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The Book of the Thames From its Rise and Fall by Mr and Mrs S C Hall, New Edition

A Lonsdale & Dutch of Edinburgh black enamel Edinburgh New Town hall lantern with glazed panel sides and complete with candle snuffer, converted to electricity. H100cm. 

various lot with 18th Cent. porcelain : two Chinese sets of cup and saucer and two small English "New Hall" plates (dd 1790) || Lot (6) achttiende eeuws porselein met twee Chinese sets van tas en ondertas en twee kleine Engelse bordjes (New Hall ca 1790)

An early 19th Century New Hall tea set decorated with flowers, tea pot and three other pieces a/f **PLEASE NOTE THIS LOT IS NOT ELIGIBLE FOR IN-HOUSE POSTING AND PACKING**

Group of late 18th century English blue and white porcelain, comprising a Caughley (Attrib.) teabowl and saucer, Caughley (Attrib.) cup and saucer, two Caughley (Salopian) saucers, New Hall blue and white teabowl and saucer

Pair of late 18th century New Hall-style spirally-fluted tea bowls and saucers, painted with floral sprigs and banding within gilt line borders, circa 1790

Eight 'OO' Gauge/4mm Steam Tender Locomotives for Spares or Repair, consisting of a Hornby Ref R2958 boxed with tender only, plus limited edition certificate, overall condition new; a Hornby Ref R2848X "Tintagel Castle" boxed with locomotives only, new untested condition; a Hornby Ref R3170 "Adderley Hall" boxed with motor missing, otherwise very good. A Backhamm 31-957 Class A4 "Seagull" boxed (driving wheels loose), otherwise good untested condition; A Bachmann "T.M.C" Jubilee Class 4-6-0 (driving wheels loose), otherwise good untested condition custom boxed; plus, a unboxed Bachmann Class 4 (missing motor) otherwise good. A Trix "City of Hereford" (valve gear missing - poor condition); and a Hornby (UK) Class 7 "Alred The Great" missing tender also l/h valve gear issues; good body, unboxed

COLLECTION OF ENGLISH PORCELAIN TEA BOWLS AND SAUCERS, LATE 18TH / EARLY 19TH CENTURY comprising sixteen tea bowls, two teacups, fourteen saucers, including Worcester and New Hall, along with a slop bowl, four further bowls, a sparrow-beak cream jug and a faience dish

‡ SAADI SINEVI (LEBANESE 1902-1987) HEAD OF A WOMANsigned and dated S. Sinevi / 1940 centre rightgouache on paper39.5 x 30.5cm; 15 1/2 x 12in60.5 x 51cm; 23 3/4 x 20in (framed)Property from a Private Collection, LondonProvenanceAgial Art Gallery, Beirut, 2012The son of a magistrate in the Ottoman Empire, Saadi Sinevi was born in Istanbul. Due to his family situation and the start of the First World War, he moved to Beirut, where he studied until 1916. Two years later he moved to Paris, where he trained as an architect from 1918 to 1922. Returning to Beirut, he started to work in advertising as well as at an enamel and print studio. During the 1930s, he founded Les amis de la peinture , 'Friends of Painting' association, to help and encourage the many artists of the time. Appointed by the Lebanese government as President of the Association for Lebanese Sculptors and Painters, he was the organiser of several large exhibitions held at the Unesco Palace (1949) and in the Hall of the Lebanese Parliament building between 1936 and 1942. In 1942 he founded his magazine La voix de l'artiste, ' The painter's voice', which he used as an advertising medium, and a way of expression. There, he published reports from his studio and his artistic practices, presenting new painters and creative projects, which constituted a large and important part of his personal and professional life. Known as one of the survivors of the Lebanese artistic renaissance, his work is characterised by bringing to life landscapes and nature through painting, reminiscing on childhood memories full of colour and folklore.

3 pieces of New Hall blue and white porcelain in the willow pattern to incl tea bowl and saucer and cup (small chip to saucer)

An 18th century Swedish silver beaker, by Erik Lemon, Uppsala, possibly 1763, tapering circular form, gilded border, engraved foliate scroll decoration, initialled 'B.M.D' and 'A.F.S', on a lobed foot with traces of gilding, height 19.8cm, plus another 18th century Swedish silver beaker, by Henrik Nourin, Norrkoping, probably 1761, similar form, engraved with a crowned foliate cartouche, initialled 'J.D.B' over 'A.H.B', '1762', height 19cm, approx. total weight 27.6oz. (2)Provenance: Selected Contents of Dinton Hall, Buckinghamshire.Purchased from S.J. Phillips, New Bond Street, London, 18th December 1998.

A New Hall coffee pot and cover, of facetted form, the rim and cover decorated with feathery leaves, gilt line detail, 25cm high, c.1790; an English hard paste teapot, decorated in the chinoiserie taste, 16cm high, c.1800; another (3)

A pair of Worcester Barr Flight and Barr circular plates, painted with red flowers between scrolling gilt leaves, 21cm diameter, impressed BFB mark, c.1820; a Flight, Barr and Barr plate, centred with a gilt thistle, 20cm diameter, impressed FBB mark, c.1820; a New Hall saucer-dish, painted with red floral sprigs; other early 19th century English porcelain plates (6)

A collection of 18th century and later ceramics, to include a probably New Hall porcelain milk jug (5)

A New Hall china Boumier ware lustre bowl, 9" diameter

CONSTANTINOS MALEAS (1879-1928)Vue de l'Acropole signé en grec en bas à gauchehuile sur carton 59,5 x 83 cm. (23 7/16 x 32 11/16in.)Peint c. 1918-1919.signed in Greek lower leftoil on cardFootnotes:ExpositionsAthens, Exhibition Hall of the Anatoli company, Exhibition of Paintings by C. Maleas, January 1919 (possibly).Paris, Galerie de la Boetiè, Group Techni (Ouevres d'un Groupe d'Artistes Héllènes), September 1-30, 1919 (possibly).Uniting a timeless world of ideal rhythms with the exuberance and zest of Attica's nature, Maleas captures the grandeur of the classical monument not as a lifeless relic of ancient glory but as a form of eternity constantly reborn in the present. While setting his easel and standing defiantly before the Acropolis, he is in search of new expressive forms and a deeper pictorial truth. This was also the quest of the revolutionary 'Omas Techni' art group, which was founded around the same time and had already infused the forces of renewal in Greek painting with a fresh and vital impetus.Maleas's return to Athens in 1917 afforded him the opportunity to concentrate on the sacred rock, something he couldn't do during his brief visits in the past when he lived in Thessaloniki. As noted by Dr. S. Lydakis, 'his permanent residence in Athens signalled a new period in his work. Experimentation subsided and the admirable maturity of his paintings showed that the artist was at the height of his creative powers.'¹ Here, he chose a western vantage point because it offered him one of the best views of the citadel as a harmonious ensemble of illustrious monuments—the majestic Propylaea and the Parthenon, this classical masterpiece and timeless symbol of ordered thought and everlasting value. Painting outdoors among pine trees, aloes, and cypresses, Maleas was able to retain the freshness of execution and fidelity to nature's effects, aiming not to produce a romanticised view of ancient splendour or a picturesque scene of evocative detail, but to investigate and solve pictorial issues beyond the mere recording of a specific location. 'Since his early output, the one element that defined Maleas's art above anything else was his effort to organise the pictorial space as a system of forms, where nothing was random and everything followed a compositional plan that constituted a new reality.'² Although Maleas painted what was in front of him with complete directness, he did so with a deep understanding of the landscape as a complex entity. While entrusting his subject to the truth of vision, he also ventured beyond atmospheric effects to penetrate the inner world of the landscape and become part of its reality.³ He sought an underlying structure for his studies on colour, paint and light, a kind of sturdy pictorial scaffolding that would allow him to convey a sense of endurance and permanence akin to the atmosphere emanating from the awesome site. His architectural studies helped him fully comprehend the teachings of Cezanne, who had exhorted painters to look for solidity beneath the surface patterns and treat their subjects in terms of primary geometric forms to discover their enduring character and essential content. Moreover, this captivating view of the Acropolis showcases the artist's predilection for curvilinear motifs and rhythmic patterns that invest the picture with fluid art-nouveau touches. Its wonderful colours—including a set of eye-smacking mauves and lavenders that instantly recall Parthenis's Alentours de l'Acropole⁴—move it towards the poetic atmosphere of symbolism. It can be argued that, judging from the predominance of elaborate natural motifs, the painter intended to submit the man-made environment to a natural order. As noted by Professor A. Kotidis in his monograph on the artist, 'this is an eloquent allusion, typical of Maleas's symbolism: human creations are finite and transient, while nature is infinite and eternal.'⁵ Another reading, equally symbolist, may suggest that the painter aspired to a creative fusion of nature and culture on equal terms: as much awesome as nature may be, the Parthenon's timeless beauty is nothing short of miraculous.¹. S. Lydakis, 'Constantinos Maleas' [in Greek] in The Greek Painters - 20th Century, vol. II, Melissa editions, Athens 1975, p. 61.². A. Kotidis, Constantinos Maleas [in Greek], Adam editions, Athens 2000, p. 188.³. See H. Kambouridis - G. Levounis, Modern Greek Art - the 20th Century, Ministry of the Aegean edition, Athens 1999, p.30.⁴. Sold by Bonhams - Cornette de Saint Cyr, Greek Sale, November 22, 2023, lot 9. ⁵. A. Kotidis, Constantinos Maleas, p. 155.For further information on this lot please visit Bonhams.com

