JEWELLERY, OBJECTS OF VERTU

& GOLD COINS

Gold Coins
 

1

Edward VII, half-sovereigns, 1902; 1906; 1908; 1910; fine. (4)

2

Edward VII, half-sovereign, 1902; George V half-sovereigns, 1912; 1914 (2); fine. (4)

3

George V, half-sovereigns, 1911; 1912; 1913; 1914; fine. (4)

4

Edward VII, sovereign, 1905; George V, sovereign, 1914; half-sovereign, 1914; fine. (3)

5

William IV, sovereign, 1835; Queen Victoria, sovereigns, 1880; 1883, Melbourne mint; fine. (3)

6

Queen Victoria, sovereigns, 1887; 1889; 1890, Melbourne mint; 1891; fine. (4)

7

Queen Victoria, sovereigns, 1895, 1896, both Melbourne mint; 1899; 1900; fine. (4)

8

Queen Victoria, sovereigns, 1896; 1898; 1899; 1900; fine. (4)

9

Queen Victoria, sovereigns, 1893; 1900; Edward VII, sovereigns, 1902 (2); fine. (4)

10

Queen Victoria, two pounds, 1887, fine.

Jewellery

11

A pair of antique gold ruby drop earings, overall length, 2in.

  See illustration

12

A pair of Victorian gold earings of foliate design with fluted baluster drops, engraved with flowers, 2⅞in overall length, and an 18ct gold rose-diamond and ruby dress ring. (2)

See illustration

13

A Georgian gold amethyst brooch with filigree decoration, and a Georgian gold paste set “Regard” ring with carved shank. (2)

  See illustration

14

A Victorian gold brooch with pendant drop decorated with raised flowers, 1⅞in wide, overall length 3in.

See illustration

15

A Victorian rose-diamond circular tie pin; a sapphire tie pin, the three oval stones of cornflower blue tone; and a 9ct gold fox head bar brooch with inset eyes. (3)

See illustration

16

A lady’s Victorian 9ct gold fancy link guard chain, 66in long, weight 32gr.

 See illustration

17

A Victorian gold, diamond, onyx and pearl oval mourning brooch; a pearl and enamel brooch with filigree and bead work decoration; a Georgian gold pearl set mourning ring with carved shank; and a 15ct pearl set buckle ring. (4)

  See illustration

18

A Victorian gold turquoise and pearl dress ring; a pair of agate flexible bracelets; and two graduated cultured pearl necklaces. (3)

19

A Victorian gold Brazilian cut single stone diamond ring; a diamond and pearl cluster ring; and an 18ct gold and platinum sapphire and diamond square cluster ring. (3)

See illustration

20

A French gold suite set with rubies and natural pearls, comprising a pendant and a pair of drop earings, 1893 – 1919, overall length of pendant, 2¾in, earings 1⅞in.

See illustration

21

A pair of antique silver paste drop earings with cut down settings; a set of six Victorian silver buttons with filigree decoration; a 19^th century Scottish silver agate brooch; an antique pinchbeck paste garnet flowerhead brooch; a paste amethyst fob seal; and a circular locket with foliate decoration. (6)

See illustration

22

A Georgian gold diamond and pearl cluster ring with carved shoulders, decorated with serpents.

See illustration

23

A Victorian 18ct gold turquoise and rose-diamond half-hoop ring; and an 18ct gold turquoise and diamond cluster ring, hallmarked London 1907. (2)

  See illustration

24

A Victorian five stone diamond half-hoop ring, hallmarked Birmingham 1896.

  See illustration

25

An 18ct gold and platinum, diamond and sapphire oval cluster ring, with diamond set shoulders.

See illustration

26

An 18ct gold sapphire and diamond carved half-hoop ring, set with three sapphires and four Brazilian cut diamonds, hallmarked Birmingham 1904.  

See illustration

27

An 18ct gold ruby and diamond half-hoop ring set with three rubies and four small rose-diamonds, hallmarked Chester 1901.  

See illustration

28

A ‘Child and Child’ silver sapphire and pearl set butterfly pendant with green guilloché enamel wings; a blue enamel butterfly brooch; an Arts and Crafts silver abalone shell brooch with foliate decoration; and four various silver and marcasite brooches including a double clip. (7)

  See illustration

29

A Victorian gold coral and ivory bead knot brooch, 1½in diameter; and a 9ct gold shell cameo brooch of pointed oval form with engraved foliate decoration, portraying a figure of a classical maiden, 1⅝in overall height. (2)

  See illustration

30

A gentleman’s Victorian 18ct gold single stone diamond ring, approximately ½ carat; an 18ct gold three stone diamond gypsy set ring, Chester 1907; and three various gold tie pins, one modelled as a pair of greyhounds, the other two set with precious stones and pearls. (5)

See illustration

31

A Victorian gold opal star pendant with chain necklet, ¾in diameter.

  See illustration

32

A 19^th century gold mounted Wedgwood black and white jasperware oval pendant with pearl and chain suspension, on gold bead chain necklet, impressed mark in capitals.

See illustration

33

An Edwardian gold diamond turquoise and pearl set double-heart locket and bow, with 15ct gold chain necklet.

See illustration

34

An Edwardian 9ct gold diamond and sapphire bangle with filigree and beadwork decoration, Birmingham 1907; an 18ct gold five stone sapphire and rose-diamond dress ring; and two similar ruby and pearl rings. (4)  

See illustration

35

An Art Deco carborundum and rose-diamond flexible bracelet, the links of stylised floral design.  

See illustration

36

A pair of carved jade and diamond drop earings, overall length, 2½in.

  See illustration

37

A platinum three stone diamond and sapphire ring; and a three stone diamond bar brooch. (2)

38

A carved jade and diamond brooch of oval form set with sixteen diamonds, 2in wide overall.

See illustration

39

An 18ct white gold and platinum three stone diamond ring, total weight approximately ½ carat.

See illustration

40

A Victorian 18ct gold diamond ring set with two rows of four Brazilian cut diamonds.

See illustration

41

A gentleman’s Victorian 9ct gold single stone amethyst ring, hallmarked 1894; a 15ct gold native polished single stone cabachon ruby ring with carved shoulders; a gold carnelian set combination pen and pencil; a gold watch key; and an antique gold fob seal with carnelian intaglio, carved with a classical male bust. (5)

  See illustration

42

A gold sapphire and diamond ring of open rectangular form enclosing three circular sapphires and thirty-six small diamonds, marked 585.

See illustration

43

An Edwardian 9ct gold peridot and pearl flower set brooch; a 9ct gold paste aquamarine spider’s web pendant; a 9ct gold paste amethyst pendant; two 9ct gold back and front lockets with foliate decoration, and an Edwardian ruby and pearl dress ring, Birmingham 1901. (6)

  See illustration

45

A lady’s 18k gold ‘Sivos’ 17 jewel wristwatch with integral bracelet, in working order.

46

An 18ct gold diamond cluster ring of rectangular design with twelve diamonds; and a pair of gold, emerald and pearl tear drop earings. (2)

  See illustration

47

An 18ct gold diamond and opal cluster ring; and a 9ct gold Art Nouveau paste aquamarine and pearl pendant with chain necklet. (2)

See illustration

48

An Art Nouveau 9ct gold paste aquamarine pendant of floral design, with chain necklet, overall height 1¾in.  

Objects of Vertu

49

A French 19^th century gold vinaigrette of rectangular form decorated in black, white and green enamels, pierced lattice grille, 1819 – 1838, 1in x ¾in.

See illustration

50

A George III silver vinaigrette of rectangular canted form with bright cut decoration, pierced grille, by Thomas Wilmore, Birmingham 1798, 1¼in wide; together with a plain oval vinaigrette with contemporary initials and detachable grille, maker’s mark I.S., London 1798, 1¼in overall.

  See illustration

51

A Victorian gold brooch, with an oval portrait miniature on ivory of a young gentleman, inscribed to the reverse, A token of sincere regard and esteem, June 18^th 1853, 2⅜ x 2⅛in overall.

See illustration

52

Napoleon; a 19^th century portrait miniature on ivory, in rectangular ormolu frame with pierced border, signed A. Bolt, 3⅛ x 2⅜in.

  See illustration

53

A gentleman’s Swiss, silver keyless half-hunter quarter repeater pocket watch, the white enamel dial with Roman numerals, 2⅛in diameter, together with a silver hallmarked double guard chain.

  See illustration

54

A gentleman’s 18ct gold open faced keyless lever stop watch, white enamel dial with Roman numerals, by Thos Russell & Sons, Liverpool and London, Makers to the Queen, No 76307, hallmarked Chester 1880, 2in diameter, working order.

See illustration

55

A Swiss silver keyless triple calendar travelling watch with moonphase, the white enamel dial with Roman numerals, 2¾in diameter, with original red leatherette case inscribed Henry Lewis & Co, Jewellers and Goldsmiths to the Queen, 172 New Bond Street.

See illustration

56

An 18ct gold open faced keyless cylinder fob watch, the gilt metal dial with Roman numerals, foliate engraved case, by Hennessy, Maker to the Admiralty, Swansea, No 15776, hallmarked London, 1872, 1⅝in diameter.

  See illustration

57

An 18ct gold open faced keyless cylinder fob watch, the gilt metal dial with Roman numerals, floral engraved case, hallmarked London 1878, 1⅝in diameter.

  See illustration

58

An 18ct gold keywind cylinder fob watch, gilt dial with raised Roman numerals and seconds dial, No 35262, the case decorated with foliate engraving, hallmarked Chester 1862, 1⅝in diameter, with original leather travelling case, working order.

  See illustration

59

A Swiss 18k gold keywind cylinder fob watch, with bull’s eye glass and Roman numeral gilt metal dial, 1½in diameter, working order.

  See illustration

60

A gentleman’s 18ct gold open faced keyless cylinder pocket watch, the gilt metal dial with Roman numerals, engine turned case, by Benjⁿ Gaunt & Sons, Barnsley, No 44307, hallmarked London 1877, 2in diameter.  

See illustration

61

A gentleman’s Swiss 9ct gold open faced keywind lever pocket watch, the white enamel dial with Roman numerals, plain case, hallmarked Birmingham 1927, 2in diameter, together with a 9ct gold guard chain, weight of guard 31gr.

62

A gentleman’s 9ct gold keyless lever half-hunter pocket watch, the white enamel dial with Roman numerals, by Thomas Russell & Sons, Liverpool, hallmarked Birmingham 1937, 1⅞in diameter.  

See illustration

63

A gentleman’s 9ct gold engine turned cigarette case, hallmarked London 1938, weight 122gr.  

See illustration

64

A gentleman’s 9ct gold engine turned cigarette case by Mappin & Webb Ltd, Oxford Street, London, hallmarked Birmingham 1927, weight 180gr.

