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Click here to subscribeChina: Large 60 page stock-book full of Imperial, Republic, PRC, provincial, occupation & other countries' issues used in China (incl those of Hong Kong); 1860s to 1980s. Defins, commems, postage due, parcel post, locals, fiscals & postcards & ephemera. Blocks, sets, varieties and better values seen (e.g. Amoy SG33 Cat £75). Needs to be viewed to be fully appreciated. Well presented collection with strong Cat value. 100s.
Br Empire & World: Pair of old 1892 gilded black Stanley Gibbons Imperial Albums, Vol 1 (GB, Europe & Asia) & Vol 2 (Africa, America & Oceania). Mint & used defin, commem, officials, postage due, parcel post & fiscals almost entirely of the QV period. Collection incl overprints, good postmark interest, wrap/letter cuts & higher values to 5/-. GB incl Penny black, 1st issue 2d Blue, embossed and higher values both face and cat. Much to offer with India, France & Germany as well as GB in quantity. Needs to be viewed to be fully appreciated. 100s and much early material.
Postcards: postcard album featuring Gt Bentley (Essex) including railway station, post office, mill, 1915 school sports day, Essex Yeo Brigade sports, cricket team, local hunt and foxhounds, golf club, village shop with staff outside, 1906 farm fire etc. extensive and comprehensive collection of village life (a.200)
A red velvet boxed pair of half hoop white metal (tested 18 carat white gold) and diamond pierced earrings. Each earring set fifty two round brilliant cut diamonds in open back rubover settings with a combined approximate weight of 1.56 carats , approximately 3.12 carats in total. With secure post with clip fittings to the back.
John Lydon signed 6x4 colour photo. John Joseph Lydon ( born 31 January 1956), also known by his stage name Johnny Rotten, is an English singer and songwriter. He is best known as the lead singer of the late 1970s British punk band the Sex Pistols, which lasted from 1975 until 1978, and again for various revivals during the 1990s and 2000s. He is also the lead singer of post punk band Public Image Ltd (PiL), which he founded and fronted from 1978 until 1993, and again since 2009. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Two Hummel figures including Scooter Time and Harmony in four parts (second) Condition Report: the street lamp has been broken where the supports meet the candle stand and has been re glued. IT looks like it might have been off the base as there are chips to the figures flanking the lamp post and a further chip under one of the coats. See images.
A MAHOGANY FOUR POST BED IN GEORGE III STYLE, ELEMENTS 19TH CENTURY AND LATER 241cm high, 228cm long, 168cm wideCondition Report: Marks, scratches and abrasions comensurate with age and useSome old chips, splits and indented marks. some minor losses. The hangings are generally in fair condition but may require cleaning and minor repair prior to use. The bed will need attention (possibly by a cabinet maker or other person of suitable practical skill) to put the bed together properly for practical use. Fixtures of the bed may need adjustment replacement in order for it to be suitable for practical use. There is a bed base present with the lot but no mattress. The bed base has age and may require replacement. It bears stains/ fading and discoloration. Unfortunately there are no images of this bed without the hangings. Please refer to the additional images for visual reference to condition. Condition Report Disclaimer
Y A VICTORIAN WHITE PAINTED, BRASS AND MOTHER OF PEARL INLAID FOUR POST BEDSECOND HALF 19TH CENTURY 212cm high, 154cm wide, 205cm deep overallPlease note, only the bed frame is included in this lot (not the mattress, sheets etc). Condition Report: Marks, scratches and abrasions throughout commensurate with age and use. Various indentations and indented marks in some areas. The finials (surmounting the posts) are each in two parts as made. There is some evidence of old glue/ filler where the two parts of the finials have been joined previously. The finials bear various indentations and some tears . Areas of finials are misshapen. A good restorer/ metalworker should be able to improve the appearance of this. The bedclothes, bed base, mattress and tassles pictured in the catalogue are not included in this lot.The original black painted metal side rails and all other main metal elements of the frame are present with this lot. There is wear and loss to the gilded elements of the frame. In particular there are many concentrated areas of scratched loss to the gilding of the upper rails. The upper rails are also slightly bent out of shape to various degrees (see images) . The fixtures that enable the ends of the upper rails to be secured over the uprights may be replacements. They are not visible when the finials are put into place. The white painted elements of the frame have very likely been later refreshed or is of later date. There is spray in form of very small dots of the white paint to many areas of the remainder of the frame. Some areas of loss/ scratching to the white painted areas. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
PURCHASER MUST BE 18 YEARS OF AGE OR OVER A Post-War Webley Junior .177 Calibre Air Pistol, batch number 398, with two tone blue and plum coloured finish and Birmingham 4 address, in pictorial cardboard box; a Similar Slightly Earlier Example, batch number 528, unboxed (2). Both with strong springs, some rubbing to the plum coloured lower frames.