POSTCARDS - LONDON Approximately 174 cards, including real photographic views of Morden Schools (by Chennell, Croydon); Highgate College (Bell's Photo Co., Leigh-on-Sea); Crediton Road, N.W. (Bell's); Deluge at Norbury, 1914; The Rose Walk, Purley (Batchelor Bros, Croydon); Southend Village, Catford (publ. by Carter, Catford); St. Katharine's College, Tottenham; Agricultural Hall, Islington (Rogers Series); Old Chiswick and Church; Woodland Road, New Southgate; Old Tollgate, Dulwich; Brownlow Road, Bowes Park (by Clarke, Finchley); and Pier Road, Erith; with printed views of Norbury Farm, Norbury; Municipal Buildings, Ealing; Wesleyan Methodist Church, Enfield; The King's Head, Roehampton; Brighton Road, Sutton (publ. by Holt, Sutton & Carshalton); and others, (loose).

POSTCARDS - LANCASHIRE & CUMBRIA Approximately 413 cards, including real photographic views of Askam-in-Furness Station; Gateacre Post Office; Carlisle Mayor Announcing Armistice (7), 1918; Landing Stage, Knott End; Market Square, Kirkham; Hutton Village, Lower End; Blackpool Carnival Procession; Town Hall, Burnley; Liverpool Dock Office; Newby Bridge; Portinscale Village; and Salutation Hill, Ambleside; with printed views of Laying Nonslip Flags, St. Peter's Square, Manchester (hard York Nonslip Stone Co. Advertising, two different); The Cross, Bolton; Blackley Village; New Market Street, Ulverston; and others, (box).

POSTCARDS - ASSORTED Approximately 165 cards, British and overseas, including real photographic views of Market Street, Fremantle, W.A.; St. George's Terrace, Perth, W.A.; Wellington Street, Perth, W.A.; King William Street, Adelaide; The Town Hall, Adelaide; The G.P.O., Adelaide; Hobart and Harbour from Springs, Mt Wellington; Crimean Memorial Arch, Old Brompton, Kent; S.S. Omar; Orient Liner, Orama; and R.M.S. Orvieto; with printed views of New Floating Dock, Ireland Island, Bermuda; a Tamil High Priest; Carting Tea from Factory, Ceylon; Elephant at Work on New Clearing, Ceylon; Temple Elephants at Katugastotte River, Ceylon; Kandy Perahera, Ceylon; Town Hall, Chatham; thirteen artist-drawn military regimental (presented with 'The Rover': printed non-pc backs); and others, (album).

New Hall Hanley part tea service

18th Century Caughley (Salopian) oval bowl, blue and white decorated with flowers, together with a blue and white coffee cup, a New Hall saucer dish and German saucer dish

A Victorian polychrome print. Depicting a woman a child looking at pigeons, with a Christie's New Hall Vault sticker to verso. 7.5cm x 11cm, framed and glazed

Allan Ramsay (1713-1784)Portrait of Edward Medley Esq. of Conyborough (1719-1751)half-length, in a brown coata feigned ovalsigned and dated lower right 'A Ramsay 1742'oil on canvas74.5cm x 61cm with Charles Cecil Cope Jenkinson, 3rd Earl of Liverpool (1784-1851); with The Hon. Henry Berkeley Portman (1860-1923), later 3rd Viscount Portman; with Emma, Viscountess Portman (1862-1929) by 1926; with her daughter Lady Moyra Dawson-Damer (1897-1962); thence by family descent. Mentioned in Lord Hawkesbury's Catalogues of Portraits at Compton Place and at Buxted Park, in Sussex, 1903, pp. 21-22, no. 14, at Buxted Park, as in the 'Hall, West Side'.Further bibliography:Smart (Alastair) and Ingamells (John), Allan Ramsay: A Complete Catalogue of his Paintings, New Haven and London: Yale University Press, 1999, p.158, no. 363, fig. 108. The painting has been restored and relined. The painting bears some condition issues, including craquelure throughout and some unevenness to the picture surface. This includes many shining areas indicating resoration, as well as some bituminous areas, as illustrated in the images that accompany this condition report.

Vinyl Lps including Simple Minds Sons and Fascination I.203 959, Spanish release, New Gold Dream V2230; Simply Red, Men & Women, WX85 242071-1, Stars WX427, 9031-75284-1; Michael Odfield, Tubular Bells V2001; Talk Talk, The Party's Over, 11C 078-07646; Daryl Hall, John Oates, Bigger than Both of Us, H2O, Daryl Hall John Oates; Billiy Joel, An Innocent Man; David Bowie; ELO; The Waterboys; Rod Stewart, Sade, Fashion etc;

Seven ticket stubs for concerts in and around Greater Manchester c late 1970s to inc: New Order at Maxwell Hall Salford, 'Creation For Liberation' concert with PiL, John Cooper Clarke, Linton Kwesi Johnson, The Fall, ACR and more at the Factory, December 1978, others inc X-Ray Spex, Adverts, Magazine.

50s/ 60s ROCK N ROLL/ POP - LP COLLECTION. A timeless collection of 33 LPs. Artists/ titles include Gene Vincent inc The Very Best Of, We Sure Miss You (10"), Rainy Day Sunshine (10"). Glen Campbell - Sings For The King, Johnny Hallyday - Acte II, Elton John - Blue Moves, Bobby Darin - For Teenagers Only, Buddy Holly inc Showcase, Greatest Hits. Eddie Cochran - My Way, Various - Sun Rockabilly Vol 2, Demis Roussos - My Only Fascination, Jerry Lee Lewis inc Rockin With, Sings The Country Music Hall Of Fam Hits Vol II, The Motown Story - The First Twenty Five Albums, Bobby Vinton - Melodies Of Love. Condition is generally VG to Ex+/ New & sealed.

William J. King (19th/20th Century, British), watercolour, Two picturesque landscapes - 'Caswell Beach from the cliffs', Wales, & 'On The Meadows at New Hall, Sutton Coldfield', signed to the corner, titled verso, framed, mounted, and under glass, both measuring 16cm x 25cm, & 33cm x 41cm overall (2)

Jazz/Blues/Soul LP collection. Thirteen 12" and four 10" albums. Mike Westbrook Concert Band; 'Release' (SMLA 1031), Shelly Manne; 'Mannekind' (MRL 375), Peterson & Pass & Brown; 'The Giants' (2310 796), Herb Alpert's Tijuana Brass; 'Whipped Cream & Other Delights' (SP 4110), Duke Ellington and His Orchestra; 'The Popular Duke Ellington' (LSA 3072), Ray Charles; 'Dedicated To You' (T566), Billy Eckstine & Quincy Jones; 'At Basin Street East' (SFL 13039), Diana Ross and The Supremes; 'Reflections' (TML 11073), Various; 'Rhythm & Blues All Stars' (MAL 610), B.B. King; 'Introducing B.B. King' MCB 8001), Stephane Grappelli and Barney Kessell With The New Hot Club Quintent; 'Limehouse Blues' (BLP 30129), Georgie Fame; 'Hall Of Fame' (SX 6120), Duke Ellington and Johnny Hodges; 'Side By Side' (CLP 1374), Gerry Mulligan Quartet; 'Volume 1' (10", L.B.E. 029), Frank Sinatra; 'Sing and Dance with Frank Sinatra' (10", BBR 8003), Bix Beiderbecke Featuring Bix Beiderbecke Orchestras; 'The Great Bix' (10", 10S 1035), Emil Stern And His Honky Tonk Piano And His Friends; 'Honky Tonk Dance Hall' (10", SDL 86037). (17) The overall condition is generally G/VG. Estimated in-house shipping for this lot is available to the UK for £35.50.