See illustration

65

A lady’s Art Deco yellow and white gold fancy link guard chain, 46in long, weight 20gr; and a 9ct gold cigarette case with engine turned decoration, Birmingham 1926, 3¼in x 2⅜in, weight 74gr.

  See illustration

66

A fine 16^th century silver baluster seal top spoon, marked with a cinqfoil in the bowl, stem stamped I (over G) B, IB with pellet between, terminal pricked I.B., traces of original gilding, Bury St Edmunds district, circa 1580, wear to front edge of bowl.

See illustration

67

A Victorian pink and white overlay cut glass scent bottle with embossed silver top; together with a similar green and white bottle, each 3⅝in high. (2)

  See illustration

68

Motor Cycling Club; a pair of 9ct gold cuff links, the badge of the club in raised relief, inscribed W.D. Pugh for ‘One-Day-Trial’, 1922, together with three similarly decorated 9ct gold medallions, three silver and three in base metal, variously dated 1921 – 1926, for events such as ‘London – Lands End’, ‘London – Edinburgh’, ‘London – Holyhead’, etc, 1⅛in diameter, weight of cuff links and gold medallions, 44gr.  

See illustration

69

A Royal Humane Society silver medal awarded to J.N. Taylor, Rossall School, 1902, with reference to saving life from drowning, 2in diameter; together with a silver cheroot case inscribed with his initials, Birmingham 1901, 5in x 3¼in, 5oz; a silver capstan inkwell London 1905, loaded, 3¾in diameter; and a silver mounted oak table cigarette box, London 1909, 10¼in x 7¼in. (4)

  See illustration

70

A gentleman’s Edwardian silver smoker’s companion with foliate engraving, encompassing a cigar cutter, pipe tamper, blades, etc, Birmingham 1901, 3¼in overall; and a French 19^th century silver tastevin with repoussé decoration and entwined serpent loop handle, with inset coin, dated 1759, French marks, and with Chester import marks for 1909, 2⅞in diameter, 2oz. (2)

  See illustration

SILVER & PLATE

71

A George II silver coffee pot of tapering cylindrical form, with moulded foot, domed cover with baluster finial and octagonal faceted spout, fruitwood scroll handle, crested, probably by Richard Beale, London 1730, 9in high, 23oz.

See illustration

72

A set of five George II old English pattern silver double-drop tablespoons, with contemporary crest and motto, probably by Isaac Duke, London, 1748; together with two Hanovarian pattern tablespoons, London 1756 and 1763, total weight, 15oz. (3)  

73

A George II silver salver of circular form with shell pattern border, raised on scroll feet, contemporary crest with mantling, by Ebenezer Coker, London 1748, 10¼in diameter, 18½oz.

See illustration

74

George III fiddle pattern silver cutlery by Samuel Hennell, London 1813 – 14; a pair of serving spoons, 1814, 12¼in long, 8oz; a set of six tablespoons, 1813, 13oz; and ten teaspoons, 1813, 6½oz, total weight 27½oz. (18)

75

Six old English pattern silver dessert spoons, London 1783 – 84, five by George Smith, 6½oz; together with twelve assorted old English pattern tablespoons including two pairs of bright-cut by William Sumner & Richard Crossley 1778, and Hester Bateman 1781, pairs by Peter, Anne & William Bateman 1800, Richard Ferris Exeter 1804, and three by Richard Crossley 1809, total weight 22½oz. (2)

76

A set of four Irish Hanovarian pattern silver tablespoons, with contemporary stag’s head crest, by William Beates, Dublin, 1758, 9oz.

77

A George IV embossed silver cream jug of compressed baluster form with scroll handle, London 1824, 3¾in high, 7oz; together with two similar, later pierced and chased, old English pattern silver gilt ladles, one by George Smith, London 1812, the other by William Chawner, London 1816, 4oz. (3)

  See illustration

78

A suite of four George III cast silver candlesticks, of circular moulded baluster form with leaf and shell pattern decoration, by Ebenezer Coker, London 1765, 11in high, 92½oz.

See illustration

Numbered and engraved with their respective weight, in pairs, each hallmarked under the foot, on socket, and sconce.

79

A George III silver baluster pint tankard with leaf capped scroll handle, probably by John Delmester, London 1771, 12½oz.

  See illustration

80

Six Hanovarian pattern silver tablespoons, London marks, three 1736, two 1749, the other illegible, matching owners initials, 10½oz; and a set of six old English pattern silver table forks, London 1909, 15oz. (2)

81

A set of twelve George III old English pattern silver dessert spoons, by Robert Cottle and James Barber, York, 1812, town mark lacking, 12oz.

82

A set of six George III fiddle and thread pattern tablespoons, maker’s mark I.P; G.P. in a rectangle, London 1815, 16oz.

83

A trio of George III silver baluster castors, by Thomas Smith, London 1774; Robert Piercy, London 1777; the third with cover by Robert Piercy and base by Thomas Smith, London 1777, 5½in, 5in and 5in high respectively, total weight 7¾oz.

  See illustration

84

An early George III silver breakfast dish of circular form with loop handles and gadrooned border, contemporary crest, minor split to rim, by S. Herbert & Co, London 1764, 10⅛in diameter, 12½in across handles, 23½oz.

  See illustration

85

Six George III old English pattern silver tablespoons with matching bright cut decoration, three 1784, probably by William Shaw, the other three 1785, by Robert Cruickshank, with contemporary crest, 13oz; together with twelve old English pattern dessert spoons, various dates and makers, 1783 – 1806, 12oz.

86

An antique silver old English pattern table service, various makers, 1785 – 1848, total weight 38½oz; comprising six tablespoons, six table forks, six dessert spoons and six dessert forks. (24)

87

A set of 12 George III old English pattern silver dessert spoons, by William Eley and William Fearn, London, 1806, 12oz.

88

A George III silver bright cut sugar basket of circular pedestal form, with blue glass liner and beaded swing handle, by Chas Chesterman, London 1783, overall height 7in, 5oz; together with a bright cut helmet shaped pedestal cream jug with reeded loop handle, maker’s mark partly illegible but probably Peter and Anne Bateman, London 1795, 6in high, 3½oz. (2)

  See illustration

89

A set of twelve George III old English pattern silver teaspoons, circa 1790, duty mark, lion passant and maker’s mark, W.W., only, contemporary initials, 8oz; a pair of old English pattern sauce ladles, by George Smith and William Fearn, London 1787, crested, 3oz; and two pairs of salt spoons, 1797 and 1818, both crested. (18)

90

A George III silver bright cut teapot and stand of moulded oval form, with ivory finial and scroll handle, the stand raised on scroll feet, matching decoration with contemporary initials, London 1792, the teapot by George Smith and Thomas Hayter, the stand by Edward Jay, combined weight 21½oz.

  See illustration

91

A set of twelve George III old English pattern silver table forks, by Thos Northcote and Geo Bourne, London, 1794, 24oz.

92

A set of twelve George III old English pattern silver table forks, by Peter and Anne Bateman, London, 1796, 24oz.

93

An early Victorian fiddle pattern silver fish slice with pierced blade by Jacob Wintle, London 1846, 4½oz; a pierced ladle by William Eley and William Fearn, 1807; and a set of four salt spoons by John & Henry Lias, 1820. (3)  

See illustration

94

An antique silver part table service, with matching crest, comprising a butter knife and six teaspoons by Jas Hobbs, London, 1834, 1835 respectively; a pair of sauce ladles by W. Bellchambers, London 1834; a pair of mustard spoons by James Barber and William North, York, 1840, all fiddle pattern, four old English pattern tablespoons by James Barber and William North, York, 1845; and four dessertspoons by Jas Hobbs, London 1835, total weight 23½oz. (19)

95

A George II silver waiter with shell pattern border raised on scroll feet, London 1750, maker’s mark W.I. in a rectangle, 6¼in diameter, 6½oz; and a George III silver waiter of similar form, by John Carter, London 1769, 6⅝in diameter, 7oz. (2)

See illustration

96

A Victorian silver old English pattern dessert service with bright cut vine leaf decoration by George Adams, London 1862 – 66, comprising, six dessert forks 1862; a sauce ladle 1863; six dessert spoons, six teaspoons, a pierced ladle and a condiment ladle 1864; and six dessert knives with engraved blades and beaded handles 1866, the handles by Martin Hall & Co., Sheffield, total weight 35oz, knife handles loaded. (27)

97

A set of twelve early Victorian old English pattern silver dessert forks, by George W. Adams, London, eleven 1844 with matching crests, the other 1846, 17½oz.

98

A pair of George II silver sauceboats with leaf capped scroll handles and cut card borders, raised on pad feet, crested, by William Shaw and William Priest, London 1753, minor splits and repairs, 20½oz.

  See illustration

99

A pair of fine George III silver entrée dishes of moulded rectangular form, with gadrooned borders, and turned ebony handles, contemporary crests with mantling, probably by William Stevenson, London 1804, 9¾in wide, weight 92½oz.

See illustration

100

A George III silver marrow scoop by Stephen Adams, London 1780, 8¼in overall.

  See illustration

101

An extensive silver Queens pattern table service, 1866 – 1971, comprising, 6 teaspoons by George Adams, London 1866; 6 tablespoons, 6 table forks, 6 dessert spoons, 6 dessert forks and a sauce ladle by John Samuel Hunt, London 1884; 6 table and 6 dessert knives with steel blades, 1949 – 50; 6 fish knives and forks, 6 fruit knives and forks with steel blades and prongs, 6 soup spoons, 1967; and a cheese knife with steel blade, 1971, contained in an oak canteen, 109½oz of weighable silver. (74)

102

A suite of fiddle pattern silver cutlery, comprising a pair of table spoons, 1836; eleven table forks, 1863; six dessert spoons, 1833 – 36; eleven dessert forks 1835 – 1913; and two sauce ladles, 1826 – 40, total weight, 59½oz. (32)

103

A set of ten Victorian silver fruit knives and forks with engraved blades and carved mother of pearl handles, Sheffield 1875, in octagonal burr walnut canteen.  

104

A pair of Victorian silver fish servers with engraved blades, and embossed handles decorated with fish, the blades by H&T, Birmingham 1847, the handles, Henry Archer, Sheffield, loaded.

  See illustration

105

A George III silver bright-cut sugar basket of pierced oval form, with blue glass liner and swing handle on pedestal foot, crested, with matching Victorian cover, the basket probably by A. Calame, London 1778, the cover by Jos Taylor, London 1848, overall height 6½in, 8oz.

