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John Ruskin (1819-1900), a group of fourteen signed letters, recipients to include Dr Attwell, Mr Learoyd, Butler, Miss Miller, Woodd, Dixon, Mr Stowe, with subjects to include discussing agates, pearls, and Christmas, together with six envelopes addressed to Samuel Learoyd, and an envelope addressed to Mrs S H Holder (qty.)For a comprehensive transcription, please see the condition report.Condition ReportTranscription of letters:'Brantwood, Coniston, LancashireDear Dr AttwellI was so much interested in looking out those stones for you that I’m ready to lend you another lot directly – if you’ve room and care for them. I hope the new lot sent you yesterday are better than those sent to Whiteland’s – but these others won’t be lost, there either.That’s so interesting and so right – about the moral of monsters – but I hav’nt''Brantwood, Coniston, Lancashire. AmblesideDear Mr LearoydPlease let the agates be sent here, and with thanks for your care and best Christmas wishes believe me your faithful servant John Ruskin Samuel Learoyd Esq.''Brantwood, Coniston, Lancashire.28th April 83My dear SirI am so ashamed of myself for not having answered your kind letters of question about showing the agates – but I have been thinking of several things about them. It seems to me that with your good help, they might be arranged for a loan collection, belonging to the Sheffield Museum, and – when long enough at one place taken to another.You will at once see at looking over them that all have separate phenomena. Several are ,(in my experience unique) and all are chosen for things which need notice in each specimen ‐ If you will at present number and shortly describe each – and show just as you think best. I would afterwards consult with you on what more might be said, with secure basis of science, of the possible mode of production of each – and print the catalogue so settled.This cannot be till after our Oxford work is done – but for the present exhibition please take all authority. I think my stones usually look best on white silk or deep red or purple velvet – in which when the collection is finally arranged you might have niched places for each stone Ever most truly Yours J Ruskin''Brantwood, Coniston, Lancashire.27th Dec. 84Dear Mr. LearoydNo. I could not take up pearls. – they are a result of disease. And would never interest me, but I should like to see an exhaustive book on them – Silica is more than ever I shall manage, ‐ but please tell me of any points of new interest that occur to you in it at any time Ever faithfully yours J Ruskin''Brantwood, Coniston, Lancashire.3rd MayDear Butler,I’m quite delighted with all the small silvers ‐ and all the besicas – and the rest are very nice I return a pound’s worth of what I don’t want – see accounts and enclose cheque for £5 with hearty thanks. The 15/‐ chlorite is superb – quite worth £1 to me – the largest indescent Madagascar, the best I ever saw.I’m not well, stomach out of sorts – or that metal‐book would have been done by this time – I Don’t know what you could have got out of my talk – you said you should like to know things – And I said – so should I! I think that was about all. But I’ll write and print the catalogue of collections for you directly. Ever affectionately yours JR''Brantwood, Coniston, Lancashire.17th April 83My dear SirI will look out the stones directly – but your own arrangement will be entirely satisfactory to me – it will be a delight to think of your seeing them. – I will wait on Col. R; the moment I’m in town againEver faithfully yoursJ Ruskin''Brantwood, Coniston, Lancashire18th May 86My dear SirI accept your Companionship very gladly, having at last given up the idea of the Guild’s being a monied power; and contenting myself with making it a bond and an influence for assured good.Do not hasten to leave your position under Dr. Gore. You could not be in a more useful one that of a practical experimental philosopher – as you grow in years – holding yet the faith you have now signed Ever faithfully yours John Ruskin''Brantwood, Coniston, Lancashire. Christmas 86My dear SirI find nothing so uselessly wasteful of my time as lending either drawings or minerals, and have vowed to trouble myself no more, in that kind – but if I would – assuredly not for Manchester. Even at Xmas time I forgive them not their Thirlmere theft. Ever faithfully yours John Ruskin''Herne Hill, S.E. London20th June 77Dear Miss Miller,I have been twenty times of the edge – never yet well over the edge –of answering your mostvaluable letters – but you will see in next days I have not forgotten them.Is Eastover House an established and permanent school – and would its trustees like me to lend Some agates and other stones for her pupils to play with and think of? Ever gratefully Yours J. Ruskin''Brantwood, Coniston, Lancashire.12th Feb. 85Dear Woodd,Many thanks. The Phots are beautiful. I had taken good ones myself, of course; but these beat them considerably. I’ve ordered a report of St. George to be sent to you. I shall expect a grand subscription to my Museum. Ever affectionately yours J Ruskin Charles H. Woodd, Esq.''I have not read the slips yet they seem most interesting.Venice, 6th MayDear DixonI have been terribly neglectful of you. I was very glad to see your hand today, but what to know how you are.I must really organize this St. George’s company by drawing up some legal documents myself which the Companions shall sign. I am sick of the lawyers’ delays and the Trustees are shy of acting for want of clearly knowing to whom they are responsible.‐ So you will have to declare that you they have no business with the matter – but that you only hold the Master responsible for the management. Ever affectionately yours J Ruskin' 'Denmark Hill23rd AprilMy dear Mr StoweI’ve had this returned letter by me ever so long and always forgotten to ask you to forward it – and now I’m leaving town – but I shall be back D.V. early in the summer – and most happy then to see your friend. Yours very truly J Ruskin''Denmark Hill, CamberwellMonday 1st OctoberMy dear SirI could not earlier reply to your letter – having left several days of this week open to choice to different friends whom I wanted to see – having only just come home from Switzerland – I have no forenoon time open just now – could you & Mr. Gregory favour me by coming some evening? Friday or Saturday? If not I shall have forenoon time next week. Truly yours, J Ruskin It is a long way for you to come – if Mr Gregory could be at Queen Sq. on Saturday, or Friday at one o’clock, I would come there.''Denmark Hill, S.7th Oct.My dear Sir.In this fine weather I am out all day my business goes to the dogs. I am heartily obliged to you for your letters and for the kindness of sending me an account of Mr. Stevenson – Forgive me, as well as him, the trouble we have caused you and believe me yours faithfully and obliged J Ruskin'

LES ADVENTURES DE TINTIN (TV SERIES, 1959-1964) - Tintin and Snowy Original Hand-Painted Original Production Cel and Background Setup - This rare hand-inked and hand-painted original production cel setup from the episode Destination Moon (Objectif Lune), part of the 1959 TV serial Hergé's Adventures of Tintin. The series was produced by legendary Belgian production house Belvision Studios in collaboration with Larry Harmon Pictures. In 1957, Belvision began adapting Hergé's iconic Tintin comics into animation, producing eight of the Adventures as short-format television episodes. Destination Moon marked a standout two-part episode in the second animated series, directed by Ray Goossens and scripted by the renowned cartoonist Greg, who would go on to become editor-in-chief of Tintin magazine.The significance of these animated adaptations cannot be overstated. They were among the first efforts to bring Hergé's beloved characters to the screen, introducing Tintin, Snowy, Captain Haddock, and the rest of the cast to an entirely new audience. For many fans, these early adaptations hold a nostalgic place alongside the classic comic albums, bridging the gap between print and screen with a distinctive mid-century European animation style.This appealing scene features Tintin in his distinctive orange spacesuit alongside his faithful companion Snowy. The cels are paired with a hand-painted background used in the production that beautifully evokes the stylised sci-fi setting of the story.Its scarcity makes original production artwork from Hergé's Adventures of Tintin especially coveted. Few cels survived from this period, as animation art was typically discarded or destroyed after use and only served a functional role. Pieces like this, especially with both Tintin and Snowy, are rarely seen, making them highly desirable to animation, European comics, and pop culture history collectors alike.This setup is not just a charming scene; it's a piece of animation and Tintin history, capturing the bold spirit of one of the most influential comic series ever created. Dimensions (mounted): 33 x 38 cm (13†x 15")Sold without copyright; see notice in the Buyer's Guide.VAT Status: M

