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Click here to subscribeA sapphire and diamond 9ct gold ring, comprising an oval mixed cut sapphire, approx 6 x 4mm, claw set to the centre within a border of round brilliant cut diamonds, each approx 1.7mm, with single calibre cut sapphires set to each shoulder, setting approx 10 x 12mm, size O, total gross weight approx 3gms Further details: good- all stones present and intact, minor wear and tear only
A diamond and 18ct white gold cross, comprising round brilliant cut diamonds, each approx 2.5-2.7mm, total diamond weight approx 0.70ct, length approx 25mm inc bale, total gross weight approx 2.3gms, on a silver snake chain, together with a pair of silver stone set huggee earrings and a platinum band, width approx 2mm, size O, weight approx 3.3gmsFurther details: good slight wear and tear commensurate with age
A collection of gold jewellery to include a 9ct gold mounted Jasperware pendant on a unmarked yellow metal chain, probably 15ct gold, total gross weight approx 9.6gms along with a Victorian 9ct gold stone set brooch with glazed compartment to reverse, later base pin, together with 9ct gold flower ring, size O, 9ct gold band and pendant, 9ct gold chain with later plated clasp, combined total gross weight approx 7.9gms and two weighable gold rings one set rose cut diamonds and enamel 9ct gold, (one missing) the other set turquoise (stones missing) in 15ct gold shank missing combined total gross weight approx 5.5gms
A collection of four 9ct gold stone set rings including a Victorian rose gold ruby and diamond boat head ring, size R1/2, an amethyst and opal (one stone missing) cluster ring, M1/2, a ruby and diamond cluster ring, size U and a stone set band, size O (very worn abraded) combined total gross weight approx 10gms (4)Further details: wear and tear commensurate with age
A diamond and 18ct gold ring, comprising four princess cut diamonds set in a square claw mount, total diamond weight approx 1.0carat, to diamond grain set shoulders, size O, total gross weight approx 4.6gmsFurther details: all stones present and intact, minor wear and tear commensurate with age
A Victorian sapphire and diamond 18ct gold ring, comprising three round graduated mixed cut sapphires, with diamond set accents, width approx 5mm, size O, total gross weight approx 2.7gms Further details: stones present, some with abrasions, wear and tear to claws and metals commensurate with age
Sextant der Marke "Husun" Henry Hughes & Son Ltd., London, 1939 Hersteller-Nr. 22467 (of 7'' radius & reading to 10''); made for Capt. O. M. Watts Ltd., London W. 1. Geschwärztes Messinggehäuse mit blanker Skala, Feinjustierrad, Farbfiltern und Spiegel in Kunststoffhalterung. Holzgriff mit Batteriefach und Kabelführung für Skalenlampe. Sextant mit Trademark-Plakette und Schild des Auftraggebers. Herstellerangaben im Innendeckel des Holzkastens. Ca. 15×29×30 cm. (60316)
Damane-Demartrais, Michel Francois (Paris 1763-1827) St. Petersburg - zwei Ansichten Vue de la Place de Pierre le Grand. Vue du Convent de Demoiselles nobles à St. Petersburg. Zwei Aquatinta-Radierungen. In der Platte bez. u. betit., untere linke Plattenecke "O" bzw. "EE". De l'Imprimerie de Bassand. Je ca. 32×54,5 cm (leicht fleckig u. gebräunt, Randläsuren, Knicke, rücks. Montage-Etikettenreste). (60268)
Rossini, Luigi (Ravenna, Rom 1790-1857) Fünf römische Architekturansichten Veduta del Pyramid di Cestio (1822). Avanzi del Teatro di Marcello (1821). Veduta dei Grandi Avanzi delle Terme Antoniani, o die Caracalla (1828). Avanzo della Casa di Cola di Rienzo (1820). Veduta dei Giove, dal vulgo il Frontespizio di Nerone sue Monte Quirinale, negl'Orti Colanna. (1820). Fünf Radierungen. In der Platte bez., betit. u. dat. Ca. 35×45 bis 42×60 cm (fleckig, Lagerungsspuren). Dazu: Architekturansicht in der Art von Rossini. Radierung, nicht beschriftet. Ca. 37×47 cm. (60268)
Griffhenkeltablett mit Gelbfond und Dreifarbenmalerei KPM Berlin, um 1780 Glatt. Blumengebinde, Blütenzweige und Kalitten in unregelmäßigen, schwarz konturierten Reserven. Die Handhaben mit Rosa und Gold staffiert (einmal ger. beschl. und retouchiert). Goldrand. Blaue Szeptermarke. Presszeichen o über 13. (60268)
Werner, Anton von (Frankfurt/O., Berlin 1843-1915) Preußischer Offizier in Uniform und Pickelhaube, im Park. Monogr. u. dat. AvW. 1882. Öl auf Karton. 46,5×23,5 cm. Wohl Studie für das Sedan-Schlachtenpanorama. (Karton ringsum eingefasst mit schwarzem Klebeband). Es liegt ein Fotozertifikat von Dr. Dominik Bartmann vom 23.10.2009 vor. R. (60307)
Tafelbesteck Chippendale. Für 12 Personen. 12 Löffel, 16 Menuebestecke, 12 Dessertlöffel, 12 Dessertgabeln, 15 Dessertmesser, 12 Fischbestecke, 12 Kuchengabeln, 12 Kaffeelöffel, 12 Mokkalöffel, Saucenkelle, Suppenkelle, Salatbesteck, Fischvorlegebesteck, Sahnelöffel, Vorlegegabel, 2 Vorlegelöffel, Kuchenheber, Butter- u. Käsemesser. Gew. (o. Messer) zus. ca. 5100 g. Feingehalt 800. (60309)
An impressive 'cocktail' style ring set with a mixture of round brilliant cut & marquise cut diamonds and round cut rubies set in yellow gold with a white metal shank (possibly platinum, not hallmarked or tested), total diamond weight approx. 1.60 carats & total ruby weight approx. 1.20 carats (stones measured within the restrictions of the settings and are approximate), the stone setting measures approx. 2.5cm x 2.5cm, 7.86gm, size N 1/2 to O.
Two opal rings to include an 18ct yellow gold ring set with an oval cabochon cut opal, approx. 2.00 carats, 11.5mm x 9.5mm x 3.78mm, 2.80gm, size L and a silver ring set with a round cabochon cut opal, approx. 2.00 carats, 12.35mm x 12mm, 3.84gm, size O, (unhallmarked assessed as silver), (2), both come with a photocopy of a new replacement valuation 2016 for a total of £2124.50.
