A replica sword from the 1981 film 'Excalibur', reputedly the sword carried by Nigel Terry who played 'king Arthur', with gilt metal ornate hilt, on a mahogany wall mount with plaque ' The Sword of Charlamagne', blade 80cm long and another smaller sword with an ornate gilt metal hilt, mounted on a mahogany wall mount, blade 68cm long (2)Shipping Disclaimer: Buyers must be aware of their country’s shipping and import policies regarding guns, knives, swords, and other offensive weapons prior to purchase. They are required to ensure that the lot can be delivered by a specialist shipper, whether in the UK, Europe or internationally. No compensation will be given to buyers who fail to organise shipping arrangements for goods and weapons due to the prohibitions, restrictions or import regulations of their country. Condition ReportThe condition of the large sword is considered to be good overall The smaller sword with some lacquer loss from the decoration on the blade. Knocks to the wood mounts. Please see the additional images.
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ARTHUR PENRHYN STANLEY; Sinai and Palestine, 1856, third edition, full calf but front board loose, folding map and illustrations, together with a small quantity of books, MRS. BRASSEY; A Voyage in the Sunbeam, Longmans, Green & Co, 1880, with folding map, Peril and Patriotism, 1899, Cassell & Company, two volumes, ERNEST SETON-THOMPSON; Lives of the Hunted, 1901, ROBERT BROWN (Ed.); Our Earth and its Story, 1886; J. G. WOOD; Bible Animals, 1884, New Edition, EDWIN DURKIN; The Minight Sky, and books relating to Cambridge, Essex, The Thames, and the Antiquities of Birmingham and Aston, a Bibby's Annual for 1924, and JOSEPH BIBBY; Towards the Light
![GLOUCESTERSHIRE- 1- Collection of Gloucestershire Antiquities. Cadell & Davies, 1804, 1st. Edn. Folio, PP: [4], iv, 38, (](https://cdn.globalauctionplatform.com/536a0b04-c67f-4130-8787-b206008a59c6/b40c3f86-aad5-4a4d-9a19-b21300cf4eb6/468x382.jpg)
GLOUCESTERSHIRE- 1- Collection of Gloucestershire Antiquities. Cadell & Davies, 1804, 1st. Edn. Folio, PP: [4], iv, 38, (iii) index, (I) blank, Plus 110 Plates; 2- Rudge, Thomas: History and Antiquities of Gloucester. J Wood, 1811, 1st. edn. 1/4 leather; 3- Bibliotheca Gloucestrensis: Complete, 3 parts in 2 vols, V.1- Washbourn and Son, Gloucester, 1823, 1st. edn. In two parts, with a frontis to each part plus a plan. 324pp; V.2- For the editor, Gloucester, 1825, 1st. Edn. With a frontis Map & a list of subscribers. PP: ccv, (iii), 328-456. 4to. Matching cont. full calf, rubbed. VG; Pooley, C: Old Crosses of Gloucestershire. Longmans, 1868, 1st. edn; 4- Buckman & Newmarch: Illustrations of the Remains of Roman Art in Cirencester. George Bell. 1850, 1st. Edn. 4to. PP: xxiii, 155 (including a subscribers' list), Plus a Plan & 11 plates (some coloured). Original boards gilt. 5- Broadbent, Arthur: Minor Domestic Architecture of Gloucestershire. Tiranti, C1930. Cloth backed boards. (7)
*SUSHILA SINGH (1904-1999) A coastal town at night, signed lower right, oil on board, 55.8cm x 76.2cm, Framed dimensions: 60cm x 80cmNote: An overlooked painter, muralist and wood engraver, Sushila Singh was born in India and studied at Hornsey School of Art and the Royal College of Art, graduating in 1929. Her early work was surrealist, her later work was more abstract with a near dream-like quality and is only now being properly appreciated.She took part in many shows including by the Arts Council’s ‘Committee for Encouragement of Music and the Arts’ (CEMA) during the Second World War and in public galleries including in Bradford, Leeds and Wakefield; her work is held in many galleries. She lived in Bournemouth and was married to the decorative artist Arthur Henry Andrews (1906-1966).
λ SIR MATTHEW SMITH (BRITISH 1879-1959) PORTRAIT OF DUDLEY WALLIS Oil on canvas Signed with initials (lower left) 77.5 x 63.5cm (30½ x 25 in.)Painted circa 1936.Provenance: Arthur Tooth & Sons, London Private Collection, Sir David & Lady Scott, London (acquired from the above on 13 September 1960) Their sale, Sotheby's, London, A GREAT BRITISH COLLECTION: The pictures collected by Sir David and Lady Scott, sold to benefit the Finnis Scott Foundation, 19 November 2008, lot 172 Sale, Chiswick Auctions, London, 28 June 2018, lot 76 Private Collection, Hampshire (acquired from the above sale)SOTHEBY'S NOTE: G.P. Dudley Wallis was curator at the Holburne Museum in Bath from November 1913-1917, and crucially oversaw the moving of the museum to its purpose built current home on Great Pulteney Street. Although the collection of the museum is pre-twentieth century, Wallis himself owned an important group of modern British paintings including works by Walter Sickert, Christopher Wood and Sir Matthew Smith, some of which were sold in these rooms on the eighteenth April 1951. Interestingly, Wallis' predecessor at the Holburne, Hugh Blaker, had also combined his role as curator of historical artefacts with his love of avant-garde art when he acted as art advisor to Gwendoline and Margaret Davies, whose impressive collection of impressionist and post-impressionist works of art was bequeathed to the National Museum of Wales in 1951 and 1963.
