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29 assorted children's action and mystery books by Enid Blyton, G.E. Rochester, Talbot Mundy, Arthur Conan Doyle etc.

1995 European Ryder Cup signed ltd ed colour print titled "Ryder Cup Victors" played at Oakhill Country Club Rochester New York signed by both the artist Peter Wileman and European Captain Bernard Gallacher, won by the Europeans for only the 2nd time on US soil - ltd ed no. 74/795 - mounted on board and ready for framing overall 20" x 27"

Mathematics.- Lawson (John) A Synopsis of all the data for the construction of triangles, from which geometrical solutions have hitherto been in print, first edition, offsetting to title, occasional spotting, lightly browned, disbound, Rochester, Printed by T. Fisher, 1773; and a defective Astronomy work, 4to & 8vo (2) *** Lawson, who was rector of Swanscombe in Kent, was an authority on the mathematics of the ancients. 

Jane Eyre-grey dress; white collar; yellow brooch, Mr. Rochester- Maroon smoking jacket; brown collar.The Charlotte Bronte characters from her 1847 " Jane Eyre" form the second in the double character jug series. This jug was issued by Lawleys By Post in a limited edition of 1,500 pieces. Series: Double Character Jugs. Royal Doulton backstamp. Artist: William K. HarperIssued: 1998Dimensions: 4.75"HEdition Number: 248 Manufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.

David A. Maass (American, b. 1929). Oil on board painting depicting three flying Green-Winged Teal above a wintery landscape. The waterfowl glide smoothly towards the river along with several other ducks, partially obscured behind the bare trees. Signed along the lower right.Working from Rochester, Minnesota, Maass has designed over 38 duck and conservation stamps and has always felt a deep connection with wildlife ever since his childhood.Sight; height: 23 1/4 in x width: 31 1/4 in. Framed; height: 29 in x width: 37 in x depth: 1 in.Condition:The colors are bold and bright and the surface is stable. There are no visible losses or restorations when viewed under UV light. Along the lower right corner there is a very light brown accretion. Some accretions to the verso, original to the artistic production.

* Dickens (Charles, 1812-1870), English novelist. Autograph Letter Signed, ‘Charles Dickens’, Gad’s Hill Place, Higham by Rochester, Kent, 10 June 1864, to J. C. Horsley, telling that he has referred his letter to Mr Wills, sub editor of All The Year Round, who has ‘recommended a competent hand for the purpose’, and saying that he has received a note from Mr Bass, ‘in which he informs me that he has confided the task to a friend of his, an ex M. P. ,,,’, 1 page on personal stationery with integral blank leaf, minor marks from previous mounting to final blank page, 8voQTY: (1)NOTE:Provenance: The Autograph Collection of Peter Bland (1928-2003).A later pencil note on the final page reads: ‘This letter refers, in the opinion of Mr Gotch (to whose father it was addressed) to Mr J. C. Horsley’s campaign against the nude in art.’ John Calcott Horsley (1817-1903) was an English academic painter of genre and historical scenes, and designer of the first Christmas card. From 1875 to 1890 Horsley was rector of the Royal Academy, where he campaigned against French influences and the use of nude female models, which earned him the nickname 'Clothes Horsley’. However, the letter more likely relates to street noise. Michael Bass (1799-1884), Liberal MP, had a bill pass in July 1864 that was effectively the first modern legislation against noise.

* Hyde (Laurence, 1642-1711), 1st Earl of Rochester, English statesman and writer. Document Signed, 'Hyde', Whitehall, Treasury Chambers, 29 November 1681, a manuscript warrant on laid paper, assigning the sum of £25 pension to be paid to Eleanor Mather, widow of Captain William Mather, signed in the right margin at foot by Hyde and three other High Treasurers comprising Edward Dering (1598-1644), John Ernle (1620-1697) and Stephen Fox (1627-1716), 1 page with integral blank leaf (endorsed), some soiling and marginal fraying, not affecting text or signatures, together with a vellum warrant appointing Richard Leake to be Castle Greene and Collector of all events in Alnwick, Northumberland, manuscript on vellum, signed at foot by 'Essex' (Arthur Capel, 1st Earl of Essex, 1631-1683), William Pierrepont and Robert Leigh, some age wear and overall heavy soiling, lacks seals, 19 x 31 cm, plus a highly defective document on paper, Whitehall, 4 February 1600/1601, being articles of agreement, the 4 signatures at foot still clear and present, Charles Howard (1536-1624), 2nd Baron Howard of Effingham, 'Nottingham'; Thomas Sackville (1536-1608), Baron Buckhurst, 'T. Buckhurst'; J. Fortescu (1531?-1607), Chancellor of the Exchequer and Ro. Cecill (1563?-1612), Earl of Salisbury, Secretary of State, overall spotting and marginal fraying with large loss of text to upper right two-thirds of document, relaid, folioQTY: (3)NOTE:Provenance: The Autograph Collection of Peter Bland (1928-2003).

* Early Photography. A collection of 10 early photographs, late 1850s and early 1860s, albumen prints and carbon prints, including a farmyard scene with ducks and poultry, 19 x 24.5 cm, a large view of an Oxford College Quadrangle (possibly by Fenton), 24.5 x 29 cm, 2 views of Rochester Castle by Frederick Scott Archer, 19 x 26 cm, an over-painted photographic view of the Thames by Vernon Heath, a portrait of two children and their nanny, a gravure of Dr Munro by Hill & Adamson and a small rural scene by William Sherlock (10 x 11 cm)QTY: (10)

Carte de visite photographic postcard depicting a view of the steamship "Belle of Minnetonka" at the Excelsior Dock in Minnesota. The right edge stamped "Minnesota Scenery" and along the left edge "Union View Co., Publishers, Rochester. N.Y."Height: 4 1/4 in x width: 7 in.Condition:There are no visible tears. There are minute losses and creases to the corners, in particular the upper right corner. The sheet is toned and there is soiling throughout. No signs of restoration under UV light. Not framed.

