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Halford & Sons, London - An 18ct gold full hunter dress pocket watch, circa 1904, the signed white dial, 42mm diameter, with black Arabic numerals, blued spade and whip hands, subsidiary seconds register at 6 o'clock and chemin de fer chapter ring, unsigned jewelled three quarter plate mechanical crown wind movement number 74211 with onion shaped winder, case, 50mm diameter, 11mm thick, both covers hinged at 9 o'clock, plain and polished, both interiors numbered 36634 with Chester hallmarks for 18ct gold, the cuvette similarly marked and engraved with a monogram and date, 92.2g grossR.H. Halford & Sons (Robert Hosier Halford, William John Halford, and Robert Collins Halford) were a firm of watchmakers, jewellers and silversmiths with premises in Pall Mall and Fenchurch Street, London. R.C. Halford retired in 1909 and the firm was dissolved on 31st March of that year.

S. Smith & Son, London - An open faced pocket watch and later 9ct gold chain, circa 1900, the unsigned champagne dial with engine turned inner, 30mm diameter, with black Roman numerals and blued spade and whip hands, unsigned and unnumbered mechanical crown wind movement with onion shaped winder and hand setting button at 1 o'clock, case, 32mm diameter, verso hinged at 5 o'clock, lavishly decorated with engraved scroll and foliate designs over a textured ground around a central monogrammed escutcheon shaped cartouche, inner stamped 14K, numbered 8 - 16739, the base metal cuvette similarly numbered and additionally engraved S. SMITH & SON. 85 STRAND LONDON W.C., 23.8g; the rose gold belcher link chain terminating at one end with a swivel catch, and at the other with a jump ring supporting the T bar, overall length 18cm, London import marks for 9ct gold, 1991, 8.4g (2)

Longines - A French marked 18ct gold open faced pocket watch, circa 1918, the signed white dial, 41mm diameter, with black Arabic numerals, gold coloured spade and whip hands, subsidiary seconds register at 6 o'clock, baton minute track and outer ring of red Arabic 24 hour indicators, signed mechanical crown wind movement number 3662689 calibre number 19.75N with pumpkin shaped winder, case, 48mm, verso hinged at 6 o'clock, lavishly decorated with engraved foliage and scrolls over a textured ground around a central vacant cartouche, inner liveried with French mark for 18ct gold, numbered 3662683, the cuvette similarly marked with an additional unidentified French maker's mark, outer signed, 77.8g grossCrystal - Complete and secure - some very minor surface scratches Dial - In good condition with no obvious sign of damage. Some very minor deterioration to the handsMovement - In running order, but not tested for timekeeping or endurance. Crown engages and disengages as it should, and the hands move freely in both directions.Case - In good condition with just some minor surface scratches as to be expected

Tacy Watch Company, La Chaux-de-Fonds - A 9ct gold 'Admiral' open faced pocket watch, circa 1923, the unsigned white dial, 43mm diameter, with black Roman numerals, blued spade and whip hands, subsidiary seconds register at 6 o'clock and chemin de fer chapter ring, signed but unnumbered 21 jewel mechanical crown wind movement marked U.S.A. PAT. MAY.24.1904 with onion shaped winder, case, 'Regular' by Dennison, 50mm diameter, verso hinged at 6 o'clock, plain and polished, interior numbered 264897, with Birmingham hallmarks for 9ct gold, the cuvette similarly marked with additional presentation engraving, 90.3g grossThe Tacy Watch Company was the result of the merger of two watch houses - Tavannes and Cyma. The first two letters of both brands were joined together to create the new name. Cyma continued to produce watches under its own name and it appears that Tacy was one of many subsidiary companies of the brand.

J.W. Benson, London - A 9ct gold open faced pocket watch, circa 1942, the signed white dial, 43mm diameter, with black Roman numerals, blued spade and whip hands, subsidiary seconds register at 6 o'clock and chemin de fer chapter ring, gilt 15 jewel crown wind movement signed J.W. BENSON calibre REF. 939a, with onion shaped winder, case, 50mm diameter, verso hinged at 6 o'clock, plain and polished. inner with casemaker's mark of Dennison Watch Case Company, and Birmingham hallmarks for 9ct gold, numbered 684929, the cuvette similarly marked, 85.9g gross and presented in the original signed gilt tooled burgundy case lined in cream satin and blue velvet

