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Burns, Robert Autograph manuscript poem "Jessie - A Scots Song - Tune, Bonie Dundee". Autograph poem, two stanzas each of eight lines each, with title line above, [c.1793], one leaf, 23 by 18.6cm., folds, short marginal tear at centre fold, with "This is Burns`s handwriting, J.D. Johnstone 1803, Dumfries" added in another hand at foot Note: "Jessie" was sent by Burns to his friend, the musician and editor George Thomson, in April 1793. The present text is identical, apart from the title, to the Dalhousie copy quoted by James Kinsley in Burns, Poems and Songs (1971) (Kinsley 404). In his letter to Thomson Burns wrote "These verses suit the tune exactly... There is a syllable wanting at the beginning of [l.9[ but I suppose it will make little odds" [Letter 554]. Thomson made up the line with "Oh!" in Select Collection of Original Scottish Airs for the Voice and suggested some other alteration; Burns wrote to him in September 1793 that "your objection of the stiff line, is just; but mending my colouring wo ld spoil my likeness; so the Picture must stand as it is" [Letter 586] Although Burns sent him the manuscript in 1793, the poem was not published until 1798, and despite Burns`s request Thomson substituted "Scotland" for "Scotia in line five. The poem was inspired by Miss Jessie Staig, daughter of Provost Staig of Dumfries, who became the wife of Major William Miller of Dalswinton and died at age of twenty-six. Two autograph manuscript copies of "Jessie" are listed as extant in the Index of English Literary Manuscripts, volume III, part 1 (1986): one at the Burns Cottage Museum, entitled "Song" and headed "Tune, Bonie Dundee. Composed on Miss Jessie Staig, Dumfries" [c.1793] [Alloway MS 3.6184], the other, headed "Song - Tune Bonie Dundee", in a letter to George Thomson, April 1793, in the Pierpont Morgan library. [Pierpont Morgan, MA47, f.23] Paper with watermark partly visible: possibly "G. Taylor." On the verso, in ink, is the inscription "Burns` own hand" in a near contemporary hand. The present version differs from the Burns Cottage Museum manuscript in the first stanza. The present copy reads "Grace, Beauty & Elegance fetter her lover" while the Burns Cottage Museum copy reads as "Youth, Beauty & Elegance fetter her lover". The second stanza also differs. Line one of the present version reads "Fresh is the rose in the gay, dewy morning" while the Burns Cottage Museum copy reads "Fair is the rose in the gay dewy morning". The second line of the present version reads "And sweet is the lily at evening close" whereas the Burns Cottage Museum copy reads "And sweet is the lily in evening close" Provenance: From the estate of Admiral The Hon Charles Elphinstone-Fleeming of Cumbernauld (1774-1840) who was prominent in the Colombian and Venezuelan wars of liberation and married Dona Catalina Paulina Alessandro de Jimenez, 26 years his junior. Their daughter Clementina married Cornwallis Maude, 4th Viscount Hawarden, and, as Lady Clementina Hawarden, became one of the earliest portrait photographers. The poem was given to the present owner`s grandfather, along with other Fleeming family papers, by Lady Hawarden`s grand-daughter, Lady Eveline Maude.

Napoleon I Letter signed ("N"), 1 page, 4to, Paris, 27 February 1813, to Clarke, Minister of War, giving the order for the Observation Corps in Italy, under General Bertrand, to begin its march to Augsburg, advising Bertrand to ensure that his field ambulances carry enough bandaging for 10,000 casulties; Idem Letter signed ("N), 4 pages, 4to, Paris, 26 March 1813, to Clarke, Minister of War, issuing instructions for a full review of the Grande Armée, to be carried out by five generals, each of whom is to inspect some ten depots each and report to the Emperor on the number of men required to bring them to full strength; they are also to replace all subalterns who have been killed or injured and to report on the number of horses available, the state of the equipment, and the amount of time required before they will be ready to leave from Germany; Idem Two letters signed ("N"), 3 pages, 4to, Paris, 26 and 28 March 1813, to Clarke, Minister of War, concerning Spanish prisoners of war: he orders that they are to be moved from the Rhine fortresses to towns in the interior, and are to be employed on construction work, as previously, for the navy, the highways and bridges and the ordnance; if there are still some without work, he will set up special projects for them; notes pinned at foot with details of dispatch, one signature smudged (4)

Wellesley, Arthur, Duke of Wellington--India Two A.L.S.: , one to J.H. Piele, "My dear Piele" referring to "some difference between the sums proposed by [?}Poursaya to be given to the persons attached to the factory at Cutch who brought the presents intended for Zenam Shah and that which I proposed should be given to them", detailing the payments "they had formerly 7 sepoys but two of them are dead", requesting a report on the "complaint against the officer who shot the horse" and when he went to the Carnatick, stating that "no officer of pioneers has gone down that road. The Pioneers went by the Gurzethathy Pass", signed "Arthur Wellesley", 4 pages, 4to, Seringpatam, 1801; [Idem] A.L.S., discussing an appointment, 3 pages, 4to, Paris, 1 November 1815 (2)

