A Royal Doulton character jug - 'The Pied Piper', D.6403; another - 'The Poacher', D.6429; a Beswick character jug - 'Pickwick', No. 119; and five further character jugs together with a mixed lot of ceramics to include: a New Hall pottery shallow circular bowl decorated with castle pattern, 21cm diameter; a S Johnson Ltd graduated set of three jugs decorated flowering peony pattern; a matching teapot, stand and jug; a Crown Ducal ware biscuit jar and cover; a baluster vase decorated with birds on a black ground; a Victorian pink ground glass vase; a Japanese blue and white tea kettle and cover; and five other items (26)All items sold as found, some minor losses to the character jugs, to include the top of the sword of Aramis, wear to gilding, the two similar pale glass jugs with chips to the spouts.
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A WILLIAM & MARY CARVED AND SILVERED WALL MIRRORCIRCA 1690 164cm high, 110cm wideProvenance: The collection of Standish Robert Vereker, 7th Viscount Gort (1888- 1975) at Hamsterley Hall, Co. DurhamInherited by The Hon. Catherine Mary 'Kate' Wass, OBE (1942-2021) upon the death of her great-uncle, the 7th Viscount Gort, in 1975PLEASE NOTE: THIS MIRROR MAY POSSIBLY BE THE EXAMPLE ILLUSTRATED IN COUNTRY LIFE AS DETAILED BELOW BUT WE CANNOT GUARANTEE THIS. THE IMAGE IS NOT CLEAR ENOUGH TO GUARANTEE THAT IT IS DEFINITELY THE SAME MIRROR. C. Hussey, 'Hamsterley Hall, Durham: The Seat of the Hon. S.R. Vereker, M.C.', Country Life, 21 October 1939, p. 422, fig. 12. This mirror may be the example photographed in the bedroom with the Stoke Edith bed at Hamsterley Hall in 1939 by Country Life. It is closely related to one that retains its original silver leaf over gesso gilding, dated 1660-80, bearing the arms of Gough of Old Fallings Hall, Staffordshire, probably Sir Henry Gough (1649/50-1724), now in the Victoria & Albert Museum, London (Museum no.: W.37-1949). The silvering would have given the mirror the appearance of solid metal. Another related mirror incorporating the arms of Fisher of Packington, Warwickshire, is in the Lady Lever Art Gallery, Liverpool. A further comparable mirror formerly in the Vernon collection is at Sudbury Hall, Derbyshire (NT 652738). The combination of scrolled foliage and putti was a popular Restoration motif inspired by Continental ornamental prints, for example those published in Livre de Miroirs, Tables et Guéridons (1670) (P. Thornton, Seventeenth-Century Interior Decoration in England, France and Holland, New Haven and London, 1978, pl. 218). Putti climbing foliage was also a recurrent device in the Mortlake 'Playing Boys' tapestries, see the set, circa 1670, at Burghley House, Stamford, probably made for the 4th Earl of Essex. Condition Report: PLEASE NOTE: THIS MIRROR MAY POSSIBLY BE THE EXAMPLE ILLUSTRATED IN COUNTRY LIFE AS DETAILED BELOW BUT WE CANNOT GUARANTEE THIS. THE IMAGE IS NOT CLEAR ENOUGH TO GUARANTEE THAT IT IS DEFINETLY THE SAME MIRROR. C. Hussey, 'Hamsterley Hall, Durham: The Seat of the Hon. S.R. Vereker, M.C.', Country Life, 21 October 1939, p. 422, fig. 12. There are some marks, scratches, knocks, chips, cracks and abrasions consistent with age and use.Overall the silvering is mottled and mellowed and of subdued appearance; there are sections of silvering and gesso that are lacking, in places revealing the underlying dry timber, some flaking and chipping to the silvering. Some later silvering.Some old repairs. There are losses and restorations including to the crest; some traces of glue; some knocks including to the edges and protruding carvings.The mirror plate has some age and depletion but is a replacement.The reverse of the frame appears to have been cleaned at some point.There is evidence of old worm.Please refer to the additional photographs as a visual reference of condition. Condition Report Disclaimer
A GEORGE IV MAHOGANY AND BRASS INLAID BOWFRONT SECRETAIRE CLOTHES PRESSCIRCA 1825 With label to back for 'R. S. Surtees Esq, Hamsterly Hall, No 13, Blaydon Station'225cm high, 122cm wide, 57cm deep Provenance:The Collection of Robert Smith Surtees at Hamsterley Hall, Co. Durham.Inherited by his daughter, Eleanor Vereker, Viscountess Gort at Hamsterley HallThence by descent to The Hon. Catherine Mary 'Kate' Wass, OBE (1942-2021) upon the death of her great-uncle, the 7th Viscount Gort, in 1975Robert Smith Surtees (17 May 1805 - 16 March 1864) was an English editor, novelist and sporting writer, widely known as R. S. Surtees. He was the second son of Anthony Surtees of Hamsterley Hall, a member of an old County Durham family. He is remembered for his invented character of Jorrocks, a vulgar but good-natured sporting cockney grocer.Condition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and losses Overall with a cleaned and polished appearanceThe cupboard doors enclosing an space with one shelf - also brackets for a second shelf, there are marks where another has previously sat. There is also a cut out section, to the rear - it is possible that this has been used as a TV cabinet at some point. The fall encloses a fitted interior with compartment and drawers, there are two locks to secure - there are no keys, all elements are unlocked at time of report. The fall incorporates two short false drawers as well as one long drawer similar, there are three further 'true' long drawersThe lion mask handles appear to be original, there is one loose but present - it will require a new bolt to the interiorPlease refer to additional images for visual reference to condition Condition Report Disclaimer
A LATE GEORGE III CALAMANDER AND BRASS WRITING TABLEIN THE MANNER OF GEORGE OAKLEY, CIRCA 1810The cedar lined shallow cushion drawer with distinctive brass interlaced line and star inlay77cm high, 122cm wide, 62cm deepProvenance:Formerly in Dodington ParkGeorge Oakley (1773-1840) was a leading exponent of 'Grecian-black' calamander furniture which was highly fashionable. The Zebra like stripes of the timber, combined with brass inlay, helped to earn the firm royal patronage and private commissions, becoming one of the most famous cabinet makers in Regency London. In 1801 the Journal des Luxus und der Moden speaks of 'everyone of taste and discrimination making their purchases at Oakley's, the most tasteful of London's cabinet'.The use of calamander, triple line brass inlay and six point brass inlaid stars with circular ebony centres are all features seen on Oakley's recorded work.See Margaret Jourdain, Regency Furniture, p.51, 'From a manuscript inventory of the furniture supplied by George Oakley in 1810 for Papworth Hall, Cambridgeshire...the account includes the more important pieces ... A calamander wood circular loo table ....the top inlaid with a border of stars in brass and ebony £13 10 6'. See pl. 98, a Zebra wood sofa table made in 1810 by George Oakley with brass line and star inlay.See Christie's, New York, British Interior, 21st January 1999, Lot 476, ($14,950) for calamander and brass quartetto tables with related brass six point stars by George Oakley supplied to Papworth Hall in 1810. Condition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and losses, there are various elements of the brass inlays lifting and protruding from the table, the majority appear to be present, there are various chips and losses to the banding and other inlaid elementsThere is no key to the drawer, the lock is unlocked at time of report, there are no handles by design, the drawer is 'blind' Overall solid and stableThe green leather top is scuffed and marked and with clear signs of age and use, there are some deeper gougesSome misshaping to the gilt metal elements around the feetPlease refer to additional images for visual reference to condition Condition Report Disclaimer
A LARGE PAIR OF WROUGHT IRON AND BRASS ANDIRONS POSSIBLY DESIGNED BY J.H. POLLEN AND JOSHUA HART & SON, CIRCA 1860In Elizabethan style, the brass finials in the form of seed heads, applied flowerhead and crown motifs 71cm high, 30cm wide, 56cm deepTOGETHER WITH A SET OF THREE GEORGE III POLISHED STEEL FIRE TOOLS CIRCA 1780 Pommel handles with petal ends the shovel 73.5cm longProvenance: Probably William Schomberg Kerr, 8th Marquess of Lothian (1832-1870)The attribution to Pollen and Hart is based on a similar pair of firedogs (or andirons) at Blickling Hall, Norfolk. The Blickling Hall examples are noted to have been made by Hart & Sons between 1858 and 1863, they formed part of the redesign of the Long Gallery by William Schomberg Robert, 8th Marquess of Lothian (1832-1870). Similar projects being undertaken at Blickling were mirrored by the refurbishment of Newbattle in the 1850's and 1870's. The 8th Marquess was connected to the leading lights of the Pre-Raphaelite and Arts and Crafts movement through his connection with Pollen and his friendship with William Morris. Existing historic aspects of each house at Blickling and Newbattle were successfully married with new bold and sympathetic design schemes. The present andirons appear in several contemporary photographs of the chimneypiece in the Crypt at Newbattle Abbey.