  See illustration

106

A George III silver wine funnel with beaded border and wirework grille, London 1787, marker’s mark illegible, 5¼in, 3oz; together with a silver teapot stand of oval form with reeded border and scroll feet, by Peter and Anne Bateman, London 1796, 7in wide, 4oz. (2)

  See illustration

107

A George III silver bright-cut sugar basket of oval pedestal form with reeded swing handle, by Charles Hougham, London 1790, overall height 5½in, 5oz; together with a silver helmet pattern cream jug with reeded handle, by Hannah Northcote, London 1802, 3¾in high, 3½oz.

  See illustration

108

A Victorian silver castor with foliate decoration, by Chas & Geo Fox, 1847, 3⅞in, 2½oz; a condiment ladle with broad arrow mark and Naval coat of arms, by John Samuel Hunt, 1859; a pair of open salt cellars of moulded form on ball feet, 1883, 2oz; an embossed cream jog with scroll handle, by J. Dixon & Sons, 1888, 1½oz; and a caddy spoon with sunflower pattern bowl and figure terminal, by George Adams, 1892. (5)

See illustration

109

A George III silver bright-cut teapot of oval baluster form, with shaped spout, carved ivory pineapple finial, and silver capped fruitwood scroll handle, by Andrew Fogelberg, London 1800, 13oz.

See illustration

110

A set of six Victorian old English pattern silver table forks together with six matching dessert forks, by George Adams, London 1879, 22oz. (12)

111

A Victorian button hook with embossed silver handle, Birmingham 1888, 13in long; an embossed miniature silver scent bottle, Birmingham 1894, 1¼in; a silver topped cut glass table scent bottle, Birmingham 1900, 3¼in; an oval silver pin box with gadrooned border, Birmingham 1900, 2in wide; an oval silver purse with engine turned decoration, brown leather interior, Birmingham 1918; and a lady’s Swiss silver cylinder fob watch with chain. (6)

See illustration

112

A fine Victorian silver two handled tray of rectangular form with chased floral decoration, the gadrooned border with masks and shells, leaf pattern handles, by Edward Barnard & Sons Ltd, London 1896, 30in wide, 168oz.

  See illustration

113

A Victorian silver christening mug with engraved foliate decoration and leaf capped wishbone handle, by Walker & Hall, Sheffield 1897, 3⅜in high, 5oz.  

See illustration

114

A Georgian style silver coffee pot of tapering cylindrical form with ebony side handle, by Harrison Bros & Howson, Sheffield 1909, 6in high, 12½oz; together with a silver cream jug and sugar basin with cut card borders raised on pad feet, Birmingham 1904, combined weight 6½oz. (3)

See illustration

115

A Victorian silver pepper pot of oval waisted form with gadrooned decoration, Birmingham 1899, 4in; a pair of silver peppers embossed with swags and ribbon ties, Chester 1899, 2¾in; a silver cream jug with scroll handle on pad feet, Birmingham 1912, 3½in; a silver five bar toast rack, Sheffield 1943, 1½oz; two miniature silver pickle forks, 1894, 1906; and a set of six silver gilt Coronation teaspoons, Birmingham 1936. (6)

116

A pair of 19^th century dwarf oil lamps, with embossed floral decoration and gadrooned circular bases, cast scroll handles, with plated fittings and spiral moulded glass shades, marked Sener 900, probably American, 11in high, 17oz.

  See illustration

117

A Victorian silver bon-bon dish of oval form with pierced and repoussé decoration on shaped pedestal foot, Birmingham 1900, 3¾in high, 8¼in overall, 7oz.

118

A silver trinket box modelled as a knife case, with gilt interior, Birmingham 1914, 3½in high, 5oz.  

See illustration

119

An Edwardian embossed silver picture frame with pierced border, Birmingham 1901, 9in square.

See illustration

120

An Art Nouveau silver bon-bon dish of pierced oval form decorated with stylised flowers, Birmingham 1904, 5½in wide, 2oz; and an oval silver tea caddy embossed with a landscape and figures, Birmingham 1922, 3oz. (2)  

See illustration

121

A Walker and Hall silver two handled oval tray with cut card border, Sheffield 1933, 20¾in overall, 52oz.

See illustration

122

A four piece silver teaset of shaped rectangular form raised on scroll feet, Birmingham 1947 – 48, 58oz.

See illustration

123

A fine Victorian silver gallery tray of rectangular canted form, with bright-cut decoration raised on scroll feet, inscribed To Evelyn Constance Barr from the Hyderabad Residency Staff on her marriage March 4^th 1902”, with facsimile signatures, by the Goldsmiths’ and Silversmiths’ Co, 112 Regent Street, London, hallmarked Sheffield 1899, 24in wide, 152oz.

See illustration

124

An Edwardian rectangular silver trinket box with embossed cherub head decoration, Birmingham 1901, 4¼in wide, 4¾oz.  

See illustration

125

An Omar Ramsden silver sauce boat with scroll handle on moulded oval foot, inscribed Omar Ramsden me fecit, London 1931, 3⅛in high, 3oz; a Charles Horner silver sugar castor of bulbous baluster form with domed cover, Birmingham 1922, 5⅝in high, 5oz; together with a set of six Georg Jensen silver coffee spoons, Copenhagen marks, and London import marks for 1925, cased. (3)  

See illustration

126

A Victorian embossed silver spill vase on scroll feet, London 1891, 3¼in high, 3½oz; a Rococo style silver pin tray, Birmingham 1894, 4¼in wide; an Edwardian silver wirework sugar basket with blue glass liner and sifting spoon, Birmingham 1903, 1908, 5in high, 2½oz; and a Continental figure of a swan with cut glass base, marked 835, 2¾in high. (4)

See illustration

127

A pair of Victorian silver serving spoons with bright cut decoration, cast handles, hallmarked 1876, 5oz; together with a pair of silver spoons with lyre and bird’s head finials, London 1895, 3oz. (2)

See illustration

128

A Victorian silver bon-bon dish with pierced and repoussé decoration on oval pedestal foot, London 1899, 4½in high, 6in overall, 8oz.    

See illustration

129

A pair of silver trefoil shaped bon-bon dishes with pierced decoration and husk border, on scroll feet, Birmingham 1911, 3½in diameter, 2½oz.

See illustration

130

An Edwardian sterling silver dressing table set with engraved and embossed decoration, comprising, a hand mirror, two cut glass toilet jars, three brushes and horn comb, various makers. (7)

131

A Russian silver jug of angular form with beaded and engraved decoration, scroll handle, St Petersburg marks, dated in touch 1874, 84 zolotniks 3⅞in high, 11oz; and a silver sugar basin with foliate decoration and swing handle, raised on ball feet, together with a pair of tongs, 84 zolotniks, 3¾in diameter, 4½oz. (2)

See illustration

132

An Art Deco silver bowl of geometric form, Birmingham 1936, maker’s mark S.B. & S. Ltd, 3⅞in high, 6⅛in diameter, 14oz; together with a sterling silver rectangular picture frame with hammered decoration, marked 950, 11in x 9in. (2)

See illustration

133

A pair of graduated George III old Sheffield plate meat covers of moulded oval form with leaf pattern handles, rubbed in silver shields with armorial bearing and crest, circa 1800, 19½in and 14¾in wide.

The sinister coat of arms is that of Langton, of Broughton Towers, Lancashire.

134

A pair of George III old Sheffield plate wine coasters with fluted decoration and gadrooned borders, turned fruitwood bases, silver bosses with contemporary crests, circa 1800, 6in diameter.  

See illustration

135

A pair of 18^th century old Sheffield plate candlesticks of oval form, with foliate patterned tapering stems and stepped bases, circa 1790, 12in high.

  See illustration

136

A pair of Victorian silver plated candlesticks of square moulded baluster form with leaf and shell pattern decoration, 11in high.

137

A pair of Victorian two handled silver plated entrée dishes of oval form with beaded decoration, 14in overall.

EUROPEAN CERAMICS & GLASS

Ceramics

138

Twelve assorted 18^th century blue and white delft tiles, including six decorated with landscapes and shipping scenes within octagonal reserves, 5in square.  

See illustration

139

An early 19^th century country pottery jug decorated with incised rouletting and floral sprigging, loop handle and mask spout, covered in a yellow – green glaze, chips to sprigging and hair cracks, kiln kisses, possibly Rye Kiln, 6½in high.

  See illustration

140

An early 19^th century Staffordshire toy blue and white transfer printed part dinner service, decorated with a scene of an Oriental traveller with an ox passing in front of a walled city, comprising, six dinner plates, a dessert plate, two oval bowls, a tureen and cover with shell pattern handles and scroll finial, and four graduated oval meat plates, the largest 4½in wide, possibly Rogers, circa 1820. (14)

See illustration

141

An early 19^th century Spode, ‘Lanje Lijsen’ pattern octagonal blue and white transfer printed meat plate with well; together with a matching circular dish with raised border, impressed and printed marks, 20½in wide and 11¼in diameter respectively. (2)

See illustration

142

Pratt ware pot lids; ‘Bear Pit’, ‘Bears at School’, and ‘Bears on a Rock’, printed in colours and extending over the entire surface of the lid, fine crazing and with minor surface scratches, the first with two small chips to outer edge unaffecting the print, mid 19^th century, each 2⅞in diameter, in a single ebonised frame. (3)

See illustration

Produced by F & R Pratt & Co of Fenton, Staffordshire engraved by Jesse Austin.

143

Pratt ware pot lids; ‘The Shrimpers’, ‘I See You My Boy’, ‘A Pair’, and ‘Pegwell Bay – Established 1760’; the latter with leaf decorated border and chips to back rim, all with fine crazing, some minor abrasions and staining, good colour, 19^th century, each approximately 4⅛in diameter, in ebonised frames. (4)

144

A Copeland parian figure, ‘The Dancing Girl Reposing’, modelled by Calder Marshall, impressed Art Union of London 1846, Marshall fec^t, Cheverton sculp, 18¼in high.

See illustration

145

A Minton parian group, ‘Naomi and her Daughters in Law’, impressed marks, year cipher for 1876, incised numerals 183, loss of one finger and tip of walking stick, 10½in wide, 13½in high.

See illustration

146

A 19^th century Wedgwood blue and white jasperware copy of the ‘Portland Vase’, impressed mark in capitals, date letter W, probably 1868, 7in high.

 See illustration

147

A Victorian Majolica pottery cheese dish modelled as a castle adorned with vines and ferns, flagpole finial, decorated in coloured glazes, registration mark, 25^th August / September 1872, cracked and riveted, chips to base and with minor glaze loss, 9½in diameter, 12½in high.

  See illustration

148

A 19^th century bargeware teapot of traditional form with miniature teapot finial, inscribed A Present To Mr H. Archer, Burton on Trent decorated with birds and flowers in coloured enamels on a brown tortoiseshell glaze, by Mason, Cash & Co, Church Gresley, spout lacking on finial, 12in high.  

