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A GOLD MOUNTED GEORGIAN PRESENTATION SWORD, 81.5cm blade etched with foliage, the Royal arms, GR cypher, various classical figures and stands of arms, the gold hilt with double shell guard embossed with the regimental arms and the arms of the recipient, the knuckle guard in the form of two entwined serpents, bold lion's head pommel with ruby eyes, the mane forming the backpiece, all in one piece with the gold grip, contained in its leather scabbard with gold mounts embossed with stands of arms, the reverse of the locket engraved with the lengthy inscription, gold hallmarks for Ray and Montague. Lower part of the scabbard and chape lacking. The inscription reads "This sword was Presented on 14 April A.D.1806 To Col. Sir John Eamer Kt & C & C & C by the Officers, Non Commissioned Officers and Privates of the Royal East London Militia in Testimony of their Attachment to him as their Commanding Officer and their Esteem for him as a Gentleman & a Soldier and proudly to record the Sentiments of Triumph they share with him in his highly honourable Acquittal pronounced by a General Court Martial on ten charges preferred against him by Capt Will Ayres who with four other Officers were in Consequence Displaced from the Regt by the express command of the Sovereign". John Eamer was a wholesale grocer who dealt in sugar imported from the West Indies. His success led to him becoming Sheriff of London in 1794. He was knighted and became Lord Mayor of London in 1801. He was appointed Colonel of the Royal East London Militia on 28th April 1803. In 1805 he was charged with "Conduct Unbecoming an Officer and a Gentleman" by some junior officers who complained of bullying and abusive behaviour. Sir John was acquitted although he was cautioned to be more guarded in his future language towards the Officers of his Regiment. Sold with further research.

Original vintage travel poster - Come and Explore... Britain. If history is unwritten in stones, some chapters must be told in gems; and of these, the country towns of Britain can surely claim a share. Through these quiet towns the centuries have passed, leaving here a memory of an old-time fashion and there an example of an earlier style, legacies that form an enchanting record of the passage of the years. - featuring a great illustration by an English painter and etcher Stanley Roy Badmin (1906-1989) depicting a day in the life of a quaint country town with a herdsman and his cows, children playing in the streets, folk buying groceries, set among the narrow streets and cobbled roofs with church towering above. Fair condition, tears, creasing, folds, staining, pinholes, paper skimming, tape on edge, pencil on top edge, signed by SR Badmin on bottom right of image. Country of issue: UK, designer: S.R. Badmin, size (cm): 76x51, year of printing: 1953.

Original vintage education poster A Company - How It Is Formed and Financed, featuring a chart depicting each step of forming and financing the company, including raising money, expanding, forming a public company at the Stock Exchange, share certificate, and shareholder meeting. Designed by Illustrated Classroom Education. Presented by the Council of The Stock Exchange, London. Horizontal. Good condition, folds, creasing. Country of issue: UK, designer: unknown, size (cm): 75x101, year of printing: 1940s.

Set of 5 posters - 4 vintage reproduction posters originally printed in the 1940s and reissued by the British Labour Party for their election campaign in the 1980s and 1original poster. 1. A million new homes thanks to Labour - featuring an illustration of a lady and a little girl smiling at each other seen through the window with a daffodil plant on it. Published by The Labour Party and printed by Bell Press. Very good condition, minor creasing. Country of issue: UK, designer: unknown, size (cm): 60x42, year of printing: 1986; 2. Labour sees that you get these. A fair share at a fair price - featuring a photograph of a hand holding a Ration Book with various food products on the table next to a shopping basket, including bread, milk, sugar, eggs, butter, potatoes, cooking fat and meat. Published by The Labour Party and printed by Bell Press. Very good condition, minor creasing. Country of issue: UK, designer: unknown, size (cm): 60x42, year of printing: 1986; 3. Original poster - Labour Party Young Socialists featuring red and white lettering set over a yellow and red background. The Labour Party Young Socialists or LPYS was the youth section of the Labour Party in Britain from 1965 until 1991. Published by the Labour Party. Printed by CWS Printing Works. Good condition, creasing, small tears. Country of issue: UK, designer: unknown, size (cm): 76x50, year of printing: 1980s; 4. Labour's health service covers everyone. Tories voted against it - featuring an illustration of family members young and old smiling as they look at a little girl, red, black and white lettering set over a yellow background. Published by The Labour Party and printed by Bell Press. Very good condition, minor creasing. Country of issue: UK, designer: unknown, size (cm): 59x42, year of printing: 1986; 5. Family allowances started 6th August 1946 by Labour - featuring a photograph of a mother and a little boy smiling at a child, red lettering over a yellow background. Published by The Labour Party and printed by Bell Press. Very good condition, minor creasing. Country of issue: UK, designer: unknown, size (cm): 59x42, year of printing: 1986.

An Art Deco "Platinon" necklace, spectacle set with green paste stone. 108cms in length. Along with a Majex Art Deco style paste set watch. Untested but winds and appears to run. Platinon is an rare alloy which was created in the 1920s as a simulant for platinum. It share the inert and tough qualities of platinum.

Lara Davies It Was Too Cold Even For Me (Study), 2023 Oil and primer on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lara Davies was born in 1985 in Wales. She lives in London and has a studio in Hackney Wick. Her work is held in both private and public collections, including the Contemporary Art Society of Wales and the AllBright Mayfair Members' Club. Education 2020-2022 - Royal College of Art, London MA in Painting 2006-2010 - Cardiff University BSc (Hons) Mathematics, Operational Research and Statistics, 1st Class 2005-2006 - Ruskin School of Art, Oxford University Select Exhibitions/Awards 2023 - Positions Part 1, group exhibition, Alma Pearl, London 2023 - Godesses (A Love Explosion), group exhibition,Terrace Gallery, London 2023 - Stage, group exhibition, LLE at Kingsgate Project Space, London 2022 - To Feel All Your Warmth, group exhibition, Warbling Collective, London 2022 - Royal College of Art Degree Show, London 2022 - Blink: Room Share 2, group exhibition, Safehouse One, London 2021 - Pleasure Scene, group exhibition, Trafalgar Avenue, London 2020 - Telling Tales/Cario Clecs, three person exhibition, BayArt Cardiff 2019 - Creekside Open 2019 Selected by Sacha Craddock 2019 - Creekside Open 2019 Selected by Brian Griffiths 2018 - John Moores Painting Prize, Walker Museum Liverpool Y You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.

Vanessa Brassey Dog Days in Spring, 2023 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About I am a figurative painter working in acrylic inks and oils on canvas, glass and metal, and academic philosopher. I aim to depict my local world in a way that resists simple naturalism. Beguiling the viewer with landscapes and portraits that resonate with emotional complexity and possibility. My research investigates emotions, memory, and dreaming - an area ripe with open puzzles for the scientific community. They occupy me when I am reading and writing, but also when I am looking and painting. My paintings mirror my experience of the world. Increasingly, I introduce elements of heightened clarity to juice things up and combine this with a mischievous and irreverent use of colour. I blend direct observation with photographic evidence and a bright palette. I want to convey how it feels to be endlessly beguiled and moved by the complexity and possibilities of our shared planet by capturing those transient feelings that make up the quicksilver of our lives. I began showing my paintings during lockdown. Up until then my sketchbooks were just a private sanctuary recording the pull between wild wanderlust and sensible mothering. When I started posting my daily sketches from my walks around Hampstead Heath, it became clear that many shared the passion for the park. With encouragement the sketches developed into in a painted collection where I could experiment with new grounds (metal, boards, wineboxes and so on). My work has been shortlisted in 2022 for the Royal Institute of Watercolour Painters, The Holly Bush Emerging Women Painters Prize, the Jackson Painting Prize, and the Beep! Biannual Painting Prize. I also lecture and teach on the MA Philosophy programme at King's College London, and I was awarded the British Society of Aesthetics Research Fellowship for my project 'Time for Beauty' 2022-3. Straddling both Art & Philosophy, I co-run collaborations with the Tate, National Gallery, and The Photographers Gallery introducing philosophical puzzles to the curious minded in digestible and delightful formats. Basically, it's philosophy (without the boring bits) Education Degree in Portraiture Art Academy London (in progress), Post-Doctoral Fellowship in Philosophy researching 'Time for Beauty' King's College London & BSA (2023), PhD Philosophy (2020) King's College London, Masters in Philosophy (2014) King's College London, UG degree in Political History (1994) University of Birmingham Select Exhibitions/Awards The Affordable Art Fair Battersea 2023, The Affordable Art Fair Hampstead Heath 2023, Must Wine Bar Hampstead (December 2022), The Lido Cafe Hampstead Heath (Spring 2022). Statement about AOAP Submitted Artwork These postcard paintings mirror my experience of the world. I see my surrounding in technicolour and enjoy time in the studio processing what I see by blending direct observation with photographic evidence and a bright palette. I began painting professionally during lockdown when I opened up my private sketchbooks for the first time on instagram. I started by posting my daily sketches from my walks around Hampstead Heath and it's been a joy to find some many others who share a passion for the park.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Vanessa Brassey The Girl, The Dog and The Flowers, 2023 Acrylic and ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About I am a figurative painter working in acrylic inks and oils on canvas, glass and metal, and academic philosopher. I aim to depict my local world in a way that resists simple naturalism. Beguiling the viewer with landscapes and portraits that resonate with emotional complexity and possibility. My research investigates emotions, memory, and dreaming - an area ripe with open puzzles for the scientific community. They occupy me when I am reading and writing, but also when I am looking and painting. My paintings mirror my experience of the world. Increasingly, I introduce elements of heightened clarity to juice things up and combine this with a mischievous and irreverent use of colour. I blend direct observation with photographic evidence and a bright palette. I want to convey how it feels to be endlessly beguiled and moved by the complexity and possibilities of our shared planet by capturing those transient feelings that make up the quicksilver of our lives. I began showing my paintings during lockdown. Up until then my sketchbooks were just a private sanctuary recording the pull between wild wanderlust and sensible mothering. When I started posting my daily sketches from my walks around Hampstead Heath, it became clear that many shared the passion for the park. With encouragement the sketches developed into in a painted collection where I could experiment with new grounds (metal, boards, wineboxes and so on). My work has been shortlisted in 2022 for the Royal Institute of Watercolour Painters, The Holly Bush Emerging Women Painters Prize, the Jackson Painting Prize, and the Beep! Biannual Painting Prize. I also lecture and teach on the MA Philosophy programme at King's College London, and I was awarded the British Society of Aesthetics Research Fellowship for my project 'Time for Beauty' 2022-3. Straddling both Art & Philosophy, I co-run collaborations with the Tate, National Gallery, and The Photographers Gallery introducing philosophical puzzles to the curious minded in digestible and delightful formats. Basically, it's philosophy (without the boring bits) Education Degree in Portraiture Art Academy London (in progress), Post-Doctoral Fellowship in Philosophy researching 'Time for Beauty' King's College London & BSA (2023), PhD Philosophy (2020) King's College London, Masters in Philosophy (2014) King's College London, UG degree in Political History (1994) University of Birmingham Select Exhibitions/Awards The Affordable Art Fair Battersea 2023, The Affordable Art Fair Hampstead Heath 2023, Must Wine Bar Hampstead (December 2022), The Lido Cafe Hampstead Heath (Spring 2022). Statement about AOAP Submitted Artwork These postcard paintings mirror my experience of the world. I see my surrounding in technicolour and enjoy time in the studio processing what I see by blending direct observation with photographic evidence and a bright palette. I began painting professionally during lockdown when I opened up my private sketchbooks for the first time on instagram. I started by posting my daily sketches from my walks around Hampstead Heath and it's been a joy to find some many others who share a passion for the park.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Lara Davies Those Left Behind, 2023 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lara Davies was born in 1985 in Wales. She lives in London and has a studio in Hackney Wick. Her work is held in both private and public collections, including the Contemporary Art Society of Wales and the AllBright Mayfair Members' Club. Education 2020-2022 - Royal College of Art, London MA in Painting 2006-2010 - Cardiff University BSc (Hons) Mathematics, Operational Research and Statistics, 1st Class 2005-2006 - Ruskin School of Art, Oxford University Select Exhibitions/Awards 2023 - Positions Part 1, group exhibition, Alma Pearl, London 2023 - Godesses (A Love Explosion), group exhibition,Terrace Gallery, London 2023 - Stage, group exhibition, LLE at Kingsgate Project Space, London 2022 - To Feel All Your Warmth, group exhibition, Warbling Collective, London 2022 - Royal College of Art Degree Show, London 2022 - Blink: Room Share 2, group exhibition, Safehouse One, London 2021 - Pleasure Scene, group exhibition, Trafalgar Avenue, London 2020 - Telling Tales/Cario Clecs, three person exhibition, BayArt Cardiff 2019 - Creekside Open 2019 Selected by Sacha Craddock 2019 - Creekside Open 2019 Selected by Brian Griffiths 2018 - John Moores Painting Prize, Walker Museum Liverpool Y You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.