A Tri-ang 1:20 scale wooden prototype model of the electric model of a Vauxhall victor. Body is hand made from wood, with mock up metal base. Interior has a tartan material crudely applied to a shaped piece of tin. Unfortunately at some point all of the window pillars have been broken and lost. Has a prototype mesh grille. Includes body, wheels, roof and chassis. Designed by Eric Arthur Davis. Comes with accompanying hand written document f listing this item as a "Pattern". From the collection of Mr. E.A. Davis, designer and model maker for Lines Brothers, Tri-ang, Mini models. FC. £50-70
A Denby pottery barrel table lamp base, painted with sailing boats on a river, 20cm high, c.1930; a Denby Glyn Colledge ovoid vase, 28cm high; a Wood & Sons Korea vase; a Ridgeways Somerset pattern part tea service; an Arthur Wood Kingfisher jug; another, Garden Wall; carnival glass; Sylvac, etc, qty
Phillips (Edward). The New World of Words: Or, Universal English Dictionary... , the Sixth Edition, Revised, Corrected, and Improved; with the Additional of near Twenty Thousand Words, from the Best Authors, Domestick and Foreign, that treat of the Several Subjects, by J. K[ersey], London: J[oshua] Phillips, H[enry] Rhodes & J. Taylor, 1706, title within double ruled border, part black letter and double column, lacks additional engraved title and final 5 leaves of text, some browning throughout with occasional soiling and old damp staining, marginal fraying to first and last leaves with a few repairs, some worm tracing to upper margins affecting some headlines towards rear, final 2 leaves partly adhered at upper margins, various ownership inscriptions to frayed endpaper including armorial bookplate of Walter Arthur Copinger, endpaper relaid and pasted to front pastedown, contemporary panelled calf, worn with rough edges and corners, modern leather reback, folio, together with:Bailey (Nathan), Dictionarium Britannicum: or a more Compleat Universal Etymological English Dictionary than any Extant... , 2nd edition with numerous Additions and Improvements, London: T. Cox, 1736, title printed in red and black, unpaginated, double column, wood-engraved illustrations to text, scattered minor spotting, later ownership ink inscription to title, 'D. Blake, 1862 / Miss Noble's Sale', modern calf with leather spine label, a little rubbed and spine slightly faded, folio QTY: (2)NOTE:Alston V, 61 & 137. Walter Arthur Copinger FSA FRSA (1847-1910) was an English professor of law, antiquary and bibliographic. First published in 1658, this Dictionary was originally plagiarized from Thomas Blount's 1656 Glossographia, and in later editions from Stephen Skinner's 1671 Etymologicon Linguae Anglicae.
Christopher Wood (1901-1930) "Footbridge on the Seine" Signed and dated 1924, pen and ink, 19.5cm by 30cm Provenance: The Redfern Gallery, London, Purchaser R. Gathorne-Hardy Esq., January 1945 The Estate of Mrs Markova Noel Loaned to Sheffield Museums Trust Christopher Wood (1901-1903), in his short life, became held in high regard amongst artistic circles in both London and Paris, being now remembered as a youthful genius.Born near Liverpool, he began drawing whilst recovering from septicaemia aged 14. After studying architecture and medicine for just a year at university, he moved to London in 1920. Here he met an art collector, who invited him to Paris, where he studied drawing a the Académie Julien.He was drawn effortlessly into fashionable artistic circles, where he met Augustus John and the diplomat Antonio de Gandarillas, whom he moved in with and was supported by. Gandarillas also introduced him to the likes of Pablo Picasso, Jean Cocteau and George Auric, along with opium. Following the last-minute cancellation of a commission for designs for the Ballets Russe, Wood moved back to London, becoming first a member of the exhibiting collectives the London Group, and then the Seven and Five Society.Formatively, he exhibited with Ben and Winifred Nicholson in 1927, with whom he would become close friends. Wood accompanied the Nicholsons on painting trips to Cumberland and Cornwall, and in St. Ives discovered Alfred Wallis, whose ‘primitive’ expressionism helped him develop his own style.In 1929 he was given a solo show at Arthur Tooth & Sons, and a rather less successful joint exhibition with Ben Nicholson in Paris. Having had a painting expedition to Brittany, the resulting paintings were due to be exhibited at Wertheim Gallery in London. However, Wood was struck by a train whilst travelling back from meeting his mother, thought to be suicide brought on by psychosis, despite being reported as an accident at the time. Posthumously, his work was widely exhibited. The piece is on buff paper. Slight cockling to the paper. There are black lines to the outer edges in places. Slight time staining to the paper and the odd minor sporadic foxing spot in places, for example to the right corner of the top edge, to the knee of the figure left corner. Not examined out of the frame. (see images).
