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The History And Antiquities Of Rochester, published Rochester 1833 and assorted other books (box)Sold with all faults not subject to return. For condition see images

Two boxes of Royal Albert Old Country Roses plates, Royal Stafford Rochester pattern part tea set, Duchess floral patterned part tea set with teapot etc

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

A 1972 'Rochester' (U.S.) 'The Picture City' poster, 98 x 74 cm, rolled / T13

Group of four framed studies Bath Abbey, Houses of Parliament, Rochester Castle and Kingston Bridge, framed and glazed

R Granger Barrett, 'Rochester on The Thames', signed, oil on canvas, 59 x 80cm.

Davenant (Charles) Circe, a Tragedy, first edition, with final Epilogue/advertisement leaf, title with a few closed tears and paper repairs to verso at gutter, light foxing and spotting, some trimming to upper margins, often affecting headlines, modern vellum-backed boards, [Wing D302], 4to, for Richard Tonson, 1677.*** Written at the age of nineteen by the future economist and pamphleteer. The prologue is by John Dryden and the epilogue by the Earl of Rochester.

* Watercolour Album. A Victorian album containing original watercolours and drawings, manuscript writings, and engravings, approximately 70 leaves, including 35 original watercolours, oil paintings, and pencil drawings (landscapes, portraits, caricatures, etc.), and numerous prints (costume plates, engraved views, etc.), some dated (1829-1866), e.g. a watercolour of the Shot Tower and Waterloo Bridge, a pencil drawing of the Tower and Mill at Andernach on the Rhine, 3 pages of manuscript riddles and conundrums, a pencil and pinwork drawing titled 'The Abbey Gate, Bury St. Edmunds', a pencil drawing of Hunters Lodge, Belsize Lane, Hampstead, titled 'Bellesize' and initialled 'AG', a pencil drawing of a rustic cottage with Rochester Castle in the background, dated 20th February 1835 and signed 'MC Gorman', 2 mounted oil paintings titled 'Napoli', and another similar, endpapers renewed, rebound in brown cloth retaining original blind-embossed and panelled brown calf upper cover (rubbed), 4to QTY: (1)

Kingston (Richard). A True History of the Several Designs and Conspiracies, Against His Majesties Sacred Person and Government; as They Were Continually Carry'd on From 1688 till 1697. Containing Matters Extracted From Original Papers, Depositions of the Witnesses, and Authentick Records..., By R. K., 1st edition, London: Printed for the Author, and sold by Abel Roper at the Black Boy against St. Dunstan's Church in Fleet-Street, 1698, contemporary mottled calf, rebacked by Alan Winstanley, Salisbury, 8vo, together with: [Osborn (Francis)]. Historical Memoires on the Reigns of Queen Elizabeth and King James, London: Printed by J. Grismond, and are to be sold by T. Robinson, Bookseller in Oxon, 1658, portrait frontispiece, early ownership signature at head to title of James Master(?), modern half calf, 12moFenwick (John). The Proceedings against Sir John Fenwick, Bar. Upon A Bill of Attainer for High Treason..., 1st edition, [London], 1698, contemporary ownership inscription to head of title, some damp staining, near contemporary panelled calf, rubbed and worn, 8voFelltham (Owen). Resolves, A Duple Century..., London: Printed for Henry Seile, 1647, engraved title (trimmed to printed area), near contemporary calf, later title label to spine, rubbed and worn, 8vo, plusBurnet (Gilbert). Some passages of the Life and Death of the Right Honourable John Earl of Rochester..., London: Printed for Richard Chiswell, at the Rose and Crown in St. Paul's-Churchyard, 1692, portrait frontispiece (trimmed with slight loss to left edge), remanence of old bookplate to verso of title, final leaf with closed tear, later half calf with areas of repair to spine, corners bumped, old lot number sticker pasted to upper cover, 8vo, and 6 other leather-bound volumes, 8vo or smaller QTY: (11)

Cunningham (Peter). The Story of Nell Gwyn: and the Sayings of Charles the Second. related and collected by Peter Cunningham, 2 volumes, New York: John Wiley's Sons, 1883, EXTRA ILLUSTRATED with 228 added engraved portraits and views, some facsimiles, and other historical prints (mostly 19th century, but including some 18th century and early 20th century) as well as autograph signatures and manuscript documents, the latter including autograph letter by the compiler Peter Cunningham, clipped signature of Charles Sackville, Earl of Dorset, a clipped document signed by Sir Robert Walpole, dated 24th October 1738, a 4-page manuscript letter in brown ink by Henry Sidney, Earl of Romney, Master-General of the Ordnance from 1693-1702, dated St. James's 22nd October 1698, a manuscript document in French on vellum signed by Louis XIV, King of France, dated August 12th 1704, autograph letter signed by the 19th century painter C. M. Ward, a printed and manuscript document of power of attorney signed by the Earl of Pembroke, date August 28th 1720, a manuscript letter signed by Charles Sackville, 6th Earl of Dorset, dated June 19th, 1690, addressed to the Lords Commissioners of the Treasury informing them of an agreement with Sir Francis Child, His Majesty's Jeweller, for a diamond ring of the value of £300, given to Baron Cobb, and other jewellery gifts, a clipped vellum document signed by John Powlett, Marquess of Winchester, a clipped signature of Henry Bennet, Earl of Arlington, a manuscript document signed by the Earl of Lichfield, dated October 26th 1682, to the Ranger and Keepers of Woodstocke Parke... 'to Will and requre you or either of you to kill and deliever to the bearer here of one fatt Dooe of this season...', a clipped signature of Gilbert Burnet, Bishop of Salisbury, a clipped document signed by Laurence Hyde, Earl of Rochester, dated April 26th 1679, a manuscript document signed by the Earl of Jersey, Sir Stephen Fox, Henry Boyle, Lord Carlington, and Richard Hill, being a warrant to the Earl of Montague, Master of Her Majesties Great Wardrobe, to deliver to 'ye strewer of Herbs to her Majesty - a Gown of Scarlett Cloth with a badge & Her Majesty's cypher on it as was provided at ye last coronation' (fragile with some repairs to folds), a clipped document signed by Lord Portmore dated February 1689, a clipped document signed by the Earl of Oxford, dated April 1713, and a clipped signature of John Wilmot, Earl of Rochester, plus a printed English Civil War tract (The King's Majesty's Alarum for Open War, declared by His setting up His Standard at Dunsmare-Heath. Also His affront at the City of Coventry, by denying him entrance into the City, and His resolution thereupon, to plant Ordnance against it, and batter down the City, and all other Cities and Townes that shall deny His admittance, [London]: printed for Tho. Richard, August 25. 1642, 8pp., royal coat of arms to verso of final leaf, small 4to), inserted additional title page to each volume 'The Story of Nell Gwyn by Peter Cunningham, extended from one to two volumes with two hundred and twenty-eight extra prints and autographs by L. W. October 1915', top edges gilt, remainder rough-trimmed, inside gilt dentelles, early 20th century gilt-decorated red full morocco (by G. Walters, with his binder's stamp to verso of front endpaper of each volume), rubbed and wear to spines and joints, recased with original spines laid down, contained in purpose-made maroon cloth slipcases (some wear), large 8vo QTY: (2)NOTE:Wing C2086; Thomason E.114[10] (for the printed tract The Kings Alarum for War, the publication which marked the formal commencement of hostilities between King Charles I and Parliament, and the start of the English Civil War).The printed illustrations include Bartolozzi's stipple-engraved portrait of Nell Gwyn after Peter Lely, published 1802, an engraved portrait of Charles I, with caption in French, published by Peter Stent, engraved view of the Duke's Theatre, Dorset-Gardens, published July 1st, 1818, engraved portrait of Edward, Earl of Clarendon, engraved portrait of Sir William Temple by George Vertue after Lely, circa 1720, an etched portrait of the Earl of Rochester crowning his monkey by W. N. Gardiner after S. Harding, published 1794, and other portraits of various beauties of the age, and members of the Royal court.

