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A COLLECTION OF ACTS OF PARLIAMENT AND CLAUSES OF ACTS OF PARLIAMENT RELATING TO THOSE PROTESTANT DISSENTERS WHO ARE USUALLY CALLED BY THE NAME OF QUAKERS FROM THE YEAR 1688, London, Luke Hinde, 1767, 1st edition, some worm damage, mainly marginal but affecting some text, 4to, old blind stamped calf worn + EXTRACTS FROM THE MINUTES AND ADVICES OF THE YEARLY MEETING OF FRIENDS HELD IN LONDON FROM ITS FIRST INSTITUTION, London, W Phillips, 1802, 2nd edition, 4to, old calf worn, top board detached (2)

PAT BARKER: 2 titles: THE CENTURY'S DAUGHTER, London, Virago for The Leisure Circle Ltd, 1986, 1st edition thus, signed, original cloth, d/w (unpriced); THE MAN WHO WASN'T THERE, London, Virago, 1989, 1st edition, original cloth, d/w + GORDON BURN: "...SOMEBODY'S HUSBAND, SOMEBODY'S SON" THE STORY OF PETER SUTCLIFFE, London, Heinemann, 1984, 1st edition, original cloth, d/w + JULIAN BARNES: TALKING IT OVER, London, Jonathan Cape, 1991, 1st edition, signed, original cloth, d/w (4)

MADHUR JAFFREY: CLIMBING THE MANGO TREES, A MEMOIR OF A CHILDHOOD IN INDIA, London, Ebury Press, 2005, 1st edition, signed, original cloth, d/w + NIGEL SLATER: EATING FOR ENGLAND, THE DELIGHTS AND ECCENTRICITIES OF THE BRITISH AT THE TABLE, London, Fourth Estate, 2007, 1st edition, signed, original cloth, d/w + ALEX CAPRANOS: SOUND BITES, EATING ON TOUR WITH FRANZ FERDINAND, ill Andrew Knowles, London, Fig Tree, 2006, 1st edition, signed by author and artist + PRUE LEITH: RELISH, London, Quercus, 2012, 1st edition, signed, original pictorial wraps + JAY RAYNER: THE MAN WHO ATE THE WORLD IN SEARCH OF THE PERFECT DINNER, 2009, Headline Review, 1st softback edition, signed, original pictorial wraps (5)

Victorian Aesthetic Movement floor-standing corner cabinet, with frieze drawer over panelled cupboard enclosing shelf, flanked by incised flowering plants and medallions, partial internal label of Marris & Norton, Bull Street, Birmingham 71cm wide x 88cm high - The London Gazette of February 3rd 1885 gives notice of the dissolution of the partnership of George Marris and John Norton, who had advertised themselves as 'Manufacturers of Superior Cabinet Furniture'. The former premises were destroyed by fire in 1888 Condition: General crazing and cracking to lacquer of top. Has previously had a superstructure as evidenced by the plugged circular holes to both rear edges. General rubbing to front edge. Some repainting evident to central gilt panel of cupboard door - **General condition consistent with age

Local Interest - Family group of late Victorian needlework samplers, relating to the New Orphen Houses (Muller Homes), Ashley Down, Bristol, comprising a petit-point example dated 1892 and named 'Rosina' and 'Bessie', with alphabetical and numerical samples over assorted motifs of flowering plants, birds, animals, buildings, a ship, religious symbols etc, 31cm x 27cm, together with another by 'Lydia Newman', 30.5cm x 25cm, and two smaller works (4) - Provenance - Offered for sale by a descendant of Elizabeth 'Bessie' Frances Newman (1878-1961) and her older sister Rosina Newman (1873-1900), who both entered the Orphenage on the 15th June 1882, joining Infants Department No.2 as numbers 6304 and 6303 respectively, and sold with a note to this effect. Condition: Light discolouration and a few water stains to the first. Has been folded. 2nd slightly brown to edges, minor edge staining. Other smaller items display general light soiling or wear commensurate with age and handling. **General condition consistent with age

Ethnographica - New Zealand Maori stone axe head, 15cm long, sold with hand written note stating 'It was given to my mother when she was in charge of the Porewa School, four to five miles from Marton, N. Ils [North Island] Old Man Kumeroa gave to her as a token of his gratitude for what she did for his grandson who attended his small country school….Kumeroa had at some time turned up this axe when ploughing one of his paddocks', together with a second hand written note dated 16th January 1987 'I took the Maori axe head to the City Museum (Queens Road, Bristol) and showed it to Sue Giles. She thought it was a genuine Maori axe head…. Age - probably made before New Zealand had much contact with white people who introduced metal tools….hence probably 1800…probably axe head was made by the Polynesian settlers…I think the axe head is made of basalt' Condition: Natural losses and flaws to stone commensurate with age and use including edge of tapering end and where probably wrapped to a shaft. Minor flake losses to blade edge. - **General condition consistent with age

A fine Empire alabaster and gilt and patinated bronze mounted pendant ceiling light, early 19th century and later refitted, the dished circular section body surmounted by a gallery cast with anthemia and lion mask mounts, suspended from foliate cast chains and rising to a conforming corona, with acanthus carved terminal, approximately 39cm wide, 94cm high overallProvenance: Brancaster Hall, NorfolkAcquired by the present vendor at Bonhams Knightsbridge, the Contents of Brancaster Hall, Norfolk, 9 September 2002The coastal area surrounding Brancaster is best-known as the birthplace of Lord Nelson, who was a proud Norfolk man and, it is often thought, learned to sail at the town's beaches. Brancaster Hall, by repute, also hosted Nelson during his lifetime. An Empire alabaster light similar to the example presented here was sold at Sotheby's New York, Property from the collection of Mrs Charles Wrightsman: the London residence, 28 April 2010, lot 18 ($18,750). Condition Report: The light bears the usual minor marks, knocks and scuffs overall consistent with age and use.There is a restored chip and fine hairline crack to the alabaster, as well as another small crack and some scratching.There is also a white oval patch to the alabaster near one of the masks, possibly a repair.There are one or two chips to the foliate carved underside and a loss to the upper portion of the terminal. There is also radial movement to the terminal.The acorn gallery is a little bent.The gilding is a little rubbed overall, particularly to the chain.The hooks suspending the bowl are a little bit bent.Electrical fitments are present to the inside of the bowl, but these haven't been tested.This is sold as a decorative item, and the electrical elements will need to be tested by a certified electrician prior to use. Condition Report Disclaimer

A George III marble and scagliola fire surround, possibly Dublin, in the manner of Pietro Bossi, last quarter 18th century, the fluted frieze with inlay of laurel swags and a ribbon tied trophy, flanked by conforming projecting jambs inset with simulated Siena, exterior measurements 152cm high, 176cm wide, interior measurements 122cm high, 115cm wide Provenance: Private CollectionThe present fireplace showcases refined inlay of scagliola, also known as 'Bossi work' after the Italian plaster worker Pietro Bossi, who was active in Ireland during the late 18th century. Though few chimney pieces securely attributed to Bossi survive, he was renowned for the depth and graduation of colour he achieved with his inlays and his innovative designs in the fashionable Neoclassical style.'Scagliola' (from the Italian for 'chips') is a technique that involves manipulating pigmented plaster, modified with animal glue, to resemble pietra dura inlays in marble and ornamental hard stones. Initially the process of scagliola, first used by the Romans but revived in Italy during the 16th century, was used an an economic alternative to more costly marbles.A chimney piece in the manner of Bossi with elaborate inlay of leaves was sold at Bonhams, Fine Furniture, 15 June 2011, lot 83 (£72,000)Another appeared at Christie's South Kensington, 7 June 2005, lot 113 (£24,000)Condition Report: The fire surround is sold in pieces, and the elements visible in the photograph are present.There are losses and damages to the Siena scagliola, including areas of significant looseness and detachment, and several of the white marble portions of the fire surround have fractures (UPDATE to report: the fractures noted in this report include apparently quite recent breaks to the jambs). This would require attention. Others have a plaster like residue from where previously assembled or affixed. There are areas of loss to the central ribbon trophy, as well as a handful of the leaves. The side scagliola panels have one or two small losses to the scagliola leaves and berries respectively.interior measurements 122cm high, 115cm wideCondition Report Disclaimer