Original vintage advertising poster for Norton - The Norton Navigator 350 cc High Camshaft Twin Built in the light of experience A supreme example of Norton craftsmanship - featuring two black and white images of the new motorbike model over a central yellow line with the stylised text above and below. Founded by James Lansdowne Norton (1869-1925) in Birmingham in 1898, Norton Motorcycles is an English motorcycle company that started manufacturing motorcycles in 1902 and Norton-built engines in 1908; the company produced almost 100,000 military motorcycles during World War Two and continued their pre-war racing success in the 1950s with their Norton Manx Racer bikes; the Norton Navigator model was produced between 1960-1965; in 1973 Norton took over BSA-Triumph to form Norton Villiers Triumph but the company faced financial problems; the marque was relaunched in 2008 and the company is now based in Donington Hall in Leicestershire. Horizontal. Fair condition, staining, small tears on margins, backed on linen. Country of issue: UK, designer: Unknown, size (cm): 50x75, year of printing: 1960s.

c.1913 OK Precision 4¼hp 598cc projectRegistration no. AD 3004Frame no. 303Engine no. 8317B•Very rare machine•Exciting unfinished project•Original early registration numberIn April 1912 'Motor Cycling' wrote: 'The name of Humphries and Dawes, of Birmingham, has not been hitherto prominently before private purchasers for the reason that their output has been absorbed in trade quarters. The O.K. motor-bicycles, of which they are the makers, are, however well-built machines, with which they have now entered the retail trade. They have placed three models of 4¼hp, 3¾hp, and 2½hp upon the market. The standard change-speed gears employed by them are the Armstrong, Bowden countershaft, Albion, and Sturmey-Archer, although any specified make desired can be incorporated to order. All models are Precision engined....' Frank Baker, originally from Poole in Dorset, established the Precision engine concern in 1906 after studying production engineering in the USA. Initially making bicycle components, Precision built their first motorcycle engines in 1910. This proved extremely successful, and only one year later no fewer than 96 different machines at the 1911 Olympia show were fitted with Precision engines.OK continued trading until 1926 when the partners went their separate ways. Ernie Humphries started his new OK Supreme operation, while Charles Dawes concentrated on bicycle production. Meanwhile their Hall Green factory was taken over by Veloce who were looking for more manufacturing capacity following their runaway win in the 1926 Junior TT.In 2007 the late Howard German, lifelong motorcycle enthusiast and hugely successful racer, bought this OK Precision in a dismantled state from the son of its previous owner. It had been stripped down 27 years previously, and the components stored in a dry loft, but the then owner died before commencing re-assembly. Howard conducted a massive amount of research, and made considerable progress with the rebuild, but very sadly he also passed away before he was able to finish it. This exciting OK project is now offered for sale for someone else to complete and enjoy.Please note that the OK was photographed without the two speed gear, but the gear is included as part of this project, and there are separate photos of it on our website. It has been identified as a P&M unit, and we understand that it has been overhauled at considerable expense by recognized specialist Kevin Hellowell.The AD series of registration numbers were issued in Gloucestershire, and fortunately the records still exist. Four pages of photocopies of the original ledgers are supplied which show that the OK was originally registered to William Henry Trounce Hearle of Little Washbourne near Tewkesbury on March 26th 1913. AD 3004 is also accompanied by a V5C and a substantial history/research file. Prospective bidders should satisfy themselves as to the project's completeness, authenticity, and mechanical condition prior to bidding. No keys are supplied. Sold strictly as viewed.Footnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.REQUEST A TRANSPORT QUOTEPlease click the link to request a transport quote from our recommended transport company, Moving Motorcycles.To request a UK or European shipping quote - Moving MotorcyclesTo request an International shipping quote - ShippioThis Lot will be auctioned on Sunday 21 April starting at 11am GMT.Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

1938 Vincent-HRD 998cc Rapide Series-A Registration no. FTN 938 Frame no. DV1476 Engine no. V1017 1938 Vincent-HRD 998cc Rapide Series-A Registration no. FTN 938 Frame no. DV1476 Rear frame no. DV1476 Engine no. V1017 •One of only 79 built •All owners post-1955 identified •Once owned by former VMCC President John Griffith •Present ownership since 2002 •Meticulously restored with no expense spared between 2004 and 2017 •Comprehensive history file Of all the many makes and models of motorcycle produced during the 1930s, there are two outstanding v-twin-engined thoroughbreds that feature at the top of every knowledgeable enthusiast's 'fantasy barn find' league table: the Brough Superior SS100 and Vincent-HRD Series-A Rapide. These days the chances of finding an example of either hidden behind a pile of straw bales are slim indeed, all the more so in the case of the ultra-rare Series-A Rapide, a mere 78 of which were produced between late 1936 and the summer of 1939. (Expert opinion differs on this point, but most authorities favour a total in the high 70s). By way of comparison, production of the rival SS100 ran into the hundreds. The Vincent-HRD marque originated in 1928 when Philip C Vincent acquired the name, jigs, tools and patterns of the recently liquidated HRD Company. ('HRD' stood for Howard Raymond Davies, the Isle of Man TT winner who had founded the firm in 1924). Vincent moved production from Wolverhampton to Stevenage, pioneering his own design of sprung frame on an entirely new range of machines. Like Davies, Vincent relied on proprietary engines but increasing dissatisfaction with suppliers led to the creation of Vincent's own engine in 1934. A 500cc high-camshaft overhead-valve single, this all-new power unit was designed jointly by PCV and his Chief Engineer Phil Irving who, so legend has it, came up with the idea of a 1,000cc v-twin after seeing two drawings of the single superimposed on one another. By producing a v-twin in this fashion, many of the existing single-cylinder components could be utilised, thus reducing costs, an important factor for the fledgling concern. Despite its plethora of external oil pipes - an arrangement that gave rise to the famous 'Plumber's Nightmare' sobriquet - the Series-A v-twin is undeniably handsome, its high-set camshafts and relatively short cylinders endowing this magnificent motorcycle with a muscular, broad-shouldered look. On test, the prototype engine proved to be as powerful as its looks suggested, delivering a maximum of 45bhp at 5,500rpm on a relatively low 6.8:1 compression ratio. It was installed in a new version of Vincent's sprung frame equipped with Burman four-speed gearbox, girder front fork and powerful twin front brakes, the complete machine tipping the scales at an admirable 430lbs. On the road the Series-A Rapide fulfilled all of its maker's expectations, proving capable of reaching 110mph, comfortably faster than the rival JAP-powered SS100. The prototype Series-A Rapide was proudly displayed on Vincent's stand at the 1936 Motor Cycle Show at Olympia but only a handful were sold in 1937, the first full year of production, as the motorcycling public remained sceptical of the upstart firm's performance claims. This scepticism was soon dispelled by the exploits of the works Series-A racers piloted by Manliffe Barrington and 'Ginger' Wood, the latter shattering the Donington Park lap record in 1938 and returning a staggering standing quarter-mile time of 11.75 seconds at the Gatwick sprint. The outbreak of WW2 in 1939 brought production of all Series-A models to a halt, and when Vincent resumed production in 1946, it was with the all-new Series-B. By July '39 when the last Series-A twin was built, the model had been in production for a little over 30 months, and the fact that so few were made has in no small part contributed to this legendary model's mythic status. It is estimated that around 60-65 Series-A Vincent twins survive worldwide today, and for one to be offered for sale is an event of exceptional importance. The current vendor purchased this Series-A Rapide in Japan in 2002. The Vincent had been purchased from a UK auction in October 1990 by dealer George Pollard on behalf of a known Japanese collector. Our vendor ran the frame and crankcase numbers past the VOC's then Registrar Gordon Powell and he confirmed that they matched. As purchased, the machine was a 'basket case' consisting of the complete frame assembled with the rear wheel, and numerous boxes of bits, many of which were incorrect. The flywheels had recently been sent to the UK for reconditioning by a specialist, and Carrillo con-rods and a pair of new pistons were included. In 2004 all the parts were crated up and sent to the UK. This Series-A Rapide, with engine number 'V1017' and frame number 'DV1476' was dispatched from the works in February 1938 and sent to dealers Adams & Gibbon in Newcastle-upon-Tyne by rail. Three Series-A Rapides (out of a total production of 79) were dispatched to Newcastle-upon-Tyne: one to a private purchaser and two to Adams & Gibbon. The registration 'FTN 938' was issued in Newcastle upon Tyne on 1st March 1938. The Works Order Form (copy on file) lists the specification and records that the machine was built and signed off by Ted Hampshire and test ridden by Mr Vincent among others. Also on file is a photocopy of an old-style green logbook listing six owners from 1955, the fourth being John Panter Griffith of Harrow, the former VMCC President and founder of the Stanford Hall Collection. The fifth was a Mr David Arthur Oliver of Middlesex. The last owner listed is Herbert Ronald McRae of Ruislip, who acquired the Vincent in 1961. The machine appeared in the 1962 and 1968 VOC yearbooks with the owner recorded as Mr McRae. It would seem that 'V1017' was one of two Series-A Rapides (the other being 'V1046') in Mr McRae's collection of eight pre-war Vincents. An old-style V5 registration document on file records Bernard Vincent Draper of Devon as the owner in 1990. Mr Draper roughly assembled the bike and re-registered it as 'BSK 184' ready for sale at the aforementioned auction; it was then exported to Japan using this document. With the assistance of the VOC, the vendor was able to retrieve the original registration number, 'FTN 938', which was reinstated in December 2017. It would appear that many of the Vincents in the McRae collection were disassembled and that, prior to dispersal, bikes were built up using available parts, many of which did not belong together, as was the case with 'V1017'. Swapping the post-war Brampton forks for the correct pre-war type, the vendor had the latter retubed by Ray Daniels of Birmingham.For further information on this lot please visit Bonhams.com

A group of eleven hand coloured engravings, including A Perspective View of the Parade in St James's Park after J. Maurer; A View of the Tower, taken upon the Thames and A View of London taken off Lambeth Church, by John Boydell; The Royal Exchange of London by John Bowles; L'Hotel du Lord Maire de Londre; A view of Ironmongers Hall, in Fenchurch Street by John Bowles; Westminster Abbey; New Houses of Parliament; London Bridge from Southwark Bridge by Thomas Shotter Boys; The City of London after G.F. Robson; Arrival at Brandenburgh House of the Waterfront by Dubourg, engravings and one lithograph with hand colouring, the largest 28 x 43cm.(11) All framed and glazed.Condition Report: Various, most might benefit from a clean.

