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An unusually heavy George III silver bottle label along with 4 others, mark of Thomas Phipps, Edward Robinson & James Phipps, London 1812, decorated with two putti and trailing vines, pierced lettering for PORT, 36g, together with another of similar style, mark of Matthew Linwood, Birmingham 1818, engraved CLARET, a rectangular example, mark of Thomas Wallis II, London 1805, engraved BRANDY, a rectangular example, mark of Elizabeth Morley, London 1809, engraved MADEIRA, and an unmarked example, tests as silver, escutcheon shaped, engraved WHITE WINE (5)

Autographs - Theatre Royal, Bath - a large collection of c1970s autographs spanning three large Scrap Book albums. Each page largely pertaining to a production at the theatre, with laid-in pictures and cast details cut from flyers / programmes. All obtained by a member of the costume / dressing department who worked there for many years. Many hundreds of autographs appear, and the albums largely represent a 'who's who' of British Television stars and stage actors from the period. Notable entries include: Roy Dotrice, Margaret Lockwood, Bill Maynard, John Clegg, Honor Blackman, Arthur Lowe, Allan Cuthbertson, Lynda Bellingham, Sue Nicholls, Doris Hare, Clive Francis, Richard Todd, Joan Plowright, Larry Lamb, Patricia Hayes, Bruce Trent, Arthur English, Anita Harris, Dave Allen, Zeph Gladstone, Richard Murdoch, Paul Curran, Jimmy Edwards, Lionel Blair, John Inman, Simon Cadell, Mike Kemp, Richard Coleman, Melvyn Hayes, Peter Barkworth, Penelope Keith, a partial 'The Mating Season' starring Sid James poster laid-in with written text 'Passed away before he came', Derek Fowlds, Pauline Collins, Max Bygraves, Irene Handl, Liz Fraser, Stephen Lewis, Barry Foster, Sylvia Sims, Nicholas Parsons, Linda Thorson, Alan Bates, Doreen Mantle, Richard O'Callaghan, Peter Wyngarde, Wilfrid Brambell, Imogen Hassall, Terence Longdon, Anna Neagle, Angela Douglas, Michael Denison, John Mills, Rose Hill, Frankie Howerd, Jess Conrad, Glenda Jackson, Leslie Phillips, Eileen Atkins, Carol Hawkins, Julian Fellowes, Angela Scoular, Margaret Ashcroft, Richard Easton, Derek Benfield, Jean Anderson, Robert Morley, cast of Caught Napping including Arthur Lowe and Bill Perwee of Dad's Army fame, George Sewell, James Bolam, Gerald Flood, Hughie Green, Britt Ekland, Julian Holloway, Dermot Walsh, Bernard Cribbins, Kenneth Connor, Jon Pertwee, Lynda Baron, Ingrid Pitt, Patrick Cargill, Gerald Harper, Ian Lavender, Hannah Gordon, John Carson, Paul Eddington, Patricia Routledge, Ian McDiarmid, Henry McGee, Bernard Bresslaw, Paul Greenwood, Patrick Macnee, Richard Briers, Katy Manning, Eric Sykes & Jimmy Edwards, Hugh Lloyd, Hugh Paddick, Norman Eshley, Jack Watling, Wendy Richard, John Barron, Terry Scott, and many many others. Condition varies - many of the laid-in cuttings were stuck in with tape which has now dried and many of these are now loose or coming loose. Some staining from tape also present to some pages, affecting some signatures. Supplied with a small collection of related photographs showing some shows - mostly pantomimes - performed at the theatre. A unique collection of autographs from someone working at one of Britain's most important regional theatres.

Attributed to Adam de Colone,  Dutch 1572-1651- Portrait of a lady identified as Lady Margaret Hay, Countess of Dunfermline, bust-length, in a black and white slashed doublet, white lace collar and black veil; oil on canvas, dated '1628-' (upper right), 66.15 x 53.7 cm. Provenance:  The Marquess' of Tweeddale, Yester House, East Lothian and by descent.  'The Most Hon. The Dowager Marchioness of Tweeddale and the Trustees of the Most Hon. the late Marquess of Tweeddale' sale, Christie's, London, 1 May 1970, lot 46 (as 'G. Jackson'), £199.10. Property of the late Hugo Morley-Fletcher, MA FSA (1940-2022). Exhibited:  Edinburgh, Scottish National Portrait Gallery, ‘Painting in Scotland 1570-1650’, August-September 1975, no.53 (as 'Adam de Colone').Literature:  J. Bullock, 'George Jamesone the Scottish Vandyck', Edinburgh, 1885, p.182, no.183, as 'George Jameson' and the sitter 'Jane Abercromby, daughter of the Earl of Dunfermline'.  D. Thomson, 'The Life and Art of George Jamesone', Oxford, 1974, under Appendix B, 'Portraits attributed to Adam de Colone', pp.148-49, no.21, illus. pl.41, as 'George Jameson' and the sitter 'Margaret Kerr, Lady Yester'. Note:  The present work was previously thought to identify Lady Margaret Kerr, Lady Yester (1573-1645). However, the date of the portrait suits Tweeddale’s sister, Lady Margaret Hay (1592-1659), rather than his mother, Margaret Kerr (and not his wife, who had died before the portrait was painted). ‘Formerly attributed to both Jamesone and Gilbert Jackson, it has, in fact, many of those Netherlandish features typical of de Colone… Despite a certain smoothness…, the face has a degree of particularity which makes it one of de Colone's most satisfying portraits. The subject, clearly a widow as both her dress and the ring tied to the band string show, has long been traditionally identified as Margaret Kerr, Lady Hay of Yester…, an identification which can be disposed of purely on the evidence of the date on the painting and the age of the sitter. It is so obviously [a] pendant from no. 52 above [Portrait of John Hay] that an identity must be sought in that context. Lord Hay's first wife Jean Seton, daughter of the 1st Earl of Dunfermline, died before 19 January 1627 and is, therefore, discounted. His sister Margaret Hay, however, married this same Earl of Dunfermline (as his third wife) in 1607 and was widowed in 1622: she did not remarry until 1633. That the sitter is indeed Margaret Hay is virtually confirmed by comparison with an earlier portrait by Gheeraerts (formerly at Yester) - a conclusion supported by a comparison with the Van Dyck portrait of her eldest son, the 2nd Earl of Dunfermline, which shows a face extraordinarily similar in appearance.’ (Scottish National Portrait Gallery, ‘Painting in Scotland 1570-1650’ exhibition catalogue, p.55). Indeed, the Countess of Dunfermline would have known Adam de Colone as he painted her first husband, the 1st Earl of Dunfermline, in 1622. This painting was possibly commissioned by the countess, as it was painted the year of the Earl's death, and instead of being from life, it copies a 1610 portrait of him by Marcus Gheeraerts the Younger, now in the Scottish National Portrait Gallery [PG 2176].. Adam de Colone also painted her son Charles Seton, 2nd Earl of Dunfermline (date unknown). De Colone clearly employed at least one studio assistant. While he wasn’t in the British Isles for long, there are versions of his full-length depiction of James VI and I (at full-length, three-quarter-length and half-length) that appear to be painted with the assistance of another hand, to meet the demand for copies of this particular composition. It is entirely possible therefore that the present lot was painted by both Adam de Colone and a studio assistant. The present work would have been a one-off composition of an important sitter and so it would have been very unlikely if the master was not involved in its production at all. 

Attributed to Adam de Colone, Dutch 1572-1651- Portrait of John Hay, 8th Lord Hay of Yester, later 1st Earl of Tweeddale, half-length, in a black and white slashed doublet and white lace collar; oil on canvas, dated 'AETATIS. 33 / 1628' (upper left), 64.2 x 55.4 cm. Provenance: The Marquess' of Tweeddale, Yester House, East Lothian and by descent. 'The Most Hon. The Dowager Marchioness of Tweeddale and the Trustees of the Most Hon. the late Marquess of Tweeddale' sale, Christie's, London, 1 May 1970, lot 45 (as 'G. Jackson'), £178.10. Property of the late Hugo Morley-Fletcher, MA FSA (1940-2022). Exhibited: Edinburgh, Scottish National Portrait Gallery, ‘Painting in Scotland 1570-1650’, August-September 1975, no.52 (as 'Adam de Colone'). Literature: J. Bullock, 'George Jamesone the Scottish Vandyck', Edinburgh, 1885, p.182, no.182, as 'George Jameson'. D. Thomson, 'The Life and Art of George Jamesone', Oxford, 1974, under Appendix B, 'Portraits attributed to Adam de Colone', p.149, no.22, as 'George Jameson'.  Note: John Hay, 1st Earl of Tweedale (1595-1654) was a leading promoter of the National Covenant, an agreement signed by many people of Scotland during 1638, opposing the proposed reforms of the Church of Scotland (also known as the Kirk) by King Charles I. He was made an Earl in 1646. ‘Attributed to Jamesone by Bullock. Like its companion [Portrait of Margaret Hay], it has more recently borne an attribution to Gilbert Jackson. It has, however, none of that painter's characteristic naiveté: it does have many of those features which have been noted as characteristic of de Colone and is by the same hand as… above. Lord Hay of Yester, though a signatory to the Solemn League and Covenant, remained acceptable to Charles I and was created Earl of Tweeddale in 1646.’ (Scottish National Portrait Gallery, ‘Painting in Scotland 1570-1650’ exhibition catalogue, p.55). The sitter would have been an important sitter for the artist. He was - as part of the interconnected Scottish network of patrons and just as part of the wider Hay family - cousins with George Hay, Earl of Kinnoull, who sat to Adam de Colone, who in turn produced two portrait types of him, and Anne Hay, Countess of Winton, who sat to the artist at least twice. Adam de Colone clearly employed at least one studio assistant. While he wasn’t in the British Isles for long, there are versions of his full-length depiction of James VI and I (at full-length, three-quarter-length and half-length) that appear to be painted with the assistance of another hand, to meet the demand for copies of this particular composition. It is entirely possible therefore that the present lot was painted by both Adam de Colone and a studio assistant. The present work would have been a one-off composition of an important sitter and so it would have been very unlikely if the master was not involved in its production at all. A note on the collection:The following 14 lots belonged to the late Hugo Morley-Fletcher, the great European Ceramics specialist who worked at Christie’s for over 40 years and appeared on the BBC’s 'Antiques Roadshow' for over 25 years.Hugo was born in 1940 and spent the Second World War in his mother’s family’s ancestral home, Yester House near Edinburgh. Yester was built between 1699 and 1728 for the Marquesses of Tweeddale. In 1729 the 4th Marquess commissioned William Adam to carry out alterations, particularly to the interiors, but William died before the work was completed, and it wasn’t until his sons Robert and John Adam resumed work on it in 1759 that it was completed in the early 1760s. Yester is one of Scotland’s finest houses and its architecture, plasterwork and contents had a profound impact upon Hugo. His mother was also a talented sculptor, so art was in his blood. Shortly after his grandfather the 11th Marquess died in the late 1960s, the house was sold, along with a lot of the contents.Hugo had his own rather eccentric aristocratic style and sense of panache in tandem with an unerring confidence; this was off-putting to some, but utterly captivating to others. Working with Hugo at Christie’s was, at times, a little challenging, but it was certainly never dull. He loved wearing his green 'loden' cape that he had bought in Vienna, yet paradoxically, Hugo always retained his sense of Britishness. On one occasion, over 20 years ago, when we were in a tiny railway station in the middle of nowhere in Germany, we were struggling to get a ticket machine to work when a local kindly intervened to help. He then asked if we had been there the previous year. When we confirmed that we had, and asked why he asked, he replied that he remembered Hugo’s red socks!Hugo had a natural eye for art, frequently cutting straight to the key points of an object. His understanding extended beyond ceramics to encompass pictures and other decorative arts, and he had the ability to identify the best artwork in a room filled with things, whether it was ceramic or something different. He had a prodigious memory, priding himself in his ability to memorise the position of objects within a client’s house and retain that memory many years after the visit. He also had the ability to give a summary value of a collection after only the briefest of visits. He was often generous with his knowledge, but on other occasions would withhold it as a test. The study groups of saucers and small objects in this sale illustrate some of the fascinating complexities found in ceramics, and they would be an excellent vehicle for teaching.Hugo was a fine linguist and was completely untroubled by taking auctions in a variety of different languages. He also had a natural curiosity and understanding of other cultures, and Continental friends and clients were frequently surprised and impressed by his knowledge of both their history and current affairs, which often surpassed their own. His almost encyclopaedic knowledge of Royal and aristocratic families in Britain and the Continent meant that he understood how these families and historical events shaped the creation of ceramics of time, and as he once reminded me, with the creation of ceramics, ‘there is always someone writing a cheque’.Hugo was a tour-de-force in the ceramics world, publishing a number of specialist books included 'Investing in English Pottery and Porcelain' (1968), Meissen (1970), 'Meissen in Colour' (1971) and the 'Pflueger collection of Early European Porcelain and Faience' (1994). When he joined Christie’s in 1963 the market was dominated by Sotheby’s under the auspices of the great Tim Clarke. By the 1970s Hugo had reversed this. Two of the iconic sales of the 1970s were a highly important collection which was sold anonymously in March and October 1977, making a huge amount of money at the time. These were followed by many others.Later in his life Hugo became Prime Warden of the Worshipful Company of Dyers in the City of London which ushered in his charitable work with the Boucher Church of England Primary School, a disadvantaged school in East London. Hugo gave lessons in French and Latin, and in particular he was keen to promote reading, instigating the practice of the Dyers to donate a book to every pupil of the school each year.Text courtesy of Dominic Simpson, Consultant and former Head of European Ceramics at Christie’s.