* ANGUS MCEWAN RWS RGI RSW (SCOTTISH b. 1963),STANDING ROCKwatercolour on paper, initialled and dated '96image size 25cm x 18cm, overall size 48cm x 39cm Mounted, framed and under glass.Note: Angus McEwan was born in 1963 in Dundee, Scotland. Angus studied at the Duncan of Jordanstone College Art in Dundee, graduating in Fine Art and a Post Graduate Diploma in the same discipline. Angus was elected to the Royal Scottish Society of Painters in Watercolours (1995) and in 2012 the Royal Watercolour Society. In 2005 he was recognized as an Associate of the International Guild of Realism USA. He is also an associate member of the AWS and NWS in the USA. Angus has been Finalist three times of the ''International Artist Magazine'' and won first place in the John Blockley Prize in the RI open exhibition. Angus has also won second prize in the Sunday Times Watercolour Competition (2007) in London and the International Prize ''Marche d'Acqua'' Fabriano, Italy in 2012. In 2013 Angus won Bronze Award, at the Shenzhen International Watercolour Biennial, in China. He was recently awarded the May Marshall Brown Award at the Royal Scottish Society of Painters in Watercolours (RSW), Edinburgh, 2015 and was elected RGI in May 2016. Many galleries display McEwan's works, including Ok Harris Gallery in New York and Quanhua Gallery, in Shanghai. Recently highlighted in Shenzhen Biennale and the Qingdao Hall of Watercolor. He has exhibited in Fabriano, Italy in the ''Marche d'Acqua'' International Award, as a special guest and in Vicenza, Italy, where he had a solo show in the ''Artbox''. McEwan was one of the 23 finalists in Narbonne, France at the Concours Mondial de l'Aquarelle 2014 1st World Watercolour Competition. Angus also exhibited at the World Watermedia Exposition, Thailand and Myro Gallery, Greece. He also participated in the Second International Watercolour Exhibit in Thessaloniki, Greece. In the UK McEwan exhibits with Thompson's Gallery (London) and The Open Eye Gallery (Edinburgh). Notable collectors include: Dundee Art Galleries and Museums; The Qatar Royal Family; the Royal Scottish Academy Collection; Ernst & Young, Glasgow; Scottish Enterprise; Scottish Equitable; Historic Scotland; Perth Royal Infirmary.
* SUSAN RYDER (BRITISH b. 1944),PORTRAIT OF A MANoil on canvas, signed and dated '86image size 72cm x 86cm, overall size 87cm x 102cm Framed. Note: Susan Ryder is a member of the New English Art Club and the Royal Society of Portrait Painters, who exhibits at Panther and Hall Gallery in London where she held solo exhibitions in 2010 and 2016. Ryder lives between her home in London and Scotland, she is well known for her Interior and garden scenes as well as a leading portrait painter. Ryder was commissioned to paint the HRH The Princess of Wales and H. M. The Queen. Commissions range between £4,000 and £10,000.
Shikha Kuen & Sarah Jeffs Symmetry Double exposure, printed on fine art paper 300gsm Signed to the front in pencil 29 x 29 cm (11 x 11 in) Kuen's work entertains the cosmic and mythical, creating spaces where crystals become entire galaxies and birds are re-imagined as glorious versions of their former selves. Carefully planned photographic images using long exposure and time-lapse techniques in controlled studio conditions formulate new meaning from the original artefacts. I exhibit and sell my work all over the world. Kuen is a photographer and digital artist working in Bristol and also co-founded the not-for-profit POSITIVE IMAGE ART. BA Hons Fine Art, Bretton Hall, Yorkshire Sculpture Park, University of Leeds. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
A rare Capri, just one owner from new, only 20,262 miles and on offer from a deceased estate.Towards the end of its life, the Ford Capri enjoyed an upswing in interest as more buyers realised that perhaps a front-wheel hot hatch simply wasn't for them, and a V6-engined, rear-wheel drive sporting hatchback might very well do the job. Ford's Special Vehicle Engineering group was entrusted with developing the Capri 2.8 Injection that made its debut at the 1981 Geneva Motor Show. Based at the Research and Engineering centre in Essex, SVE decided to adopt the 2.8-litre V6 with Bosch K-Jetronic fuel injection - the first regular model since the RS2600 to use fuel injection - plus lowered suspension, thicker anti-roll bars, gas-filled shock absorbers, and wide-rim alloy wheels fitted with Goodyear's 205/60VR NCT tyres. The specification also included a five-speed gearbox, a limited-slip differential (1984 onwards) and ventilated disc brakes for the front wheels. All this translates into a car that goes with 'wonderful eagerness', the Autocar test team enthused after rocketing from 0-60 mph to just 7.9 seconds. The Capri 2.8 Injection breathed new life into the range and kept the car in production two to three years longer than Ford had planned.In 1984, the 2.8 injection model was the subject of a substantial upgrade and was known as the Capri Injection Special. This development used Recaro half-leather seats and included a limited-slip differential. Externally the car could easily be distinguished by the seven-spoke RS wheels and its colour-coded grille and headlamp surround. Packed with performance and character, it paved the way for the superb Capri 280.Offered here is a remarkable example of these rare Capris as it has been owned by one owner from new. It was ordered from new in Rosso Red with a half cloth and Steel Grey leather interior, a very rare combination. Sadly, the owner passed away recently and the car is being offered by his family, having not used it or registered it in the family name since his recent passing.Clearly, the late owner was extremely proud of his special Capri and used it sparingly, more recently just attending the odd car show. At the time of cataloguing, the odometer was reading just 20,262 miles which, having purchased the car in 1986, works out at just 600 miles a year. Naturally, at this mileage and having been looked after by one respectful owner, this rare Ford remains in impressively original condition, remarkable and most likely unrepeatable.It's accompanied by the original bill of sale, books, manuals, service booklet and some original parts. Currently sitting on the original RS wheels there appears to be another set of road wheels included with the car and these will be available to inspect at the auction hall during the sale. Quite simply, we do not know when there will be an opportunity to buy an example of the breed like this again. Silverstone Auctions are storing the Capri for the late owner’s family prior to the sale and we encourage and welcome your earliest inspection.SpecificationMake: FORDModel: CAPRI INJECTION SPECIALYear: 1986Chassis Number: WF0CXXGAECFK45459Registration Number: D736 JKETransmission: ManualEngine Number: 00204TDrive Side: Right-hand DriveOdometer Reading: 20262 MilesMake: RHDInterior Colour: Half Cloth / Steel Grey Leather Click here for more details and images
