A few examples of appraisal values for
BERWICK

• Erskine (Sir David), Annals &
  Erskine (Sir David), Annals & Antiquities of Dryburgh and other Places on the Tweed, London: Leadbetter, 1836 together with Haig (James), A Topographical and Historical Account of the Town of Kelso and the Town and Castle of Roxburgh, Edinburgh: Fairbairn and Duncan, 1825/Provenance: The Estate of the late Diana & Gospatric Home, Lily Farm, Bucks
• (SANGORSKI AND SUTCLIFFE) BEWICK
  (SANGORSKI AND SUTCLIFFE) BEWICK THOMAS AND JOHN Select Fables. Newcastle: Emerson Charnley 1820. 8vo full brown crushed morocco ruled in gilt with circular inset design with an onlaid lion head on the upper cover surrounded by the moral from ''The Lion and the Mouse '' and a diamond inset design of a serpent on the back with the title of the fable ''The Viper & the File '' with eight jewels including four garnets on the upper cover and four turquoises on the rear cover circular inset with onlaid lizards on front inner covers surrounded by the moral of ''The Two Lizards '' and rear inner cover with ''The Sun & the Vapour'' in circular inset snake-skin endpapers goffered edges.
• * BURNS ROBERT Poems Chiefly in the
  * BURNS ROBERT Poems Chiefly in the Scottish Dialect. Edinburgh: For the Author 1787. 8vo full recent calf gilt-lettered red leather spine label renewed endpapers half-title engraved frontispiece subscriber's list. Second [first Edinburgh] edition with ''Boxburgh'' for ''Roxburgh'' in subscriber's list and ''stinking'' (for ''skinking'') on p. 263. Offsetting from frontispiece; otherwise very fine.
• ON THE TWEED NEAR GLOUCESTER 19TH
  ON THE TWEED NEAR GLOUCESTER 19TH CENTURY PAINTING: Oil/Canvas 14'' x 21'' illegibly signed lower left P. Whitton (?) encased in a period gilded and overpainted frame with wear 23 1/2'' x 30''.CONDITION: Puncture in the left margin craquelure throughout several abrasions needs cleaning.
• BESWICK, Thomas, (British,
  BESWICK, Thomas, (British, 1753-1828): First State of Bewick's Birds ''History of British Birds'' by Thomas Bewick. The figures Engraved on Wood by T. Bewick. Newcastle: Printed by Sol. Hodgson, for Beilby & Bewick., 1797-1804. 2 volumes. Volume I being Land Birds and Volume II, Water Birds, 1st edition, 1st state with the cut of the Sea Eagle on page 1 before the words ''Wycliffe 1791'' were introduced and the stump in front of the Magpie on page 75 has live branches.CONDITION: Please note condition in description
• Barker (Henry Aston) & Burford (J),
  Barker (Henry Aston) & Burford (J), Description of the Island and City of Corfu, with Part of the Coast of Greece, Epirus, and the Suliote Chain of Mountains, in the Distance; the Whole Representation Embellished in the Foreground, with a Variety of Costume Worn by the Greeks, Assembled on Fort Neuf to Celebrate the annual Religious Festival of ''La Madonna:'' Now Exhibiting in H. A. Barker and J. Burford's Panorama, Strand, London: J. & C. Adlard, 1822, 8vo, with a partially hand coloured fold-
• Bewick (Thomas) British Birds,
  Bewick (Thomas) British Birds, two volumes, Newcastle 1847, 8vo, 19th Century, tree calf gilt, gilt panelled backs, g.e. by Baker of Clifton, bookplate of HW Bruton
• CHARLES RENNIE MACKINTOSH (SCOTTISH
  CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928) IVY SEED, WALBERSWICK pencil and watercolour, inscribed, signed and dated lower right IVY SEED/ WALBERSWICK/ 1915/ CRMMMM25.5cm x 18.2cmProvenance: Acquired after the Memorial Exhibition, 1933, by R. W. B. Morris, a partner in Charles Macdonald's legal firm and an executor of Margaret Macdonald Mackintosh's estateThe Fine Art Society, LondonPrivate Collection (1977-present)Exhibited: The Fine Art Society, London, The Flower Drawings of Charles Rennie Mackintosh, May/June 1977Literature: Billcliffe R. Charles Rennie Mackintosh and the Art of the Four, Quatro, 2017, pp.194-198 and 211-219 Billcliffe R. Mackintosh Watercolours Glasgow Art Gallery, London 1978, p. 38, no. 139Note: By 1914, Mackintosh’s professional fortunes were dwindling and life in Glasgow became unbearably oppressive. Following the completion of the Glasgow School of Art in 1909, Honeyman, Keppie & Mackintosh’s business received very little work, much like their competitors, as the city was grappling with a recession. Mackintosh resigned as partner of the firm in December 1913, supposedly with the intention of setting up his own company, yet sadly nothing came of this. Clearly requiring some rest and recuperation from this drastic turn of events, the