A North Italian, probably Venetian, polychrome painted terracotta model of Balthazar, 18th century, the turbaned King portrayed standing in elaborate costume and drapery, holding a box of myrrh, flanked by an attendant carrying an urn, on a naturalistically modelled rockwork base, 32cm high, 22cm wideThe subject's princely costume and attributes of a casket and urn suggest this statuette represents St Balthazar, one of the three magi, who is often depicted as a black king.The medium of terracotta, both for artists' models and independent works, rose to popularity among sculptors and connoisseurs during the 18th century. The tactile, pliable quality of the material was by some considered to convey the artist's 'fire' and talent in a more direct way than marble could. The medium proved particularly popular for small-scale portrait and genre sculpture, as is the case with the present lot. Statuettes of this kind with elaborate costume and vibrant polychromy were often produced in Venice, note for example the 18th century models of characters from the Commedia dell'Arte in the collection of the the Museo della Scala in Milan.Further literature: in relation to the development of small-scale terracotta sculpture, see J. Draper and G. Scherf, Playing with Fire: European Terracotta Models, 1740-1840, Metropolitan Museum, 2003For a similar single figure model of King Balthazar also portrayed carrying a box of myrrh, see Sotheby's Paris, 17 June 2015, lot 191 (EUR 3000).Condition Report: The model bears the usual minor marks, knocks and scuffs overall consistent with age, and some wear to the polychromy.Some minor chips and losses, including to the tip of the attendant's sword as well as the top of his head and his nose, and the back of the taller figure. Possible repainting to the boots.There is a circular aperture to the rear of the taller figure. The base is a naturally irregular shape and does not sit entirely flush when placed on a flat surface, though it is entirely stable.Condition Report Disclaimer

A George I/II green japanned eight-day longcase clock, Charles Clay, London, circa 1725-30, the five finned pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with chevron bordered calendar aperture and subsidiary seconds dial to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, the angles applied with female mask and scroll cast spandrels within a herringbone engraved border, the arch applied with silvered boss inscribed Charles Clay, Inventor of the, Machine Watches, London within conforming border flanked by cast dolphin mounts, in a case with domed caddy superstructure and integral three-quarter columns to hood over rectangular trunk door and plinth base with stepped skirt, decorated with raised figural chinoiserie scenes within gilt trellis borders to front and floral trail panels to sides, 234cm (94ins) high Charles Clay was a fine and inventive clockmaker who originated from near Huddersfield and gained his freedom of the Clockmakers' Company prior to 1716. In 1723 he was appointed Clockmaker in His Majesty's Board of Works and in 1731 supplied the turret clock for the gateway at St. James's Palace. He specialised and experimented with musical mechanisms and is perhaps now best known for his organ clocks. One of which now resides at Windsor Castle which was acquired from his widow three years after Clay's death in 1743. Another incomplete organ clock was also acquired around this time for Augusta wife of Frederick, Prince of Wales, this clock was subsequently completed by George Pyke and now resides at Kensington Palace. A highly unusual ormolu timepiece (with unusual enamelled astronomical year calendar dial) made for Louis Frederick, Prince of Wales sold in these rooms 28th August 2014 (lot 118) and now resides in Victoria and albert Museum, London.Condition Report: Movement is in working condition with no visible evidence of alteration or significant repairs/replacements however as the mechanism is a little dirty/dusty a precautionary clean and overhaul is advised. The dial is in discoloured/patinated dirty condition but appears free from alteration or any other significant faults. The movement rests on a replacement seatboard which has slim packing slips applied to the lower edges where it rests on the case uprights. The uprights also may well have been reduced slightly in height which suggests that either the movement and dial are not original to the case or seatboards of varying thickness have been fitted at various times in the past. The case is generally in sound condition; the decoration is old but most likely re-done in the early 20th century but finely executed with nice detailing. The dial mask covers the upper engraved border of the dial which would add credence to the opinion that the movement and dial may not be original to the case. The hood no longer has rear quarter columns otherwise faults very much limited to minor bump, scuffs, wear and degradation to the finish most notably to the right hand side skirting to the base which appears to have been slightly affected by damp.Clock is complete with pendulum, weights, case key and winder. Condition Report Disclaimer

A fine French patinated bronze model of Adonis resting after the hunt, after the model by Nicolas Coustou (1658-1733), late 18th or early 19th century, the male subject portrayed seated on a tree trunk, flanked by a hound, on a naturalistically modelled base, 35cm high, 26cm wideNicolas Coustou was a sculptor who worked in the tradition of the Academic 'grand manner'. Along with his brother, Guillaume Coustou, he often enjoyed the patronage of King Louis XV and Louis XVI at Versailles, Marly and elsewhere. The present model is a reduction of the marble group Coustou created for one such Royal commission, specifically the gardens of the Chateau of Marly. The marble, which dates from 1710, is now in the collection of the Musée du Louvre, Paris. Coustou produced numerous other groups for the Park, including two models of Meleager slaying animals, and personifications of the Seine and Marne rivers. See Christie's 8 December 2011, lot 251, for another cast of this model dated to the first half of the 18th century (£6,250).

Attributed to the workshop of Hans Klocker (Brixen, South Tyrol, fl. circa 1474- 1500), a carved and polychrome painted head of a Bishop Saint, last quarter 15th century, possibly representing St Willibald, the subject portrayed facing forward, with cropped hair and wearing a mitre, mounted to a later velvet-covered plinth, approximately 41cm high excluding plinth, 58cm high overallProvenance: acquired by the present owner from Daniel Katz, LondonPublished: Daniel Katz, European Sculpture, London, 2004, illustrated p. 27.The present bust, with its idiosyncratic yet precisely carved features, bears strong similarities to works by Tyrolean sculptor Hans Klocker, who was active in present day Bressanone, Italy, and whose known commissions include the high altars at St Leonhard in Passíria, and the church of the Assumption in Cáldaro. Klocker's attention to naturalism was praised as early as 1482, when the Bishop of Brixen described him as 'highly renowned for the faithfulness and artistry of his work'.Related examples include the busts of Bishop Saints in the collection of the Museum of the Diocese of Brixen, which portray the subjects wearing mitres with elaborately tooled grounds similar to the one in this lot. The mitre of the Blixen museum busts painted with coloured stones. The circular apertures to the strapwork on the headdress of the present sitter suggest that the mitre of the present lot may once also have been adorned.The slender features, large almond-shaped eyes and hairstyle also show similarities to the full-length figure of St Leonard attributed to Klocker, previously in the collection of Prof. Dr. Rudolf Leopold, Vienna.Comparisons between the present bust and the figure of a Saint exhibited at the Louvre in 1991-2 have also been drawn, and a similar bust of an abbot saint in the Thyssen-Bornemisza collection is known. Both are noted in Sophie Guillot de Suduiraut, Sculptures allemandes de la fin du Moyen âge: dans les collections publiques françaises : 1400-1530, 1991, p. 152.A model of a monastic Saint attributed to Klocker, with similar stylistic attributes, was sold at Sotheby's New York, 27 January 2011, lot 387, $37,500 including premium.Comparative literature: R. Kahsnitz, Carved Splendor: Late Gothic Altarpieces in Southern Germany, Austria, and South Tirol, Munich, 2005, p. 212.Condition Report: The bust bears the usual minor marks, knocks and scuffs overall consistent with age.There are losses to the gilding and polychromy, primarily to areas of the mitre, the eyebrows and to the nose.There is a section of replaced softwood to the rear tip of the mitre, which is likely an old repair.There is also a repaired split to the front of the mitre (circa 10cm diagonal)Old chips and losses to the rear and sides of the hair, and a scattering of old worm (doesn't appear to be active).Possible retouching to polychromy, particularly the irises.Minor wear and scuffing to velvet base.The bust is fragmentary in nature and would likely have been part of a larger figure of a Saint.Condition Report Disclaimer

JACOBITE INTEREST: 19TH CENTURY BRITISH SCHOOL PORTRAIT OF MRS MACDONALD, AGED 102 oil on canvas, bearing inscription verso(74.5cm x 61.5cm (29.25in x 24.25in))Footnote: Note: The inscription on the reverse of this portrait details the interesting life of Mrs Macdonald, who reportedly crossed paths with Bonnie Prince Charlie during the Jacobite rising of 1745-46. Born in Glasgow 1726, she married at the age of 17 to a farmer from Maybole. She is said to have recounted many interesting anecdotes of Bonnie Prince Charlie; along with some of her neighbours, they visited his Royal Camp with food provisions for the Prince and his men. Having tasted the meal, he ‘clapped her on the shoulder and declared she was a fine cook’!

