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After William Schellinks (Dutch 1627-1678 ) Sketch of garden at Bridge place Rochester 1661. print. 30 x37 cm.

CAPTAIN CAUSTON: TWO WATERCOLOUR SKETCHBOOKS: approx 69 watercolours in 2 albums, circa 1868-78, some identified faintly in pencil on facing page. With presentation inscription 'Mrs J Newman from her friend' and the postage label addressed 'M J Newman from Capt. Causton Augs 1916': they appear to illustrate sea voyages taking in Cape of Good Hope, Australia, New Zealand, Barbados, Spain, Malta, Cairo, Suez Canal, Tenerife, St Vincent, The Rhine, Polynesia, Fiji, Rounding the Horn, The Lizard, Rochester, etc: Morocco-backed albums of period, spines gilt ruled, oblong 12mo. (2)

ROWLAND HILDER INTEREST: 10 Titles: THE LADYBIRD BOOK OF BRITISH WILD FLOWERS, Loughborough, Wills and Hepworth, 1957 [Illustrated by]; FRANCES ILES: ROWLAND HILDER OBE - THE WORKING ARTIST, Rochester, Frances iles galleries, ND; S P B MAIS: THE LAND OF THE CINQUE PORTS, Lodon, Johnson, 1949, first [illustrated by]; ROWLAND HILDER: HORSE PLAY, London, Binnacle, 1945; S P B MAIS: SUMMER WAYS OF ESCAPE, London, Moss Bros, ND; GEOFFREY GRIGSON: THE SHELL GUIDE TO FLOWERS OF THE COUNTRYSIDE, London, Phoenix House, 1955 (x2); DENIS THOMAS (Ed): ROWLAND HILDER COUNTRY - AN ARTIST'S MEMOIR, London, Herbert, 1987; ROWLAND HILDER: PAINTING LANDSCAPES IN WATERCOLOUT, London, Collins, 1982; JOHN LEWIS: ROWLAND HILDER - PAINTER OF THE ENGLISH LANDSCAPE, Woodbridge, Antique Collector's Club, 1987 (10)

EDWARD LEE WARNER: The Life of John Warner, Bishop of Rochester 1637 to 1666, London, Mitchell and Hughes, 1901(a descendant of John Warner). 1901. Enclosed is a handwritten letter from the author's sister (Emma Lee-Warner) gifting the book to General Bulwer. Some newspaper clippings of the time and related to subject matter are pasted into the front and back of the book.

Bible [English]. The Byble in Englyshe of the largest and greatest volume, auctorysed and apoynted by the commaundemente of oure moost redoubted Prynce, and soveraygne Lorde Kynge Henrye the VIII. supreme heada of this his churche and Realme of Englande: to be frequented and used in every churche in this his sayd realme accordynge to the tenour of his former Injunctions geven in that behalfe. Oversene and perused at the comaundemet of the kynges hyghnes, by the ryght reverende fathers in the God Cuthbert bysshop of Duresme, and Nicholas bishop of Rochester, London: Printed by Edwarde Whitchurch, [November] 1541, 5 parts, text in double columns, black letter, four divisional titles within woodcut borders, printed in red and black, woodcut initials and illustrations in the test (mostly found in the Pentateuch), title and five preliminary leaves (*i-vi) and final leaf (Mm *1-6) supplied in careful facsimile, headlines occasionally shaved, occasional archival repairs and neat restoration, mainly to the outer edges of the leaves, New Testament title laid down, a few leaves very slightly shorter at foot, thus possibly supplied from another copy (b4, b5, EE4 and EE5), washed and pressed throughout, the text and margins generally in good condition, all edges gilt, marbled endpapers with elaborate gilt inside dentells with autograph note by Francis Fry to front pastedown, signed, describing this copy of the Great Bible, as well as a four-page printed advertsiement for Francis Fry's Description of the Great Bible (1865) tipped-in to front endpaper, 19th-century gilt-decorated dark blue full morocco by C. Cross, binder to the Queen (with his stamp to verso of front endpaper), minimally rubbed to extreme outer corners, a fine attractive copy, folio (sheet size 380 x 255 mm, 15 x 10 ins) QTY: (1)NOTE:Provenance: John William Pease (1836-1901) of the noted Quaker family of Darlington, married to Helen Mary Fox (1838-1928), and founder (with his brother-in-law Thomas Hodgkin) of the Newcastle bank Hodgkin, Barnett, Pease, Spence & Co. His second son Christopher Henry Beaumont Peas (1924-2005), second Baron Wardington was a major bibliophile whose collection was sold by Sothebys in 2005 and 2006.Christopher Henry Beaumont Peas (1924-2005), second Baron Wardington, his leather bookplate with motto pax et spes, crown and initials HB in gilt to rear pastedown.The handwritten note on this copy by Francis Fry on the front pastedown reads: 'Cranmer's Version, November 1540. This edition has 1541 on the title, which is an error, the date is on the last leaf. I certify that this is all the true edition having examined every leaf & the facsimilis are the same edition. The Book is therefore a standard copy. The folio editions of Cranmer's Bibles are much mixed, see my 'Description' of them & the Authorised folios 1611 & c. The title is by the celebrated John Harris has his J. H. 1848 on it. The next 5 leaves are facs. & the last. It is thus perfect a good sound clean large copy. Francis Fry (FSA)'.The fine binding by C. Cross dates to around 1880 to 1890. Little is known of this binder, who is not listed in Maurice Packer, Bookbinders of Victorian London (1991). One hundred and seventeen bindings signed by Cross are in the Royal Collections, mostly at Sandringham, the last of which is dated circa 1910.

FOLIO SOCIETY -- WILMOT, J. Earl of Rochester. Perfect & Imperfect enjoyments: Poems. W. an introd. by Chr. Hibbert. 1992. W. ill. by R.S. Smith. Fol. Ohcf. In or. box. (Spine of the box tanned). Printed in a lim. & numb. ed. of 500 copies, signed by the artist. -- L. STEPHEN. Hours in a Library. Introd. by J. Steinberg. Vols. 1-3. 1991. 3 vols. Ocl. In or. slipcase. -- J.M. BARRIE. Peter Pan or the boy who would not grow up. Introd. by A. Birkin. Illustr. by P. Rego. 1992. Or. pictorial cl. In or. slipcase. (Blindstamp ex libris on title-p.). -- G. BEARE, sel. Crime Stories from the 'Strand'. 1991. Ocl. In or. slipcase. -- And 8 o. (17).