Mackintoshes left Glasgow for a summer break to Walberswick in June 1914, but the uncertainty of the First World War and a rather unstable economic climate persuaded them to remain in the village for fifteen months.Like a number of coastal villages across the UK, Walberswick became a hub of artistic creativity in the summer months. Bright blue skies, endless coastal cliffs and colourful fields as far as the horizon brought the likes of Philip Wilson Steer, E. A. Walton and Mary Newbery Sturrock to this charming fishing and boatyard community. Mary Newbery was the daughter of Frances Newbery, Headmaster of the Glasgow School of Art at the time Mackintosh designed its new premises. The two men had formed a very close friendship during their time in Glasgow. Mary was convalescing in Walberswick while the Mackintoshes were staying in the village, close to her family’s villa there. Every day they would venture over to her studio and it is thought that Mackintosh was encouraged by the Newberys to turn to painting during this time, in his search for solace and seclusion.Over the next ten months or so, Mackintosh made over forty botanical watercolour studies using a variety of species: from wild plants such as willow catkins and kingcups to garden favourites fuchsias and petunia, as well as flowers from local fields and hedgerows such as sorrel and chicory. From 1901 Mackintosh had been sketching similar plants and flowers whilst on holiday within Britain, and further afield in Italy and Portugal. These earlier studies are more technical in composition; the background is almost completely abstract as alternating and overlapping perspectives of botanical cross-sections are illustrated. The focus of these sketches was analytical: investigating ways in which certain plant forms could be stylised to create abstract patterns on the page.At Walberswick, the studies are decorative depictions, delicately drawn in a naturalistic manner. It is likely that Mackintosh worked with pressed specimens, perhaps picked on his walks to Sturrock’s studio, giving him an already flattened section to work from. In Ivy Seed, the plant is positioned off-centre as the coloured leaves pointing towards the cartouche draw the eye into the complex structure of the branch itself. Mackintosh was clearly meticulous in his approach: connected stems and foliage are interwoven and overlaid in a beautiful display; there is a careful balance of tension, and delicacy in the delineation of the leaves. The vibrancy of colour, subtly deployed across the page, breathes life into the work and helps capture the decorative beauty of his peaceful new environment.The initials of Margaret Mackintosh appear frequently on many of these watercolours, and it was previously suggested that she contributed to the studies in some way. However, there is no stylistic evidence that correlates with Margaret’s own watercolour techniques. Mary Newbury Sturrock has stated that her initials merely indicate that she was there when the studies were made, thereby highlighting her constant presence in Charles’ life and art.Mackintosh’s time spent studying the coastline and nature in and around Walberswick subsequently led to his arrest in 1915 when he was mistaken for a German spy. After a thorough search of their home led to discoveries of their artistic endeavours in Germany and Austria, Charles and Margaret were forced to leave the area with immediate effect. They eventually settled in London, where his deeply personal connections with nature formed the basis for further watercolours and some innovative textile commissions.The spectacular series of Walberswick studies marks an interesting point in Mackintosh’s career. His intense personal and professional struggles prompted a search for solace in nature: these careful, naturalistic renderings of his surroundings are captivating in their simple beauty, evoking the serenity and contemplation he longed for.
• Manner of Birket Foster/Knightwick,
  Manner of Birket Foster/Knightwick, Worcestershire/figures outside a cottage/bears signature/watercolour, 48cm x 76cm/see illustration
• A Beswick figure of a woodpecker,
  A Beswick figure of a woodpecker, 22cm high, two Royal Worcester figures of budgerigars, a Royal Worcester figure of a thrush and five other figures of birds
• Three Stevengraph woven silk
  Three Stevengraph woven silk portrait ribbons/bookmarks depicting Robert Burns, Baptist preacher Charles Spurgeon, and Puritan minister Dr. Guthrie. Largest: 10 1/2"L. Good condition, minor wear.
