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Historical Medals, Visit of Queen Victoria to Sheffield to Open the New Town Hall, 1897, medals by the Sheffield Goldsmiths’ Co (7), in bronze (2), white metal (5), similar, all 44mm (W & E 3460A.1 [4, one unpierced], A.2 [1], A.3 [2]) [5]. One white metal medal very fine, others about extremely fine and better; W & E 3460A.2 in original white card box of issue £60-£80

A Victorian Staffordshire porcelain tea set, similar to New Hall, with blue rims and purple transfer pint vingnettes, teapot with firing crack to spout, large plate with old repair

A large quantity of press synopses and stills for a variety of films including: GENESIS, NEW YORK NEW YORK, ANNIE HALL, THE FRONT, THE FIENDISH PLOT OF DR FU MANCHU, THE GODFATHER, SMOKEY AND THE BANDIT, A BRIDGE TOO FAR, WHITE ROCK, BOUND FOR GLORY, SILVER STREAK, ORION and MEAN STREETS

1936 AJS 982cc Model 2 Motorcycle CombinationRegistration no. CYN 145Frame no. 593Engine no. 36/2A 2097•One owner from 1953 to 2008•An older restoration•Brough Superior SS80 performance at a fraction of the cost Ill-timed diversification that coincided with the post-Wall Street Crash depression would result in the sad demise of A J Stevens Ltd, which had been manufacturing motorcycles of high quality at its Wolverhampton works since 1911. AJS was taken over by Matchless in 1931 and production shifted to the latter's factory in Plumstead, South London where the existing range continued largely unaltered initially. Indeed, the two marques would retain largely separate identities until the outbreak of WW2, although their models became increasingly similar, using the same engines, gearboxes, and other major components. AJS's own 998cc sidevalve v-twin was one of the first models to be dropped, disappearing at the end of the '31 season, and for the next 12 months there was no large-capacity 'sidecar tug' in the range. That changed in July 1932 with the arrival of the new Model 2, which was powered by the engine of the long-established Matchless Model X. This 982cc sidevalve v-twin engine had first appeared in the 'X/2' in 1925 and would remain in production until the outbreak of WW2, being supplied to Brough Superior for use in the SS80 from 1935 onwards. Intended primarily for sidecar duty, the Model 2 became available to 'export' specification during 1933 complete with American-style foot-operated clutch, left-side gear lever, and swept-back handlebars. The Model 2 continued to be available in domestic and export forms until 1939 and was included in the catalogue for 1940. Sadly, this imposing and handsome machine did not reappear after the War's end. Apparently, an older restoration, this AJS Model 2 combination had been owned since 1953 by Mr Reginald Hall of Welling, Kent when it was acquired by the NMM in May 2008. Mr Hall had purchased the AJS from M F Sharland Ltd (Woolwich Motor Cycle Mart) for the princely sum of £22 10s (receipt on file). The accompanying old-style logbook in his name, issued in 1959, shows that 'CYN 145' was licensed as a 'Sidecar Bicycle' at that time. Additional paperwork consists of old insurance documents; some MoTs (most recent expired 2006); and an old-style V5C Registration Certificate. The machine's mechanical condition is not known; accordingly, prospective purchasers must satisfy themselves with regard to its condition, completeness, correctness, or otherwise prior to bidding.For further information on this lot please visit Bonhams.com

Property of a deceased's estate 1930 Scott 596cc Flying Squirrel De Luxe Registration no. 8063 MN (IOM see text)Frame no. 37Engine no. FY3521A•The 1930 Olympia Show machine•Long term enthusiast ownership from 1966 – 2020•1931 model but eligible for the Banbury Run and other vintage events•An eye catching and rare ScottScotts have always been different from more mainstream motorcycles in much the same way as Bugattis in the world of vintage cars – indeed the Scott/Bugatti comparison is one that has been made many times before. From the very beginning in 1908 Scotts have attracted a following bordering on the fanatical. It was at the 1931 Manx Grand Prix that the well-known racer Noel Mavrogordato was advised that he could win quite easily if he rode a Norton. His response was that he knew this, but he would rather lose on a Scott.The factory's 1931 sales brochure relates that the 'new type Flying Squirrel Model for 1931' was developed from the previous year's Sprint Special model. The major change was the adoption of the Sprint's slightly lighter single downtube frame. There were two variants of the new Flyer: the more basic Tourer, and the more highly specified De Luxe which is the model offered here. Amongst the features of the De Luxe were Scott's own 'kite' forks and an Enfield rear wheel with its cush-drive. Both new Flyers featured a new chrome plated petrol tank whose shape mimicked that of the ongoing TT Replica model.A letter dated 23.6.99 from the late John Underhill, then registrar of the Scott Owners Club, is supplied with this machine in which he confirms that the frame and engine number are the original pairing, and that 'It was despatched from the factory to Kitsons London on 5/11/30 and was in fact one of the 1930 show models.'The late owner acquired the Scott in January 1966 and used it as his daily transport for many years. Perhaps he already had a rebuild in mind, and this may have been the reason for consulting John Underhill, but John's letter with its detailed information certainly steered the direction of the restoration. We understand that the work, including an engine rebuild, was carried out about twenty years ago. Specialist tasks were farmed out, but there is no supporting paperwork. The tank work was by Terry Hall, and it was suitably decorated by Alan Templeton. We understand that the Pilgrim pump was modified to drip feed operation for more reliable engine lubrication. This is a known and respected modification.The machine is presently registered in the IOM (8063 MN) and was previously UK registered 'GK 2003'. Sadly GK 2003 has lapsed from the DVLA/HPI databases, therefore UK purchasers will need to re-register the machine for use on UK roads. Documentation includes a Manx registration certificate, an older Manx buff logbook, and a VMCC extract from the works records. Following a period of inactivity recommissioning is recommended. Prospective bidders should satisfy themselves as to the motorcycle's completeness and mechanical condition.Lot to be sold without reserve.This lot is subject to the following lot symbols: NN If purchased by a UK resident, this machine is subject to a NOVA declaration, whilst the responsibility of submitting the NOVA rests with the Buyer to do so, Bonhams will facilitate the process by engaging an agent (CARS) to undertake the NOVA on the Buyer's behalf. A fee of £250 + VAT to do so will be added to the Buyer's invoice.For further information on this lot please visit Bonhams.com

Property of a deceased's estate 1931 Ariel 497cc Model 4F 'Square Four'Registration no. MN 7197 (Isle of Man)Frame no. R780Engine no. R692•Delivered new to the Isle of Man•Present ownership since 1973•Offered for re-commissioningDesigned by the legendary Edward Turner, the Ariel Square Four was first shown at Olympia in 1930. Unique at the time of its introduction, the 'Squariel', as it was swiftly dubbed, featured a single block of four cylinders with twin geared-together crankshafts and pistons phased at 180 degrees. The crankcase was split horizontally, unusually for a motorcycle engine of the period, while the vertical valves were operated by a single overhead camshaft. A supercharged example was raced at the Isle of Man TT in 1931 without success, which was hardly surprising as its makers had envisaged the model as more of a luxury tourer than an out-and-out sports machine. Although launched as a '500', the Squariel was soon enlarged to 601cc with an eye on the important sidecar market, this bigger version being made available for the 1932 model year. In 1937 a total redesign saw it re-emerge as the Model 4G, with 995cc overhead-valve engine, making the Squariel an even more enticing prospect for sidecarists. To date, the innovative Ariel Square Four remains unique in motorcycling history; a true 'gentleman's motorcycle, this refined yet characterful machine retains an enthusiastic and loyal following and is highly prized by discerning enthusiasts. First registered in the Isle of Man on 1st April 1931, this early Square Four comes with an old-style IoM continuation logbook (issued 1973) recording only one owner: Juan Andrew Clague of Port St Mary. Mr Clague had purchased the Ariel in 1973 and is believed to be only its second owner. The machine was ridden regularly by Mr Clague prior to his ill health and was displayed on the VMCC's stand at the Stafford Show circa eight years ago. We are advised that the fuel tank was professionally refinished by Terry Hall circa 15 years ago. Offered for re-commissioning, this early Squariel comes with its latest IoM Vehicle Registration Certificate (issued 2009); an original owners guide; and a quantity of photocopied marque-related literature. Lot to be sold without reserve.This lot is subject to the following lot symbols: NN If purchased by a UK resident, this machine is subject to a NOVA declaration, whilst the responsibility of submitting the NOVA rests with the Buyer to do so, Bonhams will facilitate the process by engaging an agent (CARS) to undertake the NOVA on the Buyer's behalf. A fee of £250 + VAT to do so will be added to the Buyer's invoice.For further information on this lot please visit Bonhams.com

