Busiri (Giovanni Battista, 1698-1757) The Ponte Acquoria, near Tivoli, tempera on laid paper, affixed onto panel, 233 x 360 mm (9 1/4 x 14 1/8 in), some small losses and abrasion to pigments, in original gilt wood frame, [18th century]. Provenance: Ralph Howard, later 1st Viscount Wicklow (1727-1789), Shelton Abbey, Arklow, Co. Wicklow; By descent to William 8th Viscount Wicklow (1902-1978), until sold Wicklow Abbey Sale October/November 1950; Collection of John and Eileen Harris *** The artist was much patronised by British and Irish (as here) Grand Tourists supplying them with views of Rome and the surrounding Campagna. The most well known group of his works is at Felbrigg Hall in Norfolk purchased by William Windham in Rome 1739/40 (see Francis W Hawcroft, The Cabinet at Felbrigg, The Connoisseur, May 1958 pp.216-9). This view was acquired a decade later by Ralph Howard when he too visited Rome where he also patronised Batoni and Vernet.
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Lancastrian France.- Piot (Michiel or Michael of Paris, clerk to Richard Beauchamp, Earl of Warwick and Henry VI's French secretary) Receipt from Michiel Piot, clerk to Richard de Beauchamp, Earl of Warwick (‘le Conte de Warewyk’) certifying that on Friday the 17th day of [January] Guillaume le Grant, messenger [messagier], presented certain letters close from the bailly of Caen [Sir Richard Harrington] to the earl, with a box of wood in which was a certain information, of which matters Guillaume had sought certification of their receipt, autograph manuscript signed document, in French, on paper, six lines in a rapid French secretary hand, light damp-stain in lower right-hand corner, two small holes in blank left-hand margin, some slight creasing, late eighteenth- or early nineteenth-century inscription ‘19. janvier 1437’ in upper left-hand corner, in very good condition. 80 x 292 mm., Witnessed by Piot’s sign manual (“mon seing manuel”) followed by his paraph, Rouen, 19th January 1437 [i.e. 1438]. *** Piot worked for the earl of Warwick in the 1430s and later as Henry VI’s French secretary, writing several letters on behalf of the king and Queen Margaret to Charles VII over negotiations for the surrender of the County of Maine. “… Henry VI engaged for his French business a number of French secretaries, who lived in England for considerable periods and probably brought with them families and households that swelled the immigrant population of London and its suburbs. Several of these secretaries chose to stay permanently in England and, like Gervase le Vulre in 1441, obtained letters of denizenship. They were encouraged to do so not only because of the nature of their work, but also because they fell victim to the Valois advance after 1436; some, like Michael de Paris and Jean Rinel lost lands and goods in France and sought recompense in England.” – Ralph A Griffiths. The Reign of King Henry VI, 1981. Sir Richard Harrington (c. 1399-1462), soldier, bailly of Caen, later controller of the Household of Henry VI. Provenance: This document is doubtless from the (Norman) Chambre des Comptes, many of the documents were dispersed in the nineteenth century.
* Warwickshire & Yorkshire. A manuscript Release and quitclaim for land at Ilmington, near Shipston on Stour, Warwickshire, circa 1300, manuscript on vellum, from Isabella Geffrey of Ilmington to Robert de Val, relinquishing her right in a messuage and 1½ acres of land and a farthingdeal (ferendell) of meadow, namely: the messuage which Alice Hebbe long held in the vill and fields of Ilmington, one acre at Holdeforde, half an acre in the four acres (intefouracres), and the farthingdeal of meadow lies at Severode, witnesses: Henry Benet of Foxcote [in Ilmington], Gilbert Benet of Foxcote, Richard Geffrey of Ilmington, Gilbert Marescall of Ilmington, Gilbert Dyonis of Ilmington, with round white wax seal for Isabella Geffrey, the charge and legend indistinct, folded, overall size 9 .5 x 21 cm (not including seal), together with A stock deed for the manor of Bramcote in Warwickshire, circa 1280, by Willliam de Grendon, lord of Bramcote (Bromcote) [in Bulkington, Warwickshire], to William del Hul of Bramcote and his wife Margery, for his homage and service, and to their heirs in tail, reversion to William de Grendon, witnesses: John de Hurleie of Polesworth, William Gilot of Polesworth, William du Fon of Warton, William le Blund of Warton, William le Warner of Warton, Richard son of Jordan of Povele, William de Dodenhale, the messuage and half-virgate which William del Hul’s father Ralph del Hul formerly held, with rights of common in the places where the people of the vill of Bramcote have common, manuscript on vellum, folded, with dark green wax seal, showing a flower: S’ WILLELMI DE GRENDONE, overall size 20.5 x 24 cm (not including seal), plus Yorkshire. Exemplification of common recovery, 4 July 1520, for Hugh Clerke, Robert Hennege and Christopher Richardson, clerk (by their attorney Thomas Waldram) v John St Paul (Sayntpoll), esquire (by his attorney John Irby) the manor of Byram (Byrom) and 8 messuages, 240 acres of land, 20 acres of meadow, 100 acres of pasture, 30 acres of wood, 100 acres of marsh 12 shillings’ rent, the rent of a pair of horseshoes and of a pair of gilt spurs and a pound of pepper in Byram and Pool [in Brotherton, West Riding of] Yorkshire, vouchee: Thomas Fyssh, Before Sir Robert Brudenell and his fellows, justices of the bench, Trinity term 1520 rotulet 141, with fragment of the seal for sealing judicial writs out of the bench, tested by [William] Conyngesby [third prothonotary of the common bench], folded, overall size 24 x 44 cm (not including seal) QTY: (3)NOTE:Ilmington is 2 1/2 miles north west of Shipston on Stour and 6 miles south of Stratford upon Avon. Foxcote was a hamlet 1 1/4 miles distant. It is possible to place the date of this document to the early part of the 14th century from research into the persons mentioned: Robert de Val was Lord of the Manor of nearby Compton Scorpion in 1316; an estate was conveyed by Geoffrey le Marshall to his son Gilbert in 1294. The Lordship of the Manor had been in the hands of the Harecourt family, but was granted by the King to Simon de Montford, Earl of Leicester, whose descendant Peter de Montford held it at this time. The ancient measure of a virgate of land consists of about 30 acres. The messuage had 1 1/2 acres of meadowland attached whilst the seven virgates (210 acres) would be arable land in the open fields, a sizeable holding.
