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Jazz / Ragtime / Blues 12" albums. A collection of approximately 57 LPs. Son House; 'The Father of Folk Blues' (BPG 62604, G+/VG), Louis Armstrong; 'At the Crescendo vol. 2' (CP52, VG/VG), Bristol & West jazz Band; 'How Would You Like Your Notes?' (AAA 301, VG+/VG+), Various Artists; 'All Star Festival' (99500 DL, VG/VG), Kid Ory; 'The Kid From New Orleans' (CLP 1303, G/F), Oscar Peterson; 'Plays Cole Porter' (MFP 1025, VG/VG+), Charlie Parker with Miles Davis; 'Bird & Miles' (DJML 062, VG/VG+), Dizzy Gillespie and Charlie Parker; 'Giants of Modern Jazz' (BJ 1204, G/G+), The Original Tuxedo 'Jass' Band; 'The Oldest Jazz Orchestra Founded In 1896' (BAP 5004, VG/G+), George Shearing; 'Jazz Moments' (T 677, G+/G+), Jimmy Yancey; 'Low Down Dirty Blues' (590 018, G+/G+), Mahalia Jackson; 'Newport 1958' (BBL 1958, G+/G+), Ella Fitzgerald; 'Ella In Hollywood' (CSD 1427, VG/VG), Jo Stafford; 'Do I Hear A Waltz?' (ST908, VG/VG), Count Basie; 'At The Savoy Ballroom 1937' (PAN 6903, VG/VG), Sarah Vaughan; 'The Many Moods of Sarah Vaughan' (EMB 3333, F/G+), Henry 'Red' Allen; 'Feeling Good' (BPG 62400, G+/VG), Billie & Dee Dee Pierce; 'New Orleans Jazz' (670 178, VG/VG+), Bunny Berigan; 'His Trumpet & His Orchestra' (LSA 3108, VG+/VG+), Charlie Parker; 'Parker Panorama' (VLP 9138, G+/VG), Burl Ives; 'Ballads with Guitar' (T 302, VG/VG), Billie Holiday; 'Lady Day' (ERO 8014, VG/VG), Ella Fitzgerald; 'Ella Swings Lightly' (T 483, VG/VG+), Bing Crosby and Louis Armstrong; 'Bing & Louis' (MFP 1209, G+/VG), Joshua Rifkin; 'Piano Rags by Scott Joplin' (H-71248, VG/G+), Burl Ives; 'Sings Irving Berlin' (T 515, G+/VG+), Count Basie and His Orchestra; 'Sugar Hill Shuffle' (WMD 197, VG/VG+), Cleo Laine and The Tubby Hayes Quartet; 'Jazz Date' (WL1088, G+/VG), Louis Armstrong; 'Louis Armstrong' (SHM 639, G+/G+), Muggsy Spanier's Ragtime Band; 'The Great 16' (RD-27132, G/G+), Jimmy Rushing; 'The Smith Girls' (SBBL 631, G+/G+), George Lewis and his Ragtime Band; 'Jazz At Vespers' (RLP 12-230, G/G+), George Lewis And Papa Bue's Viking Jazzband; 'George Lewis And Papa Bue's Viking Jazzband' (671 209, G+/G+), Various Artists; 'The Golden Era of Dixieland Jazz!' (ALL-770, VG/G+), Burl Ives; 'Sings In The Quiet of The Night' (AH 14, G+/VG+), Art Tatum; 'The Art of Tatum' (LAT 8358, F/VG), Red Nichols; 'And His Pennies' (T 131, F/G), Louis Armstrong; 'Plays W. C. Handy' (52067, G/G), Glenn Miller; 'Carnegie Hall Concert' (RD-27057, F/G+), King Oliver, Louis Armstrong, and Bessie Smith; 'The Blues Heritage' (CJS 846, VG/VG), Nat King Cole; 'Nat King Cole Sings With The Nat King Cole Trio' (MFP 1129, G+/VG), Jelly Roll Morton; 'I Thought I Heard Buddy Bolden Say' (RD 8048, VG/VG), Sidney Bechet; 'A Jam Session' (SE 8023, VG+/VG+), Glenn Miller; 'Glenn Miller's Original Recordings' (RD-27068, VG/VG), Mr. Acker Bilk and His Paramount Jazz Band; 'Acker' (33 SX 1248, VG/VG), Various Artists; 'Washboard Rhythm' (AH 55, G+/G+), Benny Goodman; 'On Stage with Benny Goodman and His Sextet, recorded "live" in Copenhagen' (DKL 4/1 4/2, G+/VG), Sarah Vaughan; 'You're Mine You' (ALLR 801, VG/G), Nat King Cole; 'Sings St.Louis Blues' (T 404, G+/VG), Andre Previn and David Rose; 'Like Blue' (MGM-C 828, VG/VG), George Lewis and His All Stars; 'George Lewis On Tour' (TS 3263/1-2, G+/VG), The George Lewis Band of New Orleans; 'Jazz at Preservation Hall' (HA-K 8165, VG/VG). (57)

A 1963 Watkins Rapier 33 Electric Guitar. with the original soft case and a matching vintage 'Frontline' guitar stand. Previously owned by the guitarist of the 1960s Camborne-based Psychedelic Rock band 'Peace and Quiet', who went on to win the 1968 Rock & Rhythm Contest held at Truro City Hall, beating the future Queen Drummer Roger Taylor's band to the top spot. The vendor is the single previous owner of the guitar, having purchased it new in 1963. Pictures of the vendor with the guitar during his time in 'Peace & Quiet' are included.Due to the heavy gigging the guitar has seen since the 1960s, there are a number of dings throughout. Attention will be required regarding the bridge pickup, which is working intermittently when switching back and forth using the pickup selector.

A porcelain teapot stand, probably New Hall, 19cm long, ex Godden Reference Collection, a cup and saucer, 18th century, ex Watney Collection, a tea plate, early 19th century, painted mark N250, 21cm diameter, a Barr, Flight and Barr stem cup, with printed and gilt decoration, printed mark to base, 12.5cm high and and another stem cup, 12.5cm high (6)Provenance: The David and Sarah Battie Collection.Condition ReportNew Hall, minor rubbingCup and saucer, handle missing, saucer broken and repaired, chipsPlate, decoration rubbedStem cups, good

18th century Chinese blue and white porcelain ashet, pair of Delft vases, pair of Chinese brass vases, New Hall vase and other ceramics, and glassware.Blue and white serving dish has stencil repair, damage and losses to other dishes, general disrepair to ceramic items

18th century Worcester feather moulded saucers with floral pattern, circa 1760, together with Worcester fence pattern saucer, Liverpool slop bowl, New Hall tea bowl and other English ceramics

Brass Nameplate 'York & Lancaster Regiment' EX LMS 4-6-0 Royal Scot Class Locomotive, built in November 1927 by the North British Locomotive Company and numbered 46142. Rebuilt in March 1951 with a new boiler and remained in service until January 1964 when it was withdrawn and scrapped. Nameplate of curved shape, painted black with prominent painted lettering, 143cm long by 21cm. Named after a renowned line Infantry Regiment of the British Army. *Provenance - From an external plinth at the Regimental Headquarters of Army Reserve Unit, Endcliffe Hall, Sheffield.Total item weight - 21.9kg

A PAIR OF GEORGE III CARVED GILTWOOD DAY BEDS THE DESIGN ATTRIBUTED TO JAMES WYATT, CIRCA 1800 The frames with reeded and paterae to both sides, upholstered in yellow woven damask fabric 86cm high, 226cm wide, 76cm deep Provenance: Supplied to William, 3rd Viscount Courtenay, later 9th Earl of Devon (1768-1835) for Powderham Castle, Devon and thence by descent Sotheby's, Powderham Castle & Seaton Delaval Hall, 29th September 2009, Lot 47 Private Collection, Wolterton Hall, NorfolkSotheby's, Arts of Europe, London, 12th May 2015, lot 114; 'Inventory 1880, probably the `two lounging sofas with gilt legs and scroll tops', recorded in the Music Room. Illustrated 'Powderham Castle III', Mark Girouard, Country Life, July 18th 1963, Vol. CXXXIV, p. 142 in the Second Library. William, 3rd Viscount Courtenay, came into his inheritance and the family seat, Powderham castle, in 1788. As a young man he quickly set about transforming the castle, aided by the architect James Wyatt, the sculptor Richard Westmacott and the furniture makers Elward, Marsh and Tatham. An 1803 inventory of Powderham reveals a patron in the vanguard of taste ordering new neo-classical furniture, painted in white and gold and a variety of works of art. Lord Courtenay's most audacious addition was his great Music Room designed and furnished by James Wyatt containing '4 elegant sofas & cushions, striped satin covers & burnished gold frames'. Courtenay's elegant taste can be gauged from the items that survive from his commissions including these day beds. The pair of day beds were covered by Lady Venetia Devon, mother of the 18th Earl of Devon, who discovered the finely worked early 19th century silk panels at Powderham castle. Girouard in his Country Life article, op. cit. p. 142, writes that these may have been part of a commission by Marsh and Tatham and references these sofas with their 'contemporary white satin covers embroidered by some of the 13 Courtenay sisters' as a part of that group.

A SET OF SIX GEORGE III GILTWOOD ARMCHAIRS CIRCA 1770 93.5cm high, 71cm wide, 53cm deep Provenance: Possibly supplied to Philip Yorke, 2nd Earl of Hardwicke (1720-1790), for Wimpole Hall, Cambridgeshire, Wrest Park, Bedfordshire or St. James's Square, London, thence by descent Illustrated: The Connoisseur, May 1965, p.4Sets of giltwood Louis XV-style chairs were fashionable in Britain from the 1750s onwards with the publication of Thomas Chippendale's first edition of the Director (1754), which featured several designs for 'French chairs' (plates XVII, XVIII, XIX, XX). Chippendale's contemporary, John Linnell, was also making chairs derived from French patterns (Victoria & Albert Museum, E.59-1929; E.85-1929; E.102-1929). The 1835 inventory for Wimpole Hall, Cambridge, included two large sets of such chairs including: '8 Gilt Framed Cabriole Elbow Chairs stuffed seats & backs & Elbows covered to match' (No. 49, Red Drawing Room). A comparable set at Wimpole was probably commissioned by Philip, 2nd Earl Hardwicke, between 1777-80 when a new Eating Room and a Grand State Dining Room was added to the mansion; this set sold Sotheby's New York, 23 October 1998, lot 341. At Wrest Park, the 1917 sale of the contents of the mansion show that three sets of carved and gilt fauteuils in the Louis XV-style were sold (Wrest Park: Contents of the Mansion, Messrs. Foster, 10/9/1917 and four following days, lots 65, 77, 155). Condition Report: Condition Report Disclaimer

