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Thomas Forrester & Sons Pheonix ware coffee service for six, in the Blossom pattern, and a New Hall tea service

Vinyl - Over 50 Rock & Pop LPs, over 30 12" singles and 11 7" to include Groundhogs, ACDC (2 LPs and 2 12"), Bob Marley, Roy Harper, Wasp, David Bowie, Bon Jovi, Duran Duran x 2, Joan Armatrading, New Order (12"), Daryl Hall & John Oates (signed by both), The Disposable Heroes Of Hiphoprasy (12"), Daft Punk (test press), Pet Shop Boys x 5 (12"), Mindfunk (12"), Queen (12"), Madonna (2 12"), Cameo (12") and more. At least Vg+ overall with some in open shrink.

A Large Quantity of New Hall and Other XIX Century Porcelain Tea and Coffee Wares, of varying patterns and designs and two New Hall reference books. (A Lot)

A Selection of Seven New Hall and Other XIX Century Porcelain Jugs, to include: two graduated jugs applied in white with cherubs with fruiting vine borders. (7)

Two New Hall Porcelain Teapots, Covers and Stands, each with floral decoration; five other New Hall teapots and covers and a coffee pot and cover. (18)One Teapot with small chip to spout and large hairlines across front. One with spout chipped off, large chip to back base, multiple small chips to inside rim and lid rim. Two with hairlines to base. One with crack to inside rim and chip to lid rim. Others with small chips and chips/loss to paint and some crazing.

Four New Hall and Other XIX Century Porcelain Sucriers and Covers, three slop bowls, pearlware asparagus server, plates, etc. (A Lot)

WILLIAM BRADLEY LAMOND RBA (SCOTTISH 1857 - 1924), MAKING BANNOCKS oil on canvas, signed, titled label verso framed image size 36cm x 46cm, overall size 47cm x 55cm Label verso: Forrest McKay, Edinburgh Provenance: Bonhams, Edinburgh, 9th June 2011 lot 167. Note: William Bradley Lamond was born at Newtyle, Angus. He had no formal art training and worked for the Caledonian Railway company for many years. He initially specialised in portraits and later worked on landscapes which have been described as "vigorous impressionistic scenes in oil – with a strong use of colour". He was elected a member of the Royal Society of British Artists in 1906, and exhibited at the Royal Academy (London), Royal Scottish Academy and Glasgow Institute of the Fine Arts. William Bradley Lamond first publicly exhibited his work at Dunfermline's Fine Art Exhibition in 1883, followed by the Dundee Fine Art Exhibition in 1884. Five years later he showed at the Royal Scottish Academy for the first time with the painting "A Mile Abune Dundee". In 1890 he became one of the founding members of the Dundee Graphic Arts Association and had work shown at Robert Scott's gallery in the city. His first notable commission came the following year – a presentation portrait of Sgt Major Kilgour of the Dundee Highlanders. Around 1894, he hit on one of his most profitable subjects – shore scenes featuring seaweed gatherers at work with horse and cart. He showed one such scene at Scott's which the Evening Telegraph hailed alliteratively as "a brilliant bit of brightsome work". It was soon bought by a local collector and Lamond painted many more variations on the same theme, including "A Breezy Day" (1896). In 1895 he had his most successful year yet, showing at the Glasgow Institute and the RSA and ending with an exhibition of paintings and sketches in his studio at 61 Reform Street. Although Lamond eschewed modern art, his compositions were often regarded as distinctive due to his preference for capturing particular effects rather than selecting subject matter because of its social or symbolic meaning, in contrast to other Dundee painters such as John Duncan or Stewart Carmichael. In 1898, 60 of his paintings were auctioned by William Fyfe at the City Assembly Rooms, fetching prices of up to 19 guineas. In 1900 he showed at the Royal Academy (London) for the first time and soon began to cultivate a London audience. In 1902 he opened his first one-man show in London, at Clifford's Gallery in Haymarket. Although many Dundee illustrators and cartoonists had enjoyed success in London (such as Martin Alexander and Max Cowper), the city's painters had rarely made such an impact in the capital. Lamond returned to London in 1903 to undertake a number of commissions and later that year was elected a member of the Royal Society of British Artists, recognised as "a painter of strength, with a true eye for colour harmonies and a special aptitude for interpreting the beauties of northern landscape and coast scenery". He continued to show work at the exhibitions of the RBA, RSA, Glasgow Institute and GAA but A, but in 1906 his health broke down. By summer 1908 Lamond was back in Dundee, where he held an exhibition of his latest work in his new studio at 3 Constitution Road; the following year he moved to 27 Bank Street where he would remain for the rest of his life. In 1915 he gained a celebrity patron in the person of music hall legend Harry Lauder, who commissioned two paintings from him and visited him periodically in both Dundee and Auchmithie. During the Great War, Lamond continued to paint as much as ever, spending his summers in Auchmithie then showing the results in exhibitions in his studio each autumn. Lamond died of pneumonia in 1924 at his home in William Street. Thirty-two of William Bradley Lamond's paintings are held in Scottish public collections.

A group of English china, to include; a New Hall cup and saucer, saucer with New Hall within two circles, an Aynsley breakfast cup, 10 cm, Royal Crown Derby, also a Belleek bowl, (A Lot) The Alastair & Sheila Brooks Collection: of Oaklands (& past owners of Ednam House Hotel), Kelso 

A small group of 19th century English porcelain and china - including a New Hall pattern no. 421 tea bowl and saucer, together with a second saucer, painted with Oriental figures in a garden, the saucers 13.75cm diameter; a pearlware Sunderland pink lustre tea bowl and saucer; a two-handled sucrier with cover and stand, possibly Spode (glued repair to rim, star crack to stand); etc. (11)

* CHARLOTTE CHEVERTON (BRITISH 1960 - 1991), GRANDPA'S BASKET mixed media on board, attributed and titled on printed gallery exhibition label versomounted, framed and under glass image size 12cm x 8cm, overall size 23cm x 20cm Label verso: The Open Eye Gallery, Edinburgh.Note: Leith School of Art (Edinburgh) was set up in 1988 by two art teachers, Mark and Lottie Cheverton. Their aim was to establish a supportive, community learning environment for art students. The Chevertons ran the School together for three years, offering a Foundation course and a range of short courses. They recognised that studying art could be a challenging experience, and they wanted to create a positive tradition for teaching art and a learning environment where students would feel nurtured and grow in their ability. Tragically in 1991, the Chevertons were killed in a car accident. It was clear that their original vision of teaching was a strong one, and in 1992 Philip Archer, one of their close friends who shared their vision, became Principal. Since that time the School has grown and evolved. New year-long courses have been added, the short course programme has expanded, there are community classes and dedicated courses for schools within the School’s Outreach Programme. There are approximately forty members of staff, including around thirty teaching and teaching support staff. The School building has grown, expanding to fill all the interior spaces in the building. In 2000 all the outside space around the School was converted to inside space, resulting in the addition of the sculpture court, library and gallery area. In 2014 the School expanded again by leasing space at St James Church, which is located close to the School on North Junction Street. It is a lovely 1930s church hall with two bright, spacious studio spaces and an outdoor area. Throughout all this change, the vision of the original founders remains strong: to create a School with a vital artistic life where both tradition and innovation work together allowing students to produce work of distinctive quality and character. Lottie was a talented artist in her own right but she and her husband created an institution that has gone on to win widespread accolades and their vision has inspired and continues to inspire many hundreds of artists.

