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Lot 43
Louis Bosworth Hurt (British, 1856-1929)A Perthshire Loch, after a shower signed and dated 'Louis B. Hurt. 1898' (lower right); inscribed 'A Perthshire Loch, after a shower' (in pencil, on the stretcher)oil on canvas91.8 x 152.8cm (36 1/8 x 60 3/16in).Footnotes:ProvenancePrivate collection, Italy.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Lot 72
John Frederick Lewis, RA, POWS (British, 1804-1876)Patio de los Arrayanes, Alhambra inscribed and dated 'Alhambra Oct 26' (lower right); inscribed 'Patio de los/Arrayanes.' (lower left); indistinctly inscribed 'The house in front a blaze/of white. The reflection/perfect. Darken this for objects reflected' (upper right)pencil and wash heightened with white, unframed28 x 21cm (11 x 8 1/4in).Footnotes:ProvenanceCharles Baring Wall (1795-1853) Collection, UK.Thomas Baring (1799-1873) Collection, UK (acquired from the above, his cousin).Thence by descent.John Frederick Lewis made a sequence of works of the Patio de los Arrayanes in the Alhambra, Granada. The present lot - dated October 26 - seems to be the first one, probably drawn on the spot, which he later worked in to a more complete version, intended for a lithograph (sold Christie's, London, 2 July 2013, lot 85). Lewis also depicted the courtyard from different viewpoints. Details in the present lot, such as the flower pots, have been altered and in some instances removed for the lithograph. These changes are typical of Lewis and serve to highlight the spontaneity and immediacy of this version. Lewis completed two sets of lithographs after his trip to Spain, printed in 1835 and 1836 respectively: Lewis's Sketches and Drawings, of the Alhambra, made during a Residence in Granada, in the Years 1833-4 and Lewis's Sketches of Spain & Spanish Character, made during his Tour in that Country, in the years 1833-4.We are grateful to Briony Llewellyn for her assistance in cataloguing this lot.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Lot 78
Edward Lear (British, 1812-1888)Venice, looking towards San Giorgio Maggiore inscribed, dated and numbered '18 - 20. Novr 1865. 3.30-4.30.PM./(43)' (lower right)pen, ink and watercolour over traces of pencil30 x 49.5cm (11 13/16 x 19 1/2in).Footnotes:ProvenancePrivate collection, UK. Got a gondola for the day ... it was very cold ... bright gorgeous - but cold weather(Edward Lear diaries, 13-16 November 1865).The present watercolour dates from Lear's second trip to Venice in November 1865. Lear first visited the city in 1857, returning eight years later on his way to Malta, to make studies for an oil painting which had been commissioned by Lady Waldegrave, one of his most loyal patrons. Lear went out onto the lagoon in a gondola, producing a series of studies of the city's famous landmarks: see for example Sotheby's, London, 3 July 2013, lot 184, Christie's, London, 5 July 2016, lot 121, and Venice 13 November 1865, (private collection, illustrated in Vivien Noakes, The Painter Edward Lear, Newton Abbot, p. 87).In the present lot, as with others of this series, Lear uses tight hatching lines in sepia ink to depict the landmarks, contrasted with freer areas of wash to portray the sky. As Noakes comments, 'In much of the work he did in Venice, Lear worked directly in often quite wet watercolour, laying in flowing washes which most accurately captures the shifting colour and light of the canal scenery'1.1 Vivien Noakes, The Painter Edward Lear, Newton Abbot, p. 87.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Lot 82
Sir Edward Coley Burne-Jones, Bt., ARA, RWS (British, 1833-1898)Study for An Untold Dream signed, inscribed and dated 'EB-J/1895/for the dream.' (lower right)pencil43 x 34cm (16 15/16 x 13 3/8in).Footnotes:ProvenanceThe Fine Art Society, London.Thomas Agnew & Sons.Herbert Minton Robinson (1858-1923) Collection, UK.Thence by descent.ExhibitedLondon, The Fine Art Society, Studies & Drawings by Sir Edward Burne-Jones, Bart., April 1896, probably no. 58.This study of the head and hair of a young woman – her face seen in near profile and towards the right – relates to one of the girl's heads that form the composition of Burne-Jones's late oil subject An Untold Dream (alternatively known as The Uninterpreted Dream or Spirits) (Etienne Breton, Saint-Honoré Art Consulting, Paris). In the painting, the heads of four girls, each with