Y A GEORGE III KINGWOOD, AMARANTH, TULIPWOOD PARQUETRY AND LACQUERED GILT BRONZE MOUNTED BUREAU PLAT PROBABLY BY AN EMIGRE CRAFTSMAN IN THE MANNER OF PHILIPPE-CLAUDE MONTIGNY AND RENE DUBOIS, LAST QUARTER 18TH CENTURY The gilt-brass banded rectangular top inset with a gilt-tooled blue leather writing surface, above a panelled frieze inlaid with Greek-key motif with two frieze drawers centred by masks headed by acanthus flanked by rosettes and opposing false drawers, with lateral writing slides, the lower border with a ribbon-twist mount, the brass reeded incut square tapering legs headed by laurel swags with square sabots terminating in castors, with a paper label to the pine panelling to underside inscribed in ink 'Brynkinalt RM' 72.5cm high, 122cm wide, 63cm deep Provenance: Possibly supplied to Arthur Hill-Trevor, 2nd Viscount Dungannon (1763-1837) or acquired by Arthur Hill-Trevor, 3rd Viscount Dungannon (1798 - 1862) for 3 Grafton Street, London, thence by descent at Brynkinalt Hall, Denbighshire until sold, Of Royal And Noble Descent; Sotheby's, London, 19 January 2017, lot 382, where acquired by present owner. Although this sophisticated desk, with its 'Etruscan' decoration and interlaced key frieze, has the outward appearance of a French bureau à la grec, a number of constructional idiosyncrasies help to identify it as an unusual example of English craftsmanship. Until recently the bureau plat formed part of the resplendent Hill-Trevor collections at Brynkinalt Hall in Denbighshire and is most likely the output of an émigré ébéniste working in London in the last quarter of the 18th century. London had long tradition of attracting émigré craftsman with the perpetual cycle of European political and religious turbulence of the 17th and 18th centuries spurring their arrival. The lure of the capital reached new heights following the favourable conclusion of The Seven Years' War (1756-1763), a pan-European conflict which did little to dampen the appetite for French fashions in Britain. The maker of the present bureau plat would certainly have had excellent knowledge of French workshop practices and prototypes, namely the output of the celebrated Parisian cabinet-makers Phillippe-Claude Montigny (1734-1800) and René Dubois (1737-1799). The goût grec style swept to popularity in France from the mid-1750s with the celebrated suite of furniture supplied for the collector and financier Ange-Laurent Lalive de Jully. Veneered in kingwood, amaranth and tulipwood and decorated with rosette and laurel swag mounts, the Brynkinalt bureau plat closely follows a well-documented group of bureau à la grec by Montigny and Dubois. However, the Brynkinalt bureau plat diverges in several distinct ways which preclude the possibility of a French origin. Whereas French-made bureau plat use oak, the present desk employs pine in the construction. Further, the oak-lined drawers have front-to-back oak drawer bottoms, where French antecedents would have the grain running side-to-side. The dovetails, with the pronounced fan-shaped tails, are distinctly un-French and quite idiosyncratic being covered by a very thin veneer. The original locks are English, and the lacquered-gilt-brass banding to top, mounts, capping and castors (French models typically employ sabots without castors) all present as English derivatives or casts taken the originals. The presence of a distinctly English 'rococo' influenced ring-pulls to the writing slides further anglicises the French character of the present lot. Interestingly, an almost identical version of this model, sharing the same constructional traits but lacking brass reeding to the legs, is preserved in the collections of the Marquesses of Bute at Mount Stuart, Scotland. The Bute bureau plat is almost certainly from the same émigré workshop and points to a definitive group made for the most prominent families of the day. The present desk formed part of the collections of the Hill-Trevors at Brynkinalt Hall, Denbighshire, on the English-Welsh borders. The family fortune was built at first by Sir John Trevor (1637-1717), an unscrupulous lawyer-turned-politician, who twice held the position of Speaker of House of Commons before being unseated because of a bribery scandal involving the East India Company. He also served as Master of the Rolls 1685 to 1689 and from 1693 until his death in 1717. The financial gains Sir Trevor accrued in these prominent positions allowed him to acquire two London houses on St Clements Lane and Trevor Square, Knightsbridge. All four of his sons predeceased him and his estates, including Brynkinalt, passed to his daughter Anne who married Michael Hill of Hillsborough in Ireland.Arthur Hill, 1st Viscount Trevor (1694-1771), later Arthur Hill-Trevor, 1st Viscount Dungannon, was the second son and also pursued a political career, this time in Ireland as Chancellor of the Irish Exchequer and Commissioner of Irish Revenues. Arthur built Belvoir house in Ireland to designs of Christopher Myers in circa 1750. His son, the Hon. Arthur Hill Trevor (1738-1770), predeceased him also, making him an unlikely candidate for the acquisition of the present bureau plat. Instead, the Dungannon estates, including Belvoir and Brynkinalt, passed to Arthur Hill-Trevor, 2nd Viscount Dungannon (1763-1837) who inherited the title at the age of eight. In 1795, at the age of thirty-two, he married the Hon Charlotte Fitzroy, daughter of General Charles FitzRoy, 1st Baron Southampton (1737 -1797) and grand-daughter of Charles FitzRoy, 2nd Duke of Grafton (1683-1757), and consequently sold Belvoir Park choosing to live between No. 3 Grafton Street, London (built by the Augustus Henry FitzRoy, 3rd Duke of Grafton (1735-1811) to designs of Robert Taylor in 1767) and Brynkinalt Hall. It is conceivable to bureau-plat was acquired before or during this phase of ownership as the Viscountess was a woman of highly cultivated taste and oversaw the significant re-modelling of Brynkinalt which had not been altered since the early 18th century. Condition Report: Overall there are some scratches, marks, chips, cracks and abrasions consistent with age and use.Observations include: the leather to the top has a different gilt tool edging and is either different to the leather on the sliding ends or is faded; the leather to the top also has cracks along the underlying constructions joints; some ormolu mounts are slightly loose eg the edging to to the top of the desk, one of the swags (with a later screw), some of the ribbon edging has vacant holes from missing pins, one brass inlay to one leg is sprung; it is not possible to remove the right frieze drawer as there is a fixed peg/screw preventing it from sliding out; there are two keys that operate the two different locks that suggest one is a later replacement; there is some evidence of old worm; some fading to the back.The Greek key parquetry and ormolu mounts to all sides.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition - they are a vital part of this report. Condition Report Disclaimer

An early George II 'Warning Carrier' notice. London, 1730. The notice numbered 11854 and dated June 2, 1730. The printed text reading 'Lost this day about Two o' Clock, between Red-Lion-street and New Bond-street; an Oval yellow Brilliant Diamond, set in a Ring, weight about 8 Grains, of a lively Colour. If offer'd to be sold, pawn'd or valued, you are desir'd to stop it, and give Notice to Mr James Seamer, Goldsmith, at the Flower-de-Luce in Fleet street, and you shall have Ten Guineas Reward; or if already bought, your Money again with Content. Benjamin Pyne, Beadle at Goldsmiths' Hall', the notice with a later line added above reading 'Mr Clarke at the Flower-de-Luce, near the New-Exchange',  7.9 x  8.9cm

Released in February 1962 in the United States, Desmond Blue features Paul Desmond's smooth alto saxophone accompanied by a lush string orchestra. This album, produced by George Avakian and recorded at Webster Hall in New York City, includes renditions of classics like My Funny Valentine and I've Got You Under My Skin. The vinyl and sleeve are both in excellent condition, making it a valuable addition for jazz enthusiasts and collectorsIssued: 1962Dimensions: 12.25"HCountry of Origin: USACondition: Age related wear.

Nobility Recording Company presents 'Dixieland Hall Presents Louis Cottrell And His New Orleans Jazz Band', a classic Dixieland jazz LP. Featuring the legendary clarinetist Louis Cottrell Jr., this record captures the essence of traditional New Orleans jazz, filled with rich instrumentation and lively rhythms. The album includes well-known jazz standards such as When The Saints Go Marching In and A Closer Walk With Thee. This rare edition is autographed by Louis Cottrell Jr., adding to its collectible appeal. A must-have for jazz enthusiasts and vinyl collectors.Artist: Louis Cottrell And His New Orleans Jazz BandIssued: 1963Dimensions: 12.5"L x 12.5"HCountry of Origin: United StatesCondition: Age related wear. Signature not authenticated.

Edmond Hall's Rumpus on Rampart Street, released in 1959 on Rae-Cox Records in the United States, is a standout album by the celebrated jazz clarinetist. This LP showcases Hall's mastery of the New Orleans jazz style with vibrant, expressive performances featuring classics such as Rampart Street, Hallelujah, and Swingin. Hall's clarinet work is both soulful and technically impressive, capturing the spirit of early jazz while infusing it with his signature energy. The album is further elevated by the talented ensemble of musicians accompanying Hall, adding depth and authenticity to the recording. This particular copy is made even more desirable by its inscription and autograph from Edmond Hall, adding a layer of historical and collectible appeal.Issued: 1959Dimensions: 12.25"HCondition: Age related wear.

Michael Seward Snow, British 1930–2012 - Nova, 1959; oil and mixed media on board, signed, titled and dated on the reverse 'M. Seward Snow Nova 1959', 49.5 x 58.2 cm (ARR) Note: Snow was one of the group of Modernist artists associated with St. Ives, living and exhibiting there from 1952, alongside figures such as Terry Frost and Patrick Heron. His works are now in public collections including New County Hall, Truro and The Box, Plymouth 

CONCERT FOR GEORGE - EXCLUSIVE DELUXE EDITION (2018 LP/CD/DVD BOX SET - CONCORD MUSIC 888072030077). Highly limited (1000 copies) only exclusive deluxe edition copy of The Concert For George. The set is still Mint and factory sealed in 'as new' condition. "The Deluxe Box Set features the complete sound and film recordings from the concert (on 4 180-gram audiophile LPs, 2 CDs, 2 DVDs and 2 Blu-rays), a 12”x12” hard-bound 60-page book, plus an opportunity to own a piece of the historic event, by way of a cutting from the original hand-painted on-stage tapestry used as the backdrop at the Royal Albert Hall on November 29, 2002."

Hennet (George) A Map of the County Palatine of Lancaster Divided into Hundreds and Parishes from an accurate survey made in the years 1828 and 1829, London: Henry Teesdale, 1830, 163.5cm x 115.5cm, large map with ornate title upper right, vignette view of the New Custom House, Liverpool, just below, engraved map by James Bingley, with bright original hand-colouring, mounted on linen, edged with green silk, presented in full calf faux book case with marbled edges, with green leather title label 'Teesdale's Map of Lancashire', armorial bookplate for Sir Tonman Mosley, Bart. Rolleston Hall'

Oxfordshire & Warwickshire to include: Wade (W.M.) Walks in Oxford comprising original, historical, and descriptive Account of the Colleges, Hall, and Public Buildings of the University, Oxford: Law & Whittaker, 1818, second edition, 16mo, full later blind stamped and gilt calf rebacked, folding frontispiece, multiple plates and large linen-backed fold-out map, bound with manuscript notations to the plates to back, armorial bookplate for Douglas A. Shields; Smith (William), A New and Compendious History, of the County of Warwick, Birmingham: W. Emans, 1830, vignette title, map of Warwickshire, multiple engraved plates; A Guide to the Architectural Antiquities in the Neighbourhood of Oxford, Oxford: John Henry Parker, 1842-1845, 8vo, three volumes comprising Bicester, Cuddesdon and Woodstock, volume 1 rebound in modern boards, volumes 2 and 3 with quarter roan and cloth boards (5)A Gloucestershire book collector

An 18th Century English porcelain dish probably New Hall

Marmet Baby carriage pram coach built in cream and iron grey-Hardly used and the 37” long bassinet is in beautiful condition , together with hood apron , mattress and a white sun canopy. Owned by family from new and hardly used with pop off wheels can be removed for cleaning-Photographed in The Georgian gardens at Bishton Hall.( 1 pram and 1 canopy and shopping tray)

A set of four The New Hall Vault Kronheim prints: "Weaving a Garland", "The Organ Grinder", "The Pet Rabbit", "In the Garden",12x7.5cm, framed and glazed (4)

A New Hall teapot circa 1810 pattern number 984, painted with views of Winstone Cottage and similar view verso (crack to spout)

A Worcester porcelain sparrow beak jug with floral decoration together with a New Hall helmet shaped jug and Chelsea Derby tea bowl

18th Century and Later Chinese and English Porcelain Teabowls and Saucers New Hall saucer - rim chip, matching teapot stand, cracked.One Chinese blue and white teabowl - cracked.Both Armorial teabowls - cracked.Blue and White saucers with polychrome borders - two with heavy loss to rim.Octagonal beaker - with a rim chip.Imari saucers - cracked.Fluted Export saucer - chips and crackedChinese landscape coffee cup blue and white - badly crackedEnglish puce scale cup and saucer - in good condition

A signed photograph of New York Knicks legend Walt Frazier, featuring an action shot of the Hall of Fame point guard on the court. The autograph is prominently displayed across the lower portion of the image in bold ink. The photo bears an official NBA-licensed product hologram for authenticity verification and is produced by Photo File Inc. (2001). Encased in an elegant wood-grain frame with a black inner border, the piece includes a sturdy easel backing and hanging hardware for versatile display options. A fantastic collectible for basketball enthusiasts and Knicks fans.Dimensions: 8"L x 10"HCondition: Age related wear.

This official Rawlings Major League Baseball is signed by legendary Hall of Fame catcher Yogi Berra. Known for his remarkable career with the New York Yankees, Berra was a 10-time World Series champion and three-time American League MVP, widely celebrated for his contributions both on and off the field. The baseball measures 3" dia. and features Berra's clear signature in blue ink. It comes with a protective display case measuring 3.25"L x 3.25"W x 3.25"H, ideal for showcasing this collectible piece of baseball history. Includes holographic sticker from Steiner Sports.Dimensions: See DescriptionCondition: Age related wear.