‡ ATTRIBUTED TO DOMENICO ZAMPIERI, KNOWN AS DOMENICHINO (ITALIAN 1581-1641)LANDSCAPE WITH A HERMIT Oil on canvas 41 x 54cm (16 x 21¼ in.) Provenance: Everhard Jabach, Paris, no. 582, by 1696 Manor House Antiques, The Square, Stow-on-the-Wold, Gloucestershire, March 1973 There acquired by Richard L. FeigenLiterature: Vicomte de Grouchy, Everhard Jabach, collectionneur parisien (1965) in Memories de la Societe de l'Histoire de Paris et de l'lle de France. XXI, 1984, p.278, no. 582 G. Gent, Lost Domenichino is Found and Bought for $392, New York Times, 19 June 1973, p.32 L. Salerno, Pittori di paesaggio del seicento a Roma, vol. I, Rome, 1976, I. pp. 81,120, cat. no. 19.3 R. E. Spear, Domenichino, New Haven, 1982, vol. I, p.317 (as a copy after Pietro Paolo Bonzi) L. Salerno, Review of Domenichino by Richard Spear, in 'Storia dell arte', L. 1984, p.88 A. Brejon de Lavergnee, L'inventaire Le Brun de 1683; La collection des tableaux de Louis XIV, Paris, 1987, p. 297 (as a copy after Domenichino) C. Whitfield, Les paysage du Domenichio et de Viola in Monuments et memories, LXIX, 1988, p.106, no. 92 (as Grimaldi?) R. E. Spear, Domenichino addenda, in Burlington Magazine CXXXI, 1989, p.11. no.44 (as a copy after Pietro Paolo Bonzi) S. Loire, Ecole italianne XV/le siecle. I. Bologne. Musee du Louvre. Department des Peintures, Paris, 1996. pp.214. 216 (as a copy after Domenichino)Exhibited: Amherst, Massachusetts, Mead Art Museum, Major Themes in Roman Baroque Art from Regional Collections, 1974, no.83 New Haven, Yale University Art Gallery, Italian Paintings from the Richard L. Feigen Collection, 28 May - 12 September 2010, no. 45 (as Domenichino)The present work is known in three versions; the lot offered here, a reduced painting in the Louvre (30 x 37cm), and a third larger example (47 x 59cm) in the Galleria Doria-Pamphilj, Rome. The latter example is now generally attributed to Domenichino's follower Pietro Paolo Bonzi. Whilst the present work has been put forward as the prime version by Luigi Salerno and others (see literature), Stephane Loire and Dennis Mahon both argued that the Louvre version is the original. Condition Report: Canvas appears to have a wax relining and presents a subtle craquelure. In addition, there are a few slight superficial scratches in the varnish in the tree in the upper right corner and the lower left corner UV light reveals and evenly applied varnish a few retouches in the lower section of the waterfall as well as meticulous restoration in the sky with two patches of approx 4cm in width. In addition, there are a few small meticulous restorations in the foliage of the tree to the right. Finally, there is extensive restoration to the right border such restoration if of crosses the whole right border and is of about 4cm in width.Condition Report Disclaimer

A carved wooden doll, late 19th century, with articulated legs and arms and a painted head, with stand, 31cm high 33.5cm overall together with two artists' mannequins, 39cm and 20cm high Provenance: The Clock House, Dunmow, Essex Condition ReportThe dark vanished doll (large) - some splatter markings - possibly removable with cleaning. A small chip to one foot (varnished over). Missing the stand. The dark vanished doll (small) - some splatter markings - possibly removable with cleaning. Missing the stand. Carved doll - One arm is stiff. Splatter staining throughout. Some markings and scratches throughout. A red stain to the rear. Some splintering to the the screws where the arms are.

1930's dolls house with doors opening onto linoleum and lace curtains

Vinyl - 17 Folk / Blues / Indian LP’s to include: Ry Cooder & V.M. Bhatt – A Meeting By The River (Analogue Productions – APW 29 double), The Unthanks – Mount The Air (RRM013LP double one side etched), Anthony Thistlethwaite – Aesop Wrote A Fable (ACRE 1 LP 1993), Seven Little Sisters – Cow Trousers (RGB 501 1994), The Secret Sisters – The Secret Sisters (B0014533-01), Msaki x Tubatsi – Synthetic Hearts (NØF.57 LP), John Francis Flynn – Look Over The Wall, See The Sky (RLR021LP), Seasick Steve – Dog House Music (Cap036LP), Seasick Steve – I Started Out With Nothin And I Still Got Most Of It Left (BR07LP), Colter Wall – Imaginary Appalachia (YMRC005-1) sealed. Colter Wall – Songs Of The Plains (YMRC-0061) sealed. Seasick Steve – Sonic Soul Surfer (DSRLP0036 double), Debashish Bhattacharya And Friends – Beyond The Ragasphere (Riverboat Records – TUGLP1070 2013), Priya Ragu – Damnshestamil (Warner Records – 0190296669095 2021 red vinyl) , Ravi Shankar With Allah Rakha – Music Of India - Ragas And Talas (His Master's Voice – ALP 1665 UK 1960’s) VG+, Yehudi Menuhin & Ravi Shankar – West Meets East (His Master's Voice – ASD 2294 UK 1966 stereo) VG+, Woody Guthrie (10” LP) VG. Condition EX overall with many in open shrink, apart from there mentioned

A REGENCY MAHOGANY CELLARET OR WINE COOLER ATTRIBUTED TO GILLOWS, CIRCA 1815 The hinged top enclosing fittings for three wine bottles and four magnums, the sides with ormolu lion mask and ring handles 59cm high, 59.5cm wide, 50cm deepAn identical cellaret attributed to Gillows sold Christie's, Chieveley House, Berkshire and Five Private Collections, London, 19th March 2020, Lot 85 (£4,375 incl. BP).A related design for a cellerette or 'gardevin' is in the Gillows' Estimate Sketch Books (ESB 344/99, 27 August 1805, no. 1771).See Susan S Stuart, Gillows of Lancaster & London 1730-1840, volume I, p332, pl 382, for a Gillows dressing table with identical double moulded beading, triple beaded edges and related ring turned and reeded legs. Condition Report: Overall there are some scratches, marks, chips, cracks and abrasions consistent with age and use.There are some old repairs to the legs with some metal braces where the legs meet the base of the cellaret. Intact and useable with just some small movement to some legs.The interior large bottle removeable section has some cracks.The lid holds itself firmly.There is no key for the original lock.Of strong Gillows design with a classical line, outset corners, quality reedings and mouldings; the grand scale size and good cuts of well figured timber also typical of Gillows work in this Regency period.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition - they are a vital part of this report. Condition Report Disclaimer

A collection of boxed dolls and teddy bears, comprising Harrods 2002, 2003 and 2004 bears, also a boxed House of Fraser Millennium bear and a boxed Cabbage Patch kids doll (5).

oil on canvas, signed, titled and dated 1998 label verso framed and under glass image size 61cm x 67cm, overall size 71cm x 76cm Handwritten artist's label verso Note: Judith was born in 1962 in Australia, and trained in Glasgow, where she now lives and works. Her bold, exuberant and vibrantly joyful landscapes have led to sell-out shows in Scotland, London and the rest of the UK as well as exhibiting further afield in America, Russia and Sweden. Working in oils, her paintings use bold, vigorous, rhythmical strokes of impasto paint combined with delicate brushwork. This gives an exciting texture to the paint surface along with a sense of abstraction, which reflects nature?s contrasts and delicate harmonies. However, whilst the work is very painterly, it also has a strong sense of place. Winner of the 1999 MacRoberts Open Prize, the 2010 House for An Art Lover Award, and the Glasgow Art Club Award in 2016, Judith is also a member of the Paisley Art Institute, and a regular exhibitor at the Royal Glasgow Institute and Royal Scottish Society of Painters in Watercolour. Paintings in private collections in England, Ireland, France, Germany, Switzerland, Italy, Belgium, the Netherlands, Turkey, Mexico, Canada, USA, Bermuda, Australia, Hong Kong and the United Arab Emirates. Collections include: Sophos Plc Global Headquarters, Arisaig Partners, The Royal Bank of Scotland World Headquarters, University of Strathclyde, Glasgow Caledonian University, British Midland (on permanent exhibition in the Executive Lounge at Glasgow International Airport). Work also owned as part of the Helen Cargill Thomson Collection, gifted to the University of Strathclyde. Judith's highly successful 14th Feb - 10th March 2020 exhibition at Duncan R. Miller Fine Arts (London) was her fourteenth solo show at this prestigious London gallery.

