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Signed EDWARD VII (Albert Edward): Gibson, C D: Sketches and Cartoons. New York, Russell, 1898; Oblong folio poor copy; But the front blank endpaper is Inscribed: To Frances- Sweeter than any 'Gibson girl' and Signed: Huf, 1898. Frances was Frances Evelyn 'Daisy' Greville, Countess of Warwick: British socialite and long-time mistress to Albert Edward, Prince of Wales, who later became King Edward VII. She was the inspiration behind the popular music hall song 'Daisy, Daisy'

DICKENS, Charles (Two First editions): 1- A Tale of Two Cities. Chapman & Hall, 1859, 1st edn. Second issue (with the corrected pagination on p.213 and no signature on the list of plates; BUT page 134, line 12 'affetcionately' not corrected; 2- Dombey and Son. Bradbury & Evans, 1848, 1st edn. First or very early issue, half title present; Plus: Sketches by Boz. Chapman & Hall, 1839, new. Edn. All three with all plates exceptionally clean. Bound in matching full calf (3)

λ&nbspOLIVER MESSEL (BRITISH 1904-1978) STUDY OF MICA ERTEGUN Oil on canvas, laid to board 74 x 61cm (29 x 24 in.) Unframed Provenance: Direct from the artist By descent to Thomas Messel, the artist's nephewMica Ertegun was a Romanian-American philanthropist and, like Messel, an accomplished interior designer, co-founding the extant firm MAC II in 1967. She donated widely to cultural causes, including humanities teaching at the University of Oxford, restoration efforts in the Church of the Holy Sepulchre, and the Lincoln Center for the Performing Arts, New York. In 1993, Ertegun was inducted into the Interior Design Hall of Fame; in 2011, Ertegun was appointed CBE by Queen Elizabeth II. In the 1970s, Ertegun visited Messel in Barbados, where she sat for this portrait (see University of Bristol Theatre Collection OHM/2/5/8). It is a testament to Messel's taste that Ahmet Ertegun, Mica's husband and the co-founder of Atlantic Records, chose the Oliver Messel Suite at the Dorchester Hotel as his London base (Robert Greenfield, The Last Sultan: The Life and Times of Ahmet Ertegun (2012), p. 208).

A CARVED GILTWOOD CONSOLE TABLE 18TH CENTURY AND LATER, IN THE MANNER OF WILLIAM KENT The rectangular Portor marble top above an acanthus-carved frieze on paired massive eagle supports with spread wings and rocky plinth bases, regilt 95cm high, 184cm wide, 74cm deep Provenance: The Hon. Claude J. Yorke, and thence by descent Illustrated: The Connoisseur, May 1965, p.3  This console table relates to a giltwood table with a rectangular black marble top inlaid with pietre dure created by William Kent (1685-1748) for the 'Lords Dressing Room and Closet' (now the Blue Velvet Room) at Chiswick House, London, in c. 1727-32, for Richard Boyle, 3rd Earl of Burlington; it is now at Chatsworth House, Derbyshire (illustrated ed. S. Soros, William Kent: Designing Georgian Britain, New Haven and London, 2014, p. 495, fig. 18.37). Another pair of similar tables with eagle supports, attributed to Kent, is in the collection of the National Trust at Hatchlands Park, Surrey (NT 1166453.1-2). The eagle supports derive from antiquity, from Ovid's Metamorphoses when the shepherd Ganymede was borne aloft by an eagle to serve as Jupiter's attendant at the banquet of the gods. The design may have been invented by Kent, who depicted a pair of warring eagles atop a low table for Alexander Pope's rendition of the Odyssey (1725-26), and again for the tailpiece at the end of the list of plates in vol. 2 of his Designs of Inigo Jones (1727) (Soros, p. 422, fig. 16.12; p. 423). The Edinburgh cabinet-maker, Francis Brodie, included an eagle table on his trade card, published in 1739 (F. Bamford, Dictionary of Edinburgh Furniture-Makers, Leeds, 1983, pl. 24a). Eagle consoles include a pair formerly at Glemham Hall, Suffolk, sold Christie's, New York, 13 April, 2016, lot 30 ($245,000 inc. premium) and a single eagle table sold by the late Sir John Gooch, 12th Bt., Benacre Hall, Suffolk, Sotheby's house sale, 9-11 May 2000, lot 163 (£10,800 inc. premium). Condition Report: Good, structurally secure with dents marks and scratches and shrinkage cracks due to age and use. The marble top in good condition with some edge chips. The frame entirely re-gilt, the carcase timbers showing traces of a yellow wash and with old labels from Maples Depository. The wholesale redecoration of the table renders it difficult to determine with confidence the age are materials used but it appears the rectangular frame supporting the marble is 18th century, the applied leaf decoration may well be later. The eagles are probably also later, they don't seem to have the spirit of the 18th century and are very close mirror images suggesting they suggesting they were produced in a very considered way (untypical of the 18th century). That said the table is a handsome and imposing piece with great presence and in `showroom condition'. Condition Report Disclaimer

A SET OF SIX GEORGE III GILTWOOD ARMCHAIRS CIRCA 1770 With upholstered seats and backs and padded arms, on cabriole legs, regilt Each 97cm high 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: Good, structurally secure with wear and tear consistent with age and use. Overall in `country house condition'. There is general wear to the gilding and small chips revealing the red bole and gesso beneath, and in places there is considerable build-up of surface dirt. The upholstery in fair condition, worn, faded and in need of a clean. The undersides, seat rails etc with a yellow wash overall including to the later screwed corner blocks. Some old worm in the rails, now inactive. The insides of the rails with redundant screw holes for attaching a tourniquet (associated with the making of the chairs). Formerly with corner braces, now replaced with shaped blocks.Chair C upholstery is particularly worn and faded, the webbing failing. Chair D the gilding cracked and peeling on the chair back, with batten carrying holes to the rails. Chair F with more extensive losses to gilding on front right leg.  Condition Report Disclaimer

AN ANTIQUARIAN GILT BRONZE AND CHINESE LACQUER-MOUNTED BREAKFRONT SIDE CABINET 19TH CENTURY, OF LOUIS XIV STYLE, THE LACQUER PANELS 18TH CENTURY The marble top above a frieze of foliate scrolls and acanthus above three doors displaying re-used lacquer panels enclosing oak shelves, above a raised plinth centred by a panel with bearded mask and with rosette blocks, on tapering feet with acanthus clasps, one lock stamped Comyn Ching & Co 97cm high, 160cm wide, 58cm deepProvenance: The Hon. Claude John Yorke, and thence by descent This imposing cabinet reflects the antiquarian taste prevalent in England in the 19th century, led by London dealer/agents and manufacturers such as Edward Holmes Baldock who was trading from various addresses in of Hanway Street from 1805 and Robert Hume trading from Berners Street from 1829. Indeed the Covent Garden and Soho areas of London witnessed a huge number of businesses engaged in the trade in new, restored and second hand furniture and works of art, from the likes of Baldock and Hume whose clients included royalty and the nobility, to traders who bought and sold `curios' and others who were little more than dealers in scrap. The trade was fanned by enthusiastic and wealthy and collectors of `antiques' such as William Beckford (d.1844) and the Duke of Hamilton (d.1852), historic house refurbishments such as at Hardwick Hall (1839 - 49) and sometimes hare-brained projects such as the Earl of Eglinton's chivalric Tournament of 1839 offered dealers an easy opportunity to make money, while auction sales of eminent collections brought yet more artefacts to the market. Part of this trade saw new furniture created re-using older element, particularly those items deemed precious or valuable, hard stones, Chinese and Japanese lacquer, carved ebony, boulle and tortoiseshell and even old oak. Makers such as Baldock incorporated these in conventional ways, using newly made pieces and the best are superbly executed. A detailed study of the trade was published by Mark Westgarth, Biographical Dictionary of Nineteenth Century Antique and Curiosity Dealers, Regional Furniture Society Journal, 2009, vol.23. A Regency cabinet of similar type, black and gilt-japanned and incorporating 18th century Kangxi lacquer was sold from Crichel, Dorset, at Christie's, London, 23 May 2013, lot 152 (£22,500 including premium).The attribution to a London antiquarian manufacturer is reinforced by the use of locks marked by the Seven Dials ironmonger Comyn Ching & Co.      Condition Report: Generally good, structurally secure with wear and tear consistent with age and use. There are minor scratches marks and scuffing and some constructional shrinkage cracks. The marble top is in good order but with some repairs, a crack running front to back about 23cm from the left edge and a repaired break to the back right corner. Otherwise some minor edge chips. The ormolu all present, of large scale with good chiselling, overall of reasonable quality. Lacquer panels with typical craquelure and yellowing of surface varnish. but with sensitive conservation they would come alive. Minor lifting to the brass stringing on the left side. There is a 26cm piece of ebonised facing detached to the upright inside the centre door. The carcase made of framed and panelled oak, quite precisely machined and assembled typical of 19th century work. Each door revealing a single shelf. Overall a handsome and robust cabinet. Condition Report Disclaimer

