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Lot 1048
A group of three original reports made by the British Intelligent Objectives sub-committee from 1945-47 on three teams of engineers sent into Germany after the war to cover the German motor industry, the developments during the war and the development of the German Grand Prix racing cars; a complete set of all three original reports is very rare.
Lot 2
Adami Valerio. Fantasia. Metà anni '80 Rara e bellissima incisione d'aprés l'opera Fantasia, mm 455x340; 700x500. Firmata e numerata 'Adami, 44/95', in basso. Timbri Coni.Fisi e Vigna Antoniniana Stamperia d'arte, in basso a sinistra. Leggeri segni di gore fuori dall'inciso. Rare and beautiful d'aprés engraving Fantasia, 455x340 mm; 700x500 mm. Signed and numbered 'Adami, 44/95, at the bottom. Stamps Coni.Fisi and Vigna Antoniniana Stamperia d'arte, bottom left. Light traces of waterstains out of the engraving.
Lot 29
A RARE AND UNUSUAL 18TH CENTURY POURED WAX DOLL Relief moulded hair and dark glass eyes, wearing a crewel work bodice finely embroidered with floral decoration highlighted with gilt wire work laid on fine satin, with matching waistband and shoes and wearing a yellow silk underskirt, together with a Christening gown and crochet collar, held in red satin lined and carved wooden presentation box. (approx l 46cm)
Lot 42
A LARGE AND RARE VICTORIAN SALT GLAZE POTTERY TYGG Mounted with three handles moulded as greyhounds, the panels having applied decoration of monkeys in period dress playing cards, drinking from flagons and smoking clay pipes, with an additional panel of an 18th Century style gentleman pouring beer from a flagon. (approx h 17cm)
Lot 124
Rare and possibly Unique Royal Doulton flambé 'Old Crow' decanter circa 1954 originally made for Old Crow Kentucky Bourbon Whiskey, National Distillers Corp. the base marked with a black patch cancelling the logo, 31cm high Condition report: Several firing cracks and resulting hairlines to the base, pock marks to the glaze from poor firing. These factory faults are possibly why the logo has been cancelled by the black patch of glaze. There is no damage or restoration or crazing.
Lot 173
A Good Collection of 4 Vintage Fountain Pens. Comprises 1/ Conway Stewart, Duro No 55 - Fountain Pen with 14ct Gold Nib, Black and Gold Colour. 2/ Parker Victory Fountain Pen, 14ct Gold Nib. c.1950's. 3/ Waverley Fountain Pen, Makers - Macniven and Cameron, 1st Quality 14ct Gold Nib, c.1935. Rare Fountain Pen. 4/ Watermans Ideal - Fountain Pen, Black Colour way. 14ct Gold Nib. Marked ' Ideal ' Canada. ( 4 ) Pens In Total.
Lot 187
A Collection of Vintage Fountain Pens ( 5 ) In Total. Comprises 1/ Summit Lever Filled Fountain Pen, 14ct Gold Nib. 2/ Swan Fountain Pen, 1st Quality 14ct Gold Nib. c.1920's. 3/ Parker Fountain Pen. c.1960's. 4/ GEO.S Parker Duofold Fountain Pen ( Rare ) 14ct Gold Nib ( N ) c.1930's. 5/ Parker Burgundy Colour way Fountain Pen - Gold Nib. c.1960's.
![*[Nelson, Frances Herbert [Fanny], Viscountess Nelson, 1761-1831]. Views of the Memorable Victory of the Nile, etched and eng](https://cdn.globalauctionplatform.com/7b305c9c-d629-4973-9938-a71a00b59d6e/2430a816-da7f-4076-bbda-150958dbb8e3/468x382.jpg)
Lot 171
*[Nelson, Frances Herbert [Fanny], Viscountess Nelson, 1761-1831]. Views of the Memorable Victory of the Nile, etched and engraved by Frances Chesham, aquatints by William Ellis, after William Anderson, [2nd edition], published Alexander Riley, 1 December 1800, a rare set of 4 aquatints with original hand colouring, descriptive letterpress trimmed with loss of all below publisher's imprint to each, laid on card and mounted to show image and engraved details of ships to lower margins, contemporary gilt frames with verre-eglomise ruled and decorative borders with title captions, glazed, visible image area 178 x 370 mm (7 x 14.5 ins) Provenance: A manuscript note written by Horatio Mends, signed and dated at York, 13 March 1928, giving the provenance of these aquatints is pasted to the backing board of all 4 pictures. The first reads: 'This is No. 1 of a set of 4 aquatints once the property of Viscountess Nelson. My mother, wife of Vice Admiral G.B.C. Mends and daughter of Captain Josiah Nisbet, son of Lady Nelson by her first marriage gave them to me. I have known them from early childhood as having belonged to Lady Nelson'. Lady Nelson had married Josiah Nisbet MD in 1779, but he died in 1781 leaving her an infant child, also called Josiah. This Captain Josiah Nisbet (1780-1830) was married to Frances Herbert Nisbet with whom he had six children. The youngest, Georgina Nisbet (1830-1904) married Vice-Admiral George Butler Clarke Mends (1808-1884), and it is their only child Brigadier-General Horatio Reginald Mends CB (1852-1933) who has written these notes of provenance. Viscountess Nelson bore her husband no children, but Nelson was fond of his stepson Josiah, even taking him to sea in 1793 for training as a naval officer. For the next few years he and Fanny wrote to each other affectionately and regularly. By the time Nelson returned to England in 1797 he was a changed man and in pain from the loss of his lower right arm following an attack on Santa Cruz, Tenerife. Fanny nursed him devotedly and this