An Art Deco Myott pottery jug. Height 21cm, two Arthur Wood jugs, height 18cm and 21cm, a Wadeheath vase, height 13cm, a Wadeheath jug, height 19.5cm and an Art Deco pottery jug, height 14.5cm. (6)Art Deco Streamline jug with glued chip, Wadeheath vase with some paint loss, crazing to the Arthur Wood yellow jug, chip to base of other Arthur Wood item, plaster filled chip to rim and paint losses to Myott jug.
A Denby pottery barrel table lamp base, painted with sailing boats on a river, 20cm high, c.1930; a Denby Glyn Colledge ovoid vase, 28cm high; a Wood & Sons Korea vase; a Ridgeways Somerset pattern part tea service; an Arthur Wood Kingfisher jug; another, Garden Wall; carnival glass; Sylvac, etc, qty
A Poole Delphis circular bowl, 23cm diameter; a Poole Aegean circular ashtray, 9cm diameter; a Lingard novelty teapot, The Old Lady Who lived in a Shoe; a Shorter & Sons Toby Jug, Chelsea Pensioner; a Shelley ribbed ovoid vase; Arthur Wood piggy banks; Poole Traditional; Carlton Ware; Wade; etc, qty
‡ CHARLES ERNEST BUTLER (English 1864 - 1918) oil on board - head and shoulder portrait of bearded gentleman wearing hat, C. E. Butler on plaque on frame, unsigned, 20 x 14.5cmsAuctioneer's Note: unsigned but believed to be the artist Charles Ernest Butler who was born in St Leonards on Sea in 1864. He was a painter of portraits, mythological and other figure subjects, genre and landscapes. He studied at St John's Wood School of Art and at the RA Schools. He exhibited at the Royal Academy, 1889 right up until his death. Titles included 'An Episode of the Deluge', 1890, 'St Thena', 1893 and 'King Arthur', 1903.Provenance: private collection ConwyComments: framed
Street (George Edmund) & others. The Cathedral of the Holy Trinity commonly called Christ Church Cathedral, Dublin, presentation copy from the publisher Sutton Sharpe to the Duke of Teck inscribed on half-title and with his bookplate, 10 engraved, 9 wood-engraved and 5 chromolithographed plates (some on india paper and mounted), very occasional spotting, prospectus loosely inserted (frayed at edges), original vellum decorated in red and gold designed by Street, t.e.g., a little rubbed and soiled, 1882 § Hill (Arthur) A Monograph of Cormac's Chapel Cashel, decorative title, list of subscribers, 15 plates including 2 mounted actual photographs, addendum leaf loosely inserted, original printed boards, rebacked in cloth, rubbed and stained, Cork, 1874, folio (2)*** In the first Street describes his “restoration”, more accurately rebuilding, of Christ Church Cathedral, Dublin, carried out between 1871 and 1878. The second is a rare work on the finest Romanesque building in Ireland with 2 photographic views of the chapel.
George John Pinwell (British, 1842-1875)The Elixir of Love signed and dated 'G J Pinwell/70' (lower left); further signed, titled and inscribed with artist's address 'N1. The Elixir of Love/GJPinwell/52 Adelaide Rd/NW' (on artist label attached to the reverse)watercolour and bodycolour45 x 105.5cm (17 11/16 x 41 9/16in).together with a preparatory watercolour sketch of the same subject (14.5 x 24cm) and an engraving of the subject by Robert Walker Macbeth. (3)Footnotes:ProvenanceErnest Gambart (1814–1902).His sale, Christie's, London, 31 March –1 April 1871, lot 195 (260 guineas to Tooth).Arthur Tooth & Co., London.Thomas Wood, 2 Mandeville Place, London.Ludwig Messel (1847–1915).Sharpley Bainbridge (1845–1921).His sale, Christie's, London, 10 February 1922, lot 88 (640 guineas to Thomas Agnew & Sons).Thomas Agnew & Sons, London.Frost & Reed, London and Bristol.Private collection, UK.ExhibitedLondon, Royal Watercolour Society, 1870. no.114.London, Deschamps Gallery, Exhibition of Works by the Late G. J. Pinwell, 1876, no.70 (lent by Wood).London, Royal Academy of Arts, Winter Exhibition, 1901, no. 124 (lent by Messel).Glasgow, International Exhibition, 1901 no. 1102 (lent by Bainbridge).Literature'Society of Painters in Watercolours, 5 Pall Mall East: Private View', The Era, 24 April 1870, p. 14.'Old Watercolour Society', The Times, 27 April 1870, p. 4.'Fine Arts: The Society of Painters in Watercolours', Illustrated London News, 30 April 1870, p. 458.G. C. Williamson, George J. Pinwell and His Works, London,1900, pp. 20, 40, 58, 66, 150.Donato Esposito, Frederick Walker and the Idyllists, London, 2017, pp. 62, 64, 72–73, 82, 86, 88, 89.The present watercolour was based on a poem, with the same title, about the properties of a love potion offered by an unscrupulous, but convincing, salesman. The first two verses describe its attractive qualities:'Buy,—who'll buy!' In the market-place,Out of the market din and clatter,The quack with his puckered persuasive face,Patters away in the ancient patter.'Buy,—who'll buy!' In this flask I hold,—In this little flask that I tap with my stick,sir,Is the famed infallible Water of Gold,—The One, Original, True Elixir!Set in the distant past, the medieval period judging by the clothes, Pinwell has conjured a throng of needy recipients for such a potion, and a wide variety of figures, in age and status, are depicted in this lively urban scene. Leading up the enthralled group of would-be buyers are a pair of young women who gaze at the mesmeric glass phial before them. One of these females is modelled on the artist's sister-in-law, a favourite model.Pinwell, a leading Idyllist, had begun his career as an illustrator. In 1865 he shifted tack and submitted a watercolour to the Dudley Gallery, London. Based on Oliver