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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)

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.

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

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.

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. 

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.

Architecture; Private Press. Godman (Ernest, Architect), Mediæval Architecture in Essex, one of 38 vellum bound copies from a total limitation of 250, this being numbered 130/250, Surrey: Published by the Author at Sunnyside, Banstead, printed by the Essex House Press, 1905, handmade paper, foliated initial, frontispiece of Laindon Church etched by Jesse Godman, further mixed process plates and in-text illustrations, original limp vellum, gilt-lettered spine, green ties and yapped edges, uncut, 8vo  Provenance: Julian Bicknell (b. 1945), New Classical architect and designer of the Palladian Henbury Hall, Cheshire.

Architecture. Le Corbusier & Etchells (Frederick, translator), The City of To-morrow and its Planning, first English edition, London: John Rodker, 1929, illustrated, original publisher's red pictorial dustjacket, heavily chipped, over cloth, 4to; Le Corbusier (contributor), Focus, Number 1, Summer 1938, first edition, second impression, [&] Number 3, Spring 1939, first edition, London: Percy Lund Humphries & Co Ltd, original celluloid wrappers with spiral spines, 8vo; Le Corbusier, Aircraft, The New Vision, first edition thus, London: The Studio Ltd., 1935, illustrated, original publsiher's cloth, spine split but there, 4to; etc., (11)  Provenance: Julian Bicknell (b. 1945), New Classical architect and designer of the Palladian Henbury Hall, Cheshire.

Architecture. Guarini (Camillo Guarino), Architettura civile, two volume set: text and plates, facsimile, Farnborough: Gregg Press Limited, 1964, original cloth, folio (34 x 24.5cm); Soane (John), Sketches in Architecture, [&] Plans Elevations and Section of Buildings, two volumes, facsimiles, Gregg International Publishers Limited, 1971, green cloth, both Aston University copies, withdrawn stamps, folio (35 x 24cm); Dean (Ptolemy), Sir John Soame and the Country Estate, Ashgate, 1999, illustrated, original dustjacket over cloth, square 4to; The Works in Architecture of Robert & James Adam, three volumes bound as one, London: John Tiranti & Co., 1931, plates, original cloth over papered boards, folio; Stuart & Revett's Antiquities of Athens, 1922 reprint, disbound, original boards, folio; Thomas Hope; Thomas Chippendale; etc., (15)  Provenance: Julian Bicknell (b. 1945), New Classical architect and designer of the Palladian Henbury Hall, Cheshire.

Architecture. Italian Grand Tour: Raccolta di Numo 320 Vedute si antiche, che moderne della Cittá di Roma e di alcuni luoghi suburbani, [Rome]: Agapito Franzetti, n.d. [c. 1800], engraved title-page, 80 engraved named-view plates after various artists, occasional pencil annotation, some foxing, early-mid 19th c maroon roan gilt over cloth boards by Stoneham of Woolwich, signed, contemporary red speckled edges, oblong 4to Provenance: 1) A Memorial of Friendship from J.T.G. Riddell, 1812 ; ink manuscript inscription to title-page verso; 2) Isabella Stoddart, ink MS ownership inscription contemporary to 1812; 3) J. Stoddart, ink MS ownership inscription slightly later than the latter; 4) indistinct ownership inscription dated 1941, ffep; 5) Pauline Baynes (1922-2008), book illustrator, including some of Tolkien's works; inscription presenting the book in 1977 to 6); Julian Bicknell (b. 1945), New Classical architect and designer of the Palladian Henbury Hall, Cheshire; his and his wife's pictorial bookplate to pastedown.

A folio of miscellaneous pictures and prints, early 19th c and later, mostly architectural, including William Gauci (fl. 1826-1854) after William Alfred Delamotte (1775-1863) - Magdalen College Chapel, Oxford, s.n., Printed by L.M. Lefevre, n.d. [c. 1835], lithograph, 40 x 31cm, mounted; Antonio Carbonati (1893–1956) - Pont Royal, Paris; Île Saint-Louis, Paris, a pair, signed, titled and dated 1920 in pencil, each numbered 31/100 and 16/100 respectively, etchings, 12.5 x 24cm and 15.5 x 19cm; Turner's Venice; a 20th c printed cross-section of the Pantheon, Rome, 42 x 53.5cm; mixed process and sizes; others, including Kunio Kaneko (b. 1949) - Fuji 64, signed, dated '95 and numbered 93/200, woodblock in polychrome, picked out in gilt, 28 x 50cm; Robin Bradshaw, framed 20th c decorative off-sets; etc Provenance: Julian Bicknell (b. 1945), New Classical architect and designer of the Palladian Henbury Hall, Cheshire.

