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Lot 430
The Rolling Stones - a rare original 1960's (1965) programme from the ' Big Beat Show - 65 ', in Australia. Featuring The Rolling Stones share top billing alongside Roy Orbison, with support from The Newbeats, and Ray Columbus & The Invaders. The programme features full page images of Orbison and The Stones (with facsimile autographs). Rare early Rolling Stones interest concert programme.
Lot 135
Jimi Hendrix 'Jimi Hendrix Experience Axis Bold Is Love' - Original hand painted artwork on thick paper by John Judkins, signed and dated, flat, 56 x 76 cm.Background: I Was Lord Kitchener's Valet was a swinging 60's boutique, originally based in Portobello Road & later Carnaby Street. The boutiques became famous for selling military style clothing & for a celebrity clientele including the likes of Jimi Hendrix, Eric Clapton & Paul McCartney. Artist John Judkins was commissioned to design posters for the boutique, the most collectable of which are his posters for Bob Dylan & Mick Jagger.These posters were later produced by John Judkins but share the same flair and style of the early artwork.
Lot 136
Led Zeppelin 'Dazed and Confused' - Original hand painted artwork on thick paper by John Judkins, signed and dated, flat, 56 x 76 cm.Background: I Was Lord Kitchener's Valet was a swinging 60's boutique, originally based in Portobello Road & later Carnaby Street. The boutiques became famous for selling military style clothing & for a celebrity clientele including the likes of Jimi Hendrix, Eric Clapton & Paul McCartney. Artist John Judkins was commissioned to design posters for the boutique, the most collectable of which are his posters for Bob Dylan & Mick Jagger.These posters were later produced by John Judkins but share the same flair and style of the early artwork.
Lot 137
The Doors 'Light my Fire' - Original hand painted artwork on thick paper by John Judkins, signed and dated, flat, 56 x 76 cm.Background: I Was Lord Kitchener's Valet was a swinging 60's boutique, originally based in Portobello Road & later Carnaby Street. The boutiques became famous for selling military style clothing & for a celebrity clientele including the likes of Jimi Hendrix, Eric Clapton & Paul McCartney. Artist John Judkins was commissioned to design posters for the boutique, the most collectable of which are his posters for Bob Dylan & Mick Jagger.These posters were later produced by John Judkins but share the same flair and style of the early artwork.
Lot 138
Iggy & The Stooges 'Raw Power Search and Destroy' - Original hand painted artwork on thick paper by John Judkins, signed and dated, flat, 56 x 76 cm.Background: I Was Lord Kitchener's Valet was a swinging 60's boutique, originally based in Portobello Road & later Carnaby Street. The boutiques became famous for selling military style clothing & for a celebrity clientele including the likes of Jimi Hendrix, Eric Clapton & Paul McCartney. Artist John Judkins was commissioned to design posters for the boutique, the most collectable of which are his posters for Bob Dylan & Mick Jagger.These posters were later produced by John Judkins but share the same flair and style of the early artwork.Condition Report: Some surface marks and handling, designed to look a bit 'rough'.
Lot 139
Cream 'White Room' - Original hand painted artwork on thick paper by John Judkins, signed and dated, flat, 56 x 76 cm.Background: I Was Lord Kitchener's Valet was a swinging 60's boutique, originally based in Portobello Road & later Carnaby Street. The boutiques became famous for selling military style clothing & for a celebrity clientele including the likes of Jimi Hendrix, Eric Clapton & Paul McCartney. Artist John Judkins was commissioned to design posters for the boutique, the most collectable of which are his posters for Bob Dylan & Mick Jagger.These posters were later produced by John Judkins but share the same flair and style of the early artwork.
Lot 787
A FIRST AND SECOND WORLD WAR FAMILY GROUP. A War Medal 1914-20 named to 223575 GNR R. Boley R.A. with second world war medals comprising France and Germany Star, Defence and War medal in postal box addressed to C.N. Boley Esq, The Meadows, Berrow Road, Burnham on Sea and a single War Medal in a box addressed to J. Dunn at the same address with a slip 'The Council share your sorrow that Pte M.J.Dunn did not live to receive it'. Acquired by the vendor directly from the family of the recipients.
Lot 1168
Postage stamps and mixed ephemera – GB Victoria 1d reds and others, some later, foreign, Adelphi Bank share certificate 1863 with cancellation stamp and other items. Viewing/collection at West Woodlands BA11 5ES. Payment at Standerwick BA11 2QB. No booking required. Lots to be collected within 7 days.
Lot 19
With history dating back to 1903 the Standard motor company was a major concern in the pre war market with a market share similar in size to that of Austin. After production restarted after world war 1 (Standard had built over 1,000 aircraft during the war) the eleven was the first car built on StandardÕs new wooden track production line. This allowed them to make over 10,000 cars in 1924.This particular car has been owned by the current owners for over 40 years with only 2 previous keepers.In 1982 the current owner set the record for the Òround BritainÓ challenge covering 2,046 miles in 72 hours around the coastline of the United Kingdom. The whole journey completed in winter with the roof down to Òreduce dragÓ Ð A record that has yet to be beaten.Fitted with the V3 overhead exposed valve and push rod engine, finished in off white with black arches and convertible top as well as green interior.Having sat in the owners museum for the last 3 decades the car is dry and appears in good cosmetic condition but will require some light recommissioning work.We encourage viewings on all our cars, viewing is by appointment only, alternatively we can schedule a telephone or video call to show you anything specific you may wish to see
Lot 233
PATEK PHILIPPE. MONTRE BRACELET EN OR ROSE 18 CARATS CALENDRIER ANNUEL MOUVEMENT AUTOMATIQUE COMMEMORANT LE 100E ANNIVERSAIRE DU MILAN AC PATEK PHILIPPE. A FINE 18K GOLD AUTOMATIC ANNUAL CALENDAR WRISTWATCH MADE TO COMMEMORATE THE 100TH ANNIVERSARY OF AC MILAN Reference: 5035RDate: Purchased 15th July 1999Movement: 35-jewel Cal.315 S QA automatic, Gyromax balance, shock absorber, self-compensating free-sprung flat balance spring, 21K gold rotor, Stamped with Seal of Geneva, No.3130432Dial: Silvered, applied gold dart indexes with luminous dots, black outer minute track, subsidiary dials at 2, 6 and 10 for day, month and 24 hours, date aperture at 6, leaf hands with luminous inserts, centre seconds Case: Polished round, screw down exhibition back stamped 'Milan AC 1899-1999', quick set buttons in the band at 2, 4 and 10, No.4060071Strap/Bracelet: Brown Patek Philippe alligator leatherBuckle/Clasp: Signed 18K gold buckleSigned: Case, dial & movement Size: 37mm Accompaniments: Patek Philippe wooden AC Milan presentation box, Extract from the Archives, outer cardFootnotes:AC Milan are one of the wealthiest and most successful clubs in Italy, having won the Scudetto eighteen times and the European Cup seven times. Based in Milan, AC Milan have a fierce local rivalry with neighbour club Internazionale with whom they share a stadium. Oscar Damiani made 53 appearances for AC Milan between 1982 and 1984 winning the Serie B title in 1983. In 1999 AC Milan celebrated their 100-year anniversary when Damiani was presented with this watch.Oscar DamianiThe current watch is to be offered from the collection of renowned Italian footballer Giuseppe 'Oscar' Damiani. Damiani was born in Brescia, Italy in 1950. During his distinguished career he made over four hundred senior appearances for clubs such as Napoli, AC Milan and Juventus, winning the 1974-75 Serie A title with the latter. Damiani was also capped by the Italian national team. After retiring as a player Damiani carved out a successful career as a football agent representing players such as Alessandro Costacurta, Andriy Shevchenko, Lilian Thuram and Pierre Emerick Aubameyang.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 14
