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A hallmarked silver pedestal bowl, circular stepped foot supporting plain bowl terminating in pierced gallery, weight 20.5oz, diameter 25cm, height 13cm, Sheffield 1913, Walker & Hall.

A hallmarked silver pedestal bowl modelled in the manner of The Warwick Vase, square base rising to part fluted circular bowl and twin bifurcated vine style handles, weight 70.5oz, height 22cm, diameter including handles 32cm, Sheffield 1922, Walker & Hall.

An early 20th Century hallmarked silver table centre piece, square base supporting boat shaped bowl of plain form detailed with acanthus leaf border and terminating in twin Griffin figures, weight 62oz, length 33cm, height 29cm, Sheffield 1914, Walker and Hall.

A hallmarked silver twin handled bowl, circular spread foot below plain body with presentation engraving, terminating in twin scroll handles, weight 30oz, diameter 30cm including handles, Sheffield 1911, Walker & Hall.

A hallmarked silver hot water pot with part fluted decoration terminating in angular wooden handle, weight 20.5oz, height 19cm, Sheffield 1893, Walker & Hall, S/D.

Pieter Baltens, um 1527 Antwerpen – 1584 ebendaAuferstehung ChristiÖl auf Eichenholz. Alte Weichholz-Parkettierung.107 x 73,8 cm.Um 1563.Beigegeben Expertise von Dr. Klaus Ertz, Lingen.Gezeigt ist die Auferstehungsszene in nächtlich dunkler Beleuchtung mit Blick auf die zentrale Graböffnung mit beiseite gerolltem Stein, wobei im oberen Hintergrund bereits das Tageslicht aufleuchtet. Besonders aber sind die Hauptfiguren schlaglichtartig hervorgehoben: im oberen Zentrum ein Engel in langem, weiß leuchtendem Kleid, das noch in gotisch anmutenden Falten über den Stein zieht; weiter links oben der Auferstandene mit Lichtgloriole, rotem Velum und Kreuzfahne. Die „Drei Heiligen Marien“ und zwei rot gekleidete männliche Gestalten werden hier als Zeugen der Szene gezeigt, was in der Exegese der Textüberlieferung diskutiert wird. Deutlich ist hier ihre Zuwendung zu dem Engel, der ihnen die Nachricht der Auferstehung verkündet. Besonderes Interesse verdienen stilistisch die schlafenden Wächter, die hier kompositionell in einem Kreis um ein erloschenes Feuer gezeigt werden, darunter drei, die soeben aus dem Schlaf erwachen, während dahinter drei weitere ratlos neben dem offenen Grab einherschreiten. Besonders hier zeigt sich die charakteristische, nicht selten skurrile Figurenauffassung Baltens, die an Bosch erinnert. Auch scheint der Maler interessiert gewesen zu sein, ein Verschlusssiegel am runden Stein der Grabhöhle zu zeigen. Hier ist in den Niederlanden also bereits der Typus der Jerusalemer Grabschließungen durch gerollte scheibenförmig gehauene Steine bekannt gewesen sein. Nahezu stilllebenartig erscheinen im unteren Bildteil Kanne, Krug und Armbrust. A.R.Provenienz:Mevrouw Leys. Anmerkung:Aufgeführt in: Schweizer Privatsammlung (1928 mit Verz. von Dr. Sarazin, Basel, (456/327) dort P. Brueghel d. J. ?).Literatur:Ausgestellt mit Katalog: Marc Restellini (Hrsg.), La dynastie Brueghel, Ausstellungskatalog, Pinacothèque, Paris, 11. Oktober 2013-16. März 2014, mit Texten von Sergio Gaddi, Doron J. Lurie, Klaus Ertz, Maximiliaan P. J. Martens, Jan De Maere, Nathalie Wiener, Marc Restellini, Catherine Tron-Mulder und Maica Sanconie, Paris 2013.Ausstellungen: Das vorliegende Gemälde wurde 2013/14 in der Pinacothéque Paris ausgestellt und unter dem Kapitel „La dynastie Brueghel Nr. 67“ besprochen. Ausstellung Hassels Generale Bank 1988 Passie Nr. 115.Walker Art Gallery, Liverpool. (13403033) (11)Pieter Baltens, ca. 1527 Antwerp – 1584 ibid.THE RESURRECTION OF CHRIST Oil on oak panel. Old softwood parquetting. 107 x 73.8 cm.ca. 1563.Accomapnied by an expert´s report by Dr. Klaus Ertz, Lingen. Provenance:Mevrouw Leys. Notes:Listed in: Swiss private collection (1928 with register by Dr Sarazin, Basel, (456/327) there P. Brueghel the Younger).Literature:Exhibited with catalogue entry: Marc Restellini (ed.), La dynastie Brueghel, exhibition catalogue, Pinacothèque, Paris, 11 October 2013 – 16 March 2014. Authors: Sergio Gaddi, Doron J. Lurie, Klaus Ertz, Maximiliaan P. J. Martens, Jan De Maere, Nathalie Wiener, Marc Restellini, Catherine Tron-Mulder, and Maica Sanconie, Paris, 2013.Exhibitions: The present painting was exhibited at the Pinacothéque Paris in 2013/14 and discussed in the chapter “La dynastie Brueghel no. 67“. Exhibition Hassels Generale Bank 1988 Passie no. 115.Walker Art Gallery, Liverpool.

