London. Mogg (Edward). The Strangers Guide to London and Westminster, Exhibiting all the various Alterations & Improvements to the Present Time, Jany. 1st 1811, engraved map with contemporary wash colouring, sectionalised and laid on linen, 410 x 570 mm, contained in a contemporary card slipcase with publisher's printed labels to both sidings and an old auction lot label to the upper cover, slight wear t the extremities of the slipcase, together with Aikin (John). The History of the Environs of London..., John Stockdale, 1811, title page with old ink library stamp, five uncoloured engraved county maps by J. Stockdale, one folding engraved map of the course of the River Thames with ink library stamp to recto, one single sheet map and fifteen uncoloured topographical plates, library stamps to the verso of some plates and maps, later endpapers with old library adhesions and stamps, modern cloth binding, 4to, with Bacon (G. W. & Co. Ltd. publishers). Bacon's Library Map of the Environs of London, circa 1920, large colour lithographic map, sectionalised and laid on linen, 960 x 1445 mm, marbled endpapers with old library stamps to the verso, contained in a contemporary cloth slipcase with gilt title and crude additional manuscript (pencil) annotations to the upper cover, plus Booth (Charles). Labour and Life of the People, Appendix to volume 2, Williams and Northgate, 1891, appendix and tables with a loose folding colour lithographic map "Map Shewing Degrees of Poverty in London in Areas with about 30,000 Inhabitants in each Compiled from Information collected in 1889 - 1890", the whole laid on linen, toned overall, split and worn along old folds, 635 x 865 mm, publisher's cloth, worn at extremities, boards marked and scuffed, spine toned, 8vo QTY: (4)NOTE:The first described item. Howgego, The Printed Maps of London, number 238, state 4. Sold as a collection of maps and prints, not subject to return.
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* Ambrose (John, 1931-2010). Cornish Harbour View, oil on board, signed lower left, sheet size 30 x 40.3 cm (11 7/8 x 15 7/8 ins), Moonshine Framers Penzance stamp to verso, framed (39 x 49.3 cm), together withBaffoni (Pier Luigi, British, 1932-). Evening Light - Peak District, oil on canvas depicting two horses in a countryside setting, signed, dated to verso, 34.5 x 29 cm (13 5/8 x 11 3/8 inches), framed (46 x 50.5 cm), plusWarman (Oliver, 1932-2017). River Thames near Henley, 1981, oil on board, signed and titled to verso, sheet size 30.7 x 40.5 cm (12 1/8 x 16 ins), framed (40.5 x 50.5 cm), and two other similar oil and/or acrylic artworks Cockatoo by Colin Emberson and Summer Fields by Norman BattershillQTY: (5)
Beattie (William). The Waldenses or Protestant valleys of Piedmont, Dauphiny, and the Ban de la Roche, London: George Virtue, 1838, engraved portrait frontispiece, title page vignette, folding map to pp.1 & 70 plates, some light toning & offsetting, contemporary gilt decorated plum calf, boards & spine slightly rubbed, large 4to, together with:Roscoe (Thomas), Wanderings and Excursions in North Wales, London: C. Tilt, and Simpkin and Co., 1836m, 51 engraved plates, bookplate to the front pastedown, some toning & light spotting, contemporary gilt decorated blue half calf, boards & spine slightly rubbed, 8vo, plusTwamley (Louisa Anne), An Autumn Ramble by the Wye, London: Charles Tilt, 1939, 20 engraved plates, some marginal toning & light spotting, original gilt decorated green cloth, boards & spine lightly rubbed to head & foot, 8vo, and Thomson (Spencer), Health Resorts of Britain: and how to profit by them, 1st edition, London: Ward & Lock, 1860, folding map frontispiece, engraved illustrations, period inscription & blind stamp to the front endpaper, some light marginal toning, original embossed green cloth, spine lightly rubbed to head & foot, 8vo, plus 2 further volumes of illustrated 19th-century topography, 8vo/4toQTY: (6)
