We found 9084 price guide item(s) matching your search

McKenney and Hall (American, mid-19th Century) Hand Colored Lithograph Collection (8) items, from the 'History of the Indian Tribes of North America', each portrait having publisher information central lower portion, depicting Native American Indians in Western / traditional garb, some including accoutrements such as rifle stock club and smoking pipe, all uniformly matted behind glass in black-tone wood frames; items including 'Waa-Top-E-Not', 'Wat-Che-Mon-Ne, An Ioway Chief', 'O-Hya-Wa-Mince-Kee, A Chippewa Chief', 'John Ross, A Cherokee Chief', 'Waa-Pa-Shaw, Sioux Chief', 'Pa-She-Nine, A Chippewa Chief', 'On-Ge-Wae, A Chippewa Chief' and 'Jack-O-Pa, A Chippewa Chief' Height: 10 inches, Width: 6 inches (sight (same sizes))Frame Size: 21 1/4 inches by 17 3/8 inches Condition: Very Good, toning throughout, consistent with age and medium; light dirt accumulation; extremely light wear to frames Disclaimers: not examined outside of frames Category: Fine Art > Prints Estimated Sale Time: 1:37 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Kansas (6.5%), New Jersey (6.625%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5Photograph #6Photograph #7Photograph #8Photograph #9

Commemorative Coin Assortment (7) coins including (3) 2014 $1 Baseball Hall of Fame Proofs, 201 $1 US Marshals Proof; together with Canadian coins: 2013 $10 'Vintage' Superman, 2013 $20 'Metropolis' Superman and 2013 Great Hare Property from: an Elmhurst, Illinois collector Category: Commemoratives > Modern Silver Commemoratives Estimated Sale Time: 6:29 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Kansas (6.5%), New Jersey (6.625%) Download High Resolution Photographs:Photograph #1

FLORENCE NIGHTINGALE - a collection of autograph signed letters from Florence Nightingale (1820-1910) to her retired housekeeping couple Mary & John Bratby in her home village of Holloway. Despite remaining in London due to severe illness after the Crimean War and working (mostly from her bed) to set up nursing hospitals and improve public sanitation, Florence kept an active interest in her old friends and acquaintances back at Holloway – sending money, arranging doctors visits, providing books for the local school and helping to open a coffee house and reading room. All this despite her own very poor health, which she also mentions in these letters, but never seems to prevent her from caring for others.  Comprising: 1879, 26th April, from 10 South Street to Mary (Bratby); stating that she has heard from Mr (Dr) Dunn that she is ill again, Mrs Nightingale & Mr Shore have both had bronchitis, Bryson(?) has passed his entrance exams at Cambridge, has sent down some Cocoatina care of Mr Yeomans at Whatstandwell Station.One lined sheet of paper written both sides, signed F. Nightingale. 1879, Envelope addressed to Mrs Bratby, The Cottage, Holloway, stamped from London March 14th, bearing penny red stamp 1880, 2nd February, from 10 South Street to Mary; informing her and Bratby that her mother has died quite peacefully, the details leading up to her death, and how it appeared “she longed to go home”.One lined sheet of paper written both sides, signed F. Nightingale and further initialed F.N. to a post-script.  1881, 17th November, from Lea Hurst (one of the Nightingale’s inherited estates in Derbyshire) to Mary; talks about peaceful death of Martha(?), asks whether she wants to go to an entertainment at the Holloway School on Saturday.Folded card written one side and with faint ‘rubbed-out’ hand-writing verso, initialed FN 1883, 31st January, from 10 South Street to Mary; discussing Bratby’s recent illness and their forthcoming move back from Ramsgate, she offers to send money to settle their affairs, also mentions Mrs Shore Smith (a relation of the Nightingales) and the possibility of them staying at Yorke Place on their way unless the house is let, “let us both Dear Mary trust in the Almighty love and He will keep us in the apple of His eye”.Folded headed paper written on four sides, signed F. Nightingale and further initialed F.N. to a post-script. Mary appears to have died in the interim as the following letters are addressed to Bratby (John) alone. 1883, 3rd October, from Claydon House (home of her sister and brother-in-law) to Bratby (John); is sorry not to be able to visit, but cannot leave poor Lady Verney as Sir Harry is abroad, asks for him to take on Mary’s role of helping her provide for people in the village – gives a list including Martha Sheldon, Widow Barton “one of the best women that ever lived”, Lydia Prince “who might be comfortable if Adam were a better man”, Mrs Brown, the Sisters Allen and several others.Two sheets lined paper written on three sides, signed F. Nightingale and further initialed F.N. to a post-script. 1887, 26th January, from 10 South Street to Bratby; sending a cheque, Lady Verney & Sir Harry are visiting and both well despite their afflictions, Mr Shore is poorly, thank you for information regarding friends and for helping them during the winter.Card with bottom section of second page cut away, no signature. 1887, 13th December, from at 10 South Street to Bratby; sending the £5 she mistakenly didn’t send last time, discusses the poor weather and people they know who are ill, please apologise to friends that she will be unable to send Christmas cards this year, is obliged to go away “for a time in perfect solitude” to put off the complete breaking up “if it be God’s will” and the loss of her eyesight but letters will be forwarded to her, “God bless you and all my Holloway friends, Pray have Dr Dunn”.One lined sheet written both sides, signed F. Nightingale. 1888, June 5th, from 10 South Street to Bratby; she is sorry that he is suffering so much with his eyes and hopes glasses will help, will send more Cocoatina, did not understand Mrs Brocklehurst’s letter but was too ill to follow up, Lady Verney is very bad, it was kind of Mr Wild to pay for Adam Prince at the hospital and she trusts that Adam will now “leave off drink entirely”, she has heard that Hannah Allen “had a delusion that she was being poisoned”, please pass on kindest regards to Martha Sheldon, her own eyes are very bad and she has hardly left her bed for weeks.One lined sheet written to both sides, no signature.  1889, 7th May, from 10 South Street to Bratby; sending £5 so he is not short of cash and can buy his own newspapers, Mrs Shore is in London and may visit Lea Hurst, Mr Shore will return Barbara back to school at Brighton, Rosalind (Nash nee Shore-Smith) is at Albert Hall Mansions working hard, Sam has gone back to St Bartholemew’s Hospital, and Louis is at Oxford, Mrs Clough & Flossie are staying with friends in the New Forest (widow & daughter of late friend and relation by marriage Arthur Hugh Clough), Thera(?) is at Cambridge, Sir Harry & Lady Verney are staying with her “sadly altered but full of energy”.Two lined sheets written to one side of each, each sheet signed F. Nightingale. 1890, 25th February, from 10 South Street to Bratby; she is sorry that he is suffering and urges him to send for a doctor, Mrs Brocklehurst has mentioned Lydia (Prince) but she did not say that he had got her the pair of blankets, “I want to make her comfortable”, she has asked Mr Yeomans to pay for a woman to clean for her, asks after Adam and assumes he wants some books now he is in bed, sent more Cocoatina.One lined sheet of paper written both sides, signed F. Nightingale and further initialed F.N. to a post-script.  Undated note on headed card from Claydon House, possibly missing parts as it is disjointed and bears no name for intended recipient; Lady Verney has changed very much for the worse “but her courage is unfailing”, she herself has barely been able to leave her room, Sir Harry is active but ages, Lydia Prince is having problems with her son Adam and she is wondering whether to give her more.Folded headed card written both sides, signed F Nightingale. Other items included in the lot: 23rd July (no year but George V stamp), Florence Nightingale picture postcard to Miss Hooley in Kent from Arthur H in Holloway, news about local cricket match and summer fete.14th Feb 1958 copy will of Miss Sarah Eveline Hooley, a relation of the Bratbys (through which this collection passed into the vendor’s family).Two sheets of a childs handwriting practice.Several late 20th century typescripts of letters which are not present, mainly also regarding local people and events.

BINDINGS - Charles DICKENS (1812-70). [Selected Works], London, 1844-65, 12 works in 13 vols., FINELY BOUND. (13)BINDINGS - Charles Dickens (1812-70). A Selection of 12 Works in 13 volumes comprising: The Old Curiosity Shop. A Tale. ... Complete in One Volume (London: Chapman and Hall, 1841); Barnaby Rudge; A Tale of the Riots of 'Eighty ... Complete in One Volume (London: Chapman and Hall, 1841); The Life and Adventures of Martin Chuzzlewit (London: Chapman and Hall, 1844, FIRST EDITION IN BOOK FORM, with the errata leaf, sometimes lacking); Dombey and Son (London: Bradbury and Evans, 1848, FIRST EDITION IN BOOK FORM); The Personal History of David Copperfield (London: Bradbury & Evans, 1850, FIRST EDITION IN BOOK FORM); Bleak House (London: Bradbury and Evans, 1853, FIRST EDITION IN BOOK FORM); The Posthumous Papers of the Pickwick Club (London: Chapman and Hall, 1857); The Life and Adventures of Nicholas Nickleby (London: Chapman and Hall, 1857); Sketches by Boz illustrative of Every-Day Life and Every-Day People ... New Edition, Complete (London: Chapman and Hall, 1859); A Tale of Two Cities (London: Chapman and Hall, 1860); Little Dorrit (London: Chapman and Hall, 1863); Our Mutual Friend (London: Chapman and Hall, 1865, 2 volumes, FIRST EDITION IN BOOK FORM), various sizes (occasional light spotting and staining, but generally remarkably clean and fresh internally), FINELY BOUND in uniform later brown half morocco, spines gilt in compartments with small repeated foliate motifs, top edges gilt. (13)

James Gillray (British, 1756-1815)Tiddy-doll, the great French-Gingerbread-Baker; drawing out a new Batch of Kings.- (BM 10518) Etching with hand-colouring, 1806, on wove, published by H. Humphrey, London, with margins, 256 x 379mm (10 x 14 7/8in)(PL)(unframed)Footnotes:ProvenanceBrandsby Hall, North Yorkshire, and by descent.For further information on this lot please visit Bonhams.com

James Gillray (British, 1756-1815)Scientific Researches! - New Discoveries in Pneumaticks (BM 9923) Etching with hand-colouring, 1802, on wove, published by H. Humphrey, London, with margins, 253 x 355mm (10 x 14in)(PL)(unframed)Footnotes:ProvenanceBrandsby Hall, North Yorkshire, and by descent.For further information on this lot please visit Bonhams.com

PIERRE ALEXANDRE EDOUARD, BARON FLEURY DE CHABOULON: MEMOIRES POUR SERVA A L'HISTOIRE DE LA VIE PRIVEE DU RETOUR ET DU REGNE DE NAPOLEON EN 1815, London, John Murray, 1819-20, 1st edition, 2 vols, engraved portfrontis, old decorative blind stamped calf gilt, aeg, lacking part of backstrips + BARRY E O'MEARA: NAPOLEON IN EXILE OR A VOICE FROM ST HELENA, THE OPINIONS AND REFLECTIONS OF NAPOLEON..., London for W Simpkin and R Marshall, 1822, 5th edition, 2 vols, 4 engraved plates, old half calf v worn, vol 1 inner joint totally split + FRANCOIS-AUGUSTE-MARIE-ALEXIS MIGNET: HISTORY OF THE FRENCH REVOLUTION FROM 1789-1814, London, Henry G Bohn, 1856, old calf gilt worn, text vol totally split between vi and vii + [SAMUEL PHILLIPS]: MEMOIR OF THE DUKE OF WELLINGTON, London, Longman, Brown, Green and Longmans, 1852, Baxter coloured portfrontis bound in with two other works comprising JOHN CUMMING: WELLINGTON A LECTURE, London, Arthur Hall, Virtue & Co, 1853, new and enlarged edition; JULES MAUREL: THE DUKE OF WELLINGTON, HIS CHARACTER, HIS ACTIONS AND HIS WRITINGS, London, John Murray, 1853, 3rd edition enlarged, old half calf, v worn, boards detached (6)