John Hawley, London - An 18ct gold open faced chronograph pocket watch, circa 1901, the unsigned white dial, 45mm diameter, with black Roman numerals, gold coloured spade and whip hands, centre sweep and outer timing track, front loading gilt three quarter plate crown wind movement signed JOHN HAWLEY LIMITED MAKERS 52 HATTON GARDEN LONDON WORKS COVENTRY ENGLAND number 78506 with onion shaped winder, hand setting button at half past twelve and chronograph slider at 2 o'clock, one piece case, 50mm diameter, verso with monogram, inner with mark of John Hawley & Son and Chester hallmarks for 18ct gold, numbered 78506 620, 95g gross

J. Pourrat et Fils, Genève - A rare Swiss 18ct gold gem set lapel watch, circa 1890, the unsigned white dial, 8mm diameter, with blue Arabic numerals (12 in red), gold coloured spade and whip hands and gold coloured dot minute track, liveried but unnumbered jewelled crown wind movement with hand setting button at 11 o'clock, case for the dial, 11mm diameter, upper bezel with with alternate rubies and diamonds, case for the movement, 23mm diameter, verso hinged at 6 o'clock, inner numbered 15563 with Swiss mark for 18ct gold, Geneva, together with French import mark for 750/1000 standard gold, Paris, additionally marked K18 DÉPOSÉ, 12.8g grossCase - Light surface scratching commensurate with use. All stones are present and complete. Rose cut diamonds and diamond 'chips', some with nicks and chips. Mixed cuts of rubies, some with nicks and chips.Crystal - Complete and secure with some light surface scratches as to be expected.Dial - Generally in good condition. A light mark to the centre by the aperture at 10 o'clock. Movement - Appears to be in full working order, though not tested for timekeeping or endurance. Hand setting button fully operational.

Lepine, Paris - A mid 19th century quarter repeating open faced dress pocket watch, circa 1850, the unsigned engine turned champagne dial, 42mm diameter, with applied gold coloured Roman numerals, blued spade and whip hands and gold coloured dot minute track, unsigned and unnumbered jewelled mechanical key wind movement with plunger activated quarter repeating mechanism, two polished steel hammers repeating on a coiled gong, case, 46mm diameter, floral engraved upper and lower bezels, verso hinged at 6 o'clock with engine turned engraved decoration around a vacant circular cartouche within a flaming sun motif, inner apparently unmarked, the cuvette engraved LEPINE NO. 17680 A PARIS PALAIS-ROYAL NO. 124 ET PLACE DES VICTOIRES 2, with two winding apertures, metal tested as 18ct gold, 57.4g gross, and presented with the winding key

Hasluck Brothers, London - A late 19th century 18ct gold half hunter pocket watch, circa 1886, spring-loaded outer cover hinged at 9 o'clock with blue enamel Roman numerals and inner chemin de fer chapter ring around the circular unglazed aperture, unsigned white dial, 32mm diameter, with black Roman numerals, blued double spade and whip hands and chemin de fer chapter ring, gilt three-quarter plate mechanical crown wind movement engraved HASLUCK BROTHERS LONDON numbered 6415, with onion shaped winder and hand setting button at 4 o'clock, case, 40mm diameter, outer lavishly decorated all over with engraved scrolls and foliage around a central escutcheon shaped cartouche, verso hinged at 7 o'clock, interior with London hallmarks for 18ct gold, numbered 6415, the cuvette similarly marked, 53.9g gross

Dent, London - A late 19th century 18ct gold half hunter pocket watch, circa 1898, spring-loaded outer cover hinged at 9 o'clock with blue enamel Roman numerals and inner chemin de fer chapter ring around the circular glazed aperture, unsigned white dial, 40mm diameter, with black Roman numerals, blued double spade and whip hands and chemin de fer chapter ring, front loading gilt three-quarter plate mechanical crown wind movement engraved DENT WATCHMAKER TO THE QUEEN 33 COCKSPUR STREET LONDON numbered 31861, with onion shaped winder and hand setting button at 4 o'clock, one piece case, 47mm diameter, verso plain and polished, interior with London hallmarks for 18ct gold, numbered 4, the cuvette similarly marked and numbered 84, 78.5g gross

H. Williamson, Coventry - A 9ct gold half hunter pocket watch and chain, circa 1921, spring-loaded outer cover hinged at 9 o'clock with black enamel Roman numerals and inner chemin de fer chapter ring around the circular glazed aperture, unsigned white dial, 42mm diameter, with black Roman numerals, blued double spade and whip hands and chemin de fer chapter ring, liveried 7 jewel three quarter plate crown wind movement number 189989, engraved WARRANTED ENGLISH with onion shaped winder, case, 50mm diameter, verso hinged at 9 o'clock, monogrammed, inner numbered 9903 with casemaker's mark of Benson Brothers and Chester hallmarks for 9ct gold, the cuvette similarly marked, 95.2g gross; the rose coloured chain comprising 6 decorative trombone links spaced with short lengths of belcher link chain, terminating at one end with a swivel catch, and at the other with a jump ring supporting a George V sovereign dated 1913 in a scroll topped pendant mount stamped 9ct, the fixed T bar located 4cm from the end, overall length 33cm, unhallmarked, stamped 9c, 27.4g (including the sovereign) (2)

