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Sidney Barnsley (1865-1926),a Cotswold oak bookcase, the carcass of thorough dovetail construction, fitted with a pair of bar and glazed doors with chip-carved details, enclosing four fixed shelves, on sledge supports, 114cm wide 39cm deep165cm highProvenance: John and Ann Kay; the Fine Art Society, 1986, cat no. 63, from the collection of Charles Canning Winmill, with receipt and copy of the catalogue. Also with correspondence from the Edward Barnsley Workshop, and three letters from Godfrey Beaton discussing the bookcase. John and Ann Kay were both architects who designed their family home in Clapham in 1966. The house was listed Grade II in 2018 and is an important contribution to the preservation of 1960s modernist design in London.Both founder members of the William Morris Society, their house contained elements of modernism alongside inspiration from the Arts and Crafts movement, and reflected William Morris’ belief that you should ‘Have nothing in your houses that you do not know to be beautiful or believe to be useful'. They built a collection of Arts and Crafts furniture and pieces by 20th century British artists.John's interest in furniture led him to design and build bookcases for his home and the William Morris Society. On retirement from the Department of Education, where he was Chief Architect, he designed and made a most beautiful and exquisitely delicate clavichord, which was exhibited at the William Morris Society's Crafts Fair.John was associated, on behalf of the Society, with a number of major projects, including the William Morris 1984 ICA Exhibition and the highly successful 1996 touring exhibition 'William Morris and the Crafts Today', which was undertaken in co-operation with the Society of Designer Craftsmen. Condition ReportThe shelves with some stains. The front of the top shelf with some fading where the lattice on the glass is not running. The feet with some knocks, scratches and marks.  The glass putty reinforced in places. The body screwed to the base where this would initially only have been held by dowels. The top with a small gouge over the centre. The finish with some matting and fading in places - would benefit from a slight rejuvenation with some beeswax to get the lustre back. To the back remnants of an old paper label, also with some white paint marks. The cornice with a small knock to the front of the right side. Additional images uploaded.

Peter Waals (Dutch, 1870-1937),a walnut side table, with a moulded top, three frieze drawers with 'D' shaped handles, and tapering supports united with an 'H' stretcher,106.5cm wide55.5cm deep77.5cm highProvenance: Arthur Mitchell from the brewers, Mitchell & Butler, who commissioned many pieces directly from Gimson, Barnsley and Peter Waals. Mitchell was a strong supporter of the Cotswold School and a good friend of Edward Barnsley, son of Sidney Barnsley. Arthur Mitchell lived in Cheltenham at Glenfall House and pieces from his collection are also to be found at The Wilson - Cheltenham Art Gallery and Museum in the Arts and Crafts Department.Condition ReportSome surface scratches to the top of the table. Split to the left side of the top. Knocks and wear to the carcass, edges, legs and stretcher.  Two small holes to the front near the drawers Cedar drawer bases.

▴ Peter Collingwood (1922-2008)'M.199 No.2'a microgauze wall hanging of woven linen and steel, signed on label and stamped 'Peter Collingwood M.199 No.2'42cm wide 173cm highPeter Collingwood (1922-2008) was at the forefront of weaving for fifty years. His wall hangings use the traditional craft to create visual abstraction and are admired worldwide. Trained, after national service, by the master weaver Ethel Mairet, he worked with Alastair Morton, who became the visionary Artistic Director at the Edinburgh Weavers.In 1952, Peter set up a studio at Archway in North London and sold his work in Liberty’s and Heal's. He also exhibited at the Red Rose Guild and the Arts and Crafts Society. He later moved to Digswell Arts Trust in Hertfordshire, where he met and exhibited with Hans Coper.Collingwood moved to Nayland near Colchester in 1964, where he worked until his death in 2008.Condition ReportThe hanging is in good order.It appears all the strands are complete - some have certain tufts which are shown in the photos.It is hanging in the saleroom now, has been rolled in tissue paper - the lower section is slightly slack - this may resolve in time.Further images added for you to see more detail.

A 'Traccia' table, designed by Méret Oppenheim (Swiss, 1913-1985) in 1938, produced by Simon International, 1980s, the top in gold leaf with footprints impressed to the top and raised on a gilt-bronze pair of legs, 67.5cm wide 53cm deep 64cm highMéret Oppenheim was a painter and sculptor who moved to Paris in 1918 and became part of the circle of Swiss surrealists which included Jean Arp and Alberto Giacometti. She initially designed this table in 1938 and the prototype was exhibited in an exhibition of furniture at the Galeries René Drouin, Paris, in 1939. Other exhibiting artists included Max Ernst, Leonor Fini and Eugene Berman.The table was not put into production until 1972 when an Italian firm, Simon International, included the design in a new range. It continued to be made until at least 1984.Condition ReportThe top with some scratches and marks. To the right of the forward footstep to the top with a patch of scuffing. With a small gouge to the edge. The bronze legs with tarnish and wear - with some emergence of verdigris to the 'ankles' of the supports. Additional images uploaded. The 'bubbling' around the footprint intentional and corresponding with the spherical joints on the feet of the support.

RARE FIBULE EN BRONZE DORÉDynastie des Han orientaux, datée de l'an 76 ap. J.-C et d'époqueA RARE GILT-BRONZE DOCUMENTARY BELT-HOOKEastern Han Dynasty, dated 76 AD and of the periodThe arched shaft shaped as the sinuous body of a dragon, finely inlaid in gold with swirling clouds and waves, the hook formed by a small dragon head with large snout and bulging eyes, the reverse inscribed in gold with a calligraphic inscription and set with a circular button decorated with geometric designs. 14cm (5 1/2in) long.Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) Belt hooks with dated inscriptions, such as the present lot, are extremely rare. The inscription on the reverse of the belt hook dates the piece to the Fifth Month of the First Year of Jianchu, corresponding to 76 AD.Only approximately 50 years before this belt hook was made, the Han dynasty re-established itself after Wang Mang's short-lived Xin dynasty ended in 23 AD. The Han dynasty in this period, known to historians as the later Han dynasty or the Eastern Han dynasty (because the capital had been moved from Chang'an in the west to Luoyang in the east) was still in a relatively vulnerable position. During Wang Mang's reign, the Xin dynasty lost control over the Tarim Basin in the west. A year before the present lot was made, the new Protector General of the Western Regions Chen Mu was killed by allies of the Xiongnu, and the garrison at Hami retreated. It was not until 91 AD, that the famous general and historian Ban Chao reasserted Han control of the Western Regions after crushing rebellions in Kashgar (80 AD) and Yarkand (88 AD). Just twenty years after the present lot was made, in 97 AD, Ban Chao was able to send Gan Ying as an envoy, who reached the Black Sea and left the first recorded Chinese account of Europe.東漢 公元七六年 鎏金銅龍首帶鉤來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏建初元年五月五日丙午造辟兵保身鉤For further information on this lot please visit Bonhams.com

STATUETTE DE GUANYU EN PORCELAINE DE LA FAMILLE ROSEXVIIIe siècleA FAMILLE ROSE FIGURE OF GUANYU18th centuryThe bearded figure modelled seated with his right hand holding a book, his left hand resting on his knee, clad in armour beneath a dragon robe, the face with studious expression framed by an elaborate helmet. 24cm (10in) high. Footnotes:Provenance:Jean-Pierre Rousset, Paris (1936-2021) This figure may be identified as Guanyu who is the deified form of the historical hero General Guan Yu who lived in the late second to early third centuries AD. His exploits were dramatised in oral tales, dramas and the renowned Ming novel San Guo Zhi Yan Yi (Romance of the Three Kingdoms). See a related ormolu-mounted famille rose figure of Guanyu, 18th century, which was sold at Christie's New York, 31 March 2016, lot 1281.十八世紀 粉彩關公夜讀像來源：巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com

