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Lot 291
A rare early 19th Century silver (unmarked) combination thimble / tape measure with glass scent bottle, the thimble with typical dimpled top above a tapering scrolling foliate filigree work main body enclosing the scent bottle and tape measure, the base with flower head button, 5 cm long (ILLUSTRATED)
Lot 580
A rare Flight and Barr Worcester Vase and Cover in the form of Vaisseau à mat of Sevres, the lid with pierced panels, the base having a painted view of Hampton Court, Herefordshire, with blue borders. Sold with copies of letters to Arkwright from Charles Schreiber in 1875 recommending it should be purchased from S. Wersheimer, 154 New Bond Street, London, which eventually amounted to £75. The vase is illustrated in Henry Sandon, Flight and Barr Worcester Porcelain, plate 31 Provenance: Arkwright family formerly Hampton Court, Herefordshire
Lot 12
A rare William & Mary Scottish silver lace-back spoon by Andro Gilmour, Edinburgh 1692, assay master John Borthwick, of transitional form from Trefid to Dog-nose, the back of the bowl with a ribbed rat-tail, the top of the back of the stem engraved `TD` over `CD`, 19.5cm (7 3/4 in) long, 56g (1.8 oz). Ian Pickford comments: Until the discovery of this spoon there was no known example of a piece which was attributable to the Edinburgh goldsmith Andro Gilmour. The maker`s mark, which is mis-struck, is clearly an initial followed by the letter G in a double circle. Fortunately the right hand side of the first initial can be discerned as a diagonal, which is unique to the letter A. The mark may therefore be safely shown to be AG in a double circle, a mark which, to date, has not been recorded. In the last quarter of the 17th century only two goldsmiths with these initials are recorded in Edinburgh: Andro Gilmour (earliest mention 1686) and Adam Gordon (earliest mention 1696). Since the spoon is clearly struck with the date letter M of 1692 Adam Gordon may be ruled out leaving only Andro Gilmour as the possible maker.. The die stamped decoration at the top of the stem overlaps the edge. This is a feature found on the majority of such spoons in England. Only rarely is a perfect `fit` for the decoration ever found. The design of the spoon is interesting having a very rounded top although fitting most comfortably into the Trefid group it is not notched at the top and, although early in date for such a feature, is essentially transitional between trefid and dog-nose. A further consideration is that the top may have been trimmed at a later date. This I feel is unlikely there being little or no evidence of this happening in England (of the countless examples of English spoons of this period that I have examined I cannot recall a single one) Indeed, the opposite is the case where dog-nose spoons have had notches cut to convert them to the more valuable Trefid spoons. Several West Country spoons can exhibit this feature, for example see lot 320 sale these rooms 28th September 2011 for a transitional spoon by John Elston, Exeter 1703. Also of note is the fact that Scottish lace-backs are extremely rare, the only two noted are in the National Museum of Scotland.
Lot 400
Francis Howgrave; `An Essay of the Ancient and Present State of Stamford`, printed for John Clarke at the Bible in Cornhil, London; and William Thompson, Bookseller in Stamford, 1726, rare copy with further margin notes in ink; together with `A Report of the Papers read at the joint meeting of the Architectural Societies of the Archdeaconry of Northampton and the County of Lincoln held at Stamford, May 22, 1850`, and `An Account of the Excursion`, both in one book, printed and published by and for Samuel Sharp, Red Lion Square, Stamford.