A New Hall Hanley lustre bowl with facsimile signature for Lucien Boullemier decorated with exotic birds, 24cm diameter (Inventory 350)

An early 19th century New Hall porcelain cream jug, together with various decorative china

Cosgrave (Bronwyn) & others. Sample. 100 Fashion Designers. 010 Curators: Cuttings from Contemporary Fashion, illustrations, many colour, original pleated white boards with elastic strap, fore-edge cut at angles, cloth slip-case, 2005 § Coton (A.V.) The New Ballet: Kurt Jooss and his Work, first edition, illustrations, some colour, original pictorial cloth, gilt, dust-jacket, slightly rubbed, a little frayed and chipped at edges, 1946 § Ballets Jooss. Souvenir programme, illustrations, a little browned, hand-printed pictorial wrappers designed by Hein Heckroth, spine slightly worn, Totnes, Dartington Hall, [c.1938]; and 7 others on ballet & dance, mostly Ballets Jooss including a duplicate of the last, 4to & 8vo (10) 

[Wood (Esther)] A Consideration of the Art of Frederick Sandys, being the Special Winter Number of "The Artist", number XIII of a few deluxe copies, 3 mounted photogravure plates, original decorated cream cloth, gilt, slightly soiled and stained, 1896 § Elzea (Betty) Frederick Sandys 1829-1904: A Catalogue Raisonné, Woodbridge, 2001 § Harrison (M.) & Bill Waters. Burne-Jones, 1990 § Foskett (Daphne) John Harden of Brathay Hall 1772-1847, Kendal, 1974 § Webster (Mary) Johan Zoffany 1733-1810, New Haven & London, 2011 § Robertson (Bruce, editor) Sargent and Italy, signed and inscribed to the Archers by Richard Ormond one of the contributors, Princeton & Woodstock, 2003 § Abel-Smith (Julia) & others. Oil Paintings in Public Ownership in Essex, original wrappers, 2016, plates and illustrations, some colour, all but the first and last original cloth or boards with dust-jackets; and c.40 others on British art, mostly 18th & 19th century, some pamphlets/catalogues, v.s. (c.45)

Ceramics.- Meteyard (Eliza) The Life of Josiah Wedgwood, 2 vol., first edition, modern cloth with original decorated cloth mounted on boards and spine, 1865 § Pountney (W.J.) Old Bristol Potteries, Bristol, 1920 § Mountford (A.R.) The Illustrated Guide to Staffordshire Salt-glazed Stoneware, 1971 § Towner (Donald) The Leeds Pottery, 1963 § Holgate (D.) New Hall & Its Imitators, 1971 § Lewis (J. & G.) Pratt Ware...1780-1840, Woodbridge, 1984 § Edwards (D.) Black Basalt: Wedgwood and Contemporary Manufacturers, Woodbridge, 1994, illustrations, some colour, all but the first original cloth or boards, the last five with dust-jackets; and c.55 others on British potteries, many pamphlets, 8vo & 4to (c.60)

Palace of Westminster.- House of Commons. Report from the Select Committee on the House of Commons Buildings, 23 lithographed or engraved plans, 19 folding, 13 partly hand-coloured, some foxing, one lightly water-stained, some frayed at edges, original printed blue wrappers, spine worn and faded, lower wrapper almost detached, 1833 § Further Reports and Memorials of the Commissioners...for Improvement of Streets and Places near to Westminster Hall and the Two Houses of Parliament, 4 hand-coloured engraved plates by Basire, one folding, modern cloth, 1814; and 4 others on new designs for the Palace of Westminster, folio & 8vo (6)*** The Select Committee of the first was appointed "to consider the possibility of making the House of Commons more commodious and less unwholesome" and called on Sir John Soane, Sir Jeffrey Wyatville, Decimus Burton and others to tender designs for a new building. In the end the fire of 16th October 1834 destroyed most of the Palace of Westminster and a public competition was launched for a new design. It was won by Charles Barry assisted by Augustus Pugin, neither of whom had been interviewed for the 1833 report.

A 19th century Samson Worcester style porcelain teacup and saucer with fancy bird design, blue scale mark to base, the cup 6cm high, the saucer 13.5cm diameter; an early 19th century New Hall porcelain teacup and saucer, c.1806, gilded tobacco leaf pattern; together with a Worcester style twin handled cup and dish, lapis blue border with Sevres style cailloute gilding surrounding panels of flowers, the cup 7cm high, the dish 14cm diameter; and a twin handled cup of flared form, blue scale ground heightened in gilt, Rocaille cartouches with floral sprays within, 8.2cm high (4)