Vaughan Williams (Ralph, 1872-1958), English composer. Serenade to Music. The Words from Shakespeare (The Merchant of Venice, Act V, Scene I), [Vocal Score], 1st edition, London: Oxford University Press, [1938], 20 pages, stapled printed wrappers, signed to upper cover by Isobel Baillie (pencil), with autographs in blue ink below of soprano Eleanor Houston and nine singers from the first performance, the contraltos Muriel Brunskill, Astra Desmond, Mary Jarred, the tenors Heddle Nash, Frank Titterton, Parry Jones, and the baritone Roy Henderson, a little spotting and dust-soiling, staples rusted, some splitting and chipping to spine, slim 8vo (25.5 x 18 cm)(1)Provenance: Given to Bryan Crimp by Isobel Baillie. Vaughan Williams wrote the piece as a tribute to the conductor Sir Henry Wood to mark the fiftieth anniversary of Wood's first concert. The solo parts were composed specifically for the voices of sixteen eminent British singers chosen by Wood and the composer, and in the published score the initials of each soloist are placed next to his or her lines. Wood conducted the first performance at his jubilee concert at the Royal Albert Hall on 5 October 1938. This unique copy bears the autographs of 10 of the original 16 soloists, (plus soprano Eleanor Houston), who then all performed for the first recording ten days later.
HARRY POTTER AND THE ORDER OF THE PHOENIX (2007) - Hermione Granger's (Emma Watson) Wand - Hermione Granger's (Emma Watson) wand from David Yates' Harry Potter and the Order of the Phoenix. Granger obtained her wand before beginning her first year at Hogwarts and continued to use it both in school and outside of it, including in battle against the dark forces of Voldemort (Ralph Fiennes).This wand is made of cast resin painted brown to resemble aged wood and features a raised vine-like embellishment twisting up the length of the shaft. It exhibits some scuffing and paint chipping from use. Dimensions: 38.75 cm x 1.5 cm x 1.5 cm (15.25" x 0.5" x 0.5")Estimate: £8,000 - 16,000 Ω Bidding for this lot will end on Thursday, November 14th. The auction will begin at 3:00 PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Friday, November 15th, Saturday, November 16th or Sunday, November 17th.
HARRY POTTER AND THE DEATHLY HALLOWS: PART 1 (2010) - Hero Elder Wand - A hero wand from David Yates' fantasy adventure sequel Harry Potter and the Deathly Hallows: Part 1. Lord Voldemort (Ralph Fiennes) raided Albus Dumbledore's (Michael Gambon) grave to steal the Elder Wand. This was one of the three magical objects that comprised the Deathly Hallows, and at various points in the series was wielded by Dumbledore, Voldemort and Harry Potter (Daniel Radcliffe) himself.The wand is made of resin, hand-painted and finished to resemble natural wood. At the time of production, an LED in the tip of the wand could be illuminated by twisting the wand's base, when powered by three AAAA batteries. The wand has some wear from production use, including paint wear and a chip to the resin at the base of the handle, and it does not currently light up. Dimensions: 16" x 0.75" x 0.75" (40.5 cm x 2 cm x 2 cm)Contains electronics; see electronics notice in the Buyer's Guide.Estimate: £12,000 - 24,000 M Bidding for this lot will end on Thursday, November 14th. The auction will begin at 3:00 PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Friday, November 15th, Saturday, November 16th or Sunday, November 17th.
TWO STAFFORDSHIRE WHITE SALTGLAZE SAUCE BOATS CIRCA 1760 one with basket, diamond and scroll moulding, possibly modelled by Aaron Wood, 15.5cm wide; the other moulded with a basket of flowers and leaves within scrolled reserves, 14.5cm wide; together with a POLYCHROME PAINTED SALTGLAZE SAUCE BOAT moulded and enamelled with flowers (3) polychrome sauce boat 16.5cm wide Provenance: The Maisels Collection of British Ceramics Note: A similar sauce boat to the basket weave example in this lot is illustrated in Edwards and Hampson ‘White Salt-Glazed Stoneware of the British Isles’, p.87, fig 75. It states that the original model for this moulded sauce boat was done by a man called Aaron Wood (1717-1785). Along with his brother Ralph Wood they are traditionally credited as the major modellers of saltglaze pottery shapes.
Derby porcelain model of a cherub holding a basket of flowers and wearing a chaplet, H13cm, another Derby cherub holding a basket of flowers and another Derby style cherub, together with a 19th century Staffordshire Ralph Wood type pearlware figure emblematic of Autumn, holding grapes and a goblet (4)
The K.C.B. and K.C.V.O. sets of insignia attributed to Sir Ralph Endersby Harwood, who rose from humble beginnings as a G.P.O. Boy to become Financial Secretary to His Majesty King George V at Buckingham Palace The Most Honourable Order of the Bath, K.C.B., (Civil) Knight Commander’s set of insignia, comprising neck badge, silver-gilt, hallmarks for London 1932; and breast star, silver, gold and enamel, with gold retaining pin, with part lengths of neck riband, in Garrard, London, case of issue; The Royal Victorian Order, K.C.V.O., Knight Commander’s set of insignia, comprising neck badge, silver-gilt and enamel, the reverse officially numbered ‘K243’; and breast star, silver, with gilt and enamel centre, with god retaining pin, the reverse officially numbered ‘243’, with full and miniature-width neck ribands, in Collingwood, London, case of issue, with ‘K’ stock sticker, but with the inked number no longer visible, nearly extremely fine and better (4) £1,500-£2,000 --- K.C.B. London Gazette 1 January 1934. K.C.V.O. London Gazette 2 June 1931. Sir Ralph Endersby Harwood was born at Biggleswade, Bedfordshire, on 28 March 1883, the second son of Charles Harwood of Richmond Lodge, Clifton. Educated at Clifton Church of England School and Bedford Modern School, he entered the civil service at 15 years of age and took initial employment as telegraphist at the General Post Office. Furthered by evening classes, he passed the Second Division Examination in 1900, taking 1st place at Bedford School and 16th place of 1,000 candidates across the country. As Second Division clerk he served successively in the India Office, War Office, Board of Inland Revenue and the National Health Insurance Commission; the latter posting witnessed promotion to a Staff Clerkship. Further promotions followed between August 1912 and May 1913, firstly to Assistant Accountant and thence to the coveted Class I of the civil service with the personal post of private secretary to the permanent secretary. Upon the outbreak of the Great War the Insurance Commission was charged with the important duty of controlling the drug supply of the United Kingdom. Lent to the War Trade Department in late 1915, Harwood took on a statistical position which examined the imports of neutral European Nations - a task which was rendered of vital necessity in order to carry out the blockade of Germany by the Royal Navy. Having set this work on a secure foundation, his superiors - led by Lord Robert Cecil, the new ‘Minister for Blockade’ - set about creating a whole new branch with Harwood as Department Controller. With hostilities at an end, Harwood was appointed temporary Deputy Treasurer to King George V in 1922. He transferred briefly to the Treasury, but returned to the Royal Household in the early 1930’s. In 1935 he was appointed to the new and prestigious role of Financial Secretary to the King. According to The News Chronicle of 16 November 1935, the popular appointment was ‘in recognition of his services in securing economies in the royal household during the depression four years ago, when the King reduced his Civil List income by £50,000.’ More pertinently, Harwood managed to achieve the feat without reducing wages or dismissing any royal servant - at the direct request of His Majesty. Harwood retired from the role in 1936 and later became a financial consultant with Messrs. John D. Wood & Co., London. Awarded the C.B.E. in 1918, C.V.O. in 1921, C.B. in 1924, K.C.V.O. in 1931 and K.C.B. in 1934, Harwood retired to Seckford Hall in Suffolk, and died at home on 28 February 1951. Sold with the original Central Chancery bestowal warrant for the Companion (Civil Division) of the Order of the Bath, named to Ralph Endersby Harwood, Esq., C.V.O., C.B.E., dated 3 June 1924; a second bestowal warrant for the Grant of Dignity of a Commander of the Royal Victorian Order, named to Ralph Endersby Harwood Esquire, C.B.E., dated 4 June 1921; with corresponding Buckingham Palace letter relating to the second, dated 28 June 1921; and a further typed letter from the Privy Purse Office, Buckingham Palace, announcing the King’s intention to promote Harwood K.C.V.O. on the occasion of His Majesty’s Birthday, dated 20 May 1931.