Orazio Gentileschi, 1563 Pisa – 1639 London, zug./ Werkstatt desMaria LactansÖl auf Leinwand. Doubliert.135 x 105 cm.In altem rötlich changierendem Profilholzrahmen.Nur leicht changiert das Licht um die Hauptakteure dieses Gemäldes, das alles um sich herum außer Acht lässt und sich – von der Beleuchtungsinszenierung unterstützt – auf sich selbst konzentriert. Auf den querformatigen Versionen unterstreicht ein auf der Erde lagernder Josef das Elend, in dem das Paar und das Jesuskind auf der Flucht nach Ägypten ist. In dem vorliegenden Gemälde hingegen wird die Bedeutung der mütterlichen Hingabe an das heranwachsende Kind und dessen Versorgung herausgestellt. Während der caravaggeske Realismus etwa in dem Wiener Bild noch eine große Rolle spielt, tritt dieser zu Gunsten des toskanischen Schönheitssinns, in dem Gentileschi seine Heimat wiedererkennt, zurück und lässt die innige Liebe zwischen Mutter und Kind triumphieren. Er, der Vater der Artemisia Gentileschi, malte zunächst im manieristischen Stil, wurde dann in Rom von Caravaggio beeinflusst und zog dann erst nach Paris, wo er am Hof von Maria de Medici wirkte, und dann nach London, wo Charles I von England sein Auftraggeber war.Provenienz:Privatsammlung, Rheinland, Monogramm P.B.Privatsammlung, Südwestdeutschland.Anmerkung:Identische Maße und quasi identische Darstellung bei dem Gemälde, das bei der Fondazione Zeri unter 76304 als Orazio Gentileschi registriert ist und zuletzt 1956 auf dem deutschen Kunstmarkt vermerkt ist (Weltkunst 1956, Nr. 10, S. 18, O. Gentileschi, zug.). Besonders die gleichen Maße bei ähnlich guter Qualität lassen eine Zuschreibung an Gentileschi auch unseres Gemäldes angemessen sein. Eine weitere isolierte Version der „Ruhe auf der Flucht nach Ägypten“ mit Maria und dem Kind wurde am 4.12.1991 unter Lot 72 bei Christie’s in Rom verkauft (Maße: 107 x 102 cm).Als Vergleich kann auch das querformatige Gemälde Gentileschis „Ruhe auf der Flucht nach Ägypten“ herangezogen, werden, welches per Signatur für Gentileschi gesichert ist „HORATIVS GENTILESHVS FECIT“ und seit spätestens 1783 in der Wiener Gemäldegalerie nachweisbar ist. Man kann davon ausgehen, dass Gentileschi das vorliegende reizvolle Motiv auch isoliert – wie hier angeboten – anfertigte oder seine Werkstatt damit beauftragte.Die National Gallery in London verfügt ebenfalls über eine „Ruhe auf der Flucht nach Ägypten“ des genannten Künstlers, wobei Maria jedoch ein schlichteres Gewand trägt und dem Jesuskind ein üppigeres Haupthaar zugedacht wurde. Im Louvre wird vermutlich die jüngste Version verwahrt. Literatur:Vgl. Benedict Nicolson, Luisa Vertova, Caravaggism in Europe, Bd. I, Turin 1990, S. 113.Vgl. Benedict Nicolson, The International Caravaggesque movement, Oxford 1979, S. 52.Vgl. Raymond Ward Bissell, Orazio Gentileschi, University Park u.a. 1981.Vgl. Hermann Voss, Orazio Gentileschi. Four versions of his „Rest on the Flight into Egypt“, The connoisseur, November 1959, S. 163-165.Vgl. Orazio and Artemisia Gentileschi, Ausstellungskatalog, Metropolitan Museum of Art, New York, 14. Februar 2002-12. Mai 2002, Museo Nazionale del Palazzo di Venezia, Rom, 20. Oktober 2001-20. Januar 2002, Saint Louis Art Museum, Saint Louis, MO, 15. Juni 2002-15. September 2002, hrsg. v. Keith Christiansen und Judith Walker Mann, New Haven u. a. 2001. (1340072) (13)Orazio Gentileschi, 1563 Pisa – 1639 London, attributed/ workshop ofTHE NURSING MADONNA Oil on canvas. Relined. 135 x 105 cm.Provenance:Private collection, Rhineland, monogram P.B.Private collection, Southwest Germany.Notes:A painting listed at Fondazione Zeri under no. 76304 shows identical dimensions and a virtually identical depiction and is described as by Orazio Gentileschi and last noted on the German art market in 1956. (Weltkunst 1956, no. 10, p. 18, O. Gentileschi, attribution). It is particularly the identical dimensions and a similarly good quality which make an attribution to Gentileschi fitting for our painting. Another isolated version of “Rest on the Flight into Egypt“ with the Virgin and the Christ Child was sold on 4 December 1991 under lot 72 at Christie’s in Rome (dimensions: 107 x 102 cm).Gentileschi’s landscape format painting “Rest on the Flight into Egypt“ is also comparable, which is secured by a signature for Gentileschi (HORATIVS GENTILESHVS FECIT) and can be traced to the Vienna Picture Gallery since 1783 at the latest. It can be assumed that Gentileschi also produced this attractive motif in isolation – as is offered here – or instructed his workshop to do so.The National Gallery in London also holds a “Rest on the Flight into Egypt“ by the same artist, although the Virgin wears a simpler robe, and the Christ Child was given a lusher head of hair. The most recent version is probably held at the Louvre.Literature:cf. Benedict Nicolson, Luisa Vertova, Caravaggism in Europe, vol. I, Turin 1990, p. 113.cf. Benedict Nicolson, The International Caravaggesque movement, Oxford 1979, p. 52.cf. Raymond Ward Bissell, Orazio Gentileschi, University Park et al. 1981.cf. Hermann Voss, Orazio Gentileschi. Four versions of his “Rest on the Flight into Egypt“ The connoisseur, November 1959, pp. 163-165.cf. Orazio and Artemisia Gentileschi, exhibition catalogue, Metropolitan Museum of Art, New York, 14th February 2002-12th May 2002, Museo Nazionale del Palazzo di Venezia, Rome, 20th October 2001-20th January 2002, Saint Louis Art Museum, Saint Louis, MO, 15th June 2002-15th September 2002, ed. by Keith Christiansen and Judith Walker Mann, New Haven et al. 2001.