Dark blue tam; green cloak.In a poem written by Robert Burns in 1791, Tam O' Shanter is a drunken farmer who happens upon witches who pursue him and his horse. He escapes, but his horse doesn't quite make it - one witch pulls its tail off. The Scottish woolen cap is reputedly named after this poem's hero. Royal Doulton backstamp. Artist: Max HenkIssued: 1973 - 1980Dimensions: 3.25"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Dark blue tam; green cloak.In a poem written by Robert Burns in 1791, Tam O' Shanter is a drunken farmer who happens upon witches who pursue him and his horse. He escapes, but his horse doesnt quite make it - one witch pulls its tail off. The Scottish woolen cap is reputedly named after this poem's hero.Royal Doulton backstamp. Artist: Max HenkIssued: 1973 - 1980Dimensions: 2.5"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Christopher Wood (British, 1901-1930)Spring Flowers in a Jug oil on canvas laid on board28 x 20.7 cm. (11 x 8 1/8 in.)Painted in 1928Footnotes:ProvenanceRex Nan KivellWith The Redfern Gallery, London, March 1942William MasonPrivate Collection, U.K.ExhibitedLondon, The New Burlington Galleries, Christopher Wood: Exhibition of Complete Works, 3 March-2 April 1938, cat.no.307LiteratureEric Newton, Christopher Wood 1901-1930, The Redfern Gallery, London, 1938, p.73, cat.no.331Painted in 1928, Spring Flowers in a Jug, belongs to a time when Christopher Wood was working closely with both Ben and Winifred Nicholson. The three had become increasingly close friends and spent much time together in London with Wood exhibiting alongside Winifred at the Seven & Five exhibition at the Beaux Arts Gallery during February of that year. As Spring dawned, an invitation to visit Bankshead, their farmhouse near Brampton in Cumbria, arrived and offered with it the opportunity to accelerate his learning and rejuvenate in the country. Writing to his mother, Wood noted that 'This is a dear old farmhouse. My room is lovely with great beams going up into the roof and across the room, all whitewashed and a huge window across the end, a box bed with a pretty blue cover, a table, a row of pots of tulips and little hyacinths and outside some ducks and a little farmyard like Beatrix Potter things' (Christopher Wood quoted in Richard Ingleby, Christopher Wood, An English Painter, Allison & Busby, London, 1995, p.181). The stay was to have a crucial impact on his hosts too with Winifred describing how 'he came in March, his arrival was like a meteor' (ibid, p.181).The work they produced during this time has been described as sharing the same spirit with a multitude of ideas flowing back and forth. Ben Nicholson and Wood explored the necessity of elimination in their drawing, a lesson which the latter had started to learn whilst in Rome in 1925 and taught by Jean Cocteau and Picasso. Many of these works, incorporating box shaped farm buildings and an assortment of trees and animals, are almost impossible to differentiate and reflect the intimacy of the working relationship. However, it was to Winifred that the artist appears to have been closest and they shared a deep appreciation of colour along with a spiritual connection that would extend beyond his untimely death. It is through their respective depictions of flowers that the influence of one another is most evident, the present work being a striking example.Whilst both artists were well versed in more formal still life arrangements, they were most successful when working with bunches of wild flowers placed informally within a mug, jug or glass as can be seen in the present composition. Although Wood is not known to have painted any floral pictures at Bankshead itself, he spent much time observing Winifred and upon his return to Paris in April, he was focused on exploring the subject, requesting she send him bunches of spring flowers in the post. Several pictures, including Still Life, Bankshead (Private Collection), which depicts colourful flowers sent in one such package by Winifred emerged from the French capital. Placed in a blue glass to Winifred's influence, they are set within a composition drawn from Ben Nicholson's Walton Wood Cottage No 1 (Scottish National Gallery of Modern Art) with the wood itself and cottage almost identical but a heightened sense of colour throughout to give a unique identity. Spring Flowers in a Jug combines the strong influence of both Ben and Winifred from this important moment and is a visual record of the significant relationship between the three artists. The patterned complexity of the soft and muted background echoes the compositions of Ben whilst the flowers radiate in Winifred's own words as 'sparks of light, built of and thrown out into the air as rainbows are thrown, in an arc', set to Wood's own painterly gestures (Winifred Nicholson, quoted in Jovan Nicholson, Art and Life 1920-31, exh.cat., Dulwich Picture Gallery, London, 2013, p.33).We are grateful to Robert Upstone for his assistance in cataloguing this lot. He is currently preparing the forthcoming catalogue raisonné of the artist's work and would like to hear from owners of any work by the artist so that these can be included in this comprehensive catalogue. Please write to Robert Upstone, c/o Bonhams, Modern British Art Department, 101 New Bond Street, London, W1S 1SR, or email britart@bonhams.comFor further information on this lot please visit Bonhams.com
Tristram Hillier R.A. (British, 1905-1983)Derelict signed 'Hillier.' (lower right) and dated '1951.' (lower left)oil on canvas22.9 x 15.9 cm. (9 x 6 1/4 in.)Footnotes:ProvenanceMiss N. Cullinan, TexasPrivate Collection, U.S.A.Derelict takes its composition from the left-hand portion of an undated drawing (Private Collection, U.K.). The right-hand portion of the same drawing contains elements seen in Hillier's painting Almería, Spain 1951 (Collection of Nottingham Castle), suggesting the present scene was also observed on the Andalusian coast. The small boat in the far distance, intricate netting, piled rags and discarded jerrycan or toolbox are all details Hillier has added following the drawing stage. The motif of a single run down and unseaworthy vessel, languishing ashore with the sea beyond is one that Hillier painted on a handful of occasions, including Hulks, 1957 (Collection of Glasgow Museums). The Estate of Tristram Hillier is preparing a forthcoming catalogue raisonné of the Artist's paintings and would like to hear from owners of any works by Hillier. Please write to The Estate of Tristram Hillier, c/o Modern British and Irish Art, Bonhams, 101 New Bond St, Mayfair, London W1S 1SR or email britart@bonhams.com.