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Bees.- John Thorley's copy.- Rusden (Moses) A further discovery of bees· Treating of the nature, government, generation & preservation of the bee. With the experiments and improvements arising from the keeping them in transparent boxes, instead of straw-hives, first edition, engraved frontispiece and 2 (of 3) plates, woodcut head-pieces, water-stained, lightly browned, contemporary panelled calf, repaired, [British Bee Books 55; Wing R2313], 8vo, printed for the author, and are to be sold at his house next the sign of the King's Arms in the Bowling-Alley, near the Abby in Westminster, 1679.⁂ An apothecary by trade Rusden was appointed 'Beemaster to the King's most excellent Majesty' at the instigation of John Evelyn. Provenance: Rev. John Thorley, author of Melisselogia. Or, the Female Monarchy, 1744 (ink signature to front free endpaper); Sir William East of Hall Place, Berks, 1788 (note explaining Thorley provenance and how Lady East is a 'Bee Mistress & Proprietor of many Colonies managed upon new principles [by] Thos. Edwards'.

Margaret WARDMAN (1922- 2020)Flowers in a Stripy JugGouache and pencil on paperSigned29 x 21.5cm Margaret Wardman (née Shuttleworth)Margret Wardman (1922–2020), born, West Riding of Yorkshire, studied Fine Art at Bradford and Leeds Colleges of Art during WW11. In wartime, she also specialised in weaving at the Ministry of Pensions Hospital, Occupational Therapy Department, Eden Hall, Edinburgh, Scotland. Followed by an appointment at Pinderfields Hospital in Wakefield as an Occupational Therapist whilst fitting in three summers farming in Warwickshire and Worcestershire drawing subject matter for the painting Harvest Group. Post war, teaching art in schools in Accrington and Manchester.Through the strong, professional interconnections with artists in the North of England and its principal art galleries and museums, Margret’s paintings and drawings of the 1940’s and 50’s saw her visual language and modernist, artistic style grow in confidence and maturity. Her paintings were shown and regularly highlighted in reviews in group exhibitions such as the ‘Yorkshire Artists Exhibition’, the Annual West Riding Artists Exhibition’ and ‘Artists with North Country Associations’ at Bradford, Leeds, Manchester and Wakefield City Art Galleries. Painting and family life ran parallel, expecting the first of three children, sketching subject matter for the oil painting, Buck’s Mills whilst on holiday in Devon. Involvement with Otley and Ilkley arts Clubs at that time provided further opportunities to exhibit and develop her talent. The family’s civil engineering business brought about a move and a period of four decades living on the Somerset levels. There a new focus for drawing and recording the architectural specialisms of the level’s historic, Dutch style houses emerged along with commissions for illustrations for local businesses. A more personal, intimate, domestic subject matter flowed through her flower studies integrated with her gardens.Margaret’s later paintings, she settled in Cornwall from 2006, rediscover her own pictorial language and formative experiences. As Barbara Hepworth noted in 1939-40, ‘the deep connectivity with the Cornish landscape and the Yorkshire Moors’ meant, for Margaret, her continued exploration of modernism and strong pictorial form - planar space, structure, composition, line, painted mark with colour which the earlier canvases had produced. Farmstead, Higher Bussow 2009, an example of her energy to simplify and abstract further the essence of her vision. How does a life in art begin?An innovative and immersive three month, inter-scholarship exchange through West Riding of Yorkshire Higher Education and Des Universités et Ecoles Françaises to Paris in 1938 became a cultural experience and influence throughout Margaret’s artist life.

Margaret WARDMAN (1922- 2020)Harvest GroupTo verso 'Harbour'Oil on canvas56 x 76cm Margaret Wardman (née Shuttleworth)Margret Wardman (1922–2020), born, West Riding of Yorkshire, studied Fine Art at Bradford and Leeds Colleges of Art during WW11. In wartime, she also specialised in weaving at the Ministry of Pensions Hospital, Occupational Therapy Department, Eden Hall, Edinburgh, Scotland. Followed by an appointment at Pinderfields Hospital in Wakefield as an Occupational Therapist whilst fitting in three summers farming in Warwickshire and Worcestershire drawing subject matter for the painting Harvest Group. Post war, teaching art in schools in Accrington and Manchester.Through the strong, professional interconnections with artists in the North of England and its principal art galleries and museums, Margret’s paintings and drawings of the 1940’s and 50’s saw her visual language and modernist, artistic style grow in confidence and maturity. Her paintings were shown and regularly highlighted in reviews in group exhibitions such as the ‘Yorkshire Artists Exhibition’, the Annual West Riding Artists Exhibition’ and ‘Artists with North Country Associations’ at Bradford, Leeds, Manchester and Wakefield City Art Galleries. Painting and family life ran parallel, expecting the first of three children, sketching subject matter for the oil painting, Buck’s Mills whilst on holiday in Devon. Involvement with Otley and Ilkley arts Clubs at that time provided further opportunities to exhibit and develop her talent. The family’s civil engineering business brought about a move and a period of four decades living on the Somerset levels. There a new focus for drawing and recording the architectural specialisms of the level’s historic, Dutch style houses emerged along with commissions for illustrations for local businesses. A more personal, intimate, domestic subject matter flowed through her flower studies integrated with her gardens.Margaret’s later paintings, she settled in Cornwall from 2006, rediscover her own pictorial language and formative experiences. As Barbara Hepworth noted in 1939-40, ‘the deep connectivity with the Cornish landscape and the Yorkshire Moors’ meant, for Margaret, her continued exploration of modernism and strong pictorial form - planar space, structure, composition, line, painted mark with colour which the earlier canvases had produced. Farmstead, Higher Bussow 2009, an example of her energy to simplify and abstract further the essence of her vision. How does a life in art begin?An innovative and immersive three month, inter-scholarship exchange through West Riding of Yorkshire Higher Education and Des Universités et Ecoles Françaises to Paris in 1938 became a cultural experience and influence throughout Margaret’s artist life.

Margaret WARDMAN (1922- 2020) SeasidiaTo verso Male NudeOil on boardSigned48 x 68cmMargaret Wardman (née Shuttleworth)Margret Wardman (1922–2020), born, West Riding of Yorkshire, studied Fine Art at Bradford and Leeds Colleges of Art during WW11. In wartime, she also specialised in weaving at the Ministry of Pensions Hospital, Occupational Therapy Department, Eden Hall, Edinburgh, Scotland. Followed by an appointment at Pinderfields Hospital in Wakefield as an Occupational Therapist whilst fitting in three summers farming in Warwickshire and Worcestershire drawing subject matter for the painting Harvest Group. Post war, teaching art in schools in Accrington and Manchester.Through the strong, professional interconnections with artists in the North of England and its principal art galleries and museums, Margret’s paintings and drawings of the 1940’s and 50’s saw her visual language and modernist, artistic style grow in confidence and maturity. Her paintings were shown and regularly highlighted in reviews in group exhibitions such as the ‘Yorkshire Artists Exhibition’, the Annual West Riding Artists Exhibition’ and ‘Artists with North Country Associations’ at Bradford, Leeds, Manchester and Wakefield City Art Galleries. Painting and family life ran parallel, expecting the first of three children, sketching subject matter for the oil painting, Buck’s Mills whilst on holiday in Devon. Involvement with Otley and Ilkley arts Clubs at that time provided further opportunities to exhibit and develop her talent. The family’s civil engineering business brought about a move and a period of four decades living on the Somerset levels. There a new focus for drawing and recording the architectural specialisms of the level’s historic, Dutch style houses emerged along with commissions for illustrations for local businesses. A more personal, intimate, domestic subject matter flowed through her flower studies integrated with her gardens.Margaret’s later paintings, she settled in Cornwall from 2006, rediscover her own pictorial language and formative experiences. As Barbara Hepworth noted in 1939-40, ‘the deep connectivity with the Cornish landscape and the Yorkshire Moors’ meant, for Margaret, her continued exploration of modernism and strong pictorial form - planar space, structure, composition, line, painted mark with colour which the earlier canvases had produced. Farmstead, Higher Bussow 2009, an example of her energy to simplify and abstract further the essence of her vision. How does a life in art begin?An innovative and immersive three month, inter-scholarship exchange through West Riding of Yorkshire Higher Education and Des Universités et Ecoles Françaises to Paris in 1938 became a cultural experience and influence throughout Margaret’s artist life.

