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LAWRENCE JAMES ISHERWOOD (1917-1998) 'Nocturne, Tower Bridge', signed and dated '73 lower right, oil on board, 30cm x 40cm, Framed dimensions: 34cm x 44cm

James I, Second coinage, Penny, mm. rose, 0.20g (N 2106; S 2661); Charles I, Tower mint, Shilling, Gp E, type 4.3, mm. anchor, 5.72g/7h, Gp F, type 4.4, mm. triangle, 5.64g/12h (N 2228, 2232; S 2796, 2800); Charles II, Third Hammered issue, Halfcrown, mm. crown, reads mag br fr, 14.71g/1h (ESC 302; N 2761; S 3321) [4]. Varied state, the first heavily clipped £70-£90

* Vues d'Optique. A Collection of 13 Topographical Views, published by Robert Sayer, James Whittle and Richard Holmes Laurie, Bowles & Carver, Robert Whittle, Robert Wilkinson and others, circa 1775 [or slightly later], engraved views with contemporary hand-colouring, nine with the titles repeated in French, three images have a J. Whatman 1809 watermark, occasional marginal closed tears, 'View of Surgeons Hall &c. South Side of Lincolns Inn Fields' with a long closed tear affecting the printed image, 'A View of Somerset House' with some spotting, slight dust soiling, each approximately 330 x 480 mmQTY: (13)NOTE:The prints comprise of: A General View of the City of Oxford, The Asylum of Greenwich Hospital (from the Park), A View of Northumberland House Charing Cross &c., A North West View of the Tower of London, The Triumphant Arches Mr Handel's Statue &c. in the South Walk of Vauxhall Gardens, A View of the Foundling Hospital, The School for the Indigent Blind St George's Fields, A View of Somerset House with St Mary's Church in the Strand London, A South View of Westminster Abby & St Margarets Church, The Inside of Westminster Abbey, A View of the Royal Exchange London, The West Elevation of the Keep or Round Tower of Windsor Castle built by Edward III [and] View of Surgeons Hall &c. South Side of Lincolns Inn Fields.

ROCK & POP - 7" ACETATES/ TEST PRESSINGS PACK. A broad selection of 29 mixed genre 7" acetates/ test pressings. Artists/ titles include J Gelis Band - Angel In Blue, Commodores - Flying High, Diana Ross, My Cadilac, Geordie - Give It To Me Now, Kenny - Give It To Me, Geordie - Naa Naa Naa, John Kaye - Easy Evil, Cafe Squater - Male Vocal, Vince Hill - More Than Ever Now, New Horizon, Terry Sylvester, Richard Anthony - You've Lost That Loving Feeling, John Townley, Harry Chapin - Cats In The Cradle, James Webley - The Tower, Buster - Mary In The Morning, Paul Anka - You're Having My Baby, Matt Monroe - In My Arms, Charlie Drake - Somebody Opened The Watergate, Joe Brown - The Teddy Boys. Condition is generally VG to Ex.

US SOUL 7" COLLECTION INCLUDING PROMOS - a collection of approximately 55 US Soul 7"s including promos. Collection to include: Bob Kuban - Hard To Handle c/w Soul Man (promo) - Reprise (0937), Charles Wright - Soul Traine c/w Run Jody Run (promo) - Warner Bros (WB 7600), The Quadraphonics - Betcha If You Check It Out c/w Betcha If You Check It Out (promo) - Warner Bros (WB 7826), Charles Wright And The Watts 103rd Street Rhythm Band, Cajun Hart, G. Wayne Thomas, Tower Of Power, James Brown, The Impressions, Ashford And Simpson, Johnnie Taylor, Ronnie Milsap, Young-Holt Unlimited, Hypnotics, Leroy Hutson, Herbie Mann, Billy Vera & Judy Clay and more. Collection generally in Ex to Ex+ condition.

JOHN INIGO RICHARDS R.A. (BRITISH 1731-1810) EAGLE TOWER CAERNARFON CASTLEinscribed Caernarvon Castle versowatercolour over pencil on laid paper with original artist's wash-line mount 22 x 31.5cm; 8 1/2 x 12 1/2intogether with three further watercolours of castles, by Charlotte Percy (Duchess of Northumberland, 1787-1866), James Russell (c.1720-1793) and John Buckler (1770-1851)various sizesall unframed(4)Provenance the first and the James Russell: Leonard Gordon Duke (1890-1971) Exhibitedthe first: London, Tate Gallery, Pictures by Richard Wilson and His Circle, 1949, no. 73

JAMES I (1603-1625) Tower Mint Obverse Crowned bust right, denomination behind, all within inner circle, legend and mintmark around IACOBUS D G MAG BRI FRA ET HIB REX Reverse Quartered shield of arms within circle, legend around QVAE DEVS CONIVNXIT NEMO SEPARET  Edge smooth 5.89 grams 30mm Ø   CHARLES I (1625-1649)  Obverse Crowned bust of King Charles I left, denomination behind  legend around CAROLVS D G MAG BR FR ET HI REX XII 5.81 grams 22mm Ø HENRY VI (1470-1471) 1 Groat Obverse Crowned facing bust globus cruciger above legend around Reverse  Long cross pattee trefoils in quarters legend around 2.91 grams 25mm Ø Elizabeth I (1558-1603) Six Pence  Obverse Crowned portrait of Queen Elizabeth I facing left with rose behind, all within inner circle with legend around ELIZAB.D.G.ANG.FR.ET.HIB.REGINA Reverse Quartered shield over long cross fourchée with divided date above, all within inner circle with legend around POSVI DEV.AD IVTORE M·MEV· 15 78 2.4 grams 26mm Ø Together with another Elizabeth I coin (5) Condition Report:Available upon request

Rutter (John) Delineations of Fonthill and its Abbey, first edition, large paper copy, half-title, hand-coloured aquatint frontispiece, additional pictorial title and plate, 10 other engraved plates including unnumbered plate of South West View (as usual), large folding lithographed plan hand-coloured in outline, wood-engraved vignettes, folding sheet of genealogical tables, without list of subscribers at end (not found in all copies and possibly not issued with the large paper copies), some light foxing or soiling, bookplate of William Henry Wills (later 1st Baron Winterstoke, tobacco magnate and politician), original printed boards, uncut, rubbed and slightly stained, rebacked and recornered in dark red morocco, [Abbey, Scenery 418; BAL 2881; Millard, British 72], large 4to (360 x 290mm.), Shaftesbury, by the Author, 1823.*** The best contemporary publication on William Beckford's extravagant Gothic mansion at Fonthill, built for him by James Wyatt between 1796 and 1812. Rutter began the book when the house still belonged to Beckford, but completed it after Beckford had sold the house to John Farquhar, and in its finished form it is a remarkably vivid memorial to the house in the closing days of Beckford's period of ownership. Rutter's text is eloquent on the opulence of the interior and of its furnishings, and his plates convey the grandeur of the central tower (soon to collapse) and the appearance of the principal rooms. 

