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Dudley HARDY (1867-1922) Woman In White Dress Watercolour, signed and dated '87, 26 x 9cm, 33.5cm x 51cm framed. Dudley Hardy (1867-1922) was a British painter and illustrator known for his vibrant and colorful works. He was a member of the Royal Society of British Artists and the Royal Institute of Painters in Water Colours. Hardy's illustrations appeared in numerous publications, including Punch magazine, and he also designed posters for the London Underground. His work was heavily influenced by the Arts and Crafts movement and Japanese art, and he was particularly known for his depictions of women in various settings.

MID CENTURY MAGAZINE TABLE

PAIR OF MID CENTURY 70'S STACKING STOOLS, MID CENTURY 70'S MAGAZINE RACK

ink on paper, monogrammed, titled label verso mounted, framed and under glass image size 20cm x 27cm, overall size 36cm x 44cm Exhibition label verso: 1 - 15 September (2018), The Torrance Gallery, Edinburgh Note: Artist and teacher, notably a draughtsman and painter of portraits, born in Sunninghill, Berkshire, brought up in the family home, Glenapp Castle, Ayrshire. Lady Mackay was the daughter of the 3rd Earl of Inchcape, chairman of the shipping line P&O who also ran Inchape PLC and was director of many other companies. Lucy Mackay was educated in Switzerland, Cambridge and at Edinburgh University and Edinburgh College of Art, 1960–5, under David Talbot Rice and William Gillies, graduating with a master’s honours degree in fine art. In 1973–4 she completed a postgraduate illustration studies year at the Central School of Art and Design. She settled in Edinburgh where she studied advanced botanic illustration at the Royal Botanic Garden, and where as a member of the Scottish Arts Club from 1983 she regularly attended life studies. Mackay began her extensive teaching career in 1966 as art assistant at Edinburgh Academy for Boys; from 1968–76 taught art, design and pottery at schools in the London area; then again in Edinburgh at the Salisbury Centre, 1981–2. In 1999 she joined the register of Angus County’s artists-in-residence for primary schools, serving at several schools. After winning first prize in a portrait painting competition run by the magazine Nursery World, 1953, and exhibiting a prize painting in the Daily Mail competition to celebrate the opening of the Forth Road Bridge, 1964, Mackay took part in many group shows, including the RSA. Among later solo exhibitions were The Italian Institute, Edinburgh, 1991; Torrance Gallery, Edinburgh, 1995, 1998 and 2005; and The Forum, Ocean Terminal, Leith, in aid of the Bethany Trust, 2004. She travelled extensively in several continents with paints and sketch-book. As well as a series of self-portraits Mackay completed many portraits, including Ronald Fletcher, broadcaster, 1968; the Queen’s Counsel Lionel Daiches, 1979–80; singer Ian Caddy, 1980–1; Professor David Daiches with his brother Lionel, 1988–9; the composer and conductor Emre Araci, 1997; and cellist Harriet Johnson, 2000. Her work was held by collections including the Scottish National Portrait Gallery; London College of Music; Royal Over-Seas League; Scottish Arts Club; Barlinnie Prison; and Geffrye Museum.

Collection of David Bowie memorabilia, including Time Magazine, Tote bags, CDs, books etc

An Early XX Century Brass and Oak Magazine Rack, on swept legs united by stretchers, 88cm high, 36cm wide.

CELTIC F.C., COLLECTORS ALBUM, 1960-66 comprising a display of items and text relating to the club including cigarette and other cards, photographs, Shamrock Magazine, annual rally programmes and further related ephemera, names including Frank Haffey, Pat Crerand, Willie Fernie, John Hughes, Bertie Auld, Bobby Lennox, Tommy Gemmel, Ronnie Simpson, Jimmy Johnstone, Billy McNeil, many signed examples

CELTIC F.C., THREE TRADING CARDS, comprising 1926 Boys Magazine Play Up Celtic, metal W. McStay 1932 R. Thomson, and metal 1931 Topical Times team card, mounted framed and under glass14cm x 32cm

Antique hand-colored engraving on paper by French artist Paul Lacoursiere for the weekly fashion magazine Modes de Paris: Journal des Demoiselles. Plate 3719. Housed in a gilded wooden frame with a beige mat. Sight size: 7.25"L x 11"H. Frame dimensions: 11.50"L x 15.25"H x 1"W. Artwork can be unframed and rolled for shipment. Artist: Paul Lacoursiere (French, 19th-20th century)Issued: 1869Dimensions: See DescriptionCountry of Origin: FranceCondition: Age related wear.

Antique hand-colored engraving on paper by French artist Paul Lacoursiere for the weekly fashion magazine Modes de Paris: Journal des Demoiselles. Plate 3713. Housed in a gilded wooden frame with a beige mat. Sight size: 7.25"L x 11"H. Frame dimensions: 11.50"L x 15.25"H x 1"W. Artwork can be unframed and rolled for shipment. Artist: Paul Lacoursiere (French, 19th-20th century)Issued: 1869Dimensions: See DescriptionCountry of Origin: FranceCondition: Age related wear.

WWII United States M6 Tank Periscope, large and small arms calibre spent cartridges, SA80 magazine, Bren gun magazine box, other ammunition box and brass model Spitfire.No magazines in Bren gun magazine

* ERNA HOPPE-KINROSS (GERMAN/BRITISH 1875 - 1964), HARVEST oil on canvas laid on board, signed, titled label versoframed and under glassimage size 22cm x 26cm, overall size 26cm x 29cm Note: Erna Hoppe Kinross was born 17 September 1878, daughter of Louise Adele (nee Vogler) and Karl Theodore Hoppe and grew up in Hamburg. She specialised in figurative works and townscapes, exhibiting her work throughout the decade 1910-20, being recorded in Paris from 1906-1914. There she met Charles Kinross and they were married in 1906. By then she was an established artist who had exhibited at the Salon, Societe Nationale des Beaux Arts. At their holiday home in Giverny they met and became friends with the Impressionist painter Claude Monet. Some of the pictures that Erna painted before marrying were later amended and “Kinross” added – so the date of the paintings might be correct despite having “Erna Hoppe-Kinross” as the signature. The Kinross’s moved to England in 1915 where Charles’s business was based. One of her paintings was published in English Colour Magazine 1919 Vol II No. 4, but the subject (“Orchard Girl”) was clearly based on a French scene. An exhibition was held in Hastings sometime in the late 50’s or early 60’s at which a number of her remaining paintings were sold. She died on 31 March 1964.

