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Lot 92

A late Victorian J W Benson London silver open faced pocket watch, London 1894, white enamelled dial and subsidiary dial, black Roman numerals, blank shield cartouche to reverse

Lot 187

A pair of 18th Century flintlock pocket or travelling pistols by John Manton of London, the walnut grips with silver wire scrolling inlaid decoration, the engraved metalwork inscribed "Manton" to one side and "London" to the other, the barrels of plain form un-screwing, 19.2 cm long overall, housed in a green baize-lined fitted mahogany case containing red leather covered lacquered brass powder, shot and flint flask, steel shot mould stamped "WD Improved No. 74", brass 1¼ oz shot container inscribed "C & J W Hawksley", ebony-handled screwdriver and turned rosewood handled ram rod CONDITION REPORTS No serial no. visible. Unknown if complete or in working order. Both have blueing, pitting, surface scratches, etc, to the barrels as well as some splits, knocks and bumps to the handles. Some of the silver tracing is missing. BOth have wear and tear conducive with age and use. Case contains various fittings. Unknown if these are original or not. All have wear and tear conducive with age and use to include pitting, surface scratches, wear and some staining to the leather work, etc. See images for further details.

Lot 220

A Victorian silver goblet with engraved crane and foliage decoration in the Aesthetic taste (by Charles Stuart Harris, London 1880), approx 20.5 cm high, together with a similar Victorian silver goblet with engraved fern decoration, knopped stem and circular beaded foot (by Charles Stuart Harris, London 1882), approx 21.2 cm high, total weight approx 15.5 oz CONDITION REPORTS The goblet with cranes - the solder has gone to the centre and the top and base come apart. Has a slight wobble when on a flat surface. Both have surface scratches and some small dents. Some areas of pitting. General wear and tear conducive with age and use. See images for further details.

Lot 221

A late Victorian silver three piece tea set comprising teapot, twin-handled sucrier and milk jug, all of tapered oval form with half-reeded decoration (by Mappin & Webb, Sheffield 1897, 1899 and 1900), approx 26.7 oz

Lot 222

A Victorian silver twin-handled oval drinks tray with central fluted fan medallion (by Roberts & Belk, Sheffield 1898), approx 34.1 oz

Lot 224

A Victorian silver mounted cut glass claret jug, the mounts set with floral sprays and C scrolling handle (by Army & Navy Cooperative Society Limited (Frederick Bradford Macrea), London 1887), above a hobnail cut glass base, approx 22.5 cm high

Lot 225

A late Victorian silver mounted cut glass claret jug, the silver mounts sets with engraved C scroll decoration and acanthus decorated C scroll handle to a cut glass body with star decoration (by James Deakin & Sons, Sheffield 1898), approx 28 cm high

Lot 227

A George III silver meat skewer (possibly by William Troby, London 1815), with engraved armorial to the top, approx 29 cm long, approx 3.8 oz CONDITION REPORTS Has some surface scratching, pitting, etc. The ring to the top looks slightly misshapen. In need of a clean. General wear and tear conducive with age and use. See images for further details.

Lot 228

A George III silver meat skewer (by William Eley and William Fearne, London 1816), approx 28 cm long, approx 2.6 oz

Lot 229

A George III silver pap boat of plain form (indistinct maker's mark, London 1760), approx 11.5 cm long, approx 1.7 oz

Lot 230

A 17th Century silver triffid spoon engraved with "eagle and prey" motif and dated "1679", (maker's marks rubbed, possibly London 1686), approx 1.89 oz, together with another similar inscribed "KB" verso (marks rubbed), approx 1.39 oz CONDITION REPORTS Both have some scratching, some light pitting and some wear and tear. The spoon inscribed "KB" has been repaired in several places to the handle and the triffid top looks a bit bent and in some places has some minor losses - see images for more details

Lot 233

A late Victorian silver hip flask of curved rectangular form (by Cohen & Charles, Chester 1900), 10 cm high, 5.9 oz total CONDITION REPORTS Has surface scratching and pitting throughout. In need of a good clean. Unable to open the interior cap. Has small dent to the base. No visible splits or pin holes to the naked eye but unknown if watertight. Gilding to the interior lid / cup has wear, discolouration, etc. General wear and tear throughout conducive with age and use. See images for further details.