oil on board, signed and dated '15 mounted, framed and under glass image size 27cm x 21cm, overall size 48cm x 42cm Note: Born in Volgograd (formerly Stalingrad), Russia, in 1966. Graduated as an Architect in 1989. Moved to Moscow, worked as an Architect until the beginning of Gorbachev's Perestroika, then worked as an interior designer. Moved to Glasgow, UK, in 1996. Worked at the Royal Bank of Scotland and as a manager at Austin Reed , Glasgow. Then, following the sell-out at my first Art show in aid of Age Concern Charity, decided to become full-time artist. Self-taught, although studied arts as part of degree as an Architect. Exhibited at the Royal Glasgow Institute, Paisley Art Institute and Aspect Prize Annual exhibitions. Represented by established galleries at the Art Fairs in London, Battersea, Glasgow, Edinburgh, Chelsea, Birmingham, Aberdeen, Ireland etc, and self-represented at the Oxford international Art fair February 2016 and the Aberdeen Art Fair, September 2016. I have works in private and corporate collections throughout the UK, Australia, USA, Greece, Germany, Spain, Sweden and Russia. There were a number of articles in local and national press concerning my work and images had appeared in the TV Channel 4's Grand Design. Works exhibited in established galleries throughout the UK. My style-quirky witty figurative, somewhat humorous, somewhat realistic but always colourful. Growing up under the authoritarian Soviet regime, when ordinary Russians had to wear that drab look of obedience and self-suppression, I had always wanted to escape from that total uniformity and find the way to express my vision of events reflecting happier, lighter take on everyday life. We busy ourselves with tedious tasks that like it or not, need to be done, and forget to simply be happy. I reflect everyday events in a slightly exaggerated way to take off the heaviness and seriousness, there is plenty of both in real life-and I believe in surrounding yourself with things that make you feel better. The important thing after all is to be happy and not to be important. My subjects are loosely based on own experiences and observations - and are therefore recognisable, which often provokes a laugh (much desired effect). My subjects (although at times seemingly emotionally isolated, even when they are clustered in groups) are not lacking emotions, they only express them in their own way. They do not take themselves too seriously, they just go about their business as if no-one is looking. Their self-sufficiency is their freedom... Sometimes my characters might look quite realistic and recognisable, but their grotesque figures make them look ironic-we see one thing but they tell us another. Like many things in life-things are not always the way they seem. In other words, I try to reflect life as we see it but don't always notice. To finish, I'll quote: "Artist must think when he feels and feel when he thinks". At first, these two statements are mutually exclusive. If an artwork is created without this in mind, the end result will inevitably lack the energy and that "something" that makes us want to look at a work of art. How to combine the two? This is something that cannot be taught but is inborn. Russians are guided by their emotions, not by common sense, and this has an effect on all my work (whether I am paying myself a compliment here, I am not sure...). I'm interested in people and interactions between them, what makes us tick, what makes us human. Recent exhibitions include: Royal Glasgow Institute of Fine Art, RGI Kelly Gallery; Paisley Art Institute and Aspect Prize; Home and Interiors Exhibitions, SECC Glasgow; Affordable Art Fairs London, Battersea, Glasgow (GAF), Chelsea, Birmingham, Aberdeen, Oxford; First Contemporary Art Fairs Edinburgh; Karen Tailor Contemporary Fine Art, Twickenham, London; Colomb Art Gallery, Marylebone, London; Enid Lawson Gallery, London; Off The Wall Gallery, Cardiff; Stirling Fine Art Gallery, Stirling; Tony Haig Gallery, Kelso; Hullabaloo Restaurant, Dumfries, solo; Regent Gallery, Somerset; Rowan Gallery, Drymen, Loch Lomond and Helensburgh; Christo's Gallery, Glasgow; Arteries Gallery, Glasgow; ArtForum Gallery, Milngavie, Glasgow; The Annan Gallery, Glasgow; McGregor Fine Art, Glasgow; Scotlandart.com, Edinburgh and Glasgow; The Sun Gallery, Newburgh, Fife; Hanover Fine Art, Edinburgh; Westminster Gallery, London; Laurel Gallery, Edinburgh; Gallery Luti, Callander; Tolquhon Gallery, Aberdeenshire; The Jerdan Gallery, Crail; Alpha Art, Edinburgh; Daisy Frame Gallery, Biggar; Dancing Light Gallery, West Linton; Fotheringham Gallery, Bridge of Allan; Devorgilla Gallery, Dumfries; The Storm Studies Gallery, Moffat; High Street Gallery, Kirkcudbright; Frameworks Gallery, Troon; Macmillan Cancer Relief Charity Exhibition, Glasgow and Edinburgh; Hancel Foundation Art Auctions; Retail Trust Charity Exhibition, Glasgow; Marie Curie Cancer Relief Charity Auction; The Preshal Trust Charity Auction; Children's First Charity Auction; University of Glasgow CHAS and Cancer research Charity Exhibition and Auction; Auction Sale in Aid of Yorkhill Childrens' Hospital; Castle Gallery, Inverness; Sable & Ox Gallery,York; Frames Gallery, Artesan Gallery, Perth, and Perth Festival; Central House of Artists, Moscow, Russia; Tracey McNee Fine Art, Glasgow; The Queens Road Gallery, Aberdeen; e-gallery, Bearsden; Spring Art Fair, Sweden.

oil on board, signed and dated '02 and titled mounted, framed and under glass image size 31cm x 91cm, overall size 48cm x 108cm Note: David M Graham lives and works in Scotland. He holds a Masters Degree from Edinburgh College of Art and a teaching qualification from Moray House School of Education. In addition to paintings he has lectured at Honours Degree level for most of his career but he has also enjoyed teaching short courses in visual communication and water colour painting. Working in a variety of mediums, at times, the imagery in David?s painting borders on abstraction while retaining intriguing yet recognisable elements that relate to the subject matter. The landscape provides the inspiration for much of his work, some of which is expressed in bold statements of colour and texture. David Graham is represented in a number of prominent art galleries in Scotland and England. His work is included in many private collections at home and abroad.