A 19th century Staffordshire figure group titled 'The New Marriage Act'; together with a Phillips & Co Sunderland Creamware tankard of small proportions, printed with a view of The Iron Bridge over the Wear, a pink lustre bowl, Stafford 'Godspead the Plough Loving Cup, Drayton Manor printware jug a New Hall bat printed cup and saucer and other 19th century ceramics (one tray)
Botany.- Hill (John) The British Herbal: An History of Plants and Trees, Natives of Britain..., first edition, engraved frontispiece by Roberts after Samuel Wale, title in red & black, engraved title-vignette and coat-of-arms of Duke of Northumberland at head of dedication, 75 engraved plates after Darly & Edwards and others, printed mostly in double-column, old inscription to head of title and modern inscription of "Ian Coughlin, Herbalist" to verso of frontispiece, short tear to lower edge of frontispiece just touching caption (repaired), final leaf creased, an excellent clean copy, engraved bookplate of Sir Harry Parker Bart., contemporary calf, rubbed and scuffed, some staining, spine ends repaired, new endpapers, [Henrey 799; Hunt 557; Nissen BBI 881], folio, T.Osborne and J.Shipton..., 1756.⁂ Sir Harry Parker, Bart. (1735-1812), of Melford Hall, Long Melford, Suffolk.
FRANCIS HAYMAN (BRITISH 1708-1776) AND STUDIOBUILDING HOUSES WITH CARDS Oil on canvas141 x 203.5cm (55½ x 80 in.)Provenance:(Possibly) W.H. Forman Collection, Dorking, and by descent in 1869 to(Possibly) Major A.S.C. Browne, Callaly Castle, NorthumberlandBell of NewcastleViscount and Viscountess Gort, Hamsterley Hall, County Durham, and by descent to the present owner(This item was inherited from the 7th Viscount Gort, deemed to be of national importance and placed into conditional exemption upon his death)Exhibited:Kenwood, Iveagh Bequest, The French Taste in English Painting during the first half of the 18th century, Summer 1968, no. 35.Literature:A Description of Vaux-Hall Gardens, London, 1762, p. 30, no. 6.The Ambulator, or the Stranger's Companion in a Tour Round London...comprehending Catalogues of the Pictures by Eminent Artists, London, 1782, p. 200, no. 6.R. Edwards, An Attribution to Highmore, Burlington Magazine, XCI, July 1949, p. 206.L. Gowing, Hogarth, Hayman and the Vauxhall Decorations, Burlington Magazine, XCV, January 1953, pp. 9-11, fig. 6 (detail).R. Edwards, Hayman or Gravelot?, Burlington Magazine, XCV, April 1953, p. 142.D. Fitzgerald, Gravelot and his influence on English Furniture, Apollo, XC, August 1969, p. 141.J. Hayes, The Landscape Paintings of Thomas Gainsborough, A Critical Text and Catalogue Raisonné, I, London, 1982, p. 33-34, pl. 33.B. Allen, Francis Hayman and the Supper-Box Paintings for Vauxhall Gardens, The Rococo in England: A Symposium, C. Hind (ed.), London, 1986, pp. 130-131.B. Allen, Francis Hayman, 1987, p. 180, no. 176.D. Coke and A. Borg, Vauxhall Gardens: A History, New Haven and London, 2011, pp. 103 and 365, no. 6, fig. 85.This picture is one of about fifteen surviving decorations for the 'arbours' or supper boxes that adorned Jonathan Tyers' pleasure gardens at Vauxhall. Situated just south of the Thames, the gardens were a highly fashionable destination for London's beau monde. With the help of some of the most creative avant-garde artists of his time, Tyers turned Vauxhall into the favourite haunt of elegant London society; a place to dine, to socialise and to admire sculptures and paintings in the open air. The original fifty supper boxes surrounded the central quadrangle, called the Grove, and all contained pictures of approximately eight feet across, portraying a variety of light-hearted subjects. Most early documenters ascribe the greater part of the Vauxhall decorations to Francis Hayman and his talented pupils, who worked on the boxes from about 1738 to 1760. Probably among them was the young Thomas Gainsborough (1727- 1788), to whose hand Professor Lawrence Gowing, in his pioneering article on the Vauxhall decorations (Burlington, 1953), tentatively attributes the head of the central, seated youth in the present picture. Hugh Belsey, however, doubts Gainsborough's involvement in this work. Hayman's fellow artists also contributed to a number of his designs and Gowing ascertains that Building Houses with Cards was a collaboration between Hayman and the French engraver, Hubert François Gravelot (1699-1773). This supposition is apparently confirmed by the inscription on a 1743 engraving by Louis Truchy: 'Gravelot Invent F. Hayman Pinxt', which can be found in the collection of the British Museum.Many of the surviving panels are currently kept in important museum collections, seven of which residing in the V&A in London. Most of them were also influenced by decorative French engravings of the 1730s; The See-Saw, currently in the collection of the Tate, was also recorded in an engraving by Truchy. With this first major decorative commission in Tyers' fashionable establishment, Hayman contributed greatly to the spread of French Rococo taste in England. Condition Report: The canvas is lined and on a later stretcher, which provides good support. Some abrasions around the edges from contact with the frame. The paint layer is stable but thin in some areas. UV light reveals scattered patches of retouching, most prominently in the figure in the yellow dress. A layer of surface dirt and discoloured varnish. Condition Report Disclaimer