A varied collection of 89 Christie's Chinese arts auction catalogues, from the year 2000 until 2009Various dimensions Provenance: The collection of Galerie Beaute Chinoise, Paris, France Christie's London , Chinese Ceramics and Chinese Export Ceramics and Works of Art , 19 June 2001 , Sale number: 6464Christie's London , Chinese Ceramics and Chinese Export Ceramics and Works of Art , 13 November 2001 , Sale number: 6510Christie's London , Chinese Ceramics and Chinese Export Ceramics and Works of Art , 12 November 2002 , Sale number: 6637Christie's London , Chinese Ceramics and Works of Art including Export Art , 17 June 2003 , Sale number: 6731Christie's London , Chinese Ceramics and Works of Art including Export Art , 11 November 2003 , Sale number: 6819Christie's London , Chinese Export Ceramics from a European Private Collection , 11 May 2004 , Sale number: 6881Christie's London , The E.T. Hall Collection of Chinese Monochrome Porcelains , 07 June 2004 , Sale number: 7004Christie's London , Chinese Ceramics and Works of Art including Export Art , 08 June 2004 , Sale number: 6913Christie's London , Chinese Porcelains and Enamels from Fonthill , 09 November 2004 , Sale number: 7100Christie's London , Chinese Ceramics and Works of Art including Export Art , 12 July 2005 , Sale number: 7049Christie's London , Chinese Ceramics and Works of Art including Export Art , 08 November 2005 , Sale number: 7084Christie's London , Fine Chinese Ceramics and Works of Art including Export Art , 07 November 2006 , Sale number: 7270Christie's London , Fine Chinese Ceramics and Works of Art , 15 May 2007 , Sale number: 7415Christie's London , Fine Chinese Ceramics and Works of Art , 06 November 2007 , Sale number: 7431Christie's London , Fine Chinese Ceramics and Works of Art , 04 November 2008 , Sale number: 7621Christie's London , Fine Chinese Ceramics and Works of Art , 03 November 2009 , Sale number: 7762 Christie's South Kensington , Chinese Art , 07 November 2008 , Sale number: 5336Christie's South Kensington , Chinese Ceramics, Works of Art and Textiles , 15 May 2009 , Sale number: 5811Christie's South Kensington , Chinese Ceramics and Works of Art , 10 September 2009 , Sale number: 5944Christie's South Kensington , Chinese Ceramics, Works of Art and Textiles , 06 November 2009 , Sale number: 5812 Christie's Amsterdam , Chinese Ceramics and Works of Art , 03 May 2005 , Sale number: 2660Christie's Amsterdam , Asian Art , 31 October 2006 , Sale number: 2715Christie's Amsterdam , Asian Art , 20 May 2008 , Sale number: 2786 Christie's Hong Kong , Important Chinese Ceramics , 31 October 2000 , Sale number: 2053Christie's Hong Kong , The Imperial Sale: Important Chinese Lacquer, Ceramics and Works of Art , 29 April 2001 , Sale number: 2083Christie's Hong Kong , Fine Chinese Ceramics and Works of Art , 27 October 2003 , Sale number: 2152Christie's Hong Kong , The Imperial Sale: Fine Chinese Ceramics and Works of Art , 26 April 2004 , Sale number: 2165Christie's Hong Kong , Important Jade Carvings from a Private Collection , 26 April 2004 , Sale number: 2167Christie's Hong Kong , Fine Chinese Ceramics and Works of Art , 01 November 2004 , Sale number: 2178Christie's Hong Kong , Important Chinese Ceramics , 28 November 2005 , Sale number: 2208Christie's Hong Kong , Important Chinese Ceramics , 28 November 2005 , Sale number: 2207Christie's Hong Kong , The Imperial Sale , 30 May 2006 , Sale number: 2309Christie's Hong Kong , Fine Chinese Ceramics and Works of Art , 29 May 2007 , Sale number: 2369Christie's Hong Kong , Fine Chinese Bamboo Carvings from the Personal Collection of mr. And MRs. Gerard Hawthorn , 03 December 2008 , Sale number: 2625Christie's Hong Kong , Fine Chinese Ceramics and Works of Art , 12 May 2013 , Sale number: 8863 Christie's New York , Fine Chinese Furniture, Ceramics and Works of Art , 20 September 2001 , Sale number: 9734Christie's New York , Fine Chinese Ceramics and Works of Art , 20 March 2001 , Sale number: 9602Christie's New York , the Falk Collection II: Chinese and Japanese Works of Art , 21 September 2001 , Sale number: 9824Christie's New York , Fine Chinese Archaic Bronzes, Ceramics and Works of Art , 20 September 2002 , Sale number: 1113Christie's New York , Imperial Devotions, Buddhist Treasures for the Qianlong Court , 28 October 2002 , Sale number: 2126Christie's New York , One Man's Vision: Important Chinese Art from the Manno Art Museum , 28 October 2002 , Sale number: 2123Christie's New York , Fine Chinese Ceramics and Works of Art , 26 March 2003 , Sale number: 1211Christie's New York , The Imperial Sale: Important Chinese Ceramics and Works of Art , 28 April 2003 , Sale number: 2138Christie's New York , The Gangolf Geis Collection of Fine Classical Chinese Furniture , 18 September 2003 , Sale number: 1330Christie's New York , Fine Chinese Ceramics and Works of Art , 24 March 2004 , Sale number: 1354Christie's New York , Chinese Export Art , 24 January 2005 , Sale number: 1475Christie's New York , Fine Chinese Ceramics and Works of Art , 30 March 2005 , Sale number: 1491Christie's New York , The Imperial Sale , 30 May 2005 , Sale number: 2188Christie's New York , Fine Chinese Ceramics and Works of Art , 30 May 2005 , Sale number: 2190Christie's New York , Important Chinese Ceramics , 28 November 2005 , Sale number: 2208Christie's New York , The Collection of Evelyn Annenberg Hall , 29 March 2006 , Sale number: 1760Christie's New York , Fine Chinese Ceramics and Works of Art , 19 September 2006 , Sale number: 1701Christie's New York , Important Chinese Ceramics and Works of Art , 28 November 2006 , Sale number: 2325Christie's New York , Jade Shears and Shimmering Feathers, Imperial Chinese Ceramics from the Robert Chang Collectiong , 28 November 2006 , Sale number: 2323Christie's New York , Chinese Export Art , 23 January 2007 , Sale number: 1793Christie's New York , The Hodroff Collection , 24 January 2007 , Sale number: 1794Christie's New York , Fine Chinese Ceramics, Jades and Works of Art , 19 September 2007 , Sale number: 1877Christie's New York , The Hodroff Collection, Part II , 23 January 2008 , Sale number: 1958Christie's New York , Fine Chinese Ceramics and Works of Art , 19 March 2008 , Sale number: 1976Christie's New York , Important Chinese Rhinoceros Horn Carvings from the Songzhutang Collection , 27 May 2008 , Sale number: 2610Christie's New York , A Hightly Important Early Ming Copper-Red Decorated Ewer, Kendi , 27 May 2008 Christie's New York , Masterpieces from the Zimmerman Family Collection , 15 September 2008 , Sale number: 2126Christie's New York , Fine Chinese Ceramics and Works of Art , 17 September 2008 , Sale number: 2027Christie's New York , Masterworks of Ancient and Imperial China , 17 September 2008 , Sale number: 2238Christie's New York , Fine Chinese Classical Paintings and Calligraphy , 02 December 2008 , Sale number: 2620Christie's New York , Chinese Export Art , 21 January 2009 , Sale number: 2130Christie's New York , Fine Chinese Art from the Arthur M. Sackler Collections , 18 March 2009 , Sale number: 2268Christie's New York , Fine Chinese Classical Paintings and Calligraphy , 26 May 2009 , Sale number: 2709Christie's New York , The Imperial Sale: Important Chinese Ceramics and Works of Art , 27 May 2009 , Sale number: 2711Christie's New York , Fine Chinese Ceramics and Works of Art, Including Property from the Arthur M. Sackler Collections , 14 September 2009 , Sale number: 2389Christie's New York , Reflections: Chinese Art Inspired by the West , 27 November 2009 , Sale number: 2389 And many more: full list on our website.

EDWARD WILLIAM GODWIN (BRITISH 1833-1886) ARCHITECTURAL DRAWINGS: PROPOSED ASSIZE COURTS, BRISTOL, 1866 a collection of 9 drawings in ink, pencil and coloured wash, each inscribed ‘Bristol Assize Courts' on unbleached tracing paper and neatly laid-down onto 9 leaves of thick paper, two framed and glazed comprising:- Front Elevation towards Small Street, Aedes Colstoniana, 34cm x 41cm, frame 54cm x 61.4cm- Section on line C.D., 23.5cm x 61.5cm, frame 54cm x 81cm7 unframed- Section on line A.B., 28cm x 41.4cm, sheet 52.5cm x 79cm- Section on line C.D., Proposed New Assize Courts Bristol, 34cm x 39cm, sheet 52.5cm x 79cm- Front elevation towards Small Street, 36cm x 69cm, sheet 52.5cm x 79cm- First floor plan, 73.4 x 41.5cm, sheet 52.5cm x 79cm- Plan of second floor fronting Small Street and Plan of First Floor, 69.7cm x 41cm, sheet 52.5cm x 79cm- Plan of ground floor, 71cm x 46.4cm, sheet 52.5cm x 79cm- Ground floor plan, 73cm x 47.3cm, sheet 52.5cm x 79cm   (9) Note: Winning the competition to build the new Northampton Town Hall at the age of twenty-nine established Godwin's reputation as a leading civic architect. He followed this with another winning town hall design for Congleton, a small town near Manchester. These successes prompted his move to London in 1865, and in 1866 Godwin, with his partner Henry Crisp, entered the competition for the building of the new Bristol Assize Courts under the nom de plume '1066' or 'Ten Hundred and Sixty-Six'. Their designs won first, second and third prizes. Despite this, and amid protestations, a second competition was order by the town council, which Godwin again entered, this time only gaining second place to an entry from Popes & Binden, which was the one finally built. 

Vinyl Records – 7” 45rpm Singles – including Al Capps – Jesus Christ, Superstar – CBS S 7117; The New Westernaires – On The Road – CMEPC 7302; Grandmaster & Melle Mel* – White Lines (Don't Don't Do It) SH 130; Julee Cruise – Falling – W 9544 W; Michel Legrand And His Orchestra* – The Music Of Cole Porter Vol. 1 – BBE.12322; Gillan – Living For The City VSY 519, picture disc; The Rolling Stones – Tumbling Dice – RS 19103; Del Amitri – Kiss This Thing Goodbye – AMS 551, limited edition no.17503; Ugly Kid Joe – Everything About You – MER 367; Elton John – You Gotta Love Someone / Sacrifice – EJSG 24; others, Franz Lehár – The Merry Widow; Jane Wiedlin – Rush Hour; Nena – 99 Red Balloons; Jive Bunny And The Mastermixers – Swing The Mood; Booker T & The MG's – Time Is Tight; Donna Summer – I Feel Love (Special New Version Remix By Patrick Cowley); Sweet – Wig-Wam Bam / Co-Co; Extreme – More Than Words; Whitesnake – Here I Go Again (USA Single Remix); Aerosmith – Dude (Looks Like A Lady); other artists including The Chipmunks, David Bowie and Mick Jagger, Def Leppard, Rod Stewart and Tina Turner, Del Amitri, INXS, Enya, Bonnie Tyler, A-Ha, Simply Red, Elton John, Lionel Richie, Richard Marx, Bananarama, Wham, Daryl Hall & John Oates, Foreigner, Frankie Goes To Hollywood, The Police, Doctor & The Medics, Deacon Blue, Tears for Fears, Billy Ocean, Paul McCartney, Erasure, Belinda Carlisle, The Proclaimers, Adam & The Ants, Living in a Box, Tiffany, Culture Club, The Bee Gees, Tight Fit, Dexys Midnight Runners, Jason Donovan, Bucks Fizz, The Real Thing, Donna Summer, Amii Stewart, Sister Sledge, Meco, Boney M, Abba, Rod Stewart, Slade, The Bee Gees, Sad Café, Extreme, Forrest, Dire Straits, Free, EMF, etc (quantity)

Ireland in the Days of Dean Swift, J Bowles Daly, 1887, Chapman and Hall, 1st edition, hardback, very good condition, Swift & his Age – A Tercentenary Exhibition 1667-1967, April 1967, softcover, in excellent condition. Includes an original invitation to the official opening of the exhibition by the Minister for Education, Donagh O’Malley TD on 26 April 1967. Recollections of Aubrey De Vere, 1897, Edward Arnold, Third Edition, hardback, in excellent condition. Derek Mahon, High Tide, 1985, Gallery Books, 1st edition, 1st printing, hardback in dust jacket, as new unread condition. (4)

AN ITALIAN MARBLE OR ALABASTER GRAND TOUR MODEL OF THE WARWICK VASEAFTER THE ANTIQUE, MID-19TH CENTURY23cm high, 28cm deepProvenancePurchased from Chevertons, Edenbridge, 29th June 2000, for £1,650.The selected contents of Dinton Hall, Buckinghamshire.Catalogue NoteThe original ‘Warwick Vase’ is a Roman marble vase that was discovered by Gavin Hamilton in the ground of Hardian's Villa, Tivoli in around 1771. It was originally displayed in the grounds of Warwick Castle, then owned by George Greville, 2nd Earl of Warwick and Hamilton’s nephew. It was offered for sale at auction in 1978 and although originally bought by the Met Museum, New York, an export licence was not granted and, once match funding had been raised, it found its current home in the Burrell Collection in Glasgow, Scotland.

