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John Ruskin (1819-1900), a collection of twelve signed letters, comprising1) a letter addressed to 'Boyce', stating he had 'written to Rosetti' for his address,2) a letter addressed to 'My dear Sir' responding to a gentleman 'enquiring for a Turner autograph',3) a letter addressed to 'Mr Hall' (S.C. Hall, Esq.), worrying that he 'caused Miss Virtue some trouble by not presenting the enclosed cheque' and he sees 'the Palestine exploration people are in want of funds, perhaps Miss Virtue will be kind enough to write a new cheque for them',4) a letter addressed to 'Calverly Hotel, Tunbridge Wells', stating he enjoyed the poems he had received which 'must be the case with every faithful lover of Derwent water - which in spite of a rather - in full consistence with - a more recent devotion to the Alps, I still claim to be - as one loves one's nurse faithfully',5) a letter addressed to 'Mr Mackay' (Charles Mackay Esq.), apologising for a delay in response and wishing to chat to him on his return to England,6) a letter addressed to 'Mr Smith', discussing plates 'just published, - plate 4. 12 guineas. I think this an exorbitant price - I wish you would ask one or two lithographers here what they would estimate it at',7) another to S C Whitworth Esq., thanking him 'for the gift of your book, with every word of which I concur', complete with its envelope,8) a letter address to 'My dear Madam', thanking the recipient for the book and commenting 'the Flaxmann designs become very interesting in this direct association with the text',9) a letter addressed to 'Dear Mrs Barnard', stating 'You needn't come to Oxford, but you must write out the Charter, and sign it & send it to me',10) a letter to Alexander Edmonston Esq., explaining he 'wanted the second part of Sir Charles Grandison - and on sending the first to the library from which I saw it had been purloined, it was claimed as private property - I must therefore refer again to you - and I send back the Blackwood too',11) a letter to Benjamin Vincent Esq., stating his 'letters are all in arrears - I suppose I can be of no service now about the abstract - If it is not printed yet - just put - Can Grande della Scala for Castruccio Castracani',12) a letter addressed to 'My dear Sir', explaining he is 'now done with Walker and Burnet'... 'but I want to see the other three parts of Burnet's work, if I can.', later wanting 'to know the price of 'Collection of Ancient Fragments', by J. P. Cary, 1832', anda further signed letter by J Rosa Barnard,addressed to 'Dear Madame, stating she has received one of her 'mother's letters from John Ruskin which I enclose. It seemed a pity to cut the signature so I send you all of it & am glad for you to have & keep it. Believe me' (13)

AFTER HENRY WILLIAM PICKERSGILL LORD ELDON AND HIS DOG PINCHER Oil on board 25.5 x 18cm (10 x 7 in.) Provenance: Salander-O'Reilly Galleries, New YorkAfter the picture exhibited at The Royal Academy in 1833 (no.88) and formerly in Merchant Taylors' Hall. John Scott, 1st Lord Eldon, was one of the greatest lawyers of his generation, a dominant figure in Georgian public life, and ranks among the most important Lord Chancellors in the long history of that office. He is depicted with his constant companion Pincher, a German Spaniel or Deutscher Wachtelhund (German Quail Dog), who belonged to his son the Hon. William Henry John Scott who died in 1832. Pincher's cherished place at the heart of the Eldon family is shown by his appearance in several family pictures including several by Henry Perronet Briggs (1793-1844). Landseer painted Pincher twice, adding him into one of Briggs portraits and a portrait of the dog himself. Twiss's contemporary account The Public and Private Life of Lord Chancellor Eldon, 1844, records the vivid account of Eldon's niece Miss Forster of Pincher's theft and subsequent recovery, after a reward was offered, in November 1832. Eldon's devotion to the dog was enduring and Pincher was remembered in the Chancellor's will, 'To Lady Elizabeth and Lady Frances are left also some specific articles; and life-annuities are given to each. Pincher, described as 'my favourite dog,' is bequeathed to Lady Frances, with an annuity of £8 during his life, 'to provide food for the said dog.' After the death of Lady Frances in 1838, Pincher was transferred by Mr. Edward Bankes into the family of the 2nd Earl of Eldon, he died 19 May 1840, and was buried at Encombe in Dorset. 

‡ DUTCH SCHOOL (CIRCA 1600) SAINT JOHN THE EVANGELIST Oil on copper, with a shaped top 15.9 x 11.4cm (6¼ x 4¼ in.) Provenance: Joseph E. Widener, Lynnewood Hall, Elkins Park, Pennsylvania Sale, Philadelphia, Freeman's, 20-24 June 1944, lot 449 (together with Saint Matthew the Evangelist, as a 'pair of small Italian paintings, XVIII century') Schoneman Galleries, New York, 1949 (together with Saint Matthew the Evangelist) Walter P. Chrysler, Jr., New York, 1950 (together with Saint Matthew the Evangelist, the pendant gifted to the Chrysler Museum, 1971) Richard de Koetser (the present lot only) From whom acquired by Richard L. Feigen, 1972 The inspiration for this small copper of Saint John the Baptist comes from an engraving by Lucas van Leyden dating from 1518.Together with its pendant image of Saint Matthew, the present lot once formed part of the Joseph E. Widener collection in Pennsylvania. The pair stayed together until they were acquired by Walter P. Chrysler in 1950, whereby the new owner donated the second part of the pendant to the Chrysler museum in 1971, while the first half of the pair was acquired by Richard L. Feigen the following year. Condition Report: UV light reveals a thick varnish. Other than a few dotted retouches in the bottom left corner and on the drapery in the upper edge, the picture appears to be in good condition. Finally, there are a few dirt stains. Condition Report Disclaimer

JOSEPH MALLORD WILLIAM TURNER (BRITISH 1775-1851) VIEW OF CANTERBURY FROM THE EAST Pencil 22.5 x 28cm (8¾ x 11 in.) Provenance: Mrs Sophia Booth (1798-1875), the artist's landlady Daniel John Pound, her son from whom purchased by Lawrence W. Hodson, Compton Hall by 1884 and by descent until Sale, Sotheby's, London, 30 November 1978, part of lot 97, where purchased by Richard Feigen (1930-2021) with Richard L. Feigen & Co., New York This drawing and lot 72 drawing were from a loosely bound group of seventeen pencil drawings, from a sketchbook that Turner used in 1845-1846 to record subjects in Canterbury, Rochester and Maidstone. Ian Warrell proposed grouping the existing sheets (now broken up) as the 'Canterbury, Rochester and Maidstone sketchbook', see Warrell, loc.cit. Throughout the 1840s Turner spent time on the Kent coast, first at Margate and from 1846 at Deal, his visits there being facilitated by the South Eastern Railway being extended to Margate in 1844. We are grateful to Ian Warrell for his help in preparing this catalogue entry. Condition Report: There is a small handling mark / smudge to the upper right quadrant. A number of small brown spots of foxing scattered throughout. Some light staining to the framing edges. Some light undulation to the sheet under the glaze, with some heavier creasing to the upper right corner and along the upper edge. Unexamined out of glazed frame.Condition Report Disclaimer

JOSEPH MALLORD WILLIAM TURNER (BRITISH 1775 - 1851) VIEW OF MAIDSTONE, KENT Pencil 22 x 27cm (8½ x 10½ in.) Drawn circa 1845-50.Provenance: Mrs Sophia Booth (1798-1875), the artist's landlady Daniel John Pound, her son from whom purchased by Lawrence W. Hodson, Compton Hall by 1884 and by descent until Sale, Sotheby's, London, 30 November 1978, part of lot 97, where purchased by Richard Feigen (1930-2021) with Richard L. Feigen & Co., New York Literature: Ian Warrell, Turner's Sketchbooks, 2014, p. 233. The present drawing and lot 73 were from a loosely bound group of seventeen pencil drawings, from a sketchbook that Turner used in 1845-1846 to record subjects in Canterbury, Rochester and Maidstone. Ian Warrell proposed grouping the existing sheets (now broken up) as the 'Canterbury, Rochester and Maidstone sketchbook', see Warrell, loc.cit. Throughout the 1840s Turner spent time on the Kent coast, first at Margate and from 1846 at Deal, his visits there being facilitated by the South Eastern Railway being extended to Margate in 1844. We are grateful to Ian Warrell for his help in preparing this catalogue entry. Condition Report: There are a number of small spots of brown foxing throughout the sheet (see online and additional images). Some light staining to the sheet around the framing edges. Undulation to the sheet under the glaze. Unexamined out of glazed frame.Condition Report Disclaimer

