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A FINE WILLIAM & MARY WALNUT AND SEAWEED MARQUETRY CHEST OF DRAWERS CIRCA 1690 The rectangular top with geometric panels of marquetry, above two short and three long graduated drawers all with oval marquetry panels, foliate decorated cross-banding throughout, the sides each with arched shaped marquetry panels, supported on bun feet, one drawer bearing a retailer's ivorine label for 'Moss Harris and Sons, New Oxford Street, London' 84.5cm high, 97cm wide, 58cm deep Provenance: Private Collection, Fort Augustus, Scotland This rare marquetry chest is typical of the work of that often associated with the celebrated cabinet-maker Gerrit Jensen. Favoured by King William and Queen Mary, his patrons also included many of the aristocracy of the time and he is known to have worked at Burghley House, Chatsworth, Arundel Castle, Boughton House and Petworth to name a few. Examples of his work for the King and Queen are illustrated in R.W. Symonds, 'Gerrit Jensen, Cabinet-Maker to the Royal Household', Connoisseur, Vol. 95, January-June 1935, pp. 268-274. The delicately rendered 'seaweed' or 'arabesque' marquetry (called 'filigree' in the early eighteenth century) is characterized by its two-dimensionality and dense foliate scrolls, and its panels are cut in a single operation. Very similar chests were sold Christie's, New York, Important English Furniture, 11th October 2007, Lot 210 ($58,600) and Sotheby's, Important English Furniture, 4th June 2008, Lot 24 (£25,000). Another closely related chest was sold in these rooms, 30th November 2022, Lot 41 (£21,250). This chest retains a trade label for Moss Harris and Sons, New Oxford Street, London. Moss Harris were one of the foremost London dealers in the first half of the 20th century and held Royal Warrants to H.M. The Queen (Queen Mary) from the 1920's and the Prince of Wales during 1929-1936. Condition Report: Chest in overall sympathetically restored, tidy/presentable condition Marks, knocks, scratches and abrasions commensurate with age and use The expected old splits and chips Various old veneer and moulding repairs Metalware replaced Handles and escutcheons have a brightly gilded surface, this could be easily 'muted' by a restorer if required. Lockplates to the two upper drawers have been removed and replaced with a block of timber. Some small plugged holes to drawer fronts from previous fixtures One key present and operates two locks, the remaining lock is open Various paper linings to drawers which bear the expected marks, discolouration and wear Drawer linings are very well executed old replacements. Some later supporting blocks and batons to the interior of the carcass, and replaced drawer runners Backboards have good age but are likely later replacement. Some evidence of old worm in places, some filler and wax has been used to disguise. Turned feet are well matched old replacements The lower moulding that the feet sit into appears to be an old replaced element, but matches the rest of the piece remarkably well and is only noticeable upon close inspection. Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition.Condition Report Disclaimer

William James Blacklock. A collection of approx. 85 sketches & drawings, mainly pencil, various sizes (some laid on card) incl. Cumwhitton House (Blacklock`s family home), kitchen interior, view from Cumwhitton Moss, Cross Fell, buildings & building details (Naworth, Furness Abbey, Egglestone Abbey), landscape, trees, boats & misc.

Cast base ships wheel house chair originally on the trawler Alcuin scrapped in the 1970's.

A porcelain headed dressed doll; and a quantity of Ridgeways blue and white dolls house tea ware

A 19th century Cork City white porcelain plate painted with the Cork Corporation Arms  The scalloped edge decorated with double turrets and ship and motto, 'STATIO BENE FIDA CARINIS', 26cm diameter. Probably from the large dinner service set commissioned for the Lord Mayor of Cork’s Old Mansion House (now the Mercy Hospital) which was built in 1767. 

A fine George II style mahogany kneehole desk, mid 19th century, by S & H Jewell, Holborn, London, with an satinwood and ebony strung moulded top, over a long drawer, with internal inked stamp, ‘S&H Jewells…Holborn’, six further drawers and a shallow frieze drawer over a well with cabinet within, on bracket feet, 81cm high, 83cm wide, 51cm deep S & H Jewell were based in the Holborn area of London and were recorded as cabinet-makers from 1830- 1840, but as late as 1894 a billhead, stating that the firm was founded in 1830, was recorded for furniture supplied by the firm for Standen House, East Grinstead, Sussex.

Charles Dickens. A contemporary group of 38 volumes, comprising the majority of his works in book form, principally first editions, bound in uniform green full morocco, spines tooled gilt in compartments, the upper covers with tooled initials ‘C. H. T. W.’, all edges gilt, 8vo, 1836–1870RARE. Nineteenth century collections of Charles Dickens are becoming increasingly scarce to the market. The present lot contains early minor works, such as Sunday Under Three Heads (1836) and sought-after major works, such as Great Expectations (1861). The lot comprises:Sunday Under Three Heads… by Timothy Sparks, half-title, 3 engraved plates, original wrappers bound in, London: Chapman and Hall, 1836; The Posthumous Papers of the Pickwick Club, without half-title, engraved frontispiece and additional title, 41 engraved plates, many corresponding to the first state, EXTRA-ILLUSTRATED, with an additional 32 engraved plates by Thomas Onwhyn, London: Chapman and Hall, 1837; Memoirs of Joseph Grimaldi… edited by ‘Boz’, 2 volumes, half-titles, engraved portrait frontispiece and 12 engraved plates, ‘The Last Song’ without border, London: Richard Bentley, 1838; Sketches of Young Gentlemen, 6 engraved plates, original wrappers bound in, London: Chapman and Hall, 1838; Sketches of Young Couples, 6 engraved plates, original wrappers bound in, London: Chapman and Hall, 1840; Oliver Twist; or The Parish Boy’s Progress… by ‘Boz’, 3 volumes, half-titles, 3 engraved frontispieces and 21 engraved plates, including the final ‘Fireside’ plate, with ‘arter’ on page 318, ‘XXVIX’ on page 155, and ‘mattrass’ on page 182, London: Chapman and Hall, 1838; The Life and Adventures of Nicholas Nickleby, without half-title, engraved portrait frontispiece with the imprint of Chapman and Hall, 39 engraved plates, EXTRA-ILLUSTRATED, with an additional 24 character study plates published by Robert Tyas, ‘visiter’ on page 123, ‘conducter’ on page 342, and ‘Grogswig’ on page 618, London: Chapman and Hall, 1839; Master Humphrey’s Clock, 3 volumes, 3 engraved frontispieces, illustrations in text, ‘deessed’ on page 128, ‘intructions’ on page 128, and ‘Thirty-Fiftth’ on page 133, London: Bradbury and Evans, 1840–41; Barnaby Rudge, London: Chapman and Hall, 1841; American Notes for General Circulation, 2 volumes, without half-titles, with ‘xvi’ on final page of contents in volume 1, London: Chapman and Hall, 1842; The Life and Adventures of Martin Chuzzlewit, half-title, engraved frontispiece and additional title, 38 engraved plates, ‘thresh-hold’ on page 587, London: Chapman and Hall, 1844; Pictures from Italy, half-title, ‘canvass’ on page 112, London: Bradbury and Evans, 1846; The Adventures of Oliver Twist, third edition, half-title, London: Bradbury and Evans, 1846; Dombey and Son, engraved frontispiece and additional title, 37 of 38 engraved plates, lacking ‘A Visitor of Distinction’, but with 4 additional portraits, ‘amiliar’ on page 70, ‘Capatain’ on page 324, and ‘if’ present on page 426, London: Bradbury and Evans, 1848; The Personal History of David Copperfield, without half-title, engraved frontispiece and additional title, 38 engraved plates, ‘recal’ on page 16, ‘screwed’ on page 132, ‘coroboration’ on page 387, London: Bradbury and Evans, 1850; Bleak House, half-title, engraved frontispiece and additional title, 38 engraved plates, ‘elgble’ on page 19, ‘chair’ on page 209, ‘homeards’ on page 605, London: Bradbury and Evans, 1853; Hard Times, half-title, ‘her,’ on page 60, ‘hese’ on page 108, London: Bradbury and Evans, 1854; A Child’s History of England, 3 volumes, later edition, 3 frontispieces by F. W. Topham, London: Bradbury and Evans, 1854–1855; Little Dorrit, engraved frontispiece and additional title, 38 engraved plates, ‘chimnies’ on page 342, ‘diceing’ on page 360, ‘B2’ on page 371, London: Bradbury and Evans, 1857; The Story of Little Dombey, half-title, original wrappers bound in, London: Bradbury and Evans, 1858; A Tale of Two Cities, engraved frontispiece and additional title, 14 engraved plates, ‘Stryver’ on page ix, ‘affetcionately’ on page 134, ‘113’ on page 213, London: Chapman and Hall, 1859; The Uncommercial Traveller, half-title, ‘s de’ on page 20, ‘themselve’ on page 176, London: Chapman and Hall, 1861; Great Expectations, 3 volumes, vol. 1, ‘recal’ on page 84, no period after ‘other’ on page 311, vol. 2, ‘their’ on page 162, ‘recal’ on page 350, vol. 3, ‘raving’ on page 37, ‘led’ on page 150, ‘skackled’ on page 262, London: Chapman and Hall, 1861; Our Mutual Friend, 2 volumes bound as one, without half-titles, 2 engraved frontispieces, 38 engraved plates, vol. 1, ‘Dont’ on page 276, vol. 2, ‘pricipal’ on page 115, London: Chapman and Hall, 1865; The Poor Traveller: Boots at the Holly-Tree Inn: and Mrs Gamp, original wrappers bound in, London: Chapman and Hall, 1869; The Mystery of Edwin Drood, engraved additional title and portrait frontispiece, 12 plates, ‘tower’ on page 1, ‘sentiment’ on page 131, London: Chapman and Hall, 1870.Also included in this lot is Edward Caswell, Sketches of Young Ladies, 6 engraved plates, original wrappers bound in, 8vo, London: Chapman and Hall, 1843; James Cook, Bibliography of the Writings of Charles Dickens, 1879.ConditionLight browning and spotting, but particularly to the plates, as usual, a few volumes with rust-marks or rare minor tears to leaves, Little Dorrit with one plate loose, morocco with extremities rubbed.

