Wadsworth (James). The Copies of Certaine Letters which have passed between Spaine and England in matter of Religion. Concerning the generall Motives to the Romane obedience. Betweene Master James Wadesworth... and W. Bedell..., 1st edition, printed by William Stansby, 1624, title page with woodcut printers device, O2 with small repaired closed tear to blank margin, T4 & V1 with old ink trials to blank margins, 19th century half morocco (endpapers renewed), armorial bookplate of 'F. Arthur Wadsworth' to front pastedown, extremities rubbed, small 4to, together with Watts (Isaac), The Knowledge of the Heavens and the Earth made easy: or, The First Principles of Astronomy and Geography Explain'd by the Use of Globes and Maps..., 2nd edition corrected, printed for J. Clark and R.Hett, 1728, title printed in red and black, six folding engraved diagrams at rear, some minor fraying to extreme fore-edges, contemporary calf, somewhat marked and rubbed, rebacked, 8vo ESTC S119341 & T81776 respectively. (2)
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Campaign Groups and Pairs, A Good Boer War, 1914 Old Contemptible, Long Service Group of 5 to the 1st Life Guards awarded to Squadron Quarter Master Corporal W. Harrison who was wounded in the Boer War and who served in France from October 1914 to February 1916 comprising Queen’s South Africa Medal, 2nd Type, Ghost Dates, three clasps, Relief of Kimberley, Paardeberg, Transvaal (1819 Tpr. W. Harrison. 1/L. Gds.), engraved sloping capitals; 1914 Star with slip on Aug-Nov clasp (1819 Sq. Q.M. Cpl. W. Harrison. 1/Life Gds.); British War and Victory Medals 1914-1920 (1819 Sq. Q.M. Cpl. W. Harrison L. Gds.); Army Long Service and Good Conduct Medal, GVR, swivel suspender (1819 Sq. Q.M. Cpl. W. Harrison. 1/L.Gds.), very fine, edge bruise at 6 o’clock to QSA, court mounted for display (5) William Harrison enlisted into the 1st Life Guards on the 9th February 1894; he was 6 feet 1 5/8 inches tall and gave his age as 21 years and 10 months old. He served at Home from the date of his enlistment until his first posting overseas on the 29th November 1899 which took him to South Africa. On the 11th January 1900 he is reported as wounded – severe in shoulder – at Slingersfontein (service papers confirm); the Regimental Medal Rolls confirm his entitlement to the three clasps, Relief of Kimberley, Paardeberg and Transvaal, one of only 64 Transvaal clasps to the Regiment, he returned Home from South Africa on the 29th November 1900. He married Agnes Brown at St Margaret’s Church, Westminster on the 16th March 1901; they would have two children, Aubrey, 1902 and Doris, 1904. He came to the end of his first period of Service immediately re-engaging on the 14th October 1903. He Received the Long Service and Good Conduct Medal in October 1913 (Service Papers refer) and served at Home until he was posted to the 1st Life Guards contingent attached to the Household Cavalry Composite Regiment, landing in France on the 6th October 1914; by October 1914 the Household Cavalry Composite Unit, after fighting at Mons and the Retreat to the Marne, were part of the 2nd Cavalry Division and would be heavily engaged in the First Battle of Ypres, notably the battle of Gheluvelt, 29–31 October, only some three weeks after William arrived in France. He served with the 1st Life Guards as Squadron Quarter Master Corporal until the 2nd February 1916 when he was returned Home on termination of completion of his second period of engagement. On the 14th February 1916 he was Honorably Discharged from the Army after having served for 22 years and 16 days, with 2 years 122 days spent on Active Service. He was 44 years old. He received the Silver War Badge number 61574. Sold with copy QSA Medal Roll, Copy Casualty Roll, copy Medal Index Card, SWB List and Service Papers.