* ERNA HOPPE-KINROSS (GERMAN/BRITISH 1875 - 1964), HORNSEY oil on board, signed, titled and dated 1910 versoframedimage size 31cm x 21cm, overall size 42cm x 33cm Note: Erna Hoppe Kinross was born 17 September 1878, daughter of Louise Adele (nee Vogler) and Karl Theodore Hoppe and grew up in Hamburg. She specialised in figurative works and townscapes, exhibiting her work throughout the decade 1910-20, being recorded in Paris from 1906-1914. There she met Charles Kinross and they were married in 1906. By then she was an established artist who had exhibited at the Salon, Societe Nationale des Beaux Arts. At their holiday home in Giverny they met and became friends with the Impressionist painter Claude Monet. Some of the pictures that Erna painted before marrying were later amended and “Kinross” added – so the date of the paintings might be correct despite having “Erna Hoppe-Kinross” as the signature. The Kinross’s moved to England in 1915 where Charles’s business was based. One of her paintings was published in English Colour Magazine 1919 Vol II No. 4, but the subject (“Orchard Girl”) was clearly based on a French scene. An exhibition was held in Hastings sometime in the late 50’s or early 60’s at which a number of her remaining paintings were sold. She died on 31 March 1964.

* ERNA HOPPE-KINROSS (GERMAN/BRITISH 1875 - 1964), NANCY oil on board, signed, titled verso framed and under glassimage size 27cm x 22cm, overall size 32cm x 25cm Note: Erna Hoppe Kinross was born 17 September 1878, daughter of Louise Adele (nee Vogler) and Karl Theodore Hoppe and grew up in Hamburg. She specialised in figurative works and townscapes, exhibiting her work throughout the decade 1910-20, being recorded in Paris from 1906-1914. There she met Charles Kinross and they were married in 1906. By then she was an established artist who had exhibited at the Salon, Societe Nationale des Beaux Arts. At their holiday home in Giverny they met and became friends with the Impressionist painter Claude Monet. Some of the pictures that Erna painted before marrying were later amended and “Kinross” added – so the date of the paintings might be correct despite having “Erna Hoppe-Kinross” as the signature. The Kinross’s moved to England in 1915 where Charles’s business was based. One of her paintings was published in English Colour Magazine 1919 Vol II No. 4, but the subject (“Orchard Girl”) was clearly based on a French scene. An exhibition was held in Hastings sometime in the late 50’s or early 60’s at which a number of her remaining paintings were sold. She died on 31 March 1964.

An embossed brass log box, magazine rack, amp and various cases

ENID BLYTON, MAGAZINE ANNUALS numbers 1-4, with 2,3 and 4 being 1st editions, original dust wrappers, all EvansQty: 4

Lo Cole (British, b. 1962) – Untitled, mixed media collage with ink on celluloid, singed lower right, with label verso inscribed 'Purchased 9.88 Ex Eye Gallery, as featured in Elle Magazine', 33 x 29 cm, framed

Tom Browne - (1872-1910) - 'On the Golf Links - The Retort Courteous' (1899), an original ink and colour pencil sketch for Punch Magazine Feb 7, 1900 (pg.96), signed and dated below, with title, script and further inscriptions by the artist verso, 21.5 x 27.5 cm, glazed and framed

A mixed library to include The Christian Lady's Magazine (1839), The Badminton Magazine (1909), Punch (1911), The Life of Edward Jenner (1933), The Housekeeper's Guide (1834) etc (23)

Yarrell's History of British Birds (July 1837 - June 1843) in bi-monthly magazine format (37 editions)

A small collection of 18th and 19th century legal reports to include Sayer's Reports of Cases Adjudged in the Court of the King's Bench (1775), Campbell's and Starkie's Reports (early 19th century) and The London Magazine (1744) (6)

A small library of art and art history interest, to include Cassell's Magazine of Art (1888), Vigni's Disegni del Tiepolo (1942, limited edition 315/500) (6)

A Cotswold School burr oak magazine stand, mid-20th century, with dove tail joints, fret-cut circular holes to the ends, of tapering form, on sledge feet, with a pine base,45.5cm wide 38cm deep38cm highCondition ReportKnocks and wear, with some scratches, the underside with some water damage. Some chips to edges. With start to a split in the wood to the base. Please see additional images.

Relton, H E: Sketches of Churches, 1843, 1st. Edn. Full leather, rebacked; Bewick, T: A history of British Birds (two volumes). Newcastle, 1816. Cont. half leather, rubbed & covers detached; Lady’s Magazine, Jan-Dec 1781, Frontis + 12 plates (as called for), Leather backed boards, rubbed and a few of the tables and music torn, with loss. A/F; & Bond, F: An Introduction to English Church Architecture, 11th to 16th century (2 vols.) 1913. 4to. (6)

Large quantity of Sporting and Illustrated books, including: 6 volumes by R S Surtees; Lonsdale Library- fox-hunting; Doctor Syntax; Munnings' The Finish, 1st. DW; The Pinter's Pie magazine 1909; a number of books illustrated by Cecil Aldin; six Brush, Pen & Pencil series; ETC. (qty)

Cecil ALDIN (ill): The Red Puppy Book. Henry Frowde, Hodder & Stoughton, no date (1910), 1st. Edn. 12 colour Plates. Original pictorial boards, a little rubbed; The Animal World (a monthly magazine). Volumes: 1, 2, 4, & 5. 1906-1910. Each volume contains 12 issues with colour pictorial covers by Aldin. 4to. Vol. 4: inner hinges cracked and the block is loose, o/w VG; The Dog Who Wasn't What He Thought He Was. Raphael Tuck, no date (1914). 4to. Original pictorial boards, rubbed. VG; The Last Muster. E & Spottiswoode, 1939, 1st. Edn. DW, vg; White Rabbit. Humphrey Milford, no date, (1921), 1st. Edn. Original pictorial card covers, little rubbed; The Doggie Book. Lawrence & Jellicoe, no date, c1900. With 10 colour plates. Pictorial boards, little rubbed; The Bunch Book, For Dog Lovers Only. 1932, 1st. Edn. DW (tear to DW); The White Puppy Book. Henry Frowde, Hodder & Stoughton, no date (1909), 1st. Edn. With all 12 colour plates. Original pictorial boards. One block detached and one plate with a tear and repair and lacking the last page of text, A/F (11)

