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Victorian 19th century gilt Tipstaff of Office by Parker, Field and Sons.A good example by Parker, Field and Sons, London. Solid brass crown unscrews, gilt metal barrel with 7 cm ebonised ring turned decoration. Minor age wear. GC (approx. 18 cm overall)

Similar Victorian 19th century gilt Tipstaff of Office by Parker, Field and Sons.A good example by Parker, Field and Sons, London. Solid brass crown unscrews, gilt metal barrel with 7 cm ebonised ring turned decoration. Minor age wear. GC (approx. 18 cm overall)

Victorian Similar Pattern 19th century gilt Tipstaff of Office.A good example of the Parker, Field and Sons, London pattern. Solid brass crown unscrews, gilt metal barrel with 7 cm ebonised ring turned decoration. Minor age wear. GC (approx. 19 cm overall)

Victorian Similar Pattern 19th century gilt Tipstaff of Office.A good example of the Parker, Field and Sons, London pattern. Solid brass crown unscrews, gilt metal barrel with 6.5 cm ebonised ring turned decoration. Minor age wear. GC (approx. 18 cm overall)

Victorian 19th century silvered Tipstaff of Office by Parker, Field and Sons.A scarce example by Parker, Field and Sons, London. The gilt crown with velvet cushion (Velvet possibly replaced) unscrews, Silver plated metal barrel with 7 cm white ring turned decoration. Minor age wear. GC. (approx. 19 cm overall)

Victorian 19th century gilt Tipstaff of Office.A good example with solid brass crown and barrel. Minor age wear. GC (approx. 15 cm overall)

Victorian 19th century gilt Tipstaff of Office.A good example of the Parker, Field and Sons, London pattern. Solid gilt brass crown unscrews, gilt metal barrel with 6 1/2 cm ebonised ring turned decoration and also engraved “S1”. Minor age wear. GC gilt good (approx. 18.5 cm overall)

Victorian 19th century gilt Tipstaff of Office.A good example with brass crown with velvet cushion and short brass metal barrel terminating in a turned wooden grip. Engraved to the barrel with the number “3”. Overall length 18 cm.

A miniature Hanoverian Royal Coat of Arms In use post-1714 Intricately carved in boxwood, sealed in a beech and parcel-gilt frame 14cm x 11cm, together with a gilt-metal Tipstaff finial modelled as a crown, 15cm. (2)  

A William IV tipstaff

A Victorian tipstaff

An 18th century painted Deal Tipstaff, bearing GR above the Royal Coat of Arms 1741, together with two similar truncheons, Condition Report: The truncheon is 52cm lng. The deal refers to the type of wood it is made from, a softwood (type of pine).

A Victorian silver mounted ebony Scottish tipstaff, the upper silver mount engraved "Wester Portsburgh Constabulary No.L01", the lower end engraved with crown over "VR", 5.75ins

A TURNED OAK TIPSTAFF. 16.5ins long.

A Victorian silver and gold combined pen and pencil, by S. Mordan, London 1853, also marked 'S. Mordan and Co. Makers', modelled as a tipstaff, engraved foliate scroll decoration and with two mythical dolphins, inscribed 'To Henry Potter Easter 1854', the gold crown finial unscrews to reveal a lead reservoir, in a fitted case, length closed 13cm. Provenance: The KB Collection of Pencils. Illustrated in Bull, K., The KB Collection of Pencils, private publication, 2012, page 55.

A Standard Inspector's Tipstaff, having a cast brass coronet screw top with ringed ebony handle, stamped Parker Field & Sons 233 Holborn London, 18.5cm.Scratches to the base around the stamp.Further light surface scratches beneath coronet.Coronet screws off, interior cavity approx. 2cm

A 19th century sycamore Tipstaff, polychrome painted with a crown above a fouled anchor with GR cypher S.C. below, having a ring turned handle, 22cm.

A 19thC decorated truncheon/tipstaff, 31cms.

