155742 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

Adam Weisweiler, zug.Klassizistischer Guéridon mit BiskuitporzellanreliefHöhe: 76 cm. Durchmesser: 46 cm. Ungestempeltes Exemplar.Über drei vergoldeten Bronzesabots die säbelförmigen Beine, die in ein dreieickiges Tableau zusammengeführt werden, mit eingezogenen Seiten und überhöhtem Mitteltableau, mit à jour gearbeiteter Galerie. Die Beine fortgeführt in abstrahierten Bambusstabbeinen, welche paarweise angeordnet sind und die kreisrunde Zarge mit Pilastervorsätzen tragen. Überkragende, fein ziselierte gauchierte Umrandung der hölzernen Deckplatte. Mit zentral eingelegtem und verglasten Biskuitporzellanrelief, vermutlich von Wedgwood, mit weißem Basrelief über hellblauem Fond, Amor und Psyche darstellend. Der Tisch kann Adam Weisweiler (1744-1820) zugeschrieben werden, für den dieser Möbeltypus, speziell mit den Bambusbeinen und dem erhöhten Mitteltableau sowie der eingelegten Biskuitporzellanplatte mehrfach belegt ist. So wurde am 12. Juni 2003 ein ähnlicher Guéridon unter Lot 5 für über 100.000 britische Pfund verkauft, der, ebenso wie der hier angebotene Tisch, den begehrten Louis XVI-Stil etwa einer Madame du Barry wiedergibt, welche einen ähnlichen Tisch von Lignereux und Daguerre 1791 geliefert bekommen hat. In dem Inventar von Daguerre findet sich folgende Beschreibung des Tisches: „Une petite table ronde forme de guéridon en racine de bois d‘acajou poli sur trois pieds doubles en bronze doré façon de bambous avec entrejambe à tablettes et camé de porcelaine ornant la tablette supérieure prisée trois cent francs“ (zitiert nach: Patricia Lemonnier, Weisweiler, Paris 1983, S. 162). Es ist daher wahrscheinlich, dass Daguerre sowohl für das Design als auch für die Vermarktung dieser Art von Tischen verantwortlich war und in der Tradition der mit Sèvres Porzellan besetzten Möbel steht, die dank Simon-Philippe Poirier (um 1720-1785) in den 1760er-Jahren aufkamen. Der Händler Granchez brachte die Wedgewood-Plaketten nach Frankreich, wo sie seither auch für die Möbelproduktion genutzt wurden. Seit 1787 war Daguerre der Wedgwood-Repräsentant in Paris. Vergleichbare Objekte befanden sich in der Sammlung Alcochette, verkauft in Paris am 09. Februar 1896, Lot 708. Des Weiteren Galerie Charpentier, 24. März 1955, Lot 96 (gestempelt Weisweiler). Ein weiterer im Palais Galliera, Paris, 26. November 1974, Lot 104. Des Weiteren Christie‘s, London, 03. Dezember 1981, Lot 55 (gestempelt Weisweiler). Des Weiteren Galerie Aveline, Paris, mit Abbildung in Kunst und Antiquitäten, Dezember 1986 und im Palais Galliera, Paris, 28. November 1972, Lot 144. Ein vergleichbarer Tisch befindet sich in der Eremitage Sankt Petersburg.Provenienz: Château des Roches en Champagne. Anmerkung: Der deutschstämmige Adam Weisweiler hatte seine Werkstatt in der Rue du Faubourg Saint-Antoine in Paris, wo er eng mit Julliaut und Daguerre sowie den Ebenisten Risonaire und Benneman zusammenarbeitete. Zu seinen Kunden, und Dank der Vermittlung von Daguerre, gehörten das französische, das neapolitanische, russische und englische Königshaus. Literatur: Vgl. Pierre Kjellberg, Mobilier français du XVIIIe siècle, Paris 1989, S. 868, Tafel A. Vgl. Patricia Lemonnier, Weisweiler, Paris 1983, S. 162. (1270003) (13)Adam Weisweiler, attributedClassical guéridon with bisque porcelain reliefHeight: 76 cm. Diameter: 46 cm.Unstamped copy.Sabre-shaped legs on three gilt bronze sabots, joining for a triangular table with pulled in sides and superelevated central table with an openwork gallery. A glazed bisque porcelain relief, probably from Wedgwood with white bas relief on light blue fond depicting Cupid and Psyche is inlaid at the centre. The table can be attributed to Adam Weisweiler (1744-1820), of whom several other pieces of furniture of this type, especially with bamboo legs and raised central table and inlaid bisque porcelain plaques are known. On 12 June 2003 a similar guéridon was sold with lot 5 for 100,000.00 GBP. Similar objects were also held at the Alcochette Collection, sold in Paris on 9 February 1896, lot 708. Furthermore, at Galerie Charpentier, 24 March 1955, lot 96 (stamped Weisweiler). Another at Palais Galliera, Paris, 26 November 1974, lot 104; Christie’s London, 3 December 1981, lot 55 (stamped Weisweiler) and Galerie Aveline, Paris, with ill. in Kunst und Antiquitäten, December 1986 and at Palais Galliera, Paris, 28 November 1972, lot 144. A similar table is also held at The State Hermitage in Saint Petersburg. Provenance:Château des Roches en Champagne.Notes: The cabinetmaker Adam Weisweiler, who is originally from Germany, had a workshop in the Rue du Faubourg Saint-Antoine in Paris, where he collaborated with Julliaut und Daguerre and cabinetmakers such as Risonaire and Benneman. Thanks to the introduction of Daguerre, the French, Neapolitan, Russian and English Royal families were among his clients. Literature: Compare P. Kjellberg, Mobilier français du XVIIIe siècle, Paris 1989, p. 868, plate A. Compare P. Lemonnier, Weisweiler, Paris 1983, p. 162.

Louis XVI-Table à déjeuner von Adam Weisweiler (1744 - 1820, Meister ab 1778)Höhe: 74 cm. Durchmesser: 91,5 cm. Paris, um 1790.In Mahagoni gearbeiteter Verwandlungstisch. Auf vier Messingrollfüßen lagernde konisch auslaufende Beine mit balustrierten kannelierten Aufbauten und à jour gearbeiteten Verbindungsstegen, die zu einem kannelierten Schaft führen, dem der hochfahrbare Rundaufsatz als zentrales Mitteltableau eingefügt ist. Runde profilierte Zarge mit leicht überkragender Tischplatte mit umlaufenden vergoldeten Bronzereifen und zentralem Stab mit Stufenregelung zur Regulierung des Mitteltableaus.Provenienz: Sammlung Louis Raoul Ancel. Aus seiner Sammlung besitzt auch das Musée du Louvre einen feinen Sekretär von Martin Carlin (Inv.Nr. OA 11176). Zu Beginn des 20. Jahrhunderts gehörte Louis Raoul Ancel zu den bedeutendsten Kunsthändlern in Paris am Quai Voltaire, der sich auch mit großzügigen Schenkungen an Museen und als Retter der Kunstschätze der Kathedrale von Reims hervortat. Anmerkung 1: Ein formgleicher weniger raffinierter von Adam Weisweiler gestempelter Tisch wurde am 05. Dezember 2017 bei Artcurial in Paris verkauft. Ein Exemplar in Wurzelzedernfurnier, das 1973 von der Herzogin von Windsor dem Château de Versailles vermacht wurde, ist abgebildet in Pierre Arizzoli-Clémentel, Le Mobilier de Versailles XVIIe et XVIIIe, Bd. II, Dijon 2002, S. 127.Ein weiterer Tisch mit einer Brech d‘Alep-Marmorplatte ist abgebildet in Evelyne Schlumberger, Le Pavillon de Musique de Madame, Connaissance des Arts, n. 266, März 1964, dann verkauft in Paris, Pierre Berge & Associés, 17. Juni 2008, Lot 94. Erwähnenswert ist auch der Tisch, der im Hôtel de Charost, der derzeitigen Residenz des britischen Botschafters in Paris, aufbewahrt wird und der in Jean Nérée Ronfort, À l‘ombre de Pauline. Le Résidence de l‘Ambassadeur de Grande-Bretagne à Paris, Paris 2001, S. 52, Abb. 53 und in Alain Stella, Demeures Historiques. Résidences d'Ambassadeurs à Paris, Paris 2010, S. 116-117 abgebildet ist.Ein letzter, in Mahagoni-Furnier, gehörte zur ehemaligen Seligman-Sammlung, abgebildet in Claude Frégnac, Les styles français, Paris 1975, S. 127. Anmerkung 2: Zur Rolle Ancels 1918 in Reims siehe auch die Doktorarbeit: Yann Harlaut, La cathédrale de Reims du 4 septembre 1914 au 10 juillet 1938. Idéologies, controverses et pragmatisme, Reims 2005/2006, S. 208. Literatur: Vgl. Pierre Arizzoli-Clémentel, Le Mobilier de Versailles XVIIe et XVIIIe, Bd. II, Dijon 2002, S. 127. Vgl. Patricia Lemonnier, Weisweiler, Paris 1983, S. 94. Vgl. Alain Stella, Demeures Historiques. Résidences d’Ambassadeurs à Paris, Paris 2010, S. 116-117. (12718157) (13)Louis XVI table à déjeuner by Adam Weisweiler (1744 - 1820, master since 1778)Height: 74 cm. Diameter: 91.5 cm.Paris, ca. 1790.Provenance:Louis Raoul Ancel collection. The Musée du Louvre also holds a fine secretary by Martin Carlin (inv. no. OA 11176) from the same ollection. At the beginning of the 20th century Louis Raoul Ancel was one of the most important art dealers in Paris at the Quai Voltaire, who distinguished himself through his generous donations to museums and as the saviour of art treasures from Reims Cathedral. Notes:A table with the same shape, but less refined stamped by Adam Weisweiler was sold on 5 December 2017 at Artcurial in Paris. An example in walnut burr veneer, bequeathed by the Duchess of Windsor in 1973 to the Château de Versailles is illustrated in P. Arizzoli-Clémentel, Le Mobilier de Versailles XVIIe et XVIIIe, vol. II, Dijon, 2002, p. 127. Another table with an Aleppo Breccia marble top is illustrated in: E. Schlumberger, Le Pavillon de Musique de Madame, Connaissance des Arts n. 266, March 1964, then sold in Paris, Pierre Bergé & Associés, 17 June 2008, lot 94. Worth mentioning is also a table held at the Hôtel de Charost, the current residence of the British ambassador in Paris, listed in J.N. Ronfort, À l’ombre de Pauline, La Résidence de l’Ambassadeur de Grande Bretagne à Paris, Éditions du Centre de Recherches Historiques, Paris, 2001, p. 52, ill. 53 and illustrated in: A. Stella, Demeures Historiques, Résidences d’Ambassadeurs à Paris, 2010, pp. 116-117. Lastly a table in mahogany veneer, formerly part of the Seligman Collection and illustrated in: C. Frégnac, Les styles français, Paris, 1975, p. 127.For Ancel’s role in Reims in 1918 please see the PhD thesis: Y. Harlaut, La cathédrale de Reims: du 4 septembre 1914 au 10 juillet 1938: Idéologies, controverses et pragmatisme, Reims, 2005 /2006, p. 208.Literature:Compare P. Arizzoli-Clémentel, Le Mobilier de Versailles XVIIe et XVIIIe, vol. II, Dijon 2002, p. 127.Compare P. Lemonnier, Weisweiler 1983, p. 94.Compare A. Stella, Demeures Historiques, Résidences d’Ambassadeurs à Paris, Paris 2010, pp. 116-117.