Andy WARHOL (1928-1987), Attribué à. Magazine Interview ‘Timothy Hutton’ de Sept.1983 (magazine créé par Andy Warhol en 1969). Signé à la main sur la couverture. Très bon état de conservation. Hauteur : 40,5 - Largeur : 27,5 cm

Andy WARHOL (1928-1987), d'après. Marylin Monroe. Lot de quatre cartes postales USPS, 1981. Signé en bas (chaque). Cachet de la signature au dos (Chaque).Cachet du magazine Interview au dos. 14 x 9 cm (chaque)

Keith HARING (1958-1990), Attribué à. "Untitled", 1989. Deux dessins au marqueur noir, un sur la couverture du magazine Interview de Mai 1985 (magazine créé par Andy Warhol en 1969) et un dessin p.44 . Signé à la main et daté 89 sur la couverture (Tom Cruise). Très bon état de conservation. Hauteur : 40,5 - Largeur : 27,5 cm

Keith HARING (1958-1990), Attribué à. "Untitled", 1986. Dessin au marqueur noir sur le magazine Interview de Mai 1985 (magazine créé par Andy Warhol en 1969). Signé à la main et daté 86 sur la couverture (Annie Lennox). Très bon état de conservation. Hauteur : 40,5 - Largeur : 27,5 cm

Andy WARHOL (1928-1987) d'après. Mao. Lot de quatre cartes postales Palermo 79, 1979.Timbre Palermo 79, Italiia .Signé en bas (chaque).Cachet du magazine Interview au dos et de la Andy Warrhol Collection (chaque). 15 x 10,5 cm (chaque)

Registration: A924UUV VIN: SAMMAFFD1BD738785 Mileage Showing: 49,000 Transmission: Manual MOT: 29/04/2025Rare Austin ModelBelieved to be 1 of 1Low mileageFirst registered March 1984, a year after BL stopped the production of the Morris Ital. Believed to have been a one of one Austin badged van. Differences from the standard Morris Ital including Austin front grill, steering wheel and rocker cover as well as a front lip spoiler only usually found on Ital cars. Finished in its original Brooklands green and with other unusual markings including what is believed to be a factory strike of the Morris Chassis number (although still clearly visable) and addition of an Austin Chassis number that the car is registered with.Showing 49,000 miles, 1 previous keeper (owned by the current keeper since 2016). Meticulously maintained by the current owner, although now tax and MOT exempt still carrying a current test till April. Magazine featued in July 2018 edition of Classic Van magazine. Please see our walk around video for more information and engine start upGUIDE PRICE £8,000 - £12,000

A collection of vintage silver plated cutlery to include Railway carriage / dining car examples together with two railway related signs together with a small group of Concorde related ephemera to include the 1975 Concorde magazine together with related photographs

Ralph Weston (III) of Wolsingham (Co Durham) - 30-hour oak and mahogany longcase clock c1815-17, With a swan necked pediment, brass parterre and central spire finial, break arch hood door beneath flanked by reeded pilasters with brass capitals, trunk with recessed reeded pilasters and a crossbanded door with a concave top, square plinth on bracket feet, painted dial with floral depiction to the spandrels and a depiction of a boy attempting to catch birds in the arch, with makers name, Roman numerals, five minute Arabic's, minute track and matching steel hands, with dummy seconds and calendar dials and dummy winding arbors, dial pinned via a cast falseplate by Whittaker & Shreeve to a countwheel striking chain driven movement striking the hours on a bell. With weight and pendulum.Notes.The Weston family were a prodigious three generation family of 18th and 19th century Wolsingham clockmakers, all christened Ralph. The maker of this clock Ralph (III) frequently made 30hr clocks such as this possessing features normally found on 8-day clock dials.Both the clockmaker, clock and dial were the subject of a comprehensive five part article in CLOCKS magazine published between Nov 2012 and March 2013. The dial of the clock being of particular interest, manufactured by the Haifax firm of Shreve and Whittaker between 1815-17 . William Shreeve, a highly respected and competent dial painter went into a short-lived partnership with William Whittaker in 1815, however in 1817 Shreeve died in a tragic accident whereby he was burnt to death whilst preparing some of his own paints and varnishes. Dimensions: Height: 230cm  Length/Width: 53cm  Depth/Diameter: 25cmCondition Report: Narrow crack to the glass in the hood door.

A mid-century teak magazine rack

German Third Reich era printed ephemera: to include an SS propaganda poster  22" x 17"; and a Luftwaffe magazine (Please Note: this lot is subject to the statement made in the Auctioneers Glossary of Certain Terms under 'Militaria & Associated Items' in the Terms & Conditions of Sale)

* PAM CARTER DA PAI (SCOTTISH 1952 - 2022), ST CYRUS oil on canvas, signed, titled versoframed and under glassimage size 89cm x 89cm, overall size 110cm x 110cmNote: Pam Carter was born in Tanganyika, East Africa to an Austrian mother and Scottish father. At the age of thirteen, she came to Scotland where she schooled at Bearsden Academy. She graduated from Glasgow School of Art in the seventies. "My main inspiration as an artist is in the Scottish landscape and seascape. I enjoy using colour to define contours, structure and changing light sequences. I search out specific viewpoints. I am equally inspired by the rugged isolation of the Western Isles and the dramatic viewpoints of the Eastern coastline. I work predominantly in oil". Pam Carter was unquestionably one of Scotland's most popular and successful contemporary artists. She won numerous awards and prizes, always received significant media attention, has been the subject of many magazine features and had several tv appearances. Her work is widely exhibited but rarely appears at auction. However, in The Scottish Contemporary Art Auction of 17th April 2022 lot 38 "Luskentyre Reflections" a 46 x 51cm oil by Pam Carter sold for £2000 (hammer) and in The Scottish Contemporary Art Auction of 10th July 2022 lot 230 "Gables Geary" sold for £2600 (hammer). Most recently, in The Scottish Contemporary Art Auction of 24th October 2024, lot 47 "West Coast Sunset" (61 x 61cm oil on canvas) by Pam Carter sold for £3600 (hammer).Comment: Pam was a special artist and one who enjoyed wide popularity and substantial commercial success. In all our dealings with Pam over the years, she was always generous with her time and quick to provide the background to paintings we had received from private consignors and filling in gaps about locations, dates etc. Pam's work is instantly recognisable and she had that rare gift, even among the best artists, of being able to use the minimum of brushwork to create the maximum visual effect. Her "lines" were those of the natural environment but she knew exactly how to "see" them and portray them on canvas. Despite her commercial success, or perhaps even because of it, Pam's work probably hasn't yet reached the full audience that it so richly deserves. She exhibited frequently at numerous galleries in Scotland and gallery owners were inevitably in a queue to secure her work. Typically, Pam showed loyalty to those who were the first to support her when she was a relative unknown. Talented artists always wish to be remembered by their work and Pam Carter can be certain of that, but she'll also be remembered with great affection by all those who had the good fortune to meet her or know her.