Guernsey share certificate - The Guernsey Waterworks Company LimitedShare Capital £20,000 in 2,000 Shares of £10 Each, dated 30th December 1899.

A small collection of late 19th and early 20th century share and bond certificates including a Confederate States of America $1000 bond, May 1861, 14 coupons; USA Eastern and Western Air Line Railway Company $1000 bond, April 1886; The Comstock Mining Company Limited £1 share certificate, Sept. 1888; and four others. (7)

Large lot of engraved glass with various hunting motifs. 80 Share. Among other things; six decanters, and seven sets including cognac, long drink, water, wine and shot glasses. Second half 20th century. In good condition.

Lot of twelve parts Chinese porcelain cups and saucers. Among other things; Imari, kang xi, cheng lung. Share well, share hairline and or chips. Size: 8 - 14 cm. In fair/good condition.

Old Chinese money + Chinese government share 25,000,000 sterling. Eight parts. Size: 14 - 44 cm. In fair/good condition.

A FINE LARGE MULTI-BLADE PENKNIFE FOR EXHIBITION, GEORGE WOSTENHOLM I.XL, SHEFFIELD, 20TH CENTURY with over one hundred folding blades and accessories, including saws, picks, scissors and corkscrew, some stamped ‘George Wostenholm I.XL.’, fitted at each side with highly figured select quality mother-of-pearl scales each retained by four minute screws, with sliding tweezers and picks top and bottom, and in fine condition throughout, 12.0 cm (closed) LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 73. It is likely that the founder of George Wostenholm & Son Ltd was George Wolstenholme (1775-1833), a fork maker at Thomas Lane. Apprenticed to John Micklethwaite, a cutler, in 1790 and granted his Freedom in 1799, George later moved to Broad Lane where he made spring knives. He was first listed in a Sheffield directory in 1816 as a pen and pocket knife manufacturer at Rockingham Street, where he had registered a silver mark in 1809. His workshops expanded to become Rockingham Works and he apparently shortened his name to ‘Wostenholm’ to facilitate its stamping on blades. His son, George Wostenholm (1802-1876) was apprenticed to his father and they are described in 1825 as ‘George Wolstenholme & Son, manufacturers of table knives, and forks, pen, pocket, and sportsman’s knives, and general dealers in cutlery, 78 Rockingham Street’. George Wostenholm became a Freeman in 1826, a practical cutler and a dynamic salesman he found scope for his prodigious energy in America where, in 1830, the father and son launched a partnership with William Stenton, an experienced cutlery merchant. However, this did not last and the partnership was dissolved the following year when they were also granted their trademark ‘I*XL. ‘, bought by George Senior in 1826 and originally granted to William Aldam Smith in 1787. In 1833 George Senior died and the business continued under his son who opened a New York office in 1844, and by the middle of the century had agents in Philadelphia and Boston. America was the ideal market with its expanding frontier and enormous demand for folding knives, razors, and weapons. The firm’s trade became almost exclusively American and Wostenholm made little attempt to nurture other markets. In 1848 the Washington Works was acquired and American orders continued to roll in. The workforce increased significantly to 850 in 1861, having been around a hundred or so in the 1830s. The high quality of the firm’s Bowie and spring knives was achieved by ‘drilling’, in which every knife was critically examined. It had the desired effect and soon ‘I*XL’ vied with Rodgers’ star and Maltese cross as a badge of quality. Like Rodgers, Wostenholm made its share of exhibition pieces. At the Great Exhibition in 1851 Wostenholm displayed a set of ornate sheath knives, including one commissioned from the well-known artist Alfred Stevens. The company also displayed a collection of exhibition multi-blades. The display won a Prize Medal for Wostenholm. The firm also carried off prize medals at exhibitions in Paris (1855) and London (1862). George Wostenholm had remarkable stamina. In early 1869, in his late sixties, he set off for a tour of Europe and in October the same year he made another trip to New York. In 1872, he again visited New York. He was active until the end, though he sold out to his business associates in 1875, when Wostenholm’s became a limited liability company. George Wostenholm died in 1876, aged 74 and left a remarkable fortune of nearly £250,000. The new company chairman and directors had little or no experience of the cutlery trade. Initially, Wostenholm’s continued to make good profit but the McKinley Tariff of 1890 raised the duties on their American exports to unprecedented heights and caused a crisis. Wostenholm’s refused to abandon the American trade and maintained an unprofitable New York office open until the early 1930s while they had little success breaking into the Australian and other markets. In the early 20th century they opposed machine technology and consequently were in decline a decade before the First World War. Not long after, Washington Works was becoming a relic. In 1971, Wostenholm was bought by Joseph Rodgers & Sons and the new company (Rodgers-Wostenholm) moved into premises at Guernsey Road, Heeley. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.

A FINE MULTI-BLADE PENKNIFE FOR EXHIBITION, GEORGE WOSTENHOLM I.XL, SHEFFIELD, EARLY 20TH CENTURY with over forty-eight folding blades and accessories, including saws, picks, scissors and corkscrew, some stamped ‘George Wostenholm I.XL.’, fitted at each side with highly figured composition scales each retained by four minute screws, with sliding tweezers and picks top and bottom, and in fine condition throughout, 12.0 cm (closed) LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 73. It is likely that the founder of George Wostenholm & Son Ltd was George Wolstenholme (1775-1833), a fork maker at Thomas Lane. Apprenticed to John Micklethwaite, a cutler, in 1790 and granted his Freedom in 1799, George later moved to Broad Lane where he made spring knives. He was first listed in a Sheffield directory in 1816 as a pen and pocket knife manufacturer at Rockingham Street, where he had registered a silver mark in 1809. His workshops expanded to become Rockingham Works and he apparently shortened his name to ‘Wostenholm’ to facilitate its stamping on blades. His son, George Wostenholm (1802-1876) was apprenticed to his father and they are described in 1825 as ‘George Wolstenholme & Son, manufacturers of table knives, and forks, pen, pocket, and sportsman’s knives, and general dealers in cutlery, 78 Rockingham Street’. George Wostenholm became a Freeman in 1826, a practical cutler and a dynamic salesman he found scope for his prodigious energy in America where, in 1830, the father and son launched a partnership with William Stenton, an experienced cutlery merchant. However, this did not last and the partnership was dissolved the following year when they were also granted their trademark ‘I*XL. ‘, bought by George Senior in 1826 and originally granted to William Aldam Smith in 1787. In 1833 George Senior died and the business continued under his son who opened a New York office in 1844, and by the middle of the century had agents in Philadelphia and Boston. America was the ideal market with its expanding frontier and enormous demand for folding knives, razors, and weapons. The firm’s trade became almost exclusively American and Wostenholm made little attempt to nurture other markets. In 1848 the Washington Works was acquired and American orders continued to roll in. The workforce increased significantly to 850 in 1861, having been around a hundred or so in the 1830s. The high quality of the firm’s Bowie and spring knives was achieved by ‘drilling’, in which every knife was critically examined. It had the desired effect and soon ‘I*XL’ vied with Rodgers’ star and Maltese cross as a badge of quality. Like Rodgers, Wostenholm made its share of exhibition pieces. At the Great Exhibition in 1851 Wostenholm displayed a set of ornate sheath knives, including one commissioned from the well-known artist Alfred Stevens. The company also displayed a collection of exhibition multi-blades. The display won a Prize Medal for Wostenholm. The firm also carried off prize medals at exhibitions in Paris (1855) and London (1862). George Wostenholm had remarkable stamina. In early 1869, in his late sixties, he set off for a tour of Europe and in October the same year he made another trip to New York. In 1872, he again visited New York. He was active until the end, though he sold out to his business associates in 1875, when Wostenholm’s became a limited liability company. George Wostenholm died in 1876, aged 74 and left a remarkable fortune of nearly £250,000. The new company chairman and directors had little or no experience of the cutlery trade. Initially, Wostenholm’s continued to make good profit but the McKinley Tariff of 1890 raised the duties on their American exports to unprecedented heights and caused a crisis. Wostenholm’s refused to abandon the American trade and maintained an unprofitable New York office open until the early 1930s while they had little success breaking into the Australian and other markets. In the early 20th century they opposed machine technology and consequently were in decline a decade before the First World War. Not long after, Washington Works was becoming a relic. In 1971, Wostenholm was bought by Joseph Rodgers & Sons and the new company (Rodgers-Wostenholm) moved into premises at Guernsey Road, Heeley. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.

A SMALL MULTI-BLADE PENKNIFE FOR EXHIBITION, GEORGE WOSTENHOLM I.XL, SHEFFIELD, EARLY 20TH CENTURY with over twenty folding blades and accessories, including saw, picks, scissors and corkscrew, the main blade stamped ‘George Wostenholm I.XL.’, fitted at each side with highly figured select quality mother-of-pearl scales each retained by three minute screws, with sliding tweezers and picks, and in fine condition throughout, 8.1 cm (closed) LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 73. It is likely that the founder of George Wostenholm & Son Ltd was George Wolstenholme (1775-1833), a fork maker at Thomas Lane. Apprenticed to John Micklethwaite, a cutler, in 1790 and granted his Freedom in 1799, George later moved to Broad Lane where he made spring knives. He was first listed in a Sheffield directory in 1816 as a pen and pocket knife manufacturer at Rockingham Street, where he had registered a silver mark in 1809. His workshops expanded to become Rockingham Works and he apparently shortened his name to ‘Wostenholm’ to facilitate its stamping on blades. His son, George Wostenholm (1802-1876) was apprenticed to his father and they are described in 1825 as ‘George Wolstenholme & Son, manufacturers of table knives, and forks, pen, pocket, and sportsman’s knives, and general dealers in cutlery, 78 Rockingham Street’. George Wostenholm became a Freeman in 1826, a practical cutler and a dynamic salesman he found scope for his prodigious energy in America where, in 1830, the father and son launched a partnership with William Stenton, an experienced cutlery merchant. However, this did not last and the partnership was dissolved the following year when they were also granted their trademark ‘I*XL. ‘, bought by George Senior in 1826 and originally granted to William Aldam Smith in 1787. In 1833 George Senior died and the business continued under his son who opened a New York office in 1844, and by the middle of the century had agents in Philadelphia and Boston. America was the ideal market with its expanding frontier and enormous demand for folding knives, razors, and weapons. The firm’s trade became almost exclusively American and Wostenholm made little attempt to nurture other markets. In 1848 the Washington Works was acquired and American orders continued to roll in. The workforce increased significantly to 850 in 1861, having been around a hundred or so in the 1830s. The high quality of the firm’s Bowie and spring knives was achieved by ‘drilling’, in which every knife was critically examined. It had the desired effect and soon ‘I*XL’ vied with Rodgers’ star and Maltese cross as a badge of quality. Like Rodgers, Wostenholm made its share of exhibition pieces. At the Great Exhibition in 1851 Wostenholm displayed a set of ornate sheath knives, including one commissioned from the well-known artist Alfred Stevens. The company also displayed a collection of exhibition multi-blades. The display won a Prize Medal for Wostenholm. The firm also carried off prize medals at exhibitions in Paris (1855) and London (1862). George Wostenholm had remarkable stamina. In early 1869, in his late sixties, he set off for a tour of Europe and in October the same year he made another trip to New York. In 1872, he again visited New York. He was active until the end, though he sold out to his business associates in 1875, when Wostenholm’s became a limited liability company. George Wostenholm died in 1876, aged 74 and left a remarkable fortune of nearly £250,000. The new company chairman and directors had little or no experience of the cutlery trade. Initially, Wostenholm’s continued to make good profit but the McKinley Tariff of 1890 raised the duties on their American exports to unprecedented heights and caused a crisis. Wostenholm’s refused to abandon the American trade and maintained an unprofitable New York office open until the early 1930s while they had little success breaking into the Australian and other markets. In the early 20th century they opposed machine technology and consequently were in decline a decade before the First World War. Not long after, Washington Works was becoming a relic. In 1971, Wostenholm was bought by Joseph Rodgers & Sons and the new company (Rodgers-Wostenholm) moved into premises at Guernsey Road, Heeley. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.