Holy Bible - Alexander Ogstoun, bookbinder The Holy Bible. Edinburgh: Heir of Andrew Anderson, 1678. Large 8vo [230 x 160mm.], double column; bound with The Psalms of David. Edinburgh: Andrew Anderson, 1676. Contemporary onlaid binding by Alexander Ogstoun with interlacking ribbon/strap work with intricate gilt decoration, spine with 7 raised bands, ornate gilt decorated compartments with lozenge shaped onlays, gilt edges with gauffered pattern on top and bottom edges, fore-edge painting with a floral motif (now dulled) and a central motto "A.C. Many daughters have done well, you excellist them all" (Prov 31:29), the painting signed by the binder "A. Ogstoun" and dated "fecit 1678", inner gilt dentelles, marbled endpapers, black leather presentation label to verso of the front board: "Agnes Campbel 1679", light foxing to outer margin of title, very slight strengthening to extreme tip of lower corner of first few leaves, expertly rebacked retaining original spine, corners neatly repaired Note: Alexander Ogstoun [or Ogston], Edinburgh bookbinder and stationer, became a Burgess and Guild Brother on 13 February 1680 `being well commended by H.M. Advocate and many of the College of Justice, and likely also to be useful to the good toun` . In 1683 Alexander Ogstoun and George Mosman were employed in binding books for the newly formed library of the Faculty of Advocates. In the accounts for the 14th of February appears the entry `By money peyed to Alexr Oigstoun bookbinder for binding ane parcell of the ffaculties books as per accompt order and receipt 0200.16.0` Faculty Records 40, folio A3. The National Library of Scotland has two volumes bound by Ogstoun: The Holy Bible. London: Robert Barker, 1603. (bound with The psalms of David in meeter. Edinburgh: printed by Andrew Anderson, 1676). [Shelfmark: Bdg.s.108 Ref. 00002665] and The Holy Bible. Edinburgh: heir of Andrew Anderson, 1678. (bound with the Psalms of David in meeter. Edinburgh: printed by Andrew Anderson, 1676) [Shelfmark: F.5.f.13. Ref. 000 2662]. In 1688 Ogstoun was threatened for selling anti-popish books, and in the same year Agnes Campbell [Mrs Anderson] seized some octavo Bibles he had imported from London (Fountainhall ii,852,866). He died in 1690, was buried at the North side of Greyfriars Churchyard on 29 March, and was succeeded in the business by his widow. Two of his four children Alexander and James seem also to have been bookbinders. His name also appears in the imprints of seven books between 1685 and 1688. Aldis 1904; Mirjam M. Foot. `A binding by Alexander Ogstoun, c.1689` (English and Foreign Bookbindings 31). The Book Collector xxix, 255-7 (1980). H.M. Nixon Broxbourne Library, styles and designs of bookbindings. London, 1956 163-65. John Morris. `Wheels and Herringbones: some Scottish bindings 1678-1773`. Bookbinder i,39-49 (1987); Provenance: Agnes Campbel, 1679 [gilt label]; Presentation inscription from Alice Lindesay to Mrs Forbes: "I give this Bible to Mrs Forbes, as a token of her worthy cousines love for Mrs Forbes, Craill, Sept. 17th 1804. Alice Lindesay. It was the Bishop of Aberdeen`s Lady`s Bible"; Miss Peggy Hallyburton, Wormington, 10 Dec. 1782. An early twentieth-century note states "This Bible, known for generations as "Peggy Halyburton`s Bible" really belonged to her mother Agnes Campbell of Keithock, known as the Dowager Lady of Pitcur. She was born in 1626, and was the great grand-daughter of Donald, the last Abbot of Cupar, who was the son of Archibald, 2nd Earl of Argyll, killed at Flodden. She married (1) Halyburton of Pitcur, by whom she had two sons. The elder, the Baron of Pitcur, was killed at the Battle of Killiecrankie. She married (2) Halyburton of Denhead, Bishop of Aberdeen, her first husband`s kinsman. At her death the Bible passed to her daughter Margaret, who married Lindsay, the Baron of Wormistoun. It remained in the family of Wormistoun till it was given to Mrs Forbes of Westfied by her cousin in 1804".

Grimm, J.L.C. & W.C. German popular stories. London: C. Baldwyn, 1823. First edition, second issue, 12mo, one volume only (of 2), engraved title-page and 5 (of 11) plates by George Cruikshank, lacking advertisements, browned, cloth, worn; [Idem] The young Robinson, an interesting narrative of a French cabin boy who was shipwrecked on an uninhabited Island, from the French of Mad. Malles de Beaulieu. London: H.Holloway and H.R. Thomas, 1825. Second edition, 12mo, engraved frontispiece and pictorial title-page, browned, contemporary roan-backed boards, worn (2)

Four Beswick Beatrix Potter figures, `Timmy Willie`, `Hunca Munca Sweeping`, `The Old Woman who lived in a shoe` and `Old Mr Brown`.

An 18th century engraved map, A Draft of the two remarkable Rounds in the River Trent near Bole and Burton, Nottinghamshire, inscribed "A most wretched Poetaster who worked in the printing office at Gainsborough; South View of Nottingham, "Engraved for Walpoole`s New & Complete British Traveller" by Alexr. Hogg, London, 15th May 1784; John Roffe, by Jeffry Wyatt, after, The Great Hall at Wollaton Hall, an engraving, from the Architectural Antiquities of Great Britain, dedicated to J. M. W. Turner as Professor of Perspective by J. Britton, Longmans of London; etc (10) The two "rounds" or meanders on the Trent at Bole and [West] Burton were famous features of the meandering Trent where it forms the border between north Nottinghamshire and Lincolnshire, but the necks of the two meanders were broken through in 1797 and they subsequently formed oxbow lakes, now entirely dried up. Jeffry Wyatt, later Sir Jeffry Wyatville (1766-1840) rebuilt the Willoughby family`s Elizabethan prodigy house, Wollaton Hall c. 1801 (returning 1823-32) for 6th Lord Middleton, exhibiting drawings (probably including the original of this engraving) at the Royal Academy in 1804. Wyatt was permitted to change his name by Royal Warrant in 1824.

Political History - an interesting collection of mid-19th century ephemera, diaries and sketchbooks relating to the family of Robert W. Scott, MP, comprising a manuscript account of the honeymoon of Sarah Emma Scott (the MPs daughter) and her husband, brewery proprietor David Martineau, 1850, a diary for the year 1855 by David Martineau, a diary for the years 1852-1857 by Sarah, wife of Robert Wellbeloved Scott and a sketchbook of topographical drawings and watercolours by Sarah Scott (5) Robert Wellbeloved, later Scott, was the youngest son of Professor the Revd. Charles Wellbeloved of York, decended from the Wellbeloved family of Cobham, Surrey. He was born 15th July 1803 and trained as a barrister. 0n 17th February 1830 he married Sarah (1800-1874) - whose MS diary is in this lot - daughter and sole heiress of John Scott (1763-1832) of Stourbridge and The Red House, Great Barr, Staffs., 7th in descent from John Scott of Chaddesley Corbet, Worcs. and Stourbridge, the family being distant kin of their near neighbours at Great Barr, the Scott baronets. He inherited further Stourbridge property from his wife`s uncle William Scott, JP DL. On the death of his father-in-law in 1832, Robert Wellbeloved assumed the additional surname and arms of Scott by Royal Licence, and he was later in 1841 elected post-Reform Act Liberal MP for Walsall holding the seat until 1847. During this period he purchased the Ratlinghope Manor and Norbury estates in Shropshire, being later made Dl and JP and High Sheriff for Staffordshire. Scott died in 1856, leaving issue: John Addyes Scott (died 15th January 1888, having married and left issue); Sarah Emma, the creator of the album of watercolours included in this lot, who on 22nd June 1855 married David Martineau of Clapham Park, London (whose honeymoon is recorded in the MS journal); Mary Laetitia (died 31st May 1863) who married 19th March 1861 Revd. A. W. Worthington of Mansfield, son of J. W. Worthington of Stourbridge and Elizabeth Anne (d. 1869) married 9th April 1863 her brother-ni-law`s cousin Thomas Worthington of Cheetham Hill, Lancs.

Mining - a 19th century brass steel and hardwood Pentiment stick, 102cm long A Pentiment man would wrap himself in wet rags and crawl along the floor holding a long stick with burning rags on it, ahead of him, and up against the local mine roof. The intent was to burn dangerous pockets of methane before they got large enough to explode. The name `fireman` has been retained to the present day for the man who searches for gas. In some countries he was called the `penitent`, on account of the resemblance of his dress to certain religious orders in the Roman Catholic Church. In many instances, in spite of all precautions, the fireman did not survive the explosion.