The Grudging’s BrothersHenry Archer GrudgingsThe 1914 Star and Victory Medal awarded to Private Henry Archer Grudgings, Leicestershire Yeomanry, who was Killed in Action on the 13th of May 1915 in the Battle of Frezenburg Ridge, comprising 1914 Star, (1754 Pte H.A. Grudgings. Leic: Yeo.), 1914-1919 Victory Medal, (1754 Pte. H.A. Grudgings. Leic. Yeo.), star very fine, Victory Medal, Verdigris spots to Obverse and Reverse otherwise fine.Henry Archer Grudgings was one of seven children born to Daniel and his wife Emma five of whom survived into adult hood. Henry had an older brother Daniel  and three sisters.  Henry was educated at Loughborough Grammer School and started work as an electrical engineer with a lifting gear manufacturer.  He enlisted at the en of January 1911, aged 19.  IN the Great War he served with the 1/1st Leicestershire Yeomanry  landing in France on the 2nd of November 1914.  After participating in the Battle of Nonne Bosschen on the 11th of November 1914, the Yeomanry were employed in winter operations until called to the front line on the second day of the Battle of Frezenburg Ridge, 281 men of the Leicestershire Yeomanry went into Battle, 94 lost their lives, including Henry, 93 were wounded 94 came through unscathed.Henry is buried in Bedford House Cemetery, Enclosure No4, Plot V, Row F Grave 10.Extract the Loughborough Echo – 11th of May 2015The Leicestershire Yeomanry was ordered to the front at 5pm on May 12, 1915, having spent much of the previous severe winter engaged in digging parties and relief duties.Two hours later, the Regiment, under the command of Lt. Col. the Hon. P.C. Evans Freke, left its billets and dugouts on the western outskirts of Ypres, Belgium, and led the 7th Cavalry Brigade eastwards through the smouldering medieval town to the front line trenches on Frezenburg Ridge.Major J.P. Swain of Barkby wrote: “We were a merry crowd, singing, joking and laughing, little dreaming of what we were going to. Ypres burning in ruins, an awful sight, terrible stench.”It was raining heavily and having crawled their way on hands and knees through the deep, clinging mud, “all troops got settled into their trenches about 1am”. At 3.30am on May 13, “a day of ceaseless rain and shelling,” the German artillery launched an intense bombardment on a three mile front and the 7th Cavalry Brigade was “exposed to a perfectly hellish fire, which blew to pieces the trenches in front and the shelters behind.”The shelling went on until 6am when the Germans attempted to take the British trenches but were beaten back.A second, more violent bombardment began and eventually the Germans fought their way into the forward trenches of the heavily outnumbered British.The fighting, much of it hand-to–hand, raged for seven hours with no respite and for several hours the desperate and severely depleted Leicestershire Yeomanry was the only unit holding the line previously held by the entire 7th Cavalry Brigade.At great cost these brave men held on heroically and prevented the Germans from breaking through to Ypres.At 2.30pm the British artillery opened fire on the German lines and an hour later the 8th Cavalry Brigade emerged from the GHQ support lines and launched a counter-attack.The charge, led by the 10th Royal Hussars, “went forward with such a splendid dash that at the sight of them the gallant Leicestershire Yeomanry, reduced in numbers as they were, could not restrain themselves, but tumbled out of their trenches and joined in the rush”.Of the 281 men of the Leicestershire Yeomanry who went into battle, 94 lost their lives, including the Commanding Officer, two Squadron Leaders and the Regimental Sergeant Major.Ninety-three were wounded and only 94 came through unharmed, if anyone who survived the carnage and confusion of that day could be said to be unharmed.Arthur Conan Doyle wrote of the battle: “It was a most murderous affair, and they were only driven from their trenches when the trenches themselves were blasted to pieces.“It is doubtful whether any regiments have endured so much in so short a time. The Leicestershire Yeomanry suffered very severely.”Those who lost their lives are commemorated on the Carillon Tower and remembered each year at a service at the church at Newtown Linford and wreath laying at the Leicestershire Yeomanry War Memorial at Bradgate Park.This years’ service takes place at All Saints Church in Newtown Linford at 11am on Sunday, May 17.Fourteen soldiers of the Leicestershire Yeomanry from Loughborough and the surrounding villages were lost in one day at the Battle of Frezenburg Ridge on May 13, 1915.• Private Thomas Brookes, aged 22, younger son of James and Elizabeth Brookes of 24 Paget Street, Loughborough.• Private George Clowes, aged 19, son of Ernest and Sarah Clowes of Hathern Station.• Private William Ernest Hoe Corah, aged 25, son of William and Catherine Corah of Swing Bridge House, Loughborough.• Lance Corporal Bertie Diggle, aged 21, son of Sergeant Major George Davis Diggle and Mrs Ellen Diggle of 15 Swann Street, Loughborough.• Private Henry Archer Grudgings, aged 23, son of Daniel and Emma Grudgings of 14 Beacon Road, Loughborough.• Private Gilbert Edwin Hawker, aged 22, son of Frank and Winifred Hawker of 65 Toothill Road, Loughborough.• Private Percy Spencer Jones, aged 21, son of Annie Jones and stepson of Herbert Jones of 76 Gladstone Street, Loughborough.• Sergeant Henry Percy Kealey, aged 30, son of Henry William Cato Kealey of 14 Cartwright Street, Loughborough, and his first wife Alice Amelia Kealey (deceased), and stepson of Elizabeth Kealey; husband of Constance Kealey of 20 Freehold Street, Loughborough, and father of Constance and Dorothy.• Lance Corporal William Francis Kent, aged 25, son of Frederick Britton Kent and Lucy Mary Anne Kent of 34 High Street, Loughborough.• Trooper John Jesson Lucas, aged 20, son of Thomas and Sarah Jane Lucas of The Old Bull’s Head, 18 High Street, Quorn.• Major William Francis Martin, aged 39, son of Robert Frewen Martin and Henrietta Susan Martin of The Brand, Woodhouse Eaves; husband of Violet Martin of The Holt, Woodhouse, and father of Robert and Diana. Daniel GrudgingsThe MBE, Great War, Air Raid Precaution, Group of 7 awarded to Private Danieal Grudging, 14th Hussars comprising The Most Excellent Order of the British Empire, Member, Civilian, MBE, unnamed as issued , 1914-1920 British War and Victory Medals, (3111 Pte. D. Grudgings. 14- Hrs.), 1939-45 Defence Meda, Jubilee Medal 1935, Coronation Medal 1937, Coronation Medal 1953, all unnamed as issued, contemporarily mounted for wear, toned very fine.For Both Groups a total of (9) MedalsMBE The London Gazette  the 12th of June 1958To Be Ordinary Members of the Civil DivisionDaniel Grudgings, Esq., Clerk Benfleet Urban District CouncilSold with: Henry:  Copy Medal Index Card, Copy War Diary, Commonwealth War Graves Commission information extract Loughborough Newspapers, genealogical information.Daniel:  Copy Medal Index Card, copy London Gazette entry, copy genealogical information

LAZENBY GEORGE: (1939- ) Australian actor, famous for his portrayal of the fictional British secret agent James Bond. Signed 8 x 10 photograph of Lazenby in a full-length pose in costume as James Bond, holding a gun in one hand and swinging from a London lamp post, with the Elizabeth Tower visible in the background, in a promotional image originally captured by Terry O´Neill for the spy film On Her Majesty´s Secret Service (1969). Signed by Lazenby in black ink to a lighter area at the base of the image, also adding 007 in his hand beneath his signature. EX

James I gold Unite ND (1604-1605) AU55 NGC, Tower mint, Lis mm, Second Coinage, Second Bust. Ref: KM45, S-2618, N-2083. IACOBVS D G MAG BRIT FRAN ET HIB REX, crowned and armoured half-length figure of James right, orb in left hand, scepter in right. R. crowned arms with I-R to either side. A highly covetable piece of hammered English gold. The features of his armour appear pin-point precise and fully detailed.

Auction Sale Catalogues; Country Houses and Private Collections. Sotheby's: The Contents of Wilsford Manor, Wiltshire, By Direction of the executors of the late The Hon. Stephen Tennant, October 1987, original wrappers, 4to; [Surrealism]  Christie's: The Edward James Collection, West Dean Park, June 1986, including realised prices, original wrappers and cloth slipcase, 4to; Sotheby's: Stokesay Court, Shropshire, September-October 1994, four-volume set, original wrappers, slipcase en suite, 4to; Sotheby Parke Benet: Mentmore, five volume set, May 1977, some loosely-inserted results and ephemera, original bindings, all dustjackets over papered boards, apart from volume V which is just wrappers as issued, 4to; Sotheby's: The John Gielgud Collection, April 2001, original wrappers, 4to; Sotheby's: Leverhulme Collection, June 2001, original wrappers, 4to; Peveril Tower, Cavendish Crescent North, The Park, Nottingham, 1972; etc

James (P.D.) Shroud for a Nightingale, signed by the author on title, jacket with short nick and creasing to head of spine, 1971; The Black tower, signed by the author on title, 1975; The Skull Beneath the Skin, signed presentation inscription from the author "To darling Joyce With all my love, Ph. Gt. Malvern 12 November 1982" to endpaper, additionally signed by the author on title, 1982, first editions, original boards, dust-jacket, some light rubbing to extremities, near-fine otherwise, 8vo (3)*** The last a good association copy, inscribed to the author's friend and PA Joyce McLennan. 

