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Benjamin Toby, After Ralph Wood, limited edition of 500. Sarregeminies character jug, one other. four Devon tankards:- One Tray.

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

Ralph Lauren Ladies Navy Blue Double Breasted Wood/Cashmere Peacoat, with gold buttons. As new, USA size 6, UK size 10.

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, 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).

GROUP OF STAFFORDSHIRE FIGURES & ANIMALS, 19th century and later including hen on nest, two lions, Ralph Wood type cobbler and his wife, equestrian group etcProvenance: private collection Conwy

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.

A Ralph Wood Toby jug, c.1785-90, seated with an empty jug resting on his left knee, a long-stemmed clay pipe alongside his right leg, wearing a green waistcoat and buff jacket over pale yellow breeches, some restoration to his hat and shoes, 25.2cm.Provenance: the Joy Hallam Collection.

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 stained wood folding screen with reeded decoration containing two watercolours, a bird feather picture and BARTOLOZZI, engraving of Sir Ralph Abercrombie, 38x31cm, 4 other pictures various.

A Staffordshire pottery Toby jug in the manner of Ralph Wood, c/w crown of hat lid, to/w a Royal Doulton Lambeth stoneware Toby jug, Royal Doulton Toby 'The Huntsman', Royal Doulton whisky flagon 'Falstaff' D6385, Devonmoor 'Judy' (Mrs Punch) and four other Tobies (9)

A late 18th century Ralph Wood type pearlware model of St George and the Dragon. In ochre and browns, height 26cm.The tail is off, large sections of the base have been repaired, repair to one of the horse's legs, with wear and grazes to glaze in areas. Images of affected areas online.

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.

A late 18th Century Ralph Wood model of the Vicar and Moses, circa 1785-90, typically modelled with the sleeping cleric above his industrious clerk, each with an open book before them, the pulpit applied with swags, titled to the front, height 23.5cm, restored. PLEASE VIEW CONDITION REPORT

A VINTAGE GOLF BAG CONTAINING VINTAGE CANE AND STEEL SHAFTED CLUBS comprising of Donaldson Niblick and Mashie, a D.Anderson Putter, a Trueline No 1 iron, a Ralph Smith Jigger, a cane shafted driver (name unreadable), a John Letters wood and a Spalding wood

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.

One volume, Les Vacances de Zephir, a book of Ralph Wood pottery and a box of miscellaneous items **PLEASE NOTE THIS LOT IS NOT ELIGIBLE FOR IN-HOUSE POSTING AND PACKING**

Y &nbspTHREE 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

4 boxed Kevin Francis Limited Edition character jugs - Bernard Leach no. 29/200, Ralph Wood no. 91/350, Queen Elizabeth II 40th Jubilee Year no. 62/400 and Peggy Davies no. 22/500

Ralph Chubb (1892-1960)Songs of MankindSigned Ralph Chubb and numbered 38/100 to colophonThe Hawthorne Press, 1930, with wood engravings by the author, brown boards with gilt lettering22.4 x 17.8cm

Ralph Chubb (1892-1960)Songs of MankindSigned Ralph Chubb and numbered 14/100 to colophonThe Hawthorne Press, 1930, with wood engravings by the author, brown boards with gilt lettering22.4 x 17.8cm

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.

A Staffordshire Ralph Wood type figure of a seated maiden, 24cm high 

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?)

LAUREN RALPH LAUREN HOME TABLE LAMPS, a pair, carved wood, with shades, 68cm H approx. (2)

A rare late 18th century Staffordshire pearlware obelisk. Neoclassical in style, painted with faux marble striations and classical portraits in relief to the bse. probbaly by Enoch or Ralph Wood.

A collection of thirty-eight miniature and sample perfume bottles, comprising vintage and later examples, Claude Montana, Givenchy, Salvador Dali, Yves Rocher, Dolce & Gabbana, Chloe, Moschino, Dior, Paco Rabanne, Valentino, Jean Paul Gaultier, Guerlain, Ralph Lauren, etc in a wood and glass presentation case (1) NB: most bottles with containing perfume, some empty, wear and tear commensurate with age 

A collection of miniature forty-one and sample perfume bottles, comprising vintage and later examples, including Houbigant, Lancome, Liz Claiborne, Yves Rocher Thierry Mugler, Milton-Lloyd, Borsari, Trussadi, Christian Lacroix, Ralph Laurent, Dior, Carolina Herrera, Nina Ricci, Marc Jacob, Givenchy, etc in a wood and glass presentation case (1) NB: most bottles with containing perfume, some empty, wear and tear commensurate with age 