A SCIMITAR PRESENTED TO CAPTAIN JAMES KEARNEY WHITE R.N. ABOARD H.M.S. NORTHUMBERLAND BY NAPOLEON BONAPARTE, ST. HELENA, 1815the 31in. curved steel flat blade with faint etching, brass quillon guards with cast and engraved foliate decoration, shaped polished stone grip with tassel hole to end, contained in brass mounted leather scabbard with medallion facings by suspension loops, the top locket engraved From Napoleon Buonaparte / To Captn. James Kearney White / St. Helena, October 1815. / H.M.S. Northumberland -- 36in. (91.5cm.) overallJames Kearney White (1782-1828) and thence by descent. Blade has small patches of corrosion but remains sharp, close examination shows the top third was once finely etched but this is now almost invisible.; the scabbard is scuffed and the top section now loose, but overall in fair condition.A FASCINATING AND IMPORTANT TRIO OF SWORDS PRESENTED TO CAPTAIN JAMES KEARNEY WHITE, R.N.James Kearney White was born in 1782 and although there is scant information about his family, his early life or his entry into the Royal Navy, the latter part of his career more than made up for this deficiency. He first came to notice in 1804, during operations off the coast of the Netherlands, when the 18-gun brig-sloop Scorpion was detached from Admiral Thornborough’s squadron to reconnoitre the Vlie passage into the Texel where she discovered two Dutch brig-corvettes at anchor in the Texel Roads on 28th March. One of them, the Atalante, was armed with sixteen valuable ‘long’ 12-pounders and Captain Hardinge, commanding Scorpion, resolved to take her. Not wanting to risk Scorpion herself because of the danger of shoals, he decided to mount a ‘boat action’ when conditions allowed. In the event, it was three days before the conditions were right and, at 9.30pm. on the evening of 31st March, in full dark, three boats from Scorpion and two from H.M.S. Beaver (which had joined the fray earlier that day) set out on the flood-tide. Nevertheless, it still took two hours to reach the Atalante which, by now, was on full alert and more than ready to repel any boarders. Leading the attack, Captain Hardinge himself was first aboard and, in a short but furious action, the Atalante was taken. In his subsequent despatch to Admiral Thornborough, Hardinge described Atalante as “one of the largest brigs in the Dutch navy… and admirably calculated for His Majesty’s service” and then went on to commend “the zeal and gallantry” of several individuals including “…Lieut. White” who was rewarded with a £50 sword from Lloyd’s Patriotic Fund (see lot 204).He next attracts attention during the Anglo-American ‘War of 1812’ during which he achieved at least a small measure of fame as well as wealth and, finally, a well-deserved promotion to post-rank. Having been made Commander on 10th June 1811, he was given the gun-brig Thistle, still on the stocks at Rochester but launched on 13th July 1812. From there, White took his new command to Chatham to oversee her fitting out after which she sailed for North American waters. White only stayed in Thistle just over a year until appointed to the command of the larger brig-sloop Peruvian in October 1814. The Peruvian had already enjoyed two very successful tours, first in the Caribbean in 1812 and then, in 1813-14, on the American Station during which she had captured two U.S. privateers and taken part in a daring expedition up the Penobscot River in Maine. When White took over the command in October 1814, crew morale was riding high and, under his captaincy, two more prizes were added in quick succession to Peruvian’s impressive tally – the Spanish ship Dolores and the U.S. merchantman Rufus – before Peruvian was ordered home in April 1815. By mid-June, she lay becalmed at Ostend and when Major the Hon. Henry Percy, the only one of Wellington’s aides to have survived the carnage at Waterloo unscathed, arrived with the news of the great victory, White took drastic action. With no wind in the offing, he immediately ordered Peruvian’s gig lowered and, after selecting four of his strongest crew, the six men, including both White and Percy who did their share at the oars, rowed it across the Channel to Broadstairs where the two officers hired a fast post-chaise-and-four and raced to London bearing the momentous news of Napoleon’s defeat.Once Napoleon had been brought to England and the decision taken to banish him to the distant island of St. Helena, Peruvian and her sister Zenobia were assigned to Admiral Cockburn’s squadron which was to escort the Emperor into exile. Extraordinarily, and before the long journey south began, Peruvian was despatched to Guernsey to pick up a supply of wine for Napoleon’s consumption in exile, a very personal service rewarded by the presentation of another sword (see lot 206). Later, when Cockburn became concerned that the French might use the then uninhabited island of Ascension as a base from which to mount a rescue attempt to free Napoleon, he sent Peruvian and Zenobia to claim it and, at 5.30pm on 22nd October 1815, White and Zenobia’s commander Captain Dobree went ashore, raised the Union flag and took possession of the island in the name of King George III. Leaving some marines as a garrison, the two sloops then resumed their voyage to St. Helena although, in the meantime, Peruvian’s crew had presented White with a splendid silver-mounted sabre (see lot 205), presumably purchased in Portsmouth before Cockburn’s squadron sailed. Months later, Peruvian returned to England carrying despatches from the island’s governor, and then laid up In Ordinary at Plymouth where she remained until broken up in 1830. After some shore leave, White returned to sea and was promoted Captain (December 1818) although he was already in command of the sixth-rate Spey (1818-August 1819). Before taking up his next command, another sixth rate, the Tyne, in February 1821, with orders to sail for the West Indies, White took the opportunity to marry Elizabeth Neeld in London with whom he had one daughter. His appointment to Tyne was short-lived however – barely one year – and he was not re-employed at sea, perhaps due to sickness. Given that he died in Bermuda on 2nd March 1828 at the age of only 46, it is possible that he had contracted one of the many fevers which afflicted Europeans there and died as a result, although this remains unconfirmed.

Ø AN UNRECORDED £50 LLOYDS PATRIOTIC FUND SWORD PRESENTED TO Lt JAMES KEARNEY WHITE OF H.M.S. BEAVER FOR CAPTURING THE DUTCH BRIG ATALANTE, 31st MARCH, 1804the 30in. curved blade with remnant blued and gilt finish, silvered cartouche with dedication in an early font type, brass hilt with ivory grip, contained in brass mounted scabbard of issue with single suspension loop (corrosion and wear throughout) -- 35½in. (90cm.) overallJames Kearney White (1782-1828) and thence by descent.Blade heavily corroded obscuring the dedication, which is a very early example of dedication being not blue and gilt and with a font not found on other Lloyd’s swords; The hilt has suffered heavy polishing and has lost all gilt; The scabbard has suffered from heavy polishing and lost all gilt. The middle locket suspension ring is missing.A FASCINATING AND IMPORTANT TRIO OF SWORDS PRESENTED TO CAPTAIN JAMES KEARNEY WHITE, R.N.James Kearney White was born in 1782 and although there is scant information about his family, his early life or his entry into the Royal Navy, the latter part of his career more than made up for this deficiency. He first came to notice in 1804, during operations off the coast of the Netherlands, when the 18-gun brig-sloop Scorpion was detached from Admiral Thornborough’s squadron to reconnoitre the Vlie passage into the Texel where she discovered two Dutch brig-corvettes at anchor in the Texel Roads on 28th March. One of them, the Atalante, was armed with sixteen valuable ‘long’ 12-pounders and Captain Hardinge, commanding Scorpion, resolved to take her. Not wanting to risk Scorpion herself because of the danger of shoals, he decided to mount a ‘boat action’ when conditions allowed. In the event, it was three days before the conditions were right and, at 9.30pm. on the evening of 31st March, in full dark, three boats from Scorpion and two from H.M.S. Beaver (which had joined the fray earlier that day) set out on the flood-tide. Nevertheless, it still took two hours to reach the Atalante which, by now, was on full alert and more than ready to repel any boarders. Leading the attack, Captain Hardinge himself was first aboard and, in a short but furious action, the Atalante was taken. In his subsequent despatch to Admiral Thornborough, Hardinge described Atalante as “one of the largest brigs in the Dutch navy… and admirably calculated for His Majesty’s service” and then went on to commend “the zeal and gallantry” of several individuals including “…Lieut. White” who was rewarded with a £50 sword from Lloyd’s Patriotic Fund (see lot 204).He next attracts attention during the Anglo-American ‘War of 1812’ during which he achieved at least a small measure of fame as well as wealth and, finally, a well-deserved promotion to post-rank. Having been made Commander on 10th June 1811, he was given the gun-brig Thistle, still on the stocks at Rochester but launched on 13th July 1812. From there, White took his new command to Chatham to oversee her fitting out after which she sailed for North American waters. White only stayed in Thistle just over a year until appointed to the command of the larger brig-sloop Peruvian in October 1814. The Peruvian had already enjoyed two very successful tours, first in the Caribbean in 1812 and then, in 1813-14, on the American Station during which she had captured two U.S. privateers and taken part in a daring expedition up the Penobscot River in Maine. When White took over the command in October 1814, crew morale was riding high and, under his captaincy, two more prizes were added in quick succession to Peruvian’s impressive tally – the Spanish ship Dolores and the U.S. merchantman Rufus – before Peruvian was ordered home in April 1815. By mid-June, she lay becalmed at Ostend and when Major the Hon. Henry Percy, the only one of Wellington’s aides to have survived the carnage at Waterloo unscathed, arrived with the news of the great victory, White took drastic action. With no wind in the offing, he immediately ordered Peruvian’s gig lowered and, after selecting four of his strongest crew, the six men, including both White and Percy who did their share at the oars, rowed it across the Channel to Broadstairs where the two officers hired a fast post-chaise-and-four and raced to London bearing the momentous news of Napoleon’s defeat.Once Napoleon had been brought to England and the decision taken to banish him to the distant island of St. Helena, Peruvian and her sister Zenobia were assigned to Admiral Cockburn’s squadron which was to escort the Emperor into exile. Extraordinarily, and before the long journey south began, Peruvian was despatched to Guernsey to pick up a supply of wine for Napoleon’s consumption in exile, a very personal service rewarded by the presentation of another sword (see lot 206). Later, when Cockburn became concerned that the French might use the then uninhabited island of Ascension as a base from which to mount a rescue attempt to free Napoleon, he sent Peruvian and Zenobia to claim it and, at 5.30pm on 22nd October 1815, White and Zenobia’s commander Captain Dobree went ashore, raised the Union flag and took possession of the island in the name of King George III. Leaving some marines as a garrison, the two sloops then resumed their voyage to St. Helena although, in the meantime, Peruvian’s crew had presented White with a splendid silver-mounted sabre (see lot 205), presumably purchased in Portsmouth before Cockburn’s squadron sailed. Months later, Peruvian returned to England carrying despatches from the island’s governor, and then laid up In Ordinary at Plymouth where she remained until broken up in 1830. After some shore leave, White returned to sea and was promoted Captain (December 1818) although he was already in command of the sixth-rate Spey (1818-August 1819). Before taking up his next command, another sixth rate, the Tyne, in February 1821, with orders to sail for the West Indies, White took the opportunity to marry Elizabeth Neeld in London with whom he had one daughter. His appointment to Tyne was short-lived however – barely one year – and he was not re-employed at sea, perhaps due to sickness. Given that he died in Bermuda on 2nd March 1828 at the age of only 46, it is possible that he had contracted one of the many fevers which afflicted Europeans there and died as a result, although this remains unconfirmed.