An Edwardian silver and glass rectangular stamp roller, Birmingham 1906 by Levi & Salaman, length 9.7cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A George V silver evening purse of canted corner rectangular form with fitted leather interior and carrying chain, Birmingham 1916, width 8cm, a silver chain mesh evening purse with carrying chain, Birmingham 1919 (catch broken), a silver slide-action stamp case with engraved decoration, Birmingham 1908, width 5.2cm, and a small group of other silver, including vesta cases, trinket boxes and a small circular photograph frame, weighable items 315.3g.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A Collection of Microscope Related books Including: Worms Rotifers and Polyzoa, 1922, Crustacea and Arachnids, 1909, Protozoa, Coelenterates Echnioderms, 1906, Introduction to the study of Protozoa, 1912 Diatomees De Belgique, Dr. Henri Van Heurck, 1885 Synopsis of the Fresh Water Rhizopods, 1881, Quekett Library stamps Freshwater Biological Association of the British Empire, Keys to the British Species of Aquatic Megaloptera and Neuroptera, Kimmins, Quekett Library Stamp Die Naturlichen Pflanzenfamilien, Engler Prantl, Leipzig 1900 and 1896 Untersuchungen uber Mikroskopische Schaume und das Protoplasma, O. Butschli, 1892, Studien Ersten Entwicklungsvorgange der Eizelle die Zelltheilung und die Conjugation der Infusorien, O. Butschel, 1876 Untersuchungen uber die Atiologie der Povken und der Maul und Klauenseuche, John Siegel, Berlin 1905, Ueber Kerntheilung Richtungskorperbildung und Befruchtung von Actinosphaerium Eichhorni, Richard Hertwig, 1898, Zur Histologie der Radiolarien, Richard Hertwig, 1876 Untersuchungen Uber Den Generationswechsel Der Dicyemiden, Max Hartmann, 1907, along with other microscope related titles, (approx 19)
A MID VICTORIAN, KEY WOUND OPEN FACE QUARTER REPEATER POCKET WATCH, the white enamel dial with black Arabic numerals, black moon hands, inner case stamped HTD 23235, Chevron .800 stamp mark for Neuchatel Assay marks of December 1852, approximate case diameter 55mm, approximate gross weight 133.3 grams (Condition Report: several chips to the edges of the white enamel dial, untested for working order or time keeping)
MICHAEL COOPER PHOTOGRAPHS - THE ROLLING STONES, eight copies of original photographs taken by Michael Cooper in 1967-1968, photograph 1 & 2, Brian Jones, Mick Jagger, Keith Richards in rehearsal at Redland, stamped Michael Cooper Collection 2002, the limited edition print from this collection is numbered 1/15, outer print dimensions, 50.4cms x 40.7cms (please note; the 2nd photograph does not have the Michael Cooper stamp) photograph 3) Keith Richard and unknown double-bass musician in un-named rehearsal studio, no Michael Cooper Collection stamp on print, outer print dimensions, 40.4cms x 50.5cms, photograph 4) Keith Richards, Mick Jagger, Brian Jones in the back of a Limo, 1968, no Michael Cooper Collection stamp on print, outer print dimensions, 50.4cms x 40.5cms, photograph 5) Mick Jagger, Keith Richards, Bill Wyman on-stage, no Michael Cooper stamp on print, outer print dimensions, 40.4cms x 50.3cms, photograph 6) Keith Richards, Gram Parsons, Anita Pallenberg and two others in a car, stamped Michael Cooper Collection 2002, the limited edition print from this collection is numbered 3/25, outer print dimensions, 50.4cms x 40.5cms, photograph 7) Brian Jones Photoshoot, stamped Michael Cooper Collection 2002, the limited edition print from this collection is numbered 2/25, outer print dimensions, 40.4cms x 50.4cms, photograph 8) Brian Jones, Anita Pallenberg, Nick and Tara Browne, Paul and Talitha Getty on the Irish Moors in 1967, stamped Michael Cooper Collection 2002, the limited edition print from this collection is numbered 1/15, outer print dimensions, 51.3cms x 41cms (Artist resale rights may apply)
MICHAEL COOPER PHOTOGRAPHS - THE ROLLING STONES, eight copies of original photographs taken by Michael Cooper in 1967-1968, photograph 1) Brian Jones, Mick Jagger, Keith Richards in rehearsals at Redlands, no Michael Collection stamp on print, outer print dimensions, 50.4cms x 40.3cms, photograph 2) Rolling Stones Reflections in a Mirror at the Kevin Brownjohns Studio 1967, no Michael Cooper Collection stamp on print, outer print dimensions, 50.4cms x 40.4cms, photograph 3) Brian Jones outside The New York Hilton, no Michael Cooper Collection stamp on print, outer print dimensions 40.4cms x 50.3cms, photograph 4) Marianne Faithfull, Mick Jagger and Nicholas Cooper (Michael's son) 1967, no Michael Cooper Collection stamp on print, outer print dimensions, 40.4cms x 50.2cms, photograph 5) Mick Taylor on Guitar, no Michael Cooper Collection stamp on print, outer print dimensions, 40.4cms x 50.4cms, photograph 6) The Rolling Stones on-stage, no Michael Cooper Collection stamp on print, outer print dimensions, 40.4cms x 50.4cms, photograph 7) Brian Jones, Mick Jagger and other unidentifiable persons in Morocco, stamped Michael Cooper Collection 2002, the limited edition print from this collection is numbered 1/25, outer print dimensions, 30cms x 41cms, photograph 8) Gram Parsons at Stonehenge in July 1968, stamped Michael Cooper Collection 2002, the limited edition print from this collection is numbered 1/25, outer print dimensions, 40.4cms x 50.5cms (Artist resale rights may apply)