ROBERT WYNDHAM KETTON-CREMER: 14 titles: CHARLES HARBORD, NP, 1949, 1st edition, privately printed, signed and inscribed, original wraps; SIR WILLIAM PASTON, NP, 1951, 1st edition, privately printed, signed and inscribed; THE TOUR OF NORFOLK, NP, 1954, 1st edition, privately printed, signed and inscribed, original wraps; WOLTERTON HALL, 1955, new edition, original wraps; THE PHANTOM DUEL, NP, 1956, 1st edition, privately printed, signed and inscribed; MATTHEW PRIOR, Cambridge, 1957, 1st edition, original printed wraps; DELAVAL LORD HASTINGS AND THE NORFOLK AGRICULTURAL STATION, Sprowston, Norfolk Agricultural Station, 1957, 1st edition, original boards; THREE GENERATIONS, NP, 1958, 1st edition, privately printed, signed and inscribed, original wraps; ROGER NORTH, NP, 1959, reprinted from 'Essays and Studies', signed and inscribed, original printed wraps; JUSTICES OF THE PEACE IN NORFOLK, Norwich, Norfolk News, [1961], reprinted from the 'Eastern Daily Press', original wraps; THE ELIZABETHAN WALPOLES, NP, 1967, signed 'Bunny' and inscribed on relevant presentation slip, original wraps; WEST RUNTON ROMAN CAMP, Stoke Ferry, Daedalus Press, 1969, original pictorial wraps; THREE GENERATIONS, additional material on the Astley family and Melton Constable by David Yaxley, Dereham, The Larks Press, 1992 (1000), original wraps (14)

Julian Schnabel,geb. 1951 New YorkDer Künstler ist ein US-amerikanischer Maler und Filmregisseur. Seit 2020 ist er Mitglied der American Academy of Arts and Letters.  GUILD HALL, 1998Farboffsetlithografie. 101 x 87 cm. Rechts unten signiert, links unten "Ed. P.P 6/6". Hinter Glas gerahmt.Papier minimal gewellt. (12914411) (1) (18)

Nineteen assorted modern 1st editions etc, including Evelyn Waugh: 'Officers and Gentlemen', Chapman & Hall, 1955, 1st edition, original cloth, dust wrapper, Sara Paretsky: 'Toxic Shock', Gollancz, 1988, 1st UK edition, original cloth, dust wrapper, Nelson Mandela: 'Long Walk to Freedom', New York, Little, Brown & Co, 1994, 1st edition, original quarter cloth gilt, dust wrapper, C.S. Forester 1st editions of 'The Commodore', 1945, and 'Lord Hornblower', 1946, John Banville: 'The Sea', 2005, 1st edition, signed and inscribed, original cloth, dust wrapper, 'The Autobiography of Bertrand Russell', 3 volumes, etc etc (19)

Two 18th Century plate volumes, 'The New Royal Encyclopaedia...of Arts and Sciences', by William Henry Hall, London, Cooke, circa 1790, volume II only, profusely illustrated with full page engraved copper plates, folding maps by Thomas Bowen etc, folio, contemporary half calf (worn), 'The History of the Family Bible', London, W. Rayner, 1737, vol II only, numerous engraved plates, folio, contemporary full decorative calf gilt (worn (2)

Studio of Sir Peter Lely (British, 1618-1680)Portrait of the Countess of Tweeddale (1628/29-1688) in a pale brown dress, seated, playing a luteoil on canvas121 x 99.5cmProvenance:Lord John Thynne Collection;Sir Hugh Lane Collection by 1917;Louis Breitmeyer Esq., Rushton Hall, Kettering, Northamptonshire, by 1930,His sale, Christie’s, London, 27th June 1930, lot 51,Bought by Sir George Leon, 2nd Bt. (1875-1947) London,Sir Ronald George Leon, 3rd Bt. (1902-1964) 31 Aldford House, Park Lane, London, by 9th May 1938,With Knoedler, New York, On loan to the Museum of Fine Arts, Boston, 1947,Sold to Bruce Dodson Reynolds Jr., Court Square, Charlottesville, VA, USA, in 1957;Thence Private Collection, WashingtonFootnote: The sitter, Lady Jane Scott, was the daughter of Sir Walter Scott, 1st Earl of Buccleuch and Lady Mary Hay. On 24th September 1644, Lady Jane married John Hay, son of John Hay, 8th Lord of Yester (later 1st Earl of Tweeddale) and Jean Seton, daughter of Alexander Seton, 1st Earl of Dunfermline. The sitter became Countess of Tweeddale when her father-in-law died in 1653. Her husband was elevated to the Marquessate in 1694, after her death. Condition report: 145 x 123cm (framed) Oil on canvas which has been lined. The paint layer has been slightly softened during the lining process and the canvas weave is now evident in the paint texture. Overall the paint layers appear to be in a very good condition with no flaking. There are localised areas of wear in the lighter paint passages. There are localised areas of overpaint present on the varnish but it is difficult to determine the presence, or extent of further overpaint lying below the varnish. The varnish is thickly applied and has become yellowed with age. There are matte spots and scuffs in the varnish.

A group of catalogues of public and private collections Comprising: D. Von Bothmer, Glories of the Past; Ancient Art from the Shelby White and Leon Levy Collection, 1990; H. Hoffmann, Norbert Schimmel Collection, 1964; O. White Muscarella, Ancient Art; The Norbert Schimmel Collection, 1974; V.A. Hibbs, Iberian Antiquities from the Collection of Leon Levy and Shelby White, 1993; D. Von Bothmer, Ancient Art from New York Private Collections, 1959; N. Thomas and C. Oldknow, By Judgment of the Eye, The Varya and Hans Cohn Collection, 1991; S. Hooper, The Robert and Lisa Sainsbury Collection, part I, European 19th and 20th century Paintings, Drawings and Sculpture, 1997; S. Hooper, The Robert and Lisa Sainsbury Collection, part II, Pacific, African and Native North American Art, 1997; S. Hooper, The Robert and Lisa Sainsbury Collection, part III, Precolumbian, Asian, Egyptian and European Antiquities, 1997; I. Rubin, The Guennol Collection, vol I, 1975; G. Richter, Catalogue of Greek and Roman Antiquities in the Dumbarton Oaks Collection, 1956; M.C. Ross, Catalogue of the Byzantine and Early Medieval Antiquities in the Dumbarton Oaks Collection, vol I, 1970; J. Babelon, Choix de Bronzes de la Collection Caylus, 1928 (x2); J. Babelon, Choix de Bronzes et de Terres Cuites des Collections de Janze et Opermann, 1929 (x2); J. Babelon, Le Cabinet du Roi ou le Salon Louis XV de la Bibliotheque Nationale, 1927; B. Fedele, L. Todisco et al. (eds), Antichita della Collezione Guarini, 1984; L. Marangou, Ancient Greek Art from the Collection of Stavros S Niarchos, 1995; J. Sieveking, Bronzen, Terrakotten, Vasen der Sammlung Loeb, 1930; J.L. Kieth, The Pomerance Collection of Ancient Art, 1966; H. Bloesch, Greek Vases from the Hirschmann Collection, 1982 (x2); H. Jucker and D. Willers, Gesichter, Griechische und Romische Bildnisse aus Schweizer Besitz, 1982; Von Zabern, Antiquities from the Collection of Christos G Bastis, 1987; D. De Menil, The John and Dominique De Menil Collection, 1962; J. Boardman, Engraved Gems; the Ionides Collection, 1968; S.D. Campbell, The Malcove Collection, 1985; G.B. Waywell, The Lever and Hope Sculptures, 1986; E. Angelicoussis, The Woburn Abbey Collection of Classical Antiquities, 1992; A. Scholl, Die Antiken Skulpturen in Farnborough Hall, 1995; D. Boschung, H. Von Hesberg and A. Linfert, Die Antiken Skulpturen in Chatsworth, 1997; D. Grassinger, Antike Marmorskulpturen auf Schloss Broadlands (Hampshire), 1994; J. Fejfer, The Ince Blundell Collection of Classical Sculpture, vol I, the Portraits, part 2, Roman Male Portraits, 1997; J. Fejfer and E. Southworth, The Ince Blundell Collection of Classical Sculpture, vol I, the Portraits, part 1, Female Portraits, 1991; I. Love, The Ophiuchus Collection, 1989; M. True and K. Hamma (eds), A Passion for Antiquities; Ancient Art from the Collection of Barbara and Lawrence Fleischman, 1994; A. Macgregor, Antiquities from Europe and the Near East in the Collection of the Lord McAlpine of West Green, 1987; R.W. Hamilton, Antiquities from the Bomford Collection, 1966 (x2); R.W. Hamilton, Ancient Glass, Jewellery and Terracottas from the Bomford Collection, 1971; L. Marangou, The Nicholas P Goulandris Foundation, from the Private Collection to the Museum of Cycladic Art, 1991; R. Wehrli, Sammlung E und M Kofler-Truniger, Luzern, 1964; R. Nicholls, Classical Heritage, Greek and Roman art from the Cambridge College Collections, 1978; I. Caruso, Collezione Castellani, Le Ceramiche, 1985; A. Kozloff, Animals in Ancient Art from the Leo Mildenberg Collection, 1981; U. Gehrig, Tierbilder aus Vier Jahrtausenden, Antiken der Sammlung Mildenberg, 1983; A. Kozloff, D.G. Mitten and M. Sguaitamatti, More Animals from the Leo Mildenberg Collection, 1986; G. Zahlhaas, Aus Noah's Arche, Tierbilder der Sammlung Mildenberg aus Funf Jahrtausenden, 1996 (x2); E. Strong, Catalogue of the Greek and Roman Antiques in the Possession of the Right Honourable Lord Melchett, PC, DSc, FRS, 1928 (x2); C. Boerker, E. Reschke and E.E. Schmidt, Katalog der Antikensammlung des Prinzen Carl von Preussen im Schloss zu Klein-Glienicke bei Potsdam, 1972; M.B. Wyndham, The Leconfield Collection, 1915; Von Saldern, Glaser de Antike; Sammlung Oppenlander, 1974; J. Doring, Art Antique, Collections Privee de Suisse Romande, 1975; J.D. Beazley, The Lewes House Collection of Ancient Gems, 1920 (QTY)For further information on this lot please visit Bonhams.com

J.F.K.'s Visit to Ireland 1963 - Fascinating Collection of Documents relating to President Kennedy's visit to Ireland, 26th to 29th June, 1963, relating to policing and suppression of protests. A collection of 15 letters, memos, circulars and other official documents issued before the visit by the Garda Crime Branch to members of An Garda Siochana. A fascinating primary source, demonstrating the Lemass government's determination that the visit be successful and not marred by Anti-US demonstrations. The archive includes directions to officers that 'the movements and associates' of two Russian correspondents 'are to be discreetly watched.' The Russians are named as 'Evan Stenin, representing Tass, who arrived on June 22nd 1963 on Russian Passport, No. C 4199 and Guenrikh Trofinenko, representing Radio Moscow, who arrived on June 21st 1963 on Russian Passport No. C 60156, 'as they will be anxious to obtain material which would show the visit of President Kennedy in an unfavourable light.' Further instructions from the Crime Branch request Gardai to suppress protests and 'play cards (sic) or slogans or other offensive matter to be removed' at centres to be visited by the President. In communication stamped 25th June 1963 it is noted that 'The Commissioner directs that best serge uniform will be worn at all times during the president's visit. Members who, through no fault of their own have not received the current issue of uniform will be detailed for duty at places away from Presidential route.'  It is noted that 'Every Divisional Officer will ensure that only efficient members of presentable appearance and having had 'their hair trimmed' should give a first-class display of efficiency, smartness and courtesy.' Many Gardai are named with service numbers recorded detailing arrangements for transport to Dublin, New Ross and Galway during the visit, including arrangements for 'two Buffet Type' meals in the Parish Hall in Wexford town. File includes cancellation of all leave directive during the period 22nd to 29th June, subsistence allowances etc. As an Archive, w.a.f. (1)

