An enamel seal, circa 1910-1930 Formerly owned by Josephine Baker Of bulbous form, decorated throughout with royal blue guilloché enamel, highlighted towards the base by a single band of red enamel, the matrix engraved “Josephine Baker”, unidentified assay mark, height 6.2cm Gifted to Josephine Baker from an admirer. Then in the private collection of a well-known Munich Consul General who was a personal friend of Baker. The Matrix Collection. Josephine Baker made her debut in Berlin as the “Black Venus” in 1926 and that is likely where the relationship formed. From his personal collection sold at auction in 1996 in Munich, Lot 3408.The Matrix Collection. Josephine Baker (1906-1975) was born Freda Josephine McDonald in St. Louis, Missouri. Her mother worked as a washerwoman and the identity of her father has never been confirmed. Her childhood was one of great hardship and deprivation. At the age of 8 she worked as a domestic servant, a role in which she was abused. By the age of 12 she was living on the streets and working as a dancer, at times just on street corners. She married at just 13 but the marriage didn't last a full year. At that time she began a performance touring career as a dancer and comic. She remarried in 1921, aged 15, to William Howard Baker, and despite their divorce in 1925, Josephine retained the name Baker for the remainder of her life. By 1923 Baker had appeared as part of the chorus in her first Broadway production, Shuffle Along. However her career did not really take off until she travelled to France in 1925. Her performances at the Théatre des Champs-Elysees caused a sensation. She became amongst the highest paid performers in Europe. Her career continued to escalate and in 1934 she stared in the French film Zouzou, the first major film with a black woman in the leading role. Baker's career became solidified in France. The racial injustices she witnessed in her home country of the United States ultimately led her to give up her U.S. citizenship and became a naturalised French citizen. From very early on in her career Baker undertook philanthropic giving, particularly around the plight of children. At the outbreak of World War II in France, Baker entertained French troops, was a member of the Red Cross and ultimately became a member of the French Resistance. She was a valued member of the Deuxième Bureau, the French military intelligence agency. Her role as an entertainer allowed her to mix in wide social circles and travel internationally without arousing suspicion. Following the war she was highly decorated for her services.In the 1950s Baker continued her work as an internationally acclaimed entertainer although she was never to reach the level of fame in the United States as she did throughout Europe and North Africa. She refused to preform to segregated crowds and fought against racism both as a performer and as a member of society. She was awarded a lifetime membership to the NAACP. In 1963 she spoke alongside Dr Martin Luther King Jr. as part of the March on Washington, the only female speaker at the event.Her quest to end racism, coupled with her own personal inability to have children, led her to form her “Rainbow Tribe” at her home, the Château des Milandes, in the Dordogne area of France. Baker adopted twelve children, two girls and ten boys, from various nationalities and religions to prove that "children of different ethnicities and religions could still be brothers."Late in life, from 1968 to 1975, Baker returned to the stage performing in Paris, Carnegie Hall in New York and the Royal Variety Performance in London. Her final performance was a retrospective show in Paris, financed by Prince Rainer, Princess Grace, and Jacqueline Kennedy Onassis. She was found unconscious in bed four days later, surrounded by newspapers containing rave reviews for her performance. Josephine Baker died a few days later from a brain haemorrhage while in hospital.
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λ OLIVER 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).
