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A wicker pet basket containing various items of pottery including Sylvac dish, cat, Royal Doulton, Arthur Wood etc

Three antique late 19th/early 20th century etchings, comprising a mono etching after Fred Morgan titled 'Nothing to Fear', depicting a dancing bear travelling through a town, with scared children running to mother, produced by C. W. Faulkner & Co, 49 x 65cm, in an oak frame and glazed, frame size 90 x 106cm, after C. Haigh Wood; 'While the Shepherd Sleeps', depicting a courting scene in the courtyard of a house, 63 x 50cm, framed and glazed, frame size 90 x 76cm and after Arthur J. Elsley; monoprint titled 'A Tempting Bait', depicting a young lad enticing a pony with an apple and reins behind his back, while sisters and dog watch on, 49 x 71cm, in an oak frame and glazed, frame size 85 x 106cm.

Two partially filled autograph books of acts and wrestlers who performed at the Northwich Memorial Hall during the mid-1960s, bearing numerous signatures to include Eric Clapton, John Lee Hooker, Alexis Korner, Wayne Fontana, Ronnie Wood, Billy Kinsley, etc, please see condition report for a more comprehensive list of autographs. Provenance: All of the autographs were obtained by the vendor and his father, who had a close working relationship with Guilly Lewis who was the manager at the time and was responsible for booking the acts performing at the Saturday night dances, the vendor's father ran the Horticultural Society shows that ran in the Saturday afternoons before the musical acts in the evenings. All autographs obtained between 1963 and 1968. CONDITION REPORT Other signatures include, Eric Clapton, John Lee Hooker, Alexis Korner, Wayne Fontana, THEM Van Morrison etc, the Rockin Berries, Arthur G Negus, The Spinners, Nashville Teens, The Kinks, The Fairies, The Overlanders, Unit Four and Two, PJ Proby, Walker Bros, The Mindbenders, Hermans Hermits, Tom Jones, The Zombies - Rob Argent, Lulu, The Lovers, Teens, Barmy Barry, Billy Kinsley, Ronnie Wood, Spencer Davis, Jack Pallo Mr TV, Stan Rylands, Donovan, Bobby Elliot - the Hollies, Graham Nash, Sylvia Tatler, Mike Ramsden, The Moodies, Simon Scott, Dave Berry, Frank White

A collection of ceramics including a Carlton ware cruet set with moulded magnolia detail, an Arthur Wood lustred dish, Wood & Sons Warwick pattern dinnerwares comprising an oval meat plate, pair of tureens and covers, sauce boat, sauce tureen, cover and stand, etc, together with a Dartington Glass water carafe cork stopper, etc (collection)

FIVE BOXES AND LOOSE PAINTINGS AND PRINTS ETC, to include signed Ellen Jowett prints (some foxing), two early 20th century style landscape oils on canvas - unsigned, Arthur Mills watercolour cottage landscape dated 1911 -some staining, Jim Nicholson signed print, together with a quantity of other paintings and prints, a number of which are in poor condition, to also include a pair of Japanese folding shelves with dragon motifs in need of some attention, an indenture dated 1842 and a brass and wood bevel edged mirror

FOUR BOXES OF CERAMICS, SCALES AND SUNDRY ITEMS, to include vintage American Hanson Scale Company Way Rite kitchen scales, an Arthur Wood 'Regal' Art Deco basket, a Wade Heath preserve pot with moulded flowers, a Fitz and Floyd biscuit barrel in the form of a rabbit in a herb garden, a boxed Avon Ware preserve dish with spoon, a large blue vase height approximately 29cm, a Rubens Japan green pedestal form planter, a floral three part dish marked made in England, bottles of Tanners Port, Three Barrels French Brandy and Sir Robert Burnett's White Satin Gin, indoor and outdoor ornaments and planters, a Wallace and Gromit novelty bottle, etc (sd) (4 BOXES)

