* Bookplates. A collection of 46 bookplates engraved by John Augustus Charles Harrison (1872-1955), seventeen being on large paper and three bearing remarques and two signed in pencil by the artist, mostly armorial bookplates, including for the 8th Duke of Northumberland (seal armorials from 1919, two sizes), Thomas Trappes-Lomax, Lord & Lady Lee of Fareham, Ian Mackenzie, and Baron van Eetvelde, but sometimes with important pictorial elements, such as for Colman, Kruse, Arthur Shephard, and Thairlwall; owners of fully pictorial plates include newspaper magnate Alfred Harmsworth (WPB 1903), Ralph Cator, Maud King, Reginald Pontifex, and Herbert Wood, plus the engraver's own Garden of Eden pictorial ex-libris of 1896, and his last bookplate (a seal in black and in sepia dating from 1954 for his second son, Herbert), the majority in near mint condition with only half a dozen showing any foxing or signs of handling (and one folded), a few smaller ones hinged on to mounts but largely loose and all contained in a plastic folder, together with a copy of Brian North Lee's J.A.C. Harrison: Artist & Engraver (1983), with a biography and checklist of all of Harrison's bookplates, original printed wrappers, 4to, VGQTY: (2)NOTE:The collection comes from Harrison's archive. Whether armorial or pictorial, Harrison's ex-libris display the skill of a master copper-engraver. His work spanned six decades and resulted in the creation of some 350 bookplates. After training in Birmingham, Harrison was employed in 1891 by Waterlows where he worked for eight years as an ornamental engraver, then turning freelance before producing many stamps and banknotes while again working for Waterlows. From 1896 ex-libris were commissioned from him through London booksellers J. & E. Bumpus and bore the initials of their shop manager WPB. In 1908 Harrison severed the connection, partly out of frustration that his work was discredited. Other bookplates originated via Truslove & Hanson or by direct contact with the owners.
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Young (George). A History of Whitby, and Streoneshalh Abbey; with a Statistical Survey of the Vicinity to the Distance of Twenty-Five Miles, 2 volumes, Whitby: Printed and sold by Clark and Medd, 1817, uncoloured aquatint frontispiece to volume 1 and folding engraved map frontispiece to volume 2, 15 engraved/etched plates and plans (including 5 folding, some offsetting, few neat repaired closed tears to folding plans), wood engraved illustrations to text, one folding table, subscribers list, occasional spotting, modern cloth hinges to endpapers, contemporary marbled calf, rebacked, 8vo, together with:Bewick (Joseph), Geological Treatise on the District of Cleveland, in North Yorkshire, its Ferruginous Deposits, Lias, and Oolites; with some observations on Ironstone Mining, London: John Weale; Newcastle-on-Tyne: Andrew Reid, 1861, 2 folding colour lithograph sectional plans, 2 double-page colour lithograph mine plans, 2 folding tables and large folding colour lithograph map contained in rear pocket, some toning and occasional spotting, 20th-century cream/fawn half calf, spine darkened and some mottling, 8vo,Tate (Ralph & Blake, John Frederick), The Yorkshire Lias, London: John Van Voorst, 1876, advertisement leaf, half-title, 19 lithograph plates, and loosely inserted hand-coloured engraved map, front endpaper with visitors/calling card of Rev. J. F. Blake of Clifton, York to front pastedown, hinges split, original cloth, joints and extremities worn, 8vo,[Hall, George], The History of Chesterfield; with particulars of the Hamlets contiguous to the Town, and descriptive accounts of Chatsworth, Hardwick, and Bolsover Castle, London: Whittaker and Co.; Chesterfield: T. Ford, 1839, engraved frontispiece, additional title and numerous plates, light toning and occasional spotting, top edge gilt, later half calf by Hatchards, gilt decorated spine, 8voQTY: (5)
A George II Silver Brandy-Saucepan, by Ralph Maidman, London, 1731 tapering cylindrical and with beak-form spout, with turned-wood handle, later engraved with a crest15.5cm long over handle, gross weight 2oz 12dwt, 81grFully marked underneath. The marks are generally clear. There is some overall surface scratching and wear, consistent with age and use. The handle and engraved crest are probably later. There has probably been a repair to one side of the spout.
A Ralph Wood-Type Pearlware Toby Jug, circa 1800, of traditional form, the seated figure holding a jug and pipe25cm highA Similar Toby Jug, holding a jug of ale and a beaker24.5cm high (2)Toby with jug and pipe - crack across the handle loop. Numerous chips arouns the brim of the hat and to the lower edge of the plinth. Slight chips around the rim of the pipe bowl. Crazed all over and with some staining. Flaking to the black enamel.Toby with jug and beaker - broken into numerous pieces and professionally restored.
A late 18thC Staffordshire pearlware group of George and the Dragon, possibly Ralph Wood, of burnt umber and green glazes depicting George upon horse spearing the dragon beneath him, repairs to George and horse, hairline and chip to base, H 29cm x L 22cm. Provenance; The property of a Collector, amassed over the last 50 years.
STAR WARS: VARIOUS PRODUCTIONS - William Plumb Collection: Hand-Painted Ralph McQuarrie "Space: Fantasy and Reality" Poster Artwork - Poster artwork hand-painted by illustrator Ralph McQuarrie to promote the Space: Fantasy & Reality art expo held at the Maturango Museum in October 1986. Collector William Plumb brought revered Star Wars artists McQuarrie, Drew Struzan, and Lawrence Noble to the one-time-only expo as a fundraiser benefiting the handicapped. This lot comes from the personal collection of Plumb. The artwork resembles the style of robots McQuarrie created for Star Wars and was created larger in scale than his normal formatting. It features a blue and purple highlight mixed media hand-painted robot with its arms above its head with a light source and "SPACE" in a painted blue gradient. This piece comes triple-matted in blue, black, and purple matting in a black wood and fiberglass frame. A May 9, 1986 hand-written letter from McQuarrie to Plumb concerning the poster design, accompanied by a small color thumbnail and various photocopy pages of design concepts, are included. The lot exhibits minor chipping to the frame. Dimensions: 41" x 33" x 3" (104.25 cm x 84 cm x 7.75 cm)Sold without copyright; see notice in the Buyer's Guide.Estimate: $10,000 - 20,000Bidding for this lot will end on Wednesday, June 28th. The auction will begin at 8:00AM 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 Thursday, June 29th or Friday, June 30th.