Bedeutende Roentgen-Coiffeuse77 x 91 x 63,5 cm.Neuwied, 1770/75.Beigegeben eine ausführliche Dokumentation von Christine Cornet, Sachverständige für antikes Mobiliar, München.Auf Eichen- und Nadelholz furniert in gefärbtem Ahornholz, sog. bois de tabac und andere helle Furnierhölzer, Zedernholz und Kirschbaumholz mit Montierungen in Messing, Eisen, vergoldeten Bronzen und Silber. Die Sichtflächen mit Blumen- und Schleifenmotiven marketiert. Über vier leicht geschweiften gekanteten Beinen der bewegte Korpus. Der einzige Schub mit innenliegendem aufklappbarem Pult. Das Zentrum der Deckplatte aufklappbar mit inwendigem Spiegel. Die Seiten der Deckplatte nach links und nach rechts mittels Scharnier aufklappbar. Darunter jeweils gestreift marketierte Jalousien, die jeweils nach hinten herabzurollen sind. Darunter ein großes Schubfach bzw. ein vierfach geteiltes quadratisches herausnehmbares Kompartiment mit darunter- wie auch dahinter liegendem tapeziertem Kompartiment. Das Möbel birgt neben den von oben zugänglichen Fächern drei Schubladen: Zwei schmale Laden unterhalb der Seitenfächer, die mechanisch zu öffnen sind und der zentrale eingangs erwähnte Schub. Seitlich zu öffnende schwenkbare kleine Schublade, der ein Tintenfass, Sandstreuer und ein Federfach – jeweils in Silber ausgeführt – eingegliedert ist.Literatur:Vgl. Georg Himmelheber, Ein Roentgen-Möbel von 1772, in: Weltkunst, 15. November 1974, S. 2043.Vgl. Georg Himmelheber, Schlossmuseum Gotha. Ein Kommodenensemble der Roentgenmanufaktur. Kulturstiftung der Länder, in: Patrimonia Nr. 159, Berlin und Gotha 1999.Vgl. Hans Huth, Abraham und David Roentgen und ihre Neuwieder Möbelwerkstatt, Berlin 1928.Vgl. Hans Huth, Abraham und David Roentgen und ihre Neuwieder Möbelwerkstatt, München 1974.Vgl. Irene Markowitz, Die Poudreuse. Ein Möbeltyp des 18. Jahrhunderts, in: Kunst und Antiquitäten, Heft 5, 1989, S. 64-72.Vgl. Hans Michaelsen, Rekonstruierungsversuche und Untersuchungen zur Intarsientechnik der Roentgenmanufaktur, in: Staatliche Museen zu Berlin, Forschungen und Berichte 23, Berlin 1972.Vgl. Hans Michaelsen, Ein frühes Möbelensemble aus der Werkstatt David Roentgens, in: Restauro, Nr. 2, April 1989, S. 101-124.Vgl. Wolfgang Thillmann und Bernd Willscheid, Ausstellungskatalog, Möbel Design Roentgen, Thonet und die Moderne, Neuwied 2011.Vgl. Wolfgang Wiese, Hofschreiner und Möbellieferanten in den Residenzen Mannheim und Schwetzingen, in: Ein Jahrhundert Möbel für den Fürstenhof, Sigmaringen 1994.Anmerkung:Der Typus des table de toilette entstand um die Mitte des 18. Jahrhunderts und diente der sogenannten seconde toilette, also der Körper- und Gesichtspflege sowie der Verschönerung nach der Körperreinigung, also nach der première toilette. Der Begriff leitet sich von dem feinen Tüchlein (toilette) ab, das ursprünglich auf dem Tisch während des Frisierens lag, um nötige Utensilien darauf auszubreiten und Puderreste oder anfallendes Haar aufzunehmen. Zunächst erscheint uns das hier angebotene Möbel als äußerst spezialisiert, doch ist es in Wahrheit multifunktional, ist doch auch eine Schreibvorrichtung integriert.Anmerkung 2:622 Roentgenmöbel sind heute in Museen und Privatbesitz bekannt. Im Jahre 1750 begann der Aufstieg der Manufaktur. Anspruchsvolle Kunden wie das Grafenhaus in Neuwied, der Kurfürst und Erzbischof Johann Philipp von Walderdorff. Eine quittierte Rechnung von Abraham Roentgen an Johann Caspar Goethe zeugt vom Bestand von Möbeln im Goethehaus. Auch Johann Wolfgang von Goethe gehörte zu den Kunden von Roentgen. Es wurden zunehmend Königshäuser in Europa beliefert, so auch Katharina die Große von Rußland, Roentgens wichtigste Kundin. Weitere Kunden waren: Kurfürst von Mainz, Friedrich der Große von Preußen, Friedrich Wilhelm II, Graf zu Ysenburg, Graf zu Solms-Laubach, Fürst Friedrich Alexander zu Wied, Kurfürst Franz Georg von Schönburn, Fürstbischof Adam Friedrich von Seinshaim, Markgräfin Caroline Louise von Baden-Durlach, Reichsgraf Florimond Mercy d´Argenteau, Friedrich II von Hessen, Prinz von Lothringen, Marie Antoinette, König Louis XVI, Graf Alexander Stroganoff und viele andere. Museen und Sammlungen: In vielen Museen der Welt befinden sich die wenigen erhaltenen Möbel der Manufaktur Roentgen: Musée des Arts Decoratives, Paris; Victoria & Albert-Museum, London; Metropolitan Museum, New York; Bayerisches Nationalmuseum, München, Louvre, Paris; Eremitage St. Petersburg, Samuel H. Kress-Collection - London; Wallace-Collection, London. Schloß Wörlitz; Schloss Charlottenburg, Sammlung Stavros Niarchos u. v. a. (1390084) (13)Important Roentgen coiffeuse77 x 91 x 63.5 cm.Neuwied, 1770 / 1775.Accompanied by a detailed report by Christine Cornet, expert for antique furniture, Munich.Oak and softwood structure veneered in stained maple wood, so-called “bois de tabac” and other light veneers, rosewood, cedar, and cherry wood with mountings in brass, iron, gilt-bronze and silver. The visible surfaces are decorated with flower and bow motif marquetry. The dynamic shape of the body is surmounted on four slightly curved, edged legs. The only drawer features an internal fold-out desk. The centre of the tabletop can be opened featuring an internal mirror, its sides can be opened to the left and right with a hinge. There are striped marquetry blinds below that can be rolled down to the back. Below this is a large drawer, or more precisely a removable four-fold square compartment with a wallpapered compartment underneath and behind it. In addition to the compartments accessible from above, the coiffeuse features three drawers: two narrow drawers below the side compartments that can be opened mechanically, and the central drawer mentioned above. A small drawer opening from the side is set with an inkwell, sand shaker and a pen compartment – each made of silver.Notes:This type of “table de toilette” came into being in the mid-18th century and was used for the “seconde toilette”, that is body and facial care and beautification after the “première toilette”, the purpose of which was simply washing. The term derives from a fine cloth (toile) that was originally placed on the table while dressing the hair to lay out the necessary utensils and to pick up any waste powder or hair. At first, the table on offer for sale in this lot appears to be very specialized, but it is multifunctional as it features integrated writing utensils.Notes 2:Today, 622 pieces of Roentgen furniture are known to be held in museums and private collections. The manufactory rose to fame from 1750. Demanding clients, such as the princely House of Neuwied, the Prince-Elector and Archbishop Johann Philipp von Walderdorff. A receipted invoice from Abraham Roentgen to Johann Caspar Goethe testifies to the inventory of furniture in the Goethe House. Johann Wolfgang von Goethe was also one of Roentgen´s clients. Increasingly European royal families were being supplied including Catherine the Great of Russia, Roentgen´s most important client. Other clients included: the Prince-Elector of Mainz, Frederick the Great of Prussia, Frederick William II, Count of Ysenburg, Count of Solms-Laubach, Count Friedrich Alexander of Wied, Prince-Elector Franz Georg of Schönburn, Prince-Bishop Adam Friedrich of Seinshaim, Caroline Louise Marchioness of Baden-Durlach, Imperial Count Florimond Mercy d´Argenteau, Frederick II of Hesse, Prince of Lorraine, Marie Antoinette, King Louis XVI, Count Alexander Stroganoff and many more.Museums and collections: The few surviving pieces of furniture from the Roentgen manufactory are held in many museums around the world: Musée des Arts Deécoratifs, Paris. Victoria & Albert Museum, London. Metropolitan Museum, N....

George Morrison (Ojibwe, 1919-2000). Woodcut on paper depicting an intricate pattern of contrasting woodgrains in gold metallic ink, 1976-78. Pencil signed and dated along the lower right; numbered P.P. 1/4 along the lower left; Vermillion Editions Limited blindstamp along the lower left.Provenance: Private Minnesota Collection.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 29 1/2 in x width: 44 1/2 in. Framed; height: 33 1/2 in x width: 48 in.

George Morrison (Ojibwe, 1919-2000). Color lithograph on Japan paper titled "Surrealist Landscape" depicting a horizon in vibrant colors, 1990-96. The colors fit together perfectly, as if pieces of a puzzle, to form a colorful whole. Pencil signed and dated along the lower right; numbered CTP 10/22 along the lower center; titled along the lower left.Provenance: Private Minnesota Collection.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Height: 21 in x width: 17 in.

George Morrison (Ojibwe, 1919-2000). Mixed media on paper painting depicting an abstracted figure in blue, red, yellow, and black, 1946. Pencil signed and dated along the lower right.Provenance: Private Minnesota Collection.Reference: "Modern Spirit: The Art of George Morrison," Minnesota Museum of American Art, 2013. A very similar work is illustrated in this exhibition (plate 5, pg. 68), depicting three figures.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 10 1/4 in x width: 8 in. Framed; height: 23 1/4 in x width: 19 in.