1967 Velocette 499cc Venom ThruxtonRegistration no. JOE 906EFrame no. RS19208Engine no. VMT 506•Motorcycle engineer owner•Cylinder head overhauled and dynamo reconditioned recently'Prestige machine of the pushrod range was the Venom Thruxton 500. It incorporated all the accumulated experience gained in the years the Venom Clubman has been raced in long-distance events, plus the development of the 12 and 24-hour record breaker.' – C E A 'Titch' Allen, The Velocette Saga.Production race successes, notably in the Thruxton 500 Mile event prompted Veloce Ltd to adopt that name for their newly introduced top-of-the-range sports roadster in 1964. Based on the existing Venom, the Thruxton featured a tuned engine with revised big-valve cylinder head, Amal GP carburettor, clip-on handlebars, rear-set footrests and a twin-leading-shoe front brake as standard equipment. Although the Thruxton took its name from the eponymous Hampshire racing circuit, arguably its finest hour came in 1967 when Manxman Neil Kelly won the '500' class in the Isle of Man TT's Production race, newly introduced for that year. Although much admired by the café racing fraternity, the Thruxton's necessarily high price limited its appeal to a select handful of wealthy connoisseurs. It is thought that as few as 1,100 were made by the factory (with a further 55-60 assembled from parts by main dealers) and today the Thruxton is one of the most sought after of post-war Velocettes.Factory records show that this Thruxton was despatched from Hall Green on 28th February 1967, bound for the Colmore Depot dealership in Birmingham, and sold new to a Mr T A Needham. Formerly belonging to the noted Velocette collector, Ken Gardiner, the machine was purchased by the vendor from a deceased's estate in 2019. The current vendor is a renowned and highly capable motorcycle engineer, during whose ownership the frame has been powder coated, the cylinder head overhauled by KTT Services, and dynamo reconditioned (bills on file). The Velo was last ridden in 2012 but has been started recently and should require only minimal re-commissioning before returning to the road. Accompanying paperwork includes an old-style continuation logbook (1972), Thruxton Register dating letter, and old/current V5C documents. For further information on this lot please visit Bonhams.com

PABLO PICASSO (1881-1973)Chapeaux d'arlequin (recto); Arlequin (verso), circa 1918 signed Picasso (lower left) black crayon on paper, double sided19.9 x 10.5 cm.7 13/16 x 4 1/8 in.Footnotes:The authenticity of this work has kindly been confirmed by Monsieur Claude Picasso.ProvenanceMarcel Michaud Collection, Lyon (acquired from the artist in 1943)Françoise Dupuy-Michaud Collection, France (by descent from the above circa 1951)Anon. sale, London, Charity Auction, 30 November 2015Acquired directly from the above by the present ownerPablo Picasso's Chapeaux d'arlequin (recto) and Arlequin (verso) is a testament to the artist's early 20th century innovations in illustration, painting, stage and set design. It showcases one of Picasso's most peripatetic periods, during which he collaborated with major composers, dancers, choreographers and artists that were together crystallising the tenets and aesthetics of Modernism – a movement with Picasso at its epicentre. Quite serendipitously, this whimsical, playful work was once owned by the famous dancer Françoise Dupuy, having been gifted to her by her father, the Avant-Garde art dealer and critic, Marcel Michaud.Guiding his black crayon across the paper with fluidity and flourish, Picasso renders a series of iterations of Harlequin, the stock character of 16th century Commedia dell'Arte theatre, performed throughout Europe by travelling comedy troupes. In this present work, the character is instantly recognisable from its typifying features; bicorne hats are perched at jaunty angles and ruffled collars protrude flamboyantly. A mischievous court servant, the Harlequin would perform dazzling stunts and tricks, often acting to thwart his master and gain the affections of his love interest, Columbine. Throughout the development of the Harlequinade pantomime genre in 18th century Britain, the character evolved into a prototype for the Romantic hero. The Harlequin was possibly included in Picasso's repertoire through Barcelona's annual street carnivals, as well as Picasso's visits to the Cirque Médrano in Montmartre in his early twenties, during which he befriended the performers. Their socio-political status as outsiders gave substance to some of Picasso's most poignant early works, including the iconic La famille de Saltimbanques (1905, National Gallery of Art, Washington, D.C.), which depicts an itinerant and seemingly destitute family of performers in a desolate landscape.In this present work, Picasso traces each Harlequin with a single deft stroke. His deliberate, unbroken lines flatten them to the point of pure abstraction. The undulating loops and swirls harmonise each figure into a cohesive entity, defining it in space, yet also generating a flurried medley of movement and perspective. Picasso's goal of eliminating the contours of a three-dimensional space is a hallmark of his Synthetic Cubism, the thematic successor of the Analytical Cubism which he developed with Georges Braque between 1908 to 1912. Picasso and Braque were concerned with fragmenting three-dimensional forms into geometric facets, giving them substance through shading. Conversely, this work represents Picasso forging a more 'distilled' mode of Cubism. By reducing his Harlequins into curvilinear vignettes, Picasso seeks to evoke distortion in its purist form.Incidentally, an iconographic hallmark of Picasso's Synthetic Cubist period was his revisiting the Harlequin and other theatrical characters that were previously ubiquitous in his Rose period (1904-1906). Theodore Reff has observed that, '... like a Cubist composition, the Harlequin's costume of flat bright colours and strongly marked patterns both fragments and conceals the underlying forms, assimilating them to a surface design of great decorative brilliance. Symbolically too this interest in a form of concealment that is also a form of revelation... links Harlequin as a type and Cubism as a style.' (T. Reff, 'Harlequins, Saltimbanques, Clowns and Fools', in Arforum 10, no. 1, 1971, p. 31). Many critics – including Reff and even the psychologist Carl Jung – interpret the Harlequin as an alter ego for Picasso himself. Indeed, Picasso's famous self-portrait, Au Lapin Agile (1905, Metropolitan Museum of Art, New York), depicts the 25-year-old artist in the trademark bicorne hat and patterned garb of the Harlequin, leaning demurely at the bar with a drink in hand. In this deeply psychological scene, Picasso inhabits the melancholic essence of the outcasted Harlequin, thereby evoking his isolation as a young artist.Between the Rose period of Au Lapin Agile and the time of this present work, the Harlequin was dormant within Picasso's oeuvre for nearly a decade. Its resurgence and aesthetic transformation here might be interpreted as a re-alignment of Picasso's social and artistic identity. Indeed, 1917 represented a major turning point in Picasso's life. Motivated by the onset of the First World War, and two failed marriage proposals, Picasso travelled to Italy for the first time at the invitation of his friend, Jean Cocteau. There he designed Cubist sets and costumes for the Ballets Russes, a ground-breaking company that facilitated collaboration between Modern artists, designers, composers and choreographers, including Wassily Kandinsky, Henri Matisse, Erik Satie and Coco Chanel. Picasso's relocation to Rome scandalised his Cubist contemporaries at the Café de la Rotonde, who considered Paris the sole habitable option for artists of their calibre.At the Ballets Russes, Picasso met the young ballerina Olga Khokhlova, who he married in the summer of 1918. At the close of that same year, Picasso contributed three highly similar Harlequin drawings to Jean Cocteau's book, Le Coq et l'Arlequin (1918). This quasi-manifesto, which is at times didactic, comedic and absurd, defends the simplicity of the music of Satie and Stravinsky, reviling in turn the more bombastic compositions of Wagner and Debussy. In it, Cocteau mocks the 'fuzziness' of traditional 19th century paintings, which he interprets as facile spectacles of obscurity. Against this literary backdrop, and indistinguishably from this work, Picasso renders his harlequins at their most minimal. They evoke both Cocteau's ethos, with its speckled veil of farce, as well as the spontaneity and whimsy of Cocteau's choreography for the Ballets Russes.Just as Picasso executed this work near the close of the First World War, Marcel Michaud purchased it from Picasso in 1943 in the final stages of the Second World War. A key figure of Lyon's artistic milieu of the mid-20th century, Michaud owned Galerie Folklore and founded Groupe Témoignage in 1936, an experimental art group bringing together young sculptors and painters, many of whom were taking up the mantle of Surrealism. A few years later he gifted the work to his daughter, Françoise Dupuy who in 1951 married her husband Dominique Dupuy, and befitting to the the work's history, both are renowned for their ground-breaking contributions to dance. They performed globally as a duo aptly named 'Françoise et Dominique' in ballet, cabaret and music-hall productions. From the zeitgeist of its creation to the rich lives of its previous owners, this present work arguably serves as a remnant of the free spirit of Modernism, with interwoven ties to art, music, design and performance. Associations Pablo Picasso's Chapeaux d'arlequin (recto) and Arlequin (verso) is a testament to the artist's early 20th century innovations in illustration, painting, stage and set design. It showcases one of Picasso's most peripatetic periods, during which he collaborated with major composers, dancers, choreographers an... 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