SIX POCKET KNIVES, GEORGE WOSTENHOLM, SHEFFIELD, 20TH CENTURY the first with two folding blades, each stamped by the maker at the ricasso, the larger blade marked ‘I.XL’, brass fillets, chased German silver terminals and a small ivory central scales, one with a vacant German silver escutcheon; the second with two folding blades and cast body including the initials ‘I.XL’; the third and fourth with a single blade, the ferrules marked ‘I.XL; and two further knives, each in their original box, the first: 11.3 cm (closed) (6) LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 143. It is likely that the founder of George Wostenholm & Son Ltd was George Wolstenholme (1775-1833), a fork maker at Thomas Lane. Apprenticed to John Micklethwaite, a cutler, in 1790 and granted his Freedom in 1799, George later moved to Broad Lane where he made spring knives. He was first listed in a Sheffield directory in 1816 as a pen and pocket knife manufacturer at Rockingham Street, where he had registered a silver mark in 1809. His workshops expanded to become Rockingham Works and he apparently shortened his name to ‘Wostenholm’ to facilitate its stamping on blades. His son, George Wostenholm (1802-1876) was apprenticed to his father and they are described in 1825 as ‘George Wolstenholme & Son, manufacturers of table knives, and forks, pen, pocket, and sportsman’s knives, and general dealers in cutlery, 78 Rockingham Street’. George Wostenholm became a Freeman in 1826, a practical cutler and a dynamic salesman he found scope for his prodigious energy in America where, in 1830, the father and son launched a partnership with William Stenton, an experienced cutlery merchant. However, this did not last and the partnership was dissolved the following year when they were also granted their trademark ‘I*XL. ‘, bought by George Senior in 1826 and originally granted to William Aldam Smith in 1787. In 1833 George Senior died and the business continued under his son who opened a New York office in 1844, and by the middle of the century had agents in Philadelphia and Boston. America was the ideal market with its expanding frontier and enormous demand for folding knives, razors, and weapons. The firm’s trade became almost exclusively American and Wostenholm made little attempt to nurture other markets. In 1848 the Washington Works was acquired and American orders continued to roll in. The workforce increased significantly to 850 in 1861, having been around a hundred or so in the 1830s. The high quality of the firm’s Bowie and spring knives was achieved by ‘drilling’, in which every knife was critically examined. It had the desired effect and soon ‘I*XL’ vied with Rodgers’ star and Maltese cross as a badge of quality. Like Rodgers, Wostenholm made its share of exhibition pieces. At the Great Exhibition in 1851 Wostenholm displayed a set of ornate sheath knives, including one commissioned from the well-known artist Alfred Stevens. The company also displayed a collection of exhibition multi-blades. The display won a Prize Medal for Wostenholm. The firm also carried off prize medals at exhibitions in Paris (1855) and London (1862). George Wostenholm had remarkable stamina. In early 1869, in his late sixties, he set off for a tour of Europe and in October the same year he made another trip to New York. In 1872, he again visited New York. He was active until the end, though he sold out to his business associates in 1875, when Wostenholm’s became a limited liability company. George Wostenholm died in 1876, aged 74 and left a remarkable fortune of nearly £250,000. The new company chairman and directors had little or no experience of the cutlery trade. Initially, Wostenholm’s continued to make good profit but the McKinley Tariff of 1890 raised the duties on their American exports to unprecedented heights and caused a crisis. Wostenholm’s refused to abandon the American trade and maintained an unprofitable New York office open until the early 1930s while they had little success breaking into the Australian and other markets. In the early 20th century they opposed machine technology and consequently were in decline a decade before the First World War. Not long after, Washington Works was becoming a relic. In 1971, Wostenholm was bought by Joseph Rodgers & Sons and the new company (Rodgers-Wostenholm) moved into premises at Guernsey Road, Heeley. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.

TWO ‘NON XLL’ POCKET KNIVES, SHEFFIELD, EARLY 20TH CENTURY AND SIX FURTHER POCKET KNIVES the first two probably Wostenholm, each with two folding blades, iron ferrule stamped ‘Non XLL’, and natural staghorn scales (one restored), the third Joseph Eliott, with two folding blades and natural staghorn scales; the fourth and fifth with cast bodies; and three further similar knives, the first: 8.5 cm (closed) (8) LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 139. It is likely that the founder of George Wostenholm & Son Ltd was George Wolstenholme (1775-1833), a fork maker at Thomas Lane. Apprenticed to John Micklethwaite, a cutler, in 1790 and granted his Freedom in 1799, George later moved to Broad Lane where he made spring knives. He was first listed in a Sheffield directory in 1816 as a pen and pocket knife manufacturer at Rockingham Street, where he had registered a silver mark in 1809. His workshops expanded to become Rockingham Works and he apparently shortened his name to ‘Wostenholm’ to facilitate its stamping on blades. His son, George Wostenholm (1802-1876) was apprenticed to his father and they are described in 1825 as ‘George Wolstenholme & Son, manufacturers of table knives, and forks, pen, pocket, and sportsman’s knives, and general dealers in cutlery, 78 Rockingham Street’. George Wostenholm became a Freeman in 1826, a practical cutler and a dynamic salesman he found scope for his prodigious energy in America where, in 1830, the father and son launched a partnership with William Stenton, an experienced cutlery merchant. However, this did not last and the partnership was dissolved the following year when they were also granted their trademark ‘I*XL. ‘, bought by George Senior in 1826 and originally granted to William Aldam Smith in 1787. In 1833 George Senior died and the business continued under his son who opened a New York office in 1844, and by the middle of the century had agents in Philadelphia and Boston. America was the ideal market with its expanding frontier and enormous demand for folding knives, razors, and weapons. The firm’s trade became almost exclusively American and Wostenholm made little attempt to nurture other markets. In 1848 the Washington Works was acquired and American orders continued to roll in. The workforce increased significantly to 850 in 1861, having been around a hundred or so in the 1830s. The high quality of the firm’s Bowie and spring knives was achieved by ‘drilling’, in which every knife was critically examined. It had the desired effect and soon ‘I*XL’ vied with Rodgers’ star and Maltese cross as a badge of quality. Like Rodgers, Wostenholm made its share of exhibition pieces. At the Great Exhibition in 1851 Wostenholm displayed a set of ornate sheath knives, including one commissioned from the well-known artist Alfred Stevens. The company also displayed a collection of exhibition multi-blades. The display won a Prize Medal for Wostenholm. The firm also carried off prize medals at exhibitions in Paris (1855) and London (1862). George Wostenholm had remarkable stamina. In early 1869, in his late sixties, he set off for a tour of Europe and in October the same year he made another trip to New York. In 1872, he again visited New York. He was active until the end, though he sold out to his business associates in 1875, when Wostenholm’s became a limited liability company. George Wostenholm died in 1876, aged 74 and left a remarkable fortune of nearly £250,000. The new company chairman and directors had little or no experience of the cutlery trade. Initially, Wostenholm’s continued to make good profit but the McKinley Tariff of 1890 raised the duties on their American exports to unprecedented heights and caused a crisis. Wostenholm’s refused to abandon the American trade and maintained an unprofitable New York office open until the early 1930s while they had little success breaking into the Australian and other markets. In the early 20th century they opposed machine technology and consequently were in decline a decade before the First World War. Not long after, Washington Works was becoming a relic. In 1971, Wostenholm was bought by Joseph Rodgers & Sons and the new company (Rodgers-Wostenholm) moved into premises at Guernsey Road, Heeley. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.

A MASSIVE EXHIBITION HUNTING KNIFE, GEORGE WOSTENHOLM & SON, WASHINGTON WORKS, I.XL, LATE 19TH CENTURY with long blade formed with a spear point and with three panels of deeply filed grooves on the back-edge (small areas of light wear and staining), stamped with the maker’s details including ‘None are genuine but those marked I. XL.’, and eagle, ‘Geo. Wostenholm & Sons Celebrated’ in a linear panel, and in large elaborate letters ‘For Stags and Buffalos’ on one face, rectangular ricasso, elliptical German silver cross-piece, and natural staghorn grips retained by five rivets, 35.2 cm blade It is likely that the founder of George Wostenholm & Son Ltd was George Wolstenholme (1775-1833), a fork maker at Thomas Lane. Apprenticed to John Micklethwaite, a cutler, in 1790 and granted his Freedom in 1799, George later moved to Broad Lane where he made spring knives. He was first listed in a Sheffield directory in 1816 as a pen and pocket knife manufacturer at Rockingham Street, where he had registered a silver mark in 1809. His workshops expanded to become Rockingham Works and he apparently shortened his name to ‘Wostenholm’ to facilitate its stamping on blades. His son, George Wostenholm (1802-1876) was apprenticed to his father and they are described in 1825 as ‘George Wolstenholme & Son, manufacturers of table knives, and forks, pen, pocket, and sportsman’s knives, and general dealers in cutlery, 78 Rockingham Street’. George Wostenholm became a Freeman in 1826, a practical cutler and a dynamic salesman he found scope for his prodigious energy in America where, in 1830, the father and son launched a partnership with William Stenton, an experienced cutlery merchant. However, this did not last and the partnership was dissolved the following year when they were also granted their trademark ‘I*XL. ‘, bought by George Senior in 1826 and originally granted to William Aldam Smith in 1787. In 1833 George Senior died and the business continued under his son who opened a New York office in 1844, and by the middle of the century had agents in Philadelphia and Boston. America was the ideal market with its expanding frontier and enormous demand for folding knives, razors, and weapons. The firm’s trade became almost exclusively American and Wostenholm made little attempt to nurture other markets. In 1848 the Washington Works was acquired and American orders continued to roll in. The workforce increased significantly to 850 in 1861, having been around a hundred or so in the 1830s. The high quality of the firm’s Bowie and spring knives was achieved by ‘drilling’, in which every knife was critically examined. It had the desired effect and soon ‘I*XL’ vied with Rodgers’ star and Maltese cross as a badge of quality. Like Rodgers, Wostenholm made its share of exhibition pieces. At the Great Exhibition in 1851 Wostenholm displayed a set of ornate sheath knives, including one commissioned from the well-known artist Alfred Stevens. The company also displayed a collection of exhibition multi-blades. The display won a Prize Medal for Wostenholm. The firm also carried off prize medals at exhibitions in Paris (1855) and London (1862). George Wostenholm had remarkable stamina. In early 1869, in his late sixties, he set off for a tour of Europe and in October the same year he made another trip to New York. In 1872, he again visited New York. He was active until the end, though he sold out to his business associates in 1875, when Wostenholm’s became a limited liability company. George Wostenholm died in 1876, aged 74 and left a remarkable fortune of nearly £250,000. The new company chairman and directors had little or no experience of the cutlery trade. Initially, Wostenholm’s continued to make good profit but the McKinley Tariff of 1890 raised the duties on their American exports to unprecedented heights and caused a crisis. Wostenholm’s refused to abandon the American trade and maintained an unprofitable New York office open until the early 1930s while they had little success breaking into the Australian and other markets. In the early 20th century they opposed machine technology and consequently were in decline a decade before the First World War. Not long after, Washington Works was becoming a relic. In 1971, Wostenholm was bought by Joseph Rodgers & Sons and the new company (Rodgers-Wostenholm) moved into premises at Guernsey Road, Heeley. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.

