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A NEW HALL CREAMER, CIRCA 1800-1805 Boat-shaped, painted to pattern number 594 with floral sprays, pattern number to base. 14cm from handle to spout. Provenance: Purchased from Charnwood Antiques, 29 December 1987.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.

Jim Butcher (American, B. 1944) "American Flag over Supreme Court" Signed and dated (1981) lower right. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was published on the Fleetwood First Day Cover for the U.S. 20c Flag Over Supreme Court stamp issued December 17, 1981. The Supreme Court of the United States is a landmark well known to the American people. The highest tribunals of most other nations were created to settle disputes and points of law -- but this one, as it has evolved, can rule on the law itself, striking down Presidential directives and acts of Congress, upholding rights guaranteed by law, even interpreting the constitution. The Supreme Court has known many homes -- second-floor rooms over an open-air marketplace in New York, Independence Hall in Philadelphia, even private homes in Washington while the Capitol's old north wing took shape. The Court even shared the Capitol with the Senate and House from 1801 to 1935. Today, behind its magnificent pillared portico, the Chief Justice and eight Associate Justices meet to uphold the motto blazoned on its pediment: "Equal Justice Under Law." Visitors may tour the building, admire a pair of magnificent five-story elliptical spiral staircases, and view the historic cornerstone laid by Chief Justice Charles Evans Hughes in 1932. "The Republic endures," he said, "and this is the symbol of its faith." The Supreme Court has been called the nation's conscience and the National Archives its memory. In a muraled rotunda visitors may peer at hallowed charters of freedom: the Declaration of Independence, the Constitution, and the Bill of Rights, seated in helium under special glass and filters. And at closing time -- and if danger looms -- the documents are lowered, cases and all, into a vault twenty feet below. Image Size: 16 x 14 in. Overall Size: 20.5 x 16.75 in. Unframed. (B06229)

Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. Titled: "Passage" Dated: '94 Oil on Canvas. Signed and dated verso. Overall Size: 54 x 54 in. (168 - 4272)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: "Blue Riff" Dated: '89 Oil on Paper laid on Canvas. Signed lower right. Overall Size: 22.5 x 17 in. (109 - 4315) 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: "Sky Over Mud" Dated: '75 Oil on Paper. Signed lower right. Image Size: 13 x 17 in. Overall Size: 19.25 x 22.75 in. Framed behind glass. (4667)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: "Virtual Interior / Mirror Matrix" Dated: '93 Oil on Board. Signed and dated verso. Overall Size: 15.25 x 23.25 in. (149 - 4323) 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 late 18th century polychrome painted New Hall porcelain tea service, decorated with floral sprays and swags, comprising an oval teapot, helmet shaped milk jug, sugar bowl, slop bowl, eight tea bowls and seven saucers, along with an associated quatreform shallow dish (22) For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com

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. 

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 x5 antique 19th century Victorian Theatre / Music hall posters and playbills, all from the 1860's at The New Queen's Theatre, London.To include; The New Queen's Theatre (1860's) ' Dearer Than Life - La Vivandiere - MR J. L. Toole,' The New Queen's Theatre (1867) ' Mr Alfred Wigan - He's A Lunatic - Double Marriage ,' New Queen's Theatre 1868 ' Lancashire Lass - Tomkins The Troubadour ,' The New Queen's Theatre 1868 ' Time And The Hour - Fowl Play - Mrs Alfred Wigan ', The New Queen's Theatre (1860's) ' A Lover By Proxy - Morden Grange.' Folded. Various conditions, but generally very good for age. A rare and fascinating collection of theatre history. 

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 x10 antique 19th century Victorian Theatre / Music hall posters and playbills, all circa 1860's, to include; Royal Strand Theatre 1863 ' Keep Your Temper - Ivanhoe! - My Knuckleduster ,' 1860 The Strand  ' Did I Dream It? - Post Boy! - Lady Of Lyons - A Pleasant Neighbour ,' 1862 The Strand ' Aladdin - Sam's Arrival - Jack's Delight ,' 1862 The Strand ' Pizarro! - Keep Your Temper ,' The New Queen's Theatre ' He's A Lunatic - Still Waters Run Deep - First Night ,' Royal Princess's Theatre 1864 ' Stella Colas - Born To Good Luck - Monastery Of St Just ,' Princess's Theatre 1863 ' Perfection - Court & Camp - A Charming Pair ,' The Royal Olympic Theatre 1867 ' The Liar - The Critic - Woodcock's Little Game ,' Olympic Theatre ' Janet's Wedding - Little Em'ly - Old Gooseberry ,' and Royal Olympic Theatre 1862 ' Camilla's Husband - My Wife's Relations - The Wandering Minstrel .' Rare collection of Victorian theatre posters. 

BOYLE (ROBERT)The Origine of Formes and Qualities, (According to the Corpuscular Philosophy), Illustrated by Considerations and Experiments, FIRST EDITION, title within one-line rule border, with 2-leaf 'advertisements' bound before p.270, light dampstaining to opening leaves and towards end, contemporary calf, gilt red morocco spine label, upper hinge neatly repaired [ESTC R18303; Fulton 77; Madan III, 2739], 8vo, Oxford, H. Hall, for R. Davis, 1666Footnotes:In Origine 'Boyle paved the way for the Newtonian concept of light... [this] new concept thus set forth by Boyle was widely quoted at the time, especially by Locke, Newton, and other physicists of the period' (Fulton).Provenance: Early pressmark ('E7/XA') on title-page.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