19th century school Oil on board View of Rochester Castle, sailing vessels on river in foreground, unsigned, image size 22cm x 36cm

Marks and Spencer - 'Rochester' large two-seat sofa on turned light wood feet, upholstered in charcoal fabric Dimensions: Height: 89cm  Length/Width: 171cm  Depth/Diameter: 105cm

Marks and Spencer - 'Rochester' two-seat sofa on turned light wood feet, upholstered in charcoal fabric Dimensions: Height: 88cm  Length/Width: 154cm  Depth/Diameter: 105cm

A Pair of American Silver Plate Five-Light Candelabra, by Van Bergh Silver Plate Co., Rochester, New York, 20th Century each on shaped circular base with foliage-cast border, the stem tapering and terminating in four foliage-cast branches, each with fluted socket and with detachable wax-pan, with further central light62cm high (2)Marked underneath. There is some overall surface scratching and wear, consistent with age and use. Perhaps re-plated.

A selection of three vintage fishing rods. To include a William Rochester Pape two-section general split cane rod with cork handle, in original cloth sleeve, with an overall length of 290cm. To also include an Allcock three-section bamboo general purpose rod, with original cloth sleeve and an additional fourth section. With an overall length of 345cm. Also including an unmarked bamboo three-section fly rod in original sleeve, with an overall length of 290cm.

American Tobacco Company Baseball Series T206 white border, single card Piedmont back - John Ganzel, Rochester in good to very good condition.

Steamers, excellent collection of Steamer and Passenger Ferry related postcards with RP cards, including; Golden Eagle, Royal Eagle, Brighton Queen, La marguerite, Ben-My-Chree, Ramsey Town, Snaefell, Princess Elizabeth, Royal Sovereign, Medway Queen, Crested Eagle, Queen of Thanet, City of Rochester, Halladale, Maid of Orleans, Maid of Argyll, Maid of Ashton, Dutchess of Hamilton, Dutchess of Montrose, S.S. Canterbury, D.S. Dinard, Maid of Cumbrae, Lord Warden, Manxman, Discovery, Empress of France, Nevasa, Balmoral Castle, Aquitania, Viking, Hibernia, Gracie Fields, Talisman, Shanklin, Clyde Steamers booklets (2) & many, many more with various Port and Seaside scenes with ships in the background. Really interesting collection for any collector of this subject. Viewing recommended. Total quantity 730+

Four: Private F. Parrott, 80th Regiment Sutlej 1845-46, for Moodkee 1845, 2 clasps, Ferozeshuhur, Sobraon (Drumr. Frederick Parrott, 80th Regt.); India General Service 1854-95, 1 clasp, Pegu (Dr. Fredk. Parrott, 80th Regt.); Indian Mutiny 1857-59, no clasp (Fredk. Parrett, 80th Regt.) note spelling of surname; Army L.S. & G.C., V.R., 3rd issue, small letter reverse (1526 Fredk. Parrott, 80th Regt.) attempted erasure of rank on the first two, edge bruising and contact marks, otherwise nearly very fine and better (4) £2,400-£2,800 --- Frederick Parrott was an Army “Brat” who became a Drummer in the 80th Foot, aged 14, on the death of his father, Sergeant Ambrose Parrott of the West Kent Militia, who died suddenly on 14 October 1838, at the age of 44, leaving his wife to care for their children, which led to the decision for Frederick should join the Army. This he did, and two weeks later, on 29 October - aged 14 years and 4 months - he travelled from Maidstone to Rochester to enlist. At that time the 80th Foot, later the South Staffordshire Regiment, was stationed at nearby Chatham; this was the Regiment he joined as a Boy Drummer. His enlistment must have been a great relief to his mother, since the year before, in July 1837, Frederick’s elder brother Edwin, then 17, had been convicted and transported as a convict to New South Wales, Australia. Frederick Parrott was to serve for 21 years in the 80th Foot; was never court-martialled; was five times entered in the Regimental Defaulters Book; earned five good conduct badges; and qualified for four medals. He travelled all over the world, taking part in four major and bloody battles in which the 80th Foot earned Battle Honours to display with pride on their colours and drums. By a strange coincidence, his first overseas posting was to join his Regiment in Australia, where they had gone to escort convicts and were stationed in Windsor, New South Wales. Their duties at this time were, as the Regimental History puts it, ‘[e]ngaged in the not very congenial task of suppressing convict riots’. In 1840 he left Australia and went with his Regiment to New Zealand where he served until 1845 when, suddenly, the 80th were posted to Agra in India to take part in the Sikh War. His first action was at the Battle of Moodkee. It was a bloody bayonet battle in which two of his fellow drummers were killed and two wounded, one so severely he had to be invalided back to England. At the next battle, Ferozashah, the 80th were at the head of the advancing British column when they were stopped by artillery fire. The Commander in Chief rode up and spoke to them: ‘My lads we will have no sleep until we have those guns’. The 80th fixed bayonets charged and captured the guns. Then with good discipline reformed at the head of the Column and marched past the Commander in Chief who commented, ‘Plucky dogs, we cannot but win with such men as these’. In the final battle of the war, at Sobraon, the 80th were part of Sir Robert Dick’s Division tasked to secure the entrenchments. It was another fierce affair using the bayonet, in which Sir Robert Dick was killed and the British suffered 2,500 casualties. For the part they played in the war, the 80th added three Battle Honours to the Colours of the Regiment. After a period stationed in India, the 80th were off again, called to arms and posted to take part in the developing war in Burma. Under command of Lieutenant-Colonel G. Hutchinson, they took part in the storming and capture of the Grand Dragon Pagoda in Rangoon, which meant crossing 800 yards of open ground under heavy fire and clearing the gunners manning the walls using the bayonet. The 80th then boarded H.M.S. Enterprise and sailed up river to take part in the capture of Prome. It was another battle where the 80th advanced with their bayonets and, as their Commanding General, General Goodwin, later said, ‘Most gallantly drove the enemy out of their position’. After further engagements, including at Dinebaw, the Regiment was posted back first to Calcutta and then in 1854 on home to Chatham having been granted another battle honour for their bravery in Burma - ‘Pegu’. Their stay in the UK was again brief; a short period in Canterbury, then to Fort George in Scotland and then, in 1855, to Portsmouth. However, the 80th were soon called upon to go overseas for another impending war. This time it was to South Africa in preparation for the Kaffir War. On 10 July 1856 they sailed to Cape Colony in South Africa, and were based at Fort Beaufort. But it was to be a short stay; the Mutiny had broken out in India, and in November 1857 the Regiment was despatched to Calcutta. Throughout the suppression of the Mutiny, the 80th were in constant action against bands of rebel soldiers. At the battle of Fort Simree, they again advanced with the bayonet and, in the General Officers Report it is stated: ‘The advance of the 80th under Captain Young excited my warmest approbation’. They fought bitter actions at Dhana and the Campaign in the Oude, and finally finished at the scene of the notorious massacre at Cawnpore. The 80th Regiment gained the Battle Honour ‘Central India’ and Frederick Parrott gained the Medal without clasp. Parrott remained in India with his Regiment stationed at Saugor in the Central Province in 1860, and then in Jhansi in 1861. On 30 November 1861 he was recommended for the Long Service and Good Conduct medal and this was approved by the Commander in Chief, India on 19 October 1862, granting him an annuity of five pounds. Frederick now sailed back to England and on 4 August 1863, after 20 years and 348 days abroad, he was finally discharged from the Depot in Maidstone. He had been in the Army for 21 years 37 days but, as he had joined under age, his pension was only for 15 years and 125 days. Sold with copied discharge papers and other copied research.

