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* JOYCE W CAIRNS PPRSA DEd (hc) HRA (2018-2022) HRHA HRWA HRBA RSW MA (RCA) (SCOTTISH b. 1947), FITTIE SHEDDIES gouache on paper, signed, titled labels versomounted, framed and under glass image size 29cm x 35cm, overall size 55cm x 59cm Handwritten artist's label versoLabel verso: The Rendezvous Gallery, Aberdeen.Note: In 2018 Joyce W Cairns was elected the first woman President of The Royal Scottish Academy in its 192 year history. Given the extraordinary talent of many Scottish women artists both past and present, this honour reflects the high esteem of the Royal Academicians who elected her and her status as one of the most important and respected artists of her time. Note 2: Joyce W Cairns was born and brought up in Edinburgh. She studied painting at Grays School of Art, Aberdeen from 1966 -71 and The Royal College of Art, London 1971 -74. She was awarded a Fellowship at Gloucester College of Art and Design 1974-75 returning to London where she did the Art Teacher’s Certificate Course at Goldsmiths College, University of London 1975-76. In 1976 she returned to Aberdeen where she taught Drawing and Painting at Grays School of Art until 2004 when she took early retirement to complete the vast body of work which culminated in ‘War Tourist’. It was exhibited for 3 months in 2006 at Aberdeen Art Gallery, attracting nearly 30,000 visitors. Her work is mainly autobiographical based on past memories intertwined with present experiences, woven around the backcloth of the once fishing village of Footdee at the mouth of Aberdeen harbour where she has lived for the past 33 years. ‘War Tourist’ was based on her Father’s war backed up by extensive research following in his footsteps through Europe and Tunisia. She now paints in Dundee working in a house and garden overlooking the Tay which will add a further dimension to her work but still retains a residence in Footdee. Cairns has won many awards and is featured in many publications and in the wider media. Cairns’ work has been exhibited in serious group exhibitions since 1970, as well as having numerous celebrated solo exhibitions in Scotland, London and Canada. Her work is held in numerous public collections including Aberdeen Art Gallery, The Scottish Arts Council, BBC Television, Edinburgh City Arts Centre, Fife Regional Council, Fleming’s Bank, Glasgow City Art Gallery & Museum, Glasgow Gallery of Modern Art, Grampian Television, Graves Art Gallery & Museum, Sheffield, Gray’s School of Art, Aberdeen, Lanarkshire County Council, Manchester City Art Gallery, McMaster Museum, Hamilton, Ontario, Mobil, Perth City Art Gallery & Museum, Shell UK, Tidaholm Government Office, Sweden, The Contemporary Arts Society, The Royal Scottish Academy, University of Aberdeen, University of Strathclyde, Unilever, Aberdeen Asset Management, The National Museums of Scotland, The Robert Gordon University, Aberdeen Asset Management,Asia, Singapore, The British Museum, The Victor Murphy Trust, Pier Arts Centre, Inverness Museum and Art Gallery, The Maritime Museum, Irvin, New Hall Art Collection, Cambridge, The National Galleries of Scotland. Further biographical information at: www.joycecairns.co.uk

NO RESERVE Magic Lantern.- Theatre Royal, Drury Lane... His Majesty's servants will perform (2nd time) a new opera, called Isidore de Merida, or, the Devil's Creek, founded on the popular opera of The Pirates, small stub on verso, Thursday, 29th November 1827; and another similar playbill, The Theatre Royal, Isidore de Merida (2nd time)..., Saturday, 1st December 1827, printed playbills, both with small hole in left margin, creased at head and tail, 315 x 200mm. (2).⁂ An early mention of the Magic Lantern in the theatre. Much of the scenery was designed by the scenic artist and marine painter Clarkson Stanfield (1793-1867). At Drury Lane over the course of twelve years he achieved a reputation as a creator of romantic landscape scenery. He was especially famed for his 'moving dioramas' - land and seascape panoramas, unrolling with complex lighting and mechanics as travelogue interludes. This performance of Isidore de Merida features several scenes designed by Stanfield, among them "Castle Hall, introducing the effects of the Laterna Magica", i.e. the Magic Lantern.

Buckinghamshire & Hertfordshire.- [Storer (James S.)] Cowper, Illustrated by a Series of Views, in or near the Park of Weston-Underwood, Bucks, second edition, engraved additional pictorial title and 12 plates by Storer & Greig, lightly water-stained, contemporary half calf, rebacked, corners repaired, 1804 § Smyth (Capt. W.H.) Aedes Hartwellianae, or Notices of the Manor and Mansion of Hartwell, original cloth, privately printed, 1851 § Bayne (Robert) Moor Park, 8 mounted actual photographs, one with mount creased and torn, original cloth, g.e., 1871 § Kitton (F.G.) Hertfordshire County Homes, one of 200 copies, subscriber's copy with bookplate of Sir John Evans, contemporary half calf over pictorial gilt cloth, spine gilt, g.e., for subscribers only, 1892 § Minet (William) Hadham Hall..., original cloth-backed boards, corners worn, new label, Colchester, 1914, plates and illustrations, all rubbed, the second and third rebacked preserving original spine; and 8 others, Buckinghamshire & Hertfordshire, including catalogue of paintings at Chequers and sale catalogues for Cassiobury Park (1922), Mentmore (1977) and West Wycombe Park (1998), 8vo & 4to (14)

Scotland.- Scott (Robert, engraver) [Views of Scottish country houses, scenery etc.], no title, 10 engraved plates with accompanying leaves of text (?of 12, with text for but lacking plates of Melrose Abbey and Pollock House), with 4 additional engravings by Scott (New Battle House, Hopetoun, view of Edinburgh from NW, Craigie-hall Bridge) from a different suite bound in at end, foxed and water-stained, from the library at Prestonfield House, Midlothian with contemporary ink inscription to front free endpaper, contemporary half calf, rubbed, upper joint split, spine ends chipped, [?Edinburgh], R.Scott, [c.1798] § Lizars (W.H.) Views in Renfrewshire, engraved vignette title, 24 engraved plates on india paper and mounted, some foxing to mounts, with hand-coloured engraving of a mounted Lt. Gen. Sir Ralph Abercrombie in front of the pyramids of Egypt (Rich. Evans, 1816) loosely inserted, contemporary half calf, Edinburgh [& others], [c.1840] § Aiton (William) A History of the Rencounter at Drumclog, and Battle of Bothwell Bridge...1679, first edition, the first book printed in Hamilton, half-title, folding engraved frontispiece, lightly offset on title, stitched in original blue wrappers, preserved in modern dust-jacket and morocco-backed cloth slip-case, spine gilt, Hamilton, W.M.Borthwick & Co., 1831, rubbed; and 8 others, Scotland, including the 1882 sale catalogue of the Duke of Hamilton's pictures (lacking illustrations) and a catalogue of the pictures at Hendersyde Park, v.s. (11)

Magic / Conjuring interest: Various titles: WALTER B GIBSON: JUNIOR MAGIC, New York, Sterling, 1977, First edition; BERT DOUGLAS: CLUB MAGIC, London, EDW Bagshawe, 1930, First edition; BERT DOUGLAS: MAGIC WORTH KNOWING, London, EDW Bagshawe, 1934, First edition; LEWIS GANSON: EXPERT MANIPULATION OF PLAYING CARDS, Croydon, Arcas, c1948, First edition; PETER WARLOCK: PATTERNS FOR PSYCHICS, Croydon, ARCAS, c1945, First edition; VERRALL WASS: ASTOUND YOUR AUDIENCE, VOLUME 2, London, unwin, 1936, First edition; TREVOR H HALL: TESTAMENT OF R W HULL, London, ARCAS, 1945, First edition; BURLING HULL: FIFTY SEALED MESSAGE READING METHODS, London, Davenport / Maskelyn's Mysteries, c1920, First edition; SID LORRAINE: PATTER, Michigan, Abbott's, 1938, dedicated and signed by author, British Ring Library boards; EDWARD BAGSHAWE: EXCLUSIVE PROBLEMS IN MAGIC, London, EDW Bagshawe, 1924, First Edition (10)

Edwardian “Candle” walking cane. Ebonised shaft with horn ferrule. The upper 8”/23mm consists of a silver plated section with a screw cap and removable collar. Lower part of the plating has been worn with use. The cap is hall marked “H & Co London 1907” and decorated with a floral pattern.. This cap when unscrewed reveals the candle top. The silver plated collar directly below the cap holds the candle in place against an internal spring. Directly under the candle within the stick the compressed spring pushes the candle up as it burns. Where the bottom of the candle engages the top of the spring is a circular steel plate (the spring plate).This is for protection if/when the candle burns right down. To replace the candle the collar can be twisted and disengaged. This will allow the spring to fully extend. (A firm grip is needed on the collar as it is released as the spring it holds in place is strong). A new candle can then be placed on top of the spring plate and pushed down, compressing the spring back into the top of the stick. The spring can best be held in position by replacing the collar over the top of the candle, pushing down, and clicking the collar back into place. Overall length is 910mm/36. Most candlesticks are made to hold candles with the standard diameter - seven-eighths of an inch - which have been used across Britain since around 1840.(As is the candle in this stick. Diameter of opening in collar slighter smaller) This imperial measurement was a standard of Price's Candles, for decades the dominant force in the British market.