95th (The Derbyshire) Regiment. Thirty-six Victorian photographs (albumen prints), including cartes de visite of officers, c1855-1866, by various photographers and three MSS, including a request to the paymaster concerning contributions to the proposed monument to be erected at Derby to the memory of the officers and men of the regiment who fell in the Crimea and Indian Mutiny Campaigns signed by 24 officers, the photographs mostly laid down on leaves from an album with captions and loose typed service details   The lot comprises photographs of: John Joseph Bacon, James Henry Langford, John Budgen, George Lynedoch Carmichael, Edward Christopher, Henry Hume, John French Jordan, Norton Knatchbull, Leonard Knipe, Pelham James Maitland, Robert M Bonnor Maurice, Henry Edward Moore, Maxwell Morris, John Nicholas, Charles Frederick Parkinson, Godfrey Clerk, Robert Oakham Cotton, John North Crealock, Lewis Cubitt, Charles Edward Fisher, Henry Foster, Archibald Gordon, Andrew McDonald Grote, Charles James Holbrook, William Pearson, Private Rodden, Edmund Davidson Smith, John William Inglis Stockwell, Frederick Augustus Thesiger, Arthur Tower, George Courteney Vialls, John Henry Waterfall and an unidentified group

History to include: Cotton (Sir Robert) An exact Abridgment of the Records in the Tower of London, London, for William Lake and John Leake, 1679, small folio, full calf, ink annotation and bound with handwritten leaf after p. 558; Nalson (John) An Impartial Collection of the Great Affairs of State, from the Beginning of the Scotch Rebellion ... To the Murther of King Charles I, London: for S. Mearne et al., 1682, folio, two volumes, engraved frontispiece and poetic leaf, panelled calf; Burridge (Ezekiel) Historia Nuperae Rerum Mutaionis in Anglia in qua Res a Jacopo Rege, London: for A. & J. Churchill, 1697, 8vo, full calf; Histoire de L'edit de Nantes, Delft: Adrien Beman, 1693, 4to, 2 volumes, unmatched calf bindings, additional engraved title; Grahame (James) The History of the United States of North America, London: Smith, Elder and Co., 1836, four volumes, 8vo, half calf with marbled boards, green title labels and others (23)Ombersley Court, Worcestershire

AN INTERESTING INLAID MAHOGANY TWIN FUSEE DROP-DIAL WALL CLOCK WITH TWENTY-ONE INCH DIALTHE MOVEMENT BY JAMES DRURY, THE DIAL SIGNED FOR THWAITES AND REED, LONDON, EARLY 19th CENTURYThe substantial five pillar twin chain fusee movement with thick plates measuring approximately 9.5 inches by 8.25 inches and anchor escapement regulated by lenticular bob pendulum incorporating transverse pivoted beam rise/fall regulation to suspension, the backplate indistinctly signed Ja's Drury to centre and with hour-revolving yoke to allow take-off for a remote dial to pass through an aperture in the pendulum rod and a hole in the case back panel, fitted to a 21 inch circular white painted Roman numeral dial inscribed Thwaites & Reed, Clerkenwell, LONDON to centre, with rise/fall adjustment square at twelve o'clock and brass hands, set behind a hinged glazed ogee-outline cast brass bezel applied to a cushion-moulded wooded surround, secured via pegs onto the rear box case with doors to both sides, over line inlaid figured mahogany veneered fascia to the drop-trunk and pendulum access flap to the curved underside.73cm (28.75ins) high, 61cm (24ins) wide, 24cm (9.5ins) deep. James Drury is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1741 and gaining his Freedom of the Clockmakers' Company in 1751; he worked in Clerkenwell, London, up until 1811.The clockmaking firm Thwaites and Reed can be traced back to Ainsworth Thwaites who was apprenticed in 1735 and worked from Rosoman Row, Clerkenwell, London 1751-80. He was an accomplished maker who supplied the clock for the tower at the Horse Guards Parade. His son, John, was born in 1757 and took over the business presumably on the death of Ainsworth in 1780 before moving to Bowling Green Lane. He entered into partnership with Jeremiah Reed in 1808 and the firm subsequently became well known for supplying all forms of clocks and movements either wholesale for others to retail or signed by themselves. The partnership continued under John Thwaite's leadership from several addresses in London until his death in 1842. The business has subsequently passed through a series of successors and is still trading today from Rottingdean near Brighton. The current lot is interesting in that the present movement is signed for James Drury but is fitted to a dial signed for Thwaites and Reed (with the painted signature appearing original). Evidence to the rear of the metal dial plate indicates that dial feet for a smaller movement were originally fitted prior to the present arrangement, however, there is no evidence of any other winding holes being drilled through the plate. This would suggest that a decision was made to use the present movement prior to the completion of the timepiece with a smaller, probably single train, movement. If this is the case it may be appropriate to speculate that the present mechanism may have been acquired by Thwaites and Reed on the cessation of James Drury's business in 1811, and was subsequently 'repurposed' for the present lot. The current clock is also unusual in having the facility for a second dial to be driven form the movement (via the hour-yoke to the backplate). This suggests that it was a one-off commission destined for a semi-public environment where a second dial (possibly on the other side of the wall on which the clock was hung) was required. 

Attributed to James Armstrong (British, 19th century) – Oil on canvas - ‘Greentick’, 54cm x 75cm, in giltwood frameBears handwritten notes to the reverse 'Greentick, Sire of Fullerton, Owned by Mr Garcia' and later handwritten label 'Greentick’ (by Bedfellow out of Heart Burn), weight 64lbs. Sire of Fullerton and Troughend who divided the Waterloo Cup in 1889 for Colonel North. Was also sire of the young Fullerton and Simonian Private collection, Bristol - previously removed from Shortflatt Tower in Northumberland (home of famous greyhound breeder and winner of the Waterloo cup 5 times, Edward Dent), the ancestors having been the owners of these dogs. James Armstrong, from Gretna Green, near Carlisle, was a hare-coursing enthusiast and owner of greyhounds, who painted portraits of many greyhounds, especially studs and winners of the Waterloo Cup (a tournament featuring the 64 best hare coursing greyhounds of Great Britain and Ireland, which ran from 1836 to 2005). For another lot by this artist, see Cuttlestones, Penkridge (Staffs), 2nd December 2016, lot 589.

Attributed to James Armstrong (British, 19th century) – Oil on canvas - ‘Paris, Gallant Foe and Ptarmegan’, 64cm x 79.5cmPrivate collection, Bristol - previously removed from Shortflatt Tower in Northumberland (home of famous greyhound breeder and winner of the Waterloo cup 5 times, Edward Dent), the ancestors having been the owners of these dogs.James Armstrong, from Gretna Green, near Carlisle, was a hare-coursing enthusiast and owner of greyhounds, who painted portraits of many greyhounds, especially studs and winners of the Waterloo Cup (a tournament featuring the 64 best hare coursing greyhounds of Great Britain and Ireland, which ran from 1836 to 2005). For another lot by this artist, see Cuttlestones, Penkridge (Staffs), 2nd December 2016, lot 589.

James Armstrong (English, 19th century) - Oil on canvas – ‘Gallant Foe’, signed and dated 1884 lower right, 41cm x 56cm, gilt framed Handwritten label verso - Gallant Foe (By Don Antonio out of Meggie Smith). Gallant Foe was dam of Princess Dagmar, Waterloo Cup winner in 1881, and of Pathfinder, and of Paris, grandsire of Fullerton.Private collection, Bristol - previously removed from Shortflatt Tower in Northumberland (home of famous greyhound breeder and winner of the Waterloo cup 5 times, Edward Dent), the ancestors having been the owners of these dogs.

A pair of carved and painted overdoors from Weald Hall, Essex, second quarter of the 18th century, possibly from a design by Giacomo Leoni (Italian, c.1686-1746), each with a moulded pediment over Ionic capitals, and formal leaf swags of laurel leaves and berries united by a tied ribbon,133cm wide11cm deep80cm high (2)Provenance: R C Knight & Sons, Norwich, 'Weald Hall, Brentwood, Essex, Sale of the Valuable Fixtures and Fittings', 1950, lot 100;purchased from the above by the vendor's father;thence by descent.Although Weald Hall's architect has never been confirmed, it is plausible that Giacomo Leoni had some involvement in its design around the 1720s, when he was at his most prolific (see Giles Worsley, 'England's Lost Houses', 2002, p.108). Leoni, also known as James Leoni, was born in Venice c.1686, and came to England c.1714, aged 28, where he was instrumental in introducing the Palladian style through his publication of the first complete English translation of Palladio's 'I Quattro Libri Dell'Architettura'. His designs appeared refreshing and elegant compared to the heaviness of English Baroque, and almost immediately attracted the attention of several wealthy patrons, with great commissions including Lyme Park, Cheshire, and Clandon Park, Surrey. The latter is credited as being Leoni's 'masterpiece' and an important example of the transition from Baroque to Palladianism, but was lost to a fire in 2015.Weald Hall was no stranger to the most prominent names in 18th-century art and design; Lancelot 'Capability' Brown was responsible for the naturalistic landscaping that took place around the 1730s-40s, and Robert Adam was commissioned by the Tower family to produce several designs in 1778 (now housed in the Sir John Soane's Museum, London), some of which were brought to life in the Hall's dining room.Condition ReportRepainted. Overall good condition.

