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Lot 428
Darren Yeadon (b.1970), Ammonite, Portoro stone, 14 x 16cm. ARR. Portoro literally translates as door to the gold. It is a rare serpentine type of marble. Yeadon travels to a very obscure mountain top quarry in Liguria and picks it up off the ground. Brought up by the sea in Whitby, Darren began his work as a quarryman and stonemason. He developed a real flair and interest in carving stone and three-dimensional forms. Suffering a life-threatening road accident in his mid-twenties caused him to readdress his approach to life and kindled his intense fascination and appreciation of nature and the beauty of our time on earth. He began carving rocks and off cuts from the quarry developing a strong personal style and dedication. He soon began to receive commissions and was sent to Italy to find a marble for a client. Seeking to develop a further understanding of the material he went to live in Carrara preferring the quarries used by Michelangelo. Now established in both Pembrokeshire and Whitby, he continues to work from his studio in many types of stone and regularly goes over to Italy to source Carrara marble. He has held exhibitions at the Staithes Gallery Whitby, Tenby Museum, the Houses of Parliament (January 2004) and the Pembrokeshire Botanical Gardens currently hold a number of his works. For more information http://weirdstones.com/.
Lot 429
Darren Yeadon, (b. 1970), Fish Signed, Carrara marble, 31 x 32cm high. ARR Brought up by the sea in Whitby, Darren began his work as a quarryman and stonemason. He developed a real flair and interest in carving stone and three-dimensional forms. Suffering a life-threatening road accident in his mid-twenties caused him to readdress his approach to life and kindled his intense fascination and appreciation of nature and the beauty of our time on earth. He began carving rocks and off cuts from the quarry developing a strong personal style and dedication. He soon began to receive commissions and was sent to Italy to find a marble for a client. Seeking to develop a further understanding of the material he went to live in Carrara preferring the quarries used by Michelangelo. Now established in both Pembrokeshire and Whitby, he continues to work from his studio in many types of stone and regularly goes over to Italy to source Carrara marble. He has held exhibitions at the Staithes Gallery Whitby, Tenby Museum, the Houses of Parliament (January 2004) and the Pembrokeshire Botanical Gardens currently hold a number of his works. For more information http://weirdstones.com/.
![A ceramic bust of Homer on a stone effect plinth, approximately 137 cm (h). [2]Condition Report: Height of bust is approximat](https://cdn.globalauctionplatform.com/90129739-5aa8-4904-9bbf-add400d1fb1f/4f3dc065-40a9-4e24-9fe7-ade2009d0300/468x382.jpg)
Lot 20
MONTRE DE GOUSSET EN ARGENT AVEC CORNE PLAQUE REMONTOIR A CLEFA CONTINENTAL SILVER AND UNDER-PAINTED HORN KEY WIND PAIR CASE POCKET WATCHDate: Circa 1820Movement: Gilt full plate fusee verge with stone set decoration, pierced and engraved balance bridge with coat of arms, silver regulation, engraved baluster pillarsDial: White, black Roman numerals, black outer minute track with Arabic numeral 15 minute markers, enamel decoration to centre depicting a seated mother and child beside a globe, matched handsCase: Polished inner with foliate decoration to reverse, red under-painted horn outer with stud decorationSigned: Inner case indistinctly stamped AHM Size: 63mmFor further information on this lot please visit Bonhams.com
Lot 21
WILLIAM CRADOCK, SHADWELL-DOCK. MONTRE DE GOUSSET EN METAL DORE AVEC CORNE PLAQUEWILLIAM CRADOCK, SHADWELL-DOCK. A GILT METAL AND UNDER-PAINTED HORN PAIR CASE POCKET WATCHDate: Circa 1800Movement: Gilt full plate fusee verge, pierced and engraved balance cock, diamond end stone, baluster pillars, silver regulation, engraved dust cover, No.714Dial: White, black Roman numerals, black outer minute track, gilt spade handsCase: Polished gilt metal inner, under-painted horn outer decorated with a ship and a body of water with a church in the backgroundSigned: Movement, case stamped TBSize: 56mm Accompaniments: KeyFor further information on this lot please visit Bonhams.com
Lot 360
Trollope (Anthony) He Knew He Was Right, first edition, in the original 32 parts, 32 wood-engraved plates and vignettes after Marcus Stone, part 5 with first ad. f. torn away, parts 24 & 25 lacking front ads., all other slips and advertisements as called for, some light marginal foxing, original printed wrappers, some chipping to spines, some light soiling to covers, but an excellent generally, preserved in custom chemise and half morocco pull-top box (some wear to extremities), [Sadleir 31], 8vo, Virtue & Company, 1868-69.