AA WORLD-CHANGING DOCUMENTUnited States Declaration of Independence.  An original engraved facsimile copy of the Declaration of Independence of 4 July 1776, N.B. On careful examination The Auctioneers believe that this item is a copy of the Peter Force Edition of 1833, not 1823 as stated in printed catalogue.This copy with direct provenance to Charles O’Conor, the distinguished Irish-American attorney and politician.  Measurement: 30.5 in (77cm) x 25.5 in (65cm) "We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness.—That to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed,—That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their Safety and Happiness."We, therefore, the Representatives of the United States of America, in General Congress, Assembled  ..  do, in the Name, and by Authority of the good People of these Colonies, solemnly publish and declare, That these united Colonies are, and of Right ought to be Free and Independent States  ..  and that as Free and Independent States, they have full Power to levy War, conclude Peace, contract Alliances, establish Commerce, and to do all other Acts and Things which Independent States may of right do.”The Declaration followed a period of stressed relations with Great Britain over trade and other matters.  It was drafted mainly by Thomas Jefferson, with amendments by Benjamin Franklin, John Adams and others, and was adopted on 4 July 1776 by delegates from 13 States assembled in the Second Continental Conference.  It provided the essential basis for the Treaty with revolutionary France agreed in 1778.  It is no exaggeration to say that this document changed the world, marking a decisive turn away from the era of unchallenged imperial expansion and the subjection of colonial peoples, and was thereafter a shining beacon to subject peoples everywhere, most notably the Irish.  Three of the 56 signatories were born in Ireland, with a further 8 of Irish descent.The Declaration of Independence was initially published as a broadside, printed by Robert Dunlap, in which form it was widely distributed and read to the public. The source copy used for this printing has been lost. The best-known version is a signed copy that is displayed at the National Archives in Washington, D.C., and which is popularly regarded as the official document.  In 1820, when the ink on the Archives copy was seen to be fading, Congress commissioned the engraver William J. Stone to execute a full-scale facsimile, printed in 1823 in 200 copies on parchment, and issued to surviving signatories (including Jefferson and Adams) and other distinguished personalities.                                                                       It was issued to Charles O’Conor of New York, a son of Thomas O’Conor of the O’Conor Don family of Roscommon.  Charles' father, Thomas was sworn into the United Irishmen by Wolfe Tone personally, and went to America after the failure of the 1798 Rebellion.Charles O’Conor (1804-1884) was born in New York, and was called to the Bar in 1824.  He quickly made his name as a trial lawyer; after his success in a major divorce and alimony case, he was presented with two silver vases  -  one by a group of 30 leading New York ladies, the other by sixty members of the Bar.  Both vases are now in the New York Law Institute Library.He was active in Irish support groups, including one intended to support a Fenian rising in Ireland, and for many years he was a major figure in Democratic politics.  He was U.S. Attorney for the southern district of New York 1853-54.  After the Civil War he was senior counsel for the Southern leader Jefferson Davis in his trial for treason.  In the 1870s he was prominent in the successful campaign against William (Boss) Tweed of Tammany Hall.  In 1872 he was nominated for the Presidency of America by a southern Democratic group.  He declined the nomination, but his name still appeared on the ballot paper – the first Catholic to receive such a nomination.  After the 1876 election, he was advocate for his friend Samuel Tilden in his unsuccessful attempt to claim the Presidency, having won a plurality of the popular vote.The present engraving came to light recently in a country house in the West of Ireland, where presumably it was brought by Charles O’Conor on a visit to his ancestral homeland.  Of the 200 original copies issued, a recent census (Coleman 1991*) could find only 31 surviving, of which institutions held 19 and only 12 (to which the present copy can be added) were in private hands.An exceptionally rare and important document, truly one that has changed the world.A superb memorial to a very distinguished Irish-American, and a confirmation and celebration of the Irish contribution to the constitutional development of the United States.  In excellent condition.Provenance:  Charles O’Conor of New York [1804-1884]; by unbroken family descent.*W.R. Coleman, ‘Counting the Stones – a Census of the Stone Facsimiles of the Declaration of Independence’. Manuscripts vol. 43 no. 2 pp 97-105.With acknowledgements to Wikipedia.N.B. On careful examination The Auctioneers believe that this item is a copy of the Peter Force Edition of 1833, not 1823 as stated in printed catalogue.

HALL, Mrs. S. C - The Juvenile Forget Me Not. A Christmas and New Year's GIft, or Birthday Present for the year 1829 : 8 engraved plates, org. calf backed boards, small 8o, 1829. With - Dickens, Charles, The Chimes : A Goblin Story of some bells that rang an old year out and a new year in : 2 engraved plates, illust in text, org. pictorial red gilt cloth, 8vo, Chapman Hall, 13th edit, 1845. With - Chesterton, G. K. - Five Types A Book of Essays : eng. title, decorative wrappers in original slip-case, small 4to, Arthur L. Humphreys, 1910. With - 3 other children's books.(6)

A collection of 18th and 19th century British porcelain and pottery tea bowls and saucers, AF, some New hall and Caughly style

Postcards, London suburbs, a good collection of 55 cards, with many RP and printed street scenes, with RP's of St Andrew's Hospital, Dollis Hill, Victoria Rd N.W (Johns), Lloyd Park Mansion, Walthamstow, Thatched Cottage Palmer's Green, Market Square Enfield, St John's Hall Highbury, St Katherines College Tottenham, Church Hill Winchmore Hill, Montrose Avenue NW (Johns), Chamberlayne Rd NW (Johns, cr, tear), Hanover Rd N,W. (Johns). Also Passmore Edwards' Sailors' Palace West India Dock Rd (printed), Boat House Barking Park (printed), New Barnet Saw Mill Fire 1907 (printed) etc (mainly gd)

A collection of approx 36 books and 18 Annuals related to movies and actors, titles to include, Radio Fun Annual, The New Film Show Annual, The Boys and Girls Cinema Club Annual, Film Fun Annual, The Film Lovers Annual, The Golden Age of B Movies, Hollywood's hall of Shame, Stars and Films of 1937 & 1938, The Films of Alfred Hitchcock, etc.

* SUSAN RYDER (BRITISH b. 1944),TEA TABLE WITH RED CHAIRSoil on canvas, signed, titled label versoimage size 82cm x 102cm, overall size 101cm x 122cm Framed. Handwritten artist's labels verso. Note: Susan Ryder is a member of the New English Art Club and the Royal Society of Portrait Painters, who exhibits at Panther and Hall Gallery in London where she held solo exhibitions in 2010 and 2016. Ryder lives between her home in London and Scotland, she is well known for her Interior and garden scenes as well being a leading portrait painter. Ryder was commissioned to paint the HRH The Princess of Wales and HM The Queen. Ryder's paintings rarely appear at auction but on 26th August 2020 lot 338 "Conservatory with Blue Glass" (a 76.5 x 91.5cm oil on canvas) was sold by Woolley & Wallis (Salisbury, England) for £4000 (hammer).

WALTER M. BRACKETT (AMERICAN 1823-1919)The Day's Catch (Trout and Fishing Rod),1887oil on canvas46 x 76 cm (18 1/8 x 29 7/8 in.)signed and dated lower rightPROVENANCEJames Rhodes, Esquire, Bramhope Hall, Yorkshire, England (inscription on verso)With Graham Gallery, New York (label on frame)CONDITIONObserved in frame, the painting appears in good condition. A small surface stain to the upper center right. Inspection under UV light shows no apparent signs of restoration.framed dimensions: 78.5 x 109 x 13 cm (30 7/8 x 42 7/8 5 1/8 in.)Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

DAVID BURLIUK (RUSSIAN 1882-1967)Bowery,circa 1944oil on canvas119.5 x 85 cm (47 x 33 1/2 in.)signed lower rightPROVENANCEAcquired directly from the artist, circa 1944-1945Joseph Amisano, 1945-2008Estate of Joseph Amisano, 2008-2010Paul and Alice Amisano, son and daughter-in-law of Joseph AmisanoCharlton Hall Galleries Columbia South Carolina, 12 September 2010, lot 662Acquired at the above by the present ownerLITERATUREDreier, Katherine. BURLIUK. New York: Societe Anonyme, 1944.CONDITIONObserved in frame, the painting appears in good condition. Minor surface dust. Two very light surface scratches visible to the lower right corner. Inspection under UV light shows an even layer of varnish but no apparent sign of restoration.framed dimensions: 137.5 x 102 (54 1/8 x 40 1/8 in.)Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

BRUNO MARTINAZZI: A LIMITED EDITION GOLD 'APPLE SLICE' RING, 1971The apple slices in brushed 18 carat bicoloured gold, signed Martinazzi, numbered 3/6, maker's mark R&Co, London hallmark, ring size OFootnotes:This ring design was illustrated in a fashion feature for the 8th June 1972 edition of Country Life, as supplied by River, 17/18 Old Bond Street, London. Another 'Apple Slice' ring from this limited edition, numbered 2/6, sold at Bonhams, Knightsbridge on 14th May 2014, lot 9. For similar pieces, see Bernabei, Robert, 'Contemporary Jewellers', Berg, Oxford & New York, 2011, chapter 13.The Italian artist, Bruno Martinazzi (1923-2018) studied music and chemistry in his native Turin. In 1951, he left the chemical industry to work as a goldsmith's apprentice to the Mussa brothers, while also attending night school at the Scuola Orafi Girardi. His art and sculpture studies then took him to Florence and Rome, where he held his first one man show of enamelled copper and silver reliefs in 1954. In 1960, Martinazzi participated in an exhibition of Italian jewellery at the Neiman-Marcus store in Dallas, Texas, of which Arnaldo and Gio Pomodoro were two of the organisers. The following year he received an award for his submissions to the International Exhibition of Modern Jewellery at the Goldsmiths Hall in London. In 1967, he completed his Marce della Pace in the form of a series of bracelets and brooches composed of abstract figures walking in step or standing in a crowd as a protest against the Vietnam War.For further information on this lot please visit Bonhams.com

DICKENS (CHARLES)[Sketches by 'Boz'. Illustrative of Every-Day Life and Every-Day People... New Edition], set of original parts 1-10 only (of 20, with a duplicate of part 3), 20 etched plates by Cruikshank (those in parts 7-10 with publisher's imprint), p.18 with '8' set lower, p.50 with '0' set higher, 'p.83' level and clear, advertisement leaves as called for by Hatton & Cleaver comprising those in part 1 (8pp.), part 2 (8pp. including Address), part 3 (2 copies, each with 4pp., 8pp., and 18-page Mechi catalogue in green and orange respectively), part 5 (4pp. 'Proclamation'), part 9 (4pp.), most plates heavily oxidised, some leaves loose, publisher's pictorial pink wrappers after Cruikshank, some detached, frayed or soiled, most spines with some degree of loss, part 1 with incorrect wrapper (from part 4, amended, a tattered correct one supplied loose), parts 8-10 lacking rear wrapper, with Collis's additional annotated paper wrappers [Eckel p.15; Gimbel A6; Hatton & Cleaver p.89-128], 8vo, Chapman & Hall, November 1837-June 1839 (11)Footnotes:This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

DICKENS (CHARLES)[Christmas Books] A Christmas Carol, second edition, with red and blue title-page dated 1843, 'Stave One' and corrected text, Smith's second state, plates hand-coloured (2 repaired), made up copy, soiled and stained, publisher's brown cloth, spine repaired, new endpapers, 1843; The Chimes; A Goblin Story, FIRST EDITION, advertisement leaf for the tenth edition of A Christmas Carol, first state of vignette title-page, recased, 1845, Chapman & Hall; The Cricket on the Hearth, fourteenth edition, frontispiece and vignette title loose, soiled, spine repaired, new endpapers, 1846; The Battle of Life, FIRST EDITION, vignette title-page in fourth state without imprint (Todd's E1), recased, 1846; The Haunted Man and the Ghost's Bargain, FIRST EDITION, 1848, Bradbury & Evans, together 5 vol., wood-engraved frontispieces, all but the first with additional vignette titles, illustrations, publisher's red (the first brown) cloth with gilt illustration or device on upper cover, gilt-lettered and decorated spines, g.e., spines bumped, a few marks and light stains [Smith II: 4, 5, 6, 8, 9], 8vo (5)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

DICKENS (CHARLES)Sketches by 'Boz'. Illustrative of Every-Day Life and Every-Day People... New Edition, IN THE ORIGINAL 20 MONTHLY PARTS, additional etched title and 38 plates by Cruikshank (of 39) with publisher's imprint from part 7 onwards, p.18 with '8' set lower, p.50 with '0' set higher, 'p.83' level and clear, 'p.515' correct, p.526 with 'reeledbefore', advertisement leaves as called for by Hatton & Cleaver comprising those in part 1 (8pp.), part 2 (8pp. including Address), part 3 (4pp., 8pp., 18-page Mechi Catalogue with wrappers), part 5 (4pp. 'Proclamation'), part 9 (4pp.), a few plates oxidised occasionally affecting image, wanting plate 2 in part 17 (contents loose) and half-title and blank leaf in part 20, publisher's pictorial pink wrappers after Cruikshank, faded and some parts soiled, some slight nicks and chips at edges, 6 parts with wrappers substituted, most spines (and some wrapper edges) restored, some spines with slight chips and tears, 2 lower wrappers defective, preserved in Collis's additional annotated paper wrappers [Eckel p.15; Gimbel A6; Hatton & Cleaver p.89-128], 8vo, Chapman & Hall, November 1837-June 1839Footnotes:COLLIS'S SECOND SET OF 'BOZ' IN THE SCARCE ORIGINAL PARTS. 'Next to 'Pickwick' in parts, the pink-covered 'Sketches' in parts is the scarcest and the highest priced' (Eckel, p. 15). This set was put together by Collis between November 1931 and May 1934, and left tantalisingly close to completion, wanting one plate and the half-title. See condition report for full details.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