Goldsmith's Vicar of Wakefield, it is now in the British Museum, London (inv. PD 1967,1014.131) and was the first of many successful submissions to come. He showed work there for several more years but in 1869 sent his first watercolour to the older, more prestigious and lucrative Royal Watercolour Society. The present work came at an important time for the artist, and 1870 proved to an important year for Pinwell. The year before, on 3 April 1869, he had been elected an associate of the Royal Watercolour Society. His rise in the institution was rapid and by the following year in the wake of the success of The Elixir of Love he was elected a full member.The work was Pinwell's largest watercolour to date and was met with near universal praise. The Illustrated London News noted the 'exquisite sense of beauty and character evinced in all the faces, and the consummately delicate precision of the draughtsmanship.' The critic of The Times thought it displayed many 'uncommon merits qualified by some serious defects' but conceded that it was marked by a 'singular tenderness and beauty.' But the long column inches of The Era were unequivocal in declaring it 'the picture of all pictures.' In conclusion the same critic contended that The Elixir of Love evidenced the 'highest form of art ... and makes us live in a purer and sweeter atmosphere.' The work was one of Pinwell's best-known works and was exhibited several times after his early death. To commemorate the tenth anniversary of his passing in 1875 the dealer Arthur Tooth & Co. commissioned fellow Idyllist Robert Walker Macbeth (1848–1910) to translate the watercolour into a large etching. The print was duly published in 1885.Williamson lists an untraced reduced watercolour version of the present work as 'unfinished' and having once been owned by Edward Dalziel (1817–1905), of the celebrated firm of printmakers and publishers. It measured 11 x 25 inches and was sold at Pinwell's estate sale in 1876 for 31 guineas (to Dalziel), suggesting some level of finish. The Museum of Fine Arts, Boston has a preparatory drawing in graphite for The Elixir of Love (inv. 55.2713), and was one of several such studies for the present work, that had once belonged to the keen Idyllist art collector and bibliophile Harold Hartley (1851–1943).We are grateful to Donato Esposito for compiling this catalogue entry.Saleroom notices:Please note that since the publication of the catalogue, further research indicates that the present lot was not exhibited at The Royal Academy in 1901 and was not in the possession of Ludwig Messel, as stated.For further information on this lot please visit Bonhams.com
JAMES WHITELAW HAMILTON RSA RSW (SCOTTISH 1860 - 1932), PALAIS DE LA CITÉ, PARIS watercolour on paper, signedmounted, framed and under glassimage size 51cm x 35cm, overall size 72cm x 52cm Note: James Whitelaw Hamilton was born on 26 November 1860, the eldest child to wood turner James Hamilton and his wife Mary Stevenson of 1 Morris Place Glasgow. His parents moved the family to Helensburgh and lived at Thornton Lodge, 107 Sinclair Street, Helensburgh. Whitelaw Hamilton displayed an aptitude for painting at an early age, and after studying in Glasgow, he moved to Paris and studied at the studios of Pascal-Adolphe-Jean Dagnan-Bouveret and Aimé Morot, both considered leading lights of the 19th Century French Movement - specialising in landscapes and portraiture. Whitelaw Hamilton's landscapes have a rugged and raw quality but he did not limit his work to one medium being equally successful using oils, pastels and watercolours. Not surprisingly, given Helensburgh's reputation as a centre for artists, Whitelaw Hamilton became friends with the Glasgow Boys. In 1884, he joined Guthrie, Henry, Crawhall and Melville at Cockburnspath. EA Walton, who spent his winters at Thornton Lodge, and James Guthrie were to remain friends with Whitelaw Hamilton throughout their lives. They shared similar ideals and spent many years in Helensburgh recording the urban lifestyle of the wealthy residents in the town. Whitelaw Hamilton married Lillian Millar Shaw of 12 Lynedoch Place, Glasgow at St Mary's Episcopal Church on 9 September 1891. He and Lillian took residence in the Grange, 23 Suffolk Street, Helensburgh, the home that he was to remain in for the rest of his life. Whitelaw Hamilton exhibited abroad as often as he did at home. He became a member of the Munich Secession and won a gold medal at the Munich International Exhibition in 1897. He became a member of the New English Art Club in 1887, a member of the Royal Scottish Academy in 1922 and a member of the Royal Scottish Society of Painters in Watercolours in 1895. He also held the position of Hon. Secretary, Royal Glasgow Institute of the Fine Arts. He suffered personal loss in 1918, when his son Lt. Arthur Leslie Hamilton was killed in action in Mesopotamia on 25 October, serving with the 1st Highland Light Infantry. A portrait of his son was completed by James Guthrie and is held within the collection of the Glasgow Art Gallery. James Whitelaw Hamilton died in Helensburgh on 16 September 1932 aged 71. His work is represented in Glasgow Art Gallery, Perth Art Gallery, City of Edinburgh Collection, Lillie Art Gallery, The Hunterian, Perth & Kinross Council, Kirkcaldy Museums & Galleries, Paisley Museum & Art Galleries, Dundee Art Gallery, Kelvingrove, The Royal Scottish Academy, Walker Art Gallery, Weimar Art Gallery in Germany and other public collections.
