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Hughes (Ted) The Iron Man, 1968; Meet My Folks!, spine tail chipped, 1961; How the Whale Became and Other Stories, 1963, first editions, illustrations by George Adamson, original boards, dust-jackets, spines lightly faded, but exceptionally sharp and crisp copies otherwise, 8vo (3) *** A trio of Hughes's early children's works, including his first book for children, Meet My Folks!, and his beloved work The Iron Man - here seen in outstandingly crisp condition. 

Taylor (Elizabeth) Hester Lilly and Twelve Short Stories, first American edition, signed presentation inscription from the author to her friends "Veronica and Jon, with love from Liz" on front free endpaper, additionally signed with strikethrough printed name by the author on title, jacket spine faded, 1.5" tear lower spine joint creeping slightly onto spine, other nicks and tears to edges, New York, 1954; The Blush, signed presentation inscription "Jon & Veronica with love from Liz" on front free endpaper, jacket with portion of loss to upper panel, rubbed along joints, short open tears and frays to extremities, 1958; A Dedicated Man and Other Stories, first American edition, signed presentation inscription from the author "Veronica with much love from Liz" on front free endpaper, jacket slightly dulled on spine, few nicks and chips to extremities, 1965, association copies, all with warmly signed presentation inscriptions to the author's friend and neighbour Veronica Papworth, original boards, dust-jackets; and a copy of The Devastating Boys with a similar inscription to the same recipient, 8vo (4) *** Rare association copies, comprising a lovely collection of the author’s lauded short stories. The resurgence of mid-century female writers is embodied in the 'other' Elizabeth Taylor. Geoff Dyer's review of her works “Was Elizabeth Taylor the Best British Novelist of the Postwar Era?” (New York Times, 2021) attests to the growing popularity of her post-war fiction in both reading and collecting alike. Here inscribed to friend Veronica Walley, née Papworth (1913-1992), a columnist and fashion artist for the Sunday Express for 35 years, who married Jon Walley in 1953. The Walleys and Taylors were neighbours in Penn for a time, and became good friends whilst the Taylors were living in Penn Cottage, Buckinghamshire. In 1956, John and Elizabeth decided to move, and the Walleys sold them a property called Grove's Barn. Elizabeth wrote of the house that “it has a very small garden and a tiny courtyard with a fine view across Windsor Castle to the Surrey Hills”. The Taylors would become sometime guardian for the children while the Walleys were away, and a cartoon by Veronica for an invitation to a shared "Musical Evening” by the women illustrates many happy years spent in the house. – See pp.343-344, The Other Elizabeth Taylor, Nicola Bauman.We cannot trace any other like association copies. 

Greene (Graham).- Martin (Green) Children of the Sun, ownership inscription of Graham Greene on pastedown, extensive note on front free endpaper, and heavily annotated with underlinings, marginalia, and notes on c.35pp. by Greene, original cloth, dust-jacket, toned, spine faded, nicks and creases to edges, 4to, 1976. *** A curiously vitriolic Greene chastens this critical work which traces the post-War generations and the Bright Young Things. Taking no prisoners, the work bears unusually heavy, dissenting and in places virulent annotations. An extensive inscription begins the diatribe: "An absurd badly written book which Orwell & Leavis would have condemned. A kitchen-sink style. The anti-snob snob. To write well - of which he incapable - is to be a dandy. Ill at ease and class-conscious. Does he really believe that he is "mature"? which means apparently "normal" & "decent"...The key-tune "manly responsibility"." Has he got it himself? 'What did you do in the war daddy?'". A following one-item key for annotations ("= absurdities") is seen throughout the work's margins, castigating lines and passages, bolstered with exclamation- and question-marks, as well as caustic notes. Greene circles "cultically" and "consensus manliness", sneering "English?" in the margin; on the writer's discussing Ackerley's My Father and I, Greene comments "but the father was homosexual too - has he read the book?" and often comments on grammar. A paragraph on Greene himself states boldly "both Graham Greene and Henry Green, rather similar figures in their melancholia and strong sexuality, had both retreated from the competition of London..." to which Greene responds "Nonsense. I had to earn a living, and I didn't live in London". He even corrects the writer's attribution of Lawless Roads for the Catholic Book Club to Waugh, lamenting "I wrote this!". All together an illuminating and curiously risible take down on this niche work of literary history.     

James (P.D.) Shroud for a Nightingale, second impression, jacket splitting and rubbing along joints, extremities creased and tender, 1971; An Unsuitable Job for a Woman, first edition, jacket price-clipped, spine a little faded, 1972; Death of an Expert Witness, reprint, 1977; Devices and Desires, first edition, 1989; The Murder Room, first edition, 2003; The Children of Men, first edition, 1992, all signed by the author on titles, original boards, dust-jackets, the odd nick to extremities; and 14 others by James, including 3 others signed, 8vo (20)

ENGLISH SCHOOL. EARLY 20TH CENTURY. Two studies of children. Oil on canvas 14" x 10"; oil on board 12" x 8".

ENGLISH SCHOOL. 19TH/20TH CENTURY. A young peasant girl with two children and dog. Watercolour, 18" x 14". Unframed.