Pierre Gole, 1620 – 1684, zug.Bedeutender, musealer Kabinettschrank der Epoche Louis XIVHöhe: 195 cm.Breite: 140 cm. Tiefe: 56,5 cm.Dem Möbel ist eine Expertise beigegeben von François Hayem, Membre de Syndicat National des Atiquaires, Expert à la Compagnie Nationale des Experts, á la Chambre Nationale des Experts Spécialisés, Expert près la C.E.C.O.A. Paris, vom 5. April 2017. Der Aufbau in der typischen Konzeption der Kabinettmöbel des 17. Jahrhunderts. Demgemäß zweiteilig, mit einem Unterbau in Form eines Fußgestells, das eine Schubzone trägt, mit sechs frontalen- und zwei rückwärtigen schlanken Beinen, auf umlaufender Stegverbindung über Kugelfüßen. Der streng- gerade Aufsatz etwas eingezogen, mit gerade verlaufendem oberem Abschlussprofil über schmalem Gesims. Die Front wird durch eine Mitteltürzone gegliedert, mit darüber- und darunter liegendem Schub, flankiert von seitlich je fünf weiteren Schüben. Der Korpus sowie die Schübeeinbauten in Eiche, die äußerst reichen Intarsien „marqueterie dite de jasmin“ leuchten aus dem ebonisierten Grund auf, vor allem durch Einlagen von Blüten und Blattwerk in Elfenbein, neben zum Teil farbig getönten Zierhölzern und naturbelassenen Rosenholzeinlagen. Dem Stil entsprechend sind die Intarsienmotive symmetrisch gestaltet, in den Schübefronten jeweils zentraler Schlossbeschlag, flankiert von Vogelmotiven im Wechsel mit Blüten- und Blattmotiven. Sämtliche Schub- und Kantenrahmungen aus schlanken helleren Bandeinlagen mit Wellendekor. Besonders hervorgehoben die Dekoration der Mitteltüre und der darüber- und darunterliegenden Schübe. Hier zeigen sich lisenenartig angeordnete, vertikal ziehende Blattornamente, die eine mittlere Kartusche mit einem Vogel zwischen Blüten flankieren. Die Aufsatzseiten verzichten auf Buntintarserie zugunsten einer ruhigeren Präsentation jeweils einer großen Barockvase mit Blumen zwischen volutierenden Akanthusblättern in dunkel- bis honiggelben Furnier-Holztönen.Die Beine in Form schlanker, ebonisierter Säulen mit Elfenbein-Fadeneinlagen, über hohen, floral dekorierten Basensockeln. Auch die Oberseiten der Verbindungsstege in gleicher Weise mit Blüten und Vögeln intarsiert. Besondere Ausstattung zeigt bei geöffneter Mitteltüre der Inneneinbau in Form eines Raumes, mit Würfelparkett, schräg liegendem Plafond, mit intarsiertem Stern, die Seiten ebenso mit illusionistischem Parkett und Rundbögen furniert. Vier vergoldete, gedrehte Säulen über Ziervasen gliedern den Innenraum. Dahinter Einbau von seitlich je vier kleinen Schüben, mittig drei tiefer liegende Schübe. Die Mitteltüre auch innen intarsiert, mit Rundbogenmotiv. Anmerkung I:Pierre Gole (auch Golle) war ein aus Holland nach Paris eingewandeter Ebenist, geboren 1620 in Bergen/Holland. Er wurde von Kardinal Mazarin beauftragt, schuf Möbel für den Französischen König und den Grand Dauphin (Cabinet Doré) in Versailles, daneben Kabinettstücke als Diplomatengeschenke des Königs, wie etwa an Lord Sackville, den Englischen Gesandten am Hof. Ein Tisch der Werkstatt von Gole befindet sich in Boughton, zwei weitere Teetische gelangten in die Royal Collection (Victoria and Albert Museum London) sowie in das Getty-Musem, zugeschrieben durch Gilliam Wilson. Anmerkung II:Das Möbel ist in allen Teilen original, in gutem Zustand erhalten, ebenso die Schlössereinbauten und Beschläge. A. R. (1270497) (1) (11)Pierre Gole,1620 – 1684, attributed IMPORTANT LOUIS XIV CABINET OF MUSEUM QUALITYHeight: 195 cm.Width: 140 cm.Depth: 56.5 cm.Accompanied by an expert´s report by François Hayem, Membre de Syndicat National des Antiquaires, Expert à la Compagnie Nationale des Experts, á la Chambre Nationale des Experts Spécialisés, Expert près la C.E.C.O.A., Paris, dated 5 April 2017.Pierre Gole (or Golle) was a Dutch ebonist, born in 1620 in Bergen/The Netherlands, who emigrated to Paris. He was commissioned by Cardinal Mazarin to create furniture for the French king and the Grand Dauphin (Cabinet Doré) in Versailles, as well as the creation of cabinet pieces as diplomatic gifts by the king, such as for Lord Sackville, the British Ambassador at the Royal Court. A table from the Gole workshop is held at Boughton, two further tables are held at the Royal Collection (Victoria and Albert Museum London) and the Getty Museum, attributed by Gilliam Wilson. Note:The cabinet is original in all parts, in good condition, as are the locks and fittings.Export restrictions outside the EU.

Paar exquisite SchwanenfigurenHöhe: 25 cm. Breite: 18 cm. Tiefe: 29 cm. Paris, um 1750.Bronze, gegossen, hochfein ziseliert und feuervergoldet. Auf durchbrochen gearbeiteten Rocaillesockeln mit Muscheln jeweils die Figur eines Schwans, die einander zugewandt sind. Die Darstellung geht auf ein Modell von Johann Joachim Kaendler (1706-1775) von 1748 zurück, der für den Meissener Manufakturdirektor Heinrich Graf von Brühl (1700-1765) 1737 das Schwanenservice fertigte – hier waren die Saucièren sowie die Essig- und Ölkännchen etwa als Schwäne modelliert. Bildliche Vorlagen finden sich beispielsweise in zwei Stichen von Wenzel Hollar (1607-1677), die auf Zeichnungen von Francis Barlow (1626-1702) zurückgehen. Die Modelleure Johann Joachim Kändler (1706-1775) und Johann Friedrich Eberlein (1696-1749) wurden mit den Entwürfen für die verschiedenen Gefäße beauftragt, die der Flora und Fauna des Wassers sowie seinen mythologischen Gestalten gewidmet sind. Vergleichbare Gefäße in Porzellan finden sich etwa im Rijksmuseum in Amsterdam. (†)Anmerkung: Ein vergleichbares Werk: Auktion Christie‘s, New York, 2. November 2000, Auction 9502 Magnificent French Furniture, a pair of royal Louis XV ormolu swans, Lot 5, Ergebnis: 721,000 USD. Als dortige Provenienz höchstwahrscheinlich von Mme de Pompadour bei dem Händler Lazare Dvaux 1755 für ihr Appartment im Hôtel d‘Evreux (heute Palais d‘Elysée) in Auftrag gegeben. Dieser lieferte nämlich: „une grille de cheminée pour les bains composée d‘un cygne dans des roseaux en bronze doré d‘or moulu, modèle fait exprès avec les poupées 550 l., le port à l‘hôtel“. Vierzig Jahre später wurde im Besitz der Madame Lorimier de Chamilly ein weiteres Paar erwähnt: „un feu orné de cuivre doré d‘or moulu reprèsentant deux cignes 900 l.“ Literatur: Catalogue of the collection of George and Florence Blumenthal, New York, t. VI, Paris 1930, Tafel XLV. Louis XV, Un moment de perfection de l‘art français, catalogue de l'exposition, Hôtel de la monnaie, Paris 1974, S. 337. Ulrich Pietsch, Schwanenservice. Meissener Porzellan für Heinrich Graf von Brühl, Leipzig 2000. Abraham Lambertus den Blaauwen, Meissen porcelain in the Rijksmuseum. Rijksmuseum Amsterdam, Waanders 2000, S. 417, Kat. 304. Rainer Rückert, Meissener Porzellan 1710-1810, München 1966, Nr. 1117 - 1118. (1271833) (13)A pair of exquisite figures of swans Height: 25 cm.Width: 18 cm.Depth: 29 cm.Paris, ca. 1750.Bronze; cast, finely chased and fire-gilt. The depiction dates back to a model by Johann Joachim Kändler (1706-1759) from 1748, Heinrich, Count of Brühl (1700-1765), the director of Meissen manufactory, who created the swan service in 1737, whereby the saucières, oil and vinegar jugs are modelled as swans. An illustration can, for example, be found in two engravings by Wenzel Hollar, based on drawings by Francis Barlow. The modellers Johann Joachim Kändler and Johann Friedrich Eberlein were commissioned with the creation of the various vessels, dedicated to water flora and fauna and its mythological creatures. Similar vessels in porcelain can be found at the Rijksmuseum, Amsterdam. (†)Notes:A similar work sold at: Auction Christie’s, New York, 2 November 2000, Auction 9502, Magnificent French Furniture: a pair of royal Louis XV ormolu swans, lot 5, hammer price: 721,000 USD. The provenance there is stated as very probably by Mme de Pompadour, purchased by the art dealer Lazare Duvaux 1755 comissioned for her apartment in Hôtel d’Evreux (today Palais d’Elysée). He delivered: “une grille de cheminée pour les bains composée d’un cygne dans des roseaux en bronze doré d’or moulu, modèle fait exprès avec les poupées 550 l., le port à l’hôtel”. Forty years later the estate of Madame Lorimier de Chamilly lists another pair of: “un feu orné de cuivre doré d’or moulu reprèsentant deux cignes 900 l.”Literature:Catalogue of the collection of George and Florence Blumenthal, New York, t. VI, Paris 1930, plate XLV.Louis XV, Un moment de perfection de l’art français, catalogue de l’exposition, Hôtel de la monnaie Paris 1974, p. 337.U. Pietsch, Schwanenservice. Meissener Porzellan für Heinrich Graf von Brühl, Leipzig 2000.A. L. d. Blauwen, Meissen Porcelain in the Rijksmuseum. Rijksmuseum Amsterdam, Waanders 2000, p. 417, cat. 304.R. Rückert, Meissener Porzellan 1710 - 1810, Munich 1966, nos. 1117 - 1118.

J.J. Abrams signed 10x8 colour photograph taken from behind the scenes of Star Wars film set. Abrams, the director of Star Wars, is pictured talking to a Stormtrooper who has also signed the photograph during The Force Awakens, Episode 7 set. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Matt Damon signed 10x8 colour photograph. Damon is a well-known Hollywood actor who has stared in films such as Sci-fi/political thriller Elysium and The Martian. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Derek Jacobi signed 12x8 colour promo photograph taken as Jacobi plays the fifth version of the Master in Doctor Who. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Tom Baker signed 10x8 colour photograph taken during his time playing the Doctor in Doctor Who. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Richard Grant signed 10x8 colour photograph. Grant is well known for his roles in films such as Star Wars, Doctor Who, The Warlock and Logan. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Doctor Who collection of 17 PHQ cards. These lovely post cards feature images of the famous British science fiction television programme and the various Doctors who have been cast over the years. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Doctor Who collection contains a 8x6 black and white signed photograph by Colin Baker pictured as he plays the Doctor plus the quarterly magazine of the Doctor Who Appreciation Society, Tardis- Volume 9, Number 3. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Stunning Display! Star Wars Dave Prowse hand signed professionally mounted display. This beautiful display consists of a 10"x8" photo, hand signed by Dave Prowse who played Darth Vader in the original trilogy of Star Wars movies. This photo was signed during a private signing with Dave in 2018. This has been mounted with a logo underneath the photo, and the overall size of the mounted display is 14 inches x 11 inches. This signed photo is guaranteed authentic, and is supplied from one of the UK's leading autograph memorabilia companies. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

James Bond collection of paperback books, includes The Man With The Golden Gun, Octopussy, Colonel Sun, The Spy Who Loved Me, On Her Majesty's Secret Service and Thunderball. These lovely books tell the stories of 007, British fictional spy legend, James Bond. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Only Fools and Horses Official Quiz Book featuring a clear signature on the inside title page from John Sullivan as the writer of the original sitcom and his two sons Jim and Dan who wrote this book. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Tom Baker and Louise Jameson multi-signed 12x8 black and white photograph pictured during their time playing The Doctor and Leela in Doctor Who. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Taika Waititi signed 10x8 colour photograph taken during a Star Wars scene of a droid, IG-11, a fictional character in the Star Wars franchise who appears in the Disney+ television series The Mandalorian. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Robert Lenkiewicz (1941-2002) 'Diogenes and Black Pipe' oil on board, with original artist title label on reverse, signed, framed, 50cm x 40cm.As part of the 1972/3 Vagrancy Project the artist often painted local vagrants who would gather around a ‘dos house’ known as Jacob Ladder. Lenkiewicz named him Diogenes after the Greek Philosopher who lived in a barrel after finding the tramp dwelling in a concrete pipe in a rubbish tip. Real name Edwin McKenzie (1912-1984), Diogenes soon became very popular at the studio with many people coming in to see not just the artwork but to meet the man himself. Many of the paintings were exhibited at the vagrancy exhibition in 1973 held at Jacobs Ladder.The artist arranged for Diogenes to be embalmed following his death.‘Then, as he was dying, we had an understanding; he very much had the policy of ‘live while you can and live in clover, when you’m dead, you’m dead all over- — he didn’t much care what happened to the corpse. After he died I kept the agreement, which was to take the corpse, the “vacated premises”, and pass it on to a local funeral parlour who could embalm him effectively, and this was done. And it was done effectively because I have the corpse to this day.’ – Quote from Robert Lenkiewicz by Joe Stoneman.Provenance, acquired by the owners family circa 1980.

