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A quantity of mixed china to include; Maling Coleus Lustre dish, Soho Pottery teapot, jug, plates, Arthur Wood teapot, etc.

Calais Imari style part tea service, Mason's Chartreuse pattern plate, Arthur Wood Gaudy Welsh style coffee pot, and Victoria Ware teacup and saucer

Four vintage Sadler character storage jars (tea, coffee, sugar and flour), an Arthur Wood hunting scene jug plus two others and a Crown Derby biscuit barrel

Arthur Henry Knighton-Hammond R.I., R.S.W. (British 1875-1970) "The Shed" Signed in pencil in the margin, etching and another pond scene by the artist, together with a signed wood engraving by Edward Stamp (British 1939-), "Sumer Ash", signed, titled and dated 1977 in pencil in the margin, numbered 10/25.various plate sizes 19.5cm x 25cm (7.75in x 9.75in) and 12.5cm x 9cm (5in x 3.5in)Qty: 3The prints are in good, original condition. The paper has browned lightly across both the prints by Knighton-Hammond and there are some minor spots of foxing across all the prints. There are some water stains and minor spots of foxing on the mountboards. The prints are all framed and glazed. The original frames have some minor scuffs and knocks commensurate with age.

A collection of Art Deco pottery including Beswick two handled bowl, Royal Cauldon jug, Beswick jug, Crown Devon vase, Arthur Wood jug, Radford basket, etc; a Carn Pottery vase, qty

AR * Gibbings (Robert, 1859-1958). Cannibal: Frontispiece to Chapter 1, Book the Fifth of Le Morte d'Arthur, The Story of King Arthur and his Noble Knights of the Round Table by Thomas Malory, printed by William Caxton, published by The Golden Cockerel Press, 1936, wood engraving, a very good, even and black, hors texte impression on fibrous Japan paper with wirelines, signed in pencil, with margins, a deckle edge at bottom, image 10 x 12.5 cm (4 x 5 ins) sheet size 21 x 26.8 cm (8 1/4 x 10 1/2 ins), in very good condition, in a conservation mountQTY: (1)

THOMAS FRYE (c.1710-1762)Portrait of Thomas Fane, 8th Earl of Westmorland, of Brympton D’Evercy in Somerset (1701-1771), three-quarter lengthOil on unlined canvas, and contained in its fine original carved and gilded frame, 127 x 102cm (50 x 40¼”)Provenance: By descent at Brympton D’Evercy, Somerset, to Lady Georgiana Fane (1801-1874); her nephew the Hon. Spencer Ponsonby-Fane (d. 1915), younger son of the 4th Earl of Bessborough, and thence in the Clive-Ponsonby-Fane collection until the contents were largely dispersed in 1956; Private CollectionThomas Frye, from Edenderry, County Offaly, was the most extraordinarily inventive of Irish Georgian artists, and arguably the most underappreciated – at home at least. His achievements are better appreciated internationally, indeed Martin Postle argues that he is one of the ‘most intriguing and original artists to have emerged in Britain during the eighteenth century’. His activities straddled the dividing lines between the fine, graphic and applied arts – just at the moment when specialisation was becoming the norm. As his epitaph noted he was the ‘inventor and first manufacturer of porcelain in England’ at his factory in Bow, east of London, while, as Josiah Wedgwood put it, in 1769 he was ‘famous for doing heads in mezzotinto’, and his prints (‘dazzlingly innovative’, in Toby Barnard’s phrase) are among the most sought-after of all mezzotints. However, he was first and foremost a portrait painter, and he had enjoyed great success in the profession since winning a commission to paint a full-length state portrait of Fredrick, Prince of Wales for the Saddlers’s Company in the City of London in November 1736. As his epitaph noted: ‘No one was more happy in delineating the human countenance, He had the correctness of Van Dyke, & the colouring of Rubens’. Even Ellis Waterhouse who is generally grudging in his praise of Irish artists noted that Frye was ‘one of the most original and least standardised portrait painters of his generation’.Frye’s career in London exemplifies the period’s incipient globalization – of materials and motifs. He attempted to emulate Chinese porcelain technology with, it seems, clay imported from North America, while his pioneering production of mezzotint scraping imitated, quite openly, the work of the Venetian painter and printmaker Giovanni Battista Piazzetta. Reciprocally, Frye was directly influential on artists of rather greater reputation than his own. John Singleton Copley, as a young man in Boston (where Bow porcelain was advertised as being for sale), copied Frye’s mezzotint heads, while some of Wright of Derby’s most famous – and paradoxically innovative – works have been shown to quote almost verbatim from the same series.The portrait depicts Thomas Fane (1701-1771), the second son of Henry Fane of Brympton d'Evercy in Somerset (fig. 1), a manor house often described as the prettiest in England. In 1757 Fane succeeded his unmarried elder brother Francis to their father's Brympton estate and in 1762 inherited the title of Earl of Westmoreland, and the seat at Apethorpe Hall, in Northamptonshire from John Fane, 7th Earl of Westmorland, his father's childless second-cousin – and one of Marlborough’s most distinguished officers.It was for the sitter’s grandson, John, the 10th Earl, Lord Lieutenant of Ireland between 1789 and 1794, that Westmorland Street in Dublin was named. In another historical twist, in 1762 Thomas’s daughter Mary, married Charles Blair, a wealthy owner of plantations in Jamaica, who was the great-great grandfather of Eric Arthur Blair, better known to history as George Orwell, making Frye’s sitter here Orwell’s great-great-great grandfather.An instructive comparison can be made between the present portrait, which dates from about 1740 and a later portrait of the same sitter by Sir Joshua Reynolds (fig. 2), especially interesting as we know that Frye was on very cordial terms with the younger artist. Reynolds’s full length dates from 1761 and hence shows the sitter as noticeably older but recognisably the same, genial and rather bluff individual. Perhaps helping to date the work, and certainly indicative of Frye’s studio practice, the hands, particularly that resting on his hip, are almost identically positioned in his 1739 portrait of Sir Charles Kemeys-Tynte (fig. 3) (National Gallery of Ireland). No doubt a shared preparatory drawing was reused, rather than the artist trying his sitters’ patience by depicting their hands individually.Condition Report: Good overall conditionCleaned and restoredSpots of overpainting, nothing too concerning Presentable, carved wood frameReady to hangWith three repair patches verso, please see image on our website showing the back of the painting