Lot 92
Rare and early John Wisden & Co "Combination" laminated tennis racket circa 1889 – comprising an ash and cane frame fitted with convex wedge, original heavy gut stringing (breaks to string near the wedge), slim handle, fitted with the original leather collar and butt cap and leather band to the head overall (G)
Lot 99
1937 Japanese Tennis Collection - to incl rare 1937 `Axis` Commemorative Lawn Tennis Programme, an unusual Taikodo Lawn Tennis Racket from imperial Japan and Edwin Trim postcard of Japanese Davis Cup player Zenzo Shimidzu. Note: The 12 page programme was produced for a tennis meeting between Japan and Nazi Germany, shortly before the second World War. The meeting took place from November 6th-8th. The black and white photographs inside are all of the competing players which include; Gottfried Von Cramm and Henner Henkel. The content introduces each player and shows the meeting schedule.(All in Japanese). The Axis powers of Germany, Italy, and Japanese (also known as the Axis alliance) or just the Axis, was an alignment of great powers during the mid-20th century that fought World War 2 against the Allies. It began in 1936 with treaties of friendship between Germany and Italy and between Germany and Japan. The wooden tennis racket is a very unusual pre-war ‘Taiikudo Athletic Goods-Tokyo” lawn tennis racket with spoon-shaped, flat-topped head – with just 16 vertical and 16 lateral strings, resulting in a very wide stringing pattern. Comes c/w ‘BAG Aluminium Press overall (VG). Together with an Edwin Trim postcard of Japanese Davis Cup player Zenzo Shimidzu as well as an accompanying card autographed by him in the 1920s. Shimidzu was the first Japanese player to reach the highest class and rose to prominence after getting to within two points of beating Bill Tilden, and for reaching the All-Comers’ singles final at Wimbledon in 1920. (5)
Lot 101
A Fine and Early `Prize` Lawn Tennis Press dated 1880 – comprising a dark stained heavy oak lawn tennis press with three metal screw pegs and a single dividing plate for 2 rackets. A small `white-metal` shield is fixed to the centre and engraved "WON BY MISS E. M. HASSARD at the LADIES LAWN TENNIS CHAMPION TOURNAMENT CAPE TOWN 1880." Overall 37.4 x 26.0 cms. (VG). Note: During the Zulu wars, Colonel Fairfax Hassard, C.B., (Royal Engineers) was Commandant at Cape Town in 1879. It may have been the relative of the Colonel, even his daughter, who took part in the tournament. Very little is known about South African lawn tennis at this time hence rare.
Lot 102
Collection of Early Wightman Cup & Wimbledon Glass Photographic plates and Ephemera – incl 5 original glass photographic lawn tennis plates (5 x 4") showing two shots of Mrs. Joan Fry in Action on Centre-Court, Mrs. Kitty Godfree, Eileen Bennett, and Mrs. Godfrey with Miss Browne. (All plates are supplied with a digital hard copy print) plus a rare surviving copy of the official Wightman Cup Programme played between Great Britain and the USA at Wimbledon in 1932 together with an accompanying 1932 `Pirate` programme for the same event. Both consist of a four-page folded card, printed with the names and photographs of the teams (Round, Whittingstall, King, Nuthall, Wills-Moody, Jacobs, Harper & Palfrey) and the order of play – c/w the results neatly pencilled in and finally a16 page copy ofthe programme for 1956. (8)
Lot 103
Rare Suzanne Lenglen signed tennis collection to incl 5x original glass photographic lawn tennis plates (5 x 4 inches) all showing Lenglen playing at her last Wimbledon Championships of 1926 ((Digital hard copy prints included). Three of them show her in acrobatic poses on Centre Court in doubles play with her partner Elizabeth Ryan. The other two show her at 3 p.m. on Monday 2st. June 1926 at the Jubilee Wimbledon Championships. Both plates record her being kneeling before H. M. King George V and Queen Mary, being presented with her silver and bronze commemorative medals. Also included in this lot is a very rare Chaplin Jones (Kingston-Thames) published postcard autographed “Suzanne Lenglen” in her usual idiosyncratic style. A press photograph of Lenglen meeting Mrs. Fearnley Whittingshall in 1933 (7)
Lot 105
Rare 1899 Australian Lawn Tennis Handbook and Early Tournament Postcards – the handbook comprises of 42 pages, printed in 1899, produced under the authority of The New South Wales Lawn Tennis Association by Holdsworth MacPherson & Co. of Sydney. It contains a multitude of interesting information about Association Officers, Constitution, Rules, Clubs, Records, Results, Laws of Tennis, Tournaments, a photo of Horace Rice and many early advertisements. Excellent condition. 16.3 x 10.3 cms. Soft Covers. Plus a pair of early (1920s), black and white tennis postcards showing what is believed to be a panoramic view of an early Australian Lawn Tennis Tournament at Sydney or Melbourne. (3)
Lot 129
Rare 1883 Lawn Tennis/Badminton Book titled "The Games of Lawn-Tennis and Badminton" by Cavendish (Henry Jones) – 5th ed in the original embossed green and gilt decorative boards – containing 30 p but note 4 pages torn (3 to text) with dark sellotape (removed with age) stains. Note this edition was the last to incl Badminton.