flowing golden hair, are seen against a mass of blue-grey draperies. Each faces to the right and together they seem to be watching something or someone outside the picture space. The motif of watchfulness connects the subject with canvases that the artist had in hand in the last years of his life such as The Sirens (Ringling Museum, Sarasota, Florida), in which mythological subject young women draw mariners to their fate, or the side panels intended to accompany the great Arthurian composition, The Sleep of King Arthur in Avalon (Museo de Arte de Ponce, Puerto Rico), and in which are shown the figures of hill fairies, male on the right and female on the left, watching the byre upon which the king's body lies (see Peter Nahum, Burne-Jones – A Quest for Love, exhibition catalogue, 1993, no. 25). An Untold Dream seems to have no specific narrative subject, but serves as an exercise in mood and as such forms a personal decorative scheme. The present drawing corresponds most closely to the head of the girl shown at the left centre of the arrangement, and the hair of which figure is similarly swept back.An Untold Dream remained in Burne-Jones's possession until his death and was included in the Christie's sale of the contents of his studio in 1898. Shortly afterwards, it appeared on the art market in New York, later entering a private collection in the United Kingdom, until 2010 when it was sold at Sotheby's in London. In 2018 the painting was shown as number 153 in the Burne-Jones exhibition at Tate Britain. Whether or not a more finished version of the subject was intended is unknown. The present drawing's inscribed date – 1895 – provides evidence as to when the oil version was commenced. The present drawing was included in an exhibition of Burne-Jones drawings and studies at the Fine Art Society, probably that which occurred in 1896 and which must have drawn on material taken directly from the artist's studio. There are various items listed in the catalogue of the 1896 exhibition which might correspond to the present subject, but the best candidate is that entitled Study of Head for Unfinished Picture, which was no. 58 in the catalogue. The drawing was at some point handled by Agnew's, and later acquired by Herbert Minton Robinson (1858-1923) – director of the Minton china and pottery manufacturer in Stoke-on-Trent. This is a very beautiful and characteristic drawing from Burne-Jones's late career. Although related to the composition identified above, it may well have been regarded as a work of art in its own right, on the grounds of completeness and scale, and is of the type that was most highly prized in the 1890s and in the first decade of the 20th century for the delicacy of the artist's drawing technique and for the wistful poignancy of its image. We are grateful to Christopher Newall for compiling this catalogue entry.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Lot 83
Sir Edward Coley Burne-Jones, Bt., ARA, RWS (British, 1833-1898)Christ in the carpenter's shop; The Baptism of Christ: two designs for the stained glass of St. Mary's Church, Speldhurst pencil, red and black crayon, heightened with white, shaped topeach 40.5 x 32cm (15 15/16 x 12 5/8in).(2)Footnotes:ProvenanceJ S Maas & Co Ltd., 1962.Private collection, UK.The glory of Speldhurst is the Stained glass, by Morris & Co. ...how inventive and versatile Burne-Jones was in his early maturity!(John Newman, West Kent and the Weald, 'Buildings of England' series, London, p. 542)The present lot consists of two designs for the windows of St. Mary's, Speldhurst, conceived circa 1873 by Burne-Jones for Morris & Co. Speldhurst's original medieval church was destroyed by lightning in 1791; a second church, built shortly after, was entirely replaced by the current structure in 1870-1; the stained glass was installed over the following decade. There is a design in black chalk for another of the windows in the collection of the Victoria & Albert Museum.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Lot 85