* LADY LUCINDA MACKAY (SCOTTISH b. 1941), BATMAN IN DIRLETON ink on paper, monogrammed, titled label versomounted, framed and under glassimage size 20cm x 27cm, overall size 36cm x 44cm Exhibition label verso: 1 - 15 September (2018), The Torrance Gallery, EdinburghNote: Artist and teacher, notably a draughtsman and painter of portraits, born in Sunninghill, Berkshire, brought up in the family home, Glenapp Castle, Ayrshire. Lady Mackay was the daughter of the 3rd Earl of Inchcape, chairman of the shipping line P&O who also ran Inchape PLC and was director of many other companies. Lucy Mackay was educated in Switzerland, Cambridge and at Edinburgh University and Edinburgh College of Art, 1960–5, under David Talbot Rice and William Gillies, graduating with a master’s honours degree in fine art. In 1973–4 she completed a postgraduate illustration studies year at the Central School of Art and Design. She settled in Edinburgh where she studied advanced botanic illustration at the Royal Botanic Garden, and where as a member of the Scottish Arts Club from 1983 she regularly attended life studies. Mackay began her extensive teaching career in 1966 as art assistant at Edinburgh Academy for Boys; from 1968–76 taught art, design and pottery at schools in the London area; then again in Edinburgh at the Salisbury Centre, 1981–2. In 1999 she joined the register of Angus County’s artists-in-residence for primary schools, serving at several schools. After winning first prize in a portrait painting competition run by the magazine Nursery World, 1953, and exhibiting a prize painting in the Daily Mail competition to celebrate the opening of the Forth Road Bridge, 1964, Mackay took part in many group shows, including the RSA. Among later solo exhibitions were The Italian Institute, Edinburgh, 1991; Torrance Gallery, Edinburgh, 1995, 1998 and 2005; and The Forum, Ocean Terminal, Leith, in aid of the Bethany Trust, 2004. She travelled extensively in several continents with paints and sketch-book. As well as a series of self-portraits Mackay completed many portraits, including Ronald Fletcher, broadcaster, 1968; the Queen’s Counsel Lionel Daiches, 1979–80; singer Ian Caddy, 1980–1; Professor David Daiches with his brother Lionel, 1988–9; the composer and conductor Emre Araci, 1997; and cellist Harriet Johnson, 2000. Her work was held by collections including the Scottish National Portrait Gallery; London College of Music; Royal Over-Seas League; Scottish Arts Club; Barlinnie Prison; and Geffrye Museum.

* DAMIAN CALLAN (SCOTTISH b. 1960), CLOSE-UP KITES oil on board, signed and dated '07, titled verso framedimage size 65cm x 49cm, overall size 78cm x 62cm Note: Edinburgh artist Damian Callan is the author of two books, Paint Like Degas and Paint Like Renoir. His work is exhibited widely in the UK and is held in collections across the world. He has written articles for Artist & Illustrators Magazine and The Artist Magazine and regularly demonstrates drawing and painting techniques at public events in Edinburgh.

* LADY LUCINDA MACKAY (SCOTTISH b. 1941), MADRID CITY CENTRE oil on canvas, signed, titled and dated '17 versoframedimage size 41cm x 51cm, overall size 49cm x 59cm Exhibition label verso: 1 - 15 September 2018, The Torrance Gallery, EdinburghNote: Artist and teacher, notably a draughtsman and painter of portraits, born in Sunninghill, Berkshire, brought up in the family home, Glenapp Castle, Ayrshire. Lady Mackay was the daughter of the 3rd Earl of Inchcape, chairman of the shipping line P&O who also ran Inchape PLC and was director of many other companies. Lucy Mackay was educated in Switzerland, Cambridge and at Edinburgh University and Edinburgh College of Art, 1960–5, under David Talbot Rice and William Gillies, graduating with a master’s honours degree in fine art. In 1973–4 she completed a postgraduate illustration studies year at the Central School of Art and Design. She settled in Edinburgh where she studied advanced botanic illustration at the Royal Botanic Garden, and where as a member of the Scottish Arts Club from 1983 she regularly attended life studies. Mackay began her extensive teaching career in 1966 as art assistant at Edinburgh Academy for Boys; from 1968–76 taught art, design and pottery at schools in the London area; then again in Edinburgh at the Salisbury Centre, 1981–2. In 1999 she joined the register of Angus County’s artists-in-residence for primary schools, serving at several schools. After winning first prize in a portrait painting competition run by the magazine Nursery World, 1953, and exhibiting a prize painting in the Daily Mail competition to celebrate the opening of the Forth Road Bridge, 1964, Mackay took part in many group shows, including the RSA. Among later solo exhibitions were The Italian Institute, Edinburgh, 1991; Torrance Gallery, Edinburgh, 1995, 1998 and 2005; and The Forum, Ocean Terminal, Leith, in aid of the Bethany Trust, 2004. She travelled extensively in several continents with paints and sketch-book. As well as a series of self-portraits Mackay completed many portraits, including Ronald Fletcher, broadcaster, 1968; the Queen’s Counsel Lionel Daiches, 1979–80; singer Ian Caddy, 1980–1; Professor David Daiches with his brother Lionel, 1988–9; the composer and conductor Emre Araci, 1997; and cellist Harriet Johnson, 2000. Her work was held by collections including the Scottish National Portrait Gallery; London College of Music; Royal Over-Seas League; Scottish Arts Club; Barlinnie Prison; and Geffrye Museum.