oil on canvas framed image size 17cm x 12cm, overall size 27cm x 22cm Provenance: this picture has been authenticated by Peter Howson on 10.04.2025. Note: Peter Howson OBE has established a formidable reputation as one of his generation's leading figurative painters. Many of his paintings derive inspiration from the streets of Glasgow, where he was brought up. He is renowned for his penetrating insight into the human condition, and his heroic portrayals of the mighty and meek. His art is described by Robert Heller as "founded in humanity, especially the human face." Howson was born in London. He studied at Glasgow School of Art from 1975-1977, returning in 1979 to complete a Master's. In 1985 he was made the Artist in Residence at the University of St Andrews and also a part-time tutor at Glasgow School of Art. In 1992 he was commissioned by the Imperial War Museum to record the conflict in the former Yugoslavia . He was appointed official British war artist for Bosnia in 1993 and in 1996 was awarded Doctor of Letters Honoras Causa, University of Strathclyde. Prior to converting to Christianity in 2000, Howson responded to pain by pursuing hedonism. His experiences of abuse - whether self-inflicted and substance-related or the traumatic events of his childhood - have afforded him an affinity with those individuals who are classed as somehow 'on the edge'. His work has caught the attention of a number of prominent cultural figures, celebrities and creatives as well as striking a chord with prisoners, a voiceless demographic from whom Howson receives many letters of support. His ability to speak to the peripheries - to both the exclusive echelons living 'the highlife' and the socially alienated outsiders labelled 'low lives' - is proof of his enduring skill at capturing the maverick, excessive and non-conformist, while also seeking spiritual change. In 2011 Howson completed a dramatic rendering of the martyrdom of St John Ogilvie for the renovated St Andrew's Cathedral in Glasgow. The two year process of working on the commission was the subject of a BBC documentary. In 2023 Howson was the subject of a major retrospective at the Edinburgh City Art Centre, When the Apple Ripens: Peter Howson at 65, a comprehensive overview of the artist's career. His work has been shown in major exhibitions globally including Eye on Europe at the Museum of Modern Art, New York, and The Naked Portrait at the Scottish National Portrait Gallery in 2007. Public collections include: Aberdeen Art Gallery; Bankfield Museum, Halifax; British Broadcasting Corporation (BBC); British Council; British Museum, London; Cartwright Hall, Bradford, Christie?s Corporate Collection; City Art Centre, Edinburgh; City Art Gallery, Southampton; Contemporary Art Society; deYoung Museum of Fine Arts, San Francisco; Dundee Art Gallery; Eigsee Festival Collection; Fitzwilliam Museum, Cambridge; Glasgow Museums (Art Gallery and Museum, Kelvingrove); Glasgow Royal Concert Hall; Gulbenkian Collection, Lisbon; Hunterian Museum, Glasgow; Imperial War Museum, London; Isle of Man Arts Council; Kilmarnock and Loudoun District Museums; Library of Congress, Washington DC; Lloyds TSB Group plc, London; The Maclaurin Trust, Ayr; Metropolitan Museum of Art, New York; Ministry of Defence, London; Museum of Modern Art (MOMA), New York; National Gallery of Norway, Oslo; New York Library; Nottingham Castle Museum and Art Gallery; Paisley Art Gallery; Pallant House Gallery; Paul Mellon Centre; Yale University, Washington; People?s Palace Museum; Peter Scott Gallery; Lancaster University, Lancaster; The Fleming Collection, London; Royal Bank of Scotland (RBS); Scottish Amicable; Scottish Development Agency; The Arts Council of Great Britain; The Scottish Arts Council; The Scottish National Gallery of Modern Art, Edinburgh; Scottish Television (STV); Tate Gallery, London; University College of Wales, Aberystwyth; University of Salt Lake City; University of Strathclyde, Glasgow; Victoria & Albert Museum, London; Walker Art Gallery, Liverpool; The Jerwood Collection. Peter Howson's paintings hang in prestigious private and corporate collections worldwide and his known celebrity buyers include Mick Jagger, Madonna and David Bowie. "What an artist. They'll be talking about him in a hundred years time" - Dr Bendor Grosvenor, art historian and TV Presenter ?Britain?s Lost Masterpieces?.

mixed media on paper framed and under glass image size 67cm x 47cm, overall size 76cm x 55cm Provenance: Collection of Matilda Hall, bought at Christian Aid Sale, authenticated by James Holloway Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite?s 1993 solo exhibition, made by The Scotsman?s art critic Edward Gage. The ?maverick? label is often attached to Douthwaite to encompass a variety of the artist?s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite?s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite?s creative endeavours. Douthwaite?s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier?s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.

Nigel Ashcroft (British, bn. 1951) House in Tocane St. Apre signed with artist ‘s monogram NA, watercolour, Frost and Reed label verso, 19cm x 26.5 cm (42cm x 48.5cm frame size).

A collection of 1970's era comics including DC House of Secrets, Unexpected, Gold Key examples including Boris Karloff etc. (38)

* Waugh (Evelyn, 1903-1966). A. E. Housman, A Shropshire Lad, London: Printed by The Riccardi Press for Philip Lee Warner, publisher to the Medici Society, 1914, original grey boards, 8vo, one of 1,000 numbered copies, with signed presentation inscription from Evelyn Waugh to his one-time lover, Alastair Hugh Graham (1904-1982), the principal inspiration for the character of Sebastian Flyte in Brideshead Revisited, inscribed in ink to front endpaper "For Alastair from 'A jonquil, not a Grecian lad.' Evelyn, Christmas 1923", together with a four-legged stool with an embroidered seat (probably made by Alistair Graham, who enjoyed needlepoint) depicting a naked youth with outstretched arms looking back at Graham’s home, Wern Newydd in Cardiganshire, plus a 1930s valet set in leather case, a pack of playing cards in original painted wooden box, two small printed visiting cards for Alastair Graham, as Attaché Honoraire à la Légation de S. M. Britannique, Athènes, and Honorary Attaché, The Residence, CairoQTY: (4)NOTE:Provenance: Purchased by the current owner in Aberystwyth from the daughter of Alistair Graham's housemaid at Wern, Lottie Evans. According to her, these items were gifted to her mother by Alistair Graham when he moved from Wern to New Quay in 1958.  Critics and biographers of Evelyn Waugh largely agree that Alastair Graham (1904-1982) was the model for the character Sebastian Flyte in Brideshead Revisited, a claim that was verified by Auberon Waugh. Graham went up to Brasenose College, Oxford in the autumn of 1922 where he met Evelyn Waugh and in early 1923 the two young men began a relationship. Thereafter Waugh was a regular visitor to the Graham family's country house at Barford in Warwickshire. In a diary entry Waugh writes: "Alastair and I had tea together and went back to Barford where we dined in high-necked jumpers and did much that could not have been done if Mrs Graham had been here." After Oxford Graham joined the diplomatic corps and was posted by the Foreign Office to Athens from 1927 to 1929 (where Waugh visited him), and later Cairo until 1933. Graham's homosexual exploits led to his being advised by the police to leave London or risk prosecution, and so he purchased Wern Mansion, set in 40 acres five miles from New Quay, Cardiganshire, in 1936. He became known for his parties to which his glittering friends were invited, including the painter Augustus John, Dylan and Caitlin Thomas, and architect Clough Williams-Ellis.   Evelyn Waugh said that Alastair was "the friend of my heart". Waugh's presentation inscription in this copy of Housman's A Shropshire Lad given to Alastair quotes from one of the poems, 'A jonquil, not a Grecian lad', with all its overtones of doomed love. Evelyn subsequently married Evelyn Gardner (the two Evelyns wittily renamed 'Hevelyn' and 'Shevelyn') but the marriage rapidly foundered. The embroidered stool, almost certainly executed by Graham, may have been styled on a nude photograph Graham sent Waugh of himself near a waterfall, asking Waugh to 'Come and drink with me somewhere'. Waugh is known to have kept the photograph of Alistair until the end of his life. 

* Miniature. A group of dolls' house and other items, early 19th century and later, including: a silver goblet hallmarked Birmingham, E&S; a metal iron, with compartment for hot coals, on a trivet; 2 tiny pairs of articulated scissors; 8 items of play food; a few chess pieces (some attached to a homemade chess board); a powder puff in a circular box embellished with ribbon embroidery and metallised lace; 2 bone-handled penknives and a bone-handled seal, together with other juvenilia, including: an early 19th century handmade articulated cardboard figure; a painted figurine of a gentleman; part of a conjuring set, including a magician's wand, plus other miscellaneous items, including several small boxes, various condition and sizesQTY: (a small carton)

ATTRIBUTED TO ANNE REDPATH OBE RSA ARA (SCOTTISH 1895 - 1965) STILL LIFE oil on boardframedimage size 39cm x 20cm, overall size 53cm x 37cm Note: Anne Redpath was the first woman painter to become a member of the Royal Scottish Academy in 1952. In 1955 she was awarded the O.B.E. and received an Honorary LL.D. from Edinburgh University. During her lifetime, Anne Redpath won recognition and fame, but she will be remembered not only for her distinction as a painter but for the warmth and charm of her personality. Redpath returned to live in the Scottish borders in 1934 and continued to raise her three sons. It was at this time that she started painting again after a long sabbatical. The original oil on panel on offer here was part of a headboard which was almost certainly painted by Redpath during this period. The bed was acquired as part of house and contents which was occupied by Redpath. Times were hard for Redpath in the 30’s when she had returned from many years living in France with few possessions and we believe she used her skills as a painter to decorate pieces of furniture for herself and others, bringing new life into the interiors which they occupied. These works are executed in a contemporary illustrative style. On the 17th July 2010 (Lot 409) an old pine dresser from the estate of artist (and friend of Anne Redpath) John McNairn, painted by Redpath was sold by Lyon & Turnbull. The dresser was hand painted in the same illustrative style as the work offered here. The panels from this tired piece of furniture were removed and professionally restored before being offered in various auctions by McTear’s in May and September of 2012.