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Patrick Heron (British, 1920-1999)FLOWERS IN A WINDOW : OCTOBER 1952 signed and dated 'Patrick Heron/52' (lower right)pencil, watercolour and gouache 28 x 14.4 cm. (11 x 5 5/8 in.)Footnotes:ProvenanceWith The Redfern Gallery, London, 9 November 1983, (as Untitled Composition I), where acquired byProfessor Jack W.C. HagstromHis sale; Doyle, New York, 6 October 2021, lot 3, where purchased by the present ownerPrivate Collection, U.K.ExhibitedNew York, Brooklyn Museum, British Watercolours and Drawings of the 20th Century, 1953-4, cat.no.18; and touring (catalogue untraced)The Estate of Patrick Heron is preparing a forthcoming catalogue raisonné of the Artist's work and would like to hear from owners of any works by Patrick Heron, so that these can be included in this comprehensive catalogue. Please write to the Estate of Patrick Heron, c/o Modern British and Irish Art, Bonhams, 101 New Bond St, Mayfair, London W1S 1SR or email britart@bonhams.comThis 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
Craigie Aitchison C.B.E., R.S.A., R.A. (British, 1926-2009)Lamentation oil on canvas20.3 x 25.4 cm. (8 x 10 in.)Painted in 1963Footnotes:ProvenanceWith Beaux Arts Gallery, London, where acquired by Lady Alexandra DacreWith Peter Nahum at the Leicester Galleries, LondonWith Jenna Burlingham Fine Art, KingsclerePrivate Collection, U.K.ExhibitedLondon, Serpentine Gallery, Craigie Aitchison Paintings 1953-1981, organised by the Arts Council of Great Britain, 1 December 1981-24 January 1982, cat.no.30; this exhibition travelled to Nottingham, Midland Group, 6 February-7 March 1982, Old Portsmouth, City Museum and Art Gallery, 7 April-16 May 1982, Milton Keynes, Central Library Exhibition Gallery, 26 May-26 June 1982, Bolton, Museum and Art Gallery, 3 July-7 August 1982We are grateful to Graham Snow for his assistance in cataloguing this lot. He is currently preparing the forthcoming catalogue raisonné of the artist's work and would like to hear from owners of any work by the artist so that these can be included in this comprehensive catalogue. Please write to Graham Snow, c/o Bonhams, Modern British Art Department, 101 New Bond Street, London, W1S 1SR, or email britart@bonhams.comThis 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
Eliot Hodgkin (British, 1905-1987)Irises signed and dated 'Eliot Hodgkin '61' (lower right)oil on board46.2 x 33.3 cm. (18 1/8 x 13 1/8 in.)Footnotes:ProvenanceSir John Masterson, July 1962Sale; Sotheby's, London, 8 March 1978, lot 89, where acquired byMrs F. Davami, U.S.A.We are grateful to Mark Hodgkin for his assistance in cataloguing this lot. He is currently preparing the forthcoming catalogue raisonné of the artist's work and would like to hear from owners of any work by the artist so that these can be included in this comprehensive catalogue. Please write to Mark Hodgkin, c/o Bonhams, Modern British Art Department, 101 New Bond Street, London, W1S 1SR, or email britart@bonhams.comThis lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Eliot Hodgkin (British, 1905-1987)Robert Melville's Picture signed and dated 'Eliot Hodgkin 13.V.1962' (lower left)tempera on board6.3 x 24 cm. (2 1/2 x 9 3/8 in.) (image); 8.5 x 25 cm. (3 3/8 x 9 3/4 in.) (board)Footnotes:ProvenanceRobert Melville, thence by family descent to the present ownerPrivate Collection, U.K.Robert Melville (1905-1986) was an author, gallerist and long serving art critic for both the New Statesman and Architectural Review.We are grateful to Mark Hodgkin for his assistance in cataloguing this lot. He is currently preparing the forthcoming catalogue raisonné of the artist's work and would like to hear from owners of any work by the artist so that these can be included in this comprehensive catalogue. Please write to Mark Hodgkin, c/o Bonhams, Modern British Art Department, 101 New Bond Street, London, W1S 1SR, or email britart@bonhams.comThis 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
1931 Bentley 4-Litre Three-Position Drophead CoupéCoachwork by Freestone & WebbRegistration Number: ALC 250Chassis Number: VA4100Engine Number: BM7860/VP4028As the Depression took hold, sales of Bentley's celebrated 4½ -Litre model declined. While Rolls-Royce were producing the highly successful 20/25hp model, Bentley's newest offering, the extravagant 8-Litre, was desperately out of step with the times. Bentley urgently needed a new model to try to turn their fortunes around.On the Management Committee's instruction, and much to W O Bentley's disdain, a 4-Litre six-cylinder engine designed by Ricardo was utilised in a chassis closely based on their contemporary 8-Litre, and offered in two wheelbase lengths, 11ft 2in and 11ft 8in. The new engine had an inlet-over-exhaust design, of a similar arrangement that would power Bentley and Rolls-Royce cars after the war until the late 1950s.The 4-Litre has been much maligned and seems to be little understood, most probably as so few were built, but it's worth remembering that Bentley boss, Cpt. Woolf Barnato, used a 4-Litre as his personal transport in period. All of this said, many consider the 4-Litre to have perhaps the best chassis, gearbox and rear axle combination of all pre-War Bentleys, and as such, many were converted into 6½ and 8-litre specials.Extremely rare cars - only fifty 4-Litres were completed before the original Bentley company's liquidation - ALC 250 is reputed to be the last of those cars built and one of just 39 short-chassis cars produced.With stunning original 3-position drophead coachwork by Freestone & Webb, this is a highly attractive car.Finished in dark green over black paint with silver-painted wire wheels. The interior is in lovely mellowed condition with very dark green leather with green carpets and a fabulous wooden dash.Running and driving very well at our recent inspection, the car sounds glorious with a positivity addictive deep vintage exhaust note, and performance is said to rival the Derby 3½-Litre cars.The history file includes photographs of comprehensive restoration work, some old MoTs, previous ownership history and a copy of chassis records etc. Chassis VA 4100 was the last 4-litre chassis built by Bentley Motors and probably the last W O Bentley built by the old company.Note: A spare 4-Litre engine is available to purchase by separate negotiation. Enquiries should be directed to Sworders.