The Ryedale Ritual Bronzes. A unique assemblage of Roman ritual artefacts from Yorkshire.In May 2020, approximately 20 miles north of York, the Roman city of Eboracum, two friends Mark Didlick and James Spark unearthed an amazing assemblage of Roman bronze-work. Consisting of a large bust, a horse and rider figurine, a zoomorphic knife handle and a pendulum, this assemblage almost certainly represents a set of ritual equipment, buried as one deposit in the closing decades of the second century AD either at, or very close to, a rural temple or shrine site.BustThe 130mm high bronze bust, with its flamboyant hair and curly, forked beard appears to represent Marcus Aurelius. Emperor AD 161-180, philosopher and author, his reign followed those of Nerva, Trajan, Hadrian and his adoptive father, Antoninus Pius. He earned his place in Roman hearts as the last of the ‘Five Good Emperors’ whose consecutive rules oversaw a period of relative peace and prosperity in Rome. The bust is hollow, cast using the lost wax method and very finely modelled. Although the portrait is somewhat stylised, with large almond-shaped eyes, close similarities can be seen with some other depictions of the Emperor, notably the bronze equestrian statue of Aurelius in the Piazza del Campidoglio, Rome, and the full-length figure in the Ny Carlsberg Glyptotek, Copenhagen. The back of the head has a hinged plate which opens like a trap door to reveal the interior, possibly designed as such to allow the placement of a flaming lamp inside to bring life to the eyes. https://en.wikipedia.org/wiki/Equestrian_Statue_of_Marcus_Aureliushttps://www.worldhistory.org/image/2406/marcus-aurelius-statue-ny-carlsberg-glyptotek/A similar head was found at Brackley, Northamptonshire in the 1970’s and now features on the homepage of the Portable Antiquities Scheme website. The head is hollow-cast and has cobalt blue glass inlaid into the eyes. The PAS record BERK-E24C84 states: ‘The small number of heads or busts cast in bronze and found in Britain share characteristics such as slanting eyes and the textured patterning of the hair identifies them as the products of a provincial Romano-British workshop. The Brackley head can be dated to the mid-late second century AD by its resemblance to images of Antonine emperors, especially Marcus Aurelius. It may perhaps be inappropriate to suggest that the head from Brackley represents the local rendering of an imperial portrait, but a profile image on a coin portrait of Marcus Aurelius might have been its inspirations.’ https://finds.org.uk/database/artefacts/record/id/252426Around 20 bronze heads/busts are known from Roman Britain, depicting various gods and emperors and they are thought to be mounts from the tops of sceptres. These sceptres would have been carried by priests and used for divination and the performance of rituals.Mars statuette.A cast bronze figurine of a rider on horseback, probably representing the God Mars. The horse and rider are well modelled, the horse harness with attached phalerae and reins clearly visible, though the latter are broken. Mars, wearing a helmet, short-sleeved tunic and pleated skirt, belted at the waist, sits astride the horse with his right arm raised to hold a spear. The left arm is held in front, bent at the elbow and the simple form of the forearm indicates it would have been held behind a shield, hidden from view. No traces of a shield were found in the hoard and it is possible that this was made from organic material. The horse has its right foreleg raised and the other legs have small pegs on the base of the hooves, indicating that the figurine would have been fixed into a plinth. It is often the case with votive deposits that figurines are interred without their bases or sometimes a pedestal is included with no accompanying figurine. 86.8mm high. 222g.Knife handle. A solid bronze knife handle in the form of a horse protome (the foreparts of a horse). The horse is well modelled with its front legs outstretched and head forward, as though leaping. PAS suggest that ‘The presence of the horse protome... might also be explained through its secondary use as a substitute votive for animal sacrifice.’ The symbolism may not end there, this may have been a knife using in rituals of animal sacrifice or divination through the examination of animal entrails.Pendulum/plumb bob. A large bronze conical plumb bob or pendulum measuring 72mm long, 40mm diameter and weighing 282g. The top is decorated with concentric circles and at the centre is a mushroom-shaped projection, which is pierced both vertically and horizontally for attachment to a line. Such items were an important tool for surveyors and architects and it has been suggested that this could be a votive offering relating to a new building project or the surveying of the landscape, More likely, however, is that the pendulum was used for the purposes of divination and predicting the future.The find was taken to York museum where it was recorded with the Portable Antiquities Scheme, reference number: YORYM-870B0E. Under current legislation this find did not fulfil the criteria to qualify as ‘Treasure’ so the hoard was returned to the finders. https://finds.org.uk/database/artefacts/record/id/1013510Other examples of similar ritual deposits from Roman Britain include.The Felmingham Hall Hoard: This hoard from Norfolk was discovered in 1844 and consisted of a large ceramic cauldron containing 19 bronze items. The contents included a sceptre heads depicting Jupiter and Minerva along with other figures of gods and animals, along with a ritual rattle used for divination purpose. This hoard has been interpreted as a symbolic ‘end of life’ votive deposit possibly signifying the closure of the shrine to which they belonged. A coin of Valerian inside the cauldron dates the hoard to the mid third century AD.https://www.britishmuseum.org/collection/object/H_1925-0610-1Willingham Fen Hoard: At Willingham Fen in 1857, another hoard of priestly regalia was found. This included horse and rider figurines, five broken sceptres, including handles and terminals, and a large bronze sceptre head depicting the emperor Antoninus Pius. These items were contained within a wooden box. It was suggested that the head of Antoninus was crafted after the Emperor was deified, justifying his presence atop a sceptre in a position usually reserved for the gods. https://www.jstor.org/stable/297703?seq=1The Ryedale bronzes offer a tantalising insight into the religious practices of Roman Britain in the 2nd century. The items themselves were obviously held in high esteem and from other examples of ritual hoards we can see that such deposits were not infrequent occurrences. We can theorise that these objects were the property of one priest, his tools of communication with the Gods, and were no longer needed in the mortal realm once the priest passed on. In his book Meditations Marcus Aurelius wrote ‘What we do now echoes in eternity.’ Famously paraphrased by General Maximus in the opening scenes of Gladiator, this still holds true today as the events around a rural shrine in Ryedale echo forward into the 21st century.(Text reproduced with from The Searcher magazine June 2021 issue pp.20-23).For further information see Esposito (2019) Performing the Sacra: Priestly Roles and Their Organisation in Roman Britain.
Lot 263
Five: Major G. C. Matthews, Cheshire Regiment, attached Machine Gun Battalion, 12th Frontier Force Regiment, Indian Army, later Singapore Police, who was Mentioned in Despatches for his services in Burma 1939-45 Star; Burma Star; Defence and War Medals 1939-45, with M.I.D. oak leaf; General Service 1918-62, 1 clasp, Malaya, G.VI.R. (A.S.P. G. C. Matthews. S’pore Pol.) mounted as worn, nearly extremely fine (5) £120-£160 --- M.I.D. London Gazette 19 July 1945. Guy Collington Matthews was born in 1919 and was commissioned Second Lieutenant in the Cheshire Regiment on 20 April 1940. Promoted Lieutenant on 20 October 1941, he served during the Second World War as a British Service Officer attached to the Machine Gun Battalion, 12th Frontier Force Regiment, Indian Army, and was advanced Acting Major by April 1945. The Machine Gun Battalion of the Frontier Force Regiment was formed in January 1942 and served in the Arakan initially from April to October 1943. In February 1944 the unit moved back into the Arakan and played its part in the relief of the Admin Box: ‘The battalion can justifiably claim its share of dead Japs... Major Matthews commanded “C” Company during these operations’ (Regimental Magazine refers). The October 1945 edition of the Magazine also lists Matthews serving with the unit. After operating on Ramree Island the record states ‘When the Japs eventually were driven out of the island itself two companies were employed on the mainland. Guy Matthews C Company and Bruce Hobson D Company were the lucky ones this time...’ Regarding the Rangoon landing: ‘Guy Matthews with his Company and the Second-in Command with the remainder of the battalion headquarters had no sooner arrived in the concentration area than they were told that their convoys had been cancelled and that they would be returning to India... This came as a considerable anti-climax.’ The February 1946 edition of the Magazine also lists Matthews serving with the unit, but he departed before the battalion embarked for operations in Java. For his services in Burma Matthews was Mentioned in Despatches. Transferring to Regular Army Reserve of Officers, Cheshire Regiment, with the honorary rank of Major on 6 May 1949, Matthews sailed for Singapore on 6 February 1963 in the SS Canton, giving his occupation as Police Superintendent. He died in 1985 and is buried at Holy Trinity Church burial ground, West Runton, Norfolk, where his father, Felix Hackett Matthews (1883-1964) was vicar for 45 years.