Coins: A collection issued by The Dublin Mint Office "Building The New Ireland," comprising five silver Coins for G.P.O., Custom House, Liberty Hall, Four Courts, and Kilmainham Gaol, a layered gold Coin for Michael Collins, and a 9ct gold Coin for Leinster House, together with associated certificates, housed in folding container. (1)
Circle of George Morland (1763-1804) “Dasher and Slasher, Famous Hounds of Duke of Grafton Pack”, a pair, O.O.C., each approx. 99cms high x 125cms wide (39" x 49"). (2) According to an original label on the back, these two engaging canvases, by ‘Morland’, depict foxhounds of the Duke of Grafton Pack, a long-established hunt that still thrives in Northamptonshire. In the first painting, the hound is shown standing on a rocky ledge, with a master of hounds standing below. Wearing a black riding helmet, white cravat and red jacket, the master has longish brown hair and holds a whip in his gloved hand. The hound stands on all four legs, head up, as if sniffing the air for a quarry. In the background is a Scots Pine tree, silhouetted against a cloudy sky. The master’s face is slightly asymmetrical, and he has a determined expression, which lends the portrait a compelling quality. An accomplished artist, Morland was also a noted dandy, who delighted in associating with jockeys, punks and pugilists, and it is possible that the figure of the master is a portrait of him. Some aspects of the paintwork are slightly naif, indicating that this is a copy after an original. In terms of identifying the artist, while an old label attributes the work to ‘Morland’, the style is more in keeping with the work of George Stubbs. It has also been suggested that it maybe by a little-known painter named John Everard. In the second portrait, a huntsman is portrayed, again on the same level as the foxhound. Dressed in black helmet and red jacket, the huntsman is behind the hound, resting his hand on the animal’s back. The hound has its nose raised and tail curled, ready to spring into action. Again there is a tree in the background—an oak this time--and a cloudy sky, tinged with pink. A more appealing portrait than the first, huntsman and hound are portrayed in a closer, friendly pose. The man holds a hunting horn, and has a cord, tied in a bow, around his leg. The hounds in the portraits have the attributes of the best hunters: good shoulders, straight legs and strong backs. Based at Wakefield in Northamptonshire, the Grafton Hunt is named after its founder, the 2nd Duke of Grafton, who commissioned William Kent to design Wakefield house and gardens. Another family seat, Euston Hall, some eighteen miles from Newmarket in Suffolk, home to the 12th Duke, remains a centre for horse racing. The house and grounds at Euston were embellished by John Evelyn, and Sir Samuel Morland, the latter providing an engine to raise water to supply the fountains and a corn mill. Born in 1763, the painter George Morland is said to have been a descendant of Samuel Morland. The 2nd Duke commissioned William Kent to build a banqueting house at Euston, while the head gardener, ‘Capability’ Brown, added ornamental lakes. The 3rd Duke, Augustus Henry Fitzroy (1735-1811), was an avid huntsman, while his wife was an even more avid gambler. When he took up with a mistress, Fitzroy’s private life became a public joke, as retailed in letters by “Junius”. An associate of William Pitt, Fitzroy had a disastrous political career; during his term as prime minister, he alienated New England colonists, and set the stage for the American War of Independence. He was also notorious for absenting himself from a Cabinet meeting on Ireland, so as not to miss a race at Newmarket, where a horse of his was running. He resigned as prime minister in 1770, aged 34. The Grafton Hunt was continued by his successors, and, apart from a period between 1842 and 1861 when the hunt was in the hands of a relative, Lord Southampton, the pack name has remained unchanged to the present day. Nowadays it is owned by trustees, but the bloodlines of the present pack can be traced back to the original hounds, including Dasher and Slasher, the dogs depicted in this pair of portraits.
Collection of antiquated and vintage books to include:BARTLET J, 'The Gentleman's Farriery or a Practical Treatise on the Diseases of Horses' Twelfth Edition Revised, Millar Law and Cater,1796.DICKENS C, 'David Copperfield', Nicholas Nickleby' and The Pickwick Papers, The Authentic Edition, Chapman and Hall, 1901. BYRON, 'The works of Lord Byron' published by Lippincott & Co, 1858. PUNCH Library of Humour : 24 volumesAlso a Cassell's New Atlas, an 1866 Family Bible, and 'Miscellanies' by Dr Swift, back cover detached.