Kinderpost, Lotto-Spiel, Malbuch und 2 alte KinderbilderKinderpost wohl von Sala. Um 1900 und jünger. 2 alte Spiele in Originalkartons, Malbuch "für kleine Künstler", Verlag von O. u. M. Hausser, Ludwigsburg, goldgerahmtes Bild mit Kleinkind und Telefon (27,5 x 21 cm), ovales Bild mit Kind in Matrosenanzug von 1925 (44 x 31 cm) Children's mail, lottery game, coloring book and 2 old children's picturesChildren's mail probably from Sala. Around 1900 and younger. 2 old games in original boxes, coloring book "for small artists", published by O. u. M. Hausser, Ludwigsburg, gold-framed picture with toddler and telephone (27.5 x 21 cm), oval picture with child in sailor suit from 1925 (44 x 31 cm) *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
2 Oblatenalben und 2 Bücher "Herzblättchens Zeitvertreib"Um 1900. Poesiealbum von 1884 aus Ziegenhain (bei Jena). / Poesiealbum von 1905. / 2x Herzblättchens Zeitvertreib, Band 42 und Band 44. Glogau o. J Mit starken Gebrauchsspuren. 2 albums of wafers and 2 books "heart leaf pastime"Around 1900. Poetry album from 1884 from Ziegenhain (near Jena). / Poetry album from 1905. / 2x Herzblättchens Zeitvertreib, Volume 42 and Volume 44. Glogau o. J With heavy wear. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Klassisches Armband Gelbgold 750 gestempelt. Punze: Violinenschlüssel O/A. 20,5 x 2 cm. 56,5 g. Partiell strukturierte Zwillingspanzerkette mit Hohlformgliedern, an Kastenschloss mit 2 Achtersicherungen 2 minimale Dellen.Classic bracelet Yellow gold 750 stamped. Hallmark: treble clef O/A. 20.5 x 2 cm. 56,5 g.Partially textured twin armor chain with hollow links, on box lock with 2 figure-eight fuses 2 minimal dents.*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Venus und AmorMeissen. 1890-1923. Modell-Nr. O 161.Höhe: 20 cm. Modell von Albert Georg Eras 1889-1890. Farbig bemalt, gold staffiert. Ritzmarke, Pressmarke, Schwertermarke Bogen, Pfeile, ein Arm, ein Fuß restauriert, einige Blätter, eine Pfeilfeder bestoßen.Eras, seit 1857 Bossierer, ab 1886 Modelleur an der Manufaktur, schuf Figuren und Service, 1904 pensioniert * Partnerauktion Bergmann.Literatur : Bergmann (2010) Katalog-Nr. 267.Provenienz : Hessische Privatsammlung.| Nachtrag 19.06.23: Chip am SockelrandVenus and CupidMeissen. 1890-1923. model no. O 161.Height: 20 cm.Model by Albert Georg Eras 1889-1890. Colorfully painted, gold painted. Incised mark, press mark, sword mark Bow, arrows, one arm, one foot restored, some leaves, one arrow spring bumped.Eras, since 1857 Bossierer, from 1886 modeller at the manufactory, created figures and service, retired in 1904 * Partner auction Bergmann.Literature : Bergmann (2010) catalog no. 267.Provenance : Hessian private collection.*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Große Figur: LoreleyMeissen. 1992. Modell-Nr. 60908 (alte Form-Nr. O 153). Höhe: 34,5 cm. Modell von Friedrich Offermann 1889-1890. Weißporzellan. Pressmarken, Schwertermarke einmal gestrichen, Künstler-Signet Offermann, Bildhauer, studierte an der Akademie in Dresden. Schüler von Ernst Julius Hähnel. Schuf diverse Denkmäler in Dresden. Die Manufaktur erwarb 1890-1909 verschiedene Modelle * Partnerauktion Bergmann. Literatur : Bergmann (2010) Katalog-Nr. 244. Provenienz : Hessische Privatsammlung. Great figure: LoreleyMeissen. 1992. model no. 60908 (old form no. O 153). Height: 34.5 cm. Model by Friedrich Offermann 1889-1890. white porcelain. Press marks, sword mark once deleted, artist's signet Offermann, sculptor, studied at the Academy in Dresden. Pupil of Ernst Julius Hähnel. Created various monuments in Dresden. The manufactory acquired various models in 1890-1909 * Partner auction Bergmann. Literature : Bergmann (2010) catalog no. 244. Provenance : Hessian private collection. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
VON RIESENTHAL, O "Die Raubvögel Deutschlands und des angrenzenden Mittel-Europas", Bildtafeln und TextbandVerlag von Theodor Fischer. Cassel. 1876. 42 x 30 cm und 23 x 16 cm. 47 von 60 großformatigen Tafeln mit Farblithographien. Textband mit 21, 522 Textseiten und 6 weiteren Abbildungsseiten. Beide im grünen Einband mit Goldprägung Mappe etwas defekt. VON RIESENTHAL, O "Die Raubvögel Deutschlands und des angrenzenden Mittel-Europas", pictorial plates and text volumeVerlag von Theodor Fischer. Cassel. 1876. 42 x 30 cm and 23 x 16 cm. 47 of 60 large format plates with color lithographs. Text volume with 21, 522 pages of text and 6 additional pages of illustrations. Both in green binding with gold embossing Folder somewhat defective. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
10 Weihnachts-BilderbücherMaximal 28 x 22 cm. Holst: "O Tannenbaum! O Tannenbaum!, 23 Seiten, Bing-Verlag. / Madlener; Müller: "Das Christkind kommt - Ein Weihnachtsbuch", 45 Seiten, Josef-Müller Verlag. / Viehrig; Scharf: "Du schöne Weihnachtszeit!", 36 Seiten, Marhold Verlagsbuchhandlung, 1947. / Türr: "Leise rieselt der Schnee", 22 Seiten, Buchgemeinschaft Jung-Donauland, Wien. / Laudi; Fritzsche: "Der Weihnachtsmann ist wieder da", 16 Seiten, Broschur, Kleins Buch- und Kunstverlag. / Koba; Dietz: "Klein Heini beim Weihnachtsmann", 24 Heftseiten. / Burger: "Es weihnachtet sehr ..", 32 Seiten, Sonnen-Verlag 1948. / Büchner: "Weihnachts-Märchen", 124 Seiten und Farblithographien, Flemming Verlag. / C.B.: "Kinderfreuden in Bild und Wort", 40 Seiten, Spittler Verlag, 1882. / Menken: "Christnacht im Schnee", 62 Seiten, Gundert Verlag, 1952 Alle mit altersgemäßen Gebrauchsspuren. 10 Christmas picture booksMaximum 28 x 22 cm. Holst: "O Tannenbaum! O Tannenbaum!", 23 pages, Bing-Verlag. / Madlener; Müller: "The Christ Child is coming - A Christmas book", 45 pages, Josef Müller publishing house. / Viehrig; Scharf: "Du schöne Weihnachtszeit!", 36 pages, Marhold Verlagsbuchhandlung, 1947. / Türr: "Leise rieselt der Schnee", 22 pages, Buchgemeinschaft Jung-Donauland, Vienna. / Laudi; Fritzsche: "Der Weihnachtsmann ist wieder da", 16 pages, softcover, Kleins Buch- und Kunstverlag. / Koba; Dietz: "Klein Heini beim Weihnachtsmann", 24 booklet pages. / Burger: "Es weihnachtet sehr ...", 32 pages, Sonnen-Verlag 1948. Büchner: "Weihnachts-Märchen", 124 pages and color lithographs, Flemming Verlag. / C.B.: "Kinderfreuden in Bild und Wort", 40 pages, Spittler Verlag, 1882. / Menken: "Christnacht im Schnee", 62 pages, Gundert Verlag, 1952 All with age-related signs of use. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