J.W. Benson, London - A 9ct gold half hunter pocket watch, circa 1921, spring-loaded outer cover hinged at 9 o'clock with blue enamel Arabic numerals and inner chemin de fer chapter ring around the circular glazed aperture, signed white dial, 41mm diameter, with black Arabic numerals, gold coloured double spade and whip hands, subsidiary seconds register at 6 o'clock and chemin de fer chapter ring, gilt three-quarter plate crown wind movement signed J.W. BENSON LUDGATE HILL LONDON BEST LONDON MAKE TO H.M. THE KING numbered K.3130 with onion shaped winder and hand setting button at 4 o'clock, case, 50mm diameter, verso hinged at 9 o'clock, engraved PRESENTED TO T.F. MASON WINNER OF THE GOLF GREENKEEPERS ASSOCIATION TOURNAMENT AT TOTTERIDGE. HERTS. ON AUGUST 15TH 1922 BY MESSRS JAMES CARTER & CO. SEED MERCHANTS TO H.M. KING GEORGE V RAYNES PARK LONDON S.W. inner with mark of J.W. Benson Ltd. and London hallmarks for 9ct gold, numbered 3136, 88.6g gross and presented in the original signed gilt tooled burgundy case lined with cream satin and burgundy velvet

Robert Molyneaux, London - An 18ct gold open faced pocket watch, circa 1825, the unsigned gold coloured dial, 40mm diameter, inner engine turned, outer textured and scalloped chapter ring with gold coloured Roman numerals, gold coloured spade and whip hands and dot minute track, front loading gilt full plate movement, signed R MOLYNEUX LONDON NO 948, balance cock engraved 44 DEVONSHIRE STREET, cylinder escapement with chain fusée, and 4 pinned cylindrical pillars, case, 44mm diameter with engine turned edge, bezels and bow with foliate decoration, verso hinged at 6 o'clock, engine turned around a central vacant circular cartouche, interior with casemaker's mark of William Wright and London hallmarks for 18ct gold, 82.1g gross and presented with the winding keys

Harrogate Magic Poster 1914 At the Grand Opera House, Harrogate, Oct 1914 with a Variety Bill including the diverse attractions of a "Whip King", a "Whistling Shepherd", a "Gymnastic Aerial Act" & Bernard with "Card Manipulation". Poster conservation paper-backed, with old foldlines, a few small closed rim tears etc, overall in very good condition, poster 9 3/4"x 30".

A Victorian 18ct gold mounted and leather whip, the pommel embossed with fruiting vines, with a similar band, Birmingham, 1850, WGF makers mark, 80cm long

After Abraham van Diepenbeeck (Dutch, 1596-1675), Hand coloured engraving of William Cavendish, first Duke of Newcastle, on horseback and performing a dressage manoeuvre seen in profile, the Duke holding a whip aloft in one hand and Bolsover Castle in the background. London: J. Brindley, 1743. 16x21ins., approx.

* Pesh Kabz. A collection of edged weapons formed by Sir James Glasgow Acheson C.I.E., comprising a Pesh Kabz, the 22.5cm steel blade with niello type geometric decoration, bone grip and engraved backstrap, 33.5cm overall, in its brass covered scabbard, together with a similar dagger plus a horn handle whip, presented in a recent frame with paper insert giving biographical information about AchesonQTY: (1)NOTE:Sir James Glasgow Acheson, C.I.E., joined the Indian Civil Service in 1912 as Assistant Magistrate, United Provinces. He had a number of posts throughout his career retiring from service in 1945, Acheson died in 1973.

A reverse painted crystal intaglio or Essex crystal stock pin or hunting brooch, with an oval cabochon rock crystal, with a reverse painted running fox, rub set to a plain collet. The bar formed from a crop with cushion shaped old Swiss cut rubies grain set to the end, with a white handle and a white braided whip, pin and “C” catch. Tested as approximately 15ct gold and platinum. Numbered J247. 44 x 19mm, 10.83gCondition ReportDirt and dust between the crystals.Scratches to the surface of the crystal.Loss of paint or colour to the fox and the foreground.