1957, from John Osborne's play The Entertainer, matte silver gelatin print, framed, 30 x 27xm; 41.5 x 39cm (framed); together with a film advertisement of Laurence Olivier in the same role; and two further The Entertainer promotional items (4)Osborne began writing The Entertainer in the autumn of 1956. It was his paean to music hall entertainment, '...a theatre for the working class, local and intimate, combative on behalf of its audiences, chiding them sometimes but never patronising them' (Whitebrook, p. 128). The play was inspired by Osborne's treasured experiences of attending music halls with his father in the 1930s, and the all too apparent demise of the genre and the destruction of the music hall buildings themselves after the War when going to the flicks became increasingly popular. The Entertainer was first performed at the Royal Court Theatre on 10th April 1957. The lead character, Archie Rice, a failing music hall actor, was played by Laurence Olivier. Olivier was the most sought after actor of his generation, and to secure him in the lead role of a new play, only Osborne's second, and hard on the heels of the controversy surrounding Look Back in Anger, was a huge coup for the English Stage Company under the management of George Devine. According to Heilpern, Olivier had had misgivings about Look Back in Anger as it offended his sense of patriotism and theatre, and he only attended a performance because of the American playwright Arthur Miller's interest. But when Devine took Miller and Olivier backstage afterwards to meet Osborne, Olivier asked the fledgling playwright 'Do you suppose you could write something for me?' (Heilpern, p. 213). The Entertainer was the result. Qty: 4
1975, poster, The National Theatre at the Old Vic, cast includes Frank Finlay and Jill Bennett, directed by Bill Bryden; 78 x 53cm (framed), together with a National Theatre programme for the play; and a National Theatre programme for Blithe Spirit (3)Written in 1975, Watch it Come Down starring Jill Bennett premiered on 18th February 1976 at the National Theatre at the Old Vic before moving to the newly constructed Lyttleton Theatre on the South Bank. Whitebrook describes it as 'A play about emotional and social bankruptcy, Watch it Come Down is set in an abandoned country railway station, its buildings converted into a large house inhabited by Ben Prosser... a film director, and Sally his vulgar, brittle wife and the daughter of a colonial family. Middle-aged, bored, drinking a great deal and locked in a battle of mutual attrition, the Prossers are clearly portraits of the Osbornes' (Whitebrook, p. 302). The reviews were hostile, and the new director of the National Theatre, Peter Hall, who had so encouraged Osborne was obliged to close the production early, citing falling box office receipts. Qty: 3
TROLLOPE, (Anthony), (1815-1882), The Last Chronicle of Barset, first edition, in two volumes, London, Smith, Elder and Co., 65, Cornhill, 1867, together with Orley Farm, in two volumes, London, Chapman and Hall, 193 Piccadilly, 1862, Can you Forgive Her, in two volumes, London, Chapman and Hall, 193, Piccadilly, 1866, also Doctor Thorne, George Routledge and Sons, Small House at Allington, same publisher, and TENNYSON, (Alfred), Poems, New Edition, George Routledge and Sons, and the Dickens Dictionary, 1878, (10)
Rory Gallagher: A Supro Dual-Tone Electric Guitar,1963,Serial no. T90210 on small plate to back of headstock, Res-O-Glas body in Ermine White finish, slight cutaway on bass side, twin humbucking pickups, bevelled body edges, one knob and three-way selector on treble side, four control knobs on bass side, stairstep tailpiece, black and white pickguard with no model name, Brazilian rosewood fingerboard with block markers, asymmetric headstock with black and white veneer and plastic logo, three-a-side Kluson tuners, in brown/white shaped board case with Sundance Nightclub Backstage Pass,CITES 24GBA108JOCH4,guitar 39in (99cm) longFootnotes:This guitar was gifted to Rory by Canadian slide-guitarist Paul Fenton one night in 1985. It was then played by Rory onstage in Ottawa the following day. Fenton has said that it was his way of paying Rory back, as seeing Rory play in Toronto in 1972 was what inspired Fenton to get into music.Rory was also photographed by Charlie Gill playing this guitar at the Lone Star Cafe in New York on 23rd June 1985.ProvenanceGifted to Rory Gallagher by Paul Fenton, June 1985. Live Performance Rory Gallagher, Barrymore Music Hall, Ottawa, Canada, 16th June 1985.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
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
A Staffordshire part tea service, probably New Hall, early 19th century, comprising: a London shape teapot, cover and stand; a sucrier and cover; a milk jug, two bute shaped tea cups with oval ring handles, five saucers, and two serving plates, each piece printed with a hand embellished landscape scene, gilt highlights throughout (12) (at fault) NOTE: See Miller & Berthoud, AN ANTHOLOGY OF BRITISH TEAPOTS, page 256 for similar teapot shapes, and Berthoud, AN ANTHOLOGY OF BRITISH CUPS, plate 327 for a similar cup shape.