PURCHASER MUST BE 18 YEARS OF AGE OR OVER A Post-War Webley Junior .177 Calibre Air Pistol, batch number 897, with two tone blue and plum coloured finish and Birmingham 4 address, in pictorial cardboard box with darts, target and box of pellets; a Similar Example, batch number 286, unboxed (2). Both with strong springs, in good used condition.
PURCHASER MUST BE 18 YEARS OF AGE OR OVER A Post-War Webley Junior .177 Calibre Air Pistol, batch number 1566, with blued finish and Birmingham 4 address, in pictorial cardboard box with target and pellet box; a Similar Example, batch number 1 069, unboxed (2). Strong springs. Unboxed example with wear to finish and some pitting.
PURCHASER MUST BE 18 YEARS OF AGE OR OVER A Post-War Webley Junior .177 Calibre Air Pistol, batch number 2141, with blued finish, in pictorial cardboard box; two Similar Unboxed Examples, with Birmingham 4 addresses, one with blue and plum coloured finish batch number, the other with brown chequered wood grips, batch number 199 (3). All with strong springs. Some pitting to metalwork.
A Collection of Second World War Civil Defence Related Items, comprising a Police Brodie helmet, two boxed respirators, a boxed ARP lamp with hood, cased gas eye shields, an ARP First Aid kit, an ARP POST sign, a silver ARP lapel badge, three whistles, an ARP rattle, identity books and ephemera; also, a Victorian swordstick with cane haft and bound Olympia Zeitung papers (qty)
A Collection of Second World War and Post War Royal Army Medical Corps Publications, comprising Training Book for 1908 inscribed with original nurse's name Grace L Taylor, Training Book for 1935, Training Pamphlets No.1 & 2 for 1943, No.3 for 1944, No.3 for 1952 and No.4 for 1960, and a book Not Least the Crusade, a Short History of the Royal Army Medical Corps by Peter Lovegrove,1952 . 1908 bound edition has a split to the spine of the green cloth binding, two small tears to the frontispiece, some staining to the fore-edge. 1935 red cloth bound edition has a split to the spine of the binding. Some water staining to the top right corner of the binding and pages. Pamphlets No. 1 & 2 have both got three hole punches, and the Amendments are stapled. All with minor staining and thumbed edges. Pamphlet No.3 1944 - Annotations to the cover and some staining. Pamphlet No.3 1952 - Dog earred rop right corner, some staining and small tears to the spine. Pamphlet No.4 1960 - Used, but good condition. All in generally good order.
A Victorian Copper Gilt Shako Plate to the 17th Lancers, embossed with battle honours up to South Africa 1879, the reverse with two nut and bolt fixing posts; a Pair of Brass Chain Epaulettes, the crescents set with brass oval bosses applied with the monogram LBY within a laurel wreath in white metal, with red baize covered metal back plates; a Nickel Harness Mount to the 17th Lancers, as a skull and crossbones, with threaded single fixing post and catch for a hinged pin - lacking; a White Metal Desk Ornament, ''A Gentleman in Kharki'', Transvaal War 1899-1900 (5)
A German Gerard-Landlicht G Rifle Scope, numbered 54721, with three post reticle and Akah mounting bracket, 25.2cm, with leather lens covers, each stamped 30; a Pair of Second World War x6 Binoculars by Taylor-Hobson, dated 1941 and stamped O.S.308 G.A. BINO.PRISM.No.2.Mk.II, No.60761, in a leather case; a Pair of 6 x 30 Binoculars, with desert paint and rubber lens cover, in a bakelite case. (3) Footnote:- Brought back from the war by the vendor's uncle, 14584683 Sergeant William Leslie Bradwell, a sniper with the Royal Scots Fusiliers. 1 - Excellent optics. 2 & 3 - Cloudy optics and scratching to paint.