[Wood, Anthony]. Historia et Antiquitates Universitatis Oxoniensis, 1st edition, Oxford: Sheldonian Theatre, 1674, additional engraved title, title with vignette of the Sheldonian Theatre, folding engraved plan (with closed tears at foot), water stains and small marginal tears throughout, Cornwell House ink stamp to front free endpaper, contemporary calf, rubbed with some stains and edge wear, folio, together with:Hutchins (John). The History and Antiquities of the county of Dorset..., 2 volumes, 1st edition, London, W. Bower and J. Nichols. 1774, folding frontispiece map of Dorset by J. Bayly, 1773 plus 38 engraved maps, views, plans, pedigrees and others (some folding), previous ownership inscription to top of title page and bookplate of D Okeden to front pastedown to each volume, some manuscript annotations to a few margins, additions and corrections bound to rear, contemporary calf rebacked preserving boards, contrasting title labels to spine, scuffed and rubbed with small areas of loss, corners bumped, folio, plusThoresby (Ralph). Ducatus Leodiensis: or, the Topography of the Ancient and Populus Town and Parish of Leeds and Parts Adjacent in the West-Riding of the County of York..., 1st edition, London: Printed for Maurice Atkins, 1715, engraved portrait frontispiece,12 engraved maps, plates and views (some folding, some spotted and many with reinforced folds), contemporary manuscript annotation to foot of title page, juvenile scribing to page 426, lacking B2, contemporary blind embossed calf, hinges and joints cracked and worn, rubbed and worn, corners bumped, small folio and other British topography by or after S. C. Hall, John Gorton, Dugdale, Throsbys, John Ogilby, John Mackay Wilson, Illustrated London News and others, various sizes and condition QTY: (43 )NOTE:Sold as a collection of prints not subject to return.

Murdoch (Iris). A Year of Birds, Tisbury: Compton Press, 1978, wood-engravings by Reynolds Stone, top edge gilt, original cloth-backed boards, 8vo, limited edition 164/350, signed by author and artist, together with Hughes (Ted). The Hawk in the Rain, 1st edition, London: Faber and Faber, 1957, some light spotting, original cloth (spine slightly faded), dust jacket, spine toned, light spotting to panels, 8vo, plus Solzhenitsyn (Alexander). One Day in the Life of Ivan Denisovich, translated by Ralph Parker, 1st UK edition, London: Victor Gollancz, 1963, light marginal spotting, previous owner signature, original cloth, dust jacket, spine slightly faded with small nicks at ends, 8vo, plus others including ist editions of Murial Spark's The Ballad of Peckham Rye,1960, and The Prime of Miss Jean Brodie, 1961, Patrick O' Brian's Post Captain, 1972, and H. M. S. Surprise, 1973, Orlando's Invisible Pyjamas, by Kathleen Hale, 1947, and Orlando and the Three Graces, 1965, The Sandcastle, by Iris Murdoch, 1957, the Cement Garden, by Ian McEwan, 1978 and Fever Pitch, by Nick Hornby, 1992, others by Ruth Rendell, John Braine, Alistair Maclean and Simon Raven et al QTY: (3 shelves)NOTE:Approximately 100 volumes

Early 19th century Staffordshire pearlware figures of rustic characterscomprising a figure of a Gardener by Ralph Wood Junior holding a spade and standing by pedestal with a plant pot with bocage back, a figure of 'the Lost Sheep found', Enoch Wood type, a sportsman holding a musket and powder flask standing before a bocage and a mower with scythe, (4)first height 23cm.,Condition: Gardener - retouching / restoration to bocage and with minor losses Lost sheep found with restoration to hands and head and rear sheep Sportsman with restoration, chips to flowers Mower - bocage missing and restoration to head

A collection of character jugs to include Royoo Wood Henry VIII, Wood Potters of Burslem Ralph Wood and four toby jugs (6)