ALLAN RAMSAY (BRITISH 1713-1784) PORTRAIT OF JEMIMA, COUNTESS OF HARDWICKE AND SUO JURE, MARCHIONESS GREY (1722-1797), WIFE OF PHILIP EARL OF HARDWICKE Oil on canvas 91 x 71cm (35¾ x 27¾ in.) In a carved and pierced gilt wood frame Provenance: 'Historical Portraits, Pictures & Drawings, The Property of Lady Lucas, Removed from Wrest Park, Ampthill, Bedfordshire', Christie, Manson & Woods, 16 November 1917, lot 102. Thomas Agnew & Sons, London (5037) 1st Viscount Mackintosh Leggatt, London Christie's, London, 4 May 1959, lot 39Exhibited: Centenary Exhibition, 1948, Bankfield Museum, Halifax, no. 4. Lent by Mackintosh. Literature: A. Stuart, Allan Ramsay, a complete catalogue of his paintings, New Haven and London 1999. p. 131, no. 243. reproduced p. 235, fig 79. This painting was overpainted, possibly in 1836 when Wrest Park, Bedfordshire, was restyled (A. Stuart, Allan Ramsay, a complete catalogue of his paintings, New Haven and London 1999. p. 131, no. 243. reproduced p. 235, fig 79). Sold from Wrest Park in 1917, it has been cut down from its original size of 45 in. by 37 in. to its present size, 35 ¾ in. by 27 ¾ in. after this date when it was also cleaned to reveal its original open-air setting (ibid.). This portrait is related to a portrait of the sitter by Ramsay at Wimpole Hall (NT 207812.1).  Condition Report: This painting had been extended and overpainted in the 1830s. Sometime after 1917 it was reduced back to its original size and the overpainting removed. Condition Report Disclaimer

New Hall coffee can and saucer, with printed and painted decoration

ANTIQUARIAN (BIBLE): Holy Bible, (English), 16th Century Geneva 'Breeches' Bible, old and new Testaments, contains 'The Whole Booke of Psalmes' (London, John Day, 1583), double column black letter text with marginal text in Roman type, 4to, contemporary calfProvenance: sold on behalf of Gregynog Hall, surplus to the collectionAuctioneers notes: Known as the 'Breeches Bible', the name deriving from the translation of Genesis 3:7, "...they sewed figge tree leaves together, and made themselves breeches".Comments: covers and spine worn with damage, spine loose from pages, lacks opening pages (first page Denesis III, some loose and torn, edges of may ragged, lacks wood engraved pictorial general title page (Imprinted at London by Christopher Barker) and wood engraved pictorial title pages for New Testament (London, Christopher Barker, 1584) etc. inspection highly advised, incomplete.

ANTIQUARIAN (LAW): Jacob (Giles) The Common Law Common-Plac'd: Containing, The Substance and Effect of all the Common Law Cases ... Collected as well from Abridgments as Reports, in a perfect new Method., 2nd Edition, 1733, folio, with Thomas Payne Bookseller (Wrexham) bookplate, both covers owner inscribed in ink with associated dates 1774 and 1777, full calf, spine in compartmentsProvenance: sold on behalf of Gregynog Hall, surplus to the collectionComments: corners bumped/worn, covers and spine scuffed, endpapers missing, inspection advised.

A selection of antiquarian books, to include: Punch Magazine; Fallas and Papers; Contemplations on the Historical Passages of the Old and New Testament, by Joseph Hall volume III, 1770; and others.

London - Thames - maps. DOWER (John James) London, Guide to the International Exhibition, 1862, issued as a supplement to the Illustrated London News, 83 x 115cm, fold creases, edges with a little fraying in places; CARY (G & J) New Plan of London, 1829, folding hand coloured dissected map, 66 x 82.5cm, (some surface soiling); PULLING (A) Philip's Citizen Series of Municipal London Maps, Land Transfer 1897, coloured folding map, 75 x 101cm, cloth cover, spine torn; TAUNT (Henry W) A New Map of the River Thames..., 6th edition, no date, circa 1897, 8vo, double-page maps with mounted photographic illustrations, light foxing, original cloth; HALL (S C) The Book of the Thames, no date, circa 1880, illustrated, cloth gilt (5)

BOYLE (Robert) A Continuation of New Experiments Physico-Mechanical.Oxford: Henry Hall for Richard Davis 1669, small 4to, first edition, 8 engraved plates, 198pp., with longitudinal title leaf at end, some age toning, name of 'Harold Evan. Matthews 1896' to head of title.This book contains the famous image (plate V) illustrating Boyle's experiment drawing water with his pump up to the top of the Sheldonian Theatre in Oxford.

[FORD (Rev. J.; Editor)] The Suffolk Garland, or a collection of poems, songs, tales, ballads, sonnets and elegies... relative to that county. Ipswich 1818, 8vo, rebacked calf; GLYDE (John) The New Suffolk Garland, Ipswich 1866, 8vo, some spotting and finger soiling, half bound (rubbed); GURDON (Lady Eveline Camilla (of Assington Hall; Editor) County Folk-Lore. Printed Extracts, No. 2. Suffolk, with an introduction by Edward Clodd, The Folk-Lore Society, 1893, 8vo, full morocco by H.W. Wallis Bookseller Cambridge, all edges gilt

Celebrate the 2000 New Jersey Devils' Stanley Cup winning season with this matted and framed set of autographed newspaper photos. Signed by Hall of Fame goalie Martin Brodeur, and Devils legends Ken Daneyko and Petr Sykora, this one of a kind is a must for any true Devils' fan. Photo dimensions: 9.5"L x 7.5"H. Frame dimensions: 22.25"L x 18.25"W x 1.25"H. Issued: c. 2000Dimensions: See DescriptionCountry of Origin: USACondition: Age related wear.

This New York Giants football highlights some of the team's accomplishments and is signed by Super Bowl XXV MVP Ottis Anderson, Hall of Famer Roosevelt Rosie Brown (inducted in 1975), and Joe Morris, making it a significant collectible for Giants fans. This item has a base included that measures 12"L x 5.25"W x 2.5"H. Dimensions: 11"L x 6.25"W x 6.25"HCondition: Age related wear.

This eclectic grouping includes a Hall of Fame John Henry Johnson signed card, a Daniel Rudy Ruettiger autographed photo, a Mel Blount photo, a 1998 Ramapo Raiders program signed by Chris Simms, a folder signed on the cover by Glenn Davis, and a New York Jets set featuring a Sprint NY Jets Playbook, sticker, and ticket stub. The largest piece measures 9"L x 12"H. Dimensions: See DescriptionCondition: Age related wear.

