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Click here to subscribe[POSTAL INTEREST] DONALD (A) The Posts of Sevenoaks in Kent. 1st Edn 1992. GARDINER (T) A General Survey of the Post Office 1677 - 1682 (Edited by Foster W Bond) One of 150 Copies published by the Postal History Society 1958. LOWE (Robson) The British Postage Stamp of the Nineteenth Century. 1st Edn, 1968. WILLCOCKS (R.M) The Postal History of Great Britain and Ireland. 1st Edn 1972 (4).
COACHING & TOLL ROADS. – A very rare George II toll pass. [Great Britain:] 1744. A folding dark-brown calf and paper pass (69 x 54mm.) The left inner cover with applied paper label with 19 lines of letterpress text beneath the letterpress heading ‘Gate-Keepers Orders’ with manuscript signature at foot ‘Tho: Ripley’, the right inner cover with gilt tooled border incorporating ‘The Kings Private Roads’, ‘G II R’, ‘MDCCXLIV’ and ‘No 1020’ all surrounding a central area blocked in blind with an official stamp. The outer covers with borders decorated in single fillet and dog-tooth roll tools, contained within original black shagreen two-part slip-case, lined in red velvet. Provenance: the Tyrwhitt Drake family and thence by descent.
SCAPULA, Johann. Lexicon Graeco-Latinum Novum… editio secunda. Basel: Ex officina Hervagiana per Eusebium Episcopium, 1589. Folio (340 x 212mm.) (ink stamp to title-page, numerous contemporary ink annotations.) 19th Century brown calf (extremities scuffed and rubbed, hinges splitting, a3 loosely inserted).
3 ANNA PUGH. Two coloured etchings, “Dragonfly” and “Bonsai Beach”, both titled, signed and dated 85 in pencil, marked A/P 19/20, plat, 34cm x 44cm; ROSALIND FORSTER, lithograph, “Basket Roses”, signed and titled in pencil, numbered 26/150, blind stamp CCA Galleries London, plate 39cm, x 59cm; VAL ARCHER, lithograph, “Wild Strawberries”, signed and titled in pencil, marked SP 11/11, 36.5cm x 54cm, all unframed. (4).
3 ANNA PUGH. Two coloured etchings, “Dragonfly” and “Bonsai Beach”, both titled, signed and dated 85 in pencil, marked A/P 19/20, plat, 34cm x 44cm, together with ROSALIND FORSTER. Lithograph, “Basket Roses”, signed and titled in pencil, numbered 26/150, blind stamp CCA Galleries London, plate 39cm, x 59cm; VAL ARCHER. Lithograph, “Wild Strawberries”, signed and titled in pencil, marked SP 11/11, 36.5cm x 54cm, all unframed.
HAYDN (Joseph) Die Jahreszeiten nach Thomson, Leipzig: Breitkopf and Haertel [no date, c.1801], Novello stamp to foot of engraved title, in 2 vols, some age staining, rebound in modern blue cloth; A Complete Collection of Quartets, being a Corrected Copy of the Paris Edition, London; Collard and Collard [no date], 4 vols comprising Violino I & II, Viola and Violoncello, in damaged half bindings (6)
Salvador Dali (Spanish, 1904-1989) Gretchen (from Goethe's Faust) [1969] signed in pencil lower right over 'Dali' embossed stamp and numbered 50/145 coloured etching on Japan paper 38 x 29cm (sheet) Provenance: Forster & Raab, Koeln gallery label verso 'Faust' is Goethe's most famous work and considered by many to be one of the greatest works of German literature. Faust (part one) begins in heaven. Mephistopheles makes a bet with God. He says that he can deflect God's favourite human being, Faust, who is trying to learn the best in life and turns to magic for the showering of infinite knowledge. Fearing failure, Faust goes for a walk with his assistant Wagner and is followed home by a stray poodle. In Faust's study, the poodle transforms into the Devil. Faust makes an arrangement with the Devil that the Devil will do everything that Faust wants whilst on earth, and in exchange Faust will serve the Devil in Hell. Faust then meets a young girl, Gretchen, to whom he is deeply attracted and the devil draws Gretchen into Faust's arms. After the sudden death of her mother and brother Gretchen discovers she is pregnant. She drowns her illegitimate child and is convicted of the murder. Faust tries to save Gretchen from death but finding that they cannot free her, Faust and the Devil flee the dungeon, while voices from heaven announce that Gretchen shall be saved.