COLEN CAMPBELL; a set of four engravings, to include 'Seaton Delaval Hall', 'Rookby Park', 'Elevation of Newby upon Swale in the North Riding of Yorkshire' and 'In This New Define of my Invention is Most Humbly Inscribed to the R. Hon James Stanhope EFG', 28 x 38cm, each framed and glazed.

A collection of New Hall porcelain including a silver shaped teapot and stand, a London shaped sucrier, a helmet shaped jug, a cup and saucer in 343 pattern, a saucer in Chinoiserie pattern 421, a bowl in pattern 425 and assorted other teabowls and saucers etc together with A guide to New Hall porcelain patterns by A. de Saye Hutton Condition Report:Available upon request

Charles I. Reliquiae Sacrae Carolinae. Or the Works of that Great Monarch and Glorious Martyr King Charls the I. Collected together, and Digested in Order, According to their Severall Subjects, Civil and Sacred, 2 parts in one, The Hague: Printed by Samuell Browne, 1651, engraved portrait frontispiece, double-page engraved portrait of Charles I at prayer (lined to verso and closed tear to fold), light dust-soiling, toning and spotting, armorial bookplate of Edward Francis Witts to upper pastedown,19th-century blind panelled and decorated calf, spine torn and some wear, 8vo, together with:New Testament [French]. Le Nouveau Testament de Nostre Seigneur Jesus Christ, Traduit en François Selon l'edition Vulgate, avec les différences du Grec. 2 parts in one, new edition, A Mons: Gaspard Migeot [Amsterdam: Daniel Elsevier], 1672, general title in red and black and with woodcut device, 2nd part with separate title 'Les Epistres de S. Paul. Les Epistres Canoniques. L'Apocalypse', light damp-staining and dust-soiling, modern calf, 8vo (Willems 1480, The On account of the hostility of the Jesuits in Paris, this Jansenist Bible could not be printed in France and the various editions with the Mons imprint are usually attributed to the press of Daniel Elzevier at Amsterdam),Hall (Joseph). The Old Religion: A Treatise Wherein is laid down The true state of the difference betwixt the Reformed and Roman Church..., for a Preservation against Popish Insinuations, London: Printed by M. F. and are to be sold by William Freeman, 1686, some damp-staining, front endpaper with early manuscript ownership of Kitty and Agnes Travell, Frances Travell, and F. E. Witts, contemporary mottled calf, joints rubbed, 12mo, plus other 17th-early 19th-century antiquarian including Peacham (Henry). The Compleat Gentleman. Fashioning him absolut [sic], in the most necessary and commendable Qualities concerning Minde or Body, that may be required in a Noble Gentleman. Whereunto is annexed a description of the order of a Maine Battaile or Pitched Field, eight severall wayes: with the Art of Limming and other Additions newly Enlarged, London: Francis Constable, 1634, additional engraved title, lacking three leaves of text (N3, N4 & O1), leaves N1 & N2 detached, damp-staining throughout, contemporary calf, 4toQTY: (8)

* Tourtel (Mary, 1897-1948). Rupert, April 16, 1944, sepia pen & ink on paper, half-length portrait of Rupert the Bear wearing his trademark scarf, inscribed by the artist 'Rupert', and signed and dated, toned, 4 folds, sheet size 15.8 x 13 cm, framed and glazed (12.8 x 14.2 cm), ink inscription on backboard "'Rupert Bear' Original drawing by his creator, Mary Tourtel - Given to me by her, April 1944 - Eve Sheldon-Williams"QTY: (1)NOTE:Provenance: Given by the artist to the owner's grandmother, Eve Sheldon-Williams; thence by descent.Painter Eve Sheldon-Williams (1916-2001) was the daughter of artists Inglis and Ina Sheldon-Williams. She studied painting, illustration and design at the Central School of Arts and Crafts from 1937 to 1941 under William Roberts, John Skeaping, Bernard Meninsky and John Farleigh. She subsequently became a lecturer for the Arts Council, and in 1957 she was appointed to the panel of the London County Council Art Instructors for illustration, design, life and fashion drawing. She also taught at Harrow School of Art, Wealdstone Grammar School, and was Head of Art at the Hall School, Hampstead. She showed regularly at the New English Art Club and elsewhere.

Douglas (Norman). They Went, 1st edition, London: Chapman & Hall, 1920, occasional light toning and a few spots, original cloth, spine a little faded, a few small bumps, 8voQTY: (1)NOTE:Presentation copy to author William Arkwright, inscribed to front endpaper 'My dear Arkwright, I meant to return you this book mauled about with all kinds of corrections and explanations. Presumably, this is unnecessary as they are now printing a new edition which will contain these things, and of which I will get them to send you a copy. It ought to be nearly out, by this time. Yours ever Norman Douglas, Mentone, 7 Mar 1921', and a note pasted at front 'Sent by Mr Ralph Strauss at the request of Mr Norman Douglas, who is abroad. 30 Sept. 1920'.William Arkwright (1857-1925), the dedicatee of this book is best known for his work The Pointer and his Predecessors, 1902.

Framed Art The Face, A Captivating 1980s Poster By Accomplished American Artist Robin Morris (B. 1953). Adorned With Art Deco Elements And Pastel Colours, This Artwork Showcases A Woman's Half Face, Evoking A Sense Of Intrigue. Robin Morris, Renowned For Her New Deco Style, Has Mesmerized Audiences Throughout Her Illustrious Career. Notably, Her Commercial Artwork Has Graced Iconic Venues Like Radio City Music Hall, Coca-Cola, And Bloomingdale's. The Poster Is Elegantly Mounted In A Pastel Purple Background And Framed With A Distressed White Frame, Adding A Touch Of Allure To Any Space 89 x 74cm (WMFS 10)

RARE STATUETTE DE VAIROCANA EN BOIS LAQUÉ ORFin de la dynastie Ming/début de la dynastie QingA RARE LACQUER-GILT WOOD FIGURE OF VAIROCANALate Ming/early Qing Dynasty Seated in vajrasana on a double lotus base, with both hands in dharma chakra mudra, wearing a fine diaphanous robe covering both shoulders and falling in large regular folds over his lap and legs while leaving his feet bare, his face is with a serene expression, with downcast eyes between arched eyebrows, smiling lips, his hair gathered in tight curls, together with an associated tiered lacquer-gilt wood pedestal. The figure: 36.2cm (14 1/4in) high., the figure and pedestal: 58cm (22 3/4in) high. (2).Footnotes:明末/清初 漆金木毘盧遮那佛坐像Provenance:The figure: Formerly in a German collection.The pedestal: Collection of Eduard von Grützner (1846-1925)Hugo Helbing, Munich, 4 June 1930, lot 712Collection of Heinrich Vetter (1910-2003), MannheimLempertz, Cologne, 4 July 2003, lot 165來源：佛像：德國舊藏底座：Eduard von Grützner（1846-1925）收藏Hugo Helbing拍賣行，慕尼黑，1930年6月4日，編號712曼海姆Heinrich Vetter（1910-2003）珍藏倫佩茨拍賣行，科隆，2003年7月4日，編號165Stylistically, the present work can be related to a corpus of Buddhist gilt-lacquer sculpture commissioned during the reigns of the Kangxi and Qianlong Emperors at the Buddhist site of Rehol, near Chengde in Hebei province. As the Mongols were fervent followers of Tibetan-style Buddhism, Kangxi ordered the construction of various Tibetan-style Buddhist temples ordered around the axis of Qingchui. Under the reign of his grandson, the Qianlong Emperor, the site was expanded massively, with the layout of the site mirroring the Buddhist cosmology of a mandala. The central focus of worship for many of these temples were large gilt-lacquered wood sculptures, including the 22-meter-high figure of Thousand-Armed Avalokiteshvara at the Puning Temple. Most similar to the present work are three massive figures of Buddhas located in the Zongyin Hall, constructed in 1766, see Buddhist Art from Rehol: Tibetan Buddhist Images and Ritual Objects from the Qing Dynasty Summer Palace at Chengde, Taipei, 1999, p.29. Characteristic of many of these lacquered sculptures was the deeply colored gilding, almost in imitation of patinated gilt-bronze, applied over thick red or black lacquer. A smaller dry lacquer figure of related modelling in the Metropolitan Museum of Art, New York is published by Alan Priest, Chinese Sculptures in the Metropolitan Museum of Art, New York, 1944, pl. CVVVI, with an inscribed paper label scroll contained in an interior cavity dating to the 9th year of the Yongle reign, corresponding to 1411.For further information on this lot please visit Bonhams.com

