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Antique tools: a small group of ten wooden smoothing, jointing and moulding planes - including a 1in block plane by Greenslade of Bristol; a moulding plane by E. Preston & Sons; a large 22in long 2½in block plane by H. C. Parkes; a light beech 17in long 2¼in block plane with British military broad arrow stamp and '7/1751 1947' to the top, Emir of London maker's mark and 'W48' with broad arrow to back face; a 15in long 2¼in block plane by F. Street; and five others.

Collection of British, Commonwealth and World stamps contained with two Strand stamp albums, together with a quantity of loose examples

Collectables, reproduction German 1926 Olympic Participation Medal in box, and judges badge, other snuff boxes, hand stamp and original British Military cross box.

School of John White Abbott (British, 1763-1851) - Man and his dog resting within an idyllic woodland scene, unsigned, bearing archival stamp verso, watercolour on paper, 41.5 x 33 cm, glazed and framed

LAW -- ARISTARCHI, G. Législation ottomane. Recueil de lois, réglements, ordonnances, traités, capitulations et autres documents officiels de l'Empire Ottoman. Publ. p. D. Nicolaïdes. Constantinople, 1873-74. 4 vols. xxx, 427, 464, 543, 437 pp. All vols. hcf. but dissimilar. (Pp. yellowed, some annot. in pencil in margins, vol. 1 w. library stamp & ex libris British Embassy).NOTE: Contains: Vol. 1: Droit Privé. Vol. 2: Droit Public. Vol. 3: Droit Administratif. Vol. 4: Droit International. - Rare.

Brenda Unwin (British, contemporary), 'after Mozart Clarinet Concerto', drawing made during live performance, 1998, mixed media on layed paper, 54x84cm, Elm Hill Contemporary Art Gallery stamp and exhibition label on backboard, framed and glazed.

Benjamin Robert Haydon (British, 1786-1846) Study of the Apollo Belvedere Black and white chalks on prepared yellow-brown paper With collector's stamp (L.5539 Dr. Theodore Besterman) lower left Provenance: Dr. Theodore Bestermann (1904-1976), Banbury (Lugt 5539); Private collection, Kent, U.K. Dimensions: (Frame) 23.5 in. (H) x 19 in. (W)  (Paper) 13.75 in. (H) x 11 in. (W)

Collection of 5 Watercolour Landscapes. Caroline St. John Mildmay (British, 1834-1894) unsigned, Calton Moor 1869. Abbott & Holder label to back. Frame size 64cm wide x 45cm high. Charles E. Rowbotham (British, 1856-1921) unsigned, Abbott & Holder label to back "Stamped on Verso with the artists executors stamp". Frame size 54cm wide x 46cm high. George Oyston (British, 1860 - 1937). Signed lower right and dated 1921. Frame size 41cm wide x 33cm high. George Oyston (British, 1860-1937) Signed lower left and dated 1916. Frame size 41cm wide x 33cm high. James Talbot Adams (British, Exh. 1880-1911) Signed lower right. Abott & Holder label to back "Fittleworth Common, Sussex. Frame size 34cm wide x 29cm high.

Abdulnasser Gharem, Saudi Arabian b. 1973- The Stamp (Inshallah), 2011;silkscreen print on Somerset Tub paper, signed, titled and numbered 'Abdulnasser Gharem "THE STAMP (INSHALLAH)" 4/25' lower edge, sheet: 148.8 x 119.2 cm, framed: 126 x 157cm Provenance:Acquired directly from the artist by the present owner.Note:Abdulnasser Gharem is a Saudi Arabian artist and lieutenant colonel in the Saudi Arabian army. In April 2011, his installation Message/Messenger set a world record price at an auction in Dubai.His works are featured in renowned collections, including the British Museum, the Victoria & Albert Museum, the Los Angeles County Museum of Art, and the Saudi Ministry of Culture and Information. Gharem is known for his innovative use of materials, such as rubber stamps, a collapsed bridge, and an invasive tree, which define his unique artistic style.

EDWARD BURRA (BRITISH 1905-1976) NUDE MALE MODEL WITH A VIGNETTE OF A LADY / NUDE FEMALE MODEL estate stamp (lower left) pencil and bistre on paper (double-sided drawing) 56cm x 38cm (22in x 15in) The Estate of the Artist;Private Collection, London.

