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Haworth (Adrian Hardy). Observations on the Genus Mesembryanthemum, in two parts; containing scientific descriptions of above one hundred and thirty species, about fifty of which are new; directions for their management; new arrangements of the species; references to authors; and a great variety of critical, philosophical, and explanatory remarks, by Adrian Hardy Haworth, late of Cottingham, Yorkshire, now of Little Chelsea, Middlesex, 2 parts in one, 1st edition, London: Printed and sold for the Author, by J. Barker, sold also by B. & J. White, 1794, [8], 480pp., half-title, lower blank margin of title with ink stamp of L.E. Newton Library, letter bound in at front dated 20 Nov. 1876 from North Wales Central Botanic Gardens to a member of the public searching for a copy of this title, 20th century brown half morocco, 8voQty: (1)NOTESThis copy of Observations on the Genus Mesembryanthemum, was used for the 1965 Gregg Press reprint, and rebound. Adrian Hardy Haworth (1768–1833), botanist and entomologist, was born in Cottingham near Hull. He was the younger son of Benjamin Haworth (1728–1790) of Haworth Hall, a prosperous merchant, and landowner. His mother, Anne Boothe Haworth, probably nurtured his interest in plants & gardening. After attending Hull Grammar School and serving in a law office, he started to pursue a full-time career in natural history. After several years in Cottingham, he moved to Chelsea. He joined the Linnean Society in 1798. Haworth was one of the original members of the Aurelian Society, which in 1806 dissolved and regrouped as the Entomological Society of London. He was President of The Entomological Society of London from 1806 to 1822. The Society subsequently merged with the Zoological Club of the Linnean Society. Between 1803 and 1828 Haworth published Lepidoptera Britannica and during his lifetime was the author of sixty publications, primarily concerned with Lepidoptera and succulent plants. Haworth returned to Cottingham from 1812 to 1818, and during that time helped found Hull Botanic Garden. He returned to Chelsea in 1818, remaining until his death from cholera in 1833. Haworth married three times and had children by each wife.

Australasia. A mixed collection of twenty-two maps, 19th century, engraved and lithographic maps of Australia, New Zealand, Polynesia and the world, including examples by Tallis, Hall, J & C Walker, Cruchley, D'Urville, Lizars, Thomson, Bartholomew and Johnston, various sizes and conditionQty: (22)

Berry (William). [Composite atlas], London: sold by William Berry at the Sign of the Globe between Charing-Cross and White Hall, 1680-9, containing: 1. A Mapp of all the World. In two Hemispheres in which are exactly Described all the Parts of the Earth and Seas. Described by Sanson. Corrected and amended by William Berry, 1680, 2. Asia. Divided into its Principall Regions, 1680, 3. Africa. Divided according to the Extent of its Principall Parts, 1680, 4. North America. Divided into its Principall Parts where are distinguished the several States which belong to the English, Spanish and French, 1680 [i.e. c.1681], 5. South America. Divided into its Principall Parts where are distinguished the several States which belong to the Spanish, English, Portugals [sic], and French, 1680, 6. A New Mapp of the Kingdome of England and Wales, c.1685, 7. Spain … Portugal, 1682, 8. Italy, 1682, 9. The Empire of Germany, c.1685, 10. The Kingdom of Hungary, c.1685, 11. Poland, c.1685, 12. Russia Alba or Moscovia, 1682, 13. Scandinavia and its Confines, 1684, 14. The United Provinces of the Netherlands, c.1685, 15. The Catholick Provinces of the Low Countries, c.1685, 16. The Kingdom of France, c.1685, 17. The States of the Empire of the Turks in Europe, 1683, 18. The Empire of the Great Turke in Europe, Asia, and Africa. Divided into all its Beglerbeglicz or Governments, c.1685, 19. Mediterranean Sea divided into its Principall Parts or Seas, c.1685, 20. The Course of the River Rhine, c.1685, 21. The Circle of Swabia, 1685, 22. The Circle of Bavaria, 1685, 23. The Dukedom of Pomerania, 1685, 24. The Circle of Westphalia, 1685, 25. The Mountains of the Alpes, 1683, 26. Principality of Catalonia, c.1685, 27. Part of the Circle of Austria viz. the Archdukedom of Austria, c.1685, 28. Part of the Circle of Austria in which are the Dukedomes of Stiria … and other Heriditary [sic] Countrys of the House of Austria, 1688, 29. The Dukedom and Electorat [sic] of Brandenbourg, c.1680-5, 30. The Circle and Electorat [sic] of the Rhine, 1689, 31. The Archbishoprick and Electorat [sic] of Colen, c.1685, i.e. 31 engraved maps, each on two conjoined sheets (except Colen, on one sheet) mounted on guard, various sheet sizes (approx. 58 x 90 cm to 61 x 96 cm), strip-titles to head, titles and dedications within large elaborate cartouche incorporating royal arms and ethnographic and allegorical elements (Spain with title and dedication within separate cartouches), all except England and Wales with secondary cartouche containing bar scales and imprint, contemporary outline colour throughout (except Asia, uncoloured; Africa colouring with modern enhancement including to cartouche, North America, South America, England and Wales and Pomerania colouring minimal, now faded), variable toning, various nicks and tears, professionally repaired and consolidated throughout, most closed up without loss, sometimes with visible but generally light disruption, margins often extended or consolidated several maps backed on archival tissue, Empire of The Turks in Europe and The Empire of the Great Turke both with old linen backing (outline colour showing through), a few maps closely trimmed, many with creases, bound with (between 1 and 2): Moll (Herman), To Her most Sacred Majesty Ann, Queen of Great Britain, France and Ireland. This Map of Europe according to the Newest and most Exact Observations is dedicated, London: for H. Moll, D. Midwinter and T. Bowles, sold by H. Moll and P. Overton, 1708, and (between 13 and 14): Jaillot (Hubert), Le Royaume de Danemark. Subdivisé en ses principals provinces, tiré de plusieurs mémoires par le Sanson, Paris: Hubert Jaillot, 1692, each on two sheets, conjoined, with cartouches, contemporary outline colour, toning, creasing and repairs, modern full calf binding, gilt red morocco label to front board, atlas folioQty: (1)NOTESBurden II 532 (for North America: 'very rare'); Chubb p. 420; Shirley British Isles 1650-1750 p. 29; Shirley World 501; Tooley Africa p. 56 ('uncommon'); Tooley America p. 122 (for North America). A near-complete set of Berry's series of maps known as 'the English Sanson', 'very rare' (Chubb), and with Europe and Denmark, the only missing maps according to the list at the foot of The Circle and Electorat of the Rhine , appositely replaced with contemporary examples by Moll and Jaillot. Based on Jaillot’s Atlas nouveau (1674), a reworking of Sanson, they were published separately between 1680 and 1689, which may account for their high attrition rate. Berry’s version of the North America map is especially important, being the first or at least the second map to name Pennsylvania, which was founded on 4 March 1681 (Thornton and Seller's map appeared in the summer of that year). Certain features of Jaillot's map are retained, including the easterly slant to the Mississippi River, and the omission of Montreal, but there are notable differences other than the inclusion of Pennsylvania. 'Much of it is the anglicising of the continent, New England's boundaries being pushed to the St Lawrence River and New Scotland laying claim to all of the territory to the Gulf and Acadia ... Penn's main rival Maryland is not ignored and the town of Baltamore [sic] is identified. The southern claims of England are also extended with the inclusion of Charles-Towne and Carolina. In the west one notable addition is a Straits of Anian. The engraver of the map is not known although it bears many ofthe hallmarks of Herman Moll. If his work it would be one of his earliest known' (Burden). The world map exhibits similar changes: 'Berry has patriotically marked the islands discovered by Drake just off Tierra del Fuego and has added New Albion in the northern part of California, shown as an island' (Shirley; California is depicted in the same manner in North America ). North America is in Burden's first state (it was re-issued in 1718); The New Mapp of the Kingdome of England and Wales is in Shirley's first state; the Moll map of Europe was also re-issued c.1730 with a re-engraved dedication to Caroline, consort of George II.

[Franklin, Benjamin]. The Political Register, and Impartial Review of New Books, for MDCCLXVIII, volume 2, London: J. Almon, 1768, 12 engraved plates (one folding) including the plate attributed to Benjamin Franklin which warns of the effects of the Stamp Act 'The Colonies Reduced. Its Companion', contemporary half calf, without title label, 8vo, together with: [Canada & American Revolution] , Addresses, Remonstrances, and Petitions, Commencing the 24th of June, 1769: presented to the King and Parliament, from the Court of Common Council, and the Livery in Common Hall assembled, with His Majesty's answers: likewise the speech to the King, made by the late Mr. Alderman Beckford, when Lord Mayor of London, 1st edition, London: Printed by H. Fenwick, [1778], contemporary speckled calf, upper board detached, spine damaged where another work removed from binding, 8vo (Sabin 451)Qty: (2)NOTESThe first work contains an engraved satirical plate warning of the effects of the Stamp Act. The upper part of the engraving, titled 'The Colonies Reduced' published in Britain and attributed to Benjamin Franklin, warned of the consequences of alienating the Colonies through enforcement of the Stamp Act. The image depicts Britannia, surrounded by her amputated limbs, marked Virginia, Pennsylvania, New York, and New England, as she contemplates the decline of her Empire. Franklin, who was in England representing the colonists' claims, arranged to have the image printed on cards and distributed to members of Parliament as well as including it in the Political Register. The lower part of the engraving, 'Its Companion' shows America rushing into the arms of the King of France. The complete volume of the Political Register for 1768 comprises the twelve monthly parts, each with an engraved frontispiece, most are satirical in nature. One called the 'North Star' has American content. It contains an article published over three issues descriptive of the American Revolution, viz. 'American Intelligence' (pp. 87-93, 138-144 & 354-375), the final section being a continuation with the heading 'Account of the American Controversy'. The second work includes some notice of the Quebec Bill (pp. 52-64), on the Declaration of Independence and the American Revolution (pp. 65-126).