16 Large 19th & 20th century assorted techniques. This card includes a great male head in brass over a dark wood and includes a verbal, a nice architectural division one in brass set in wood, a couple of copper over wood by the late studio artist Ralph Briggs, a fun realistic slingshot, remember those when you were a kid? Look closely at the other nice examples on this card. Issued: DIVISION 1=PRE 1918 AND DIVISION 3 IS AFTER 1918Dimensions: SM=Less than 3/4", Medium=3/4" to 1 1/4". Large=1 1/4" and above, extra large=1 3/4" and aboveCondition: PLEASE NOTE: These buttons for the most part are antique and may have age related wear. We make every effort to point out any significant condition related concerns, but again they are antique and not new. We also cannot be responsible for replaced shanks or issues related to the backs of any buttons on multiple button cards as we do not remove these buttons to re-card them. Please contact us if you would like any further condition reports on any lot.
Canada.- Sturges (Lee) Salmon Fishing on Cain River New Brunswick, one of 50 copies, signed presentation inscription from author to front endpaper (?pencil), 6 etched plates after Sturges with captioned tissue guards, illustrations throughout, final leaf with pencil sketch, two ink ownership inscriptions to other endpapers, some light finger and similar soiling, ?original boards, corners rubbed, rebacked in morocco, housed within modern custom made morocco-backed drop-back box, [Wood BSS 122], 4to, [Chicago], privately printed, 1919.*** The tale of a 65 mile, week-long canoe trip down the Cains [River] in New Brunswick, fishing for salmon along the way, guided by the well-known Harry Allen (to whom the book is inscribed), who built the camps on the Miramichi, just below the mouth of the Cains and Black Brook. An original film of the trip is now viewable at the Americal Museum of Fly Flishing in Vermont. Scarce among fishing books, it holds a particular place within the history of American fine printing and graphic arts, with the etchings and illustrations after Sturges himself an artist, and the book itself designed and printed by Ralph Fletcher Seymour, a Chicago member of the 'Arts and Crafts' movement.Rare: while the limitation is 50 copies, it is known that likely far fewer exist, due to a fire at the author's house.
A FINE VICTORIAN SPECIMEN WOOD PARQUETRY WORK TABLE ATTRIBUTED TO RALPH TURNBULL JAMAICA 19TH CENTURYthe octagonal hinged top inlaid with cube-parquetry centre within an arrangement of exotic veneers, palm wood, green heart, orange wood, West Indian satinwood and others, enclosing a fitted interior with satin-lidded compartments on central panelled column and concave platform base, paw feet. 84cm high, 60cm wide, 60cm deep
A John Rose Coalport 'Animal Service' dessert ice pail or fruit cooler, circa 1800-1805, dark blue ground with simple gilt, painted with a circular panel of a Striped Hyena, opposed by a further roundel of a gentleman watering his horse before a large country estate, likely taken from one of the smaller engravings interspersed throughout the pages, of Bewick's Quadrupeds, complete with original liner and a cover further painted with game birds in flight and winged insects, unmarked and untitled, 26cm high See Bewick, Thomas, Ralph Beilby, 1800. A General History of Quadrupeds : The Figures Engraved on Wood. Newcastle upon Tyne, S. Hodgson, R. Beilby, & T. Bewick. See footnote for further details. Footnote:The animal painting, from which this service takes its title, is inspired by Thomas Bewick's A History of Quadrupeds, published in 1800. The Bewick Society states that the extent of the original service is unknown, but it likely would have comprised a centre dish, a selection of side dishes, tureens, plates and perhaps a pair of ice pails. (1) The scope of potential inspiration was enormous, with over 200 different woodcut engravings. The most extensive known offering of pieces reached the market in 1970, including a 'Polar Bear' centre dish and 'Hartebeest' lozenge dish, all of which was secured for the nation with the V&A Purchase Grant Fund and are now on display at the Shrewsbury Museum and Art Gallery. Further plates have cropped up sporadically throughout the years.The principal decorator is not definitively known, although they were almost certainly from London and working outside the factory. Roger Edmundson, however, has proposed Charles Muss (1779-1824) as at least one of the painters of this service, of which the pieces sometimes vary in style and are perhaps by more than one hand. The reasoning for this attribution includes known pieces of this service illustrated in Messenger's Coalport book and displayed at the Shrewsbury Museum and Art Gallery to exhibit aspects of Muss's technical work. For example, the 'Tigers' stripes are carefully drawn, predominantly with two fine lines and shading alongside visible outlines to some of the legs. For this, Edmundson suggests, 'Muss probably decorated some or all of the animals'. (2) Charles Muss' father was the son of an Italian artist, Beneficio, who came to London in or around 1778. Beneficio set up as a drawing master in Newcastle-upon-Tyne when Charles was eleven years old; therefore, it is likely that Charles worked under his father's instruction. Charles exhibited several works after moving to London, including Dunkeld Castle at the Royal Academy in 1800. He later produced an enamelled plaque with a named and dated view of the Coalport China Works in 1804. After several years' break, during which time his daughter was born, he again exhibited seven further works at the Royal Academy between 1817 and 1823. He produced enamels on glass and copper, including portraits and works after old master subjects. His work extended to stained glass works, with known examples of these being Eaton Hall in Cheshire and St. Bride's Church in London, among others. References: (1) Edmundson, Roger, Charles Muss, his Painting of the Coalport Works and Decoration on Porcelain (Northern Ceramic Society, Journal 33, Volume 17) (2) Newland, Barry, The Coalport Animal Service (Cherryburn Times - Journal of the Bewick Society, Volume 6, Number 9, 2016) (3) Messenger, Michael, 1995, Coalport 1795-1926 (Antique Collectors Club, Suffolk, 1995) Condition:Main body of pail - Good condition with no damages or repairs. Rings well when tapped. Some minor wear to the gilding on the handles and around the rim.Pail liner - Good condition with no damages or repairs. Heavier wear to the gilt. Some scratches to the interior of the bowl. Rings well when tapped. Cover - Good condition with no damages or repairs. Some glaze crazing visible to the top and underside.