[Fisher, John]. Assertionis Lutheranae confutatio, iuxta uerum, ac originalem archetypum, diligentissime recognita, & uitis oneribus expurgata, per reuerendum patrem Iohannem Roffensem Episcopum, academiae Cantabrigiensis Cancellarium, [Cologne: Petri Quentell], 1524, [12], cclxxv, [1] pp., title-page woodcut vignette (coat of arms of King of England, with early manuscript inscriptions to lower margin), woodcut tailpiece and few initials, printed and early manuscript marginalia throughout (some manuscript marginalia close-trimmed or cropped), penultimate leaf torn to fore-margin, final leaf with colophon (torn to margins and with long closed tear, crudely lined to blank verso), some toning, occasional light dust-soiling, spotting and few marks, several leaves with damp stains to lower margins, modern bookplate to upper pastedown, 17th/18th-century sheep, gilt decorated spine, lightly rubbed, folio (29 x 20.2 cm)QTY: (1)NOTE:Adams F516; VD 16 F1216.A critical piece by Fisher against Martin Luther. Fisher (1469-1535) was Bishop of Rochester and Chancellor of the University of Cambridge. He was executed by Henry VIII for his refusal to accept him as head of the Church of England. He was canonised by Pope Pius XI.

* Kent. Speed (John), Kent with her Cities and Earles Described and Observed, Thomas Bassett & Richard Chiswell [1676], hand-coloured engraved map, inset city plans of Canterbury and Rochester, 380 x 505 mm, mounted, framed and double-glazed, English text on versoQTY: (1)

A late 19th / early 20th century woolwork panel, embroidered with the Royal Artillery crest above a central shield flanked by three national flags to each side with Rochester and Chatham in scrolls below, housed in a maple frame, 51 x 70cm.

WILLIAM-ADOLPHE BOUGUEREAU (FRENCH 1825 - 1905) RÉFLECTION Oil on canvas Signed and dated '1905' (lower right) 100.5 x 80.5cm (39½ x 31½ in.)Provenance: (possibly) The collection of R. Lerondelle, Paris Anonymous sale, American Art Association, New York, 8 January 1930, lot 96, as The Model (incorrectly catalogued as dated 1904) Anonymous sale, Parke-Bernet Galleries, New York, 15 November 1945, lot 60, as The Model (incorrectly catalogued as dated 1904) The collection of William E. Greve, Southampton, NY Gifted by the above to the Parrish Art Museum, Water Mill, NY, 1955 Deaccessioned by the above, 16 September 1978 Alexander Raydon Gallery, New York Literature: M. S. Walker, 'A Summary Catalogue of the Paintings', in William Bouguereau: l'art pompier, exh. cat., Borghi & Co., New York, 1991, p. 75, as Le modèle D. Bartoli and F. Ross, William Bouguereau: Catalogue Raisonné of his Painted Work, New York, 2010, pp. 358-359, no. 1905/02, illustrated William-Adolphe Bougereau was born in La Rochelle in 1825. Studying at the École des Beaux-Arts in Pairs, he dedicated his life and career to traditional subjects, infusing classical subjects with a sense of real-life beauty, earning him a life-time of critical acclaim. Bourgereau was awarded the Grand Prix de Rome in 1850 and spent the following three years at the Villa de Medicis. Here he was inspired by themes from Classical Antiquity, as well as Italian masters of the Renaissance such as Raphael. It was during this period that Bourgereau coined his tableaux de fantasie, which would appear frequently in his oeuvre and provided the perfect vehicle for the artist's dedication to the creation of beautiful forms and harmonious colours. The Antiquity provided innumerable Venuses, nymphs, muses and allegories, all of whom take centre stage in Bourgereau's work. In a lecture given at the Institut de France in 1885, the artist said, 'Antiquity reveals what an inexhaustible source of variegated inspiration nature is. With a relatively restricted number of elements - a head, a bust, arms, a torso, legs, a stomach - how many masterpieces she has made! Then why seek out other things to paint or sculpt?' (W. Bouguereau, 'Discours de M. Bouguereau', in Séance publique annuelle des cinqs Academies du 24 Octobre 1885, Institut de France). There was no end to William Bouguereau's artistic career, and he was still sending paintings to the Paris Salon a year before his death. An anonymous contributor to the Fine Arts Journal wrote: 'Even now, in spite of failing health he works incessantly. Only the other day I found him painting with boyish enthusiasm, full of joy over his new picture'. (Anonymous author, quoted in Bartoli and Ross, op. cit., p. 427). Bouguereau himself declared, 'People say I paint to make money; it's not true. I don't need to make money; my family and I have more than we need. But I have to paint all the time, as I see, feel and know. That's all there is to it. People pay a lot for my paintings, and I'm not complaining; it proves that my work is still appreciated. But if they didn't sell as well as they do, it wouldn't stop me from making them' (quoted in Montréal, Musée des Beaux Arts, William Bouguereau, 1984, p. 68). It is unsurprising therefore that Réflexion offered here and painted in the year of the artist's death, still attains a level of excellence and quality upon which his career and reputation were based. Depicting a young, dark-haired model seated on a simple stone bench before a draped background, she is in turn draped in a beautiful, emerald chiton-like vestment, her arms outstretched, one breast exposed. Even as late as the 1900s, Bouguereau's relish for feminine beauty remained undiminished. Not unusually for Bougereau's composition, the model's steady gaze is directed straight out of the picture plane, drawing the viewer into the painting. The lack of background or 'story' serves to heighten the beauty of the sitter, as it presents very little to detract from the model herself. Bouguereau used this same backdrop in Jeune prêtresse (1902, Memorial Art Gallery of the University of Rochester, New York) to similar effect. Condition Report: The canvas has been lined and there is some cracking to the paint surface, but it is in stable condition. Examination under ultra violet light reveals some retouching and strengthening to the flesh tones in the right hand side of the sitter's face, her arm and breast. There is scattered spots of retouching in the background, in the centre of lower edge. Condition Report Disclaimer

Postcards, a collection of approx. 210 cards featuring mainly UK bridges (110) and castles (100). Castles include Rochester, Cardiff, Arundel, Bodiam, Manorbier. Bridges include Exe, Maidenhead, St Olaves. Interesting mix (mainly gd)

Poetic works of John Wilnot, Howarth Press, no. 161/400, 1983, and others related to The Earl of Rochester.. (6)

Arthur Reginald Smith RWS, RSW, ARCA (1871-1934)"Dales landscape"Signed, pencil and watercolour, 22cm by 46.5cm; together with a watercolour by William Frederick Wells (1762-1836) "Rochester Castle"; and two etchings by John Sell Cotman "Castle at Tancarville" and "Castle of Dieppe" (4)"Dales landscape" - Some time staining and foxing, surface dust and debris, otherwise overall good conditionOther watercolour - Similar overall okay condition, staining and yellowing