Lot 361
Trollope (Anthony) He Knew He Was Right, 2 vol., first edition in book form, frontispieces and 30 wood-engraved plates by Marcus Stone, vignette illustrations, occasional light foxing, vol. 1 upper hinge tender, vol. 2 hinges repaired, bookplate of James Frank Bright to pastedowns, original blind-stamped cloth, spines lettered in gilt, spines slightly darkened, spine ends and corners a little bumped, vol. 2 with a few neat repairs to spine, a very good set generally, [Sadleir 31], 8vo, Strahan and Company, 1869.
Lot 207
Lake District.- Holland (Peter, Liverpool-based artist who exhibited at the Royal Academy, active c. 1781 to 1812) Sketches of the Lakes, an album containing 62 original watercolour studies of lakes, waterfalls, bridges, and sites of natural interest, including the 'Bowder Stone in Barrowdale, Cumberland', many of which appear to have been used as designs for aquatints engraved by C. Rosenberg in a scarce publication of the same name (see second item), pen and ink title page 'Sketches of the Lakes by Peter Holland', 3 pp. with pen and ink numbered list, each with title identifying location, all on uniform laid paper with watermarks of the letters 'VDL', each leaf approx. 160 x 210 mm (6 1/4 x 8 1/4 in), all with ruled brown ink borders, marginal inscriptions and number to upper right corner of each, occasional minor spotting and browning, some surface dirt, owner's ink inscription to front free endpaper and bookplate to front pastedown, minor worm damage to front pastedown and first few leaves, contemporary calf, sympathetically rebacked, blind tooled, gilt, scuffed and rubbed, worn, oblong 8vo, 1771; together with Holland's Select Views of the Lakes in Cumberland, Westmoreland, and Lancashire from drawings made by P. Holland, engraved by C. Rosenberg, title, 21 aquatints, each with accompanying descriptive text leaf, scattered browning throughout, some surface dirt, stitched binding loose in places, a few leaves coming loose, blue paper wrappers, oblong 4to, printed by James Smith, for John Peeling, 1772 (2) Provenance: [Album of watercolours] Daniel Daulby, Liverpool (Liverpool brewer, prints and drawings collector, author of a catalogue of Rembrandt's etchings in 1796, died 1799); probably his posthumous sale Liverpool, 12 August 1799 and 8 following days (T. Vernon); Private collection, Cumbria.[Aquatints] Henry Swainson Cowper (1865-1941); Private collection, Cumbria.⁂ Holland exhibited at the Royal Academy in 1781, 1782, and 1793, and in the latter exhibition the artist included 2 landscapes of Cumberland subjects. He also exhibited at the 'Second Exhibition of the Society for Promoting Painting and Design in Liverpool' in 1787, where he exhibited alongside paintings by Fuseli, Gainsborough, Reynolds and Stubbs. [see E. Rimbault Dibdin, Liverpool Art and Artists in the Eighteenth Century, The Walpole Soc., vol. 6, p. 85].