Margaret WARDMAN (1922- 2020)Bucks Mills, North DevonTo verso HouseOil on boardSigned40 x 55cmMargaret Wardman (née Shuttleworth)Margret Wardman (1922–2020), born, West Riding of Yorkshire, studied Fine Art at Bradford and Leeds Colleges of Art during WW11. In wartime, she also specialised in weaving at the Ministry of Pensions Hospital, Occupational Therapy Department, Eden Hall, Edinburgh, Scotland. Followed by an appointment at Pinderfields Hospital in Wakefield as an Occupational Therapist whilst fitting in three summers farming in Warwickshire and Worcestershire drawing subject matter for the painting Harvest Group. Post war, teaching art in schools in Accrington and Manchester.Through the strong, professional interconnections with artists in the North of England and its principal art galleries and museums, Margret’s paintings and drawings of the 1940’s and 50’s saw her visual language and modernist, artistic style grow in confidence and maturity. Her paintings were shown and regularly highlighted in reviews in group exhibitions such as the ‘Yorkshire Artists Exhibition’, the Annual West Riding Artists Exhibition’ and ‘Artists with North Country Associations’ at Bradford, Leeds, Manchester and Wakefield City Art Galleries. Painting and family life ran parallel, expecting the first of three children, sketching subject matter for the oil painting, Buck’s Mills whilst on holiday in Devon. Involvement with Otley and Ilkley arts Clubs at that time provided further opportunities to exhibit and develop her talent. The family’s civil engineering business brought about a move and a period of four decades living on the Somerset levels. There a new focus for drawing and recording the architectural specialisms of the level’s historic, Dutch style houses emerged along with commissions for illustrations for local businesses. A more personal, intimate, domestic subject matter flowed through her flower studies integrated with her gardens.Margaret’s later paintings, she settled in Cornwall from 2006, rediscover her own pictorial language and formative experiences. As Barbara Hepworth noted in 1939-40, ‘the deep connectivity with the Cornish landscape and the Yorkshire Moors’ meant, for Margaret, her continued exploration of modernism and strong pictorial form - planar space, structure, composition, line, painted mark with colour which the earlier canvases had produced. Farmstead, Higher Bussow 2009, an example of her energy to simplify and abstract further the essence of her vision. How does a life in art begin?An innovative and immersive three month, inter-scholarship exchange through West Riding of Yorkshire Higher Education and Des Universités et Ecoles Françaises to Paris in 1938 became a cultural experience and influence throughout Margaret’s artist life.

Margaret WARDMAN (1922- 2020)River Wharf, Bolton Abbey, Yorkshire'To verso 'Statue in Park'Oil on board34 x 44cmMargaret Wardman (née Shuttleworth)Margret Wardman (1922–2020), born, West Riding of Yorkshire, studied Fine Art at Bradford and Leeds Colleges of Art during WW11. In wartime, she also specialised in weaving at the Ministry of Pensions Hospital, Occupational Therapy Department, Eden Hall, Edinburgh, Scotland. Followed by an appointment at Pinderfields Hospital in Wakefield as an Occupational Therapist whilst fitting in three summers farming in Warwickshire and Worcestershire drawing subject matter for the painting Harvest Group. Post war, teaching art in schools in Accrington and Manchester.Through the strong, professional interconnections with artists in the North of England and its principal art galleries and museums, Margret’s paintings and drawings of the 1940’s and 50’s saw her visual language and modernist, artistic style grow in confidence and maturity. Her paintings were shown and regularly highlighted in reviews in group exhibitions such as the ‘Yorkshire Artists Exhibition’, the Annual West Riding Artists Exhibition’ and ‘Artists with North Country Associations’ at Bradford, Leeds, Manchester and Wakefield City Art Galleries. Painting and family life ran parallel, expecting the first of three children, sketching subject matter for the oil painting, Buck’s Mills whilst on holiday in Devon. Involvement with Otley and Ilkley arts Clubs at that time provided further opportunities to exhibit and develop her talent. The family’s civil engineering business brought about a move and a period of four decades living on the Somerset levels. There a new focus for drawing and recording the architectural specialisms of the level’s historic, Dutch style houses emerged along with commissions for illustrations for local businesses. A more personal, intimate, domestic subject matter flowed through her flower studies integrated with her gardens.Margaret’s later paintings, she settled in Cornwall from 2006, rediscover her own pictorial language and formative experiences. As Barbara Hepworth noted in 1939-40, ‘the deep connectivity with the Cornish landscape and the Yorkshire Moors’ meant, for Margaret, her continued exploration of modernism and strong pictorial form - planar space, structure, composition, line, painted mark with colour which the earlier canvases had produced. Farmstead, Higher Bussow 2009, an example of her energy to simplify and abstract further the essence of her vision. How does a life in art begin?An innovative and immersive three month, inter-scholarship exchange through West Riding of Yorkshire Higher Education and Des Universités et Ecoles Françaises to Paris in 1938 became a cultural experience and influence throughout Margaret’s artist life.

Margaret WARDMAN (1922- 2020)'Farmstead, Higher Bussow, Towednack'Oil on canvasSigned and dated 2009Inscribed to verso30 x 60cm Margaret Wardman (née Shuttleworth)Margret Wardman (1922–2020), born, West Riding of Yorkshire, studied Fine Art at Bradford and Leeds Colleges of Art during WW11. In wartime, she also specialised in weaving at the Ministry of Pensions Hospital, Occupational Therapy Department, Eden Hall, Edinburgh, Scotland. Followed by an appointment at Pinderfields Hospital in Wakefield as an Occupational Therapist whilst fitting in three summers farming in Warwickshire and Worcestershire drawing subject matter for the painting Harvest Group. Post war, teaching art in schools in Accrington and Manchester.Through the strong, professional interconnections with artists in the North of England and its principal art galleries and museums, Margret’s paintings and drawings of the 1940’s and 50’s saw her visual language and modernist, artistic style grow in confidence and maturity. Her paintings were shown and regularly highlighted in reviews in group exhibitions such as the ‘Yorkshire Artists Exhibition’, the Annual West Riding Artists Exhibition’ and ‘Artists with North Country Associations’ at Bradford, Leeds, Manchester and Wakefield City Art Galleries. Painting and family life ran parallel, expecting the first of three children, sketching subject matter for the oil painting, Buck’s Mills whilst on holiday in Devon. Involvement with Otley and Ilkley arts Clubs at that time provided further opportunities to exhibit and develop her talent. The family’s civil engineering business brought about a move and a period of four decades living on the Somerset levels. There a new focus for drawing and recording the architectural specialisms of the level’s historic, Dutch style houses emerged along with commissions for illustrations for local businesses. A more personal, intimate, domestic subject matter flowed through her flower studies integrated with her gardens.Margaret’s later paintings, she settled in Cornwall from 2006, rediscover her own pictorial language and formative experiences. As Barbara Hepworth noted in 1939-40, ‘the deep connectivity with the Cornish landscape and the Yorkshire Moors’ meant, for Margaret, her continued exploration of modernism and strong pictorial form - planar space, structure, composition, line, painted mark with colour which the earlier canvases had produced. Farmstead, Higher Bussow 2009, an example of her energy to simplify and abstract further the essence of her vision. How does a life in art begin?An innovative and immersive three month, inter-scholarship exchange through West Riding of Yorkshire Higher Education and Des Universités et Ecoles Françaises to Paris in 1938 became a cultural experience and influence throughout Margaret’s artist life.