Lot 234

A pair of George III silver wick trimmers with bright cut decoration and engraved armorial with scissor action form (possibly by John Buckett, London 1777), approx 16.5 cm long, approx 3.4 oz

Lot 235

A pair of early Victorian silver tankards with scroll handle, textured body and acanthus decorated cartouches, one inscribed "From a sincere friend to Caroline Dominy", the other "From a sincere friend to Robert Dominy", raised on a circular stepped base with a gilt washed interior, both inscribed to the underneath "1839" (Edward Junior, John and William Barnard, London 1839), with slightly differing handles, approx 10.5 cm high, approx 14 oz total CONDITION REPORTS First tankard "From a sincere friend to Caroline Dominy", large dent to the base, wear to the gilt interior, light scratches, scuffs and marks, some smaller dents. Second tankard - various scrartches, scuffs and marks, some wear to the gilt interior. General signs of wear and tear to both

Lot 236

A set of four Victorian silver "Fiddle and Thread" pattern table forks (by William Eaton, London 1845), together with an Edwardian silver tablespoon, three Victorian dessert spoons (by Elizabeth Eaton) and four various dessert forks, together with a cased set of silver cake forks and silver-handled butter knives, approx 29.8 oz weighable silver

Lot 237

A Victorian silver mounted bandmaster's conducting baton, with embossed decoration and plaque inscribed "Presented to Mr E Binding by Captain W B Grant and The Officers of HMS Royal Adelaide in Acknowledgement of His Valuable Services as Bandmaster Xmas 1880", housed in a fitted case bearing brass plaque inscribed "Mr E Binding Bandmaster", baton approx 55 cm long

Lot 238

A set of eleven William IV silver "Fiddle" pattern table forks (by George Turner, Exeter 1831), approx 29 oz

Lot 238A

A set of four William IV silver "Fiddle" pattern tablespoons (by William Woodman, Exeter 1833) and three similar "Fiddle" pattern tablespoons (by William Welch II, Exeter 1813), approx 15 oz

Lot 239

A pair of Georgian silver "Fiddle" pattern serving spoons, together with a pair of matching sauce ladles and mustard spoon (Sarah and John William Blake, London 1813 and 1814), approx 12.4 oz

Lot 240

A Victorian silver twelve place set of cutlery comprising table spoons, table forks, dessert spoons, dessert forks, teaspoons and one sauce ladle (by Elizabeth Eton, London varying dates), together with twelve silver-handled steel-bladed table knives and side knives (bears makers mark "SL", Sheffield 1989)

Lot 241

A modern silver Stuart Devlin egg, the outside of textured form opening to reveal a plain gilt interior (London 1972), 7.5 cm high, approx 2.3 oz CONDITION REPORTS Has some surface scratching throughout and a couple of minor knocks/dents particularly evident to the polished rim

Lot 242

A modern silver Stuart Devlin egg with lattice work overlay to the exterior opening to reveal a plain gilded interior (marks obscured), approx 8 cm high, approx 3.4 oz CONDITION REPORTS Has surface scratching etc throughout, particularly evident to the poloshed rim. Dirty etc underneath the mounted textured cover for fairly obvious reasons. General wear and tear conducive with age and use - see images for more details

Lot 243

A 19th Century Dutch silver tobacco box in the 18th Century manner of rectangular form with rounded ends and engraved decoration (by Herbert Hooijkaas, circa 1875 -1901), approx 4 cm high, approx 7.6 oz CONDITION REPORTS Various light scratches throughout. Deep mark to the back. Interior is slightly bent and buckled. Some speckled dark marks. Some small dents. General signs of wear and tear throughout.

Lot 244

An Edwardian silver pin cushion in the form of a duck with green felt cushion to its' back (by Crisford & Norris Limited, Birmingham 1908), approx 4.5 cm high CONDITION REPORTS Has general wear and tear, knocks, etc. Glass eyes are missing. Some "crinkling" to the edge of the silver where it meets the pin cushion. Some minor knocks and dents. In need of a clean. The felt to the base is coming off. See images for further details.

Lot 245

A cased set of twelve late Victorian silver-bladed and pronged fish knives and forks with engraved foliate decoration and ivory handles (by Harrison Brothers & Howson, Sheffield 1898) CONDITION REPORTS Each blade stamped for "Sheffield Silver by Harrison Brothers & Howson 1898". Each with light scratches. Some slightly bent. General signs of wear and tear conducive with age and use. Some handles are discoloured. Box with damaged hinges, various chips, scratches, scuffs and marks. All over various general signs of wear and tear throughout.

