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Ten volumes by Washington Irving (1783-1859), an American short-story writer best known for Rip Van Winkle and The Legend of Sleepy Hollow, both of which appear in The Sketch Book of Geoffrey Crayon. The ten volumes here were from the Knickerbocker Edition published by G Putnam and Son in New York between 1867 and 1870. They are 3/4 bound, with gilt decorated spines, marbelized covers, edges, and endpapers, and the titles include The Sketch Book of Geoffrey Crayon, The Life and Voyages of Christopher Columbus, Brace Bridge Hall, Tales of a Traveller, Astoria, Crayon Miscellany, The Adventures of Captain Bonneville, and Mahomet and His successors. An attractive set with light wear, each book measures 7 1/2 x 5 1/4 in. wide. Please note that all sales are final. No refunds will be given under any circumstances.

A New Hall porcelain 'Boy and Butterfly' pattern slop bowl (pattern number 421 to base) and a tea bowl in the same pattern

A rare New Hall pedestal cream jug circa 1795, printed in blue and white with the factory's version of the bridge and willow landscape; enhanced with gilding and in good condition with minor wear to the gold, 5 1/4'' tall approx.

An album of Exhibition postcards dating 1900 - 1960's to include Paris 1900 Souvenirs for Hollande, Mexique, Bulgarie, La Martinque and Le Serbia, Marseille 1922 to include Palais de l' Oceanographic, Palais de l 'Afrique Occidentale and Grand Palais et Afrique Occidentale, Paris 1931 Temple D' Angkor-Vat, Palais Pricipal De Italie and Section Metropolitaine, la nuit, Liege 1905 Jardin des Vennes and Les Arenes Liegeosis, San Francisco 1915 Fine Arts Building Panama-Pacific, Section of Yacht Harbour and Festival Hall, New York World's Fair 1939 Hall of Fashion etc. (228 cards)

A collection of 1951 Festival of Britain postcards to include The Crossway and The Fairway South Bank Exhibition, Pleasure Gardens, The Transport Pavilion, The Guinness Clock, Royal Festival Hall, Interior Power and Production Pavilion, Festival Ship "Campania", The Lake, New Schools Pavilion, The Islanders, The Shot Tower, The Boating Lake, The Crescent, Vista Arcades, Main Vista, View from the Dome of Discovery, River Walk and the Skylon, set of six Jarrold real colour photograph postcards, Excursions to London, Bank of England and Royal Exchange, Far Tottering & Oyster Creek Railway, Sports Arena and Transport Information, together with various other postcards to include Imperial London 1909 Court of Arts, The Gardens, Court of Honour, On the Lagoon, Scenic Railway and Palace Gardens and Franco British 1908 eaxmple etc. (one box)Condition report: Please note that whilst the vast majority of these cards are Exhibition related there are some that are not to include The Scienec Museum, The Royal Mint and some topographical.

New Hall porcelain 6 pieces ref 425 window pattern: Coffee cans x 2 (repair to 1 rim chip, hairline to the other), tea bowl (chip and hairline to rim), tea cup (chip to rim) & 2 x saucers. Late 18th century. (6)

Local Interest, Derby and Derbyshire - a collection of maps and ephemera, comprising, Derby, Board of Health Map, 120in: 1 mile, engraved and a printed in colour by Bemrose 1852, originally in four sheets each of 99 x 66cm: two copies SW section, also NW and NE sections; County Borough Council, Architects? office, C. H. Aslin, CBE, Central Improvement Plan phase 2 1944 (not built), in which it was envisaged that the centre of the town would be entirely rebuilt around a new plaza on the site of the Market Place: map of intended layout of Market Place from Albert St to the Cathedral, also map of revised traffic flow in and around the town centre, of which only Traffic Street was built 95 x 98cm each; Derby map, 1815, complied from original sources and drawn on cartridge paper by Kevin Archer of Littleover, with key to locales, armorials, MS signature of the compiler with date April 2001, 55 x 76cm; Allestree Lordship map, 1727, copy drawn from the original by Kevin Archer of Littleover, cartridge paper, Mundy armorial 36 x 45cm; Facsimile map of Derby 1791 after George Moneypenny, on cartridge paper, 33 x 30 cm; Derby OS 1:2500 map 1884 edition, copies of sheets XLIX.16 (California), L.13 (Derby E), LIV.4 (Littleover and Normanton (two), LIV.8 (Sinfin), LV.1 (Peartree & Osmaston) & LV.5 (Cottons); two reproduction prints of Bemrose lithographs showing Derby from the Meadows, and Derby from Exeter Bridge, c. 1847, both printed on cartridge paper and named, each 40 x 30cm; Conduct and Proceeding of the Rebels in Derby, reproduced in facsimile from the Derby Mercury 9/12/1745, being the paper?s account of Bonnie Prince Charlie?s stay in Derby 4-6th December 1745, with other similar extracts printed in facsimile on the reverse; Ashbourne, facsimile of the 1830 map of the town by the ?pupils of Mr. Jones?s Academy? scale 44yds: 1in., with two vignettes (church and hall) 63.5 x 43.5cm; Bolsover Civic Society poster 88 x 62cm printed on cartridge paper with descriptions, plans and elevations of buildings including the Castle 1982; Egginton, map printed on cartridge paper embellished with vignettes and descriptions, drawn 1994 in aid of St. Wilfrid?s parish church at the request of Sir Henry Every, Bt., signed by the artist, 64 x 45cm; Long Eaton Hall: three copies of Erewash Borough Council drawings made in 1922 by H. Raven, Long Eaton Urban District Council surveyor when it was proposed to purchase the property as the town hall: block site plan 46 x 77cm; plans of the hall and outbuildings by H. Raven scale 8ft:1in, 100 x 70cm & east, south and west elevations of the hall 8ft: 1in H Raven 75 x 54cm; Radbourne, three plans copied from originals in the County Record Office: plan of 1711 drawn by Thomas Hand showing the previous house and immediate surroundings 84 x 59cm; copy of a plan of part of the estate, mid-18th century 42 x 29.5cm, also copy of William Emes?s map of 1790 showing his proposed alterations to the landscape 83 x 60cm; Renishaw Hall glossy poster 42 x 59cm advertising exhibition John Piper at Renishaw September 1999 with large colour print after Piper of Montegufoni (Sir George Sitwell?s Italian house); South Wingfield, facsimile of the tithe award map 1845 (DRO 13b) 86cm x 86cm; Genealogy: two hand scrivened pedigrees relating to the Tymperley family: pedigree of George Arderne and Sibyll Arderne of Tymperley, Cheshire, showing descent from Sir John Tymperley via John Chatterton, abstracted from the Heralds? Visitation of Cheshire 1580, 48 x 60cm, also pedigree of Tymperley of Hintlesham, Suffolk, abstracted from the Heralds? Visitation of Suffolk, 1664, 31 x 45cm, the latter in clear plastic carrying tube, (qty)

Antiques Reference - English Porcelain, 18th and 19th centuries, including Spode, Mason's, New Hall (& their pattern books), Ridgway, Liverpool, various other factories, Godden's guides, Antique Collectors' Club publications, h/b and p/b, [qty, 3 boxes]

New Hall Rare Hand Painted Dish, stamped with New Hall mark, the dish decorated in coloured enamels depicting flowers interlaced with a ribbon; c1800, 5.5 inches in diameter

A group of ceramics, to include New Hall porcelain tea bowls and dishes, a modern cloisonné vase, a Chinese style pin dish, carved ivory case, collectors plate, finger bowls, etc. (1 tray)

(See English version below)Hiroshi Sugimoto (Tokio 1948 – lebt in New York und Tokio). Sanjūsangen-dō (Hall of Thirty-Three Bays), aus der Serie „Sea of Buddha“. 1995Silbergelatineabzug. 42,3 × 54,2 cm (47,4 × 59,2 cm) ( 16 ⅝ × 21 ⅜ in. (18 ⅝ × 23 ¼ in.)). Auf Originalkarton (50,2 x 61 cm) aufgezogen, darauf unten rechts mit Bleistift signiert. Im Blattrand unten rechts mit Prägestempel nummeriert sowie Neg.-Nr: „011".Einer von 25 nummerierten Abzügen. [2001] Provenienz: Auktion 17.5.2008, Phillips de Pury & Company, London, Los 255, an den derzeitigen EigentümerWir berechnen auf den Hammerpreis 30% Aufgeld.Hiroshi Sugimoto (Tokyo 1948 – lives in New York and Tokyo). Sanjūsangen-dō (Hall of Thirty-Three Bays), from the series ”Sea of Buddha”. 1995Gelatin silver print. 42,3 × 54,2 cm (47,4 × 59,2 cm) ( 16 ⅝ × 21 ⅜ in. (18 ⅝ × 23 ¼ in.)). Laid down on original cardboard (50,2 x 61 cm), signed thereupon in pencil lower right. Editioned with blindstamp, as well as the neg.-no.: „011" in the sheet margin lower right.One of 25 editioned prints. [2001] Provenance: Auction 17.5.2008, Phillips de Pury & Company, London, lot 255, to the current ownerWe charge 30% premium on the hammerprice.