* Madness of King George III. Autograph letter initialled from John Blackburne MP, London, 20 November 1788, to his wife, writing of Pitt's views and fears for the King, '... [Mr Pitt] took me home and in the Cage gave me the following information - That for 2 days he had expected the King to die, that he knew nothing of any symptoms of Insanity prior to the illness, that he looked upon this to be the effect of his Complaint and that tho' no one could say he would recover, there had been instances and it was by no means a lost case. That what was to be done this day, unless opposed by opposition would be an adjournment for a fortnight and a Cab[inet] of the H[ou]se peremptorily fixed for this day - but he should not wonder if something was said. Fox is not yet returned - so you see I am more at a loss what to do... ', with a postscript saying that he is dining at White's that day and 'Pitt said that the cab[inet] would be peremptory and the utmost would be a few days allowed for Defaulters', 3 pages, together with a second initialled and undated letter from Blackburne to his wife, telling of Pitt the Younger and his cronies celebrating a triumph in the House of Commons and of the merrymaking at White's Club that then followed, 'At a side table was Pitt, Rose, Hamilton, Apsley, Addington and me. We were all too elated to obey the severe dictates of sober reason. J. Brooke was at the top of the long table with Steele's happy vivacity. J.B. in his good humour, Grosvenor drily seconded him. Muncaster and Dundas let nothing pass unnoticed. Nobody stirred til 10 when about 8 were left who sat with Pitt til [?]qtr 12 at night and got indeed compleatly done over. Pitt was in noble spirits... ', 4 pp., a little browning on external folds, plus a third autograph letter signed from Blackburne to his son Ireland, 22 July 1830, 'The King [William IV] keeps every body alive and is in employed all morning behind the Horse Gds in the Park ... I hear nothing now except the Cavalry have got the Mustaches shaved and look more like women - He told them if they did not get them shaved he would do it himself. Nothing new... ', one page with integral address panel, slightly browned, all 4toQty: (3)NOTESJohn Blackburne MP (1754-1837) of Hale Hall, Liverpool, and Orford Hall, Warrington, was a Pitt supporter. In late October 1788, King George III descended into a bout of mental illness. He had declared that Pitt was 'a rascal' and Fox 'his friend'.

Wingate (Edmund). Maximes of Reason: or, the Reason of the Common Law of England, 1st edition, by R. & W. L. for W. Lee [and others], 1658, text mainly in blackletter, initial blank discarded, worm-track to foot of quires Q-S touching a few words, diminishing thereafter, title-page slightly marked and with contemporary ownership inscription 'Ex libris Philippi Caryll' to head, signed bookplate of Nathaniel Lindley, Baron Lindley (1828-1921), English judge, contemporary calf, rebacked and recornered, worn, folio (29 x 17.5 cm), together with: An Exact Abridgement of all Statutes in Force and Use, upon the 4th day of January, in the year of our Lord 1641/42. Faithfully extracted out of the said statues, from the beginning of Magna Carta, 3rd edition ('corrected and amended'), London: by T. R. for Henry Twyford and Tho. Dring, 1659, without free endpapers, occasional light damp-staining, small hole in 2A1, minor worming in lower margin towards centre of volume, contemporary sheep, modern label and blind-stamped dated to spine, front joint split at ends, 8vo (16.5 x 10 cm), A Plain and Familiar Method for Attaining the Knowledge and Practice of Common Arithmetic, 19th edition ('additions and emendations ... entirely new, are added by James Dodson'), London: for C. Hitch [and others], 1760, engraved frontispiece, light browning, bookplates and ownership inscriptions of the Smith Barry family of Marbury Hall, Cheshire, contemporary mottled tan calf, gilt spine, extremities rubbed, 8vo (19.6 x 12 cm), and 3 other copies of An Exact Abridgement (2 of the 1700 edition, one of the 1704 edition, the latter with bookplate of Sir William Baird of Newbyth, 1654-1737), and 2 other copies of the Arithmetic (1708 and 1735, the latter with bookplate of Philip, 2nd Earl of Stanhope, 1714-1786), not collated, contemporary calf, one rebacked, 8voQty: (8)NOTESESTC R10401 (Maximes), R215608 (Abridgement, third edition; six UK copies), T86938 (Arithmetic); Sweet & Maxwell 244.10 (Maximes), 566.34 (Abridgement); Wing W3021 (Maximes), E905A (Abridgement, third edition).

The Louis Gandolfi & Sons Collection of Cameras and Equipment,Including a 5 x 4in polished teak and lacquered brass precision field camera with inset brass binding, brown leather bellows, uncut lens panel and maker's plate Gandolfi Makers, London a Ross London. Homocentric 7in f/5.6 lens no.93990 on a teak lens panel, six teak double darkslides, in a 'Gandolfi' handmade fitted leather case, a matching teak and brass tripod.A Collection of the following: A Universal deluxe camera, 1/4-plate, leather covered. A Hand & Stand camera, 1/4-plate, polished mahogany. A Simplex camera, polished Honduras mahogany. A Universal de-luxe camera, 1/4 plated, polished Cuban mahogany. A stereoscopic box-form camera, Blackened mahogany. A Universal Square bellows camera, 5 x 4in polished mahogany. A Square Bellows copying camera, 1/2-plate, polished Cuban mahogany. A Tall-boy Universal camera, 1/2-plate, polished Cuban mahogany. A brass bound camera, 1/4-plate, polished Cuban mahogany, used by Jacqueline Bisset in High Season (1987). A Prison Fox 2 x profile and full face 'mug shots', polished mahogany. A camera, 5 x 4in polished mahogany. A studio camera, full-plate, blackened mahogany. A Spring-back camera, 5 x 4in polished mahogany. Two Tropical Cameras, 5 x 4in teak, one probably unique. A selected choice Indian Rosewood camera 5 x 4in, one of only five, made to order. Fifteen tripods. The original sign from Borland Road Workshop (signed in the corners by Fred and Arthur). Fred's treadle lathe with set of tools. Fred's work stool. Two Gandolfi work benches. Camera parts, patterns, accessories, partly assembled cameras, plate holder, adapters, etc.Together with a folder accompanying this lot details the history of this camera and includes memorabilia relating to the Gandolfi company. The folder comprises; original invoice for the camera dated 8 June 1978, Gandolfi budiness card, nine letters, invoices and correspondence from F.L. Gandolfi, copy patent of 29 August 1907 granted to Louis Gandolfi and cuttings recording the history of the Gandolfi company. A letter from Fred Gandolfi dated 30 June 1978 states that this camera was one of around twelve examples made with teak from 1926 stock. Footnotes:Provenance: Private treaty sale, Christie's South Kensington, The Gandolfi Collection of Cameras and Equipment, 1 February 1994.L. Gandolfi & Sons was founded in 1885 by a 21-year old Londoner, Louis Gandolfi, whose family background was part-Scottish and part-Italian. He began his apprenticeship to the cabinet-making trade at the age of 12, and in 1880 joined the pioneering camera makers Lejeune Perkins and Co, setting up on his own once he had mastered the basic skills. By 1913, the company had expanded to the point where it needed new premises, and moved south of the river to Peckham Rye, initially to Hall Road, and then, in 1928, to a former hat-pin factory at 2 Borland Road. As soon as they came of age, Louis brought his three sons - Thomas, Frederick and Arthur - into the business.From the late 1920's onward the company thrived and received fascinating orders. Particularly the supply of equipment to Lord Caernarvon in connection with his Tutankhamun expedition and a request for the development of a special lens to take interior shots of H.M. Queen Mary's Dolls House. In 1932 aged 68, Louis Gandolfi died, leaving the Company to his three sons. The company continued to make cameras, both the traditional mahogany and brass models and the new Variant models up to the late 2000; they are one of the oldest camera makers still in existence.This lot is subject to the following lot symbols: Ω TP YΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.TP Lots denoted with a 'TP' 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.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

TWO TABLE TOP DISPLAY CABINETS with four rotating circular shelves 28cm x 28cm x 88cm, one brand new boxed (PAT not required), the other used with one bulb inoperable (PAT pass and working), and a modern hall mirror with three key hooks, 36cm x 48cm

A collection of ten assorted Brighton prints: Royal Chain Pier, Brighton; Brighton New Church; Brighton Town Hall and Market, The Royal Palace and Suspension Chain Pier; Royal Pavilion (reprint); Beauties of Brighton (reprint), German Spa and Pump Room; New Regents Square, Brighton; Chain Pier during the late tempest and Royal Marine Library, Marine Parade

JOHANN BERTHELSEN (AMERICAN 1883-1972)City Hall, New York, circa 1955 oil on canvas board 30.5 x 41 cm (12 x 16 1/8 in.) signed lower right PROVENANCERaydon Gallery, New York (label on verso)Heritage Auctions, Dallas, May 8, 2008, lot 33186Acquired at the above by the present ownerWe are grateful to Lee Berthelsen, son of Johann Berthelsen, for confirming the authenticity of this painting and his assistance in cataloguing.CONDITIONObserved in frame, the work is in overall very good original condition. Overall surface dirt; would benefit from a light cleaning. Very faint and fine craquelure apparent in areas of heavy impasto, such as a vertical line in the upper left corner 8 cm (3 1/8 in.) long. Inspection under UV light, beyond a small area of variation at the upper right corner, 4 cm (1 5/8 in.) in length, reveals no other signs of potential retouching. N.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.

HENRI MARTIN (FRENCH 1860-1943)Boy with Sailboat, circa 1932-1935 oil on panel 45 x 37 cm (17 3/4 x 14 5/8 in.) signed lower right PROVENANCEPurchased from Chaite Gallery, Paris, 1950Private collection, New YorkWe are grateful to the Musee de Cahors Henri-Martin for assistance in cataloging this lot.LOT NOTESThe present lot was created in the early 1930s, when Henri Martin began to lean towards pointillism in his painting style. The painting depicts a boy who is preparing to launch his sailboat on the water of pond on a beautiful sunny afternoon. The subject, as well, as the manner of painting, point out at the decoration of the staircase of the building of the City Hall of the 5th arrondissement of Paris. In 1932 the administration of the City Hall commissioned Henri Martin to create a group of panels to complete the walls of the rotunda staircase on the first floor of the building. As the subject matter for this decoration, the artist chose the Luxembourg Garden and its pond. It is very likely that the present lot was a study for one of the characters (see attached reference image). The composition comprises of five panels, three of which depict the pond with children racing their toy sailboats, and the other two show shaded walkways on the sides. The work was completed in 1935 and still remains today at its original location. CONDITIONObserved in frame, the work is in very good original condition with no apparent issues to report. Inspection under UV shows no apparent areas of restoration.N.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.