* EMILIO COIA (SCOTTISH 1911 - 1997), LEONARD BERNSTEIN ink on papermounted, framed and under glassimage size 23cm x 17cm, overall size 43cm x 36cm Note: Emilio Coia was born in Glasgow on 13 April 1911, the son of Giovanni Coia, an Italian immigrant who owned ice-cream shops and cafes in the city. Educated at St Mungo’s Academy, Glasgow, Coia began studying at the Glasgow School of Art in 1927, at the age of sixteen, under Maurice Greiffenhagen who quickly recognised his talents as a caricaturist. While still a student Coia drew for GUM – the Glasgow University Magazine, and was the first artist to cover the General Assembly of the Church of Scotland, for the Scots Observer. After five years at art school, and in the face of parental opposition to his marrying a protestant, Coia eloped to London with a fellow student. With just twelve pounds to his name, Coia touted his drawings around Fleet Street, selling his first caricatures to the Sunday Chronicle. He also contributed to Everybody’s, Bookman, the Daily Express, Tatler, Sketch, Passing Show, Sunday Referee, Week-end Review, News Chronicle and others. Coia was hailed as “the first Cubist caricaturist”, but in 1932 his association with the Sunday Chronicle came to a sudden end when the paper’s most influential columnist, Beverley Nichols, objected strongly to Coia’s drawing of his friend the novelist Ethel Mannin. He demanded that it be removed from the artist’s first one-man show at the Reid & Lefebre Gallery, London, and when Coia refused he was sacked by the Chronicle’s editor James Drawbell. Coia got a job as assistant advertising manager and later personnel manager at a heavy engineering firm in Rochester in Kent, which during the war years produced anti-aircraft shells and winches for the Admiralty. “The war divided me,” he later recalled: “I felt a Britisher, but my blood is Italian. I actually tried to join the British Army at Chatham Labour Exchange but I was told I was doing too important a job at the factory.” After the war he returned to advertising, working for the Dolcis Shoe Company and later for Saxone in Kilmarnock, before turning full-time freelance once more. Coia worked at first mostly for the Glasgow Evening Times, but when Roy Thomson bought the Scotsman in 1953, he was taken on by the editor Sir Alastair Dunnett as the paper’s first caricaturist. According to Coia, Dunnett assured him “I will never tell you who to draw”: “I will never disapprove of who you choose to draw and I will never interfere with your work.” From 1956 he produced daily drawings during the annual Edinburgh Festival, and was later also art critic for the Evening Times. From 1966 he was art adviser to the newly formed Scottish Television – for which he also produced live TV sketches. Coia was a flamboyant character. He enthusiastically kissed those he met on both cheeks, irrespective of gender, and always signed his letters “con amore”, although he could not speak Italian. His friend Jack McLean, columnist on the Scotsman, called him “Caesar in a Gucci blazer”, and claimed that Coia made his money “the way gypsies do, a bit of this, a bit of that, a lot of charm.” Stimulating and argumentative, he could be caustic, with a waspish wit, but he was also very generous and had many friends. Coia also drew and contributed art criticism for Scottish Field and lectured on art and caricature for the Scottish Arts Council and others. Elected President of the Glasgow Arts Club three times, he was a Fellow of the Royal Society of Edinburgh. In 1986 he was also awarded an Honorary Doctorate in Arts from the University of Strathclyde and in 1995 received an Honorary Fringe First from the Edinburgh International Festival. An admirer of Max Beerbohm, he drew in ink and pencil. Emilio Coia died of cancer in Glasgow on 17 June 1997.

* EMILIO COIA (SCOTTISH 1911 - 1997), SCOTTISH OPERA PRODUCER ANTHONY BESCH ink on paper, signed and titledmounted, framed and under glassimage size 33cm x 24cm, overall size 50cm x 40cm Note: Emilio Coia was born in Glasgow on 13 April 1911, the son of Giovanni Coia, an Italian immigrant who owned ice-cream shops and cafes in the city. Educated at St Mungo’s Academy, Glasgow, Coia began studying at the Glasgow School of Art in 1927, at the age of sixteen, under Maurice Greiffenhagen who quickly recognised his talents as a caricaturist. While still a student Coia drew for GUM – the Glasgow University Magazine, and was the first artist to cover the General Assembly of the Church of Scotland, for the Scots Observer. After five years at art school, and in the face of parental opposition to his marrying a protestant, Coia eloped to London with a fellow student. With just twelve pounds to his name, Coia touted his drawings around Fleet Street, selling his first caricatures to the Sunday Chronicle. He also contributed to Everybody’s, Bookman, the Daily Express, Tatler, Sketch, Passing Show, Sunday Referee, Week-end Review, News Chronicle and others. Coia was hailed as “the first Cubist caricaturist”, but in 1932 his association with the Sunday Chronicle came to a sudden end when the paper’s most influential columnist, Beverley Nichols, objected strongly to Coia’s drawing of his friend the novelist Ethel Mannin. He demanded that it be removed from the artist’s first one-man show at the Reid & Lefebre Gallery, London, and when Coia refused he was sacked by the Chronicle’s editor James Drawbell. Coia got a job as assistant advertising manager and later personnel manager at a heavy engineering firm in Rochester in Kent, which during the war years produced anti-aircraft shells and winches for the Admiralty. “The war divided me,” he later recalled: “I felt a Britisher, but my blood is Italian. I actually tried to join the British Army at Chatham Labour Exchange but I was told I was doing too important a job at the factory.” After the war he returned to advertising, working for the Dolcis Shoe Company and later for Saxone in Kilmarnock, before turning full-time freelance once more. Coia worked at first mostly for the Glasgow Evening Times, but when Roy Thomson bought the Scotsman in 1953, he was taken on by the editor Sir Alastair Dunnett as the paper’s first caricaturist. According to Coia, Dunnett assured him “I will never tell you who to draw”: “I will never disapprove of who you choose to draw and I will never interfere with your work.” From 1956 he produced daily drawings during the annual Edinburgh Festival, and was later also art critic for the Evening Times. From 1966 he was art adviser to the newly formed Scottish Television – for which he also produced live TV sketches. Coia was a flamboyant character. He enthusiastically kissed those he met on both cheeks, irrespective of gender, and always signed his letters “con amore”, although he could not speak Italian. His friend Jack McLean, columnist on the Scotsman, called him “Caesar in a Gucci blazer”, and claimed that Coia made his money “the way gypsies do, a bit of this, a bit of that, a lot of charm.” Stimulating and argumentative, he could be caustic, with a waspish wit, but he was also very generous and had many friends. Coia also drew and contributed art criticism for Scottish Field and lectured on art and caricature for the Scottish Arts Council and others. Elected President of the Glasgow Arts Club three times, he was a Fellow of the Royal Society of Edinburgh. In 1986 he was also awarded an Honorary Doctorate in Arts from the University of Strathclyde and in 1995 received an Honorary Fringe First from the Edinburgh International Festival. An admirer of Max Beerbohm, he drew in ink and pencil. Emilio Coia died of cancer in Glasgow on 17 June 1997.

This Mercury Living Presence LP (MG50144) features the Eastman-Rochester "Pops" Orchestra under Frederick Fennell performing Hi-Fi a la Española, a vibrant selection of Spanish and Latin-inspired orchestral works. The album includes fiery interpretations of compositions by Falla, Chabrier, and Rimsky-Korsakov, among others.Dimensions: 12.5"HIssued: 1957Country of Origin: United StatesCondition: Age related wear.

Lower Palaeolithic Period, circa 400,000 B.P. Lozengiform in section with inked legend '1361. 1.Twdall' [sic]. 57 grams, 67 mm (2 5/8 in.). [No Reserve] Found Twydall, Kent, UK, 1912-1915. Richard Jones collection, Welling, Kent, UK, 1912-1915. Ex Rochester Museum, Kent collections. Specialist collection of J Edwin Jarvis. Ex Martin Schoyen collection, London, UK. Accompanied by a copy of an article on the site at Twydall. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

1951-1984 A.D. Brita Malmer et al. - Corpus Nummorum Saeculorum IX-XI - catalogue of Coins from the Viking Age Found in Sweden I. Gotland : Akeback-Atlingbo - Stockholm, 1975, card covers, 197 pp, 27 monochrome plates; D.W. Dykes - Anglo-Saxon Coins i the National Museum of Wales - Cardiff, n.d., card covers, 31 pp, monochrome; Philip V Hill - the Standard and London Series of Anglo-Saxon Sceattas - Reprint from British Numismatic Journal, London, 1951, card covers, 24 pp, monochrome, cover signed by the author; D. Dolivo - catalogue des Monnaies Suisses II Les Monnaies de L'Evêché de Lausanne - Berne, 1961, card covers, 36 pp, monochrome plates, signed by P. Woodhead, with old collector's record card; J.D. Brand - Periodic Change of Type in the Anglo-Saxon and Norman Periods - Rochester, 1984, card covers, 50 pp. 1.11 kg total, 21 x 15 - 26 x 20.5 cm (8 1/4 x 5 7/8 - 10 1/4 x 8 in.). [5, No Reserve]Ex property of a UK gallery.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists.