DICKENS (CHARLES)Sketches by Boz Illustrative of Every-Day Life and Every-Day People... New Edition, with a typed letter signed by Thomas Hatton loosely inserted along with notes from Collis, etched frontispiece, additional vignette title and 38 plates by Cruikshank (these with varying degrees of oxidisation, mostly at edges), publisher's blind-stamped brown/purple vertically-ribbed cloth, rebacked preserving original gilt lettered backstrip (faded), rubbed, corners knocked [Eckel pp.14-15; Gimbel A7; Smith II:2, note 4], 8vo, Chapman and Hall, 1839Footnotes:THE FIRST SINGLE VOLUME OCTAVO EDITION OF THE COMPLETE SKETCHES BY BOZ. In 1837 Chapman and Hall acquired the copyright of both series of Sketches by Boz, issuing them in parts with the Cruikshank plates enlarged and an additional thirteen new illustrations. In May 1839 the complete series was published in this one volume edition, which includes the following first issue points: page 3 is unnumbered; the 'Parish Engine' plate is bound between pages 4 and 5; the 10 plates up to p.120 have no imprint; and the last page has 'reeled before' as one word six lines from the bottom.The letter from Thomas Hatton is dated 6 June 1936, and includes a paragraph on the advertisements not present in Collis's copy of Sketches: 'I do not agree that the earliest issue should have the 4 leaves of advertisements. When they appear, you may be sure it is a later binding of the book'.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

DICKENS (CHARLES)Hard Times. For These Times, FIRST EDITION IN BOOK FORM, with all 11 of Smith's flaws in uncorrected state, half-title, occasional minor spotting, publisher's first binding of olive green moiré horizontally-ribbed cloth, covers with outer line and inner ornamental blind-stamped borders, gilt-lettered spine with price 5/- and decoration in blind, light yellow endpapers, slightly shaken, faded and stained, spine ends chipped, tear to lower joint [Eckel, p.131; Gimbel A136; Sadleir 689; Smith I:11], Bradbury & Evans, 1854; The Mystery of Edwin Drood, FIRST EDITION IN BOOK FORM, engraved portrait and additional title with vignette, 12 wood-engraved plates, 40pp. of advertisements at end (2pp. of advertisements for the author's other works; 32pp. W.H. Smith & Son catalogue of 'New and Second hand books', dated may 1872; 6pp. of additional advertisements), occasional foxing, publisher's green cloth blocked in blind and gilt (Carter's binding B), light yellow endpapers, worn at edges, 2 ink blots on lower cover [Eckel p.96; Gimbel A155; Smith I:16], Chapman and Hall, 1870, 8vo (2)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

DICKENS (CHARLES)[Christmas Books] A Christmas Carol, eleventh edition, plates hand-coloured, spine repaired ('Morrell, Dec 1937'), 1845; The Chimes; A Goblin Story, sixth edition, recased, 1845, Chapman & Hall; The Cricket on the Hearth, FIRST EDITION, second state of advertisement leaf, spine repaired and new endpapers, 1846; The Battle of Life, FIRST EDITION, vignette title-page in fourth state without imprint (Todd's E1), spine ends fraying, front hinge split, 1846; The Haunted Man and the Ghost's Bargain, FIRST EDITION, 1848, Bradbury & Evans, together 5 vol., wood-engraved frontispieces, all but the first with additional vignette titles, illustrations, publisher's red cloth with gilt illustration or device on upper cover, gilt-lettered and decorated spines, g.e., spines bumped, 2 darkened [Smith II: 4, 5, 6, 8, 9], 8vo (5)Footnotes:Provenance: A Christmas Carol, Thomas Hatton, Collis's purchase note dated 11 November 1937; The Cricket on the Hearth, 'Miss Mattthews', signature on verso of frontispiece; The Battle of Life, 'Cost 15/6 1/11/30 Holland', Collis's pencil note; The Haunted Man, 'For the Kestrel from the old Hawk. Jan 3 1849', inscription on front free endpaper; '4.11.1930... From Holland Bros, B'ham', Collis's purchase note.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

DICKENS (CHARLES)The Life and Adventures of Nicholas Nickleby... Edited by 'Boz', FIRST EDITION IN THE ORIGINAL 19/20 PARTS, mixed issue, half-title, engraved portrait frontispiece by Daniel Maclise, 39 etched plates by 'Phiz', most with varying degrees of foxing, some soiling throughout, publisher's blue-green pictorial wrappers, some spines restored, 11 parts with cellophane outer wrapper crudely attached with tape, preserved in red cloth folding box with gilt lettered spine [Eckel pp.64-66; Gimbel A40; Hatton & Cleaver pp.129-160], 8vo, Chapman and Hall, April 1838–October 1839Footnotes:FIRST EDITION OF 'NICHOLAS NICKLEBY' IN THE ORIGINAL MONTHLY PARTS. This set has the following issue points: part 4 with 'visiter' on p.123, line 17 (first state); part 5 with 'letter' on p.160, 6 lines up (second state); the first 4 plates in parts 1 & 2 with publisher's imprints; part 8 plate 16 from third steel ('in' omitted); part 12 plate 23 with 'Mr' present; and part 15 plate 29 in second impression. The 'Nickleby Advertiser' front catalogues are present, as are all the back advertisements including the scarce folding 'Amesbury's Supports' one in part 3. Part 11 is without the small slip on yellow paper (described as 'non-essential' by Hatton & Cleaver) whilst the advertisement in part 19/20 for 'Hill's Seal Wafer' is present but lacks the attached wafers, as often.'Dickens was a busy twenty-five year old in 1837. While the final number of Pickwick was quickly being bought up from the bookseller's stalls, and Oliver Twist was highlighting the pages of Bentley's Miscellany, the young novelist signed a contract in November with Chapman and Hall to produce a manuscript for another serial tale beginning the following March. The new work was published in the same manner and form as Pickwick, but Dickens received ten times the amount per number—a healthy £150—as he received for his first novel. The first number, which appeared in April 1838, sold over 48,000 copies.... Nicholas Nickleby clearly shows Dickens's maturing power.... With the good-natured yet temperamental Nickleby providing the story's dramatic center, Dickens learned how to weave parallel plots into a unified structure, completing his transition from journalist to novelist' (Grolier, Essential Parts p.14.)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

MUSIC – BEATRICE HARRISONArchive of material relating to cellist Beatrice Harrison, comprising: i) Manuscript notebooks: including her reminiscences of Delius beginning '...Delius is able to express through the medium of his music the sight, the sound and even the very scent of Nature perhaps more exquisitely than any other composer... he said our performance has inspired him to write a Double Concerto which he did!... Delius had a wonderful charm...', 7 pages, 230 x 180mm.; album titled 'Manuscripts', including poems and notes on a visit to Sandringham in September 1918 ('...The queen showed us her boudoir & bedroom. A perfect dream, all is lovely... the spirit of King Edward pervades all. Terrible news from Russia. Played with dear Princess in the sunset... Princess M sang. Curious voice!...'), 74 pages, 163 x 200mm., 1908-1919; 'Cello Notes', written in pencil, describing a busy schedule, with notes on performances, venues and pieces played, including her American tour taking in New York, Boston and the White House ('...White House/March 1st/L'Amor de May-/Serenade Delius/Allemande Senaille'), various dates in the UK ('...Bax came down & I played him his concerto he was delighted... July 23/Promenade/Concerto-Elgar/Conductor Wood...'); c.100 pages, 8vo, 1935-1942; notebook containing handwritten copies of reviews of May Harrison's performances in Spain, 1906; and two othersii) Diaries: unbound diary from 1907 including notes for May 29th '...I am making my debut as a 'cellist at the Queen's Hall under the conductorship of Mr Henry J. Wood. I am playing the Saint Saens Concerto... I do hope it will go well...'; with four memorandum diaries belonging to Beatrice and her sister May Harrison, noting appointments, pupils and hours practised ('...went to my boring lesson with little Renaud... he is too killing & looks like an owl in spectacles! Only did 4 hrs cello...'), including May Harrison's European tour of 1908, 8vo, 1907, 1908, 1909, 1916 and 1962iii) Albums, scrapbooks and ephemera: ten albums containing newspaper cuttings and printed programmes, many annotated, illustrating her career from 1901 to the 1930's, folio (410 x 290mm.) and smaller; with other ephemera including photographs, an autograph letter signed 'Percy Grainger', 13 January 1930, concert poster for the Wigmore Hall, and much elseFootnotes:'I AM MAKING MY DEBUT AS 'CELLIST AT THE QUEEN'S HALL': ARCHIVE OF THE CELLIST FAMED FOR HER DUETS WITH NIGHTINGALES.Beatrice Harrison (1892-1965), '...the leading British cellist of her generation...' (Anne Pimlott Baker, ODNB), is perhaps best known for her hugely-popular performances accompanied by nightingales, first broadcast from her Surrey garden on 19 May 1924, one of the BBC's first live outside broadcast recordings and a tradition she continued for the next twelve years.A musical prodigy, at the age of twelve she won a cello exhibition to the Royal College of Music, making her debut at the Queen's Hall with Henry Wood in 1907, as noted in her diary here, and embarked on a busy solo career undertaking tours of Europe, North America and the UK. She became a good friend of Princess Victoria after playing to Edward VII at a dinner party, and visited the Royal family at Sandringham. Her illustrious career embraced many 'firsts'; she was the first to perform several important works on the cello, in particular those of Frederick Delius, who wrote his double concerto of 1915 for her and her sister, the first to make standard recordings of other pieces such as Elgar's cello concerto in 1920, conducted by the composer, the first woman cellist to play at Carnegie Hall and the first British cellist to enjoy an international reputation. She was much admired by, and friends with, composers such as Delius, Elgar and Arnold Bax, who all wrote for her. This archive was used in compiling her autobiography The Cello and the Nightingales edited by P. Cleveland-Peck, 1985.For further information on this lot please visit Bonhams.com

DICKENS (CHARLES)Sketches by 'Boz'. Illustrative of Every-Day Life and Every-Day People... New Edition, IN THE ORIGINAL 20 MONTHLY PARTS, additional etched title and 39 plates by Cruikshank, with publisher's imprint from part 7 onwards, p.18 with '8' set lower, p.50 with '0' set higher, 'p.83' level and clear, 'p.515' correct, p.526 with 'reeledbefore', advertisement leaves as called for by Hatton & Cleaver comprising those in part 1 (8pp.), part 2 (8pp. including Address), part 3 (4pp., 8pp., 18-page Mechi Catalogue with wrappers), part 5 (4pp. 'Proclamation'), part 9 (4pp.), publisher's pink pictorial wrappers, some soiling, 8 of the parts noted by Collis as 'untouched' (3 with backstrips chipped), others restored by Riviere or Morrell (3 wrappers substituted, see condition report for further details), each part preserved in Collis's annotated paper wrapper, together with loosely inserted letterpress from part 2, a single uncut sheet with the 2 plates from part 3, and letters from Thomas Hatton and Thomas Thorp, housed in brown and green half morocco top-opening slipcase, with gilt panelled spine and laid on manuscript title label [Eckel p.15; Gimbel A6; Hatton & Cleaver p.89-128], 8vo, Chapman & Hall, November 1837-June 1839Footnotes:W.H. COLLIS'S 'BEST SET' OF 'SKETCHES BY BOZ' IN THE ORIGINAL PARTS. One of the rarest of Dickens's works to appear in parts, the present set is complete with all the advertisements called for by Hatton & Cleaver, and the usual thirteen additional plates supplied to supplement the twenty-seven etchings which appeared in the earlier book form issue.The Sketches had first been published in different periodicals and newspapers, and some were then gathered into book form in two series published 1836 and 1837 (see preceding lots). The copyright was purchased outright by Chapman and Hall who issued the work in monthly parts to meet the form's growing popularity, and to coincide with appearance of the final part of Pickwick Papers. The change from Pickwick's standard green wrappers to light pink was not popular at the time, resulting in fewer advertisements being supplied.In the letter from Thomas Thorp, dated 10 December 1931, the bookseller is amongst other things offering Collis an incomplete set of 'Boz' ('I can let you have Sketches by Boz, as catalogued, for £165, or will give you a good price for the two missing parts'); the offer was evidently not taken up since Collis's notes show that most of the parts were bought on two separate occasions in 1934, and one in 1928, the earliest date we have found recording a purchase by Collis.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