Lot 284
Five: Captain R. B. Howick, Machine Gun Battalion, The Jat Regiment, Indian Army 1939-45 Star; Burma Star; Defence and War Medals 1939-45; General Service 1918-62, 1 clasp, S.E. Asia 1945-46 (Capt. R. B. Howick. 9 Jat. R.) good very fine (5) £100-£140 --- Robert Bernard Howick was born on 17 March 1923 and was commissioned in the Jat Regiment on 15 November 1942. Promoted Lieutenant on 15 May 1943, he served during the Second World War with the 7th Battalion and then the Machine Gun Battalion of his regiment in Burma. The Machine Gun Battalion saw extensive and arduous active service from Imphal to the Sittang River, 1944-1945. Companies of the battalion nearly always operated independently in support of various forces. From joining the unit in 1944 Howick served as the only company officer of “W” Company and eventually, from May 1945, as company commander. After Burma the battalion saw further service in French Indo-China, qualifying for the General Service with clasp South-East Asia 1945-46. ‘MG Jat’ was organised as four MG Companies (W, X, Y, and Z), each with an establishment of twelve guns, and was the MG Battalion of the 20th Indian Division. The following notes on Howick’s active service in Burma are extracted from the battalion history published at Bangalore in July 1947: Capture of Monywa ‘From Maukkadaw one platoon of W Company under Lieutenant Howick left to join 100 Infantry Brigade where they received orders to form part of a strong mobile column which was to move as rapidly as possible through Budalin to occupy Monywa… The force duly left on the 4th January [1945], but on approaching Budalin found 32 Infantry Brigade in contact with the enemy who contrary to expectations were making a stubborn stand, in well dug in positions inside the village. The platoon then came under command of 32 Brigade, subsequently being joined by the remainder of W Company which remained with the Brigade right through the Burma operations... Monywa was the Division’s first large prize so far, and had been an important base for the Japs this side of the Irrawaddy… W Company under Major Davies and Lieutenant Howick played their share in its recapture.’ The Irrawaddy Crossing During the battle of the Irrawaddy shore W Company supported 1st Battalion Northamptonshire Regiment in a desperate action ‘One battalion of 32 Brigade [1 Northamptonshires] had been given the task of making a diversionary landing from Myaung to the South of the main crossing. No. 3 platoon were to cross with the assaulting troops to assist consolidation, while No. 2 platoon gave supporting fire from a sandbank in mid river. The landing was effected according to plan on the 13 February and that night Major Davies, and Lieutenant Howick with Company H.Q. and the remaining platoon crossed to join the platoon with the Northants on the bridgehead... The Japanese reacted strongly to this surprise landing, and launched counter attacks, one after the other mainly at night, all of which were repulsed, assisted by our M.G. fire which took heavy toll of the enemy and won many tributes from the men of the Northants. The bridghead was only 800 yards by 300 yards in very soft sand, and no cover of any description, but in spite of these conditions and merciless enemy Artillery fire day and night the morale of the men remained magnificently high… By the end of the month the bridghead was still firmly holding out… We left W Company entrenched with the Northants on their small bridgehead across the Irrawaddy. Not a day or night passed without incident, and the machine guns were constantly in action, beating off enemy attacks, dealing with jitter parties, map shoots and harassing shoots. Enemy artillery continued to pour shells down on to this relatively small and completely exposed area, making any movement by day a very hazardous procedure, and one not indulged in lightly. With the remainder of the Brigade across the river… the by now completely isolated party had completed its task… Thus ended a very trying period of 25 days, spent in exposed positions, subject to constant attacks, and continual shelling, added to which was blazing heat and myriads of flies… many individual acts of gallantry were performed, and the Company with Major Davies and Lieutenant Howick can truly say they had done a difficult job well… A most appreciative signal was received at Battalion H.Q. from the C.O. of the Northants, thanking W Company for the very excellent support they had rendered, and for the magnificent manner in which they had carried it out.’ Final Advance in Burma 32 Brigade now advanced across country to cut the Mandalay road, and ‘Mopping up of nearby parties of enemy was carried out with machine gun support whenever required… Lieutenant Howick was with the company throughout as Company Officer and frequently out with detached platoons.’ These operations continued until the end of March followed by a rest period from 1-9 April. 32 Brigade, with W Company, still attached, then formed a mechanised column to act as spearhead of the next advance, to Taundingwi, which was accomplished in six days. The history continues: ‘From the 23 to the 27 April, one platoon under Lieutenant Howick with guns and ammunition on bullock carts moved South with the 4/2nd Gurkha Rifles, and by the end of the month the Company had concentrated North of Allanmyo on the Rangoon Road... W Company continued with 32 Brigade and reached Tharrawaddy in May. Major Davies had left the company at Tharrawaddy to proceed on leave in India, leaving Lieutenant Howick in charge. While in India orders came through sanctioning Major Davies his home leave in lieu of repatriation, and that was the last we saw of him for about six months.’ Presumably Captain Howick remained in charge of W Company for the remainder of the campaign in Burma and the move to Saigon in French Indo-China, where the task of disarming and rounding up 72,000 Japanese was hampered by a state of near civil war and considerable unrest. The Battalion was still on active service and in action with rebels on a number of occasions. There were casualties and several awards for gallantry were earned during this period. Around October 1945 Howick went on leave to India and was away for several months but must have returned before the Battalion was disbanded in India in August 1946 as he appears in the group photograph of officers present on disbandment.
Lot 428
The British War Medal awarded to Able Seaman H. S. Cross, Royal Navy, who was mentioned in despatches for services in action with enemy submarines and was killed in action when the Q-Ship Stonecrop was sunk on 18 September 1917 British War Medal 1914-20 (211054 H. S. Cross. A.B. R.N.) good very fine £60-£80 --- M.I.D. London Gazette 16 November 1917: ‘For services in action with enemy submarines:- A.B. Herbert Stanley Cross, O.N. 211054 (Po.) (since killed)’. Herbert Stanley Cross was born in Peckham, London, on 18 April 1884, and was a milkman when he joined the Royal Navy on 3 August 1900, and signed on for 12 years Continuous Service on 18 April 1902. His C.S. expired on 1 May 1914, but on 4 September he signed on again for the duration of the war, serving in the light cruiser Birmingham from September 1914 to September 1916. After postings to Vernon and Victory I, he joined his next ship, H.M.S. Stonecrop, on 1 August 1917. Originally the collier Glenfoyle, she was converted for service as a ‘Q-Ship’ in April 1917 and fitted with one visible 6-pounder gun capable of firing only in the aft direction (as was legitimate defence for a merchant ship) but also with a concealed 4-inch gun, 12-pounder howitzers for projecting bombs, and torpedo tubes. On 17 September 1917, when some 300 miles south-west of Co. Kerry, she sighted a submarine on the surface at 14000 yards distance. The submarine opened fire and Stonecrop turned away at her top speed of 7 knots, sending out SOS signals. The submarine followed, overtaking and firing, but without making any direct hits. After half an hour of this, Stonecrop lighted her Smoke Apparatus, simulating a very realistic fire, and sent off her ‘panic party’. the submarine then submerged but reappeared later and circled the ship at 600 yards. Stonecrop opened fire with her 4-inch gun, scoring several hits. The submarine then moved away, to sink stern-first. She surfaced again briefly before finally sinking. Her conning-tower hatch had not been opened and no wreckage appeared, just oil and scum, but Stonecrop’s captain was convinced that she had been sunk. The Admiralty awarded £1000 to be distributed amongst the crew, of which Cross’s share, as an Able Seaman, would have been £9. 1s. 10d. The submarine is believed to have been the U-151. On 18 September 1917, at 1 p.m. Stonecrop was some 180 miles south-west of Fastnet when she was struck by two torpedoes, suffering extensive damage and slowly settling by the head. The ‘panic party’ left in the boats and the gun crews went to their concealed posts and waited. A submarine appeared and cruised around at about 3000 yards but never came within the field of fire of any of the ship’s remaining weapons which were still serviceable. The ship continued to settle and at about 2.30 p.m. all those still on board had to abandon her as she tilted into a vertical position and sank. The submarine then approached to enquire the ship’s name and destination, a false answer being given. She then left without taking any further hostile action. The men in the water had two boats, a partly wrecked raft and plenty of wreckage, from which they repaired the raft and constructed another. One boat was sent away towards Ireland to fetch assistance. It arrived safely and ships were sent out the following day to search. Meanwhile, the other boat became separated from the rafts during the night of 18-19 and, since it could be of no help even if it did find them again, it sailed on towards and reached Bantry Bay at 7.30 p.m. The two rafts were not sighted by the searching ships until the afternoon of 23 September. They had been without food and with only a little water since 20 September, and only 10 remained alive out of the 22 who had been on the rafts originally. In all, some 32 of the ship’s complement perished including Able Seaman H. S. Cross who is commemorated by name on the Portsmouth Naval Memorial. Sold with copied record of service and other research.