A Q- Ship Casualty Group awarded to Stoker 1st Class David Arthur Collingham. H.M.S. Bergamot, Killed in Action when Bergamot was sunk by U-84 on the 13th of August 1917 comprising 1914-1920 British War and Victory Medals, (K.28401 D.A. Collingham. Sto. 1. R.N.), toned fine (2)HMS Bergamot was an Anchusa-class sloop of the Royal Navy, which had a short career during World War I. Built by Armstrong Whitworth, the ship was laid down on 1 January 1917, launched on 5 May, and commissioned on 14 July.Four weeks later, on 13 August 1917, under the command of Lieut-Commander Percy T. Perkins, she was sunk in the Atlantic 70 nautical miles north-west of the harbour of Killybegs by the German submarine U-84, commanded by Walter Rohr.U-84s War Diary describes how he sighted a lone merchant ship, with no defensive armament (an unusual sight by 1917). Bergamot evidently sighted the U-boat's periscope, as she began to zig-zag at high speed. U-84 fired one torpedo – which hit on the port side – and Bergamot broke in half and sank in four minutes. Surfacing, U-84 sighted an unusually large number of crew (70) and pieces of wood floating. The U-boat's log identifies the possibility of Bergamot being a "trap ship". One of the indicators being the narrow beam in relation to the length of the ship, a sure sign of a warship.The torpedo struck her on the port side at 13 minutes to 9, entering the auxiliary engine room and destroying the dynamo and the bulkhead separating the auxiliary engine room from the main engine room. All the lights went out. Bergamot launched a "panic party" in lifeboat no.1, containing 31 men, but the ship lurched to port, both the bow and stern rising out of the water, and she sank too quickly for the ruse to be successful.U-84 approached Lifeboat no. 2 and asked where the captain was. They were told, "In the other boat, Sir" although actually he was on a small raft being towed by no.2 at the time. U-84 had both her deck guns trained on the lifeboat, but they believed the story and headed for lifeboat no. 1, now about two miles away. There, they went close alongside and hauled the ship's steward aboard, probably because he was the only one with a collar and tie on, and looked like an officer. Luckily, he stuck to the cover story, although questioned severely by Rohr as to "where bound, what cargo?" and was told to go back to his lifeboat, after having been given a glass of port wine and a cigarette, and after also transferring a wounded man that the submarine had picked up to the boat. With a cheery, "See you after the war!" the submarine disappeared into the night mists.At the moment of the explosion, Bergamot's first officer, Lieutenant Frederick W. Siddall, and her probationer surgeon, Robert S. Smith were both in her wardroom. The explosion jammed both of the watertight doors leading into this compartment, and Siddall was rendered unconscious. Smith piled the wrecked wardroom furniture up in order to reach the skylight in the roof, and then dragged the unconscious Siddall up and out of the compartment. Having reached the main deck, Smith worked on both Siddall and a wounded petty officer, who was lying on the deck with a broken leg and arm. By this time the ship was clearly sinking so Smith inflated his casualties life vests and lowered them both into the water.As Bergamot sank one of her depth charges exploded, badly wounding Siddall and again rendering him unconscious. Smith towed both his casualties to lifeboat no.2, which had left the sinking ship, containing 47 survivors, and then worked on Siddall for 25 minutes, administering artificial respiration, until he again recovered consciousness. Smith then treated the other injured survivors in no.2 over the 48 hours that the lifeboats were adrift until they were picked up. For these lifesaving actions, Surgeon Robert Sydney Steele Cathcart Smith was awarded the Albert Medal.The lifeboats became separated through the first night. Lifeboat no.2 set course for Loch Swilly, about 100 miles away, They sailed and rowed for three days before being picked up by the Admiralty trawler Lord Lister. Lifeboat no.1 reached the rocky shores of County Donegal where they were taken ashore by the coastguard.David Arthur Collingham was born on the 19th of March 1884 in Lincolnshire he joined the Royal Navy on the 21st of October 1915 stating that he was an Iron Founder. He joined Bergamot on the 14th of July 1917 and was Killed in Action on the 13th of August the same year. He was the son of Hannah Collingham of 32 Old Bargate, St Botolph’s, Lincoln, he is commemorated on the Plymouth Naval Memorial on Panel 22.Sold with an excellent file of 9 original pieces of Paperwork including the Original Royal Navy Telegram to Hannah Collingham stating:-“I regret to have to inform you that information had been received by this Department to the effect H.M.S. Bergamot was sunk by an enemy submarine on the 13th instant, and that David Arthur Collingham, Stoker 1st Class, Official No. K.28401, who according to the latest records at the Admiralty was serving aboard, was not amongst survivors who have been landed. It is reported, however, that one or two Officers or men were recovered from the water by the enemy submarine. In these circumstances it is regretted that your son must for the present be regarded as “Missing”An original photograph of David in uniform, Commonwealth war Graves details, Copy Service Papers, Copy Medal Roll confirming a his Pair, Copy Pension Records.
