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Ireland.- Stewart (John Watson) The Gentleman & Citizens Almanack... for the Year of our Lord 1819, Dublin, 1819 bound with Wilson's Dublin Directory for the Year 1819, engraved folding map at rear, Dublin, 1819 together 2 works in 1 vol., ink stamps on titles, ink inscriptions to endpapers, some spotting, modern boards § Hall (Mr. & Mrs. S.C.) Ireland: Its Scenery, Character, &c., 3 vol., new edition, engraved plates, maps hand-coloured in outline, some light marginal foxing or light finger-soiling, [c.1850]; and 3 others, Carleton's Traits and Stories of the Irish Peasantry, second series, 8vo (7)

AN EARLY 19TH CENTURY BARR WORCESTER YELLOW GROUND SAUCER DISH, printed with 'Country Folk and a NEW HALL SAUCER DISH painted with pattern no. 85( 2).

A NEW HALL PART TEA AND COFFEE SERVICE painted with pattern 446, some pieces marked, comprising of a teapot cover and stand , sucrier and cover, two trios, six coffee cups and five saucers.

POSTCARDS - OVERSEAS Approximately 125 cards, comprising printed views of Le Port et la Cote de Grace, Honfleur; Broadway, San Diego, California; Broadway North from Liberty Street, New York City; Carter-Cotton Building, Vancouver; Market and City Hall, Winnipeg; View of Surf Ave, showing Entrance to Luna Park, Coney Island, N.Y.; Place du Centre, Lannion; and others, (loose).

DICKENS, Charles (1812-1870). The Works of Charles Dickens. Andrew Lang, editor. 34 volumes. [Uniformly bound with:] FORSTER, John (1812-1876). The Life of Charles Dickens. 2 volumes. London & New York: Chapman & Hall, Ld. & Charles Scribner's Sons, [1897-1899], 1904.Together 36 volumes, 8vo (203 x 138 mm). Engraved frontispieces and title-pages, titles-pages printed in red and blank, numerous engraved plates. (Some spotting and occasional chipping.) 20th-century half brown morocco gilt, top edge gilt, others uncut, stamp-signed by H. Sotheran & Co. (some minor staining).The "Gadshill Edition" of Dickens ' works with Forster 's definitive biography of Dickens.

[COLORADO]. HALL, Frank (1836-1918). History of the State of Colorado. Chicago: The Blakely Printing Company, 1889-1895.4 volumes, 4to (253 x 184 mm). Numerous lithographs and photographic reproductions. (Some minor soiling, a few tiny spots.) Contemporary blind-stamped brown morocco gilt edges marbled (some light wear, a few hinges and joints starting, a few with old repairs, spine to vol. I slightly sunned).FIRST EDITION, written by Hall to provide "the historian of the future" with "the most accurate guide which could be furnished during the lifetime of those who planted the seeds of civilization here" in Colorado (Preface, p.v).  [With:]  First Annual Report of the Union Colony of Colorado, including a History of the Town of Greeley .... New York: George W. Southwick, 1871. 8vo. (Some soiling.) Modern brown cloth; original printed wrappers neatly bound-in (chipped, soiled). Provenance: D.B. Ames (signature); Jonny (signature, 1900). FIRST EDITION. Graff 4235; Howes C-608.Property from the Collection of Robert P. Hunter, Jr. and Barbara Hunter, Alpharetta, Georgia

DICKENS, Charles (1812-1870). Sketches by Boz... New Edition, Complete. London: Chapman and Hall, 1839.8vo (210 x 131 mm). Engraved frontispiece, engraved title-page, 38 engraved plates by Cruikshank. (Some light offsetting.) 20th-century calf gilt, brown and tan leather lettering-pieces gilt, edges gilt, stamped-signed by Bretano's (some light rubbing, front cover detaching, a few stains); tan cloth slipcase. Provenance: Brian Douglas Stilwell (bookplate).  FIRST OCTAVO ONE-VOLUME EDITION of The Complete Sketches by Boz. Chapman and Hall acquired the copyright to both series of Sketches by Boz, which they issued in parts with 13 additional illustrations. In May 1839, the series was published in the present one-volume edition (see Smith I:2, p. 16). Gimbel A7.

GOLDMAN, Emma (1869-1940). Living My Life. New York: Alfred A. Knopf, 1934.8vo. Half-title. Original black cloth lettered in red; in unrestored unclipped dust jacket (spine panel faded, a few small chips and tears). Provenance: Lois Hall Herrick (presentation inscription).First single-volume edition, PRESENTATION COPY, INSCRIBED BY GOLDMAN on front free endpaper: "Mrs. Lois Hall Herrick The daughter of a great father. I hope this mark may inspire you to the idealism and humanity of your father. Emma Goldman New York March 1934." Anarchist, writer, and political activist Emma Goldman was pivotal in the development of anarchist political philosophy in North America and Europe in the first half of the 20th century.

[THEATER - MUSICAL]. A group of 5 works by Richard Rodgers and Oscar Hammerstein, comprising:South Pacific a Musical Play. 1949. ASSOCIATION COPY, INSCRIBED OR SIGNED BY JUANITA HALL, SANDRA DEEL, BETTA ST. JOHN, MYRON McCORMICK, ARCHIE SAVAGE, BARBARA LUNA, WILLIAM TABBERT, ROBERT CATAZAL and one unidentified person. -- Allegro a Musical Play. NY: Alfred A Knopf, 1948. -- The King and I a Musical Play. 1951. -- Me and Juliet. 1953. -- The Sound of Music a New Musical Play. 1960. -- Together, 5 works in 5 volumes, most published in New York by Random House, various 8vo sizes, all illustrated, all in original cloth or quarter cloth, all in unrestored dust jackets (most unclipped), ALL FIRST EDITION, most FIRST ISSUE, condition generally fine.  

[AFRICAN AMERICANA]. ARMSTRONG, Louis (1901-1971). Satchmo: My Life in New Orleans. New York: Prentice-Hall, Inc., 1954.8vo. Photographic plates. Original boards; in unrestored dust jacket (price-clipped, minor toning, small chips or tears at edges). Provenance: Josh (presentation inscription).   FIRST EDITION, second printing, PRESENTATION COPY, INSCRIBED BY LOUIS ARMSTRONG on half-title: "To Josh, The old Dixie jazz-band from New Orleans!! Your friend Louis Armstrong ("Satchmo").  

*EDNA CLARKE-HALL (1879-1979) Still life study of candlesticks and fruit on a table in an interior watercolour and pencil, 29cm x 37.5cm Provenance: With Max Rutherston, New Bond Street, LondonPrivate collection, Lennox Gardens London SW1Cf: For a similar work please see lot 79, Duke's, Art & Design post 1880, 19th March 2020

A collection of mostly second world war era posters from the Oxford area. Includes a Variety show at the town hall in July 1941, a Christmas carol concert at the town hall in December 1940, a new years eve ball in December 1941, a dance at the Randolph hotel December 1941, a pianoforte recital by Joseph Weingarten at the town hall and a performance by Aliska Hubsh at the town hall in 1941. Also includes a City of Oxford & District Motor Bus Service, motor bus timetable commencing April 4th 1927, surrounded by local advertising.