19THC TIPSTAFF - WESTON SUPER MARE an interesting tipstaff, with a turned wooden handle and a gun metal or brass top section. Stamped Weston.S.M and Crown symbol, also with a wooden truncheon and two prints of Weston Super Mare Railway Posters. Tipstaff 41cms long. (4)

Victorian 19th century gilt Tipstaff of Office by Sir Peter Tate & CoA scarce example by Sir Peter Tate & Co Southwark St London. Solid brass crown unscrews, brass plated metal barrel with 7 cm ebonised ring turned decoration. Minor age wear. GC (approx. 19 cm overall)

Victorian 19th century Silvered Tipstaff of Office by Parker, Field and Sons.A scarce example by Parker, Field and Sons, London. Solid brass crown unscrews, Silver plated metal barrel with 7 cm ebonised ring turned decoration. Minor age wear. GC silvered dulled (approx. 19 cm overall)

Victorian Cinque Ports Tipstaff of Office A rare example, with solid brass crown and shaft, the latter mounted with a shield embossed with the Arms of the Cinque Ports. Complete with mahogany with ring grip. Overall length 18 cm.

Victorian 19th Century Gilt Tipstaff of Office.A good quality example, with solid crown pommel and long gilt shaft embossed with decoration which terminates with a ring turned oak handle. Overall GC small chip to wood. Overall length 24cm

Victorian 19th Century Short Gilt Tipstaff of Office.A good quality example, with solid gilt removable crown pommel and short gilt plain shaft, with decoration which terminates with a ring turned mahogany handle. Overall GC length 16cm

Victorian 19th Century Silver Tipstaff of Office Seal.A good quality unusual example, with silvered removable crown pommel. The ebony grip with a band of embossed silver and terminates with a silver monogram seal to the base. Overall GC one fleur de lis and bauble to crown absent. length 14cm. Seal Dia approx 2cm

Five brown stoneware spirit flasks 19th century, one by Stephen Green and modelled as a tipstaff, two other Lambeth and of flattened form, one moulded with panels of a smoking toper and a female snuff taker, the last Doulton Lambeth and moulded with blank cartouches, 28.3cm max. (5)

George IV Tipstaff Baton, lignum vitae with gilt and enamel details, also V.R. marked baton and one other truncheon stamped L45 242, the largest item measures 45cm long

An Edward VII 1902 tipstaff, with stand overall length 98cm

PHOTOGRAPH ALBUM - leatherbound, mid- later 19th cent., relating to Inspector Charles Lambert, T-Division, London Metropolitan Police Force. 42pp., approx. 95 carte de visite / cabinet & other photos.,ms. notes relating to the sitters loosely inserted, includes the Doctor Barnardo Home of Boys, & Good Templar and Temperance Orphanage, Sunbury-On-Thames, 1901, Lambert & colleagues in police uniform, family & friends; 3pp., 74 line ms. by Lambert, detailing special incidents & notable men he assisted during his police service, including Doctor Barnardo, . . . 'then a student at the London Hospital dedicating all his spare time . . . to rescue the children of the streets . . . especially to the districts of Stepney, Poplar, Whitechapel & Limehouse . . . '; sold with a leatherbound family Bible & a late Victorian Tipstaff engraved 'Parker Field & Sons, 233 Holburn London to 'First Class Inspector Edward Charles Lambert "T" Division M.P.F. (London Metropolitan Police Division. (4)

A miniature Victorian turned wood tipstaff, with turned crown and painted with "City." on a dark ground, 7.625ins

A 19th Century white metal and ebony tipstaff, cast crown over engraved inscription "Police Office Union Hall No.1", the ebony handle unscrewing to reveal white metal Admiralty oar mounted in the handle, 8.25ins

An early 20th century brass tipstaff or pole head, possibly Friendly Society, crown finial, 17cm long

Rare Military/Police Interest William IV Wooden Tipstaff, Of Typical Form With Painted Crest, Dated 1834, Length 9 Inches

An early 20th century brass tipstaff or pole head, possibly Friendly Society, crown finial, 17cm long

A George III police tipstaff, early 19th Century31cm turned wood tipstaff with black paint and the remains of George III cipher surmounted by a crown. CONDITION REPORT: Chips and paint loss George cypher, difficult to seeSee photos

Parker Field and Sons tipstave or tipstaff truncheon, the shaft stamped for Parker Field and Sons of 233 Holborn London, 18cm long. CONDITION REPORT: Small dint to base edge, some gilding missing.