MANUSCRIPT RECIPE BOOK - LAURENCE STERNE & YORKSHIRERecipe and household book kept by the Croft family of Stillington Hall, North Yorkshire, written in several hands, including several French and Indian recipes, some attributed ('Lady Fauconberg', 'Mrs Vansburg', 'Mrs Earle', 'Mrs Schaah', 'Miss Cholmley', 'Mrs Cheap', 'Miss Farrer', 'Sir J Sinclair President of the Royal Society'), including 'To make Royal Pancakes', 'To make Cazan Butter', 'Crème á la Madeleine', 'Crème au Petit Pain', 'Langnes de Mouton en Papoillotes' 'Duke of Norfolks Punch', 'Ham loaves', 'Treacle Beer', 'Indian Pickle', 'Receipt for Curry', 'To make a Bardawan Stew', 'Maid of Honor Cheese Cake', 'To Preserve Pineapples whole', 'To make a Buxton Pudding', 'Mrs Haslers receipt for a thick cream cheese' ('...take the mornings milk of 7 cows & the nights cream of 7 cows...'), 'To make Raisin wine' (' ...to one hundred weight of Raisins put twenty gallons of Water... add to it one gallon of French Brandy...'), some annotated ('excellent', 'a very pretty dish for supper', 'Mrs Croft a good one'); with household and medicinal receipts, ('To make and use Sand Paint', 'Mr Hays Prescription for Miss Crofts Eyes', 'To wash Cotton Stockings', 'To Clean Boots', 'Nervous Tincture'), two veterinary ('A Receipt for a Horse in the Gripes', 'To cure the Red water in Cattle'), accounts recording the cost of a three week journey to Scarborough ('...Bathing 2.6 a Time came to £2 10s 6d/ Stillington to Malton 17 miles 3 hours... Turnpikes for the Coach... 5d to go down upon the Sands...'), instructions for the planting and management of a Sea Kale bed ('...the bed should be made in December or as soon after as may be to temper with the weather... a bed will keep producing for six years it must be earthed up every year...') and hints to prevent the new pottery from Josiah Wedgwood's factory from spoiling ('...Pot Pouporee from the Carmelites at Paris... I would advise when you put them in jars in your Rooms never to put them in any thing but China as the Salt Penetrates through the Wedgwood Ware & soon moulders it away...'); some pages at end inverted; with indices, a page of handwriting exercises, a note of the birth dates of the Croft children, newspaper cuttings from the 1770's to 1790's stuck in (includes cutting from The Repository of a letter to the editor from Philologer of Sillington, 7 December 1773'), a note of 'Brydges & Walker/ Lacemen/ at the three Crowns the Corner/ of Bedford Street Covent Garden/ London' and other pencil notes on front flyleaf, indistinct ownership inscription ('Mrs Croft...') in ink on front board, c.280 pages, some pages excised, browning, staining and signs of wear, one or two small worm holes and some losses and small tears, contemporary vellum, worn, 4to (200 x 160mm.), mid eighteenth to early nineteenth centuryFootnotes:'AT STILLINGTON THE FAMILY OF THE CROFTS SHOWED US EVERY KINDNESS': RECEIPT BOOK FROM THE HOUSEHOLD OF LAURENCE STERNE'S NEIGHBOURS AND FRIENDS, THE CROFTS OF STILLINGTON.Laurence Sterne wrote his literary masterpiece, The Life and Opinions of Tristram Shandy, Gentleman whilst incumbent of St Nicholas Church, Stillington, Yorkshire, a position he held from 1745 until his death in 1768. Although revered in London and Parisian society after its publication, he remained unpopular in his home parish – maybe because he chose to reside in Sutton-in-the-Forest, two miles away, or maybe due to his preference for shooting and other less salubrious pursuits over his ecclesiastical duties. However, he did become close friends with the Croft family at Stillington and Stephen Croft (1712-1798) became an intimate friend and correspondent, who helped Sterne and his wife out financially, as well as championing his works in Yorkshire society and giving him the means to travel to London to promote his book. As Sterne himself writes: 'I remained twenty years at Sutton, doing duty at both places. I had then very good health. Books, painting, fiddling and shooting were my amusements... at Stillington the family of the C__s showed us every kindness; 't was most truly agreeable to be within a mile and a half of an amiable family who were every cordial friends.' (Letters of the Late Rev. Mr. Laurence Sterne, to his Most Intimate Friends, Vol. I, 1776, p.8.). Indeed Croft is widely credited with saving the manuscript of Tristram Shandy from certain destruction. After a fine dinner at Stillington, Sterne chose to read an early draft of his novel to the assembled company. Replete with food and wine, the audience, so the story goes, '...fell asleep, at which Sterne was so nettled that he threw the Manuscript into the fire, and had not luckily Mr Croft rescued the scorched papers from the flames, the work wou'd have been consigned to oblivion.' (John Croft, 'Anecdotes of Sterne vulgarly Tristram Shandy' in The Whitefoord Papers, ed. WAS Hewins, Oxford, 1898). Stephen's brother John Croft also comments in his Anecdotes that Sterne was a 'constant Guest at my brother's Table' (Ian Campbell Ross, Laurence Sterne, A Life, Oxford, 2013, p.101) and, although much of this volume seems to date from after Sterne's time at Stillington, it would however be interesting to speculate whether he sampled any of the receipts included herein.A member of the famous Croft wine-shipping dynasty, Stephen Croft rebuilt Stillington Hall to much admiration, 'was not only an active Whig but also a man who shared Sterne's tastes in painting, music, and literature: in years to come he could commission Joshua Reynolds to paint his portrait [and] act as a director of the York Assembly Rooms...' (Campbell Ross, p.101).This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

PLAT (HUGH)The Jewel House of Art and Nature: Containing Divers Rare and Profitable Inventions, together with Sundry New Experiments in the Art of Husbandry. With Divers Chymcal Conclusions Concerning the Art of Distillation, and the Rare Practices and Uses Thereof... Whereunto is Added, a Rare and Excellent Discourse of Minerals, Stones, Gums and Rosins, title within border of typographical ornaments, woodcut illustrations in the text (including 'The true portrait of an Ear of Summer Barley, as it Grew at Bishop's Hall in Middlesex, Anno Dom. 1594'), some dampstaining to upper edges of first few leaves, endpapers browned, contemporary blind-ruled calf, rebacked [ESTC R10675; cf. Bitting p.373, Goldsmiths 1294 & Kress 889, all Bernard Alsop imprint], small 4to (188 x 140mm.), Printed by Elizabeth Alsop, and are to be sold at her House in Grubstreet, near the Upper Pump, 1653Footnotes:The 'most significant book' (ODNB) by Sir Hugh Plat (1552-1608), the eccentric husbandman and inventor. Plat lived at Bishop's Hall, Bethnal Green, and conducted numerous horticultural, agricultural and mechanical experiments ranging from the practical to the fantastic. The 103 experiments described include recipes for preserving food, herbs, fruit, flowers, meat and water, and for a tooth-cleaner. Other parts deal with soils, manures, distillations, moulding and casting metals, and diverse topics such as the brewing of beer without hops, fishing, how to cheat at cards and how to steal a beehive. The work was first published in 1594, and the present edition was revised and expanded by Arnold de Boate in 1653; there are two issues, this bearing the imprint of Elizabeth Alsop as opposed to that of her husband, Bernard Alsop, who may have died that year.Provenance: Henry Seymour, bookplate.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

A PAIR OF NEW HALL TEACUPS AND SAUCERS, PATTERN 446, SAUCERS 14CM DIA, C1800 Good condition

A collection of works by or illustrated by George Cruikshank, including 'Twelve Sketches, Illustrative of Sir Walter Scott's Demonology and Witchcraft', London, 1830, 1st edition, title page, 12 engraved plates as called for, plus an engraved frontis, 12mo, later plain grey wraps, leaves trimmed affecting printed title of some plates; [Charles Dickens] & Cruikshank: 'The Loving Ballad of Lord Bateman', London, Bell & Daldy, 1871, signed and inscribed by Cruikshank to fly leaf, 12 engraved plates, 40pp, original cloth gilt; [Frank Edward Smedley]: Frank Fairlegh or Scenes from the Life of a Private Pupil', London, Arthur Hall, 1850, 1st edition, in the 15 original serial parts, 30 engraved plates as called for, publisher's adverts bound in, some wraps detached (but all present), some chipping/browning/small part losses to wraps. Scarce in part form; Thomas Ingoldsby [i.e. Richard Harris Barham]: 'The Ingoldsby Legends or Mirth and Marvels', London, 1842, 2nd series, signed and inscribed "to Mrs Scott from her sincere friend Thomas Ingoldsby, Tappington Everard June 24th (Eve of St. John) 1843", engraved title page + 6 engraved plates by Cruikshank and Leech, original cloth gilt, top board detached but present; 'The Glass and the New Crystal Palace...With Cuts', London, J. Cassell, [1853], 1st edition, 32pp, engraved illustrations in text throughout, a tract advocating teetotalism, original printed wraps (worn, detached but present), etc etc

Charles Dickens: 'The Works of Charles Dickens, Household Edition' [cover-title], parts 1-93 consecutive (of 101) original parts, London, Chapman & Hall, July 1871-May 1879, black and white engraved plates and illustrations to text, original pale blue printed wrappers, most wrappers chipped and/or edge frayed, some with wraps detached (but present). For the Household Edition, the first published after Dickens's death, Chapman & Hall commissioned new illustrations and included Forster's Life of Dickens as the final title. The Household Edition is scarce in monthly parts