Ernest Procter A.R.A. (British 1885-1935) The Long Range Bombardment of Dunkirk, circa 1918 signed, indisctinctly dated and inscribed 'FRANCE' (lower right), oil on canvas(49cm x 59.5cm (19.3in x 23.4in))Footnote: Literature: TIS, 'About Dod & Ernest Procter', Colour, April 1919, vol. 10, no.3, p. 51 (illustrated) This major work is the long-lost The Long Range Bombardment of Dunkirk which has recently come to light in a private collection. As Elizabeth Knowles has explained ‘Ernest [Procter] made relatively few major oil paintings of war subjects, perhaps the most notable being The Long Range Bombardment of Dunkirk from sketches and notes made on the spot. (Elizabeth Knowles, ‘Ernest Procter ARA 1886-1935’, Dod Procter RA 1892-1982 and Ernest Procter ARA 1886-1935, Laing Art Gallery, Newcastle-upon-Tyne, 1990, p. 32). Ernest Procter was born in Tynemouth, Northumberland into a Quaker family. He trained at Leeds Art School and then under Stanhope Forbes in Newlyn, where he met the artist Doris ‘Dod’ Shaw (1890-1972). They furthered their studies at the Académie Colarossi in Paris and married in 1912; Dod was thereafter known by her married name and their son Bill was born the following year. The couple worked and exhibited together, most significantly on the decoration of the Kokine Palace, Rangoon, Burma in 1919-20 and in joint exhibitions held at The Fine Art Society and the Leicester Galleries in 1913 and 1926 respectively. Following the Procters’ return from Burma, Ernest established an art school in Newlyn with Harold Harvey (1874-1971), which they ran until the mid-1920s. Procter played a leading role in the Cornish art world, whilst maintaining a high profile in London. He was a member of the St Ives Society of Arts and Newlyn Society of Artists, joined the New English Art Club in 1929 and was elected an Associate Member of the Royal Academy three years later. He was best known for the allegorical figure compositions and landscapes which were regularly shown in group exhibitions such as those at the Royal Glasgow Institute, Royal Hibernian Academy and the International Society of Sculptors, Painters & Gravers. In 1934, Procter was appointed Director of Studies in Design and Craft at Glasgow School of Art, but he died the following year. Memorial exhibitions were mounted at the Leicester Galleries and Laing Art Gallery, Newcastle. In line with his religious beliefs, Procter declared himself a conscientious objector on the outbreak of World War One. The Friends' Ambulance Unit was established soon afterwards by a group of young Quakers, as a means for civilian volunteers to contribute to the war effort in a non-violent way. The Unit travelled to Dunkirk in October 1914 under the auspices of the British Red Cross Society and the Order of St John of Jerusalem. Procter’s personnel records reveal that he joined it on 11 April 1916, arrived in Dunkirk on 12 June 1916 and served until his demobilisation on 2 February 1919. His duties included care of the wounded, ambulance maintenance and quartermaster tasks. He also designed and decorated Red Cross huts and camp entertainment, whilst recording his experiences in sketches, drawings and paintings as circumstances permitted. Towards the end of the war, Procter applied to the Ministry of Information for a permit to depict the work of the Red Cross on the Western Front. He was engaged under Scheme 3 of the British War Memorials Committee, whereby in return for facilities, Procter was to offer the first option on all the work he made to the committee, with no salary or expenses. His permit was granted in November 1918. This gave him just a few months before demobilisation to produce the work he carried out for the Royal Army Medical Corps section and was presented for approval in February 1919; six watercolours were acquired and are now in the collection of the Imperial War Museum. They are held alongside a significant number of Procter’s World War One drawings and one of his sketchbooks from the period (see https://www.iwm.org.uk/collections/search?query=ernest+procter&pageSize=30&media-records=all-records&style=list accessed 1 April 2022). Long Range Bombardment of Dunkirk is thought to be an extraordinarily personal and direct account of the major German offensive against the French city which took place over 20 to 23 March 1918, culminating in the use of a German long-range gun situated twenty miles away. Indeed, the painting could act as an illustration of the diary entry for 24 March 1918 written by Procter’s friend Molly Evans (1890-1974), who served as a Voluntary Aid Detachment nurse with the Friends’ Ambulance Unit based in the local Queen Alexandra Hospital. This concludes ‘unending stream of sorting people, carrying bedsteads, personal belongings, mixed up. Glorious sunny day. Queer scene. Frenchmen, lunatics, Chinese carrying things on bamboo sticks, nuns, English sisters, patients, officers, orderlies, all collecting ‘goods’, a procession of Chinese carrying 7 coffins through it all. Crashing shells at intervals. A weary & never-to-be-forgotten day.’ (see https://www.morganfourman.com/articles/hospital-evacuation-under-fire-dunkirk-20-23-mar-1918/ accessed 26 March 2022). Seen from the point of view of the fleeing civilians whom Procter was in the region to aid, he depicts the nearby dunes strewn with refugees and members of the military, streaming away from the city which burns in the background. The towers of the church of Saint Éloi and the town hall are visible in the skyline – of which an annotated sketch is in the Imperial War Museum’s archive (War Artist Archive: Ernest Procter, ART/WA1/298, 'Belgium misc’ portfolio). The image is full of sensitively observed human relationships, between adults and children of all ages, interspersed with animals. Children play whilst grown-ups survey the scene before them, overlooked by a cross on a dune to the upper left, which may refer to Christ’s crucifixion at Calvary. Sunshine and shadow are captured over the flow of the dunes, whilst a use of bold colour, including red, green, pink and orange, attracts the eye throughout the complex composition. The importance of Long Range Bombardment of Dunkirk was recognised immediately. It was reproduced in colour and singled out for extensive praise in an article about Ernest and Dod Procter in Colour of April 1919, in which its author wrote that, despite the tragedy of its subject matter: ‘I…consider his “Long Range Bombardment of Dunkirk” a really remarkable picture…To begin with, it is extraordinarily attractive at the first glance. The eye taking in the whole picture at once is fascinated by its arrangement of colour patterns: there is something Japanese in its composition and even in its colour. Once attracted the eye begins to inform the mind and the mind browses over every square inch, taking in every anecdote, every pictorial detail, wondering how it was possible to combine so much pure art with so much pure story – and every artist must be delighted with the ingenious manner in which he has contrived to make the many-figured whole hang together as one thing. He comes near to Peter Brueghel in his incidents, but Peter Brueghel could not have reached him in composition. This Bombardment I say again is a remarkable picture.’ (“TIS”, 'About Dod & Ernest Procter', Colour, April 1919, vol. 10, no.3, p. 51 (illustrated) & p.52). Procter was to develop the narrative richness, orchestration of complex figure groups and skilful use of colour seen in this work in further major paintings created after his return to Cornwall, including On the Beach at Newlyn, 1919 and Cornish Beach Scene, c.1922, both in private collections. His work is held in numerous public collections.Provenance:Private Collection, Scotland.Believed to have been purchased in 1948, and by descent in the same family to the current owner.

Edmund de WaalCylinder, circa 2000Porcelain, pale blue celadon glaze with unglazed band around the interior rim, and pinched ridge with blue stain.12.6 cm high, 11 cm diameterImpressed with artist's marks.Footnotes:ProvenanceAcquired directly from the artist by the present ownerAn Important Collection of Edmund de Waal By Emma Crichton-Miller Arts writer, editor, journalist and contributor to the 2014 Edmund de Waal monograph. The turn of the millennium marked a decisive shift in the work of the acclaimed potter and writer, Edmund de Waal. Until then, de Waal had become known amongst a growing band of admirers for his mastery of single thrown porcelain vessels fired in a pale blue celadon glaze. Each unique, these represented variations on a range of forms - cylinders, bowls, lidded jars, tea pots, bottles - which owed some of their lineage to ancient Chinese, Japanese and Korean examples and some to the High Modernist tenets of Bauhaus directors Walter Gropius and Ludwig Mies van der Rohe. Some of these pots veered more steeply towards abstraction, others were modestly practical. While they might increasingly have been grouped in what de Waal referred to as 'cargoes' at selling exhibitions at Egg in Kinnerton Place, in 1996, London, and the Scottish Gallery, in Edinburgh, in 1998, these were sold individually as items of craft. From 2000 onwards, however, and certainly by 2005, the date of the two leaning vessels in this collection, titled as a single work, 'In a Dark Wood' (lot 56), de Waal's principal preoccupation has been the creation of conceptual art works from assemblies of pots. This collection of pots (lots 36-58) all made between 2000 and 2005 thus marks a precious and fertile moment in de Waal's career. It was the period when he was beginning to articulate, both in writing and in exhibitions of his and others' work, his growing interest not so much in what a pot might be but what it might express. In 1999 de Waal, who, born in 1964, has been making pots since the age of five, was invited to show his work at High Cross House in Devon. The pioneering Modernist house, designed by the Swiss–American architect William Lescaze and completed in 1932, was commissioned by the noted philanthropist Leonard Elmhirst, founder of the Dartington Hall Trust. This was to be his first public exhibition. But rather than simply exhibiting his pots alongside works from the Trust's collection, de Waal seized the opportunity to use the whole house as a space for an intervention, creating an entirely new body of work in response to its specific architectural qualities. These pots were distinguished by a small square mark, to underline their new purpose and identity, as opposed to the oriental marks the artist had been using and which you can also see here on these later pots. De Waal wrote in the catalogue that the exhibition reflected his own realisation, that the 'real life' of pots is considerably more fluid than the 'functionalism' ascribed to them. That many pots made ostensibly for use actually had more symbolic meanings and that their display was highly charged. Even kitchen cupboards could act as condensed still lives of objects.' Their primary symbolic function, perhaps, is as vessels. De Waal is an artist committed to the vessel form. He said in an interview in 2004, what happens when you throw a pot, is that 'what you're doing is actually, of course, making an inside and an outside simultaneously, which doesn't happen in very many other places in art. You're making a volume in a very short period of time, you're creating an internal space'. These internal spaces echo our own intuitive feeling of being containers - explaining the special kinship human beings have felt with vessel forms throughout human history. In the shift we see between 1999 and 2005, however, de Waal's focus on the internal space within the pot enlarged to encompass an interest also in the external spaces between pots and then between pots and the architectural spaces they inhabit. All were capable of being activated to express ideas - from concrete images of cargo ships laden with porcelain from the Far East to the most abstract philosophical, musical or poetic ideas. This larger focus became explicit in 2002, when de Waal produced an entire Porcelain Room for the Geffrye Museum in east London. Inspired equally by the idea of the ornate Kunstkammer or Cabinets of Curiosities baroque princes built to house their porcelain and other treasures and the minimalist, constructivist art of Donald Judd and Carl André, de Waal created an entire environment. He wrote at the time, 'I tried to create an installation in which the pots define the structure of the space. The room pushes at the architectural elements, opens up the walls and the floor and the ceiling and the windows as places for the pots to be'. As he has said, 'It was a no-going-back moment. I couldn't return to discrete, domestic pots'. So the discrete pots we see here, poised on the cusp between functional domestic ware and symbolic objects to be deployed and understood in a larger conceptual framework, have a particular poignant potency. They are transitional pieces. As if to underline their momentousness, in 2007 the collector acquired at auction the aptly named pair of elongated leaning vessels, 'In a Dark Wood' (lot 56), created in 2005. The title echoes the opening lines of the first canto of Dante's epic poem, The Divine Comedy: 'In the middle of the journey of our life, I came to myself, in a dark wood, where the direct way was lost'. For the five years during which these pots were made, de Waal had been in the middle of the journey of his own life, wrestling with the direction his work should take. By 2005, he knew.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Follower of FRANCISCO DE ZURBARÁN (Fuente de Cantos, Badajoz, 1598 - Madrid, 1664)."Saint John the Baptist accompanied by an angel".Oil on canvas.Measurements: 116 x 72 cm; 134 x 90 cm (frame).Picture of sober character in which the author shows the presence of only two figures. In the foreground a kneeling angel carries his hand to his chest in a pious attitude. This pose is reminiscent of the Archangel Gamaliel, painted by Zurbarán and now in the collection of the Museo Nacional de Colombia. Behind the angel, in profile, the figure of Saint John the Baptist can be seen, with his usual red tunic, lambskin and phylactery. The Gospels say that John the Baptist was the son of the priest Zechariah and Elizabeth, cousin of the Virgin Mary. He retired at a very young age to the desert of Judea to lead an ascetic life and preach penance, and recognised in Jesus, who was baptised by him, the Messiah announced by the prophets. A year after Christ's baptism, in the year 29, John was arrested and imprisoned by the tetrarch of Galilee Herod Antipas, whose marriage to Herodias, his niece and sister-in-law, he had dared to censure. Finally St. John was beheaded, and his head given to Salome as a reward for his beautiful dances. This saint appears in Christian art in two different guises: as a child, a playmate of Jesus, and as an adult, an ascetic preacher. The adult Saint John depicted here is dressed in Eastern art in a camel-skin sackcloth, which in the West was replaced by a sheepskin, leaving his arms, legs and part of his torso bare. The red cloak he wears at times, as well as in the scene of his intercession at the Last Judgement, alludes to his martyrdom. In Byzantine art he is depicted as a large-winged angel, with his severed head on a tray held in his hands. However, his attributes in Western art are very different. The most frequent is a lamb, which alludes to Jesus Christ, and he often carries a cross of reeds with a phylactery with the inscription "Ecce Agnus Dei".The technical characteristics of the work are influenced by the style of Francisco de Zurbarán's workshop. He trained in Seville, where he was a pupil of Pedro Díaz de Villanueva between 1614 and 1617. During this period he had the opportunity to meet Pacheco and Herrera and to establish contacts with his contemporaries Velázquez and Cano, apprentices like himself in Seville at the time. After several years of diverse apprenticeship, Zurbarán returned to Badajoz without undergoing the Sevillian guild examination. He settled in Llerena between 1617 and 1628, where he received commissions both from the municipality and from various convents and churches in Extremadura. In 1629, at the unusual suggestion of the Municipal Council, Zurbarán settled permanently in Seville, marking the beginning of the most prestigious decade of his career. He received commissions from all the religious orders present in Andalusia and Extremadura, and was finally invited to the court in 1634, perhaps at Velázquez's suggestion, to take part in the decoration of the great hall of the Buen Retiro. On returning to Seville, Zurbarán continued to work for the court and for various monastic orders. In 1658, probably prompted by the difficulties of the Sevillian market, he moved to Madrid. Francisco de Zurbarán is represented in the most important art galleries around the world, such as the Prado Museum, the Metropolitan Museum in New York, the Louvre, the Hermitage in St Petersburg and the National Gallery in London, among many others.