A good Art Deco lady's box handbag by Swaine & Adeney, comprising two sections, one with a match holder, purse, pencil and stamp compartment, the other a mirrored vanity case, with gilt metal Chinese style clasps, together with a red leather Art Deco clutch bag by Drew & Sons Limited, London.
A French walnut and gilt-bronze-mounted desk stand, late 19th century rectangular, applied with formal leaf borders and dolphins to the angles, the top centred by two entwined dophins forming a pen holder above pen depressions and flanked by a pair of inkwells and stamp boxes, on reeded button feet 42cm long
A good yew wood and elm Windsor armchair, by Robert Prior of Uxbridge, early 19th century the bow shaped back with Prince of Wales feather splats, raised on turned legs united by a crinoline stretcher, seat back bears makers stamp Robert Prior (1780-1853) was of the second generation of the Prior Family of Uxbridge, Middlesex. The Priors are synonymous with quality Windsor chair making and Robert Prior, who took over the running of the company from his father, is the most celebrated of the six family chair makers. The use of quality woods, bell shaped seats, and triple splats in two lengths to fit the back hoop are all characteristics of their chairs. For a detailed discussion of the Prior Family dynasty and for an illustration of this particular model, as well as other examples of chairs stamped or attributed to this workshop see Dr. B. Cotton ' The English Regional Chair ', Woodbridge, 1990, pages 36/76-80, plate 33.
* Circle of Benjamin West RA 1738-1820- Religious group; black crayon and ink wash on laid paper, bears signature in ink, 19x14cm: Follower of Sir Peter Lely 1618-1820- Study of a young woman, seated in a classical interior; pen and brown ink with traces of pencil, bears inscription "The Duchess, York", verso, bears stamp and later inscription Smythe Collection: together with one further study of a young woman, pen and black ink, inscribed "Lady Parker" and bearing signature in ink, by the same hand, (3) (unframed)
A Royal Worcester blanc de chine cornucopia, circa 1897, modelled as a shell resting on a tree stump, surrounded many shells, on a shaped base, red stamped mark to base, 18 cm high; together with a pair of Royal Worcester blanc de chine salts, circa 1955; a pair of mermaids holding large shells, raised from an oval base, green printed mark to base, 12 cm wide and a pair of Staffordshire blanc de chine birds, green stamp to base, designed by J.T.Jones, 15.5 cm high, (5).
Corgi: 1964/5 red two fold leaflet with Barretts of Canterbury ink stamp, Classic 900 Bentley single sheet from model box, 1965 'Top Secret' instruction sheet from model 261 and 1967 Corgi Model Club Members Handbook, thirty-two pages 10th Anniversary issue with success story of model 261 (4)
Withering (William) An Arrangement Of British Plants According To The Latest Improvements Of The Linnean System, London 1830, seventh edition in four volumes, emerald green morocco, blindstamped front boards with gilt armorial stamp of Dublin Trinity College, gilt spine with raised bands, copper plates.
Arman, bronze with gold patina, sculptured dissected Violin in perspex box Signed edition 134/ 150 ( Edition number partly obscured by mount) foundry mark A .Valsuani perdue, Armand Pierre Fernandez, (born in France1928 died 2005), is one of the most important international object artists and a co-founder and member of the Nouveau Réalisme. He studied at the Ecole Nationale des Arts Décoratifs in Nice from 1946 to 1949 and then continued his studies for two years at the Ecole du Louvre in Paris. An acquaintance with Yves Klein led to the idea of organising joint happenings and events, which the two artists realised in 1953. Armand's neo-dadaist 'Cachets' (stamp prints) of 1955, and later the 'Allures' (prints made with objects dipped into paint) and the 'Coupés' (cut-up objects) followed by the 'Colères' (objects which were smashed and then mounted) were still influenced by Kurt Schwitters. When the last letter of his name was accidentally forgotten on a catalogue cover in 1958, he decided to adopt this spelling of his name. In 1957, Arman became interested in common objects as works of art. First he did what came to be called his "allures d"objet" (object impressions) where he w uld dip an object into paint and press it on canvas; thereby leaving the object's shadow or impression. Then he figured the object itself was worth paying attention to and he started to "treat" them in his own way. Arman's way of treating objects is very special: his intention is to remove the material function of an object so that as a work of art its only possible function is to "feed the mind" and not serve a material purpose anymore. What better way