Pottery, mainly English including English Delftware, Ralph Wood and medieval pottery Lipski, Louis L. Dated English Delftware. Tin-glazed earthenware 1600-1800. London: Sotheby Publications, 1984. 4to, number 440 of 1000 copies, original blue cloth, dust-jacket;Sotheby's. The Lipski Collection of English and Irish Delftware, 10th March 1981 - 6th December 1983, four auction catalogues in original wrappers;Faulkner, Frank. Ralph Wood Pottery, George Stoner Collection. London: 1910. 50 copies only, original vellum gilt;Partridge, Frank. Ralph Wood Pottery. London: [1929?] Original blue cloth gilt;Andrade, Cyril. Old English Pottery. Astbury Figures. London: 1924. One of 500, original red cloth gilt;Burton, William. A History and Description of English Earthenware and Stoneware. London: Cassell and Company, 1904. 8vo, out-of-series copy of 1450, original cloth;Rackham, Bernard - Herbert Read. English Pottery. London: Ernest Benn, Limited, 1924. 4to, original grey cloth gilt;Price, R.K., Captain. Astbury, Whieldon, and Ralph Wood Figures, and Toby Jugs. London: John Lane, 1922. 4to, one of 500 copies, original cloth gilt;Earle, Cyril, Major. The Earle Collection of early Staffordshire Pottery. London: A. Brown and Sons, [1915?] 4to, original red cloth gilt;Smith, R.H. Edinburgh Museum of Science and Art Loan Collection of English Pottery. Edinburgh: Neill and Company, 1889. 8vo, brown cloth gilt, pp.15-end only, title-page repaired with some loss;Freeth, Frank. Old English Pottery. London: Morgan, Thompson and Jamieson, 1896. 4to, one of 100 copies, original blue cloth gilt, some foxing;Hobson, R.L. Catalogue of the collection of English Pottery in the department of British and Mediaeval Antiquities and Ethnography of the British Museum. London, 1903. 4to, blue cloth gilt;Hodgkin, John Eliot and Edith. Examples of Early English Pottery... London, 1891. 4to, original cloth;Austin, John C. British Delft at Williamsburg. Williamsburg: The Colonial Williamsburg Foundation, 1994. 4to, original blue cloth gilt, dust-jacket;Ray, Anthony. English Delftware Pottery in the Robert Hall Warren Collection Ashmolean Museum Oxford. London: Faber and Faber Limited, 1968. 8vo, original red cloth gilt, dust-jacket price-clipped;Downman, Edward Andrews. Blue Dash Chargers. London: T. Werner Laurie Ltd., 1919. 8vo, original boards; and 9 othersProvenance:Provenance: From the library of a collector
Cheetham, A. Hand-compiled ceramics collection catalogue in 8 volumes each volume 25.5 x 21cm in original buff wrappers with typed labels to upper covers listing contents, dating from the 1940s, the volumes comprising:1) Chelsea & Bow2) Bristol, Coalport, Davenport, Liverpool, Lowestoft, Langton Hall, Longport, Minton, Nantgraw, Newhall, Pinxton3) Rockingham, Salopian (Caughley), Spode, Staffordshire, Swansea4) Whieldon, Martin Ware5) Chelsea Derby, Derby, Worcester6) Chinese, Japanese7) Astbury, Black Ware, Castleford, Doulton, Delft, Elers Ware, Fulham, Leeds, Lustre, Miscellaneous, Pratt Ware, Ralph Wood, Ruskin Pottery, Salt Glaze, Wilson Ware, Wedgwood8) Berlin, Continental (various), Dresden, Hochst, Jacob Petit, Paris, Sevres, TourneyWith manuscript descriptions of each item and a large quantity of original photographs tipped-in with photo cornersProvenance:Provenance: From the library of a collectorNote: Note: A meticulously compiled catalogue in 8 volumes by the collector, Albert Cheetham. Cheetham's collection was sold by Sotheby's in 1945, following his death.
Autographs. Manchester United & "Busby Babes". An autograph album with one page featuring the autographs of Roger Byrne, Eddie Colman, Mark Jones, David Pegg, Liam Whelan, Duncan Edwards, Dennis Viollet, Wilf McGuinness, Ray Wood, Bill Foulkes, and on the facing page Johnny Berry, and on a separate page Tommy Taylor [seven of whom died in or as a result of the Munich air disaster]; 14 Hartlepool United signatures on one page, including Ralph Guthrie, Tommy McGuigan, Kenneth Johnson, Jackie Newton, Frank Stamper, Watty Moore, Billy Anderson, Ken Waugh [see provenance below]; 13 Wolverhampton Wanderers signatures on two pages, including Bert Williams, Billy Wright, Bill Shorthouse, Peter Broadbent, Colin Booth; 11 Tottenham Hotspur autographs on two pages, including Peter Baker, Danny Blanchflower, Terry Dyson, Ron Henry. The autograph album also features other miscellaneous signatures, including Teddy Gardner [boxer], Harry Secombe, Beverley Sisters, and othersProvenance: A loosely-inserted newspaper clipping records a letter from Mrs E. Swann of Rugby Street, Hartlepool, 'Memories. Just a few months before the Munich disaster Hartlepool United played Manchester United in a cup-tie. They beat Pools 4-3. I had my granddaughter staying with me at the time. She was only nine years old and I bought her an autograph book. Ken Johnson, one of Pool's players, took it to the Victoria Ground and got all the Hartlepool and Manchester Utd. players' autographs, even the trainer as well. It is one of her most treasured possessions.' This is the autograph book described, and the final leaf of the album is inscribed & signed by E. Swann
A Ralph Wood Type Toby Jug, circa 1800, decorated in restrained yellow and brown glazes, holding a jug upon his lap and with a pipe by his side25cm highProvenance: From the Estate of Stephen Hamilton Rawlings, Scarborough.Over spray restoration to the hat, right arm, below handle and to small jug handle
TOBY JUG. A late 18th century toby jug of Ralph Wood type, seated with a small barrel between his feet. Sponged blue jacket, ochre waistcoat & brown ale jug. (Firing cracks at either end of handle on ale jug). Height 24.5cm. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
A GENTLEMAN'S STAINLESS STEEL RALPH LAUREN SPORTING CLASSIC 45 WRIST WATCHDATED 2011, REF. K02200/R0220701 WITH IWC CALIBER MOVEMENT, ACCOMPANIED BY ITS ORIGINAL BOX & PAPERWORKMovement: 18J, IWC manual wind movement, signed Ralph Lauren, cal. RL98295.Case: Diameter approx. 45mm, elm burl wood inner surround with design inspired by the interior of a 1938 Bugatti, exhibition case back, numbered, original RL crown.Strap: Original Ralph Lauren leather & pin buckle.CONDITION REPORTDial: Original dial in excellent condition.Movement: Running & functioning at present, timekeeping and accuracy cannot be guaranteed.Case: In excellent condition, only worn occasionally from new.Strap/Bracelet: In good condition.