Paul Weller Collection, ten LPs and 19 12" singles, lps are The Jam - A Gift (with original paper bag outer), Sound Affects, All Mod Cons, In The City This Is The Modern World, Setting Sons, Snap, They Style Council - Home and Abroad, Our Favourite Shop, Internationalists,12" singles include, Paul Weller - Wild Wood (limited edition with poster), Jam - Just Who Is The 5 O'Clock hero, Dreams of Children, Style Council - Long Hot Summer, Walls Come Tumbling Down, My Ever Changing Moods, The Lodgers Life At A Top- Peoples Health Farm It Didnt Matter, Groovin etc, generally good plus - very good

Elton John and Moody Blues LPs, forty albums to include Moody Blues - In Search of The Lost Chord (2), To Our Children's Children (2), Days of Future Passed (3), This Is The Moody Blues (3), Octare, A Question of Balance (3), Long Distance Voyager (2), Elton John - Goodbye Yellow Brick Road (5), Lady Samantha, Tumblewood Connection (2), Victim of Love, Dont Shoot Me, Captain Fantastic (6), Madman Across The Water (2) and more, varying conditions.

Boxed Triang Hornby RS615 The Railway Children set, complete with locomotive, rolling stock and accessories

Three boxed Triang / Hornby OO gauge electric train sets to include R615 The Railway Children (containing Locomotive, 2 x coaches and track), R685 High Speed set (missing track) and R176 Flying Scotsman (containing locomotive, rolling stock and controller)

Three Hummel figurines, each depicting children in various pursuits

Three Royal Worcester bone china Freda Doughty figurines, depicting children comprising 'Saturdays Child' 3262, 'Sunshine Days' and 'Home Time'

Landscape with figures - Ermogene Miraglia - Oil painting on panel, 20th century, Italian school, depicting a landscape with figures. Dimensions inside the frame: 40x30 cm. Dimensions including the frame: 55x45 cm. Signed at the bottom right by Ermogene Miraglia. The work is in good condition. A self-taught painter, strongly influenced by the magic of French Impressionism and the art of Antonio Mancini and Vincenzo Irolli, with whom he shares a taste for thick and textured paint, Ermogene Miraglia formed a sincere friendship with Irolli. From him, he learned to concentrate color in brushstrokes and palette knife strokes, as well as to create light with color patches. His subjects are inspired by everyday life, the markets, and the squares of his city to which he remained deeply attached. In his portraits of women and men, the elderly and children, landscapes, markets, and still lifes, his entire painting technique is evident. The artist participated with notable success in various exhibitions in Italy and abroad.

View of the coast with boats ashore - Domenico Ammirato (Naples, 1833 – after 1891) - Oil painting on board, 19th century, Italian school, depicting a view of the coast with boats ashore. Dimensions inside the frame: 20x29 cm. Dimensions including the frame: 34x43 cm. Signed at the bottom left by Domenico Ammirato. The work is in good condition. Domenico Ammirato (Naples, 1833 – after 1891) was trained at the Royal Institute of Fine Arts in Naples under the guidance of Gabriele Smargiassi (1798-1882). He soon devoted himself to landscape painting, following his master's precepts for a long time. By embracing a style that is partly academic and partly inspired by the luminous freedom of the School of Posillipo, he created numerous views of the Gulf of Naples, Posillipo, and Sorrento. Noticed by Count Luigi Borbone of Aquila, he was invited to Palazzo Campofranco to give drawing lessons to his children. Skilled in teaching, he became a full professor of painting at the International Institute of Naples. Meanwhile, Domenico Ammirato dedicated himself to creating small views on panels for the tourist market in Naples. He regularly exhibited at the Bourbon Biennials and then at the Neapolitan Promoters from 1848 to 1891. His participation in the Florence Exhibition of 1875 and the Palermo Exhibition of 1892 is documented. Little is known about his private life, and his exact date of death remains unclear, though it is placed after 1892.

Jacques-Laurent Agasse (1767 - 1849) Equestrian portrait of a lady, traditionally said to be Miss Mary Jane Keith (1811 - 1891), with Lord Rivers’ groom and a black spaniel  Oil on canvas Provenance: Private collection, England; Robert Early Strawbridge (1871-1963), Pennsylvania, USA, before 1930; By inheritance to his son, Robert Early Strawbridge Jr. (1896-1986), Pennsylvania, USA; By inheritance to his son, Robert Early Strawbridge III by 1986; Private collection, England; With Stair Sainty Gallery, London; Sotheby's, London, 7 December 2023, Lot 77. Born into a wealthy and politically influential Huguenot family at Geneva, Agasse first trained at the École du Colibri, before moving to Paris in 1787, where he trained under Jacques-Louis David, and possibly also with Horace Vernet. His interest in animal portraiture eventually led him to London, where, following the precedent of George Stubbs, his evident talent found a ready demand at the hands of the great patrons of the Turf. Such was his success in England that he emigrated there permanently in 1800. With support of important supporters, such as the French-born George Pitt, 2nd Baron Rivers (1751–1828), the artist was swiftly put to work producing paintings and portraits for Lord Rivers and likeminded patrons in his circle. The sitter of this equestrian portrait has traditionally been identified as Miss Mary Jane Keith (1811-1891). Little evidence survives detailing her life, apart from the fact that she married James Booth (1812-1882) in 1836. It is possible that this portrait was executed on the occasion of her marriage in that year. Notably, the Booth family were notable friends and patrons of the artist. It is almost certain that James was related to George Booth, the artist's landlord at No. 4 Newman Street in London from the year 1810, whose children and family were a constant source of inspiration for the artist's brush. Agasse was fastidious record keeper, and many of his surviving paintings and portraits can be identified in his manuscript Record Book, now held by the Musée d'Art et d'Histoire in Geneva, which covers the period from November 1800 until his death in 1849. Although several portraits of unidentified ladies on horseback are listed for the years 1813, 1825, 1835 and 1842 respectively, this portrait of Miss Keith cannot be readily identified within the manuscript. Despite this, scholars have not been able to link every single surviving work of his with those encountered in the document. The gentleman in the background of this portrait has also traditionally been identified as the groom of Lord Rivers. It is possible that the portrait is set in a quiet corner of Stratfield Saye, Hampshire, the home of the family which also served as the site for his famous stud. Agasse had produced a very striking painting showing a Groom under the employment of his lordship leading a chestnut hunter towards a coursing party in Hampshire, a work which is now in the collection at Tate Britain. The costume of this groom, which a gentleman in a top hat with a distinctive yellow collar and belt, is not too dissimilar to the gentleman found in the background of this painting. However, there is little surviving evidence to either confirm or deny this identification. This painting, which shows the sitter against a backdrop of softly painted foliage, is typical for the artist's interest for capturing sensitive light and textures. It is also clear that the artist made subtle changes to the composition, as there are pentimenti visible in the lower outline of the black cloth and the positioning of the horses back right leg. Dimensions: (Canvas) 30 in. (H) x 24.75 in. (W) (Frame) 36 in. (H) x 31 in. (W)

