarkson Stanfield, and Richard Doyle. All the edges are gilt, with 175 pages of text, followed by the imprint of Bradbury And Evans (“London: Bradbury And Evans, Printers, Whitefriars”), followed by two pages of publishers’ ads for Works by Dickens at the rear, and it has no points of issue, according to Eckel. It is a romantic novel and the fourth of Dickens’ Christmas books, and it’s a first edition, fourth issue because the cupid is holding a banner on the vignette title page and the publisher’s name has been left off the engraved title page altogether. (See Eckel page 122 for an illustration of the fourth issue.) The front paste-down has three light smudges and a small paper at the bottom which says “Dickens, The Battle of Life: A Love Story. Fine illustrations on wood by Maclise, Doyle, Leech, etc. 12 mo, cloth, gilt edges. London, 1846 Nice, fresh copy” on it. Otherwise, the endpapers, the plates, and the text are clean, with light fraying at the crown and heel of the spine. There are no repairs or restoration to the book at all. The Chimes is a small 8vo. and measures 6 3/4 x 4 1/2 in. wide, The Battle Of Life is also a small 8vo. and measures the same size as The Chimes, and the custom slipcase has Dickens’ name and “The Chimes The Battle Of Life" in gilt on the spine and measures 7 1/8 x 4 7/8 in. wide. See The First Editions Of Charles Dickens, Their Points and Values, John C. Eckel 1932 (pages 116 to 118 for The Chimes and pages 119 to 120 for The Battle of Life). An attractive pair of first edition Christmas books by Dickens in the original cloth and housed in a custom slipcase.

This is one lot with four books by Charles Dickens all related to Christmas. a) A Christmas Carol, Charles Dickens, New York & London, G.P. Putnam’s Sons 1900, Copyright, 1900 (for Designs) By G.P. Putnam’s Sons, The Knickerbocker Press, New York at bottom of the copyright page, the illustrations are from designs by Frederick Coburn, with twelve illustrations in photogravure, including the frontispiece, and nineteen illustrations in black and white, instead of photogravure, with red-captioned tissue guards present for each plate; 3/4 bound, four raised bands, with gilt labels and gilt lettering on the spine, modest decorations on the spine, with marbled covers and endpapers; the top edge is gilt, the book is 157 pages long and measures 7 3/4 x 5 1/2 in. wide, with light rubbing and modest wear at the tips. This was the first of Dickens’ Christmas books and came out in 1843, and it’s a perennial favorite of children and people who love Christmas. b) A Christmas Carol By Charles Dickens, Illustrated By Fritz Kredel For The Peter Pauper Press, Mount Vernon, New York, circa 1944, with a green slipcase, red and green holly decorations on cover, blank endpapers, a red topstain, and inscribed “Ashley Day Leavitt, best times for 1944 - last paragraph on page 26” on the second front free endpaper; Ashley Day Leavitt (1877–1959) was a Yale-educated Congregational minister who led the State Street Church in Portland, Maine, and later the Harvard Congregational Church in Brookline, Massachusetts; he was a frequent public speaker during the early twentieth century and was awarded an honorary degree from Bowdoin College for his pastorship of several congregations during wartime; the last paragraph on page 26 starts with “Mankind is my business. The common welfare was my business; charity, mercy, forbearance, and benevolence were, all, my business”; the book also includes a Christmas card which reads “The Reading of the Christmas Carol by Dr. Leavitt on Wednesday night before Christmas is one of our richest traditions. So we are sending it to you that wherever you may be on date, you may share with us the Christmas Spirit of Harvard Church”; a topstain is a normal coloring applied by the printer and does not indicate a “stain” on a book - it is not a “bad” thing; the book is 8vo. and possibly a first edition by Peter Pauper Press - 1944 is an early date for a Peter Pauper edition of this book - and book is 108 pages long and the slipcase measures 8 3/8 x 6 in. wide, with light browning on the spine and a tape mark on the front free endpaper where the Christmas card was attached to the book; the inscription by Ashley Day Leavitt and the attached card is what makes this book noteworthy. c) The Holly-Tree, By Charles Dickens, With An Introduction By Walter Jerrold, Thirty-one Illustrations, Philadelphia: Henry Altemus Company on the title page, Copyright 1904 Henry Altemus on the copyright page, with the dust jacket, a beautifully illustrated front cover on the book itself, vignette endpapers with the owner’s name and date inscribed on the front free endpaper (“Elva Bommuleir from Mita G Ott, XMas 1910”), with an attractive colored frontis, black and white illustrations inside, 109 pages (counting the illustration on the last page), and the dust jacket reads “The Holly-Tree No. 1” on the spine and is the first in the Holly-Tree series by Altemus. The book measures 7 1/2 x 5 1/2 in. wide and the green hard-bound volume is in excellent condition, while the dust jacket is in great condition on the back and has some modest chips on the crown and the tips of the front cover. The Holly-Tree Inn was originally published as a short story in the Christmas 1855 edition of Household Words, a publication edited by Dickens in the 1850’s, and it was considered a portmanteau story, or a story written by several authors. The portmanteau story lent itself well to the medium of weekly publications because it allowed for authors to work together to compile a single plot rather quickly, and such stories increased in popularity during the Victorian era. Dickens only wrote three of the sections and the framing story for The Holly Tree Inn (The Guest, The Boots, and The Bill), and Wilkie Collins and three others contributed to the rest of this special Christmas extra. The story published in book form here is called a first edition thus by Altemus because it is based on the original story and has only one date on the copyright page and no additional printings. See Bill McBride, A Pocket Guide to the Identifications of First Editions, West Hartford, Ct., 1995 for first editions by Chapman And Hall. d) The Readings Of Charles Dickens As Arranged And Read By Himself, With Illustrations, London: Chapman & Hall 1883 on the front cover, and “Copyright” at the bottom of the front cover, The Readings of Mr. Charles Dickens, As Condensed By Himself on the title page, Price Sixpence, green wrappers, 64 pages, double columns, with ads on the interior front cover and on the interior and exterior covers at the rear. Dickens started doing readings for charity in 1853, and the readings here include A Christmas Carol In Four Staves, Bardell And Pickwick, David Copperfield, Mr. Bob Sawyer’s Party, The Story of Little Dombey, Nicholas Nickleby Four Chapters, Boots At The Holly-Tree Inn, Doctor Marigold, Nicholas Nickleby Three Chapters, and Mrs. Gamp; the book measures 11 1/2 x 8 1/2 in. wide, the front cover is detached and has wear, and there are creases at the tips on some pages, but very readable.