AN IMPORTANT IRISH YEWWOOD LIBRARY TABLE, by Arthur Jones & Co. Dublin made for the Great Exhibition 1851, at the Crystal Palace, London. 150 x 80cmThe most widely referenced and prominently illustrated Irish exhibit of the 1851 Great Exhibition at the Crystal Palace in London, was an eighteen-piece bog yew suite designed and manufactured by Arthur Jones & Sons of Dublin. The suite is described and illustrated in a four-page entry.In 1853 Jones went on to publish a more extensive catalogue of the suite, which included an additional six pieces of furniture. He entitled the catalogue: ‘Description of a suite of sculptured decorative furniture, illustrative of Irish history and antiquities, manufactured of Irish bog yew /designed and executed by Arthur J. Jones, Son, and Co. ... 135, Stephen’s Green, Dublin.’There are four known surviving pieces of this suite today. They are listed in the Official Exhibition Catalogue as follows: No.4- A Teapoy, No.17 - A sarcophagus wine-cooler, or garde-vin, No. 9- Whist Table and No.2 - An Occasional Table - Lot 428 in this sale.The teapoy was sold at auction in Adam’s in 2014; the wine cooler was bequeathed to the National Trust of Australia (NSW) by Samuel Henry Ervin[1] and remains in the S.H. Ervin Gallery in Sydney to this day; and the whist table, or card table is in the Victoria & Albert Museum in London.Jones’ entire suite is composed of a type of bogwood called ‘bog yew’. A wood that derives from ancient fallen trees or stumps that have been submerged in bog land for thousands of years. Bogwood was increasingly used by craftspeople and cabinetmakers as a deliberate reference to Ancient Ireland in their work. Jones writes in the introduction pages of his independent catalogue:“The wood employed – the bog yew tree – resembles the subject it illustrates. As the details of Irish history have been disentombed from the oblivion which conquest entails upon the records of the vanquished, the bog yew timber of ancient Ireland has been exhumed from the depths of her peat formations…” (Jones, 1853)The integration of ancient animals emblematic of Ireland is omnipresent in this suite. The inclusion of creatures such as the extinct Great Irish Deer [Megaloceros Giganteus] and the Irish wolf, injects an element of drama and theatre.The Occasional Table was carved with a ferocious animal group of the Irish wolfhound killing a wolf to the cross-stretcher. This piece of the table is sadly no longer present but can be seen in the catalogue illustrations.The important role of music and poetry in the Irish culture is also represented in the design of the suite as can be seen above the pillars of this table – central to the carved apron is a Celtic harp, and each corner, a bard’s head.The large pillar supports of the table are raised on downswept legs carved with shamrocks, roses, thistles – emblems known as the ‘Union Flowers’. The top portion of the table is representative of Ancient Ireland while the lower half carved with ‘Union Flowers’ alongside symbols of Ancient Ireland places this piece firmly within the context of the ‘United Kingdom’ which would have been Jones inclination and his intended market.Condition Report: Very good condition Noticeable time split to top Stretcher underneath has lost the animal carving (compare with original design illustrations)Small losses to the carving underneath have been overpolished to conceal lossSee additional images

An Arts & Crafts circular copper tobacco box and cover with motto from Charles Kingsley's Westward Ho! 'There Is No Herb Like It Under The Canopy Of Heaven', bearing the mark of Arthur John Seward, 11.5cm high and a square Arts & Crafts lidded copper box, the cover and sides embossed rose decoration, lined in wood, 10.5cm high CONDITION REPORT: Both superficial and some deeper scratches throughout both boxes. Marks, blemishes and some tarnishes present also. Some green (copper oxide?) deposits and spotting. Wear consistent with age and use. No obvious damage or restoration.

THREE BOXES OF CERAMICS AND GLASSWARE, to include a box of four Luigi Bormioli Light And Music Collection hand blown crystal 'Handel' beer glasses, a box of four whisky glasses, four liqueur glasses and six 'Strauss' liqueur glasses, a boxed Stuart Crystal rose bowl, three long stemmed cut crystal dessert dishes, a Tutbury Crystal footed bowl, a ship's decanter, oil decanter, a C.H Richards of London drip glazed bowl, a Fortnum and Mason Ltd tea jar, a Delft Art 24-06 wall plaque with certificate of authenticity, a Delft blue and white milk and sugar bowl set, a set of six Wedgwood espresso cups decorated with pink roses, with metal holders and hammered metal tray, a Sefton Arthur Wood ceramic basket, a Burleigh ware 'Tudor' hand painted fruit plate and stand, a Victorian black-glazed teapot, a Limoges pin dish, Aynsley 'Pembroke' pattern pin dish, a Wedgwood 'Wild Strawberry' twin handled dish, a circular lidded Coalport 'Ming Rose' patterned pot, a group of Japanese hand painted tea wares, etc (3 boxes + loose)

Vinyl - 36 original UK pressings mainly 1970s Northern Soul / Soul / Funk singles on various labels including demos, promos and rarities, to include: Marsha Hunt’s 22 (Vertigo Records, 6059 080) VG, Brenton Wood ( Demo Promo, Midnight Hour Records, UP 35824) EX, Mr. Floods Party (Inferno Records, HEAT 26) VG, The Showstoppers (Inferno records, HEAT 12) VG, Creative Source (Demo Promo, Sussex Records, SXX 1), Soul Searchers (SXX 2), The Blackbyrds (2 singles, Fantasy Records, FTC 122 & FTC 114), Frankie Vallie & The Four Seasons - The Night (Mowest Records, MW 3024), Michael Olatunji (Paramount Records, PARA 3038), Love Dimension (Demo Promo), Tundra (Goodear Records, EAR 610), Montana (MCA), R. Dean Taylor (Rare earth), Impressions, Laura Lee, The Flaming Ember, Mistura (2 singles), Phil Coulter, The Exciters, Robert Knight, The Hippolytes, Allnight Band (Yellow Vinyl), Arthur Adama, and many many more. Condition varies between VG and EX