The following medical items were found by Dr James Abell, GP in early 1930`s in Bradford in the attic of his doctors surgery, the items are almost certainly the property of Dr Ovenstone, who was married to last descendant of the Ledger family, land owner in Bradford area Medical - a 19th century opthalmatogical set, Arnold of London, ivory hafted tools, leather covered case, 20cm wide; an early 20th century chrome plated brass aspirator set, 18cm wide morocco leather case; a late 19th century chrome and ivory Plethysmograph, by Wood and Co of York, 7cm wide, leather case; a silver plated Doctors auroscope set, The Surgical manufacturing Co. 35 Mortimer Street, London, three detachable ear pieces, 10cm wide, cased; an ear piece device, made in Germany (5)

Antiquities - a rare early rectangular clay tablet, inscribed in Surian, with a record of a delivery of six goats to Abba-Shagam, dated at Drehen 5th month of sixth year of Amar-suen (242BC) Drehen of which the ancient name was Puzurish-Dagan, lies a few miles south of Nappur, in Surain and it was there that Shaugi 2nd King of the Dynasty founded an enormous store house to which converged tribute and offerings in kind from all over he empire, Abba-Shagam is a well know official who appears in many document of this period

A George III giltwood and gesso concert harp, Sebastian & Pierre Erard`s patent 5954, 18 Great Marlborough Street, London, fluted column with Gothic capital moulded with tracery, herald angels and saints, shaped base, scroll feet, 175cm high, c.1800 (distressed) Sebastian Erard was born in Strasbourg on 5th April 1752, and his name was originally spelled Erhard. He moved to Paris in 1768 and worked for an unknown harpsichord maker. Erard wanted to explore the fundamentals of instrument making, and it soon became apparent that he was a genius at finding ways around mechanical problems, a skill which came to the attention of the Abbe Roussier. His success as an instrument maker caused envy among his rivals who accused him of working outside the corporation without a licence. Louis XVI protected him and granted him a licence on his own authority. In 1777 Erard made his first square piano; it was probably a copy of an English Zumpe piano. A portrait of Erard was shown at the International Inventions Exhibition of 1885. Once his reputation was established, Erard persuaded his brother-in-law to join him in Paris. Their first pianos were squares with bichords throughout, and a five-octave compass. Erard made a combination of piano and organ with two keyboards for Marie Antoinette. The revolution of 1789 destroyed his business in Paris and in 1792 he opened a factory in Great Marlborough Street, London. Apparently he left his brother Jean-Baptiste to carry on the French branch. According to the London Post Office Directory, he opened an English branch as early as 1786, at 18 Great Marlborough Street, London. However, this may have been just for selling instruments at first. In 1902 they moved to 189 Regent Street, and then in 1904 to 158a New Bond Street, London. According to popular belief, Sebastian returned to Paris in 1796, leaving his nephew Pierre to carry on the London firm. This cannot be correct, however, as Pierre was not born until 1796. He died in 1855. Sebastian appears to have come back to London in 1801, as he took out a patent in England (number 2502) on 16th May 1801, for an improvement on the piano action. However, the bulk of this patent submission is taken up mainly with the harp. This represented some of the groundwork for his double-action harp. The harp seemed to be more important to him than the piano. If you look at most of the patent registrations from Sebastian, the harp comes first and the piano is just added on in the patent submission. There are exceptions to this in the cases when he took out patents for musical instruments only. On the covers of the submissions it says pianoforte and harp. Yet, when one reads the contents of any of these the harp is given preference over the piano. Perhaps this should not be so suprising, since Sebastian sold £25,000.00 worth of harps in the first year of the release of the new double-action harp. Finally, in June 1810, after eight years of working on it, Sebastian Erard patented the double-action harp with seven pedals (number 3332). This is regarded by most people as the date of the invention of the concert harp. The instrument had one pedal for each note. Each pedal had three positions or two notches, which raised the pitch of the note by a semitone for one notch, or a tone for both notches, by moving the top bridges to shorten the speaking length of the strings. This harp could be considered more versatile than the piano, since with the use of the pedals a player could get 21 pitches to the octave, while with the piano 12 was the limit. It is reported that Erard did not undress for three months before his harp was finished, snatching meals with pencil in hand and sleeping for an hour now and again. The concert harp of today basically maintains his design, as does the roller action for grands. He also had an eighth pedal for opening the back of the sound box, to work as a swell. At this time the harp was almost as popular in the home as the piano, and Erard made large numbers of both. He was also regarded as a master organ repairer.

A Victorian rosewood wheel barometer, 25cm silvered register inscribed Johnson, Derby, alcohol thermometer, the case carved with a border of scrolls, 102cm high, c.1860 Edward Johnson was born in Woodhouse Eaves, Leics., in 1817, was apprenticed in 1834 and in 1849 set up in Rotten Row, Derby, taking over the older firm of Daniel Holme (great uncle of Geoffrey Holme, editor of The Studio magazine) by 1858. In 1871 he was at 60, St. Peter`s Street, employing 6 people also trading as a retailer and jeweller. He died 1882, and was succeeded by his son, also Edward, who moved to 35 Victoria Street, where the firm flourished until the younger Johnson`s death in 1932, when the firm closed and the premises were sold to Montague Burton`s, who demolished it and erected their new store there.

A 19th century mahogany long case clock, of slender proportions, the 15cm arched brass dial inscribed George Womsley, Roman and Arabic numerals, twin winding holes, eight day movement the hood with swan neck cresting terminating with flowerheads, brass ball and spire finals, long arched door to waist, centred with a batwing patera, ogee bracket feet, 213cm high, c.1800 George Womersley the younger was born at Huddersfield in 1735, son of William and successor of his uncle, George, senior, who set up as a clockmaker in Huddersfield in 1722, having been born at Hartshead in 1700. George, junior, was apprenticed to his uncle in 1749 and worked with him from 1756. His son, Jonathan, was born in Huddersfield in 1775, succeeded him in 1814 and was still active in Huddersfield eight years later. George Womersley the younger was born at Huddersfield in 1735, son of William and successor of his uncle, George, senior, who set up as a clockmaker in Huddersfield in 1722, having been born at Hartshead in 1700. George, junior, was apprenticed to his uncle in 1749 and worked with him from 1756. His son, Jonathan, was born in Huddersfield in 1775, succeeded him in 1814 and was still active in Huddersfield eight years later.

A George III oak long case clock, the 33cm arched painted dial inscribed Jas Bown, Matlock, floral spandrels, floral bouquet to arch, Arabic numerals, thirty hour movement striking on a bell, the hood with swan neck cornice, terminating with brass floral roundels, turned columns, short and panel to waist, inlaid with shell and floral patera, plinth base, 216cm high, c.1820 James Bown II of Matlock was the son of James Bown I (1740-1811) who marred Elizabeth Stevenson in 1762. James, junior, was born in 1764, being apprenticed to his father 1778-1785 before succeeding him, and he was still working at his death c. 1847. The family are recorded as blacksmiths at Matlock back to the mid-16th century.