JIANG TINGXI (1669–1732)Manuel Impérial des Oiseaux, Niao PuPerroquet aux Joues RougesJIANG TINGXI (1669-1732)Imperial Manual of Birds, Niao PuRed-cheeked ParrotInk and colour on silk, album leaf and calligraphy, framed and under glass, title slip reading 'hong jia lv ying ge, with two seals of the artist reading chen Tingxi and chaochao ran han. 40.5cm x 41cm (16in x 16 1/8in)Footnotes:蔣廷錫（1669-1732）鳥譜 紅頰綠鸚哥 設色绢本 鏡框鈐印：臣廷錫、朝朝染翰題跋：紅頰綠鸚哥。黑睛黃眶。綠瞼黃喙。深綠頂。兩頰至腦後俱鮮紅色。頷下深黑。項背臆腹黃質綠斑間有白毛。膊翅深綠色帶赭黃紋。翅根間以青翠。尾翎甚細。外青裏白。蒼白足黑爪。此種比諸鸚哥爲最小。Provenance:According to family history, acquired in China in the late 19th century, inherited by the father of present owners and thence by descent in the family 來源：據家族記載，此拍品於十九世紀末得自中國，由現藏家之父繼承，後經家族流傳至今Like the previous lot, this album leaf and the accompanying calligraphy are also from the Imperial Manual of Birds (Niao Pu). As indicated in the title slip, the illustration depicts a red-cheeked parrot (Geoffroyus geoffroyi) (hong jia lv ying ge 紅頰綠鸚哥), a small, long-tailed parrot whose natural habitat is in Indonesia and Papua New Guinea. Like the cockatoo in the previous illustration, the parrot on this leaf is painted with great attention to detail, revealing an in depth study and understanding of the subject captured: while the cheeks and neck of the bird's head are a vibrant shade of red, the crown and the back of the head are a dark green while the throat and neck are bluish-black tone, the breast, abdomen, tail, upper and lower tail-coverts are a pale yellow-green, while the lower back and wings are a darker green, the under wing-coverts are blue. The underside of the tail is a pale yellow, the eyes have pale yellow irises, the upper beak is a bright red tone and the lower beak is grey. Jiang Tingxi, a native of Changshu in southern Jiangsu province, was a scholar-official, who attained the rank of Grand Academician in the Hall of Literary Brilliance under the Kangxi emperor. He was also a skilled painter who was renowned for his flower and bird paintings. Influenced by Yun Shouping (1633-1690), Jiang Tingxi perfected the 'boneless' style of ink washes instead of outlines and worked alongside the Jesuit missionary and painter Giuseppe Castiglione (1688-1766) in the Ruyi Hall of the Forbidden City. His highly realistic painting style shows the Western influence of the natural sciences and scientific observation, and is in stark contrast with the encoded, schematic animals in classical Chinese illustrations. Rendering the plumage of each bird in delicate, fine lines and highly accurate colors, Jiang's images are far more detailed than any earlier printed source, with exception of Emperor Huizong's painting of a five-coloured parakeet, now in the collection of the Museum of Fine Art, Boston, which was also painted in a highly realistic manner after observing a live bird. The sharply observed and realistically rendered details of the birds depicted on the majority of the 360 leaves of the album suggest that all the birds were painted from life. The later copy of the Niao Pu by by Zhang Weibang 張維邦 (ca. 1725-1775) and Yu Sheng 余省 (1692-1767) with its traced images of the original album leaves lacks the realistic character of the subjects included in Jiang Tingxi's album as seen in the copy of the red-cheeked parrot, accession number 故畫003600N000000005 (Fig. 2).It has been argued that the Imperial Manual of Birds was part of the Kangxi Emperor's (r. 1654-1722) grand imperial publication projects to support his own political mandate. Over the course of his reign, Kangxi commissioned two monumental encyclopedias, entitled the Mirror of Origins Based on the Investigation of Things (Gewuzhizhi 格物致知), and the Synthesis of Books and Illustrations Past and Present (Gujin tushu jicheng 古今圖書集成), which were completed and published under his son, the Yongzheng emperor (r. 1722-1735). Both encyclopedias included sections on plant, tree, bird, and insect species that drew upon numerous references to historical texts as well as direct observation. Wang Tubing's text on the cockatoo, written in regular script, mentions that this species originally came from the south in the Tang dynasty. It indicates that exotic birds and other animals from far lands arrived as gifts at the Qing court. His texts in the Imperial Manuel of Birds firmly place each bird within a historical, poetic, and scientific context, some more than others. However, the accompanying texts on both birds also demonstrate a scientific approach as Wang Tubing's inscriptions record scientific facts including detailed measurements, the colorations and other characteristics. Hence, text and illustration are rendered factually and objectively, placing them and the album which they were part of firmly in the context of the other two monumental encyclopedias commissioned by the Kangxi emperor.For further information on this lot please visit Bonhams.com

Two 18th century porcelain tea bowls and saucers, probably by New Hall, decorated with hand-painted floral sprays, saucers 13.5cm diameter, a similar tea bowl and a pair of Chinese armorial small jars and covers.  (7)CONDITION REPORT: Old repairs to one jar and one saucer. 

Three Regency New Hall (probably) tea pots with gilt and enamel decoration, one with matching sugar basin and cover, monochrome printed and gilded with fruit-baskets to/w two other sugar basins and cover with monochrome printed and a milk jug and bowl (box)

A Regency New Hall teapot painted with floral sprays, no 593 to/w five matching tea-bowls and six saucers, a similar tea bowl and a slop-bowl (teapot repaired and stapled)

A selection of 19th Century and later tea ware, including: two Aynsley coffee cans and saucers, the cans with silver plated holders; a Royal Crown Derby ‘Wilmot’ pattern cup and saucer; a 19th Century Royal Worcester cup and saucer, with blue and white Chinoiserie decoration; a selection of tea bowls, in the manner of New Hall; and others.

A miscellaneous group of books comprising: The Great Importance of a Religious Life Consider'd, [by William Melmoth], London: Benjamin Barker, 1724; The Boy's Own Conjuring Book: Being a Complete Hand-Book of Parlour Magic, New York: Dick & Fitzgerald, [c. 1870]; The Whist Player, by Lieut.-Colonel B****, London: Chapman & Hall, 1858; The Lyrical Poems of Robert Herrick, London: J. M. Dent, [c. 1897], bound in gilt-tooled limp vellum; The Model Engineer Series, Nos. 10-27 bound in two volumes, London: Dawbarn & Ward, Percival Marshall, [c. 1910]; The Last of the Mohicans, by James Fenimore Cooper, London: W. Nicholson & Sons, [c. 1890]. Condition varied, sold as one collection with all faults (7)

WW2 British Slouch Hat with REME Arm of Service Insignia. Complete with leather chinstrap. Sweatband is maker marked and dated "Hall & Phillips Ltd 1942". Size 7 1/8th. Has original owners initials and last three serial number digits "CH 662" marked on the sweatband. New to the market.

A collection of Ceramics & Antique theme hardback books including Millers, The Lyle, Coalport, European Porcelain, New Hall, Liverpool, Royal Doulton, Worcester, Wedgwood(3 boxes)

An American walnut combination hall dining table by H. Herrmann of New York, having a fold-over top above a single frieze drawer, all united by low X stretcher, w.152cm, d.50cm (closed), h.77cm

Dickens [Charles}: A Christmas Carol in Prose, A Ghost Story of Christmas, illus by John Leech, pub by Chapman and Hall, 186 The Strand, MDCCCXLIII, receipt from John Smith and Son (Glasgow) stating Third issue of first edition £8..8s, brown cloth binding.Both end and first pages new, pencil writing to one page at back, staining to several pages, throughout especially title page, stain to back cover, plates somewhat dirty, cover tatty and worn, losses to spine.