This is a second lot of Dickens’ The Pickwick Papers, this one with the original monthly  parts bound in book form, and the same print history as the previous lot. It was published in twenty monthly parts, from April 1836 to November 1837, with a one-month lapse in June 1837, when one part was put off by a death in Dickens’ family. All the parts were priced at one shilling, except for the last double issue, which was priced at two shillings, and the whole set of twenty parts was bound as nineteen because of the double issue at the end. There are five raised bands, with six gilt-ruled compartments and “Pickwick Club - Dickens” in gilt letters on a black panel near the top of the spine and “London 1837” in gilt on a black panel at the bottom of the spine; there are triple-gilt fillets on a calf cover, gilt dentelles and a note from 1767 about a “Good Dwelling to be lett at Pickwick, in the County of Wilts” on the marbled endpapers. The front wrapper of Part No. I is included near the beginning of the text and the rest of the original front wrappers are bound in at the rear, a Message to Sergeant Talfourd after the title page, then a three-page Preface, four pages of Contents followed by Directions to the binder, and the text, which is 609 pages long. There’s also a white slip about the death of Robert Seymour and several addresses by the author and the Chapman and Hall, the publisher, at the rear (the slip about Robert Seymour is dated April 27, 1836, the first address is dated December 1836, the next is an author’s address dated June 20, 1837 and was written at 186, the Strand; then a publisher’s address dated August 26, 1837, and a final publisher’s address dated September 29, 1837, from the Strand) and one leaf with the Pickwick Advertiser bound in at the rear and no other ads in the book, except for the addresses about the books by published by Chapman and Hall.In a few instances Dickens had to adjust his story to the plates which had been prepared for him, but typically he wrote an installment and the artist was obliged to illustrate what Dickens had written about. The story became more important than the illustrations, and that propelled Dickens to the top of the literary world.It still took time for Dickens to find the right illustrator for the novel. The first artist, Robert Seymour, provided illustrations for the first two monthly parts, then committed suicide; Robert Willam Buss illustrated the third installment, but Dickens did not like his work, so Dickens kept up the search for an artist he liked  and finally settled on H. K. Browne, otherwise known as Phiz, who illustrated most of Dickens’ other novels afterwards.Again, Chapman and Hall did not expect the novel to sell well, so they printed only 400 copies of the first part and just 500 copies for the second monthly, then sales took off unexpectedly, and the publishers had to readjust their plans - they had to increase production to meet demand, and older plates were re-etched as the original ones wore out, which led to plate errors being made, some ads were cancelled and others added, then the suicide of Robert Seymour and the death of Dickens’ sister-in-law - all this meant there would never be a perfect copy of the first edition in the first state - too many changes and unexpected events, which made for lots of headaches trying to figure out how many errors there were in your copy of the Pickwick Papers - were your errors close to a first state edition, or were they printed and corrected later on?Remember, there are over 500 points of issue in the Pickwick Papers to find or discover, and no one has ever found a perfect copy in the first state. There are about fourteen or fifteen copies that come close, but no one has ever found the elusive perfect copy, so we’ll use John Eckels’ bibliography to sort things out as far as we can. In his book about the writings of Charles Dickens, Eckels came up with eleven points he considered  essential for a copy of Pickwick Papers to be called “perfect”:1. All covers must bear the date 1836.2. Parts I and II must carry the words “With Four Illustrations By Seymour”.3. Part III the words “With Illustrations By R. W. Buss.” 4. Part I must have four plates by Seymour, signed, and not re-etched by “Phiz.”5. Part II must have three plates by Seymour signed.6. Part III must have the two plates signed “Drawn and etched by R.W. Buss” and the page numbers.7. Part IV has the two plates indistinctly signed “Nemo” and not “Phiz”.8. Parts II, III, X, and XV must have the addresses by the author.9. Parts XVII, XVIII, and XX must have the addresses by the publishers.10. Plates in Parts I to XII must have no captions, only references to the pages where they were inserted; parts XIII to XX have neither titles nor numerical guides.11. On the vignette title page, the name “Weller” on the signboard over the door must appear with a “V”, and the signature “Phiz fecit” must surround the tablet at the bottom of the frontispiece. “Phiz fecit” means “Phiz made it.”The first point by Eckels is in our favor - all but one of the original front wrappers is dated 1836, the exception being No. XVII, which is dated 1837 in Roman numerals.But Parts I and II say “With Illustrations”, instead of “With Four Illustrations By Seymour”, and Part III only says “With Illustrations”, instead of “With Illustrations By R. W. Buss.” Part I has two of the four plates signed by Seymour, and Part II has all three plates signed by Seymour, as called for. Part III has both plates signed “Drawn and etched by R.W. Buss” along with the page numbers, as called for. We believe Part IV has the two plates indistinctly signed “Nemo” and not “Phiz” - they are definitely not signed by Phiz.  Most of the addresses by Dickens and the publishers are bound in at the end, behind  the original front wrappers. The plates in Parts I to XII conform to Eckels - there are no captions, only references to the pages where they were inserted, and Parts XIII to the end have no titles or page numbers, per Eckels. On the vignette title page, in Part XIX and XX, the name “Weller” on the signboard over the door has a “V” instead of a “W”, so it reads Sam Veller instead of Sam Weller, and “Phiz fecit” is at the bottom of the tablet on the frontispiece. I.e., there are many first state points of issue uncorrected here, but not all. All the plates are present as called for; the plate on page 89 has very light soiling at one edge, a few of the plates towards the end have offset on them from the text, but most of them are exceptionally clean and bright, with no browning at all. The text is very clean as well, with light offset on a couple of them from the plates, but overall a very clean edition of the Pickwick Papers.The boards measure 9 x 6 1/8 in. wide, the front covers of the original wrappers in back are very clean, especially after being well hidden for over a century, there are a couple of hard-to-see scratches on the covers, with tender joints along the front edge of the spine. So an attractive set, with some first edition first state points, but still not the elusive perfect copy of Pickwick Papers which has every single point of issue Dickens enthusiasts are looking for. Perhaps it will turn up one day … one day … See The First Editions of The Writings of Charles Dickens by John Eckels, Their Points and Values, published in New York by Maurice Inman and in London by the Maggs Bros in 1932, and see A Bibliography of the Periodical Works of Charles Dickens by Thomas Hatton and Arthur Cleaver, published by Chapman and Hall in 1933. 

Libby Jones (20th century school) - Milton Keynes A Red Circle Around the Food Hall - and 'Breaking Through to a New Dimension - print and mixed media, signed in pencil to the margin, framed & glazed, 15 by 23cms and 16 by 19cms (2).