Ɵ WEYMAN, Stanley J. (1855 - 1928). A Gentleman of France Being the Memoirs of Gaston de Bonne Sieur de Marsac. Presentation copy to Rudyard Kipling. 1894. New Edition, 8vo, (191 x 140mm), original bevelled green cloth, INSCRIBED by the author in black ink on front free e/p., 'Rudyard Kipling / from the Author / Dec. 1894', frontispiece with tissue guard, vignette title page, printed from American plates at the Aberdeen University Press, 412pp., plus 24pp. publisher's adverts at rear. Referenced in volume 2 of Thomas Pinney's edited 'Letters of Rudyard Kipling', where Rudyard Kipling writes to Weyman on January 3, 1895, thanking him for the gift of his book. 'I took the afternoon off (and) sat down to a decent volume and showed not till teatime.'; BARRIE, J.M. (1860 - 1937). When A Man's Single A Tale of Literary Life. Rudyard Kipling Association copy. (ca. 1888). original blue cloth, top edge gilt, bookplate of Rudyard Kipling, designed by his father John Lockwood Kipling 303pp; KIPLING, Rudyard. (1865 - 1936). GILLET, Louis. [Translator]. (1876 - 1943). Souvenirs de France. Presentation copy from Louis Gillet to Lady Milner. (1933). eleventh edition as stated, (172 x 105mm), green cloth, gilt lettering to leather panel on spine, original paper wrapper lettered in black and blue bound in, INSCRIBED in French, to Lady Milner by Louis Gillet on half-title, 'To Lady Milner, / a souvenir of your friend Kipling . . . / Louis Gillet / 24 Mai, 34', half-title French text, 135pp. Kipling and Sir Alfred Milner (later Lord Milner) became associated in 1898 when Sir Alfred, as the Queen's High Commissioner, welcomed the Kiplings to South Africa for the European winter; KIPLING, Rudyard. Departmental Ditties and other Verses. 1899. first edition, The Sixpenny Series, 8vo, (208 x 147mm), original blue cloth, 126pp; Traffics and Discoveries. 1904. first edition, 8vo, (205 x 140mm), original red cloth, gilt, gilt top, half-title, title page printed in red and black, 393pp., plus 22pp. publisher's adverts at rear; The Dead King. 1910. first edition, 8vo, (205 x 145mm), original lavender card wrappers, vignette half-title, decorative title page and borders to every leaf printed on rectos only, by W. Heath Robinson, 42pp. Sea Warfare. 1916. first edition, 8vo, (195 x 140mm), original blue cloth, edges untrimmed, half-title, 222pp., plus 4pp. adverts at rear. A collection of articles on naval endeavours, with the poems which accompanied them in their serial publications. Stewart 400; KIPLING, Rudyard. A Diversity of Creatures. 1917. first edition, 8vo, (233 x 140mm), original red cloth, gilt, gilt top, half-title, title page printed in red and black with ink ownership 'Regina Miriam Bloch', a further 4 line ink inscription in the same hand to verso of half-title, 'To avoid the Rain, he / stood under the / Sprout. / [Afghan Proverb]', 442pp., plus 4pp. adverts at rear; CHARLES, Cecil. Rudyard Kipling. His Life and Works. (ca. 1911). first edition, 8vo, (194 x 125mm), white linen backed grey card boards, foredge untrimmed, half-title, portrait frontispiece and an illustration of Kipling's vigorous proof correction when editor of 'The Friend' on thick grey paper, half title, 499pp; BEERBOHM, Max. (1872 - 1956). A Christmas Garland. 1922. 8vo, (192 x 147mm), original blue cloth,gilt, foredge untrimmed, half-title, title page printed in red and black, 197pp; KERNAHAN, Coulson. (1858 - 1943). Six Famous Living Poets. Introductory Studies, illustrated by Quotation and Comment. 1933. Keystone Library edition, second impression, 8vo, ( 227 x 155mm), original blue cloth, foredge and lower edge untrimmed, photo. illustrations, includes works by John Masefield, Rudyard Kipling, Henry Newbolt, Maurice Baring, Alfred Noyes and John Drinkwater, 286pp; HUTTON, Maurice. (1856 - 1940). Many Minds. (ca. 1940). 8vo, (222 x 153mm), original red cloth, gilt lettering to spine, a Christmas gift inscription with a small gift card pasted to front free e/p., half-title, 300pp;  (Qty. 12)           Condition Report: 1.. A Gentleman of France - boards marked and cocked, corners scuffed, spine bumped head/tail, front pastedown with residue of a removed bookplate, foxing to edges, foxing to tissue guard with further foxing throughout, heavier to some pages. 2. When A Man's Single - clean bright boards with light marks, corners scuffed, spine bumped head/tail, light marks to margin of bookplate, with blue ink stamp of Scarning Village Hall to front pastedown, with the letters 'V' and 'I' stamped within the r.h. edge of the bookplate, foxing to e/ps., and further occasional foxing and marks internally.  3. Souvenirs de France - clean bright cloth, corners a little scuffed, spine with small scuff to centre and bumped head/tail, light marks to paper wrapper, o/w. internally clean. 4. Departmental Ditties and other Verses - boards with light marks, corners a little scuffed, spine bumped head/tail, browning to e/ps., toning to edges and pages, o/w. internally clean. 5. Traffics and Discoveries - clean bright cloth, spine bumped head/tail, light foxing to edges affecting some leaf edges, internally clean. 6. The Dead King - wrappers darkened at edges, with light marks, corners a little scuffed, spine darkened and bumped head/tail, occasional light foxing, o/w. internally clean. 7. Sea Warfare - cloth bright with marginal marks, corners a little scuffed, spine bumped at tail, foxing to edges, occasional light foxing internally. 8. A Diversity of Creatures - clean cloth with darkening to edges of boards, spine bumped head/tail, foxing to edges affecting leaf edges, joint split to front pastedown, toning and foxing to e/ps., toning to leaf edges, o/w. internally clean. 9. Rudyard Kipling His Life and Works - clean bright boards, corners bumped, darkening to spine and bumped head/tail, light foxing to edges and e/ps., o/w. internally clean. 10. A Christmas Garland, clean bright cloth and gilt, boards a little marked, corners slightly scuffed, pine bumped head/tail, foxing to edges affecting leaf edges, further occasional light foxing to some pages.  11. Six Famous Living Poets - bright clean cloth with white marks to edge of lower cover, corners a little scuffed, spine bumped head/tail, foxing to edges, further foxing throughout, some heavier in places not affecting the photo. illustrations. 12. Many Minds - cloth marked and stained, corners a little scuffed, spine bumped head/tail, browning to e/ps., joint cracked at pp.128-129, light foxing.      Condition Report Disclaimer

OPAL AND DIAMOND PENDANT, 19TH CENTURYOf openwork scrolling design, set with variously shaped opal cabochons and opal beads and cushion-shaped, old brilliant and rose-cut diamonds, the largest circular opal at the centre, suspending a heart-shaped opal pendant drop, diamonds approx. 1.15cts total, length 9.2cmFootnotes:Provenance:Lady Mary Trefusis, née Lygon (26 February 1869–12 September 1927) This pendant was given to Lady Mary by HM Queen Mary. Lady Mary wears it in a photograph taken of her as Mayoress of Worcester in 1896.Lady Mary was an English musician and courtier. She was a daughter of the 6th Earl Beauchamp and married Lt.-Col. Henry Walter Hepburn-Stuart-Forbes-Trefusis (a son of the 20th Baron Clinton) in 1905.Lady Mary was a close friend and correspondent of her brother William Lygon, 7th Earl Beauchamp (1872-1938), who, along with other members of the glamorous Lygon family were Evelyn Waugh's inspiration for the Marchmain family in his masterpiece Brideshead Revisited. Brother and sister were Mayor and Mayoress of Worcester from 1895 to 1896 and when, in 1899, Lord Beauchamp travelled to Australia to be governor of New South Wales she travelled with him and acted as his hostess. Lady Mary was a friend and promoter of the composer Edward Elgar and is commemorated anonymously in one of his Enigma Variations entitled 'Romanza (***)'. In addition she worked closely with many well-known musicians of the day: Sir Hubert Parry, Cecil Sharp, Sir Charles Villiers Stanford, Martin Shaw, Peter Warlock, to name but a few. She was the first Secretary of the English Folk Dance Society (founded 1911) and was for a time a collector of English folk dances. Trefusis Hall, in the English Folk Dance & Song Society's headquarters, Cecil Sharp House, is named after her. She directed a number of choirs and was the joint founder of the Association of Competitive Festivals in 1904 (Mary Wakefield was the other founder). As Lady of the Bedchamber to HM Queen Mary, Lady Mary accompanied the Queen on many State occasions. The diamond and pearl necklace, by Garrard, (lot 27) was given to her by her husband as a wedding present. Lady Mary may well have worn it, and other pieces of jewellery, when she accompanied the Princess of Wales (later Queen Mary) to the Coronation of King Haakon of Norway in 1905 and at the Coronation of George V in 1911.For further information on this lot please visit Bonhams.com