Laurence Stephen Lowry R.A. (British, 1887-1976)Tenements, Jersey Street, Manchester signed and dated 'LS Lowry.1930' (lower right)pencil28.1 x 38.2 cm. (11 x 15 in.)Footnotes:ProvenanceWith Grove Fine Art, Manchester, from whom acquired by the family of the present ownerPrivate Collection, U.K.In 1930 Lowry was approached by the Manchester University Settlement, a charitable institution tasked with the betterment of impoverished areas of the city, to explore the idea of collaboration. Lowry was already a well-established name with a decade of exhibiting experience behind him (in Paris, London, Leeds and Manchester) and, as a local known primarily for his pictures of urban life, a natural fit for the Settlement's mission. Lowry's experience as a rent collector imbued him with compassion for the people who lived in Manchester's poorer communities, and so was happy to support the Settlement's cause. It was agreed that Lowry would produce a suite of drawings depicting Ancoats, a notorious 'slum' area composed of tenement buildings and workers' cottages under the shadows of viaducts and chimneys. The resultant exhibition, entitled Twenty-Six Drawings of Ancoats, by L.S. Lowry was held at the Settlement's own Ancoats hall in March. As announced in the Manchester Guardian, the drawings were priced at 4gns per framed work to generate funds for the Settlement, with many (and by some reports all) selling during the narrow two-day exhibition run. Not all the drawings shown are now identifiable, and whilst the present work does not match the catalogue by title, in subject and date it fits precisely.In the broader view of Lowry's overall output these works hold key importance. The Ancoats exhibition, a decade into his artistic career, marks the earliest known public showing of drawings by Lowry. As evidenced by their sheer quality, matched in further examples of this date, Lowry had begun to view his drawings as finished artworks, as opposed to a preparatory stage prior to work in oils. In works such as Tenements, Jersey Street, Manchester, the known examples from the Ancoats exhibition, and indeed other works of this year such as The Organ Grinder (sold in these rooms in 2013, £151,000), Lowry's flawless showcase of draftsmanship suggests that he revelled in this new mindset. Tenements, Jersey Street, Manchester depicts Ancoats' tenements (destroyed in 1960) and those that dwelled within. Lowry has delighted in noting figures scurrying up and down the many flights of stairs, and others watching the city from the balconied entrance ways. Children and adults sidle up and down Jersey street itself, with a lone figure set dead centre observing the scene in the manner Lowry had. Lowry reproduced the composition with the figures in an alternate positioning in the oil Dwellings (1932) shown at the Lefevre gallery in 1951, and again in pencil in 1934.For an in-depth examination of Lowry's Ancoats drawings please see Ann M. Wagner's 2017 essay Lowry and the Local, British Art Studies, Issue 5.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

[WP] A RARE GAME BOOK^ CHESHIRE^ 1809-28¦comprising approximately forty-eight inscribed pages^ the recto pages with inked tables recording game and locations with dates^ tallies and notes alongside^ the verso with additional notes in some places^ approximately forty further blank pages^ original marbled boards (worn)^ the front inscribed ~Game Book 1809~ and with prices of vermin¦¦Property from the David Jeffcoat Collection (1945-2020)¦¦Part proceeds to benefit The Wallace Collection¦¦The locations recorded include Brough^ Doddington^ Gayton^ Irby & Pensby^ Landican^ New Hall^ Wirral and Woodchurch. The game recorded includes moor game^ partridge^ pheasant^ wild duck^ snipe woodcock and widgeon. Notable years were 1824^ 367 moor game and 1827^ 789 partridge.

A GEORGE II MAHOGANY PARTNER'S PEDESTAL DESKIN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1750 The tooled leather inset top with ratchet adjustable writing slopes and ink wells to each side79cm high, 190cm wide, 112cm deepProvenance: Rathbeale Hall, County DublinFor a related pedestal desk of the period but of smaller proportions, see Christie's, New York, The Collection of Robert Hatfield Ellsworth Part V - European Decorative Arts, Carpets, Old Master Paintings and Asian Works of Art, 21st March 2015, Lot 1055. Condition Report: Marks, scratches and abrasions, old chips and splits commensurate with age and use. some old repairs and some losses. handles are possibly original, they are in period taste and there are no alternate handle holes or marks from alternate handles. If the current handles are replacements then the originals most have been placed in the same positions. A number of the drawer locks are later replacements, some later 18th century in date, others late 19th/ 20th century. Some later blocks and/ or fillets of timber are present adjacent to locks to compensate for previous placement of locks or for adjacent repairs. Some fading overall. The 'drop in' sections of timber that cover the inset divisions for inkwells etc to the top are present and are likely original, with remnants of a leather/ textile pull to each remaining. Various stains to the drawer linings and to the timber beneath the ratchet adjustable surfaces. The ratchet arms are possibly replacements but hinges to each have been replaced supporting them being of significant age or original. They are very clean in appearance. The hinges of the adjustabel panels themselves are likely replacements and there are alternate 'pin holes' from what were likely the originals. The current hinges are neatly placed. The leather is possibly a replacement and may have been later re-stained black. Various marks and wear to the leather.Please refer to all additional images for visual reference to conditionCondition Report Disclaimer

A REGENCY MAHOGANY OVAL WINE COOLERATTRIBUTED TO GILLOWS, CIRCA 1815Opening to a lead lined and divided interior70cm high, 69cm wide, 52cm deepFor a near identical example of wine cooler, see Christie's, New York, The Doris Duke Collection, 5th June 2004, Lot 452 ($23,900). For a further virtually identical example see Sotheby's, London, Important English Furniture, 30th June 2004, Lot 97 (£30,000). The oval wine-cistern may on occasion have served as a jardiniere and is embellished in the Grecian or Pompeian manner with reeded columnettes. Gillows' earliest sketch for an oval lead-lined cistern features in their 1787 Estimate Sketch Book (see: L. Boynton, Gillow Furniture Designs 1760-1800, Royston, 1995, fig. 178). A similar wine cooler with a fluted cover, was formerly in the collection of the Earls of Stradbroke, Henham Hall, Suffolk. Interestingly, Henham Hall was designed by James Wyatt in the 1790s. The Wyatt family was closely associated with the Gillow family. A wine cooler of this model, again with a fluted cover, was sold from the Montague Meyer family collection, Christie's, London, 24th April 1980, Lot 57. It is illustrated on R, Edwards and P. Macquoid, the dictionary of English Furniture, London, rev. ed., 1954, vol. l, p. 223, fig 9. A third was sold anonymously, Christie's, London, 27th November 2003, Lot 141. Another is illustrated in P. Macquoid, The Age of Satinwood, London, 1908, fig. 66.

Books - Novels and reference inc Salvador Dali 2 vol folio; Winters Evenings Tales of Travellers , Maria Hack, New Edition, illustrated by Gilbert, Arthur Hall, Virtue & Co; Spy and Suspense, Poems, Cookery, Gardening etc qty

Australian History - a large Victorian silver barrel shaped flagon, profuesly chased with flowers, C-scrolls and stiff leaves, hinged domed cover, scroll-capped handle, skirted base, 24cm high, Martin, Hall & Co, London 1883, 43.5ozCrest & motto of Hon. Sir Alfred Stephen of Sydney, Australia, GCMG, CB, (1802-1894) Chief Justice and deputy governor of New South Wales & his family.

A 19th Century Chinese bronze two handle planter H. 24.5cm W. 34cm. Provenance; New Hall country house estate.

An oak refectory table,17th century and later, the plank top with cleated ends, above a moulded and shaped apron, raised on chamfered square supports united by stretchers,255cm wide80cm deep80cm highProvenance: Barrington Hall, Essex.Condition report: Top and base likely a marriage. Areas of alteration and repair throughout. Old and new repairs. Splits, chips, knocks and losses. Traces of worm. Feet and/or stretchers later. Joints a little wobbly. Marks, scratches, wear and fading to top.

A set of eight modern bleached oak dining chairs,by Nordic Style London, each with a caned back and upholstered serpentine seat, raised on tapering fluted supports,48cm wide43cm deep98cm high (8)Provenance: Barrington Hall, Essex.Condition report: Free from damages, almost as new. No holes in the caning. Some light marks to the seats. Some light knocks to the legs.

A set of eight modern bleached oak dining chairs,by Nordic Style London, each with a caned back and upholstered serpentine seat, raised on tapering fluted supports,48cm wide43cm deep98cm high (8)Provenance: Barrington Hall, Essex.Condition report: Free from damages, almost as new condition. No holes in the caning. Some light marking to the seats. Light knocks to the legs.