A RARE BOWIE KNIFE PRESENTED TO JOHN CAMPBELL, SURGEON, JALAPA 1847, GEORGE WOSTENHOLM & SON, I.XL, WASHINGTON WORKS, SHEFFIELD with curved blade formed with a clipped point, engraved with an eagle displayed, ‘None are genuine but those marked I.XL.’, the maker’s details and presentation inscription, iron cross-guard with scrolling terminals, Indian style carved brown hardstone grip, in its leather-covered wooden scabbard (light wear, chape missing), 30.2 cm blade LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 234. The presentation inscription reads: John Campbell Surgeon Jalapa 1847 in Highest Esteem. On 18th April 1847 a force of thirteen thousand Mexican troops met nine thousand Americans at a mountain pass near Jalapa. Bitter hand-to-hand fighting ensued and the Mexicans were forced to flee. The American army continued, under General Winfield Scott, towards Mexico city, storming a Mexican fortress at Contreras and then routing a large Mexican force at Churubusco. It is likely that the founder of George Wostenholm & Son Ltd was George Wolstenholme (1775-1833), a fork maker at Thomas Lane. Apprenticed to John Micklethwaite, a cutler, in 1790 and granted his Freedom in 1799, George later moved to Broad Lane where he made spring knives. He was first listed in a Sheffield directory in 1816 as a pen and pocket knife manufacturer at Rockingham Street, where he had registered a silver mark in 1809. His workshops expanded to become Rockingham Works and he apparently shortened his name to ‘Wostenholm’ to facilitate its stamping on blades. His son, George Wostenholm (1802-1876) was apprenticed to his father and they are described in 1825 as ‘George Wolstenholme & Son, manufacturers of table knives, and forks, pen, pocket, and sportsman’s knives, and general dealers in cutlery, 78 Rockingham Street’. George Wostenholm became a Freeman in 1826, a practical cutler and a dynamic salesman he found scope for his prodigious energy in America where, in 1830, the father and son launched a partnership with William Stenton, an experienced cutlery merchant. However, this did not last and the partnership was dissolved the following year when they were also granted their trademark ‘I*XL. ‘, bought by George Senior in 1826 and originally granted to William Aldam Smith in 1787. In 1833 George Senior died and the business continued under his son who opened a New York office in 1844, and by the middle of the century had agents in Philadelphia and Boston. America was the ideal market with its expanding frontier and enormous demand for folding knives, razors, and weapons. The firm’s trade became almost exclusively American and Wostenholm made little attempt to nurture other markets. In 1848 the Washington Works was acquired and American orders continued to roll in. The workforce increased significantly to 850 in 1861, having been around a hundred or so in the 1830s. The high quality of the firm’s Bowie and spring knives was achieved by ‘drilling’, in which every knife was critically examined. It had the desired effect and soon ‘I*XL’ vied with Rodgers’ star and Maltese cross as a badge of quality. Like Rodgers, Wostenholm made its share of exhibition pieces. At the Great Exhibition in 1851 Wostenholm displayed a set of ornate sheath knives, including one commissioned from the well-known artist Alfred Stevens. The company also displayed a collection of exhibition multi-blades. The display won a Prize Medal for Wostenholm. The firm also carried off prize medals at exhibitions in Paris (1855) and London (1862). George Wostenholm had remarkable stamina. In early 1869, in his late sixties, he set off for a tour of Europe and in October the same year he made another trip to New York. In 1872, he again visited New York. He was active until the end, though he sold out to his business associates in 1875, when Wostenholm’s became a limited liability company. George Wostenholm died in 1876, aged 74 and left a remarkable fortune of nearly £250,000. The new company chairman and directors had little or no experience of the cutlery trade. Initially, Wostenholm’s continued to make good profit but the McKinley Tariff of 1890 raised the duties on their American exports to unprecedented heights and caused a crisis. Wostenholm’s refused to abandon the American trade and maintained an unprofitable New York office open until the early 1930s while they had little success breaking into the Australian and other markets. In the early 20th century they opposed machine technology and consequently were in decline a decade before the First World War. Not long after, Washington Works was becoming a relic. In 1971, Wostenholm was bought by Joseph Rodgers & Sons and the new company (Rodgers-Wostenholm) moved into premises at Guernsey Road, Heeley. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.

A BOWIE KNIFE, GEORGE WOSTENHOLM & SON, WASHINGTON WORKS, SHEFFIELD, CIRCA 1960 with broad blade formed with a clipped-back point, stamped with the maker’s details, ‘I.XL’, ‘The Hunter’s Companion’, and ‘The real I.XL knife’, engraved with an eagle and with the makers name and ‘California Knife’ in gilt letters, recessed rectangular ricasso stamped with the maker’s details in full, German silver guard, milled copper alloy fillets, natural staghorn scales and vacant German silver escutcheon, in its wooden scabbard with tooled leather covering stamped ‘I.XL’ in gilt letters and with German silver mounts, 24.0 cm blade LiteratureRichard Washer, The Sheffield Bowie & Pocket-Knife makers 1825-1925, Nottingham 1974, cover and frontispiece illustration.David Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 280. It is likely that the founder of George Wostenholm & Son Ltd was George Wolstenholme (1775-1833), a fork maker at Thomas Lane. Apprenticed to John Micklethwaite, a cutler, in 1790 and granted his Freedom in 1799, George later moved to Broad Lane where he made spring knives. He was first listed in a Sheffield directory in 1816 as a pen and pocket knife manufacturer at Rockingham Street, where he had registered a silver mark in 1809. His workshops expanded to become Rockingham Works and he apparently shortened his name to ‘Wostenholm’ to facilitate its stamping on blades. His son, George Wostenholm (1802-1876) was apprenticed to his father and they are described in 1825 as ‘George Wolstenholme & Son, manufacturers of table knives, and forks, pen, pocket, and sportsman’s knives, and general dealers in cutlery, 78 Rockingham Street’. George Wostenholm became a Freeman in 1826, a practical cutler and a dynamic salesman he found scope for his prodigious energy in America where, in 1830, the father and son launched a partnership with William Stenton, an experienced cutlery merchant. However, this did not last and the partnership was dissolved the following year when they were also granted their trademark ‘I*XL. ‘, bought by George Senior in 1826 and originally granted to William Aldam Smith in 1787. In 1833 George Senior died and the business continued under his son who opened a New York office in 1844, and by the middle of the century had agents in Philadelphia and Boston. America was the ideal market with its expanding frontier and enormous demand for folding knives, razors, and weapons. The firm’s trade became almost exclusively American and Wostenholm made little attempt to nurture other markets. In 1848 the Washington Works was acquired and American orders continued to roll in. The workforce increased significantly to 850 in 1861, having been around a hundred or so in the 1830s. The high quality of the firm’s Bowie and spring knives was achieved by ‘drilling’, in which every knife was critically examined. It had the desired effect and soon ‘I*XL’ vied with Rodgers’ star and Maltese cross as a badge of quality. Like Rodgers, Wostenholm made its share of exhibition pieces. At the Great Exhibition in 1851 Wostenholm displayed a set of ornate sheath knives, including one commissioned from the well-known artist Alfred Stevens. The company also displayed a collection of exhibition multi-blades. The display won a Prize Medal for Wostenholm. The firm also carried off prize medals at exhibitions in Paris (1855) and London (1862). George Wostenholm had remarkable stamina. In early 1869, in his late sixties, he set off for a tour of Europe and in October the same year he made another trip to New York. In 1872, he again visited New York. He was active until the end, though he sold out to his business associates in 1875, when Wostenholm’s became a limited liability company. George Wostenholm died in 1876, aged 74 and left a remarkable fortune of nearly £250,000. The new company chairman and directors had little or no experience of the cutlery trade. Initially, Wostenholm’s continued to make good profit but the McKinley Tariff of 1890 raised the duties on their American exports to unprecedented heights and caused a crisis. Wostenholm’s refused to abandon the American trade and maintained an unprofitable New York office open until the early 1930s while they had little success breaking into the Australian and other markets. In the early 20th century they opposed machine technology and consequently were in decline a decade before the First World War. Not long after, Washington Works was becoming a relic. In 1971, Wostenholm was bought by Joseph Rodgers & Sons and the new company (Rodgers-Wostenholm) moved into premises at Guernsey Road, Heeley. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.

A BOWIE KNIFE, GEORGE WOSTENHOLM & SON, WASHINGTON WORKS, SHEFFIELD, 20TH CENTURY with broad blade formed with a clipped-back point, stamped with the maker’s details, ‘I.XL’, and ‘The real I.XL knife’, engraved with an eagle and etched and gilt with two captioned portraits of General Garibaldi and Vittore Emanuel (worn), recessed rectangular ricasso stamped with the maker’s details in full, German silver guard, milled copper alloy fillets, natural staghorn scales and vacant German silver escutcheon, in its wooden scabbard with tooled leather covering stamped ‘I.XL’ in gilt letters and with German silver mounts, 24.3 cm blade LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 280. It is likely that the founder of George Wostenholm & Son Ltd was George Wolstenholme (1775-1833), a fork maker at Thomas Lane. Apprenticed to John Micklethwaite, a cutler, in 1790 and granted his Freedom in 1799, George later moved to Broad Lane where he made spring knives. He was first listed in a Sheffield directory in 1816 as a pen and pocket knife manufacturer at Rockingham Street, where he had registered a silver mark in 1809. His workshops expanded to become Rockingham Works and he apparently shortened his name to ‘Wostenholm’ to facilitate its stamping on blades. His son, George Wostenholm (1802-1876) was apprenticed to his father and they are described in 1825 as ‘George Wolstenholme & Son, manufacturers of table knives, and forks, pen, pocket, and sportsman’s knives, and general dealers in cutlery, 78 Rockingham Street’. George Wostenholm became a Freeman in 1826, a practical cutler and a dynamic salesman he found scope for his prodigious energy in America where, in 1830, the father and son launched a partnership with William Stenton, an experienced cutlery merchant. However, this did not last and the partnership was dissolved the following year when they were also granted their trademark ‘I*XL. ‘, bought by George Senior in 1826 and originally granted to William Aldam Smith in 1787. In 1833 George Senior died and the business continued under his son who opened a New York office in 1844, and by the middle of the century had agents in Philadelphia and Boston. America was the ideal market with its expanding frontier and enormous demand for folding knives, razors, and weapons. The firm’s trade became almost exclusively American and Wostenholm made little attempt to nurture other markets. In 1848 the Washington Works was acquired and American orders continued to roll in. The workforce increased significantly to 850 in 1861, having been around a hundred or so in the 1830s. The high quality of the firm’s Bowie and spring knives was achieved by ‘drilling’, in which every knife was critically examined. It had the desired effect and soon ‘I*XL’ vied with Rodgers’ star and Maltese cross as a badge of quality. Like Rodgers, Wostenholm made its share of exhibition pieces. At the Great Exhibition in 1851 Wostenholm displayed a set of ornate sheath knives, including one commissioned from the well-known artist Alfred Stevens. The company also displayed a collection of exhibition multi-blades. The display won a Prize Medal for Wostenholm. The firm also carried off prize medals at exhibitions in Paris (1855) and London (1862). George Wostenholm had remarkable stamina. In early 1869, in his late sixties, he set off for a tour of Europe and in October the same year he made another trip to New York. In 1872, he again visited New York. He was active until the end, though he sold out to his business associates in 1875, when Wostenholm’s became a limited liability company. George Wostenholm died in 1876, aged 74 and left a remarkable fortune of nearly £250,000. The new company chairman and directors had little or no experience of the cutlery trade. Initially, Wostenholm’s continued to make good profit but the McKinley Tariff of 1890 raised the duties on their American exports to unprecedented heights and caused a crisis. Wostenholm’s refused to abandon the American trade and maintained an unprofitable New York office open until the early 1930s while they had little success breaking into the Australian and other markets. In the early 20th century they opposed machine technology and consequently were in decline a decade before the First World War. Not long after, Washington Works was becoming a relic. In 1971, Wostenholm was bought by Joseph Rodgers & Sons and the new company (Rodgers-Wostenholm) moved into premises at Guernsey Road, Heeley. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.