Henri Matisse (1869-1954)Nu assis à la chemise de tulle (Duthuit 465) Lithograph, 1925, on chine laid paper, signed and inscribed 'essai' in pencil, a rare proof aside from the edition of 50 (Duthuit records only one trial proof of this subject), the full sheet with deckle edges at top and below, in good condition, framedImage 368 x 270mm. (14 1/2 x 10 5/8in.); Sheet 561 x 376mm. (21 3/4 x 14 3/4in.)Footnotes:Without voluptuous pleasure, nothing existsHenri MatisseNowadays we associate Matisse with vibrancy and sensuality. No other works exemplifies these qualities better than his 'Odalisques' from the 1920s. Matisse fled Paris after the First World War and move to sunny Nice where he started depicting exotic-looking women in opulently decorated, interior settings. He met a young ballerina and musician called Henriette Darricarère who was to become her favourite model from 1920 to 1927 and the sitter for his famous Odalisque paintings for this decade. It is said that Matisse ''liked her natural dignity, the graceful way her head sat on her neck and, above all, the fact that her body caught the light like a sculpture''. In this beautiful lithograph, Henriette is elegantly sitting on a Persian carpet with her naked, curved silhouette resting against a striped wall. The erotic charge of this nude and portrait transcends pure lust, depicting a passion that is not just between two people but between Matisse and the very act of painting and drawing. Matisse keeps the same texture, lavish detail and patterned decorations in these lithographs of Odalisques than in his paintings of the same subject. Click for an instant shipping quoteThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Marc Chagall (1887-1985)Le Cirque (Mourlot 490-527; Cramer Books 68) The complete portfolio, comprising the set of 38 lithographs (23 in colours and 15 in black), 1957, on Arches wove paper, in- and hors-texte, with title page, text in French and justification, signed in pencil on the justification, copy number 189 of 250, published by Tériade Editeur, Paris, 1967, the full sheets, loose (as issued), the colours very fresh and vibrant, in very good condition, within the original paper wrapper and the beige cloth-covered boards with title stamped in gilt on spine and matching slipcaseOverall 450 x 345mm. (17 3/4 x 13 5/8in.)Footnotes:For me the circus is a magic show which passes by like affairs of the world and melts. A circus is disturbing. It is profound. Marc ChagallChagall's fascination with the circus dates from his childhood in pre-revolutionary Vitebsk where travelling acrobats and equestrians often came to entertain the crowds at the village fair. Chagall always remembered the sad scene of a travelling troupe, a father and his young children, performing a handful of clumsy, acrobatic stunts. The public walked by unimpressed, and Chagall saw them walked away, unappreciated and empty-handed. Chagall feared that this could well be the fate of anyone who wanted to pursue the life of an artist. The idea of Cirque came from Chagall's dealer and publisher, Ambroise Vollard, for whom he had already illustrated two other series of prints: Fables and Dead Souls. Vollard was a circus lover and had his own box at the Cirque d'hiver in Paris to which he often invited Chagall and his wife Bella. Due to the dealer's sudden death in a car accident, Chagall who had already started working in a suite of gouaches on this theme, abandoned the project until decades later when the Greek born publisher Tèriade convinced him to complete the work.In 1962, Chagall began working on a series of lithographs that came to be known as Le Cirque. The artist was fascinated with colour lithography as it allowed unlimited painterly freedom. He drew directly on the lithography stone, and the resultant prints reflected the spontaneity of his brushstrokes and draw lines. The accompanying texts were also written by Chagall and complimented the pictures confirming an artist's book which was finally published in 1967.Chagall's lithographs of Cirque can be regarded as his best achievement as a printmaker, with its vibrant colours and fantasies on the circus theme where characters are mixed with the Chagallian standard symbols of goat, cock, pair of lovers ascending in the sky, donkeys and horses forming the dreamlike compositions for which he is famous.Click for an instant shipping quoteThis lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

OSKAR KOKOSCHKA (1886-1990)Die Träumenden Knaben (The Dreaming Youths) (Wingler & Welz 22-29) The volume comprising ten lithographs (eight in colours), 1908, on wove paper, signed, dated 1967 and dedicated to Greta in pencil on the front free endpaper, numbered 183 in ink on the justification label, from the second edition of 275 copies, published in 1917 by Kurt Wolff, Leipzig, Germany, the full sheets, with pale time staining, the colours fresh and vibrant, in good overall condition, bound (as issued), with title page, text in German, within the original hessian-covered boards with lithograph in black on the front cover and black slipcaseSheets 240 x 290mm. (9 1/2 x 11 3/8in.); Volume 243 x 298mm. (9 1/2 x 11 3/4in.)Footnotes:ProvenanceGifted by the artist to Margaret Fisher.Thence by descent to the current owner.Kokoschka was a major exponent of the Expressionist movement in Austria and was one of the great colourists of the twentieth century. Die Träumenden Knaben was his first graphic work and marks an important moment early in his career, not just as a landmark illustrated artist's book, but also representing a period of transition between the traditional Viennese ornamental style and the more emotionally charged and unconventional Expressionist style, employing intense colours and distorted figures. The work combines several of the artists' influences; medieval art where several scenes are shown within one image, folk art with its bold, flat colours, Japanese art in the use of black outlines and the intricate highly decorative imagery of Secessionist Art. The work was commissioned by Fritz Wärndorfer, the Director of the Wiener Werkstätte design cooperative, for the Kunstschau arts and handicrafts exhibition in Vienna 1908, organized by Kokoschka's friend and mentor Gustav Klimt, to whom the work is dedicated. The commission had been intended as a children's fairy-tale. However, inspired by his unrequited love for Lilith, a fellow student, Kokoschka took the liberty of producing rather more adult content to accompany his poem about a young boy's dream, in which youths travel through various exotic landscapes. The poem and images reference the awakening of adolescent sexuality which was regarded as inappropriate and very few of the 500 copies were sold. In 1917 the Wiener Werkstätte publisher, Kurt Wolff, recognizing the importance of the work in the context of the Expressionist movement and seeing that Kokoschka's reputation was in the ascendant, bought the remaining 275 copies of the book and re-issued it as a bound volume.The words and images express powerful personal emotions and Kokoschka later referred to the book as 'my first love letter'. This passion for his subject, together with his dramatic use of colour and composition, mean that this is considered to be one of the most important and beautiful artist's books of the twentieth century.This copy has a handwritten dedication to Margaret Fisher (known as Greta), who worked for her aunt, Lea Bondi-Jaray, one of the foremost dealers in Expressionist Art, first at the Galerie Würthle in pre-war Vienna and later in London, having fled the Nazi occupation in 1939.Click for an instant shipping quoteThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Cesare Roccheggiani (Italian, active second half 19th century): A pair of late 19th century 'Grand Tour' framed topographical micro mosaic circular panels depicting views of St Peters Square and The Forumthe former showing St Peter's Basilica in Rome, a number of paired figures in the middle-ground, a rooftop scene in the immediate foreground, the latter showing the Forum, depicting the Temple of Vespasian and Titus between the Arch of Septimius Severus and the Temple of Saturn, with a couple depicted to the bottom left, the views mounted within moulded black marble borders and set within contemporary gilt bronze foliate scroll pierced frames, the rear of each frame with original green silk covered backing with gilt tooled trophy makers marks, stamped G ROCCHEGGIANI, ROMA,, 33.2cm diameter overall (2)Footnotes:As a member of a well-known family dynasty of master mosaicists, Cesare Roccheggiani had a reputation as one of the most accomplished artists in the city of Rome in the second half of the 19th century. Probably related to Lorenzo Roccheggiani, a late 18th century mosaicist at the Vatican workshop, whose work included the altarpiece, Crucifixion of St. Peter after Guido Reni, he may have also been related to Nicolo Roccheggiani, who was most likely Lorenzo's son who was also another principle artist at the Vatican although at a slightly later date.Previously thought to have been active in the Vatican Mosaic Workshop in the period 1856 to 1864, little was known of the Ceasre Roccheggiani before he established his own independent atelier, first at 125 via Babuino and then by 1874 at 14-15 Via Condotti near the Piazza di Spagna. However, more recent research and examination of Roccheggiani's mosaics suggest that the artist and craftsman may have worked in the atelier of Michelangelo Barberi given that he was strongly influenced by Barberi's style of work and in some cases directly copied some of his own compositions ( the famous 'Rome by Night and Day' being one of these works). After Barberi's death in 1867, his studio continued under the direction of his daughter, Isabella Barberi but was last listed in 1873 which coincidently is actually the year before Roccheggiani first opened his own business. In the mid 19th century there were nearly one hundred mosaicists operating in Rome, many from small workshops with the majority of their output manufactured solely for the burgeoning tourist trade. However the diverse range of pieces produced in large quantities were generally of a small scale comprising small plaques, miniatures and cameos. By comparison the very best studios such as Cesare Roccheggiani's usually produced more substantial or finer micro mosaics in much smaller quantities. These magnificent and costly works however remained the preserve of the rich and powerful and many of the works, often produced by the Vatican workshop were either gifted by visiting aristocrats, given as diplomatic gifts, commissioned by monarchs or displayed at the major international exhibitions such as the Great Exhibition of 1851.A contemporary photograph of Roccheggiani's shop front illustrates the extensive range of mosaics that his company offered and a guide book to Rome lists him as a supplier of mosaic pictures, tables, cabinets, paper weights and gold ornaments (Murray, 1899, p. 22). Of these works, his table tops and large scale pictures were perhaps the most expensive pieces and were acquired by wealthy and prestigious clients and and displayed at the international exhibitions which were very much a feature of the late 19th century. Roccheggiani's mosaics was exhibited at the 1876 Centennial International Exhibition at Philadelphia and at the 1880 Melbourne International Exhibition and his standing was such that he served as a committee member for The Italian Exhibition in London in 1888.Examples of his work in museums in the UK include an étagère with mosaics in the Gilbert Collection, Victoria and Albert Museum, and a necklace in the British Museum, London (Gabriel, 2000, no. 59; Gere, 1984, no. 966)..For further information on this lot please visit Bonhams.com

Circle of Bartolommeo Bandinelli (Italian, 1493-1560):A carved stone figure of 'Apollo killing a lizard'probably second half 16th centuryafter the antique, the naked youth in contrapposto, clad in a fig leaf, his upturned face with tightly curled hair, standing beside a rustic tree stump, on naturalistic base, 155cm high overallFootnotes:Working as a sculptor, painter and draughtman in his native Florence, Bandinelli's early life was greatly influenced by his father who worked as a goldsmith and counted the Medici as one of his patrons. Later studying under the sculptor Giovanni Francesco Rustici, Bandinelli's first major sculptural commission was for a statue of St. Peter in marble for the crossing of the Duomo (1515-1517). With Pope Leo X's return to Florence, this enabled Bandinelli to gain a series of commissions, mainly of Classical gods and heroes which are documented in his sketches and drawings and when Giulio de' Medici was subsequently elected Pope Clement VII, the sculptor gained further commissions including the decorations for the papal coronation in 1523. With the Sack of Rome in 1527 and the Seige of Florence, along with the expulsion of the Medici, Bandinelli was forced to leave Florence but after producing a number of sculptures which made his name throughout Italy, he returned to Florence and carved the group of Hercules and Cacus, in the Piazza della Signoria, which then established him as the official sculptor to the Medici Dukes.The tightly curled hair and pose of the current lot can be compared to Bandinelli's Apollo in the Boboli Gardens in Florence dating from 1448-58.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