A wrought iron hall lantern in Gothic Revival style,mid-20th century, with a leaded blue and red glass shade and an ornate scrolling frame,95cm highThis beautiful wrought iron and steel hall lantern is Gothic Revival in style and thought to date to the mid-20th century The Gothic Revival began in the late 18th century as a reaction to industrialisation. Architects drew inspiration from the Medieval period when traditional, hand-made skills, such as wrought ironwork and stained glass, were harnessed. The lantern features new stained glass panes recreated by a master stained glass artist. The original wrought iron frame has been repaired and reshaped by a skilled blacksmith, and the chain shortened, ready to hang in a modern home. Condition report: This lot was featured on 'Salvage Hunters: The Restorers' (Discovery Network - Quest).Salvage Hunters: The Restorers is a popular prime time show broadcast on the Discovery Network (Quest), where industry experts seek out lots in need of a little TLC and restore them to their former glory. We are delighted to now offer these restored lots for sale. The lots here are presented with stills from the programme.All details were true at the time of transmission. All items are bought as seen at the auction only and Discovery Corporate Service Limited and its affiliates make no representations or warranties as to the condition, suitability or at all in relation to any lot offered for sale; and no further documentation can be provided. All valuations stated herein are given by Sworders Fine Art Auctioneers at the time of printing, please note that these may differ to the valuations given to the items within the programme which was broadcast at an earlier time.

A Victorian-style painted cast iron fountain, 20th century, with three graduated gadrooned basins supported by a fluted column, raised on a base set with three pious pelicans, 108cm diameter 255cm highProvenance: Professor John Hedgecoe, Oxnead Hall, Norfolk, thence by descent.Professor John Hedgecoe was a British photographer and author, who established the photography department at the Royal College of Art in 1965. His photographs appear in the permanent collections of the Museum of Modern Art, New York, as well as the National Portrait Gallery, London. In 1967, Hedgecoe photographed the profile shot of Her Majesty the Queen for the postage stamp, which is one of the most widely reproduced images in history.

A cast iron campana garden urn, 20th century, the egg and dart detailed rim above a relief-cast body decorated with a figural procession, on a spreading base, 85cm diameter 118cm highProvenance: Professor John Hedgecoe, Oxnead Hall, Norfolk, thence by descent.Professor John Hedgecoe was a British photographer and author, who established the photography department at the Royal College of Art in 1965. His photographs appear in the permanent collections of the Museum of Modern Art, New York, as well as the National Portrait Gallery, London. In 1967, Hedgecoe photographed the profile shot of Her Majesty the Queen for the postage stamp, which is one of the most widely reproduced images in history.

Schachgraphik. Konvolut von 6 Holzstichen / Drucken mit Schachmotiven aus der Zeit um 1900. Verschiedene Formate und Größen. (44) * Die Zusammenstellung enthält u. a. "Abbildung einer Figur aus dem Schachspiel Carl's des Großen". / "Berkshire and Reading Chess Club Soiree, in the new Hall Raeding". / "Blatt mit 6 kleinen farbigen Bildern berühmter Schachspieler" (Zigarettenbildchen?)."Das lebende Schachspiel auf der wiener Jubiläumsaustellung in Wien". Zustand: Die Blätter sind gebräunt, teilweise stärker und fleckig. Rückseitig mit Klebe,- und Montageresten und kleineren Randläsuren bzw. Einrissen. Schöne Zusammenstellung, die vom interessierten Sammler via Internet besichtigt werden sollte.

Japan.- Chamberlain (Basil Hall) Things Japanese, 1890 § Batchelor (Rev. John) Sea-Girt Yezo: Glimpses at Missionary Work in North Japan, 1902 § Arnold (Sir Edwin) Japonica, 1892 § Morse (Edward S.) Japan Day by Day..., 2 vol., Boston & New York, 1917 § Fraser (Mrs. Hugh) A Diplomatist's Wife in Japan, 2 vol., second edition, 1899 § Selenka (E. & L.) Sonnige Welten. Ostasiatische Reise-Skizzen, second edition, Wiesbaden, 1905, all but the last two first editions, plates and illustrations, original pictorial cloth, most gilt, a little rubbed and soiled; and c.25 others on Japan, 8vo & 4to (c.30)

A Victorian red Morocco leather deed box gilt-tooled with the Royal Coat of arms. Containing a velum letters patent of Queen's Counsel and corresponding a great seal to Henry William Cripps QC (1815-1899) dated1866Footnote: Henry William Cripps, born in 1815, was educated at Winchester and New College, Oxford, being head of the school and Prefect of Hall and a scholar at New College where he later became a Fellow, retaining his Fellowship until he married in 1845. He was President of the Oxford Union Society in 1837. Later moving to Parmoor House, Frieth in the county of Buckinghamshire in the 1860s and appointed Queens Counsel in 1866. He later was appointed Recorder of Lichfield and Chancellor of the diocese of Oxford and was also unanimously elected Chairman of the first Bucks County Council and of the Bucks Quarter Sessions. He died on the 14th of August 1899 in Great Marlow, Buckinghamshire.Condition report: The indenture shows some historic water damage The seal is intact with japaned tin caseThe deed box is intact but has some scuffing and signs of age.

Girolamo Campagna, 1549 – 1625, nach VENUS UND ADONIS Bronzeguss, dunkel patiniert. Gesamthöhe: 55 bzw. 55,5 cm. Höhe ohne Sockel: 51 bzw. 49,5 cm. Auf gekehltem schwarzem Marmorsockel.Jeweils in Bronze gegossen und als Gegenstücke gearbeitet, die nach Girolamo Campagna gestalteten Venus mit dem Amorknaben und Adonis mit seinem Hund oder Meleaga und Atalanta. Venus hier einen fragmentarisch vorhandenen Pfeil haltend. Ein ähnliches Paar Skulpturen ebenfalls als nach Girolamo Campagna befindet sich im Museo Nazionale del Palazzo di Venezia, Inv.Nr. PV 09316-17.Literatur: Vgl. L. Pollak, Raccolta Alfredo Barsanti (Trecento-Settecento), Sammlungskatalog, Bergamo 1922, Nr. 89-90, S. 128-129. Vgl. A. Santangelo, Museo di Palazzo Venezia. Catalogo delle sculture, Rom, 1954, S. 45. Vgl. C. Avery, Giambologna: an exhibition of sculpture by the master and his followers, from the collection of Michael Hall, New York, 1998, Nr. 114, S. 186-187. (1261926) (3) (13)Girolamo Campagna1549 - 1625, afterVENUS AND ADONIS Bronze casting with dark patina. Total height: 55 and 55.5 cm. Height excl. base: 51 and 49.5 cm.On moulded black marble base. A similar pair of sculptures also listed as after Girolamo Campagna is held at the Museo Nazionale del Palazzo di Venezia, inv. no. PV 09316-17.Literature:Compare L. Pollak, Raccolta Alfredo Barsanti. Bronzi Italiani (Trecento-Settecento), collection catalogue, Bergamo 1922, nos. 89-90, pp. 128-129.Compare A. Santangelo, Catalogo delle sculture: Museo di Palazzo Venezia, Rome, 1954, p. 45. Compare C. Avery, Giambologna: an Exhibition of Sculpture by the Master and his Followers, from the Collection of Michael Hall, New York, 1998, no. 114, pp. 186-187.

A George III carved mahogany and ormolu mounted bureau cabinet attributed to Gillowsthe carving probably by James TownsonCirca 1760, the dentil moulded cornice above a blind fretwork frieze, over a pair of shaped and scrolled panelled doors each with cartouche-embedded acanthus spray angles, enclosing six short adjustable shelves, two short fixed shelves, ten pigeon holes and five short drawers, flanked by two stop-fluted Corinthian pilasters, with a blind fretwork waist below, the hinged fall above three frieze drawers, the two shorter end drawers each with a sliding lid, over three long graduated drawers, flanked by fluted Corinthian columns, on shaped ogee bracket feet, 123cm wide x 64cm deep x 234cm high, (48in wide x 25in deep x 92in high)Footnotes:A detailed painting by Shirley Slocombe, dating to 1906, of a virtually identical model of - possibly even the same - bureau cabinet as the present lot appears in both P. Macquoid, A History of English Furniture, 1989, London, Pl. XXXVII and S.E. Stuart, Gillows of Lancaster and London, 1730-1840, Vol. II, 2008, Woodbridge, pl. 605, p. 59. Stuart describes this painting as showing an: 'unrecognised superb Gillow bureau clothes press or bookcase' so it is exciting to consider that the offered cabinet is, even if not the direct subject of Slocombe's illustration, at the very least a supreme showcase piece made by the Gillows workshop in circa 1760.The distinctive carving of the Corinthian capitals on the stop-fluted pilasters flanking the doors of a Gillow clothes press supplied to Ralph Bell of Thirsk Hall, Yorkshire, in 1761, is very similar to the Corinthian ones on the present example. We know that the carving on the Thirsk Hall press was executed by James Townson, who was employed by the Gillows firm at that time, so it seems logical to presume that Townson also completed the carved details on the above as well. The Thirsk Hall press features in S.E. Stuart, Idem, pl.'s 595 & 596, pp.'s 52-54. The shaped cartouches with foliate spray angles on the doors of the offered lot correspond to the panelling on the upper section of a secretaire clothes press and two wardrobes produced by Gillows in 1766 and 1772 respectively, Ibid, pl.'s 598, 606 & 607, pp.'s 54-61. It is also interesting to note that the secretaire press, which was supplied to John France in 1766, has a conforming pattern of blind fretwork frieze to that appearing on the bureau cabinet in the Slocombe painting. A related bureau cabinet, likewise attributed to Gillows and dated circa 1760, which was also possibly carved by James Townson sold Christie's, New York, 14 October 2016, Living with Art, lot 230. The stop-fluted Corinthian pilasters flanking the doors of this comparable appear essentially identical to the ones carved on the offered example. And in turn both of these pairs of pilasters conform to those known to have been executed by James Townson on a Gillows clothes press supplied to Ralph Bell of Thirsk Hall, Yorkshire in 1761, S.E. Stuart, Gillows of Lancaster and London, 1730-1840, Vol II, 2008, Woodbridge, pp.'s 52-53, pl.'s 595 & 596.LiteratureP. Macquoid, A History of English Furniture, 1989, London.S.E. Stuart, Gillows of Lancaster and London, 1730-1840, Woodbridge, 2008.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Ten various New Hall porcelain tea bowls and matching saucers, with polychrome enamel decoration. (some with vendors research notes on attribution)