A Victorian mahogany long case clock, the 34cm arched painted dial inscribed John Smith, Derby, painted with the four continents to spandrels, lunar phases to arch, Roman numerals, subsidiary second and date dial, twin winding holes, eight day movement striking on a bell, the hood with swan neck cresting terminating with draught turned roundels, turned columns, shaped door to waist, flanked by fluted angles, bracket feet, 220cm high, c.1840 John Smith (1813-1886) was born at Hognaston, where his father was a tenant farmer, but who sprang from a line of braziers in Derby. He was apprenticed to John Whitehurst II in 1827, becoming an employee with his son, John Whitehurst III in 1834. He resigned after a disagreement with the works manager, Thomas Wodward in 1846, and set up on his own at 126, Nun Street, Derby moving to 27, Queen Street as John Smith & Sons in 1850, and his posterity ran the firm from these premises until 1999 when Smiths, since the 1870s concentrating on turret clocks, moved to Alfreton Road, Derby. The present clock probably dates from the 1850s. The artist who painted the dial seems to have been a prolific local man; another clock (by a different maker) has been noted with the same country house in the breakarch. The artist probably had to hand engrave Basildon Park, from J. P. Neale, Views of Seats, etc., 2nd Series, (4 Vols., London 1825) II, although the rendition here is slightly simplified and impressionistic

A fine Victorian cast iron garden fountain, by Andrew Handyside & Co Limited, Derby, dolphin entwined spire finial, shell bowl supported by three dolphins on a rocky base, 100cm diam, 163cm high, brass maker`s nameplate, c.1880 The famous Handyside foundry in Duke Street, Derby, was set up in 1817 by Samuel Weatherhead (1784-1854) an ironmonger in Iron Gate (the predecessor of the present Bennet`s) and Thomas Glover, making architectural and ornamental ironwork. Their first recorded campana urns were made for 16th Earl of Shrewsbury at Alton Towers in Staffordshire, in the 1820s. In 1847 the company was taken over by Andrew Handyside (1805-1887) a Scot who had been trained in founding by an uncle in St. Petersburg, Russia. He maintained the architectural ironwork, but diversified into heavy engineering, including railway station roofs, bridges and water tanks. In 1876 the firm made the ornamental bridge across Friar Gate, Derby, for the Great Northern Railway and undertook much work in Russia and in India; they also made post boxes. Handyside handed over the management of the firm to his nephew, Alexander Buchanan (1829-1912) in 1873, but the firm became insolvent in 1911 and was taken over, continuing until 1931, when it closed for ever and the site was cleared. The heyday of the manufacture of fine urns and fountains, cast in very pure metal to prevent corrosion, was in the 1850s to 1880s.

A Victorian oversize loving cup/wine cooler, moulded rim, centre girdle, embossed with flowers, foliage and leafy C-scrolls on a matted ground, centred to recto and verso by cartouches, inscribed `To J. R. Gee from members of the family of S. J. Claye`, acanthus capped scroll handles, 26cm high, Elkington & Co Ltd, Birmingham 1895, 43oz Samuel John Claye (1818-1887) was a coal merchant based in London Road, Derby who, in 1853 moved to Long Eaton with his brother and set up a highly successful railway wagon making company which in its heyday supplied the Midland, Caledonian, North British and Great Western Railways with wagons, whilst continuing to own wagons himself in order to bolster his original business a coal merchant. He lived in Long Eaton Manor House (demolished by two of his five sons in order to expand the works early in the 20th century) with his wife and five sons. The firm was sold out of the family in 1937. The Gee family were Long Eaton farmers, but the role J. R. Gee played in the firm for 50 years is not known.

A 9ct gold gentleman`s ring, pierced and monogrammed RFC flanked by thistles, inscribed Lt. C. Dnaldson (sic) The C. Donaldson may be Charles Donaldson (1840-1893) second son of John Donaldson of Wigton, who inherited the Cheswardine estate in Shropshire in 1862 and took the additional surname and arms of Hudson shortly afterwards. He was previously gazetted a Lieutenant in the Shropshire Yeomanry Cavalry, later rising to command it, and become High Sheriff of Shropshire in 1886 and MP for Newcastle-under-Lyme 1880-1885.

3 Beswick Beatrix Potter Figures "The Old Woman Who Lived in a Shoe, Mrs Tittlemouse and Anna Maria"

Early 19th Century silhouette - with gilded highlights - Portrait of Lady Gould (nee Harriet Willes), 8cm x 6.5cm within an ebonised papier-mache frame. Verso inscribed "By Watkins" and with hand written label addressed "Dear Elton (Sir Arthur Elton, Clevedon Court) your silhouette presumably represents the wife of Admiral Davidge Gould (1758-1847)". Sir Davidge Gould captained various vessels for King George III`s Royal Navy and was the last surviving member of Lord Horatio Nelson`s `Band of Brothers`, who had fought with him during the Battle of the Nile presumably represents the wife of Admiral Davidge Gould (1758-1847)

MULBERRY HARBOUR INTEREST: A COLLECTION OF TWENTY SIX ORIGINAL BRITISH OFFICIAL PHOTOGRAPHS relating to the construction and use of the Mulberry Harbour circa 1944, the majority with an applied typewritten caption verso, each 26 x 20cms; showing the caissons under construction, the piers at Arromanches, discharging cargo from piers, caisson under tow; line of blockships sunk at high tide, general views of the prefabricated ports, aerial view of port, etc.; plus NINE ORIGINAL BLACK AND WHITE PHOTOGRAPHS OF MULBERRY HARBOUR MODELS scale 1/4 inch - 1 inch stamped Bassett - Lowke Ltd, Model Engineers London & Northampton verso, each approx. 15.5 x 21cms, and one further related photograph. (36) Acquired and owned by an engineer who worked on the design and construction of the Harbour and then by descent

Tadeusz Was (1912-2005), "Mother and Child", signed, mixed media, 61 x 45.5cm.; 24 x 18in. * Tadeusz trained at the Polish Institute of Fine Art, Krakow for five years before being conscripted into the Polish Army. Tadeusz taught art in Crewe for many years and set up a coalition of Artists known as Group Five who exhibited throughout the Northwest. A solo exhibition - `Lost in Crewe` was held at the Museum and Art Gallery, Warrington in 1991 and an exhibition at the Portico Gallery, Manchester was very well received in June 30th, 2005.

Tadeusz Was (1912-2005), "Comfort", signed, mixed media, 52 x 44cm.; 20.5 x 17.5in. * Tadeusz trained at the Polish Institute of Fine Art, Krakow for five years before being conscripted into the Polish Army. Tadeusz taught art in Crewe for many years and set up a coalition of Artists known as Group Five who exhibited throughout the Northwest. A solo exhibition - `Lost in Crewe` was held at the Museum and Art Gallery, Warrington in 1991 and an exhibition at the Portico Gallery, Manchester was very well received in June 30th, 2005.

