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CHARLES RENNIE MACKINTOSH (1868-1928) PAIR OF DINING CHAIRS, 1910 stained oak, with drop-in seats upholstered in horsehair fabric(46.6cm wide, 101cm high, 45cm deep)Footnote: Provenance: William Douglas Esq., Glasgow Benno Schotz Esq., Glasgow Jack Coia Esq., Glasgow and by descent Literature: Billcliffe, Roger Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings and Interior Designs, Moffatt 2009, p. 213, see footnote to no. 1910.12.25 Cotton, Bernard D. Scottish Vernacular Furniture London 2008, pp. 172-177, plates 296-298 For the third pair in this set see Lyon & Turnbull auction Decorative Arts: Design since 1860, 25th March 2015, Lot 291 Note: By 1910 Charles Rennie Mackintosh was in the last phase of creativity as an architect and designer in Glasgow. He had completed the second phase of the Glasgow School of Art the previous year, perhaps his greatest work. Further furniture orders were commissioned and delivered to the School in 1910. Other work included designs for the temporary White Cockade tearoom at the Glasgow Exhibition and redesigns of furniture and interior decorations for The Chinese Room and a new room, The Cloister Room, both for Miss Cranston's Ingram Street Tearooms. At the same time, he worked on a series of furniture designs for his friend, the decorator William Douglas, who worked from premises in West George Street. Douglas was employed on various projects by Mackintosh including Hous'hill, Miss Cranston's home, in 1904. Amongst the furniture designed for Douglas was a set of six oak dining chairs, of which two pairs are offered here. The chairs are oak, stained dark and designed in the ‘brander’ back style, so-called in Scotland because of their backs' resemblance to the brander iron or gridiron used over the fire to cook meat or to toast oatcakes. The origins of the brander back date to the late 18th century or earlier. The simple concept of vertical back slats was used on chairs in one interpretation or another for all levels of society throughout Scotland until the second half of the 19th century when it fell out of fashion. In common with, for example, his interpretations of ladder back chairs in various manifestations, Mackintosh has designed his own version of this vernacular chair. The back, typically squat, has been elongated, and the number of slats doubled from a characteristic four to eight. He has further accentuated the vertical character of the chair by omitting the cross-stretchers, normally found to the front and rear.

§ JAMES HERBERT MACNAIR (1868-1955) RARE POSTCARD WITH HAND-WRITTEN INSCRIPTION, 1905 with Glasgow style script, inscribed ECCO LA BEFFANA, signed lower right J HERBERT MACNAIR 1905, bearing inscription verso TWELFTH NIGHT 1905, WITH BEST WISHES/ FROM HERBERT & FRANCES MACNAIR(14cm x 9cm )Footnote: Note: In Italian folklore, Befana is an elderly woman who delivers gifts to children throughout Italy on Epiphany Eve in a similar way to St. Nicholas or Santa Claus. A popular belief is that her name derives from the Feast of Epiphany

ALESSANDRO MAZZUCOTELLI (1865- 1938) LARGE CEILING LIGHT, CIRCA 1910 wrought iron, stamped maker's mark to the frame MAZZUCOTELLI(68cm diameter, 160cm high)Footnote: Provenance: A Private European Collection of Design Note: Alessandro Mazzucotelli was born into a wealthy family of blacksmiths who founded their wealth on the need for iron during the wars of the 18th and 19th centuries. When he was eighteen the company fell on hard times and he moved to the Milan to complete his apprenticeship at Defendente Oriani. In 1891, six years later, he left the company and began to focus on his own work. Most of his designs were for decorative features for buildings and his work took him from Italy to Germany and even to Thailand, where he provided ironwork for the buildings of the architect Annibale Rigotti in Bangkok. His style was initially influenced by the Stile Liberty, which he explored during his travels through Europe with the Italian furniture maker Eugenio Quarti. He took inspiration from the ideas of artists such as Burne-Jones, William Morris and Walter Crane in England and Émile Gallé in France. Mazzucotelli made his name at the International Exhibitions starting in Turin in 1902, Brussels in 1910, Paris 1925 and many others. He also became a regular lecturer at the crafts school of the Società Umanitaria. Examples of his work can be seen today, particularly in Milan, and include the balustrades and handrails of the Palazzo della Borsa (1907) and the street lights in the Piazza del Duomo (1927-28).

PHYLLIS BARRON (1890-1964) FOR TURNBULL & STOCKDALE LTD - ROSEBANK FABRICS THREE HAND-BLOCKED printed linen, stripe and scroll design, in the yellow colourway(115cm x 61cm; 102cm x 75cm; 113cm x 80.5cm)Footnote: Note: Phyllis Barron, who had trained at the Slade, first became interested in printing fabrics on the discovery of some printing blocks whilst on holiday in France. She researched dying at the British Museum and the V&A libraries. As a member of the London Group from 1916 until 1921 she would have been in contact with the leading artists of the day, and very quickly she came to the attention of Roger Fry who asked her to exhibit at the Omega Workshop. Dorothy Larcher meanwhile had been working in India and on her return met Barron through the embroideress Eve Simmonds. She joined Barron in 1923 and together they moved to a workshop in Hampstead. Through Detmar Blow they secured a commission to furnish the coming-out dance of the Duke of Westminster, and another commission through the Duke led to a commission for cushions for Coco Chanel's garden in Paris. They moved to the Cotswolds in 1930 where the local water was particularly suitable for madder dying. From there they secured commissions from Girton College Cambridge, the furniture maker Eric Sharpe and many others. The impossibility of obtaining good quality fabrics during the Second World War forced them to give up their business.

Portrait of a Lady standing three-quarter length, in black, her hands clasped before her inscribed to the reverse '1575 Anne de Bretagne / femme de Charles VIII / et de Louis XII' oil on panel 34 x 27.5cmFootnote: Provenance: French Private Collection; With Philip Mould Ltd, London, August 2008, Private collection, Kensington, London According to an old label on the reverse of the panel, the sitter is Anne of Brittany, wife of King Charles VIII and Louis XII which, from a date perspective, she cannot possibly be. The sitter, from her demeanour and dress, is of high status, especially as she wears black which was at that time the most expensive dye to achieve in material. The painter, who is evidently aware of the French court portraitist François Clouet, could, however, be from Flanders.Condition report: Oil on an oak panel formed from a single board with small fillets attached with glue to each side. There is a small split in the upper left corner with associated paint loss. There is also a line of movement with raised paint to the left of the sitter’s face. The paint layer has a network of age cracks following the vertical woodgrain of the panel. In the lighter paint passages the age cracks appear dark. There are a few small dents to the panel and paint layer caused by impact. The paint layer is in a good, stable condition overall. There are localised areas of retouching which are fairly well matched to the original, mainly covering small damages and scuffs. The varnish is even and semi-glossy with a light layer of dirt. The frame is in a good condition with a few losses to the decorative surface, it has probably been intentionally distressed to appear older than it is.

Four Portraits of the Ffolliott brothers: Aylmer (b. 1591), Francis (b. 1595), Richard (b. 1597) and Henry (b. 1601) all half length, all dressed identically each inscribed with their age upper left and the year 1603 upper right each oil on bevelled oak panel all within the size range of 45 x 38cm (4)Footnote: Provenance: Private collection, Suffolk, Their Sale, Cheffins, Cambridge, 29th November 2006, lot 845, With Philip Mould Ltd, London, Private collection, Kensington, London The Ffolliott family, who are first recorded at the beginning of the reign of Elizabeth I in the 1560s, had by 1603 when John Ffolliott of Pirton Court was knighted, presumably risen in rank at court and these four portraits dated in that year were probably painted in recognition of the family’s elevation. Yet, by 1624, Pirton Court in Worcestershire was sold and other than one branch of the family rising to prominence in Ireland, the family and their name by the 19th century had all but disappeared. Of the sitters here represented, the eldest brother, Aylmer, married Barbara Smalbroke of Blakesley Hall, a house that still stands today near Birmingham. Francis became Vicar of Berkswell in Warwickshire and of the youngest, Richard and Henry, little is known and they probably both died young.Condition report: All four paintings are executed in oil on oak panels formed from one or two boards in vertical alignment. The portrait of Francis is on a single board with an insert filling an old knot at the lower edge and splits in the back of the panel. The paint layer has small blisters across the surface following the lines of the woodgrain. This is caused by movement in the panel which is clearly responsive to environmental fluctuations and is a historic issue. There are scattered old losses and the panel has more areas of retouching than the other three. The thin paint passages on all four paintings has become worn and abraded overtime. There is overpaint on all four portraits which is well matched to the original. The varnish layers are semi-glossy, clear and even. The simple wooden frames are in a good condition.