This is an original letter dated July 31, 1961, on official Chock Full o'Nuts letterhead, personally signed by Jackie Robinson, the legendary Hall of Fame baseball player and civil rights advocate. Addressed to Robert Fischel of the New York Yankees, Robinson expresses his gratitude for the handling of the "Old Timers' Day" event and conveys his appreciation to Messrs. Topping and Webb. The letter showcases Robinson's gracious character and connection to baseball history beyond his playing years. Measuring 8.5"L x 11"H, this letter is a significant piece of sports memorabilia, highlighting Robinson's post-baseball career involvement and continuing influence.Dimensions: See DescriptionCondition: Age related wear.

A selection of hardback coffee table and other books relating to art, titles including: The Artists of Northumbria, by Marshall Hall; The Artists of Cumbria, by Marshall Hall; Master of the Sea: Charles Napier Hemy RA, by Margaret Powell; Daumier, by Sarah Symmons; The Pre-Raphaelites, by Christopher Wood; Pissaro, by Martin Reid; A View of Delft Vermeer Then and Now, by Anthony Bailey; Florentine Painting, by Rolf Schott, New York: Masterpieces of Architecture, by Andras Kaldor; Ukiyo-E Paintings in The British Museum, by Timothy Clark; and other titles, one box.

SIR EDWIN LUTYENS (BRITISH 1869-1944) SIDE TABLE, 1902 oak, with brass fittings, made by William Skull & Son Ltd., High Wycombe 81cm high, 124cm wide, 48.5cm deep (32in high, 48 ¾in wide, 19 ¼in deep) Edward Hudson, Deanery Garden, BerkshireWith John Ashton Beer Sir Edwin Lutyens is renowned for his architectural achievements, including Castle Drogo, Little Thakeham, and Campion Hall, as well as his role in designing war memorials for the Imperial War Graves Commission and planning New Delhi. Yet his influence extended to furniture design, where he applied the same meticulous attention to detail and craftsmanship that defined his architectural work.Growing up in the Surrey countryside, Lutyens developed a keen interest in architecture from a young age, spending his childhood sketching buildings and honing his drawing skills. Although illness kept him from public school, his early immersion in construction influenced his later career. By the age of twenty, he had established his own practice in London, combining his architectural knowledge with an intuitive understanding of proportions and spatial relationships that would later shape his furniture designs.Lutyens’ furniture is noted for its eclecticism, drawing inspiration from historical styles but always adapting them in his own distinctive way. While he drew from historical references, he never replicated designs verbatim; instead, he adapted and subtly altered proportions and details to suit his own vision. For example, Lutyens had a particular aversion to "dead proportions," often opting for slight adjustments to standard measurements—either slightly more or less than a half or quarter proportion.The side table offered here was conceived as part of the interior scheme for Deanery Garden in Sonning, Berkshire, a ‘quintessential’ Lutyens property built 1899-1901. The illustrated scale plans of the furniture include annotations naming Edward Hudson, editor of Country Life and Lutyens’ good friend, for whom he designed Deanery Garden. Also mentioned is ‘Skull’, referencing the furniture workshop Walter Skull and Sons Ltd in High Wycombe, commissioned to complete the piece. The design for the set of ladderback chairs after Lutyens offered here is also featured on this sheet.The table’s frieze and drop handles echo 17th and 18th century furniture, influenced by Lutyens' “furniture hunting” with Edward Hudson at Lindisfarne Castle. The bulbous legs, reminiscent of 16th-century refectory tables, are executed with a lighter touch, while the delicately arched stretchers at the base blend 17th-century elements with the Arts & Crafts style, seen also in the work of Sir Robert Lorimer. These adaptations showcase Lutyens’ skill in merging historical references with his modern sensibility and his ability to work closely with craftsmen like Skull allowed him to create furniture that was both aesthetically refined and technically sophisticated.

Y JOHN VICAT COLE (1903-1975) In the Dale of the Nidd, signed lower right, inscribed with title and artist's name in ink on label verso, oil on canvas, 23" x 29 1/2", unframed (subject to Artists Resale Right) (Est. plus 24% premium inc. VAT)Notes: Though he was born and educated in London, where he was a slightly younger contemporary of painters such as Paul Nash and Staney Spencer, John Cole was closely connected to Yorkshire. His mother grew up at New Hall Farm, Bolton Abbey, where John Cole stayed and painted extensively in the 1920s and 30s. He travelled throughout the Yorkshire Dales, and particularly appreciated the dramatic scenery of Nidderdale. The present work can tentatively be identified as the painting titled In the Vale of the Nidd exhibited at the Royal Society of British Artists in 1929. The twelfth century castle is seen from below, with the plumes of smoke of a mill echoing the dramatic geometry of the trees in the foreground Condition Report: Significant paint loss to the left and right edges of the canvas. Overall, the canvas is intact but with ingrained dirt in places. The stretcher to the rear has been modified and is in three parts.

A quantity of New Hall gilt rimmed dinner wares

A New Hall porcelain tea cup and saucer, decorated in gilt and cobalt blue, circa 1815; together with three other early 19th century English porcelain tea cups and saucers, factories unknown (8)

An early 19th century Coalport porcelain cup and saucer, decorated with leaves and flowers in iron-red and gilt; together with a New Hall Japan pattern tea cup and saucer, circa 1815; and two pairs of English porcelain blue and white printed tea bowls and saucers, circa 1830 (8)

Two boxes of mixed principally 19th century ceramics, to include New Hall teapot (hairline to spout), various plates, Staffordshire groups, Wedgwood blue jasper biscuit barrel with plated cover, Carltonware match striker etc

Two pairs of New Hall porcelain tea cups and saucers, decorated in the Japan pattern, circa 1815; together with a New Hall tea bowl on stand, polychrome decorated with floral sprays; another similar example by New Hall; a late 18th century Worcester tea bowl on stand, both being fluted and decorated with gilt banding; and two early 19th century tea cups and saucers, factories unknown (14)Pale blue ground cup & saucer with some wear to gilt, no cracks, chips or restoration. Some light marks. Impressed 'M' and various labels to the undersides.

An English porcelain tankard, circa 1840, decorated with floral garlands amidst gilt borders, h.10cm; together with New Hall porcelain cream jug, h.11cm; and an early Victorian porcelain pedestal vase, probably Rockingham, decorated with a river landscape opposing a floral cartouche within a blue and gilt ground, h.19cm (3)Tankard - Crazed. No chips, cracks, or repairs. Some minor wear to gilt decoration.Cream jug - no chips or repairs, but there is a crack through the handle where the body and handle join at the top.Vase - no chips, cracks or repairs. Some wear to gilt decoration.

A New Hall porcelain blue and white printed saucer, circa 1810, dia.13cm; together with an early 19th century blue and white printed sauceboat, factory unknown, w.22cm (firing crack along spout); and an early 19th century blue and white sucrier and cover, decorated in the Willow pattern (3)

Nameplate VULCAN. Ex Manning Wardle 0-6-0ST built as works number 1577 in 1902. and delivered new to the Ackton Hall Colliery Company Ltd Featherstone and named Vulcan and numbered Acton Hall No4. It spent its entire working life at Ackton Hall Colliery being withdrawn from service and scrapped on site by Wakefield Metal Traders Ltd in October 1968. Rectangular cast brass face cleaned measures 24.125in x 6.5in. Together with its original purchase receipt from the NCB dated 5th March 1971 and a photo of the loco.

Worksplate YORKSHIRE ENGINE CO LIMITED MEADOW HALL WORKS SHEFFIELD No 784 1903 ex 0-4-0 ST delivered new to Park Gate Iron & Steel Co Works, sold to Charwelton Quarries in 1952 and withdrawn in November 1961 and cut up on site in December 1963. Oval cast brass, face lightly cleaned measures 13in x 7.5in. One of the earlier larger pattern plates.

John Constable (1776-1837)Dedham Vale looking towards Langham, c.1809-14Oil on millboard laid onto canvas, 31.5cm by 39cm (12 x 15 3/8 inches)Provenance: Ann Durning Holt (1899-1980), either acquired by her on the art market during her lifetime, or possibly to her by descent from her father Sir Richard Durning Holt (1868-1941), nephew of the distinguished Liverpudlian collector, George Holt (1825-1896); by descent to the current owner.Dedham Vale looking towards Langham is an impressive and vigorous early plein-air sketch by John Constable which has not previously been recorded in the Constable literature. It bears a close relationship to the painting, Dedham Vale, c.1825, in Munich Bayerische Staatsgemäldesammlungen, Neue Pinakothek; Graham Reynolds, The Later Paintings and Drawings of John Constable, Yale University Press, 1984, no 25.39; see fig. 001). Constable is well known for his commitment to making oil sketches in the open air - an exercise he first embarked on in 1802 and continued to practice until as late in his career as 1829. In 1802 he was still a young man undertaking his artistic training in London at the Royal Academy Schools but had already decided that he wanted to specialize in landscape painting. However, that year he decided he no longer wished to imitate the work of earlier landscape artists but rather to turn to ‘Nature herself’. He resolved to return to his home in East Bergholt in Suffolk and make some ‘laborious studies from nature’ (John Constable’s Correspondence II, 1964, Suffolk Records Society, Ipswich, p.32; letter to John Dunthorne, 29 May 1802). Determined, then, to paint his native Suffolk scenes – being those with which he had the greatest attachment – Constable at first made slow progress with this new procedure. However, by around 1810 he had developed a colourful and highly expressive oil sketching style. Moreover, until 1816 when he married and moved permanently to London, he continued to make many, usually quite small, plein-air sketches of the scenery in and around East Bergholt. These consisted mainly of panoramic vistas over Dedham Vale, more often than not, like this example, looking westwards from the Suffolk side of the Vale, more enclosed views taken in the lanes nearby, or scenes in and around Flatford where his father owned a mill for grinding corn. Occasionally Constable dated these plein-air oil sketches. Otherwise, as is the case with Dedham Vale, they can usually be broadly dated on the basis of style or on the support which Constable used when painting them. Dedham Vale looking towards Langham is painted on board (and subsequently laid down onto canvas). Constable is known to have started using millboard for plein-air work from around 1809. Although he continued to use this support at intervals during his career, his most frequent use of board for oil sketching was generally in these earlier years, and especially around the period 1809-10. Furthermore, with its relatively smoothly applied brushstrokes, Dedham Vale looking towards Langham is close in style to other oil sketches Constable made around 1809 at Epsom and at Malvern Hall in Warwickshire (see, for example, Graham Reynolds, The Early Paintings and Drawings of John Constable, Yale University Press, 1996, nos. 09.08, 09.18 and 09.19). This sketch, by comparison with the latter examples, is notable for the more dramatic way in which he handles light and shade. Rays of sunlight can be seen bursting through cloud and sharply illuminating stretches of Dedham Vale in the middle and far distance. Meanwhile, a tiny touch of white paint indicates the tower of Langham Church close to the horizon on the right. These on-the-spot sketches would often prove useful to Constable many years later when he was working in his London studio and planning new pictures for exhibition or sale. Rarely now able to spare time for visits to Suffolk, he would often turn to his earlier sketches for inspiration. Around the mid-1820s Constable used this sketch to serve as the basis of the aforementioned painting of Dedham Vale now in Munich, which shows the same stretch of the Vale, albeit somewhat extended on the left, and the tower of Langham Church in the same position on the far right. The biggest difference between the two works is in the extensive foreground which Constable added to the Munich picture, and into which he inserted a couple of seated figures (one of whom is seen pointing to the view) as well as a few animals such as donkeys and cows. Constable even incorporated into the Munich picture the idea of the sun bursting through cloud, albeit now positioning this feature further to the left. Constable’s expressive use of light and shade (‘chiaroscuro’) lends animation to his landscapes and was something he wrote about in a letterpress accompanying the publication in 1830-32 of a series of mezzotints from his work known as English Landscape. By 1836 he was even arguing (in a draft for a lecture) that chiaroscuro was the very ‘soul and medium of art’.NoteThere is another oil sketch recorded in the Constable literature similar to this one, in oil on paper set onto panel, which Graham Reynolds described as being ‘somewhat damaged’ (The Early Paintings, op.cit, no.08.58). Meanwhile, Ian Fleming-Williams referred to this sketch as ‘puzzling in the extreme’, as it shows Langham church in the wrong place (The Burlington Magazine, vo.130. no.1025, August 1988, p.654; review of Constable exhibition at Salander-Reilly Galleries, New York). Given this discrepancy, and also the recent appearance of this sketch from the Holt collection, perhaps the attribution of R.08.58 should now be re-evaluated.Anne Lyles, 2025We are grateful to Anne Lyles for her assistance with this catalogue entry.The board is backed with a canvas on stretcher, which has four keys missing. It is not possible to see if/how the board is adhered to the canvas. Please click HERE for the condition report on this lot