19TH CENTURY BRITISH NAIVE SCHOOL CHILDREN AT PLAY watercolour and ink(12cm x 19cm (4.75in x 7.5in))Footnote: Note: After many years of living and working in exotic and far-flung parts of the world, including New Guinea, Nigeria and Cairo, Angus and Alison Hill returned to Glasgow to make Scotland their permanent home. Spending time between the fashionable west end of Glasgow and the pretty Black Isle home in Cromarty, Alison now had plenty of time to indulge her passion for naive country antiques. These were not yet fully appreciated by native buyers when Alison first started to buy in the 1970s. And Alison had what is known amongst dealers and collectors as ‘a good eye’. She followed her instincts and bought with her heart. Much of what she bought was then sold, some to North America where there was and still is a greater admiration of painted and simple furnishings. One client she referred to as ‘Blue Chicken’. Some things would be bought by the famous Kensington Church Street emporium The Lacquer Chest who shared her taste and were, like Alison, ahead of their time. What we see in this sale is the collection of special objects which she could not bear to part with. Is it too fanciful to believe that some of her pared-down aesthetic derived, in some part, from her early childhood home at Port Charlotte on the island of Islay, with its white-painted croft houses? She eschewed the popular mahogany and ‘smart’ antiques. Instead, her eye was drawn to the quiet and understated charm of objects often discarded - the painted post box, the child’s wooden alphabet, the delicious collection of milk and cream cans, with the names of the original owner inscribed. The painted miniature portraits of Regency children were her companions on the walls, with some sailors sewn pictures and a painted pigeon portrait thrown in. The drawers in the lovely Cromarty home were stuffed with some of the many small wooden treen objects- a cornucopia of delights. These sat alongside art nouveau and Glasgow Style ceramics, glass and metalwares (see our last Decorative Arts sale). This collecting habit had begun in Cairo. Visits to both the elegant Glasgow flat and home in Cromarty were always a delight, with intelligent and witty conversations, many tales of life overseas. Assam tea was served in breakfast cups. And our eyes were drawn to the many desirable objects which will now find new and appreciative homes

GERMAN WEST WALL MEDAL OF NAZI GERMANY DATED 2ND OF AUGUST 1939, GIVEN TO THOSE WHO DESIGNED AND BUILT THE FORTIFICATIONS OF GERMANYS WESTERN BORDERS, KNOWN AS THE WEST WALL

A collection of items belonging to the late Keith Ballisat, who was a British racing driver in the 1950's and 60's. In 1958 he was, together with Alain Bertaut, fourth overall in the Alpine Rally and in 1959, second overall in Tulpenrallye. Between 1958 and 1960 he competed in the Formula Junior and Formula 2 Races. The collection includes a yellow Ferrari jersey with embroidered emblem, a brown leather document folio with gilt Ferrari emblem, a quantity of Porsche matchbooks, a silver plated spoon commemorating a 1953 Cotswold rally, three 1950's/60's scarves all with racing theme decoration, and some other items

An early 20th century Japanese lacquered Shibayama table cabinet, fitted with an assortment of drawers and cupboards revealing shelves, the exterior decorated with gilt foliage and birds, the drawer fronts and cupboard doors with ivory panels with mother of pearl insects, gilt foliage and birds, the interior with a sparkles ground and gilt foliage, height 23ins, width 15ins, depth 11ins, reputed to have been brought back by Commander George A Lee RNR who served on the Empress of Japan

Abbey Road Studios - acetate vinyl from Abbey Road Studios, framed, with a statement of provenance from the vendor to the reverse; together with 'Play Back - The story of recorded sound, presented by EMI Records Limited' book (2) *From the collection of Keith Smart - 'I cut a number of singles in Abbey Road Studios during the '80s. When mastering the single, an acetate was produced to check volume and equalization. The engineer told me, they don't usually allow these to be taken from the recording studio. You can see there are a number of bands (grooves) on the disc, like tracks from a vinyl album. These are recordings of other artists. The engineer put a scratch through each of these to prevent them being played. Who knows, maybe one is a recording from a famous band'

The Who - original 1971 UK tour poster, 40.5" x 27.5"

Good collection of original concert programmes to include David Bowie 'Serious Moonlight' tour 1983 with related paper and patch badge, Queen - 'Spring Tour 1978', Bob Dylan - 1978 'Black Bush' tour, The Shadows - 'Thirty Years of Hits' tour, The Who - '1981 and 1996' tours, Paul McCartney - two world tour programmes and a Wings programme, The Bootleg Beatles, two Beatlemania programmes, Night of 100 Guitars and Led Zeppelin at Knebworth 1979, two Jimmy Page programmes and a Zeppelin press cutting

The Who - autographed mounted and framed display including Kenny Jones, 19.5" x 18.75"

Bernie Marsden - autographed advertising sign for 'Party in the Paddock', Friday 19th September 2008 featuring current and past members of Iron Maiden, Deep Purple, Oasis, Go West, Rainbow, Marillion, Whitesnake, Manfred Mann's Earth Band, plus special guest Roger Daltrey of The Who, 31.5" x 19" *Fully signed at the event by at least one member of each band, including Roger Daltrey

Bernie Marsden - Alan Perry 'The Whitesnake Collection' signed photographic artwork, limited edition 101/2500, autographed by Bernie Marsden, Neil Murray, Micky Moody and Alan Perry *Alan Perry is a prolific British photographer who captured many of the world's best known rock bands in concert with his camera during the 1970s and 1980s. This particular photograph features the Whitesnake band and was taken on 4th November 1979 at the Liverpool Empire theatre on the 'Love Hunter' tour. The photograph encapsulates the atmosphere generated by the high energy performance of the classic line-up playing at its peak with its amazing lighting gantry

Bernie Marsden & Micky Moody - Penny Golledge print of snakes, framed within a black mount, autographed by Bernie Marsden and Micky Moody, also signed by the artist to the bottom right corner, 16" x 19.5" *Bernie Marsden recalls "I commissioned Penny G, who came up with some delightful images. the plan was to use one of the images for an album cover. It didn't happen, but I loved what she did and bought some prints from her as a thank you"

Bernie Marsden - Alan Perry 'The Whitesnake Collection' signed photographic artwork, limited edition 101/2500, autographed by Bernie Marsden and Alan Perry to the mount *Alan Perry is a highly prolific British photographer who captured many of the world's best known rock bands in concert with his camera during the 1970s and 1970s. This particular photograph features Bernie Marsden and was taken on 4th November 1979 at the Liverpool Empire theatre on the 'Love Hunter' tour, Bernie is playing his favoured Gibson Les Paul guitar

Bernie Marsden - Vox AC30 guitar amplifier, made in England, circa 1963, ser. no. 7703N, copper control panel, fitted with a pair of Vox blue 12" speakers *A relatively recent purchase from the second owner. Serviced by Mick Grabham who said "it was one of the best he ever heard"