Lower Palaeolithic Period, circa 400,000 B.P. Plano-convex in section with inked legend '2 PB. Twydall 1202.A'. 35 grams, 64 mm (2 1/2 in.). [No Reserve] Found Twydall, Kent, UK, 1912-1915. Richard Jones collection, Welling, Kent, UK, 1912-1915. Ex Rochester Museum, Kent collections. Specialist collection of J Edwin Jarvis. Ex Martin Schoyen collection, London, UK. Accompanied by a copy of an article on the site at Twydall. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

1959-1986 A.D. D.W. Dykes - Anglo-Saxon Coins i the National Museum of Wales - Cardiff, n.d., card covers, 31 pp, monochrome, with label to inside front cover 'From the Library of Terence J. Robertson'; Kenneth Johnson- Viking-Age Hoards and Late Anglo-Saxon Coins - A Study in Honour of Bror Emil Hildebrand's Anglosachsiska Mynt - Stockhom, 1987, hardback with dustwrapper, 156 pp, 7 plates, maps & text illustrations with label to inside front 'Mark Blackburn'; H.V. Mansfeld-Bullner - Afbildninger af samtlige hidtil kjendte Danske Mønter fra Tidsrummet 1241-1377 - Copenhagen, 1974, card covers, 80 pp, line drawings; J.D. Brand - Periodic Change of Type in the Anglo-Saxon and Norman Periods - Rochester, 1984, card covers, 50 pp.E.B. Cahn - Catalogue des Monnaies Suisses I Fribourg - Berne, 1959, card covers, 65 pp, 8 monochrome plates, pencilled note to cover. 986 grams total, 22.5 x 15 - 25.5 x 18.2 cm (8 7/8 x 5 7/8 - 10 x 7 1/8 in.). [5, No Reserve]Ex property of a UK gallery.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists.

Lower Palaeolithic Period, circa 400,000 B.P. Plano-convex in section with inked legend '2 ss.1182.A. Twydall'. 71 grams, 63 mm (2 1/2 in.). [No Reserve] Found Twydall, Kent, UK, 1912-1915. Richard Jones collection, Welling, Kent, UK, 1912-1915. Ex Rochester Museum, Kent collections. Specialist collection of J Edwin Jarvis. Ex Martin Schoyen collection, London, UK. Accompanied by a copy of an article on the site at Twydall. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

British Iron Age, CANTIACI, Early Uninscribed series, bronze Unit, four-armed spiral, bucrania in angles, rev. rearing horse right, reversed S and ringed pellets above, pentagram below, 1.07g (cf. ABC 2258; BMC –; cf. VA 164-1; cf. S 176). Nearly very fine, dark patina, very rare £150-£200 --- Provenance: Found near Rochester (Kent) July 2009 It is uncertain whether this is the base core of a plated silver unit or a bona-fide bronze issue with a similar design to a silver counterpart

William Nicholson (1872-1949), Characters of Romance, five chromolithographs to include Sophia Western, Miss Fotheringhay and Captain Costigan, Jorrocks, Rochester, and Gargantua, all mounted

A set of Eastman Studio scales produced by the Eastman Kodak Company, Rochester NY, in an oak box

Charlotte Bronte: 'Jane Eyre. An Autobiography. Edited by Currer Bell', FIRST EDITION, London, Smith, Elder & Co, 1847, 1st edition, 3 volumes, all with half titles present, bound without publisher's advertisements and Calcutta Review notice, volume two with original publisher's cloth front and rear cover and spine lettered in gilt all laid down to three separate leaves at end, uniform full crushed green morocco gilt by Riviere and Son, covers gilt tooled and decorated, spines with gilt raised bands and gilt in compartments, top edges gilt, gilt tooled turn ins, marbled end papers, C19th bookplates of Clement King Shorter (1857-1926), journalist and literary critic, avid collector of the works of the Brontë sisters, and author of several literary criticism works about Charlotte Brontë and the Brontë family, including 'Charlotte Brontë and her circle', 1896, and 'The Brontës: Life and Letters', 1908. A rare 1847 first edition of Charlotte Bronte's revolutionary novel Jane Eyre, a bildungsroman that follows the experiences of its eponymous heroine, including her growth to adulthood and her love for Mr Rochester, the brooding master of Thornfield Hall. The novel revolutionised prose fiction, being the first to focus on the moral and spiritual development of its protagonist through an intimate first-person narrative, where actions and events are coloured by a psychological intensity. Charlotte Brontë has been called the "first historian of the private consciousness" and the literary ancestor of writers such as Marcel Proust and James Joyce. The book contains elements of social criticism with a strong sense of Christian morality at its core, and it is considered by many to be ahead of its time because of Jane's individualistic character and how the novel approaches the topics of class, sexuality, religion and feminism. Jane Eyre, along with Jane Austen's Pride and Prejudice, is one of the most famous romance novels, and is considered one of the greatest novels in the English language. Housed in a custom made quarter green morocco gilt over green cloth clamshell box

British Bishops and Archbishops - an unusual collection of (120+) Free Fronts and Letters in an old ledger. The collection of Bishops & Archbishops of England & Ireland, several with postal history interest. Including Archbishops of Canterbury and York, London, Durham, Winchester, Bangor, Bath, Bristol, Carlisle, Chester, Chichester, Ely, Exeter, Gloucester, Hereford, Llandaff, Lichfield, Norwich, Peterborough, Rochester etc., etc. Irish Bishops after the Union (28), several Penny Posts and various antique portrait prints. A most interesting lot!

No. 5 Folding Kodak (Improved Model), um 1890 Eastman Kodak, Rochester, USA. Plattenformat 5 x 7 in., Seriennummer im Gehäuse 10017, Seriennummer am Objektiv 11560. Edelholzgehäuse, Kamera ist als Tragekoffer gefertigt (Deckel lose), innen mit Geheimfach für Filter oder Zusatzlinsen, unbezeichneter Aplanat-Typ-Objektiv in dekorativen Bausch&Lomb-Verschluß (Auslösung klemmt), mit Mattscheiben-Rückteil (Glas mit Sprüngen) und einer Doppelkassette. – Sehr seltene Kamera! Zustand: (3/3)

Panorama-Kameras und Panorama-Bilder 1) Kodak, Rochester. No. 1 Panorama, um 1900, Nr. 322, für 120er-Film. (3/3) – 2) UdSSR. Horizont (kyrillische Schrift), um 1970, 24 x 58 mm auf 135er-Film, 2,8/28 mm, beliebte Anwenderkamera. (3+/3+) – 3) UdSSR. FT-2 für 24 x 110 mm auf 135er-Film, mit den 2 Spezialspulen. (2-/3) – 4) NPG – Verlag der Neuen Photgr. Gesellschaft A.G. Berlin-Steglitz. Panorama-Photo von Neapel, 1903, im Riesenformat 122 x 19 cm. – 5) Scheveningen, Panorama Wandelhoofd en Kurhaus Königin Wilhelmina, Format 41 x 8,5 cm hinter Passepartout mit goldfarbigem Rahmen (beschädigt). – 6) Rückseitiger Stempel: Photo-Félix Fournitures – Vues du pays Kodaks Travaux en 48 heurs Marrakech (Maroc). Panoramabild von Marrakesch 58 x 24 cm in Sepia. – Und: 7) Stempel: Otto Haeckel Berlin-Friedenau, Format 22 x 11,5 cm, vermutlich Kurhotel mit Park. Zustand: (–/–)

14 Corgi Classics etc. AEC Ergomatic Pump Escape, Blackpool Fire Brigade. AEC Cylindrical Tanker, North Eastern Gas Board. Diamond T Tank Transporter and A1 Medium Tank. US Armed Forces. American La France Pumper, Staten Island. AEC Regal, Eastern Counties. AEC Water Tender, Dublin. Showmans series ERF Dodgem Truck and box Trailer set, Pat Collins Fair. White Petrol Tanker, The Petrol Corporation. ERF KV Box Trailer, Black & White. ALF Aerial Ladder, Rochester N.Y. Double Deck Tram, Grimsby. Heavy Haulage series Diamond T Ballast with Girder Trailer, Annis & Co. Ltd. Brush Rail Coach, Sandgate Centre. Plus a 2 vehicle set Morris Minor and Mini van, Stockport Borough Police Set. All boxed, minor wear. Contents VGC-Mint. £70-90

American, 1856-1937The Taj Mahal, MoonlightSigned Colin Campbell Cooper (lr)Oil on canvas29 x 36 1/4 inches (73.7 x 92.1 cm)Provenance:Memorial Art Gallery, Rochester NYPrivate collection, Rochester, NY, acquired circa 1962Thence by descent from the aboveChristie's, New York, May 20, 2009, lot 100Exhibited:(Possibly) New York, William Macbeth Gallery(Framed 37 x 44 inches)Small (1/2 inch) unrepaired tear near the top edge at the center; area of restoration approximately 1 x 1/2 inches in size, with corresponding patch on the reverse, in the lower left quadrant in the shadow of the tree; visible stretcher bar mark along the top edge; drying cracks.