TEMPEST (MARGARET)Three fine original watercolour illustrations, used in Alison Uttley's 'Little Grey Rabbit's Christmas', ink and watercolour within hand-drawn border, on stiff paper, ink and pencil annotations ('L.G.R's Christmas') on the versos, including a pencil sketch of owl in flight with squirrel on his back, images 125 x 85mm. (Hare), others 95 x 95mm., [1939] (3)Footnotes:'Hare stood in the garden of the little house at the end of the wood, watching the snowflakes which came softly tumbling down... His paws were outstretched, his head uplifted...'; 'Please Sir!' cried little Fuzzy-peg... 'Sh-sh! Mrs. Hedgehog shook her head at her son... Hare looked alarmed'; 'At last it [the sledge] struck a mole-hill, and over they all toppled, little furry bodies tumbling head over heels', used as illustrations (p.6, p.14, p.27) in Little Grey Rabbit's Christmas.Provenance: Margaret Tempest. Included with the lot is a typed letter sent in 1979 to Tempest ('Lady Mears, c/o Kersey, Tempest and Latter, Ipswich'), from Susan Dickinson, of Collins, publishers of the Little Grey Rabbit series: 'Dear Margaret, This is to confirm that I have handed to you seven original illustrations.... [including] 'three from Little Grey Rabbit's Christmas'.For further information on this lot please visit Bonhams.com
ERNST CHAIN'S CASED SET OF MOLECULAR MODELS, English, 1940s, the plaque reading 'Molecular Models Manufactured By Catalin Ltd. Waltham Abbey, Essex', the leather-clad hinged case with two latches, opening to twenty-two fitted compartments containing connectible Bakelite molecular models, connecting rubber pegs, and a pair of Wilkinson pliers, each compartment with corresponding name plaques, one side of the case with Istituto Superiore di Sanità Roma plaque numbered 17285, 19 3/4in x 13 1/2in x 2 1/2in (50cm x 34.5cm x 6.5cm) overall Footnotes: The building blocks of the Nobel Prize-winner's molecular models. The number plaque affixed to the side of this model kit shows that it was used by Ernst Chain during his career in Rome, and perhaps earlier in England. From 1948 until 1961, he served as Director of the International Research Centre for Chemical Microbiology at the Superior Institute of Health, Rome. After Chain resigned from his position at the University of Oxford, his fellow Nobel laureate Sir Howard Florey agreed that 'you should run your own show', and writes in a letter dated 26th September 1949 that: 'We shall all follow your progress with interest and hope you will make a great success of your Institute.' The facilities in Rome were funded by the Rockefeller Foundation in New York. They included a pilot fermentation plant which allowed for the effective production of Penicillin and more advanced study of its effects and uses, including as a semi-synthetic substance. Chain continued to work in Rome until 1964, when he returned to England as Chair of Biochemistry at Imperial College, London. The models include Paraffinic (C), Aromatic (C), Heterocyclic (C), Sulphate (S), Chlorine, Olefinic (C), Amino (N), Ether (O), Carbonyl (O), Sulphide (S), Iodine, Acetylenic (C), Imide (N), Planar (N), Thione (S), Nitrile (N), Azide (N), Quaternary (N), Bromine, and Hydrogen. Provenance: Sir Ernst Chain (1906-1979); thence by direct descent to the present owners. For further information on this lot please visit Bonhams.com
CASTIGLIONE (BALDESSARE)Il libro del cortegiano, second (first 8vo) edition, italic letter, woodcut printer's device on title and verso of final leaf, light old stain to some leaves, early ink marginal note in 2 side-margins, small hole touching woodcut device on title and a couple of letters on leaf Aii, later vellum, retaining original final blank free endpaper with early ownership inscriptions, and binder's waste including 5-lines of an early 15th century illuminated manuscript [Adams C925; Olschki 17581], 8vo, Florence, heirs of Filippo Giunta, October 1528Footnotes:The scarce second edition of Castiglione's celebrated courtly manual. Giunta's octavo edition was printed in the same year as the Aldus folio edition, and is rare at auction. The work was written from the author's personal experience at the court of Urbino, and his description of the ideal courtier helped it become one of the most influential literary works of the High Renaissance.Provenance: Andrea Balestra, ink ownership inscription on binder's waste at front; Several verses, including 'O sfortunata Ricolina/non saro mai piu contenta', in an early Italian hand on final blank.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
TEMPEST (MARGARET)Three fine original watercolour illustrations, designed for Alison Uttley's 'The Squirrel, the Hare and the Little Grey Rabbit', ink and watercolour within hand-drawn border, on card, annotated on the verso 'S.H. & L.G.R.', images 104 x 63mm. (Hare), others circular 80mm. diameter, [1929] (3)Footnotes:Original illustrations drawn for the first of the Little Grey Rabbit series. Two (Grey Rabbit and Squirrel with Hare; Grey Rabbit leaning against the oven) were used in the book, whilst another of Squirrel drinking from a cup was not used.Provenance: Margaret Tempest. Included with the lot is a facsimile of a typed letter [original included with adjacent lot] sent in 1979 to Tempest ('Lady Mears, c/o Kersey, Tempest and Latter, Ipswich'), from Susan Dickinson, of Collins, publishers of the Little Grey Rabbit series: 'Dear Margaret, This is to confirm that I have handed to you seven original illustrations.... [including] 'three from The Squirrel, the Hare and the Little Grey Rabbit'.For further information on this lot please visit Bonhams.com