An album of nearly 160 Devon standard-size postcards ' and a containing more than 220 modern postcards and approximately 240 standard size cards, including some desirable nice cards. The Devon/Dartmoor album has around 159 cards in good condition, including scenic views, art, printed and real photographic, featuring bridges, churches, water features (see photos 1 to 7) etc ' but also some nice street scenes, including Chagford, Dunsford, Muchington, Haytor Vale, Belstone, Yelverton, Bovey Tracey, Ashburton and particularly Okehampton and Moretonhampstead, where they are several examples of each town.The moderns in the box include around 50 of Northampton, including a number of 'now and then' format each with four views (see photo 9) and the cards of Tripoli (image 8) ' though the other moderns are nearly all tourist/holiday cards. Of the standard cards, there are ten cards of Bedford from the same Valentine's series (picture 10); whilst the other photos show the best of the loose cards ' with one photo including three cards of postmen/postwoman interest, artist signed glamour cards, two Margaret Tarrant, a lovely Holmfirth flood scene and a Gannets breeding ground. Another photo shows 14 cards including street scenes a llama giving children a ride in a cart, an unidentified shopfront and mills at Stantonbury and New Bradwell; and another photo has eight cards including the Kings Head Inn, a British policeman on duty in Shanghai, a classroom, Arlington post office, a. Timperley's shop with an Olney (Bucks) 1911 postmark; and lovely photographic views of Hartwell (Northants) and Milton Ernest (Bucks).Finally, the last photo shows other contents from the shoebox ' including a beermat postcard, Northampton Court card, first day covers, envelopes with old French stamps and a number of unused 4d England Winners of the 1966 World Cup stamps. The postcards in the shoebox are in a very mixed condition ' a very few with faults such as big creases of corners missing, others near mint, but most in between.
Four Royal Crown Derby churches, pubs and buildings, 'Christmas Church', limited edition number 190/500, 'The Crown Inn', limited edition 220/500, 'Derby Townhouse', limited edition 240/500 and 'Post Office', limited edition 361/750, Derby house and The Crown with stoppers, all with printed marks to bases, boxes and certification, largest measures 13cm long
Four Royal Crown Derby shops, 'Wedding Florist Shop-Love Blossoms', limited edition 361/500, 'Post Office', limited edition 362/750, 'The House of Windsor Jewellers Shop', limited edition 361/500 and 'The Royal Toy Shop', limited edition 432/500, florist with stopper, all with printed marks to bases, boxes and certification, largest measures 10cm tall
After Francis Johnston (1760 - 1829) "The View of the Post Office in Sackville Street, Dublin to the Right Honourable the Post Masters General of Ireland," engraved coloured Print, engraved by Robert Havell & Son, Dublin, approx. 19" x 21 1/2" (48cms x 54cms), rare, in contemporary gilt frame. (1)
After Samuel Frederick Brocas (1792 - 1847)ÿ Rare Complete Set of Brocas Prints:ÿÿBrocas (Samuel) 1792 -ÿ 1847, Coloured Engravings: An important and complete suite of 12 impressive and attractive Views of Dublin scenes to include: (a)ÿView of Castle Chapel; (b) View of Royal Exchange, Dame St.; (c) View of Castle Gate & Royal Exchange;ÿ (d) View of Lying in Hospital & Rutland Square;ÿ (e)ÿ View of Bank of Ireland, College Green; (f) View of the Post Office & Nelson's Pillar, Sackville St.; (g) View of the Corn Exchange, Drury Quay & Custom House; (h) View of the Four Courts looking down on the River Liffey; (i) College Green; (j) View of the Custom House from the River Liffey; (k)ÿView of Carlisle Bridge; (l) View of Trinity College from Westmorland St; each with artist's name and sculpted by H. Brocas, published c. 1818 - 1824 by J. Le Petit, 20 Capel St., Dublin, coloured aquatints, each approx. 29cms x 44cms (11 1/2" x 17 1/2") in uniform blackened glass and gilt frames. (12)
Francis Bindon (1690 – 1765)Portrait of Jonathan Swift, 1735, oil on canvas, 87 1/2" x 5' (222cms x 153cms); 102" x 75" (260cms x 190cms) including frame, the contemporary frame carved with oak leaf sprays and acorns, and carved floral head corners, egg n' leaf carved moulded edge and inside border with interlaced floral design. (1)In his History of Howth and its Owners, published by the Royal Society of Antiquaries in Ireland in 1917, Francis Ball describes the artworks in Howth Castle, focusing on the most important canvas: “ On the walls there hung a whole-length portrait of Swift by Francis Bindon, unique amongst portraits of him, in that its history is determined with absolute certainty. .” This same painting is mentioned by Jonathan Swift in a letter he wrote to his friend Sheridan on 16th June 1735: ‘I have been fool enough to sit for my picture at full-length by Mr. Bindon, for my Lord Howth’ He had sat that day for two and a half hours. Standing full-length, wearing wig and clerical robes, Dean Swift is depicted holding a scroll on which is written “The Drapier’s fourth Letter to the Whole People of Ireland.” Alongside him, grovelling on the ground, is a caricature of William Wood, clutching his ‘patent’. In 1722, the British government had granted the Duchess of Kendal a licence to issue copper coinage for Ireland. A mistress of George I, Kendal quickly sold the patent to William Wood, for ten thousand pounds. In Dublin, alarm spread and a campaign was mounted to stop the issuing of ‘Wood’s Halfpence’, as it would devalue existing Irish currency. Using the pseudonym “Drapier”, Dean Swift wrote letters, pouring scorn on the proposal. He also wrote songs, ballads and poems ridiculing Woods. Faced with almost universal opposition, the proposal to issue the coinage was quietly withdrawn. However, in Ireland the campaign had united disparate mercantile and political interests, and so laid the foundations for Grattan’s parliament. In the fourth of Drapier’s letter, Swift waxed eloquent: “One great merit I am sure we have, which those of English birth can have no pretence to, that our ancestors reduced this kingdom to the obedience of England, for which we have been rewarded with a worse climate, the privilege of being governed by laws to which we do not consent, a ruined trade, a House of Peers without jurisdiction, almost an incapacity for all employments; and the dread of Wood's halfpence.” Although a reward was offered for the exposure of the author of the letters, Swift was not betrayed. The campaign won Swift the admiration of families such as St. Lawrence and during the early 1830’s he became a frequent guest at Howth Castle. He was a great admirer of Lucy, the young wife of William St. Lawrence, referring to her as a ‘nymph’. Lucy wrote him several letters, prompting Swift to advise that she ought ‘to go to a writing-school and spelling-book’. In 1735, Lord Howth commissioned Francis Bindon to paint a portrait of the Dean. The result is a sympathetic portrayal, showing Swift at a time when several of his close friends, including the writers John Gay and John Arbuthnot, had died, while the great love of his life, Esther Johnson, or ‘Stella’, had passed away seven years before, leaving him increasingly disillusioned and facing a lonely old age. Bindon depicted the Dean being crowned with laurel by a muse, while in the background, in a classical tempietto, a winged figure of Victory blows a trumpet. In a letter written from Kilfane on July 6th, William St. Lawrence thanked Swift for agreeing to sit for Bindon, adding that he had asked Dr. Grattan to carry the portrait to his own house, in order that a copy might not be substituted for the original.Born in County Clare, as a young man Francis Bindon had travelled extensively in Italy, and later studied with Godfrey Kneller in London. As a landowner and member of the Royal Dublin Society, he was independently wealthy and not obliged to produce flattering images of sitters. Apart from churchmen such as Dr Delany and Archbishop Cobbe, he is thought to have painted the blind harper Turlough O’Carolan in a portrait now in the National Gallery of Ireland. Bindon also studied architecture with Edward Lovett Pearce, and designed houses such as Bessborough, Woodstock and Castle Morres, in County Kilkenny. Jonathan Swift is without doubt the most important Irish writer of the eighteenth century. Born in Hoey’s Court, Dublin, he attended Kilkenny College before going on to study at Trinity College Dublin, where he received his BA in 1686. When William of Orange became King, Swift moved to England, becoming secretary to the diplomat Sir William Temple. At Temple’s home, Moor Park, Farnham, Swift was also a tutor, and among his pupils was a young orphan, Esther Johnson, who he nicknamed ‘Stella’. After receiving his MA degree from Hertford College Oxford in 1692, Swift was ordained a priest in the Church of Ireland and when Temple died in 1699, Swift returned to Ireland, becoming chaplain to Lord Berkeley, a job that allowed him time to write and also to visit London, where he lobbied government on behalf of the Irish clergy. He became a key negotiator for the Tory party, and fell in love with another orphan, Esther Vanhomrigh, whom he nicknamed ‘Vanessa’, presumably to distinguish her from his other Esther. Infatuated with Swift, Vanessa followed him to Ireland in 1714, where seventeen years later their relationship ended with a confrontation involving Stella. Between these complicated love affairs Swift attempted to progress his career, but Queen Anne stymied his efforts. With the Whigs in power in England, he accepted the post of Dean of St Patrick’s Cathedral, which he regarded as a disappointment, and indeed a form of exile, having hoped for a bishopric in England. However, at St Patrick’s, Swift began to turn his writing skills in support of Irish causes and also began to write his best-known work, Gulliver’s Travels. Published in 1726, this was an instant success and established Swift as a writer of note.Important Note:In view of the cultural and historic importance of this lot , the vendors have granted an option to the Irish State to acquire same at a price equal to the hammer price realised at the auction date, should a private or trade buyer successfully bid for same. This option shall be valid for a period of three months from the auction date, and the Irish State ( as represented by the Department of Culture, Heritage and the Gaeltacht, in conjunction with the National Museum, National Gallery and National Library of Ireland and Office of Public Works) shall have the option to acquire and purchase this lot within this time frame, at the final hammer price achieved at the auction date, plus buyer's premiums. This lot shall be retained within this jurisdiction, and collection and shipment of same shall only be permitted on the expiryand non-exercise of this option by the Irish State bodies. A binding purchase contract shall still exist in relation to any private or trade buyer who successfully bids for this lot on the sale date and the full purchase price plus buyer's premiums due, shall become payable immediately following the expiry of the above option period.