The 1873 Ascot 'Gold Cup': a Victorian silver centrepiece candelabrumRobert Garrard, London 1873 Modelled as the moment Elizabeth Woodville met Edward IV and pleaded for the return of her family estates, the central oak trunk leading to the ten lights hidden amongst the foliage, on an ebonised wood base applied in silver lettering 'Won by Cremorne' and 'Ascot 1873'. The historical scene depicts the king on horseback facing the kneeling figure of Elizabeth Woodville embracing her son, their hands clasped together, with her other elder son standing closely behind her, behind the imposing central oak tree is the king's hunting companion on horseback with two hunting dogs, on a naturalistic woodland ground, height overall 110cm, height without plinth 93cm, length overall 76cm, weight 788oz.Footnotes:The current lot is one of the largest and finest examples of the Victorian craze for diorama racing trophies. They first became popular in the 1840s and were typically manufactured by the leading silversmiths at the time: Garrard and Hunt & Roskell, the former employing designers and modellers such as Edmund Cotterill and William F. Spencer. One commentator in 1850 was highly impressed by that year's Ascot trophies and reported:'In no branch of the Fine Arts have the artists of this country made greater progress than in the art of modelling statuettes, and more particularly in modelling groups in which horses and animals are introduced; and in nothing have the artisans employed in the higher branches of manufacture reached a higher reputation than in the manufacture of the designs of artists in the precious metals. It may, indeed, be called a national art, and a national manufacture, by which such beautiful and classic illustrations of ancient fables and historical events have been the means of decorating vases, cups, and such prizes...Elizabeth Woodville (1437-1492) had married John Grey, a Lancastrian knight who was later killed in the Second Battle of St Albans during the War of the Roses. The legend goes that she waited under an oak tree in Whittlewood Forest hoping to meet King Edward IV while he was out hunting. When he passed by Elizabeth threw herself at his feet and pleaded for the return of her late husband's estate which had been confiscated by the Yorkist forces. The king was so taken with her beauty that he attempted to persuade her to become his mistress. She replied, 'My liege, I know I am not good enough to be your queen, but I am far too good to become your mistress.' The king was so moved by the entreaty that he proposed marriage, the first king to have married one of his subjects since the Norman Conquest and was the first such consort to be crowned queen.The story appealed to the Victorians who saw it as a fine example of motherly devotion and marital purity, and it served as the subject in Ambrosini Jerome's 1838 painting 'Lady Jane Grey, pleading to Edward IV'.Cremorne (1869–1883) was one of the most successful colts of his generation, becoming the second of six horses to win both The Derby and the Grand Prix de Paris. His victories at Ascot in 1873 were to be his last, having developed a swollen hock shortly afterwards. In 1886 a poll ranked him as the 11th best racehorse of the 19th century.Cremorne was buried in the grounds of Rufford Abbey by his owner Captain Henry Savile, and his gravestone can still be seen today. The unusual act was done in gratitude: Savile had been heavily in debt and wagered his family estate on Cremorne winning the 1872 Derby. He was the second favourite in a field of 23, and after running neck and neck with Pell Mell through the final stages Cremorne prevailed by a head.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

A George II silver brazier / chafing dishPaul Crespin London 1732Circular with bellied sides and raised on four acanthus leaf-capped feet, the sides pieced and engraved with eight baskets of flowers within geometric scrolls, two drop-ring handles with lion mask brackets, engraved on either side with a coat of arms for Emanuel Scrope Howe (1700-1735), 2nd Vicount Howe, with a clear glass liner, length 24.5cm, diameter at top 20.8cm, weight 40oz.Footnotes:Emanuel Scope HOWE was the son and heir of Scrope HOWE (1648-1713) of Langar, Nottinghamshire a Whig MP who in 1713 was created Viscount Howe, by the heiress Juliana ALLINGTON (1655-1747) the second wife. In 1719 Emanuel Scrope married Mary Sophia Charlotte von KIELMANSEGG (1703-1782) daughter of John Adolph baron von KIELMANSEGGE (1688-1717) of Holstein, Hannover by Charlotte Sophia von PLATTEN who was widely accepted as the illegitimate daughter of George I. The sinister quarterly and escutcheon are the recognised arms of the von KIELMANSEGGE family. The 2nd Viscount was also Whig MP, was elected Member of Parliament for Nottinghamshire in 1722 and from 1733 served as governor of Barbados, where he died in 1735 leaving his eldest son George Augustus HOWE (1725-1758), then aged ten years, as 3rd Viscount. Emanuel Howe had four sons.ProvenanceAnonymous sale Christie's London, 10th July 1984, lot 380A New York Collector: Sotheby's New York, 24th October 2000, lot 391Anonymous sale, Sotheby's Olympia 21st November 2002LiteratureThe current lot is illustrated in Clayton, 'The Collector's Dictionary of the Silver and Gold of Great Britain and North America'. Hamlyn Publishing Group Limited, 1971, page 79.For further information on this lot please visit Bonhams.com

A rare late 17th century Jamaican colonial engraved tortoiseshell wig comb case containing two combsinscribed and dated 'Sarah Henly, Jamaica 1670' and possibly by Paul Bennett of Port Royalthe case of rectangular form, one side with a central panel depicting an indigenous tropical flower beneath the wording Sarah Henly within an undulating indigenous floral border, the reverse with a similar panel with wording 'JAMAICA 1670,' within a similar border, the case with one original silver clasp holding one double sided fine comb and one single sided coarse comb, each engraved with various indigenous flower heads and scrolling foliate motifs, 19.5cms high x 12.5cms wide x 0.6cms deepFootnotes:ProvenanceAcquired by a lady collector from the Cambridge antiques trade sometime in the late 1950's or early 1960's. Thence by descent.This wig comb case and combs closely relate to a small group of objects which are some of the earliest known surviving works of art reflecting European culture from Jamaica. After England's conquest of Jamaica from the Spanish colonists in 1655, Port Royal developed into a large city and the thriving commercial centre of Jamaica. However, this all came to an end when a massive earthquake devastated the city in 1692 and two thirds of the city was swept under the sea.The Institute of Jamaica has eleven of these combs, one large box with combs and one powder box. The first comb was purchased in London by members of the West India Committee in 1923. It was described by H.M.Cundall in The West India Committee Circular, (1923) as 'probably one of the earliest art objects in the British West Indies displaying European influence'. It was thought to have belonged to the Buccaneer, Sir Henry Morgan who was lieutenant governor of Jamaica between 1674-1682. In 1676 Sir Henry wanted to send a present to Sir William Coventry and chose, 'two large turtle-shell combs in a case the same'.The flowers and foliage on the present lot represent some of the products of the Jamaican economy of that time. The two sizes of comb are usual, the narrow toothed comb is thought to have been for extracting lice and the wide tooth comb for wigs.Of the works in the Jamaican Institute's collection it is thought that they are from the hands of two craftsmen working between circa 1671-84 and 1688-1692 respectively. The current lot can be linked to the first group. Interestingly it bears the name Sarah Henly and is apparently dated 1670 - a year earlier than the previously recorded dated examples. Other known pieces in other collections again by this first maker include the Sir Cuthbert Grundy comb case, dated 1672, a round powder box lid and comb case in a private U.S collection dated 1677 and the 'Lady Smith' casket, which is considered to be the craftsman's masterpiece.Philip Hart in his article Tortoiseshell Comb Cases, for the Jamaica Journal, (November 1983) reveals that relatively recent research brought to light a possible candidate for a maker. Among the list of craftsmen and tradesmen in Port Royal before 1692 there appears the name Paul Bennett, the only recorded comb maker. It is therefore possible that Bennett was the maker of this first group and possibly his son, apprentice or assistant was the maker of the second group which this forms part.Another example possibly by Bennett is in the V & A collection (524 to B-1877). See also Sotheby's New York, Important English Furniture, 16th October 2009, lot 82 (realised $20,000 hammer) for another case and pair of combs dated 1688 which is engraved with the Jamaican coat of arms.For further information on this lot please visit Bonhams.com

A French 19th century ormolu mounted kingwood table a the by Paul Sormani (1817-1877)With ebonised and amaranth line-inlaid cartouches, each shaped quarter veneered tier surmounted by a scrolled floral, foliate, rocaille and acanthus cast dished border mount, each end mounted with a conforming pierced elongated scroll shaped cartouche adjoining the two tiers, with four handles, on keeled cabriole legs terminating in cabochon embedded foliate scrolled sabots, signed: 'P. SORMANI, PARIS, the underside with an ivorine plaque which reads: 'H.A. COMER... LONDON WC2... ' 102cm wide x 59cm deep x 97cm high, (40in wide x 23in deep x 38in high)Footnotes:A virtually identical Sormani tea table to the offered lot, likewise signed by the maker, recently sold Christie's, London, 4-25 February 2021, Patrick Moorhead: Hidden Treasures, lot 71. This had been previously purchased Christie's, London, Le Grand Gout - A Private European Collection, 17 June 2009, lot 144 (part). Another closely related table a the by Sormani sold Bonhams, New Bond Street, 25 November 2009, Fine Continental Furniture, lot 169. A further comparable, albeit with an oval tray instead of a serpentine one along with other minor variations, sold Christie's, London, 19 March 2008, lot 189.Paul Sormani, who was born in Italy in 1817, was one of the most important cabinet makers of the 19th century. His first gallery and workshop were established in 1847 in Paris and then during the 1860s the Sormani business is recorded as being located at 10 Rue Charlot. Following Paul's death in 1877, they operated under the direction of his widow, Ursule-Marie-Philippine, and his son, Paul-Charles. Finally in the 1900s the firm re-located to Boulevard Haussman.Sormani, whose output comprised furniture made in a variety of styles, specialised in the production of Louis XV and Louis XVI revival pieces which include a number of exceptional examples. His workshop even advertised itself in the following manner: 'toute sa production revèle une qualité d'éxecution de toute première ordre.' The Sormani firm exhibited at all the major exhibitions of the 19th century, winning medals in 1849, 1855, 1862, 1867, 1878, 1889 and 1900. Of particular note Sormani received a medal of première classe at the Exposition Universelle in 1855, followed by another at the 1862 exhibition in London.LiteratureC. Payne, European Furniture of the 19th Century, 2013, Suffolk, pp.'s 44-5.C. Mestdagh, L'Ameublement d'art Francais, 1850-1900, 2010, Paris, pp.'s 296-299.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Attributed to William Burges (British, 1821-1881): An impressive enamelled, polished semi-precious stone and ivory inset parcel gilt and silvered bronze centrepiece base together with a polished semi-precious stone and ivory inset parcel gilt and silvered bronze upper sectional epergne support ensuiteby Hart, Son, Peard & Co., London in the later Gothic Revival style, circa 1875, the two parts originally from a centrepiece epergne exhibited at the 1878 Paris International Exhibition the base of architectural tripartite pedestal form, the conforming columnar support with cusped column decoration surmounted by a composite Corinthian capital with leafy and whorl decoration and punctuated by a knopped central section with applied beaded and banded agate cabochon set scrolling filigree decoration and three carved ivory busts depicting a king, a maiden and youth playing a lute, the elaborate hipped base of architectural form formed as three arched openings with circular steeple tower pinnacles surmounted by open filigree and turquoise cabochon inset orbs flanked by crocketed finials, the scrolling filigree and whorl decorated sides banded to the edges by black and white chevron enamelled panels with inset carnelian cabochons, the lower corners modelled as circular domed towers above inset square cornelian panels, the lower frieze with alternating pierced and blue enamel square motif decoration, raised on standing silvered lion passant supports; the upper section with flared scrolling open pierced filigree and lapis and banded agate cabochon inset supports terminating in stylised leafy griffins heads, beneath a border of six inset carved ivory panels depicting food related vignettes, comprising a boars head, a swan, a carp, a turtle, a truckle of cheese and an oval pie, the upper girdle supporting a cut glass dished lobed shallow bowl fitting with panelled star cut centre, the hexagonal columnar support below a filigree and whorl knopped section with lions mask heads, raised on a later fixed black painted stepped hexagonal support, the glass bowl of the upper support probably associated, its fixed stand of a later date, the base, 57cm high, 38cm diameter approximately, the support 28cm high, the support including bowl and later base, 41.5cm high overall (2)Footnotes:Upper Epergne SectionProvenanceJ. S. M. Scott, London - the Birkenhead CollectionWith the Fine Art Society, 148 New Bond Street, London W1S 2JT - purchased by the present vendor, The John Scott Collection 'Modern English' Design from the 1860's and 1870's, 11th June 2014 (4, Epergne fragment - INV 34276).With the Victoria & Albert Museum, Cromwell Rd, London SW7 2RL (loan) prior to March 2021ExhibitedParis International Exhibition, 1878.The Fine Art Society, The John Scott Collection 'Modern English' Design from the 1860's and 1870's, June-July 2014 (4).LiteratureThe Art Journal Illustrated Catalogue of the Paris International Exhibition 1878, p.115.The Fine Art Society, The John Scott Collection 'Modern English' Design from the 1860's and 1870', Exhibition Catalogue 2014 (4), p.16.Centrepiece BaseProvenancePrivate UK collection.With RIBA, 66 Portland Pl, London W1B 1AD (on loan) prior to August 2014.Purchased (private treaty sale) by the present vendor in conjunction with Haslam & Whiteway Ltd (advisors), Kensington Church Street, London W8 7NL, 15th September 2014 (INV 6491).With the Victoria & Albert Museum, Cromwell Rd, London SW7 2RL (loan) prior to March 2021.ExhibitedParis International Exhibition, 1878.LiteratureThe Art Journal Illustrated Catalogue of the Paris International Exhibition 1878, p.115.M. Whiteway & C. Gere, Nineteenth-Century Design; From Pugin to Mackintosh, London 1993, p.175.At the time of his death in 1881, the esteemed architect and designer William Burges was widely thought to be the most influential and gifted figure of his generation. An unstable and extravagant eccentric, he was a brilliant pre-Raphaelite architect who pursued his artistic goals via an idealised vision of the past. In his work he sought to escape from both modern industrialisation and the prevalent Neoclassical architectural style of the establishment and re-affirm the architectural and social values of a utopian medieval England. Standing within the tradition of the Gothic Revival, his works echo his predecessor Pugin and his contemporaries of the pre-Raphaelite brotherhood, whilst heralding those of the Arts and Crafts movement.In a short but illustrious career he won his first major commission for Saint Fin Barre's Cathedral in Cork in 1863 when he was thirty five working with a long established team of craftsmen and artisans he produced a small but architecturally varied output including castles, houses, churches, a warehouse, a university and a school, although many of his designs were either never executed or subsequently demolished. Of Burges's works, his most notable are Cardiff Castle, constructed between 1866 and 1928, and Castell Coch constructed between 1872 and 1891, both of which were built for John Crichton-Stuart, 3rd Marquess of Bute. Aside from his architecture, Burges also designed metalwork, sculpture, jewellery, furniture and stained glass. He also gave a series of lectures called 'Art Applied to Industry' to the Society of Arts in 1864, illustrating the breadth of his artistic interests. Burges was a notable designer of Gothic-inspired metalwork and jewellery and who is now seen as the successor to architect and designer A.W.N. Pugin in refining and developing the Gothic revival style. In his book, William Burges and the High Victorian, the author and art critic Prof. J Mordaunt Crook states that 'Burges's genius as a designer is expressed to perfection in his jewellery and metalwork'. He produced a 'dazzling' array of religious artefacts including candlesticks, chalices, crosses either as individual commissions or as part of the decorative schemes for buildings. Burges also had an early and close connection to the Ecclesiological Society taking on the role of superintendent of the Society's church plate scheme in 1864. However, his most notable metalworks were created for himself, often from the proceeds of the winning of an architectural competition. Examples include his Elephant Inkstand and a pair of jewelled decanters, paid for by the fees for the plans of the Crimea Memorial Church and his series of lectures, 'Art Applied to Industry', and the Cat Cup, created in commemoration of the Law Courts competition. He also designed more utilitarian articles including silverware featuring various fantastical creatures including mermaids and spiders and a set of knives and forks specifically designed for his own residence, The Tower House, with the handles carved as types of meat and vegetables. His own large collection of historic armour was subsequently bequeathed to the British Museum upon his death. Hart, Son, Peard & Co. (1842–1913) were British architectural metalworkers basedin London and Birmingham most associated with the production of ecclesiastical works.Founded in 1842 in Wych St, off The Strand, by bible-trained ironmonger Joseph Hart who was also a member of the Ecclesiological Society, they became artistic metalworkers specialising in ecclesiastical manufactures after merging with Birmingham-based Peard & Jackson in 1866–67. Also skilled in sculpture and with an agent in Paris, Henri Collet, the firm made Burges designs by J.P. Seddon, B.J. Talbert, Alfred Waterhouse and William Butterfield. and importantly had a long-sta... This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com