PAIRE DE MEUBLES À HAUTEUR D'APPUI D'ÉPOQUE LOUIS XVI EN PLACAGE DE BOIS CITRONNIER, BOIS DE ROSE ET FILETS D'AMARANTE ET D'ÉBÈNE, ORNEMENTATION DE BRONZE CISELÉ ET DORÉ EN PARTIE RAPPORTÉEVers 1775A PAIR OF LOUIS XVI ORMOLU-MOUNTED SATINWOOD, TULIPWOOD, AMARANTH AND EBONY-BANDED SIDE CABINETS Circa 1775Each of rectangular form with brèche d'Alep marble top, above two doors with alternating amaranth and ebony encadrement banding, the canted angles with simulated fluting surmounted by chutes and above bracket feet with replaced sabots, the sides conformingly veneered, the interior concealing two shelves and a oak drawer, above a ribbon-tie apron mount, with the collection brand: 'COLLECTION GEORGES HEINE', the back with a large label of the 'MUSEES NATIONAUX/PALAIS DE COMPIÈGNE' inscribed respectively: 'Petit meuble d'appui à vantaux. N.4 du dépot de la succession Heine' and 'Petit meuble d'appui à vantaux. N.5 du dépot de la succession Heine', largely remounted. 86cm (33 3/4in) high x 92cm (36 1/4in) wide x 41cm (16 1/4in) deep. (2)Footnotes:Provenance:Collection Georges Heine, Palais Galliera, Paris, 23 March 1971, lot 110Exhibited:On loan to the Palais de Compiègne, before 1971Georges Heine belongs to one of those wealthy European families who made their fortune in Banking, and who throughout the 19th century were able to acquire masterpieces of Decorative Arts to furnish their vast residences, as did The Rothschild, David-Weill, Hottinguer, Camondo, Fould and Jacquemart-André. Georges Heine's father, Michel Heine was with his brother, the founder of the family Heine bank, born from the takeover of the Fould bank. Michel Heine married Amélie Miltenberger and they had three kids: Alice, future Duchess of Richelieu and subsequently Princess consort of Monaco, Paul-Henri who sadly died at the early age of 18, and Georges. In 1877, Michel bought Alice and the Duke of Richelieu the Richelieu Estate. In 1890, Michel Heine was appointed Regent of the Banque de France while in 1914, his son Georges succeeded Edouard Aynard. It is in 1904 that Alice and her brother Georges Heine inherited their father's collection which furnished his hôtel particulier of Avenue Hoche in Paris. In 1928, Georges Heine died at the Domaine de Richelieu leaving his collection to his 9 years old son, Robert Heine born in 1919. To protect Robert's inheritance, a part of his collection was deposited on loan at the Palais de Compiègne and at the Musée des Arts Décoratifs, with the idea that it would be safely kept until after his majority, and then later enjoyed by Robert Heine at his home on Avenue Marceau in Paris. It is finally on 23 March 1971 that the collection was to be sold by Ader-Picard at Palais Galliera in Paris. This pair of side cabinets bears the labels of the Palais de Compiègne attesting the deposit. Georges Heine est issu d'une de ces familles de riches banquiers et collectionneurs, qui tout au long du XIXème siècle ont su acquérir des chefs d'oeuvre des Arts Décoratifs pour meubler leurs vastes résidences. Les familles Rothschild, David-Weill, Hottinguer, Pillet-Will, Reinach, Camondo, Fould, Jacquemart-André et Heine en sont les principaux représentants. Georges Heine est le fils de Michel Heine, créateur et gérant, avec son frère, de la banque du même nom. La banque Heine naît de la reprise de la banque Fould, elle crée une filiale à la Nouvelle Orléans, Michel Heine y rencontre sa future femme, Amélie Miltenberger; de cette union naissent trois enfants, Alice, future Duchesse de Richelieu puis Princesse Consort de Monaco, Paul-Henri, et Georges. Michel et Amélie Heine fréquentent le cercle intime du couple impérial, Amélie est l'une des amies intimes de l'Impératrice. En 1877, Michel Heine achète pour sa fille et son gendre, duc de Richelieu, ce qu'il reste du domaine de Richelieu. En 1890, Michel Heine est nommé Régent de la Banque de France au 13ème siège, puis en 1914 son fils Georges succède à Edouard Aynard au 7ème siège. Leur frère Paul Henri meurt à l'âge de 18 ans. En 1904, Alice et son frère Georges Heine héritent des collections de leur père accumulées dans son hôtel particulier du 21 avenue Hoche à Paris. Par cet héritage, Georges Heine accroît sa propre collection qu'il transmet à son fils Robert Heine né en 1919. En 1928, Georges Heine meurt au domaine de Richelieu où il sera inhumé. Né hors mariage mais reconnu par son père, Robert a 9 ans au décès de ce dernier; mineur, afin de sauvegarder son héritage, une partie des collections est mise en dépôt au Palais de Compiègne et au musée des Arts Décoratifs. Collection qui sera récupérée à sa majorité, après la seconde guerre mondiale, pour en avoir la jouissance dans sa demeure du 34 avenue Marceau. Après donations, mises en dépôt, elle est proposée aux enchères en 1971 par l'étude Ader-Picard au Palais Galliera le 23 mars 1971. La paire de meubles que nous présentons aujourd'hui porte l'étiquette des Musées Nationaux / Palais de Compiègne attestant le dépôt de ces meubles.約1775年 路易十六時期椴木、鬱金香木、莧紫木及烏木鑲鎏金銅邊櫃一對來源：Georges Heine珍藏，巴黎加列拉宮，1971年3月23日，編號110展覽：1971年以前借展於貢比涅宮For further information on this lot please visit Bonhams.com

GRANDE COMMODE À RESSAUT D'ÉPOQUE LOUIS XVI EN ACAJOU ET ACAJOU MOUCHETÉ, ORNEMENTATION DE BRONZE CISELÉ ET DORÉ, ESTAMPILLE DE GUILLAUME BENEMANVers 1790 A LOUIS XVI ORMOLU-MOUNTED MAHOGANY AND PLUM-PUDDING MAHOGANY LARGE COMMODE, GUILLAUME BENEMANCirca 1790 Of rectangular break-front form, the grey-veined white marble top above three frieze drawers with encadrement mounts and foliate escutcheons, on two long drawers sans traverse but with three encadrement mounts, with foliate swagged handles and ribbon-tie cornucopia escutcheons, the brass-mounted channelled rounded angles surmounted by brettés panels and terminating in turned tapering toupie feet, stamped four times 'G.BENEMAN'. 99cm (39in) high x 175cm (69in) wide x 66cm (26in) deep.Footnotes:Provenance:Probably from the collection of the late Sir Fairfax Cartwright, G.C.M.G., G.C.V.O., Christie's London, 27 June 1968, lot 84Christie's Monte-Carlo, 7 December 1985, lot 120Related literature:A.Pradère, Les Ebénistes de Louis XIV à la Révolution, Paris, 1989, pp.405-411Guillaume Beneman, maître ébéniste in 1785.In 1785, Guillaume Beneman (circa 1750-1811), of German origin, then almost unknown, was chosen after having participated in a call for tenders launched by the Royal Garde-Meuble, to become the main supplier of the Garde-Meuble de la Couronne to replace Jean-Henri Riesener, which had become slightly out of fashion and too expensive, following the decision to cut costs. Beneman who until then had been working freely in the Faubourg Saint-Antoine, was quickly received as a master cabinetmaker in 1785. Exempted from the rights and conditions of access to the profession, he was mainly chosen for his talent and for the similarity of his production to Riesener's one. Beneman was initially responsible for restoring, modifying, updating and copying existing important pieces of furniture from the royal collection, under the supervision of the talented and influent wood sculptor Jean Hauré. In just a few years (1786-1792) and with the help of fifteen to twenty craftsmen at his command, he delivered no less than 235 pieces of furniture for a total of 59.555 livres. At the same time, Beneman kept up to date and was inspired by the latest trends propagated by the important marchand-mercier Dominique Daguerre, whose ideas were often executed by the not less talented cabinetmaker Adam Weisweiler. C'est en 1785 que Guillaume Beneman (vers 1750-1811), d'origine allemande, alors quasiment inconnu, est choisi après avoir participé à l'appel d'offre lancé par le Garde-Meuble de la Couronne, comme principal fournisseur du Garde-Meuble royal en remplacement de Jean-Henri Riesener devenu trop cher, suite à la décision de réduire les coûts. Beneman exerçant jusque-là librement au Faubourg Saint Antoine, est donc rapidement reçu maître-ébéniste en 1785. Dispensé de droits et conditions d'accès à la profession, il est principalement choisi pour sa maîtrise de son travail et pour la précision de son exécution proche de Riesener. Il devient donc le dernier ébéniste fournisseur du Garde-Meuble de la Couronne. Il est d'abord chargé de restaurer, modifier, mettre à jour et copier certains meubles importants de la collection royale, sous la supervision du talentueux sculpteur sur bois Jean Hauré. En quelques années (1786-1792) et avec l'aide d'une quinzaine de collaborateurs à ses ordres, il livre non moins de 235 meubles pour un total de 59.555 livres! Parallèlement, Beneman suit et s'inspire des dernières tendances propagées par l'influent marchand-mercier Dominique Daguerre, créations souvent exécutées par Adam Weisweiler. Ce type de grande commode à ressaut aurait été développé initialement par Adam Weisweiler vers les années 1745, soit en acajou ou en laque du Japon. Mais c'est vers la fin du règne de Louis XVI que ce type de commode est à son apogée. La sobriété des lignes et la pureté du dessin sont caractéristiques de la meilleure production de la fin du XVIIIème siècle. 約1790年 Guillaume Beneman製路易十六風格桃花芯木鑲鎏金銅飾大邊櫃來源：或為費爾法克斯·卡特賴特爵士G.C.M.G.，G.C.V.O.舊藏，倫敦佳士得，1968年6月27日，編號84蒙特卡洛佳士得，1985年12月7日，編號120相關出版：A.Pradère，《Les Ebénistes de Louis XIV à la Révolution》，巴黎，1989年，頁405-4111785年，為了減少開支，法國皇家傢俱貯藏庫（Garde-Meuble de la Couronne）公開招標時，選擇了當年默默無聞的德國籍細木傢俱製造商Guillaume Beneman（1750-1811 年）作為皇家傢俱保管府（Garde-Meuble Royal）的首要供應商。 Guillaume Beneman由此取代了當時價格過高的供應商Jean-Henri Riesener。 Beneman此前一直是巴黎聖安托萬市郊路的自由傢俱製造商。 這一年，他也很快獲得「高級細木傢俱製造大師」的殊榮。 被免除了例行的行業費用和規定，Beneman入選首要供應商的成功因素是他無可挑剔之專業水準和與Riesener不相上下的精雕細琢之工藝。 他也因此成為法國皇家傢俱貯藏庫的最後一位傢俱供應商。 在異稟天賦的木製雕刻家Jean Hauré的督察下，他最初負責法國皇家傢俱貯藏庫里一些重要傢俱的修復、改造、更新和複製。 之後短短幾年裡，他和他十幾位工匠師製作了不下235件總值達59 555法國里弗爾的傢俱。 同時，Beneman跟隨引領潮流的「奢侈品轉銷商」Dominique Daguerre宣導的最新時尚... For further information on this lot please visit Bonhams.com