Donald McGill (1875-1962), "Mummy, who is that man saying `O-o-o-oh` to?", signed, watercolour over pencil, 23 x 16cm.; 9 x 6.25in. * Donald Fraser McGill was known as `The King of the Saucy Postcard`; over the span of his career he produced an estimated 12,000 designs.

A rare Dutch gold oval ‘Puritan’ watch with calendar. Jan Jansse Boekels the younger, The Hague, circa 1635. The gilt single fusee verge movement with four pierced Egyptian pillars, four-wheel train and later solid escapewheel, the backplate with elaborate foliate pieced balance and ratchet spring set up cocks and signed Jan Jans’ Boekels, Hage, the gold Roman numeral dial with stylised T-shaped half hour markers, inner quarter hour track, calendar aperture at XII o’clock and original shaped steel hand, the solid gold two-piece case with oval dial aperture (glass lacking) and turned post for the suspension loop, the rear with winding hole (lacking shutter), the case 3cm high (excluding suspension loop and post), 2.5cm wide. John Leopold gives an interesting but brief account of the life and work of Jan Jansse Boekels in his article Clockmaking in Britain and the Netherlands (published in NOTES & RECORDS of THE ROYAL SOCIETY, London 1989 page156);- ÒThe earliest certain instance of a Dutch-trained maker going to London dates from around 1626. It concerns one Jacob Cornelisse van Casbeeck, born ca. 1601, who had since about 1621 been an apprentice of the Haarlem maker Jan Jansse II Boekels. This van Casbeeck appears to have had an affair with his master’s wife Saertgen Adriaens, and in 1625 a disreputable fight brought loose, in which the wife accused Boekels of all sorts of behaviour (including incest) and managed to get him imprisoned. Boekels was able to clear himself, but no doubt a lot of damage had been done to his reputation and so he went to live in The Hague, thus becoming the first watchmaker to work there. The wife finelly ran off with van Casbeeck to London, where they lived as man and wife and as such had a daughter baptised in 1628. This fact enabled Boekels to get a divorce in 1632; he died circa 1650. This sordid story would be unimportant but for the fact that Boekels was the foremost watchmaker of Haarlem, if not the country, he seems to have been the first to produce small, oval watches of a simple rounded shape commonly known as puritan-watches. One such watch made by Boekels while still in Haarlem, and therefore dating before 1626, survives..Ó This watch can be compared to a related example described by Thompson, David JAN JANSSEN BOCKELTS THE YOUNGER ‘PURITAN’ STYLE VERGE WATCH WITH CENTRE SECONDS, HAARLEM, c. 1630, ‘‘ANTIQUARIAN HOROLOGY’ Vol XXIX, December 2006 pages 827-30.

A Victorian engraved gilt-brass carriage timepiece. Dent, London, mid 19th century. The four-pillar single fusee movement with Harrison’s maintaining power, lever escapement between the plates, and vertical monometallic balance with foliate engraved backcock and regulation pointer mounted on the backplate inscribed Dent, London, 1739, PATENT LEVER, the rectangular foliate-scroll engraved single-sheet silvered dial with Roman numeral chapter ring and gilt hands, the case with shaped hinged handle, concave caddy and spire finials above recessed frieze, bevel glazed doors to front and rear and deep foliate scroll work to sides divided by turned pilasters to angles, on stepped moulded base with turned feet, 11.5cm high excluding handle. According to Mercer (Mercer, Vaudrey EDWARD JOHN DENT AND HIS SUCCESSORS page 178) carriage clocks signed Dent, London can be included within the series signed E.J. Dent.. hence the current lot would have probably been made shortly prior to Edward John Dent’s death in 1853. Edward John Dent was a talented horologist who at the age of 17 transferred his apprenticeship from the trade of tallow chandler to watchmaking under the charge of Edward Gaudin in 1807. By 1814 he was becoming well known as a watch and clockmaker receiving commissions from the Admiralty for a ‘Standard Astronomical Clock’ and pocket chronometers for the Colonial Office Africa Expedition. In 1830 Dent went into partnership with the renowned watch and chronometer maker John Roger Arnold which continued until 1840 when he left and set up business alone as E.J. Dent at 82 Strand, London, primarily making marine chronometers, watches and precision clocks. In 1852 Edward Dent successfully tendered to make the Great Clock to be housed in St. Stephens Tower at the New Palace of Westminster. The clock was completed in 1859, apparently at a financial loss to the firm, however it ensured that the Dent name became a household name synonymous with fine clockmaking. After his death in 1853 the firm was continued by his successors and was still trading well into the latter half of the 20th century.

A large German walnut and parcel ebonised eight-day regulator wall timepiece Lenzkirch, circa 1869 . The four pillar single train weight-driven movement with jewelled and capped arbors to the top three wheels of the train and pallet arbor, five-spoke wheel crossings, high pinion count, Harrison’s maintaining power, jewelled pallets, adjustable beat screw and substantial bi-metallic compensating pendulum with a fine regulating nut to the large brass bob, The backplate is stamped with LENZKIRCH above ‘one million’ trademark and numbered 431913, giving a production date of 1869, the 9 inch circular two-piece white enamel Roman numeral dial with blued steel moon hands and a sweep seconds hand, in a shaped arch-glazed front case with keystone centred break-arch pediment above scroll applied canted angles and inverted stepped ogee moulded base, 181cm high. The Lenzkirch clock factory was founded in 1849 by clockmaker Eduard Hauser and organ maker Ignaz Schpperle who decided to make clock movements and parts of the highest quality using line production in order supply individual clockmakers for finishing and casing. Within a few years the factory was producing complete clocks, however towards the end of the century the factory went into decline due to failure in keeping up with new production techniques. This resulted in the firm being sold to the Junghans brothers who continued it as an off-shoot until its final closure in 1932. The current lot demonstrates the fact that the firm were able to produce clocks of the finest quality.

A Queen Anne walnut longcase clock. Asselin, London, early 18th century. The four-pillar inside countwheel bell-striking movement with 12 inch square brass dial with calendar aperture, ringed winding holes and subsidiary seconds dial to the matted centre within an applied silvered Roman numeral chapter ring with Arabic five minutes, stylised fleur-de-lys half hour markers and signed Asselin, London to lower edge, the angles with twin cherub and crown pattern spandrels, in a case with moulded cornice and foliate fretwork frieze above integral columns to hood door, concave throat moulding and rectangular quarter veneered door centred by a brass lenticle to trunk, on a rebuilt plinth base with moulded skirt, 217cm high. Probably Stephen Asselin who is recorded in Loomes, BrianThe Early CLOCKMAKERS of Great Britain as working circa 1700-20.