Alexander Nasmyth,  Scottish 1758-1840- Portrait of a gentleman, traditionally identified as George Hay, 7th Marquess of Tweeddale, with his horse and two dogs, in an extensive landscape; oil on canvas, 117.5 x 154.2 cm. Provenance:  The Collection of Mrs Hamilton, according to an old label attached to the stretcher bar.  with Partridge Fine Art, London.  Property of the late Hugo Morley-Fletcher, MA FSA (1940-2022), (purchased from the above in 1998).  Note:  Nasmyth, often described as the 'founder of Scottish landscape painting', began his career as an assistant to the pre-eminent Scottish portraitist Allan Ramsay (1713-1784). After initially depicting individual sitters, from 1780 Nasmyth started to produce group portraits - revealing the influence of conversation pieces by artists such as Johann Zoffany (1733-1810) - including his portrait of the 'Children of William Ramsay of Barton' which sold at Lyon & Turnbull, Edinburgh, on 9 June 2019 (lot 9) for £78,000. The present composition successfully combines the artist's skill as a portraitist with the sweeping, dramatic landscapes for which he was chiefly celebrated, a formula which is also very much evident in other paintings, as in his portrait of Lady Honyman and her Family in the collection of the National Galleries of Scotland [PG 2303]. Nasmyth shaped the nature of Scottish painting and was the teacher of a generation of important British artists including David Wilkie (1785-1841), David Roberts (1796-1864), Clarkson Frederick Stanfield (1793-1864), and Andrew Wilson (1780-1848).  George Hay, 7th Marquess of Tweeddale DL (1753-1804) was a Scottish peer and naval officer. He was a great-grandson of John Hay, 2nd Marquess of Tweeddale and the former Lady Mary Maitland (a daughter of John Maitland, 1st Duke of Lauderdale). In 1785, he married Lady Hannah Maitland, a daughter of James Maitland, 7th Earl of Lauderdale and Mary Turner Lombe. Together, George and Hannah were the parents of eleven children.  We are grateful to Lady Cooksey, author of 'Alexander Nasmyth 1758-1840', for confirming the attribution of the present lot. 

A Sèvres porcelain ‘parasol chinois’ plate, 1792, blue interlaced L cypher enclosing date letters PP, painter’s blue LB mark for Jean-Nicolas Le Bel, gilder’s 2000 mark for Vincent, incised marks, the centre painted with pink roses, the border with pendant cornflowers and foliate swags suspended from a simulated pleated pale-yellow and green ribbon, gilt line rim, 24.2cm diameter Provenance: Probably from a service acquired by William Beckford of Fonthill Abbey in 1792. Property of the Late Hugo Morley-Fletcher MA FSA (1940-2022).Note: The Sèvres factory Sales Registers record that 72 plates of ‘Parasol Chinois, Arabesques’ design were bought on 13th March 1792 by ‘Milord Betfort’ at the cost of 33 livres each. It is now thought that ‘Betfort’ was a misspelling of Beckford, as from 1791 to 1793 William Beckford lived in Paris, where he acquired a huge quantity of works of art. It is thought that these plates were almost certainly bought by him in 1792 and taken to Fonthill Abbey which was refurbished by James Wyatt between 1796 and 1813. Following financial problems Fonthill was ultimately sold in 1822 and the contents were dispersed at Christie’s, but it is not clear if the plates were in the sale, or if they went with him to his new house in Lansdown Crescent in Bath, as the Christie’s sale catalogue descriptions, and the descriptions in Mr Philips’s auction of the remaining contents at Fonthill Abbey in 1823 (held on behalf of its new owner, John Farquhar), are not precise enough to identify them. See Rebecca Shaw (Wintgens), A Thing of Beauty is a Joy For Ever, Vincennes and Sèvres Porcelain from a Private Collection, London, 2017, pp. 202-203, and see David Peters, Sèvres Plates and Services of the 18th century, Little Berkhamsted, 2015, Vol. I, p. 222, p. 226, and Vol. VI, p. 1472, Artists’ List 121. Also see John Whitehead, ‘Some French Purchases by William Beckford’, in The Beckford Journal, Vol. 2, Spring 1996, pp. 39-44. Jean-Nicolas Le Bel (le jeune and later père) was a painter of flowers and patterns at Sèvres from 1765 to 1793, and Henry-François Vincent (le jeune, and later père) was a gilder at Sèvres from 1753 to 1806. Another plate from this service from the Zeiseniss Collection was sold by Christie's, Paris, on 5-6 December 2001, lot 302.Condition Report: This fine plate has some slight wear to the gilding around the central medallion and to the edge of the well and minute scratches (from use) to the centre – this is all relatively minor. The border is in good condition and is bright and fresh in appearance.

Further letters from Alan Curtis (actor), Bernard Falk (BBC 'Nationwide' TV reporter) TLS on BBC headed notepaper, John Bromley (World of Sport TV producer) ALS, the Hon. James Ogilvy TLS, Joseph McGrath ALS, Freddie Sales (comedian and actor) TLS, Dennis Gifford (cartoonist) TLS on Laurel and Hardy headed notepaper, Eric Morley (founder of the Miss World pageant) TLS dated 18/5/76 on attractive Variety Club of Gt Britain headed paper, Cyril Smith (disgraced MP) TLS on House of Commons headed notepaper, Tom Arnold MP TLS on House of Commons headed notepaper, Victor Goodhew MP TLS on House of Commons headed notepaper. This item was sent to, and are from the collection of, Eric Morecambe. Item will come with a signed black and white photograph of Ernie Wise. 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

Lamb, Charles: The Essays Of Elia, A New Edition, London; Edward Moxon, Dover Street, 1843, half tan leather over marbled boards, 8vo, together with various other volumes to include Ball, Sir Robert: The Story Of The Sun (Herbert John Gladstone book plate and signature), Morley, John: The Life Of William Ewart Gladstone, Frazer, Sir James George: The Golden Bough A Study In Magic And Religion, Furnivall, F.J. (ed): The Rouges And Vagabonds Of Shakespeare's Youth, Milne, A.A: The King's Breakfast, Valentine, L. (ed): Picturesque England Its Landmarks and Historic Haunts, Richard, Sir Gordon: My Story, Smythe, Pat: Jump For Joy and Francis, Dick: Lester The Official Biography with loosely inserted photograph of Lester Piggott with signed note. (10)

Ireland under Elizabeth and James the First by Spenser, Davies, Moryson. Edited by Morley. 1890; Scandinavian Relations with Ireland during the Viking Period by Walsh. 1922; England and Ireland in the Later Middle Ages edited by Lydon in dj; The English in Medieval Ireland edited by Lydon in dj and Sir John Davies and the Conquest of Ireland a study in Legal Imperialism in dj. 5 significant studies

† WILLIAM JAMES MORLEY CLAYTON (British, 1931-2006); oil on canvas, 'Butch Cassidy', a cowboy-related Butch Cassidy scene depicting a gun, birth certificate, handcuffs and picture, signed and dated 1971 lower left, 50 x 40cm, framed.Provenance: - Bought from Sotheby's May 2003.Condition Report: † This lot may qualify for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org

Morley (Thomas) The Cause of the Charge of Balaclava, portrait plate trimmed and pasted inside upper cover, illustrations, original paper wrappers bound in, expert tissue repairs and strengthening to wrappers and one or two leaves, ex-library with occasional ink-stamps, modern cloth, Nottingham, c.1860 § Cantlie (James) First Aid to the Injured, folding illustration pasted to front pastedown, illustrations, lacking front free endpaper, original cloth, a little rubbed, slight bumping to corners and extremities, n.d. § Fellows (George) History of the South Notts. Yeomanry Cavalry 1794 to 1894, portrait frontispiece, plates, ex-library with usual labels, original cloth, a little rubbed, slight bumping to corners and extremities, Nottingham, 1895; and others, military, v.s. (8).