RARE BIXIE EN JADE VERT PLE ET ROUILLEÉpoque des Six Dynasties (265 -589 ap. J.-C)A VERY RARE PALE GREEN AND RUSSET JADE CARVING OF A BIXIE Six Dynasties (265-589AD)The creature resting on its front paws, the rear right haunch tucked underneath the body and the rear left extended to reach the bifurcated tail, the powerful face carved with wide bulging eyes below a pair of thick curling eyebrows and horns directed back across the head, with part open mouth and beard issuing from the lower jaw, the body delicately incised with scrolling wing motifs and scrolls to the rear haunches, three parallel incised markings to the back to simulate the fur, the softly polished stone of pale whitish hue to the back and creamy russet tone to the body and head, with russet markings to one side of the head and rear haunch. 10.5cm (4 1/8in) long.Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) Bixie ('auspicious beast') were the female guardians of treasure brought back by male Tianlu who went out into the world in search of gold. the function of these lifelike sculptures made from durable materials was to embody and pacify the elemental and supernatural forces of the living world. Large stone figures of ferocious beasts including lions and tigers, and imaginary winged figures, were all placed on the spirit avenues in tombs of emperors and high ranking officials and military commanders, a tradition that flourished and reached its peak during the Six Dynasties, when immense fabulous beasts drawn from the spiritual world were produced on a grand scale outside the tombs near Nanjing. Simultaneously, an artistic tradition of creating jade animals of the highest quality flourished. In contrast to the majority of earlier two-dimensional jade carvings, made for the afterlife or to adorn the individual, these figural sculptures were created in the round as independent objects, not just as sumptuous display items for the appreciation of the elite, but also to provide the owner with a constant and concrete realisation of the powerful supernatural forces latent in the world around.Jade bixie of the Six Dynasties unlike the earlier ones made during the Han dynasty, appear to display less movement in their carving. Compare a jade fitting in the form of a bixie, Eastern Han dynasty, illustrated by J.Rawson, Chinese Jade from the Neolithic to the Qing, London, 1995, p.353, fig.6; and see also another example, Wei/Jin dynasty, illustrated in Compendium of Collections in the Palace Museum: Jade 4 Han, Wei, Jin, Southern and Northern Dynasties, Beijing, 2011, no.299. See a related jade carving of a mythical beast, Six Dynasties, illustrated by J.Rawson and J.Ayers, Chinese Jade throughout the Ages, London, 1975, no.186. A further Six Dynasties jade bixie from the collection of Dr and Mrs Cheng Te-k'un, is illustrated by J.Watt, Chinese Jade from Han to Ch'ing, New York, 1980, pl.12.A related beige and russet jade bixie, Han dynasty/Six Dynasties, was sold at Sotheby's New York, 21 September 2021, lot 46.Les bixie (« bêtes auspicieuses ») étaient les gardiennes (femelles) des trésors rapportés par les tianlu (mâles) qui parcouraient le monde à la recherche d'or. La fonction de ces sculptures très vivantes faites dans des matières durables était d'incarner et pacifier les forces fondamentales et surnaturelles du monde vivant. De grandes sculptures en pierre de bêtes féroces, dont des lions, tigres et bêtes ailées imaginaires, étaient placées sur les Voies des Esprits menant aux tombes des empereurs, haut-fonctionnaires et chefs militaires : cette tradition se développa et atteignit son apogée durant l'époque des Six Dynasties, lorsque d'immenses créatures fantastiques venues du monde des esprits furent réalisées à grande échelle à l'extérieur des tombes près de Nankin.Parallèlement se développa une sculpture de grande qualité d'animaux en jade. Contrairement à la majorité des sculptures en jade plus anciennes en deux dimensions, servant d'ornement personnel ou pour l'au-delà, ces sculptures étaient réalisées en ronde-bosse comme objets indépendants, non seulement en tant qu'œuvres d'apparat somptueuses, destinées à être appréciées des élites, mais aussi comme rappel concret et constant à leur propriétaire des puissantes forces surnaturelles latentes dans le monde qui l'entoure.A la différence des bixie plus anciens faits durant la dynastie Han, les bixie en jade des Six Dynasties semblent montrer moins de mouvement dans leur sculpture. Comparer avec un ornement en jade en forme de bixie, dynastie des Han orientaux, illustré dans J. Rawson, Chinese Jade from the Neolithic to the Qing, London, 1995, p.353, fig.6 ; voir aussi un autre exemple, dynastie Wei/Jin, illustré dans Compendium of Collections in the Palace Museum: Jade 4 Han, Wei, Jin, Southern and Northern Dynasties, Beijing, 2011, no.299. Voir encore une sculpture proche en jade d'une chimère, Six Dynasties, illustrée dans J. Rawson et J. Ayers, Chinese Jade throughout the Ages, London, 1975, no.186. Voir enfin un bixie en jade des Six Dynasties de la collection de Dr et Mrs Cheng Te-k'un, illustré par J.Watt, Chinese Jade from Han to Ch'ing, New York, 1980, pl.12. Un bixie comparable en jade beige et rouille, dynastie Han/Six Dynasties, a été vendu à Sotheby's New York, le 21 septembre 2021, lot 46.六朝 青玉辟邪來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏「辟邪」是一種有翼瑞獸。學界對此類肩生雙翼的神獸定名略有出入，一說「辟邪」為雌性，鎮守著雄性「天祿」外出尋找黃金所帶回的寶物。帝王將相陵墓神道兩側放置有翼石獸，起到辟邪除兇、保衛墓主人的作用，是秦漢以來流行的做法，在六朝時期蓬勃發展並達到頂峰；時南京附近的陵墓外可見大量大型神獸石像。與此同時，精巧動物、瑞獸玉雕亦隨之蓬勃發展。與較早期作為陪葬品或配飾用常見之玉牌等平面玉雕不同，此類圓雕動物神獸作為獨立個體進行創作，不再僅為身份地位象徵，更為其擁有者提供源源不斷的天地之氣... For further information on this lot please visit Bonhams.com

D'APRÈS SONG HUIZONG (1082-1135)FauconAFTER SONG HUIZONG (1082-1135 AD)FalconInk and pigment on silk, inscription, apocryphal Yushu seal and signature of the artist, glazed and framed. 146cm (57 1/2in) high x 70cm (27 1/2in) wide.Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935; the painting is shown in a photograph at Robert Rousset's Paris apartment, circa 1950sJean-Pierre Rousset, Paris (1936-2021) The most artistically talented emperor in Chinese history, Emperor Huizong of the Song dynasty (1082-1135), had the great misfortune to be ruling at a time of great turmoil and decline – much of it due to forces beyond his control. In 1126 the Jurchen-led Jin dynasty invaded the Song realm and captured the capital Kaifeng, marking the end of the Northern Song dynasty. Huizong and his Court were taken captive and sent north to Manchuria. He was further humiliated by the Jurchen who gave the former emperor a new title - Duke Hunde (literally 'Besotted Duke'). He died a broken man after nine years in captivity at the age of 52. His sad life is held as a warning to the dangers of neglecting government at the cost of art, and even the thin, spidery form of calligraphy he invented - 'slender gold' calligraphy – is seen as superfluous and decedent, unsuitable for upright leaders to emulate. His contribution to the arts, however, is unparalleled: he established a painting academy, created a huge collection of art, and invested much time and money into gardens, tea ceremony, poetry, painting, calligraphy and music. In Emperor Huizong's second year on the throne (1101), the censor Jiang Gongwang submitted a memorial saying he had heard a rumour that someone had entered the Rear Garden of the palace with a falcon:'The other day I, your subject, heard a rumour on the street that some high-ranking men including one named Jia entered the Rear Garden with falcons on their shoulders to hunt birds. This I could not believe... How could a ruler who is benevolent busy himself with going hunting? How could anyone devoted to the dynastic ancestors have the leisure to pursue the pleasure of hunting'.The censor claimed not to believe the rumour, but he still went on at length on the reasons Emperor Huizong should not involve himself with anything as cruel and dangerous as hunting. If the emperor did ever go hunting, no record of it has been preserved; see P.Ebrey, Emperor Huizong, London, 2014, p.301.宋徽宗（款）鷹 設色絹本 鏡框來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏；約二十世紀五十年代攝於其公寓照片中可見巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com