Bindings to include Macaulay (Thomas Babington) The History of England, London: Longman ..., 1856, four volumes, 8vo, full calf, gilt decorative spine; Scott (Sir Walter) The Waverley Novels, Edinburgh: Adam & Charles Black, 1868, 8vo, four volumes, quarter calf with gilt decorative spines; Dickens (Charles) Works, London: Chapman & Hall, n.d., 12 volumes, 4to, half morocco and marbled boards; Sanderson (Edward) The British Empire in the 19th Century, London: Blackie & Son, 1897-98, six volumes, large 8vo, pictorial cloth boards; with further volumes and series to include Children's Britannica, The New Book of Knowledge (qty)

A 19th century sepia photograph of the crew of the SS 'Lovaine' of North Shields, Henry McCauley Commander, taken November 16th,1882, Erie Basin Brooklyn, New York, Hall & Co photographer, 10x15cm, together with a photograph of HMS 'Montague' ashore on Lundy Island, a photograph of HMS 'Malta'

Three 18th century lidded soft-paste porcelain teapots to include a C.1770 First or Dr. John Wall period Royal Worcester Brocade pattern teapot with an inscribed label to the base along with another first period Worcester teapot with clobbered blue, white, red and gilt floral designs and an 18th century New Hall Imari pattern teapot. H.14cm

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?.

Surtees, R.S.  five volumes 'Subscription Edition' to include "  Handley Cross", " Plain and Ringlets" " Ask Mamma" , and others , red gilt pictorial gilt boards and backstrip, bright, " Young Tom Hall" ills by G D. Armour, printed by William Blackwood and Sons Limited, red gilt pictorial boards and backstrip, bright, fine binding - " The Old Churches of London" Batsford, Masefield, John " Reynard the Fox" ills by G. D. Armour, William Heinemann, inscription dated 10/8/31, green boards, Heron, Roy " Cecil Aldin - The Story of a Sporting Artist" Webb and Bowser 1981, dustwrapper, price clipped, " The New Punch Library" 16 vols, blue blind stamped cloth with gilt titles to the backstrip, a collection of The Daily Telegraph of small books by cartoonist Matt and other vols ( 1 Box)

Worksplate BUILT 1951 SWINDON. Cast iron ex BR Standard 75010 built Swindon 1951 and allocated new to Patricroft. Subsequent depots include Llandudno Bangor Chester Lostock Hall and Carnforth from where withdrawal took place in October 1967 and then cut up at Motherwell Machinery and Scrap Wishaw. Rear details not correct. Left edge repair.

An interesting group of 18th century English porcelain, to include a Worcester first period mustard pot & cover, 9.7cm high, (repairs); a matching tea bowl & saucer; a similar Mansfield pattern tea bowl & saucer; and a New Hall tea bowl & saucer; together with a Victorian Royal Worcester coffee can & saucer, (saucer cracked). (8)

Five early 19th century Derby porcelain coffee cans; together with another similar, possibly New Hall. (5)

An 18th century porcelain sparrow beak cream jug, hand painted floral decoration, possibly Caughley or New Hall, 9cm high Under a light in, no crack or restoration  or chips. There is an underglaze blemish/dent to strap handle

A Doulton Burslem "Darby & Joan" Royles Patent Teapot, together with a New Hall silver shaped teapot, a Measham example and a yixing teapot (4)

Detailed and energetic 3D limited edition serigraph by pop artist Charles Fazzino, titled Philly by Day. This vibrant composition captures a whimsical, bustling view of Philadelphia, centered along the Benjamin Franklin Parkway and radiating out to key landmarks, from the Philadelphia Museum of Art and LOVE sculpture to the Liberty Bell and City Hall. Presented in a bright turquoise mat and gold frame, the artwork is hand-numbered 168/475 and signed by the artist at lower right. Fazzino's signature layered technique brings the city to life, with vibrant hand-applied glitter and dimensional embellishments highlighting the Mummers Parade, Schuylkill River rowers, and iconic signage including Reading Terminal Market, Liberty Place, and the Eagles. Look closely to spot food vendors, musicians, joggers, and familiar Philadelphia haunts like Boathouse Row and the Art Museum steps. Charles Fazzino is an internationally renowned pop artist known for his detailed, vibrant 3D serigraphs. Based in New York, Fazzino's works often depict cityscapes, cultural celebrations, and whimsical interpretations of popular icons and locales. His unique technique of layering multiple silkscreened images creates a dynamic and immersive visual effect. Fazzino's art has been exhibited in galleries and museums around the world and featured in official commemorative artworks for the Super Bowl, the Olympics, and other major global events. It is hand-titled in pencil along the bottom center margin and signed by the artist at lower right. Artist: Charles Fazzino (American b. 1955)Issued: c. 2000Dimensions: 14.25"HEdition Number: 168 of 475Country of Origin: USACondition: Age related wear.

Botany.- Lovell (Robert) Pambotanolgia sive [graece] Enchirdion Botanicum or, a Compleat Herball, first edition, ownership inscription "Ralph Weckerlin/ Ut Rosa Sic Vita/ All flesh is Grasse" to front free endpaper, title with "Weckerlin" again to lower-margin, O1 small loss to lower corner affecting few letters, Z12 very short tear into text without loss, trimmed at head affecting some pagination and touching typographic border to title, some light browning, without rear free endpapers, contemporary calf, rebacked preserving original backstrip, cover extremities repaired, new spine labels, [Henrey 234; Wing L3243], 12mo, Oxford, William Hall, for Ric. Davis, 1659.

Boyle (Robert) A Continuation of New Experiments Physico-Mechanical, Touching the Spring and Weight of the Air, and their Effects. The I. Part, first edition, final f. with vertical half-title (very small marginal ink-spot), 8 folding engraved plates, bookplate of John Crerar Library of Chicago with de-accession stamp, small numerical ink-stamp to foot of *2, a few plates trimmed just shaving image at foot, occasional soiling, light browning to margins, 20th century marbled boards, spine with paper label titled in ink, library blind-stamp to foot of upper cover, loss to spine foot, some wear to extremities, [Fulton 16; Wing B3934], small 4to, Oxford, Henry Hall Printer to the University, for Richard Davis, 1669. *** Plate V, fig. I, shows the experiment in which Boyle sucked water up with his pump to the top of the Sheldonian Theatre in Oxford. Part II of the Continuation appeared in Latin in 1680 and in English in 1682.

Critique of Pascal.- Boyle (Robert) Hydrostatical Paradoxes, Made out by New Experiments, (For the most part Physical and Easie), first edition, title in red and black, 3 folding engraved plates, lacking b1 (imprimatur f.) & b2 (Contents) as often, few neat repairs to title fore-margin, occasional passage-marking in later pencil, some very light marginal damp-staining, attractive later marbled calf, rebacked, [Fulton 72; Madan III, 2738; Wing B3985], 8vo, Oxford, William Hall, for Richard Davis, 1666.  *** "Hydrostatical Paradoxes is both a penetrating critique of Pascal's work on hydrostatics, full of acute observations upon Pascal's experimental method, and a presentation of a series of important and ingenious experiments upon fluid pressure" (DSB).