* ELIZABETH BLACKADDER DBE RA RSA RSW RGI DLitt (SCOTTISH b 1931), STILL LIFE IN WHITE AND GREY watercolour on paper, signed and dated 1972 in pencil 62cm x 104cm Mounted, framed and under glass. Label verso: Mercury Gallery, 26 Cork Street, London. Purchased September 1972. Note: Elizabeth Blackadder is the first woman to be elected to both the Royal Scottish Academy and the Royal Academy. She studied at Edinburgh University and Edinburgh College of Art from 1949 to 1954. In 1954 she was awarded a Carnegie Travelling Scholarship by the Royal Scottish Academy, which took her to southern Europe. Blackadder also received an Andrew Grant Post-Graduate Scholarship. In 1955 she was awarded another Travelling Scholarship and spent nine months in Italy. In 1956 Blackadder married the painter, John Houston and lectured in Drawing and Painting at Edinburgh College of Art from 1962 to 1986. Blackadder’s first solo exhibition was held in 1959 at 57 Gallery, Edinburgh. Since then, solo exhibitions of her work have been held almost every year to date, both nationally and internationally. She has also participated extensively in group exhibitions around the world. Blackadder has received a number of awards, including the Guthrie Award, Royal Scottish Academy (1962) and the Pimms Award for Work on Paper (Royal Academy, 1983). She was joint-winner of the Royal Academy’s Watercolour Foundation Award in 1988. Blackadder was elected Member of the Royal Scottish Academy in 1972, a Royal Academician in 1976 and a Member of The Royal Glasgow Institute of Fine Arts in 1983. She is an Honorary Member of the Royal West of England Academy, the Royal Watercolour Society and the Royal Society of Painter-Printmakers, and an Honorary Fellow of the Royal Incorporation of Architects in Scotland and the Royal Society of Edinburgh. She has also received Honorary Doctorates from four Scottish universities. In 2001 she was appointed Her Majesty’s Painter and Limner in Scotland. Elizabeth Blackadder lives and works in Edinburgh. Selected public collections: Abbot Hall Art Gallery, Aberdeen Art Gallery, Carlisle Museum and Art Gallery, Contemporary Art Society, The Carnegie Trust, Edinburgh City Art Gallery, Tower Art Gallery (Eastbourne), The Fleming Collection, Glasgow Museum and Art Gallery, UK Government Art Collection, Greater London Council, Heriot Watt University, Kirkcaldy Museum & Gallery, Museum of Modern Art, New York (MOMA), National Portrait Gallery, London, Royal Acedemy of Arts, The Royal Scottish Academy, Scottish Arts Council, Scottish National Gallery of Modern Art, Scottish National Portrait Gallery, Tate Gallery, London, University of Cambridge, Kettle’s Yard, University of Edinburgh, University of Glasgow, Hunterian Art Gallery, Whitworth Gallery, Wustun Museum, Racine, Wisconsin, USA.

* ANGUS MCEWAN RWS RGI RSW, WATER WHEEL oil on board, signed and dated 9/1991 92cm x 62cm Mounted, framed and under glass. Note: Angus McEwan was born in 1963 in Dundee, Scotland. Angus studied at the Duncan of Jordanstone College Art in Dundee, graduating in Fine Art and a Post Graduate Diploma in the same discipline. Angus was elected to the Royal Scottish Society of Painters in Watercolours (1995) and in 2012 the Royal Watercolour Society. In 2005 he was recognized as an Associate of the International Guild of Realism USA. He is also an associate member of the AWS and NWS in the USA. Angus has been Finalist three times of the ''International Artist Magazine'' and won first place in the John Blockley Prize in the RI open exhibition. Angus has also won second prize in the Sunday Times Watercolour Competition (2007) in London and the International Prize ''Marche d'Acqua'' Fabriano, Italy in 2012. In 2013 Angus won Bronze Award, at the Shenzhen International Watercolour Biennial, in China. He was recently awarded the May Marshall Brown award at the Royal Scottish Society of Painters in Watercolours (RSW), Edinburgh, 2015 and was elected RGI in May 2016. Many galleries display McEwan's works, including Ok Harris Gallery in New York and Quanhua Gallery, Shanghai. Recently highlighted in Shenzhen Biennale and the Qingdao Hall of Watercolor. He has exhibited in Fabriano, Italy in the ''Marche d'Acqua'' International Award, as special guest and Vicenza, Italy, where he had a solo show in the ''Artbox''. McEwan was one of the 23 finalists in Narbonne, France at the Concours Mondial de l'Aquarelle 2014 1st World Watercolour Competition. Angus also exhibited at the World Watermedia Exposition, Thailand and Myro Gallery, Greece. He also participated in the Second International Watercolour Exhibit in Thessaloniki, Greece. In the UK McEwan exhibits with Thompson's Gallery (London) and The Open Eye Gallery (Edinburgh). Notable collectors include: Dundee Art Galleries and Museums; The Qatar Royal Family; the Royal Scottish Academy Collection; Ernst & Young, Glasgow; Scottish Enterprise; Scottish Equitable; Historic Scotland; Perth Royal Infirmary.

A NEW HALL TRIOComprising clip-handle coffee cup, tea bowl and saucer, painted with an unnumbered pattern of blue daisies with gold embellishment, the tea bowl with Mercury Antiques label. (3)Saucer 13.4cm diameter. Coffee cup 6.4cm high.Provenance:Tea bowl purchased from Mercury Antiques, 9 November 2005.Cup and saucer purchased from Jan Carter, 9 March 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.Tea bowl with tiny gilded-over rim chip. Saucer with scratched in the glaze and some wear to gilded rim. Coffee can with some wear to gilding to handle and rim.

A NEW HALL CREAMER, CIRCA 1800Oval shaped, painted to pattern number 425 with Chinese scene of a boy at a window, pattern number to base.14cm from handle to spout. 11cm high overall.Provenance:Purchased from David Scriven Antiques, 16 May 2002.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.

A NEW HALL CREAMER, CIRCA 1795Boat-shaped, decorated to pattern number 510 with an Imari design, iron red pattern number to base and BADA label.13.5cm from handle to spout. 7.3cm high.Provenance:Purchased from Charnwood Antiques, 27 August 1996.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.

A NEW HALL FACETED SAUCER DISH, CIRCA 1785Decorated to pattern number 89 with a border of gold pointed ovals with pink dashes within, pattern number to base, 20cm diameter; A NEW HALL TRIO AND SLOP BOWL, CIRCA 1885, each decorated to pattern number 89 a border of gold pointed ovals with pink dashes within, slop bowl 15.6cm diameter. (5)Provenance:Saucer dish purchased from Charnwood Antiques, 2 March 1993.Tea bowl purchased from Charnwood Antiques, 12 May 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.In good condition without chips, cracks or restoration.

A NEW HALL CREAM JUG, CIRCA 1785Helmet-shaped, painted to pattern number 241 with red dotted line and floral sprays, pattern number to base, 11cm high overall; A GROUP OF NEW HALL, comprising corrugated tea bowl, painted to pattern 241; a clip-handle cream jug, painted with floral sprays; and a creamer, printed to pattern number 984 with scenic prints, pattern number and Brian J. Penny Collection label to base, creamer 8.5cm high. (4)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.

A NEW HALL CREAM JUG, CIRCA 1787-90of spirally fluted pedestal form, painted to pattern number 173 with a pink hatched border and floral sprigs.13cm high.Provenance:Purchased from Jan Carter, 5 November 1990.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.Firing crack to breast but otherwise in good condition without chips, cracks or restoration.

A NEW HALL CREAMER, CIRCA 1800-1805Boat-shaped, painted to pattern number 594 with floral sprays, pattern number to base.14cm from handle to spout.Provenance:Purchased from Charnwood Antiques, 29 December 1987.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.