Crimea 1854-56, 1 clasp, Sebastopol (1st. Lieut. F. W. Thomas. R.M.) contemporarily engraved naming, edge bruising and contact marks, nearly very fine £300-£400 --- Sir Francis William Thomas was born on 10 May 1832 and entered the Royal Marines as a Second Lieutenant on 28 June 1849. Promoted First Lieutenant on 15 August 1853, he served with the Black Sea Fleet in the Crimea, and was present at the ‘Bombardment of Odessa, 4 April 1854. Landed at Eupatoria 19 September 1854, ands at Balaklava 5 November 1854. Present with the Expeditionary Force at the Capture of Kinburn. Favourably recommended by lord George Paulet.’ For his service in the Crimea he was Mentioned in Despatches, and was awarded the Crimea Medal with clasp Sebastopol, the Ottoman Order of the Medjidieh Fifth Class, and was awarded the Turkish Crimea Medal. Appointed Adjutant at Chatham on 15 September 1857, Thomas was promoted Captain on 26 April 1861, Major on 1 October 1874, Lieutenant-Colonel on 1 April 1878, and Colonel on 13 April 1882. Appointed Colonel Commandant, Plymouth Division, Royal Marines, on 13 April 1885, he was promoted Major-General on 1 February 1886, Lieutenant-General on 23 March 1889, and General on 20 November 1889. He retired on 10 May 1897, and was appointed a Knight Commander of the Order of the Bath on the occasion of the Coronation of H.M. King George V (London Gazette 19 June 1911). He died at Rochester, Kent, on 25 June 1925. Sold with copied service record and other research.

TWO SIMILAR POLICE TRUNCHEONS FROM THE COUNTY OF KENT BY PARKER FIELD. A painted wooden truncheon with crown above VR AND 'Kent' against a red cartouche, Rochester 20 Div ', stamped Parker 233 Holborn, 46 cm. Another similarly marked, without divisional marking, 47 cm. Parker Field are recorded using this marking between 1842-1877. CR* Chipping and marking to surfaces.

AN INDIAN MUTINY AND LONG SERVICE PAIR TO THE 61ST FOOT. An Indian Mutiny Medal with Delhi clasp named to T. Cavanagh 61st Regt. and Long Service and Good Conduct Medal, second type, named to 3461 Segt T. Cavanagh 61st Foot. Mounted as worn. Thomas Cavanagh from Halifax attested on the 27th March 1855 at Rochester in Kent at the age of 14. He served with the 61st (The South Gloucestershire) Regiment of Foot and was recommended for his Long Service and Good Conduct Medal in 1877. He was discharged from the Army on the 39th March 1880 having completed 21 years and 5 days service which included time in India, Mauritius, Canada, Bermuda and Malta. Interestingly his records show that he joined the 61st Foot on the 31st August 1855 so that he could serve alongside his Father. For the group of four awarded to this Recipient's son see lot 583 below. CR* As worn, slight edge marks, suspension on first very slightly loose.

Royal Doulton, Small Double Sided Character Jug Jane Eyre & Mr Rochester D7115 and two Doultonville Toby Jugs (3)

Royal Doulton double character jug Jane Ayre & Mr Rochester D7115, limited edition No.125 of 1500, with box and certificate.

Magic Lantern slides - 19th century hand coloured humorous slides, including Rochester Castle, Eliezar & Rebecca, Alicia, Rone, Villa Davvid, Kaiser William I of Germany, Lighthouse Rock, etc, all in wooden mounts, assorted sizes, some with slide actions, 10cm x 43cm and smaller (65)

Rochester, Watts's Charity, Four Pence Vouchers, for poor travellers, the charity started in 1579, 3 in total comprising (2x) dated 1773 and (1x) dated 1853, (Outing 3044) all in excellent condition, extremely fine or better,

Leech (Rochester) 0 Gauge 0-6-0 Live Steam spirit-fired tank Loco in LMS maroon livery, no.3156, lightly used example, with burner, would benefit from a clean, in very good condition, very free running example.

York Racecourse Collection - Framed 'Rochester The Property of Mr. T. Lister of Beverley will Serve Mares this Season 1851' poster, 39.7cm x 54.8cmShipping £68.00 plus vat (UK Only)

Thomas Park, after Sir Joshua Reynolds, mezzotint, Doctor John Thomas Lord Bishop of Rochester, 20ins x 14ins, together with one other engraving after Hogarth, a reproduction print after Mary Fedden (3)

William Lionel Wyllie, RA (British, 1851-1931)King Coal, Rochester signed 'W.L.Wyllie' (lower left)oil on canvas37.8 x 56.9cm (14 7/8 x 22 3/8in).Footnotes:ProvenanceWith Messums Fine Art, London, no. ST0177.Private collection, UK (purchased from the above in 2014).ExhibitedLondon, Royal Academy, 1887, no. 1046.London, Royal Academy, Winter Exhibition, 1909.London, Messums Fine Art, Traditional British- Spring, 2014.For further information on this lot please visit Bonhams.com

[Woodhead, Joseph]. Catalogue or Guide to the Liverpool Museum of Anatomy. Liverpool: Matthews Brothers, Printers, [c. 1870s]. 64-page pamphlet. Original light blue wrappers printed in black. Engraving depicting the museum on the lower wrapper, 1 engraving within the text. Wrappers rubbed, dulled, and spotted, minor crease to the upper corner slightly affecting the contents. Very good condition.The Liverpool Museum of Anatomy was one of a number of such museums in the UK and US that specialised in wax anatomical models and, unlike many of the museums of professional medical organisations, were open to the public. It offered a wide variety of exhibits on the human body, including most of the internal organs; the skeleton; digestion ("articles of human food, and what they are converted into"); common surgical procedures such as the removal of kidney stones; and the usual exhibits on STDs, obstetrics (including a caesarian section model and anatomical venuses), masturbation, circumcision, hermaphrodites, and "freaks of nature". The admittance of women into such museums was controversial, but defended by many proprietors as an important educational opportunity for women who cared for their families' health. This booklet advertises the Museum's hours of admission for ladies as being Tuesdays and Fridays from 2-5pm, and also offers a course of six lectures on midwifery (p. 26). One of the exhibits aimed specifically at women was on the "dreadful effects of tight lacing" (p. 52).This catalogue is rare. A search on WorldCat locates only four copies, at the Wellcome Library, Harvard, the University of Rochester, and the Getty Research Institute.

A SILVER MODEL OF THE SHORT BROTHERS EMPIRE FLYING BOAT CANOPUS, 1936modelled in frosted silver with 28in. wingspan, the detailed model including panelling and moving propellers mounted on two bronze supports to a green marble rectangular base with silver plaques inscribed THE EMPIRE FLYING BOAT, DESIGNED AND CONSTRUCTED BY SHORT BROS (ROCHESTER & BEDFORD) LTD FOR IMPERIAL AIRWAYS LTD, LAUNCHED JULY 4TH 1936, London hallmarks for Goldsmiths & Silversmiths, 1936, contained within baize-lined wooden fitted case, the model and base -- 12 x 22 x 28in. (30.5 x 56 x 71cm.); 4.3kg.(2) The Worshipful Company of Shipwrights, presented by H.O. Short, Liveryman, shortly after the Company's decision to admit people connected with the aircraft industries as well as the maritime industries. Displayed at the Air Fair, Biggin Hill, 1967.