A pair of Ralph Wood type Staffordshire pearlware figures of ladies, early 19th century, each shown holding a cornucopia of fruit and flowers, largest h.27cmWhite/blue dress – has been smashed and restored, heavy paint loss to the base.Green/yellow dress – plinth is restored to one corner, some small chips, paint rubbed in places.
A Ralph Wood Type Pearlware Toby Jug, circa 1800, of typical form, with restrained glazes in tones of blue and brown24cm highProvenance: From the Estate of Stephen Hamilton Rawlings, Scarborough.Restoration to the rear of the hat, the handle and right hand. Two triangular pieces re glued to the side of the hat. Crazed.
A Small Ralph Wood Type Toby Jug, early 19th century, modelled holding a half-full jug of ale in one hand, a beaker in the other15.5cm high A Hearty Goodfellow Toby Jug27cmA Squire Toby Jug28cm (3)Provenance: From the Estate of Stephen Hamilton Rawlings, Scarborough.Small jug, hat, base and handle restored. With overspray between the lower handle terminal and base.Hearty Goodfellow - crack to rear of hat, some loss to pipe, crazedSquire - head and handle re glued.
A Collection of 19th century and Later British and European Ceramics, including two 20th century toby jugs in the style of Ralph Wood, Winston Churchill and Lord Mackintosh of Halifax, a Wedgwood majolica cheese dome, Staffordshire dish with swan moulded cover, pair of Coalport candlesticks, copper lustre and Halcyon Days etc (three trays)Wedgwood cheese dome - crazed, large chip to the rim of the base. Dome with small rim chips and losses to the cows horns. No restoration.Winston Churchill - loss to the front of the base and to tip of trowel. Crazed.Lord Mackintosh - right hand and thumb re glued. Handle re glued. Crazed.Other items in the lot not reported.
1911 Palmer-Singer Model 4-50 Seven Passenger Touring Chassis no. 504499 ci, T-Head, 4-Cylinder Engine (5.5' bore x 5.25' stroke)Single Updraft Carburetor50 horsepower ALAM rated 4-Speed Transmission with Direct Final Drive Semi-Elliptic Leaf Spring SuspensionRear Drum Brakes*Single family ownership since 1956, 3 owners from new*Legendary New York built high performance Brass era automobile*Remarkable personal restoration which still shows well*More than 30,000 tour miles covered including Glidden ToursTHE PALMER-SINGERFor every Brass Era manufacturer such as Thomas, Mercer, and Simplex that entered immortality through magnificent engineering and superb quality, there were a multitude of others that remain less well-known. Among them the enthusiast finds Palmer-Singer, the joint venture of Henry Palmer, a wealthy barrel manufacturer, and Charles Singer, of the sewing machine family that counted many automobilists in its monied ranks. Palmer and Singer initially collaborated in 1907 on a New York City dealership for Simplex, Matheson, and Isotta-Fraschini automobiles, and, essentially, learned from the magnificent beasts that they sold. Having absorbed what they could from studying their elite stock, in 1908 they launched the Palmer & Singer Manufacturing Company to build their own world-beating motorcar, initially referred to as the P&S and then, within a year, by the founders' proud full names.Crafted in a new Long Island factory, the Palmer-Singer was a Great Car, the term popularized by the automotive writer Ralph Stein to indicate a motorcar with excellent craftsmanship, advanced mechanicals, and the ability to thrill its driver. Palmer-Singer's four- and six-cylinder engines, each of its own devising, were all at once meticulously crafted, large, and potent. It was one of the first American luxury cars to employ a four-speed selective transmission with multiple-disc clutch and modern shaft drive, at a time when even the finest vehicles often transmitted their power via chain drive. Each I-beam front axle was hand-forged. Dual brakes worked on each rear wheel. As the firm's promotional materials noted, many manufacturers boasted one or two of these features, but Palmer-Singer offered them all. Like its East Coast compatriot the T-head Mercer, it was an automobile that was wholly engineered for excellence in its field, with no component of its design an afterthought left to chance.The success of this philosophy was ably demonstrated by a Palmer-Singer's victory in the Long Island Motor Derby of 1911, hurtling along 182 miles in 179 minutes, and a further impressive performance in a 24-hour speed trial at Brighton, New York. The locales were no accident; Palmer-Singer was demonstrating its power before its own wealthy neighbors. Advertising that year referred to the Palmer-Singer as the 'Strongest Built Car in the World,' a series that 'consists of four luxurious, high-class models, all correct in design and successful in practice...commodious, comfortable, and graceful, most attractively designed and finished, differing only in size and power.' The company stood by that claim, guaranteeing each of its automobiles for one full year.The firm had everything going for it but time and humility. Whereas its contemporaries recognized the peak of their engineering and stopped, Palmer-Singer, not content, experimented with a slide-valve engine, the Magic Six. Its very name sounded like a bunch of hokum, and it was; the engine was both costly to build and unreliable, which proved fatal to its manufacturer virtually upon its introduction in 1914. In-between were six years of outstanding large luxury cars that deserve to be remembered. Yet today, a mere four Palmer-Singers survive to tell the tale, each a work of magnificence. 