Brewing.- Loftus (William Robert) The Brewer : a familiar treatise on the art of brewing, with directions for the selection of malt and hops...instructions for making cider and British wines, 2 parts in 1, first edition, advertisement slip for thermometers tipped-in to front free endpaper, 2 initial advertisement ff., full-page wood-engraved illustration of 'New Improved Saccharometer', bifolium E3&4 (signed E2) loose, occasional spotting, lightly browned, original brown cloth, gilt, spine and edges faded, a few spots, rubbed, [Gabler G27890; cf. Simon BG 964], rare, William R. Loftus, 1856 § [Robinson (James)] The Art and Mystery of Making British Wines, Cider and Perry, Cordials and Liqueurs..., first edition, half-title, wood-engraved illustrations, contemporary ink recipes to endpapers, some spotting and staining, lightly browned, hinges weak, original green blind-stamped cloth, spine gilt, foot of spine little chipped, corners worn, stained, rubbed, [Gabler G34470], Chapman and Hall, 1865; and 2 others, Brewing, v.s. (4)

Regimentally Important Full Uniform Grouping of Lieutenant Colonel Claud Vere Cavendish Hobart DSO, First Commanding Officer of the 8th Battalion (Princess Beatrice’s Isle of Wight Rifles) Hampshire Regiment Territorial Force, superb example of the officers rifles green dress uniform with black frogging to the front, knotted cord shoulder straps with blacked rank insignia and ‘TR’ titles. Knotted cord to the cuffs. Black velvet to the cuffs and the collar. Accompanied by a set of rifles green dress trousers. Accompanied by officers black leather cross belt and pouch set with fine quality hallmarked silver (Birmingham 1908) officers regimental cross belt plate, lion head boss with chain leading to hallmarked silver whistle in socket fitting. Rear pouch with silvered strung bugle badge to the centre; Officers astrakhan regimental busby with blackened strung bugle insignia and knotted officers boss with blackened crown. Plume socket holding large black feather plume. Thin patent chinstrap. Interior with cream leather sweatband, black cloth lining with E W Flight tailors label; Fine officers 1822 pattern Rifles officers sword of regulation pattern with strung bugle to the guard. Grip with wire binding. Blackened Rifles pattern leather sword knot. Housed in the plated full dress scabbard. Regulation pattern blade retailed by Osborne & Son Ryde I.W (Isle of Wight). Etched with crowned bugle and crowned cipher of King George V. Much of the original polish to the blade. Officers swagger stick with blackened cane, silver (not hallmarked) thimble top with regimental badge and engraved ‘LT COLONEL C. V. C. HOBART’. The uniform is all fitted onto a museum display mannequin.The DSO register gives the following details, ‘HOBART, CLAUD VERE CAVENDISH, Lieutenant, was born 12 March 1870, only son of Sir Robert Henry Hobart, Baronet, KCVO, CB, Official Verderer of the New Forest, of Langdown, Hants, and of the Honourable Julia Trollope, eldest daughter of the first Baron Kesteven. He was educated at Eton and Sandhurst, and entered the Grenadier Guards 16 July 1890. Lieutenant Hobart, after serving nearly seven years in the Grenadier Guards, was in 1897 seconded for service in the Uganda Protectorate, at that time under the administration of the Foreign Office, and joined the Protectorate Forces, consisting chiefly of Sudanese, who had previously served under Emin Pasha at Wadelai, whilst on a punitive expedition in the Nandi country. Order having been restored, he was detailed to march two companies of Sudanese back to Headquarters at Kampala. On the way he received news of the disaffection of Mwanga, the native King of Uganda, who had raised the standard of revolt in Buddu, one of the southern provinces of his kingdom. He hastened on to the capital, and was thence despatched with his men in a fleet of canoes down the west coast of Victoria Nyanza to occupy and hold the crossing over the Katonga River, separating Buddu from the rest of Uganda, whilst the main forces of the Protectorate under Colonel T P B Ternan, DSO, moved down overland. He successfully carried out his instructions, and the rebels were subsequently defeated in two engagements, at which he was present, which resulted in King Mwanga fleeing into German territory and the bulk of his followers dispersing into the wilds of Ankole. Lieutenant Hobart was left in charge of the reconquered province with two and a half companies of Sudanese. These remained loyal during the subsequent mutiny of portion of the same force in the eastern part of the Protectorate, and though hard pressed at one time, he succeeded in holding his own against the Baganda rebels, who collected again on the news of the mutiny, being joined by the ex-King Mwanga, who contrived to escape from German custody. After several expeditions had been organized against them, in all of which he took part, he was fortunately enabled, whilst in command of an advanced guard composed of Baganda levies, to come up to and inflict a decisive blow on King Mwanga's main forces at Kisalera. Mwanga's ally, the rebel King of Koki, was killed, and Mwanga himself barely escaped, only to be captured a few months later in the north of the Protectorate with the remnants of the Sudanese mutineers, who were finally defeated with the assistance of a native regiment from India.For his services during the above operations he was mentioned in Despatches, and also in Parliament, and received the Uganda Medal and clasp. He was also created a Companion of the Distinguished Service Order [London Gazette, 20 May 1898]: "Claud Vere Cavendish Hobart, Lieutenant, Grenadier Guards. In recognition of the, services during the recent operations in Uganda". On the outbreak of the South African War in 1899, Captain Hobart had just returned to England, and was sent out with the first contingent of troops to the Cape to act as Staff Officer on the Midland Line of Communications. In this capacity he assisted in raising several corps of local volunteers, by whom the Midland Line of railway from Port Elizabeth to Naauwpoort was seized and garrisoned; but falling a victim to a severe attack of enteric fever, he was invalided home in the summer of 1900, subsequently receiving the Queen's South African Medal with clasp for Cape Colony. In 1902 Captain Hobart officiated as a Gold Staff Officer at the Coronation of King Edward VII and Queen Alexandra, and was also in charge of Apolo Kagwa, the native Prime Minister and Regent of Uganda, who came over to attend the ceremony, and for whom he interpreted on the occasion of his being granted an audience by King Edward. In December 1906, Major Hobart retired from the Regular Army, and was placed on the Reserve of Officers; but in 1908, on the inauguration of the Territorial Force, he was appointed Lieutenant Colonel Commanding Princess Beatrice's Isle of Wight Rifles (8th Battalion The Hampshire Regiment), which he raised and reorganized from a small volunteer nucleus and commanded till 1913, when he retired. He again acted as Gold Staff Officer at a Coronation—that of King George V and Queen Mary, in 1911. On the European War breaking out in 1914, Lieutenant Colonel Hobart, after serving for short periods on the Embarkation Staff at Southampton and the Military Landing Staff at Havre, was sent to the front in Flanders as a Railhead Commandant, being subsequently appointed Administrative Commandant of the railheads of an army. He was mentioned in Despatches in 1916 and 1918, and received the 1914 Star. Lieutenant Colonel C V C Hobart married, on 10 December 1900, at St Peter's, Eaton Square, London, Violet Verve, second daughter of John Wylie, of West Cliff Hall, Hants, and they had one son, Robert Hampden, born 7 May 1915. We have not removed any items from the mannequin, was purchased by the vendor at auction many years ago, believed to have been sold by family descent at that time. Please note we are only able to offer in house post and packing if removed from the mannequin. If you wish to have the mannequin, would need to be collected in person or specialist shipping.