Ten various New Hall porcelain sets including six tea bowls and saucers, two trios and two coffee cups and saucers, (some with original vendor notes on attribution)

A quantity of New Hall porcelain tea wares including 2x various cream jugs, 4x trios, monochrome coffee cup and saucer, togetehr with various saucers and bowls (27 pieces)

In the manner of Li Zhaodao (651-710) Silk and paper hanging scroll, depicting a mountain view with scholars to the foreground about to cross a bridge to a temple, with various artists and other seals including 'Southern Song Dynasty Lecture Hall', 'The new stamp of the history museum' and 'The double dragon seal', 134.5cm x 45cm Note: sold with the original receipt when purchased at the Shanghai Antique and Curios store, 03/131979, which states in Chinese that it was painted during the reign of Jiaqing (1795-1820) and sold to a foreigner for 500RMB at the time. Condition: Some folds to the paper and some marks and foxing mainly to the border.

Literature, 1910-20 17 volumes, comprising The Open Window. 2 volumes, 12mo, original cream-coloured cloth-backed blue boards, t.e.g.; Murray, Ada Foster. Flower o' the Grass. New York, 1910, presentation copy from Ada Foster Alden, original pictorial green cloth gilt; Haggard, H. Rider. Rural Denmark and its Lessons. 1911, original blue cloth; London, Jack. John Barleycorn or Alcoholic Memoirs. 1914, first British edition, original green cloth; Mansfield, Katherine. In a German Pension. [1912], Second impression [500 copies], original green cloth gilt; Street, G.S. On Money and other Essays. 1914, inscribed by the author, original red cloth; Quiller-Couch, A. My Best Book. 1912, number 154 of 300 copies signed by the author, original cream cloth gilt; De La Mare, Walter. The Listeners and Other Poems. 1912, original maroon cloth gilt; Tagore, R. The Crescent Moon. 1913, original pictorial blue cloth gilt, paper adhesion to lower board; Caine, Hall. The Woman thou gavest me. 1913, presentation copy to C.T. Campbell, original red cloth, slight dampstain to binding and page edges; Conrad, Joseph. Victory. 1915, 2 copies, original red cloth, one slightly rubbed, the other rubbed & faded; Reid, Forrest. The Spring Song. 1916, original cloth; Doyle, Arthur Conan. His Last Bow. 1917, first edition, original red cloth, spine faded, few marks to lower board; Firbank, Ronald. Valmouth. 1919, original cloth, title browned from frontispiece tissue; Masfield, John. Reynard the Fox. 1919, text browned, half-title verso damaged from ? removal of bookplate, with bookplate of Scawen Blunt and A.L.S. from the author to Mr Blunt loosely inserted; sold not subject to return (17)

The Darwin Centenary 1909: A collection by Dr. R.S. Woodward: 27 items inc.: 'Notes on the Darwin Centenary' A5 manila envelope labelled in Woodward's hand. 7 sheets of yellow, lined foolscap notepaper containing 9 pages of Woodward's autograph account. Printed Ephemera: Darwin Commemoration June 22-24, 1909. Provisional Programme. [2] With oval stamp presumably on receipt at Woodward's office: 'Carnegie Institution Feb 15 1909 Washington'. A brief resume of events. 'University of Cambridge Darwin Celebration', A4 sized printed envelope issued on arrival in Cambridge to Woodward containing invitations etc. Printed with University Coat of Arms and 'Darwin Celebration' letterhead. 'Programme'. 4 page, quarto sized, printed bifolium with detailed programme of events, Tuesday June 22-Thursday June 24. Invitation to Reception in Fitwilliam Museum by Chancellor of the University. 'Order of Proceedings in the Senate House Wednesday, June 23, 1909', pp 12. Large quarto, sewn. Invitation, A5 size, to American delegates to the unveiling of bronze bust of Charles Darwin.' Notice to Delegates, small quarto size broadside with notice of a photograph of Delegates at Christ's College, Wednesday afternoon. Invitation, 'The Master and Fellows of Christ's College at Home'. Programme of Music, 'The Darwin Centenary 1909, Christ's College Garden'. Invitation to a 'Banquet in the New Examination Hall'. In his 'Notes' Woodward records the presence of the great and good at the banquet, including 'ten distinguished members of the Darwin family'. Note: The most complete ephemeral record of an unprecedented scientific celebration; formed by the American physicist and mathematician, Robert Simpson Woodward (then President of the Carnegie Institution. An archivist's dream, this collection is richer in ephemeral material than either the analogous archives held by Cambridge University Library or The Royal Society. He also wrote an (unpublished) manuscript account of his experience of the Darwin celebration which accompanies the archive.

Sporting books, and Scottish Highlands 26 volumes, including Macpherson, John. Critical Dissertations on the Origin, Antiquities, Language, Government, Manners and Religion of the Ancient Caledonians, their posterity the Picts and the British and Irish Scots. London, 1768. First edition, 4to, new calf retaining old sides with stamp of the Faculty of Procurators in Glasgow on sides, some spotting; Sulivan, Richard Joseph. A Tour through parts of England, Scotland and Wales in 1779. Second edition, 2 volumes, 8vo, modern quarter calf; Lettice, I. Letters on a Tour through various parts of Scotland. London, 1794. 8vo, 20th century blue half morocco, t.e.g.; [Sutherland, Alexander] A Summer Ramble in the Northern Highlands. Edinburgh, 1825, 12mo, contemporary half morocco, rubbed; [Botfield, B.] Journal of a Tour through the Highlands of Scotland. Norton Hall, [Privately Published], 1830. 12mo, original boards, Colquhoun, John. The Moor and the Loch. 1851. Third edition, 8vo, plates, original pictorial cloth, rubbed; [Goss, William]. Holiday Excursions of a Naturalist. 1867. First edition, presentation copy from the author with original photograph of Goss and A.L.S. bound in, cloth; Gray, Robert. The Birds of the West of Scotland including the Outer Hebrides. Glasgow, 1871, 8vo, 15 plates, original pictorial green cloth, slightly rubbed; [Hely Hutchinson, H.] Twenty Years Reminiscences of the Lews. 1871, 8vo, presentation copy from the author, original pictorial cloth gilt; Hall, Robert. The Highland Sportsman and Tourist. Fourth Year. [c.1885], 8vo, map in pocket, plates, original green cloth; Peel, C.V.A. Wild Sport in the Outer Hebrides. 1901, 8vo, pictorial cloth gilt; Gathorne-Hardy, A.E. Autumns in Argyleshire with Rod & Gun. 1900, pictorial cloth gilt, spine faded; Ross, John. The Book of the Red Deer. 1925. 4to, plates, original grey pictorial cloth gilt; Ross, John and Hugh Gunn. The Book of the Red Deer and Empire Big Game. 1925. 4to, number 176 of 500 copies, plates, original pictorial white buckram gilt, t.e.g.; Atkinson, R.H.M. Buddle & G.A. Jackson Brougham and his Early Friends. London: privately printed (Darling and Read), 1908. 3 volumes, 8vo, original quarter vellum gilt over boards, bookplates; and 5 others (26)

Browning, Elizabeth Barrett A collection of works, comprising A Drama of Exile. New York: Langley, 1845, FIRST EDITION, volume 1 only, original cloth [Barnes A5a]; ii) Two Poems. Chapman & Hall, 1854, FIRST EDITION, original wrappers [Barnes A9]; iii) Last Poems. Chapman & Hall, 1862, FIRST EDITION, second impression, full blue morocco by Lefort [Barnes A13]; iv) The Poems of Elizabeth Barrett Browning. New York: Miller, 1867, 3 volumes, original cloth [Barnes E53]; v) The Letters of Elizabeth Barrett Browning. New York: Macmillan, 1897, 2 volumes, three-quarter calf [Barnes E222], worn with lower boards detached; vi) Lady Geraldine's Courtship. New York: G.P. Putnam's and Sons, [c.1903-04], thin 32mo, "vest pocket" edition, full red morocco, worn, a few pages loose; vii) The Poet's Enchiridion. Massachusetts: The Bibliophile Society, 1914, one of 500 copies, original vellum backed boards [Barnes B8]; mostly 8vo, worn, some spotting and browning (10)Provenance: ii) John Whipple Frothingham, bookplate; iii) Walter Thomas Wallace, New Jersey, bookplate; his sale, American Art Association, New York, 22 March 1920, lot 108; vii) Roswell Field, bookplate and ownership inscription dated 1914