Lot 336
Dickens (Charles, novelist, 1812-70) Autograph Letter initialled "CD" to the illustrator Marcus Stone, 1p. with conjugate blank & signed address panel, 8vo, Gads Hill, Rochester, Kent, 3rd September 1864, arranging a date to meet, "Let us say the office on Tuesday morning at a quarter past eleven. I leave it at 12"; and an ALs from Stone to Miss Forster, "I enclose a little note of Dickens's. His usual habit is only to initial his letters, but he always writes his name in full outside the envelope, so I send you the envelope as well", folds (2).⁂ Marcus Stone (1840-1921), historical genre painter and illustrator.
Lot 340
Dickens (Charles).- Beadnell (Maria, married name Winter, Dickens' first love, 1811-86) 4 Autograph Letters signed to her daughter Ella Osmond, together 15pp. & 1 envelope, 8vo, 1883-85 & n.d., on various family matters; and a quantity of other letters and ephemera, including: John Leech, John Forster, Marcus Stone, Charles Dickens "Charley" (Dickens eldest son), Charles Knight, George Bentley, Anthony Trollope etc., v.s., v.d. (c. 15 pieces).
Lot 325
Dickens (Charles) Our Mutual Friend, 2 vol., first one-volume edition, half-title, wood-engraved frontispiece and 39 plates by Marcus Stone, 1 p. advertisements, occasional light foxing, bookplate to endpapers, original cloth, light browning to spine, short split to head of upper joint, a little rubbed, [Eckel pp. 94-5; Smith I, 15], 8vo, Chapman and Hall, 1865.
Lot 51
Gregynog Press.- Joinville (Jean, Sieur de, Seneschal de Champagne) The History of Saint Louis, translated by Joan Evans, number 66 of 200 copies on hand-made paper, initials designed by Alfred Fairbank and printed in red and blue, 17 hand-coloured wood-engraved coats-of-arms by Reynolds Stone, 2 maps, genealogical tables, original brown morocco with arms of St.Louis in gilt on upper cover, by the Gregynog Press Bindery, t.e.g., others uncut, very slight rubbing to one raised band, [Harrop 37], folio, Newtown, Gregynog Press, 1937.⁂ One of the most handsome books produced by the press.
Lot 225
Egypt.- Hieroglyphs.- Champollion (Jean Francois) Grammaire Égyptienne, first edition, lithograph hieroglyphs throughout, some printed in red, original printed wrappers, lower cover with paper restoration to inside, spine slightly toned, extremities a little chipped, folio, Paris, Firmin Didot Fréres, 1836[-1841].⁂ This monumental work of Champollion (1790-1832), known above all as the decipherer of the Rosetta stone, is the grand summation of his work in cracking Egyptian hieroglyphs and laid the foundations for all subsequent discoveries in Egyptology. It contains the first printed list of hieroglyphs; 260 in all. The printing, from Champollion's meticulous manuscript, was a complex process. It required a special combination of all the standard alphabetic languages (French, Latin, Greek, Coptic, etc.) to be set in the usual way in type, leaving blank spaces for the hieroglyphs. The typesetting was then transferred to lithographic plates where the hieroglyphs were engraved and then each page, including type and hieroglyphs, was reprinted lithographically. This was the first time such a technique was used in France. Rare in the original printed wrappers; RBH lists no other copy at auction.