19th-century literature Collection of works, finely bound Dickens, Charles. The Adventures of Oliver Twist ... A New Edition, Revised and Corrected [i.e. first one-volume edition]. London: for the author, by Bradbury & Evans, 1846. 8vo, contemporary half morocco, original front wrapper bound in, half-title, 24 etched plates by George Cruikshank, plates spotted and browned, plate facing p. 204 with small marginal repair;Idem. Bleak House. London: Bradbury & Evans, 1853. First edition, 8vo, contemporary half morocco, etched additional title-page, frontispiece and 38 plates by Phiz, spotted and browned, front inner hinge tender;Idem. Our Mutual Friend. London: Chapman and Hall, 1865. First edition, bound from the parts with stab-holes visible, 2 volumes in 1, 8vo, contemporary half morocco, half-titles, 40 wood-engraved plates by Marcus Stone, publisher's slip tipped to volume 1 p. 1;Livingstone, David. Missionary Travels and Researches in South Africa. London: John Murray, 1857. First edition, 8vo, contemporary half morocco, wood-engraved folding frontispiece, folding map, all plates as called for;and 9 others: Macaulay, Critical and Historical Essays, 1858 (3 volumes, contemporary tan calf); Percy Bysshe Shelley, Works, 1854 (contemporary half vellum); Samuel Johnson, The Works, 1850 (2 volumes, contemporary half morocco); Gibbon, The Decline and Fall of the Roman Empire, c.1880 (3 volumes, contemporary Marlborough College prize-binding of brown calf gilt); Boswell, Life of Johnson, c.1880 (4 volumes in 2, contemporary tan half calf); Byron, The Poetical Works, 1846 (contemporary tan calf); Tennyson, The Works, 1884 (contemporary prize-binding of green calf gilt); Swift, The Works, 1864 (2 volumes, contemporary tan calf); Dickens, A Tale of Two Cities, 1877; all with bookplates of John [Faulkner] Child, with motto 'Imitari quam invidere'

Darwin, Charles On the Origin of Species by Means of Natural Selection Sixth Edition, with Additions and Corrections to 1872. (Thirty-Third Thousand). London: John Murray, 1888. 8vo, original green cloth, half-title, folding lithographic plate, 32 pp. advertisements, tips slightly bumped and worn, folding plate irregularly folded and with small nick to head of one fold [Freeman 131];Idem. Journal of Researches into the Natural History and Geology of the Countries visited during the Voyage of H.M.S. Beagle round the World, under the Command of Capt. Fitz Roy. Tenth Thousand. London: John Murray, 1860. 8vo, contemporary morocco prize binding, all edges gilt, prize plate to front pastedown, joints and tips rubbed, spotting to blanks [Freeman 10, 'from stereos of [the 1852] edition, but with new preliminaries and a postscript'];Hudson, W. H. Green Mansions. A Romance of the Tropical Forest. Illustrated by Keith Henderson. London: Duckworth, 1926. One of 165 copies signed by the artist, 8vo, original cloth, dust jacket, double-page plates and decorative headpieces throughout (probably wood-engravings), partly unopened, dust jacket sunned and chipped;Idem. The Naturalist in La Plata. London: Chapman and Hall, Ld., 1895. Third edition, 8vo, original green cloth, 4 plates, illustrations in text, bookplate;Bates, Henry Walter. The Naturalist on the River Amazons. London: John Murray, 1895. Seventh edition, 8vo, original green pictorial cloth gilt, wood-engraved frontispiece, plates (counted in the pagination) and text-illustrations

[Scottish antiquarianism] Bannatyne Club Collection of Bannatyne Club Garlands and related publications including:a) Garlands 1-10, bound in one volume (8vo, later green half morocco), comprising: 1) A Bannatyne Garland, quhairin the President Speaketh; 2) The Bannatyne Garland. Number Second; 3) Ane Right pithie and pleasant Ballat of Bannatyne; 4) A Bannatyne Garland, 23rd November, 1824; 5) Ane Bannatyne Garlande, brevit be Maister Patrick, of the Kingis Chekar, 1826; 6) A New Bannatyne Garland; compylit be Doctor Jehan of the Hall Ryal, 1828; 7) Ane New Bannatyne Garland, 1829; 8) Ane Merie Conceittit Geste, ryght iocund and ioyous (2 copies, one apparently a proof copy); 9) Two Bannatyne Garlands from Abbotsford, 1848; 10) Tears on the Death of Evander, 1848. With a copy of The Poems of George Bannatyne MDLXVIII, 1835 (not a Garland) bound in at rear.b) Additional copies of Garlands number 4 (wrappers), 5 (wrappers), 6 (wrappers), 7 (wrappers), and The Poems of George Bannatyne (marbled boards, bookplate of the Honourable William Carmichaell Esqr, book-label of J. L. Weir, contemporary annotation '40 copies printed' to initial blank);c) [Volume of Bannatyne Club Catalogues and Rules], 1830-54 (9 works in one volume, contemporary half morocco, rubbed, including Rules, 1823, printed on vellum, 7 pp., annotated in pencil 'one of three copies printed on vellum'); Rules of the Bannatyne Club, 1823 (2 copies, in wrappers and disbound); Catalogue of the Bannatyne Club publications, 1846 (marbled card wrappers).d) Folder of printed ephemera relating to the Bannatyne Club, including an autograph letter from Club secretary David Laing, dated 1830;e) Various related material:i) Supplemental Descriptive Catalogue of Ancient Scottish Seals ... by Henry Laing [see number 91]. Edinburgh: Edmonston and Douglas, 1866. 4to, original cloth, plates ii) Notices relative to the Bannatyne Club ... including Critiques on some of its Publications. Edinburgh: for private circulation, 1836. One of 50 copies only, 4to, original cloth, book-label of J. L. Weir;iii) Bannatyne Club. Abstract of the Treasurer's Accounts. M.D.CCC.XXII.-M.D.CCC.XXVIII., 1828. 4to, original quarter morocco;iv) The Bannatyne Manuscript compiled by George Bannatyne, 1568. [Glasgow]: for the Hunterian Club, 1873-94. 3 volumes, 4to, contemporary half morocco by W. J. Askew of Plymouth;v) The Bannatyne Manuscript ... edited and Introduced by W. Tod Ritchie, 1934. 4 volumes, 8vo, original quarter skiver;vi) Correspondence of Sir Robert Kerr, first Earl of Ancram, and his Son, William, Third Earl of Lothian, 1875. 2 volumes, 4to, original cloth;vii) Fasti ecclesiae Scoticanae: the Succession of Ministers in the Parish Churches of Scotland. Edinburgh: William Paterson, 1866-71. 6 volumes, 4to, original cloth, volume 1 spine defective;viii) The Buik of the Howlat. Edited by David Donaldson. Paisley: Alexander Gardner [for the New Club], 1882. One of 86 copies signed by the printer, 4to, original quarter clothNote: Note: 'The playful mode of identification with the past manifested in the Bannatyne [Club's] affiliation with George Bannatyne also finds expression in the Bannatyne Garlands, a series of ten occasional publications spanning 1823–48, printed in limited numbers of around forty copies each. Several Garlands mimic the appearance and language of early modern printed books' (Elliott, 'Walter Scott’s Bannatyne Club, Elite Male Associational Culture, and the Making of Identities', The Review of English Studies, volume 67, issue 281, September 2016, pp. 732–750).Provenance: 1) Robert Graham (1785-1859), of Redgorton and Balgowan, advocate; 2) Thence by descent; 3) Lyon & Turnbull, 1st February 2005, lot 211.