* PAM CARTER DA PAI (SCOTTISH 1952 - 2022), ROCKS oil on canvas, signed, titled label versoframed and under glassimage size 64cm x 64cm, overall size 83cm x 83cmNote: Pam Carter was born in Tanganyika, East Africa to an Austrian mother and Scottish father. At the age of thirteen, she came to Scotland where she schooled at Bearsden Academy. She graduated from Glasgow School of Art in the seventies. "My main inspiration as an artist is in the Scottish landscape and seascape. I enjoy using colour to define contours, structure and changing light sequences. I search out specific viewpoints. I am equally inspired by the rugged isolation of the Western Isles and the dramatic viewpoints of the Eastern coastline. I work predominantly in oil". Pam Carter was unquestionably one of Scotland's most popular and successful contemporary artists. She won numerous awards and prizes, always received significant media attention, has been the subject of many magazine features and had several tv appearances. Her work is widely exhibited but rarely appears at auction. However, in The Scottish Contemporary Art Auction of 17th April 2022 lot 38 "Luskentyre Reflections" a 46 x 51cm oil by Pam Carter sold for £2000 (hammer) and in The Scottish Contemporary Art Auction of 10th July 2022 lot 230 "Gables Geary" sold for £2600 (hammer). Most recently "West Coast Sunset" (lot 47, The Scottish Contemporary Art Auctio of 24th October 2024) a 61 x 61cm oil on canvas by Pam Carter sold for £3600 (hammer).Comment: Pam was a special artist and one who enjoyed wide popularity and substantial commercial success. In all our dealings with Pam over the years, she was always generous with her time and quick to provide the background to paintings we had received from private consignors and filling in gaps about locations, dates etc. Pam's work is instantly recognisable and she had that rare gift, even among the best artists, of being able to use the minimum of brushwork to create the maximum visual effect. Her "lines" were those of the natural environment but she knew exactly how to "see" them and portray them on canvas. Despite her commercial success, or perhaps even because of it, Pam's work probably hasn't yet reached the full audience that it so richly deserves. She exhibited frequently at numerous galleries in Scotland and gallery owners were inevitably in a queue to secure her work. Typically, Pam showed loyalty to those who were the first to support her when she was a relative unknown. Talented artists always wish to be remembered by their work and Pam Carter can be certain of that, but she'll also be remembered with great affection by all those who had the good fortune to meet her or know her.

The scarce Central Africa Medal awarded to Mr W. J. Purkiss, Acting Superintendent at Fort Smith in 1893, where he survived an assassination attempt by Wyaki of the Kikuyu, ‘Wyaki was in the habit of entering the station frequently. One day he paid one of his usual visits. He left what arts he appeared to carry with the guard and went on to the house occupied by Purkiss, who at that moment was washing his face in a wash-hand basin. Purkiss had his back to the door which was open. Wyaki, seeing this, drew out a simi and rushed into the room and made an overhead slash at Purkiss. Fortunately the ceiling of the room, consisting of wooden rafters, was very low and the sword caught in one of the rafters before it could descend. Purkiss immediately swung round, rushed at his enemy and knocked him back against the wall where he lay until the guard dashed in....’ The following year Purkiss was appointed 2nd Class Assistant to the Uganda Protectorate, and was part of an expedition up the Nile to Wadelai. He became ill during the expedition, and eventually succumbed to his illness in August 1894 - ironically, he was buried in the mission cemetery at Kibwezi close to his former attacker Wyaki Central Africa 1891-98, ring suspension, no clasp (W. J. Purkiss.) officially engraved naming, minor edge nicks, otherwise extremely fine, and rare £1,400-£1,800 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- William John Purkiss was born in St. Pancras, London in 1861. His subsequent career in Africa is mentioned in various publications, including: Permanent Way by M. F. Hill and John Ainsworth: Pioneer Kenya Administrator by F. H. Goldsmith. The following article that appeared in Old Africa Magazine gives the following: ‘William J Purkiss, a former merchant marine officer, originally arrived in east Africa as an employee of the Imperial British East Africa Company in about March 1891 and was employed on building the narrow-gauge railway to Mazeras—the grandly named Central African Railway. The railway was soon abandoned and some time the following year Purkiss was sent to Fort Smith in Kikuyu as Assistant Superintendent. Following the death of the Superintendent, Robert Nelson, in December 1892, Purkiss became Acting Superintendent. Before he died Nelson, who had been with the H.M. Stanley expedition to ‘rescue’ Emin Pasha, had managed to infuriate the neighbouring Kikuyu with his aggressive attitude and indiscriminate raiding of their villages for food and cattle. When Sir Gerald Portal passed through the area on his way to Uganda in February 1893 on his Special Mission, he found the residents of the fort living in a virtual state of siege. Anyone venturing more than fifty yards from the perimeter without an armed escort was very likely to be attacked and killed. Purkiss managed to wound and capture an assailant, the Kikuyu leader Waiyaki, who died on his way to exile at the coast and was buried at Kibwezi. As there was no food available locally Portal was delayed at Kikuyu while sufficient provisions were collected at Machakos for the next part of his journey. By the time Portal reached Kikuyu he was already firmly convinced that the Company was moribund. But he did have good things to say about Purkiss who was trying to reduce the tension and bring about a return to peaceful trading. During his enforced stay at Kikuyu, Portal was much taken by a grey parrot which, as he mentioned in a letter to his wife, kept him company as he wrote. The parrot belonged to Purkiss. Portal probably passed on his views about the imminent demise of IBEAC, and Purkiss, already deeply disillusioned, is listed as resigning from the Company in April 1893. However, he was still at Kikuyu when Portal passed through on his return journey from Uganda to the coast in August 1893 and when offered a temporary position with the new administration in Uganda he accepted. He arrived at Mumia’s on his way to Kampala in late September 1893. In February 1894 he was given a permanent appointment as a 2nd Class Assistant to the Uganda Protectorate and was part of an expedition up the Nile to Wadelai. He apparently became ill during the expedition and was eventually moved to Eldama Ravine where he failed to improve. In July 1894 it was decided to take him to the coast. He died at Kibwezi, about 190 miles from Mombasa, on 15 August 1894, and, ironically, was buried in the mission cemetery close to his former attacker Waiyaki. The usual procedure at the time was to sell locally the deceased’s effects, except personal items such as rings and watches, and the proceeds were then used to pay off their bills (in most cases it seems these were for accounts with local traders for alcohol) with any residue being sent home to their next of kin. In this case, however, the Foreign Office appears to have required all the deceased’s effects to be sent to England. Soon the Consul-General at Zanzibar, Sir Arthur Hardinge, was being asked why the effects had not been sent. Purkiss’ father was in frequent communication with the FO and the FO with Zanzibar. This appears to have had little effect on speeding up the authorities at Mombasa as it was almost six months after Purkiss’ death that the effects were eventually dispatched. They included a live parrot. Why the parrot was sent is unclear, but maybe the months of nagging by the FO may have had had an effect. However, it was later noted by Charles Hobley, another Company man, that Consul Hardinge ‘probably never took his duties seriously’ so it looks as if sending the parrot could well have been Hardinge’s idea. The eight boxes of clothes and curios, and the live parrot, eventually arrived at the FO. The presence of the parrot was quickly noted and an urgent request sent to the next of kin for it to be collected without delay. There is a rather sad postscript to the story. Keys for two of the boxes were sent, with a request that they be passed on to the family. For some reason these were never given to the family but ended up in the FO files—probably filed away before the boxes arrived. The keys were attached to a sheet of paper and bound into what became FO 107 at the National Archives, Kew, where they still are. Presumably Purkiss’ father had to break open the boxes.’ J. D. Ainsworth recorded the following with regards to Purkiss being wounded: ‘Towards the middle of January 1893 I received a letter from Purkiss saying that the Kikuyu were giving him a lot of trouble, that he had lost some men and the Fort was practically invested and asking me for help if I could render it... We [Ainsworth and party] stopped a short distance from the entrance to the station and Purkiss with some of his men came out to meet us. There was no sign of the enemy that night and next morning it became apparent that they had entirely dispersed. I think the knowledge that outside help could be obtained if necessary made the Wakikuyu less inclined to hostile acts thereafter.... A few month later Wyaki put the final touch on things. It was the custom for the Akari guard at the entrance to the Fort to allow any of the important elders who wished to see the Officer-in-charge to enter but they were required to leave any arms with the guard. Wyaki was in the habit of entering the station frequently. One day he paid one of his usual visits. He left what arts he appeared to carry with the guard and went on to the house occupied by Purkiss, who at that moment was washing his face in a wash-hand basin. Purkiss had his back to the door which was open. Wyaki, seeing this, drew out a simi and rushed into the room and made an overhead slash at Purk...