A BOWIE KNIFE, GEORGE WOSTENHOLM & SON, WASHINGTON WORKS, SHEFFIELD, 20TH CENTURY with broad blade formed with a clipped-back point, stamped with the maker’s details, ‘I.XL’, and ‘The real I.XL knife’, engraved with an eagle and etched with two captioned portraits (worn), recessed rectangular ricasso stamped ‘I.XL’, German silver guard, milled copper alloy fillets, polished horn scales and vacant German silver escutcheon, 24.3 cm blade LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 281. It is likely that the founder of George Wostenholm & Son Ltd was George Wolstenholme (1775-1833), a fork maker at Thomas Lane. Apprenticed to John Micklethwaite, a cutler, in 1790 and granted his Freedom in 1799, George later moved to Broad Lane where he made spring knives. He was first listed in a Sheffield directory in 1816 as a pen and pocket knife manufacturer at Rockingham Street, where he had registered a silver mark in 1809. His workshops expanded to become Rockingham Works and he apparently shortened his name to ‘Wostenholm’ to facilitate its stamping on blades. His son, George Wostenholm (1802-1876) was apprenticed to his father and they are described in 1825 as ‘George Wolstenholme & Son, manufacturers of table knives, and forks, pen, pocket, and sportsman’s knives, and general dealers in cutlery, 78 Rockingham Street’. George Wostenholm became a Freeman in 1826, a practical cutler and a dynamic salesman he found scope for his prodigious energy in America where, in 1830, the father and son launched a partnership with William Stenton, an experienced cutlery merchant. However, this did not last and the partnership was dissolved the following year when they were also granted their trademark ‘I*XL. ‘, bought by George Senior in 1826 and originally granted to William Aldam Smith in 1787. In 1833 George Senior died and the business continued under his son who opened a New York office in 1844, and by the middle of the century had agents in Philadelphia and Boston. America was the ideal market with its expanding frontier and enormous demand for folding knives, razors, and weapons. The firm’s trade became almost exclusively American and Wostenholm made little attempt to nurture other markets. In 1848 the Washington Works was acquired and American orders continued to roll in. The workforce increased significantly to 850 in 1861, having been around a hundred or so in the 1830s. The high quality of the firm’s Bowie and spring knives was achieved by ‘drilling’, in which every knife was critically examined. It had the desired effect and soon ‘I*XL’ vied with Rodgers’ star and Maltese cross as a badge of quality. Like Rodgers, Wostenholm made its share of exhibition pieces. At the Great Exhibition in 1851 Wostenholm displayed a set of ornate sheath knives, including one commissioned from the well-known artist Alfred Stevens. The company also displayed a collection of exhibition multi-blades. The display won a Prize Medal for Wostenholm. The firm also carried off prize medals at exhibitions in Paris (1855) and London (1862). George Wostenholm had remarkable stamina. In early 1869, in his late sixties, he set off for a tour of Europe and in October the same year he made another trip to New York. In 1872, he again visited New York. He was active until the end, though he sold out to his business associates in 1875, when Wostenholm’s became a limited liability company. George Wostenholm died in 1876, aged 74 and left a remarkable fortune of nearly £250,000. The new company chairman and directors had little or no experience of the cutlery trade. Initially, Wostenholm’s continued to make good profit but the McKinley Tariff of 1890 raised the duties on their American exports to unprecedented heights and caused a crisis. Wostenholm’s refused to abandon the American trade and maintained an unprofitable New York office open until the early 1930s while they had little success breaking into the Australian and other markets. In the early 20th century they opposed machine technology and consequently were in decline a decade before the First World War. Not long after, Washington Works was becoming a relic. In 1971, Wostenholm was bought by Joseph Rodgers & Sons and the new company (Rodgers-Wostenholm) moved into premises at Guernsey Road, Heeley. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.

A BOWIE KNIFE, G. WOSTENHOLM & SON, WASHINGTON WORKS, SHEFFIELD, EARLY 20TH CENTURY AND A DAGGER FOR THE AMERICAN MARKET, LATE 19TH CENTURY the first with broad blade formed with a long clipped point, signed on the back-edge, recessed rectangular ricasso marked ‘I.XL’, German silver guard, natural staghorn scales and vacant German silver escutcheon, in its tooled leather scabbard marked ‘I.XL’ in gilt letters; the second with tapering blade of flattened-diamond section, rectangular ricasso, German silver cross-piece with moulded terminals and natural staghorn scales, the first: 21.0 cm (2) LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 287. It is likely that the founder of George Wostenholm & Son Ltd was George Wolstenholme (1775-1833), a fork maker at Thomas Lane. Apprenticed to John Micklethwaite, a cutler, in 1790 and granted his Freedom in 1799, George later moved to Broad Lane where he made spring knives. He was first listed in a Sheffield directory in 1816 as a pen and pocket knife manufacturer at Rockingham Street, where he had registered a silver mark in 1809. His workshops expanded to become Rockingham Works and he apparently shortened his name to ‘Wostenholm’ to facilitate its stamping on blades. His son, George Wostenholm (1802-1876) was apprenticed to his father and they are described in 1825 as ‘George Wolstenholme & Son, manufacturers of table knives, and forks, pen, pocket, and sportsman’s knives, and general dealers in cutlery, 78 Rockingham Street’. George Wostenholm became a Freeman in 1826, a practical cutler and a dynamic salesman he found scope for his prodigious energy in America where, in 1830, the father and son launched a partnership with William Stenton, an experienced cutlery merchant. However, this did not last and the partnership was dissolved the following year when they were also granted their trademark ‘I*XL. ‘, bought by George Senior in 1826 and originally granted to William Aldam Smith in 1787. In 1833 George Senior died and the business continued under his son who opened a New York office in 1844, and by the middle of the century had agents in Philadelphia and Boston. America was the ideal market with its expanding frontier and enormous demand for folding knives, razors, and weapons. The firm’s trade became almost exclusively American and Wostenholm made little attempt to nurture other markets. In 1848 the Washington Works was acquired and American orders continued to roll in. The workforce increased significantly to 850 in 1861, having been around a hundred or so in the 1830s. The high quality of the firm’s Bowie and spring knives was achieved by ‘drilling’, in which every knife was critically examined. It had the desired effect and soon ‘I*XL’ vied with Rodgers’ star and Maltese cross as a badge of quality. Like Rodgers, Wostenholm made its share of exhibition pieces. At the Great Exhibition in 1851 Wostenholm displayed a set of ornate sheath knives, including one commissioned from the well-known artist Alfred Stevens. The company also displayed a collection of exhibition multi-blades. The display won a Prize Medal for Wostenholm. The firm also carried off prize medals at exhibitions in Paris (1855) and London (1862). George Wostenholm had remarkable stamina. In early 1869, in his late sixties, he set off for a tour of Europe and in October the same year he made another trip to New York. In 1872, he again visited New York. He was active until the end, though he sold out to his business associates in 1875, when Wostenholm’s became a limited liability company. George Wostenholm died in 1876, aged 74 and left a remarkable fortune of nearly £250,000. The new company chairman and directors had little or no experience of the cutlery trade. Initially, Wostenholm’s continued to make good profit but the McKinley Tariff of 1890 raised the duties on their American exports to unprecedented heights and caused a crisis. Wostenholm’s refused to abandon the American trade and maintained an unprofitable New York office open until the early 1930s while they had little success breaking into the Australian and other markets. In the early 20th century they opposed machine technology and consequently were in decline a decade before the First World War. Not long after, Washington Works was becoming a relic. In 1971, Wostenholm was bought by Joseph Rodgers & Sons and the new company (Rodgers-Wostenholm) moved into premises at Guernsey Road, Heeley. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.

A DAGGER, GEORGE WOSTENHOLM, SHEFFIELD, THIRD QUARTER OF THE 19TH CENTURY with doubled-edged broad blade, signed rectangular ricasso marked ‘I.XL’, German silver guard, and a pair of mother-of-pearl scales retained by four rivets, the outer with vacant German silver escutcheon, in its leather scabbard, 15.2 cm blade LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 295. It is likely that the founder of George Wostenholm & Son Ltd was George Wolstenholme (1775-1833), a fork maker at Thomas Lane. Apprenticed to John Micklethwaite, a cutler, in 1790 and granted his Freedom in 1799, George later moved to Broad Lane where he made spring knives. He was first listed in a Sheffield directory in 1816 as a pen and pocket knife manufacturer at Rockingham Street, where he had registered a silver mark in 1809. His workshops expanded to become Rockingham Works and he apparently shortened his name to ‘Wostenholm’ to facilitate its stamping on blades. His son, George Wostenholm (1802-1876) was apprenticed to his father and they are described in 1825 as ‘George Wolstenholme & Son, manufacturers of table knives, and forks, pen, pocket, and sportsman’s knives, and general dealers in cutlery, 78 Rockingham Street’. George Wostenholm became a Freeman in 1826, a practical cutler and a dynamic salesman he found scope for his prodigious energy in America where, in 1830, the father and son launched a partnership with William Stenton, an experienced cutlery merchant. However, this did not last and the partnership was dissolved the following year when they were also granted their trademark ‘I*XL. ‘, bought by George Senior in 1826 and originally granted to William Aldam Smith in 1787. In 1833 George Senior died and the business continued under his son who opened a New York office in 1844, and by the middle of the century had agents in Philadelphia and Boston. America was the ideal market with its expanding frontier and enormous demand for folding knives, razors, and weapons. The firm’s trade became almost exclusively American and Wostenholm made little attempt to nurture other markets. In 1848 the Washington Works was acquired and American orders continued to roll in. The workforce increased significantly to 850 in 1861, having been around a hundred or so in the 1830s. The high quality of the firm’s Bowie and spring knives was achieved by ‘drilling’, in which every knife was critically examined. It had the desired effect and soon ‘I*XL’ vied with Rodgers’ star and Maltese cross as a badge of quality. Like Rodgers, Wostenholm made its share of exhibition pieces. At the Great Exhibition in 1851 Wostenholm displayed a set of ornate sheath knives, including one commissioned from the well-known artist Alfred Stevens. The company also displayed a collection of exhibition multi-blades. The display won a Prize Medal for Wostenholm. The firm also carried off prize medals at exhibitions in Paris (1855) and London (1862). George Wostenholm had remarkable stamina. In early 1869, in his late sixties, he set off for a tour of Europe and in October the same year he made another trip to New York. In 1872, he again visited New York. He was active until the end, though he sold out to his business associates in 1875, when Wostenholm’s became a limited liability company. George Wostenholm died in 1876, aged 74 and left a remarkable fortune of nearly £250,000. The new company chairman and directors had little or no experience of the cutlery trade. Initially, Wostenholm’s continued to make good profit but the McKinley Tariff of 1890 raised the duties on their American exports to unprecedented heights and caused a crisis. Wostenholm’s refused to abandon the American trade and maintained an unprofitable New York office open until the early 1930s while they had little success breaking into the Australian and other markets. In the early 20th century they opposed machine technology and consequently were in decline a decade before the First World War. Not long after, Washington Works was becoming a relic. In 1971, Wostenholm was bought by Joseph Rodgers & Sons and the new company (Rodgers-Wostenholm) moved into premises at Guernsey Road, Heeley. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.

A BOWIE KNIFE, GEORGE WOSTENHOLM & SON, WASHINGTON WORKS, SHEFFIELD, NUMBER 4 OF 1,000 TO CELEBRATE THE 150TH ANNIVERSARY OF THE BATTLE OF THE ALAMO, 1986 with broad blade formed with a clipped-back point, stamped with the maker’s details, ‘I.XL’, ‘The Hunter’s Companion’, and ‘The real I.XL knife’, engraved with an eagle and with the makers name and ‘California Knife’ in part gilt letters, recessed rectangular ricasso stamped with the maker’s details in full, German silver guard, milled copper alloy fillets, natural staghorn scales and German silver escutcheon engraved ‘4/1,000’, in its fitted presentation case with certificate, the lid embossed ‘I. XL. In gilt letters on the outside, 24.0 cm blade It is likely that the founder of George Wostenholm & Son Ltd was George Wolstenholme (1775-1833), a fork maker at Thomas Lane. Apprenticed to John Micklethwaite, a cutler, in 1790 and granted his Freedom in 1799, George later moved to Broad Lane where he made spring knives. He was first listed in a Sheffield directory in 1816 as a pen and pocket knife manufacturer at Rockingham Street, where he had registered a silver mark in 1809. His workshops expanded to become Rockingham Works and he apparently shortened his name to ‘Wostenholm’ to facilitate its stamping on blades. His son, George Wostenholm (1802-1876) was apprenticed to his father and they are described in 1825 as ‘George Wolstenholme & Son, manufacturers of table knives, and forks, pen, pocket, and sportsman’s knives, and general dealers in cutlery, 78 Rockingham Street’. George Wostenholm became a Freeman in 1826, a practical cutler and a dynamic salesman he found scope for his prodigious energy in America where, in 1830, the father and son launched a partnership with William Stenton, an experienced cutlery merchant. However, this did not last and the partnership was dissolved the following year when they were also granted their trademark ‘I*XL. ‘, bought by George Senior in 1826 and originally granted to William Aldam Smith in 1787. In 1833 George Senior died and the business continued under his son who opened a New York office in 1844, and by the middle of the century had agents in Philadelphia and Boston. America was the ideal market with its expanding frontier and enormous demand for folding knives, razors, and weapons. The firm’s trade became almost exclusively American and Wostenholm made little attempt to nurture other markets. In 1848 the Washington Works was acquired and American orders continued to roll in. The workforce increased significantly to 850 in 1861, having been around a hundred or so in the 1830s. The high quality of the firm’s Bowie and spring knives was achieved by ‘drilling’, in which every knife was critically examined. It had the desired effect and soon ‘I*XL’ vied with Rodgers’ star and Maltese cross as a badge of quality. Like Rodgers, Wostenholm made its share of exhibition pieces. At the Great Exhibition in 1851 Wostenholm displayed a set of ornate sheath knives, including one commissioned from the well-known artist Alfred Stevens. The company also displayed a collection of exhibition multi-blades. The display won a Prize Medal for Wostenholm. The firm also carried off prize medals at exhibitions in Paris (1855) and London (1862). George Wostenholm had remarkable stamina. In early 1869, in his late sixties, he set off for a tour of Europe and in October the same year he made another trip to New York. In 1872, he again visited New York. He was active until the end, though he sold out to his business associates in 1875, when Wostenholm’s became a limited liability company. George Wostenholm died in 1876, aged 74 and left a remarkable fortune of nearly £250,000. The new company chairman and directors had little or no experience of the cutlery trade. Initially, Wostenholm’s continued to make good profit but the McKinley Tariff of 1890 raised the duties on their American exports to unprecedented heights and caused a crisis. Wostenholm’s refused to abandon the American trade and maintained an unprofitable New York office open until the early 1930s while they had little success breaking into the Australian and other markets. In the early 20th century they opposed machine technology and consequently were in decline a decade before the First World War. Not long after, Washington Works was becoming a relic. In 1971, Wostenholm was bought by Joseph Rodgers & Sons and the new company (Rodgers-Wostenholm) moved into premises at Guernsey Road, Heeley. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.