After M.Coote (engraver British 1758-1801) hand coloured engraving Picturesque views of the Antiquities of England & Wales 'Rochester Castle in Kent, Plate I & II, published according to Act of Parliament by Alex(r) Hogg, No16 Paternoster Row, within46cm x 33cm overall. a grey card mount and slender black frame, under glass 35cm x 22cm & 46cm x 33cm overall.

The Connoisseurs Collection1914 FN 742cc Four Type 700Registration no. not registeredFrame no. 70452Engine no. 400•Formerly part of the Peter Harper collection•Present ownership since 1997•Requires recommissioning following a period of inactivityLike BSA, La Fabrique Nationale d'Armes de Guerre ('FN' for short) began as a munitions manufacturer, turning to the production of motorcycles in 1900. Today the Belgian company is best remembered for its sensational four-cylinder models, the first of which appeared in 1904. The FN was the world's first practical four-cylinder motorcycle, its smooth, almost vibration-free operation setting it apart from rival singles and v-twins. Advanced for its day, the 362cc air-cooled four featured 'atmospheric' inlet and mechanical (side) exhaust valves; a robust five-bearing crankshaft; individual crankcase oil wells for the connecting rods; and reliable Bosch magneto ignition. Shaft final drive was another innovation. Supported on ball bearings, the driveshaft ran inside the right-hand frame member to a bevel gear on the rear axle. At first there was no clutch, the direct-drive machine being started by pedalling away until the engine fired. Two brakes (drum and rim-type) both operated on the rear wheel. The engine was enlarged to 410cc in 1906 and 498cc in 1910. In 1911 the factory introduced its own two-speed transmission, similar to that already offered by Horstmann in Britain, which was contained within the drive-shaft housing. Responding to demands from sidecarists for more power, FN introduced a 748cc, 7hp four – the Type 700 – for 1914. This new engine was a sidevalve of 'T'-head layout, with mechanically operated valves and a mechanical oil pump, which drove the three-speed gearbox via a steel, multi-plate clutch. Pedal starting was dispensed with on the Type 700, a kick-start mechanism being added at the right-hand side of the engine. The Type 700 had not been in production long before the FN works was seized by the invading German Army in the autumn of 1914. The occupying Germans used the FN factory to manufacture ammunition while continuing production of the Type 700, which had a top speed of around 45mph and was widely used by despatch riders. The model remained in production up to 1923 when it was replaced by a new Four featuring overhead inlet valves. Chain drive was adopted soon after.Previously registered in UK as 'CH 626', this FN Four was sold to the collection by the late Brian Verrall in 1997 having come from noted collector the late Peter Harper. In a letter on file dated June 1996, Peter states he has owned it for a number of years and it has never been used during that time and to the best of his knowledge the engine is seized. It was believed to have been in the Rochester Motorcycle Museum previously. He says the V5 lists the frame number '70452' and engine as '1274', although the engine fitted is '400' and is not seized. In a VMCC register (date unknown) the recorded keeper is a Mr J Hadwin. The engine is recorded as being number '1274' - which may still be quoted from the V5 – but it has not been possible to locate that number on the engine. There is a certificate of permanent export on file. A very handsome and sought-after machine that, following a period of inactivity, will require recommissioning before returning to the road and thus is sold strictly as viewed. Key not required. Key not requiredFootnotes:Please note that this Lot is from outside the UK. Our customs agents, Shippio Ltd, will manage all post sale customs administration. A fee of £350+VAT will be charged on the buyer's invoice to administer both import or export customs movements.If this Lot is to stay in the UK, it will be subject to Import VAT at the standard rate of 5% on the hammer price. This Lot will not be available for immediate collection after the sale and will only be released on completion of customs clearance. If you have any questions regarding customs clearance, please contact Bonhams' Motorcycles Department harry.taylor@bonhams.com +44 (0) 20 8963 2817.All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.Please see the Auction Information and Guide for Buyers at the top of the main sale page, for bidders' obligations. The Spring Stafford SaleREQUEST A TRANSPORT QUOTEPlease click the link to request a transport quote from our recommended transport company, Moving Motorcycles.To request a UK or European shipping quote - Moving MotorcyclesTo request an International shipping quote - ShippioThis Lot will be auctioned on Sunday 27 April, with the auction starting at 11am GMT.This lot is subject to the following lot symbols: * N* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.N If purchased by a UK resident, this machine is subject to a NOVA declaration, whilst the responsibility of submitting the NOVA rests with the Buyer to do so, Bonhams will facilitate the process by engaging an agent (SHIPPIO) to undertake the NOVA and C88 (customs) application if applicable on the Buyer's behalf. A fee of £350 + VAT to do so will be added to the Buyer's invoice.For further information on this lot please visit Bonhams.com

Ca. AD 1400 - 1500. A large bronze heraldic shield of heater shape, decorated with a raised saltire formed by two intersecting diagonal bars retaining traces of blue enamel. Raised rectangular and square motifs fill each field of the shield. Found Rochester, Kent.For similar see: British Museum Museum number1947,1007.1Size: 69.9mm x 56.2mm; Weight: 43.65gProvenance: Private UK collection; Ex. J.P. Collection, Essex. UK art market since the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Charles Dickens Heritage Desk, a replica of Charles Dickens' desk at Gad's Hill Place, Rochester, Kent, limited edition number 15/999, in Georgian style, constructed from mahogany with leather inset writing surfaces, central hinged section opening to reveal fitted interior and brass plaque, over a kneehole flanked by twin banks of drawers, complete with certificate of authenticity, 139cm by 73cm by 87cm

John Varley (1778 - 1842), Upnor Castle Rochester, watercolour, inscribed verso, 14cm x 14cm, framedSlight paper discolouration