The mounted group of three miniature dress medals representative of those worn by Private J. Lamb, 13th Light Dragoons Crimea 1854-56, 4 clasps, Alma, Balaklava, Inkermann, Sebastopol; Army L.S. & G.C., V.R., 3rd issue, small letter reverse; Turkish Crimea 1855, Sardinian issue, all mounted from a triple top silver riband buckle; together with his original Soldier’s Account Book, the front page inscribed to No. 1406 James Lamb, Thirteenth Light Dragoons, with usual entries for monthly settlements and clothing allowances for the period January 1856 to December 1870, and additional details under ‘Soldier’s Name and Description’ and ‘Services Abroad’, the latter confirming that Lamb was ‘Present at Alma, Balaklava (wounded), Inkermann and Sebastopol’; also details of his marriage in April 1858 to Mary and a list of children’s birth dates, remnants of velvet tie, lacking back cover and pages torn in places or worn overall, written content generally good, the medals good very fine (3) £300-£400 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Provenance: Dix Noonan Webb, April 2003 (Account Book only). James Lamb was born near Falmouth, Cornwall and enlisted in the 13th Light Dragoons in Edinburgh in August 1850, aged 26 years. Present at the charge of the Light Brigade on 25 October 1854, when he was wounded and had his horse killed, Lamb distinguished himself by assisting in the rescue of Captain Webb of the 17th Lancers, in company with Corporal Malone of his own regiment and Sergeant Berryman of the 17th. Both of these N.C.Os were subsequently awarded the Victoria Cross, while Lamb’s bravery remained unrecognised - he afterwards stated that he drew lots for the decoration with Malone and lost. Present at the first Balaklava Banquet in October 1875 and a member of the Balaklava Commemoration Society from 1879, Lamb regularly attended subsequent annual dinners, in addition to signing the Loyal Address in 1887. And in October 1891 The Strand magazine published his account of the charge, together with a portrait. Lamb died from heart failure and senile decay in Wandsworth, London in June 1911, leaving his 88 year old widow Mary with ‘not a friend in the world and a total income of 8s. 6d. per week’. It was the Coroner’s hope that the ‘poor old lady would be taken care of in some institution’. Interestingly, Lummis and Wynn state that Mary had been with Lamb in the Crimea, prior to their marriage in April 1858, a fact supported by the birth of a daughter, Anne, at Newbridge back in November 1851 - the year 1856 has been crossed out in pencil in the list of children’s birth dates in Lamb’s Account Book. Sold with copied research including a photographic image of the recipient.

Mid century long coffee table and pair of magazine racks

Paxton, Sir Joseph, Paxton's Magazine of Botany, 1834, first edition of the volume, Orr and Smith, London, forty-three coloured lithographed botanical plates and wood-engraved illustrations, green half leather binding with gilt title to the spine, marbled boards, with a written note by Paxton tipped onto the front endpaper to a James E. Norris, dated Chatsworth, (where he was Head Gardener), July 2nd 1856, 'I am much obliged by your present of Gold Pheasant' Eggs and shall be much obliged if you will be good enough to have them addressed to me at Chatsworth. I am, Dear Sir, Truly Yours, Joseph Paxton'. Provenance: with Sotheran's, London

Fox Talbot, Henry William, a Talbotype sun picture photograph, 1846, bound within the Art Union magazine, June 1846, opposite p.143, depicting a building with Gothic tracery