A quantity of late 18th/early 19th Century New Hall porcelain teaware including teapot, milk jugs, sucrier, slop bowls, tea bowls and saucers, plates, etc. - various condition

The New Royal Encyclopedia or Complete Modern Universal Dictionary of Arts and Sciences, Vol I and Vol III by William Henry Hall

Black and white publicity photo of Hall of Fame quarterback Joe Namath in his New York Jets uniform, signed boldly across the chest in black marker. Known for guaranteeing and delivering the Jets' historic Super Bowl III victory, Namath remains one of the most iconic figures in football history. This vintage promotional photo captures him mid-throw in classic form and is marked with the Jets logo at the bottom left. A must-have for collectors of NFL and sports memorabilia. Measures approximately 10"L x 8"H.Dimensions: See DescriptionCondition: Age related wear.

A trio of vintage Topps baseball cards featuring three iconic Hall of Fame players. This lot includes a card of Willie Mays from the San Francisco Giants, showcasing the legendary outfielder with a strong batting record noted on the reverse; a Tom Seaver card from the New York Mets, highlighting the pitching ace's dominant stats and career performance; and a Robin Yount card from the Milwaukee Brewers, capturing the shortstop early in his remarkable MLB journey. These cards preserve the bold graphic style of 1970s Topps designs and exhibit printed facsimile signatures on the front. Each measures approximately 2.5"L x 3.5"H.Dimensions: See DescriptionCondition: Age related wear.

18th Century New Hall. Six pieces of Late 18th Century English hard paste Pink Ribbon porcelain. Dish 20cm. Creamer, tea bowls and saucers.

New Hall. C.1790. English Famille Rose coffee can. 18th Century. 8x6x6.5cm

A New Hall gilt and cobalt teacup and saucer, circa 1810, printed with a gilt central scene per Peter Warburton's patent of transfer-printing in gold and platinum, unmarked, saucer 14.2cm diameter (2)Condition:Good condition with no damages or repairs.

Victorian literature Collection of library sets, finely bound Brontë, Charlotte, Emily & Anne. The Life and Works of Charlotte Brontë and her Sisters. London: Smith, Elder, & Co., 1899. ‘Haworth Edition’, 7 volumes, 8vo (19.4 x 12.5cm), contemporary red half calf by Mudie, half-titles, frontispieces and plates, contemporary gift inscriptions to initial blanks, rubbing to extremities, Life of Charlotte Brontë headcap worn, spotting to outer leaves; Gaskell, Elizabeth. Novels and Tales. London: Smith, Elder & Co., 1874. 7 volumes, 8vo (18 x 11cm), contemporary green half morocco, gilt spines, wood-engraved plates, ownership inscriptions to front free endpapers, bindings slightly rubbed; Thackeray, William Makepeace. The Works. London: Smith, Elder & Co., 1899. ‘Biographical Edition’, 13 volumes, 8vo (19 x 13cm), contemporary red half calf, comb-marbled sides, endpapers and edges, wood-engraved plates; Stevenson, Robert Louis. [The Works]. Boston: Jefferson Press, c.1900. 10 volumes, 8vo (20.5 x 13.5cm), contemporary red half roan, marbled sides, top edges gilt, others untrimmed, plates, a little rubbing and wear to bindings, a few spines darkened, textblocks toned; Meredith, George. [The Works]. London: Chapman and Hall, Ltd, 1894. ‘A new uniform edition’, 10 volumes, 8vo (18 x 12cm), contemporary tan half calf, comb-marbled sides, endpapers and edges, spotting to outer leaves; Kingsley, Charles. [The Novels]. London: Macmillan and Co., 1890-2. 6 volumes, 8vo (18.2 x 11.5cm), contemporary red half calf, rubbed, 2 volumes with front joints repaired (53) From the library at Park House, Inverkeithing.

Wells, H. G. Collection of works ex libris science-fiction author Christopher Priest (1943-2024) The following all first edition, no dust jacket unless otherwise stated, occasional dust staining to some of the earliest copies:Wells, H.G. The Wheels of Chance. London: J.M. Dent and Co., 1896. Ink inscription to free endpaper; idem. The First Men in the Moon. London: George Newnes, Limited, 1901; idem. The Sea Lady. London: Methuen, 1902; idem; Anticipations. London: Chapman & Hall, 1902. Ink inscription to free endpaper; idem. New Worlds for Old. London: Archibald Constable & Co. Ltd, 1908; idem. The War in the Air. London: George Bell and Sons, 1908; idem. Ann Veronica. London: T Fisher Unwin, 1909; idem. The History of Mr Polly. London: Thomas Nelson, 1910; idem. The New Machiavelli. London: John Lane The Bodley Head, 1911; idem. Floor Games. London: Frank Palmer, 1911. Ink inscription to free endpaper; idem. The Passionate Friends. Macmillan and Co., Limited, 1913. Ink inscription to free endpaper; idem. The Discovery of the Future. New York: B.W. Huebsch, 1913. Bookplate to endpaper; idem. The World Set Free. London: Macmillan and Co., Limited, 1914; idem. An Englishman Looks at the World. London: Cassell and Company, Ltd, 1914. Ink inscription to free endpaper; idem. The Wife of Sir Isaac Haman. Macmillan and Co. Limited, 1914. Bookplate to endpaper; idem. The Research Magnificent. London: Macmillan and Co., Limited, 1915. Ink inscription to endpaper; idem. Mr Britling Sees It Through. London: Cassell and Company, Ltd, 1916. Ink inscription to free endpaper; idem. God the Invisible King. London: Cassell and Company, Ltd, 1917. Ink inscription. idem. In the Fourth Year. London: Chatto & Windus, 1918. idem. The Secret Places of the Heart. London: Cassell and Company, Ltd, 1922. Dust jacket, Christopher Priest ink inscription to free endpaper; idem. Marriage. London: W. Collins Sons & Co. Ltd., 1923. Pencil inscription to free endpaper. idem. Men Like Gods. London: Cassell and Company, Ltd, 1923. idem. Christina Albert's Father. London: Jonathan Cape, 1925. idem. A Year of Prophesying. New York: The Macmillan Company, 1925. Ink inscription to free endpaper; idem. The World of William Clissold. London: Ernest Benn Ltd.,1926. 3 volumes. idem. Mr Belloc Objects. London: Watts & Co., 1926. Dust jacket. Idem. Meanwhile. London: Ernest Benn Ltd.,1927. idem. The Way the World is Going. London: Ernest Benn Limited, 1928. Idem. The King Who Was a King. London: Ernest Benn Ltd.,1929. Dust jacket, ink inscription of Christopher Priest; together with approx. 50 further books by H.G. Wells and 12 books about the author (approximately 90)

Mauchline ware, ten pieces, comprising an ink stand, the diamond form base complete with conforming ink well, (Cambridge views / Kings College (x 2) / St. Johns / Trinity), 21cms, an unusual cylinder reel box (A Priest or Cannon of Melrose in his afficiating Robes, 15th Century / Made From A Tree ……. planted by one of the Monks), a dome top circular box (Wells Promenade, Ilkley / Diamond Registration Mark), a comb case (Scarborough), a swivel notelet (New Town Hall And Post Office, Ipswich), a spectacle case (Adelaide Terrace, Portishead), a glove stretcher (Corb ….. Lighthouse, Jersey), a pin hinge stamp box (Wayside Inn, South Sudbury Mass.), a napkin ring (Chain Pier, Brighton), and an oak hinged rectangular box (photographic – Chester Cathedral).      (10)