5 Plattenkameras und Studio-Stativ1) Wünsche, Dresden. Frühe Plattenkamera für 13 x 18 cm, Wünsche‘s Mars-Anastigmat No. 2 in Unicum-Verschluß, läuft, eine Schraube fehlt, mit Mattscheiben-Rückteil. (3–4/3) – 2) Premo Camera No. 9, für 4 x 5 in., Bausch & Lomb Planatograph 3 ¼ x 5 ½ in. Satzobjektiv – darum Verschluß mit doppelter Blendenskala, läuft, dreifacher Auszug, neigbares Laufbrett, mit Köfferchen, 2 Kassetten und Mattscheiben-Rückteil. Am Balgen sind kleinere Klebungen nötig, ist aber dicht. (3/3) – 3) Hüttig, Dresden (vermutet). Für 10 x 15 cm, Extra-Rapid-Aplanat 8/17 cm, B & L Automat läuft. (4/3-) – 4) Eastman Kodak, Rochester. No. 3-A Folding Brownie Camera Mod. A, roter Balgen, Sucher mit pfiffig angeschraubter Libelle. (3/3) – 5) KW, Dresden. Patent-Etui 9 x 12 cm mit angesetztem Schlitzverschluß – selten, ohne Funktion, Tessar 4,5/13,5 cm, Compur: schnelle Zeiten laufen, mit angesetzter Rada-Rollfilmkassette (neuwertig). (4/4) – Und: 6) Studio-Stativ, kurbelbar von 100 bis 145 cm Höhe, stark benutzt, Holz mit Rissen, doch dekorativ und anwendbar. (4/3-) Start Price: EUR 180 Zustand: (–/–)5 Plate Cameras and a Studio Tripod1) Wünsche, Dresden. Early plate camera for 13 x 18 cm, with ground-glass back and Wünsche's Mars Anastigmat No. 2 lens in Unicum shutter, working, one screw missing. (3–4/3) – 2) Premo Camera No. 9, for 4 x 5 in., Bausch & Lomb Planatograph 3 ¼ x 5 ½ in. compound lens (therefore shutter with double aperture scale), triple extension, tilting running board, case, ground-glass screen and two cassettes, shutter working, bellows in need of minor repairs, though still light-tight. (3/3) – 3) Probably Hüttig, Dresden. For 10 x 15 cm, Extra-Raipd-Aplanat 8/17 cm, B & L Automat working. (4/3-) – 4) Eastman Kodak, Rochester. No. 3-A Folding Brownie Camera Mod. A, red bellows, viewfinder with cleverly screwed-on bubble level. (3/3) – 5) KW, Dresden. Patent-Etui, 9 x 12 cm, with rare attached focal plane shutter, Tessar 4.5/13.5 cm, Compur only fast shutter speeds working, attached Rada rollfilm cassette in good condition, shutter inoperative. (4/4) – And: 6) Studio tripod, with height-adjustment from 100 to 145 cm, heavy wear, wood split, nevertheless attractive and still usable. (4/3-) Start Price: EUR 180 Condition: (–/–)

Army L.S. & G.C. (2), G.V.R., 1st issue (27429 Sjt: A. H. Finn. R.E.); G.VI.R., 2nd issue, Regular Army (Capt. J. K. Wren. I.A.) good very fine and better (2) £80-£100 --- Alfred Henry Finn was born in Rochester, Kent, in 1873, and attested for the Royal Engineers at Chatham on 19 May 1893. Present at the Battle of Belmont on 23 November 1899, he returned home from South Africa on 19 June 1900 and was subsequently wounded in the head; the subsequent court of enquiry held on 18 February 1902 later deemed the affair an accident. Re-engaged to complete 21 years’ service 25 January 1905, Finn was raised Sergeant Volunteer Instructor and posted to the Cheshire R.E. Railway Battalion. Transferred to the South West, he ended his career as C.S.M. at Pendennis Castle, Falmouth, with the 18th Cornwall Fortress Company, Royal Engineers. James Kenneth Wren served on the North West Frontier as Sergeant in the 17th (Rifle Brigade) Field Company, Indian Engineers, and was awarded the India General Service Medal 1936-39. He was later appointed to an Emergency Commission in the Indian Army in March 1943.

An early Rochester Optical & Camera Company Cycle Poco No 3 folding plate camera, internally dated 1896

The Richard Larn Archive Shipping History Files. Ten files A remarkable collection of ten meticulously organized files containing decades of research. Each file is filled with carefully photocopied articles, reports, appendices, and more—painstakingly collected and catalogued for Richard Larn's works. This comprehensive archive represents years of dedicated effort, making it an invaluable resource for researchers, historians, or collectors.A partial account of each folder;Shipping File No.1- Forty five resources listed and indexed, including Elder Dempster fleet History 1852-1985- fleet listed; Sea Breezes extracts; Rochester Sailing Barges by B. Childs; History of the cost of living - prices comparisons- 1790 to 1914; New Zealand Shipping Co. Haws, D. Waitara -wrecks; Nelson- his church- our heritage- All Saints Church- Norfolk; The Atlantic Ferry, Maginnis- wecks in UK in last 70 years; Alderney Wrecks- wreck list, &c. &c.Shipping File No.2- Not indexed but includes A German Naval History; Victor Young. Merchant Ships of World War II; Norman Friedman. Postwar British Mine Countermeasures- and National Strategy; Margate Surf-Boat Service Launches 1857 to 1940; Lancaster Maritime Museum - Marine Site/Wreck File; Volumes and Pages in Sea Breezes 1919-1960; James E. Cowden. The Price of Peace Elder Dempster 1939-1945, &c. &c.Shipping File No.3- Fity resources listed and indexed including Lincolnshire Coast Shipwreck Association- 1827 to 1864 - wrecks; 1st Report of Select committee Shipwrecks- 1843- wreck lists; Report on Steam Vessel Accidents- 1839 - wreck lists; Janes Fighting Ships- WWI- 'Q' Ships- list of numbers/details; Lloyd's Weekley Casualty Lists, &c. &c.Shipping File No.4- Thirty six resources listed and indexed including Shipwrecks- in the Pentland Firth, Scotland, Bremmer's List 1840-1985; Empress of Balmoral- wreck- Lundy- Sketch of wreck condition; North America- historical research addresses; Hydrographic Department- Wrecks Section- booklets and information; List of Wrecks on the coast of Portugal- 1987- list and photographs; Vesuvius, HMS. torpedo training ship, lost N.Cornwall- wreck, &c. &c.Shipping History File No.5- Seventy nine resources listed and indexed including Swedish ancestry sources; Steam Vessel accidents & incidents; Copious Lloyds Register including Records relating to shipwrecks, Record of medals, Edward Lloyd and his coffee shop, Titanic &c. &c.; HMS Pandora- lost and found- article, &c. &c.Shipping History File No.6; Not indexed but includes Admiralty- Historical Information 1914-18 War Histories; Walter Pollock. Small Vessels, 1946; David Burrell. Furness Withy. The centenary history of Furness, Withy and Company, Ltd 1891-1991; E. f. Knight and E.G. Fuller. The Union-Castle and the War 1916-1919; Melancholy Loss of the Whale-fishing Ship Oscar, of Aberdeen, On Thursday, April 1, 1813; Sunderland Public Libraries Index to Shipwrecks 1850-1859, &c. &c.Shipping History File No.7- Not indexed but includes N.R.P. Bonsor. North Atlantic Seaway; Ian Whittaker. Wrecks of 55N 04W, &c. &c.Shipping History File No.8- Not indexed but includes Salvesen of Leith by Wray Vamplew; Lloyd's Weekley Casultie Reports; List of Submarines Sunk; Reports of Inquiries into Wreks 1876-1879; J. E. B. Belt and H. S. Appleyard. A History of Franck C. Strick and his many shipping enterprises; Roy. Anderson. White Star, &c. &c.Shipping History File No. 9- Not indexed but includes First Report from the Select Committee on Shipwrecks Together with the Minutes of Evidence; Report on Steam-Vessel Accidents; Report from Select Committee on Shipwrecks of Timber Ships; Rev. Andrew W. Huckett. The Chants; Kathleen Fidler and Ian Morrison. Wrecks, Wreckers and Resuers; Marine Casualties Southwest Atlantic & Southwest Indian Ocean 1965-1981, &c. &c.Shipping History File No.10- Not indexed but includes the world's Largest Coastwise Liner Fleet by Ernest R. Reader; Duncan Haws. Merchant Fleets - Elders & Fyffes and Geest; J. A, MacRae & C. V. Waine. The Steam Collier Fleets; Robert Wall. Bristol Channel - Pleasure Steamers; D. Hollet. Fast Passage to Australia, &c. &c.