STATUETTE DE BOUDDHA SOUS MUCHALINDA EN ALLIAGE DE CUIVRECambodge, style d'Angkor Vat, XIIe siècleA COPPER ALLOY FIGURE OF BUDDHA UNDER MUCHALINDACambodia, Angkor Wat style, 12th centuryThe king of the nagas, Muchalinda, rose from the earth, coiling his body to form a seat swelling his great hood to shelter Buddha beneath his seven-headed canopy. Buddha is wearing a short loincloth around his waist, adorned with elaborate jewellery, a crown or headdress surrounding his hair piled high and surmounted by a conical ushnisha, his face with serene expression, downcast eyes and hands held in his lap holding a stupa or fruit. 18cm (7 1/8in) high.Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired in the 1950's-1970'sJean-Pierre Rousset, Paris (1936-2021)This iconic image of Siddartha Guatama's pursuit of enlightenment shows the scene when torrential rain threatened to drown him. Few early examples of this type appear to be recorded and the cult coincided with the rule of Jayavarman VII, who built the great royal temple at Banteay Chhmar. Embracing Buddhism with fever, he aligned himself with the image of the Buddha seated on a serpent, as the divine form under which he would be venerated.Compare with a closely related example in the Eilenberg Collection, see S.E.Lee, Ancient Cambodian Sculpture, Asia House Gallery, New, York, 1969, p.92, fig.54, and two other examples in G.Coedès, Bronzes Khmers, 1923, plate XXI, figs 1 and 2; and another sold at Christie's New York, 20 March 2002, lot 11 and J.Menzies, Buddha: Radiant Awakening, Sydney, 2001, cat. no.93, pp.128–129.柬埔寨 吳哥窟風格 十二世紀 銅目支鄰陀龍王護佛坐像來源：巴黎Robert Rousset（1901-1981）舊藏，得自二十世紀五十至七十年代巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com

STATUETTE DE VAJRAPANI EN ALLIAGE DE CUIVRECambodge, style d'Angkor Vat, XIIe siècleA COPPER ALLOY FIGURE OF VAJRAPANICambodia, Angkor Wat style, 12th centurySeated in vajrasana with both legs crossed with both exposed soles of feet. The vajra in his right hand is held to the chest and the ghanta rests in his lap in his left hand. He is presented on a scalloped-edge throne supported by seven Yakshas at the front who squat with hands on knees in the Atlantean manner and an open grill at the back imitating the wicker or wood structure of the throne. 18cm (7 1/8in) high. (3).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired in the 1950's-1970'sJean-Pierre Rousset, Paris (1936-2021)The classification of Vajrasattva as Vajrapani, as suggested by George Coedès, as Vajradhara and Vajrasattva are not found the in epigraphy Khmer script while the term Vajrapâni is invoked at the beginning of the inscriptions of Bât Cûm and venerated in one of the three sanctuaries. Compare with an example in G.Coedès, Bronzes Khmers, 1923, pl.XXVII, fig.2 and another in the John D. Rockefeller 3rd Collection, Asia Society (1979.67).柬埔寨 吳哥窟風格 十二世紀 銅金剛手菩薩坐像來源：巴黎Robert Rousset（1901-1981）舊藏，得自二十世紀五十至七十年代巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com

TRIADE BOUDDHIQUE EN ALLIAGE DE CUIVRECambodge, fin de la période angkorienne, fin du XIIe siècle/début du XIIIe siècleA COPPER ALLOY TRIAD OF BUDDHACambodia, Late Angkor Period, late 12th/early 13th centuryInscribed on the front of the base. With Buddha under Muchalinda at the centre flanked by a four-armed Avalokiteshvara, and the now missing figure of Prajnaparamita. 21.5cm (8 1/2in) high.Footnotes:Provenance: Robert Rousset, Paris (1901-1981), acquired in the 1950's-1970'sJean-Pierre Rousset, Paris (1936-2021)The combination of this triad was a common representation in Khmer sculpture in all media, and the particular focus of a cult during the reign of Jayavarman VII, who ruled the Khmer empire from about 1181 to 1218. As noted by Czuma 'During his reign, the naga-enthroned Buddha became a ubiquitous image for veneration, often set up together with Lokeshvara, who was associated with his father, and Prajnaparamita, the form under which his deceased mother was honoured. Lokeshvara is the powerful enlightened being of compassion, while Prajnaparmita is the goddess who personifies wisdom. King Jayavarman VII, therefore, presented himself as the enlightened Buddha, the product of the union of Compassion and Wisdom, supported and glorified by the naga, which refers to the Khmer people.' (Masterworks of Asian Art, Cleveland, 1998, pp.163–163).Compare with an example in M.Giteau, L'Art Khmer - Reflet des Civilisations d'Angkor, Paris, 1997, p.118 and a similar composition sold at Christie's Paris, 11 December 2013, lot 345.柬埔寨 吳哥時期晚期 十二世紀末/十三世紀初 銅一佛兩菩薩立像來源：巴黎Robert Rousset（1901-1981）舊藏，得自二十世紀五十至七十年代巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com

HEI TIKI MAORINouvelle-ZélandeNéphrite / jade. 11cm (4 2/8in) high. Footnotes:Provenance:Robert Rousset, Paris (1901-1981)Jean-Pierre Rousset, Paris (1936-2021) Exécutés en « pierre verte » pounamou, ces pendentifs hei tiki revêtaient un caractère très précieux pour les familles qui les détenaient et se les transmettaient de génération en génération. Les nombreuses tentatives d'interprétation de leur forme caractéristique, personnage stylisé à la tête inclinée, semblent finalement peu concluantes.Ce bel exemplaire à l'arrière plat, indiquant qu'il a pu être taillé dans une ancienne lame de hache a conservé son cordon et son « toggle » en os.HEI TIKI MAORINew Zealand Néphrite / jade. Made of pounamou 'green stone', these hei tiki pendants were very precious to the families who owned them and passed them on from generation to generation. Numerous attempts to interpret their characteristic form, a stylised figure with a tilted head, seem to be inconclusive. This fine example with a flat back, indicating that it may have been carved from an old axe blade, has retained its cord and bone toggle.For further information on this lot please visit Bonhams.com

MASQUE BRAGAire stylistique du lagon Murik, province de l'est du Sépik, Papouasie Nouvelle-GuinéeBois, nacre, et défenses de porcs sauvages. 62cm (24 3/8in) high.Footnotes:Provenance:Robert Rousset, Paris (1901-1981)Jean-Pierre Rousset, Paris (1936-2021)Littérature: S.Chauvet, Les Arts Indigènes en Nouvelle-Guinée, Paris, 1930, fig.386bis, pl.98Bien que les dents porcines qui l'ornaient lorsqu'il fut photographié par F. Poncetton pour sa reproduction dans l'ouvrage de Stephen Chauvet « Les Arts Indigènes en Nouvelle-Guinée » paru en 1930 aient depuis été accidentées, ce masque historique est identifiable planche 98 de cette publication.Les masques de ce type dénommé Brag, au nez incurvé caractéristique, représenteraient un esprit guerrier spécifique ou un homme-esprit qui lors des initiations avaient la fonction symbolique d'avaler les jeunes initiés avant de les régurgiter en hommes adultes. Selon certaines sources, ces masques auraient également été consultés avant les expéditions guerrières et auraient eu un rôle dans la chasse aux têtes.Comme sur tous les masques considérés comme importants, celui-ci arbore de complexes motifs stylisés, volutes et lignes concentriques, appelés mabranarogo associés à l'araignée. Ils seraient davantage associés à la perfection et à la complexité de sa toile, plutôt qu'à l'arachnide elle-même. C'est cette même perfection que le sculpteur du masque chercherait à atteindre dans son œuvre.Cf:C.Kaufmann, « Ombres de Nouvelle-Guinée », Musée Barbier-Mueller, 2006Beier & Aris, « Sigia : Artistic Design in Murik Lakes », Gigibori, vol.2, n° 2, octobre 1975P.Peltier, « Sepik Arts de Papouasie Nouvelle-Guinée », Musée du quai Branly, 2015MASQUE BRAGAire stylistique du lagon Murik, province de l'est du Sépik, Papouasie Nouvelle-GuinéeWood, mother-of-pearl, and wild pig tusks.Although the pig teeth that adorned it when it was photographed by F.Poncetton for reproduction in Stephen Chauvet's 1930 book Les Arts Indigènes en Nouvelle-Guinée have since been damaged, this historic mask is identifiable on pl.98 of that publication.The masks of this type, called Brag, with their characteristic curved nose, are said to represent a specific warrior spirit or spirit-man who, during initiations, had the symbolic function of swallowing the young initiates before regurgitating them as adult men. According to some sources, these masks were also consulted before warlike expeditions and had a role in headhunting. As on all masks considered important, this one has complex stylised patterns, scrolls and concentric lines, called mabranarogo associated with the spider. They would be associated more with the perfection and complexity of its web, rather than with the arachnid itself. It is this same perfection that the sculptor of the mask would seek to achieve in his work. See Cf. C.Kaufmann, Ombres de Nouvelle-Guinée, Geneva, 2006; Beier & Aris, 'Sigia : Artistic Design in Murik Lakes', Gigibori, vol.2, n.2, October 1975 ; P.Peltier, Sepik Arts de Papouasie Nouvelle-Guinée, Paris, 2015.For further information on this lot please visit Bonhams.com

MASQUE BEMBERépublique Démocratique du CongoBois et pigments. 51cm (20in) high.Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935 (inv.no.1298)Jean-Pierre Rousset, Paris (1936-2021) BEMBE MASKDemocratic Republic of CongoWood and pigments.Les masques bembe de ce type auraient été liés aux représentations d'esprits de la nature et utilisés par les membres d'une société secrète qui les présentaient aux jeunes initiés. Les yeux figurés au centre de grands ovales creux peints en blanc auraient eu pour but de suggérer une capacité à voir dans le monde spirituel. Ce modèle qui porterait le nom vernaculaire d'Eluba serait associé à l'oiseau kolyulo. Cf : M.Félix, Maniema, Verlag Fred Jahn, 1989, pp.154-159.Bembe masks of this type would have been linked to representations of nature spirits and used by members of a secret society who presented them to young initiates. The eyes in the centre of large hollow ovals painted white would have been intended to suggest an ability to see into the spirit world. This model, which is said to bear the vernacular name of Eluba, would be associated with the kolyulo bird. See M.Félix, Maniema, Verlag Fred Jahn, 1989, pp.154-159.For further information on this lot please visit Bonhams.com