Rolls Royce interest, Dalton, Lawrence, Coachwork on Rolls Royce 1906-1939, pub. Dalton Watson Ltd, London, 1975, hardback; Feast, Richard, Kidnap of the Flying Lady, How Germany captured both Rolls Royce and Bentley, pub. Motorbooks Ltd, 2003, cloth, dust jacket; Rolls, S.C. Steel Chariots in the Desert, new edition pub. Jonathan Cape Ltd, London, 1988, cloth, dust jacket; Bennett, Martin, Rolls Royce The History of the Car, pub. Oxford Illustrated Press, 1985, cloth, dust jacket; Garnier, Peter & Allport, Warren, Rolls Royce, pub. Hamylyn 1978, cloth, dust jacket; Bird, Anthony & Hallows, Ian, The Rolls Royce Motor Car, second edition pub. BT Batsford Ltd, London, 1966, cloth; Lord Montagu of Beaulieu, Rolls of Rolls Royce, A Biography of the Hon. C.S. Rolls, pub. Motoraces Book Club, London, 1967, cloth, dust jacket; Nockolds, Harold, The Magic of a Name, pub. GT Foulis & Co Ltd, London, 1966, cloth; Rolls Royce and the Great Victory, pub. facsimile Bronte Hall Publications, 1972, cloth, dust jacket; Wood, Jonathan, GreatMarques, Rolls Royce, pub. Octopus Books Limited, 1982, clth, dust jacket; Buckley, J.R., A Living Tradition, The Background Story of Current Rolls Royce and Bentley Motor Cars, cloth, dust jacket, slip case; and four further paper bound publications. (15)

RAVEL MAURICE: (1875-1937) French Composer. A very good A.L.S., `Maurice Ravel´, signed twice, signing also to the verso `Conducteur Ravel automobile déplacé ´, one page, 12mo, being a French card-letter, Paris, 16th March 1917, to Roland Levy, brigadier, in French. At the time of the present letter, war-time, Ravel had joined the Thirteenth Artillery Regiment as a lorry driver, and for this reason he annotates as sender to the verso, `Conducteur´ ("Driver"). Ravel refers in a funny way to his correspondent´s harem, stating `Heureux que vous soyez satisfait du gardien de votre Harem. Je tâcherai - si j´ose moi-même ainsi parler - de me maintenir à la hauteur de ma nouvelle situation. Vous savez que cette attraction sensationelle - un Harem présenté, en toute liberrté... - devait figurer à l´unique concert de la SMI, dans une salle des quartiers de l´Europe, bien entendu. Maintenant que nous donnons 3 séances, je ne sais à laquelle on doit placer ce... numéro... ne vous en faites pas pour le turban de la sultane...´ (Translation: "Glad that you're satisfied with the guardian of your Harem. I'll try - if I dare say so myself - to live up to my new situation. You know that this sensational amusement - a Harem presented, in complete freedom... - was to be featured at the only concert of the SMI, in a hall in the European quarters, of course. Now that we're giving 3 performances, I don't know where we should place this... number... don't worry about the Sultana's turban...") Further Ravel refers to a burial and to his own health, saying in part `Je regrette de ne m´être pas trouvé au cortège de Suzanne... Ce jour-là, et ceux qui l´ont précédé, j´étais couché. Je le suis encore, nonobstant que j´en ai marre...´ (Translation: "I regret not having been at Susanna's funeral procession... That day, and those that preceded it, I was in bed. I still am, despite the fact that I'm fed up with it...") Small overall age wear, with few very small professional repairs, otherwise G

MALAMUD BERNARD: (1914-1986) American novelist and short story writer. T.L.S., Bernard Malamud, one page, 8vo, Cambridge, Massachusetts, 8th June 1968, to Mr. Brian, on the printed stationery of Kirkland House at Harvard University. Malamud sends congratulations to his correspondent ´on the imminent publication of your novel, particularly under the circumstances´, and hopes that the book is a strong success, although adding ´But may I say that I think that the publicity director at Prentice-Hall should not involve you in his work? I think that´s reprehensible and would even suggest that you consider looking for a new publisher for your next book´. EXMalamud´s correspondent is likely to have been the Welsh journalist and writer Denis Brian (1923-2017) who emigrated to the United States in 1957. His novel The love-minded was published by Prentice-Hall in 1968 and met with favourable reviews. Brian also wrote a number of biographies including Einstein: A Life (1996).

DICKENS CHARLES: (1812-1870) English novelist. A good A.L.S., Charles Dickens (a fine example, with paraph), two pages (separate leaves), 8vo, Easthorpe Park, near Malton, Yorkshire, 3rd July 1843, to ´My dear Mrs. Hood´. Dickens states that he is staying in Yorkshire for a fortnight, but that before he left London ´I saw Chapman and Hall upon the proposition I had made to them a week or so before´, further explaining ´They said that they objected to all continuations, as being objectionable in their nature – considered as business speculations – and unlikely to succeed. That for this reason they did not feel disposed to entertain Hood’s proposal in reference to Down the Rhine; but that they would be extremely glad to arrange with him, if they could, for a new book – more particularly if it were a poem in the Miss Kilmansegg vein´. Dickens further adds ´It occurs to me that possibly Hood might like to negociate with them.....and that he might choose such a subject as would still give him an autumnal trip. Tell him, with my best regards that I shall be anxious to hear what he thinks about it´ and concludes by sending his best remembrances, in which his wife Catherine (´Kate´) joins him. Some very light, minor age toning to the edges, and a very small area of paper loss to the lower edge of the first page, not affecting the text. About VGThomas Hood (1799-1845) English poet, author and humorist, husband of Jane Reynolds (1791–1846) from 1824. Hood had published his European travelogue Up the Rhine in 1840 and was the author of the poem Miss Killmansegg And Her Precious Leg. A Legend.At the time of the present letter Dickens was finishing and releasing installments of his ongoing serial novel The Life and Adventures of Martin Chuzzlewit, informing one friend that he considered it his best work thus far.