Flemish verdure 18th century A tapestry with children playing and landscape and castle beyond Dimensions: 97 in. (L) x 97 in. (W)

Aurelio Roberti (Italian, 1842 - 1915) Two children playing board games Watercolour on paper Signed lower right Property of a Lady To be sold without reserve  Dimensions: (Frame) 13 in. (H) x 15 in. (W) (Paper) 8 in. (H) x 10 in. (W)

Fifteen Rolling Stones LP's, USA press, Through The Past Darkly, The Rolling Stones Now, Decembers Children, Beggars Banquet, Their Satanic Majesties etc

Lawrence, T. E. (1888-1935) Two autograph letters signed to William McCance, controller of the Gregynog Press, with associated correspondence RAF Mount Batten, Plymouth, 10 October 1932 and 8 February 1933, each written in black ink on both sides of a single sheet (22.8 x 17.9cm), respectively signed ‘T. E. S.’ and ‘T. E. Shaw’, both concerning Gregynog's publication of Sufism-inspired poem The Singing Caravan by Robert Vansittart ('I am so glad you are doing this book. H-S [Blair Hughes-Stanton] wrote to me that he did not like it: but then he is a person of unusual mind … Probably he dislikes meringues and eclairs, trifles and omlettes souflees [sic] … It flatters my conceit to fancy that I may have helped you to decide upon the Caravan for your press … I have ordered a copy, of course, and persuaded a few people to order one too'; ‘The Caravan delights me. The print is small & neat & fine: paper and binding all right; and the decoration most fitting … You must have got a Persian to do the cutting [of the lettering on the title-page]. I can’t read Arabic script so can only admire its decorative effect. My only reservation is the frontispiece … And oh, why, why, so much “Jap vellum” … which is neither vellum nor Japanese?'), also including a lengthy recommendation of Darrell Figgis's Children of Earth (1918) as another project for the press ('I know that Figgis was a queer flat fist … but Children of Earth is remarkable …'), and compliments on the press's edition of Erewhon.Together with: Robert Vansittart, 16 autograph letters signed to William McCance, 1932-4, discussing the publication of The Singing Caravan and Lawrence's refusal to provide a preface and a specimen of Arabic lettering; 1 autograph letter signed from Vansittart's wife to William McCance; William McCance, manuscript draft letter to T. E. Lawrence, 13 August 1932, 3 pp., on Gregynog stationery, concerning the design of The Singing Caravan, the ethos of ‘the Private Press movement’, the economics and process of letterpress printing; 5 further leaves of McCance's letters drafts; and a telegram from Vansittart to McCance (a folder) Mrs Margaret McCance, second wife of William McCance, controller of the Gregynog Press from 1930 to 1933.

Ottoman Turkey - Smyrna and Cassaba Railway [Timetable for the Smyrna to Alaşehir extension] Smyrna [Izmir]: B. Tatikian, Dhu al-Hijjah, 1301 AH [1884 CE]. Lithographic broadside (57.5 x 44cm), text in Ottoman Turkish, including details of stops (in each direction) and fares (including discounts for children), illustration of a stream engine and carriages to head, old folds, a few marginal nicks, area of paper restoration to head with a few letters not preserved, repairs verso The Smyrna and Cassaba railway was constructed in 1864-5 by a British-run firm, opening in 1866. The extension to Alaşehir was opened a few years later.