A Dinner given by the Grand Vizier in honour of an Ambassador in the Topkapi Palace, Constantinople oil on canvas 98 x 125cmFootnote: Provenance: According to Thuillier (see below) acquired in Turkey in the early 20th century, A descendant's sale, Christie's, London, 5th July 1996, lot 72, Private Collection, Gloucestershire, Their Sale, Sotheby's, London, 7th December 2005, lot 60; With William Thuillier, 14 Old Bond Street, Private collection, Kensington, London Born in Valenciennes in 1671, Jean-Baptiste Vanmour left for Constantinople in 1699 with the French ambassador, the Marquis Charles de Ferriol (1652-1722). He remained there for 38 years until his death in 1737 painting scenes of Ottoman life, views of Constantinople and as in the present work, depictions of diplomatic events. Whilst de Ferriol returned to France in 1711, Vanmour chose to stay and continued working for various patrons. The most famous series of paintings by Vanmour and his studio was undertaken for Cornelis Calkoen, the Dutch ambassador to the Sublime Porte from 1727 to 1743 (see All the paintings of the Rijksmuseum in Amsterdam, 1976, pp. 741-9, nos. A1996-A2039). Among Calkoen's pictures is a depiction of a feast offered in his honour by the Grand Vizier, which is very similar to the present picture scene. The scene depicted which was repeated, but with varying differences in detail by Vanmour of various European ambassadors at the Ottoman court, is closest to his painting in the Bordeaux Museum, which is known to be of the French ambassador, the Vicomte d'Andrezel (see A. Boppe, Les Peintres du Bosphore au XVIIIe Siècle, Paris, 1989, p. 28). That painting is known to have been executed in 1724, in which, though seen from behind, the figure of the ambassador and his clothes would seem to be very close indeed to the present work. As the carpets on the floor in the present painting would appear to be French Savonnerie carpets, in all probability the present painting represents the same French ambassador, or possibly his successor Louis Sauveur, Marquis de Villeneuve, who followed him in 1728. On an ambassador's arrival at court, a dinner was held by the Grand Vizier and then with the exchange of gifts, he would be presented to the Sultan. In the present painting, the ambassador is seated at the central table opposite the Grand Vizier. On either side of them are their interpreters, the Dragoman of the Sublime Porte and the First Dragoman of the French Embassy. The ornate grilled window, known as 'The Eye of the Sultan' above them, occupies an important position compositionally since it is behind this window that the Sultan, before the presentation, would stand, unseen but observing the ceremony below.Condition report: Oil on canvas which has been lined. The picture is in plane with good tension and the paint layer is stable overall. There are small retouchings across the surface which appear slightly milky on close inspection but acceptable from a normal viewing distance. The varnish is clear and even. Along the lower edge there is some scuffing and fine, opaque cracking to the varnish. The gilding is slightly worn but in a good condition overall.

of plain turned campana form 40 x 32cmFootnote: Provenance: With Thomas Coulborn & Sons, Sutton Coldfield, March 2008, Private collection, Kensington, London Believed to have been used from as early as 1850 BCE, during the construction of the Minoan palace of Knossos, Crete, and reaching the height of its popularity during the late Roman Empire, porphyry has a long and noble pedigree. Discovered in 18 AD by Roman Legionaire, Caius Cominius Leugas, the porphyry favoured by the Roman and Byzantine elites was mined exclusively from Mons Porpyritis quarry located in eastern Egypt. Taking its name from the Latin for purple, already long established as Royal, porphyry was exalted as prestigious material not only due to its rich pigmentation, but also for the enormous effort it took to mine and transport the material and the high level of expertise required to carve and polish the stone. So profound were the political implications of using the material, that Byzantine rulers are typically divided into two factions: those who gained power through a coup, and those who were “born into purple”. The latter group, also known as the “porphyrogenites”, were so called due to the purple porphyry used to veneer the imperial family room in the Great Palace of Constantinople. The present lot is believed to have been carved from Blyberg porphyry mined from the quarries of Älvdalen, a Swedish municipality located northwest of Stockholm. Established in 1788 by Niels Adam Bielke, President of the Swedish Board of Mines, the Älvdalen porphyry mines aimed to generate a sustainable income for the region, which had a long history of famine and poverty. By the early 19th century, porphyry became a prized Swedish export and products crafted in the “Elfdahls Porfyrwerk” were destined to find homes in the palaces and stately homes of many foreign monarchs and dignitaries. Unlike the purple porphyry favoured by the Romans, Swedish porphyry is characterised by its dark colour.Condition report: Minute rim chips

Portrait of a lady, traditionally said to be Marquise de Thil, half length, in a red dress, her hair in ringlets oil on canvas 72.5 x 59cmFootnote: Provenance: From the collection of Hubert Faure (1919-2020), Albany, Piccadilly, London The sitter is more probably a Marquise de Grollier and Trefort which family were also Contes de Maisonseule and Vicomtes de Thil. There was, however, a Marquis de Thil who was Maître des Requêtes to Louis XIV.Condition report: Oil on canvas which has been lined. The picture is in plane with good tension. The paint layer has softened during the lining process and the impasto is slightly pressed into the canvas. Overall the paint layer is stable, there is a network of age cracks with some very slightly raised edges. There are localised area of overpaint in the flesh tones which have slightly darkened, for example in the sitter’s forehead. The frame has suffered from losses to the moulding and gilded surface.

Portrait of a lady, probably a member of the Hunt family of Boreatton, Shropshire, half length, within a stone cartouche oil on canvas 76 x 61cmFootnote: Provenance: Boreatton Park by 1882 and according to a label on the reverse: "Bought back by Elizabeth Castleden / Hunt d. of John Matthew Dove / who bought the old Hall with about / 125 acres, on the sale of the estate / in 1914, for his son-in-law / Richard Hunt husband of the / above E.C. Hunt & youngest / son of Rowland Hunt of / Boreatton & Plaish / Co. Salop." An identical provenance note can be found on the reverse of a portrait by Sir Godfrey Kneller of Thomas Papillon, now in the National Portrait Gallery, no. NPG5188.Condition report: Oil on canvas which appear to have an early lining. The picture is in plane with good tension. There are a few patches on the reverse of the canvas securing old damages. The corners of the painting have a slightly different appearance with a line of cracking following the fictive oval. The surface at the corners has a more prominent canvas weave and craquelure pattern. There are areas of retouching across the surface. The varnish is slightly yellowed and semi-glossy. There are a few scuffs and scratches to the surface. Dirt has build up behind the lower stretcher bar. The frame is in a good condition.

Portrait of Sir Thomas Lyttelton, 6th Bart. and 2nd and last Baron Lyttelton of Frankley (1743/4-1779) half-length gesturing towards a female figure from antiquity inscribed lower left 'Thomas 2nd Lord Lyttelton / 1744-1779', and on the reverse with the name of the copyist and the date 1914 oil on canvas 75 x 62cmFootnote: Thomas, 2nd Lord Lyttelton of Frankley married in 1772 Apphia Witts (d. 1840) and the figure to which the sitter is gesturing may be an allusion to Apphia, daughter of Philemon, a Greek comic poet who lived to be 97 and died of laughing. The present painting is a copy after the original by Cosway at Hagley Hall, Worcestershire.Condition report: Oil on canvas which is unlined with an art supplier stamp for Winsor and Newton on the reverse. The canvas is in plane with adequate tension. The paint layer is in a good condition overall. Drying cracks have formed in the lower half of the picture which would have occurred as the paint dried. There is a thin varnish layer which has sunk and is no longer adequately saturating the paint layers. There is a thick layer of dust across the surface. The frame has a few scattered losses to the gilding.

ATTRIBUTED TO CHRISTOPHER DRESSER FOR COALBROOKDALE IRONWORK COMPANY PAIR OF AESTHETIC MOVEMENT cast iron, painted black with gilt embellishments(44cm wide, 133.5cm high, 34cm deep )Footnote: Literature: Cooper, Jeremy Victorian and Edwardian Furniture and Interiors: From the Gothic Revival to Art Nouveau, Hong Kong 1998, p.34, pl. 70. Note: Dresser was an adept and versatile designer who delighted in working in a broad spectrum of materials. He produced designs for The Coalbrookdale Ironwork Company between 1867 and 1872 and became their lead designer during this period. The highly stylised foliate forms and Gothic details in the present lot relate to his interest and close study of botany and the wide array of styles that influenced his designs.

PORTHIA PRINTS, ST. IVES GROUP OF TABLE LINENS, CIRCA 1955-60 screen-printed linen, to include SIXTEEN TABLE LINENS, designed by Roger Hilton (four unhemmed and unsigned, approx 32cm x 45cm, Denis Mitchell (one hemmed and with printed signature, (29.5cm x 42cm), Michael Snow (one hemmed and unsigned, 29.5cm x 43.5cm), Barbara Hepworth (two hemmed and with printed initials, 29.5cm x 42.5cm), Stanley Dorfman (four unhemmed and with printed signatures, approx. 32cm x 47cm) and John Forrester (three hemmed and with printed signatures, 30cm x 41.5cm, and one unhemmed and with printed signature, 33cm x 45cm)Footnote: Provenance: From the Estate of an important St. Ives artist Note: In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints. They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976, Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get anyone to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. This collection, from an important St. Ives artist’s estate, includes a number of original designs and represents an important moment in the St. Ives artistic movement; a rare and unique collaboration of artists associated with St. Ives in the Post-War years.