Lot 182
2011 Mercedes-Benz E250 AMG Sport Convertible Transmission: manual Mileage: 76203Historically, the E-Class is Mercedes-Benz' best-selling model, with more than 13 million sold by 2015. The first E-Class series was originally available as a four-door saloon, five-door estate, two-door coupé and two-door convertible. From 1997 to 2009, the equivalent coupé and convertible were sold under the Mercedes-Benz CLK-Class nameplate which was actually based on the mechanical underpinnings of the smaller C-Class while borrowing the styling and some power trains from the E-Class. A trend continued with the C207 E-Class coupé/convertible which was sold parallel to the W212 E-Class saloon and estate models. With the latest incarnation of the E-Class released for the 2017 model year, all body styles share the same W213 platform.The coupé (C207) was first shown at the 2009 Geneva Motor Show, while the convertible (A207) was unveiled at the 2010 North American International Auto Show.This lovely example is presented in Metallic Grey with black leather interior. It comes with a full service history and was last serviced in October 2020. The wheels have been refurbished and shod with new Pirelli tyres. It boasts satellite navigation, parking distance control front and rear, heated front seats, Xenon active headlights, Bluetooth facility, rear headrests, wind deflector and is presented in extremely good condition throughout. Supplied with a V5C registration document and a full years MoT test certificate, these models are extremely elegant and practical, offering open top motoring with all the comforts one would expect with a prestige marque.Guide; £10,000-£12,000Interested parties should satisfy themselves as to the description and condition of each lot prior to the sale. Accordingly, buyers are on notice that each vehicle is offered ‘as is/as seen’ subject to the Terms and Conditions for the auction. Buyers are advised to inspect the vehicle in person or use a professional to carry out this service. Historics will not entertain disputes over descriptions.
Lot 72
INSCRIBED ARCHAIC BRONZE RITUAL WINE VESSEL, ZHI LATE SHANG DYNASTY, 12TH-11TH CENTURY BC of slender cylindrical form, the elongated pear-shaped body supported on a tall spreading foot and rising to a flaring mouth, the neck encircled by a double band, the inner foot cast with a two-character pictogram 'Zu Ding (ancestor Ding)', the patina of a mottled malachite-green colour with traces of cuprite (Dimensions: 15.2cm high) (Qty: 1)(15.2cm high)Qty: (1)Footnote: Provenance: formerly in the collection of Luz Papasian (1915- 2013), New York Note: Bronze ritual vessels, such as this Zhi, would be filled with food and wine and set out in a form of communal banquet for the ancestors to come and share with their living descendants. This vessel remarkably preserves the very name of the individual to whom it was dedicated, 'Zu Ding (ancestor Ding)', which was cast on the inner foot.
Lot 78
AN EXTREMELY RARE EMBROIDERED SILK BLUE-GROUND 'DRAGON' RANK BADGEKangxiFinely embroidered in rich couched-gold thread with a central commanding front-facing four-clawed dragon striding in pursuit of a flaming pearl amidst flames and formal four-fold ruyi cloud scrolls, all on a deep midnight-blue satin silk ground, mounted. 38cm (15in) x 37cm (14 1/2in).Footnotes:清康熙 藍地刺繡金龍紋方補Provenance: Linda Wrigglesworth, London, purchased in the early 1980's.來源：倫敦Linda Wrigglesworth，購於二十世紀八十年代初No identical example appears to have been published in public collections. Fully embroidered in fine couched-gold thread with a bold powerful front-facing dragon, highly-detailed with large eyes and flowing mane between its horns, the present badge is a rare example dating to the Kangxi reign. The badge shows the prosperous era of the Kangxi emperor's reign using the finest gold thread of the highest quality. In addition, a fine blue thread defines the dragon's scale with original selvedge and border intact. Square badges decorated with a front-facing four-clawed dragon such as the present example were typically reserved for Imperial dukes of the fourth rank. Rank badges decorated with dragons identified members of the Imperial family and princes of the first to eighth ranks. The first four ranks were solely granted to direct male-line descendants of the emperor. The highest six ranks enjoyed the 'Eight Privileges', gifts of the emperor, which included jade books, sets of seals for correspondence, precious stones on the mandarin hat crests, dragon robes and Imperial porcelain wares; see T.A.Wilson, On Sacred Grounds: Culture, Society, Politics, and the Formation of the Cult of Confucius, Boston Ma, 2002, pp.69 and 315. The 'Eight Privileges' entitled the prince to participate in state councils and share the spoils of war. However, the prince was also bound to reside in the capital and render service to the Imperial court.Two badges were normally attached to the costume, respectively to the back and front, which was was split to allow the garment to be buttoned up at the front. The badge system was first introduced in 1391 during the Ming period and continued onto the Qing dynasty, the styles changed according to the taste of the time; see L.Wrigglesworth and G.Dickinson, The Imperial Wardrobe, London, 1990, pp.120-142.Stylistically, the present dragon closely compares with the writhing dragons featured with prominent heads if compared to their bodies, highly-defined round cheeks and flowing mane and whiskers, which decorate the yellow-ground Imperial robe, dated to the early Qing dynasty, in the Qing Court Collection, illustrated in The Complete Collection of Treasures from the Palace Museum. Costumes and Accessories of the Qing Court, Shanghai, 2006, no.23. See also the dragons within the roundels decorating a blue-ground silk robe, Kangxi, also in the Qing Court Collection, illustrated in ibid., no.10, and the dragons decorating a blue-ground man's formal court coat, illustrated by J.Vollmer, Silks for Thrones and Altars. Silk for Thrones and Altars: Chinese Costumes and Textiles from the Liao Through the Qing, Berkeley, 2004, pp.48-49, no.20.For further information on this lot please visit Bonhams.com
Lot 11
Alan Salisbury (20th/21st century) "Commedia del Goalie: Melancholicus", initialled and dated 2006, titled on exhibition label - 'The Royal Cambrian Academy' verso, oil on board.32.5cm x 23.5cm (12.75in x 9.25in)Footnote:* Alan Salisbury was born in Preston, Lancashire and studied painting at Manchester and Liverpool Colleges of Art and the Royal College of Art, London. He has lived in Wales since 1974 working at the University of Glamorgan where he was Principal Lecturer in Painting and Field Leader in Arts and Media. He has now left to concentrate on his own artistic practice although he maintains contact with the University as an External Fellow. He has exhibited widely throughout the UK, in Europe and the USA. In 2005 he was awarded Joint First Prize in the Liverpool School of Art Alumni Open Competition. In 2008 he was awarded First Prize in the Wales Portrait Award 2 Competition.Creating a group of paintings that share a conceptual theme occurs often in Alan’s work. This can be exemplified in his two series of works called ‘Commedia del Goalie’ and ‘The Art of the Goalkeeper’. These series explore two major obsessions, football and painting. An interest in the religious painting of the 15th century is used as a metaphor to examine the role of the solitary goalkeeper as the last defender required to save the team and also as the individual most likely to be vilified.Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The painting is in very good, original condition. There are one or two small flecks of paint loss across the painting. The painting is framed but not glazed. The frame has some minor scuffs and knocks commensurate with age.