James I, First coinage, Sixpence, 1603, mm. thistle, first bust, 2.90g/11h (N 2074; S 2647); Second coinage, Sixpence, 1606, mm. escallop, fourth bust, 2.95g/3h (N 2103; S 2658); Charles I, Tower mint, Sixpences (3), Dp D, type 3a, mm. tun, 2.79g/3h, Gp E, type 4.1, mm. tun, 2.72g/10h, Gp F, mm. triangle, 2.94g/1h (N 2241, 2244, 2246; S 2813-4, 2817) [5]. Fair to good fine £100-£150

G.B. - Mixed silver hammered coins to include James I Shilling m/m Thistle, second bust 1603-04 Spink ref: 2646 AF-GF, Penny m/m Coronet 1607-9 Spink ref: 2661 F, Charles I Half Crown tower mint Type 3a1 m/m Bell 1625-49 Spink ref: 2773 AF & three other issues (6 coins)

THE ORIGINAL CAST BY WILLIAM SCOULAR (1796–1854) AN EARLY 19TH CENTURY PLASTER OF PARIS CAST OF THE SKULL OF ROBERT THE BRUCE (1274–1329) modelled naturalistically, engraved to the neck, ‘O’NEIL EDINBRO', with handwritten note ‘lent by Stewart Robertson Colquhalzie’ ‘Cast of the skull of King Robert Bruce’, the original cast by William Scoular, this was perhaps the hand of a student or contemporary 22cm high  James Stewart Robertson of Edradynate EstateFamily Descent from a Perthshire family Collection  Robert the Bruce (1274-1329)Robert the Bruce, was King of Scots from 1306 until his death in 1329. He defeated Edward II of England at the Battle of Bannockburn in 1314 made famous in the lyrics of ‘The Flower of Scotland’ anthem. Most notable during his reign, the Declaration of Arbroath was submitted by the Scottish nobility to Pope John XXII in support of Robert I verifying the Scottish Kingdom. This culminated in Edward III renouncing any English claim to the Scottish sovereignty. His dynasty continued even after the exile of his son as the first Stewart King was the grandson of Robert I through his daughter.Bruce died in 1329 and was interred at Dunfermline Abbey, where his body lay for almost five hundred years, until 1818, when the Abbey's Great Tower collapsed. The early 19th century was an awakening for the Scottish identity. George III’s visit to Scotland in 1822 helped ease tensions within the kingdom and the growing appetite for the Scottish was further bolstered by key proponents such as Walter Scott who organised the King’s visit along with The Waverly Novels published around this time.  When the tomb was uncovered, it presented a perfect opportunity to examine the remains and the tomb itself and celebrate the history of such an important Scottish King. The sculptor William Scoular (1796-1854), under the supervision of the Professor of Surgery at University College (1834-1847), Dr. Sharpey, examined the skull of Robert the Bruce and created various plaster of Paris copies. A well-regarded figure in his field, other important commissions include a sculpture of the Princess Elizabeth of Clarence (1820-21) in the Royal Collection accession number RCIN 53354, and James Watt (1736- 1819) held in the Glasgow Life Collections, accession number S.149. Although the number of copies has not been confirmed, there are copies in important collections including The National Portrait Gallery, accession number PG 914 A, the Hunterian collection, accession number, GLAHM:C.1929.11.Unsurprisingly Abbotsford House also has another copy as Walter Scott was a major exponent of Scottish heritage and acquired panelling from Dunfermline Abbey and relics from the tomb itself. The accession number for the skull is T.AT.1488. We believe this piece to have been acquired by the current vendor’s family at the time, with the handwritten note ‘Lent by Stewart Robertson Colquhalzie'An important piece of Scottish history both telling the story of a Scottish King, but also the early 19th century fascination with the Scottish identity. A rare opportunity to acquire a museum artefact at auction.  

ALIENS (1986) - Set of Three Hand-Illustrated Dropship Storyboards - Three hand-illustrated dropship storyboards from the production of James Cameron's Aliens. The UD-4L dropship known as Bug Stomper crash-landed on LV-426 when a xenomorph stowaway slaughtered the Colonial Marines onboard.This set consists of three unsigned storyboards numbered "FX 42," "38 (Continued)," and "83," and printed with shot descriptions by production. Each features hand-rendered graphite illustrations at center, two depicting the dropship and one depicting the A.P. Tower. The set exhibits tape residue and some staining in the margins. Dimensions: (each) 12" x 12" (30.5 cm x 30.5 cm)Sold without copyright; see notice in Buyer's Guide.Estimate: $1,200 - 2,400Bidding for this lot will end on Friday, August 16th. The auction will begin at 9:30AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Thursday, August 15th, Saturday, August 17th or Sunday, August 18th.

A SELECTION OF ROYAL MINT BOXED SILVER PROOFS, to include The Snowman & James 50p 2019, The Gruffalo 50p 2019, Wedgwood £2, Wallace & Gromit 50p, Samuel Pepys £2, Sherlock Holmes 2019 50p, Frankenstein £2, James Cook 2019 £2, Shape of Revelution 50p, Rosalin Franklin 50p 2020, Jame Cook 2020 Voyage, 2019 Gruffalo 50p, Paddington at St Pauls 50p, D-Day £2 2019, Paddington at the Tower 50p 2019, 3x Earth 2020 50p coins, Two Peter Rabbit 50p coins 2019, 2020

Hubert James Medlycott (1841-1920)Busy Thames and the Tower of Londonsigned, dated 1903, watercolour, 23cm x 40cm

James Sant (1820-1916) oil on canvas - Two Boys in a Wood, possibly emblematic of the Princes in the Tower, monogrammed, 106cm x 147cm, in gilt frame The canvas has been re-lined and well restored with areas of overpainting. There are areas of paint cracking - see close-up images, the paint surface appears to be stable. The overall framed size is 118cm x 161cm.

19th/20th Century School, monochrome and coloured prints, Views and landmarks in Southampton, to include 'The Walls of Southampton', after James Charles Armytage (1802-1897, British), and 'The South Gate & Tower at Southampton, in Hampshire'

* Müller (William James, 1812-1845). Bristol Cathedral from the south bank of the River Avon, showing the tower of St. Augustine's and the spire of St. Nicholas, 1832, oil on canvas, signed and dated lower left, relined and professionally restored, canvas size 59 x 87 cm (23 1/4 x 34 1/2 ins), with partial contemporary handwritten label to stretcher verso (text difficult to decipher): 'Muller Bristol College [?] ... this to be given to Dr ... the desire of the late Weston J. A. 1837' , old Frost and Reed stock (43884) and framing labels, and Bath Festival 1969 Exhibition of Fine Art Paintings label to verso, antique-style gilt frame, (75 x 103 cm)QTY: (1)NOTE:Provenance: Osmond, Tricks and Son, Bristol, Catalogue of the Estate of Ellison Fuller Eberle, circa 1980, lot 214 (photocopied page of the auction catalogue with illustration supplied with this lot); Charles Sprawson Fine Art, Minchinhampton, Gloucestershire (original correspondence of Charles Sprawson to Martyn Davies included with this lot, dated 1981); Estate of Martin R. Davies, Bristol.Exhibited: Bath Festival 1969, Exhibition of Fine Paintings, Victoria Art Gallery, Bath (label to verso).