HERBERT ROSE BARRAUD (1845-1896), Men and Women of the Day, 1888 - 1889, published 1888-1889, bound in 2 full leather volumes (different bindings to each), with full page carbon prints mounted on board and accompanying biographies, each with original wrappers and adverts; 1888 with all pages as: Men and Women of the Day.1888, CONTENTS. MISS MARY ANDERSON, MR. WALTER BESANT THE RIGHT HON. JOHN BRIGHT, M.P. MR. ROBERT BROWNING, MRS. HODGSON BURNETT, THE RIGHT HON. J. CHAMBERLAIN, M.P., LADY RANDOLPH CHURCHILL, LORD JUSTICE COTTON, ARCHDEACON FARRAR, MRS. GLADSTONE, SIR DANIEL GOOCH, BART., DR. W. G. GRACE, THE MARCHIONESS OF GRANBY, THE MARQUIS OF HARTINGTON, THE REV. H. R. HAWEIS, ADMIRAL SIR WILLIAM HEWETT, v.c., MR. HENRY IRVING, MR. AND MRS. KENDAL, THE BISHOP OF LIVERPOOL, HELEN MATHERS (MRS. REEVES), THE RIGHT HON. JOHN MORLEY, M.P., H. E. CARDINAL NEWMAN, PROFESSOR SIR RICHARD OWEN, MR. SIMS REEVES, DR. HANS RICHTER, MADAME ROZE, PROFESSOR RUSKIN, MADAME SCHUMANN, MR. HERBERT SPENCER, MADAME ANTOINETTE STERLING, LORD TENNYSON, MISS ELLEN TERRY, Miss WALLIS (MRS. LANCASTER), DR. WARRE, GENERAL SIR CHARLES WARREN, GENERAL VISCOUNT WOLSELEY, 1889 with all pages as: Men and Women of the Day.1888, CONTENTS. LORD CHARLES BERESFORD, MRS. BERNARD-BEERE, GENERAL BOULANGER, LADY BROOKE, THE REV. STOPFORD A. BROOKE, MISS RHODA BROUGHTON, HIS GRACE THE ARCHBISHOP OF CANTERBURY, LADY CAREW, MISS ALICE CORNWALL, THE DUKE OF DEVONSHIRE, MAJOR-GENERAL SIR FRANCIS GRENFELL, SIR CHARLES HALLE, MR. THOMAS HARDY, SIR HENRY HAWKINS, SIR JOHN LUBBOCK, BART., M.P., MISS MARY MOORE, MISS JULIA NEILSON, MADAME NORMANN-NERUDA., MAX O'RELL, MADAME ADELINA PATTI, THE CHIEF RABBI, THE BISHOP OF RIPON, SIR CHARLES RUSSELL, THE SHAH OF PERSIA, HAWLEY SMART, THE RIGHT HON. W. H. SMITH, M.P., THE REV. C. H. SPURGEON, MR. J. L. TOOLE, PROFESSOR TYNDALL, MRS. HUMPHRY WARD, SIR EDWARD WATKIN, BART., M.P., REV. J. C. WELLDON, MISS M. V. WHITE, SIR JAMES WHITEHEAD, BART., MRS. JOHN WOOD, MR. CHARLES WYNDHAM, photographs typically 24cm x 18.5cm, mounted on card pages 35.5cm x 24.5cm.

A Grafton China Rose Bud pattern tea set, James Kent Apple Blossom chintz pieces, a Grafton coffee set and Morley ware crinoline lady tea wares Condition Report:Available upon request

BOSWELL, James (1740-95). The Life of Samuel Johnson, London, 1885, 5 vols., large 8vo, 23 engraved portraits on 20 plates by Joshua Reynolds, contemporary black calf (rubbed). NUMBER 173 OF 500 COPIES. "The Sir Joshua Reynolds Edition." (5)BOSWELL, James (1740-95).  The Life of Samuel Johnson, L.L.D., and The Journal of his Tour to the Hebrides ... Edited by Henry Morley. London: George Routledge and Sons, 1885. 5 volumes, large 8vo (253 x 170mm). Half titles, titles printed in red and black, 23 engraved portraits on 20 plates by Joshua Reynolds, one leaf of facsimile signatures (some light mainly marginal staining). Attractively bound by Mudie in full contemporary black calf gilt, the spines gilt in compartments with red morocco lettering-pieces, top edges gilt, others uncut (extremities rubbed, some scuffing and light rubbing to boards, endpapers spotted). Provenance: "To George Layton and A. G. Melly, from Paul Springmann on his retiring from business April 1897" (inscription on the front free endpaper in vol. one); "Layton & Melly" (names stamped in gilt on the upper covers); some pencil annotation to rear endpaper of vol. one. NUMBER 173 OF 500 COPIES. "The Sir Joshua Reynolds Edition." Various plate counts are given for this work; this set is collated complete against the list at the front of each volume. (5)

Lamb, Charles: The Essays Of Elia, A New Edition, London; Edward Moxon, Dover Street, 1843, half tan leather over marbled boards, 8vo, together with various other volumes to include Ball, Sir Robert: The Story Of The Sun (Herbert John Gladstone book plate and signature), Morley, John: The Life Of William Ewart Gladstone, Frazer, Sir James George: The Golden Bough A Study In Magic And Religion, Furnivall, F.J. (ed): The Rouges And Vagabonds Of Shakespere's Youth, Milne, A.A: The King's Breakfast, Valentine, L. (ed): Picturesque England Its Landmarks and Historic Haunts, Richard, Sir Gordon: My Story, Smythe, Pat: Jump For Joy and Francis, Dick: Lester The Official Biography with loosely inserted photograph of Lester Piggott with signed note. (10)

Confiscation in Irish History by William Butler. Dublin. 1917; Ireland under Elizabeth ad James the First by Spenser, Davies, Moryson. Edited by Morley. 1890 and The Making of Ireland and its Undoing by Alice Stopford Green. Macmillan. 1909. 3 significant studies in original cloth

* Ransome (Arthur, 1884-1967). A group of 5 Autograph Letters Signed and 9 Typed Letters Signed, 'Arthur Ransome', various places, 11 February 1953 to 4 September 1955, all to Morley Kennerley [of Faber & Faber], concerning fishing books and related including Ransome's idea to reprint a series of old fishing books, 'Here's the anthology back. Thanks for letting me see it. I have been through it and noted several possible candidates. Now then: those diaries:- I should like to look at them, though I dread adding to the pile of the last year's arrears due to my having been so often and for so long out of action' (11 February 1953); 'I have made several deep dives into that vast bag, and found a great deal of interest. I think the owner knowing all the people mentioned, should make a selection from all the diaries, from start to finish, thus making it the record of a whole fishing life... ' (3 June 1953); 'Here is a copy I made of the letter written by James Leisenring to G. E. M. Sques. I wish you would read it and see if you think as highly of it as I do. I go to the Itchen tomorrow (to catch cold and no grayling)' (28 November 1954); 'Smythe. I have been wasting a lot of time doing a job for the National Book League, producing their new "Reader's Guide" to Fishing books. In it, I have taken the chance of calling attention to the Smythe diary, quoting a sentence from it and saying that it "has been edited by his son and is shortly to be published"...' (19 February 1955); 'Of course Smythe must have his Fishing Gazette stuff if he wants it, even though it is poor beside the Provost's genuine diary' (25 May 1955); ‘Here is H. A. Morritt’s farewell book … Anyhow, I shall be most grateful to you if you will consider adding this to your growing list of really good fishing books. You might follow it up with other very short but very good books, such as a reprint of John Beever (1849), or The Northern Angler (1800), etc.’ (13 August 1955); ‘I think your idea of a series of reprints of all the smaller fishing classics is a very good one. All the best fishing books were written in the days when no one thought it necessary to inflate them. Such a series would allow the inclusion of such books as Morritt’s, and all the books would help each other. In the end the series would offer safe bets to mothers and wives wanting to give presents to sons and husbands. You might lead off with Beever for the fly-fishers and balance him with Nobbes (1682) on the pike. Two days ago by pure accident I came across the only copy I’ve ever seen of John Beever’s first edition of 1849… a small paper-bound of 64 pages… Blurb for Smythe. Do send me the proofs. I could send the blurb by return of post if only I had the proofs. If you have no proofs, let me know and I will, with greater difficulty, write an inferior blurb’ (19 August 1955), a few marks and filing pin holes, etc., a total of 16 pages, 4to/8vo, plus an Autograph Postcard Signed, 3 sheets of proof notes and a collection of 30 related carbon copies of correspondence from Kennerley to Ransome on the same subjectsQTY: (a folder)

Eliot (George). Works, 10 volumes, Edinburgh and London: William Blackwood and Sons, circa 1880s, photogravure frontispieces, occasional light damp-stains to fore-edges, early 20th-century half calf, gilt decorated spines, few extremities rubbed, 8vo, together with:Froude (James Anthony). Thomas Carlyle. A history of the first forty years of his life 1795-1835, 2 volumes, London: Longmans, Green, and Co., 1882, and Thomas Carlyle. A history of his life in London 1834-1881, 2 volumes, 4th edition, London: Longmans, Green, and Co., 1885, etched portrait frontispieces, occasional light damp-stains, top edge gilt, contemporary uniform calf gilt, gilt decorated spines with contrasting morocco labels (volume number labels 1-4), some boards with light damp-stains to corners, 8vo, plus other leather and cloth bound volumes including Morley (John). The Life of William Ewart Gladstone, 3 volumes, London: Macmillan and Co. Ltd., 1903, top edge gilt, contemporary maroon half morocco, gilt decorated spines, extremities lightly rubbed, 8vo, Froude (James Anthony). History of England, 12 volumes, new edition, 1870, contemporary calf, gilt decorated spines with contrasting labels, worn with some boards detached, 8vo, Robinson (Charles, illustrator). The Big Book of Fables, edited by Walter Jerrold, 1912 and various works by Thomas Macaulay etc.QTY: (approx. 50)

(1) Audio Arts Volume 3 Number 2. Recent English Experimental Music 1976 (reprint 1983). London, Audio Arts, 1983. Audio cassette, with stamped/printed labels and original plastic cassette box with printed insert. The recordings feature Gavin Bryars, Christopher Hobbs, James Lampard, Michael Nyman, Michael Parsons, Howard Skempton and John White. Fold-out printed insert with publishing information and texts explaining each work. (2) Audio Arts Volume 7 Number 3. International Contemporary Art Fair 1985. London, Audio Arts, 1985. Audio cassette, with stamped/printed labels and original plastic cassette box with printed insert. The recordings include a report on the 2nd International Contemporary Art Fair at Olympia, 17-20 January, 1985, Hannah Collins performing Night Report, Denis Masi, Malcolm Morley, John Hilliard, and 'a report From Nova Scotia College Of Art & Design'. The printed insert features publishers information and explanatory texts. Both items rare and in very good condition (total 2)

Medical.- Collection of letters, including: Florence Nightingale (cut signature), Sir James Paget (6), Sir Thomas Watson, William Babington, Sir Frederick Treves (5), Lord Lister, Sir John Williams, Sir William Withey Gull (2), Sir Andrew Clark (10 letters, 1 postcard and 4 envelopes), Sir Robert Christison (6), Sir Benjamin Collins Brodie (2), Sir Astley Cooper (2), George Combe (2), Henry Morley, Sir Henry Thompson (2), Dr Norman Kerr, John Abercrombie etc., together c. 60 letters, folds, several removed from album leaves, 1 tipped-in on card, 1817-86; and another, offprint, William Bastick, On the Action of Hypochlorite of Lime on Organic Compounds, presentation copy from the author with his ink inscription, 1848, v.s., v.d. (c. 60).