Lot 315
Junghaendel (R.M., editor). Egypt Heliogravures after Original Views, with a Preface by C.G. Rawlinson... Thos. Cook & Son Special Edition, Berlin: Cosmos Art Publishing, [1893], 26 heliogravure plates only (of 27, lacking plate VI, 'Pyramids of Ghizeh'), a few marginal chips and closed tears, a little light spotting and soiling, loosely contained in original cloth portfolio, spine defective, boards detached with some edge wear and stains, folio (54 x 43.5 cm)Qty: (1)NOTESAtabey 629: "Junghaendel travelled up the Nile on a Cook's steamer. This is partly an exercise in advertising, but the plates are genuinely interesting." The prospectus states "It is no doubt of artistic value that photographic views, which have become a necessity for tourists, should be replaced by a more perfect reproduction of the most memorable moments of their travels... In order to keep the reminiscences fresh in the memory of those who have returned home, or to awaken the desire to see the wonders of Egypt, or to serve as a rich compensation for those who are not able to share in this pleasure, we offer this work to the public."
Lot 2077
A large collection of World banknotes to include Central Bank of China 1941 100 Yuan, The Central Bank of China 1930 5 Customs gold units, The Japanese Government 10, 5, an 1 dollars, Austria 1913 20 Kronen and 1902 1000 Kronen, German 1917 Funf Mark, Bank of Indonesia 1963 10 Rupiah, Belgium 1928 5 Francs, Government of Brunei 1 dollar, Bank of England 1 Pound, Italy 10 Lire etc., together with a collection of American Bond and Share Certificates to include United States Banknote Corporation 100 shares, Standard Biscuit Company 3 shares, Rio Grande Water Power Company 200 shares, Denver Chiropractic Institute Inc. 300 shares, Golden Center Mines Inc. 100 shares and Masonic Temple Corporation 5 shares etc.
Lot 83
A late Victorian silver circular kettle on stand by George Nathan & Ridley Hayes, Chester 1897, with a wicker wrapped loop handle and a composition lobed finial to the domed cover, engraved with a crest above the motto I Hope To Share, the kettle on a circular pierced stand above a burner, with twin wicker wrapped handles and on four pad feet, 19cm (7 1/2in) long, 691g (22.2 oz) grossCondition Report: Maker's mark to body slightly obscured, rest are clearWicker to handle unravelled Engraving is crispStands wellLight scratches and wear commensurate with age and useCondition Report Disclaimer
Lot 104
A MID 19TH CENTURY ONYX CAMEO, ENAMEL, PEARL AND DIAMOND BRACELETThe oval sardonyx cameo, an interpretation of an intaglio by Luigi Pichler (see Georg Lippold, 'Gemmen und Kameen des Altertums und der Neuzeit', Hoffman, Stuttgart, 1922, CXXV,/5), depicting a lion fawning over Eros, embodying the notion 'love conquers all', within a border of pearls, old brilliant-cut diamonds and black enamel fleur-de-lys motifs, on a black enamel articulated openwork strap with pearl, old brilliant-cut diamond and black enamel fleur-de-lys quatrefoils, mounted in yellow gold, diamonds approximately 10.10 carats total, pearls untested, cameo dimensions 2.8 x 1.9cm, two black enamel and diamond fleur-de-lys motifs deficient, length 16.9cm, fitted case by Hartley, 45 Albemarle St, London, W.Footnotes:ProvenanceAdrian John Hope (1811-1863), son of Thomas HopeLady Beatrice Lister Kaye (1862-1935), his great-niece and daughter of 6th Duke of NewcastleAdeline de la Feld, (1881-1975), her daughterMichael Parsons, 6th Earl of Rosse, (1906-1979), her nephew, on his marriage to Anne Messel in 1935Anne Parsons, Countess of Rosse, (1902-1992), his wife and mother of Antony Armstrong-Jones, Earl of SnowdonThe bracelet's first owner is said to have been Adrian John Hope, scion of the Anglo-Dutch dynasty of merchant-bankers and patrons of the arts. Adrian was the son of Thomas Hope, the noted scholar, prominent collector, writer, and proponent of Neo-Classicism who filled his London townhouse in Duchess Street, Mayfair and his country mansion, The Deepene in Dorking, Surrey, with his collections of art. Thomas's brother was the gem connoisseur Henry Philip Hope, whose legendary collection of gems, that included the blue Hope Diamond (now in the National Museum of Natural History, Washington DC) and the Hope Spinel (sold at Bonhams for a world record price in 2015), was one of the most important private collections of gems ever assembled. The two brothers would also purchase, share and exchange works of art and jewels with each other and after their deaths, their vast collections were inherited and dispersed by their many relatives and heirs. It is uncertain when or how Adrian acquired this bracelet; perhaps he inherited the cameo from his father or his uncle and had it mounted. It is also possible he purchased the bracelet as a complete piece. Adrian Hope's great-niece, Lady Beatrice Lister Kaye, wore it at her wedding in 1880. In 1935, it was again given at a wedding, this time to Michael Parsons, 6th Earl of Rosse, himself a descendent of the illustrious Hopes, for his bride, the beautiful Anne Armstrong-Jones (née Messel), whose love of jewels is described by Diana Scarisbrick on the previous pages. The bracelet is a fitting marriage token: not only is the lion proffering its paw to Eros an allegory of love but during the 19th century the bracelet was the premier jewel of sentiment.This bracelet and the emerald bangle, lot 103, were great favourites of the Countess of Rosse and she may be seen wearing them in many society photographs of her. She wore them at the marriage of her son Antony Armstrong-Jones, 1st Lord Snowdon, to HRH The Princess Margaret in 1960 and both are clearly visible, one on each wrist, in their wedding portrait by Cecil Beaton with HM The Queen and HRH The Duke of Edinburgh in attendance. For reasons of copyright we are unable to reproduce the image in the catalogue but it may be searched for and viewed online.LOTS 103 – 104 TWO JEWELS FROM THE COLLECTION OF THE COUNTESS OF ROSSEINTRODUCED BY DIANA SCARISBRICKWhen I asked the Countess of Rosse what she considered the purpose of jewellery, her answer came swift and sure: 'it is for the beautification of women'. She followed this precept, for the jewels in her collection certainly enhanced her own appearance which was that of a great beauty much photographed by the Royal and society favourite, Cecil Beaton. Leaving nothing to chance, she explained that before each of her many social engagements she would always take the time to plan for it well in advance. She would first choose the right outfit and then with her husband, decide whether her diamonds, her emeralds or her rubies would best suit the colour and design of the dress as well as the circumstances of the particular event. She wore her most important jewels with one of the architectonic satin and tulle ball gowns created for her by the New York dressmaker, Charles James, and the combination made her look as majestic as the Empress Eugénie portrayed in a Charles Worth crinoline by F.X. Winterhalter, circa 1860. Similarly, when her son, Antony Armstrong-Jones, later 1st Earl of Snowdon, married Princess Margaret in May 1960 and their wedding was preceded by a ball at Buckingham Palace, she rose splendidly to the occasion. The invitations read 'tiaras will be worn' and she dazzled in the Rosse family diamond and emerald parure - tiara, long earrings and necklace - with an exquisite black and white organza gown from Victor Stiebel, standing out in the brilliant crowd. Daytime, less formal but official, events connected with the National Trust, the Georgian Group and the world of art and museums brought out her pearls and the Victorian diamond stars which she arranged so often in so many different combinations that they seemed to be part of her personality. They, like these two bracelets, evoke the period after World War 2, chronicled in the inimitable diaries of Henry 'Chips' Channon, when, through her marriage to Lord Rosse in 1935, her connections with royalty and her friendships with the leading figures in the arts, she played the part of an important hostess in London and in Ireland to perfection.In Michael Rosse she had found the ideal partner and would therefore have been particularly attached to the cameo bracelet for it was one of their wedding presents, with an interesting provenance, having previously been given by Adrian Hope to the parents of her mother-in-law on their marriage in 1880. As the sister of Oliver Messel, the genius of British theatrical design, heiress to the estate and gardens of Nymans in Sussex, Anne Rosse had been brought up surrounded by beauty, and passed on her feeling for it to her children and grandchildren. Coming from such a cultivated milieu, she would have appreciated that, as the son of Thomas Hope of The Deepdene, famous for its Greek style interiors, Adrian shared the Hope family passion for classical art, which is reflected in his choice of a cameo inspired by an ancient Roman model. Moreover, to friends admiring the bracelet on her elegant wrist, she must have enjoyed explaining the significance of the happy scene of the mischievous little divinity playing with the lion tamed by the all-conquering power of love, so relevant to her own personal experience. © Diana Scarisbrick 2021For further information on this lot please visit Bonhams.com
Lot 734
Parquet Dining Table Expertly Crafted To Showcase The Natural Beauty Of The Wooden Material, The Parquet Dining Table Will Tie Your Living Room Décor Together. The Use Of Reclaimed Wood Gives Your Dining Space A Rustic And An Updated Farmhouse Vibe. It Is Rectangular In Shape So It Can Seat Up To 6 People And Give You Plenty Of Space For An Enjoyable Meal That Everyone Can Share. Like Most Other Dining Furniture Pieces From The Range, It Comes With A Metal Frame Base To Incorporate An Industrial Chic Style. This Dining Table Is Sure To Add Warmth, Practicality, And Style To Your Dining Space So It Becomes More Inviting Dimensions: H X W X D78cm X 220cm X 95cm
Lot 1915
Two cameras and one camcorder. All with instruction manuals. One Kodak easy share digital camera with original box and case. One Panasonic camcorder with leads, case and battery. One vintage Praktica camera with two extra lenses (both have cases) Another lense still boxed and other accessories.