Pair: Sidney Shann, 3rd Waiter, killed when the S.S. Lusitania was sunk by a German submarine on 7 May 1915 British and Mercantile Marine War Medals (Sidney Shann) in named card box of issue together with Bronze Memorial Plaque (Sidney Shann) extremely fine (3) £1,400-£1,800 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Sidney James Shann, 3rd Waiter, S.S. Lusitania (Liverpool), drowned as a result of an attack by an enemy submarine, 7th May, 1915, aged 30. Husband of Agnes Shann (née McQuarrie), of 25 Dunluce St., Walton, Liverpool. Born at Liverpool (Mercantile Marine Memorial refers). Commemorated by name on the Tower Hill Memorial, London. Sold with a damaged and a period ‘souvenir’ postcard photograph of the Lusitania,

LONDON - [David HENRY (1710-92)]. An Historical Account of the Curiosities of London and Westminster, in Three Parts, London, 1759-61, 12mo, contemporary calf. With 9 works of related interest in 10 vols. (11)LONDON - [David HENRY (1710-92)].  An Historical Account of the Curiosities of London and Westminster, in Three Parts. Part I. Contains a full Description of the Tower of London ... Part II. Contains the History of Westminster-Abbey ... Part III. Treats of the Old Cathedral of St Paul's and the New. London: Printed for J. Newbery, 1760 [second part dated 1761; third part dated 1759]. 3 parts in one volume, 12mo (165 x 100mm). Woodcut ornaments, tables (some light browning and spotting). Contemporary speckled calf gilt (joints splitting, rubbed). Provenance: Sir John Cope, Bart. (armorial bookplate). [?]FIRST EDITION. Cf. Roscoe A219. With 9 works of related interest in 10 vols., namely Thomas Lane's The Student's Guide through Lincoln's Inn ... The Third Edition (London, 1814, 8vo, engraved frontispiece, 2 facsimiles, one folding, original cloth-backed boards, the title inscribed "from the Author"), John James Park's The Topography and Natural History of Hampstead ... Republished with Additions and Corrections (London, 1818, large 8vo, folding engraved map of Hampstead, plates, 19th-century half morocco), William Robinson's The History and Antiquities of the Parish of Tottenham High Cross ("Middlesex", Printed for the Author, 1818, large 8vo, large folding hand-coloured engraved map, plates, modern half morocco gilt), Thomas Cromwell's Walks through Islington (London, 1835, 8vo, plates, contemporary green calf gilt, FIRST EDITION), William Edward Trotter's Select Illustrated Topography of Thirty Miles round London (London, 1839, large 8vo, plates, FINE original cloth lettered in gilt and decorated in blind, FIRST EDITION), John Thomas Smith's The Cries of London: Exhibiting Several of the Itinerant Traders of Antient and Modern Times (London, 1839, 4to, 30 etched plates, 19th-century black half calf gilt, FIRST EDITION), London Interiors: a Grand National Exhibition (London, 1841-44, 2 vols., 4to, engraved plates, attractively bound in contemporary black half calf gilt, FIRST EDITION), The Comic Almanack ... Second Series, 1844-1853 (London, [n.d.], wood-engraved plates and illustrations by George Cruikshank and others, a few folding, attractively bound by Rivière in full red calf gilt) and Thomas Crofton Croker's A Walk from London to Fulham (London, William Tegg, 1860, 8vo, illustrations, contemporary half morocco, FIRST EDITION). The lot sold not subject to return. (11)

20 US PRESSING SINGLES (SOUL) - Collection of 20 US Pressing singles (Soul). Collection to include: Little Natalie & Henry With The Gifts - It's Uncle Willie, Mad Dog & The Pups - Why Did You Leave Me Girl, The Van McCoy Strings - Sweet And Easy, Don Hart & James Shorter - Come Here Baby, Betty Baker And The Jaxsis - Marching Out Of Your Life, Lisa Miller - Love Is, Billie Dearborn - You Need Me To Love You, The O'Jays - Now That I Found You - I Dig Your Act, Nancy Wilson - The End Of Our Love, The Human Beinz - Nobody But Me, Jean Wells - The Best Thing For You Baby, Scientists Of Soul - Be's That-A-Way Sometime, P. W. Cannon - It's A Woman's World, Baby Washington - It'll Never Be Over For Me, Gloria Lynne - You Don't Have To Be A Tower Of Strength, Ruff Francis & The Illusions - Misery Loves Company, Lenis Guess - Just Ask Me, Gordon Keith - Look Ahead, Little Anthony - Hurt. Collection generally VG to VG+, with scuffs and hairline marks present.

Original collage made with printed photographic clippings that American artist James Groody superimposed to create a hard-edge tower made of female forms, words and statements. Signature on lower right: J. Groody. Housed in a black wooden frame. Artwork dimensions: 12.75"L x 34.50"H. Frame size: 13.75"L x 35.50"H x 1.50"W. Artist: James Groody (American b. 1940)Issued: c. 1980Country of Origin: United StatesCondition: Age related wear.

Miscellaneous Lots, Elizabeth I, Sixth issue, Shilling, mm. woolpack (S 2577); James I, Second coinage, Shilling, mm. lis (S 2654); Charles I, Tower mint, Shilling, Group D, mm. tun (S 2791); Commonwealth, Shilling, mm. sun on obv. only (S 3217) [4]. Varied state £100-£120

Twenty two Funk / P Funk / Jazz Funk and Boogie LPs and five 12" singles UK issues and USA imports including Parliament The Clones Of Dr Funkenstein and Uncut Funk The Bomb, The Brides of Funkenstein - Funk Or Walk, Funkadelic Uncle Jam Wants You, Tower Of Power What Is Hip and Back To Oakland, Curtis Mayfield Live In Europe and Honesty, War Platinum Jazz, Jungle Brothers Done By The Forces Of Nature, Richard Groove Holmes, James Brown's Funky People (RCA), Grover Washington Jr, Shove It, D-Train, Herbie Hancock, Brass Construction, Rare Groves Vol 1, Al Jarreau, George Howard, New Africa etc, records generally appear VG+ to Ex

A Scottish Provincial Silver Spoon, by James and Pat Riach, Forres, Circa 1820, Fiddle pattern, engraved with a crest below a motto, 21.8cm long, 1oz 14dwt, 53grMarked on back of handle with maker's mark and four times with tower mark. There is some minor wear to the marks as can be seen in the illustrations. There is some minor wear/thinning to the edge of the bowl on one side. There is otherwise some overall surface scratching and wear, consistent with age and use. The wear is noticeable as a softening to the engraving.

