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

A QUANTITY OF CHARACTER OPTIONS DOCTOR WHO MICRO-UNIVERSE 3 FIGURE PACKS, 12 different figures all still sealed in original packaging and contained in a full colour branded counter top display box, all in good condition, with the original damaged plain cardboard shipping box

WWII SUDETENLAND MEDAL AND BRONZE COLOURED FAITHFUL SERVICE MEDAL, the Sudetenland medal was also known as the first October commemorative medal and was awarded for participation in the occupation of Sudetenland in October 1938 and Czechoslovakia in March 1939, the faithful cross was given to German Civilians who were employed by the German government

A WWI GERMAN IRON CROSS 2ND CLASS, it has a magnetic core and was awarded for the persons who were conducted or performed a single act of bravery in combat, the ring does not have a makers mark on it

A WWII KUBAN SHIELD AND KRIM SHIELD, both shields are in a nice condition and show only the usual signs of age related wear, they are both on a cloth material with a paper backing to protect the lugs, the Kuban shield was awarded to Wehrmacht forces who fought at the Kuban Bridgehead in the Soviet Union and Krim shield was given to those who fought against the Soviet Red Army or those who helped support the Naval and Airforce between 21st September 1941 and 4th July 1942 and who Captured the Crimea Region

A WWII ERA DEMJANSK SHIELD AND A 1940 NARVIK SHIELD, both are attached to a similar green coloured cloth with a paper type backing over the prongs, the Demjansk shield is showing some minor corrosions in places but the NARVIK shield is in a good condition, this was awarded to all German forces who took part in the battle of Norvik, the Demjansk shield was given to those Wehrmacht personnel who fought in the Demjansk pocket on the eastern front in 1942

A NAZI GERMANY DEUTSCHER VOLKSSTURM WEHRMACHT ARM BAND, this arm band is genuine and shows the usual uneven overlapping print and cut that associated with this armband, it is in good condition and without any visible damage, only a few minor stains, this armband was worn by civilians who fought alongside the military between October 1944 and the end of WWII

Fullt title: 40 square photos made during the first Belgian expedition in Tibet, ca. 1908Description: Dim.: 6,5 x 6,5 cm (largest photo)Ê Most with a (partial) explanatory description on the back. The likely source for these photographs is the special mission from 1908, conducted by Robert Geerts. The consulting engineer and chemist from Peng, Viceroy of Kan-su, was sent on a special mission to Tibet. At the head of the first Belgian mission in the region, he traveled through the Forbidden Country 'with all possible facilities'. He reported from his encounters with the nomads observations that were of real interest, long before David-NŽel, but remained confined to relative anonymity. Ref.:- Jo GŽrard, Les grandes heures de la Belgique, 1990, where the author states: In 1909 Mr. Robert Geerts opens an industrial chemistry school, next to the Jao-Kai factory, to form Chinese technicians. It's also he who parts on an official mission to TIbet in 1908, a then still unexplored part of the world, from which he returns with an interesting study: With the nomads of Tibet. (external link available on rm-auctions.com)- Christian Goens, La prŽsence de Robert Geerts dans la colonie belge de Lanzhou, Gansu (Chine, 1906-1911), for an interesting (mostly French, partly English) recap of Geerts' presence in China and Tibet. (external link available on rm-auctions.com)

Fullt title: Belgian Catholic missionaries in China: 'The five wounds of Christ', engraving with painted details in colours, 19th C.Description: Dim.: 134 x 71,5 cm (the frame)Dim.: 126 x 63,5 cm (the work) Provenance: (by repute) The collection of Lou Tseng-Tsiang ___, Chinese premier of the Republic in 1912, who later became an important monk in the Benedectine monastery in Sint-Andries near Bruges. (Wikipedia link) The prayer of the 'Five holy wounds', introduced in the 17th C. in China by the French missionary from the 'Missions etrangeres', Jean Martin Moye, is translated and printed in Chinese. The central panel is surrounded by historiated medallions.

Fullt title: A large Italian maiolica dish with the arms of Cardinal Toschi, Deruta, dated 1609Description: Dia.: 42,5 cm Domenico Toschi (June 11, 1535 - March 26, 1620) was an Italian soldier, jurist, and cardinal of the Catholic Church. He was born in Castellarano in Reggio Emilia to a poor family. After having originally served as a soldier, Toschi trained in Rome and became a noted canon lawyer. He wrote the multi-volume legal treatise Practicarum conclusionum iuris in omni foro frequentiorum. He served as Vice-Legate in Bologna and was its governor (1585-1588), and then as a councillor in Tuscany (1588-1592). He was Bishop of Tivoli from 1595 to 1606. He was created Cardinal-Priest of San Pietro in Montorio on 3 March 1599 by Pope Clement VIII as a reward for successfully governing Rome while Clement was in Ferrara. He participated in the Papal conclaves of March and May 1605. Toschi was a candidate for the papacy in the May 1605 papal conclave, and was almost acclaimed pope, but Caesar Baronius intervened, objecting that Toschi was unfit for the papacy because his language and dress would cause scandal. Following Baronious' intervention, a scrutiny was taken, and Toschi fell short of election to the papacy by two votes. He transferred his titular church to Sant'Onofrio in 1604, returning to San Pietro in Montorio in 1610. He resigned as Bishop of Tivoli in 1606, and was replaced by his nephew, Giovanni Battista Toschi. He served as Camerlengo of the Sacred College of Cardinals in 1616-17. He published a number of works on canon law, and was known for fostering the education of indigent students, who like him, had wished to use their education to rise in position. He died in Rome. Condition: (UV-checked)- In very good condition, with a few typical minor chips around the rim. ______________)- ________

Fullt title: A polychrome Dutch Delft Kakiemon-style plaque with a tiger in a Japanese garden, 18th C.Description: Dim.: 26,5 x 26,5 cm Provenance: With a wax seal for the 'Gaston de Ramaix' collection, Château de Grune, Belgium. The collectors Maurice de Ramaix (1850-1918) (external link available on rm-auctions.com), a Belgian diplomat and politician, and his son Gaston built a collection of mostly blue and white pieces from the seventeenth and eighteenth centuries. De Ramaix was a diplomatic attache in Paris, Constantinople, Vienna, Berlin, The Hague and Persia. Afterward, he returned to Belgium where he became a senator and a member of Parliament. In 1894, he bought and restored a castle in Grune, Belgium. After his death, De Ramaixs collection was passed to his eldest son, Gaston (1878-1937), who was also a diplomat. Gaston had a predilection for the Dutch Golden Age and completed his fathers collection. He showcased the remarkable assemblage of Delftware in his seventeenth-century castle surrounded by Dutch paintings and prints from the same era.

Fullt title: A Chinese blue and white 'Bleu de Hue' bowl for the Vietnamese market, Gi‡p T’ __ mark, ca. 1804Description: Dia.: 13,7 cm - H.: 7 cm This bowl was not for trade, but is a historical commemorative souvenir bowl created during the most important mission to China on establishing the new Dynasty of Nguyen under first king Gia Long in 1804. Commissioned in a very small number during the two missions in that year with the function of personal souvenir token for the leader and members of the ambassade.Provenance:- The collection of Dr. Claus Vollers, German ambassador in Vietnam 1981-84.- The collection of Thomas Ulbrich, Studio Tho, Hanoi-Berlin, acquired from the above.Condition: (UV-checked)- Some superficial wear to the glaze.- The rim is slightly polished.- A minor superficial chip of ca. 3 mm to the foot rim.- A star-shaped hairline of ca. 5 cm to the base._______________- ___________- _____- _____3_______- ___5___Ref.:- __ s_ k_ ki_u th_i Nguy_n (Commissioned Patterned Porcelains In the Nguy_n Era), p. 117, where it is stated that only two of these specific dragon bowl seem to exist, of which only one is outside Vietnam (which is this bowl). (see added image)- Only very few pieces with this year mark are recorded, for example: __ s_ k_ ki_u __i Gia Long. Museum Hu_ (link) and one with Gi‡p T_ mark in the collection of V__ng H_ng S_n (museum in Saigon) (external link available on rm-auctions.com)- T_ V_ ti_ng n—i mi_n Nam (Dictionary of the Southern Language) by V__ng H_ng S_n, Nhˆ Xu_t b_n Tr_ (Youth Publishing House), Hochiminh City, 1998 pp: 411-412, where it is stated (translated):L Quang __nh (1760 - 1815), birth name Tri Ch_, penname T_n Trai, from Phœ Vang province (Th_a Thin), went to the South (of Vietnam, today HCM/ Saigon) to study with V› Tr__ng To_n, befriended with Ng™ Thanh T_nh and Tr_nh Hoˆi __c who all three were known as the Gia __nh's Trio.He followed Lord Nguy_n çnh (by later dynastic name GIA LONG ) and achieved many feats, gained many positions and titles, leaded a delegation with participation of L Ch‡nh L_ , L Gia C‡t to Qing-dynasty China. (Source according to L Th_ Xu‰n in the Year Book of the Association for Study Promotion in 1942).Following this first official delegation to China (1803) was a second delegation soon after and lead by 'diplomatic' envoy Tr_nh Hoˆi __c in year Gi‡p T_ (1804). In return to these two diplomatic envoy delegations from Vietnam, the Guangxi's Surveillance Commissioner T_ B_ S‰m (_ _ _), who carried out diplomatic duties for the Qing government under emperor Jiaqing (__), bestowed the Vietnamese requested investiture for Lord Nguy_n çnh by an official document (S_c phong, chin.: __) which was accompanied by a present - a tea set with the mark Gi‡p T_ / Nin Ch_.- Interpretation by Mr. Ulbrich: The porcelain group of bowls and teasets with the base mark Gi‡p T’ __ 1804) were ordered to be manufactured by the Chinese mandarin T_ B_ S‰m, chin. ___ , who was in charge of the foreign supervision and diplomatic exchanges with the southern border neighbours. The Vietnamese delegation mandarins had been sent to China and requested officially, to acknowledge the new Vietnamese leader-in-power, Nguy_n Phœc çnh (___) , as new king of their country. Two delegations were sent from Vietnam, and the Chinese side finally came to the conclusion, to bestow the new Vietnamese ruler with the title of 'king of Vietnam', not with title 'emperor' - equal to the Chinese emperors title - as requested by the Vietnamese side. The porcelain selected or ordered by the Chinese side along with the installment document, is considered as a kind of present to the new vietnamese 'king'.The date mark Gi‡p T’ __ commemorates this political event - the founding year of the newly established Nguyen dynasty and the proclamation of its first ruler Nguy_n çnh (__) , who took the dynastic name 'Gia Long' after proclamation and enthronement. The specific design ordered and manufactured by the Chinese side as a diplomatic gift for the Vietnamese, represents and expresses the diplomatic controversy of the new Vietnamese ruler's title 'emperor' or 'king': A dragon with four claws.

