Set of two original space photography posters. 1. The Great Galaxy in Andromeda, NGC 224, Messier 31 photographed with the 48-inch Schmidt telescope, the poster features an image of galaxy in the centre and stars surrounding it on the dark background. Andromeda Galaxy originally also called Andromeda Nebula is a spiral galaxy 2.5 million light-years from Earth, it is the nearest large galaxy to the Milky Way. Excellent condition. Country of issue: USA, designer: Unknown, size (cm): 74x57, year of printing: 1990s; 2. Original vintage poster The Greater Orion Nebula (M42) Messier 42 is visible to the unaided eye as a misty patch around the central star in the line of three which form Orion’s sword. The reflection nebula INGCC 1977 at top includes NGC1973 and NGC1976. The Orion Nebula is a diffuse nebula in the Milky Way in the constellation of Orion, it is one of the brightest nebulae visible to the naked eye. Excellent condition. Country of issue: USA, designer: David Malin, size (cm): 74x57, year of printing: 1990s.
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Featuring a 2000 Ferrari embroidered team patch with a hand-signed autograph in black marker pen with Certificate of Authenticity.Below is a white card with Michael Schumacher 7 Times World Champion in black ink. Mounted either side are two images depicting Schumacher on the podium celebrating his victory in the final race of the year in Japan and Schumacher celebrating his Hungarian Grand Prix victory with the crowd. Mounted, framed and glazed to a high standard 101cm x 36cmClick here for more details and images
John Wilson Carmichael (1800-1868) Bamburgh Castle Signed and dated 1847?, indistinctly inscribed to stretcher verso, oil on canvas, 31.5cm by 43.5cmProvenance: Anonymous sale, Christie's, LondonIn fully restored condition, fairly stiffly relined, cleaned and re-varnished. The paint is thin in places and flattened as a result of the restoration process. Some surface dirt and discoloured varnish now in evidence. Cracquelure throughout and some appearance of canvas weave. Notable patch of retouching and restoration directly above the left-hand sail approx centre and roughly steller in shape and is approx 4cm by 4cm to point to point. Further areas of more concentrated retouching and overpainting across right-hand side of sky in general and to a lesser degree in the left-hand side of the sky. Retouching, old stretcher shadow, some general strengthening through the hat of the standing figure on the rowing boat and upper half of body. Further general strehthening to the hat of both seated figures and finer elements of their body. Strengthening to the shadows on the tip of the rowing boat, the far left-hand side of the sail ship has been strengthened with further strengthening throughout the darker tones with parts of the gentle waves and water. The flag, buoy and stick also strengthened. Minor loss below the sailed ship front half within water. Signature and date are somewhat abraded.
English School (19th century)Portrait of Augustus George Henry Desire Webster-Wedderburn (1821-1845), bust lengthIndistinctly inscribed to label verso, oil on canvas, 75cm by 62cmCleaned and revarnished. Slight stretcher shadow. Some light surface dirt and discoloured varnish are now in evidence. Varying-sized stable cracquelure. Minor soradic retouching to top edge. Small patch of retouching within the background roughly left-hand side centre. General strengthening through the shadow behind the red curtain and to a lesser extent through his black robe. Fairly fine retouches and strengthening to the outline of his face around his right-hand side-eye. Odd sporadic very fine retouch to old flaked paint elsewhere. Small patch below his right-hand side collar within the robe approx 5-6cm below front point of his right-hand side collar (no more than 1cm).
Thomas Luny (1759-1837)Smugglers on Devonshire CoastSigned and dated 1827, oil on panel, 29.5cm by 39.5cmProvenance: J Leger & Son, London,1963Covered in a layer of surface dirt and discoloured varnish. Panel appears sound. Restoration to upper left-hand corner, restoration to upper edge right-hand side third, finer sporadic retouches across sky. Retouching and restoration in and around the background and sea surrounding the far left-hand side sailed ship and extending across behind the tall mastered ship. Further triangular shaped patch of restoration immediately right within the clouds and sky of the upper front mast of the tall mastered ship and which is approx 3cm on the longest side. Further retouches to the crest of the waves within the lower left-hand corner and elements of the unmounted sail of the boat in the foreground. This restoration has deteriorated and is evident by eye and is chalky and incongruous finish to the rest of the painting. Some further general sporadic essentially fine linear retouches and strengthening to the timbres of the boat. Fine elements of the figures and finer elements darker tones and outlines relating to the horse cart and figures in the lower right corner. Surface slightly abraded, isolated areas of fine stable cracquelure.
William Mellor (1851-1931) Lakeland landscape with sheep grazing Signed, oil on canvas, 75cm by 125.5cmIn fully restored condition relined, cleaned and re-varnished. Retouching to the upper left-hand corner and inconsistently along the upper edge with some parts extending into the sky more widely. Fairly sporadic retouches to the upper right-hand corner and upper part of right-hand side edge approx 2cm at widest point. Vertical patch of retouching to potential repair approx 10cm from left-hand side edge and approx 20cm in length overall, 1-1.5cm at widest point. Further band of vertically arranged retouching within the rocks below this towards the lower left-hand corner and furthermore widely spaced retouching through rock mostly within the lower left-hand corner. Sporadic retouches elsewhere to foreground with more concentrated infilling and retouching to old cracquelure across the rocks approx centre and right. General strengthening and retouching to rocks lower right-hand corner. Paint somewhat flattened as a result of the restoration process relatively light surface dirt now in evidence, areas of varying sized cracquelure. Two tiny losses within the sky towards the upper right-hand corner. Otherwise in a stable state of preservation.
Follower of Francesco Albani (1578-1660) Italian Allegory of CharityOil on canvas, 58.5cm by 44.5cmThe present composition is loosely based on Albani's Charity, now at Sudeley Castle, Gloucestershire.In fully restored and relatively poor condition. Stiffly relined probably;le old clean and revarnish but now covered in a thick layer of dirt and discoloured varnish. Slightly adrift of frame. General rubbing and slight losses to outer edges. Varying areas of cracquelure, one patch somewhat more pronounced in sky above horizon, essentially stable. Varying areas of restoration, retouching and overpainting across the body of the sleeping putti with possible damages and associated retouches across the face of zed putti. Right-angled tear insecting the legs of the seated female figure and running down vertically across her foot and toes. Further damage and retouches extending across the right-hand outstretched arm of the sleeping putti and across the leg of the standing putti. retouches through background and edges. Retouches to the outline of the head of the putti and more isolated areas across the body. The edges of the females hair and exending into background behind strengthened, retouched. Retouching and strengthening to foliage and to the right of the female's outstretched arm. Further restoration across the majority of her raised arm and both arms of the standing putti to her left. Further patches of retouching and restoration more sporadic elsewhere inc a patch in the corner of her left eye and cheek and across her forehead etc. AF.