A Roman marble portrait head of the Emperor Titus, Flavian period, c.80 CE, the broad face with fleshy cheeks and chin, his hair in tight curls over a deeply furrowed brow, the head 21cm wide 24cm deep 33cm high, on a later limestone bust, bearing painted inventory number 'F597', 45cm high overall Provenance: Collection of the Prince of Liechtenstein, Franz Joseph II (1906-1989); Sotheby's, London, 'Antiquities', 17 May 1983 lot 196; with Royal-Athena Galleries, Beverly Hills, California; the collection of Daniel Alan Radler; Sotheby's, New York, 'Master Paintings and Sculpture Part II', 27 January 2023, lot 558; acquired from the above sale by the current owner. Literature: K Fittschen and P Zanker, 'Katalog der römischen Porträts in den Capitolinischen Museen und den anderen kommunalen Sammlungen der Stadt Rom', pp.33-34, nos. 28-30; G Daltrop, U Hausmann, M Wegner, 'Das römische Herrscherbild ii, I: die Flavier: Vespasian, Titus, Domitian, Nerva, Julia Titi, Domitilla, Domitia'. See also: The Capitoline Museum, Rome, Hall of the Emperors 19, no. 433, Municipal Antiquarium store nos. 7673 and 3361; the British Museum no. 1909,0610.1; Naples Archaeological Museum no. 6059; the Borghese Gallery, no. CLXXI. For pieces bearing similar inventory numbers, see Christie's, Amsterdam, 'LIECHTENSTEIN: Property from the Collection of the Princely House of Liechtenstein', 1 April 2008. Before his brief reign from 79-81 CE, Titus earned distinction as a military leader, notably serving alongside his father, the Emperor Vespasian, during the First Jewish-Roman War in Judea. The campaign was briefly interrupted by Emperor Nero’s death in 68 CE, which triggered Vespasian’s pursuit of imperial authority during the Year of the Four Emperors. Once Vespasian was proclaimed emperor on 1 July 69 CE, Titus was tasked with quelling the Jewish uprising. In 70 CE, he led the siege and eventual capture of Jerusalem, destroying the city and the Second Temple. In recognition of this victory, Titus was honoured with a triumph and his success was later commemorated by the building of the Arch of Titus, which still remains standing today. This head of Titus, now on a modern bust, relates to three examples examined by Klaus Fittschen referencing scholarship, including that of Max Wegner. All youthful in appearance, each with heads turned slightly to the left, with fleshy cheeks and tight curly hair, they appear to relate to the 'Herculaneum Titus' (type A), which is understood to have been executed upon his return to Italy in 71 CE, following his victory in Judea. The drilling of the hair to the front of the head, the style and workmanship of which is consistent with that of other Flavian portraiture, finds comparisons in all of the examples brought together by Fittschen, as well as a portrait in the Borghese Gallery in Rome, which Jessica Clementi suggests may have been executed just before the beginning of Titus' reign, when he was around 40 years old. The Princely Collections of Liechtenstein, based in Vaduz and Vienna, are among the most prestigious private art collections in the world. Franz Joseph II (1906-1989), to whom this bust once belonged, was pivotal in preserving and repositioning the Liechtenstein Princely Collection during a period of immense political and cultural upheaval. He became the first reigning prince to take up residence in Vaduz in 1938, a symbolic and strategic move that helped solidify the principality’s independence during the rise of National Socialism. One of his most consequential actions was the relocation of the core of the Princely Collection from Vienna to Vaduz during the final months of the Second World War. This safeguarded the collection from potential wartime destruction or seizure and ensured the survival of one of Europe’s most important private art collections. In a letter of March 1974, penned by Dr Norbert Heger of the University of Salzburg to Dr Reinhold Baumstark, then director of the Princely Collections, he recalls a conversation several years prior with a Dr G Willhelm, the previous Director: 'Director Dr. Wilhelm showed me one day in Vienna four Roman heads of unknown provenance, of which three (a portrait of Titus Inv. No. F597, an [unidentified] head Inv. No. F595 and an over-life-sized bust in the style of Antinous) are not in question...' While the date of its accession is unknown, this places the bust of Titus in the collection c.1970. Additionally, a 2008 sale of 396 works from the Princely House of Liechtenstein at Christie's, Amsterdam, included several pieces with inventory numbers from F555-F674, which are recorded as having been in Vienna between the 1920s and the 1940s, before being moved to Schloss Vaduz in 1944. It is, therefore, reasonable to imagine that this bust was among their number during that period. Condition ReportThe head without bust measures 22cm wide x 23cm deep x 32cm high. The bust measures 33cm wide x 27cm deep. The bust is modern. The head and bust, up until recently, were united and have undergone recent professional restoration to be separated. Re-carving and re-finishing of the bottom of the neck to facilitate the later mounting, including a large drill hole for the metal dowel. A small amount of possible re-carving/ tidying up to the front of the hair where it meets the forehead, however, the clear line between hair and forehead has a parallel in the line beneath the chin, indicating that these may be guidelines by the original sculptor. A few small chips to the extremities of the head, including the tip of the nose, curls of the hair and one of the ears. A small recent break and glue repair to the back of the neck. Some more recent scratches, lines and small, thin superficial cut marks in places. General dirt, weathering and patina. Evidence of some historic staining, residue from previous restoration, cleaning and conservation, however this does not appear intrusive. Overall, the piece appears structurally stable.

A pair of William IV mahogany hall chairs, c.1835, each with carved scrolling foliate decoration to the back, a square seat, and raised on tapering faceted supports terminating in peg feet, 37cm wide46cm deep85cm high (2)Provenance: A private collection, Upper East Side, New York, and a London apartment.Condition ReportSome light old scratches, knocks and abrasions commensurate with age and use. Some small splits and wear to the seats. General wear to supports. Joints sound and solid. Overall the pair present in relatively good structural and cosmetic condition and are ready for use.

Christie's, 'Dumfries House: A Chippendale Commission', 12 and 13 July 2007, vols I-II, with other auction catalogues for notable collections, including Christie's 'Elveden Hall', 21-24 May 1984, Sotheby's New York, 'The Duke and Duchess of Windsor', 11-19 September 1997, and Christie's, 'Works of Art from the Bute Collection', 3 July 1996 (12)Provenance: A private collection, Upper East Side, New York, and a London apartment.Condition ReportGeneral surface wear, small tears and abrasions to some covers. General wear to pages, with some annotations.

LEO RECORDS - JAZZ LP PACK. A quality pack of 15 jazz LPs, all released on Leo Records. Artists/ titles include The Reggie Workman Ensemble - Synthesis (LR131), The Ganelin Trio inc New Wine (LR112), Strictly For Our Friends (LR120), Vide (LR117), Ancora Da Capo (LR109), Balltic Triangle (LR125), Con Affetto (LR137), Catalogue: Live In East Germany (LR102), Three Minus One Equals Three (LR410/ 411), Con Fuoco: Live In Mosco And West Berlin (LR106). Harry Tavitian - Transilvanian Suite (LR132), Valentina Ponomareva - Fortune-Teller (LR136), The Vladimir Chekasin - New Vitality (LR142), Harry Tavitian - Horizons (LR124), Jaki Byard - Live At The Royal Festival Hall (LR133). Condition is generally VG+ to Ex+.

PUNK / NEW WAVE / INDIE / COOL POP / SYNTH POP - LP COLLECTION. A collection of 34 x LPs. Artists/ Titles include Depeche Mode 101 (Stumm 101), Siousxie And The Banshees - The Scream (SATBLP01B), The Dickies - Incredible Shrinking Dickies (signed sticker on reverse, obtained by vendor during access to the soundcheck at Newcastle City Hall in the late 1970s), Through The Looking Glass (sealed), Once Upon A Time/ The Singles, Prince - The Hits 1, INXS - Kick, Arctic Monkeys - AM, Stiff Little Fingers, Tears For Fears, Fleetwood Mac, The Cult, The Undertones, Bauhaus, Ultravox, James Bay, The B-52's, The Tourists and U2. The condition is generally VG+ to Ex+.

Six pieces of 18th Century New Hall including coffee cup and saucer and plate in gilt floral decoration, pattern No. 339, two pieces of New Hall in pattern No. 311 including tea bowl and saucer, New Hall Pattern No. 186 bowl, together with a Chinese blue and white tea bowl

Collection of New Hall ceramics to include gilt pattern coffee and tea set including 1 x teacup and saucer, 1 x coffee can and saucer with bowl, tea bowl and plate with gilt and flower decoration, etc, plus a Coalport plate with blue flower and gilt decoration

19th century transfer printed pottery to include jugs, a black and white bowl and saucer, New Hall bowl and cream jug, and blue and white bowl and plate (7)

Percheron Chenin Blanc Viognier, 2017, South Africa, five bottles; Vina Maipo Sauvignon Blanc, 2017, Chile, two bottle; Los Pastos Sauvignon Blanc, 2018, Chile, one bottle; Centina Pecorino, 2016, Italy, three bottles; and New Hall Vineyards, 2018, Essex, two bottles (13)

Dickens (Charles) Oliver Twist, 3 vol., second edition, second issue with titles dates 1839, Richard Bentley, half-titles, etched frontispieces and 21 plates by George Cruikshank, with the 'Rose Maylie and Oliver' plate in vol. 3 at p.313, 4pp. advertisements at end of vol. 1, some browning and foxing, mainly to plates, modern calf-backed boards, 1839; Sketches by Boz Illustrative of Every-day Life, and Every-day People, New Edition, Complete, first one volume edition, first issue with "reeledbefore" on p.526 and all plates before "Greenwich Fair" (at p.120) without the Chapman and Hall imprint, this copy without half-title but with advertisement leaf dated May 15 1839, additional pictorial title and 39 etched plates by George Cruikshank, some plates browned, preliminaries and up to p.24 loose (together) as well as final f. and endpapers loose, upper hinge weak, contemporary green half morocco, spine gilt, rubbed, Chapman and Hall, 1839; Bleak House, first edition in book form, half-title, engraved frontispiece, title and 38 plates by Hablot K. Browne, some marginal foxing and browning to plates, contemporary olive calf, spine gilt with red morocco label, some scuffing,  Bradbury & Evans, 1853, [Smith 4.5c, p.36; Smith 2.4, p.16; Smith10, p.81]; and another Dickens first edition, Memoirs of Joseph Grimaldi, 8vo (7) 

