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Lot 1930
Dinky, 2x 270 AA motorcycle patrol, one with grey plastic wheels, one with black plastic wheels (rare), (both F-G), plus 43B RAC patrol, SBRW (VG), and another 270AA patrol with SBRW (NM), 37B police motorcyclist SBRW (G), 2x 750 telephone box (VG), 2x 760 pillar box (1F,1VG), 3x 751 police box (1VG,1G&1F) and 2 reproduction policemen (x14)
Lot 177
THE (NEWCASTLE) HANDICRAFTS COMPANY THE RUBAIYAT OF OMAR KHAYAM - IVORY & GOLD BINDING, DATED 1903. Probably to a design by Richard George Hatton (1864-1926), with illumination by Elizabeth Davies, 8vo, Illuminated manuscript on paper in black and red with gold capital letters and two watercolours on endpapers, leather-backed vellum binding with ivory panels centred by a 15 carat gold embossed panel surrounded by cloisonné enamel roundels depicting vines, the boards held by 15 carat gold clasps, one lacking holding pin, hallmarked for Birmingham 1903-4 and bearing makers stamp 'THCo.' 21.5cm x 16.5cm Literature: Tony Peart and Neil Moat 'The Lost Art-Workers of Tyneside - Richard George Hatton and The (Newcastle) Handicrafts Company', Journal of the Decorative Arts Society, no 17 (1993) Provenance: Charles William Mitchell, Jesmond Towers, Newcastle upon Tyne Charles Mitchell, Pallinsburn House, Northumberland and thence by descent. Note: The Handicrafts Company of Newcastle was born out of the Art Department of The Durham College of Science, Newcastle upon Tyne whose Art Committee responded to the question as to 'whether or not designers needed practical experience of the materials for which they were designing.' Charles William Mitchell succeeded his father Dr Charles Mitchell as Chairman of the Art Committee in 1896. As a young man he had trained as an artist in Paris and had exhibited at the Royal Academy and Grosvenor Gallery between 1876 and 1889. From 1884 he was an early member of the Art Workers Guild. During the 1880s the pressure of work in his father's shipbuilding business forced him to give up these pursuits however it did not prevent him from remaining at the centre of Newcastle's artistic circle and a major patron of the arts in the city. When elected as Chairman in 1886 the headmaster of the school was Richard George Hatton, a decorative artist and designer, and the two men shared a friendship and a shared goal in promoting and supporting the arts. They also both acknowledged the 'gulf that existed between the manufacture of 'Art Wares' in an art school environment, and the reality, denied students, of having to make a living from the sale of their productions in the wider community'. As a result in 1899 at C.W. Mitchell's expense the Handicrafts Company was formed at 37 Orchard Street, Newcastle upon Tyne, under Hatton's supervision and with the aim 'to facilitate the exercise of the 'Lesser Arts' and to assist students who wish to earn a livelihood by their practice'. Although metalwork by the Company does appear on the market from time to time the current lot represents an amalgam of many of the crafts practiced by the Company and is a rare and luxurious work. An untraced repoussé book cover designed by Hatton in 1902 in silver is illustrated in his book 'Figure Composition' (Chapman and Hall 1905), however no other works are known that demonstrate this range of skills. Whilst it is likely that Hatton designed the gold panel on the cover, the illumination would probably been the hand of Elizabeth Davies, who had been a student at the College and who had subsequently been employed as a teacher of illumination for the Company from 1903. Other fine examples from this period include two silver and enamel presentation caskets hallmarked for 1903 and 1906 now in the V&A and Aberdeen Art Gallery & Museums collections. Mitchell died suddenly in 1903 but it was fortunate for the Company that he had made financial provision for a further three years. At the time of his death he had also been patron to a project of refurbishments at Walker Parish Church for which the Company was to provide all the sanctuary fittings, all designed by Hatton. Hatton returned to teaching full time at the College in 1906 but continued to supply designs for the Company. The Company continued until 1912 from whence it ceased in all but name to exist. It was only legally dissolved in 1932.
Lot 325
GEORGE WALTON (1867-1933) ARMCHAIR, CIRCA 1897. mahogany, the square back with heart-pierced splat above later upholstered leather seat and turned and tapered legs Literature: Karen Moon 'George Walton: Designer and Architect', Oxford 1993, page 67, plate 79. Note; An example of this rare armchair can be seen in a contemporary photograph of the drawing room at Elm Bank, York which Walton & Co were asked to furnish circa 1897. In the same room can be seen the celebrated Eros panel now on display at the Hunterian Art Gallery and Museum, Glasgow.