could he find to achieve that result than by breaking, slicing or even burning objects such as a violin, telephone, typewriter or even a whole car. He also makes objects useless by accumulating them (2,000 wrist watches in a plexiglass box are fun to watch but not very functional unless you like to "pick your time") The artist discovered his famous 'Poubelles', Plexiglas cases with rubbish cast in resin, at the beginning of the 1960s. From the 'Poubelles' Arman developed the so-called 'Accumulations', a number of the same objects assembled in show cases. These arrangements consist mainly of objects of every-day life, with which the artist ironically questions the one-sided waste character of mass products. He taught at the University of California until 1968. From 1975 onwards Arman spent seven years working on a monumental sculpture made of 60 cars which he called 'Long Term Parking'. From the mid-1960s Arman made numerous visits to New York, and he soon came to regard the USA as his second home, taking American citizenship in 1972. The stocks of new objects that he discovered there directed him towards new and more abstract accumulations. These culminated in 1967–8 in the Renault Accumulations (e.g. Renault Accumulation No. 106, 1967; see 1986 exh. cat., p. 221), highly sculptural works made from separate pieces suppl ed by the Renault car factory, and in large-scale commissioned monuments such as Long Term Parking (h. 18 m, 1982–3; Jouy-en-Josas, Fond. Cartier Mus.), a gigantic tower consisting of 60 cars embedded in concrete. In his later work he also recast some of his earlier Rages and Combustions in bronze, and in another series, Armed Objects, he used concrete as a base in which to fix the object, somewhat in the way he had previously used transparent plastic. He broadened his imagery to include tools while remaining faithful above all to objects symbolizing the excesses of the consumer society. Arman was also an avid collector of objects, artefacts and works of art, including watches, radios, cars, European pistols, African carved sculpture (especially Kota guardian figures) and Japanese armour Awards: Officier de la Légion d'Honneur, Grand Prix Marzotto, Commandeur des Arts et Lettres, Officier de l'Ordre National du Merite, Member of the Academia Brera. Provenance; Purchased from Windsor and Eton Fine Arts Co. Ltd. 12/12/1979 and now consigned by the purchaser h: 28.50 x w: 17.50 x d: 6 in.
BECHUANALAND - 1938 Revenue-Revenue £1 black and green block of forty seven and a damaged 10s postage stamp, used on piece and tied by 24 strikes of the DEEDS REGISTRY/BECHUANALAND PROTECTORATE oval datestamp for 11 Sep 1954, each adhesive additionally initialled in pen, a few stamps with faults but the majority fine, a most impressive and rare piece, Barefoot 45, cat £7,050
BECHUANALAND - 1938 Revenue-Revenue £1 black and green irregular block of fifteen and six 1s postage stamp, used on piece and tied by 11 strikes of the DEEDS REGISTRY/BECHUANALAND PROTECTORATE oval datestamp for 11 Sep 1954, each adhesive additionally initialled in pen, a most impressive and rare piece, Barefoot 45, cat £2,250
BURMA - Collection in small album incl 1937 opts on India to 25r unused o.g. and to 5r used, selection of later KGVI to 10r but not all complete sets, also a number of commercial covers from 1930s to 1950s and some loose stamps, Japanese occupation incl a few (commercial?) covers and odd better stamp incl 1943 Independence Day 3c light blue, perf x roul (SG J86b) unused cond fair to fine (Scores)
CANADA - 1859 12½c deep yellow-green (SG39) tied to cover by smudged target cancel, addressed to Ireland and endorsed 'By Canadian Mail', Peterboro cds for NO 7 1861 on front with Montreal cds for No 6 and Navan receiving cds for NO 23 1861 on reverse, also second cover to Ireland (endorsed 'Via Dublin') with 12½c deep yellow-green (SG39) tied by target cancel, Bondhead cds for OC 17 1864 and red Paid/Derry/Col. Packet cds (Whitney 14/69) for NO 2? 1864 on front, Toronto cds for OC 18 1864 on reverse, both covers with faults and stamp on second cover torn, a useful pair
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![COACHING & TOLL ROADS. – A very rare George II toll pass. [Great Britain:] 1744. A folding dark-brown calf and paper pass (6](http://lot-images.atgmedia.com/SR/10123/2746386/3108-62-10123_468x382.jpg)
![HAYDN (Joseph) Die Jahreszeiten nach Thomson, Leipzig: Breitkopf and Haertel [no date, c.1801], Novello stamp to foot of eng](http://lot-images.atgmedia.com/SR/10091/2746302/522-61-10091_468x382.jpg)
![Salvador Dali (Spanish, 1904-1989) Gretchen (from Goethe's Faust) [1969] signed in pencil lower right over 'Dali' embossed s](http://lot-images.atgmedia.com/SR/10091/2746302/258-61-10091_468x382.jpg)