Registration No: TC 6851 Chassis No: 7947876 MOT: ExemptDesirable Manchester-built exampleConverted when new into a Fire Truck and then supplied to the Earl of Derby, resident of Knowsley HallIn service at Knowsley Hall from 1924 until 1948Presents very well and both running and driving well during our recent photography sessionLaunched in 1908, the T's chassis and mechanical components were made from exceptionally durable, high-grade vanadium steel. The Ford also featured a compact 2890cc, side-valve, four-cylinder engine that pioneered the use of a detachable cylinder head. Mounted in unit with the clutch and two-speed epicyclic gearbox assembly, it developed some 23hp at a leisurely 1,600rpm and 80lbft of torque. Top speed was limited to around 45mph depending upon bodywork, whilst brakes operated on both the transmission and rear wheels. With the introduction of a moving assembly line in 1913, Henry Ford famously turned his Model T into the world's first mass-made car. A year later, Model Ts represented 56% of all automobiles manufactured in the USA. However, it was not just the sheer volume of Model Ts rolling off the production line that motorised America, it was the inherent quality of the design. Built at Ford’s Trafford Park, Manchester facility, chassis 7947876 was then despatched to the Stanley Fire Engine Company of Halifax. Destined for use on the Earl of Derby’s Knowsley Hall estate in Leicestershire, the Model T was road registered as ‘TC 6851’ on 24th March 1924. Departing the Earl’s service twenty-four years later, the Fire Engine was acquired by a Ford dealer and repurposed as a showroom exhibit. Sold to Power Torque Engineering Ltd of Coventry during 1985, they partially restored the Model T (acquiring various pieces of period fire fighting equipment in the process) before displaying it in their foyer. Further improved since entering the current ownership twelve years ago, the Ford has had attention paid to its clutch, cylinder head (new gasket, bolts), ignition coils, radiator hoses, fan pulley bushes and transmission bands. Running and driving well during our recent photography session, the seller has enjoyed showing ‘TC 6851’ at Steam Rallies in Devon, Somerset and Gloucestershire. Offered for sale with V5C Registration Document and history file. For more information, please contact: Mike Davis mike.davis@handh.co.uk 07718 584217

Registration No: TJH 525D Chassis No: DB6/2453/R MOT: ExemptSupplied new via Plough Motors to Aegues Properties Ltd of Cheltenham and initially registered as 'GDD 222D'In single ownership from 1972 - 2024, by which time it had been repainted from Silver Birch to Fiesta Red and granted its current 'TJH 525D' number plateMatching chassis and engine numbers and desirable ZF 5-speed manual gearboxAccompanying paperwork dates back to 1971 when the DB6 underwent a major service at the factoryTreated to a partial re-trim and new battery by the vendor. Running and driving with decent oil pressure but would benefit from further recommissioningUnveiled at the 1965 London Motor Show, the DB6 was the first Aston Martin model to be engineered following the company's move from Feltham to Newport Pagnell. Although a direct development of the DB5, with the same visage, the newcomer enjoyed notably better high-speed stability thanks to the provision of a Kamm tail, and superior interior space courtesy of a 3.7-inch longer wheelbase and taller roofline. Grafted over a sheet steel platform chassis, the four-seater's hand-finished aluminium panels helped contribute to a claimed kerb weight of 3,232lbs that was actually only 17lbs heavier than its predecessor. Praised by the contemporary motoring press for its poise, the DB6 employed all-round coil-sprung suspension, four-wheel disc brakes and rack-and-pinion steering. Powered by the famous Tadek Marek designed 3995cc DOHC straight-six engine, the model boasted some 325bhp and 288lbft of torque in uprated Vantage tune and could be had with five-speed ZF manual or three-speed Borg Warner automatic transmission. A contemporary road test found a manual DB6 Vantage to be capable of 0-60mph in 6.3 seconds and 150mph. A total of 1,327 MkI Saloons were produced between October 1965 and the MkII's July 1969 arrival. According to its accompanying British Motor Industry Heritage Trust Certificate, chassis DB6/2453/R was completed on 20th January 1966 and despatched to Plough Motors (Stroud Valley) Ltd some six weeks later. Originally finished in Silver Birch, the Aston Martin’s impressive specification also encompassed the more powerful Vantage engine, ZF 5-speed manual transmission, heated rear windscreen, powered aerial and chrome wire wheels with three-eared spinners. Supplied new to Aegues Properties Ltd of Cheltenham, the DB6 was returned to the factory for a major service during November 1971, by which time it belonged to G.A. Darlington Esq of Newton Hall, Suffolk and had exchanged its first number plate ‘GDD 222D’ for the current one ‘TJH 525D’. Repainted Fiesta Red prior to being bought by C.E. McKinney Esq the following year, the 2+2-seater remained in his care until 2024. A pilot by profession, Mr McKinney used the Aston Martin for commuting in the 1970s but only on high days and holidays thereafter. Invoices on file show that the DB6 has covered a mere 20,000 miles since having its cylinder head overhauled by W. Rennie-Roberts of Colchester during April 1975 (the warranted odometer reading stands at just 98,000). Other bills from Aston Martin Lagonda, Aston Service Dorset, Puddleduck and Rikki Cann attest to ongoing maintenance. The brake system has been refurbished (2002-2003), the starter motor rejuvenated (2010) and the fuel pump renewed (2011). Entrusted to Classic and Retro of Sible Hedingham in late 2012 at a recorded 97,585 miles, the 2+2-seater had attention paid to its ignition system, interior trim (headlining, carpets, rear seat base etc), window rubbers and brakes not to mention being treated to new wire wheels and tyres. Further improved by Woodbridge Classic Cars at a cost of £2,947.18 during June 2015, they replaced the engine and fuel tank mounts, installed new steering rack gaiters, changed the left-hand servo gaskets and tuned the triple Weber carburettors. Reluctantly put up for sale after more than half a century due to the physicality of driving it, ‘TJH 525D’ entered the current ownership in January this year. A lifelong Aston Martin enthusiast, the vendor has partially re-trimmed the cabin (new front seat facings and boot carpet) and begun the recommissioning process. Starting readily during our recent photography session (August 2024) and driven to and from the location, the DB6 recorded good oil pressure but would nevertheless benefit from more mechanical fettling. The underside appeared sound during our cursory inspection, with evidence of new sills and jacking points being fitted in the past. The seller had intended to return the 2+2-seater to its initial Silver Birch hue. However, the acquisition of another DB6 whilst waiting for a slot at his preferred body shop has meant that ‘TJH 525D’ is now surplus to requirements. Pleasingly retaining its original Vantage engine albeit with the bonus of comparatively fresh Weber carburettors and a stainless steel exhaust, this much-loved and archetypal British GT is now ready for its next long-term custodian. For more information, please contact: Damian Jones damian.jones@handh.co.uk 07855 493737