A Coalport 'Animal Service' dessert plate, circa 1805The Cougar, the dark-blue ground flanked by gilt stylised foliage, the centre painted with the animal in a grassy landscape, dark blue ground with border gilding of a sparser type, untitled, 22.4cm diameter"The Cougar - Inhabits the continent of America, and is called by some the Puma, or American Lion; but differs so much from that noble animal, as not to admit of any comparison .... It is fierce and ravenous in the extreme, and will swim rivers to attack cattle even in their inclosures - In North America, its fury seems to be subdued by the rigours of the clime, for it will from a Dog in company with its master, and take shelter by running up a tree." Bewick, Thomas, Ralph Beilby, 1800. A General History of Quadrupeds : The Figures Engraved on Wood. Newcastle upon Tyne, S. Hodgson, R. Beilby, & T. Bewick.Condition:Good condition with no damages or repairs. Some gilding wear to the rim.
A John Rose Coalport 'Animal Service' dessert plate, circa 1805'The Jackal', the dark-blue ground flanked by gilt stylised foliage, the centre painted with the animal in a grassy landscape, untitled, dark blue ground with border gilding of a sparser type, 22.5cm diameterNotes: This is a slightly different design to the preceding lots, with smaller animals in landscapes which leave part of the centre roundel blank and a much simpler gilt external border. This second style is untitled to the reverse and the animals' direction is mirrored to that of the book and the preceding service. This style forms one of at least three services using the same source of inspiration. The third style was sold as a complete service at Christie's in 2003 and featured the animal painting with a rich gilt border. For further information see the footnote.The Jackal "...although it is the most numerous of all the wild animals of the East, there is scarcely any one left known in Europe, or more confusedly described by historians. They very in size. Those of the warmest climates are said to be the largest. They are of a reddish-brown colour.-- The smaller Jackal is about the size of a Fox, and its colour is a bright-yellow ... Jackals go in packs of forty or fifty, and hunt like hounds in full cry from evening till morning. They destroy the poultry, attack the flocks: They roam through the villages and gardens, and carry off everything they eat: They enter stables, yards, and outhouses, and devour skins, and every thing that is made of leather; such as harnessing, boots, shoes, etc. Nothing can escape their rapacity. They will ransack the repositories of the dead, and greedily devour the most putrid bodies; for which reason, in those countries where they abound, the inhabitants are obliged to make graves of a great depth, and secure them with spines, to prevent the Jackals from raking up the earth ...' Bewick, Thomas, Ralph Beilby, 1800. A General History of Quadrupeds : The Figures Engraved on Wood. Newcastle upon Tyne, S. Hodgson, R. Beilby, & T. Bewick.Condition:Good condition with no cracks, chips, damages or repairs. Some wear to gilt dentil rim.
A John Rose Coalport 'Animal Service' dessert side dish, circa 1800-05of shell form with a single handle, painted with a circular panel of 'The Ban Dog', dark-blue ground flanked by gilt stylised foliage, titled in red script to the reverse, 20cm wideThe 'Ban Dog' - "In a variety of this fierce tribe, not often to be seen at present. It is lighter, smaller, more active and vigilant than the Mastiff, but not so powerful; its nose is smaller, and possesses in some degree, the scent of the Hound; its hair is rougher, and generally of a yellowish-grey; streaked with shades of a black or brown colour. It does not, invariably, like the preceding kinds, attack its adversary in front, but frequently seizes cattle by the flank. It attacks with eagerness, and its bite is keen and dangerous'. - Bewick, Thomas, Ralph Beilby, 1800. A General History of Quadrupeds : The Figures Engraved on Wood. Newcastle upon Tyne, S. Hodgson, R. Beilby, & T. Bewick.Provenance:Earle E. Vandekar paper label to reverse.Condition:Good condition with no damages or repairs, though there is some crazing to the glaze.
A Coalport 'Animal Service' coffee can and saucer, circa 1800-1805, painted with a 'Squirrel' (red)' to the coffee can and 'The Phalanger' (Cuscuses) to the saucer, titled in red to the bases, coffee cup 6.5cm diameter and 6cm high, saucer 14cm Note: This offers an interesting addition to what was historically known as a dessert service until the publication of Roger Edmundson and Kate Cadman's article on Charles Muss, Part 2 (Northern Ceramic Society), which includes several coffee cans and saucers held in private collection. It must also be noted that some other pieces do exist using the same source inspiration but with entirely different borders and overall grounds, including a 'Hyena' campagna vase with stylised purple scrolling and puce ground in Shrewsbury Museum and Art Gallery (SHYMS: C/2565). For further information, see the footnote section. See also Bewick, Thomas, Ralph Beilby, 1800. A General History of Quadrupeds : The Figures Engraved on Wood. Newcastle upon Tyne, S. Hodgson, R. Beilby, & T. Bewick. Provenance:Private collection, purchased in London. Footnote:The animal painting, from which this service takes its title, is inspired by Thomas Bewick's A History of Quadrupeds, published in 1800. The Bewick Society states that the extent of the original service is unknown, but it likely would have comprised a centre dish, a selection of side dishes, tureens, plates and perhaps a pair of ice pails. (1) The scope of potential inspiration was enormous, with over 200 different woodcut engravings. The most extensive known offering of pieces reached the market in 1970, including a 'Polar Bear' centre dish and 'Hartebeest' lozenge dish, all of which was secured for the nation with the V&A Purchase Grant Fund and are now on display at the Shrewsbury Museum and Art Gallery. Further plates have cropped up sporadically throughout the years.The principal decorator is not definitively known, although they were almost certainly from London and working outside the factory. Roger Edmundson, however, has proposed Charles Muss (1779-1824) as at least one of the painters of this service, of which the pieces sometimes vary in style and are perhaps by more than one hand. The reasoning for this attribution includes known pieces of this service illustrated in Messenger's Coalport book and displayed at the Shrewsbury Museum and Art Gallery to exhibit aspects of Muss's technical work. For example, the 'Tigers' stripes are carefully drawn, predominantly with two fine lines and shading alongside visible outlines to some of the legs. For this, Edmundson suggests, 'Muss probably decorated some or all of the animals'. (2) Charles Muss' father was the son of an Italian artist, Beneficio, who came to London in or around 1778. Beneficio set up as a drawing master in Newcastle-upon-Tyne when Charles was eleven years old; therefore, it is likely that Charles worked under his father's instruction. Charles exhibited several works after moving to London, including Dunkeld Castle at the Royal Academy in 1800. He later produced an enamelled plaque with a named and dated view of the Coalport China Works in 1804. After several years' break, during which time his daughter was born, he again exhibited seven further works at the Royal Academy between 1817 and 1823. He produced enamels on glass and copper, including portraits and works after old master subjects. His work extended to stained glass works, with known examples of these being Eaton Hall in Cheshire and St. Bride's Church in London, among others. References: (1) Edmundson, Roger, Charles Muss, his Painting of the Coalport Works and Decoration on Porcelain (Northern Ceramic Society, Journal 33, Volume 17) (2) Newland, Barry, The Coalport Animal Service (Cherryburn Times - Journal of the Bewick Society, Volume 6, Number 9, 2016) (3) Messenger, Michael, 1995, Coalport 1795-1926 (Antique Collectors Club, Suffulk, 1995) Condition:5mm long hairline to rim of saucer. The Phalanger has a scratch through one foot and a small portion of the green landscape and belly. This piece also has some slight wear to the internal gilt ring. The coffee can is good condition with no damages or repairs. There is some expected handling wear to the gilding on the handle and the upper rim.