See illustration

149

Hannah Barlow; a Doulton baluster vase, incised with figures of an old English sheepdog and a flock of sheep, within jewelled floral borders decorated with coloured glazes, marked Lambeth, England, post 1891, 12½in high.

See illustration

150

Florence Barlow; a Doulton baluster vase with rounded shoulders and everted neck incised with figures of deer within coloured leaf pattern borders, impressed date 1877, 6¾in high.

  See illustration

151

A pair of Doulton, Slaters Patent, baluster vases decorated with stylised flowers in pale blue, white enamel and gilding on a tooled ground, with brown and green glazed borders, 13¾in high.

See illustration

152

A garniture of three Art Deco, Royal Doulton stoneware baluster vases together with a matching fruit bowl, decorated with bands of flowers and leaves in coloured glazes, on a blue – brown ground, pattern X8742, incised initials M.B., the vases 7¾in and 7¼in high, the bowl 9⅛in diameter. (4)

See illustration

153

An 18^th century Meissen porcelain figure of a street vendor, playing a hurdy-gurdy, from the ‘Cris de Paris’ series, modelled by J.J. Kandler and P. Reinicke, decorated in coloured enamels and gilding, raised on Rococo scroll base, circa 1756, crossed swords in underglaze blue, single incised cancellation mark, impressed numerals 27, small chip to underside of hat, the right boot a 19^th century wooden replacement, 5½in high.

See illustration

The warping of the base together with two small chips on the hat (under the glaze), would indicate that perhaps the figure was a factory second – hence the single incised cancellation mark.

154

A pair of 18^th century Meissen porcelain figures, the gentleman playing a flute, his companion holding aloft an open book, decorated in coloured enamels and gilding, raised on flower encrusted scroll bases, the male figure cracked and restuck, with minor chips, the lady, hand lacking, unmarked, circa 1760, 5⅜in high.

See illustration  

155

A 19^th century Meissen porcelain group ‘The Rape of Prosperine’, on oval rustic base, decorated in coloured enamels and gilding, crossed swords in underglaze blue, incised numerals 990, impressed 96, loss to end of branch and tips of leaves, 9in high.

See illustration

156

A 19^th century Meissen chinoiserie group of two lovers, after the model by J.J. Kandler, seated, kissing and embracing while he plays the mandolin, in front of a marble rococo style coffee table, raised on oval rustic base, decorated in coloured enamels and gilding, crossed swords in underglaze blue, incised numerals, 610, impressed 120, minor loss to two fingers, 5¼in wide, 4¼in high.

See illustration

157

A pair of early 18^th century Dutch polychrome delft pancake plates, finely potted, decorated with a version of the lightening pattern, De Paaw mark in underglaze blue, one with fine hair cracks, 9in diameter.

See illustration

158

An early 18^th century Bayreuth blue and white faience charger, finely painted with an armorial within a stylised zoomorphic and floral border, B.K.C. mark in undergaze blue, cracked and riveted, old repairs, 13¼in diameter; together with a small 18^th century faience dish with lobed border decorated with pomegranates and pendant leaves, cracked and riveted, 9¼in diameter. (2)

159

A late 19^th century Volkstedt porcelain figure of a ballet  dancer standing on oval base, her crinoline dress encrusted with flowers, decorated in coloured enamels and gilding, crowned G R mark in underglaze blue, 8¾in high.

160

A late 19^th century Continental porcelain group, four figures playing “Blind Man’s Bluff”, on oval rococo base, decorated in coloured enamels and gilding, marked R 1762 in underglaze blue beneath the base, loss of four fingers from one hand, 10¾in wide, 6in high.

See illustration

161

A late 19^th century Dresden porcelain group, a lady in her carriage being transported by two liveried male figures on horseback, raised on rustic oval scroll base, decorated in coloured enamels and gilding, crown mark in underglaze blue, old restoration and minor loss, 12in wide, 6¾in high.

162

‘Oink – Oink’; six amusing German porcelain fairings of pigs, decorated in coloured glazes, ‘The More the Merrier’; ’10,000’; ‘Under the Old Apple Tree’; one with a typewriter – ‘Dear Sir’; another reclining in a cradle; and a match striker – ‘Scratch My Back’; two with minor chips, one with hair crack. (6)

See illustration

163

‘Oink’; six amusing German porcelain fairings of pigs, decorated in coloured glazes, one in a shoe; two with a basket; two riding in a motor car with the devil on the bonnet; one listening to a gramophone; two with a cradle; and a match striker – two listening to a radio; one with hair crack, two with minor chips. (6)

Glass

164

A set of six early 19^th century cut glass wine glass rinsers, each with vertical fluting and double lip, five 3½in high, one 4½in high.

165

A Victorian silver mounted glass claret jug of baluster form with cranberry overlay and loop handle, engraved with flowers, domed cover with shell thumbpiece, by Henry Wilkinson & Co, Birmingham 1881, 7¼in high.

See illustration

166

A Bohemian red and white overlay cut glass vase with shaped rim, baluster knop and circular foot painted with panels of flowers and decorated with gilding, 19^th century, slight rubbing, 11½in high.

167

A Victorian cranberry glass table scent bottle with silver overlay engraved with flowers, Stourbridge, unmarked, 9½in high. 

See illustration

168

A fine Bohemian blue and white overlay cut glass goblet with hexagonal baluster stem and shaped foot, engraved with panels of flowers and decorated with gilding, circa 1850, 7¾in high.

See illustration

169

A Bohemian red and white overlay cut glass bowl with shaped rim and circular pedestal foot, painted with panels of flowers and decorated with floral gilding, 19^th century, 5½in diameter, 7⅝in high.

See illustration

170

A Bohemian green and white overlay cut glass vase of trumpet form, with shaped rim, baluster knop and circular foot, decorated with gilding, 19^th century, slight rubbing, 12¼in high.

See illustration

171

A Bohemian red and white overlay cut glass vase, with shaped rim, cylindrical column, and stepped circular foot, the raised panels painted with a portrait of a lady, and flowers, decorated with foliate gilding, 19^th century, 5½in diameter, 12⅝in high.

See illustration

172

A 19^th century cranberry glass baluster decanter and matching tray, decorated with foliate gilding, probably Stourbridge, decanter 10¾in high, tray 10¼in diameter.

173

A pair of Art Nouveau quilted, vasaline and amethyst glass crocus vases, approximately 6½in high.

ANTIQUITIES & TRIBAL ART

Antiquities

174

A Greek pottery round-bodied arybellos, decorated with figures of birds, in red and dark brown pigments, Corinth, circa 600 B.C., 2⅞in high.

See illustration

175

A Greek black glazed amphoriskos of elegant tapering form with incised bands of foliate and key pattern decoration, one handle detached and replaced, wear to side of rim, Athens, circa 440 B.C., 3½in high.

See illustration

176

A Greek red figure pottery sherd portraying the head of a youth, Athens, 5^th – 4^th century B.C., 3⅛in x 2⅛in; a Ptolemaic silver tetradrachm, 2^nd century .B.C, mounted; a string of Egyptian blue faience beads, late period, 664 – 332 B.C.; and an Assyrian terracotta figure of a ram, 7^th century B.C., 4in long. (4)

See illustration

177

A Mesolithic stone handaxe of pointed oval form, black, with grey – brown patination, inscribed Cleasalk, 27 VI 42, 3¾in wide, 7¼in overall; together with a Neolithic greenstone axe of irregular tapering form, unpolished, probably a waster, inscribed Pike ō Stickle, Langdale 1954, 7¾in overall. (2)  

See illustration

178

‘The Marnhull Hoard’; a Middle Bronze Age palstave with broad tapering blade, unsharpened for use, green mottled patina, circa 1200 B.C., 6⅜in overall, width of blade 2⅜in.

One  of the 90 palstaves discovered in 1989 near New Inn Farmhouse, Marnhull, Dorset, illustrated as number 16 in the report issued by ‘The Trust for Wessex Archaeology’, published 1991. A copy of the report is sold with this lot.

Tribal Art

179

A fine New Hebrides hardwood club, the head of flat incurving form with raised projections, cylindrical shaft and notched butt with domed finial, chips to blade, one point lacking, dark brown dry patina, Penticost Island, first half of the 19^th century, 43in long; together with a Tonga Islands pole club  with domed head and discoid butt, first half of the 19^th century, 38¼in long. (2)

See illustration

180

An Aborigine hardwood parrying-shield of traditional form, the reverse carved with panels of geometric patterned ornament, decorated with brown pigment, dry patina, chips to both side edges, 30½in long, 5¼in wide; together with a woomera (spear thrower) of concave waisted design, golden brown patina, 27½in long, 4⅜in wide, Western Australia, probably mid-19^th century. (2)

See illustration

181

Aymara alpaca iscayo (woman’s ceremonial mantle) woven in two loom widths, decorated with geometric bands containing opposing pairs of birds in shades of red, yellow, green and purple on a maroon ground, Boliva, early 19^th century, joined 31in x 42½in.

See illustration  

ORIENTAL & EASTERN WORKS OF ART

Japanese

182

Renzai, a fine silver mounted ivory pipecase, carved with a figure of a kingfisher, the cover with European crest, the base mounted with a gold inlaid silver menuki portraying a bird on a branch, the gold inlaid silver ojime of rectangular form with raised flowers, representing the four seasons, inscribed with a poem, signed Tōshi, with silver mounted leather purse, Meiji period, 19^th century, pipecase 8¼in overall, ojime ¾in long.  

See illustration

183

A finely carved ivory figure of a toad, modelled as a street vendor, Meiji period, 19^th century, 4⅞in high.

See illustration

184

Maruki, a miniature bronze figure of an elephant, character seal mark within a square outline, Meiji period, 19^th century, 2¼in high, 3in overall.

185

Nyozan, a fine bronze group of an elephant, with ivory tusks, being attacked by two tigers, modelled in the form of a lamp, character seal mark within a rectangular outline, original hardwood base, Meiji period, 19^th century, height to tip of trunk 15in, overall length 16½in.

See illustration

186

An Important Pair of Bamboo Vases, decorated in gold lacquer mounted with menuki, inscribed, Daishichi quarter of Saki (?) in Jōshū (Yamashiro province), artist in lacquer (makiye-shi), Kumagaya Shōtarō made (this), Meiji period 19^th century, some damage to lacquer, approximately 16½in high, 7in diameter.

The sword fittings in shakudo with copper, gold and shibuichi feature kiri and Hō-ō badges (crests of the Mikado), and menuki by no less than twenty two different artists including such eminent makers as Hidekuni, Kunishige, Mitsuhiro, Tsūjo, Yoshisada and Sōmin, 85 in all.