GROUP OF POSTERS MUSEUM POSTERS AND PRINTS, 1972-2001 comprising; VICTORIAN CHURCH ART, Victoria and Albert Museum, 1972, 73.5cm x 48cm; HENRY HOLIDAY, William Morris Gallery, 59cm x 42cm (2); MORRIS & COMPANY TILES, William Morris Gallery, 1996-7, 59.5cm x 42cm; THE STRANGE GENIUS OF WILLIAM BURGES, Victorian and Albert Museum, 1981-2, 76cm x 50cm; THE HOLY GRAIL TAPESTRIES, City Museum and Art Gallery Birmingham, 1985, 76cm x 51cm; MORRIS & COMPANY STAINED GLASS, William Morris Gallery, 1996, 59.5cm x 42cm; THE STRANGE GENIUS OF WILLIAM BURGES, National Museum of Wales, 1981, 59cm x 42cm; WILLIAM BURGES, DESIGNS FOR CARDIFF CASTLE, Geffrye Museum, 1981, 76cm x 50.5cm; JOHN PIPER, at Renishaw Hall, 2000, 59cm x 42cm; HENRY MOORE, in Bretton Country Park, 1994-5, 70cm x 49.5cm; JOHN PIPER, at Renishaw Hall, 1997, 42cm x 59cm; PAUL NASH, AERIAL CREATURES, Imperial War Museum, 1997, 76cm x 51cm; THE DRAWINGS OF HENRY MOORE, Tate Gallery, 1978, 76cm x 51cm; GLASGOW STAINED GLASS, People's Palace Museum, 1981, 59.5cm x 42cm; THE CENTURY GUILD, William Morris Gallery, 2001, 59cm x 42cm; VICTORIAN AND EDWARDIAN STAINED GLASS, RIBA Heinz Gallery, 60cm x 42cm; WOMEN STAINED GLASS ARTISTS OF THE ARTS & CRAFTS MOVEMENT, William Morris Gallery, 1986, 68.5cm x 49cm; BAILLIE-SCOTT, THE ARTISTIC HOUSE, Geffrye Museum, 1996, 76cm x 51cm; THE NEW AMERICAN WING, Metropolitan Museum of Art, 101.5cm x 61cm; KING ARTHUR'S GREAT HALLS, Tintagel, 42cm x 59cm; COVENTRY CATHEDRAL, 76cm x 51cm; ST MICHAEL, ST GABRIEL, 65cm x 99cm; L.S. LOWRY, print, Industrial Scene, 58.5cm x 86cm; GRAHAM SUTHERLAND, print, Entrance to a Lane, 74cm x 61.5cm; RICHARD BAWDEN, print, 55cm x 70cm; JOHN PIPER, print, Exeter College Chapel, Oxford, 69.5cm x 49.5cm; TOM HANKS IS FORREST GUMP, poster, 84cm x 59cm (27) sold as seen, not subject to return
COLLECTION OF REFERENCE BOOKS AND CATALOGUES JEWELLERY AND SILVER comprising; a collection of reference books for 19th and 20th century jewellery and silver to include; Becker, Vivienne, ART NOUVEAU JEWELLERY, Thames and Hudson 1985; Farnettie, Deanna (ed.), JEWELS OF FANTASY; COSTUME JEWELLERY OF THE TWENTIETH CENTURY, Harry N Abrams, 1992; Dormer, Peter and Turner, Ralph, THE NEW JEWELERY, Thames & Hudson, 1994; Drutt, Helen W. and Dormer, Peter, JEWELERY OF OUR TIME; ART, ORNAMENT & OBSESSION, Thames & Hudson, 1995; Hughes, Graham, MODERN JEWELERY, Studio Vista, 1968; Hughes, Graham, MODERN SILVER, Crown, 1967 etc.; together with a collection of exhibition, museum and auction catalogues to include; Tate, Hugh (ed.) THE ART OF THE JEWELLER, A CATALOGUE OF THE HULL GRUNDY GIFT TO THE BRITISH MUSEUM, British Museums Publications Limited, 1984; RECENT ACQUISITIONS BY THE GOLDSMITH'S COMPANY, 1975-1985; Goldsmith's Hall London; LOOT, Minneapolis Catalogue, Minneapolis Institute of Art, July 14-30 1978; Rutherford, Jessica and Beddoe, Stella, ART NOUVEAU, ART DECO AND THE THIRTIES; THE CERAMIC, GLASS AND METALWORK COLLECTIONS AT BRIGHTON MUSEUM, The Royal Pavilion, Art Gallery and Museums, Brighton, 1986; FINE JEWELS AND WATCHES FROM THE ATELIER OF LEON HATOT, Christie's Geneva, May 10 1989 etc. (qty)
