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Lot 95
A board containing Senior Officers embroidered Insignia To include a large patch from the City of Aberdeen, two chrome cap/helmet national badges with Kings crown, Deputy Chief Constable shoulder badge, two Tudor chrome badges one with red insert one with blue, SCP chrome plated badge, Northeast Counties shoulder badge (Ref JCG page 185), a Lanarkshire Special Constabulary enamel and chrome lapel badge (Ref JCG page 139 and plate 6 figure 3), Glasgow Special Constables enamel and chrome lapel badge no 1936 (Ref JCG page 102 and plate 5 figure 9), Peebleshire Constabulary Special Constable enamel and chrome lapel badge no 200 (Ref JCG page 167 and plate 7 figure 5), small tie pin, four national chrome plated badges, pair of chrome collar number 5, further collar number 17 and 83, pair of chrome Northern Constabulary collar badges (Ref JCG page 160), two Tudor crowns with red fabric inserts, Special Constable chrome collar badge, St Edwards crown with blue plastic insert, Dundee chrome collar badge and an Angus chrome shoulder badge.
Lot 261
CHARLES LAMB (1893-1964) "River landscape with figure in rowboat", oil on canvas, signed and dated '29 bottom left (ARR) CONDITION REPORTS Please note that the size of the picture is approx 35.5cm x 53.5cm. Wear, dirt and scuffs. Under UV light the surface overall is cloudy white. Possibly revarnished, although the finish is currently dull / matt in appearance. Craquelure. Some lifting of paint,and flaking. Some areas have flaked off and are missing - particularly amongst trees, and an area to the right of the picture, but also some small flakes missing throughout. There is a dark patch / glue visible to the back of the canvas, and a probable repair to the bottom centre. Frame has chips and losses.
Lot 518
A late 18th Century Bilston enamel patch box decorated with a manganese and white scene entitled Bridgwater 'Sold at Thompson & Co on the Corn Hill' together with a smaller example 'A Present from Southam' with a mirror to the lid and an 18th Century rectangular casket with a spray of pink flowers to a yellow ground with blue flower heads, all S/D
Lot 266
A Chamberlain Worcester blue ground and floral decorated serving dish, diameter 25cm; and a Chamberlain Worcester green ground and floral decorated serving dish, diameter 26cm, both circa 1815 CONDITION REPORT: Typical surface scratches and light rubbing to gilding as expected with age otherwise generally good but one large patch of gilding loss to blue example.
Lot 21
A late 19th Century German porcelain snuff box of rounded rectangular design the hinged lid with a gallant and his companion in landscape within pink scaled and gilt leaf borders, the front conforming, 7cm wide, painted mark crossed swords in under glaze blue; a Halcyon days limited edition musical box the hinged lid printed with a lady at piano with musicians behind, formal borders and musical trophy printed base, 5.,5cm wide, the base with printed mark and inscribed In an edition limited to 500 the number of this box is 28; an Italian gilt metal oval snuff or patch box the hinged lid with a relief scene, 4cm wide, modern (3)
Lot 143
A striking 1930's platinum diamond and sapphire metamorphic brooch/dress clips of mitre shape form with small eight and rose-cut diamonds inter spaced with a chevron of baguette cut sapphires to the square-shape sapphire collets, with cresting wave tooled platinum mount and white metal clip - Width 44mm - matching previous lot Condition report: Good - With some light surface scratches - Possible test mark to the reverse - Some tarnishing and patch of discolouration to front
Lot 67
A collection of Maling ware to include an "Azalea printed patch light gold" pattern fruit bowl, a 1938 "Honeycomb and daisy Victoria green" pattern flattened vase, a 1938 "Honeycomb and daisy Victoria green" pattern bowl, a 1955 "Peony rose ruby lustre" pattern jug and a 1935 "Phlox, jap and Victoria green rose" pattern jug (5) CONDITION REPORTS All pieces have general wear, crazing, etc, to include limescale marks to the bowls. The 2 jugs have wear to the gilding - especially the green one.