1. Binyon, L: The Followers of William Blake. Halton and Truscott Smith, 1925, 1st. edn. large 4to. with 80 plates (8 tipped-in coloured). Original cloth gilt, teg; G+; 2. London Interiors: a Grand National Exhibition; two parts in one volume. Nd, c1866, with frontis, extra engraved title page plus 25 plates (Originally published in the 1840’s with 76 engravings). Rebound (preserving the front cover); foxing and browning; 3. Hardie, M: Water-Colour Painting In Britain: 18th Century; Romantic Period; & Victorian Period- 3 volumes. Batsford, 1967-68, vol. 1 2nd. edn. vols. 2&3 1st. edns. with dws. 4to. fully ill. DWs little torn; o/w VG+; 4. Andrews, K: National Gallery of Scotland Catalogue of Italian Drawings, 2 vols. Cambridge University Press, 1968, 1st. edns. dws(£10 set); Bookplate of John Baskett; VG+; 5. Farrer, E: Portraits in Suffolk Houses ( West). 1908, Limited edn. #76/400. 4to. Original cloth backed boards; worn and chipped; inner hinges cracked; foxing; Plus: Whitman’s Charles Turner; Gibbs’ Rowlandson’s Oxford; & Christies sale catalogue: Skippe collection of Old Master drawings, 1958 (11)
Three boxes containing a quantity of horological reference books relating to sundials, clocks, watches, chronometers, barometers, scientific instruments. Includes: 'The Book of Sun-Dials', Mrs. Alfred Gatty, 1900; 'The Old English Master Clockmakers and their Clocks', Herbert Cescinsky, 1938; 'English Domestic Clocks', Cescinsky & Webster, 1914; 'Sun-Dials and Roses of Yesterday', Alice Morse Earle, 1902; 'The [Minor] Principia', Emanuel Swedenborg, 1913; 'Mechanical Work in Garden and Greenhouse, Geometry for Gardeners', Francis Chilton-Young, 1893; 'Watch and Clockmakers' Handbook', F. J. Britten, 1907; 'Scratch Dials', Dom Ethelbert Horne, 1929; 'Ye Sundial Booke', Henslow, 1935; 'The Geometrical Seaman, a Book of Early Nautical Instruments', Taylor & Richey, 1962; with many other similar works. (3)
An early 18th century and later walnut marquetry longcase clock, the eight day five ringed pillar movement with a latched centre pillar, with an inside locking plate and striking on a bell, the 11 inch brass dial signed 'Peter Wise, London' on the silvered chapter ring, the matted centre with subsidiary seconds and date aperture, ringed winding holes, winged mask and scrolled spandrels, in a case with panelled sides, the hood with a caddy top and ball finials, the whole inlaid with scrolled marquetry, the trunk door with two panels of hunting scenes, the lower panel beneath the glass lenticle decorated with shepherds, now with a later ebonised plinth, 239cm high. Peter Wise, Cheapside, London, free of the Clockmaker's Company 1693, made master in 1725-41. Provenance: The Old Rectory, Little Langford, Wiltshire. Sold by order of Trustees of the Estate of the late Miss S.F. Rooke. Sold in these rooms 30th July 2014, lot 180.
Nathaniel Hone RHA (1831-1917) The Road to Bourron. Landscape with Cattle, Roadway and Tree oil on canvas signed 'N.Hone' lower left 40 x 62¾cm (16 x 24in) Important Irish Art, James Adams with Bonhams & Doyle, 9th December 1998 Lot 41; Oriel Gallery, Dublin 2006; Private Collection Possibly Royal Hibernian Academy, Dublin 1906, no.92 entitled Road to Bourron; Foundations 1850-2006; Oriel Gallery, Dublin: November - December 2006. J. Campbell: Nathaniel Hone The Younger, NGI 1991, p.84 illustrated, figure 48; Nathaniel Hone,The Road to Bourron; Important Irish Art, James Adams 1998 p.19; Foundations 1850-2006, Oriel Gallery, 2006 p.10-11. Born in Dublin in 1831, Nathaniel Hone studied Engineering at Trinity College Dublin, and worked as an engineer in the expansion of the railways to the West of Ireland. But, suddenly deciding upon a change of career in his early twenties, he went to Paris to study art, c.1853-1857. Much of the art student's time was spent in the studio, drawing and painting from the figure, and the Louvre, copying from Old Master paintings. However, Hone's real love was landscape, and he was soon drawn to the artist's colonies in the Forest of Fontainebleau, south of Paris, where French artists of the Barbizon School were painting farming and woodland scenes in a realistic manner. Bourron-Marlotte were two adjoining villages in the Seine-et-Marne region, on the southern edge of the Forest of Fontainebleau. In the mid-nineteenth Century they began to attract a community of artists and writers, including the writer Henri Murger (author of La View de la Boheme), the Goncourt brothers and the painters Theodore Rousseau, Jules Bretoin, Renoir and Sisley, the Bohemian painter Pinkas and the Romanian Grigorescu and Nathaniel Hone from Ireland. He resided here for much of the1860's, giving the village of Marlotte as his address in the Salon catalogues of 1865 and 1868. Hone seems to have visited Bourron-Marlotte as early as 1855, painting studies of the old church and of a shepherdess in an