Peris Sarrià, Gonçal (in Valencia tätig 1380-1451) , UmkreisDer Heilige Bartholomäus heilt die Tochter des Königs Polymios um 1430-40 Szene eines Wunders im Interieur. Links der Heilige Bartholomäus mit goldenem Nimbus und Buch. Mit der rechten Hand segnet er die kranke Tochter des Königs Polymios und befreit sie vom Teufel. Der armenische König und seine Ehefrau, reich geschmückt, stehen am Kopfende des Bettes. Zwei Diener begleiten die Szene. Der eine besorgt schauend, der andere ein Buch haltend. Im Hintergrund rötliche Wände mit bogenförmigen Öffnungen, kassettierte Decke und polychromer Valencianer Fliesenboden. Die Szene wird oben umrahmt von vergoldetem, geschnitztem, mehrpassigem Maßwerk und von schlanken Säulen an den Seiten. Rückseitig in Blau bez. „F. C. 1914“. (Sockel ergänzt). Nadelholz. 51,5×51,5 cm. Provenienz geprüft durch The Art Loss Register. Beigegeben Expertise von Dr. Alberto Velasco González, Lleida, Spanien, Februar 2024. Vgl. „A Work of Valencian International Gothic“ von G. Frechina in: Ars Magazine Nr. 62, April-Juni 2024, S.82-83. Wir danken der Redaktion von Ars Magazine für die Hinweise. Die Tafel ist wohl Teil eines Altarflügels mit der Geschichte des Heiligen Bartholomäus. Die Ikonografie stammt aus dem mittelalterlichen Volkssbuch „Legenda Aurea“ vom Dominikaner Jacobus de Voragine (1228/29-1298), eine beliebte Quelle für die Maler jener Zeit. Laut Legende konvertiert König Polymios und seine Familie nach dem Exorzismus des Heiligen Bartholomäus zum Christentum. Der König verzichtet daraufhin auf sein Königreich und überlässt dem Bruder die Macht, der dann, aufgehetzt durch Götzenpriester, das Martyrium des Heiligen veranlasst. Der Maler Gonçal Peris Sarrià, in dessen Umkreis dieses Gemälde entstanden ist, war einer der bekanntesten Künstler des 15. Jhs. in Spanien und der wichtigste Maler des „Gotico internacional“ in Valencia. Dieser Stil, auch „Schöner bzw. Weicher Stil“ genannt, erlebte seine Blütezeit in den letzten Jahrzehnten des 14. bis Mitte des 15. Jahrhunderts und ist charakterisiert durch stilisierte Formen, weich fließende Linien und leuchtende Farben. (60795)

Original newspapers with historic headlines include The Miami Herald: Nixon Resigns, 1974; The New York Times: Clinton Impeached, 1998; The Miami Herald: (Clinton) Impeached, 1998; and Sunday Patriot News TV Magazine, 1961. Largest item: 15"L x 24.5"HIssued: 1974-1998Dimensions: See DescriptionCondition: Age related wear.

Titles include: Avant Gardens by Tim Richardson; The New Color Book; The Private House by Rose Tarlow; Alongside a Small-Pace Garden Magazine. Largest book measures: 8.75''L x 1.5''W x 9.5''H. Issued: 20th centuryDimensions: See DescriptionCondition: Very good condition.

A brass magazine rack and a brass coal scuttle.

MACKIE, S. J. The Geologist, 1858-64, edited by Mackie, 7 volumes of this monthly magazine [all issued]. Original blue cloth binding with morocco title label lettered in gilt, gilt volume number & date. 112 plates and many illustrations within the text, Vol. 1 featuring hand-coloured Panorama of North Wales from the Top of Cader Idris, by A. C. Ramsay. In fine condition. London, 1858-1864 ❧ Volume 3, 1860 features an extensive review of Charles Darwin’s Origin of Species, [pp. 464-472]

The Strand Magazine Vol. V, [featuring 6 Sherlock Holmes stories], all gilt edges, some bumping/rubbing at boards, some splitting at front joint, London: George Newnes, 1893._ TWAIN, Mark. Life on the Mississippi, FIRST UK ed., London: Chatto & Windus, 1883._TWAIN, Mark. A Tramp Abroad, London: Chatto & Windus, 1880._TWAIN, Mark. Pudd’n-Head Wilson, blue-cloth uniform ed., London: Chatto & Windus, 1894._AUSTEN, Jane. Volume the First, juvenilia published from manuscripts held in the Bodleian library, Oxford: Clarendon Press, 1933._AUSTEN, Jane. The Watsons a Fragment, juvenilia published from the manuscripts held in the Bodleian, Oxford: Clarendon Press, 1927._ELLIOT, George. Scenes of Clerical Life, London: Macmillan, 1906._ELLIOT, George. Romolo, 1886._HENTY, G. A. No Surrender, FIRST ed., foxing at end-leaves, owner inscription, London: Blackie & Son, 1900._THACKERAY, W. M. Pendennis._THACKARAY, W. M. The Newcomes, FIRST ed., spotting and toning at end-leaves, London: Bradbury & Evans, 1854._ JAMES, G. W. Indians of the Painted Desert Region, Boston: Little, Brown & co., 1903._PRICHARD, Rees. The Welshman’s Candle, with wear, 1807._SCOTT, Sir Walter. Anne of Geirestein, FIRST ed., original cloth, Edinburgh: Cadell, 1829. (3) _SCOTT, Sir Walter. Landscape-Historical Illustrations of the Waverley Novels, contemporary leather binding, 2 volumes, 9.1/2 x 6.1/2 inches, (2) _SCOTT, Sir Walter. The Lay of the Last Minstrel, bound with wooden boards ‘grown in the pleasure grounds…at Abbotsford’, wear at spine, splitting at front hinge, spotting prelims, gift inscription, Edinburgh: John Ross, 1872._SURTEES, R. S. “Ask Mama” or, the Richest Commoner in England, subscription ed., original cloth, London: Bradbury, Agnew & co., c. 1900._LONG, William. J. School of the Woods, later full-calf binding, 1902._DEFOE, Daniel. Robinson Crusoe, Illustrated by Walter Paget, London: Cassell, 1894._GASKELL, Mrs E. Cranford, London: Bliss, Sands & co., 1896._TROLLOPE, Anthony. Orley Farm, FIRST ed., 2 volumes, frontispiece to vol. 1 re-attached, frontispiece to vol. 2 a facsimile, London: Chapman & Hall, 1862. (2) _BORROW, George. Romany Rye, FIRST ed., 2 volumes, contemporary half-calf, some spotting, London: John Murray, 1857 (28)