John William Waterhouse, RA, RI (British, 1849-1917)Sketch for 'Gather Ye Rosebuds While Ye May' or Narcissus indistinctly signed 'J W Waterhouse' (lower right)oil on canvas68.2 x 50.5cm (26 7/8 x 19 7/8in).Footnotes:ProvenanceAnon. sale, Sotheby's, London, 15 March 1983, lot 75, as Gather Ye Rosebuds While Ye May - sketch.Private collection, UK.Between 1909 and 1914, John William Waterhouse produced approximately one dozen paintings of women picking flowers. These are in varying stages of completion: some were signed, dated, and exhibited, while others have come down to us unfinished and untitled by the artist. At first glance, all appear to be without narrative, in keeping with the Edwardian taste for idyllic scenes of women in nature. Appreciation of them need go no further, but in fact most relate to the ancient Greek myth of Persephone (Proserpine in Latin), a supremely Romantic narrative familiar to Waterhouse's classically educated audience. It was while she was gathering flowers in Sicily's Vale of Enna that Hades (Pluto) carried Persephone down to his infernal realm. Her distraught mother, the harvest goddess Demeter, caused vegetation to wither, prompting her father Zeus to rule that Persephone should be transformed into the queen of Hades for the winter—essentially a death sentence—and returned to Demeter every spring. Rather than showing Persephone dragged into the chasm, as other artists had, Waterhouse characteristically emphasized the beauty and fertility that aroused Hades in the first place. This series, then, epitomizes an important aspect of late Pre-Raphaelitism - the rendering of a spiritually significant theme, in this case a Greek myth about the immortality assured by natural regeneration. Long fascinated with what Shelley called 'the loveliness of terror', Waterhouse had already explored key aspects of Persephone's story—the abduction and transformation of such flower-picking women as Flora, the fleeting passage of flowers' beauty, and figures who endured visits to Hades, such as Psyche. Waterhouse encountered Persephone throughout the literary canon, from Homer and Ovid to Milton, Shelley, Swinburne, and Pater. Ruskin called her the 'Greek Flora' and believed that Greeks 'saw that the force and use of the flower was only in its death.' In the Christmas 1909 number of The Art Journal, the writer Rose E.D. Sketchley repeatedly linked Waterhouse's oeuvre with 'the last poem of living paganism', De Raptu Proserpinae (The Rape of Persephone), written in the manner of Ovid by Claudian (AD 370-404). Singing as she wove a tapestry in nature's colours, Persephone was one of the sources that inspired Tennyson to write The Lady of Shalott, a story Waterhouse imagined so famously. Thus it makes sense that Waterhouse decorated the title page of his own Tennyson volume with a pencil sketch of Persephone bending down to pick flowers (Michael Titterington Collection). As he conceived this drawing, Waterhouse surely had in mind a well-known work by his Pre-Raphaelite forerunner Edward Burne-Jones, The March Marigold of 1870 (fig 1, private collection). Many of Waterhouse's Persephone paintings offer expansive Arcadian landscapes, painted broadly in a bright palette that suggests fresh air but not dazzling sunshine and deep shade. In 1909 Waterhouse completed the first of them, 'Gather Ye Rosebuds While Ye May' (fig 2) for his patron Brodie Henderson. This shows Persephone and a companion in the foreground, with two more maidens visible in the distance. In 1910 the artist exhibited at the Royal Academy 'Spring Spreads One Green Lap of Flowers' — a girl kneeling to pick flowers alone. Completed in 1912 was Narcissus, which shows a woman bending forward to pick flowers; it was narcissi that Persephone was picking when she was abducted. The series closed in 1914 with the kneeling Flora, whose title, though pertinent to the interrelationship of women and flowers, would more correctly have been Persephone. Possibly due to the start of World War I, Waterhouse's subsequent pictures returned to the more recognisable—arguably more British—narratives of the early Pre-Raphaelites, including Tristram and Isolde and Miranda—The Tempest.We know that Waterhouse thought carefully about the Persephone pictures because many preparatory works have come down to us. For example, there is a pencil study that shows the girl using her other arm to pick flowers (Dr. Dennis T. Lanigan Collection). In his day, critics praised Waterhouse's capacity to compose without exhaustive preparations. On canvas, the design's outlines would first be brushed in with thin, dark oil paint on the canvas's white ground; the forms were then laid in with neutral colour, before the virtuoso flesh painting began. Because the present oil painting