SUFFRAGE HANDKERCHIEFSatirical handkerchief titled 'Women's rights and what came of it '1981'', depicting women of the future fulfilling traditional male roles such as Politics, Science, Law, the Army, Navy and Police, a group of men doing the laundry ('Now we're busy') and a group of 'Frozen Out M.D.'s' complaining 'We've got no work to do-o-o', printed in black on fine cotton, registered number 364805, in fine condition, one or two small marks, 610 x 545mm. [1881]Footnotes:THE CONSEQUENCES OF ALLOWING WOMEN THE VOTE.This satirical handkerchief warns of what life would be like in 100 years if women were given equal rights, predicting the unconceivable possibility of women working in traditionally male roles, and showing a future where men are forced to (somewhat haplessly) undertake roles previously the preserve of women. The design '...contains all the tropes – the embodiment of light-hearted, but deeply-rooted prejudice – that are now so familiar to us through the comic postcards that were produced in response to the suffragette campaign in the years before the First World War...' (Elizabeth Crawford, Women and Her Sphere blog, September 2015). The design number was registered on 7 May 1881 by Carslaw & Henderson, fabric manufacturers, of 68 Gordon Street, Glasgow (Museum of London website).It is thought by the family that this suffrage handkerchief may have been given as a gift to the vendor's great grandmother Emma Laming Shepherd (1855-1930) possibly on her marriage to William Tombs (1858-1942) in August 1881. Three generations of the vendor's family were in service to the households of Richard Attlee (1795-1873) and his son Henry (1842-1908), and were held in high regard. Emma was the illegitimate child of Martha Laming, who held the position of maid with the Attlees and she, in her turn, was taken on as nursemaid to the Attlee children and is listed as part of the household in the 1881 census. On her marriage, it is believed that the Attlees gave her a house in Clapham Park, London so she could support herself by taking in lodgers. Her daughter Cecilia also worked for the family as lady's maid and was a childhood friend of the future Prime Minister, Clement Attlee.Provenance: Emma Laming Shepherd (1855-1930); thence by descent.For further information on this lot please visit Bonhams.com

A quantity of 12" single records, mainly 1990's Electronic, Pop, House, Drum & Bass and Hip-Hop to include Roni Size, Dave ID, Shy Fix & T Power, XRS, Betty Boo and Black Out together with DJ mix compilations. Location:1.4

BANKSY (b.1974) and Emma Houghton (b.1973) Babble Sound System, event tickets screen print on linen, 54.5 x 47cms, in frame.Provenance: Emma Houghton, close friend and collaborator of Banksy throughout the 1990sExhibition: The Art of Banksy: Unauthorised, Manchester, October 2022- January 2023.The Art of Banksy: Unauthorised, Regent Street London, January 2024-February 2024.Notes: In 1993 a small group of students from Leicester started babble collective sound system, inspired by the likes of Smokescreen and legendary midlands deep house proponents DiY. They borrowed as much money as they could from friends and relatives and invested in a small second-hand sound system. By 1994 babble had become a firm favourite with an enthusiastic Leicester crowd, and over the next few years the collective staged sell out nights at (amongst other places) the Mud Club, Luxor (now Industria) and the Fan Club, and all-night events at Starlite 2001. DJ’s playing from the collective back then include Long Jon, Peter Pan & Jay, often joined by guests from Smokescreen.LETTER OF PROVENANCE:In reference to the provenance of the birthday cards, flyers and shop sign, I met ‘Banksy’ in 1992, through mutual friends. We were friends throughout our 20’s, during the politically charged, hedonistic and creatively potent era of the 1990’s and early 2000’s. In the DIY ethos of the time, we set our own agenda; we worked, played, protested, travelled and established our independent professions, following our own unique course. His work-ethic, humour and moral stance were powerful even then. The birthday cards were given to me by the artist over four consecutive years depicting his evolution from Robin, in a cuter pencil drawn cartoon style to Mr Banks and finally with the edgy stencilled wit, characteristic of Banksy. The flyers were designed by the artist and hand screen printed by him and myself to promote a club night put on by our sound system the Babble Collective in the mid 90’s. Most were cut apart and distributed for advertising, now collected world wide, but I gave this un cut sheet to a family member who unearthed them years later. The A board was commissioned for my corsetry business, to advertise my first shop in BS8 on Park Street in Bristol, I like to think she was me in my prime. To watch Banksy’s career grow meteorically from its roots to become this national treasure has been incredible – not least due to the privately held knowledge of these works existence. Deciding to share them with the public through The Art of Banksy exhibition has allowed fans and followers to see this charming and sentimental side that is less of the known Banksy brand of today. Putting them up for auction is intended to allow others to fully appreciate their unique beauty in this current time. These details and my identity have been shared to avoid speculation, to better establish authenticity and provenance of the pieces. It must be noted that there is no dirt to dish on the artist. That there is no axe to grind, nor will I disclose or confirm Banksy’s identity. I have had little to no contact with him in the last 20 years.

A group of dolls, including an Armand Marseille bisque head doll, impressed 'AM 5½', with later brown wig, sleeping blue eyes, open mouth and jointed composition body, height 54cm, a Heubach Köppelsdorf bisque head doll, impressed '321-11', seven other bisque head dolls, a modern all-bisque doll's house doll, a baby doll and two porcelain half-dolls (some with faults).

A German bisque head and shoulders doll, impressed 'Darling 4/0', possibly Kammer & Reinhardt, with blonde wig, sleeping brown eyes, open mouth showing upper teeth, and fabric body with composition lower arms, height 47cm, together with a bisque head musical doll with brown wig, fixed blue glass eyes, open mouth and composition lower limbs, the musical movement and arm action activated by pushing a wooden panel in the doll's back, height 41cm, holding a bisque head doll's house doll, impressed '44-72', with composition body, height 12cm (damage to fingers and possible damage to musical doll's head).

John Sell Cotman (1782-1842) The Garden House on the banks of the River Yaresigned and dated lower right 'J S Cotman 1802' pencil and sepia wash on paper25 x 19cm Provenance:Christie's, London, 5th March 1974, lot 181 for £1,365The subject of the Garden House on the banks of the River Yare was also made into an etching which Cotman published as the title page of his 'Liber Studiorum: A Series of Sketches and Studies'.Numerous fly spots under glass, mostly to the mount. Main image - wrinkling visible along the right hand edge. An old repaired tear and further old repair top right quadrant. Signature faded. Discoloured. Foxing throughout. Not examined out of frame.

John Sell Cotman (1782-1842) Landscape with gullysigned lower left 'J S Cotman'pencil on blue paper24.5 x 33cmProvenance:With Maas Gallery, London, Spring Exhibition 1968The present drawing relates to Cotman's 1842 oil painting, 'From my father's house at Thorpe' in the Norwich Castle Museum Collection, which is taken from the same vantage point.Creasing to bottom left corner and top right corner and along the bottom edge. Not examined out of frame. Framed 57.5 x 50cm

Edward Lear (1812-1888) The Abbey of Santo Spirito at Sulmonasigned lower right 'E. Lear del. 1844' and inscribed lower left 'Abbadia di S. Spirito'black chalk, pencil and stump heightened with white on buff paper8.5 x 15cmProvenance:John Scandrett Harford (1787-1866),Thence by descent until 2015Literature:Edward Lear's Illustrated Excursions in Italy, 1846, engraved by J. Whimper, as vignette, p.30The Abbey of Santo Spirito stands about five kilometres outside the town of Sulmona at the base of Monte Morrone. The present monastery was built in the early 18th century, after an earthquake all but destroyed the original 13th century building.`Below the solitary hermitage is the Monastery of S. Spirito, founded by Pope Celestino V, but now used as a poor-house for the three Abruzzi. It is a picturesque edifice, some distance from the high-road; and its tall campanile is seen all over the Pianura of Solmona' (see Literature, pp.30-31)Edges cut as illustrated. Not examined out of frame. Overall appears in excellent condition with no fading or damage to the paper. The frame with light wear.Framed size 31 x 36.5cm

House of Hardy Fly Vest Size M, all zip loops and flaps good. Looks unworn. Columbia GRT Fly, multi pocket travel vest, size XL, all zips, looks and flaps good, very light use. Bob Church Fly Vest size S, sips, flaps and loops all good, again light use. (3)

THREE BOXED SETS OF WOODEN DOLLS HOUSE FURNITURE, c.late 1950's/early 1960's, all sets appear complete and in good condition with only very minor wear, boxes complete with interiors but have some damage and wear, one with damage to pictorial label to lid

A limited edition copy of The Book of the Queen's Doll House signed by Queen Mary, published by Methuen 1924, number 1348/1500, bearing inscription to R Short from Mary R Christmas 1942, 2 vols, in card slipcover.

A collection of Letters and Poetry relating to the Strickland Family of Boynton Hall. spanning circa 1750-1850, including various transcribed excerpts of memorial inscriptions relating to the family, genealogical research, personal correspondence, stories and anecdotes; included are several original poems in manuscript circa 1800-1830 by ladies of the Strickland family, some signed ELS; an account or receipt dated 1752 for Sr George Strickland for spices and food and another similar dated 1757, a small marbled album of coats of arms relating to the family, not dated, two ink sketches of Tenby, 1835 of the South Gate, Arms, Runic Cross and an 'Old House', both with the monogram F. S. (possible Frances Strickland) and dated 1855; several bookplates and 18th and early 19th Century ephemera and a pen and ink silhouette on paper of an 18th Century gentleman; further with several notes and letters regarding the Freeman family of Fawley Court including a letter from E. Freeman to her mother (Fawley Court, January 17, 1806) A private Gloucestershire estate Various conditions, some toning, wear and tears to pages, scattered foxing.