Peter Lanyon (British, 1918-1964)Still Air signed and dated 'Lanyon 61' (lower left); further signed, titled and dated again 'STILL AIR/Lanyon Sept 61' (verso)oil on canvas91.1 x 122 cm. (35 7/8 x 48 in.)Footnotes:ProvenanceJonathan LanyonSale; Sotheby's, London, 27 June 1979, lot 211 Professor BallWith Bernard Jacobson Gallery, LondonPrivate Collection, U.K.ExhibitedNew York, Catherine Viviano Gallery, Lanyon, 30 January-17 February 1962, cat.no.13San Antonio, Marion Koogler McNay Art Institute, Paintings by Peter Lanyon, 24 February-March 1963London, Tate Gallery, Peter Lanyon, organised by the Arts Council of Great Britain, 30 May-30 June 1968, cat.no.70London, Archer Gallery, Two by Seven: Bryan Wynter, William Scott, Peter Lanyon, Josef Herman, Heinz Henghes, Paul Feiler, Ralph Brown, 8 November-1 December 1972, cat.no.5London, Bernard Jacobson Gallery, Peter Lanyon: Landscapes 1946-1964, 2-27 April 1991, cat.no.21LiteratureAndrew Causey, Peter Lanyon: His Painting, Aidan Ellis Publishing, Henley-on-Thames, 1971, p.64, cat.no.170Toby Treves, Peter Lanyon, Catalogue Raisonné of the Oil Paintings and Three-Dimensional Works, Modern Art Press, London, 2018, p.505, cat.no.489 (col.ill.)Peter Lanyon's gliding paintings are a body of work which represent the pinnacle of his achievements as a painter. Lanyon was a master at corralling his experience of the elements and transposing these onto canvas, in a way that can transport the viewer to his native Cornwall almost instantly. He joined the Cornish Gliding Club at Perranporth Airfield in June of 1959, and was tragically to die in 1964, aged only forty-six, as a result of an accident while gliding, but it was this past-time that was to provide the impetus for so many of his most successful paintings. Still Air is one such painting.The present lot, with its expanses of grey-white paint and streaks of deep blue and ochre, is unusual in Lanyon's output both for the sparing use of paint and the capacious expanse which Lanyon conjures on the canvas. As Lanyon was to comment, he was preoccupied with depicting space itself, and Still Air is a particularly successful example of this endeavour. He noted that: 'A painter's business is to understand space – the ambient thing around us. I don't mean the old approach to landscape – sitting in one place and taking the view, as you get in traditional painting. What I'm concerned with is moving around in this space and trying to describe it. That's one reason I go in for fast motor-racing, cliff-climbing and gliding – gliding particularly: I like using actual air currents; I feel I'm getting to the root of the matter.' (Peter Lanyon quoted in Toby Treves, Peter Lanyon: Catalogue Raisonné of the Oil Paintings and Three-Dimensional Works, Modern Art Press, London, 2018, p.30).In Still Air, Lanyon has succeeded in translating this quest for depicting the elements in the most truthful way. A mass of pale grey-white covers most of the surface, which feels almost thick and foggy in its obfuscating opacity, and in the way whispers of blue paint blend into it, emerge from it, or seem suspended in its midst. For Lanyon, the way in which the paint was applied to the canvas carries huge feeling and meaning: as Toby Treves has written, for Lanyon 'the gestural brushstroke was invested with physical and emotional qualities: movement and by extension time were intrinsic; the mark could be light or heavy, fast or slow, strong or feeble, confident or hesitant, angry or calm, violent or tender'. He goes on to comment that: 'The range of sensations and moods that he was able to convey in those works, which are perhaps his supreme achievement, is a measure of his mastery of the manner' (Ibid., p.18).The present work is no exception. A deep blue with a hint of teal is swept across the canvas, marking out what could be jagged rocks or rushing sea, while golden ochre gives the suggestion of fields of golden corn, ready for harvest, which would have been timely considering the painting was executed in September 1961. The finesse and feeling which Lanyon imbues in each stroke shows his command of the medium. The ochre appears to be brushed on rapidly, while there is an almost calligraphic élan to the singular strokes of deep blue in the lower left corner of the work, while the smudging and subtlety to the hints of blue paint elsewhere are particularly unusual. As Toby Treves has observed, 'the extent to which the colours and forms are softly blurred is unique within the oeuvre', an effect which has been achieved by using paint which has been thinly diluted, and brushed carefully over the under-painting (Ibid., p.504). This expressive use of paint has lent Still Air a particularly meditative calm: it is easy to imagine him floating through the sky, looking down on a patchwork landscape below, partly obscured by fog or mist.Lanyon's titles are particularly atmospheric and descriptive, and it is easy to get lost in the lyrical tribute that each work pays to the landscape that he flew through. Still Air is just one of so many paintings which capture his experiences: Gusting, Cliff Wind, Soaring Flight, Spring Rain, Weathering, Strange Coast – these titles could almost read as a short poem themselves, so descriptive yet enigmatic are they. The very month that Still Air was completed, Lanyon was elected Bard of Cornish Gorsedd for his services to Cornish Art, on 2nd September 1961. Considering the title of this painting and the others mentioned above, his Bardic name - Marghak an Gwyns (Rider of the Wind) – is particularly fitting.Lanyon wrote that 'art is a communication of life to the living' (Peter Lanyon, letter to Terry Frost, quoted in Ibid., p.21), and Still Air is a particularly fitting example of this. Toby Treves has summed up this transfiguration of paint to feeling in Lanyon's work incredibly succinctly: 'We do not need to be Cornish or to go to Penwith or to be Peter Lanyon to know what it feels like to carry a landscape inside ourselves; we just need to go to that place, wherever it is, that occupies us, as Penwith did him. We do not need to read science or philosophy to accept that we are in a condition and a system of permanent change or to know that our sensate bodies are the source of much of our experience of being in the world; we just need to take a walk. The weather is not an elite phenomenon, and nor is the air. And most of us are acquainted with the great human emotions, or will be soon. Lanyon painted about these things to share them, to let us know that he had been where we are.' (Ibid., p.22). Still Air is a masterful translation of this ordinary but universally uplifting feeling: it transports us into the elements, to where we can feel the cool breath of autumnal air on our skin, enjoy the whip of wind as it blurs our vision, and experience the landscape as he saw it.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