interior, 'A Girl in a White Shawl' 1857 (NGI cat. No. 1479) and he spent much of the period, c.1857 - 1870 here and in Barbizon painting small studies from Nature and larger canvases such as 'La Mare aux Fees' (The Fairy Marsh). He met some of the Barbizon masters and several of his Fontainebleau paintings were exhibited at the Paris Salon. There are three versions of the subject The Road to Bourron extant, featuring a diagonal farm track leading through the flat landscape from right to left, beneath a tree in full leaf, towards a farmhouse at the edge of the village of Bourron among trees. One quite dark-toned picture on board An Old Road with Trees (NGI cat. No. 1518) shows the scene with cattle grazing in the grass. A Second picture on board also shows the subject, but is much more verdant and freshly painted. The present painting, on canvas, initially appears quite sombre in tone, suggesting the influence of Seventeenth Century Dutch landscape painting, for example, Jacob Ruysdael with his atmospheric landscapes with dark trees, rural figures and animals on rutted tracks and dark skies. Yet Hone's painting also shows the contemporary naturalistic influence of Corot, with his moss green tones and broad brushstrokes. Hone includes three figures; those of a girl, tending her two cows and a woman and child upon the track. Compared to the more careful, detailed manner of landscape, as practiced in Ireland and England, Hone takes a more generalised approach, painting in a bold, even rough manner in places, using broad, sweeping brushstrokes in the foreground and cursive strokes in the tree to indicate a breezy day. He skilfully balances dark and light areas in the composition. For example a warm sunlight falls upon the pinkish track and upon the field, upon one of the cows and the gable end of the cottage. Most characteristic of Hone is the skilful treatment of the sky: gleaming white above the village, then overall a warm pinkish-mauve, with a bright white upper cloud and with patches of blue showing through. After his return to Ireland in c.1872 Hone painted the skies above his Irish Landscapes with particular breadth and sensitivity. Indeed, the present painting has much in common in colour and breadth with his later Co. Dublin landscapes. One of Hone's 'Road to Bourron' paintings was exhibited in the RHA in 1906. It is possible that the present picture was acquired by one of Hone's great patrons, Sir George Brooke. Julian Campbell, March 2017
Miniature Bible. The Bible in miniature; Or, a concise history of the old & new testaments, circa 1826, all edges gilt, contemporary red morocco gilt, with metal plaques to covers, upper plaque engraved 'To Master R Clarke, A token of remembrance from his humble servant Rt. Jas. Newbigging, Madras, 1st Jan 1826, 4cm x 3.4cm approx.
A FOLIO OF `OLD MASTER` PRINTS and other subjects, to include a woodcut of `Hans Sachs aged 51` after Lucas Cranach, from the original of c.1545, examples by or after P. Boel (ostriches), A. van der Werff (portraits), some leaves of German/Gothic `incunabula` letterpress with integral woodcuts, a group of nine prints of elephants (after Stradanus and others) and other subjects, various sizes, all unframed (a lot) ++ Mixed; satisfactory
Sicily, Selinos AR Tetradrachm. Circa 455-415 BC. Artemis driving slow quadriga right, holding reins in both hands, Apollo standing on her right, discharging an arrow; barley grain in exergue / River-god Selinos standing left, sacrificing with phiale over flaming altar, holding laurel branch in left hand, cock before altar, bull behind to left, standing on pedestal decorated with laurel garland, surmounted by selinon leaf; ΣΕΛΙΝΟΝΤΙΟΝ around. W. Schwabacher, Die Tetradrachmenprägung von Selinunt, MBNG 43, 1925, 18 (Q8/S23); SNG ANS 698; Rizzo 3, pl. XXXIII. 16.88g, 27mm, 6h. Extremely Fine. Beautiful old tone with gold highlights around the devices. From the Ambrose Collection; Ex Gorny & Mosch 199, 10 October 2011, lot 81; Ex UBS 67, 5 September 2006, lot 5438. Selinos was one of the first Sicilian cities to issue coins, commencing c. 540-530, striking staters probably initially on the Corinthian standard, but later on the Attic. The early staters, which depicted a large selinon (celery) leaf as the obverse type, were eventually superseded by Syracusan-inspired chariot designs such as the present type, which retain the early emblem of the city on the reverse as an adjunct symbol. Two other subordinate elements of the design are present which have attracted considerable attention - the cockerel before an altar, and the bull set upon a platform. Since the bull and its platform vary considerably in form and style from one die to the next, a local statue is ruled out as a possibility. A. H. Lloyd (N.C. 1935) considered these two symbols to represent the long-standing friendship of Selinos with Himera, since the cockerel