See illustration

A complete translation, extending to thirteen pages, including grading and details of the various artists, by B.W. Robinson M.A., former keeper of the Department of Metalwork, Victoria and Albert Museum, is sold with this lot.

187

A Katana, the blade signed Kensan, remounted, bound fish skin grip with menuki, brass tsuba, brown lacquered iron scabbard with ornamental gilt metal fittings, 39½in overall.

See illustration

188

Ryuko; a pair of watercolours, each of a young woman in traditional Japanese costume, signed, 9in x 12½in. Frost and Reed labels to reverse dated 20-7-25; together with a similar watercolour, signed Sho, 25in x 18in, contemporary ebonised frames. (3)

Chinese

189

A Cantonese carved ivory baluster vase and cover with zoomorphic loop handles and lion dog finial, decorated with a scene of figures fighting in a mountainous landscape; a similar shaped vase and cover with figures fishing; and an open necked vase with Buddhist figures and pavilions, minor losses and damage, first half of the 19^th century, 12in, 9in, and 6⅞in high respectively. (3)

See illustration

190

A famille verte porcelain dish decorated with sprays of coloured flowers, marked within the footrim in underglaze blue with the symbol for longevity, cracked and riveted, Kangxi, 1666 – 1722, 13¾in diameter; together with a 19^th century blanc-de chine figure of Guanyin on lotus base, 18½in high. (2)

191

A famille rose porcelain teapot and matching cream jug, painted with European flowers in coloured enamels and gilding, fine hair cracks to bottom loops of handles, Qianlong, 18^th century, teapot 5¼in high. (2)  

See illustration

192

A pair of export porcelain candlesticks modelled as Buddhist lions, glazed in aubergine, green and yellow, raised on rectangular openwork bases, late 18^th  - early 19^th century, minor damages, one with eyes lacking, 7⅞in high.

193

An export porcelain figure of a hawk perched on a rocky outcrop, decorated in coloured enamels, first half of the 19^th century, 8¼in high.

See illustration

194

A white jade snuff bottle with mottled peach coloured inclusions, coral and ivory stopper, 2⅛in high; a blue and white porcelain snuff bottle and a minature vase painted with landscapes and figures, 2½in and 2¾in high; a red and black soapstone carving with a figure of an elderly sage, 2¾in high; a carved ivory female figure with a spray of flowers, 4⅛in high; and a twisted wire silver bangle, with character seal marks, 19^th century. (6)

Indian and Islamic

195

A marble figure of Buddha, seated in dhyanasana, with tightly curled hair and pendulous lobes, his gilded lacquer robe decorated with coloured stones, India, 19^th century, 11½in high.

See illustration

196

An Arab percussion musket, carved stock decorated with iron studs, octagonal barrel with brass fittings; together with another percussion musket with rounded stock and octagonal flared barrel engraved with arabesques, both with repairs and damage, good colour and patination, 65in and 53in respectively. (2)

197

A West Persian rug, the mid blue field decorated with conjoining diamonds and stylised flowers, late 19^th century, 75in x 44in.

See illustration

198

A Karabagh runner, the abrashed walnut ground patterned with roses and curling leaves, some synthetic dyes, Caucasus, late 19^th century, 108in x 34in.

See illustration

199

A Feraghan small carpet, the indigo field decorated with a repeating herati pattern, within a green ground palmette border separated by yellow guard stripes, Persia, second half of the 19^th century, 136in x 64in.

See illustration

PRINTED BOOKS, MANUSCRIPTS, PHOTOGRAPHS & EPHEMERA

200

BINDINGS: METASTASIO, PIETRO. Dramii. 10 volumes, 12mo, contemporary quarter green calf gilt. Florence, 1825; and 5 volumes of the works of Silvio Pellico, 1832 & 1833, and 2 of Dante, 1827, these uniform in size and binding to the above; 10 volumes of Livii and Cicero (incomplete sets), small 8vo, full calf with lettering and numbering pieces, 1819-1820, and, uniformly bound; Tacitus, in 3 volumes, 1817. With the ‘Novels & Romances’ of Anna Eliza Bray, 9 volumes (of 10) 1845, attractive half crimson calf, spines decoratively blocked in gilt, and 8  other leather bound odd volumes. (47)

201

BINDINGS: Elegant Extracts from the Most Eminent British Poets. 1823. 6 volumes contemporary full tan calf, spines gilt extra with red & black lettering pieces. Together with Byron’s works in 5 volumes, 1821, bound full olive calf with double crimson lettering pieces; Bloomfield’s ‘Wild Flowers’, 1^st edition  1812 and 1 other; Richardson’s ‘Life of Carl Theodor Korner’, 2 volumes, bound attractive half calf gilt, 1845; a full blue morocco gilt bound edition of Mrs Hemans poems, c.1870; and 3 volumes of Nathan Drake’s Essays, 1805, and 2 volumes, 1809, uniformly bound full polished tan calf ruled geometrically in black and gilt on sides. (21)

202

BINDINGS: SMITH, WM. A Dictionary of the Bible, 3 volumes, 1863, bound contemporary full blue calf gilt, spines gilt with double crimson lettering pieces. Together with a full calf gilt bound edition of Shakespeare’s Works, 1894, and Scotts, 1851; a half-bound ‘Pictorial Records of the English in Egypt’ and 3 other full or half bound volumes. (9)

203

BINDINGS: A collection of twenty late 19^th Century school prizes, each bound full calf gilt. (20)

204

BINDINGS: Baily’s Magazine of Sports and Pastimes, Vols. 67 – 108, 1897 – 1917 (lacking volume 69). Numerous plates.  41 volumes, contemporary half tan calf, spines gilt in compartments with crimson and black lettering pieces. Some volumes rubbed, sides affected by damp, lacking 3 lettering pieces, but generally very attractive on the shelf however. (41)

205

BINDINGS: The Adventures of Gil Blas of Santillane. Engraved plates. 4 volumes in 2, 19^th Century half calf, 1773; volumes 1-14 (lacking volumes 5 & 6) of ‘The Beauties of Nature and Art Displayed in a Tour through the World’. Engraved maps and plates, some folding, 1763-1764, contemporary full calf; and volumes 1-6 (1901-1903) of ‘The Connoisseur’, handsomely bound in half crimson calf gilt with green lettering pieces. (20)

206

BINDINGS: Mackintosh, James. The History of England. 10 volumes, contemporary half calf gilt with double lettering pieces, 1830. Together with, uniformly bound, Crowe’s ‘History of France’ 3 volumes, 1830 and Denham’s ‘History of Poland’; and ‘The Plays of William Shakespeare….to which are added notes by Sam. Johnson’, 8 volumes, contemporary full calf with crimson lettering pieces and circular numbering pieces, 1765, sides rubbed. (22)  

207

THE ART JOURNAL. A finely bound run for the years 1849-1869, together with the special volume issued as a catalogue of the Great Exhibition, 1851.  Numerous steel engraved plates. 22 volumes, 4to, contemporary full blue morocco, decoratively blocked in gilt to sides and to spines within compartments, all edges gilt. A handsome run in excellent condition. (22)

208

SCOTT, SIR WALTER.  The Life of Napoleon Buonaparte. 9 volumes, 8vo, contemporary half burgundy calf, spines gilt. Paris: 1827. (9)

209

M’INTOSH, CHARLES.  The New & Improved Practical Gardener and Modern Horticulturist: Exhibiting the latest and most approved management of Kitchen, Fruit, and Flower Gardens. 1865. Hand-coloured frontispiece, hand-coloured engraved title and 19 hand-coloured engraved plates of fruit and flowers. Bound with the supplement containing a further 24 hand-coloured plates of fruit and flowers and 4 of pavilions; contemporary half calf.

210

WILLIAMS, ARCHIBALD. Petrol Peter. Illustrated by A. Wallis Mills in colour throughout. 4to, original cloth-backed pictorial boards. Inscription dated 1906 on endpaper. Together with a late edition of Lear’s ‘Book of Nonsense’. (2)

See illustration

211

SMITH, ADAM.  An Inquiry into the Nature and Causes of the Wealth of Nations. 6^th edition. 3 volumes, contemporary full marbled calf, spines gilt with green lettering pieces and circular crimson numbering pieces. 1791.

212

HUME & SMOLLETT. The History of England. 8 divisions, large 8vo, original cloth gilt. Numerous engraved plates and 30 engraved county maps with vignette illustrations, by Thomas Moule; one volume worn and loose. n.d.

213

MORRIS, F.O. Picturesque Views of Seats of the Noblemen and Gentlemen of Great Britain and Ireland. Coloured plates. Six volumes, 4to, original cloth gilt.

214

TRADE CATALOGUE: Illustrated Pattern-Book of Furniture, Carpets, Rugs, Linoleums, Floor Cloths, Curtains, Window Blinds, Table Linen, Bedsteads…Church, Camp, Ship, and Garden Furniture, Billiard Tables…Pianofortes…Pictures, Looking-Glasses….Paper Hangings, etc. A.S.M. Complete House Furnishers, n.d. c. 1880’s. Profusely illustrated including plates in colour. Folio, original cloth; a little warped or ‘dented’. Section 1 only (of 2).

See illustration

215

SHEPHERD, THOMAS H.  London and its Environs in the Nineteenth Century, Illustrated by a Series of Views.  Frontispiece, engraved title and 80 plates, each of 2 or 3 views. 4to, half calf. 1829.  

216

WEST INDIES: Document on vellum being ‘Settlement of an Estate in the Island of Tobago, previous to the Marriage of C.S. Hanson Esquire with Miss Charlotte Smith, dated 29 August, 1829’. The document relating to the ‘Plantation in the Island of Tobago called the Carnbee Estate and all and every the Messuages, Lands, Tenements….Negroes, Slaves, Cattle’, etc. Three membranes, with seals; with attached lease relating to the same plantation.  Together with a contemporary attractive portrait miniature of Charlotte, on ivory, within ormolu mount, in original red leather case, 4in x 3⅛in.  

See illustration

217

STEREOSCOPIC DAGUERREOTYPE: Portrait of a seated young woman by Antoine Claudet, hand-tinted, in the original maroon morocco viewing case with collapsible lenses; photographer’s credit in gilt to cover. Some spotting but an attractive image. 1850’s.

See illustration

218

19^TH CENTURY PHOTOGRAPHS. A large album of European views, circa. 1880 – 1900, together with a large quantity of other photographs, some mounted to album leaves, some loose, mostly half to full plate and largely topographical, including views in Venice, Constantinople, Paris, Germany, the Middle East by Frith and others, circa.1850’s to 1880’s. Together with an attractive pictorial Alpine Club invitation to a private views of a collection of photographs by the late W.F.Donkin, 1889.