Louis Smets (1840-1896) DutchFigures skating on a frozen lake by a castle Signed, oil on canvas, 59.5cm by 82.5cmProvenance: Hal O' Nians, London 1976Sold together with a copy of the purchase invoiceIn fully restored condition. Slightly stiffly relined, cleaned and re-varnished. The surface is slightly flattened as a result of the restoration process. Surface dirt and discoloured varnish now in evidence. Brown-coloured diagonal surface scuff within sky approx 15cm above the horizon in line with the main figure group towards lower left-hand corner approx 10cm in overall length. Retouching to the lower left-hand corner and some general strengthening through the expanse of ice lower left and across the lower edge. Isolated retouches and strengthening to darker shadows throughout the figure group. Sporadic retouches or infilling to old cracquelure within the expanse of ice moving across the lower edge. Further relatively fine and sporadic retouches across the standing figure between the main group of figures and horse. Further sporadic and fine retouches across the horse sleigh and figure group and within the masonry of the wall behind horse sleigh and figure group mostly contained to right-hand side upper edge cotner and right-hand side edge of the wall. More concentrated retouching to old widely spaced cracquelure throughout the end of the building and general strengthening. lIKELY repair with associated rectangular patch of overpainting within the ice, below and between the standing figure and seated figure in the foreground before the building approx 1.5cm by 6cm overall. Further general strengthening through the ice extending across to lower right-hand corner. Further retouches to old cracquelure and definition across the bridge and far right-hand side building. Essentially circular patch of restoration within the sky above prominent building approx 5cm overall. Some possible further strengthening throughout sky. Small circular patch of retouching immediately above the central tree now more than 0.5-1cm in dia. Patch of more pronounced or slightly lifting cracquelure approx 8cm below the diagonal scuff to sky. Possible push mark area of slightly raised or bruised paint approx 6cm by 5cm overall. Further fine and sporadic retouches to sky. Some of which have deteriorated and are visible by eye etc. Some areas of stable cracquelure.
George Bouverie Goddard (1832-1886)"Black Horse in a Landscape"Signed and dated 1855, oil on canvas, 41.5cm by 51.5cmProvenance: Alfred Morrison, Esq, 23rd November 1889, no.147In fully restored condition, fairly stiffly relined, cleaned and re-varnished. Retouching to upper left-hand corner approx 4cm along top edge and left-hand side edge to a lesser degree continuously to approx horizon line. Sporadic and delicate retouches to sky. Slightly more concentrated inverted c-shaped patch of retouching within sky in line with the horse's muzzle and approx 1cm by 1.5cm overall. Retouching to upper right-hand corner, minor retouching lower edge. Some general strengthening to the horse's ears, forehead, muzzle, the area around the animal's eyes, jaw, the front section of mane, neck area below the mane, shoulder, top section of front legs and finer elements of lower front legs and hoofs, hindquarters and delicate retouches to strengthen definition of hoofs etc. Odd delicate retouch to the foreground of vegetation. The paint is slightly thin and flattened in places as a result of the restoration process. Some surface dirt and discoloured varnish.
Henry John Boddington (1811-1865)"Lane scene near Iver"Signed and titled to label verso, oil on panel, 21cm by 34cm Provenance: Richard Green, LondonCovered in a relatively thick layer of surface dirt and discoloured varnish. Areas of which have deteriorated and have a slight opaque quality highlighting the grain and application of the paint. Slight frame rubbing to edges. The panel appears sound. Sporadic areas of retouching most notably to the trunk and branches to the tree in the right-hand foreground and a swaive extending through the figure group to the dark patch underneath the flock of sheep. Most likely to disguise and infill old cracquelure / flaked paint. Retouch to lower left-hand corner, upper right corner and top edge.
John Syer (1815-1885)Angler before a Scottish CastleSigned and dated June (18)82, oil on canvas, 64.5cm by 125.5cmTwo patch repairs to reverse to canvas as shown. Cleaned and revarnished. Retains reasonable to good surface. Some light surface dirt and discoloured varnish now in evidence. Minor retouching to upper left-hand corner small diagonal retouch slightly right and down of this within sky, vertically arranged patch of retouching just left and above the far left upper turret of the castle and is approx 3cm in length and no more than 0.5cm in width. Tiny and sporadic retouches within sky presumably to replace old flaked paint. Odd fine area of retouching to the upper right and lower edge. Otherwise in a broadly good and stable state of preservation.
Follower of Simon Pietersz Verelst (1644-1721) Dutch Glass vase of assorted flowersOil on canvas, 67.5cm by 58cmProvenance: Hal O' Nians, London, 1970WH Patterson, LondonSold together with a copy of the purchase invoiceIn fully restored condition, relined cleaned and re-varnished. Some light surface dirt is now in evident. Fairly delicate and sporadic redrawing and strengthening of the frond of leaves within the upper left part of the arrangement. The outline of the flowers between the zed frond and the upper red flower in full bloom has also been redefined in addition to the outline shadows and definition of the flower immediately below the frond of leaves in this area. Further delicate strengthening to the outer right-hand side to the upper flower, the lower outline of the droopping poppy bud and further outlining and strengthening to the upper right-hand side blooms and minor parts of the flowers below and right of the dominant blooming poppy. A similar level of delicate outlining is also found in the lower part of the flower above the pink rose in full bloom and the general outline of the anemone immediately behind it. Sporadic parts of the white rose to the left of the pink rose have also been strengthened as has the central dark-coloured part of the poppy below and left of this. Small essentially circular patch of retouching approx 1xkm left of the poppy leaves, the darker decoration of the butterfly has been delicately retouched and strengthened. The paint is slightly thin in places and flattened as a result of the restoration process. No further notable overpainting is evident under a UV light but the possibility of this is not precluded particularly if of a different date. Areas of isolated fine stable cracquelure otherwise in a stable presentable state of preservation. See images.
Thomas Musgrave Joy (1812-1866) Portrait of George Gordon Gerald Trophine de Lally Tollendal Webster-Wedderburn (1827-1875), standing half length, with officer's scarlet dress with epaulettes, gazing to sinisterSigned and dated 1842, oil on canvas, 90cm by 69cm Patch repair to reverse, see images. Cleaned and revarnished. Stretcher shadow most notably upper right-hand side edge. Medium-sized cracquelure across the surface but most evident within the background closest to the sitter but not exclusively. As also more evident across his waist area. Some light surface dirt and discoloured varnish. Sporadic and delicate retouches to the background. Mostly left hand side upper section presumably to replace old flaked paint. Odd small retouch to face and delicate infilling to old cracquelure. Likewise very sporadic retouches to his chest area and delicate infilling to cracquelure within the upper part of his white cross strap. Further isolated infilling to cracquelure across his left arm. Small patch of retouching above lower edge within the background between his wrist and lower edge. Associated retouching to the front in line with patch repair to the back and some likely strengthening through the darker tones through the gentleman's hair. Possibly some strengthening to background lower corner etc.