§ GORDON MACWHIRTER WEBSTER (1908-1987) STAINED, PAINTED AND LEADED GLASS PANEL, CIRCA 1950 pendant for BRING ME UNTO THY HOLY HILL, framed(64cm x 77cm)Footnote: Provenance: Broomhill Trinity Church, Glasgow Literature: Donnelly, Michael, Scotland's Stained Glass, pub. The Stationery Office, 1997, page 96. Note: Gordon McWhirter Webster’s father Alfred A. Webster, was also a stained glass artist between 1884 and 1915. On his death, his widow continued to operate her husband's firm and in 1929 it finally passed to Gordon. Mrs Webster had managed to keep the studio solvent by placing the practical management of the glass shop in the hands of the firm's former apprentice and assistant, Douglas Hamilton who trained Gordon. Consequently, his early work is strongly influenced by his late father but by the mid-1930s he had discovered his own voice.

MORRIS & COMPANY (MAKER), HERBERT HORNE (1864-1916) FOR THE CENTURY GUILD (ATTRIBUTED DESIGNER) hand-woven wool, woven by Morris & Co., and with characteristic knotted fringe(83cm x 128cm)Footnote: Literature: Parry, L., Cathers D., et al., Arts and Crafts Rugs for Craftsman Interiors, New York and London, 2010, cat. no. 8, where a rug of the same pattern is illustrated. Note: In 1875, Morris & Co. began large-scale production of floor coverings, rugs and carpets, designed to complement an ever-popular ‘Morris’ aesthetic in Victorian Britain. A triumph in craftsmanship on an impressive scale, these designs were hailed as some of the finest hand-knotted carpets ever produced in Britain at the time. Morris’ designs were largely inspired by his love of Eastern carpets from Persia Turkey and China, of which he amassed a great deal and used to furnish his own homes, including Red House. Featuring an array of stylised plants and flowers, carefully woven into fields of vibrant colours, the carpets were hugely popular but very expensive to the average customer. As a result, the firm began to manufacture a range of smaller and less costly alternatives to an eager market. Flowerpots were often a feature of these designs, with trailing flowers stemming out from the centre against a cream ground, and a dark blue border. These smaller rugs were frequently used as wall hangings and occasionally placed as bedside rugs in guest bedrooms. In 1884, Morris & Co. also manufactured several designs for The Century Guild; a group of artists associated with the Arts & Crafts movement, who sought to preserve the integrity of the artistic trade and its craftsmen. These rugs were sold in the Morris & Co. shop and advertised in the Guild’s magazine Hobby Horse. Though Morris never had a hand in designing these, they look back to his earlier Hammersmith pieces, featuring simple patterns of flowers and flowerpots. This rug is thought to have been designed by Herbert Horne, one of the founding members of the Guild, alongside A. H. Mackmurdo and Selwyn Image. Linda Parry comments that of 'the three designers associated with the Guild it is stylistically closest to the work of Herbert Horne'.

WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. RARE 'ST. JAMES' PATTERN WALLPAPER REPEAT, CIRCA 1881 block-printed paper, framed(118cm x 106cm)Footnote: Provenance: St. James Palace, London Literature: Clark, Fiona (editor) William Morris: Wallpapers and Chintzes, Academy Editions 1974, p. 15 and 36, no. 28 illus. Note: Morris & Co. only undertook two public commissions, and this rare repeat fragment of wallpaper comes from one of them - St James’s Palace, London. It was removed during a renovation. The other commission was for the South Kensington Museum. The two are possibly connected “through the influence of Richard Redgrave, who was both on the staff at South Kensington and, in his capacity as Surveyor of the Queen’s Pictures, was reorganising the paintings at St. James’ from 1864 onwards.”

Monogram Travel Trunk,Louis Vuitton, 1920s,Three lift out internal trays, in need of restoration, Condition Grade D-90cm wide, 56cm high, 53cm deepFootnotes:Provenance:Baroness Maria Lipthay de Kisfalud e Lubelle, a Hungarian artist who designed for Herend porcelain, bought this trunk in London whilst visiting family and friends in the 1920s.For further information on this lot please visit Bonhams.com

Large Monogram Steamer Trunk,Louis Vuitton, 1920s,Monogram canvas with four levels of cotton lined compartments, wood bound with brass fittings, Condition Grade D+110cm wide, 70cm high, 62cm deep, Includes paper stickerFootnotes:Provenance:Baroness Maria Lipthay de Kisfalud e Lubelle, a Hungarian artist who designed for Herend porcelain, bought this trunk in London whilst visiting family and friends in the 1920s.The trunk was inherited by her daughter, who last used it to travel to New Zealand for two months in the 1970s.For further information on this lot please visit Bonhams.com

A fine 19th century museum standard model of an early British live steam agricultural traction engine, the copper boiler having fittings including water sight glass, steam pressure gauge, regulator, steel firebox door, operators standing with safety sides, lever and crank linkage with rod and bevel gear steering mechanism, twin simple cylinders with under-type motion, gear driven water pump with clack valve fitted, safety, Watts design speed governor. The model finished in patinated steel with hardwood planking to boiler and having polished brass boiler bands. Length 59cm. Width 29cm. Height 48cm.Boiler History: No boiler history available.Please note: This is a rare model of 'The Farmer Friend'. Designed in 1849 by R Willis and promoted by Ransomes and May who became Ransomes Sims and Jefferies.    

An exhibition standard model of a Boulton and Watt Bell-Crank engine of 1802, built by the late Mr Russ Titford of Essex from Anthony Mount drawings and castings. The design for this engine was formulated by William Murdock and Mr Southern who was the manager at the Soho Foundry in Birmingham. The model finished in red paintwork with polished bright-work, tool kit and mounted on wood and tiled plinth.Condition Report: Measurements(L, W, H):39 x 32 x 32cm Condition Report Disclaimer

A PAIR OF GILT BRASS PORTRAIT MEDALLIONS OF LORD NELSON AND CHARLES FOX AFTER PETER WYON, EARLY 19TH CENTURY depicting a bust of Admiral Lord Nelson, within a band of oak leaves and acorns, signed with initials 'P W F' (Peter Wyon fecit), the other of Charles James Fox, also with a band of oak leaves and acorns and signed 'P. Wyon', with pen inscription to verso 'Presented to my Grandfather John Watts, who was secretary to Captain Hardy, on board H.M.S. Victory + other .....Lord Nelson ..Admiral of the Fleet 1812-1815', in moulded ebonised and glazed frames (2) 17cm diameter

A WILLIAM IV OAK TEA CHEST C.1830 carved with scrolling leaves, the hinged panelled top revealing a handwritten label to the underside, indistinctly inscribed 'This box made out of a beam of oak Windsor Castle. Given to Jessie Forbes by Edward Lloyd Gatacre on the occasion of their marriage 1838.', above a pair of part hinged lidded lift-out canisters, flanking a sugar bowl aperture 18.2cm high, 37.4cm wide, 20.5cm deep Catalogue Note The Gatacre's were an old Shropshire family. Jessie Forbes was the daughter of Sir William Forbes of Callendar, nr. Stirling, who made his fortune cladding the hulls of the ships of the Royal Navy in copper to prevent termite attacks. Their youngest son was General Sir William Forbes Gatacre of Boer War fame.

A SALTGLAZE STONEWARE POTTERY MODEL OF A RECUMBENT LION MID-19TH CENTURY the underside with an inscription stating that it was bought in Newcastle-upon-Tyne from a dealer in 1935 who thought it was made by the Corbridge Pottery, together with a smaller treacle glaze pottery model of a lion (2) 10cm long (max) Provenance The Estate of the late Jane Sumner.

*Austin Moseley (1930-2013)'A walk in the fog'signed with initials l.r, oil on canvas board20 x 15.5cmAustin Moseley was born in Staffordshire in 1930 and lived his whole life in the West Midlands. His work shows his close connection with the small communities of the Black Country. There is a light-hearted affection to the characters in his paintings who are often shown in the early morning or late evening. His work can also be recognised by his use of paint applied thickly with a palette knife to add texture and a slight abstraction of the subject matter. Mosley was a member of the Royal Birmingham Society of Artists and he also exhibited at the Royal Institute of Painters in Oil.*Artist's Resale Right may apply to this lot.

*Duncan Grant (1884-1978)A study for the cover of 'Olivia' by Olivia, the pseudonym of Dorothy Bussy (1865-1960)signed with initials c.r., pencil, pen and ink and blue washes21 x 14.5cmDorothy Bussy was an English novelist and translator, close to the Bloomsbury Group. 'Olivia' is the only novel by Dorothy Bussy, it was published in 1949 by Hogarth Press, the publishing house founded by Leonard and Virginia Woolf. Bussy wrote it in French and signed her work with the pseudonym 'Olivia'. Olivia had been the name of one of Dorothy's sisters who died in infancy.*Artist's Resale Right may apply to this lot. Condition report: Not viewed out of glazed frame. Paper stuck down. Potentially a little fading to blue watercolour.