The Who - original 'Maximum R&B, Tuesday Nights at The Marquee' poster for The Who at The Marquee Club, 22.5" x 15.25" (rips and scuffs)

Cozy Powell & Bernie Marsden - Cozy Powell's custom made Yamaha four piece drum kit including a Yamaha BD-920A 20" kick drum, ser. no. AC, a Yamaha FT-916A 16" floor tom, ser. no. NY, a Yamaha TT-913A 13" tom drum, ser. no. N0 and a Yamaha SD-065M 14" snare drum, ser. no. NZ, the snare drum within a travel case inscribed 'Cozy Powell, Yamaha drums'; together with a selection of associated drum hardware, cymbals and spares, including a Meinl Byzance 18" dark crash cymbal, a Meinl Byzance 16" dry crash cymbal, a pair of Hohner medium hi-hat cymbals, a pair of Pearl hi-hat cymbals, a ride cymbal, kick pedals, drum stool and various drum skins etc * A drum kit that was custom made for Cozy Powell by Yamaha. Cozy can be seen playing the kit in the accompanying illustrations, rehearsing with Bernie's wedding band. The line up included Cozy Powell, Jon Lord, Neil Murray, Don Airey, Mick Ralphs, David Coverdale and Gary Moore. "A slightly reluctant sale, BUT I don't use it and I would rather it be used by a real player who respected the great man that was my friend Cozy Powell. I traded him a Gibson guitar for this kit, a guitar I believe he gave later to Mel Galley, he used it for recording sessions some times. I first saw it at a local bar he was playing in, I played in the bar as well. We swapped items during the Whitesnake/Rainbow years" (Please Note - A few of the cymbals and pieces of hardware are later additions that Bernie has picked up over the years)

Bernie Marsden & Micky Moody - Penny Golledge print of snakes, framed within a black mount, autographed by Bernie Marsden and Micky Moody, also signed by the artist to the bottom right corner, 16" x 19.5" *Bernie Marsden recalls "I commissioned Penny G, who came up with some delightful images. the plan was to use one of the images for an album cover. It didn't happen, but I loved what she did and bought some prints from her as a thank you"

German silver teapot, decorated with ribbon and swag border and vacant cartouche, stamped 800, the handle with ivory insulators, 16 cm high, 16.8 oz. (522 gr.), together with a German white metal bonbon dish, with pierced gallery and crossed serpent handles, 17 cm wide (2) PLEASE NOTE: THIS ITEM CONTAINS OR IS MADE OF IVORY. Buyers must be aware that regulations of several countries, including USA, prohibit the import of ivory, or any goods containing ivory. Ewbanks advise prospective purchasers who intend to ship this lot to another country that they must familiarise themselves with the relevant import/export regulations prior to bidding. They are responsible for their shipping arrangements and the onus is therefore on them to organise their own shipping.

Near matched George III/Victorian silver three piece tea service, comprising teapot, cream jug and sugar bowl with scrolling shell, foliate and gadrooned decoration, teapot maker's mark 'TH', cream jug and sugar bowl by Samuel Hayne & Dudley Cater, London, 1851, gross weight 50oz, 1555g,PLEASE NOTE: THIS ITEM CONTAINS OR IS MADE OF IVORY. Buyers must be aware that regulations of several countries, including USA, prohibit the import of ivory, or any goods containing ivory. Ewbank’s advise prospective purchasers who intend to ship this lot to another country that they must familiarise themselves with the relevant import/export regulations prior to bidding. They are responsible for their shipping arrangements and the onus is therefore on them to organise their own shipping.

Victorian silver teapot with cartouches of engraved floral decoration, by Edward & John Barnard, London, 1861, gross weight 22.5oz, 699g,PLEASE NOTE: THIS ITEM CONTAINS OR IS MADE OF IVORY. Buyers must be aware that regulations of several countries, including USA, prohibit the import of ivory, or any goods containing ivory. Ewbank’s advise prospective purchasers who intend to ship this lot to another country that they must familiarise themselves with the relevant import/export regulations prior to bidding. They are responsible for their shipping arrangements and the onus is therefore on them to organise their own shipping.

Victorian silver three piece tea service, comprising tea pot, hot water jug and cream jug, with engraved and moulded scrolling decoration, on shaped feet, by Joseph & Albert Savory, London, 1849, gross weight 62oz, 1928g,PLEASE NOTE: THIS ITEM CONTAINS OR IS MADE OF IVORY. Buyers must be aware that regulations of several countries, including USA, prohibit the import of ivory, or any goods containing ivory. Ewbank’s advise prospective purchasers who intend to ship this lot to another country that they must familiarise themselves with the relevant import/export regulations prior to bidding. They are responsible for their shipping arrangements and the onus is therefore on them to organise their own shipping.

BELLMER, HANS BELLMER, HANS 1902 Kattowitz - 1975 Paris Titel: Ohne Titel. Datierung: 1961. Technik: Aquarell über Bleistiftzeichnung auf Velin. Montierung: In Passepartout montiert. Maße: 21 x 24cm. Bezeichnung: Signiert und datiert auf separaten Papierstreifen: Hans Bellmer - Paris 1961. Hier zudem gewidmet. Auf der Rückseite befindet sich eine weitere Zeichnung (Aquarell und Bleistift). Rahmen/Sockel: Rahmen. Im Rahmen beschrieben. Prov.: Nachlass Eddy Novarro (direkt vom Künstler). Lit.: Uhl, Katharina (Hrsg.): Kaleidoskop der Moderne, Wien 2015, S. 238, Abb. S. 58f.; Müller, Markus (Hrsg.): who is who, Köln 2011, Nr. 5, Abb. S. 54f. Erläuterungen zum Katalog Hans Bellmer Polen Dadaismus Klassische Fotografie Moderne Kunst Unikate 1960er Akte Papierarbeit Mischtechnik Frau BELLMER, HANS BELLMER, HANS 1902 Kattowitz - 1975 Paris Title: Untitled. Date: 1961. Technique: Watercolour over pencil drawing on vellum. Mounting: Matted. Measurement: 21 x 24cm. Notation: Signed and dated on separate paper strip: Hans Bellmer - Paris 1961. Here additionally dedicated. On the back is an additional drawing (watercolour and pencil). Frame/Pedestal: Framed. Not examined out of the frame. Prov.: Eddy Novarro estate (directly from the artist). Lit.: Uhl, Katharina (ed.): Kaleidoskop der Moderne, Vienna 2015, p. 238, ill. p. 58f.; Müller, Markus (ed.): who is who, Cologne 2011, no. 5, ill. p. 54f. Explanations to the Catalogue Hans Bellmer Poland Dadaism Classic Photographs Modern Art Post War 1960s Nudes Works on paper Mixed media Woman

Dannecker, Johann Heinrich Stuttgart 1758 - 1841 H. 54 cm "Die Parzen" als Uhrengehäuse, um 1793. Gebrannter Ton. In Feldern unterteilter Sockel, in jedem Feld eine reliefierte Figur oder Gruppe aus der Mythologie, flankiert von Grotesken, an Schleifenbändern hängend. Auf einem gestuften Sockel ruht die rechte Parze auf den Knieen der auf dem Uhrengehäuse sitzenden Figur. Die dritte Parze wendet sich in stehender Haltung, leicht nach vorne gebäugt der mittleren Figur zu. Das Uhrengehäuse ist herausnehmbar. Partiell rest. und erg. Provenienz: Bei dem Uhrengehäuse handelt es sich um das "Exemplar Klinckerfuß". Der berühmte Hofebenist Johannes Klinckerfuß (1770-1831), der u.a. für Herzog Friedrich II von Württemberg arbeitete, erwarb das Exemplar wahrscheinlich, wie andere Werke, direkt bei Dannecker. Bis heute ist das Uhrengehäuse im Besitz der Nachfahren von Johannes Klinckerfuß. Lit. Christian von Holst, Johann Heinrich Dannecker, Der Bildhauer, Ausstellung Staatsgalerie Stuttgart, Kat.Nr. 47b mit Abb. Ein weiteres, Exemplar des Uhrengehäuses aus Ton schenkte Dannecker im Jahr 1793 seinem Schwager Gottlob Chr. Rapp zur Hochzeit. DANNECKER, JOHANN HEINRICH (Stuttgart 1758-1841). Terracotta clock case with the Three Fates, c. 1793. Rectangular base with Mythological relief figures, the three fullround figure of the Fates beside and on top of the removable clock case. Some minor restorations and additions. Provenance: Once property of the famous Ebéniste Johannes Klinckerfuß (1770-1831), who probably acquired the clock case directly at Danneckers workshop. In the Klinckerfuß family by descent until today. Item on loan in 1987, Staatsgalerie Stuttgart, Johann Heinrich Dannecker, cat.no. 47b. Rel.lit. Chr. von Holst, Johann Heinrich Dannecker, Der Bildhauer, fig. 47b.