Royalty. Charles III, HRH The Prince of Wales Watercolours, half-title signed and dedicated with an autograph inscription by the now King: For Julian - With very best wishes for Xmas 1991 from Charles, first edition, London: Little, Brown and Company, 1991, colour illustrations, original pictorial dustjacket over grey cloth, some slight wear, oblong 4to Provenance: Julian Bicknell (b. 1945), New Classical architect and designer of the Palladian Henbury Hall, Cheshire; a signed and dedicated copy presented to him by the King as Prince of Wales at Christmas, 1991, during which time Julian Bicknell was much involved in the Prince's Institute of Architecture as a trustee, as well as member of their academic board and a tutor in London and the summer schools in both France and Italy.

Ruskin (John), The Stones of Venice, volume I only: The Foundations, preface signed by the author, London: Smith, Elder and Co., 1873, half-title, lithographed plates, in-text illustrations, original publisher's cloth, worn, chipped and split, top edge gilt, others uncut, 8vo; idem., The Stones of Venice, three volume set, mixed editions, London: George Allen, 1898, 1912, & 1912, original cloth, top edges gilt, others uncut, 8vo; four further titles by Ruskin, all in their original publisher's bindings, 8vo; Pater (Walter), The Renaissance, 1907, & Marius the Epicurean, 1898, original Macmillan cloth, uncut, 8vo; Hare's Walks in Rome, two volume set, 1887, original publisher's pictorial cloth, some wear, uncut, 8vo; further works on Italy and travel, including Baedeker and other guides, (28)  Provenance: Julian Bicknell (b. 1945), New Classical architect and designer of the Palladian Henbury Hall, Cheshire.

Architecture. Chambers (Sir William, KPS) & Gwilt (Joseph, FSA), A Treatise on the Decorative Part of Civil Architecture, with Illustrations, Notes and an Examination of Grecian Architecture, two volume set, London: Priestley and Weale, 1825, split but holding, occasional foxing, engraved frontispiece and plates, contemporary burgundy quarter-morocco over marbled boards, rubbed and somewhat sunned, 4to; Lomax (Edward, editor) & Gunyon (Thomas, editor), Nicholson's Dictionary of the Science and Practice of Architecture, Building, Carpentry, etc., two volume set, The London Printing and Publishing Company, Limited, n.d. [c. 1850], additional engraved architectural title-page, frontispiece and plates, contemporary burgundy half-morocco over cloth, red speckled edges, folio; Fergusson (James), A History of Architecture, three volume set, London: John Murray, 1865, in-text illustrations, contemporary calf gilt, rubbed, worn and with faults, marbled edges and endpapers, 8vo; & The Architectural Review, 1910-12, bound in two volumes, contemporary roan over moiré boards, split and rubbed, folio (33 x 23cm), (9)  Provenance: Julian Bicknell (b. 1945), New Classical architect and designer of the Palladian Henbury Hall, Cheshire.

Architecture. Younés (Samir), The Imperfect City: On Architectural Judgment, signed and dedicated by the author, Ashgate, 2012, original pictorial boards, 8vo; Frank Lloyd Wright; further books on architectural theory, design and history; building and technology; etc., mixed sizes and bindings, (59)  Provenance: Julian Bicknell (b. 1945), New Classical architect and designer of the Palladian Henbury Hall, Cheshire.

A Part New Hall Porcelain Tea Service, of fluted form decorated with pink swags and flowers, a pair of plates painted with named scenes and floral decorated candleholder. (A Lot)

Collection of Ireland Books, including Flanedy (John, editor), A Special Report of the Proceedings in the Case of The Queen against Daniel O'Connell..., Dublin: James Duffy, 1844, ribbed and blind stamped cloth; Maccabe (William Bernard), The Last Days of O'Connell, Dublin: James Duffy, 1847, blind stamped cloth; O'Brennan (Martin), Ancient Ireland, Dublin: John Mullany, 1855, author's presentation inscription to front free endpaper, blind stamped cloth; Parnell (Henry), A History of the Penal Laws against the Irish Catholics..., Dublin: H. Fitzpatrick, 1808, worn paper covered boards; Hall (Mr. and Mrs. S. C.), Ireland: Its Scenery, Character, &c., London: Hall, Virtue, and Co., no date, new edition, three volumes, plates throughout, uniform half green calf (rubbed), marbled boards and edges; Petrie (George), The Ecclesiastical Architecture of Ireland...The Origin and Uses of the Round Towers of Ireland..., Dublin: Hodges and Smith, 1845, in-text illustrations, half calf binding (heavily rubbed); and others on/about Ireland including further titles about Daniel O'Conell. (35)