Jen Orpin The Gate, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About The visual representations of landscapes in my paintings and the framed view from the car make up and form the basis of visceral memories and nostalgia, liminal spaces that occupy the landscape between the places and people that mean the most to us. The importance of these external landscapes is often mirrored by the internal dialogue of the driver and passenger with the confinements of the car at times offering an intimate confessional space. The mundanity of these every day actions often belies the truth of deep routed emotions that come with these well-travelled routes and connections to these familiar places. In these paintings I aim to portray this feeling, emotionalism is a key element in the success of each one and as a viewer you are forced to look down the road as its sole traveler and undertake each journey as your own.   Education 1993-1996 BA Hons in Fine Art, Manchester Metropolitan University, UK   1992-1993 Art Foundation, West Surrey College of Art and Design, UK   Solo Exhibitions 2024 We Left Nothing Behind, Union Gallery, London, UK A Navigation Of Memory, Jari Lager Gallery, Seoul, South Korea Art Busan, solo presentation, Jari Lager Gallery, South Korea 2023 The Journey Continues, Saul Hay Gallery, Manchester, UK 2022 Thirteen Bridges, London Modern, Waltham Forest Town Hall, London, UK 2021 The Manchester Modernist Society, Silent Cursors Punctuated Journeys, Manchester, UK   Group Exhibitions 2025 London Art Fair, Saul Hay Gallery, UK A Bell Is A Cup Until It Is Struck, BLOC Projects, Sheffield, UK Journeys, Taylor-Jones & Son, Deal, UK Rolling Action...Paint!, Jari Lager Gallery, Vestfossen, Norway 2024 Here is My Favourite Place, Jari Lager Gallery, Seoul, UK London Art Fair. Encounters Space, Saul Hay gallery, London, UK New Light Art Prize, Bankside Gallery, London, UK New Light Art Prize, Rheged Arts Centre, Penrith, UK A Small Space On Tour, TAT Art Space, Bali Royal Academy Summer Show, London, UK Terrace Open, Patchworks, London, UK Friends Of Dorothy, Refuge. Manchester, UK New Light Art Prize, The Biscuit Factory, Newcastle, UK Connections. MAFA, Stockport War Memorial art Gallery, UK New Light Art Prize, The Mercer Art Gallery, Harrogate, UK Rogue Women 3, curator, Rogue Studios, Manchester, UK The Pearls & The Oyster, The Birley Studios, Preston, UK Manchester Contemporary. Rogue Women stand, Manchester, UK 2023 Rogue Women II. Co-Curated, Rogue Artists' Studios, Manchester, UK Coalescence, Contemporary Six Gallery, Manchester, UK Royal Academy Summer Exhibition. London, UK MAFA Summer Exhibition, Dean Clough, Halifax, UK A Generous Space 3, Huddersfield Art Gallery, UK New Light Art Prize. Williamson Art Gallery, Birkenhead, UK Sight Ingested, part performance. Tokyo My Brutal Life, Moore Street substation, Sheffield, UK Sight Seeing, School of Fine Art, Athens The Bury Open, Bury Museum and Art Gallery, UK ING Discerning Eye, Mall Galleries, London, UK The London Group Open, Copeland Gallery, London, UK Manchester Contemporary. Rogue Women, Curator, UK A Small Space, Square Feet Space, London, UK Daegu Art fair, Jari Lager Gallery, South Korea In Case You Missed It, The Modernist, Manchester, UK Gallery Representation Saul Hay Gallery, Manchester, UK Jari Lager Gallery, London/South Korea Public Collections Manchester Art Gallery, UK New Art Gallery Walsall, UK   Statement about AOAP Submitted Artwork My night driving paintings capture the interplay of artificial and natural light, evoking a sense of solitude, romanticism, mystery, and the fleeting nature of night time journeys. These paintings emphasise contrasts, car headlights pick out the shadowy details and subtle shapes. The soft glow of distant lights offers a visual narrative of transition, introspection, and the quiet beauty of the darkened world outside the car. Through this lens, night driving becomes both a literal and metaphorical journey, often exploring themes of isolation, motion, and the search for meaning in the vastness of the night.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Sal Jones I Smiled Back Anyway, 2025 Oil on primed paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Drawing inspiration from sources such as film, media, and popular culture, Sal's oil paintings, weighted with psychological tension, defy the usual portrait genre and gender stereotypes. The subjects are mostly women, often fictional or notorious, with a social or cultural relevance. The painted surface draws attention to the process of painting and to the artist's choices in transforming the photographic source image. Sal has a BA Hons in Fine Art and a PGCE in Art & Design, she lives and works in Hackney, London. She has over 20 years of experience working in the education sector teaching and undertaking art residencies; she is a freelance Artist, Museum educator and exam board Assessment Associate and has exhibited widely in London and the UK, in selected and solo shows. Sal has been shortlisted for Wells Art Contemporary (WAC 2023), Wales Contemporary Art Prize (2022); long-listed for the BEEP Biennial (2024), the Women's United Art Prize (2021), and the Jackson's Open Art Prize (2016), winning the interim oil painting prize. Sal has also had work selected for the Royal Cambrian Academy open and the Wales Contemporary open. She was an invited artist for the ING Discerning Eye exhibition (2020) as well as being selected for the Discerning Eye, annual open exhibition at the Mall galleries in 2014. She has had work selected for the Society of Women artists annual open exhibition (2023, 2020 and 2015) and has shown with the Bath Society of Artists, Royal Birmingham Society of Artists, Visual Arts Scotland, and Feren's gallery Hull in their annual open exhibitions. She was one of 21 visual women artists invited to produce new work for 'Dear Christine', an arts council-funded touring exhibition in tribute to Christine Keeler (the exhibition toured during 2019 - 2020 to Newcastle, Swansea, and London). Education 1989 - 1990 Postgraduate Certificate of Education in Art & Design, Middlesex Polytechnic 1983 - 1986 BA(hons) degree in Fine Art, Sunderland Polytechnic Solo Exhibitions 2021 No Time Like The Present, Hampstead Garden Gallery, London 2018 Something that Feels Like the Truth, Unit G gallery, London 2017 Appearances, Solo show, Nude Tin Can gallery, Herts 2014 Moving Scenes, solo show, Gallery at Hackney Picturehouse, London Group Exhibitions 2024 Linden Hall Winter Open, Linden Hall, Deal BEEP Painting Biennial, Elysium Swansea Now & Then, Visual Arts Scotland, Dalkeith Palace, Edinburgh 2023 Scandal '63 Revisited, De Montfort University Gallery, Leicester Wells Art Contemporary, Wells Cathedral Somerset Society of Women Artists 162nd Annual Exhibition, Mall Galleries, London The Look of a Woman, The Stash Gallery, London 2022 Fenella Fielding: Actress, Gallery 286, London Wales Contemporary, Waterfront Gallery, Pembrokeshire and Gallery@Oxo London British Painting III, Bermondsey Project Space, London Royal Cambrian Academy Open Exhibition, Conwy, Wales 2021 Bath Society of Artists 116th Open Exhibition, Victoria Art Gallery, Bath The Marks We Make, The Curator's Salon 2020 ING Discerning Eye, Annual Open Exhibition, Invited Artist Society of Women Artists, 159th Annual Open Exhibition Healthcare Heroes, Google Arts and Culture Dear Christine, Touring Exhibition, Arthouse 1, London 2019 Dear Christine, Touring Exhibition, Vane Gallery, Newcastle & Elysium, Swansea Bath Society of Artists, Open Exhibition, Victoria Art Gallery, Bath Awards 2024 Longlisted BEEP Painting Biennial 2023 Shortlisted Wells Contemporary Art 2022 Shortlisted Wales Contemporary Prize 2021 Longlisted Women United Art Prize 2016 Longlisted for the Jackson's Open Art Prize, Winner Interim Oil Painting Prize Public Collections De Montfort University, Leicester The Fenella Fielding Foundation, London Space Park, Leicester Statement about AOAP Submitted Artwork I am particularly drawn to a gesture captured rather than conventional poses, those unguarded moments; something we can relate to as viewers. These two works depict fictional subjects, in moments of quiet introspection, suggesting darker undercurrents. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Jen Orpin The Sign, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About The visual representations of landscapes in my paintings and the framed view from the car make up and form the basis of visceral memories and nostalgia, liminal spaces that occupy the landscape between the places and people that mean the most to us. The importance of these external landscapes is often mirrored by the internal dialogue of the driver and passenger with the confinements of the car at times offering an intimate confessional space. The mundanity of these every day actions often belies the truth of deep routed emotions that come with these well-travelled routes and connections to these familiar places. In these paintings I aim to portray this feeling, emotionalism is a key element in the success of each one and as a viewer you are forced to look down the road as its sole traveler and undertake each journey as your own.   Education 1993-1996 BA Hons in Fine Art, Manchester Metropolitan University, UK   1992-1993 Art Foundation, West Surrey College of Art and Design, UK   Solo Exhibitions 2024 We Left Nothing Behind, Union Gallery, London, UK A Navigation Of Memory, Jari Lager Gallery, Seoul, South Korea Art Busan, solo presentation, Jari Lager Gallery, South Korea 2023 The Journey Continues, Saul Hay Gallery, Manchester, UK 2022 Thirteen Bridges, London Modern, Waltham Forest Town Hall, London, UK 2021 The Manchester Modernist Society, Silent Cursors Punctuated Journeys, Manchester, UK   Group Exhibitions 2025 London Art Fair, Saul Hay Gallery, UK A Bell Is A Cup Until It Is Struck, BLOC Projects, Sheffield, UK Journeys, Taylor-Jones & Son, Deal, UK Rolling Action...Paint!, Jari Lager Gallery, Vestfossen, Norway 2024 Here is My Favourite Place, Jari Lager Gallery, Seoul, UK London Art Fair. Encounters Space, Saul Hay gallery, London, UK New Light Art Prize, Bankside Gallery, London, UK New Light Art Prize, Rheged Arts Centre, Penrith, UK A Small Space On Tour, TAT Art Space, Bali Royal Academy Summer Show, London, UK Terrace Open, Patchworks, London, UK Friends Of Dorothy, Refuge. Manchester, UK New Light Art Prize, The Biscuit Factory, Newcastle, UK Connections. MAFA, Stockport War Memorial art Gallery, UK New Light Art Prize, The Mercer Art Gallery, Harrogate, UK Rogue Women 3, curator, Rogue Studios, Manchester, UK The Pearls & The Oyster, The Birley Studios, Preston, UK Manchester Contemporary. Rogue Women stand, Manchester, UK 2023 Rogue Women II. Co-Curated, Rogue Artists' Studios, Manchester, UK Coalescence, Contemporary Six Gallery, Manchester, UK Royal Academy Summer Exhibition. London, UK MAFA Summer Exhibition, Dean Clough, Halifax, UK A Generous Space 3, Huddersfield Art Gallery, UK New Light Art Prize. Williamson Art Gallery, Birkenhead, UK Sight Ingested, part performance. Tokyo My Brutal Life, Moore Street substation, Sheffield, UK Sight Seeing, School of Fine Art, Athens The Bury Open, Bury Museum and Art Gallery, UK ING Discerning Eye, Mall Galleries, London, UK The London Group Open, Copeland Gallery, London, UK Manchester Contemporary. Rogue Women, Curator, UK A Small Space, Square Feet Space, London, UK Daegu Art fair, Jari Lager Gallery, South Korea In Case You Missed It, The Modernist, Manchester, UK Gallery Representation Saul Hay Gallery, Manchester, UK Jari Lager Gallery, London/South Korea Public Collections Manchester Art Gallery, UK New Art Gallery Walsall, UK   Statement about AOAP Submitted Artwork My night driving paintings capture the interplay of artificial and natural light, evoking a sense of solitude, romanticism, mystery, and the fleeting nature of night time journeys. These paintings emphasise contrasts, car headlights pick out the shadowy details and subtle shapes. The soft glow of distant lights offers a visual narrative of transition, introspection, and the quiet beauty of the darkened world outside the car. Through this lens, night driving becomes both a literal and metaphorical journey, often exploring themes of isolation, motion, and the search for meaning in the vastness of the night.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Sal Jones Keep Me Alive, 2025 Oil on primed paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Drawing inspiration from sources such as film, media, and popular culture, Sal's oil paintings, weighted with psychological tension, defy the usual portrait genre and gender stereotypes. The subjects are mostly women, often fictional or notorious, with a social or cultural relevance. The painted surface draws attention to the process of painting and to the artist's choices in transforming the photographic source image. Sal has a BA Hons in Fine Art and a PGCE in Art & Design, she lives and works in Hackney, London. She has over 20 years of experience working in the education sector teaching and undertaking art residencies; she is a freelance Artist, Museum educator and exam board Assessment Associate and has exhibited widely in London and the UK, in selected and solo shows. Sal has been shortlisted for Wells Art Contemporary (WAC 2023), Wales Contemporary Art Prize (2022); long-listed for the BEEP Biennial (2024), the Women's United Art Prize (2021), and the Jackson's Open Art Prize (2016), winning the interim oil painting prize. Sal has also had work selected for the Royal Cambrian Academy open and the Wales Contemporary open. She was an invited artist for the ING Discerning Eye exhibition (2020) as well as being selected for the Discerning Eye, annual open exhibition at the Mall galleries in 2014. She has had work selected for the Society of Women artists annual open exhibition (2023, 2020 and 2015) and has shown with the Bath Society of Artists, Royal Birmingham Society of Artists, Visual Arts Scotland, and Feren's gallery Hull in their annual open exhibitions. She was one of 21 visual women artists invited to produce new work for 'Dear Christine', an arts council-funded touring exhibition in tribute to Christine Keeler (the exhibition toured during 2019 - 2020 to Newcastle, Swansea, and London). Education 1989 - 1990 Postgraduate Certificate of Education in Art & Design, Middlesex Polytechnic 1983 - 1986 BA(hons) degree in Fine Art, Sunderland Polytechnic Solo Exhibitions 2021 No Time Like The Present, Hampstead Garden Gallery, London 2018 Something that Feels Like the Truth, Unit G gallery, London 2017 Appearances, Solo show, Nude Tin Can gallery, Herts 2014 Moving Scenes, solo show, Gallery at Hackney Picturehouse, London Group Exhibitions 2024 Linden Hall Winter Open, Linden Hall, Deal BEEP Painting Biennial, Elysium Swansea Now & Then, Visual Arts Scotland, Dalkeith Palace, Edinburgh 2023 Scandal '63 Revisited, De Montfort University Gallery, Leicester Wells Art Contemporary, Wells Cathedral Somerset Society of Women Artists 162nd Annual Exhibition, Mall Galleries, London The Look of a Woman, The Stash Gallery, London 2022 Fenella Fielding: Actress, Gallery 286, London Wales Contemporary, Waterfront Gallery, Pembrokeshire and Gallery@Oxo London British Painting III, Bermondsey Project Space, London Royal Cambrian Academy Open Exhibition, Conwy, Wales 2021 Bath Society of Artists 116th Open Exhibition, Victoria Art Gallery, Bath The Marks We Make, The Curator's Salon 2020 ING Discerning Eye, Annual Open Exhibition, Invited Artist Society of Women Artists, 159th Annual Open Exhibition Healthcare Heroes, Google Arts and Culture Dear Christine, Touring Exhibition, Arthouse 1, London 2019 Dear Christine, Touring Exhibition, Vane Gallery, Newcastle & Elysium, Swansea Bath Society of Artists, Open Exhibition, Victoria Art Gallery, Bath Awards 2024 Longlisted BEEP Painting Biennial 2023 Shortlisted Wells Contemporary Art 2022 Shortlisted Wales Contemporary Prize 2021 Longlisted Women United Art Prize 2016 Longlisted for the Jackson's Open Art Prize, Winner Interim Oil Painting Prize Public Collections De Montfort University, Leicester The Fenella Fielding Foundation, London Space Park, Leicester Statement about AOAP Submitted Artwork I am particularly drawn to a gesture captured rather than conventional poses, those unguarded moments; something we can relate to as viewers. These two works depict fictional subjects, in moments of quiet introspection, suggesting darker undercurrents. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Cas Campbell Hidden Rivers (Contd. 2), 2025 Recycled paper and pigments on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Cas Campbell's works explore the places where nature, ancient history, mythology and queer culture meet. Using intricate, transformative material processes, she creates paintings and wall hangings from paper pulp, alongside installations and ceramic pieces. Works are formed through cyclical, ritualistic techniques: colour is applied from mineral pigments, oak gall ink, and gathered material, and old pieces are reworked and recycled into new ones. Campbell (b. 1995) grew up in New Zealand and works between London and Brighton, UK. She holds an MA in Painting from the Royal College of Art (2022), and a BA from the University of Brighton (2018). Campbell is a recipient of an Arts Council England Developing Your Creative Practice grant and an A-N Artist Bursary, and has been shortlisted for the Chaiya Art Awards and the Visual Open Art Awards. Recent residencies include Studio Verde's 'Art and Ecology' in Italy and Sachaqa Centro de Arte in the Peruvian Amazon. Campbell's work is included in several public and private collections, including the Soho House Brighton collection of queer art. She has exhibited in the UK and internationally.   Education 2020 - 2022 MA in Painting, Royal College of Art, London, UK 2015 - 2018 BA in Painting, University of Brighton, Brighton, UK   Solo Exhibitions 2024 Hidden Rivers, Redkite Floating Gallery, London, UK   Group Exhibitions 2024 Fair Ground, Glyndebourne, Lewes, UK Walk While You Have The Light, Safehouse 1, London, UK Can you Afford to Pay Attention? Greatorex Street, London, UK Traveling Memories, The Modern Showroom, London, UK A Daughter and Feral Mothers, AMP Gallery, London, UK 2023 What's Your Superpower? Safehouse 1, London, UK Futility of Camouflage, Sachaqa Centro de Arte, San Roque, PE Liminal Cracks, ASA Briggs Hall, London, UK Terra, SET Kensington, London, UK 2022 Home, Regency Townhouse, Brighton, UK Graduate Show, Royal College of Art, Battersea, London, UK   Awards 2024 Artist's Bursary, A-N 2022 Developing Your Creative Practice, Arts Council England 2021 Shortlist, ColArt Awards 2019 Longlist, Visual Open Art Awards 2018 Shortlisted, Chaiya Art Awards   Public Collections Soho House Brighton Beacon, Brighton, UK   Statement about AOAP Submitted Artwork 'Panthalassa' and 'Hidden Rivers' were both large-scale installations exhibited in 2024: A five-metre wall hanging created from recycled paper pulp, seaweed and mineral pigments and a twenty-metre installation using the same. The installations reflected a life's journey mostly taken on the ocean and the detritus and ephemera of the everyday.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