GEORGE STUBBS (BRITISH 1724-1806)A KING CHARLES SPANIEL IN A LANDSCAPESigned (lower right)Oil on canvas59.8 x 71cm (23½ x 27¾ in.)Provenance:Arthur Ackermann & Sons, LondonMajor P.G.G.Shuter, C.1950Arthur Ackermann & Sons, LondonLord RootesSale, Sotheby's, London, 23 November 1966, lot 84Sale, Sotheby's, New York, 26 April 1967, lot 52R.A. McAlpineArthur Ackermann & Sons, LondonLewis SchottPrivate CollectionSale, Sotheby's, New York, 31 January, 2019, lot 286 ($40-60,000 unsold)Literature:R. Fountain and A. Graves, Stubbs' Dogs, London 1984, p. 85, cat. no. 9, reproduced fig. 55Dog portraiture began in France at the court of Louis XIV, who commissioned portraits of his favourite hounds from Jean-Baptiste Oudry. In England, where the emphasis in hunting was increasingly being placed upon the performance of individual hounds, this was reflected in the paintings of contemporaries John Wootton and Peter Tillemans, the former of whom in particular started to produce portraits of dogs in the mid eighteenth century.Though dogs, particularly hounds, had featured in Stubbs's work since the mid-1760, and his skill for rendering the distinctive features of individual hounds in paint had been demonstrated in his paintings of The Charlton Hunt and The Grosvenor Hunt, it was not until the mid-1770s that portraits of single dogs begin to feature with any regularity within his repertoire. A fine example of this new emphasis in Stubbs's work can be seen in the series of seven pictures he painted for John Musters of Colwick Hall, Nottinghamshire, circa 1777. Among this groups are two portraits of Mrs Musters spaniels, both of which are lovingly commissioned portraits of adored family pets. Of all breeds spaniels were those that Stubbs painted most frequently, they appear in no less than ten portraits and twice as part of the composition in the portrait of a horse. The King Charles spaniel in particular - one of many breeds favoured by King Charles II - had been kept as a pet of the rich for many years.Condition Report: The canvas has been lined and mounted on a later stretcher. A thick layer of surface dirt and discoloured varnish. Fine craquelure across the surface of the work, but the paint layers appear stable. Extensive overpainting in scattered patches from several restoration campaigns. The canvas is slightly loose along the right hand edge. Condition Report Disclaimer
JOHN FERNELEY SENIOR (BRITISH 1782-1860)PORTRAIT OF MR WHITE, ON A HUNTER WITH HOUNDS, A GROOM HOLDING ANOTHER MOUNTOil on canvas Signed, inscribed and dated `Melton Mowbray/1816' (lower left)87.6 x 118cm (34¼ x 46¼ in.)Provenance:Ehrich-Newhouse Galleries, New York, 1935William de Krafft, Heronden Hall, Tenterden, Kent, Christie's, London, 6 November 1959, lot 121 (900 gns. to Ackermann)Private collection and thence by descent Literature:Major Guy Paget, The Melton Mowbray of John Ferneley (1782-1860), Leicester, 1931, p. 128, no. 51, as 'Mr White, 1816, Portrait of Himself and Two Horses'Although this picture has traditionally been thought to show Captain John White, Master of the Cheshire Hunt from 1841-1855, the date of 1816 would suggest the sitter is more likely to be "Melton White", a 'patron of Ferneley during his first years at Melton' (Paget, op. cit., p. 28). This may well be the J. White Esq., for whom Ferneley painted a horse portrait the following year (ibid., p. 129, no. 78) and two further portraits in 1828 (ibid., p. 135, no. 254).Condition Report: The canvas has been lined. Thick layer of surface dirt and discoloured varnish, which makes it difficult to read under UV, but we cannot find any signs of retouching. Condition Report Disclaimer
Book: Jane Eyre - An Autobiography by Charlotte Bronte, illustrated by F. H. Townsend, published by Nisbet; Wuthering Heights (graffiti) by Emily Bronte; The Twelve Adventurers by Charlotte Bronte; To The Lighthouse 1927, second impression by Virginia Woolf; Villette by Currer Belle (Charlotte Bronte) 1894, published by Frederick Warne & Co. in arrangement with Smith, Elder & Co., Northanger Abbey & Persuasion (graffiti) by Jane Austen 1885, new edition; The Tennant Of Wildfell Hall by Anne Bronte
A late 19th Century commemorative clear crystal glass goblet, the large round funnel bowl engraved with an oval cartouche depicting a formal building with panel verso reading 'New Town Hall - Bank Park - Warrington - Opened June 20th 1873' within foliate scroll borders, above a baluster form stem and shallow conical foot, height 16.5cm.
An eclectic collection containing: Elkington plate bachelor set, Art Deco period coffee pot, tea pot sugar basin and milk jug, shovel shaped sugar spoon, coal scuttle sugar cube dispenser with shovel, glass silver topped miniature salt and pepper, silver plated Walker and Hall tankard, together with a small box of single 45 records to include: David Bowie 'Lets Dance', Bowie 'Can you Hear me' x2, Bob Dylan 'New Pony', Soft Cell 'Bedsitter', The Stranglers 'Straighten Out', Stevie Wonder 'He's Misstra Know it All', Roxy Music, 'Love is a Drug', Juke Box Queen the Glitter Band, Boomtown Rats 'I Don't like Mondays', Queen 'Seven Seas of Rhye, 'Killer Queen', 'Queen's 1st EP' 'Bohemian Rhapsody', 'Somebody to Love' etc. (approx 49 in total) (B.P. 21% + VAT)Please note: Description has been amended, the Oriental plate and pin dish are not in this lot.
DECORATIVE BINDINGS: Scott (Sir Walter), THE WAVERLEY NOVELS, 26 vols, 3/4 leather, green cloth boards, marbled endpapers, Merrill And Baker, New York, with THE DRAMATIC WORKS OF SHAKESPEARE, 10 vols, full leather, marbled boards, J. Walker et al, London 1820 (some at fault), CROWNED MASTERPIECES OF ELOQUENCE, 10 vols, 1/2 leather, green cloth boards, International University Society, London 1913, THE WORKS OF ANTHONY TROLLOPE, 24 vols, 3/4 leather, marbled boards, marbled endpapers, Chapman And Hall, London, etc (Qty)
Two New Hall cups and saucers, printed floral pattern; a Rex Whistler designed Wedgwood jug, 'Clovelly' pattern; and a Sunderland lustreware jug, 'Success to the Coal Trade / Abm. & Mary Ann Corney 1832' with verse (as found) 19cm.Condition report:Sunderland lustre jug - images uploaded. One side (with verse) substantially damaged with a large network of cracks and reglued sections with old filler evident to the outside.
POSTCARD ALBUMS including two large albums, GB cards including Ilfracombe, Budleigh Salterton, Sidmouth, Torquay, Meet of the Devon and Somerset Staghounds at Dulverton, Lynmouth Pier, Oldest Inhabited House St Albans, Church St Crewkerne, New Town Hall Cardiff, Dulverton, Lynton and Barnstaple Railway, Bideford, Yeovil Hospital, and many more, Comic Cards, foreign cards (USA, France, Germany etc), Ships (various) etc. With four further smaller albums, Charabanc, Military and Navy, War Planes, WWI silk cards, GB cards etc. (6)
Hong Kong, Pekin & Macao.- Photograph album, 49 black & white or sepia photographs, some hand-tinted, comprising family and military photographs, views of Pekin, Shanghai, Hong Kong, Stonecutters Island, and Macao, mounted verso & recto on 24ff. with manuscript captions below, 3 other photographs loosely inserted, 285 x 80mm or smaller, original boards bound with cord, modern sticker to upper cover, oblong 8vo, 1929-31.⁂ An excellent photograph album of views from British-occupied Hong Kong and surrounding areas. Following the First World War, the British maintained settlements around China and their forces deployed to Hong Kong. Pictures feature the field officer's quarters and arrival and life on Stonecutters island, The Summer Palace, New Year Hall and the Temple of Heaven in Pekin, the waterfront in Shanhai, views from Mount Davies in Hong Kong 1931.