An 18th Century New Hall Cream Jug, together with other 18th century English and Chinese teawares (one tray)

GROUP OF ENGLISH PORCELAIN TEA BOWLS AND A SAUCER, 18TH CENTURY possibly New Hall, each decorated in the Chinese Famille Rose taste, two of the tea bowls with scalloped rimsaucer 12.5cm wideQty: 4

Derbyshire maps, prints and ephemera inc Carrington Bowles New Medium Map, coloured, 1785; + 3 maps by Sydney Hall, coloured, c1820-30; + other items, maps, prints, etc, box. (Qty)

MANTEL, Hilary. Mantel Pieces, SIGNED FIRST ed., unclipped d.j., fine, London, Fourth Estate, 2020._A Place of Greater Safety, FIRST ed., unclipped d.j., light toning to text-block, tiny tears at spine, London: Viking, 1992._Bring Up the Bodies, FIRST ed., unclipped d.j., fine, London: Fourth Estate, 2012._Wolf Hall, FIRST ed., unclipped d.j., a general light tone to text-block, Fourth Estate, 2009. (4) _BARNES, Julian. The Sense of an Ending, SIGNED FIRST ED., fine, London: Jonathan Cape, 2011._PULLMAN, Philip. The Book of Dust, 2 volumes, SIGNED FIRST ed., untrimmed d.j., fine with v. light marks edge of text-block, Oxford: David Fickling, 2017, (2) _Grimm Tales for Young and Old, SIGNED FIRST ltd ed. 348/1000, unclipped d.j.. fine with slight mark fore edge text-block, London: Penguin, 2012._Lyra’s Oxford and Once Upon a Time in the North, SIGNED ltd ed. 357/1000, signed by author and artist, in slipcase, as new, Oxford: David Fickling Books, 2009. (2)  (10)

Box of books on Buxton, the Peak District and Haddon Hall inc Rayner (S): History and Antiquities of Haddon Hall; 16 litho plates, some foxing, original cloth; + a second copy bound with title page; + other, quantity, various sizes. (27) 

Worsboro Dale, Barnsley: 32pp handwritten document detailing that at a meeting on March 2nd at the Mason’s Arms Club Room they agree to name the new hall “The Mitchell’s Memorial Hall”, with expenditure details; + Wilkinson (Joseph): Worsbrough: Its Historical Associations and Rural Attractions, with charts and plates, cloth, octavo, pub Farrington & Co, Barnsley & London, 1872; + various other legal papers and engraved bill-heads. (Sm qty) 

YEW, Lee Kuan. The Singapore Story, SIGNED author's inscription to Howe at title page, Howe bookplate, Kuan served as the first Prime Minister of independent Singapore and is considered one of the most significant politicians of the 20th century, v. slight rubbing at extremities, light spotting at head of text block, slight dirt marks fore/foot, otherwise bright, well-preserved unclipped d.j., Singapore: Prentice Hall, 1998._YEW, Lee Kuan. From Third World to First, SIGNED author's inscription to Howe at title-page signed 'Harry' which was Kuan's birth name, Howe bookplate, a little spotting/toning at edges, slight dirt mark foot edge, internally v. bright, unclipped d.j. well-preseved, New York: Harper Collins, 2000 (2) From the library of Geoffrey and Elspeth Howe. Geoffrey Howe (1926-2015) held two of the Great Offices of State in the UK Government: Chancellor of the Exchequer and Foreign Secretary. He also served as Deputy Prime Minister and Leader of the House of Commons. His prominent position in UK politics in the 1980s and 1990s meant he had a profound influence over domestic, and international, policy making during a turbulent and historic era. His wife Elspeth Howe (1932-2022) also worked in politics, and later became a crossbench Member of the House of Lords serving as Baroness Howe of Idlicote.

Group of 20 souvenir silver items including:One vesta case marked Denver 1906 with design of moose and Latin name (cervus alces) and clock.One vesta case featuring the electricity building from the World's Fair St. Louis, 1904. The other side commemorating the Louisiana Purchase.One vesta case featuring buildings from the World's Fair St. Louis, 1904 including the Palace of Manufactures and the Palace of Mines and Metallurgy.One vesta case featuring buildings from the World's Fair St. Louis, 1904 including the Festival Hall & Cascades and the Eads Bridge.A group of 12 souvenir spoons, all marked sterling. Souvenirs from World's Columbian Exposition (2); Kansas City; Covington, Kentucky; St. Louis; Pittsburgh post office; Palm Beach, Florida; 1893 Centennial, Countess of Bath; Estes Park, Colorado; New Convention Hall, Kansas City, Missouri; Missouri (2).A group of four unmarked souvenir spoons. Souvenirs from Banner Buggies; World's Fair St. Louis; General Grant's Log Cabin; and Missouri.Provenance: Property from the distinguished collection of Mr. James Lee Soffer, Pittsburgh, Pennsylvania.Length ranges from 2 1/4 in to 6 in. Gross weight: 507.4 g.Condition: Tarnishing, scratching and some dents. Vesta cases open and close firmly. Some significant rust and accretions to two of the vesta cases (Denver & Cascades).