Tray containing vintage Arthur Wood porcelain money boxes, includes 3x Pig & 5x 1950s telephones

Three: Attributed to Pilot Officer R. A. G. Cranefield, 630 Squadron, Royal Air Force Volunteer Reserve, who was killed in action on 12 September 1944, when his Lancaster failed to return from a from a bombing mission to Darmstadt, Germany 1939-45 Star; France and Germany Star; War Medal 1939-45, in card box of issue addressed to ‘A. W. Cranefield, Esq., The Nook, Woodlands Avenue, Eastcote, Ruislip, Middlesex’, nearly extremely fine (3) £70-£90 --- Robert Arthur Godwin Cranefield, the son of Arthur William and Doris Edith Cranefield, of Eastcote, Middlesex, and was educated at Harrow County School of Boys. He joined 630 Squadron at Kirkby, Lincolnshire in July 1944, as a Flight Engineer, and flew bombing missions with his squadron from August 1944, including two daylight bombing attacks on Tossy St. Maximin, and other raids over occupied France to Bois de Cassan, Secqueville, an enemy fuel depot at Chatelleault, Bordeaux, Quesnay Wood, and L’Isle Adam. He was killed in action when his Lancaster Mk. 1, No. PB.283 failed to return from a raid on Darmstadt, Germany, on 12 September 1944, having crashed at Schmidthachenbach, and is buried in Rheinberg War Cemetery, Germany. Sold with copied research.

A QUANTITY OF DAVENPORT CUPS AND SAUCERS, COLCLOUGH, ARTHUR WOOD TEAPOT, ETC

Royal Doulton character jugs including The Lawyer and Judge, Crown Devon John Peel tankard, Arthur Wood Lambeth bottle and brown glazed toby jug with lid 

Ceramics and glassware to include Royal Worcester, Beswick, Arthur Wood and similar, two boxes. [2]

A mixed lot of ceramics to include a Tuscan China gilt-heightened ivory tea set comprising five cups, nine saucers, ten side plates, two serving plates, cream jug, sugar bowl, also a small quantity of Paragon floral coffee service, an Arthur Wood Imari-style serving plate and four egg cups, a W Adams & Co blue and white twin-handled lidded tureen, Queen Anne 'Gainsborough' pattern, etc.

A large Moorcroft bowl in the 'Pomegranate' pattern, on blue ground, diameter 30cm (af), a Myott hand painted jug pattern no.9512, an Arthur Wood relief moulded vase and a Clarice Cliff relief moulded plate decorated with a basket of flowers (4). CONDITION REPORT: The Moorcroft bowl has crazing throughout, a crudely repaired chip to the rim and a further chip with hairline visible next to the chip, also grubbing to the foot rim. The Arthur Wood vase appears to be in ok condition, with no obvious signs of faults, damage or restoration, although is rather grubby. The Myott jug has some chips to the hand painted finish, with further rubbing to the black top rim. The Clarice Cliff moulded plate has a chip to the rim and further firing imperfections visible from the reverse.

A tray containing a novelty teapot in the form of a racing car, Arthur Wood vase, James Kent vase and one further.

Arthur Wood Art Deco Teapot on stand and a Hot water lidded jug with floral decoration

Arthur Wood cottage ware tea pot, similar biscuit jar and other china, etc.