EDWARD BURRA (BRITISH 1905-1976) COSTUME DESIGN FOR A WINDMILL IN 'DON QUIXOTE', c. 1948-9 studio stamp (lower right), pencil, watercolour and gouache on paper 54cm x 32.5cm (21 ¼in x 12 ¾in) The Lefevre Gallery: Alex. Reid & Lefevre Ltd., London, 1994;The Collection of Gillian Raffles.

EDWARD BURRA (BRITISH 1905-1976) NUDE MODEL / STUDY OF LEGS estate stamp (lower right), pencil on paper 38cm x 26cm (15in X 10 ¼in) The Estate of the Artist;Private Collection, London.

SIR STANLEY SPENCER R.A. (BRITISH 1891-1959) SKETCH FOR 'MAKING FIRE BELT, BANGALORE' titled in pencil (upper left), Stanley Spencer Studio Sale stamp (lower right), pencil on paper 35.3cm x 25.2cm (13 7/8in x 9 7/8in), unframed Christie's, London, Stanley Spencer Studio Sale, 5th November 1998; The Collection of Gillian Raffles.

BRYAN INGHAM (BRITISH 1936-1977) SCULPTURAL RELIEF stamped with artist's estate stamp (to reverse), plaster 25.4cm high, 16.7cm wide, 4cm deep (10in high, 6 5/8in wide, 1 ½in deep) The Estate of the Artist.

LORNA BAILEY (BRITISH, b 1978), for OLD ELLGREAVE POTTERY, Art Deco stylised lady vase. Factory stamp and signature to back of vase, with "SD" in black to base. Height 12.5 cm.Condition Report: Damage to vase, crack from rim to head in white section of vase. In addition a further crack from rim to the ribboned section of the vase, with some loose of paint work.

LORNA BAILEY (BRITISH, b 1978), for OLD ELLGREAVE POTTERY, limited edition Art Deco lady large spherical sugar sifter, with figure, number 37 of 350, c1999. Factory stamp and signature of designer in black to base. Height 23 cm.Condition Report: Good condition

LORNA BAILEY (BRITISH, b 1978), for OLD ELLGREAVE POTTERY, limited edition Art Deco designed lady seated in a ring, no 14 of 100. Factory stamp and signature of designer in black to base. Height 25 cm.Condition Report: Good condition.

Korea Victoria Cross winner Pvt William Speakman - Pitt VC signed Crests & Badges King's Own Scottish Borderers Postcard. 11 9 90 London SW The Victoria Cross Special Postmark on 20p Victoria Cross Stamp A Soldier print Postcard Crests & Badges No 113 ( of a Series ). King's Own Scottish Borderers. Black Watch (Royal Highland Regiment), British Army, attached to the 1st Battalion, King's Own Scottish Borderers during the Korean War when the following deed took place at United Hill, for which he was awarded the VC. On 4 November 1951 in Korea, when the section holding the left shoulder of the company's position had been seriously depleted by casualties and was being overrun by the enemy, Private Speakman, on his own initiative, collected six men and a pile of grenades and led a series of charges. He broke up several enemy attacks, causing heavy casualties and in spite of being wounded in the leg continued to lead charge after charge. He kept the enemy at bay long enough to enable his company to withdraw safely. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Francis Davison (British b. 1919 - 1984)4 Cottagebears artist's studio stamp (on backboard) gouache and pencil on board 36.5 x 51cm, framed and glazed 50 x 64cm Overall in good condition. Some creasing and wear to the corners and edges. A few spots of surface dirt, and a few scattered scratches and dents. Under glass and unexamined out of frame.

Wilhelmina Barns-Graham (British 1912-2004)Time Series - Another Time (1999)signed, dated and numbered 41/75 in pencil silkscreen on wove paper with Graal Press blind stamp 57.5 x 76 cm, framed and glazed 84.5 x 102 cm Provenance: With Bohun Gallery. Private collection, UK. The work appears to be in very good condition. Hinged to mount verso, probably at corners. Under glass and unexamined out of frame.

Laurence Stephen Lowry (British 1887-1976)Woman with A Beardsigned in pencil and numbered 529 with stamp offset lithograph in colours, from the edition of 750, printed by Chorley & Pickersgill Ltd, England, published by Adam Collection Ltd, with Fine Art Trade Guild blindstamp, on wove paper, with full margins sheet 69.5 x 55 cm, unframed Provenance: Monty Bloom, thence by descent.

Tracey Emin (British b. 1963)Every bodies been there (1998)stamped signature, blind stamp for Sky Editions offset lithograph on wove paper printed by Alex Cox at Sky Editions, published by Contemporary Visual Arts Magazine in association with White Cube, London 20 x 25 cm, unframed In very good condition.