Lot 246

A pair of Georgian silver serving spoons with later embossed and engraved berry and floral decoration (by Hester Bateman, London 1784), together with a pair of plain Georgian sugar tongs (London 1807) and a further pair of Georgian sugar tongs with pierced scrolling and foliate decoration, approx 6.9 oz total

Lot 247

A set of six early Victorian silver "Fiddle" pattern teaspoons (by John Stone, Exeter 1838), together with a set of four further Victorian silver "Fiddle" pattern teaspoons (by Josiah Williams & Co, Exeter 1839), approx 7.5 oz total

Lot 248

A Georgian silver caddy spoon in the form of a jockey's cap (by Thomas Willmore, Birmingham 1798), 1.5 cm high, approx 0.3 oz CONDITION REPORTS The peak of the cap is risen slightly and uneven all the way round. Otherwise, tarnish and some light surface scratching. General wear and tear conducive with age and use. See images for further details.

Lot 249

A Victorian silver rattle/teether with embossed and engraved decoration bells and coral teether (by Hilliard & Thomason, Birmingham 1882) CONDITION REPORTS Has tarnishing, pitting, some surface scratching, etc, all conducive with age and use. Coral has some pin head holes and some of the bells appear to have been re-soldered at some point. Otherwise general wear and tear conducive with age and use. See images for further details.

Lot 253

A late Victorian cameo glass scent bottle of green colour decorated with white enamel flowers in the Art Nouveau style with silver mount (by Arthur Willmore Pennington, Birmingham 1896), approx 8.5 cm long CONDITION REPORTS The lid has several dents. The pin to the hinge is out at one end. There are some chips to the collar and stopper in to the interior. Has some surface scratching. Minor losses to the enamel. Discolouration and residue to the interior. In need of a good clean. General wear and tear to include some surface scratching, etc, all conducive with age and use. See images for further details.

Lot 272

A pair of circa 1900 silver plated hurricane lamp style candlesticks on Corinthian style columns to a flared base on quadruped support with four feet, approx 63.5 cm high

Lot 266

ANGELA VERDON (born 1949); two porcelain vessels stained to give speckled green slate appearance, inlaid with silver wire and tubing, impressed AV marks, height 18.5cm (2) (D). CONDITION REPORT: Appears good with no obvious signs of faults, damage or restoration.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk

Lot 164

ROYAL DOULTON ASTON VILLA CRYSTAL - A lead crystal Georgian hand cut decanter and stopper, etched on mid section of decanter with 'Aston Villa F.C.' and club crest. Silver plated tag inscribed 'UEFA EURO 96 VILLA PARK ENGLAND JUNE 1996'. Measures approx 25cm high with stopper.

Lot 102

A Regency silver cylinder pocket watch John Roger Arnold, London, circa 1814 The gilt full plate single fusee movement with four column pillars pinned through the backplate, scroll stop-iron block and cylinder escapement with jewelled escapewheel pivots regulated by sprung steel three-arm balance with lever adjustment, the backplate with plain balance cock fitted with faceted diamond endstone and adjacent shaped mainspring pivot plate signed J.R. Arnold, London opposing serial number No. 3438 , the white enamel Roman numeral dial repeat signed Arnold, No. 3438 to centre over subsidiary seconds at six o clock and with blued steel spade hands, The silver consular case fitted with convex glass, suspension post and hinged rear cover revealing winding hole, hallmarks for London 1814, makers mark A.G. over J.M. , the pillar plate 44mm (1.75ins) diameter, the case 53mm (2.125ins) diameter overall. John Roger Arnold, son of the renowned Chronometer maker John Arnold, was born in 1769. In 1783 he started working with his father before becoming an apprentice to Abraham Louis Breguet in 1792. By 1796 he had returned to London and gained his Freedom of the Clockmaker's Company. After his father's death in 1799 John Roger Arnold continued to work alone becoming Master of the Clockmaker's Company in 1817. Shortly after his move to 84 Strand, London in 1830 he went into partnership with E.J. Dent, this partnership lasted for ten years before it was dissolved in 1840. Arnold continued to work alone from 84 Strand until his death in 1843 when the business was acquired by Charles Frodsham. The cylinder escapement was developed in around 1695 by Thomas Tompion and further refined by George Graham in 1726. This new escapement was perhaps the first developed exclusively for watch work and, as well as being a better rate keeper, the cylinder escapement also allowed movements to be made more compact (due to the escapement operating in one plane only). However, being a form of frictional rest escapement, the cylinder escapement was prone to relatively heavy rates of wear hence was less reliable than the verge (until hardened steel escape wheels and ruby cylinders were developed later in the 18th century).