A collection of 19th century Royal commemorative medalsto include a bronze medal by Wyon. in Commemoration of the laying of the New Royal Exchange, 1842 by Prince Albert., together with a related token and medallion relating to the opening in 1844, a medal commemorating the Royal Visit to Aston Hall, 1858 in original card box, others relating to the visit of Louis Philippe 1844, the landing of Victoria and Albert in Jersey, 1846 etc. (14)largest diameter 6.5 cm. Condition: Silvered medals with some rubbing and wear otherwise fair condition

A Worcester sparrow beak jug, the baluster painted in the famille rose palette, hatched rim, scroll handle, 10cm high, c. 1770; two later New Hall cream jugs, including pattern no. 253, (2), [3]

An extensive New Hall 1930's part dinner and tea set.

New Hall dinner ware

Two similar 18th Century porcelain tea bowls with hand painted enamelled flowers, possibly New Hall. (2) (B.P. 21% + VAT)

Advertising, Breweriana - a collection of Bass and Worthington pub and brewery ashtrays, various designs and manufacturers including New Hall, T.G. Green, Wade, Fielding's, Mintons and Lancasters Ltd (14)

A Sevres seau a liqueur ovale, 1773, painted by F-J Aloncle to both sides with birds in cisele frames reserved on a bleu celeste ground,   11.5cm h, 30cm over handles, underglaze blue interlaced L's, date letter 'U', painter's mark and that of the gilder J-P Boulanger (blue) and M-B Chauveau (effaced) Provenance: The Honourable Rosemary Seymour, nee Scott-Ellis (1922-2017) to whom given by her father the 8th Baron Howard de Walden of Chirk Castle (Rosemary is the central figure in Sir John Lavery's famous conversation piece of the Howard de Walden family at Chirk, 1932-3) c1950 or alternatively a gift from Gerald Ellis (1872-1953) (Gentleman Usher or Extra Gentleman Usher to Kings Edward VII, George V, Edward VIII, George VI and Queen Elizabeth II) thence by descent at Thrumpton Hall, Nottingham, to the present vendor.  The present seau is from a now dispersed small service of which surviving pieces are in collections at Goodwood House, West Sussex, Stratfieldsaye House, Hampshire and formerly in the Metropolitan Museum of Art, New York. Whereas the original purchaser of the service has not been identified, it and many other Sevres services of the period could well have been obtained from the factory by a dealer. In the second half of 1773, the Paris merchand-mercier Madame Lair purchased service items in sufficient number and at appropriate prices to embrace the service containing the surviving 1773 pieces with a turquoise ground and bird decoration. This subject has been researched in detail by David Peters and it seems likely that the present lot formed part of the bulk return for a purchase made by Madame Lair during the second half of 1773, which included an item described as a seau a liqueur but in fact more likely a seau a liqueur ovale at a cost of 156 livres, rather more than four times the cost of a plate. Foot with four tiny drilled holes for fitting to the corresponding holes on the ormolu stand, not otherwise damaged save for small chip to one of the interior upright divisions

A study collection of nine English porcelain cream jugs, early 19th c, various moulded oblong and other shapes, including New Hall, H & R Daniel, Minton, Spode and Chamberlain Worcester examples, 12.5cm h and smaller and a contemporary felspathic stoneware jug with brown glaze (10) An excellent selection in terms of condition save for: Minton floral jug with minor descending hairline crack. Spode jug with several stains to glaze inside only. The others in good condition

Royal. A Victorian gold woodscrew novelty propelling pencil, Walter Thornhill & Co, dated 1877, with countersunk head, shank engraved SANDRINGHAM XMAS 1877, 93mm, marked Thornhill 16, 23.5g Provenance: Almost certainly given by King Edward VII (when Prince of Wales) to his equerry Major - General Sir Arthur Ellis (1837-1937) (Gentleman Usher or Extra Gentleman Usher to Kings Edward VII, George V, Edward VIII, George VI and Queen Elizabeth II) at Christmas 1877; his son Major Gerald Ellis (1872-1953) Gerald Ellis by whom given to the Honourable Rosemary Seymour, nee Scott-Ellis (1922 - 2017) of Thrumpton Hall, Nottingham; thence by descent to the present vendor. By the 1870's the firm of Walter Thornhill & Co had become renowned for the ingenuity and elegance of (in the opinion of a writer for 'The Queen') the firm's novelty in knicks-knacks. These included, in December 1876, a range of Christmas Novelties, such as the 81 tonne gun arranged as a telescope pencil case or as an etui balloon sewing necessaire incorporating a vinaigrette, travelling desks and bags, perfume and spirit cases and game cabinets... new shoe paper knives... silver champagne pencil... silver bellows scent bottle... and a silver screw pencil case... Good condition

The servants wing of the 'Gay Nineties' mansion dolls' house by Gertrude Sappington 1940s, with cream painted clapboard facade, break front with ten glazed windows, door with arched skylight above, circular attic window, chimney and green painted roof, the back open to reveal six rooms including two rooms with wood panelling below dado, two staircases, elaborate fitted bathroom with corner cupboard, original decoration and a quantity of furniture including range, Schneegas buffet, oak desk and other items--44½in. (113cm.) long x 26½in. (67.5cm.) deep x 28½in. (72.5cm.) high (small section of clapboard needs reglueing, bottom right corner of facade); with later sliding perspex back - the famous Gay Nineties mansion, once valued at $150,000, was created by Baltimore lady Miss Sappington, started in the 1940s and was completed over the next fifteen years. The central section was inherited from her mother and created in 1875. The house featured in the Sunday Sun Magazine in 1959 and Architectural Digest in 1975 (and comes with this magazine); and a quantity of related paperwork including a copy of a letter from Flora Gill Jacobs. The house was exhibited in San Fernando Valley 1958, Baltimore Museum of Art 1960-61, New York 1960s, Bolton 1976, Manchester 1978 and Leighton Hall 1982-1985. The whole house was then sold at Christie's South Kensington on 17th May 1990 as lot 108; it is believed that the buyer only had room for the main house and 'entertaining wing' and consequently sold this section.