Property from a Deceased Estate1938 Bentley 4 ¼-litreCoachwork by Freestone & WebbRegistration no. CTF 148Chassis no. B66LSMileage: TBAMoT: Exempt *Previously owned by collector Gordon Wiley*Attractive colour combination*Interesting earlier correspondence Featuring Freestone and Webb razor-edge 'brougham' sports saloon bodywork with single sidemount, this 4 ½-litre has been restored in the past and was running when it was put into storage. Sold new to Lancashire resident Herman Rawlinson it was in the hands of Douglas Hall in May 1952 (as detailed by the 1953-issued continuation logbook), followed by Stafford dealer Charles Clark & Son and, in October 1957, was in the hands of William Crump, before moving to Nottinghamshire and Clement Oscar Day. Bentley specialist Ristes carried out an extensive restoration in the late 1970s and it was bought by Gordon Wiley in 1996. In addition to the continuation logbook Ristes' invoices covering the period 1978 to 1980 detail the work carried out. Today the black over red bodywork effects a delightful art deco air and the patinated maroon interior is believed to be the original. Some re-commissioning will be required. With unusual, attractive Freestone and Webb 'brougham' sports saloon coachwork this 4 ¼-litre will require some light re-commissioning. Property from a deceased estate.Footnotes:Vendor Score Total: 63/100Bidders should note that the automated 100-point Seller's Assessment is provided by each Seller at the point of consignment using the guidelines below, and is not provided, assessed or verified by Bonhams MPH. Accordingly Customers (Bidders) are on notice that each vehicle is offered 'as is / as seen' subject to the Conditions of Sale for the auction, and Customers (Bidders) are strongly recommended to view the Lot(s) being offered, before bidding, in order to satisfy themselves as to their condition; Bonhams MPH will not entertain disputes over Sellers' Assessments. Key for sellers' assessments:1/5 POOR. A project vehicle | Requires urgent attention | Damaged | Parts missing2/5 AVERAGE. Useable condition | Requires some attention | Light damage3/5 GOOD. Drive away | Presents well | Good history file | Drives well4/5 VERY GOOD. Well restored | Running and driving with no noticeable faults | Sound throughout5/5 EXCELLENT. Concours condition | Beautifully presented | Driving very wellEXTERIOR TOTAL: 16/25Body Work: 4Chrome/Plastics/Trim: 3Glass: 3Paint: 3Wheels/Tyres: 3INTERIOR TOTAL: 14/20Dashboard/Door cards/Carpets: 3Headlining: 4Seats: 4Trim: 3ENGINE TOTAL: 11/20Mechanical components: 3Running: 3Starting: 3Under Bonnet: 2RUNNING GEAR TOTAL: 12/20Axles: 3Brakes: 3Gearbox/Clutch: 3Suspension: 3ELECTRICAL TOTAL: 6/10Ancillary components: 3Main components: 3Car History File: 4For further information on this lot please visit Bonhams.com

A quantity of early 19th c. English teapots, etc. including New Hall, a/f.

Late 18th century and later porcelain coffee cans, tea bowls, saucers etc to include New Hall, Shorthouse, Spode and others

COLLECTION OF ENGLISH PORCELAIN TEAPOTS, 19th century, mainly Spode, Hew Hall and New Hall type, with painted and gilt decoration (8)

Graham Farish By Bachmann Masterpieces in miniature N Gauge 1. 148. (3) in total. All boxed detailed scale models for adult collector. All the models are as new - never been out of box. 1. 49XX Hall 5955 Garth Hall BR Green - green late crest item no 372000 2.Class 66 diesel 66701 GB railfreight item no 371 377 3. class 37/4 37417 Highland region item no 371155.

FERMI ENRICO: (1901-1954) Italian Physicist, Nobel Prize winner for Physics, 1938. Fermi worked on the Manhattan Project to develop an atomic bomb during World War II. A very fine Autograph Statement signed, one page, slim oblong 8vo, Stockholm, 11th December 1938, in Italian. Fermi writes, in full, 'I am convinced that physical sciences should orientate themselves towards an intense collaboration with other sister sciences and equally with biology. I hope that such a tendency, which is developing, could benefit both branches'.  An excellent scientific related statement signed by Fermi at a significant point in his life and career. Some light creasing and age wear to the edges, only very slightly affecting a few words of text but not the signature, about VG Fermi had been one of just two Nobel Laureates (the other being Pearl S, Buck) present at the Stockholm Concert Hall on 10th December 1938, the day before signing the present statement, to receive their Nobel Diplomas and Medals from King Gustav V. Following his visit to Stockholm in December 1938 Fermi did not return to Italy but instead travelled to New York City with his family where they applied for permanent residency looking to become US citizens primarily due to the racial laws in Italy. It was not long after arriving in New York, in January 1939, that Fermi and other scientists, including Niels Bohr, began to discuss the newly discovered phenomenon of fission as a possible source of nuclear power.

BINDINGS / ENGRAVINGS - A GOOD COLLECTION, COMPRISING HALL, SAMUEL CARTER (EDITOR) THE ROYAL GALLERY OF ART, ANCIENT AND MODERN: ENGRAVINGS FROM THE PRIVATE COLLECTIONS OF HER MAJESTY THE QUEEN AND HIS LATE ROYAL HIGHNESS THE PRINCE CONSORT London, Virtue & Co, [circa 1860]. Two volumes (complete), folio, numerous fine steel-engraved plates, a very good copy internally in the original publisher's red cloth, gilt boards, cloth faded/worn in parts, new end-papers. Plus: THE ART JOURNAL Published in London by J S Virtue & Co, 9 volumes for the years 1873-1875, 1885-1886, and 1889-1892, folio, numerous full-page engravings and other illustrations throughout, good copies attractively bound in half-leather (bindings not uniform). Plus: THE ARTIST. Four volumes for the years 1896-1899, small folio, plates, profusely illustrated, 19th century half calf, rubbed with some wear (15)

English School, 17th centuryPortrait of Edward, 1st Earl of Gainsborough (1641-1689)Inscribed 'Edward / 1st Earl / of Gainsbo / rough' u.l., oil on canvas, in a painted feigned oval74 x 56cmProvenance: Harpley Hall, Norfolk (now sadly demolished); Cheffins, 23 March 2011, Lot 529;Wood Hall, Arkesden, Essex.Edward Noel represented Rutland in the House of Commons of England from 1661 to 1679. He was appointed a deputy lieutenant of Rutland in March 1670. In 1676, he was appointed Lord Lieutenant of Hampshire in February, and Warden and Keeper of the New Forest in March. He succeeded his father in October as Viscount Campden and as Lord Lieutenant and Custos Rotulorum of Rutland, and was further honoured at the end of the year when he was created Earl of Gainsborough on 1 December 1682.Condition report: Oil on canvas which has been lined. The paint layer has suffered from extensive damage in the past. There are some raised edges following the age cracks. The surface texture is uneven with areas of fill. There is extensive retouching across the surface, in the darker background this is less obvious than in the face. The varnish is clear and semi-glossy with a slight bloom in areas. The gilded surface of the frame has numerous chips and losses and has been covered in metallic paint.

Circle of Jean-Baptiste Van Loo (French, 1684-1745)Portrait of Horatio, 1st Lord Walpole of Wolverton, PC (1678-1757), half length, in long grey wig, blue jacket and gold waistcoatOil on canvas73 x 62cmProvenance: West Acre High House, Norfolk; Cheffins, 'West Acre High House', 24 November 2010, Lot 520, where acquired by the vendor;Wood Hall, Arkesden, Essex.Horatio Walpole was the son of Robert Walpole of Houghton Hall, Norfolk. Jean-Baptiste Van Loo’s original painting of Horatio Walpole is in the Norwich Castle Museum, Norfolk.Horace Walpole entered Parliament in 1702, remaining a member for fifty-four years. In 1715, when his brother, Sir Robert, became first Lord of the Treasury, he was made Secretary to the Treasury, and in 1716, having already had some experience of the kind, he went on a diplomatic mission to The Hague. He left office with his brother in 1717, but he was soon in harness again, becoming secretary to the lord-lieutenant of Ireland in 1720 and Secretary to the Treasury a second time in 1721.In 1722 he was again at The Hague, and in 1723 he went to Paris, where in the following year he was appointed envoy extraordinary and minister plenipotentiary. He got on intimate terms with Fleury and seconded his brother in his efforts to maintain friendly relations with France; he represented Great Britain at the congress of Soissons and helped to conclude the treaty of Seville (November 1729). He left Paris in 1730 and in 1734 went to represent his country at The Hague, where he remained until 1740, using all his influence in the cause of European peace. He was in 1739 a founding governor for London's most fashionable charity of the time, the Foundling Hospital.After the fall of Sir Robert Walpole in 1742, Horatio defended his conduct in the House of Commons and also in a pamphlet, 'The Interest of Great Britain steadily pursued'.In 1724 he engaged Thomas Ripley to design him a new house at Wolterton in Norfolk to replace one that had burnt down. Wolterton Hall was completed in 1742.In 1756 he was created Baron Walpole of Wolterton and he died 5 February 1757 at his house in Whitehall.Condition report: Oil on canvas which has been lined. The tension is stiff and the canvas is in plane. The paint layer is in a good condition overall. There is an old damage in the sitter's jacket which has been filled and retouched, the retouching is starting to flake away. There are other, small, scattered retouchings across the surface which are reasonably well matched to the original. The varnish is yellowed and semi-matte with a layer of surface dirt and accretions. There is wear and loss to the gilded surface on the frame and a heavy build up of dust.

John Hoppner RA (1758-1810)Portrait of William, 1st Earl of Lonsdale (1757-1844), head and shoulders, in a black coat and white stockOil on canvas74 x 62cmProvenance: Sworders, 25 February 2011, Lot 625, where acquired by the vendor;Wood Hall, Arkesden, Essex.Lowther was briefly Member of Parliament for Appleby in 1780, for Carlisle from 1780 to 1784 and for Cumberland from 1784 to 1790. In 1796, he was returned as Member of Parliament for Rutland, holding the seat until 1802. In that year, he inherited by special remainder the titles of Viscount Lowther and Baron Lowther from his third cousin once removed, the Earl of Lonsdale of the first creation, as well as his immense estates. He was also appointed to the northern Lord Lieutenancies of Cumberland and Westmorland. In 1807 Lowther was himself created Earl of Lonsdale and appointed a Knight of the Garter.A coal magnate, he spent £200,000 on the Lowther estate and built a new Lowther Castle. A Tory in politics, he seems to have been tolerant and well-liked, disdaining sabbatarianism and serving as patron for a number of painters and authors, including William Wordsworth. Lonsdale died at York House, Twickenham in 1844. Lowther also enjoyed hunting, serving as Master of the Cottesmore Hunt from 1788 to 1802 and 1806 to 1842.Condition report: Oil on canvas which has been lined. The canvas is in plane and the tension is stiff. The paint layer is in a stable condition overall. There are extensive passages of retouching in the background which have darkened and as well as in the sitter's face. The varnish is clear and even with a light layer of surface dirt.