A Victorian silver tea kettle on and associated standLondon, 1872, Richard Sibley II retailed by Thomas 155 New Bond Streetof plain compressed bullet form, scroll ivory handle and flush hinged cover, crested with motto, the stand London, 1859, Johns Samuel Hunt, of circular form with cast acanthus leaf apron, raised on acanthus leaf scroll feet with shell feetheight 35 cm., weight approx. 58.84oztCondition:Kettle with damage to ivory handle which has cracked all the way through. Large ding to shoulder of kettle. The stand is lacking burner but is otherwise in good conditionButcher's Hall, The Worshipful Company of Butchers IMPORTANT NOTEThis item has been registered as exempt from the UK Ivory Act 2018. Ivory declaration submission number reference: GLUVKVTG
c.1938 Velocette 495cc MSS Competition SpecialRegistration no. not registered Frame no. CMS 5365Engine no. MSS 6131The third of Velocette's overhead-valve, high-camshaft, single-cylinder designs, the 500cc MSS was announced in 1935. The first of these new models had been the 250cc MOV of 1933, which was joined for 1934 by a long-stroke 350cc version - the MAC. In creating the MSS, Veloce kept to the basic design, combining the MAC's 96mm stroke with a larger bore to create its new '500'. The MSS engine went into a new frame derived from that of the racing KTT. The model disappeared from Veloce Limited's range in 1948 while the company concentrated on the LE, reappearing in 1954 with a new swinging-arm frame and Hall Green's own telescopic front fork. The engine too was updated, gaining 'square' bore and stroke dimensions of 86x86mm along with an alloy cylinder barrel and 'head.Ideal for Historic sprints and hill climbs, this interesting MSS competition special consists of a frame dating from circa 1938 and an engine built around 1946. It should be noted that the kickstart mechanism, gear lever, control cables, throttle twist-grip, chain cases, and footrests are missing, and that the machine's mechanical condition is not known. There are no documents with this Lot, which is offered for restoration and sold strictly as viewed. Footnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.REQUEST A TRANSPORT QUOTEPlease click the link to request a transport quote from our recommended transport company, Moving Motorcycles.To request a UK or European shipping quote - Moving MotorcyclesTo request an International shipping quote - ShippioThis Lot will be auctioned on Saturday 12 October starting at 2pm GMT.For further information on this lot please visit Bonhams.com
1960 BSA 650cc A10 'ISDT Replica'Registration no. XOR 893Frame no. GA7.4803Engine no. DA10 10116 (see text)Although far too heavy to be of any use in either one-day trials or scrambles races, the BSA A10 twin was an altogether different proposition when it came to long-distance endurance events such as the International Six Days Trial (ISDT), where top speed was of greater importance. BSA first entered its new twin-cylinder models in the ISDT in 1951, with Trophy team captain Fred Rist on a 650cc A10 and Vase team members Basil hall and Tom Ellis on Star Twins. The 1951 ISDT was held in Varese, Italy where the British Trophy team secured victory for the fourth year on the trot, vindicating the decision to use the new BSA twins. This BSA A10 ISDT replica has been used in New Zealand, as evidenced by various rally and event tags. The frame is of 1960 type, as is the engine. The engine