Lot 104

Ω A fine George II silver and tortoiseshell triple-cased verge pocket watch for the Middle Eastern market Markwick, Markham, Perigal, London, circa 1751 The gilt full plate single fusee verge movement with four square Egyptian pillars incorporating elaborate pierced galleries pinned through the backplate, scroll-pierced stop-iron block and verge escapement regulated by sprung three-arm balance with Tompion type adjustment, the backplate with fine asymmetric foliate scroll pierced and engraved balance cock with conch shell at the junction of the conforming pierced broad foot flanked by silvered regulation disc with adjacent applied scroll pierced infill opposing signature Markwick, Markham, LONDON, 12988, the circular white enamel 'Turkish' numeral dial with repeat signature MARKWICK, MARKHAM, PERIGAL, LONDON to centre, conforming five minute numerals to outer track and blued steel beetle and poker hands, the plain inner case fitted with convex glass and suspension post and marked for London 1751, maker R.D. and numbered 12988 , the second case with conforming hallmarks and push-button clasp, the outer case covered in mottled shell with studded borders and secured with conforming push-button clasp, the pillar plate 39mm (1.5ins approx.) diameter, the outer case 64mm (2.5ins) diameter overall. Provenance: Private collection, Hampshire (ref. C21); purchased at Christies, London, 26th November 1996 (lot 106) for £800 hammer. James Markwick senior is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as apprenticed in 1756 to Edmund Gilpin (through Richard Taylor); he initially worked at Croydon before returning to London where he gained his freedom of the Clockmakers' Company in 1666. In 1673 he took-over the former business of Samuel Betts at behind the Royal Exchange. Markwick had a turbulent relationship with the Clockmakers' Company - in 1676 he was fined for abuse of the Master at the Steward's feast and was often reprimanded for not attending court. James Markwick junior was born in Croydon in 1662 and was apprenticed to his father gaining his freedom (by patrimony) in 1692. He initially went into partnership with his father before gaining outright control of the business on the latter's retirement to Pevensey in Sussex in around 1700 (where he subsequently died in 1716). In around 1710-15 James Markwick junior went into partnership with his son in Law, Robert Markham, which lasted until the former's death in 1730. The business was subsequently continued by Markham and his successors with Francis Perigal senior (Freed 1746) joining the business in around 1750. During the latter half of the 18th century the firm of Markwick, Markham, Perigal specialised in producing clocks and watches for export to the Middle East including musical clocks.Cites Regulations Please note that this lot (lots marked with the symbol Î© in the printed catalogue) may be subject to CITES regulations when exported from the EU. The CITES regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites

Lot 105

A George II gold pair-cased pocket watch with champleve dial and repousse outer case James Chater, London, circa 1739; the outer case decoration possibly by Augustin Heckel The gilt full plate single fusee verge movement with four square baluster pillars pinned through the backplate, scroll-pierced stop-iron block and later conversion to English lever escapement regulated by sprung three-arm balance with Tompion type adjustment and ruby cabochon endstone, the backplate with fine symmetrical foliate scroll pierced and engraved balance cock with faceted bright-cut rim and grotesque mask at the junction of the conforming pierced broad foot flanked by silvered regulation disc with adjacent applied scroll pierced infill opposing signature Jam s Chater, LONDON, 4989, fitted with circular gold champleve dial with ribbon panel signature banners engraved CHATER, LONDON to the scroll decorated matted centre within Roman numeral chapter ring with fluer-de-lys half hour markers and Arabic lozenge five minute numerals to outer track, with blued steel beetle and poker hands, the plain inner case indistinctly stamped probably with date letter d for 1739 and indistinct maker's mark R.D (?) . to interior, fitted with convex glass and suspension post with pivoted scroll handle, the outer case decorated in relief with scene traditionally entitled Roman Charity depicting Cimon been suckled by Pero within a quartered scroll surround and alternating panels of musical and martial trophies within a foliate decorated matted field, the hinged retaining bezel similarly decorated, the pillar plate 36mm (1.375ins) diameter, the outer case 49mm (1.875ins) diameter overall. Provenance: Private collection, Hampshire (ref. C27); purchased at Phillip s, London, 26th June 2001 (lot 167) for £1,400 hammer. James Chater senior is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as being admitted to the Clockmakers' Company 1718, gaining his freedom in 1726 and died 1762, Baillie describes him as an 'eminent' maker. He had two sons James junior (admitted 1746, free 1753, worked until 1785) and Eliezer (free 1751, Liveryman 1766, Master 1772, died 1777). James and Eliezer are thought to have worked with their father from 1753-62, after which the firm was continued as a partnership between the two brothers. The layout of the decoration to the rear of the outer case of the current lot can be closely compared to an example by Augustin Heckel illustrated in Edgcumbe, Richard THE ART OF THE GOLD CHASER IN EIGHTEENTH-CENTURY LONDON Figures 38a-f. In particular the quartering of the cartouche and delicate form of scrollwork forming the inner border together with the symmetrical leafy scrolls dividing the pictorial panels beyond is very similar in their execution. The scene depicts Pero suckling her father Cimon secretly whilst visiting him prison prior to his martyrdom, which, since the Renaissance, had often been depicted with the symbolic title Roman Charity. Edgcumbe notes (pages 57-66) that two books of designs for Heckel s chasing survive, one at Yale, the other in The Victoria and Albert Museum. The latter includes a design entitled Roman Charity as engraved by Jacques Philippe Le Bas after an original work by Noel-Nicholas Coypel. Although the scene depicted in the current lot varies somewhat from the original by N. N. Coypel Edcumbe notes (on page 58) that Heckel often made substantial changes to those drawn in his design books. Augustin Heckel was a German émigré who is thought to have arrived in London (from Augsburg) between 1715 and 1720. He is believed to have retired to Richmond in around 1746 and died in 1770. It is likely that he was succeeded by his cousin, Christopher Heckel, whose surviving work suggests that the latter only worked with silver.

Lot 31

A Victorian silver-gilt cased small aneroid pocket barometer with altimeter scale Moritz Pillischer, London, 1880 The 1.25 inch circular silvered register with concentric scale calibrated for barometric inches divided into twentieths within rotating outer scale calibrated in feet from 0 to 8,000 and divided for 50 foot intervals, the pocket watch type case with suspension ring enclosing knurled crown for adjustment of the altimeter scale and engine-turned decoration to the opening rear enclosing frosted internal cover engraved M. PILLISCHER, LONDON, Compensated , marks for London 1880, diameter 3.4cm (1.375ins). Provenance: Private collection, Hampshire (ref. B33); purchased from Arthur Middleton Ltd., Covent Garden, London, November 1989 for £403. Moritz Pillischer is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as working from 398 Oxford Street 1851-53 then 88 New Bond street, London 1854-87. He was succeeded by his Nephew, Jacob . The images in the printed catalogue have been transposed but are correctly illustrated on our website and other online platforms.

Lot 32

A Victorian silver cased aneroid pocket barometer with altimeter scale John Browning, London, 1871 The 1.75 inch open-centred circular silvered register signed JOHN BROWNING, LONDON, and inscribed within concentric scale calibrated for barometric inches divided into fiftieths within rotating outer scale calibrated in feet from 0 to 4,450 and divided for 25 foot intervals, the pocket watch type case with suspension ring, machined circumference and engine-turned back centred with a vacant scroll cartouche, marks for London 1871, diameter 5cm (2ins). Provenance: Private collection, Hampshire (ref. B60). John Browning is recorded in Banfield, Edwin BAROMETER MAKERS AND RETAILERS 1660-1900 as working from various addresses in London from 1662 until after 1900; he was Optical & Physical Instrument Maker to Her Majesty s Government, The Royal Observatory and Kew Observatory .

Lot 33

A silver cased aneroid pocket barometer with altimeter scale and thermometer Mappin, London, 1931 The 2 inch circular silvered register with curved mercury tube Fahrenheit scale thermometer to the recessed centre signed MAPPIN and inscribed Compensated within concentric scale calibrated for barometric inches divided into twentieths and annotated with basic weather observations within rotating outer scale calibrated in feet from 0 to 10,000 and divided for 50 foot intervals, the cylindrical outer case with hinged lid and engine-turned decoration throughout, marks for London 1931, diameter 6.4cm (2.5ins). Provenance: Private collection, Hampshire (ref. B17).