A RARE RED LACQUER 'MONGOL HUNT' BOWL, ATTRIBUTED TO ZHOU ZHUChina, 16th-17th century. The deep rounded sides rising from a short straight foot to an everted rim. Deeply carved with a continuous scene of four Mongolian hunters on horseback brandishing spears, one having just killed a wolf with his weapon, riding through a rocky landscape with grass and lingzhi as well as trees including paulownia, willow, and pine, against a floral diaper ground, the interior lacquered black. Provenance: Captain W. F. Collins (1865-1948), Beijing. Bluett & Sons, London, 26 May 1926. The Parry Collection of Chinese Art, London, acquired from the above and thence by descent. The base with an old collector's label, '341', partly obscuring a label from Bluett & Sons below. A copy of the original typed, stamped, and signed invoice from Bluett & Sons, dated 26 May 1926, addressed to “E. A. Parry, Esq.”, dating the present lot to the Ming dynasty, accompanies this lot. Captain Collins (1865-1948), was Bluett's main supplier in China from February 1925 to January 1928. He also sold pieces to John Sparks and other dealers in London and Paris between the 1920s and 1940s. The Parry Collection was an important English private collection of Imperial enamel, lacquer, porcelain, and jades, started by Edward Arthur Parry (1879-1946), a barrister by trade, and his wife Angela Parry (nee Scully, 1879-1977) from as early as 1919. The collection has passed down three generations of the Parry family, with many of the pieces having been acquired from the famous London dealers Spink and Bluett's.Condition: Good condition with old wear, natural age cracks and few minuscule losses to the red lacquer, the black lacquer with several shallow losses to the rim and associated old minor touchups.Weight: 119.0 gDimensions: Diameter 10.7 cmWith a finely carved hardwood stand dating to the Qing dynasty. (2)Lacquer bowls depicting hunting are extremely rare. Although hunting was extolled by early Ming Emperors who had inherited the tradition from the Mongol Yuan as a sign of military prowess and state authority, by the mid and late Ming period it was seen by the literati as a distraction from grave matters of state. The role of hunting became a charged area of contestation, where Ming Emperors and senior court ministers staked claims about rulership, ruler-minister relations, and the role of the military in the polity. The heirless Zhengde Emperor (1505-1521) was particularly passionate about hunting, much to the consternation of his ministers, see D. M. Robinson, Martial Spectacles of the Ming Court, Cambridge MA, 2013, pp. 214-220.Expert's note: Research conducted by Hugh M. Moss of the Water, Pine and Stone Retreat, concerning a red lacquer box and cover carved with a closely related scene of five Mongolian hunters (see Auction result comparison), has found that box “to be a lacquer version of inlaid wooden boxes decorated with a hunting scene and attributed to the 16th-century artist Zhou Zhu.” For this reason, we do attribute the present bowl, identical in quality to the aforementioned box, to Zhou Zhu as well.Zhou Zhu is recorded in the writings of the Ming and Qing literati as having worked in Yangzhou in Jiangsu province during the reign of the Jiajing Emperor. He was famous for his perfection of the technique of inlaying a wide variety of precious stones and other materials onto wood and lacquer. What distinguishes Zhou's works from others is his use of a much broader range of material and the complexity of the inlay itself. By skillfully utilizing kaleidoscopic materials to depict extraordinarily vivid scenes adorning precious woods, Zhou pioneered a range of beautifully inlaid works of art distinctive for their three-dimensional quality with eye-catching effects. His work provided inspiration for numerous subsequent interpretations. Literature comparison: Compare a hardstone-inlaid box and cover, attributed to Zhou Zhu and depicting a Mongolian hunting scene, dated by inscription to 1537, at Sotheby's Hong Kong in Water, Pine and Stone Retreat Collection – Scholarly Art on 7 October 2010, lot 2192. See also two related hardstone-inlaid zitan boxes and covers, early Qing dynasty, decorated with equestrian hunting figures, illustrated in The Complete Collection of Treasures of the Palace Museum: Bamboo, Wood, Ivory and Rhinoceros Horn, Hong Kong, 2002, nos. 230-231. A similar hunting scene can be found on a two-colored lacquer tray in the Tokugawa Art Museum, Nagoya, illustrated in Karamono. Imported Lacquerwork – Chinese, Korean and Ryukyuan, Selections from the Tokugawa Art Museum, no. 2, Nagoya, 1997, pl. 95, attributed to the Yuan or Ming period.Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 7 October 2010, lot 2213Price: HKD 860,000 or approx. EUR 155,000 converted and adjusted for inflation at the time of writingDescription: A cinnabar lacquer box and cover attributed to Zhou Zhu Ming dynasty, 16th / 17th centuryExpert remark: Compare the related Mongolian hunting scene, and also attributed to Zhou Zhu.周柱風格罕見剔紅狩獵圖碗中國，十六至十七世紀。 來源：北京W. F. Collins (1865-1948) 上尉。倫敦Bluett & Sons 藝廊，1926年5月26日。倫敦Parry Collection中國藝術收藏，購於上述藝廊並保存至今。底部可見收藏老標籤“341”，Bluett & Sons 的標籤局部被遮蓋。隨附Bluett & Sons藝廊出具的蓋章發票副本，時間爲1926年5月26日，收件人地址爲 “E. A. Parry, Esq.”。發票上注明此拍品為明代。 品相：狀況良好，有舊磨損、自然老化裂縫，紅漆和黑漆的邊緣有幾處輕微的缺失，存在相關的輕微修補。 重量：119.0 克 尺寸：直徑10.7 厘米 清代硬木底座。 (2) 由於字數限制，完整中文敘述請至www.zacke.at查看。

A TERRACOTTA HEAD OF MAITREYA, GANDHARAAncient region of Gandhara, 4th-5th century. The head modeled with finely curled hair and wearing an elaborately adorned tiara centered by a stylized flower, the face with elegant features, such as the finely incised arched eyebrows, almond-shaped eyes, aquiline nose, gentle smile, and long earlobes with circular earrings.Scientific Analysis Report: A thermoluminescence sample analysis has been conducted by Oxford Authentication, reference no. N116n12, dated 18 October 2016, and is consistent with the suggested period of manufacture. A copy of the thermoluminescence analysis report accompanies this lot.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”. Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Serie de vingt deux têtes en terre-cuite. GANDHARA” (series of twenty-two terracotta heads. GANDHARA). A copy of the inventory list and cover page are accompanying this lot. French Export License: Certificat d'exportation pour un bien culturel Nr. 185456 dated 30 June 2017 has been granted and a copy is accompanying this lot.Condition: Excellent, almost unique condition, fully consistent with the age of the sculpture. Some firing flaws and material loss to exposed areas. Old wear, weathering, minor cracks and nicks.Weight: 5.9 kg (incl. stand) Dimensions: Height 28.5 cm (excl. stand) and 40.2 cm (incl. stand)With a modern metal stand. (2)The kingdom of Gandhara lasted from 530 BC to 1021 AD, when its last king was murdered by his own troops. It stretched across parts of present-day Afghanistan and Pakistan. Gandhara is noted for its distinctive style in Buddhist art, which developed out of a merger of Greek, Syrian, Persian and Indian artistic influences. Gandharan style flourished and achieved its peak during the Kushan period, from the 1st to the 5th century. In the first century AD, Gandhara was the birthplace of some of the earliest Buddhist images.The use of hard-fired ceramic instead of stone such as schist became popular during the later Gandharan period from the 4th to 6th centuries AD. Fired clay was expensive in the area, because the wood needed for the firing process was scarce. Therefore, such an expensive sculpture would have been a highly meritorious Buddhist offering.According to Buddhist tradition, Maitreya is a bodhisattva who will appear on Earth in the future, achieve complete enlightenment, and teach the pure dharma. According to scriptures, Maitreya will be a successor to the present Buddha. The prophecy of the arrival of Maitreya refers to a time in the future when the dharma will have been forgotten by most on the terrestrial world. In the Greco-Buddhist art of Gandhara, in the first centuries CE in northern India, Maitreya was the most popular figure to be represented along with Gautama Buddha.Auction result comparison:Type: RelatedAuction: Christie's New York, 17 October 2001, lot 3Price: USD 18,800 or approx. EUR 31,000 converted and adjusted for inflation at the time of writingDescription: A Terracotta Head of a Bodhisattva, Gandhara, 4th/5th centuryExpert remark: Note the size (24 cm)Auction result comparison:Type: RelatedAuction: Christie's New York, 20 September 2000, lot 7Price: USD 28,200 or approx. EUR 47,500 converted and adjusted for inflation at the time of writingDescription: A Terracotta Head of a Bodhisattva, Gandhara, 4th centuryExpert remark: Note the size (30.4 cm)犍陀羅紅陶彌勒頭像犍陀羅，四至五世紀。頭飾捲曲，佩戴著五葉冠，細長眉，杏仁形眼睛，鼻梁高挺，面帶微笑，長耳垂佩戴圓形耳環，面容慈祥溫和。 科學檢測報告：牛津鑒定研究所熱釋光報告編號N116n12，2016年10月18日，得出相關製作時間。隨附報告複印件。 來源：Arthur Huc (1854-1932)收藏。Marcel Huc繼承，自此保存在同一家族至今。 收藏清單：1954年，圖盧茲法院法警 L. Magniette奉命對Marcel Huc從其父親Arthur Huc繼承的收藏品進行完整目錄彙編，即所謂的“ Inventaire Huc”。此拍品也在當時列出的收藏清單中“ Serie de vingt deuxtêtesen terre-cuite。GANDHARA”（二十二個陶土頭像系列，犍陀羅）。隨附清單和封面副本。 法國出口證書：隨附2017年6月30日出具的Certificat d'exportation pour un bien culturel 證書的複本，編號 185465。 品相：狀況極好，與雕塑的年代相符。一些燒製缺陷和暴露區域的材料缺損。磨損、風化、輕微裂縫和刻痕。 重量：5.9 公斤 (含底座) 尺寸：高28.5 厘米 (不含底座) ，總40.2 厘米 (含底座) 現代金屬支架。由於字數限制，完整拍品中文敘述請至www.zacke.at查看。