RUBY, DIAMOND AND ENAMEL JEWEL, CIRCA 1890In the Renaissance Revival style, the lozenge-shaped openwork scrolling plaque, decorated with green-blue iridescent enamel and white and black enamel spots, accented by cushion-shaped ruby and old brilliant-cut diamonds, maker's mark AP (rubbed) in an applied plaque, pin fitting deficient, length 4.2cmFootnotes:Provenance:Lady Mary Trefusis, née Lygon (26 February 1869–12 September 1927) This lot was a gift to Lady Mary from the City of Worcester.Lady Mary was an English musician and courtier. She was a daughter of the 6th Earl Beauchamp and married Lt.-Col. Henry Walter Hepburn-Stuart-Forbes-Trefusis (a son of the 20th Baron Clinton) in 1905.Lady Mary was a close friend and correspondent of her brother William Lygon, 7th Earl Beauchamp (1872-1938), who, along with other members of the glamorous Lygon family were Evelyn Waugh's inspiration for the Marchmain family in his masterpiece Brideshead Revisited. Brother and sister were Mayor and Mayoress of Worcester from 1895 to 1896 and when, in 1899, Lord Beauchamp travelled to Australia to be governor of New South Wales she travelled with him and acted as his hostess. Lady Mary was a friend and promoter of the composer Edward Elgar and is commemorated anonymously in one of his Enigma Variations entitled 'Romanza (***)'. In addition she worked closely with many well-known musicians of the day: Sir Hubert Parry, Cecil Sharp, Sir Charles Villiers Stanford, Martin Shaw, Peter Warlock, to name but a few. She was the first Secretary of the English Folk Dance Society (founded 1911) and was for a time a collector of English folk dances. Trefusis Hall, in the English Folk Dance & Song Society's headquarters, Cecil Sharp House, is named after her. She directed a number of choirs and was the joint founder of the Association of Competitive Festivals in 1904 (Mary Wakefield was the other founder). As Lady of the Bedchamber to HM Queen Mary, Lady Mary accompanied the Queen on many State occasions. The diamond and pearl necklace, by Garrard, (lot 27) was given to her by her husband as a wedding present. Lady Mary may well have worn it, and other pieces of jewellery, when she accompanied the Princess of Wales (later Queen Mary) to the Coronation of King Haakon of Norway in 1905 and at the Coronation of George V in 1911.For further information on this lot please visit Bonhams.com

AMETHYST, PEARL AND DIAMOND PENDANT, CIRCA 1910The amethyst drop inset with a spiral of rose-cut diamonds, terminating in a seed pearl finial, length 3.0cmFootnotes:Provenance:Lady Mary Trefusis, née Lygon (26 February 1869–12 September 1927) This pendant is very similar to a miniature egg by Carl Fabergé illustration in Bennett/Mascetti, 'Understanding Jewellery', Woodbridge, 2003, page 250, plate 401. See also Snowman, Kenneth, 'Fabergé: Lost and Found', New York, 1993, page 92 for a design drawing of another similar example.Lady Mary was an English musician and courtier. She was a daughter of the 6th Earl Beauchamp and married Lt.-Col. Henry Walter Hepburn-Stuart-Forbes-Trefusis (a son of the 20th Baron Clinton) in 1905.Lady Mary was a close friend and correspondent of her brother William Lygon, 7th Earl Beauchamp (1872-1938), who, along with other members of the glamorous Lygon family were Evelyn Waugh's inspiration for the Marchmain family in his masterpiece Brideshead Revisited. Brother and sister were Mayor and Mayoress of Worcester from 1895 to 1896 and when, in 1899, Lord Beauchamp travelled to Australia to be governor of New South Wales she travelled with him and acted as his hostess. Lady Mary was a friend and promoter of the composer Edward Elgar and is commemorated anonymously in one of his Enigma Variations entitled 'Romanza (***)'. In addition she worked closely with many well-known musicians of the day: Sir Hubert Parry, Cecil Sharp, Sir Charles Villiers Stanford, Martin Shaw, Peter Warlock, to name but a few. She was the first Secretary of the English Folk Dance Society (founded 1911) and was for a time a collector of English folk dances. Trefusis Hall, in the English Folk Dance & Song Society's headquarters, Cecil Sharp House, is named after her. She directed a number of choirs and was the joint founder of the Association of Competitive Festivals in 1904 (Mary Wakefield was the other founder). As Lady of the Bedchamber to HM Queen Mary, Lady Mary accompanied the Queen on many State occasions. The diamond and pearl necklace, by Garrard, (lot 27) was given to her by her husband as a wedding present. Lady Mary may well have worn it, and other pieces of jewellery, when she accompanied the Princess of Wales (later Queen Mary) to the Coronation of King Haakon of Norway in 1905 and at the Coronation of George V in 1911.For further information on this lot please visit Bonhams.com

AMETHYST AND DIAMOND BROOCH/CLASP, LATE 19TH CENTURYThe large octagonal step-cut amethyst within a scalloped surround of old brilliant, single and rose-cut diamonds, probably the clasp of a necklace or bracelet, detachable brooch fitting, length 3.5cmFootnotes:Provenance:Lady Mary Trefusis, née Lygon (26 February 1869–12 September 1927) This jewel was given to Lady Mary by HM Queen Alexandra.Lady Mary was an English musician and courtier. She was a daughter of the 6th Earl Beauchamp and married Lt.-Col. Henry Walter Hepburn-Stuart-Forbes-Trefusis (a son of the 20th Baron Clinton) in 1905.Lady Mary was a close friend and correspondent of her brother William Lygon, 7th Earl Beauchamp (1872-1938), who, along with other members of the glamorous Lygon family were Evelyn Waugh's inspiration for the Marchmain family in his masterpiece Brideshead Revisited. Brother and sister were Mayor and Mayoress of Worcester from 1895 to 1896 and when, in 1899, Lord Beauchamp travelled to Australia to be governor of New South Wales she travelled with him and acted as his hostess. Lady Mary was a friend and promoter of the composer Edward Elgar and is commemorated anonymously in one of his Enigma Variations entitled 'Romanza (***)'. In addition she worked closely with many well-known musicians of the day: Sir Hubert Parry, Cecil Sharp, Sir Charles Villiers Stanford, Martin Shaw, Peter Warlock, to name but a few. She was the first Secretary of the English Folk Dance Society (founded 1911) and was for a time a collector of English folk dances. Trefusis Hall, in the English Folk Dance & Song Society's headquarters, Cecil Sharp House, is named after her. She directed a number of choirs and was the joint founder of the Association of Competitive Festivals in 1904 (Mary Wakefield was the other founder). As Lady of the Bedchamber to HM Queen Mary, Lady Mary accompanied the Queen on many State occasions. The diamond and pearl necklace, by Garrard, (lot 27) was given to her by her husband as a wedding present. Lady Mary may well have worn it, and other pieces of jewellery, when she accompanied the Princess of Wales (later Queen Mary) to the Coronation of King Haakon of Norway in 1905 and at the Coronation of George V in 1911.For further information on this lot please visit Bonhams.com

TURQUOISE-SET SNAKE BANGLE, 19TH CENTURYThe sprung bangle formed of ropetwist coils studded with turquoise cabochons, the head with engraved scales, the eyes set with circular-cut red gemstones, inner circumference approx. 16.0cmFootnotes:Provenance:Lady Mary Trefusis, née Lygon (26 February 1869–12 September 1927)Lady Mary was an English musician and courtier. She was a daughter of the 6th Earl Beauchamp and married Lt.-Col. Henry Walter Hepburn-Stuart-Forbes-Trefusis (a son of the 20th Baron Clinton) in 1905.Lady Mary was a close friend and correspondent of her brother William Lygon, 7th Earl Beauchamp (1872-1938), who, along with other members of the glamorous Lygon family were Evelyn Waugh's inspiration for the Marchmain family in his masterpiece Brideshead Revisited. Brother and sister were Mayor and Mayoress of Worcester from 1895 to 1896 and when, in 1899, Lord Beauchamp travelled to Australia to be governor of New South Wales she travelled with him and acted as his hostess. Lady Mary was a friend and promoter of the composer Edward Elgar and is commemorated anonymously in one of his Enigma Variations entitled 'Romanza (***)'. In addition she worked closely with many well-known musicians of the day: Sir Hubert Parry, Cecil Sharp, Sir Charles Villiers Stanford, Martin Shaw, Peter Warlock, to name but a few. She was the first Secretary of the English Folk Dance Society (founded 1911) and was for a time a collector of English folk dances. Trefusis Hall, in the English Folk Dance & Song Society's headquarters, Cecil Sharp House, is named after her. She directed a number of choirs and was the joint founder of the Association of Competitive Festivals in 1904 (Mary Wakefield was the other founder). As Lady of the Bedchamber to HM Queen Mary, Lady Mary accompanied the Queen on many State occasions. This bracelet was Lady Mary's engagement bracelet. Throughout the 19th century the bracelet was the premier jewel of sentiment; the snake motif representative of eternity.The diamond and pearl necklace, by Garrard, (lot 27) was given to Lady Mary by her husband as a wedding present. Lady Mary may well have worn it, and other pieces of jewellery, when she accompanied the Princess of Wales (later Queen Mary) to the Coronation of King Haakon of Norway in 1905 and at the Coronation of George V in 1911.For further information on this lot please visit Bonhams.com