A rare Queen Anne ebonised thirty-hour longcase clock. Robert Rouch, Bristol, early 18th century. The posted countwheel bell-striking movement with anchor escapement and 11 inch square brass dial with herringbone border engraved calendar aperture incorporating pinhole adjustment and rectangular silvered signature plaque Rich’d Rouch, Bristol to the matted centre, within an applied silvered Roman numeral chapter ring with Arabic five minutes and stylised fleur-de-lys half hour markers, with original pierced steel hands and gilt female mask and scroll cast spandrels to angles, the case with silvered wood ball finials and domed caddy to the blind fret fronted box upstand, above moulded cornice with conforming fret to frieze and integral columns to hood door, the trunk with concave throat moulding and lenticle-centred rectangular door, on plinth base with moulded skirt, 220cm high. Provenance: the property of a private collector. Robert Rouch is recorded in Bellchambers, J.K. Somerset Clockmakers as working in Bristol circa 1725-55, where he is listed as ‘a fine maker’. A single-handed clock by Dennis Chambers of Pucklechurch with identical engraved half-hour markers is illustrated in Darken, Jeff and Hooper, John English 30 Hour Clocks Origin & Development 1600-1800 on page 145. The calendar has the unusual feature of pin-hole adjustment for advancing the date at the end of shorter months, a feature normally associated with the workshop of Thomas Tompion and his successor George Graham. The case is a rare survivor and is in good original condition considering its pine construction, and was made by a cabinet maker who successfully captured the feel and proportions of a high-end London case of the period.

An Important burr walnut longcase clock of three month duration with pull quarter-repeat on six bells. Simon DeCharmes, London, with movement and dial supplied for the clock by Claude DuChesne, dated 1717. The substantial eight finned-pillar rack and bell striking movement with five-wheel trains, rise/fall pendulum regulation and pull-quarter repeat on six bells, the 24 hour wheel inscribed Claudius Du Chesne Londini, 24th May 1717, the 12 inch gilt brass break-arch dial with calendar aperture, turned collets for the winding holes, pierced steel hands and silvered subsidiary seconds ring to the finely matted centre within an applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to the outer track, the angles with gilt cast mask-and-scroll spandrels, beneath arch with central domed silvered boss boldly signed Simon DeCharmes, London, flanked by subsidiary strike/silent and regulation dials with matted centres and within conforming foliate scroll relief infill, the case of impressive proportions and fine colour, with tall ogee domed caddy applied with three cast brass ball-and-spire finials above blind fret break-fronted box upstand incorporating ogee moulded break-arch frieze with conforming fret infill, the hood door with applied half-round gilt brass dial surround flanked by integral columns with gilt caps and bases, the sides with brass-edged large rectangular windows and dressed with quarter columns backed onto bargeboards to the rear edges, the trunk with book-matched veneers to the concave throat and unusual applied break-arch mouldings above herringbone banded finely figured trunk door, on conforming banded panel plinth base with double skirt, 253cm excluding finials, 271cm high overall. Provenance: The property of a Lady. Claude DuChesne and Simon DeCharmes were both of French Huguenot immigrant extraction. DuChesne originated from Paris and was made Free of the Clockmakers Company in 1693, De Charmes was made a Free brother in 1691. Both specialised in producing very distinctive high quality clocks usually of complex specification, often playing music or with astronomical features, many for export to Northern Europe. When the work of both makers is compared it becomes apparent that they must have had a close working relationship. A good example illustrating the similarities of both makers work, can be seen when comparing two japanned musical table clocks sold at Sotheby’s in 2006/7. The first example, by DuChesne, sold in London on 14/12/06 (lot 66) the second, by DeCharmes, also sold in London, on 25/04/07 (lot 81). Both these clocks are of similar specification and are in near identical cases, only differing slightly in detail. The dial layout of the current lot with two subsidiary dials beneath a central feature (either signature plaque or third dial) appears to have been the favoured format of DuChesne at this period. This coupled with the use of fitted disc collets around the winding holes (also favoured by DuChesne) and the fact that the 24 hour wheel is signed by him confirms that the movement was supplied by DuChesne to DeCharmes for use in this clock, complete with the finished dial to which he had only to add a signed boss. The case on the other hand exhibits details which appear to be unique to DeCharmes, most noticeably the unusual break-arch moulding above the trunk door. This feature (coupled with directly comparable caddy configurations and break-arch detail immediately above the arch of the case) can be seen on two other examples by DeCharmes. The first (now with later marquetry) was sold by Sotheby’s, London on 19/12/00 (lot 335) the second also sold by Sotheby’s in London on 23/03/99 lot 252. The case can also be compared with a marquetry example housing a grande sonnerie movement by Quare (number 145) illustrated in Robinson, Tom The LONGCASE CLOCK pages144-5 which Robinson dates to 1716-18. The brass half-round moulding applied to the front door and side windows of the hood is also a feature often found on examples by Quare. Clocks of three month duration are extremely rare, especially example which also strike the hours due to the enormous power reserve required to operate for a full three months. To tackle this problem Joseph Knibb developed Roman striking, (a coded form of hour notation on two bells one representing the ‘I’ on a dial the other ‘V’) in order to reduce the amount of power required. The current lot however, in addition to striking the full hours for the entire three-month period also has reserve built into the hour train to allow reasonable operation of the pull-quarter repeat over that period. Both . The movement and case are of suitably substantial construction to accommodate the strains and stresses created by the heavy driving weights. The extraordinary specification of the movement coupled with the complex dial layout and impressive proportions of the case suggests that this magnificent clock was made for an extremely wealthy client who wished to express his high status in the most appropriate manner.

GREAT BRITAIN. A £1 specimen of THE BANK OF ENGLAND no 0. 00. 000000. signed by Kenneth Oswald Pappiatt who was chief cashier from 1934-1949.

GERMANY. A 10 RM KONVERSIONKASSE issued by the Third Reich in 1933 and given to Jewish emigrants who were able to reclaim about 25% of the face value.

RUSSIA. A 5 ROUBLE DATED 1898. STATE CREDIT NOTE issued in the reign of Czar Nicholas II 1894-1917 who was deposed by the provisional government of Kerenski, 1917. No. GP534506

CONFEDERATE STATES. THREE NOTES. TWO 50 DOLLAR TYPES, April 6th 1863 & February 17th 1864 and a 2 DOLLAR NOTE, April 17th 1864, all with portraits of Jeff Davis who was president of the C. S. A. for the 4 years of it’s existence.

SOUTH AFRICA. A £10 SPECIMEN NOTE NO. C-0001. 1891/2. Issued by the National Bank of South Africa. The portrait is of President Paul Kruger who owned the bank. He was presented with a

Follower of John Linnell 1792-1882, Portrait Miniature- Portrait of Helen Rose O`Connell 1825-1909, (grand-daughter of Captain William Bligh) seated half-length, a cockatiel perched on her hand, in an extensive landscape; watercolour and bodycolour on ivory, with inscription verso, 12x9cm. Provenance: Helen Rose O`Connell 1825-1909, thence by decent to the present owner (the portrait of Rose) Note: The sitter holding an exotic cockatiel in her right hand, presumably a reference to her grand-father`s connection with the southern colonies: In 1787 aged 33, Captain Bligh was given command of `The Bounty`, a three year old merchant ship, his mission was to transport breadfruit from Tahiti to the West Indies. In April 1789 the famous mutiny took place, led by Fletcher Christian. An extract taken from Bligh`s logbook. Entry for 28th April - `Just before Sunrise Mr Christian and the Master at Arms… came into my cabin while I was fast asleep, and seizing me tyed my hands with a Cord & threatened instant death if I made the least noise. I however called sufficiently loud to alarm the Officers, who found themselves equally secured by centinels at their doors… Mr Christian had a Cutlass & the others were armed with Musquets & bayonets. I was now carried on deck in my Shirt in torture with a severe bandage round my wrists behind my back, where I found no man to rescue me…` In 1805, Bligh was sent to New South Wales as Governor, but his oppressive manner contributed to an uprising, in Sydney in 1808 - the Rum Rebellion - he had attempted to end the use of rum as a form of currency. .