Holy BibleThe Holy Bible Containing the Old Testament and the New, Newly Translated out of ye Original Tongues .., printed by Charles Bill and the Executrix of Thomas Newcomb, 1703, engraved general title page with red borders, each page with red borders, bound with;Brady (N.) and Tate (N.), A New Version of the Psalms of David, Fitted to the Tunes Used in Church, Company of Stationers, 1703,armorial bookplate of Wingate Pulleine of Carleton Hall (N. Yorks.), late eighteenth century manuscript Cradock family records to front endpaper and fly leaf , all edges gilt, contemporary morocco gilt with white metal corners, clasps (one clasp detached but present) and initialed lozenge to board centres. [Herbert 874][the vendors believe that the bible was given to an ancestor by the Cradock Family of Hartforth Hall, N. Yorks.]
◆ JOHN ATKINSON GRIMSHAW (BRITISH 1836-1893) GREENOCK Signed inscribed and dated 'T.20.92', signed, inscribed and dated verso 'Quayside Greenock T.20.92', oil on canvas(31cm x 46cm (12in x 18in))Provenance: Christie's, 20 July 1979, lot.42 £8000 where purchased by the vendor's family and thence by descentJohn Atkinson Grimshaw’s innovation was to apply Ruskin’s tenet of ‘truth-to-nature’ to scenes of Britain’s burgeoning industrial centres. Owing to his sensitive portrayal of the atmosphere and ‘feeling’ of urban life, he has been considered the artistic equivalent of the great Victorian novelists Charles Dickens and Elizabeth Gaskell. Lyon & Turnbull are delighted to be offering two paintings by one of the most accomplished British artists of the nineteenth century. Atkinson Grimshaw was born in Leeds in 1836. By 1860 he had left his position as a Northern Railway clerk to become a full-time painter, much to his parents’ dismay. His early artworks were generally landscapes and still lifes of fruit, flowers and birds rendered with a detailed intensity inspired by the Pre-Raphaelites. He also worked from photography, a relatively new medium, and is believed to have implemented camera obscura projections onto his canvases to refine his compositions. His career breakthrough came in 1867 when a painting of Whitby harbour at night was received to great acclaim. The urban nocturne dominated Atkinson Grimshaw’s output forthwith, as he pursued ever-more subtle and complex ways to illuminate his compositions. Contemporary urban audiences identified with his nighttime streetscapes lit by gas lamps, which effectively evoked the dynamism and isolation of the industrialised town. Atkinson Grimshaw travelled to various towns and harbours to study their architecture and imbibe their atmosphere. The locales he most frequently painted (Glasgow, Leeds, Liverpool, Whitby, Scarborough and London) reflect the distribution of his market. In the mid-nineteenth century innovative contemporary art was generally patronised by wealthy industrialists in the north of England and Scotland. Such was the case with the Pre-Raphaelites, whose aesthetic initially proved too challenging for traditional London tastes but flourished in northern industrial centres. Atkinson Grimshaw’s market developed along similar lines, and it was not until the 1870s that London collectors began to invest in his work in earnest. By 1870 he was successful enough to rent Knostrop Hall, a seventeenth-century mansion represented in Evening in Knostrop. The Hall was built for Adam Baynes (1622-1671), the first Member of Parliament for Leeds, and its Jacobean architecture would prove an enduring inspiration which Atkinson Grimshaw would continue to paint for the rest of his life. Between 1885 and 1887 Atkinson Grimshaw lived in Chelsea, London near the studio of the American artist James McNeill Whistler. The pair became good friends and bonded over their shared interest in painting city living, although Whistler implemented a more impressionistic technique. Whistler would later comment ‘I thought I had invented the nocturne, until I saw Grimmy’s moonlights’. This Greenock scene exemplifies Atkinson Grimshaw’s mastery of ephemeral light. Greenock is situated on the River Clyde around 22 miles from Glasgow, and in the 18th and 19th centuries was a thriving and populous shipbuilding hub. Atkinson Grimshaw delineates the architecture with sharp precision, which serves as a visual counterpoint to the soft, delicate palette. While muted tones evoke the damp evening haze, points of tonal intensity draw the eye to the bustle of activity across the quayside, from the moored ships’ blinking lights, to the carriages conveying silhouetted figures, to the warm glow emanating from the row of smart shops. Greenock was painted a year before his untimely death from tuberculosis in 1893. Several of his children also became painters, including Louis Grimshaw, a son born in 1870. Louis trained under his father, and for a spell the pair painted collaboratively, with John executing the sky and landscape and Louis working on the figures. Like his father, Louis generally painted nocturnes, but he diverged by predominantly representing London. Louis’ career as an artist was relatively brief, as he gave up painting in 1905 to work as a cartographer for the Manchester Guardian, and his paintings are consequently rare.
◆ JOHN ATKINSON GRIMSHAW (BRITISH 1836-1893) EVENING IN KNOSTROP Signed and dated 1881, oil on board(34cm x 44cm (13.5in x 17.25in))Provenance: Thos Agnew & Sons Ltd, London, No.28603John Atkinson Grimshaw’s innovation was to apply Ruskin’s tenet of ‘truth-to-nature’ to scenes of Britain’s burgeoning industrial centres. Owing to his sensitive portrayal of the atmosphere and ‘feeling’ of urban life, he has been considered the artistic equivalent of the great Victorian novelists Charles Dickens and Elizabeth Gaskell. Lyon & Turnbull are delighted to be offering two paintings by one of the most accomplished British artists of the nineteenth century. Atkinson Grimshaw was born in Leeds in 1836. By 1860 he had left his position as a Northern Railway clerk to become a full-time painter, much to his parents’ dismay. His early artworks were generally landscapes and still lifes of fruit, flowers and birds rendered with a detailed intensity inspired by the Pre-Raphaelites. He also worked from photography, a relatively new medium, and is believed to have implemented camera obscura projections onto his canvases to refine his compositions. His career breakthrough came in 1867 when a painting of Whitby harbour at night was received to great acclaim. The urban nocturne dominated Atkinson Grimshaw’s output forthwith, as he pursued ever-more subtle and complex ways to illuminate his compositions. Contemporary urban audiences identified with his nighttime streetscapes lit by gas lamps, which effectively evoked the dynamism and isolation of the industrialised town. Atkinson Grimshaw travelled to various towns and harbours to study their architecture and imbibe their atmosphere. The locales he most frequently painted (Glasgow, Leeds, Liverpool, Whitby, Scarborough and London) reflect the distribution of his market. In the mid-nineteenth century innovative contemporary art was generally patronised by wealthy industrialists in the north of England and Scotland. Such was the case with the Pre-Raphaelites, whose aesthetic initially proved too challenging for traditional London tastes but flourished in northern industrial centres. Atkinson Grimshaw’s market developed along similar lines, and it was not until the 1870s that London collectors began to invest in his work in earnest. By 1870 he was successful enough to rent Knostrop Hall, a seventeenth-century mansion represented in Evening in Knostrop. The Hall was built for Adam Baynes (1622-1671), the first Member of Parliament for Leeds, and its Jacobean architecture would prove an enduring inspiration which Atkinson Grimshaw would continue to paint for the rest of his life. Evening in Knostrop depicts a solitary, fashionably-dressed figure waiting at the gate to the house. The shadowy landscape under the pale sky successfully evokes the ambience of Knostrop’s grounds in twilight. Between 1885 and 1887 Atkinson Grimshaw lived in Chelsea, London near the studio of the American artist James McNeill Whistler. The pair became good friends and bonded over their shared interest in painting city living, although Whistler implemented a more impressionistic technique. Whistler would later comment ‘I thought I had invented the nocturne, until I saw Grimmy’s moonlights’.