* ANGUS MCEWAN RWS RGI RSW (SCOTTISH b .1963), LOCKED TIGHT BUT FOR WATER II watercolour on paper, signed, titled and dated 2008 versomounted, framed and under glassimage size 20cm x 14cm, overall size 36cm x 29cm Note: Angus McEwan was born in 1963 in Dundee, Scotland. Angus studied at the Duncan of Jordanstone College Art in Dundee, graduating in Fine Art and a Post Graduate Diploma in the same discipline. Angus was elected to the Royal Scottish Society of Painters in Watercolours (1995) and in 2012 the Royal Watercolour Society. In 2005 he was recognized as an Associate of the International Guild of Realism USA. He is also an associate member of the AWS and NWS in the USA. Angus has been Finalist three times of the ''International Artist Magazine'' and won first place in the John Blockley Prize in the RI open exhibition. Angus has also won second prize in the Sunday Times Watercolour Competition (2007) in London and the International Prize ''Marche d'Acqua'' Fabriano, Italy in 2012. In 2013 Angus won Bronze Award, at the Shenzhen International Watercolour Biennial, in China. He was recently awarded the May Marshall Brown award at the Royal Scottish Society of Painters in Watercolours (RSW), Edinburgh, 2015 and was elected RGI in May 2016. Many galleries display McEwan's works, including Ok Harris Gallery in New York and Quanhua Gallery, Shanghai. Recently highlighted in Shenzhen Biennale and the Qingdao Hall of Watercolor. He has exhibited in Fabriano, Italy in the ''Marche d'Acqua'' International Award, as special guest and Vicenza, Italy, where he had a solo show in the ''Artbox''. McEwan was one of the 23 finalists in Narbonne, France at the Concours Mondial de l'Aquarelle 2014 1st World Watercolour Competition. Angus also exhibited at the World Watermedia Exposition, Thailand and Myro Gallery, Greece. He also participated in the Second International Watercolour Exhibit in Thessaloniki, Greece. In the UK McEwan exhibits with Thompson's Gallery (London) and The Open Eye Gallery (Edinburgh). Notable collectors include: Dundee Art Galleries and Museums; The Qatar Royal Family; the Royal Scottish Academy Collection; Ernst & Young, Glasgow; Scottish Enterprise; Scottish Equitable; Historic Scotland; Perth Royal Infirmary.

Charles III (b.1948) then HRH Prince of Wales; a signed Christmas and New Year card {2000} inscribed "To you both, from Charles", folded card with cypher to cover and a colour photograph of the Prince of Wales with Princes William and Harry at Birk Hall, envelope lacking. Provenance: Alan Maxwell MVO, of photographic and camera specialist, Wallace Heaton Ltd., official suppliers to the Royal Family

A Derby Sampson Hancock blanc de chine figure of a tinker, c.1900, blue mark, size 21cm high. Condition: handle of pan missing, cracks to base, together with a New Hall tea bowl and saucer decorated with a red border and green swags. Size: tea bowl 8cm diameter, 5cm high; saucer 13cm diameter. Condition: saucer has nibbles to rims; tea bowl has scuffs to foot rim, general wear to both , also with a A Cyples 'Egyptian Black' glazed basalt teapot and cover with a bird forming part of the handle. The cover has a bird finial, c.1835-40,impress Cyples, impressed P to base of handle, size is 13.5cm high. Condition: nibbles to top rim, chips to rim of cover and a Late 19th century Continental terracotta slipware vase in mottled colours, c.19th century, size 25cm high. Condition: chips to rims.