BOXED TIE PINS (JOCKEY HAT AND WHIP SET WITH LAPIS AND BOW AND ARROW)

Spain.- Illustrated philosophical manuscript.- Bonifant (Franciscus) Ph[ilosphi]ae Cursus..., manuscript in Latin and Spanish, on paper, principally in a single italic hand (Bonifant's?), although with others present, several large initials and sub-titles in ink in a variety of styles, 392pp., with an original whole-page watercolour, tipped-in, an original ink illustration, and 2 engraved plates tipped-in, title browned with minor chipping to fore-edge, a few pages with small holes, damp-staining, some light soiling, a few instances of cracking to gutter, worst at first page with title inner margin laid down to front endpaper, but stitching holding firm, endpapers renewed, contemporary vellum, a little creased and toned, ties present, ?Spain, [late 17th - early 18th century]⁂ Philosophy lessons, mostly in Latin, relating predominantly to Saint Thomas Aquinas (stated on title). The original watercolour, still bright in colour, depicts a fountain in the baroque style; at the foot water gushes from a gargoyle's mouth into a pool with two ducks; ornate architectural carving of shields and banners display Aristotelian contradictions while above on a footbridge a countryman drives a donkey with a whip. The original, half-page ink drawing shows the Ptolemaic System of the planets in concentric circles. The two engraved plates relate to Saint Thomas of Villanova and Saint Jerome.

Britains, Set No 39 Royal Horse Artillery (1948/56 version); includes six horse team at the gallop, three drivers with extended whip arms, late pattern limber, R.A. gun, mounted officer and four mounted outriders holding carbines, boxed..

A Victorian Coalbrookdale Cast Iron Stick Stand in the Form of Begging Dog with Whip in Mouth, Drip Pan of Leaf Form having Diamond Registration MArk and Numbers 85297, No14

REGGAE LPS INC RARITIES ON ARIWA ETC. 29 x LPs, 1970s / 80s reggae title. To include: Macka B - Wet Look Crazy / Down in De Jungle (Ariwa, ARI 51, G+), Derrick Harriott - Whip It/Dub Whip (Hawleye, HD46, G+), Jackie Mittoo - These Eyes / Wall Street (RTO20, G+, sleeve G+), The Cool Notes - Morning Child (Mass Media Music, MMM12, Ex), sleeve only - no disc for Hot Shot Ska (seams split), others inc: Keith Douglas (FAD005), Mystic Harmony & L.P.J. Band (SSMD004), Eleta Homer (CB010), Simplicity (KCD004), John Holt (TBL 184). Condition does vary from G to VG+/Ex.

Ban Dai, ThunderCats - 2 x ThunderCats classic models. Tigro and Lion-O. Both in original windowed packaging. Tigro comes with, long whip, short whip and extra hand. Lion-O comes with sword of omens, dagger, claw shield and extra hands.

Two pairs of similarly sized hunting prints:after Cecil Aldin, 'The Huntsman' and 'The Whip' (Lawrence & Jellicoe, nos. 21 and 22);after Dorothy Hardy, (Lawrence & Jellicoe, nos. 24 and 36, 1907).Glazed wooden frames, approx. 31 x 74 cm.