John Crampton Walker ARHA (1890-1942)Cottages in a Mountain LandscapeOil on canvas, 34.5 x 39.5 (13½ x 15½")Signed

Nick Walker (British 1969-), 'The Morning After: Empire State', 2009, screen print in colours on wove paper, signed and numbered from an edition of 175 in pencil, published by Black Rat Press; 121.5 x 99.5cm inc frameARR121.5 x 99.5cm inc frameIn very good condition No knocks, tears or creases to the sheetThis work has been framed in a black frame with a mount This work has not been examined outside of the frame.

Nick Walker (British 1969-), 'Umbrella Assassin II', 2008, spray paint and stencil on canvas, signed and numbered from an edition of 3 to canvas verso, numbered and dated to the stretcher verso, signed wit the Artists monograph tot he canvas edge; 50.5 x 40.5cm inc frameARR50.5 x 40.5cm inc frameIn Very Good ConditionNo sign of paint loss or restorationNo rips, holes, or tears to the sheetFramed in a black frame with leaving the reverse of the canvas visible versoNot examined out of the frameIn Very Good Condition

Nick Walker (British 1969-), 'Vandalism (Black)', 2008, spraypaint and acrylic on canvas, signed, dateded, and numbered from an edition of 6 verso; 79.5 x 79.5cm inc perspex box frameARR79.5 x 79.5cm inc perspex box frameIn Very Good ConditionNo sign of paint loss or restorationNo rips, holes, or tears to the canvasSome light hairline cracking to the stenciled areas of the canvas, this is likely due to the original priming of the canvas at the point of productionThis work has been framed in a Perspex box frame and not examined out of the frameSome minor wear to the canvas edgeIn Very Good Condition

Nick Walker (British 1969-), 'Vandalism (White)', 2008, spraypaint and acrylic on canvas, signed and numbered from an edition of 12 to the stretcher verso; 85.5 x 85.5cm inc perspex box frameARR85.5 x 85.5cm inc perspex box frameIn Very Good ConditionNo sign of paint loss or restorationNo rips, holes, or tears to the canvasSome light hairline cracking to the stenciled areas of the canvas, this is likely due to the original priming of the canvas at the point of productionThis work has been framed in a Perspex box frame and not examined out of the frameSome minor wear to the canvas edgeIn Very Good Condition

A George IV silver fiddle pattern sauce ladle by Andrew Wilkie, Edinburgh, 1823, 15.5 cm; a cased silver cruet set by J B Chatterley & Sons Ltd; a set of six George V silver coffee bean spoons by William Devenport, both Birmingham, 1962, 1921; a set of four napkin rings, each numbered, hallmarked for Walker & Hall, Sheffield, 1925 and an assortment of silver condiments, mied dates/makers, etc, weighable silver 570g together with a cased set of three white metal condiments, unmarked

A George III silver Hanoverian serving spoon by Thomas Dene, London, 1770, 20.5 cm; a cased set of four George V silver embossed salts with gilt interiors, four matching spoons, hallmarked for Alfred Biggin & Son, Sheffield, 1923; two cased sets of six coffee spoons with golf motives by Walker & Hall, Sheffield, 1933; a silver sugar shaker with bayonet grip by Pairpoint Brothers, London, 1937, 18 cm H; two small trophy cups and a miscellany of silver items, see extra photos, mixed dates/makers, 967g

A George III London silver cream jug with etched decoration, marks rubbed; an Edwardian silver scallop dish by Atkin Brothers, Sheffield, 1907; a George V square silver cigarette case with engine turned decoration by Edwin Henry Watts, London, 1913; a cased set of six apostle spoons by Walker & Hall, Sheffield, 1913; a set of twelve silver and silver gilt Royal Society for the Protection of Birds Spoon collection, hallmarked for John Pinches, London, 1975, engraved to reverse handle with bird variety and a miscellany of napkin rings, condiments and souvenir spoons, etc, 778g

Walker, Tim -- "Lily and Spiral Staircase, Whadwan, Gujarat, India" for British Vogue. 2005. Chromogenic color print. 30,2 x 24 cm (40,5 x 34 cm). Signed and editioned 42/50 by the photographer in black crayon on the verso, in overmat, signed, titled and dated by the photographer in pencil on mat.A few indentation marks in margins, otherwise in very good condition.