Lot 930
COLONEL FRANCIS, Frank H Rhodes (1850-1905) Ernest F Rhodes (1852-1907) (brothers of Cecil Rhodes 1853-1902) Dalham Hall, Suffolk. The Rhodes Family Home from 1901-1928 A large quantity of correspondence relating to Rhodes family matters inc. the death of Col. Frank Rhodes and to Estates in North London and the Frank Rhodes Memorial. Letters from family members, solicitors, bankers etc. Share certificates, Estate plans mostly dating from 1900-1907
Lot 933
A LARGE QUANTITY OF CORRESPONDENCE: share certificates statements relating to the South African affairs of Colonel Frank Rhodes including a small collection of copy correspondence and 'Welcome' letters addressed to Cecil John Rhodes, together with a copy of the Supplement to South Africa May 17th 1902 - Pictures of the funeral of Cecil John Rhodes'
Lot 151
A fine and rare James I or Charles I 'first period' lantern clockInitialled W.S. perhaps for William Selwood, London, circa 1625The going train now with later anchor escapement for regulation by seconds pendulum swinging outside the frame of the clock to the rear and the strike train incorporating double-cut hoop wheel and iron countweel for sounding the hours on the bell mounted within the superstructure, the dial with unusual rose within radial sunburst engraved centre and applied narrow silvered Roman numeral chapter ring with cruciform half hour markers with a pierced iron hand and intense scroll engraved cross-hatched infill to angles, the frame with one-piece column turned corner posts and finials incorporating rounded elements at the junctions between the top and bottom plates with the lower front pair each engraved with the initials W*S and the finials flanking shaped cartouche centred foliate scroll pieced and engraved frets, the sides with hinged brass doors and the top with iron-framed bell-bearer unusually decorated with applied strips of pewter-type alloy incorporating serrated edges and secured by repeating finial rivets enclosing a bell cast with the initials WS to interior, on integral ring-decorated ball feet (formerly with verge escapement regulated by horizontal balance wheel), 39cm (15.25ins) high.Provenance: Purchased by the vendors father in Henley-on-Thames circa 1946.The current lantern clock is highly distinctive and has numerous unusual details many of which, in combination, are generally only seen on examples made during the 'first period' of English lantern clock manufacture (ie. clocks made before the Civil War). Firstly with regards to the movement, the strike train utilises a double-cut hoop wheel for locking, the countwheel is also forged from iron and is driven by a separate six-leaf pinion of report applied to the main wheel arbor (rather than being pins filed integral to the end of the arbor). The forged bell spring, check and hammer are also particularly heavy in their construction with the check being of early straight heavily-tapered form (rather than 'L'-shaped). The going train has been largely rebuilt (at the time of conversion to long pendulum regulation) to facilitate longer-duration however the original starwheel survives and is unusual being made from iron. In addition to these details it is worth noting that the pulleys are constructed with the centre and one cheek being of brass and the other cheek being of iron, and the arbors (where original) are heavily tapered with slightly stepped integral collets. When these details are considered within the descriptive list of features found on 'first period' clocks outlined in White, George English Lantern Clocks (pages 98-108) it becomes clear that the current movement originates from within this early timeframe.With regards to the frame and dial, the latter is unusual in that the upper and lower edges lap against the top and bottom plate edges (rather than the plate sitting within the space between), and is secured to the upper margin of the front movement pivot plate via a pinned iron tenon. This method of fixing again originated during the 'first period' of lantern clock manufacture (although was also a popular amongst later West Country makers). The design of the centre engraving to the dial falls into the category described in Loomes, Brian LANTERN CLOCKS & Their Makers in Chapter 2 entitled Engraved Dial Patterns - Starburst, Compass Rose, egg & Dart (pages 10-27). Indeed the 'starburst' motif seen on the current dial has its roots in Continental Renaissance work and is generally only seen on the earliest English lantern clocks. Of notable comparative interest is a clock illustrated by Loomes on page 27 (Figs. 2.43-.45) which, in addition to having related (but simpler) engraving to the dial centre, also has similar frame castings and is signed W, S. In addition to this two further clocks exhibiting the same essential composition to the dial engraving are illustrated in Darken, Jeff and Hooper, John English 30 Hour Clocks, Origin & Development, 1600-1800 on pages 25 (Plate 1/12) and 30 (Plate I/18). These examples are both dated to around 1635 with the first being signed for William Bowyer and the second for William Selwood. Interestingly the chapter ring of the current lot also shares the same design of half-hour markers seen on both these examples.An addition to the starburst engraved centre a further detail within the dial that supports an early date is the engraved infill to each corner. Although this decoration is relatively naive in its execution it has an intensity and 'feel' to the scrollwork and hatching that is more akin to early first period work and can perhaps be compared to the infill seen on the dial of a very early clock by Robert Harvey illustrated in Loomes on page 20 (Fig. 2.24). This generally differs from infill seen on later examples which tends to be more 'formulaic' in composition and based on naturalistic leafy motifs either taking the form of a cluster of broad leaves or, as often seen in mid-century West Country work, a single sweeping leafy scroll.Incidentally the front fret of the present clock is notable in that it is a pattern exclusively found of 'first period' clocks and was in particular favoured by William Bowyer (see White, George, English Lantern Clocks page 75). The fret itself is comprehensively engraved apparently by the same hand as the dial; the side and rear frets are later replacements cast from the front fret.The frame of the present clock is notable in that the dimensions exactly conform with that of a first period clock attributed to the workshop of Richard Milbourne which was sold in these rooms on Thursday 15th March 2018 (lot 112). This coupled with the fact that both of these frames share the same basic design of one-piece castings for the columns, feet and finials (as well as having rounded blocks and the junctions with the plates) would suggest that they are from the same foundry. On closer examination however a couple of detail differences between these two frames can be seen. The first observation is that the shape of the 'body' of each of the finials of the current lot differs from those of the 'Milbourne' clock in that they are more ovoid in shape (i.e. are not of tapered shouldered form). This fatter ovoid shape of finial is closer in form to those seen on the very earliest lantern clocks such as those by Robert Harvey, William Bowyer and Henry Stevens as illustrated in White, George English Lantern Clocks on page 49 (Figure II/13), 82 (Figure II/92) and 83 (Figures II/96). The second difference is in the spacing of the ring collar to the capital of each of the columns with those of the present clock being higher-up the column shaft (ie. closer to the capital) than those on the 'Milbourne' clock. From these observations it would be reasonable to suggest that the present frame castings are perhaps an earlier variant of those used for the 'Milbourne' clock.To read more, please refer to the full lot description in the page turning catalogue via the link here. Condition Report: Condition reports for this lot are available from the Clocks Department upon request (clocks@dreweatts.com). Condition Report Disclaimer
Lot 203
CLEMENT HEATON (1861-1940) ARTS & CRAFTS RECTANGULAR PLAQUE, DATED 1898 copper cloisonné enamel, within an oak frame, stamped mark to base N134B/ CLEMENT HEATON/ ET CO./ NEUCHATEL/ 1898(45cm x 35.5cm)Footnote: Note: Clement Heaton, an early member of A.H. Mackmurdo’s Century Guild, set up his company ‘Heatons Cloisonné-Mosaic Ltd’ at 6 Berners Street, London in 1887, a year after selling his share in his father’s lucrative stained glass business Heaton, Butler & Bayne for £4,800. He patented his enamelling technique in 1886, inspired by medieval techniques which precluded the firing process, and which instead used coloured cements: a mixture of resin, beeswax, sulphur marble dust and coloured pigments. Hardening over time, these cements could be polished to give the soft matt finish characteristic of Heaton’s work and seen in the present example.