Augustus Welby Northmore Pugin (British, 1812-1852): A rare silvered and gilt plated brass and copper three light candelabrumby John Hardman & Co., Birmingham, in the Gothic Revival style, circa 1840the twin spiral scrolling arms flanking a matching central stem supporting bulbous gadrooned drip pans with scalloped plain galleries centred by plain cylindrical candle nozzles, all issuing from a central decorative roundel with applied engraved shields bearing the assumed and unrecorded coat of arms for the Hardman family, on corresponding knopped gadrooned support and swept swirling gadrooned cusped circular base, 80cm high, 55cm wide, 24cm deep approximatelyFootnotes:ProvenanceJohn Hardman Snr., made for John Hardman Jnr. (1812-1867), thence by descent.Neil Phillips, John Hardman Studio, Lightwoods House, Birmingham.With the Fine Art Society, 148 New Bond Street, London W1S 2JT - purchased by the present vendor, 21st February 2013 (INV 33052).LiteratureThe Journal of Design and Manufactures, II, 1849, p. 52.P. Atterbury & C. Wainwright (eds), Pugin - A Gothic Passion, Exhibition Catalogue, Victoria & Albert Museum 1994, pub. Yale University Press, p. 237, pl. 44. ExhibitedExhibition of Industrial Arts and Manufacturers, Birmingham, 3rd September to 15th December 1849.Arguably one of the most talented and prolific designers of the 19th century, A.W.N. Pugin was an architect, draughtsftsman and designer, antiquary and collector, and artist and critic. Today he is recognised as the trailblazing pioneer of the revival of the Gothic style in Great Britain with a modus operandi derived less from a mere aesthetic but more from exacting religious and moral principles. As the architect of numerous high-profile public and domestic ecclesiastical and secular building commissions in England, Ireland, and Australia, he was also responsible for their interiors and furnishings, collaborating with several individually chosen manufacturers on the design and production of furniture, ceramics, books, textiles, wallpapers, and as with the present lot, metalware. However, his defining commission for the interiors of the Palace of Westminster was ironically instigated via a competition for the commission made by the architect Sir Charles Barry who turned to Pugin for his assistance with the drawings for the proposal. Initially the young Pugin was paid £400 by Barry for assisting with preliminary drawings but as the construction of the Palace progressed, Barry began to rely more heavily on him for the design and execution of the interior furnishings and fittings which ranged from the wall panelling and colour schemes down to the metalwork including the lighting and the door furniture. Pugin's earliest ventures into designing for the medium of metalwork were in the mid 1820's when he met the goldsmith John Gawler Bridge of Rundell, Bridge and Rundell. However, as the company were known for their revivalist historical styles including Rococo and 'Romanticised Gothic', their output was never particularly authentic and consequently few, if any, of Pugin's designs were probably ever realised, despite the existence of archival evidence of sketches showing his involvement with the company. John Hardman & Co. and John Hardman JuniorIn 1835, Pugin's conversion to Catholicism finally provided him with an opportunity to design and produce more purist metalwork pieces whilst undertaking a commission for the seminary of St Mary's College, Oscott. It was at the seminary that Pugin most likely met John Hardman Junior who was a member of a prominent Roman Catholic metalwork manufacturing family, John Hardman & Co. in Birmingham. Hardman Junior and Pugin became close friends sharing a commitment to the revival of their religion and practice. Their subsequent collaboration was responsible for bringing to fruition the majority of Pugin's important designs for precious and base metalwork pieces.Although the pair concentrated on recreating archaeological metalware designs of cathedral and church furnishings, few resources existed documenting domestic metalware forms in the Medieval period. As Pugin had previously dismissed the random application of perceived period detail applied superficially as 'patterns of Brumagen gothic' he was not inclined to 'imagined' Medieval objects to fill a gap in the market. However, he and Hardman inventively produced vessels and lighting of a type that would naturally satisfy this gap. Although it is estimated that as much as 95% of the church and other metalwork supplied by John Hardman & Co were in base metals, most of it being in brass in conjunction with copper, nickel or 'German silver ,' the quality of the gilding and silvering was so good it was often apparently extremely difficult for the firms' patrons to establish if the piece was made in a precious metal, in a base one or constructed in both materials. As a result of increased orders, including those from Charles Barry for the Palace of Westminster (all in base metal) which continued throughout the 1840s, Hardman Junior, although a partner in his father's metalworking company subsequently set up his own firm to provide 'Ecclesiastical Ornaments' from 1838. Continued important commissions and the preparation for the Birmingham Exhibition in 1849 and 1851 Great Exhibition also kept the business at full capacity during this period.In 1849 John Hardman & Co. worked alongside Crace and Co. and Herbert Minton, all of whom collaborated with Pugin at the Birmingham Exhibition of Manufacturers which was held in September of that year where the present lot was shown. An engraved plate with the inscription '(Altar Plate manufactured by Hardman & Co.; Silk Hanging by Crace and Son, London)' shows the candelabrum as the centrepiece of the display and was illustrated in the 'The Journal of Design and Manufacturers, II, 1849, p. 52. Although apparently conceived as an altar candelabrum, its Hardman Family provenance combined with the inclusion of an engraved decorative device assumed to be the unrecorded coat of arms for the Hardmans, demonstrate that its use was almost certainly exclusively secular. The arms were most likely designed by Pugin, who had previously created similar undocumented devices more for aesthetic purposes than from any recognised principles governed by the College of Arms. Indeed this imagined heraldry can perhaps be viewed as a token of Pugin's gratitude and goodwill towards his patron John Hardman junior. A comparable secular candelabrum in gilt brass and cut crystal glass designed by Pugin for the House of Lords circa 1850 also by John Hardman & Co Birmingham was subsequently exhibited at the 1851 Great Exhibition. However the 1849 Birmingham exhibition itself was a precursor of the 1851 Great Exhibition organised by Henry Cole and Prince Albert, both of whom had praised the work of Pugin and his manufacturers at the exhibition, causing Pugin to comment 'Our exposition at Birmingham was very creditable, has attracted a deal of attention, and done much good'. However the 1851 London Exhibition, known as the ''Great Exhibition of the Works of Industry of All Nations,'' held in Joseph Paxton's prefabricated 'Crystal Palace' was problematic for Pugin who was commissioned to design a Medieval Court due to his differences with the designer of such a modern glass and iron structure. Nevertheless, he worked har... This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A George III carved mahogany and ormolu mounted bureau cabinet attributed to Gillowsthe carving probably by James TownsonCirca 1760, the dentil moulded cornice above a blind fretwork frieze, over a pair of shaped and scrolled panelled doors each with cartouche-embedded acanthus spray angles, enclosing six short adjustable shelves, two short fixed shelves, ten pigeon holes and five short drawers, flanked by two stop-fluted Corinthian pilasters, with a blind fretwork waist below, the hinged fall above three frieze drawers, the two shorter end drawers each with a sliding lid, over three long graduated drawers, flanked by fluted Corinthian columns, on shaped ogee bracket feet, 123cm wide x 64cm deep x 234cm high, (48in wide x 25in deep x 92in high)Footnotes:A detailed painting by Shirley Slocombe, dating to 1906, of a virtually identical model of - possibly even the same - bureau cabinet as the present lot appears in both P. Macquoid, A History of English Furniture, 1989, London, Pl. XXXVII and S.E. Stuart, Gillows of Lancaster and London, 1730-1840, Vol. II, 2008, Woodbridge, pl. 605, p. 59. Stuart describes this painting as showing an: 'unrecognised superb Gillow bureau clothes press or bookcase' so it is exciting to consider that the offered cabinet is, even if not the direct subject of Slocombe's illustration, at the very least a supreme showcase piece made by the Gillows workshop in circa 1760.The distinctive carving of the Corinthian capitals on the stop-fluted pilasters flanking the doors of a Gillow clothes press supplied to Ralph Bell of Thirsk Hall, Yorkshire, in 1761, is very similar to the Corinthian ones on the present example. We know that the carving on the Thirsk Hall press was executed by James Townson, who was employed by the Gillows firm at that time, so it seems logical to presume that Townson also completed the carved details on the above as well. The Thirsk Hall press features in S.E. Stuart, Idem, pl.'s 595 & 596, pp.'s 52-54. The shaped cartouches with foliate spray angles on the doors of the offered lot correspond to the panelling on the upper section of a secretaire clothes press and two wardrobes produced by Gillows in 1766 and 1772 respectively, Ibid, pl.'s 598, 606 & 607, pp.'s 54-61. It is also interesting to note that the secretaire press, which was supplied to John France in 1766, has a conforming pattern of blind fretwork frieze to that appearing on the bureau cabinet in the Slocombe painting. A related bureau cabinet, likewise attributed to Gillows and dated circa 1760, which was also possibly carved by James Townson sold Christie's, New York, 14 October 2016, Living with Art, lot 230. The stop-fluted Corinthian pilasters flanking the doors of this comparable appear essentially identical to the ones carved on the offered example. And in turn both of these pairs of pilasters conform to those known to have been executed by James Townson on a Gillows clothes press supplied to Ralph Bell of Thirsk Hall, Yorkshire in 1761, S.E. Stuart, Gillows of Lancaster and London, 1730-1840, Vol II, 2008, Woodbridge, pp.'s 52-53, pl.'s 595 & 596.LiteratureP. Macquoid, A History of English Furniture, 1989, London.S.E. Stuart, Gillows of Lancaster and London, 1730-1840, Woodbridge, 2008.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Sir George James Frampton (British, 1860-1928): A patinated bronze figure of 'Peter Pan'the figure originally conceived 1911, this reduction edition dated 1913the young boy playfully blowing his pipe, the base signed with GF monogram and dated 1913 to one side, the top edge with inscribed monogram PP, raised on a stepped rectangular green veined marble plinth, the figure 48cm high, 59cm high overall including plinth baseFootnotes:ProvenanceProperty of a private UK family collection since the late 1940's.A leading sculptor of his day, Frampton was a central figure of the New School of sculpture but is perhaps today most famous for his depiction of Peter Pan, J. M. Barrie's 'boy that never grew up' and fantastical storybook hero of Edwardian children's literature. Derived from the life size plaster of Peter Pan exhibited by Frampton at The Royal Academy in May 1911, it was then cast in bronze and erected on behalf of the 'anonymous donor' J. M. Barrie in Kensington Gardens in May of the following year. The statue was placed at Barrie's request on the spot in Kensington Gardens where the little boy appears nightly in his first book 'Little White Bird' dating from 1901. The figure of Peter was supposedly modelled on a family friend of Barrie's, Michael Llewellyn-Davies who was one of the five brothers who inspired the original stories. Barrie is known to have sent Frampton photographs of Michael dressed as Peter Pan from which to work but it is now thought more likely that Frampton actually modelled his Peter on another boy, possibly James W. Shaw or William A. Harwood.The statue was first seen publicly to great acclaim on the 1st May 1912 with no advance publicity after Barrie placed an advert in The Times stating:'There is a surprise in store for the children who go to Kensington Gardens to feed the ducks in the Serpentine this morning. Down by the little bay on the south-western side of the tail of the Serpentine they will find a May-day gift by Mr J.M. Barrie, a figure of Peter Pan blowing his pipe on the stump of a tree, with fairies and mice and squirrels all around. It is the work of Sir George Frampton, and the bronze figure of the boy who would never grow up is delightfully conceived'The statue depicts Peter standing in exactly the same pose as Frampton's original figure first shown in 1911 but with the addition of fairies, rabbits, mice and squirrels to the more elaborate naturalistic base. Much admired, it quickly become a favourite landmark for many adults and children, and is often considered to be one of the most popular public statues in London. Other life-size versions of the statue were later erected in Sefton Park, Liverpool, Canada, Brussels, Australia and New Jersey. It was the obvious widespread popular appeal of the statue that subsequently led Frampton to produce limited edition reductions of the main figure of Peter and the present lot is an early example of one these reductions produced between 1913 and 1925.SFor further information on this lot please visit Bonhams.com