Margaret WARDMAN (1922- 2020)'Boatyard, Highbridge, Somerset'Acrylic and oil on canvasSigned and dated '84Signature and labels to verso61 x 91.5cm Margaret Wardman (née Shuttleworth)Margret Wardman (1922–2020), born, West Riding of Yorkshire, studied Fine Art at Bradford and Leeds Colleges of Art during WW11. In wartime, she also specialised in weaving at the Ministry of Pensions Hospital, Occupational Therapy Department, Eden Hall, Edinburgh, Scotland. Followed by an appointment at Pinderfields Hospital in Wakefield as an Occupational Therapist whilst fitting in three summers farming in Warwickshire and Worcestershire drawing subject matter for the painting Harvest Group. Post war, teaching art in schools in Accrington and Manchester.Through the strong, professional interconnections with artists in the North of England and its principal art galleries and museums, Margret’s paintings and drawings of the 1940’s and 50’s saw her visual language and modernist, artistic style grow in confidence and maturity. Her paintings were shown and regularly highlighted in reviews in group exhibitions such as the ‘Yorkshire Artists Exhibition’, the Annual West Riding Artists Exhibition’ and ‘Artists with North Country Associations’ at Bradford, Leeds, Manchester and Wakefield City Art Galleries. Painting and family life ran parallel, expecting the first of three children, sketching subject matter for the oil painting, Buck’s Mills whilst on holiday in Devon. Involvement with Otley and Ilkley arts Clubs at that time provided further opportunities to exhibit and develop her talent. The family’s civil engineering business brought about a move and a period of four decades living on the Somerset levels. There a new focus for drawing and recording the architectural specialisms of the level’s historic, Dutch style houses emerged along with commissions for illustrations for local businesses. A more personal, intimate, domestic subject matter flowed through her flower studies integrated with her gardens.Margaret’s later paintings, she settled in Cornwall from 2006, rediscover her own pictorial language and formative experiences. As Barbara Hepworth noted in 1939-40, ‘the deep connectivity with the Cornish landscape and the Yorkshire Moors’ meant, for Margaret, her continued exploration of modernism and strong pictorial form - planar space, structure, composition, line, painted mark with colour which the earlier canvases had produced. Farmstead, Higher Bussow 2009, an example of her energy to simplify and abstract further the essence of her vision. How does a life in art begin?An innovative and immersive three month, inter-scholarship exchange through West Riding of Yorkshire Higher Education and Des Universités et Ecoles Françaises to Paris in 1938 became a cultural experience and influence throughout Margaret’s artist life.

Margaret WARDMAN (1922- 2020)'Hasletown, Cornwall Snow'Oil and pencil on canvas40 x 40cmMargaret Wardman (née Shuttleworth)Margret Wardman (1922–2020), born, West Riding of Yorkshire, studied Fine Art at Bradford and Leeds Colleges of Art during WW11. In wartime, she also specialised in weaving at the Ministry of Pensions Hospital, Occupational Therapy Department, Eden Hall, Edinburgh, Scotland. Followed by an appointment at Pinderfields Hospital in Wakefield as an Occupational Therapist whilst fitting in three summers farming in Warwickshire and Worcestershire drawing subject matter for the painting Harvest Group. Post war, teaching art in schools in Accrington and Manchester.Through the strong, professional interconnections with artists in the North of England and its principal art galleries and museums, Margret’s paintings and drawings of the 1940’s and 50’s saw her visual language and modernist, artistic style grow in confidence and maturity. Her paintings were shown and regularly highlighted in reviews in group exhibitions such as the ‘Yorkshire Artists Exhibition’, the Annual West Riding Artists Exhibition’ and ‘Artists with North Country Associations’ at Bradford, Leeds, Manchester and Wakefield City Art Galleries. Painting and family life ran parallel, expecting the first of three children, sketching subject matter for the oil painting, Buck’s Mills whilst on holiday in Devon. Involvement with Otley and Ilkley arts Clubs at that time provided further opportunities to exhibit and develop her talent. The family’s civil engineering business brought about a move and a period of four decades living on the Somerset levels. There a new focus for drawing and recording the architectural specialisms of the level’s historic, Dutch style houses emerged along with commissions for illustrations for local businesses. A more personal, intimate, domestic subject matter flowed through her flower studies integrated with her gardens.Margaret’s later paintings, she settled in Cornwall from 2006, rediscover her own pictorial language and formative experiences. As Barbara Hepworth noted in 1939-40, ‘the deep connectivity with the Cornish landscape and the Yorkshire Moors’ meant, for Margaret, her continued exploration of modernism and strong pictorial form - planar space, structure, composition, line, painted mark with colour which the earlier canvases had produced. Farmstead, Higher Bussow 2009, an example of her energy to simplify and abstract further the essence of her vision. How does a life in art begin?An innovative and immersive three month, inter-scholarship exchange through West Riding of Yorkshire Higher Education and Des Universités et Ecoles Françaises to Paris in 1938 became a cultural experience and influence throughout Margaret’s artist life.

Margaret WARDMAN (1922- 2020)Five Still livesVarious mediaMargaret Wardman (née Shuttleworth)Margret Wardman (1922–2020), born, West Riding of Yorkshire, studied Fine Art at Bradford and Leeds Colleges of Art during WW11. In wartime, she also specialised in weaving at the Ministry of Pensions Hospital, Occupational Therapy Department, Eden Hall, Edinburgh, Scotland. Followed by an appointment at Pinderfields Hospital in Wakefield as an Occupational Therapist whilst fitting in three summers farming in Warwickshire and Worcestershire drawing subject matter for the painting Harvest Group. Post war, teaching art in schools in Accrington and Manchester.Through the strong, professional interconnections with artists in the North of England and its principal art galleries and museums, Margret’s paintings and drawings of the 1940’s and 50’s saw her visual language and modernist, artistic style grow in confidence and maturity. Her paintings were shown and regularly highlighted in reviews in group exhibitions such as the ‘Yorkshire Artists Exhibition’, the Annual West Riding Artists Exhibition’ and ‘Artists with North Country Associations’ at Bradford, Leeds, Manchester and Wakefield City Art Galleries. Painting and family life ran parallel, expecting the first of three children, sketching subject matter for the oil painting, Buck’s Mills whilst on holiday in Devon. Involvement with Otley and Ilkley arts Clubs at that time provided further opportunities to exhibit and develop her talent. The family’s civil engineering business brought about a move and a period of four decades living on the Somerset levels. There a new focus for drawing and recording the architectural specialisms of the level’s historic, Dutch style houses emerged along with commissions for illustrations for local businesses. A more personal, intimate, domestic subject matter flowed through her flower studies integrated with her gardens.Margaret’s later paintings, she settled in Cornwall from 2006, rediscover her own pictorial language and formative experiences. As Barbara Hepworth noted in 1939-40, ‘the deep connectivity with the Cornish landscape and the Yorkshire Moors’ meant, for Margaret, her continued exploration of modernism and strong pictorial form - planar space, structure, composition, line, painted mark with colour which the earlier canvases had produced. Farmstead, Higher Bussow 2009, an example of her energy to simplify and abstract further the essence of her vision. How does a life in art begin?An innovative and immersive three month, inter-scholarship exchange through West Riding of Yorkshire Higher Education and Des Universités et Ecoles Françaises to Paris in 1938 became a cultural experience and influence throughout Margaret’s artist life.