Lot 148
Rare collection of 16x Davis Cup and National Tennis Federation pennants from 1952 onwards to incl 1952 Chile v Austria Davis Cup (132); 1955 Chile v Belgium Davis Cup (15") probably for Davis Cup; 1977 Argentina v Australia Davis Cup (20");1977 Argentina v USA Davis Cup (20"),; undated Romanian Tennis Federation (probably for Davis Cup) & 2 other Romanian pennants (15-19", 1989 Chile v Bahamas Davis Cup (12 "); 1990 Columbia v Barbados Davis Cup (12" overall); 1994 Mexico at Cuba v Mexico Davis Cup (13x11");2002 Paraguay v Netherlands Davis Cup autographed by Paraguayan team but smudged(12"); 2004 Paraguay v Czech Republic Davis Cup (Czech Team Pennant)(13"); 2004 Czech Republic vs Paraguay Davis Cup (Paraguay Team) (12"); Swiss Tennis Federation (10") and 1990 Dominican Federation of Tennis Davis Cup NEC leather badge; (vg to ex condition)
Lot 14
* KUSTODIEV, BORIS 1878-1927 Merchant`s Wife , signed and dated 1923. Oil on canvas, 97.5 by 77 cm. "Provenance: Private collection, 1924-1998.Anonymous Sale; The Russian Sale, Sotheby’s London, 19 February 1998, Lot 90. Private collection.Authenticity certificate from the expert V. Petrov.Exhibited: The Russian Art Exhibition, Grand Central Palace, New York, 1924, No. 421 (label on the reverse).Literature: Die Dame, No. 19, June 1924, p. 11, illustrated.Exhibition catalogue, The Russian Art Exhibition, New York, 1924, No. 421, listed.V. Voinov, B.M. Kustodiev, Leningrad, Gosudarstvennoe izdatel’stvo, 1925, p. 87, listed.M. Etkind, Boris Kustodiev, Moscow, Sovetskii khudozhnik, 1982, p. 232, No. 645, listed.Russian merchants’ wives are without doubt among the most memorable and recognisable images in Boris Kustodiev’s oeuvre. Painted in 1923, the present work was conceived as a kind of continuation and development of the celebrated 1915 work of the same name, which now occupies pride of place in the Russian Museum. The subject is recognisable, as is the protagonist’s pose — as if in a state of suspended animation before the viewer — and even the details: a shawl over her shoulder and handkerchief in her hand. However, what we have before us is not merely the artist’s retrospective attempt to outdo himself at a successful subject. His pictures of merchants’ wives of the early 1920s, painted at a time of tumultuous and dramatic events in Russia, play a far more symbolic role and are of far greater significance than would at first appear. Imbued with nostalgia for the dignified patriarchal society that was by then gone for ever, these portraits of archetypes became a kind of symbol of early 20th-century Russia.Of course, Kustodiev’s romantic view of his homeland, based on an aesthetic fondness for the past and a poetizing of its images, is interwoven with elements of stylisation, as were the images of his old World of Art comrades. Kustodiev’s languid, contented merchants’ wives are as different from their real-life prototypes as Somov’s saucy marchionesses. Boris Kustodiev’s bright, festive, carefree, big-hearted peasant Rus became for him a kind of dream of Russia, as she had at no time, in no place existed but as she unwittingly appeared when looking back from the bleak, cold-hearted Petrograd of the 1920s. For this very reason the best-known merchants’ wives works were done during the Civil War and the destruction that followed when the Kustodiev family, like many others in Russia, were forced to sell their belongings and queue for bread. The hunt for a ripe watermelon in that half-starved city, for the famous Merchant’s Wife Drinking Tea, was a real feat for the artist’s wife Yulia Yevstafievna.The artist had long dreamed of creating a universalised image of Russian beauty, for in the 1910s none of his contemporaries had set themselves such a task. When Kustodiev found his ideal of female beauty he was already an established and recognised