A fine and rare Flemish tapestry, LIONESS IN THE RIVER, 1611-1614signed Jan I Raes (the Elder) 1574 -1651 on the right selvedgethe main field with overall fading, shows an exotic scene of a lioness as she crosses a realistically depicted river within an intricate landscape, the river is framed by plants and trees including a date palm and an oak, other animals depicted are parrots, herons, ducks and a leopard, in the foreground one snake is drinking, another is shedding its skin and an eel can be seen by the water, the impressive border is decorated with golden foliate scrolls on a red ground including pomegranates and artichokes, heads of Bacchic figures and lions can be seen in the corners, 480cm x 442cmFootnotes:ProvenancePart of a series that had belonged to Cardinal Alessandro Peretti Montalto, Prince Michele Peretti Montalto, Cardinal Francesco Peretti Montalto and Paolo Savelli in Rome. Most recently the work was part of a collection of a noble Roman family and thence by descent.A Papal CommissionThe present lot is part of series of Landscapes with Animals woven by one of the best known early seventeenth-century weavers in Brussels, Jan Raes the Elder (Brussels, 1574-1651) for the nephew of Pope Sixtus V, Vice-Chancellor of the Church (for Cardinal Alessandro Peretti Montalto (1571-1623).Fortunately, there is a wealth of documentation about this specific series, in particular some letters from the apostolic nuncios to the cardinals in Rome. Guido Bentivoglio, signed the contract with Raes for the production of the series in Brussels on 17 December 1611. On 19 July 1614 the set was finished and sent to Rome 'a parament of two rooms of new tapestries, not yet displayed with forest verdures and animals drawn from nature.' Origins in AntiquityPliny the Elder wrote in the Physiologus that the lioness washes herself in water after mating with a leopard and the serpent drinks and squeezes through a crack in a tree to shed its skin. Many have argued that this iconography serves as a metaphor of the purification needed to attain eternal salvation.The SeriesThe cartoons for this series were probably executed by Jean Tons II, a Flemish artist who specialized in zoological subject matter. Of the twelve cartoons, Montalto commissioned Raes to make eleven. We even know the exact sizes because these were detailed in a letter written in 1617, from the nuncio Ascanio Gesualdi to cardinal Scipione Borghese (Montalto's friend who had wanted to purchase a replica of the Landscapes). After Montalto's death 1623, the series went to his brother, Prince Michele Peretti Montalto and in 1631, to the prince's son, Cardinal Francesco Peretti Montalto. A 1655 inventory of the cardinal's estate reveals that the series was still complete. It is thought that the series started to be broken up from 1685 onwards.The surviving tapestries of the series included depictions of other exotic animals including a Rhinoceros, a Leopard over a Pond (owned by the Sovereign Order of Malta in Palazzo Savelli Orsini, Rome) Ostriches, Stag, Dragon Eats the Eggs (now in the National Museum Palace of the Grand Dukes of Lithuania in Vilnius) and a Leopard Biting a Lion.There are other less detailed versions of the Landscapes with Animals by Raes, including a replica of the Lioness in the River that appeared at the Sotheby's, Zurich sale, on 10 December 1996.LiteratureNew Light on the Raes Workshop in Brussels and Rubens's Achilles Series, and in Tapestry in the Baroque. New Aspects of Production and Patronage, ed. by T. P. Campbell, E. A. H. Cleland Conference Proceedings, New York – New Haven/London 2010, pp. 20-33.N. Forti Grazzini, 'Verdures with animals', Grand Design. Pieter Coecke van Aelst and Renaissance Tapestry, ed. by E. Cleland, exhibition catalogue, New York – New Haven/London 2014, pp. 338-341, fig. 243.B. Granata, Le passioni virtuose. Collezionismo e committenze artistiche a Roma del cardinale Alessandro Peretti Montalto (1571-1623), Rome 2012,This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Josef Ignaz Mildorfer1719 Innsbruck - 1775 WienApollo und MelpomeneAuf einer Wolkenbank nähert sich der Gott der Künste der Muse der tragischen Dichtung. Öl auf Lwd. 49,5 x 64,5 cm. Doubliert. Rest. Min. besch. Rahmen. In der Regel wird Apollo im Kreis der Neun Musen dargestellt. Hier nähert er sich aber bewusst allein der Muse der tragischen Dichtkunst, ausgezeichnet durch die umgehängte tragische Maske. Er fasst sie liebevoll an ihrem rechten Arm. Ein Putto zieht Melpomene den Schleier der Trauer vom Gesicht. Rechts Putten mit Malutensilien, links eine männliche Gestalt und ein bezwungener Satyr nach dem Kampf. Elisabeth Leube-Payer vermutet einen Zusammenhang der Entstehung dieses sehr fortgeschrittenen Bozzettos im Sinne einer "Verherrlichung der Künste" mit dem Umfeld des Theaters, der Schauspielkunst und des Theaterbaues im Allgemeinen. So war Josef Ignaz Mildorfer mit thematisch ähnlichen Aufträgen für Schloss Esterházy in Fertöd und das Hofburg- und das Kärntnertortheater in Wien befasst. Josef Ignaz Mildorfer orientierte sich am Beginn seiner künstlerischen Laufbahn als Freskant, Historien- und Schlachtenmaler noch deutlich am Vorbild Paul Trogers. Im Laufe seiner Karriere führte seine Entwicklung von pathetischen, farbintensiven Werken der Frühzeit über empfindsame Darstellungen gemäßigteren Kolorits zu eher streng aufgefassten Arbeiten der späten Zeit. Als Professor an der Wiener Akademie (1751-1759) prägte Mildorfer zahlreiche Schüler. Zu diesen zählten u. a. Johann Baptist Wenzel Bergl, Franz Sigrist und - als bedeutendster der Schüler - Franz Anton Maulbertsch. Ein ehemals offenbar vorliegendes Gutachten von Prof. Dr. Bruno Bushart zu diesem Gemälde hat sich nicht erhalten. Provenienz: Galerie Neuse, Bremen (1985). - Sammlung Reiner Winkler, Wiesbaden. Wir danken Frau Dr. Elisabeth Leube-Payer, Wien / Stanford, die auf Basis von Fotografien die Autorschaft J. I. Mildorfers bestätigt hat. Josef Ignaz Mildorfer1719 Innsbruck - 1775 ViennaApollo and MelpomeneOil on canvas. 49.5 x 64.5 cm. Relined. Restored. Minor damage. Framed. Elisabeth Leube-Payer assumes a connection between the origin of this very advanced bozzetto in the sense of a 'glorification of the arts' and the world of theatre, acting and theatre construction in general. Josef Ignaz Mildorfer, for example, was involved in similar commissions for Esterházy Castle in Fertöd (Hungary) and the Hofburg and Kärntnertor Theaters in Vienna. At the beginning of his career Josef Ignaz Mildorfer was clearly influenced by the paintings of Paul Troger. During his career, his paintings show a development from pathetic, colour-intensive works of the early period, through sensitive illustrations of moderate colours, to more strictly interpreted works of the late period. As a professor at the academy of arts in Vienna (1751-1759) Mildorfer influenced many students. Among them were Johann Baptist Wenzel Bergl, Franz Sigrist and - most important - Franz Anton Maulbertsch. A former existing expertise by Prof. Dr. Bruno Bushart on this painting doesn't exist anymore. Provenance: Galerie Neuse, Bremen (1985). - Collection Reiner Winkler, Wiesbaden. We thank Dr. Elisabeth Leube-Payer, Vienna / Stanford, who confirmed J. I. Mildorfer's authorship on the basis of photographs.