A Rare Tiffany & Co. Mokume and Partial Gilt Silver Demitasse Cup and Saucer from the Collection of Mary Jane Morgan, New York, circa 1878Marks to both: TIFFANY & CO., 5041 M 3124, STERLING SILVER, AND, OTHER METALS2 inches (5.1cm) (cup height)3-3/4 inches (9.5 cm) (saucer diameter)158 grams (gross)PROVENANCE:Mary Jane Morgan;Her sale, Thomas E. Kirby via the American Art Galleries at New York's Chickering Hall, 1886; Lot 749 (in part)Private Swiss collection;Acquired from the above. LITERATURE:American Art Association, Priced Catalog of the Art Collection Formed by the Late Mrs. Mary J. Morgan, 1886, pp. 143.The demitasse cup and saucer with mokume technique to rim of saucer and exterior of lobed cup having gilt interior, each bearing the distinct monogram of Mary Jane Morgan to underside. This example was sold in 1886 as part of a lot of twelve cups and saucers in the sale of Mary Jane Morgan's estate. Tiffany mokume is rare, and it is even rarer to have a piece with traceable provenance from a great American art collection. Mary Jane Sexton Morgan (1823-1885) was the daughter of Francis Sexton, a New York City Merchant involved East Indian trade. She married shipping, railroad and iron magnate Charles Morgan (1795–1878) in 1851 and inherited $9 million upon his death in 1878. Mary Jane Morgan used this sizable inheritance to fund an ambitious and seemingly unending quest to assemble a world-class art collection. Her voracity for collecting was perhaps only matched by her cousin-in-law, J. Pierpont Morgan (1837-1913).When Mary Jane Morgan died in 1885, the press reported that "the house of the late Mrs. Morgan is literally honeycombed with secret closets and drawers filled with works of art of the most varied kind. Since the first inventory was made there have been several supplements. Now the total value is put down at something like four million dollars." (Town Topics, November 1885)Her estate was sold over three days at no reserve and was attended by notable collectors and society members like Charles L. Tiffany, William Walters, Henry G. Marquand, Henry O. Havemeyer, Mrs. Collis P. Huntington, and Mrs. Ogden Goelet. The multi-category sale was comprised of but not limited to Asian ceramics and bronzes, silver, fine European porcelains, glassware, paintings, sculpture, etchings, and books. According to the auction catalog, most of the 154 lots of silver, "with few exceptions made to order by Messrs Tiffany & Co." Mary Jane Morgan was one of Tiffany's most loyal clients during the late 19th century and she favored the firm's creative Japonesque pieces. She was particularly fond of mixed-metal and mokume, which represented some of Tiffany's most labor intensive, rare, and beautiful objects the firm ever produced. The present lot is described on page 143 of her auction catalog as part of lot 749:"AFTER-DINNER COFFEE CUPS AND SAUCERS, "Moku-me" or "Veins of the wood" design, 18 pieces"Though the company cataloged its mokume works as "mixed metal" in company inventories, our understanding of the craft extends beyond the simple inclusion of differing metals. To craft mokume, meaning "wood grain" or, literally, "wood eye" in Japanese, artisans laminated thin sheets of differently colored metals and alloys, folded them to increase the number of layers, cut through or bent, and, finally, hammered to produce marbleized patterns.The present lot exhibits a shimmering kaleidoscope of silver, gold, copper, and alloy laminations. The labor-intensive nature of the process meant that few pieces were created by Tiffany with this technique covering the entire body of the piece. Most commonly, Tiffany included mokume as a decorative accent, found on some applied insects or small handheld works. The extensive mokume decoration to the present lot emphasizes its special commission to a wealthy client.While the form of the saucer is of traditional shape, the cup derives its lobed "squat" design from ancient Persian and Turkish vessels. These design elements allude that the present lot was likely designed directly by Edward C. Moore, Tiffany's chief designer from 1873-1891. At the time of the present lot's creation, Tiffany & Co. drafted the shapes of hollowware separately from ornamentation. Moore was innovative and wildly creative, drawing design inspiration from Tiffany's Oriental archive collected by Dresser and from his own extensive personal collection of objects. His exploration outside of Western design can be seen in his adoption of Islamic and far-Eastern forms in hollowware as early as 1867. A pear-shaped "Moresque" tea and coffee service was exhibited at the 1867 Paris Exposition Universelle where he won a gold medal for silverware. Moore almost certainly would have been personally involved in this important commission from one of Tiffany's most loyal and high-profile customers in the late 19th century. Moore's vast and pioneering collection of more than 2,000 objects and 500 volumes was donated to the Metropolitan Museum of Art upon his death in 1891 and remains one of the institution's most important bequests.Artwork from Mary Jane Morgan's collection can be found in notable museums and private collections across the country including the Metropolitan Museum of Art (New York), the National Gallery of Art (Washington DC), The Walters Art Museum (Baltimore), Museum of Fine Arts (Boston), and Art Institute of Chicago. HID12701242017
A JAPANESE COMMEMORATIVE FOLDING FAN MEIJI PERIOD, 1893 Made of paper, bamboo sticks, and a brass loop handle, printed to the inside with a panoramic view of the World's Columbian Exposition held in Chicago in 1893, with minute figures amongst the tall buildings and Chicago's skyline in the distance, 33.5cm. The World Fair was held to celebrate the 400th anniversary of Christopher Columbus' arrival in the New World in 1492. Japan took part and built an authentic Japanese pavilion based on the Ho-o-Do (Phoenix Hall) in Kyoto.