artist, and he invested all of his creative genius and the searing power of bright, full-blooded colours into these merchants’ wives. Once seen, you cannot forget these magnificent, corpulent women, their figures towering majestically over a Volga townscape, which fades into the background, eclipsed by their ripe beauty.Yet, at the same time Kustodiev’s beauty is only a fruit of the imagination, a splendid mirage appearing before a European, a World of Art member, along with the legends of the city of Kitezh and the firebird’s feather, from the exotic life of the deep provinces. It is no accident that the ladies who modelled for the sketches of practically all Kustodiev’s merchants’ wives were members of the intelligentsia. One of the models for the Merchants’ Wives of 1912 was the European-educated Natalia Zelenskaya, whom Kustodiev had met in Switzerland. He used a pencil and sanguine sketch of the young actress Faina Shevchenko, done at a premiere at the Moscow Art Theatre, as the basis for his picture Beauty (1915); for Girl on the Volga (1915) the daughter of a neighbouring landowner, Pazukhin, sat for him; the model for Merchant’s Wife Drinking Tea (1918) was Galina Aderkas, a student at the medical institute, who lived nearby; and, finally, the model for his celebrated Russian Venus (1925-1926) was his own daughter Irina. However, when sketching a real individual for one of his protagonists, Kustodiev would always create the specific character he needed and which was frequently rather different from the original. The Merchant’s Wife of 1923 belongs to this group of splendid female types.It should be noted that all the artist’s paintings of this subject, in their various guises and different formats and sizes, were not conceived as parts of a single, unified series. So it is that each one of them — be it the 1920 Merchant’s Wife Taking a Walk (Russian Academy of Fine Arts Museum) or the 1923 Merchant’s Wife — represents an intrinsically valuable and unique variation on the composition, of which Kustodiev painted many. All, with the exception of the work offered here, are either long settled in museums and private collections or lost without trace. Today Kustodiev’s various merchants’ wives adorn the collections of the Russian Art Museum in Kiev, the National Art Museum of the Republic of Belarus, the Russian Museum, the State Tretyakov Gallery and several other Russian museums, as well as the best private collections. The portrait of collector and painter Isaak Brodsky attests to the popularity of this image. Kustodiev depicted him walking in a Petrograd in the grip of famine and destruction during the terrible years of the Civil War. Lost in thought and with a dreamy expression on his face, the artist carries a Kustodiev Merchant’s Wife under his arm, oblivious to what is going on around him.The Merchant’s Wife of 1923 was already widely-known during the artist’s own lifetime. He showed the work a year after it was painted, at the celebrated Russian Art Exhibition, organised by Igor Grabar and Sergei Vinogradov, which was housed at the Grand Central Palace in New York, before travelling around a good many of the central and southern states. The exhibition opened on 8 March 1924, and many of the paintings sold successfully, including the Merchant’s Wife, which was acquired by a private collector. Soon after the exhibition, the much admired picture of the young and smartly dressed beauty out for a walk, appeared in the pages of the popular German women’s magazine Die Dame. The picture remained out of public view until 1998, when it sold successfully at Sotheby’s. Today, for the first time in many years, it is again offered for sale and presents a rare opportunity for even the most exacting collector of Russian art. This painting is undoubtedly among Kustodiev’s most iconic works."