A Second War anti-U-Boat operations D.S.M. group of five awarded to Able Seaman T. Farrell, Royal Navy, for the sinking of U-204 by H.M.S. Mallow in October 1941 Distinguished Service Medal, G.VI.R. (JX.199905 T. Farrell. A.B.) impressed naming; 1939-45 Star; Atlantic Star; Africa Star; War Medal 1939-45, mounted court-style, very fine and better --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Provenance: Spink, December 1997. D.S.M. London Gazette 24 March 1942: ‘For skill and enterprise in action against enemy submarines while serving in H.M. Ships Exmoor, Blankney, Stanley, Mallow and Marigold.' Thomas Farrell was serving in H.M.S. Mallow at the time of being recommended for his D.S.M. While engaged on an A./S. sweep off Cape Spartel on 19 October 1941, in company with the Corvettes H.M.S. Rochester and H.M.S. Carnation, Mallow picked an asdic contact at 500 yards range. Manoeuvring into an attack position, she dropped seven depth charges set to 150 and 300 feet, but on the point of delivering a second attack ‘an area of oil approximately 200 yards long and 50 yards broad was seen extending across the wind’. Mallow was now joined by the Carnation, and later still the Rochester, both of whom carried out further attacks on what appeared to be a stationary target. Further evidence of a probable ‘kill’ turned up 24 hours later, when the air vessel and fuel and water bottles of a German torpedo were recovered in a position about eight miles eastward of the original attack, and in their subsequent deliberations the U-Boat Assessment Committee concluded in Mallow's favour with a ‘Known sunk’. Her victim was probably the U-204. Farrell received his D.S.M. at an Investiture on 27 October 1942.

A quantity of WW1, WW2, and later British regimental cap badges. To include: a post WW2 military police, a post WW2 RAF badge, North Stafford Regiment, Notts & Derby Regiment, The First Life Guards,  The Wiltshire Regiment, Gordon Highlanders, Lincolnshire Regiment, Gloucestershire Regiment, East Yorkshire Regiment, Rochester Volunteer Training Company, Royal Fusiliers, Cambridgeshire Regiment, RAF, 20th Hussars, Lancashire Fusiliers, Welch Fusiliers, Tank Corps, Yorkshire Light Infantry, Special Air Service, and what appears to be a cast brass copy of the Victorian 93rd regiment Sutherland Highlanders badge. 21 badges total. Condition: generally good. Some service and age related wear to a number of the badges, plus some old ingrained polish to several. All of the badges retain their loops or sliders to the reverse.

3 Late 19th/Early 20th Century maps. Middlesex Westminster, Kent, Rochester, Environs of London. 30x24.5cm

TOBY & CHARACTER JUGS. A collection of Dickens and character jugs, including: a model of Charles Dickens' House Gad's Hill, Rochester by W. H. Goss; a toby jug of Dickens by Burleigh Ware, 18cm high; one of Scrooge by Burleigh; Tony Weller by Beswick, etc. (28)

SIX BOXES OF MIXED CERAMICS AND GLASSWARE from named manufacturers including Royal Doulton, Royal Memorabilia, Rochester Ceramics, 'Carlton Medina Shape' ceramics, mixed glasses etc, dinner plates, four ceramic female figurines etc (6 boxes) (s.d)

Williams (Charles) Descent into Hell, new edition, endpapers toned, jacket spine ends frayed, 1949; The Descent of the Dove, first edition, jacket discoloured, creased and rubbed at edges, 1939; Rochester, first edition, light spotting, ownership inscriptions and bookplate on endpapers, jacket spine faded, ends chipped and frayed, 1935, original boards or cloth, dust-jackets; and 10 others by Williams, some first editions, 8vo (13)

This lot comprises seven documents all with large seals attached signed by various Bishops in relation to appointments conferred upon William Vavasour Mason: 1895 - Bishop of St Albans: Chipping Barnet Parish Church. 1896 - Bishop of Rochester: Brockley in the Parish of St Mary, Lewisham. 1901 - Bishop of Southwark: Parish Church at Brockle, Kent. 1921 - Bishop of Ely: conferring the Vicarage of the Parish Church of St Giles with St Peter Cambridge. 1924 - Bishop of St Albans - Rectory of Knotwort, Hertfordshire. 1929 - Bishop of St Albans - Stipendiary Curate, Holy Saviour, Hitchin. 1939 - Bishop of St Albans - any parish within the Diocese.  -

821-823 Ceolwulf I Rochester Penny, broken, struck by Eahlstan, excessively rare (S 924-926, Naismith R6.6). Obverse: draped and diademed bust. Reverse: three lines of lettering divided by two lines, the moneyer's name is shown in reverse, unlike the example in Naismith's 'The Coinage of Southern England 796-865'. Weight: 1.19g (total). Grade: aVF - broken in half with a small fragment missing, near VF, very scarce.