Dickens (Charles). The Adventures of Oliver Twist; or, The Parish Boy's Progress, new edition, revised and corrected, 1st single volume edition, London: published for the Author, by Bradbury & Evans, 1846, half-title discarded, 24 etched plates by George Cruikshank, upper margin of title with pencil ownership signature, bookplate to front pastedown, long repaired tear with minor loss to plate of 'Oliver asking for more', dust-soiling, toning and offsetting to plates, sewing exposed in some places, hinges cracked, contemporary blue half calf, gilt lettering to spine, joints and extremities rubbed, 8vo, together with:Little Dorrit, 1st edition, London: Bradbury and Evans, 1857, half-title discarded, engraved frontispiece, additional engraved title, engraved plates by Hablot Knight Browne, some toning and damp-staining to plates, early 20th-century purple half morocco, gilt lettering to spine, lightly rubbed, 8vo, plusThe Life and Adventures of Nicholas Nickleby, 1st edition, London: Chapman and Hall, 1839, half-title, engraved portrait frontispiece, etched plates by Phiz [Hablot Knight Browne], dust-soiling, toning and offsetting to plates, some with short closed tears, late 19th-century purple full morocco, gilt lettering to spine, joints a little rubbed, 8vo, plusBleak House, 1st edition, London: Bradbury & Evans 1853, half-title, frontispiece, additional pictorial title and etched plates by Hablot Knight Browne, plates lightly toned, late 19th-century red half morocco, gilt lettering to spine, boards a little water stained, 8vo, plusDombey and Son, 1st edition, London: Bradbury and Evans, 1848, engraved pictorial and printed titles, frontispiece, engraved plates by Hablot Knight Browne, some lightly toned and spotted, late 19th-century full navy calf, gilt decorated spine with morocco title label, a little rubbed, 8vo,Our Mutual Friend, 2 volumes, 1st edition, London: Chapman and Hall, 1865, half-titles discarded, engraved frontispieces and plates, contemporary dark green half morocco, gilt decorated spines, 8vo and 5 other 19th-century leather-bound volumes, 8vo  QTY: (12)NOTE:  

Domenech (Emmanual). Seven Years' Residence in the Great Deserts of North America, 1st edition, London: Longman, Green, Longman and Roberts, 1860, colour frontispieces, folding map (repaired tear to verso), 56 colour or tinted plates (complete), advertisement leaf at end of each volume, stitching broken, some leaves detaching occasional light spotting and small marginal water stains, previous ownership inscription, 1890 to volume I half-title, residue from label removal from pastedowns, original cloth gilt, spines darkened with tears and chips at ends, volume I lower joint splitting, mottled stains to upper covers, 8vo, together with Moorehead (Warren K.). Wanneta the Sioux, 1st UK edition, London: Chapman and Hall, 1891, half-tone illustrations, a little minor spotting, front hinge tender, original cloth, spine darkened and rubbed at ends, light soiling to upper cover, 8vo, with 6 others including Hendricks the Hunter; or the Border Farm: A Tale of Zululand, 1st edition, 1879 (a few leaves detached at front with small;adhesive tape marks), Wanderings in South America, the North-West of the United States and the Antilles, in the Years 1812, 1816, 1820 & 1824, by Charles Waterton, new edition, 1879, and Cambrian Superstitions, comprising ghosts, omens, witchcraft, traditions & c., by W, Howells, 1st edition, Tipton, 1831QTY: (9)NOTE:First work Sabin 20534; Howes D410.

Agassiz (Louis). Etudes sur les Glaciers, 2 volumes (octavo text and folio atlas), 1st edition, Neuchatel & Solothurn: Jent et Gassmann, 1840, text volume with errata leaf at rear, bound without half-title, some occasional spotting, mainly marginal, contemporary half calf, edges a little rubbed and scuffed, 8vo; atlas with original upper wrapper (with manuscript shelf number) and 18 lithograph plates of glaciers, 14 printed outline key plates as issued, first key plate with long tear and tape repair to verso, a few plates and key plates with Clifton Hall Association, Mercantile Library, New York oval ink stamps to corners, a few mainly marginal water stains, contemporary boards, calf reback, a little rubbed with some edge wear, atlas, 49.1 x 34.1 cm QTY: (2)NOTE:Provenance: Gawdy Hall Library (label at front of text volume); Clifton Hall, Mercantile Library, New York (ink stamps in atlas).Norman 17; PMM 309. "Agassiz was not the first to observe the phenomena of glaciation, but he was innovative in the wide-ranging character of his research, his measurements of ice formations, and his elaboration of local geology into a theory explaining Continental natural history" (D. S. B.). His concept of an "Ice Age" during which glaciers advanced and retreated over a large part of the northern land-mass not only accounted for the area's topography and rock distribution, but gave naturalists such as Darwin and Lyell a means of explaining the geographical distribution and subsequent genetic kinship of species now separated by land or water barriers." (Norman).

A Derby teapot, cover and stand, c 1798, of straight sided oval shape, enamelled and gilt with trailing foliage, 14.5cm h, painted puce crown, crossed batons and D, a Sampson Hancock Derby teapot and cover, second half 19th c, painted in the Imari palette, 16cm h, a New Hall Old Oval teapot and cover, pattern no 80, 15cm h, and Caughley teapot stand, c 1775, 15.5cm w, S mark in blue script The Derby cover and stand repaired, otherwise good with slight wear. New Hall spout, cover, and inner-rim with some restoration. Caughley stand good, with some stacking wear.

Miscellaneous Tokens and Checks, West Yorkshire, Leeds, Maclea & March, brass, unissued, 31mm; Robert Middleton, Sheepscar Foundry, brass, stamped 63, 31mm; Morton & Joynt, brass, unissued, 27mm; David Nichols, brass, stamped 27, 32mm; W. Nicholson & Son, uniface brass, stamped 116, 31mm; Ja[me]s Parker, brass One Shilling and Sixpence, 31mm, brass Shilling, 25mm; Redfern’s Hats, brass, 26mm; Royal Casino Concert Hall, brass (2), by Hiron, 32mm, unsigned, 24mm (W 720, 721); Salter & Salter, uniface brass, 31mm; Scales & Salter, uniface brass, stamped M37, 31mm; Scriven & Co, brass (2), stamped 32, 292, both 30mm; Steam Plough Works, brass, unissued, 31mm; Thornton’s New Music Hall, brass Threepence, 27mm (W 723); The Tramway Dining Rooms, uniface brass, stamped 1/6, 31mm; Wellington Foundry, uniface brass, unissued, 32mm; Ja[me]s Whiteley & Son, brass, stamped 49, 32mm; Wilcock & Sons, brass Threehalfpence, 22mm; James Wood, brass, 31mm [21]. W 723 excavated, others generally about very fine, some better, a few rare £120-£150

18th Century Tokens, WARWICKSHIRE, Coventry, Kempson’s Buildings, Halfpence (5), Bablake Hospital, 9.63g/6h (DH 282a), County Hall, 12.88g/6h (DH 288), Cross, 13.78g/6h (DH 286), Free School New Front, 13.40g/6h (DH 299), Free School Old Front, 13.28g/6h (DH 297a); Kempson’s Churches, Halfpenny, Cathedral, 13.36g/6h (DH 257) [6]. Good very fine, three with original colour £90-£120

Miscellaneous Tokens and Checks, West Yorkshire, Leeds, Barrack Tavern, H. Whitaker, brass Threepence by Beddows, 27mm (YTC p.20); The Boar Lane Commercial Hotel & Dining Room Co Ltd, nickel, stamped 1/7, 27mm (YTC –); Britannia Inn, J. Baxter, brass, 24mm (YTC p.20); Hope Inn, J[oseph] Wood, brass Twopence, 26mm (YTC p.21); King’s Arms, Holbeck, David Naylor, brass Threehalfpence by Pope, 22mm (YTC p.21); New Music Hall, Thornton’s, brass Threepence, 27mm (W 723; YTC p.22); Robinson’s Temperance Hotel, brass Twopence, 24mm (YTC –); White Horse Hotel, Woodhouse Carr, John Lapish, brass Twopence, 26mm (YTC p.24) [8]. Third fine, others about very fine and better £60-£80

Authentic Rawlings baseball bat autographed by World Series Champion and Hall of Fame New York Yankees' superstar Phil Rizzuto. Bat is signed "Phil Rizzuto HOF94" noting the year that he was inducted into the Hall. Bat is not game used and is in great condition. Dimensions: 34"L x 2.5"dia. Country of Origin: USACondition: Age related wear.