Henry Bone R.A. (1755-1834)Sir Walter Raleigh, wearing black cut silk doublet with a high lace collar and cuffs, a gold braid belt and sword, his right hand resting on a globe. Enamel on copper, signed and dated on the obverse, HBone 1808, signed, dated and inscribed in full on the counter-enamel, Sir Walter Raleigh/ London Novr 1808/ Painted by Henry Bone ARA/ Enamel painter to HRH the/ Prince of Wales after the/ Original by C Jansen [...]/ [...] Possession of [Rev] J. Sanford, gilt-wood frame. Rectangular, 175mm (6 7/8in) highProvenance: The Collection of Lady Lanesborough, previously at Swithland Hall, LeicestershireLyon & Turnbull, 14 January 2015, lot 23;The Twinight CollectionFootnotes:Sir Walter Raleigh was one of the most famous explorers of Elizabeth I's reign. His courage and good looks made him a favourite of the Queen's, and she rewarded him handsomely. Raleigh was also a scholar and a poet, but he is usually remembered for introducing the essential potato, and tobacco. However, his reckless nature eventually made him unpopular at court. He managed to displease both the Queen and her successor James I, and so found himself a prisoner of the Tower of London – no less than three times. As a gentleman, he was deprived of his liberty, but not his comforts: his family could visit, he grew exotic plants and started his book 'The Historie of the World'. However, on his release, Raleigh angered the King once again. He was charged with treason and executed outside the Palace of Westminster in 1618.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A Berlin gold-ground topographical cabinet cup and saucer, circa 1832-37The cup reserved with a rectangular view of Windsor Castle and the saucer with four other views of the castle, enclosed by tooled panels of gothic tracery on the burnished gilt ground, the cup on three paw feet, with an iron-red border of gothic arches inside the rim, the saucer: 18.3cm diam; the cup: 10cm high, sceptre marks in underglaze-blue, orb and KPM stencilled in red, painter's mark I in gold to the cup, impressed 10 and I (cup) and 28 (saucer) (minor wear to gilding in well of saucer) (2)Footnotes:Provenance:Possibly a gift from Prince Wilhelm and Princess Augusta of Prussia;Anon. sale, Sotheby's London, 8 July 1997, lot 101;The Twinight CollectionLiterature:S. Wittwer, Raffinesse & Eleganz: Königliche Porzellane des frühen 19. Jahrhunderts aus der Twinight Collection, New York (2007), no. 96Exhibited:Berlin, Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg, Schloss Charlottenburg, Rafinesse & Eleganz - Königliche Porzellane des frühen 19. Jahrhunders aus einer amerikanischen Privatsammlung, 28 July-4 November 2007;Vienna, Liechtenstein Museum, Die Sammlung Cohen. Porzellane der grossen Manufakturen 1800-1840, 16 November 2007-11 February 2008;Paris, Musée national de la céramique à Sèvres, Sèvres - Vienne - Berlin, Ors et décors : 1800-1850, 26 March-13 July 2008;New York, Metropolitan Museum of Art, Refinement & Elegance - Early Nineteenth Century Royal porcelain from an American private collection, 9 September 2008-19 April 2009The scenes on the saucer are after prints from a series of views of Windsor by W. Westall after S. Scarthwaite published in London in 1831 and depict: York and Lancaster Towers, St. George's Gate, The Quadrangle and The Round Tower (Wittwer, p. 313).The site of Windsor Castle were chosen by William the Conqueror who selected the site, high above the River Thames and on the edge of a Saxon hunting ground. Easy access from the capital and proximity to a royal hunting forest made it an ideal location for a royal residence.It evolved from a strategic fortification to a royal palace by the late 12th century under Henry II. Significant enhancements over the centuries included Henry III's stone walls and Edward III's transformation of the Castle into a Gothic palace. In the Tudor era, Henry VII and Henry VIII added state apartments, a gate, and a terrace. Elizabeth I undertook extensive repairs and built a long gallery. Charles II modernized the apartments into grand baroque state rooms by 1684, and George III neoclassicised several rooms, beginning a transformation of the Castle's exterior into a Gothic palace with the help of architect James Wyatt.George IV, who ascended to the throne in 1820, continued his father's Gothic makeover with significant contributions. He raised the Round Tower, added massive masonry, towers, and battlements, enhancing the Castle's imposing appearance. His efforts focused on remodelling the Upper Ward, commissioning Jeffry Wyatville to extend the entrance hall and install a new Grand Staircase. George IV also created new spaces, such as the Waterloo Chamber and the extended St George's Hall. He contracted Morel & Seddon to furnish the interiors in the latest French Empire style. By the time he took up residence at Windsor towards the end of 1828, his improvements had cost nearly £300,000.Although renovations were incomplete at the time of his death in 1830, George IV greatly shaped Windsor Castle's Gothic appearance and luxurious interiors. The work continued under his successor, William IV, and by 1832, the new Grand Staircase was finished, cementing George IV's lasting impact on the most famous of royal residences.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Henry Pierce Bone (British, 1779-1855)John Feckenham visits Lady Jane Grey in the Tower of London. Enamel on copper, signed and dated on the obverse, HP. Bone 1833, signed, dated and inscribed in full on the counter-enamel, Lady Jane Grey London, Septr. 1833. Painted by Henry Pierce Bone. Enamel Painter to Her Majesty and their Royal Highnesses the Duchess of Kent & Princess Victoria. From the Original by J. Northcote R.A. in the Collection of Joseph Neeld Esq. M.P., gilded slip engraved, ENAMEL H. P. BONE, gilded composition frame with scroll, acanthus leaf and floral detail, the inner mount hinged and accompanied by a key for the lock, reverse of frame with handwritten label inscribed, No I/ Lady Jane Gray in prison/ after Northcote/ Enamel/ H. P. Bone/ 12 Percy Street/ Bedford Square. Rectangular, 315mm (12 3/8in) highProvenance: Christie's South Kensington, 21 September 2010, lot 156The Twinight CollectionFootnotes:The whereabouts of the original painting by James Northcote R.A. are unknown, but an engraving by William Bromley (1769-1842) inscribed 'Published as the Act directs by R. Bowyer, Historic Gallery, London, May 20, 1795', a plate to Bowyer's edition of David Hume's History of England, 1795 is in the Royal Collection no. RCIN 601004.This scene took place on 10 Feburary 1554. John Feckenham, confessor to Queen Mary visited Lady Jane Grey in the Tower of London in the hope of converting Jane to the Catholic faith. The debate that took place between the two individuals was documented and apparently signed in Jane's own hand. Within months of her death, printed material containing the famous debate were being produced and circulated to demonstrate Jane's strong religious beliefs in the Protestant faith.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

c.1745, 30cm barrels, the locks marked Wellmore for James Wellmore, Leicester Fields, London, and with Tower and Foreigner proofs, brass mounts, original brass tipped ramrods, contained in their original black leather holsters. One pistol with small piece of wood missing from side of stock, the other with sliver of wood missing under back of lock, barrels and locks with very slight pitting. Dark, uncleaned, untouched condition. One holster missing end-plug, the other with two small splits at top. See ‘The Swords and the Sorrows’, the Battle of Culloden Catalogue 1996, p.71, Nos.5.21 and p.86, No.9.8, for this type of pistol and holster, where it makes special mention of the rarity of these holsters. The Officer’s version of the Trooper’s P.1738 Dragoon Pistol.

retaining original earflaps and much of the original black varnished finish, arsenal stamp crowned JR for James II deeply struck on the rim. See The London Armourers of the 17th Century, p.19 right, for a discussion of this stamp, saying that it was often stuck retrospectively years after a piece of armour was made, and only indicated when it was taken into the Tower of London stores, this one being at the time of the 1685 Monmouth Rebellion. The single nasal bar is retained by a large wing-nut.

Henry VIII, Posthumous coinage, Groat, mm. martlet, bust 6, 2.12g/12h (N 1871; S 2403); Elizabeth I, Sixth issue, Sixpence, 1583, mm. A, 2.00g/12h (N 2015; S 2578A). James I, Second coinage, Shilling, mm. lis, third bust, 5.08g/4h (N 2099; S 2654); Charles I, Tower mint, Shillings (2), both Gp G, mm. triangle, 5.69g/2h, triangle-in-circle, (N 2231; S 2799); Sixpence, Gp D, type 3a, mm. crown, no inner circles, 2.86g/3h (SCBI Brooker 618; N 2241; S 2813) [6]. Fair and better, second pierced £100-£150

James Burrell Smith (1822-1897) Continental River Scene with Angler on the Rocks, fortified tower before a mountainous landscape beyond, signed and dated 1888 lower left, watercolour, 17 x 12 cm, frame 34 x 30 cmProvenance: Collection of Mr Magdi Obeid, purchased Giles Haywood 28/09/1995 lot 1279

LAZENBY GEORGE: (1939- ) Australian actor, famous for his portrayal of the fictional British secret agent James Bond. A good signed 8 x 10 photograph of Lazenby in a full-length pose in costume as James Bond, holding a gun in one hand and swinging from a London lamp post, with the Elizabeth Tower visible in the background, in a promotional image originally captured by Terry O´Neill for the spy film On Her Majesty´s Secret Service (1969). Signed by the actor in bold black fountain pen ink with his name alone to a light area of the image. About EX

Ray, Satyajit. The chess players and other screenplays. Edited by A. Robinson. London und Boston, Faber and Faber, ca. 1989. 8°. Mit wenigen Textabb. XVIII, 184 Seiten. Orig. geheftet. (19) * Zustand: Innen gebräunt. Beiliegen: Arrabal, F. The Tower struck by Lightning. New York u. a., Viking, ca, 1988. 8°. Mit Diagrammen. XII, 1 Bl., 242 Seiten. Orig. Halbleinenband mit Schutzumschlag. Zustand: Buchschnitt mit schwarzem Strich. / Fox, M. und R. James. The Even More Complete Chess Addict. Revised edition. London und Boston, Faber and Faber, ca. 1993. 8°. Mit 4 Tafeln und vielen Diagrammen. XXV, 369 Seiten. Orig. geheftet.