A LIFE-SIZED TERRACOTTA HEAD OF VAJRAPANI IN THE FORM OF HERACLESAncient region of Gandhara, 4th-5th century. Powerfully modeled, the face framed by dense facial hair arranged into long voluminous curls, wavy hair, a billowing mustache below a straight nose, and a full beard set around full lips, the eyebrows and pupils with cold paint.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”. Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Serie de vingt deux têtes en terre-cuite. GANDHARA” (series of twenty-two terracotta heads. GANDHARA). A copy of the inventory list and cover page are accompanying this lot. Condition: Very good condition, fully consistent with the age of the sculpture. Some firing flaws, dents and losses to exposed areas, the nose tip with a small old repair. Remnants of a varnish coating which was applied a long time ago. Some ancient pigment is well preserved, especially to the eyebrowsFrench Export License: Certificat d'exportation pour un bien culturel Nr. 185423 dated 3 July 2017 has been granted and a copy is accompanying this lot.Weight: 10.2 kg Dimensions: Height 48.5 cm (incl. stand), 32.5 cm (excl. stand)This large terracotta head is an extremely rare legacy of the ancient kingdom of Gandhara, encapsulating the rich cultural interplay and hybrid art styles derived from Hellenistic and Indian influences. It depicts the bodhisattva Vajrapani, the protector of Buddhism, represented with the iconography of the Greek god Hercules, who was widely venerated as a hero and savior in western Asia during the early centuries of the present era. As a great champion, yet one who nevertheless understood the human condition, Hercules was easily assimilated into Mahayana Buddhism. Like other Gandharan bodhisattvas, he is depicted as an earthly prince with his aristocratic bearing and posture, but the naturalistic face is reminiscent of Greco-Roman sculpture. The kingdom of Gandhara lasted from 530 BC to 1021 AD, when its last king was murdered by his own troops. It stretched across parts of present-day Afghanistan and Pakistan. Gandhara is noted for its distinctive style in Buddhist art, which developed out of a merger of Greek, Syrian, Persian and Indian artistic iinfluences. Gandharan style flourished and achieved its peak during the Kushan period, from the 1st to the 5th century. In the first century AD, Gandhara was the birthplace of some of the earliest Buddhist images.The use of hard-fired ceramic instead of stone such as schist was popular during the later Gandharan period from the 4th to the 6th centuries. Fired clay was expensive in the area, because the wood needed for the firing process was scarce. Therefore, such an expensive sculpture would have been a highly meritorious Buddhist offering. Only very few terracotta statues from this period and of this size have ever been recorded.Literature comparison: Compare a related terracotta head of Dionysos, dated to the 4th-5th century Gandharan, in the collection of the Metropolitan Museum of Art, accession number 1979.507.2. Sculptures with similarly substantial beards are also common to Gandharan Atlantes, see Zwalf, Gandharan Sculpture, London, 1990, pp. 208-10 and 216, nos. 362-64, 366, and 377.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 2 April 2019, lot 3105Estimate: HKD 1,500,000 or approx. EUR 199,500 converted and adjusted for inflation at the time of writingDescription: A monumental terracotta statue of Vajrapani in the form of Hercules, Gandhara, 4th-5th centuryExpert remark: Compare the similar facial features and the wavy beard and hair. Note that the provenance of this statue is identical to the present lot and stated as “Collection of Arthur Huc (1854-1932), France, by repute.”Auction result comparison:Type: Closely relatedAuction: Bonhams Hong Kong, 2 October 2018, lot 4Price: HKD 625,000 or approx. EUR 85,000 converted and adjusted for inflation at the time of writingDescription: A bronze inlaid marble head of a bearded man, ancient region of Gandhara, circa 3rd centuryExpert remark: Compare the closely related wavy beard and hair as well as the similar size (31 cm). Note that the head is carved from marble with bronze-inlaid eyes, and is dated slightly earlier.陶土金剛手菩薩神頭像呈赫拉克勒斯形象犍陀羅, 四至五世紀。由於字數限制，完整中文敘述請至www.zacke.at查看。

Arthur Wood Bracken Plant Pot, Full Marks to Base, Stands Approx 7 Inches High & 8.2 Inches Diameter, Together with a White Tall Vase.