Lot 34

A silver cased aneroid pocket barometer with altimeter scale and thermometer Unsigned, London, 1920 The 2 inch circular silvered register with curved mercury tube Fahrenheit scale thermometer to the recessed centre within concentric scale calibrated for barometric inches divided into twentieths and annotated with basic weather observations within rotating outer scale calibrated in feet from 0 to 8,000 and divided for 100 foot intervals, the cylindrical outer case with hinged lid engraved with stylised monogram GKW , marks for London 1920, diameter 6.8cm (2.625ins). Provenance: Private collection, Hampshire (ref. B40); Purchased from Hannah Antiques, Oakley, Buckinghamshire, 17th January 1992 for £530.

Lot 76

A unique burr walnut, brass, porcelain and glass electric Solar Timepiece Sandra Campbell, Oliver Hood and Karen Wagstaff of the Royal College of Art for Raymond M. Burton, London, 1976 The movement with substantial posted brass chassis enclosing a HORSTMANN Y-MK2 calendar time-switch set beside a rectangular brass control box incorporating six toggle switches and related fuse holders, the centre with an electric motor driving geared motionwork for the hours and minutes flanked by twin horizontal revolving cylinders of coloured glass each enclosing a light source and independently driven by electric motors connected to the control box, the top plate with circular aperture beneath two revolving concentric domes, the inner geared to revolve every hour and made from translucent textured porcelain with overall uneven polychrome colouring incorporating a deep purple line serving as a minute hand, the outer revolving once every twelve hours and finished with marbled polychrome decoration incorporating a gilt fissure design as the hour hand, the whole contained within a caddy-moulded stained burr walnut four-sided brass-framed sleeve cover with each side panel formed as an arch with cast patinated bronze fan clasp inserts applied with gold stars indicating the quarters to the angles, the control box applied with brass plate inscribed DESIGNED AND MADE, FOR, RAYMOND BURTON, BY, SANDRA CAMPBELL, OLIVER HOOD, & KAREN WAGSTAFF, ROYAL COLLEGE OF ART 1976, 28cm (11ins) high; with a detailed file of the clock s construction and instructions for use together with another file of correspondence relating to the development and funding of the project. The current lot was designed and built by three students of the Royal College of Art in 1975-76 after successfully winning the commission from Raymond M. Burton. Of the three students involved Sandra Campbell was responsible for the ceramic elements, Oliver Hood the design and engineering, and Karen Wagstaff the clasp inserts. The timepiece is designed to capture the passing of time through the expression of never ending shifts and change of light. The concentric dome dial elements incorporate subtle hands which allow the time to be read against gold star markers applied to the bronze clasps set into the angles of the case with the twelve o clock position being denoted by two gold stars (in contrast to the other three which each only have one star). The twin light sources are contained within the revolving glass cylinders, each of which is coloured to simulate night to one half of its circumference and day to the other. Each cylinder is programmed to revolve through 180 degrees at dawn and dusk causing the light to change reflecting the passing of night into day and vice-versa. The benefactor of the current lot, Raymond Montague Burton, was born in Leeds on November 3 1917. Raymond was educated at Clifton College and went on to study at Trinity College, Cambridge, and later at Harvard. During the war he was commissioned in the Royal Artillery, serving in India and Ceylon and rising to the rank of major. In the last phase of his business career he served as joint chairman and president of Burton, which continued to expand with acquisitions of fashion brands such as Evans and Dorothy Perkins and eventually, after the family withdrew from hands-on management, became part of the Arcadia group. In 1981 he retired to concentrate on philanthropic activities which took many forms both in Yorkshire, where he made his home and established a model farm, and further afield in projects such as the founding of the Shaarei Shalom Synagogue in St Petersburg. His support for York University included a long-standing sponsorship of its concert series and culminated in the opening in 2003 of the Raymond Burton Library for Humanities Research (though he was characteristically reluctant to see his name attached), which received his own scholarly collection of Yorkshire-related books, manuscripts and playbills from the 18th and 19th centuries. He also contributed to the York Civic Trust, the Company of the Staple (a York-based livery guild which he helped to re-establish), the Kew at Castle Howard Arboretum project, and the Ryedale music festival which at his request and under his sponsorship staged a spectacular performance of Beethoven s Ninth Symphony in York Minster to celebrate the Queen s Golden Jubilee in 2002. A man of great vitality and wide-ranging enthusiasms, he collected silver and fine furniture and was a lifelong car buff, having enjoyed international rallying with his brother Arnold in the 1950s; he owned Bentleys and Ferraris, and declared himself pleased with a small MG in his sprightly mid-eighties. Raymond Burton was appointed CBE for his charitable work in 1995 and died in 2011.