Lot 89
*Mary Fedden RA (1915-2012)Two Pearssigned and dated '10 l.r., oil on canvas35.5 x 45.5cm, unframedProvenance: Gifted in person by Mary Fedden RA to Stanley Jones MBE and Lorraine Chitson in 2010 to raise future funds for the Curwen Print Study Centre.*Artist's Resale Right may apply to this lot.'Mary Fedden became involved in printmaking at the Curwen Studio through the influence of Julian Trevelyan, her husband who had gained experience of printmaking in his early career from time spent in Paris with S W Hayter, the well-known etcher and engraver. However, it was only when in London and both were commissioned to produce work by the Waddington Gallery in Cork St, that Mary made her appearance at the Curwen Studio and our association began. She was fascinated by the possibilities of zinc plate lithography and quickly learned how to collaborate with the printers in technical aspects of making her images, which were reflective of a style also present in her paintings. During these years, the images developed a freshness that marked them as some of her most characteristic lithographic prints. Over the many years of working together, we became close friends as well as Artist and Printmaker - a friendship which I valued.'Stanley Jones MBE'Mary and Stanley sat together on a small settee in the studio, she holding his hand delighted to have her old friend with her. They reminisced about Julian and memories of Paris and times gone by. It was very special to have the opportunity to listen to their stories and share our news and plans for the future of the Study Centre. Mary then selected a painting ('Two Pears') that she wanted us to have so that we may use it to raise funds for development.'Lorraine Chitson, Curwen Print Study Centre DirectorCondition report: Good condition.
Lot 200
Two good George II/George III brass alloy socket candlesticks, circa 1760The first with waisted socket above a knopped stem and raised on a circular base, finely decorated throughout with bands of gadrooning and lines, height 27cm (10⅝in), the second with loose nozzle and raised on a square base, finely decorated throughout with gadrooning and lines, height 25.5cm (10 1/16in), (2)Footnotes:LiteratureBoth of these candlesticks are finely decorated and share the rare feature of a gadrooned 'ruffle' at the point where the stem meets the base. For other examples of this feature see, for instance, P., N. & H. Schiffer, The Brass Book (1978), the front cover and p. 173 A (where it is also noted that 'few round base Chippendale candlesticks were made') and p. 183 C, where a pair of square-based candlesticks with a similar ruffle are illustrated. See also E. Koldeweij, The English Candlestick 1425-1925 (2001), Cat. 169 for an almost identical square-based candlestick.For further information on this lot please visit Bonhams.com
Lot 229
John Benson (American, B. 1949) "Niagara Falls" Signed lower left. Original Mixed Media painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which was published on the Fleetwood Postal Card 30c Niagara Falls issue of August 21, 1991. Northwestern New York State and southern Ontario, Canada, share one of nature's most spectacular phenomenon -- Niagara Falls. Ten thousand years ago, receding glaciers exposed an escarpment and formed a cataract by permitting waters from Lake Erie to flow north into Lake Ontario, giving birth to the falls. Surrounded by lushly wooded landscape, they remained in primordial isolation -- unseen and untouched by European man until 1678, when Louis Hennepin accompanied French explorer Robert la Salle on an expedition to the region and later described the waterfall in his narrative "Nouvelle D?couverte." The falls are divided by Goat Island into two principle parts -- the Canadian Horseshoe Falls and the United States' American Falls. Situated on the international line between the Canadian and American twin cities of Niagara Falls, this breath-taking natural wonder has been a favorite honeymoon destination and publicity stunt site for decades. In recent years both the Canadian and United States governments have diverted the rush of waters upstream -- both for conservation and hydroelectric power generation. With careful monitoring and prudent use of resources, this magnificent vestige of primitive beauty will surge and thunder for generations to come. Image Size: 14 x 12 in. Overall Size: 23 x 18 in. Unframed. (B12476)
Lot 489
Don Balke (North Carolina, B. 1933) "Elf Owl Perched in Saguaro" Signed lower left. Original Watercolor painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which was published on the Fleetwood First Day Cover of the U.S. 33c Elf Owl Perched in Saguaro stamp issued April 6, 1999. One of the world's smallest owls, the Elf Owl is five to six inches high and weighs less than two ounces. Denizen of deserts, and woodlands and canyons of the American Southwest, this tiny bird is identified by its large yellow eyes, short tail, and streaked and spotted grayish-brown plumage. Being nocturnal, the Elf Owl is most often seen at dawn or dusk. Because of its small size, it isn't equipped to hunt large rabbits or rodents, and thus feeds primarily on moths, beetles, grasshoppers and small reptiles. Scorpions are also an important food source. Not called a "wise owl" for nothing, before eating a scorpion, this diminutive bird first removes the poisonous stinger. When feeding on flying insects, it simply snatches them in midair with its clawed feet. One of the most abundant birds in the desert Southwest, the Elf Owl roosts and nests in abandoned woodpecker holes in trees or saguaro cacti, where it is protected from the oppressive desert heat. Like other owl species, the Elf Owl does not build a genuine nest, but lays an average of 3 to 5 white eggs on the floor of the cavity or tree hole. When the eggs hatch, the young emerge blind and covered with whitish down. Both parents share in rearing the young. The male brings food to the female until the hatchlings are half grown, then feeds them directly. Image Size: 12 x 10.5 in. Overall Size: 13 x 12 in. Unframed. (B16360)
Lot 212
SO: A FINE AND CHARMING TOKYO SCHOOL WOOD NETSUKE OF A MONKEY SEATED ON A MINOGAME Signed So 宗 with a kakihanJapan, Edo/Tokyo, second half of 19th centuryCarved from dark wood and depicting a small monkey seated atop a minogame. The monkey’s fur is neatly incised, and the hands and feet are very well rendered. The face is minutely inlaid with ivory, showing a somewhat somber expression. The minogame’s carapace is naturalistically carved and the characteristic seaweed tail is incised with precisely lined strokes. The underside with asymmetrical himotoshi, the smaller ringed in green-stained bone, and signed SO with kakihan.HEIGHT 3.3 cm, LENGTH 3.3 cmCondition: Very good condition. Some wear to the inlaid himotoshi.Provenance: British private collection.Very similar examples exist throughout the Tokyo school, most notably by Komin. There are several artists who share the same kanji ‘so’ 宗, and some who use the same kakihan, such as Somin and Sorin.
Lot 283
SOMIN: A SUPERB TSUISHU (CARVED RED LACQUER) MASK NETSUKE OF A KARASU-TENGU By Somin, signed Somin 藻民 to 刀Japan, Tokyo, late 19th century, Meiji period (1868-1912)Finely carved, the ‘crow tengu’ with a large prominent beak with slanted nostrils and showing a frown, large bulging eyes with pierced pupils, furrowed brows, and wearing a tokin cap on his forehead surrounded by neatly incised hair, the interior lacquered black, the bridge with the signature SOMIN to.HEIGHT 5.2 cmCondition: Very good condition with minor surface wear, few minuscule nicks, the lacquer lightly worn in some areas.Provenance: Ex-collection Peter E. Müller, no. 151, acquired from Eskenazi. European collection P. Jacquesson, acquired from Matthew Barton Ltd 6 June 2018, London, lot 174 (sold for GBP 4,500).Somin was a netsuke carver active during the late 19th century, related to the carvers Homin and Hokei, who share an affinity for tsuishu mask netsuke.