Laurence Stephen Lowry R.A. (British, 1887-1976)Old Buildings, Edinburgh signed and dated 'L.S. LOWRY. 1937' (lower left)oil on canvas53.3 x 43.2 cm. (21 x 17 in.)Footnotes:ProvenanceWith Lefevre Gallery, LondonJack Dellal, LondonWith Crane Kalman Gallery, London, 1980With Crane Kalman Gallery, London, December 1987, where acquired byMr & Mrs I. SkipperTheir sale; Bonhams, Collection of Aspley House, 12 October 1999, lot 418Private Collection, U.K.ExhibitedLondon, Lefevre Gallery, Paintings by Josef Herman and L.S. Lowry, February-March 1943, cat.no.22Liverpool, Liverpool Art Gallery, Paintings by L.S. Lowry, 18 October-6 November 1943, cat.no.38London, Crane Kalman Gallery, Modern British Paintings, 29 November 1967-15 January 1968, cat.no.25London, Crane Kalman Gallery, Modern British Art, 12 July-2 September 2022London, Crane Kalman Gallery, L.S. Lowry, A 70th Anniversary Exhibition, 21 October-10 December 2022, cat.no.25It was with his aunt that Lowry first visited Scotland, as a young boy on holiday: 'It was not often that Mary was able to persuade Elizabeth to allow Laurie to visit on his own; but in 1898, while her sister was in the throes of an 'attack', she took the ten-year-old boy with her own family on holiday to Scotland. There they hiked across rough moorland, visited local tourist spots, and explored the countryside on bicycles which they hired by the day in the nearby village of Scaur O'Doon.' (Shelley Rohde, L.S. Lowry, a biography, Lowry Press, Salford, 1979, p.48). Following this initial introduction to the country, the artist made a number of visits to Scotland throughout his career, travelling as far north as the Highlands in the late 1930s, where he painted scenes at Wick and Thurso. Despite the natural beauty of the landscape, Lowry was typically drawn to the people and architecture of the towns which offered a level of familiarity based on his usual experience of the industrial North West and its inhabitants. The estuary town of Wick is located on the North East coast and here Lowry completed the impressive Old Houses, Wick (1936) and latterly Steps at Wick (1937, sold in these rooms, 20th November 2013, lot 29, £890,500). Steps at Wick depicts The Black Stairs, which formed part of the Scottish architect Thomas Telford's (1757-1834) 1809 scheme for the new town plan of Pulteneytown, for the British Fisheries Society. In a touching testament to Lowry's busy picture, the town of Wick in 2005 commemorated the striking canvas by mounting a stone relief plaque, reproducing the work's composition in situ. Thurso is located at the pinnacle of the mainland and the last port of call before the Orkney Isles, where Lowry completed Street Musicians on Shore Street just behind the coastline. The architecture in these paintings are imbued with an anthropomorphic presence; house and warehouse walls twist and lean mirroring the figures that they frame, in stark contrast to Lowry's depiction of buildings in his Mancunian oils executed in the 1920s and early 1930s where they are rigid, flat and very clearly man-made. It was only natural that Lowry should at some point gravitate to the more urban centres of Glasgow and Edinburgh, with the former perhaps a more typical fit given its shipbuilding and docks that drew such a strong response from him. Lowry painted several works based around Princes Dock on the Clyde, absorbing its heavy industry, and drawn to the sea, which played an important part in his career from very early on through to his later years. Old Buildings, Edinburgh is currently the only recorded oil by Lowry depicting Scotland's capital city making it exceedingly scarce amongst his known output. The painting is thought to portray the east end of the Royal Mile sat in the shadow of the distinctive Arthur's Seat, which Robert Louis Stevenson described as 'a hill for magnitude, a mountain in virtue of its bold design'. As is often the case with Lowry's work, the scene is grounded in reality but the artist has rearranged the topography of the city to suit his compositional purposes and integrated imagined elements. This is likely the case with the distinctive central tower which commands the middle ground of the composition and around which characteristic figurative groups and animals bustle. The most prominent figure, visible in the foreground, rather appropriately appears to be wearing a traditional kilt, further enhancing this unique vision of Scotland's historic city. It was Daisy Jewell, head of the framing department of James Bourlet and Sons, Fine Art Agents based in the fashionable Fitzrovia, who famously introduced A.J. McNeill Reid, a director of the exclusive Lefevre Gallery to Lowry's work in 1938, just one year after Old Street, Edinburgh was painted. Reid was a passionate supporter of Lowry and organised a show for him in Edinburgh in 1944, which received good notice in The Scotsman, a paper not given to reviewing one-man shows in dealers' galleries. Following this, Reid had a number of paintings transferred to Glasgow for inclusion in his next show there.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Coins - English, Richard I Short Cross Penny, (1185-1205) Henry III half penny, Canterbury (long cross); Edward I penny, Canterbury mint (class 10); London mint (class 9); Elizabeth I six pence 1569, another (1572-1573)Tower Mint; James I Civil War coin, Constantinople etc.

An exceptionally rare coloured Limehouse sauceboat, circa 1746-48The open vessel with a lobed rim and raised on three lion mask and paw feet picked out in purple, red and salmon-pink, the handle picked out in bright turquoise, the sides with unusual moulded panels that form the basis for European landscapes, one with a gentleman wearing a scarlet coat with a stick standing before buildings and trees, the other with a crenelated building complex, both scenes with a barrel in the foreground, colourful sprays of flowers boldly painted in saltglaze style to the rim and interior, 20.5cm longFootnotes:ProvenanceWatney Collection, Phillips, 22 September 1999, lot 130Illustrated by Bernard Watney, 'Four Groups of Porcelain, possibly Liverpool', ECC Trans, Vol.4, Pt.5 (1959), pl.11c (as Liverpool), by Bernard Watney, 'Limehouse Coloured Ware', ECC Trans, Vol.15, Pt.1 (1993), p.71, figs.28 and 29, in the ECC's Limehouse Ware Revealed (1993), p.48, fig.109, in The Limehouse Porcelain Manufactory, MOLAS Monograph 6 (2000), p.31, fig.20 and cover, and by Nicholas Panes, British Porcelain Sauceboats (2009), p.52, figs.73 and 74. Exhibited in the ECC Exhibition, 2006, no.14 and by Stockspring Antiques, The Early James Giles and his Contemporary London Decorators, 5-17 June 2008, catalogue no.19. In his 1993 ECC paper, Bernard Watney attempted a classification of known coloured Limehouse wares, all of which match European decoration added to Chinese, Japanese and Meissen porcelain and sometimes on Delft. At the time of writing only 21 pieces of coloured Limehouse were locatable, of which nine were sauceboats in three different types all with distinctive lion mask and paw feet.The present sauceboat, together with a teapot illustrated on p.71, fig.27, belongs to Watney's 'European landscapes' group, all of which bear European copies of Chinese export copies of European landscapes. European-decorated Chinese porcelain with this decoration is well-documented and probably painted by the same hand - one such saucer is illustrated on p.71, fig.30. The purple feet and turquoise handle on the present lot are typical characteristics of a distinctive enamelling workshop. Compare also to the Limehouse enamelled salt, lot 268 in this sale. While Bernard Watney felt strongly that this enamelling was Dutch, it is now considered more likely that the 'Scarlet Coated Gentleman' group was the work of Dutch enamellers who had moved to England. A key publication on this subject is Part IV of Bonhams catalogues of the Watney Collection, Chinese Porcelain Decorated in Holland and England, 7 November 2003. The present lot is illustrated in this catalogue, p.9, fig.3. Bernard had formed an exceptional collection and John Sandon's 2003 catalogue led to a fresh examination of Chinese and Limehouse porcelain now believed to be decorated in London. Indeed, Nicholas Panes has even suggested that the figure in a red coat may be a Beefeater outside of the Tower of London.For further information on this lot please visit Bonhams.com

Sir David Monteath (British. 1887-1961) St. James Park from the Tower of the Indian Office,Unsigned,Watercolour59 x 46cm

GEORGE FROST OF IPSWICH (1754-1821) Tolbooth Bridge, Stratford St.Mary, watercolour, 8 x 14 in. Provenance: Cavendish Morton, RI. Exhibited: Gainsborough's House, Sudbury. 1974Sold with a pencil sketch by George Frost depicting a view across the River Orwell towards Freston Tower (Exhibited at Gainsborough's House, 1974}; together with a pencil and watercolour sketch of a Tree attributed to James Stark. Provenance:Thomas Agnew and Sons Ltd, London ; and a watercolour ascribed to Thomas Churchyard, said to depict the Aldeburgh Lifeboat putting to Sea. four (4)

James I, Georgian and later world coinage and medallions to include Georgian and Victorian copper coinage, Charles I half groat, 1966 Irish 10 shilling piece, 1972 German Olympic coins, early 20th century Norwegian coinage, late 19th and early 20th century American, 1969 Charles bronze medallion, £5 coins, 1970 SS Great Britain medallion, various £2 pieces, 1967 New Zealand uncirculated set, Llantrisant 650th anniversary of town charter, Tower Mint City of Bristol nickel silver medallion and a City of Bristol 1373-1973 medallion

Seven Wedgwood Blue Jasperware Christmas Plates to include Tower Bridge, Piccadilly Circus, St James Palace etc. (7)

Robertson, James -- Base of the Malakoff Tower, Crimea. 1855. Salted paper print. 22,5 x 29,5 cm (26,2 cm x 31,5 cm). Mounted to board, annotated in pencil on mount. Taken by James Robertson during the Crimean War in 1855, this photograph depicts the Malakhov Tower, a crucial Russian fortress during the Siege of Sevastopol. The image shows the imposing structure surrounded by earthworks and artillery batteries, highlighting its strategic importance. Recognized as one of the earliest photographs capturing armed conflict in the history of photography, another print of this image is housed in the Victoria and Albert Museum's collection within Major George Harry Smith Willis's Crimean War scrapbook. – Faded first print with two creases on top margin and a small spot in lower margin.