Evans, Walker -- "Railroad Station, Edwards, Mississippi". 1936/printed 1976 by the Library of Congress from the orginal negative. Ferrotyped gelatin silver print on Kodak paper. 19 x 23,5 cm (20,5 x 25 cm). Annotated and with number notations in pencil as well as Reproduced from the collection of the Library of Congress and Tranegarden exhibition stamp (Copenhagen) on the verso.Some light handling marks, some light surface scratches, more visible at an angle, some traces of previous mounting on the verso, otherwise in good condition.Lit.: John T. Hill. Walker Evans: Lyric Documentary. Göttingen 2006, ill. pp. 98-99.

George Romney (Beckside 1734-1802 Kendal)Portrait of Thomas Walker (circa 1747-1817), half-length, in black oil on canvas76.2 x 63.5cm (30 x 25in).Footnotes:ProvenanceBy descent to the sitter's granddaughter, Mrs Eason Wilkinson, 1874G. Eason Wilkinson, 1900 and thence by descent through the family to the present ownerExhibitedGrafton Galleries, Romney, Autumn, 1900, no. 64LiteratureB. Jerrold (ed.), Thomas Walker: The Original, London, 1874, vol. I, pp. 41-42Sir. H. Maxwell, George Romney, London, 1902, p. 193, cat. no. 406Paston, George Romney, London, 1903, p. 204T. Humphrey Ward and W. Robert, Romney: A Biographical and Critical Essay with a Catalogue Raisonné, London and New York, 1904, vol. II, p. 164D. A. Cross, A Striking Likeness: The Life of George Romney, Aldershot, 2000, pp. 81, 170A. Kidson, George Romney 1734-1802, New Jersey, 2002, exh. cat., p. 30D. Alexander, 'A Reluctant Communicator: George Romney and the Print Market' in Those Delightful Regions of Imagination: Essays on George Romney, New Haven and London, 2002, pp. 266, 284May 2005, p.13A. Kidson, The Paintings of George Romney, New Haven and London, 2015, vol. II, p. 602, cat. no. 1352 (as untraced)EngravedWilliam Sharp, line, 5 November 1794The sitter of the present portrait was a Manchester cotton merchant and political reformer. Having already been acquainted with the writings of Rousseau, Hume, Locke, and Voltaire, his political interests were most likely further aroused after he married Hannah Shore in 1775, whose brother, Samuel Shore was a Unitarian and member of the Society of the Friends of the People. As an outspoken protectionist, Walker earned national fame in 1785 when he successfully led a local campaign to oppose the government's introduction of a fustian tax. By the end of 1787 Walker had become chairman of a Manchester anti-slavery committee, holding the post for several years. These efforts endeared him to many leading Foxite Whigs, especially the earl of Derby, who became godfather to one of Walker's sons and who sponsored Walker's election to the Whig Club in 1788. Walker was also associated with the Manchester Revolution Society and on 1 February 1788 he became a member of the Society for Constitutional Information. Following the outbreak of the French Revolution, Walker was elected a steward of the London Revolution Society. In 1791 he helped establish the Manchester Herald and his house became a rendezvous for reformers after they were excluded from local taverns and public houses. He was tried and acquitted of High Treason in 1794.Romney's Ledger records that the present portrait was begun on 9 July 1793, that the first recorded sitting was on the 15th and the fourth and final one on the 31st of that month. The sitter paid £20 on 20 July and the balance of £15 16s, possibly as early as the same day, judging from the entry in the Receipt Book which suggests that the whole fee was received at once. The work was sent to William Sharp to be engraved on 10 October. It is highly likely that it was undertaken for the purposes of the engraving all along and Sharp no doubt viewed it as a sequel to his engraving of Romney's portrait of Thomas Paine, the first state of which had been published in 20 April, 1793. Together with Paine, Walker was Romney's most prominent Radical client during the early 1790s and the commission reinforced the artist's image as a sympathiser with the French Revolution. Sharp's engraving was the subject of a witty letter from engraver to sitter requesting him to 'get into a scrape' in order to make the print sell well after it was initially published on 5 November, 1794. In February 1795 Walker requested alterations to the engraving and it is recorded in March of that year that it was 'finished under Romney's directions'.We are grateful to Alex Kidson for confirming that the present portrait is Romney's original that was hitherto only known from Sharp's engraving.For further information on this lot please visit Bonhams.com

Various ArtistsA Collection of Contemporary Prints Including John Walker (British, b. 1939) 'Juggernaut', screenprint, 1974, signed and numbered 31/35, the full sheet, 860 x 1450mm (33 7/8 x 57 1/8in)(I); Tess Jaray (British, b. 1937) 'April Suite (Mushroom)' and 'April Suite (Blue)', screenprints with cut-outs, both signed and inscribed 'AP', artist's proofs, with margins, 530 x 665mm (21 x 26in); Richard Smith (British, 1931-2016), 'Drawing Boards', etching in colours, 1980, signed and numbered 1/60, 980 x 800mm (38 1/2 x 31 1/2in); Bill Jacklin (British, b.1943) 'Rocking & Rubbing', signed and inscribed 'AP', 240 x 215mm (9 1/2 x 8 1/2in) and Bernard Cohen (British, b. 1933) 'Surfacing', 1971, screenprint, 1590 x 1180mm (62 3/4 x 46 1/2in)(SH)(6)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Ethel Walker (1861-1951)Summer Flowers in a Maiolica Vasesigned (lower left)oil on canvas64 x 76cm.Two small chips of paint loss. Otherwise canvas and painting good. Frame has some wear.