Lot 3027
Cunard Paperwork including The Giant Cunarders: Berengaria, Aquitania Mauritania booklet; The New Maunitania, Lusitania Waltz, TSS Carinthia Refrigeration Register, Cunard White Star luggage labels in original envelope, Cunard Cruises 1934, Ivernia, Saxonia; Various Queen Mary and Queen Elizabeth items; share certificates and others
![Canaan. Speed (John), Thomas Bassett & Richard Chiswell, 1651 [1676], hand-coloured engraved map, inset plan of Jerusalem](https://cdn.globalauctionplatform.com/c0cb1ef4-1c7a-45bd-b802-acf50116941e/1c7036aa-d7e7-47f5-99ab-ad0900f7b4d0/468x382.jpg)
Lot 75
Canaan. Speed (John), Thomas Bassett & Richard Chiswell, 1651 [1676], hand-coloured engraved map, inset plan of Jerusalem.41.5cm x 54.5cm (16.25in x 21.5in)Footnote: * Speede's maps usually showed the land as it was experienced. Even if not to the levels of accuracy of a modern ordnance survey map, they strove to show the locations as they related to each other and the land on which they were situated. From the first though, Canaan was different. Canaan is a land created in two places. The first is on the ground, in the towns, rivers, mountains and other features of geography, both natural and man-made. The other is in the mind, particularly of Christians, who will be comparing the land they see with that they first experienced through the words of the Bible. This was especially true for readers of the King James Version for whom this map was an integral part of their reading of the Bible. The map was first featured in the Geneva Bible as published by Robert Barker. Speede was still a tailor when he first became involved with this map - his first cartographic work. John More (credited on the map) did the first work on it whilst a Fellow of Christ's, Cambridge. After his death in 1592 it was passed to Speede who finished it and received a licence to print and insert it in the KJV for ten years from 1610. By the time the KJV was first published in 1611, Speede was already one of the most important cartographers in England, and busily working on his famous county maps, many of which feature in this sale. Interestingly, this map did not feature in the first issue of Speede's Prospect, but was added later. Despite current knowledge, Speede's map contains oddities to the modern eye. Most specifically the coastline follows the Ptolemaic slump, despite the actual coastline being known. This is part of the purpose of this map. The map is not the territory. The map does not even follow Ptolemy's desire to be accurate (within the limits of contemporary knowledge), but rather to use Ptolemy's coast as a short-hand to evoke the era. This map sets out to create a place that never existed, it is not a tool for explorers of anything but the words on a page. Speede's map shows events, places, people, and details from across Biblical history. The Dead Sea is the Lake of Sodom, Pharoah's armies (equipped as expected in Jacobean armour) drown even as Judas hangs himself. Ancient Kingdoms share space with Jewish settlements. The inset map of Jerusalem lists important places in the story of the Passion, but they are not a pilgrim map, rather a reminder, a positioning in a space not physical but mental. Despite all this, there are suggestions that the map inhabits a 'real' world and is not merely a fairytale realm. The new habit for framing the map in longitude and latitude is followed. Whilst a traveller could never hope to find a location using them, it reminds the reader that the place (and by extension the events depicted and remembered) is real. The leviathan frolics in the depths but this is not to say there are literal monsters beneath the waves (nor even to recall Jonah's whale) but rather to remind of the troubles of travel. Even the choice of name is suggestive. Whilst Christians today might accept 'The Holy Land', to a Protestant this would be redolent of Papistry, whilst other more accurate names might be overly Jewish in suggestion. Canaan is the ancient name, all other names (whether Israel or Outremer) are tranistory compared to the Biblical truth which underlies all. In Protestant eyes, the holy places had no intrinsic spiritual value and visiting them was unnecessary - as the map reminds us, ''Nether in Ierusalem, nor in this Mountaine shal ye worship''. The idea of pilgrimage was, if not anathema, highly suspicious. Whilst English ships crossed the seas, they did so for trade, and there was little to trade in Palestine - not even treacle in Gilead. For the strict Protestant Englishman, the critical thing was your relationship with God through Christ, the rest was confusing trappings which got in the way. This map was all you needed to give a context to your reading of the Bible, and the experience of the Word would open you to God's Grace.Condition report: The map is in good, original condition. There is some light time staining and browning around the edges of the paper near the mount board. There are one or two minor tears and holes around the edges of the paper and one small hole in the paper within the map. There is some creasing and cockling across the paper and some minor spots of foxing across the sheet. The map is framed and glazed.
Lot 474
The Queen’s South Africa Medal pair awarded to Lord Cecil Manners, War Correspondent for the Morning Post, who was taken prisoner by the Boers near Johannesburg on 30 May 1900 Queen’s South Africa 1899-1902, no clasp (Lord Cecil Manners, M.P.) officially engraved naming; Coronation 1902, silver issue, unnamed as issued, nearly very fine (2) £1,200-£1,600 --- Lord Cecil Reginald John Manners was born on 4 February 1868, the second son of John Manners, 7th Duke of Rutland, by his second marriage to Janetta, daughter of Thomas Hughan, and half brother of Henry Manners, 8th Duke of Rutland. He was educated at Charterhouse and Trinity Hall, Cambridge. Lord Cecil went to South Africa in early 1900 to serve as press correspondent for the Morning Post, the paper that also employed Winston Churchill, and was with General Ian Hamilton’s force when he was captured following a fight with the Boers near Johannesburg on 30 May 1900. The following report of the action, written by General Rundle, appeared in the Morning Post on 1 June 1900: ‘The brunt of the fighting yesterday fell on Ian Hamilton’s column. I had sent him, as already mentioned, to work round to the west of Johannesburg in support of French’s Cavalry, which was directed to go to the north near the road leading to Pretoria. I have not heard from French yet but Hamilton, in a report which has just reached me, states that at about one o’clock in the afternoon he found his way blocked by the enemy strongly posted on some kopjes and ridges three miles south of the Rand. They had two heavy guns, several field guns, and “pom-poms.” Hamilton at once attacked. The right was led by the Gordons, who after capturing one extremity of the ridge, wheeled round and worked along it until after dark, clearing it of the enemy, who fought most obstinately. The City Imperial Volunteers led on the other flank and would not be denied. But the chief share of the action, as in the casualties, fell to the Gordons, whose gallant advance excited the admiration of all.’ Having been reported as missing on 30 May, Lord Cecil arrived as a prisoner at Pretoria on 1 June and was immediately liberated. Returning to England shortly afterwards, he succeeded his brother as Member of Parliament for Melton in September 1900, holding the seat until 1906. He served as assistant private secretary to the Secretary of State for India and was appointed Deputy Lieutenant for Derbyshire in 1902. Lord Cecil Manners died in an accident at Crowborough train station in 1945, aged 77. Sold together with a small file of copied research and a portrait photograph of the recipient.
Lot 1041
Science Fiction and Fantasy - signed and unsigned first editions Lowell, Nathan ' Quarter Share' Ridan 2010, signed on the title page by the author and numbered 185 of 250, black cloth, d-j, Doulton, A.J. ' Empire of the Saviours' Gollancz 2012, signed and inscribed on the title page 'Magic is the first evil, A Doulton 17/5/12' , black cloth, d-j, Hounsom, Lucy 'Starborn' number 13 of 155 numbered copies Tor Books May 2015, signed on the title page by the author, black cloth, d-j, Beaulieu, Bradley 'Twelve Kings in Sharakhai - Book One of the Shattered Sands' Gollancz 2015, the author's initials on the title page in green felt tip pen, black cloth,d-j , and other authors to include Michael J Ward, Charles Stross, David Webber, Will Hill, etc. ( 2 boxes)
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