*Mary Fedden RA (1915-2012)Two Pearssigned and dated '10 l.r., oil on canvas35.5 x 45.5cm, unframedProvenance: Gifted in person by Mary Fedden RA to Stanley Jones MBE and Lorraine Chitson in 2010 to raise future funds for the Curwen Print Study Centre.*Artist's Resale Right may apply to this lot.'Mary Fedden became involved in printmaking at the Curwen Studio through the influence of Julian Trevelyan, her husband who had gained experience of printmaking in his early career from time spent in Paris with S W Hayter, the well-known etcher and engraver. However, it was only when in London and both were commissioned to produce work by the Waddington Gallery in Cork St, that Mary made her appearance at the Curwen Studio and our association began. She was fascinated by the possibilities of zinc plate lithography and quickly learned how to collaborate with the printers in technical aspects of making her images, which were reflective of a style also present in her paintings. During these years, the images developed a freshness that marked them as some of her most characteristic lithographic prints. Over the many years of working together, we became close friends as well as Artist and Printmaker - a friendship which I valued.'Stanley Jones MBE'Mary and Stanley sat together on a small settee in the studio, she holding his hand delighted to have her old friend with her. They reminisced about Julian and memories of Paris and times gone by. It was very special to have the opportunity to listen to their stories and share our news and plans for the future of the Study Centre. Mary then selected a painting ('Two Pears') that she wanted us to have so that we may use it to raise funds for development.'Lorraine Chitson, Curwen Print Study Centre DirectorCondition report: Good condition.

*John Bellany RA (1942-2013)'Crescent moon' lithograph, signed and numbered 33/50 in pencil 73.5 x 54cm, unframedProvenance: Curwen Print Study Centre.'There is a wistfulness and innocence in the young girl dreaming of someone important to her who may be out on the sea. She holds the icon of a fish, a symbol of Christianity.'Helen Bellany*Artist's Resale Right may apply to this lot.Condition report: Good condition.

A LATE 20TH CENTURY LIMITED EDITION (NOS. 108 OF 500) PARCELGILT CUP AND COVER made to commemorate the memory of King Edward the Martyr (who was slain at Corfe Castle AD978), by Toye, Kenning & Spencer, London 1978 in original box with certificate; 7.2" (18.2 cms) high; 9.95 oz

A VICTORIAN CAST NOVELTY SOW PEPPER CASTER & MATCHING BOAR MUSTARD POT & SPOON, each engraved with a crest & motto*, by Joseph Braham, London 1881; the mustard pot 3" (7.6 cms) long; 6.2 oz (2) *Needham, probably for Francis Charles Needham, 3rd Earl of Kilmorey (who was married on June 23rd 1881 at St. Peters, Eaton Square to Ellen Constance Baldock).

An Important set of carved oak armorial panels, from The Queen Regent's House, Blythe's Close, Edinburgh.Three probably 16/17th century, the fourth 18th centuryCarved in low relief and showing (clockwise from top right), the arms of the King of France, the arms of the Duke of Hamilton and the arms of the King of Scotland impaling those of Mary of Guise and the arms of the City of Edinburgh.The first panel shows the arms of the King of France and the monogram HR (Henricus Rex) is likely to refer to King Henry II 1547-1559. This armorial has a paper label pasted to the reverse which reads 'From the roof of a staircase in the Queen Regent's House, Blythe's Close, left hand side'The second panel shows the arms of the Duke of Hamilton and are accompanied by the monogram JH, they are likely to be the arms of James Hamilton (1606-1649) and from 1643 1st Duke of Hamilton and Earl of Cambridge. This armorial has a label pasted to the reverse which reads 'From the roof of a room in the Queen Regent's house, Blythe Close, Edinburgh, left hand side of the close, The Arms of Hamilton' The third panel shows the impaled arms of the King of Scotland, specifically King James V (1512-1542) and Mary Guise Duchesse of Longville and the daughter of Claude Duke of Guise by Antionette Bourbon. They were married 1538 at Notre Dame. Their daughter Mary Queen of Scots (1542-1587) would have displayed the same arms but after her death they would have ceased to be used, so the arms were in use for the period 1538-1587. This armorial has a paper label pasted to the reverse inscribed 'From the roof of a room in the Queen Regent's House, Blythe's Close, it was not in its original condition when last taken down, being fixed (to) a plaster ceiling, the Queen Regents arms, g.d with those of Scotland'The fourth roundel showing the Arms of The City of Edinburgh is clearly in different style to the remainder and was probably never intended to part of the set. The date of the patent is 1732 and they were registered at the Lyon Court in 1774. There is no image of these arms in the register and for this reason slight variations are found in early depictions. They have been viewed by a number of officers who consider them to be unusual and likely to be of the earliest date. We are grateful to Roger Whitworth for his assistance in cataloguing this lot. 52cm wide, (20in wide, (4)Footnotes:Queen Regent's House was situated at the top of the Mound in Edinburgh, just below the castle and was built immediately after the burning of Holyrood Palace and the city by the English in 1544. James Grant writing in his 19th Century book Old and New Edinburgh, described how the widowed queen, whose husband died in 1542, 'would naturally seek a more secure habitation within the walls of the city, and close to the Castle guns.' Following the death of James V, the couple's infant daughter became Mary Queen of Scots with her mother Mary of Guise ruling Scotland as Queen Regent on the child's behalf from 1554 to 1560. Mary was the second wife of James V and it is thought that she probably lived in Queen Regent's House from 1542 to 1554. From 1557 the house was occupied by Alexander Acheson of Gosford, a merchant and local landowner, and his wife Helen Reid. Their coats of arms were added to the door. Accounts of the later years of the building detailed large handsome fireplaces, clustered pillars, high ceilings, fine stucco and elaborate recesses. A carved oak door is in the collections of the National Museum of Scotland. Robert Chambers, in his 1802 book Traditions of Edinburgh, said: 'It was interesting to wander through the dusky mazes of this ancient building, and reflect that they had been occupied three centuries ago by a sovereign princess, and of the most illustrious lineage.. Grant wrote: 'Since then it shared the fate of all the patrician dwellings in old Edinburgh, and became the squalid abode of a host of families in the most humble ranks of life.' The house and the close was demolished in 1845-46 to provide a site for the Assembly Hall and New College.For further information on this lot please visit Bonhams.com

A large white marble bust of Cromartie Sutherland-Leveson-Gower, 4th Duke of Sutherland (1851-1913)By Charlotte Besnard nee Dubray (French, 1854 – 1931)Looking slightly to dexter wearing a plaid on a red marble moulded square socle, 64cm wide, 30cm deep, 85cm high (25in wide, 11 1/2in deep, 33in high) Footnotes:Charlotte-Gabrielle Besnard nee Dubay was taught sculpture by her father, Gabriel-Vital Dubray. She first exhibited at the Salon in 1874 with a marble bust of Jeune Fille: fellah du Caire which was awarded a silver medal in 1900. In 1875 Charlotte travelled and studied in Rome thanks to her sponsors and patrons the 4th Duke and Duchess of Sutherland, where Charlotte met her husband, the artist Albert Besnard, who was director of the French Academy in Rome. She subsequently moved to London and exhibited a series of portrait busts at the RA from 1875-1878. She also exhibited at the Société des Beaux Arts where she was a sociétaire.Cromartie Sutherland-Leveson-Gower, 4th Duke of Sutherland, also known as Lord Cromartie Sutherland-Leveson-Gower, Earl Gower and the Marquess of Stafford had a carrier in the military as well as a Conservative politician and was married to Lady Millicent St Clair-Erskine (1867 – 1955) see lot....For further information on this lot please visit Bonhams.com

A near pair of early 20th century easy armchairsOne made by Hindley & WilkinsonBoth with beech ring turned front legs with brass castors, one stamped HINDLEY & WILKINSON, LONDON, 67cm wide x 94cm deep x 74cm high, (26in wide x 37in deep x 29in high) (2)Footnotes:The firm of Wilkinson was established circa 1790 by William (d. 1833) and Thomas Wilkinson. William was an upholsterer and cabinet-maker who was particularly known for his patent furniture. By 1808 William had established a business of his own at 14 Ludgate Hill, London. Wilkinson built up a flourishing trade, with significant commissions from such distinguished clients as the Goldsmiths' Company. His sons William and Charles joined him in the business and it continued after their father 's death in 1833 as William & Charles Wilkinson. Wilkinsons of Ludgate Hill merged with Charles Hindley & Sons in the third quarter of the 19th century, and were known to be trading as Hindley & Wilkinson in 1909.For further information on this lot please visit Bonhams.com