Agriculture Group of English county surveys, 18th-19th century Middleton, John. View of the Agriculture of Middlesex. London: by B. McMillan for G. Nicol [and others], 1798. First edition, 8vo, 20th-century green half morocco by Bayntun, 2 hand-coloured engraved maps (both folding), errata leaf, folding table, half-title discarded [ESTC T50760];[Yorkshire]. [Sammelband of Board of Agriculture surveys, comprising:] General View of the Agriculture of the East Riding of Yorkshire, and the Ainsty of the City of York ... by Isaac Leatham; [...] West Riding [...] by Messrs. Rennie, Broun, and Shirreff; [...] North Riding ... by Mr. Tuke, Junior; Letter to Sir John Sinclair, Bart. from John Robinson, Surveyor-General of Woods and Forests; Outlines of the Fifteenth Chapter of the Proposed General Report from the Board of Agriculture. On the Subject of Manures ... by Robert Somerville. London: W. Bulmer and Co., 1794-5. 5 works in 1 volume, first editions, 4to, contemporary marbled boards, blue paper backstrip, each work with half-title, first 3 works with engraved map, Somerville contents leaf loose [ESTC T40689, T40695, T40692, T38193, T43513];Marshall, William. The Rural Economy of the Midland Counties. London: for G. Nicol, 1790. First edition, 2 volumes, 8vo, near-contemporary green half morocco gilt (with an inscription dating the binding to 1833), half-title to volume 1, engraved folding map, bookplates of Rev. Sir George B. Lee, Bart and the Lee family, later book-label (William Delafield) [ESTC T94144];Marshall, William. The Rural Economy of Gloucestershire. London: for G. Nicol, 1796. Second edition, 2 volumes, 8vo, contemporary marbled calf, engraved folding map, 4 pp. advertisements [ESTC T132844];Pitt, William. General View of the Agriculture of Stafford. London: for G. Nicol, 1796. Second edition, 8vo, contemporary marbled calf, engraved hand-coloured folding map frontispiece, 14 engraved plates (several folding), bookplate (William Lygon Esqr), old typescript label to spine, front joint superficially cracked [ESTC T40676];Bailey, John, & G. Cully. General View of the Agriculture of the County of Northumberland [... Cumberland ... Westmoreland]. Newcastle: Sol. Hodgson, 1797. Second edition, 3 parts in 1 volume, 8vo, 20th-century tan half sheep, 14 engraved maps and plates (most folding), directions the binder/errata leaf present, plates and maps browned and offset [ESTC T40663];Tuke, John. General View of the Agriculture of the North Riding of Yorkshire. London: printed by B. McMillan for G. Nicol [and others], 1800. Second edition, 8vo, modern half calf, half-title, engraved folding map, 14 engraved plates, contemporary ownership inscription to title-page, browning [ESTC T40693];Young, Arthur. General View of the Agriculture of the County of Sussex. London: Richard Phillips, 1808. Second edition, 8vo, contemporary marbled calf, hand-coloured engraved frontispiece, 20 engraved plates (most of them folding), label perished;Bailey, John. General View of the Agriculture of the County of Durham. London: Richard Phillips, 1810. Second edition, near-contemporary half calf, 8vo, errata leaf, 9 engraved plates (including hand-coloured frontispiece, 6 plates numbered 2-7, and 2 wood-engraved plates of cattle), front joint partly cracked and spine slightly defective, front free endpaper, initial blank and frontispiece tipped in, frontispiece offset, plates browned;the lot collated for plates onlyNote: Note: All but Marshall's two works were surveys produced for the Board of Agriculture.Provenance: The Library of the late John Watson Ravenshear, with his bookplates.

Tragara Press Large collection of limited editions, poetry and Edward Thomas interest all in original wrappers, and comprising:1) A Third-Class Carriage by Edward Thomas, 1967. One of 40 copies;2) A Remembered Harvest by Helen Thomas, 1970. One of 95 copies;3) Helen Thomas. A Memory of W. H. Davies, 1973. 2 copies: one of 45 copies on Saunders hand-made paper, and one of 105 standard copies;4) Edward Thomas. A Talk by Helen Thomas, 1974. One of 145 copies;5) Reading out of Doors by Edward Thomas, 1978. One of 110 copies;6) Autumn Thoughts by Edward Thomas, 1975. 2 copies: one of 90 copies, and 'one of ten special copies on Hodgkinson hand-made paper' in addition to the stated limitation, initialled by Alan Anderson;7) Edward Thomas. A Selection of Letters to Edward Garnett, 1981. One of 175 copies;8) The Fear of Death. Edward Thomas, 1982. 2 copies: one of 95 copies, and an unnumbered proof copy, initialled and dated by Alan Anderson, unbound;9) A Sportsman's Tale by Edward Thomas, 1983. One of 125 copies; together with a set of corrected proofs, unbound;10) Helen and Edward Thomas. A Handful of Letters, 1985. 2 copies: one of 35 on Amalfi paper, and one of 130 standard copies, together with an incomplete set of corrected proofs11) Edward Thomas. Letters to America 1914-1917, 1989. One of 140 copies; together with a set of proofs, unbound;12) In Time of Pestilence by Thomas Nashe, 1954. One of 15 copies, this copy inscribed by Alan Anderson;13) Agamemnon's Tomb by Sacheverell Sitwell, 1972. 3 copies: one of 4 proof copies signed by the author; one of 85 copies on Batchelor hand-made paper signed by the author; and one of 180 standard copies;14) Gabriel: A Poem by John Addington Symons, 1974. 2 copies: one of 10 copies on Barcham Green hand-made paper specially bound and lettered A-J, and an out-of-series copy from the edition of 140 standard copies;15) Lifelines. Four Poems by Lawrence Durrell, 1974. One of 4 proof copies before the published edition of 115;16) In Memoriam George Mathewson (1925-1973), 1975. One of 150 copies;17) A. E. Housman. Fifteen Letters to Walter Ashburner, 1976. 2 copies, each one of 125;18) The Poetry of William Barnes by Thomas Hardy, 1979. One of 95 copies;19) Three Poems of Cavafy translated by Lawrence Durrell, 1980. 2 copies, each one of 95;20) Paul Verlaine. A Memoir by Arthur Symons, 1980. 2 copies: one of 20 on Sheepstor hand-made paper, and one of 95 standard copies on Ingres d'Arches;21) Lord Mount Prospect by John Betjeman, 1981. One of 95 copies;22) From the Nineties. Some Translations of Baudelaire and Verlaine, 1982. 2 copies: one of 4 proof copies on Strathmore Art laid paper; and one of 95 standard copies;23) Snake by D. H. Lawrence, 1984. Unnumbered proof copy before the edition of 12;24) Stéphane Mallarmé. Poésies translated by Arthur Symons, 1986. 2 copies: one of 30 on Ingres d'Arches paper; one of 120 standard copies;25) A Garland for Stephen Spender arranged by Barry Humphries, 1991. One of 150 copies;26) Three Remanences by David Gascoyne, 1994. One of 85 copies, this copy inscribed on the title and signed on the limitation page by the author;27) Elegy written in a Country Church-Yard by Thomas Gray. With Wood Engravings by Sister Margaret Tournour, [by the Tragara Press for] Black Cygnet Press, Durham, 2003. 3 copies, each one of 100; together with a set of proofs, unboundNote: Note: The Tragara Press was founded in Edinburgh in 1953 by printer Alan Anderson (1922-2016) and operated until 1991.