A matched set of ten George III mahogany dining chairs, last quarter 18th century, in the manner of Gillows, including two carvers, each with a pierced rectangular trellis and rosette back surmounted by a tablet carved with harebells, above a padded seat embroidered with later needlework, on turned tapering legs with toupie feet, the carvers stamped F.T, the side chairs stamped A.F  (10)Footnotes: Note: These chairs correspond to Gillows’ 'Garforth pattern', which first appeared in 1795 and was probably an adaptation of Georges Jacob's design of circa 1792 for Marie-Antoinette's dairy at Rambouillet. They appear to have been particularly popular among the genteel, professional and merchant classes in the north of England and Gillows' produced versions of this design in mahogany and also with japanned decoration. In 1796 the Earl of Strafford purchased six white and green japanned chairs for Wentworth Woodhouse, and Sir William Gerard ordered thirty-six mahogany chairs for Garswood New Hall, Lancashire. While the design featured a round or 'compass-fronted' seat (see the set of twelve sold anonymously, Christie’s, London, 29 April 2010, lot 86, £46,850 including premium) they were also made with a more conventional square seat. The design was adopted by the influential architect/designer Sir John Soane (d. 1837). He commissioned the set of twenty 'mahogany trellis chairs' for the Governor’s Room at The Bank, supplied in 1809 by the cabinet-maker David Bruce (d. 1823) of Aldersgate Street, London (see M. Jourdain, 'Early 19th-Century Furniture at the Bank of England’, Country Life, 3 October 1947, p. 676, fig. 2). Soane owned a pair of armchairs of the Bank design at his own home at Lincoln’s Inn Fields, now the Soane Museum, and adapted the design for a set of dining-chairs supplied by John Robins in 1821. Robins' invoice described these as 'trellis back chairs moulded & Paneled [sic] seats French stuffed covered with black Spanish Morocco red welts [and] stout turned feet to pattern’.

Jackie Wagg (British 20th/21st century) "Stockport Viaduct and Mills" Signed, titled and dated 2010 on artist's label verso, graphite. 28.5 x 41.5cm (framed 47.5 x 57.5cm) * Jackie graduated from Wimbledon School of Art in 1984 with a first class honours degree in Fine Art. She has exhibited in group exhibitions in the UK and USA including the National Portrait Gallery London, the Royal Academy, The Royal Festival Hall, The Whitechapel and Manchester United Stadium Gallery.A prize-winner seven times for her paintings at the Williamson Art Gallery Merseyside.She has been featured in Cheshire Life Magazine, Manchester Evening News, Stockport Express, CAMRA Magazine and has been interviewed on Pure Radio. Her work is in the permanent collection of The Victoria and Albert Museum National Art Library, Stockport Council and many private collections.One of her paintings has been featured on a beer label for a northern brewery.Two of her artworks have been used by JD Wetherspoons for a pub in PrestonJackie has had solo exhibitions at Salisbury Arts Centre, Bayham Abbey in East Sussex sponsored by English Heritage, Direct Line Insurance Manchester, Stockport Art Gallery and Buxton Museum. She was a judge for the Stockport Open Exhibition 2018 and is on the selection panel for the Stockport Art Gallery Exhibition programme. In 2023 she was shortlisted for the Northern Art New Light Prize touring exhibitionHer work is of the urban North West, particularly Manchester and Stockport where she lives, and parts of the coast of Britain where she has had a connection over time. She is a teacher of art at Aquinas College and her studio is in Stockport. The drawing is in very good, original condition with no obvious faults to report. The drawing is ornately framed and glazed.

A large group of Christie's, Drouot, and assorted Antiquities sales catalogues, together with an assortment of Münzen und Medaillen, Ars Antiqua and assorted Antiquities dealer catalogues Including Christie's London catalogues (Hope collection, 23 July 1917, Cook collection, 14 July 1925, Portland Vase, 2 May 1929, Lansdowne collection, 5 March 1930, Oppenheimer collection, 22 July 1936, Northwick Park Antiquities, 21 June 1965, Harewood gold vase, 23 June 1965, Antiquities, 19 October 1965, Antiquities, 12 December 1967, Antiquities, 1 December 1978, Castle Ashby vases, 2 July 1980, Marbury Hall, 10 July 1987, Stanford Place, 26 April 2006); Christie's New York, Antiquities, 14 June 1979; Phillips London catalogues (Antiquities, 6 July 1993, Antiquities, 6 December 1994); Anderson Galleries, Cypriote pt.1, 30-31 March 1928; American Art Galleries, Kouchakji collection, 26 February 1912; Drouot catalogues (Antiquities, 16 November 1973, Antiques, 11 April 1986 (x2)); Münzen und Medaillen catalogues (1958, 1968, 1971, 1984, 1969, 1974, 1964, 1960); Ars Antiqua AG, Luzern catalogues (1960, 1964, 1967); Rupert Wace Ancient Art 1990; The Thomas Hope table, A rediscovered masterpiece, 2007; Memorial exhibition for Christo Michailidis, Robin Symes, 1999; The Red Pharaoh, Sycomore, 2011; Gawain McKinley Ancient Glass and Glazed Wares; Gawain McKinley, Ancient Glass and Glazed Wares x 2; Emmerich Gallery, Masterpieces of Greek vase painting, 1964; Emmerich Gallery, Early Art in Greece, 1965; Robin Symes, Ancient Art, June 1971; Robin Symes, 2000; Safani Gallery, Ancient Art: the Unknown Artist; Michael Ward, Origins of Design: Bronze Age and Celtic masterworks; Daedalus Gallery, 1990; Vollmoeller, no. 9, 1989; Galerie Nefer, cat. 1-4, 6-9 (QTY)For further information on this lot please visit Bonhams.com

Jack Butler Yeats RHA (1871 - 1957) Young John (1904) Watercolour 24.1 x 19cm (9 ½ x 7 ½“) Signed, inscribedProvenance: Sold at the 1905 Dublin exhibition to Jack GeogheganExhibition: New York, Clausen Galleries, March/April 1904, Recent Watercolours, cat. no. 21; London, Guildhall, May/July 1904, Loan Exhibition of Irish Artists, cat.no.75; Dublin, Leinster Hall, October 1905,Literature: H.Pyle, Jack B. Yeats, His Watercolours, Drawings and Pastels, cat.no. 500, p.131

Jack Butler Yeats RHA (1871 - 1957) The Bruiser (1900) Watercolour 24.9 x 17.5cm (9 7/8 x 6 7/8”) Signed twice, in watercolour and in pencilProvenance: With The Dawson Gallery, Dublin, label verso; Collection of Dr Graham McCarthy, Stockholm; With Waddington Galleries, London, labels verso; Sale, these rooms, 5/12/2001, lot 89; With Theo Waddington’s Irish Art Project, labels verso; Private Collection, IrelandExhibited: Dublin, Leinster Hall, March 1900, Sketches of Life in the West of Ireland and Elsewhere, cat.no.41; Oxford, Clarendon Hotel, October 1900, Sketches of Life in the West of Ireland; London, Walker Art Gallery, February 1901, Sketches of Life in the West of Ireland and Elsewhere, cat.no. 43; New York, Clausen Galleries, March/April 1904, Recent Watercolours, cat. no. 11; Dublin, The Dawson Gallery, Nov/Dec 1962, Watercolours and Pen and Ink Drawings, cat.no. 47.Literature: H.Pyle, Jack B. Yeats, His Watercolours, Drawings and Pastels, cat.no. 500, p.131, where she describes the work thus: “A boxer on his way into a changing room which is already crowded. To the left is the entrance to the ring, where some men and women are discussing the contest.”