'The Little Shy Girl' engraved by Bovi, 22 x 16cm and an oval Bartolozzi style print of children playing

B Wheadon - two small watercolours children playing, 7.5 x 9.5cm and four other small watercolours

A daguerreotype of Major General Sergeant C B, c1854, half length, in uniform, oval, hand coloured and gilt, sixth plate 60mm, in associated Victorian velvet case and the officer's iron bound oak trunk, with engraved brass nameplate Major General Sergeant C B, 55cm h; 56 x 98cm (2) SARGENT, JOHN NEPTUNE (1826–1893), lieutenant-general, was born on 18 June 1826, at sea, on board the East India Company's ship Atlas. He was by race an Irishman and a soldier. One of his ancestors had served under William III at the Boyne. His father, John James Sargent, was an officer of the 18th royal Irish, who, after more than thirty-one years' service as subaltern and captain, obtained a brevet majority for his conduct at the capture of Canton in 1841, and died about three years afterwards from the effects of the climate of Hong Kong. His mother, Matilda, born Fitzgerald, died in 1841. Sargent obtained a commission by purchase in the 95th Foot on 19 Jan. 1844, joined his Regiment in Ceylon, and went on with it to Hong Kong in March 1847, having become lieutenant on 11 Dec. 1846. His company was sent to Canton to protect the factories after the outbreak in which six Englishmen were killed in December 1847, and he afterwards acted as assistant engineer at Hong Kong. He returned to England with his regiment in 1850, and was adjutant of it from 11 Nov. 1851 till 18 Nov. 1853, when he was promoted captain. In 1854 the regiment was ordered to Turkey, and by great efforts he escaped being left behind as junior captain. While the troops were at Varna he went on leave to the Danube, and was under fire there with General W. F. Beatson. At the Alma, in command of the leading company of the right wing of his regiment, he led the advance with ‘determined bravery,’ as his immediate commanding officer reported. He was wounded in the leg, but refused to be struck off duty, which was at that time heavy, as eighteen officers of the regiment were killed or wounded at the Alma. He took part in the repulse of the Russian sortie on 26 Oct., for his regiment belonged to the second division; and he was in command of its outlying picket on the night before Inkerman. Kinglake has described how he noted and reported the sound of the Russian guns moving in the night towards the field, and prepared for the sortie which he anticipated. During the battle he was in command of the grenadier company, and he led the charge upon the head of the Russian column, mounting St. Clement's gorge, made by the right wing of the 95th. This body was for some time isolated, and so hard pressed that Sargent himself used a rifle. A successful charge by the Zouaves enabled him and his men to rejoin the troops on the ridge. He found himself in command of what remained of the 95th, and brought the regiment out of action. He served throughout the siege, being the only captain of his regiment present with it from first to last, and he was wounded in the final attack on the Redan on 8 Sept. 1855. He was strongly recommended by his colonel as ‘a most zealous, meritorious, and brave officer,’ and was mentioned in despatches. He was given a brevet majority on 2 Nov. 1855, a meagre reward for his services. He received the Crimean medal with three clasps, the Turkish medal, the Medjidie (fifth class), and the Legion of Honour (5th class). He was appointed one of a committee of three officers to examine the equipment of other armies in the Crimea, and suggest improvements in the British equipment. He was on half pay from 29 Feb. 1856 to 25 Aug. 1857, when he was given a majority in The Buffs (second battalion). On 29 July 1859 he became second lieutenant-colonel in the first battalion, and served with it in the China war of 1860. He was appointed to command a provisional battalion for the garrison of Hong Kong, but was allowed to accompany his regiment when the expedition went north to take Pekin. He had charge of the advanced guard in the attack of Sinho on 12 Aug., and was present at the affair of Tanghoo, and during the storming of the north Taku forts on the 20th he commanded a mixed detachment which diverted the fire of batteries that would otherwise have taken the attacking troops in flank. When the army advanced on Pekin he was appointed British commandant at the Taku forts, and succeeded in establishing a market there which supplied the fleets. Sir Hope Grant reported him as ‘one of the most active and useful officers in the field,’ and Sir Robert Cornelis (afterwards Lord) Napier [q. v.], under whom he served more directly, reposed the fullest confidence in ‘his good judgment and determination.’ He was made a C.B. on 27 Jan. 1862, and received the China medal with clasp. On the voyage home the transport Athleta, with some companies of The Buffs under his command, touched at the Cape, and the crew, tempted by higher wages or by the Australian goldfields, tried to desert. Sargent advised the captain to put to sea at once, and when the crew refused to work the ship he placed a guard over them, and called for volunteers from his men, who weighed anchor and set sail. They continued to act as sailors for a week, and the crew were then allowed to resume work, having been kept during that time on bread and water. He commanded the second battalion of The Buffs at Malta till July 1862, when he was given the command of the first battalion in England. This he held till 6 Dec. 1864, when he sold out of the regiment to half pay. He had become colonel in the army on 29 July 1864. For some years he commanded the Inns of Court volunteers, and Mr. (now Sir Joseph) Chitty bore witness to his success in this position (Times, 2 Jan. 1867). On 1 April 1873 he was appointed to a brigade depôt at Milford Haven, and in the following year he was transferred to Oxford. He remained there till he was promoted major-general on 1 Oct. 1877. Much objection had been made to the placing of a military depôt at Oxford, but ‘he worked most cordially with the university and civic authorities … and materially assisted to disarm prejudice and popularise the army in this county’ (Jackson, Oxford Journal, 23 Nov. 1878). On 2 Jan. 1874 he had been given one of the rewards for distinguished service. After declining the offer of a brigade at Aldershot in 1880, he accepted the command of the troops in China and the Straits Settlements, and held it for three years from 1 April 1882, his tenure of it being shortened by his promotion to lieutenant-general on 7 Oct. 1884. The war between France and China made it a post of unusual responsibility. On his departure in March 1885 he received a cordial address from the civil community, in which due recognition is made of his military skill and promptitude in defending British interests in Shanghai and Canton. He did much not only for the defence of the port of Hongkong, but also for the health of the troops, while maintaining strict order and discipline. This was his last command. He was placed on the retired list on 1 April 1890, and was made colonel of the first battalion Inniskilling Fusiliers on 17 Jan. 1891. He died at Mount Mascal, near Bexley, on 20 Oct. 1893. A man of great strength and tenacity, of kindly, leonine aspect, impetuous yet shrewd, he was an enthusiastic soldier. He was twice married: first, on 10 March 1852, to Miss R. S. (sister of his brother officer, Maj James Champion who died of wounds received at Inkermann whilst commanding the 95th) Champion, who died on 26 July 1858; and secondly, on 28 July 1863 to Alice M., second daughter of Thomas Tredwell of Lower Norwood, Surrey. He left several children. Photograph - some oxidisation, mainly peripheral. Trunk - one angle bracket detached, old worm holes and rust to iron but carefully preserved