Thurocz,J.Thurocz,J. Der Hungern Chronica inhaltend wie sie angengtlich ins land kommen Thurocz,J. Thurocz,J. Der Hungern Chronica inhaltend wie sie angengtlich ins land kommen sind, mit anzeygung aller irer König, und was sie namhafftigs gehon haben. Angefangen von irem ersten König Athila, und volfüret biss auff König Luwdig, so im 1526. jar bey Mohass vom Türcken umbkomen ist. (Nbg., J.Petreius für H.Metzker in Wien) 1534. 4°. Mit gest. Tit. u. 18 Holzschn.-Vign. v. P.Flötner. 165 (recte 65) Bl., 1 w.Bl. Mod. flex. Prgt. VD16 T 1212. USTC 633628. Apponyi, Hungarica III, 1691 (Ausg. 1536). Denis, Wiens Buchdruckergeschichte II, 387. Dodgson I, S. 527. Röttinger, Flötner, Nr. 2-11. Rosenwald no. 665. Thieme-B. XII, 113. Erste dt. Ausg. - Johannes de Thurocz (ca. 1435-1488 o. 1489) war ungarischer Historiker u. Verf. der lat. Chronica Hungarorum, der umfangreichsten Arbeit des 15. Jhdts. über Ungarn, u. der ersten von einem Laien verf. Chronik Ungarns. Er wurde im Prämonstratenser unterrichtet, Kloster von Ipolysßg (heute Sahy, Slowakei), wo er Latein und Recht studierte. 1465 zog er nach Buda, wo er später am Königshof als Notar v. Stephan Bßthory tätig war. Er begann seine Chronica Hungarorum nach dem 29. Juli 1485. Die Erstausg. wurde 1488 von Stahel u. Preunlein in Brünn/Mähren gedruckt. Die dt. Erstausg. der vorliegenden ersten Ausg. stammt von Hans Haug zum Freystein, der auch einige Ereignisse der jüngsten Zeit hinzufügte, beispielsweise die verheerende Schlacht von Mohßcs (1526), die Ungarn nicht nur für die Türken öffnete, sondern auch die Unabhängigkeit Ungarns beendete seit fast 400 Jahren. Es muss auch erwähnt werden, dass der Übersetzer den Originaltext von Thurocz gekürzt hat. - Am ob. Rd. tls. etw. knapp beschn., leicht gebräunt, stellenweise etw. feuchtrandig u. fingerfl. - First German edition by Hans Haug zum Freystein, who also added some events from recent times, such as the Battle of Mohßcs. With engraved title and 18 woodcut vignettes. Modern vellum. Slightly browned, partly somewhat stained and waterstained.

Junctinus (Giuntini),F.Junctinus (Giuntini),F. Speculum astrologiae, comprehendens comm Junctinus (Giuntini),F. Junctinus (Giuntini),F. Speculum astrologiae, comprehendens commentaria in theoricas planetarum, et in sphaeram Ioannis de Sacro Bosco: Vnà cum tabulis de Eclipsibus Georgii Purbachii, & supputationibus motuum Planetarum, secundum decreta Alphonsii Regis Hispaniae: & Nicolai Copernici, cum diversis aliis tractatibus Astrologicis. Tomus posterior (von 2). Lyon, in officina Q. Phil. Tinghi, Florentini: Apud Simphorianum Beraud 1581. Fol. Titel mit schönem Porträt des Verfassers innerhalb einer großen ovalen Vignette in einem verzierten Rahmen mit Umschrift, ferner zahlr. meist schematischen Holzschnitte im Text. 1170 S., 1 Bl.; 18 Bl. Index. Ldr. d. 17. Jhts. (Berieb. u. best., tls. fl.). Riccardi I, 610 f. Caillet II, 5691. Adams, J 435. Vgl. Thorndike VI, 129 ff. - Das Speculum ist das umfangreichste und anspruchvollste, nahezu enzyklopädische Projekt der Astrologie des 16. Jahrhunderts. - Vorliegender zweiter Band der zweiten Lyoner Ausgabe enthält u. a. den vierteiligen Kommentar 'in Sphaeram Ioannis de Sacro Bosco' und das 'Compendium de stellarum fixarum observationibus'. - Franciscus Junctinus, auch Francesco Giuntini (1522-1590), stammt aus Florenz, studierte Mathematik, Philosophie und Theologie und trat dem Karmeliterorden bei. Als Doktor Theologiae und Almosenier des jüngsten Sohnes der Katharina von Medici, Franz von Alencon, beschäftigte er sich auch ausführlich mit der Sternenbeobachtung. Der Abhandlung über die Fixsterne geht die Übersetzung der Lehren des Ptolemäus voraus sowie die aller weiteren bis dato bekannten Astrologen. Seinem Denken lag dabei das heliozentrische Weltbild nach den Lehren des Nikolaus Kopernikus zugrunde. - 'His work is of the highest importance, as it contains the whole theory and practice of the Art, elaborated with the most perfect precision; the foundation of it is taken from a Greek work, by Claudius Ptolemy, one of the last of the grand succession of Initiates who espoused the Alexandrian School of Philosophy. The original manuscript enunciated the Hermetic traditions of Egyptian Oriental Magic, while our Author's commentary contains the result of his life-long researches among the profundities of Chaldaic Astrology, Jewish Cabbalism, and Arabian Theurgy' (Gardner II, S. 60). - Innendeckel und Gelenke wurmstichig, meist leicht gebräunt. - With portrait on title and numerous woodcuts in the text. Leather of the 17th century (rubbed and bumped, partly stained). Partly with worming, mostly slightly browned.

Oil on canvasOil on canvas dating from between 1615-1619. Painted under the canons of the Lisbon School it is attributable to the painter Amaro do Vale who had allegedly produced it for a Lisbon church.In 1878/1879 it is taken to the chuck of Our Lady of the Consolation at the Castle.Of evident Italian influence it is centred on the iconography of the Virgin Mary surrounded by the Holy Trinity - The Father, The Son and the Holy Spirit over a lower plan of angels.At Lisbon's Museu Nacional de Arte Antiga there is a iron gall ink drawing attributed to Amaro do Vale (MNAA, inv.654)114x117cm

Carved ivory plaque depicting the Descent from the Cross scene with The Virgin of Sorrows, pierced by sword being comforted by Saint John, Mary Magdalene and putti at the feet of Christ and crying Angels in heavenProbably Northern Europe, late 17th century Bronze stand frame and applied chiselled silver elements representing symbols of The Passion of Christ crowned at the top by two reclining angels flanking a label inscribed "INRI"Italy, 17th/18th century(losses and faults)Like amber and coral, elephant ivory is one of the few organic raw materials that was privileged in the competition with more precious materials, of entirely mineral origin, such as precious stones and noble metals. Its origin in distant places, durability and solidity, as well as its exoticism, identified in the whiteness and smooth texture, contribute to be appreciated throughout the human history. Most of these works were made for customers and collectors, who delighted in the rarity of the material and the quality of the sculpture. The integrity of the piece that we now present, is justified by the link that exists between the ivory relief (where the Descent from the Cross is represented) and the silver frame (decorated with the instruments of the Passion of Christ), the latter of which may have been executed for the first.This excellent example is very similar to another that we found in the collection of the Victoria & Albert Museum in London (A.30-1949). This same attributed to the German artist Balthasar Permoser (1651-1732). Without knowing for sure the iconographic font used by the artist, it is possible to identify some works that, hypothetically, will have served as a reference for a composition on this theme.As an example, we identified the altarpiece of the main altar in the chapel of the Monte di Pietà palace in Rome, made by the sculptor Domenico Guidi (1625-1701).17x10,5 cm (marfim)40x28 cm (total)