StaffSome 48 Medals issued to the Staff, 3 of these to Interpreters and all with clasp '1879'.'The Border Horse now began to fire at the distant snipers, and Wood waited to see what effect the shots might have. A Zulu suddenly popped up from a rock a scant fifty yards away and fired. Wood noted that the shot seemed low, but Lloyd fell back, exclaiming, "I'm hit - badly! My back is broken!" Wood and Campbell caught him and carried him down to the stone kraal. Wood then started back up, leading his horse, but a shot struck it and killed it, and when he regained the kraal he found that Lloyd had died. Wood now ordered Weatherley to take the Border Horse up to clear the trail, but the men balked again. Campbell then picked up Lysons and four privates from Wood's escort and started up the trail in single file, making for a cave from which several Zulus were firing. The narrow passage was only two feet wide between towering rock walls, and as Campbell plunged into the mouth of the cave, a Zulu fired a shot straight into his forehead, killing him instantly. Undaunted, Lysons and Private Edmun Fowler sprang over his body, driving the Zulus into the recesses of the mountain. Lysons then held the mouth of the cave while the others dragged Campbell's body back to the kraal…'High drama on Hlobane Mountain on 29 March 1879; The Washing of the Spears by Donald R. Morris, refersThe outstanding South Africa Medal awarded to Mr. L. Lloyd, Evelyn's Wood's interpreter, who - in one of the most contentious episodes of the conflict - was mortally wounded in the disastrous action at Hlobane on 29 March 1879South Africa 1877-79, 1 clasp, 1879 (L. Lloyd, Esq., Interpreter), suspension claw tightened, minor contact wear, very fineLlewelyn Lloyd was a prominent casualty in the disastrous action fought at Hlobane Mountain on 28 March 1879, his death being indelibly linked to that of Captain Hon. R. G. E. Campbell of the Coldstream Guards, as outlined in Colonel Evelyn Wood's much quoted despatch to Lord Chelmsford. It was an episode in which incompetence played its role, amidst charges of cowardice, and has accordingly remained the subject of ongoing debate.In fact, no history of the Zulu War would be complete without mention of this contentious chapter, some historians claiming that Wood (later Field Marshal Sir Evelyn Wood, V.C., G.C.B., G.C.M.G.) momentarily lost the plot.An excellent account of events may be found in John Young's Horror at the Devil's Pass - The Battle of Hlobane, 28 March 1879, from which the following extract has been taken:'…Dawn broke and a new horror became apparent. The Zulus were behind prepared barricades and concealed within caves that riddled the mountain, awaiting the assault. From behind their positions, the Zulus opened fire on the scaling troops. Two officers of the Frontier Light Horse, Lieutenants Otto von Stietencron and George Williams, fell dead, two troopers also fell to the fire.Wood and his escort rode to the sound of the firing. Just below the summit of the mountain plateau they chanced upon Lieutenant-Colonel Frederick Augustus Weatherley and his Border Lancers. Weatherley's unit should have been with Buller, but during the storm they had become separated and now lagged behind. Wood spied a Zulu rifleman level his gun in his direction and he expressed his contempt of the Zulu marksmanship. The Zulu fired, and his bullet found its mark, shattering the spine of Mr. Llewelyn Lloyd, Wood's Political Assistant and his interpreter, who was at Wood's side. Wood attempted to lift the mortally wounded man, but stumbled under the weight. Captain the Honourable Ronald Campbell, Coldstream Guards, Wood's chief staff officer, came to his aid and carried the dying Lloyd out of the line of fire. Again a Zulu fired at Wood, killing his lead mount. The horse fell against Wood, and caused him to stumble.A gasp went up from his men, fearing their commander wounded. Wood shouted a reassurance that he was not hit, and picking himself up, he made his way downhill to the troops' position. Angered at being pinned-down, Wood ordered Lieutenant-Colonel Weatherley to assault the position from where the fire was coming. Weatherley in turn, addressed his men, ordering them forward, but only Lieutenant J. Pool and Sub-Lieutenant H. W. Parminter responded to the command. The remainder of the Border Horse refused to assault the position, saying that it was unassailable. Captain Campbell was horrified; this was tantamount to mutiny - if not cowardice.Campbell was of ennobled birth, the son of the 2nd Earl Cawdor. Such behaviour was unheard of within the class to which he belonged. Uttering his contempt of the fainthearted volunteers, he sprang forward towards the foe, supported by Second-Lieutenant Henry Lysons, 90th Light Infantry and four mounted infantrymen of Wood's personal escort, also drawn from the 90th. The small party advanced in a determined manner, clambering over boulders and through crevices, which led to the Zulu position. The path was so narrow that the advance could only be made in single file. Campbell gained the mouth of the cave first, only to be shot in the head at point-blank. Undeterred, Lysons and Private Edmund Fowler carried the position, forcing the Zulus to withdraw into a series of subterranean passages and, with Lysons and Fowler in pursuit, they killed all those who offered resistance, and put the others to flight.With Lysons covering the cave mouth, Campbell's body was brought down and placed alongside Lloyd, who had succumbed to his wound. Fearful of the bodies being mutilated, Wood decided to bury them on the field. Being the son of a clergyman, he wished to conduct a proper burial service, only to realise that his service book was still in the wallets of his saddle on his dead mount. He ordered his bugler, Alexander Walkinshaw, to recover the prayer book. Walkinshaw, whom Wood described as "one of the bravest men in the Army," calmly strode up, under heavy fire and recovered not only the prayer book but also the entire saddle.Wood had the two bodies removed some three hundred yards downhill, to where the soil was less rocky and the Zulus of Wood's escort dug the grave with their spears, under the watchful eye of Prince Mthonga. Their task completed, Wood committed the two bodies to the ground, reading an abridged version of the burial service from a prayer book which belonged to Captain Campbell's wife, who was the daughter of the Bishop of Rochester, Kent…'Lieutenant Henry Lysons and Private Edmund Fowler, both of the 90th Regiment, were awarded the Victoria Cross.PostscriptOn 21 May 1880, Mrs. Campbell was taken to Hlobane where a headstone was placed on the grave of her husband and Llewelyn Lloyd. Some of the party, including Empress Eugenie, actually climbed up the Devil's Pass to the summit. Finally, they reached the site where the Prince Imperial was killed. Another memorial stone was laid and the empress planted cuttings of a tree she had brought from the family estate at Camden Place in Chislehurst. The grief-stricken party returned to England by the end of July.… 25001 SALEROOM NOTICE:Clasp an old tailors copy, naming details as described. The estimate is revised to £6,000-8,000.

'On Tuesday May 27th, the crew of the NC-4 was up before dawn. The engines and radio was checked out and on the signal from Read, Elmer Stone advanced the throttles and the big flying boat lifted off in the early morning for Lisbon Portugal. Another chain of destroyers extended between the Azores and Lisbon. The weather was good and as the NC-4 passed over each destroyer the ship radioed a message of her passage to the base ship Melville at Ponta Delagada and the cruiser Rochester in Lisbon who in turn reported to the Navy Department in Washington. At 19:30 the flashing light from the Coba da Roca lighthouse was spotted and the NC-4 passed over the coastline. The big aircraft turned southward toward the Tagus estuary and Lisbon. At 20:01 on May 27, 1919, the NC-4s keel sliced into the waters of the Tagus. The welcome was tumultuous. A transatlantic flight, the first one in the history of the world, was an accomplished fact!Early in the morning of 30 May the NC-4 departed Lisbon for Plymouth England. The NC-4 sat down in the Mondego River to investigate an overheating engine. The radiator had developed a leak and was repaired but because of a low tide condition it became too late in the day to take off and reach Plymouth before dark so Read proceeded to Ferrol in northern Spain to spend the night. They were back in the air the next morning and as they approached Plymouth a formation of Royal Air Force seaplanes escorted the NC-4 into the harbour. A British warship fired a 21 gun salute as the NC-4 circled. The Lord Mayor of Plymouth received Commander Read and his crew and from Plymouth they went to London where they were decorated by the King of England. President Wilson, who was at the Peace Conference in Paris, sent for them, congratulated them for their outstanding achievement and introduced them to all present…'The triumphant closing stages of the NC-4's pioneering trans-Atlantic flight in May 1919; the U.S. Coast Guard's 'Aviation History' website refers.The important Aero Club of America Aviation Medal of Merit, Artefacts and Archive appertaining to Walter T. Hinton, United States Navy, who co-piloted Curtiss Flying Boat 'NC-4' in the first ever trans-Atlantic flight in May 1919, a pioneering achievement for which he was awarded the Navy Cross and later the Congressional Gold Medal(i)Aero Club of America, Aviation Medal of Merit, bronze, obverse, an albatross over the globe, reverse officially engraved, 'W. K. Hinton, Pilot NC4, commemorating the Trans Atlantic Flight. May 8th to 31st 1919', 34mm., integral loop and ring suspension, complete with upper 'Aviation Medal of Merit' suspension device, and small length of original riband; accompanied by a signed declaration by Hinton, in which he gifts the award to a friend in 1978(ii)The recipient's 'match safe' vesta box, gold (marked 14K.), with black and green stripe enamel decoration and central monogram 'JPM', 47mm. by 60mm., contained in a felt-lined burgundy leather case, with lid inscription in gilt lettering, 'Walter Hinton Gold Match Box Carried on NC-4 Flight'; believed to have been another gift to Peter C. Carlson(iii)A commemorative plaque for Wilbur and Orville Wright's pioneering flight, bronze, rectangular, by Charles E. Barber and George T. Morgan, for the U.S. Mint, obverse, conjoined busts of the brothers with inscription, 'In recognition and Appreciation of Their Ability, Courage and Success in Navigating the Air', reverse, a winged female figure holding a torch, with upper inscription, 'Shall Mount Up with Wings as Eagles', 55mm. by 80mm., somewhat discoloured by old lacquer(iv)American Aeronautical Society, bronze disc commemorating the First Annual Dinner, New York, 27 April 1911, 40mm., together with a small medallet with aircraft in flight and reverse inscription, '1954 3rd', on a black riband(v)A significant photographic archive (approximately 70 images), of aircraft, personnel and related subject matter, covering Haiti 1915, Mexico 1917, the crash of the NC-2 at Atlantic City in 1919, the take-off and in-flight of the trans-Atlantic flight, subsequent scenes from Lisbon and London - the latter including a photograph of the Prince of Wales and Winston Churchill - his triumphant return to the U.S.A., thence his Long Island to Hudson Bay flight in 1920, U.S.A. to Brazil flight in 1922-23 and take-off from the Amazon in 1925, together with images of Charles Lindbergh and Eddie Rickenbacker.(vi)A postal telegraph from Charles Lindbergh in New York, sent to Hinton in Paris in May 1919, 'Thanks for your kind invitation. Regret impossible to make definitive plans at this time'; together with a quantity of Hinton's calling cards and home stationery. (Lot)Walter T. Hinton was born in Pleasant Township, Van Wert County, Ohio on 10 November 1888, where he was raised on a farmstead. An adventurous soul, he was motivated by a poster urging young men to 'Join the Navy and See the World' and did just that, entering the United States Navy in February 1908 and seeing action at the occupation of Veracruz in Mexico in 1914.But it was in naval aviation that he was to make his mark, having become one of the first enlisted men gain a place at the Naval Air Station in Pensacola, Florida. He became an instructor on gaining his 'Wings', one of his pupil pilots being Richard E. Byrd, afterwards the famous polar aviator.Of his subsequent exploits as co-pilot with Elmer Stone of the Curtiss NC-4's trail blazing trans-Atlantic crossing in May 1919, much has been written, including The Flying Firsts of Walter Hinton, by Benjamin J. Burns. In addition, numerous website sources bear testament to the epic nature of the flight, a particularly detailed account appearing on the U.S. Coast Guard's 'Aviation History' site:https://cgaviationhistory.org/1919-nc-4-transatlantic-flight/Of the three flying boats that set out from Rockaway Beach, New York on 8 May 1919, only NC-4 made it safely to Lisbon, via ports of call in Nova Scotia and the Azores in a journey lasting 19 days. The subject of rapturous receptions over the coming weeks - not just in Lisbon, but in London and Paris too - Hinton and his crew enjoyed further accolades by way of reward, among them honours bestowed by the Portuguese and British governments, in addition to those presented them on returning to America; Hinton's Navy Cross was later surpassed by a Congressional Gold Medal awarded him in 1929.During the 1920s, he continued his pioneering work, exploring the Arctic by balloon, including a wayward flight in Navy Balloon A-5598 from Rockaway Naval Air Station to Moose Factory, Ontario, a winter trip which ended with a month-long hike back to civilisation. He also made the first flight from North America to South America, where he explored the Amazon forest by hydroplane; his first attempt at that feat nearly ended in disaster, when he was compelled to take to the wing of his aircraft in shark infested waters off Cuba.A noted speaker on aviation matters, Hinton was President and founder of the Aviation Institute of the U.S.A., and published a number of periodicals, including Pioneers in Aviation, Aviation Progress and Wings of Opportunity.Retiring to Pompano Beach, Florida - where he delighted in sharing his memories with all and sundry - his glittering career was crowned by a supersonic flight in Concorde, when, as a special guest, the Atlantic crossing took less than four hours. After his death in 1981, his ashes were interred at Arlington National Cemetery. SALE 25001 NOTICE:Gold match safe weighs 34g. Naming of the Aero Club of America Medal now added to the Lot.