Rod Walker (b.1949)Primogeniteurs, 1997signed and dated (to reverse)oil on canvas122 x 91cm.

AUCTION CATALOGUES: CHRISTIE, MANSON, & WOODS, comprising: The Collection of Armour formed by F. R. Pickersgill, January 31, 1901; European Armour and Arms of 15th, 16th and 17th Century dates, the property of a Gentleman, and Arms and Armour, including the properties of Joseph Grego, and A. L. Radford; Objects of Art, Arms, and Porcelain, the Arms partly priced, May 8, 1911; Objects of Art of The 15th and 16th Centuries, Arms and Armour, Wood Carving, and Porcelain and Faience, July 21, 1913; Early English Oak Furniture. Woodwork, Armour and Arms, Stained Glass, Pottery, Coins and Medals, and Silversmiths~ Work, February 13, 1913; Arms and Armour, including the properties of T. K. North, Col. William Wetherly, and The Rt. Hon. Earl of Home, removed from Bothwell Castle, July 29, 1919, priced and named; Decorative Furniture, Porcelain, Arms and Armour, Eastern Rugs, July 26, 1921; The Collection of Arms and Armour of Sir Harry Waechter, February 27, 1922, partly priced; Arms and Armour, the property of Cornelia, Countess of Craven, removed from Combe Abbey, Coventry, April 26, 1922, partly priced; Arms and Armour, the property of Sir Archibald Lamb, May 15, 1922; Arms and Armour, including the property of Sharpley Bainbridge, June 13, 1922, priced and named; Arms and Armour, the property of The Earl of Eglinton & Winton, July 25, 1922, partly priced; Objects of Art, Sculpture, Arms and Armour, the property of L.H. McCormick, November 29, 1922; Arms and Armour, July 17, 1923; Arms and Armour, Egyptian Antiquities, May 20, 1924; Arms and Armour Collected by John Newton Mappin, and the property of T. T. Warren, July 21, 1925, priced and named; Old English and French Furniture and Arms, the property of Edward B. Fielden, M. P., June 30, 1926; Arms and Armour removed from the Armoury of a Russian Prince, and Eastern Armour and Arms, the property of T. W. Dewar, June 14, 1927; Arms and Armour, the property of Sir J. C. Robinson, The Rt. Hon. Lord Glenarthur, and The Right Hon. The Earl of Orford, June 20, 1928; Arms and Armour, the property of The Right Hon. The Earl of Orford, May 9, 1929; Arms and Armour including the property of Sir Gerald Chadwyck-Healey, and Sir Mortimer Singer, July 23, 1930; Arms and Armour, the property of George Audley, July 12, 1932, priced; The Important Collection of English and French Furniture, Porcelain, Objects of Art and Tapestry, the property of Leopold Hirsch, May 7, 1934; Porcelain, Decorative Objects and Furniture, Eastern Rugs and Carpets, Arms and Armour, June 5, 1934; Arms and Armour, including the properties of The Right Hon. Lady Bellew, Lieut.-Col. Henry Coupland, and Right Hon. Sir Frederick Pollock, April 20, 1937, priced and named; Porcelain and Decorative Objects, Arms and Armour, Decorative Furniture, Tapestry and Easter Carpets, the property of Sir Max Waechter, December 21, 1937, the Arms and Armour priced and partly named; Arms and Armour and Objects of Art, the properties of The Rt. Hon. Lady Bellew, Captain J. H. Ball, and Gerald C. Griffiths, July 28, 1939; Oriental Objects of Art, Decorative Furniture, Armour, April 11, 1940, the priced and named Armour being the property of a Lady (later notated to be Princess Louise); Decorative Furniture, Objects of Art, Arms and Armour, the property of William Pym Willson, October 7, 1943; Decorative Furniture, Objects of Art, and Faience formed by R. W. M. Walker, July 25, 1945, the Arms and Armour priced and named; Objects of Art and Vertu, Miniatures, Arms, and An Illuminated Book of Hours, the property of Major James Stirling Home Drummond Moray, June 24, 1946; Porcelain, Pottery and Glass, Arms and Armour, Objects of Art and Furniture, the Arms and Armour including the property of Robert Bard, December 22, 1947; and Porcelain, Glass, and Objects of Art, Arms and Armour, Decorative Furniture, Eastern Rugs and Carpets, June 8, 1950

An early 20th century ladies 9ct gold cased manual wind wristwatch having a silvered dial signed James Walker London, with Arabic numerals and blued hands, on a gold plated bracelet, 21.5mm

A Royal Crown Derby Paperweight Donkey, limited edition Visitors Centre exclusive, 34/150, gold stopper, 15cm high, signed by Hilary Walker, certificate, boxed