'The Best in Motor Cars,' the ads called it...and it was.THE MOTORCAR OFFEREDA cornerstone of this collection, the majestic Palmer-Singer is offered here today for the first time in 67 years. It was none other than Henry Austin Clark who alerted the father to this car, he had seen it advertised for sale in the 'Antique Automobile Guide' in May 1954 as follows: 'Palmer-Singer 1909, 7 passenger touring, red upholstery, the body is aluminum. This is an exceptional car, and should make an excellent one for the Glidden tour. Motor a T head and rated 50hp. Car was purchased from the original owner. – $2,900'If it seems unlikely that 'Austie', the famed patriarch of the Long Island Automotive Museum and founder of the Madison Avenue Sports Car Driving and Chowder Society would have passed over such a car, it seems that it was not without regret, for shortly after its sale he wrote to the new owner stating that his research, clearly accurate, showed it to be a 1911 model and that if this news proved disappointing, he would gladly acquire it himself matching the purchase price and any costs to date!The sale was consummated on October 12, 1956, passing from Pat Boyle of Ridgewood, NJ into this collection. Already the quality of personal restoration work carried out by the family was known, Clark stating that he knew they would make a beautiful job of the car. Notes on file charting their ownership state – 'Immediately the next day, before dismantling the car, we checked the ignition system, installed a hot-shot battery, pressurized the gas tank, cranked it a few times and she started after not being run since 1935. This convinced us that the motor was in fairly good condition and we immediately dismantled the entire car'A most thorough restoration was undertaken and for the most part it is still the fruits of this labor that remain on display today. Every mechanical aspect was taken down, cleaned and rebuilt, interestingly both the clutch and back axle were found to be in 'perfect' order. The running gear was returned to the chassis frame now freshly repainted in a specially mixed Dulux cream hue. Midway through the process, the rolling chassis was equipped with a box seat and the car test driven successfully before work continued on the coachwork. The body was in fair condition for its age, and so its refurbishment was straightforward. Localised repair or replacement of the wood frame was carried out where necessary, and likewise the aluminum skins were attended to where required. The paint color was matched exactly to the remaining evidence of the original and the same was true of the leather, seven hides being acquired from Blanchard Bros & Lane to the correct color and grain pattern of the original. Even a button making machine was acquired, the leather skived by hand and the buttons made!A combination of the condition of the hood and fenders and a wish for perfection meant that these were renewed by hand, including their raises beads. The completed car was painted in 'eight double coats of Duco maroon lacquer' and coach-lined to match the frame. All told the work took most of the next 4 years, however when it debuted at AACA events in 1960 it instantly won a Junior First Award and Best Restored Car of the Year, but it was not only about show, the Palmer-Singer, having not turned a wheel since 1935 completed its first Glidden Tour. That event was the first of 5 decades of touring around the country, during which more than 30,000 miles were covered on more than 100 tours, over half a dozen Glidden Tours and more. In the truly fastidious fashion of its owners its file records all of the restoration work of the 1950s, extensive research into the model and numerous clippings from magazine articles about the hallowed marque as well as a number of period sales brochures which attest to the bold and substantiated claims by its maker. While the cosmetics have not required further attention, simply being carefully looked after to the now lightly aged order they present today, the sheer scal... 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A 1:96 SCALE BUILDER’S MIRROR BACKED HALF BLOCK MODEL FOR THE S.S. FAUNUS BUILT BY SOUTHAMPTON NW FOR THE CONCORDIA STEAM SHIP CO. LTD., 1891the 24in. laminated and carved hull with ebonized top sides, lined and lacquered decks and superstructure, wood-capped deck rails, cut-away masts and funnels, mounted on front silvered mirror, ebonized below the waterline with details, contained within an ebonized glazed case for wall hanging, overall measurements –15 x 37½ x 5 ½in. (38 x 95 x 14cm.)The cargo ship Faunus was built by the Southampton Naval Works for the Concordia SS Co. in 1891 but sold to Swedish owners the next year. Registered at 919 tons, she was 200ft long with a 30ft beam. On November 21st, 1916, Faunus was in passage between Donsjö and London with a cargo of timber, when she was sunk by a mine laid by UC-17 (Ralph Wenninger), 14 miles southeast of Flamborough Head. There were no casualties.Silvering worn to mirror Dust on decks. Some dust within case.
A Ralph Wood type creamware Toby jug, circa 1790, of Mould 51 type, shown seated, wearing a tricorn hat and holding a jug of foaming ale with a clay pipe by his feet, 25cm highDirty. No lid. Hairline crack running down the inside of one leg. Paint flaking from brim of hat. Crazed throughout much of the glaze. Handle cracked on jug of ale, where it meets the body. Body has discoloured, most noticable on the underside of the base.