A mixed lot comprising a set of seven Arthur Wood Toby jugs and another, two Rolex spoons and another, glass, an Isnik style dish etc.

A LARGE JUG & BOWL, AN ARTHUR WOOD CHAMBER POT, FRANCESCA CHINA LIDDED POTS, CROWN STAFFORDSHIRE TRINKET BOXES

Attributed to Arthur Ernest Anderson (d. 1936) of Bristol: A set of twelve carved and polychrome wood carousel horsesProbably early 20th century The horses with elaborate cartouche and foliate decorated scrolling saddles, and curling manes, their open mouths with integral horse bits, each on later gilt metal spiral twist supports with ball finials on swept stiff leaf scrolling rectangular gilt wood bases, repainted and with restorations and later additions, each approximately 110cm wide, 29cm deep, 125cm high (43in wide, 11in deep, 49in high) (the bases, 35cm wide) (12)Footnotes:Williams & Anderson were a well established Bristol maritime wood carvers originally based at premises in Commercial Row in Hotwells near the harbour of the city. The firm began trading in the mid-19th century with John Anderson and his uncles the Williams brothers producing many of the figure heads for the sailing ships that filled Bristol's docks during the 1840's and 50's. The firm was later registered with the names J. R. Anderson between 1889 and 1900 and then by 1919 Arthur Ernest Anderson. However by 1919 the demand for carved ship figureheads had completely died out and the company had already turned to producing carved fairground carousel figures which they subsequently became associated with in the later years of trading. Interestingly, there is a photograph of the young Duke of York, later George VI, riding one of the Blists Hill Gallopers in 1924.Arthur Anderson is known to have produced many dozens of animals for the fairground rides of British fairs in the late Victorian and Edwardian periods through to the 1920's. Sadly the business, which by this time was situated at Rownham Place at the junction of Hotwells Road and the Cumberland Basin, faltered in the difficult days of depression in the early 1930's and finally closed its doors in 1936 when Anderson's estate was sold by auction at William Cowlin and Son, Princess Victorian Street, Clifton. An article cited in the Nation Fairground Archive further notes: 'Their (Anderson's) carved Galloper mounts were known for the burgeoning scrollwork under the animal's belly, complete with Italianate grotesque grins upon its flanks and a flying ribbon frozen onto the neck, lettered with name of a famous horse or friend. Later work transmogrified even further, with animal heads carved into the body work creating a dream-like, surreal effect similar to the uncomfortable prose and jarring effects written by Lautreamont who twists the rules of nature to create fanciful cross-breeds and representations' (Cameron, 2009).This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Imari pattern pottery and porcelain, Arthur Wood twin cannister, Abbeydale "Chrysanthemum" dish and a pair of Burtondale coffee mugs.

WINSTANLEY MODEL CAT PLUS FURTHER PAIR OF BLUE GLAZED ARTHUR WOOD CATS (3)

Arthur Netherwood (1864-1930)River landscapeSigned, watercolour; together with a wood landscape watercolour by Fred Lawson (1888-1968), and a further watercolour of a snowbound landscape with a shepherd, signed Cartman (3)

Arthur wood studio mid century coffee set in rich green glaze

Two early 20th century Losol ware biscuit barrels along with Fenton and Arthur Wood barrels

Three early 20th century Losol ware biscuit barrels along with Arthur Wood barrel, all with cane handles

A lot of glass and ceramics to include decanters, Carlton ware, stoneware bottles, and a Fire King ovenware glass tea set, and an Arthur Wood Elizabeth II Coronation mug Location:

Pottery mugs and vase, Arthur Wood toby jug, sculpture and Kings Lynn crestware and musical teddy

An assortment of ceramics. Including a Poole ash tray, Arthur and Wood jug, character jug, etc

THREE BOXES OF CERAMICS AND GLASS, to include an Arthur Wood hand painted hedgehog money box, Lovatts stoneware jugs, a box of Scottish studio pottery, Loch Tay Pottery egg cups, Spanish Pottery, dinner plates, blue glass vases, etc (s.d) (3 boxes)

SEVEN BOXES AND LOOSE ASSORTED HOMEWARES, to include an Arthur Wood 'Thames Vase' painted with leaves, a James Kent floral chintz cake stand, a copper jug, a sealed 'The Essential Musical Collection' nine DVD box set, four table lamps, framed prints and original art work, largest frame 58cm x 73cm, etc (7 boxes + loose) (sd)

Denby Dinner Ware, of twenty six pieces. Arthur Wood telephone money box, Wade and other ceramics:- Two Boxes.

Masons 'Mandalay' Vase, 15cm high, Arthur Wood 'E.R ' mug, Doulton etc:- One Tray.