CROMWELL (OLIVER) - GLOUCESTERSHIREExemplification under the Great Seal of the Lord Protector referring to the letters patent granted by Henry III to the Abbot and monks of the Abbey of Flaxley, in English and Latin, docketed 'An Exemplification at the Request/ of William Boeve[y] Esq from Oliver Cromwell/ Abbotts Woods...'; decorated initial letter 'O', surrounded by elaborate strapwork and foliate design with capital letters on the upper line; signed at foot as examined by William Glascock and Thomas Bulstrode as Masters of Chancery in Ordinary; with the Great Seal of the Protectorate in brown wax, held by red and white silk and string ties, obverse depicting the coat of arms flanked by the lion and unicorn, reverse depicting Oliver Cromwell on horseback, seal complete, images worn, on one skin of vellum, initial and first line slightly rubbed, light dust-staining particularly at folds, pin holes to vertical edges, 432 x 740mm., seal 145mm. diameter, Westminster, 22 June 1657Footnotes:Flaxley Abbey in the Forest of Dean is a former Cistercian monastery, founded in 1151 by Roger Fitzmiles, 2nd Earl of Hereford, allegedly on the spot where his father was killed in a hunting accident. Henry II and Henry III used the abbey as a hunting lodge and, as this document shows, Henry III gave a grant to Flaxley Abbey of Abbot's Woods in 1227. After the Dissolution, the Abbey and lands were granted to Sir William Kingston, Constable of the Tower of London, who oversaw the execution of Anne Boleyn. James Boevey (1622-1696), a London merchant, lawyer and philosopher, purchased the Abbey in 1648 with his half-brother William, the 'William Boeve' mentioned in our document.For further information on this lot please visit Bonhams.com
An extremely rare ‘Northern Kurdistan’ group of five awarded to Major Duncan Brown, Royal Field Artillery 1914-15 Star (2. Lieut. D. Brown. R.F.A.); British War and Victory Medals, with M.I.D. oak leaves (Major D. Brown.); General Service 1918-62, 2 clasps, Iraq, Northern Kurdistan (Lieut. D. Brown.); Iraq, Kingdom, Order of the Two Rivers, Fourth Class breast badge, Military Division, silver-gilt and enamels, with rosette on ribbon, complete but badge detached from suspension ring; Iraq Active Service Medal, 1 clasp ‘Barzan 1932’, mounted as worn, minor enamel chips to the Iraqi Order, otherwise nearly extremely fine (5) £900-£1,200 --- M.I.D. London Gazette 23 December 1918 (Major, 211th (East Lancashire) Brigade, R.F.A.). Iraq, Order of the Two Rivers, 4th Class (Military) London Gazette 20 January 1933 (Captain Duncan Brown, Royal Army Ordnance Corps). Duncan Brown was one of 5 sons of Colonel O. Brown, Chief Inspector of Ordnance Machinery, R.A. Second Lieutenant Duncan Brown served with 21st A.A. Battery R.F.A., B.E.F. from September 1915 to October 1916. His Medal Index Card confirms 1914-15 Trio, G.S.M. for Iraq and clasp for ‘Northern Kurdistan’, and ‘Iraq Active Service Medal for operations against Sheik Ahmed of Barzan 1932’.
A fine Second War 1941 Military Division B.E.M. group of eight awarded to Warrant Officer W. Thomas, Royal Air Force, in recognition of his work at No. 1 Flying Training School, India British Empire Medal, (Military) G.VI.R., 1st issue (562890 Sgt. Walter Thomas. R.A.F.); India General Service 1936-39, 1 clasp, North West Frontier 1937-39 (562890 Cpl. W. Thomas. R.A.F.); 1939-45 Star; Burma Star; Defence and War Medals 1939-45; General Service 1962-2007, 1 clasp, Radfan (W/O. W. Thomas. (562890) R.A.F.); Royal Air Force L.S. & G.C., G.VI.R., 1st issue, with Second Award Bar (562890 F. Sgt. W. Thomas. R.A.F.) mounted on card for display, generally good very fine, and possibly a unique combination (8) £400-£500 --- B.E.M. London Gazette 1 July 1941. The recommendation states: ‘The standard and quality of the work of this corporal has been exceptional. Employed for the past 12 months in the servicing section, by his capacity for hard work and his unflagging interest he has done a great deal towards producing an excellent record of aircraft serviceability in the school.’ Walter Thomas was born in South Wales in July 1913, and enlisted as a Halton apprentice in September 1928 (18th Entry). He served during the Second World War with No. 1 Flying Training School, India (B.E.M.), and was awarded his L.S. & G.C. in 1946, and his Second Award Bar in 1964.
Pair: Lieutenant-Colonel R. O. Marton, C.M.G., D.S.O., Royal Garrison Artillery, who was twice Mentioned in Despatches Queen’s South Africa 1899-1902, 4 clasps, Cape Colony, Orange Free State, Johannesburg, Diamond Hill (Capt: R. O. Marton, D.S.O., 15 Co. S.D. R.G.A.) engraved naming; King’s South Africa 1901-02, 2 clasps, South Africa 1901, South Africa 1902 (Capt. R. O. Marton. D.S.O. R.G.A.) engraved naming, light contact marks, very fine (2) £300-£400 --- C.M.G. London Gazette 3 June 1918: ‘For services rendered in connection with the War.’ D.S.O. London Gazette 27 September 1901: ‘In recognition of services during the operations in South Africa.’ Richard Oliver Marton was born on 19 August 1872, the son of Colonel G. B. H. Marton, and the Hon. Caroline Gertrude, daughter of the 5th Viscount Ashbrook. He was commissioned Second Lieutenant in the Royal Artillery on 23 November 1891, and was promoted Captain in December 1899. He served in the South Africa during the Boer War on Special Service from 3 to 19 January 1900; and was then employed with Transport from 20 January to 10 July 1900, and was present at operations in the Orange Free State, February to May 1900, including the actions at Vet River (5 and 6 May) and Zand River; operations in the Transvaal, May and June 1900, including the actions near Johannesburg, Pretoria, and Diamond Hill (11 and 12 June); operations in the Transvaal, east of Pretoria, including the action at Reit Vlei, May to September 1901; operations on the Zululand frontier of Natal, September and October 1901; and operations in Orange River Colony, December 1901 to 21 May 1902. For his services in South Africa he was mentioned in Despatches (London Gazette 10 September 1901) and was awarded the Distinguished Service Order. He was invested with his D.S.O. by H.M. the King on 29 October 1901. Marton was 4th Assistant Superintendent of Experiments, School of Gunnery, from 20 June 1902 to 31 January 1903; 3rd Assistant Superintendent of Experiments, School of Gunnery, from 1 February 1903 to 11 May 1905; 2nd Assistant Superintendent of Experiments, School of Gunnery, from 12 to 31 May 1905; and 1st Assistant Superintendent of Experiments, Experimental Staff, School of Gunnery, from 1 June to 31 December 1905. He later served as Instructor, School of Gunnery, from 1 April 1910 to 31 March 1914, and was promoted Major on 29 May 1912. He served during the Great War on the Western Front from 4 October 1914 (also entitled to a 1914 Star trio), and was promoted Lieutenant-Colonel on 1 May 1917. He later served as Superintendent of Experiments, School of Instruction for Royal Horse and Royal Field Artillery, Chapperton Down Artillery School, from 10 November 1917, and for his services during the Great War was Mentioned in Despatches (London Gazette 6 July 1918) and was created a Companion of the Order of St. Michael and St. George.