Joseph Clayton Clarke "Kyd" Illustrator, 1856-1937- "Solomon Pell, Capt Boldwig and others; original watercolour illustrations intended for publication as playing cards, a collection of nineteen caricatures depicting characters from Dickens` classic, the Pickwick Papers, each signed, 13x9cm, ea. Note: J. Clayton Clark, who called himself "Kyd," drew the Pickwick Playing Cards as a collection of caricatures of the characters from Dickens` classic, the Pickwick Papers. (19) (unframed)

Robert Pinget, Swiss/French 1919-1996- Untitled abstract composition in blue, green and black; oil on canvas, signed on the reverse, 55x38.5cm. Notes on the artist: The avant-garde French novelist and playwright best known as a member of the Nouveau Roman (New Novel) literary movement died in Tours last August 25th at the age of 77. He trained initially as a barrister but gave up the law to paint in Paris, after which he devoted himself entirely to writing. Pinget was a prolific author who, in the course of 46 years, published 14 novels, 11 plays and several books of essays. His first book of short stories was published in 1951, but it was his first novel "Mabu or the Raw Material" that gained him his first notice. In 1961, his novel "The Inquisitory" won the French Critics Prize while another novel, "Someone," won the prestigious Femina Prize in 1965. In 1987, he was awarded the Grand Prix National des Lettres, the same year that five of his plays were presented at the Avignon theatre festival. While invariably associated with the New Novel movement (along with better-known members like Robbe-Grillet, Simon and Sarraute), Pinget was reluctant to associate his work with any specific genre or school, preferring to acknowledge his literary debts to such writers as Marcel Proust, William Faulkner, Max Jacob and his friend Samuel Beckett. "The Inquisitory," perhaps his best known novel, is characteristic of his approach to fiction. A technical masterpiece, it is large novel consisting entirely of question and answer where the reader must work out the truth and its meaning for himself. A copy of an article in The Sunday Time, 5th Decemeber 1965 is available with this lot

A British Mid 19th Century Scrap Album- Containing various watercolour still-life studies, landscapes, portraits and written verse, by and after many contributing hands, title page inscribed "Who Ever Contributes to this Scrap-book to fill Shall Receive the Best Thanks from Mr P Hill" pen and ink, bound in a marbled board and red leather gilt tooled album, ( album)

Twenty two boxed Corgi vehicles comprising Hundred Years of Flight set, The Royal British Legion set, D Day 50th Anniversary set, Hawker Hunter Mark VI, CS90124 Louis Bleriot set, Cruiser Tank Mark VII, ten modern Batman Series vehicles, Wallace and Grommit The Curse of the Were-Rabbit, modern James Bond 007 Aston Martin DB5 and Rolls Royce two piece set and four modern Doctor Who sets.

A collection of ink prints on paper relating to Adolph Hitler and Nazi Germany by Evra comprising a picture of Adolph Hitler over an open grave entitled `They Have Come for the Reich` marked in pencil spoiled print, another of three portraits, one of Napoleon another of Frederick the Great of Prussia and the central portrait frame being empty with a noose hanging into the front with Adolph Hitler entitled `Where am I to Hang`, another of Jesus Christ on a crucifix being hacked down by Adolph Hitler, Mussolini and another entitled `Progress of Culture`, another of Adolph Hitler dressed as Napoleon with two nurses holding him up entitled `Poor Germany`, one in red ink of Adolph Hitler drowning with a swastika tied to his neck by a rope entitled `A Sea of Blood`, the ghost of Adolph Hitler the hand touched in red paint above a group of refuges wandering through a desolate landscape entitled `Hitler`s Salute of Blood`, Adolph Hitler in bed dreaming with above him sights of refugees, dead bodies and tortured individuals (3), another of Adolph Hitler in bed with dead bodies, refugees and faces looking at him accusingly entitled `A Good Conscience is a Soft Pillow` (3), Hitler reading Mein Kampf entitled `I Wrote This` and on the same sheet a picture of Adolph Hitler playing cards with Stalin, entitled `Gambler` (2) and another of Adolph Hitler being held in a vice like grip with an applied paper with ink alteration entitled `The Grip Gets Faster` and on the same sheet a picture of Mussolini reading a paper entitled `StŸrmer` entitled `Pillar of Culture` (2). From the collection of Erich Wolfsfeld 1884-1956 who escaped from Nazi Germany prior to World War II (illustrated).

Two late 18th century oval enamelled patch boxes, one inscribed `In Remembrance of Friendship`, the other inscribed `Who Opens This Must Have A Kifs` (bow af) enclosing mirrors to the lids (2).

A Della Robia pottery muffin dish decorated with incised floral decoration, complete with Della Robia Williamson Art Gallery & Museum Catalogue and a photograph of Annie Smith the decorator who gave the muffin dish to the present owners grandmother (Annie Smith`s landlady) as a `Thank you` gift when she moved house, incised factory marks and date 1894 to base (af), diameter 20cm (illustrated).

Ten Beswick Beatrix Potter Mice, `Tailor of Gloucester`, BP3a; `Appley Dapply`, BP3a; `Mrs Tittlemouse`, BP3a; `Timmy Willie from Johnny Town Mouse`, BP3a; `Lady Mouse`, BP3a; `Hunca Munca`, BP3a; `The Old Woman Who Lived in a Shoe`, BP3a; `Anna Maria`, BP3a; `Johnny Town Mouse`, BP3a and `Thomasina Tittlemouse`, BP3b (10)

An interesting Royal Doulton blue glazed brown stoneware urn of small size affixed with a Chester silver hallmarked rectangular escutcheon, the lid modelled as a caricature of a monkey-like gentleman with wing collar and oversized bow tie and having centre parted long straight hair with glass eyes, 144mm high * Whilst the base is impressed with the Royal Doulton makers mark used for 1902 onwards and the silver escutcheon is hallmarked for Chester 1918-19 the lid has no markings. The similarity of the blue glaze and near perfect fit of the lid to the collar of the jar would suggest that both lid and base were intended for one another at manufacture. The most likely candidate for whose caricature this may represent is Philip Snowden nicknamed `The Little Monkey` and who became the Labour Party`s first Chancellor of the Exchequer briefly in 1924 and again in 1931.