CHURCHILL, W. S. The Second World War, 6 books complete with dust-jackets, Boston: Houghton Mifflin, 1948-1951. (6) _CHURCHILL, W. S. A History of the English Speaking Peoples, Vol. II The New World, Vol IV The Great Democracies, with dust-jackets, London: Cassell, 1956-58. (2) _CHURCHILL, W. S. Onwards to Victory, FIRST ed., unclipped d.j., internally bright, spotting at prelims and text-block edges, d.j. with some chipping at extremities, London: Cassell, 1944._ CHURCHILL, W. S. Marlborough, vol. I, First ed. second printing, unclipped d.j., some toning at spine, London: George G. Harrap, 1933._BUCHAN, J. The King’s Grace, SIGNED ltd ed. 21/500, unclipped d.j., London: Hodder & Stoughton, 1935._LAWTON, Tommy. Soccer the Lawton Way, SIGNED First ed., original cloth, solid and bright internally, some toning at edges, d.j. showing loss in places, London: Nicholas Kaye, 1954._TAYLOR, Tom. Leicester Square, inc. folded maps, London: Bickers & Son, 1874._CHURCHILL, W. S. Lord Randolph Churchill, Vol. II only, Macmillan, 1906._ HALL, Mr. & Mrs. S. C. The Book of the Thames, leather-bound, London: Arthur Hall, Virtue & Co., 1859_ HISSEY, J. J. Across England in a Dog-Cart, London: Richard Bentley & Son, 1891._MONEY, Walter. The Battles of Neuburg, 2nd ed., includes maps, offsetting and spotting in places, some splitting at hinge, London, Simkin, 1884._PRESCOTT, W. H. History of the conquest of Mexico, 3 volumes, full-calf. (3) _CARY, J. Great Roads, fold-out maps, later binding, London: J. Carey, 1821._The Seafarers, 4 volumes, near-fine, Caird & Rayner-Bravac ltd. (4) _GLIEG, Rev. R. Story of the Battle of Waterloo, attractive binding, London: John Murray, 1861._KIMBER, E. Baronetage of England, Vol. II only, attractive full-calf, London: G. Woodfall et al., 1771._WILKINSON, Norman. The Dardanelles Colour Sketches from Gallipoli, FIRST ed., original cloth with pictorial design in gilt, offsetting ffep, some spotting/toning at edges, bumping/wear at boards, London: Longmans, Green & Co., 1915 (28)

[IRVING, Washington (1783-1859)]. The Alhambra, London, 1832, 2 volumes, large 8vo, contemporary calf-backed blue paper boards. FIRST ENGLISH EDITION. With 4 other works by the same author in 6 vols. (8)[IRVING, Washington (1783-1859)].  The Alhambra. By Geoffrey Crayon. London: Henry Colburn and Richard Bentley, 1832. 2 volumes, large 8vo (225 x 145mm). Half titles, one-page of publisher's advertisements inserted at the front of vol. II and 4-pages at the end (variable mainly light spotting and staining). Contemporary [?or probably the original publisher's] calf-backed blue paper boards, uncut (some ink stains to spines, head of spines of vol. one chipped, lacks lettering-pieces, extremities rubbed). Provenance: "Lady Brooke, Great Oakley" (old signature on the front free endpapers of each vol.); "Ladies' Society" (see "Notice" below). FIRST ENGLISH EDITION of this collection of nine supernatural tales, and the last work published under the author's pseudonym "Geoffrey Crayon". It preceded the first American edition by about three weeks. A contemporary printed "Notice" is pasted onto the front free endpaper of vol. one, stating, "Many complaints having been made respecting the irregular manner in which the Books belonging to the Ladies' Society are forwarded. [sic] It is particularly requested that the Members belonging to this Society will forward the Books in circulating, immediately after the time allotted for keeping them is expired; a compliance with which would tend greatly to keep up and restore the regularity of the Society. N.B. It is requested that each Lady will forward the Books to the next Member free of any expense." The front pastedown of the same volume contains an autograph list of ladies who have borrowed the book during 1832, and the day and month on which they did so, commencing with Lady Brooke on May 18th. Bleiler The Guide to Supernatural Fiction 886; Langfeld & Blackburn Washington Irving: A Bibliography p.32; Wright I, 1373. With 4 other works by the same author in 6 volumes, namely Bracebridge Hall; or, The Humorists (London, 1822, 2 vols., 8vo, attractively bound in contemporary half calf gilt, FIRST ENGLISH EDITION), Old Christmas: from the Sketch Book of Washington Irving (London, 1876, 8vo, illustrated by R. Caldecott, original blue pictorial cloth gilt, FIRST SEPARATE EDITION THUS, the text first appearing as part of the Sketchbook of Geoffrey Crayon, Gent. in 1809), Knickerbocker's History of New York (New York, 1894, 2 vols., large 8vo, illustrations by Edward W. Kemble, original pictorial cloth gilt; first published in 1809) and The Alhambra (London, 1896, 8vo, illustrations by Joseph Pennell, original decorated cloth gilt, wear to upper cover, reprint). Provenance: The Property of a Collector. (8)

SUFFRAGETTES - Helen BLACKBURN (1842-1903). Women's Suffrage, London, 1902, 8vo, plates and tables, original buckram. FIRST EDITION. With another related (defective) book, a collection of 15 SUFFRAGETTE POSTCARDS, and a related badge. (18)SUFFRAGETTES - Helen BLACKBURN (1842-1903).  Women's Suffrage. A Record of the Women's Suffrage Movement in the British Isles with Biographical Sketches of Miss Becker. London: Williams & Norgate, 1902. 8vo (190 x 130mm). Half title, publisher's woodcut monogram on title, half tone plates, 3 folding tables (one folding table crudely repaired with adhesive tape). Original green buckram, the spine lettered in gilt, uncut (extremities lightly rubbed, some scratching to the lower cover, without a dust-jacket). Provenance: E. Vaughan (old signature on the front free endpaper). FIRST EDITION. With Hall Caine's Our Girls. Their Work for the War ... With 15 Illustrations from Photographs by the Ministry of Munitions (London, 1916, 8vo, full-page half tone illustrations, lacks all after p.126, original cloth, stained and spotted, without the dust-jacket, FIRST EDITION, including a printed presentation leaf bound in at the front stating "From One of Our Girls To One of Our Boys ... Wishing you a Happy Christmas And a Glad New Year", with a space for a photograph of the sender); with a collection of 15 monochrome and coloured SUFFRAGETTE POSTCARDS, some supportive, some disparaging to the cause; and a suffragette enamel badge worded "National Union of Womens [sic] Suffrage Societies Constitutional Non Party", with pin. (18) 

TODD, Barbara Euphan. Worzel Gummidge. London: Burns, Oates & Washbourne, 1936. First edition, 8vo (184 x 116mm.) Illustrations by Elizabeth Alldridge. (Toning, offsetting to pp.108-109, some spotting to preliminaries.) Original red cloth (spine ends faded), dust-jacket (areas of loss to upper and lower panels, sticker on inner flap). Note: scarce. Barbara Todd first developed the idea of a talking scarecrow for the B.B.C. in 1935 as a part of ‘Children’s Hour’. She published the book in 1936 but decades later a television series- scripted by Keith Waterhouse and Willis Hall- made the character known to a new generation in the early 1980’s. The undying scarecrow was reprised again by the B.B.C. in 2019.

A mixed collection of pottery and porcelain, comprising a Worcester pickle leaf dish, circa 1765, 9cm wide; a new oval pattern cream jug, pattern 7, armorial vase, 11.5cm high; a Coalport cache pot and stand, painted with flowers; teapot and cover painted with flowers, 14cm high; miniature lion's head, a Continental porcelain model of a pair of boots, small green glaze piggy bank, a delft inkwell liner; a Derby pot and cover, circa 1775, painted panels of birds, unmarked, 7.5cm high; a Mason's ironstone lavender dessert saucer tureen and cover, painted in blue with flowers, together with a further Mason's ironstone open pot pourri and Mason's baluster vase and cover in the Chinese style; a landscape sucrier, lacking cover, painted by Zachariah Boreman at Williams Simms workshop on a Derby porcelain blank, a New Hall cream jug, pattern 2313, painted with birds; New Hll saucer, printed with Bruce Castle, and a small 19th century cordial glass, three Paris porcelain saucers, Paris coffee can, a Vienna saucer, Meissen coffee cup, once cancelled crossed sword marks, etc (group, two trays)(damages and repairs)

A mixed group of 18th and early 19th century English porcelain, comprising: New Hall - a tall pedestal cream jug, painted with pink roses and other flowers, 11.5cm high; a 'Boy with Butterfly' tea bowl, pattern 421, 8.2cm diameter; a puce floral tea bowl and saucer, and further two floral saucers 13cm diameter and one tea bowl; a further tea bowl and saucer, attributed to Keeling; a Caughley plain white fluted trio of coffee cup, tea bowl and saucer, saucer 14cm diameter; a Flight Worcester spiral shanked tea bowl, open crescent, 8.2cm diameter; and Caughley, comprising a large gilt and white saucer dish, 19cm diameter; a 'Dresden Sprigs' trio of coffee cup, tea bowl and saucer, and a further 'Dresden Sprigs' coffee cup, 6.5cm high; 'Spangles' saucer, 13.5cm diameter (mixed group)Condition:New Hall cream jug - handle crackedNew Hall saucers - 1 cracked and chippedKeeling attributed tea bowl and saucer - faint star crack to saucerLone New Hall tea bowl - filled rim chipCaughley plain white and gilt trio - Some nibbles to foot rim of saucerFlight tea bowl - no damageSome pieces with minor gilt wear, no other damages noted