was not fully worked up, it offers valuable insights on how Waterhouse elaborated the face and costume before tackling the jewel-like flowers and verdant landscape. This picture also underscores how intently Waterhouse wanted to get his primary figure 'right'; here he focuses tightly on her to maximize the expressivity of her pose.Because it shows the girl reaching down with her right arm, the present picture could have been made in anticipation of either 'Gather Ye Rosebuds While Ye May' (1909) or Narcissus (1912) — or both. The fact that Waterhouse signed it suggests he may have had it sitting in his studio when he presented it to someone, perhaps a visitor.Characteristic Waterhouse touches appear across the surface. Most striking are the flowers, which hover magically in the girl's hand and in the grass, and the stream reminding viewers that water is the feminine element. Notice, too, the tree trunks visible at left and top, evidence of Waterhouse's ongoing fascination with trees as connectors of the upper and lower realms. Sketchley characterised the Symbolism of such decorative landscapes as 'a region where all things are poetical symbols. The trees standing in thick groves against the sky, the streams and dainty fountains in the flowered grass... are vehicles of a poetical idea.'Though we do not know her name, this model epitomises Waterhouse's ideal female type and can be related to contemporary works by him. She is clearly painted from the favourite model who posed for 'Gather Ye Rosebuds While Ye May' (1909) and Penelope and her Suitors (1912).The uncannily modern beauty of Waterhouse's women endures, still drawing admirers to his paintings, whatever their subject or degree of completion.We are grateful to Peter Trippi for compiling this catalogue entry.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Lot 94
Sir Alfred James Munnings, PRA, RWS (British, 1878-1959)Hurst Park signed and inscribed 'Alfred Munnings/Hurst Park' (lower left)pencil10.1 x 15cm (4 x 5 7/8in).Footnotes:ProvenancePrivate collection, UK.This lot is subject to the following lot symbols: AR PAR Goods subject to Artists Resale Right Additional Premium.P This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Lot 95
Sir Alfred James Munnings, PRA, RWS (British, 1878-1959)Study for The Second Burst indistinctly annotated (upper and right edge); signed and inscribed 'Pencil Study - or rough for/The Second Burst Volume II Alfred Munnings' (on a label attached to the mount) pencil17 x 21cm (6 11/16 x 8 1/4in).Footnotes:ProvenancePrivate collection, UK.The present lot is a study for the wrapper design of the second volume of Munnings's autobiography, published in 1951. Other pencil studies for the design appear on the inside cover of the book.This lot is subject to the following lot symbols: AR PAR Goods subject to Artists Resale Right Additional Premium.P This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
![Travel Diary.- [Journey from Bromley to Hastings and Winchelsea], manuscript, 21pp. excluding blanks, firs 1½pp. in pencil, r](https://cdn.globalauctionplatform.com/52cf1319-0f16-4071-b1b9-abc301091a05/4bb92a59-064b-4265-bf93-abc3011bb072/468x382.jpg)
Lot 117
Travel Journal.- P. (Dr. R.B.) From Far East to Far West - A Voyage to the Orient & across the Pacific, manuscript, 2 titles and c. 240pp. excluding blanks, mostly in ink, some in pencil, original half calf, slightly rubbed, sm. 4to, 1902.⁂ "Before my introduction to this land of sun [South Africa], I had the honor to travel on the same ship (Kinfauns Castle) as Mr Kipling, & since have grasped more fully the sentiments expressed in one of the verses of his ballads (Mandalay)... ."Voyage to Algiers, Penang, Singapore, Hong Kong, Shanghai, Philippines, Japan, Pacific Ocean, USA and Italy.
![NO RESERVE [Baker (Thomas)] Reflections upon Learning, Wherein is shewn the Insufficiency Thereof, in its several Particulars](https://cdn.globalauctionplatform.com/52cf1319-0f16-4071-b1b9-abc301091a05/7baa4c88-942f-4d58-aa87-abc3011bef11/468x382.jpg)
Lot 129
NO RESERVE [Baker (Thomas)] Reflections upon Learning, Wherein is shewn the Insufficiency Thereof, in its several Particulars ..., occasional faint spotting, occasional pencil underlining, previous owner's ink marks to front pastedown, contemporary calf, a little rubbed, slight bumping to corners and extremities, [Wing B520A], 8vo, A. Bosvile, 1700.