Vintage fiction. A collection of approx. thirty-eight books including first editions in dust wrappers. The lot including Without Love by Gerald Hanley, What is the Starts by Arthur Roth, Adventure Bound by Capt. W. E. Johns, Young Mr. Kelso by James Dillon White, Position at Noon by Eric Linklater, The Ironing Board by Christopher Morley, Fire Over England by A. E. W. Mason, Bhowani Junction by John Masters, The Square Root of Wonderful by Carson McCullen, Night of the Big Heat by John Lymington, A Night To Remember by Walter Lord, China Court by Rumer Godden, Bunkle Went for Six by M. Pardo, Forlon Sunset by Michael Sadleir, Mr. Midship-man Horn-blower by C. S. Forester, Grey Walls Stories, The Naked God by Howard Fast, Love at All Ages by Angela Thirkell, You Can't Get There From Here by Ogden Nash, and Jungle Doctor Spots A Leopard by Paul White. All in dws, generally exceptionally smart condition. Approx. 38 in lot. 

British Actors - Autographs - a collection of autographs on photographs and paper, all British actors, to include: Robert Morley, Margaret Lockwood, Kenneth More, Phyllis Calvert, James Mason, Jack Warner, Lionel Jeffries, Glynis Johns, Dawn Addams, Richard Todd, Dirk Bogarde, Trevor Howard, Gracie Fields, David Tomlinson and Jean Kent. Various sizes. (15)

A James Couper & Sons 'Clutha' solifleur glass vase, c.1890, designed by Dr Christopher Dresser, the bulbous base tapering to a cylindrical neck, with a flat knopped rim, 13cm high Literature: C Morley, 'Dresser's Decorative Design', 2010, p.193.Condition ReportWith a burst air bubble to the side - likely contemporaneous with manufacture. The edges of the bubble feel slightly rough to the touch. No detected restoration or polished-down sections. Additional images uploaded.

The African Queen - a scale model hand built model of the boat from the famous 1951 movie of the same name. Hand built and finished to a high standard, the model features a canopy to the rear, a faux steam engine to the centre and various other deck details. Made from plastic, wood and metal. Fitted with electric motors and could easily be converted to radio control. Hand built by the vendor over a period of twelve months and finished to a museum standard. On stand. Measures approx: 71cm long.  The African Queen is a 1951 adventure film adapted from the 1935 novel of the same name by C. S. Forester. The film was directed by John Huston and produced by Sam Spiegel and John Woolf. The screenplay was adapted by James Agee, John Huston, John Collier and Peter Viertel. It was photographed in Technicolor by Jack Cardiff and has a music score by Allan Gray. The film stars Humphrey Bogart (who won the Academy Award for Best Actor, his only Oscar) and Katharine Hepburn with Robert Morley, Peter Bull, Walter Gotell, Richard Marner and Theodore Bikel.

A small Powell Whitefriars glass vase by James Powell, flaring cylindrical form, cut with wavy bands of disc and line, unsigned, collection loan sticker, 15cm. highLiteratureLesley Jackson Whitefriars Glass the Art of James Powell & Sons, Richard Dennis Publications, page 129 plate 126 for an identical vase.ProvenanceJeanette Hayhurst Fine Glass, 1997.ExhibitedWhitefriars Glass, Manchester Museum & Art Gallery, (Brian Cargin & Chris Morley Manchester loan).

Autographs, Entertainment, a selection of 10 signed theatre programmes to include Spread A Little Happiness signed by Vivien Ellis, Sheridan Morley and Frank Thornton, Invisible Friends signed by Alan Ayckbourn, My Fair Lady signed by Trevor Nunn, Martine McCutcheon and Dennis Waterman, Funny Girl signed by Barbara Streisand, Richard the Third signed by Mark Rylance, Sugar Babies signed by Mickey Rooney, Ann Miller and other members of the cast, Hamlet signed by Ralf Fiennes, James Laurenson and Peter Eyre (gd)

Four silver wine labels, comprising: a pair rectangular by James McKay, Edinburgh 1813, engraved MADEIRA and CLARET, 5cm (2in) wide; rectangular by John Reily, London 29th May 1804 - 10th October 1804, engraved MADEIRA; and oblong by Elizabeth Morley, London 11th October 1804 - 28th May 1805, engraved BRANDY (4)

Obstetrics and gynaecology Collection of works, 17th-19th century Mauriceau, François. The Diseases of Women with Child, and in Child-Bed … Translated by Hugh Chamberlen, by M. D. By whom this Second Edition it [is] reviewed, corrected, and enlarged, with the addition of the Author's Anatomy. London: printed by John Darby, and are to be sold by the Booksellers, 1683. 8vo, contemporary calf, [18] 36 438 [8] pp., 8 engraved folding plates, binding somewhat shaken, spine with traces of crude tape-repairs, loss to foot of spine, initial blank loose, a few tears to plates, damp-stain to foot of a few signatures;Nihell, Elizabeth. A Treatise on the Art of Midwifery. London: A. Morley, 1760. 8vo, contemporary calf, xvi vi 471 pp., binding worn, rear cover and front free endpaper detached, Andersonian Medical Library ink-stamps, spotting, marginal pen-markings;La Motte, Guillaume Mauquest de. A General Treatise of Midwifery … Written originally in French … Translated into English by Thomas Tomkyns, Surgeon. London: for James Waugh, 1746. 8vo, contemporary calf, xx 536 pp., ownership inscription ‘John White, M.D., Paisley’ to title-page, ink-stamps of the Andersonian Medical Library, front board detached;and 3 others similar

A Three-Piece George III Silver Tea-Service, The Teapot by James Turner, London, 1808, The Cream-Jug and Sugar-Bowl by Elizabeth Morley, London, 1809 each piece oblong and with reeded band, on four shell-cast feet, each piece engraved on one side with initials and on the other with presentation initials, the teapot with later wood handle and finialthe teapot 26.5cm wide over handle, total gross weight 33oz 8dwt, 1,039gr (3)The teapot fully marked underneath and further part marked inside cover. The marks are generally clear. The cream-jug and sugar-bowl each fully marked near rim. There is some wear to the marks. There is some overall surface scratching and wear, consistent with age and use. The handle on the teapot possibly replaced. The finial on the teapot cracked. The gilding inside the cream-jug and sugar-bowl pale.

Autographs: Stars of Stage and Screen (1920s-1940s) An Autograph Album containing 60+ signatures, mostly signed on both sides of a page, many dedicated to wardrobe mistress, Mrs Tomlinson Tommy, includes, Stewart Granger, James Mason, Robert Donat, Gina Malo, Marie Glory, Betty Jardine, Robert Morley, Wynne Gibson, Gracie Fields, Michael Redgrave, Anthony Asquith, Eric Portman, Phyllis Calvert, Richard Tauber and others; together with, a Photograph Album containing a group of twenty-eight loosely inserted black and white film publicity photographs and postcards, sixteen of which are also signed and dedicated to Tommy, including Lillian Gish, Jackie Coogan, Robert Donat, Wynne Gibson, Winifred Shotter, William Hartnell, others unsigned include, Dianna Durbin, Gina Malo, Mary Miles Minter, Marie Glory, Evelyn Dall and others, various sizes, the largest 8 x 10 inches; with a loosely inserted pencil sketch of Mrs. Tomlinson on the set, titled and signed Never Idle, V.O. Wheeler, July 1941. (2 Albums)Provenance: The signatures were all signed in person for Mrs. Tomlinson, known as 'Tommy' throughout her career as a wardrobe mistress in the film industry. Condition Report: overall good condition, mostly with strong signatures.

Scouting interest: 9 titles: E E REYNOLDS: BOY SCOUT JUBILEE, London, OUP, 1957; JOHN THURMAN AND REX HAZELWOOD: THE GILWELL CAMP FIRE BOOK, London, C Arthur Pearson, 1957; STANLEY WHITE & EDWARD BINDLOSS: RUNNING A TROOP, London, Wyman, 1950, New and revised edition; J DUDLEY PANK: THE SCOUTER'S JOB, London, Purnell, 1954; MORLEY (Ed): SCOUT'S HANDICRAFTS BOOK FOR SCOUTS, London, Henry Frowde, 1915; LORD BADEN POWELL: SCOUTING FOR BOYS, London, C Arthur Pearson, 1958, Reprint; AWN MACKENZIE: SURVEYING AND MAPPING SIMPLIFIED, Glasgow, James Brown & Son, 1924; D FRANCIS MORGAN & ERNEST SCOTT: SIGNALLING FOR SCOUTS, London, C Arthur Pearson, 1924, Second edition; THE JAMBOREE STORY, London, The Boy Scouts International Bureau, 1957; FOUNDER OF THE SCOUT MOVEMENT: BP'S OUTLOOK, London, C Arthur Pearson, 1955, Second edition (9)

Nine historical account books, comprising 'Lord Macaulay's Essays and Lays of Ancient Rome', authorised edition, Longman's, Green & Co 1888, 'English Writers: The Writers Before Chaucer, With an Introductory Sketch of the Four Periods of English Literature' by Henry Morley, Chapman & Hall, 1864, 'Notes and Jottings from Animal Life' by the late Frank Buckland, with illustrations, a new edition, Smith, Elder & Co 1888, 'The Rise of the Dutch Republic: A History' by John Lothrop Motley, a new edition, complete in one volume, George Routledge & Sons, 1866, Volumes I & II of 'The History of England from the Accession of James the Second' by Lord Macaulay, popular edition in two volumes, Longman's, Green & Co 1889, 'The Biographical Treasury: A Dictionary of Universal Biography' by Samuel Maunder 1872, and two 'Pope's Homer' books, comprising 'Odyssey of Homer' and 'Iliad of Homer' (9).Condition Report: - We have not checked that every page is present, so we cannot give any guarantees. Some books on the hard cover have gilt tooling for schools, to include Blackheath Proprietary School and Oliver's Mount School, Scarborough.