Lot 67
Powell-Cotton (Major P.H.G.). In Unknown Africa. A Narrative of Twenty Months Travel and Sport in Unknown Lands and Among New Tribes, 1st ed., 1904, two folding maps, two colour plates, half-tone illustrations, scattered light spotting, previous owner inscription, t.e.g., original blue cloth gilt, joints and edges a little rubbed, small rubbed patch at head of spine, 8vo Account of Powell-Cotton's hunting expedition to British East Africa, following his successful sporting trip to Abyssinia, to prove Sir Harry Johnston's discovery of a five-horned giraffe, bringing back a specimen now in the Natural History Museum. (1)
Lot 914
Tolkien (J.R.R.). The Hobbit or There and Back Again, 1st ed., 2nd impression, 1937, four colour plates by the author, black and white illustrations, advertisement leaf at end, map endpapers, neat presentation inscription to front endpaper, original green pictorial cloth, small lightly faded patch at foot of spine, d.j., vertical split along upper joint (just attaching), some chips and losses, spine and flaps a little toned, 8vo The second impression, published in the same year as the first and is the first edition with the colour plates. (1)
![*Woolf (Virginia, 1882-1941). Autograph letter signed 'Virginia Woolf', Monks House, Rodmell, Lewes, 12 July [1940], to Phili](https://cdn.globalauctionplatform.com/e6986aac-6ee6-4136-8dcf-a56700bd94e2/a4de0984-3792-4ebd-dff8-1030e7c2ca9e/468x382.jpg)
Lot 929
*Woolf (Virginia, 1882-1941). Autograph letter signed 'Virginia Woolf', Monks House, Rodmell, Lewes, 12 July [1940], to Philip [Morrell], glad to have had his letter having indirectly heard of his illness and wanting more news, telling him to take up lodging on the ground floor, 'and go on living. Far too many of my friends have given that up lately. I am so glad you liked that little article. In fact, Hary-o herself isn't a patch on some of those great ladies - for example, her cousin Lady Lyttelton; so I picked out Selina [Trimmer] by way of making a story of it. I agree: there's a richness about the Pagan word entirely lacking in the Puritan... ', telling how they are living mostly down here in Sussex, 'exposed to raids, but in the air and with flowers, rooks, gulls, and our lovely view', saying that they do go up to London every other week and asking to come round one evening, the final paragraph enquiring on the latest of his memoir or sketch of Ottoline [Morrell], 3 pages, black ink on blue paper, lightly creased where folded, 8vo The Liberal politician Philip Morrell (1870-1943) and his wife, the literary hostess, Lady Otteline Morrell (1873-1938) lived at Garsington Manor in the 1920s, where Virginia Woolf was a regular visitor. (1)
Lot 513
Portugal, Order of Christ, breast star, early 19th century, in silver, gold and enamels, of fine manufacture, bearing the sacred heart and with oak leaves in angles and laurel wreath at centre, retaining pin lacking to reverse, width 70.5mm, small patch of lacquer to reverse, good very fine. Illustrated: Estrela, P.J., Ordens e Condecorações Portuguesas 1793-1824, p. 31.
Lot 1105
Assorted WWI/II military cap badges to/w a red arm-band initialled PMG (provost Marshall General), Airborne patch, Home Guard patch, US army insignia, four enamelled medals for the RAOB, a pair of alloy framed goggles with hinged red over-lenses, a Royal Signals flag, two silk maps, a small selection of b&w images etc
Lot 1152
An 18th century floral-painted patch box with interior mirror to lid (a/f), to/w a gilt metal and enamelled snuff box decorated with Arcadian scenes and lined with tortoiseshell (also a/f), two gilt metal evening compact cigarette/vanity cases (one stamped Park Lane LSM), a Parker fountain pen and two Halcyon Days Christmas boxes, 1977 and 1981
Lot 1566
Richard Rayment of Bury St Edmunds (1686-1754) - a mid-18th century walnut longcase clock, the arched brass dial (w.12") having Old Father Time automata to the arch, the ring inscribed Tempus Fugit, and within dolphin spandrels, the dial having matted centre with signed plaque, chapter ring with Roman and Arabic numerals within cast brass mask spandrels, wheat-ear engraved surround, subsidiary seconds dial and calendar dial, twin winding holes for an eight day five pillar weight driven movement striking on a bell, the figured walnut case with arched panelled door having feather banding to a reduced boxbase, h.227cm Condition Report / Extra Information Left hand fret carving to hood is later. We believe clock case, dial and movement all belong. Case with some restoration and water damage. Boxbase later or re-veneered. The whole case with minor veneer patch repairs. Seat board with repair. Cheeks rebuilt. Back board varnished. Movement and dial good, grubby but appears all original. With weights and pendulum. Old Father Time automata is loose.