An antique Waterford cutglass Piggin, three sets of attractive antique cutglass Salts, a large cutglass Decanter and stopper; and two cutglass Water Jugs. As a lot (1) Provenance: Purchased by the family of the present owner at Carton House Dispersal Sale on behalf of the Dukes of Leinster in the late 1940's.

An important 19th Century British Scenery Davenport Royal blue and gilt highlighted porcelain Cabinet Service, comprising cups, saucers, plates, tureen, teapot, approx. 68 pieces. As a lot, w.a.f.  Provenance: Purchased by the family of the present owner at Carton House Dispersal Sale on behalf of the Dukes of Leinster in the late 1940's.

Silverware: An attractive cased pair of pierced and decorated Adams design Bon Bon Dishes, (with manuscript not "For Docher... from Mr. W.T. Stoker"; together with a cased pair of pierced and decorated blue glass line Salts; two cased set of bone handled Victorian Fish Servers; a silver handled Letter Opener; and a bone handled Crumb Gatherer, as a lot. (6) Provenance: Purchased by the family of the present owner at Carton House Dispersal Sale on behalf of the Dukes of Leinster in the late 1940's.

19th Century Irish School "Daniel Connolly," watercolour and pastel, head and shoulder portrait, approx. 37cms x 28cms (14 1/2" x 11"), in gilt frame. (1) Provenance: Purchased by the family of the present owner at Carton House Dispersal Sale on behalf of the Dukes of Leinster in the late 1940's.

A 19th Century 32 piece part Dinner Service, comprising tureen, platters, plates by B.W. & Co. (Bates Walker & Co.) with a Etruscan Vase design, as a lot, w.a.f. (1) Provenance: Purchased by the family of the present owner at Carton House Dispersal Sale on behalf of the Dukes of Leinster in the late 1940's.

A pair of 19th Century English porcelain Figures, Chelsea, of Poseidon and Aphrodite, each of colourful decoration, and mark, each approx. 33cms (13") high (some damage.) (2) Provenance: Purchased by the family of the present owner at Carton House Dispersal Sale on behalf of the Dukes of Leinster in the late 1940's.

A collection of approx. 18 pieces of Victorian Worcester with rust coloured floral decoration Plates, shaped dishes and three legged bowls and covers; 31 piece English porcelain part Tea Service with gilt and floral decoration; and four pieces of 19th Century Crown Derby. As a lot. (1) Provenance: Purchased by the family of the present owner at Carton House Dispersal Sale on behalf of the Dukes of Leinster in the late 1940's.

A very large Specimen of Cervus Giganteus Hibernicus, or Gigantic Irish Deer, a pair of enormous fossilized Irish Elk Horns and Skull, the horns with 16 points and spanning 118"cms (9'10") approx. 300cms, some points replaced or lacking. Ex. Scarce, (1) Provenance: Purchased by the family of the present owner at Carton House Dispersal Sale on behalf of the Dukes of Leinster in the late 1940's.

A large 19th Century Famille Rose Tankard, with ornate handle, decorative rim and hand painted oval panel; together with another Tankard profusely decorated with multiple figures in typical attire embellished with gilt highlighted border; and a smaller Cup, a pair of Famille Rose sparrow beak Jugs; and an early Chinese Export monochrome porcelain Tea / Wine Cup, with red seal mark on base, as a lot. (6) Provenance: Purchased by the family of the present owner at Carton House Dispersal Sale on behalf of the Dukes of Leinster in the late 1940's.

A good collection of Wedgwood black Basalt items, including a small plain black Teapot, with impressed Wedgewood mark, and made in England, an attractive Beaker, impressed Wedgwood; a decorated Sugar Bowl & Cover (dam), and 5 varied black Jugs, some impressed marks; also a small green Wedgwood Jug and a larger ditto (dam.) As a lot. (1) Provenance: Purchased by the family of the present owner at Carton House Dispersal Sale on behalf of the Dukes of Leinster in the late 1940's.

A set of 4, 19th Century Chinese porcelain Plates, a pair of ditto with rust ground and blue and gilt decoration, and a pair of blue and white Nankin Plates. (8) Provenance: Purchased by the family of the present owner at Carton House Dispersal Sale on behalf of the Dukes of Leinster in the late 1940's.

A rare set of 6 Victorian silver crested dome shaped Dish Covers, each with ornate moulded leaf decorated handle, and crested 'Nec Temere Nec Timide,' with etched design of serpent being held aloft. (6) Provenance: Purchased by the family of the present owner at Carton House Dispersal Sale on behalf of the Dukes of Leinster in the late 1940's.

A large collection of mostly 19th Century Porcelain, include Teapots, Cups and Saucers, small Vases and other Ornaments, some Meissen, Bloor Derby etc., some decorated with flowers, or landscapes etc., over 50 pieces. As a lot, w.a.f. (1) Provenance: Purchased by the family of the present owner at Carton House Dispersal Sale on behalf of the Dukes of Leinster in the late 1940's.

A very good early Waterford cutglass oval shaped Fruit Bowl, with turned down lip on a square lemon squeeze base and a large circular cutglass ditto. (2) Provenance: Purchased by the family of the present owner at Carton House Dispersal Sale on behalf of the Dukes of Leinster in the late 1940's.

A pair of Victorian mahogany shield back Hall Chairs, with pieced and decorated backs on shaped solid seats on front cabriole legs, together with a William IV carved mahogany shield back Hall Chair, on square tapering legs. (3) Provenance: Purchased by the family of the present owner at Carton House Dispersal Sale on behalf of the Dukes of Leinster in the late 1940's.

William Cuming (1769-1852) (After) “Portrait of Bishop Kearney, Bishop of Ossory (1744-1813),” c. 1810, O.O.C., approx. 79cms x 64cms (31” x 25”).  (1) Bears label verso ‘Portrait of Bishop Kearney . . Bishop of Ossory’ Born around 1742 in Dublin, the Irish academic and cleric John Kearney was a precocious and brilliant student, entering Trinity College when he was just fifteen years old, and being elected a Scholar three years later. He was elected a Fellow of the College in 1764, and awarded a Doctor of Divinity degree in 1777. He held the Chair of Oratory until 1799, in which year he was elected Provost of College, a role he fulfilled until 1806. That same year he was elected a Fellow of the Royal Society, and thereafter served as the Church of Ireland Bishop of Ossory, until his death in 1813. For many years Kearney was a friend and patron of Thomas Moore, who had been an undergraduate at Trinity College during the 1790’s. In this half-length portrait by William Cuming, painted around 1810, Kearney is depicted wearing the clerical robes appropriate to his role as Bishop of Ossory.  Although he was sixty-six years old when the portrait was painted, Cuming has depicted him as a younger-looking man, with a full head of brown hair and a resolute expression. The present painting is a faithful copy after the original work, which is in the Provost’s House, in Trinity College Dublin. Also born in Dublin, the artist William Cuming studied at the Dublin Society Schools in the late 1780’s and began exhibiting his works in 1800. Eleven years later he was elected President of the Society of Artists and in 1823 was a founding member of the Royal Hibernian Academy. He exhibited with the Academy regularly and in 1829 was elected President. Resigning in 1832, he travelled to the West Indies where his brother Josias had a sugar plantation. On returning to Ireland he became treasurer of the Academy. He died in Dublin in 1852. Dr. Peter Murray 2025

A pair of 19th Century glazed porcelain yellow ground Lustres, highlighted in git on shaped bases, each approx. 19cms (7 1/2") high. (2) Provenance: Purchased by the family of the present owner at Carton House Dispersal Sale on behalf of the Dukes of Leinster in the late 1940's.

A fine quality Irish mahogany William IV period sarcophagus shaped Cellaret, the hinged top opening to reveal a fitted interior on plinth base with castors, approx. 76cms wide x 56cms high (30" x 22"). (1) Provenance: Purchased by the family of the present owner at Carton House Dispersal Sale on behalf of the Dukes of Leinster in the late 1940's.

An attractive tall "Crown Derby" type blue ground and handle painted floral decorated two handled Vase, with gilt highlights, approx. 27cms (10 3/4") high. (1) Provenance: Purchased by the family of the present owner at Carton House Dispersal Sale on behalf of the Dukes of Leinster in the late 1940's.