Collection of approximately 100 Yeomanry and Volunteer badges including Essex Yeomanry, Fife and Forfar Yeomanry, Royal Buckinghamshire Hussars, Lancashire Hussars, Welsh Horse, Flint and Denbigh Yeomanry, Shropshire Yeomanry, Royal Gloucestershire Hussars, Westmorland and Cumberland Yeomanry, Royal Devon Yeomanry, Lanarkshire Yeomanry, Worcestershire Hussars, Probynis Horse, 8th Scottish Volunteer Battalion The King's Liverpool Regiment, Sussex Volunteer Training Corps, Exeter Rifle Volunteers, Derbyshire Volunteer Regiment of Home Guards and Rochester Volunteer Training Corps, etc, some restrikes

A group of antiquarian and later watercolours, still-life oil painting, landscape watercolour signed J S Rochester, etc.

A late 19thC American mahogany and leather case box camera, by the Rochester Camera Company, the Cycle Roco number 3, with a Unicum lens.

A late 19th specimen timber and marquetry drop-dial wall clock, 22cm circular dial inscribed Baurle, 391 High Street, ROCHESTER, single winding hole, 45cm wide, 34cm wide, c.1880

Minor White (1908–1976) was an American photographer and one of the most influential figures in 20th-century photography. He was known for his contemplative and spiritual approach to photography, as well as his pioneering work in photographic education and criticism.Born in Minneapolis, Minnesota, White initially studied botany and poetry before turning to photography in the 1930s. He was deeply influenced by the work of photographers such as Alfred Stieglitz and Ansel Adams, as well as by the teachings of the American transcendentalist writers Ralph Waldo Emerson and Henry David Thoreau.White's photography is characterized by its focus on abstract forms, light, and texture, as well as its emphasis on symbolism and metaphor. He often used multiple exposures, cropping, and other techniques to create images that transcended literal representation and invited viewers to engage with the deeper meanings and emotions behind the photograph.One of White's most famous series is "Equivalents," a collection of abstract photographs of clouds that he began in the late 1940s. These images, characterized by their ethereal beauty and emotional resonance, are often interpreted as visual metaphors for White's inner thoughts and feelings.In addition to his work as a photographer, White was also a dedicated teacher and mentor. He taught photography at institutions such as the California School of Fine Arts (now the San Francisco Art Institute) and the Rochester Institute of Technology, where he had a profound influence on generations of photographers.White was also a prolific writer and critic, known for his insightful essays on photography and his role as the editor of the influential photography magazine "Aperture." He believed that photography had the power to reveal the hidden truths of the world and that the photographer's inner vision was as important as technical skill in creating meaningful photographs.Minor White's work continues to be celebrated for its spiritual depth, technical innovation, and poetic sensibility. He is regarded as one of the great masters of 20th-century photography, and his legacy as an artist, educator, and visionary continues to inspire photographers around the world.Measures 37.5 x 27.9.

Frank Dobson (1888 - 1963), Rochester Sunday School, oil on canvas, 70cm x 91cm, unframedGood condition, no canvas damage patches or repairs, paint all stable

Kent.- Speed (John) Kent with her Cities and Earles described and observed, county map with inset plans of Rochester and Canterbury, engraving with hand-colouring, sheet 410 x 530 mm (16 1/8 x 20 7/8 in), central vertical fold with careful support verso, minor surface dirt, unframed, Bassett & Chiswell, 1676

1759-1964 Entire letters, entires, covers and cards, including 1759 letter detailing prize money won by H.M.S "Rochester" during the Seven Years War; 1862 front sent at the 1d soldiers rate to Canada but charged 8d with "LON. & HOLYHEAD R.P.O / IRISH MAIL NIGHT" and Canadian charge marks; 1917 covers all franked 1d sent to Teheran by diplomatic bag with boxed "Postal Censor" (8); 1917 cover from the British Consulate in Odessa sent by diplomatic bag and posted in London franked 1d; 1861 Official G.P.O cover to Guernsey redirected back to London with wax seal impressed by "GUERNSEY / (crown)" mailbag seal, etc. (105).

A set of early 20th Century Ross "Stepoul" 6x magnification prismatic binoculars together with a set of late 19th Century "Turner Reich" binocular field glasses by The Gundlach Optical Co of Rochester / Manhattan, (optics complete but requiring cleaning)

TRADE CATALOGUE. The Morris Westminster Guild. Rochester Row, London: Morris House, [circa 1930.] 4to (286 x 166mm.) Numerous black and white and colour plates of architectural iron-work and stained glass mounted on grey card, captioned in black. (Company stamp to every leaf.) Original pictorial grey cloth, string-bound (‘The Morris-Singer Compy’ in blue crayon to upper cover). Note: William Morris & Company was established in 1899 by a man called William Morris. The company changed its name in 1920 to ‘William Morris & Company (Westminster)’ and then to ‘Morris Westminster Guild’ by 1930. It’s believed the company derived commercial benefit from having the same name as the writer and textile designer. – And a further fourteen volumes (including Francis H. Low’s ‘Queen Victoria’s Dolls’, 1894, 4to) (15).

POSTCARDS - KENT Approximately 210 cards, including real photographic views of S.E. & C.R. Station, The Broadway, Tunbridge Wells (publ. by Camburn, Tunbridge Wells); Station Road, Lenham; Ightham Village; The Street, Smarden; Lamorbey Church (publ. by Carveth Rowe, Sidcup); High Street, Rochester; Chiddingstone; Aerial View of Whitbread's Hop Gardens, Paddock Wood; High Street, Tenterden; and The Square & Castle Gateway, Chilham; with printed views of Brighton Station, Tunbridge Wells; Ide Hill; Cannon Street, Lydd; Upper Street, Kingsdown; High Street, Rainham; Church Road, Marden; West End, Marden; and others, (loose).