Shipwreck Photographs A plethora of areas including Norfolk, Yorkshire, Oman and Mississippi. Most photographs with biographies and photocopies of the photograph, inlcuding ss. Zealandia, ss. Fernebo, ss. Adelfotis II, ss. Rosa, ss. Taxiarchis, wooden brigs Lily and The Bosphorus; ss. Altona; ss. City of Rochester; a North Sea oil rig recovering anchors with Western Morning News stamp verso; and further world pictures, including an American river steamer on the Mississippi River; SS Electra, Panama, Gulf of Oman, & c. & c.- Collaged images might not be to the correct scale

A collection of early 19th century letters relating to Admiral Sir William Sidney Smith (1764 - 1840), the ‘Hero of Acre’.Smith was a veteran of the American Revolutionary War, Russo-Swedish War, French Revolutionary War, Napoleonic War, and the Peninsular War.A skilled military leader and strategist, Smith became involved in numerous naval engagements, espionage, and diplomacy, running up substantial debts by way of the latter.The collection comprises of 9 letters, to include:1. Aletter written in the third person, signed W.Sidney Smith to a Mr Birt, giving him the authority to collect the book (of HMS Tigre).Dated May 15th 1802, Rochester, and featuring a small engraved portrait of Smith affixed top left.2. A Masonic invitation, issued to Smith on December 21st 1825, with his address given as Rue de Faubourg, St Honore No.35.3. A letter from Smith to William Dorset Fellowes, author and Royal Naval Officer.Relating to the sending of a printed letter (not included) to the Chiefs and Tribes among the Arabs, Turkish affairs, white slave traffic, the condition of the defences in the Dardanelles, the liberation of Morea, and other topics.4. A letter from Smith to ‘My Dear Friend’ (probably to General Sir Charles Doyle, dated circa 1825.The letter declines an invitation, explaining that ‘Lady Smith’s health is now very precarious’ (Lady Smith died in May 1826).5. A letter written by Robert Fisher to Smith,, requesting a copy of his portrait for inclusion in a work called ‘The National Gallery of Illustrious & Eminent Personages.Admiral Smith has drafted his response on the reverse side, stating ‘The best portraits of Sir SS extant are those painted by Sir Robert Kerr Porter, one of the breach at Acre, the other a full length now in the marine map room at Plymouth’.6. An undated letter from Admiral Edward Pellew, Viscount Exmouth, addressed to ‘Mr Dear Sir Sidney’, and expressing his wish that they would ‘talk over old affairs and new expectations’.7. An autographed memo, dated April 9th 1803, detailing his plans to establish a telegraph between the shore and Commodore of His Majesty’s ships stationed on the coast.8. A letter from Sir Sidney Smith to a ‘Mr Thompson and all his family, and will be happy in the pleasure of their company to a breakfast and a little dance at the boathouse on Tuesday next at 10 o’clock.Unsigned and undated.9. A letter written to a Mr Jackson, ‘Printer Strand’ requesting two dozen lithographed sketches of the balanced carriage may be sent forthwith to him at the above.Dated October 29th 1830, and sent from Suffolk Place, Baths, Pall Mall.Condition varies across pieces, with some browning / foxing to the paper in places, minor tearing to edges, and overall light soiling to the pages.

† NICHOLAS HORSFIELD; watercolour, 'Rochester', unsigned, 23 x 29cm, framed and glazed.

Registration No: 9679 TF Frame No: GA10 1431 MOT: ExemptAuthentically restored RGS in touring trimRRT2 stamped gearbox,190mm f/brakeIncludes a good paperwork file and a V5CThe Birmingham Small Arms factory was established in 1861 and as the name suggests manufactured weapons. Around 1900 they started making bicycles and progressed onto motorcycles a few years later. Their most sought models are the Gold Star range of singles and the rare Rocket Gold Star 650cc twin of the early 1960s. This excellent Rocket Gold Star has formed part of the Brian Ditchfield Collection for the last ten years, Mr Ditchfield being a retired engineer and lifelong motorcycle enthusiast who has in the past run a very successful Sidecar GP team, finishing in the top six of the World Championship in 2002. According to the Gold Star Owners Club records, it was first sold by Bill Snape Motorcycles of Accrington in May 1963 and was restored to a very high standard during the 1990s before spending ten years or so as a star exhibit in Ken Bills’ Motorcycle Museum in Rochester. It is presented in touring trim with a RRT2 stamped gearbox, 190mm front brake, 120mph speedo and an 8k tacho. Nothing has been over-polished or chromed where it shouldn't be, a good authentic example of how the bike would have left the factory. Not run for a while, it will need the normal checks prior to use and comes supplied with a Haynes manual, original sales catalogue, sundry old MOTs and current V5C. For more information, please contact: Ian Cunningham ian.cunningham@handh.co.uk 07415871189

KENT. SPEED, John. Kent, with her Cities and Earles described and observed, hand coloured map with inset plans of Rochester and Canterbury, English text, f&g, 40cm x 53cm

Account of John Williard, beadle and bellman of the City of Rochester in Kent, for half a year to 25 March 1711Includes salary of £3, whipping two wenches taken at Mrs Jarrett’s, whipping Sarah Mitchell, whipping three at the Quarter Sessions and crying the pays of the ships and yard; with an instruction to the chamberlains of Rochester for payment, signed by the mayor John Unitt and others, 26 May 1711

Good quantity (40+) of 1920s-50s Kent area TIMETABLE BOOKLETS (ABC-type) (31) & LEAFLETS (12). Most of the booklets are for Tunbridge Wells, others are for Margate, Herne Bay & Rochester, the leaflets are mainly for small operators. Plus 80+ TICKETS, mainly punch-type and mainly for smaller Kent operators. The timetables are mostly in good to very good condition, a few are well-used. [40+ and 80+]

Two Wedgwood medallions, one Mr Rochester in black and white jasper in a gilt oval frame and one of The Marquis of Stafford in profile