Two Miles Mason oval sugar bowls, early 19th Century, painted with landscapes and a New Hall oblong example similar (3)Oval sugar bowl with gilt framed landscapes - cracked cover with three filled chips. The bowl with a rim chip and associated crack close to handle at one end. SMall chip to shoulder. Other oval bowl with a small chip to rim of cover. The bowl with several star cracks in the base and a chip to the shoulder above a ring handle.  Both with rubbed gilding.The oblong bowl with a chip to the flange and some staining to the shoulder.  Painted pattern no.984All unmarked.

Five 19th Century sugar bowls, comprising a Davenport Imari oval sugar bowl, pattern 2614, one Spode, pattern 1873, one New Hall orange ground, pattern 576 and two square section in white and gilt (5)

A New Hall oval sugar bowl, pattern 446, another pattern 490 and a Chamberlains Worcester Imari example, early 19th Century (3) Pattern 446 - Overall good condition. Pattern 490 - faint star crack under, very minor wear/losses to gilt. Chamberlains - Overall good condition

BOXING EPHEMERA; an interesting collection of mainly boxing ephemera, including a black and white photograph from Jack Dempsey's restaurant in New York, inscribed and signed by Dempsey to the photograph mount, a programme for Joe Frazier vs Muhammad Ali Madison Square Gardens March 8 1971, a further programme for boxing at the Royal Albert Hall 1947, a black and white photograph inscribed 'Delaware Water Gap Strousburg 1930' signed by Jack Kid Berg and Alex O'Brien, a boxing dinner evening programme for the Anglo-American Sporting Cup in Manchester signed by footballer Bill Foulkes, various other photographs and a charity programme from 1984 signed by various sporting figures.

A collection of mainly 19th century silver auxiliary flatware, to include mustard spoons, sifting spoon, pickle fork, butter spade etc, some with monogrammed terminals and fancy backs, makers to include Hester Bateman, Walker & Hall, Thomas Hayes, William Rawlings Sobey (Exeter)m William Rawlings Sobey, George Adams etc, various dates and assays, gross weight approx 9ozt;l together with a silver plated fork, a New York souvenir spoons, and a Danish silver spoon by Georg Glerrup

The New Game of the Ascent of Mont Blanc, 3rd Edition, circa 1860, published by AN Myers & Co, comprising a linen-backed folding hand-coloured lithograph sectionalised board with fifty views arranged in a spiral and with four vignettes to the corner, lacquer small counter dish, and two cards with the Rules for Polish BeziqueThis board game, first published in 1856, commemorates Albert Richard Smith's ascent of Mont Blanc on 12 August 1851. On his return, Smith opened a stage show at the Egyptian Hall, Piccadilly, based on his experiences. The show was a sensational success, running for six years, leading to associated merchandise including games such as this. Outer box in fair condition. No splits to the hinge/join. Some slight corner wear. Label lifting slightly. Clasp functioning. The board is in 8 sections, may have been 1 now seperated and backed. Overall good condition, fairly bright with some wear to edges. Counter dish free from splits. Game booklet complete. With expected wear and discolouration.  Counters box with loss to the front edge, appears to have all cards present. Bone teetotum free from damage. Five stained bone playing figures in good condition.