Pitt writes to Wilberforce on religion, war, and the slave trade PITT to WILBERFORCE: An exceptional and historically important series of twenty three A.Ls.S., `W. Pitt´, by William Pitt the Younger to William Wilberforce, 78 pages in total, 4to (19 letters), and 8vo (5 letters), twelve of them from Downing Street, also from Pembroke Hall, the House of Commons, etc.., 31st July 1782 to 14th August 1800. Few of the letters are docketed by Wilberforce. Plus one copy of a letter also docketed. WILLIAM PITT THE YOUNGER (1759-1806) British Statesman, one of the most prominent politicians of the late 18th and early 19th centuries. He held the post of Prime Minister for close to twenty years, 1783-1801 & 1804-1806. The youngest Prime Minister of Great Britain in 1783 at the age of 24, and the first Prime Minister of the United Kingdom.To the 2nd October 1785 letter, Downing Street, at the time of Wilberforce´s angelical conversion, an extremely important and exceptional content letter, referred to by William Hague in his biography William Pitt the Younger (2005), Pitt states in part `..I am indeed too deeply interested in whatever concerns you, not to be very sensibly affected by what has the appearance of a new Era in your Life, and so important in its consequences... I will not disguise to you that few things could go nearer my heart than to find myself differing from you essentially on any great principle. I trust and believe that it is a circumstance which can hardly occur.. They are sentiments engraved in my heart, and will never be effaced or weakened…´ further writing `..You will not suspect me of thinking lightly of any moral or religious motives which guide you.. But forgive me if I cannot help expressing my fears that you are nevertheless deluding yourself into principles which have but too much tendency to counteract your own object, and to render your Virtues and your Talents useless both to yourself and Mankind… But why then this preparation of solitude, which can hardly avoid tincturing the mind either with melancholy or superstition? If a Christian may act in the several relations of life, must he seclude himself from them all to become so..´, further again writing `..You do not explain either the degree or the duration of the retirement which you have prescribed to yourself… And if you will open to me fairly the whole state of your mind on these subjects, tho´I shall venture to state to you fairly the points where I fear we may differ, and to desire you to re-examine your own ideas, where I think you mistaken..´ To the 19th December 1785, Pitt states in part `.. as much as I wish you to bask on, under an Italian sun, I am perhaps likely to be the instrument of snatching you from your present paradise, and hurrying you back to "The Rank Vapours of this Sin-Worn World".´ To the 8th April and 28th June 1788 letters, and referring to the Slave Trade cause motions, Pitt states in part `..As to the Slave Trade, I wish on every account it should come forward in your hands rather than any other. But that in the present year is impracticable; and I only hope you will resolve to dismiss it as much as possible from your mind. It is both the rightest and wisest thing you can do. If it will contribute to setting you at ease, that I should personally bring it forward (supposing circumstances will admit of it being brought forward this session) your wish will decide… In one word however be assured, that I will continue to give the business constant attention, and do every thing to forward it..´, further in June saying `..The business respecting the Slave Trade meets just now with some rub in the House of Lords.. I wonder how any Human being can resist... There seems not a shadow of doubt as to the conduct of the House of Commons next year, and I think with good management the difficulties in the other House may be got over..´ Further again in Spring 1789, `..to have the day for the Slave Trade postponed.. Grenville and I have formed a project, of reducing the case.. into a string of resolutions.. The more we consider the Case, the more irresistible it is in all its parts.´ To the 8th August 1792, referring to King George III, `..I must be at Windsor on Sunday.. Immediately on Lord Guildford´s death the King has written to me in the most gracious terms to say that he cannot let the Wardenship of the cinque Ports go to any one but myself.. in the manner in which the offer came, I have had no hesitation in accepting, and I believe you will think I have done right.´ To the 7th September 1796, referring to continental Europe and war, Pitt states in part `..The message of the Directory confessing in such strong terms their distress, and the Archduke´s recent Victory on the 22nd give some chance that our overtures may be successful. In the meantime it will be indispensable to take very strong measures indeed both of Finance and Military Defence; and if the spirit of the Country is equal to the exigency, I am confident all will yet end well. An immediate Spanish War is I think nearly certain. The only motive to it is the fear of France preponderating over their fear of us; and the pretexts as futile as could be wished.´   Small overall minor age wear, otherwise G, 24   William Wilberforce (1759-1833) British Politician, member of Parliament for 45 years, from 1780 to 1825. Philanthropist and leader of the movement to abolish the slave trade. One of the leading English abolitionists who headed the parliamentary campaign against the British slave trade for twenty years until the passage of the Slave Trade Act of 1807.His first campaign proved to be the world's first grassroots human rights campaign. On 2 April 1792, Wilberforce brought again a bill calling for abolition. The memorable debate that followed drew well-remembered contributions from the greatest orators in the house, William Pitt the Younger and Charles James Fox, as well as from Wilberforce himself. Lord Melville as Home Secretary, proposed a compromise solution of so-called "gradual abolition" over a number of years. The bill was passed.In 1785 Wilberforce underwent an evangelical conversion, resolving to commit his future life and work to the service of God. At that time, religious enthusiasm was generally regarded as a social transgression and was stigmatised in polite society. Wilberforce's conversion led him to question whether he should remain in public life. Both John Newton, a leading evangelical Anglican and Pitt counselled him to remain in politics, and he resolved to do so with "increased diligence and conscientiousness".Wilberforce also championed causes such as the Society for the Prevention of Cruelty to Animals. His campaigns led to the Slavery Abolition Act 1833 which abolished slavery in most of the British Empire. Wilberforce died just three days after hearing that the passage of the Act through Parliament was assured. The leading members of both Houses of Parliament urged that he be honoured with a burial in Westminster Abbey, and while tributes were paid, both Houses of Parliament suspended their business as a mark of respect. He was buried in Westminster Abbey, close to his friend William Pitt the Younger.. William Wilberforce said of William Pitt, "For personal purity, disinterestedness and love of this country, I have never known his equal." 

FULLER LOIE: (1862-1928) American Dancer and Actress. A.L.S., Loie Fuller, three pages, 8vo, Paris, 26th October 1911, to Ralph Flanders of the New England Conservatory of Music in Boston, Massachusetts. Fuller informs her correspondent 'There is here in Paris an artist Madame Brasseur, the wife of the "administrator" of the Theatre des Varietes (It does not mean Variety Theatre) and you met them (she tells me) at the Grand Hotel years ago when he (Mr. Brasseur) was director of the Theatre Folie Dramatique' and continues to add that Madame Brasseur retired from the stage when she got married despite being 'the most popular light opera singer ever in Paris', further explaining that she would now like to give some concerts at Jordan Hall and asking if Flanders would pay her 50% of the gross receipts and pay her pension and boarding home, also discussing possible travel arrangements and concluding by remarking 'She is a great artist'. Accompanied by the original envelope hand addressed by Fuller. Some light age wear, VG    

PIAF EDITH: (1915-1963) French singer, one of the most celebrated performers of the 20th century. A fine A.L.S., Tou petit hochet oiseau, ('Your little bird'), four pages, 8vo, n.p. (New York), 26th August 1955, to her first husband, Jacques Pills ('Mon petit bonhomme'), in French. Piaf laments the fact that she hasn't received a letter from her husband, surmising that he is perhaps busy with rehearsals and urging him to rest, commenting 'Everything is fine and everything will be fine! It is strange, but when I rest, I am almost more tired than when I work. You get used to doing nothing, and the smallest effort seems enormous, a lesson that I am relearning currently' and continuing 'I'll have my hands full with Versailles! Now you'll have to write to me in New York…..I can't wait to hear the latest from you about the public's reception in other cities in England. You never talk about that country, and I'd love to hear your impression. At any rate, I think the public is great. The other thing I'd like is for you to have an apartment in London where a cook could come to keep you on your diet. I wonder how you manage in restaurants. Be very, very careful! Sometimes I do worry, knowing how kind you are and how you would not want to put anybody out but rather eat nothing at all. And you know that is what you must absolutely not do! So take great care. I am no longer there to do the salting, and you may take advantage of that. Careful dear! Maybe you do the salting yourself now?' Piaf further writes 'I am a little bored, my darling, and when I don't hear from you, I get very sad, but I know how difficult it is when you are busy with rehearsals. Relax when you can, my sweet one, and think about how much I love you'. In concluding the singer provides her address in New York, care of Lew and Leslie Grade. A letter of good association and affectionate content and, as such, rare and desirable. EX   Jacques Pills (1906-1970) French singer and actor, the first husband of Edith Piaf from 1952-57. Edith Piaf performed twice at New York's Carnegie Hall, in 1956 & 1957. 

COSTA LUCIO: (1902-1998) Brazilian Architect. A renowned urban Planner, best known for his plan of Brasilia. An exceptional A.L.S., `Lucio Costa´, four pages, folio, Rio de Janeiro, 23rd May 1966, on the “Ministerio da Educaçao e Cultura” printed heading, to Anthony Krafft, in French. A very interesting letter, fully related to architecture, with Costa´s thoughts, and with multiple references to history, works and architects. Costa states in part `Indépendamment de la fonction, il y a “in abstrato” et sous-jacente, une intention que commande la création architecturale - soit-elle un objet, un batiment, une ville -, de sorte que l´adaptation de la forme a la fonction peut conduire a des résultats singulierement différenciés. Je vous donne un exemple historique Brésilien. Au XVIII siecle…´ (“Independently of the function, there is “in abstrato” and underlying, an intention that the architectural creation commands - be it an object, a building, a city - so that the adaptation of form to function can lead to singularly differentiated results. I will give you a Brazilian historical example. In the 18th century…”) Costa continues with historical references and examples, saying `Dans la premiere moitié du siècle dominait encore l´esprit d´ostentation et d´opulence a la Louis XIV, - courbes et contre-courbes lourdes, de l´or, du bleu foncé, du rouge et du noir; dans la seconde période c´était déja l´élégance et la grace de l´esprit Louis XV qui prévalait: courbes et contre-courbes acquirent de la souplesse, l´emploi de l´or se fit moins ostensif, le bleu devint clair, le rouge rose, le blanc et le gris remplacerent le noir. Cela montre que la relation forme-fonction doit etre envisagée en tenant compte de l´intention qui commande le processus d´intégration formelle´ (“In the first half of the century, the spirit of ostentation and opulence in the Louis XIV style still dominated - heavy curves and counter-curves, gold, dark blue, red and black; in the second period it was already the elegance and the grace of the Louis XV spirit which prevailed: curves and counter-curves acquired suppleness, the use of gold became less ostensive, the blue became clear, pink instead of red, white and grey replaced black. This shows that the form-function relationship must be considered taking into account the intention that drives the process of formal integration”) Lucio Costa further refers to today´s date concepts and to Le Corbusier, stating in part `L´idéal de clareté et de pureté formelle géométrique de la Renaissance a refoulé en Europe la conception formelle dynamique (gothique). Aujourd´hui, grace a la technologie moderne qui permet des structures où la tension prédomine, on observe, un peu partout, le retour au dynamisme formel. Il y a meme les prétentieux de l´art dit prospectif qui prétendent ensevelir, des maintenant, avec son corps, l´oeuvre de Le Corbusier. Ils oublient sa belle structure (gothique) du toit suspendu de la grande salle du Palais des Soviets, le Pavillon improvisé de “L´Esprit Nouveau” (1937) et le Pavillon Philips de Bruxelles. Le Corbusier avait l´esprit ouvert a tous les vents. Dans sa premiere phase de conception statique prévalait, avec le contrepoint dynamique de sa peinture; apres Ronchamp l´intégration des deux concepts s´établit. L´intégration qui est le fondement meme de l´art des temps nouveaux´ (“The Renaissance ideal of clarity and geometric formal purity drove dynamic formal design (Gothic) back to Europe. Today, thanks to modern technology which allows structures where tension predominates, we can observe, almost everywhere, a return to formal dynamism. There are even the pretentious of the so-called prospective art who claim to bury, from now on, with his body, the work of Le Corbusier. They forget his beautiful structure (Gothic) of the suspended roof of the great hall of the Palace of the Soviets, the improvised Pavilion of “L´Esprit Nouveau” (1937) and the Philips Pavilion in Brussels. Le Corbusier was open to all new visions. In his first phase of static design prevailed, the dynamic counterpoint of his painting; after Ronchamp the integration of the two concepts was established. Integration which is the foundation itself of the art of the new times”) Further again Costa adds his conclusions on his function and form theory. VG    Anthony Kraft (1928-1991) Swiss journalist and editor of architecture works.