Dame Paula Rego R.A. (British, born 1935)Dreams at Walton Hall titled and dated 'Dreams at Walton Hall. 1990', signed and dedicated 'For David/A Happy New Year/Much love from/Paula.' (inside card)pen and ink and watercolour on paper21 x 15.5cm (8 1/4 x 6 1/8in).(unframed)Footnotes:ProvenanceThe Artist, by whom gifted toDavid Wright, and thence by descentPrivate Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Four New Hall Vault prints, framed, each with Christies lot label to verso

A New Hall 'Boy in the Window' pedestal teapot and cover circa 1820 printed and over-painted in coloured enamels, on a raised circular florally decorated foot, pattern 425, 25.5cm high

CARTON WITH GLASSWARE & NEW HALL STAFFORDSHIRE POTTERY

A New hall porcelain part tea service, having painted enamel and gilt floral decoration, comprisign teapot, cover and stand, sucrier and cover, cream jug, milk jug, slops bowl, ten coffee cans, eleven tea cups, nine saucers, two sandwich plates (qty.)Provenance: The collection of Margaret and David BeatonCondition report: teapot with chip to innerstand a little rubbedslop bowl with small chip to rimone teacup with small chip to rimone with broken handleone coffee can with significant rubbing to decoration

[APPIER-HANZELET, Jan (1596-1647), but traditionally attributed to Jean LEURECHON (1591-1670)]. Recreations Mathématiques Composées de Plusieurs Problèmes Plaisans & Facetieux d' Arithmetique, Geometrie, Astrologie, Optique, Perspective, Mechanique, Chymie, & d' autres Rares & Curieux Secrets. Rouen: Charles Osmont, 1634. 3 parts in one volume, 8vo (162 x 95mm). Woodcut illustrations and diagrams (small hole at inner margin of title, not affecting letters, some faint waterstaining to the lower outer corner). Early 20th-century crushed morocco, the spine gilt in compartments, gilt edges. Provenance: Kenney Collection (label); attributed author's name in pencil on front pastedown. First published in 1624 (only 3 extant copies of this edition are known), this is one of the earliest editions of the first book to posit the idea of recreational mathematics. "This work is pivotal in the history of science and mathematics. It brings together two sixteenth-century traditions, mercantile arithmetic and natural magic, and creates two new ones: recreational mathematics and popular science ... The book was influential on early seventeenth-century natural philosophers such as Descartes, Mersenne and Leibniz" (A. Heeffer, Récréations Mathématiques (1624): A Study on its Authorship, Sources and Influence (Ghent, 2006)). cf. Brunet IV, 35: "Petit volume peu commun ..." (citing a 1629 edition, attributing the work to Leurechon, listed under "Recreation ..."; Tomash & Williams, The Erwin Tomash Library on the History of Computing E18; T. H. Hall, Old Conjuring Books, pp.83-119.

Victorian Ephemera Collection - a good collection of x7 antique 19th century Victorian Theatre / Music hall posters and playbills, all circa 1860's, to include; Princess's Theatre ' Mr Fechter's Farewell Engagement - Too Much Of A Good Thing - Buy Blas ,' Royal Italian Opera ' Melon's Concerts - Patti - Mr Levy ,' Theatre Royal Brighton ' Volunteer Nights - Little Toddlekins - 1st Sussex Volunteer Artillery ,' Theatre Royal Holborn ' Foul Play - White Fawn ,' Her Majesty's Theatre ' No! - Oonagh ,' Theatre Royal Haymarket ' New Men And Old Acres! - Family Jars - A Daughter To Marry ,' and Theatre Royal Haymarket ' Dangerous Friend - Grimshaw Bagshaw and Bradshaw '. A rare collection and a fascinating view of Victorian theatre. 

Victorian Ephemera Collection - a good collection of x8 antique 19th century Victorian Theatre / Music hall posters and playbills, to include; Theatre Royal Drury Lane (c1860's) ' Goody Two Shoes! - Harlequin & Cock Robin - Haunt Of The Wood Nymphs ,' Theatre Royal Drury Lane ' Bonnie Dundee - Goody Two Shoes! - Ballet Des Bouquets ,' Theatre Royal Sadler's Wells 1861 ' Which Is My Husband? - Doing For The Best - My First Brief,' Theatre Royal Sadler's Wells 1861 ' Sinbad The Sailor - King Lear - John Bull .' Theatre Royal Sadler's Wells ' Romeo & Juliet - Lady Of Lyons - Fair Rosamond,' Theatre Royal Sadler's Wells 1861 ' Winter's Tale - Sindbad The Sailor ' with an interesting note that the Theatre will be closed on January 24th as the company will be performing at Windsor Castle by Command of Her Majesty, New Adelphi Theatre Royal (c1850's) printed on thin tissue paper ' Mr Paul Bedford's Benefit - One Touch Of Nature - Little Treasure - Ticket Of Leave ,' and Royal Strand Theatre (1860's) ' Trying It On - Is It The King? - Rival Othello's - Esmeralda - Sensation Goat '. Various conditions. Fascinating and important collection. 

"Road to El Monte." Impression of a western snowy landscape. Signed lower left. Information verso. Equally adept and still lifes and landscapes, John Encinias is a longtime member of the National Academy of Western Art* and has participated regularly in the Prix de West* exhibitions at the National Cowboy Hall of Fame. He was born in New Mexico and is largely self taught. For his landscapes, he is a "plein aire"* painter, completing his canvases outside. Overall size: 15 3/4 x 19 1/2 in. Sight size: 8 x 12 in. Please note that all sales are final. No refunds will be given under any circumstances.

Group of English ceramics including 6 mid-19th century Derby dinner plates, New Hall cup and saucer, Mason's plate and other ceramics (qty)

Group of English porcelain wares comprising a early 19th century New Hall tea pot and cover, together with a further New Hall tea bowl and saucer and various other English porcelain cups and saucers of same period (qty) (damages)

A collection of LP's mainly being Jazz to include Louis Armstrong - His Greatest Years Vols I-III, Fats Waller - The Vocal Fats Waller, The Best Of Artie Shaw, Sweet Emma And Her Preservation Hall Jazz Band - S/T, The Complete McKinney's Cotton Pickers - Vols 1/2 (1928-1929) etc. (approx. 100), together with a collection of mainly Jazz CD's to include Fats Waller - Aint Misbehaving, Jools Holland - The Collection, Jazz Cities - New Orleans and Louis Armstrong - Greatest Hits. (55)Condition report: Please note that the vinyl in this lot is in poor/used condition.Lots 501 - 591 are from the collection of Jonathan Ruffle, a British writer, director and producer, who has made TV and radio programmes for the BBC, ITV, and Channel 4. During his time as a producer of the Radio 1 show from the mid-1980s-90s he collected the majority of the lots on offer here. These include rare vinyl, acetates, and Factory Records promotional items. The majority of the vinyl lots being offered for sale are in Mint or Near-Mint condition – with some having never been played.