New Hall Pottery. An Early 20th Century Art Deco lustre dish with cover. 17.5x13.5x12cm

New Hall. An English hybrid hard paste shallow bowl. Late 18th/Early 19th Century. Circa 1795-1805. 21x3.5cm

Brunel University: Original music concert and related posters, 1969-1971 –a group of fifteen promotional concert and related posters, all rolled, various sizes, the largest 20 x 30 inches, to include –The Amazing Pink Floyd, plus Gracious & other groups, Brunel University Arts Festival, Kingston Lane, Uxbridge, Friday 28th November 1969, printed Impact, Windsor, 68379.Noel Redding’s (Ex Jimi Hendrix) Fat Mattress, Brunel University, Kingston Lane, Uxbridge, Friday 3rd October 1969, printed Impact, Windsor, 68379.Long John Baldry, Hoochie Coochie Men with Rod “The Mod” Stewart, Aylesbury Bluesville, Borough Assembly Hall, Aylesbury, Tuesday 15th September 1970, printed Arthur’s, Woodchester, Stroud.Wild Wally’s New Rock and Roll Show, plus Super Support Band, Brunel University, Kingston Lane, Uxbridge, Saturday 2nd May 1970, printed Impact, Windsor.Bawby Bar Night, with Diz Dizley, Pete Wilson in Drag and full supporting show, Brunel University, Woodlands Av., Acton W.3, Friday 15th May 1970, printed Impact.Social Sec’s of Up and Coming Bands that Could be Next Years Giants!! Brunel University, Club College Entertainments, Woodlands Av., Acton W.3, featuring Aardvark and Stray etc., printed ImpactGraham Bond Initiation, Keef Hartley, and guest group Stack, Brunel University, Kingston Lane, Uxbridge, Saturday 15th November 1969, printed Impact, Windsor, 68379.Jimmy Reed and His Band, Brunel University, Woodlands Av., Acton W.3, Friday 10th October 1969.Alan Elsdon Jazz Band, Brunel University, Woodlands Av., Acton W.3, Friday 7th November 1969, Printed Impact, Windsor 68379.Bramstoker + Stack, Brunel University, Kingston Lane, Uxbridge, Friday 15th May 1970, printed Impact.Rag Week & a Half, Brunel University, Student’s Union, Kingston Lane, Uxbridge, promoting Albert Hall Night!, featuring George Fame, John Peel and 10 Years After, Fancy Dress and Pyjama Dance, Stag Night Cabaret, Roman Orgy, Folk Evening and All Nighter Up the Lyceum Strand, featuring Joe Cocker, Spencer Davis and others.Chicken Shack and Smoky Rice, Brunel Blues Scene,Royal Dental Hospital Dance, The Sound Trackers, Friday 28th February 1969.A Genuine Old Fashioned Acton Rave, Brunel University, Woodlands Av., Acton W.3, featuring Wild Wally’s Rock and Roll Show, plus Opal Butterfly and Evolution,Noel Murphy and Shaggis, plus The Kindra, sing and the London College of Printing, Elephant and Castle, SE1, Friday 21st March 1969, printed by Hood and Gough, with a little help from the Beano. (15) Provenance:The Vendor attended Brunel University and as Social Sectrtary during the late 1960s and early 70s was responsible for booking bands and artists for the University's concerts and events during this time.

MIRIAM SACKS (SOUTH AFRICAN-BRITISH 1922-2004) ⊕ MIRIAM SACKS (SOUTH AFRICAN-BRITISH 1922-2004)STARRY NIGHT signed with initials lower right; signed and dated Miriam Sacks 1962 on the reversehandmade tapestry81 x 103cm; 32 x 40 1/2in unframedMIRIAM SACKS (1922-2004) (LOTS 80-87)Introduction Miriam Sacks’ work is something of which one can properly use the word unique; it is the only one of its kind I know of, and it is a very particular and extraordinary kind. Maxwell FryMiriam Sacks’ remarkable tapestries cover a wide range of themes with her work capturing a variety of images and ideas. Some are abstract, some symbolic and some realistic; all deploy vivid colours and explore diverse themes relating to man’s condition and struggles, his relationship with nature and mechanisation. Sack's artistic vision was inspired by her childhood in South Africa: its distinctive landscape and coastline, its fauna and flora and its ethnic diversity. Her rigorous schooling was also formative: she became a talented pianist, studied ballet and was awarded a Masters in Social Anthropology at Cape Town University. But it was a trip to New York in 1956, and a visit to The Cloisters, an outpost of the Metropolitan Museum of Art, that transformed her artistic production. At The Cloisters Sacks was captivated by the seven late sixteenth century tapestries that comprise The Hunt of the Unicorn. Immediately thereafter she embarked on her unique, highly distinctive and much-fêted method of tapestry making. Sacks had moved from South Africa to London after the Second World War while her husband was studying medicine at Oxford. Upon his graduation as an eye surgeon in 1950 they moved to Bulawayo, Southern Rhodesia (now Zimbabwe). There Sacks collaborated with the painter Thea Hunt who had trained at the Slade School of Art and had set up an art school offering lessons for children. After Hunt stepped back from teaching due to ill health, Sacks took over running the school and championed the showing of children’s art both in the USA in the late 1950s and in London at the International Exhibition of Children’s Art in 1961. The following year she had her own first solo exhibition of her work at the Henry Lidichi Gallery, Cape Town. Returning to the UK in 1964, Sacks’ gained international prominence when her tapestries were exhibited at the British Embassy in Washington. Four were shown to great acclaim at the Embassy in May 1965; the following year Sacks sent over a further sixteen works to form the highlight of a group exhibition promoting British tapestry in the Embassy’s Rotunda; the exhibition subsequently toured to other locations across America. Sacks’ acclaim in the USA brought her to the attention of curators in the UK. In 1967 her work was included in exhibitions at the Design Centre, the Whitechapel Art Gallery and Camden Art Centre. And two years later she had a solo exhibition at the Ben Uri Gallery, then in Soho, where the opening address was given by the prominent architect, artist and writer Maxwell Fry. In 1970 she shared an exhibition at Kettle’s Yard in Cambridge with leading potters Bernard Leach (1887-1979) and Lucie Rie (1902-1995), and her work was shown in Edinburgh, Leicester and at the Stellenbosch Museum in her native South Africa. More exhibitions followed: at Royal Festival Hall (1971), the Victoria and Albert Museum (1971 & 1973), the South African National Gallery, Cape Town and the Bevilacqua La Masa Art Foundation, Venice (1972), and a series of shows at Leighton House (1977, 1981, 1985, 1988). The last international exhibition of her work was at the Irma Stern Museum, University of Cape Town in 1996. It was post-apartheid, Nelson Mandela was President and the exhibition was opened by the new South African Minister of Culture. As well as medieval tapestries, Sacks acknowledged other formative influences in her work including Louise Bourgeois, whose mother had been a weaver, and Jean Lurçat, arguably the leading tapestry maker of the twentieth century. However, she found the latter’s loom woven tapestries too machine-like and precise in surface finish for her taste. Describing the influences that shaped her work over the years Sacks wrote ‘Threads physically and spiritually interconnect with my life experiences, talents and knowledge, gained over decades. It combines sight and insight, enhanced by my knowledge… as a social anthropologist… as well as music, not to mention dance. It goes back to memories of childhood.’

PAULING LINUS: (1901-1994) American chemist, biochemist and peace activist, Nobel Prize winner for Chemistry 1954 and Nobel Peace Prize winner 1962. A signed printed 4to softcover copy of Linus Pauling on Science and Peace: The Nobel Prize Lecture, with an introduction by Gunnar Jahn, published by the Centre for the Study of Democratic Institutions, New York, May 1964. The publication features Jahn´s introduction composed of excerpts from his address delivered in the Festival Hall of the University of Oslo, Norway, in his capacity as Chairman of the Norwegian Nobel Committee, on the occasion of the presentation to Pauling of the Nobel Peace Prize for 1962 on 10th December 1963, and Pauling´s subsequent lecture in full. Signed by Pauling in bold black fountain pen ink with his name alone to a clear area of the front cover. VG

ROBERTS TONY: (1939-2025) American actor, remembered for his collaboration with Woody Allen in six films, including Annie Hall (1977). Signed 8 x 10 photograph of the actor standing outdoors in a three-quarter length pose wearing a white suit and holding a drink in one hand. Signed in black ink with his name alone to a lighter area at the base of the image. Together with a second signed 8 x 10 photograph of Roberts, the image depicting the young actor in a head and shoulders pose. Signed in blue ink with his name alone to a lighter area at the base of the image. A pencil annotation in the hand of a collector to the verso indicates that the signature was obtained in person following the opening night performance of Neil Simon´s play Chapter Two at the Imperial Theatre, New York, on 4th December 1977. VG, 2

Pair of Large 19th Century Brass Hand Engraved Plates,2 large hand beaten and engraved brass chergers both engraved to the back in script 'Presented to the Committee of the Birmingham triennial Musical Festival by the Marchioness Hertford 1879' , diameterThe Birmingham Triennial Musical Festival is celebrated as a significant historical and cultural milestone in classical music. Established in 1784 and running until 1912, it was one of the longest-running festivals of its kind.The festival's roots trace back to 1768, when a three-day musical event was organized to raise funds for constructing the General Hospital on Summer Lane. Following a successful repeat effort in 1778, the hospital opened in 1779. By 1784, the festival became a triennial institution with a philanthropic mission: supporting the hospital through music.Originally held in St. Philip's Church and the Theatre Royal, the growing popularity of the festival led to the construction of Birmingham Town Hall, completed in 1834. This iconic venue became the festival’s primary stage.The festival achieved acclaim for its vocal works, often performed in English, and gained further prestige under the leadership of Hans Richter, its principal conductor from 1885. It also became a hub for premieres and commissioned works.Felix Mendelssohn's relationship with the festival remains legendary. In 1837, he conducted his oratorio St. Paul and premiered his Piano Concerto No. 2. Nine years later, in 1846, he premiered Elijah, commissioned by the festival. The oratorio was met with acclaim and became a recurring feature at subsequent events.Mendelssohn’s visits also left a personal mark, including a pen-and-ink sketch of Birmingham Town Hall made in 1837, commemorating his connection to the city.In 1845, the Birmingham Festival Choral Society was established to serve as the festival’s official chorus. This group, still active today, reflects the festival's enduring impact on Birmingham's musical culture.The festival stood out for commissioning and premiering works by renowned composers:Arthur Sullivan: The Light of the World (1873)Max Bruch: Das Lied von der Glocke (1879)Charles Gounod: Redemption (1882) and Mors et Vita (1885)Antonín Dvořák: The Spectre's Bride (1885) and Requiem (1891)These contributions showcased the festival's commitment to fostering new music.

‘If television had come before the movies I might think otherwise, but the cinema today is so cheap and so perfect and so universal in its appeal that I doubt if television can stand up to it for a long time to come.’ So observed Vice-Admiral Sir Charles Carpendale in his capacity as Controller of the B.B.C. in November 1934. The fine Knight Bachelor’s Great War C.B. group of nine awarded to Vice-Admiral Sir Charles Carpendale, Royal Navy, ‘a handsome blue-eyed man with a barking manner’; in a far cry from his distinguished naval career – which included service in the M’wele anti-slavery expedition of 1895-96 - he served as Deputy Director-General and Controller of the B.B.C. in 1923-38, in which role he was noted for his ‘famous quarter-deck manner … belied as often as not by an ultimate twinkle in his eye’ The Most Honourable Order of the Bath, C.B. (Military) Companion’s neck badge, silver-gilt and enamels, complete with neck cravat in its Garrard & Co case of issue; Knight Bachelor’s Badge, 2nd type breast badge, silver-gilt and enamel, hallmarked London 1933, in its fitted case of issue; East and West Africa 1887-1900, for Mwele 1895, no clasp (Lieut. C. D. Carpendale, H.M.S. St George); 1914-15 Star (Capt. C. D. Carpendale, R.N.); British War and Victory Medals, with M.I.D. oak leaves (Commre. 2. Cl. C. D. Carpendale. R.N.); Jubilee 1897, silver; Coronation 1902, silver; Jubilee 1935, good very fine or better (9) £2,000-£2,400 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Provenance: Alan Hall Collection, June 2000. Knight Bachelor London Gazette 22 June 1932. C.B. London Gazette 3 June 1918: ‘For war services.’ Charles Douglas Carpendale was born on 18 October 1874, the son of the Reverend William Henry Carpendale and entered the Royal Navy as a Cadet in Britannia in July 1888. A diligent student, he gained 12 months sea time and was immediately appointed a Midshipman in July 1889, in addition to being awarded the Ryder Memorial Prize. Having then served on the Mediterranean station in H.M.S. Collingwood, he was confirmed in the rank of Sub. Lieutenant in October 1893. Appointed to the cruiser St. George - flagship of Rear-Admiral Sir Harry Rawson, C.-in-C. at the Cape of Good Hope, in March 1895, he was advanced to Lieutenant and witnessed active service in the Naval Brigade in anti-slavery operations in 1895-96. The Arab Chief Mbarak, with his stronghold at Mwele, had been slave raiding contrary to new legislation introduced by the British Government and he refused to see a delegation sent to meet him. Reprisals were inevitable, and a Naval Brigade under Rawson marched inland and captured Mwele with a loss of three killed and 11 wounded; just nine no-clasp East and West Africa Medals with the ‘Mwele 1895-96’ edge inscription were awarded to officers. Returning to the U.K. in early 1896, Carpendale obtained a 1st Class Certificate in gunnery in Excellent and was appointed to the command of the torpedo boat destroyer Whiting, in which capacity he was present in the 1897 Jubilee Review and received the Medal. Further foreign service ensued, on the North America and China stations, followed by a appointments in the Naval Ordnance Department at the Admiralty and at the R.N.C. Greenwich, and he was advanced to Commander in June 1904 and to Captain in December 1910. Back at sea in the period leading up to the Great War, he served in the cruiser Edgar, flagship of Vice-Admiral George Le C. Egerton, C.B., Commander in Chief at the Cape of Good Hope and South Africa Station, and in the cruiser Good Hope as Flag Captain to Rear-Admiral Frederick C.D. Sturdee, C.V.O., G.M.G., Commanding the 5th Cruiser Squadron. In September 1914, he took command of the cruiser Donegal, serving with the 6th Cruiser Squadron in the Grand Fleet, and he remained likewise employed until appointed to the command of the light cruiser Colleen in August 1915. Then on relinquishing this appointment in July 1917, he took command of the cruiser Achilles in the North America and West Indies Squadron, prior to ending the war as a Commodore 2nd Class in Charge of Auxiliary Patrol. He was awarded the C.B. in June 1918 and mentioned in despatches (London Gazette 16 September 1919, refers), and appointed an A.D.C. to the King. Carpendale’s final seagoing appointment was in command of the Benbow in 1919-21, in which period he landed a party of Royal Marines at the time of the Occupation of Constantinople during the Greco-Turkish War. He was advanced to Rear-Admiral and – at his own request – was placed on the Retired List in the summer of 1923. He was however advanced to Rear-Admiral (Retired) in October 1926. B.B.C. Subsequently recruited by Lord Reith, he served as Deputy Director-General and Controller of the British Broadcasting Corporation (B.B.C.) in 1923-38, in addition to holding the Presidency of the International Broadcasting Union in 1925-35. Throughout his service he was mainly concerned with administration, but his personal touch was nonetheless widespread and, in emergencies such as the General Strike of 1926, he was always ready and welcome to lend a hand in the studio. His common-sense approach - feet firmly on the ground - was appreciated by all and smoothed the way for the Corporation’s rapid expansion, as well as serving as a means of calming more temperamental members of staff. In fact, Carpendale’s transparent integrity and famous ‘quarter-deck manner’ – always accompanied by a twinkle in his eye and a ready smile – did much to promote confidence in his leadership, so much so that it said the staff adored him. He was certainly well-known for his participation in their social activities, ranging from dances and sporting events to taking part in plays. But such physical activity was very much up his street, his recreations including winter sports, riding and mountaineering. The Admiral, who was appointed a Knight Bachelor in June 1932 and served as the Ministry of Information’s Liaison Officer at the Air Ministry in the Second World War, died in March 1968. Sold with copied record of service and other research.