Top Cover Robert Taylor print signed by 93 WW2 fighter, bomber and Battle of Britain aces. A superb one off prints with the autographs collected personally at many signing event of a number of years. by 1 Tony Gaze, 2 Ted McGindle,, 3 Albert Gregory, 4 Keith Aldridge, 5 Roy McGowan, 6 Terry Clark, 7 Billy Drake, 8 Bob Foster, 9 Doug Nicholls, 10 JR Toombs, 11 Peter Ayerst, 12 Peter Cunningham, 13 Bob Nawarski, 14 Raymond Baxter, 15 Alfred Ball, 16 Byron Duckenfield, 17 Bob Large, 18 Frank Wheeler, 19 Viv Snell, 20 MS Pujji, 21 Stanley Brand, 22 Edgar Lee, 23 Terence Bulloch, 24 Ted Dunford, 25 Hilly Hilliard, 26 Tommy Broom, 27 Doug Hadland, 28 Ken Johnson, 29 Ron Homes, 30 Bill Lucas, 31 Benny Goodman, 32 Ian Blair, 33 Tom Neil, 34 Peter Brown, 35 Trevor Gray, 36 Eric Brown, 37 Dennis Eales, 38 Alan Oates, 39 George Raine, 40 Ray Thomas, 41 Jack Biggs, 42 Eric Burke, 4 Peter Green, 44 Bob O'Dell, 45 Jack Routley, 46 John Elliott, 47 Clifford Caley, 48 Jack Linaker, 49 Andrew Barron, 50 Alfie Fripp, 51 Ron Wade, 52 Ken Cockram, 53 Jimmy Taylor, 54 Eric Carter, 55 Rodney Scrase, 56 Ron Powers, 57 Harry Irons, 58 Terence Kane, 59 Geoffrey Wellum, 60 Tony Pickering, 61 Ken Wilkinson, 62 Doug Vince, 63 William Gould, 64 Andy Wiseman, 65 Alan Payne, 66 Rusty Waughman, 67 Len Manning, 68 Tom Coles, 69 Gordon Mellor, 70 Ron Brown, 71 Ernie Patterson, 72 Bluey Mottershead, 73 Eric Varney, 74 Ralph Wild, 75 Jim Wright, 76 Ray Worrall, 77 George Cash, 78 Maurice Webb, 79 Tadeusz Andersz, 80 Jurek Mencel, 81 Adam Ostrowski, 82 M Sawici, 83 Marian Jankiewicz, 84 Stefan Ryll, 85 Francis Pavey (Tomczak), 86 John Linford, 87 Mike Randles, 88 Boleslav Jan Klecha?, 89 Franciszek Kornicki, 90 Harold Wood, 91 JH Waye, 92 Jack Ball ??, 93 Rafael 'Howard' Boyers. From the Battle of Britain to the last days of a crumbling Third Reich, the magnificent Spitfire became a symbol of the heart of a nation. For one Halifax crew on 6 October 1944, the presence of 610 Squadron's Spitfires became a godsend. Tony Gaze and his flight of 610 Squadron Spitfires have picked up a severely damaged Halifax over Holland as it lumbers homeward after an attack on synthetic oil plants in Germany. Two crew members have been ordered by skipper Ted McGindle to depart the ailing bomber by parachute while he struggles on with other crew members too badly wounded to escape. Top cover provided by 610's Spitfires ensured this 462 Squadron Halifax made it home on that October day. Comes with 7 pages of career info on many of the autographs and in the companion book see LOT90. Highly Collectable piece of WW2 history. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
A GEORGE II MAHOGANY TRIPOD TABLEMID 18TH CENTURYWith distinctive spindle and oval gallery, shell carving, and lambrequin carving around each foot73cm high, 65cm diameterFor tripod tables with similar spindle and oval galleries see Ralph Edwards, The Dictionary of English Furniture, vol III, p206, figs 11-12.For a table with a related spindle and oval gallery see Christie's, London, 50 Years of Collecting: Decorative Arts of Georgian England, 14th May 2003, lot 60 (£184,500). That same table is illustrated in Christopher Claxton Stevens and Stewart Whittington, 18th Century Furniture, The Norman Adams Collection, Antique Collectors' Club, 1983, p299. 'The turned baluster gallery is strongly made with astragal mouldings above and below and intermittent ovals as part of the design. Condition Report: There are scratches, marks, knocks, cracks and abrasions consistent with age and use.There are losses, observations and restorations including: the top has marks, stains and some fading; some cracks and repairs to the gallery; the bearers and the tilt top mechanism have a fresher appearance but there are no signs of other fixing holes or indentations from any previous pieces; the top unscrews from the base on a turned wood screw; there is a crack along the grain of the timber to the underside of the table top; there are later screws around the edge of half the table to the underside; one leg with a crack along the grain of timber, possibly a repair, a crack to the top joint section of that leg.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer
A Ralph Wood Type Pearlware Sailor Toby Jug, circa 1790, sitting in a high-back chair, a jug in one hand, a beaker in the other29cm highFrom the Estate of Stephen Hamilton Rawlings, Scarborough.Full hat rim section restored, the over sprayed paint on the top section unusually matt looking. Jug in the figures left hand with restored handle. Left arm and hand restored. Restoration to the front edge of the base under the raised right foot. Some glaze flakes and abrasions to the edges. Crazed.
A Ralph Wood Type Creamware Toby Jug, circa 1790, of traditional form, the seated figure holding a jug of ale24cm highFrom the Estate of Stephen Hamilton Rawlings, Scarborough.Entire tricorn rim section broken and professionaly restored. No other areas of repair. Crack to the left side of the base travelling up the plinth. Some minimal chips around the rim of the base. Crazed.
A Ralph Wood Type Creamware Toby Jug, circa 1790, of traditional form, the seated figure holding a jug, a pipe at his side26cm highA Similar Toby Jug, decorated in Pratt type colours24.5cm high (2)From the Estate of Stephen Hamilton Rawlings, Scarborough.First jug with old reapir to hat, loss to the pipe and with some hairline cracks. Second jug with restoration to hat and hairline crack to base.
A Creamware Toby Jug, circa 1780, of Ralph Wood type, the seated figure with tricorn hat and sponged decoration holding a jug in his left hand, a small barrel between his feet25.5cm highA Yorkshire Pratt-Type Toby Jug, circa 1800, the standing figure holding a bottle and a glass and with caryatid handle19.5cm high (2)Creamware jug - two chips to top rim and a short hair crack. Slight flake to the tap of the barrel at his feet. Crazed and with some staining, mainly to the underside. Free from restoration.Yorkshire jug - rim with flakes and some abrasions. Handle very slightlu abraded. Crazed. No restoration.