A John Rose Coalport 'Animal Service' dessert service plate, circa 1805'The Squirrel', dark-blue ground flanked by gilt stylised foliage, painted with a circular panel of the animal in a landscape, titled in iron red to the base, 21cm diameterSee Bewick, Thomas, Ralph Beilby, 1800. A General History of Quadrupeds : The Figures Engraved on Wood. Newcastle upon Tyne, S. Hodgson, R. Beilby, & T. Bewick.Condition:Good condition with no damages or repairs. Some crazing to the glaze.
A John Rose Coalport 'Animal Service' dessert serving dish, circa 1800-05 of lobed oval form, painted with a circular panel of 'The Fallow Deer', dark-blue ground flanked by gilt stylised foliage, titled in red script to the reverse, 27.2cm wideFallow Deer '...their rutting season arrives fifteen days or three weeks after that of the Stag. The males then bellow frequently, but with a low and interrupted voice. They are not so furious at this season as the stag, nor exhaust themselves by any uncommon ardour. They never leave their pasture in quest of the females, but generally fight with each other, till one buck becomes master of the field. They associate in herds, which sometimes divide in two parties, and maintain obstinate battles of the possession of some part of the park : Each party has its leader, which is always the oldest and strongest of the flock..." Bewick, Thomas, Ralph Beilby, 1800. A General History of Quadrupeds : The Figures Engraved on Wood. Newcastle upon Tyne, S. Hodgson, R. Beilby, & T. Bewick. Provenance:Earle E. Vandekar paper label to the reverse. Condition:Good condition with no damages or repairs, though there is some crazing to the glaze.
A John Rose Coalport 'Animal Service' dessert plate, circa 1805The Mongoose Lemur, the dark-blue ground flanked by gilt stylised foliage, the centre painted with the animal in a grassy landscape, untitled, dark blue ground with border gilding of a sparser type, 22.2cm diameter (gilding worn)"The Mongoose is nearly the same size as the Ring-tailed Macauco. Its fur is fine, soft, and woolly, of a deep brownish colour; the eyes are of a beautiful orange colour, surrounded with black, the ears are short; cheeks white; end of the nose black; the tail very long; and covered with hair of the same sort and colour of the body; its hands and feet are naked; and of a dusty colour, its nails, except one upon the inner toe of each hind foot are flat..." Bewick, Thomas, Ralph Beilby, 1800. A General History of Quadrupeds : The Figures Engraved on Wood. Newcastle upon Tyne, S. Hodgson, R. Beilby, & T. Bewick.Condition:Some heavy wear to the gilding. No damages or repairs.
A Coalport 'Animal Service' dessert sauce tureen and cover, circa 1800-05of oval form with twin handles, painted with four differing oval vignettes including three of dogs, the cover titled 'The comforter' and 'The turnspit', the tureen base with 'The Lesser Dormouse' and 'The fox hound', titled in iron red script to the underside of the cover, 18cm handle to handleSee Bewick, Thomas, Ralph Beilby, 1800. A General History of Quadrupeds : The Figures Engraved on Wood. Newcastle upon Tyne, S. Hodgson, R. Beilby, & T. Bewick.Provenance:Previously sold at Christies, lot 56, 8th December 2005.Condition:Cover and base are both in good condition with no damages or repairs. The gilding remains in good order with very little, if any, rubbing.
A natural-wood colored Rawlings Big Stick professional model bat personally signed by Hall of Famer, class of 1975 Ralph Kiner. Certificate of Authenticity from Rich Altman's Hollywood Collectibles included. This item comes in a plastic protective case that measures 36.5"L x 9.5"Cir. Issued: COA 2004Dimensions: 34"L x 8"Cir. Manufacturer: RawlingsCountry of Origin: United StatesCondition: Age related wear.
A Shot Heard Round the World Baseball signed by Ralph Branca and Bobby Thomson. Brooklyn Dodgers vs New York Giants October 3, 1951. Wood & plastic stand with nameplate included with measurements 3.25"L x 3"W x 4.25"H. Certificate of Authenticity from SSCA included. Dimensions: 9" CircumferenceCondition: Age related wear.