A pair of Davenport tea cups and saucers in Imari palette, pattern number 3545; a 19th century porcelain tea bowl and saucer painted with rose baskets and puce fret borders (perhaps New Hall); and a 19th century foliate blue and white transfer decorated tea cup and saucer

Collection of late 18th/early 19th Century porcelain to include: teabowls, saucers and a teapot with handpainted floral sprays, 15cm high, some possibly New Hall

Of Royal Provenance. One of only two known regulators by Thomas Reid with his spring pallet escapement and pendulum. A fine and very rare early 19th century mahogany floorstanding regulator of one month duration, DATED 1816.Reid and Auld, Edinburgh. The movement repeat signed and dated.The case:the shallow arched hood with moulded cornice over canted front angles to a concave throat moulding, the dial surround lined in brass, over a long trunk door with shaped glazed panel to reveal the arc of the pendulum against an engraved silvered beat scale, and the descent of the brass cylindrical weight, flanked by conforming canted front angles, on a panel base with applied shaped moulding on a plinth raised on block feet. The interior of the trunk door applied with various labels including a 19th century printed 'Table of the Equation of Time'; a description of the clock hand written in sepia ink; an oval label of the 20th century Antique clock retailer Percy Webster; and an illustration from Britten's Encyclopedia of 1894. Further set with the engraved brass presentation plaque 'Presented to / THE LADY ALICE MONTAGU DOUGLAS SCOTT / on the occasion of her Marriage with / H.R.H. THE DUKE OF GLOUCESTER, K.G., P.C., K.T. / From the Directors & Senior Officials of the Royal Bank of Scotland / of which Bank her Father / The Seventh Duke of Buccleuch & Queensberry K.T., GVCO was Governor / 6th November 1935.' The backboard of solid mahogany one inch (25mm) in thickness sporting a shaped heavy cast iron plate occupying nearly half the length of the backboard to support both the movement and the pendulum. The dial:the 9.5 inch shallow arched dial signed in the upper part 'Reid & Auld, Edinburgh' in a flowing script over an Arabic minute track marked in tens, the upper half of the dial containing the Arabic seconds ring, the lower with a twice 1-12 Arabic hour ring, with original blued steel hands.The movement: of one month duration and heavy brass plates cast to allow the positioning of the barrel to the left hand side, united by four substantial turned pillars and secured to the cast iron seat-plate by three very heavy brass brackets, the seat-plate located on two pairs of brass angled brackets mounted to the tops of the case cheeks, the entire lower assembly using 18 screws to lock the movement in position. The movement is further secured within the case by a bridge-arrangement spanning from the heavy cast iron plate on the case back board to an extension piece set above the movement backplate. The iron horizontal seat plate and the vertical backboard plate both carry pairs of runners that would have originally located the brass-framed and glazed dust cover (cover now lacking). The brass weight suspended on a pulley of six crossings, pulling the gut line through a moving slide set on runners on the seatplate. The wheel train:the five wheel train with high count wheels of six crossings with pinions ranging from 24 on the second wheel to 16 on the 'scape wheel, terminating in Reid's deadbeat spring pallet escapement, all arbors with hardened steel end-plates where possible. The long crutch to Reid's own pendulum consisting of a larger diameter hollow zinc tube flanked by a pair of steel rods terminating in a typical massive bob with engraved rating nut. 174cms (5ft 8.5ins) high. Footnotes:Provenance: Their Royal Highnesses, The Dukes of Gloucester.A wedding present from the Directors and Senior Officials of the Royal Bank of Scotland to Lady Alice Montagu Douglas Scott, later Princess Alice, Duchess of Gloucester (1901-2004). Lady Alice married Prince Henry, Duke of Gloucester (1900-1974), the third son of George V, on 6th November 1935.The oval plaque applied to the interior of the case is that of Percy Webster, the highest profile antique clock dealer working between the wars. Webster would have been the natural choice for anyone wishing to buy the finest clocks on the market at that time. The current clock is one of only four known regulators in the world by Thomas Reid, and one of only two that retain his original spring pallet escapement and pendulum. All four were made between 1811 and 1818 and comprise:1811 made for Lord Gray for his private observatory at Kinfauns Castle, Perthshire, Scotland. The month duration movement has a mercury pendulum and is remarkable for the use of anti-friction rollers. Remained with the family until 1934, altered to Richie's deadbeat escapement at about this time. Advertised by Derek Roberts Antiques, Tonbridge, Kent, in 'Antiquarian Horology' Vol.19, no.2, p131. 'This historically and technically very important regulator of 45 days duration was made by Reid virtually regardless of expense.'1813 made for Calton Hill Observatory, Edinburgh. Eight day duration, mercury pendulum. Altered in the 1850s to deadbeat escapement. Used, among other things, to time the daily firing of the gun at Edinburgh Castle at 1pm, and to ensure the correct drop of the time ball of the Nelson monument on Calton Hill. See 'Antiquarian Horology', Vol. 8, no.1, pp.51-61. 'The Astronomical clocks at the Observatory, Calton Hill, Edinburgh' by Christopher Wood, F.R.A.S.1816 the current lot. Month duration, original escapement and pendulum. Royal ownership since 1935. 1818 Month duration, original escapement and pendulum. Donated in the late 19th century by E. Thompson to the British Horological Institute. Restored in the late 1980s - see 'The BHI Reid and Auld Spring Pallet Regulator' by R. John Griffiths, 'Horological Journal', August 1992. Thomas Reid was born in Dysart, near Fife in 1746. Aged 16 he was apprenticed to his gifted clockmaking cousin James Cowan. When the latter died, Thomas returned from London to take over the business, proclaiming in the 28th November 1781 Edinburgh Evening Courant that '.... having received the instructions of the first masters in that profession, did carry on business and was employed in the execution of first-rate work there..' He ends the announcement with the promise that '..he makes no doubt of giving entire satisfaction to his employers'. Reid's skill and confidence were soon rewarded with public commissions all over Scotland including the first clock for the spire of St. Andrews Parish Church on George Street and improvements to the clock of St Giles' Kirk. His two movements for Annan Town Hall are particularly remarkable in that he designed them so as to allow access to each of the wheels independently from one another. He is best known today for his treatise 'On Clock and Watch making' written in retirement and which eventually ran to six editions. He died on 24th September 1831. Thomas Reid took William Auld into partnership in 1806. Comparative literature:'The BHI Reid and Auld Spring Pallet Regulator dated 1818', R. John Griffiths, 'Horological Journal', Vol.135, no.2.'William Hardy and his spring-pallet regulators', Charles Allix, 'Antiquarian Horology', vol.18, no.6 pp.607-629.Roberts, D. (2003) 'English Precision Pendulum Clocks'. Schiffer Publishing. pp.94-100.Smith, J. (1975) Old Scottish Clockmakers from 1453 to 1850. Redwood Burn Limited. A review of the innovation following the pioneering work with gravity escapements from the earlier years of the 18th century is given below:THOMAS REID'S SPRING PALLET REGULATORSby Andrew KingWith the considerable advance towards the development of the marine timekeeper in the middle years of the eighteenth century, thought was evolving with new ideas to increase the precision of pendulum regulators. The dead beat escapement refined by George Graham earlier in the century was a very simple and generally robust system, but with the more recent successful achievement of the detached spring detent escapement in what was now, by the late eighteenth centur... For further information on this lot please visit Bonhams.com

CHARLES DICKENS "Nicholas Nickleby" with illustrations by Phis, printed London Chapman & Hall and dated 1889, CHARLES DICKENS "Dombay & Sons" with illustrations by H.K Browne, Bradbury & Evans London 1848, CHARLES DICKENS "Little Dorrit" published Bradbury & Evans London 1857, CHARLES DICKENS "The Adventures of Oliver Twist New Edition Revised" published Bradbury & Evans Whitefriars, together with a copy of "The Pilgrims Progress" by JOHN BUNYAN published Castille Petter & Galpin

A collection of twenty-nine early 19th Century bone china coffee cans, including Miles Mason, Minton, Derby, Coalport, New Hall and Davenport. (29)

FREE/AVANT/IMPROVISATION/HARD BOP JAZZ - LPs. Fantastic collection of 23 x diverse LPs. Artists/titles include (Charlie Mingus presents) - The Quintet Of The Year, Jazz At Massey Hall (scarce UK 1956 pressing on Vogue, LAE 12031 - VG+ well presented record/Ex), Joe Gallivan & Charles Austin - Expression To The Winds (Spitball Records SB 6 - fully signed sleeve), Illinois Jacquet - S/T (hard to find og UK mono, Columbia 33SX 1529), Grachan Moncur III - New Africa (og French release from 1969, 529.321), Die Enttäuschung - S/T, George Wein And The Storyville Sextet, Veryan Weston, Gunter Hampel And His Galaxie Dreamband, The Tony Williams Lifetime, Howard Roberts, Paul Bley Quintet, Freddy Robinson, Billy Mayerl, Dizzy Gillespie, Randy Weston, Peter Ponzol - Prism (signed) and Tommy Flanagan. Condition is often well presented Ex to Ex+ or 'NM' (records) and VG+ to Ex (sleeves).

A variety of ceramics including lustre ware such as Maling wall mounted vase, New Hall vase in green, and large Mintons bowl having cockerel to centre, also included are two Royal Doulton plates, and one Wedgewood plate amongst other items.

Eight (8) Obsolete currency notes, including State of Tennessee bond signed by Governor William Gannaway "Parson" Brownlow (1805-1877), one (1) 1773 Pennsylvania colonial note, four (4) Southern bank notes, and two (2) Confederate States of America (CSA) notes. 1st item: 1868 United States of American State of Tennessee One Thousand Dollar bond note. Issued to Louisville and Nashville Railroad, January 1, 1868. Serial # 1777. Signed by Governor William G. Brownlow and Secretary of State A. J. Fletcher. Includes fifty-nine (59) intact coupons. Encapsulated (not laminated) in a plastic archival sleeve. 24 7/8" H x 18" W. 2nd item: 1773 Pennsylvania Fifteen Shillings colonial note. Issued on October 1, 1773. Printed by Hall and Sellers, Philadelphia. Serial # 4132. Signed by Jonathan Mifflin, Alexander Tod, and James Hartley. Encapsulated (not laminated) in a plastic archival sleeve. 3 3/4" H x 2 7/8" W. 3rd item: 1855 Tennessee Mechanics of Bank Memphis Ten Dollar note. Issued March 1, 1855. Printed by Danforth, Wright, and Company, New York, Philadelphia. Serial # 264. Signed by the bank president and cashier. Housed in a plastic archival sleeve. 3 1/8" H x 7 1/4" W. 4th item: 1861 New York Williamsburg City Bank Three Dollar note. Issued April 15, 1861. Printed by Toppan, Carpenter, Casilear, and Company, New York. Serial # 4708. Signed by the bank president and cashier. Encapsulated (not laminated) in a plastic archival sleeve. 3 1/8" H x 7 1/4" W. 5th item: 1861 Alexandria, Loudoun & Hampshire Railroad Company Twenty-Five Cents note. Issued on May 25, 1861. Printer unspecified. Serial # 122. Signed for the company. Encapsulated (not laminated) in a plastic archival sleeve. 2 3/4" H x 6 1/4" W. 6th item: 1861 Farmers Bank of Virginia Two Dollar note. Issued June 20, 1861. Printer unspecified. Serial # 341. Signed by the bank president and cashier. Encapsulated (not laminated) in a plastic archival sleeve. 3 1/4" H x 7" W. 7th item: 1864 Confederate States of America Twenty Dollar note. Issued February 17, 1864. Printed by Keating and Ball, Columbia. Serial # 11796, 11th Series. Signatures "for Registrar" and "for Treasurer". Encapsulated (not laminated) in a plastic archival sleeve. 3 1/4" H x 7 1/4" W. 8th item: 1864 Confederate States of America Two Dollar note. Issued February 17, 1864. Engraved and printed by Keating and Ball, Columbia. Serial # 49948. Signatures "for Registrar" and "for Treasurer". Encapsulated (not laminated) in a plastic archival sleeve. 3 1/8" H x 7 1/4" W. All housed in a faux black leather and red canvas portfolio. Portfolio - 26" H x 20 3/4" W x 1/2" D. Third quarter 18th/third quarter 19th century. Provenance: the estate of Dr. Benjamin Caldwell, Jr., Nashville, Tennessee. CONDITION: All items in circulated condition. Portfolio in worn condition. 1st item: Signatures in overall visible, clear condition. Tears, areas of separation to fold lines, largest 6 1/4" (does not affect signatures).