Fullt title: A very large Chinese gilt-lacquered wood figure of Weituo, 17th C.Description: H.: 145 cm Ref.:- Sotheby's, New York, Sept. 17, 2014, lot 441, for another large Weituo figure. (sold USD 52.500) (external link available on rm-auctions.com)- Sotheby's, New York, March 15, 2017, lot 541, for another large Weituo figure. (sold USD 137.500) (external link available on rm-auctions.com) Weituo appears in Buddhist temples as the 'Entry Guardian.' He leads the thirty-two heavenly generals who come under the Four Heavenly Kings and has earned such titles as the 'Protector of the Buddhist Faith,' the 'Protector of Monasteries,' and the 'Protector of Dharma Books.' In all temples where his image is found, he is always placed with his back to the statue of Maitreya Buddha so that he faces the Main or Grand Hall where the principal deities of the temple are enshrined.

Fullt title: A small Chinese huali wood cabinet, QingDescription: Dim.: 48,5 x 31,5 x 23 cm Provenance:- A Dutch private collection.- (by repute) Acquired from a Dutch diplomat who was stationed in China in the 1st half of the 20th C.

Fullt title: A Chinese blue and white 'immortals' bowl, Shen De Tang Bo Gu Zhi ______ mark, KangxiDescription: Dia.: 20 cm - H.: 10,5 cm The mark, Shen De Tang Bo Gu Zhi ______, translates to Made in the antique style for the Hall for the Cultivation of Virtue. This hall mark appears on porcelains from the early Kangxi period and on imperial porcelains from the Daoguang period. The Hall for the Cultivation of Virtue was one of the private imperial residences of the old Summer Palace, the Yuanmingyuan, located northwest of the Forbidden City in Beijing. The hall was originally built by the Kangxi emperor and was expanded by the Yongzheng and Qianlong emperors. Eventually the Daoguang emperor, who reigned from 1821-1850, used the hall as a daily residence until his death. The entire complex, Including the Shendetang, was destroyed by European troops in 1860. Condition: (UV-checked)- A minor superficial chip of ca. 1 mm to the rim and a chip of ca. 15 x 5 mm to the foot rim.- A baking flaw in the middle on the inside. ______________)- ___________- ________15 x 5_____- _________

WW1 Imperial German Army Prussian M15 Pickelhaube Uniform Helmet. A felt constructed example with nickel/metal �Waterloo' front plate indicating the Hanoverian Infantry who fought there during the Napoleonic Wars. Metal spike to top, leather liner and chin strap present.

WW1 Imperial German Silver Zeppelin Crew Badge. Maker: G.H. Osang Dresden. Issued after the war to those who participated.

Entire from Joseph Ady (or Adey; 1770 - 1852) - London to Halifax. A fascinating item sent by the famous Victorian fraudster Joseph Ady who at one time was a hatter but failing at business he decided he would mail letters such as this claiming he was able to assist the recipient in obtaining their share of a deceased estate or other monies owing to them. Whilst many letters were sent and he became well off on the proceeds of his frauds and prior to being caught, it seems few such letters have survived. A lovely example and  a precursor of today's scammer! Scarce.

UNITED KINGDOM. Elizabeth II, 1952-2022. Gold 1/4 sovereign, 2017. Royal Mint. Proof. Commemorating the 200 year anniversary of the modern sovereign 1817-2017, featuring the original design of St. George and the Dragon as made by Pistrucci.Fifth crowned head of Elizabeth II facing right; JC below; ELIZABETH II · DEI · GRA · REG · FID · DEF · 2017 ·. Design by Jody Clark. / The reverse depicts an illustration of the legend of St George as the slayer of the dragon, in its original 1817 interpretation. St George is on horseback, advancing to right, wearing a helmet and chlamys (cape, or cloak) fastened in front by a fibula, and holding a broken lance. His left hand clutches the rein of the horse's bridle, and he does not wear armour, other than on his lower legs and feet, with his toes bare. The saint's horse appears to be half attacking, half shrinking from the dragon, which lies wounded by George's spear and in the throes of death. The point of the lance is broken off in the dragon's side. In relief in the left part of the ground line, the artist's initials B.P. (for Benedetto Pistrucci). Surrounding the image, a Garter circlet inscribed with the Order of the Garter's motto, HONI · SOIT · QUI · MAL · Y · PENSE · (from old French: Shame on he who thinks evil). Design by Benedetto Pistrucci. Edge milled.In secure plastic holder, graded NGC PF 70 ULTRA CAMEO, certification number 6030938-023. NGC Census in this grade: 461, equal-finest graded.Total NGC Census: 519Reference: S-SA5Mintage: 4,188.Diameter: 13.5 mm.Weight: 2 g. (AGW=0.0590 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.

UNITED KINGDOM. Elizabeth II, 1952-2022. Gold 200 pounds, 2020. Royal Mint. Proof. Issued to celebrate the new James Bond movie 'No Time to Die', its release delayed for nearly a year due to the Coronavirus pandemic. This is the second of a total three coins issued, depicting the famous submarine car 'Wet Nellie' featuring in "The Spy Who Loved Me" in 1977 - a 'heavily customised' Lotus Esprit S1 sports car. At the time the coin was issued, the car was owned by Elon Musk, the famous entrepreneur and CEO of Tesla.Fifth, crowned head of Queen Elizabeth II right; JC below; ELIZABETH II · D · G REG · F · D · 200 POUNDS · 2020 ·. Design by Jody Clark. / A representation of a Lotus Esprit S1 in underwater action superimposed on a large 07; lower horizontal line with 'PAY ATTENTION 007' below. Design by Christian Davies and Matt Dent. Design by Matt Dent and Christian Davies. Edge milled.Comes with the original box as issued by the Mint and the certificate of authenticity (COA). In secure plastic holder, graded NGC PF 70 ULTRA CAMEO, certification number 6135407-002. NGC Census in this grade: 59, equal-finest graded.Total NGC Census: 87Mintage: 250.Diameter: 40 mm.Weight: 62.42 g. (AGW=2 oz.)Composition: 999.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.

UNITED KINGDOM. Elizabeth II, 1952-2022. Gold 100 pounds, 2020. Royal Mint. Proof. Issued to celebrate the new James Bond movie 'No Time to Die', its release delayed for nearly a year due to the Coronavirus pandemic. This is the second of a total three coins issued, depicting the famous submarine car 'Wet Nellie' featuring in "The Spy Who Loved Me" in 1977 - a 'heavily customised' Lotus Esprit S1 sports car. At the time the coin was issued, the car was owned by Elon Musk, the famous entrepreneur and CEO of Tesla.Fifth, crowned head of Queen Elizabeth II right; JC below; ELIZABETH II · D · G REG · F · D · 100 POUNDS · 2020 ·. Design by Jody Clark. / A representation of a Lotus Esprit S1 in underwater action superimposed on a large 07; lower horizontal line with 'PAY ATTENTION 007' below. Design by Christian Davies and Matt Dent. Design by Matt Dent and Christian Davies. Edge milled.Comes with the original box as issued by the Mint and the certificate of authenticity (COA). In secure plastic holder, graded NGC PF 70 ULTRA CAMEO, certification number 6135405-004. NGC Census in this grade: 67, equal-finest graded.Total NGC Census: 126Mintage: 350.Diameter: 32.69 mm.Weight: 31.21 g. (AGW=1 oz.)Composition: 999.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.