Lot 79
Mackley (George) Engraved in the Wood: a collection of wood engravings..., number 277 of 300 copies signed by the artist, illustrations printed in red, text in original wrappers, 68 wood-engravings loose as issued in original card folder, together in original cloth drop-back box, Two-Horse Press, printed at the Rampant Lions Press of Cambridge, 1968 § Keizer (Willem) The Wood Engravings of Lou Strik, number 102 of 410 copies signed by the author and artist, original half cloth, uncut, Woubrugge, Avalon Pers, 1996 § Stone (Reynolds) Engravings, 1977 § Campbell (Colin) William Nicholson: The Graphic Work, 1992 § See-Paynton (Colin) The Incisive Eye...Wood Engravings 1980-1996, Aldershot, 1996, plates and illustrations, the last three all original cloth or boards with dust-jackets; and 9 others on wood-engravers, v.s. (14)
Lot 323
Dickens (Charles) Our Mutual Friend, first edition in the original 19/20 parts, first issue of part 1 without the printer's imprint on front wrapper, wood engraved frontispiece and 39 plates after Marcus Stone by Dalziel and W.T. Green, part 1 lacks Thorley's 4pp. ad., part 6 lacks Armadale slip and Norton's Pills 4pp ad., part 7 with Thorley's Farmer's Almanack duplicated at front of ads., part 14 lacks Mappin Webb & Co. 4pp. ad., part 18 lacks Norton's Pills and Liverpool & London & Globe ads. but with 8pp. Chapman & Hall ads. not called for, part 19/20 with additional 2 ads. for John F. Dunn's City Book Mark each 2pp. inserted at front and back, all other slips and advertisements as called for, part 13 with light damp-staining to plates, occasional spotting but generally clean internally, original printed blue wrappers, some occasional light repair or retouching to spines, part 1 upper cover rather creased and soiled with some chipping to head an foot, part 6 with hole to lower wrapper, part 19/20 a little soiled with some chipping, still a very good set generally, preserved in 2 custom red calf drop-front boxes, [Hatton & Cleaver pp.343-370], 8vo, Chapman and Hall, 1864-65.
Lot 75
Lane (Allen) Boxwood & Graver: A Miscellany of Blocks, limited edition, wood-engravings by Reynolds Stone and others, original parchment-backed veneer boards, privately printed, 1958 § Furst (Herbert, editor) The Woodcut: An Annual, Nos.1 & 2 only (of 4), with 2 tipped-in patterned-paper samples by Enid Marx and Eric Ravilious, light spotting, original cloth-backed patterned-paper boards, The Fleuron, 1927-28 § Bliss (Douglas Percy) A History of Wood-Engraving, original buckram, spotted and browned, 1928 § Farleigh (John) Graven Image: An Autobiographical textbook, first edition, Hilary Boyntun's copy, 1940 § Brett (Simon) An Engraver's Globe: Wood Engraving World-Wide in the Twenty-First Century, 2002 § Hamilton (James) Wood Engraving & the Woodcut in Britain c.1890-1990, 1994, plates and illustrations, the last three original cloth or boards with dust-jackets, the first price-clipped; and 15 others on wood-engraving, 8vo & 4to (22)
Lot 114
Sandford (Lettice) Wood Engravings, number 79 of 100 copies signed by the artist, original morocco-backed cloth, slip-case, Pinner, 1985 § Greenwood (Jeremy) Margaret Bruce Wells: The Complete Wood-engravings and Linocuts, one of 300 copies, original cloth-backed patterned-paper boards, slip-case, Woodbridge, Wood Lea Press, 2000 § Margaret Pilkington 1891-1974, number 64 of 200 copies, original cloth-backed boards, Buxton, Hermit Press, 1995 § Russell (Judith, editor) The Wood-Engravings of Gertrude Hermes, Aldershot, 1993 § Stone (Reynolds) & Simon Brett. The Wood Engravings of Gwen Raverat, Cambridge, 1989 § Jaffé (Pat) The Wood Engravings of Clare Leighton, Cambridge, 1992, plates and illustrations, the last three original cloth or boards with dust-jackets; and 5 others on women wood-engravers, v.s. (11)