AFTER CANOVA, A WHITE MARBLE FIGURE OF VENUS ITALICA PROBABLY ITALIAN, 19TH CENTURY Her left arm across her body, her right holding drapery with casket at her feet on shaped circular base 101cm high On a red scagliola column pedestal, 124cm high 225cm high overall Provenance: Nidd Hall, acquired by Guy Reed from Richard Butler, 17th Viscount Mountgarret, in 1968 The Guy Reed Will Trust, Copgrove Hall, Yorkshire In 1802, Antonio Canova was asked if he would fashion a copy of the Medici Venus which Napoleon had removed from Florence to the Musée Napoléon in Paris. Although he agreed to make a copy, the sculpture that he eventually completed in 1811 was quite different from the Medici Venus. It shows a more modest figure, who largely covers her nakedness with a large swag of drapery and lacks the dolphin and the figure of Cupid that accompany the Medici Venus. Canova produced various versions of this figure: the original now in the Palatine Gallery of The Pitti Palace another in the Residenzmuseum in Munich, and the third in Hearst Castle, San Simeon, California, (formerly in the Lansdowne Collection). A fourth version was sold from the Londonderry collection in 1962 and is today in the Metropolitan Museum of Art, New York. In 1820 he also completed a version for Thomas Hope (1769-1831). This version, which Canova in fact liked best of all those he had made, was rather closer in appearance than the others to the Venus de'Medici. It is now in Leeds City Art Galleries. Condition Report: Figure- generally good condition with slightly waxy feel to surface- natural small inclusions and veining, some infill to spotted inclusions from the making. 4-6cm area of loss to raised edge of her drape- to her lower left, some natural flaws visible under strong light- plinth with some scuffs, marks and a small area of what looks to be a knock. Pedestal- losses around the top edge, surface scuffing to shaft, some loss to base edges and corners Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer

A SET OF TWENTY TWO WILLIAM IV MAHOGANY DINING CHAIRS CIRCA 1835 Each with a curved toprail, buttoned back and seat upholstered in dark red velvet on tapering turned and reeded legs 86cm high, 52cm wide, 52cm deep Provenance: Possibly commissioned by Sir Joseph Radcliffe Bt (d.1872), Rudding Park Yorks. Captain Sir Everard Radcliffe Bt, MC (d.1969), Rudding Park, Yorks. Sold Christie's, The Remaining Contents of Rudding Park, Harrogate, The Property of Captain Sir Everard Radcliffe Bt MC, on the premises, 16th October 1972. The Guy Reed Will Trust, Copgrove Hall, Yorkshire The majority of the fittings for Rudding Park were acquired or commissioned by Sir Joseph Radcliffe who purchased the house in 1824 from his father-in-law and furnished much of it with both old and new items over the following six years. The chairs with their dark red upholstery would have complemented the crimson damask paper in the dining room at Rudding Park where they were photographed for C. Hussey, English Country Houses, Late Georgian, 1800-1840, London, 1958, pl. 144. Please note, the estimate for this lot is incorrect in the printed catalogue. This lot should read £5,000 - 8,000, as shown on our website. Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use Some old chips, splits and minor losses Some slight opening to joints in places Some chairs with very slight movement to the frames but of solid, stable structure overall Various old repairs (see images) As illustrated, the upholstery with some wear, marks and discolourations Some chairs with some deeper scratches in places Some sections of piping to the upholstery is worn, detached or lost The undersides of some seats with later supporting corner blocks or metal bracing Some of the small carved 'ear' elements to the carved top rails have been reattached Some variable fading to the timber throughout Some shadows to the underside of the seats where supporting blocks once sat - it is possible that the joints to the chairs have been resecured/tightened. Please see all images as a visual reference to condition.Condition Report Disclaimer

A GEORGE I GILTWOOD AND GESSO STOOL OR WINDOW SEAT ATTRIBUTED TO JAMES MOORE, CIRCA 1720 With an early 18th century upholstered drop in seat 44cm high, 83.5cm wide, 45cm deepJames Moore (c1670-1726) was a leading exponent of chased relief gilt gesso furniture, first gaining experience in this specialist technique under the Gumleys. Moore is known to have supplied gilt gesso furniture to amongst others Queen Anne and George I for Kensington Palace; and to John Churchill, 1st Duke of Marlborough at Blenheim Palace.The State Bedroom at Houghton Hall, Norfolk has a related giltwood stool.For a somewhat related stool attributed to James Moore, see Christie's, New York, The Collector, 25th April 2024, Lot 629, (£13,860 incl. BP).    Condition Report: Overall there are some scratches, marks, chips, cracks, knocks and abrasions consistent with age and use.The upholstery is extensively worn with holes and tears, the frame of the drop in seat has not been inspected.The gilding is worn, flaking and missing in places to reveal the underlying white gesso and wood.Some stained to the underside.Some losses and repairs including: re-tipping to feet; later braces to the corners under the brace; lacking one part of one leg (sectional construction).There is some evidence of old worm.Overall in appealing 'country house' condition.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition. Condition Report Disclaimer

A PAIR OF REGENCY EIGHTEEN-INCH LIBRARY GLOBES BY J. AND W. CARY, LONDON, PUBLISHED 1816 Each sphere applied with two sets of twelve hand-coloured engraved split half-gores, the terrestrial incorporating circular printed panel inscribed CARY'S, NEW TERRESTRIAL GLOBE, EXHIBITING, The Tracks and Discoveries made by, CAPTAIN COOK:, Also those of CAPTAIN VANCOUVER on the, NORTH WEST COAST OF AMERICA, And M. DE LA PEROUSE, on the COAST of TARTARY, TOGETHER, With every other Improvement collected from Various navigators and Travellers, to the present Time., LONDON: London. Made & Sold by J. & W. Cary, Strand, March 1st 1816., extensively annotated with fully graduated equatorial calibrated in minutes and degrees, ecliptic and meridians, the Pacific ocean with an analemma TABLE of EQUATION, many explorers' tracks and numerous notes and dates, Antarctica with no land shown, the continents with nation states faintly colour-outlined, showing cities, towns, rivers, mountains in pictorial relief; the celestial with printed oval panel inscribed CARY'S, NEW CELESTIAL GLOBE, on which are laid down, THE WHOLE of the, STARS AND NEBULAE &c., Contained in the Astronomical Works of the, REV'D F. WOLLASTON F.R.S., De la Caille, Herschel, Hevelius, Mayer, Flamsteed, Bradley &c., Made & Sold by J. & W. Cary, Strand, March 1st 1816., the axis through the celestial poles, with fully graduated equatorial and ecliptic with twilight zone, the constellations depicted by mythical beasts and figures with dotted boundaries, the stars shown to nine orders of magnitude with clusters and nebulæ and labelled; both spheres with engraved brass hour dials to the poles and pivoted within brass meridian circles divided for degrees, the hand-coloured engraved paper horizon rings with compass points and degrees in both directions, pictorial representations of the Zodiac, calendar scales and wind directions; each supported on an oak and elm tripod stand incorporating four quadrants supporting meridian ring over baluster upright and downcurved supports terminating with tapered feet fitted with brass castors 112cm high, 63cm wide Provenance: The Guy Reed Will Trust, Copgrove Hall, Yorkshire The celebrated Cary family business of scientific instrument and globe makers was established by John Cary at Johnson's Court, Fleet Street, London in 1782 moving to a new address at 'Corner of Arundel Square', Strand the following year. He was primarily an engraver of maps, charts and globes who moved again in 1783 to 188 Strand. By 1791 he had entered into what appeared to be a relatively casual partnership with his brother, William; this partnership lasted until circa 1816 by which time William and John Cary had moved again to 181 Strand before finally settling in 86 St. James in 1820. The following year he was succeeded by his sons, John (II) and George Cary, who continued from the firm's 181 Strand address until 1851/2 when the business was acquired by Henry Gould. Condition Report: Terrestrial - The sphere generally has very good surface and colouring however has a strike/scuff approximately 25cm long in the North Pacific - this has caused a crack and some deformation as well as some varnish loss and the surface beneath now taking on a much darker tone. The Indian Ocean also has a Z-shaped scratch approximately 15cm high which has also taken on a dark colour. Faults to the sphere are otherwise generally limited to light varnish blemishes and relatively light scratching which are mostly visible due to taking on a dark colour (grime build-up). The Southern polar region has some light foxing and there are some loose pieces internally causing a slight rattle when the globe is turned. Celestial - The sphere has good surface and colouring. There is some noticeable concentric scuffing/losses to the varnish approximately 5cm below the equator line otherwise noticeable faults appear to be limited to minor historic varnish scuffs and scratches. As with the terrestrial there is some loose material causing a slight 'rattle' when the sphere is turned.Both spheres are mounted securely on their pivots and turn and turn feely; the brass fittings have overall discolouration/tarnishing but are in good original condition. The horizon papers are generally in very good original condition; the celestial has an angled shrinkage crack otherwise faults are limited to minor historic rubbing and wear. The stands are both in sound original condition with no visible breaks or noticeable repairs and damage generally limited to a few bumps and scuffs. Both are missing several of the small curved brackets fitted at the junction between the horizon ring and quadrant supports. Both also have evidence (sockets to the back of each foot) indicating that compass stretches were fitted at some point.  Condition Report Disclaimer