CRAYON, GEOFFREY (WASHINGTON IRVING): 'BRACEBRIDGE HALL; OR THE HUMORISTS'and 'The Sketchbook', both new editions and both with volumes 1 and 2, published by John Murray, London 1824 and 1826 respectively, gilt tooled green leather bound with brown leather half titles and Robert Williams bookplates; together with a collection of antiquarian literature books (18)

Y A MID VICTORIAN COMMEMORATIVE LOCKET FOR PRINCESS ELIZABETH STUART The oval blue enamelled panel with a glazed compartment containing a scroll of hair from Princess Elizabeth Stuart with seed pearl coronet, upon an ivory panel, the border engraved 2nd Daughter of Charles 1. Born 28 Decr 1635. Died in Carisbrook Castle 8 Sepr 1650. Hair cut off in 1856 when her coffin at Newport Church was opened., with glazed compartment verso Size/dimensions: 7.2cm long Gross weight: 47.4 gramsPlease note Dreweatts have applied for a de minimis exemption licence for the ivory in this lotRef: LX7W7DU2Y Indicates that this lot may be subject to CITES regulations when exported. The import of lots that are subject to CITES regulations are banned in certain countries. Please check your country's import regulations before bidding. Provenance: The Davies-Cooke Collection from Gwysaney Hall, North WalesFor further details about the collection, visit: www.dreweatts.com/news-videos/gwysaney-hall-a-welsh-family-s-portrait-of-british-history-14767/ Princess Elizabeth Stuart (1635-1650) was sent to the Isle of Wight after placements on the mainland after her fathers execution in 1649. Having said she didn't feel well enough to travel she was forced, and later died of pneumonia at the Medieval Carisbrook Castle, which had been her fathers place of incarceration during his final year. In the 1850s Queen Victoria's adoration of the Isle of Wight led to an increased interest in the princess and her lack of a proper grave marker, and in 1856 she had a new carved monument of the princess created with the inscription: To the memory of the Princess Elizabeth daughter of Charles I., who died at Carisbrooke Castle on Sunday September 8th 1650, and is interred beneath the chancel of this church, this monument is erected as a token of respect for her virtues, and of sympathy for her misfortunes by Victoria R. 1856. When Princess Elizabeth's coffin was moved in 1856 to be placed with her new monument a local doctor Ernest Wilkins preformed an unauthorized examination on Elizabeth's body and a number of cuttings and bone samples were taken from the Princess. Condition Report: The blue panel has some scratches, some small patches of lead solder around the border of the glazed panel the inscription is clear. General wear commensurate with age and use. Please note this lot contains ivory and is subject to CITES regulations when exported. The import of lots that are subject to CITES regulations are banned in certain countries. Please check your country's import regulations before bidding.Condition Report Disclaimer

Sidney Hall A New British Atlas; Comprising A Series of 54 Maps, Constructed from the most Recent Surveys First edition, contemporary quarter leather calf, gilt tooled bordered title to front board, ink owner signature opposite titlepage, Dorsetshire edges reinforced, fold out map of Great Britain backed onto linen, maps complete, some sporadic spotting throughout, vg, Chapman & Hall, London, 1833.

THOMAS HUDSON (BRITISH 1701 - 1779) PORTRAIT OF CATHERINE 'KITTY' JERVIS (1733-1756), MRS. JEREMIAH SMITH Oil on canvas 127 x 101.6cm (50 x 40 in.) In a period eighteen century swept and pierced, carved and gilded frame Painted circa 1755. Provenance: The sitter's brother, Admiral of the Fleet John Jervis, 1st Earl of St Vincent (1735-1823), Meaford Hall, Staffordshire removed from Meaford Hall when the house was sold in 1943 by descent to Edward Swynfen Parker-Jervis Exhibited: Birmingham, City Museum and Art Gallery, Exhibition of Treasures from Midland Homes, 2nd November - 2nd December 1938 (lent by Mr Robert St Vincent Parker-Jervis) Catherine Margaret Jervis, known to her family as Kitty, was the second daughter of Swynfen Jervis (1700-1771) of Meaford Hall, near Stone, Staffordshire and his wife Elizabeth Parker, daughter of George Parker of Park Hall. Both of Kitty's parents came from long-established Staffordshire gentry families; the Jervises had been established in the county since the days of Edward III (reg.1327-77). Swynfen Jervis practised as a lawyer, becoming Counsel to the Admiralty and Auditor to Greenwich Hospital; the family divided their time between Greenwich and their estates. On 18th March 1755 Kitty married at St Alphege, Greenwich a Staffordshire neighbour, Jeremiah Smith of Great Fenton Hall, which was situated eight miles north of Meaford. This portrait was probably made around the time of her marriage. Thomas Hudson was clearly the portraitist of choice for the family: he painted Jeremiah Smith, by then High Sheriff of Staffordshire, in 1762 (Staffordshire County Buildings, Stafford). The Smiths were prominent landowners in Great Fenton, today a suburb of Stoke-on-Trent. By the mid-eighteenth century the area was becoming part of the heartland of the Industrial Revolution, with ceramic producers that would later bear famous names such as Spode, Copeland and Minton. The country was rich in ironstone and coal, essential for the firing of the kilns. Jeremiah Smith obtained mining rights in Fenton which were developed by his descendants. By 1840, a land 'once the pure and peaceful domicile of [the owners'] ancestry [was] but now the black and noisy seat of Cyclopean labours'. Naturally, no hint of this gradual industrialisation is apparent in Hudson's portrait of Kitty Jervis. She is portrayed leaning against a rock with a woodland sunrise beyond. Her elegant, broad-brimmed hat, which gives her a dashing air, puffed sleeves and the feather in her hand are inspired by a Rubens portrait then thought to be of his wife, but which probably depicts his sister-in-law, Susanna Fourment (Gulbenkian Museum, Lisbon). It was acquired by Sir Robert Walpole and hung in the Van Dyck Drawing Room at Houghton, but was well known from James McArdell's mezzotint after it. The Rubens portrait sparked a vogue for painting ladies in 'van Dyck' dress, much employed by Hudson in the 1730s and 40s, as well as the use of van Dyck dress in masquerade costumes. Horace Walpole wrote to his friend Horace Mann in 1742 of seeing at the Duchess of Norfolk's masquerade 'quantities of pretty Vandykes, and all kinds of old pictures walked out of their frames' (1). Kitty's costume is a charming fantasy, a hybrid of 'van Dyck' dress and mid-eighteenth century high fashion. The lace choker at her throat is in contemporary vogue, as is her jewellery. A locket probably containing a likeness of her husband is strung from the rubies and pearls at her waist. Hudson repeated this model, down to the rocky background and soft blue silk dress, in a full-length portrait of Mary Bertie, Duchess of Ancaster and Kesteven, painted in 1757 (Grimsthorpe Castle, Lincolnshire). The same format is employed in a portrait of Lady Oxenden (Art Gallery of New South Wales), recently reattributed to Hudson's pupil Joseph Wright of Derby. Sadly, Kitty's marriage was short-lived: she died giving birth to her son Charles in 1756. Her portrait was inherited by her younger brother John Jervis (1735-1823), whose brilliant naval career led to his creation as 1st Earl of St Vincent for his victory over the French at Cape St Vincent on 14th February 1797, an action which also brought Captain Horatio Nelson to prominence. A just, well-loved and reforming officer, Jervis crowned his career as Admiral of the Fleet. Kitty's painting remained at Meaford Hall until the house was sold in 1943 and has descended in the Parker-Jervis family. 1) Quoted in London, The Iveagh Bequest, Kenwood, Thomas Hudson 1701-1779, 1979, exh. cat. by Ellen Miles, under n. 15 Condition Report: The canvas has been relined. There is very fine surface cracking across the picture but the paint layer is stable and the impasto is well preserved. Under UV light there are some very minor touches of inpainting to the edges, these are very minor and not visible to the naked eye. It has been cleaned and revarnished.Condition Report Disclaimer