A Ralph Wood Type Creamware Toby Jug, circa 1790, of traditional form, the seated figure holding a jug, his pipe at his side25cm highFrom the Estate of Stephen Hamilton Rawlings, Scarborough.Tricorn rim section broken and professionaly restored, the restoration also creeps slightly to the back of the Toby's head. Two small filled rim chips to the jug in his hands. Enamel flaking to end of boots with some over painting. Crazed.
Three OO scale Hornby Sir Ralph Wedgwood class A4 locomotives to include 1939-1942 LNER Blue, 4469, 1944-1947 N.E Wartime Black, 4466 and 1962-1965 BR Green Late Crest, 6006. All in near mint condition with certificates in wood presentation box and shipping carton. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)
A group of early 19th century Staffordshire figures comprising: a pearlware figure emblematic of Spring, c. 1800, Wilson, stamped mark to the base; a pearlware figure of the Lost Sheep, in the manner of Ralph Wood Junior, a young shepherd carrying a lamb over his shoulders, raised on a square base; and a named group of Sancho Panza, on a naturalistic base. (3) Heights 13.75cm, 21.5cm and 19.5cm
Ralph Wood or Ralph Wood (junior), c. 1795, a rare pair of figures of a boy and girl each holding a chicken; painted in colours with some wear to the enamels; the brown band enclosing 3 sides of the base is now regarded as a signature of the Wood factory; these examples published in 'Staffordshire Figures Supplementary Archive' 114.10b as by Ralph Wood.
Facsimile Atlas. Ptolemy (Claudio), Geographia Ptolemaeus Auctus Restitutus Emaculatus, cum tabulis veteribus ac nobis, West of England Press Ltd. Tavistock, 1975, printed title and introduction, 47 double-page uncoloured maps, limited edition 61/250, signed by the Lord Mayor of Plymouth, publisher's morocco gilt, folio, contained in the publisher's red cloth slipcase, together with Rocque (John). An Exact Survey of the Cities of London and Westminster, The Borough of Southwark..., Harry Margary, Lympne Castle, Kent, 1971, double-page title and introduction by James Howgego, 41 uncoloured double-page maps, publisher's red cloth, with title label to the upper siding, folio, plus a separately bound index, with Morgan (William). London &c. Actually Surveyed and a Prospect of London and Westminster..., Harry Margary, Lympne Castle, Kent, in Association with the Guildhall Library, 1977, double-page title and introduction by Ralph Hyde, 12 uncoloured double-page maps, publisher's red cloth, with title label to the upper siding, folio, with Ogilby (John). A Large and Accurate Map of the City of London..., Harry Margary, Lympne Castle, Kent, in Association with the Guildhall Library, 1976, double-page title and introduction by Ralph Hyde, 21 uncoloured double-page maps, publisher's red cloth, with title label to the upper siding, folio, plus Stanford (Edward). Stanford's Library Map of London and its Suburbs, Harry Margary, Lympne Castle, Kent, in Association with the Guildhall Library, 1980, calligraphic title, introduction by Ralph Hyde, key plate and 24 uncoloured map sheets, publisher's red cloth, with title label to the upper siding, oblong folio, with another unbound copy, loose and rolled, and Poley (Arthur F. E.). St. Paul's Cathedral London, Measured, Drawn & Described, Archive facsimile edition, Barracuda Books, 1984, black & white plates and plans, limited edition, number 58, top edge gilt, publisher's half morocco gilt, slight dust soiling to the boards, large folio, together with:Cellarius (C.). Geographia Antiqua: Being a Complete Set of Maps of Antient Geography..., C & J Rivington, Longman, Hurst, Rees, Orme, Brown and Green, 1824, double-page calligraphic title page, contents list, 33 (complete as list) uncoloured double-page maps engraved by R. W. Seale and W. H. Toms, very slight spotting, near contemporary ownership signature to the verso of the title page, later endpapers, modern half calf gilt, 4to, plus:The Times Atlas. 1896, title and index, 116 colour printed lithographic maps (complete as list), index bound at rear, presentation inscription to the rear of the front endpaper, all edges gilt, contemporary half morocco gilt, worn and frayed, folio, George Philip & Son Ltd (publishers). Philips' International Atlas, 1931, title, preface and contents list, double-page frontispiece of the flags of all nations, 158 maps (complete as list) index bound at rear, presentation inscription to the front endpaper, contemporary cloth with gilt title to upper siding, spine faded, folio, with Ordnance Survey Office (publishers). Ordnance Survey Atlas of England & Wales, 1922, printed title, 24 double-page colour lithographic maps, laid on linen, index bound at rear, bookplate of the Flyfishers' Club, pastedowns stained, hinges and joints broken, preliminaries and first few leaves detached, text block and boards near detached, lacking spine, heavily worn and frayed, oblong folio, plus Yriarte (Charles). Venise. Histoire - Art - Industrie - La Ville - La Vu, Paris, 1878, additional half-title, numerous wood engravings throughout, top edge gilt, contemporary half morocco gilt, worn and frayed at extremities, spine faded, folioQTY: (13)