JENNIFER LEE (1956-)'Pale, speckled collar' vessel, logbook number JL731, 2006Stoneware, oxidesH: 17,4cm. (6.7/8in.); D: 13cm. (5.1/8in.)Painted with artist's markFootnotes:ProvenanceErskine, Hall & Coe, LondonAcquired from the above by the present ownerLiteratureJennifer Lee, New Work, exh. cat., Galerie Besson, London, 2003, front cover for a similar exampleE. de Waal and T. Harrod, Falls the Shadow: Jennifer Lee, London, 2012, p. 6, 79 for similar examplesThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A large Sèvres vase (vase 'Théricléens') given by King Louis Philippe I to William Standish Standish of Duxbury Hall, dated 1844Finely painted by Jean-Joseph Fontaine, with flower garlands between tooled gilt classical borders with anthemia and palmettes, a wide border of yellow rudbeckia under the gilt rim, the foot with a band of gem-like motifs and gilt zig-zag border, on a square gilt metal base, applied with gilt foliate scrolling handles, 48cm high with base, crowned interlaced LP monogram and Sèvres 1844 within circles stencilled to inside rim (handles restored)Footnotes:Provenance:Given with its pair by Louis Philippe I to William Standish Standish in September 1844;Probably sold by Capes Dunn, 29 June - 1 July 1881The matching vase to the present lot is now in the Bowes Museum, Barnard Castle (inv. no. 1995.33). Both vases with paper label that reads: 'Given by His Majesty Louis Phillippe First / King of the French / to W M. Standish, Esquire. / September 1844'.This pair of Sèvres vases was part of a larger royal gift of Sèvres porcelain given to the Carr Standish family in gratitude and appreciation for a bequest by Frank Hall Standish (1799-1840) of his collection of Old Master Paintings to King Louis Philippe, later sold at a high-profile sale at Christie's in 1853. The background and the bequest itself is discussed in great detail by Howard Coutts, Louis Philippe's Gifts of Sèvres Porcelain to the Standish Family of Duxbury Hall, Lancashire, and Cocken Hall, County Durham, in the French Porcelain Society journal, VII (2018), pp. 161-174. The gift of the collection was widely publicised at the time and considered a great feat for France. Frank Hall Standish had had his application for the family baronetcy refused by the British government and twice tried to offer the paintings to them for the new National Gallery in London (Coutts, ibid., p. 161). As the collection had been a personal gift to Louis-Philippe, he was later allowed to take the paintings when he went into exile from France in 1848. William Standish Standish was second cousin to Frank Hall Standish and took over Duxbury Hall and the estate upon his death in 1840. However, King Louise-Philippe's gifts of Sèvres porcelain continued, and in September 1844 another delivery was sent to William Standish Standish, including the pair of vases 'Théricléens', recorded in the manufactory's archives with a cost of 1000 livres each, plus two leather cases at 49 francs each. Originally designed by Jean-Charles-Francois Leloy in 1818, the vases are clearly recorded in the archives as having been painted by Jean-Joseph Fontaine and gilt by Pierre Riton, who worked on them between January and June 1844 (Coutts, ibid., p. 167). They were entered into the sale records on 11 June 1844 as '2 vases Théricléen à fond blanc, guirlandes et couronnes de fleurs. Décoration en or quest(?) et poli' (transcribed by Howard Coutts, ibid., p. 172).There were no heirs in the late 19th century and the contents of Duxbury Hall were sold by Capes Dunn between 29 June and 1 July 1881, presumably including the pair of vases. Coutts traced a pre-auction advertisement which mentions 'magnificent vases and other pieces of old Sèvres china, presented by King Louis Philippe' (Coutts, ibid., p. 167).Saleroom notices:Please note, the overall height with base and handles is 58.5cm, as stated in the printed catalogue.For further information on this lot please visit Bonhams.com

George Romney (Beckside 1734-1802 Kendal)A three-panelled screen: Classical figures dancing oil on canvas, laid on card184 x 60.6cm (72 7/16 x 23 7/8in). each; 184 x 182.2cm. (72 1/2 x 71 3/4in.) overallFootnotes:ProvenanceAntichità Triboldi, Brescia, 1994, where purchased by the present owner's late motherThat a painted screen decorated with dancing females was part of Romney's estate has long been familiar to students of the artist. Lot 90 in Romney's posthumous sale at Christie's on 27 April 1807 was: Five leaves for a Screen, Dancing Nymphs; bought by 'Long' – probably Romney's friend the surgeon William Long – for 5 guineas.The screen was presumably returned by Long's heirs to Romney's, since it next appeared in the sale at Christie's in April 1894 of the effects of Miss Elizabeth Romney, the artist's grand-daughter. Here it was titled: A Five-Leaf Screen, painted with 'The Singers go before, the Minstrels follow after, in the midst are the damsels playing with the timbrels,' one panel painted by the artist's son, Rev. John Romney. The buyer was Miss Romney's nephew, Lawrence Romney, who dealt in the works of his great-grandfather in the early years of the 20th century. Beyond the surmise that he removed the panel painted by John Romney, his contribution to the screen's history is uncertain. Unprepossessing photographs of two of the leaves appeared in Ronald Sutherland Gower's monograph on Romney of 1904, and the screen re-surfaced, with four leaves only, in 2018, in the estate of the Romney scholar Patricia Jaffé. It is now at Abbot Hall Art Gallery in Kendal.The present screen is a version of sobering exactitude of three of the leaves of the Kendal screen. The circumstances of its making are unknown; it is not mentioned in any Romney literature, it has not appeared in any known sale, and its provenance goes no further back than to an antique shop in Brescia, Italy, where it was bought by the last owners in 1994. The presence of only three leaves could be thought very promising, as implying that it was produced before a fourth leaf was added to the Kendal screen by Romney himself (as may conceivably have happened). That this was the first screen, and the Abbot Hall one came second, seems perfectly possible.As has been shown in an article by Olivia Ghosh (Transactions of the Romney Society vol. 24 [2019]), the figures are derived from volume 1 of the famous neo-classical primer Le Antichità di Ercolano Esposte, published in 1757. As painted by Romney, the rather immature classical figures betoken a young man's keenness to graft his work on to a new, exciting artistic fashion, and he must have made the first of the screens, whichever it was, shortly after his arrival in London in the spring of 1762.The inferential evidence offered by the present screen is bewildering. The mounting of the canvases on to card rather than panel, the Italianate framing, and the manuscript note on the reverse stating that the dancers are 'portraits of Lady Hamilton' (correcting 'Lady Romney' – who she?) combine to suggest the possibility of a connection with Lady Hamilton's life in Italy. On this view, if the card backing was to make the canvases light to transport, and they were only framed at their destination, could it be that Romney made the screen as a wedding present – a reminder of the old days in his studio – for Lady Hamilton, which she took to Naples?The text of the manuscript label mentioned above reads: Screen by George Romney 4-fold belonging to John Orbes [Orde] Romney of Whitestock Hall Ulverston, Cumberland represents Lady Romney [corrected later to Hamilton] in 4 different positions. John Orde Romney (1851- 1924) Lawrence Romney's brother, Elizabeth Romney's nephew, was the titular owner of Whitestock from 1875 until he sold the estate around 1904, and this label, presumably a memorandum about the other version, must date from within that period.We are grateful to Alex Kidson for kindly writing this catalogue note.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Collection of books on Chinese ceramics and porcelainBEURDELEY, Michel; RAINDRE, Guy, 'Qing Porcelain. Famille Verte, Famille Rose', Thames and Hudson, London, 1986; CARSWELL, John, 'Blue & White Chinese Porcelain Around the World', British Museum Press, London, 2000 CLUNAS, Craig (Ed.), 'Chinese Export Art and Design', Victoria and Albert Museum, London, 1987; CRICK, Monique, 'Chinese Trade Ceramics for South-East Asia. Collection of Ambassador and Mrs. Charles Müller', 5 Continents Editions, Milan, 2010; HARRISON-HALL, Jessica, 'Ming Ceramics in the British Museum', The British Museum Press, London, 2001; JENYNS, Soame, 'Ming Pottery and Porcelain', Faber and Faber, London, 1953; JÖRG, Christiaan J. A., 'Chinese Ceramics in the Collection of the Rijksmuseum, Amsterdam. The Ming and Qing Dynasties', Rijksmuseum Amsterdam and Philip Wilson Publishers Limited, London, 1997; LI, He, 'Chinese Ceramics. The new standard guide', Thames and Hudson, London, 1996; LI, He, 'Chinese Ceramics', Thames and Hudson , London, s/d; LION-GOLDSCHMIDT, Daisy, 'La Porcelaine Ming', Office du Livre, Fribourg, 1978; MACINTOSH, Duncan, 'Chinese Blue & White Porcelain', Book Marketing Ltd., Hong Kong, 1988; POPE, John Alexander, 'Chinese Porcelains from the Ardebil Shrine', Smithsonian Institution, Washington, D.C., 1956; Shanghai Museum, 'Splendors in Smalt: Art of Yuan Blue-and-White Porcelain', Shanghai Museum, Shanghai, 2012; SJOSTRAND, Sten; IDRUS, Sharipah, 'The Wanli Shipwreck and its Ceramic Cargo', Department of Museums Malaysia, Kuala Lumpur, 2007; VV.AA., 'La Céramique d'Extrême-Orient', Fernand Nathan Éditeur, Paris, 1984; WIESNER, Ulrich, 'Chinesisches Porzellan. Die Ohlmer'sche Sammlung im Roemer- Museum, Hildesheim', Philipp von Zabern, Mainz am Rhein, 1981; YEO, S. T.; MARTIN, Jean, 'Chinese Blue & White Ceramics', Arts Orientalis, Singapore, 1978.SPECIAL SALE NOTICERestricted BiddingTo register and bid at this auction you will need to provide proof of identity and of address and provide photographic ID. You may be asked to pay a deposit of €5.000. Fund must be cleared in VERITAS Art Auctioneers account no later than 11am on Monday, December 4th, 2023. If you are not the winning bidder, you will be refunded within seven working days. Online bidders may be required to pay a €5.000 deposit, which will allow the online bidder to bid up to a maximum of €50.000 in total. For higher bids, different deposits apply.Bank Transfers should be sent to: Beneficiary PERIHASTA Bank BPI Branch Saldanha IBAN PT 50 0010 0000 4626 3080 0018 2 SWIFT/BIC BBPIPTPLCondition of LotsPlease note that the condition of lots is not stated in the catalogue descriptions. Reports on condition may be available on request. The absence of condition reports in the catalogue does not imply that the lot is free from imperfections or faults.