Lot 23
Fleece Press.- Tute (George) Leon Underwood: His Wood Engravings, number 163 of 200 copies, original green morocco-backed patterned-paper boards, uncut, original cloth drop-back box, 1986 § Harvey (Michael) Reynolds Stone: Engraved Lettering in Wood, one of 270 copies, 1992 § Lee (Brian North) Bookplates and Labels by Leo Wyatt, one of 300 copies, 1988 § Hansard (Luke) The Auto-biography...written in 1817, edited by Robin Myers, one of 250 copies with a signed print, signed presentation copy from the editor to Simon McMinn inscribed "...Book collecting weekend Grasmere March 8th 1992" on half-title, wood-engravings by John Lawrence, additional print and prospectus in pocket at end, 1991, plates and illustrations, all but the first original cloth-backed patterned-paper boards with slip-cases, Wakefield, Fleece Press; and 3 others on wood-engravers from the press, v.s. (7)
Lot 236
Malta.- Hammet (James Lacon, Vice Admiral, Admiral Superintendent of Malta Dockyard, 1848-1905) Photograph album of Edward VII's visit to Malta in 1903, c. 40 photographs, most laid down, a few loose, a few pieces of ephemera inserted, original half morocco, gilt, edges rubbed, tear at tail of spine with some loss, photographs 215 x 289mm. & smaller, oblong 4to, 1902-4.⁂ Photographs include: "H.M. The King at Malta [with his dog] Jack"; "At the ceremony of laying foundation of Breakwater [at Malta] by the king"; "His Majesty laying the stone of the Malta Breakwater"; "Grand Harbour Malta"; "Old Maltese Galley"; "Unveiling Statue to Sir Adrian Dingli at S. Antonio Gardens Malta"; "Sorrento"; "View of Bosphorus"; "Oxburgh Hall" etc.
Lot 439
Rowling (J.K.) Harry Potter and the Philosopher's Stone, first paperback edition, first printing, usual light marginal browning, some light creasing, original pictorial wrappers, very slight sunning to spine, light vertical creasing to spine and upper cover, light rubbing and creasing to tips of spine and corners, split to foot of upper joint, light lifting to laminate at cover extremities, but still an excellent example overall, 8vo, 1997.
Lot 49
Gregynog Press.- Vega Carpio (Lope de) The Star of Seville: A Drama in Three Acts, translated by Henry Thomas, number 95 of 175 copies, printed in red and black with initials in green, wood-engraved coat-of-arms of Seville printed in colours on title, original black morocco stamped in gilt and blind to a Moorish design of star and strapwork, 1935 § Hartzenbusch (Juan Eugenio) The Lovers of Teruel, translated by Henry Thomas, number 130 of 175 copies, original red morocco stamped in blind to a Moorish design of interlaced strapwork, spine slightly faded, 1938 § Guevara (Antonio de) The Praise and Happinesse of Countrie-Life, translated by H.Vaughan, number 354 of 400 copies, wood-engraved vignettes by Reynolds Stone, original half russet morocco, label to upper cover, 1938, uncut, the first two t.e.g., [Harrop 32, 38 & 39], Newtown, Gregynog Press; and another from the press (Harrop 30), 4to & 8vo (4)
Lot 4
Three stone diamond ring, the white mount stamped '18ct', the brilliant cuts calculated as weighing approx 0.5, 0.72 and 0.45 carats (measuring 5.3mm x 2.9mm deep, 6mm x 3.2mm deep, and 5.2mm x 2.7mm deep), size K½, 2.2g gross approxCondition report: The diamonds appear bright, white and lively, no obvious inclusions with the naked eye, you can see some with a 10 x loupe. One diamond has an inclusion on the edge which appears like an abrasion, but there are no chips that I can see. Clarity approx SI. The claws are all present but with signs of wear. The shank has a visible sizing mark and light overall wear. **General condition consistent with age and use.