A mahogany cased 36 piece silver Canteen of Kings pattern and crested Cutlery, each with "C" monogram, and family crest (Connolly) by Asprey & So., Sheffield, 1838, approx. 53 ounces (overall), with brass plaque on mahogany case "James Connolly". (1) Provenance: Purchased by the family of the present owner at Carton House Dispersal Sale on behalf of the Dukes of Leinster in the late 1940's.

A 19th Century Irish mahogany sarcophagus shaped Cellarette, the hinged top opening to reveal a fitted interior on four carved paw feet with castors, 66cms wide x 51cms high (26" x 20").  (1) Provenance: Purchased by the family of the present owner at Carton House Dispersal Sale on behalf of the Dukes of Leinster in the late 1940's.

Attributed to Jan Dirksz Both, Italian (1615-1652) "Soldiers at Rest," O.O.P., sunset scene with soldiers in foreground on rockery, temple ruins and mountains in distance, approx. 30cms x 36cms (12" x 14 1/4") in gilt frame. (1) Provenance: Purchased by the family of the present owner at Carton House Dispersal Sale on behalf of the Dukes of Leinster in the late 1940's.

A fine quality 19th Century mahogany Teapoy, the sarcophagus shaped hinged top opening to reveal a fitted interior, on a tapering pillar support terminating on a quatreform base with castors, approx. 76cms high (36"). (1) Provenance: Purchased by the family of the present owner at Carton House Dispersal Sale on behalf of the Dukes of Leinster in the late 1940's.

A very good heavy Victorian silver plated set of 3 graduating circular Trays, etched bodies, embossed borders, on paw type feet, 23cms x 35cms x 44.5cms (9" x 14" x 17 1/2") each with center coat of arms (some wear) with motto "Nec Temere nec Timide," probably Scottish (3) Provenance: Purchased by the family of the present owner at Carton House Dispersal Sale on behalf of the Dukes of Leinster in the late 1940's.

A fine pair of 19th Century Qing Dynasty (Canton) Famille Rose Vases, each with hexagonal top and gilt highlighting, gilded dragon design handles and overall typical design, each approx. 31cms (!2") high; also a pair of Chinese Export Famille Verte tubular Vases, with flared necks decorated with flowers and dragons, the main body decorated with battle scenes, each approx. 25cms (10") high; and a pair of mid-19th Century Japanese "Hichozan Shinpo" Vases, each with frilled necks, approx. 21cms (8 1/4") as a lot. (6) Provenance: Purchased by the family of the present owner at Carton House Dispersal Sale on behalf of the Dukes of Leinster in the late 1940's.

A collection of English and Continental porcelain Figures, including Augustus Rex Figure of young Girl with cage, an 18th Century Staffordshire Figure resting sheep, an Derby figure of Mars, and a Staffordshire Figure of a Shepherdess, as a lot. (5) Provenance: Purchased by the family of the present owner at Carton House Dispersal Sale on behalf of the Dukes of Leinster in the late 1940's.

An Edwardian mahogany Table Canteen of silver Cutlery, the plain top above a serpentine front with four frieze drawers, with circular brass drop handle, containing: * 18 Dessert Forks (solid silver) * 12 Dessert Spoons (solid silver) * 1 large Ladle and two small Ladles (solid silver) * 12 Soup and 8 Table Spoons (solid silver) * 12 Table Forks * 12 Tea Spoons & 6 Egg Spoons * Carvers (bone handles)  * 12 Dessert Forks & Knives (24) mother-o-pearl handles * 12 Dessert Forks & Knives (24) bone hanldes * 12 Table Knives & Forks (24) bone handles. All hall marked Joseph Rogers and Sons, Sheffield 1928, approx. weight 125 ounces (overall) initialed with 'S', as a lot. (1) Provenance:  Lord Gormanston, Avonmore House, Annamoe, Co. Wicklow, by descent to the present vendor.

A collection of varied 19th Century / 20th Century cutglass and moulded Decanters and stoppers; together with some etched coloured Glass and Sherry Glasses, as a lot. (20) Provenance: Purchased by the family of the present owner at Carton House Dispersal Sale on behalf of the Dukes of Leinster in the late 1940's.

A very attractive blue and white 11 piece Crown Derby Cabaret Set, decorated with flowers and exotic birds; also an attractive 6 piece gilt decorated Desk Companion, pen holder, ink pots, etc. As a lot. (1) Provenance: Purchased by the family of the present owner at Carton House Dispersal Sale on behalf of the Dukes of Leinster in the late 1940's.

Platt, S[amuel], [Barrister] 'Western Circuit' courtroom character studies 41 leaves each with portrait sketches to one side in a small maroon leather album, 19 x 12cm, c.1830, several characters labelled including “blind witness”, “Portsmouth murder. Stacey… tried for murder…”, “Convicted of Housebreaking Salisbury”, “Housebreaker” and “His Prosecutor”, “Portsmouth murder. Stacey the Yo. lived with his father… convicted and executed 3rd August”, “Paris Clerk of St. Martin's Salisbury ” and others, many leaves detached from the album, spine worn, a little spotting to some leaves A fascinating insight into the workings of the ‘Western Circuit’ court - a jurisdiction which covers the area from Guildford to the tip of Cornwall. Inscribed “S. Platt Western Circuit” to free-endpaper, with the following pencil inscription overleaf:"Sketches from life taken on the Western CircuitThe Artist hopes he shall not surpass upon Politeness by requesting that the heads may be kept (when turning over the book) as free as possible from the friction of the adjoining leaves and particularly from the touch of the finger" [each leaf is protected with a tissue guard].Two characters illustrated are John Stacey and his father. John Stacey was executed on the 3rd August 1829 for the robbery and murder of Mr. Langtree and his housekeeper, Charity Jolliffe, at their house in Portsmouth. His father was transported to New South Wales in Australia on board the Katherine Stewart Forbes for his part in the crime.

Churchill, Winston S. (1874-1965) Typed letter signed as Prime Minister to Major A. A. Stuart Black, 17th October 1941 Single sheet of 10 Downing Street stationery, with Churchill's autograph inscription ‘yours faithfully Winston S. Churchill’ at foot and his autograph salutation ‘My dear Sir’ to head, the letter reading ‘I thank you for your letter of October 12, and I am complimented by your wish to have a tablet placed on the wall of your house recording the fact that I made my first political speech at a garden party at Claverton Manor. I gladly consent to your proposal’, mounted, framed and glazed, mount aperture 22.5 x 18.5cm, verso with label comprising section of Claverton Manor letterhead inscribed ‘here Winston Spencer Churchill on July 26th 1897 made his first political speech’), punch-hole to upper left corner not affecting text By direct descent from the recipient Major Archibald Arrol Stuart Black (1877-1966). From Helensburgh, Major A. A. Stuart Black was educated at Fettes College in Edinburgh before joining the Queen's Own Royal Glasgow Yeomanry and seeing active service in the Boer War. In the Great War he served in France, Gallipoli and Egypt, afterwards becoming a partner in the family shipping firm John Black and Co. Churchill gave his maiden political speech at Claverton House near Bath (now the American Museum) while on leave from India, with the objective of establishing himself as a parliamentary candidate. Captain FitzRoy Stewart, secretary of Conservative Central Office, secured for him the opportunity to address a meeting of the Primrose League to be held at Claverton. Responding to the Workmen's Compensation Bill then before parliament, Churchill's speech focused on industrial relations and contained the assertion that ‘British workmen have more to hope for from the rising tide of Tory Democracy than from the dried-up drain-pipe of Radicalism’. Two years later Churchill was selected as the Conservative candidate in the Oldham by-election, though had to wait until the general election the following year before successfully entering parliament.