Nathaniel Sichel (1843–1907) GermanPortrait of a lady in a blue dress, her hair adorned with flowersSigned, oil on canvas, 62cm by 54cmProvenance: Christie's, London, 19th Century European Art Including Orientalist Pictures, 21st November 2002 In an overall good state of presentation. Some possible thinning of paint in the background and across the green of her diaphanous dress possibly result of a clean. Some general strengthening to the background broadly through the outer part of feigned oval with possible minor horizontal damage from linear loss of paint approx 20cm above her right shoulder and 15cm in length of associated retouching. Likely retouch to old stretcher shadow left-hand side and odd patch including within the background above the central roses which decorate her hair on left side. The outline of her neck and shoulders has been strengthened. Light surface dirt and discoloured varnish. Signature possibly strengthened.
George Bouverie Goddard (1832-1886)Two hunters and a spaniel in a landscapeSigned and dated 1855, oil on canvas, 64cm by 77cm In restored condition. Relined cleaned and re-varnished. The paint is slightly thin in places and flattened as a result of the restoration process. Some surface dirt and discoloured varnish are now in evidence. General retouching and strengthening at the horizon line and into the sky, approx 1.5cm at widest point. The lower clouds left-hand side of sky retouched with much more sporadic retouches elsewhere across the sky. Three patches of retouching along top edge, each approx 2-4cm in length, roughly no wider than 1-1.5cm at the widest point. The outline of the ears upper neck and saddlery of the bay horse has been redefined in addition to some general strengthening of the tail. The right-hand side back leg, the lower part has been strengthened and the area of sky between the neck and head of the two horse is likely repainted. The grassy mound or tuft within the foreground between the bay horse's tail and back legs has received some general strengthening throughout. In addition to a patch within the sky between the grey horse's lower neck and the foliage of the trees above. Slight stretcher shadow, varying sized cracquelure slightly more prominent within the sky
Richard Ansdell RA (1815-1885)"Going to the Lodge - Scotch Shootings"Signed and dated 1860? oil on canvas, 75cm by 132.5cmExhibited: Royal Academy 1861, No.376This charming picture was painted at a time when Richard Ansdell was embarking on a life-long love affair with the Scottish Highlands. For four months every year, he would visit from London where he happily mixed with the local people, sensitively recording their daily lives in oils on canvas together with their animals, amidst the dramatic Scottish landscape. Ansdell built a lochside lodge that he shared with his large family and artist friends at a time when the Highlands were being recognised by fashionable London society due to the visits to Balmoral by Queen Victoria. When this picture was painted, Richard Ansdell had been elected as an Associate of the Royal Academy; he became an Academician in 1870. It was, consequently, of paramount personal importance to impress at the annual Exhibition; he was in the prime of his career; he had made it in artistic circles and he was painting subjects that he loved in the place that he loved. This picture is a fine example of a combination of these skills and exuberant aspirations.This painting is unusual in that the two main figures and the dogs share centre-stage – usually the figures in Ansdell’s paintings are secondary to the animals but this makes a charming exception. Here we see a distant shooting lodge at the foothills of what I believe to be the Cuillin Mountains on the Isle of Skye. The gentleman and his lady who will be staying at the lodge are riding towards its shelter before the coming storm arrives, but they have to wait for the ghillie and his boy to catch up before they can attempt to cross the fast-flowing burn. They will be relying on the ghillie for all practical help and guidance throughout their stay whether they are deer-stalking or grouse and partridge shooting.The ghillie, his boy and trusty collie dog are making slow progress over the rough terrain accompanied by two sure-footed Highland ponies loaded up with all the paraphernalia needed for a sporting break in this remote place. The collie dog’s startled gaze back at the main group links the subjects together.The young couple are seen privately exchanging glances surrounded by a group of dogs required for the ensuing days of sport. Here we see, in finest of detail, a pair of glossy-coated Setters chained together; a pair of Pointers; a pair of Springer Spaniels, a single black Spaniel and the ubiquitous Highland Terrier that was a pet of the Ansdell family, appearing in so many of his paintings! The young man is the gamekeeper, and the young woman (his sister, wife or sweetheart) will be the maid at the lodge, carrying out all the housekeeping and catering duties. We must guess at their conversation.With thanks to Sarah Kellam (great, great granddaughter of Richard Ansdell RA) for her catalogue entry.In fully restored condition, relined cleaned and re-varnished. Substantial essentially vertical patch of restoration potentially from old damage which runs effectively from the horizon line to approx 5cm adrift of the top edge is mostly no more than 4cm at the widest point and is mostly positioned approx 2cm from far left-hand side edge. Other finer retouches in general area. The mountain which can be seen rising above the horizon far left-hand side edge has been retouched and strengthened throughout. Essentially fine retouches can be found through approx 50% of the standing highlanders' right arm coat sleeves positioned on the left-hand side of the painting. With further retouching throughout the lower part of his overcoat and trousers. Retouching of a similar character can be found approx 85% of the coat of the dog positioned front and right of zed highlander. The essentially fine and sporadic retouching which can be found within the baggage of the loaded pack horses is less pronounced. Sporadic and essentially fine retouches elsewhere across the sky with a more concentrated band along the upper right hand 30cm and corner. The outstretched foot of the female crofter shows signs of retouching and overpainting. A further notable concentrated area of retouching can be found within the lower part of the mountains approx 6cm right of the horse-mounted gentleman wearing a hat and is approx 3-4cm in length overall and in a slightly horizontal band no more than 1cm in width. The generic retouches are slightly more concentrated along the right-hand side in general. This would mostly take into account more significant or concentrated patches of retouching but the majority of the surface otherwise shows fairly delicate retouches throughout most likely the old flaked paint. The surface is somewhat flattened and the paint is thin in places as a result o the restoration process. Some surface dirt and discolored varnish. The varnish appears to be deteriorating somewhat inconsistently as seen under the UV. Areas of fine and sporadic cracquelure within across the standing female crofter's knapsack. Some areas of the surface have a slightly wrinkled quality which may also be a result of the relining process. New canvas used for reline likely having been aged. For more information please contact the department.