STATUETTE DE PADMASAMBHAVA EN BOIS SCULPTÉ POLYCHROMEBhoutan, XVIIIe siècleA POLYCHROME WOOD FIGURE OF PADMASAMBHAVABhutan, 18th centurySeated cross-legged on an overlapping triple lobbed lotus base, modelled with an alert face adorned with beaded earrings, wearing a distinctive pointed cap and a pleated robe decorated with floral hems, holding a vajra in his raised right hand and a skull cup in his left. 36cm (14 1/8in) high.Footnotes:Provenance:Artcurial, Paris, 11 December 2017, lot 192Jean-Pierre Rousset, Paris (1936-2021), acquired from the above salePadmasambhava is widely revered across all Tibetan Buddhist orders, given the endearing appellation, Guru Rinpoche ('Precious Teacher'). As the founder of the Nyingma tradition, he is typically identified by an iconic feathered cap. Other iconographic markers of this legendary teacher, who is credited with introducing Buddhism to Tibet, are the skull cup containing a vase of plenty, and the vajra he holds in his hands. For comparison of the footed base and Bhutanese-style lotus leaves, see a Padmasambhava sold at Nagel Auktionen, Stuttgart, 30 October 2015, lot 141, and another sold at Bonhams New York, 14 March 2017, lot 3209.不丹 十八世紀 木雕加彩蓮花生坐像來源：巴黎Artcurial, 2017年12月11日，編號192巴黎Jean-Pierre Rousset（1936-2021）舊藏，得自上述拍賣For further information on this lot please visit Bonhams.com

VAJRA EN ALLIAGE DE CUIVRE DORÉTibet, XIVe/XVe siècleA RARE GILT COPPER ALLOY VAJRATibet, 14th/15th centuryFinely and heavily cast with nine prongs with detailed makara heads and a central knop grip. 19.5cm (7 5/8in) long.Footnotes:Provenance:Jean-Pierre Rousset, Paris (1936-2021), acquired in the 1970'sReferred to within the name of Shakyamuni's seat of enlightenment (vajrasana), this vajra symbolizes the immutable quality of the spiritual truth Shakyamuni unveiled. Used as ritual implement in Tibet, it is cast with five-prongs, four of them turned inwards on the central prong. The style of this vajra derives from early Ming imperial workshops of the 15th century, but is more finely cast with elaborate treatment of the makara heads who disgorge swirling scrolls that support each prong. The orientation of the makara faces on the outside of the prong shafts is variance that is not clearly defined, but the composition is a clear sign of gifted artists working during the highpoint of Tibetan art in Central Tibet. Compare with closely related example from the Gene Smith Collection (HAR#73050) and others sold at Christie's New York, 22 March 2013, lot 1253, and Bonhams Hong Kong, 2 October 2018, lot 120.西藏 十四/十五世紀 鎏金銅金剛杵來源：巴黎Jean-Pierre Rousset（1936-2021）舊藏，得自二十世紀七十年代For further information on this lot please visit Bonhams.com

GROUPE REPRÉSENTANT VISHNU PORTÉ PAR GARUDA EN ALLIAGE DE CUIVRECambodge, style d'Angkor Vat, XIIe siècleA COPPER ALLOY GROUP DEPICTING VISHNU ON GARUDACambodia, Angkor Wat style, 12th centuryThis configuration shows Garuda in his role as vahana carrying Vishnu, the god benevolent, guardian and saviour of the world protector of humans. The garuda is a mythical bird that is as well represented in Brahmanic iconography as well as Buddhist. His hybrid body is humanoid, his bust and thighs are feathered, its head is that of a bird of prey with a hooked beak, its eyes are globular and its ears similar to those of a man. Vishnu is shown in a dynamic posture with one foot resting on the tail of the mythical animal and the other on his shoulder, stand. 20cm (7 7/8 in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired from Peng Seng, Bangkok, 21 December 1968Jean-Pierre Rousset, Paris (1936-2021)Under Suryavarman II, who ascended the throne in 1113, Vishnu was elevated to higher prominence and became an state symbol. A closely related example is in The Walters Art Gallery, Baltimore (H.W.Woodward, The Sacred Sculpture of Thailand, 1997, cat. no.17) and in Baptise and Zephir L'Art khmer dans les collections du musée Guimet, Paris, 2008, p. 241 , no. 70. Also compare with P.Pal, The Sensuous Immortals. A Selection of Sculptures from the Pan-Asian Collection, Los Angeles 1978, no.152 and another in The Norton Simon Museum of Art (F.1972.16.1.S).柬埔寨 吳哥窟風格 十二世紀 銅毗濕奴與迦樓羅像來源：巴黎Robert Rousset（1901-1981）舊藏，於1968年12月21日得自曼谷Peng Seng古董店巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com

ENSEMBLE DE SEPT ESTAMPES DU MANUEL L'ATELIER DES DIX BAMBOUSXVIIIe/XIXe siècleSEVEN WOODBLOCK PRINTS FROM TEN BAMBOO STUDIO 18th/19th centuryInk and pigment on paper, the largest 34cm (13 3/8in) wide x 27cm (10 5/8in) long; together with six prints of flowers and insect, and four prints of chrysanthemums (Ju pu) 29.5 (11 5/8in) wide x 26cm (10 2/8in) long. (17).Footnotes:Provenance:Robert Rousset, Paris (1901-1981)Jean-Pierre Rousset, Paris (1936-2021) With the growth of population, wealth, literacy and mobility in Ming dynasty China, cities such as Nanjing and Suzhou became centres for the educated scholar and wealthy merchant classes, and for printing. Scholars who could not find employment as officials at Court sought to enhance their reputation through costly individual print projects and initiated colour printed manuals. Commercial workshops on the other hand responded to the demands of the urban population for novelty by producing sets or single-sheet prints, often emulating the culture of the elite. As C.Von Spee wrote, 'Colour printing reached a level of perfection in the early seventeenth century. Outstanding examples are Ten Bamboo Studio Collection of Calligraphy and Painting (c.1633)... and single-sheet prints of birds, flowers, insects and antiquities printed and signed by members of the Ding clan in Suzhou'; see The Printed Image in China: From the 8th to the 21st Centuries, London, 2010, p.18.The Ten Bamboo Studio Collection of Calligraphy and Painting, is the earliest picture collection in China to be printed in colour and the first to include isolated illustrations of subjects such as plants, flowers, birds etc. The Ten Bamboo Studio was the name of the residence of Hu Zhengyan in Nanjing. He was an accomplished scholar in ink making and seal carving, as well as calligraphy and painting, who initiated the production of the manual. See related examples of prints from the Ten Bamboo Studio Collection of Calligraphy and Painting, illustrated in Ibid, pp.72-75.十八/十九世紀 十竹齋木刻版畫 一組七幀來源：巴黎Robert Rousset（1901-1981）舊藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com

A REPRODUCTION  CAST LNER 060 RAILWAY SIGN, 'Any person who omits to shut and fasten this gate is liable to a penalty not exceeding forty shillings' (1) (Condition report: rusting on the back, rust stains and chips to the front)

A BOX CONTAINING ONE HUNDRED AND SEVENTY 7in SINGLES and seventy CDs from artists such as Sex Pistols, Rolling Stones, The Who, Free, Queen, The Kinks, Bad Company, Johnny Congos, Cat Stevens, Elvis Presley, Love Affair, Elvis Presley, Spooky Tooth, Promos copies by Little David Wilkins and Danny Williams etc (1 BOX)