A small collection of 18th and early 19th century British porcelain, to include Worcester and New Hall, the blue and white moulded Worcester jug with blue floral spray design, circa 1760, the Newhall teapot with floral swags and gilt embellishment, large jug 20 cm high

New Toy Soldier Charles Hall SA Band with Fasces bearer and dog (Condition Excellent)

Nine historical account books, comprising 'Lord Macaulay's Essays and Lays of Ancient Rome', authorised edition, Longman's, Green & Co 1888, 'English Writers: The Writers Before Chaucer, With an Introductory Sketch of the Four Periods of English Literature' by Henry Morley, Chapman & Hall, 1864, 'Notes and Jottings from Animal Life' by the late Frank Buckland, with illustrations, a new edition, Smith, Elder & Co 1888, 'The Rise of the Dutch Republic: A History' by John Lothrop Motley, a new edition, complete in one volume, George Routledge & Sons, 1866, Volumes I & II of 'The History of England from the Accession of James the Second' by Lord Macaulay, popular edition in two volumes, Longman's, Green & Co 1889, 'The Biographical Treasury: A Dictionary of Universal Biography' by Samuel Maunder 1872, and two 'Pope's Homer' books, comprising 'Odyssey of Homer' and 'Iliad of Homer' (9).Condition Report: - We have not checked that every page is present, so we cannot give any guarantees. Some books on the hard cover have gilt tooling for schools, to include Blackheath Proprietary School and Oliver's Mount School, Scarborough.

A late 19th century English painted wooden dolls’ house, the exterior painted with red brick and cream stonework, central front door with acid etched windows and porch, five windows, central pediment, grey slate roof with two chimneys, back opening, but now converted to front open in two parts, to reveal four rooms, hall, stairs and landing, some original papers, and recently electrically lit —29 1/4in. (74.5cm.) wide x 26 3/4in. (68cm.) high x 20 1/2in. (52cm.) deep (the front has been cut and given new long brass hinged to make front opening, small drill holes for electrics, slight wear and damage) - the following twenty-six lots are the contents from this house

A large gilt brass hexagonal three light hall lantern, 20th century, with glass sides surmounted with scolled leaves to the corners 90 x 55 x 50cmProvenance:by repute from New Slains CastlePrivate collection, Launceston Place, London, W8Condition good

A New Hall pattern number 611 part tea service, circa 1805, painted with flower filled baskets within blue and gilt borders, comprising a teapot, cover and stand, milk jug, saucer dish, slop bowl, sucrier and cover and four tea cups and saucersthe teapot 26cm wide (16)Literature: The teapot is illustrated in Geoffrey Godden's Staffordshire Porcelain, colour pl IVExhibited: New Hall Bicentenary 1781 – 1981, cat. no. 51Slight niggle to rim of spout Pitting to the footrim of the saucer dishSlight rubbing to gilding

A New Hall part tea and coffee service, circa 1800, decorated in sepia with a band of strawberries and foliage, comprising two silver-shaped cream jugs, slop bowl, small slop bowl, three saucer dishes, teapot and stand, nine teacups and coffee cups and twelve saucers, the teapot 23cm wide (38)Please find further images.

A New Hall tea and coffee service, circa 1820, of London shape, bat printed and over painted with scenes of country houses and rural landscapes, reserved on a light blue ground gilt with foliate designs, comprising a teapot and cover, sucrier and cover, milk jug, slop bowl, two saucer dishes, six teacups, coffee cups and saucers, the teapot 25cm wide (26)Please see additional photographs for condition. Gilding is rubbed in places, especially one dessert plate, finials rubbed, there are also some scratches. Chips to the inside of the teapot.

John Linnell (1792-1882) Portrait of Stewart Marjoribanks, M.P. (1774-1863) standing three quarter-length with a top hat under his arm signed and dated 1842 lower right oil on panel 53 x 44.5cm Provenance: Private collection, Launceston Place, London, W8 Exhibited: London, Royal Academy, 1843, no. 105 Literature: Alfred T Story, Life of John Linnell, 1892, vol. II, p. 252 Stewart Marjoribanks (1774-1863) was a Whig politician and wine merchant. Born in Berwickshire, Scotland, he was also involved in the East India Company, the New Zealand Company and was a founder of the Pacific Pearl Fishery Company. He was first MP for Hythe from 1820-1837, when he voted in favour of parliamentary reform and expressed support for the abolition of slavery in the colonies and Catholic and Jewish emancipation. He was again elected Hythe MP in 1841, shortly before the execution of the present portrait, when he also married his second wife, Lucy, daughter of Edward Roger Pratt of Ryston Hall, Norfolk. In 1846, Linnell painted a further full length, life size portrait of Marjoribanks for the members of the Watford Masonic Lodge. The painting is executed in oil on a panel formed from a single board of thick wood. The support and paint layers are in a very good condition overall. The paint layer has developed a slightly wrinkled texture, notable in the face. The varnish is clear, even and slightly glossy. There are a few, localised areas of overpaint covering abrasion at the edges of the picture and small areas of wear in the figure. Framed 72 x 63cm

A New Hall tea and coffee service, circa 1810, painted in blue, iron and gold with a border of wheatears, scrolls and paterae, comprising a teapot, cover and stand, sucrier and cover, milk jug, slop bowl, saucer dish, seven teacup and eight coffee cans and eight saucers (31) Finial of the teapot has been chipped and glued. The handle of the sucrier has been restored. Some star cracking to the underside of some of the cups and saucers. One can is cracked. Rubbing to gilding the decoration to the underside of the saucer S

A New Hall tea and coffee service, circa 1820 – 25, of London shape, decorated with alternating panels of figures in various pursuits and flowers, within raised gilt borders and reserved on a pale blue ground body, incised ‘H. Bone’ and marked ‘New Hall 1799’, comprising a teapot and cover, sucrier and cover, milk jug, slop bowl, two saucer dishes, ten coffee cups and teacups and eleven saucersthe teapot 26cm wide (39)Illustrated: Rhead’s Staffordshire Pots and Potters, pub. 1906, pl. facing p. 280, signatures added laterTypical slight rubbing to the glazing and slight staining in places. One of the cups is badly cracked at the footrim. Slight loss in places to the enamel - especially one of the plates. The slop bolw is cracked at the rim. The teapot has a niggle at the rim and the body is cracked.

William Hodges RA (1744-1797) An extensive landscape with figures on a track and distant buildings beyond, probably Yorkshire oil on canvas 81 x 87.5cm Provenance: Private collection, Launceston Place, London, W8 The present picture, a significant new addition to the oeuvre of William Hodges, is likely to have been executed in the 1790s following the artist’s return from India. In 1793, Hodges visited Yorkshire and was commissioned by Walter Ramsden Fawkes of Farnley Hall to execute four oil paintings “about the size of half-lengths” based on sketches Hodges made of Farnley’s environs (Isabel Combs Stuebe, The Life and Works of William Hodges, 1979, p. 297-298). It is possible that this picture is one of these hitherto untraced works, which were not well received by Fawkes, or another composition deriving from the same trip. In October 1793, Joseph Farington recorded in his diary that Hodges had also visited Fountains Abbey which he “very much admired, and stayed a day there” (ibid). Hodges subsequently exhibited views of Fountains and Kirkstall Abbey at the Royal Academy in 1794 (Nos. 371 and 375). A contemporary newspaper reported more favourably that: “Hodges has been painting St. Fontaines’ [sic] Abbey, and some other beautiful scenery of Yorkshire, in size-colours, and for brilliancy and effect, as well as graceful imitation, they have much to boast of” (ibid). We are grateful to Charles Greig for endorsing the attribution to William Hodges following first hand inspection. The painting is executed in oil on a canvas support which has been lined. The canvas tension is good and the picture is in plane. The paint layers have a prominent craquelure pattern which was clearly raised and flaking in the past. This has been partially resolved through lining, although some areas are once again lifting. Several large damages in the paint layer have been repaired and overpainted, these are mainly in the darker foreground areas of the picture. Areas of overpaint in the sky cover losses and age cracks and have discoloured over time, no longer matching the surrounding original paint layers. The varnish is poor; at the left hand side it has degraded becoming spotty and opaque in areas. The gloss and saturation of the varnish varies across the surface. Framed 96 x 102cm. Remnants of Christie's stencil verso.