Indian Rebellion relics. A silver mounted and etched steel carving set, incorporating a sword blade and fragments of wood, the blade etched TAKEN BY H C WILKINSON AT THE ASSAULT AND CAPTURE OF THE CITY OF KOTAH CENTRAL INDIA IN 1858 or THE HANDLE OF AN INDIAN CORN MILL TAKEN BY H C WILKINSON AT ROWA ON THE 6TH OF JANUARY 1858, the ferrule and crosspiece with etched decoration and inscribed J S W FROM H C W, silver pommels stamped with bovine heads and festoons, 65.5 and 35.5cm l, pommels maker J R, Sheffield, date letter rubbed, cased (2)   Provenance: Bosley's Auctioneers, Militaria, 3 July 2019, lot 610 Henry Clement Wilkinson spent his boyhood in the Wilkinson family home at Mount Oswald, Durham, Durham, England. His grandfather Thomas Wilkinson (1752-1825) purchased the large manor house in 1806. Thomas Wilkinson's son Rev. Percival Spearman Wilkinson (1792-1875), the father of Henry, owned the manor house from 1825 to 1875. The family had several servants including a governess. The children were well educated, attending prestigious English universities. Henry's oldest brother, also named Percival Spearman Wilkinson owned the property until his death 1898. Henry Clement Wilkinson spent his working years with the British military. As a youth he attended Sandhurst Royal Military College as a gentleman cadet. To best illustrate his illustrious military career the following article is quoted from 'The Army and Navy Gazette' of Nov 28, 1908: "Lieut.-Gen. Sir Henry Clement Wilkinson, retired, Colonel of the 4th dragoon Guards, died on the 23rd inst. at Kenora, Ontario, Canada, after a weeks illness, aged 71. He was the son of the late Rev. P. S. Wilkinson, of Mount Oswald, County Durham, and obtaining his commission in the army was posted to the 95th Regiment as Ensign Feb. 15, 1856. He served with that regiment during the Indian Mutiny 1857-59, and was present at the assault and capture of Rooyah, the siege of Rowa and Kotah, the battle of Kotah-Ke-Serai, the assault of Gwalior, the siege of Powrie, the battle of Beejapore and the action of Koondrye (medal with clasp). On Aug 5, 1859, he went as Lieutenant to the 17th Regiment, and on March 30 the following year exchanged to the 16th Light Dragoons, subsequently the 16th Lancers, with which he spent the remainder of his regimental service. He was promoted to Captain Sept 22, 1863, Major July 30, 1870, Lieutenant-Colonel July 3, 1872, and Brevet Colonel July 3, 1877, being placed on half-pay July 21, 1877. Wilkinson was only three months on half-pay, as on Oct 13 he became Inspecting Officer of Auxiliary Cavalry, Great Britain, a post he held until March 19, 1880, a week later (March 27) he being appointed Military Secretary to the Commander-in-Chief, East Indies. He left the secretaryship Aug 6, 1880 to command the Cavalry Brigade in the Afghan Campaign in the force under Major-General Phayre and marched from Quetta to the relief of Kandahar (mentioned in dispatch, medal with clasp). At the close of the campaign he was appointed Brigadier-General, Cavalry Brigade, Quetta District, he holding that command from May 23 to Oct 23, 1881. Then Oct to Dec he was in command of a force which operated against the Bozdars (thanked by the Commander- in Chief in India and by the Governor General in Council). On Jan 30 of the following year he was appointed Brigadier-General, Bengal, and took command of the Sialkot Brigade. In August he was selected to take to Egypt the cavalry brigade of the Indian contingent to join Sir Garnet Wolseley's force. He took part in the operations at Kassassin, the reconnaissance before and the battle of Tel-Et-Kebir, the subsequent pursuit and the occupation of Cairo (twice mentioned in dispatches, medal with clasp, bronze star, C. B., 2nd Class of the Medjidich). Returning to India in Oct, he continued to act as Brigadier-General, Bengal, until Jan 30, 1887, when he completed his 5 years, he commanding successively the Saugor and Presidency Districts and the Meerut, Rawal Pindi, and Allahabad Divisions. Promoted to Major General Mar 9, 1887, his next and last appointment was as Major-General, North-Eastern District, which he held from April 1, 1891 to Sept 30, 1894., having while at last post been granted a Distinguished Service Reward April 1, 1892 and promoted to Lieutenant-General May 26, 1894. General Wilkinson was appointed to the Coloneley of the 4th Dragoon Guard Oct 4th, 1896 and retired Oct 1, 1899. He was awarded the K. C. B. June 22, 1897." Wear consistent with age. Wood handles with minor shrinkage cracks. Lid of case detached with old adhesive tape repairs, now perished. Red cloth lining moth holed