BRITISH COMMONWEALTH STAMP ALBUM, MAINLY GVI ERA SETS & PART SETS ,SPOTTED AUSTRALIA £1 &£2 ROO`S `SPECIMEN`

WORLD WAR I INTEREST: A British 1907 pattern bayonet by Wilkinson, the 43cm single edged fullered steel blade with maker's stamp and crowned '1907' to the base, 55cm long overall, in original scabbard; with an English muzzle loading percussion cap musket, 19th century, the 79.5cm barrel with fore-sight and associated ramrod under, 121cm long overall (at fault)

2 stamp albums- dated 1894 inc Britain, Germany- around the world, book of British stamps, few first day covers and a Chix football card album

By Herbert Maryon, an Arts & Crafts silver inkstand,Chester 1910,rectangular form with spot-hammered decoration, two silver-mounted inkwells and stamp compartment with stylised covers, with a pen tray to the front, on four bun feet, length 21.6cm, approx. weight 13.2oz. Provenance: A Private Collection (Part II)Herbert Maryon (1874-1965) was the first Director of The Keswick School of Industrial Arts, being an accomplished designer and craftsman himself, previously studying under Alexander Fisher, Herny Wilson and C.R. Ashbee. Under Maryon's leadership, the school expanded in its learning and creative designs, leading to significant commissions for the school. He left after four years and went on to teach at the Storey Insititute in Lancaster and the Universcity of Reading. He would later join the British Museum and lead the reconstruction of the Sutton Hoo Helmet.

Two early-20th century postage stamp dispensers,by The British Stamp & Ticket Automatic Delivery Company Ltd, Queen Anne's Chamber, London circa 1930,rectangular form, both painted 'Postage Stamps', one with painted instructions (a.f), the other with brass plaques, length 28.5cm. (2)Provenance: A Private Collection (Part II)

A Tibetan Bronze Stamp Seal with Avalokiteshvara Motif.A Tibetan bronze stamp seal featuring a depiction of Avalokiteshvara, the bodhisattva of compassion, in a seated posture surrounded by intricate beaded borders and inscribed characters. The reverse side bears a smooth, rounded surface with a prominent loop handle.Approximately 3.7 x 2.9cmProvenance: Private property of a distinguished British collector.

A large quantity of mostly pre-decimal British copper & bronze coins; various foreign coins; a few bank-notes; a stamp album, etc.

A BRITISH ANTARCTIC NIMROD EXPEDITION ENVELOPE, 1907addressed to Captain Davies in his own hand, to his London address, postmarked Cape Royds October 1908 over a red one penny stamp printed with King Edward VII Land, with a further 3½D Australian stamp issued 1954, postmarked twice with Aust. Antarctic Terr. Mawson, 16 Feb 1955, the back of the envelope printed in dark blue with British Antarctic Expedition 1907 -- 5¼ x 4¼in. (13.3 x 11cm.)The 1907 British Antarctic Expedition was known as Nimrod and led by Ernest Shackleton. John King Davies (1884-1967) was First Officer aboard Nimrod, and on the return journey, at the age of only 25, became it's Captain. Subsequently, the envelope was returned to Antarctica with the Australian National Antarctic Expedition of 1954, which established the Mawson Research Station. The station is named after Sir Douglas Mawson who led an Antarctic expedition in 1911 when John King Davies captained the expedition vessel Aurora. Davies was awarded four King's Antarctic Medals.

British Solomon Island Protectorate 1961 - O.H.M.S envelope to London, Honiara Solomon Island date stamp and Postage paid Honiara in blue, controller of posts & Telecommunicate h/s signed in blue

British Commonwealth 1986 collection of commemorative stamp booklets, Masa cards, FDCs and Presentation folder for Royal Wedding of Andrew and Fergie

British 1885 Pattern Cavalry Trooper's Sword, the ricasso bearing inspection marks for years 87, 89 & 93, W.D stamp, and being an issued example the ricasso is stamped Y.C (Yeomanry Cavalry). Blade length 88cm (34½ inches).