The Correspondence of John Cartwright (1740-1824, Political Reformer)Archive of circa 67 letters, 1783-1822 (principally towards the latter date) addressed to John Cartwright, with some miscellaneous family papers.Selected letters and excerptsThomas Clarkson, 6 June 1811, (2) regretting not being able to meet in London and adding ‘put down my name as a friend of friend of parliamentary Reform’, and 28 June 1809, affirming his support.Thomas Brand, brief letter to Sir Francis Burdett, 5 May 1812 (‘My last motion was for leave to bring in a bill, to augment the number of voters in certain Boroughs therein mentioned’) and another of 1815, presumably to Cartwright.John (Cam) Hobhouse [Baron Broughton] (1786-1869 politician and political reformer), 2 September 1819, re Clarkson’s note to Mr Bowie.1 June 1820, ‘... I suppose you are aware that no printed petitions can be presented to the Hon. House ...’ Another undated, ‘Respecting J.C.’s petition charging 100 Peers with usurping 216 seats in the H. of Com.’ (annotation).Henry (Peter) Brougham, first Baron Brougham and Vaux, (1778-1868 Lord Chancellor, 9 July 1812. Preventing ‘C’ from opposing the Reform meeting. 12 July 1812, ‘... I must attend the House) of (Commons) to oppose the bills ag[ains]t the Constitution. ...’Thomas Denman (first Baron Denman, 1779-1854 law reformer), Cheltenham 19 September 1820.Note by Cartwright (?) relating to the character of Mrs Flanaghan, 27 January 1820.Granville Sharp (1735-1813, slavery abolitionist), 4 March 1788.Henry Hunt (‘Orator Hunt’, 1773-1835, Radical), 26 November 1812, lengthy letter, 3½ pp. 4to.John Jebb (1736-1786, religious and political reformer), Parl[iament] H[ouse], 9 April 1783, and 20 January 1784, sending two copies of his letters.John Cartwright, long ALS to Henry Strickland at Henley Park, soliciting his help, 10 October 1822, with another written on the printed Proposals for ... a New Daily Evening Paper, 30 January 1824. A further letter, 16 March 1824 on the same subject.Edmund Cartwright (1743-1823, English Inventor of the first power loom) expressing indignation at 'that scoundrel' Lord Sidmouth's rejection of a pardon for two boys to be executed in Newgate, dated 27 February 1818Samuel Parr (1747-1825, schoolmaster and supporter of reformers), 14 August 1820.Joseph Hume (1777-1855, radical and politician), 21 August ?1819, arranging to meeting London; 24 December 1820, asking for a list of subscribers.Thomas Hardy (1752-1832, radical), 5 February 1821, identifying E.H. Lushington.Richard Carlile (1790-1843, radical publisher and writer), 18 April 1819, relating to the legal defence of his case.William Wilberforce (1753-1833, Abolitionist), conclusion of a letter of 25 February 1791, ‘... I am not so conversant as I ought to be with my private affairs; & I believe the world overstates my fortune & understates my expenses. ...’William Roscoe (1753-1831, historian and abolitionist (2), 1812, (‘... I am perfectly convinced that you & I agree in founding all our ideas of reform on true english constitutional principles. ...’Henry Richard Fox [later Vassall], Baron Holland (1773-1840), 1817, promising to present the Paisley petition to the House of Lords.Adam Jerzy Czartoryski (1770-1861, Polish diplomat and author), undated, thanking Cartwright for arranging the delivery of books, asking him to settle the account, and giving an account of the terrible state of affairs in Warsaw (... Poland is again all in fire, arms are takeing up allmost every where a dreadfull scene has passed at Warsaw where the Russian Garrison has been drove out with a considerable loss ...’OTHERS:Ja[mes] Parry, 1820; The Earl of Pembroke, 1820; The Duke of Roxburghe, 1812; Gwyllym Lloyd Wardle, 1812 (‘... No one can do greater justice to your well intentioned exertions than I do ...’); William Chapman, 1809; W.J. Denison, (2) 1809; Sir G. Cayley, two lengthy letters, 1809; T. Du Cane jnr., 1809; Lord Milton, 1809; M.A. Tayler, 1809; Sir Robert Wilson (3, 1820); The Duke of Portland (2), 1820; Algernon Strickland, unsigned letter to Miss Cartwright asking her to keep a lock of Algy’s hair, 1831; John Disney (1809, addressed to ‘Dear Cousin’); the Duke of Bedford, (2), 1820; John Adams Smith, 1823; Admiral Tschitschagoff, sending Count Lieven’s contact details, 1814; James Lindsay, 1815; Peter Martin, 1816; John Thomas Cramer of Rathmore, very long letter on Irish affairs, particularly as regards the fishing industry, 4 pp. folio, 1817; John Cartwright to Henry Strickland about reform.Together with miscellaneous material relating to the Cartwright pedigree and family history (decayed leather binding) and a gilt framed portrait print of Major Cartwright after John Hoppner From a Gloucestershire Country house John Cartwright (17 September 1740 – 23 September 1824) was an English naval officer, Nottinghamshire militia major and prominent campaigner for parliamentary reform. He subsequently became known as the Father of Reform. His younger brother Edmund Cartwright became famous as the inventor of the power loom.

1950's/60's vintage clothes to include 1950's cotton evening dress, printed with scenes of boats and figures, on a blue ground, black satin ribbon detail to drop waist with a vintage paste buckle detail attached, probably later, square neck line, cap sleeves, square back, full skirt, a 1960's evening dress, slim fit, white chiffon over satin, white flowers with black rim appliqued to bodice and skirt, strapless, boned top with a halterneck, a 1950's brocade duster coat/house coat, short sleeves, silver-coloured button fastening, a pale mustard-coloured 1950's duster coat with three button fastening, a fawn wool duster coat, fall front, labelled 'Harvey Nicholls Knightsbridge' and a 1950's crepe black jacket with satin panel detail to the front and collar with faux jet button fastening (6) 

1950's boned, strapless dress, cotton, printed with tropical beach scenes, labelled 'Royal Hawaiian, Honolulu', a yellow printed sundress, drop waist, full skirt, buckles to the straps, another sundress with matching bolero, the bolero top is fastened with bakelite buttons, coral and green as in small flowers around the back and to the front, matching belt, with a full skirt, the cap sleeves have cuffs, a printed cotton dress with shawl collar, with matching belt, sleeveless, printed in browns, greens, yellows and blues, a pinafore dress in vibrant paisley pattern, full skirt, straps with button fastenings, pockets to the front, a printed cotton maternity dress/house coat labelled 'Ra L'Amour Maternel J.Trocgh, Bruxelle' and a printed fitted waisted jacket, labelled 'Ladies Pride', five-button fastening, three-quarter length sleeves, front pockets (7) Condition ReportThe strapless dress the hemline has slight fraying no other obvious damage, small size.  Yellow printed sundress some hand stitched repair to zip and to one shoulder strap, small hole under LH armpit, slight staining to RH armpit some minor fraying to hem, small size.  Sundress with bolero appears in good condition size small, Printed cotton dress waist seam thread pulled the hemline has been lowered and hand stitched up otherwise appears in good condition size S.  Pinafore dress appears in good condition approx size M, Printed cotton maternity dress seam under LH armpit slightly undone, RH armpit the same but hand repaired. Jacket appears in good condition size small.

1940's wrap day dress or house coat, paisley pattern on a pink ground, a Liberty print cotton dress labelled Dickens and Jones short sleeves, again some stitching loose, a red and white striped woollen jacket labelled Spectator Mayfair three quarter length sleeves, a 1940's knitted jumper fawn colour with knitted cherry decoration, a black evening dress with a black and white chevron insert to the  bodice and black and white chevron detail to the sleeves and a navy blue crepe dress with a blue and white polka dot bow to the boat neck line with three quarter length sleeves (6)Condition ReportThe knitted fawn jumper is approx size 12.  There is a large hole on the left hand sleeve and a few marks like white paint on it.

1970s Sindy collection, generally excellent to good plus in good plus Pedigree boxes (Sindy S collectors symbols present), with Shower No. 44573, Wash Basin No. 44541, Sink Unit No. 44548, Bed including mattress, pillows and linen No. 44503, Settee including cushions (2) No. 44518, Garden Swing No. 44511 and Wardrobe (one door hinge broken) No. 44502, plus Sindy's House (empty box only) No. 44570. Contents unchecked for completeness or correctness and untested. Viewing recommended. Qty 8 (3B)

FOURTEEN FOLDERS OF UK SHOP GIFT CARDS, from a variety of stores including Mountain Warehouse, Next, New Look, Mothercare, Nando's, National Book Tokens, M&S, House of Fraser, Ikea, H. Samuel, H&M etc, all appear to be unredeemed, it is not clear if they have been activated

Woodside Cottage Dolls House from Dolls House Emporium together with 3 boxes of Doll house accessories (4)

A set of six 1960's Danish teak Model 75 dining chairs by Neils Otto Moller, for J W Moller, with woven seats, together with a Swedish teak extending dining, by Troeds, with two additional leaves (7)265w x 100d x 74h cm Overall condition of the chairs is complete and usable. No visible breaks or repairs. There are some light marks to the surfaces, having come straight from a house. Some wear to the edges of the seats, but they are strong and stable to sit in. The table pulls out and extends ok. It does have a large dark stain to the underside which looks recent and is sticky and the surface is dry with light signs of use/age.

A large collection of assorted 12" vinyl, mostly singles some LP's, various dates and genres, to include Howard Jones - Things can only get better, Talk Talk - It's my Life, Tears for Fears - Sowing the Seeds of Love, Snap - The Power, S-Express - Theme from S-Express, ZZ Top - Sharp Dressed Man, Yes - Saving my Heart, Gary Numan - Complex, Red Box - Lean on Me, Elton John & Cliff Richard - Slow Rivers, Prince - 1999, Lil Louis - French Kiss, Ray Parker Jnr - Ghostbusters, Peter Gabriel - Sledgehammer, Jethro Tull - Said she was a dancer, Rod Stewart - Lost in You, Madness - Our House, Godley & Creme - Cry, Thomson Twins - Don't mess with Dr Dreams, Go West - We close our eyes, Bruce Springsteen - Cover Me, Elton John - Candle in the Wind, Metallica - Enter Sandman, Paul Young - Come back and stay, Alison Moyet - Ordinary Girl, Lisa Stansfield - All Around the World, Starship - Nothing's Gonna Stop Us Now, New Order - World in Motion, Rush - Spirit of Radio, Donna Summer - I Feel Love, Huey Lewis and The News - The Power of Love, Kenny Rogers - The Singles Album, and Lionel Richie - Dancing on the Ceiling, Michael Jackson - Bad (approx 230)