Roderic O'Conor (1860 - 1940)ÿ "Bull by Moonlight" oils on canvas, 36 1/2" x 28 3/4" (93cms x 73cms) in ornate contemporary gilt frame. (1) Note:ÿÿ ÿIn the early 1890?s, while living in Brittany, Roderic O?Conor delighted in painting night scenes, seeking to capture the emotional qualities of landscapes illuminated by moonlight or firelight. His etching Pleine Lune Sur La C“te (1893) depicts a full moon over a rocky coastline, while his canvas Moonlit Breton Landscape dates from the end of that decade. One of his favourite places to paint was the Laita River near Le Pouldu, a favourite also of his contemporaries, including Paul Serusier. In this powerful image of a bull in a moonlit field, O?Conor moved away from his earlier technique of striped brushstrokes, instead weaving together different strands of art, from the early nineteenth-century Romanticism of James Arthur O?Connor, through Symbolism, to the immediacy of Les Nabis and Post-Impressionism. At its heart however, this is a Romantic painting, redolent of the troubled emotional response of an artist when confronted with the implacable power of nature. In Bull by Moonlight, theÿ composition is dominated by the dark silhouette of the animal, beneath a cloudy sky, with the moon casting a cold white light on the landscape below. O?Conor was certainly familiar with depicting nature, having attended Karel Verlat?s Natuur course in Antwerp, and he was also immersing himself in the Post-Impressionist movement, which he encountered in Brittany during the 1890?s, when he became friendly with Paul Gauguin and other artists. Gauguin used O?Conor?s studio in Paris, even asking the Irish artist to join him in the South of France, an invitation which?to the abiding disappointment of art historians in Ireland?O?Conor declined. Born in Co. Roscommon in 1860, when he was just four years old, Roderic O?Conor?s family moved to Blackrock in Co. Dublin. He was educated at Ampleforth before enrolling at the Metropolitan School of Art in Dublin. He was a contemporary of Nathaniel Hill, with whom he shared lodgings in Pembroke Road. After further studies at the RHA schools, in 1883 O?Conor enrolled at the Academie Royale des Beaux Arts in Antwerp, where Hill and Walter Osborne were also students. The professor at the Academie was the realist painter Charles Verlat. A year later O?Conor was back in Dublin, submitting paintings to the 1885 Royal Hibernian Academy exhibition. His early style, learned from Verlat, was characterized by bright colours, a plein-air technique, and spontaneous but controlled brushwork. However O?Conor?s response to Verlat?s teachings was more progressive than that of his fellow Irish students, who remained rooted in an academic realist style. In 1886, O?Conor moved to Paris to study under Carolus-Duran, before spending time at Grez sur Loing. In 1903 he participated in the inaugural Salon d?Automne, and he continued exhibiting there until 1935. For the rest of his life, until his death in 1940, O?Conor remained in France, living for the most part in Nueil-sur-Layon, Maine-et-Loire, with his wife Renee Honta. A retrospective exhibition of his work, held at the Barbican Centre in 1985, afterwards travelled to the National Gallery of Ireland and the Ulster Museum. O?Conor?s work can be found in the collections of both these museums, as well as the Hugh Lane Gallery. He was the subject of two biographies in 1992, one by Paula Murphy in the Lives of Irish Artists series, and a second, more extensive publication, by Jonathan Benington. "Bull by Moonlight" was included in Julian Campbell?s 1984 Irish Impressionists exhibition (Cat No. 106) at the National Gallery of Ireland. See also Jonathan Benington ?From Realism to Expressionism: the Early Career of Roderic O?Conor? in Apollo April 1985, p 257. Dr.ÿPeterÿMurrayÿ2021
A collection of 14 Royal Mail collectors mint stamp sets or stamp books complete with corresponding first day covers, all dating from 1997. Comprising: Post Offices, Enid Blyton, 75 Years Of The BBC, Golden Wedding Anniversary, Edinburgh 97, St. Augustine & St Columba, Tales Of Horror, Farewell Hong Kong, Definitive set, Architects Of The Air, All The Queens Horses, Greetings Blooms Of Bressingham signed by Alan Bloom, The Great Tudor and Christmas.