First registered in the UK on 2nd November 1987 this superb 280TE Estate has had two former keepers from new. The first owner purchased the vehicle in Holland, and it was later registered in the UK in 1987 and passed to their nephew. Purchased by its current vendor in 2021 this Mercedes has been treated to much work including a comprehensive overhaul by Mercedes specialist, Edward Hall with over £23,000 spent! The works included and a new exhaust, a replacement radiator, idle control valve, starter motor, cylinder head, steering box, suspension arms, fuel pump system, alternator belt, and injectors and spark plugs.Finished in Lapis Blue with blue fabric interior the car looks superb. The paintwork presents well and the interior is very presentable, this Mercedes also benefits from a comprehensive detailing insuring it looks fantastic. The specification when new included a mechanical sunroof, cruise control, central locking, front arm rest, electric windows, heated and tinted glass, headlamp washers, luggage cover, split rear seats and rear child seats giving seating for seven. Under the bonnet, the proven 2.8 litre M110 E28 six-cylinder petrol engine develops 182 bhp. Offered with a sizeable history file including various maintenance bills, the recent £23,000 expenditure, old MoT records, the current UK registration document and an MoT valid until March 2025. This very well cared for example is an opportunity not to be missed. Consigned by Daniel Godin Salesroom Notice Interested parties should note that contrary to the catalogue description the paintwork is generally in good condition, however there are some age related blemishes in areas. RECENT WORK COMPLETED BY MERCEDES SPECIALIST, EDWARD HALL AT A COST OF £23,000!DESIRABLE COLOUR COMBINATIONSIZEABLE HISTORY FILE

Rembrandt Harmensz. van Rijn (Leiden 1606 - 1669 Amsterdam)Panorama von Bloemendaal mit dem Landgut von Saxenburg und einer Ansicht von Haarlem ("Das Goldwiegerfeld") - Panorama near Bloemendael Showing the Saxenburg Estate ("The Goldweigher’s Field")1651Radierung, mit der kalten Nadel überarbeitet, auf Bütten mit Wasserzeichen Wappenschild mit Lamm (vgl. Hinterding, Varianten A und F.A.a)12,4x32,3 cm, BlattgrösseWerkverzeichnisThe New Hollstein (Hinterding/Rutgers) 257 (dieses Exemplar erwähnt)White/Boon 234ProvenienzSlg. Chambers Hall (1786–1855), Southampton und London, Lugt 551Slg. Graf Samuel von Festetits (1806–1862), Wien, Lugt 926Slg. Émile Galichon, Paris (1829–1875), Lugt 856Auktion Christie’s, London 5. Dezember 2006, "Rembrandt+400", Los 267Slg. Eberhard W. Kornfeld, Bern, Lugt 913bZustandGanz ausgezeichneter Druck, durchweg noch mit Grat akzentuiert. Mit schmalem Papierrändchen. Zwei kaum sichtbare vertikale Falten in der Blattmitte, eine kleine Ausbesserung im Papierrand unten links und von alten Montierfälzen bedingte Unebenheiten in den beiden oberen Ecken; sonst ist das Blatt in einem insgesamt sehr schönen und unverpressten GesamtzustandErläuterungenPanoramaartig gab Rembrandt von erhöhter Position die Landschaft bei Haarlem wieder. Links ist die Silhouette der Stadt zu erkennen, in der Mitte das Landgut Saxenburg des Christoffel Thijsz., rechts die Kirche von Bloemendaal. Tatsächlich stellt sich die Situation spiegelbildlich dar, was Rembrandt bei der Ausführung der Radierung nicht berücksichtigte.Der Titel der Radierung geht auf Valerius Röver und Edmé-François Gersaint zurück, die das Landgut irrtümlich dem Steuereinnehmer Johann Uytenbogaert zuordneten, den Rembrandt als Goldwäger dargestellt hatte.MWST / VATMehrwertsteuer auf dem Zuschalgspreis plus AufgeldErwartete Ausrufzeit (+/- 15min)12.09.2024; 19:45 h (MEST)VersandkostenSchweiz: CHF 165.-Europa: CHF 280.-Übrige Länder: CHF 335.-

S.S. Great Britain Interest – Mid-19th century ‘Stonier’ ironstone meat plate by James Edwards, of ‘well and tree’ type, the reserve printed in the centre in blue with "Steam Ship Great Britain" and “Saloon” enclosing royal coat of arms, the broad rim with decorative rope work border, the reverse with printed and impressed marks and applied collection label, 55.5cm diameter Former collection of James Blewitt, Boxted Hall, Colchester It is possible that this piece was used on the S.S. Great Britain’s inaugural run from Bristol to New York in 1844, however, no archival material survives to be able to confirm this. It was, however, definitely in use by the 1850s, when she was being used for regular journeys to Australia. A fragment of a cup in this design has been recovered from Melbourne harbour. The firm of James Edwards of Burslem, Staffordshire supplied ceramics to many of the steam ship companies in the mid-19th century. Several other pieces from this service are in the collection of the S.S. Great Britain Trust.Clevedon Salerooms gratefully acknowledge the assistance of Joanna Mathers, Head of Collections at the S.S. Great Britain Trust in preparing this catalogue entry.