AUTOGRAPHS.  A FINE COLLECTION OF 19TH CENTURY AND EARLIER LETTERS to include autograph letters signed, unless otherwise stated, by Robert Southey (to Thomas Allis, Superintendent of the Retreat, York], Keswick, 25 October 1834, "A line from the Retreat conveying something like hope, would at any time be the greatest comfort that this poor family could receive.", James Montgomery, ANS in the third person, Richard Cobden (to Thomas Wilcock), Sir John Bowring, Jacob Bright (to his cousin Joshua Blakey), Lord Melbourne, [10] Downing Street to John Thwaites (the brewer of Blackburn), Sir James Stansfield, Elihu Burritt, LS partly printed, Richard Monckton Milnes (to Jacob Bright), Hugh Stowell, Sir Charles Wood 1st Viscount Halifax (to Joshua Blakey), Adam Sedgwick,Trinity College Cambridge, 5 February 1832 ("... the Alligator... I have neither heard of it nor seen any account of it: but I will make some enquires about it as I have no doubt it would be a very valuable specimen for our geological museum, our Philosophical Society has a beautiful collection of birds but no equal collection of skeletons"), Sir Wilfred Lawson, Thomas O'Hagan (to Jacob Bright), Charles Sumner (to Jacob Bright, a letter of introduction of George Washburn Smalley), John Phillips (the geologist, to Thomas Allis), William Yarrell to Thomas Allis, about the Zoological Society of London), Charles Waterton to Thomas Allis, Walton Hall, 7 July 1861 ("We shall be glad to see you and to treat you to a dish of mashed Gorilla at one o'clock..."), Thomas Bell (to Thomas Allis), John Gould (to Thomas Allis), Sir William Vernon Harcourt, Frederick Douglass, AL [1846/7], (fourteen lines from a letter or speech, "the darkest feature connected with the American slave system, is the countenance and support which it receives from the Religious organisations of that land, slavery finds its strongest support in the Church and the pulpits... the ministers of religion have been foremost in defence of slavery...Corrupt and degrading as are the politics of America they send no champion into the field in defence of slavery that will bear comparison with the ministers of religion - These come in sacerdotal robes and with bibles in hand, They enforce slavery in the name of almighty God"), Sir George Stickland, Alfred Newth, John Mercer (the scientist), William Edward Forster (to Joshua Blakey), John Bright (to "Dear cousin Joshua Blakey"), Henry Vincent Marquess of Clanricarde, David Edward Hughes [1878] (on the microphone: "My speaking boxes are formed of three pieces of fine charcoal..."), William Black (to Jacob Bright), Earl of Clarendon (to Jacob Bright), Lord Sydney Godolphin Osborne (on the purchase of, and his experiments with telephones, Henry Cheetham Bishop of Sierra Leone, Thomas Bywater Smithies, Julia Bainbridge Wightman, Albert the Prince Consort, DS, (Great Exhibition 1851 certificate of the award of a medal to John Ward for services rendered to the exhibition), George III, DS, Court of St James, 22 June 1792, order to the joint paymasters to pay £11,236 17s 5d to certain general and staff officers in North America and the West Indies for their pay for the year to 24 December 1791, Duke of Wellington, General Sir Henry de Bathe, Sir Charles Dilke,  Thomas Milner Gibson, Earl of Cardigan (1823), Bernard Barton (in the third person to the publishers of The Speculum), Sir Joseph Banks, Robert Owen,  Braxfield [House] New Lanark, 28 July 1811 ("It has long been my opinion that there is not any individual so deserving of public patronage for their services to the community as yourself... your sincere friend Rt Owen"), Henry Lytton Bulwer, NS partly printed, Sir Francis Burdett to the Earl of Blessington, 29 January 1829 ("...Make my best regards to Lady Blessington & the other ladies and Monsieur D'Orsay with a thousand thanks for every thing..."), William Maginn, Barry Sullivan to Mr Turpin  16 June 1865 ("I have much pleasure in enclosing you a few Australian postage stamps all I have...."), 1st Earl of Ellenborogh, Maharajah Sir Duleep Singh (on Carlton Club notepaper), Lord George Bentinck (on India), Joanna Baillie [1824] ("I had no intimacy with any of the Poets you mention, Sir W Scott and Cambell excepted..."), George III, DS, 25 March 1809, commission appointing Edward Noble Bell adjutant of Melton Mowbray regiment of militia, Charles John Kean, Benjamin Robert Haydon to William Jerdan ("I am - beyond measure to pay my taxes to morrow, can you, will you help me with £10 till my pictures open in January?... pay pardon me"), Francis William Newman 1st Marquess of Normanby (the Whig politician and author), William Jerdan (letter of introduction of the traveller and author John Carne of Penzance), James Silk Buckingham, 1st Earl of Godolphin, DS, 27 June 1691, a pension of £4000 awarded to Charles Schomberg, 2nd Duke of Schomberg, George IV, DS as Regent) Carlton House ,13 March 1817, on the appointment of six clerks and increases in salaries including that of the 'Necessary Woman' of the Royal Hospital Chelsea, Sir Thomas Clifford, DS, 4 February 1669, a part payment of £3000 to the Earl of Sandwich Master of the Great Wardrobe, 1st Duke of Newcastle, DS, Treasury Chambers, 15 January 1762 to the Commissioners of Custom in Scotland appointing Robert Maclure a tidesman at Irvine, 7th Earl of Elgin (of the Marbles), Broom Hall, 7 May 1812, a letter of complaint in the third person to  Mr Gow about an "extremely bad" pianoforte which the latter had supplied to Broom Hall "for the ladies Bruce", 3rd Duke of Portland, LS, Whitehall 10, August 1798, to Major General Keppel on the exportation of base coin, Henry Hunt (the orator), 10 January 1888 to the Editor of ?The Age? on the falsity of a report of Hunt's interrupting a performance of Madame Vestris at Covent Garden, Lord Frederick Cavendish, Louis Bonaparte, LS, Paris, 14 Ventose, an 10 [1801/2], Sir Robert Walpole, DS, Treasury Chambers,   2 January 1734, warrant for £2000 to be paid to John Hedges Treasurer and Receiver General to Frederick Prince of Wales, 1st Viscount Lyons, 7th Earl of Shaftesbury, Sir Richard Owen (to William Buckland), Caroline Norton to Mr Amory, "I send some venison Lord Camoys has just sent here I hope it is in proper condition....I took my grandson to Carlton Terrace, to see the wreck and remember it hereafter He said -O but I should be saved by thinking of my wife & family"! It is all inexpressibly sad to me remembering them in childhood....", Dr Hook Dean of  Chichester,  William Husskison, Viscountess Strangford, Lord Heytesbury, William Buckland (11 December 1843), John Payne Collier (the Shakespeare forger), Charles Babbage (18 March 1856), John Hutton Balfour, William Spence (13 March 1838 to James Scott Bowerbank), Augustus Morgan and several others,  SIGNED PIECES including passes by the following: Thomas Hughes, Samuel Fenton Cary, Charles Haddon Spurgeon, William Howitt, Thomas Alva Edison, Alexander Graham Bell, Paul Mark Roget, Queen Victoria, Duke of Cambridge, Felicia Hemans, William Godwin, Maria Edgeworth, Harriet Martineau, Victor Hugo, John Horne Tooke, George Cruickshank, William Harrison Ainsworth, Joseph Grimaldi, William Wordsworth, Martin van Buren, Barry O'Meara, Sir Robert Smirke, Sir Philip Broke, Frederick Denison Maurice and the 6th Duke of Devonshire,SIGNED ENVELOPES and free fronts For continuation of this description, please contact Mellors & Kirk

Wheatley, Phillis " Poems on Various Subjects, Religious and Moral by Phillis Wheatley, Negro Servant to Mr John Wheatley of Boston, New England"  London, printed for A. Bell. Bookseller Aldgate and sold by Messrs Cox and Berry, King - Street, Boston ,engraved portrait frontis of Phillis Wheatley, titled 'Phillis Wheatley Negro Servant to Mr John Wheatley Published According to Act of Parliament Sept. 1st 1773 by Arch'd Bell, Bookseller no 8 by the Saracen's Head. Aldgate. Faint offsetting from the frontis onto title page, foxing between pages 39-52, dedication to 'The Right Honourable Countess of Huntingdon the Poems are most Respectively inscribed by her much obliged, very humble and devoted servant Phillis Wheatley June 12 1773' , some staining to edges of endpapers, contemp full calf, full calf, gilt titles , faded, gilt dentelles to edges of boards 15.75 x 12 cms, a slender volumeplease note also so odd marks in centre pages, not loss, please see images, engraved frontis portrait has been laid down as there has been a tear across the lower part of the page. Expertly repairedc.f. The New Yorker,  Elizabeth Winkler,  July 30th 2020      Poets.org - Phillis Wheatley      East End Women's Museum, Phillis Wheatley -The First Published Black Woman PoetIn 1773, Phillis Wheatley accomplished something that no other woman of her status had done. When her book of poetry, Poems on Various Subjects, Religious and Moral, appeared, she became the first American slave, the first person of African descent, and only the third colonial American woman to have her work published.Originally from Bowden Hall, Upton St Leonards, GloucestershireDear Customer, in order to comply with Anti Money Laundering Regulations, please contact the auctioneer before bidding on this lot. BOOKS NOT COLLATED UNLESS OTHERWISE STATED, PLEASE ENSURE YOU ARE SATISFIED BEFORE YOU BIDCondition Reportplease see all images and text