All My Octobers: My Memories of Twelve World Series When the Yankees Ruled Baseball, hardcover autobiography book with original dustcover and 224 page. Autographed by Mickey Mantle, who was an American Major League Baseball player with the New York Yankees between 1951 to 1968. He is considered to be the best players and sluggers of all time. He was inducted into the Baseball Hall of Fame in 1974. James Spence Authentication LLC letter of authenticity included. ISBN: 9780060177478. Artist: Mickey MantleIssued: 1994Dimensions: 6.25"L x 1"W x 9.5"HEdition Number: First EditionManufacturer: Harper CollinsCountry of Origin: United StatesCondition: Age related wear. As is. Missing page.

This is a blue fixed back cap with Padres' logo on front and hand signed in white by Hall of Famer, Autographed by Tony Gwynn. Certificate of Authenticity from Fleer Genuine Memorabilia with matching holographic system included. Dimensions: Size 7 3/8Manufacturer: New Ear Cap Co. Country of Origin: United StatesCondition: Age related wear.

Chris Compton Hall RBA RCAMA(British, 1930 - 2016) "The Shop at Great Clifton, Cumbria" oil on board, signed and dated 1981, show size 36 by 29cm, frame size 50 by 5 by 42cm, with copy receipt New Grafton Gallery, provenance - from a private collection. NB-may be subject to Artist Resale Act.

Henri Gaudier-Brzeska (1891-1915) “Kitty Smith” or “Kate in the Hall” Pen and ink, 15cm by 9.5cmHenri Gaudier-Brzeska (1891-1915) was born in France, and as a teenager moved to the South West of England to study English business methods, staying with the Smith family in Bristol. Having moved to Cardiff in 1908, on a return visit to the Smiths the following year he drew Kitty in her new best dress and presented her with the resulting picture “Kitty Smith” or “Kate in the Hall”.In a letter from Roger Cole to the vendor, he noted how Kitty kept the drawing (and a photo of the artist) as a memento of their time together for the rest of her life. Though he moved to Cardiff in 1908, Kitty always maintened that the picture was done on his final visit to the family in 1909. On which occasion, Kitty wore her best dress especially for their visitor.

After Henry Winkles and John Rapkin (1801-1860 and 1813-1899)A 19th Century map of Liverpool with a panoramic view of the city from Birkhead and vignettes of St George's Hall, The Sailors Home and The Custom House, watercolour tinted engraving, published by John Tallis & Company, London & New York, in pen-lined card mount and Hogarth frame under glass, 52 x 68 cm overall

A Coalport blue and white teapot and cover. Circa 1810, printed and gilt with a willow pattern, length 26cm, together with a slightly earlier oval teapot and cover, three teapot stands, a spoon tray, New Hall, and other teaware (box).

GERTRUDE HERMES (BRITISH 1901-1983) TWO CHRISTMAS CARDS Hand and Aconites, Wood engraving, inscribed inside ‘best love from us 3 to you both. Hope all goes well.' and printed ‘Greetings for Christmas and the New Year from Gertrude Hermes. Change of address: 65 Black Lion Lane, W6’;Heaven and Hell, Wood engraving, with printed message inside ‘All good wishes for Christmas and the New Year, from Dick and Naomi Mitchison. River Court, Hammersmith Hall, London, W.6', further printed with excerpt of The Rebel by Hilaire Belloc (2) the image 13cm x 9.5cm (5in x 3.75in); 13.25cm x 14cm (5.25in x 5.5in), each unframed From the Estate of William McCance. The Art Edit is delighted to present paintings, drawings and prints by William McCance and his circle. The collection includes a portrait of McCance’s first wife Agnes Miller Parker (1895–1980), cards printed and inscribed by artist friends, and designs produced during McCance’s tenure as Controller of the Gregynog Press. All works come from the Artist’s Estate and have never before appeared on the market.Like any modernist worth his salt, William McCance sought to document twentieth century industrial life. His subject is often domestic, but is realised using a vorticist schematisation which promotes underlying geometric volumes. Thus, organic forms assume an almost mechanised quality: a human figure is transformed into a strange automaton; a grove of trees is delineated as if it were a cluster of factory pipes.McCance moved to London in 1920 with Agnes Miller Parker, where they were amongst the earliest Scots to adopt a Wyndham Lewis-inspired vorticism. Their mutual inclination towards line and pattern lent itself well to the graphic arts; Miller Parker was a talented wood engraver and illustrator, while McCance worked across painting, printmaking, design, sculpture, writing and typography.In 1930 McCance became second Controller of the Gregynog Press, a significant private press in Montgomeryshire, Wales. The Press flourished under his stewardship, and he oversaw the production of several exquisite limited edition publications.Gregynog was unique at the time in that publications were printed, typset, illustrated and bound under one roof. McCance and Miller Parker contributed designs and engravings, as did the artists Gertrude Hermes (1901–1983) and Blair Hughes Stanton (1902-1981), who was also employed at the Press in a directorial capacity. However, owing to fraught relations with the owners of the Press, McCance resigned after three years.By 1943 McCance was lecturer in Typography and Book Production at the University of Reading. The few works from this later period held in public collection indicate a preoccupation with the Venus of Laussel, the c.25,000 year old limestone figure of a female nude discovered in 1911 in a rock shelter in the Dordogne. McCance likely encountered the Venus during a visit to the region after the Second World War, and nude figures with smooth simplified curves inspired by the Venus recurred within his work hereon. McCance parted ways with Miller Parker in 1955, and by 1960 he had retired to Scotland. He died in Ayrshire in 1970.

Collection of various ceramics and glassware to include: a Scottish cut glass decanter and stopper, 25cm high, various Wedgwood black basalt, boxed Wedgwood items including a tankard commissioned to commemorate the Centenary of the Dragon School, limited edition of 500, 11cm high, a flo blue loving cup, New Hall porcelain teabowls, Herend tureen and cover decorated with flowers, a glass splatter jack-in-the-pulpit vase, Murano style bubble vase with shaped handles, unmarked, various porcelain cabinet cups and saucers, miniature Jasperware planter, two modern Meissen teabowls and saucers, boxed etc Inclusions, chips, firing imperfections, cracks, signs of wear consistent with age and use. Areas of staining. Unidentifiable foreign objects behind glass.

Group of ceramics comprising a New Hall porcelain cabinet plate, decorated in the Chinese taste, with figures underneath a tree with iron double banded border, painted marks to the base, 21cm across, and two Chinese export porcelain shaped dishes, in blue and white under glaze decoration of landscapes, unmarked, 26.5cm x 19cm, the other 27.5cm x 18.5cm (3) Both of the Chinese plates have damages and restoration. The circular dish with wear and some marks to the rim. All have scratches and signs of wear.