A Rochester Optical Company boxed Pony Premo No. 5 camera, No'd. 127571" to the interior, together with various Premo camera filters / slides and a lens with brass scale inscribed "Bausch & Lomb Opt. Co. New York Rochester New York Chicago"

An early 20th Century circa 1910 brass dot lock Keyless Lock Company padlock, Patent No. 9878-1910 by the Dot Keyless Locks Co. Ltd Northampton, 5.2 cm diameter, a German three barrel Burg combination padlock, stamped “DBGM Made in Germany”, a Sargent & Greenleaf Inc. of Rochester New York combination lock with instructions, 4.8 cm wide x 10 cm deep, an L & Co. Ltd four barrel combination lock, 3.3 cm wide x 6 cm deep and a 19th Century brass and iron four barrel letter combination lock of small proportions, 2.4 cm wide x 3.2 cm deep

20 x Canadian WW1 Overseas Battalion Cap, Collar And Badges cap badges consist darkened KC 51 Edmonton by Service Supply Rochester ... Darkened KC 51 Edmonton (slider) ... Darkened KC 52 New Ontario ... Darkened KC 53 Batt ... Darkened KC 54 Kootenay ... Darkened KC 55 New Brunswick P.E.I. .  Collars include darkened KC 51 ... Darkened KC 52 ... Darkened KC 53 ... Darkened KC 54 (blades) ... Brass C54 ... Darkened KC 55.  Titles include 54 ... 54th Kootenay Battn Canada. PAYMENT ON RECEIPT OF INVOICE PLEASE. BACS ONLY - NO CARDS ACCEPTED

Women.- Female excellence: or, Woman display’d, in several satyrick poems. By a person of quality, first edition, title with woodcut typographic ornament, small worm trace, affecting a few letters in a minor way, little staining, lightly browned, disbound, [Wing R1749], folio, Printed for Norman Nelson at Grays-Inn-Gate in Holbourn, 1679. *** Rare at auction. A collection of four misogynistic poems, once attributed to Rochester, but now sometimes attributed to Robert Gould. 

Britain.- Walker (J., engraver) The Copper Plate Magazine, or Monthly Cabinet of Picturesque Prints, consisting of Sublime and Interesting Views in Great Britain and Ireland, 5 vol. in 3, engraved titles and 249 plates only (of 250, lacking plate 173 of Kilkenny town in vol.4, text leaf present), by Walker after Turner, Girtin, Sandby and others, each with accompanying letterpress leaf of text, individual index leaf to each vol. at end and general index leaf at end of vol.5, some foxing, a few small stains, mostly marginal, bookplate of Somerhill House library, contemporary half sheep, spines gilt incorporating arms & name of H.Blencowe Churchill, t.e.g., rubbed, gouge to spine of vol.2, spines and corners repaired, oblong 4to, Harrison & Co. and J.Walker, [1792-1802]. *** A scarce set, rarely found complete. The plates include the earliest engraved designs of Turner and Girtin, plate VII of Windsor being the first by Girtin (dated May 1st 1792) and plate LV of Rochester the first by Turner (May 1st 1794).

Jones Bros patent faux bois painted steel trunk, together with a brown canvas RAF duffel bag with overarm straps, an RAF canvas holdall, a leather handled canvas tote, together with a French made leather bound canvas tripod carry case, containing Crown Tripod, Rochester 114a/414 (Trepied de Telemetre, le 4930). Binoculars by R French and Sons in leather case, and metal case with Union Castle African travel labels (8)

Henry VI (First reign, 1422-1461), Pinecone-Mascle issue, Groat, London, mm. crosses IIIa/V, pinecone after henric, di, gra, posvi and don, mascle after rex and before lon, t in adivtore over v, 3.85g/5h (Whitton 19a; N 1460; S 1874). Very fine £150-£180 --- Provenance: From the Reigate Brokes Road (Surrey) Hoard, 1990; Glendining Auction, 8 December 1992, lot uncertain (302-304); C. Rochester Collection, Spink Auction 194, 26-7 March 2008, lot 564 (part); bt T. Owen June 2013

Henry VI (First reign, 1422-1461), Leaf-Trefoil issue, Class A, Groat, London, mm. crosses IIIb/V, leaf on breast and after henric, di and gra, reads franc, trefoil after rex, and don, 3.82g/2h (Whitton 25b and pl. V, 10, this coin; N 1484; S 1897). Good very fine, toned, rare and with an illustrious provenance £240-£300 --- Provenance: C.A. Whitton Collection; R.C. Lockett Collection, Part II, Glendining Auction, 11-17 October 1956, lot 1463 (part); C. Rochester Collection, Spink Auction 194, 27 March 2008, lot 572 (i)

A Blair Camera Co. Rochester NY Stereoscopic Camera, Patented FEB 25 1890, NOV 5 1895, body G, some marks to back, with black bellows, bellows G, Carl Zeiss Jena 12cm f/6.3 lenses, serial no's 147302, 147303, elements F, some fungus/clouding, in Friedrich Deckel shutter, serial no 135710, shutter working, in The London Stereoscopic camera case

PORTLAND TIMBERS 1975 The Portland 17 man roster included 9 English players including Peter Withe, Barry Powel and Ray Martin, 3 Scottish, 1 Welsh and 1 Northern Ireland and only 2 from USA. Six home programmes v Rochester Lancers, Chicago Sting including Ian Storey-Moore and coached by Bill Foulkes, scores entered, Vancouver Whitecaps, Los Angeles Aztecs, San Jose Earthquakes and St. Louis Stars including Peter Bonetti, John Sewell and John Hawley. Good

PORTLAND TIMBERS 1979 The Portland 21 man roster included 6 English players including Willie Anderson, 2 Scottish, including Stewart Scullion, 1 Republic of Ireland, Clyde Best and 4 from USA. Ten programmes including 5 homes v San Diego, Minnesota including Geoff Barnett and Tony Want, minor tears, Oakland, California and Chicago and 8 aways v California, Dallas, Tulsa including David Nish and Alan Woodward, Rochester, San Jose, Toronto including Peter Lorimer, Philadelphia including Frank Worthington and San Diego. Generally good

The History and Antiques of Rochester and Its Environs, with folded map and copper plates.