was the principal type of Himera (see lot 163), and he identified the bull as the infamous brazen bull of the tyrant Phalaris of Akragas, in which he is said to have roasted his enemies alive, on the basis that Himera was one of the important acquisitions of Phalaris in his quest to become master of Sicily. Both symbols are rendered in exquisite detail, the miniature bull easily the equal of any Thourians. The principal element of the reverse however is a real tour de force. The figure is the river-god Selinos, portrayed as an idealised nude youth holding a phiale and carefully detailed laurel branch, set with a wreath of laurels about his brow. The level of anatomical detail lavished on this depiction of the river-god is nothing less than sublime; from the toned calves and well-built thighs and torso, to the rippled skin above the knee and the hollow in front of the elbow, no effort has been spared on the part of the engraver. We should not be in any doubt that the individual responsible for this masterpiece was certainly in the first rank of die engravers active in mid-late fifth century Sicily.
A LARGE INDIAN WHITE METAL SEAL, c.1870, the oval seal incise carved in script (translated as Charles Master, Zamidas .... Islamabad), with hanging loop, 2 1/4" x 1 3/4", together with a plaster imprint, an old translation note, and a domed box incise carved with a palace (4) (Est. plus 18% premium inc. VAT)
ATTRIBUTED TO VLADIMIR LUKICH BOROVIKOVSKY (RUSSIAN 1757-1825)Diana, based on the same composition of the goddess by Borovikovsky`s teacher, Johann Baptist Lampi, oil on canvas47.5 x 38 cm. (18 5/8 x 15 in.)LITERATUREThe nearly identical version of the work by Johann Baptist Lampi is illustrated in "Un ritrattista nell`Europa dell corti" by Fernando Mazzocca, Roberto Pancheri and Alessandro Casagrande, Giovanni Battista Lampi 1751 – 1830, (Trento 2001), p. 232, n. 31Please see Lot Notes below LOT NOTESVladimir Borovikovsky received his earliest art instruction from his father, a limner icon painter, before catching the eye of Empress Catherine II and being engaged by the Empress as a court painter and student under Johann Baptist Lampi. It appears that while Borovikovsky was still Lampi`s student that he painted the figure of Diana forming the present lot. Borovikovsky met the Empress while she was visiting the newly conquered Crimea and staying with Borovikovsky`s friend, Vasyl Kapnist, the Marshal of Nobility of the Kiev Gubernia. To please the Empress, Kapnist commissioned Borovikovsky to paint pair of allegorical works featuring the monarch for her chamber. The paintings had left a great impression on Catherine, and she requested that the artist move to St. Petersburg. Borovikovsky accepted the offer and after establishing himself in the capital in 1787, made the city his permanent residence. Although still a young man by modern standards, at thirty years old Borovikovsky was beyond the acceptable age range for formal academy training, and was set up to study privately under Johann Baptist Lampi in 1792, one of the most fashionable portrait painters of the day. Lampi had exerted an unquestionable influence over the development of Borovikovsky`s style, particularly noticeable in the young artist`s soft palette and compositional devices. It was common practice of the day for students to copy the works of their masters, and given the existence of a strikingly similar work to the present lot by Lampi (now in the Museo Castello del Buonconsiglio in Trento, Italy) it appears likely that the work by Lampi served as a basis for this painting of Diana. The authors of the monograph Giovanni Battista Lampi 1751 - 1830 believe Lampi completed his painting of the goddess (pictured here in the ``additional images``) somewhere between 1789 and 1791, shortly before he took on Borovikovsky as a pupil, making this work a prime candidate for study and copying by the aspiring artist. Although the pose and subject of the two paintings is nearly identical, one cannot help but notice where Borovikovsky deviated from his master`s approach and imbued the subject with his own vision. Stronger, cleaner lines replace his master`s sfumato and cooler mother-of-pearl shade pastels replace the warmer hues. The beauty of the face and figure remain paramount, however, with the folds of the robes, the position of the hands, and other scenic devices primarily used to enhance the allure of the subject, as would become a hallmark of Borovikovsky`s oeuvre. Although unsigned, given the work`s close connection to the painting of Diana by Johann Baptist Lampi, created shortly before Borovikovsky was taken on as a student, and given the slight but notable variations between the two works clearly done by different masters, it is quite likely that the present lot is an early work by Vladimir Borovikovsky, while the artists was still on the cusp of greatness.