Illustrations of British Entomology or, A Synopsis of IndigenousInsects: containing their generic and specific distinctions; with anaccount of their metamorphoses, times of appearance, localities, food,and economy, as far as practicable. Embellished with coloured figuresof the rarer and more interesting species by James Francis StephensF.L.S. Printed for the author; published by Baldwin and Cradock; soldby J. Churchill, Saville-House, Leicester Square, and by allbooksellers. 1828-1835 (Supplement dated 1846)12 volumes including supplement, complete with 95 hand-colouredplates as called for (though occasionally eccentrically numbered andone or two misplaced, but all the plates are present)A note from West to the pastedown states that 'The Supplement dated1846 is the original. The one dated 1867 is a reprint having the platesbadly coloured.' The Supplement volume here, as West states, is the1846 first.Large octavo (250mm x 160mm). Half-leather, marbled paper-coveredboards. Rubbed, but still in good order. The spines faded to a uniformdull brown. Titles in gilt-ruled compartments are still bright enough.Occasional wear to the spine leather, some small abrasions, fraying atheads. The leather of volume six is peeling from the spine but withoutloss and is still attached. A very decent set of this importantpublication which was in competition with Curtis' 'British Entomology'published around the same time.The publication is notable for the first appearance in print of the nameof Charles Darwin. Darwin was at Cambridge in 1828, where he wasintroduced to entomology by his second cousin, William Darwin Fox.Darwin collected several species of beetles and these are recorded inStephen's work. There are about 30 mentions of Darwin's name acrossStephens' work and he took great pride in seeing his name in print'No poet ever felt more delighted at seeing his first poem publishedthan I did at seeing, in Stephens’ Illustrations of British Insects, themagic words, “captured by C. Darwin, Esq.”’(Life and letters, 1887,pp.50-51).(12)The following lots of books represent the library of George West.West's biographical details are hard to pin down, his date of birthunknown, (probably around the 1880's) and his death sometime after1945. He is known to have worked as an assistant and then lecturer inBotany at the University of Dundee from 1906. At that time theuniversity was a constituent college of St Andrews University. Westseems to have remained there until around 1926. In his publication'Practical Principles of Plain Photo Micrography' (1916) he describeshimself as a lecturer in Botany. Most of the books in the sale bear thehandstamp, 'George West' to the front pastedowns. Many volumes bearextracts from booksellers' catalogues with prices of the titles,suggesting that West liked to keep up with the current values of hislibrary.The books represent a working library and many are alsoannotated in pencil in his hand, cross-referencing other works andadding his comments. To the front of the first volume of Walker'sDiptera (see lot no.) he has inserted his handwritten poem, 'To theFuture Owners of this book'.Geordie has now turned up his toesAnd gone aloft to seek reposeFrom various varmints nips and stings,Especially those base mankind brings...........He trusts the child who gets this bookWill on the various notes just lookAnd feel that every pencil strokeHelps on the game dear Walker wrote...Although a botanist by profession, his main interest, judging byhis library appears to have been entomology and amongst the booksare some rare titles in that field many dating from the nineteenthcentury, a golden age for the natural sciences. Many of the giants inthe field of Entomology are represented in the books and there aregood sets of Curtis, Donovan and Stephens with many exquisite, hand-coloured illustrations. Geology was another of his interests, as well asmicroscopy.What little is known of George West is largely gleaned from apublication from Hereford Museum published in 2007. West haddonated a large collection of mineralogical specimens to the Museumin 1945. His connection with Hereford, however, appears to betenuous and the man remains something of an enigma.

A 1930's wooden constructed dolls house with double opening front revealing a selection of period furniture and fittings, side opening compartments and hinged roof, 28" high x 27" wide

ROGER FRY (BRITISH 1866-1934) HOUSE BY THE WATER'S EDGE Ink Signed and indistinctly dated 15[?] (lower right) 23.5 x 35cm (9¼ x 13¾ in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present ownerExhibited: London, The London Artist's Association 'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read  Condition Report: Unexamined out of glazed frame. Overall fading throughout the sheet, most notable to the signature and date to the lower right corner. Otherwise no other obvious condition issues. Condition Report Disclaimer

A quantity of doll House accessories including furniture, clothes, dolls, animals; etc (5 boxes)

* Smith of Derby (Thomas, 1721-1767). View of Shipping on the River Avon from Durdham Down, near Bristol, circa 1756, oil on canvas, relined (cleaned and revarnished by Hamish Dewar Ltd, 14 Mason's Yard, Duke Street, St. James's, London, SW1Y 6BU), 51 x 119.5 cm (20 x 47 ins), Frost and Reed stock (6752) labels, with artist and title details, 'River Avon Scene, Bristol', Hamish Dewar Ltd sticker (marked Davies 1411), and 2004 auction sticker (lot 136) to verso, late 18th century English carved and gilded fluted frame with rosette corners (66 x 135.5 cm)QTY: (1)NOTE:Provenance: Edith and Eleanor Frost, daughters of Walter Frost of Frost & Reed; thence by descent to John Pilkington, (son of Christopher Pilkington, rector of St. Stephen's Church, Bristol from 1968); Sotheby's The British Sale: Paintings, Drawings and Watercolours, 1st July 2004, lot 136 (hammer price £12,000); Estate of Martin Davies, Bristol (owner's documentation supplied with this lot).Literature: Francis Greenacre, From Bristol to the Sea, Artists, the Avon Gorge and Bristol Harbour, 2005, page 28:"Thomas Smith of Derby (c.1720 - 1767)View from Durdham Down c.1756Oil 490 x 1170 mm Private collectionOne of the advertised features of a visit to the Hotwell was the pleasure of riding on the broad unbroken stretches of turf on the Downs. Here, an elegant carriage with postillions and outriders approaches Sea Walls. Mr E. Owen in his guide to the Hotwell published in London in 1754 wrote: "For those who love riding there is the finest country in the world; and, even for carriages, nothing can exceed it; the Downs are spacious and open, and we enjoy healthful exercise in a pure air…". The artist, Thomas Smith of Derby may first have come to the Hotwell for his health, for we know that he was to die here on 5 September 1767. It is also possible that it was the growing reputation of the spectacular landscape of the Avon Gorge that first attracted him to Bristol. He painted two opposing views of the Avon Gorge from the Downs, one looking back towards the Hotwell and the present view which is also known in two other versions. This particular elongated version was probably a commission for an overmantel or overdoor. Both views were engraved in 1756. Smith was self-taught and much of his work, especially his many landscapes of his home county, is unencumbered with the self-conscious allusions to the work of earlier Continental painters such as Claude Lorrain, Gaspar Dughet or Salvator Rosa that are found in the work of many landscape painters at this time. He did, however, give the middle names of Correggio to one son and of Raphael to the other. In this painting the sparring goats in the foreground are probably derived from engravings after Claude."This view from the Downs looks towards Sea Walls on the right and clearly shows the wall built by John Wallis in 1746 for the safety of visitors to the Hotwells. Beyond is the somewhat elongated tower, known as Cook’s Folly. It was built by John Cook, the City Chamberlain, at the end of the seventeenth century to embellish his Sneyd Park estate. In the centre far-distance, is Vanbrugh’s Penpole Lodge, an eye-catcher and spectacular vantage point for King’s Weston House. The red-tiled roof towards the left is the New Hotwell, a second hot-spring discovered in 1702. John Wesley visited for three weeks in 1754 and found it ‘free from noise and hurry’, but by the 1780's it was just a shelter for the quarrymen. The elegant couple just above the goats may well be headed for the New Hotwell and they appear to be on a newly-quarried path that still survives within today’s dense woodland. Opposite Cook’s Folly on the Somerset side of the Avon is a rare glimpse of the castellated Manor House of Abbotts Leigh, home of the Gordon family, West India merchants and plantation owners. This was to be replaced early in the nineteenth century by Leigh Court, but higher up the hillside. In the centre foreground are three gentlemen, one with a hammer, another holding a geode, perhaps. They may be very early amateur geologists in pursuit of Bristol Diamonds, a feature of the Avon Gorge that had been celebrated since the sixteenth century.

* Baker Pyne (James, 1800-1879). The Burning of the Toll Houses on Prince Street Bridge during the Bristol Riots with St Mary Redcliffe, & The Burning of the New Gaol, Bristol, 1831, oil on paper laid on panel, 138 x 102 mm (5 3/8 x 4 ins), and 100 x 138 mm (3 7/8 x 5 3/8 ins), the latter with early printed label of the Bristol Industrial and Fine Art Exhibition, 1893, giving the title, artist's name and lender's name and address 'Ms. S. C. Hosegood, 92 Pembroke Road, Clifton', both displayed in matching period gilt moulded frames (24 x 20 cm)QTY: (2)NOTE:Provenance: Ms. S. C. Hosegood, 92 Pembroke Road, Clifton, by 1893; Sotheby's, New Bond Street, London, British Paintings, 10th November 1993, lot 99 (hammer price £5,800); Estate of Martin R. Davies, Bristol.Exhibited at the Bristol International and Fine Art Exhibition, 1893, (picture of the New Gaol exhibited as W. J. Müller).The Bristol Riots of October 1831 were the most violent disturbances to take place in England during the Nineteenth Century. General unrest preceding the great Reform Bill of 1832 sparked off demonstrations when the Recorder of the City, Sir Charles Wetherall arrived on the morning of 29th October. He had asserted in Parliament that the people of Bristol were largely unconcerned by the need for reform. During the following two days, the riots led to the burning of many buildings including the Bishops Palace, half of Queen's Square, the Mansion House, the Toll Houses at Prince Street Bridge and the New Gaol near Bathurst Basin.