proved to be their happiest time together. Returning to sea in 1798 Nelson won the Battle of the Nile in 1798 and fell in love with Emma Hamilton. News of the affair reached England before Nelson and the Hamiltons returned in 1800. Though Fanny did her best to reconcile with him these attempts failed, though Nelson treated her generously, allocating her half his income. Fanny became Baroness Nelson in 1798 and Viscountess Nelson in 1801. After his death she was awarded a pension and lived in Exmouth until her death in 1831. Oxford Dictionary of National Biography notes of Fanny that 'When, in 1798, he [Lord Nelson] destroyed the French fleet at the Battle of the Nile she was touchingly proud of him', and the survival of this fine set of aquatints with strong anecdotal family provenance enhances this historical viewpoint. (4)
![*Belize - New River. View of Pembroke Hall, New River [British Settlement of Belize], circa 1785, pen & ink on laid paper, w](https://cdn.globalauctionplatform.com/7b305c9c-d629-4973-9938-a71a00b59d6e/cdd12aab-70ba-46df-923f-ff8b3b5817ea/468x382.jpg)
Lot 236
*Belize - New River. View of Pembroke Hall, New River [British Settlement of Belize], circa 1785, pen & ink on laid paper, with grey and pale blue wash, with handwritten title and key in ink below, signed James S. Hoare lower right (indistinct), some soiling and waterstains, sheet size 158 x 230 mm (6.25 x 9 ins) A rare eye-witness view by the British settler James S. Hoare of the Settlement at Pembroke Hall, on the New River in Belize, in the northern region of Corozal. Britsh settlers, or Baymen, had contested ownership of land along the Bay of Honduras with the Spanish since the 17th century. After years of Spanish attacks, these settlers began returning to the region in 1784, and were permitted by the Convention of London of 1786 to cut and export logwood and mahogany back to Europe, using slave labour. The present view shows the small settlement of Pembroke Hall on the New River in northern Belize, and shows the British Schooner Richard on the river, a large central dwelling house, Store, Cookroom, Negro Houses, and Pit-Pan canoes. James Hoare may have been related to Major Richard Hoare, one of the most influential English Baymen of this period. (1)
Lot 242
*Bruyn (Pierre de, died 1667). Portrait of Jacob Hall (active 1662-1681), Rope Dancer and Acrobat, circa 1660s, fine etching on laid paper, after Jakob van Oost the younger (1637-1713), short closed tear to top left margin, and extreme top left blank corner missing, slight discolouration to mount tabs at 3 corners, plate size 263 x 187 mm (10.3 x 7.7 ins), sheet size 285 x 210 mm (11.25 x 8.25 ins) Rare first issue of this etching by De Bruyn after Van Oost, of the famous tightrope walker and artiste who performed for King Charles II, having first given public performances in a booth at Smithfield, where he was seen regularly by Samuel Pepys. This etching was reproduced as a copper engraving in William Richardson's Portraits illustrating Granger's Biographical History of England, published between 1792 and 1812, in which the original work is described as 'a rare print in the collection of Sir John St. Aubyn'. (1)
Lot 457
*@Nevinson (Christopher Richard Wynne, 1889-1946). After a Push, 1918, lithograph on Antique de Luxe laid paper, from the edition of 25, signed and dated in pencil lower right, some pale discolouration to upper central portion of the sheet, with a few very small archival repairs, some paper tears and occasional slight loss to blank outer edges, image size 33.5 x 43.5 cm (13.2 x 17.2 ins), sheet size 39.5 x 51.5 cm (15.5 x 20.25 ins), mounted Black 27. Edition of 25. Provenance: Major Charles Fair DSO (1885-1950) and Marjorie Fair, purchased from the Leicester Galleries in March 1918, shortly after the couple's wedding on 18 September 1917. Having enlisted on 10 August 1914, Charles Fairwas commissioned in the 19th London Regiment, and saw significant action during the Battle of the Somme at High Wood, Le Transloy Ridge and Bourlon Wood. This rare lithograph was first exhibited at Nevinson's second exhibition at the Leicester Galleries in March 1918, entitled War Pictures by Nevinson Official War Artist on the Western Front. (1)
Lot 466
Raverat (Gwen, 1885-1957). An album of 208 wood engravings by Gwen Raverat, 1909-1932, compiled by the artist as a personal record with the artist's handwritten index in ink on 2 leaves at the front of the volume, together with an early printed Catalogue of Woodcuts by Gwendoline Raverat, bound in at front, containing 208 wood engravings, of which 89 are signed or initialled, many additionally titled in pencil, various sizes, the largest measuring 23 x 33 cm (9 x 13 ins), the smallest 4 x 4 cm (1.5 x 1.5 ins), with titles additionally provided in pencil to each leaf, bound in original cream cloth, rubbed and some marks and minor stains, lettered in gilt to spine WOODCUTS G.R. 1, folio (33.5 x 27 cm) A highly important album of original wood engravings by Gwen Raverat, providing a record of her output between 1909 and 1932, including rare early proofs, and many wood engravings not previously seen on the market. The album includes her first attempt at engraving, The Knight of the Burning Pestle of 1909, and many other early works relating to English ballads and folk tales, works influenced by Eric Gill, many bathers, the town scenes in France, and the numerous illustrations provided by Raverat for the Cambridge Book of Poetry for Children, executed in 1932. (1)