Quin Edward " An Atlas of Universal History;  in a series of maps..." engraved by Sidney Hall, New Edition, Richard Griffin and Company [1857] 21 handcoloured maps by Gilmour and Dean, either double page or folding, publisher's blind stamp cloth with gilt titles and price to front board, boards faded and worn, please see further imageswith Ostell's "New General Atlas...." new edition , Baldwin and Cradock [1830], 30 hand coloured maps, two double page, originalhalf calf, boards, some staining to the corners and back strip  (2)BOOKS NOT COLLATED UNLESS OTHERWISE STATED, PLEASE ENSURE YOU ARE SATISFIED BEFORE YOU BIDCondition ReportQuin's Atlas - 21 maps as required, maps clean, some foxing and offsetting not affecting the maps, slight tear in the fold by the hinge of 1660 AD Restoration.... and also AD 1555.Ostell  - dated on ffep 1833, some offsetting, not affecting the maps and all present

Randolph Turpin signed b&w photograph and cigarette case, photograph signed in blue ink, 5.5 by 3.5in.; with a silvered metal rectangular cigarette case, with engine-turned decoration, 14 by 8.5cm., (2)Randolph Turpin (1928-1966) English boxer in the 1940s and 1950s, became World Middleweight champion in 1951 when he defeated Sugar Ray Robinson on points at Earls Court on 10th July wo a crowd of 18,000. Becoming the first British fighter to hold the title since Bob Fitzsimmons in 1891. A rematch took place on 12th September 1951 at the Polo Grounds New York when the fight was stopped by the referee with Sugar Ray Robinson winning the bout. His amateur career commenced at the Leamington Boys Club and continued in the Royal Navy during the late 1940s.In his professional career he had 75 recorded fights, with 66 wins, forty-four by KO and eight losses with one draw. He was inducted into the International Boxing Hall of Fame in 2001. Provenance: Vendor's father was given the items by Randolph Turpin during a family visit.

A NEW HALL BAT PRINTED SAUCER DISH AND TEAPOT STAND circa 1815-20 The dish printed to pattern number 1063 with children in a rural landscape, the teapot stand printed to pattern number 1109 with children playing, the saucer dish with printed roundel mark in iron red and pattern number, the stand with pattern number. (2) Saucer dish 21.3cm diameter. Teapot stand 18.7cm long. Provenance: Saucer dish purchased from Law Fine Art, 28 September 2004, lot 455. Teapot stand purchased from Charnwood Antiques, 7 February 1991. The absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Some scratches in the glaze but in otherwise good condition without chips, cracks or restoration.

Tom McNeely (Canadian, B. 1935) "Vince Lombardi" Signed lower right. Original Watercolor painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which appeared on the Fleetwood First Day Cover of the 32c Vince Lombardi stamp issued July 25, 1997. Born in Brooklyn in 1913, Vince Lombardi planned to be a Catholic priest. He showed a talent for football in high school and at Fordham University, from 1934 through 1936, Lombardi played guard on the most fearsome line in college football -- the "Seven Blocks of Granite." Lombardi was also an excellent student, graduating from Fordham with a B.S., then studying law. But he continued to play football on weekends and, in 1939, took his first coaching job at St. Cecelia High School in Englewood, New Jersey, where his teams won six state championships. By 1947, Lombardi was freshman coach at Fordham. His big chance came in 1949 when he was hired as assistant coach under Colonel Earl "Red" Blaik at Army. Five years later, Lombardi was named offense coach for the New York Giants. In 1959, when Lombardi became head coach and general manager of the Green Bay Packers, the Packers were a bottom-of-the-ladder team located in a small town in Wisconsin known as the "Siberia of the National Football League." But it didn't take long for Lombardi to change that image. The Packers won Western Conference titles in 1960, 1961 and 1962, captured the NFL championship in 1961 and 1962, and were victorious in the first two Super Bowls -- in 1967 and 1968. In 1969, he became head coach, general manager and part owner of the Washington Redskins, coaching them to their first winning season in 14 years. Lombardi died unexpectedly in 1970 and the following year he was inducted into the Pro Football Hall of Fame. Image Size: 22 x 16.25 in. Overall Size: 26.5 x 22.25 in. Unframed. (B15757)

Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. Titled: "Redaction" Dated: '94 Oil on Paper. Signed lower right. Image Size: 10.25 x 13.25 in. Overall Size: 15.25 x 18.25 in. Unframed. (257 - 4684)In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N.Y.U. and was accepted to the N.Y.U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N.Y.C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS2001 SRQ ON MAIN, Sarasota, Florida1996 TAMPA ELECTRIC CO., TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida1993 MATRIX, Renegade Gallery, East Hampton, New York1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N.S.W., Australia1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY1974 AJANTA GALLERY, New York, New York1973 St. Croix, Virgin Islands1972 St. Croix, Virgin Islands1971 Ars Bar, Ibiza, Spain1970 Ars Bar, Ibiza, Spain1969 Ars Bar, Ibiza, Spain1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin IslandsSELECTED GROUP AND JURIED SHOWS2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB., Juror: Larry Walker, Prof. of Art at Georgia-State University1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1986 PLASTO GALLERY, Mullumbimby, N.S.W., Australia1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia1985 N.P.U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N.S.W., Australia1971 LE CENTER AMERICAN, Paris, France

Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. Titled: "Study for Red Progression" Dated: '95 Oil on Paper. Signed lower right. Image Size: 11.75 x 8.75 in. Overall Size: 16.75 x 13.75 in. Unframed. (258 - 4685) In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N.Y.U. and was accepted to the N.Y.U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N.Y.C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS2001 SRQ ON MAIN, Sarasota, Florida1996 TAMPA ELECTRIC CO., TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida1993 MATRIX, Renegade Gallery, East Hampton, New York1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N.S.W., Australia1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY1974 AJANTA GALLERY, New York, New York1973 St. Croix, Virgin Islands1972 St. Croix, Virgin Islands1971 Ars Bar, Ibiza, Spain1970 Ars Bar, Ibiza, Spain1969 Ars Bar, Ibiza, Spain1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin IslandsSELECTED GROUP AND JURIED SHOWS2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB., Juror: Larry Walker, Prof. of Art at Georgia-State University1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1986 PLASTO GALLERY, Mullumbimby, N.S.W., Australia1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia1985 N.P.U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N.S.W., Australia1971 LE CENTER AMERICAN, Paris, France

A collection of 20th century lustre ware, to include examples by Wedgwood, New Hall, and Maling; together with a 20th century Japanese Kutani vase; and a Radford floral decorated vaseCondition report: Oriental urn – small chips to rim and crack to base.Maling – no apparent faults.Wedgwood vase – no apparent faults.Boumier ware – some crazing.Green vase – crazing, otherwise no apparent faults.

William Spooner (19th Century) - Six lithograph and watercolour - "Spooner's Protean Views", comprising - "Mount Vesuvius", circa 1838, "A Snow Scene", "The Royal Rose of England", published June 1st 1838, "Guild Hall London", "Westminster Abbey Fitted Up for the Coronation of Queen Victoria", published July 28th, 1838, and "The New Houses of Parliament", each with printed caption, various sizes

Three 19th Century hand-enamelled porcelain saucers attributed to New Hall, together with two further transfer-printed and hand-tinted saucers bearing oriental influenced decoration, 14 cm (3) and 11.5 cm (2) respectively, (one New Hall saucer having a star crack to base, other saucers have rubbed gilding)

'Pawsey's Ladies Fashionable Repository For 1883', numerous engravings including Whitlingham, Norfolk; New Museum Ipswich; Rougham Hall, Suffolk; Rushbrook Hall, Suffolk; Blickling Hall, Norfolk, etc, printed in Ipswich, plus 'Fulcher's Ladies Memorandum Book 1891', numerous engravings including On The Deben; The Mill Head, Sudbury; Acton Lane Sudbury, etc, printed in Sudbury, each original morocco folding wallet style bindings (2)

A packet of Great Yarmouth and related late 19th & 20th Century ephemera, programmes, printed souvenirs, programmes etc, including 'Pictures of Great Yarmouth and Neighbourhood', Lewis Hepworth Co, circa 1900, [56]pp, ills. from photos by Payne Jennings etc, oblong 4to (22 x 29cm), original pictorial wraps; 'Opening of the New Haven Bridge by H.R.H. The Prince of Wales.'. Supplement to "Yarmouth Independent" October 18th, 1930, [8]pp, illustrations throughout, oblong, original printed wraps, mounted pictorial ill. from photo of Edward VIII to top wrap; plus Official Programme and Souvenir of H.R.H. Prince of Wales visit to Great Yarmouth to open Haven Bridge and inspect the Fishing Fleet, October 21st 1930, 23pp, original stitched printed wraps; Nelson Centenary Programme, Public Hall Ipswich, October 21st 1905, original wraps; Souvenir of Great Yarmouth, Annual Conference, Union of Post Office Workers, May, 1927, 17 tipped in views and portraits on 15 printed card leaves, original wraps, ribbon ties (31 x 25cm); 'Press Notices & Illustrations of the Historic Nelson Room, Star Hotel, Great Yarmouth', [nd], circa earlier 20th Century, original wraps (worn and detached but present), 8 large original photographs depicting the wood panelled "Nelson Room" from the Star Hotel, now housed in the Met Museum, New York, each photo approx 30 x 25cm, etc etc