219

EARLY PHOTOGRAPHS. A small group of early original photographs of Mount Edgcumbe, Cornwall, & elsewhere, mounted to album leaves, sizes up to 10½in x 13½in, all but one captioned to the mount in pencil, e.g. ‘Lady Emma’s Cottage, Mt. Edgecumbe’ (sic); ‘Fort Mount Edgecumbe’, ‘Saltash Passage’, two rustic scenes captioned ‘Weston Mills’; and five others. (10)

220

- - - another small group of 19 photographs laid down, some back-to-back, on 12 large folio leaves; 13 are large, up to 16in x 11in, 1 of Rome an oval 8½in x 15in. All but two captioned in pencil to the mount; subjects include architectural studies of Burgos & Leon Cathedrals; Alhambra (Court of the Lions); Hospital S’ta Cruz, Toledo; Hildesheim; & Venice. Only two marked as to photographer, i.e. A.Perini, Venezia, & ‘Clifford’. Together with a collection of 54 photographs taken in the West Indies, circa. 1870’s largely 7½in x 9½in but some up to 9½in x 11½in; mostly laid down.

221

BALLET: an autograph album kept by Dorothy le Good who obviously had connections with the London Coliseum, 1919 – 1922. The album contains circa. 72 signatures, some with inscriptions, and musical quotations, largely one per page. They include the signatures of the dancers Lydia Lopokova, Stanislav Idzikovsky,  Lubov Tchernicheva, others unidentified, and  the composer Leonide Massine. Together with the signatures of Dion Boucicault, Bransby Williams, Vesta Tilley, the clown Grock, etc. etc.  

222

LISTER, JOSEPH (1827 – 1912; the founder of modern surgery). An engraved lecture ticket for Clinical Lectures on the Cases of Surgical Patients in the Glasgow Royal Infirmary by Prof. Lister and Dr Lyon, November 1864 to May 1865 issued to Richard Wadsworth, signed by Joseph Lister and by Dr. Lyon; with an engraved vignette of the Infirmary to the reverse. Together with other tickets and certificates issued to Richard Wadsworth i.e. an engraved lecture ticket for Anderson’s University, Lectures on Anatomy by George Buchanan (1827 – 1905; surgeon – see D.N.B.), Session 1864 – 65, signed by Buchanan;  Anderson’s University, Lectures on Midwifery 1864 signed by J.C.Wilson;  Clinical Lectures, Glasgow Royal Infirmary, 1864, signed by Wm. Leishman and Wm.Tennant Gairdner (1824 – 1907; professor of medicine – see D.N.B.);  two certificates of examination, Faculty of Physicians & Surgeons of Glasgow, 1863 & 1864, and an engraved pictorial students ticket  for the Glasgow Royal Infirmary, 1864/65.  7 pieces in all.  

See illustration

223

LAVATER J. C.  Nouveau Lavater Complet ou Reunion de tous les Systemes pour étudier et juger Les Hommes et les Jeunes Gens (and Les Dames et les Demoiselles). Two volumes. Lithographic folding frontispiece to each volume and numerous lithographic plates. Small 8vo, attractive 19^th Century full calf gilt binding. Titles a little worn on fore-margin where folded to fit binding, foxing.

224

HODGKIN, THOMAS (1798 – 1866; physician, glandular disease named after him). Stereoscopic portrait photograph of Dr Hodgkin with his servant; with a contemporary folding diced leather stereoscopic viewer in the original slipcase. 1850’s; together with his 1862 International Exhibition bronze medal, awarded ‘FOR SERVICES’, inscribed around the circumference Thos Hodgkin M.D.  

See illustration 

The medal designed by W. Wyon R.A. is in unblemished condition with original leathercase.

225

SOUTHAMPTON. Quietus Receipt or Quittance granted for the entries in the Great Roll of the Pipe for 3 William and Mary for the Town of Southampton, and the revenues of Thomas Everard, Sheriff of Southampton for the period Michelmas 1691 to Michelmas 1692; subscribed as examined 13 December 1694 by W.Whittaker, deputy Clerk of the Pipe.  The entries for specific sums including the Mayor, bailiffs and burgesses, etc.  Manuscript on vellum, 12in x 48in, with revenue stamp. Together with a group of eight documents on vellum relating to property in the Isle of Wight, a number quite substantial – the largest being of 11 membranes, 1809 – 1811; and 40 leaves only, plus a few fragments, from the Corpus Juris Civilis of Justinean, circa. 1520. Folio, printed in red and black; some staining and marginal damage to some leaves.  

226

ANTARCTIC: SHACKLETON, ERNEST H (1874 – 1922; Antarctic explorer). A cheque drawn on Barclay’s bank for the sum of one guinea made payable to the Imperial Trans-Antarctic Expedition, being a contribution to the costs of the ‘Endurance’ expedition, the reverse stamped with the official ink stamp of the expedition and signed by Shackleton below.  June 12^th, 1914.

See illustration

227

ARCTIC: ORLÉANS, LOUIS PHILIPPE, DUKE OF. A Travers la Banquise de Spitzberg au Cap Philippe, Mai-Aout 1905. Paris: 1907. Portrait, vignette title, plates, 10 coloured, large folding map, folding chart and panorama; panorama creased. Imperial 8vo, pp.349, contemporary half ussia; a little rubbed on joints. Presentation inscription from the author on front fly.  

See illustration

228

NORTH-WEST PASSAGE: [ PARRY, WM. EDWARD ] ‘Description of the Vase presented to Captain Parry [by] the inhabitants of Bath….1821’. Printed broadside notice, 16½in x 10½in describing the vase as ‘….supported by four dolphins; and the Plinth is covered with shells and coral in imitation of a Sea-shore….the sides are Trophies, composed of Nautical Scientific Instruments…used especially in the Icy Seas …...chasings …....representing the Hecla and Griper….the fourth [side] the following inscription: To William Edward Parry….in Commemoration of a Voyage of Discovery performed in His Majesty’s Ships Hecla and Griper in the years 1819 and 1820 in which he effected a Passage through Lancaster Sound into the Polar Sea: and having discovered many new lands…..thus carrying the British flag into seas over which no ship had yet passed….’etc. 1821.  Fold marks.

See illustration

Sir Edward Parry was born in Bath and, according to the Dictionary of National Biography, was presented with a silver vase ‘to the value of 500 guineas’ by the Bath & West of England Society upon his return from this voyage in search of the north-west passage.

229

GEORGE V (1865 – 1936; King of England). Printed document, filled in by hand, appointing Archibald Wallace Robertson as ‘Consul for Transylvania. the Roumanian Banat, Otteria, Muntenia….....to reside at Bucharest’. Signed by George V and countersigned by Anthony Eden and with blindstamped seal. Dated 7^th January 1936. With Rumanian stamp, filled in by hand, upper right corner. A little faded and browned.  

See illustration

230

GEORGE VI (1895 – 1952; King of England) & ROOSEVELT, FRANKLIN D. (1882 – 1945; President of the United States of America). Two documents signed being firstly a consular appointment, signed by George VI and countersigned by Anthony Eden, appointing Archibald Wallace Robertson as ‘Consul to reside at New York’; printed document filled in by hand, and with blind-stamped seal, dated St. James’s 16^th June 1944. Together with, secondly, the Letters Patent accepting Robertson as Consul at New York, a printed document filled in by hand and with wafer seal of the United States, signed by Franklin D. Roosevelt as President and countersigned by the Secretary of State Cordell Hull; dated Washington 20^th October 1944. Both documents neatly folded and fine.  

See illustration

SIR RONALD STORRS (1881-1955)

Governor of Jerusalem 1917 – 1926, Governor of Cyprus 1926 – 1932

 The following letters are all addressed to Sir Ronald Storrs; the photograph of Allenby and the signature of Lawrence of Arabia are also part of the same group.

231

SACKVILLE-WEST, VITA (1892 – 1962). Autograph letter signed ‘Vita’, 1-page 8vo. An amusing letter mocking Sir Ronald’s writing style ‘My dr. R’nld, I am send-g yr pamphl’t as I xp’ct you want it……..I don’t see why one sh’d be in s’ch a hurry, v partly bec. Dif’c’lty imposd on y-  correspond’t causes you to lose on the sw’gs what you gain on the roundab’ts……’. Sissinghurst Castle, 1944.  Annotated by Storrs  ‘Pleasant wit at [the] expense o[f] my short long-hand’. 

See illustration

232

MOUNTBATTEN OF BURMA, LORD LOUIS (1900 – 1979) Two typed letter signed ‘Dickie Mountbatten’, 2-pages 4to, regretting that he will be unable to meet Storrs in Delhi and thanking him for ‘giving so many lectures in the South East Asia Command’ and for leaving a copy of ‘your book on Lawrence and Zionism…which you left with my Flag Lieutenant…’.  South East Asia Command Headquarters, 3^rd  & 25^th  April, 1945. (2)

See illustration

233

ALLENBY, FIELD-MARSHAL, EDMUND (1861 – 1936). Autograph letter signed ‘Allenby’, 2-sides 8vo, asking Storrs to arrange for a stone from Jerusalem to by sent to the Allenby Lodge of Freemasons in Canada. Cairo, 19^th June, n.y. Trimmed close, annotated by Storrs and with small label affixed. Together with a fine three-quarter length photograph of Allenby, signed in full ‘Edmund H Allenby,  F.M. 7.X.19’; the photograph, 11 ¼ x 5 ½ inches, laid down on card, a little foxed. Allenby was special high commissioner for Egypt, 1919 – 1925. (2)

See illustration

234

FAISAL I, (1885 – 1933; King of Iraq). Letter signed, 1-page 8vo, in Arabic, a letter of introduction asking Storrs to listen to the proposals of Salim Effendi Ali Salam who is one of the [trans.] ‘nobles of Beirut and one my favourite people’  and to help him obtain his rights. Baghdad, 2^nd January, 1923. Annotated by Storrs.  Together with the autograph signature of ABD AL-AZIZ IBN-SAUD, (1880 – 1953; King of Saudi Arabia); annotated by Storrs ‘Signed in Palace, Mecca, 21 11 45, Official notepaper…’. (2)

235

ELIOT, T. S. (1888 – 1963). Typed letter signed, 1-page 4to on the printed stationery of Faber and Faber, ‘I…am only sorry that your dunning should have to fall on such stony ground, but it is perfectly true that I cannot possibly contemplate any such undertakings…’.  7^th June, 1949.

See illustration

236

MAUGHAM, W.S. (1874 – 1965).  Autograph letter, 1-page, 8vo ‘Of course you must call your memoirs Orientations. I think it a very good name. My own little book of short stories is long out of print. I have never allowed it to be reprinted’. Villa Mauresque, Cap Ferrat, July 1, n.y.