Lot 10

NO RESERVE Alexander Rodchenko (1891-1956) Rodchenko Flat's Interior, 1930s; and seven others.a group of 7 gelatin silver exhibition Prints mounted on boards, printed later,each approximately 35 x 50cm (13 3/4 x 19 1/2in)

Lot 20

NO RESERVE VKhUTEMAS Workshops (1920-1930) Architectural Designs and Spatial Studies, 1920s.A group of 8 gelatin silver prints, each numbered and annotated in pencil verso, each approximately 4.8 x 4.5cm (1 7/8 x 1 3/4in)Provenance: Selim Khan-Magomedov Howard Schickler Fine Art New York

Lot 21

NO RESERVE VKhUTEMAS Workshops (1920-1930) Architectural Designs and Spatial Studies, 1920sA group of 5 gelatin silver prints, each numbered and annotated in pencil verso, each approximately 5.3 x 6.4cm (2 x 2 1/2in)Provenance: Selim Khan-Magomedov Howard Schickler Fine Art New York

Lot 22

NO RESERVE VKhUTEMAS Workshops (1920-1930) Architectural designs and spatial studies, 1920s.A group of 5 gelatin silver prints, each numbered and annotated in pencil verso,each approximately 4 x 4.8cm (1 1/2 x 1 7/8in) Provenance: Selim Khan-Magomedov Howard Schickler Fine Art, New York

Lot 23

NO RESERVE VKhUTEMAS Workshops (1920-1930) Architectural designs and spatial studies , 1920s.A group of 5 gelatin silver prints, each numbered and annotated in pencil verso,each approximately 4 x 4.8cm (1 1/2 x 1 7/8in) Provenance: Selim Kham-Magomedov Howard Schickler Fine Art, New York

Lot 24

NO RESERVE VKhUTEMAS Workshops (1920-1930) Architectural designs and spatial studies , 1920s.A group of 5 gelatin silver prints, each numbered and annotated in pencil verso,each approximately 4 x 4.8cm (1 1/2 x 1 7/8in) Provenance: Selim Kham-Magomedov Howard Schickler Fine Art, New York

Lot 25

NO RESERVE T. Melnik (active 1940s) and others, Entering Berlin, April 26, 1945; and other Soviet Forced Army photographs.A group of 12 gelatin silver prints, two signed and titled in Cyrillic verso, mostly authenticated, titled and dated in Cyrillic and English verso, sizes varying from 9 x 13.5cm (3 1/2 x 5 1/4in) to 42 x 60cm (16 1/2 x 23 5/8in)Photographers include Aleksander Stanonev, Sergei Strunnikov, Anatoly Skurirkhin, David Sulkin (2), Georgi Petrusov, S. Loskutov, Kopyt, Razin.

Lot 26

NO RESERVE Arkady Shishkin (899-1985); and others Lights in the Steppe, 1959; and othersA group of 5 gelatin silver prints, three signed and titled in pencil in Cyrillic verso, one with photographer's stamp verso, sizes varying from 9.2 x 13.5cm (3 5/8 x 5 3/8in) to 37 x 52.7cm (14 1/2 x 20 3/4in)Photographers include Mikhail Savin, David Shulkin, Anatoly Skrurikhin and Mark Markov Grinberg.

Lot 27

NO RESERVE Georgi Khomzor (1914-1990); and othersWomen in a train, 1945; and othersA group of 7 gelatin silver prints, two signed and titled in Cyrillic verso, one with photographer's stamp verso, two titled and authenticated in Cyrillic in unknown hand, Sizes varying from 7 x 5cm (2 3/4 x 2in) to 31.5 x 48.5cm (12 3/8 x 19 1/8in)Photographers include Georgi Lipskerov (2), Eleazar Langman, B.Mikhalyovkin and V.Krutlikov.

Lot 28

NO RESERVE Viktor Temin (1908-1987) Portraits and self-portraits, 1930s-40sA group of eight gelatin silver prints and one albumen print (cabinet card), one with typed press caption affixed verso, sizes varying from 8.5 x 6cm (3 1/4 x 2 3/8in) to 51.6 x 38cm (20 3/8 x 15in)Includes self-portraits by Nikolai Andrev, Viktor Temin, and portraits of the architect Mapu by Ya Shteinberg, Dimitri Gladkov by A. Gladkov and a portrait of Stalin made of pebbles.