Italien - Faschismus : Moschettieri del Duce (Musketiere des Duce) - Fez für Offiziere und Kommandanten.Der Fez in Offiziersausführung aus schwarzem Filz mit Bordüren aus schwarzem Seidenripps. Schwarze Schnüre und Fransenbehang.Auf der Vorderseite versilbertes Emblem der Moschetteri del Duce, der auf gekreuzten Degen ruhende Totenkopf.Seitlich gestickter Offizierswinkel aus vergoldeten Metallfäden auf schwarzem Grund.Innen originales feines weißes Seidenfutter und hellbraunes Lederschweißband sowie lederner Kinnriemen.Mit Herstelleretikett in Form der kapitolinischen Wölfin mit den Farben der P.N.F. und der Bezeichnung: "DEPOSITATA DUX".Auf der Stirnseite des Lederschweißbandes die eingeprägte Bezeichnung "DUX" (Duce).Die Moschettieri del Duce ("Musketiere des Duce") waren eine Eliteeinheit der Freiwilligenmiliz für die nationale Sicherheit (M.V.S.N.), die Benito Mussolini als Ehrengarde im Palazzo Venezia und bei Militärparaden und faschistischen Zeremonien diente, ähnlich wie die Corazzieri für den König.Sie sorgten auch für die innere Sicherheit bei den Sitzungen des Großen Rates des Faschismus.Das Korps wurde am 11. Februar 1923 gegründet. Seine Mitglieder wurden aus den loyalsten Mitgliedern der MVSN ausgewählt und zählten 180 Mann, die in Trupps von fünf Mann organisiert waren. Die Einheit war in Rom stationiert und unterstand direkt dem Oberkommando der MVSN. Grundvoraussetzung für die Aufnahme in die Moschettieri war die Ableistung der Wehrpflicht als Offizier der Armee. Der Dienst war freiwillig und die Mitglieder erhielten keinen Sold. Die Moschettieri del Duce wurden 1940 formell aufgelöst, als viele ihrer Mitglieder nach dem Eintritt Italiens in den Zweiten Weltkrieg an die Front zogen, blieben aber de facto bis zum Sturz des faschistischen Regimes am 25. Juli 1943 bestehen. Ihr letzter Kommandeur, von September 1936 bis Juli 1943, war der Centurione (Hauptmann), später Seniore (Major), Mario D'Havet.Außerordentlich seltener Fez in Offiziersausführung dieser legendären Eliteeinheit der M.V.S.N. (Milizia Volontaria per la Sicurezza Nazionale). Facist Italy : Moschetteri del Duce - Commanding Officer's FezThe officer's fez made of black felt with borders of black silk rib. Black cords and fringe hanging.On the front, silver-plated emblem of the Moschetteri del Duce, the skull resting on crossed swords.On the side embroidered officer's angle of gilded metal threads on a black ground.Inside original fine white silk lining and light brown leather sweatband and leather chinstrap. With maker's label in the shape of the Capitoline she-wolf with the colours of the P.N.F. and the inscription: "DEPOSITATA DUX".On the front of the leather sweatband the embossed inscription "DUX" (Duce).The Moschettieri del Duce ("Musketeers of the Duce") were an elite unit of the Volunteer Militia for National Security (M.V.S.N.), who served as Benito Mussolini's honor guard at Palazzo Venezia and during military parades and Fascist ceremonies, similar to what the Corazzieri were to the King. They also provided internal security during the meetings of the Grand Council of Fascism.The corps was established on 11 February 1923; its members were chosen among the most loyal members of the MVSN and numbered 180, organized into squads of five men. Stationed in Rome, the unit was directly subordinated to the command-in-chief of the MVSN. A basic requirement to enlist in the Moschettieri was to have completed the compulsory military service as Army officers; service was voluntary and its members did not receive any pay. The Moschettieri del Duce were formally dissolved in 1940, when many of its members departed for the front after Italy's entry into World War II, but de facto continued to exist until the fall of the Fascist regime on 25 July 1943. Its last commander, from September 1936 to July 1943, was centurione (Captain), later seniore (Major), Mario D'Havet.Extremly rare officer's headgear of this legendary facist unit. 

1.Weltkrieg : Preußen: Roter Adler Orden - Satz 1. Klasse mit Eichenlaub und Schwertern, 4. Modell, letzte Ausführung, 1917-1918.Verliehen an den Führer des 1. Armeekorps Generalleutnant Robert Kosch. Das Kreuz Silber - vergoldet und emailliert. Auf dem unteren Kreuzarm eingeschlagene Herstellermarke "W" der Hofjuweliere Wagner & Sohn, Berlin sowie der Silberstempel "938". Auf einem Kreuzarm ganz unwesentlich gechipt. Das Vorderseitenmedaillon in feinster Emaillemalerei und Goldtauschierung. Die Schwerter in der bei diesem Typ charakteristischen Form hohl geprägt. Das Eichenlaub mit Silberstempel "800". Der Bruststern Silber, die Auflagen vergoldet und emailliert, die Schwerter hohl geprägt. An vergoldeter Nadel. Unterhalb des Nadelhakens eingeschlagene Herstellermarke "W".Rückseitig Schraubmedaillon. Beide Stücke zusammen im schönen Originaletui aus rotem Leder mit Goldprägung. Im Innenteil schwarze Samteinlage, der Innendecke mit entsprechendem Seidenfutter. Beigefügt gedruckte Trageinstruktionen. Robert Kosch wurde am 5. April 1856 in Glatz/Schlesien geboren und ab 1863 im Kadettenhaus Berlin erzogen. 1874 trat er als Seconde-Leutnant in das I.R. 51 ein.1877 - 1880 absolvierte er die Kriegsakademie und war auf verschiedenen Dienstposten u. a. im Generalstab eingesetzt. Zu Beginn des 1. Weltkriegs war Kosch Generalleutnant und Kommandeur der 10. Division in Posen und wurde mit dem V. Armeekorps erfolgreich an der Westfront eingesetzt.Am 9. Oktober 1914 wurde Generalleutnant Kosch zum Führer des 1. Armeekorps in Litauen ernannt, wo sich seine Truppen den zahlenmäßig überlegenen russischen Truppen entgegenstellten und nach anfänglichem Rückzug in der Winterschlacht in den Masuren erfolgreich waren. Für diese Erfolge wurde Generalleutnant Kosch mit dem Orden Pour le Mérite ausgezeichnet. Am 11. Juni 1915 zum kommandierenden General des X. Reservekorps ernannt, führte er dieses in den Schlachten am Dnjestr, Gnisa Lipa, Krasnostaw bis an den Bug. Danach wurde General Kosch zum Kriegsschauplatz auf dem Balkan versetzt, wo er mit der ihm unterstellten 101. und 103. Infanteriedivision Serbien eroberte. Für diesen Erfolg seiner Soldaten erhielt General Kosch das Eichenlaub zum Orden Pour le Mérite. Ende Februar 1916 wurde General Kosch bei Verdun eingesetzt, wo er am 18. 8. 1916 zum General der Infanterie befördert wurde. Am 28. August 1916 wurde General Kosch zum Führer des neugebildeten Generalkommandos (z.b.V.) Nr. 52 berufen und im bulgarischen Donauraum zum Schutz gegen die ebenfalls in den Krieg eingetretenen Rumänen eingesetzt. General Kosch erhielt den Oberbefehl über die deutsche 217. Infanterie - Division sowie über österreichische, bulgarische und türkische Kräfte. In einer mehrtägigen Schlacht am Argesch Ende November bis Anfang Dezember wurden die Rumänen mit eigenen und Truppen der 9. Armee besiegt und die rumänische Hauptstadt Bukarest eingenommen, womit der Zusammenbruch der rumänischen West- und Nordwestfront besiegelt war. Nach Auflösung der Donau-Armee im März 1918 nahm General Kosch als Führer des Generalkommandos 52 an der Besetzung der Ukraine und der Kämpfe gegen die Rote Armee teil, wo er am 1. Mai 1918 zum Oberbefehlshaber aller Truppen in Taurien und der Krim ernannt wurde. Vom 1. Dezember 1918 führte General Kosch seine Truppen in die Heimat zurück. General Kosch reichte sein Abschiedsgesuch ein und wurde am 10. Januar 1919 zur Disposition gestellt. Der Rote-Adler-Orden 1. Klasse mit Eichenlaub und Schwertern war in Preußen bis zum Jahr 1918 immer eine der höchsten Kriegsauszeichnungen. In den Jahren 1848 - 1863 wurden nur 14 Exemplare (davon zehn ohne Eichenlaub) ausgegeben. Im Feldzug 1864 wurden nur zwei Schwerterdekorationen, im Krieg 1866 nur drei Schwerterdekorationen und im Krieg 1870/1871 ebenfalls nur drei Schwerterdekorationen des Roten-Adler-Ordens 1. Klasse verliehen. Selbst in der Materialschlacht des 1. Weltkriegs wurden lediglich 32 Rote-Adler-Orden 1. Klasse mit Schwertern verliehen. In diesen Zahlen sind die Verleihungen mit Eichenlaub und Schwertern bereits enthalten. Die Ordensdekorationen wurden bis zum November 1916 in Gold, danach aufgrund eines entsprechenden Erlasses Kaiser Wilhelm II. in silbervergoldeter Ausführung hergestellt. Die Verleihungszahlen zeigen den hohen Wert dieser Kriegsauszeichnung und dokumentieren gleichzeitig die außerordentlich große Seltenheit der heute noch real existierenden Originalexemplare der Schwerterdekoration der 1. Klasse des RAO. Der Orden gehört daher zu den größten Raritäten unter den preußischen Ordenund hat als reiner Kriegsorden mit dokumentierter Provenienz zusätzlich einen ganz besonderen Stellenwert. WWI : Prussia: Order of the Red Eagle - First Class Set with Oakleaves and Swords, last type awarded 1917 - 1918. Awarded to the leader of the 1st Army Corps Lieutenant General Robert Kosch. The ist class badge silver - gilt and enameled. On the lower arm of the cross the maker's mark "W" of the court jewelers Wagner & Sohn, Berlin and the silver stamp "938". One arm very insignificantly chipped. The front medallion in finest enamel painting and gold inlay. The swords hollow die struck construction in the form characteristic of this type. The oak leaves with silver mark "800". The breast star silver, the center gilt gilded and enameled, fitted with gilded pin. The swords hollow die struck construction. Maker's mark "W" stamped below the pin catch. Screw medallion on the back. Both pieces together in beautiful original red leather case with gold embossing. Inside black velvet inlay, the inside cover with corresponding silk lining. Attached printed wearing instructions. Robert Kosch was born in Glatz, Silesia on April 5, 1856 and was educated at the Cadet House in Berlin from 1863. In 1874 he joined the I.R. 51 as a Seconde-Leutnant. From 1877 to 1880 he graduated from the War Academy and served in various posts, including on the General Staff. At the beginning of World War 1, Kosch was a lieutenant general and commander of the 10th Division in Poznan and was successfully deployed with the V Army Corps on the Western Front. On October 9, 1914, Lieutenant General Kosch was appointed leader of the 1st Army Corps in Lithuania, where his troops confronted numerically superior Russian forces and, after an initial retreat, were successful in the Winter Battle in the Masuria. For these successes, Lieutenant General Kosch was awarded the Order Pour le Mérite. On June 11, 1915, appointed commanding general of the X. Reserve Corps, he led it in the battles on the Dniester, Gnisa Lipa, Krasnostaw to the Bug. After that, General Kosch was transferred to the Balkan theater of war, where he conquered Serbia with the 101st and 103rd Infantry Divisions under his command. For this success of his soldiers, General Kosch received the Oak Leaf to the Order Pour le Mérite. At the end of February 1916, General Kosch was deployed at Verdun, where he was promoted to General der Infanterie on August 18, 1916. On August 28, 1916, General Kosch was appointed leader of the newly formed General Command (z.b.V.) No. 52 and deployed in the Bulgarian Danube region to protect against the Romanians, who had also entered the war. General Kosch was given the supreme command of the German 217th Infantry - Division as well as Austrian, Bulgarian and Turkish forces. In a battle on the Argesch River lasting several days in late November to early December, the Romanians were defeated with their own troops and those o