A fine Great War ‘Western Front’ M.C. and Second Award Bar group of nine awarded to Brigadier H. H. M. Oliver, Royal Garrison Artillery, who was wounded in 1917, taken Prisoner of War at St. Quentin in 1918, and subsequently served in the jungles of Burma during the Second World War Military Cross, G.V.R., with Second Award Bar, unnamed as issued; 1914-15 Star (2. Lieut. H. H. M. Oliver. R.G.A.); British War and Victory Medals (Lieut. H. H. M. Oliver.); 1939-45 Star; Africa Star; Burma Star; War Medal 1939-45; Jubilee 1935, unnamed as issued, the Great War awards mounted as worn, the later awards loose, contact marks to the Great War awards, therefore very fine; the unmounted awards extremely fine (9) £1,400-£1,800 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- M.C. London Gazette 26 November 1917; citation published 6 April 1918: ‘For conspicuous gallantry and devotion to duty in maintaining communication as forward observation officer under heavy shell fire. On six occasions he went out himself under heavy fire and mended telephone wires. He also brought in four wounded men who were lying out exposed to fire.’ M.C. Second Award Bar London Gazette 8 March 1918. Henry Herbert Montague Oliver was born at Dharwar, Maharashtra, India, on 22 April 1897, the only son of Edward Graves Oliver, Deputy Conservator of Forests in the Indian Forestry Service, and was sent to England as a baby. Spending his school holidays with Anglo-Irish relatives in Galway, he did not see his parents again until he was 16. Passing fourth into the Royal Military Academy, Woolwich, he was commissioned Second Lieutenant in the Royal Garrison Artillery on 28 July 1915, and served with the Artillery during the Great War on the Western Front from 4 August 1915. Promoted Lieutenant on 1 July 1917, he was reported wounded on 19 October 1917, and the following year was captured and taken Prisoner of War at St. Quentin. For his services during the Great War he was awarded the Military Cross and a Second Award Bar. Following the cessation of hostilities, Oliver served in Ireland during the Irish Civil War, before being posted to India in 1922, and from there to Hong Kong, where he met his Canadian wife, Elizabeth Jones. They were married at the Garrison Church, Aden, on 23 March 1928, ‘attended by all the troops and their dogs, and followed by a reception feast of liver and onions. Their wedding night was spent under the stars at the end of a row of fellow officers’ cots, whose legs were standing in tins of kerosene to keep off the bugs’ (Imperial Vancouver Island Who was Who refers). In 1936, Oliver was posted again to Hong Kong, much to the delight of his family, as recounted by his daughter Elizabeth, who was aged four when they moved: ‘Hong Kong was a wonderful place to be a soldier. Soldiering meant going to the office in the morning, lunch at the Club or the Peninsula Hotel, followed by race meetings at Fanling or Macao in the afternoon and dinner parties at night. We had a Chinese cook, two house boys, a fah wong (gardener), an amah, and a Portuguese nanny - all on a Major's pay! My father kept two race horses, Double Chance, a little grey China pony, and Sea Urchin, an Australian mare. They won the Governor's Cup twice, much to his delight. He rode himself as a 'bumper' or gentleman jockey, being too tall - 6' 1"- and heavy for anything else. They also ran a drag hunt, and we raised two foxhound puppies every year for the hunt.’ Oliver’s posting to Hong Kong came to an end in 1940, and the family returned to England. The following year, with the rank of temporary Brigadier, he was recalled for War service, and served in both North Africa and then in Burma, fighting the Japanese in alien jungle conditions and an appalling climate. As a result, he was to suffer from recurring bouts of malaria for the rest of his life. After a brief spell in command of a territorial unit in Cumberland (an appointment that he took up ‘to improve his pension’), he finally retired to Victoria, British Columbia, in 1947. Following the death of his wife in 1971, he became something of a recluse, ‘his best friends being his neighbours’ dogs’. He died on 8 February 1984 at the age of 86. Sold with the recipient’s small travel suitcase, this inscribed ‘Lt. Col. Oliver. H. H. M.’, and containing a large number of Great War period maps of the Western Front; together with the recipient’s miniature awards (the Great War awards mounted on one bar; the Second War awards mounted on a separate bar; the Jubilee Medal not present; and an additional set of the Great War campaign miniatures); Great War riband bar; Regular Army Reserve of Officers lapel badge; various Military cartoon prints by H. S. Cameron; three photographic images of the recipient; and copied research.

Vintage doll with a miniature example in a jar, H: 25cm. Not available for in-house P&P

A metamorphic child's highchair, pre 1900's. Not available for in-house P&P

1970's complete 50 piece dinner cutlery, on teak stand. Not available for in-house P&P

Small mixed lot including T,E,N,S unit. Not available for in-house P&P

John Napper, British 1916-2001 - Study of Highgrove House: Seen from the garden, 1997; watercolour on paper, signed, signed again with monogram and dated lower right 'John Napper 1997', 30.2 x 32.3 cm (ARR) Exhibited:Hampton Court Palace, London, A fundraising exhibition in aid of The Prince of Wales’s Charitable Foundation, 12th November 1998, no.31 (according to the label attached to the reverse of the frame) Note: the above exhibition was organised by Sheeran Lock 

Pierre Cardin / Jaeger. A stainless steel and acrylic driver’s rectangular wristwatch, PC111, Espace Collection, circa 1971. Movement: cal. 36, manual winding, 17 jewels. Dial: silvered, baton indexes. Case: stainless steel, angled blue acrylic, raised polished bezel, screw-down back, no. 905622. Signed: dial, case and movement signed Jaeger. Dimensions: length 39.5mm, width 34mm. Accessories: presentation plastic tube. £300-£500 --- Provenance: Private Collection. Pierre Cardin, the Italian-born, French fashion designer (1922-2020) was known for his avant-guarde style and space age designs. He founded his fashion house in 1950 and focused on geometric shapes and motifs, his experimental designs were alternative and not always practical. He famously designed the collarless suits for the Beatles in 1963 and Nasa Spacesuits in 1970. Inspired by Space exploration, Pierre Cardin launched the Espace collection of wristwatches in 1971. A time of playful and alternative experimentation Cardin was surely influenced by such cult movies as Stanley Kubrick’s 2001: A Space Odyssey and Jane Fonda’s Barbarella which were both released in 1968. There were 26 models within the collection in total, incorporating manual winding movements from Jaeger and housed in futuristic cases manufactured using distinctive ’70’s materials. Pierre Cardin himself is quoted as saying - ‘The infinity of space is more inspiring than anything else’. Condition Report Movement: running at the time of cataloguing. Dial: in good condition. Case: scuffs throughout, some very slight chips to the edge of the acrylic to the top left hand side. Gross weight: 48.1gms. Please note that the above condition report is a statement of opinion only and may not specify all mechanical replacements or imperfections. Watches are opened to examine the movements, no warranties are made that the watches are water-resistant. The watch has not been tested for the accuracy of its time keeping and would benefit from a service at the buyer’s expense.

BOSCO JOHN: (1815-1888) Don Bosco. Italian Roman Catholic Priest, Educator and Writer. He developed teaching methods based on love rather than punishment, a method known as the Salesian Preventive System. Founder of the Salesians of Don Bosco. Canonized as a saint in 1934. Rare A.L.S., `Obbl.[igatissi]mo Servitore Sac. G. Bosco´, three pages, small 4to, Turin, 15th May 1870, to Countess Callori, in Italian. Bosco thanks his correspondent for her help and charity and refers to his recent trip stating `Benemerita Signora Contessa, la sua lettera mi venne a raggiungere in Mornese che é il Paradiso terrestre della Provincia Acquese - Ella abbonda in bontá e carité ed io la ringrazio. Il mio viaggio fu ottimo. Cessazione dalle ordinarie occupazioni, un po´ piu di riposo, buoni pranzi mi hanno fatto benissimo, al corpo s´intende-…´ (Translation: “Well-deserving Madam Countess, your letter reached me in Mornese which is the earthly paradise of the Acquese Province - You abound in goodness and charity and I thank you. My trip was excellent. Cessation from ordinary occupations, a little more rest, good lunches have done me very well, for the body of course -…”) Saint John Bosco further unusually recommends a relative, saying `Le mando unito un biglietto pel benevolo cav. Giacosa. E´ la prima volta che raccomando un parente; glielo avevo promesso come premio e lo fo perché lo ha guadagnato…´ (Translation: “I am also sending you a note for the kind gentleman Giacosa. It's the first time I've recommended a relative; I promised it to him as a reward and I do it because he deserved it…”) Further again, and before concluding, Bosco explains his near future travelling plan, stating `Se potró andare a Mirabello la preverró e faro certamente una stazione a sua casa – L´altro ieri si tenne seduta a Roma riguardo all chiesa di S. Giovanni della Pigna – il risultato fu per noi: forse dovró fare una corsa a Roma; oggi ho scritto per vedere se posso farne a meno a al meno differire…´ (Translation: “If I can go to Mirabello, I will anticipate it and certainly make a stop at your house - The day before yesterday there was a session in Rome regarding the church of S. Giovanni della Pigna - the result was that perhaps I will have to make a trip to Rome; I wrote today to see if I can cancel it or at least postpone it…”) Overall minor age wear, with a very small hole not affecting the text or signature and few minor foxing stains, otherwise G Countess Carlota Calori di Vignale (1827-1911) one of the most important financial benefactors of Bosco´s projects. Bosco considered Countess Callori as his second-mother.