The rare ‘G.V.R.’ Military Division B.E.M. group of five awarded to Vernon wireless operator Aircraftman 2nd Class W. Howson, Royal Air Force, for his distinguished service during a crash in Iraq on the Desert Route, 16 October 1922 - his B.E.M. being one of the first 3 awards gazetted to the R.A.F. British Empire Medal, (Military) G.V.R. (No. 330130 Aircraftman 2nd Cl. William Howson. R.A.F.); 1939-45 Star; France and Germany Star; Defence and War Medals 1939-45, mounted on card for display, first worn, good fine, remainder very fine or better (5) £800-£1,000 --- B.E.M. London Gazette 3 June 1927. The original recommendation states: ‘This airman was wireless operator of a Vickers Vernon machine which crashed on the Desert Route on the 16th October 1922. He was pinned in the wreckage and when released was unconscious and very severely shaken. On regaining consciousness he immediately erected his ground set, and although in a dazed condition worked throughout the day, repairing his instruments and endeavouring to get in touch with Amman. He eventually succeeded in picking up messages from both Baghdad and Amman.’ Fewer that 200 G.V.R. B.E.M.’s were awarded to all military personnel, of which only 38 were awarded to the R.A.F. William Howson resided at 9 Radnor Drive, Wallasey, Merseyside in later life, and provided the following typed biography of his service career in August 1978: ‘I joined the R.A.F. in 1919. I was an apprentice of Campbell and Isherwood’s after serving a 2 years’ course of instruction at Toxteth Technical Institute. I broke my apprenticeship and then was posted to Halton where I received a Recruit’s Training. I then was posted to Flowerdown near Winchester where I was U/T Wireless Operator. I passed out with 84.5%. Then was posted to Uxbridge en route for overseas. I then went to Egypt via the Teutonic where I was posted to 56 Squadron while waiting posting. I then went to 70 Squadron and after a while there I was posted to Egypt Group Headquarters for a refresher course... The Group Signal’s Officer prevailed on me to go to Helwan (instead of my returning to 70 Squadron) where 47 Squadron was, in order to get the W/T Office removed and situated in the Headquarters Block. I then went to 45 Squadron serving at Helwan, and then at Almaza, and then at Hinaidi, I was first of all on the Vimy, and then on Vernons, both made by the Vicker’s Company. I was on the Vernon which attended the Prince of Wales when he went through the Suez Canal. I was on the rearguard when we went to Deolali, and then up the Persian Gulf to Basra, we then set out by train to Baghdad, and then on to Hinaidi. I was there under S/Ldr Murray, and after a while the C/O was moved, and the new C/O was S/Ldr Harris (afterwards called Bomber Harris) and the Flight Commanders were F/Lt The Hon. Ralph Cochrane [later Air Chief Marshal], and F/Lt Saunby. While there I flew to Kirkuk, and Mosul, and afterwards to Heliopolis on two occasions. I was on one when we crashed. It was a memorable occasion. We landed at Gaza, when we had engine trouble. After we had fitted a new pressure gauge we set off to Ziza. We then took off in company with one of 70 Squadron and we had a forced landing at L.G.I. when we had engine trouble again. We lost some aircraft at L.G.I. they D.H.9.A. We had some engine fitters with us and they decided we were due for an engine change. I went on with 70 Squadron and after we had transferred my W/T gear and the Airmail we took off. We could not get height owing to the load and the atmosphere. We had a passenger on board, a Brigadier General Dobbin, who on passing a message to me caught the... We had a couple of casualties. One of these was the pilot he had a back strain, and the other one was me. I had a blow on the head and it caused me temporary loss of memory. I do not know what happened to this day. When I recovered I rigged up an aerial after finding some of where it was strewn across the desert, and got in touch with Amman. They sent a doctor out and he landed at L.G.5. and made the way to us over the desert. We finally got the tenders out, and made the way back to base with the engines and the Airmail, and the passenger... On the Brigadier’s recommendation I was recommended for the B.E.M... I gained my L.A.C.... in 1 July 1923....’ (Copy included with lot). On cessation of awards of the R.A.F. M.S.M., it was decided to recognise special distinguished and meritorious service of a high standard by the Medal of the British Order (Military) - subsequently known as the British Empire Medal. The first 3 awards to the R.A.F. were gazetted on 3 June 1927 - A.C.2. Howson being one of these. Howson states that the passenger in the aircraft was one Brigadier H.. W. Dobbin - who at the time was Colonel Commandant of the Iraq Levies.
A Boer War D.C.M. pair awarded to Sergeant R. O. H. Griffiths, 68th Battery, Royal Field Artillery Distinguished Conduct Medal, V.R. (67992 Serjt: R. O. H. Griffiths. R.F.A.); Queen’s South Africa 1899-1902, 3 clasps, Cape Colony, Transvaal, Laing’s Nek (67992 Cpl. R. O. H. Griffiths, 86th. Bty: R.F.A.) good very fine (2) £1,200-£1,600 --- D.C.M. London Gazette 27 September 1901. M.I.D. London Gazette 10 September 1901.