An 1886 Royal College of Physicians and Surgeons chromolitho Ticket for laying the foundation stone, by her Majesty the Queen, New Examination Hall, Thames Embankment, March 24th 1886, approx size 21.5 x 29.5cm

'Baskett Bible and Book of Common Prayer and Apocrypha', Oxford, John Baskett, 1733, engraved portrait frontis, Book of Common Prayer printed title page, Holy Bible added engraved title page and separate printed title page, extra illustrated copy with a set of 52 full page engraved plates bound in, these plates with an entry in the British Library catalogue titled 'The Historical part of the Holy bible or The Old Testament and New Testament exactly and compleatly describ'd in above two hundred historical cuts curiously engraven from designs of ye best masters', these plates contemporary to the date of the bible, four individual illustrations to a plate, 4to, rebound calf (not recent), some leaves trimmed, provenance Newbold Pacey Hall, Warwickshire.

A collection of vintage china to include Limoge, two New hall large oval meat platters and a Mason Ironstone blue lidded tureen. 

A collection of Royal Albert china having silver and gold gilt to the edges together with a New Hall tea service. 

The 56 medals awarded between 1874 and 1897 to the pioneering photographic artist Frank Sutcliffe, from Whitby, Yorkshire, one of the first photographers to create 'art' from his images: International Exhibition of all Fine Arts Industries and Inventions, 1874, a bronze medal by G.T. Morgan, bust of Prince of Wales left, rev. Albert Hall, named (Francis Meadow Sutcliffe, Catalogue No. 4425 etc), 52mm (BHM 2992; E 1633); Un-named Society [perhaps Liverpool or Newcastle-upon-Tyne-related], a bronze medal, unsigned, robed and winged female inscribing tablet on pillar, rev. wreath, named (Swan Plate Competition, 1881, Awarded to Mr F.M. Sutcliffe, for Landscape), 50mm; Dundee and East of Scotland Photographic Association, 1882, a silver medal, unsigned [by Whytock & Sons, Dundee], arms and supporters, rev. exhibition dundee, un-named, 41mm, 27.54g (cf. DNW M11, 1121); Photographic Society of Great Britain, bronze medals (4), unsigned [by W.J. Taylor], bust of Prince Albert left, revs. female driving quadriga, named (Frank M. Sutcliffe, Exhibition 1882; F.M. Sutcliffe, Exhibition 1886; Frank M. Sutcliffe, Exhibition 1887; Frank M. Sutcliffe, Exhibition 1889), all 64mm (cf. BHM 2525; E 1478); Royal Cornwall Polytechnic Society, First Class, a bronze medal after W. Wyon, bust of James Watt left, rev. legend, named (Frank M. Sutcliffe, for Instantaneous Views, 1882), 45mm (E 1272); Bristol & West of England Amateur Photographic Association, medals by J.A. Restall for Lavars (4, two silver, two bronze), arms and supporters, revs. international exhibition, named (silver: Frank M. Sutcliffe, 1883-4, F.M. Sutcliffe; bronzes: F.M. Sutcliffe), all 55mm, silver total wt. 132.58g (cf. DNW 64, 1136); Photographic Exhibition, Northampton, Prize Medal, a bronze medal by J.S. & A.B. Wyon, arms and supporters, rev. legend, named (F.M. Sutcliffe, 1884-5), 51mm; Cardiff Photographic Society Exhibition, medals by J.A. Restall (3), in silver (2) and bronze, female seated left, head reverted, shield with Welsh dragon below, revs. wreath, named (silver: 1886, Figure Study, F.M. Sutcliffe, 1888, F.M. Sutcliffe, Class XXIIII; bronze: 1888, F.M. Sutcliffe, Class III), all 51mm, first hallmarked London 1887, silver total wt. 126.50g; Dundee and East of Scotland Photographic Association, 1886, a silver medal, unsigned [by Whytock & Sons, Dundee], arms and supporters, rev. exhibition dundee, un-named, 41mm, 28.45g (cf. DNW M11, 1121), reverse with brooch mount; Photographic Society of Ireland, a bronze medal, unsigned [by Woodhouse], cruciform shields, rev. wreath, named (Triennial Exhibition, Awarded to Frank M. Sutcliffe, Class 6 No.16, 1887), 51mm (cf. DNW 188, 757); Borough of Nottingham, Art Museum, Medal for Success in Art, a silver medal, unsigned, arms, rev. legend, named (Exhibition of Photographs, 1887, to Frank M. Sutcliffe for No. 47), 72mm, 119.67g; Crystal Palace Photographic Exhibition, 1888, a bronze medal by J. Pinches, Britannia holding caduceus and key, opening the doors to the exhibition, lamb and helmet at her feet, rev. legend above wreath, un-named, 41mm (Allen p.138; MJP p.33); Dundee and East of Scotland Photographic Association, 1888, a silver medal, unsigned [by Whytock & Sons, Dundee], arms and supporters, rev. exhibition dundee, named (Awarded to F.M. Sutcliffe), 41mm, 25.76g (cf. DNW M11, 1121); Gloucestershire Photographic Society, a silver medal by H.B. Sale, arms and supporters, rev. wreath, named (April 1888, F.M. Sutcliffe, Class 9), 45mm, 50.22g; Liverpool Amateur Photographic Association, Prize Medal, silver medals by Brookes & Adams (2), arms and supporters, revs. tablet above wreath, named (International Exhibition 1888, F.M. Sutcliffe), both 44mm, total wt. 79.00g (cf. DNW 131, 514); Borough of Oldham, bronze medals (2), unsigned, arms and crest, revs. wreath, named (Photographic Exhibition, F.M. Sutcliffe, 1888), both 45mm (cf. DNW 64, 1132); Coventry & Midland Photographic Society, a silver medal, unsigned, arms and crest, rev. camera within elaborate wreath, named (F.M. Sutcliffe, Champion, Class 5, 1889), 45mm, 42.65g; Crystal Palace Photographic Exhibition, 1889, a bronze medal by J. Pinches, Britannia holding caduceus and key, opening the doors to the exhibition, lamb and helmet at her feet, rev. legend above wreath, named (F.M. Sutcliffe, Series-Cl. A, Sec. 2), 41mm (Allen p.139; MJP p.33); Derby Corporation Art Gallery, 1882 [struck 1883], Industrial Art Prize Medal, a bronze medal by Phillips for P. Vaughton, crowned arms, rev. robed female with accoutrements of art, building in background, named (F. Sutcliffe, Whitby, June 1889), 39mm; Mechanics’ Institute, Keighley, bronze medals by J. Moore (2), robed female standing in landscape, camera at right, revs. legend, named (F. Sutcliffe, 7 Jany. 1889, Champion; F. Sutcliffe, 7 Jany. 1889, Picture), both 45mm; Photographic Exhibition, Richmond, Surrey, a silver medal, unsigned [by J.A. Restall], crowned arms, rev. wreath, named (Awarded to F.M. Sutcliffe for Series of Landscapes, 1889), 45mm, 48.33g; Photography, bronze medals by J.A. Restall (2), seated robed female, camera equipment at left, revs. wreath, named (Medal for General Study won by F.M. Sutcliffe, ‘Coventry’ Exhibition, 1889; Medal for Best Picture, won by F.M. Sutcliffe, Royton, 1890), both 38mm; FRANCE, Exposition Universelle, Paris, 1889, a bronze medal by L.A. Bottée, Marianne crowning seated artisan, Exposition pavilion and Eiffel Tower below, rev. Fame seated on branch of tree, blowing trumpet, named (F.M. Sutcliffe), 63mm (Maier 131; PBE 9; ANS Exh. Cat. 1910, 15; BDM I, 231; cf. DNW 176, 373); GERMANY, Photographische Jubiläums Ausstellung, Berlin, 1889, a silver medal by O. Schultz, male bust right, rev. radiant tablet, named (Zuerkannt Herrn Frank M. Sutcliffe), 45mm, 50.80g; U.S.A., Photographic Society, Chicago, Art Institute, bronze medals (3), unsigned, eagle with feet resting on U.S. shield of arms, revs. 1st annual exhibition may 1889, named (F.M. Sutcliffe), all 38mm; Crystal Palace Photographic Exhibition, 1890, a bronze medal by J. Pinches, Britannia holding caduceus and key, opening the doors to the exhibition, lamb and helmet at her feet, rev. legend above wreath, named (Frank Sutcliffe, Class C, Sec. 1), 41mm (Allen p.140; MJP p.33); Mechanics’ Institute, Keighley, medals by J. Moore (2), in silver and bronze, robed female standing in landscape, camera at right, revs. legend, named (silver: F.M. Sutcliffe, Champion, 1890; bronze: F.M. Sutcliffe, Subject Pictures, 1890), both 45mm, silver 46.70g; Newcastle-on-Tyne and Northern Counties Photographic Association, a bronze medal by J.A. Restall, elevation of church, rev. camera, central tablet named (Awarded to F.M. Sutcliffe, 1890), 45mm (cf. DNW M11, 1105); Liverpool International Photographic Exhibition, a silver medal by J.A. Restall, arms and supporters, rev. camera, tablet and portrait on easel, named (1891, F.M. Sutcliffe), 45mm, 39.00g; International Photographic Exhibition, Leeds, medals (3), unsigned [by J.A. Restall], in silver and bronze (2), classical male head right, radiant star around, revs. crested arms and supporters, municipal art gallery above, named (silver: F.M. Sutcliffe, Marine and Clouds, Leeds, 1891; bronze: Landscapes, F.M. Sutcliffe, Leeds, 1891, Outdoor Groups, F.M. Sutcliffe, Leeds, 1891), all 45mm, silver 40.17g (cf. DNW M11, 1119); U.S.A., The Society of Amateur Photographers of New York, Fourth Annual Exhibition, a silver medal, unsigned, American eagle above camera on radiant sun, rev. wreath, named (Frank M. Sutcliffe, for Artistic and Technical Excellence, 1891), 57mm, 53.78g; U.S.A., World’s Columbian Exposition, Chicago, 1893, a bronze medal by C.E. Barber, figure of Christopher Columbus mode...