Travels in North America  in the years 1827 & 1828, by Captain Basil Hall, Second edition, 1830, in three volumes, rebound, together with A Diary in America by Capt. Marryat, in three volumes, 1839, rebound, together with New America, in two volumes, by William Dixon, fifth edition revised, 1867

FIVE ENGLISH PORCELAIN COFFEE CANS 1800-1820 by Barr Flight Barr, Chamberlain's Worcester, Spode Dollar pattern, New Hall pattern 893 and 856 (two marked) (5). See illustration

THREE NEWHALL PORCELAIN HELMET-SHAPED CREAM JUGS c.1810 pattern 977, painted in underglaze blue, iron red and silver lustre with rocks issuing flowering stems, label to underside 'T.C Ratheram New Hall collection' together with pattern no 1508, printed and enamelled in rose, yellow and green with rose sprays, and a window pattern chinoiserie example (3)

POSTERS, selection, inc. theatre, New York (10), Gypsy, Phantom of the Opera, Les Miserables, Wolf Hall, Miss Saigon opening in Toronto (2); cinema, Les Miserables (17), Hugh Jackman, Russell Crowe etc., duplication, EX, 29

A Regency burr oak and ebony library table, in the manner of George Bullock, circa 1815, the rectangular top with gilt tooled green leather inset and the crossbanding incorporating ebony banding cornered by marquetry acorn terminals, above a pair of drawers and an opposing pair of false drawers, the frieze cornered by a carved acorn pendant finial, above twin turned supports carved with oak leaf and acorn collars, above turned acorn feet and brass casters, 76cm high, 182.5cm wide, 80cm deepFor a related design of library table adopting the same materials and with twin pillar supports, see Christie's New York, Important English Furniture,9th April 2003, Lot 129 (28.680 USD). The scale of the current table and the inclusion of distinctive pendant finials to the corners of the frieze could similarly be attributed to the designs ofRichard Bridgens. Bridgens and Bullock did work together and Richard Hicks Bridgens (d. 1846) working relationship with Messrs George Bullock (d. 1818) and William Bullock, proprietors of Piccadilly's 'Egyptian Hall', was established by 1812, and they collaborated in such projects as Sir Henry Godfrey VassalWebster's historic 'Hastings' Hall at Battle Abbey, Sussex, whose furniture featured in Rudolph Ackermann's Repository of Arts, 1817. This pattern of table to which the current table relates was invented in 1823 to correspond with the 17th Century Jacobean mantelpiece in James Watts's great library at Aston Hall,Birmingham, where it featured in situ in A.E. Everitt's 1854 watercolour (pl. 96B). The design was later included amongst Bridgens' Aston furnishingsin the Elizabethan, Gothic and Grecian manner published in Designs for Furniture with Candelabra and Interior Decoration, 1838 (V. Glenn, 'GeorgeBullock, Richard Bridgens and James Watt's Regency Furniture Schemes', Furniture History, 1979, pls. 96B, 102B and 103A). Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Some old splits and chips. Metalware original. No key present, both locks open. A board to the bottom of one drawer is detached but present. Inset leather top is a sympathetic replacement. Leather with some additional scratches and marks. Some small sections of replacement veneer to three corners of one end base.  Condition Report Disclaimer

A 19th century gilt painted mantel clock, with a spelter cast figure emblematic of learning, the circular cased clock with white enamel dial and Roman numerals in ornate gilt surround, raised on black plinth base, maker Ansonia Clock Co New York, approx. 30cm wide, together with an early 20th century inlaid mahogany Walker & Hall mantel clock with French movement by Japy Freres (2)

Brannon (George). Vectis Scenery: being a series of original and select views, exhibiting the picturesque beauties, local peculiarities, and places of particular interest in the Isle of Wight, Wotton Common, Isle of Wight: Printed and published by the engraver, 1829, hand-coloured engraved map and 48 engraved plates, tissue guards, scattered spotting, some toning & light offsetting mostly to text leaves, armorial bookplate of Viscount Gort to upper pastedown, contemporary red half sheep, title label to upper board, rubbed, extremities worn, oblong 4to, together with: Roscoe (Thomas) , Summer Tour in the Isle of Wight; including Portsmouth, Southampton, Winchester, the South Western Railway, &c., London: J. & F. Harwood, 1843, half-title with contemporary inscription, engraved title, 34 engraved plates (including frontispiece), folding engraved map at rear, numerous engraved vignette illustrations, some spotting and toning, signature to front pastedown, all edges gilt, original gilt & blind decorated cloth, joints split at head & foot, 8vo, Barber (Thomas) , Barber's Picturesque Illustrations of the Isle of Wight ... accompanied by Historical and Topographical Descriptions, London: Simpkin & Marshall, [1834], engraved title, 40 engraved plates, tissue guards, double-page engraved map at rear, scattered spotting, contemporary ownership inscription to front pastedown, original cloth, some fading, joints and extremities frayed, 8vo, and other Isle of Wight, Hampshire & WInchester related etc., including An Historical Account of Winchester, with Descriptive Walks, by Charles Ball, Winchester: James Robbins, 1818; The History and Antiquities of the See and Cathedral Church of Winchester, by John Britton, 1836; Picturesque Memorials of Winchester, [by Peter Hall], Winchester, 1830; Picturesque Memorials of Salisbury, by Peter Hall, Salisbury, 1834; Brannon's Picture of the Isle of Wight, [1847]; The New Forest and the Isle of Wight, by C.J. Cornish, 1895; and The History and Survey of the Antiquities of Winchester, by John Milner, 2 volumes, 3rd edition, Winchester, [1839], etc.Qty: (21)