A collection of books on Country Houses & Interiors: British & Irish Bristow, Ian C.: Architectural Colour in British Interiors 1615-1840 Roberts, Hugh: For The King's Pleasure: The Furnishing and Decoration of George IV's Apartments at Windsor Castle Worsley, Giles: England's Lost Houses: From the Archives of Country Life Cornforth, John: The Inspiration of the Past, Country House Taste in the Twentieth Century Cornforth, John: London Interiors, from the Archives of Country Life Cornforth, John: English Interiors 1790-1848, The Quest for Comfort Fowler, John & Cornforth: English Decoration in the 18th Century Wood, Martin: John Fowler, Prince of Decorators Jones, Chester: Colefax & Fowler, The Best in English Interior Decoration Ypma, Herbert: Irish Georgian Cooper, Nicholas: The Jacobean Country House, from the Archives of Country Life Wainwright, Clive: The Romantic Interior, The British Collector at Home 1750-1850 Gow, Ian: Scottish Houses and Gardens, from the Archives of Country Life Pfeiffer, Walter & Heron, Marianne: l'Art de Vivre, En Irlande Service, Alastair: Edwardian Interiors, Inside the Homes of the Poor, the Average and the Wealthy Jourdain, M.: English Interiors in Smaller Houses, from the Restoration to the Regency, 1660-1830 Todd, Pamela: William Morris and the Arts and Crafts Home MacDonnell, Randal: The Lost Houses of Ireland, A Chronicle of great houses and the families who lived there O'Brien, Jacqueline & Guinness, Desmond: Dublin, A Grand Tour James, C. H. & Yerbury, F. R.: Moderne Englische Hauser und Innenraume Phillips, R.: Englische Raumkunst von Heute Yerbury, F. R.: Englische Klein Hauser (English Small Houses) Pfeiffer, Walter & Heron, Marianne: In The Houses of Ireland McBride, Simon & Howes, Karen: Private Ireland von Einsiedel, Andreas & Mackemzie, Nadia: Historic Interiors, A Photographic Tour, The National Trust Maroon, Fred J.: The English Country House, A Celebration Campbell, Peter: A House in Town. 22 Arlington Street, Its Owners and Builders Pearce, David: London's Mansions: The Palatial Houses of the Nobility Snodin, Michael & Styles, John: Design & the Decorative Arts: Britain 1500-1900 (V&A Publication) Watkin, David: The Royal Interiors of Regency England - From watercolours first published by W.H. Pyne in 1817-1820 Girouard, Mark: The Victorian Country House Lees-Milne, Alvilde & Moore, Derry: The Englishman's Room Jackson-Stops, Gervase,: National Trust Studies 1979 Beard, Geoffrey: Craftsmen and Interior Decoration in England 1660-1820 Jackson-Stops & Pipkin, James: The English Country House, A Grand Tour Gibbs, Jenny: The Country House: Classic Style for an Elegant Home Guild, Robin: The Victorian House Book Hall, Michael: The English Country House from the Archives of Country Life 1897-1939 Forman, Sheila: Scottish Country Houses & Castles Aslet, Clive & Moore, Derry: Inside The House of Lords Edwards, Jane: London Interiors Miller, Judith & Martin: Victorian Style Seebohm, Caroline & Sykes, Christopher Simon: The English Country, Living in Englands Private Houses Moore, Derry & Pick, Michael: The English Room Astaire, Lesley: Living in London Astaire, Lesley: London Living Style Banham, Joanna, et al: Victorian Interior Design Spencer-Churchill, Henrietta: Classic English Interiors Dutton, Ralph: The English Interior, 1500 to 1900  Together with: A collection of books on Country Houses & Interiors: European & Russian Ballot, Marie-Juliette: Le Décor Interieur au XVIIIe Siecle a Paris et dans l'Ile de France Les Habitations Modernes et Leur Decoration, Cent planches en couleurs (100 plates) Ottillinger, Eva B. & Lieselotte Hanzl: Kaiserliche Interieurs, Die Wohnkultur des Wiener Hofes im 19. Jahrhundert und die Wiener Kunstgewerbereform - Band III Garzya, Chiara: Interni Neoclassici a Napoli Parissien, Steven: Neo-Classique: Le Style Adam Thornton, Peter: Seventeenth-Century Interior Decoration in England, France, and Holland Schmitz, Hermann: Vor hundert Jahren, Festraume und Wohnzimmer des Deutschen Klassizismus und Biedermeier Baer, C. H.: Deutsche Wohn- und Festraume aus 6 Jahrhunderten Schmitz, Hermann: Wohnzimmer und Festraume Berliner Baumeister vom Ausgang des 18. Jahrhunderts Beissel von Gymnich, Countess Jeanette: Luxury Houses, Schlosser - Castles - Chateaux Hunyady, Etienne: Luxury Houses, Toscana Gregory, Alexis: The Great Family Houses of Europe Sangl, Sigrid: Biedermeier to Bauhaus Sjoberr, Lars & Ursula: Det Svenska Rummet Slesin, Suzanne, et al: Spanish Style Brosio, Valentino: Ambienti Italiani dell'Ottocento Friedman, Joe: INSIDE PARIS, Discovering the Period Interiors of Paris Sauveur, Daphne De Saint: The French Touch: Decoration and Design In the Most Beautiful Homes of France Boyer, Marie-France: Paris Style, The Private Apartments of Paris Lovatt-Smith, Lisa: Paris Interiors Interieurs parisiens Fregnac, Claude & Andrews, Wayne: The Great Houses of Paris Bourgeois, Helene: Les Grandes Heures du Style Francais Gaynor, Elizabeth/Haavisto, Kari/Goldstein, Darra: Russian Houses. (72)