MIRABEAU HONORÉ COMTE DE: (1749-1791) Honore Gabriel Riqueti. French Writer, nobleman and Orator, a leader of the early stages of the French Revolution. President of the National Constituent Assembly 1791. A successful orator who became the voice of the people. A good autograph letter written during is exile in England, A.L., one page, 8vo, n.p., n.d., to Sir Gilbert Elliot Baronet, at Westminster, in French. Mirabeau states `Mon ami, nous pensons Baynes et moi qu´il serait bon que tu m´envoyasses ta lettre pour St. Leger à son frère le colonel en le priant de la faire partir par le corrier; de cette manière les bienveillans ne pourront pas douter que la lettre ne vienne de toi. Prière instante à toi, mon cher ami, de passer chez Sir Robert Herries et de lui demander en mon nom et au sien de certifier que la relation insérée dans le Morning Post ci-joint est vraie dans tous ses points...´ (Translation: "My friend, Baynes and I think that it would be good if you send your letter for St. Leger to his brother the Colonel, asking him to send it by courier; in this way the well-wishers will not be able to doubt that the letter comes from you. I pray you, my dear friend, to call Sir Robert Herries and ask him in my name and his to certify that the list inserted in the attached Morning Post copy is true in all its points...") Mirabeau further organizes the way to meet with Baynes, and concludes with a Latin statement `Vale et me ama´ ("Goodbye and love you") The letter has been lightly affixed to its left edge to a slightly larger 8vo card. GDuring Mirabeau´s exile n England, he was soon admitted into the best Whig literary and political society of London through his old school friend Gilbert Elliot, who had become a leading Whig member of parliament.Gilbert Elliot-Murray-Kynynmound, 1st Earl of Minto (1751-1814), known as Sir Gilbert Elliott, 4th Baronet until 1797, and the Lord Minto from 1797 to 1813. British Diplomat and Politician who sat in the House of Commons between 1776-95. He was Viceroy the short-lived Anglo-Corsican Kingdom 1793-96, and Governor-General of India 1807-13. ​

FRANCK CESAR: (1822-1890) Belgian-French Composer. A very good A.L.S., `Cesar Franck´, one page, 8vo, n.p., n.d. [1880], to a friend, in French. Franck deeply thanks his correspondent and fixes a musical appointment, stating in part `Merci mille fois cher ami de votre excellente lettre, elle m´a rendu heureux. J´en ai reçu également une très bonne bonne de Mr. Bardieu. J´irai chez vous demain dimanche soir vers 8 heures ou 9 heures avec du Psyche de la... et d´Ivan IV..´ (Translation: "Thank you a thousand times dear friend for your excellent letter, it made me happy. I also received a very good one from Mr. Bardieu. I will come to your house tomorrow Sunday evening around 8 or 9 o'clock with the Psyche, the... and Ivan IV...") With blank integral leaf. Traces of former framing to the edges, otherwise G to VGPsyche is a symphonic poem for orchestra and chorus by Franck (1886-88)Ivan IV is an opera in five acts by Goerges Bizet (1838-1875). The initial works from 1856 to 1858 on this opera were composed by Charles Gounod (1818-1893). Although Gounod completed his opera it failed convincing the PArisian Paris Opera to perform it. Gounod would use parts of this opera in later works. From 1862 to 1865, with Gounod´s encouragement, Bizet will strat working on the same libretto. He also completed his opera in 1865 and although its premiere was announced, it never happened.

A collection of Bluebird Toys Polly Pocket play sets c.1990-1996, to include Water Fun Park, Clubhouse, Sparkling Mermaid Adventure Enchanted Stroybook, Funtime Clock, Starshine Palace, Polly's Country House, Holiday Chalet, Palomino Pony, Polly's Beach Cafe, Polly's Watermill Cottage, Toy Shop, Princess Polly's Eastern Paradise and Dressing Up Locket (13, unchecked for completeness but numerous figures and accessories included), together with a Russ Troll doll (14)

Great Britain 2000 (4 August) Queen Mother's 100th Birthday Min Sheet FDCs, with Castle of May, Clarence House, Buckingham Palace Rd, Governor Gardens and sheetlet Stamp Club h/s, a/l (5)

A Jim Hemsley Tigger Pond 1/24th scale modern miniaturist dolls’ March 1995, A Tudor style dolls house, front opening to reveal three rooms, stair to side, fully furnished inside as a mad professors work laboratory, on a stone effect base, marked Tigger Pond doll Houses March 1995 Jim Hemsley, plaque to back of house, electrically lit (untested) --14in. (35.5cm.) wide by 20 1/2in. (52cm.) high

A large quantity of vintage and modern dolls' house accessories, including a Doll-I-Toy Doll's House, a Jouef miniature farm house, a selection of farmyard animals; pigs, cows, goats, sheep, four boxed Mettoy doll's house furniture sets, a large quantity of del Prado Dolls' House Step by Step kits (2 boxes)

1 litre bt Pinwinnie Royal Scotch Whisky 40% Velvet Drawstring Bag 2 75-cl bts House of Commons 12YO N°1 Scotch Whisky 40% 1 oc 1 75-cl bt The 'Royal Household' Blended Scotch Whisky 40% sl stl Above 1 litre bottle and 3 75-cl bottles believed 1980's

St Ives Interest Ephemeral booklets about the town, including guidebooks MATTHEWS, John Hobson; A Guide To St Ives: It's Surroundings, Scenery, Curiosities, Antiquities, History and Traditions; James Wearne, Printer and Publisher, Saint Ives, 1884;BICKNELL, Ethel E; St. Ives Cornwall with its Surroundings. The Homelands Handbooks Vol. 78 of the Series; The Homelands Association / Frederick Warne & Co, London, 1910. A first edition and a third edition copy of this guide to this area of Cornwall. Some period advertisements. Not dated but believed to be from around 1910. The fold out map missing from the later edition, but other is loose with some tears and loss to margin, light foxing and otherwise good.PAYNTER, William; Old St Ives: The Reminisces of William Paynter; illustrative frontispiece of The Old Manor House, St Ives; two other lithograph illustrations of Seine Boat, St Ives and Tucking Pilchards in St Ives Bayz all three being reproduced by courtesy of Mr W. J. Cooper; James Lanham Ltd, St Ives, November 1927.PAGE, Hugh E; Walks Around St Ives, Cornwall; published by GWR, London, 1946;BADCOCK, W. 'Historical Sketch of St Just and District (With Illustrations) illustrations include Porthminster Hotel, Floods at Tregenna Place, St Ives, Gurnards Head and Lands End,' many advertisements of the time, detached cover with foxing, but text block mostly clear, F. Rodda, Penzance,1896.LAITY, R.P. 'St Ives in the 1800's,' illustration of The Schooner 'Sylph' of St Ives, Thos J. Williams, 1866 to title page and a further illustration of St Ives, 1813 to page 33, first edition, Wordens of Cornwall Ltd, Penzance, 1973; and four other guides to St Ives. John Stengelhofen (1939-2020). Please see lot 1 for provenance.

Some with colour pencil additions from Hooper, in varying condition but mostly vg, all rolled.Including;OS 25’ 1908 Carnkie, Wheal Basset, Buller Downs;OS 25’ 1907 Twelve Heads, Baldu;OS 25’ 1908 United Mines St Day, Sparry Bottom, Cusgarne;OS 25’ 1908 Carn Marth, Busreal to Pennance Lane, Carharrack;OS 25’ 1907 Calradnack, Boswin, Halebezak (Wendron), lodes and boundary;OS 25’ 1907 Wendron, Carnkie, Rame Common, lodes & boundary;OS 6’ (1908)? Delabole, St Kew, mines & lodes marked;OS 25’ 1907 Traon, Penhale Moor, St Columb, St Enodoc; OS 25’ 1881 (on cloth) St Stephen’s Coombe, St Stephen in Brannel;OS 25’ 1907 Indian Queens & Fraddon Downs;OS 25’ 1907 St Columb Road to Goss Moor;OS 25’ 1907 White Cross to Carworgie (St Columb Major Parish);OS 25’ (1908 with 1960’s additions) Redruth to Wheal Uny;OS 25’ 1908 photocopy, Redruth Highway, Tefula;OS 25’ 1908 photocopy, Redruth North, Plain-an-Gwarry, Treleigh;OS 25’ 1974 Troon + Grenville, SW 6638-6738;OS 25’ 1908 Troon and Bolenowe OS 25’ photocopy, Broad Lane;OS 25’ photocopy, Four Lanes;OS 25’ photocopy, Carn Marth;OS 25’ photocopy, Croft Mitchell, Cavolth, Hangman’s Hill;OS 25’ photocopy, Lanner, Tresavean;OS 25’ photocopy, Tehidy House;OS 25’ photocopy, Croft Handy, Tod Pool;OS 25’ photocopy, United Mines St Day;OS 25’ photocopy, Pool;OS 25’ photocopy, Trevoole, Carwynnen;OS 25’ photocopy, 1908, North Country;OS 25’ 1877-1878, Troon;OS 25’ photocopy, Trefula, Treskerby;OS 25’ photocopy, 1877, Mawla;OS 25’ photocopy, Nance, Bridge, Illogan;OS 25’ photocopy, Park Bottom;OS 25’ photocopy, Brea, Carmarthen;OS 25’ photocopy, Brea, Carmarthen;OS 25’ photocopy, Pool;OS 25’ photocopy, Roscroggan Stream Works;OS 25’ photocopy, Tehidy House;OS 25’ photocopy, Scorrier, Wheal Rose;OS 25’ photocopy, Lanner;OS 25’ photocopy, Carnkie;OS 25’ photocopy, Redruth West, Wheal Uny;OS 25’ photocopy, Illogan;OS 25’ photocopy, Skinners Bottom;OS 25’ photocopy, Nancekuke;OS 25’ photocopy, Mount Hawk;OS 25’ photocopy, Carn Marth;OS 25’ photocopy, Wheal Rose;OS 25’ photocopy, Carnkie;OS 25’ photocopy, North Country;OS 25’ photocopy, Plain-an-Gwarry, Treleigh;OS 25’ photocopy, Carn Marth;OS 25’ photocopy, Perran, St George Mine;OS 25’ photocopy, Perran, St George Mine;OS 25’ 1908, Great Wheal Busy.From the estate of Ron Hooper, M.V.O., A.C.S.M., F.I.M.M.Born in St.Agnes, he graduated from Camborne School of Mines. After a short career mining in the Gold Coast of Ghana he joined the Camborne School of Mines, eventually becoming Senior Lecturer in Surveying. At the same time, he acted as an independent mining engineer and was appointed mineral agent for several Cornish estates including the Duchy of Cornwall, Tregothnan, and the Godolphin Estate (amongst others).

A large collection of works. Mostly Cornish published limpbacks. I. S. Maxwell. 'Historical Atlas of West Penwith'; Peter Shepard. 'The Historic Towns of Cornwall. An Archaeological Survey'; C. H. Ward-Jackson. 'Stephens of Fowey. A Portrait of a Cornish Merchant Fleet 1867-1939'; Cornwall Archaeological Unit. Annual Report 1985-86; Charles Thomas. 'Military Insignia of Cornwall' with supplement (2); 'The Trinty House Museum. A Feasibility Study' by Poynton Bradbury Associates Architects; 'Census 1971. Cornwall and The Isles of Scilly' Parts I, II and III; 'The Ship Registers of the Port of Hayle' National Maritime Museum; Myrna Combellack. 'A Survey of Musical Activities in Cornwall,' 1974; E. M. R. Ditmas. 'Tristan and Iseult in Cornwall,' 1969; Gladys and F. L. Harris (ed). 'The Making of a Cornish Town. Torpoint and Neighbourhood Through Two Hundred Years,' 1976; A. C. Canner. 'the Parish of Tintagel. Some Historial Nores'; Malcolm Saville. 'Come to Cornwall'; With over fifty other works including subjects such as Archaeology, Redruth, Bodmin, Cornwall County Council, Mining, Callington, Trevithick &c. &c. (50+)John Stengelhofen (1939-2020). Please see lot 1 for provenance.