Charles Hunt (1803-1877) “Apprehended” Signed and dated 1868, oil on canvas, 71.5cm by 102.5cm Provenance: Marshall Field & Company Picture Galleries as "The Rescue"Bears anonymous Phillips Auctioneers label versoRelined cleaned and revarnished. Retains fairly good surface following restoration procees. Some light surface dirt and discoloured varnish now in evidence. Canvas slightly loose on stretcher. Retouching and strengthening to the shadows and corners of the doorway that the policeman stands in, in addition in patch in the background behind his left-hand shoulder and the area behind his right hand. Further sporadic retouches to edges of the doorway and elements of background and his uniform. Some general retouching and strengthening to the timbre of the closed door of which the far left-hand side boy stands in ront of in addition to the upright panels of the top 50%. More sporadic retouching through the saddlery hung from the right-hand side door and within the background around this area. Delicate retouches to the bottle on the mantelpiece and elsewhere within the background in general. The front part of the quilt hanging down from the bed shows signs of retouching. Further delicate retouching across the white dress of the standing blonde-haired girl presumably to old flaked paint and a small amount to the skirt of the seated mother nearest to the costume of the blonde girl and to a lesser extent elsewhere on her shawl etc. Fine retouching to the right-hand side lower edge. Otherwise in a broadly good table and highly presentable state of presentation.
Pieter Gerardus Vertin (1819–1893) Dutch Summer, AmsterdamWinter, AmsterdamThe former visibly signed, oil on panel, 24.5cm by 20cm (2)Provenance: WH Patterson, London, 1986Sold together with a copy of the purchase invoiceWinter - Canvas laid onto panel. Panel seemingly in sound order. Cleaned and revarnished. Sporadic and delicate retouches throughout sky. Slightly more concentrated retouching through the spire. Further delicate retouches to presumably old flaked paint lower right hand corner across bridge and cavity below. Somewhat more concentrated patch of retouching along upper edge approx. 2cm from upper right hand corner and roughly 1cm by 2.5cm overall.Summer - Possibly canvas laid onto panel. Cleaned and revarnished. Some light surfrace dirt and discoloured varnish. Relatively sporadic and fine retouches throughout sky. Retouches to lower left hand corner and along lower left edge. Odd fine retouch elsewhere. Incongrous area of paler coloured paint above the roof of far left hand building. See image. Odd very minor imperfection to outer edges. Otherwise both in broadly a good and stable state of preservation.
E.S. England (fl.1890-1910)A Study of British Bulldogs, with Roundhay Park, Leeds in the distanceSigned and dated 1916, signed, dated 1915 and extensively inscribed verso, oil on canvas, 69.5cm by 110cmExtensively inscribed verso with the details of the Bulldogs"The Markham" "Markham Minor"sired by Hollywell British. 1912"Markham Monarch" Winner. First Crystal Palace 1919& over 500 other prizes. "Champion Markham Tommy"Tremendous Winner - takingChampionship of America 1912Special for best in Show.Stud Bull Dogs"Markham Supreme"Winner of over 108? Prizesin England & America."Hollywell British"Winner of over 400 prizesConquerer of 14 Champions. Chicago5,000 entries. In fully restored condition, slightly stiffly relined, cleaned and re-varnished. Surface is slightly flattened from the restoration process. Surface dirt and discoloured varnish now in evidence. Possible intersecting damage with repair and associated retouching mostly within the background, right, the upper part and lower standing side bulldog and approx 10cm on the horizontal and 8cm on the vertical. Sporadic retouching within foliage upper left-hand corner. Likely general strengthening throughout the darker tones between the two back standing bulldogs. Concentrated patch of retouching to the left-hand side paw o standing bulldog lower right and further retouches in a diagonal swaive within the background between the two front legs of the standing bulldog lower right hand corner approx 7cm in length. The tan colour to denote the darker tone of the bulldog's coat lower right-hand corner, generally strengthened. Horizontal patch of overpainting or strengthening within the background right of the back left leg of the white bulldog upper right-hand corner, retouching to edges, general strengthening to foliage upper right-hand corner etc. Some surface dirt and discoloured varnish.
Frank Myers Boggs (1855-1926) American Marseille, leaving portSigned, oil on canvas, 42cm by 53.5cm Provenance: Private Collection, FranceAguttes, Tableaux Modernes, 25th October 2013, Lot 27Small patch repair to reverse, see images. Cleaned and revarnished. Retains good original surface and impasto. Two patches of retouching within sky above the horizon line and left of far left sailing boat. One broadly rectangular in shape with one above more triangular, being approx 1cm by 1.5cm overall. The other of similar dimensions. Further possible patch of retouching or strengthening within the wispy clouds in between the tall mastered ship and the lighthouse. Further essentially vertical patch of retouching just right of the domed tower atop the sea wall which is no more than 0.5cm across and roughly 1.5cm in length. Possibly some strengthening to sky. Light surface dirt and discoloured varnish.
Bartholomeus Johannes van Hove (1790–1880) Dutch "Antwerp" Signed, with inscribed label verso, oil on panel, 36cm by 50cmProvenance: Maconnel Mason & Son, LondonStable panel. Cleaned and revarnished. Fine craquelure mostly apparent to sky which is slightly lifting and has the odd tiny loss. Paint possibly slightly thin in places. Patch of retouching with the sky between the foliage approx. 1.5cm by 1cm overall. Retouch upper left hand corner. Some fairly light strengthening to the definition and shadows below the roof of the far left hand building. Fairly sporadic and delicate retouching within the fence and foliage immediately behind the standing figure wearing the yellow bonnet and extending through the facade of the buildings to the right of this in addition to the foliage of the trees to the front of this building and behind the figure group to the right hand side, presumably to replace old flaked paint. Some general strengthening to the building and roof at right hand side of the painting. Further likely area of retouching immediatly right of the foliage of the large tree along upper edge which has slightly discoloured as has that within the sky between the foliage of the dominant upright tree. Otherwise in a broadly good and stable state of preservation.