Philippa Crabtree (British, born 1764)A group of nine botanical studies;Melittis Melissophyllum with Viola (Mint with Violet)signed and dated in pencil 'Philippa Crabree/1786' (lower right) inscribed (lower left) watercolour and bodycolour on vellum, laid down 28.5 x 22 cm. (11 1/4 x 8 11/16 in.)Together with eight further studies, unsigned; Hyacinth with Scarlet Pimpernel, Narcissi with small blue daisy-like flower, Carnations, Carnation with blue flower, Narcissi with Crocus, Rhododendron, Rose and Garden Balsam (9)Footnotes:Philippa Crabtree was born in London on 17th November 1764. She became a botanical artist, listed as living in Bishopsgate Street. Exhibited at Royal Academy, 1786-87. LiteratureAn article written by W. Roberts appeared in The Gardeners' Chronicle, 5th June 1920, entitled 'A Forgotten Botanical Artist: Miss Crabtree'.Roberts describes the exciting discovery of a folio of watercolours by the artist.'Hodgson sold a consignment of portfolios or albums from Sussex, which included many beautiful drawings of flowers on vellum by Philippa Crabtree'...'All the more important drawings of flowers were purchased by Mr Francis Edwards of High Street, Marylebone, who kindly permitted me to take full notes.''The earliest dated drawing by Phillipa Crabtree I have found is one, 1784, of Narcissus Tazetta, which helps us to realise from what an indifferent type many wonderful varieties have been developed. Common garden flowers such as Sweet Peas, Pinks, double Daisies, and so forth appear among Miss Crabtree's earlier work. In 1786 she extended her scope and was able to paint many exotic plants, possibly in Curtis's London Botanic Gardens, in St. George's Fields, within easy walk of Bishopsgate Street, and to which the subscription was a guinea a year. The drawings of Geranium (Pelargonium) lanceolatum is dated 1786, about 11 years after it was introduced; in the same year also appears a British plant, Melittis Melissophyllum, and Ipomaea Quamoclit, which some years later was figures in the Botanical Magazine'. He describes 'the undated ones include many interesting examples, such for instance as various Rhododendrons, Passifloras, Roses and various bulbous plants. Occasionally two subjects are done on a page.'Roberts goes into great detail explaining the importance of these pictures and states that it is possible that these are 'the first British drawings' of many species. 'It is a very obvious suggestion that these drawings, manifestly executed with the greatest care and with every effort to be accurate, were done for a specific purpose, and wonders if they may not have been reproduced in some of the botanical or horticultural books of the period, with the artist's name suppressed and till now forgotten.'A group of watercolours by Philippa Crabtree were sold at Sotheby's London in November 1965.An example of her work, depicting a Passion Flower, was sold at Christies, London, 19th May 1998, Books and Watercolours, Lot 16, hammer price £2,300.For further information on this lot please visit Bonhams.com

Jan Anthonisz. van Ravesteyn (Dutch, circa 1570-1657)Portrait of a gentleman, traditionally identified asAugustus II, Herzog zu Braunschweig-Lűneburg (1579-1666), bust-length, in armour, wearing a flat lace collar and embroidered red sashsigned with monogram and dated 'Anno. 1635/JVR' (upper left) oil on panel 68.5 x 58.2cm (26 15/16 x 22 15/16in).Footnotes:Provenance: By descent in the Sutherland Collection, at Trentham, Staffordshire, and subsequently at Lilleshall Staffordshire, and Dunrobin Castle until the presentLiterature: Catalogue of Pictures at Trentham (1896) page 5, number 2, when hanging in the entrance hall; (as by Mirevelt (sic))Catalogue of Pictures at Lilleshall (1909) page 17 number 51, when hanging in the Duchess's sitting-room.The present portrait, which can be dated to circa 1635, has traditionally been identified as Augustus II, Herzog zu Braunschweig-Lűneburg, who is best remembered today as a scholar who developed Wolfenbüttel into an intellectual and cultural centre after the devastations of the Thirty Years War had concluded with the Peace of Westphalia in 1648.A follower of the Delft portrait painter, Michiel van Mierevelt, Jan van Ravesteyn is mentioned in the archives of that city in 1598, but his career was largely conducted in the city of his birth, The Hague, where he competed with Mierevelt in particular to obtain commissions for portraits of the royal House of Nassau. Since the present sitter is depicted wearing what appears to be the sash of the dynastic Order of Orange-Nassau, he might be more likely identified as a member of the royal house of The Netherlands. For further information on this lot please visit Bonhams.com

A late Victorian mahogany and ebonised line inlaid Sutherland tableThe hinged top above turned supports united by a turned stretcher, 136cm wide x 113cm deep x 72cm high, (53 1/2in wide x 44in deep x 28in high) 74cm highFootnotes:Reputedly the 'Sutherland' table acquired its name after Anne, Duchess of Sutherland (21 April 1829 - 25 November 1888) who was also the Mistress of the Robes to Queen Victoria.For further information on this lot please visit Bonhams.com

SCOTLAND - SURVEYING AND GEOLOGYIllustrated manuscript survey of the North coast of Scotland undertaken by Captain Henry Charles Otter, R.N., in 1844, describing in detail the coast from Thurso to Cape Wrath, via Sandside, the Kyle of Tongue, Loch Eriboll and the Kyle of Durness, advising on the harbours, prevailing winds, safe anchorages ('...no landing for boats except in the finest weather...') and treacherous rocks to avoid ('...give...a sufficient berth to prevent the sea... from filling the boat & at the same time to keep clear of the Black Rocks...'), geological formations ('...a conical hill 630 feet high, the upper portion of which is Gneiss intersected with veins of quartz, half way down, conglomerate, and the sea cliffs are composed of old red sandstone...'), the landscape ('...a dreary waste of hills and steep ravines covered with short heather and coarse grass...'), local flora ('...that beautiful Alga the 'Bonnemaisonia Asparagoides'...'), wildlife ('...wild fowl in great numbers... Seals also are numerous but they have been much disturbed lately...'), fishing ('...It abounds in Trout and Pike!...'), the local economy ('...vessels as large as 150 tons burden, laden with coal, tar, butter, salt etc sometimes come in here...'), ferries ('...The ferry belongs to the Duke of Sutherland, and is kept by a man who pays no rent, but is required to keep 4 men in pay & the boat in repair...'), notable coastal residences such as Bighouse ('...now in the possession of the Duke of Sutherland... no pretence to architectural beauty...'), local customs ('...the unsuspecting geese gather round... and are easily knocked down by sticks...'), history ('...It is famous for having been the place to which... the Danes... drove down the cattle... before taking them off to their ships... The above account was given to Mr Anderson of Rispond by Sir Walter Scott...'), and much else, ending with 'Sailing Directions for the Kyle of Tongue'; bound with four fine pencil and watercolour full-page illustrations on paper backed on linen, inscribed in ink and pencil, including 'Captn Slater's Monu[ment]', 'Entrance of Loch Eriboll', and 'Kyle of Durness looking up to Fionabhen and the Gualin', one pull-out depicting landscape profiles of Thurso, Entrance of Kyle of Tongue, Loch Eriboll and Entrance of the Kyle of Durness, two additional leaves with nine specimens of seaweed on cards slotted in, 67 numbered pages, plus 7 leaves of additional material, inscription on inside front board in ink 'Given by Captain Otter./ Sutherland', maroon calf gilt with blind-stamping, titled in gilt 'Description of the North Coast of Scotland. 1844' on front board and in ink on spine, marbled ends, 4to (242 x 195mm.), Thurso to Cape Wrath, 1844; with a 16 page report on the East Coast of Sutherland, signed 'Henry C. Otter/ Commander'; and four autograph letters to the Duke of Sutherland ('My dear Lord Duke') from Henry Otter advising the Duke on matters such as the local fishing industry, mentioning his disagreement with 'Mr Stevenson' over the site for a harbour at Loch Robie ('...he may find more shelter in some winds by constructing his Harbour in the Bay...'), plans for a harbour at Scullamie and his coastal surveying work for the Hydrographical Office, 22 pages, folio and 8vo, Eastlands Southsea, HMS Comet and Tobermory, 28 February 1848 to 18 August [1849] (6)Footnotes:'...THE VIEW OF BEN LOAGHAL FROM HENCE IS BEAUTIFUL, ITS POINTED PEAKS AND SALIENT SPURS CATCHING THE SETTING SUN, AND THROWING THEIR DARK SHADES INTO THE DEEP RAVINES, GIVE IT A DIFFERENT ASPECT EVERY HOUR...': A coastal survey presented to George Granville Sutherland-Leveson-Gower, 2nd Duke of Sutherland by Commander Henry Charles Otter, R.N.Henry Charles Otter (1808-1876), then commander of the cutter Sparrow, was appointed to undertake surveys of the Western coast of Scotland after the unfortunate death of Commander M.A. Slater who fell over the cliffs at Holburn Head in the course of his duties in 1842, and to whom an obelisk was erected, as described in our survey: '...near a frightful overhanging cliff 250 feet high is a small monument... from whence the late Captain Slater is supposed to have fallen... To this indefatigable officer we are indebted for the survey of the greater part of the East Coast of Scotland...'. Otter was to continue this work until 1863, and built up a reputation for taking a keen philanthropic interest in the people of the area, and for his evangelistic preaching (he and his sailors painted bible texts on the rocks at Lorn and the inscription 'God is Love' on the rocks near Tobermory Pier, which can still be seen) and, rather appropriately considering his name, for his swimming and diving abilities, having saved several of his crew from drowning over the years. In 1858, commanding the survey ship Porcupine he piloted the first transatlantic telegraphy cable in its final stages into Trinity Bay, Newfoundland, and his tidal work around the Scottish isles played a pivotal role in the later cabling of that area.As shown by the letters and report included here, the 2nd Duke of Sutherland was actively involved in the mapping and surveying of the area and sought hydrographic data to assist with his plans for developing local coastal trade and the fishing industry. This is also confirmed by correspondence held in the UK Hydrographic Office from James Loch, MP for the Wick Burghs and factor to the Duke of Sutherland (see David L. Walker, 'Admiralty Charts in the Sutherland Papers', CAIRT: the newsletter of the Scottish Maps Forum, issue 34, January 2019, pp.6-8). The fine illustrations in our manuscript attest to Otter's abilities as surveyor and mapmaker, and the Sutherland Papers in the National Library of Scotland include several manuscript charts made and amended by Commanders Slater and Otter (Dep.313/3167/58; 3624/10; 3631/1; 3631/2; 3631/3; 3631/4 and 3631/6).This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