Set of 2 Stunning Displays! Doctor Who hand signed professionally mounted displays. This beautiful set of 2 displays consist of a 10"x8" photo, hand signed by Tom Baker as the fourth Doctor and Colin Baker as the sixth Doctor, in the classic tv show, Doctor Who. These have been mounted with a logo underneath the photo, and the overall size of the mounted display is 14 inches x 11 inches. This signed photo is guaranteed authentic, and is supplied from one of the UK's leading autograph memorabilia companies. Condition 8/10. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Arthur James Balfour, 1st Earl of Balfour small, signed card. British Conservative statesman who served as Prime Minister of the United Kingdom from 1902 to 1905. As Foreign Secretary in the Lloyd George ministry, he issued the Balfour Declaration in 1917 on behalf of the cabinet. Condition 7/10. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Ultra-Rare! Hellraiser Doug Bradley Signed Large Panoramic 16x6 Photo. This Beautiful And Ultra Rare Hand-Signed 16 Inches X 6 Inches Panoramic Photo Depicts The Iconic Scene From Hellraiser III, Where Pinhead Is Standing At The Church Altar And Opens Out His Arms And Says The Line "I Am The Way". This Particular Image So Rare To Find, But This Was Hand Signed By Doug Bradley (Who Plays Pinhead) During A Private Signing. Doug Has Also Signed With The Famous Quote From This Scene "I Am The Way". This Signed Photo Is An Amazing Piece Of Hellraiser Memorabilia And Is Guaranteed Authentic, And Are Supplied From One Of The Uk's Leading Autograph Memorabilia Companies. Condition 8/10. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Stunning Display! Star Wars Howie Weed hand signed professionally mounted display. This beautiful display consists of a 10"x8" photo, hand signed by Howie Weed, who played the Wampa in the classic Star Wars movie, The Empire Strikes Back. This has been mounted with a logo underneath the photo, and the overall size of the mounted display is 14 inches x 11 inches. This signed photo is guaranteed authentic, and is supplied from one of the UK's leading autograph memorabilia companies. Condition 8/10. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Stunning Display! Halloween Tony Moran hand signed professionally mounted display. This beautiful display consists of a 10"x8" photo, hand signed by Tony Moran who played Michael Myers in the classic and original 978 movie, Halloween. This has been mounted with a logo underneath the photo, and the overall size of the mounted display is 14 inches x 11 inches. This signed photo is guaranteed authentic, and is supplied from one of the UK's leading autograph memorabilia companies. Condition 8/10. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Rangers 1972, Football Autographed 16 X 12 Photo, A Superb Image Depicting Rangers Players Celebrating With The European Cup Winners Cup In The Dressing Room Following A Memorable 3-2 Victory Over Dynamo Moscow In The 1972 Final At The Nou Camp, Signed By All Eleven Players Who Played On The Night Using A Fine Blue Marker ; Mccloy, Mathieson, Smith, Jardine, Greig, Macdonald, Conn, Johnstone, Mclean, Stein And Johnston. Condition 8/10. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Set of 3 Stunning Displays! Friday 13th hand signed professionally mounted displays. This beautiful set of 3 displays consist of a 10"x8" photo, hand signed by Kane Hodder who played Jason Voorhees in a number of the Friday 13th movies. These have been mounted with a logo underneath the photo, and the overall size of the mounted display is 14 inches x 11 inches. This signed photo is guaranteed authentic, and is supplied from one of the UK's leading autograph memorabilia companies. Condition 8/10. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Liberal leader John Jeremy Thorpe and Marion Thorpe signed on two 6 x 4 cards. He was a British politician who served as the Member of Parliament for North Devon from 1959 to 1979, and as leader of the Liberal Party between 1967 and 1976. Condition 9/10. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Dr Who 10x8 inch multi signed Tardis colour photo signed by 12 stars from the iconic BBC SCI Fi series includes Philip Voss, Vicky Alcock, Caroline Munro, Christopher Ryan, Colin Spaull, John D Collins. Condition 8/10. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Kane Hodder Friday 13th Hand-Signed Jason Voorhees Mask. Hand-Signed By Kane Hodder, Who Played Jason Voorhees In 4 Of The Friday 13th Movies. This Mask Was Signed At Collectormania 21 In Milton Keynes. The Mask Is A Hard Plastic Replica Hockey Mask, And Is An Adult Size. The Mask Is Also Accompanied By 4 8"X6" Photos, Each One Depicting A Poster Of The 4 Movies In Which Kane Starred As Jason Voorhees. This Signed Mask Is Guaranteed Authentic, And Is Supplied From One Of The Uk's Leading Autograph Memorabilia Companies. Condition 8/10. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Eddie Carroll signed 13x10 Disney Pinocchio print inscribed best wishes Jiminy Cricket and his voice Eddie Carroll. Eddie Carroll (September 5, 1933 - April 6, 2010) was a Canadian-American actor and voice actor, who is best known as the third performer to provide the voice for Jiminy Cricket, a role he played for over 35 years. Condition 9/10. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Pete Townshend The Who Signed Hardback Book The Age Of Anxiety. Condition 8/10. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Dr Who 16x12 multi signed photo signed by 18 stars from the iconic BBC SCI Fi series includes Philip Voss, Prentis Hancock, Francois Pandolfo, Vicky Alcock, Barry Noble, Daniel Peacock, Phillip Jackson, Caroline Munro, Christopher Ryan, Michael Kilgarriff, Rula Lenska, Colin Spaull, John D Collins, John Leeson, Paul Bazely, Cheryl Rowlands, Sheila Reid and Leslie Ash. Condition 8/10. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Jack Butler Yeats RHA (1871-1957) The Rake Crossing Sligo Bridge Watercolour, 35.5 x 25.5cm (14 x 10'') Signed Provenance: With The Dawson Gallery, label Verso. Yeats specialized in depicting various characters of the West of Ireland in his early watercolours and oils. The Rake is one of these figures. The artist first sketched what he described as a 'rake', that is a stylish man of dissolute habits, in Galway in 1900, making a watercolour painting of the figure the following year. The work under consideration here, dates to 1908, and is also known as Sligo Bridge and shows another rake crossing the Garavogue river in the centre of Sligo, Yeats's hometown. Silhouetted against the streets and houses, the figure ambles along with his hands firmly in his pockets. Such a pose was associated with idleness and was considered by the Victorians as suggestive of defiance and even vulgarity and impudence. The dapper young man wears a neat muffler and a smart hat. He turns to gaze to his right, across the street, at some unseen but evidently, judging from his grinning expression, amusing sight. Orange and blue tones delineate the structure of the houses, the brickwork of the bridge and the shadows cast by the figure. These complimentary colours, pervasive throughout the composition, are subtle in tone. They diffuse the tension of the jaunty figure integrating him into his surroundings of open spaces and clear expansive light. Movement is conveyed in the striding legs of the man, the dancing gait of his feet and by his twisted torso. The torrential waves of the river that rise up in the background add to this sense of immediacy and veracity. Yeats gave The Rake to his friend, the Rev. Arnold Harvey who was rector at Lissadell, close to Sligo. The artist stayed with the cleric in the summer of 1908 and a sketchbook, now in the National Gallery of Ireland, records many of the incidents of the visit. The Rake is very likely based on an encounter experienced on this sojourn. Harvey and Yeats and his wife Cottie had met at Coole Park in the early 1900s when Harvey was employed by Lady Gregory as a tutor in classics to her son Robert. He was ordained as a Church of Ireland minister in 1903. He corresponded with Yeats and the two friends visited each other over the following years. The Rake is an amusing and empathetic image of a young manabout town and diverges from the disapproving portrayals of the Irish found in more conventional representations of the time. The work was exhibited in London and Dublin before being given to Harvey, who presumably shared Yeats's appreciation of the rake. Dr Róisín Kennedy, October 2020