Five English coffee cans, two Derby with different imari patterns, a New Hall can with fruiting trees, Coalport with a kakiemon pattern, and a Miles Mason blue and gilt

Five English coffee cans, Flight Barr with brown leaves, a Coalport coffee can with gilded palm trees, a Ridgway can with flowers on a marbled ground, a can with Hamilton flute and a New Hall can with ring handle

Phoebe Dickinson (b.1984) Top Hat and Velvet Gloves 1, 2 and 3 Three, one signed, numbered and inscribed Top Hat '3' 8/21 Phoebe Dickinson (in pencil to margin) Each 38 x 20.5cm (the sheet) Unframed (3) This lot is subject to VAT on the hammer price. Horatio's Garden will receive 50% of the hammer price. Horatio's Phoebe takes commissions in all mediums seen on the website. Her studio in London always has a selection of work which can be viewed by private appointment. She also has a studio in Gloucestershire. Phoebe has held four successful solo shows, which she curated personally. In 2013 she was selected to appear on the Sky Arts programme 'Portrait artist of the year' produced in conjunction with the National Portrait Gallery. She has exhibited in the Royal Society of Portrait Painters annual exhibition three times; in 2015 showing her portrait of Carson from Downton Abbey which is part of an exciting series of painting commissions documenting the making of the iconic ITV series. Phoebe's portrait for the Cholmonderley children at Houghton Hall was chosen for the BP Portrait Award 2018 exhibition at the National Portrait Gallery. In 2019 she won the Burke's Peerage Foundation Award for classical inspired portraiture at the Royal society or Portraiture painters exhibition and was highly commended for the De Lazlo Award. She continues to exhibit regularly at renowned galleries in London and beyond and is due to have a solo show in New York this Autumn.

A term of life drawing classes with Susannah Fiennes, at St Peter's Hall, Notting Hill Road, London, W11. Horatio's Garden will receive 100% of the proceeds from this lot. Susannah Fiennes is a figurative painter who divides her time between doing portrait commissions, teaching a private life drawing class in Notting Hill and lecturing on looking at paintings from an artist's point of view. Born in Oxford, she now lives and works at home near Abergavenny, South Wales. She has travelled extensively, and for five years lived and painted in New York City. Susannah has exhibited her work regularly in both group and solo exhibitions. Her paintings can be seen in the collections of the national portrait gallery, the House of Commons, Barings Bank and HRH the Prince of Wales.

Seven pieces of New Hall chinoiserie tea china in pattern N425, the plate 8.2" diameter - one tea bowl cracked.

Aesop. Aesop's Fables with his Life: in English, French and Latin, additional engraved title, engraved arms of the dedicatee, William Cavendish, Earl of Devonshire, frontispiece and 31 plates by Thomas Dudley, including the 'indecent' plate 17 with small ink doodles near the offending part but not obscuring it, 110 engraved illustrations by Francis Barlow, occasional short tears but generally a fine, clean and crisp copy, bookplate of Sir William Eden, Bart., early 19th century russia, ruled in gilt and blind, sympathetically rebacked, [Wing A703], folio, by H. Hills jun. for Francis Barlow, 1687.⁂ A very good copy of Barlow's famous edition, his masterful illustrations enhancing the verses of Aphra Behn.Sir William Morton Eden, 7th Baronet of West Auckland and 5th Baronet of Maryland, of Windlestone Hall, County Durham, was father of Prime Minister Anthony Eden, later Earl of Avon. He was an eccentric and irascible man, a brilliant huntsman, talented watercolourist, and early collector of impressionist pictures. In the words of his son Sir Timothy: '...he was induced neither by poverty nor obscurity of birth, nor by timidity - for he was physically and morally fearless - nor by the slightest vestige of self-discipline, to restrain the exuberance of his feelings. Nature had showered upon him with an uncontrolled hand her gifts and her curses alike, and without control he received them all, and without control he expended them.' He had a celebrated legal dispute with Whistler over a portrait he had commissioned of Lady Eden. See: 1) Timothy Eden, The Tribulations of a Baronet, (Macmillan, 1933, 2nd Edition The Spredden Press, 1990) 2) Whistler, James McNeill, Eden versus Whistler: The Baronet and the Butterfly. A Valentine with a Verdict, Paris and New York, 1899.

Wilde (Oscar) Newdigate Prize Poem. Ravenna, first edition, armorial device on title and upper cover, 16pp., original printed wrappers bound in, later salmon pink half straight-grain morocco, gilt, by Hatchards, t.e.g., [Mason 301], 8vo, Oxford, Thos. Shrimpton and Son, 1878.⁂ Wilde's first published book. "During a vacation ramble in 1877 he started for Greece, [and] visiting Ravenna by chance on the way, he obtained material for a poem on that ancient city, and singularly enough 'Ravenna' was afterwards given out as the topic for the Newdigate competition." (The Aesthetic Movement in England by Walter Hamilton, 1882.)This and the following 5 lots are uniformly bound and each book bears the bookplate of Sir William Eden, Bart., (occasionally inserted upside-down on the rear pastedown).Sir William Morton Eden, 7th Baronet of West Auckland and 5th Baronet of Maryland, of Windlestone Hall, County Durham, was father of Prime Minister Anthony Eden, later Earl of Avon. He was an eccentric and irascible man, a brilliant huntsman, talented watercolourist, and early collector of impressionist pictures. In the words of his son Sir Timothy: '...he was induced neither by poverty nor obscurity of birth, nor by timidity — for he was physically and morally fearless — nor by the slightest vestige of self-discipline, to restrain the exuberance of his feelings. Nature had showered upon him with an uncontrolled hand her gifts and her curses alike, and without control he received them all, and without control he expended them.' He had a celebrated legal dispute with Whistler over a portrait he had commissioned of Lady Eden. See: 1) Timothy Eden, The Tribulations of a Baronet, (Macmillan, 1933, 2nd Edition The Spredden Press, 1990) 2) Whistler, James McNeill, Eden versus Whistler: The Baronet and the Butterfly. A Valentine with a Verdict, Paris and New York, 1899.