The magnificent G.C.B., G.C.V.O. group awarded to Admiral of the Fleet Sir Charles Frederick Hotham, Royal Navy, the only man known to have been eligible for two differently dated New Zealand campaign medals The Most Honourable Order of the Bath, G.C.B. (Military) Knight Grand Cross set of insignia, comprising sash badge, 18 carat gold and enamels, hallmarked London 1887, and breast star, silver with gold and enamel appliqué centre; The Royal Victorian Order, G.C.V.O., Knight Grand Cross set of insignia, comprising sash badge and breast star, silver-gilt and enamels, both pieces unnumbered; Jubilee 1887, clasp, 1897, silver; Coronation 1902, silver; Coronation 1911; New Zealand 1845-66, reverse dated 1860 to 1861 (Chas. Hotham. Midn. & Lieut. Naval Brigade 1860. 61. 63. 64.) officially engraved naming; Egypt and Sudan 1882-89, dated reverse, 1 clasp, Alexandria 11th July (Capt: C. F. Hotham. C.B. R.N. H.M.S. “Alexandra.”); Khedive’s Star, dated 1882, unless otherwise described, very fine or better (10) £8,000-£10,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Provenance: Douglas Morris Collection, Dix Noonan Webb, February 1997; Alan Hall Collection, June 2000. Charles Hotham was born on 20 March 1843, a descendent of Baron Hotham (created 1621). He entered the Royal Navy as a Naval Cadet aboard H.M.S. Forte on 14 February 1856, and served aboard James Watt and Cordelia from 1857 to 1860, receiving promotion to Midshipman in February 1858. He joined Pelorus from 27 December 1860 to December 1862, and whilst in this vessel he took part in the early actions of the Second Maori War in 1860-61. He was promoted to Sub Lieutenant on 20 March 1862, and to Lieutenant on 17 February 1863 whilst at Excellent. His next appointment was to Curacoa on 20 April 1863, in home waters but this vessel was subsequently transferred to the Australian Station and was quickly engaged in action during the latter part of the Second Maori War. Hotham saw action during a frontal assault on 20 November 1863, on the Maori Redoubt at Ragariri by 90 seamen, armed with revolvers and cutlasses, from H.M. Ships Eclipse, Curacoa and Miranda, under Commander R. C. Mayne, where they were twice repulsed. During another immediate assault led by Commander Phillimore and Lieutenant Downes, First Lieutenant of Miranda, on 20 November 1863, Charles Hotham suffered a severe gun shot wound in the lower half of his right leg. The Surgeon reported ten days later than he was doing well. Hotham's conduct was favourably noticed by Commodore Wiseman on 30 November 1863 and was reported to the Admiralty (London Gazette 13 February 1864). Some time previously he had been sent in charge of a detached party of seamen to escort a Military Officer across mud flats in the rear of the enemy's position, 'for which services he was specially mentioned'. He was also Mentioned in Despatches on a further three occasions (see London Gazettes of 13 February 1864, 19 February 1864, and 15 July 1864). The Admiralty authorised his promotion to Commander as soon as possible commensurate with his completion of the correct amount of sea time by London Gazette 15 July 1864. He received his promotion to Commander on 19 April 1865 when he was only 23 years old, and after being paid off from Curacoa in July 1865, he was placed on half pay for two years. Hotham’s next appointment was the Command of Jaseur from 1867 to 1871, where he received promotion to Captain on 29 December 1871, aged 28 years. He subsequently Commanded Charybdis from 1877 to 1880, and served as Flag Captain of Alexandra from November 1881 to February 1883. In the latter vessel he was engaged during the Egyptian War in the attacks on the forts at Alexandria, and was publicly thanked for his services four days later on 15 July 1882. He was appointed Chief of Staff of the Naval Brigade, and by London Gazette dated 19 July 1882 was awarded the C.B., and Osmanieh 3rd Class. Hotham commanded Ruby from April 1885 to March 1886, and during 1887 he was appointed Assistant to the Admiral Superintendent of the Naval Review and was awarded the Jubilee Medal. He was promoted to Rear-Admiral on 6 January 1888, aged 45 years, and appointed a Lord of the Admiralty from January 1888 to December 1889. His next appointment was Commander-in-Chief, Pacific Station from 1890 to 1893, flying his flag aboard Warspite. He was promoted to Vice-Admiral on 1 September 1893 and awarded the K.C.B. on 24 May 1895. From December 1897 until July 1899 Hotham was Commander-in-Chief Sheerness, flying his flag aboard Wildfire. Following Promotion to Admiral on 13 January 1899, he was appointed Commander-in-Chief Portsmouth in October 1900, until promoted to Admiral of the Fleet on 30 August 1903. At the Funeral of Queen Victoria on 2 February 1901, he was a supporter of the Royal Coffin, and was subsequently awarded the G.C.V.O. He was awarded the G.C.B. on 9 November 1902 for services at the Coronation of King Edward VII. Hotham died on 22 March 1925. He is the only man known to have been eligible for two differently dated New Zealand Campaign Medals, serving aboard Pelorus as a Midshipman for the 1860-61 Campaign, and aboard Curacoa as a Lieutenant R.N. for the 1863-64 battles. Men who fought in two separately dated actions were not entitled to a clasp (or a second differently dated Medal) for their additional participation. When such an instance occurred, as happened in this unique case, it was marked solely by extra details engraved on the edge of his 1860-61 dated Medal (i.e., 'Midn and Lieut Naval Brigade 1860-61-63-64'). He also received the rare distinction of being awarded all of the Jubilee and Coronation Medals issued between 1887 and 1911. Charles Hotham’s obituary given in The Times, 22 March 1925, states: ‘Admiral of the Fleet Sir Charles Hotham, G.C.B., G.C.V.O., the Senior Officer of his rank in the Royal Navy, whose death was announced, came of a distinguished naval family which has given many sons to the Imperial Forces. The eldest son of Captain John Hotham, his great Grandfather was a brother of the first Baron Hotham and thus the Admiral of the Fleet was related in the second and third degree to innumerable other naval officers. He gravitated to the Royal Navy almost as a matter of course, and won early advancement to the highest positions. He was a member of that important Board of the Admiralty which, under Lord George Hamilton, was responsible in 1889 for the great Naval Defence Act, which considerably raised the strength of the Fleet and placed the sea power of the Empire on a firm basis. Although he later held high Command afloat, and filled administrative posts ashore, it was not his good fortune to participate in the war work of the Fleet which he had helped to create. He had, however, the rare distinction of being appointed Commander in Chief on three occasions, China, the Nore and Portsmouth. ‘Charles Frederick Hotham was born on 20 March 1843 and entered the Royal Navy in 1856 when he was barely 13. He was not yet 20 when he was promoted to Lieutenant and, while serving in this rank in Curacoa, flag ship on the Australian Station, he was engaged in the New Zealand War of 1863 where, in Command of a party of small arm men, he repeatedly distinguished himself, and especially at the attack on Rangariri in November 1863. His conduct was favourably reported at the Admiralty and backed up by his previous good record. He obtained Commander's rank as soon as he had completed the required two years Lieutenant's service. From 1867 to 1870 he Commanded the Jaseur, screw gun vessel serving in the Mediterranean and on the West Cost of Africa and in December 1871 being ...

The rare Crimea and New Zealand campaign group of four awarded to Private James Lukes (alias Lucas), Royal Marines Crimea 1854-56, 3 clasps, Balaklava, Inkermann, Sebastopol, unnamed as issued; New Zealand 1845-66, reverse dated 1864 (J. Lucas, Pte., R.M. H.M.S. Falcon) officially impressed naming; Royal Navy L.S. & G.C., V.R., wide suspension (Jn. Lucas Pte., 58th Co. R.M.L.I. 21 Yrs.); Turkish Crimea 1855, British issue, unnamed, light contact marks, edge bruise to the second, otherwise good very fine or better (4) £3,000-£4,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Provenance: Alan Hall Collection, June 2000. Just 12 New Zealand medals issued to the Royal Navy and Royal Marines with this reverse date, all of them from H.M.S. Falcon. James Lukes (alias Lucas) was born in Blandford, Dorset in September 1827 and joined the Royal Marines at Poole in May 1847. Drafted to the 58th Company of the Portsmouth Division, he first served at sea in H.M.S. Prince Regent in the period March 1848 to February 1851. But it was in his next seagoing appointment in the Britannia that he first witnessed active service, when he was landed with the Royal Marine Brigade in the Crimea and saw action at Balaklava and before Sebastopol; his service record refers but makes no mention of his presence at Inkermann. Further seagoing appointments having ensued, Lukes served variously in the Falcon and Esk in the period October 1863 to October 1867 and, more specifically, in North Island, New Zealand in early 1864, when he was landed from the former ship as a member of its 12-man Naval Brigade contingent. Lukes was finally discharged in October 1867, the same year in which he was awarded his L.S. & G.C. Medal. Sold with copied record of service.