MICHAEL COOPER PHOTOGRAPHS - THE ROLLING STONES, seven copies of original photographs taken by Michael Cooper in 1967-1969, photograph 1) Keith Richards at the Hyde Park Concert 1969 wearing mirrored sunglasses - arguably, perhaps the most iconic photograph of the Stones ever taken by the Photographer - stamped Michael Cooper Collection 2002, the limited edition print from this collection is numbered 1/15, outer print dimensions, 50.9cm x 40.9cm, photograph 2) Mick Taylor on Guitar, no Michael Cooper Collection stamp on print, outer print dimensions, 40.4cms x 50.1cms, photograph 3) Mick Jagger outside shop in Morocco 1967, no Michael Cooper Collection Stamp on print, outer print dimensions, 50.4cms x 40.3cms, picture 4) Mick Jagger, Keith Richards, Brian Jones, backstage at SMR photoshoot, NYC, 1967, stamped Michael Cooper Collection 2002, the limited edition print from this collection is numbered 1/25, outer print dimensions, 50.5cm x 39.7cm, photograph 5) Keith Richards, no Michael Cooper Collection stamp on print, outer print dimensions, 50.4cms x 40.3cms, photograph 6) Mick Jagger and Keith Richards next to a 'Pinta' poster, stamped Michael Cooper Collection (no year) the limited edition print from this collection is numbered 12/25, outer print dimensions, 50.3cms x 40.4cms, photograph 7) The Rolling Stones in an unknown rehearsal studio, no Michael Cooper Collection stamp on print, outer print dimensions, 40.4cms x 50.3cms (Artist resale rights may apply)
MICHAEL COOPER PHOTOGRAPHS - THE ROLLING STONES eight copies of original photographs taken by Michael Cooper in 1967-1968, photograph 1) Mick Jagger at the Grosvenor Square demonstration 1968, no Michael Cooper Collection stamp on print, outer print dimensions, 50.5cms x 40.4cms, photograph 2) Marianne Faithfull, Mick Jagger, Nicholas Cooper (Michael's son) 1967, no Michael Cooper Collection stamp on print, outer print dimensions, 40.4cms x 50.4cms, photograph 3) Brian Jones outside The New York Hilton, no Michael Cooper Collection stamp on print, outer print dimensions, 40.4cms x 50.1cms, photograph 4) Brian Jones, Anita Pallenberg, Nick and Tara Browne, Paul and Talitha Getty on the Irish Moors in 1967, Michael Cooper Collection 2002 stamp on print, the limited edition print from this collection is numbered 1/25, outer print dimensions, 40.4cms x 30.3cms, photograph 5) Brian Jones outside Cafe in Morocco, no Michael Cooper Collection stamp on print, outer print dimensions, 40.4cms x 50.5cms, photograph 6) Keith Richards, Brian Jones showing their feelings to a photograph of Lyndon B. Johnson in the Interrogation Room at JFK Airport, 1967, no Michael Cooper Collection stamp on print, outer print dimensions, 50.3cms x 40.5cms, photograph 7) The Rolling Stones, Reflections in a Mirror, Kevin Brownjohns Studio, 1967, Michael Cooper Collection stamp (no date) on print, the limited edition from this collection is numbered 3/25, outer print dimensions, 50.4cms x 40.5cms, photograph 8) Gram Parsons with others, poor quality reproduction, tear to top of print, outer print dimensions, 40.1cms x 30.3cms, together with two colour prints of Keith Richards and the Rolling stones, unidentified photographer, outer print dimensions, 20.3cms x 25.4cms (Artist resale rights may apply)
AN EARLY 20TH CENTURY 18CT YELLOW GOLD MANUAL WOUND OPEN FACE POCKET WATCH WITHIN A POCKET WATCH CASE, the white enamel dial with black Roman numerals, black hands, subsidiary dial at six o'clock, the dial is signed C. Rossel & Co IOCLE, engine turned case back, inner case stamped K18, makers mark JFs and numbered 32913, movement unsigned, approximate case diameter 49mms, pocket watch with accompanying pocket watch case, worn stamp to the reverse of the case with an embossed number '32913', approximate gross weight 90.7 grams (Condition Report: overall condition very good, minor light scratches to case, watch currently functioning at time of cataloguing, untested for time keeping)