HALL, DOUG1944 San FranciscoTitel: Non-Place: California #39. Datierung: 1989/1991. Technik: Gelatinesilberabzug. Darstellungsmaß: 137 x 107cm.Blattmaß: 155 x 121cm. Bezeichnung: Signiert, datiert, nummeriert und betitelt verso auf Künstleretikett. Exemplar: 2/6. Rahmen: Rahmen (166 x 129,5cm). Provenienz:- Feigen Contemporary, New York (Aufkleber). Erläuterungen zum KatalogDoug Hall USA Fotografie Nachkriegskunst 1980er Architektur Fotografie Gelatinesilberabzug HALL, DOUG1944 San FranciscoTitle: Non-Place: California #39. Date: 1989/1991. Technique: Gelatin silver print. Depiction Size: 137 x 107cm. Sheet Size: 155 x 121cm. Notation: Signed, dated, numbered and titled verso on artist's label. Number: 2/6. Frame: Framed (166 x 129,5cm). Provenance:- Feigen Contemporary, New York (adhesive label). Explanations to the Catalogue

HALL, DOUG1944 San FranciscoTitel: Green Couch with Paintings, Galleria Corsini, Rome. Datierung: 1997. Technik: C-Print. Darstellungsmaß: 60,5 x 60,5cm.Bezeichnung: Signiert, datiert, betitelt und nummeriert verso auf Etikett. Exemplar: 3/6. Rahmen: Rahmen (64,5 x 64,5cm). Provenienz:- Feigen Contemporary, New York (Aufkleber). Erläuterungen zum KatalogDoug Hall USA Fotografie Nachkriegskunst 1990er Museum Fotografie C-Print Interieur HALL, DOUG1944 San FranciscoTitle: Green Couch with Paintings, Galleria Corsini, Rome. Date: 1997. Technique: C-print. Depiction Size: 60,5 x 60,5cm. Notation: . Signed, dated, titled and numbered verso on label. Number: 3/6. Frame: Framed (64,5 x 64,5cm). Provenance:- Feigen Contemporary, New York (adhesive label). Explanations to the Catalogue

Acht Bücher über Revolver Müller, "Geschichte und Technik der europäischen Militärrevolver", 2 Bde., Schwäbisch Hall, 1982. Schmitt, "Samuel Colt's Revolver", Bd. 1 (originalverpackt, zwei mal). Schmitt, "Der Peacemaker" (ebenfalls originalverpackt). Wilson, "The Arms Collection of Colonel Colt", Hartford, 1964. Neal/Jinks, "Smith and Wesson, 1857 - 1945", New York und London, ohne Jahr. Kümmel, "Die Handfeuerwaffen von Remington", Wiesbaden, ohne Jahr. Teilweise leichte Lesespuren.Zustand: II -Eight books on revolvers Müller, "Geschichte und Technik der europäischen Militärrevolver", 2 Bde., Schwäbisch Hall, 1982. Schmitt, "Samuel Colt's Revolver", Bd. 1 (originalverpackt, zwei mal). Schmitt, "Der Peacemaker" (ebenfalls originalverpackt). Wilson, "The Arms Collection of Colonel Colt", Hartford, 1964. Neal/Jinks, "Smith and Wesson, 1857 - 1945", New York und London, ohne Jahr. Kümmel, "Die Handfeuerwaffen von Remington", Wiesbaden, ohne Jahr. Teilweise leichte Lesespuren.Condition: II -

A new maple two drawer D shaped side hall table on turned legs made by a local craftsman to a high standard, 77cm tall x 120cm x 33cm, in good condition

A new walnut three drawer hall table on turned reeded legs made by a local craftsman to a high standard, 76cm tall x 107cm x 44cm

18th century and later porcelain, three tea bowls and saucers, including New Hall decorated with dotted orange wavy line overlapping black wavy line, pink roses and foliage, h5.3cm 9cm diam, four teacups, two octagonal jugs with snake handle, h13cm, and another jug

Karl Hofer - - 1878 Karlsruhe - 1955 Berlin Blumenmädchen (Flower Girl). 1935. Öl auf Leinwand. Wohlert 1116. Links unten monogrammiert und datiert. Verso auf Keilrahmen wohl von fremder Hand mit dem Künstlernamen und der Betitelung bezeichnet. Dort wohl ebenfalls von fremder Hand bezeichnet 'Herr Professor Hofer'. 101,3 x 81 cm (39,8 x 31,8 in). • Hofer überträgt das tradierte mythologische Sujet der 'Flora', der römischen Göttin der Blüte und der Personifikation des Frühlings, in seine ganz eigene, zeitgenössische Bildsprache. • Mit beeindruckender, früher Ausstellungshistorie und umfangreicher Zahl an Publikationen. • 65 Jahre Teil der Sammlung des Toledo Museum of Art, Toledo/Ohio. • Einnehmende Visualisierung der angestrebten Stimmungshaltung: einer besonders ausdrucksstarken Melancholie. PROVENIENZ: Galerie Nierendorf, Berlin/Nierendorf Galleries, New York (1937/38). The Toledo Museum of Art, Toledo/Ohio, USA (1938-2003, Inv.-Nr. 38.43, 1938 wohl mit Stiftungsgeldern der verstorbenen Museumsgründer Edward Drummond Libbey (1854-1925) und seiner Frau Florence Scott Libbey (1863-1938) vom Vorgenannten erworben). Privatsammlung Deutschland (2003 vom Vorgenannten, Sotheby's, New York, 7.5.2003, Los 362). Vom heutigen Eigentümer vom Vorgenannten erworben. AUSSTELLUNG: Karl Hofer, Galerie Nierendorf, Berlin, Januar 1937, Kat.-Nr. 16. International Exhibition of Paintings, Carnegie Institute, Pittsburgh/Pennsylvania, 14.10.-5.12.1937, Kat.-Nr. 353 (mit Abb., Tafel 25). Masters of the 20th Century, The Westerman Gallery, New York, 29.3.-30.4.1938. Contemporary Movements in European Painting. Surrealism, Abstract Art, Futurism, Expressionism, Cubism, Dadaism, Fauves, The Toledo Museum of Art, Toledo/Ohio, 6.11.-11.12.1938, Kat.-Nr. 46. Contemporary German Art, Institute of Modern Art, Boston/Massachusetts, 2.11.-9.12.1939, Kat.-Nr. 19, S. 17, H. 1, S. 18. Paintings, Drawings and Prints by Karl Hofer, Carnegie Institute, Pittsburgh/Pennsylvania, 4.1.-28.1.1940, Kat.-Nr. 12 (mit Abb., auf Keilrahmen mit handschriftlich bezeichneten Ausstellungsetikett). Karl Hofer. Paintings, Drawings, Prints, The George Walter Vincent Smith Art Museum, Springfield/Massachusetts, 4.2.-25.2.1941, Vol. 1, Kat.-Nr. 9. Five Expressionists. Hofer, Munch, Hartley, Kokoschka, Schmidt-Rottluff, Dudley Peter Allen Memorial Art Museum, Oberlin/Ohio, April 1946, Nr. 12, S. 20. 10th Anniversary Retrospective Exhibition, Institute of Modern Art, Boston/Massachusetts, November bis Dezember 1946. Two Cities Collect, The Art Gallery of Toronto, Januar 1948, Toledo Museum of Art, April 1948, Kat.-Nr. 16 (mit Abb.). The Archaic Smile, Birmingham Museum of Art/Birmingham Art Association/City Hall, Birmingham/Alabama, Januar 1956, Kat.-Nr. 52. LITERATUR: H. Pattenhausen, Karl-Hofer-Ausstellung. Galerie Nierendorf, in: Deutsche Allgemeine Zeitung (Ausg. Groß-Berlin), Nr. 22, 14.1.1937, S. [2]. G. Haupt, Karl-Hofer-Ausstellung, in: Berliner Morgenpost, Nr. 13, 15.1.1937, S. [2]. Museum News, Toledo/Ohio, Nr. 85, März 1939, S. 20f. (mit Abb.). New Museum Acquisitions, Toledo, in: The Art News, 37.1939, 3. Juni, S. 16 (mit Abb.). Blake-More Godwin, Catalogue of European Paintings, Museum of Art, Toledo/Ohio 1939, S. 58f. (mit Abb.). J. O'Connor (Jr.), Presenting Karl Hofer, in: Carnegie Magazine, 13.1940, S. 247. Isabel Stevenson Monro, Index to Reproductions of European Paintings. A guide to pictures in more than three hundred books, New York 1956, S. 281. The Toledo Museum of Art (Hrsg.), European Paintings, Toledo/Ohio 1976. 1918 bereist Karl Hofer erstmals das Tessin, das ihm in den kommenden Jahren immer wieder als Zufluchtsort und Inspirationsquelle dient und das er ab Mitte der 1920er Jahre dann mit dem Erwerb eines Sommerhäuschens am Luganer See zu seiner zweiten Heimat macht. In seinen Gemälden beschäftigt sich der Künstler in den darauffolgenden Jahren oftmals mit der Tessiner Landschaft, lokalen Sehenswürdigkeiten, den dort ansässigen Menschen und ihrem Leben, wie bspw. in 'Kleine Tessiner Tischgesellschaft' (um 1935/1940). Die hier angebotene Arbeit zeugt von seinem Interesse für die lokale Tessiner Tracht. Ähnlich wie in den deutlich späteren Darstellungen 'Mädchen mit Blütenkranz' (1938), 'Die Tessinerin' (1940) und 'Mädchen mit Blütenkranz' (1942) setzt Hofer die in Blau und Rot gehaltene Tessiner Tracht mit Schürze und typischem Schultertuch in Szene. Doch statt ein traditionelles Porträt einer jungen Tessinerin zu malen, wagt Hofer hier einen Rückbezug auf ein tradiertes Thema der europäischen Kunstgeschichte. Mit der charakteristischen formalen Reduzierung auf einzelne wesentliche Elemente und der Hofers Bildern intrinsischen Melancholie gelingt es dem Künstler, das mythologische Sujet der 'Flora', der römischen Göttin der Blüte und der Personifikation des Frühlings, in seine ganz eigene, zeitgenössische Bildsprache zu übersetzen. Ihr vom Betrachter abgewandter Blick, der aus Blumen und Blättern geflochtene Haarkranz und die bunten Frühlingsblumen in ihrem Schoß wecken Erinnerungen an berühmte Darstellungen der 'Flora', etwa Botticellis 'Primavera' oder die 'Flora'-Darstellungen der englischen Päraffaeliten. Hofer geht es jedoch um eine künstlerische Verallgemeinerung, um eine Allgemeingültigkeit der Form, um die Darstellung einer allgemeingültigen Definition des Schönheitsbegriffs und um die malerische Visualisierung einer Stimmungshaltung: der ihm selbst so vertrauten Melancholie dieser Jahre vor dem Zweiten Weltkrieg. 'Die große Leistung Karl Hofers liegt zweifelsohne im Figurenbild', schreibt Dr. Frank Schmidt, damaliger Direktor der Hamburger Kunsthalle, 2012 im Katalog zur Ausstellung 'Karl Hofer. Von Lebensspuk und stiller Schönheit' (S. 92). Hofers Fähigkeiten zeigen sich auch in der hier vorliegenden Arbeit, mit der er ein Figurenbildnis schafft, das wie so häufig in seinem Œuvre mit einem sparsamen Einsatz von Gegenständen und Staffage, dem typischen Verzicht auf einen bestimmbaren, erzählerischen Umraum und der Dargestellten auskommt, und trotzdem - oder vielleicht gerade deshalb - eine Bildwirkung von würdevoller, seltsam zeitloser Zurückhaltung und zugleich starker Anziehungskraft vermittelt. Geschickt verortet Hofer seine weibliche Protagonistin in einem leeren, sie neblig-umwabernden Flächenraum, so als habe er ihre Aura vergegenwärtigen wollen. Durch die reduzierte, gar minimalistische Darstellung rückt die Figur selbst in den Mittelpunkt, nur sie ist hier von Bedeutung. Die für Hofers Figurenbilder so typische Melancholie, die den Dargestellten innewohnt, strahlt auch unser 'Blumenmädchen' aus. Zwar schaut sie mit großen, fast traurigen Augen ins Leere, doch mit ihrer Rechten umfasst sie einen mit gerade gepflückten Frühlingsblumen gefüllten kleinen Korb, was der sonst so zurückhaltenden, ruhigen Darstellung letztendlich doch noch eine fröhliche, lebenslustige erzählerische Ebene verleiht. [CH] Aufrufzeit: 18.06.2021 - ca. 18.26 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.