Steiff oversized largeboxed Elephant toy 1903 Replica fine toy on wheels large 43cm wide in Grey with saddle and metal framed roll along wheels, in original box with packaging , as shown.A good new ( vintage unused display toy-1 + box) You are personally  invited to Bishton Hall for the Viewing day 11-3pm on Sunday 1st December  , the day prior to the sale and view and see the dolls toys and teddy bears and fashion and textiles for yourself in person

TWO BOXES AND LOOSE MISCELLANEOUS SUNDRIES to include a souvenir Indonesian-style dagger with a resin cockatoo head and bone sheath, a pair of burnt orange ceramic table lamps, a pair of Stonehenge inspired bookends, two boxed sizzle platters, two pipes comprising one marked 'Eckington Hall Sheffield,' and another 'Jambo,' a boxed cheese knife set, a Dachshund door stop, a pair of Medieval inspired painted glass suncatchers/decorative plaques, a wooden scroll hanging 1962 'Phillips New Commercial Map' width approximately 190cm etc (2 boxes and loose) (s.d)

A Mixed Collection of Items including Wall Barometer, New Hall illustrated Dishes and a Royal Doulton Wood Nymph HN2192

[Bindings]. Mahon (Lord). History of England from the Peace of Utrecht to the Peace of Versailles, in 7 vols., 3rd Ed., pub. John Murray, London, 1853; Macaulay (Lord Thomas Babington). The History of England from the Accession of James the Second, 4 vols. bound as 2, pub. Longman, Green, Longman, Roberts & Green, London, 1864, all 12mo, tan tree gilt calf, gilt spine with contrasting Morocco labels, marbled endpages and all edges; Life and Letters Of, New Edn. in 2 vols., pub. Longmans, Green & Co., London, 1878; Carlyle (Thomas). Critical and Miscellaneous Essays, in 5 vols., 2nd ed., pub. Chapman & Hall, London, 1842; and Arnold (Matthew). Poems, 3 vols., pub. Macmillan & Co., London, 1885 and 1888, all 12mo, gilt calf, gilt spine with contrasting labels, marbled endpapers and all edges. (19)

Surtees (Robert Smith). Sporting Novels, 8 vols. comprising Ask Mamma, Plain of Ringlets, Sponge's Sporting Tour, Hillingdon Hall, Handley Cross, Jorrocks's Jaunts and Jollities, Hawbuck Grange, and Mr. Romford's Hounds, ill. John Leech, H. K. Browne, W. T. Maude, many hand coloured, pub. Bradbury Agnew & Co., London, n.d.; George Routledge & Sons Ltd., London, n.d., (Jorrocks's, new edn.), and John C. Nimmo, London, 1899, (Hillingdon Hall), all 8vo, half green gilt Morocco, tan gilt Morocco spines, marbled end papers, and gilt top edges. (8)

George Martelli: 'The Elveden Enterprise: A Story of the Second Agricultural Revolution', London, Faber & Faber, 1952, 1st edition, b/w frontis of Lord and Lady Iveagh + 46 b/w ills from photographs complete, documenting history of Elveden Estate 1800-1950 and the transformation and development of a new farming system from 1927, original cloth gilt, dust wrapper. Illustrations from photos include 'Elveden Hall as rebuilt by the Maharajah [Duleep Singh]' and 'Victorian shooting party with the Maharajah and Prince of Wales, afterwards King Edward VII'

Timothy Lightoler: 'The Gentleman and Farmer's Architect. A new work containing a great variety of useful and genteel designs. being correct plans and elevations of parsonage and farm houses, lodges for parks, pinery, peach, hot and green houses..., London, Robert Sayer, 1774, title page and 25 engraved plates [Harris 517; cf. Weinreb Catalogue 35, no. 12], 4to (27 x 21cm), 20th Century paper covered boards. Lightoler's work features "an ambitious (though modestly budgeted) set of designs in Palladian, Gothic and Chinese styles for country gentlemen and farmers. Barns, sheep coats, sham ruins 'to place before disagreeable objects', stables and dairies are among the farm houses and together form a delightful pattern book, though few can have been executed. The only domestic architecture recorded as by Lightoler are designs for hall, dining room and stables at Burton Constable, Yorks, 1760" (Weinreb). Very scarce