Later in "Hesperus" I had the incomparable Petty-Officer Coster, who could be relied on to hear the first faint echo from a submarine at the maximum range of the asdic. Teamed up with Bill Ridley, my First-Lieutenant and anti-submarine specialist officer, they were a deadly combination for any U-boat that came within "Hesperus" range. U-Boat Killer by Captain Donald Macintyre refers. The unique Second War ‘Battle of the Atlantic’ D.S.M. and Bar, M.I.D. group of five awarded to Acting Petty Officer J. P. Coster, Royal Navy, for services as senior Asdic operator (H.S.D.) aboard the destroyer H.M.S. Hesperus under Commander Donald Macintyre, D.S.O.**, D.S.C., one of the most successful wartime C.O.’s of convoy escorts in the Battle of the Atlantic and author of ‘U-Boat Killer’ amongst many others Distinguished Service Medal, G.VI.R. (JX.148640 J. P. Coster. A/L. Smn.) impressed naming, with Second Award Bar, the reverse privately dated ‘1943’; 1939-45 Star; Atlantic Star, 1 clasp, France and Germany; Pacific Star; War Medal 1939-45, with M.I.D. oak leaf, the last four all privately impressed ‘JX.148640 J. P. Coster. D.S.M. & Bar. A/L. Smn. R.N. “H.M.S. Hesperus”, mounted as worn, nearly extremely fine (5) £4,000-£5,000 --- D.S.M. London Gazette 9 March 1943: ‘For skill and determination in action against enemy submarines while serving in H.M. Ships Hesperus and Vanessa. - Temporary Acting Leading Seaman James Philip Coster. Seedies Roll confirms award for the destruction of U-357 in the north-western approaches on 26 December 1942. Commander Macintyre was awarded a Bar to his earlier D.S.O. for this action. U-357 was forced to the surface by depth charges and then rammed and sunk by Hesperus. D.S.M. Second Award Bar London Gazette 11 January 1944: ‘For courage and great skill in successful attacks on U-boats while serving in H.M.S. Hesperus. - Temporary Acting Petty Officer James Philip Coster, D.S.M. (Newbury, Berkshire).’ Two recommendations exist in Admiralty files for this award and it appears that the two were rolled up together into the Second Award Bar. The first, submitted on 20 May 1943, states: ‘Leading Seaman (Higher Submarine Detector - H.S.D.) James Philip Coster. D.S.M. awarded 9 March 1943. On Friday, 23rd April, 1943, when H.M.S. Hesperus was escorting Convoy O.N.S. 4, an enemy submarine was sighted and seen tio dive. This U-boat was soon afterwards picked up on the Asdics and a hunt ensued, at the end of which a hit with the Hedgehog was obtained and the U-boat sunk. Leading Seaman Coster was the asdic operator and his accurate and skilful operation of the set enabled contact with the submarine to be held throughout the hunt and accurate attacks to [be] delivered which resulted in the destruction of the U-boat.’ The second recommendation was submitted just 3 days later, on 23 May 1943, and states: ‘A/Petty Officer (Ty) James Philip Coster. D.S.M. awarded 9 March 1943. Previously recommended on 30 December 1942 and 20 May 1943. On the night of 11th/12th May, and again on 12th May, 1943 H.M.S. Hesperus detected and attacked U-boats. In the first case, the U-boat was depth-charged and forced to the surface after several attacks. It was then attacked by gunfire and left sinking. In the second case, the U-boat was detected by Asdics and, after three depth-charge attacks, was heard to explode, wreckage coming to the surface to confirm the sinking. Petty Officer Coster was the A/S operator throughout both these actions and his cool and skilful operation of the A/S set enabled the accurate attacks to be delivered which resulted in the destruction of the U-boats.’ Seedies Roll confirms award for successful attacks on U-boats in May 1943, with one sunk and two destroyed. U-186 was confirmed sunk north of the Azores by depth charges from Hesperus. M.I.D. London Gazette 23 November 1943: ‘For gallant and distinguished services in successful attacks on U-boats while serving in H.M. Ships... Hesperus.’ Seedies Roll confirms award for the probable destruction of a U-boat in the western approaches on 4 April 1943. James Philip Coster was a native of Newbury, Berkshire. He was the only recipient of the D.S.M. and Bar in Hesperus and the only crew member to receive three awards in this ship. Captain Donald Macintyre gives a succinct description of the asdic and depth charge attack procedure employed against U-boats in the early days of the battle of the Atlantic in his book, U-Boat Killer: ‘Once it was decided to attack, the procedure was to point one’s ship at the target and close it at a moderate speed. By the time the range was down to about 1,000 yards, sufficient data would have reached the plot to give a course and speed of the target. Course would then be altered so as to ‘collide’ with the submarine, and as the ship passed over it, or rather passed a little way ahead to allow for the time taken by depth-charges to sink, a pattern of depth charges would be fired. Those from the chutes in the stern would be dropped at evenly-spaced intervals in the wake, while the depth-charge throwers would send others out some fifty yards on either side. Thus the pattern properly laid would form a shape like an elongated diamond, somewhere inside of which, one hoped, would be the target. But to produce lethal damage the charges must explode near the U-boat in depth as well as in plan and as the depth of the submarine was largely a matter of guesswork the charges were fired at varying depths to increase the chance of success. Such in brief outline was the asdic and the depth charge attack as we knew them in the early days of the Atlantic battle. Of course, there were very many refinements of method and calculation. The effect of wind and weather on one’s ship and consequently on the best direction from which to attack, the need to avoid presenting oneself as an easy target for a torpedo attack in retaliation, the ruses tried out to prevent the U-boat commander from knowing when one was making the final dash to drop depth charges - all were of vital importance to the U-boat hunter. I was wonderfully lucky in the ‘Ping’ specialists who served with me in the two ships wgich I commanded for long periods of the war. In Walker the senior asdic rating, Backhouse, had the quiet confidence of the man who knows his job through and through. At the climax of a long night of confused fighting and mêlée, he was quite unperturbed and was able to classify the sounds in his headphones with the detachment acquired through long and wearisome practise. Later in Hesperus I had the incomparable Petty-Officer Coster, who could be relied on to hear the first faint echo from a submarine at the maximum range of the asdic. Teamed up with Bill Ridley, my First-Lieutenant and anti-submarine specialist officer, they were a deadly combination for any U-boat that came within Hesperus range.’ Sold with 6pp copied reports and recommendations.