A group of 19thC and later ceramics, comprising New Hall saucer and tea bowl and saucer, a Beswick style cow, a blue and white tea bowl, Drab Ware teapot, late 19thC crested sauce tureen and cover, for Mortlock's, Oxford Street, etc. (a quantity)

Dickens, Charles to include:-"The Cricket on the Hearth", Chapman and Hall 1893 (new edition), red cloth, gilt titles"The Old Curiosity Shop", London John Dix, 313 The Strand, paper covers, the front cover is loose and the advertisement back cover is with loss and separate, "Household edition Christmas Books", Chapman and Hall, nd, plates, illustrations throughout, frontis and illustration on title page, green pictorial clothFolio Society"Christmas Carol" in original slipcase"Children's Stories from Dickens" illustrated by Harold Copping"The Life of our Lord", Associated Newspapers Ltd 1915, 16,17,18 presentation copy, marbled end papers, full blue leather with gilt titles, dustjacket, another copy inscription dated 1935 on ffep, red cloth, dustjacket,Rackham, Arthur (ills.)"A Christmas Carol" William Heinemann (1843), colour frontis with tissue guard separating, colour plates with tissue guards, pictorial end papers, green pictorial clothFolio Society"My Early Times"  A Ladybird Book"Charles Dickens An Adventure in History" and other volumes (1 box)

Leech, John "John Leech's Pictures of Life and Character from the Collection of Mr Punch",  4 vols, red pictorial cloth, some stained, corners bumped and rubbed, teg, with "Pictures from Punch, Vol. 2", Bradbury, Agnew & Co. 1894, numerous illustrations, pictorial cloth, hinges cracked and the whole rather bumped and worn (bought as seen) (5) Dickens, Charles"Master Humphrey's Clock", illustrations by George Cattermole and Hablot Browne, Chapman & Hall 1840 and 1841, to include "Barnaby Rudge", frontis to each volume,  plates and illustrations throughout, foxing, offsetting on title pages, Vol.2, bookplate for Frank Horace Frere inside front board, marble boards, half-leather with red pastedowns to backstrip and gilt titles, binder's label, Bull & Son, Surbiton, all edges speckled red withThe Works of Charles Dickens, Household Edition, Pickwick Papers, London Chapman & Hall, illustrations by Phiz, loose pages, foxing, staining, book plate inside front board, green pictorial cloth Caulfield, James"Portraits, Memoirs and Characters of Remarkable Persons, from the Reign of Edward III to the Revolution ... a new edition completing the 12th Class of Granger's Biographical History of England with many additional rare portraits", vol 1, printed by R S Kirby 1813, numerous plates with paper guards, offsetting, foxing, advertisement, A2 coming loose, front hinge cracked, red ep, bkpl Frank Horace Frere inside front board, vol 2 'Portraits, Memoirs and Characters of Remarkable Persons from the Revolution in 1688 ...", published H. R. Young and T. H. Whiteley 1819, vol 3 'Portraits, Memoirs and Characters of Remarkable Persons from the Reign of Edward III to the Revolution ...', printed for R. S. Kirby 1813, woodcut plates, woodcut headers, one folding plate in vol 3, all vols with foxing and some offsetting throughout, red ep, bkpl Frank Horace Frere inside front board, full morocco with gilt decorations, rules, titles and raised bands, a.e.g., all corners bumped 

A George IV gothic revival painted and parcel gilt bergere attributed to GillowsCirca 1825, probably after a design by William PordenThe hexagonal arm terminals each comprised of three tiers, each tier with five blind cusped ogee arches surmounted by a foliate boss, above a blind trefoil and quatrefoil seat frame flanked by lozenge embedded rosette angles, on four acanthus wrapped legs each with a lower section comprising five blind cusped ogee arches, signs of old screw holes and batten-carrying holes to the rails, approximately: 76cm wide x 94cm deep x 95cm high, (29 1/2in wide x 37in deep x 37in high)Footnotes:An identical bergere is illustrated in F. Collard, Regency Furniture, 1985, Woodbridge, p. 175. As with the offered lot, this carved giltwood example dates to circa 1825. Both of these are closely comparable to at least two of the armchairs which feature among the superb gothic revival furniture shown inside the Drawing Room at Eaton Hall, as depicted in one of J.C. Buckler's series of prints called 'Views of Eaton Hall', produced in 1826. The opulent and fantastical 'gothic' extravaganza that is Eaton Hall is also discussed in G. Acloque and J. Cornforth, 'The Eternal Gothic of Eaton', Country Life, Vol. CXLIX, Part I No. 3844, 11 February, pp.'s 304-7; Part II No. 3845, 11 February 1971, pp.'s 360-4. Whilst the aforementioned Buckler print appears in F. Collard, Regency Furniture, p. 172.In 1803 the architect William Porden (c.1755-1822) began work on Eaton Hall, where the Grosvenor family lived. And the project, certainly in architectural terms, seems to have been finished during the 1820s. It was evidently completed by 1826 since Mrs Arbuthnot opined the same year that Eaton Hall was: 'the most gaudy concern I ever saw. It looks like the new bought and new built place of a rich manufacturer... the house decorated with a degree of gorgeousness that is quite fatiguing & takes away all appearance of real grandeur.' See Ibid, p. 182. It is fascinating to note that this exact same model of bergere appears on one of the pages of the vast range of scrapbooks assembled by the renowned English decorator, David Hicks. This same excerpt is also included in a book entitled David Hicks Scrapbooks, which was edited by his son Ashley and published by Vendome Press. However this colour photograph of the chair actually first featured in a 1954 article in 'House and Garden' magazine, which arguably was what really kickstarted the career of David Hicks in the first place.This famous early period of David Hicks is described in some detail in a brilliant online article, once again with House and Garden, from 7 October 2017, see https://www.houseandgarden.co.uk/article/david-hicks-scrapbooksDavid Hicks (1929-1998)In 1951, as a 22 year old art student, David Hicks met up with John Fowler to discuss the possibilities of pursuing a career as a decorator. However their talk quickly turned to some flats on the King's Road, where Fowler then lived, and it wasn't long before Hicks decided to move into the one vacant flat belonging to Fowler which was located there.Despite this initial acquaintance, it seems that Hicks could not get a job working for Fowler and this led inevitably to the former moving out of the King's Road flat. Subsequently David transferred to 22 South Eaton Place, in SW1, where he resided with his mother in a William IV period house just within the bounds of Belgravia. Hicks started upon his first, and what turned out to be one of his most important, decorating schemes at this particular address.In instigating this project, a long period of preparation comprised of studying period interiors, visiting museums and galleries, along with sketching and collecting magazine pictures came to fruition for Hicks. His decision was to counter the well established 'country house' look promoted by John Fowler with his own bold and unique style, yet still to achieve this through the use of antiques and old patterns.As opposed to the apparent 'prettiness' of Fowler's output at that time, Hicks developed a striking colourist's approach to decoration. This was no doubt due to his background which included the fact that he had lost his brother in the war, had undergone two years' military conscription and hailed from country 'hunting' stock, all of which combined to produce a vivid element of masculinity or masculine boldness in his work.Also, having studied set design, David Hicks's style was always enjoyably theatrical especially in its dramatic contrasting of colours, whether between different rooms or even within the same space. A good example of this was in his completed interiors at South Eaton Place, where visitors or guests would move from the intentional colour-clashing of the drawing room to the entirely monochrome dining room, the latter with its hexagon-designed wallpaper.When everything was finished at the house in 1953, David then asked everybody he knew to come over and see its impressive new interiors. Among those acquaintances who visited was a veteran of the Second World War and hero of the North African campaign called Peter Coats. Following the cessation of hostilities Coats was appointed Viceroy of India, but he had only fairly recently become the gardening editor of the magazine, House and Garden, upon his own trip to 22 South Eaton Place.Peter Coats adored the house so much that in the course of just a week organised for it to be photographed for House and Garden. But perhaps more significantly he immediately began informing all of his own friends about David Hicks, the brilliant young man with a supreme talent, among other things, for interior decoration and design. As a consequence of all of this, the telephone at the Belgravia property started to ring much more frequently, effectively indicating the beginning of a great career for Hicks.From thereon the work and commissions accumulated rapidly, and 1954 was a year of huge activity. At that time, Hicks's important clients even included two good friends of Peter Coats, Mrs Rex Benson and Mrs Douglas Fairbanks Jr. The latter was a Hollywood celebrity whilst the former, who was the ex-wife of the famous publisher Conde Nast, actually resided in London. Ashley Hicks recalls a time when Mrs Benson, in conversation with his father, informed the latter: 'I've had Syrie Maugham and John Fowler; I want something new...' And the rest, as the saying goes, is history.See House and Garden, 7 October 2017, for more details or online at https://www.houseandgarden.co.uk/article/david-hicks-scrapbooksThis lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A selection of ceramic tea pots, sucriers and other tea wares, including: New Hall tea pot and saucer; Sunderland Lustreware style tea pot; three various sucriers; and other items.