Collection of 19th century pottery and porcelain to include: Spode from the Audrey White collection including 'Grasshopper' design, New Hall cup with roses, other blue and white transfer printed designs, Spode enamelled cups 'Deer' pattern etc. (12) (B.P. 21% + VAT)

19thC and later ceramics, comprising mainly cups and saucers, two New Hall tea bowl, cups and saucers, Derby royal blue and gilded saucers, four soup bowls, and a dinner plate, etc. (1 tray and 5 items, AF)

18thC and later ceramics, comprising an early 18thC Chinese pin dish, with scalloped border in Imari pattern, 14cm diameter, a 19thC New Hall floral pin dish, 14cm diameter, a 20thC blue and white Chinese finger bowl, 11cm diameter, an unmarked white glazed and finished cross hatched jug, and a large Meissen floral platter, 19thC example, 59cm x 29cm. (5, AF)

A 19thC and later ceramics, comprising a pair of Crown Derby comports, each on a royal blue ground and gilded, various tea cups, tea bowls, New Hall pin dish, Royal Doulton miniature tankard, etc. (1 tray, AF)

Deborah Brown (1927 - 2023) Sheep on the Road (Maquette), c.1982 Wire and papier mâché on black base, 54 x 34 x 22cmExhibited: Gordon Gallery, Derry, 1984, catalogue number 8; Armstrong Gallery, New York, 1985; Ardhowen Theatre, Enniskillen, 1990, number 4Literature: Hilary Pyle (ed.), Deborah Brown: From Painting to Sculpture, Four Courts Press, Dublin, 2005, catalogue number 329, illustrated p.95; Hilary Pyle, ‘Something Indefinable in the Work of Deborah Brown’, Irish Arts Review, volume 11, 1995, p.193This maquette was used for the life-size bronze now sited outside the Waterfront Hall in Belfast

A New Hall  fluted helmet shaped pedestal cream jug, decorated with stylised flowers, 16cm high, c.1790;   others, pattern no.241, 253, 173;   a New Hall Boy with a Kite pattern tea bowl, c.1790;   eight tea bowls, various patterns;   a Ducks pattern slop bowl, 15.5cm diam;   three blue and white coffee cups;  etc (23)

Charlotte De Syllas (born 1946), Damascus Steel bracelet 1960's, fine gold and silver inlay, shown on Charlotte De Syllas website  https://www.charlottedesyllas.com/damascus-steel-bracelet-1960s Creating one-off commissioned jewellery since 1966, Charlotte De Syllas has produced a portfolio of great originality and distinction. Each piece evolves from her own free designs to reflect the client’s individuality through an intricate combination of finely carved gemstone and precious metal. Her designs are characterised by flowing lines and brilliant colours, yet their sculptural elegance often masks an intrinsic complexity of structure. This is achieved through the ingenious, and highly innovative, three-dimensional approach that Charlotte De Syllas brings to the art of jewellery making. In 1963, at Hornsey College of Art, Charlotte De Syllas enrolled on a new and innovative jewellery making course, recently established by the pioneering and hugely influential jeweller, Gerda Flӧckinger, CBE (b.1927). One of the first students to graduate, De Syllas' jewellery caught the attention of Graham Hughes, who purchased her entire body of student work for The Worshipful Company of Goldsmiths Collection. Hughes served as Art Director of The Goldsmiths' Company between 1951-1981 and actively promoted the work of British avant-garde jewellers. The 'International Exhibition of Modern Jewellery, 1890-1960' held at Goldsmiths' Hall under his leadership in 1961, marked a watershed moment for British jewellery design and the industry at large.

A Framed The Illustrated London News, Saturday 1st October 1892 - ""Haddon Hall" Sir Arthur Sullivans New Opera at the Savoy Theatre..", coloured after, in a glazed gilt frame. (38.5cmx25cm)

A New Atlas of 54 maps engraved by Sidney Hall 1834

DAVID FORRESTER WILSON R.S.A. (SCOTTISH 1873-1950) PASSING DAY Signed, oil on canvas 102cm x 102cm (40in x 40in) Presented by J. A. D. McKean, Esq., 1923. Replete with sinuous lineation and compositional flair, Passing Day is a sensational example of David Forrester Wilson’s early Symbolist work, which earned the artist favour with generations of collectors – including none other than Andy Warhol. While the precise meaning of Passing Day remains elusive, it might be interpreted as an allegory for the transition from day into night. On the banks of a woodland stream we find a languorous androgyne, possibly representing the ‘Day’, whose russet gown is in tumbling disarray. Their head tips back in a state of ecstasy, slumber - or death. Certainly, they appear to submit to the pallid figure shrouded in black who hovers in the air, possibly representing ‘Night’. The androgyne appears ready to be lifted out of the waking world below, where bright, gem-like wildflowers sprout along the riverbank, and borne into the shadowy world above, where the diminishing twilight transforms the trees and hills into dark indistinction. Between the two worlds, the sentinel heron looks on impassively. Wilson was an acolyte of the eminent Belgian Symbolist Jean Delville, who had been his tutor at the Glasgow School of Art. Professor Delville encouraged his students to continue their studies on the continent, and accordingly in 1905 Wilson visited Belgium, Italy and France, as well as London. By the time Wilson returned to Scotland word of his prodigious talent had spread, and he was invited by Fra Newbery, head of the Glasgow School of Art, to return to the School as a member of staff. By 1931 Wilson had been appointed Professor of Drawing and Painting, a role he maintained until his retirement from teaching in 1938.Wilson was commissioned to execute a lunette for the banqueting hall of the Glasgow City Chambers in 1911, alongside other eminent Glasgow painters such as Sir John Lavery, E. A. Walton and George Henry. Wilson’s lunette, titled ‘Time and History’, remains one of his most important works. His Royal Scottish Academy obituary recorded that ‘his painting is characterised by refined drawing and colour and a strong sense of decoration. It is poetical in feeling which he often expressed through allegory. All his work is founded in the best historical traditions’. When Andy Warhol’s estate was offered posthumously at Sotheby’s in 1988, several works by David Forrester Wilson emerged from Warhol’s personal collection. One particularly significant Symbolist composition went on to sell for $110,000, ten times its pre-sale estimate. Titled ‘The Wind’, the piece portrayed two girls struggling to lead a goat home as the wind pulls at their clothes and hair. Wilson’s unorthodox take on the pastoral idyll must have appealed to Warhol’s tastes, for the painting hung in the boardroom of ‘The Factory’ in New York, and was said to have been one of the Pop Artist’s favourites. 

FRA HENRY NEWBERY R.W.A., A.R.C.A. (SCOTTISH 1855-1946) BRIDPORT WEAVING Signed, oil on canvas 82cm x 152.5cm (32.5in x 60in) Presented by W. Lang, Esq., 1928. Exhibited: Glasgow School of Art, Fra Newbery, Artist and Art Educationist, August 1996, p.33, no.43.Literature: Rawson, George Mansell. Francis Henry Newbery and the Glasgow School of Art. PhD thesis, Glasgow School of Art, 1996, pp.278-279;Rawson, George. Fra Newbery, Artist and Art Educationalist, 1855-1946. The Fouilis Press of Glasgow School of Art, 1996. p.33, cat.no. 43, where titled ‘An Old Bridport Weaving Shop’. Francis Newbery, or 'Fra' as he was known by his students, was central to the avant-garde movement which occurred in Glasgow between 1880 and 1920 at the Glasgow School of Art (GSA). Born in Devon, Newbery studied at Bridport and the National Art Training School in London. In 1885, aged 30, he was offered the position of Headmaster and Director of the Glasgow School of Art. Under his guidance, the art school was transformed from being a moderately successful institution to one of international reputation at the forefront of the modern movement. The dynamic new headmaster brought an enlightened, energetic leadership which resulted in significant change, including the construction of the new Charles Rennie Mackintosh-designed GSA building which Newbery oversaw and supported. Within the school, he equally encouraged male and female students. This meant that in 1905 Glasgow became the first school in Britain to admit women to its architectural program. Newbery also promoted increased interaction with the Continent, employing tutors from Europe, such as the Belgian Symbolist Jean Delville, at a time when few others in Britain would dare to do so. He also chose to involve his students with important exhibitions abroad.Much of his success at GSA was led by the acclaim surrounding the work of artists such as Mackintosh, Margaret and Francis Macdonald, and Jessie M. King in the 1890's. As a painter, Newbery was closely associated to, and exhibited with, the Glasgow Boys, a group of artists who were part of the European avant-garde in the early 1890s. In particular, he had close ties to Lavery, Guthrie, E.A. Walton, and enjoyed a close relationship throughout his life with Mackintosh. Bridport Weaving dates to the mid-1920s. It relates to a mural he created for Bridport Town Hall in 1924. The mural comprised four scenes illustrating local traditional industry, including sailcloth weaving, twine spinning, yarn bleaching and net braiding, with the allegorical figure ‘The Spirit of Bridport’ represented by a young woman in a fifth central panel.  The oil on canvas offered here for sale is a fine example of the sophisticated compositional arrangements Newbery was capable of achieving. In his 1996 PhD thesis, Dr. George Rawson records that Bridport Weaving was ‘a reconstruction of one which Newbery had known and had as the workers' foreman a Scot, William Rathbone, who Newbery remembered had been one of the last handloom weavers in Bridport.’ A complex interior of criss-crossing beams and loom equipment serves as a device to lead the viewer’s eye back and forth across the composition, resting finally on Rathbone’s face. As Rawson notes, ‘[the] scene is one of hard concentrated work and contains a strong sense of movement. Three of the four figures are seen straining over their machinery. Immersed in their labour they offer no personal contact with, or acknowledgement of, the spectator’.  