An 18th Century English bone china teapot (probably New Hall), H.15cm. spout to handle 23cm. Condition: handle with old repair.

Antique brass Brighton bun candlesticks of typical form, 9cm diameter. Ex New Hall, Chelmsford

Middle Kingdom, circa 1850 BC. A flat bronze multi-tanged cutting eye-axehead, with three tangs having holes for the fastening to the haft by small nails or with cord, one part of the blade incised with hieroglyphic symbols.Cf. for the iconography Hall, H.L., Hieroglyphic texts from Egyptian stelae etc., in the British Museum, London, 1914, Part 5, Pl.7, BM inv. no.EA1147; Stilmann, N., Tallis, N., Armies to ancient Near East, 3000 to 539BC, Worthing, 1984, fig.8, p.94; for a parallel cf. Flinders Petrie, W., Tools and Weapons, British School of Archaeology in Egypt and Egyptian Research Account 22nd Year, 1916, UC, 1917, pl.VI, nos.164-167.178 grams, 19.5cm (7 3/4"). Property of a gentleman from Jerusalem; previously in an old Israeli collection; accompanied by a copy of Israeli export permit number 43725.Egyptian soldiers (ahauty) of Middle Kingdom represented in the tomb painting from the grave of Djehutyhotep at Deir el-Bersha are wielding this type of eye-axeheads. The shaft to which the axeheads are attached is furnished with a hand-guard. This traditional Egyptian axe (metnit) had a round or semi-circular blade of copper lashed to a wood staff. By the First Intermediate Period, when territorial conflicts and civil wars arose within Egypt, a new crescent-shaped axe blade made of bronze was devoted specifically to the fight. The design increased the length of the cutting edge, making the weapon more lethal. For this specific lot, 5% import VAT is applicable on the hammer price Fine condition.

HARDCORE/ PUNK/ OI - LPs. A quality collection of 25 LPs spanning across the punk genres. Artists/ titles include Rancid inc Let's Go (86434-1, 10" New & Sealed), S/T (86428-1), B Sides and C Sides (RR9, New & Sealed, possibly blue vinyl), Honor Is All We Know (87271-1, New & Sealed, green/ yellow splatter vinyl). 88 Fingers Louie - Behind Bars (HR607-1), Anacrusis - Reason (ATV9), Argy Bargy - The Likes Of Us (picture disc), Coal Chamber (picture disc), Dance Hall Crashers, Dodelhaie, Fitz Of Depression, Framtid, Cripple Bastards, Good Riddance, Isterismo. Condition is superb Ex to Ex+/ New & Sealed.

JAZZ - BOP/ HARD BOP - JAPANESE LPs. Here we have a fantastic collection 18 LPs. All classic jazz, mostly Japanese pressings with obi strips and inserts. Artists/ titles include Miles Davis inc In Paris International Festival 1949 (18AP 2051), Milestones (SONP 50087), 1958 Miles (20AP 1401), At Carnegie Hall (SOPZ24), The New Miles Davis Quintet (SMJ-6531), Miles Davis and Milt Jackson Quintet/ Sextet (PJ-6-7034), Walkin' (SMJX-10046), Jazz At The Plaza (C32470). John Coltrane - Impressions (IMP-88067), Sonny Clark inc Cool Struttin' (B0021110-01), Sonny Clark Trio with Paul Chambers (BST-81579). Bud Powell inc Bud! (BST81571). Eric Dolphy - Unrealized Tapes (West Wind 016), Earl Bostic - Fantastic Bostic (SP-7157), Lionel Hampton - Oh Rock! (23MJ 3073), Les McCann Ltd - But Not Really (SMX-7012), Charles Mingus - Mingus Ah Um (SOPM 145) & Sonny Rollins - The Sound Of Sonny (VIJ-134). Condition is beautiful Ex to Ex+/ Archive.

18th century black and white engraving showing a perspective view of the city hall in New York taken from Wall Street, drawn and engraved by C. Tiebout, 40.5 x 54cm approx visible sheet size, together with a 19th century black and white American lithographic engraving of the Steamflower Mills and Residence of William Hardesty at Carrollton Ohio, 31 x 40cm approx visible sheet size, both framed (2) (displayed on stairwell)

A collection of Dickens and other books to include Martin Chuzzlewit, Chapman & Hall London 1844 (1st Ed), Bleak House, Bradbury & Evans, London 1853 (1st Ed), Little Dorrit, Bradbury & Evans, London 1857 (1st Ed), The New Comers in two volumes edited by Arthur Pendennis, Bradbury & Evans, London 1854 and Vanity Fair by William Makepeace Thackeray, Bradbury & Evans, London 1848 (6)

A new oak and burrwood four drawer hall table, made by a local craftsman, 76cm tall 110cm x 30cm

A new naturalistic wooden live edge wooden hall table on metal supports, 77cm tall x 137cm wide x 35cm deep

A new mahogany hall bench made by a local craftsman to a high standard, 94cm tall x 81cm x 40cm

A Victorian Stained Beech Astronomer's Chair, the curved back with pierced top rail extending to a low scroll seat on an X-frame supports, 34cm wide, 85cm highThis chair normally bears an oval plate "W Callaghan, 28a New Bond Street S, Registered London January 15th 1873". W Callaghan is listed as an optician in London directories between 1866 and 1892. Several of these chairs are known to exist and it seems to be accepted that they are probably for use with a telescope. A similar chair is illustrated in Architectural Review Decoration Supplement July 1937 from the catalogue of a loan exhibition depicting "British Country Life", where it is described as a cherry sorter's chair. Gilbert (C) Furniture at Temple Newsam House and Lotherton Hall 1998, a similar chair with the Callaghan label is illustrated and described pg.591-2, fig.712 CONDITION REPORT: The seat has a split and has numerous deep scratches around the seat and also the back support. There is a further small split running from the joint of the seat and back support up to one of the peg joints. Chair structure is OK however there are further numerous scuffs on the other side of the seat and the back support and around the legs.

A Pair of George III Silver Tea-Caddies and a George III Silver-Mounted Tortoiseshell Caddy, The Pair of Tea-Caddies Maker's Mark ED, Possibly for Edward Dobson, London 1774, The Tortoiseshell Caddy Circa 1770, the pair each plain oblong and with cast husk borders, on cast openwork base, the hinged, slightly domed covers chased with foliage and husk swags and with vacant cartouches, with later drop-ring handles, 10cm high, 17oz 17dwt, 555gr, the contemporary but possibly associated caddy oblong and on cast silver openwork feet, with drop-ring handle and key plate,18.5cm wide (2) Grimwade doesn't record an identical match to the maker's mark on the present pair of tea-caddies, though the only two candidates would seem to be either Edward Dowdall or Edward Dobson. As Dowdall is only recorded until 1758 Dobson seems the most likely candidate. Dobson was originally from Newmarket, his father being a barber there. Having been made free of the Goldsmiths' company in 1751 he is recorded as entering his first mark in 1755, in partnership with James Williams and William Pryor. That partnership was dissolved the same year and he was to go on and enter other marks. By 1774, when the present caddies were hallmarked he is listed as working on Old Street as a goldsmith. Other similar tea-caddies to the present include one by Dobson, 1771 (Sotheby's, New York, 23 October 2006, lot 240) and another of the same date sold Charlton Hall Auctioneers, 4 April 2019, lot 130. Each of those examples had a very similar openwork foot and chased decoration on the hinged cover.. Each marked under base, the covers apparently unmarked. The marks underneath are generally clear. There is some surface scratching, wear and minor bruises, consistent with age and use. The wear is noticeable as a softening to the high points including some small holes to the high points on the covers. The cover of each with an oval cartouche which has possibly been erased. The ring finial is a modern replacement on each. There are some scratches to the tortoiseshell on the caddy.