* ANGUS MCEWAN PRSW RWS AWS NWS AWI RGI (SCOTTISH b. 1963), CELLULA MEMORALIS acrylic on board, signed and titled versoframed and under glass image size 58cm x 46cm, overall size 75cm x 63cm Artist's label versoNote: Angus McEwan was born in 1963 in Dundee, Scotland. Angus studied at the Duncan of Jordanstone College Art in Dundee, graduating in Fine Art and a Post Graduate Diploma in the same discipline. Angus was elected to the Royal Scottish Society of Painters in Watercolours (1995) and in 2012 the Royal Watercolour Society. In 2005 he was recognized as an Associate of the International Guild of Realism USA. He is also an associate member of the AWS and NWS in the USA. Angus has been Finalist three times of the ''International Artist Magazine'' and won first place in the John Blockley Prize in the RI open exhibition. Angus has also won second prize in the Sunday Times Watercolour Competition (2007) in London and the International Prize ''Marche d'Acqua'' Fabriano, Italy in 2012. In 2013 Angus won Bronze Award, at the Shenzhen International Watercolour Biennial, in China. He was recently awarded the May Marshall Brown award at the Royal Scottish Society of Painters in Watercolours (RSW), Edinburgh, 2015 and was elected RGI in May 2016. Many galleries display McEwan's works, including Ok Harris Gallery in New York and Quanhua Gallery, Shanghai. Recently highlighted in Shenzhen Biennale and the Qingdao Hall of Watercolor. He has exhibited in Fabriano, Italy in the ''Marche d'Acqua'' International Award, as special guest and Vicenza, Italy, where he had a solo show in the ''Artbox''. McEwan was one of the 23 finalists in Narbonne, France at the Concours Mondial de l'Aquarelle 2014 1st World Watercolour Competition. Angus also exhibited at the World Watermedia Exposition, Thailand and Myro Gallery, Greece. He also participated in the Second International Watercolour Exhibit in Thessaloniki, Greece. In the UK McEwan exhibits with Thompson's Gallery (London) and The Open Eye Gallery (Edinburgh). Notable collectors include: Dundee Art Galleries and Museums; The Qatar Royal Family; the Royal Scottish Academy Collection; Ernst & Young, Glasgow; Scottish Enterprise; Scottish Equitable; Historic Scotland; Perth Royal Infirmary. Angus McEwan's solo show "Liminal Spaces" is taking place at The Open Eye Gallery (Edinburgh) from 30th August - 21st September 2024.

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

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

[Griffith, Alexander]. Strena Vavasoriensis, A New-Years-Gift for the Welch Itinerants, or a Hue and Cry after Mr. Vavasor Powell, Metropolitan of the Itinerants, and one of the Executioners of the Gospel, by Colour of the Late Act for the Propagation thereof in Wales…, London: Printed by F[rancis] L[each], 1654, [4], 28 pages, pp. 24-27 in verse, some spotting, closely trimmed at foremargins with minimal shaving of a few letters of side-notes, closed tear repair to inner margin of title and very small repair to final two lines above imprint affecting three words of a quotation from Genesis, oval gilt white leather book label of the Huth Library to front pastedown, mid-20th century vellum with spine lettered in black, a little soiled, small 4to QTY: (1)NOTE:Wing G1988. Vavasor Powell (1617-1670) was born at Knucklas, Radnor, and became an itinerant preacher, first in England and then in Wales (1646). He was a religious and political fanatic, even denouncing Cromwell when he took the title of Lord Protector. According to Anthony Wood, Powell died in the Fleet Prison in London on 27 October 1670. Alexander Griffith (c.1601-1676), cleric and controversialist, was born at Lysfaen, Caernarfonshire, educated at Hart Hall, Oxford, and became Vicar of Glasbury, Radnor. He was ejected from his benefice for writing this tract but regained possession after the Restoration, ministering there from 1661 until his death. ‘In 1652 he [Griffith] organized a petition against the working of the act [for the propagation of the gospel, 1650-53] and published a pamphlet in support; in 1654 he supplied a True and Perfect Relation of the whole transaction of 1652, and addressed it to the new Protector; in the same year he brought forth Strena Vavasoriensis, a tract of twenty-eight pages in which Vavasor's whole course of life, his doctrines (with skilful distortions of them), and his opposition to the Protectorate were described in a style of unbridled vituperation (it was soon answered by the Vavasoris Examen et Purgamen).’ (Dictionary of Welsh Biography online).‘This man appears to have been a person of considerable talents, and an accomplished scholar, but he was a most reprobate character. The bishop of the diocese had deposed him from two livings before the wars on account of his immorality. In the year 1639 he got possession of the Vicarage of Glasbury, from which he was ejected on 7th June, 1650, by the Commissioners for the Propagation of the Gospel, for drunkenness and lasciviousness. His pamphlets contain the most bare-faced falsehoods, several horridly blasphemous stories, and many filthy and obscene expressions. Yet, notwithstanding all this, these disgusting productions were so highly valued by some of the Welsh gentry as late as the beginning of this century, that according to Theophilus Jones, the historian of Brecknockshire, one of them was knocked down at a sale for eleven pounds!’ (Thomas Rees, History of Protestant Nonconformity in Wales, 2nd edition, London: John Snow, 1883, pp. 75-6).An uncommon tract, institutionally and in commerce, with no copies at auction noted since 1967.