London. A Victorian scrapbook, relating to London, compiled around pages 1-114 & 145-180 (from volume 3) of London or Interesting Memorials of its Rise, Progress and Present State by Sholta and Reuben Percy, 1824 (excised and window mounted throughout), with a quantity of associated items mounted, tipped-in or loosely inserted alongside the relevant pages, items include: numerous (mainly engraved) plates of subjects such as Sir Francis Drake engaging the Cacafuego a rich Spanish ship, View of the East India House, The Shipping Entrance London Docks, The Atmospheric Pile-Driving Machine, General Post Office: Letter Carriers Room arranged for dispatch of newspapers, Bombay on the Malabar Coast belonging to the East India Company of England, The New Mint Tower Hill, Coins of William and Mary, Bank of England: Five Pound Note Office, Riots in Broad Street, The Auction Marte Bartholomew Lane, Smithfield Market, Vaux Hall Gardens, The Christmas Waits, Licensed Victuellers Asylum, View of the Small-Pox Hospital near St Pancras, 'Progress of a Bill - the Acceptor Goes to Prison', an engraved hand-coloured plate depicting an elephant in a cage being shot by soldiers (probably the shooting of Rajah at Liverpool Zoo in 1848, and a few caricatures or cartoons, etc.; 6 maps or plans including Plan of the Commercial Docks at Rotherhithe, 1848 (folding and hand-coloured), The Isle of Dogs (folding and hand-coloured, some offsetting and minor spotting), Plan of the West India Docks &c. 1802; newspaper clippings relating to subjects discussed in the Percy Histories, for example commerce, shipping and trade, the East India Company, South Sea Company bubbles, coinage, banking, music, hospitals, markets, asylums, schools etc.; numerous other ephemera including: a memorial card to the 'Loss of above 700 lives by the sinking of the Princess Alice ... 1878', a dock pass for one 'lad' to enter and leave St Katherine docks 183?, broadside ballad 'The Gas Lamp Lighters Address' (folded), 'Specimen of Postage Charges in 1839' - a large folded 'example letter' printed as propaganda to illustrate the need for postal reform, with comments on the anomalies of the postal system (torn), invatations and notices to various Anniversary Dinners (such as The London Joint Stock Bank 1838, Royal Humane Society 1832, Society for Providing an Asylum and Relief for Aged and Infirm Fishmongers and Poulterers 1846), 2 pamphlets regarding the small pox and vaccination hospital, an engraved invatation to a ball (the reverse with ink manuscript), 'Vauxhall Gardens a Catalogue of the whole of the moveable property ...sold at auction ... 1841, 'Foundling Hospital instructions to the Mothers of such children' (on blue paper, single large fold), 'London Orphan Asylum rules for children seeing their friends', 'The New Wonderful Magazine' no.35 loosely inserted booklet in original printed pink wrappers, 'A Garland of New Songs' an early 19th century chapbook (uncut), etc., occasional dust-soiling and edge-fraying, some offsetting or toning, several leaves detached, sewing broken, contemporary half morocco, worn, boards detached, spine deficient, thick folioQty: (1)

Waugh (Evelyn) . Black Mischief, 1st edition, 1932, Mr. Loveday's Little Outing, and other sad stories, 1st edition, 1936, both volumes Chapman & Hall Ltd., monochrome frontispieces, bookplates to front endpapers, some minor toning, publishers original cloth, spines slightly rubbed, 8vo, together with; Woolf (Virginia) , The Death of the Moth and other essays, 1st edition, The Hogarth Press, 1942, period inscription to the front pastedown, minor spotting to the text block, publishers original blue cloth, spine slightly faded, 8vo, and Ransome (Arthur) , Peter Duck, 24th impression, Jonathan Cape, 1964, some minor toning, original cloth in dust jacket, minor spotting to front & rear covers, spine slightly toned & rubbed with loss to head, 8vo, plus, Huxley (Aldous) , Brave New World, 1st U.S.A. edition, Doubleday, Doran & Company, Inc., New York, 1932, front cover pasted down to the front endpaper, some minor toning, publishers original cloth, spine faded & slightly rubbed, 8vo, plus 4 further volumes by Aldous Huxley, and other early to mid 20th century & modern fiction & 1st editions, including John Steinbeck, Enid Blyton, Graham Greene, Raymond Chandler, James Hadley Chase, all original cloth, many in dust jackets, G/VG, 8voQty: (6 shelves)

Two Georgian Spode china soup-plates, decorated in the Imari pattern with gilding, magenta script mark and pattern no 1409, a similar tea cup and saucer, pattern 2213 and a tea cup, coffee cup and saucer trio, pattern 3151, to/w a First Period Worcester tea bowl with gilt thistle design and blue rim, crescent mark, a floral-painted tea-bowl and saucer (possibly New Hall), a Victorian Staffordshire china cabinet tea-cup and saucer with castle-painted reserves on pink and gilt ground, a Sevres coffee can with Louis Phillipe cypher on a gros bleu ground, Chateau de Tuileries stamp and Russian retail stamp and a Shelley china coffee cup and saucer decorated in the Imari manner with gilding (15 pieces)Imari soup plates have a few blue pigment marks on the base, cup with pink decoration has hairline crack to the base, inner pattern is faded, worn gilding/enamels

Various 18th/19th century porcelain tea bowls. including a fluted Worcester bowl painted with green ivy and a blue and white Chinoiserie example, a New hall cup and saucer and two Chinese teabowls and small plate, etc.

Various 19th century cups and saucers including Imari and gilt palette coffee cups and saucers (one cup and saucer not matching), a gilt-decorated trio coffee cup, tea bowl and saucer (possibly New Hall), a Victorian china tea cup, coffee cup and saucer (possibly Rockingham), a pair of coffee cups and saucers marked for Sevres and a Limoges plate painted with portrait of 'Princesse de Lamballe' (15 pieces)

Moubray, Bennington. Moubray's Treatise on Domestic and Ornamental Poultry, new edition, 10 hand-coloured engraved plates, some spotting, original cloth, 8vo, London: Arthur Hall, 1854

Porny, M.A. The Elements of Heraldry, fifth edition, engraved plates, nineteenth century half calf, rubbed, 8vo, London: G.G. and J. Robinson, 1795; Burchett, R. Linear Perspective, new edition, folding plates, contemporary calf, rubbed, joints split, 8vo, London: Chapman and Hall, 1869; and c.70 others, miscellaneous, v.s. (c.72)

Browning, Robert. Rome... by Francis Wey, new edition, half-title, presentation copy, free-endpaper inscribed 'Charles G. Moulton Barrett, from his affectionately, Robert Browning, Christmas Eve '74', wood-engraved illustrations, original cloth gilt, lower cover loose, upper cover detached, folio, London: Chapman and Hall, 1874 Charles Graham Moulton-Barrett (18 June 1860-21 Jan 1925) was the son of Octavius Butler Barrett Moulton Barrett (12 April 1824-11 November 1910) and the nephew of Robert Browning.

Collection of postcards, c1960's autograph album, First Day Covers (New Zealand/USA/ Monaco/Norway/Cyprus), GPO luggage labels, Theatre Temperance Hall c1888 tickets, football cigarette cards, postcards including RMLI Barracks Forton, RMLI Camp Browndon, Royal Naval Military and Air Force Tournament Kings Squad/Platoon Drill, Church Parade, Royal Marines Memorial, Autographs including Emile Ford, Tony Marsh, Harry Bailey, Tony Brent.

A FINE NEW AND UNUSED STERLING SILVER ELECTROFORM OF A PARTRIDGE, with CS 925 silver hall marks, measuring approx. 9in. x 8in. x 6in.. ﾆ Please note this item is subject to 20% VAT on the hammer price.

A New Hall 'famille rose' tea pot and cover, circa 1795, 15cm high

An 18th century Chinese famille rose porcelain sauce boat, together with an 18th century New Hall tea bowl and a set of three 19th century Samson famille rose graduated mugs, highest 16cm

A New Hall porcelain serpentine-sided cream jug, c.1800, painted in the famille rose palate with floral sprays, pattern "860", 4in (10cm) high, and another similar, pattern "462", together with three various Newhall bowls, some cracks (5)

An A.E. Gray Gloria lustre jardinière, decorated with rampant lions, of globular form, h.17cm; together with a New Hall lustre bowl, with twin handles and floral decoration (2)

NO RESERVE Merrymount Press.- [11 New Year greetings cards for the press], each a folded sheet containing a colour wood-engraving by Rudolph Ruzicka, c.240 x 170mm., one or two with slight crease to corner, Boston, Merrymount Press, 1923-40.⁂ All featuring scenes and monuments of Boston and Massachusetts including Bulfinch churches, Harvard University Hall and others.