Robert Rosen: A Large Group of Vintage Polaroids Taken by Rosen and Signed by Various Film/Music/TV Stars,1980s-00s,approximately 340 colour Polaroids, each signed in various inks by the celebrity featured in the images, notable people include; David Bowie, Bill Wyman, Cliff Richard, Grace Jones, Donovan, Elton John, Sting, Zandra Rhodes, Mary Quant, Sylvester Stallone, Terence Stamp, Vera Lynn, Marianne Faithful, Pete Townsend, Charlie Watts (unsigned), Shirley Bassey, Audrey Hepburn, Stevie Knicks, Andrew Ridgeley, Rudolf Nureyev, Luciano Pavarotti, BB King, Joan Rivers, Jackie Collins, Ronnie Barker, Rowan Atkinson, Whoopie Goldberg, Diana Rigg, Tom Selleck, Mel Gibson, Kylie Minogue, Olivia Newton-John, Nicole Kidman, Ru Paul, Cate Blanchette, Yoko Ono, David Essex, Phil Lynott, Phil Collins, The Village People, David Hockney, Andrew Logan, Karl Lagerfeld, Joe Cocker, John Hurt, Edward Bell, Duggie Fields, Patrick Hughes, Naomi Campbell, Ossie Clark, Malcolm McLaren, Celia Birtwell, Grayson Perry, Peter Blake, Thierry Mugler, David Bailey, Martin Sharp, Paloma Picasso, Jean Shrimpton, Diana Ross, Ella Fitzgerald, Etta James, Issey Miyake, Marcel Marceau, Francis Bacon, Dean Martin, Bob Geldof, Michael York, Helmut Newton, Herb Ritts, Joan Collins, Carrie Fisher, Tom Stoppard, Lewis Morley, Anita Ekberg, Bill Gibb, David Attenborough, Kenny Rogers, Kenny Everett, Christopher Reeve, Jean Paul Gautier, Ronnie Corbett, Diana Dors, Tony Curtis, Joanna Lumley, Geraldine Chaplin, Omar Sharif, Ian McKellen, Michael Caine, Penelope Keith, Muhammad Ali, Les Dawson, Jane Asher, Janet Street-Porter, Bette Midler, Bonnie Tyler, Jerry Hall, Boy George, Quentin Crisp, William Burroughs, Andrew Lloyd-Webber, Deborah Kerr, Nina Simone, Leo Sayer, Lulu, David Hemmings, Barry Lategan, Nico, Vanessa Redgrave, among many others, all signed and dated on the reverse by the photographer, split across two leather-bound albums, sold without copyright or any reproduction rights, each 3 1/2in x 4in (9cm x 10cm), (Qty)Footnotes:Provenance:Offered by Australian photographer Robert Rosen.During 1975-1985 Rosen worked as a freelance photographer in London for Rolling Stone, NME and other music papers. He was also a society, portrait and catwalk photographer for Ritz Newspaper, Avant Garde Magazine, Root, Fashion Weekly & POL and freelanced for daily newspapers during this time. In 1985 Robert returned to Australia and continued his work with Harper's Bazaar, Vogue, Mode & Elle and the Sunday Telegraph, Sydney.Robert Rosen is one of Australia's foremost social photographers and an astute observer of Sydney and London society. He has covered social events for the past 30 years and through his lens brings us tantalizing shots of global celebrities. These are not the stiff poses and uncomfortable smiles captured by most social photographers. It is clear Rosen's subjects are willing participants, resulting in images that exude warmth and wit. This fascinating series of Polaroid photographs records the glamour, the personalities, the drama and the fun of London, Paris and Sydney social events. The images are also important social documents, recording key personalities among the world's social set‚ a mix of actors, rockstars, stage and screen stars and creatives. A visual history of his work appears in his latest book Glitterati. David Bowie Polaroid, London, 1981.'This polaroid was taken at a party at Regine's nightclub on top of a building in Kensington London. I spotted Bowie in the garden and nervously went up to him and asked if I could take his photo and do a Polaroid of him. He agreed but wanted us to go somewhere a little more secluded. I took the Polaroid and all the while I'm thinking, he's going to remember me as the photographer who'd taken his photo at the Blitz Club without his permission about six months before. He was asking me questions about my attire, especially the Andrew Logan mirror bowtie I was wearing. He then said ' Ahh, Robert Rosen with the looking glass bowtie.' I smiled and showed him the Polaroid that by now had fully developed. But it had my fingerprints across the top of it as I'd been nervously holding it too hard whilst talking to David. I suggested we take another one, but he said 'No I like it, it's art' and he signed it.'- Robert RosenThe Charlie Watts Polaroid is the only unsigned photograph in the collection. When Rosen asked Watts to sign it, his excuse for not doing so was because John Lennon had passed away that day.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Nicholas Wyatt Tippi At Cooling, 2023 Watercolour, Ink and Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Dr Nicholas Wyatt is a founding member of Cubitt, an artist-run gallery and studios in London which has gained an international recognition and receives public funding. Nicholas Wyatt's paintings explore how narratives of presence are communicated in painting with particular reference to the reception aesthetics of certain key examples of Baroque religious iconography. Nicholas has exhibited at Victoria Miro, London; Arnolfini, Bristol; Museum Kunstpalast, Dusseldorf; Academia Italiana, London, Galerie de Rijk, Netherlands, Basilica Santa Anastasia Al Palatino, Rome and and with Cubitt Artists at London Art Fair. He has shown work with Peter Doig, Petra van Harte, Tacita Dean, Mariele Neudecker, Neal Tait, Henriette van t'Hoog, Uwe Esser, Howard Rogers, Nelson Diplexcito and Jan Kolata. His work in public collections includes CCR Collection, Palazzo Calista, The Vatican and Stadt Sparkasse Bank, Dusseldorf and private collections in UK, Netherlands and Germany. He has curated international exhibitions - Crosscurrents, the Netherlands, 1993; Sconfinamenti, Italy 1995-97; After the Endgame - New Abstraction, Amsterdam 2008. In 1997 with Simon Morley, he founded The Friedrich Society (an artist debating society on the legacy of German Romanticism in contemporary practice) and co-curated the Wreck of Hope exhibition at The Nunnery Gallery, Bow Arts Trust, London. He has given conference papers in his area of research at The Barber Institute of Fine Arts, University of Birmingham, Liverpool Anglican Cathedral and Loughborough University. Education 2009-2015. PhD. Loughborough University. Thesis (practice-based): The Christian Image & Contemporary British Painting. (The communication of Meaning and Experience in Religious Paintings) 1981-1984 Central St Martins School of Art, London. BA Hons Fine Art (Painting) Select Exhibitions/Awards 2023 Cubitt Artists at London Art Fair 2022 Cubitt 30 Victoria Miro Gallery London 2022 Cubitt 30 Victoria Miro online in association with Vortic Art 2022 St. Ives Society of Artists Spring exhibition. 2021 Art on a Postcard Winter Auction 2021 The Art of Painting, Copeland Gallery, London 2017 Angels & The City, Cubitt Salon #10, Cubitt, London (Petra van Harte) 2017 Basilica Santa Anastasia al Palatino, Rome, 2014 Nicholas Wyatt. Loughborough University. (solo) 2013 Research as Practice. Beaconsfield Gallery, London. 2008 True Romance, Galerie Anton, The Hague. 2007 After the Endgame-New Abstraction. R.C. de Ruimte, Amsterdam 2005 Nicholas Wyatt Showcase nl. Amsterdam. (solo) 2003 Nicholas Wyatt. Galerie de Rijk, The Hague . 2003 Lonely this Christmas. James Windsor Art, London 2000 Nicholas Wyatt. Azul Galerie, The Hague. (solo), 2000 The Wreck of Hope. The Nunnery Gallery, London. 1999. Where do You Want to Go Today? Cubitt, London (Petra van Harte) 1997 Sconfinamenti. Accademia Italiana, London 1996 Grosse Kunst Austellung, Museum Kunstpalast, Dusseldorf 1996 Nicholas Wyatt. Ateliers Hoherweg, Dusseldorf (solo) 1996 The Question of Scale. Arnolfini, Bristol. 1993 Crosscurrents, Centrum Beeldende Kunst Rotterdam (TENT) 1991 Hearts Desire. Knapp Gallery, London (solo) Gallery Representation Cubitt, London Statement about AOAP Submitted Artwork The paintings I have submitted for Art on a Postcard Winter Auction 2023 - 'Tippi at Cooling' and 'The Anchoress' - are examples of my current painting practice, which relates two systems of thought routinely dissociated by modern secular concepts and values: religion and aesthetics. My paintings propose an intervention, not in what is generally regarded as a defunct system of vision - religious imagery - but an intervention in the discourses of a contemporary visual system: - the contemporary painted image - and conflates those historical idioms with contemporary secular visual systems such as fashion photography and cinema. 'Tippi at Cooling' is very much about a genius loci -'spirit of place' - in this case the low-lying marshlands of Cooling in Kent. Across this landscape the figure of the American actress, Tippi Hedren walks, carrying a bird cage. Above her a small group of birds is thrown into relief by the stormy sky. The scene depicted is based on a personal memory. 'The Anchoress' is a smaller version of a larger studio painting which presents a 1930's fashion model holding lilies against a dark and contemplative background. The image suggested to me a similar sense of genius loci - 'spirit of place' - in this case the devotional cell of a mediaeval anchorite (e.g., St. Julian) These paintings explore the contemporary communication of meaning and experience in religious paintings (the visionary, the religious ecstatic). You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Nicholas Wyatt The Anchoress, 2023 Watercolour, ink and acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Dr Nicholas Wyatt is a founding member of Cubitt, an artist-run gallery and studios in London which has gained an international recognition and receives public funding. Nicholas Wyatt's paintings explore how narratives of presence are communicated in painting with particular reference to the reception aesthetics of certain key examples of Baroque religious iconography. Nicholas has exhibited at Victoria Miro, London; Arnolfini, Bristol; Museum Kunstpalast, Dusseldorf; Academia Italiana, London, Galerie de Rijk, Netherlands, Basilica Santa Anastasia Al Palatino, Rome and and with Cubitt Artists at London Art Fair. He has shown work with Peter Doig, Petra van Harte, Tacita Dean, Mariele Neudecker, Neal Tait, Henriette van t'Hoog, Uwe Esser, Howard Rogers, Nelson Diplexcito and Jan Kolata. His work in public collections includes CCR Collection, Palazzo Calista, The Vatican and Stadt Sparkasse Bank, Dusseldorf and private collections in UK, Netherlands and Germany. He has curated international exhibitions - Crosscurrents, the Netherlands, 1993; Sconfinamenti, Italy 1995-97; After the Endgame - New Abstraction, Amsterdam 2008. In 1997 with Simon Morley, he founded The Friedrich Society (an artist debating society on the legacy of German Romanticism in contemporary practice) and co-curated the Wreck of Hope exhibition at The Nunnery Gallery, Bow Arts Trust, London. He has given conference papers in his area of research at The Barber Institute of Fine Arts, University of Birmingham, Liverpool Anglican Cathedral and Loughborough University. Education 2009-2015. PhD. Loughborough University. Thesis (practice-based): The Christian Image & Contemporary British Painting. (The communication of Meaning and Experience in Religious Paintings) 1981-1984 Central St Martins School of Art, London. BA Hons Fine Art (Painting) Select Exhibitions/Awards 2023 Cubitt Artists at London Art Fair 2022 Cubitt 30 Victoria Miro Gallery London 2022 Cubitt 30 Victoria Miro online in association with Vortic Art 2022 St. Ives Society of Artists Spring exhibition. 2021 Art on a Postcard Winter Auction 2021 The Art of Painting, Copeland Gallery, London 2017 Angels & The City, Cubitt Salon #10, Cubitt, London (Petra van Harte) 2017 Basilica Santa Anastasia al Palatino, Rome, 2014 Nicholas Wyatt. Loughborough University. (solo) 2013 Research as Practice. Beaconsfield Gallery, London. 2008 True Romance, Galerie Anton, The Hague. 2007 After the Endgame-New Abstraction. R.C. de Ruimte, Amsterdam 2005 Nicholas Wyatt Showcase nl. Amsterdam. (solo) 2003 Nicholas Wyatt. Galerie de Rijk, The Hague . 2003 Lonely this Christmas. James Windsor Art, London 2000 Nicholas Wyatt. Azul Galerie, The Hague. (solo), 2000 The Wreck of Hope. The Nunnery Gallery, London. 1999. Where do You Want to Go Today? Cubitt, London (Petra van Harte) 1997 Sconfinamenti. Accademia Italiana, London 1996 Grosse Kunst Austellung, Museum Kunstpalast, Dusseldorf 1996 Nicholas Wyatt. Ateliers Hoherweg, Dusseldorf (solo) 1996 The Question of Scale. Arnolfini, Bristol. 1993 Crosscurrents, Centrum Beeldende Kunst Rotterdam (TENT) 1991 Hearts Desire. Knapp Gallery, London (solo) Gallery Representation Cubitt, London Statement about AOAP Submitted Artwork The paintings I have submitted for Art on a Postcard Winter Auction 2023 - 'Tippi at Cooling' and 'The Anchoress' - are examples of my current painting practice, which relates two systems of thought routinely dissociated by modern secular concepts and values: religion and aesthetics. My paintings propose an intervention, not in what is generally regarded as a defunct system of vision - religious imagery - but an intervention in the discourses of a contemporary visual system: - the contemporary painted image - and conflates those historical idioms with contemporary secular visual systems such as fashion photography and cinema. 'Tippi at Cooling' is very much about a genius loci -'spirit of place' - in this case the low-lying marshlands of Cooling in Kent. Across this landscape the figure of the American actress, Tippi Hedren walks, carrying a bird cage. Above her a small group of birds is thrown into relief by the stormy sky. The scene depicted is based on a personal memory. 'The Anchoress' is a smaller version of a larger studio painting which presents a 1930's fashion model holding lilies against a dark and contemplative background. The image suggested to me a similar sense of genius loci - 'spirit of place' - in this case the devotional cell of a mediaeval anchorite (e.g., St. Julian) These paintings explore the contemporary communication of meaning and experience in religious paintings (the visionary, the religious ecstatic). You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Lewis Frederick Morley OAM (1925-2013) four unframed photographic prints, to include: Don Levy in Fairytales of New York; Marpessa Dawn in Boss Woman; Victor Spinetti in Oh What a lovely War; and James Fox and Pauline Boty in Afternoon Men, each signed, inscribed and dated; together with an inkjet print after Clarisse d'Arcimoles, David Moore, The Velvet Arena, signed photographic print; an unsigned photographic print of Eric Clapton; an unsigned print of Van Morrison; a photograph of a lady on a beach, and an unsigned photograph of a man leaning out of a truck (10)