STOKER BRAM: (1847-1912) Irish Author of the horror novel Dracula (1897). A rare A.L.S., Bram Stoker, four pages, 8vo, Victoria Hotel, Bradford, (although on the blind embossed stationery of the Lyceum Theatre), 10th June 1890, to David Cunningham. Stoker writes under the direction of actor Henry Irving, who sends his love, and informs Cunningham that 'our Tour of Recitals is being received enthusiastically', further explaining 'We opened at Liverpool on 3rd inst and you will see from the Press Cuttings enclosed (no longer present) what they all thought of the go off. We played or rather read on 5 at the Free Trade Hall Manchester - at Hanley on 6th and at St. Georges Hall Bradford last night. In each place we had a full hall - they are pretty big ones and the greatest enthusiasm with crowds waiting to cheer in the street', Stoker also adds that Irving hopes to see Cunningham soon and that he will 'come over to London to see our new play on the novel The Bride of Lammermoor in September next'. In a postscript Stoker asks for his writing to be excused as he was on a train. Some light staining and minor age wear, generally about VG    

A very rare Bacchus patterned millefiori 'sodden snow' ground paperweight, circa 1850The distinctive canes in various sizes, set with two pairs of opposing cane clusters framed within opaque white 'sodden snow' borders, two with a row of red and white pastry mould canes around a central oversized cane, two with a row of yellow composite canes around a central green oak leaf silhouette cane, the clusters divided by a row of six red and white pastry mould canes flanked by a pair of yellow canes, all set within a ground of blue and white cogged canes and an outer row of tubular staves, 8cm diam, 5.6cm highFootnotes:ProvenanceWith Sweetbriar Gallery, 25 April 2008Livingston CollectionPaperweights with 'sodden snow' grounds are amongst the rarest produced by Bacchus. The techniques involved in the encasing process would have been incredibly challenging, hence their rarity. The central feature has been packed with a handful of smaller canes to prevent the design from moving prior to encasing. A similar patterned millefiori 'sodden snow' example was sold by Christie's in New York on 26 September 2007, lot 646. See also the examples illustrated by Robert G Hall, Old English Paperweights (1998), p.53.For further information on this lot please visit Bonhams.com

A PAIR OF GEORGE III MAHOGANY HALL CHAIRSIN THE MANNER OF MAYHEW & INCE, CIRCA 1780each 94cm high, 41cm wide, 45cm deep overallFor a closely related pair of hall chairs, see Christie's, London, The English Collector, Lot 15 (£12,500). The current hall chairs are designed in the George III 'Roman' fashion popularised by Hepplewhite & Co's publication, The Cabinet-Maker and Upholserers Guide, 1788. The overall form is found on a set of chairs attributed to the leading Soho firm of Mayhew and Ince, sold Christie's, Chirk Castle sale, 21 June 2004, Lot 54. A further set with medallion backs was commissioned in the mid 1770's by George Brodrick, 4th Viscount Midleton (d.1836) for his entrance hall at Pepper Harrow, Sussex. The chairs are believed to have been supplied by Mayhew & Ince. Three pairs of chairs were sold as part of the collection of a New York Townhouse, Christie's, New York, 15th April 2005, Lots 220-222 ($60,000, $57,600 and $50, respectively). Another pair from the same suite, was sold Christie's, London, 11th February 1999, Lot 5 (£19,550). Condition Report: Marks, scratches and abrasions comensurate with age and useSome old chips and splits, some minor old losses as expected for age and use. Some old re-gluing. Good original surface, colour and patina. The surface has been polished over time. The screws securing the base of each back to the reverse of each back (beneath the seat) have old coloured filler to disguise the screws. There are old losses to this and is untidy. The appearance of this could easily be improved by a good restorer. There is an old loss to one of the elements into which the screws are engaged (see additional images) The seat of one chair is made up of two parts and the grain runs across the seat, the seat of the other chair is formed of one panel and the grain of the timber runs from the front to the back of the chair. There is some minor movement to joints/ between elements. This could easily be 'tightened' or secured with minimal attention by a restorer if required. The glued blocks to the underside of one seat incorporates replacements and there is glue residue in various areas beneath the seats. No old breaks or splicing to the legs, nor to the seats or backs. Please refer to the additional images for visual reference to condition. Condition Report Disclaimer

Y AN EXOTIC HARDWOOD HALL BENCHIN THE MANNER OF GEORGE BULLOCK, 19TH CENTURY61cm high, 74cm deep, 42.5cm deep For a closely comparable design of hall bench, see Christie's, London, The Collector, 23rd May 2018 (£18,750). The bench compares with a number of related examples by or attributed to George Bullock (d.1818). Foremost among these is the pair supplied in 1817 as part of a fully documented commission to Matthew Robinson Boulton for Tew Park, Oxfordshire, executed in oak and holly at a cost of £23.2s., and sold Christie's Tew Park sale 27 June 1987 lot 31. Another was sold from the collection of Kentshire Galleries, Sotheby's, New York, 18 October 2014, lot 328 ($20,000 including premium) and most recently another was sold Christie's, London, 19 November 2015, lot 581 (£35,000 including premium). All featured the distinctive ring-turned and fluted arms supported by uprights carved as tulip-like flowers.GEORGE BULLOCK AND HIS COLLABORATORSGeorge Bullock was considered by his contemporaries and patrons as one of the most outstanding and progressive makers of his age, though his career was cut short by his sudden death in 1818. Working from premises at Tenterden Street, London, in addition to the extensive commission at Tew Park, Bullock was requested by the future George IV in 1816 to supply suitable furniture for the Emperor Napoleon's residence in exile on the island of St. Helena, while he was also employed at Sir Walter Scott's Abbotsford, Roxburghshire, and at the Duke of Atholl's Blair Castle, Perthshire.Among Bullock's collaborators were the architects Richard Bridgens (d.1846) and Richard Brown (fl.1804-42) who not only provided Bullock with designs during his lifetime, but also did much to publicise his 'antique' taste after his death. Bridgens is credited with the design of the firm's oak parlour chairs supplied in 1818 for Abbotsford and published his Designs for Furniture with Candelabra and Interior Decoration (1824); while Brown published his Cabinet and Upholstery Furniture, 1820 (2nd ed. 1822; 3rd ed. 1835), which featured Bullock's designs for window seats such as the present lot (see Clive Wainwright et al, 'George Bullock and his circle', George Bullock, Cabinet Maker, Exhibition catalogue, 1988, pp. 13 - 39). Bullock's work was here linked with publications such as 'Mr. Hope's mythological work; Mr. [George] Smith's excellent Book of Unique Designs [1808], and [Charles] Percier's splendid French work on Interior Decoration [1801; 2nd ed. 1812]'. 

HALL, Michael (editor). The London Mystery Magazine. London: Hulton Press and Norman Kark, 1949-1981. 125 vols. 8vo (187 x 129mm to 176 x 100mm.) Numerous illustrations by various artists, including Austin Spare, Mervyn Peake and Ronald Searle. (Toning, occasional spotting, browning.) Original card covers (some volumes with wear to spine ends, browning, some spotting). Note: a near complete run of the magazine, lacking numbers 2,3,7,11,15,28 and the last one, number 132. The Magazine changed its name to 'The London Mystery Selection' from volume 36 onwards. For the first 15 issues the address of the magazine was the famous 221b Baker Street. The Abbey Building Society - who were working from that address at the time- allowed Michael Hall to use it as the address for his new magazine on the basis that he answered all the mail that arrived for Sherlock Holmes, something that a Building Society employee, the worthy Samuel W.G. Morton, had been doing until that time (125).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.

MIXED CHINA & POTTERY - a parcel including small New Hall bowl, a Welsh inscribed circular pottery teapot, two other teapots, sundry commemorative and other cups and saucers, ETC

Dated 1 January [1]709 AD. A D-section gold annular finger ring with floral and foliate ornament to outer surfaces showing traces of black enamel background; the inner face engraved in script 'Sr T Littleton Bar ob 1 Jan [1]709 aet 62' and with punched 'IB' maker's mark, possibly for the London maker J. Burridge who was active at this period. See Dictionary of National Biography, pp.1255-1256, for biographical summary; see Morant, P., The History and Antiquities of the County of Essex, Colchester, 1768, p.103; see Chancellor, F., The Ancient Sepulchral Monuments of Essex, London and Chelmsford, 1890, p.186, for details of his memorial and arms. 6.55 grams, 21.66mm overall, 17.84mm internal diameter (approximate size British O, USA 7, Europe 14.98, Japan 14) (1"). From the Albert Ward collection, Essex, UK; acquired on the UK antiques market between 1974-1985; acquired at an antiques fair, believed to have been found in Essex, UK; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10956-179120. Sir Thomas Littleton, 3rd Baronet, Stoke St Milborough (Shropshire) and North Ockendon (Essex), also known as Sir Thomas Poyntz (or Pointz), circa 1647-1 January 1709 (Julian calendar or 1710 Gregorian calendar), was born as second son to the 2nd Baronet but, after the early death of his older brother, he inherited the title and attended St Edmund Hall, Oxford, matriculating in 1665 and entered the Inner Temple in 1671; he was elected to the Convention of 1689 for Woodstock and served as Member of Parliament for several seats until his death. In 1697 he became Lord of the Admiralty and had acted as pallbearer at the funeral of Samuel Pepys, his predecessor; in 1698 he was elected Speaker of the House of Commons, later becoming Treasurer to the Navy, a post he held until his death. Although married, he had no children and the title became extinct upon his death. His memorial may be seen to this day in the church of St Mary in North Ockendon, Essex and is described by Chancellor who also gives details of the combined arms of Sir Thomas as: quarterly 1 and 4, argent a chevron. between three escallops sable, 2 and 3 'Pointz', within a mullet sable for difference; overall the Badge of Baronetcy and an inescutcheon gules and chevron ermine between three garbs or. Crest a Moor's head in profile couped at the shoulder proper wreathed about the temples argent and sable and a copy of a contemporary engraved portrait is included, together with extracts from other documentary references. Published sources give the year of his death as either 1709 (as on this ring) or 1710; this results from the changeover from the Julian calendar to the Gregorian in 1752; under the Julian calendar, the new year occurred 1 March, giving his death taking place in 1709; from 1752, the new year was pushed back to 1 January, resulting in his death year becoming 1710 under the new calendar rules. ‘Posy’ is derived from ‘poesy’ or ‘poetry’. In the medieval period many rings bore posy inscriptions in Latin or French, the languages frequently spoken by the affluent elites. Later, inscriptions in English became more usual, although the lack of standardised spelling might surprise the modern reader. The inscription is generally found on the interior of the ring, hidden to everyone except the wearer and most of the sentimental mottoes were taken from the popular literature of the time. In fact, love inscriptions often repeat each other, which suggests that goldsmiths used stock phrases. In the later 16th century, ‘posy’ specifically meant a short inscription. A posy is described in contemporary literature as a short ‘epigram’ of less than one verse. George Puttenham (1589) explained that these phrases were not only inscribed on finger rings, but also applied to arms and trenchers. The practice of giving rings engraved with mottoes at betrothals or weddings was common in England from the 16th century onwards, and continued until the late 18th century. Sources suggest that rings could be acquired ready- engraved, or alternatively engraved sometime after their initial production, by a hand other than the goldsmith’s. Joan Evans assumed that posy rings were principally used by/between lovers and distinguished four contexts for the giving of posy rings by one lover to another: betrothals, weddings, St Valentine’s Day and occasions of mourning. Samuel Pepys’ diary makes clear that posy rings might also mark the marriage of a family member, when bearers could even commission their own rings and chose their own mottoes from books. The rings could also function as tokens of friendship or loyalty. [A video of this lot is available to view on Timeline Auctions Website] [No Reserve] Fine condition.