UNITED KINGDOM. Elizabeth II, 1952-2022. Gold 100 pounds, 2022. Royal Mint. Proof. The ninth design in the Chinese Lunar Year - Sh?ngxiào Collection, there were several different strikes for the Year of the Tiger with varying compositions and denominations which all share David Lawrence's design. Fifth Portrait of Queen Elizabeth II facing right, JC below. Legend around " ELIZABETH II · D · G · REG · F · D · 100 POUNDS ·". Design by Jody Clark./ An image of a Tiger. Legend above "YEAR OF THE TIGER · 2022 · DL · ?". Design by David Lawrence. Edge milled.Comes with the original box as issued by the Mint and the certificate of authenticity (COA). Mintage: 898.Diameter: 32.69 mm.Weight: 32.21 g. (AGW=1 oz.)Composition: 999.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.

UNITED KINGDOM. Elizabeth II, 1952-2022. Gold 500 pounds, 2022. Royal Mint. Proof. The ninth design in the Chinese Lunar Year - Sh?ngxiào Collection, there were several different strikes for the Year of the Tiger with varying compositions and denominations which all share David Lawrence's design. Fifth Portrait of Queen Elizabeth II facing right, JC below. Legend around "ELIZABETH II · D · G · REG · F · D · 25 POUNDS ·". Design by Jody Clark./ An image of a Tiger. Legend above "YEAR OF THE TIGER · 2022 · DL · ?". Design by David Lawrence. Edge milled.Comes with the original box as issued by the Mint and the certificate of authenticity (COA). Mintage: 118.Diameter: 50 mm.Weight: 156.30 g. (AGW=5 oz.)Composition: 999.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.

AN IMPORTANT AND RARE GEORGE III DRAWING ROOM SUITE ATTRIBUTED TO WILLIAM & JOHN LINNELL, CIRCA 1780Comprising twelve open armchairs and two sofaseach sofa, 102cm high, 163cm wide, 68cm deepeach armchair 97cm high, 63cm wide, 54cm deep Provenance: Believed to have been acquired by Thomas Austen Treffry (1782-1850) and in-situ at Place, Fowey, Cornwall by 1832. Purchased: Bonham's, The Provenance Sale, Fine English Furniture, Works of Art and Sculpture, London New Bond Street, 3 November 2010, lot 12 for £70,000 hammerTwo sketches by John Linnell, dating to 1770-1775, for an oval-back armchair and a settee, that share close similarities to the present lot can be seen in the collection at the V&A, accession numbers E.123-1929 & E.82-1929. Condition Report: Wear, marks, scratches and abrasions commensurate with age and use. Old splits and chips. Some old losses including several patera details to the tops of legs. Various old repairs. One leg of one sofa with cracks through the uppermost terminal. Some old cracks to elements of other parts of the suite but all main elements are intact. Various wear and loss to paint and gesso surfaces throughout. Areas of the gesso and paint are fragile and lifting/ coming away. Signs of old worm, the immediate visible signs are mainly sporadic and visible commonly to the seat rails, upper parts of the rear legs and uprights at the base of the backs (see additional images available via email). There is also old worm damage in other areas and in some areas fragmentary loss as a result. All chairs and sofas have later screwed in supporting blocks to the corners of the seat rails. The front seat rail of each armchair has also had an element drilled out in two positions and a later screw put in to join the front seat rail with the top of each adjacent front leg and strengthen. Most chairs and sofas are of solid structure overall. Some joints are loose to a degree so are likely to require 'tightening'. The central underlying rail of one sofa appears original or may be an old replacement, the rail to the other sofa is not shaped and appears to be a later replacement. The casters to the sofas are likely later associated. The 'gadrooned' cast metal detail to the tops of the cappings of the front legs is not present from the cappings to the rear legs. Later re-upholstered. Various losses, repairs, discoloration to the upholstery. We cannot guarantee the originality or condition of timber or materials concealed beneath upholstery. Old worm damage, repairs or replacements may be hidden by the paint. In some positions, the construction of the underlying frame is visible where paint has been lost. The surface paint visible to the exterior now is very likely all or largely re-painted since the original. One anthemion detail to the top of one chair cracked through and detached main element present with the chair The links to the Linnell drawings that are referred to in the catalogue, are present and operational from the listing of this lot on Dreweatts website. Please contact Dreweatts if you would like the links to be emailed to you directly. Please refer to all additional images available by email for visual reference to condition. Neither the report or the additional images are exhaustive in regard to condition.  Condition Report Disclaimer

FREE JAZZ / IMPROVISATION LP RARITIES. A pack of 17 x LPs. Artists/ Titles include Richard Abrams - Levels And Degrees Of Light (DS-413, UK press), Spontaneous Music Ensemble - For You To Share, Evan Parker / Anthony Braxton / Derek Bailey - Company 2, Joseph Jarman - Song For, Lol Coxhill - Ear Of Beholder, John Stevens / Evan Parker - The Longest Night Vol 1, Derek Bailey / Tristan Honsinger - Duo, Evan Parker - Saxophone Solos, Globe Unity 73, Manfred Schoof - European Echoes (RE) and Chris McGregor's Brotherhood Of Breath. The records are generally Ex to Ex+ and the sleeves are generally VG+ to Ex+.

Convector heater, sandwich toaster, kettle, Kodak Easy Share and BT cordless handset (all boxed)

Black hat trimmed with white feathers; white lace collar.A character in Alexandre Dumas' lively 19th-century fiction. D'Artagnan came to Paris to join the celebrated band of Three Musketeers and share their adventures.Series: The Three Musketeers; Characters from Literature. Royal Doulton backstamp. Artist: Stanley J. TaylorIssued: 1987 - 1991Dimensions: 2.5"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.

Extension of the feathers with a fleur-de-lis and sword at base handle. Black hat trimmed with whiter feathers; white lace collar.A character in Alexandre Dumas' lively 19th-century fiction, D'Artagnan came to Paris to join the celebrated band of Three Musketeers and share their adventures.Series: The Three Musketeers; Characters from Literature.Royal Doulton backstamp. Artist: Stanley J. TaylorIssued: 1982-1995Dimensions: 7.5"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related Wear.

Sir William Nicholson (British, 1872-1949)Mrs Reginald McKenna and her sons, Michael and Davidoil on canvas 106.8 x 122 cm. (42 1/8 x 48 1/8 in.)Painted in 1927Footnotes:ProvenanceCommissioned by Reginald and Pamela McKenna, thence by family descent to the present ownerPrivate Collection, U.K.ExhibitedBelfast, City of Belfast Museum and Art Gallery, Loan Exhibition of Paintings and Prints by William Nicholson, January-February 1934, cat.no.5 (as On the Grass)LiteratureLillian Browse, William Nicholson, Rupert Hart-Davis, London, 1956, p.101, cat.no.434Patricia Reed, William Nicholson, Catalogue Raisonné of the Oil Paintings, Modern Art Press, London, 2011, p.449, cat.no.561 (col.ill.)Painted in the summer of 1927 at Mells Park House, Somerset, the present work is the first in a series of conversation pieces by William Nicholson that included Sidney and Beatrice Webb 1928 (London School of Economics) and The Ridley Family 1930 (Private Collection); the best known work features Winston Churchill and his wife Clementine in 1934 Breakfast at Chartwell (National Trust).Having moved to Sutton Veny in 1923 Nicholson was soon making frequent visits to Mells some 12 miles away. Initially to Lady Horner and her widowed daughter Katherine Asquith and family at the Manor House beside the church, and after 1925 also to Park House close by where her niece Pamela Jekyll (1889-1943) and husband Reginald McKenna (1863-1943) lived with their two sons, Michael (1910-1931) and David (1911-2003). In 1920 Nicholson had painted Pamela's aunt, Gertrude Jekyll (National Portrait Gallery) but the introduction came not from the celebrated garden designer but from their mutual friend, the architect Sir Edwin Lutyens who designed several houses, and memorials, for the families. From the meagre correspondence that survives it would seem that Pamela McKenna commissioned the painting, rather than her husband who was Chairman of the Midland Bank and formerly Chancellor of the Exchequer in Asquith's wartime coalition government. When a student at Trinity Hall, Cambridge, McKenna had been a notable rower and a member of the winning crew in the 1887 Oxford and Cambridge Boat Race. He was keen that his sons, who were now both at Eton, should follow in his footsteps. In the late 18th century the landscaping of Park House gardens included broadening the Mells Stream and creating two lakes separated by a weir that formed a waterfall with stepping stones above. They were part of the footpath from Lily Batch Lodge to Park House. By 1925 the upper lake with its Victorian boathouse was too congested with water weed to be suitable for rowing but McKenna had the lower lake excavated and a small island created near the weir from which a pair-oar could be launched and he could encourage the rowers. This island appears in the foreground of Nicholson's composition. Here Pamela McKenna is seated on a rug happily reading a book. Behind her and to the right is her younger son David who is in the green-and-white-painted dinghy which he had built himself and launched earlier that year. David later recalled that Nicholson had him continuously tacking in a circle so that he could capture the effect of the wind in the sails, though the wind wasn't always there. The waterfall forms the backdrop to the composition with a marked division between the smooth flow of the water on the right-hand side which is in shadow, while to the left the water cascades out in irregular bursts catching the sunlight with a silvery pool of smooth water beside the island. Michael is striding purposefully over the stepping stones in the direction of Park House carrying an oar on his shoulder. He is followed by a Shetland pony and the family dog, a golden retriever known as Briney. More than half of the canvas is a cloudscape, capturing the sunny-cloudy day with the playful breeze - possibly suggesting that oars are more reliable than sails.The finished work was hung in the library at Park House. The earlier 18th century house had been destroyed by fire in 1917 and Reginald McKenna had acquired a lease on condition that he rebuild the house, which he did to the designs of Sir Edwin Lutyens 1924-5. The interior design and decoration was by Sir Herbert Jekyll, Pamela's father. Unusually for Nicholson he executed three figure paintings preparatory to the finished work. Pamela McKenna had first refusal on these. She acquired the two of her sons but not the larger painting Mrs McKenna on the Grass, first exhibited in 1928 as Seaward Island (Reed 564). In this version she is seated on a smaller rug which she shares with the dog Briney. The work is more brightly lit than the other two (which are in Private Collections). While David McKenna in a Dinghy (Reed 563) is similar to the finished work, Michael McKenna in a Landscape (Reed 562) is more a study of the waterfall. Michael is standing on the right with his back to the viewer and is looking diagonally across to the waterfall. He is dressed in a jacket and knickerbockers, whereas in the finished work he appears to be wearing a white shirt, or jumper, and long shorts. One reason for these studies might have been that Nicholson just enjoyed being at Park House. He found Pamela, like her aunt Lady Horner, very sympathetic. Often he played tennis with Michael and David, another cousin making up a foursome, and while Nicholson did not share their love of music he was happy to take Michael to the National Gallery during the school holidays.This rapport is manifest in the double 'leaving portrait' of Michael and David that Nicholson executed in three or four sittings in December 1928. The boys had more than fulfilled their father's expectations – both becoming Captain of Boats and Head of School at Eton and gaining places at Trinity College, Cambridge, Michael with a scholarship. The portrait was presented in 1930 (Eton College). We are grateful to Patricia Reed for compiling this catalogue entry.This lot is accompanied by an illustrated letter from William Nicholson addressed to Mrs McKenna, which reads 'I'll expect Mike at 1.15 and will trot (if he still wishes it) along with him to the N.G. after lunch. I couldn't go in the morning as my Dentist claims me. Edie and I are just recovering from a painting injury. I have tennis elbow from holding my brush for 8 hours solid (I got to bed at 4.30. hoping that picture was better than it looked.)'For further information on this lot please visit Bonhams.com

[Chippendale, Thomas] Letter sent on behalf of Chippendale, Haig & Co to Sir Rowland Winn 2 Grey Fryars [sic], Newgate Street, London, 23rd December 1772, single bifolium, written on one side only (with address on verso of conjugate blank), reading 'Sir, Another bill given by you to Thomas Chippendale for £200 being in my hands I take the liberty of acquainting you that it falls due on the 4th January next, in order that you may give timely directions for its being paid on the day it becomes due, you will be kind enough to acquaint me whether I shall apply for payment for this as I did for the other bill at your bankers in Pall Mall. I have the honour to be, Sir, your most humble serv[an]t, for H. J. Fergusson [sic], Jno Fergusson'Note: Note: Henry Ferguson, executor of Chippendale's first partner James Rannie (d.1766), entered into partnership with Chippendale in 1771 in a deal in which he and bookkeeper David Haig each acquired a third share in the troubled firm, thereafter known as Chippendale, Haig & Co. Sir Rowland Winn, of Nostell Priory, near Pontefract, Yorkshire, was one of Chippendale's most important patrons: 'The furniture made for Nostell Priory and for Sir Rowland Winn's London house is impressively documented by letters, bills, estimates, memoranda, receipts, and drawings which serve to illustrate how the firm programmed a major commission. Whether there was a special connection between Chippendale and his client on account of their being fellow Yorkshiremen is not proven. The tenor of their correspondence is, on the one hand, that of an impatient and frustrated client, railing against Chippendale's dilatoriness, often threatening to withdraw his custom with dire consequences to his reputation. Chippendale, on the other hand, seemed almost permanently desperate for payment and yet always remained obsequious' (ODNB).