Lot 53
* ROERICH, NICHOLAS 1874-1947 Taos Pueblo, New Mexico , stamped with a signature, further stamped twice “Nicholas Roerich Paintings and Art Collections, Inc.” on the reverse. Tempera on canvas, 49.5 by 76 cm. Executed c. 1921.Provenance: Roerich Museum, New York, USA, 1922-1935. Nettie and Louis Horch collection, USA, from 1935.Thence by descent.Private collection, USA.Literature: Probably Roerich Museum Catalogue, New York, Roerich Museum, 1930, no. 122, listed.Roerich, New York, International Cultural Centre “Corona Mundi”, 1924, illustrated and listed as “New Mexico”.Related literature: For similar works, see N. Roerich, Arizona and New Mexico Sketchbook, 1921, Roerich Museum Archives.Taos Pueblo, New Mexico was painted in 1921 and is one of the few surviving works from Roerich’s American period. In all, we know of 15 works which he painted in the Southwest — in New Mexico and Arizona — but the actual whereabouts of only six, and a mere two of these depict the ancient Native American settlement Taos Pueblo. It is one of these two paintings which MacDougall’s is now proud to offer at auction.The legendary Native American pueblo depicted in this work, now a UNESCO World Heritage Site, became a place of inspiration for many remarkable artists, and for Roerich was one of his “hallowed grounds”. Of his two-year stay in America Roerich later remarked: “In New Mexico and in the spaces of this beautiful country again sounds for you the anthem of the East… the same note of great vision, of great wisdom.” During his stay in America, Roerich gave numerous lectures in the nation’s museums and universities in which he tried to convey the idea of a new perception in art. He was astounded by the lack of interest in other artistic traditions that he found in the United States in the 1920s. In his desire to change the situation he was instrumental in the opening of The Master Institute of United Arts, the main aim of which was to bring people together through art and culture. Simultaneously in Chicago the Cor Ardens (Flaming Heart) group was established, and in 1923 the Nicholas Roerich Museum opened in New York.Despite the fact that those two years he spent in America, 1920-1923, were filled with a flurry of artistic and academic activity, his religious and cultural research into the Native Americans inspired Roerich to create a series of particularly characteristic and instantly recognisable works.In the works of his American period he skilfully conveys the immediacy of his first impressions of America, a country to which he returned three times after his first visit. His images of the desert which brim with energy and enthusiasm are startlingly life-like. The bright palette and motifs from ancient art, which made such an impression on Roerich as a keen anthropologist and ethnographer, markedly distinguished his works.From an anthropological viewpoint, Roerich was fascinated by the similarities between Native Americans and Mongols and he remarked upon this more than once in his notes: “In 1921 when I became acquainted with the Red Indian pueblos of New Mexico and Arizona, I was forced to exclaim repeatedly: “But those are real Mongols!”… And now, having the opportunity to study the Mongols of outer and inner Mongolia, I was involuntarily reminded of the Pueblo Indian. Something inexplicable, fundamental, beyond all superficial theories, unites these nations.”Depicted in the pencil sketches in Roerich’s albums, now preserved in his museum in New York, is not only the structure of Native American tribes, but also their ritual dances and renowned mystical “Vision Quest” ceremonies. Unfortunately, very few of these were transposed to canvas. This very fact further illustrates quite how rare the present work is.The present painting depicts the famous Taos Pueblo, which Nicholas Roerich visited in August, 1921 while vacationing in the neighbouring town of Santa Fe. (There is a well-written account of Roerich’s sojourn in Santa Fe in Ruth Drayer’s Nicholas and Helena Roerich: The Spiritual Journey of Two Great Artists and Peacemakers.) Taos Pueblo is one of a group of Pueblo Indian settlements which appeared in the thirteenth to fourteenth centuries along the path of the Rio Grande river. This Pueblo consists of adobe dwellings and ceremonial buildings, and exemplifies the traditional architectural arrangement from the pre-Hispanic period in the Americas. Culturally, it marks a significant stage in the history of ancient Pueblo people.In Roerich’s own lists of his works, there is a painting titled Pueblo from 1921 which most probably is the present work. It acquires special significance since the Taos Pueblo appears in two of Roerich’s monumental canvasses from 1923 — The Legend from the Miracle series and Vision. Both, especially The Legend, are among Roerich’s most expressive and mystical artistic statements. Both paintings touch upon the idea of the Messiah, and their iconography references the symbolism of this most cherished and profound concept in spiritual lore. Thus the presence of the Taos Pueblo in both of these works instils this American Indian setting with transcendental rather than geographical meaning.From Roerich’s writings and the accounts of his friends and followers, we know that he understood and venerated the sacred places of the world as the focal points where the energies of the Cosmos meet the Earth. His trip to New Mexico in the summer of 1921 was more than just a summer holiday. The real purpose was seeking “the harmonies of deeper insights and wisdom” at the power centres of the American continent. These visits inspired a series of his most spiritual works executed during his American period.The present painting is more that just a study of native Indian architecture. It serves as an icon, a sign pointing to a culture which emphasizes the bond between man and the natural world. The warm tones of yellow, pink and orange, which display Roerich’s mastery of subtle brushwork, convey his philosophical message. The adobe clay, an otherwise dull material, becomes a beacon of the sun’s permeating light. Set against a serene blue sky, the Pueblo emerges as a fortress and focal point of spiritual energy. We are grateful to Gvido Trepša, Senior researcher at the Nicholas Roerich Museum, New York, for providing catalogue information.