The Waterloo medal awarded to Private John Walker, 1st Life Guards, who was severely wounded in the shoulder at Waterloo Waterloo 1815 (John Walker 1st Regiment Life Guards.) fitted with replacement steel clip and ring suspension, light edge bruising and surface marks, otherwise very fine £2,400-£2,800 --- John Walker was born in the Parish of Bingley, Yorkshire, and was enlisted into the 1st Life Guards at the age of 22 years on 7 January 1812. He was promoted to Corporal of Horse on 10 August 1815, and was discharged at Hyde Park Barracks on 16 February 1816, in consequence of ‘impaired health from sickness in the Peninsula, and being disabled in the shoulder from a severe wound at Waterloo. He was then aged twenty-six and was admitted to an Out-Pension of 1s per diem on 6 March 1816. Sold with copied discharge papers.

11 Signed Jerry Jerome Pier Head Sun Deck Theatre Programme From 1958. Great Signatures include Jerry Jerome, Roberta Pett, Jan Harding, Calvin Kaye, Lisa and Shirley Gaye, Lynn Walker, Cindy Wilkins, Michael Collins, John Russell and Nancy Mount. Showing Signs of Age. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

British Actress Grace Lane Signed 5x3 Black and White Vintage Named Photo. Signed in black ink. Showing signs of age. Composer and singer Grace Lane was part of The Lane Sisters - Dorothy (later Walker), Grace and Betty Lane - who began their careers at Connecticut radio stations WICC in Bridgeport and WELI in New Haven. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Johnson, Walker & Tolhurst tooled leather Victorian or early 20thC travelling jewellery salesman's or collector's case, compartmentalised into 24 different size areas and with silk interior to lid, 34 x 18 x 4.5cm

Sixteen vintage jewellery boxes including 'James Wills, Oban', 'Parsons, Bristol', 'Biggs, Maidenhead & Farnham', 'Coombes Company, Rangoon & London', 'James Walker, Marble Arch', etc

Johnson Walker & Tolhurst of Holborn Viaduct 18ct gold keyless winding open faced pocket watch with inset subsidiary seconds dial, black Arabic numerals, blued hands, silver dial and unsigned movement, case diameter 44mm, serial number 14698, 55g, in Johnson Walker & Tolhurst box. 

Queen Mary Royal interest Walker & Hall hallmarked silver dressing table set, in fitted case with silver plaque to top 'Toilet set used by Her Majesty The Queen during her South Wales visit' with note explaining the set was sold at auction 1914 to fund the war effort, comprising two trays (larger 30 x 22.5cm), button hook, shoe horn, glove stretchers, comb, hand mirror, four brushes and six cut glass silver lidded containers, overall width of case 50cm, each piece, including plaque, Birmingham or Sheffield 1911/1912, 707g weighable silver

Pair of Edward VII Walker & Hall hallmarked silver candlesticks, Sheffield 1908, height 16cm

Walker & Hall Elizabeth II hallmarked silver jug, Birmingham, date letter rubbed, height 12cm, weight 229g

Walker & Hall George V hallmarked silver four piece teaset, Sheffield 1917, length of teapot 28cm, weight of all four items 1675g all in

Two hallmarked silver bon bon dishes comprising Victorian pierced and embossed example, Sheffield 1897, maker James Dixon & Sons Ltd. diameter 10cm and an oval example, Chester 1906, maker Walker & Hall, length 14.5cm, weight of both 117g

Set of eight Walker & Hall hallmarked silver teaspoons with engraved crossed rifles or similar guns to top, various dates circa WW1, length 11.5cm, weight 148g

Cased set of hallmarked silver handled cake knives, together with a pair of Walker & Hall silver plated fish servers with silver collars in original box, length of fish server box 34cm

Two hallmarked silver dressing table trinket boxes, both raised on three feet, one Walker & Hall, Birmingham 1916 the other Birmingham 1927, diameter of larger 9cm

Walker & Co. Homeland pewter Arts and Crafts bowl with bird supports, diameter 25.5cm