WW2. Squadron Leader George Denholm Pieces of Wreckage and Fuselage Skin from his Spitfire I L1067 Which Crashed on 30th August 1940. Denholm Became Famous for Claiming Half a share of the First German Aircraft to be shot down over British Soil on October 16th, 1939. Included is a Copy of ALS Dated 20/7/92. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.

An exceptionally rare colour twist wine glass, circa 1765The ogee bowl set on a stem comprising a thirteen-ply multi-coloured corkscrew evenly formed from pairs of translucent blue, pink and green threads alternating with opaque white, over a conical foot, 15.4cm highFootnotes:ProvenanceMrs I K Webb Collection, Christie's, 23 May 1989, lot 133Private London CollectionThe remarkable stem of this glass is paralleled only by a glass from the Julius and Ann Kaplan Collection sold by Bonhams on 15 November 2017, lot 49. The stems share close similarities with a small group of glasses with similar multi-ply stems in yellow, blue and opaque white. See those from the collections of A C Hubbard Jr and of Julius and Ann Kaplan sold by Bonhams on 30 November 2011, lot 212 and 15 November 2017, lot 51 respectively.For further information on this lot please visit Bonhams.com

An English delftware Popish Plot tile, circa 1680-1700Painted in manganese with 'Capt Bedlow carrying letters to Forraigne Parts', William Bedloe on horseback, approaching the coast where a ship waits at anchor, 12.8cm squareFootnotes:ProvenanceFelton House, North SomersetThe Ten of Clubs playing card is the source for this tile.When the informer William Bedloe enters the narrative of the Popish Plot, he already had a reputation as a confidence trickster and a criminal, having recently spent time in prison for fraud. When Bedloe first appeared before the bar in the House of Commons he embraced his criminal reputation, proclaiming 'Mr Speaker, I have been a great rogue, but had I not been so I could not have known these things I am about to tell you'. That his inconsistent and often 'newly recollected evidence' was taken seriously is testament to the severity of anti-Catholic bias and public hysteria that allowed men like Bedloe to be temporarily presented as heroes. He offered some corroboration of Oates' testimony and it was necessary to have two witnesses when prosecuting for treason. Bedloe saw an opportunity to use his knowledge of both the Jesuits and the criminal underworld to weave together his story with that of Oates. Bedloe implicated various Jesuits and officials in the plot to kill the King and also the murder of Sir Godfrey. In addition, he had been granted a share of the £500 reward for bringing Godfrey's 'murderers' to justice. Like Oates, Bedloe had been a messenger for the Jesuits and a personal servant to Fr Harcourt. Harcourt admitted under cross-examination that Bedloe had carried letters for him between England and the Continent in 1675, but denied any involvement in a plot to kill the King.The Felton House Tiles: Important English delftware tiles depicting the Popish Plot, circa 1680-1700The 'discovery' of the Popish Plot in the autumn of 1678 and the subsequent trials, political upheaval and mass hysteria that erupted in England, reads like a modern-day soap opera. The supposed Catholic conspiracy to assassinate King Charles II, replace him with his papist brother James, Duke of York, and overthrow the Protestant establishment turned out to be the invention of a disreputable priest named Titus Oates, whose many lies and inventions appealed to the anti-Catholic sentiment of the time. Oates was eventually convicted of perjury, but not before over a dozen innocent men were executed and others imprisoned, as the flames of anti-Catholic hatred and suspicion were fanned throughout the country.A set of playing cards depicting various scenes from the plot, printed from engravings by Francis Barlow, was first advertised in the newspaper True Domestick Intelligence in December 1679. A complete set of these Popish Plot playing cards is in the British Museum (inv. no.1896,0501.915.1-52). These designs were subsequently copied onto some of the earliest delftware tiles produced in England. The timing of the plot coincides with a warrant granted to the Dutch potter, Jan Ariens van Hamme, who had come to London'to exercise his trade and calling of making Tiles...after the way practised in Holland...whichhath not been practised in this our kingdome'.Several distinct versions of Popish Plot tiles were produced. One of these is painted in blue and the scenes are reserved in circular panels. These blue and white tiles have corner motifs and include inscriptions copied directly from the playing cards. See Frank Britton, London Delftware (1987), p.176 where three such tiles are illustrated. Anthony Ray suggests that these blue painted tiles were probably made at Vauxhall by van Hamme, who died in 1680, see English Delftware Tiles (1973), p.35. When found in manganese, each scene fills the available space save for a rectangular reserve at the bottom of each tile. An extremely rare set of twenty-one manganese Popish Plot tiles, matching the Felton House Tiles, was sold by Sotheby's on 15 March 1971, lot 21. A single tile depicting 'The Consult at Somerset House' was sold by Bonhams on 21 May 2014, lot 21. It has been suggested that the manganese examples were made a few years after their blue counterparts. However, the discovery of the Felton House Tiles adds weight to the argument that these were produced much closer to 1680, whilst the satirical playing cards were still topical. Indeed, close examination of the tiles show that they were copied from a deck of the Popish Plot playing cards and not from the blue and white versions.Felton House in North Somerset is a late 17th century house, confirmed by a date stone for 1684. Recent restoration of the building involved the removal of a mid-18th century fireplace which revealed an earlier fireplace behind, retaining the remains of other Popish Plot tiles from this set. The seven tiles included in this sale were removed from the fireplace in the 1950s and were recently discovered tucked away in a box. Presumably they were installed around 1684 - the date inscribed on the datestone - when the furore of the plot was still fresh in the country's consciousness. King Charles II died just a year later and the fear upon which the fictitious plot was based came to be realised; Charles II was succeeded by his brother who became king James II of England and James VI of Scotland, a Catholic monarch.For further information on this lot please visit Bonhams.com

Two pairs of 16th c oak panels, Northern European, dated 1537 and 1558, carved with a winged male grotesque or a plumed bird, 40.5 x 26cm and 43 x 23.5cm Splits, chipped and warped with old affixed tape repairs on the reverse but an interesting group that on stylistic grounds seem to share a common origin

All trimmed to the narrow col. margins, except for the captions, 11.5 x 19.5 cm (1x) and approx. 13 x 21.5 cm (4x). Incl: (1) "Doctor Syntax at an auction". 11.5 x 19.5 cm. Depicts a book auction in progress. (2) "On the frail ice, the whirring skate becomes an instrument of fate". Depicts skaters falling on and through the ice. (3) "Insure his life... But to your sorrow, you'll pay a good, round sum tomorrow". (4) "When doctors three the labour share, no wonder Death attends them there". (5) "The dangers of the ocean o'er, Death wrecks the sailors on the shore". (total 5)

A Victorian silver inkstand, of dished rectangular form with moulded rim, re-entrant corners and embossed booge enclosing the share inkwell aperture, all raised on four ball feet, marks for Sheffield 1888, maker Thomas Bradbury & Sons, 12cm, 103grams, lacking inkwell.

Railway memorabilia. A collection of Irish railwayana including share certificates Waterford, Dungarvan and Lismore Railway Co.; Navan & Kingscourt Railway Co.; Waterford, Wexford, Wicklow and Dublin Railway Co.; three 1871 Londonderry & Enniskillen Railway Mortgage Deeds; a collection of 40 railway tickets; History of the Listowel & Ballybunion Railway, etc.

Waterford mercantile interest. A small collection of letters and documents including 1704 (15th February) "An account of the charges of provisions for Coll. Arnigers...", letters including 1816 (8th April) to Waterford Chamber of Commerce about the quality of Butter; Waterford, Wexford, Wicklow and Dublin Railway Company share certificate, etc.

NAGAKURA KEN'ICHI: STRIPESBy Nagakura Ken'ichi (1952-2018), signed to a washi label applied to the box Kago hanaire, Shima, Nagakura Ken'ichiJapan, Showa period (1926-1989)Of abstract shape, the composition titles 'Stripes', finely worked in woven bamboo and rattan. With an otoshi (water holder).The large cardboard box with an applied label: Kago hanaire, Shima, Nagakura Ken'ichi [A flower basket, entitled Stripes, by Nagakura Ken'ichi] with a seal.LENGTH 60 cmCondition: Excellent condition.The first recipient of the Cotsen Bamboo Prize in 2000, Nagakura Ken'ichi (1952-2018) studied under his grandfather but was mostly self-taught, drawing on a wide range of sources for his creative inspiration, from European sculpture through American pop art to traditional Japanese forms.Nagakura's organic, contemporary pieces are rooted in the functional baskets and flower arranging vessels made for centuries in Japan but also borrow from wide-ranging sources, including the richly material paintings of Anselm Kiefer and the rough-hewn statues made by the itinerant 17th century Buddhist monk Enku. However, throughout the entirety of his career, Nagakura's primary inspiration has been the natural world. “For me, inspiration comes from the workings of nature, both large and small, near and distant,” the artist states. “My desire is to share with other human beings the silent voice of nature.”Nagakura's works are held in various museum collections such as The Metropolitan Museum of Art, New York, and The Asian Art Museum, San Francisco.Auction comparison:Compare a related bamboo hanakago of twisted design by Nagakura Ken'ichi at Bonhams, Fine Japanese Works of Art, 25 March 2010, New York, lot 2222 (sold for 3,050 USD).