Two boxes of various china to include a Victorian Staffordshire Pottery figure of poodle with basket, New Hall type floral spray decorated teapot and similar cream jug, blue and white transfer decorated two section pen tray, George Jones & Sons Crescent china coffee cans and saucers, floral spray decorated tea bowl and five saucers, Allertons Ltd Old English bone china part tea set etc

A Caughley porcelain fluted tea bowl and saucer, circa 1783-93, Chamberlain's decorated in polychrome with a pair of Fancy Birds in landscapes, after similar decoration by Fidelle Duvivier at New Hall, within a blue and gilt border, unmarked, tea bowl 8.2cm diameter, saucer 14cm diameter (2)Provenance: Private Collection.Condition:Good condition with no damages or repairs. Some scratches through the birds and minor wear to the gilding on the saucer in a few areas.

Quantity of miscellaneous Militaria, two wooden British No.36 grenade transit cases, compartmentalised, rope handles to the sides, 56 cm x 16 cm x 12 cm, together with a New Hall Pottery mug stamped 'G VI R' and the date 1943, a military water filter stamped with the maker 'F.F. Ltd' and the date 1945, and a number of kit bags, one marked '57026 Duncan', another marked '582080 CPL Scriven', and a Naval kit bag marked 'Warner', (qty)

Somme Casualty 1914-1818 British War Medal (3962 PTE. J. WYARTT 18 BN. A.I.F.), records show Jacob Wyartt, born Burstall near Ipswich, Suffolk, served 3 years with the Royal field artillery before immigrating to Australia, joined 9th Reinforcements,18th Battalion, Australian Imperial Force at Cootamundra, New South Wales on 28th August 1915 age 27, after leaving Australia for Alexandria in February 1916, Jacob proceeded to join the 18th Battalion with the BEF in France, disembarking at Marseilles on 3rd April 1916, he was taken on the strength of the 18th Battalion from reinforcements on 1st August 1916, posted missing by C.O. 18th Battalion on 5th august, on 17th July 1917 it is noted that he was previously reported missing on 5th August 1916, now reported killed in action after a court of enquiry, the list of effects forwarded to his mother Mrs N. Wyartt still living at Burstall Hall include, 'Disc, 2 Wallets, Coin, Letters, Cards, Photos, Mirror (damaged), Gospel of St John, 7 Stamps, Union trinkets, Prayer book, he is entitled to the 1914-15 Star, BWM and Victory Medal, his Memorial Plaque and Scroll were sent to his mother, he is commemorated on the Villers Brettonneux Memorial, France, 18th Battalion AIF were part of 5th Brigade, 2nd Australian Division, at the time Jacob was reported missing the Division was engaged in the Battle of Pozieres, part of the wider Battle of the Somme

Boer War Memorial Pendant, 9 carat gold pendant in the form of a cross pattee, the obverse arms of the cross engraved with foliate decoration and a central disc with the legend 'Dulce et Decorum Est Pro Patria More' (It is sweet and fitting to die for one's country), to the reverse are the hallmark and maker 'GTW' and the engraved inscription 'Presented to Head Boy, Nelson College by Mrs Reid, in memory of her brother, John I. Moeller, an old college boy who fell in South Africa July 1900', Nelson College is the oldest state secondary school in New Zealand, established in 1856, John Isaac 'Jack' Moeller is recorded on the college memorial page as also having attended Otago Boys High School, he served with the Hotchkiss Battery, 2nd Contingent, New Zealand Mounted Rifles and died of enteric fever at Kroonstad, Orange River Colony, South Africa on 3rd July 1900, aged 23, and is buried at Springfontein Cemetery, Free state, South Africa, together with a bronze medal for service during the General Strike of 1926, by E. Gillick for the Royal Mint, the obverse bearing the seated figure of Brittania with the emblem of the London, Midland and Scottish Railway Company between a rose and thistle, and the legend 'FOR SERVICE IN NATIONAL EMERGENCY MAY 1926', the reverse with three figures holding locomotives in outstretched hands and the legend 'LARGETIS MUMERIS SALUS REIPUBLICAE' (The Immensity of the task, The Well Being of the Country), held in a fitted case and the original postage box with the address 'Capt. Chaytor, Pooley Hall Colly, Tamworth', and a wax seal of the Royal Mint,the items belonged to Colonel John Clervaux Chaytor, Royal Artillery, born 3rd February 1896 at Blenheim, Marlborough, South Island, New Zealand, attended Nelson College between 1908 and 1914 and was head boy in 1914, Colonel Chaytor served in the Royal Field Artillery as a Subaltern then Captain in the First World War entering France on 13th March 1917and joining 77 Brigade RFA, he was wounded at the Battle of Poelcapelle in October 1917 (Gunshot wound right thigh and gassed, Mustard and Phosgene) he returned to 77 Bde in France in December 1917 and is shown entitled to the 1914-1918 British War Medal and victory Medal, after WW1 he served with the British Army of the Rhine on occupation duties in Germany, while nominally a Royal Artillery officer Chaytor served with the Intelligence Corps in the Army of the Black Sea in turkey and the Balkans for four years overseeing Turkish compliance with the Armistice, after resigning his commission he rejoined the Territorial army in 1939 and went on to serve in the Second World War attaining the rank of Colonel in the Royal Artillery, once again, although a Royal Artillery officer, he served as GSO II (Intelligence) at Middle East forces in Egypt, returning to the UK he assumed command of 79 Light Anti aircraft Regiment Royal Artillery and was eventually posted to the 9th Army (PAIFORCE) in Persia and Iraq, he was seconded from his regiment as Frontier Control Liaison Officer for 9th Army and was 'Specially Employed' while in that role, his unit was the Inter Service Liaison Detachment which was controlled by but not officially part of the Intelligence Section, Allied Forces Headquarters (Mediterranean Theatre), there is some evidence to suggest he was involved in operations in Bulgaria in late 1944 with connections to SOE/OSS, he was married to Olive Mary Brittan, the daughter of Colonel Reginald Brittan DSO, whose items are also in this auction, Colonel Chaytor passed away on the 8th November 1957

DICKENS, Charles, Master Humphry's Clock, three vols. bound in one, lacking one frontispiece, half calf with original spine re-laid, Royal 8vo, Chapman Hall, first edition 1840; together with MAUNDER, Samuel, the Scientific and Literary Treasury, engraved frontispiece, full calf worn on the spine, small 8vo, new edition 1858, with PENDENNIS (William Thackeray) The Newcomes. Memoirs of a Most Respectable Family, two vols., 8vo, Bradbury and Evans, 1854. (4).

DICKENS, Charles, Sketches by Boz, illustrations of every-day life and every-day people, with forty illustrations by George Cruikshank, contemporary full green morocco with gilt borders, hinges rubbed, slightly loose in text block, 8vo, Chapman and Hall, new edition, 1839.

A Paris porcelain coffee can, c. 1800, painted en grisaille with figures in a landscape, gilt foliage, rim and scroll handle, 6.2cm h, a German example, c. 1800, painted in polychrome with a sheep and lamb, titled in gilt script, 6.2cm h, and a New Hall coffee cup, c. 1795, (3) The French and German cans good, their gilding worn in places. The New Hall cup repaired.