17th Century Italian Old Master Oil On Canvas, Possibly Follower Of Andrea Schiavone, Italian (born circa 1500-1563) "Massacre Of The Innocents" Unsigned. Good restored condition. Original purchase receipt from Sloan's Auctioneers included. Measures 52" x 76", frame measures 55" x 78-1/2". Shipping: Third party (estimate $6000-$8000)
One Hundred Twenty Two (122) Piece Rogers/International Sterling Silver "Old Charleston" Flatware Set. Includes: 12 Forks 7-1/4", 12 Knives 9-1/8", 12 soup spoons, 12 salad forks, 12 teaspoons, 12 cocktail forks, 12 demitasse spoons, 12 butter paddles, 12 ice tea spoons, cake server, 2 pc carving set, sugar shell, master butter, ladle, 2 serving spoons, sugar tongs, 1 fruit forks, 1 fruit knife, 1 youth fork. Also includes an Oneida sterling small fork and knife. Signed. Good condition. Weighs approx. 111.57 troy ounces without knives and 150.71 with knives. Please note box is for display purposes only. Shipping $185.00 (estimate $1200-$1500)
BOX 11 - SPIRITSAsbach Original 3 Jahre Gereift (Aged 3 Years)Sash & Fritz Colonia Alexandrowka VodkaSIERRA TEQUILA MILENARIO BLANCOVodka Sharish TangerinaClarke's Court Camerhogne Spice LiqueurHouse of Hazelwood 18 Year Old Three Monkeys RumBundaberg Rum Master Distillers' Collection - Small Batch Vintage BarrelSeven Stars No.4 MegrezOrujo Picos De CabariezoGlendalbal 22 Year Sherry Cask Finish Blended Scotch WhiskyLPS Parra Bordeaux
AFTER DIEGO VALESQUEZ, A 19 TH CENTURY OIL ON CANVAS 'The Knight of the Order of Santiago', a gentleman with a distinguished goatee beard and moustache, wearing dark period clothing, the reverse inscribed 'Copie No 698 Dresden', glazed and framed, the original portrait is in the Dresden Old Master Picture Gallery.
![*Boucher (Francois, 1703-70). Thau Kiene Eunuque du palais a la Chine, [1731 or slightly later], etching on wove paper by Bo](https://cdn.globalauctionplatform.com/7b305c9c-d629-4973-9938-a71a00b59d6e/da5601fa-9720-48c8-b758-0d9458eede7b/468x382.jpg)
*Boucher (Francois, 1703-70). Thau Kiene Eunuque du palais a la Chine, [1731 or slightly later], etching on wove paper by Boucher after Watteau, with partial unidentified watermark, from the series Diverses Figures Chinoises, published in L'Oeuvre d'Antoine Watteau, or Recueil Jullienne, circa 1734, plate size 217 x 156 mm, sheet size 301 x 238 mm, together with Young woman in a landscape seen from the side, with her head turned towards the viewer, etching on laid paper, with partial unidentified watermark, numbered XIV upper left, and 15 upper right, from Jean Antoine Watteau, Figures de différents caractères, published in Paris by Gabriel Huquier, circa 1740, plate size 187 x 135 mm, sheet size 305 x 198, some marks to margins, plus two other etchings after Watteau by Balthasar Sigmund Setletzky (1695-1771), both studies of male heads, published in Augsburg by J.C. Leopold, plate size 143 x 96 mm and similar, sheet size 220 x 141 mm (and smaller) and Chedel (Pierre Quentin, 1705-1763), Rustic landscape with circular gatehouse, & Rustic landscape with peasants and well, two etchings on laid paper, indistinctly watermarked, plate size 196 x 128 mm, sheet size 305 x 244 mm, plus other various Old Master prints, mostly 18th & 19th century, including two landscape etchings by Pierre Francois Laurent (1739-1809) after Francois Boucher, one showing washer women by a mill, the other a wooded landscape with bridge over a stream, both in generally good condition with wide margins, Vue du fort St. Pierre à Cette, by Jules-Armand-G. Bouchier, dated 1786, a rustic landscape etching with woman hanging washing by Saint Non after Le Prince, a hand-coloured lithograph by Daumier entitled Le Guittariste-Amateur, from the series Monomanes, as published in Le Charivari, December 25, 1840, several 19th century reprints after Rembrandt, two uncoloured proof oval aquatints by Le Blond (Penny for the Guy & Boys Fishing), the first printed in brown on japan paper, five 19th century English humorous illustrations in pen and brown ink, etc. (26)