UNITED KINGDOM. Elizabeth II, 1952-2022. Gold 100 pounds, 2021. Royal Mint. Proof. The fourth release from the "Music Legends" series, celebrating The Who, one of the most influential bands in British music.Fifth, crowned head of Queen Elizabeth II right; JC below; ELIZABETH II · D · G REG · F · D · 100 POUNDS · 2021 ·. Design by Jody Clark. / Bullseye logo with inscription 'The Who' above depiction of a guitar-shaped pinball machine, a homage to the single 'Pinball Wizard'; vertical guitar strap in background. Design by Henry Gray. Edge milled.Comes with the original box as issued by the Mint and the certificate of authenticity (COA). Mintage: 360.Diameter: 32.69 mm.Weight: 31.21 g. (AGW=1 oz.)Composition: 999.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.

UNITED KINGDOM. Elizabeth II, 1952-2022. Gold 5 pounds (crown), 1999. Royal Mint. Proof. Known as the 'Lady Diana Memorial Crown'. A numismatic memorial for Princess Diana, who died in a car crash on 31 August 1997 in South of France.Fourth crowned head of Elizabeth II facing right; IRB below; ELIZABETH · II · D · G REG · F · D · 1999. Design by Ian Rank-Broadley. / Portrait of Diana, Princess of Wales, facing right, to right the dates '1961' and '1997' in two lines; 'FIVE POUNDS' below, inscription 'IN MEMORY OF DIANA PRINCESS OF WALES' around. Design by David Cornell. Edge milled.Comes with the original box as issued by the Mint and the certificate of authenticity (COA). Reference: S-L6 (was 4551); KM-997bMintage: 2,750.Diameter: 38.61 mm.Thickness: 2.89 mm.Weight: 39.9403 g. (AGW=1.1777 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.

UNITED KINGDOM. Elizabeth II, 1952-2022. Gold 50 pence, 2017. Royal Mint. Proof. Commemorating the 375th anniversary of the birth of Sir Isaac Newton, the mathematician, physicist, astronomer, theologian, and author who was also Master of the Mint 1700-1727. The reverse design was voted the 2017 Coin Design of the Year.Fifth crowned head of HM Elizabeth II facing right; JC below; ELIZABETH II · DEI · GRA · REG · FID · DEF· 2017 ·. Design by Jody Clark. / Featuring a diagram of the Solar system, drawn from elements of Proposition 11 in Book One of Newton's Principia Mathematica. The sun at centre of three ellipses representing the orbits of different planets; 'SIR ISAAC NEWTON' above; 'FIFTY PENCE' below. Design by Aaron West. Edge plain.In secure plastic holder, graded NGC PF 70 ULTRA CAMEO, certification number 4866730-017. NGC Census in this grade: 19, equal-finest graded.Total NGC Census: 24Reference: S-H39Mintage: 282.Diameter: 27.3 mm.Thickness: 1.78 mm.Weight: 15.5 g. (AGW=0.4570 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.

UNITED KINGDOM. Elizabeth II, 1952-2022. Gold half-sovereign, 2017. Royal Mint. Proof. Commemorating the 200 year anniversary of the modern sovereign 1817-2017, featuring the original design of St. George and the Dragon as made by Pistrucci.Crowned old head of Elizabeth II facing right, wearing the Royal Diamond Diadem crown worn for her Coronation (effigy known as the "Fifth Portrait"). Running continuously around the effigy is the monarch's legend and the date: Elizabeth II · DEI · G Design by Jody Clark. / The reverse depicts an illustration of the legend of St George as the slayer of the dragon, in its original 1817 interpretation. St George is on horseback, advancing to right, wearing a helmet and chlamys (cape, or cloak) fastened in front by a fibula, and holding a broken lance. His left hand clutches the rein of the horse's bridle, and he does not wear armour, other than on his lower legs and feet, with his toes bare. The saint's horse appears to be half attacking, half shrinking from the dragon, which lies wounded by George's spear and in the throes of death. The point of the lance is broken off in the dragon's side. In relief in the left part of the ground line, the artist's initials B.P. (for Benedetto Pistrucci). Surrounding the image, a Garter circlet inscribed with the Order of the Garter's motto, HONI · SOIT · QUI · MAL · Y · PENSE · (from old French: Shame on he who thinks evil). Design by Benedetto Pistrucci. Edge milled.In secure plastic holder, graded NGC PF 70 ULTRA CAMEO, certification number 6322396-020. NGC Census in this grade: 321, equal-finest graded.Total NGC Census: 377Reference: S-SB11Mintage: 4,648.Diameter: 19.3 mm.Thickness: 0.99 mm.Weight: 3.994 g. (AGW=0.1178 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.

A GROUP OF THREE GEORGE III MAHOGANY LADDERBACK DINING CHAIRSLATE 18TH CENTURYComprising a pair with rounder corners to the cresting rail, attributed to Giles Grendey, and anotherProvenance:The Wodehouse, Wombourne, StaffordshirePlease note: a footnote for the pair of chairs has been added below: The pair of chairs in this lot (with rounded upper corners in the back) can be attributed to Giles Grendey, who is known to have made this model of chair. See Simon Jervis, 'A Great Dealer in the Cabinet Way, Giles Grendey (1693-1780)', Country Life, 6 June 1974, pp.1418-19 which discusses a set of related chairs in Newport Church, Essex, labelled Giles Grendey, one of which is / was on loan to the Victoria and Albert Museum, London. One of the Newport Church chairs is illustrated in C.Gilbert, Pictorial Dictionary of Marked London Furniture 1700-1840, Leeds 1996, p.242, pl.436. Published chairs of a similar type to this model include a set of six side chairs with cabriole legs and carved feet at Bowringsleigh, Devon, supplied in 1739 by Elizabeth Hutt, of St Paul's Churchyard, London (see S. Jervis, 'A 1739 suite of seat furniture at Bowringsleigh', Furniture History, 1993, p 43, fig. 4).  Condition Report: All three chairs with marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and losses, spliced repairs generally to the backs and legsOverall the chairs appear solid and stableThe upholstery is later applied to the pair and in condition that reflects this, the single chair with older upholstery showing more signs of age and useSome signs of re-railing, also signs of woodworm to the rails, one of the pair with a hole to the centre of the front rail Please refer to additional images for visual reference to condition Condition Report Disclaimer

A SELECTION OF ORIENTAL INFLUENCED WORCESTER POLYCHROME PORCELAINVARIOUS DATES SECOND HALF 18TH CENTURYComprising: a Compagnie des Indes teapot and cover, 15cm high; another with pink-scale borders, 14.5cm high; a compagnie des Indes tea bowl and saucer; a 'Beckoning Chinaman' teapot; a coffee pot painted with Chinese figures; and a coffee cup painted with flowering shrubsCondition Report: Beckoning chinaman teapot and the coffee pot both lack covers. Damage and repairs throughout. Potential purchasers who wish the minutiae must take 'pot luck' or view in person. Condition Report Disclaimer

A SELECTION OF WORCESTER BLUE-SCALE GROUND KAKIEMON PATTERN PORCELAINCIRCA 1770Including: a mug, blue fret square mark, 15cm high; a 'Rich kakiemon' cabbage-leaf mask jug, blue fret-square mark, 20.5cm high; three various 'Phoenix' pattern vases, 26.5cm high and smaller; and other itemsCondition Report: Extensive damage and repair to all pieces throughout reflected in estimate. Potential purchasers who wish the minutiae are advised to view in person.Condition Report Disclaimer

AN ASSORTMENT OF WORCESTER PORCELAINVARIOUS DATES CIRCA 1770-80Condition Report: Damage and loss throughout reflected in estimate. Potential purchasers who wish a condition report are asked to view the lot in person.Condition Report Disclaimer

THE REMNANTS OF VARIOUS WORCESTER BLUE AND GILT PORCELAIN TEA SERVICESCIRCA 1800Condition Report: Some damage. Potential purchasers who wish to know the minutiae need to view the lot in personCondition Report Disclaimer

THE REMNANTS OF TWO WORCESTER TURQUOISE AND GILT FLUTED TEA SERVICESCIRCA 1800Condition Report: Damage. Potential purchasers who wish the minutiae should view in person.Condition Report Disclaimer

A SELECTION OF ROCKINGHAM FLOWER ENCRUSTED PORCELAIN CIRCA 1830Including miniature teapots, baskets, a scent bottle and stopperCondition Report: Large teapot with restored spout, other losses and chips generally to flowers. Potential purchasers who wish to know the minutiae must view in person before bidding. Condition Report Disclaimer