Original vintage WWI propaganda poster encouraging contributions to the Sailors' & Soldiers' Tobacco Fund: It is a significant fact that almost every letter from the Front contains a request for 'something to smoke'. Stark black and white artwork by Frank Brangwyn shows a group of soldiers on the front with the tower of the cathedral of Ypres in the background. Ypres is a town in the Belgian province of West Flanders, an area where many battles unfolded during World War I. Printed by the Avenue Press Ltd. Sir Frank William Brangwyn RA RWS RBA (12 May 1867- 11 June 1956) was an Anglo-Welsh artist, painter, watercolourist, engraver, illustrator and progressive designer. Brangwyn was an artistic jack-of-all-trades. As well as paintings and drawings, he produced designs for stained glass, furniture, ceramics, table glassware, buildings and interiors, was a lithographer and woodcutter and was a book illustrator. It has been estimated that during his lifetime Brangwyn produced over 12,000 works. His mural commissions would cover over 22,000 sq ft (2,000 m2) of the canvas, he painted over 1,000 oils, over 660 mixed media works (watercolours, gouache), over 500 etchings, about 400 wood engravings and woodcuts, 280 lithographs, 40 architectural and interior designs, 230 designs for items of furniture and 20 stained glass panels and windows. Brangwyn received some artistic training, probably from his father, and later from Arthur Heygate Mackmurdo and in the workshops of William Morris, but he was largely an autodidact without a formal artistic education. When, at the age of seventeen, one of his paintings was accepted at the Royal Academy Summer Exhibition, he was strengthened in his conviction to become an artist. Initially, he painted traditional subjects about the sea and life on the seas. His 1890 canvas, Funeral At Sea won a medal of the third class at the 1891 Paris Salon. The murals for which Brangwyn was famous, and during his lifetime he was very famous indeed, were brightly coloured and crowded with details of plants and animals, although they became flatter and less flamboyant later in his life. Good condition, water marks, creases and repaired tears in margins, backed on cardboard. Year of printing: 1915, country of printing: UK, designer: Frank Brangwyn, dimensions (cm): 76x49.5.
A collection of mainly sporting related china and ephemera, including a Royal Doulton Tony Weller jug, a pair of Arthur Wood Sporting Series cricketing mugs, a cup and saucer inscribed "Presented by William R Ward Family Grocer Coventry" depicting a cricketing scene, a Gray's pottery plate "The Noble Sport of Cricket The Renowned Cricketers George Parr and Alfred Mynn Esq.", a Goss type commemorative football "Inverness", another similar rugby ball "Plymouth", another similar golf ball "Lydney Forest of Dean", a German pottery figure of a gentleman cricketer, a Staffordshire figure of a "Girl with carpet bowls", a plaster figure of "J B Hobbs", painted figure of a "Dog playing tennis", painted figure of a "Dog playing cricket" (very A/F), stevengraph "The First Over" (very faded), an oak mounted letter rack decorated with two coloured print scenes of huntsmen, a Victorian commemorative mug 1897, copper lustre jug, Moorcroft pin dish, Royal Crown Derby figure of a "Wren", two small glass jugs, grey glass stemmed drinking glass and a brass chamberstick
A QUANTITY OF LARGE CERAMICS AND DECORATIVE ITEMS, to include a 'Shy Girl' plaster figure, golden brown hair, green dress, a small plaque to the base reads 'Shy Girl', height 57.5cm, Royal Winton 'Golden Age' gold lustre vases, a Regal Collection bronzed resin figure group, three Capodimonte figures (all with sd), an Arthur Wood vase in the form of a basket, a late twentieth century jardiniere on stand, an elephant jardiniere stand, a figural clock, etc (qty) (Condition Report: condition varies but generally ok, sd)
WAR AND HISTORY - A collection of autographed books mainly on war and history signed by the authors to include GERALD KAUFMAN, ARTHUR BRYANT, BRIAN MASTERS, MICHAEL ASHCROFT, TRISTRAM HUNT, CAROLINE SHENTON, JEREMY PAXMAN, CHARLES SPENCER x 2, JOHN PETERS, JOHN NICHOL, PHILIP ZIEGLER, MICHAEL WOOD, RAINE and JOHN SPENCER x 2 (15)
Ɵ HOROLOGICAL REFERENCE BOOKS ON REGIONAL CLOCKMAKINGFIFTEEN PUBLICATIONS:Mason, Bernard Clock and Watchmaking in Colchester Country Life, London 1969, dj and with card slipcase; Penfold, John B. THE CLOCKMAKERS OF CUMBERLAND first limited edition signed by the author and numbered 55, Brant Wright Associates Limited, Ashford 1977, gilt tooled green faux calf; Snell, Michael Clocks & Clockmakers of Salisbury Hobnob Press, Salisbury 1986, dj; Loomes, Brian WESTMORAND CLOCKS and CLOCKMAKERS David and Charles, Newton Abbot 1974, dj; Brown, H. Miles CORNISH CLOCKS and CLOCKMAKERS David and Charles, Newton Abbot 1970, dj; Ponsford, C.N.; Scott J.G.M. and Authers, W.P. CLOCKS AND CLOCKMAKERS OF TIVERTON Published by the Authors, Tiverton 1977, softbound; Beeson C.F.C. CLOCKMAKING IN OXFORDSHIRE 