Five (5) 19th century lithographs, including one (1) Donaldson Sign Company "The Great Steamboat Race" Race, three (3) History of the Indian Tribes of North America, and one (1) later Currier & Ives "Midnight Race of the Mississippi". 1st item: Chromolithograph titled "The Great Steamboat Race", published by the Donaldson Sign Company, Cincinnati, circa 1880-1890. Depicts a steamboat race that occured between the Natchez and the Robert E. Lee on the Mississippi River between New Orleans and St. Louis in 1870. Publication information lower right. Hinge mounted to a double mat. Sight - 19 5/8" H x 29 3/4" W. Sheet - 21 1/2" H x 33" W. Mat - 28" H x 38" W. 2nd-4th items: Three (3) Native American lithographs from The History of the Indian Tribes of North America, by Thomas McKenney and James Hall, published by F. W. Greenough, Philadelphia, 1836-38, including "Push-Ma-Ta-Ha: A Choctaw Warrior" depicting a bust portrait of Pushmataha (1764-1824) also spelled Pooshawattaha, Pooshamallaha, or Poosha Matthaw), the "Indian General" and one of the three regional chiefs of the major divisions of the Choctaw in the 19th century, in a navy blue and red military uniform with gold shoulder epaulets. Title and publication information, lower center under image. Housed in a pink mat. Sight - 15 1/8" H x 11 1/8" W. Mat - 20 1/8" H x 16 1/8" W; "Wa-Em-Boesh-Kaa. A Chippeway Chief" depicting a bust portrait of Chief Waemboeshkaa wearing a headdress, collar, and wrist cuffs, and smoking a pipe with feathers and a bowl shaped like an eagle's head. Title and publication information, lower center under image. 21 1/2" H x 15 3/8" W; lithograph titled "War Dance of The Sauks and Foxes" depicting a group of Native Americans from the Sac and Fox Nation dressed in ceremonial garb and engaged in a "War Dance". Title and publication information, lower center under image. 15 1/2" H x 21 3/4" W. 5th item: Lithograph with hand-coloring titled "Midnight Race of the Mississippi", published by Currier and Ives, New York, 1875. Depicts a steamboat race that occured between the Memphis and the James Howard on the Mississippi River. Signed "M" in the stone, lower left. Publication information, lower center under image. Housed under glass in a wooden frame with gilt wood rabbet edge. Image - 9" H x 13 1/4" W. Sight - 12 3/4" H x 15 5/8" W. Framed - 16 5/8" H x 19 1/2" W. CONDITION: 1st item: Wrinkles/creases and toning to sheet. Tears, largest 4" to edges of sheet. 2nd-4th items: Overall good condition with toning, acid burn, minute foxing spots, surface scuffs, etc. Push-Ma-Ta-Ha with areas of dampstaining, largest 5", extending under mat. Wa-Em-Boesh-Kaa with areas of loss, largest 3/8" to edges of sheet. War Dance with minor creases, tears, areas of loss, largest 1/4", edges of sheet. 5th item: Toning, areas of acid burn, largest 12 3/4". Not examined outside of frame.

Important c. 1734 mezzotint portrait of Jonathan Belcher, the Colonial Governor of Massachusetts and founder of the College of New Jersey, now Princeton University; engraving by John Faber the Younger (British, 1684-1756) after the now-lost painting by Richard Phillips. Over the subject's left shoulder is a view of Beacon Hill and its environs, derived from a circa 1723 engraving by William Burgis. Belcher is depicted standing in curly white wig and formal coat, holding his commission, with the royal seal (lower right) and the Belcher family arms (center, lower margin). Old Bowling Green, KY framer's business card taped to back of frame. Housed under glass in an ebonized frame with gilt rabbet edge. Sheet - 9 3/4" H x 13 7/8" W. Framed - 16" H x 12 1/2" W. Note: Jonathan Belcher (1682-1757) was a third-generation descendant of an early settler of the Massachusetts colony (Andrew Belcher). He became a prosperous merchant and was colonial governor of the British colonies of Massachusetts and New Hampshire from 1730-1741, and of New Jersey from 1746 until 1757, the year of his death. According to the Princeton University website, Belcher, "alienated by religious developments at his alma mater, Harvard, sympathized with the fledgling college in New Jersey. On September 14, 1748, Belcher granted a second charter, which expanded the trustees from 12 to 23, stipulating that the governor would chair the Board of Trustees and that four seats would be reserved for members of the New Jersey Council. He also added three leading Philadelphians, placating a group that had felt excluded. These appointments, by not specifying religious affiliation, made Princeton the first American college whose trustees were drawn from more than one denomination. On November 9, 1748, at the College's first Commencement, the trustees conferred on Belcher Princeton's first honorary degree. Belcher encouraged the trustees to raise funds for a college building and played a central role in its location. While Newark, Elizabeth and New Brunswick were initial favorites, Belcher threw his influence behind Princeton -- 'as near the center of the Province as any and a fine situation.' Just before the College moved to Princeton, Belcher donated his 474-volume library, a full-length portrait of himself, his carved and gilded coat-of-arms, a pair of terrestrial globes, and portraits of 10 kings and queens of England. In gratitude, the trustees asked his permission to name the new building in his honor. Instead, the governor persuaded them to name it Nassau Hall, "for the glorious King William the Third of the illustrious House of Nassau," who was highly regarded by dissenters as a champion of religious freedom and political liberty. Although only six of Belcher's books have survived, he is still honored as the library's oldest benefactor. When Firestone Library was built in 1948, his coat of arms was carved in stone over the main entrance along with those of the University. Belcher's full-length portrait and the paintings of the 10 English monarchs were destroyed during the Revolution." (Source: https://princetoniana.princeton.edu/history/early-years/belcher). CONDITION: Even, overall toning. Margins trimmed to plate edge. Print has been fully adhered to a sheet of toned paper, which has been adhered to a mat board. Four small tears, up to 1" L, at lower edge of print (one extends to paper backing). Fine tear or deep crease/scratch upper left extending 2" from top edge of print. A few other small creases or fine tears extending from top edge. Scattered light abrasions and creases. Glass and frame appear to have some age but are likely not original; the print appears to have been re-framed in the 1970s. Scattered abrasions to the frame.

Archive of sixty three (63) 19th century Tennessee and Alabama Civil War related items, including McMinn County TN related Confederate Soldier Ambrotype, Alabama Civil War era autograph album, forty-five (45) envelopes postmarked to and from Blount County, Tennessee and Johnson's Island Union prison, Sandusky, Ohio, and more. 1st item: Ninth plate ambrotype depicting an unidentified Civil War Confederate McMinn County, Tennessee soldier, seated in his coat with a revolver in a holster at his waist, tinting to his cheeks. Housed in a partial decorative gutta percha case. 3" H x 2 1/2" W. 2nd item: Civil War era autograph album belonging to Laura Burtwell, Florence, Alabama, dated August 11, 1858, containing signatures, poems, and drawings, many dated circa 1860-1864. Most written directly onto the paper with one (1) cut signature. Album titled Casket of Mementos, published by Moss and Brothers, Philadelphia. Comprised of gilt edged pages, engraved frontispiece with tissue paper guard, hardbound in black and tan leather covers with blindstamp decorations and gilt lettering to covers and spine. 8 1/8" H x 6 5/8" W x 3/4" D. Note: Laura C. Burtwell was born in Florence, Alabama in 1848, and lived in Nashville for 46 years until her death in 1943. She had two brothers who served in the Confederate Army during the Civil War. John Robertson Bedford Burtwell was a graduate of West Point and rose to the rank of Colonel by the end of the War, and the other brother James Burtwell served as a private in 16th Alabama Infantry. 3rd-30th items: Twenty-seven (27) envelopes addressed to Mr. William Hall, Prisoner of War, Johnson's Island, Block 9, Mess 2, near Sandusky, Ohio, postmarked in various places in East Tennessee, dated between circa January 2-December 11 1864-1865, two (2) with illegible dates. Seven (7) with ink stamp indicating that the letter had been examined by a Johnson's Island official. All with red George Washington 3 cent stamps. Approximately 3 1/4" H x 5 5/8" W. 31st-55th items: Twenty five (25) envelopes addressed to Mrs. Elvira Hall, Knoxville, Greenback, and areas around Loudon and Blount County, Tennessee, eighteen (18) postmarked in Sandusky, Ohio, dated primarily between circa January 8-December 28, 1864-1865, one (1) postmarked December 22, 1879, one (1) postmarked May 11, 1895, and five (5) with illegible dates, no dates, or unclear dates. Nine (9) with ink stamp indicating that the letter had been examined by a Johnson's Island official. Twenty (20) with red George Washington 3 cent stamps, three (3) with blue locomotive 3 cent stamps, one (1) with a green George Washington 3 cent stamp, and one (1) with a red George Washington 2 cent stamp. One (1) envelope contains six (6) circa 1893 Columbian Commemorative stamps, including five (5) red Landing of Columbus 2 cent stamps, one (1) postmarked April 10, 1894, and one (1) blue Columbus in Sight of Land 1 cent stamp. Approximately 3 1/4" H x 5 5/8" W. 56th-57th items: Two (2) envelopes, one (1) addressed to Miss C. M. Howard, Four Mile Branch, Monroe County, East Tennessee, dated May 25, 1864, and one (1) addressed to W. R. Kerr, Knoxville Tennessee, dated June or July 1864, both postmarked in Sandusky, Ohio. Both with red George Washington 3 cent stamps. Approximately 3 1/4" H x 5 5/8" W. Note: William S. Hall resided in Blount County, Tennessee with his wife Elvira (listed on the 1860 census records as Nancy E). Hall enlisted in Company H, 62nd Tennessee Infantry on September 26, 1862. Hall's records are incomplete, however it is likely that he was captured at Vicksburg with the 62nd and was paroled but never reported to the parole camp in Mississippi. On September 13, 1863 he was arrested as a citizen and sent to Johnson's Island. Burial records show that William and Elvira are buried in Pine Grove Presbyterian Cemetery in Greenback, Loudoun County, Tennessee. (additional documentation available upon request). (Research courtesy of Bill Floyd). 58th-63rd items: Six (6) documents pertaining to East Tennessee Baptist churches, including one (1) related to The Baptist Church of Christ at Cedar Fork, Claiborne County, Tennessee, dated 1846, two (2) related to The Baptist Church of Meigs County, Tennessee, one (1) dated circa November 1860 and one (1) dated November 2, 1862, one (1) related to the New Hopewell United Baptist Church, Tennessee, dated circa May 1866, and two (2) unidentified, including one (1) dated November 1, 1841 and one (1) dated May 4 1866. Ranging in size from 3" H x 7 5/8" W to 7" H x 8" W.  CONDITION: 1st item: Image in overall very good, visible condition. Cover of case is not intact. 2nd item: Worn condition with rubbing to edges and corners, 5/8" area of peeling to spine. Pages in overall good, legible condition. 3rd-63rd items: Overall good condition with tears,areas of dampstaining, foxing spots, etc. to be expected from age.