Simon Jenkins- England’s 1000 great houses, Edward Whymper – Scrambles amongst the Alps, A. B. Paterson’s collected verse, Jan Morris – Thinking Again, Norman Lewis – I Came I Saw, James Tucker, Case bound, Ralph Rashleigh - edited by Colin Roderick. Drawings by Nigel Lambourne, published Folio, Jerome K Jerome – My Life and Times, case bound, Patricia Kinross – Ataturk, Albert Hourani Miscellaneous books to include; Helier Ventura – Bosphorus, Turks 600-1600, Terence Lane I Australian Art, RA – Australia, Christopher Wood - Paradise lost, Wilson and Lyle - -Great Age British Watercolours, Herbert – Landscape Watercolour 1750-1850, Konstantin Bazarov – Lanscape Painting, Vincent by Himself, The Orient Observed, Jessica Rawson – Mysteries of Ancient China
Gregynog Press Substantial collection of letters to William McCance, controller of the press, 1930-3 including numerous draft responses by McCance, and various associated documents, approx. 200 separate items in total, typed and manuscript, most on stationery with the author's corporate or personal letterhead, pencilled catalogue numbers to upper left corners throughout, a few items annotated or with sketched letterforms by McCance. Authors include:Blair Hughes-Stanton (1902-1981), artist and wood-engraver at the Gregynog Press. 10 letters of which 1 to 'Naomi' (probably Naomi Mitchison) the rest to McCance, on various events and disagreements at the press, including remarks about other figures in the private press movement, the letters long and slightly rambling, with little punctuation, most written in pencil, some retaining original stamped envelope, e.g. 'They [the Gregynog board of directors] are furious with you … for having consulted experts or anyone without their consent in other words they dislike being shown up as fools … They all rave about [Eric Gill's] Four Gospels down here. I think its a pigs breakfast … DJ [Dora Jones?] again said at the board meeting how he objected to the Kessler Hamlet fussy he called it “but of course thats just a personall [sic] opinion”. I dont think hes taken the trouble to study it for more than 10 minutes no they all think they are safe with Gill and the Gospels and think it so cheap at 8 guineas';Stanley Morison (1888-1967), typographer. 28 letters, all on Monotype Corporation stationery, in a warm and jocular tone, filled with polysyllabic humour and containing discussion of business matters (e.g. preparation of typefaces for the press, Gill italic and Perpetua italic, etc.) interspersed with constructive criticism and advice regarding Gregynog presswork, lyrical disquisitions on the craft and philosophy of printing, ironic anti-Welsh sentiment ('I think that you and I, as non-Cambrians, may learn something from the incident'), etc. Together with 4 draft letters from McCance to Morison;R. A. Maynard, McCance's predecessor as controller of the Gregynog Press. 5 letters, arranging the hand-over, to McCance, praising McCance's productions at Gregynog (on Esope, ‘Did you, I wonder, manage the engravings without damping on that very soft sized paper. A technical detail this, but I’m interested'; and Comus, ‘a stunning book’), commiserating over disagreements with the directors of the press (‘I was sorry to hear of the contretemps over your Esope colophon. Twas inevitable! You'll get tons of it, as I did … Don't make it a life or death business - as I did. A grave mistake - the Welsh only understand talkie talkie: work doesn't count'; ‘What you say of Wales and Welsh would be illuminating did I not know the blighters so well. In my day the chief sauce [sic] of unpleasant and unexpected surprises was T. W. H. but I can see that the good work is being carried on by others. I can give you no comfort: you will never eliminate the background to your labours’);Major W. J. Burdon Evans, director of the Gregynog Press. 48 letters, concerning McCance's appointment, contractual, administrative and financial matters, press matters including leather samples and the disappointment of Miss Davies with McCance's designs for an edition of Benedicite by Ralph Vaughan Williams, McCance's resignation, etc., the letters ranging from business-like to peremptory in tone. Together with 13 draft letters from McCance to Evans, concerning the day-to-day running of the press, with strong disagreements evident: 'We have again gone into the matter [of changing from quarterly to monthly salaries] and perhaps it is that we are not so much off the rails as running on different lines, you on the Cambrian Railway we on the L.M.S.'; ‘My position, ill defined at the beginning, has become more more one of responsibility without adequate control' (issues raised including unauthorised access to the press's office safe); ‘I submit, however, that the design was both original and distinctive, being well proportioned and effectively adapted to its purpose’ (a response to criticism of his design for Benedicite); ‘I do not wish to belittle the function of the bindery but I should like to point out that its importance is secondary to the actual printing …' (a lengthy draft letter recapitulating disagreements with the Directors esp. focus of attention and resources on the bindery); a discussion of Blair Hughes Stanton's work on an edition of White's Selborne; the appointment of McCance's successor.Dora E. Yates (1879-1974), Romani scholar. 11 letters, concerning the production and design of Gregynog's XXI Welsh Gypsy Folk Tales (1931), Yates contributing the foreword;Thomas Jones (1870-1955), director of the Gregynog Press. 11 letters on various press matters (e.g. 'I was looking at the Esope, Singing Caravan and Erewhon leathers yesterday. Together they have an accumulatively depressing appearance to me');Dora Herbert Jones (1890-1974), secretary of the Gregynog Press, 3 letters, on press matters including a request for a selection of engravings by Agnes Miller Parker for exhibition during a visit to Gregynog by George Bernard Shaw.And from others including Gwendoline E. Davies (1882-1951), co-founder director of the Gregynog Press, 4 letters; J. Barcham Green, paper maker, 2 letters (with a draft letter from McCance to Barcham); Francis Meynell, director of the Nonesuch Press, 4 letters (with a draft letter from McCance to Meynell), J. G. Wilson (1876-1963) managing director of booksellers John & Edward Bumpus Ltd, 6 letters; Hugh Blaker (1873-1936), artist and connoisseur; and more.The associated documents including: 2 carbon copies of a report on the work of press by W. J. Burdon Evans (each 6 ff., foolscap leaves, rectos only, headings comprising ‘Work in hand’, ‘Work in Prospect’, ‘Policy’, ‘Welsh Books’, ‘Costings’ and ‘Generally’, remarks include ‘Eric Gill is not satisfied but the Monotype people hope to supply in November’); 4 copies of William McCance's employment contract (one typed, the rest carbons); a manuscript booklet largely in an unidentified hand, 11 pp., include draft schedule for work at the press, ‘Plan of development through apprentices’, ‘Structural alterations’ including a workshop diagram notes on typefaces in stock, etc., approx. 10 ff. further notes. Mrs Margaret McCance, second wife of William McCance. A voluminous archive shedding light on the personalities and day-to-day functioning of one of the great private presses during its interwar heyday, providing an in-depth and often richly comic insight into the harried tenure of William McCance as controller of the press, with informative business correspondence interspersed with philosophical reflections, indiscreet gossip, and splenetic rants from several correspondents, some of whom might on present evidence be justifiably described as unsung belle-lettrists. William McCance (1890-1974) was a Scottish artist notable as an exponent of the Vorticist style developed by Wyndham Lewis. Succeeding R. A. Maynard in 1930 and remaining in post until 1933, assisted by his his wife, the wood-engraver Agnes Miller Parker, he appears to have quickly found himself out of sympathy with the directors of the press and resentful of their excessive interference. See further: Kathleen Ladizesky, ‘Aspects of the Gregynog Press 1930-33', The Private Library, Third Series, 7:2, 1984.
A Ralph Wood Creamware Model of a Fox, circa 1780, sitting on a mound with forepaw on a bird, picked out in typical glazes 12cm wideProvenance: With paper label for Leo Kaplan Tip of left ear slightly abraded. Tip of right ear with restoration. Tight Y-shaped hair crack on the spine of the animal. Chips around the rim of the base. Glaze crazed.
A Ralph Wood-Type Creamware Figure of a Ram, circa 1770, naturalistically modelled recumbent, with ochre markings on a green wash mound base 16cm longProvenance: With paper label for Jonathan Horne Antiques Glaze tightly crazed. Minor chips and flakes around the lower rim. No breaks or restoration.