AFTER GEORGE ROMNEY PORTRAIT OF FRANCES PULESTON, MRS. BRYAN COOKE, SEATED THREE-QUARTER-LENGTH, IN A WHITE DRESS AND LARGE FEATHERED HAT Oil on canvas 125 x 100cm (49 x 39¼ in.) Provenance: The Davies-Cooke Collection from Gwysaney Hall, North Wales Literature: Steegman, Portraits in Welsh Houses, p. 166, under no. 34 After the picture sold at Sotheby's, New York, 1 February 2024, Master Paintings & Sculptures Part I, lot 320 For further details about the collection, visit: www.dreweatts.com/news-videos/gwysaney-hall-a-welsh-family-s-portrait-of-british-history-14767/   Condition Report: The canvas has not been relined, it is a canvas most likely of the 1920s. UV light reveals no evident retouching, and a evenly applied varnish across the whole surface. A layer of dirt is also visible, and various small dotted losses of paint are visible to near the borders, most likely caused by abrasion. Condition Report Disclaimer

THOMAS DANIELL (1749 - 1840) AND WILLIAM DANIELL (1769 - 1837) A GATE LEADING TO A MOSQUE AT CHUNARGARH, UTTAR PRADESH Pencil and watercolour Inscribed and numbered 'No. 80 Gate leading to a Mosque at Chunar Ghur' (to the reverse of the artists' original mount) 53.5 x 82.5cm (21 x 32¼ in.) Provenance: The Estate of Thomas Daniell The Bromley Davenport Family, Capesthorne Hall, Cheshire Stevens and Brown, Godalming, Surrey, 1951 Gooden and Fox, London The Peninsular and Oriental Steam Navigation Company, 1952 Sale, Christie's, London, India Observed, The P&O Collection of Watercolours of India by Thomas Daniell R.A. and William Daniell R.A, 24 September 1996, lot 24, where purchased by the present owner From an important collection in Grosse Pointe, Michigan, USA Exhibited: Commonwealth Institute, 1960, no. 23 Smithsonian Institution, 1962, no. 10 Spink, London, 1974, no. 42Engraved: T. Daniell, aquatint engraving, January 1797, for Oriental Scenery, vol. I. no. 24 The Daniells arrived at Chunar from Benares on the 29th December 1789 and stayed into the new year. The fort of Chunar overlooks the Ganges and was built on an ancient site. It belonged to the Nawabs of Avadh and was taken by the British after the battle of Buxar in 1764. Close to the fort is a Dargah (a tomb complex) of the Muslim divine Shah Kasim Salaiman who had been imprisoned at Chanur by Emperor Jahangir in 1606, and the site became a centre of pilgrimage. The gateway pictured here is the most notable architectural feature and makes use of the sandstone that the quarries at Chunar are famous for. William Hodges first depicted the gate in 1786 when he took refuge there with Warren Hastings. The Daniells' view is from a more oblique angle and in Oriental Scenery they described the aspects they admired:`The effect of this gate, at a distance, is grand, from the bold projection of its superior parts; and its ornaments, though numerous, are applied with so much art and discretion, as to form the happiest union of beauty and grandeur' .The watercolour was the basis of the aquatint of Oriental Scenery Vol.1, No.24 (January 1797). Condition Report: The sheet appears to be laid down on a secondary sheet- an early arrangement and attached to the backing sheet at the corners, it is in good overall condition. The colours are fresh and unfaded, there is minor discolouration along the left hand edge and the extreme lower right corners appears to have been made up.  The watercolour was not taken out of the frame in the preparation of this report. Condition Report Disclaimer

A NEW HALL BOAT JUG painted with flowers. Pattern No. 594.

Peter J Maver, Preservation Hall, New Orleans, oil on canvas, 34cm x 59cm; Suzanne Mireault, Long Awaited Rain, signed oil on canvas, 34.5cm x 27cm; etc (3)

Books – Mining and Geology: Duff (P. McL. D.), Holmes’ Principles of Physical Geology, 4th edn., London, Chapman & Hall, 1993, small 4to, p. b.; Jackson (Julia A.) A Glossary of Geology, Alexandria Va., American Geological Institute, 1997, 4to, 769pp, blue boards, d. w.; Willies (Lynn), Gregory (Keith) & Parker (Harry), Mill Close: The Mine that Drowned, signed by authors, Cromford, Scarthin, 1989, Roy. 8vo, 63pp, p. b.; Dunham (K. C., DSc), Geology of the Northern Pennine Orefield, Vol. I only, London, HMSO, 1949, 8vo, 357pp, d. w.; Smith (E. G.), Rhys (G. H.) & Eden (R. A.), The Geology of the County Around Chesterfield, Matlock and Mansfield, London, HMSO 1967, 8vo, 430pp, d. w.; Tonks (L. H.) et al. The Geology of Manchester and the South East Lancashire Coalfield, London, HMSO, 1931, 8vo, 240pp, yellow boards (worn and loosening); Adams (Frank Dawson), The Birth and Development of the Geological Sciences, New York, Dover, 1970, 8vo, reprint 506pp, p. b.; Brown (John Stafford, PhD), Ore Genesis, London, Thomas Murby, 1950, 8vo, 204pp, d. w.; McCarthy (James Remington), Fire in the Earth: the Story of the Diamond, London, Robert Hale, 1946 8vo, 256pp, grey boards, d. w.; Reeves (R.) & Downie (C.), Geological Excursions in the Sheffield Region and the Peak District National Park, Sheffield, Northend, 1967, 8vo, 183pp, p. b.; Osborne (Roger), The Floating Egg, Episodes in the Making of Geology, London, Pimlico, 8vo, 1999, 372pp, p. b.; Wells (A. K., DSc), & Kirkaldy (J. F., DSc), Outline of Historical Geology, 5th edition, London, Thomas Murby 1966, 8vo, 503pp cream cloth; Gillispie (Charles Couson), Gensis and Geology, New York, Harper & Row, 1959, 12mo, 306pp, p. b.; Fortey (Richard), The Earth, an Intimate History, London, Harper, 2005, 12mo, 501pp, p. b.; Arkell (W. J., DSc) & Tomkeieff (S. I., DSc), English Rock Terms, London, OUP, 12mo, 1973, 139pp, green boards, d. w.; Hills (E. Sherbon, DSc, PhD), Outlines of Structural Geology, 3rd edn., London, Methuen, 1953, 12mo, 182pp, blue cloth; Tucker (Maurice E.) The Field Description of Sedimentary Rocks, Milton Keynes, Open University Press, 1982, 16mo, 112pp, card covers; Holmes (Arthur, DSc, FGS) The Age of the Earth, London, Thomas Nelson, 1937, 16mo, 298pp, green cloth, d. w.; Evans (Ernest), How to Study Geology, A Book for Beginners, London, Swan Sonnenschein, 1907, 12mo, 272pp, maroon cloth (worn); Dick (Dr. A. H., DSc), The Connection of Geography and Astronomy, London, Thomas Murby, 1876, 16mo, 122pp, embossed card covers (loosening, worn); Black (Rhona M.), The Elements of Palaeontology, Cambridge, 1975, 8vo, 340pp, card covers; Wallace (William), Alston Moor: Its Pastoral People, Its Mines and Miners, repr. Newcastle on Tyne, Davis, 1986, 8vo, 213pp, folding map, d. w.; Hunt (C. J.), The Lead Mines of the Northern Pennines, Newcastle on Tyne, Davis, 1984, 8vo, 282pp; Shaw (W. T.), Mining in the Lake Counties, Clapham, Yorks., Dalesman, 1970, 12mo, 128pp,. ex lib., printed boards; Raistrick (A., PhD), Mines and Miners of Swaledale, Clapham Yorks., 1955, 12mo, 89pp, card covers; and another copy, same edn., bound teal boards; Noall (Cyril), Botallack, Truro, Bradford Barton, 1972, 8vo, 170pp, d. w.; Kerrod (Robin), Purnell’s Concise History of Science, Bristol, Purnell, 1983, 12mo, 25300, printed boards & Hooson (William), The Miner’s Dictionary, Wrexham, T. Payne, 1747, reprinted Ilkley, Scholar Press, 1979, 12mo, unpaginated green cloth over brown boards, 5 raised bands and gilt titles to spine, publisher’s slip case (qty)