HADEN-GUEST, Anthony (1937-) A portfolio of 23 original ink drawings produced by cartoonist, writer and art critic Haden-Guest in the 1960s. Published in British Media, some bear the Sunday Telegraph used stamp with date to reverse. Ink on watercolour paper within a plastic A5 portfolio. (1)

A stamp album and contents to include Victorian penny reds, further British stamps, and world examples from Hong Kong, India, New Zealand, Brazil, and others

Guyana - - Richard Schomburgk. Reisen in Britisch-Guiana in den Jahren 1840-1844. 3 Bd. Mit 16 gestochenen Tafeln, davon eine gefaltet, sowie zwei teils kolorierten Karten. Leipzig, J. J. Weber., 1847-1848. X. 469 S. XIV. 1-530 S. VIII. 531-1260 S. 4°. Blindgepr. Lwd. mit goldgepr. Vignette und goldgepr. RTiteln. Buchblock von Bd. 1 u. 2 zweiseitig unbeschnitten (Rücken von Bd. 1 neu aufgezogen, Rücken von Bd. 3 restauriert, Ecken bestoßen, teils fleckig). Seltene vollständige Reihe. - Bd. 1 u. 2 Stempel: F. F. Bibliothek Donau Eschingen. - Exlibris in Bd. 3: Board of Education Victoria & Albert Museum Science Library. - Bd. 3 Stempel: Vertrag vom 13. Mai 1846. - Museum of Economic Geology. - Science & Art Department Science Library. - Die drei Bände Schomburgks befassen sich mit der Reise nach Britisch-Guiana in den Jahren 1840-1844 und bilden die Basis für weitere Erforschungen der Region. Die einzelnen Teile befassen sich mit verschiedenen Aspekten der Region und vor allem der dritte Teil ist der Flora und Fauna gewidmet. - Robert Schomburgk war ein deutscher Botaniker. Nach seinen Reisen wurde er von der britischen Regierung dazu beauftragt, die Festlegung der Grenze zwischen Venezuela und Guayana zu unterstützen. - Stockfleckig und Ränder gebräunt. Teils befleckt. Detailreiche Holzschnitte. Insgesamt gut erhaltene Exemplare. 3 vols with 16 engraved plates, one of which is folded, and two partly colored maps. Blind embossed cloth with gilt vignette and gilt titles. Book block of vol. 1 and 2 uncut on two sides. (Spine of vol. 1 newly mounted. Spine of vol. 3 restored. Corners bumped. Partly stained). - Rare complete series. - Volumes 1 and 2 stamped: F. F. Bibliothek Donau Eschingen. - Bookplate in vol. 3: Board of Education Victoria & Albert Museum Science Library. - Vol. 3 stamp: Contract of May 13, 1846 - Museum of Economic Geology. - Science & Art Department Science Library. - Schomburgk's three volumes deal with the journey to British Guiana in the years 1840-1844 and form the basis for further explorations of the region. The individual parts deal with different aspects of the region and the third part in particular is devoted to the flora and fauna. - Robert Schomburgk was a German botanist. After his travels, he was commissioned by the British government to help define the border between Venezuela and French Guiana. - Foxing and browning in margins. Partly stained. Detailed woodcuts. Overall well-preserved copies.

‡ LAURENCE STEPHEN LOWRY RBA RA (British 1887 - 1976) offset lithograph printed in colours on wove - 'Sailing Boats', signed in pencil, published in 1975 by Venture Prints Ltd, Fine Art Guild blindstamp, 29 x 34cmsProvenance: private collection Swansea, by family descentComments: framed and glazed, ready to hang Condition Report:blind stamp letters DED

‡ LAURENCE STEPHEN LOWRY RBA RA (British 1887 - 1976) offset lithograph printed in colours on wove - 'Industrial Scene', signed in pencil, published in 1974 by Venture Prints Ltd, Fine Art Guild blindstamp, 34.5 x 24.5cmsProvenance: private collection Swansea, by family descentComments: framed and glazed, ready to hang Condition Report:blind stamp letters FLF

Pair of The Gauntlet Posters (1977), British Quad Film Poster, starring Clint Eastwood, artwork by Frank Frazetta, both folded, quad is 30 x 40 inches, one sheet is 27 x 41 inches (2 items) Condition Report: Quad - Very good condition, small tanning spots One Sheet Good condition, R stamp to top right, pinholes to corners, text in pencil to right edge, old tape marks

A collection of various coins, British coins of the Realm glazed in a frame, Sunny Jim's Pre-Decimal Force, The Royal Collection, silver proofs, decimal sets, Kennedy half dollar and stamp, other coin packs, other commemorative coins, etc. 

Stamp Collection/Accumulation, in various boxes and albums overfilling a grocer's box, mainly British and Channel Islands/IoM, all cleanly kept including PHQ cards looking complete for the good early issues, commem covers incl. signed, Diana 1981 wedding presentation booklet for China market (2), plus approx. £80 GB face value.