A Victorian mahogany boot and whip stand c. 1840, having twelve recesses, the mid-rail with hooks, 69cm wide, 33cm deep, 85cm highProvenance: part of the contents of Stepleton House, Blandford, Dorset

Handbags, Purse, and a Ethnic Carved Whip

Y GROUP OF WALKING STICKS AND CANES 19TH/ EARLY 20TH CENTURY to include a stick with an ivory ball pommel, 89cm long; a stick with a carved ivory pommel in the form of a seated boy, 90cm long; an ivory cane handle stick with a silver foliate collar, 88.5cm long; a stick with a tapered ivory pommel, 86cm long; a stick with a gilt metal foliate pommel and ivory collar, 93cm long; a horse carriage driving whip with a holly shaft and leaf carved handle, 140cm long; and a black umbrella with a carved ivory handle and silver collar, hallmarked Birmingham, 96cm longProvenance:Provenance: The Bellamy Collection, County Down, Northern IrelandNote: With non-transferable CITES self-certification number 24842157317Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit https://www.defra.gov.uk/ahvla-en/imports-exports/cites/

Jack Milroy Post-Card, 2022 Postcard Signed verso 30 x 10cm (11¾ x 3¾ in.) About   William John Milroy, always known as Jack, is a Scotchman, born on 21st September, 1938, in Glasgow, where his parents, Robert and Anna Milroy, had a pawn-broking and jewellery business. He has two much younger brothers. Glasgow, as the backdrop to his early childhood, remains a powerfully influential memory. He is a city boy. In the late 1940s, when he was about nine or ten - he can't remember exactly when - the family moved to Scarborough. There, at the age of eleven, he entered the local Grammar School. Is Jack a Yorkshireman too, if it is possible to be so by adoption? He is certainly a Northerner, by loyalty, prejudice and temperament.   Education   Scarborough School of Art. University of London   Select Exhibitions/Awards   Solo Exhibitions: 1967 1967- Rotherham City Art Gallery, Yorkshire 1977 - Anagraphs, Hester van Royen Gallery, London 1978 - Jack Milroy: New Works, Glen Hanson Gallery, Minneapolis, US 1979 - Portraits of the Queen, Delahunty Gallery, Houston, Texas, US 1980- The Queen, the Countess and a Waterfall, Thumb Gallery, London 1981 - Madge Whip, Lucy Blush and Others, Anne Berthoud Gallery, London 1985- Bright Beams from the Blackboard, Bracknell Arts Centre, Berkshire 1986- Pictures from France, James Hockey Gallery, Farnham Art College. 1987- Scarborough Art Gallery, Yorkshire 1992- The Pike Gallery, London 1996- Cuttings from the Library, Art First, London 1999- Ex Libris, Six Chapel Row Gallery, Bath. Surgery as a Pastime, Art First, London Portals: Graphite Traces of a House in the Cévennes, Stephen Lacey Gallery, London 2001- Hive, Art First, London 2002 - Cutting the Edge, Six Chapel Row Gallery, Bath 2003- Falling and Flying, Art First, London 2005- Doodling with Intent, Art First, London 2007- Cut, Art First, London 2008- New Works, Art First, London 2011- A Garden of Earthly Delights, Art First, London 2013- INterVENTIONS, Art First, London 2015- A Natural World, Art First, London 2017 - Cut Out, Art First, London 2019 - Rear View Mirror, Art First at Bermondsey Project Space, London 2022 - Chelsea Arts Club, London Gallery Representation   Art First Contemporary Art, London   Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

blue glass riding whip with whip spiralling around the cane and a clear glass riding whip with ring finial 

Collection of costume jewellery including Stratton horse and whip pin brooch - cameo set in white metal - 2 silver brooches - Royal Adderley Floral and Coalbrook china brooches, necklaces etc

CILICIA, Kelenderis, Stater, 425-400, nude youth dismounting from horse, holding whip, π between horse’s legs, rev. κελ, goat kneeling left, head reverted, 10.53g (Kraay Celenderis, Series II, 10-11; SNG France 48). Scrape on obverse, very fine £70-£90

A decorative bar brooch modelled as a belt with jockey cap and whip.

Large Lladro figure, The Landau Carriage, modelled as a horse drawn open top carriage, on a mahogany base, no 1521, sculpted by Juan Huerta, year issued 1987, year retired 1998, H30cm Condition Report:Back left carriage wheel is loose. There is some glue visible on the reins and whip. There are some marks to the lot, however these appear to be dirt and should come off with cleaning. The base has some marks on it. Please see images for additional detail. Please note this lot does not come with a box.