An Oriental bowl with three painted panels, decorated with dogs and floral motifs, six character mark to the base, together with an ashtray in the form of a bulldog, seven Staffordshire New Hall ashtrays, a pair of bells, another ashtray in the form of a horseshoe and a mantel clock.

The ex-Basil Keys c.1932 Velocette 348cc KTT/KSS Frame no. KT 1460 (see text)Engine no. KTT 308 (see text)•Very sporty cammy Velo •Built many years ago•Crankcases 'KTT308' formed part of a machine supplied to Mitchells Huddersfield on 29th May 1931 'for Junior TT'Alec Bennett's runaway win in the 7 lap 1926 Junior TT, when he fell off on the last lap and still won by over 10 minutes, is a testament to just how far ahead of the competition Veloce were with their new K model. This was the beginning of some very successful years. They moved into the Hall Green factory to cater for the increased demand. On the Island they were 2nd in 1927, 1st and 2nd in 1928, and 1st and 3rd in 1929. The KTT production racer, perhaps their most famous model, was launched at the 1928 Olympia show. For many decades afterwards clubmen used the superb mark one cammy Velocette with great success in their chosen branch of motorcycle sport.Basil Keys, the previous owner of this machine, had an extraordinary motorcycling career including multiple successes at Brooklands, Gatwick Speed Trials, Brighton Speed Trials, and even a TT win. With his brother he went on to open a successful dealership in Worthing. Since being sold in the 2018 Bonhams Autumn Stafford sale this very light ex Basil Keys Velocette has not been started and has been largely untouched. It is offered once again solely because of the vendor's urgent need of more space. The Velo's history while in Basil Keys' ownership is unknown. It was clearly built many years ago and is not road registered. Nothing is known of the specification or condition of the internal components of the engine or gearbox, but everything appears to go round. The constituent parts include a KTT crankcase no. KTT308, KSS barrel, head and cambox, circa 1932 frame (the 'KT' prefix is almost impossible to decipher), the forks are Ariel, the 4 speed Velo gearbox is 1933-1935, the KTT mark IV style sub-frame rails are a bonus, reducing stress on the gearbox lug and adding rigidity, an Amal TT carburettor, and a BTH magneto which was kindly supplied by the Keys family following the previous sale (it was missing when sold in 2018). The oil tank still bears its now delightfully patinated Brighton and District Motorcycle Club badge. The Mitchell brothers both competed in the 1931 Junior TT riding Velocette KTTs. According to the Velocette despatch records KTT307 and KTT308 were supplied to Mitchells Huddersfield on 29th May 1931 'for Junior TT', but it is not known which bike was ridden by which brother. A. G. Mitchell finished 7th and was the first Velocette home, whilst his brother Hirst retired on lap 4. One of those bikes (see photo) was fitted with the crankcase in this machine.Following a lengthy period of inactivity re-commissioning will be required before further use. Prospective bidders should satisfy themselves as to the motorcycle's completeness and mechanical condition.Footnotes:As with all Lots in the Sale, this Lot is sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.For further information on this lot please visit Bonhams.com

CHARLES DICKENS: THE UNCOMMERCIAL TRAVELLER, London, Chapman & Hall, 1866, includes 11 new sketches frontis, People's edition, original boards worn

A GROUP OF LATE 18TH/EARLY 19TH CENTURY NEW HALL CERAMICS including a tea bowl and saucer decorated in the 'Trench Mortar' pattern

A GROUP OF EARLY 19TH CENTURY CUPS AND SAUCERS including New Hall and Miles Mason

A GROUP OF EARLY 19TH CENTURY ENGLISH PORCELAIN TEAWARES including New Hall coffee can and saucer, bat printed teacups and saucer, Graingers Worcester etc,

A GROUP OF 19TH CENTURY ENGLISH TEAWARES including New Hall, Royal Doulton and Coalport

A GROUP OF LATE 18TH/EARLY 19TH CENTURY CERAMICS including New Hall teapot and helmet shaped cream jug, Derby jug etc.

Palliser (Mrs. Bury) History of Lace. Sampson Low Marston & Compant Ltd, 1902 (26x18cm)Hudson Moore (N) The Lace Book. Chapman & Hall, London, 1905.n (28x22cm)Goldenberg (Samuel L.) Lace, Its Origin and History. Brentano's, New York, 1904. (25x19cm)Lowes (Mrs) Chats on Old Lace and Needlework. T. Fisher Unwin Ltd, £rd Impression, 1919. (21x15cm)Lowes (Mrs) Chats on Old Lace and Needlework. T. Fisher Unwin Ltd, £rd Impression, 1919. (22x15cm)

New Hall helmet shaped milk jug, circa 1790, painted in enamel with floral patterns, 10cm heightCondition report: Good condition. A couple of flea bites to the foot rim.

New Hall teapot and cover, circa 1800, printed and coloured with the Boy at Window pattern, inscribed marks to base, 26cm from spout to handleCondition report: Good condition. Some nibbles and a small hairline on the inside rim of the teapot. Tiny fleabite to spout.

New Hall coffee can and saucer, printed with fishing and hunting scenes, and a Derby saucer and a Davenport can painted with landscape scenes (4)Condition report: Some gilt wear. Small hairline around the bottom of one handle.

New Hall teacup and saucer, ex-Roderick Jellicoe Exhibition, decorated in brown enamel and gilt with acorns and oak leaves, and a New Hall type tea bowl and saucer decorated with swagsCondition report: Very small chip to rim of acorn saucer.

A collection of ceramics, to include Caughley, New Hall, 18th century Chinese jug etc.

A GROUP OF MISCELLANEOUS VICTORIAN AND 20TH CENTURY CERAMICS, including two New Hall type cups and saucers, a Wedgwood pearlware blue and white vine leaf pattern rectangular plate, a footed tea pot, a cruet salt and pepper both in the form of a pineapple etc (quantity)

A selection of ceramics including Art Deco New Hall Hanley tea service and tennis sets

A mixed collection of items to include: Spode, New Hall floral decorated jugs and ornaments

Hydrotherapy & Topography - Sussex: [Fisher (Frederick George)], Brighton New Guide: or, A Description of Brighthelmston, and the Adjacent Country [Sussex] [...], London: Printed for the Editor, by T. Burton [...], 1800, pp: engraved title-page centred by a named-view of Fisher's Circulating Library, viii, 92, [4], fold-out architectural perspective of the pre-Indo-Saracenic eponymous Pavilion (faults), fold-out map, contemporary calf gilt, marbled endpapers, 12mo, (1); Kent: Provincial Imprint, [Hall (Joseph)], Hall's New Margate and Ramsgate Guide [...], Also a General Account of the Isle of Thanet, and a Catalogue of Plants growing wild there [...], second edition, Margate: Printed for, and Sold by, J. Hall [...], 1792, pp: [iv], 83, lacking map, 19th century cloth-backed boards, upper-cover with polychrome printed and ink MS inscribed collection/title label: Bibliotheca Cantiana [...], provenance: presumably from the collection of the bibliographer James Russell Smith, 12mo, (1); Anon, Picture of Margate, Being a Complete Guide to All Persons Visiting Margate, Ramsgate, and Broadstairs [...], Instructions to Seat Bathers [...], And Directions for Learning to Swim [...], London: Printed for Bousfield & Co., Margate [...] 1809, pp: iv, 188, 4, named-view topographical frontispiece, contemporary calf, the upper-cover blocked in gilt: Margate, 12mo, (1), [3]