James, M.R. "Ghost Stories of an Antiquary" Edward Arnold 1915, 9th impression, grey cloth with black titles and red rules, inked inscription inside front board, Pardoe, Rosemary (ed)  "Tales from Lectoure" pamphlet [2006] cover ills by Nick Maloret, Asquith, Cynthia " When Churchyards Yawn..." Hutchinson & Co. 1931, black cloth, silver titles to backstrip, inked inscription dated 1931 on ffep., Jerome K. Jerome "Told After Supper" The Leadenhall Press 1891, ills Kenneth M. Skeaping, hinges cracked and binding loose, pictorial red cloth, Dale, Harrison  (ed.) "Great Ghost Stories" Herbert Jenkins 1931 , green cloth, black titles, "More Ghost Stories "Herbert Jenkins 1932, green cloth, gilt and blindstamped titles, de la Mare, Walter "Broomsticks & Other Tales" designs by Bold, Constable & Company Limited 1925, light brown cloth, gilt titles to backstrip and Benson, E.F. "The Room in the Tower and Other Stories" Alfred Knopf 1929 , Eichenberg, Fritz  ( ills.) "Tales of Edgar Allan Poe", Random House, 1944, green cloth, Sayers, Dorothy L. ( ed.)  "Great Short Stories of Detection, Mystery and Horror" Victor Gollancz, 1928, black cloth, red titles, "...Second Series" 1931. "....Third Series " 1934 and other related volumes including Folio Society (2 boxes)

Great Britain - early Stuart monarchs, three silver coins, as follows: England, James I (1603-25), shilling, second or third coinage, mm. indistinct, about fine; Charles I, half-crown, Tower mint under the king, mm. crown, rev. oval garnished shield (S 2773), near fine, reverse better; Scotland, Charles I, twenty pence, ..FR ET HI REX, good fine. [3]32.16mm width of first coinThe collection of Anton Sebastianpillai FRCP (1945-2020)

James Arthur O'Connor (1792 - 1841) Wooded Landscape with Figure in Red, Tower in the Distance Oil on board, 17.5 x 22.5cm (7 x 8¾")Provenance: With Cynthia O'Connor, Dublin, November 1982, catalogue no. 9

Gabriel Rayes, limited edition prints; ‘ Courting couples’, ‘Distorted tower’, both signed to margin, both 1/5,51cmx37cm; cut out board figure of James Bond; Artist’s studio easel.

* Edward VIII (1894-1972), Prince of Wales, King of the United Kingdom January to December 1936, later Duke of Windsor. Autograph Letter Signed, 'Edward', Buckingham Palace, London, 15 August 1912, to Sub-Lieutenant James A. Douglas-Hamilton, thanking Hamilton for the photograph and letter which he says is a very good one, sending a snapshot (not present) 'Gun on board the "Hindustan" by that sick bay man, in case it may amuse you. I hope you are having some decent leave. I hear roumours that Queen Alexandra is not likely to leave before the 29th.. ', saying that they go to Scotland the next night, that he is sorry that Hamilton will not be able to get up North and apologising for sending this to the Yacht (HMY "Victoria & Albert") as he does not know his address at Newmarket, 2 pp. with integral blank leaf, embossed royal crest at head of first page, some spotting, 8vo, partly pasted on to an album leaf, together with a [1912] Christmas card inscribed for Douglas-Hamilton and signed by Edward on message page opposite a reproduction black & white photograph showing Magdalen College Tower, Oxford, insert on folded card with embossed crest of Magdalen College to upper cover, some browning to inner margin (from ribbons, detached but present), both contained in original envelopes addressed and initialled by Edward, the second postally used, both partly pasted to recto of an old album leaf, plus a lithographed menu for HMY Victoria & Albert, Copenhagen, 29 September 1912, with King Edward VII's embossed gilt crest upper left and colour lithographic vignette of the royal yacht adjacent, a few minor spots, 18 x 12.5 cmQTY: (5)NOTE:James Angus Douglas-Hamilton (1890-1972) gained the rank of Commander in the Royal Navy, serving in World War One and retiring in 1933. See also, lots 135, 191, 362-365, 437 & 438.

A Dupont cigarette lighter together with one other bearing St James Tower brass plaque, made by Cartier - 12cms long

Glaisher (James, 1809-1903) [and Glaisher, Cecilia Louisa, 1828-1892]. Snow Crystals, Observed by James Glaisher, Esq., F.R.S., from February 8th to March 10th, 1855, no place, [1855], letterpress drop-title and 63 wood-engraved monochrome plates printed individually in black, blue, brown, green or grey on rectos of thin card, images 75 x 75 mm, three ownership inscriptions to title, P[eter] Le Neve Foster, W[illiam] B[olger] Gibbs (in pencil) and Michael K[ingsley] Williams, sepia half-tone illustration of ‘Spray Ridges of Ice’ after a photograph by Herbert Ponting bound before title, all edges gilt, early 20th-century green morocco gilt by Zaehnsdorf (dated 1907), slightly rubbed, spine browned, 8voQTY: (1)NOTE:Provenance: Peter Le Neve Foster (1809-1879) was an English barrister and mathematician. He is known as an innovative secretary of the Royal Society of Arts. Foster was an early amateur photographer, and was one of the founders of the Photographic Society and a pioneer photographer of the Calotype Club. He was a contributor to scientific and technical journals; in the Journal of the Society of Arts he wrote a good deal, but generally anonymously. He would have crossed paths with Glaisher at scientific meetings.One of his sons was Sir Clement le Neve Foster FRS (1841-1904), an English geologist and mineralogist.William Bolger Gibbs FRAS (1834-1925), was a Member of the Stock Exchange, but took a great deal of interest in astronomy, mathematics, microscopy and geology. He would have come into contact with the Foster family through shared scientific interests and related society meetings.Michael Kingsley Williams (1929-1958) switched from studying engineering to medicine while at Merton College, Oxford. He worked as a GP in Surrey for most of his life. The address given by him on the title-page is 12 Tower Park, Fowey, where his father was a vicar.Christie’s New York sold an identical set (loosely contained in a box) for USD 20,160 (27 January 2023, lot 35). Their suggestion that it was perhaps a unique set is now clearly incorrect but no other sets beyond these two have been located.As part a ‘Wonders of the Microscope’ soirée held by the [Royal] Microscopical Society of London on 11 April 1855 James Glaisher presented a special exhibition of photographs depicting snow crystals. Preparation for the exhibition was undertaken in collaboration with his wife, Cecilia Louisa Glaisher, a photographer and printer who redrew the observations for publication. During his presidency, the R.M.S. was granted a Charter and one of the Glaishers' magnified snowflakes was selected to be the Society’s official emblem, and remains so today.‘At the same time as making her photogenic drawings of ferns, Cecilia Glaisher was working with her husband, James Glaisher, superintendent of the Meteorological and Magnetic Department at the Royal Observatory, Greenwich, on a study of snow crystals.Their observations, made through lenses of different power, resulted in an important scientific paper, 'On the Severe Weather at the beginning of the year 1855; and on Snow and Snow-Crystals'. It was read by James Glaisher at the Fifth Annual General Meeting of the British Meteorological Society on May 22nd, 1855, and was subsequently published by the Society in their 5th Annual Report.The paper was illustrated by 151 reproductions of precise schematic drawings of snow crystal forms which, Glaisher wrote, ‘were executed by Mrs Glaisher from rough sketches of my own.’ These illustrations have been described as ‘the most accurate observations published before the development of photomicrography.’’ (Ceciliaglaisher.com)The first four pages of Glaisher’s paper (including title-page with decorative rule) contain 88 numbered black and white illustrations of snow crystals reproduced at a diameter of 2 cm each. Glaisher wrote that ‘the greater number [of snowflakes] fell during the present year (1855), and before Feb. 8’ and that they had been observed through ‘a lens of very moderate power’, adding that ‘they are chiefly valuable as showing the general effect to the naked eye.’ These are followed by 63 crystals [as in the lot offered here] seen more greatly magnified, often examined under a microscope, the result of observations on 8 days between 8 February and 10 March. They were reproduced two to a page at a diameter of 7.5 cm and were ‘selected rather as varieties illustrative of a class, than for any special symmetry of form’.