Miscellaneous British studio ceramics and a New Hall Boumier ware footed bowl, various sizes (9) Good condition

Miscellaneous English and Continental pottery and porcelain, to include a New Hall cream jug painted with Chinese figures, Sunderland pink marbled lustre jug, Wedgwood Queen's Ware teapot for James Powell & Sons London and a Worcester spirally fluted tapering gilt sucrier and cover Mostly in good condition

18k gold & enamel medal awarded to Ottorino Barassi on the occasion of Bologna FC's Divisione Nazionale title in 1928-29, the obverse with Olympic Rings and fasces symbol, inscribed FEDERAZIONE ITALIANA GIUOCO CALCIO, the reverse named OTTORINO BARASSI and inscribed 10 AGOSTO 1926 A.IV, 22 GIUGNO 2929, BOLOGNA, diameter 28mm., weight 10gr. Provenance: by family descent The following lots 428 to 460 were awarded to Italian Sports Official Ottorino Barassi. Lots 428 to 460 Ottorino Barassi (1898-1971) Italian football and sports official. Just before the 1966 World Cup in England the Jules Rimet Trophy was stolen whilst on display at the Stampex Exhibition in London’s Westminster Central Hall. Very famously, it was found abandoned in shrubbery by a dog called “Pickles” and after the Final Tie HM The Queen was able to present the World Cup trophy to England’s winning captain Bobby Moore. However, this was not the first time the trophy’s survival was at severe risk. During the Second World War, and with Italy as reigning champions, the Jules Rimet Trophy was in a bank vault in Rome. The city was occupied by the Nazis and the Secretary of the FIGC (Italian F.A.), Ottorino Barassi, had the foresight to hide the Rimet in a shoebox under his bed - fearing that if found the solid 18k trophy would have been requisitioned and destined for the melting pot. His house was indeed searched by the Nazis but they did not discover the hiding place. After that episode, Barassi sent the Cup to Foggia, to some relatives, who managed to keep it hidden until the end of hostilities. It was then returned to FIFA for the 1950 World Cup Tournament, where Barassi himself was called to collaborate with the local organisation committee. After the 1970 World Cup, however, the historic trophy had used all its luck. It was stolen again in Brazil, has never been recovered to this day, and is presumed to have been melted down for bullion. Ottorino Barassi had first come to the attention of the football world in 1934 with a highly prominent position organising the World Cup tournament held in his homeland of Italy. Before this Barassi had trained as an electronics engineer and it was while studying this in Cremona that his life-long passion for football was ignited. Having played, he then refereed at regional level before becoming the football correspondent for “La Provincia di Cremona.” Hence forth he entered sports administration. In 1925 he was elected Vice-President of the AIA (Italian Referees’ Association), from 1930 to 1932 he was President of the Italian Rugby Federation, and the following year he joined the FIGC (Italian F.A.) appointed by General Giorgio Vaccaro for the role of Secretary of the Federal Directory, specifically with the task of managing the organisation of the 1934 World Cup.   As a prominent official of the FIGC he initiated a series of reforms (“Lodo Barassi") to streamline and bring about a properly organised structure to the Italian football pyramid at all levels and in all regions of Italy. After the fall of the Regime and the reconstitution of democratic institutions, even sport, despite a war still ongoing in the country, began to organise its activity again. On 4 December 1944 Giulio Onesti, President of CONI (Italian National Olympic Committee) appointed Ottorino Barassi as Regent of the FIGC; and on 15th May 1946 the Assembly elected Barassi as Presidente  - a position he was to hold for 12 years. Barassi was also very active at international level and in 1952 he became a member of the FIFA Executive Committee. From that moment he began working to establish a European football governing body. On the initiative of the Italian, French and Belgian federations, UEFA was founded on 15 June 1954 in Basel with 25 national federations becoming affiliated. The Organisation set up its headquarters in Paris where it would remain until 1959, then moving to Bern. Barassi was also responsible for the new headquarters of the FIGC in Rome in Via Gregorio Allegri. After demolishing a residential villa, in 1952 work began on the construction of the six-storey building which, four years later, would be inaugurated. It has always been the case in sport that it is a results-driven business. Despite his tremendous contribution to Italian football and sport, Barassi paid a heavy personal price when the Italian national team was beaten 2-1 by Northern Ireland in Belfast on 15th January 1958. This result meant that Italy failed to qualify for the 1958 World Cup Finals in Sweden. Barassi, however, did not quit the game in Italy and decided to return to football by running for President of the newly formed National Amateur League. He was elected and remained in the role until his death in 1971. The Barassi Cup, an Anglo-Italian amateur football tournament (1968 – 1976) was to bear his name. He also developed amateur tournaments at Regional and Junior levels. In 2011 Ottorino Barassi was posthumously inducted into the Italian Football Hall of Fame. Ottorino Barassi's granddaughter, his only living relative, remarks "In regards to him football was his life. His inclusion in the Hall of Fame is richly deserved for dedication, especially as his early career was in challenging circumstances during the Fascismo reign and the Second World War. Although he officiated at the highest levels of the sport with FIFA and FIGC, he never lost his passion for football at its grass roots. I know he was immensely proud of the work he did in Italy at amateur, youth and regional levels of the game. Completely impartial to all, he always did what he thought was best for football."

for music performances at Judson Hall New York, October 12 1962. 28 x 11 cm, printed black on textured beige paper. Design and intricate drawings/writing by Marian Zazeela. Announcement for La Monte Young's 'String Trio' and 'Composition 1960 #7' performed by La Mar Alsop, William Schoen and Charlotte Moorman. The text introduces the artist and mentions that the performed scores (will) appear in several Fluxus publications such as 'An Anthology', Kalenderrole and Décollage. Scarce item in mint condition.

Very rare complete set of 19 vintage poster announcements, 1963-1980: one poster for each of the 15 Festivals, and one poster featuring different versions for Festivals 1, 2, 8 and 9. Founded by cellist and performance artist Charlotte Moorman, the festival ran from 1963 to 1980. The events took place in various locations around New York, including Judson Hall (Nos.1-3, 1963-1965), Central Park (No.4, 1966), the Staten Island Ferry (No.5, 1967), and on train cars at the Grand Central Station (No.10, 1973). Among the hundreds of artists and performers were John Cage, Ray Johnson, Yoko Ono, John Lennon, Nam Jun Paik, Laurie Andersen, Yvonne Rainer, Meredith Monk, Carolee Schneeman, Alison Knowles, Allan Kaprow, Stan Brakhage, George Brecht, Dick Higgins, Allen Ginsberg, Ben Vautier and Robert Filliou. The first three posters were designed by Moorman herself (offset printed black on white), No.4 was a collaboration with Jim Mc Wiliams, who designed all following copies, in extravagant colour and design. All posters unfolded except the 2 versions of No.9 (unobstrusive) and No.2 (with profound dog ear on upper left corner). Amazing set, generally in mint condition. Detailed pictures upon request. (total 19)

Speyburn 15YO (1)Balblair 12YO (1)Thomson Whisky South Island Peat Single Malt Whisky (New Zealand) (1)Egan's Endeavour Irish Single Malt Whisky (1)The Lakes Whiskymaker's Reserve No.5 (1)High Coast Chevaleresk Autumno (Sweden) 50cl (2)High Coast Hand Filled Distillery Exclusive (Sweden) 50 cl (1)High Coast Lagereld Private Bottling (Sweden) 50cl (1)Three Ships 12YO (South Africa) (1)The proceeds from this lot will be donated to the following charities: EACH (East Anglia's Children's Hospices), RNLI, The Beeston Hall School Trust Ltd and the Worshipful Company of DistillersLying at LCB Barking

Milk & Honey Elements Red Wine Cask (Israel) (2)Manly Spirits Coastal Stone Nor'Easter Single Malt Whisky (New South Wales, Australia) (1)Bellevoye Finiton Triple Malt Grand Cru Malt Whisky (France) (2)The Oamaruvian Cask Strength Doublewood Whisky (New Zealand) (1)Hercynian Emperor's Way The Imperial Abbey (Germany) (1)The proceeds from this lot will be donated to the following charities: EACH (East Anglia's Children's Hospices), RNLI, The Beeston Hall School Trust Ltd and the Worshipful Company of DistillersLying at LCB Barking

NEVIN HOLMES (TURKISH) AN 18CT GOLD ABSTRACT ANKLET OR LEG BROOCH, Signed ‘Nevin’. Born in Budapest, Nevin was the daughter of the Turkish ambassador, the niece of the Turkish poet Named Kemal and the niece of Abidin Dino of Paris, a painter closely associated with Picasso. Holmes studied painting and etching at the Central School of Arts and Crafts in London from 1958 - 1962 and gained a reputation as of the first modern jewellers to use rough, unpolished stones. She played a vital role in the British revival of jewellery as a creative art and earned a unique reputation as one of the most innovative jewellers of the 20th century in Britain. Nevin began producing her innovative designs in 1960, and her works were thereafter exhibited globally including London, America, France, Belgium and Turkey. Nevin’s works have been exhibited in some of the most prestigious galleries including the Greer Gallery in New York in 1962, the Egg and Eye Gallery in Los Angeles in 1970/1971, Goldsmith’s Hall in London and the esteemed Topkapi Museum in Istanbul. Her solo exhibition in Rome in 1960 at the LaFeluca gallery won critical acclaim. In 1961, she received the silver cup, the first prize at the National City of Marino, Italy and was the first living jeweller to have a solo exhibition at the Topkapi Museum in Istanbul. Provenance: Consigned by the niece of the acclaimed Turkish jewellery maker Nevin Holmes.Weight: 82gmsThe gold tested 18ct 12cm x 11cm x 6cm excluding chain.