Le Carpentier (Matthieu) Recueil des Plans, Coupes et Elévations du Nouvel Hôtel de Ville de Rouen, only edition, half-title, engraved coat-of-arms to dedication, 6 engraved plates of which 3 folding and/or double-page plans, stitched in original blue wrappers, soiled and marked, [Berlin Kat. 2514; not in BAL, Fowler or Millard], folio, Paris, C.-A.Jombert, 1758.*** Designs for a new town hall for the city of Rouen and for the city’s urban redevelopment but, although construction had been approved by Louis XV and had begun by the time of publication, enthusiasm for the project waned and the building was never completed. Le Carpentier had one of the most significant architectural practices of the time, designing a succession of major country houses and Parisian town houses for the French aristocracy. 

Wiebenson (Dora) & others. The Mark J. Millard Architectural Collection, 4 vol., Washington & New York, 1993-2000 § Harris (E.) and N. Savage. British Architectural Books and Writers 1556-1785, Cambridge, 1990 § Fowler (Laurence Hall) and Elizabeth Baer. The Fowler Architectural Collection of the John Hopkins University: Catalogue, Baltimore, Md., 1961 § Katalog der Ornamentstich-Sammlung der Staatlichen Kunstbibliothek, 2 vol. reprint, Utrecht, 1986 § (Frits) Les Marques de Collections de Dessins & d'Estampes, 2 vol. including Supplement, vol.1 reprint, San Francisco & The Hague, 1975-56 § Cicognara (L.) Catalogo Ragionato dei Libri d'Arte e d'Antichita, 2 vol., reprint, Cosenza, 1960 § Cohen (H.) Guide de l'Amateur de Livres a Gravures du XVIIIe Siècle, sixth edition edited by Seymour de Ricci, 2 parts in 1, ex-library copy with stamps, modern half morocco, Paris, 1912, plates and illustrations, all but the last original cloth, the first two with dust-jackets, some a little rubbed; and c.50 others, architectural reference, including some sale catalogues, 8vo & 4to (c.60)

* JAMES PETER QUINN (AUSTRALIAN 1869 - 1951), PORTRAIT OF A WOMAN oil on canvas, signedframedimage size 55cm x 44cm, overall size 66cm x 55cm Note: James Peter Quinn was born on 4 December 1869 at 60 Bourke Street, Melbourne, third son of John Quinn, restaurant-keeper born in Antigua, West Indies, and his English wife Ann, née Long. Little is known of Quinn's childhood and early education; both parents died when he was young. His guardians apprenticed him to an engraver, but he undertook part-time studies at the school of design, National Gallery of Victoria, under Frederick McCubbin in 1887-89, and at the school of painting under George Folingsby and Berneard Hall in 1890-93. Awarded several student prizes, he won the gallery's travelling scholarship in 1893. Quinn went to London in 1894 but quickly left for Paris where he studied at the Académie Julian, at the Académie des Beaux-Arts under Jean Paul Laurens, and with Colarossi and Delécluse. He returned to London about 1902 and married fellow art-student Blanche Louise Guernier there on 29 September. By 1904 he had exhibited with the Royal Academy of Arts and went on to establish a reputation as a highly successful portrait painter. His family were the subjects of many paintings, including 'Mère et Fils', awarded an honourable mention at the Old Salon, Paris, in 1912. He also painted many self-portraits. His many commissioned works included portraits of Joseph Chamberlain, the Duchess of York and, later, the Duke of Windsor. In 1918-19 he was an official war artist with the Australian Imperial Force in France, and exhibited war paintings at the Grafton Galleries, London. In 1919, with George Coates he was an official artist to the Canadian War Records. He was a council-member of the London Portrait Society, and a member of the Royal Society of Portrait Painters and the Royal Institute of Oil Painters, exhibiting regularly with them and the Royal Academy, and in Paris with the Old and New salons. Quinn's sudden return to Australia in December 1935, alone, followed the death of his gifted artist-son René. He held exhibitions at the Fine Art Society's Gallery, Melbourne, in 1936 and the Royal South Australian Society of Arts Gallery next year. Quinn ostensibly returned as an acclaimed artist, was invited to re-join the Victorian Artists' Society he had joined first in 1888, and was its president (but for one year) in 1937-50. Yet a coolness existed. Though he had little in common with the modernist painters of the period, his commitment to a tolerant brotherhood of artists found no allies among the aggressively conservative old guard. In 1937 he clashed publicly with Sir Robert Menzies who in opening a V.A.S. exhibition denigrated modern art. In spite of the affection felt for him by many artists and students, Quinn was somewhat isolated. He continued to exhibit, winning the Crouch Prize, Ballarat Fine Art Gallery, in 1941. In the mid-1940s he taught briefly at the National Gallery school. A lover of good food, wine and conversation, Quinn delighted in mixing with all classes. Frequenting the haunts of journalists, writers and the more Bohemian fringe, he was easily recognizable with his bow tie, grey curly hair and cigarette dangling from the corner of his mouth. Survived by one son, he died of cancer on 18 February 1951 at Prahran and was buried in St Kilda cemetery. His war portraits are held by the Australian War Memorial, Canberra, and he is represented in most Australian public collections and in major galleries throughout the world.

λ &nbspOLAFUR ELIASSON (ICELANDIC-DANISH B. 1967) 'SQUARE SPHERE', 2007 Stainless steel mirrors and bronzed brass Diameter 90cm (35¼in.) Executed in 2007. This work is number 3 in an edition of 10 + 2ap.This work is accompanied by a certificate of authenticity signed by the artist.Provenance: neugerriemschneider, Berlin Acquired from the above in 2007An Icelandic-Danish artist of international renown, Olafur Eliasson is celebrated for his installations, from small sculptures to immersive public experiences such as The weather project, 2003 at the Tate Modern. He has won the Eugene McDermott Award in the Arts and the Praemium Imperiale; MoMA, ZKM, MCA, and MAM Paris have all exhibited his work. The Studio Olafur Eliasson has expanded over time and become a hub for conducting experiments, testing designs, and realising architectural projects. The artist's highly ambitious and influential practice has resulted in many prominent commissions, including the Mies van der Rohe award-winning Harpa concert hall and The New York City Waterfalls, 2008 . What unites Eliasson's diverse œuvre is his focus on spatiality and atmospheric effects. In part, Square sphere is a cerebral, paradoxical investigation into the geometric forms that so fascinated the Renaissance masters. It is also a rare and attractive centrepiece from an edition of ten with two artist's proofs, one that fragments and recomposes its environment, in line with Eliasson's investigations into the nature of perception. Photo credits:Installation view: Staatsoper Unter den Linden, Berlin, 2007 | Photo: Studio Olafur Eliasson © 2007 Olafur EliassonPhoto: Jens Ziehe, 2015 © 2007 Olafur EliassonInstallation view: Studio Olafur Eliasson, 2007 | Photo: Studio Olafur Eliasson © 2007 Olafur Eliasson Condition Report: Light surface dirt throughout. The work may benefit from a gentle clean. There are spare panels with the artwork. Please contact housesales@dreweatts.comCondition Report Disclaimer