• A Derby chamberstick modelled as
  A Derby chamberstick modelled as two birds in a bocage arch above a dog, 21cm high
• ELIZABETH BLACKWELL (SCOTTISH,
  ELIZABETH BLACKWELL (SCOTTISH, 1707-1758), SIX ANTIQUE BOTANICAL ENGRAVINGS Hand-colored engravings, 18th century, on laid paper, each depicting hemlock (cicuta), taxus (yews), and cascarilla, framed as three pairs.
• XANTHUS RUSSELL SMITH BERKSHIRES WC
  XANTHUS RUSSELL SMITH BERKSHIRES WC PAINTING Maine, Pennsylvania,1839-1929Naturalist study depicting The Berkshires in Western Massachusetts from the bank of the Deerfield river on a Summer's day.
• PIGLING BLAND (MAROON JACKET) -
  PIGLING BLAND (MAROON JACKET) - BESWICK - BEATRIX POTTE...Beswick Backstamp. Deep maroon jacket, blue waistcoat, yellow trousers. Artist: Graham Orwell Issued: 1955 - 1974 Dimensions: 4.25''H Manufacturer: Beswick Country of Origin: England
• Bagpip
  Bagpip
• ELBRIDGE AYER BURBANK, CHIEF
  ELBRIDGE AYER BURBANK, CHIEF BLACK HAWKElbridge Ayer Burbank (American, 1858-1949)Chief Black Hawk, ca 1940red ochre conte on wove papertitled and signed upper left and lower right corners in conte12 x 9in (31 x 23cm) Provenance:
• North Carolina hooked rug with dog,
  North Carolina hooked rug with dog, large white dog with brown markings and red bow collar against a profusion of vines with red, pink and maroon blossoms on a dark brown and green ground, wool on burlap, mounted to a fabric-covered stretcher, fabric backing, American, probably Southern, late 19th century, 45 x 74-1/2 in. Fading, loose and fraying wool, scattered repairs (not examined under backing). Sotheby's, January 23, 1992, lot 832; Nikki and Tom Deupree Antiques, Suffield, Connecticut, 1992
• Charles Frederick Green/Piping
  Charles Frederick Green/Piping Pebworth, Dancing Marston, Haunted Hillboro', Hungry Grafton, Dudging Exhall, Popish Wixford, Beggarly Broom, Drunken Bedford and Shakespeare's Crab Tree/nine illustrated scenes from the Doggerel Rhyme, together with a framed script of the rhyme/watercolours, 11cm x 16cm
• Beswick Aberdeen Angus Bull 1562
  Beswick Aberdeen Angus Bull 1562
• Portrait of a Scottish nobleman,
  Portrait of a Scottish nobleman, wearing the Order of the Thistle collar and badge-appendant over a velvet and fur trimmed mantle, unsigned, oil on canvas, Christie's label verso inscribed "Brown…", chalk inscriptions verso "Lot 182", British School, 19th century, 29-7/8 x 25 in.; 19th century gilt wood and composition frame. Crackle, tear over proper right eye, lined, abrasions with paint loss, grime, retouch affecting 60 percent of surface; frame with abrasions, minor losses, some resurfacing. Estate of the late Judge John Emery Parks, Honolulu, Hawaii.
• Autumn scene with beech trees and
  Autumn scene with beech trees and brook, possibly by Richmond School artist Sheldon Gray, oil on board. 19" x 31 1/2".
• Beswick Beatrix Potter Figures Mr
  Beswick Beatrix Potter Figures Mr Auldeman Plotonomy Ribby and Tailor of Gloucester all BP3a (3)
• Scottish Treen Bicker, 19th century
  Scottish Treen Bicker, 19th century of alternating alder and sycamore feathered stave construction with cane wrapped body 2.4 x 4.75 in — 6 x 12.1 cm
• Bewick (Thomas), A general
  Bewick (Thomas), A general History of Quadrupeds, Newcastle-upon-Tyne, 1811, 6th edition, half red leather with raised bands and gilt tooling; together with Sinclair (James), History of Shorthorn Cattle, London: Vinton & Company, 1907 and Bell (Thomas), A History of British Quadrupeds including the Cetacea, London: John van Voorst, 1874, 2nd Edition (3)
• JERRI FINCH-HURLEY (CONTEMPORARY
  JERRI FINCH-HURLEY (CONTEMPORARY BELFAST, MAINE) "Into the Fog" depicting a long jetty pointing towards a small piney island, painted and trapunto quilted cotton, signed and titled verso with a notation "Completed August 2, 1988, Commissioned by Maine Public Utilities, Augusta, Maine". Unframed, with continuous wrapped edges, 48" x 72". Water stained on right edge, lightly soiled, rubbed.