A 12-place Colclough 'Ivy Leaf' tea service and two part tea services by New Hall (Hanley) and Honiton Pottery. The 'Ivy Leaf' comprising 13 cups and 14 saucers, 15 plates, two cake plates (23.5 and 26 cm), milk and cream jugs, and sugar bowl. The New Hall 6-place service missing a teacup: 5 cups and 6 saucers, 6 plates, cream jug and sugar bowl. The Honiton Pottery 6-place service missing a teacup: 5 cups and 6 saucers, 6 plates and milk jug. (two boxes)
Hall Type Writer, ab 1881 Hall Type-Writer Co., New York. Amerikanische Index-Schreibmaschine, die als erste wirklich praktische Reiseschreibmaschine der Welt in die Geschichte einging. Serien-Nr. 110*. Einige Teile lose, neue Typengummiplatte, in Original-Holzkasten.– Literatur: Martin, 1949, S. 77. – Sehr gesuchtes Sammlungsstück! Start Price: EUR 300 Zustand: (3-4/4)Hall Type Writer, 1881 onwards Hall Type-Writer Co., New York. Serial no. 110*, American index typewriter, the first truly portable typewriter, some parts loose, new rubber typeface, in original wood case – Literature: Martin, 1949, p. 77. – A very desirable historical collector's item. Start Price: EUR 300 Condition: (3-4/4)
Late Victorian silver engraved presentation trowel with decorative turned and carved facetted ivory handle in leatherette case with silk lining inscribed: “Presented to Morgan B Williams Esq, JP on the occasion of laying the Memorial Stone of the Swansea Working Mens Club & Institute Dec 5th 1885”, marks for Sheffield 1883, maker JEB & W&H (John Edward Bingham for Walker & Hall), overall length 33 cm, total weight 9 oz. Note: Swansea Workingmen’s Club and Institute was built in 1885-86 in French Renaissance style to the designs of Benjamin Williams. The Workingmen’s Club had, it was reported in the South Wales Daily News, ‘outgrown its present commodious premises, and its members have been compelled to erect fresh ones’ and they subsequently relocated to this site. The builder was reported in the Weekly Mail as ‘Mr Billings’ and the memorial stone was laid by Mr. Morgan B. Williams. Redevelopment of the site occurred in 1995-97 to address homelessness amongst young people in Swansea. The new Foyer (now named Tŷ Tom Jones Swansea Foyer) used the former Swansea Working Men’s Club, keeping its original façade
GROUP OF REFERENCE BOOKS ON CHINESE ART. To include: Chinese Art: Volumes I & II by S. W. Bushell, Victoria and Albert Museum Handbooks, 1924; Chinese Porcelain Volumes I & II by W. G. Gulland, London: Chapman & Hall, LD, Fourth Edition 1918; Two copies of International Exhibition of Chinese Art by Royal Academy of Arts London, William Clowes and Sons, Limited, Third Editions; Treasures from the Shanghai Museum: 6,000 Years of Chinese Art, Edited by Rene-Yvon Lefebvre d'Argence, Dai Nippon Printing Co., Ltd. Japan, 1983; Son of Heaven: Imperial Arts of China by Robert L. Thorp, Son of Heaven Press 1988; Chinese Snuff Bottles: From the Collection of the Rt. Hon. The Marquess of Exeter, K.C.M.G, Number Six, Edited by Hugh M Moss, Hugh Moss (Publications) Limited, London, 1974; Jade: A Study in Chinese Archaeology & Religion, Berthold Laufer, Dover Publications, INC., New York, A Handbook of Chinese Art: for collectors and students, by Margaret Medley, G. Bell and Sons Ltd. London, 1964 (11)
A PAIR OF FAMILLE ROSE PLAQUESJiaqing/DaoguangThe tall rectangular plaques each finely enamelled, one with the Hehe erxian holding a string of coins between them, and two sages sitting beneath a gnarled tree, the other plaque with another bearded sage riding a mule with two attendants, all beside a large, gnarled pine tree, wood frames. Without frame, 76.8cm (30 1/4in) long; with frame, 88.1cm (34 3/4in) long. (2).Footnotes:清嘉慶/道光 粉彩道教人物圖瓷板掛屏一對Delicately enamelled with mythical Daoist imagery and a variety of auspicious flowers and birds, the present pair of plaques is imbued with symbolic significance and would have probably been intended as part of a large screen gracing the interior of an Imperial hall. The brilliant enamels and highly naturalistic facial expressions noted on the present lot are features characterising porcelain dating to the Jiaqing and Daoguang emperors.See a related large famille rose plaque, similarly decorated with Immortals, Qianlong, which was sold at Christie's New York, 24 March 2011, lot 1810. See also a related rare and large famille rose plaque, Daoguang, which was sold at Bonhams London, 11 May 2017, lot 216.The present plaques may have been formerly part of a multiple-leaf screen depicting a continuous garden setting scene featuring gathering of immortals or important birthday celebrations. These screens often adorned the various halls of Imperial residencies and would have been made both in the Palace ateliers as well as in Guangdong, either commissioned by the Court of presented as tribute to the Imperial Court. See, for example, a zitan screen inset with famille rose plaques, 19th century, illustrated in Tributes from Guangdong to the Qing Court, Hong Kong, 1987, pl.90. See also the 64 porcelain plaques depicting various Immortal deities, making up the Imperial famille rose twelve-leaf screen, Jiaqing, which was sold at Bonhams London, 11 May 2017, lot 214.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A RARE 'COROMANDEL' LACQUER 'BIRTHDAY BANQUET' TWELVE-LEAF SCREENKangxi, cyclically dated to Guiyou Year, corresponding to 1693 and of the periodExquisitely decorated on the front with a detailed scene of ladies, children and courtiers engaged in various elegant pursuits within a palatial complex, in the central hall sage proffers a large peach to a high official, all enclosed within a border carved with the 'Hundred Antiques', the reverse with calligraphic birthday inscription and the names of donors. Each panel 292cm (115in) high x 47cm (18 1/2in) wide. (12).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價清康熙，一六九三年 款彩慶壽圖十二開圍屏Provenance: Ariane Dandois, ParisGeorge McFadden and McFadden Brothers Partnership, acquired from the above in 1991Christie's New York, 20 October 2011, lot 564來源：巴黎古董商Ariane DandoisGeorge McFadden and McFadden Brothers Partnership，於1991年購自上者紐約佳士得，2011年10月20日，拍品編號564The present lot was commissioned for the Chinese domestic market and not for export (as the term 'Coromandel' implies) as is clearly demonstrated by the lengthy inscription. Such screens were highly expensive and laborious to produce, and were intended for use by high-ranking officials, scholars and gentry who commissioned them to commemorate important events. The present lot appears to have been commissioned by a group of officials who are named on the far left-hand side, for a birthday.The palatial scene on the screen depicts a reception or banquet given by General Guo Ziyi 郭子儀 (697-781), a celebrated figure who was credited with saving the Tang dynasty by putting down the An Shi rebellion. He was later made a prince and eventually deified in popular culture as a God of Wealth and Happiness. He is being presented with a large peach, also symbolic of longevity. The subject would have made this screen a highly appropriate birthday gift.Several 'coromandel' lacquer screens with similar scenes of palaces and processions, Kangxi, are illustrated by W.De Kesel and G.Dhont in Coromandel: Lacquer Screens, Gent, 2002, pp.40-44. See also further examples illustrated by M.Beurdeley, Le Mobilier Chinois: Le Guide du Connaiseur, Fribourg, pp.135-142.See a related twelve-leaf 'Coromandel' lacquer screen with palace scenes, Kangxi, which was sold at Bonhams London, 11 May 2021, lot 250.This lot is subject to the following lot symbols: TPTP Lot 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
![JAMES PIGOT: NORFOLK-NORTHANTS, [1830], 2 works in one, 2 engraved folding maps backed onto linen, modern calf backed cloth +](https://cdn.globalauctionplatform.com/0ec91f86-2237-43d9-9ad7-ae8400f265f4/9543e5cb-9b4b-4a1d-b2e7-ae9101083a5b/468x382.jpg)