Books – Mining and geology: Hoover (Herbert Clark), intro Cyril Stanley Smith, The Herbert Clark Hoover Collection of Mining and Metallurgy, Claremont, Ca., Libraries of Claremont Coleges, 1980, small 4to, 219pp, frontis and 30 plates, printed endpapers, green boards, gilt titles and vignette to front board, gilt titles to spine, d. w.; Anon., The Science and Art of Mining, Vol. IX 1900-1901 4to, Wigan, Wall & Son, bound blue cloth; Salisbury (Professor Edward Dana), A Text Book of Mineralogy, New edn., New York, John Wiley, 1916; Roscoe (H., FRS) & Scholemmer (C., FRS), A Treatise on Chemistry, 2 vols being pts. I & II of Vol. 2, London, Macmillan 1887, ex. lib. Imperial College, embossed brown boards, viii + 504 + xiii + 553pp; Lee (Willis T.), Stories in Stoner, London, Chapman & Hall, 1926, ex. Darlington Public Lib., Holmes (Arthur, DSc, LLD, FRS), Principles of Geology 2nd rev. edn., London, Nelson, 1965; Green (A. H., FGS), Geology 5th impr. London, Longmans Green 1898; Forster (Westgarth), A Treatise on the Section of the Strata from Newcastle on Tyne to Cross Fell, 3rd edn., Newcastle, Andrew Reid, 1883 reprinted Newcastle Davids, 1985; Woodward (Horace, FRS, FGS), Stanford’s Geological Atlas of Great Britain, London, Edward Stanford, 1904, 12mo, 140pp numerous folding colour printed diagrams, contents loose; Proceedings of the Yorkshire Geological Society New Series, XXII Pt. II, 1932, card covers (qty)

Boyse (Samuel), A NEW PANTHEON: OR, FABULOUS HISTORY OF THE HEATHEN GODS, HEROES, GODDESSES, &c, full leather, laid paper, engraved frontispiece, further engraved plates throughout, printed for J. Newberry and B. Collins, London 1753 (at fault)PROVENANCE: Gwysaney Hall

A 17th century HOLY BIBLE CONTAINING THE OLD TESTAMENT AND THE NEW: TRANSLATED OUT OF THE ORIGINAL TONGUES AND WITH THE FORMER TRANSLATIONS DILIGENTLY COMPARED AND REVISED, bound with THE BOOK OF COMMON PRAIER, AND ADMINISTRATION OF THE SACREMENTS before, and THE WHOLE BOOK OF PSALMES after, the Book Of Common Prayer, Old Testament and New Testament each with illustrated title pages, the Old and New Testaments with numerous engraved illustrated plates throughout, full leather, gilt embossed decoration to boards, marbled endpapers, laid paper, printed at the Theatre, Oxford 1675 (at fault) PROVENANCE: Gwysaney Hall CONDITION REPORT:Dimensions: 18.5cm W x 8.5cm D x 23.5cm HBoards and spine show extensive shelf wear and fading to the leather, and bumps to all corners. The spine shows a 4cm split to to top right edge, and two applied collection labels, but is otherwise secure. The marbled front free endpaper is detached for 8cm at the top and 4cm at the bottom , but is secure in the middle. The marbles rear free endpaper is present but detached for all but the lower 5cm. The binding appears to be tight otherwise. All pages show age-related darkening (particularly to the page edges), the odd small area of dirt, the odd small stain and the odd fox mark.

OLD FRENCH COURT MEMOIRS, first edition, 12 vols, red cloth boards, applied title labels to spines, gilt top edge to block, tissue guarded colour frontispieces, further plates throughout, Brentano’s, New York 1899-1901 (12) (at fault)PROVENANCE: Gwysaney Hall

Gibson (William), A NEW TREATISE ON THE DISEASES OF HORSES, first edition, full leather, laid paper, engraved frontispiece, thirty one engraved plates (thirty two plates in total), printed for A. Millar, London 1751 (at fault)PROVENANCE: Gwysaney Hall

Group of mixed ceramics and porcelain Comprising a pair of Staffordshire bud vases with imari type decoration, a tin-glazed teapot, a New Hall porcelain bowl, a small black basalt teapot, pair of comports, dishes etc Black teapot: Chipped.  Bowl: With firing imperfections and scratched.  Blue teapot and dessert service: Signs of wear consistent with age and use, cracks, firing imperfections, chips/areas of loss, evidence of restoration to some pieces, crazing and tape attached to the verso of one piece.  Vases: With firing imperfections. Cracked and chipped.

Silas Kayakjuak (Inuit (Sanirajak / Hall Beach), 1956-2024). Large carved soapstone sculpture of a mother sewing a parka, the hood and sleeves well carved to depict the parka's dimensionality. A child with braids peaks through the mother's hood. The mother is running a gut cord through her mouth and holds a needle and thimble. Signed in Roman and syllabics along the base and dated 2001, with old inventory adhesive. The artist also called Silas Qayaqjuaq.Provenance: Heard Museum, Arizona; Private Collection, New York.Height: 6 in x width: 9 in x depth: 8 in. Condition: The needle shaft is broken, some dust accretions to the recessed areas.

Hugó Scheiber (Hungarian, 1873-1950) Modernist industrial landscape,signed lower right, oil on board with impasto, 27cm x 32cm Hugó Scheiber was born in 1873 in Budapest. When he was eight, the family moved to Vienna where he worked with his father as a set painter in the theatre. At the age of fifteen he returned to his native city, where he attended the School of Industrial Design and the School of Decorative Arts. In the early 1900s he was painting in the Post-Impressionist style. It was only in about 1910 that he became interested in German Expressionism and Futurism. In the memoirs of composer Paul Arma, Scheiber is described as “pretty much self-taught, almost illiterate […] a kind of primitive genius, a force of nature […], a virtuoso who is all instinct.” In 1915 he met Filippo Tommaso Marinetti, who invited him to join the Futurist movement. In 1921, with the support of Lajos Kassák, he exhibited with his friend Béla Kádár with Max Hevesi in Vienna. This event brought him the recognition and the money he needed to keep working. At the time he was fascinated by images of metropolitan life and painted the cafés, theatres, cabarets and circuses frequented by society at the time. A letter of recommendation from Kassák brought him to Herwarth Walden, who took a keen interest in his expressive portraits and these were regularly reproduced, alongside other works, in the journal Der Sturm after 1924, and shown in several exhibitions, both solo (1924, 1925, 1927) and group, from then until 1928. Thanks to his success in Berlin, he began to have exhibitions in London (Rehearsal Theatre, Poplar Town Hall) and in New York (Brooklyn Museum, Anderson Gallery, Little Review), where he was invited by Katherine Dreier’s Société Anonyme. In the 1930s, his exhibitions travelled as far as La Paz. In 1933 Schreiber took part in the big Futurist exhibition in Rome at the invitation of Marinetti. In the last years of his life his Futuro-Expressionist works were shown at the National Salon and at the Ernst Museum in Budapest. After the war, like his friend Kádár, he lived in poverty and obscurity. He died in 1950.Provenance: The György Gordon (1924-2005) collection of Austro-Hungarian Art