number relates to a 650cc Golden Flash that has been uprated with an alloy cylinder head. Both the frame and engine number are believed to be correct factory stampings. Notable features include a Mikuni carburettor, Lyta alloy fuel tank, and a small competition headlamp. DVLA records show that the last MoT expired in July 2016 and the machine appears untaxed since October 2020. Recommissioning will be required before further use. Offered with sundry bills and an HPI check sheet.Footnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.REQUEST A TRANSPORT QUOTEPlease click the link to request a transport quote from our recommended transport company, Moving Motorcycles.To request a UK or European shipping quote - Moving MotorcyclesTo request an International shipping quote - ShippioThis Lot will be auctioned on Saturday 12 October starting at 2pm GMT.For further information on this lot please visit Bonhams.com
1965 Velocette 499cc Venom ClubmanRegistration no. LNR 281EFrame no. RS 18723Engine no. VM 6173This matching-numbers Venom Clubman was despatched from the Hall Green factory on 31st December 1965 to the agent Petty in Leicester, remaining in the dealer's showroom until it was sold to its first private owner in July 1967. 'LNR 281E' was acquired by the current vendor in August 2011 and completely restored over the next nine-or-so years. A logbook detailing the rebuild is on file together with supporting documents. The frame and cycle parts have been repainted; the front forks rebuilt; the brakes reconditioned; a new-old-stock Amal carburettor fitted; a new wiring harness installed; and the engine completely overhauled including a rebore, new piston, and conversion to the later (MkII) type of engine breather. The gearbox likewise has been completely rebuilt and the clutch overhauled with a roller release bearing and new plates and springs. Upgrades include an electric starter; rear-set footrest conversion kit; 12V electrics; LED lighting; a roll-on centre stand; and Pazon electronic ignition with warning lamp. Last run in September 2024, the machine comes with all the special tools required and all the original parts including a competition magneto. Accompanying documentation includes the original and continuation old-style logbooks and a V5C.Footnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.REQUEST A TRANSPORT QUOTEPlease click the link to request a transport quote from our recommended transport company, Moving Motorcycles.To request a UK or European shipping quote - Moving MotorcyclesTo request an International shipping quote - ShippioThis Lot will be auctioned on Sunday 13 October starting at 11am GMT.For further information on this lot please visit Bonhams.com
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.
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... relativ](https://cdn.globalauctionplatform.com/494d6759-0c1f-48a2-b349-b1f7009a63a2/ab884eed-7f9c-4fde-94de-b1f900aa902b/468x382.jpg)
[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).
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
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.
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
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.
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.