Local Interest - Lysons: (The Rev. Daniel) and (Samuel), Magna Britannia [...], Volume the Fifth, Containing Derbyshire, London: Printed for T. Cadell and W. Davies, 1817, hand-coloured and b/w plates, later Victorian black quarter-calf over pictorial cloth, 19th century ink MS owership inscriptions, 4to, (1); Provincial Imprint, Davies (The Rev. D.P.), A New Historical and Descriptive View of Derbyshire, from the Remotest Period to the Present Time, Embellished with a Map and Plates, Belper: Printed and Published by and for S. Mason, 1811, 20th century half-calf over marbled boards, 8vo, (1); Pilkington (James), A View of the Present State of Derbyshire [...], two-volume set, Derby: Printed and sold by J. Drewry [...], 1789, institutional gilt-lettered leather over buckram, 19th century and later Liverpool Library stamps and bookplates, 8vo, (2); Britton (John) and Brayley (Edward Wedlake), The Beauties of England and Wales [...], Volume III only: Cumberland, the Isle of Man and Derbyshire, London: Printed by Thomas Maiden [...], 1802, full-page named-view antiquarian and topographical engravings, contemporary Regency polished calf, 8vo, (1); Britton (John, F.S.A.), The Beauties of England and Wales [...], Volume IX only: Lancashire, Leicestershire and Lincolnshire, London: Printed by Thomas Maiden [...], 1807, full-page named-view antiquarian and topographical engravings, slightly later quarter-calf over cloth, marbled edges, Plain Armorial Bookplate: Frederick Arthur Heygate (1857-1929), and his seat's library label with shelf numbering: Garratts Hall [Surrey] Library Case 1/VIII, 8vo, (1), [6]

The Chetham Society - Remains Historical and Literary Connected with the Palatine Counties of Lancaster and Chester, New Series: Volumes 1 & 2, Raines (The Late Rev. Canon Raines), The Vicars of Rochdale, two-volume set: Parts 1 & 2, Manchester: 1883, the Society's armorial cloth bindings, gilt-lettered spines, contemporary Seal Armorial bookplates: Colonel Thomas Richard Crosse of Shaw Hill, near Chorley, Lancashire, the first part with the house's case label inscribed: Hall, 8vo, (2); Volume 101, Whitaker (Harold), A Descriptive List of the Printed Maps of Lancashire 1577-1900, Manchester: 1938, bound en suite to the latter, 8vo, (1); Volume 106, Whittaker (Harold), A Descriptive List of the Printed Maps of Cheshire 1577-1900, Manchester: 1942, typically bound en suite, 8vo, (1), [4]

Local Interest - Anon, [Fyfe (William Wallace)], Rambles Round Nottingham; A Series of Successive Visits [...], In every Direction Leading out of Nottingham, Vol. I [all published], first edition, London: Simpkin, Marshall & Co., 1856, pp: [2] (blank), xiii, [3], 368 [of 372, lacking two leaves but contemporary with binding], [2] (blank), 1 fold-out engraved county map, 1 fold-out stone lithograph of the South-West View of Nottingham Park and b/w in-text illustrations, contemporary quarter-calf over cloth (rubbed, worn, upper-cover lose), Plain Armorial bookplate to recto pastedown: George Creswell Bond of Lenton Hall, Nottingham, 8vo, (1), Scarce: only one copy listed on WorldCat at the Cambridge University Library; Provincial Imprint, Morris & Co.'s Commercial Directory and Gazetteer of Nottinghamshire, with Grantham, Chesterfield, and Gainsborough, Nottingham: 1869, bound without the optional coloured sheet map, illustrated with advertisements for local companies and business adverts, predominantly printed on purple paper and a few on white paper, contemporary quarter-black roan over cloth gilt, 8vo, (1), Scarce; Topography, [Cox (Thomas)], Magna Britannia et Hibernia, Antiqua & Nova; Or, A New Survey of Great Britain [...], Vol. IV: Containing the Counties of Nottinghamshire, Oxfordshire, Rutlandshire, and Somersetshire, In the Savoy: Printed by E. and R. Nutt, 1727, pp: [2], 912, illustrated with 4 fold-out county maps, contemporary two-tone panelled calf, dated ink MS ownership inscription to title-page: Will. Parsons 1848, later Plain Armorial bookplate: George Cresswell Bond, Nottingham, 4to, (1); Sutton (John F.), The Date-Book of Remarkable and Memorable Events Connected with Nottingham and Its Neighbourhood, 1750-1850, London: Simpkin & Marshall, 1852, contemporary half-calf and marbled boards (worn), contemporaneous ink MS ownership inscription: John Sanders [...], 1853, 8vo, (1); its companion, Provincial Imprint, [...] 1750-1879, from Authentic Records, Nottingham: Published by the Proprietor, 1880, contemporary cloth (lacking spine), dated ink MS ownership inscription: George C. Bond, Aspley House, Nottingham 1885, his later Plain Armorial bookplate when of Lenton Hall, 8vo, (1); Phillmore (W.P.W., editor) and Ward (James, editor), Nottingham Parish Registers, Marriages: St. Mary's Church, two-volume set: 1566 to 1763 & 1763 to 1813, volume I numbered A1 (?of 200) and signed by Ward, London: Issued to the Subscribers by Phillimore & Co., 1900, vellum backed boards, 8vo, (2), [7]

Miscellaneous - Natural History: Cuvier (Baron [Georges]), The Animal Kingdom [...], New Edition, London: Hardwicke and Bogue, [n.d., c. 1860], hand-coloured plates, further monochrome engravings and in-text illustrations, contemporary pictorial cloth, 4to, (1); China, Travel: McCallum (Captain Duncan, M.C.), China to Chelsea: A Modern Pilgrimage [...], first edition, [London]: Ernest Ben Limited, 1930, contemporary cloth, 8vo, (1); The Arabian Nights' Entertainments [...], with Numerous Illustrations, London: Cassell & Company, Limited, [n.d., c. 1860], contemporary pictorial cloth, 4to, (1); Whymper (F.), The Sea [...], Illustrated, London: Cassell & Company, Limited, [n.d., c. 1875], contemporary pictorial cloth, 4to, (1); Hood's Whims and Oddities, In Prose and Verse: (Second Series) [...], second edition, London: 1829, contemporary calf over marbled boards, 8vo, (1); M'Lennan (John F., Advocate), Primitive Marriage, first edition, Edinburgh: 1865, contemporary cloth, peer's bookplate: the monogram H surmounted by a baron's coronet, 8vo, (1); Politics: Glen (Alexander), The Rivers Pollution Prevention Act, 1876 [...], London: Knight & Co., 1876, contemporary cloth, 12mo, (1); Literature: Hardy (Thomas), Wessex Tales, London: Macmillan, 1920, contemporary cloth, 8vo, (1); A Collection of Letters of W.M. Thackeray, 1847-1855, second edition, London: 1887, illustrated, contemporary cloth, Plain Armorial bookplate: Thomas Sanderson, 4to, (1); Shelley's Nature Poems, London: 1911, tipped-in colour plates, green cloth, 8vo, (1); Natural History: The Life of a Tree [...], London: 1849, illustrated, contemporary cloth, ink MS presentation inscription from the Chesterfield Unitarian Chapel, 1860, square 16mo, (1); Bowdich (Mrs), New Vegetarian Dishes, second edition, London: 1893, contemporary cloth, 12mo, (1): Children's: Anon, Only a Dog: A Story, With Six Illustrations, London: 1890, contemporary red moiré by Diboll & Son, Yarmouth, their ticket, 12mo, (1); Moscrop (Caroline L.), Fairy Record, Six in Number, first edition, London: Chapman and Hall, 1868, contemporary green cloth, 8vo, (1); others; Yorkshire: Falding (F.J.), Notes on Some Local Names: A Paper Read before the Rotherham Literary & Scientific Society [...], Printed for the Society: 1870, original wrappers, 8vo, (1); Games of Patience, Illustrated by Numerous Diagrams, second edition, London: Thos.de la Rue, 1918, contemporary red cloth, 12mo, (1); Music: Kennedy-Fraser (Marjory), A Life of Song, 1929, cloth, 12mo, (1); Pussey (Rev. E.B.), Parochial Sermons, volume II only, London: 1868, contemporary cloth, 8vo, (1); history; etc., mostly cloth bindings, [approx. 80]