Stamp Collection in 3 Loose-Leaf Binders, mainly 1940s British Commonwealth short sets and some useful omnibus, Sarawak 1950 set mint, plus three 1840 penny blacks noted in suboptimal condition.

Marcus Grey (British, born 1960) India Oil on canvas Studio stamp to the reverse 53cm x 63cm Lot UpdatesAll lots are subject to 25% Buyer's Premium plus VAT

Bailey (Nathan) Dictionarium Domesticum, Being a New and Compleat Houshold Dictionary. For the Use both of City and Country, first edition, engraved frontispiece in 5 sections depicting churning, brewing, a kitchen with bee hives visible through an open door, cleaning and gutting of fish, and baking, title with private ownership blind-stamp to upper corner and very small erased ink inscription at foot, professional marginal repairs to last couple of ff., very slightly affecting headlines, some spotting and staining, lightly browned, antique style calf, gilt spine in compartments and with dark purple morocco label, [Bitting pp.24-25; Cagle 555; Maclean p.7; Oxford p.69; Simon BG 161; British Bee Books 90], 8vo, Printed for C. Hitch at the Red Lion, and C. Davis, 1736.  *** Includes brewing, baking, pickling, kitchen gardens, distilling, wines, and bees.Provenance: 'Marie Kendall, son livre' (19th century ink inscription to an original endpaper now mounted on front pastedown); H. Williams, Rector of Llangadwaladr (blind-stamp to title). 

Parisian women.- Prostitutes.- [Saint-Hilaire (Émile Marco de)], "Modeste Agnèse, l’une d’elle". Biographie des Nymphes du Palais Royal, first edition, folding hand-coloured frontispiece (a little trimmed affecting head text), some light spotting, slightly heavier to title, 20th century half morocco, spine lettered in gilt in compartments, book-label on pastedown and stamp on endpaper, very slightly rubbed at extremities but a lovely copy overall, 12mo, Paris, [F. -P. Hardy for] Librairie Française et Étrangère, 1823. *** Rare, Library Hub records just one copy found at the British Library of the second edition (published in the same year as the first). No other copies of this edition in commerce. A fascinating guide to sex workers around the Palais Royal. The preface opens with an unusually forthright declaration: "The issue of prostitution as long been resolved. Governments must not only tolerate, but also protect these brothels which, by abandoning the courtesans, become courts of sex...".The work includes individual entries for different named women. Many document the visual descriptions that are usual of this type of work, but some have curiously intimate details of how they came to their line of work. The case of Amélie C is particularly unfortunate: "le nom d'Amelie C. doit être marqué d'une croix rouge dans le annales de la prostitution. Élevée sous le toit paternel, la première déclaration d'amour qu'elle entendit, sortit de la bouche de l'auteur de ses jours. La mort avait moissonné sa mère; son père voulut lacontraindre à remplir envers lui les devoirs d'une épouse, et pour se soustraire à cet acte atroce de l'autorité paternelle, elle se jet'a dans une maison de débauche, comme dans un sanctuaire protectuer." 

Parisian Women.- Carel (Alfred) Les Brasseries a Femmes de Paris, first edition, illustrations after Fernand Fau, half-title, pink half calf over marbled boards by E. Carayon, spine gilt, a little faded, extremities rubbed, a little marked, original wrappers bound in, Paris, Monnier, 1884 § Sérails de Paris, ou Vies et Portraits des Dames Paris, Gourdan, Montigni, et autres appareilleuses: 3 vol. in 1, engraved portrait frontispieces to each vol., light marginal spotting, bookplate, later morocco-backed boards, dark green spine label, a little rubbed, bookplate, ownership stamp on pastedown, 1802; and 4 others relating to women and Paris, v.s. (6) *** The first is rare: Library Hub records just one copy of this seemingly sole edition in the British Library.   

David Coulter (British 20th/21st century) "John Dalton St" Signed, titled and with artist's stamp on verso, acrylic on canvas.39 x 39cm (framed 51.5 x 51.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition. There is a small tear, about an inch long, in the left-hand section of the canvas, and a minor, shallow dent found towards its right-hand edge, near the frame. The painting is ornately framed but not glazed. The frame has one or two minor knocks and losses.

David Coulter (British 20th/21st century) "Central Library, Manchester" Signed, titled and with artist's stamp on verso, acrylic on canvas.24.5 x 29.5cm (framed 44 x 49.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed. The frame has some scuffs and knocks commensurate with age.