A SELECTION OF MINTON FLOWER ENCRUSTED MINIATURE PORCELAINCIRCA 1830Comprising; three miniature teapots and covers, a miniature sugar box and cover, and two small jugsCondition Report: No pieces has structural cracks or restoration. All are in country house condition with small chips to flowers etc., one of the two jugs most noticeably. Potential purchsers who wish the minutiae are advised to inspect the lot in person before bidding. Please see images available from the Dept. Condition Report Disclaimer

A RED PAINTED ARMCHAIR FROM THE INVESTITURE OF CHARLES, PRINCE OF WALESFIRST HALF 1969Designed by the Rt Hon. the 1st Earl of Snowdon, Carl Toms and John Pound, each red stained beach back gilt indented with Prince of Wales's feather motif, the seat upholstered in red Welsh tweed, stamped to underside77.5cm high, 54cm wideThe investiture of the previous Prince of Wales, Charles, was held at the Medieval Caernarfon Castle on 1st July 1969, following the ceremony the chairs were dismantled and offered for sale 'flat-pack', the attendant guest then had first refusal on their purchase, the remainder being offered to the public. Antony Armstrong-Jones, The 1st Lord Snowdon, who orchestrated the ceremony, purchased six for himself.Condition Report: Marks, knocks, scratches, abrasions consistent with age and use, The seat with some surface dirt and discolouration, but overall in a presentable condition reflecting it's age and relative lack of significant useOverall solid and stable, there are recessed screws to the rails - these could probably be removed in order to break down, the dished seat is one piece, the remainder of the frame appears to be another piece - it may be the remaining joints are glued in place, Dreweatts make no guarantees and have never tried to dismantle a chair to testPlease refer to additional images for visual reference to conditionCondition Report Disclaimer

Late New Kingdom, circa 1550-1070 B.C. A blue glazed composition figure of the advancing god Ra (possibly Ra-Horakhty), falcon-headed and wearing a sun disc, set on an integral rectangular base, left leg positioned in front of the right, arms held straight by his sides, wearing a wig and kilt; tapering pillar with suspension loop behind solar disc; repaired. 18.4 grams, 87 mm high (3 3/8 in.). Acquired from Dr Jan Beekmans, circa 1982.UK private collection. In ancient Egypt, Ra sat as the king of all the deities and the father of all creation, the god who could not only govern the sun, but who transformed himself into the sun. He was associated with the falcon, hence he is typically portrayed as a human with a falcon's head. The major cultic centre for Ra was the ancient city Iwnw, known as Heliopolis to the Greeks, which today lies under modern Cairo. The ancient Egyptians were an agricultural society inhabiting a desert; the sun (and thus Ra) was an integral component of their world view. Placed on the chest of the deceased, this amulet offered the wearer the chance of eternal renewal each morning with the sun. A video of this lot is available to view on Timeline Auctions Website.]

604-562 B.C. A large fired clay brick from the Wall of Babylon bearing six lines of stamped Babylonian cuneiform inscription to one face which reads: 'AG - ku -dur-ri-URU' / 'LUGAL ba-bi-lu' / 'za-ni-nu é-sag-ila' / 'u e-zi-da IBILA' / 'SAG.KAL. sa AG-IBILA-URU' / 'LUGAL ba-bi-lu ana-ku', which translates: 'Nebuchadnezzar, king of Babylon, who provides for Esagila and Ezida, the eldest son of Nabopolassar, king of Babylon, am I'; traces of bitumen on the blank side; accompanied by an old label which reads: 'Brick from the Wall of Babylon / Presented by W.Bro. Gentle-Cackett Secretary Bible Lands Mission / The impression records the fact that it was built by King Nebuchadnezzar [II]'. Cf. Chiera, E., They Wrote on Clay, Chicago, 1938, p.95, for a photograph of similar bricks shown in situ. 13.6 kg, 33.5 x 33 cm (13 1/4 x 13 in.). Ex Reverend Samuel W. Gentle-Cackett (1871-1943), in the 1930s.Gentle-Cackett was the secretary of the Bible Lands Missions’ Aid Society, 76 The Strand, London, WC2 (1904-1943), author of Palestine Portrayed, 1936, and Worshipful Brother of the Lodge of Sincerity 174.This brick formed part of an old collection of Masonic ephemera, and is believed to have originated from the Lodge of Sincerity 174.Property of a Sussex, UK, teacher.Accompanied by a copy of the book Palestine Portrayed, 1936, written by S.W. Gentle-Cackett.Accompanied by copies of the relevant pages from the book They Wrote on Clay, showing similar bricks in situ. Genesis 11:3: And they said to one another, 'Come, let us make bricks, and burn them thoroughly', and they had brick for stone and bitumen for mortar. In the 1920s, Cackett read reports of Christian Armenians being orphaned as a result of attacks from Turks and in response he set up a refuge in Bedfont, where he was able to rehome 1500 children. [No Reserve]

Circa 1730-1720 B.C. A rectangular bifacial clay tablet bearing cuneiform text to both principal faces and two side edges; a letter from Iluni (king of Ešnunna, to Inzuršakšu king of Niqqum, Iluni answered a letter from his ally who accused him of not having respected their agreements by not sending him an army as he had asked in a letter. He says he is attacked by the Elamites (neighbors of Niqqum), Iluni defends himself and considers that it is on the contrary Inzuršakšu who is in his wrong, he accuses him indeed not only of being the aggressor, but also of wanting to push him to enter in conflict with the Elamites, whom he was indeed himself a vassal, an incomplete draft of this letter was already known. Excerpts: 'About the Elamite troop which rose against my country I had written to you to send me a reinforcement troop but you did not send me any troop. You have therefore violated your divine oath (...). This is what you have just written to me. It is you who have just violated your divine oath! Now you are willing to do bad things to this country and you want me to be angry with the Elamites. (...) '. 179 grams, 94 mm wide (3 3/4 in.). Specialised collection of cuneiform texts, the property of a London gentleman and housed in London before 1992.Thence by descent to family members.Examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.The collection is exceptional for the variety of types, including some very rare and well preserved examples. A draft of this message was already known but the present one gives a more complete version.

2nd millennium B.C. A roughly rectangular clay tablet bearing dense rows of cuneiform text to both principal faces and to each of the four side edges; a letter from Karariya to Ṭaridum, probably a servant of Iluni, Karariya serves a foreign ruler (as indicated by the mention of the deity Hitti) who has just ascended the throne; he is of the same rank as Taridum, who considers him his brother: 'May Šamaš and Hitti preserve my brother alive forever!'; they deal with matters they have in common, a lawsuit to be tried by Karariya, and exchanges of goods between their two houses: 'There are no more wicks (?) for the lamps in my house (...). The wine from my stock is spent and we could not load the donkeys (with wine) for you.'; repaired. 110 grams, 82 mm (3 1/4 in.). Specialised collection of cuneiform texts, the property of a London gentleman and housed in London before 1992.Thence by descent to family members.Examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.This small collection is exceptional for the variety of types, including some very rare and well preserved examples.

Ptolemaic Period, circa 332-32 B.C. A red glass insert of a profile face with remains of a pharaonic crown to the forehead. Cf. The Metropolitan Museum, New York, accession number 66.99.186, for a profile glass inlay of this date; cf. Riefstahl, E., Ancient Egyptian Glass and Glazes In The Brooklyn Museum, New York, 1968, p.77 no. 76, pl. XI for a similar face belonging to a royal figure inlay with separately fashioned crown, collar, and torso. 16.7 grams, 31 mm wide (1 1/4 in.). Ex Joseph Altounian (1889-1954), Paris and Macon, thence by decent. with Christie's, London, 3 July 2018, lot 29. English private collection. Joseph Altounian opened his shop in 1906 in Paris and then relocated to Mâcon in 1924 when he was joined by his wife Henriette Lorbet. They specialised in Egyptian and Greek art, medieval sculpture and decorative arts, selling to major museums both in Europe and in the United States. At his death in 1954 the business was taken over by his daughter, Jacqueline Altounian-Lorbet, and her husband Bernard Rousset, who then specialised in antique furniture.

5th-8th century A.D. A superb chip-carved saucer or button brooch with extensive remains of gilding, displaying a stylised male face with puffy cheeks, large ears, long moustache, raised pellet eyes of different sizes, hair dressed in vertical ribs alternating plain and textured, some chevron and pellet patterning to the face; stub remains of catch fitting to reverse. Cf. Avent, R. and Evison, V., Anglo-Saxon Button Brooches, in Archaeologia Or Miscellaneous Tracts Relating To Antiquity, London Society of Antiquaries, Volume CVII, London, 1982, pl.XV-XVI, for types. 5.2 grams, 23 mm (7/8 in.). Found UK.Acquired in the 1990s.From a North Yorkshire private collection, UK. The brooch does not fall neatly into Avent & Evison's typology, being somewhat larger than the standard forms of button brooch and with an unusually detailed face. Broadly, it resembles Class J with alternating plain and textured vertical strands in the hair but does not have the horizontal band across the brow nor the stylised beard associated with the type. The eccentric placement of the eyes suggests that the image may be the face of the god Woden (Odin) who famously sacrificed one eye in exchange for wisdom.