Fore-edge paintings. [CUTHBERTSON (Catherine)] Romance of the Pyranees, 4th edition in 4 vols., 1812, 8vo, engraved frontispieces, each fore-edge painted with a landscape scene - Basingstoke from Chapel Hill; Abingdon from Thames Navigation Canal; Hereford; Rochester; all in red straight grain morocco, spines lightly rubbed (4)

H.H.Harris (1928) - a mixed media portrait of famous golfer George Gadd of the Rochester Golf Club, London, by Herbert Harris. The original artwork for the front cover of 'The Bystander' edition 'Famous Golfers Caught in The Act. No.11. George Gadd'. Framed and mounted. Measuring approximately 63 cm x 53 cm including frame. Herbert Harris (H.H. Harris) was an advertising artist whose career extended from around 1910 to 1946. His earliest work was for the S H Benson advertising agency for whom he developed the 'Pyjama Man', a character who was regularly used in Bovril adverts. His personal details are unknown. 

1772 The History and Antiquities of Rochester and its Environs: To which is added, a Description of the Towns, Villages, Gentlemen's Seats, and Ancient Buildings, situated on, or near the Road from London to Margate, Deal, and Dover. Embellished with Copper-Plates. Printed and sold by T. Fisher, sold also by S. Crowder, booksellers, in Paternoster Row, London 1772. Illustrated with folding map frontispiece engraving, and other plates through the text. Full contemp. calf binding with orig. gilt titles & spine label, loss to the tail of the spine and wear to the hinges, calf rather rubbed and extremities bumped resulting in slight loss. An interesting study into the history of Rochester, Kent. 8vo.

Fabulous and near pristine, this stormograph is elegantly presented under glass and wood, capturing attention with its intact appearance. Plaque reads Taylor Instrument Companies, Rochester N.Y., USA. Includes an opened original box of #C82 charts which measures 13.25"L x 4"W x 0.5"H. Dimensions: 12.75"L x 7.75"W x 6.75"HCondition: Age related wear.

Pair of WW2 British Officers Binoculars in Webbing Carry Case, fine pair of blackened brass 6x30 officers binoculars manufactured by Crown Optical Company Rochester New York, USA. Complete with webbing shoulder strap. Housed in the original 1942 dated webbing case. Accompanied by a pair of 2 ½ x 50 binoculars housed in the original leather carry case with the lid impressed ‘BINOCULAR 2 ½ x 50 10o FIELD CAT No VF 2507 J.B.B. 1945’ and with broad arrow. Both sets optics remain clear. (2 items)

Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Portrait of Tonkin Jackson signed and dated 'BEN ENWONWU/ 1982' (lower left) oil on canvas 75 x 49.5cm (29 1/2 x 19 1/2in).(framed)Footnotes:ProvenanceAcquired directly from the artist,A private collection.ExhibitedIkoyi, Lagos, Professor Ben Enwonwu: Salon Exhibition of paintings and sculptures from the 1985 London Exhibition of the Royal Society of British Artists, (October 1987), no. 7.As was the routine for the sitter, every Sunday following church, she would accompany her mother Mrs Norma Jackson, Ben Enwonwu's lawyer during this period, to the artist's studio where she would sit for her portrait. Beginning this work with a preparatory Conté drawing, reportedly more true to the age of the young sitter who at the time was 9 years old, the present rendition would follow and take a year to complete. Recounting the period of her childhood that would occupy her free time, Tonkin (Ebun Jackson) remembers these visits as wishing instead to go and play with her friends. The innocence of the sitter's disregard for the monumental opportunity to be painted by such a colossal artist only contributes to the purity of the subject depicted, at the time unconscious to her hugely significant role in such an impactful work by the great Ben Enwonwu.The formal qualities of the present work are significant in the synthesised tropes of philosophy and aesthetic and fuse together Western figurative representations with Nigerian imagery into this modern aesthetic. While it is unclear why features of this painting were exaggerated, such as the age of the sitter and the aesthetic qualities of her appearance, this painting is a fantastic characterisation of Enwonwu's style. The elongated features of the neck and indeed the larger scale of the portrait, larger than would be true to life, is characteristic of Enwonwu's developed aesthetic. These qualities can also be seen, if more abstracted, in his Negritude series. It is this Negritude ideology that may hold significance within this work as Professor Sylvester Okwunodu Ogbechie says, 'Its veneration of the image of the black woman as an embodiment of African ideals coincided with his deployment of indigenous Igbo concepts of beauty and feminine power.'(p. 78). Further, while not being part of the more definitive Negritude period, this work does display the aesthetic, philosophical and political narratives of post-colonial African culture. The concept of womanhood was central to Enwonwu's characterisation of these issues.Portraiture holds a consistent and significant position in Enwonwu's oeuvre. Already in his stride as a highly acclaimed artist, given that two years prior to the works completion in 1982 he had been awarded the National Order of Merit by the Nigerian government for his work and contribution towards the arts and culture, the present work also closely followed Enwonwu's celebrated Tutu series. Strongly resonating with striking characteristics also employed in the Tutu series, the present work is formed of the soft palette and hints of green primarily in the background. Back lit, the composition of the work also holds the tendencies of Enwonwu's portraiture work, not only used in the Tutu series but also in portraits such as My Mama at 80(1973) and Christine(1971). Luminated by this back light technique, the gaze of the sitter is also emphasised and further contributes to this almost transcendent, angelic figure.A powerful example of Ben Enwonwu's developed style and contribution to transnational Nigerian modernism, Portrait of Tonkin Jackson undoubtedly stands as a testament to the importance of Enwonwu as an artist. While remaining in a private collection since the work's creation, Portrait of Tonkin Jackson has been exhibited in Enwonwu's 1985 exhibition Professor Ben Enwonwu: Salon Exhibition of paintings and sculptures, therefore displaying its significance in the artist's oeuvre. Embedded with such high importance and heavy in significance, it is no wonder that a portrait such as the present lot has been so rarely seen publicly and has remained in a private collection since its conception.BibliographySylvester Okwunodu Ogbechie, Ben Enwonwu: The Making of an African Modernist, (Rochester, NY: 2008).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Yoruba Drummers, 1974 signed and dated 'BEN ENWONWU IFE 1974' (lower right) oil on board 88.5 x 63.5cm (34 13/16 x 25in).Footnotes:ProvenanceAcquired directly from the artist, circa 1974;By direct descent;A private collection.As an iconic theme that has remained current, if at intermitting points, throughout Ben Enwonwu's career, 'the drummer' hones in notions of cultural and emotional signifiers for the artist. Enwonwu himself said of music: 'The arts of drama, art and music enter into almost every aspect of African life. They are the mean by which to express sorrow, joy and happiness.' (Ben Enwonwu, 1950). An earlier example can be seen in Benin Drummer (1951) more abstract and surreal in composition, and a later example of the theme is The Drummer (1978). The later version was commissioned for the facade of the Nigerian Telecommunication (NITEL) building on the Marina in Lagos. This was one of the first skyscrapers (and at the time, the tallest) to be erected in Nigeria. Therefore, there is a sense that the drummer theme is one of great significance not only to Enwonwu, but also to his homeland and culture. Much like the content of the work, the execution of Yoruba Drummers flows in a rhythmic lyricism seen in the swooping motions of the facial details of each subject. In a style that could be likened to the playful tendencies of William Hogarth (1697- 1764), the figures' expressions are animated and characterful, the figures present are given distinct personalities claiming significant presence within the work. While stylistically playful, these figures are finely dressed suggesting that they are respected figures, contributing to a sense of occasion and celebration exudes through this work.During his tenure at the University of Ife, Enwonwu frequently took sketching trips to the rural suburbs of the city. He was particularly interested in capturing local people engaged in the activities of daily life. The present work was created during his penultimate year serving as a Professor of Fine Arts at the University of Ife, a position he would leave in 1975. The first Nigerian to hold the post, he actively participated in discussions concerning the nature of postcolonial African culture following the country's independence from the United Kingdom in 1960. Enwonwu championed the anticolonial ideologies associated with the Negritude movement, particularly the value of a Pan-African aesthetic advocated for by Léopold Sédar Senghor to formulate a Black cultural identity rooted in indigenous traditions.Created in the same year as the Tutu series, the present work marks the year of artistic elevation for the artist. Indeed, S. Ogbechie identifies the 1970s as a period of transformation in Enwonwu's practice, however we can identify tropes such as the blue palette and personal essence of the subjects captured within the works correlating between both Tutu (1974) and here in the Yoruba Drummers(1974). The characterful nature of the present work makes it a standout piece in the Enwonwu's oeuvre. It displays the pure mastery of the artist and constitutes a wide display of his seemingly unstoppable and infinite talent.BibliographySylvester Okwunodu Ogbechie, Ben Enwonwu: The Making of an African Modernist, (Rochester, NY: 2008)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Africa Dances signed and dated '1955/ ENWONWU' (lower left)oil on board75.5 x 17cm (29 3/4 x 6 11/16in).(framed)Footnotes:ProvenanceA private collection.The present work exemplifies the compositional experimentation that defined Enwonwu's painterly practice in the 1950s. The elongated form of the dancing woman extends upwards within the shallow pictorial plane. Sylvester Ogbechie notes that, in this period, 'a focus on rhythmic motion began to emerge as a principal element of [Enwonwu's] art' (Ogbechie, 2008: p. 98). A series of angular lines towards the top of the composition echo the bent arms of the woman as she performs the vigorous movements of the dance, imbuing the painting with a dynamic energy.BibliographySylvester Ogbechie, Ben Enwonwu: The Making of an African Modernist (Rochester: University of Rochester Press, 2008).For further information on this lot please visit Bonhams.com

Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Anyanwu inscribed 'ANYANWU/BY/BEN ENWONWU' (plaque)gilt bronze 91 x 28 x 14cm (35 13/16 x 11 x 5 7/8in) (excluding base).109 x 28 x 19.5cm (42 15/16 x 11 x 7 11/16in) (including base).Footnotes:ProvenanceThe collection of Dr Cecil and Mrs Jean Symons;Christie's Auction House, London, 2007;A private collection. LiteratureS. Ogbechie, Ben Enwonwu: The Making of an African Modernist, (Rochester, 2008), (version illustrated) fig.4.3 and fig.4.4.B. Lawal, 'After an imaginary slumber: visual and verbal imagery of 'awakening' in Africa', Word & Image: A Journal of Verbal/Visual Enquiry, (Volume 26 number 4, 2010), (version illustrated), p. 423.O. Offoedu-Okeke, Artists of Nigeria, (Milan, 2012), (version illustrated), p. 57.'Anyanwu, which is the Onitsha Emotan of Benin'. Meaning 'eye of the sun', referring to the Igbo practice of saluting the sun as it rises to honour the Great Spirit ChiUkwu, a supreme being in Igbo spirituality, Anyanwu stands as one of Ben Enwonwu's most famous and credited works. The figure's noble bearing is underlined by her headdress and coral jewellery: the royal regalia of the Bini people. 'My aim was to symbolise our rising nation. I have tried to combine material, crafts, and traditions, to express a conception that is based on womanhood – woman, the mother and nourisher of man. In our rising nation, I see the forces embodied in womanhood; the beginning, and then, the development and flowering into the fullest stature of a nation – a people! This sculpture is spiritual in conception, rhythmical in movement, and three dimensional in its architectural setting – these qualities are characteristic of the sculpture of my ancestors.' (Enwonwu quoted in S. Ogbechie, p. 129-130.)The circumstances surrounding Anyanwu's creation – Enwonwu's spiritual inspiration – connects him with the Igbo tradition of the artist as spirit medium. Personified into the image of the Igbo earth goddess Ani, Anyanwu is a demonstration of divine feminine power. Viewing women as the pillars that uphold society, the female subject has held a prominent position throughout Enwonwu's oeuvre. The Igbo concept of nkais an 'invocation of ancestral spirits through giving concrete form or body to them' as Enwonwu himself said and has indeed practised in this case. (Ben Enwonwu quoted in Nkiru Nzegwu, 'Representational Axis: A Cultural Realignment of Enwonwu', (1999), p.168.)Often elongating their features in his paintings, such as in the Tutu series, Enwonwu embraces the Igbo traditions of image making. While his tendencies to elongate facial and body features was sometimes motivated by aesthetic experimentation, Anyanwu's form came to him in a vision early one morning as he awoke from sleeping:'A supple graceful female form arising out of the sun in a brilliant shower of light...she loomed towards him in a wide curvilinear arch...the classic Ethiopianized features of the face and the decorative horizontal slats of the lower torso that receded into the horizon, tapering off to a point...'The original Anyanwu sculpture was commissioned in 1953 for the National Museum in Lagos, where it still stands to this day. It received such acclaim that another was commissioned for the United Nations headquarters in New York in 1966. This version appears in several major public and private collections, often demonstrating a variety of patina, and small differences in the arms and length of the coiffure. The current work was cast in 1987 at the Burleighfeild foundry in High Wycombe, a foundry that cast many bronze sculptures for the artist from their founding in 1977 until his death in 1994. The present work differs from earlier casts given its fine gold layer; gilded versions came later in Enwonwu's more developed casts. BibliographyS. Ogbechie, Ben Enwonwu: The Making of an African Modernist, (Rochester, 2008), pp, 128-131.N. Nzegwu, 'Representational Axis: A Cultural Realignment of Enwonwu', Contemporary Textures: Multidimensionality in Nigerian Art, ed. N. Nzegwu (New York, 1999), p. 163.Letter correspondence between Benedict Chukwukadibia Enwonwu and Mrs Jean Symons, (27th January 1986).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

° ° Wilmot, John (Earl of Rochester) The Farce of Sodom. Written for the Royal Company of Whoremasters...With sets and costumes suitable for theatrical performances designed by Donald Friend. Limited Edition (of 250 numbered copies, signed by the designer). pictorial title (in gold and colours), portrait frontis., 17 coloured and mounted plates, pictorial mounted editor's note and other illus., facsimile ms. text; original gilt maroon half morocco and velvet, coloured pictorial e/ps., in cloth slip case, 4to. Gryphon Books, 1980

Kodak Ektra AusrüstungEastman Kodak, Rochester. 1) Kodak Ektra, Nr. 2091, Schlitzverschluß läuft, mit Kodak Ektar 1,9/50 mm und auswechselbarem Magazin. - 2) Kodak Ektar 3,3/35 mm. - 3) Kodak Ektar 3,5/90 mm, mit Rückdeckel. - 4) Kodak Telephoto Ektar 3,8/135 mm, mit Rückdeckel. - 5) Mattscheibenrückteil, sehr selten. - 6) Aufsichtsucher. - Und: 7) Winkelsucher, extrem selten. - Die komplizierteste Kodak-Kleinbildkamera aller Zeiten. Eine phantastische Ausrüstung dieser hochwertigen Kodak-Meilenstein-Kamera in funktionstüchtigem Zustand. Start Price: EUR 2000 Zustand: (3/3)Kodak Ektra OutfitEastman Kodak, Rochester. 1) Kodak Ektra, no. 2091, with Kodak Ektar 1.9/50 mm and interchangeable magazine back, focal plane shutter working. - 2) Kodak Ektar 3.3/35 mm. - 3) Kodak Ektar 3.5/90 mm, with back cap. - 4) Kodak Telephoto Ektar 3.8/135 mm, with back cap. - 5) Ground-glass back, very rare. - 6) Viewfinder. - And: 7) High-low angle finder, extremely rare. - Note: One of the technically most complex cameras by Kodak, the camera in this comprehensive outfit is in good working condition. Start Price: EUR 2000 Condition: (3/3)

2 frühe Klappkameras, ab 18901) Unbezeichnet, vermutlich Schweiz. Für 9 x 12 cm, dunkelrotes Edelholz mit rotem Balgen und Nickelbeschlägen, anstelle einer Platine ist original direkt ein Rouleau-Verschluß montiert, läuft, Optik beschriftet "Anastigmat F=12 cm", Irisblende 7,2-50, Design erinnert an frühe Suter-Optiken, scharfes Bild, mit Mattscheiben-Rückteil. Die gediegene Qualität vor 1900. - Und: 2) Gundlach, Rochester. Für 4 x 5 in., roter Balgen, mit Landschaftslinse ca. 16/18 cm im Verschluß, rückseitig innen federnde Mattscheibenrückteil für dünne Einzelkassetten und Platz für Kassetten. Start Price: EUR 140 Zustand: (3/3)2 Early Folding Cameras, 1890 onwards1) Unmarked, probably Switzerland. For 9 x 12 cm, dark-red hardwood with red bellows and nickel-plated fittings, instead of a plate original mounted roller-blind shutter, lens marked "Anastigmat F=12 cm", iris diaphragm 7.2-50 (design reminiscent of early Suter optics) and focusing screen back, shutter working, sharp image. Solid quality of pre-1900 cameras. - And: 2) Gundlach, Rochester. For 4 x 5 in., red bellows, with landscape lens approx. 16/18 cm in the shutter, spring-loaded focusing screen back for thin single cassettes and additional space for cassettes. Start Price: EUR 140 Condition: (3/3)