POLIAKOFF, SERGE1900 Moskau - 1969 ParisTitel: Composition. Datierung: 1951/1954. Technik: Öl auf Leinwand. Maße: 100 x 65cm. Bezeichnung: Signiert und datiert unten links: SERGE PoLiAKoFF 1951 54. Nochmals signiert und datiert verso oben rechts: SERGE PoLiAKoFF 1951 54. Rahmen/Sockel: Modellrahmen. Provenienz:- Sammlung Alexis Poliakoff, Paris- Galerie Melki, Basel (Aufkleber)- Privatsammlung DeutschlandAusstellungen:- Galerie Creuzevault, Paris 1957- Kunstverein Hamburg, 1958 (Aufkleber)- Statens Museum for Kunst, Kopenhagen 1958- Kunsthalle, Bern 1960- Whitechapel Gallery, London 1963, Kat.-Nr. 11 (Aufkleber)- Kestner-Gesellschaft, Hannover 1963, Kat.-Nr. 11 (Aufkleber)- Kunstverein, Bremen 1963- Museum am Ostwall, Dortmund 1963- Overbeck Gesellschaft, Lübeck 1963- Württembergischer Kunstverein, Stuttgart 1964- Städtisches Museum, Trier 1963- Haus der Städtischen-Kunstsammlungen, Bonn 1964- Musée Despiau-Wlérick, Mont-de-Marsan 1969- Musée National d'Art Moderne, Paris 1970- Musée d'Unterlinden, Colmar 1971- Musée de Tel-Aviv, 1971/72 (Aufkleber)- Musée des Beaux-Arts, Kopenhagen 1972- Kunstnernes Hus, Oslo 1972- Trondhjems Kunstforening, Trondheim 1972- Lillehammer Bys Malerisamlung, 1972- Musée d'Art Moderne, Tampere 1972- Galerie des Arts, Helsinki 1972- Galerie Veranneman, Brüssel 1973- Musee Fabre, Ville de Montpellier 1974 (Aufkleber)- Musée des Beaux-Arts, La Chaux-de-Fonds 1975- Galerie Melki, Paris 1975- Palais des Beaux-Arts, Charleroi 1975- Sonja Henje-Onstad Kunstsenter, Hovikodden 1976- Musée Municipal, Vallauris 1978- Campredon Art et Culture, L'Isle-sur-la-Sorgue 1986 (Aufkleber)- Fondation Pierre Gianadda, Martigny 1987- The Seibu Museum of Art, Tokyo 1988 (Aufkleber)- Tsukashin Hall, Amagasaki 1988- Galerie Melki, Paris 1991/92, Kat.-Nr. 13 (Aufkleber)- Museum Würth, Künzelsau 1997- Künstlerhaus, Wien 1998Literatur:- Poliakoff, Alexis: Serge Poliakoff - Catalogue Raisonné, Volume II, 1966-1969, Paris 2004, WVZ.-Nr. 54-101, Abb.- Ausst.-Kat. Serge Poliakoff, Kunstverein Hamburg, Hamburg 1958, Kat.-Nr. 28 (hier abweichend betitelt)- Ausst.-Kat. Serge Poliakoff, Skulpturer, Statens Museum for Kunst, Kopenhagen 1958, Kat.-Nr. 20 (hier abweichend betitelt)- Ausst.-Kat. Serge Poliakoff, Werke von 1937-1960, Kunsthalle Bern, Bern 1960, Kat.-Nr. 38 (hier abweichend betitelt)- Ausst.-Kat. Serge Poliakoff, Kestner Gesellschaft, Hannover 1963, Kat.-Nr. 11 (hier abweichend betitelt)- Ausst.-Kat. Serge Poliakoff, Städtisches Museum, Trier 1963, Kat.-Nr. 7 (hier abweichend betitelt)- Ausst.-Kat. Serge Poliakoff, Musée National d'Art Moderne, Paris 1970, Kat.-Nr. 35, Abb.- Ausst.-Kat. Serge Poliakoff, Campredon Art et Culture, L'Isle-sur-la-Sorgue 1986, Abb.- Ausst.-Kat. Poliakoff, Eine Retrospektive, Museum Würth, Sigmaringen 1997, S. 106, Abb.- Frühes Werk mit interessanter Farbigkeit- Aus einer Zeit in der Poliakoff seinen eigenen Weg zu Abstraktion findet und seine Palette um leuchtende Töne erweitert- Beeindruckende Ausstellungshistorie mit wichtigen Ausstellungen in Europa und AsienEine weltumspannende AusstellungshistorieDieses Gemälde ist in mehrfacher Hinsicht ein außergewöhnliches Werk Serge Poliakoffs: Zum einen hat der Künstler es wohl über eine Zeitspanne von drei Jahren, zwischen 1951 und 1954 mehrfach bearbeitet und es auch entsprechend datiert. Zum anderen hat dieses Gemälde eine Ausstellungsgeschichte, die weltumspannend ist. Zwischen 1958 und 1998 wurde diese Arbeit in elf Ländern gezeigt: Von Norwegen bis in die Schweiz und von Belgien bis Japan ist dieses Werk des aus Russland stammenden Wahl-Franzosen in Galerien und Museen zu sehen gewesen. Die Rückseite dieses "Weltenbummler-Gemäldes" mit ihren vielen Aufklebern und Stickern hat für sich genommen schon einen hohen ästhetischen Wert.Ein prägnantes Gemälde aus einer positiven Umbruch-PhaseAber dieses Gemälde als solches ist auch enorm stark: Der Rand - das einzig Reale, dem sich die Farbe stellen muss - begrenzt drei große Farbblöcke. Siena-Ocker nimmt fast die obere Hälfte des Bildes ein und dominiert in der Quantität. Die untere Hälfte wird durch eine etwas größere Form in Elfenbein-weiß und ein blau-schwarzes Farbfeld besetzt. Im Zentrum verdichtet sich der Dreiklang der Randzone durch eine weitere Dreier-Konstellation: Eine rosafarbene Form, darunter eine weitere in Siena-Ocker und ein kleines schwarzes Dreieck begegnen einander hier. Alle diese sechs Felder weisen die beschriebenen Hauptfarben auf, sie sind aber ganz und gar nicht einfarbig, Der Künstler arbeitet ganz intensiv mit Übermalungen, lässt tiefer liegende Schichten aufscheinen und setzt mit dem Pinsel kontrastreiche Akzente in die Oberfläche. So trägt das in der Mitte stehende Siena-Feld in seinen Randbereichen ein sattes Grün. Das rosafarbene Feld wiederum weist in seinen Begrenzungen helles Elfenbein und dunkleres rosa Pigment auf. Die reiche Gestaltung gerade der Randzonen führt dazu, dass der Eindruck einer Collage-Technik entsteht. Ein vorne und hinten wird dem Auge suggeriert.Es ist auch zu beobachten, dass die optisch so reichen, organisch wirkenden Formen alle sehr spitze Ecken und Winkel aufweisen, die sich im kleinen Schwarz zu verdichten scheinen.Die Jahre zwischen 1951 und 1954 markieren einen existenziellen Umbruch in Serge Poliakoffs Leben: Seit 1952 ist der Künstler durch eine feste Galeristen-Bindung in der Lage, von seiner bildenden Kunst zu leben. Vorher hatte er als Gitarrist das Einkommen seiner kleinen Familie sichern müssen. War Serge Poliakoff vorher bereits in Künstlerkreisen überaus geschätzt (von Wassily Kandinsky stammt das Zitat von 1938: "Für die Zukunft setze ich auf Poliakoff", zit. nach: https://www.lecoindesarts.com/de/biographie-serge-poliakoff), so werden zu Beginn der 1950er Jahre auch Kritiker und Sammler auf ihn aufmerksam. 1953 kann der Künstler eine erste große Einzelausstellung im Palais des Beaux Arts in Brüssel zeigen; eine erste Einzelausstellung in den USA (Galerie Circle & Square, New York) folgt noch im selben Jahr.Dass dieses Gemälde, das optisch so prägnant ist und das aus einer so positiven Umbruch-Phase des Künstlers stammt, von Museen und Kuratoren immer wieder angefragt wurde, ist nur konsequent und spricht für seine Bedeutung im Oeuvre des Meisters der "École de Paris".Alexandra Bresges-Jung.Erläuterungen zum Katalog Serge Poliakoff Frankreich Nouvelle École de Paris Tachismus Moderne Kunst Unikate 1950er Modellrahmen Abstrakt Gemälde Öl Formen Voraussichtliche Versandkosten für dieses Los:Absprache nach der Auktion.

Mary Fedden OBE RA RWA, British 1915-2012 - Esch-sur-Sure, 1934; oil on panel, signed and dated on the reverse 'Mary Fedden 1934 signed 1990', 32 x 40.6 cm (ARR) Provenance: Bonhams, London, Modern Pictures, 27th April 2004, lot 225;  private collection, purchased from the above and thence by descentNote: this early work was made while the artist was still at the Slade. Mary Fedden is one of the most beloved British artists of the twentieth century, known for her harmonious and carefully composed landscapes and still lifes. This work is an excellent example of her nature style, in its contrasting colours and flattened perspective, that is comparable with her contemporaries Winifred Nicholson and Anne Redpath. Married to the painter Julian Trevelyan, Fedden exhibited in major events such as the 1951 Festival of Britain and later taught at the Royal College of Art, where her students included David Hockney and Patrick Caulfield. Her works are in major UK collections, including the Tate, New Hall Cambridge and Bristol Art Gallery.

Mary Fedden OBE RA RWA, British 1915-2012 - Santiricceri, 1995; felt-pen on paper, signed and dated lower left 'Fedden 1995', 27.5 x 22.3 cm (ARR) Provenance: John Iddon Fine Art, Richmond, purchased directly from the artist; private collection Note: Mary Fedden is one of the most beloved British artists of the twentieth century, known for her harmonious and carefully composed landscapes and still lifes. This work is an excellent example of her nature style, in its contrasting colours and flattened perspective, that is comparable with her contemporaries Winifred Nicholson and Anne Redpath. Married to the painter Julian Trevelyan, Fedden exhibited in major events such as the 1951 Festival of Britain and later taught at the Royal College of Art, where her students included David Hockney and Patrick Caulfield. Her works are in major UK collections, including the Tate, New Hall Cambridge and Bristol Art Gallery.

Aubrey Williams, Guyanese/British 1926-1990 - Guiana, 1963; oil on paper, signed, dated and titled lower right 'Aubrey Williams 63 Guiana' and titled again on the reverse of the frame, 59 x 76.5 cm (ARR) Provenance: private collection and thence by descent Note: this piece is typical of Williams's style of the 1960s, combining abstract impressionist tendencies with the forms and symbols of the pre-Colombian art of the indigenous inhabitants of the Americas. Williams was strongly influenced by American artists associated with Abstract Expressionist such as Jackson Pollock, Mark Rothko and Willem de Kooning, having seen major exhibitions of their works at the Tate Gallery in London in 1956 and 1959.  After moving to the city in the 1950s, Williams became a major figure in the London art world, especially through his connection with the South African artist Denis Bowen, who founded the New Visions Gallery in London. Williams co-founded the Caribbean Artists Movement with other London-based Caribbean artists and intellectuals, such as Ronald Moody, Stuart Hall and Orlando Patterson. His artwork is currently in the collection of the Tate in London, the Arts Council, the Royal Albert Memorial Museum and the Bristol Museum and Gallery, among others. His work was central to the 2022 exhibition, 'Post-war Modern: New Art in Britain 1945-1965' at the Barbican Centre, London and other recent internationally acclaimed shows including 'Life Between Islands: Caribbean-British Art 50s – Now', 2021 at Tate Britain and 'The Gift of Art', 2018 at the Perez Art Museum, Miami. 