Six aviation books Lockheed Constellation by Peter J Marson, Torpedo Leader by Patrick Gibbs, Winged Bomb History of 39 Squadron RAF by Ken Delve, Typhoon Tale by James Kyle, The Right of The Line by John Terraine and Messerschmitt Roulette by Geoffrey Morley-Mower 

A collection of fifteen silver caddy spoons, shells and scallopsvarious maker's and datesComprising, examples byElizabeth & John Eaton, London 1860, scallop bowl, feather edge short handleWB, London 1812, plain bowl and shaped handleMatthew Linwood, maker's mark only, Birmingham, circa 1800, the conical shell with silver rim mount, Fiddle handle with thread edge initialledJames Beebe, London 1836, scallop bowl, engraved handleGeorge Burrows, London 1791, engravedTudor & Leader, Sheffield, possibly 1790, scallop bowl, crestedlion passant and maker's mark script GS, possibly George Smith, scallop bowl, scroll handle with bifurcated junctionmaker's mark mistruck, London 1811, scallop bowl, handle initialledHester Bateman, London 1786, scallop bowl, handle crestedElizabeth Morley, London 1802, plain bowl, feather edge handleWilliam Knight, London 1833, plain bowl Fiddle handle, initialledJohn Walton, Newcastle 1861, plain bowl Fiddle handlePeter & William Bateman, London 1805, plain bowlThomas Wallis (II) & Jonathan Hayne, London 1817, Old English Thread handletogether with an Old Sheffield plate spoon. (15)For further information on this lot please visit Bonhams.com

ERNEST STEPHEN LUMSDEN RSA RE (BRITISH 1883 - 1948), INDIAN MARKET oil on board, signed and dated 1914 mounted, framed and under glass image size 25cm x 35cm, overall size 46cm x 55cm Note: Lumsden studied at Reading Art School from 1889 under Frank Morley Fletcher and briefly at the Académie Julian in Paris in 1903. In 1908 he accepted an appointment at the Edinburgh College of Art, where he taught for a few years. He travelled several times to India between 1912 and 1927 and is noted for his prints of Benares on the River Ganges. Between 1905 and 1946 E.S. Lumsden produced some 350 etchings most of which are represented in a collection held in the Burnaby Art Gallery, British Columbia, Canada. He always printed his own plates. Lumsden was elected an associate of the Royal Society of Painter-Etchers in 1909 and raised to the full membership in 1915. He was elected an Associate of the Royal Scottish Academy in 1923 and a full member in 1933; and he was President of the Society of Artist Printers from 1929 to 1947.In 1925 the publishers Seeley Service issued what is still regarded as the seminal treatise on the subject of etching, called The Art of Etching. In the book Lumsden describes the various techniques of intaglio printing using etching, drypoint, mezzotint and aquatint; he describes the history and development of etching through Rembrandt, Goya and the etching revival; and he reproduced personal, illustrated notes from several eminent etchers of the period on their techniques including: Marius Bauer, Frank Benson, Muirhead Bone, George Clausen, David Young Cameron, Frank Short, Augustus John, Frank Brangwyn, James McBey, Edmund Blampied, Percy Smith, Christopher Nevinson, Laura Knight, and John Everett. The book was published as a trade edition, which is still in print, and as a limited edition of 150 copies containing four original etchings by Lumsden. In 1913 Lumsden married Mabel Allington Royds, a noted artist in woodcuts.

Morant (Philip). The History and Antiquities of the County of Essex, 2 volumes, (incorporating the second edition of The History and Antiquities of the most ancient Town and Borough of Colchester), London: T. Osborne et al., 1768, EXTRA ILLUSTRATED AND EXTENDED TO 5 VOLUMES, plus a Manuscript Index, 1908, the contents mounted on large paper, the whole being lavishly extended with hundreds of extra illustrations of varying sizes, containing approximately 36 maps, some coloured, including examples by or after Christopher Saxton, Johannes Blaeu, Jan Jannson, John Chapman and Peter Andre, Philip Lea, Thomas Dix, Ordnance Survey, Richard Blome and Robert Morden, plus approximately 20 watercolours and drawings and 750 prints including portraits and views, coloured aquatints by Havell and Merigot, other coloured plates by Alken and Daniell, mezzotints by J. Smith, C. Turner, J. Faber and McArdell, lithographs, stipple etchings, line engravings, india proofs, woodcuts, facsimiles, etc., the five text volumes with additional printed title-pages for this unique copy dated 1908, the manuscript Index volume comprising 24 leaves (plus 18 blank), completed alphabetically in a very neat hand on rectos only, burgundy morocco gilt bookplate of W. A. Foyle, Beeleigh Abbey to all front pastedowns, early 20th-century red crushed levant full morocco gilt by Morrell, inner dentelles gilt, wide and richly roll-tooled panels in gold and blind, gilt-decorated spines with raised bands, Index volume bound in red crushed levant half morocco gilt to match, all with some slight rubbing and a few scuff marks, some darkening from old scorch marks to lowest raised bands and foot of spines and board edges, a little wear and some strengthening to tailcaps, folio (560 x 385 mm)QTY: (6)NOTE:Provenance: W. A. Foyle, Beeleigh Abbey (bookplates).A truly sumptuous and very handsome imperial folio set of this major county history. The contents are largely in very clean and good condition and the whole has been assembled with fastidious care. Sadly, there is no evidence as to who it was done by or who owned it before William Foyle.The maps include those by Christopher Saxton, Johannes Blaeu, Jan Jannson, Emanuel Bowen (7), John Norden and W. Kip, C & J Greenwood, Philip Lea, John Rocque, Henry Overton, Robert Morden, Richard Blome, Thomas Kitchin, John Cary, James Pigot, J. Roper and Thomas Dix, plus a large-scale 25-sheet map by John Chapman & Peter Andre (220 x 285 cm), and a 4-sheet county map by Colonel Mudge (OS maps), and a large-scale county map by C. & J. Greenwood.There are watercolour views of Woodford by W. H. Bartlett, 1832, (330 x 495 mm); St Botolph's Priory by G. F. Phillips, 1807; Mr Trott's Farm near Romford by J. C. Nattes; Great Canfield by A. Barfield, 1844; large sepia wash drawing of Nether Hall [by Laporte]; large plan of Colchester Barracks by J. Parkyns, 1806; unsigned views of Waltham Abbey, Tilty Abbey, Thaxted (pencil), Southend (2), South Bemfleet (sepia), House of Mrs Masson at Hornchurch; plus portraits of Lady Anne Lucas by T. Athow, Thomas Littleton and Sir Thomas Hervey (fine copy).Among the numerous portraits are approximately 14 mezzotints of Oliver Cromwell (trimmed to oval), George Capel, Earl of Essex, James I, Duke of Albemarle, Admiral Sir George Pocock, Samuel Bosanquet (relined; not in Index), Bishop Compton, Lady Fairfax (small), John Knight and family, Thomas Wood, Edward Bright, Henry Vane, John Morley and Thomas Lane.