A Standard Inspectors Parker Field & Sons Tipstaff, 233 Holborn London, circa: 1842–1877, cast brass with turned ebony grip, Victorian Crown tip unscrews, in good original condition 7 ¼ inches long (18.5 cms)

A Victorian Brass Tipstaff, Victorian Crown tip unscrews, in good original condition 5 inches long (12.5 cms)

A Early Victorian Tipstaff, one piece turned brass, in good original condition 9 ¼ inches long (23.5cms)

Police Lantern, two stack chimney “Bullseye” lantern, a pair of Victorian Hiatt handcuffs stamped 109 with screw key, early wooden police rattle alarm, Tipstaff, turned wooden handle, fixed brass Victorian crown and a reproduction painted truncheon (5 items)

William IV 1834 Military Tipstaff Together With A Riding Crop approx 10 inches in length, painted Royal cipher to top. Please see accompanying image

A 19th century Stephen Green, Lambeth brown salt glazed stoneware flask, as a Tipstaff, with Royal Crest, V R to the verso, 23cm high, c.1840

A Victorian tipstaff

A William IV tipstaff or truncheon, the ebonised baton painted in polychrome and crested by the royal cypher W IV R and centred by the Confessor's crown above a laureate garland, the grip with suspension loop, 50cm long, 1830 - 1837

A Victorian tipstaff

A GEO.IV. TIPSTAFF OR TRUNCHEON PAINTED WITH THE ISLE OF MAN CREST.

19th Century presentation tipstaff, the fruit wood staff with screw off end above an ivory tube and silver plaque with the inscription: "Presented by Peter Consett Esq, Brawith Hall, to Thos Barker Farrier, Knayton, York, Born 1741. Died 1824. the opposing side with the text Presented by Thos Bruce Esq, Camberwell Grove Grandson of Thos Barker, M.R.C.V.L. L&G, 41 Park Crescent Mews. N.W. 7th Jany 1870." 22.5cm high

A 19TH CENTURY SILVER PLATED AND ROSEWOOD TIPSTAFF of partially ribbed form engraved 'Thames Police' and 'No. 22' with gilt brass coronet finial, 34cm overall

A William IV tipstaff,painted with a coat of arms and initialled 'WR IV',30cm long, anda special constable's truncheon,inscribed in gilt 'Special Constable' and initialled 'WR IV',46cm long (2)

William IV, brass mounted and ebonised wooden tipstaff, dated 1826 and inscribed with No.27, 26cm long, together with a whistle, (2)

Tipstaff - with wooden handle and brass tip and crown finial, measures 18cm approx. comes with wooden casing and description in ink laid below

A brass and turned wood Tipstaff, L. 24cm. Prov. Bynon Estate.

A Victorian Tipstaff, with cast brass crown above a brass cylindrical collar and turned wood handle, 19.5 cm overallFinial to crown slightly bent. Brass collar with numerous dents. Turned wood handle with wear.

A Victorian gilt brass tipstaff with crown finial and laburnum turned handle, 32cm

An early Victorian painted tipstaff/truncheon with V.R. and Crown over Royal Standard and ribbed grip