Interesting collection of teapots, including New Hall style; Rose & Co.; Spode; Staffordshire Basalt ware; Hilditch & Co.; Royal Worcester; and many others, mostly 19th century, 3 boxes.Condition report:Please see additional uploaded images of all items in this lot.

Small Chinese porcelain vase and cover, Imari style, 17cm, pair of Imari plates, octagonal form, 21.5cm, and a New Hall teabowl and saucer.Qty: 5

A Victorian Staffordshire china floral-painted jug with gilt 'J.B' monogram, 21 cm high and a hexagonal example inscribed 'George Williams', to/w various Georgian and later tea wares including Worcester, New Hall, Spode, Derby, etc (box)

A Pair of Early 19th Mahogany Hall Chairs in the "Gillows" Manner, with shaped crest rails above oval panels, painted with coats of arms, oval recessed seats, on turned splayed front legs Note: For a similar pair of Hall Chairs, see Christies New York, The Collection of Peggy & David Rockefeller, 9th May 2018, Lot 300 - described as "possibly Irish"

Margaret WARDMAN (XX-XXI) One Summer Day Oil on canvasSignedTitled and dated September/October '57 to verso along with a further study on the same canvas46cm x 62cm, 52cm x 67cm framed. Margaret Wardman (née Shuttleworth)Margret Wardman (1922–2020), born, West Riding of Yorkshire, studied Fine Art at Bradford and Leeds Colleges of Art during WW11. In wartime, she also specialised in weaving at the Ministry of Pensions Hospital, Occupational Therapy Department, Eden Hall, Edinburgh, Scotland. Followed by an appointment at Pinderfields Hospital in Wakefield as an Occupational Therapist whilst fitting in three summers farming in Warwickshire and Worcestershire drawing subject matter for the painting Harvest Group. Post war, teaching art in schools in Accrington and Manchester.Through the strong, professional interconnections with artists in the North of England and its principal art galleries and museums, Margret’s paintings and drawings of the 1940’s and 50’s saw her visual language and modernist, artistic style grow in confidence and maturity. Her paintings were shown and regularly highlighted in reviews in group exhibitions such as the ‘Yorkshire Artists Exhibition’, the Annual West Riding Artists Exhibition’ and ‘Artists with North Country Associations’ at Bradford, Leeds, Manchester and Wakefield City Art Galleries.Painting and family life ran parallel, expecting the first of three children, sketching subject matter for the oil painting, Buck’s Mills whilst on holiday in Devon. Involvement with Otley and Ilkley arts Clubs at that time provided further opportunities to exhibit and develop her talent. The family’s civil engineering business brought about a move and a period of four decades living on the Somerset levels. There a new focus for drawing and recording the architectural specialisms of the level’s historic, Dutch style houses emerged along with commissions for illustrations for local businesses. A more personal, intimate, domestic subject matter flowed through her flower studies integrated with her gardens.Margaret’s later paintings, she settled in Cornwall from 2006, rediscover her own pictorial language and formative experiences. As Barbara Hepworth noted in 1939-40, ‘the deep connectivity with the Cornish landscape and the Yorkshire Moors’ meant, for Margaret, her continued exploration of modernism and strong pictorial form - planar space, structure, composition, line, painted mark with colour which the earlier canvases had produced.

Margaret WARDMAN (XX-XXI) Hayle Estuary Oil on canvasSigned and dated 200930cm x 40.5cm, 35.5cm x 46cm Margaret Wardman (née Shuttleworth)Margret Wardman (1922–2020), born, West Riding of Yorkshire, studied Fine Art at Bradford and Leeds Colleges of Art during WW11. In wartime, she also specialised in weaving at the Ministry of Pensions Hospital, Occupational Therapy Department, Eden Hall, Edinburgh, Scotland. Followed by an appointment at Pinderfields Hospital in Wakefield as an Occupational Therapist whilst fitting in three summers farming in Warwickshire and Worcestershire drawing subject matter for the painting Harvest Group. Post war, teaching art in schools in Accrington and Manchester.Through the strong, professional interconnections with artists in the North of England and its principal art galleries and museums, Margret’s paintings and drawings of the 1940’s and 50’s saw her visual language and modernist, artistic style grow in confidence and maturity. Her paintings were shown and regularly highlighted in reviews in group exhibitions such as the ‘Yorkshire Artists Exhibition’, the Annual West Riding Artists Exhibition’ and ‘Artists with North Country Associations’ at Bradford, Leeds, Manchester and Wakefield City Art Galleries.Painting and family life ran parallel, expecting the first of three children, sketching subject matter for the oil painting, Buck’s Mills whilst on holiday in Devon. Involvement with Otley and Ilkley arts Clubs at that time provided further opportunities to exhibit and develop her talent. The family’s civil engineering business brought about a move and a period of four decades living on the Somerset levels. There a new focus for drawing and recording the architectural specialisms of the level’s historic, Dutch style houses emerged along with commissions for illustrations for local businesses. A more personal, intimate, domestic subject matter flowed through her flower studies integrated with her gardens.Margaret’s later paintings, she settled in Cornwall from 2006, rediscover her own pictorial language and formative experiences. As Barbara Hepworth noted in 1939-40, ‘the deep connectivity with the Cornish landscape and the Yorkshire Moors’ meant, for Margaret, her continued exploration of modernism and strong pictorial form - planar space, structure, composition, line, painted mark with colour which the earlier canvases had produced.

Margaret WARDMAN (XX-XXI) View Beyond a Gate Oil on canvasInitialledDouble-sided with another oil to the verso36cm x 40.5cm Margaret Wardman (née Shuttleworth)Margret Wardman (1922–2020), born, West Riding of Yorkshire, studied Fine Art at Bradford and Leeds Colleges of Art during WW11. In wartime, she also specialised in weaving at the Ministry of Pensions Hospital, Occupational Therapy Department, Eden Hall, Edinburgh, Scotland. Followed by an appointment at Pinderfields Hospital in Wakefield as an Occupational Therapist whilst fitting in three summers farming in Warwickshire and Worcestershire drawing subject matter for the painting Harvest Group. Post war, teaching art in schools in Accrington and Manchester.Through the strong, professional interconnections with artists in the North of England and its principal art galleries and museums, Margret’s paintings and drawings of the 1940’s and 50’s saw her visual language and modernist, artistic style grow in confidence and maturity. Her paintings were shown and regularly highlighted in reviews in group exhibitions such as the ‘Yorkshire Artists Exhibition’, the Annual West Riding Artists Exhibition’ and ‘Artists with North Country Associations’ at Bradford, Leeds, Manchester and Wakefield City Art Galleries.Painting and family life ran parallel, expecting the first of three children, sketching subject matter for the oil painting, Buck’s Mills whilst on holiday in Devon. Involvement with Otley and Ilkley arts Clubs at that time provided further opportunities to exhibit and develop her talent. The family’s civil engineering business brought about a move and a period of four decades living on the Somerset levels. There a new focus for drawing and recording the architectural specialisms of the level’s historic, Dutch style houses emerged along with commissions for illustrations for local businesses. A more personal, intimate, domestic subject matter flowed through her flower studies integrated with her gardens.Margaret’s later paintings, she settled in Cornwall from 2006, rediscover her own pictorial language and formative experiences. As Barbara Hepworth noted in 1939-40, ‘the deep connectivity with the Cornish landscape and the Yorkshire Moors’ meant, for Margaret, her continued exploration of modernism and strong pictorial form - planar space, structure, composition, line, painted mark with colour which the earlier canvases had produced.