Vinyl Records LP's, 12" Singles and Picture Discs Including - Blondie - Plastic Letters - CHR 1166; Rip Her To Shreds - CHS 2180; Heart Of Glass - CHS 12-2275; Osibisa - Wɔyaya - MDKS 8005; John Miles - Rebel - SKL 5231; Bryan Adams - Reckless - AMA 5013; Unknown Artist - Superman (Original Radio Broadcast) - 812 (Limited Edition Picture Disc); The Teardrop Explodes - Wilder - 6359 056; The Jags - 4 - Track 12" E.P. - 12 WIP 6501; The Human League - The Dignity Of Labour PTS 1-4 - VF1; Thomas Dolby - Hyper-active! (Heavy Breather Subversion) - 12r 6065; The Time - Ice Cream Castle - 925 109-1; XTC - Love On A Farmboy's Wages - VS 613-12; Dead Or Alive - Lover Come Back To Me (Extended Remix) - QTA 6086 (Special Poster Package); Something In My House (U.S. Wipe-out Mix Part 2) - BURNS Q1; Brand New Lover - 650075 6; Starcastle - Real To Real - EPC 82916; Timex Social Club- Rumors - COOLX 133; Pet Shop Boys - Jealousy - 20 4224; Space - Magic Fly - NSPL 28232; Falco Meets Brigitte Nielsen - Body Next To Body - 258094; Bruce Hornsby And The Range - A Night On The Town - PL82041; Stone The Crows - Ontinuous Performance - 2391 043; Tomita - Ravel: Daphnis And Chloé, Bolero, Pavan For A Dead Princess, Mother Goose -RL 13412; Roxy Music - Roxy Music - ILPS 9200; Santana - Santana - S 69015; Soft Cell - Soul Inside - BZS 2012; Tears For Fears - Change - IDEA 412; Alphaille - Big In Japan - X 9505 T; Duran Duran - Is There Something I Should Know? (Monster Mix) - K062-65 106; Paul Simon - The Paul Simon Song Book - 62579; Dr Alban - It's My Life - 615 330; Phil Ochs - Tape from California - SP4148; Toya - Desire - EGLP 71; Toya! Toya! Toya! - NE 1268; Others Including Ralph Burns; Billy Joel; John Waite; Bay City Rollers; Chris Rea; Roy Wood; Donna Summer; Taj Mahal; Enigma; Etc (Approximately 60)
Two documents relating to a grant of arms to Edward Sebright of Blakeshall in Wolverley, Worcestershire, gentleman, April 1580 1. Exemplification, by Robert Cooke, Clarenceux King of Arms, of a charter granted by Peter Sebright of Sebrights Hall in Great Baddow, Essex, sealed with a seal of arms, 29 June 1294; 24 April 1580Recites the delivery by Benjamin Gonston of Sebrights Hall, esquire, at the request of William Sebright, son of Edward Sebright, gentleman, of ‘sundry very notable, old and ancient deeds and charters … two of which are in the old Saxon tongue’ and of five others in the hands of Edward Sebright; Robert Cooke has agreed to exemplify under the seal of his office one of the charters, sealed with a seal of arms, ‘to remain with [William Sebright] and his posterity for ever, for that the same is a manifest proof and trial of the lawful and lineal descent of him the said William and of all others of the surname of the Sebrights of Blakesall to be descended out of the said ancient house of the Sebrights of Sebrights Hall’; Cooke considers himself bound ‘to help to further and advance to the uttermost of my skill and power the true and just proofs of the pedigrees and descents of all noblemen and gentlemen lawfully proving themselves, either by ancient evidences, matters of record or old monuments, to be lineally and truly descended from noble or worshipful parentage, as to deface, frustrate and utterly discredit for ever the vain and untrue suggestions and allegations of such as shall falsely and unjustly affirm or imagine themselves to be come of noble or gentle blood, whereas in truth they are not’.Settlement, 29 June 1294Peter Sebright to Ralph Naylinghurst, chaplain, John de Bosco and William Stretche, to hold to the use of Peter’s son Mabel Sebright and his wife Katherine, only daughter and heir of Ralph Cowper of Blakeshall in Wolverley [Worcestershire], and their heirs in tail, reversion to Peter’s right heirs1 a messuage and land called Brokes Place in the vill of Great Baddow, to hold by a quitrent of 4d for all services except the service due to John de Bosco2 a piece of his wood within the manor of Kidderminster (Ketherminster) in the fee of John de Bosco, which Manser de Bisset, great-grandfather of Peter’s father Sir Walter Sebright, gave in fee (among other estates) to Peter’s grandfather Stephen, and which Ralph Cowper of Blakeshall hold of Peter for lifeWitnesses: Edward de Badewe, his son William de Badewe, Giles son of Peter Sebright; given at Sebrights HallSeen, perused and confirmed by William Detheck, Garter Principal King of Arms, 1580; signed and sealed by Robert Cooke, alias Clarencieulx Roy DarmesInk on parchment, 48 x 75 cms; elaborate strapwork forming the initials W (for Whereas) and S (for Sciant) with illumination incorporating a human head and a peacock; perfect yellow wax seal in a turned wooden skippet, with the arms of Clarenceux ([Argent], a cross [gules], and on a chief [gules] a lion passant guardant crowned with an open crown [or], augmented by a fleur de lis), flanked by cross-crosslets and surmounted by a cinquefoil (both from the arms of Robert Cooke); * S’ : OFFICII : CLARENCIEVLX : REGIS : ARMORVM : ETC : AVSTRAL’ :2. Grant of arms by Robert Cooke, Clarenceux King of Arms, to Edward Sebright of Blakeshall in Wolverley, Worcestershire, gentleman; 1 April 1580Recites: the descent of Edward Sebright of Blakeshall in Wolverley, Worcestershire, from Peter Sebright of Sebrights Hall in Great Baddow, Essex, is proved from charters and other evidence, including ‘five very fair and ancient deeds and charters’ shown to Cooke by Edward’s son William Sebright, esquire, town clerk of London, as follows: 1 a deed of 1294, exemplified as above; 2 a deed granted at Great Baddow, 29 April 1308; 3 a deed granted at Great Baddow, 1 October 1318; 4 a deed granted at Great Baddow, 7 November 1351; 5 counterpart conveyance of the property in the deed of 1294 by Edward Sebright’s grandfather John Sebright of Blakeshall to Robert Arthure of Steeple in Essex, 26 October 1490; that the family remained at Sebrights Hall until 2 December 1525, when on the death of John Sebright the estate descended to his daughter Alice, as is shown by the eschaetor’s inquest on his death; the family bore ‘this most fair and ancient coat [of arms]: the field silver three cinquefoils sable pierced of the field’; from the old records of his office Cooke finds that in the reign of Henry II, William Sebright of Sebrights Hall married Elizabeth, only daughter of Henry de Asshe, knight, who bore arms ‘the field gold a saltire gules, a fess sable’Cooke confirms these arms, quartered; and since Edward Sebright ‘knoweth not of any crest, cognisance or badge properly belonging to neither of his said several coats (as to the greater part of the most ancientest arms there are none at all, nor any were usually borne in this realm before