COLLECTION OF HUMMEL AND ROYAL DOULTON FIGURES, including apple tree boy, blossom tree girl and children with animals

THREE CRYSTOLEUMS, including a portrait of a woman, a portrait of two children, and anotherall framedthe largest 37cm x 30cm Qty: 3

A collection of silver and white metal pill boxes and scent bottle, including an Eastern example with porcelain heart shaped inset top, unmarked probably plate; a similar example with inset stone design; a hinged version set with turquoise, marked JC, Sterling; one pierced with relief work and turquoise set cabochon; a small oval sterling silver pill box with engraved children design; an 800 standard silver circular pill box with engraved design, along with a white metal and shell small scent bottle. (1 bag) Further details: stones present, some with small abrasions, wear and tear commensurate with age 

Les Parson (British, 20th century) - a large framed, signed oil on canvas of a river scene with young children playing in the foreground.

A 19th Century Dutch School oil on board of young children learning in a yard, within a gilt frame, 24cm x 18cm.

Kate Greenaway (1846-1901, British); triptych of three watercolours of a lady holding flowers, two children one holding basket of fruit and branch of flowers and three children playing near a puddle, watercolour on paper, initialed, framed, 14cm x 55cm 

PHOTOGRAPHY Two leather late 19th Century photo albums. Album 1: Brown leather album with heat pressed floral design containing 26 cabinet cards and carte-de-visites. In good condition with functional brass clasp, some minor wear to the edge of the boards and some foxing to the album leaves. Album 2: Red leather and gold gilt album containing a cabinet card and pasted obituary of 'Major E E B Bond' alongside 29 other cabinet card portraits and souvenirs. In fair condition with wear to the leather on extremities, the clasp is partial and age related foxing can be observed. Good examples of the fashion of the day. Also to be included is a 1915 Empire Day certificate addressed to 'Lizzie Walker' - these were issued to school children of the Empire in recognition of their war efforts and a handwritten condolence letter that were tucked within one of the albums. (2)

Chuah Thean Teng (Chinese/Malaysian, 1914-2008). Batik painting depicting a mother caring for three young children. Signed along the lower left.Provenance: Collected in Kuala Lumpur, 1960-65.Sight; height: 22 1/2 in x width: 17 in. Framed; height: 25 in x width: 19 1/2 in x depth: 1 1/2 in.Condition: The colors are bold and deep. There are no visible tears, losses, creases, or restorations. One light spot of soiling just to the left of the young boy's shoulder. Framed under glass; light wear to the frame. Not inspected out of frame.

Hanau 800 silver pierced bowl with an undulating rim, the pierced work depicting cupids and vases of flowers, the bowl mounted on four legs. Marked along the bottom 800 and indistinct mark of a rectangle with children walking hand in hand, for Karl Sohnlein & Sohne, Hanau Germany.Height: 5 3/4 in x diameter: 6 in. Gross weight: 456.3 g.Condition: No bends or breaks to the piercing, light scratching to the interior. Missing original glass liner.

Hanau silver centerpiece bowl. Of pierced form, featuring panels of Cupid and Psyche on a swing and two putti climbing for grapes. At the center a group of five children playing at the seashore. Unmarked. Tests indicate silver plate.Height: 3 1/4 in x diameter: 15 in. Gross weight: 1108.2 g.Condition: Some breaks to the lattice trim, two breaks to the pierced work. Visible solder, detectable by its color (Hanau used an alloy of silver and bronze). Tarnishing to the recessed areas, the back tarnished, some verdigris and tarnishing to the central scene.

Pair of Hanau silver dolphin form goblets. In the pierced style, the design featuring musical putti and swirling flowers. With stems of well rendered classical dolphins ridden by trumpeting children atop mounds decorated with dragonflies, frogs, and aquatic plants. With two fluted glass custard cups and one blue glass cup. Marked at the base with Hanau psuedo marks of crowned A & P.(Each) Height: 5 1/2 in x diameter: 3 1/4 in. Gross weight (excluding glass inserts): 403.5 g.Condition: Tarnishing and polish accretions, particularly to the reverse of the pierced design, some verdigris, no breaks to the pierced work.

2 matte Christmas ornaments shaped as a bell. 1987 depicts children in the snow, and 1995 shows the Nativity scene. Lladro backstamps. This item has its original box. 1987: 3"W x 2.5"H; box: 4.75"L x 4.5"W x 3.75"H. 1995: 3"W x 2.5"H; box: 4.5"L x 4.25"W x 3.75"H. Dimensions: See DescriptionManufacturer: LladroCountry of Origin: SpainCondition: Age related wear.

Depicting a boy and girl in the garden as they are feeding birds in a birdhouse and an American Children figure of a boy holding a pair of boots and clogs. American Children marking. Shoe Maker: 3.25"L x 2.25"W x 5.75"H. Bird Feeders: 4.5"L x 4"W x 8.25"H. Dimensions: See DescriptionCondition: Age related wear.

Two albums printed by the Arts, Crafts and Design Center at Beersheba Highschool Israel entitled Children Create in the Negev. The albums contain a total of 17 linoprints made by 14 years old students. The albums include hand-written notes and dedications. Issued: 20th centuryDimensions: Each album: 10"L x 13"HCountry of Origin: IsraelCondition: Age related wear. Wear on covers edges.