* Miniature chained Bible and Lectern. The Holy Bible containing the Old and New Testaments, Glasgow: David Bryce and Sons, [1901], general title and following leaf torn and marked with slight loss, few plates, Revelation incomplete at rear (lacking all after chapter 17 verse 6), few leaves detached, some pages sprung and edges rubbed, contemporary blind embossed sheep, 64mo in 16s (43 x 30 mm), with chain attached to miniature lectern of stained wood construction, height approximately 130 mmQTY: (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.Date from facsimile printing licence on title page verso of bible.
![Embroidered Binding. The Whole Book of Psalmes collected into English Meeter by T[homas] Sternhold, J[ohn] Hopkins and others](https://cdn.globalauctionplatform.com/0226bcfa-17bf-4201-b0e6-b17f00aed699/5e2bec64-b268-46cd-9415-b1dc00abb0fc/468x382.jpg)
Embroidered Binding. The Whole Book of Psalmes collected into English Meeter by T[homas] Sternhold, J[ohn] Hopkins and others, London: Imprinted for the Company of Stationers, 1634, wood-engraved vignette to title page (with index of prayers to verso), 6pp. table of psalms at end, early ownership inscription of Richard Emerton (of Wotton?) to front pastedown 'Richd. Emerton Wotton Give him by mis Allin', gilt gauffered edges, contemporary embroidered binding in coloured and gold thread on a background of cream silk, showing a young married couple, the male figure to rear cover in doublet and hose with a pink cloak and holding a sword, the female figure to the front cover in a green and blue striped dress and veil, holding a large flower, with other insects and flowers, including three large bees and a flower in compartments to spine, rubbed and a little wear with minor losses to extremities, generally in good condition, 16mo (84 x 48 x 20 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.Bondy p.10 (but later edition). The binding is likely to have been made as a wedding gift, given the imagery used.
Embroidered Binding. The Whole Booke of Psalmes: collected into English Meeter by Thomas Sternehold, John Hopkins and others, London: Imprinted for the company of Stationers, 1627, wood-engraved vignette to title page, some soiling to title with early ink ownership signature erased, some light soiling to text, index at end lacks final leaf (Aa8), final two pages torn with loss to lower outer corners affecting text, gilt gauffered edges, contemporary red velvet over thick boards, sides with a central daisy motif embroidered in relief in metal threads, with raised embroidered petals to edges, rubbed and some wear to joints and edges (but generally intact), 16mo (80 x 50 x 22 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.See Bondy p.10 (later edition). Rare Carolean miniature embroidered binding. For a similar English embroidered miniature binding in green satin on a 1634 Company of Stationers Book of Psalms, see Christie's New York, The History of the Book: The Cornelius J. Hauck Collection, 27-28 June 2006, lot 290. Another similar miniature 1634 Book of Psalms, worked in silver wire over maroon velvet, was sold at Christie's London, Valuable Books and Manuscripts (including Important Early English Books from the Kenyon Library at Gredington), 14 July 2021, lot 98 (£27,500).
Rawlings Big Stick Adirondack model bat, featuring natural wood tones and a stylish blue band signed by Ralph Branca and Bobby Thomson commemorating The Shot Heard Around the World. Rawlings marked. Certificate of Authenticity from Steiner Sports Memorabilia included. This item includes a protective case that measures 36"H x 3" dia. Dimensions: 33.5"L x 2.25"W x 2.25"HManufacturer: RawlingsCountry of Origin: United StatesCondition: Age related wear.
A good and rare Ralph Wood 'Admiral Lord Howe' Toby jug, c.1785-90, crisply modelled perched on a barrel with his dog recumbent beneath his right foot, holding a large foaming jug of ale, raised on a chamfered square base, decorated in pale yellow and buff glazes, 25.2cm.Provenance: John (Jack) Harper Bean CBE (1886-1963), and thence by familial descent.Cf. Vic Schuler, Collecting British Toby Jugs, p.58 for a discussion of the Lord Howe model.John Harper Bean (known as Jack) was born in 1886 to George Bean and Mary Harper of Dudley. The family firm of A. Harper, Sons & Bean Ltd prospered during the First World War owing to the demand for munitions; in 1916 the foundry was producing 21,000 shell case a week. George Bean received a knighthood for his services to the war effort and his son, Jack, was made a CBE. With the cessation of hostilities, the manufacturers turned their attention to the production of motor cars, and the rights for the Perry car were purchased in January 1919. As Managing Director, Jack Bean was highly ambitious and travelled to America to purchase the latest production machinery. Combining a number of other smaller manufacturers, Harper Bean Limited was formed in November 1919 and the company continued expanding. Financial difficulties hampered production during the 1920s and the company went through several changes before becoming Beans Industries in 1933. It flourished during the 1950s and became part of British Leyland in 1960. Alongside his chairmanship of Bean Industries, Jack Bean was chairman for nearly 20 years of Midland Industries Ltd. He was a keen country sportsman and owned both a shooting estate in Anglesey and the Lawsnwood Estate at Wordsley. He died suddenly in March 1963 when returning from a holiday in South Africa and was buried at sea.
A good Ralph Wood 'Sailor' Toby jug, c.1790, seated on a square chest and wearing a blue jacket and yellow waistcoat over striped trousers, holding a cup of ale and an empty jug, an anchor resting between his feet, impressed 65 to the base, 29.7cm.Provenance: John (Jack) Harper Bean CBE (1886-1963), and thence by familial descent.John Harper Bean (known as Jack) was born in 1886 to George Bean and Mary Harper of Dudley. The family firm of A. Harper, Sons & Bean Ltd prospered during the First World War owing to the demand for munitions; in 1916 the foundry was producing 21,000 shell case a week. George Bean received a knighthood for his services to the war effort and his son, Jack, was made a CBE. With the cessation of hostilities, the manufacturers turned their attention to the production of motor cars, and the rights for the Perry car were purchased in January 1919. As Managing Director, Jack Bean was highly ambitious and travelled to America to purchase the latest production machinery. Combining a number of other smaller manufacturers, Harper Bean Limited was formed in November 1919 and the company continued expanding. Financial difficulties hampered production during the 1920s and the company went through several changes before becoming Beans Industries in 1933. It flourished during the 1950s and became part of British Leyland in 1960. Alongside his chairmanship of Bean Industries, Jack Bean was chairman for nearly 20 years of Midland Industries Ltd. He was a keen country sportsman and owned both a shooting estate in Anglesey and the Lawsnwood Estate at Wordsley. He died suddenly in March 1963 when returning from a holiday in South Africa and was buried at sea.