Aubrey Williams, Guyanese/British 1926-1990 - Kumaka, 1963; oil and mixed media on canvas, signed, dated and titled on the reverse 'Aubrey Williams 63 Kumaka', 71 x 81.3 cm (ARR) Provenance:private collection and thence by descent Note: Kumaka refers to a village in Williams's native Guyana. This piece is typical of Williams's style of the 1960s, combining abstract impressionist tendencies with the forms and symbols of the pre-Colombian art of the indigenous inhabitants of the Americas. Williams was strongly influenced by American artists associated with Abstract Expressionist such as Jackson Pollock, Mark Rothko and Willem de Kooning, having seen major exhibitions of their works at the Tate Gallery in London in 1956 and 1959. After moving to the city in the 1950s, Williams became a major figure in the London art world, especially through his connection with the South African artist Denis Bowen, who founded the New Visions Gallery in London. Williams co-founded the Caribbean Artists Movement with other London-based Caribbean artists and intellectuals, such as Ronald Moody, Stuart Hall and Orlando Patterson. His artwork is currently in the collection of the Tate in London, the Arts Council, the Royal Albert Memorial Museum and the Bristol Museum and Gallery, among others. His work was central to the 2022 exhibition, 'Post-war Modern: New Art in Britain 1945-1965' at the Barbican Centre, London and other recent internationally acclaimed shows including 'Life Between Islands: Caribbean-British Art 50s – Now', 2021 at Tate Britain and 'The Gift of Art', 2018 at the Perez Art Museum, Miami. 

The Great War M.C. group to Major Stanley Cornell Deed, 10th Hussars: Military Cross, George V; 1914-15 Star (LIEUT. S. C. DEED. 10/HRS.); British War Medal 1914-20 and Victory Medal (MAJOR S. C. DEED.); 1939-45 Star; France & Germany Star; Defence Medal; War Medal 1939-45; Egypt: the Order of the Nile, 4th Class breast badge; later mounted for display, Nile badge with light enamel damage and loose (rotating) central device, others good very fine. [9] 36mm diameter of round medals M.C. London Gazette 30/03/1916Stanley Cornell Deed was born in London on the 2nd of April 1881, and was educated at Horton Hall, Eastbourne College, and Merton College Oxford. He saw home service with the Berkshire Yeomanry 1899-1902, and subsequently devoted himself to farming in South Africa and Argentina, acquiring a profound knowledge of horses. He returned to England in 1914 and was commissioned in the 2nd King Edward's Horse, before transferring via the 11th Reserve Cavalry to the 10th Hussars in France in May 1915. The action for which he received the M.C. was carried out at the Hog's Back, Vermelles, on the 2nd and 3rd February 1916, and is described in the citation as follows:"For conspicuous gallantry as Bombing Officer in the trenches. When the enemy suddenly and unexpectedly exploded a mine, he forstalled them and occupied the crater, and drove off their bombers. Later, when the enemy had occupied their lip of the crater he led out his bombers again and turned them out."Deed went on to serve as Staff Captain with the 7th and then the 6th Cavalry Brigades. He was in Egypt and Palestine from October 1917, and was Liason Officer to the New Zealand Cavalry Brigade. He was made D.A.A.G. 5th Cavalry Division in Syria and Palestine in May 1918. He was twice mentioned in despatches, including that of General Allenby on the 5th of March 1919. He was honoured with the Order of the Nile (London Gazette 26/11/19) for services to the Egyptian government in connection with horse husbandry.

A group of early English ceramics, including a New Hall? teapot with 3 matching stands, a blue and white food warmer, 3 blue and white plates, a blue and white Worcester tea bowl (A/F), various other plates, etc

A group of New Hall porcelain cups and saucers, and a New Hall tea bowl and saucer with painted floral sprigs

Kuno Küster (Munich -1939)“Untitled”Mixed media on paper. Signed.86 x 61,5 cm.Handwritten inscription: “To [...] Rafel Cofer talking to his shadow”.Kuno Küster's facet as a philosopher and illustrator has inspired to be named in the book “Philosophia pacis”, a tribute to Raimon Panikkar, philosopher and theologian; the chapter is named “Kuno Küster: The contribution of art to a philosophy of peace or: the return of harmony”. Küster held, in June 1969, an important exhibition that took place in the Prado Hall of the Ateneo de Madrid. For the occasion, Cuadernos de arte de publicaciones españolas, produced a small catalog, edited and directed by Carlos Aren, number 132 of the series Divulgación, on the occasion of Kuno Küster's exhibition. The present edition, consisting of one thousand copies, was printed in langa y cia, with polycolor engravings.At the beginning of the catalog, Dr. Bernhard Degenhart, director of the Museum of Graphic Arts in Munich, describes the artist as “one of the few ‘romantics’ among the young German artists. Within unreal spaces, invented by him, he places figures that are not so much to be interpreted as figurative manifestations, but rather as pure intuitions that complement the space, forming with it a mysterious organism. The constructive relations between space and figure, the dynamic currents between the two are represented by means of colors. The coloring is very bright and has nothing decorative, but is the manifestation of the romantic interpretation of the world, characteristic of Küster's works in an intensity that is surprising today.  The artist himself says of his works: “The paintings of the last period are due to the intention of creating a new space.The result is the construction of a spatial figure with which the observer must empathize in order to know the situation of the figure and at the same time his own situation.”In the same catalog is a short biography of the artist: “Kuno Küster was born in Munich on January 8, 1939.From 1958 to 1964 he studied at the Academy of Fine Arts in Munich.He was appointed Meisterschüler of Professor Nagel.Since 1965 he has lived in Munich, where he has devoted himself to painting. He has had group exhibitions in Vienna and Munich. His works are owned by the Museum of Graphic Arts in Munich and the Munich School of Engineering. Private exhibitions in Munich and Chicago. He is nominated for the 1969 Bavarian State Prize”. 

Adam (Robert, 1728-1792) Preliminary design for an urn in the dining room at Osterley Park, Middlesex, pen and brown ink, brown wash, traces of black chalk under-drawing, signed and dated '1766', on fine laid paper with watermark initials 'GR', sheet 305 x 175 mm (12 x 6 7/8 in), under glass, very fine small splits within one or two of the heavily inked lines, handling creases, minor surface dirt, framed, 1766 Provenance:    Collection of John and Eileen HarrisLiterature: cf. Harris, Eileen, The Genius of Robert Adam: His Interiors, 2001, Chapter 10 "Osterley Park". Exhibited: Royal Academy and the V&A, Age of Neoclassicism, 1972 *** Exquisitely executed design for an urn in the dining room of Osterley Park; the 'palace of palaces' [Walpole]. A rare survival by the foremost Neoclassical architect of the 18th century. On his return from Italy in 1761 Robert Adam became a Fellow of the Royal Society, and thus established in practice, set out to revolutionize English domestic architecture. In place of the rigid grammar of the orders as described by Vitruvius and interpreted by Palladio, he substituted a new and elegant repertoire of architectural ornament based on a wide variety of classical sources ranging from antiquity to the Cinquecento. The success of the new style was immediate. The present drawing depicts a design for an urn that was intended to be one of a pair placed upon pedestals, made of carved, painted and gilded wood, with the finished examples attributed to John Linnell (1729-96) and still on display in the house today [see National Trust no. NT771750.3]. 'Osterely, Middlesex, was a botched Elizabethan pile when Adam came there in 1761; when he left in 1778 it was a 'palace of palaces... so improved and enriched that all the Percies and Seymours of Sion must die of envy' [op. cit. Harris, Eileen, 2001]. The original building on this site was a manor house built in the 1570s for banker Sir Thomas Gresham, who purchased the manor of Osterley in 1562. During the late 17th century, the estate was owned by Nicholas Barbon, a developer who mortgaged it to Child's Bank and then died in debt around 1698. As a result of a mortgage default, by the early 1710s, the estate came into the ownership of Sir Francis Child, the founder of Child's Bank. In 1761, Sir Francis's grandsons, Francis and Robert, employed the Scottish architect Robert Adam to remodel the house. Architectural drawings by Robert Adam rarely appear on the open market, despite having produced a significant number, this being due to the vast majority (nearly 9,000) having been purchased directly from the Adam family by Sir John Soane in 1833; which now forms one of the principal treasures of the museum. Unlike a relatively steady and finished "Office hand", the present drawing shows a vigour and passion that can only be by the architect himself, and is a preliminary drawing of a raw idea taking shape and being refined. The Soane Collection hold three similar preliminary drawings for different commissions, which allow for an excellent comparison of Adam's hand; see 'Preliminary design for a ceiling for the hall, c. 1773' [SM Adam volume 8/33], 'Preliminary design for a chimneypiece and overmantel mirror frame', 1787 [SM Adam volume 24/195], and 'Preliminary design for a girandole for the drawing room', 1775 [SM Adam volume 6/30]. Eileen Harris is an internationally recognised Robert Adam scholar, publishing extensively on the subject for over 40 years.