Josef Kriehuber1800 Wien - 1876 ebendaGebirgige Flusslandschaft mit Buchenwald(Kyjovka / Mühlgraben im Marsgebirge?). Öl auf Lwd. 111 x 141 cm. Doubliert. Rest. Rahmen min. besch. Josef Kriehuber gilt als der bedeutendste und bekannteste Porträtlithograph seiner Zeit. Zu seinen Kunden zählte das Kaiserhaus, zahlreiche Aristokraten und Politiker sowie Vertreter aus Wirtschaft und Kultur. Das Who's Who der Wiener Gesellschaft der Zeit zwischen 1830 und 1860 findet sich in seinem rund 3000 Blätter umfassenden Werk an Porträtlithographien wieder. Ab den 1830er Jahren widmete sich Kriehuber aber auch der Landschaftsmalerei, die eine stilistische Nähe zu Franz Steinfeld und später auch Ferdinand Georg Waldmüller zeigt. Das vorliegende Gemälde entstand zeitgleich mit Porträts der Familie des Auftraggebers. Dem Gemälde beigegeben ist eine Bestätigung Dr. Alois Berchtolds, Lilienfeld, 14. Oktober 1966, folgenden Wortlauts: "[...] bestätige hiermit, dass Kriehuber [...] auf Schloß Buchlau in Mähren, von meinen Großeltern Berchtold-Trauttmansdorff [i. e. Sigmund Graf von Berchtold und seine Gattin Josefine, geb. Gräfin Trauttmansdorff] eingeladen, mehrere Wochen zugebracht hat, dort neben Porträts meines Vaters [i. e. Leopold Graf Berchtold, 1863-1942, von 1911-1915 Außenminister] und dessen Schwester als Kinder mit dem Schloß im Hintergrund auch verschiedene Motive der alten Burg Buchlau gemalt sowie in den umliegenden ausgedehnten Buchenwäldern gefällige Vorbilder für das [...] Landschaftsbild gefunden hat, das von meinem Großvater bei ihm bestellt wurde." Provenienz: Privatsammlung Österreich. Josef Kriehuber1800 Vienna - 1876 ibid.Mountainous river landscape with beech forestOil on canvas. 111 x 141 cm. Relined. Restored. Minor damage to frame. Josef Kriehuber is regarded as the most important and best known portrait lithographer of his time. Among his clients were the Imperial Family, numerous aristocrats and politicians as well as representatives of economy and culture. The Who's Who of the Viennese society of the time between 1830 and 1860 can be found in his work of portrait lithographs, which comprises about 3000 sheets. But from the 1830s Kriehuber also devoted himself to landscape painting, which shows a stylistic similarity to Franz Steinfeld and later also to Ferdinand Georg Waldmüller. Provenance: private collection, Austria.

István Nadler1938 Visegrad (Ungarn)Ohne Titel. 1995Rechts unten signiert, links datiert. Unten mittig auf ungarisch bezeichnet: An den Freund der immer in klarem Wasser fischt (übersetzt). Gouache auf Papier. 81 x 57 cm. 100 x 69 cm. Rahmen. Provenienz: Privatsammlung Süddeutschland István Nadler1938 Visegrád (Hungary)Untitled. 1995Signed lower right, dated left. Inscribed in Hungarian lower centre: to the friend who always fishes in clear water (translated). Gouache on paper. 81 x 57 cm. Sheet size: 100 x 69. Framed. Provenance: private collection, South Germany

A SILVER PAIR CASED POCKET WATCH with white enamelled dial with black Roman numerals, the movement signed John Russell, Falkirk, with foliate engraving. Both inner and outer cases bear the same hallmark for London 1797. diameter 4.3cm, outer case 5.2cm, weight 120.3gms Condition Report: John Russell Falkirk according to Brian Loomes, he was a blacksmith who became a clockmaker by 1770. John Russell was watchmaker to the Prince of Wales who then became George IV. Dial has large chips, the hour hand is broken, chain is broken on the fusee.

•GRAHAM MCKEAN (SCOTTISH B. 1962) THE GIRL WHO LOVED WHISKY Oil on canvas, signed, 30 x 30cm (11 3/4 x 11 3/4") Signed and inscribed with title verso Condition Report: The pigment and canvas are in good condition with no significant issues.

An important and unrecorded Jacobite engraved ceremonial 'Confederate Hunt' goblet, circa 1759-60Of generous slightly flared bucket shape, the slightly convex flat base with the stem and foot removed, decorated with a six-petalled rose and one closed bud crossed with a thistle, the rim inscribed 'THE CONFEDERATE HUNT, Lady Wins Wynne Lady Parramount' [sic], the reverse with the names of the Lady Patronesses from 1754 to 1758 inclusive, above the political slogan 'Hark Wenman & Dashwood/ Sr Watn & old Interest/ for Ever', 12.5cm highFootnotes:ProvenancePrivate Collection, St. Martin's near Oswestry, ShropshireThence by family descent to the present ownerOf the many Jacobite clubs and societies that flourished in the middle of the 18th century, perhaps the best known is The Cycle Club, also known as The Cycle of the White Rose. This was founded by Sir Watkin Williams Wynn of Wynnstay, who was a prominent Jacobite supporter. The Cycle Club met at the Eagle in Wrexham and later at Wynnstay, its members all living within a fifteen mile radius. Interestingly, the present lot was passed to the present owner by a relative who farmed at Sandhole Farm near Wiggington, less than five miles from Wynnstay. Although Sir Watkin Williams Wynn died in 1749, the head of the family continued in the role of Patron, while his wife was the Lady Patroness of the Cycle Club.The Confederate Hunt was a separate club probably affiliated with the Cycle Club. This goblet commemorates the election of Sir Watkin's second wife Frances as Lady Paramount of The Confederate Hunt. This Lady Williams Wynn, the 3rd Baronet's widow, was born Frances Shakerley and she was therefore a member of one of the other Jacobite families mentioned on the goblet. In Jacobite clubs the Lady Patroness was usually an unmarried lady of the neighbourhood. The Patroness, sometimes accompanied by a lady guest, was the only female member allowed to attend club dinners. The Lady Patronesses listed on this glass are Miss Mytton - 1754, Miss Owen - 1755, Miss Shakerly [sic] - 1756, Miss Williams - 1757 and Miss Nelly Owen - 1758. The Mytton family seat at Halston Hall is a stone's throw from Sandhole Farm. Hartshorne noted that the Tarporley Hunt, another Jacobite Society, also had Lady Patronesses and that in 1762 members drank claret from 'collar glasses' which were supposed to have held a bottle.The many Jacobite clubs, including The Confederate Hunt, are discussed by Peter Lole, A Digest of the Jacobite Clubs, Royal Stuart Society Paper LV (1999). In a nod to secrecy, this goblet refers to the Jacobite cause as 'old Interest', in this case by way of a reference to The Old Interest Society, another Jacobite club that was involved in the parliamentary election in Oxfordshire in 1754. According to Lole, it was reported that The Old Interest Society used glasses engraved with the Tartan Portrait of Prince Charles. A decade or more after the Jacobite uprising, most Jacobite clubs supported the Cause in little more than name. Their meetings were political gatherings held in support of the Tories and to oppose the Whigs. This goblet refers to Messrs Wenman and Dashwood who, in 1754, had been the Tory candidates for Oxfordshire. Both were returned as MPs but lost their seats on a Whig petition. This Dashwood was a cousin of Sir Francis Dashwood, who became Chancellor and was notorious as the begetter of The Hell Fire Club.Three other 'Confederate Hunt' goblets are recorded, all with bowls of the same generous proportions. One is now in the Museum of London (acc. no. 34.139/313) and came from the Garton and Hamilton Clements Collections, via Cecil Davis and a Sotheby's sale on 15 May 1930, lot 150. It is illustrated by Grant Francis, Old English Drinking Glasses (1926), pl.LXXIX. Another from the W Jackson Collection is described by Hartshorne, Old English Glasses (1897), p.313 and was sold by Sotheby's on 15 September 1992, lot 43 where it was acquired by the National Museum of Wales. The third, known as 'The Wynnstay Cup', was in the Lord Harlech Collection at Glyn Cywarch, sold by Bonhams on 29 March 2017, lot 117. It is interesting to note that the other three known examples have all been broken through the stem following what must have been a particularly riotous club meeting, but were preserved at the time with crude repairs and replacement feet. Whilst it seems the stem and foot of the goblet in the present lot was discarded, it is possible that this took place at a later date.For further information on this lot please visit Bonhams.com

A fine Venetian or façon de Venise winged latticinio 'ring' goblet, 19th centuryIn vetro a reticello, decorated with fine spiralling filigree threads in opaque white, each intersection containing a trapped air bubble, the generous round funnel bowl applied with two trailed 'wings' in turquoise glass, alternating with two small loops hung with finely twisted rings also in turquoise glass, the hollow baluster stem also in latticinio between clear glass collars, on a spreading foot, 17cm highFootnotes:The construction of this remarkable goblet would have required exceptional skill from a glassmaker, such as Salviati, who had truely mastered the craft. It reflects a fanciful combination of periods and styles found in much early Venetian and façon de Venise glass, including winged wine glasses and goblets of the late 16th and early 17th centuries and latticinio from the late 17th and early 18th centuries. See for example the vetro a reticello goblet and the winged 'ring' wine glass in Corning Museum of Glass (acc. nos. 50.3.68 and 79.3.212). Early latticinio goblets typically have folded feet and whilst examples with plain feet are known, these usually have a swept rather than slightly domed profile. They are not usually found with ornament in coloured glass. The rings lack the closed, finely milled construction of those seen on earlier 'ring' glasses and the protrusions at the tops of the distinctive 'wings' are uncharacteristic, appearing to confirm a later attribution.For further information on this lot please visit Bonhams.com

A very rare Worcester tureen and cover and a centrepiece, circa 1770-75The tureen of shallow circular form, the final finely modelled as cow, lying and with details picked out in blue, printed in blue with flowers from the 'Rose-Centred Spray Group' (II.C.10) and the 'Pine Cone Group' (II.C.11), 21.2cm diam, the centrepiece of quatrelobed oval footed form, an elaborate pierced design below the scroll-moulded rim, a simpler one above the foot, printed in blue with the 'Gillyflower' pattern (II.C.22), 29.2cm wide, crescent mark (3)Footnotes:The cow finial of the tureen is similar to a model made at Plymouth or Bristol and this provides an important link to John Toulouse, who is likely to have provided the model for this remarkable finial. An example in the Museum of Royal Worcester is illustrated by John Sandon, The Dictionary of Worcester Porcelain (1999), p.119. An example from the Zorensky Collection was sold by Bonhams on 22 February 2006, lot 352 and is illustrated by Spero and Sandon, Worcester Porcelain (1996), p.486, no.666. The pierced borders of the centrepiece are reminiscent of contemporary creamwares, the fine quality of which would have made them worthy competitors in the market for Worcester's products. An identical dish from the Zorensky Collection was sold by Bonhams on 23 February 2005, lot 366 and is illustrated by Spero and Sandon (1996), p.477, no.649.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

A Worcester teacup and saucer, circa 1765-70Decorated in the workshop of James Giles, painted in purple monochrome with three naturalistic floral sprays, including forget-me-nots, within hexafoil panels reserved upon a jade-green ground with diaper gilding, gilt line rims, saucer 13.1cm diam, crossed swords and numeral 9 (2)Footnotes:ProvenanceZorensky Collection, Bonhams sale, 22 February 2006, lot 214Sir Jeremy Lever Collection, Bonhams sale, 7 March 2007, lot 216The jade or sea-green ground is a distinctive and most attractive trait of Giles' workshop. A similar cup and saucer is discussed by Stephen Hanscombe, James Giles: China and Glass Painter (2005), no.25 who suggests that gilding may indicate a date as early as 1763. Another is illustrated by Gerald Coke, In Search of James Giles (1983), col. pl.XVI(b). See also Robyn Robb's 2003 exhibition catalogue, no.12 for a high 'Chelsea ewer' creamjug with the same decoration.For further information on this lot please visit Bonhams.com

A rare Lowestoft model of a swan, circa 1790Left in the white, naturalistically modelled with an elegantly arched neck and delicately moulded wings held close to its body, 6cm highFootnotes:ProvenanceMargaret CorsonFlowerday CollectionShards matching the swan's right wing were found at the Lowestoft factory site in 1903-04 and are illustrated by Sheenah Smith, Lowestoft Porcelain in Norwich Castle Museum, Vol.2 (1985), pl.20. A version with the eyes and beak picked out in enamels from the Brian Wood Collection was sold by Bonhams on 14 November 2018, lot 398. Further polychrome 'sepia' examples are illustrated and discussed by John Howell, Lowestoft Manganese-Decorated Animals, ECC Trans, Vol.13, Pt.3 (1989), p.182 and pl.165(b), who suggests that this decoration was intended to mimic the downy feathers of cygnets.For further information on this lot please visit Bonhams.com