1941 Queen Mary: a handwritten letter on the black embossed headed notepaper of Badmington, Gloucestershire inscribed From Mary R seeking information, dated 14th August 1941, together with the envelope addressed to Captain Attwood, Glos. Regt and signed Queen Mary, 190 x 121mm mounted on card with a photograph * On 4th September 1939 Queen Mary was evacuated to Badmington where a company of the Gloucestershire Regiment gave her protection. Of these many became acquainted with her and in this letter she asks for a list of those who had subsequently been posted elsewhere.

A George V replica two handled "Bar Point to Point" Trophy to the Pegasus Club 1899, with cut card work frieze, London 1915, 50oz, Won in 1914 by H.T Cawley who was later killed in action in Gallipoli on September 24th, 1915, Inscribed underneath, Provenance: Cawley family, ex Berrington Hall

Attributed to Joseph Wright (American 1756-1793) Portrait of a gentleman half length wearing a blue coat and a white stock Oil on copper 175 x 135mm Wright was an American painter who worked in England between 1772-1782. + + Some old paint loss at the top of the copper panel under the sight edge of the frame yellowing to the varnish in places some fine paint separation

SALEROOM AMENDMENT: Georges Antoine Keman (German 1765-1830) Portrait of a family, a mother and her seven children. Signed on the reverse and dated Feb 19th 1800, 150 x 118mm. This was once thought to be a depiction of the Packenham-Mahon family who were from Northern Ireland but on the basis that the artist came to London between (1793-1807) and was not known to have visited Ireland, this seems less likely. 3 small areas of rubbing or paint loss around margins lower left, centre right and top which have been clumsily retouched

Herman Saftleven (1609-1685) Extensive river valley with a goatherd near a tree and a village below Signed with monogram on the tree trunk Oil on panel 36.5 x 54cm; 14 x 21 1/4 in This subtle and panoramic landscape is typical of Saftleven’s earlier style which owes much to his master Jan Van Goyen to whom this work was incorrectly attributed in the inventory of 1848 (see literature below) Provenance: Samuel Day of Hinton House Hinton Charterhouse (1757-1806) Mary Day his widow till 1846 Thomas Jones (1788-1848) who inherited the estate from her Edward Talbot Day Jones (1837-1911) and thence by descent to the present owner Literature: Inventory of all the Household…including Paintings at Hinton Charterhouse the Property of the Late Thomas Jones made August 23rd-28th 1848 by English and Sons Bath referred to as: Hilly Landscape with Shepherd and Sheep 14 inches by 21 Van Goyen + + Good condition would be enhanced with very light surface cleaning. Small re-touchings visible under u.v.

A pair of yellow and black Lonsdale boxing shorts, autographed at Maddison Square Garden, New York, Monday, 11th March, 1996, to pay tribute to Leroy Neiman who designed the programme cover for the first fight between Mohammed Ali and Joe Frasier, autographs include: Joe Frasier, Lloyd Patterson, Eddie Futch, Emile Griffith, Carlo Ortiz, Joey Jiardeello, Doug Jones, Gil Clancey, Howie Albert, Peter Heller and Peter Green (former Croydon Heavyweight).

A group of four Great War medals, including the Military Medal for Bravery in the Field, the 1914-15 star, the War Medal and the Victory Medal, to Private Alexander Sinclair Farquhar, 12589, of the 7th Battalion Royal Norfolk Regiment, who was killed in action 30th November 1917; together with his memorial plaque.

Movie quad posters including: "Free Willy", "Look Who`s Talking Too", "Fabulous Baker Boys", "The Player", "Dances With Wolves", "Chaplain", "Patriot Games", "Fourth Protocol", "Broadcast News", "Short Circuit", "Hot Shots Part Deux" and other films.

A VICTORIAN EBONISED WOODEN TRUNCHEON with turned handle and gilded decoration, engraved "C R. Grubb Riots 1867" in gold lettering, 16" long. This truncheon would have been used by a police constable during the series of bread riots, known as the "Grubb Riots" in Oxford in 1867. These were named after Mr Grubb, a baker, who was a catalyst in the riots when he started selling his bread to the University colleges at lower prices than to the struggling townsfolk.

A 19TH CENTURY GILT BRASS FRENCH REPEATER CARRIAGE CLOCK with overhead swing carrying handle, bevelled glass, the white enamel dial with Roman numerals and back plate inscribed `Promoli and Hausbourg, Paris` push button repeat mechanism striking on a bell, 6 1/2" high, in original green Morocco leather carrying case (see illustration). Provenance according to a card sold with the lot; `the clock originally belonged to Lord Ashton who had a special fixture made in his carriage for travelling purposes`. It has then descended through his family including Miss Margaret Ashton who became the first lady councillor in Manchester.

A boxed set of table mats presented to `Mr Charles` by Queen Elizabeth II with personal hand written card from Buckingham Palace inscribed Mr Charles with all good wishes for Christmas and the New Year from Elizabeth R". The lot also includes a Christmas gift tag personally signed "Elizabeth R". The lot also includes a photograph of the Mr Charles who was the personal hairdresser to the Queen at that time. "

A Britains `New Mechanical Equestrienne`, comprising a dapple-grey horse and female acrobat who leaps over a fixed bar as the horse revolves around a wheel operated base, good condition, boxed, the box with one split corner and one detached end flap. Visit www.dnfa.com for condition reports.

A limited edition print, "Prototype Hurricane 1935", by Derek Stocker, number 423 of 500, depicting the Hurricane flying through broken cloud above flat countryside, signed by various pilots and high ranking officers, including Bill Bedford who died shortly after the signing, with signed certificate of authenticity to the reverse, in ebonised frame, 27" x 23" overall. GC

A very rare and early Meissen figure group modelled by J.J.Kandler. `DER STURMISCHES LIEBESPAAR` or `THE STORMY LOVERS`. Modelled with a youthful gent on bended knee, lamenting his unrequited love for a shepherdess who turns away from his advance. All this to the amusement of Harlequin who observes from the rear as mischievous Cupid climbs upon the youthful mans back and strikes him, raised upon a large simple pad base applied with flowers and leaves, coloured in original enamels c1741-3, 6.75 tall. Notes; This model inspired by the engravings of William Hogarth before and after marriage is clearly described in Kandler`s Taxa for 1741. This group cost 12 Thalers. Very few examples of this group survive with the Harlequin figure who might well be seen as a conductor directing a symphony of passionate courtship. Other examples of this model also have sheep or a dog at the base. For similar examples see the von Pannwitz collection, sold Galerie Helbing, Munich 24th and 25th October 1905, lot 448 and in the Pauls-Eisenbeiss collection, see Dr. Erika Pauls-Eisenbeiss, op. cit., vol. 1, pp. 302-303. For an example including a tree in the Irwin Untermyer collection see Yvonne Hackenbroch, op. cit., pl. 66, fig. 102.