Twelve (12) World War II United States propaganda posters by artists including John Atherton and Steve Broder. 1st item: Poster depicts a male soldier wearing a green helmet looking up while raising a United States flag on a pole. Text, in white across bottom left reads "To Have and to Hold!" and in large, red capital letters at the bottom "War Bonds". Published by the U.S. Government Printing Office, 1944, and reads "Official U.S. Treasury Poster" across the bottom. Unframed. 28" H x 20" W. 2nd item: Poster depicts a black and white photograph of a lady's hands, wearing a wedding ring, and knitting a baby sock. Red, white, and blue stripes run diagonally from top left to bottom right behind black text that reads "For the Future – Worth Fighting For …… Worth Saving for! – Buy More War Bonds through the Pay Roll Savings Plan during the Third War Loan Campaign." Published by the U.S. Government Printing Office, 1943. Text at bottom reads "Interdepartmental War Savings Bond Committee." Number "8" stamped in black and "Enclosure" stamped in purple en verso. Unframed. 28" H x 22" W. 3rd item: Poster depicts a large color illustration of the Concord Minuteman statue with a colonial town scene in the background, including a church, town hall with clock tower, trees, and silhouettes of people walking. Blue text at top reads "For Freedom's Sake" and in all capital red letters at bottom "Buy War Bonds". Signed "JA" in bottom right for artist John Atherton.Unframed. 28" H x 22" W. 4th item: Poster titled "New Air Raid Warning System" in all outlined white all-capital letters at the top, with light blue background and navy blue, red, and white text and graphics. Text describes different signals, their meanings, and mandated civilian actions in the event of an air raid in the United States. Published by the U.S. Government Printing Office, 1943. Text at bottom reads "Approved by the U.S. Office of Civilian Defense, The Eastern Defense Command, and the First Army." Unframed. 20" H x 28" W. 5th item: Poster titled "The Greatest Investment on Earth!" on a white background depicts red, white, and blue stripes running on a diagonal from the top left to bottom right corners, with a $25 war bond with a stone house in the middle of it, superimposed over a map of the contiguous United States, while a black and white illustration of a smiling husband and wife with their two children stand in the lower left. Text at bottom reads in all capitals "For Your Country…. Yourself….Your Family – War Bonds – Through The Pay Roll Savings Plan!" Published by the U.S. Government Printing Office, 1943. Unframed. 28" H x 22" W. 6th item: Poster titled "The United Nations Fight for Freedom" in white letters against a black background depicts the Statue of Liberty in white, in the lower left corner with her arm raised along the left side. The flags, in full color, of the thirty (30) countries of the United Nations are depicted with the name of each country in white text below its flag. Artist's name "Broder", for Steve Broder, appears at the center bottom. Published by the U.S. Government Printing Office, 1942. Unframed. 28" H x 22" W. 7th item: Poster depicts a subdued color scene with a deceased sailor in a blue uniform with white trim lying on a beach in the surf and a sunset sky, against a black background, with text below that reads "a careless word… – A Needless Loss." Artist's name printed below the picture "Anton Otto Fischer." Published by the U.S. Government Printing Office, 1943. Unframed. 28" H x 22" W. (for the full description and condition report, please visit our website at http://www.caseantiques.com).

Twenty (20) American currency notes, including colonial, silver certificates, legal tender, and fractional currency. 1st item: 1775 $7 Seven Dollars Continental Colonial Currency Note. Issued on November 29, 1775. Printed by Hall and Sellers. No serial number. J. Watkins, Jr. signature. 2nd item: 1779 Continental Currency $35 Thirty-Five Dollars Colonial Currency Note. Issued on January 14, 1779. Printed by Hall and Sellers. No serial number. George Bond signature. 3rd item: Series 1899 US $1 "Black Eagle" silver certificate, featuring a vignette of an eagle standing on the flag before the Capitol building, center, with the portraits of Abraham Lincoln and Ulysses S. Grant, below, left and right, obverse. Engraved by George Frederick Cumming Smillie (District of Columbia, 1854-1924). Serial # H12963596. Plate Serial # D3009. FR # 236. Lyons/Treat signatures. Housed in a rectangular slab. Slab - 8 3/8" H x 4 1/4" W. 4th item: Series 1923 US $1 "Horse Blanket/Cogwheel" Blue Seal silver certificate, depicting the portrait of George Washington, obverse. The "cogwheel reverse", reverse. Serial # B64402122D. Plate Serial # B6525. FR # 237. Speelman/White signatures. 5th item: Series 1917 US $2 Red Seal Legal Tender, depicting the portrait of Thomas Jefferson, engraved by James Smillie (New York, 1807-1885), left, vignette of the Capitol Building, center, obverse. The "bracelet reverse", reverse. Serial # E23468063A. Plate Serial # C935. FR # 60. Speelman/White signatures. 6th item: July 17, 1862 Ten Cents Fractional Currency note, depicting the portrait of George Washington. FR # 1242. First Issue. No signatures. 7th-9th item: Three (3) July 17, 1862 Five Cents Fractional Currency notes, depicting the portrait of Thomas Jefferson. FR # 1230. First Issue. No signatures. 10th item: March 3, 1863 Ten Cents Fractional Currency note, depicting the portrait of George Washington. FR # 1244. Second Issue. No signatures. 11th-12th items: Two (2) March 3, 1863 Five Cents Fractional Currency note, depicting the portrait of George Washington. FR # 1232. Second Issue. No signatures. 13th item: March 3, 1863 "Spinner" Fifty Cents Fractional Currency note, depicting the portrait of Francis E. Spinner, Treasurer of the United States. FR # 1331. Third Issue. Colby/Spinner signatures. 14th item: March 3, 1863 Twenty-Five Cents Fractional Currency note, depicting the portrait of William P. Fessenden, former Secretary of the Treasury. FR # 1294. Third Issue. Colby/Spinner signatures. 15th item: March 3, 1863 Ten Cents Fractional Currency note, depicting the portrait of George Washington. FR # 1255. Third Issue. Colby/Spinner signatures. 16th item: March 3, 1863 Fifty Cents Fractional Currency note, depicting the portrait of Samuel Dexter, former Secretary of the Treasury. FR # 1379. Fourth Issue. Allison/Spinner signatures. 17th item: 1874 Twenty-Five Cents Fractional Currency note, depicting the portrait of Robert J. Walker, former Secretary of the Treasury. FR # 1309. Fifth Issue. Allison/Spinner signatures. 18th-19th items: Two (2) 1874 Ten Cents Fractional Currency notes, depicting the portrait of William M. Meredith, former Secretary of the Treasury. One (1) FR # 1266 and one (1) undetermined. Fifth Issue. Allison/Spinner signatures. 20th item: 1875 "Bob Hope" Fifty Cents Fractional Currency notes, depicting the portrait of William H. Crawford, Secretary of War. FR # 1380. Fifth Issue. Allison/New signatures. Provenance: Estate of Anne Harrison Taylor & Joseph F. Taylor, Morristown, TN. CONDITION: All items in circulated condition. 3rd item: Tape residue across 3 1/4" tear to left side of bill.

Twenty-three (23) pieces flatware including early sterling and coin silver flatware with rounded fiddle handles and rounded fins, with C monogram, and marks for Paul Negrin and Hope Bros. of Tennessee. 1st-5th items: Five (5) coin silver teaspoons marked P NEGRIN in rectangle for Paul Negrin, active Nashville, 1823-1844 (5 1/2" L). 6th-12th items: Four (4) coin silver table or serving spoons (8 1/2" L) and three (3) teaspoons (6" L) marked for Hildeburn & Bros., active Philadelphia, 1852-1871. All monogrammed TF. 13th item: One (1) German silver or britannia metal serving spoon marked for Hall & Elton, working New York, mid 19th century. (9" L, not weighed). 14th-23rd items: Ten (10) pieces Wood & Hughes Louvre pattern sterling flatware, including three (3) serving spoons with mark for Knoxville retailer Hope Bros & Co. with LAT monogram (7"L), and seven (7) five o'clock spoons with Harris & Shafer mark (5 3/8" L), not monogrammed. Coin silver: 9.645 troy ounces. Sterling silver: 9.640 troy ounces. Provenance: Estate of Anne Harrison Taylor & Joseph F. Taylor, Morristown, TN. CONDITION: Some pieces with minor dents and tears. Largest tear 1/2" on Hildeburn Bros serving spoon. Small 1/8" L tear to one Negrin spoon. 13th item: overall surface wear; discoloration from tarnish and oxidation.

An early 19th century New Hall Porcelain dish, having pink border and floral decoration; together with one other similar; a Japanese tea bowl; a Japanese porcelain vase with flared rim and floral decoration; and a bland-de-chine teacup and saucer with relief floral decoration (5)Condition report: Blanc-de-chine cup and saucer has been cracked through and poorly repaired.