A pair of New Hall style circular plates, with central rose motif decoration, 18.5cms diameter; together with four Chinese circular plates; and a Dresden style ceramic mantel clock.

A selection of ceramic tea wares and plates, including: Meissen blue and white circular plate; Adonis blue and white tea pot; New Hall style tea cups and saucers; and other items.

CD / LP BOX SETS / PACKS. An impressive collection of 5 x CD / LP Box Sets.Artists / Titles include Pendragon - The First 40 Years (PEND29CD), The Trojan Story (TJBOX009), Iggy Pop - Post Pop Depression Live at The Royal Albert Hall (0255727479), Nightwish - Human Nature (NB5204-9) and Nightwish - Human Nature (2736152044). The condition is generally As New / Sealed

A collection of circa 19th/18th century porcelain tea ware including New Hall, Worcester - some small wear but generally good, minor chips and cracks to New Hall

A new burr Birchwood four drawer hall table on turned reeded legs made by a local craftsman to a high standard - Height 77cm x 126cm x 33cm

NEW HALL PORCLEAIN TEAPOT, COVER & STAND, c. 1800, of silver shape, painted with gilt foliate and mazaine blue bands, 24.5cm long (3)Provenance: private collection Neath Port Talbot, consigned via our Carmarthen OfficeComments: excellent overall.

A GEORGE IV CARVED ROSEWOOD BREAKFAST OR CENTRE TABLE, ATTRIBUTED TO GILLOWS1825-1830The circular tilt-top with an alternating acanthus and lotus-leaf carved ovolo edge, on a hexagonal baluster form column with a foliate collar, the channelled triform base with profuse acanthus carving and with volute scrolled hippings, terminating in large lion paw feet carved with hairy hocks, on recessed brass castors, 140cm wide x 140cm deep x 75cm high, (55in wide x 55in deep x 29 1/2in high)Footnotes:A virtually identical table to the offered lot sold Sotheby's, London, 2003, A Celebration of the English Country House, lot 731. Another table of the same model, one likewise attributed to Gillows, sold Bonhams, New Bond Street, 20 November 2013, Fine English Furniture, lot 199.A further near conforming table, albeit one attributed to the Dublin cabinet making partnership of Williams and Gibton sold Christie's, London, 9 October 2012, Aynhoe Park - A Modern Grand Tour, lot 274. Another was sold Sotheby's, New York, 30 April-1 May 2003, lot 73. Other similar models sold include Christie's, Belton House, Lincolnshire, The property of The Lord Brownlow, 30 April-2 May, 1984, lot 90; Christie's, London, 14 November 2013, The English Collector, lot 171 and Sotheby's London, 17 November 2010, lot 194.The distinctive foliate carving to the top edge of the present example, along with its massive lion paw feet, relate in particular to the 'Handsome pillar and claw [table] richly carved in rosewood' that Gillow & Co. executed in 1821 for a circular marble slab provided by Stephen Tempest of Broughton Hall, Yorkshire. This table appears in S. Stuart, Gillows of Lancaster and London, 1730-1840, Vol I, pl. 391, p. 337.See also S. Stuart, Gillows of Lancaster and London, 1730-1840, Vol II, pl. E.5 which shows a pattern for this table in a drawing room layout designed for G. Bamford about 1820-30. The drawing also shows a pair of bergères and a sofa which in turn correspond to a suite supplied by Gillow & Co. in 1824 to Thomas Wynn (d.1832), 2nd Baron Newborough, for Glynllifon, Caernarvonshire, Wales, sold Christie's, London, 9 March 2010, lots 101 & 102.This lot is subject to the following lot symbols: TP YTP 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.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

Max Beerbohm. 'Yet Again,' original cloth, unclipped edges, some spotting, Chapman and Hall, London, 1909; 'The Poets Corner,' toning to pictorial boards, the King Penguin books, 1943; 'Fifty Carictures,' original cloth with gilt decorations, spotting, plates tipped in, William Heinmann, London, 1913; 'Observations,' rebacked, tidemark to fore edge throughout, William Heinemann, 1925; 'Things New and Old,' original cloth, William Heinmann, 1923; With six other works. (11)

Thomas Carlyle Oliver Cromwell's letters and speeches, with elucidations. In three separate matching volumes. Volume one - 388 pages Volume two - 407 pages Volume three - 480 pages including index Published by Chapman and Hall, London. With a new preface detailing alterations. Generally excellent condition with publishers dark red boards, titled and decorated in gilt. 3rd edition 1849. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99

Walker & Hall silver presentation trowel in original fitted box presented to 'Councilor A C Meredith, Chairman of the Fire Brigade Committee, to commemorate the laying of the foundation stone of the new fire station at Abercarn 12th June 1925'. (B.P. 21% + VAT)Box: scratched and worn.  Trowel: good with clear hallmarks.   Walker & Hall Sheffield.  