A 'Hi Percussion' drumskin (approx 14.5" diameter) signed by Fast Eddie, Lemmy and Philthy Animal (with one additional partial PA signature).A statement on the provenance by the vendor."Saturday 17 November 1979 on the Bomber tour, Motorhead were playing the Great Hall at Lancaster University. I went along early with a friend to see if we could watch the set up.During this Phil Taylor was changing his snare drum head for a new one, I asked if I could have it, being a drummer myself, he obliged and signed it for me, I then went and got Fast Eddie and Lemmy to sign it as well. They were supported on the tour by Saxon. At the time I was 15 and I have had it for the last 45 years. I went on to be a signed artist in a band and released 2 albums worldwide in 1989 and 1991, I was also signed by Premier Drums during this time, having the drum skin on my wall always gave me the belief that I could do the same as Phil Taylor, he was a lot more successful than I was however, but it remained a strong motivating force for me.It is now time for others to enjoy this unique and one of a kind part of rock history. All three of the original band members have passed away, this is a fitting tribute to them and the early days of Motorhead."

UNITED STATES. A group of four hand coloured engravings published by J. & F. Tallis (c. 1842-1849): Military School, West Point, N.Y.; City Hall New York; Harvard University, Cambridge, Mass.; Albany, from Van Renssalaer's Island; a little light spotting, f&g, ea. 18cm x 25cm. (4)

Thomas Forrester & Sons Pheonix ware coffee service for six, in the Blossom pattern, and a New Hall tea service

ANTIQUARIAN (ASSORTED): 1. Lucius Annaeus Seneca, L. Annæi Senecæ Philosophi Tomus secundus; in quo epistolæ, et quæstiones naturales, 1639, calf, gilt tooled spine title in compartments, 12mo; 2. Erasmus, Brevissima Maximeque Compendaria Conficiendarum Epistolarum Formula, Paris 1543 bound with Paraphasis, Paris 1545; 3. Erasmus, Verborum ac Rerun, Amsterdam (Amstelodami), 1662, engraved title, original vellum, 12mo.; 4. L'Abbe De Vertot, Historie Critique de L'Etablissement des Breton dans des Gaules, 1720, calf, 8vo; 5.Trapp (John), A Commentary or Exposition upon All the Epistles and the Revelation of John the Divine, 1648, half calf, 8vo; 6. Williams (Gregory), The Right Way to the Best Religion, 1636, half calf, 4to; 7. Pearch (G.), A Collection of Poems, intended as a supplement to Mr. Dodsley`s Collection, New edition, vol 1, 1783 contemporary calf (worn, some replacement labels), 4to (7)Provenance: sold on behalf of Gregynog Hall, surplus to the collectionComments: mixed condition, inspection strongly advised.

AN INTERESTING COLLECTION OF EARLY AMERICAN BANKNOTES. A collection of 17 early American notes: Five Dollars printed by Hall and Sellers 1777. One third of a dollar A.C. and F. Green 1774. Six-Pence 1787. Half Dollar 1767. Two shillings Hall and Sellers 1772. Eighteen pence Hall and Sellers 1773. One Shilling Hall and Sellers 1772. Thirty Shillings Hall and Sellers 1776. Two Dollars A.C. and F. Green 1774. Six Dollars T. Sparrow and Jonas Green 1767. Third of a Dollar A and F Green 1774. Four Pence John Dunlap 1777. One Shilling . One Shilling and four pence New York 1776. One third of a Dollar. One Dollar Jonas Green 1776. Eighteen Pence 1776. And a fragment. *CR Poor condition throughout. Some in half, some old repairs.

A mid 19th century Copeland & Garrett tea cup and saucer, of a floral pattern, together with a mid 19th century tea cup and saucer of a floral pattern with No. 2515 beneath, another teacup marked "1209" beneath, a late 18th century English tea bowl and saucer, probably New Hall, unmarked, a coffee cup and saucer with underglaze blue factory mark beneath, three further decorative 19th century tea cups and two unassociated saucers. (14)

18th Century and Later Ceramics, including a Newhall teapot, an English porcelain floral and bird painted teacup and saucer with gilding, a Chinese dish painted with Rabbits etc. (one tray)New Hall teapot - cover with multiple large chips, body in good order, one bowl with a hairline crack from the rim to the foot, the other bowl extensively repairs, tea bowl with firing crack to the rim, one cup fully restored, one cup with chips to the rim, jug is heavily repaired and with chips, another tea cup lacking a handle, remaining pieces are ok

Vacheron & Constantin. A very rare, unusual and historically interesting aluminium pocket watch Case No.336508, Movement No.497758, made circa 1954, presented in January 1955 Cal.439/7, 17 jewel movement with fine-regulation, adjusted to temperatures, silvered dial with applied Breguet numerals, Breguet hands, subsidiary seconds, three-piece aluminium case with reverse engraved ‘’TO THE PRESIDENT OF HAITI GENERAL PAUL EUGENE MAGLOIRE ON HIS VISIT TO THE UNITED STATES JANUARY 1955'. Case, dial and movement signed. Diameter 44mm, thickness 10mm, total weight 21g. From the family of former President of Haiti, Paul Eugene Magloire, this watch was presented to him by the American President Dwight D. Eisenhower upon his official state visit from January 26 - February 6, 1955. General Magloire was elected President of Haiti in 1950 and was responsible for increasing tourism and foreign investment within the country. After the devastating Hurricane Hazel hit both Haiti, causing immense damage, and then America, in 1954, the two Presidents of their respective countries opened dialogue, most likely instigating the invitation for Present Magloire and his wife, Mrs Yolette LeConte Magloire to visit America, with their official accommodation the Lincoln Bedroom at The White House. A New York ticker-tape parade from Battery to City Hall was held in their honour on January 31, 1955. Aluminium pocket watches by Vacheron Constantin are particularly rare, with the three-piece case and movement plate made using aluminium to create a strong yet lightweight pocket watch. Conceived in 1937, it is believed less than 300 examples were manufactured and prominently issued as retirement gifts to people working in the aluminium industry until approximately 1955. The movement of this example is stamped VXN indicated it was designated for the American market. 

AN AMERICAN SILVER CHRISTENING MUG, RETAILED BY HENRY PEAT BUCKLEY, NEW ORLEANS, THIRD QUARTER 19TH CENTURY cylindrical, chased around a vacant cartouche with trailing flowers between beaded rims, double scroll handle, underside stamped 'H.P. BUCKL... / N.ORLEANS', 9.5cm high; together with an Edwardian silver Christening mug, Nathan & Hayes of Birmingham, Chester, 1907, cylindrical, stamped in high relief around the base with figures carousing outdoors below the engraved inscription 'H.A. HALL, / JUNE 4TH. 1911', 7.5cm high; 256g (2)

DC Eaglemoss Chess set No. 2: a complete 32 piece chess set (DC Comics / Eaglemoss Hero Collector).This Eaglemoss DC Chess Set 2 is a must-have for all DC fans and chess enthusiasts. This set was only ever available for internal promotions and showroom exhibitions having never been previously available for general release. The set includes a full 32-piece set (pieces only magazines are not included), complete with board, all of which are new and boxed. The pieces feature iconic characters from the DC universe, making it a great collectible item for fans of the franchise. The set is perfect for both beginners and experienced players alike, with its high-quality construction and attention to detail. Each superbly detailed chess piece is cast in metallic resin, then hand painted. A crest on the front of each base shows each piece's rank. Pawns stand on shallow bases. White pawn bases carry a cross 'Hall of Justice' Symbol, while black pawns display a skull. See below for the team character layout.The chess board measures approx. 52x52cm (20.47 inches x 20.47 inches) and the pieces height is approx 9 - 11.5cm (3.54 inches - 4.53 inches)Whether displayed as a collectible item or used for regular play, this Eaglemoss DC Chess Set 2 is sure to impress.Black side character list and corresponding chess piece:Atrocitus - BishopBizarro - PawnBrainiac - PawnCaptian Cold - PawnCheetah - QueenDarkseid - RookDeadshot - PawnDeathstroke - PawnDoomsday - RookKiller Frost - PawnLex Luthor - KingManta Ray - PawnOcean Master - PawnReverse Flash - Bishop The Joker - KnightZod KnightWhite side character list and corresponding chess piece:Acquaman - RookBatman - KnightBooster Gold - PawnCyborg - RookFirestorm - PawnGreen Lantern - BishopGreenArrow - PawnHawkman - PawnMartian Manhunter - KnightPower Girl - PawnShazam - PawnSupergirl - PawnSuperman - KingThe Flash - BishopWonder Woman - QueenZatanna - Pawn~(1)Condition Report: Brand-New condition.