The New Zealand and Abyssinia campaign pair awarded to Commander W. F. Murray, Royal Navy New Zealand 1845-66, reverse dated 1863 to 1864 (W. F. Murray, Midmn. H.M.S. Curacoa); Abyssinia 1867 (Lieutt. W. F. Murray. H.M.S. Argus) both fitted with silver ribbon buckles, light contact marks, otherwise nearly extremely fine £2,000-£2,400 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Provenance: Alan Hall Collection, June 2000. 188 medals issued to the Royal Navy and Royal Marines of H.M.S. Curacoa with these reverse dates, including 26 officers. William Frederick Murray was born on 5 January 1845, and entered the service as a Naval Cadet when aged 13 years 3 months, aboard the Training Ship Britannia. On passing out from Britannia he gained three months sea time. He served as a Naval Cadet aboard Amphion September 1859 and whilst in this vessel he was promoted to Midshipman on 8 December 1860, and 'loaned' for service aboard Formidable February 1863 and Victory April 1863. He was next appointed to the Steam Frigate Curacoa December 1862, Flag Ship of the Australian Squadron, Commodore 2nd Class Sir William Wiseman, Bart. In this vessel he took part in the closing actions of the second New Zealand war during 1863 and 1864. As a member of Curacoa’s Naval Brigade he was landed for service on shore and was present at the actions at Rangiawhia on 20 November 1863, Te Awamutu and Rangiawhia on 21-22 February 1864. He was transferred to Harrier on 21 March 1864, and took part in the action at Gate Pah, Tauranga on 29 April 1864. During his service in Harrier he was promoted to Sub Lieutenant on 6 September 1864, and on returning to England he was appointed to the Royal Navy College at Excellent on 1 April 1865. On passing out he obtained 2nd class Certificates in Seamanship and Gunnery and a 3rd Class Certificate in Navigation. In the rank of Sub Lieutenant he was appointed to the paddle sloop Argus on 7 September 1865, for service with the East Indies Squadron. Promoted to Lieutenant on 11 September 1866, he was present in this vessel during the Abyssinian War of 1867-68. Argus was much involved at Zoulla, Armesley Bay in the movement of the large sailing transports. After four years aboard Argus he was paid off to the receiving ship Duke of Wellington and granted eight weeks leave. He was then appointed to Excellent for a short Gunnery Course in February 1870 and then served aboard Vanguard September 1870 and Iron Duke April 1871. He was invalided from the latter vessel to Plymouth Hospital September 1871. Passed as fit October 1871 he was next appointed to Black Prince in June 1872, lent for a short period to Helicon August 1872, and then joined Pallas in August 1872. He returned to England aboard the S.S. Malta in April 1873 and was invalided from the service on 1 October 1873, with the rank of Commander. He died shortly afterwards on 8 November 1873.

The important Victorian K.C.B. group of five awarded to Admiral Sir Robert Robinson, Royal Navy, who was mentioned in despatches and specially promoted to Captain for his services in the Syria operations of 1840, besides being awarded the Turkish Gold Medal, the Order of Nishan el Ifikhar and a presentation sabre from the Sultan of Turkey The Most Honourable Order of the Bath, K.C.B. (Civil) neck badge, 18 carat gold, hallmarked London 1855, and breast star, in silver, with gold and enamel appliqué centre, the reverse engraved ‘R. & S. Garrard & Co., Goldsmiths Jewellers &c. to the Queen, His Royal Highness Prince Albert and all the Royal Family, Panton Street, London’; Naval General Service 1793-1840, 1 clasp, Syria (Robert S. Robinson, Commr.); Baltic 1854-55, unnamed as issued; St Jean D’Acre 1840, gold, some light contact marks, otherwise good very fine or better (5) £6,000-£8,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Provenance: Alan Hall Collection, June 2000. K.C.B. (Civil) London Gazette 7 December 1868. Robert Spencer Robinson was born on 6 January 1809, the third son of Sir John Robinson, Bt., Archdeacon of Armagh, by Mary Anne, second daughter of James Spencer of Rathangan, Kildare, and grandson of William Friend (1715-1866), Dean of Canterbury. He entered the Royal Navy in December 1821 and first saw action as a Midshipman in the boats of H.M.S. Sybille against pirates in the Mediterranean in 1826. Having then passed his examination, he served on the South America station in the Dublin, followed by further appointments in the Mediterranean in the Asia and Tyne. Advanced to Commander in June 1838, he took command of the Hydra in March 1840, in which capacity he distinguished himself in the Syria operations of 1840, gaining advancement to post-rank and the Turkish Order of Nishan el Ifikhar; he was also the recipient of a presentation sabre from the Sultan of Turkey (see Naval Medals 1793-1856, by Captain K. J. Douglas-Morris, for further details of these awards). Over the next decade he remained on half-pay but in 1850 he took command of the Arrogant in the Channel Fleet and, in June 1854, he commissioned the Colossus, which formed part of the Fleet in the Baltic and Kronstadt in 1855. Having then served as Captain of the Steam Reserves in Plymouth and Portsmouth, he was advanced to Rear-Admiral in June 1860 and joined a commission to enquire into the management of Royal dockyards. And it was direct from this role, in February 1861, that he was appointed Controller of the Navy, an office which he occupied for the next 10 years. Much has been written about Robinson’s time in office, for it encompassed a vital chapter in the Navy’s transition from wood-built to iron-built ships, in addition to advances in science and design that heralded a swathe of new ordnance, armour and engines, and crucial improvements to dockyards and ship-building. Much of this vital modernisation faced both internal and external opposition, but Robinson remained firm in his convictions and pulled no punches, the defence analyst Edward Luttwak crediting him with a convincing display of ‘amoral navalism’, namely ‘professionals agitating for the enlargement of the force at their disposal without regard for either the constraints imposed by politics and foreign policy - or any other factors for that matter - or the actual menace posed by rival forces.’ Thanks to Robinson’s unorthodox approach, and his keen eye on developments taking place in France and elsewhere, the Royal Navy maintained its domination of the High Seas, and he maintained his assertive approach as a Lord of the Admiralty under Hugh Childers in 1868-71. A well-known Naval contributor to The Times, Robinson also published Results of Admiralty Organisation as Established by Sir James Graham and Mr. Childers (1871). Innovation rarely comes without mishaps, however, a case in point being the loss of the recently launched H.M.S. Captain in September 1870, in a Force 9 to 11 gale off Cape Finisterre. She capsized with a loss of 472 lives, among them the son of H. C. E. Childers, the First Lord of the Admiralty. Childers partly, and unfairly, attributed the Captain’s loss to Robinson, thereby bringing an end to the latter’s term in office at the Admiralty. In addition to his appointment as K.C.B., Robinson was advanced to Vice-Admiral in April 1866 and to Admiral in June 1871. Placed on the Retired List in the following year, he died at his residence in Eaton Place, London on 27 July 1889, and was buried in Kensal Green Cemetery.

The unique Victorian gold C.B. and Royal Visit to India C.S.I. group of nine awarded to Vice-Admiral Hon. H. Carr Glyn, Royal Navy, who served with distinction in command of a gunboat flotilla on the Danube in the summer of 1854, gaining special promotion to Commander and one of just two Turkish General Service Medals in gold awarded to Naval officers; then, on being appointed A.D.C. to Admiral Lord Lyons in the Crimea, he was attached to Lord Raglan’s staff at the battle of the Alma, thereby becoming one of only two Naval officers to gain entitlement to the relevant clasp The Most Honourable Order of the Bath, C.B. (Military) Companion’s breast badge, 18 carat gold and enamels, hallmarked London 1875, complete with gold ribbon buckle; The Most Exalted Order of the Star of India, C.S.I., Companion’s breast badge, gold and enamels, with central onyx cameo of a youthful Queen Victoria, the motto of the order set in rose diamonds, suspended from a five-pointed silver star and gold bar suspension, complete with gold top suspension; Crimea 1854-56, 2 clasps, Alma, Sebastopol (H. C. Glyn. Lieut. H.M.S. Britannia) contemporary engraved naming, clasps attached in reverse order; Ottoman Empire, Medal of Iftihar 1855, gold; Turkish Crimea 1855, Sardinian issue, unnamed; Order of the Medjidie, 3rd Class neck badge, silver, gold and enamel; Portugal, Kingdom, Order of Aviz, breast star, silver-gilt, gold and enamels; International, Sovereign Military Order of St. John of Jerusalem, Rhodes & Malta, Knight of Honour and Devotion neck badge with trophy of arms suspension, silver-gilt and enamels; together with Prince of Wales’ Visit to India 1875-76, large silver medal, the edge officially numbered ‘246’, and a small silver medallet for the same, minor enamel chips to the Turkish and Portuguese orders, otherwise generally very fine or better (10) £10,000-£14,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Provenance: Alan Hall Collection, June 2000. C.B. London Gazette 29 May 1875. C.S.I. London Gazette 8 March 1876. Henry Carr Glyn was born on 17 April 1829, the fourth son of George Carr, 1st Lord Wolverton, and entered the Royal Navy as a First Class Volunteer aboard America in March 1844. He subsequently saw extensive service on the Pacific, East Indies and China Stations, and in 1850, in the latter theatre, under Commander Edmund Lyons, he distinguished himself in the suppression of piracy. On one occasion, in fact, he came prominently under the notice of the authorities for his gallant conduct in boarding a pirate junk. During the engagement Captain Lyon’s Brig happened to sheer off from the pirate junk which had just been boarded, and young Carr Glyn, with his Commander, and about a dozen others, was left on board to fight the crew and take the ship, in which enterprise they were, after some heavy fighting, successful. On the outbreak of the Crimea War, Carr Glyn was appointed First Lieutenant of Britannia, the flagship of the Naval Commander in Chief, Vice-Admiral J. W. D. Dundas, and was subsequently chosen to command the small naval gunboat flotilla on the Danube. His orders were to assist the Turkish Army, together with a party of 30 English Sappers and 15 French Pioneers, in securing a bridgehead over the River Danube at Giugevo. Travelling by sea to Varna, the naval party then journeyed on horseback to Rhoustchouk, a distance of some 130 miles. They arrived on 10 July 1854 to find a Russian Army 70,000 strong, under Prince Gortschakaff, threatening a Turkish force of a few thousand men which had crossed the Danube and was now camped on the northern bank at Giurgevo. Having thus become separated from the main Turkish Army it was soon clear that the small force would be unable to withstand the impending Russian offensive. Immediately on arrival Carr Glyn, assisted by Midshipman His Serene Highness Prince Leiningen, took command of the few Turkish gun boats on the river and thrust them down a narrow loop stream which split away from the main river above Giurgevo. By this action he placed the boats between the two armies and, though under heavy fire from the north bank, maintained his position and relieved the pressure on the small isolated Turkish advance party. Prince Gortschakaff, uncertain as to the strength of the newly arrived British force, decided against an immediate attack. While he hesitated, the naval party assisted the sappers in constructing a pontoon bridge, 787 yards long, using 55 commandeered boats. The bridge was completed by 10 August and the main Turkish Army, under Omar Pasha, was now in a position to cross the Danube River and to counter the Russian threat. In conclusion to this spirited affair it might be claimed that Carr Glyn’s actions had been entirely responsible for thwarting the Czar’s intention of invading Bulgaria. Certainly he was generously rewarded, being mentioned in despatches and promoted to Commander. He was also awarded the 3rd Class Order of Medjidie and was given a Gold Turkish General Service Medal, the latter being one of only two awarded to British Naval officers, Midshipman His Serene Highness Prince Leningen receiving the other. Admiral Lord Lyons, being much satisfied with Carr Glyn’s conduct, appointed him to his staff as A.D.C., and in this capacity he was seconded to attend on Lord Raglan and was present at the battle of Alma on 24 September 1854. In consequence he received the Crimea Medal with ‘Alma’ clasp, one of only two such distinctions issued to Naval officers; see Clowes, Volume 6, page 432. Following the Crimea War, Glyn saw varied service off the West Coast of Africa and in the Mediterranean, and he was advanced to Captain in August 1861 after being commended by Commodore Seymour for his valuable assistance in conveying troops to New Zealand in the Miranda. In 1870 he assumed command of the ironclad Warrior – today residing in all her glory at Portsmouth – and in March 1874, after being appointed an A.D.C. to Queen Victoria, he was ordered to ‘meet and attend the Grand Duke Alexis of Russia while in England.’ (his service record, refers). He was appointed a C.B. On appointment to the command of Seraphis in 1875, he conveyed the Prince of Wales to India for the Royal Visit. In recognition of these services, he was created a C.S.I. in 1876, and also received the large oval Silver Commemorative Medal issued to senior dignitaries. Carr Glyn became Rear-Admiral in September 1877 and Vice-Admiral in June 1882. He died suddenly from an attack of peritonitis in February 1884. Sold with copied record of service and other research.