Prince Chula Chakrabongse of Thailand (1908-1963). An autograph letter signed to Prince Philip, Duke of Edinburgh, 11 August 1959, 4pp., on blue notepaper, sent from Prince Chula's home in Bodmin to Balmoral Castle. In the letter, Prince Chula asks Prince Philip to consider a Royal Visit to Thailand, offers to share a 50-minute film of the country, and sends his best wishes to the Royal FamilyProvenance: By descent of Henry Ramsay Maule (1915-1981), author and journalist who for 21 years was a British Correspondent for New York Daily News specialising in stories relating to the Royal Family. Maule collected and formed a personal archive during the 1950s to 1970s 

Photographic equipment to include Fujica STX-IN, Kodak Easy Share Z700, Agfa Ambi Silette and others, all housed in a black case Location:

ENGLISH SCHOOL (17TH CENTURY)PORTRAIT OF JOANNA BOEVEY, FULL-LENGTH IN A BLACK AND BROWN DRESS WITH EMBROIDERED SLEEVES HOLDING A PAIR OF GLOVESOil on panelInscribed 'ANNO 1616/ ANNO BOEVE/AETATIS SVAE 11-' (upper left)143.5 x 95.3cm (56¼ x 37½ in.)In an 18th Century carved giltwood frame. Provenance:Probably commissioned by Andreas Boevey (1566-1625), and by descent at Flaxley Abbey, Gloucestershire, until sold Flaxley Abbey, Gloucestershire: Catalogue of the Valuable Contents, Bruton, Knowles & Co., 29 March - 5 April 1960, lot 1296Bought by Mr and Mrs Frederick Baden-Watkins and thence by descent at Flaxley AbbeyLiterature:Arthur W. Crawley-Boevey, A Brief Account of the Antiquities, Family Pictures and Other Notable Articles at Flaxley Abbey, co. Gloucester, Bristol, 1912, p. 11, no. 1; p. 12 In the 1960 sale of the house contents of Flaxley Abbey, Gloucestershire, this painting was ascribed to 'Sandvort'. The portrait represents Joanna Boevey (1605-64) as a young girl, aged 11, daughter of Andreas Boevey (1566-1625), a Dutch Huguenot emigré, merchant, financier and elder of the Dutch church at Austin Friars. Joanna married Abraham de Clerke (also Dutch, anglicised to Clarke). After 1654, James I transferred the Flaxley estate to Joanna's brother, William Boevey, who gifted a share to his sister, and directed that the remainder be sold after his death for the benefit of his wife. In 1661, Joanna bought out her sister-in-law, and lived at Flaxley with her son, Abraham Clarke the younger. On Abraham's death in 1683, he bequeathed the estate to his cousin, also named William Boevey (1657-92), son of his half-uncle, James (J. Lees-Milne, 'Flaxley Abbey, Gloucestershire - I: The Home of Mr. and Mrs. F.B. Watkins', Country Life, 29 March 1973, pp. 844-845). A second painting of Joanna as an adult is recorded at Flaxley in 1912, and at this date was tentatively attributed to Cornelius Jansen (1585-1638) (A.W. Crawley-Boevey, A Brief Account of the Antiquities, Family Pictures and Other Notable Articles at Flaxley Abbey, co. Gloucester, Bristol, 1912, p. 11, no. 2; p. 13). Condition Report: Panel supported on the reverse by horizontal batons, some of later date. The picture is made of three panels, two vertical panel joins which have been secured in the past but have now separated, with some associated flaking. There are a number of vertical cracks to the two outer panels, they have received some support verso. Each panel has started to bow slightly. Some scuffing and abrasion throughout, predominantly to the framing edges and a more pronounced area of surface scratching to the stripes in the sitter's skirt. Some retouching is visible in natural light, particularly to the aforementioned cracks. UV reveals further retouching throughout. Craquelure throughout, this is heavier in some of the darker pigments and is creating an uneven surface. Surface dirt and discolouration of several uneven varnish layers. Condition Report Disclaimer

* Hughes (Edward James, 1930-1998). English poet, translator and children's writer. Autograph Letter Signed, 'Ted', Court Green, North Tawton, Devon, 21 January 1985, to Charles [Monteith], thanking him for the salutations and continuing, 'Whatever drawbacks there may be to this new job there seem to be lots of small pleasures to begin with. It seems to be about the nicest thing I've given to my old friends - or could have given. And that's a pleasure. And we've kept it in the firm. When I accepted I still assumed that Philip [Larkin] had refused. Must have refused. One vote in my decision was "If he's refused and I refuse - it will leave the firm". (I don't know how many votes there were in all - secret ballot). I hope we shall indeed be able to share a glass of sack... ', 1 page, 4to, together with a second Autograph Letter Signed, Court Green, North Tawton, Devon, 29 September 1990, to Rosemary [Goad] thanking her for the fly box and saying that he only has plastic makeshifts that fall apart, 'Now I can select a new fly in the most fastidious company, or offer a change of fly to the noblest', telling that the rain is pounding down and is the first he's seen since the season started, saying that he loved the Faber evening which they 'really did it awfully well, bless them' and saying that if she is ever out west to visit them, 2 pp., 8vo, together with an Autograph Letter Signed from Hughes's widow Carol, Court Green, 7 February 1999, to Rosemary, 'Thank you for writing so generously about Ted. He was, is, such a large and unique being, who seemed to be able to make everyone else feel special. The public acclaim for Birthday Letters is a fitting tribute and yet makes it quite difficult to mourn - and even to come to terms with his death, no doubt one reaches a quietness in one's soul about that eventually. His illness, death and posthumous life are all too overwhelming - bleak times as you say, but the sun will shine again, 1 page, 4to, both with paperclip impression to upper margin from previous filing, plus 2 uncorrected proof copies of Seneca's Oedipus adapted by Ted Hughes, Faber & Faber, 1969, one with pencil ownership signature of 'Miss Goad' to upper wrapper, slim 8voQTY: (5)NOTE:Provenance: from the library of Rosemary Goad, the first female director of Faber and Faber.The first letter to Charles Monteith, director at Faber, concerns Hughes's appointment as Poet Laureate in December 1984. The sherry references in the closing paragraph refer to the long-standing tradition whereby the sherry producers of Jerez in Spain giving the newly-appointed Poet Laureates a barrel (butt) of sherry. It was first given to Ben Jonson in 1630, the last being given in 1790 when Henry James Pye relinquished his cask for a payment of £27.

Railwayana - an 1858 Stockton & Darlington Railway Company £25 share certificate, 19 x 24 cm, mounted framed and glazed

STATUETTE DE TARA EN ALLIAGE DE CUIVRE REPOUSSÉ ET DORÉNÉPAL, VERS XVE SIÈCLEHimalayan Art Resources item no. 1450 34 cm (13 3/8 in.) highFootnotes:A GILT COPPER ALLOY REPOUSSÉ FIGURE OF TARA NEPAL, CIRCA 15TH CENTURY尼泊爾 約十五世紀 銅鎏金錘揲度母像Cast in repoussé and beautified with turquoise insets, this figure represents Tara, one of the most popular Buddhist goddesses to be worshipped in the Himalayas. As a testament to her role as a liberator of suffering, she extends her left hand in the gesture of wish-granting (varada mudra) while raising her right hand in the gesture of reassurance (abhaya mudra). Compare with two similarly sized figures of Tara that share the same posture, regalia, and hairstyle, sold at Christie's, New York, 20 September 2006, lot 119, and a related pair in the Museo Nazionale d'Arte Orientale, Rome (Mazzeo, Splendori dell'Asia, 2005, nos. 34 & 35). Also see another example sold at Christie's, New York, 22 March 2011, lot 58.Provenance:Compagnie de la Chine et des Indes, Paris, 1996 For further information on this lot please visit Bonhams.com

STATUE DE BOUDDHA EN SCHISTEANCIENNE RÉGION DU GANDHARA, IIIE/IVE SIÈCLE58 cm (22 7/8 in.) highFootnotes:A SCHIST FIGURE OF BUDDHAANCIENT REGION OF GANDHARA, 3RD/4TH CENTURY 犍陀羅 三/四世紀 片岩佛陀像 Published:Isao Kurita, Gandharan Art, Vol. II, Tokyo, 1998 & 2003, p. 103, no. 274.Provenance:With Claude de Marteau, Brussels, by 1970sThis sculpture of Shakyamuni sits in vajrasana over a cloth draped platform with his right hand raised in abhaya mudra and the left hand grasping the gathered folds of his delicately pleated sanghati. His face is sensitively modeled with open eyes, rounded cheeks, and a small mouth. The even rows of wavy hair converging onto a single point right above his forehead give form to his heart-shaped profile. Compare with two other seated Buddhas in the British Museum, published in Zwalf, Gandharan Sculpture, 1996, pp. 21 & 27, nos. 23 & 33, that share the same platform and hair style, respectively.This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com

STATUETTE DE VAJRAGHANTA EN ALLIAGE DE CUIVRE DORÉTIBET, XVE/XVIE SIÈCLEHimalayan Art Resources item no. 4870 24.2 cm (9 1/2 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF VAJRAGHANTA TIBET, 15TH/16TH CENTURY西藏 十五/十六世紀 銅鎏金綠金剛鈴母像 Published:Arman Neven, Le Tantrisme dans l'art et la Pansee, Bruxelles, 1974, p. 75, no. 372.Exhibited:Le Tantrisme dans l'art et la Pansee, Palais des Beaux-Arts, Bruxelles, March - 10 April 1974.Provenance:With Claude de Marteau, Brussels, by 1978This youthful female stands in the pose of pratyalidhasana with three eyes holding a ghanta aloft in the right hand with the left hand held in tarjani mudra. Vajraghanta is one of four directional gatekeepers of various mandalas including Vairochana and Chakrasamvara. She is green in color and stationed in the North. Here, she belongs to the same set as the main deity Kurukulla from this collection (lot 14), acting as a dakini protector to this semi-wrathful dancing goddess. Several other related sculptures include a Mahamaya (Bonhams, Hong Kong, 2 October 2018, lot 48) and another gatekeeper (Art of Nepal and Tibet, Spink and Sons, London, 1979, p. 52, no. 52), both which share similar treatment in the figures and lotus platform. For another figure of Vajraghanta see Clark Two Lamaistic Pantheons, 1937, p. 286.For further information on this lot please visit Bonhams.com

TÊTE D'UN BODHISATTVA EN SCHISTE GRISANCIENNE RÉGION DU GANDHARA, VERS IIIE SIÈCLE42 cm (16 1/2 in.) highFootnotes:A GREY SCHIST HEAD OF A BODHISATTVA ANCIENT REGION OF GANDHARA, CIRCA 3RD CENTURY犍陀羅 約三世紀 片岩菩薩首Provenance:With Claude de Marteau, Brussels, by 1970sThis sculpture of incredible size depicts the head of a bodhisattva, an awakened being devoted to helping others along their spiritual path. Arising in Gandhara, the popular strain of Mahayana Buddhism advocated for righteous and good deeds as the means of salvation. The bodhisattva ('Enlightened Being') represented this kind of spiritual advancement and salvation, in his ultimate act of voluntarily postponing enlightenment in order to ferry others towards their own liberation.Characterizing the hybridization of the Greco-Roman aesthetic in Gandharan art is the idealized symmetry of his face seamlessly juxtaposed with the naturalistic locks of his curly hair. The heavy-lidded eyes and pupils, which are well-preserved in high relief, convey the Gandharan artist's intent of evoking a calm yet powerful expression through the bodhisattva's watchful, piercing gaze. His ears remain wonderfully modelled with elongated lobes and beaded earrings, recalling his former princely status. His majestic face is framed by thick, voluminous ringlets that part in the middle, spilling over to the sides of the head and behind the ears. A beaded hairband keeps this arrangement in place, forming a domed topknot on the bodhisattva's head. In Gandharan art, this type of chignon is typically attributed with Maitreya, the Buddha of the Future. Beautifully carved from a polished dark stone, this bodhisattva head ranks among one of the largest examples with a topknot to be held in private hands. Its scale and sculptural quality is only rivalled by that of a bodhisattva head in the Peshawar Museum, published in Ingholt, Gandharan Art in Pakistan, 1957, p. 134, no. 286. Three smaller bodhisattva heads share a hairstyle with the present lot, including one sold at Christie's, New York, 21 March 2012, lot 723, another sold at Bonhams, New York, 14 September 2015, and a third sold at Bonhams, New York, 22 March 2022, lot 304. Also compare two bodhisattva statues bearing similar features, one in the Lahore Museum (ibid, p. 132, no. 282) and another in the National Gallery of Australia, Canberra (2006.295).This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com

BRACELET DE CÉRÉMONIE EN OR REPOUSSÉ ET VERRE COLORÉ (KOMBA-LOLA)PEUPLE TORAJA, SULAWESI, INDONÉSIE, XIXE SIÈCLE15.8 cm (6 1/4 in.) diam.Footnotes:A GOLD REPOUSSÉ COLORED GLASS CEREMONIAL BRACELET (KOMBA-LOLA)TORAJA PEOPLE, SULAWESI, INDONESIA, 19TH CENTURY 托拉查族 蘇拉威西島 印度尼西亞 十九世紀 金錘揲嵌紅料儀式手鐲 Provenance:With Claude de Marteau by the 1980sThese exceptionally large bracelets are worn by women from the Toraja tribe in Mamasa, part of West Sulawesi province, during special ceremonies and funerals. The display of elaborate jewelry is of critical importance, especially in funeral ceremonies, to emphasize the status and wealth of the upper classes. A example can be found in the Dallas Museum of Art (1988.55) and a pair published in Carpenter, Ethnic Jewellery of Indonesia, 2011, p. 186 and 186, both which share similar chased designs in the gold panel sides.For further information on this lot please visit Bonhams.com

Kevin Francis / Peggy Davies Limited Edition Toby Jug The Share Holder, height 22cm

Kevin Francis Large limited edition Toby jug The Share Holder

A framed share certificate for The International Nickel Company of Canada Ltd, dated 1930; together with four others (5)

Brazil Railway Company Share Certificates.

Border Fine Arts Collie Models Including 'Willing to Share', signed to felt base 'March 2006 Ray Ayres', 'Out of Harms Way' 'Our Nell' 'Let's Be Friends', etc (qty)Majority of the models in overall good condition. For specific information please email.