The Ryedale Ritual Bronzes. A unique assemblage of Roman ritual artefacts from Yorkshire.In May 2020, approximately 20 miles north of York, the Roman city of Eboracum, two friends Mark Didlick and James Spark unearthed an amazing assemblage of Roman bronze-work. Consisting of a large bust, a horse and rider figurine, a zoomorphic knife handle and a pendulum, this assemblage almost certainly represents a set of ritual equipment, buried as one deposit in the closing decades of the second century AD either at, or very close to, a rural temple or shrine site.BustThe 130mm high bronze bust, with its flamboyant hair and curly, forked beard appears to represent Marcus Aurelius. Emperor AD 161-180, philosopher and author, his reign followed those of Nerva, Trajan, Hadrian and his adoptive father, Antoninus Pius. He earned his place in Roman hearts as the last of the ‘Five Good Emperors’ whose consecutive rules oversaw a period of relative peace and prosperity in Rome. The bust is hollow, cast using the lost wax method and very finely modelled. Although the portrait is somewhat stylised, with large almond-shaped eyes, close similarities can be seen with some other depictions of the Emperor, notably the bronze equestrian statue of Aurelius in the Piazza del Campidoglio, Rome, and the full-length figure in the Ny Carlsberg Glyptotek, Copenhagen. The back of the head has a hinged plate which opens like a trap door to reveal the interior, possibly designed as such to allow the placement of a flaming lamp inside to bring life to the eyes. https://en.wikipedia.org/wiki/Equestrian_Statue_of_Marcus_Aureliushttps://www.worldhistory.org/image/2406/marcus-aurelius-statue-ny-carlsberg-glyptotek/A similar head was found at Brackley, Northamptonshire in the 1970’s and now features on the homepage of the Portable Antiquities Scheme website. The head is hollow-cast and has cobalt blue glass inlaid into the eyes. The PAS record BERK-E24C84 states: ‘The small number of heads or busts cast in bronze and found in Britain share characteristics such as slanting eyes and the textured patterning of the hair identifies them as the products of a provincial Romano-British workshop. The Brackley head can be dated to the mid-late second century AD by its resemblance to images of Antonine emperors, especially Marcus Aurelius. It may perhaps be inappropriate to suggest that the head from Brackley represents the local rendering of an imperial portrait, but a profile image on a coin portrait of Marcus Aurelius might have been its inspirations.’ https://finds.org.uk/database/artefacts/record/id/252426Around 20 bronze heads/busts are known from Roman Britain, depicting various gods and emperors and they are thought to be mounts from the tops of sceptres. These sceptres would have been carried by priests and used for divination and the performance of rituals.Mars statuette.A cast bronze figurine of a rider on horseback, probably representing the God Mars. The horse and rider are well modelled, the horse harness with attached phalerae and reins clearly visible, though the latter are broken. Mars, wearing a helmet, short-sleeved tunic and pleated skirt, belted at the waist, sits astride the horse with his right arm raised to hold a spear. The left arm is held in front, bent at the elbow and the simple form of the forearm indicates it would have been held behind a shield, hidden from view. No traces of a shield were found in the hoard and it is possible that this was made from organic material. The horse has its right foreleg raised and the other legs have small pegs on the base of the hooves, indicating that the figurine would have been fixed into a plinth. It is often the case with votive deposits that figurines are interred without their bases or sometimes a pedestal is included with no accompanying figurine. 86.8mm high. 222g.Knife handle. A solid bronze knife handle in the form of a horse protome (the foreparts of a horse).  The horse is well modelled with its front legs outstretched and head forward, as though leaping. PAS suggest that ‘The presence of the horse protome... might also be explained through its secondary use as a substitute votive for animal sacrifice.’ The symbolism may not end there, this may have been a knife using in rituals of animal sacrifice or divination through the examination of animal entrails.Pendulum/plumb bob. A large bronze conical plumb bob or pendulum measuring 72mm long, 40mm diameter and weighing 282g. The top is decorated with concentric circles and at the centre is a mushroom-shaped projection, which is pierced both vertically and horizontally for attachment to a line. Such items were an important tool for surveyors and architects and it has been suggested that this could be a votive offering relating to a new building project or the surveying of the landscape, More likely, however, is that the pendulum was used for the purposes of divination and predicting the future.The find was taken to York museum where it was recorded with the Portable Antiquities Scheme, reference number:  YORYM-870B0E. Under current legislation this find did not fulfil the criteria to qualify as ‘Treasure’ so the hoard was returned to the finders. https://finds.org.uk/database/artefacts/record/id/1013510Other examples of similar ritual deposits from Roman Britain include.The Felmingham Hall Hoard: This hoard from Norfolk was discovered in 1844 and consisted of a large ceramic cauldron containing 19 bronze items. The contents included a sceptre heads depicting Jupiter and Minerva along with other figures of gods and animals, along with a ritual rattle used for divination purpose. This hoard has been interpreted as a symbolic ‘end of life’ votive deposit possibly signifying the closure of the shrine to which they belonged. A coin of Valerian inside the cauldron dates the hoard to the mid third century AD.https://www.britishmuseum.org/collection/object/H_1925-0610-1Willingham Fen Hoard: At Willingham Fen in 1857, another hoard of priestly regalia was found. This included horse and rider figurines, five broken sceptres, including handles and terminals, and a large bronze sceptre head depicting the emperor Antoninus Pius. These items were contained within a wooden box. It was suggested that the head of Antoninus was crafted after the Emperor was deified, justifying his presence atop a sceptre in a position usually reserved for the gods. https://www.jstor.org/stable/297703?seq=1The Ryedale bronzes offer a tantalising insight into the religious practices of Roman Britain in the 2nd century. The items themselves were obviously held in high esteem and from other examples of ritual hoards we can see that such deposits were not infrequent occurrences. We can theorise that these objects were the property of one priest, his tools of communication with the Gods, and were no longer needed in the mortal realm once the priest passed on. In his book Meditations Marcus Aurelius wrote ‘What we do now echoes in eternity.’ Famously paraphrased by General Maximus in the opening scenes of Gladiator, this still holds true today as the events around a rural shrine in Ryedale echo forward into the 21st century.(Text reproduced with from The Searcher magazine June 2021 issue pp.20-23).For further information see Esposito (2019) Performing the Sacra: Priestly Roles and Their Organisation in Roman Britain.

2000 BMW Z8 Roadster with HardtopRegistration no. X919 FAJChassis no. WBAEJ11010AF77766*Rare and exclusive limited edition model*Supplied new in the UK*circa 47,000 miles from new*Comprehensive service and MoT historyFootnotes:In recent times many motor manufacturers, particularly those with a significant sporting heritage, have felt the need to reference iconic models from the past when launching their latest. BMW has proved adept at exploiting this 'retro' trend, commencing in 1996 with the Z3 coupé and convertible, the styling of which brilliantly recalled its fabulous '328' sports car of pre-war days. Its next effort along similar lines - the 'Z07' concept car of 1997 - took its inspiration from the post-war Alfred Goetz-designed '507', a luxurious limited edition roadster.The sensation of the 1997 Tokyo Auto Show, the Z07 was received so enthusiastically that BMW took the decision to press ahead with a production version: the Z8. For the most part the Z8 remained remarkably faithful to the original concept, retaining the 507-like twin-nostril front grille and distinctive front-wing vents. A period-style interior had been one of the Z07's most remarked upon features, and that too made it into the Z8.The Z8's body panelling and spaceframe chassis were fabricated in lightweight and corrosion resistant aluminium, while the 32-valve 4,941cc V8 engine, shared with the M5 saloon, was built by BMW's Motorsport division. With 400bhp on tap, the Z8 raced to 100km/h (62mph) in 4.7 seconds and only the built-in rev limiter stopped it from exceeding 250km/h (155mph). Power reached the run-flat tyres via a Getrag six-speed manual gearbox. Needless to say, the Z8 also came with all the modern appurtenances one would expect of a flagship model: traction control, stability control, front and side air bags, GPS navigation, climate control and power operation of the seats, steering wheel and convertible hood all being included in the package. The fact that the Z8 was a low-volume model assembled, for the most part, by hand, enabled BMW to offer customers considerable freedom in personalising their cars. Further enhancing its appeal to collectors, the factory announced that a 50-year stockpile of Z8 parts would be maintained. Despite a (US) launch price of over $128,000, initial demand was so high that a bidding war broke out, with many Z8s selling for well in excess of that figure. By the time production ceased in 2003, 5,703 of these fabulous cars had been built. Supplied new in the UK by Preston Hall BMW, this stunning Z8 Roadster has covered only 47,330 miles from new and comes with comprehensive service history and MoT certificates verifying the mileage. The most recent service was carried out by Sytner, Chigwell in November 2019, since when the car has covered fewer than 100 miles. Finished in silver metallic with red/black leather interior, this superb Z8 comes complete with book pack, leather wallet, two keys, V5C document and MoT to January 2022. A true collectors' BMW.For further information on this lot please visit Bonhams.com