Richard S Moseley (1843-1914) The best of friends Signed and dated 1876, oil on canvas, 60cm by 49.5cmIn fully restored condition, relined, cleaned and revarnished. Now with some general surface dirt and discoloured varnish in evidence. A thorough retouch to up right left stretcher shadow (full length of picture) with further retouching in the general vicinity. Retouching to lower edge, fairly sporadic retouching throughout timbre board across lower section. Sporadic retouches through the coat of the dog, somewhat more concentrated across his shoulder and chest areas. Some general strengthening through the left-hand side of head and ear and furtyer retouches within the crown of his head. Finer retouches to presumably old flaked paint across his snout. Two likely small damages with associated repair and retouches one essentially circular shape at the apex of his left ear and no more than 1cm in dia. Further rectangular shaped patch above and slightly right of previously mentioned 0.5-1cm in lengh (see images) General strengthening throughout dark shadows of background above and behind crouching child. Fine inconsistent retouches to stretcher shadow right-hand side. Some of retouching moderately visible by eye, paint is slightly thin in places as a result of the restoration process and mostly conforms to the areas of more concentrated retouching or overpainting. Some of the original impasto slighly flattened as result of the restoration process. Otherwise in a broadly stable and presentable state of presentation.
Gerald A Cooper (1898-1975)GeraniumsSigned and dated 1952, oil on canvas board, 49cm by 39cmProvenance: The Fine Art Society, LondonSome very minor rubbing to the extremities. Some light surface dirt and discoloured varnish. Essentially rectangular patch of overpainting and restoration within the background between the far right geranium and the corresponding lower leaf approx 6cm by 5cm overall. Odd tiny retouch to background upper left-hand side, some minor retouches to edges. More pronounced band of retouching lower left-hand corner. Area of consistent retouching and overpainting within background beneath the lower right-hand side, ipright rectangular in overal shape and approx 1-1.5cm by 4cm. Horizontal retouch to lower edge approx 4cm in length with two smaller retouches just below the signature and just above the signature. Areas of stable cracquelure most notably across the white blooms with a patch of discoloured varnsih? to the immediate left here and to a lesser extent right and elsewhere, see images.
Thomas P Hall (fl.1837-1867)Orange sellers at York RacesSigned, oil on canvas, 33.5cm by 43.5cm Provenance: Sotheby's London, Victorian Paintings, Drawings and Watercolours, Thursday 12th November 1992, Lot 74In fully restored condition, fairly stiffly relined, cleaned and re-varnished. Now with general surface dirt and discoloured varnish. General retouching along top edge. Likely rectangular-shaped repair approx 4cm above the horizon line and 4cm to left of fair-haired coloured young lady approx 1.5cm by 1cm overall with associated retouching and further strengthening across the striated cloud in this general vicinity. Retouching to the upper left corner with more advanced retouching along upper side edge with the most notable patch above the grandstand which is 1-1.5cm at widest point and tapering down the overall length of approx 3cm. More sporadic and minor retouching to the remainder of left-hand side edge. The shadows or folds of the fawn-coloured shawl above and slightly left of the hand of the fair-hairded girl has been strengthened. Otherwise the remainder of the painting is seemingly without notable intervention. Some slight flattened to the surface overall as a result of the restoration process.
British School (18th century) Head study of a young man, bust length, wearing a red cloakOil on canvas, 39cm by 26.5cmThis painting relates to the right hand figure in Sir Anthony van Dyck's (1599-1641) painting "Christ Healing the Paralysed Man" in the Royal Collection Trust (RCIN 405325). Relined, cleaned and revarnished. The paint is slightly thin in places and surface is somewhat flattened as a result of the restoration process. Some general separation to the pigment or bitumen? within the darker tones across his right shoulder/collar/cape/neck/chin etc. Vertical patch of retouching to possible old damage approx 3-4cm from lower left corner and approx 3cm in length. Further patch of retouching or restoration at the curve of his shoulder against cape which is broadly 1.5 by 3cm overall. V-shaped retouching to possible old damage approx centre left-hand side 3cm on longest length. General strengthening to the outline of the face. Slightly irregular vertical arrangement of retouching to old damage or losses essentially along right edge running from top of his left shoulder to just below top of sitters head. Strengthening to outline hair, neck, tunic. General more sporadic retouching through surface otherwise. Light surface dirt and discoloured varnish.
William Woodhouse (1857-1939)A study of two Setters at rest after a day in the field Signed, oil on canvas, 75cm by 60cm Glazed. In an overall good and original state of preservation. Minor area of transferred gilt paint towards upper right-hand corner and slight reveal of canvas along upper right-hand side due to slight movement away from slip. Areas of essentially fine stable cracquelure mostly within the lower parts of the tan and black dogs coat. Some general blooming to surface, surface dirt approx three slightly angled vertical dark coloured splashes of thin paint? towards lower right-hand corner contemporary / and or by accidental execution by the artist. Further, slightly slanted graphite line approx centre of white and tan dogs coast intercepting his right hand side hide leg? Query whether artist has rubbed some graphite into surface. Tiny patch of possibly slightly flaking paint within thew hump of the lower tail, see images.
Sir John Alfred Arnesby Brown RA (1866-1955)The gloaming Initialled, oil on canvas, 36.5cm by 63cm Minimal and fine retouching, lower edge with slightly more concentrated roughly rectangular patch to lower right-hand corner approx 1cm by 3cm in dia overall. Slightly vertical raised line full-length approx 1cm from right-hand side edge which appears contemporary (weave of canvas?) Similar or lesser to an extent to left-hand side also. Minor rubbing to edges, isolated widely spaced cracquelure. Surface dirt and discoloured varnish.
A Late Regency Mahogany Foldover Tea Table, early 19th century, of D shape form with reeded edge above a plain frieze flanked by rectangular moulded tablets, on turned tapering legs91cm by 45cm by 72cmExcellent quality timber general scratches some ring marks two small patch repairs above hingesSee further photographssone deep scratches to internal leaves
A Walnut and Marquetry-Inlaid Mirror, circa 1690, the rectangular mercury plate within a moulded border, the frame richly inlaid with acanthus scrolls, flowers and birds88cm by 75cmMirror plate heavily tarnished various natural? Splitting throughout framework small sections of timber missing with small patch repairsattractive colour
A Set of Three Worcester Porcelain Plates, circa 1775, painted with flowers on a blue scale ground, fret mark in underglaze blue20cm diameterOne with extensive blackening to footrim. Another with a very small patch of staining to the rim. Some typical minor surface wear throughout. No damage or restoration.