the wars which happened between England and France in the reign of that victorious prince king Edward the third)’ Cooke augments the arms with a crest ‘upon the helm on a wreath of silver and sable a tiger seant silver crowned and flashed gold mantled gules double silver’Ink, colour and gilt on parchment, 51 x 70 cms; blue and red ropework to upper and right margins; achievement of arms; initial T of To all and singular in gilt; signed and sealed by Robert Cooke, alias Clarencieulx Roy Darmes; perfect yellow wax seal in a turned wooden skippet, with the arms of Clarenceux ([Argent], a cross [gules], and on a chief [gules] a lion passant guardant crowned with an open crown [or], augmented by a fleur de lis), flanked by cross-crosslets and surmounted by a cinquefoil (both from the arms of Robert Cooke); * S’ : OFFICII : CLARENCIEVLX : REGIS : ARMORVM : ETC : AVSTRAL’ :For William Sebright (c1620) of Wolverley and the Inner Temple, MP for Droitwich in 1572, who served as Town Clerk of London (having been granted the office in reversion in 1568) 1574-1613, see The History of Parliament: the House of Commons, 1558-1603, 361-2.For Benjamin Gonson (c. 1525–1577), naval administrator, see ODNB.For Robert Cooke (c1535-1593), see ODNB. Cooke was charged with having given arms and crests ‘without number to base and unworthy persons for his private gain only without the knowledge of the E[arle] Marshall’ (Lant's observations, fol. 68v). Cooke himself answered this indirectly in a treatise on granting arms by arguing that decaying nobility possibly envied men of mean birth whose virtue none the less outshone that of the older aristocracy.For a will of 975 x 1016 including a bequest of land at Baddow, see Sawyer 1487.For a correspondence concerning these documents between William Holman, historian of Essex, and Sir Thomas Saunders Sebright of Beechwood in Hertfordshire, 21 March and 8 October 1723, see Essex Record Office, D/Y 1/1/172/1-2.
Two Trays of Toby and Character Jugs, including Admiral Lord Nelson, John Peel, and two reproduction Ralph Wood examplesFrom the Estate of Stephen Hamilton Rawlings, Scarborough.John Peel - some paint loss to the boots and the base and the handle. Otherwise appears OK. I'm on the Blacklist - crazed throughout and with hairline crack approximately 2cm at the rim. Some minor glaze losses, most notably at the pocket. Salt Glazed Character Jug - with crack that goes the full circumference, under the chin and around the nape of the neck.
Martin (Frank). Newhaven Dieppe, Recollections and some history of the Town of Dieppe, Church Hanborough: The Previous Parrot Press, 1996, signed by the author to the limitation page, monochrome wood engravings by the author, original decorated boards (no slipcase), large 8vo, limited edition 144/216, together with:More (Thomas), Utopia, written in Latin by Sir Thomas More and done into English by Ralph Robynson, New York: The Limited Editions Club, 1934, monochrome plate & vignettes, top edge gilt, original quarter vellum, spine lightly rubbed, 8vo, signed limited edition, 261/1500, plusJonson (Ben), The Alchemist, facsimile reproduction, London: Noel Douglas, 1927, bookplate to the front pastedown, some minor marginal toning, original full vellum, some light toning, 8vo, limited edition 40/100, and other late 19th-century & modern literature, private press, poetry & fiction, including A Green Bough, by William Faulkner, 1st edition, New York: Harrison Smith and Robert Harris, 1933, original green cloth, 8vo, mostly original cloth, some in dust jackets, G/VG, 8vo/4toQTY: (6 shelves)
Limited Editions Club.- Kafka (Franz) Metamorphosis, etchings by José Luis Cuevas, original morocco-backed boards, 1984; In The Penal Colony, lithographs by Michael Hafftka, original limp vellum by Carol Joyce, yapp edges, original cloth drop-back box, 1987 § Grass (Gunter) The Flounder, 3 vol., translated by Ralph Manheim, illustrations by the author, original calf-backed cloth, 1985 § Brecht (Bertolt) The Threepenny Opera, original lithograph and plates by Jack Levine, original pictorial cloth, gilt, 1982 Mann (Thomas) Death in Venice, wood-engravings by Felix Hoffmann, original morocco-backed boards, 1972, limited editions signed by the artists and other contributors, plates and illustrations, most with prospectuses loosely inserted, first with slightly faded spine, all but the second with slip-cases, New York, Limited Editions Club, 4to & 8vo (7)
Y A RARE JAMAICAN SPECIMEN WOOD BOX BY JAMES PITKIN EARLY 19TH CENTURY The Specimen parquetry top above interior with single tray and loose paper reference index variously inscribed in ink for "wild tamarind", "Mahoe", Cashew" etc, and inscribed "James Pitkin Kingston Jamaica" and the reverse inscribed "30 different specimens of Jamaican wood" 33.5cm wide, 13cm high, 26.5cm deep A Regency specimen wood games table by the same maker with paper label inscribed "J. & W. PITKIN, Manufacturers Of Cabinet & Upholstery Furniture Of Every Description., / Of The Best Materials And Workmanship, No. 15, North West Corner Of Church Street, And Water-Lane, Kingston, Jamaica" was sold at Christie's Fine English Furniture auction, 19th September 2002, lot 44 £5,378.Literature: John Cross, 'Ralph, Cuthbert and Thomas Turnbull: A Nineteenth-Century Jamaican Cabinet-Making Family,' Furniture History, XXXIX (2003), pp. 109-120.Condition Report: Very mild wear, marks, knocks and scratches as per age, handling, use, and cleaning. Movement around hinges and some scratches around lock and to sides of lift out. Small losses to edges of paper. Ink stains to base of interior. The whole clean- perhaps cleaned within last 30-50 years 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.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 descriptionAll 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. 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
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