A 19th century New Zealand specimen wood parquetry dodecagonal table possibly by Winks and Hall of AucklandIn the manner of Anton Seuffert, inlaid with a central stellar of various indigenous woods including kauri, mangeao, towai and rimu on a rewarewa ground, the base in Australian cedar with spirally turned shaft and tripod legs carved with leaves and flowerheads on scroll feet, 45cm diameter, 70cm high.Closely related examples by the celebrated cabinet-maker Anton Seuffert (1815-1887) of geometric inlaid tripod tables are illustrated in B.Peet, The Seuffert Legacy, pp. 111-114. Seuffert intended his similar tables as drawing or sitting room furniture and referred to them as card tables, probably for depositing business or postal cards on rather than for playing cards. Seuffert almost exclusively made circular tables and used concave rather than convex mouldings. The use of well-seasoned cedar as a carcase wood, as in this example, has meant that the top has survived in a better state due to its low moisture content, as opposed to those produced in the sapwood rimu or kauri.

1938 Bentley 4¼ Four-Door Cabriolet Coachwork by Carrosserie Worblaufen Transmission: manualMileage:65583Launched in 1933, the first of what would become known as the 'Derby' Bentleys continued the marque's sporting associations, but in a manner even more refined than before. Even W O Bentley himself acknowledged that the new 3½ litre model - popularly known as the 'Silent Sports Car' - was the marque's finest ever, commenting: taking all things into consideration, I would rather own this Bentley car than any car produced under that name. By the end of the 1930s the 'Derby' Bentley had undergone a number of significant developments, not the least of which was an increase in bore size in 1936 that upped the capacity to 4,257cc, a move that coincided with the adoption of superior Hall's Metal bearings. This new engine was shared with the equivalent Rolls-Royce and enjoyed a superior specification in Bentley form, boasting twin SU carburettors, a raised compression ratio, and a more 'sporting' camshaft. Thus the new 4¼ litre model offered more power than before while retaining the well-proven chassis with its faultless gear-change and servo-assisted brakes.Essentially an owner-driver sports car, the 3½ litre and later 4¼ litre Bentleys found favour with such motoring celebrities as Briggs Cunningham, N S Embiricos, Eddie Hall, Woolf Barnato, and Land Speed Record specialist Sir Malcolm Campbell. In Rolls-Royce and Bentley tradition, customers chose their own bespoke coachbuilders. The likes of Park Ward, Vanden Plas, Gurney Nutting, Barker, and Freestone & Webb were firm favourites in the UK, while European coachbuilders responsible for some memorable designs on the 'Derby' chassis included Van Vooren, Kellner, and Figoni at Falaschi. Unique among 'Derby' Bentleys is this four-door cabriolet by Carrosserie Worblaufen; this being the only pre-war Bentley to carry the Swiss coachbuilder's distinctly Teutonic-style coachwork. Carrosserie Worblaufen had been established in 1929 by Fritz Ramseier, formerly employed by Gangloff of Geneva, and his brothers Hans and Ernst. From humble beginnings Worblaufen swiftly moved upmarket, benefiting from a strong demand for its drophead coupés on quality chassis from the likes of Isotta-Fraschini, Alfa Romeo, Delage, Talbot-Lago, and Mercedes-Benz.This stunning example was despatched to Switzerland via Dover and Dunkirk aboard the SS Shepperton. Bentley Motors' guarantee was issued on 15th September 1938 when the car was delivered via agents S. A. Perrot Duval & Cie of Geneva to its first owner, Professor Dr Hans Wildbolz, a prominent physician.Presented with four-door convertible coachwork, a stunning configuration rarely seen on the 4¼ litre chassis. It is finished in silver-grey while the interior is trimmed in deep red pigskin with chrome framed windows and taut cabriolet hood which when raised gives a sleek coupé appearance, provides ideal snug accommodation while still retaining a stunning appearance, and when lowered provides comfortable motoring in warmer climes. This car also features a most practical wind-up rear screen affording weather protection for the rear passengers while the functional luggage boot contains two fitted silk-lined suitcases. The correct dashboard instrumentation is metrically calibrated, and a coachwork feature is the ingenious door hinging where opening the back door automatically closes the front door and vice versa - something that impresses even the most avid car collector.In 1975, B125LE was first registered with the Bentley Drivers' Club in USA in the ownership of C F Brown of Ohio. In 1985 the Bentley passed to E H Adolph of Connecticut, who then owned the car until 2003 when it passed to well-known West Coast collector, Barrie Hon. In 2004 the car was shipped to Europe and exhibited by invitation on the Concours d'Élégance lawns at Ville d'Este in Italy and was also exhibited that same year at the prestigious Concours d'Élégance at Pebble Beach. In 2007 further restoration was carried out by Chris Kidd's Tired Iron Works of Monrovia, California. Fresh from restoration, the car appeared again at the 2007 Pebble Beach Concours d'Élégance, finishing third in class against formidable competition in one of the world’s most notable Concours events.Upon inspection the car is in excellent condition throughout, supremely elegant Swiss coachwork twinned with the best of British engineering which was fully restored with the intent to present and rub shoulders with the very best. Privately owned by our vendor since 2012 with concourse invites both sides of the Atlantic, B125LE is ready again to participate in the more demanding long-distance motor tour or grace the lawns at Pebble Beach or Ville d'Este. The car is currently UK registered and is offered with a most comprehensive history file containing restoration invoices and copies of the Factory Order and Build Sheets and a (copy) FIVA Identity Card dated July 2004. Viewing is certainly advised for a truly unique offering.Interested parties should satisfy themselves as to the description and condition of each lot prior to the sale. Accordingly, buyers are on notice that each vehicle is offered ‘as is/as seen’ subject to the Terms and Conditions for the auction. Buyers are advised to inspect the vehicle in person or use a professional to carry out this service. Historics will not entertain disputes over descriptions.

PAIR OF COPELAND SPODE SAUCE TUREENS AND STANDS,circa 1840, along with four matched side plates, a serving dish, also a famille rose punch bowl, a Newhall cream jug, Wedgwood 'The Master' dishes and swan formed dishCondition report: Chinese punch bowl cracked, New Hall extensively crazed and stained, one tureen both sections cracked through, other with chip to rim interior, two Ironstone plates with hairlines, all extensively rubbed and scratched, one of the Doulton hunting twin handled dishes cracked through, swan extensively damaged

A fine and exceptionally rare chiselled and relief-engraved 12-bore sidelock hammer gun by J. Purdey & Sons, no. 10624The action flat and forend numbered '2', the treble-grip action-body profusely chiselled with best foliate-scrollwork in bas-relief, the hammers, lever, trigger-guard and lower tang engraved en suite, the underside engraved with two angels, the trigger guard with the vignette of a cherub, rebounding sidelocks, well figured stock (chipped and repaired at toe), with heel and toe plates finished en suite, the forend (some inset repair to left side) with metalwork finished en suite, the damascus barrels with game rib engraved J. Purdey & Sons, Audley House, South Audley Street, London Weight 6lb. 10oz., 14¼in. stock, 29½in. barrels, approx. cyl. & ½ choke, 2½in. chambers, London Black Powder proof (bore diameters marginal, wall thicknesses at 21 thou)Footnotes:The makers have kindly confirmed that this gun was sold as one of a pair in December 1880 to a Mr. Timothy Hutchinson of Eggleston Hall, Barnard Castle, as 'chased guns' for £204 13s. Hutchinson then returned this pair in July 1882 in exchange for another pair of chased hammer guns. The guns were later split with the No. 1 gun being later sold to King Umberto I of Italy. This No. 2 gun was then sold to a Mr. Eugene Higgins of New York in 1891.Mr. Timothy Hutchinson was a prolific collector of exhibition-grade Purdey guns and rifles, including a pair that was exhibited at the Paris Exhibition in 1878 and now reside at Sandringham as part of the Keane Bequest to the Royal Gunroom.Mr Eugene Higgins was a bon vivant and the heir to his father's lucrative carpet making business, being described as 'The wealthiest bachelor in New York'. After his death in 1948, his estate was valued at more than $40 million (more than $385 million in 2019 dollars) which was later donated to various charities.This lot is subject to the following lot symbols: S2S2 Section 2 lots require a valid British Shotgun certificate, RFD (Registered Firearms Dealer) Licence or import licence.For further information on this lot please visit Bonhams.com

A group of New Hall and New Hall type porcelain teawares, circa 1790, variously painted with flowers, garlands and baskets, comprising three jugs, nine saucers and nine teabowls (minor faults).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A Flight, Barr & Barr Worcester porcelain inkstand, circa 1820, painted with a titled view of Windsor Castle against a gilt enriched cobalt blue ground, the gilt entwined handle with twin eagle heads, red painted factory mark to base, length 15cm (cracked and restored, missing covers), together with a group of English porcelain, including a Barr Flight teacup and saucer, a New Hall sugar bowl and a pen tray (faults and repairs).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

Trollope (Anthony) New Zealand; New South Wales and Queensland; Victoria and Tasmania; South Australia and Western Australia, 4 vol., first separate editions, folding maps, some cracking to hinges but holding firm, original red cloth decorated in black, spine ends and corners a little bumped and frayed, light rubbing to extremities, [cf. Sadleir 40], Chapman and Hall, 1874; and the second edition of the two-volume edition, 8vo (6)⁂ Rare to find all parts together.

[Dickens (Charles)] Sketches by Boz Illustrative of Every-day Life, and Every-day People, New Edition, Complete, first one volume edition, first issue with "reeledbefore" on p.526 and all plates before "Greenwich Fair" (at p. 120) without the Chapman & Hall imprint, frontispiece and 40 etched plates by George Cruikshank, half-title, some very light offsetting, occasional foxing to plates but very clean generally, the odd marginal tear, pulling to a few gatherings with some sheets and 2 plates working loose, cream endpapers, upper hinge repaired, original blind-stamped vertically-ribbed cloth, light sunning to spine, corners a little bumped, some light fraying to joint ends, light rubbing and faint spotting to covers, but a very good copy overall, [Smith p.16 n.4; Eckel pp.14-15], 8vo, Chapman and Hall, 1839.⁂ "When Chapman and Hall obtained the copyright of Sketches in 1837, they published all of them in twenty monthly parts from November 1837 through June 1839... In May, 1839, Chapman and Hall published these parts complete in one volume with all 40 of Cruikshank's illustrations."

Keith Vaughan (British, 1912-1977)Gainsford End Farm, 1976 signed, titled and dated 'GAINSFORD END FARM/1976/Keith Vaughan' (verso)oil on canvas101.6 x 91.4 cm. (40 x 36 in.)Footnotes:ProvenancePrivate CollectionWith Austin/Desmond, LondonPrivate CollectionWith Offer Waterman, London, where acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, Waddington Galleries, Keith Vaughan, 1976London, Austin/Desmond, Keith Vaughan 1912-1977, 1989, cat.no.107 (ill., p.34)LiteratureMalcolm Yorke, Keith Vaughan, His Life and Work, Constable, London, 1990, pl.59 (col.ill.)Anthony Hepworth and Ian Massey, Keith Vaughan, The Mature Oils 1946-1977, Sansom & Company, Bristol, 2012, p.194, cat.no.AH596 (ill.b&w)In 1964 Vaughan bought a row of derelict cottages on the outskirts of the village of Toppesfield in Essex and, over the course of a year, he renovated them. He spent weekends at Harrow Hill Cottage and created a small studio there in which to work. The painter Michael Ayrton lived at Bradfields on the other side of Harrow Hill Lane and both artists were inspired by the surrounding landscape. The small village of Gainsford End, close to Vaughan's house, inspired no less than six oil paintings over the course of a decade: Gainsford End, 1966; Gainsford End II, 1970; Gainsford End Under Snow, 1970; Gainsford End 1972 nos. I & II, 1972 and the present work, the last in the series. It depicts a close-knit group of farm buildings contained within a tightly arranged composition. Towards the end of 1975 Vaughan's style underwent a significant transformation and nowhere is this more apparent than in his late Essex landscapes. His stylistic reorganization manifests itself in various ways. For example, contours become hard-edged and more precise, compositions are compressed and significantly abstracted and the, hitherto, gestural brushwork flattens out into more even applications. Orderly patches of pigment may be interpreted as the elevations of rural barns; the chevron shapes are derived from the triangular gable ends of farm buildings and the coloured squares and oblongs act as ciphers for painted shed doors or fenestration on local farmhouses. Vaughan was keen to impose a sense of structure on his Essex subjects. As he grew older, he feared that the viscosity of his paint and the sensuous application he had been cultivating over the years, had now become over pronounced. It seems he began to worry that his paintings would become shapeless and over-sumptuous. His desire for additional formalization was imposed upon familiar local landmarks. Cust Hall, Blackmore End and Gainsford End, all within walking distance of Vaughan's studio, boasted buildings fabricated with large and often ancient, timber frames. Their orderly, methodical construction supplied him with blocked-in shapes and narrow, tilting forms to help regularize the layout of his architectural subjects. We are grateful to Gerard Hastings, who is currently working on his new book Keith Vaughan: The Graphic Art, to be published by Pagham Press, for compiling this catalogue entry.This 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