MARCEL BREUER BY GAVINA ITALY, A PAIR OF MID CENTURY B3 WASSILY CHAIRS, with a chrome and canvas frame, width 78cm x depth 68cm x height 71cm (Condition:- original stamp faded and peeling to one chair, the other chair missing label completely but there is evidence where it once was, both chairs with chrome pitting and rusting, fabric dirty and in need of cleaning, stitching good but part of seat sticking breaking slightly to one chair, but fabric worn and torn to the front of each armrest, frame solid)
Cricket: A Doulton Lambeth, Art Nouveau Stoneware Beaker, Made by Doulton Lambeth, circa 1890s. A stoneware mug in the Art Nouveau style. Tan coloured with green and blue glazed foilage. Flared shape to the top of the beaker, with Doulton impressed stamp to base. Missing rim. The beaker depicting a batsman, bowler and wicket-keeper moulded in relief. Appears in good condition, with no signs of damage or repair. Height approx. 12cm.Provenance: Originally from the Keith Crump Collection.
Sporting: A Doulton Lambeth, Art Nouveau Stoneware Mug, Made by Doulton Lambeth, circa 1890s. A stoneware mug in the Art Nouveau style. Tan coloured with glazed foilage, flared shape to the top of the mug, with Doulton stamp to base and metal band around the rim of the mug. The mug depicts sports of football, shot put and running. Appears in a good condition, with no obvious signs of damage or repair. Height approx. 16cm.
A selection of silver, silver mounted and silver coloured accessories, to include an Edwardian silver mounted cut hair tidy, George Nathan & Ridley Hayes, Birmingham 1904, 6.5cm high, a silver cigar piercer marked 'L&C Hardtmuth Patent S Mordan & Co Sterling Silver, 7.5cm long, a silver vesta case, Joseph Gloster, Birmingham 1898, 4.1cm high, a silver circular pill box, 4.8cm diameter, a silver coloured seal stamp, 8.7cm high, a silver mounted cigar piercer, 6.2cm high, a silver mounted dressing table jar, 8.5cm high, a silver needle case, 7cm high, a silver matchbox sleeve, 4.4cm x 2.3cm, a silver plated sovereign case, a silver stamp box on silver coloured chain, a silver cased travelling pencil, a silver thimble, a silver bladed nail pick, a nail file with silver weighted handle, two silver plated salt spoons, and two silver bladed mother of pearl fruit knives and a silver mother of pearl button hook (20)
A late 19th century carved oak three bottle tantalus, with overhead swing handle and carved foliate detail, one decanter at fault, with additional matched decanter, 30cm H x 32cm W, along with an early 20th century pine 'Teachers, The right spirit' advertising twin bottle box, 12cm H x 43cm W, and a collection of cotton bobbins to a mahogany case inlaid with a brass anchor, 21cm wide (4)No makers stamp on the tantalus
A near pair of late George III mahogany bowfront chests of drawers, circa 1810, each chest with a crossbanded top and reeded edge over a pair of secret frieze drawers, two short and three long drawers, all inlaid with geometric ebony stringing, flanked by projected ring turned, wrythen and reeded pilasters, upon bobbin turned tapering legs, 114cm H x 128cm W x 56cm D (2)Condition reportBoth chests with general marks, stains and light gouges to the top, timber checks/splits to the tops and the sides.Some general light fading, drawers run smoothly although some are a little 'tight'.One chest has very minor veneer chips to the drawer frame, the second chest has a 6cm chip to the rear foot and a 24cm square faded patch to one side.Both chests in good sound condition with minor wear faults only.The only distinguishable difference between the two chests are the handles.In the manner of Gillows, however no makers stamp to the drawers or chest carcass
Signed 'Daubigny' bottom left; also with the Artist's initialed wax stamp verso, oil on panel11 1/8 x 21 1/8 in. (28.3 x 53.7cm)ProvenancePrivate Collection, New Jersey.NoteWe wish to thank Mr. François Delestre for kindly confirming the authenticity of the present work, which will be accompanied by a Certificate of Authenticity and is set to be included in his forthcoming Supplément to the Charles-François Daubigny Catalogue Raisonné. In overall good to very good condition. With flattened paint cracks on the left handside of the painting. Examination under UV light reveals remnants of old glowing varnish on the darker areas of the canvas (the roofs). We also notice what appears to be old restoration at the center of the top outer edge (due to old abrasions). Otherwise untouched. The work would likely benefit from a light cleaning.Frame: 22 1/2 x 30 1/2 x 3 in.To request access to additional image, or for any other information, please email Raphael Chatroux at rchatroux@freemansauction.com.