237

LAWRENCE, T. E (1888 – 1935; ‘Lawrence of Arabia’) His signature, ‘T.E.Lawrence’ on a slip of paper, 1in x 2in, laid down on a piece of card which is inscribed ‘Autograph as forgotten, TEL’.  

238

SASSOON, SIEGFRIED (1886 – 1967).  Autograph letter signed, 1-page 8vo, ‘Your postcard adds to my satisfaction about the wonderful reception ‘The Journey’ is having from those for whose enjoyment it was written. To provide civilised mental relief from the oppression of things as they are now – that was my purpose’ and continuing by saying that he is laid low with flu but hopes to meet Storrs in London, with postscript ‘I think the Wilfred Blunt chapter is one of the best things I’ve done’.  Heytesbury House, Wiltshire, 4.1.46. Inscribed by Storrs ‘Poet & autobiographer’ at head.

239

SASSOON, SIEGFRIED (1886 – 1967). Autograph letter signed with initials making arrangements for Storrs to visit  ‘……. I could send the village taxi to fetch you from Salisbury…….I am a very solitary bird, & seldom get a chance to discuss anything interesting – just sit listening to the woodpecker drumming in a cedar on the lawn. But it suits me!’. Heytesbury House, Wiltshire, 10.5.50. Another autograph letter signed with initials dated 20.5.50  putting Storrs off as ‘my son has to go to Oundle on May 30 for his scholarship … perhaps you could get down here some other time…’. (2)

See illustration

240

HAILE SELASSIE (1892 – 1975; Emperor of Ethiopia). Typed letter signed, 1-page 4to, to ‘Dear Sir Ronald – It was a great disappointment to me to learn on my return to Addis Adaba that I had missed you and so had been unable to meet you and to return at my Capital the kindness and hospitality which I have received from you….I am glad however that you were able to meet my son the Crown Prince’ and continuing that he hopes Storrs may return and sending a photograph (not here present). The Imperial Palace, Addis Adaba, 19^th February 1945. Together with the Crown Prince’s gold embossed visiting card signed; annotated by Storrs ‘Crown Prince Ethiopia, signed in his Palace 16 II 45’.  (2)  

See illustration

241

CHURCHILL, WINSTON S. (1874 – 1965). Typed letter signed and with autograph salutation and subscription, 1-page 4to, ‘My dear Storrs, thank you very much for letting me see your tribute to our brilliant and famous friend [T.E. Lawrence] which I now return’. Annotated by Storrs, explaining that the ‘tribute’ referred to was a draft of his contribution to the Dictionary of National Biography on T.E. Lawrence. (3in tear above salutation without loss). 28 Hyde Park Gate, 14^th October 1946.

See illustration

242

BEECHAM, SIR THOMAS (1879 – 1961). Autograph letter signed, 2-sides 8vo, inviting Storrs to stay but stating that August ‘is taken up mostly with gramophone recording and licking the L.P.O. into shape for the autumn’. Overnoons, Sussex, July 19^th ’45. Together with letters of Sybil Thondike (n.d.); Adeline Genée (1950); Ruth Draper (4-pages, n.y.); Gerald, Lord Berners (1944); Eugene Goossens (1944); Clifford Bax (postcard, 1949); Oswald Birley (1949);  an inscribed programme cover (1944) signed by Sir Malcolm Sargent to which Storrs has added, ‘He cd’nt understand why he sh’d be ask’d 4 his autograph’.(9)

243

MACAULAY, ROSE (1881 – 1958). Autograph letter signed, 2-sides 8vo, discussing Cyprus and her wish to go there (1949), and an autograph postcard ‘…I can’t leave London being tied to the B.M. & Record Office & trying to get a book finished…’. (1944); With letters of Dorothy L Sayers (1951); Terence Rattigan (1949); Viola Meynell (1947); Osbert Sitwell (1942); A.P.Herbert (n.d.); J.B.Priestly (1944); Louis Golding (1949); & Mrs Belloc Lowdes (1940). (10)  

244

KERENSKY, ALEKSANDR (1881 – 1970). ALS. 1-page 4to, enclosing a contribution of one guinea (not here present) to help meet the obligations of the British Institute for Political Research. 59 Cadogan Square, London S.W.1, 2-4-50. Annotated by Storrs in pencil ‘Kerensky, who had world-history in his hands - & let it go’. EARL WAVEL (1883 – 1950). A long typed letter signed, 1-page 4to, as Viceroy of India, with autograph salutation and part subscription, regarding the Cypriot presence at the Peace Conference, trouble in Palestine, and the political situation in India ‘I am very busy here, and have plenty of anxieties and worries, economic and political. We are still far from out of the wood…..’. The Viceroy’s House, New Delhi, 31 March 1944. Together with typed letters signed of Field-Marshall Alexander, first Earl Alexander of Tunis, (1945); James Byrnes, U.S. Secretary of State (1945); Vincent Massey, High Commissioner for Canada (1944); Leo Amery, Secretary of State for India (two, 1943 & 1945); Sir Claude Auchinleck, Commander-in Chief, India (1945); Lord Wolton, Ministry of Food (1943); & John Winant, U.S. Embassy, (1943). (10)

245

GRAVES, ROBERT (1895 – 1985). Autograph letter, 1-page 4to, thanking Storrs for his  ‘amendments to the Long Week End which I will paste inside my library copy. One day there’ll be a reset reprint………….for the last year or more I have been working eight hours a day on a scholarly, as opposed to a moralistic, study of the Gospels. I have had to change my ground a good deal, but the findings are exciting……’. Canellun, Deya, Mallorca, Sept. 3^rd, 1950.

See illustration

246

GRAVES, ROBERT (1895 – 1985). ALS. 1-page folio, ‘You once invited me – through T.E. [Lawrence] – to visit you in Cyprus, but I couldn’t ’ and inviting Storrs to come and stay‘I would very much like a long talk with you about two subjects on which you are extraordinarily well qualified to speak: the conversion of a former military governor of Cyprus to primitive Christianity, and the Amorite folklore of Jerusalem. I have made … a very startling discovery … started by T.E. [Lawrence] … for which I am anxious to get your assent as a historian, establishes to my mind the perfect historicity  of the more fantastic parts of the story of the Nativity’. The Vale House, Galmpton, Devon, n.d.

247

JOHN, AUGUSTUS (1878 – 1961). A series of four autograph letters in which John makes excuses for not being able to draw Storrs ‘I’m in default again. When I was up for a few days lately I had hoped to call on you for a sitting or two but I was so harassed by preparations to depart for the Midi…I simply couldn’t manage it….I would put off going for a while but the date fixed is the only one available to take a car across….’. Fryern Court, Fordingbridge,  May 5^th, 1947 – May 21^st, 1950.          (4)

See illustration

248

WELLS, H. G. (1866 – 1946). TLS. with initials, 1-page 8vo, ‘I’m just pulling out of a bad nose dive myself but I’m in good hands….I will ponder your notes but I’m too ill and obsessed yet to discuss them’, pencil annotation by Storrs ‘I never asked him to; they were in reply to his’.  13, Hanover Terrace, Regent’s Park, March 14^th, 1944.

See illustration

249

MISCELLANEOUS LETERS: Clement Attlee (1883 – 1967) Autograph letter, as Prime Minister, 1-page 8vo. 10 Downing Street, 1949; Oskar, Prince of Prussia (1950); Robert of Austria (two, 1940 & 1942); Paaksikiri (Helsinki; 1950  inscribed by Storrs ‘One of the most remarkable statesmen in Europe); G.M. Trevelyan (two, 1944 & 1945); Andrew Cunningham, 1^st Sea Lord (n.d.); Julian Huxley (1946); B.H. Liddell Hart, Ernest Bevan; and 5 others. (16)

250

GOLF: THE FIRST AMATEUR CHAMPIONSHIP TOURNAMENT AT THE ROYAL & ANCIENT CLUB AT ST. ANDREWS. A rare draw-sheet for this tournament played at St. Andrews during September 1886. Single sheet, oblong folio. Printed heading and list of players and names of clubs from which they were entered to the left-hand margin. The progress of play filled-in by hand culminating in victory for Horace Hutchinson. Folded and a little creased.

See illustration

251

GOLF: ROYAL AND ANCIENT GOLF CLUB AT ST. ANDREWS. ‘The Royal or King William IV Medal, and The Gold Medal of the Club’. Wednesday 26^th September, 1894.  The ‘Order of Starting’, a single folio sheet folded. Insignia of the club embossed in blue to front, a list of the 158 competing players within; foxed.

See illustration

252

FOOTBALL. A collection of printed books and ephemeral items relating to football comprising the following by W.Pickford : ‘A Glance Back at the Football Association Council, 1888 – 1938’, 8vo, original cloth. Bournemouth [privately printed for the author], circa. 1938; ‘The Hampshire Football Association Golden Jubilee, 1887 – 1937’. Plates. 8vo, original cloth (a little worn), 2 copies; ‘A Few Recollections of Sport’. Plates, 1 folding. 8vo, original cloth. Inscribed by the author. Bournemouth [privately printed ] circa. 1938; (with Alfred Gibson) ‘Association Football & the Men who made it’. Volumes 1 & 2 only (of 4). Plates. Large 8vo, original cloth (lacking front free endpapers). Together with ‘Hampshire Football Association W.Pickford Testimonial Souvenir’, 8vo, original wrappers. Bournemouth: 1908; a signed picture postcard of Pickford; a 1937 Hampshire F.A. dinner invitation; a group of twenty greetings and other telegrams addressed to the Scottish International Graham Leggatt at Hampden Park, Glasgow and elsewhere wishing him success in various matches etc.; a late 19^th Century board-game ‘Football’, the coloured board showing a match in progress with dignified genteel crowd (this with 5 ceramic footballs as playing pieces); a David Cope Ltd. Christmas card for 1956 with photograph of the English International team, 1956, to the front; a large coloured poster advertising Ricard with footballer illustration; a bound volume ‘Famous Footballers’ comprising numerous individual & group portraits (lacking two leaves, fire damage to lower fore-corner affecting many leaves). Folio, half ussia, worn. circa. 1896; two large photographs by R.M’Farlane, Glasgow, on printed mounts, group portraits of ‘Queen’s Park v. Corinthians, Hampden Park, Glasgow’, 1^st January, 1926 & 30^th December, 1926 (mounts foxed);  and a few other photographs and ephemeral pieces.

253

CRICKET BAT bearing the autograph signatures of the following teams: Australia 1938 including Bradman, and 1934; South Africa 1935; India (no year); Hampshire including Mead, Tennyson & Brown (no year); and other teams. Together with the signatures of some jockeys, including Gordon Richards, and football teams, Southampton and Tottenham Hotspur, 1938. The bat by W.E.Toomer of Southampton.  