Oxford 1890's. Presentation trowel inscribed "New Oxford Music Hall Souvenir Foundation Stone Ceremony August 15th 1892" within trailing leaves and foliate decoration, ivory handle. Elkington & Co. London 1892

A New Hall coffee can decorated with a hand-tinted bat print of children playing with a pond yacht c1815, two similar New Hall cans depicting a piping shepherd and rural scenes, two Machin cans with Adam Buck style nursery views, a Rathbone mug with chinoiserie scene and two others. (8)

A A DEVITIS: ANTONY BURGESS, New York, Twayne, 1972, 1st edition, signed and inscribed to Mr & Mrs J B Priestley, original cloth, bright gilt, d/w, book plate of J B Priestley + MARGARET DRABBLE: THE MIDDLE GROUND, London, Weidenfeld & Nicolson, 1980, 1st edition, signed on slip pasted down on ffep, original cloth, d/w + KEITH WATERHOUSE: THE BUCKET SHOP, London, Michael Joseph, 1968, 1st edition, signed, original cloth, d/w + STEVEN HALL: THE RAW SHARK TEXT, Edinburgh, Canongate, 2007, 1st edition, signed, original pictorial boards + GAUTAM MALKANI: LONDONSTANI, London, Fourth Estate, 2006, 1st edition, signed, original cloth, d/w + HELEN DUNMORE: THE BETRAYAL, London, Fig Tree, 2010, 1st edition, signed, original cloth, d/w + CHARLES ELTON: MR TOPPIT, London, Viking, 2010, 1st edition, signed, original cloth, d/w, all titles vgc (7)

A late Victorian silver lozenge shaped box and cover, with punched and embossed decoration by William Comyns & Sons, London 1885, the base inscribed Asprey & Sons, 166 New Bond St, 10.2cm long, and an Edwardian silver rectangular box, with tortoiseshell and piqué inset lid, by Walker & Hall, London 1909, 9.5cm (2)

A part New Hall tea service, pattern no. 208, c.1800; two Coalport relief moulded breakfast cups, c.1810; Bloor Derby teapot; other Derby plates; Aynsley cabinet cup and saucer

Mauchline ware, eight pieces comprising an alternate woods lidded cauldron (Head Of Windermere From Elleray), 7cms dia., a swivel notelet (Morecambe From The East/Morecambe New Pier), 7cms, a rectangular box (New Town Hall, Kendall), 8cms, an egg in cup (Hythe School Of Musketry - photographic), 8cms, a tumbler case (Arnside), glass chipped, 7.2cms, a book - Prayer/Hymns (Grasmere Church, Lake District/The Graves of Wordsworth and Coleridge), 10 x 7cms, a circular box (Kendal Castle), 4.5cms dia., and another (A Happy New Year/holly), 4.2cms dia.    (8)                                                                                               From the collection of Enid Riley Part 1

Fletcher (Joseph S.). Picturesque History of Yorkshire, 6 volumes, London: Caxton Publishing Co., circa 1900, frontispieces, colour & monochrome plates, numerous illustrations, all edges gilt, original cloth gilt, 4to, together with: Ogilvy (John), The Imperial Dictionary, English, Technical, and Scientific..., 2 volumes, London, Edinburgh & Glasgow: Blackie & Son, 1854, engraved frontispiece to volume 1, wood engraved vignette illustrations, contemporary diced calf, gilt decorated spines, large 4to, Blackie (Walter G.), Imperial Gazetteer; a general dictionary of geography, 2 volumes, London, Edinburgh & Glasgow: Blackie & Son, 1855, engraved frontispiece to each, wood engraved vignette illustrations, occasional spotting, contemporary diced calf, gilt decorated spines, large 4to, Hall (Samuel Carter), The Book of the Thames from its rise to its fall, by Mr. and Mrs. S. C. Hall, new edition, London: J.S. Virtue & Co., [1877], wood engraved vignette illustrations, occasional spotting, all edges gilt, contemporary dark green morocco, gilt decorated spine and gilt panelled boards, extremities slightly rubbed, 8vo, and other miscellaneous books including British topography & travel etc., and a defective edition of Barrow (John), A Collection of authentic, useful, and entertaining voyages and discoveries, 3 volumes, 1715, and incomplete edition of The Picture of London, for 1813; being a correct guide to all the curiosities, amusements, exhibitions, public establishments, and remarkable objects, an and near London, 14th edition, London: Longman, Hurst, Rees, et al., [1813], and with Barclay (James), Barclay's Universal Dictionary, new & improved edition, [1813?]; The Ladies' Pocket Magazine, volume 1, 1828Qty: (2 cartons)