Three: Pantryman W. Hollyhock, Mercantile Fleet Auxiliary 1914-15 Star (W. Hollyhock, Std., M.F.A.); British War and Victory Medals (W. Hollyhock. Ptymn. M.F.A.) good very fine 1914-15 Star (2) (152669. D. Gordon. Ch. Sto., R.N.; 211649, E. J. Page, A.B., R.N.); the first accompanied by the recipient’s Masonic Million Memorial Fund Jewel, silver, the reverse inscribed, ‘Bro. D. Gordon. No. 1424.’; Victory Medal 1914-19 (L.Z. 2269 O. Hinson. A.B. R.N.V.R.) nearly very fine and better (7) £70-£90
A scarce ‘N.W. Persia’ campaign group of six awarded to Wing Commander E. H. Rundle, Royal Air Force, late Royal Navy and Royal Naval Air Service, who served in North West Persia as Signals Officer with 30 Squadron British War and Victory Medals (2. Lieut. E. H. Rundle. R.A.F.); General Service 1918-62, 1 clasp, N.W. Persia (F/O. E. H. Rundle. R.A.F.); Defence and War Medals 1939-45; Coronation 1953, last three privately impressed ‘S/L. E. H. Rundle. R.A.F.’ mounted on card for display, generally very fine (6) £800-£1,200 --- Provenance: R. Leach Collection, Sotheby’s April 1972 Approximately 47 ‘N.W. Persia’ clasps issued to the Royal Air Force, and scarce as a single clasp. Ernest Hallahan Rundle was born in Devonport, Devon in December 1894. He was employed as a Wireless Operator prior to the war, and joined the Royal Navy for the duration of hostilities as a Petty Officer Mechanic (W.T.) in March 1915. He transferred to the Royal Naval Air Service in June 1917. Subsequent service included at Dunkirk and R.N.A.S. Folkestone, before being commissioned and transferring to the Royal Air Force upon its formation in April 1918. Rundle was posted to the Middle East in March 1919, and was appointed Flying Officer in August of the same year. He saw service with 30 Squadron in North West Persia during the period from August to December 1920. Rundle is mentioned in Line. The Reminiscences of a Royal Air Force Pilot by Air Commodore H.F.V. Battle, O.B.E., D.F.C. for service during this period: ‘Setting off next day (10 Nov 1920), but this time with our Signals Officer Rundle, as passenger we landed successfully at Hamadan (Persia) but the ground was too soft for a take off so we put the aeroplane away into the one and only hangar.’ Rundle was posted to 6 Squadron, operating from Baghdad West, 10 September 1920. The squadron was employed on patrol duties initially against Turkish-backed rebels in Northern Iraq and later policed large areas of desert to protect towns against marauding bands of raiders. He later served with 55 Squadron, before being posted to Palestine Command in June 1922. Rundle returned to the UK in January 1924, and subsequent postings included to No. 2 Flying Training School and for Staff Duties at the Air Ministry. He advanced to Flight Lieutenant in July 1926, and served at Heliopolis and the Central Flying School back in the UK prior to his retirement in April 1933. Rundle was recalled to service in the Royal Air Force Volunteer Reserve in September 1939, and was appointed Squadron Leader in June 1941. He was released from service as Wing Commander in May 1947 (employed as Civilian Substitution Officer, Home Command, Air Ministry at the time of the Coronation) and he died in January 1970. Sold with copied research.
Hill, David Octavius and Robert Adamson Portrait photograph of Robert Bryson, c.1843-8 salted paper print from a calotype negative, 20 x 14.9cm, mounted, framed and glazed, manuscript provenance note dated 1887 pasted to backboardProvenance: Note: Note: Robert Bryson FRSE (1778-1852) held the royal warrant for clockmaking in Scotland, and worked from premises at 66 Princes Street, Edinburgh, adjacent to Alexander Hill, brother and business partner of D. O. Hill.Provenance:1) Presented by Robert Bryson to Isabella Begg (née Burns, 1771-1858), sister of Robert Burns, the poet (her portrait taken by Hill and Adamson);2) By descent to Agnes (1800-1883; married name Brown) and Isabella Begg (1806-1886), daughters of Isabella Begg;3) Presented on the death of Isabella Begg to David Dunlop, solicitor, Ayr, executor;4) Presented by Dunlop to Robert Adam (fl. 1870s-80s), city chamberlain, Edinburgh, c.1887;5) With Lockharts, solicitors, Ayr.Literature:Sarah Stevenson, David Octavius Hill and Robert Adamson: Catalogue of their Calotypes taken between 1843 and 1847 in the Collection of the Scottish National Portrait Gallery, 1981, p. 46 (version 'a')Colin Ford, An Early Victorian Album: The Photographic Masterpieces (1843-1847) of David Octavius Hill and Robert Adamson, 1976, p. 357.Cf. David Bruce, Sun Pictures: The Hill-Adamson Calotypes, 1973, pp. 180-1 for another version.
Brown, George Mackay Books from his library A collection of books from the library of George Mackay Brown, with his sticker or signature, and several inscribed to him as gifts, including:Orkney Short Stories. With an introduction by George Mackay Brown. The Orkney Press, 1983. 8vo, dust-jacket, with George Mackay Brown's sticker;Douglas, Sheila. The King o The Black Art. Aberdeen: Aberdeen University Press, 1987. 8vo, inscribed to George Mackay Brown;Gupta, Ashis. Dying Traditions. South Godstone: Spantech Publishers Pvt Ltd, 1992. 8vo, signed and inscribed;Skea, Bessie. Melons and Icicles. A book of Orkney Memories. Kirkwall: W. R. Mackintosh, 1963. 8vo, signed to George, original wrappers;Finlay, Ian Hamilton. The Dancers Inherit the Party. A Migrant Pamphlet, Autumn, 1960. 8vo, inscribed: from Ian H. Finlay to George Brown, June 2nd. '61, original wrappers;[Idem] - Zeljko Kujundzic. 6 Small Songs in 3's. Wild Hawthorn Press, 1966. Oblong 8vo, inscribed 'love from Ian', original wrappers; and 123 others
Grace Darling - Thomasin Darling Grace Darling: Her True Story From Unpublished Papers in Possession of her Family. Hamilton: Adams, [1880].8vo, author's presentation copy inscribed to D.H. Atkinson (Bamburgh, 1880), annotated and with passages marked by Thomasin Darling, frontispiece portrait, 2 locks of Grace's hair loose in an envelope tipped-in, a sample of her, and her father William's, handwriting, and woodbury-types of the houses in which Grace was born and died tipped-in, several items of related ephemera loosely inserted, publisher's morocco giltNote: Note: In 1880 Thomasin, having received her newly-published book, sends this copy to the co-author, Daniel Atkinson, with her own markings or added comments. The book is marked in the margins in pencil many times, to emphasise a passage or to add brief notes. Along with the above inscription it is clear that the annotations are written by Thomas Darling herself.Forty years later, how this hair and the book came together is unclear. It may have been acquired many years earlier and simply attached to this unique book for posterity. Or it is possible that Thomasin had kept some locks of hair to be gifted to special people such as Daniel Atkinson and it was sent to him along with the personally annotated book as a gesture and as a keepsake.Inside the book cover is pasted a small envelope. Written in ink on the flap of the envelope is 'Lock of Grace Darling's hair'.Inside, contained in a piece of folded paper, is a small lock of hair bound with a piece of black cotton. The slip of paper reads "Longstone Light. Jan 7th 1839", written in Grace Darling's own hand.Also inside the envelope with the lock of hair is a small piece of notepaper that reads: 'An old naval Captain whom I met said to me - 'I am well acquainted with all the incidents of Grace Darling's history, and there is no exaggeration in this little book which is written according to fact" (Rev. A.O. Medd, to Miss Sarah Atkinson). Rev. Arthur O. Medd M.A. was the vicar of St. Aidan's Church, Bamburgh, in 1842 at the time of Grace Darling's death. He officiated at her funeral. This slip of paper, written 40 years later, supports the story as told by Thomasin.
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