A quantity of British porcelain plates and saucers, 19th / 20th centuries, various factories including: Derby, Minton, New Hall, Spode, Worcester, with a group of fifteen side plates with designs by Hugh Casson for Midwinter, together with a group of four turquoise teacups of circular form tapering to square bases, a porcelain footed bowl, 17cm diameter, two ceramic mottled glazed tobacco jars with covers, each 13.5cm high, and a modern rectangular teapot, stamped GOBLIN W. L to underside (lot) Most plates with repaired cracks, crazing, adhesive residue, the footed bowl with a chip and cracks to the rim, decoration is generally worn, some gilding is worn or lacking entirely.

A 19TH CENTURY NEW HALL PORCELAIN TEAPOT WITH FLORAL DESIGN, HEIGHT 16CM

Original vintage advertising poster for Billie & DeDe Pierce and their Preservationhall Jazz Band with George Lewis at South Border Jazzclub on 21 January 1967 featuring an image of the jazz band members, with stylised colourful lettering. The Preservation Hall Jazz Band is a New Orleans jazz band founded in New Orleans by tuba player Allan Jaffe in the early 1960s. The band derives its name from Preservation Hall in the French Quarter. Good condition, folds, creasing, minor staining, small tears. Country of issue: Germany, designer: Unknown, size (cm): 84x60, year of printing: 1967.

Rare original vintage printer's proof of a travel poster - The new Piccadilly Circus - by Jacqueline Rizvi from the Art on the Underground series by London Transport, depicting people in the Piccadilly Circus tube station. The station plan mirrors the above ground circus laid out by John Nash in 1819. The interior of the ticket hall was finished in cream travertine marble, with bronze metalwork. Very good condition, minor creasing, ink marks from printing, printers proof untrimmed. Country of issue: UK, designer: Jacqueline Rizvi, size (cm): 72x52, year of printing: 1990.

Botany.- Lovell (Robert) Pambotanolgia sive [Greek] Enchirdion Botanicum or, a Compleat Herball, occasional faint water-staining, bookplate, new final endpapers, contemporary calf, rebacked, rubbed, [Wing L3243], 12mo, Oxford, by William Hall, for Ric. Davis, 1659.⁂ Provenance: Bookplate of Sir Compton Domvile (c.1775-1857), Irish Member of Parliament and Governor of the County of Dublin.

New Hall Hanley daffodil design mid century dinner service for six. Comprising dinner plates, breakfast plates, side plates, soup bowls, platters and tureens. Tureen handle on 1 dish broken, chip to one side plate

Pilgrim FathersWinslow (Edward), A manuscript document signed by members of The Committee for Sequestration and Advancement of Money and for Compounding with Delinquents, dated 17th March 1651. The Committee, meeting at Haberdashers Hall, discharges its earlier assessment of Oliver Saul of Penrice in Cornwall to pay £200. Among the six signatories is Edward Winslow, a leader of the Pilgrim Fathers who sailed on The Mayflower to New England in 1620. Attached to the document by wax seal is a manuscript certificate signed by Martyn Dallison on the same day, which is referred to in the main document. The remains of a third sheet is present. Sheet sizes 30cm x 18.5cm and 29.5cm x 18.5cm, loss to lower corner of first sheet with partial loss of one signature (not Winslow's).[Edward Winslow (1595-1655) was a governor of the Plymouth Colony and founder of Marshfield. His second marriage in May 1621 was the first English marriage in New England. He returned to England several times as agent of the colonies and in 1624 published a history of the settlement 'Good Newes from New England ...'. On one visit to England in 1635, he was imprisoned by Archbishop Laud for preaching and solemnising marriages in New England as a layman. He returned finally to England in 1646. He was appointed a member of the Committee for Compounding and in April 1650 joined the board of 'The Committee for Sequestration ....., at a salary of £300. He accompanied, as a Civil Commissioner, Cromwell's expedition against the Spanish in the West Indies. During the expedition he died of fever and was buried at sea with a 42 gun salute][Provenance: Roger Collicott, 2010. Catalogue 84, item 111 with accompanying letter from the bookseller identifying previous owner and vouching for authenticity]