Various early 19thC New Hall, saucers to include one banded in pink broken by floral sprays, 14cm diameter, various other cups saucers, etc. (a quantity)

An 18th Century New Hall English porcelain footed bowl, with central basket of flowers to interior and spray to exterior, diameter 12cm, together with a pair of 18th Century New Hall spiral moulded footed tea bowls, with interior floral and swag design, diameter 8.2cm and an early 19th Century English porcelain (No Suggestions) decorated plate, diameter 21cm (4)

A COLLECTION OF EARLY 19TH CENTURY ENGLISH PORCELAIN CUPS AND SAUCERS possibly New Hall (14) together with further cups and associated saucers, saucer dishes, cylindrical mug and two milk jugs Condition: most cups and saucers with some wear to the glazed surface, some with minor marks, the cylindrical mug with extensive cracks; the collection of Luster saucers with some wear, most items in moderate to reasonable condition, approximately 63 individual items in all

An antique Delft flower-brick with blue and white decoration (restored), possibly Wincanton to/w four Delft tiles, a New Hall coffee cup and saucer, a famille rose plate and a Dresden small ewer (both also restored), 9 - boxDelft flower brick - Restored overall in multiple places, and chips and cracks overall

A well maintained Corniche II with some 34,000 miles.Initially registered on the 28/09/1988 to the first of five owners, current since 2015Finished in Tudor Red piped Magnolia. The hood shows no faults and operates as it shouldJust 33,889 miles from new (atoc) supported by its historic and recent invoices and the old MOTsPresented to auction with refreshed woodwork and a light cosmetic refresh may well benefit the car Supplied with service book, invoices, V5c, MOT until September 2020 and recent bills for brake worksDriving a Rolls-Royce is always an event but a Tudor Red Corniche Convertible guarantees a stylish arrivalThe two-door convertible version of the Silver Shadow has been without a doubt the most successful convertible ever produced by Rolls-Royce. First introduced in 1966 as the "Silver Shadow Mulliner Park Ward two-door, drophead coupé", it eventually became apparent by popular demand that this version deserved to have its own model name so, after a few cosmetic changes in 1971, the Corniche was born. When Rolls-Royce launched the two-door cars in 1966, the international jet set began to clamour for attention at the dealerships. With waiting lists measured in years, these hugely desirable vehicles began to change hands at significant premiums over list price and one can imagine the hushed negotiations over the green baize of the gaming tables at Crockfords, the Palm Beach and Aspinalls. Rolls-Royce envisioned a time when owners would like to drive their own cars and the Corniche continued to be developed with this in mind and even had a rev counter fitted as standard. Both the fixed-head coupé and drophead by Mulliner Park Ward wafted to 60mph in 9.8 seconds, powered by the whisper-quiet 6.75-litre V8 engine and it is widely regarded that the success of the Corniche saved Rolls-Royce for future generations. A mild restyling was on the cards for the Spring of 1977 and the differences included rack-and-pinion steering, alloy and rubber bumpers, aluminium radiator, oil cooler and a bi-level air conditioning system. Later changes included modifications to the independent rear suspension in March 1979. In March 1981, after the Silver Spirit had gone on sale, the Coupé version of the Corniche and its Bentley sister were quietly discontinued but such was the popularity of the Corniche convertible that production went on until 1995.This lovely example was ordered new by a Mr O'Sullivan of Cranham Hall, Upminster via Jack Barclay Ltd., Mayfair on 5th February 1988 at a total cost of £96,917, it was registered in the September of that year. It was ordered in Tudor Red with a Magnolia leather interior piped red, Cherry Red carpeting, black mohair hood with magnolia cloth headlining and an opening rear seat armrest amongst other options. Passing through three other named owners the car was subsequently bought by our vendor in June 2015. As a renowned restorer of antique clocks, it was the craftsmanship and engineering of the Rolls that initially drew him to the car and he has enjoyed "cutting a dash" whilst motoring through the neighbouring Oxfordshire villages. The mileage of some 33,889, at the time of cataloguing, is corroborated by the service book, MOTs, and historical and recent invoices and the Corniche was driven to our viewing facility by our vendor, hood down, for a final 'hurrah'. To this consignor's eye, the paintwork may need a light refresh at some point and the leather interior a deep clean. The fitment of a key fob alarm system is very useful as is the factory fitted battery cut-off switch in the boot. The copy order form and build sheets make interesting reading and a valuation letter from Hanwells of London dated July 2018 suggest a figure of £65,000.00. The car is presented to auction with the aforementioned MOT valid until September 2020, the full book pack, Rolls-Royce sales literature, reams of invoices, Swansea V5c and ready for late summer motoring.You can now book a one to one appointment (up to one hour) to view this lot at our central location between 16th and 30th July. Please contact Arwel Richards on 07434 960 868 / arwel@silverstoneauctions.com to secure your appointment or to discuss the car in more detail. The health and safety of both our customers and team remains the utmost priority, we are therefore operating to strict COVID-19 guidelines and full instructions for arrival and inspection protocols will be given when making your appointment.Click here for more informationSpecification:Registration: F682 OYWYear: 1988Make: Rolls-RoyceModel: Corniche II ConvertibleRHD/LHD: RHDChassis Number: SCAZD00A0KCH24769Odometer Reading: 34850Engine Capacity: 6750Engine Number: 65218L410I/9Body Colour: RedInterior Colour: Magnolia