A blue folder containing 12 x 2002 Royal Mail mint collectors stamp sets and 4 first day covers. Comprising: Rudyard Kipling Just So stories, Occasions, Coastlines, Circus, Queen Elizabeth The Queen Mother with first day covers, Airliners, World Cup, The Friendly Games, Bridges Of London, Astronomy, Pillar To Post and Christmas.
Baker (J). Select Landscape Views of the Seats, and Interesting Scenes of Art and Nature, To Be Found on and Contiguous to the Great Post Roads, Described in the Imperial Guide, London: Printed for the Author, 1801, two parts in 1 volume, 15 engraved plates to volume 1 (one detaching) and 26 text leaves, volume 2 with 29 engraved plates, spotting, damp-staining affecting multiple plates in volume 2, modern half calf gilt, 8voQty: (1)NOTESExtremely Scarce. No copies held institutionally and only two copies have ever appeared at auction. The title page suggests that the book was distributed among subscribers only.
* Charles I (1600-1649). King of England, Scotland & Ireland, 1625-49. Document signed, 'Carolus R', Palace of Westminster, 8 May 1633, in Latin, addressed to ‘Illustrissimo et Celsissimo Principi C… … consanguineo et amico nostro charissimo’ [Christian IV king of Denmark], 8 May 1633, announcing the diplomatic mission of Sir [Robert] Anstruther [1578-1644 or 1645] to the diet of [protestant] princes of Germany and Sweden [at Heilbronn]; his letters are expected, subscribed with the sign-manual of Charles I, ‘V[es]trae C[elsissi]mi bonus consanguineus et amicus Carolus R[ex]’ (Your most highness’s good cousin and friend King Charles), the name and title excised from third and fourth line of text and also from second and third line of address panel, both with old paper repairs, signet seal applied en placard at head of final page above old album adhesion remains, a little age wear and some further adhesion remains to inner margin of final page, one page with integral address leaf, folioQty: (1)NOTESThe name of the addressee has been excised both from the document itself and the address-panel, but its contents, specifically the mention of the diplomatic mission of Sir Robert Anstruther, together with the upper element of a capital letter C, leaves the identity of the recipient in no doubt. Possibly the work of Patrick Young (1584-1652), who held the post of royal librarian and Latin Secretary between 1624 and 1649.
* Wren (Christopher, 1632-1723). Architect, Mathematician and Astronomer. Document signed, 'Chr: Wren', St. James's, 10 May 1716, concerning details relating to land taxes within the palaces of Whitehall and seeking a list of names, salaries and allowances, etc., signed as clerk engrosser and chief clerk along with three other commissioners, E. Lawrence, Robert Wroth and Henry Lowman, one page with integral address leaf, addressed to the Earl of Halifax (auditor), a little browning and some overall dust soiling and minor creasing to extremities, seal tear, old mount remains to inner margin of final page, one small hole from an ink spot oxidisation touching only the top of final letter of 'auditor' in address panel, folioQty: (1)NOTESChristoper Wren was appointed clerk engrosser and chief clerk in the office of works on 5 December 1702, a fiscal post he retained until September 1716, when he was dismissed in Lord Halifax's reorganization.
Europe. Hérault (Pierre), Carte d'Europe, Angers, Jacques-Petit, 1946, colour lithographic map showing Europe without any national borders, the map is illustrated with cultural, gastronomic, industrial and agricultural designs, indicative of the produce and culture of a particular region or country, laid on near-contemporary card, 560 x 750 mmQty: (1)NOTESPierre Hérault was a well know French artist and cartoonist. The map seems to symbolise the post-war hopes and aspirations for a United Europe and a chance to once again celebrate the continents diverse and rich cultural and gastronomic delights.
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