Nasser Azam Naran, 2020 Acrylic, collage and mixed media on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Nasser Azam (b. 1963, Jhelum, Pakistan) is a London-based British contemporary artist. Azam's reputation was established in the early 1980s, with exhibitions at galleries in Birmingham and the West Midlands, including the Barber Institute of Fine Arts.   In 2007, after an extended period living and traveling in Japan, Europe and America, Azam became Artist-in-Residence at County Hall Gallery, London, mounting a series of major exhibitions of early and recent work, including the critically acclaimed Anatomica in April 2008. It was at this time he began working with sculpture, and in February 2008 a monumental bronze, The Dance, was unveiled on London's South Bank.   It was followed in July 2012 by the unveiling of Athena in the London City Airport; at 12 metres it is the tallest bronze sculpture in the UK.   Azam has developed his painting in a series of projects that reflect his interest in extreme working conditions and also painting as a performance, from Zero Gravity (Star City, Moscow, 2008), to the freezing ice deserts of Antarctica (2010), where he completed thirteen large paintings.   A six metre high bronze sculpture, Evolutionary Loop 517 was unveiled outside the new research centre and library at Aberdeen University in May 2013, a month in which Azam also completed a commission of 25 art works for Costata, part of the Altamarea Group of restaurants in SoHo, New York. In June 2014, the group acquired 11 works for display at their flagship restaurant Marea in Manhattan, New York.   Azam unveiled the official portrait commission of Malala Yousafzai in November 2015 at the Barber Institute of Fine Arts, Birmingham, UK. The portrait is displayed permanently at the University of Birmingham. Azam's work is included in numerous private and public collections, including the Zabludowicz Collection and the Sovereign Arts Foundation.  

Nasser Azam Antarctica XV.I, 2020 Acrylic, collage and mixed media on paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Nasser Azam (b. 1963, Jhelum, Pakistan) is a London-based British contemporary artist. Azam's reputation was established in the early 1980s, with exhibitions at galleries in Birmingham and the West Midlands, including the Barber Institute of Fine Arts.   In 2007, after an extended period living and traveling in Japan, Europe and America, Azam became Artist-in-Residence at County Hall Gallery, London, mounting a series of major exhibitions of early and recent work, including the critically acclaimed Anatomica in April 2008. It was at this time he began working with sculpture, and in February 2008 a monumental bronze, The Dance, was unveiled on London's South Bank.   It was followed in July 2012 by the unveiling of Athena in the London City Airport; at 12 metres it is the tallest bronze sculpture in the UK.   Azam has developed his painting in a series of projects that reflect his interest in extreme working conditions and also painting as a performance, from Zero Gravity (Star City, Moscow, 2008), to the freezing ice deserts of Antarctica (2010), where he completed thirteen large paintings.   A six metre high bronze sculpture, Evolutionary Loop 517 was unveiled outside the new research centre and library at Aberdeen University in May 2013, a month in which Azam also completed a commission of 25 art works for Costata, part of the Altamarea Group of restaurants in SoHo, New York. In June 2014, the group acquired 11 works for display at their flagship restaurant Marea in Manhattan, New York.   Azam unveiled the official portrait commission of Malala Yousafzai in November 2015 at the Barber Institute of Fine Arts, Birmingham, UK. The portrait is displayed permanently at the University of Birmingham. Azam's work is included in numerous private and public collections, including the Zabludowicz Collection and the Sovereign Arts Foundation.  

Nasser Azam Antarctica X.II, 2020 Acrylic, collage and mixed media on paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Nasser Azam (b. 1963, Jhelum, Pakistan) is a London-based British contemporary artist. Azam's reputation was established in the early 1980s, with exhibitions at galleries in Birmingham and the West Midlands, including the Barber Institute of Fine Arts.   In 2007, after an extended period living and traveling in Japan, Europe and America, Azam became Artist-in-Residence at County Hall Gallery, London, mounting a series of major exhibitions of early and recent work, including the critically acclaimed Anatomica in April 2008. It was at this time he began working with sculpture, and in February 2008 a monumental bronze, The Dance, was unveiled on London's South Bank.   It was followed in July 2012 by the unveiling of Athena in the London City Airport; at 12 metres it is the tallest bronze sculpture in the UK.   Azam has developed his painting in a series of projects that reflect his interest in extreme working conditions and also painting as a performance, from Zero Gravity (Star City, Moscow, 2008), to the freezing ice deserts of Antarctica (2010), where he completed thirteen large paintings.   A six metre high bronze sculpture, Evolutionary Loop 517 was unveiled outside the new research centre and library at Aberdeen University in May 2013, a month in which Azam also completed a commission of 25 art works for Costata, part of the Altamarea Group of restaurants in SoHo, New York. In June 2014, the group acquired 11 works for display at their flagship restaurant Marea in Manhattan, New York.   Azam unveiled the official portrait commission of Malala Yousafzai in November 2015 at the Barber Institute of Fine Arts, Birmingham, UK. The portrait is displayed permanently at the University of Birmingham. Azam's work is included in numerous private and public collections, including the Zabludowicz Collection and the Sovereign Arts Foundation.  

Nasser Azam Queen, 2020 Acrylic, colleage and mixed media on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Nasser Azam (b. 1963, Jhelum, Pakistan) is a London-based British contemporary artist. Azam's reputation was established in the early 1980s, with exhibitions at galleries in Birmingham and the West Midlands, including the Barber Institute of Fine Arts.   In 2007, after an extended period living and traveling in Japan, Europe and America, Azam became Artist-in-Residence at County Hall Gallery, London, mounting a series of major exhibitions of early and recent work, including the critically acclaimed Anatomica in April 2008. It was at this time he began working with sculpture, and in February 2008 a monumental bronze, The Dance, was unveiled on London's South Bank.   It was followed in July 2012 by the unveiling of Athena in the London City Airport; at 12 metres it is the tallest bronze sculpture in the UK.   Azam has developed his painting in a series of projects that reflect his interest in extreme working conditions and also painting as a performance, from Zero Gravity (Star City, Moscow, 2008), to the freezing ice deserts of Antarctica (2010), where he completed thirteen large paintings.   A six metre high bronze sculpture, Evolutionary Loop 517 was unveiled outside the new research centre and library at Aberdeen University in May 2013, a month in which Azam also completed a commission of 25 art works for Costata, part of the Altamarea Group of restaurants in SoHo, New York. In June 2014, the group acquired 11 works for display at their flagship restaurant Marea in Manhattan, New York.   Azam unveiled the official portrait commission of Malala Yousafzai in November 2015 at the Barber Institute of Fine Arts, Birmingham, UK. The portrait is displayed permanently at the University of Birmingham. Azam's work is included in numerous private and public collections, including the Zabludowicz Collection and the Sovereign Arts Foundation.  

Tongyu Zhao Afternoon Garden, 2020 Pencil, pen and collage on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) b. Hubei, China. 93. Tongyu is an artist based in her guts, she thinks about material/ object encounters and habituated chores. With an often intuitive but coy language, Tongyu intends to stir up insignificant life moments and ponder about its weirdness. Incorporating craft techniques, drawing and domestic objects, Tongyu is currently working on a series of new works in her studio in Zhuhai, China. Tongyu has performed and exhibited at Mana Contemporary, Links Hall, Rational Park and Co-prosperity Sphere and alternative spaces like the Hebru Brantley Studios and the Meekling Press in Chicago, IL. She has performed at the Centre A gallery in Vancouver, Canada as part of the group show Here I only worry about my feet, your feet, everybody's feet curated by Christian Vistan. She's a recipient of the Ox-bow School of Art LeRoy Neiman Fellowship (2016). Tongyu recently finished a collaborative residency project at Guangdong Times Museum Banyan Commune, with artist Sam Chao as aoandaoband. Their community based project Bald spot of an eight-year-old balloon is open till May 5th 2019.

Tongyu Zhao For a Trembling Thought, 2020 Watercolour, pencil, charcoal and collage on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) b. Hubei, China. 93. Tongyu is an artist based in her guts, she thinks about material/ object encounters and habituated chores. With an often intuitive but coy language, Tongyu intends to stir up insignificant life moments andponder about its weirdness. Incorporating craft techniques, drawing and domestic objects, Tongyu is currently working on a series of new works in her studio in Zhuhai, China. Tongyu has performed and exhibited at Mana Contemporary, Links Hall, Rational Park and Co-prosperity Sphere and alternative spaces like the Hebru Brantley Studios and the Meekling Press in Chicago, IL. She has performed at the Centre A gallery in Vancouver, Canada as part of the group show Here I only worry about my feet, your feet, everybody's feet curated by Christian Vistan. She's a recipient of the Ox-bow School of Art LeRoy Neiman Fellowship (2016). Tongyu recently finished a collaborative residency project at Guangdong Times Museum Banyan Commune, with artist Sam Chao as aoandaoband. Their community based project Bald spot of an eight-year-old balloon is open till May 5th 2019.

Tongyu Zhao Corner of My Room, 2020 Penci, pen and collage on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) b. Hubei, China. 93. Tongyu is an artist based in her guts, she thinks about material/ object encounters and habituated chores. With an often intuitive but coy language, Tongyu intends to stir up insignificant life moments andponder about its weirdness. Incorporating craft techniques, drawing and domestic objects, Tongyu is currently working on a series of new works in her studio in Zhuhai, China. Tongyu has performed and exhibited at Mana Contemporary, Links Hall, Rational Park and Co-prosperity Sphere and alternative spaces like the Hebru Brantley Studios and the Meekling Press in Chicago, IL. She has performed at the Centre A gallery in Vancouver, Canada as part of the group show Here I only worry about my feet, your feet, everybody's feet curated by Christian Vistan. She's a recipient of the Ox-bow School of Art LeRoy Neiman Fellowship (2016). Tongyu recently finished a collaborative residency project at Guangdong Times Museum Banyan Commune, with artist Sam Chao as aoandaoband. Their community based project Bald spot of an eight-year-old balloon is open till May 5th 2019.  

Tongyu Zhao Take Your Time, 2020 Pencil, pen, thread and collage on paper Signed verso 10 x 15cm (3¾ x 5¾ in.) b. Hubei, China. 93. Tongyu is an artist based in her guts, she thinks about material/ object encounters and habituated chores. With an often intuitive but coy language, Tongyu intends to stir up insignificant life moments andponder about its weirdness. Incorporating craft techniques, drawing and domestic objects, Tongyu is currently working on a series of new works in her studio in Zhuhai, China. Tongyu has performed and exhibited at Mana Contemporary, Links Hall, Rational Park and Co-prosperity Sphere and alternative spaces like the Hebru Brantley Studios and the Meekling Press in Chicago, IL. She has performed at the Centre A gallery in Vancouver, Canada as part of the group show Here I only worry about my feet, your feet, everybody's feet curated by Christian Vistan. She's a recipient of the Ox-bow School of Art LeRoy Neiman Fellowship (2016). Tongyu recently finished a collaborative residency project at Guangdong Times Museum Banyan Commune, with artist Sam Chao as aoandaoband. Their community based project Bald spot of an eight-year-old balloon is open till May 5th 2019.  

[Collecting] The New Pewter Marks and Old Pewter Ware by Major Markham revised & enlarged with 118 illustrated examples published 1928 in bright gilt cloth, Hall-marks on Gold and Silver-Plate illustrated & revised by William Chaffers 1896 in bright gilt cloth, Marryat’s Pottery And Porcelain 1857 with coloured plates, Markham’s Foreign Hall Marks on Gold & Silver plate and one other (5)  

Postcard album depicting RP military soldiers, Closes Hall Lodge, New Forest, Smith Series, Closes Hall, Kirkby Lonsdale, Middleton in Teesdale, Ridley Hall, Fox Hunting Meet together with illustrated London News 1866 and two other books.