The 'SA-30 Collection' - 30 exceptional vehicles chosen to celebrate 30 years of the Silverstone Classic and all excitingly offered at No ReserveOne of approximately 243 Series 1 cars built and consequently now very rarePurchased and built by period Lotus stores man Jay 'JJ' Hall on 20/11/1959Immediately entered a long competition career, with period film capturing some eventsRelocated to Scandinavia in the mid 1960's and bought by Per Roxlin in 1985 Roxlin undertook a full restoration and upgraded it to 'Series A' spec with the desirable BMC 'A' Series 1098cc engine and 4-speed gearbox. The bodywork was restored by Williams & Pritchard, original Lotus coachbuildersRepatriated in 1995 by Rod Leach and remained in a private collection for around 20 yearsFabulous period competition history (separate panel) and eligible and welcome in historic motorsport todayStill immense fun on the road, and nicely restored with great history, this is a charming example of the embryonic Lotus SevenTypifying the maxim that a whole can be greater than the sum of its parts, the Lotus Seven was introduced at the 1957 Earls Court Motor Show. Based around a multi-tubular spaceframe chassis, the aluminium-panelled newcomer was powered by a choice of Ford 100E, Coventry Climax FWA or BMC A-series engines. Popular with sporting motorists and club racers alike, the Lotus Seven evolved through Series 2, 3 and 4 guises before the design rights were sold to Caterham in 1973.Sevens dominated club racing in the late 1950's and early 1960's, and with Team Lotus starting to give the established 'Scuderia' cause for concern internationally, the fever to go racing was rife for Lotus' in-house store's man, Jay 'J J' Hall. Astonishingly, our research into this car led us in early 2020 to catch up with Jay, who is now in his 80s, and discover the story of this Lotus direct from the source.Jay started working for Lotus in 1958 and, like all new recruits, was told upon his induction not to have any wild fantasies about 'staff discounts'. So when the itch to race needed scratching, Jay and some like-minded and highly talented colleagues sought to build their own cars instead. Led by renowned car designer Len Terry, the group's resulting sports car specials were known as the Terriers and they proved very effective. Too effective, in fact. Several wins and podiums not only upset Lotus owners, who disliked being beaten by something built by the factory workers, but Colin Chapman himself was furious. Len Terry was fired over the fiasco and, on the advice of Mike Costin, Jay sold his Terrier back to Len so that he could "build a demon Seven instead."Jay ordered this Seven as a complete set of un-assembled parts from Lotus Components, which was an option many Seven owners took as it saved the new car purchase tax that was applied to a car completed by the manufacturer, and was released from Lotus's new Cheshunt factory on 20th November 1959 - Jay's birthday. Lotus had moved its operations from Hornsey earlier in the year and Jay had found accommodation at the nearby White Horse Inn, negotiating the use of its garage in the process, and it was here that Lotus Seven chassis No.787 was delivered after Jay had pulled a favour from Lotus's van driver.Jay also persuaded Hertfordshire's registration office to allocate him the very appropriate registration number '787 JJH' - the car's chassis number, followed by his initials!All that was left to do was build it. The build was gradual, using spare weekends and evenings, and completed with the help of Lotus colleagues who all helped each other build their various projects. Jay would later ease the financial burden by selling a share in the car to colleagues Peter Hutcheon in 1960 and Mark Roberts in 1961.A 'Series F' car this Seven was fitted with the ubiquitous and reliable Ford 100E engine and 3-speed gearbox, and its 40bhp was more than enough to make this sub-500kg Lotus a real giant-killer. Once built, all that the Lotus needed was a livery and Jay commissioned sign-writer Roy Elmore to replicate the scheme adorning his traditional pudding bowl crash helmet: pale blue with a central white stripe.Jay and his 'shareholder' Peter Hutcheon spent their first three race meetings finding their feet at Silverstone over May & June 1960 and, in this evocatively innocent era, taught themselves to drive quickly using a book called 'How to Drive a Racing Car." This culminated in a 5th place for Jay in the 10-lap scratch race on 18th June. Jay and Peter continued entering as many events as possible throughout the summer and into September and even entered the hotly contested 1172cc Chapman Trophy series. Their exploits were captured in a number of stunning images, a film recording and a few column inches in Autosport. By the end of 1960, 787 JJH's scorecard read: one win at Silverstone, a third at Snetterton and 12 further top-ten finishes.Having campaigned no fewer than 26 races, 787 JJH required some attention in preparation for 1961. Mark Roberts, Jay's best friend at Lotus, took over Peter Hutcheon's share and as an extraordinary engineer helped Jay improve the Seven by canting over and boring its engine. Mark Roberts went on to found his eponymous film and TV camera company, which was awarded an Oscar for its innovation before being acquired by Nikon.The time spent working on the Seven left little time to race it in 1961, but Jay and Mark crammed in no fewer than 10 race meetings between August and October. The highlight was Jay taking his first win at Mallory Park. Jay sold the Seven after 1961, a consequence he says of getting married, but a chance encounter saw him reunited with it a few years later in Brighton, where he'd gone to see the finishers arrive from the Veteran Car Run and recognised 'his' Lotus parked on the seafront. From that point in the mid-1960s, the Seven relocated to Scandinavia and was the property of Mr Per Roxlin by 1985. Recognising it as a rare and very special Series One, Roxlin undertook a full restoration of the Lotus and upgraded it to 'Series A' specification with the celebrated BMC 'A' series 1098cc engine and 4-speed gearbox. The bodywork was carried out by Williams & Pritchard no less, who were the original coachbuilders for Lotus.Repatriated in 1995 by the classic car dealer and AC Cobra specialist Rod Leach, the Seven was in a private collection for around 20 years before being acquired by our vendor.Eligible for and positively welcomed in historic motorsport today, the Series One is the purest, prettiest and most coveted of the breed. Still immense fun on the road, and nicely restored with great history, this is a charming example of the embryonic Lotus Seven.You can now book a one to one appointment (up to one hour) to view this lot at our central location between 16th and 30th July. Please contact Harry Whale on 07919 887 374 / harry@silverstoneauctions.com to secure your appointment or to discuss the car in more detail. The health and safety of both our customers and team remains the utmost priority, we are therefore operating to strict COVID-19 guidelines and full instructions for arrival and inspection protocols will be given when making your appointment.Click here for more informationSpecification:Registration: KFO 452Year: 1959Make: LotusModel: SevenRHD/LHD: RHDChassis Number: MK7787L560760Engine Capacity: 1098Engine Number: 10V189EH453325Body Colour: Aluminium

Collection of 18th Century porcelain saucers, to include First period Worcester, New Hall circa 1800, a collection of floral spray examples and blue and white painted pagoda, (8)

Haworth (Adrian Hardy). Observations on the Genus Mesembryanthemum, in two parts; containing scientific descriptions of above one hundred and thirty species, about fifty of which are new; directions for their management; new arrangements of the species; references to authors; and a great variety of critical, philosophical, and explanatory remarks, by Adrian Hardy Haworth, late of Cottingham, Yorkshire, now of Little Chelsea, Middlesex, 2 parts in one, 1st edition, London: Printed and sold for the Author, by J. Barker, sold also by B. & J. White, 1794, [8], 480pp., half-title, lower blank margin of title with ink stamp of L.E. Newton Library, letter bound in at front dated 20 Nov. 1876 from North Wales Central Botanic Gardens to a member of the public searching for a copy of this title, 20th century brown half morocco, 8voQty: (1)NOTESThis copy of Observations on the Genus Mesembryanthemum, was used for the 1965 Gregg Press reprint, and rebound. Adrian Hardy Haworth (1768–1833), botanist and entomologist, was born in Cottingham near Hull. He was the younger son of Benjamin Haworth (1728–1790) of Haworth Hall, a prosperous merchant, and landowner. His mother, Anne Boothe Haworth, probably nurtured his interest in plants & gardening. After attending Hull Grammar School and serving in a law office, he started to pursue a full-time career in natural history. After several years in Cottingham, he moved to Chelsea. He joined the Linnean Society in 1798. Haworth was one of the original members of the Aurelian Society, which in 1806 dissolved and regrouped as the Entomological Society of London. He was President of The Entomological Society of London from 1806 to 1822. The Society subsequently merged with the Zoological Club of the Linnean Society. Between 1803 and 1828 Haworth published Lepidoptera Britannica and during his lifetime was the author of sixty publications, primarily concerned with Lepidoptera and succulent plants. Haworth returned to Cottingham from 1812 to 1818, and during that time helped found Hull Botanic Garden. He returned to Chelsea in 1818, remaining until his death from cholera in 1833. Haworth married three times and had children by each wife.