[Devereux, Robert, second Earl of Essex, 1566-1601]. Manuscript volume containing a variety of copies of earlier documents by and about the Earl of Essex, circa 1620-30, including contemporary reports of parliamentary affairs, 'The Earle of Essex, his appearance… at the Lord Keepers House, 1600 (16pp.), 'The Arraignments of ye Earle of Essex and Southampton in Westminster Hall ye 19th day of February 1600' (22pp.), Advise to his Sonne' (17 pp.), ‘A description of the arraignment of the Duke of Norff.’ (10pp.), a poem beginning 'All that have eyes now wake and weepe’, copies of personal letters from Sir Charles Cornwallis, etc., a total of 139 pages written in more than one neat hand, the pieces with varying numbers of blanks between pieces and sections, a total of 225 blank pages, the hands all legible except 15 pages in thicker ink with loss of legibility due to bleeding and smudging, armorial bookplate of the Wodehouse family (‘frappe forte’) to front pastedown with old ink inscription ‘Wodehouse, Kimberley, 1838’ written on the bookplate, burgundy morocco gilt bookplate of W. A. Foyle, Beeleigh Abbey to front flyleaf recto and two quotations from the cleric Jeremy Taylor (1613-1667) to verso in an 18th-century hand, 19th-century calf with gilt-titled spine, original calf covers relaid with gilt-tooled lozenge design to centre of both covers, rubbed, small 4to (195 x 137 mm)QTY: (1)NOTE:Provenance: Wodehouse family, earls of Kimberley (bookplate); W. A. Foyle, Beeleigh Abbey (bookplate).A very rare collection of pieces, in particular a highly important series of documents recording the offences of Essex which led to his arraignment and the culmination of his close relationship with the queen culminating in her signing his death warrant. After his return from Ireland in 1599 Essex was brought before a specially constituted court which preferred three specific charges against him. All material relating to his arrest and trial is of special interest on account of the paucity of the material available.‘No full report of these proceedings is extant. Bacon drew up an apparently complete account, but only a fragment dealing with the first charge (the journey into Munster) survives. The rest has to be gathered chiefly from Fynes Morison's ‘History of Ireland' and paroled accounts of Essex's Irish action published officially after his death. The gist of the accusations lay in the negotiations with Tyrone, and no authentic record of these is accessible’ (ODNB). The accounts as given in the present manuscript volume include speeches by Essex and by Bacon and references to Tyrone.Although most of the volume appears to have been written in the 1620s several of the pieces appear to be copies originally penned at an earlier date. Bacon, for instance, is never 'Lord Verulam’ but always 'Mr. Bacon’. Francis Bacon was created Baron Verulam of Verulam in 1618.Towards the end of the volume the collection includes several letters from the English courtier and diplomat Charles Cornwallis (died 1629) which are personal, one, presumably to his first wife, Elizabeth, ending ‘Faythfull and affectionate husbande’ (22 July 1614). This letter would have been written one month after he was imprisoned in the Tower of London. Cornwallis had been suspected of fanning the parliamentary opposition to the king. John Hoskins, who had made himself conspicuous in the House of Commons of England by his denunciation of Scots and Scottish institutions, declared when arrested that he was Cornwallis's agent. Cornwallis disclaimed all knowledge of Hoskins, but admitted that he had procured the election of another member of parliament, and had supplied him with notes for a speech against recusants and Scotchmen. The privy council placed Cornwallis under arrest in June 1614, and he was imprisoned in the Tower of London for a year, with Hoskins and Leonel Sharp.The untitled poem is a known epitaph (or perhaps two) on King James, and so originally written after his death in 1625. The poem is now ascribed to George Morley (1598-1684): [An Epitaph upon King James], beginning ‘All that have eyes now wake and weep’, 22 lines; and another of 10 lines, running on with no separate heading, beginning ‘For two and twenty yeares, long care’. They were published consecutively as two separate pieces with minor text variations in William Camden's Remaines (London, 1637), pp. 398-99. The Catalogue of English Literary Manuscripts 1450-1700 online refers to it as 22 lines and notes: ‘Attributed to Edward Fairfax in The Fairfax Correspondence, ed. George Johnson (1848), … [but] The poem is generally ascribed to George Morley’. All 32 lines are published as one piece and attributed to Edward Fairfax in William Grainge, Daemonologia: A Discourse on Witchcraft… (Harrogate, 1882), pp. 18-19.

A George IV spirit label "Madeira", London 1812, Elizabeth Morley "Port" label, London 1802, makers mark Edward Mayfield, a crescent shaped "Port" label, makers mark only I.P, probably for James Phipps I (3)

Indentures-Mainly drawn up by John Estill, Malton, Yorkshire to include a large quantity of wills Circa 1920's relating to past inhabitants of North Riding villages, County of York to include Edith Anne Shorter, Rhoda Lightowler, Percy Thompson Morley and James Barnes, a Henry John Bowland 1896 wax example, together with Tenancies, solicitor drafts and Conditions of Sale written mainly by John Estill, solicitor of Malton, County of York and legal correspondence relating to the Pickering Sewerage Scheme Circa 1930's.

Ruby Wright Boy on Train, 2023 Pencil and crayon on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About I am an illustrator with a particular interested in picture books. I am represented by Jodie Hodges at United Agents. Previously I worked for BBC Radio 4, Arts Council England and The Architecture Foundation, and had radio pieces broadcast on Resonance FM in London and NPR in the United States. Education Wimbledon School of Art (sculpture, BA) Select Exhibitions/Awards 2022: Group exhibition at Soulshine Cafe, Bridport 2021: The Sketch Show, Sussex Contemporary Illustrators & Printmakers, Seaford 2021: Picture Hooks Exhibition 2021, Scottish Storytelling Centre , Edinburgh 2021: Dorset Art Weeks, The Old Bakery, Bridport 2018: Dorset Art Weeks, The Old Bakery, Bridport 2018: Spoilt Rotten, The Gallery at Number 42, Notting Hill, London 2017: Portrait Exhibition, Candid Arts Trust, London 2016: National Original Print Exhibition, Bankside Gallery, London 2016: Inspired By..., Morley Gallery, London 2016: Visions of the Future, Constellations, Liverpool 2015: Tiny Carnival, 100 Union St, London 2014: Stillville, 100 Union St, London 2012: Game On, Westwerk, Hamburg 2011-2012: Deep Time, Artsreach touring exhibition, Dorset Statement about AOAP Submitted Artwork The postcards are based on two observational sketches I made: one of my son on the train in January 2023 and one from beside the duck pond in st james' park on Boxing Day 2022.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Ruby Wright St James' Park, 2023 Pencil and paint stick on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About I am an illustrator with a particular interested in picture books. I am represented by Jodie Hodges at United Agents. Previously I worked for BBC Radio 4, Arts Council England and The Architecture Foundation, and had radio pieces broadcast on Resonance FM in London and NPR in the United States. Education Wimbledon School of Art (sculpture, BA) Select Exhibitions/Awards 2022: Group exhibition at Soulshine Cafe, Bridport 2021: The Sketch Show, Sussex Contemporary Illustrators & Printmakers, Seaford 2021: Picture Hooks Exhibition 2021, Scottish Storytelling Centre , Edinburgh 2021: Dorset Art Weeks, The Old Bakery, Bridport 2018: Dorset Art Weeks, The Old Bakery, Bridport 2018: Spoilt Rotten, The Gallery at Number 42, Notting Hill, London 2017: Portrait Exhibition, Candid Arts Trust, London 2016: National Original Print Exhibition, Bankside Gallery, London 2016: Inspired By..., Morley Gallery, London 2016: Visions of the Future, Constellations, Liverpool 2015: Tiny Carnival, 100 Union St, London 2014: Stillville, 100 Union St, London 2012: Game On, Westwerk, Hamburg 2011-2012: Deep Time, Artsreach touring exhibition, Dorset Statement about AOAP Submitted Artwork The postcards are based on two observational sketches I made: one of my son on the train in January 2023 and one from beside the duck pond in st james' park on Boxing Day 2022.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

A particularly tall yew Windsor armchair, Buckingham, circa 1800-40The hooped back with scribed edge, supporting four long tapering spindles either side of an impressive wheel fretwork splat, crook-shaped front arm supports, elm saddle seat, on ball and concave turned legs, joined by a crinoline stretcher, 59cm wide, 124.5cm high, seat height 44cmLiterature: See B. Cotton, 'The English Regional Chair' (2000), p. 69, fig. TV114, for a comparable Windsor armchair, in the B. Morley CollectionProvenance: James Brett private collection, Norwich. Purchased 1980s

BUCKINGHAMSHIRE, Olney, John Amps, Farthing, 1662, 0.41g/9h (BM 142; N 328; BW. 107); Robert Aspray, Farthing, 1662, 0.91g/3h (BM 144; N 329; BW. 108); James Brierly, Farthing, 1658, 0.85g/12h (BM 145; N –; BW. 109); Moses Freeman, Farthing, 1668, 0.84g/12h (BM 146; N 330; BW. 110); John Gaynes, Farthings (2), 1.06g/6h (BM 147; N 331; BW. 111), 0.91g/6h (BM 148; N 332; BW. 111); Joseph Scrivener, Farthing, 1668, 0.87g/6h (BM 149; N –; BW. 112) [7]. BM 145 mediocre, others generally fine to very fine but BM 142 with tiny piercing; a good town group with all the issuers represented £150-£200 --- Provenance: G. Berry Collection, DNW Auction T13, 2 October 2013, lot 175, additionally: BM 142 from Seaby 1966, BM 144, 146, 147 and *149 from Baldwin 1965, BM 148 P.J. Preston-Morley Collection, DNW Auction 52, 28-9 November 2001, lot 980 (part) [from Spink April 1976]

A tall Powell Whitefriars glass vase by James Powell, flaring cylindrical form, cut with wavy bands of disc and line, unsigned, 24.5cm. highLiteratureLesley Jackson Whitefriars Glass the Art of James Powell & Sons, Richard Dennis Publications, page 129 plate 126 for an identical vase.ProvenanceJeanette Hayhurst Fine Glass, 1997.ExhibitedWhitefriars Glass, Manchester Museum & Art Gallery, (Brian Cargin & Chris Morley Manchester loan).