LONGCHAIN AND WATCH CHAIN WITH PROPELLING PENCIL PENDANT1st: Of trace-linking,2nd: The pencil with bloodstone plaque longchain length 180.0cm, pencil length 7.8cm, watch chain length 38.5cm (2)Footnotes:Provenance:Lady Mary Trefusis, née Lygon (26 February 1869–12 September 1927)Lady Mary was an English musician and courtier. She was a daughter of the 6th Earl Beauchamp and married Lt.-Col. Henry Walter Hepburn-Stuart-Forbes-Trefusis (a son of the 20th Baron Clinton) in 1905.Lady Mary was a close friend and correspondent of her brother William Lygon, 7th Earl Beauchamp (1872-1938), who, along with other members of the glamorous Lygon family were Evelyn Waugh's inspiration for the Marchmain family in his masterpiece Brideshead Revisited. Brother and sister were Mayor and Mayoress of Worcester from 1895 to 1896 and when, in 1899, Lord Beauchamp travelled to Australia to be governor of New South Wales she travelled with him and acted as his hostess. Lady Mary was a friend and promoter of the composer Edward Elgar and is commemorated anonymously in one of his Enigma Variations entitled 'Romanza (***)'. In addition she worked closely with many well-known musicians of the day: Sir Hubert Parry, Cecil Sharp, Sir Charles Villiers Stanford, Martin Shaw, Peter Warlock, to name but a few. She was the first Secretary of the English Folk Dance Society (founded 1911) and was for a time a collector of English folk dances. Trefusis Hall, in the English Folk Dance & Song Society's headquarters, Cecil Sharp House, is named after her. She directed a number of choirs and was the joint founder of the Association of Competitive Festivals in 1904 (Mary Wakefield was the other founder). As Lady of the Bedchamber to HM Queen Mary, Lady Mary accompanied the Queen on many State occasions. The diamond and pearl necklace, by Garrard, (lot 27) was given to her by her husband as a wedding present. Lady Mary may well have worn it, and other pieces of jewellery, when she accompanied the Princess of Wales (later Queen Mary) to the Coronation of King Haakon of Norway in 1905 and at the Coronation of George V in 1911.For further information on this lot please visit Bonhams.com

PEARL AND DIAMOND EARRINGSEach of foliate design, set with seed pearls, and cushion-shaped, old brilliant and rose-cut diamonds, some diamonds deficient, pearls untested, length 2.2cm, Footnotes:Provenance:Lady Mary Trefusis, née Lygon (26 February 1869–12 September 1927)Lady Mary was an English musician and courtier. She was a daughter of the 6th Earl Beauchamp and married Lt.-Col. Henry Walter Hepburn-Stuart-Forbes-Trefusis (a son of the 20th Baron Clinton) in 1905.Lady Mary was a close friend and correspondent of her brother William Lygon, 7th Earl Beauchamp (1872-1938), who, along with other members of the glamorous Lygon family were Evelyn Waugh's inspiration for the Marchmain family in his masterpiece Brideshead Revisited. Brother and sister were Mayor and Mayoress of Worcester from 1895 to 1896 and when, in 1899, Lord Beauchamp travelled to Australia to be governor of New South Wales she travelled with him and acted as his hostess. Lady Mary was a friend and promoter of the composer Edward Elgar and is commemorated anonymously in one of his Enigma Variations entitled 'Romanza (***)'. In addition she worked closely with many well-known musicians of the day: Sir Hubert Parry, Cecil Sharp, Sir Charles Villiers Stanford, Martin Shaw, Peter Warlock, to name but a few. She was the first Secretary of the English Folk Dance Society (founded 1911) and was for a time a collector of English folk dances. Trefusis Hall, in the English Folk Dance & Song Society's headquarters, Cecil Sharp House, is named after her. She directed a number of choirs and was the joint founder of the Association of Competitive Festivals in 1904 (Mary Wakefield was the other founder). As Lady of the Bedchamber to HM Queen Mary, Lady Mary accompanied the Queen on many State occasions. The diamond and pearl necklace, by Garrard, (lot 27) was given to her by her husband as a wedding present. Lady Mary may well have worn it, and other pieces of jewellery, when she accompanied the Princess of Wales (later Queen Mary) to the Coronation of King Haakon of Norway in 1905 and at the Coronation of George V in 1911.For further information on this lot please visit Bonhams.com

GARRARD: PEARL AND DIAMOND NECKLACE AND BROOCH, EARLY 20TH CENTURYThe collar necklace composed of openwork foliate and ribbon bow motifs, set throughout with old brilliant and rose-cut diamonds and pearl highlights, suspending a similarly set detachable brooch/pendant of floral cluster design, mounted in silver and gold, diamonds in brooch 2.80 carats total, pearls untested, length 35.1cm, brooch diameter 3.0cm, detachable brooch fitting, necklace has been shortened, fitted case by Garrard & Co Ltd, Goldsmiths, Jewellers to the King, by Special Appointment to the Crown, 24 Albermarle St, W.Footnotes:Provenance:Lady Mary Trefusis, née Lygon (26 February 1869–12 September 1927)This necklace was a wedding present to Lady Mary from her husband in 1905. Lady Mary may well have worn it, and other pieces of jewellery, when she accompanied the Princess of Wales (later Queen Mary) to the Coronation of King Haakon of Norway in 1905 and at the Coronation of George V in 1911. As Lady of the Bedchamber to HM Queen Mary, Lady Mary accompanied the Queen on many State occasions.Lady Mary was an English musician and courtier. She was a daughter of the 6th Earl Beauchamp and married Lt.-Col. Henry Walter Hepburn-Stuart-Forbes-Trefusis (a son of the 20th Baron Clinton) in 1905.Lady Mary was a close friend and correspondent of her brother William Lygon, 7th Earl Beauchamp (1872-1938), who, along with other members of the glamorous Lygon family were Evelyn Waugh's inspiration for the Marchmain family in his masterpiece Brideshead Revisited. Brother and sister were Mayor and Mayoress of Worcester from 1895 to 1896 and when, in 1899, Lord Beauchamp travelled to Australia to be governor of New South Wales she travelled with him and acted as his hostess. Lady Mary was a friend and promoter of the composer Edward Elgar and is commemorated anonymously in one of his Enigma Variations entitled 'Romanza (***)'. In addition she worked closely with many well-known musicians of the day: Sir Hubert Parry, Cecil Sharp, Sir Charles Villiers Stanford, Martin Shaw, Peter Warlock, to name but a few. She was the first Secretary of the English Folk Dance Society (founded 1911) and was for a time a collector of English folk dances. Trefusis Hall, in the English Folk Dance & Song Society's headquarters, Cecil Sharp House, is named after her. She directed a number of choirs and was the joint founder of the Association of Competitive Festivals in 1904 (Mary Wakefield was the other founder).For further information on this lot please visit Bonhams.com

Machin Pattern 87 blue & white coffee can , Coalport mug , Caughley teabowl & saucer with gilt sprigs ,2 Caughley gilt teabowl s , one with a ribbed body , Neale & co teabowl W mark to base  . brown and gilt banded teabowl & saucer .Davenport saucer with the arms of Liverpool , Zurich saucer decorated with hand painted flowers , New hall gilt teabowl and a New Hall saucer .Damage to the New Hall saucer and Neale teabowl .

Collection of 18th and early 19th C ceramics .Bristol large saucer dish , Derby large saucer dish with hand painted butterflies , both broken and repaired , porcelain large saucer dish with hand painted cherubs , small pepper pot , pair of brown boots , Mennecey basket with incised DC and incised Ls marks on the base , cracks and firing cracks , and a New Hall pattern 2517 part dessert service .

DICKENS (CHARLES)The Posthumous Papers of the Pickwick Club, FIRST EDITION IN THE ORIGINAL 19/20 PARTS, mixed issue, half-title, additional etched title and 42 plates by R. Seymour, R.W. Buss, and Hablot K. Browne ('Phiz'), some plates with light toning or spotting but generally good, publisher's pictorial blue wrappers, a few spines rebacked, others with some small repairs, some minor soiling and wear, preserved together with incomplete set of Thomas Onwhyn's 'Illustrations to the Pickwick Club...' [see footnote] in cloth chemise, and red morocco-backed slipcase [Eckel, Prime Pickwicks in Parts; Hatton & Cleaver, pp.3-88], 8vo, Chapman and Hall, April 1836-1837Footnotes:This set has later issue text in parts 1-8, first and later issue points in parts 9-10, and first issue text in parts 11-19/20. The inner wrappers of parts 1-8 are blank, issue covers of parts 1 and 2 reads 'With Four Illustrations by Seymour', the wrappers to parts 16 and 17 dated 1837, the remainder dated 1836. Lacks all the advertisements in parts 1-9, and 11-12. Parts 10, and 14-19/30 have the 'Pickwick Advertiser' (second issued in part 10) and all advertisements, part 13 has 'Pickwick Advertiser' and 4pp. 'Ward's Miscellany' only. The author's 'Address' leaf is present in part 2, lacking in part 3, and present as later issue in part 10. The publisher's 'Address' leaf is correct in parts 17 and 18, and present but a a later issue in part 19/20.Sold with the lot, and housed in the same slipcase, is: [Thomas Olwyn] Illustrations to the Pickwick Club...by Samuel Weller, 7 parts (of 8, lacking part 7), 28 etched plates (of 32), publisher's green printed wrappers [Gimbel H1120], E. Grattan, 1837.Provenance: A.M. Cohn (Cruikshank's bibliographer), bookplate; Kenyon Starling, bookplate; Christie's New York, William E. Self Family Collection, Part I. The Kenyon Starling Library of Charles Dickens, 2 April 2008, lot 18.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

DICKENS (CHARLES)The Life and Adventures of Nicholas Nickleby. Edited by 'Boz', FIRST EDITION IN THE ORIGINAL 19/20 PARTS, mixed issue, half-title, engraved portrait frontispiece by Daniel Maclise, 39 etched plates by Hablot K. Browne ('Phiz'), plates in parts 1 and 2 have publisher's imprint, part 4 has 'visiter' for 'sister' on p.123, line 17 (first state), part 5 has 'latter' for 'letter' on p.160, 6 lines up (first state), plate 29 is second issue with shortened title, all but 8 of the advertisements and slips called for by Hatton and Cleaver (without 'Francis West' in part 1; 'Reading Club', 'National Loan Fund' and 'Joseph Amsbury' in part 3; 'Heads of People' and 'Mechi's Catalogue' in part 8; 'New and Splendid...' in part 19/20), also without the 'Mary Ashbury' slip (described by H. & C. as 'non-essential'), 'Mechi's Catalogue' called for in part 2 bound in part 1, cloth chemise, part 5 has an advertisement ('Horne's Public Subscription Library') not called for in H. & C., publisher's pictorial blue-green wrappers, most backstrips repaired or replaced, lower wrapper to part 3 has small losses and advertisements differing from those called for by H. & C., occasional light spotting but plates generally quite clean, lower corner of upper wrapper to part 19/20 cut away and replaced with piece from another copy, green half morocco pull-off case [Eckel, pp.64-66; Gimbel A40; Hatton & Cleave, pp.129-160], 8vo, Chapman and Hall, April 1838-October 1839Footnotes:'This story, which for thirteen months Dickens wrote alongside Oliver Twist, originated in his determination to expose the scandal of unwanted children consigned to remote and brutal Yorkshire schools... the story is rich in unforgettable comic characters like the endlessly garrulous Mrs Nickleby and the strolling player Vincent Crummles and his troupe, and in places it resembles Sketches by Boz in its vivid evocation of particular London neighbourhoods' (ODNB).Provenance: William E. Self, bookplate; his sale, Christie's New York, 4 December 2009, lot 58.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