Victorian Ephemera Collection - a good collection of x7 antique 19th century Victorian Theatre / Music hall posters and playbills, all circa 1860's, to include; Princess's Theatre ' Mr Fechter's Farewell Engagement - Too Much Of A Good Thing - Buy Blas ,' Royal Italian Opera ' Melon's Concerts - Patti - Mr Levy ,' Theatre Royal Brighton ' Volunteer Nights - Little Toddlekins - 1st Sussex Volunteer Artillery ,' Theatre Royal Holborn ' Foul Play - White Fawn ,' Her Majesty's Theatre ' No! - Oonagh ,' Theatre Royal Haymarket ' New Men And Old Acres! - Family Jars - A Daughter To Marry ,' and Theatre Royal Haymarket ' Dangerous Friend - Grimshaw Bagshaw and Bradshaw '. A rare collection and a fascinating view of Victorian theatre. 

Victorian Ephemera Collection - a good collection of x8 antique 19th century Victorian Theatre / Music hall posters and playbills, to include; Theatre Royal Drury Lane (c1860's) ' Goody Two Shoes! - Harlequin & Cock Robin - Haunt Of The Wood Nymphs ,' Theatre Royal Drury Lane ' Bonnie Dundee - Goody Two Shoes! - Ballet Des Bouquets ,' Theatre Royal Sadler's Wells 1861 ' Which Is My Husband? - Doing For The Best - My First Brief,' Theatre Royal Sadler's Wells 1861 ' Sinbad The Sailor - King Lear - John Bull .' Theatre Royal Sadler's Wells ' Romeo & Juliet - Lady Of Lyons - Fair Rosamond,' Theatre Royal Sadler's Wells 1861 ' Winter's Tale - Sindbad The Sailor ' with an interesting note that the Theatre will be closed on January 24th as the company will be performing at Windsor Castle by Command of Her Majesty, New Adelphi Theatre Royal (c1850's) printed on thin tissue paper ' Mr Paul Bedford's Benefit - One Touch Of Nature - Little Treasure - Ticket Of Leave ,' and Royal Strand Theatre (1860's) ' Trying It On - Is It The King? - Rival Othello's - Esmeralda - Sensation Goat '. Various conditions. Fascinating and important collection. 

Victorian Ephemera Collection - a good collection of x7 antique 19th century Victorian Theatre / Music hall posters and playbills, to include; Theatre Royal Margate ' Lady Of Lyons - Richard III - Old Stagers ', Prince Of Wales's Theatre 1865 ' Society - Lucia Di Lammermoor ,' The New Holborn Theatre Royal 1867 ' Dramatic Performances - The Miller And His Men - Turn Him Out ,' Agricultural Hall Islington (London) ' Grand Concerts - Optical and Prismatic Fountains ', New Holborn Theatre Royal 1866 ' Flying Scud Or A Four Legged Fortune ,' New Surrey Theatre (c1860's) ' Theodora - Miss Avonia Johnson - Key Of The Street ' (AF), and Royal Princess's Theatre ' Boucicault - Heart Strings and Fiddle Strings - Arrah Na Pogue .' Folded, various conditions (but generally very good for age). Rare collection. 

Colin Middleton RHA RUA MBE (1910-1983) Birth of David Oil on canvas, 50.5 x 61cm (19¾ x 24'') Signed; dated verso 4 July 1944 Exhibited: 'An Exhibition of Recent Works by Colin Middleton', CEMA Northern Ireland, 1945-46, catalogue number 6; Associated American Artists, New York, 1947, label verso. Literature: James White, 'Irish Painters of Today', The Studio, March 1950, illustrated. Birth of David was painted in the summer of 1944 during a successful and fertile period for Colin Middleton. In 1943 he had held an ambitious and generally well-received solo exhibition at the Belfast Museum and Art Gallery and in 1945 his first exhibition in Dublin took place several months before another one man show in Belfast, with the Council for the Encouragement of Music and the Arts, in which the present painting was included. The 1945 Belfast exhibition largely maintained the uplifting tone of personal and philosophical integration with which the 1943 exhibition concluded. With its fine draughtsmanship and extensive use of symbolism Birth of David might seem to continue Middleton's earlier surrealism, but its intense mysticism and the interest in the Old Testament demonstrated in the subject matter, also look forward to the period from 1948 when he worked with Victor Waddington. Its symbolism appears more esoteric and less related to Middleton's own life and artistic identity than many works in the 1943 exhibition and, alongside the references to the life of King David, it is tempting to wonder whether the Star of David was also intended as a reference to the experience of the Jews in Europe in the pre-war and wartime years. It is possible that Birth of David was included in an exhibition of contemporary Irish painting held in New York in 1947 at the Associated American Artists gallery, although this was before Middleton began exhibiting with Victor Waddington, who seems to have been connected with the exhibition. Waddington's interest in the painting is demonstrated by its use as an illustration in James White's 1950 article on contemporary Irish art in The Studio magazine. While Middleton questioned Waddington over his decision to provide White with this image, as well as criticising White's description of him as a surrealist, he remained committed to the painting. 'I do not in any way repudiate that canvas. It was a very important one in its period for in it, as in others of that time, I was endeavouring to come to terms with the pathological nature of mysticism.' [1] Letter from Colin Middleton to Victor Waddington, 6th March 1950 (Private Collection) Dickon Hall, February 2020.

An interesting selection of English pottery and porcelain predominantly early 19th century including H&R Daniels florally decorated cabinet cup and saucer; Keeling 'Two Blue Rocks' plate and matching saucer, New Hall creamer (pattern 940); Whieldon brown saucer; Coalport teacups, a Pinxton teacup, two 18th century Worcester blue and white tea bowls etc (qty, one tray - some damages)

A collection of assorted English teapots and covers, early 19th century including a Derby 'Old Oval' teapot and cover, probably painted at the Mansfield works, crossed batons 16.5cm high (spout restored); further 'Old Oval' teapot and cover painted in grey enamels with gilt bands and lines, unmarked, 15cm high; a florally painted octagonal teapot and cover with swan finial, 16.5cm high; New Hall commode teapot, pattern no. 173; a Liverpool Herculaneum teapot and cover and two further teapots and covers (damages, repairs)

A mixed group of Caughley and Coalport late 18th and 19th centuries including a cobalt and gilt striped trio of coffee cup, tea bowl and saucer; a clobbered 'Waiting Chinaman' tea bowl (repaired); a spiral fluted cobalt and gilt coffee cup and saucer; similar trio of coffee cup, tea bowl and saucer, a Feltspar porcelain sucrier lacking cover, a Thomas Rose fluted coffee can; spiral fluted teacup; and a Victorian transfer-printed rectangular tureen and cover together with a New Hall tea bowl and saucer painted with a basket of flowers (qty)

A collection of eighteenth-century and early 19th century English porcelain including a Caughley 'Lily' coffee cup; 'Dresden Flowers' coffee cup and 'Mansfield' tea bowl (printed); a Worcester 'Three Flowers' teapot with associated cover; 'Fruit and Wreath' tea bowl; 'Thorny Rose' cabbage leaf jug (restored); 'Three Flowers' sucrier cover; an early Coalport 'Dresden Flowers' square dessert dish and a New Hall 'Boy and the Butterfly' tea bowl and saucer (qty)

A New Hall tea bowl and saucer, painted with floral decoration. a blue and white coffee cup and a Royal Crown Derby three handled small cup (4).