With 'Atelier VAN RYSSELBERGHE' stamp bottom right, pencil on paperSheet size: 10 1/8 x 12 1/2 in. (25.7 x 31.8cm)ProvenancePrivate Collection, Virginia.Frame: 21 3/4 x 26 1/2 x 1 1/4 in.To request a condition report, or for any additional information, please email Raphael Chatroux at rchatroux@freemansauction.com.
Signed 'MONTAGUE. DAWSON' (in a cartouche) bottom left; also with Artist's copyright stamp verso, oil on board14 1/4 x 21 3/8 in. (36.2 x 54.3cm)ProvenanceTolford Galleries, Chicago, Illinois (per stamp verso).Private Collection, Massachusetts.NoteThe grandson of maritime painter Henry Dawson, British painter Montague Dawson was born in London in 1890 with the sea already in his blood. The younger Dawson served in the Royal Navy during World War I, and again in World War II as a war artist. His work from this time was published in both newspapers and magazines, most notably "The Sphere", where his numerous depictions of the German surrender during WWI earned him notoriety. Dawson's experience of the sea is visible in his finely rendered ship portraits. He also enjoyed recreating, most often in harmonies and greys and soft whites, naval battles from the WWII. Unparalleled as an observer and recorder of all manner of ships, few 20th century painters were as skilled or highly regarded in the genre of marine art.The present work depicts British coast forces engaging an enemy convoy off the Dutch coast. In the center foreground is the British torpedo-boat while in the distance, one can spot the three enemy tankers. The escrot vessel is seen, bow on, to the right. The result will be the sinking of a large auxiliary vessel, important damages to a medium sized tanker, and an escort ship set on fire. Frame: 20 1/2 x 27 1/2 x 2 1/2 in.To request a condition report, or for any additional information, please email Raphael Chatroux at rchatroux@freemansauction.com.
Signed 'H. Haller' on base; also with 'CIRE PERDUE/M. PASTORI/GENÈVE' foundry stamp on base, bronze with golden brown patinaHeight: 13 5/8 in. (34.6cm)ProvenancePrivate Collection, New York, New York.To request a condition report, or for any additional information, please email Raphael Chatroux at rchatroux@freemansauction.com.
Bears signature 'Paolo Veronese' bottom right; also inscribed with artist's name on the mount bottom left, and with collector's stamp at bottom right verso (not in Lugt), black, white and yellow chalk on heavy laid paperSheet size: 12 9/16 x 10 in. (31.9 x 25.4cm)ProvenancePrivate Collection, Main Line, Pennsylvania.NoteThis striking study of a woman's head is very close to the style of Renaissance master Paolo Veronese. If not by him, the drawing may have been executed by the artist's son, Carlo Caliari, who worked in a similar manner, or by one of his students in his immediate workshop. It may be related to the head of Europa in the Rape of Europa in the Palazzo Ducale, Venice.We wish to thank Fondation Custodia for adding the undocumented Lugt collector's mark to their database. According to them, the same mark appears on the back of a head study by Federico Barocci (Italian, 1528–1612), Studio di Testa Maschile di Tre-Quarti Volta a Destra (Cristo) (Inventory no. 293) now at the Pinacoteca di Brera.In overall good condition. The sheet is laid down to a larger sheet, with hand-drawn and colored mat surrounding the image. The sheet is slightly toned, with scattered surface soiling marks (brown marks and staining spread throughout, as well as some accumulated dust spots at center left, on the woman's neck, and at center, to the left of her eye). Some accentuated yellowing on the woman's forehead (bridge of the nose), cheek and chin: most likely a result from toning and handling smudges. With a fold in the paper at upper right corner. No evidence of tear or repair. Examination under UV light does not reveal any sign of inpainting. See Specialist's images for more details.Frame: 22 x 20 x 2 1/2 in.To access more pictures, or to receive any additional information, please email Raphael Chatroux at rchatroux@freemansauction.com.