An Edwardian whip rack, enclosed by a pair of glazed doors, 134cm wide

A log basket, pair of hiking sticks and Hanes Schooling whip.

Twenty-six works by Dick Francis, mostly first impressions. Including 'The Danger', 'Whip Hand', 'Reflex', 'Hot Money' and 'Decider', (26).

A French gilt spelter figure of man holding a long whip, 18cm

WALES – SARAH JONES ('THE SWAN-SEA VENUS')Correspondence from Sarah Jones (1768-1849), known as the inspiration for Gilray's Swan-Sea Venus, to her nephew Arthur Eden (1793-1874), a lively collection of c.40 autograph letters touching on mostly domestic topics including her dogs and their pedigrees, sport, news of friends, neighbours and family, the weather, health matters, parties and gossip, c.140 pages, light dust-staining and some fraying, 4to (230 x 180mm.), Hill House, Swansea, c.1809-1812; with further 25 letters to Arthur Eden from other members of the family such as his mother Mariana, brother Robert and sisters Dora and Dulcibella, c.74 pages, light dust-staining, 4to (230 x 180mm.), Hampton Court and elsewhere, 1812-1813 (quantity)Footnotes:'THE TOWN OF SWANSEA IS IMPROVED AND IMPROVING': A glimpse into the country life of Sarah Jones, immortalised by James Gillray in his satirical print Venus a la Coquelle or the Swan-sea Venus of 28 March 1809, a parody of Venus rising, in which she is depicted driving her sea-shell chariot across the waves: 'Gillray's Venus is a middle-aged sea-green block of a woman who could hardly be more fully clothed or less like a deity. Her attending cupids are putti-like outriders wearing jockey's caps, and whose unstrung bows have become riding whips' (james-gillray.org website). The figure has been widely identified by scholars as Sarah Jones, 'a celebrated whip, frequently seen in Hyde Park who made herself elegantly conspicuous by driving about in a smart chaise and pair, with two booted and spurred skip-jacks as outriders' (British Library website), and denizen of Hill House, Swansea. In this series of entertaining letters she dispenses no-nonsense news and a little advice to her nephew Arthur Eden, later to become Assistant Comptroller of the Exchequer and Deputy Auditor of Greenwich Hospital. He lived with his second wife Frances Baring at Harrington Hall, Spilsby, the inspiration for 'the Eden where she dwelt' in Tennyson's poem The Gardener's Daughter.For further information on this lot please visit Bonhams.com

Frith - a 19th century silhouette of a child with a whip and a pair of black lacquered and painted face screensLocation:

A Swaine, lady's plaited leather hunting whip, stamped Swaine, nickel collar, minor wear, extended 63cm longLindsey Knapp (Victoria Gallery).Whip with slightly scuffed/worn edges.

An ebony and mother of pearl inlaid parasol, a horse riding whip with horn handle, and a pewter topped swagger stick. (3)

Leather saddle with whip

LEATHER HORSE CARRIAGE WHIP - with white metal mounts, and a large floral and butterfly decorated Oriental fan, 153cms L, 90 x 158cms open, measurements respectively

Two swords sticks from the 19th century. Both with a leather scabbard. One in the shape of a presenting stick and the other with a horse's head as a handle and a leather whip at the end. Lengte presensteerstok 67,5 en zweep 77 cm.

Britains - An unboxed Britains Overland Stage Coach with four horse team, driver (plus whip), 'Shotgun' rider, two passengers and 5 items of luggage (some of which may be unassociated) - shows age and play signs appearing Good overall; together with two Britains Overland Stage Coaches, both incomplete and suitable for spares / restoration. (This does not constitute a guarantee)

KOJU: A FINE MANJU NETSUKE OF A BOY AS AN OX HERDERBy Koju (Mitsutoshi), signed Koju 光寿 and kakihanJapan, Edo (Tokyo), mid-19th century, Edo period (1615-1868)A decidedly thick two-part manju netsuke carved in deep shishiaibori (sunken relief) with stained sumi details, depicting a young oxherder boy (ushidoji) holding a whip, smiling and resting his arms on the head of an ox who seems amusingly over-encumbered. The reverse with a neatly incised pine tree and basket filled with grains, as well as the central himotoshi and signature KOJU (Mitsutoshi) with kakihan. The artist was a carver of fine manju netsuke from the line of Hojitsu, Kojitsu and Moritoshi.DIAMETER 4.6 cm, THICKNESS 2.5 cmCondition: Excellent condition, minor wear to sumi details.Provenance: Collection Gabor Orszagh, Budapest, Hungary.