DICKENS (CHARLES)Barnaby Rudge. A Tale of the Riots of 'Eighty, FIRST SEPARATE EDITION, AUTHOR'S PRESENTATION COPY, INSCRIBED 'Mrs. [Elizabeth] Smithson from Charles Dickens New Years Day 1842' on the title-page, illustrations by Hablot K. Browne ('Phiz') and George Cattermole, some browning, short tears and repairs to pp.240-241 and pp.255-266 (mostly marginal, but touching some letters), full red morocco gilt by Riviere, gilt dentelles, g.e., morocco-edged slipcase [Smith II.6b; Gimbel A63], large 8vo, Chapman and Hall, 1841Footnotes:PRESENTATION COPY INSCRIBED BY DICKENS TWO WEEKS AFTER PUBLICATION - the recipient was Elizabeth, wife of Charles Smithson, one of Dickens' lawyers, and a personal friend. Dickens was godfather to the Smithson's daughter Mary, and the Smithsons spent the summers of 1840 and 1841 at Broadstairs. Dickens wrote to Smithson shortly after the publication of Barnaby Rudge on 15 December, 'Ease my mind and ask Mrs. Smithson to ease it on the subject of my liabilities. I am going to send her two books, and will remit, if you or she will put me in a condition to do so', and on New Years' day wrote to Mrs. Smithson sending fondest regards and asking her 'to accept the inclosed for my poor sake', referring particularly to The Old Curiosity Shop but as evidenced from the previous letter and the date of the inscription also referring to this copy of Barnaby Rudge. He subsequently inscribed a copy of Christmas Carol to Mrs Smithson.Provenance: Elizabeth Smithson, author's presentation inscription, New Year's Day, 1942; Christie's New York, Philip M. Neufeld sale, 25 April 1995, lot 116; Sotheby's, 10 December 2013, lot 291.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

DICKENS (CHARLES)American Notes for General Circulation, 2 vol., FIRST EDITION, FIRST STATE, half-titles, 6pp. of advertisements at the end of volume 2, pale yellow-coated endpapers, publisher's reddish-brown vertically ribbed cloth, covers stamped in blind with gilt lettering on spines, spine light fading with a few small spots of ink but generally clean and fresh, cloth chemise, morocco-backed slipcase, gilt lettering on spine [Eckel, pp.113-115; Gimbel A66; Smith 2:3], 8vo, Chapman and Hall, 1842Footnotes:Attractive copy in the variant binding described by Smith with vertical as opposed to horizontal ribbed cloth and the spines with Roman rather than Arabic numerals. Published to mixed reviews in England on 19 October, American Notes was nonetheless a success, and 'In America, where it appeared in November, the sales were enormous; 50,000 copies selling in two days in New York...Liberal Americans and abolitionists naturally liked his stance on slavery...' (Claire Tomalin, Charles Dickens, 2011).Provenance: Priscilla and Samuel Meek; Ruth Harries Craig, bookplates; Sotheby's, 16 December 2004, lot 135.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

DICKENS (CHARLES)The Life and Adventures of Martin Chuzzlewit, FIRST EDITION IN ORIGINAL PARTS, 20 IN 19, half-title, title and preliminaries at end of part 19/20, etched frontispiece, additional etched pictorial title and 38 plates by Hablot K. Browne ('Phiz'), advertisements (some printed on yellow, blue or pink paper), repair with small loss to blank margin of engraved title-page, some occasional spotting, some plates darkened at edges, publisher's blue-green pictorial printed wrappers, 7 neatly rebacked, others with small repairs, small repair to margin of upper cover to parts 1 and 16, preserved in red cloth chemise and red morocco-backed slipcase lettered in gilt on spine [Eckel, pp.71-73; Hatton & Cleaver, pp.183-212], 8vo, Chapman and Hall, January 1843-July 1844Footnotes:The first edition in original monthly parts, with the vignette title-page with the signpost reading '100£', and first issue of the errata with 13 lines. 'The Chuzzlewit Advertiser' and all advertisements called for by Hatton and Cleaver, except the 'slip' in part 7.Provenance: J.A. Ikin, Esq., signature on the front wrapper to parts 19/30; Rossetti, signature on inside back wrapper of part 18; Kenyon Starling, bookplates; Christie's New York, The William E. Self Family Collection. Part 2, 2 April 2008, lot 90.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

DICKENS (CHARLES)The Life and Adventures of Martin Chuzzlewit, FIRST EDITION IN BOOK FORM, EDWARD CHAPMAN'S COPY BOUND FOR HIM BY HAYDAY, engraved frontispiece, additional pictorial title and 38 plates by Hablot K. Browne ('Phiz'), the vignette on additional title signed 'Phiz fecit', with reversed '100£' on signpost and seven studs in the trunk (Smith's state 1, no priority), 14-line errata on p.xv as usual (Smith's second setting), some oxidisation and spotting to plates, full pebbled burgundy morocco by Hayday (stamped 'Bound by Hayday' and 'Chapman & Hall' on front free endpaper), covers ornately gilt with gilt fillets enclosing inner panels with various floral, pointillé and other recurring tools, spine in six compartments ornately gilt, gilt dentelles, g.e., preserved in solander box [Smith I:7], 8vo, Chapman and Hall, 1844Footnotes:THE PUBLISHER'S OWN COPY, FINELY BOUND FOR HIM BY HAYDAY. By the time that Martin Chuzzlewit appeared Dickens and his family were living in Genoa, so there are no inscribed presentation copies, thus the dedicatee (Angela Burdett-Coutts) received a copy bound by Hayday to a similar design to Chapman's copy. Chapman, and his partner William Hall, were instrumental in the success of Dickens's career, having published The Pickwick Papers, after which 'Dickens was associated with, and to a large extent made the fortune of, Chapman and Hall, even though he broke with the firm in so far as new fiction was concerned in 1844 [due to arguments relating to payments for Martin Chuzzlewit], and did not return fully until 1859' (ODNB).Provenance: Edward Chapman (1804-1880), bookplate; Sotheby's, 24 September 2019, lot 89.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

DICKENS (CHARLES)A Christmas Carol. In Prose. Being a Ghost Story of Christmas, FIRST EDITION, FIRST ISSUE, with title-page dated 1843 printed in red and blue, the text uncorrected, 'Stave I' on p.[1] and light green endpapers, hand-coloured etched frontispiece and 3 plates after John Leech, 4 wood-engravings by W.J. Linton after Leech in the text, 2pp. advertisements at the end, light tone to title-page, publisher's cinnamon vertically-ribbed cloth, stamped in blind and gilt (Todd's first impression, first issue, first state, with 14-15mm. between closest points of blind-stamping and gold wreath on upper cover, and the 'D' of 'Dickens' unbroken), g.e., 2 very small tears at head of spine and one at foot, preserved in red morocco-backed solander box by Zaehnsdorf [Eckel pp.110-115; Smith II:4; William B. Todd, in The Book Collector, Winter 1961, pp.449-454], 12mo (166 x 102mm.), Chapman & Hall, 1843Footnotes:AN EXCEPTIONALLY GOOD COPY OF THE FIRST EDITION OF DICKENS'S FIRST AND MOST ENDURING CHRISTMAS BOOK. A Christmas Carol was published on 19 December 1843, at 5s. 'Its popularity was extraordinary and by every post he received letters from complete strangers, telling him about their home and hearths, and how this same 'Carol' was read aloud there, and kept on a little shelf by itself' (Kitton, Minor Writings, p.34). Dickens initially requested green endpapers and then discarded these due to the colour rubbing off. Demand for the book probably grew at such a pace that the stock of yellow endpapers was exhausted, necessitating the use of the discarded green endpapers until new stock of the yellow could be obtained. Hence, although the green endpapers were printed first, the first copies to be actually issued had yellow endpapers. William B. Todd concludes that priority is impossible to determine due to the various combinations of plates but that priority can be determined by the state of the binding.Provenance: Sotheby's, 16 December 2004, lot 136.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

DICKENS (CHARLES)A Tale of Two Cities, FIRST EDITION IN BOOK FORM, FIRST ISSUE, with page 213 misnumbered '113', etched frontispiece, additional pictorial title and 14 plates by Hablot K. Browne ('Phiz'), 32pp. publisher's advertisements (dated November 1859) at the end, one plate with small chips at edges, others some edge toning, a few leaves working loose, occasional light spotting, publisher's deep red blindstamped cloth (Smith's first binding), gilt lettering and ornament on spine, yellow endpapers, upper joint neatly repaired, slight rubbing and soiling, spine ends repaired, preserved in cloth solander box (one joint splitting) [Eckel, p.90; Gimbel A143; Smith I:13], 8vo, Chapman and Hall, 1859Footnotes:'It was the best of times, it was the worst of times, it was the age of reason, it was the age of foolishness' - good copies of this first edition in the publisher's first issue binding are scarce. Provenance: Kenyon Starling, bookplate; Christie's New York, William E. Self Family Collection, Part I. The Kenyon Starling Library of Charles Dickens, 2 April 2008, lot 160.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