A Hepplewhite Period Mahogany Secretaire Bookcase, circa 1770, the swan neck pediment inlaid with marquetry roundels and acanthus leaves above a strung frieze and astragal glazed doors enclosing three adjustable shelves, the base with a deep two-as-one fall front drawer enclosing a baize-lined writing surface, pigeon holes and drawers around a central cupboard door, three long drawers below, on splayed bracket feet111cm by 54cm by 245cmGenerally good cosmetic condition however some slight variations in colour mainly the three lower drawers the top section of the chest has various deep scratches and a patch repair and a small split which have been filled and polished glazing to the top is good with key and working locksNo rebate to the top section of the chest suggesting a possible marriage however the timber on the top and bottom are a very good matchplease see further images with top removed
A George III Mahogany Chest on Chest, late 18th century, the dentil cornice above a blind fret-carved frieze and two short over three long graduated drawers, all between canted fluted stiles, the base with a pull-out brushing slide above three deep drawers, on later bracket feet106cm by 55cm by 189.5cmGood cosmetic condition Later handles with previous handle marks just visible mainly on middle drawer patch repairs above escutcheons as photographed dentil cornice with some faults and side panels with natural? Split/gaps good uniform colourone end panel is crossbanded the other isn't
A William IV Mahogany Writing Table, 2nd quarter 19th century, with green and gilt leather writing surface above three mahogany-lined frieze drawers, on turned and reeded tapering legs with brass-capped toes and castors110cm by 61cm by 73cmCosmetically good, leather top replaced but with some scuffs - see images small patch repair to middle drawer-see image mahogany lined drawers small split to end panel
A Regency Carved Rosewood Chiffonier, early 19th century, with pierced brass balustrade above a plain rectangular mirror plate with acanthus carved column supports, the moulded top above a plain frieze with gadrooned border, on acanthus-carved tapering supports with a platform base, the mirrored back support between moulded pilasters102cm by 34cm by 124cmSome fading throughout mainly around the carved column supports and shelf numerous scratches mainly around the bottom platform mirror plates seem to be laterveneers on shelf, splitting and patch repair height of shelf 91cm
A Victorian Rosewood Secretaire Wellington Chest, mid 19th century, the moulded top with plain frieze above a mahogany-lined drawer, with a two-as-one fall front dummy drawer below enclosing a writing surface, pigeon holes and small drawers, four long drawers below between plain stiles with acanthus-carved and scrolled trusses, on a platform base49.5cm by 43cm by 121.5cmGenerally good condition however some variations in colour mainly around the top which has previous scratches which have been partly filled and polished top also has two fine splits with key and lockable stilehandles replaced with previous handle marks see images small patch repair on deep secretaire, drawers are mahogany lined
A George III Mahogany and Boxwood-Strung Straight Front Bachelor's Chest, late 18th century, the moulded top above a pull-out brushing slide and four oak-lined graduated drawers, on bracket feet86cm by 46cm by 79cmVariations in colour top is rather faded with water marks patch repair to the moulding left-hand side panel split bracket feet with strengthening work later locks with oak lined drawers But later moulding added to drawer tops as photographed
tapering oval and on spreading base with ribbon-tied reeded border, the lower body chased with foliage, with two bifurcated reed and foliage cast handles, the detachable cover with ribbon-tied reeded handle above chased foliage, the body engraved on each side with a coat-of-arms, one engraved over a patch, the cover engraved twice with a crest, one engraved over a patch, 35.5cm wide over handles, 32cm high, 85oz 19dwt, 2,673grThe arms are those of Williams impaling Eales for Sir William Williams, 1st Baronet of Tregullow (1791-1870) and his wife Caroline who he married in 1826.William Williams, 1st Baronet Williams of Tregullow was born in Cornwall on 3 August 1791 to John Williams and his wife Catherine Harvey (d.1826). He was to act as High Sheriff of Cornwall and Deputy Warden of the Stannaries in 1851, being created the 1st Baronet in 1866. His eldest son William predeceased him in 1847 and so he was succeeded as Baronet by his second son Frederick.The present soup-tureen is possibly from, or a copy after one from, an extensive service originally made by Paul Storr in 1794 for John Pratt, 2nd Earl and later 1st Marquess of Camden (1759-1840). The service very probably accompanied him during his tenure as Lord Lieutenant of Ireland.The tureen fully marked on foot and further part marked on cover bezel with lion passant, duty mark and date letter in one place and maker's mark in another. There is some wear to the marks but in general they are still clear. The cover is engraved 'No 2' and stamped with two dots. The body is stamped with two dots. The liner is stamped '3'. There is overall surface scratching and wear. There is a patch under the engraved coat-of-arms on one side of the body and under the engraved crest on the cover. The handle is pushed down into the cover. The liner is somewhat ill fitting.
each in the George II style, with hexafoil base with shell corners, the knopped stems terminate in spool-shaped sockets with detachable nozzles, filled24cm high (2)Fully marked on base and nozzle. Further part marked underneath. The marks are generally clear. There is some surface scratching and wear, consistent with age and use. There are some minor dings. There is a small circular patch on one, this is likely constructional.
Attributed to Sir Peter Lely and Studio (1618-1680) DutchPortrait of Lady Gertrude Pierpoint, seated three-quarter length before a fluted pillar wearing a cream satin and blue dress with strings of pearls to her neckInscribed Lady Gertrude Pierpoint, second wife to George MARQS. of HalifaxOil on canvas, 122cm by 97.5cmProvenance: The Ledger GalleriesIn fully restored condition. Somewhat stiffly relined, cleaned and re-varnished. Covered in a layer of surface dirt. The paint is somewhat flattened in places as a result of the restoration process. A horizontal band of approx 15cm-30cm at the widest point along the lowest edge is in most notably thin in and poor condition. Cracquelure pronounced, canvas is apparent, more pronounced stretcher shadow etc. The paint is more noticeably thin and more consistent cracquelure especially within her skirts in general but the paler tone more aquetly. Likely reinstating of the inscription upper edge although no clear indication under a UV light. Four minor retouches above the lettering of "Wife to George" Further vertically arranged retouch withoin background approx 6-7cm to the right of the word "Halifax" and approx 2-3cm in length. Further retouches to the background upper right and upper left, likely of a different date in addition to general strengthening with the outline and definition of the drapery of the red curtain and elsewhere background left-hand side. Some of the restoration has deteriorated and is visible by eye. Essentially stable craquelure throughout with areas of a more pronounced nature. The varnished has deteriated and is showing as slightly opaque in places and more evident in line with some of the cracquelure. Further relatively small retouches in a similar area and likely of a different date. The largest is approx 2cm in dia. and a furthermore consistent patch within the darker tones and shadows central area of the drapery left-hand side background. There is a furthermore notable area of retouching and restoration within approx centre of the first stepped area below the fluted column which is essentially rectangular and approx 4cm by 6cm overall. Furthermore linear and mostly less consistent retouches and strengthening within the definition and demarked areas of the lower part of the column in general. Seemingly minor and delicate likely old retouches to the face with some possible more consistent retouching and restoration around the mouth and skin tones particularly around the string of pearls. The hair shows patches of general strengthening and retouching of two likely dates. A further patch of retouching at her approx shoulder in a broadly triangular shape. The definition drapery and folds of the fabric throughout her costume but especially her skirts and cloak and the shadows in general show consistent strengthening with some likely older and delicate retouches to the skin tones of the arms. The background of the lower 50% right and left side is broadly less affected. For more information please contact the department. The painting has historically been known as a portrait of Gertude Marchioness of Halifax. Another version of this composition and sitter was sold through Sotheby's Old Master and 19th-century paintings Lot 483 Sotheby's, New York 31st January 2014, Old Master and European Art Lot 483 and is now understood to form part of the collection at Tatton Park and is catalogued as Louise Renee De Penecoet De Kerouaille (1649-1724), Duchess of Portsmouth.