Lot 19
Three-stone sapphire and diamond ring, stamped '18ct' and 'Plat', the central old brilliant cut of approx 1ct, size N, 3.9g gross approxCondition report: The white metal claws and setting have some signs of wear to the tips and the collet, otherwise no obvious signs of damage or repair.**General condition consistent with age and use.The ring is approx mid-20th Century, the yellow metal shank stamped ‘18ct & Plat’.The old cut diamond measures approx 5mm x 6.5mm diameter x 3.5mm deep. Fairly white to slightly tinted in colour, no obvious inclusions with the naked eye or the 10 x loupe.The sapphires have not been tested but have been appraised by gemmologist John Kelly. One of the sapphires has a few ‘nibbles’ to the edge, but no other chips or cracks. Both sapphires measure 5.5mm diameter x 3.2mm deep approx.
Lot 5
Three stone diamond 18ct white gold ring, the brilliant cuts totalling approximately 1.2 carats, size L, 3.2g gross approxCondition report: The ring is in good condition, no obvious faults. Each stone 4.5mm diameter approx. The diamonds appear fairly white and bright with no obvious inclusions with the naked eye, approx SI Clarity. **General condition consistent with age and use.
Lot 33
Archaic style ring, stamped '22k', set with a green stone bead, on a cordCondition report: The green hardstone measures approx 1.5cm x 1.8cm (including mount), is semi-opaque and is fairly pitted on the surface with internal inclusions. Size O/P approx. Shank indistinctly stamped 22K, and tests as 22ct. **General condition consistent with age and use.
Lot 10
Nine stone diamond cluster ring, the yellow mount stamped '18', the centre stone calculated as weighing approximately 0.75 carats, enclosed by eight brilliant cuts estimated as weighing approximately 1.2 carats estimated, size N, 6.5g gross approxCondition report: General condition consistent with age and use. The diamonds all appear fairly white and bright, no obvious visible inclusions with the naked eye. The central diamond approx 6mm diameter x 3.5mm deep.
Lot 6
Diamond single stone ring, in a platinum mount, the old brilliant cut calculated as weighing approx 2.2 carats, size R½, 4.9g gross approxCondition report: The old cut diamond measures between 8mm-8.5mm diameter x 6mm deep approx. Slightly tinted/tinted in colour, off-white with hints of yellow. Appears bright and lively. No obvious inclusions with the naked eye, some visible with a 10 x loupe, approx SI clarity or slightly higher. Hallmarked platinum mount with evidence of sizing to the shank and light overall surface wear. The claws and setting appear in good condition. Please see the extra images where you can see the sizing mark and the colour of the diamond. **General condition consistent with age and use.
Lot 444
Heinrich Hoffman for Ascher (Red Ashay) - Rare Art Deco frosted glass 'Butterfly Girl' car mascot, 19cm high, on original aluminium baseFootnote: Red Ashay mascots were marketed in the UK by H.G.Aucher Ltd, of Acombe Street, Chorlton-on-Medlock, Manchester and of 404 Holborn Viaduct, London EC1.Condition report: Chip to edge of one wing. Stone chips / mark to face as per images, worthy of minor restoration required.
Lot 121
Pair of single stone diamond ear studs, the brilliant cuts of approx 0.4 carats each, four-claw set in an unmarked white mountCondition report: Each diamond measures 4.8mm diameter approx. The diamonds appear bright and white, with no obvious inclusions with the naked eye, approx SI clarity. Both studs hallmarked 18ct. 1.4g gross. The earrings appear in good condition, both fittings present and in working order. **General condition consistent with age and use.
Lot 124
Pair of single stone diamond ear studs, the yellow four claw mount stamped '14k', the brilliant cuts of apprximately 0.7 carats eachCondition report: The diamonds 5.6mm and 5.8mm diameter approx. Appear fairly white/slightly tinted, no obvious inclusions with the naked eye, approx SI/I clarity. The mounts in good order. 1.4g gross approx. **General condition consistent with age and use.
Lot 267
19th Century bronze figure of a seated Classical male, possibly Caesar Augustus, modelled in contemplation with right elbow on right knee, wearing robe and sandals, on stone seat, canted rouge marble balck and moulded black slate plinth, unsigned, olive green patina, 43cm high overallCondition report: Good condition.
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