Character Doctor Who figure sets comprising of 1) The Witch's Familiar. 2) Warriors of the Deep. 3) The Second Doctor and Tardis from 'The War Games'. All appear Excellent with no obvious sign of fault. Boxes Excellent.

Character Doctor Who figure sets comprising of Warriors of The Deep. Appears Excellent with no obvious sign of fault. Box Excellent. Plus, a group of seventeen unboxed figures.

Character Doctor Who figure sets comprising of 1) Companions of the fourth doctor. 2)The Keys of Marinus.3) U.N.I.T 1975 - Terror of the Zygons. All appear Excellent with no obvious sign of fault. Boxes Excellent.

Character Doctor Who figures sets comprising of 1) History of the Daleks #6 x 2. 2) History of the Daleks #7 x 2. All appear Excellent with no obvious sign of fault. Three boxes are Excellent, the fourth has significant wear.

Character Doctor Who figure sets comprising of 1) Coal Hill School Remembrance of the Daleks 2) The Sontarans.3) U.N.I.T. 1971 - The Claws of Axos. 4) The Third Doctor and Tardis from the Monster of Peladon. All appear Excellent with no obvious sign of fault. Boxes Excellent.

Character Doctor Who figure sets comprising of 1) The Eleven Doctors figure set in police public call box, contains only 6 doctors. 2) The Thirteen Doctors in Police public call box. All figures appear Excellent with no obvious sign of fault. Boxes Excellent.

Character Doctor Who figure sets comprising of 1) The Jungles of Mechanus (The Chase 1965) x 2. 2) Warriors of the Deep #4 (The Daleks Master plan 1965). All appear Excellent with no obvious sign of fault. Boxes Excellent.

Character Doctor Who figure sets comprising of 1) The Second Doctor & Electronic Tardis from the Abominable Snowmen (1967) x 2. 2) The Five Doctors (1983). 3) 4th Doctor 1974 - 1981 'Pyramids of Mars'. All appear Excellent with no sign of fault. Boxes Excellent.

Six Nao by Lladro porcelain figures to include a girl with a goat (29.5cm high), a tailor and a young lady, a girl who has dropped a ewer, a girl caught in the wind and two others

Selection of 12 Ian Fleming Folio society hardback books to include From Russia With Love, Dr No, Moonraker, Casino Royale, The spy who loved me, Live an let die, Thunderball, Diamonds are forever, Goldfinger, On her majestys secret service, You only live twice, The man with the golden gun, all in good overall condition

A box of books to include The Tower of London, British Reformers, The Man Who Knew Better etc.

A collection of music scores to include a proof copy of Benjamin Britten's War Requiem, in four booklets, published by Boosey & Hawkes, 1961, plain grey card covers bearing Boosey & Hawkes stamps; The Beatitudes, by Arthur Bliss, specially composed for the Coventry Cathedral Festival 1962, signed by Arthur Bliss, Nov 1962, with loosely-inserted poster for the first London performance of the same, and other printed music scores in varying condition Provenance: Vendor's father was in the Rugby Philharmonic choir who were part of the chorus for the inaugural performance of Britten's War Requiem in Coventry Cathedral. Unfortunately, he was taken seriously ill just beforehand so was unable to take part

A Lingard Pottery 1930 'Old Lady Who Lived In A Shoe' teapot, very small chip to the spout

Nine Mod/Soul LP records including The Jam, Specials, The Who, Martha Reeves, etc.

Dreifelderikone, Russland, 19. Jhdt. Holztafel mit zwei profilierten Rückseiten-Sponki (einer verloren). Flaches Kowtscheg, Tempera auf Kreidegrund. Darstellung der Gottesmutter "unverbrennbarer Dornbusch", der Gottesmutter "Freude aller Leidenden" und sieben Heiliger. Retuschen, mit einem Lack überzogen. Maße 31,5 x 26,5 cm. A Russian three-field icon, 19th century Tempera on gesso on wood panel with flat kovcheg. One field depicts the Mother of God "of the burning bush", one field shows the Mother of God "joy to all who grieve" and one field shows seven saints. Restored, coated with lacquer. Dimensions 31.5 x 26.5 cm.

Zwei Ikonen: Heiliger Nikolaus von Myra, sowie Gottesmutter "Freude aller Leidenden", Russland, 19. Jhdt. Tempera auf Holz. Heiliger Nikolaus mit zwei Rückseiten-Sponki (verloren), kleine Fehlstellen, Maße 35 x 29,5 cm. Die Gottesmutter mit zwei Rückseiten-Sponki, Kowtscheg, kleine Fehlstellen, Retuschen, Maße 31 x 25 cm. Two Russian icons, one of St. Nicholas of Myra and one of the Mother of God "Joy to all who grieve", 19th century Tempera on gesso on wood panel. Tiny losses. Dimensions 35 x 29.5 cm and 31 x 25 cm.

Korinthischer Helm der frühen zweiten Stufe, Mitte bis 2. Hälfte 7. Jhdt. v. Chr. Bronzehelm der zweiten Stufe des Typs mit noch völlig gerundeten Formen und ohne Andeutung einer abgesetzten Kalotte. Die Seitenwände der Kalotte kaum eingezogen, dafür aber zum Rand hin markant nach außen ausladend, was ebenso für den Wangen- und den Nackenschutz gilt. Die Seitenwände mit dem typischen, noch sehr stumpfwinkligen Einschnitt bzw. Zwickel zwischen Nacken- und Wangenschutz versehen. Die Wangenschirme noch nicht deutlich bzw. spitz nach vorne und unten ausgezogen. Schmale Augenöffnungen mit einem langen Nasenschirm. Rings um den gesamten Rand inklusive Wangenschirmen, Augenöffnungen und Nasenschirm eine Reihe aus eng gesetzten, feinen Löchern. In den unteren Winkeln der Wangenschirme je ein größeres Loch. Mittig auf der Stirn ein großes Loch und im hinteren Teil der Kalotte ein kleineres Loch, welche der Aufnahme von Vorrichtungen zur Befestigung eines Helmbusches dienten. Geringfügige Ergänzungen im hinteren Teil der Kalotte, einige Brüche und Risse von innen her gefestigt. Sonst hervorragend erhaltene Originalsubstanz mit leicht fleckiger dunkelgrüner Patina. Höhe ca. 20 cm. Breite unten ca. 22 cm. Länge unten ca. 29,5 cm. Ausgesprochen eindrucksvolles Beispiel eines korinthischen Helms der frühen zweiten Stufe, der seine markante Wirkung vor allem aus den stark nach außen gezogenen unteren Rändern bezieht. Provenienz: Süddeutsche Privatsammlung, gekauft von einem anderen Sammler, der das Stück in den 90er Jahren auf einer Kunstmesse erworben hatte. A Corinthian helmet of the early second stage, mid- to second half of the 7th century B.C. Bronze helmet of the second stage of the type with still completely rounded forms and no hint of a stepped calotte. The side walls of the calotte are barely recessed, but protrude outwards towards the rim, which also applies to the cheek and neck protectors. The side walls are provided with the typical, still very obtuse-angled incision between the neck and cheek guards. The cheek guards not yet clearly or pointedly extended forwards and downwards. Narrow eye openings with a long nasal. Around the entire rim including cheek guards, eye openings and nasal a row of closely set, fine holes. A larger hole in each of the lower angles of the cheek guards. A large hole in the centre of the forehead and a smaller hole in the rear of the calotte, which served to accommodate devices for attaching a crest. Minor additions to the rear part of the calotte, some fractures and cracks strengthened from the inside. Otherwise excellently preserved original substance with slightly spotty, dark green patina. Height approx. 20 cm. Width at the bottom ca. 22 cm. Length at the bottom ca. 29.5 cm. A very impressive example of a Corinthian helmet of the early second stage, which derives its striking effect above all from the strongly outwardly drawn lower rims. Provenance: South German private collection, purchased by another collector who had acquired the piece at an art fair in the 90s.