An Italian Provincial Walnut and Marquetry-Inlaid Dressing Table, part 18th century, the hinged lid enclosing a later four-glass mirror flanked by hinged compartments above three dummy drawers, two small drawers below, on square tapering legs 86cm by 52cm by 77cmnot illustratedBadly faded with various splits to the top, various patch repairs throughout, old worm holes,maximim height with mirror angled in place 118cm
Circle of Charles Jervas (c.1675-1739) IrishPortrait of a gentleman, three-quarter length wearing a sumptuous red coat decorated with gold thread and holding a fur-trimmed hat, standing before a landscapeOil on canvas, 125.5cm by 101cmIn restored condition. Slightly stiffly relined, cleaned and revarnished. The canvas has slightly slipped in the frame and the extremeties of the upper and lower canvas are visible/ill fitting frame in general. Slight stretcher shadow. The surface is slightly flattened and the paint is thin in places owing to the restoration process. Some surface dirt and discoloured/deteriorating varnish which is more evident in some of the areas of craquelure. Varying sized craqueure throughout, essentially stable. Some tiny sized losses in and around craquelure within the blue of his overcoat. Further linear small area of losses/surface scuff abrasion towards lower right hand corner. Fairly sporadic and small sized retouches to background. More pronounced and substantial retouch/overpainting in a slightly curved formation just below his left armpit across his arm and slightly into the left hand side of his overcoat and is approx. 12cm in length and roughly 2-3cm at widest point. Further delicate infilling across the fabric tied across his waist with more densely applied retouches within the area immediately left of his left hand resting on his hip. Retouch to lower right hand corner. Retouches along lower edge with a more concentrated patch approx. 3-4cm above lower edge at centre. A further somewhat more notable concetrated patch of retouches within the opening of his fur hat. Odd small sized retouch to his forehead and likely infilling to old craquelure. Two further patches of retouching within backgroung immediately above the left hand side of his hat of differing sizes, the longest being approx. 5cm by 1cm. For more information please contact the department.
A George I Walnut and Feather-Banded Straight Front Chest, the later oak top above three short and three oak-lined long drawers, on later bracket feet (formerly the upper section of a chest on chest)101cm by 56cm by 104cmNatural? Splits to top and each end panel patch repair on left-hand side section of timber replaced to the top section (see image)some minor old wormholes visible previous handle marks visible on drawer fronts (faint)small patch repairs to the veneers particularly above middle small drawer later bracket feet with further wormholes reasonable colour throughout
A Regency Mahogany and Boxwood-Strung Sofa Table, early 19th century, with two rounded drop leaves above four frieze drawers, on standard end supports with cabriole legs, brass hairy paw feet and castors106cm by 81cm by 78cmTop section has various deep scratches small patch repairs and splits as photographed reasonable colour one of the legs has been repaired again as photographed and one of the end supports is split however table still is structurally sound
Noel Harry Leaver ARCA (1889-1950)A view of York Minster from Bootham Bar Signed, watercolour, 35cm by 50.5cmApprox 0.5cm above roof line of far right hand side buidling is an old damage with some likely retouching or restoration and is approx. 0.5-1cm in diameter. A smaller similar patch immediatley right of the chimney stack of same building. Some relatively light time staining to sheet with odd tiny sized foxing spot beginning to emerge mostly within the sky. Colour depth broadly good, possibly slightly tempered by aformentioned time staining. No evidence of cockling. Not examined out of the frame.
Follower of Daniel Mytens (c.1590-1647) DutchPortrait of Gilbert, Earl of Shrewsbury, three-quarter length standing, wearing a ruff, the order of St George on a Blue Ribbon, a black cape and grey silk doublet and decorated attireInscribed with the sitters named D'y'd An 1616oil on canvas 120.5cm by 99cm, (unframed)Provenance: The Earl of Shrewsbury sale Henry Spencer & Son, RetfordOld reline with two patch repairs as per images. Cleaned and revarnished. Now covered in a layer of dirt and discoloured varnish. Likely some strengthening to the inscription on lower left. Fairly consistent retouching throughout the darker tones and shadows of the cape. Sporadic areas of retouching throughout the background. A larger and more pronounced area of overpainting and restoration in the background below and around the sitter's left hand with further areas spanning across towards the lower right-hand corner. Some strengthening to the extremities and the gentleman's lower costume especially the left-hand side. Some possible old strengthening to creases and folds right sleeve. The majority of the bodice and chest areas are seemingly unaffected in the main as is the ruff bearing a defined patch of retouching immediately right of his left-hand side above shoulder approx 0.5cm-1.5cm. The face displays fine and delicate old infilling to cracquelure with some likely retouching to some of the highlights across the upper third of the face. Any other intervention is less evident under the UV light. Cracquelure throughout which is essentially stable and varied in size, much of old retouching repainting discoloured and visible by eye. Paint is thin in places and flattened as a result of the restoration process. Relatively pronounced horizontal fine line of cracquelure possibly following the grain of the canvas which intersects the eyes, see images. Discoloured deteriorated varnish with broadly opaque quality. Some general abrasions knocks and nicks mostly to the outer edges, whilst there is little to discern under a UV light the surface of both hands show signs of repairs old flaked paint and have a somewhat pitted quality in general, in country house condition.