L.S. Lowry R.A. (British 1887-1976) "The Lake" Unsigned, numbered 16/35 in pencil in the margin, with Chelsea Green Editions blind stamp, with accompanying certificate of authenticity, signed by the master printer and featuring facsimile signature of L.S. Lowry, gouttelette print.image size 61 x 75.5cm (framed 98.5 x 112cm)The print and ceritificate are in very good, original condition with no obvious faults to report. The print and certificate are ornately framed and glazed.

L.S. Lowry R.A. (British 1887-1976) "Nursery Sketches" Unsigned, published by Adam Collection Ltd, with Fine Art Trade Guild blind stamp, from an edition of 850, the original drawings in the collection of Mr and Mrs Andras Kalman, London, printed by Chorley & Pickersgill Ltd., Leeds, limited edition prints.41 x 22cm (framed 45 x 26cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition with no obvious faults to report. The painting is framed and glazed. The frame has one or two very minor scuffs and knocks commensurate with age.

E.J. Lowe, 'A Natural History of New and Rare Ferns', with coloured illustrations and wood-cuts, together with 'A Natural History of British Grasses', with coloured illustrations, both published by Groombridge and Sons, London, 1865, and bound in half calf (2 books)Deaccessioned from the Bishopsgate Institute Library, London, with various library stamps throughout both books and Bishopsgate Institute blind stamp to the title page of 'New and Rare Ferns'

The Most Honourable Order of the Bath, C.B. (Military) Companion’s, Chapel Stall Plate, gilded brass with engraved and painted image of a C.B. Badge, inscribed 'Edward Lowther Crofton Esquire, Post Captain in the Royal Navy, Companion of the Most Honourable Military Order of the Bath, Nominated 4th June 1815.', reverse with maker's stamp for Hughes, 8 Peterboh. Co.., Fleet Str., London, 191mm x 114mm, corners pierced for attachment, very fineThis stall plate was produced between 1826 and 1838, during which time Hughes copper and steel plate makers was headquartered at Peterborough Court, Fleet Street.Edward Lowther Crofton was born on 24 November 1783, likely in County Roscommon, Ireland, the son of John Frederick Lowther Crofton and the grandson of Anglo-Irish politician Sir Marcus Lowther Crofton, 1st Baronet. Crofton embarked on a career in the Royal Navy, with whom he was commissioned Lieutenant in March 1804, Commander in February 1805 and was promoted Post Captain on 4 March 1811.Crofton was active during the War of 1812 and served as Post Captain in the Naval Brigade of Rear-Admiral Sir George Cockburn during the Battle of Baltimore in September 1814. Following the British burning of the enemy capital at Washington D.C., they returned to their ships and travelled up river towards Baltimore, Maryland and proceeded to bombard the harbour's Fort McHenry in an attempt to take the city. The fort was well-defended and stood up to the 25-hour bombardment after which the British fleet departed. The conflict notably inspired the American national anthem.Crofton's conduct during the engagement was praised by the Rear-Admiral in his public letter, in which he stated: '...the brigade of seamen with small arms, commanded by Captain Edward Crofton, assisted by Captains Sulivan, Money, and Ramsay, who commanded divisions under him, behaved with a gallantry and steadiness which would have done honour to the ablest troops, and which attracted the admiration of the army.'A year after the battle, Crofton was made a Companion of the Order of the Bath in June 1815. The following year he married Mary Leader on 23 April 1816 and the couple went on to have issue of at least one son and one daughter, who was born at Putney Hill in Surrey on 10 September 1818. Their son, also named Edward Lowther Crofton, was a Captain in the 77th Regiment of Foot who died of cholera in the Crimea on 27 September 1854 during the march from Alma to Balaclava.Crofton died just a few years after his award of the C.B. in September 1818; sold together with copied research. …

After Reginald Brundrit (British 1883-1960); 'The Devil's Bridge Kirkby Lonsdale' ltd.ed colour print, pub. Frost & Reed 1931, signed in pencil with Fine art Trade Guild blind stamp, 50cm x 65cmShipping £68.00 plus vat (UK Only)

After Mackenzie Thorpe (British b.1956); 'I hope they're in' ltd. ed. colour print, signed, titled and numbered 785/850 in pencil, with Washington Green blind stamp, 24cm x 41cmShipping £48.00 plus vat (UK Only)

A red folder containing British Commonwealth FDCs dating from 1979 to early 80's - sold with a small quantity of mint decimal presentation stamp packs, other stamps loose and on album sheets, 'schoolboy' stamp albums with part contents, other loose FDCs, etc.