See illustration

254

CRICKET:  Portraits of the Complete English Team who Brought Home the “Ashes”.  The set of 4 picture postcards, designed to be detached along perforation on inner margin but here complete in the original printed wrappers. Together with the companion set of 4 cards, also complete in wrappers, ‘Portraits of the Australian Team, 1905’. Both published by A.C., Cricket Rhymester.

See illustration

255

BASEBALL & OTHER SPORTS: GOODWIN & CO. Manufacturers of Old Judge and Gypsy Queen Cigarettes. Their ‘Champions’ album illustrating on ten stout card leaves and rear cover, in vibrant chromolithography, 47 cards from their set of cigarette cards No. N162. The 47 cards illustrated against appropriate coloured pictorial backgrounds comprise champions of Baseball (8) including Anson, Kelly, Keefe, & Brouthers; Oarsmen (4); Billiards (4); Lawn Tennis (4); Pugilists (4); Jockeys (4); Wrestlers (2); Pedestrians (3); Bicyclists (3); Chess (3); and 1 each of Football, Marksman, High Jumper, Broad Swordsman; Runner, Pool, Strongman, & Buffalo Bill representing ‘Champion of the Wild West Hunters’. 8vo, original coloured pictorial cloth-backed boards showing a baseball match in progress. A little trifling and occasional adhesion to coloured plates from verso of preceding plate else a remarkably fresh copy. c. 1888

See illustration

256

GALLIMAUFRY:  an impression of the seal of Milo de Glocester ‘given me by Lady Sydney at Frognal Dec. 3, 1890’; a very large collection of matchbox labels mounted to the leaves of an album; a quantity of picture postcards, approximately 150, all in mint condition and largely published by C.W. Faulkner, being art drawn cards by Ethel Parkinson and others, mostly of children, in sets and multiples; an album of snapshot photographs of trains, with negatives; an engraved ‘Calculation of the Great Eclipse of the Sun. April 22, 1715 in ye morning…as corrected according to Sr. Isaac Newton’s Theory of ye Moon’ by W. Whiston, published by John Senex (laid down); several documents on vellum; a leather cased wooden Actinograph complete with instructions and in the original box; ‘The Box of Books’ published by the Religious Tract Society comprising 22 (of 24) 8-page booklets in the original gilt embossed book-box (box broken); ‘The Bloemfonten Post’ and other Boer War newspapers; 20 engraved 1852 bills of lading for the shipment of wines with vignette illustrations of ships; a Baxter oil print ‘The Faithful Messenger’ on the original blindstamped mount; a printed 19^th Century notice ‘ Immediately for Alligator Pond, Black River, and Savanna-la-Mar, Jamaica, the fine First-class Barque Anne Laing…’; a hand-coloured engraved map ‘Le Royaume d’Angleterre’ by Coronelli, Paris 1689 (slight repair); three 19^th Century manuscript diaries; a file of printed memorandums , some marked ‘Strictly Confidential’, relating to military operations in the Sudan, 1906 & later; two woodblocks, one with wrapper bearing an impression of the block and inscription ‘Vol.48, page 93, 1789’; a floral decorated fan printed ‘S.S.Kashima Maru, Menu…Captain’s Tea Party, N.Y.K. Line, Oct. 8^th 1934’; and a substantial and well presented album of captioned photographs taken in Egypt, 1925 – 1928. Together with much else.  

See illustration

Pictures & Prints

257

An early 19^th century oil painting, an estuary scene with buildings on the shore line, on oak panel, 6⅛in x 8¾in, unframed.  

See illustration

258

HARDING, H; a pair of Regency watercolours, country scenes with children, signed, one dated 1814, loss of paint to lower right hand corner of one due to damp, each 16⅝in x 11⅝in, in original gilt gesso swept frames decorated with shells.  

See illustration

259

SHEPHERD, GEORGE SYDNEY (1784 – 1862); a watercolour ‘Southampton from Itchen Ferry, Hants’, signed and dated 1823, inscribed to the reverse, 6⅝in x 10⅝in, unframed.

See illustration

260

HARRIOT, WILLIAM HENRY (active 1811 – 1839); a pair of watercolours, signed, one inscribed ‘On the Moselle, Jan 9, 1839’, the other, ‘Oberstein on the Moselle, near Treyes 1839’, each 20¾in x 14⅜in, in original ornate gilt gesso swept frames.

See illustration

261

An oil painting, Henry VIII, after Holbein, on wood panel, 19^th century, 9in x 6⅝in, ornate, contemporary gilt gesso moulded frame.  

See illustration

262

CLARK, H; an oil painting of chickens in the interior of a barn, signed, on canvas, 19^th century, 16¼in x 11½in, contemporary gilt gesso swept frame.  

See illustration

263

SHERRIN, D; a pair of oil paintings, country landscapes, signed, on wood panels, inscribed on gilt slips, Nr Boxhill, Surrey, Nr Guildford, Surrey, late 19^th century, each 7½in x 11¾in, original frames.  

See illustration

264

LEWIS, LENNARD (1826 – 1913); a watercolour of the Bhosphorus ( ? ) with Roman ruins and Arab dhows, mountains in the background, signed and dated ’98, 9¼in x 21⅜in, framed and glazed.

See illustration

265

GLENNIE, F. FORBES (Exhibited 1897 – 1900); a watercolour, ‘Hayling Island’, signed, inscribed to the reverse, 6in x 11½in, unframed.  

See illustration

266

RIXON, WILLIAM AUGUSTUS (Exhibited 1880 – 1936); a watercolour, a vase of flowers, signed and dated ’03, 6⅝in x 9⅝in, original gilt gesso moulded frame.  

See illustration

267

MORGAN, ALFRED (Exhibited 1880 – 1917); oil painting, a still life of a vase of flowers, signed, on board, 13¼in x 11¾in, ebonised swept frame.  

See illustration

268

MORGAN, ALFRED (Exhibited 1880 – 1917); oil painting, a still life of a vase of flowers, signed, on board, 15⅝in x 11⅝in, ebonised swept frame.  

See illustration

269

WEEKES, WILLIAM (Exhibited 1881 – 1909); an oil painting, three donkeys in front of an open book, with a red umbrella, entitled, ‘Novel Readers’, signed, on panel, 7½in x 11in, original gilt gesso swept frame.

See illustration

270

WEEKES, WILLIAM (Exhibited 1881 – 1909); an oil painting, a donkey with a gaggle of geese, entitled, ‘The Right of Way’, signed, on panel, horizontal crack, slight loss at edge, 7½in x 11½in, original gilt gesso swept frame.

See illustration

271

LONDON: Four large engraved views drawn and engraved by J. Boydell, London: 1753 & n.d. Size of each 16in x 22in overall including wide margins. The four views comprise: (No.17) ‘Greenwich Hospital’; (No.26) ‘A View taken off Wandsworth Hill looking towards Fulham’; (No. 32) ‘A View of New Place Yard, Westminster’ and (No. 34) ‘A View of the Parade in St. James’s Park’.  

272

WHALING: Engraving by Boydell after [Charles] Brooking, ‘Greenland Fishery’, published 1754. Size within plate-marks 11¾in x 16½in; size overall 16in x 22in. Numbered (68) within the plate.

See illustration

273

[‘THE VILLAGERS’ ‘CHARM  TO LURE THE BEES’] Coloured mezzotint by [J. Hillyer after E. Dayes. Published by R. Pollard 1802] or later. Trimmed, framed and glazed. Visible image 14in x 19in; together with a companion coloured mezzotint, also trimmed, a coaching scene before an Inn, village fete in progress in the background; uniform in frame and size to the above.

274

GARRATT, SAM (1865 – 1947). Three etchings, each signed and titled by the artist in pencil, framed and glazed. The three comprise ‘Ship St. Brecon’; ‘Usk Ford, Brecon’  & ‘Brecon Beacon’. Sizes 7⅞in x 6⅞in, 6⅜in x 8⅜in, & 6½in x 8¾in within plate-marks.  

See illustration

275

[WAIN, LOUIS] ‘The Cats’ Circus. Grimalkin’s Royal Circus. The Amewsing Purrformance as given before all the crowned cats of the world. Mewsic by the band of the 10^th ‘Caterwaulers …..’. Chromolithographic print, pictorial scroll title heading to upper margin, vignette illustrations to lower corners. Framed and glazed; size within frame opening 17½in x 22in. Printed in Bavaria and published by Ernest Nister, London, n.d. A little scratch (?) or puncture damage to blank lower margin.    

See illustration

276

SAXTON, CHRISTOPHER. Dorsetshire, described by C. Saxton, corrected and amended with many additions as Roads etc. by P. Lea.  Hand-coloured engraved map with inset plan of Dorchester. Mounted, framed, and glazed. Size 15¼in x 21½in, within mount opening. Published c. 1690.      

See illustration

WORKS OF ART & COLLECTOR’S ITEMS

277

An 18^th century ‘treacle print’ of His Royal Highness, George Prince of Wales, by J. Smith after G. Kneller, 8in x 6in, in contemporary walnut veneered swept frame.

See illustration

278

An 18^th century ‘treacle print’, entitled ‘Musick’, with groups of figures in a formal garden, 9⅞in x 13⅞in, in original ebonised parcel gilt frame.  

See illustration

279

An 18^th century ‘treacle print’ of Sir Christopher Wren, 12¾in x 9⅜in, in original ebonised Hogarth frame.  

See illustration  

Sir Christopher Wren (1632 – 1732) the famous architect was born locally at East Knoyle in Wiltshire. His epitaph in St Paul’s Cathedral reads, Si Monumentum Requiris Circumspice (if you seek a monument look around you).

280

A 19^th century Russian icon of Jesus Christ, oil on pine panel, covered with an engraved brass riza, inscribed in Cyrillic, 10½in x 8¾in.  

See illustration

281

A 19^th century mirror, chip-carved to the reverse with an image of a steam ship, City of Rome, and a lighthouse, 12½in x 23½in, in contemporary Oxford pattern oak frame.  

See illustration

282

A bisque – headed character doll, with mohair wig and sleeping brown eyes, on a wood and composition ball-jointed body, impressed P.M. 23 Germany 6½, circa 1915, three fingers lacking, old restoration to toes, 21½in high; together with two composition dolls wearing contemporary clothes. (3)

283

An Armand Marseille bisque-headed baby doll, ‘Dream Baby’’, with open mouth and sleeping eyes on a five – piece composition body, impressed A.M. 351, circa 1925, 18in high; together with a composition baby doll with sleep eyes wearing original costume, bearing label ‘Baby Joan’ M.F.D., by Reliable Toy Co Ltd, Canada, circa 1930, 18in high. (2)