Some with colour pencil additions from Hooper, in varying condition but mostly vg, all rolled. (Q)Including;0.5 1908 25 inch Scorrier and Wheal Rose, marked with lodes 0.5; 1974 Sheet 74 SW 74 St Day; 0.5 1963 Sheet SW 74 SW 6” St Day; 0.5 1890 Perranporth Rose, Gear Sands; 0.5 1908 25” North Country to Wheal Reevor marked with lodes; 0.5 1908 25” Redruth (S,W) to Carn Brea; Photocopy of 589 Overlaid with 1960s development; Photocopy 1908 25” 0.5 map Treleigh and Plain an Gwarry overlaid 1960s development; Photocopy part 0.5 25” map Shades bridge and Kestle Quarry; 0.5 1890 6” Perranporth; 0.5 1963 6” Redruth and St Day SW74SW; 0.5 1974 6” Redruth and Sat Day SW74SW with contours; 0.5 1908 25” Wheal Rose, Scorrier, Killifreth. Underground adits, including country adit marked in red; 0.5 1908 25” Redruth North (Plain An Gwarry, Treleigh) with laker housing superimposed; 1908 25” Redruth South Carn Brea Village Trewirgie, Victoria Park; 1908 25” Redruth North Country and Wheal Reevor, underground adits marked; 1908 25” Relubbus (left handed half); 0.5 1908 25” Goonlaze (Stithians parish); 0.5 1908 25” Brea Village, Condurrow, Treskillard, Carn A and then Piece; 0.5 1908 25” Tregonning Hill, Great Work Mine, Balwest, marked with a straight blue line; 0.5 1907 25” Navax Point, Hells Mouth, Hudder Downs, some fields coloured red; 0.5 1908 Part 0.5 LXXIV.8 Part Mounts Bay, The Greeb, Maen du Point; 0.5 1907 25” St Stephens Coombe Resugga; 0.5 1908 25” Pendarkes House, Treslothan, Ramsgate; 0.5 1908 25” Four Lanes; 0.5 1908 25” Mounts Bay, Methleigh, Tranno, Tremearne; 0.5 1908 25” Woon Gumpas Common with Penwith Boswens Common; 0.5 1907 25” Burnthouse, Laity moor, Roskrow (St Gluvias); 0.5 1936 25” Germae Tresowes Green; 0.5 1936 25” Kenneggy Downs and Kenneggy Sands; OS 50’ Copy SW 6539 SE 1967 Vivians Shaft Beacon;OS 25’ Copy SW 6439/59 Tregenna Lane, Camborne;OS 25’ Copy 6239/6339 Penponds;OS 50’ SW 6339 NE Camborne Rugby Ground;OS 50’ SW 6439 SW Barripper Road, Pendarvis Road;OS 50’ SW 6439 NW Tregurthen Road, Tregenna Lane;OS 50’ SW 6841 SE (photocopy) Carn Brea Mine, Carn Brea;OS 50’ SW 6841 SW (photocopy) Barncoose, Carn Brea;OS 50’ SW 6340 NW (photocopy) Weeth Road;OS 50’ SW 6340 NE (photocopy) Weeth Road;OS 50’ SW 6440 SE (photocopy) central Camborne Town;OS 50’ SW 6741 SW Carn Brea Leisure Centre;OS 50’ SW 6741 NW (photocopy) Flamingo, Taylors Shaft;OS 50’ SW 66 (photocopy) Pool School;OS 50’ SW 6641 NW (photocopy) A30 Junction Tolvadden;OS 50’ SW 6641 (photocopy) South Crofty, SWEB, Pool;OS 50’ SW 6641 (photocopy) Robinsons Shaft;OS 50’ SW 6640 Camborne Central;OS 50’ SW 6539 NE (photocopy) Pengegon;OS 50’ SW 6539 NW Stray Park;OS 50’ SW 6539 SE Beacon x 3;OS 50’ SW 6540 SW Wesley Street, Holmans;OS 50’ SW 6541 SE North Roskear;OS 50’ SW 6540 NE Roskear, Tuckingmill;OS 50’ SW 6440 SW College Street Camborne;OS 50’ SW 6540 SE Dolcoath, Pengegon;OS 50’ SW 6440 NW Reskadinnick Road;OS 50’ SW 6539 SW Trevu Road;OS 50’ SW 6640 NW Chapel Road, Tuckingmill;OS 50’ SW 6440 NW Enys Road;OS 50’ SW 6439 SW Mount Pleasant Road;OS 50’ SW 6439 NE Camborne Library;OS 50’ SW 6339 SE Penponds;OS 50’ SW 6340 NE Weeth Road West;OS 50’ SW 6340 SE Treswithian; OS 50’ SW 6540 NW North Roskear TA Centre;OS 25’ SW 6440–6540 Camborne;OS 50’ SW 6441–6741 Tuckingmill, Pool. (Q)From the estate of Ron Hooper, M.V.O., A.C.S.M., F.I.M.M.Born in St.Agnes, he graduated from Camborne School of Mines. After a short career mining in the Gold Coast of Ghana he joined the Camborne School of Mines, eventually becoming Senior Lecturer in Surveying. At the same time, he acted as an independent mining engineer and was appointed mineral agent for several Cornish estates including the Duchy of Cornwall, Tregothnan, and the Godolphin Estate (amongst others).

Torpoint Ferry Interest. Carew-Pole Papers Correspondence, plans, surveys etc for a new ferry, 1893-1923. Vol I- 'Antony Ferry Closure Correspondence-Torpoint Steam Ferry Improvements, 1893-1919,' correspondence (both typed and MS) between solicitors and parties involved in the creation of a more efficient steamer "...similar to those used at Gosport, New York &c &c", thus "necessary to again excavate the ferry canal and form a Dock and Landing Stage...", fascinating documentation on the mechanisms involved, incorporating Lieut Gen Sir Reginald Pole-Carew, representatives of the Home Office, numerous solicitors and tenants of rented lands from the estate of Anthony House, including receipts, surveys, MS and typed letters etc, in uniform blue boards.Vol II-'Sale of Torpoint Ferry to Cornwall County Council- Negotiations and Agreement, 1919-1920,' correspondence (typed) from 'Walker, Martineau & Co (solicitors)', a 'Memorandum of Agreement between Sir Reginald Pole-Carew and Lord St. Levan,' and Cornwall County Office "That we approve the principle of the purchase of the Torpoint Ferry provided that details are approved by the Finance Committee", bound in uniform blue boards.Vol III-'Torpoint Ferry Application by Sir Reginald Pole Carew and Geroge James Craddock to be Exempt from Income Tax Whilst Owning and Operating the Ferry. Royal Court of Justice, 10th April 1919,' transcript of the Shorthand Notes of Bennett & Co, 67 & 69 Chancery Lane, London, W. C, Sir John Simon, K.C and Mr A. M. Latter appeared as Counsel for the Appellants, The Solicitor General and Mr Parr appeared as Counsel for the Crown, In the High Court of Justice, King's Bench Division, bound in uniform blue boards.Vol VI- 'A Bill to Increase Tolls. General Correspondence, Valuation of Equipment etc, 1920,' consisting of receipts, surveys of lands, buildings, stores and permanent fixings (including value), bills, 'Statement showing the amount of capital put in the Ferry undertaking..., 25th March 1920,' and a copy of correspondence regarding '...the removal of Antony Passage Ferry', bound in uniform blue boards.Vol V- 'Attempts to Close the Ancient Antony Ferry, Correspondence, 1921,' concerning '...if we should grant to Lieut Gen Sir Reginald Pole-Carew licence to discontinue, relinquish and cease to maintain the ancient ferry known as Antony Passage Ferry...,' draft letters, newspaper clippings of plans, opinion of Norman C. Armitage Lincolns Inn 27th July 1921, 'Instructions to Counsel to settle draft Writ of Ad Quod Damnum, correspondence from County Hall Finance Department etc, uniformly bound in.Vol VI- 'Correspondance Relating to the Sale of The Torpoint Ferry, 'S. S. Beatrice', 1922-1923,' letters from 'Walker, Martineau & Co, Antony House Estate Office, County Hall etc, uniformly bound in.Vol VII- 'Torpoint Ferry Map Showing New Ferry Crossing, 1919,' coloured for the proposed route, backed onto linen, uniform case, 71mm x 102mm. (7)

Philately interest - German / Russia / Czechoslovakia / Poland, European etc housed in four Light House stock books, c.1870 through to 1990's, comprising West Germany; Gibraltar; Slovenia; WW" German Occupation of Serbia; Slesvig; Belgium; Switzerland; Monaco; Bosnia-Herzegovina; German Empire & Zones; German States / Annexes; Saar; Joint Allied Occupation; British & American Zone; French Zone; French Rhineland Pfalz; Russian Zone; OPD Halle; N. German Postal District; Latvia; WWI Belgium (OP); East Germany; Bohemia & Moravia; Czechoslovakia; Poland; Danzig. (large quantity)

Philately interest - African Nations etc housed in four Light House stock books, c.1860 through to 1990's, comprising Egypt; British Tangier; Algeria; Chad; Morocco; Libya; Tunisia; Niger; Mali; Sudan; Senegal; Ethiopia; French West Africa Mauritania; Gambia; Botswana; Angola; Comoros; Rhodesia Southern; Zambia (Northern Rhodesia); Nyasaland; Zimbabwe; Malawi; Zaire; Benin Dahomey; Madagascar; British East Africa; South Africa; Eswatini (Swaziland); Lesotho Basutoland; Natal; Reunion; Transvaal; Tanganyika; Zanzibar; Kenya; Uganda; Burundi; Ruanda-Urundi; Rwanda; French Somali Coast; Tanzania; East Africa and Uganda Protectorates. ( large quantity)