![NO RESERVE Gainsborough (Thomas), Manner of. Wooded landscape with fisherman before a bridge [recto]; Landscape study [verso]](https://cdn.globalauctionplatform.com/52cf1319-0f16-4071-b1b9-abc301091a05/eedabc6f-1c43-43bc-bc5f-abc3011b87d4/468x382.jpg)
Lot 153
NO RESERVE Gainsborough (Thomas), Manner of. Wooded landscape with fisherman before a bridge [recto]; Landscape study [verso], monochrome wash, scratching out and traces of pencil, on thin card, sheet 165 x 200 mm 6 1/2 x 7 7/8 in), some spotting and browning, unframed, [probably late 18th century]
Lot 187
Ayrton (Michael, artist and writer, 1921-1975) 2 ?proof lithographs for Geoffrey Bridson's "Gilgamesh", 1 signed in pencil, [1971]; and a TLs from Ayrton to W.J. Hummerstone of The Stellar Press, having sent the two proofs, "Would you please proof these and return them, plus the proofs", folds (3).
Lot 224
Suffolk.- Gage (John) The History and Antiquities of Suffolk. Thingoe Hundred, first edition, hand-coloured engraved map, 35 engraved plates, plans and portraits, a few mezzotint, light offsetting to title from map, occasional spotting, contemporary half green morocco, spine gilt, 1838 § Page (Augustus) A Supplement to the Suffolk Traveller, list of subscribers, a few pencil markings, contemporary half calf, label detached but loosely inserted, Ipswich and London, 1844, a little rubbed, 4to & 8vo (2)
Lot 226
Botany.- Lindley (John) Ladies' Botany, 2 vol., fifth edition, 50 hand-coloured plates, pencil annotations, vol. 2 lacking front free endpaper, vol. 1 endpaper supplied, original cloth, spines gilt, light fading to spines, spines and and corners a little bumped, but a very good set overall, 8vo, [c.1840].
Lot 63
Original Illustration.- Dalziel (Thomas, 1823-1906) Morning Prayer, 38 original illustrations, manuscript title, frontispiece and dedication to the artist's wife, each illustration accompanied by manuscript verse, watercolours, pen and inks, pencil, on various papers, carefully affixed to album leaves, various sizes from 30 x 30 mm (1 1/4 x 1 1/4 in) to 137 x 100 mm (5 3/8 x 4 in), occasional surface dirt and minor browning throughout, thin card boards, worn, 4to, 1896.⁂ Thomas was the seventh son of Alexander Dalziel, and worked as part of the firm with his brothers producing numerous book illustrations.
Lot 64
Original Illustration.- Dalziel (Thomas, 1823-1906) Some Simple Scrappy Sketches Everybit Wrought And Writ by Thomas B.G.S. Dalziel, 52 original illustrations, manuscript titles and introduction, each illustration accompanied by manuscript verse underneath, watercolours, pen and inks, pencil, on various papers, carefully affixed to album leaves, various sizes from 52 x 30 mm (2 x 1 1/4 in) to 137 x 100 mm (5 3/8 x 4 in), occasional surface dirt and minor browning throughout, thin card boards stitched with metal thread, worn, 4to, 1897.⁂ Thomas was the seventh son of Alexander Dalziel, and worked as part of the firm with his brothers producing numerous book illustrations.
Lot 66
Theatre.- Daly's Theatre.- 36 original costume designs for a production of G. H. Clutsam & Hubert Bath's opera "Young England", after William Charles Wilhelm, pen and brown ink with watercolour over pencil, on laid paper uniformly mounted on card support, all numbered and inscribed, each sheet approx. 270 x 190 mm (10 5/8 x 7 1/2 in), some even toning, minor surface dirt and browning, some marginal scuffs and loss to card supports, loose in original card portfolio with manuscript ink label to upper cover, rubbed and scuffed, vey worn, large 4to, [circa 1916-1917]; together with a Victorian collector's album containing over 120 steel engravings, many with theatrical interest, neatly presented in album, lacking spine, boards splitting, very worn, large 4to, [late 19th century] (2)⁂ Another set of original costume drawings for the 1916 production are held in the V&A, where they note: 'the [1916] production was conducted by Arthur Wood, and the choreography was arranged by Espinosa. The costumes for the principals were made at the famous London costumiers B.J. Simmons & Co. The cast included Doris Woodall as Queen Elizabeth I, and Harry Dearth as Francis Drake. The production later transferred for a short run at Drury Lane in February 1917. The designer Wilhelm (William Charles Pitcher RI, 1858-1925) was one of the most inventive and prolific late 19th century costume designers, whose early passion for stage spectacle led to his employment designing pantomime costumes for Drury Lane Theatre."