Margaret WARDMAN (XX-XXI) Sheep Grazing Before a Hamlet Oil on boardSigned and dated23cm x 46.5cm Margaret Wardman (née Shuttleworth)Margret Wardman (1922–2020), born, West Riding of Yorkshire, studied Fine Art at Bradford and Leeds Colleges of Art during WW11. In wartime, she also specialised in weaving at the Ministry of Pensions Hospital, Occupational Therapy Department, Eden Hall, Edinburgh, Scotland. Followed by an appointment at Pinderfields Hospital in Wakefield as an Occupational Therapist whilst fitting in three summers farming in Warwickshire and Worcestershire drawing subject matter for the painting Harvest Group. Post war, teaching art in schools in Accrington and Manchester.Through the strong, professional interconnections with artists in the North of England and its principal art galleries and museums, Margret’s paintings and drawings of the 1940’s and 50’s saw her visual language and modernist, artistic style grow in confidence and maturity. Her paintings were shown and regularly highlighted in reviews in group exhibitions such as the ‘Yorkshire Artists Exhibition’, the Annual West Riding Artists Exhibition’ and ‘Artists with North Country Associations’ at Bradford, Leeds, Manchester and Wakefield City Art Galleries.Painting and family life ran parallel, expecting the first of three children, sketching subject matter for the oil painting, Buck’s Mills whilst on holiday in Devon. Involvement with Otley and Ilkley arts Clubs at that time provided further opportunities to exhibit and develop her talent. The family’s civil engineering business brought about a move and a period of four decades living on the Somerset levels. There a new focus for drawing and recording the architectural specialisms of the level’s historic, Dutch style houses emerged along with commissions for illustrations for local businesses. A more personal, intimate, domestic subject matter flowed through her flower studies integrated with her gardens.Margaret’s later paintings, she settled in Cornwall from 2006, rediscover her own pictorial language and formative experiences. As Barbara Hepworth noted in 1939-40, ‘the deep connectivity with the Cornish landscape and the Yorkshire Moors’ meant, for Margaret, her continued exploration of modernism and strong pictorial form - planar space, structure, composition, line, painted mark with colour which the earlier canvases had produced.

The Victory Medal awarded to Hospital Orderly Miss Elsie E. Bowerman, Scottish Women’s Hospital Unit, who was a prominent member of the Women’s Social and Political Union and served as Christabel Pankhurst’s Political Agent in the 1918 General Election- six years earlier she had survived the sinking of the Titanic Victory Medal 1914-19 (E. E. Bowerman); together with the recipient’s Scottish Women’s Hospitals Medal 1914, bronze, the edge engraved ‘Mess Ord. Elsie E. Bowerman’, good very fine (2) £600-£800 --- Elsie Edith Bowerman was born in Tunbridge Wells, Kent, on 18 December 1889, and was educated at Wycombe Abbey and Girton College, Cambridge. Whilst at Girton she joined the Women’s Social and Political Union in 1909, and the following year established a branch in the College. Her mother, Edith, was also a member of the W.S.P.U., and was one of the ten members chosen to accompany Emmeline Pankhurst on her deputation to the House of Commons on ‘Black Friday’, 18 November 1910; she also went on the next deputation three days later, when she was dealt a severe blow on the head by a policeman and her coat was torn to pieces. In 1912 Elsie Bowerman and her mother embarked for America on the Titanic, and were aboard her when she sank during her maiden voyage on 15 April 1912. She later wrote: ‘The silence when the engines stopped was followed by a steward knocking on our door and telling us to go on deck. This we did and were lowered into life-boats, where we were told to get away from the liner as soon as we could in case of suction. This we did, and to pull and oar in the midst of the Atlantic in April with ice-bergs floating about is a strange experience.’ On the outbreak of the Great War Elsie Bowerman supported the decision of the W.S.P.U. to help Britain’s war effort. She took part in the Women’s War Procession in July 1916 and was then asked by Evelina Haverfield to go out to Serbia as a Hospital Orderly with the Scottish Women’s Hospital Unit. According to Elizabeth Crawford in her book The Women’s Suffrage Movement, ‘In September 1916 Elsie Bowerman sailed to Russia as an Orderly with the Scottish Women’s Hospital Unit. With this unit she travelled via Archangel, Moscow, and Odessa to serve the Serbian and Russian armies in Romania. The women arrived as the allies were defeated, and were soon forced to join the retreat northwards to the Russian frontier.’ While awaiting her passage home, she witnessed the overthrow of Tsar Nicholas II in St. Petersburg. Returning home, she joined the Women’s Party, an organisation established by Emmeline and Christabel Pankhurst. Following the passing of the Qualification of Women Act 1918, Christabel Pankhurst became one of the 17 female candidates who stood in the 1918 General Election, and Elsie Bowerman was appointed her political agent. Contesting the Smethwick seat, she lost narrowly to the Labour candidate by 775 votes. In 1922 Elsie Bowerman established, with Flora Drummond, the Women’s Guild of Empire, a right-wing league opposed to communism, the campaigns of which culminated in 1926 in a great procession in London and a meeting at the Royal Albert Hall demanding an end to the General Strike and the abolition of trade unions. Called to the Bar in 1924, as one of the first female barristers, she practised on the the south-eastern circuit until 1938 when she joined the Marchioness of Reading in starting the Women’s Voluntary Service. During the Second World War she worked for the Ministry of Information (1940-41) and as a Liaison Officer for the B.B.C.s North American Service (1941-45). After the War she spent one year at the United Nations in New York where she was in charge of the Status of Women section. She died in Eastbourne, Sussex, on 18 October 1973.

A rare Great War campaign group of five awarded to Ambulance Driver, Sergeant Winifred Mordaunt, First Aid Nursing Yeomanry, who was amongst the very first F.A.N.Y’s in France, was twice Mentioned in Despatches, and was awarded the French Croix de Guerre for gallant conduct during an air raid 1914-15 Star (W. Mordaunt. F.A.N.Y.C.); British War and Victory Medals, with M.I.D. oak leaves (W. Mordaunt. F.A.N.Y.C.); France, Third Republic, Croix de Guerre, bronze, reverse dated 1914-18, with bronze star; together with the recipient’s First Aid Nursing Yeomanry 1914-18 Service Medal, with four riband Stars denoting pre-War Service; and a Sandown Races Bronze Medal, 1882, reverse numbered ‘1088’, light contact marks, therefore generally very fine (6) £1,000-£1,400 --- Provenance: Provenance: A. Flatow Collection, Spink, November 1998; Julian Johnson Collection, Dix Noonan Webb, May 2017. M.I.D. London Gazette 24 December 1917 and 25 May 1918. Winifred Mordaunt, later Mrs John Geare was the daughter of Sir Charles Mordaunt, 10th Baronet, of Walton Hall, Warwick. She served during the Great War as an Ambulance Driver for the First Aid Nursing Yeomanry on the Western Front from November 1915. She was based with the Ambulance Motor Convoy at Boulogne, and Pat Beauchamp (a contemporary of hers at Bouglone) in her book Fanny Goes To War gives the following insight: ‘It may be interesting to members of the Corps to know the names of those who formed that pioneer Convoy. They are: Lieutenant Franklin, M. Thompson (Section Leader), B. Ellis, W. Mordaunt, C. Nicholson, D. Heasman, D. Reynolds, G. Quin, M. Gamwell, H. Gamwell, B. Hutchinson, N. F. Lowson, P. B. Waddell, M. Richardson, M. Laidley, O. Mudie-Cooke, P. Mudie-Cooke and M. Lean (the last three were new members).... We arrived at Boulogne in time for lunch, and then set off for our camp thirty kilometres away, in a British Red Cross touring car borrowed from the “Christol Hotel.” We arrived there amid a deluge of rain, and the camp looked indeed a sorry spectacle with tents all awry in the hurricane that was blowing. Bell tents flanked one side of the large open space where the ambulances stood. A big store tent occupied another and the cook-house was in a shed at the extreme corner, with the Mess tent placed about as far from it as possible! We had no telephone in those days, and orderlies came up from the Casino hospital and A.D.M.S. with buff slips when ambulances were wanted. At that time the cars, Argylls, Napiers, Siddeley-Deaseys, and a Crossley, inscribed “Frank Crossley, the Pet of Poperinghe,” were just parked haphazard in the open square, some with their bonnets one way and some another - it just depended which of the two drives up to camp had been chosen. It will make some of the F.A.N.Y.’s smile to hear this, when they think of the neat rows of cars precisely parked up to the dead straight, white-washed line that ultimately became the order of things!’ Mordaunt advanced to the rank of Sergeant, and Beauchamp goes on to mention ‘Winnie’ on several occasions throughout the book. She is also mentioned in F.A.N.Y. Invicta by Irene Ward, including Mordaunt’s post-war involvement with the organisation, when she was elected as a member of the Headquarters Staff Committee: ‘From the beginning of the inter-war period rather different personalities exercised control and the whole administrative machine was overhauled. Franklin was the first Commandant. It was also agreed to establish a more regular central committee to decide on Corps policy. The Headquarters Staff Committee consisted at first of Franklin, Joynson, A. H. Gamwell, Lowson, Mordaunt, Russell-Allen, Baxter Ellis, Mosely, Peyton-Jones, Walton and Waddell (soon to become Colston and Washington).’ Mordaunt is recorded as having been awarded the Croix de Guerre for gallant conduct during an air raid, and her two M.I.D.’s are amongst just 15 to the F.A.N.Y. for the whole of the Great War.