1400-1850 The Museum of the History of Science, Oxford 1967, softbound; Loomes, Brian Yorkshire Clockmakers Dalesman Books, Lancaster 1972, dj; Loomes, Brian LANCASHIRE CLOCKS and CLOCKMAKERS David and Charles, Newton Abbot 1975, dj; Haggar, Arthur L. and Miller, Leonard F. SUFFOLK CLOCKS & CLOCKMAKERS The Antiquarian Horological Society, London 1974, dj (with supplement); Bellchambers, J.K. SOMERSET CLOCKMAKERS The Antiquarian Horological Society, Ramsgate 1968, softbound; Moore, Nicholas CHESTER CLOCKS AND CLOCKMAKERS Grosvenor Museum, Chester undated but probably circa 1975, softbound with stapled spine; Loomes, Brian Country Clocks and their London origins David and Charles, Newton Abbot 1976, dj; Hewitt, P.A. THE DEACON FAMILY OF LEICESTERSHIRE CLOCKMAKERS, The Antiquarian Horological Society, Ticehurst 2008, softbound; Darken, Jeff (editor) TIME & PLACE exhibition catalogue, The Antiquarian Horological Society, Ticehurst 2006, softbound; Powell, Edward and others YOUR TIME, INCLUDING THE CONTRIBUTION OF NORTHWEST ENGLAND TO THE DEVELOPMENT OF CLOCKS AND WATCHES catalogue for an exhibition held at Prescott Museum 1st February until 16th April 2008 and Williamson Museum and Art Gallery, Birkenhead 9th February until 13th April 2008, The Antiquarian Horological Society, Ticehurst 2008, softbound; together with copies of Wood, Stacy B.C. and Kramer, Stephen E. III CLOCKMAKERS OF LANCASTER COUNTY AND THEIR CLOCKS 1750-1850 Van Nostrand Reinhold Company, New York 1977, dj; Willard, John Ware Simon Willard and his Clocks Dover Publications Incorporated, New York 1968, softbound, and Chenakal, Valentin L. WATCHMAKERS AND CLOCKMAKERS IN RUSSIA The Antiquarian Horological Society, Ramsgate 1968, softbound, (18). Provenance:The Leonard Fuller Collection.
Nonesuch Press. The Mistress with other select poems of Abraham Cowley 1618-1667, edited by John Sparrow, London: The Nonesuch Press, 1926, untrimmed, original brown cloth with gilt morocco spine label (rubbed), large 8vo, limited edition 283/1050, together with Golden Cockerel Press. Jeremy Taylor: A selection from his works made by Martin Armstrong, Golden Cockerel Press, 1923, initial letters in red, partly untrimmed, original cloth-backed boards with paper label to spine, small 4to, limited edition of 320 copies plus The Four Gospels in the Original Greek, Oxford University Press, 1932, text printed in Greek with the type of Robert Proctor, title printed in red and black, running titles printed in red, rough-trimmed, original quarter cloth over pale blue boards, lightly marked, 4to, and Fleece Press. A Pretty Mysterious Art, A Lecture by C. W. Woolnough to the Royal Society of Arts, Introduced by Barry McKay & New Marbled Samples by Ann Muir, Fleece Press, 1996, tipped in sample pages of marbled papers, original quarter vellum gilt, with a separate additional portfolio of 19th century and earlier marbled paper samples, all contained in original publisher's drop-over rust cloth bookbox, 8vo, limited edition of 300 copies, this being number 20 of 30 special copies bound in quarter vellum and accompanied by the additional portfolio of early paper samples, plus other private press publications, including Gregynog Press, The Praise and Happinesse of the Countrie-Life written originally in spanish by Don Antonio de Guevara, put into English by H. Vaughan, Silurist, reprinted from the edition of 1651, with an introduction by Henry Thomas, and wood engravings by Reynolds Stone, 1938, limited edition 219/400, Nonesuch Press Butleriana, 1932, Nonescuh Dickensiana, 1937, Verona Society, The Book of the Knight of La Tour Landry, edited by G. S. Taylor, 1930, Scholartis Press, Twenty-One Medieval Latin Poems, edited... by Edward James Martin, 1931, J. W. Mackail, Homer, An address delivered on behalf of the Independent Labour Party, Hammersmith Publishing Society, 1905, Ardna Gashel, An Allegory by Olive Cook, with decorations by Edwin Smith, Cambridge: Golden Head Press, 1970, with presentation inscription to David and Joan Gould from Raymond and Pamela Lister, Arthur K. Sabin, New Poems, Temple Sheen Press, 1915, Epictetus, 2 volumes, London: Arthur L. Humphreys, 1897QTY: (15)
Gaskin (Arthur J., illustrator). Stories & Fairy Tales, by Hans Christian Andersen, translated by H. Oskar Sommer, with 100 pictures by Arthur J. Gaskin, half-title, additional pictorial title, printed title in red and black, and numerous wood-engraved plates and illustrations, woodcut initials, untrimmed, original publishers gilt-decorated cream cloth, rubbed and some light soiling, spines lightly browned, large 8vo, together with A Book of Pictured Carols. Designed under the direction of Arthur J. Gaskin, 1st edition, London: George Allen, 1893, printed on Japanese vellum, monochrome illustrations, top edge gilt, remainder untrimmed, original quarter vellum, rubbed and some light soiling and marks, 8vo, limited edition of 100 copies on Japanese vellum, this copy numbered 11 QTY: (3)NOTE:Limited Large Paper edition of 300 copies.