Three: Lance Sergeant A. J. Tomlins, East Kent Regiment, who died of wounds received at Railway Wood, Ypres, on 27 January 1916 1914-15 Star (G-1143 L. Cpl A. J. Tomlins. E. Kent R.); British War and Victory Medals (G-1143 Cpl. A. J. Tomlins. E. Kent R.) nearly extremely fine Three: Private S. Sorrell, Northamptonshire Regiment, who was killed in action on 24 April 1918 1914-15 Star (17558 Pte. S. Sorrell. North’n R.); British War and Victory Medals (17558 Pte. S. Sorrell. North’n R.) extremely fine Three: Lance Corporal W. Wylds, North Staffordshire Regiment, who died of wounds on 14 September 1918 1914-15 Star (13334 L. Cpl. W. Wylds. N. Staff: R.); British War and Victory Medals (13334 Pte. W. Wylds. N. Staff. R.) extremely fine (9) £140-£180 --- Arthur John Tomlins, a Clerk from Kensington, London, attested for The Buffs (East Kent Regiment), aged 22, on 7 September 1914. He was appointed Lance Sergeant on 16 June 1915 and served with the 8th Battalion during the Great War on the Western Front from 7 October 1915. He died of wounds on 27 January 1916 following a shell bombardment, confirmed in the diary of Lance Corporal Jimmy Carpenter of the 8th Battalion, The Buffs: ‘On 8th January about dusk things were rather quiet, so we all gathered in the support line for a drink of tea and to draw our rations, when over came six Krupps one after the other all along our line. The concussion blew us in all directions. After we had recovered somewhat, stretcher parties were organised and we set to work to gather up the pieces. Shattered remains of our comrades lay about in dugouts and on top of the parapets. It was like a huge slaughter house. In our own section or platoon our casualties were very bad. Only three of us left out of 26. Sgt. Tomlins (died of wounds)...’ He is buried in Etaples, Military Cemetery, France. Sold with copy research including copy extract of Lance Corporal Carpenter’s diary, published in ‘Stand To’, the journal of the Western Front Association. Sidney Sorrell, a Finisher from Richmond, Surrey, attested for the Northamptonshire Regiment on 6 March 1915 and served with the 2nd Battalion during the Great War on the Western Front from 3 June 1915. He was reported missing, later presumed killed in action, on 24 April 1918. He has no known grave and is commemorated on the Pozieres Memorial, France. Sold with copy research. Warwick Wylds, an Iron Worker from Brierly Hill, Staffordshire, attested for the North Staffordshire Regiment on 22 September 1914. Appointed Lance Corporal on 19 April 1915, he served with the 9th Battalion during the Great War on the Western Front from 28 July 1915 and died of wounds on 14 September 1918. He is buried in Sunken Road Cemetery, Boisleux-St. Marc, France.

THREE VINTAGE WALL POCKETSTO INCLUDE A CLASSICAL STYLE, 1930'S RETRO BY ARTHUR WOOD, CROWN DEVON PLUS A BUST OF A CLASSICAL HEAD ON A PLINTH, ETC

A contemporary carved wood model of a running hare: mounted on a rectangular base, incised initials SR, together with a collection of late 20th century turned treen, fruits, dishes and bowls, some by Arthur Cummings, (a lot).

Autographs, a remaindered collection of 4 modern scrapbooks of 1960s-1980s magazine cuttings, photographs, autograph album pages featuring stars of variety, theatre and TV, with many signatures, inc. Charlie Daze, stars of 42nd Street (1984), Windsor Davis & Don Estelle (Babes in the Wood 1978), illusionist Paul Kieve, Dieto (comedy juggler), Arthur Worsley (ventriloquist), Duncan Trilo & Billy McComb (magicians). Sold with 3 programmes for Shakespeare plays (2 signed by some of the cast) and signed photo of Peggy Ashcroft, with cast signatures on reverse (fair/gd)

MIXED LOT: VARIOUS ROYALTY COMMEMORATIVE CERAMICS AND A ARTHUR WOOD FISH FORMED PEDESTAL BOWL

A vintage copper & brass urn & Arthur Wood jug

A Collection of Ceramics to Comprise Two Royal Doulton South African Series Large Plates, Masons Ginger Jar, Four Pieces of Treacle Glazed Arthur Wood 'Ye Olde Coaching and Hunting Days' Teawares etc

Dartmouth Devon tulip vase, Arthur wood jug, Prince William ware piggy bank, Pyrosil blue cornflower coffee pot etc

Three boxes of miscellaneous. To include Sadler & Arthur Wood teapots, Lilliput lane style cottages etc

A COLLECTION OF DENBY, SYLVAC, HORNSEA, ARTHUR WOOD AND OTHER CERAMICS, including six green and white Denby planters, a similar jug and five assorted vases, two Sylvac 1510 rabbit and toadstool vases, three Arthur Wood white glazed twin handled vases, two Hornsea Fauna Royal vases, etc (28) (Condition report: the Green and white Denby is in used condition with water staining to the interiors, the Hornsea items have chips, glued repairs, other items in mixed condition)

Lot to include Oriental ceramics, Arthur Wood vase, glug jug and similar.

A mixed lot to include mid century Rosti Denmark plastic eggcups, Graham Peter Glynn Skipton studio pottery stoneware jug, blue wheat ear design, 15.5cmH, Arthur Wood vase, Celtic pottery, Lawley's 'Garden' saucers, Bovey Pottery, early plastic octagonal bowls with hand painted flower design etc

A mixed collection of ceramic items to include Arthur Wood tankard, Wade jug, Tony Wood novelty teapot, Burleigh ware vase etc (1 tray).

A mixed collection of items to include Arthur Wood & Art Deco Tea Services

A box containing a quantity of ceramic and other collectable items including pair of Arthur Wood Art Deco style vases, similar jug, Royal Doulton Sandeman port ceramic flask, chrome plated Sparklets soda siphon, 19th Century jug, etc.

A quantity of ceramics including Alfred Meakin Bleu de Roi, Shelley, Arthur Wood wall pocket, glass and other items

An assortment of ceramics. Including Royal Doulton plates, Arthur Wood twin handled vase etc