Lot 329
SIR ROBERT LORIMER (1864-1929) CORNER CHAIR, CIRCA 1900 elm, the pierced double tiered back above open arms and drop-in leather seat raised above chamfered square legs linked by stretchers Note; A similar example of this rare chair can be seen in Country Life photographs of the Drawing Room at Kellie Castle circa 1906, home of Sir Robert Lorimer Literature: Ian Gow 'Scottish Houses and Gardens', London 1997, pages 50 and 51, illustrated
Lot 6
XIVTH OLYMPICS, LONDON 1948: A RARE AND INTERESTING NEAR COMPLETE RUN OF NINETY-SIX OLYMPIC PROGRAMMES, including opening and closing ceremonies, programme in very good/excellent condition; a 1948 Olympic Games official souvenir programme XIV Olympiad, An Illustrated Record; a London Transport Olympic Games, How to Get There By, guide book; a collection of Olympic stamps; two 1950 British Empire Games programmes, one for Rowing, 6/2/50, the other for Athletics, 9/2/50, the rowing example bearing numerous autographs; and two British Empire Games souvenir brochures (a lot).
Lot 46
A RARE BRASS WATCH STAND , the easel stand decorated with two crossed tennis rackets , late 1800s, 5.3/4in. (14.5cm) high; a white-metal photograph frame, the base modelled with crossed tennis rackets, 4.1/2in (11.5cm) high; and two further tennis related photograph frames (4). THIS LOT IS THE PROPERTY OF A PRIVATE TENNIS COLLECTOR
Lot 235
Blair Hughes-Stanton (British, 1902-1981) The Fates, 1956, wood engraving, signed, numbered and titled in pencil, 12 x 8cm. Literature: Hughes-Stanton, 38, Very rare signed proof wood engraving for The Wreck of the Golden Mary - only 12 signed proof impressions were ever printed from this block. In 1955 Blair Hughes-Stanton was asked to provide seven full page illustrations for a limited edition issue of The Wreck of the Golden Mary by Charles Dickens and Wilkie Collins, for the Allen Press in California.Ê The remarkable wood engravings that he produced for this show Hughes-Stanton's brilliant talent; together with David Jones (British, 1895-1974) Life in Death, 1928-1929, line engraving, 17 x 13cm. Literature: Cleverdon E186 and B47. Very good impression printed in blue-grey ink, as first issued in 1929, with full margins and deckle edge. David Jones's engravings for The Rime of the Ancient Mariner by Samuel Taylor Coleridge represent the culmination of his career as an engraver and were his last major works in this medium, and are considered his masterpiece.Ê From 1921-1924 Jones had worked with Eric Gill at Ditchling and he became engaged to Gill's daughter, Petra.Ê Jones then moved with the Gills to the Black Mountains of Wales, settling atÊCapel-y-ffin.Ê In 1926 Jones was approached by Douglas Cleverdon to make the engravings to illustrate a private press edition of The Rime of the Ancient Mariner, which coincidentally was Jones's favourite poem.Ê Jones wrote an essay on it for Clover Hill Editions in 1972.ÊÊPartly due to the break-up of his engagement to Petra Gill, Jones made a late start on the engravings but became consumed by the idea of the project,Êand produced over 150 preparatory drawings for the final engravings.Ê Jones produced a series of ten entirely original line engravings on copper for this work, which were published by Douglas Cleverdon in 1929.ÊThe beauty of line and space in these engravings is without comparison
![Bank notes, various, in two albums: Bank of Scotland 1961 £5; £1 Treasury notes prefix X32 and H60 [Warren Fisher]; Ten Shil](http://lot-images.atgmedia.com/SR/10091/2750466/391-68-10091_468x382.jpg)
Lot 391
Bank notes, various, in two albums: Bank of Scotland 1961 £5; £1 Treasury notes prefix X32 and H60 [Warren Fisher]; Ten Shillings Treasury note prefix B50 [Bradbury], two others prefix R66 and E53 [Warren Fisher]; Isle of Man £5 1936 No.11805 (rare), and £1 Treasury note prefix O15 [Bradbury]; Isle of Man £5 A574747 [Lieutenant Governor]; another £5 B929713 [Dawson]; Clydesdale Bank £10 1998 prefix A/AR; Bank of England £1 prefix H12B [Peppiatt]; British Armed Forces £1 (x10); USA Louisiana 1875 five dollars Bond; 2000 and 200 drachma notes (1944); Egypt £5; a few other world notes
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209761 item(s)/page