A Victorian Political History needlework sampler of, ' A Song of the Sutherland Election'The lyrics of the song in purple threads, within a green cloverleaf border, dated Nov. 1885 the 'Song of the Sutherland Election', 64cm wide, 85cm high (25in wide, 33in high) Footnotes:The 1885 General Election held at the end of the year was the first after an extension of the franchise and redistribution of seats following the Representation of the People Act 1884. The Marquess of Stafford had previously been unopposed and this was the first election he had to fight, against Angus Sutherland of the Crofters' Party, who went on to win the following year when the Marquess stood down. The Song is sung to the tune 'A Hundred Pipers', a well-known Jacobite song from 1745. The words in this song extol the political reasons for Crofters, Fishermen & Soldiers to vote for the Marquess (Marquis). Bigger crofts, fair rent, government help, free education, local self-government, fishing exclusion zones as well as some local references!An early example of Political canvasing.For further information on this lot please visit Bonhams.com

A 19th century sampler worked by Strathconon School ChildrenThe text of seven verses in coloured threads with a trailing border in praise of Blanche Balfour, circa 1860; another worked by Mary Hamilton, Gateside, Gasstown with alphabet and further motifs, together with two smaller samplers worked by Helen W. Tweedie, 1879, Haddington and by Isa Paterson, 1887, Haddington Strathconon sampler 30cm wide, 48cm high (11 1/2in wide, 18 1/2in high) (4)Footnotes:Alice Blanche Balfour was the daughter of James Balfour who owned Strathconon Estate and brother of Arthur James Balfour, Prime Minister 1902-05For further information on this lot please visit Bonhams.com

A rare George III pewter octagonal deep-bowled plate, circa 1770Having a cut rim with applied gadrooned edge, and a gentle booge, touchmarks to rear of John Townsend (PS21) and Thomas Giffin II (PS22), who were in partnership 1770-1777, Diameter 23.5cm (9¼in), rim width 3.5cm (1⅜in)Footnotes:ProvenanceEx Scott-Nicholson Collection.Ex Cyril Minchin Collection (no. 290).LiteratureIllustrated and discussed, The Journal of the Pewter Society, Vol. 5, No. 2, Autumn 1985, John Douglas, 'Non Circular British Plates', p. 42, fig. 6. This plate has been converted from a plain rimmed circular plate - the rim has been cut - hence the sides are slightly different in length and not parallel. See also, Vol. 34, Autumn 2011, p. 18, fig. 5.For further information on this lot please visit Bonhams.com

Of Jacobite interest: A rare, fine and large George II pewter strawberry dish, circa 1740-47The narrow eighteen lobed wavy edge rim with triple reed and small embossed domes which relate to the eighteen flutes in the deep booge, the flat well engraved with a ducal coronet and the arms of FRASER, touchmark of Thomas Chamberlain, London, (fl.1732-1775), (PS1603) on rear of well, overall diameter 29.3cm (11¾in), rim width 1.7cm (¾in) Footnotes:The arms to the rim of this dish are Quarterly, first and fourth, azure three fraises argent; second and third, argent three antique crowns gules, beneath a Duke's coronet. They refer to Simon Fraser, 11th Lord Lovat (1667-1747) who was created Duke of Fraser, Marquess of Beaufort, Earl of Stratherrick and Upper Tarf, Viscount of the Aird and Strathglass and Lord Lovat and Beaulieu in the Jacobite Peerage of Scotland by James Francis Edward Stuart (1688-1766), in his soi-disant capacity as the rightful James III of England and VIII of Scotland. These titles were not recognised in English, Scots or Irish law, but the titles were used in Jacobite circles in Continental Europe and recognised by France, Spain and the Papacy. The ducal coronet helps to date the dish more precisely to between 1740 and 1747, when Simon Fraser was executed. His coffin plate is also engraved with these arms beneath a Duke's coronet, rather than a Baron's. It is rare to find a title granted in the Jacobite peerage on a pewter plate. Nicknamed 'the Fox', Simon Fraser had a tumultuous career. A Scottish Jacobite and Chief of Clan Fraser of Lovat, in 1715 he supported the House of Hanover during the Jacobite uprising following Queen Anne's death but, in 1745, was slow to support the royal cause against the claims of Charles Edward Stuart (1720 – 1788), and was amongst the Highlanders defeated at the Battle of Culloden. He was subsequently confined in the Tower of London, convicted of treason and executed by beheading (he narrowly escaped being hanged, drawn and quartered) on the 9th of April 1747.LiteratureDiscussed and illustrated Journal of the Pewter Society, Vol. 18, Autumn 2002, pp. 38-39, in an article by John Douglas, which also references the very small number of other recorded examples. The author concludes 'these fluted strawberry dishes are obviously very rare and to find one with such dramatic associations produces a thrill not often experienced'.Peter Hornsby in Pewter of the Western World 1600-1850 (1983), illustrates two of the recorded comparable strawberry dishes, p. 135, pl. 357 and 358A garnish of wavy edge sadware of thirty-four pieces, by the same maker and bearing identical armorials is in the collection of the Worshipful Company of Pewterers. See Supplementary catalogue (1979), SI/113/1-34.For further information on this lot please visit Bonhams.com

A George III pewter gadrooned-edge plate, circa 1780The rim engraved with coat of arms and crest, 'gules, a lion rampant regardant or' and the crest 'on a wreath, a falcon close standing on a perch', for MORICE of Werrington, Devon, touchmark probably of Carpenter & Son, London (fl.1762-1794), (PS1511), to rear of well, diameter 24.8cm (9¾in), rim width 3.4cm (1⅜in)Footnotes:ProvenancePurchased from Robin Bellamy, Peter Hornsby, Grosvenor House Antiques Fair, London, 1985.LiteratureA detail of this plate is illustrated and discussed in an article by John Douglas, Journal of the Pewter Society, Vol. 34, Autumn 2011, p. 18, fig. 3(a).The touch on the back of this plate was originally struck in 1711 by John Carpenter who died in 1740. The mark continued to be used by his widow Elizabeth and son Henry until Henry's partnership with John Hamberger began in 1794.For further information on this lot please visit Bonhams.com

A George III pewter OEWS quart bud baluster measure, Wigan, circa 1780The slender body with two pairs of incised lines around the low belly and one pair around the collar, the simple S-shaped handle with thick terminal and short strut, evidence under lid of removed maker's name 'W.Bankes' cast in reverse, the mark of William Bankes, who was born in Wigan and worked in Bewdley, Worcestershire (fl.1748-1793), (PS71), capacity 33.2 fl.oz. height 22cm (8¾in)Footnotes:This body shape is similar to that of 'quart' spray baluster measures - see the Victoria & Albert Museum collection (item M.692-1926) and Lot 24 for a 'pint' spray.For further information on this lot please visit Bonhams.com

A George II pewter plain rim plate, circa 1750The rim engraved with a coat of arms, 'quarterly, first and fourth, azure, a lion rampant crowned, or (DAYRELL), second and third, ermine, a chevron between three cocks azure (GLASCOCK), overall an escutcheon of pretence, paly of six azure and sable, three eaglets displayed countercharged (WHITCOMB)', touchmark of Jonas Durand II, London (fl.1732-1775), (PS3007), on rear of the rim. diameter 24.7cm (9¾in), rim width 3.7cm (1½in)Footnotes:ProvenanceEx R. W. Cooper Collection.These were the arms of Francis Dayrell Esq. of Shudy Camps, Cambridgeshire, who died in 1760, and his wife Elizabeth (d. 1768), daughter and co-heiress of Peter Whitcomb Esq. of Braxted Lodge, Essex. These arms are to be found on several monuments in the church of St. Mary, Shudy Camps.For further information on this lot please visit Bonhams.com

A George II pewter plain rim plate, circa 1750The rim bearing the crest of DRAKE of Buckland, Devon, with motto 'Auxilio Divino' (By Divine Aid), touchmark, label and hallmarks of Henry Little, London (fl.1734-1764), (PS5906) on rear of well, diameter 20.8cm (9¾in), rim width 3.4cm (1⅜in)Footnotes:The crest engraved on the rim of this plate was granted to Sir Francis Drake (c. 1540-1596) in 1581 and was used by his descendants. This plate, of circa 1750, may have been made for Sir Francis Henry Drake, 5th Baronet (1723–1794) of Buckland Abbey, Yelverton, Devon, who succeeded to his baronetcy in 1740. A plate from the same service is reputedly on display at Buckland Abbey.For further information on this lot please visit Bonhams.com