Masonic "Silver Jubilee Lodge 5575" Founder's Jewel Plus Others.A fine quality 1925 Birmingham Silver Hallmarked Jewel, with Enamel Vignette of King George V and Queen Mary. ... Accompanied by "United Wards Lodge 2987" Jewel past master 1947-1948. ... Similar "Old Rectory Lodge 6651" Vignette of a castle. Dated 1982-83. All complete with pins GC. (3 items)
Masonic "Old Priory Lodge 4331" Founder's Jewel Plus Others.A fine quality 1921 London Silver Hallmarked Jewel, with Enamel Vignette of ruined Priory. ... Accompanied by a Past Master Jewel Charles Nicholl Lodge 7318" Dated 1779-80. ... Similar Silver Ascot Lodge (small chip to enamel) dated 1958-59. All complete with pins GC. (3 items)
Masonic "Victory Lodge 6191 " Master's Jewel Plus Others.A fine quality London silver Jewel, with Enamel Vignette of Victory. Dated 1977. ... Accompanied by a Past Master silver Jewel Old Windsor Lodge Vignette of a swan. Dated 1972-73. ... Similar silver Jewel Widmore Lodge 7207 Vignette of a church. All complete with pins GC. (3 items)
Nineteen boxes of auction and dealer art catalogues, including: Oriental art, three boxes; Modern British Art, four boxes; Watercolours and Drawings; Old Master and Modern prints; Impressionist Post War and Contemporary art; 20th century Decorative and Applied arts, with associated art journals and other miscellaneous categories included; also a quantity of miscellaneous music and other magazines as well as two boxes on sport and the Olympic Games and World War I histories (qty)
This War of 1812 letter written in 1814 is a request for better supplies for the defense of Pennsylvania. The letter references the Revolutionary War, including soldiers plundering. The document requests gear such as Cartridge Boxes, Bayonets, and Muskets. “HAVERFORD MARCH 1ST 1814 - DEAR GOVERNOR, AT MAJOR SNIDER’S REQUEST I HAVE DIRECTED THE ARMS OF THE 65TH REGIMENT TO BE COLLECTED IN ORDER TO HAVE THEM REPAIRED. THEY WILL BE SENT IF POSSIBLE THIS WEEK TO BE PUT IN ORDER AND FIT FOR SERVICE. I FEAR MANY OF THEM CANNOT BE MADE FIT. THE BAYONETS ARE GENERALLY GOOD FOR NOTHING. THEY CAN BE SUPPLIED THE ARMS SENT DOWN LAST SUMMER MUCH THE WORST. THE CARTRIDGE BOXES ARE BY NO MEANS FIT FOR SERVICE. THE BELT IS JUST TACKED TO THE BOX WITH LITTLE NAILS. WE ARE NO BETTER OFF WITH THEM THAN WITHOUT THEM. THE SITUATION OF THIS BRIGADE IS SUCH THAT CERTAINLY SOME PREPARATIONS OUGHT TO BE MADE FOR ITS DEFENSE. I THINK SOMEWHERE WITHIN TEN OR TWELVE MILES OF OLD CHESTER WE OUGHT TO HAVE ARMS, AMMUNITION, AND COMPLETE EQUIPMENT DEPOSITED FOR EIGHT HUNDRED OR A THOUSAND MEN TO BE READY IN CASE OF A SUDDEN ONSET. IF THIS COULD BE DONE WE MIGHT MAKE A BETTER DEFENSE THAN AS IT IS FOR CERTAINLY IF THE WAR CONTINUES, THERE IS EVERY REASON FROM THE CHARACTER IT APPEARS TO ASSUME THAT THOSE THAT FALL IN THE WAY OF THE ENEMY WILL FAIR NO BETTER THEN WE DID IN THE REVOLUTIONARY WAR. THERE IS CERTAINLY A GREATER TEMPTATION THEN THERE WAS THEN WHEN THE GULLING OF HOUSES OF EVERYTHING OF COMFORT AND HERE AND THERE SOME LITTLE SILVER, TEA WARE TO GET