Lot 67
KUSTODIEV, BORIS 1878-1927 Set Design for Alexander Neverov`s "Peasant Women" , signed, inscribed in Cyrillic "I akt/ Baby p`esa Neverova" and dated 1920. Pencil and watercolour on paper, laid on cardboard, 44.5 by 62 cm. Provenance: Private collection, UK.Authenticity of the work has been confirmed by the expert V. Petrov.It is no surprise that Boris Kustodiev, who worked so enthusiastically on the themes of traditional Russian life, festivals and holidays, should have collaborated closely with the theatre. This set design for Alexander Neverov’s play Peasant Women, which had won acclaim in Moscow in 1920, conveys the atmosphere of an autumnal Sunday in the country with the vivid colours typical of Kustodiev. In this populous composition, which was created for a production at the Smolny Theatre in Petrograd, the artist reproduced the typical Russian characters so recognisable from his genre paintings.Close to the style of lubok folk art and craft work which Kustodiev studied and was so fond of, this watercolour reveals to us the character of a Russian village, conveying the essence of ordinary people’s everyday life in the multi-coloured language of art. Kustodiev himself said: “I regard a vivid kaleidoscope of colours to be entirely characteristic of Russian life.” His palette holds great significance in his works and becomes particularly saturated in his theatre designs with their generalised schematic forms. This rare design for Peasant Women, a poetic image of Russian provincial life, clearly testifies to Kustodiev’s talent as a theatre designer.
Lot 524
* A RARE ICON OF "THE PURE SOUL" NORTHERN RUSSIA, END OF THE 17TH TO BEGINNING OF THE 18TH CENTURY 49 by 37.5 cm. Allegorical depictions of Pure and Sinful Souls are known in Russian art from the latter half of the 16th century, often in illustrated manuscripts commemorating the dead (necrologies). Judging from the unusual white background, the artist replicated a miniature from a book.The Pure Soul is depicted on the left as the Virgin in real attire and wearing a crown adorned with flowers. To her right is a lion (anger), a serpent (sin) and on the right, squatting naked in a cave, is the devil, symbolising the sinful soul. Christ enthroned in heaven above, awaits the worship of the Pure Soul and Guardian Angel. At the centre is the Sun with a human face and the border texts explain what is depicted.In the 18th-19th centuries, edifying works about the Pure and Sinful Soul were in demand amongst Old Believers, both icons and printed sheets incorporated texts from either a necrology or the Blessed Monk Dorotheus`s Thirty Great and Original Virtues, which formed part of the Tsvetnik (Flower-bed), a book widely popular with Old Believers. It is in the latter where the deep meaning of this edifying subject finds its fullest expression: “Human purity attaches man to God, and the purity of God dwells in man” (Tsvetnik of the Blessed Monk Dorotheus, Grodno, 1790, p. 187).An important distinction of this icon is that the detailed border inscriptions bear no relation to either literary sources. Addressing the viewer — an extremely rare feature in an icon — the lower border reads: “See, O man, the parable of life painted here: if thou wilt ascend to the heavenly kingdom, then preserve thy purity of soul, otherwise thou shalt suffer eternal torment”.Given the rarity of the subject and the detailed, original text, this icon is of considerable interest and belongs to a particular edifying type of Old Believer icon painting.