* ALAN DAVIE CBE RA HRSA RWA (SCOTTISH 1920 - 2014), OPUS G.2444 COMPOSITE FORMS gouache on paper, signed, titled and dated 2004 versomounted, framed and under glass image size 56cm x 43cm, overall size 78cm x 64cm Label verso: Gimpel Fils, London Note: Scottish painter, graphic artist, poet, musician, silversmith, and jeweller, born at Grangemouth, Stirlingshire, son of a painter and etcher. Davie studied at Edinburgh College of Art, 1937–40, and after serving in the Royal Artillery, 1941–6, had his first one-man show at Grant's Bookshop, Edinburgh, in 1946. He then briefly worked as a professional jazz musician (he plays several instruments) before spending almost a year (1948–9) travelling in Europe. This gave him the chance to see works by Jackson *Pollock and other American painters in Peggy *Guggenheim's gallery in Venice, and he was one of the first British painters to be affected by *Abstract Expressionism. Other influences on his eclectic but extremely personal style are African sculpture and Zen Buddhism. His work is full of images suggestive of magic or mythology (some based on ancient forms, some of his own invention) and he uses these as themes around which—like a jazz musician—he spontaneously develops variations in exuberant colour and brushwork: ‘Although every work of mine must inevitably bear the stamp of my own personality, I feel that each one must, to be satisfactory, be a new revelation of something hitherto unknown to me, and I consider this evocation of the unknown to be the true function of any art.’ After his return to Britain in 1949, Davie settled in London, where he worked until 1953 as a jeweller. By the mid-1950s, however, he was gaining a considerable reputation as a painter (he has had regular one-man exhibitions at *Gimpel Fils Gallery since 1950), and in the 1960s this became international. His many awards have included the prize for the best foreign painter at the São Paulo *Bienal of 1963 and first prize at the International Graphics Exhibition, Cracow, in 1966. Retrospectives were held at the Barbican Art Gallery, London (1993), and Tate St Ives (2003). Since 1971 he has spent much of his time on the island of St Lucia and this has introduced Caribbean influences into his imagery. Further Reading A. Patrizio and S. D. McElroy, Alan Davie: Jingling Space (2003). One hundred and fory eight of his works are held in prominent UK public collections.

* ALAN DAVIE CBE RA HRSA RWA (SCOTTISH 1920 - 2014), OPUS D.3-76 gouache on paper, signed, titled and dated 1976 label versomounted, framed and under glassimage size 29cm x 41cm, overall size 46cm x 58cm Label verso: Gimpel Fils, LondonNote: Scottish painter, graphic artist, poet, musician, silversmith, and jeweller, born at Grangemouth, Stirlingshire, son of a painter and etcher. Davie studied at Edinburgh College of Art, 1937–40, and after serving in the Royal Artillery, 1941–6, had his first one-man show at Grant's Bookshop, Edinburgh, in 1946. He then briefly worked as a professional jazz musician (he plays several instruments) before spending almost a year (1948–9) travelling in Europe. This gave him the chance to see works by Jackson *Pollock and other American painters in Peggy *Guggenheim's gallery in Venice, and he was one of the first British painters to be affected by *Abstract Expressionism. Other influences on his eclectic but extremely personal style are African sculpture and Zen Buddhism. His work is full of images suggestive of magic or mythology (some based on ancient forms, some of his own invention) and he uses these as themes around which—like a jazz musician—he spontaneously develops variations in exuberant colour and brushwork: ‘Although every work of mine must inevitably bear the stamp of my own personality, I feel that each one must, to be satisfactory, be a new revelation of something hitherto unknown to me, and I consider this evocation of the unknown to be the true function of any art.’ After his return to Britain in 1949, Davie settled in London, where he worked until 1953 as a jeweller. By the mid-1950s, however, he was gaining a considerable reputation as a painter (he has had regular one-man exhibitions at *Gimpel Fils Gallery since 1950), and in the 1960s this became international. His many awards have included the prize for the best foreign painter at the São Paulo *Bienal of 1963 and first prize at the International Graphics Exhibition, Cracow, in 1966. Retrospectives were held at the Barbican Art Gallery, London (1993), and Tate St Ives (2003). Since 1971 he has spent much of his time on the island of St Lucia and this has introduced Caribbean influences into his imagery. Further Reading A. Patrizio and S. D. McElroy, Alan Davie: Jingling Space (2003). One hundred and fory eight of his works are held in prominent UK public collections.