A folder of 6 posters featuring Victorian children

An early portrait of a man with 2 children in a wooden frame, glazed with picture mount

A good river scene children playing by a river

WATTS, Isaac. Divine Songs attempted in Easy Language for the use of Children. Gainsborough imprint. Printed by H. Moley, Market Place. c1802. Small binding, 24mo. [3], 6-71, [1]pp. With woodcuts throughout. gutters strengthened in tape. Near period boards, Juvenile.

The Comic Cocker. c1860. Original limp cloth, 12mo. Comical illustrated mathematical philosophy. Presumably published for children. Undated but c1860. With comical woodcuts throughout. viii, 148pp. Without the publishers ads to the rear. Rarely seen with last auction results dating back to 1886 [Bangs]. Board lightly rubbed, late 20th century ink signature to the FFEP, text block firm clean pages with occasional toning/spotting. **Interesting woodcuts mostly comical with some being anthropomorphic.

The Fairies’ Favourite or the Story of Queen Victoria told for Children By T. Mullett Ellis. 1897. Bound in the publishers white ribbed cloth with elaborately decorated front board with titles in gilt. "For Commemoration Day" to Cover. The Diamond Jubilee of Queen Victoria was commemorated on 22 June 1897. 8vo. With half title. Monochrome frontispiece, and 3 other B/W plates. Rare. With no auction results

Missionary stories, 37 vol in 1. 24mo. C1843. John Snow London. Period dark Morocco, gilt titles to the spine. A bound collection of Missionary stories. Titles include; A letter to children on behalf of missions. 2. The children’s missionary meeting [1843], 3. Missionary stories Self-Denial. 4. Heathen Parents. 5. Heathen Children. 6. Heathen Sacrifices [1843], 7. The Bechuana Girl [1842], 8. The Prayer of the little Negro. 9. Strange Story from the South Seas. 10. How to be useful at home. 11. Hannah Kilpin. 12. Greenland No. 1 The History of Hans Egede. 13. Greenland 2. Moravian Missionaries [1843]. 14. Little Home Missionaries. [1842]. 15. Escapes of Rafaravavy [1845]. 16. Escapes of Rafaravavy Part 2. 17. Afrikaner Part 1 or Missionary Trials. 18. Afrikaner Part 2 or Missionary Pleasures. 19. The Life of The Rev J. Campbell. 20. I Wonder why I don’t succeed. 21. Mr Moffat’s Visit to the Children of Manchester. 22. The Pilgrim Boy of Monger by the Widow of aMissionary [1845]. 23. Mousetse The Bechuana Boy [1843]. 24. Little Letters from Beersheba South Africa. 25. Lessons from Heathen Lands. 26. Mrs Judson and Little Maria. 27. Mr Moffat and the Bechuanas. 28. Mr Moffat and the Bechuanas Part 2; The Terror by Night. 29. Mr Moffat and the Bechuanas Part 3 Reaping in Joy. 30.. Mosheu’s visit. 31. The Ransomed Child. 32. Missionary Rabbits. 33. Matilda The Little Jewess. 34. The Hindoo Girl seeking Jesus. 35. Am I one of Jesus’s Lambs? 36. The History of Mary Gutzlaff. [1842]. 37. The Children’s Missionary Hymn-Book. [1842]. With woodcut plates. Original wraps bound in. Mostly 8pp per vol. pencil inscription claims 14 not in NSTC. Rare juvenile African/European Missionary stories pamphlets bound in 1.

Margaret Strickland. Manuscript. “Illustrated Amateur Magazine. July [18]98 Vol 2 No. 1. “Owned, Published & Edited by Misses Strickland”. Large 4to, original paper wraps with water colour and ink illustration to front wrap. Charmingly illustrated in pen and ink, Water Colour throughout with ink manuscript text. 27pp. Edited by Miss Strickland with contents that include original works and others from Otto B, Hatchard, Stanley Tatharn, A. J Hyde. Skilfully illustrated with some full page tipped in art work by the Strickland sisters [one signed Mary Strickland, “AS” A Strickland” and in text illustrations. Damp stained, with small loss to the first page paper spine peeling, text block detached. RARE. **”Illustrated Amateur Magazine" features early examples Strickland sisters' art and writing. This series included twelve issues of the title, a handmade publication Margaret created with her family members Agnes, Diana Mary, and their friends in Bromley, Kent [now London], from 1897 - 1899. Margaret Strickland, (c. 1880–1970) was a prolific English writer of magazine stories and novels for adults and children, including the Michael Gerahty detective novels. Her works and papers have been collected by New York University's Fales Library. Strickland was a great niece of the famous literary Strickland sisters. Her grandfather, Thomas Strickland, was the youngest brother of Agnes, Jane and Elizabeth Strickland, and Catherine Traill. Agnes was the best known of the family and is remembered for her work, The Lives of the Queens of England (1840–48). Strickland suggests that Thomas was viewed as the black sheep of the family. He is barely mentioned in either of the biographies of Agnes Strickland. Several of Thomas' siblings, including Catherine and another brother, Samuel, migrated to Canada, where Catherine wrote a number of books and novels, and Samuel founded the city of Lakeside.Strickland had two sisters, both noted for their ability in drawing animals and staid, country scenes. Agnes Strickland is remembered for her botanical illustrations, and Mary Diana (later Diana Mallet-Veale) moved to Rhodesia and became well known for her illustrations of native life. Early examples of the artistic work by these sisters include twelve issues of the Illustrated Amateur Magazine, a small publication Strickland created with her sisters from 1897 to 1899. Extremely rare in commerce and at auction