JAMES PIGOT: NORFOLK-NORTHANTS, [1830], 2 works in one, 2 engraved folding maps backed onto linen, modern calf backed cloth + ANON: NORWICH IN MINIATURE CONTAINING A BRIEF DESCRIPTION OF THE CITY..., Norwich, J J Sharpe, 1834, 1st edition, folding engraved frontis, folding plate The Population of Norwich, 16mo, contemporary cloth worn, inner joints weak, one copy on COPAC held at The UEA Library + WALTER WHITE: EASTERN ENGLAND FROM THE THAMES TO THE HUMBER, London, Chapman & Hall, 1865, 1st edition, 2 vols, folding frontis maps, original blind stamped green cloth worn, re-cased, new end papers + C S WARD: THE EASTERN COUNTIES, London, Thomas Nelson, 1909, 6th edition, Thorough Guide Series, original limp cloth gilt + GOOSE & SON (PUB): THE NEW DIRECTORY OF NORWICH 1914, ends page 518 and this damaged with small part loss, rebound cloth, this a/f + AUGUSTUS JESSOPP: NORWICH, London, SPCK, 1884, 1st edition, folding frontis map, original cloth gilt (7)
Rowley (Charlotte, nee Shipley, 1811-71). Letter written at Wadi Medani on the Blue Nile, describing some of her experiences there whilst on her honeymoon, April 1 1836, 3pp. and integral blank, unsigned, written from Wadi Medani after she and her husband Richard Rowley (1812-87) have returned from Sanner, the most southerly reach of their journey down the Blue Nile, "sail to Sennaar the banks of the river alive with monkeys & green parrot & river full of crocodiles & hippopotami. Italian medical man said that in Abyssinia they make children more useful than in any other country & turn them into medicine for when the mother has had a bad labour, or does not recover her strength quickly the new born infant is boiled down & the broth drank by its mother", "the natives have a dread of their picture being taken, as they firmly believe that once having got that I can call the original to England whenever I please", "our evenings are spent in sitting out of doors drinking coffee & talking about our English customs to a crowd of Turks & Arabs", she ends the letter with comments on the extraordinary heat they encountered, and that the nails of their shoes become so hot they cannot wear them, slim 8vo, together with:Philadelphia Nonconformist churches, Manuscript supplementary list of Philadelphia's Nonconformist churches in 1838, 3pp. and integral blank, listing 16 churches (Episcopal, Lutheran, Methodist, Presbyterian & Baptist) with name of Pastor for each at the time, location and when founded or built, slim 8vo, together with other miscellaneous 17th-19th ephemera, & documents etc.QTY: (-)NOTE:Charlotte Rowley is allegedly the first white woman to travel the Blue Nile as far as Sanner, 150 miles south of Khartoom. There is no indication on the letter as to whom it is written, but most likely to be a family member. Charlotte was born at Bodrhyddon Hall, Rhuddlan, Flintshire, the daughter of William Shipley and Charlotte Williams-Wynn. Her mother was the daughter of Sir Watkins Williams-Wynn and this letter was found among some papers that emanated from the Williams-Wynn family. Hon. Richard Thomas Rowley (1812-87) was born at Bodrhyddan Hall, Rhuddlan, Flintshire, Wales. He was the son of Clotworthy Rowley, 1st Baron Langford and Frances Rowley. He was a Conservative Party politician serving as Member of Parliament for Harwich from 1860-65. He first married Charlotte Shipley (m. 24 June 1835) and had three children, and secondly Alice Henrietta Berners, daughter of Hugh Berners and Julia Alice Ashton, on 9 July 1872.
Bindings. The Cornish Coast (North) by Charles G. Harper, London: Chapman & Hall, 1910, monochrome plates and illustrations, a few light spots to preliminary leaves, top edge gilt, contemporary maroon half crushed morocco gilt (by Times Book Club), in bright condition, 8vo, together with: Disraeli (Isaac), Curiosities of Literature. A new edition, edited, with memoir and notes, by his son, the Earl of Beaconsfield, 3 volumes, London: Frederick Warne and Co., circa 1880s, marbled edges and endpapers, contemporary dark blue half calf, spines gilt-decorated, a few marks to covers, generally in good condition, 8vo, plus other 19th-century leather bindings, including J. Heneage Jesse, Memoirs of Celebrated Etonians, 2 volumes, 1875, Arthur Penrhyn Stanley, Lectures on the History of the Jewish Church, 3 volumes, mixed editions, 1879-80, W.F.P. Napier, History of the War in the Peninsula and in the south of France, 3 volumes, London, circa 1870s, John Henry Parker, A Guide to the Architectural Antiquities in the neighbourhood of Oxford, 1842, The Plays of William Shakespeare, edited by Thomas Keightley, [& The Poems] of William Shakespeare, edited by Thomas Keightley, 7 volumes, 1868-74, etc., all bound in contemporary gilt-decorated calf or morocco, lightly rubbed (generally in good condition), 8voQTY: (30)
Montholon (Charles-Tristan). History of the Captivity of Napoleon at St. Helena, 4 volumes in 2, New York: E Ferrett & Co, 1846-47, contemporary gift inscription to front blank of volume 2, leaves toned, modern green half morocco gilt, 8vo, together with:Bain (Nicolson). A Detailed Account of the Battles of Quarte Bras, Ligny and Waterloo, 2nd edition, Edinburgh: Michael Anderson, 1819, large hand-coloured folding map, half-title, near-contemporary inscription to half-title, endpapers renewed, modern brown quarter morocco, 8vo, withFarie (Robert). Campaign in France in the year 1792, London: Chapman and Hall, 1849, cartographic frontispiece, armorial bookplate of Charles Wolseley, lightly spotted and toned, contemporary brown half calf, 8vo, with 22 others relatedQTY: (26)
An early 19th century New Hall bone china part dessert service c.1815-20decorated with pattern no 1627, bat printed and painted with baskets of autumn fruit, pale blue border moulded in white with paired birds and scrolling grapevines between gold lines, comprising a twin handled comport, pair of twin handled rectangular dishes, a shell shaped dish, a tureen stand and fourteen plates, (19)comport height 12 cm.Condition: One handled of rectangular twin handled dish repaired. tureen stand with some discolouration, one plate riveted, four with old stable hairlines, one of which has some discolouration and staining to centre, rubbing to gilt
Autographs, mainly on pieces of paper, letters, album pages, a few photos, 1890’s-1930’s, a few later, inc. Entertainment, Music Hall, Clergy, Politicians, Historical, Headmasters, Major Seagrave, Douglas Montgomery, Julia Neilson letters (4) & two envelopes to Garrett Family; Reginald Copleston, Robert Wallace MP, Amelius Lockwood 1st Baron Lambourne, Robert Hale (publisher) letter, Fay Compton, 1st Viscount Burnham, Henry Weldon, Peter Green, Jeremy Thorpe, Clarice Mayne, T.C. Elliott June 1948, Jack Storey, Charles Baring-Gould, Henry Potter Bishop of New York (gen gd) (50+)
Actor, Christopher Walken signed 10x8 colour photograph. Walken; March 31, 1943) is an American actor and comedian who has appeared in more than 100 films and television programs, including Annie Hall (1977), The Deer Hunter (1978), The Dogs of War (1980), Brainstorm (1983), The Dead Zone (1983), A View to a Kill (1985), King of New York (1990), Batman Returns (1992), True Romance (1993), Pulp Fiction (1994), Last Man Standing (1996), Mouse Hunt (1997), Antz (1998), Vendetta (1999), Sleepy Hollow (1999), Joe Dirt (2001), Catch Me If You Can (2002), Click (2006), Hairspray (2007), Seven Psychopaths (2012), the first three Prophecy films, The Jungle Book (2016), and Irreplaceable You (2018). He has received a number of awards and nominations, including the Academy Award for Best Supporting Actor for The Deer Hunter. He was nominated for the same award and won BAFTA and Screen Actors Guild Awards for Catch Me If You Can. His films have grossed more than $1 billion in the United States alone. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
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