Decorative 19thC and later ceramics, largely (AF), comprising New Hall grey and gilt saucer, decorated with a castle, Masons ironstone wares, coffee cans, a Gordy Welsh teapot, a Booths Silicon china teapot, etc. (4 trays)

A New Hall teapot and stand hand decorated, pattern number, 1277, including bat print, c.1815; Worcester teapot and cover, c.1810; Spode Stone China teapot and cover, pattern number 2886, c.1820 (3)

A rare white wood paint and print decorated Tunbridge ware box advertising 'Mazzinghis Lusus Harmonia Mutabilis …..', (changeable harmony game), a musical game, of rectangular form, the sliding lid painted with flowers encircling a printed oval 'Mazzinghis Lusus Harmonia Mutabilis, For Two German Flutes Op. 54 London Pr 1.1.0, Published by Goulding and Co., 117, New Bond Street and 7 Westmorland St. Dublin, where my be had Mazzinghis Lusus and Op. 51 for the Piano Forte 21sh. Entd. At Stat. Hall'. The interior lined in original paper with eight titled compartments 'First Division - Eight Division' containing a selection of bone circular counters some depicting musical notes, some words, some numbers, box 20.5 x 11.5 x 6.5cms.       Joseph Mazzinghi (1765-1844) was a pupil of Johan Christian Bach and at the age of ten became organist to the Portugese Chapel, he was certainly in London by 1787 and by 1791 he was director of the Pantheon which had secured the only licence for Italian Opera, a prolific composer he taught many influential pupils including Queen Caroline and was entrusted with conducting concerts at Carlton House. In about 1790 he entered into partnership with the firm of Goulding, D'Almaine and Co who published his music after that date and published a version of this game (the one referred to on the box lid label - (Mazzinghis Lusus and Op. 51 for the Piano Forte) which is listed in an article - Mozarts Modular Minuet Machine by Neal Zaslaw covering a survey of titles 'for automatic or automated composition'. It is listed as       "c.1805, Joseph Mazzinghi, Lusus harmonia mutablis ….. for piano forte, Op. 51 (London Goulding and Co. (c.1805) - A wooden box divided into eight compartments each containing 52 cards; each card contains two measures of music".       This actual game 'For Two German Flutes' appears to be unrecorded.                                      From the Collection of Anne Wick

A Collection of Various 19th and 20th Century Ceramics to Comprise Porcelain Plates to Include Two Hand Painted Examples with Green Inset Trim, New Hall Shallow Bowl, Set of Four Wedgwood Coffee Cans and Saucers etc

Louis Armstrong / Signatures, a hardback copy of 'Satchmo - My Life In New Orleans' by Louis Armstrong - With Signature on the title page 'Satchmo' ' Louis Armstrong' plus signatures inside the front cover of Edmond Hall, Jack Lesberg , Ella Logan and one other that we cannot identify - These are believed to have been obtained on the 1956 UK Tour - Dust jacket is torn, otherwise book in very good condition and all signatures nice and clear

New Wave / Pub Rock Concert Tickets, approximately seven hundred Unused Concert Tickets for mainly New Wave and Pub Rock / R&B artist concerts at the Manchester Free Trade Hall in the 1970s and 1980s - artists comprise Television (105 approx), Dr Feelgood (145 approx), Eddie and the Hot Rods (130 approx), Rock Pile (125 approx), Secret Affair (75 approx), and John Cooper Clarke (120 approx) - same date for each artist - mainly all in Excellent condition

A pair of Derby pastille burners and covers with gilt scroll decoration on a dark blue ground and bearded masks to the rim, 14cm high and a New Hall serpentine oval teapot, pattern N171, 15cm high Pastille burners - one with repaired crack running through the lid, some discolouration inside and rubbing to the gilding around the foot with one small chip, the other with more extensive crude restoration to the lid, discolouration and rubbing around the foot, with extensive cracking and repairs throughout.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

BOB DYLAN - LP COLLECTION. A collection of approx 27 x LPs. Artists/ Titles include The Freewheelin' (CS8786, sealed), John Wesley Harding (sealed), Finjan Club (sealed), Temptes (sealed), Together Through Life (sealed), Carnegie Chapter Hall 1961 (sealed), The Freewheelin', Highway 61 Revisted, The Times They Are-A-Changin', Street Legal, Saved, Masterpieces, Nashville Skyline, The Basement Tapes, New Morning, Slow Train Coming, Hard Rain, Self-Portrait and Planet Waves. The condition is generally VG to Ex+.

NEW WAVE, INDIE, AND ALT LP REISSUE COLLECTION - a collection of 25 New Wave, Indie, and Alt LP reissues. Collection to include: Tears For Fears - The Seeds Of Love - Mobile Fidelity Sound Lab (MOFI 1-034) - Live At Massey Hall Toronto, Canada 1985 - Mercury (3542695) - Songs From The Big Chair - Mercury (3794995) - The Hurting - The Tipping Point, Talk Talk - The Party's Over, R.E.M. - Murmur - Reckoning - Lifes Rich Pageant, Yello - 40 Years - Pint - Toy - Motion Picture - The Eye - Pocket Universe - Baby - One Second - Stella - Touch - Zebra - Flag, The The - The Comeback Special, Japan - A Quiet Life - Billy Bragg - Best Of, Ian Dury And The Blockheads - Greatest Hits. The collection is generally in Ex+ condition

BOB DYLAN - LP COLLECTION. A collection of approx 27 x LPs by Bob Dylan. Titles include Down In The Groove (sealed), Houses Of The Risin' Sun (sealed), The Real Royal Albert Hall 1966 Concert! (sealed), Bob Dylan (sealed), And The New Folk Movement (sealed), The Best Of Bob Dylan Volume 2, Shadows In The Night (sealed), Blonde On Blonde, Highway 61 Revisited, Bringing It All Back Home, At Budokan, Saved, Under The Red Sky, The Basement Tapes and New Morning. The condition is generally VG to Ex+.

DAVID BOWIE - CD COLLECTION (INC BOX SETS). An extensive collection of around 74 CDs including many boxsets by David Bowie. Some new & sealed. Titles include Ziggy Stardust, Zeit! 77-79, Hours, David Live, Lazarus, Hunky Dory, Space Oddity, The Man Who Sold The World, Sound + Vision, Nothing Has Changed, Royal Festival Hall 1972, Wild Mutation, Santa Monica '72, VH1 Story Tellers, Rarest Live, The Complete Arnold Corns Sessions, Early On 1964-1966, Stage, Outside/ Heathen, Seven Years In Tibet, Glastonbury 2000, Young Americans, Ziggy Stardust Soundtrack, The Document, The Forgotten Songs Of David Robert Jones. CDs appear to be in Excellent condition, some new & sealed. See pictures for detailed spine edge images.

2000S ARTISTS ONWARDS LP REISSUES COLLECTION - a collection of 25 LP reissues of 200s artists and onwards. Collection to include: Taylor Swift - Lover - Republic (00602508148453), The Strokes - Is This It - RCA (07863 68045-1) - Impressions Of Earth - Rough Trade (RTRADLP 330) - Angles - The New Abnormal, Suede - Royal Albert Hall 24 March 2010 - The Blue Hour, Kanye West - Graduation Deluxe Edition - The College Dropout, The Streets - Original Pirate Material - A Grand Don't Come For Free, Robbie Williams - XXV, Green Day - Greatest Hits: God's Favourite Band, Busta Rhymes - Genesis, Gregory Porter - Take Me To The Alley - Liquid Spirit - Be Good - Water - Nat "King" Cole & Me, Jack Penate (x3), Two Door Cinema Club (x2), Alt-J, Porcupine Tree, The 1975. Collection generally in Ex+ condition.

INDIE / PUNK / NEW WAVE / ALT - LP COLLECTION. A collection of 25 x LPs, mostly modern reissues. Artists/ Titles include The Stone Roses - The Stone Roses, Joy Division - Unknown Pleasures, Transmission and Love Will Tear Us Apart, Arctic Monkeys - Royal Albert Hall, Arctic Monkeys - AM, Public Image - First Issue, Johnny Marr - Fever Dreams Pts 1-4, MGMT inc Congratulations and Sylz Unlimited, The War On Drugs - Slave Ambient, Wet Leg - Wet Leg, Public Image Ltd - What The World Needs Now, The Dandy Warhols - Distortland, Sex Pistols - Never Mind The Bollocks and Arcade Fire. The condition is generally Ex to Ex+/ As New.