Lot 83
*Beadwork basket. A rare beadwork basket, English, 1664, large square tray, with trefoil handle to each side, wrapped around with small coloured glass beads on wire (ribbon beneath sometime renewed, and beads washed and re-wired), embellished with later narrow blue ribbon bows, base lined with beaded panel depicting King Ahasuerus receiving Esther, the latter with attendant holding her train, Mordecai beside them, Haman hanging from a gibbet, the citadel of Shushan (Susa), and numerous other symbolic images of flora and fauna, with the initials 'E.W.' and the date 1664, beadwork sometime lifted from original backing and carefully relaid onto a new ground of linen-backed cream silk using adhesive and thread, generally a little dusty and some small losses, linen faces of the three main figures lacking their stitched features, size of panel 36.5 x 36cm (14.25 x 14ins), overall size 53 x 52cm (21 x 20.5ins) Provenance: Purchased over twenty years ago by the current owner from an auction of items which came from a major country house in the northwest of England, where it had almost certainly resided since its creation. Baskets such as these are very rare, there being only a relatively small number in existence. It is probable that the conservation work carried out on this piece was executed sometime in the first quarter of the 20th century. The purpose of such trays is not known; it has been suggested that they were made as layette baskets when preparing for the birth of a baby, or for placing gloves or rosemary in at a wedding. However, they may have been intended not as receptacles, but as simply commemorative pieces for a birth or betrothal, or just as decorative table centrepieces. As with silk embroidery, beadwork was a popular pastime for ladies in wealthy households in the seventeenth century, and young girls were instructed in the art of beadwork in the same way that they were taught other forms of embroidery. Similarities between the form of the basket frame in known examples suggest that they could be purchased ready-made for beadwork to be applied. The seventeenth century was a golden age in British embroidery, and large quantities of glass beads were imported from Venice and Amsterdam by English merchants between the 1630s and 1680s. All the examples of beadwork baskets which we have traced appear to date from the 1660s and 1670s. One of the most popular subjects for all types of embroidered objects was the Biblical story of Esther and King Ahasuerus, taken from the seventh chapter of Esther. The imagery of the tale, as well as that of the also oft-used story of King Solomon, served as a timely reminder, at the time of the Restoration of Charles II, of the sovereignty and greatness of the King, his graciousness in receiving supplicating subjects, and the dangerous consequences of not honouring the monarchy. It may be that the display of such a large piece of embroidery in a prominent place in a gentleman's dwelling helped prove the household's allegiance and devotion to the King. (1)
Lot 822
A RARE ENGLISH CIVIL WAR PERIOD SIEGE HELMET, of heavily blackened iron construction, two piece rounded skull with three bar drop down face guard, with hinged one piece neck guard and curved shoulder plates, H 48 cmNote: Provenance- Bonhams Auction 18894 20th July 2011 Lot 174Christies - Auction 20th October 1982 Lot 69Condition Report:The helmet generally is in very solid condition with no rust holes or splits, with matching all over black surfaces. The inside of the skull has surface rust and rough edges to the rivited seam. Along the back edge there are some minor chips and nibbles, these are hidden by the neck guard and are only seen from the inside. The neck guard is possibly of a later date than the skull, it is of a slightly lighter gauge metal and has less internal pitting, the hinge rivets to the neck guard are definite replacements. The front rim to the visor has some wear along the rolled edge with internal re-inforcing wire showing in two places. The internal leather head straps are modern replacements. The skull itself has five spurious holes along the rim. There are traces of the shoulder straps on the shoulder bars with small pieces of leather attached to the rivets.
Lot 30
Of Titanic Interest A Rare Wisteria Pattern Circular Saucer Made By Bridgwood With Registration Number 117214 And 324028 To The Base Together With The Date 11/1902, Although This Was The Pattern That Was Used On The Titanic, The Date Of 1902 Suggests That This Example Was Possibly Made For The Olympic Or Britannic 4.5” Dia
Lot 1023
Postcards, Advertising, 3 rare Mabel Lucie Attwell cards advertising GLAXO, each card depicting a nursery rhyme, written in French and Dutch, Little Miss Muffet, Jack & Jill & The Queen of Hearts (unsigned). The reverse of each card showing graph of improvement in infant mortality before and after consuming Glaxo from 1908-1920 (vg) (3)
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