A collection of bone and wooden bobbins, New Hall porcelain etc.

A William IV mahogany hall chairCONDITION: The seat has been re-glued with new blocks. The back is slightly loose, some scuffing to front legs, otherwise good

Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. Titled "Blue Meander" Dated: '94 Oil on Paper. Signed lower left. Sight Size: 23 x 17 in. Overall Size: 31.5 x 25.5 in. Framed behind glass.In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N.Y.U. and was accepted to the N.Y.U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N.Y.C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS2001 SRQ ON MAIN, Sarasota, Florida1996 TAMPA ELECTRIC CO., TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida1993 MATRIX, Renegade Gallery, East Hampton, New York1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N.S.W., Australia1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY1974 AJANTA GALLERY, New York, New York1973 St. Croix, Virgin Islands1972 St. Croix, Virgin Islands1971 Ars Bar, Ibiza, Spain1970 Ars Bar, Ibiza, Spain1969 Ars Bar, Ibiza, Spain1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin IslandsSELECTED GROUP AND JURIED SHOWS2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB., Juror: Larry Walker, Prof. of Art at Georgia-State University1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1986 PLASTO GALLERY, Mullumbimby, N.S.W., Australia1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia1985 N.P.U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N.S.W., Australia1971 LE CENTER AMERICAN, Paris, France

Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. Titled: "Forestry" Dated: '95 Oil on Paper. Signed lower right. Image Size: 10 x 12 in. Overall Size: 15 x 17 in. Unframed. (266 - 4683)In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N.Y.U. and was accepted to the N.Y.U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N.Y.C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS2001 SRQ ON MAIN, Sarasota, Florida1996 TAMPA ELECTRIC CO., TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida1993 MATRIX, Renegade Gallery, East Hampton, New York1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N.S.W., Australia1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY1974 AJANTA GALLERY, New York, New York1973 St. Croix, Virgin Islands1972 St. Croix, Virgin Islands1971 Ars Bar, Ibiza, Spain1970 Ars Bar, Ibiza, Spain1969 Ars Bar, Ibiza, Spain1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin IslandsSELECTED GROUP AND JURIED SHOWS2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB., Juror: Larry Walker, Prof. of Art at Georgia-State University1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1986 PLASTO GALLERY, Mullumbimby, N.S.W., Australia1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia1985 N.P.U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N.S.W., Australia1971 LE CENTER AMERICAN, Paris, France

Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. Titled: "Blue Elevation" Dated: '90 Oil on Canvas. Signed, titled, dated and sized verso. Overall Size: 25.75 x 31.75 in. (152 - 4307) In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N.Y.U. and was accepted to the N.Y.U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N.Y.C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS2001 SRQ ON MAIN, Sarasota, Florida1996 TAMPA ELECTRIC CO., TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida1993 MATRIX, Renegade Gallery, East Hampton, New York1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N.S.W., Australia1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY1974 AJANTA GALLERY, New York, New York1973 St. Croix, Virgin Islands1972 St. Croix, Virgin Islands1971 Ars Bar, Ibiza, Spain1970 Ars Bar, Ibiza, Spain1969 Ars Bar, Ibiza, Spain1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin IslandsSELECTED GROUP AND JURIED SHOWS2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB., Juror: Larry Walker, Prof. of Art at Georgia-State University1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1986 PLASTO GALLERY, Mullumbimby, N.S.W., Australia1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia1985 N.P.U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N.S.W., Australia1971 LE CENTER AMERICAN, Paris, France

Michael Garland (American, B. 1952) "Babe Ruth" Signed lower right. Original Oil painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Republic of the Marshall Islands 32c George Herman Ruth "The Babe" stamp issued August 16, 1998. Born February 6, 1896, in Baltimore, Maryland, George Herman Ruth learned to play baseball while living at St. Mary's Industrial School. He became the school's star catcher and pitcher while also playing for local amateur and semi-pro teams. In 1914, Ruth began his professional career with the Baltimore minor-league team. Later than season, he was sold to the Boston Red Sox of the American League. An excellent pitcher, Ruth set a record in both the 1916 and 1918 World Series, pitching 29 and 2/3 consecutive scoreless innings. Although he was the best left-handed pitcher in the American League, he was moved to the outfield because of his power hitting. Between 1920 and 1934, Ruth played for the New York Yankees, breaking several major-league home-run records. In 1936, the Sultan of Swat was one of the first five players elected to the Baseball Hall of Fame. Image Size: 11.25 x 14.5 in. Overall Size: 14.25 x 17.5 in. Unframed. (B16016)

Jim Butcher (American, B. 1944) "Flag over Supreme Court" Signed lower right. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was published on the Fleetwood First Day Cover for the U.S. 20c Flag Over Supreme Court Booklet stamp issued November 17, 1983. The Supreme Court of the United States is a landmark well known to the American people. However, it has known many homes, including second-floor rooms over an open-air marketplace in New York, Independence Hall in Philadelphia , and even private residences in Washington, while the Capitol's old north wing took shape. The Court even shared the Capitol with the Senate and House from 1801 to 1935. Today, behind its magnificent pillared portico, the Chief Justice and eight Associate Justices meet to uphold the motto blazoned on its pediment: "Equal Justice Under Law." At any season, visitors may tour the building, admire a pair of magnificent five-story elliptical spiral staircases, and view the historic cornerstone laid by Chief Justice Charles Evans Hughes in 1932. "The Republic endures," he said, "and this is the symbol of its faith." The Supreme Court has been appropriately called the nation's conscience. In a muraled rotunda, visitors may peer at hallowed charters of freedom: the Declaration of Independence, the Constitution, and the Bill of Rights, each sealed in helium to protect it, under special glass and filters. At the first sign of danger, the documents are lowered, cases and all, into a vault twenty feet below. Image Size: 18.5 x 15.75 in. Overall Size: 24.75 x 22 in. Unframed. (B08444)

Dennis Lyall (American, B. 1946) "Pierre L'Enfant Flag" Signed lower right. Original Oil painting on Canvas board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S. 33c Pierre L'Enfant Flag Classic Collection Series stamp issued June 14, 2000. French-born American architect and engineer Pierre-Charles L'Enfant was born on August 2, 1754, in Paris. He studied art under his father at the Royal Academy in Paris and later received training in engineering. In 1776, he enlisted as a volunteer in the American Revolutionary Army. In 1783, Congress appointed L'Enfant major of engineers. After the war, L'Enfant designed the medal and diploma of the Society of the Cincinnati, an association of former Revolutionary officers. When he returned to Paris, he was instrumental in organizing the French branch of the society. In 1784, L'Enfant again came to America, settling in New York City, where he was commissioned to redesign the old city hall (Federal Hall) for the U.S. Congress. When Congress decided to build a federal city on the Potomac river, President Washington commissioned L'Enfant to draw up the plans. The Pierre L'Enfant flag was sketched on a proposed membership diploma for the Society of the Cincinnati. This 1783 flag is a variation of the stars-and-stripes design that was popular at the time. The Pierre L'Enfant flag features 13 alternating red and white stripes, with 13 stars arranged in a circle on a blue field in the canton. Image Size: 13.5 x 11.5 in. Overall Size: 19.5 x 15 in. Unframed. (B16821)

* ANGUS MCEWAN RWS RGI RSW, WATER WHEEL oil on board, signed and dated 9/1991 92cm x 62cm Mounted, framed and under glass. Note: Angus McEwan was born in 1963 in Dundee, Scotland. Angus studied at the Duncan of Jordanstone College Art in Dundee, graduating in Fine Art and a Post Graduate Diploma in the same discipline. Angus was elected to the Royal Scottish Society of Painters in Watercolours (1995) and in 2012 the Royal Watercolour Society. In 2005 he was recognized as an Associate of the International Guild of Realism USA. He is also an associate member of the AWS and NWS in the USA. Angus has been Finalist three times of the ''International Artist Magazine'' and won first place in the John Blockley Prize in the RI open exhibition. Angus has also won second prize in the Sunday Times Watercolour Competition (2007) in London and the International Prize ''Marche d'Acqua'' Fabriano, Italy in 2012. In 2013 Angus won Bronze Award, at the Shenzhen International Watercolour Biennial, in China. He was recently awarded the May Marshall Brown award at the Royal Scottish Society of Painters in Watercolours (RSW), Edinburgh, 2015 and was elected RGI in May 2016. Many galleries display McEwan's works, including Ok Harris Gallery in New York and Quanhua Gallery, Shanghai. Recently highlighted in Shenzhen Biennale and the Qingdao Hall of Watercolor. He has exhibited in Fabriano, Italy in the ''Marche d'Acqua'' International Award, as special guest and Vicenza, Italy, where he had a solo show in the ''Artbox''. McEwan was one of the 23 finalists in Narbonne, France at the Concours Mondial de l'Aquarelle 2014 1st World Watercolour Competition. Angus also exhibited at the World Watermedia Exposition, Thailand and Myro Gallery, Greece. He also participated in the Second International Watercolour Exhibit in Thessaloniki, Greece. In the UK McEwan exhibits with Thompson's Gallery (London) and The Open Eye Gallery (Edinburgh). Notable collectors include: Dundee Art Galleries and Museums; The Qatar Royal Family; the Royal Scottish Academy Collection; Ernst & Young, Glasgow; Scottish Enterprise; Scottish Equitable; Historic Scotland; Perth Royal Infirmary.

A collection of fifteen pieces of 18th and 19th century British porcelain and other items, comprising a Lowestoft ware tea bowl and saucer, bowl 8cm diameter, 4.3cm high, saucer 11.8cm diameter, 2.5cm high New Hall pattern tea bowl and saucer 8.3cm diameter 2.5cm high, a/f. (15)Many pieces with hairline cracks and worn decoration

A collection of various 19th century British and oriental porcelain, including a New Hall style libation cup, 8.3 by 7.2 by 5cm high, a pair of jars Korean 7.5cm diameter, (one with lid) 13cm high, 10.5cm high, a/f. (15)Libation cup with chip to rim, and hairline cracksm, with most pieces with chips to rim, and or crazing,

An early 19th century New Hall serpentine teapot decorated sprigs, 16 cm high, and another similar, both restored (2)

An early 19th century New Hall serpentine teapot decorated sprigs, 16 cm high, and another similar, both restored (2)

Assorted 18th century and later Staffordshire ceramics to include New Hall and other makers with five cream jugs, two sugar bowls, thirteen saucers, nine tea bowls, two coffee cans, and a sucre, lacking lid