5th-7th century A.D. or later. A carved bone panel, roughly triangular in plan with a curved profile, carved in relief with a stylised figural scene: left, above: two figures standing right, four large heads below; partial figures with a hound facing left above right, text below: 'JVLIANVS'; panel of five orderly rows of heads facing left, with geometric border below; notching to the edges to reverse; repaired. Cf. Dalton, O.M., Catalogue of Early Christian Antiquities and Objects from the Christian East in the Department of British and Medieval Antiquities and Ethnography of the British Museum, London, 1901, item 291, for type; for similar carving style see the belt of Saint Caesarius, in D'Amato, R., Post Roman Kingdoms, Dark Ages Gaul and Britain, AD 450-800, Oxford, 2022, p.12. 31.4 grams, 91 mm (3 5/8 in.). Previously in the Alison Barker collection, a retired London barrister.From a Cambridge collection.Property of a North London gentleman. The piece is probably a panel from a carved casket. The imagery relates to the Emperor Julian, later known as 'the Apostate', who was the cousin of Emperor Constantius II and ruled from 3 November 361-26 June 363. Julian was well-educated in the Greek tradition and rejected the Christian faith imposed on the eastern Empire under his uncle, Constantine. On his succession, Julian embarked on a military campaign against the Sassanian Empire in 363 which initially went well, but at the battle of Samarra in the same year he was badly wounded.

Middle Kingdom, late 12th-13th Dynasty, circa 1878-1750 B.C. A figurine in blue-green faience depicting a human female displaying traits of achondroplasia, with a disproportionate body, protruding abdomen, prominent buttocks, and shortened limbs; the large and exaggeratedly flattened head sports a distinctive hairstyle consisting of three ‘bunches’ on the front and three long braids at the back; the shaven top of the head is indicated by stippling; the figure wearing a long, single-strand shell necklace, armlets, and a girdle, all indicated in black pigment, as are the facial details, hair colour, pubic triangle, fingernails, and toenails. Cf. The Metropolitan Museum, New York, accession number 1972.48, for a similar figure; cf. Bourriau, J., Pharaohs And Mortals, Egyptian art in the Middle Kingdom, CUP, 1988, pp.121-122, for discussion and female dwarf figures; for a detailed discussion of the three-braid hairstyle see Tooley, A.M.J., Notes on Type 1 Truncated Figurines. Part 2. Hairstyles and the Conceptual Development of Braided Forms, SAK 49, 2020, pp.243-274 and pl. 27. 50 grams, 66 mm high (2 5/8 in.). Acquired from Dr Jan Beekmans, circa 1985.UK private collection.Accompanied by an academic report by Egyptologist Paul Whelan. This figurine belongs to a rare sub-type in a category of anthropomorphic figures produced during the late 12th-13th Dynasty. The category comprises around 200 figurines which include truncated-leg females, ‘grotesque’ human forms, and those displaying more distinct traits of achondroplasia, such as can be observed in this figurine. Very few examples of this particular sub-type are known, of which only one in the Metropolitan Museum of Art, New York provides a close parallel in terms of overall styling and form with this figurine. The purpose of this figurine is not fully understood, but other types of female representations in the large corpus of Middle Kingdom faience figurines are now considered to have embodied generative and regenerative power for their owners. This figurine shares the same distinctive three-braid hairstyle and the necklace, armlets, and girdle body adornments found on some. Body adornments of this kind also occur on wooden ‘paddle doll’ female figurines which are considered to have some connection with khener-dancers, who performed in royal, temple and funerary spheres. Since, in funeral contexts, ritual dances were often performed by dwarfs, a further connection can possibly be made between the role of khener-dancers and this figurine. The performance of such dancers in royal or funerary contexts was considered to bring the power of regeneration and potency to the recipient. A video of this lot is available to view on Timeline Auctions Website.]

19th century A.D. An icon of Hodegetria with the Virgin wearing a red maphorion embroidered with gold, a dark veil and a dark chiton with double gold embroidery on the cuffs; holding the Child on her left arm and gesturing towards him with the right hand; the Child wearing a yellow brown, gold-woven chiton, holding a scroll in his left hand, while the right one is making the gesture of blessing; the angels Michael and Gabriel to the left and right of the Virgin; on each side of the head of the Virgin inscriptions '??' and '??' (????? (???) ???? = Mother of God), inscription in Greek letters 'IC XC' (IHCOYC XPICTOC = Jesus Christ) above the child, three letters inside the nimbus of Christ representing the continuous divine self-existence of Christ as God ('O ?N' = The Only One who always exists); the names of the angles inscribed next to each figure (Aghios Michail and Aghios Gavriil). Cf. Lidov, A., 'The flying Hodegetria the miraculous icon as bearer of sacred space' in Thunø, E., Wolf, G. (eds.), The miraculous image in the Late Middle Ages and Renaissance. Papers from a conference held at the Accademia di Danimarca in collaboration with the Bibliotheca Hertziana (Max-Planck-Institut für Kunstgeschichte), Rome, 31 May - 2 June 2003, Rome 2004, pp. 273-304 (Analecta Romana Instituti Danici : Supplementum ; 35), fig.10, for a photo of the original icon. 869 grams, 29.8 x 24 cm (11 3/4 x 9 1/2 in.). Property of a London lady, part of her family's collection. The painting is a copy of the famous replica of the Hodegetria of Constantinople, a Byzantine icon of 14th century, repainted by the icon painter Dionisi in 1482, and today preserved in State Tretyakov Gallery, Moscow. The original icon was destroyed by the Turks at the capture of Constantinople in 1453. The replica was venerated as an 'original' real Hodegetria in the Ascension Convent in Kremlin, Moscow. The icon led the liturgical processions on June 23, August 26, May 21 and October 22 in which the Patriarchs and the Russian Tsars took part.

Late Period, 30th Dynasty, circa 380-343 B.C. A pale blue glazed mummiform shabti for an Imy-Khent priest, modelled standing on a rectangular base, arms crossed over the chest and holding a pick and a hoe, seed bag over the left shoulder, wearing a tripartite wig and false beard; two vertical columns of hieroglyphs to the front of the body, plain dorsal pillar; some of the hieroglyphs spelling the owner's name are poorly rendered, but appears to be Ba-ankh-sa-sobeky. Cf. The British Museum, museum number EA49422 'Green glazed composition shabti of Tjahorpata', for a similar shabti figure of this period; cf. The Metropolitan Museum, New York, accession number 30.8.187, for a priest shabti of this date. 99 grams, 13.5 cm high (5 1/4 in.). From a Worcester deceased estate.Property of a Cambridgeshire gentleman.Accompanied by an academic report by Egyptologist Paul Whelan. Although the name of the shabti’s owner and, in particular, that of his parent, are rather unclear, the titles are clearly written and inform us that Ba-ankh-sa-sobeky served as an ‘Imy-khent priest’ associated with the Delta city of Mendes, where the principal deity was the sacred ram god Ba-neb-djedet (meaning ‘Ram, lord of Djedet’). The hieroglyph of the standing ram (Ba) forms the first part of the priest’s name. From the Late Period onwards the priestly title of the nearby city of Hermopolis Parva, ‘One who Separates the Two Gods’, also appears in Mendesian title strings, perhaps indicating that Hermopolis Parva and its religious cults had come under the control of Mendes; indeed, Mendes is thought to have been the capital of Egypt during the 29th Dynasty. The crocodile god Sobek was also worshipped at Mendes in later periods and Ba-ankh-sa-sobeky’s name appears to reflect both this reptilian deity and the traditional ram god of the city. A video of this lot is available to view on Timeline Auctions Website.]