Australasia. A mixed collection of twenty-two maps, 19th century, engraved and lithographic maps of Australia, New Zealand, Polynesia and the world, including examples by Tallis, Hall, J & C Walker, Cruchley, D'Urville, Lizars, Thomson, Bartholomew and Johnston, various sizes and conditionQty: (22)

Berry (William). [Composite atlas], London: sold by William Berry at the Sign of the Globe between Charing-Cross and White Hall, 1680-9, containing: 1. A Mapp of all the World. In two Hemispheres in which are exactly Described all the Parts of the Earth and Seas. Described by Sanson. Corrected and amended by William Berry, 1680, 2. Asia. Divided into its Principall Regions, 1680, 3. Africa. Divided according to the Extent of its Principall Parts, 1680, 4. North America. Divided into its Principall Parts where are distinguished the several States which belong to the English, Spanish and French, 1680 [i.e. c.1681], 5. South America. Divided into its Principall Parts where are distinguished the several States which belong to the Spanish, English, Portugals [sic], and French, 1680, 6. A New Mapp of the Kingdome of England and Wales, c.1685, 7. Spain … Portugal, 1682, 8. Italy, 1682, 9. The Empire of Germany, c.1685, 10. The Kingdom of Hungary, c.1685, 11. Poland, c.1685, 12. Russia Alba or Moscovia, 1682, 13. Scandinavia and its Confines, 1684, 14. The United Provinces of the Netherlands, c.1685, 15. The Catholick Provinces of the Low Countries, c.1685, 16. The Kingdom of France, c.1685, 17. The States of the Empire of the Turks in Europe, 1683, 18. The Empire of the Great Turke in Europe, Asia, and Africa. Divided into all its Beglerbeglicz or Governments, c.1685, 19. Mediterranean Sea divided into its Principall Parts or Seas, c.1685, 20. The Course of the River Rhine, c.1685, 21. The Circle of Swabia, 1685, 22. The Circle of Bavaria, 1685, 23. The Dukedom of Pomerania, 1685, 24. The Circle of Westphalia, 1685, 25. The Mountains of the Alpes, 1683, 26. Principality of Catalonia, c.1685, 27. Part of the Circle of Austria viz. the Archdukedom of Austria, c.1685, 28. Part of the Circle of Austria in which are the Dukedomes of Stiria … and other Heriditary [sic] Countrys of the House of Austria, 1688, 29. The Dukedom and Electorat [sic] of Brandenbourg, c.1680-5, 30. The Circle and Electorat [sic] of the Rhine, 1689, 31. The Archbishoprick and Electorat [sic] of Colen, c.1685, i.e. 31 engraved maps, each on two conjoined sheets (except Colen, on one sheet) mounted on guard, various sheet sizes (approx. 58 x 90 cm to 61 x 96 cm), strip-titles to head, titles and dedications within large elaborate cartouche incorporating royal arms and ethnographic and allegorical elements (Spain with title and dedication within separate cartouches), all except England and Wales with secondary cartouche containing bar scales and imprint, contemporary outline colour throughout (except Asia, uncoloured; Africa colouring with modern enhancement including to cartouche, North America, South America, England and Wales and Pomerania colouring minimal, now faded), variable toning, various nicks and tears, professionally repaired and consolidated throughout, most closed up without loss, sometimes with visible but generally light disruption, margins often extended or consolidated several maps backed on archival tissue, Empire of The Turks in Europe and The Empire of the Great Turke both with old linen backing (outline colour showing through), a few maps closely trimmed, many with creases, bound with (between 1 and 2): Moll (Herman), To Her most Sacred Majesty Ann, Queen of Great Britain, France and Ireland. This Map of Europe according to the Newest and most Exact Observations is dedicated, London: for H. Moll, D. Midwinter and T. Bowles, sold by H. Moll and P. Overton, 1708, and (between 13 and 14): Jaillot (Hubert), Le Royaume de Danemark. Subdivisé en ses principals provinces, tiré de plusieurs mémoires par le Sanson, Paris: Hubert Jaillot, 1692, each on two sheets, conjoined, with cartouches, contemporary outline colour, toning, creasing and repairs, modern full calf binding, gilt red morocco label to front board, atlas folioQty: (1)NOTESBurden II 532 (for North America: 'very rare'); Chubb p. 420; Shirley British Isles 1650-1750 p. 29; Shirley World 501; Tooley Africa p. 56 ('uncommon'); Tooley America p. 122 (for North America). A near-complete set of Berry's series of maps known as 'the English Sanson', 'very rare' (Chubb), and with Europe and Denmark, the only missing maps according to the list at the foot of The Circle and Electorat of the Rhine , appositely replaced with contemporary examples by Moll and Jaillot. Based on Jaillot’s Atlas nouveau (1674), a reworking of Sanson, they were published separately between 1680 and 1689, which may account for their high attrition rate. Berry’s version of the North America map is especially important, being the first or at least the second map to name Pennsylvania, which was founded on 4 March 1681 (Thornton and Seller's map appeared in the summer of that year). Certain features of Jaillot's map are retained, including the easterly slant to the Mississippi River, and the omission of Montreal, but there are notable differences other than the inclusion of Pennsylvania. 'Much of it is the anglicising of the continent, New England's boundaries being pushed to the St Lawrence River and New Scotland laying claim to all of the territory to the Gulf and Acadia ... Penn's main rival Maryland is not ignored and the town of Baltamore [sic] is identified. The southern claims of England are also extended with the inclusion of Charles-Towne and Carolina. In the west one notable addition is a Straits of Anian. The engraver of the map is not known although it bears many ofthe hallmarks of Herman Moll. If his work it would be one of his earliest known' (Burden). The world map exhibits similar changes: 'Berry has patriotically marked the islands discovered by Drake just off Tierra del Fuego and has added New Albion in the northern part of California, shown as an island' (Shirley; California is depicted in the same manner in North America ). North America is in Burden's first state (it was re-issued in 1718); The New Mapp of the Kingdome of England and Wales is in Shirley's first state; the Moll map of Europe was also re-issued c.1730 with a re-engraved dedication to Caroline, consort of George II.

[Franklin, Benjamin]. The Political Register, and Impartial Review of New Books, for MDCCLXVIII, volume 2, London: J. Almon, 1768, 12 engraved plates (one folding) including the plate attributed to Benjamin Franklin which warns of the effects of the Stamp Act 'The Colonies Reduced. Its Companion', contemporary half calf, without title label, 8vo, together with: [Canada & American Revolution] , Addresses, Remonstrances, and Petitions, Commencing the 24th of June, 1769: presented to the King and Parliament, from the Court of Common Council, and the Livery in Common Hall assembled, with His Majesty's answers: likewise the speech to the King, made by the late Mr. Alderman Beckford, when Lord Mayor of London, 1st edition, London: Printed by H. Fenwick, [1778], contemporary speckled calf, upper board detached, spine damaged where another work removed from binding, 8vo (Sabin 451)Qty: (2)NOTESThe first work contains an engraved satirical plate warning of the effects of the Stamp Act. The upper part of the engraving, titled 'The Colonies Reduced' published in Britain and attributed to Benjamin Franklin, warned of the consequences of alienating the Colonies through enforcement of the Stamp Act. The image depicts Britannia, surrounded by her amputated limbs, marked Virginia, Pennsylvania, New York, and New England, as she contemplates the decline of her Empire. Franklin, who was in England representing the colonists' claims, arranged to have the image printed on cards and distributed to members of Parliament as well as including it in the Political Register. The lower part of the engraving, 'Its Companion' shows America rushing into the arms of the King of France. The complete volume of the Political Register for 1768 comprises the twelve monthly parts, each with an engraved frontispiece, most are satirical in nature. One called the 'North Star' has American content. It contains an article published over three issues descriptive of the American Revolution, viz. 'American Intelligence' (pp. 87-93, 138-144 & 354-375), the final section being a continuation with the heading 'Account of the American Controversy'. The second work includes some notice of the Quebec Bill (pp. 52-64), on the Declaration of Independence and the American Revolution (pp. 65-126).