Menpes (Mortimer & Dorothy). Venice by Mortimer Menpes, text by Dorothy Menpes, London: Adam and Charles Black, 1904, 100 colour plates, top edge gilt, original cream cloth decorated in blue and gilt, rubbed and marked, spine somewhat discoloured, with minor fraying at extreme head, 4to, limited edition de luxe 60/500, signed by Mortimer Menpes, together with: Churchill (Winston S.). The Second World War, 6 volumes, 1st editions, Cassell & Co., 1948-54, numerous folding maps, etc., original uniform black cloth gilt in bright condition, in dust wrappers, very slightly frayed to extremities, 8vo, plus: Kirkland (John). The Modern Baker, Confectioner, and Caterer, New and Revised edition, 4 volumes, Gresham Publishing Company Ltd., 1924, colour plates, colour and monochrome plates and illustrations to text, original uniform maroon cloth gilt, some marks, large 8vo, and other miscellaneous books, including Eliza Acton, The People's Book of Modern Cookery, thirty-fifth edition, circa 1880s, Holy Bible, Red Letter Art edition, Philadelphia, National Bible Press, circa 1870s, Robert Sanderson Whitaker, Whitaker of Hesley Hall, Grayshott Hall, Pylewell Park, and Palermo, 1907, two modern hand-carved wooden sculptures of figures, possibly African, etc.Qty: (2 cartons)

Bingham (Denis A.). A Selection from the letters and despatches of the First Napoleon, 3 volumes, London: Chapman & Hall, 1884, Signet Library bookplate to upper pastedown of each, original cloth, 8vo, together with: Méneval (Claude-Francois de), Memoirs to serve for the History of Napoleon I from 1802 to 1815 ... the work completed by the addition of unpublished documents, and arranged and edited by his grandson Baron Napoleon Joseph de Méneval, translated and annotated by Robert H. Sherard, 3 volumes, London: Hutchinson & Co., 1895, portrait frontispiece to each, edges untrimmed, original cloth, 8vo, Simeon (Stephen Louis), The Private Life of Napoleon by Arthur Lévy, from the French by Stephen Louis Simeon, 2 volumes, 2nd edition, New York: Charles Scribner's Sons, [1894], engraved portrait frontispiece to each, bookplate of Park Close, Englefield Green to upper pastedowns, hinges split, original cloth, 8vo, Baring-Gould (Sabine), The Life of Napoleon Bonaparte, London: Methuen & Co., 1897, wood engraved portrait frontispiece, photogravure plates and illustrations, top edge gilt, original cloth, rebacked preserving original spine, folio, Sainsbury (John), The Napoleon Museum, The history of France Illustrated..., London: Printed in the year 1845, lithograph frontispiece and 40 plates of facsimile documents at rear, each with Brooklyn Public Library ink stamps, few additional illustrations pasted to front endpapers and verso of frontispiece & initial leaves, initial leaves strengthened to gutter & fore-edge margins, perforated library stamp to frontispiece & title, front hinge crudely repaired, contemporary half morocco, rebacked preserving original spine, library number at foot of spine, worn, folio, and others similarQty: (5 shelves)

A collection of early 19th century New Hall tea bowls and saucers, 5 saucers, 8 bowls.

An early 19th century New Hall type pottery part dinner service, decorated in pink, red and green with flowers and leaves (9 pieces). CONDITION REPORT: One of the oval bowls has a crack and chip to rim whilst some of the other items are discoloured and have minor damage and wear.

Five 19th century teapots, comprising New Hall style floral painted, two chinoiserie bullet shaped and transfer printed. Largest length 28 cm. CONDITION REPORT: The smaller of the two bullet shaped teapots is in generally good condition. There is no evidence of any repairs or restoration. The lid is in good order. The spout has one very small glaze nibble. The top lip has one small glaze chip. Other than this there are no issues. The second bullet shaped teapot has glaze imperfections to the lid and three edge chips and nibbles to the circumference. There is a hairline crack running from the top lip of the base down into the pot just below the rim. The base also has had a break and there is a riveted repair which should be visible on our image. The grey, white and gilt pot has had restoration to the spout. There is also a star crack to the base visible both inside and out. The pattern is a little faded in places. The teapot with the castellated top has had restoration to the lid. There is also some restoration to the castellation opposite the handle. The interior is discoloured. Old hairline cracks are just visible to the body. There are minor nibbles to the glazing around the spout and to the foot rim. The final teapot has some minor nibbles to the under edge of the lid. The interior shows several old hairline cracks. These are visible also to the underside where there is a significant star crack. There are some minor losses to the paintwork.

A large collection of early 19th century and later New Hall style tea bowls and saucers, together with a variety of other tea bowls including Worcester style etc. (36) CONDITION REPORT: Twenty two pieces have small chips, hairline cracks or other problems. The remaining items are in generally good order. These include the Worcester bowl with birds and butterfly, three tea bowls with thistle to centre and one saucer, Sunderland type lustre “Rural” saucer, two tea bowls and one matching saucer, two blue and white cups with gilt rims, shaped blue and white pin tray, New Hall style saucer, Worcester style tea bowl, Chinese tea bowl and one further New Hall style saucer. All pieces do have rubbing to the gilding as one would expect.

An early Derby teapot and cover c.1756-60, the globular shape painted in polychrome enamels with Chinese figures in an interior setting to one side, the reverse with a Chinese gentleman waving at a large flying insect over a vase of flowers, a large Bow white-glazed knife handle moulded with foliate scrolls, a Tournai coffee cup and saucer painted with simple flower sprays in underglaze blue, and a New Hall coffee cup painted with Chinese figures in pattern 20, some chipping to the teapot's spout, 28.3cm. (6) Provenance: from the collection of Lady Kate Davson, née Kate Foster (1938-2020). The knife handle gift from Frank and Kathleen Tilley.

An English porcelain blue and white trio probably by Enoch Wood c.1785, comprising a coffee cup, teabowl and saucer, each piece printed with the Man on the Bridge pattern within a wide formal Chinese border, marked with a crowned lion rampant, 12.8cm. (3) Cf. Geoffrey Godden, English Blue and White Porcelain, pl.483 for a similar saucer and coffee can. Pieces bearing this mark had been traditionally ascribed to New Hall, however, this theory was overturned after 2006. See Roger Pomfret, Northern Ceramic Society Journal, New Hall Hard Paste Blue Printed Wares of the 18th Century pp.24-27.

A New Hall tea and coffee service c.1800, richly decorated with a Tobacco Leaf design in pattern 274, painted pattern numbers. Comprising: a coffee pot with cover and stand, a teapot with cover and stand, a sugar basin with cover and stand, a slop bowl, two cake plates, ten teabowls, nine coffee cups and ten saucers. (41)

A pair of New Hall dessert dishes c.1810-20, decorated in pattern 2229 with peasant figures packing baskets of fish by the shore, within moulded rims in white and gilt on a blue ground, some restoration, 22cm. (2) Cf. Geoffrey Godden, New Hall Porcelains, p.391, pl.423.

A group of New Hall teawares c.1795-1810, including a milk jug, plate, coffee cup and saucer in pattern 398 with floral panels and small cornflower sprigs on a salmon pink ground, and a plate, sucrier and cover, and teabowl and saucer in pattern 213 with simple flower sprigs in blue, red and gilt, 21.5cm max. (9)

A pair of 18ct gold ‘nugget’ cufflinks by Gilian Packard, 1969, the textured irregular nugget panels on rigid mounts, the swivel fittings with pyramidal terminals, maker’s mark ‘GEP’, London hallmark, panel length 24.5cm. £1,000-£1,200 --- Purchased from Gilian E. Packard & Co., 1-2 Ramillies Street, London in 1971. Gilian Packard was born in Newcastle-on-Tyne in 1938. Named Gilian (with one ‘l’ - because, as she said ‘my father couldn’t spell’), she established herself as one of the leading modern jewellers of the 1960s. She studied at the Kingston School of Art, the Central School and the Royal College of Art. After her third year at the RCA, her Diploma exhibition coincided with the public opening of their new building in June 1962. Gilian acquired from it one or two commissions for special pieces. With £50 prize money, she was able to purchase materials to fulfil these modest orders, hire a corner of a workshop (in Soho) and set to work. From these gentle beginnings the work began to snowball. Most of her work was for private customers. The other part of her production went to retail outlets such as Richard Ogden in Burlington Arcade or Cameo Corner. She went on to win many important jewellery awards and become the first woman to become a Freeman of the Goldsmiths’ Company. She promoted modern jewellery design through her work as a teacher, becoming Professor of Jewellery and Silversmithing at Glasgow School of Art and at the Sir John Cass Department of Silversmithing, Jewellery and Allied Arts at London’s Guildhall University. She died in Aldeburgh in 1997. Examples of her work can be found in the Victoria and Albert Museum, London and in many public and private collections. With thanks to the Goldsmiths’ Hall for additional information. See: Obituary : Arline M Fisch in Craftnotes from CRAFTS JAN/FEB 1998.