A BOX OF ASSORTED VINTAGE HUNTING / RIDING ATTIRE TO INCLUDE TWO JACKETS, A HUNT WHIP ETC, TOGETHER WITH A VINTAGE TENNIS RACKET AND CHILDS CONEY AND LEATHER WAISTCOAT

A DRIVING/LUNGING WHIP With plated shaft, a child's hunting crop with antler grip and bamboo shaft and a black riding crop (3)

Donald Byrd – Byrd In Hand Mint Blue Note Vinyl AlbumThe vinyl is in Perfect Mint Condition visually.The sleeve is in Excellent Condition with no damage or writing.The Inner sleeve is in Near Mint Condition with no splits or damageLabel: Blue Note – BST 84019 A1 Witchcraft 8:25A2 Here Am I 8:23A3 Devil Whip 4:39B1 Bronze Dance 6:40B2 Clarion Calls 5:39B3 The Injuns 6:08Worldwide and domestic postage is available for this item (with some restrictions) please contact us for details.

A FINELY CARVED AND PRESENTED 1:48 SCALE MODEL OF H.M.S. WAGER [1734]the planked and pinned 28in. hull painted white below the waterline, ebonised wales and carved gunwales, raised gun port lids with brass rings and oxidized brass guns run out, laminated rudder with pintles and chains, finely carved lion figurehead, stern and quarterlights, four anchors with bound wooden stocks, planked decks with fittings including stove chimney, belfry, gratings with shot rack surrounds, well deck with suite of three fully fitted ships boats over, the poop with double ten-spoke helm rigged to whip-staff, belaying rails with pins and other details, three bound first-stage masts with platforms, standing rigging and ratlines, mounted on cradle stand to green cloth display base with plate within Plexiglass wooden case. Overall measurements -- 25 x 43½ x 14in. (63.5 x 110.5 x 35.5cm.)H.M.S. Wager was a 28-gun East Indiaman purchased specifically for Commodore George Anson's ambitious but ill-fated six-ship expedition against Spanish Pacific outposts at the start of the War of Jenkins' Ear. Chronically undermanned, the squadron, led by Anson in Centurion, departed Portsmouth on September 18th, 1740 with crews including 260 invalids from Chelsea Hospital and 210 untrained marines. Raising St. Catherines Island off Brazil some three months later, they remained there until 18th January 1741. Intending to sail direct for Cape Horn, the need for repairs was so great they were forced to put into the deserted Port St. Julien where Wager came under the command of Lt. David Cheap, Centurion's former 1st Lieutenant. Transiting the Straights of Le Maire on 7th March, savage weather prevented them from rounding the Horn for six weeks, and, on 24th April, Wager lost sight of the rest of the squadron. Instead of making for a pre-arranged back-up rendevous, Cheap lay to for four days and by 13th May was in the Bay of Peñas - but with only "thirteen sickly hands" to work the ship. At 04.30 the next morning she struck a reef and came to rest just off the shore of the deserted island where she became a total loss. At this point the ship's company divided and pursued different strategies to reach home, which by 1746 several had managed. Wager's wreck was rediscovered in 2006 by the Scientific Exploration Society which, having allowed a full month to find it, arrived late at night and set up camp, with the first members tripping over her ribs, settled in an estuary, first thing the next morning! Whilst Anson's original objectives failed, Centurion circumnavigated the globe and was the only vessel to return to England n 1743 - having intercepted a Spanish treasure ship which yielded half-a-million pounds sterling which, despite all, guaranteed his career and with which he built the stately home of Shugborugh.Fine overall condition.

A bundle of walking sticks and a whip

Early 20th century brass Fox head and whip doorstop with weighted base and impressed marks to back, 45cms; together with a painted metal soldier doorstop, 36cms. Estimate £60-80

Early C20th umbrella with hallmarked silver collar, two other walking sticks with hallmarked silver collars, driving whip with carved handle, 2 Ash walking sticks, one with a horse head decal on top, (103 and 114cm) and 2 Shepherds Crooks, one in hazel with a sheeps horn carved handle and painted horse head decoration (131cm), the other Cherry (approx 87cm). (9)

A North African camel drivers whip with inlaid decoration to handle

A collection of mainly Briains mixed farm and civilian lead hollow cast miniatures to include a No. 810 pre-war yachtsman figure, a vicar holding bible with swinging arm, a carter with whip, standing policeman figure, golfer and others, some examples a/f and would benefit from cleaning

Carriage whip rack with three rotating roundels, 66cm x 14cm

Six walking sticks and a whip

Leather suitcase; together with various police accessories including hat, handcuffs, whip and whistle