William Conor RUA RHA (1881-1968) At the Feis Oil on linen laid down on board, 49 x 59cm (19¼ x 23¼'') Signed, inscribed on artist's label verso William Conor, who was born in Belfast in 1881, is certainly best known for his scenes of everyday life, particularly but not exclusively in his native city. He studied at the Belfast College of Art and by 1904 he was working on poster design as a lithographer. This training appears to have had a sustained impact on his work throughout his career, producing copious paintings and drawings which recorded the lives and activities of the working people of Belfast. His occasional forays into the hinterlands and a little further afield also produced some rural scenes, and his standing in Belfast society, particularly after receiving a commission to paint King George V and Queen Mary at Stormont, ensured that he was the popular painter of portraits of luminaries, both political and business in the city. Conor began exhibiting at Dublin's Royal Hibernian Academy Annual Exhibitions from 1918 and a review of the titles provides a snap-shot of this artist's favourite subjects - 'Mill-workers', 'The Street Singers', 'The Knife Grinder', 'The Jaunting Car', 'The Singing Class' and such like. The present work, 'At the Feis' is a classic Conor and displays his interest in the world of traditional music and dancing. The 'Feis' is a traditional Irish arts and culture festival with similar festivals also taking place in Scotland. In Ireland the Feis is more associated with Irish dancing competitions. Here the artist has managed to capture the atmosphere of the competition with the row of musicians providing a backdrop to the young girl in the full throes of her dance.

Jack Butler Yeats RHA (1871-1957) Sleep by Falling Water (1948) Oil on canvas, 46 x 61cm (18 x 24'') Signed Provenance: Capuchin Annual Office Dublin; Mrs Jobling-Purser Dublin; Christies (Dublin) 24th October 1988 (front cover illustration of catalogue). Private Collection Dublin. Exhibited: ''Jack B. Yeats'', Victor Waddington Galleries, Oct 1949, Cat. No. 6; ''Jack B. Yeats - First Retrospective American Exhibition'', Institute of Contemporary Art Boston, 1951/2 and travelled Nationwide; ''Jack B. Yeats'' Galerie Beaux-Arts, Paris, February 1954, Cat. No. 19; ''Jack B. Yeats'', Loan Exhibition New Gallery, Belfast, June 1965, Cat. No. 7. Literature: ''Jack B. Yeats - A Catalogue Raisonne of the Oil Paintings'' by Hilary Pyle Vol. II, Catalogue No.955, illustrated p.862. An old man lies on the ground his hands across his chest. On his right a torrent of water cascades down a rocky ravine. On his left a chasm and a dramatic mountainous landscape extends to the horizon. Hilary Pyle has likened the setting to that of On Through the Silent Lands (1951, Ulster Museum). According to her catalogue raisonné it is based on the terrain of the Sligo-Leitrim border. The theme is a familiar one in Yeats's later work. The wandering old man making his way through an uncultivated landscape, resting or walking or chatting to others that he meets recurs in many late paintings. The features of this figure have been likened to those of Yeats himself and it is possible that the painting, as in most works of art, is at some level autobiographical. The sleeping figure surrounded by a vibrant landscape is often a trope in painting to suggest the imagination of the sleeper who, lost in his dreams, experiences life in an intense way. Similarly, the subject also suggests the poignancy of nature in the eyes of someone who has grown old and aware of their mortality. Yeats painted this when he was 77 years of age. The construction of the surface of the painting counteracts the romanticism of the subject matter. The creation of the waterfall through a cacophony of colours and a myriad of brushstrokes suggest the energy and movement of the water. But it also draws attention to the construction of the painting and invites the viewer to accept the illusions that it creates. In this setting the figure of the man appears fragile, fashioned as it is out of a few strokes of black and white paint amidst the colourful and expansive nature than surrounds and almost engulfs it. Rather like the background to Leonardo's Mona Lisa, Yeats's fantastic setting dwarfs the physicality of the figure while suggesting the richness and depth of the human imagination. Dr. Roisin Kennedy The National Gallery of Ireland is planning an exhibition to mark the 150th anniversary of the birth of Jack B. Yeats which is due to run from 4 September 2021 until 6 February 2022. The NGI curators have requested the loan of this painting, for inclusion in this prestigious exhibition.

William Conor RHA RUA ROI (1881-1968) The Horse Parade Wax crayon, 54 x 42cm (21¼ x 16½'') Signed Provenance: With Bell Gallery, Belfast, label verso. Exhibited: Dublin, Royal Hibernian Academy Annual Exhibition 1933, cat. no. 40, priced £120 Before the use of motorised vehicles became widespread in Ireland, the horse fair played an essential part within the community. Work horses were needed to help farm the land, cart produce to and from the markets and to pull public carriages. Horses were everywhere and the demand for them was great. Some fairs, such as the one held in Belfast, attracted international attention, with buyers coming from England and Scotland to purchase superior Irish stock. On a social level, the fair offered an event at which people could meet, trading stories and titbits about their lives. For an artist, such as William Conor, who was propelled to portray the working classes in hearty animation, the horse fair offered the perfect inspiration.

William Conor RHA RUA ROI (1881-1968) Lambeg Drummers Oil on board, 76 x 62cm (29 x 24½'') Signed William Conor was born in Belfast in 1881 into a working-class family. His father was a wrought iron worker and, thus, he was brought up in close confines with the industrial heart of the city. However, unlike many boys who followed in their father's footsteps, Conor's life segued onto a different route. At the age of ten, Conor's talent for sketching was recognised by the music teacher in his school, Louis Mantell. Mantell arranged for him to take art classes and, once older, Conor went on to attend the Government School of Design, graduating to work as a commercial artist. With the onset of WWI, Conor was commissioned as a war artist, recording the soldiers and munitions workers stationed around Belfast. This pushed him to further his career and he moved to London in 1920, where he stayed for several years. From here, he continued to exhibit in Ireland so that, by the end of his career, he had shown nearly two hundred works at the RHA over a span of forty-nine years. Despite his success in England, Conor was repeatedly drawn to his Irish subject matter. He painted the city that he knew since birth and the people that inhabited it. His canvases celebrated a version of what it was to be Northern Irish, the brush and crayon often disguising any indications of hardship. In 'Lambeg Drummers', Conor portrays a true symbol of the North - the Lambeg drum. Originally used as a device with which to scare the enemy during battle, the Lambeg drum is one of the loudest acoustic instruments in the world. The deafening beats are now often associated with July 12th and the annual Orange parades, however they were once just as popular within Catholic culture as they are with Protestant. Particular to each area, the various rhythms of the drum play like different dialects and a skilled listener could pinpoint where a player was from. Traditionally, the drums acted a symbol of unity, bringing musicians and audiences together, an army or a community standing strong. Such solidarity fit seamlessly with Conor's optimistic depictions of his home. Helena Carlyle, 2020