Spirits and liqueurs including three bottles of brandy, St Remy, 1.14ltr, 40% vol, Three Barrels, Johnnie Walker Red Label Whiskey 26⅔fl oz, 70% proof, bottle of Port, Gordon's Gin 37.5cl, 47.3% vol. Peter Heering liqueur etc

Collection of whisky including single malt Auchentoshan 75cl 70% vol, Glenlivet (leakage) 1ltr 75% proof, Glenfiddich, Old Bushmills, Johnnie Walker etc 

Four bottles of whisky comprising Johnnie Walker Pure Malt Green Label 15 Years, 1ltr, 43% vol, Oban West Highland Single Malt, 75cl, 43% vol, Red Breast Irish Whiskey 700ml, 40% vol and Locke's Irish Whiskey 70cl, 40% vol, all in original boxes or presentation tubes

Johnnie Walker Black Label Scotch Whiskey, 1ltr, 43% vol, in presentation box

Tooled leather Victorian or early 20thC travelling jewellery salesman's or collector's case ex Johnson, Walker & Tolhurst, each side having two levels compartmentalised into 18 velvet areas and with silk interiors to lid, with carry handles to ends, 34 x 18 x 4.5cm,

A quantity of plated ware to include a Walker & Hall three-piece tea service, an oval tray, sifter, various serving dishes and an incomplete oak canteen of flatware.

A George V hallmarked silver trophy with scrolling handles, Walker & Hall, Sheffield 1924, on a wood and hallmarked silver base, inscribed 'Presented to A.H. Ward Jones. Esquire by past and present members of the Liverpool City Council as a slight token of their esteem'. CONDITION REPORT: Approx 19.7ozt

A bottle of Johnny Walker double black blended Scotch whisky, boxed, together with a Bells Scotch whisky decanter, of bell form, commemorating the 60th birthday of Her Late Majesty Queen Elizabeth II. (2)

A George V silver sugar sifter, of semi fluted baluster form, embossed with flowers and swags, Johnson, Walker & Tolhurst, London 1910, 11.01oz, 23.5cm high.

A silver presentation salver, Walker & Hall, Sheffield 1949, of octagonal form with gadrooned rim, engraved to the centre 'Presented to Mr David Pomens Brown...November 16th 1949', raised on four feet, 26.5cm diameter, weight approx 25oz

A collection of vintage costume jewellery. The lot to include; a Butler & Wilson crystal set brooch depicting a lady dog walker with her dog, pair of diamond set titanium cufflinks, two marcasite set wrist watches (le chat & ingersoll), white stone set style wristwatch, articulated flower brooch pin. Total weight approx 164.7g.

1 X 70CL BOXED BOTTLE - JOHNNIE WALKER 15 YEAR OLD GREEN LABEL WHISKY

A LARGE GEORGE V SOLID SILVER TWIN HANDLED LIDDED TROPHY CUP, HALLMARKS FOR COLLIS & CO, BIRMINGHAM 1925, INSCRIBED 'WALKER CUP' LEIGH BRITISH LEGION BOWLING COMPETITION, 1947, HEIGHT 50CM, WEIGHT 2376G

A GEORGE V SOLID SILVER TWIN HANDLED TROPHY CUP, HALLMARKS FOR WALKER & HALL, SHEFFIELD, 1932, INSCRIBED BILLY LEE TROPHY BRITISH LEGION ANNUAL SNOOKER COMPETITION, HEIGHT 23CM, WEIGHT 1207G

A LATE VICTORIAN SET OF SIX DESSERT FORKS, maker J.E. Bingham for Walker & Hall, Sheffield 1890, in bead pattern, together with three each matching dessert and table spoons, 24ozs 19dwts (12) (Est. plus 21% premium inc. VAT)All good, matching marks, no engraving

AN EDWARDIAN TRAY, maker Walker & Hall, Sheffield 1902, of oval form with arcade pierced gallery and two reeded scroll handles raised upon four bun feet, engraved with scrolling acanthus enclosing a vacant panel and a rococo cartouche engraved with the bust portrait of a young man in an open necked shirt, and a shield cartouche engraved with the crest and motto of Leith "Persevere" below "Sigillum Oppidi de Leith", 24 1/2" wide, approximately 79ozs (Est. plus 21% premium inc. VAT)Good gauge, generally good.  Weighs 2.482kg

FIONA STARR (b.1960), "Rainy Day Distracted", acrylic on canvas, signed, inscribed and dated 2010, with Walker Gallery Harrogate label to reverse, 35 1/4" x 35 1/2", framed (subject to Artists Resale Right) (Est. plus 21% premium inc. VAT)Very good

A LATE VICTORIAN DESK of kidney form, crossbanded with stringing, the moulded edged top lined in green leather, frieze drawer flanked by six pedestal drawers with brass drop handles, panel inlaid sides, raised on square tapering legs with brass toes and castors, label for W. Walker & Sons, London, 44 1/2" 21 3/4" x 30 1/2" (Est. plus 21% premium inc. VAT)Some minor losses to front edge of scriver, also minor scratching/stains, woodwork faded, repair to front right leg, drop handle of lower right drawer missing although its back plates remain

John Rawson Walker (1796-1873): watercolour, Parnassus, circa 1835, 25 x 17 cm. Not available for in-house P&P

Selection of approximately 56 miniatures, including Drambuie, Johnnie Walker Black Label, Southern Comfort etc