Nashe (Thomas, 1567-c.1601). A sammelband of 7 works, 1592-1600, comprising, in order: Nashes Lenten Stuffe, Containing, The Description and first Procreation and Increase of the towne of Great Yarmouth in Norffolke, 1st edition, 1599; Haue with you to Saffron-Walden. Or, Gabriel Harueys Hunt is vp, 1st edition, 1596; Pierce Penilesse His Supplication to the Diuell, 1593; Strange Newes, Of the intercepting certaine Letters, and a Conuoy of Verses, as they were going Pruilie to victuall the Low Countries, 1592; The Terrors of the night Or, A Discourse of Apparitions, 1st edition, 1594; [Attributed to John Lyly], Pappe with an hatchet. Alias, A figge for my God sonne, [1589]; A Pleasant Comedie, called Summers last will and Testament, 1600; all first or early edition issues published in London, all edges gilt, early 19th-century gilt-tooled calf, rebacked with original spine relaid, 4to (177 x 123 mm)QTY: (1)NOTE:Additional material bound in:A small portrait frontispiece of Nashe is mounted as frontispiece before the first title (19th-century reproduction from a 1597 original). At the start of the volume is a 4-page manuscript list of Nashe's works with notices of biographical accounts, written in a neat hand, probably by Robert Reeve, on laid paper with watermark of 'A. Smith'; a later manuscript note tipped in noting an account of Nashe's 2 plays published in the Retrospective Review for April 1828; this article copied in a neat contemporary hand and supplied on 3 part-folding pages at rear; a 4-page manuscript, in the same hand and on the same paper as the first list, giving a list of the volume's contents ('These have been long bound together in the same order'), and details of Nashe's works owned by the King's Library (24 items), the Marquis of Stafford (7 items), the Malone collection ('The Tragedie of Dido... by Christopher Marlowe and Thomas Nash Gent 1594'), the Garrick collection (Summers Last Will and Testament), the British Museum (6 items as referenced by Beloe's Anecdotes) and a final note by Reeve that 'Nash also wrote a play called "The Isle of Dogs” turned from a comedie into a tragedie. But it does not appear to have been printed.'Provenance: Thomas Smyth (possibly Sir Thomas Smyth of Hill Hall, Essex, c. 1602-1668): early name inscription to second title; Robert Reeve (died 1840), attorney-at law in Lowestoft, Suffolk: ownership inscription to front pastedown: ‘Robert Reeve, Lowestoft’; J[eremiah] J[ames] Colman (1830-1898) and his son Robert James Colman (1861-1946), of the J. & J. Colman mustard business, Norwich, Norfolk: armorial bookplates to front pastedown and front free endpaper.An extraordinary, and possibly unique, sammelband of rare works by the legendary prose writer Thomas Nashe. The only comparable items identified are a handful of multi-pamphlet volumes offered at auction centred on John Lyly and the Marprelate controversy. This collection of seven works was apparently bound by the former owner Robert Reeve, circa 1820, who notes that the items had been together in this order long since before he owned them. The missing two leaves in the final work are supplied in printed ‘facsimile’ and appear to have been specially set by Reeve at the time of binding; as such these two leaves are probably unique. For more information concerning editions and issue points the standard reference is the 5-volume works edition edited by Ronald B. McKerrow, 1904-10, with extra information obtained from ESTC, STC and Pforzheimer.Thomas Nashe (or Nash) was an Elizabethan playwright, poet, satirist and pamphleteer. He is often considered the most brilliant and inventive prose writer of Elizabethan England. His subject range was wide as demonstrated in these seven works here. It is thought he collaborated with his friend Christopher Marlowe on Dido, Queen of Carthage, Ben Jonson on The Isle of Dogs (now lost) and Shakespeare on the Henry VI plays. In pamphlets such as Pierce Penniless he was involved in a defence of the Church of England. He was attracted to the Martin Marprelate controversy by his hatred of puritanism, being employed by the bishops to write against the works of fictional character Martin Marprelate. His lengthy and vicious quarrel with Gabriel Harvey was instrumental in defining English prose style and became so troubling that the authorities closed down the printing presses and issued a life ban on writing to both Harvey and Nash (1599).Nashes Lenten Stuffe (1599) was Nashe’s last work and written after he went on the run from the London authorities following the furore surrounding a performance of his and Ben Jonson’s Isle of Dogs (1597). Have with You to Saffron-Walden was a response to Gabriel Harvey during their lengthy feud. Pierce Penniless contains an attack on both Richard Harvey, the astrologer and the Marinist, who, as part of the Marprelate controversy, had been waging a pamphlet war attacking the episcopacy of the Anglican church. Strange Newes contains Nashe’s fierce response to Harvey’s demolition of the recently deceased writer, Robert Greene. In The Terrors of the Night Nash sceptically considers dreams, nightmares, and apparitions, which he considers born of superstition, melancholy or imagination. Pappe with a hatchet is now believed to have been written by John Lily, though its inclusion here leaves open the idea that Nashe may have had some involvement in it, and besides it is one of the pamphlets in the Marprelate controversy. The last item, Summer’s Last Will and Testament, is Nashe’s only extant solo-authored play, a comedy notable for breaking new ground in the development of English Renaissance drama.For the unabridged description with full details of each individual work please see the virtual catalogues and description on our website.

Palladio (Andrea). The First Book of Architecture: by Andrea Palladio. Translated out of Italian, with an appendix touching doors and windows, by Pr. Le Muet Architect to the French King. Translated into English by Godfrey Richards, 9th edition, corrected and enlarged: with a new model of the Cathedral of St. Paul, London, as it is now rebuilt, London: printed for S. H. and H. T. and sold by James Knapton..., 1721, additional engraved title, 69 engraved plates, including 7 folding, contemporary blind-panelled full calf, old paper label to spine, rubbed and some minor wear to joints and covers, small 4toQTY: (1)NOTE:Provenance: Ex libris sacheberell sitwell (sold Dreweatt's, contents of Weston Hall, 16 November 2021, lot 135).

[ATLAS] HUGHES (W.) & HALL (S.) General Atlas of the World, folio, single & double-page maps as called for, map end-papers, contemp. half morocco, binder's ticket, New Edn., Edinburgh, 1856.

A selection of 18th Century and later New Hall tea cups and saucers, comprising various designs, patterns including: No's. 984; no. 213; and others, together with a selection of additional tea cups.

A selection of 18th Century and later New Hall teacups and saucers, comprising various designs, patterns including: no's. 208; no. 467; and others, together with a selection of additional tea cups.

A selection of 18th/19th Century New Hall teacups and saucers, including pattern no's. 173; no. 311; and others.

Early 19th Century Spode sucrier and cover, pattern 319 together with a further small terrine and cover and a stand with blue and floral decoration, possibly New Hall pattern number 2196 (2)

Bibliography. Hansard (Thomas Curson), Typographia: An Historical Sketch of the Origin and Progress of the Art of Printing [...], bound as two, sole edition, London: Printed for Baldwin, Cradock, and Joy, 1825, ex-lib copy and with their stamps and markings, portrait frontispiece, folding and full-page plates, some of which are defective or repaired, in-text vignettes, late 19th century institutional quarter-morocco over cloth, stained red edges, 8vo, Lackington (James), Memoirs of [...] The present Bookseller [...], A New Edition, London: Printed for the Author, 1792, repaired portrait frontispiece, rebacked calf, 8vo, [&] Gent (Thomas, Printer, of York), The Life of, Written by Himself, sole edition, London: Printed for Thomas Thorpe, 1832, stained portrait frontispiece, original publisher's boards, disbound, uncut edges, 8vo, (4).   Provenance: 2nd: William Cavendish-Bentinck, 6th Duke of Portland (1857-1943), of Welbeck Abbey, armorial bookplate to recto pastedown. 3rd: 1) Edmund Sydney Williams (1817-1891), armorial bookplate to recto pastedown, 2) Michael Tomkinson (1841-1921), of Franche Hall, Worcestershire. All: William St Clair FBA (1937-2021), manuscript inscriptions.

Bindings. Rogers (Samuel), Poems, London: Edward Moxon, 1842, portrait frontispiece after Sir Thomas Lawrence, in-text illustrations, finely bound in contemporary purple gilt extra by J. Wright [of London], signed dentelle, all edges gilt, small 4to, Arctic Travel and Exploration, M’Clintock’s Voyage of the Fox, 1859, contemporary half-calf, 8vo, Kennett’s Romæ Antiquæ Notitia […], New Edition Embellished with Engravings, Edinburgh: John Brown, 1812, contemporary diced calf gilt, 8vo, Ceramics, Barty (Philippe) & Chaffers (W., editor), Chefs-d’Oeuvre of the Industrial Arts, Illustrated, London: Chapman and Hall, 1869, contemporary Trent College prize binding, 8vo, further prize bindings; Congreve’s Dramatic Works, two-volume set, 1773, contemporary calf, contemporary and later ink MS. ownership inscriptions, 12mo, [Sterne (Laurence)], A Sentimental Journey through France and Italy, 1790, contemporary sheep, 12mo in 6s, nine various volumes of Tennyson’s works, uniformly bound in red morocco gilt, 8vo, The Sporting Magazine, volume I, 1793, calf over boards, 8vo, Hutchinson’s Memoirs, two-volume set, third edition, 1810, contemporary calf, 8vo, Byron, Burns, further leather and part-leather bindings, (33).