Autographs - A large collection, many obtained in Bristol at the Hippodrome, Empire and Palace Theatres, circa 1910-20, including Harry Houdini ("Stone walls do not a Prison make / nor iron bars a cell", dated 1913), Harry Lauder, H.W. Stevenson (billiard champion), G.H. Elliott, John Philip Sousa, Vesta Tilley, and others, mainly variety acts; together with some later, (total nine albums); also approximately 110 theatrical postcards, many signed, including Bruce Green (three different); Daphne Mayfair; G.H. Elliott (three); Naughton & Gold (two different); Amy Brownson; and others, (album).
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NAVAL & MILITARY. Stopford, T.P. Admiralty Ships Badges, Original Patterns 1919-1994, two volumes, Stone Frigate, Rochester 1996. Boards, dustjackets, colour illustrations throughout, SIGNED BY AUTHOR, quarto; Westlake, R.A. Collecting Metal Shoulder Titles, Warne, London 1980. Boards, dustjacket, illustrations, octavo; Parkyn, Major H.G. (Military) Shoulder-Belt Plates and Buttons, reprint, Westlake Military Books, Wembley 1986. Boards, dustjacket, illustrations, octavo; and fourteen other volumes of related interest, (17).
Various military etc figures. ‘The Last Grenadier’ series-Irish Guards in winter greatcoats. 2 Officers, Colour Sergeant, 2 Privates handler and wolfhound. ‘GB Little Lead Soldiers’ series-Queen Elizabeth and her Armada Captains (5). Britains- 3 Clansmen series, 2 Mac Gregor and a Mac Donald. 2 Tower of London Yeomen of the Guard with Sentry boxes. Corgi 1902 State Open Landau ‘Silver Jubille 1977’. 4 white metal ‘Men of Sherwood Forest’, Robin Hood’ ‘Fryer Tuck’ etc. 4 Medieval figures including mounted knight. Also 3 Coronation Coaches by, Johillco, Crescent and an unknown maker. Plus a Britains Coronation Throne with stone. Most items in original paints. QGC-VGC some wear/chips to Coronation coaches. (20 including sets)
A collection of five Neolithic stone implements, circa 2000 B.C. to include a large black polished axe, with curved cutting edge, tapering in to a narrow butt, 24cm long; a similar smaller black polished axe, 11cm long, with two labels `Stone celt [axe] found at Kemnay, Aberdeenshire`, the other label bears the number `11`; a similar grey polished axe, 11.5cm long; a small black polished axe, with curved cutting edge, 6cm long; a Palaeolithic flint hand-axe, 8.5cm long, marked `Mildenhali` in black ink; a black stone axe, with curved cutting edge, later cane handle with rope binding, axe 10.5cm long, handle 32cm long (6) Note: These items have been assessed by the Treasure Trove unit and are legal to sell. Provenance: From the collection of James Curle (1862-1944) of Priorwood House, Melrose and thence by descent.
A mahogany collector`s cabinet with four drawers, each with turned ivory handles, containing fifteen axe heads of various sizes, thrity-one arrow heads; a Roman oil lamp; and thirty-three fossils and various early stone weights 33cm wide, 46cm high, 20cm deep Note: These items have been assessed by the Treasure Trove unit and are legal to sell. The collection of stone axe heads include an example from Egypt, a greenstone [of Langdale, Cumbria] example found in Dumfriesshire. Two examples from the West Linton area can be found amongst the arrow heads. The fossils include six ammonites and a shark`s tooth.
A cased pair of Art Deco quaichs R E Stone, London 1934, also with signature mark, the shallow bowls with lightly hammered finish and twin stepped triangular lugs, in fitted Wilson and Sharp of Edinburgh case; together with a pair of `quaich` bon bon dishes with pierced borders to bowls and lugs, in fitted case (2) RE Stone examples 13cm wide across lugs
A collection of items, to include a Victorian heart shaped clasp collet set with an oval cabochon cut garnet within a scroll surround, with circular glazed locket to reverse; a three-stone ring, set with graduated synthetic rubies; also a five-stone ring, set with graduated circular cut green pastes, with closed back setting, initialled in script (3)
An 18ct gold and platinum mounted three-stone diamond ring, claw set with round brilliant cut diamonds, shank inscribed; together with an 18ct gold and platinum mounted five-stone diamond ring, similarly set with graduated early round brilliant and single cut diamonds, also with inscribed shank (2) Estimated total diamond weights 1.00cts and 0.21cts
Theophile Alexandre Steinlen (1859-1923). Gil Blas, a good group of sixteen cover illustrations. Lithographs, printed in colours, 1890’s. Each c.27.5 x 24.5cm (10 3/4 x 9 3/4 in). With Coal Miners, lithograph by Steinlen, 21.5 x 30cm (8 1/2 x 11 3/4 in), signed in the stone, c.1900; with 5 French caricatures, by or after Daumier, Cham and Boilly (22)
A set of three stone composition urns, 20th century, each cast with fruiting vines, on a domed foot and square base, each 33cm high, 41cm diameter, and another pair of stone composition urns, of baluster form with gadrooned decoration, on a domed foot and square base, each 40cm high, 39cm diameter
* Barker (Thomas, of Bath, 1769-1847). A lithographic stone with original study of a man in rustic costume with walking stick and basket, for ‘Impressions of Rustic Figures After Nature’, early 19th c., orig. drawing on lithographic stone, monogram present, image slightly rubbed, image dimensions 22 x 14cm (8.75 x 5.5ins), stone 24.5 x 16.5cm (9.75 x 6.5ins). There are thirty-one known examples of Thomas Barker’s lithographic stones, all of which are in the collection at the Victoria Art Gallery in Bath. Eighteen of the stones are for ‘Forty Lithographic Impressions from Drawings by Thomas Barker Selected from his Studies After Nature’ published in 1813. A further eight in the collection were drawn for ‘Thirty Two lithographic Impressions from Pen Drawings of Landscape Scenery’, published in 1814. It is very unusual for lithographic stones to have survived preserving an original illustration. The stones were highly expensive to produce and were usually reground and reused. Stones were hired out to artists by the printer for approximately a week at atime, but Barker appears to have owned his own lithographic stones. His stones are likely to be white lias limestone quarried from the Bath area. Unlike those for ‘Landscape Scenery’ the stones for ‘Rustic Figures’ have similar dimensions. In 1803 Barker was asked to contribute to the first major publication of English lithographs, Specimens of Polyautography, for Alois Senefelder’s agent in London. In 1813, the printer D.J.Redman moved to Bath at Barker’s invitation and set up a lithographic press, making Bath the centre of artistic lithography for a while. The success of the press in Bath arose partly from the plentiful supply of good quality local limestone. That same year, Redman published Barker’s Impressions of Rustic Figures After Nature, a set of forty figure studies. The following year Redman published a companion set of Barker’s landscape studies. To Barker’s disappointment, neither group was a financial success: in 1815 Redman returned to London, and Barker stopped producing lithographs. Barker’s ‘Impressions of Rustic Figures After Nature’, was the first single-artist collection of lithographs ever printed in England. (1)
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