An unusual Lowestoft leaf dish, circa 1768Moulded in the form of a leaf with a serrated edge and veining, the stalk curled around to form the handle, the inside relief-moulded with further leaves and flowering buds or berries picked out in blue issuing from a central stem, a feathery dash border to the rim, 15.9cm long, painter's numeral 5 inside footrimFootnotes:A similar example in the Victoria and Albert Museum (acc. no. C.532-1924) is illustrated by Geoffrey Godden, Lowestoft Porcelains (1985), p.90, pl.103, who notes that the form appears to be unique to Lowestoft. Whilst this may be true of English porcelain, a very closely related version in Staffordshire saltglaze is illustrated by Donald Towner 'William Greatbatch and the Early Wedgwood Wares' ECC Trans, Vol.5, Pt.4 (1963), pl.180a.For further information on this lot please visit Bonhams.com

A very rare American glass target ball by E E Sage & Co and an A H Bogardus ball, dated 1877Of moulded globular bottle shape with short narrow necks, the first in deep amber or brown inscribed all-over 'E.E. SAGE & CO PATAPLYD/ GLASS M'F'R'S CHICAGO ILL', read from bottom to top, 7.7cm high, the other in golden amber glass moulded with a quilted diamond design, the central band inscribed 'BOGARDUS' GLASS BALL PAT'D APR 10 1877.', 7.8cm high (2)Footnotes:Target balls were a relatively short-lived forerunner to the modern clay pigeon, with the first target ball shooting being reported in England in an issue of Bell's Life in London on 11 May 1867. They were typically filled with feathers and corked to simulate a bird being hit. Whilst the sport never fully took off in Britain, it became very popular in the United States driven most notably by Captain A H Bogardus, who patented his first ball and trap on 10 April 1877. Edwin E Sage subsequently patented a 'superior' advertising target ball on 21 August 21 1877, but a successful trademark infringement case filed by Bogardus combined with failing health caused him to close his business and he had left Chicago by late 1878. During their short time E E Sage & Co. produced balls in both blue and amber glass with moulding in three variants. Their target balls are incredibly rare, with only six or so recorded prior to the discovery of the present example, so this represents a remarkable survival.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

A rare Royal Worcester vase attributed to George White, dated 1898Of shouldered form with a shaped rim and beaded collar, fluting to the lower part, the shoulder painted with a continuous landscape depicting a fair-haired maiden in classical dress reclining on a mound, a lute by her side, the reverse with two putti examining a lute, the moulding picked out in green and raised gilding, 17.3cm high, blue mark, shape number 1538Footnotes:This delicate vase is something of an enigma. The figure painting is unlike anything seen on Royal Worcester and instead it corresponds with decoration from the Burslem factory of Royal Doulton. In particular, the painting so closely resembles the work of George White and it is difficult to think of any other artist who could have been responsible. Similarly, the gilding on this vase is atypical of Royal Worcester and instead is very much in the Doulton traditions. It is likely, therefore, that this vase was decorated in Burslem, perhaps by George White working as a freelance.For further information on this lot please visit Bonhams.com

A very rare Elers Brothers redware teapot and cover, circa 1695After a Yixing original, the cylindrical form slip-cast and lathe-turned, with an overhead handle and short spout, the body decorated in relief with floral sprigs to both sides, the domed cover with three flowerheads and surmounted with an acorn finial, 15cm high (2)Footnotes:John Philip and David Elers were Dutch silversmiths who produced high quality red stoneware at Bradwell Wood in Staffordshire for a brief period between circa 1690 and 1698, their establishment being last recorded in 1697. Their distinctive wares were cast in plaster moulds and the exteriors neatly turned using a lathe, as detailed in a document of 1794 written by Josiah Wedgwood, see Gordon Elliott, John and David Elers (1998), p.18.In the turning of a vessel on a lathe, a cone of either wood or clay is needed to hold the piece while it is spun, and the irregular circular impression to the centre of the base inside this teapot is consistent with this. The crispness of the moulded decoration on this teapot is attributable to the Elers' use of metal dies, as indicated by the slight roughness surrounding these reliefs. An Elers coffee pot with strikingly similar decoration and a comparable acorn finial to the cover was sold by Bonhams on 1 May 2013, lot 2. A lidded jug with similar floral sprigged decoration and an acorn finial is illustrated by Elliott (1998), p.20, fig.4. Another Elers jug with comparable decoration is illustrated by Jan Daniël van Dam, European Redwares, British Ceramic Design 1600-2002 (2003), p.36, pl.8.For further information on this lot please visit Bonhams.com

The Leith Goblet: A Beilby enamelled opaque twist goblet, circa 1760-65The generous ogee bowl inscribed 'SUCCESS to the TOWN and TRADE of LEITH' within a leaf scroll cartouche all in opaque white, below a later gilt-line rim, set on a double-series stem and conical foot, 19.2cm highFootnotes:ProvenanceDrambuie Collection, Lyon & Turnbull sale, 27 January 2006, lot 80Chris Crabtree Collection, Bonhams sale, 16 December 2009, Lot 63Peter Lole Collection, Bonhams sale, 15 May 2019, lot 249Niall Kenny CollectionIllustrated by Robin Nicholson, The Drambuie Collection (1995), p.89, pl.72. This goblet is believed to be unique but it is not known who commissioned it from the Newcastle-based Beilby family of glass enamellers. Maritime links between Leith and Newcastle were well established in the 18th century and it would have been a straightforward matter for a Leith-based merchant to commission the piece.For further information on this lot please visit Bonhams.com

A good pearlware 'Martha Gunn' Toby jug, circa 1790-1800Modelled seated, holding a flask in her right hand and a cup in her left, her dress painted in mottled brown and green, yellow shoes peeping out from below the hem, a blue hat applied with The Prince of Wales's feathers picked out in yellow on top of her mobcap, on an octagonal stepped base, 27.4cm highFootnotes:ProvenanceJames and Timmey Challenger Collection, ChicagoMartha Gunn (1726-1815) was the most famous of the 'dippers' who assisted bathers on Brighton Beach. The Prince of Wales made his first visit to Brighton in 1783 and his reported friendship with Martha Gunn led to her notoriety, alluded to by the feathers on the brim of her hat.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

Antiquarian Book - Local Interest, Georgian Politics, 1775 Poll Book - Provincial Imprint, An Alphabetical List of the Burgesses of the Borough of Derby, Who Polled before Christopher Heath, Esq; Mayor/At the Election of a Burgess to serve in Parliament for the said Borough, in the room of Wenman Coke, Esq; (who made his Election for the County of Norfolk.) Taken on Friday, Saturday, and Monday, the 27th, 28th, and 30th Days of January, 1775, at the Town-Hall/Candidates John Gisborne, Esq; Daniel Parker Coke, Esq, Derby: Printed and Sold by John Drewry [...], [n.d., 1775], pp: [2], 3-24, decorative header and footer, 19th century roan over cloth (amateur-repaired back, split at title), red-speckled edges, 8vo, [1]Provenance: Derby Public Libraries, Derbyshire Collection, No. 3696, their bookplate.Gisborne exercised political influence in Derby which he appears to have used on behalf of the Cavendish family for many years. He stood for Derby at a by-election on 30 January 1775 probably supported by the Duke of Devonshire. He was returned as Member of Parliament, but petitions were submitted complaining that he exercised undue influence over the mayor. As a result of these, he was unseated on 8 February 1776 and Daniel Parker Coke took his place as MP.

The Rolling Stones In Concert Essen October 1970 Original Flyer, The Vendors Late Husband Who Came From Dusseldorf Went To This Gig In 1970 Measures Approx 15Cm x 21Cm It Has Pin Holes On The Top Right And Bottom Left Corners And Has Been Folded But Lovingly Cherished And Preserved And Framed Since The 1980s.

A Collection Of Brand New Sealed Ex Shop Stock CD's A Collection Of Cd's Including The Rolling Stones, Gregory Porter, The Who, Cecilia , U2, Boomtown Rats, Jay Z, Carla Bruni, Avicii, Elton John, Bishop Briggs,  Scott Walker, Etc , + Compilations Electronic 80s, Ballads, Soul, Hip Hop Top of The Pops, 60's Etc + Soundtracks Including Star wars, Broadchurch, Max Richter, Ready Player One, Assasins Creed, Disney, 50 Shades Of Grey, Isle Of Dogs Approximately 400 CD's 

Collection Of Records To Include Artists , Abba , Rod Stewart,  The Who, Jean Michele Jarre, Chicago, Roxy Music, Issac Hayes, Elton John, ELO, Simon & Garfunkel, Handel, Beethoven, The Moody Blues, Diana Ross, Mike Oldfield,, Jeff Wayne, Yes, Barry White,, Donna Summer + More One Box 

A Box Of 7" Singles From Various Artists, Artists To Include Elvis Presley, The MindBenders, The Beach Boys, Chuck Berry, The John Barry Seven, Little Richard, The Who, Del Shannon, Helen Shapiro, Lloyd Price, Baccara, Billy Fury, Jerry Lee Lewis, Bobby Rydell, Jane Morgan,  Kenny Lynch, Gene Vincent, Brenda Lee, Paul Anka,  The Drifters, The Beatles, Fats Domino, Tommy Bruce + More Most Records Have Sleeves And Some Are Sleeveless, All Vary In ConditionOne Box 

W. G. Bickley CGM signed Grp Cpt Leonard Cheshire FDC. Flown from RAF Linton-on-Ouse in Dominie XS 714 on a training exercise retracing the route taken by the original crew with Leonard Cheshire and Taffy Roberts on board who survived. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

World War II Wing Commander Ken Wallis signed Pilot Notes for Wellington III, X, XI, XIII and XIV booklet 3rd edition signature on the inside page. Spitfire pilot who flew numerous missions on D-Day sorties before becoming a POW. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Sir Ian Hogg KCB NSC, Lt Cdr J. C. Dymock-Maunsell RN, R. D. Roberts CB, G. W. Risby, K. R. Dillon-Boylan, F. C. Smith signed 50th Anniversary Operation Neptune 6th June 1944 A Tribute to the Men and Women who played Their Part FDC No. 260 of 289. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Ex Chief Inspector Walter H. Thompson signed hardback book Sixty Minutes with Winston Churchill signature on the inside title page dated 14th March 1956. Detective Inspector Walter Henry Thompson BEM (3 December 1890 - 18 January 1978) was a British police officer who is best known as the bodyguard of Winston Churchill for eighteen years, between 1921 and 1935, and between 1939 and 1945 during World War II. Thompson reportedly saved Churchill's life on numerous occasions. When he finally retired after the war, he published a memoir that made him famous in the United Kingdom and the Western world. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Luftwaffe JG27 Glorious Dozen-RAF Escaping Society cover signed by the following THIRTEEN Luftwaffe pilots, Adolf Galland, Eduard Neumann, Gustav Rodel, Ernst Borgen, Ernst Dullberg, Ludwig Franzisket, Hans-Joachim Heinecke, Werner Schroer, Ferdinand Vogel, Emil Clade, Karl-Heinz Bendert, Friedrich Korner, Horst Reuter. Also signed by Bernhard Woldenga the senior Kommodore of JG27 who commanded the unit from June 1941 to June 1942 in the Western Desert. All of the signatories (except Korner & Reuter) participated in the Battle of Britain. This cover is certified and then signed to reverse by Hans Rossbach. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Leopold Heimes, Trevor Gray, Peter Ayerst, John Keatings, Lord Dowding, G. W. Benn, C. J. Hearn signed 6 x 8 card tribute to Belgium Leopold Heimes RAF who served with 235 Squadron of the Coastal Command during the Battle of Britain. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Pathfinders WW2 Hamish Mahaddie signed Bomber cover, also signed by 2 RAF pilots who flew the covers. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Four: Sail Maker W. Blakey, Royal Navy, who served in H.M.S. Inflexible at the Battle of Jutland 1914-15 Star (J.3150, W. Blakey, A.B., R.N.); British War and Victory Medals (J.3150 W. Blakey. A.B. R.N.); Royal Navy L.S. & G.C., G.V.R., 2nd issue, fixed suspension (J.3150 W. Blakey. Sl. Mr. H.M.S. Barham.) contact marks, nearly very fine (4) £100-£140 --- William Blakey was born at Alford, Lincolnshire on 12 May 1887 and commenced his naval service as an Able Seaman on 24 March 1906, in H.M.S. Dreadnought. He served throughout the Great War, and was present at the Battle of Jutland in H.M.S. Inflexible. He was paid a war gratuity for service in H.M.S. Vernon., and was awarded his Long Service and Good Conduct Medal in 1927. He was shore pensioned on 25 March 1928.