A GROUP OF ASSORTED CERAMICS, QUARTZ MOVEMENT MANTEL CLOCK IN A GILT CASE, RESIN FAIRY AND ORIENTAL STYLE FIGURES, ETC, including a small West German pottery jug, a Royal Doulton 'December' pin dish, a Maling pottery blue and grey pedestal vase moulded with a swirl, shape no.155, height 21cm, a Gibson & Sons Ceres Ware moulded fruit bowl, brass tankard, etc, s.d. (33) (Condition report: mixed condition, majority of pieces in reasonable order, Ceres Ware bowl crazed and stained, Arthur Wood preserve jar has an ill-fitting cover and chip to the base)

STAFFORDSHIRE STYLE CERAMIC DOGS, comprising of a pair of Royal Doulton 1378-6,hight approximately 14cm, two Beswick 1378-5 hight approximately 19cm and five Arthur Wood examples, tallest hight approximately 29cm, some crazing to the glazes but no obvious chips or cracks

A collection of items including a Shelley vase, James Kent dish, cranberry glass bowl, Dartmouth Pottery, Arthur Wood teapot, etc. (three boxes)**PLEASE NOTE THIS LOT IS NOT ELIGIBLE FOR POSTING AND PACKING**

An Arthur Wood floral design jug and two pieces of Radford - bowl and vase (3)

A Gladstone Early XX Century Tea Service, of approximately thirty six pieces, Arthur Wood teapot, canteen of cutlery, jam globe, silver handled cake knife:- One Box

Doulton Chine Bodied Jug, Arthur Wood teapot, Shelley cups & saucers, Doulton character jug, etc:- One Tray.

AN ARTHUR WOOD CREAM/FRECKLED GOLD TEAPOT, PINE BROS GOLD/CREAM STRIPED TEAPOT, MASCOT MAROONSSS/CREAM COFFEE POT AND A ROYAL CROWN DERBY SMALL JUG IN ORIGINAL BOX

MIXED LOT VARIOUS DECORATED VASES, ARTHUR WOOD JUG, ROSEBOWL AND OTHER ITEMS

A selection of ceramics and similar including Arthur Wood biscuit barrell

Arthur Wood willow pattern blue and white china, Odelberg Art Nouveau china and a Coalport Minuettes Eve figurine

POSTCARDS - HUMOROUSCollection of 41 postcards on 7 sheets, mostly humorous, both pro- and anti-Suffragette, including 3 RPPCs, a series of 6 by Arthur Moreland on one sheet, and single cards by Lawson Wood, Reg Karter, Harry Quinton and many others, loosely corner-mounted (41)For further information on this lot please visit Bonhams.com

An Arthur Brett of Norwich burr walnut and coromandel wood coffee table, raised on turned and fluted legs. Height 46 cm, width 107 cm, depth 76 cm.

An Arthur Brett of Norwich three tier graduated revolving circular freestanding bookcase, with gilt painted and coromandel wood panels and raised on paw feet. Height 103 cm, diameter of largest tier +-/ 74 cm (see illustration).

A GREEN STAFFORDSHIRE JARDINIERE AND STAND, decorated with a shepherd and his lover motif, together with a modern Art Nouveau style stick stand, Arthur Wood Twin handled vase, tall floral vase, artificial flower displays, walking sticks and a quantity of compact umbrellas etc

A comport with George Cruickshank design, Arthur Wood vase, lidded wash pail and large white meat plate

A collection of ceramics to include Beswick, Masons, Burleigh Ware, Arthur Wood etc

λ Arthur Hayward (British 1889-1971)The harbour, St Ives, Cornwall Oil on canvas-boardSigned (lower left)26 x 31.5cm (10 x 12¼ in.)Provenance:Christopher Wood, LondonThe Wykeham Gallery, Stockbridge (stock no. 1728)Exhibited:Stockbridge, The Wykeham Gallery, The Autumn Exhibition, September 2001, no. 115Condition Report: The board is very slightly bowed leaving a small gap at the lower left corner. Hardly noticeable but may benefit from readjusting and securing in frame. A few scattered areas of fine craquelure. Inspection under UV reveals no obvious evidence of retouching or repair. In overall good original condition.Condition Report Disclaimer

AN ARTHUR WOOD CREAM/FRECKLED GOLD TEAPOT, PINE BROS GOLD/CREAM STRIPED TEAPOT, MASCOT MAROONSSS/CREAM COFFEE POT AND A ROYAL CROWN DERBY SMALL JUG IN ORIGINAL BOX