• * (FORE EDGE PAINTING) FOSTER
  * (FORE EDGE PAINTING) FOSTER BIRKET illust. Poems by Thomas Hood. London: E. Moxon Son 1872. 4to red morocco decorated and lettered in gilt a.e.g. Fore edge painting of pastoral scene. Illustrated with numerous engravings throughout. Rubbing to boards with chipping to edges; intermittent foxing; offsetting from engravings.
• 18th century British portrait,
  18th century British portrait, wigged nobleman wearing a green velvet frock coat and brocaded vest, said to be the Earl of Warwick, oil on canvas, painted within a feigned oval, unsigned, 29-1/4 x 24 in.; Kent style frame, possibly late 18th/early 19th century. Restretched on 19th century stretcher, 19th century lining, crackle, abrasions, stretcher marks, one patch verso; frame resurfaced, some elements added. Property of the Hickory Museum of Art, Hickory, North Carolina.
• BIRKBECK MORRIS Notes on a
  BIRKBECK MORRIS Notes on a Journey in America. London: James Ridgway 1818. Thin 8vo 3/4 calf over marbled boards gilt-tooled spine t.e.g. Third edition. With hand-colored engraved fold-out map laid in. Rubbing to boards; scattered brownspotting; map toned and marginally chipped with 4-inch split at crease.
• A Beswick figure of a huntsman on a
  A Beswick figure of a huntsman on a horse 20cm (8") high a Beswick beagle 'Wendover Billy' four Beswick foxhounds and two foxes
• BESWICK BEATRIX POTTER'S
  BESWICK BEATRIX POTTER'S FIGURINE, COUSIN RIBBYDepicts a tabby cat wearing a pink hat and dress with a green apron while holding a basket. Beswick backstamp. Dimensions: 2.25"L x 1.75"W x 3.75"H Manufacturer: Beatrix Potter Country of Origin: England Condition: Age related wear.
• Mark Catesby etching (British,
  Mark Catesby etching (British, 1683-1749), Frutex…Anguis annulatus, eastern king snake with coastal doghobble , T.52, from The Natural History of Carolina, Florida, and the Bahama Islands , London, third edition (early 19th century), "MC" monogram in plate, hand-colored etching on wove paper (no visible watermark), plate 8-3/4 x 11-7/8 in., page 13-1/8 x 21 in.; gilt wood frame. Light foxing and toning; frame with abrasions.
• SWARBRECK, SAMUEL DUKINFIELD
  SWARBRECK, SAMUEL DUKINFIELD SKETCHES IN SCOTLAND London: C. Hullmandel’s Lithographic Establishment for the Author, 1839. Folio, lithographed title-page, 24 plates, contemporary green quarter morocco gilt
• A Pennsylvania land grant on
  A Pennsylvania land grant on parchment dated 10-10-1806, granting a property in Potter County named "Berwick" to Alexander Baring & others, and signed as Pennsylvania governor by Founding Father and Signer of the Declaration of Independence Thomas McKean (1734-1817). McKean was the delegate to the Second Continental Congress whose note brought his fellow Delaware delegate Caesar Rodney riding back to the Congress, to break the deadlock and swing Delaware's vote for American independence. This document was also signed by the first Deputy Secretary of the Commonwealth, James Trimble (1755-1837), and by Timothy Matlack (1736-1829), another of the Founding Fathers who wrote out the formal copy of the Declaration of Independence.
• CHRISTOPHER BURKETT PHOTOGRAPHIC
  CHRISTOPHER BURKETT PHOTOGRAPHIC PRINTCHRISTOPHER BURKETT (Oregon, b.1951) photographic print, "Redbud and Dogwoods," Kentucky, 1991, a Cibachrome print. Pencil signed on the matting, signed again verso and titled, inscribed "Printed 2003, Print #4," 28.75" x 28.75" (sight), 45.5" x 43.5" (cherry frame). Provenance: purchased from NW Gallery, Cannon Beach, OR.
• MR. BENJAMIN BUNNY (PIPE OUT -
  MR. BENJAMIN BUNNY (PIPE OUT - MAROON JACKET) - BEATRIX...Beswick Backstamp. Dark maroon jacket. Artist: Arthur Gredington Issued: 1965 - 1974 Dimensions: 4.25''H Manufacturer: Beswick Country of Origin: England