French school, late 19th century."The Messenger".Oil on original canvas.Stamp on the stretcher.Signed in the inferior margin.Measurements: 41 x 33 cm; 53 x 47 cm (frame).Equestrian scene in which a military man takes with firmness the reins of his horse with his left hand while he holds a letter in his right hand. The presence of the letter and the flexion of the four equine legs, kicking up dust with his trot, give us an idea of the urgency of delivering the message. The animal anatomy has been skilfully resolved.
RAFAEL DURANCAMPS I FOLGUERA (Sabadell, 1891 - Barcelona, 1979)."Capea in the village. Thunder at the fair".Oil on canvas.Signed in the lower right corner.Measurements: 37,5 x 84,5 cm; 59 x 105,5 cm (frame).Rafael Duran i Camps, better known as Durancamps, was a disciple of Vila Cinca in the Industrial School of Arts and Crafts of Sabadell. He later met Joaquín Mir, with whom he established a close relationship, and whose style influenced the colourful language of Durancamps' first period. He exhibited for the first time in 1917 at the Galerías Layetanas in Barcelona, and his success encouraged him to continue painting despite his family's opposition. He spent several periods in Madrid, where he studied the masters of the Prado Museum, and then travelled to Italy. He returned to Barcelona and took part in various competitions, winning important prizes such as the Masriera medal in 1920, as well as holding several exhibitions at the Sala Parés. In 1921 he travelled to Paris for the first time. His work at this time is close to Impressionism, but also shows the influences of Zurbarán, El Greco and Venetian colourism, combining the precision of the drawing with the gravity of the colour. In 1926 he returned to France and settled in Passy, where he lived until 1939. During these years he met Picasso, who encouraged him to hold exhibitions at the Zak gallery, where he enjoyed considerable success, which increased with his successive exhibitions. He returned to Spain and settled in San Sebastián, but continued to work closely with the Sala Parés, where he continued to hold exhibitions until his death. He also held various exhibitions in Madrid, Sabadell, Bilbao, Valencia, London and Philadelphia. Although his first period was influenced by Mir, Durancamps soon evolved towards a more personal conception, giving special prominence to the constructive line and a peculiar colouring of sober beauty. His still lifes, which he treated with a profusion of line and transparency, are a prodigy of serenity and elegance, with such a personal stamp that they escape any contemporary classification. His landscapes and genre scenes, especially the "capeas" in various Spanish villages, are highly emotive. The "skies of foreboding" that express the drama of the fiesta evoke his acute lyrical sense. He is represented in the Museums of Contemporary Art in Barcelona, Madrid, San Sebastián and Buenos Aires, as well as in a large number of Spanish and foreign collections.
After Charles Rennie Mackintosh for Miss Cranston's TearoomsTwo spoons, 20th centuryElectroplated, with trefoil terminals, one preserve spoon and one teaspoon.Preserve spoon: 15.3 cm longTeaspoon: 12.6 cm longStamped maker's stamp 'Bros', 'EP'.For further information on this lot please visit Bonhams.com
A group of Royal Winton Character jugs, all from the 'Man of the Year' series, the graduated set comprising two large (one black hat , one grey), two medium, (one black hat, other grey), and two small, (both grey hats), 7cm-15cm, all with maker's stamp to the bases (6) all of them are crazed, some have heavier crazing than others, otherwise generally good condition, no obvious signs of significant damage or repair
A Boer War Medal Group, awarded to Private W Hann (1948) Rifle Brigade, comprising India Medal 1896, 1 clasp ( Punjab Frontier 1897-98), Queen's South Africa medal, 6 clasps (Orange Free State, Laing's Nek, Transvaal, Relief of Ladysmith, Tugela Heights, Cape Colony) and King's South Africa medal, two clasps (South Africa 1901 and 1902), note - the QSA medal with a mis-stamp to the service number, Hann's is 1948, it is stamped 1498 (3)
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