An early 18th Century hatchment of arms, probably for Ent Barrett (1684-1706) of Lee Priory in Ickham Kent, quarterly, 1 and 4: Argent on a chevron Gules between three molets Sable three lions passant guardant Or (for Barrett of Lee Priory, Ickham KEN) in centre chief a molet Gules for difference; 2: Gules a lion rampant guardant Argent ( ); 3: Gules a gross engrailed and in the canton a lozenge Argent (Leigh)., oil on panel, all black background, 76cm x 76cm including frame, Crest: none, Mantling: Gules and Argent, Motto scroll blank. Plausibly for Ent Barrett, third son of Sir Paul Barrett of Lee Priory, M.P. for New Romney, by his third wife Sarah daughter of Sir George Ent and widow of Francis Head of Rochester. He was baptised 1684 in St Giles MDX, matriculated Trinity College Oxon 1701 and died unmarried Sep 1706, buried at St John Ickham KEN. His mother died 6 Oct 1711 aged 63, buried Ickham KEN; Sir Paul died 9 May 1685 aged 52 and was buried at St Mary Breadman Canterbury (House of Commons; Archaeologia Cantiana 1882, 14, 124; M.I.s; P.R.s; Alumni Oxon)Our thanks go to the Heraldry Society for their assistance in cataloguing this lot

Messingmikroskop, Bausch & Lomb Optical, Rochester N.Y. um 1900, zaponiertes Messing, teils braun u. schwarz lackiert, Hufeisenstand bez. "Bausch & Lomb Optical Co. Rochester N.Y." u. num. 46554 , Stativ u. Tubus höhenverstellbar, Objektivrevolver aus 3 Objektiven, ein Okular, dreh- u. schwenkbarer Doppelspiegel, verstellbare Blende mit ausziehbarem Blaufilter, max. H.: 35 cm, partiell Alters - u. Gebrauchsspuren, Gew.: 3,1 kg, 4412 - 0012

3 Tischlupen, um 1900, eine Lupe auf Holzgestell v. Bausch & Lomb Optical Co., Rochester N.Y., auf Holz bez., mit klarem Glaseinsatz u. Spiegelglas, H: 11 cm, 25 x 9 cm, zwei Lupengestelle auf Rundfuß, Messing, jeweils höhenverstellbar, eine Lupe bez. Stanley London, 12,5 - 20,5 cm, Alters - u. Gebrauchsspuren, 4412 - 0060

Unusual early to mid-19th century Kentucky .550 percussion pistol with side hammer mule-ear hammer, 14" octagonal barrel engraved ` W. Gilbert Rochester N.Y'

Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Dancerssigned and dated 'BEnwonwu/ Feb 1940' (lower right) watercolour on paper 38 x 44cm (14 15/16 x 17 5/16in).Footnotes:ProvenanceThe collection of H.J. Savory;by descent;A private collection. The present work is an excellent example of Ben Enwonwu's early and meticulously detailed scene paintings. Contextually, the date to the lower right of the work indicates that the present work was completed only a few years before Enwonwu's first solo show in Nigeria. This exhibition was a hugely pivotal moment and indeed catalysed Enwonwu's career. The realistic narrative presented is a fantastic insight into the early influence of Enwonwu's teacher Kenneth Murray, the original owner of whom, H.J. Savory, was well acquainted. Studying under Murray at Umuahia from 1934, Murray exhibited his student's work at Zwemmer Gallery from July to August 1937. This exhibition attracted great success but the most success was awarded to Enwonwu who was recognised as the most gifted artist of Murray's students. Enwonwu eventually took over from Murray in 1939 as the teacher of Fine Art from the point of his graduation. The present work was completed one year prior to Enwonwu's move to teach art in Benin at Edo College. The present work initially strikes the viewer as more literal in narrative when compared with the metaphysical works that dominate his later career. However, when one observes the surrounding context and timeline in which the present work was created in, it becomes clear that the present work holds a greater and more urgent focus of Enwonwu's personal identity. As the threat of World War II began to seep across Nigeria, consequently Enwonwu had to move location due to Umuahia being used as an army base by the British Colonial government and eventually being transferred to the Calabar region in 1939. Further urbanisation of these areas led to mass deforestation as a result. The gravitas of this deforestation was weighed not only in the destruction of environments, but more significantly, and particularly to Enwonwu at this time, to the spirituality that these rain-forest regions held. Enwonwu had become transfixed with the significance and upholding of religion and spirituality and what it meant to himself personally as a Catholic, and to his Igbo culture. As Professor Ogbechie explains 'The representation of shrines and their constitutive rituals introduced a new concern for landscape into Enwonwu's paintings. Indigenous shrines in the rain-forest region of Enwonwu's Igbo hometown were usually located in sacred groves, where huge trees framed canopies, under which the groves receded into mysterious hollows (p. 56). In paintings such as the present lot, one gains a sense that Enwonwu is motivated by an urgency for preservation. While not as abstract, Enwonwu's motivation to maintain African traditions is thus traceable here as much as they are in his more recent works.BibliographySylvester Okwunodu Ogbechie, Ben Enwonwu: The Making of an African Modernist (Rochester: University of Rochester Press, 2008).For further information on this lot please visit Bonhams.com

Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)FESTAC '77 signed and dated 'Ben Enwonwu/ 1977 FESTAC' (lower right); twice inscribed '1' (verso)oil on canvas 91.5 x 61cm (36 x 24in).Footnotes:ProvenanceA private collection, Nigeria.This work's reference to the Second World Festival of Black Arts and Culture (FESTAC, 1977), given its inscription on the front of the painting, implies that it was a creative response executed during this monumental cultural initiative. Ben Enwonwu served as the director and special consultant to the International Secretariat of the FESTAC and also as a participating artist. The initiative was held in Lagos and was preceded by the First World Festival of Negro Arts in Senegal in 1966. Celebrating global African culture, the initiative focused on African art and artists and their role in reflecting and promoting a sense of post-colonial African aspirations. FESTAC allowed a space in which questions on how African modernity should and could be expressed post-colonisation, hallmarking the beginning of how Africa and the Diaspora are presented in contemporary art today.It provided a forum for interrogating the influence of Negritude ideology on postcolonial African culture that, for many artists, resulted in politically engaged art with a stronger focus on indigenous aesthetics. (S. Ogbechie, p. 187)Contextually, FESTAC was hosted during the decade that Nigeria was experiencing an economic boom due to oil reserve revenues only contributing to the country's patriotism and prosperity. The tax revenue strengthened, and the gross domestic product rose from 9% in 1969 to 44% by 1979. Commencing early in the year, between January and February, the Festival held around 16,000 participants representing 56 African countries and attracted half a million visitors, making it the largest pan-African gathering to its date.'The forthcoming Festival is a noble importance because all black peoples are coming together for the second time under the banner of culture. In this age when we are being referred [sic] to as 'the Third World', it is essential to have a thing like FESTAC to bring all Blacks together. This would also mark the beginning of a cultural evolution.' (Ben Enwonwu, 'Professor Ben Enwonwu (Doyen of African Sculpture) speaks his mind', Indigo-FESTAC Souvenir, (Lagos: Pioneer Publishing Co. Ltd), p.35.)Following FESTAC, Enwonwu developed his art while maintaining initial compositions as in the Tutu series, broader and more surreal applications of colour. A new visual language was needed for a country composed of such a wide range of ethnicities and art traditions. Ethereal compositions of the female form fuse these various influences:'(Enwonwu's) appropriation of Yoruba concepts of supernatural force and the classical human form as a vessel for expressing modern technology aspired to an inclusive national aesthetic.'For Enwonwu, communicating the Negritude ideology lay in the form of the black African woman. The sinuous abstraction of a silhouette of the regal female represented his ideal of African culture; beautiful, powerful and full of creative potential. Her three-quarter profile and regal posture can be seen as synonymous with Enwonwu's most famous portrait, the Ife princess Adetutu Ademiluyi (Tutu) from motivation to elements of the compositional execution. While geometrically abstracted, the depiction of robes that the figure is adorned with communicates this work as highly significant within Enwonwu's oeuvre. Indeed, in his interview for FESTAC Souvenir, Enwonwu was recorded saying 'The richer the costume, the more beautiful the scenery.(p. 33.). In this extraction, Enwonwu displays his commitment to displaying the significance of Nigerian culture through aspects like costume and fusing this cultural awareness with modern practices. The fusion of these ideologies amalgamate in the present lot, a painting that Enwonwu executed and held as a prime example of the Negritude ideology given its inclusion in the Festival, a masterpiece of great cultural significance. BibliographySylvester Okwunodu Ogbechie, Ben Enwonwu: The Making of an African Modernist (Rochester: University of Rochester Press, 2008), p. 187.Indigo-FESTAC Souvenir, (Lagos: Pioneer Publishing Co. Ltd, 1977).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Ogolo titled, signed and dated 'OGOLO/ BEN ENWONWU/ 1989' (lower left); previously signed and dated 'Ben Enwonwu/ Ife 1972' (lower right)oil on canvas205 x 121cm (80 11/16 x 47 5/8in).Footnotes:ProvenanceA private collection.LiteratureS. Ogbechie, Ben Enwonwu: the Making of an African Modernist, (Rochester, 2008). (illustrated colour plate 8).ExhibitedLagos, National Museum, Ben Enwonwu: 70th birthday retrospective exhibition, (July, 1991).Ben Enwonwu executed this monumental painting of the male masquerade figure, Ogolo, two years after the death of his elder brother, Ike Francis Enwonwu. On his brother's passing, the artist became the titular head of the Enwonwu patrilineage. At the funeral, he was required to participate in traditional rituals including a masquerade. Enwonwu later revealed the emotional and creative impact of this spectacle:'I saw the Ogolo among a host of other masquerades during my brother's funeral, and it impressed me a lot. I did a lot of drawings of which I am now painting one after the other. I have focused on the Ogolo masked form that is closely related to the Agbogho Mmuo and Ayolugbe mask. It is part of my recent important works [and] a steady flow of thought and development. I find it extremely beautiful.'Enwonwu's preoccupation with the Ogolo figure during the years 1988 to 1994, can also be explained by his own declining health. He had been diagnosed with cancer in 1986. Confronted by his own impending death, the symbol of Ogolo - a gatekeeper to the spiritual world - became particularly poignant. As Nkiru Nzeguegwu explains, 'By attending to this close relationship between visual representation and cultural beliefs, Enwonwu successfully rescued for posterity the transformative element of creation that is central to Igbo conception of creativity.' Nzeguegwu continues to quote Enwonwu: 'In his view, nka (art, creativity and creative expression) is an 'invocation of ancestral spirits through giving concrete form or body to them before they can enter into the human world'' (p.50).This large oil is one of Enwonwu's greatest expressions of the subject. The composition and posture of the performer are similar to a work depicting the same subject executed in 1988, titled Spirit of Ogolo, (sold in our saleroom in May 2016). The present lot is unusual within the genre in that the artist appears to have painted over another composition. A signature and date are just visible 'Ben Enwonwu / Ife 1972'. This composition is landscape in format, and one can just see the faint outlines of a male Purapakali dance ensemble. The layering of the image contributes to the complexity and movement of the piece and perhaps leaving the original imagery just visible beneath was in fact intentional. As Professor Ogbechie records when referencing the 1991 retrospective exhibition, it 'included new paintings reflecting his reconfiguration of the masquerade motif and revised paintings of some of his earlier pieces along this new thematic focus'. (p. 210).Enwonwu's lifelong interest in dance forms was further fuelled when he met Peggy Harper, a dancer and choreographer who had travelled to Nigeria to study the forms of traditional West African dance. Harper resided in Nigeria from 1963 to 1978, working first in the drama department and the institute of Africa studies at the University of Ibadan and then at the University of Ife. Enwonwu sympathised with Harper's desire to preserve the region's traditional ceremonies. Whilst she incorporated elements into her own performances, combining traditional sequences with contemporary western staging techniques, Enwonwu's paintings from the period provide a visual equivalent.BibliographySylvester Okwunodu Ogbechie, Ben Enwonwu: The Making of an African Modernist (Rochester: University of Rochester Press, 2008). p.198.Nkiru Nzegwu, 'The Africanization Queen: Metonymic Site of Transformation', African Studies Quarterly, Volume 1, Issue 1 (1998), p. 50.For further information on this lot please visit Bonhams.com

Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Mask ebony 121 x 14 x 6.5cm (47 5/8 x 5 1/2 x 2 9/16in).Footnotes:ProvenanceAcquired from an exhibition in London in the 1950s;A private collection, London;Acquired from the above by the present owner's family in 2011;Thence by direct descent to the present owner in 2020;A private collection.The elongated form of the present work recalls the lengthened shape of traditional wooden Fulani masks demonstrating Enwonwu's ongoing interest in synthesising the indigenous traditions of West Africa with his own modernist art practice. Hand-carved from ebony, the mask draws upon the skills the artist believed he acquired from his father, who was also a sculptor, as a young boy.The surface of the present work is characterised by its roughly hewed texture. Significantly, Enwonwu pursued an ongoing project of creative experimentation through his artistic practice which led to a variety of finishes and technical approaches to the artmaking process. Levied with accusations regarding his technical skill in relation to the loose style of his 1949 painting Fulani Girl of Ropp, he asserted: 'This painting can be appreciated in strict aesthetic terms, if I may use the language, and from the standpoint of art. The technique may be disappointing to very good painters but technique in painting is not the criterion for knowing what is good, bad or indifferent in art. Cézanne was a bad technician but he is among the greatest of the Impressionists' (Ogbechie, 2008: p. 107).Similarly, the unpolished surface of the present work does not gesture to the technical failings of the artist, nor does it indicate that the work is unfinished. Instead, it marks Enwonwu's pursuit of new possibilities through his approach to sculptural form. Ogbechie explains that the artist had a deep 'fascination with the textural qualities of wood' and this informed the wide variety of works that he produced in the medium (Ogbechie, 2008: p. 112). Ebony was a particularly meaningful material within the artist's practice, and he was absorbed by 'the specific effects he achieved through use of indigenous African tools such as the adz' (ibid). The present work thus stands as a powerful example of Enwonwu's synthesisation of traditional West African techniques and materials with his own distinctly modern practice. BibliographySylvester Okwunodu Ogbechie, Ben Enwonwu: The Making of an African Modernist (Rochester: University of Rochester Press, 2008).For further information on this lot please visit Bonhams.com

Badges and Coins - a George III silver shilling, 1787, mounted as a pendant; a silver coloured metal Scottish plaid brooch, with clan motto Sapienter Si Sincere; a cap badge, Irish Lights; enamel badges, 1848 Matthew Hall; Safety First Aid Squad; Daily Herald Bobby Bear Club; Rochester Pageant & Civic Week 1931; etc

Kenneth Denton (b. 1932), 'Winter Sunlight, Rochester', a river landscape view, oil on board, signed, inscribed verso, 14" x 22" (36 x 56cm).