Nikos Engonopoulos (Greek, 1907-1985)Le retour de Bessarion signé en grec et daté '54' (en bas à droite)huile sur toile65 x 46.5cm (25 9/16 x 18 5/16in).Peint en 1954.signed in Greek and dated (lower right)oil on canvasFootnotes:ProvenanceN. Gonatas collection, Athens.Private collection, Athens.ExposéAthens, Zappeion Hall, X Panhellenic Art Exhibition, July 15 - October 20, 1969, no. 134 (listed in the exhibition catalogue under the title Euclid, according to Cat. Rais.). Athens, Portalakis Collection venue, The search of Modernity - the Transition to Greekness, January 22 - July 31, 2007 (mentioned, p. 11, and illustrated in the exhibition catalogue, p. 103).LittératureD. Vlachodimos, Reading the Past in Engonopoulos, Indiktos editions, Athens 2006, p. 269 (listed), pp. 236-239 (discussed), fig. 67.1 (illustrated).K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 505, p. 287 (illustrated), p. 448 (catalogued and illustrated).N. Chaini, The Painting of Nikos Engonopoulos, doctoral dissertation, National Technical University of Athens, 2007, pp. 378-379 (discussed), p. 380, fig.138 (illustrated).N. Engonopoulos, Man: the Measure, Ypsilon/Books editions, Athens 2007 (listed and illustrated).'Unfortunately, I never owned an Engonopoulos. Gonatas, instead, has managed to buy one or two of his paintings.'Miltos Sachtouris1 Inspired by the nobility of bygone times and drawing from the vast storehouse of Greek history and tradition, Engonopoulos pays homage to Bessarion (1403-1472), a great Byzantine Greek scholar and humanist and later Catholic Bishop and titular Latin Patriarch of Constantinople. A student of the celebrated Neoplatonist Gemistus Plethon, Bessarion contributed to the dissemination of Greek letters in the 15th century and fought for the liberation of the Ottoman-occupied territories of the Hellenic world. His palazzo in Rome was a virtual Academy for the studies of new humanist learning, and a center for Greek exile scholars and diplomats. As noted by historian E. Glykatzi-Arhweleir, Bessarion was a major contributor to the Italian Renaissance. 'Thanks to the intellectually challenging environment he found in Venice, he brightened the Greek name. The spirit of Greece traveled to the West only to triumphantly return later, by way of Crete and the Ionian Islands, to the enslaved metropolis.'2 Engonopoulos portrays Bessarion as an elegant male nude reminiscent of Minoan frescoes or El Greco's saints.3 He is standing on a cobblestone pavement in front of a stately Renaissance-style palazzo, probably his Rome residence and the centre of his celebrated Academy. The mansion's wine-red façade is adorned with a niched statue and a pair of wall-mounted fragments of ancient sculpture, while a cluster of adjacent palm trees suggests the existence of a lush garden hidden behind the tall brick wall on the foreground. Engonopoulos's Bessarion wears a heraldic galero rosso, the scarlet broad-brimmed hat with tasselated strings reserved for Catholic cardinals.4 He is holding a stringed instrument (lute)5 in his right hand and a bow (or a sword) in his left to keep an approaching giant scarab at a safe distance. As noted by scholar D. Vlachodimos, 'the handling of the subject clearly speaks about Bessarion's contribution to the beginning and evolution of the Renaissance movement. Isn't the lute a symbol of poetry, music and art? Shouldn't the scarab, this ancient Egyptian symbol of eternal life and the human soul, be interpreted as a direct reference to Platonic philosophy, which Bessarion was largely responsible for disseminating to the West? What's more, aren't the palm trees in the mansion's garden, along with the symbolic overtones of the ancient sculpture on its walls, an indirect, yet clear, reference to the East? Ultimately, doesn't Bessarion represent the combination of eastern and western elements, which, in short, is the essence of the Renaissance?'6 1 As quoted in M. Sachtouris, 'A Wonderful Man', interview [in Greek], Lexi magazine, no. 179, p. 47.2 See E. Glykatzi-Arhweleir, Why Byzantium [in Greek], Greek Letters editions, Athens 2009, p. 75.3 See M. Lambraki-Plaka 'The Timeless Pantheon of Nikos Engonopoulos' [in Greek], Filologiki quarterly, no. 101, October-November-December 2007, p. 9.4 Similar hats worn by Greek patriarchs are depicted in 16th c. representations (see History of the Hellenic Nation, Ekdotiki Athinon editions, vol. X, pp. 98, 119).5 Compare N. Engonopoulos, Apparition de Rigas Pheraios en Eubée, sold by Bonhams, Greek Sale, May 18, 2010, lot. 38.6 D. Vlachodimos, Reading the Past in Engonopoulos [in Greek], Indiktos editions, Athens 2006, p. 239.« Malheureusement, je n'ai jamais possédé une œuvre d'Engonopoulos. Gonatas, au contraire, a réussi à acheter une ou deux de ses toiles.» - Miltos Sachtouris Inspiré par la noblesse des temps anciens et puisant dans le vaste patrimoine historique et culturel grec, Engonopoulos rend hommage à Bessarion (1403-1472), grand érudit et humaniste gréco-byzantin, puis évêque catholique et patriarche latin de Constantinople. Élève du célèbre néo-platonicien Gemistus Plethon, Bessarion a contribué à la diffusion des lettres grecques pendant le 15ème siècle et lutté pour la libération des territoires du monde hellénique occupés par les Ottomans. Son palais à Rome était pratiquement une Académie d'études du nouvel humanisme, et un centre pour les étudiants et les diplomates grecs en exil. Comme l'a fait observer l'historien E. Glykatzi-Arhweleir, Bessarion a apporté une contribution majeure à la Renaissance italienne. « Grâce à l'environnement intellectuellement stimulant qu'il a trouvé à Venise, il a fait rayonner le nom de la Grèce. L'esprit de la Grèce n'a voyagé vers l'ouest que pour en revenir triomphalement plus tard, via la Crète et les îles ioniennes, et regagner la métropole en esclavage.» Engonopoulos portraiture Bessarion comme un homme élégant, qui rappelle les fresques minoennes ou les saints du Greco. Il se tient sur un sol pavé en face d'un majestueux palazzo de style Renaissance, probablement sa résidence de Rome et le centre de sa célèbre Académie. La façade lie-de-vin de la demeure est ornée d'une statue dans une niche et d'une paire de fragments de sculptures antiques adossés au mur, tandis qu'un ensemble de palmiers adjacents suggère l'existence d'un jardin luxuriant caché derrière le haut mur de briques au premier plan.Le Bessarion d'Engonopoulos porte un galero rosso héraldique, le chapeau écarlate à large bord et glands réservé aux cardinaux de l'église catholique. Il porte un instrument à cordes (luth) dans sa main droite et un arc (ou une épée) dans sa main gauche, afin de tenir un scarabée géant qui s'approche à bonne distance. Comme le note le Pr. D. Vlachodimos, « le traitement du sujet parle clairement de la contribution de Bessarion à la naissance et à l'évolution du mouvement de la Renaissance. Le luth n'est-il pas un symbole de la poésie, de la musique et de l'art ? Le scarabée, qui symbolisait la vie éternelle et l'âme humaine dans l'antiquité égyptienne, ne doit-il pas être interprété comme une référence directe à la philosophie de Platon, que Bessarion a largement diffusée en Occident ? Qui plus est, les palmi... For further information on this lot please visit Bonhams.com

A large cast iron hall stand in the Coalbrookdale style, H: 203 cm. Condition report: Slight bend towards the top but no damage or chunks missing, Would need new bolts. Not available for in-house P&P, contact Paul O'Hea at Mailboxes on 01925 659133

1951 Festival of Britain - the London Philharmonic Orchestra, Conductor Sir Adrian Boult, Royal Festival Hall, Programme and Victoria & Albert Museum 5th Concert (10 June), Myra Hess, New London Orchestra - Arts Council of Great Britain, Festival of Britain Concert. (2 pamphlets)

A Meissen tea caddy and cover, tea bowl and saucer, 18th century, with puce decoration, two porcelain tea bowls, a coffee cup and 2 saucers, early 19th century with puce decoration and a New Hall tea bowl and saucer with moulded wrythen decoration and painted stylised flowers (11)Condition report: Meissen with no obvious major faults.Puce - saucers broken and re-glued, tea bowl ditto.New Hall - no obvious major faults

Three New Hall and other tea bowls and saucers, a Derby fluted teacup and saucer and two Davenport and Spode teacups and saucers, c1790-1820, Spode saucer 13.5cm diam, variously marked or unmarked One earlier saucer with chip on rim. The other items in good condition or slight wear only

FOLK ROCK/ JAZZ - LPs. A quality collection of 32 LPs. Artists/ titles include Van Morrison (x14) inc Astral Weeks (K46024), Veedon Fleece (839 164-1), Tupelo Honey, Hymns To The Silence, Hard Nose The Highway, His Band And The Street Choir, Irish Heartbeat, Enlightenment, Beautiful Vision, Avalon Sunset, TB Sheets. John Martyn inc Piece By Piece (790507-1), The Road To Ruin (ILPS 9233), Glorious Fool, Sapphire, Grace & Danger. Joni Mitchell - Wild Things Run Fast. Tim Buckley - Greetings From LA, Pat Metheny inc Works II (837 272-1), Letter From Home. Hugh Masekela inc Waiting For The Rain, Liberation. Basia - London Warsaw New York. Stanley Clarke - The Collection. John McLaughlin inc Shakti With, Live At The Royal Festival Hall. Lyle Mays, The Falcon And The Snowman, Zakir Hussain - Making Music (831 544-1), Fairport Convention. Condition is generally VG to Ex.

The entertaining wing of the 'Gay Nineties' mansion dolls' house by Gertrude Sappington 1940s, with cream-painted clapboard facade, break front with ten glazed windows, front door with arched skylight above, circular attic window, side door with window above, chimney and green painted roof, the back open to reveal six rooms including an ornate parquetry floor, internal pillared doorway, elaborate staircase, connecting doorways to main house and original decoration --46in. (117cm.) long x 26½in. (67.5cm.) deep x 34½in. (87.5cm.) high (slight damage, missing sliding perpex back) - The famous Gay Nineties mansion, once valued at $150,000, was created by Miss Sappington of Baltimore, started in the 1940s and was complete over the next 15 years. The central section was inherited from her mother and created in 1875. The house featured in the Sunday Sun Magazine in 1959 and Architectural Digest in 1975 (comes with this magazine); and a quantity of related paperwork including a copy of a letter from Flora Gill Jacobs. The house was exhibited in San Fernando Valley 1958, Baltimore Museum of Art 1960-61, New York 1960s, Bolton 1976, Manchester 1978 and Leighton Hall 1982-85 (sold with a photocopy of this exhibition brochure). The whole house was then sold at Christie's South Kensington on 17th May 1990 as lot 108; the servant's wing was sold in there rooms in June 2021.

21 Club Advertising cigar ashtray by Hall with metal Jockey in red and yellow racing colours and cap in the centre of a ceramic tray with gold painted ridges to hold the cigars. To the centre is a raised match holder with a gold-painted '21' to the middle. Also included is a black cardboard case of matches from 'Orsinis' NY. Ashtray diameter 23cm (9in).The 21 Club was a famous bar and ex-prohibition speakeasy in New York and recently closed during the pandemic. The exterior staircase was adorned with numerous jockey statues and the interior has an eclectic collection of items suspended from the ceiling. The wine cellar held the private collections of many famous people over the ages including John F. Kennedy, Richard Nixon, Elizabeth Taylor, Frank Sinatra, Gene Kelly and Marilyn Monroe.Condition report: The ashtray is incomplete as the jockey would usually be holding a couple of birds (pelicans) in his left hand. The jockey has lost some paint and is loosely attached to the base.