DICKENS (CHARLES)Great Expectations, 3 vol., FIRST EDITION IN BOOK FORM, second issue of volumes 2 and 3, third issue of volume 1, publisher's catalogue (dated May 1861) at end of volume 3, occasional very light spotting, upper hinge of volume 1 very slightly cracked, one gathering (pp.115-128) slightly loosened in volume 2, publisher's bright violet wavy-grained cloth, sides with blind double fillet, inner single fillet at top and bottom, and inner broad border of intertwined flowers and leaves, spines with blind borders of triple fillet at head and foot, title and author name in relief against fine decorative gilt block, with volume number and publisher in gilt below, cream endpapers, fore-edges uncut, light fading, minor rubbing to extremities, preserved in cloth chemise and maroon morocco gilt case by Stikeman (rubbed) [Eckel 91-93; Smith I:14; Sadleir 688], 8vo, Chapman and Hall, 1861Footnotes:AN UNUSUALLY FINE COPY IN THE PUBLISHER'S CLOTH OF THE FIRST EDITION OF GREAT EXPECTATIONS, 'the story that for many critics (and for many 'common readers' too) represents the very highest reach of Dickens's art as a novelist... this masterfully structured and brilliantly written story of money, class, sex, and obsessive mental states with, for the first time ever in Dickens's major fiction, a protagonist who is unambiguously working-class' (ODNB). The publication of Great Expectations as a three volume set was unique within Dickens's works, designed to cater for the growing library trade, with the majority of copies destined for Mudie's circulating library, explaining its rarity in good condition.Provenance: Clara B. and Edward C. Daoust, bookplate; Christie's New York, Philip M. Neufeld sale, 25 April 1995, lot 120; Christie's New York, 9 December 2015, lot 227.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

DICKENS (CHARLES)The Mystery of Edwin Drood, FIRST EDITION, FIRST ISSUE IN 6 ORIGINAL MONTHLY PARTS, engraved portrait, additional pictorial title and 12 wood-engraved plates after Luke Fildes, all the advertisements called for by Hatton and Cleaver (including the fragile 'Cork Hat' in part 2, and the Chapman and Hall catalogue in part 5), and 2 advertisements (John F. Dunn, and 'The Broadway') in part 3 not called for by H. & C., publisher's blue-green pictorial wrappers after C.A. Collins, earliest issue of part 6 with the 'eighteenpence' slip over the one shilling price on the upper wrapper, upper corner of part 1 neatly repaired with one letter of price provided in manuscript facsimile, a few neat spine repairs [Eckel, pp.96-98; Gimbel A154; Hatton & Cleaver, pp.373-384], Chapman and Hall, April-September 1870; [MORFORD (HENRY)] John Jasper's Secret: Being a Narrative of Certain Events Following and Explaining 'The Mystery of Edwin Drood', FIRST EDITION IN THE ORIGINAL 8 MONTHLY PARTS, 20 wood-engraved plates, with most inserted advertisements called for by Sadleir, parts 7 and 8 each include a 4pp. advertisement for Willcox and Gibbs Sewing Machines not called for in Sadleir, publisher's blue-green pictorial wrappers (minor soiling, neat repairs to some wrappers) [Gimbel H330; Sadleir 705], Wyman & Sons for Publishing Offices, October 1871-May 1872, preserved together in cloth solander box, gilt lettered on spine, 8voFootnotes:Dickens's final unfinished novel, and its rare early unauthorized sequel both as first issued in the original parts. Attributed to Henry Morley John Jaspers Secret was the first serious attempt to solve the mystery left unsolved at Dickens's death. Included in the lot is an autograph letter (14 September 1936) from John Y. Watt to M. le Comte de Suzannet ('as one of the best known Dickens collectors...') concerning his researches into Dickens's intentions for the ending of Edwin Drood.Provenance: Comte de Suzannet, bookplate, and his sale, Sotheby's, 22 November 1971, lot 135; Kenyon Starling, bookplate; Christie's New York, William E. Self Family Collection, Part I. The Kenyon Starling Library of Charles Dickens, 2 April 2008, lot 185.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

A rare New Hall blue and white knife and fork, c.1782-90, with pistol shaped handles, painted with formal foliate sprays and a band of stiff jagged leaves, 19.3cm max. (2) Cf. P Brown. British Cutlery, p.136. Provenance: the collection of David & Jan Birley.

A 'Factory Z' tea bowl and saucer, with silver lustre, and other items, including New Hall, Grainger Worcester, Coalport, pair of Japanese Imari diamond shaped footed bowls, etc (qty)

Five original ticket stubs from Punk era concerts including The Clash at Fairdeal Theatre, 1982 and at University of Lancaster 1980, a rare ticket for Buzzzcocks at King George's Hall, Blackburn in 1979 with Joy Division as support ac, Ramones at Uni of Lancaster 1980, New Order / Section 25 at Scamps, 1980.

A framed print "The Agricultural Hall Islington", "Interior of the New Agricultural Hall", "A View of Highgate" and an unframed engraving "A View of Oxford"

A new birch 5 drawer hall / side table on turned reeded legs, made by a local craftsman to a high standard, 76cm tall x 148cm x 41cm

A new birch 4 drawer hall table made by a local craftsman to a high standard, 76cm tall x 110cm x 30cm

1936 Velocette 348cc KSS MkIIRegistration no. BNB 548BFrame no. MS 1583Engine no. KSS 8808By the early 1920s Veloce Ltd's rivals were fielding new overhead-valve and overhead-camshaft machines and Hall Green had to respond, the Percy Goodman-designed, overhead-cam Model K first appearing in 1924. Of 348cc, the new engine employed a single overhead camshaft driven by vertical shaft, and was unusual in having a very narrow crankcase, an arrangement determined by the existing transmission and frame design, which made for a stiff crankshaft assembly. By the end of the 1920s Veloce's range of K-Series roadsters boasted a host of variations on the theme that included Normal, Sports, Super Sports, Touring, Economy and twin-port models. Introduced in 1925, the KSS was the Super Sports version while the KTS tourer employed the same overhead camshaft engine in virtually identical cycle parts, differences being confined mainly to mudguard style and wheel sizes. Introduced for the 1936 season, the MkII version of the KSS/KTS represented a major redesign, featuring many improvements including a new aluminium-alloy cylinder head with enclosed valve-gear, plus the cradle frame and heavyweight Webb forks of the new MSS. This KSS has been owned by vendor's family since 1981. Kept on display in a private museum, it has not run for at least 20 years and will require re-commissioning or possibly more extensive restoration before further use (the engine turns over). There is no registration document with this Lot, though the registration 'BNB 548B' is listed in the HPI database; nevertheless, prospective purchasers should satisfy themselves with regard to this motorcycle's registration status prior to bidding. Offered without keyFootnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to biddingLot to be sold without reserve.For further information on this lot please visit Bonhams.com

A RARE BONE MASK NETSUKE OF OKAMESigned illegiblyJapan, Meiji period (1868-1912)Published: Bushell, Raymond (1975) Netsuke Familiar & Unfamiliar, New York/Tokyo, p. 145, no. 300.Mikimoto (1979) Netsuke, An Unknown Japanese Art, Raymond Bushell Collection, Tokyo, p. 71, no. 387.Bushell, Raymond (1985) Netsuke Masks, pl. 242.Netsuke Kenkyukai (1985) Vol. 5, no. 3, p. 18.Eskenazi (1998) Japanese Netsuke, Ojime and Inro from a Private European Collection, p. 52-53, no. 50.Exhibited: Netsuke: An Exhibition of Netsuke from the Raymond and Frances Bushell Collection, Mikimoto Hall, Tokyo, 1-17 September 1979, no. 387.Well carved with characteristic plump cheeks, lively wide eyes, and a broad nose, the tiny mouth agape in a cheerful smile showing teeth, the parted hair neatly incised and heightened with sumi. The back with a single himotoshi and a faint illegible signature.HEIGHT 5.1 cmCondition: Good condition with some surface wear. Provenance: Ex-collection Raymond Bushell. Christie's, The Raymond and Frances Bushell Collection of Netsuke, Part IV, 23 April 1991, New York, lot 131. Ex-collection Emiel Veranneman, acquired from the above. Sotheby's, May 2007, London, lot 784. European collection P. Jacquesson, acquired from the above.Okame (or Otafuku) represents a lovely, always smiling Japanese woman who brings happiness and good fortune to any man she marries. She is also known as the Goddess of Mirth and is a very popular image in Japanese culture. Otafuku literally means 'much good fortune', and Okame means 'tortoise', which is also an auspicious symbol of longevity, as tortoises lead long lives.

Memorabilia - The Clash hand written set list taken from the mixing desk at their gig at The Rainbow Theatre in London on Saturday 14th July 1979 as part of a two day 'The Southall Kids Are Innocent' benefit weekend which also featured The Ruts, Pete Townshend and others. The gig was notable for Clash fans as it was the first major outing of new material from London Calling (aside from the earlier unannounced gigs at Notre Dame Hall). In a picture frame.

A collection of late 18th / 19th century porcelain tea cups and saucers, tea bowls and coffee cups, to include some New Hall, most with floral decoration (a/f)

A selection of assorted ceramic items including early 19th Century pearlware bowl with all over floral sprigging, 18th Century New Hall cup and saucer, Gordy Welsh bowl, etc.

24th (or 2nd Warwickshire) Regiment Officer’s HM Silver Gorget 1794. A magnificent and most rare example, correctly constructed on a wire frame all details are engraved and feature the Royal Arms, pre 1801, trophies of arms and knightly helmets on the shoulders, ‘24th’ in the wearer’s right hand chaplet of laurels and ‘Regt’ in the left hand chaplet. The gorget carries the contemporary full hall mark cycle for London in use 29 May 1793 to 28 May 1794, and was made by Francis Thurkle, New Street Square, Fetter Lane, Holborn, extremely good condition £3,000-£4,000 --- Note: The gorget is dealt with in the most finite detail in Tony Skelsey’s articles in the M.H.S. Bulletin, No. 253, August 2013 and No. 260, May 2015. Via the precise markings it is ascertained that the gorget was made between 1 January and 28 May 1794. The regiment was stationed in America and was much involved in the signing of Jay’s Treaty, 19 November 1794, resulting in the handing over of Detroit to the Americans. The town was evacuated in 1796, and the regiment was then stationed in Montreal until September 1800.

A New Hall, black and white teapot, jug and tea bowl

* 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.