Ikone mit der Gottesmutter "Auffindung der Verunglückten", Russland, 19. Jhdt. Holztafel mit zwei Stirnseiten-Soonki. Ölmalerei. Am Rand erscheinen die Apostel Petrus und Paulus. Kleine Fehlstellen. Maße 31 x 25,5 cm. A Russian icon showing the Mother of God "joy to all who grieve", 19th century Oil on gesso on wood panel. Sts. Peter and Paul at the border. Tiny losses. Dimensions 31 x 25.5 cm.

Odysseus mit seinem Hund, lebensgroße Marmorskulptur, Großbritannien, 2. Hälfte 19. Jhdt. Vollplastisch gearbeitete Figurengruppe aus weißem Carrara-Marmor. Darstellung des nach langer Odyssee nach Hause zurückkehrenden Odysseus mit Lendenschurz und einfacher Kappe. Zu seiner Linken sein treuer Hund Argos, der seinen Herrn als einziger nach 20 Jahren Abwesenheit wieder erkennt. Rechteckige Plinthe mit kräftigem Baumstumpf, an der Vorderseite bezeichnet "Ulysses and his dog". Die Finger der linken Hand beschädigt, restauriert. Höhe 190 cm. Ulysses and his dog, life-size British marble sculpture, 2nd half of the 19th century Figure group of white Carrara marble. Ulysses wearing a loin cloth and simple cap, returning home after his long journey. At his left his faithful dog Argos who is the only one recognising Ulysses after his 20 years of absence. Rectangular base with thick tree stump, the obverse inscribed "Ulysses and his dog". The fingers of his left hand damaged, restored. Height 190 cm.

A quantity of ephemera including 1940's 'Filmstar Who's Who', 'Hobbies Weekly' magazines, ' Wings of speed' and 'The Saga of Ships' tea cards, blotters, postcards, etc.

Actor, Lea Thompson mounted signature piece, overall size 16x12. This beautiful item features a colour photo and a signed white card in black ink. Thompson (born May 31, 1961) is an American actress and director who is best known for her role as Lorraine Baines-McFly in the Back to the Future film trilogy (1985-1990) and Beverly Switzler in Howard the Duck (1986). Other films for which she is known include All the Right Moves (1983), Red Dawn (1984), Some Kind of Wonderful (1987), Dennis the Menace (1993) and The Beverly Hillbillies (1993). In the 1990s, she played the title character in the NBC sitcom Caroline in the City. From 2011 to 2017, she co-starred as Kathryn Kennish in the ABC Family-turned-Freeform series Switched at Birth. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Historic Actress Helen Keating letter to Reg Kray dated 24th February 1996 interesting content in which she talks about the awful business with Ronnie and how she shed did the Gary Bushell show and he sends his regards also mentions her part in Londons Burning. Helen Keating is a British actress who portrayed Lil, mother of Kelly Green and mother in law of George Green, in Londons Burning from 1991 to 1998. She has also had roles in Minder, The Sweeney, Eastenders, The Chinese Detective, The Dick Emery Show, Bless This House, Upstairs Downstairs, Z Cars and Love Thy Neighbour. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Actor, Joan Fontaine mounted signature piece, overall size 16x12. This beautiful item features a black and white photo and a signed card in black marker pen. Fontaine was a British-American actress who is best known for her starring roles in Hollywood films during the Golden Age. Fontaine appeared in more than 45 films in a career that spanned five decades. She was the younger sister of actress Olivia de Havilland. Their rivalry was well-documented in the media at the height of Fontaine's career. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Actor, Patricia Brake signature piece featuring a signed album page dedicated, with a 6x4 colour photograph. Brake (25 June 1942 - 28 May 2022) was an English actress who trained at the Bristol Old Vic Theatre School, before joining the Salisbury Playhouse. She joined the Royal Shakespeare Company where (among other roles) she played Hermia in a production of A Midsummer Night's Dream, directed by Peter Hall, which also featured Judi Dench, Diana Rigg, Ian Richardson and Ian Holm. This was followed by a period in the West End. She began appearing on television in such series as Emergency - Ward 10, No Hiding Place and A Sharp Intake of Breath with David Jason, and also had film roles in My Lover, My Son (1970), The Optimists of Nine Elms (1973). Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Actor, Ronald Pickup signature piece featuring a signed white card and a 6x4 black and white photograph. Pickup (7 June 1940 - 24 February 2021) was an English actor. He was active United States in television, film, and theatre, beginning with a 1964 appearance in Doctor Who. Theatre critic Michael Billington described him as a terrific stage star and an essential member of Laurence Olivier's National Theatre company. [1] His major screen roles included Prince Yakimov in Fortunes of War (1987) and Norman in The Best Exotic Marigold Hotel (2012). Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Actor, Hilary Mason signed 6x4 black and white photograph dedicated to Claire. Mason (4 September 1917 - 5 September 2006) was an English character actress who appeared in a wide variety of roles, mainly on UK television. Mason was born in Birmingham and trained at the London School of Dramatic Art, before performing with repertory theatres throughout Britain. [2][3] She is probably best known internationally for her performance as the blind psychic in Nicolas Roeg's film Don't Look Now. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Actor, Clive Francis signed 6x4 black and white photograph dedicated to Claire. Francis appeared as Joe the Lodger in Stanley Kubrick's A Clockwork Orange (1971). His other films include Inspector Clouseau (1968), The Man Who Had Power Over Women (1970), Girl Stroke Boy (1971), Villain (1971), Pierrepoint (2005), Mr. Turner, (2014), The Lost City of Z, (2015), The Crown (2016),The Little Stranger (2018), Official Secrets (2019), Cursed (2019), and Dolittle (2020). Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Concorde multi signed Queen Of The Skies stamp sheet number 319 of 1000 5th Anniversary of the final flights. Signed by Captain Mike Bannister, Captain Les Brodie and Captain Paul Douglas who all had dealings with Concorde history. This beautiful item features 10 Concorde stamps. Each person who has signed has an individual fact sheet about them, which all come together beautifully presented. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

RAF multi signed 90th Anniversary stamp sheet limited edition number 287 of 1918. Signed by Marshal of the RAF Sir Michael James Beetham, Peter Twiss OBE DSC, Squadron Leader George Johnny Johnson DFM and Squadron Leader Tony Iveson DFC. This beautiful item features 10 Royal Air Force stamps. Each person who has signed has an individual fact sheet about them, which all come together beautifully presented. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

RAF, Paul Tibbets signed 50th Anniversary of the US Air Force flown FDC. Limited edition number 123 of 250. Tibbets Jr. (23 February 1915 - 1 November 2007) was a brigadier general in the United States Air Force. He is best known as the aircraft captain who flew the B 29 Superfortress known as the Enola Gay (named after his mother) when it dropped a Little Boy, the first of two atomic bombs used in warfare, on the Japanese city of Hiroshima. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Christopher Chataway, Edward Watson, Tony Benn and Roy Mason Postboxes FDC with 5 official stamps and two post marks dating 8th October 2002, Bath. Limited edition 106 of 400. This cover contains information inserts regarding each person who has signed plus post box information on the reverse. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Football, Jimmy Greaves signed 10x8 colour photograph. Greaves MBE (20 February 1940 - 19 September 2021) was an English professional footballer who played as a forward. He is England's fifth highest international goalscorer (44 goals), Tottenham Hotspur's highest ever goalscorer (266 goals), the highest goalscorer in the history of English top flight football (357 goals), and also scored more hat tricks (six) for England than anyone else. He finished as the First Division's top scorer in six seasons. He is also a member of the English Football Hall of Fame. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Football Mark Hughes signed Manchester United 12x8 colour photo. Leslie Mark Hughes, OBE (born 1 November 1963) is a Welsh former football manager and player, who most recently managed Southampton. During his playing career he usually operated as a forward or midfielder. He had two spells at Manchester United, and also played for Barcelona and Bayern Munich, as well as the English clubs Chelsea, Southampton, Everton and finally Blackburn Rovers. He made 72 appearances for Wales scoring 16 goals. He won a host of winners' medals during his playing career, including two Premier League titles, four FA Cups, three League Cups and two European Cup Winners' Cups. He also collected an FA Cup runners-up medal and a League Cup runners-up medal. Hughes was the first player to win the PFA Players' Player of the Year award twice, in 1989 and 1991. He retired from playing in 2002. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Football Raphinha signed Leeds United 10x8 colour montage photo. Raphael Dias Belloli (born 14 December 1996), known as Raphinha, is a Brazilian professional footballer who plays as a winger for Premier League club Leeds United and the Brazil national team. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Mark Lawrenson signed 8x6 Republic of Ireland black and white photo. Mark Thomas Lawrenson (born 2 June 1957) is a former professional footballer who played as a defender for Liverpool, among others, during the 1970s and 1980s. After a short career as a manager, he has since been a radio, television and internet pundit for the BBC, TV3, BT Sport and Today FM. Born and raised in England, Lawrenson qualified to play for the Republic of Ireland through his grandfather, Thomas Crotty, who was born in Waterford. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Mangosuthu Buthelezi signed 12x8 black and white photo. Mangosuthu Gatsha Buthelezi (born 27 August 1928) is a South African politician and Zulu tribal leader who founded what became the Inkatha Freedom Party (IFP) in 1975 and was Chief Minister of the KwaZulu Bantustan until 1994. He was Minister of Home Affairs of South Africa from 1994 to 2004. He is often referred to as Shenge, which is part of the Buthelezi clan praises. Buthelezi, a member of Zulu royalty, is also the Traditional Prime Minister of the Zulu nation. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99