A selection of hardback books, titles including: An Artist in Italy, by Walter Tyndale; The Charm of the Scott Country, by James Baikie and Gordon Home; Oliver Cromwell, by John Morley; The Age of Elegance, by Arthur Bryant; several volumes of Thomas Carlyle’s works, published by Chapman and Hall; and others, one box.

An Edwardian silver plated miniature boudoir timepiecethe dial signed W. Thornhill & Co., London the canted rectangular case with floral basket and ribbon engraved decoration, the 1' enamel dial with Arabic numerals and poker hands, the hinged rear cover opening to a single train spring driven movement with platform escapement, 5.5cm high Footnotes:Founded by Joseph Gibbs in 1734 as a cutlers, the company become known as Morley & Thornhill by 1805. In 1820 it was trading as John James Thornhill & Co. and by 1851 it was in the hands of Walter Thornhill. It became known as Walter Thornhill & Co. in 1895 when it became a limited liability company. Described as a 'cutlers, gold and silversmiths, jewellers and manufacturers and dealers in dressing cases, travelling bags etc.' the company was wound up in 1905 but trading continued under the name W. Thornhill & Co until 1912.For further information on this lot please visit Bonhams.com

SYLVANUS GRISWOLD MORLEY SYLVANUS GRISWOLD MORLEY. 'An Introduction to the Study of the Maya Hieroglyphics.' First edition, signed by the Author "To C C James, Esq, A ...... Student in Middle American Archaeology, This Book is Cordially Subscribed, By The Author, Sylvanus Griswold Morley. Coloured and other plates and charts complete, orig cloth, some sections slightly loose, 1915. (Smithsonian Institution Bureau of American Ethnology Bulletin 57.)

A small early 20th Century James Powell & Sons bowl designed by Harry Powell, the shouldered ovoid body with shallow collar neck, decorated with applied amethyst tears to the clear crystal ground, formerly in the Cargin & Morley collection, width 11cm, together with a similar period carafe with sea green trailed lines and a rigger work foot, height 20cm. (2)

William James Morley Clayton (1931-2006) - Letter Rack, trompe-loeil signed, dated 1982 and inscribed verso, oil on canvas, 44 x 59.5cm Good condition

(Medicine, Science), ten assorted medical and science related titles, including W.T. Gairdner: 'Public Health in Relation to Air and Water', Edinburgh, Edmonston & Douglas, 1862, 1st edition, viii,369pp, rebound cloth gilt (not recent); Adrien Sechehaye: 'The Treatments of Tuberculous Affections with Umckaloabo', L, B. Fraser & Co, 1938, 1st edition, original card covers (waterstained); Havelock Ellis: 'The Nationalisation of Health', L, T. Fisher Unwin, 1892, 244pp + 24pp publisher's catalogue of ads at end, rebound cloth (not recent); James Johnson: 'A Treatise on the Derangements of the Liver, Internal Organs and Nervous System', L, 1820, 3rd edition revised and improved, original paper covered boards, printed label to spine (worn); Arthur S. Morley: 'Haemorrhoids. Their Aetiology, Prophylaxis and Treatment by Means of Injection', 1924, 2nd impression, original cloth; C.W. Suckling: 'Movable Kidney', L, 1905, orig. cloth gilt; Hornibrook: 'The Culture of the Abdomen', 1935, 9th edition, orig. paper covered boards; Fischer & Dubois: 'Sexual Life During the World War', L, Francis Aldor, 1937, 1st edition, orig. cloth gilt; Sir Frederick Treves: 'The Elephant Man, and Other Reminiscences', Cassell, 1923, orig. cloth; plus 1 other (10)

* British Prime Ministers. A group of 8 autographs of British Liberal prime ministers, including Henry Campbell Bannerman (1904-1908), a sheet of autographs of Distinguished Members of the House of Lords and House of Commons, February 1886, on embossed House of Commons letterhead and bearing the names of Campbell-Bannerman, W.H. Smith, Thomas Brassey, Arnold Morley, Hartington, Richard Assheton-Cross, George Trevelyan, Henry James, Lyon Playfair, George Hamilton, Joseph Biggar and Arthur O'Connor, signed on first page of a bifolium with last two signatures at head of third page, a little creasing and soiling, 4to; plus Autograph Letters Signed from Campbell-Bannerman and Archibald Primrose, 5th Earl of Rosebery (1894-1895), free front signed by 3rd Viscount Palmerston (1855-1858 & 1859-1865) and William Ewart Gladstone (1868-1874, 1880-1885, 1886 & 1892-1894), a signed cover by John Russell, 1st Earl Russell (1846-1852 & 1865-1866), mounted in a display with a reproduction portrait of Russell, framed and glazed, plus ink signatures of Herbert Henry Asquith (1908-1916) and David Lloyd George (1916-1922), plus 4 unrelated autograph specimens including free fronts and covers signed by John Carteret, 2nd Earl Granville (1690-1763), Granville Leveson-Gower, 1st Earl Granville (1773-1846) and 1st Earl of Ripon (1782-1859)QTY: (12)NOTE:This lot includes autographs of all 7 Liberal prime ministers who have served since its creation in 1859.

A rare Whitefriars Sapphire glass vase designed by William Wilson and Bernard Fitch, flaring cylindrical form with bands of cut oval and elliptical panels, later incised RL France monogram, 18cm. high Provenance Cargin & Morley Collection Private collection. Literature Lesley Jackson, Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 132 plate 137 (this actual vase). Exhibited Whitefriars Glass The Art of James Powell & Sons, Manchester Art Galleries, 1996, Museum of London 1997, this vase exhibited.

SIX 19TH AND 20TH CENTURY WATERCOLOURS, comprising Ralph Morley (19th / 20th century) 'Thirlmere' a Lake District landscape, approximate size 28cm x 44cm, some foxing, George Trevor (20th Century) an extensive water landscape, approximate size 23cm x 72cm, a German village scene 'Marburg' featuring a male figure walking a pig on a lead, unsigned, titled and dated 1882 bottom right, a lake landscape attributed to Francis James Hill, possibly signed to the back of the painting, and two S.C. Stephenson landscapes

Legal Document - Appointment and Enfeoffment 1835 between James Baxter and John Morley of Market Rasen, vellum. Signed and sealed. Clean and crisp

Aquellos Chalados en sus Locos Cacharros (Those Magnificent Men in Their Flying Machines) Original Cinema, Movie Poster starring Stuart Whitman, Sarah Miles, James Fox, Alberto Sordi, Robert Morley, Gert Frobe, Jean-Pierre Cassel, Irina Demick Eric Sykes. 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

Tragara Press 25 limited editions comprising: Benson, Robert Hugh, & Frederick William Rolfe. Saint Thomas, 1979. 2 copies, one of 25 copies on Amalfi paper, and an unnumbered copy annotated 'binder's copy' on limitation page, from the total edition of 120; Crotch, Martha Gordon. Memories of Frieda Lawrence, 1975. One of 25 copies on Barcham Green's 'Eltham' paper, from the total edition of 175; Falkner, John Meade. A Midsummer Night's Marriage, 1977. One of 10 copies on Barcham Green hand-made paper, from the total edition of 160; Fuller, Roy. Mianserin Sonnets, 1984. One of 25 copies on Van Gelder paper, signed by the author, from the total edition of 145; Gray, John. On Hymn Writing, 1977. One of 117 copies (perhaps one of 22 on Basingwerk Parchment); James, Henry. Lake George to Burlington. Two American Travel Sketches, 1981. 2 copies: one of 120 on Ingres d'Arches, and one of 5 extra copies on Barcham Green paper (lettered A-E); Jamieson, Morley. Nine Poems, 1976. One of 10 'special copies on Barcham Green paper, specially bound' (pencilled annotation to limitation page), from the total edition of 175, this copy signed by the author; Idem. Ten Poems, 1978. 'One of 10 copies bound in boards' (pencilled annotation to front pastedown), from the total edition of 210, this copy signed by the author; Idem. Notes on the Short Story, 1980. 2 copies: one of 160 copies, and one of 10 copies on Saunders Cream Laid paper, both signed by the author; Orioli, Pino. Some Letters to Mrs Gordon Crotch, 1974. One of 120 copies; Ricketts, Charles, & Charles Shannon. Some Letters to 'Michael Field' (1894-1902), 1979. One of 20 copies on Hodgkinson hand-made paper, from the total edition of 145; Ricketts, Charles. Letters to 'Michael Field' (1903-1913), 1981. 2 copies: each one of 25 on Ingres d'Arches paper, from the total edition of 145; Idem. Pages from a Diary in Greece, 1978.2 copies: one of 150, and 'one of four additional copies on Sheepstor hand-made paper' (annotation by Alan Anderson to limitation leaf); Sanderson, John. Sweet Heaven, Keep me in Temper!, 1984. One of 250 copies; Sims, George. For Bibliophiles. Essays, 1961. One of 30 copies, bookplate of printer Alan Anderson; Spender, Stephen. Cyril Connolly. A Memoir, 1978. 2 copies, each one of 165; Thomas, Edward. A Selection of Letters to Edward Garnett, 1981. One of 30 copies on Barcham Green hand-made paper, from the total edition of 175; O'Sullivan, Vincent. Selected Letters, 1993. One of 50 copies; Wilde, Oscar. Hellenism, 1979. One of 95 copies on Amalfi paper; all in original cloth or quarter cloth (25)