Four trays of assorted pottery and china to include: 2 Shelley Art Deco Style Tea Cups with Autumn Leaves and orange circular handles, New Chelsea Staffs part tea ware to include 2 tea cups, saucer, lidded milk jug and sugar basin. Shelley small milk jug, sugar basin, tea cup and 3 saucers decorated with pink and blue flowers, Wedgwood 'Kutani Crane' sucrier, Minton 'Hardwick Hall' blue and white teapot, 4 china cats, small Coalport bowls and reproduction Old Bristol Delft tea cups, saucers and side plate, Royal Doulton 'Estelle' sugar basin and milk jug.(4)(B. P. 21%+VAT

Nicholas Van Helt, Called Stocade (1614-1669). A Portrait of Two Girls In A Landscape. Dutch School Dimensions:  (Unframed) 45.5 in (H) x 36.75 in (L) (Framed) 56.5 in (H) x 47.75 in (L) Provenance: Private Collection, Isle of Wight Lot Essay: Nicholas van Helt Stocade was born in Nijmegen in 1614. He travelled to France and Italy, and spent some time in Antwerp before returning to Amsterdam, where he died in 1669. Besides landscapes and individual group portraits, he produced large, history paintings, including three for the new Amsterdam town hall.  Indeed, upon occasions in the 1660s, civic authorities ordered paintings for their municipal buildings; most notable were the commissions Amsterdam?s burgo-masters gave for the embellishment of the city?s new town hall. This type of painting became more popular after the middle of the century. In Amsterdam, Stocade painted allegorical ceilings for the two large front rooms of the grand Trippenhuis owned by members of the Trip family which made its fortune as munition dealers.  Stocade is one of Bartholomeus van der Helst?s (1613 ? 1670) most talented followers, emulating his master?s poignant, colourful portraiture.  The present work depicts two young children in sundry dress. Life size companion portraits of couples in sundry lengths were more common than double portraits, probably because of the small size of Dutch houses. Portraits of children are common in Dutch visual culture, and were used to express status and wealth, and also to record a child?s life, often shortened prematurely due to a high infant mortality rate.    Flowers and toys are used to highly symbolic effect by Stocade. The eldest figure holds a flower, whilst the youngest grasps a doll, which appears to be in military garb. The flower can be interpreted here as the blossoming of the child?s education, just like fruit represented the ripening of their maturity, whilst the doll possesses an edifying moral quality.    Both children are wearing necklaces and bracelets made of bright coral. Carlo Grivelli?s 1490 painting, La Madonna della Rondine, underlines the long lasting use of coral iconography. The Virgin holds her Child wearing a beaded coral necklace, both a health talisman and a reminder of his forthcoming sacrifice on the cross, due to coral?s association with blood.   Coral jewellery was commonly used in the seventeenth century for its legendary protective qualities. Believed to ward off the evil eye, coral was considered as a talisman repelling sickness and disease, and also used for teething pains. Worn as amulets, coral jewellery was a common baptism gift, often carried until marriage and then passed on to one?s child.

An early 20th century bentwood coat stand, cluster column, quatrefoil base, 210cm high, c.1910slight break to lower circle below hook** We would please ask that all payments are made by 12pm on Thursday 14th April at the latest. Collection for all lots is strictly by appointment at Otterbeck Hall, Chinley, SK23 6AH where all items are located. We request that items are collected on either Wednesday 13th or Thursday 14th April when Bamfords staff will be in attendance. In circumstances where buyers are unable to attend on these days members of the Stoodley family have kindly agreed to be present from Friday 15th to Monday 18th April at 12pm, however all lots must have been paid for by Thursday 14th April. It should be noted that keys will be handed to the new owners of Otterbeck Hall on Tuesday 19th April at which point Bamfords will no longer have access to the property. Bamfords are able, strictly by prior arrangement to bring certain higher value small items to the saleroom for collection at a later date. Please enquire and confirm this availability in relation to any lot that you are hoping Bamfords will be able to move on your behalf. Any such lot will incur a £15 charge**.

An early 20th century oak hall table, cabriole legs, pad feet, 75cm high, 24cm wide, c.1920** We would please ask that all payments are made by 12pm on Thursday 14th April at the latest. Collection for all lots is strictly by appointment at Otterbeck Hall, Chinley, SK23 6AH where all items are located. We request that items are collected on either Wednesday 13th or Thursday 14th April when Bamfords staff will be in attendance. In circumstances where buyers are unable to attend on these days members of the Stoodley family have kindly agreed to be present from Friday 15th to Monday 18th April at 12pm, however all lots must have been paid for by Thursday 14th April. It should be noted that keys will be handed to the new owners of Otterbeck Hall on Tuesday 19th April at which point Bamfords will no longer have access to the property. Bamfords are able, strictly by prior arrangement to bring certain higher value small items to the saleroom for collection at a later date. Please enquire and confirm this availability in relation to any lot that you are hoping Bamfords will be able to move on your behalf. Any such lot will incur a £15 charge**.

A Travelux Quest Mid Wheel mobility chair** We would please ask that all payments are made by 12pm on Thursday 14th April at the latest. Collection for all lots is strictly by appointment at Otterbeck Hall, Chinley, SK23 6AH where all items are located. We request that items are collected on either Wednesday 13th or Thursday 14th April when Bamfords staff will be in attendance. In circumstances where buyers are unable to attend on these days members of the Stoodley family have kindly agreed to be present from Friday 15th to Monday 18th April at 12pm, however all lots must have been paid for by Thursday 14th April. It should be noted that keys will be handed to the new owners of Otterbeck Hall on Tuesday 19th April at which point Bamfords will no longer have access to the property. Bamfords are able, strictly by prior arrangement to bring certain higher value small items to the saleroom for collection at a later date. Please enquire and confirm this availability in relation to any lot that you are hoping Bamfords will be able to move on your behalf. Any such lot will incur a £15 charge**.

A Travelux Quest Mid Wheel mobility chair** We would please ask that all payments are made by 12pm on Thursday 14th April at the latest. Collection for all lots is strictly by appointment at Otterbeck Hall, Chinley, SK23 6AH where all items are located. We request that items are collected on either Wednesday 13th or Thursday 14th April when Bamfords staff will be in attendance. In circumstances where buyers are unable to attend on these days members of the Stoodley family have kindly agreed to be present from Friday 15th to Monday 18th April at 12pm, however all lots must have been paid for by Thursday 14th April. It should be noted that keys will be handed to the new owners of Otterbeck Hall on Tuesday 19th April at which point Bamfords will no longer have access to the property. Bamfords are able, strictly by prior arrangement to bring certain higher value small items to the saleroom for collection at a later date. Please enquire and confirm this availability in relation to any lot that you are hoping Bamfords will be able to move on your behalf. Any such lot will incur a £15 charge**

A large Victorian sarcophagus upholstered stool, plinth base, on casters, 59cm high, 70cm deep, 84cm wide, c.1880** We would please ask that all payments are made by 12pm on Thursday 14th April at the latest. Collection for all lots is strictly by appointment at Otterbeck Hall, Chinley, SK23 6AH where all items are located. We request that items are collected on either Wednesday 13th or Thursday 14th April when Bamfords staff will be in attendance. In circumstances where buyers are unable to attend on these days members of the Stoodley family have kindly agreed to be present from Friday 15th to Monday 18th April at 12pm, however all lots must have been paid for by Thursday 14th April. It should be noted that keys will be handed to the new owners of Otterbeck Hall on Tuesday 19th April at which point Bamfords will no longer have access to the property. Bamfords are able, strictly by prior arrangement to bring certain higher value small items to the saleroom for collection at a later date. Please enquire and confirm this availability in relation to any lot that you are hoping Bamfords will be able to move on your behalf. Any such lot will incur a £15 charge**

Ib Kofod Larsen for G Plan coffee table, spindle shelf, 46cm high, 58cm deep, 160cm wide, stamped, early 1950 to mid 1960** We would please ask that all payments are made by 12pm on Thursday 14th April at the latest. Collection for all lots is strictly by appointment at Otterbeck Hall, Chinley, SK23 6AH where all items are located. We request that items are collected on either Wednesday 13th or Thursday 14th April when Bamfords staff will be in attendance. In circumstances where buyers are unable to attend on these days members of the Stoodley family have kindly agreed to be present from Friday 15th to Monday 18th April at 12pm, however all lots must have been paid for by Thursday 14th April. It should be noted that keys will be handed to the new owners of Otterbeck Hall on Tuesday 19th April at which point Bamfords will no longer have access to the property. Bamfords are able, strictly by prior arrangement to bring certain higher value small items to the saleroom for collection at a later date. Please enquire and confirm this availability in relation to any lot that you are hoping Bamfords will be able to move on your behalf. Any such lot will incur a £15 charge**.

A Samsung television and remote control, curved 48in screen, model code UE49RU7300KXXU,; a Samsung DVD player** We would please ask that all payments are made by 12pm on Thursday 14th April at the latest. Collection for all lots is strictly by appointment at Otterbeck Hall, Chinley, SK23 6AH where all items are located. We request that items are collected on either Wednesday 13th or Thursday 14th April when Bamfords staff will be in attendance. In circumstances where buyers are unable to attend on these days members of the Stoodley family have kindly agreed to be present from Friday 15th to Monday 18th April at 12pm, however all lots must have been paid for by Thursday 14th April. It should be noted that keys will be handed to the new owners of Otterbeck Hall on Tuesday 19th April at which point Bamfords will no longer have access to the property. Bamfords are able, strictly by prior arrangement to bring certain higher value small items to the saleroom for collection at a later date. Please enquire and confirm this availability in relation to any lot that you are hoping Bamfords will be able to move on your behalf. Any such lot will incur a £15 charge**.

A 19th century onyx mantel clock, Arabic numerals, the architectural case with cast brass figural frieze, three freestanding pilaster to each side, plinth base** We would please ask that all payments are made by 12pm on Thursday 14th April at the latest. Collection for all lots is strictly by appointment at Otterbeck Hall, Chinley, SK23 6AH where all items are located. We request that items are collected on either Wednesday 13th or Thursday 14th April when Bamfords staff will be in attendance. In circumstances where buyers are unable to attend on these days members of the Stoodley family have kindly agreed to be present from Friday 15th to Monday 18th April at 12pm, however all lots must have been paid for by Thursday 14th April. It should be noted that keys will be handed to the new owners of Otterbeck Hall on Tuesday 19th April at which point Bamfords will no longer have access to the property. Bamfords are able, strictly by prior arrangement to bring certain higher value small items to the saleroom for collection at a later date. Please enquire and confirm this availability in relation to any lot that you are hoping Bamfords will be able to move on your behalf. Any such lot will incur a £15 charge**.