Hitt (Thomas). A Treatise of Fruit-Trees, by Thomas Hitt, Gardener to the Right Honourable Lord Robert Manners, at Bloxholme, in Lincolnshire, 2nd edition, London: Printed for the author; and sold by T. Osborne and J. Shipton; and J. Richardson 1757, seven folding engraved plates (third plate torn with loss), scattered spotting and slight dust-soiling mostly to margins, armorial bookplate of Edward Roger Murray Pratt, Ryston Hall to upper pastedown, later rear pastedown, contemporary speckled calf, rebacked, maroon morocco title label to spine, rubbed to board corners and extremities, 8vo, together with: Forsyth (William). A Treatise on the Culture and Management of Fruit-Trees; in which a new method of Pruning and Training is fully described. To which is added, a new and improved edition of "Observations on the Diseases, Defects, and Injuries, in all kind of Fruit and Forest Trees"..., 4th edition, London: Longman, Hurst, Rees, Orme, T. Cadell and W. Davies, 1806, 13 engraved plates (including 11 folding), some offsetting and scattered spotting, contemporary calf, rebacked with gilt decorated spine retaining red morocco title label, 8vo,QTY: (2)NOTE:Provenance: Frederick Alkmund Roach OBE (1909-2004).1. Henrey 848.Frederick Roach was one of the most acclaimed fruit experts of the 20th century. He decided on a career in horticulture at the age of 10 while helping to run his father's rectory garden in Toft, Lincolnshire. During the Second World War Roach was part of the Dig for Victory campaign and, in 1946, he was made chief horticultural officer of the newly formed National Agricultural Advisory Service. He became successively regional fruit adviser for the South West and South East before taking the post of national fruit adviser. Retirement from the ministry in 1972 triggered a new career as a consultant to the UN Food and Agriculture Organisation and the World Bank. Roach's book, Cultivated Fruits of Britain, Their Origin and History (1985), is still regarded as a bible for many fruit experts. This was followed by the descriptive texts for Hooker's Finest Fruits, which was published by the Royal Horticultural Society in 1989. In 1966 he was awarded the Ridley Medal of the Worshipful Company of Fruiterers. The Royal Horticultural Society awarded him the Veitch Memorial Medal in 1978. Other illustrious winners of the award include Gertrude Jekyll (1928), Francis Kingdon-Ward (1934), Vita Sackville-West (1955), Harold Hillier (1957), Roy Lancaster (1972), David Austin (1994) and Stefan Buczacki (2010).

Lysons (Samuel). A Collection of Gloucestershire Antiquities, London: Cadell and Davies, 1803, engraved title, 110 aquatint or etched plates, lightly spotted, title with a few damp-stains to margins, Shermenshill library bookplate and book ticket of Nigel Temple to front pastedown, modern brown half morocco gilt, folio, together with:Fosbrooke (Thomas Dudley). An Original History of the City of Gloucester, London: John Nichols and Son, 1819, additional engraved title, 36 engraved plates, armorial bookplate of Philip John Budworth, Greensted Hall, Essex, lightly toned and spotted, top edge gilt, late 19th-century red half morocco gilt, some wear to extremities, 4to, plusAn Original History of the City of Gloucester, almost wholly compiled from new materials, London: John Nichols, 1819, vignette title, additional engraved title, 35 engraved plates (on 21 leaves), additional engraved title verso with paper reinforcement leaf to inner margin, lightly spotted, late 19th-century maroon half morocco gilt, head and tail of spine neatly reinforced, rubbed, folioQTY: (3)

Architectural pamphlets. A collection of 15 London-related architectural pamphlets, bound in one volume, 1857-63:1. Public Offices, and Metropolitan Improvements, by Alexander James B. Beresford Hope, London: James Ridgeway, 1857, 34 pp.2. The Expense of the Government and of Mr. Beresford Hope's Plan of Public Offices Compared, London: James Ridgeway, 1857, 8 pp., folding colour plan, autograph letter fragment by the author?3. On the Designs for the Wellington Monument. By One of the People, London: Chapman and Hall, 1857, 28 pp. 4. Public Competitions Public Works. A Letter to the Right Honourable the First Commissioner of Her Majesty's Works and Public Buildings, by A Bystander, London: John Edward Taylor, 1858, 12 pp. 5. New Government Offices. Remarks Appertaining to the Designs, No. 146, sent to Westminster Hall, March 20th, 1857, and impressed with the following motto "Ut Apes Geometriam", London: George Nichols, [1857], 16 pp. 6.The New Palaces of Administration. An earnest appeal to the competitors, the Public and the Committee, by a Cambridge Man, Cambridge: Macmillan and Co., 1857, half-title, 21 pp. 7. An Address Delivered at the First Meeting of the Royal Institute of British Architects in the New Rooms in Conduit Street, on Monday, November 7th, 1859, by William Tite, M. P., F. R. S. the Right Honourable the Earl de Grey President, in the Chair, London: 1859 [not published], 37 pp., errata leaf 8. Lord Palmerston and the Designs for the Foreign Office; or, Classical versus Gothic, 7 pp., reprinted from the Gentleman's Magazine 9. Shall the New Foreign Office be Gothic or Classical? A Plea for the Former: Addressed to the Members of the House of Commons, by Sir Francis E. Scott, London: Bell and Dandy, 1860, 70 pp., presentation inscription to Richard Monckton Milnes, 1st Baron Houghton (1809-1885), MP and author 10. The Gothic Renaissance: Its Origin, Progress, and Principles, London: Saunders, Otley & Co., 1860, 32 pp. 11. Notes on Art, British Sculptors, Sculpture, and our Public Monuments, London: Edward Stanford, 1861, 80 pp., inscribed to title to Richard Monckton Milnes from the author 12. Strictures on the Report of Her Majesty's Commissioners for the Concentration of the Law Courts and Offices, and on their recommendations as regards site, by Harvey Gem, London: W. Heath, 1861, 24 pp., folding map 13. Railway Communication in London and the Thames Embankment, by C. B. Lane, 2nd edition, London: James Ridgeway, 1861, 24 pp. 14. On the Egyptian Obelisks in Rome and Monoliths as Ornaments of Great Cities, read at the Ordinary General Meeting of the Royal Institute of British Architects, May 31st, 1858, by the Rev. Richard Burgess, followed by remarks on the application of the entasis to the obelisk by John Bell,,,, reprinted with the sanction of the council, [1858], 42 pp., folding plate 15. The Condition and Prospects of Architectural Art. Inaugural Lecture of the Session of 1863 of the Architectural Museum, delivered March 23, 1863, by A. J. B. Beresford Hope, President, London: John Murray, 1863, 34 pp., a few minor spots, bookplates of Robert Crewe-Milnes, 1st Marquess of Crewe (1858-1945) and Mark Girouard, contemporary green half morocco, small gilt stamp to upper cover, joints and edges rubbed and scuffed, 8vo QTY: (1)

A GROUP OF MID-CENTURY FABRICS, to include a length of 'Corrida' fabric, designed by Peter Hall for Heals, sewn into three curtain panels; a length of 'Cherry Orchard' fabric, designed by Imgard Krebs, sewn into two pillow cases; a length of 'Manhattan' fabric, designed by Gordon Crook for Rosebank Fabrics, circa 1963, sewn into two curtain panels; and a length of red geometric fabric, possibly attributed to David Whitehead, printed 'A GUARANTEED FABRIC, MADE IN ENGLAND'.Corrida: each panel approx 112 x 110 Cherry Orchard: each case 70 x 57 cm Manhattan: each panel approx 110 x 110 cm Red fabric: 179 x 115 cm From the V&A: The late 1940s to the 1970s was a remarkably creative era in British textile design. Aided by post-war confidence and growth, a new wave of designs was produced, influenced by art and design from around the world. Designers created markedly contemporary, buoyant styles that elevated textile design to new heights, lifted public spirits and transformed the home.

PETER HALL (BRITISH 20TH CENTURY) FOR HEALS: A length of 'Verdure' fabric, designed in 1965, printed 'HEALS "VERDURE" BY PETER HALL / WOVEN AND PRINTED IN ENGLAND' to the border, together with a length of 'Tivoll' fabric, designed in 1967, sewn into two curtain panels, printed 'HEALS "TIVOLL" DESIGNED BY PETER HALL / WOVEN AND PRINTED IN ENGLAND' to the borderVerdure: 124 x 115 cm Tivoll: each panel approx 145 x 133 cmReference: See Victoria & Albert Museum, London, accession numbers CIRC.257-1967 (Verdure) and CIRC.27-1968 (Tivoli) for other examples of these fabrics. From the V&A: The late 1940s to the 1970s was a remarkably creative era in British textile design. Aided by post-war confidence and growth, a new wave of designs was produced, influenced by art and design from around the world. Designers created markedly contemporary, buoyant styles that elevated textile design to new heights, lifted public spirits and transformed the home.

Silver cigarette box, engraved with initials 'DAGH' to hinged top, hallmarked London 1928, makers mark for Walker & Hall, 18cm wide