Government of the Federated Malay States Collection of works from the series 'Papers on Malay Subjects' Kuala Lumpur: F. M. S. Government Press, 1910s-20s. 17 parts in 5 volumes, each part in items 1-4 one of 500 copies according to printer's slug at foot of title-page, each part in item 5 one of 600 copies, 8vo, contemporary green cloth, contents wire-stitched, comprising: 1) History, Part I. Events Prior to British Ascendancy. Part II. Notes on Perak History. By R. J. Wilkinson, 1924. [Bound with:] History, Part III. Council Minutes, Perak. 1877-1879. Edited by C. W. Harrison, 1907. [And:] History, Part IV. Council Minutes, Perak. 1880-1882. Edited by R. J. Wilkinson, 1909. [And:] Malay History. Part V. Notes on the Negri Sembilan. By R. J. Wilkinson, 1911. 4 volumes in 1, 94, 68, 67, 51 pp.; 2) Malay Literature, Part I. Romance. History. Poetry. R. J. Wilkinson, General Editor, 1924. [Bound with:] Malay Literature, Part II. Literature of Malay Folk-Lore. Beginnings. Fable. Farcical Tales. Romance. By R. O. Winstedt, 1923. [And:] Malay Literature, Part III. Malay Proverbs on Malay Character. Letter-Writing. By R. J. Wilkinson, 1925. 3 parts in 1 volume, 67, 73, 45 pp.; 3) Malay Industries. Part I. Arts and Crafts. By R. O. Winstedt, 1925. [Bound with:] Malay Industries. Part III. Rice Planting. By G. E. Shaw, 1926. [And:] Law. Part I. Introductory Sketch. By R. J. Wilkinson, 1922. 3 parts in 1 volume, 88, 40, 68 pp.; 4) Supplement: the Aboriginal Tribes. By R. J. Wilkinson, 1926. [Bound with:] Life and Customs. Part I. The Incidents of Malay Life. By R. J. Wilkinson, 1925. [And:] Life and Customs. Part II. The Circumstances of Malay Life. The Kampong. The House. Furniture. Dress. Food. By R. O. Winstedt, 1925. [And:] Life and Customs. Part III. Malay Amusements. By R. J. Wilkinson, 1925. 4 parts in 1 volume, 65, 86, 89, 97 pp.; 5) Jelebu, its History and Constitution. By A. Caldecott, 1912. [Bound with:] Sri Menanti. By R. J. Wilkinson, 1914. [And:] A Vocabulary of Central Sakai, 1915. 3 parts in 1 volume, 58, 50, 63 pp. (5)

India Collection of letters and documents, 20th century Victor Hope, 2nd Marquess of Linlithgow (1887-1952). Typed letter signed as Viceroy of India to the Maharaja of Gondal, 1940, 1 p., on the establishment of a medical college in Delhi; Doreen Hope, Marchioness of Linlithgow (1886-1965). Typed letter signed as Vicereine of India to the Maharaja of Gondal, 1943, ‘This letter contains a last request to Your Highness before my departure from India’, on the establishment of a ‘central institution in Kathiawar for the treatment of tuberculosis’, 2 pp.; [Indian Independence]. Blank instrument of accession to the Dominion of India, 1947, printed document with blank spaces left for signatures of an acceding prince, single foolscap bifolium printed on 3 sides, with 2 related blank documents ('Agreement between the State of _ and the Dominion of India', and ‘Instrument of Accession’, the latter authorising ‘the Dominio of India to exercise all the said powers and jurisdiction in relation to the said taluka/estate in such manner and through such agency or agencies as that Dominion may from time to time determine’), and a cyclostyled memorandum from the Secretary to the Regional Commissioner, W. I. and G. S. Region, Rajkot, 8 October 1947 (2 foolscap leaves, on relations between Indian states and the Dominion of India following the ‘lapse of paramountcy’; [Government of India]. ‘Memorandum on Some Dangers of Plural Representation of Indian States in the Proposed Upper Chamber of the All-India Federal Legislature’ [drop-head title], 1932, 2 copies, printed, foolscap, 40 pp., wire-stitched marked ‘for private circulation only’ and ‘private and confidential' in red types at head of first leaf, first copy dated 30 July 1932, the second dated 6 August 1932, both copies with different settings of the index on first leaf and presumably containing differences in text, outer leaves detached or detaching; Ganga Singh, Maharaja of Bikaner (1880-1943). Two printed memoranda on arranging a banquet for the visit to India of the Prince of Wales (the future Edward VIII), June and July 1920, each a single foolscap sheet with embossed crest at head, the first with two carbons of a response from the Maharaja Malavendra of Nabha, initialled in red pencil, with a corrected draft, the second with a curtly-phrased carbon response similarly initialled; [Kathiawar]. Printed letter from the princes of Kathiawar to Sir George Sydenham Clarke, Governor of Bombay, c.1910, single foolscap bifolium, 3 pp., on customs arrangements at Viramgam ('we hope Government will consider whether there is sufficient justification for subjecting the many non-maritime States … to the vexation incidental to the perpetuation of the preventive cordon …'), and the management of railways in Kathiawar, old repair to head of first leaf;[Jammu and Kashmir]. A Handbook of Jammu and Kashmir State. Jammu: Ranbir Government Press, 1944. 8vo,  60 pp., original wrappers, ink-stain to front wrapper; [Ratlam]. Ratlam. The Premier Rathore State of Central India and its Ruler. Indore: Narayan Das Tandon, c.1935. 4to, original wrappers, unpaginated, photographic illustrations throughout; and others: chromolithographic address from the people of Dharampur to the Maharaja of Jammu and Kashmir commemorating his visit, 1923; 'Memorandum of instructions prescribed for dress at the Investiture to be held at “The Viceroy's House”, New Delhi', 1939, printed, 4 ff.; ‘Programme of Ceremonies to be observed at the presentation to His Highness the Thakor Saheb of Bhavnagar’; autograph letter on Indian Office stationery, 1910;‘Summary of the existing policy regarding tours and visits abroad of Ruling Princes and Chiefs’, c.1920, printed document, 2 foolscap leaves, string-tied at upper inner corner; The Sphere, Indian Princes Number, 1938 (folio, original wrappers, contents working loose) (1 folder)

Wentworth (Thomas, Earl of Strafford). Depositions and Articles against Thomas Earle of Strafford, Febr. 16. 1640, [London]: Printed in the yeare 1640, [i.e. 1641], title page, 45pp., additional etched portrait of Thomas Wentworth by Hollar, published by Peter Stent, mounted as frontispiece, title and verso of final leaf with some light toning and soiling, bound with A Briefe, and Perfect Relation of the Answeres and Replies of Thomas Earle of Strafford; to the Articles exhibited against him by the House of Commons on the thirteenth of Aprill, An. dom. 1641, London: printed 1647, [4], 108pp., some minor marks, close-trimmed, occasionally encroaching on page numbers at head and signatures and catchword at foot, 19th century dark blue half, rubbed and some wear to head and foot of spine and outer corners, small 4to, together withHutton (Richard). The Arguments of Sir Richard Hutton Knight, One of the Judges of the Common Pleas: and Sir George Croake Knight, one of the Judges of the King's Bench: together with The Certificate of Sir John Denham Knight, one of the Barons of the Exchequer: upon a Scire facias brought by the Kings Majesty, in the Court of Exchequer, agianst John Hampden Esquire. As also the severall votes of the Commons and Peeres in Parliament, and the Orders of the Lords for the vacating of the Judgement given against the said Mr Hampden, and the vacating of the severall Rolls in each severalls Court wherein the Judges extra judiciall opinions in the cases made touching Ship-Money, are entred, London: Printed by N. Flesher and R. Young, the Assignes of I. More Esquire, 1641, title (lacking A1 blank?), 112, 64, 19pp., with errata printed at foot of final leaf, some marks and light soiling mostly to lower blank margins, modern antique-style blind-panelled full calf, lightly damp marked, small 4to, plusCook (John). King Charls His Case: or, An Appeal to all Rational Men, concerning his tryal at the High Court of Justice. Being for the most part that which was intended to have been delivered at the Bar, if the King had pleaded to the charge, and put himself upon a fair tryal. With an additional opinion concerning the Death of King James, the loss of Rochel, and the Blood of Ireland, London: Printed by Peter Cole, for Giles Calvert, 1649, 40 (of 43) pp., lacking final two leaves at end (here supplied in 19th century manuscript transcription), final few leaves with some marks and soiling, final leaf with a few minor paper losses, affecting one or two words, bookplate of John Newington Hughes to front pastedown, another monogram bookplate to front endpaper, with oval ink stamp of Mt. St. Mary's College, Bequest fo Henry E. Olwell above, modern half calf, incorporating 19th century morocco boards and spine labels, small 4to, and three others related: Edmund Ludlow, A Letter from Major General Ludlow to Sir E. S. comparing the tyranny of the first four years of King Charles the Martyr, with the tyranny of the four years reign of the late abdicated King. Occasioned by the reading Doctor Pelling's Lewd harangues upon the 30th. of January, being the anniversary or General Madding-day, Amsterdam: Printed Anno Domini, 1661, title and 30pp., of text, modern plain boards, slim 4to, The Great Bastard, Protector of the Little One. Done out of French. And for which a Proclamation, with a reward of 5,000 Lewedores, to disover the Author was Published, London: Printed in the year, 1701, 16pp, some light browning throughout, modern quarter cloth, spine lettered in gilt, slim 8vo (ESTC T35825), and [Speeches and Passages of this Great and Happy Parliament: from the third November 1640, to this instant June, 1641. Collected into One Volume and according to the most perfect Originalls, exactly published, London: printed for William Cooke, 1641], pagination erratic: 24, 1-152, 159-184, 177-351, [1], 351-358, 321-335, 385-440, 455-534, 24pp., lacking title at front, and lacking portion of text at end including Mr Speaker's speech at...the passing fo the bill for Tonnage the speech of.. John Pym, and Master St. John's Argument, endpapers renewed, modern antique-style blind-panelled full calf, spine lettered in gilt, small 4toQTY: (6)NOTE:Wing E2571A; STC 25247 (Depositions and Articles).Wing R68 (Briefe and Perfect Relation).Wing H3842 (Sir Richard Hutton).Wing C6025 (King Charls his Case).