McManus, Blanche [notes & Illustrations]. The True Mother Goose Songs for the Nursery or Mother Goose’s Melodies for Children. Boston and New York. 1896. Small 4to, tan convas, stamped in brown, spine in faint gilt, illustrated throughout. Occasional stamp “Phoebe A Hearst Kindergarten Training School Washington D. C. Profusely illustrated by McManus, an early example of her work. FFEP almost detached. Some toning to the page margins. **McManus studied in Paris before returning to America, where her brief poster career flourished. She is attributed with having designed 8 posters, and is considered one of the best female designers of the era (along with Florence Lundborg, Ethel Reed and Alice Glenny). **Rarely seen at auction, last result in 1919

A Leonardo Collection horse and cart figure "Any Old Iron", 32.5 cm long, an Academy Collection "Coke / Coal trailer with two heavy horses and drover", 38.5 cm long, a painted figure of "A huntsman over a hedge on horseback", stamped "K & L", 26 cm long, an Academy Collection figure group of "Horse and cart with driver and sheepdog, two children on cart", 43 cm long, a Juliana Collection figure group of "Man and boy on cart with single horse", 34.5 cm long, a Juliana Collection figure group of "Figure and dog on cart with two horses", 46 cm long and a Juliana Collection figure of "Pony and trap with driver", 35 cm long and a Juliana Collection figure group of "Traveller's wagon and travellers", 43.5 cm long

Archibald Standish Hartrick OBE RWS (Scottish, 1864-1950) Children playing in a wrecked boat on the beachsigned lower right 'A.S. HARTRICK'coloured chalks29 x 45cm

A pair of Chinese silk embroidered panels, now conjoined, Canton, Late Qing Dynasty, the dark brown ground with floral sprigs, embroidered in bright colours with five roundels depicting a man and woman, also with children, by a fence, peonies and butterflies183 x 144cmA few stains (insignificant), overakll fading and creases, otherwise in good condition,, cut/reduced in size

George Washington Brownlow (British, 1835-1876) Murdoch Instructing Burnssigned lower right 'G. W. Brownlow'oil on canvas46 x 66cmProvenance:Acquired circa 1920 by the grandfather of the present vendor,Thence by descentExhibited:Probably, The Royal Scottish Academy, 1859, No. 84In 1859, the centenary of Robert Burns' birth, Brownlow exhibited five works at the Royal Scottish Academy including, 'The abode of the poor scholar at Alloway, Ayrshire - John Murdoch instructing Robert Burns in his letters'.Another version of this composition, of identical proportions, exists in the collection of the Dumfries Museum. However, the lack of finish, colour and detail in the Dumfries work indicate that it is very likely to be a preparatory study towards the present painting and that the present oil is the picture that Brownlow exhibited at the RSA in 1859. Indeed, critics of the time noted that the exhibited work was 'good in colour' and the additional details added in the present lot, such as Murdoch's glasses, the legible writing to the slate, detail to the globe and scattered paper on the floor, are all indicative of it being the artist's finished composition.Burns' father is recorded as having engaged Murdoch in 1765 to teach the children of Alloway. The picture demonstrates Brownlow's particular concern for the poor and the education of children - subjects he often painted. The inscription to the slate reads:"Robert Burns is my name Scotland is my nationAlloway is my dwelling placeHeaven my expectation".

Two Beswick figures of children riding respective horses, one palomino and the other skewbald. Both about 14cm tall

Walter Williams (1834-1906) Figures at the riverside before a wooden bridge and farm buildings, initialled lower right, 1863, oil on canvas, 31 x 25.5 cm, together with a further landscape showing a mother and children on a county track before a farmhouse, by the same hand (2)Labels for The Boydell Galleries, Liverpool

An early Victorian tapestry samplerEliza Curtis, aged 13 years, dated 1848, woven with a bucolic scene of children in a rural landscape with a dog and geese, in giltwood frame.36cm x 31cm (frame 49cm x 43cm)Condition:Generally good overall.  Minor staining.  Fair to good colour.

A Chinese ceramic twin handled moon flask, enamel decorated with ladies and children in a garden, inscription to verso, four character marks to base, 33.5cm high

Three Royal Doulton bone china figurines/figure groups to include: 'Flower Seller's Children' HN1432, 'Curly Knob' HN1627 and 'Sweet and Twenty' HN1360. (3) (B.P. 21% + VAT)  No obvious damage.

20th century French style Imperial brass mantel clock, the Roman numeral dial surmounted by two young children on a decorative foliate base. (B.P. 21% + VAT)  Width 44cm x Height 35cm approx.  Good condition - not tested.

ITALIAN SCHOOL (17TH CENTURY) MOTHER WITH CHILDREN BY A CAMP FIRE Oil on canvas, laid to board, oval 44 x 32.5cm (17¼ x 12¾ in.) Unframed

A modern glazed and framed picture of children bathing. 

Ephemera - A collection of vintage 20th century postcards. Some used with George IV one penny stamps, Animated children subjects, with black and white buildings, pictorial ones with crude humour examples.