Four antique stone axe heads, probably Neolithic, one with hand written inscription ' Rochester 1874 ', longest 19cmCondition ReportAdditional photos uploaded

An American theodolite with matching dome, n° 2692, Bausch Lomb Saegmuller Company, Rochester, New York, first quarter 20th C.H 49 - 33,5 cm (with and without base and dome)

Second World War Red Lens Anti-Aircraft Gunner’s Goggles, by Welsh, Philadelphia America, plated metal, with large, circular red lenses, bridge stamped ‘WELSH’, folding fine wire mesh side protectors/visors and reversible coil spring temples with synthetic protective cover Note: Red lenses apparently helped anti-aircraft gunners see the contrast between the sky and the course of machine gun tracer shells being fired at the enemy. Marketing from other makers of these goggles, Rochester Optical, also stated red lenses dilate pupils more quickly, allowing for more rapid adaptation to darkness. Provenance: from the estate of Wilf Lunn (1942–2023)who was a British inventor, Collector of all things curious and unusual, prop maker, and television presenter, best known for his work on children's TV shows such as Vision On and Jigsaw. Born in Rastrick, West Yorkshire, Lunn was raised by deaf parents and later taught lip-reading. His creative flair for quirky inventions and novelty bicycles earned him a devoted following. Lunn's eccentric persona made him a beloved figure on British TV in the 1960s and 1970s. In addition to his TV career, he authored several books and showcased his inventive spirit through stage shows. He passed away in December 2023. https://en.wikipedia.org/wiki/Wilf_Lunn https://www.imdb.com/name/nm0526767/ https://www.telegraph.co.uk/obituaries/2023/12/20/wilf-lunn-madcap-inventor-tricycles-vision-on-deaf/

2 Large Precision Laboratory Diffraction Gratings 2 Large Precision laboratory diffraction gratings for optical experiments possibly for use with astronomy, the large diffraction gratings both by Bausch & Lomb Rochester New York on large silvered glass blocks in metal mounts, the grating window 13.5cm x 11cm Note for a similar diffraction grating see https://airandspace.si.edu/collection-objects/diffraction-grating-prime-focus-spectrograph/nasm_A19980111000

Pair of Warner's Safe Cure Bottles, pair of brown glass embossed bottles, the first embossed 'Warner's Safe Cure, London' and the next embossed 'Warner's Safe Kidney & Liver Cure Rochester N.Y. both good showing signs of being found underground Hulbert Harrington Warner (1842–1923) was an American entrepreneur best known for his involvement in the patent medicine industry during the late 19th century. Born in New York, Warner initially pursued a career in the hardware business, but his life took a dramatic turn after a personal health crisis. Following a near-death experience from kidney disease, Warner claimed to have been saved by a homemade remedy, which he later commercialized as "Warner's Safe Kidney & Liver Cure." Warner's product became wildly popular, riding the wave of the patent medicine boom in the United States. The success of his cure led to the establishment of Warner's Safe Remedies Company, which produced a variety of other health tonics and remedies. His business acumen turned the company into a major enterprise, making him one of the wealthiest men of his time. However, Warner's legacy is also tied to the broader controversy surrounding patent medicines, many of which contained dubious ingredients and made exaggerated claims. Despite these issues, Warner's products were widely distributed and played a significant role in the proliferation of over-the-counter remedies during the Gilded Age. Warner's life reflects the intersection of commerce, health, and quackery in late 19th-century America. Provenance: from the estate of Wilf Lunn (1942–2023)who was a British inventor, Collector of all things curious and unusual, prop maker, and television presenter, best known for his work on children's TV shows such as Vision On and Jigsaw. Born in Rastrick, West Yorkshire, Lunn was raised by deaf parents and later taught lip-reading. His creative flair for quirky inventions and novelty bicycles earned him a devoted following. Lunn's eccentric persona made him a beloved figure on British TV in the 1960s and 1970s. In addition to his TV career, he authored several books and showcased his inventive spirit through stage shows. He passed away in December 2023. https://en.wikipedia.org/wiki/Wilf_Lunn https://www.imdb.com/name/nm0526767/ https://www.telegraph.co.uk/obituaries/2023/12/20/wilf-lunn-madcap-inventor-tricycles-vision-on-deaf/

James McBey LLD (British, 1883-1959)Rochester from Chatham, Kent signed, inscribed and dated 'McBey/Rochester April 1928' (lower left)pen, ink and watercolour28.5 x 43cm (11 1/4 x 16 15/16in).Footnotes:ProvenanceWith Alex Reid and Lefevre, Glasgow.Rowallan Castle.With Martyn Gregory, London.ExhibitedLondon, Martyn Gregory, English Watercolours, 1991, catalogue 58, no.136.London, Martyn Gregory, A foray into the 20th Century: works by British artists, 2015, catalogue 93, no.44.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

RALPH STEADMAN ARDBEG DISTILLERY PRINT Signed by Ralph Steadman.59.4 cm x 84.1 cmArdbeg Distillary print by Ralph Steadman. The print is signed by Ralph Steadman. It's a museum quality print that's custom printed with lightfast pigment inks on beautiful 315gsm acid free cotton rag paper with a natural white base. All prints are produced in Rochester, England by longtime collaborator Rikard Österlund.

KENT, Rochester, Stephen Bonnet, Farthing, 0.93g/6h (N 2713; BW. 457); William Campian, Farthings, 1658 (2), 0.94g/12h, 0.55g/6h (both N 2698; BW. 460); Robert Cart, Farthing, 1668, 0.17g/6h (N 2699; BW. 461); Robert Churchell, Farthing, 1669, 0.62g/12h (N 2700; BW. 462); Alice Cobham, Farthings, 1651 (4), 0.93g/6h, 0.88g/6h (both N 2701; BW. 463), 1.00g/6h (N 2702; BW. 463), 1.23g/12h (N 2703; BW. 464); John Cobham, Farthings, 1666 (2), 1.31g/12h, 0.51g/3h (both N 2704; BW. 465); John Kennon, Farthing, 1.32g/12h (N 2705; BW. 468); Anthonye Lovell, Farthing, 0.83g/6h (N 2712; BW. 470); Robert Michell, Farthing, 0.96g/6h (N 2706; BW. 472); Richard Newbery, Farthing, 1666, 1.14g/6h (N 2707/1; BW. 474); Thomas Palmer, Farthing, 1.43g/12h (N 2707/2; BW. 475); Edward Shelley, Farthing, 0.80g/6h (N 2708; BW. 476); Joseph Travers, Farthing, 1666, 0.84g/6h (N 2709; BW. 478); Gilbert Young, Farthing, 1664, 0.76g/3h (N 2710; BW. 480) [19]. Varied state, N 2699 a large fragment, N 2698 at 0.94g pierced, N 2707/1 broken and repaired £70-£90

Collection of pictures includes Kertch from the North published July 18th 1855 by Paul & Dominic Colnaghi, Mr Pickwick, his friends & Mr Alfred Jingle start for Rochester, Mr Pickwick and his friends arrive at the Blue Lion, Muggleton and a collection of poems with drawings

Bottles of wine to include Malbec (Tesco Finest), Sauvignon Blanc, Rose and Rochester Ginger drink.

A 19th century watercolour, gents leaning against railings at Rochester Bridge, 20.5x43cm

A Rochester starched evening shirt and white double breasted waistcoat

Sabir and Svetlana Gadzhiev, 'Full Moon', modern mixed media with acrylic. 31x40cm approx. Provenance to the reverse: Frances Iles Gallery Rochester 2018. (B.P. 21% + VAT)

Sydenham Shop Front, Whitbread Hop Farm, Rochester High St + Tram, Ramsgate Bomb (4)

Lydd - The Grange, The Camp, High St West Malling + Bus, Hight St Rochester + Tram (4)

Rochester Bridge Opening 1914, Marget Tradesmen FC 1912 with 'Poor Old Costers' Memorial Card 1912, Whirlwind at Sholden 1907, and Devonshire Terrace Sandgate (5)