18th-19th century A.D. A pair of carved porphyry vases modelled on the famous 2nd century A.D. Roman Warwick Vase with Bacchic ornament, beading and egg-and-dart ornament around the rim, foliate vines below with both handles formed from two entwined vines, the body displaying a frieze of male and female masks modelled naturalistically in high relief, leaves radiating upwards from the centre base; each created in two parts and accompanied by a marble plinth; probably re-used ancient stone. Cf. Historic England Archive, reference CC52/00545, for a photograph of the 'original' reconstruction of the vase taken whilst located at Warwick Castle. 10.7 kg total, 29.5 cm wide each (11 5/8 in.). English private collection. The original vase was reputedly discovered at Hadrian's Villa, in Tivoli, Italy in 1771 A.D.; now in the Burrell Collection, Glasgow, Scotland. The vase is not entirely reconstructed from original elements but incorporates the restorer's interpretation of how missing elements of the vase likely appeared. The original vase was named after the 2nd Earl of Warwick who acquired it from his uncle, Sir William Hamilton, in c.1775. [2]

4th century B.C. A red-figure terracotta bell-krater displaying polychrome figural panels between a laurel wreath and a band of Greek key motifs; side a) two robed male figures holding staffs, wearing a taenia or a band around the head, standing facing a central altar; side b) a woman wearing a chiton and holding a casket and olive sprig in her outstretched hands, advancing right towards a nude man standing right, his head turned towards her, holding a bucket and olive sprig, a cloak draped over his arm, elaborate volute palmettes beneath both handles; restored. Cf. The Metropolitan Museum, New York, accession numbers 1984.323.2 and 16.140, for similar specimens, in Richter, G. M. A. ‘Recent Accessions of Greek Vases’ in Bulletin of the Metropolitan Museum of Art, 11(12), New York, 1916, pp.255–56, figs.6-7; Metropolitan Museum of Art, ‘One Hundred Fifteenth Annual report of the Trustees for the Fiscal Year July 1, 1984 through June 30, 1985’ in Annual Report of the Trustees of the Metropolitan Museum of Art, New York, 1985, no.115, p.38; see also Robinson, E.G.D., Carpenter, T., Lynch, K.M., The Italic People of Ancient Apulia: New Evidence from Pottery for Workshops, Markets, and Customs, Cambridge, 2014, figs.5.2, 6.1. 4 kg, 41 cm wide (16 1/8 in.). Private collection, Neuchâtel, Switzerland.Ex collection H.& P. Payot, Clarens, by descent.Accompanied by an original thermoluminescence analysis report no.QED2237/SG-0201 from QED Laboratoire.Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11580-199029. Wide-mouthed bell kraters like this one were specifically designed for holding large quantities of liquid and to work as mixing bowls, as it was considered barbaric for wine to be drunk neat (a privilege only enjoyed by Dionysus and his entourage who could handle such a level of intoxication). Wine would be mixed with water, usually one part to three, or even more, as described by Homer regarding the wine offered to the giant Polyphemus (Odyssey, IX, 206-211). As such, kraters provided an ideal large surface area for decoration, and as wine was of utmost importance at the symposium, kraters would usually take centre place, and the decoration of such vessels were geared towards such gatherings attempting to provide subject matter for philosophical debate, like the ones described in Athenaeus’ Deipnosophistae. [For this specific lot, 5% import VAT is applicable on the hammer price] A video of this lot is available to view on Timeline Auctions Website.]

New Kingdom, 19th Dynasty, 1314-1304 B.C. A blue glazed bifacial scaraboid; one side bearing the cartouche of Thutmose III and the legend “Enduring image of Re” and the other side Seti I’s throne name Men-Maat-Re (meaning “Eternal is the Justice of Re”) with other signs for an epithet that perhaps reads as “truly praised (of Re)”; pierced for suspension. See Petrie, W.M.F., Scarabs and Cylinders with Names, London, 1917, pp.44-45, nos.36-37, for similar arrangements of Seti I’s throne name with two Maat feathers and the cartouche with legend; for a similar arrangement of the Thutmose III cartouche with legends (on a scarab from his reign) see Ben-Tor, D., The Scarab: A Reflection of Ancient Egypt, Jerusalem, 1993, p.50, no.12 4.11 grams, 23 mm (7/8 in.). From an old UK collection.From the private collection of Alf Baxendale (1941-2016) part 2, keen Egyptologist, member of the Egyptology Society, trustee of the Amarna Trust; thence by descent.Accompanied by an identification display card.Accompanied by a copy of his obituary published in Horizon, The Amarna Project and Amarna Trust newsletter, Issue 18, 2017, p.21, by Barry John Kemp, CBE, FBA, Professor Emeritus of Egyptology at the University of Cambridge and directing excavations at Amarna in Egypt. Seti I's reign saw the production of many scarabs, scaraboids and plaques bearing his name as well as that of Thutmose III - who was considered a great warrior king. [No Reserve]

A Group of Movie Related Books, volumes 2, 3 & 4 of Newnes Home Movies and Home Talkies, The MGM Story by John Douglas Eames, Cinima by David Shipman, Hollywood the Pioneers by Brown & Kabal and The Picture Goer's Who's Who and Encylopedia 1933

A 16mm Feature Film of the 1954 Film "The Man Who Knew To Much", starring James Stewart, Doris Day, on three spools, film title on leaders, G, not viewed

An unusual group of Staffordshire figures relating to the murders at Stanfield Hall, 19th century, including figures of the murderer, James Bloomfield Rush, his mistress, Emily Sandford, a model of Stanfield Hall and another of Potash Farm, Rush's tenant farm, minor damages, 24.5cm max. (4)The double murder at Stanfield Hall took place on 28th November 1848. James Bloomfield Rush was the tenant farmer of his victims, Isaac Jermy and his son of the same name, who were shot dead on the porch and in the hallway of their residence, Stanfield Hall in Norwich. The motive behind the killings was the imminent foreclosure of the debt Rush owed to Jermy on his residence, Potash Farm, with Rush also intending to kill Mrs Jermy (wife of the younger Isaac) and their servant, Eliza Chastney. Both women were badly injured but survived. Rush had asked his mistress, Emily Sandford, to provide him with a false alibi, which she refused to do. Despite a clumsy disguise of false whiskers, Rush was recognised by the two survivors, whose testimony was enough to see him hanged at Norwich Castle on 21st April 1849. He is buried in the grounds. Provenance: from a descendant of the surviving Mrs Jermy, who remarried after the event.

A Dihl et Guerhard (Paris) porcelain plate c.1814, finely painted, probably by Cornelis van Spaendonck*, with a large pink rose in a faceted beaker of water resting on a marble plinth, the rim with a formal design of gilt palmettes, printed red factory mark, a little rubbing, a small repair to the rim, 24cm.Cf. Aileen Dawson, French Porcelain, A Catalogue of the British Museum Collection, pp.363-365, nos. 268 and 269 for two similar plates. The British Museum examples are recorded as having been purchased at the 1822 Christie's sale of William Beckford's Fonthill Abbey, and having passed down the family to the donor, Mrs M A Francis, who presented them to the museum in 1926. Six plates are recorded in the 1822 auction, of which this may be one. The hand is undoubtedly the same as the artist of no. 269 in Dawson's book. Cornelis van Spaendonck was employed as artistic director of the Sèvres factory from 1795-1800, 1802-3 and 1808-9. There is no firm record of him having been employed as a decorator at Dihl et Guerhard.* Since cataloguing this lot, a suggestion has been made that this might, in fact, be the work of the Salon painter, L. Coste, after work by the Dutch artist Jan Frans van Dael. Van Dael's floral paintings regular feature heavy pink roses of this type, often in finely executed glass vessels.

A pair of Neapolitan bronze figures of The Venus of Capua and The Antinous Farnese, after the Antique, late 19th century, on stepped circular bases with cast signature F. Coppola, Venus - 64cm high, Antinous - 62.5cm (2)Note: The Venus of Capua is a sculpture made during the reign of the Roman Emperor Hadrian, 117 to 138 AD, and is presumed to be a copy of a original lost Aphrodite attributed to Lysippus, who was one of the preeminent sculptors of Classical Greece. The Antinous Farnese is marble sculpture of Antinous, the lover of the Hadrian, that was sculpted between 130 and 137 AD. It is currently part of the Farnese Collection in the Naples National Archaeological Museum.Provenance: The Property of John Kenworthy-Browne FSA

Two Shamshir swords, South Arabian, c.1900, one with iron and embossed gold sheet mounted cross guard, curving pistol-grip hilt with hardwood facings and gold sheet mounted pommel, plain curving single-edged steel blade, in an iron mounted and fabric covered wooden scabbard with embossed gold sheet mounts with two support rings, blade approx. 32" long, sword 97cm long total; the other with iron and embossed gold sheet mounted cross guard, curving pistol-grip hilt with bone facings (one missing), and gold sheet mounted pommel, with lightly curving blade with fullering to top section, in a similar scabbard with sword knots, blade approx. 31.5", sword 95.5cm total (2) Provenance: Purportedly gifted by Ibn Saud to the vendor’s grandfather while he was a diplomat stationed in Saudi Arabia before WWII. Abdulaziz bin Abdul Rahman Al Saud, 1880-1953, known in the West as Ibn Saud, was a tribal, political, and religious leader who founded the Kingdom of Saudi Arabia and reigned as its first King from 1932 until his death in 1953.  Condition Report: The first described: the sheet gold of the grip is lifting, split and bent at the widest point of the mount.  Typical wear to the grip consistent with age.  The blade is tarnished and is possibly replaced.  The scabbard has wear, dark tarnishing and indentations to the gilt mounts.  Heavier knocks and mis-shaping to the tip.  The leather elements are dry and have shrunk a little to be expected with age and use.  One section of leather at the top is lifting and the pins securing all the leather elements are lost.  The second described: as noted in the description, one bone mount to the grip is lacking.  One securing pin to the remaining bone mount is missing but the mount is securely in place.  The gold sheet mount to the grip on the side with the missing bone mount in dented and mis-shapen at the widest point.  Typical wear and tarnishing overall consistent with age and use.  The blade is possibly replaced. The scabbard with losses and heavy wear to the leather elements.  A dent to the side of the top gilt mount.  The lower half mounted in sheet white metal is heavily tarnished and dull in appearance.  There are inevitable knocks and bruises to be expected with age and use.  