Lot 29

NO RESERVE Various photographers, Architecture and cityscapes, 1930s.A group of 9 gelatin silver prints, one signed, titled, dated and annotated in Cyrillic verso, three authenticated in cyrillic verso, four annotated in Cyrillic verso with stamp's verso, sizes varying from 8 x 11cm (3 1/8 x 4 1/4in) to 20 x 27.6cm (7 7/8 x 10 7/8in)Photographers include A. Gladkov (2), Vladimir and Georgi Stenberg (2), K.S. Alabian and M.D. Mazmanian, M. Shavishvili and A.Nikolaishvili, Y. Levinson and I.Fomin.Including views of Moscow, Leningrad and Stalingrad.

Lot 30

NO RESERVE Ivan Shagin (1904-1982) Nazi Aeroplane Shot Down on Sverdlov Square, 1941; Going to the Football Game, 1930Two gelatin silver prints, each titled and dated in Cyrillic in pencil verso, one with photographer's stamp verso, 22.3 x 28.3cm (8 3/4 x 11 1/8in); 19.2 x 29.5cm (7 5/8 x 11 1/2in)

Lot 31

NO RESERVE Mikhail Trakhman (1918-1976) Moscow by Night; Zarevo at Dawn, 1940sOne gelatin silver print and one collage of two gelatin silver prints, each titled in Cyrillic verso, 15.5 x 16cm ( 1/8 x 6 3/8in); 15.5 x 24cm (6 1/8 x 9 1/2in)

Lot 32

NO RESERVE A. Tartakovsky (active 1930s-50s) Moscow, and others,1930s-50s.A group of 9 gelatin silver prints and a three part panorama of the USSR Cup at the Dynamo Stadium, each signed and titled in Cyrillic verso, sizes varying from 8.2 x 10.5cm (3 1/4 x 4 1/8in) to 28.6 x 19.5cm (11 1/4 x 7 5/8in); panorama 21 x 58.5cm (8 1/4 x 23in)

Lot 33

NO RESERVE Moisei Nappelbaum (1869-1958) Portraits, 1910s-20sA group of two gelatin silver prints, a cabinet card and a negative glass (broken), one print signed on card recto,various sizesSitters include Ida and Frederika.

Lot 34

NO RESERVE Ida Nappelnaum (1900-1993) Portraits, 1926A group of 4 gelatin silver prints, 3 mounted on cards, one titled and dated in Cyrillic in unknown hand on card verso, each approximately 15 x 11cm (5 7/8 x 4 1/4in) (or the reverse)Sitters include Olga Nappelbaum, Mosei Napelbaum, Esfeed Efros and Vladimir Gustrov.This lot also includes a gelatin silver print portrait by I.Minkevich.

Lot 35

NO RESERVE Boris Kudoyarov (1898-1973) Leningrad's Siege, 1943; and two othersThree gelatin silver prints, two signed, titled and dated in Cyrillic verso, one authenticated and titled in unknown hand verso, sizes varying from 27 x 38cm (10 5/8 x 15in) to 41.5 x 58.5cm (16 1/4 x 23in)Other titles include Leningrad during the Blockade of the Baltic, 1940s and Stadium announcement, the three Brothers, 1930s.

Lot 36

NO RESERVE Yakov Khalip (1908-1980) Moscow and Leningrad, 1930sA group of 10 gelatin silver prints, two mounted on envelopes, eight signed, titled and dated in Cyrillic on envelope recto or print verso, two authenticated in pencil in unknown hand verso, each approximately 7.5 x 11.5cm (2 7/8 x 4 1/2in) (or the reverse)This lot includes views of Maneshniya Square, Pushkin Square, Nevskii Avenue, the construction of Moscow's subway and Sverdolva Street.

Lot 37

NO RESERVE Yakov Khalip (1908-1980) Soviet Navy, 1930sA group of 9 gelatin silver prints, one mounted on envelope, each signed in Cyrillic on envelope recto or print verso, mostly titled, dated and annotated in Cyrillic verso, sizes varying from 7 x 10.5cm (2 3/4 x 4 1/8in) to 57 x 39cm (22 1/2 x 15 1/4in)This lot includes views of the Baltic Fleet in Kronstadt, Leningrad and Uchenia; of the ship Taimir and the North Pole.

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