Garnett (T). Observations on a Tour through the Highlands and part of the Western Isles of Scotland, 2 volumes in 1, first edition, London: T. Cadell and W. Davies, 1800, 52 aquatint plates by William Green after W.H.Watts, 2 engraved maps (1 folding), slightly offset, a few wood-engraved illustrations in text, upper hinge cracked, contemporary gilt decorated marbled calf, gilt decorated spine with title and author to black calf label (partially detached), 4to, together with Buchanan (George). The History of Scotland..., Faithfully Rendered into English, London: Edw. Jones, 1690, engraved portrait frontispiece, overall spotting, near contemporary 'Parhem Library' in brown ink to front free pastedown, ocassional spotting and dust soiling, inner hinges reinforced, contemporary speckled calf, joints crudely reinforced preserving original endpapers, morocco label to spine, folio, plusMackenzie (George). The Laws and Customs of Scotland in matters, Criminal...By Sir George Mackenzie of Rosehaugh, Edinburgh: Andrew Anderson, 1699, title-page in red and black, near contemporary 'James Bruce' in brown ink to title-page, a few near contemporary handwritten notes to blank margins, previous owner's notes to front free endpaper (verso and recto), James Dewar of Vogry Esq bookplate to front pastedown, contemporary brown sheep boards, worn and rubbed, boards partially detached, 4to, and The Whole Proceedings in the House of Peers upon the Indictments against William Earl of Kilmarnock, George Earl of Cromertie, and Arthur Lord Balmerino; for High Treason..., London: Samuel Billingsley, 1746, upper cover detached, folio QTY: (4)NOTE:Wing B5283.
A COLLECTION OF NAMED CERAMICS AND GLASSWARE, a Johnson Brothers 'Old Britain Castles' pattern blue and white tea set comprising a teapot, sandwich plate, ten cups (two are chipped/cracked), ten saucers, six tea plates (28), an Arthur Wood traditional Imari pattern hexagonal teapot (chipped spout, worn gilt and crazed throughout), a Royal Doulton stoneware advertising ashtray 'Whitbread's Ale & Stout', stamped 7436, two stoneware tankards, a mug, puzzle jug and a dog's water bowl (2 large chips on the base), a 'Player's Navy Mixture' copper ashtray, a floral brass trivet and extendable toasting fork, and a vintage Arts & Crafts tin box for Player's Navy Cut Tobacco Co., a clear glass ship's decanter, etc. (qty) (Condition Report: tea set has crazing to some pieces, the tin has wear to the lid, other most obvious damage is mentioned in description)
![Agnes Clara Tatham – ‘Portrait of Mrs Thompson’ [Half Length Portrait of Elizabeth Georgina Thompson], 20th century oil on ca](https://cdn.globalauctionplatform.com/7a24c71a-f65f-4899-8ef5-b1d1009cdfcf/19f5ff5b-6f71-4168-abf4-b1d7011c4dac/468x382.jpg)
Agnes Clara Tatham – ‘Portrait of Mrs Thompson’ [Half Length Portrait of Elizabeth Georgina Thompson], 20th century oil on canvas, signed recto, titled verso, 40cm x 29.5cm, within a gilt frame. Note: Agnes Clara Tatham (1893–1972) was a British artist celebrated for her contributions to early 20th-century art. Born in Wood Green, London, she was the daughter of a dental surgeon and grew up in a supportive middle-class family. Tatham pursued her artistic education at the Southend School of Art and the Royal Academy Schools in London. Her career began in the early 1920s, marked by a blend of traditional and modern influences. She exhibited regularly at the Royal Academy of Arts from 1918 to 1961, the Paris Salon and the Royal Society of British Artists, showcasing her talents in portraiture and landscape painting. Tatham's style evolved over time, incorporating bold and abstract elements influenced by modernist movements. The sitter, Elizabeth Georgina Thompson née Kennedy (1891-1978) was the second wife of aircraft designer Norman Arthur Thompson.
A Shelley part teaset in 'Buttercup' pattern, together with other Art Deco era ceramics. The Shelley consisting of six cups and saucers, a cream jug a sugar bowl, six tea plates and a sandwich plate. Other items including a Royal Venton 'Floretta Ware' items designed by Van Phillips and an Arthur Wood relief moulded jug. (A Lot) Various dimensions. One cup broken, sugar bowl broken and repaired.
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