A George II pewter five lobed wavy edge plate, circa 1750The plain rim engraved with the arms and motto of TOWNSHEND, touchmark of Thomas Chamberlain, London (fl.1732-1775), (PS1603), on rear of rim, diametrically opposite the rectangular maker's label, diameter 24.8cm (9¾in), rim width 3.7cm (1 7/16in) Footnotes:The arms to the rim of this dish are azure, a chevron ermine between three escallops argent, beneath a Viscount's coronet. They were borne from 1682, when Sir Horatio Townshend, 3rd Baronet was created Viscount Townshend. When this dish was made circa 1750, the arms were borne by Charles Townshend, 3rd Viscount Townshend (1700-1764), who succeeded to the title on the death of his father, Charles Townshend, 2nd Viscount Townshend (b. 1674) in 1738. The family motto Haec Generi Incrementa Fides translates as 'Faith obtained these honours for our race'.For further information on this lot please visit Bonhams.com

An interesting collection of 18th and 19th century and other engravings of notable characters including Mr Daniel Lambert, Thomas Cribb, 16 String Jack, Sarah Malcolm (executed in Fleet Street 1732) The Jovial Drinker, Ann Mills who fought in battle upon the Maidstone Frigate, Mary Tofts of Godelman - The Pretended Rabbit Breeder, etc, various sizes, mostly unframed, but including a framed 19th century illustration of The Female Blondin (Miss A Young) crossing The Thames from Battersea to Cremorne (collection)*** Please note: from the same vendor is Lot 1640, a catalogue for the auction of contents of Strawberry Hill (property of Horace Warpole) that mentions a lot containing several of the engravings in this lot. SEE ADDITIONAL IMAGES***

A silver charm Bracelet with heart padlock clasp fitted with various novelty charms to include a harp, the old lady who lived in a shoe, rocking chair, cat in a basket with a hinged top, and others, 67.5g

DAVID GAULD RSA (SCOTTISH 1865 - 1936), WINTER VILLAGE oil on canvas, signed 36cm x 46cm Framed. Note: David Gauld (7 November 1865 - 18 June 1936) was an important Scottish artist who worked in both oils and stained glass and was regarded as being one of the innovators within the Glasgow Boys group. Some of his works, such as St Agnes and Music are seen as precursors of the Art Nouveau movement. His works were seen as having both a Japanese and Pre-Raphaelite influence upon them. Gauld was born in Glasgow and served an apprenticeship as a lithographer and then attended Glasgow School of Art from 1882 to 1885. He came to public notice in the 1880s when he supplied a series of Japanese-influenced pen and ink drawings for the Glasgow Weekly Citizen. Gauld shared the Castlemains Studio in Kirkcudbright with William Stewart MacGeorge and then in later life shared a studio with Harrington Mann at 31 St Vincent Street in Glasgow from 1891 to 1894. During this time he designed stained glass windows for Guthrie and Wells. Gauld then took new premises at 138 West George Street in Glasgow. He also lived at various locations in Kirkcudbright, Glasgow and North Berwick. In 1889 he returned to the Glasgow School of Art and also studied in Paris for a period that year. Like other artists from Glasgow, Gauld spent time at the artists colony at Grez-sur-Loing in France Forty three examples of David Gauld's work are held in the collections of various UK public galleries including Glasgow Museums, The Hunterian, The Scottish National Gallery, Kelvingrove, Gracefield, Paisley, Kirkcaldy and The Fleming Collection.

* CATHLEEN SABINE MANN RP ROI THE MARCHIONESS OF QUEENSBERRY (BRITISH 1896 - 1959), FLORAL STILL LIFE WITH RED GLOVES oil on canvas, signed and dated 1944 61cm x 51cm (approximately 24 x 20 inches, image size) Framed (original) Note 1: The verso of the canvas holds another painting of a continental coastal village. Note 2: Cathleen Mann was born in Newcastle upon Tyne on 31 December 1896 to the Scottish painter Harrington Mann RE RP NEAC NPS (Glasgow 1864 - 1937 New York), the second of his three daughters. Her mother was the American portraitist Florence Sabine Pasley. Harrington Mann gave Cathleen painting lessons in his London studio, as did the portrait painter (Dame) Ethel Walker. Walker continued to tutor Cathleen even while the young artist was studying at Slade School of Fine Art in London. She later trained in Paris. Walker remained an influence on Mann and the two often exhibited together. Mann's art career was put on hold owing to the First World War, when she worked with an ambulance unit. By 1924 Mann had two portraits in the Royal Academy and exhibited there regularly from 1930. Cathleen was both talented and beautiful and on 18th March 1926 she married Francis Douglas, 11th Marquess of Queensberry, becoming his second wife. The marriage led some newspapers to refer to Mann as "the painting peeress", a term she apparently disliked. They had two children, David Douglas, 12th Marquess of Queensberry and a daughter. During the Second World War, Mann was appointed an official war artist, painting portraits of officers such as Adrian Carton de Wiart and the Allied commanders. As well as being reproduced in several publications including "Time Magazine", many of these paintings were exhibited in London and then toured America. She exhibited from 1920 at the Royal Academy, Glasgow Institute, Royal Society of Portrait Painters, the Royal Scottish Academy and the Society of Women Artists amongst others, and held a number of solo exhibitions including at Arthur Tooth Gallery, 1932, the Leicester Galleries, 1937, Reid and Lefevre Gallery, 1938 and 1954. Mann was elected a member of the Royal Institute of Oil Painters and the Royal Society of Portrait Painters. During the 1930s Mann also engaged successfully in costume design for numerous British films. Her work included The Iron Duke (1935) starring George Arliss and Things to Come (1937) starring Raymond Massey. Many of her costume design drawings are held by the Victoria & Albert Museum (London). She and Francis Douglas divorced in 1946 and in the same year she married John Robert Follett, the son of Brigadier-General Gilbert Burrell Spencer Follett, who had been killed in action during the First World War, and Lady Mildred Follet, daughter of Charles Murray, 7th Earl of Dunmore. Follett was a racehorse owner, but died in 1953, aged 46, shortly before Francis Douglas also died. The two deaths seemed to have caused Cathleen to have a nervous breakdown, but she continued to paint. She befriended the artist Sir Matthew Smith and was influenced by his work. During the last ten years of her life she experimented with abstract art, drawings of nude models and sculpture. Cathleen committed suicide on 9th September 1959 by taking an overdose of sleeping pills in her studio on Montpelier Walk, Brompton. Her son said she had recently been diagnosed with another attack of tuberculosis and she left a note stating that she was very worried about the illness. In 1960 a major retrospective exhibition of her work was held at the O’Hana Gallery, London. Cathleen Mann's paintings are held in numerous public collections including: The UK Government Art Collection, The French Government Art Collection, The National Galleries of Scotland, Glasgow Museums & Galleries, The National Portrait Gallery (London), The Imperial War Museum, The Royal Air Force Museum, Ferens Gallery, Leamington Spa Art Gallery & Museum, Sheffield Museum, Russell-Cotes Art Gallery & Museum, Birmingham University, Chelsea & Westminster Hospital, The National Trust, Bolton Museum & Art Gallery and The Victoria & Albert Museum. Her work is also held in numerous noted private collections of the British nobility and in the USA. Following her death, this epitaph appeared in The Times: Mr. H. Rowntree Clifford writes - "Many hundreds of people living in the dock district of south West Ham during the September bombing of 1940 owe their lives to the determination and courage of the late Cathleen Mann. As Marchioness of Queensberry she used her name and the strength of her personality to break through official difficulties and to commandeer transport by both road and rail to carry numbers of helpless and in some cases crippled people to safety. I remember the humble duty she offered to those who were deprived of their families."

J WALTERS (FRANCIS E JAMIESON 1895 - 1950), CATTLE AT DUSK oil on canvas, signed and dated 1918 49cm x 74cm Framed. Note: Francis E Jamieson was an English painter who, after a holiday to the Highlands of Scotland, became obsessed with painting highland landscapes and became one of the most prolific artists of his time. The paintings of FE Jamieson were so fashionable he was contracted to paint exclusively for various furniture stores painting scenes on furniture. Jamieson is believed to have painted under eleven different artist names so he could sell more of his paintings undetected by his employers. These aliases include J McGregor, Graham Williams, Henry Stewart, HB Davis, W Richards and Aubrey Ramus.

Jon Corbino (NY, FL, MA 1905-1964) Oil on canvas painting of circus riders on horseback. Depicting a small cat (lower right) who startles the horses, bucking the riders off of the horse. Original gallery label price $18,500 attached verso. Gallerie Ruvanel stamp verso. Signed lower left. Sight Size: 18 x 20 in. Overall Framed Size: 23 x 25 in.

Early 1900s Carder Era Steuben French Blue Celeste Pattern Threaded Controlled Bubble Glass Dinner Set. Acid Etched Marked on base. Important provenance. - 12 Dinner plates - (Diameter: 10.5 in.) - 12 Salad plates - (Diameter: 9 in.) - 12 B&B plates - (Diameter: 7 in.) - 12 water/wine goblet - (Size: 8 1/8 x 3.75 in.) - 12 champagne coup glass - (Size: 6 1/8 x 4 1/8 in.) (one cracked) - 11 Sherbet stemmed glass (Size: 3.25 x 4 1/8 in.) - 1 Candle Sick (Height: 14.25 in.) Provenance: The twelve setting Steuben set was purchased by Alice Francis Brown around 1917/1918 and she used for entertaining at their family estate "Spring Green" in Rhode Island. Her grandfather was John Brown Francis Governor of Rhode Island who also lived on the family estate which was purchased by his grandfather John Brown in late 1700s. John Brown was a merchant in Providence in the 1700s and founded Brown University with his brother Nicolas. Consignor's father still lives on the estate and is up kept in my family today making it one of the oldest estates in the country. - Additional images of each grouping are available upon request

Signed Guston, Carrara Marble Quarry Painting. Possibly Philip Guston, who visited the Carrara Marble Quarry along with other artists during his stay in Italy. Guston was in Italy at the American Academy in Rome in 1970-71. Bearing signature and inscription verso. Watercolor on Paper. Provenance: Private Florida collection. Size: 26 x 20 in. Unframed.