Delft. Ram (Johannes de), [A Map of the City of Delft], Amsterdam: Pieter Smith, 1729, uncoloured monumental untitled engraved map of Delft on 4 conjoined sheets, decorative cartouche of the Great Fisheries of Holland and West Friesland, heraldic shields, inset map of the environs of Delft, areas of loss to index and lower margin, both replaced in facsimile, old folds reinforced to verso, 840 x 1250 mm QTY: (1)NOTE:A rare and remarkably detailed wall map of Delft.'In 1675 the former burgomaster and unofficial city historian Dirck van Bleyswijck (1639-1681) was commissioned by the municipal government of Delft to produce a plan of the city, accompanied by engraved cityscapes and depictions of important buildings. The plan of Delft, called the Kaart Figuratief (illustrated map), was engraved by Johannes de Ram and Conraet Decker after designs by Johannes Verkolje, Pieter van Asch, and Heerman Witmont and was published by Pieter Smith under Van Bleyswijck's supervision. The completed work consisted of a plan, or bird's-eye view, of Delft, with all the buildings seen foreshortened; city profiles of Delft and the harbour town of Delfshaven; twenty-two images of individual buildings, two smaller plans of Delfshaven and nearby Overschie; eight family crests of the Delft burgomasters who were in office at the time; and a short text describing the city. The parts were designed to form a monumental ensemble, but smaller configurations could also be arranged.Johannes de Ram etched the plan of Delft, while Decker was responsible for all the pictorial elements. The nine engravings of buildings or places in Delft, shown in the picture are, reading from left to right and beginning in the top row: the fish market and meat hall; the Gemeenlandshuis; the Waterslootse Gate; the civic guard headquarters; the town house; the pesthouse; the armoury; the horse market; and the new gunpowder magazine.' The Web Gallery of Art.

Rich (Jeremiah) - Bible [New Testament]. [The book of the New Testament of our Lord and Saviour Jesus Christ, according to the art of short writing invented by] Jeremiah Rich, London: Printed and are sold by Samuel Botley teacher of ye said art over against Vintners Hall in Thames street and no where els, [1673?], engraved portrait frontispiece and title by T. Cross, text in shorthand throughout, engraved list of subscribers to final two leaves, bound without final leaf (blank?), bound with Book of Psalms. The Whole Book of Psalms in Meter, According to the Art of Short-Writing written by Jeremiah Rich Author and Teacher of the said Art, London: Printed and are sold by Samuel Botley teacher of ye said art over against Vintners Hall in Thames streete and no where els, [1673?], engraved portrait frontispiece and title by Tho. Cross, text in shorthand throughout, engraved list of subscribers to verso of final leaf, last gathering loosening slightly, marbled endpapers, verso of front free endpaper with ownership signature A. Bentley and flyleaf bearing inscription 'R. J. Bentley his book presented to him by his uncle L. Bentley, January, 1831', front pastedown with 20th-century ownership label of Ralph Ewart Ford, Orpington, Kent, all edges gilt, contemporary dark brown morocco, elaborate gilt decorated spine, boards with small floral gilt decorative motive to corners, spine slightly concave, 64mo (61 x 38 mm)QTY: (1)NOTE:Provenance: Ralph Ewart Ford (1897-1974), precision engineer and founder of Fords (Finsbury) Ltd. In Bedford. A member of the Bibliographical Society, he formed one of the largest collections of English Bibles in England. During the coronation of Queen Elizabeth II in 1953, a selection of the rarest and most important early English Bibles from Ralph Ford’s collection went on display in a touring exhibition across England, including the Chapter House at Westminster Abbey.New Testament - ESTC R207975; Wing B2811; Bondy pp.17-20. The number of leaves signed varies from copy to copy. "Amongst the most extraordinary volumes are the all-engraved editions of the Whole Book of Psalms in Meter and the New Testament in the shorthand of Jeremiah Rich, a leading stenography specialist of the period (circa 1660) who perfected the system invented by his uncle, William Cartwright, but without giving him credit, claiming it to be his own invention. The late Percy E. Spielmann had copies in his collection... The Spielmann copy of the Psalms ... also has a frontispiece with Rich's portrait and at the end a short list of 'the Names of those Ingenious Persons of my Schollars that were the first Incouragers of this incomparable peice'. Other editions, all published around the year 1660, were 'sold by Samuel Botley over against Vintners Hall' or 'at Colonel Masons Coffee House in Cornhill', or published 'for the author and sold by Henry Eversden'. All the copies we have seen are extremely well engraved, showing hardly any signs of wear and must have taken years to produce. Their manufacture did evidently require a very steady hand and infinite patience. Most copies are beautifully bound in contemporary black morocco and are finely gilt-tooled. They were obviously prized possessions and have remained most desirable collector's items to this date, notwithstanding the fact that hardly anyone will nowadays be able to decipher their obsolete shorthand" (Bondy).