Lot 1626
A good Regency rosewood and brass inlaid pedestal sofa table, having blind frieze drawer, lyre shaped pedestal to a quatraform platform on outswept supports, with hairy brass caps and casters, w.93cm (leaves down), d.70.5cm, h.72cm Condition Report / Extra Information Stands very well, no wobble. Both flaps hang true. Top good. One small 1cm loss to veneer at edge of left hand flap. One small veneer repair to upper left corner, otherwise no splits or apparent patch repairs to veneers. Brass inlays complete, small areas of lifting and evidence that some brass has been previously stuck down. Drawer good. Legs good, no breaks. Brass caps and casters unpolished. Colour good and consistent all over, light fading only.
Lot 1634
A Regency mahogany pedestal drum table, having a gilt tooled green leather inset writing surface above four real and four dummy frieze drawers, raised on reeded outswept supports with further reeded brass caps and casters, dia.99cm, h.71cm Condition Report / Extra Information Stands well. Crease to leather on top. Some patch repairs to veneers on top. Drawers good and run well. One leg with old splice repair. Some minor age / handling wear. Otherwise a good period example.
Lot 318
A cover of a patch box dating: 18th Century provenance: Germany Wooden structure, covered with gilt brass and finely engraved with the effigy of Diana seated under a tree, with her bow, while a character approaches her holding a wild boar head in his hand, on the margins of the scene a vase on each side. dimensions: length 13 cm.
Lot 894
A silver mounted flintlock rifle dating: 18th Century provenance: Europe Octagonal, rifled, 15 mm cal. barrel with adjustable rear-sight and foresight, decorated with geometrical motifs in silver at the edges; flintlock with round plate; wooden full stock richly decorated with silver inlays, pierced and engraved, silver mounts engraved too; pierced trigger. Patch-box. Iron ramrod. Western manufacture for the oriental market. dimensions: length 104 cm.
Lot 300
Royal Worcester fruit painted two handled pedestal cup and cover, by William Ricketts (act. 1877-c.1930), painted with apples, black currants and cherries Live Bidding: Cup has some wear to the gilt on handles, and some slight wear to the gilt around the stem. The cover has repair to the finial which as been reattached with glue, and is now slightly on an angle. The lip of the cover has some cracks and chips (not repaired). There is a small firing mark to the underside of the cover under the glaze, and a small patch (less than 1cm) of glue on the side of the cover foot, which does not appear to be because of repair.
Lot 111
Bible, - with prologues and Interpretations of Hebrew Names with prologues and Interpretations of Hebrew Names, decorated manuscript in Latin on parchment [England (probably Oxford), mid-thirteenth century] 437 leaves (plus 2 modern endleaves at each end), wanting a few single leaves (including a leaf from Job, which ends imperfectly in 41:21, and two from the Psalms which start imperfectly in 8:6 and are wanting Psalm 49:8-57:5, a leaf or two after Deuteronomy, with 12:15-18:22, and the same from I Kings, with 5:1-7:15, and a single leaf with the end of St Paul s epistle to the Hebrews and the opening of the Acts of the Apostles ), bound too tightly to collate, double column, 50 lines in a tiny early gothic bookhand, capitals touched in red, one-line initials in red or blue, running titles alternate in same, larger initials in same with penwork tracery, over 70 large initials in variegated blue and red (the colours separated by sweeping strokes or crenelated lines, and the 2 opening initials full-page in height with small clover shapes and dots picked out in blank parchment within their coloured panels), with offshoots of mirrored coloured leaf-shapes or elaborate penwork tracery in contrasting colours filling the borders, some terminating in small animal heads, the interpretations of Hebrew Names in 3 columns of 50 lines, numerous additions of thirteenth to sixteenth century in pen or drypoint in apparently English hands, tiny contemporary repair to a leaf at the end of Zachariah now with patch fallen away removing a small square 3 lines deep, and another leaf in the Minor Prophets with small patch covering the edge of a few lines of text, some spots and discolouration to endleaves and areas of ink loss to leaves in centre of volume due to poor ink (notably in Ezekiel), slightly trimmed at edges with small losses to edges of penwork and running titles, but overall in good and solid condition with wide and clean margins, 175 x 120mm., bound in nineteenth-century English morocco, profusely gilt in frames of arabesque designs (both inside and outside of boards), watered silk doublures, edges gilt and gauffered Provenance: (1) Most probably written and decorated