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)
MATHERLY, JUSTIN1972 West Islip/New YorkTitel: New Beaches. Datierung: 2012. Technik: Gehhilfe, Beton, Sprühfarbe. Maße: Ca. 320 x 335 x 183cm. Provenienz:- Sammlung Kasper König, BerlinAusstellungen:- City Hall Park, New York 2012- König Galerie, Berlin 2019Das Werk ist nach Rücksprache in Berlin zu besichtigen.2017 lud Kasper König den Künstler Justin Matherly nach Münster ein, der für die Skulptur Projekte die Skulptur "Nietzsches Rock (Nietzsche Felsen)" entwickelte und realisierte. 2019 erfolgte eine weitere Zusammenarbeit im Kontext der Ausstellung "What Beauty is I know not", die in St. Agnes zu sehen war. In dieser Ausstellung wurde "New Beaches" als eines der zentralen Werke innerhalb der Ausstellung präsentiert. Kasper König über Justin Matherly:"Justin Matherlys Ausstellung hat mich sofort interessiert. Mein erster Eindruck wurde bestimmt durch sechs Pfeiler inmitten des hohen Depotraumes, der lediglich ein Fenster hatte, durch das Tageslicht einfiel, aber keinen Ausblick gewährte. Die funktionale Tektonik der Stützpfeiler fand ein Echo in den figurativen Skulpturen und den untrennbar mit ihnen verbundenen Sockeln, die, je nach Standpunkt, in ihrem Inneren Gehhilfen offenbarten und so den nach oben schweifenden Blick auf den Boden des Betrachters zurückholten.Bei den Gehhilfen handelt es sich um zweckdienliche Stabilisatoren der Sockel, deren quaderhafte Form aus den Transportkartons der geriatrischen, medizinisch-technischen Instrumente resultiert. Der Abschluss der jeweils zur Hälfte offenen Sockel befindet sich unterhalb der Bauchnabelhöhe des Betrachters; die arretierten Gehhilfen lassen die darüber platzierte Figur unverrückbar erscheinen. Ein körperhafter Bezug zur Arbeit stellt sich erst über den jeweils offenen Teil des Sockels ein, der die stabilisierende Gehhilfe zeigt - weniger über die Betrachtung der Gesamtskulptur.Sobald sich beim Umschreiten dieser Wahrnehmungswechsel bei mir eingestellt hatte, klickte es plötzlich. Ich konnte auf die einzelnen Skulpturen eingehen und fand die Ausstellung sehr gut. Hier passiert etwas, das die Gattung Skulptur thematisiert und mit Komplexität auflädt - auch über den Rekurs auf die griechische und römische Antike, von deren klassischem Ideal sich Matherly durch den Gebrauch von rauem Beton und modifiziertem Gipsguss allerdings offensiv abhebt.Besonders haben mich seine eigenwilligen Interpretationen der Motive des antiken Gottes Asklepios mit dem Äskulapstab und des Ouroboros - der mythischen Schlange, die sich selbst in den Schwanz beisst - fasziniert. Bei einer der Skulpturen, die alle den Titel "It's ok to limp" tragen, ist die kräftige, voluminöse Schlange: die sich um den Stab windet, am Kopf und am Schwanz abgeschnitten. Dadurch könnte ihre Form architektonisch auch als Wendeltreppe oder gigantische Rutsche gelesen werden. Noch immer präsent ist mir der brutale, baumartig gewachsene Stab aus einer der Arbeiten, an dem dickdarmmäßig ein schlangenhaftes Volumen emporwächst, das unten in einem klumpfußartigen, massigen Standbein endet. Ohne an dieser Stelle vom Bezug des Künstlers auf einen Horrorfilm zu wissen, stellte sich bei mir eine ähnliche Wahrnehmung ein."Entscheidend bei den Skulpturen ist ihre ambivalente, zwischen Wuchtigkeit und Fragilität changierende Konstruktion aus wenig attraktiven Materialien sowie die Sichtbarkeit der verschiedenen Gussvorgänge. Die Rückseite der Arbeiten bietet dabei nicht nur eine andere Ansicht, sie hält eine andere Form von Erfahrung bereit, als sie die Vorderansicht ermöglicht. Mit dem Blick in den Sockel und auf die stabilisierende Gehhilfe vermittelt sie zudem eine irritierende Aktualität, die als symptomatisch für unsere Zeit verstanden werden kann. Voraussichtliche Versandkosten für dieses Los: Absprache nach der Auktion.Erläuterungen zum Katalog Justin Matherly USA Zeitgenössische Kunst Objekte 2010er Körper Objekt Beton
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.
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