Two Regency embroidered pictures, early 19th century, comprising: a woman leading a small child over a stream, worked in wool on a silk ground with painted details, in giltwood frame with verre eglomise border titled CROSSING the BROOK, picture 60.5cm x 40.3cm, frame 75.5cm x 54cm; and a silk work picture of a figure in a turban kneeling beside a lady who is lounging on the floor idly writing in the sand, in giltwood frame with vere eglomise border, 42cm x 46.5cm (2)Provenance: Property from the estate of the late David Cornwell, best-known as the author John le Carré.

The lot is consigned from the estate of the late Lord Avebury (1928-2016), the Liberal Democrat peer who dedicated many years to fighting for civil liberties. William Gladstone was a hero of Lord Avebury and the political ceramics and works of art offered here (lots 161-167) are testimony to the regard he held Gladstone in.Lord Avebury descends from John Lubbock, 1st Baron Avebury, from whom the sideboard (lot 438) was inherited, lived at High Elms, Kent, and was friends with Charles Darwin who lived nearby at Down House. According to family tradition, the sideboard came from Down House, but this tantalising story cannot be substantiated.An impressive Regency rosewood brass inlaid breakfront credenza, c.1820, in the manner of George Bullock, the superstructure with pierced brass gallery top and brass supports with acanthus leaf design, moulded gadrooned edges above four drawers and four glazed doors, enclosing adjustable shelves, six cylindrical columns carved with acanthus leaves, the base with four drawers, lacking plinth base,156cm high, 274cm wide, 58cm deepProvenance: The Property of the late Lord Avebury.

Robert Race, b. 1943, Worm Time, a hand-operated automaton, driftwood, metal mesh (rusty), wire, cotton, stone, signed and dated 1996, approx. 28.8cm high, 34cm wide, 6.1cm deep; together with six other pieces by the same artist, to include: Flying Owl Robert Race, driftwood, feathers, cotton, stone, with wall mount, approx. 17.5cm excluding feathers, 170cm high max; and Blackbird and Wasp, wood, wire, feathers, signed and dated 1996, approx. 19.5cm high, 22cm wide, 2.5cm wide; and four others (7)Sir Nicholas Goodison noted: Worm Time: The bird feeds a rusty wire worm to her young on the metal mesh nest. She dips towards the chick who opens his mouth wide in hopes of a juicy meal. This is a typical work of Robert Race, with its imaginative use of pieces of driftwood (his favourite collection ground is Chesil Bank) and its simplicity of movement. Pressing the lever raises the dowel supporting the chick’s head, turning it sideways to receive the worm as a pin follows a slanted groove at the bottom of the sleeve of the neck. Cotton attached to the back of the chick’s upper beak tautens as the head is raised and opens the beak wide. At the same time the lever relaxes the cotton attached at one end to the mother and at the other to the stone weight, so that the mother dips her head with the worm towards the chick. The stone weight restores the actors to the start when the lever is released. The name ‘Worm Time’ arose in conversation with Race.Flying Owl: The owl flies downwards (only downwards), pulling the stone weight upwards. His wigs whirr round in a frenzy of flight. When he reaches the stone at the bottom, he can be pulled up again, by pulling the stone downwards, to the pulley wheel in order to start again.Blackbird and Wasp: The blackbird to lunges with open beak as the wasp flies within eating distance when the lever is pressed down, but (as is usual with automata of this type) the bird doesn’t catch the wasp and can have another go. Provenance:Flying Owl: Purchased, Robert Race, Robert Race, exhibition ‘That’s the way to do it: Moving toys and automata by Robert Race’, Quaker Gallery 21 November to 10 December 1994, December 1994.Worm Time: Purchased, Robert Race, October 1996.Blackbird and Wasp: Robert Race, October 1996. Exhibited, ‘A Collector’s Collection’, Strawberry Hill, June-November 2014.Note: Robert Race, b.1943, exhibits his moving toys, automata, and kinetic sculpture in Britain and internationally. He is a member and past Chairman of the British Toymakers Guild. His work often incorporates a wide range of natural, re-used, and recycled material to make objects which move in simple but interesting ways.Roseberys do not guarantee the working order of any automata or toy.

Robert Race, b. 1943, Gymnast on bars, 1991, wood, painted wood, label for Robert Race to underside, approx. 18.5cm high max, 25.7cm wide, 7.1cm deep; together with seven other pieces by the same artist, to include: Acrobat Pirate (Trapeze Torsion), wood, cord, bearing label for Robert Race to underside, approx. 38cm high, 9.5cm wide; three other trapeze torsion toys; Acrobat Admiral, wood bamboo, painted plywood, cord, sleeve toy, approx. 45cm high, another similar sleeve toy, Acrobat Sailor, 45cm high; and Acrobat, painted plywood, cord, approx. 27cm high (8) Sir Nicholas Goodison noted: The Gymnast: The gymnast is an elderly City gent, who appears elsewise in Race’s work, with bald head and moustache. He is wearing a striped full-length swimsuit in keeping with his years. He somersaults along the parallel bars in a serene motion and in either direction before his rolling pole reaches the notches at each end.Acrobat Pirate: The acrobat’s arms and legs are fitted loosely on bolts than run through the body. When the two dowels are squeezed together at the bottom and then relaxed the acrobat somersaults and swings as the twisted double cord which runs through his hands untwists and twists and can be held steady in various positions. Robert Race made trapeze acrobats with various characters. This pirate figure has a wooden peg leg. His arms are tattooed ‘Mum’ with a snake and ‘Tina’ with an anchor. Acrobat Admiral: The Admiral performs gymnastics on top of the long pole, presumably a spare spar from his Flagship Man o’ War without his hat falling off. The long dowel is attached to his hands by swivel, the bamboo sleeve by cord to his feet. Pushing the sleeve upwards first turns him over the top so that he is hanging upside down on the other side of the pole, then raises his feet so that he is standing on his head on top of the pole. It is all a remarkable feat for a flag officer. There is no historical or fictional record of a flag officer doing it, not even Hornblower. Provenance:Gymnast on Bars, Acrobat Pirate, Acrobat Admiral, and Sailor: Purchased, Museum of Naïve Art, Bath, November 1991.Acrobat - painted plywood: Purchased, Robert Race, British Toymakers Guild, Kensington, January 1992.Note: Robert Race, b.1943, exhibits his moving toys, automata, and kinetic sculpture in Britain and internationally. He is a member and past Chairman of the British Toymakers Guild. His work often incorporates a wide range of natural, re-used, and recycled material to make objects which move in simple but interesting ways.Roseberys do not guarantee the working order of any automata or toy.

A collection of hand-operated automata, by Opi Toys (Jane and Sylvie Ryan, Chris Birchley), to include: Pugilists, wood, coloured plywood, metal sheet spring, stamped Opi Toys, approx. 23cm high, 27cm wide; a hand-operated automaton of a jockey jumping over a fence, stamped Opie Toys, approx. 34.5cm high, 18.2cm wide, 14cm wide; Pecking Cockerels, hand-operated automaton, softwood, painted wood, approx. 14.6cm high, 17cm wide, 6.5cm deep; Swimmer, automaton, wood, painted wood, bearing label printed These automata and toys are designed for adult collectors. They are not suitable for children under 12, approx. 7.5cm high, 29cm wide, 4.1cm deep; and four others (8) Sir Nicholas Goodison noted:Pugilists: The pugilists, dressed in the kit favoured a hundred years ago, batter and pummel each other when the post between them is depressed and let go. They also clash violently with their noses. The pugilist in the red shirt flails his arms and is better at the uppercut, the one in white goes in for pummelling the body. It all makes you want to give up boxing. Pecking Cockerels: The cockerels peck in turn as the pins on the revolving drum throw the counterweights beneath each bird backwards. The handle needs to be turned quite vigorously to achieve a full peck. Swimmer: The toy is activated by rolling it on its nine wheels along the floor. The swimmer rolls on the wheels towards the rather severe looking gull. He can also be persuaded to swim backwards, which is no mean feat. Opi Toys was started by Jane Ryan who studied Fine Art at Chelsea School of Art and moved to West Cornwall in 1988. She began making simple mechanical toys for grown-ups, often using reclaimed wood and painted wood. All her pieces are one off, no two are the same. There have been recurrent themes over the years which reflect her seaside home, gardening and food. She has always been more interested in decoration and form than mechanics and the toys have very simple mechanisms designed to charm rather than amaze.Provenance:Pugilists: Purchased, Opi Toys, at the Craft Fair, Chelsea, October 1991.Pecking Cockerels: Purchased, Opi Toys, at Craft Fair, Chelsea Town Hall, October 1991.Swimmer: Purchased, Frivoli, London, November 1994.Roseberys do not guarantee the working order of any automata or toy.