A quantity of antiquarian bibles and religious books to include Rev John Fleetwood - The Life of ... Jesus Christ and ... Evangelists, Apostles and Chief Disciples, illus. pub. J Broad, Adelaide, with hand written family history, The Christian's new and complete Family Bible by the Rev. Thomas Bankes of St Mary Hall, Oxon, London, printed for J. Cooke, Illus, leather bound and many others, 21Location:If there is no condition report shown, please request

LLOYD MARIE: (1870-1922) English music hall singer, comedian and actress. A good vintage signed and inscribed 8 x 10 photograph of Lloyd seated in a three-quarter length pose wearing an elaborate hat and holding some roses in one hand. Photograph by the Otto Sarony Co. of New York and bearing their blindstamp to the lower right corner. Signed by Lloyd in fountain pen ink to the upper white border. Signed photographs of the Queen of the Music Hall of this size and quality are scarce. VG

MARX GROUCHO: (1890-1977) American film comedian, one of the Marx Brothers, and the recipient of an Honorary Academy Award. A good T.L.S., Groucho, one page, 4to, New York, n.d. (1933/34), to ´Dear Svensk, Kids and Mother´, on the printed stationery of the Hotel Elysee. Marx writes a social letter, largely concerning his friend Harry Ruby and their first wife Chloe ´Cleo´ Carter, commencing ´You certainly are full of that Ruby - Cleo case. Possibly because you are there on the ground. I don´t care anything about it one way or another. I regret it happening, I am sorry for both of them, outside of that, the hell with it. I am glad you befriended Cleo, whether she is guilty of sexual indescretions (sic) or not, I don´t think that´s important, most everyone goes a little cockeyed on the little matter of sex, and I think it was poor judgement and bad taste for Harry to shout if (sic) from the housetops, if that is what he did´, further adding ´I don´t believe he is responsible for what he is saying, I think he is temporarily deranged. I privately think he is making all the noise because he fears that if he doesn´t Cleo will nick him financially´. Marx further writes of his current work, ´We are scheduled to audition next Thursday, but we as yet haven´t an idea that is going to make a sponsor throw his hat up in the air with glee. We are meeting again this morning to see if we can´t work out something that will be worth hearing, if we don´t the thing will fall through, and us with it´, before concluding ´I went to the fights last night and had a pretty good time. The night previous when you phoned me, I was very nervous and couldn´t sleep, finally winding up with a five grainer, the first in weeks. Last night I took a pine needle bath right after the fights and slept pretty well. I wrote you all the news yesterday and this is just velvet´. A letter of particularly candid content. Two small tears to the edges, otherwise VGHarry Ruby (1895-1974) American pianist, composer, songwriter and screenwriter. A close friend of Groucho, Ruby composed the scores and provided musical numbers for the Marx Brothers´ films Animal Crackers (1930), Horse Feathers (1932) and Duck Soup (1933), as well as also contributing to the screenplays of all three movies. Chloe Carter (1903-1993) American showgirl and Music Hall dancer, also known by her stage name Cleo Cullen. Carter had married Ruby in 1930 and the couple moved to Beverly Hills where, in 1933, Cleo was introduced to the actress Jean Acker (1892-1978) who had been divorced from Rudolph Valentino in 1923. The two women fell in love and in 1934 (presumably around the time of the present letter) Carter obtained a dvorce from Ruby. Carter and Acker would spend the rest of their lives together living in an apartment within a building they owned in Beverly Hills.The fights that Marx refers to attending are likely to have involved Primo Carnera, either in his Heavyweight victory over Jack Sharkey on 29th June 1933, or his subsequent loss to Max Baer on 14th June 1934. Both events took place at the Madison Square Garden Bowl in Queens, New York.

Group of New Hall and other 18th century and early 19th century English porcelain

Barbara Christie (1947-2013). A silver diamond and uvarovite ring, with a central brilliant cut diamond bezel set within gold cup setting, to heart shaped uvavorite garnet druzy plaque, bezel set, to silver closed back setting and textured hoop, London hallmarks, 2008, ring size O; together with a silver mounted heart shaped opal ring, unmarked, ring size P (2)Barbara Christie was an esteemed head of the jewellery department at Morley College, London for over 30 years, and held important educational roles teaching first-year students at the arts and design college Central Saint Martins, London. In 2012 she created a gold and druze quartz necklace for the landmark Gold: Power and Allure exhibition at the Goldsmith’s Hall, and following her death a year later in 2013, a retrospective of her work titled Light Seeping Through Windows was hosted at Contemporary Applied Arts in London. Barbara's work is held in public collections such as the Worshipful Company of Goldsmiths and the American Craft Museum, New York, and Madeleine Albright, the former US secretary of state, was among her customers. 

Two, the latter signed with monogram, pen and grey ink with coloured washes 13.5 x 20cm and 13 x 19.5cm. (2) * In 1780, Devis moved to Albury House near Guildford in Surrey where he built the mushroom-shaped painting studio seen in one of these subjects. The tiny hut became known as `Mushroom Hall` but its use did not lead to Devis's greater renown as he was not to show any new works publicly after 1781. Provenance: London, Leger Galleries, June 1985; Spink-Leger. *CR Each with some fading and in need of a clean to remove foxing, damp marks and mount burn.

A collection of 18th century and later ceramics and glass A facetted cordial glass; a New Hall milk jug; a collection of five blue and white pottery pepper pots; a further Continental porcelain pepper pot decorated with birds; a pair of ate 19th or early 20th century Continental porcelain figurines; etc.The largest glass 15.5cm highQty: qtyThe New Hall jug in good condition. The Continental porcelain pepper pot with firing cracks to the holes at the top and wear to the gilding, otherwise in good condition. The pottery pepper pots with some hairline cracks and chips. The cordial glass with wear to the gilding, otherwise in good condition. The opalescent beaker in good condition. The tea bows with some minor marks and hairline cracks. Wear to the gilding on the glasses overall. Some minor losses and wear to the gilding on the figurines.

Joseph Newington Carter (British 1835-1871): 'The New Music Hall Scarborough, South Front' - View of The Spa, pencil ink and wash signed and inscribed 'Drawn from Nature 1859', 25cm x 35cm Provenance: private local collection, purchased Walker Galleries, Harrogate 1997, label verso Notes: a rare and important JN Carter original drawing for a later lithograph by F Jones, printed by Day & Son, pub. SW Theakston - sold together with an example of the lithograph 26cm x 35cm (2)Condition Report: Drawing: Overall good condition but with some brown staining and discolouration throughout. Well presented - ready to hang. Lithograph: Generally good condition with strong colours. Some brown staining in the sky, some tears and stains to the margins.

Architecture. Casson (Sir Hugh), Grenfell (Joyce), & Avebury (Diana, editor), Nanny Says, autographed and extra-illustrated association copy, signed and dedicated by Hugh Casson, first edition, London: Dennis Dobson, 1972, illustrated, ffep inscribed and illustrated with an additional pen-and-ink drawing of a nanny by Hugh Casson, repaired original pictorial dustjacket over pictorial cloth, 16mo; after Sir Hugh Casson PRA RDI (1910-1999) - Main Gateway, Wormwood Scrubs Prison, autograph presentation inscription from and monogrammed by Hugh Casson, further inscribed to verso, off-set print, slightly soiled and creased margin, 33 x 23.5cm, mounted, (2)  Provenance: Julian Bicknell (b. 1945), New Classical architect and designer of the Palladian Henbury Hall, Cheshire; each presented to him by Casson when the former was a tutor at the Royal College of Art, running their project office from 1976-81.