A 19th century Pearlware 'Rodney's Sailor' toby jug, possibly Ralph Wood, 29cm high.

A late 18th century Staffordshire figure group designed by Ralph Wood, a piping shepherd with his wife, above a dog, lamb and goat, white glazed with bocage and rare candlestick holder variation, 28cm high

Williamson (Dr. George C.).Lady Anne Clifford, Countess of Dorset, Pembroke & Montgomery, 1590-1676. Her Life, Letters and Work …Kendal: Titus Wilson, 1922, numbered limited edition of 250, with author’s signature to limitation label, frontis, fifty-three plates (some printed recto and verso), two folding pedigrees, uncut edges, armorial bookplate, original quarter vellum binding. Front hinge a little weak, otherwise a VG copy. Ffinch (Michael), Westmorland Poems.Kendal: Titus Wilson, 1980, signed by the illustrator Caroline Metcalfe-Gibson, half morocco binding [with]idem, The Dame School at Raisbeck.Kendal: Titus Wilson, 1984, half morocco binding (spine faded), both volumes housed in double slipcase.Thompson (Ralph), An Artist’s Safari.Collins, 1979, one of twenty numbered copies reserved for fine binding by Zaehnsdorf, this copy for Hugh Fattorini, top edge gilt, quarter morocco with vellum corners, slipcase;Lancaster (Osbert) & Scott-James (Anne), The Pleasure Garden.John Murray, 1977, first edition, one of ten numbered copies reserved for fine binding by Zaehnsdorf, this copy for Hugh Fattorini, top edge gilt, quarter morocco with vellum corners, slipcase;Hartley (Marie), The Yorkshire Dales, Wood Engravings by Marie Hartley.Smith Settle, 1989, quarter cloth, slipcase;idem, The Yorkshire Dales, A Further Selection, Wood Engravings by Marie Hartley.Smith Settle, 1991, prospectus loosely inserted, quarter cloth, slipcase. (7)

Ralph Brown (1928-2013) two signed prints of nude ladies, one limited edition, 190/200 the other artist's proof X, each 75 x 54cm, in stained wood frames

Brass coal shovel and Ralph Shaughnessy British Columbia wood carving

Eight late 20th century Toby jugs including Kevin Francis 'Toby Philpot' numbered 91/750, Wood & Son Ralph Wood replica, Wood & Son Martha Gunn limited edition replica, numbered 73/1000, and other smaller Wood & Son jugs.Qty: 8

HARRY POTTER AND THE DEATHLY HALLOWS: PART 1 (2010) - Light-Up Hero Elder Wand - A light-up hero wand from David Yates' fantasy adventure Harry Potter and the Deathly Hallows: Part 1. Lord Voldemort (Ralph Fiennes) broke into Albus Dumbledore's (Michael Gambon) grave to steal the Elder Wand for himself. The wand was one of the three magical objects that made up the Deathly Hallows and at various points of the series was wielded by Dumbledore, Voldemort and Harry Potter (Daniel Radcliffe) himself.The resin wand is hand-painted and finished to resemble natural wood. The bottom of the wand can be twisted, illuminating the LED in the tip of the wand. The wand comes in a padded box for storage. Dimensions: 16" x .75" x .75" (40.5 cm x 2 cm x 2 cm)Contains electronics; see electronics notice in the Buyer's Guide.Estimate: $15,000 - 30,000Bidding for this lot will end on Tuesday, March 12th. The auction will begin at 9:00AM 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 Wednesday, March 13th or Thursday, March 14th.