Ron Fuller, 1936-2017, Laying Puffin, 1991, wood, spring, inscribed beneath wings Ron Fuller Autoymation and Made in England, approx. 22.3cm high, 14cm wide, 19.5cm deep; together with six other pieces by the same artist, comprising: Dancing Sailor (London), card, wood, tape, glass, sand, inscribed Ron Fuller Automation, Laxfield, England, approx. 17.5cm high, 14.8cm wide, 8.9cm deep; High Kicker, wood, cord, inscribed ARFT Laxfield England and Can Can, approx. 24cm long; Lazy Tong, painted wood, card, approx. 30cm high extended; Bavarian Ducks, painted wood, approx. 23.5cm long; Bavarian Shelducks, painted softwood, approx. 23.5cm long; and Ship and submarine, painted wood, wood, springs, submarine approx. 20cm wide, ship approx. 27cm wide (7)Sir Nicholas Goodison noted:Laying Puffing: Pressing down on the puffin's back causes her to raise her wings, open her beak and lay an egg, which is improbably spherical and is apt to roll away as you press down four more times for further eggs.Dancing Sailor: This glass fronted box is a gravity toy. Inverting the box causes the sand to fall to the top. Making the box upright again causes the sand to fall and to turn the pivot on which the sailor is mounted, and the sailor dances a jig.High Kicker: Ron Fullers adaptation of the swinging weight operating a circle of feeding chickens has become a trio of high-kicking Can-can dancers, complete with saucy garters.Ship and Submarine: This is Ron Fullers version of a pre-WW2 toy. The ship painted 482, the submarine SUB-1. The submarine fires its red torpedoes one at a time aiming at the peg in the side of the ships hull. The torpedo is loaded from the bows of the submarine, pushing out the firing lever at the stern. If the torpedo hits the peg, it pushes a retaining pin inward and releases a lever powered by another powerful spring inside the ship, which explodes, sending the deck, the superstructure, the gun turrets and the funnels all over the place, a very satisfactory outcome for children who enjoy a good destruction. The torpedo spring is powerful, and the range given in Fullers description is about 13 or 4m on a smooth floor, but who can hit the yellow button in the ships hull at that range? It has to be said that the ship could have been designed with a better standard of safety. The best that its crew can hope for is bad aiming.Provenance:Laying Puffin: Purchased, Ron Fuller, May 1991.Dancing Sailor: Purchased, Ron Fuller, December 1991.High Kicker, Purchased, Kristin Baybars, London, January 1993. Exhibited, A Collectors Collection, Strawberry Hill, June-November 2014.Ship and Submarine: Purchased, Ron Fuller December 1987.Note: Ron Fuller, 1936-2017, studied at art schools in Plymouth and Falmouth before studying Art & Theatre Design at the Royal College of Art.After a career in teaching, he began to make wood toys for a living in 1972. His highly sought-after work has been exhibited around the world.Roseberys do not guarantee the working order of any automata or toy.

Brian Buckley, God moves in mysterious ways, a hand-operated automaton, wood, painted wood, wire, elastic, inscribed God moving in a mysterious way and signed Brian Buckley, approx. 20.6cm high, 11.8cm wide, 12cm deep; together with three pieces by the same artist, all signed Brian Buckley and stamped to underside BRIAN BUCKLEY CASHELOGARY, INVER, CO. DONEGAL, comprising: How to Breath, a hand-operated automaton, wood, painted wood, wire, elastic band (renewed), paper, signed Brian Buckley, with label printed HOW TO BREATH, approx. 29.5cm high, 13.5cm wide, 9.4cm deep; Sleeping Man, a hand-operated automaton, wood, painted wood, approx. 20cm high, 15cm wide, 9.5cm deep; Corncrake, a hand-operated automaton, wood, painted wood, wire, approx. 19.8cm high, 13cm wide, 6.8cm deep, and Dancers, a hand-operated automaton, wood, painted wood, plywood, approx. 20.5cm high, 12.8cm wide, 7.2cm deep (5) Sir Nicholas Goodison noted:God moves in mysterious ways: God, in the form of a benign bearded old man seated on the floor, moves in a circle against a glorious yellow sky. His outstretched arms and hands seem to say, ‘Look at Me!’. The mystery may be that He levitates or that He moves in a circle, or both. Neither seems unlikely for God, who can presumably do anything.How to Breath: The man is dressed in sports kit with white gym shoes, stands very upright and has his arms firmly at his side. He might have been in the army, even with the rank of staff sergeant. He breathes through a wide-open mouth, red on the inside with lots of teeth, as his chest rises with the intake of breath. The elastic-band driven mechanism is simple, an eccentric cam raising the dowel on which the upper body is fixed, and a wire behind which pulls the head back and opens the mouth. Sleeping Man: The sleeping man’s chest heaves as he breathes, and his head rises up the back of the chair. The movement is so realistic that one wonders why there is no sound of snoring. He wears a think woolly jersey. The movement is causes by an eccentric cam bearing on a single dowel.Corncrake: The corncrake rises from the corn, driven by an eccentric cam directly beneath and opens his beak. His croak is caused by a flange of plywood passing simultaneously over a serrated wheel. Dancers: The dancing couple are not ambitious and stay rotating on the same spot. But their footwork is fancy, and they can rotate for a long time, fast or slow (fast is better), or turn back and forward. The friction drive relies on a hexagonal wheel to impart the jerkiness. He looks a bit like Jacques Chirac. Brian Buckley was born in Belfast and studied fine art at Reading. From 1990 he built stage sets and made automata, working in 1991 with Paul Spooner on Spooner’s ‘Museum of the Mind’. He moved back to Ireland in the same year and has worked on several TV and museum projects.Provenance: God moves in mysterious ways: Purchased/Commissioned, Brian Buckley, December 1998. How to Breathe: Purchased, Hitchcocks, Bath, ‘Something Nasty in the Woodshed: An exhibition of Mechanical Toys and Automata’, May-July 1995, May 1995.Sleeping Man: Purchased, Hitchcocks, Bath, ‘Something Nasty in the Woodshed: An exhibition of Mechanical Toys and Automata’, May-July 1995, May 1995.Corncrake: Purchased, Hitchcocks, Bath, ‘Something Nasty in the Woodshed: An exhibition of Mechanical Toys and Automata’, May-July 1995, May 1995.Roseberys do not guarantee the working order of any automata or toy.

Edessia Aghajanian, Rocking Wedding Couple, 1988, carved and painted limewood, signed and dated Edessia 1988, approx. 14cm high, 18cm wide, 9cm deep; together with two other pieces, comprising: Tony Mann, 1927-2013, Dancing Couples, lever toy, wood, painted wood, woollen thread, metal screws, wire, feathers, signed and dated Tony Mann ’90, approx. 10cm high, 18cm wide; and David Plagerson, Shaky Relationship, lever toy, wood, wooden canteen cutlery, string, feather, inscribed SHAKY RELATIONSHIP No 7, bearing tag stamped DAVID PLAGERSON, 28 BRIDEGETOWN, TOTNES, DEVON, ENGLAND, approx. 27.5cm high, 49.8cm wide (3)Sir Nicholas Goodison noted: Rocking Wedding Couple: The couple rock to and from, their heads responding to the movement. Indeed, their heads shake so much that they can’t be enjoying this wedding ritual all that much, which may account for their expressions. Their mouths open and he raises the bunch of tulips for her to take, except that he seldom succeeds. Edessia Aghajanian is of Armenian descent and was born in Haifa in Palestine. She moved to London from Cyprus and studied at the Central School in the 1960s. She worked as a theatrical prop maker for fifteen years (ENO, Sadlers Wells, Covent Garden etc.) before taking up wood carving in 1982.Dancing couples: Gripping (between thumbs and fingers) and moving the levers to left and right rotates and moves the two couples who are mounted on loose wire spindles between the levers. The feathers have not weathered the frenzied pirouettes at all well.Shaky Relationship: These two figures, who sway at the waist in harmony and shake their arms as the two levers are moved to right and left, owe their being to knives, forks and a spoon from the café at the Eden Project, near St Austell, Cornwall.Provenance: Rocking Wedding Couple: Purchased, Edessia Aghajanian, British Toymakers’ Guild Fair, Kensington, Jan 1989.Dancing Couples: Purchased, Tony Mann, June 1993.Shaky Relationship: Gift from David Cohen, August 2003.Roseberys do not guarantee the working order of any automata or toy.