FURNITURE & CARPENTRY. The London Cabinet-Makers' Union Book of Prices, by A Committee of Masters and Journeymen, engraved frontispiece, [viii], 474 (erratic pagination but complete), eight engraved plates, [xii] pp., 4to, rebacked to style, London: Printed by Ballintine & Byworth, 1811._The London Chair-Makers' and Carvers' Book of Prices for Workmanship, As Regulated and Agreed to by a Committee of Master Chair-Manufacturers and Journeymen, [xxiv], 108pp., 13 engraved plates, bound with The Carvers' Book of Prices, 26pp., 3 plates, Supplement, [x], 120pp., 11 plates, Second Supplement, [iv], 19pp., 2 plates, 4to, worn contemporary half-calf with morocco title label lettered in gilt, separate title pages present for main work and two supplements, London: Printed by T. Sorrell, 1807-1811._"Plates" [Builder's Magazine],185 numbered plates, lacking plate nos. 20, 29, 44, 45, 60, 146-149, 177, some folding, some well-preserved, some with dampstaining, 4to, worn contemporary half-calf with morocco title label lettered in gilt, engraved after John Carter, published by Newbery, 1774-77. Internally sound, good in places, dampstaining in places, sold with all faults, bearing owner inscriptions of Abraham Shacklock of Bolsover, 1813 (3)

LONG, William. Stonehenge and its Barrows. v + 244pp., frontis. Plan of Stonehenge and its Environs 24″ x 17″, t/p with engraved view, 26 illustrations inc. 2 coloured lithos., maps & finds. Modern quarter leather binding with marbled boards, 6 panelled spine with gilt title label, gilt date. Occasional foxing. Devizes: H. F. & E. Bull, 1876 ❧ This work was also published in June 1876 as vol. xvi of the Wiltshire Archaeological and Historical History Magazine

CRICKET - Charles CROMBIE (1880-1967). Laws of Cricket, London, [1907], oblong 4to, 12 coloured plates by Charles Crombie (plates detached). original pictorial boards by Crombie (stained, detached). FIRST AND ONLY EDITION. RARE in the original boards.CRICKET - Charles Exeter Devereux CROMBIE (1880-1967, illustrator).  Laws of Cricket. London: Kegan Paul, Trench, Trübner & Co. Ltd. ... Copyright of Perrier, [1907]. Oblong 4to (270 x 380mm). Title printed in green, red and black, coloured advertising leaf for Perrier, 12 coloured plates by Charles Crombie, coloured advertisements for Perrier laid down on the verso of each leaf (title stained and frayed, all the plates and leaves detached, some staining at stitching holes, but the plates very clean). Original pictorial boards (stained, boards detached). Provenance: From the Estate of the Late Kenneth Partridge. Further details of the provenance can be found here: https://www.bellmans.co.uk/story/the-collection-of-the-kenneth-partridge. FIRST AND ONLY EDITION, and RARE in the original boards. In addition to his work as a sporting and editorial cartoonist, Crombie also illustrated a number of P. G. Wodehouse's short stories in The Strand Magazine between 1926 and 1930. Padwick A Bibliography of Cricket 7012.

CUBA. – [John GIBSON.] The Universal Museum; or, Gentleman’s & Ladies Polite Magazine of History, Politicks and Literature for 1762. London: 1762. 8vo (206 x 133mm.) 4 engraved maps, 3 folding, including John Gibson’s ‘A New Map of the Island of Cuba’, plates. (Toning, marginal and fold crease to ‘Havana’ map, slight crease along fold to John Gibson map, lacking ‘February’, pp.65-128.) Contemporary half calf (covers detached). Note: contains a map of Jamaica, ‘A Correct Plan of the City and Harbour of Havana’, ‘A Plan of the Havanna with the Different Attacks in the Siege 1762’ and John Gibson’s ‘A New Map of the Island of Cuba’. Provenance: In. Stephenson (bookplate to front pastedown). – And a further eight volumes, all containing maps (including R. Brookes’ ‘The General Gazetteer, or Compendious Geographical Dictionary’, 2 vols., 1816, 8vo, and ‘The Universal Magazine’, vol. XCII, 1763, 8vo, and John Walker’s ‘The Universal Gazetteer’, 1822, 8vo, and ‘The Universal Museum’, 1763, 8vo, and G.N. Wright’s ‘A New and Comprehensive Gazetteer’, 2 vols. [only, of 4], 1834, 8vo) (9).

TRADE CATALOGUE. – Waterlow & Sons Limited (publisher). Type Specimen Book. [London:] Waterlow & Sons Limited at the Finsbury Factory, 1930. 4to (247 x 184mm.) Numerous illustrations of type, initials, borders and decorations. (Mild toning.) Original green cloth, gilt lettering to spine and upper cover (lightly bumped spine ends). – And a further twenty miscellaneous volumes (including ‘The Scots Magazine’, vol. 46, 1784, 8vo, and ‘The Wonders of Art and Nature Displayed: Being a New and Complete Museum of Extraordinary Events’, 1796, 8vo) (21).

THE STUDIO. – Charles HOLME and Geoffrey Charles HOLME (editors). The Studio, an Illustrated Magazine of Fine and Applied Art. London: Offices of the Studio, 1894-1926. 64 vols., 4to (278 x 191mm.) Plates and illustrations, many coloured or tinted by numerous artists, some folding, including one Whistler ‘The Smith’s Yard’, and one F. Vallotton. (Toning, occasional crease.) Original green cloth, decorative gilt to vols. 2-32, contemporary cloth to vols. 32-57, several volumes in contemporary half morocco (some damp-staining, several boards detached, fading). – And a quantity of approximately seventy further volumes related to ‘The Studio’ (a quantity).

A boxed Boots QI magazine projector

First World War 1914-18 War Medal to Casulty J. 14155 Able Seaman Charles William Julings, Royal Navy, H.M.S. Natal, Died 30th December 1915 and is commemorated at the Chatham Naval Memorial.Shortly after 15:25pm on the 30th December 1915 without warning, a series of violent explosions tore through the rear part of HMS Natal. She capsized in a period of five minuets after the explosion. The explosion was caused internally within the ships ammunition magazine, where divers discovered in either the 9.2inch shell room or the three pounder and small arms magazine possibly due to faulty cordite. The Admiralty issued a revised list of the dead and missing that totalled 390 in January 1916, but did not list the women and children on board who were present for a party that day. Losses are listed from 390 to 421