CANADIAN WW1 POET: PREWETT, Frank: Poems. Richmond, Hogarth Press, no date, [1921], first edition. Original wrappers, sewn at the fold, titles black to front wrapper. Lightly rubbed and toned around edges with some minor marks. (Frank James Prewett (August 24, 1893 - February 16, 1962) was a Canadian poet who spent most of his life in the United Kingdom. He was a war poet of World War I, and was taken up by Siegfried Sassoon).

Charles J Lundgren (New York, Connecticut, 1911 - 1988) "Fram - Roald Amundsen" Signed lower right. Original oil painting on Masonite. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. The Fram was perhaps the most famous ship ever to engage in polar exploration. It was specifically built under the supervision of Fridtjof Nansen, one of the world's great polar explorers. The shape of her hull was designed so that the pressure of the ice would tend to push it up rather than squeeze it in. Her hull was over two feet thick and braced with steel to withstand the grinding ice floes. Her name Fram (meaning Forward) was true to her course. Under Nansen's command, she drifted in the ice pack to the latitude 86? 13', 160 miles farther north than any other ship had ever been. The Fram also gained world fame by sailing south with Roald Amundsen at the helm. Amundsen's expedition of 1910-12 was originally intended as an attempt to reach the North Pole, but he turned the Fram around when he learned that Robert Peary had already reached the mark. Then, Amundsen surprised the world. He cabled Scott that he was heading South. This could mean only one thing to Scott, Amundsen intended to be the first to reach the South Pole. Thus, the race between the Norwegian and English parties began. Amundsen arrived at the Bay of Whales on the Ross Ice Shelf, a place that was sixty miles closer to the Pole than Scott, who was at Cape Evans on Ross Island. Amundsen embarked on the still unexplored Axel Heiberg Glacier, and managed to win the luck of the draw: his journey to the Pole was fast and easy in contrast with that of the ill-fated Scott. Image Size: 18.5 x 18.5 in. Overall Size: 26 x 24 in. Unframed. (B09198)

Charles J Lundgren (New York, Connecticut, 1911 - 1988) "Fram Sailing Ship" Signed lower right. Original Oil painting on Masonite. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. The Fram was perhaps the most famous ship ever to engage in polar exploration. It was specifically built under the supervision of Fridtjof Nansen, one of the world's great polar explorers. The shape of her hull was designed so that the pressure of the ice would tend to push it up rather than squeeze it in. Her hull was over two feet thick and braced with steel to withstand the grinding ice floes. Her name Fram (meaning Forward) was true to her course. Under Nansen's command, she drifted in the ice pack to the latitude 86? 13', 160 miles farther north than any other ship had ever been. The Fram also gained world fame by sailing south with Roald Amundsen at the helm. Amundsen's expedition of 1910-12 was originally intended as an attempt to reach the North Pole, but he turned the Fram around when he learned that Robert Peary had already reached the mark. Then, Amundsen surprised the world. He cabled Scott that he was heading South. This could mean only one thing to Scott, Amundsen intended to be the first to reach the South Pole. Thus, the race between the Norwegian and English parties began. Amundsen arrived at the Bay of Whales on the Ross Ice Shelf, a place that was sixty miles closer to the Pole than Scott, who was at Cape Evans on Ross Island. Amundsen embarked on the still unexplored Axel Heiberg Glacier, and managed to win the luck of the draw: his journey to the Pole was fast and easy in contrast with that of the ill-fated Scott. Image Size: 18.25 x 18.5 in. Overall Size: 26 x 24 in. Unframed. (B09244)

Gregory Rudd (American, B. 1952) "Uncle Sam" Signed lower left. Original Oil painting on Cold Press Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which appeared on the Fleetwood First Day Cover of the 32c Folk Heroes Se-tenant Block of 4 issued July 11, 1996. The symbol of the United States, Uncle Sam originated as a nickname for the U.S. government during the War of 1812. The term was apparently derived from the initials "U.S.," stamped on barrels of salted meat provided by Samuel Wilson, a meat inspector and provisioner for the U.S. Army. Citizens in areas of New York and Vermont who opposed the war coined the term "Uncle Sam" to refer to the United States. American cartoonists have portrayed Uncle Sam in political satire since the early 1830s. In the 20th century, the familiar image of Uncle Sam was used in James Montgomery Flagg's design for a World War I recruiting poster. The caption read, "I Want You." In 1961 the United States Congress passed a resolution declaring Uncle Sam a national symbol. Image Size: 14.5 x 12.25 in. Overall Size: 17.25 x 15.25 in. Unframed. (B15524)

Howard Koslow (American, 1924 - 2016) "To the Heroes of Desert Storm - Eagle" Signed lower right. Original Watercolor painting on Cold Press Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original which appeared on the Republic of the Marshall Islands 29c To the Heroes of Desert Storm stamp issued July 4, 1991. On January 16, 1991, the day after a United Nations deadline directing Iraqi President Saddam Hussein to withdraw from the tiny, defenseless Kuwait, word came. Operation Desert Storm -- the liberation of Kuwait -- had begun. For the next forty-three days, dauntless American forces and their UN allies battled an implacable enemy. Vastly outnumbered, they fought valiantly and achieved one stunning victory after another. On February 28, Saddam Hussein -- his heinous war machine decimated and his army in rout -- capitulated. Howard Koslow's painting honors the veterans who served in the Persian Gulf during Operation Desert Storm. Image Size: 12.25 x 14.25 in. Overall Size: 20.25 x 21.75 in. Unframed. (B13158)

Howard Koslow (American, 1924 - 2016) "Mt. Rushmore and U.S. Flag" Signed lower left. Original Acrylic painting on Cold Press Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original which was published on the Fleetwood First Day of Issue Maximum Card for the U.S. 29c Flag Over Mt. Rushmore stamp issued March 29, 1991. America, in its vastness, has many natural wonders befitting a great nation. Yet of all these, Mount Rushmore National Memorial, located southwest of Rapid City, South Dakota, is a bit unusual, for it is both a natural and man-made wonder. Each year, more than two million visitors gaze in wonder at the stern visages of four great men who molded the nation, their faces carved from a huge mountain of solid granite. Legendary men all, with ideas as rock solid as their granite profiles. In 1927, Gutzon Borglum, an impassioned student of Rodin in Paris, began the nation's most ambitious sculpture. Working for fourteen years, Borglum guided his crews in meticulously measuring, marking and chiseling into the tough granite of the 5,725-foot high mountain. "There is not a monument in the country as big as a snuff box," he exclaimed before he began his huge project. It was a task which he would not live to see completed. His son, Lincoln, closed down the project in 1941. Each of the presidential faces is as high as a six story building. George Washington looks out across a country he helped to create; Thomas Jefferson gazes over land he acquired through the purchase of the Louisiana Territory; Theodore Roosevelt's square-jawed countenance rises above forests he helped preserve -- and finally, Abraham Lincoln eternally watches over a union he kept under one flag. Image Size: 8.75 x 12.25 in. Overall Size: 13.75 x 17.25 in. Unframed. (B13000)

Jim Butcher (American, B. 1944) "Spacious Skies/Flag & Eagle over Farm" Signed lower right. Original Oil/Pastel on Cold Press Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original which was published on the Fleetwood First Day Cover for the U.S. 34c Flag over Farm stamp issued February 7, 2001. Most farmers in early America were largely self-sufficient, producing only enough for the needs of themselves and their immediate families. At the beginning of the 19th century, significant changes in farming began to occur. Settlers began to homestead the Great Plains, using horse and mule labor with iron and steel plows, reapers, planters and threshers. In 1862 Congress passed the Homestead Act, which granted 160 acres to settlers who worked the land for 5 years. Within 3 years, over 15,000 homestead claims had been established. Over the next half century, immigrants from Scandinavia, southeastern Europe and Mexico transformed the Great Plains from barren prairies into fertile fields of American bounty. During the 1920s and 1930s the gasoline-powered tractor came into general use. In 1940, the average American farmer supplied food to some 10 people. During the 1950s America experienced an agricultural revolution with the number of tractors on farms exceeding the number of horses and mules. In 1850, some 90 labor hours were required to produce 100 bushels of corn. A century later, only 15 hours were required for the same result. By 1960, one farmer was supplying food to over 25 people. By 1970, this figure had tripled as a result of using better fertilizers, herbicides, pesticides and strains of crops. Today, agriculture in the United States continues to be the msot efficient and productive in the world. Image Size: 16.75 x 14.75 in. Overall Size: 20.25 x 18.25 in. Unframed. (B07137)