Four: Wing Commander A. T. Whitelock, Royal Air Force, late Royal Flying Corps, who was 'mentioned' in 19171914-15 Star (2. Lieut. A. T. Whitelock. R.F.C.); British War and Victory Medals, with M.I.D. oak leaves (Major A. T. Whitelock. R.F.C.); Coronation 1937, mounted as worn, very fine (4)Arthur Thomas Whitelock was born on 25 March 1888, was educated at Archbishop Holgate's School and Jesus College, Oxford. He was a Classical Master living at Oakdene, Mount Vernon Road, Barnsley at the outbreak of the Great War. He took Aero Certificate No. 1263 on a Farman biplane at Brooklands on 22 May 1915, being made 2nd Lieutenant in the Royal Flying Corps that same day. Whitelock served in France with No. 5 Squadron from 4 July 1915. On 23 September 1915, having joined No. 4 Squadron, he was pilot of Be2c 2035. That day formed part of the preparations for the Battle of Loos, Whitelock shot down a 'Fokker 2 seater' south-east of Douai and south of Arras, the enemy aircraft '...shot through prop'.Whitelock and Balmain had a lucky escape on 25 November 1915. While engaged on an artillery co-operation sortie between Bray and Albert in Be2c 2001, they were attacked by an enemy aircraft, of a type unknown to them. No sooner had they driven it off than they were attacked from above by an Albatros, which they also drove off. A third aircraft attacked from behind and Whitelock managed to disengage, having expended all their ammunition. Considering discretion to be the better part of valour, the mission was abandoned. On 14 December, his aircraft was damaged after being chased by Fokker on a special mission to Hervilly.Returned home, he returned to France in September 1916 to assume Command of No. 7 Squadron and was 'mentioned' (London Gazette 15 May 1917 refers).Made Wing Commander in January 1922, he went to RAF Halton on Staff Duties in April 1924 and was in command of No. 10 Squadron in 1929. Whilst with that unit he designed their Squadron Badge & motto - rem acu tangere ('to hit the mark!'), which was apparently conceived whilst watching archery practice in Oxford. He took over No. 2 Bomber Group at Andover in May 1935 and was District Commandant Rochester by 1939. He was retired in March 1943 and is buried in Bibury, with a new headstone being unveiled by the 10 Squadron Association in recent years.…

1980 Rochester Lancers v. Toronto Blizzard Programme, 1969 Estudiantes De La Plata and other publications, pennant, tickets including 1975, 76 Bradford City v. Southampton, Arsenal v. Everton..

After Samuel Buck (British, 1696 - 1779) and Nathaniel Buck (British fl. 1724 - 1759), a Set of Eight Port Landscapes, to include: The North Prospect of Gravesend in the County of Kent, The South Prospect of Dover in the County of Kent, The West Prospect of His Majestys Dock-Yard, at Chatham, The North Prospect of Woolwich, in the County of Kent, The North-West Prospect of Sheerness, in the County of Kent, The North-West Prospect of Deptford, in the County of Kent, The North-West Prospect of Maidstone, in the County of Kent, and The North-West Prospect of the City of Rochester, all framed and glazed, the largest measuring 48 cm x 98 cm overall

Louis Neville (British, Fl. 1887-1914) Sailing near Rochestersigned and dated lower right 1903 (?)watercolour15 x 34cm

THREE RARE EARLY CENTRE-SHOT BOWS, 19TH CENTURY the first bow American, by W.H. Wright and G.L. Thorne, made of light wood, D-shaped section, iron grip painted black with circular opening for arrows, four blades within the circle to secure the arrow, faint painted scrollwork, stamped 'pat.Mar.11, 1879 No. 5', metallic nocks in the shape of longbow nocks (one cracked), 71.5 inches; the second of ovular section, swelling to an ovular grip pierced with a centre hole, reinforced with a brass plate on the belly secured by screws, hook-shaped brass nocks, with accompanying bowstring tipped with two leather tabs for securing to the hooks, 71.5 inches, the third similar, with flatbow section, two leather bands below the centre hole and a brass ring embedded below the bands (missing bowstring), 74 inchesWilliam H. Wright, of Rochester, and George L. Thorne, of Buffalo, New York, filed one of the earliest patents for a centre-shot bow. They describe their invention in the patent as follows:'The object of our present invention is the production of a bow which is capable of being readily bisected for transportation and other purposes, and put together when wanted for use. Its object is, furthermore, to provide for a convenient guide for the arrow; and, lastly, to improve the construction of said arrow.'The design was intended to be used alongside an arrow with hair or wire-cloth fletchings, which could better withstand being shot through the blades. The arrow was also weighted with an inner metallic rod near the point. For further information, see Patent US213083A (Wright and Thorne, 1879). According to the late Bill Terry, the other two bows in this lot were reportedly used to cast telephone lines over obstacles and up slopes during the early stages of the introduction of the telephone. This would make them a similar age to Wright and Thorne's bow, which is reinforced by their similar design.