WITH HERE AND THEIR GOOD KING AND SOME WOMAN’S SILVER SHOE BUCKLES. THE PRESENT BOOTY WOULD PRESENT A MUCH GREATER OBJECT TO THE PLUNDERER. THEREFORE, I THINK IT WOULD BE PRUDENT TO PREPARE FOR THE WORST AND MAKE ALL THE DEFENSE WE CAN. MAJOR SNYDER IS GETTING THE ARMS OF THE OTHER THREE REGIMENTS TOGETHER. PERHAPS IT MIGHT BE PROPER TO REPORT TO MAJOR TOURING? QUARTER MASTER GENERAL FOR THIS STATE FROM TIME TO TIME OF THE PROGRESS OF THE REPAIRS AND WHAT STATE THEY MAY APPEAR TO BE IN WHEN A MORE THOROUGH EXAMINATION TAKES PLACE. WE IN THIS PLACE SEEM DISARMED AND EXPOSED AND CANNOT HELP PLEADING FOR SUPPLIES TO ENABLE US TO MAKE DEFENSE IF THERE IS ANY PROSPECT I WOULD BE GLAD TO KNOW. I WISH YOU GOOD HEALTH. I AM YOUR VERY HUMBLE SERVANT WILLIAM BROOKE BRIGADIER GENERAL 2ND BATTALION 3RD DIVISION PENNSYLVANIA MILITIA” TO SIMON SNYDER GOVERNOR OF THE COMMONWEALTH OF PENNSYLVANIA. The document has some browning and foxing from age. Letter has folds. Overall in good condition.
JOHN BLACK AGED 8 YEARS Blended Malt Scotch Whisky. A blend of malts selected by Tullibardine master distiller John Black. 70cl, 40% volume, in tube. TEACHER'S 60 RESERVE STOCK Blended Scotch Whisky. Composed of at least 60% malt whiskies. 75cl, 40% volume. THE FINAL BLEND Blended Scotch Whisky. Bottled to celebrate Raith Rovers Scottish Football League Cup Champions 1994. 70cl, 40% volume. LONG JOHN SPECIAL RESERVE 12 YEARS OLD Blended Scotch Whisky. Labelled for the Portugese market. 70cl, 40% volume, in carton. 4 bottles. CONDITION REPORT: All good condition.
An 1875 passport document issued to Mr John Sterling, a British subject travelling on the continent accompanied by his son, by the Principal Secretary of State for Foreign Affairs, the Earl of Derby, issued at the Foreign Office, London and a copy of the Salvator Mundi Meditations of the Life of Christ with twelve photographic illustrations of Old Master religious paintings (2).
Follower of Massimo Stanzione (Italian, 1585-1656) The Assumption of the Virgin before two kneeling Saints; and nine other Old Master drawings bears Collector's mark pen and ink and washes on paper, and various mediums, all on paper, unframed (10) 27½ x 20cm (11 x 8in) All unframed, some foxing.
NEIL YOUNG - A collection of original pressing albums from Neil Young. Harvest (54 005 - Ex+/Ex with printed lyric sheet, German issue), After The Gold Rush (RS 6383 - Ex+/Ex+ gatefold sleeve, German first pressing), the rare US original pressing of Sleeps With Angels (9362-45749-1 - Ex+/Ex+ dual-LP release with lyric sheet insert) and the original master recording of Old Ways. Although not released when the album first went on sale this is the special edition pressing from the original master tapes released by Mobile Fidelity Sound Lab (MFSL 1-252 - Ex+/Ex+ in immaculate condition with all original packaging)
A small quantity of interesting items. 6 Charbens Miniature Old Crocks Series vehicles including Genevieve, Renault and Vauxhall. Benbros TV Series Horse & Cart. Master Models Tractor & Farm Cart. Zebra Toys Motorcycle Despatch Rider, complete. Budgie T.T. Racer (rider missing) and a Flying Scot tinplate train, (penny toy style), all boxed. Plus loose items including a T&B rikshaw with figures, 3 Corgi- Routemaster bus, Motorway Express Coach and a Volkswagen Beetle. Crescent saloon car, Dublo Dinky Morris Royal Mail van, small tinplate wind-up penguin, Zeppelin, wheeled generator etc. QGC-VGC some fatigue to Charbens. (approx 25)
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5655 item(s)/page