Lot 150
A TWENTY-FIVE PENCE 1981 EXPERIMENTAL COIN, Royal Mint Trial, struck in Cupro-Nickel e.f, During 1981 experiments with a small seven-sided shape produced a trial 25p, bearing an Orb topped by a cross, in 2005 the only surviving examples known at that time were in The Royal Mint Collection, it was decided not to proceed with a small 25p, but instead tarriffed the coin at 20p in which form it was introduced in 1982 (extremely rare)
Lot 634
W H HUDSON: (7 ttls): BIRDS IN A VILLAGE, 1893, orig cl gt + BRITISH BIRDS ....., 1895, 1st edn , orig pict cl, gt, teg + BIRDS IN LONDON, 1898, 1st edn, orig pict cl gt, teg + BIRDS AND MAN, 1901, 1st edn, orig cl gt + BIRDS IN TOWN AND VILLAGE, 1919, 1st edn, orig cl gt + RARE VANISHING AND LOST BRITISH BIRDS, 1923, 1st edn, orig blind stamped cl gt + A TRAVELLER IN LITTLE THINGS, 1924, reprint, orig blind stamped cl gt, (7)
Lot 635
REV CANON ATKINSON: BRITISH BIRDS’ EGGS AND NESTS POPULARLY DESCRIBED, 1898, orig two-tone cl, slightly worn, inner jnts split, frontis detchd but present + SYNOPTICAL TABLE OF BRITISH BREEDING BIRDS NESTS AND EGGS ……, fdg table in pocket at rear (tatty and torn) + KONROD LORENZ: THE YEAR OF THE GREYLAG GOOSE, 1979, orig cl gt, d/w + ERIC HOSKING, 2 ttls: ERIC HOSKING’S BIRDS ….., 1979, 1st edn, orig cl gt, d/w + ERIC HOSKING’S OWLS, 1982, 1st edn, orig cl gt, d/w + TREVOR BOYER: VANISHING EAGLES, [1983], orig cl gt, d/w + PETER GOODFELLOW: SHAKESPEARE’S BIRDS, 1994, orig laminated bds, d/w + ANDREW WILSON AND RUSSELL SLACK: RARE AND SCARCE BIRDS IN YORKSHIRE, circa 1996, orig cl silvered, d/w + SIR EDWARD GREY: THE CHARM OF BIRDS, 2001, orig cl gt, d/w (8)
Lot 89
OMAS, Europa, a rare limited edition fountain pen, 1992, the blue vegetal resin barrel of dodecagonal section, with gold plated cap set on each facet with a single cut diamond, with two colour 18 carat gold nib, piston filler, in a presentation case with outer card packaging. The Europa pen was designed to commemorate the signing of the Maastricht Economic Treaty on 7 February 1992. The twelve diamonds represent the twelve participating countries.
Lot 45
Wellington - Arthur Wellesley First Duke of (1769-1852) - A Rare Black and White Lithographed Invitation to the Funeral of the Late Duke of Wellington at Westminster Abbey, to Mrs Morston, a housekeeper warden of a home for fallen women in Shepherds Bush, London, overseen by the author Charles Dickens and financed by Miss Burdett-Coutts
Lot 51
A Rare and Unique Napoleonic Treen Cup, Presented by Major General Lord Hutchinson as a First of Peace at the Signing of the Treaty of Amiens Between England and France on 25th March 1802, turned from three different English woods, believed to made of timber taken from General Lord Hutchinson`s ship, then worked by the ship`s carpenter, the top bears a bronze medallion depicting Hutchinson, the base inscribed on paper `Succeeded Alas...General Hutchinson Treaty of Amiens March 25 1802`, 85mm high. The negotiations began with Napoleon Bonaparte in Paris in November 1801 but these did not go well and they moved to Amiens, where Napoleon`s brother Joseph carried them on. The Treaty was finally signed in March 1802, the signatories being England, France, Spain and the Netherlands - the `peace of Amiens` as it was known, brought a temporary peace of fourteen months during the Napoleonic Wars. One of its most important cultural effects was that travel and correspondence across the English Channel became possible again. The unstable equilibrium established by it could not long endure before the constant pressure of Napoleon`s restless attempts to extend the domain of France and the counter measures taken by England brought renewed hostilities in 1803. On 16th May 1803 England declared war on France following the breakdown of the Treaty of Amiens.
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