CHAMBERLAIN, JOHN1927 Rochester, IN/USA - 2011 New YorkTitel: Fleabane (Marsh). Datierung: 1973. Technik: Aluminiumfolie mit Acryllack und Kunstharz. Maße: 43 x 48 x 58,5cm. Provenienz:- Ivan Karp, USA (direkt vom Künstler) - Sammlung Ben Birillo, USA- Sammlung Mourtala Diop, Dakar - Galerie Guy Pieters, Knokke-Heist- Privatsammlung- Sammlung Kasper König, BerlinLiteratur: - Sylvester, Julie: John Chamberlain, A Catalogue Raisonné of the Sculpture 19954-1985, New York 1986, WVZ.-Nr. 423, Abb.Kaum ein Künstler des 20. Jahrhunderts prägte die Bildhauerei so wie der Amerikaner John Chamberlain. Sein Ouvre, das neben Plastik auch Malerei und Fotografie umfasst, zeigt welchen Einfluss sein Wirken auf die nachfolgende Kunst hat. Chamberlain gilt nicht nur als ein herausragender Vertreter des Abstrakten Expressionismus, sondern wird auch als einer der Wegbereiter der Pop Art gewürdigt. "Amerikanischer Marmor"Im Gegensatz zur traditionellen Plastik werden Chamberlains Arbeiten weder gegossen, noch modelliert. Seine Plastiken bestehen zumeist aus ausgedienten Karosserieteilen, die der Künstler als "amerikanischen Marmor" bezeichnet. Durch Strecken, Stauchen, Komprimieren, Zerschneiden und Knittern transformiert Chamberlain die Karosserieteile und bringt sie in Form. Im Anschluss fügt er die Einzelteile auf harmonische Weise zusammen. Hierbei entstehen ausgewogene Formkompositionen, wie auch oszillierende Farbwelten: Ein Novum in der Bildhauerei, die in der klassischen Tradition fast ausschließlich monochrom auftritt. Doch nicht nur in der Farbgestaltung reizt Chamberlain die Grenzen der Gattung Bildhauerei aus. Statt des Schnitzens und Modellierens ist das Zusammenfügen von Elementen die zugrundeliegende Motivation des Künstlers. Es ist kaum verwunderlich und nur konsequent, dass Chamberlain selbst seine plastischen Arbeiten als Nachfolge und Weiterentwicklung der Collage betrachtet. Das Material für seine Arbeiten sammelt er auf Schrottplätzen zusammen. Entscheidende Auswahlkriterien stellen hierbei die Grundform und die Farbe des Objekts dar. Chamberlain kombiniert unterschiedliche Elemente zu einer ausgewogenen Komposition - sowohl im Farb- als auch im Formenspektrum. Fleabane (Marsh)Die schillernde Farbigkeit, die für Chamberlains Werk so charakteristisch ist, tritt in der hier angebotenen Arbeit von 1973 besonders deutlich hervor. Grüne, goldgelbe und rote Farbtöne gehen fließend ineinander über und verleihen der komprimierten und gepressten Form der Kugel eine Leichtigkeit und Qualität, die den Betrachter fast vergessen lässt, dass ausrangierte Stahlteile vom Schrottplatz die Grundlage dieser Skulptur bilden. Ihre schlichte Eleganz bleibt dem Betrachter so unweigerlich im Gedächtnis. Die vorliegende Arbeit zeigt deutlich, mit welcher Mühelosigkeit und gleichzeitigen Virtuosität Chamberlain in seinen Plastiken ein natürliches Gleichgewicht zwischen Farbund Formkomposition schafft. Als logische Folge dieser einzigartigen Begabung ist sein Werk heute in den bedeutendsten internationalen Kunstsammlungen, wie unter anderem dem Museum of Modern Art und dem Solomon R. Guggenheim Museum in New York, dem Stedelijk Museum in Amsterdam und der Tate Gallery in London zu finden. Voraussichtliche Versandkosten für dieses Los: Deutschland: 52,00 Euro inkl. 8,30 Euro MwSt EU: 70,00 Euro inkl. 11,18 Euro MwSt Weltweit: 140,00 Euro inkl. 22,35 Euro MwSt zzgl. VersandversicherungErläuterungen zum Katalog John Chamberlain USA Abstrakter Expressionismus Nouveau Réalisme Nachkriegskunst Objekte 1970er Farbe Objekt Kunstharz FormenDas Lot wird regelbesteuert verkauft (Versteigerungsbedingungen §V5.1)

Maddie Janes Original Bears Jemima, artist designed teddy bear, exclusive for Rochester Teddy Bear shop, LE 4/5, mohair, boot button eyes (cracks to both lease see photographs), fully jointed, swing label (creased), 8"/20cm.

A LARGE GROUP OF CERAMIC AND GLASSWARE to include a group of Denby tableware comprising six cups, six saucers, six side plates, four breakfast bowls, six dinner plates (some items have adhesive remaining), four Chinese style lidded cups, four glass tankards (requires clean), a square Royal Stafford Rochester cake plate, a group of stoneware comprising a tea pot, butter dish, plates, etc (damage to teapot handle, small chips to some rims), a box of six Habitat glass tumblers, etc (qty) (Condition Report: notable issues mentioned in the main description, fair condition)

Two Royal Stafford tea sets; Henley design with nine tea cups, saucers, tea plates, cream and sugar, bread and butter plate and Rochester tea set with six tea cups, saucers, tea plates, cream and sugar, side plates and bread and butter plates**PLEASE NOTE THIS LOT IS NOT ELIGIBLE FOR POSTING AND PACKING**

A small collectors' lot including a Lucas headlamp, lead shot makers, Rochester burner etc.

Mercia, Ceolwulf I (821-823), Rochester mint, Eahlstan - rare (S 924-926, Naismith R6.6). Obverse: draped and diademed bust. Reverse: three lines of lettering divided by two lines, the moneyer's name is shown in reverse, unlike the example in Naismith's 'The Coinage of Southern England 796-865'. Weight: 1.19g (total). Grade: broken in half with a small fragment missing.

ANDERSON EDDIE ´ROCHESTER´: (1905-1977) American radio and television comedian and actor who also made some film appearances, including portraying Uncle Peter in Gone with the Wind (1939). Vintage signed and inscribed 5 x 7 photograph of Rochester in a smiling head and shoulders pose. Signed (´Rochester´) in blue ink by the entertainer to a lighter area of the image. A few minor, small creases to the white borders and corners, otherwise VG

Medieval bronze gilt and enamel heraldic harness hook, displaying the arms of Monthermer: Or, an eagle displayed vert beaked and membered gules. Circa 13th/ 14th century CE. Ralph de Monthermer, Earl of Gloucester, Hertford, and Atholl. Circa 1270-5th April 1325. Copper-alloy, 77.67mm x 23.76mm. 30.98g. Ralph was an English nobleman, who was the son-in-law of King Edward I. His clandestine marriage to the King's widowed daughter Joan greatly offended her father, but he was quickly persuaded to pardon Ralph. In September 1297, Monthermer was summoned to attend a military council at Rochester, and would go on to take an active part in the Wars of Scottish Independence. He fought at the Battle of Falkirk in July 1298.

A Collection of Binoculars including ZEISS, including a cased set marked 'CARL ZEISS JENA, Jenoptem 10x50, multi-coated'; a cased set marked 'CARL ZEISS JENA, Jenoptem 8x30w'; a cased set marked 'CARL ZEISS JENA, Jenoptem 8x30w'; a cased set marked 'LUMIERE, Paris'; a cased set marked 'DENHILL 8x25'; a cased set marked 'BAUSCH & LOMB Opt. Rochester N.Y. U.S.A. 6x30' and marked to both sides with military broad arrow;

Original vintage travel poster for Great Lakes issued by the United Airlines. Colourful artwork portraying different cities surrounded by lakes. Buffalo - a columned white house with purple roof and a glass of wine next to a bunch of grapes. Rochester - a building with columns next to a large microscope and a camera. Cleveland and Pittsburgh - cities with skyscrapers and bridges. With boats, green trees, waterfall, and white clouds in blue skies above, title in orange above the image. United Airlines was founded in 1926 in Boise, Idaho, and is one of the major American airlines. The Great Lakes (Grands Lacs), also called the Great Lakes of North America, are a series of large interconnected freshwater lakes in the east-central interior of North America that connect to the Atlantic Ocean via the Saint Lawrence River. The five lakes are Superior, Michigan, Huron, Erie, and Ontario, and they are in general on or near the Canada–United States border. Good condition, creasing, tears. Country of issue: USA, designer: Tom Lynch, size (cm): 71x56, year of printing: 1970s

A Dew-Point Meter, on a turned wooden base, 19cm high, a Dent brass cased recording clock and a box of dials, a brass cased barometer and an International Time Recording Co Ltd Rochester Watchman's Time Detector, in leather case with key. (5)

A 35 piece Royal Stafford “Rochester” tea service.

Kenneth Denton (b. 1932), 'Winter Sunlight, Rochester', a river landscape view, oil on board, signed, inscribed verso, 14" x 22" (36 x 56cm).

Michael John Blaker (1928-2018), four oils on board, 'Back Gardens', 'Rochester', 'Thanet Beach, Seascape', 'Park near Prague', each signed, largest 61 x 71cm, unframed. Condition - fair