An extensive collection 20th Century English and Continental small, miniature or Doll`s house coffee or tea cups and saucers, some trios, various factories including Royal Crown Derby 1128 Imari miniature cup and saucers and a Derby Posies miniature cup and saucer etc [1 boxes - Q)

MISTRAL GABRIELA: (1889-1957) Chilean poet, diploamt and educator, Nobel Prize winner for Literature, 1945. A.L.S., Gabriela Mistral, to three sides of an attractive folding small oblong 8vo lettercard featuring a printed design of a jug and walking cane resting on grass, with the words Advena in Terris beneath, n.p., n.d. (annotated as 5th April 1941 in pencil in another hand to the verso), to a lady, in Spanish. Mistral states that she is late in replying to her friend´s kind and noble card (´It was lost until today´), adding that her correspondent´s friendship is a great comfort, and further remarking ´I do not go out as much as you think, but much less. But for that very reason, your words are all the more valuable for their warmth and generosity. I place this house in Petropolis at your disposal....´. A couple of very light, minor stains, and a very small tear to one corner, otherwise VG

TRUMAN HARRY S.: (1884-1972) American President 1945-53. T.L.S., Harry S. Truman, as President, one page, 8vo, Washington, 24th April 1952, to Mr. R. Baker Harris (´Dear Brother Harris´), on the printed stationery of The White House. Truman writes, in full, ´I appreciate very much your request to have the Masonic Breakfast speech autographed by me. I am sending it back by hand - with General Vaughan´. With blank integral leaf. A couple of extremely minor, light stains, not affecting the text or signature, VG

KOLLONTAI ALEXANDRA: (1872-1952) Russian Communist Revolutionary. A member of the Mensheviks first, and further Bolshevik Party, she was one of the first and few women appointed as Soviet Ambassador. Rare T.L.S., `A.Kollontay´, two pages, 4to, Oslo, 17th February 1925, in Cyrillic. Signed by Alexandra Kollontai in her capacity as Plenipotentiary Minister of the U.S.S.R to Norway. The letter bearing the printed heading, in French and Cyrillic, of the U.S.S.R legation in Norway, is a license approval stating in part `..is hereby authorized for sea-hunting in the territorial waters of Russia on the North cost of European Russia from the Finnish frontier up to Novaya Zemlya along the seaside of the continent and islands, except water zone of the White Sea, south of the Orlovsky Light-house and Cape Kanushin line, where the hunting is forbidden.´, further saying `This certificate is issued on the basis of the contract agreement signed by the Government of the Union of Soviet Socialist Republics with the "Aaalesund Navigation Union, group of seal hunters", and ratified by the Council of Peoples' Commissars on 16th December 1924.´ Also bearing two countersignatures beneath Kollontai´s one, and alongside a C.C.C.P. ink stamp. Four binder holes to the left border with very small area of paper loss around them, none affecting the text or signatures. G

ZHUKOV GEORGY: (1896-1974) Soviet General and Marshal of the Soviet Union who oversaw some of the Red Army's most decisive victories during World War II. Book signed and inscribed, being a hardback edition of Memoirs and Reflections, Russian text edition published by the Novosti Press Agency publishing house, Moscow, 1970. Signed and inscribed by Zhukov in Cyrillic to the title page (translated) ´To the esteemed Andrey Maksimovich Sinitsyn, with best wishes, G. Zhukov´, and dated 14th January 1972 in his hand. Bound in the publisher´s boards and with red stamped title to the front cover and spine. Some light age wear, about VG

MORSE SAMUEL F. B.: (1791-1872) American inventor associated with the single-wire telegraph system and the development of the Morse Code. A.L.S., Saml. F. B. Morse, one page, 4to, New York, 7th May 1861, to William Stickney. Morse informs his correspondent that he had called that morning at Messrs. Hyde & Goodrich ´to deliver the invoice you left of wines &c´ and continues ´They have received two bills of lading, and it seems the articles are divided upon two vessels. One the "William Frothingham" Capt. Stetson from Havre, containing nos. 1119. 1120. 1121. 1122. - 1124. No.1123 is not in bill of lading, nor in the other, which is the "Wm. Nelson" Capt. Cheever also from Havre. This latter vessel has the box of vine plants only´, further writing ´It seems you will be obliged to be here to make oath to the Invoice at the Custom house, since the invoice is in your name. The vessels have neither of them yet arrived. Perhaps by the time the latter vessel arrives, you will be here´. Morse concludes his letter by asking ´How can you account for the omission of the box of Old Cognac?´. With integral address leaf in Morse´s hand (small tears and area of paper loss caused by the original opening). A couple of light creases, otherwise VG

WELLS H.G.: (1866-1946) English writer, remembered for his science fiction novels. A.L.S., H. G. Wells, one page, 8vo, Spade House, Sandgate (Kent), 14th May 1904, to H. S. L. Polak. Wells writes, in full, ´I regret very much that I am unable to make any suggestions about your articles. I´m really quite an ostrich as regards journalism. All I know of the hunger (?) I get from Barrie´s book "When a Man´s Single" `. VGHenry Polak (1882-1959) British-born lawyer, journalist and activist in South Africa who worked in collaboration with Mahatma Gandhi against racial discrimination. Polak served as an editor for the journal Indian Opinion and influenced Theosophy.J. M. Barrie (1860-1937) Scottish novelist and playwright. His fictional work When a Man´s Single was published in 1888 and the characters within the book spend a great deal of time discussing the do's and don'ts of creative writing. Wells credited the book as teaching him how to write.

SHOLOKHOV MIKHAIL: (1905-1984) Russian novelist, Nobel Prize winner for Literature, 1965. A signed printed slim oblong 8vo photograph booklet entitled Veshenkie Encounters, issued in 1965 in honour of Sholokhov´s 60th birthday, featuring eleven different monochrome images, each with brief printed captions in Cyrillic to the versos, including the house where Sholokhov lived; the residents of Vyoshenskaya welcoming a delegation of workers from the Kirov Plant in Leningrad; Sholokhov engaged in conversation with M. G. Alekseev, the oldest worker at the Kirov Plant; the writer being presented with the badge of an udarnik of communist labor; the Nobel Laureate meeting other writers including Zakrutkin, Sofronov, and the English novelist C. P. Snow etc. Signed by Sholokhov to the front cover, alongside his portrait, and dated 24th October 1968 in his hand. Loosely contained within the original green presentation folder. Some light age wear, about VG