NO RESERVE Eustace (John Chetwode or Chetwood, travel writer and Roman Catholic priest, 1761-1815).- Beattie (James) Minstrel; or, the Progress of Genius. A poem, A new edition, some margins cut to different sizes, [ESTC lists 5 copies only], Charles Dilly, 1795 bound with Carter (Elizabeth) Poems on several occasions, The Fourth Edition, for J. F. and C. Rivington, 1789, bookplates of Rev. Chetwood Eustace and Kenneth Monkman on front pastedown, contemporary calf, gilt, joints splitting but holding, gilt panelled spine, red morocco label on spine; and another, incomplete copy of Louis Servin's Recueil de diverses pièces, servant à l'histoire de Henry III..., 1663, 8vo & 12mo (2).⁂ John Chetwode Eustace, author of A Classical Tour through Italy and Sicily, it "went through eight editions between 1813 and 1841, becoming the standard vade-mecum of classical tourists. While the guide was antiquarian in tone, with an aesthetic preference for pure classicism over the Gothic and baroque styles, it was eloquent in its denunciation of contemporary absolutism and its championship of Italian liberty." - Oxford DNB.Kenneth Monkman (1911-98), book collector and restorer of Shandy Hall, Coxwold; expert on Laurence Sterne.

A selection of china including Crown Derby Imari style bowl, Staffordshire sheep figurine, New Hall tea bowl and saucer, etc. - various condition

A Korean War M.C. group of three to Second Lieutenant D.J.Hollands, Duke of Wellington's Regiment,Military Cross, E.II.R., dated 1953; Korea 1950-53 (2/Lt.D.J.Hollands. D.W.R.); United Nations Medal for Korea. With corresponding miniatures. Together with a Purple heart and miniature; The Korean Veterans Association Medal, miniature and lapel pin in presentation case; A further Korean commemorative medal with miniature in box; National Service Medal with miniature. Certificate of Ambassador For Peace in presentation folder, dated 6th Novembet 1996 from Tae-wan Chang President of the Korean Veterans Association. Small official correction to 'nds' of surname, otherwise good very fine or better. (Lot)Footnotes:M.C. London Gazette 8.12.1953.2/Lieut Hollands has taken part in a number of very daring patrol actions. On more than one occasion he has ventured, with one man as escort, behind enemy lines, returning with vital information.He has also commanded several fighting patrols. Once, he found his patrol surrounded by an enemy ambush party which outnumbered him by about three to one. With great coolness and presence of mind 2/Lieut Hollands immediately manoeuvred his patrol into an advantageous position and acted with such speed that he was able to open fire before the enemy. A four minute small arms and grenade battle followed during which the enemy were pinned to the ground, after suffering casualties. Realizing that he was outnumbered, 2/Lieut Hollands gave orders for a withdrawal and so skillfully was this carried out that the patrol were able to return to their own lines without casualties. Throughout this action, and all other actions in which he has been involved, 2/Lieut Hollands displayed the highest qualities of bravery, persistence and leadership. ---------------------------------------------Second Lieutenant John Hollands he was educated at Blundell's School before commencing his National Service training at Catterick and Eaton Hall. He chose to join the Duke of Wellington's Regiment based at Halifax. Leaving for Korea via Southampton, he prepared for the front line on the 30th September 1952. His first taste of fire was on his seventh night on Yong Dong and he was part of a patrol to cover the ground of the right flank of the Hook. The Chinese attacked them and they were three-parts surrounded, alas it was found that they were attacking another patrol, known as a blue-on-blue incident. He suffered a further blue-on-blue when a tank mistakenly fired from Hill 163 onto his position rendering him unconscious, he recovered to rescue men from his patrol, however three were killed and four wounded. He was eventually sent to a MASH unit to recover. Whilst in hospital he received a visit from the new Eighth Army Commander General Maxwell-Taylor and he was mistakenly given a Purple Heart. The following day he was discharged and flown to Iwakuni in Japan, then on to Kure and then to the British Army Base Hospital. During his time recovering over a period of three weeks, he was to become a Board Member of Kure's fledgling Legal Department.After a further medical board he was assigned the role of Camp Adjutant serving under Camp Commandant Lt Colonel P.V.Gibson D.S.O. and bar, M.C. He was then given orders to return to Korea to rejoin the DWRs. He was to be sent to take over the Hook from the Black Watch on May 9th. On the 8th the platoon commanders were to do a recce of their new positions, this recce coincided with a Chinese attack. They were becoming completely overwhelmed but they were ordered under cover as the Artillery used VT shells (Air Burst) which destroyed everything below them.The following day the DWRs marched to the Hook in silence. On the 18th they captured a Chinese prisoner who had criticized Chairman Mao and he knew all about the forthcoming attack which was to be known as the Third Battle of the Hook. On the 22nd May the Chinese launched heavy artillery fire. This followed with several nights of vicious patrol clashes. This followed on the 28th with a final artillery softening up, this stopped just before dusk. All standing patrols had been cancelled and every man had withdrawn into his weapon pit. The Chinese began to attack in huge numbers but were met by huge amounts of small arms fire. This was to be just the first wave. The second assault came an hour later this time the numbers were even higher. The minefields had already been expended and the barbed wire had been reduced or destroyed so the ability to reach the British lines was far easier. They used several satchel charges and has caused havoc, at this time VT was called for. Some Chinese had reached the trenches and hand to hand fighting took place. Hollands took cover in the covered funk hole. At 5.30 the following morning they attempted to lift the cover off the escape hatch but it wouldn't budge. They were rescued by the Royal Engineers. The Chinese losses were considered to be between 3-4000. The DWRs were relived by the Royal Fusiliers and regrouped at battalion headquarters. He was subsequently recommended for a Military Cross.The armistice followed on the 27th July with a free exchange of prisoners-of-war. He returned to the UK on board H.M.S. Devonshire from Pusan.He wrote the novel The Dead, the Dying and the Damned, Heroes of the Hook and has also a further fourteen other books to his name.For further information on this lot please visit Bonhams.com

A 19th century Chinese cast bronze planter with bamboo design handles, featuring scenes of children and deities. H. 24cm. Found in the historic listed greenhouse at New Hall Manor House.

BOLTON WANDERERS, 1970/1971, a football programme from the Testimonial game held for Eddie Hopkinson, the game original scheduled for the 21/04/1971, was delayed until the 04/05/1971 as many of the star played had European Cup comitments. The programme comes with a rare card insert showing the new date, and line ups for two games played, Eddie Hopkinson XI v European All-Star XI & Bolton Wanderers 1958 XI v All-Star XI. Clubs represented include - Manchester City, Blackpool, Brighton And Hove Albion, Burnley, Birmingham City, Stoke City, Celtic [Clarke & Auld], Benfica [Eusebio/Simoez], Newcastle United, Liverpool, Manchester United, Preston North End [Tom Finney], and Stuart Hall [BBC TV]. The programme has 11 autographs on the back page including - Ian Greaves, Syd Farrimon, Dave Hatton, John Clarke, Bertie Auld, Gordon Taylor, and 4 Unknown players.

A collection of ceramics, to include Royal Doulton musical character jug and Shelley and New Hall coffee cups and saucers.

TWO NEW HALL CANS AND A CUP The first blue printed with the Two Ducks pattern, the second printed to pattern number 984 with two landscapes, the third painted to pattern number 171 with a basket of flowers. (3) First 6.2cm high. Provenance: Pattern 171 purchased from Roderick Jellicoe, 11 October 1987. Pattern 984 purchased from Charnwood Antiques, 8 May 1988. Two Ducks pattern purchased from Charnwood Antiques, 9 December 1989.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.In good condition without chips, cracks or restoration.