Large toby jug with lid is marked as a replica of a Ralph Wood of Burslem original. Glossy jug colored in light brown, black and green - 10"H and smaller toby with similar coloration 7"H. Wood & Sons England backstamp. Largest piece: 4.5"L x 7"W x 10"H. Issued: 20th centuryDimensions: See DescriptionManufacturer: Wood & SonsCountry of Origin: EnglandCondition: Age related wear.
Probably to a design by Henry Flitcroft, a serpentine marble-topped carved wood and gilt gesso console table, probably 18th century and later, with shaped thick green variegated marble top the base pierced and carved with fruit, shells and swags of floral rope, supported by well-carved Vitruvian monopodia with eagle carved detail and scale filled panels, terminating in eagle's claw feet. 194 cm wide x 85 cm deep x 92 cm overall height.Ex, Sotheby's Newsells Park Auction, the lot number is unknown.Please see The Dictionary of English Furniture, Edwards, Ralph, pages 285/286 for somewhat similar tables. Ex, Sotheby's Newsells Park Auction, the lot number is unknown. Please see The Dictionary of English Furniture, Edwards, Ralph, pages 285/286 for somewhat similar tables. The table has some losses to the gesso and the former owners have applied liquid leaf or some other product, the frame is made from pine and it has been sized for some reason to the unfinished areas the timber shows some gouge back-cutting to the edges of the carving as seen on 18th-century pieces (to give a lighter profile) it is possible to see some diagonal saw chatter on the inner frame,The bearers below the slab are later replacements and further to this I think the egg and tongue moulding also is later, but this is purely my opinion.The frame has one swag that has come loose but we have the item,The Sotheby's catalogue entry for the lot suggests that the piece is from the 19th century but I am unsure given the above.
HARRY POTTER AND THE ORDER OF THE PHOENIX (2007) - Albus Dumbledore's (Michael Gambon) Elder Wand - Albus Dumbledore's (Michael Gambon) Elder Wand from David Yates' Harry Potter and the Order of the Phoenix. Dumbledore used his wand throughout the film, including in combat against Lord Voldemort (Ralph Fiennes) and his dark forces.In later films, it was revealed that Dumbledore's wand was actually the Elder Wand, one of the three magical objects that made up the Deathly Hallows. It was subsequently wielded by both Voldemort and Harry Potter (Daniel Radcliffe) at various times.This wand is made of cast resin, painted dark brown to resemble aged wood, and features bulbous elements covered in tightly-grouped small indents along the shaft and a white area near the handle with black symbols on it. It exhibits some scuffing in the painted finish from use. Dimensions: 16" x 1" x 1" (40.75 cm x 2.75 cm x 2.75 cm)Estimate: $10,000 - 20,000Bidding for this lot will end on Thursday, August 15th. The auction will begin at 9:30AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Friday, August 16th, Saturday, August 17th or Sunday, August 18th.
A Group of Five 19th Century and Later Toby Jugs A Group of Five 19th Century and Later Toby Jugs, including a Ralph Wood-type example in brown and green colourway (three af).The brown and green jug 27cm highThe brown and green jug overall free from damage; the Toby in blue coat with yellow waistcoat heavily crazed, small area of crude restoration to hat brim, hairline to hat and firing crack to base; the three remaining af with heavy damage to hats and heads.
Unusual Whieldon-glazed pottery figure of a Chinese musician, probably mid 18th century, of Ralph Wood I type, modelled seated, wearing a conical hat and robes, playing a stringed instrument, on integral rectangular base, concave beneath, unmarked, 17.5cm high (losses)Deceased estate, North Somerset.
Y  THREE JAMAICAN SPECIMEN WOOD BOXES IN THE MANNER OF RALPH TURNBULL AND JAMES PITKIN, 19TH CENTURY One box containing a removable tray containing open and lidded divisions and with a loose folded hand drawn diagram on paper of titled wood specimens, 13.3cm high, 32.5cm wide, 24cm deep Another box with plain blue paper lining, 12.5cm high, 32.5cm wide The third box containing a removable tray containing open and lidded divisions and the floor of the box bearing a glued down hand drawn diagram on paper of titled wood specimens, 10.2cm high, 31.4cm wide, 23cm deep A similar box with paper index was sold in these rooms, 30th November 2022 (£3,000 hammer). Condition Report: One box containing a removable tray containing open and lidded divisions and with a loose folded hand drawn diagram on paper of titled wood specimens, 13.3cm high, 32.5cm wide, 24cm deep Cleaned, lock tongue removed, some shrinkage faults around corners that will require attention- paper torn and tired- looks to have been cleaned in last 20 years Another box with plain blue paper lining, 12.5cm high, 32.5cm wide Lock tongue removed, slightly crusty surface The third box containing a removable tray containing open and lidded divisions and the floor of the box bearing a glued down hand drawn diagram on paper of titled wood specimens, 10.2cm high, 31.4cm wide, 23cm deep Paper is not glued down but loose- fitment lids inside have had handles removed- looks to have been cleaned in last 20 years With wear, marks, knocks and scratches as per age, handling, use, and cleaning. . Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
19th century scrapbook with black leather spine containing approximately 49 linen pages with scraps ranging from 19th century to the early 20th century including natural history coloured engravings, social interest, architecture and landmarks, ' ' Ralph Tuck ' cat postcards, the animal plates are from a book by Josiah Wood Whymper 1850
A collection of twenty pottery and porcelain reference books, including Delftware, Michael Archer, English Delftware in the Bristol Collection, Frank Britton, English Delft Pottery, Major R.G. Mundy, Astbury, Whieldon and Ralph Wood Figures & Toby Jugs, Captain R.K. Price, The Leeds Pottery 1770-1881, John D. Griffin, Vols one and two, and Bow Porcelain On-glaze Prints and their Sources, Gordon & Sue Guy-Jones. Provenance: from the private collection of David Armitage, former conservator to the Department of Eastern Art at the Ashmolean Museum, Oxford, between 1970 and 1999.
Late 18th century Ralph Wood-type creamware toby jug and cover, modelled seated holding a mug of ale and a beaker, enriched in mottled brown, green and black/grey glazes, with green scroll handle, with tricorn hat cover, 25.2cm high. Provenance label applied to base, indistinctly inscribed in ink 'Duke of Pal... 1956? acquired from Leonard Russell, Newhaven' Condition ReportThe cover with a small rim chip, two hairline cracks and later overpainting to the brown enamel (although it does not appear to have been broken into pieces so is more likely to be retouching to the brown enamel which has flaked), the brown rim of the toby jug with approx. one third of the rim with some restored overpainting, also with a small rim chip and minor flakes, minor firing crack to handle (handle in good order), his pipe at base is a later replacement, minute chipping to tip of one shoe, some typical wear but overall of good decorative appearance. There is an indistinct incised mark to base (E?)
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