for an Oxford student in the mid-thirteenth century, who seems to have added for his own reference the near-contemporary 5 page concordance of the Gospels at the end of the volume, listing subjects and chapter numbers in a series of long tables. Thereafter passing to a number of later English owners, with sixteenth-century and post-medieval names Wollocu[m]b in the upper border of a leaf from Colossians, John Templer, Thomas Pyme and William Cuttler amongst others below the beginning of Daniel (partially erased), and John By[ ] at the foot of the opening of Micah. (2) Samuel Whyle: his seventeenth- or eighteenth-century ex libris at foot of the Prologue to Genesis and the opening of Genesis. (3) Henry Yates Thompson (1838-1928), newspaper owner and grand bibliophile, whose personal collections were either sold by Sotheby s in the early 1920s or given to the British Library in two batches (one on his death and another on the death of his wife in 1941, with other gifts going to the Fitzwilliam Museum, Cambridge and the Bibliothéque Nationale de France. (4) The present volume was a gift to his descendant, Allan Heywood Bright (1862-1941), Liberal politician: an inscription and inserted letter from Yates Thompson recording his gift of the book at New Year 1894, as one sometimes sees more beautiful examples of these Bibles, but they are very rare, & every collection of M.S.S. should have one of these ; by descent to Christies, 16 July 2014, lot 1. Text: The evolution of the thirteenth-century Bible marked the initial jump from the medieval production of books to the earliest form of cottage industry, with scribes working on copying quires at the same time as each other, all under the direction of a single libraire (see Shailor, The Medieval Book , 1988, p. 98 and Sotheby s, The History of Western Script: 60 Important Leaves from the Schoyen Collection , 10 July 2012, lot 60, and references there). They were produced in vast numbers primarily to supply the growing university market, and their survival beyond the lives of their original owners appears to have substantially inhibited the copying of the text for the next century or so. They are most probably the form in which the majority of medieval people knew the Bible. However, in the last century they have become fewer and fewer to the market, with examples now regularly making record prices. This is an English manuscript of the text, which was not copied from the more common Parisian exemplar. It has Tobias, Judith and Esther in an invented order, is substantially different in its use of the prologues, and includes a version of the Interpretations of Hebrew Names in the uncommon version beginning Aad testificans … . It has elements that suggest it was a highly individual commission (English Bibles often omit the Psalms, but here strangely, the text is abbreviated after Psalm 77:31 to only what will fit on a single line from each Psalm). The Acts of the Apostles appears, unconventionally, after St Paul s Letter to the Hebrews. An early corrector has worked through the text renumbering chapters which have been erroneously numbered, with larger numbers in red ink and has been adapted by its earliest owner (with the concordance added at the end [see above], and 5 conventional editorial symbols and notes on their uses added to the endleaf at the front: Obelus est virgule iacens, apponitur in verbis vel sentenciis, superflue iteratis , Obelus desuper punctatus; limniscus; antigraphus; and asteriscus ). A marginal note in a near-contemporary hand at the opening of John, inserts part of Bede s commentary on the Catholic Epistles.
Lot 80
Four leaves from two manuscript Choirbooks, - two with decorated initials, in Latin on parchment [northern Italy two with decorated initials, in Latin on parchment [northern Italy, fourteenth and fifteenth century] 4 leaves: (a) 2 leaves from a Gradual, one with a large initial I (115mm. high, opening Iustus es domine … the Introit for the 17th Sunday) formed of pink and orange knotwork on blue grounds heightened with white penwork, another initial D (opening Deus in adiutorium … Introit for the 12th Sunday), both leaves with red or blue initials with contrasting penwork, rubrics in red, 6 lines of text with music on a 4-line red stave (rastrum: 25mm.), some splits to edges (that at lower border of first leaf repaired with later parchment patch), good condition, Bologna, mid-fourteenth century, 490 by 370mm.; (b) 2 leaves from an Antiphoner, one large variegated initial E (opening Eugeserue bone et fide … ) with purple penwork, other smaller initials in red or dark blue, 7 lines of text with music on a 4-line red stave (rastrum: 27mm.), slight scuffs and smudges, overall fair, northern Italy, second half of fifteenth century, 540 by 380mm.
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