James Mahony ARHA (1810-1879)The Official Opening of 'The National Exhibition of the Arts, Manufactures and Products of Ireland' Cork, 1852Watercolour, 74 x 66cm (29 x 26'')This large watercolour by James Mahony depicts the building designed by John Benson for the “National Exhibition of the Arts, Manufactures, and Products of Ireland” held in Cork in 1852. The exhibition took place on the Corn Exchange site on Albert Quay-where City Hall now stands-and was opened by the Lord Lieutenant, Archibald Montgomerie, 13th Earl of Elginton, on June 10th of that year. The watercolour depicts a long line of eminent citizens, waiting to be introduced to the Lord Lieutenant, who stands on a carpeted dais in the foreground. A tipstaff announces the names of those who are to ascend the steps to the dais; they appear to be mainly men, while the audience looking on from both sides is composed mainly of women. First in line is a man, hat in hand, wearing a blue sash and medallion. Galleries on either side of the hall are also packed with spectators. Benson was a brilliant engineer and architect, who used innovative building methods; the roof of the Cork Exhibition hall, with its four transepts, was constructed of laminated wood trusses, bent into semi-circles, and linked together to form a strong but light structure. Large skylights admitted light into the building. The same system was used in his designs for other Cork buildings, including the Butter Market, the Firkin Crane and the English Market. Following on from his success in Cork, Benson was engaged to design the buildings for the Dublin International Exhibition in 1853. Unfortunately, being constructed mainly of wood, over the years all of Benson’s Cork buildings have been destroyed, or have lost their original truss roofs, as a result of fire. When the Cork National Exhibition ended, the building was dismantled and sold to the trustees of the Royal Cork Institution. Three years later it was re-erected, on a site beside the Cork School of Art (now the Crawford Art Gallery). Titled “The Atheneaeum”, it was inaugurated by the Lord Lieutenant, George Frederick Howard, Earl of Carlisle, and over the following decades was used mainly for lectures, exhibitions and performances. Re-named the Cork Opera House in 1877, it hosted many theatrical and opera performances before being destroyed by fire in 1955. Mahony’s watercolour depicts the first inauguration of the building in 1852. He depicts an ornate but functional interior, one that combined conventional architectural elements, including Corinthian columns, with proto-Modernist construction methods. When the building was re-erected as the Athenaeum three years later, it was a simpler structure, and by the time it was remodelled as the Cork Opera House in the later nineteenth century, it had lost most of its original embellishments. A contemporary wood engraving by Mahony, published in The Illustrated London News, shows another transept in the Cork Exhibition complex, the Fine Arts Hall. Born in Cork in or around 1810, James Mahony specialised in views of historical events and paintings with religious themes. He first exhibited in the 1833 exhibition of the “Cork Society for Promoting the Fine Arts” and during the following years travelled extensively on the Continent, mainly in France and Italy. Returning to Ireland, he settled at the home of his father, a carpenter, at 34 Nile Street. The date of his return has not been established precisely; Strickland gives it as 1841, but in 1839 Mahony painted a large watercolour of the blessing of the Church of St. Mary’s on Pope’s Quay, a painting now in the Great Hunger Museum in Quinnipiac, Connecticut. During those years Mahony also set about founding, along with fellow artist Samuel Skillen, a Cork Art Union. The concept of an Art Union, where works of art from an annual exhibition were distributed by lottery amongst a group of subscribers, had already been put into operation in London and in other cities. An Art Union in Dublin had been founded two years previously, and there was also one in Belfast. Each member paid an annual subscription of one pound. This gave the subscriber (and up to three friends) free admission to the exhibition, as well as participation in the lottery of paintings. In the first year of the Union's operation in Cork, it was reckoned that more than £100 would be spent on the purchase of paintings, to be distributed amongst the subscribers. The first exhibition was held in September 1841 at Marsh's Rooms on the South Mall, and in spite of the bad weather was an immediate success, with Mahony and Skillen both amongst the exhibitors.Mahony showed again in 1844, submitting two paintings to the Cork Art Union Exhibition, Strada di son Giardino a Subraio, and Nella Chiesa di San Maria della Fiore a Genzano vicino di Roma, both priced at four pounds and four shillings. In November 1846, his view of the Fr. Matthew Memorial Tower at Glanmire was presented to Queen Victoria. Around this time, he resumed his travels, spending a number of years in Spain, before returning to Ireland. In 1852, as well as depicting the inauguration of the Cork National Exhibition, he showed several watercolours in the Fine Arts section, including The City of Cork from the river near the Custom House and Queens College, Cork, along with views of Venice and Rome. Settling in Dublin four years later, he exhibited at the RHA, and was also made an associate of the Academy. A large panoramic view of Dublin, in the National Gallery of Ireland, shows his talents in rendering architectural detail. Also in the NGI is his watercolour depicting the visit by Queen Victoria and Prince Albert to the 1853 Dublin Exhibition. In 1859 Mahony moved to London, where he worked as an illustrator, until his death in 1879. While he produced paintings of notable building, and civic and cultural events, Mahony is best known nowadays for his graphic images of the effects of famine in Co. Cork, which were published in The Illustrated London News in the 1840’s. These harrowing images influenced public opinion, and helped changed the British government’s official stance of indifference to the Great Famine. James Mahony is not to be confused with a later Cork artist, James Mahoney, who also painted in watercolour. (See Julian Campbell Irish Arts Review Vol 28, No. 2 (2011) p. 98]Peter Murray, April 2018

CORNISH CONSTABLE TIPSTAFF, Redruth 1842, 18" length, & Victorian painted Constable's tipstaff, 23" length

An Oddfellows brass tipstaff and a copper phonograph trumpet

A WILLIAM IV TURNED AND PAINTED TIPSTAFF decorated with a royal cypher, 11 1/2 ins long.

George IV brass tipstaff, coronet terminal 26cm, enclosing a label 'The Gift of Henry Lucas, Chief Constable, 15 April, 1824'.