Lot 255
A photograph of the young Charlie Chaplin circa 1903-1905 inscribed "Best wishes Charles Chaplin", a photograph of Sidney Chaplin (Charlie's older brother and manager) inscribed "Best wishes from Sidney Chaplin", both approx 13.5 cm x 8.5 cm and a cardboard cut-out jointed dancing figure of Charlie Chaplin circa 1930, 34 cm high CONDITION REPORTS The autographs are in pencil, provenance none other than believed to have been acquired by the present vendors father - see images for further detail
Lot 361
OWEN BAXTER MORGAN (BRITISH ACTIVE 1905-1932) "Shepherd at Rest with his Sheep", oil on board, signed lower left, J DANCK 20TH CENTURY CONTINENTAL SCHOOL "Canal Scene with Boat in Foreground", oil on canvas, signed lower right, together with 20TH CENTURY ENGLISH SCHOOL "Interior of a Room with Table and Chair", oil on canvas, unframed and unsigned, Unicorn Folio - a Canadian Folio series 3 No. 1 containing various poems to include "Common Places" by Daryl Hine, "The Great Tree" Michael Ondaatje, handwritten in pencil 218/300 and Margaret Attwood "What was in the Garden" with lithograph print, etc and a portfolio containing various needlework and textile panels
Lot 429
C DE LAUSAM "Still life with figs and grapes" watercolour signed lower right, together withB GRACE "Frankly Cleo, I'm More Hurt than Angry" an original Punch Magazine illustration, pen and ink, signed lower right, the published page with the cartoon verso, the cartoon has annotations and measurements in pencil around the border together with two prints on glass and a small green painted birdcage
Lot 432
WALTER ERASMUS ELLIS "Cottage at Solihull" with figures in foreground, watercolour heightened with body colour and white signed lower right together with ANNA GIBBS KENNET "Nude Study", pencil, charcoal and wash initialled and dated 1988 lower right, a GEORGE BAXTER print "The Bridesmaid" and AFTER ROBERT MORDEN "Staffordshire", an engraved map hand coloured
Lot 433
A R "Estuary landscape with fishing barges in foreground" oil on canvas, unidentified signature AR in lower left, together with AFTER WILLIAM WALCOT "The Mersey" (Liverpool) black and white etching signed in pencil to margin and AFTER G CHAMBERS "The Port of Liverpool taken from Seacombe, Cheshire ..." hand coloured engraving by James Carter
Lot 478
18TH CENTURY ENGLISH SCHOOL "Philip Lyne (Born 1762 Died 1840 Aged 78", study of gentleman in red coat, watercolour heightened in white and body colour, indistinctly signed and dated 1786 to the brick wall above his shoulder, inscribed verso with title and "This is the joint property of my two poor dear boys Phil and Tom P Lyne 1st July 1837" CONDITION REPORTS Paper slightly brown and discoloured/stained otherwise piece appears in good order. The pencil work particularly to the hand, the stock and the wall appears more faded than the jacket and the detail to the face suggesting that the piece may actually be on a print base. The frame has some loss to the inner moulding and has clearly had some repair
Lot 103
A 19th Century Swiss rosewood and marquetry inlaid cased musical box with eight airs, bearing label inscribed "ER McCoy Xmas 1878". Size approx 14cm high x 50cm wide CONDITION REPORTS Item appears not to be in working order. Drum does rotate when cranked with side lever. On the bracket holding the drum there are three numbers stamped 811 see image and to the base of the box t here is the pencil inscription 46811 again see image. There are no other numbers visible. The case appears original although is showing signs of wear and tear conducive with age. There is a crack to the rear right corner and rear left to the moulding. Glass mark to the top and dense knocks etc throughout. Wear to the ebonised moulding particularly on the corners. The interior appears basically sound though the end board to the right is missing as it is to the left. The glass panel is extent. The paper label extent. The teeth appear in good condition though are not attached to the board. The piece does not play therefore requires sympathetic restoration. Rubies above the fly wheel missing.
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