Rich (Jeremiah) - Bible [New Testament]. [The book of the New Testament of our Lord and Saviour Jesus Christ, according to the art of short writing invented by] Jeremiah Rich, London: Printed for the author [sic] and are to be sold by Henry Eversden under the Crown Tavern in West-Smithfield, [1659?], engraved portrait frontispiece and title by T. Cross, lower outer corner of frontispiece strengthened to verso, text in shorthand throughout, engraved list of subscribers to final two leaves, 4 leaves in gathering X torn to lower outer corner with text loss (leaves X4 - X7), closed tear to lower blank margins of leaves X8, Y1 - Y3, bound without final leaf N8 (blank?), all edges gilt, marbled endpapers (lacking free endpapers), upper pastedown with 18th century printed ownership label bearing the name 'Mrs Kennicott', all edges gilt, contemporary blind panelled and decorated dark brown crushed morocco, silver clasp to lower outer corner only, joints lightly rubbed and small area of wear at head to lower joint, 64mo in 8s (62 x 36 mm)QTY: (1)NOTE:Provenance: Ralph Ewart Ford (1897-1974), precision engineer and founder of Fords (Finsbury) Ltd. In Bedford. A member of the Bibliographical Society, he formed one of the largest collections of English Bibles in England. During the coronation of Queen Elizabeth II in 1953, a selection of the rarest and most important early English Bibles from Ralph Ford’s collection went on display in a touring exhibition across England, including the Chapter House at Westminster Abbey.ESTC R28515; Wing B2809; Bondy pp.17-20. The number of leaves signed varies from copy to copy. "Amongst the most extraordinary volumes are the all-engraved editions of the Whole Book of Psalms in Meter and the New Testament in the shorthand of Jeremiah Rich, a leading stenography specialist of the period (circa 1660) who perfected the system invented by his uncle, William Cartwright, but without giving him credit, claiming it to be his own invention. The late Percy E. Spielmann had copies in his collection... The Spielmann copy of the Psalms ... also has a frontispiece with Rich's portrait and at the end a short list of 'the Names of those Ingenious Persons of my Schollars that were the first Incouragers of this incomparable peice'. Other editions, all published around the year 1660, were 'sold by Samuel Botley over against Vintners Hall' or 'at Colonel Masons Coffee House in Cornhill', or published 'for the author and sold by Henry Eversden'. All the copies we have seen are extremely well engraved, showing hardly any signs of wear and must have taken years to produce. Their manufacture did evidently require a very steady hand and infinite patience. Most copies are beautifully bound in contemporary black morocco and are finely gilt-tooled. They were obviously prized possessions and have remained most desirable collector's items to this date, notwithstanding the fact that hardly anyone will nowadays be able to decipher their obsolete shorthand" (Bondy).

Beardmore (Alan). The Revolving door since 1881, 1st edition, Holland: Boon Edam, 2000, numerous colour and monochrome illustrations, original cloth in dust jacket, covers very lightly rubbed with occasional minor marks, folio, together with; Schumann-Bacia (Eva), John Soane and The Bank of England, 1st edition, New York: Princeton Architectural Press, 1991, numerous colour and monochrome illustrations, original cloth in dust jacket, 4to, plus Edwards (A.Trystan), The architecture of Shops, 1st edition, London: Chapman & Hall, 1933, numerous monochrome illustrations, some light spotting, original cloth in dust jacket, spine slightly faded, large 8vo, and other modern architecture reference including publications by Yale, Mitchell Beazley, Antique Collectors Club, mostly original cloth in dust jackets some original cloth, folio/8vo, GQTY: (6 shelves )