* ALAN DAVIE CBE RA HRSA RWA (SCOTTISH 1920 - 2014), OPUS G 2392 SHAMAN'S WHEEL NO. 2 gouache on paper, signed, titled and dated 1999 label versomounted, framed and under glass image size 44cm x 38cm, overall size 61cm x 55cm Label verso: Gimpel Fils, LondonNote: Scottish painter, graphic artist, poet, musician, silversmith, and jeweller, born at Grangemouth, Stirlingshire, son of a painter and etcher. Davie studied at Edinburgh College of Art, 1937–40, and after serving in the Royal Artillery, 1941–6, had his first one-man show at Grant's Bookshop, Edinburgh, in 1946. He then briefly worked as a professional jazz musician (he plays several instruments) before spending almost a year (1948–9) travelling in Europe. This gave him the chance to see works by Jackson *Pollock and other American painters in Peggy *Guggenheim's gallery in Venice, and he was one of the first British painters to be affected by *Abstract Expressionism. Other influences on his eclectic but extremely personal style are African sculpture and Zen Buddhism. His work is full of images suggestive of magic or mythology (some based on ancient forms, some of his own invention) and he uses these as themes around which—like a jazz musician—he spontaneously develops variations in exuberant colour and brushwork: ‘Although every work of mine must inevitably bear the stamp of my own personality, I feel that each one must, to be satisfactory, be a new revelation of something hitherto unknown to me, and I consider this evocation of the unknown to be the true function of any art.’ After his return to Britain in 1949, Davie settled in London, where he worked until 1953 as a jeweller. By the mid-1950s, however, he was gaining a considerable reputation as a painter (he has had regular one-man exhibitions at *Gimpel Fils Gallery since 1950), and in the 1960s this became international. His many awards have included the prize for the best foreign painter at the São Paulo *Bienal of 1963 and first prize at the International Graphics Exhibition, Cracow, in 1966. Retrospectives were held at the Barbican Art Gallery, London (1993), and Tate St Ives (2003). Since 1971 he has spent much of his time on the island of St Lucia and this has introduced Caribbean influences into his imagery. Further Reading A. Patrizio and S. D. McElroy, Alan Davie: Jingling Space (2003). One hundred and fory eight of his works are held in prominent UK public collections.

* ALAN DAVIE CBE RA HRSA RWA (SCOTTISH 1920 - 2014), SPIX oil on canvas, signed, titled and dated 1998 versoframedimage size 80cm x 100cm, overall size 85cm x 105cmLabel verso: Gimpel Fils, LondonNote: Scottish painter, graphic artist, poet, musician, silversmith, and jeweller, born at Grangemouth, Stirlingshire, son of a painter and etcher. Davie studied at Edinburgh College of Art, 1937–40, and after serving in the Royal Artillery, 1941–6, had his first one-man show at Grant's Bookshop, Edinburgh, in 1946. He then briefly worked as a professional jazz musician (he plays several instruments) before spending almost a year (1948–9) travelling in Europe. This gave him the chance to see works by Jackson *Pollock and other American painters in Peggy *Guggenheim's gallery in Venice, and he was one of the first British painters to be affected by *Abstract Expressionism. Other influences on his eclectic but extremely personal style are African sculpture and Zen Buddhism. His work is full of images suggestive of magic or mythology (some based on ancient forms, some of his own invention) and he uses these as themes around which—like a jazz musician—he spontaneously develops variations in exuberant colour and brushwork: ‘Although every work of mine must inevitably bear the stamp of my own personality, I feel that each one must, to be satisfactory, be a new revelation of something hitherto unknown to me, and I consider this evocation of the unknown to be the true function of any art.’ After his return to Britain in 1949, Davie settled in London, where he worked until 1953 as a jeweller. By the mid-1950s, however, he was gaining a considerable reputation as a painter (he has had regular one-man exhibitions at *Gimpel Fils Gallery since 1950), and in the 1960s this became international. His many awards have included the prize for the best foreign painter at the São Paulo *Bienal of 1963 and first prize at the International Graphics Exhibition, Cracow, in 1966. Retrospectives were held at the Barbican Art Gallery, London (1993), and Tate St Ives (2003). Since 1971 he has spent much of his time on the island of St Lucia and this has introduced Caribbean influences into his imagery. Further Reading A. Patrizio and S. D. McElroy, Alan Davie: Jingling Space (2003). One hundred and fory eight of his works are held in prominent UK public collections.

BRITISH & COLONIAL STAMP ALBUM, George V and laterProvenance: private collection Cheshire