Letitia Marion Hamilton RHA (1878-1964) Roundstone Oil on Canvas, 50 x 60cm (19¾ x 23½'') Signed The 1963 edition of the Automobile Association Road Book of Ireland tells us that Roundstone is '[a] busy Connemara fishing village, on the western side of Bertraghboy Bay' with 'a roomy, well-sheltered harbour which is almost landlocked.' When Cloch na Rón, The Stone of the Seals, became Roundstone, something was clearly lost in translation but the beauty and the charm of the place have never been lost. When Letitia Hamilton painted Roundstone, which she did a number of times, she captured Roundstone's unique setting and beauty, unique in that it was founded by Alexander Nimmo, a Scottish engineer, who built roads and harbours along the west coast of Ireland in the 1820s. Nimmo, choosing the spot for its spectacular views, designed and created Roundstone's harbour and, ever since, the village has been a favourite subject for artists including Paul Henry, Jack B Yeats, Gerard Dillon, Nano Reid. From Roundstone's main street, bordering the sea, you can view the Maamturk mountains. From there, you can also see the Twelve Bens. William Makepeace Thackeray visited Roundstone while it was still being built and in his book, published as The Irish Sketch Book in 1843, he wryly noted that the Presbyterian chapel in Roundstone was big enough 'to accommodate all the Presbyterians in Ireland' and described the Franciscan monastery as 'an unpretending little dwelling'. His eye was also captured by '[a] few figures at work in the bog-lands, a red petticoat passing here and there, a goat or two browsing among the stones, or a troop of whitey-brown children, who came out to gaze at the car form the chief society of the road'. Letitia Marion Hamilton, RHA, was born in 1878 in Hamwood House, Dunboyne, Co. Meath, built in 1779 by her ancestor Charles Hamilton. Though she studied under William Orpen, her travels in France, Belgium and Holland and the art she saw there influenced her more. In the 1920s Hamilton visited Italy and Yugoslavia but WWII kept her in Ireland and it was during that time that she began to paint Roundstone. In this particular work Hamilton captures the many delightful aspects of the place. The chosen perspective, of the approach to the town, invites the viewer to follow the road and to enjoy the sea. The day is bright, the shadows suggest afternoon. Rows of houses on the side of the road are crowded together and the road, sea wall, harbour and sky share a muted palette. Clouds and street and buildings, in greys and pale beige, are rendered with those gentle, sensuous, impastoed brushstrokes and palette knife so distinctively Letitia Marion Hamilton. Brighter colours, the green among the rocks in the foreground, the darker green hill and trees behind St Mary's Protestant church and the sea's blue gradations and the small white waves gently breaking provide a lovely contrast and though it's a calm, quiet scene there are some lively and busy touches. On the road through the village, a figure on a horse or donkey and two wooden horse-drawn carts create movement. One empty-looking cart is heading towards us, the other, piled high with turf, is heading up the hill. A lightly-sketched figure, a child probably, is seen on the right by the second cart. In the bay the figure in the row boat provides more movement and the eye is here drawn in a different direction. Inishnee island in Roundstone bay is briefly glimpsed and, beyond that, a stretch of water and, in the distance, on the horizon, more of the County Galway coastline. Hamilton frequently painted in a little van and for this scene it seems she is parked by the old dispensary house, renamed The Fort, on the way into Roundstone where Kate O'Brien lived in the 1950s, later Sting, and the house is now owned by Bill Whelan who says that in Roundstone you're 'so much more conscious of things like the tides and sunrise and sunset'. Over the years Roundstone has always attracted creative individuals and this work by LMH, undated, like much of Hamilton's work, but most likely from the 1940s, captures tide and sunshine and reminds us of Roundstone's unique attractiveness then. And now. Niall MacMonagle, October 2020

Walter Frederick Osborne RHA ROI (1859-1903) Loiterers (1888) Oil on panel, 35.5 x 25.4cm (14 x 10'') Signed and dated (18)'88 Exhibited: Royal Hibernian Academy, Dublin 1889, Catalogue No.220; Institute of Painters in Oil Colours, undated; 'The Irish Revival', Pyms Gallery, London May/June 1982, Catalogue No.2, colour illustration; 'Walter Osborne', National Gallery of Ireland, Dublin November/December 1983, Catalogue No.27, illustrated; 'Walter Osborne', Ulster Museum, Belfast January/February 1984, Catalogue No.27. Literature: Jeanne Sheehy, 'Walter Osborne', Ballycotton 1974, Catalogue No.220. In his painting Loiterers Walter Osborne shows an encounter between three people in a village street, with a pair of horses and a dog, and a hilly landscape behind lit by rosy evening sunlight. A realistic scene, the painting has a particular lyricism and warmth of colour. The boy in the foreground, holding a stick, sheepdog by his side, pauses to observe the man seated upon a white horse and a standing woman who are chatting. Each figure wears the plain clothing of English country people, the boy for instance, in a white smock. But each has distinctive head ware: the man a conical straw hat, the woman a bonnet, and the boy a deerstalker cap. In the background are thatched cottages and a small cart, while a basket and cloth has been left on the grassy verge on the right. The foreground is in shadow, but a strip of sunlight falls across the road, and beautiful sunlight also lights up the chimney stacks, tops of the roofs and hedge, and the hat of the mounted figure, while the hills behind and two clouds are illuminated by a warm, roseate light. The picture is dated 1888; in this period Osborne was working in Hampshire, Oxfordshire and Berkshire, often in the company of fellow-artists, such as Blandford Fletcher, and painting some of the finest pictures of his career. He painted in villages along the rivers Kennett and Thames, and he visited that part of the English countryside which lies to the north and south of the Berkshire Downs, (J. Sheehy, 1974, p.22). Loiterers may be set in Uffington or near Newbury. Osborne admired the rustic styles of village buildings, for example, the cottages with steep thatched roofs or stepped gables, small windows and red brick chimneys. The diagonal roofs to the right add a dynamic energy to the composition. In spite of its title, the people in the picture are not 'loitering' but relaxing, perhaps exchanging news after a day's work in the fields. In many pictures Osborne presented such people in the village street, stopping to talk, or simply observing the scene. He often used pencil studies from his sketchbooks, or juxtaposed figures from other pictures, to create interesting ensembles of local characters. For example, the figure of a boy in the foreground, viewed from behind and looking into the picture, becomes an archetypical image in several works. The woman, the boy in his smock, and the patient white and black plough horses also appear in a contemporary picture The Lock Gate, while a faithful sheepdog is present in several of Osborne paintings. The woman in the bonnet is also a familiar figure from many of Fletcher's Village scenes. The cottages and the landscape behind, the Downs and clouds, lit by beautiful evening light, are as much characters of the picture as the human figures. As Simon Jenkins writes : There is a gently rolling quality to the Berkshire chalk lands... The curves are more enfolding, the slopes more wooded... Yet they can still be wild and...mysterious. (England's 100 Best Views, 2019, p. 140.) If we look closely at Osborne's picture we see some surprising details: light paint is visible behind the boy, suggesting that his figure was added after the background was completed; and there are traces of pentimento on the grassy bank, where the figure of a seated woman may have been painted over. The picture is crisply executed yet Osborne's brushwork is lively, as for example in the 'blurred' treatment of the boy's smock, and the freely painted foreground and bank. Exquisite colouring is sprinkled throughout the picture, for example in the rosy clouds, the pale duck egg blue of the sky, and the touches of red in kerchiefs and chimney stacks. Loiterers is painted on a sturdy wood panel. Osborne made a lively ink drawing after the picture (sketchbook in NGI, cat. No. 19, 201, sheet 25), with a vignette of the boy and dog beside it, suggesting that he felt a special attachment to this painting. Acknowledgements: with grateful thanks to Anne Hodge, NGI, for assistance in research. Julian Campbell, September 2020.

Three James Bond annuals 1966 and 1968 annuals published by World Distributions, plus James Bond 007 Moonraker Special annual format. Together with The Man with the Golden Gun by Ian Fleming 1st edition 1965, published by Jonathan Cape. Nice clean book, ink name inside, dust wrapper has been price clipped, tape repair to inner of jacket, few chips to top and foot of spine and corners. Plus 4 James Bond books published by The Book Club: From Russia With Love, Dr No, For Your Eyes Only, and The Spy Who Loved Me, Brochure for James Bond in Thunderball, published Sackville Publishing 1965, large format, full of colour and black and white photographs of Sean Connery and Bond Girls! Plus a box of 100 postcards to commemorate the 50th Anniversary of James Bond films.