A .650 (18-Bore) Flintlock Volunteer Rifle Of Baker PatternBy Staudenmayer, London, No. 141, Early 19th CenturyWith rebrowned leaf-sighted barrel signed along the tapering top flat at the breech, rifled with seven spiral grooves, and with a bayonet lug beneath the recessed muzzle, the rear of the breech engraved with a line of feathering, border engraved tang en suite and decorated with foliage, signed detented flat bevelled lock engraved with a starburst behind the pan and with ring-neck cock and roller, figured three-quarter stock (minor old repairs) with check-piece, brass mounts of regulation pattern comprising hinged rectangular patch-box cover with sprung button release-catch above, butt-plate, spur trigger-guard, fore-end cap and ramrod-pipes, brass barrel-bolt escutcheons, sling loops, and original steel ramrod with characteristic swelling towards the pierced tip, London proof marks 76.8 cm. barrelFootnotes:Samuel Henry Staudenmeyer, former workman of John Manton, was gunmaker to the Prince of Wales and the Duke of York. He is noted as a maker of rifles and repeating air weaponsCf. a very similar example in the E.J. & R. Burton Collection and sold in these Rooms, Antique Arms and Armour..., 26 November 2014, lot 439For further information on this lot please visit Bonhams.com
A .650 (18-Bore) Percussion Sporting Rifle By Robert Wheeler & Son, Makers To His Majesty, No. 2195, Circa 1830With octagonal sighted barrel signed along the top flat and rifled with twelve spiral grooves, folding leaf-sights each with central gold line, border engraved breech with pierced platinum plug and engraved with a scallop shell on the flat, border engraved tang decorated with foliage, signed border engraved serial numbered case-hardened flat detented lock (side-nail replaced) decorated with foliate scrolls and with a prone stag on the tail, dolphin hammer engraved with foliage en suite, figured half-stock (butt expertly repaired on one side following the fire at Inveraray Castle) with chequered grip, dark horn fore-end cap, border engraved steel mounts retaining some blueing and comprising butt-plate with foliage and a shell on the heel tang, trigger-guard serial numbered on the spur and decorated with a running boar in a landscape on the bow, trigger-plate with foliage on the finial, and hinged rectangular patch-box cover with a stag in a landscape, set trigger, silver escutcheon engraved with owner's crest and motto, silver barrel-bolt escutcheons, sling mounts, and replacement horn-tipped ramrod, Birmingham proof marks 72.7 cm. barrelFootnotes:ProvenanceThe Dukes of Argyll, Inveraray CastleThe crest and motto is in Scottish style. The motto is a response to the chief of Clan's motto, on this occasion the Clan Campbells, whose chief is the Duke of Argyll. The form of crest and motto is likely to be due to the reconciliation of the Scots during the acceptance of Clan practices that began in the 1820s and gained further momentum during the reign of Queen VictoriaFor further information on this lot please visit Bonhams.com
A Rare 16-Bore Riviere Patent Percussion Target Or Sporting RifleBy Riviere, Patent Rifle Gun Maker, London, No. 299, Circa 1825With heavy browned twist two-stage barrel polygonal over most of its length, rifled with three wide grooves and leaf-sighted to 300 yards, octagonal breech signed along the top flat, foliate scroll engraved case-hardened breech (plug replaced), border engraved enclosed action extending down the back of the grip to a hinged peep-sight aperture and engraved with scrolling foliage, plain hammer, figured half-stock with chequered grip and fore-end, the butt with plain hinged circular patch-box cover on one side and later brass armoury tag stamped 'S.A.S. 1078' on the other, border engraved steel mounts decorated with foliate scrollwork and including later blued trigger-guard with chequered spur, steel fore-end cap en suite and engraved with a starburst around the ramrod-entry, later sling mounts, and original ramrod with dark horn tip (some rust patination), London proof marks 79.5 cm. barrelFootnotes:ProvenanceThe Infantry and Small Arms School Corps Weapons CollectionSold in these Rooms, Antique Arms & Armour..., 26 November 2014, lot 511Isaac 2 Riviere was granted English Patent No. 5175 (for concealed percussion locks) in 1825, however his lock was rejected by the Ordnance in 1834. He joined the H.A.C. in 1821, became a Captain in the Jäger Corps in which he served between 1833 and 1848, and died in 1851Cf. another example sold in these Rooms, Antique Arms, Armour & Modern Sporting Guns, 26 May 2021, lot 252For further information on this lot please visit Bonhams.com
NO RESERVE Du Maurier (Daphne) Hungry Hill, jacket with light toning to spine, some chipping to head and foot, 1943; The Scapegoat, light browning to endpapers, jacket with light spotting to spine, 1957; The Flight of the Falcon, jacket with chipping to spine and along upper and lower edge, small patch of staining to head, 1965, first editions, original boards, dust-jackets; and 35 others, modern literature, 8vo (38)
![Early attempt at a medical directory.- [Simmons (Samuel Foart, editor)] The Medical Register for the year 1779, first edition](https://cdn.globalauctionplatform.com/2d2ebe10-978c-4494-91c1-af3b00bcf6f6/57d72269-0d01-4588-9261-af3b00c0059b/468x382.jpg)
Early attempt at a medical directory.- [Simmons (Samuel Foart, editor)] The Medical Register for the year 1779, first edition, half-title, couple of ink stamps of Birmingham Medical Institute (first to title), old newspaper cutting concerning Joseph Priestley tipped in between pp.102-103, causing a patch of browning to both pages (text perfectly legible), some spotting, lightly browned, 19th century half calf, neatly rebacked, preserving original gilt backstrip in compartments with burgundy leather label and gilt library name at foot, rubbed, 8vo, Printed for J. Murray, No 32, Fleet-Street, 1779.⁂ An ambitious attempt at compiling a list of all medical institutions and related organisations in Great Britain and Ireland, including learned societies. Each comes with a complete list of principals, physicians, surgeons, apothecaries, and other officers. More selective lists covering the Low Countries, France, Germany and Italy are also provided, and on the final leaf of addenda is a list of medical practitioners in Antiqua, and of surgeons in the service of the East India Company in Bengal. Also included is a 30-page catalogue of medical books published in 1778, with critical descriptions. Samuel Foart Simmons (1750-1813) was appointed physician to the Westminster General Dispensary; and in 1781, physician to the Bethlem Hospital.
Buck Rogers in the 25th Century (1979-1981) - Three replica uniform badges, from the television series, comprises: Earth Directorate black and gold embroidered arm patch, 9 x 9.5 cm; Earth Force Directorate blue, white and black embroidered arm patch, 10 x 10 cm: together with a smaller blue, white and black plastic Earth Directorate shield medallion, 5 x 3.7 cm, replicas of those featured in the series sewn onto EDF members uniforms. (3) Buck Rogers in the 25th Century was an Americanscience-fiction adventure television series produced by Universal Studios. The series ran for two seasons from September 1979 April 1981 on NBC. The feature-length pilot episode for the series was released as a theatrical film in March 1979, before the series aired. The film and series were developed by Glen A. Larson and Leslie Stevens, based on the fictional comic strip character, Buck Rogers, created in 1928 by author, Philip Francis Nowlan.Condition Report: Catalogue description has been amendedboth embroidered arm patches mint condition.light marks to Earth Directorate shield medallion otherwise good condition.
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