Collection of vintage water, milk and cream jugs to incl Royal Albert, Arthur Wood, Shelley, Burslem etc

Set of four Wedgwood mugs and two Johnson Brothers mugs, oil lamp, pair of salt and pepper cellars with Middle Eastern illustration, Prince Llewelyn crested ware jug, two Arthur Rackham prints which state they are original, not modern reproduction and guaranteed to be over 88 years old, 1917 Midsummer Night's Dream, and 1910 The Rhinegold and the Valkyrie, picture of a Welsh girl and small brass model of possibly a mosque, three graduated dark wood inlaid with mother of pearl bird and cherry blossom decoration, graduated, etc.(B.P. 21% + VAT)

Three boxes of assorted china to include Mejr Fine Bone china part dinner and tea ware, Villeroy and Boch Naif Christmas porcelain charger, hexagonal Arthur Wood teapot in Imari colours with stand, milk jug and sucriere (missing lid), small Continental china basket ware bowl, and a heart-shaped china basket ware delft ware dish. Together with a box of figurines include a carved wooden elephant, green ceramic frog, wooden wart hog, wooden mallard duck, white ceramic and gilt ducks, small Staffordshire dog (possibly early 19th century), marble salt bowl with hardstone birds, brown ceramic horses, carved wooden lion, giraffe, elephants, etc, Nao duck, Lladro swan with cygnets, small jade elephant. (3)(B.P. 21% + VAT)

A tray containing art glass vase, ceramic jug, Arthur Wood jug etc

A pair of Arthur Wood vases together with further decorative vases and ceramics

An Arthur Wood floral wall pockets, depicting spring flowers, with attached hanging chain, 22cm; another of similar form, depicting autumn leaves and cobwebs, 22cm; and another, 'Holborn' pattern.

Attributed to Peter Waals (Cotswold school), cherry wood, black walnut and ebonised two door wardrobe, the moulded cornice above a pair of fielded panel doors enclosing shelves and hanging space, 74ins x 46ins x 24ins Provenance: The wardrobe was ordered by the vendor's grandfather, Arthur Mitchell (then Chairman of Mitchells & Butlers Brewery). He was an important patron of Waals and the Barnsley brothers of the Cotswold School of Arts and Crafts founded by Ernest GimsonScuffs and marks from use but could use a good clean and re-polish would bring back up to good condition. Inside needs a little tidying, shelves all fit but bottom shelf has split into along grain. Did not have any drawers, even bottom section

A box of mixed china including two Arthur Wood Imari pattern teapots on stands, Lewis Woolf pottery plate, Pontefract, Yorkshire circa 1856/70, oriental pots, Minton Amherst pattern floral plate, blue white Stoke-on-Trent teapot etc.

A quantity of china and glass including Arthur Wood Silver wedding teapot, jug, bowl, bells glass, candlesticks etc.

MALING FRUIT BOWL,27cm diameter, along with three Beswick sundae dishes, two Maling sundae dishes and other ceramics including an Arthur Wood vase

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: Compare a related cinnabar lacquer box and cover, also dated 16th-17th century, attributed to Zhou Zhu, and carved with a similar Mongolian hunting scene, at Sotheby's Hong Kong in Water, Pine and Stone Retreat Collection – Scholarly Art on 7 October 2010, lot 2213, sold for HKD 860,000.周柱風格罕見剔紅狩獵圖碗中國，十六至十七世紀。剔紅碗撇口，直壁深腹，大氣端莊，通體髹紅漆。外壁錦地剔紅裝飾狩獵場景，山石松樹掩映。蒙古服飾人物騎於馬上手持兵器圍獵，為首之人立於馬上持戟殺狼，一人持鞭催馬。馬匹身姿矯健，四足騰空。獵手神情嚴肅，對獵物誌在必得。整器風格古樸雅緻，乃明代剔紅典雅之作。 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。Collins上尉 1925 年 2 月至 1928 年 1 月期間曾是 Bluett 在中國的主要供應商。他還在 1920 年代至 1940 年代期間向 John Sparks 和倫敦以及巴黎的其他經銷商出售藝術品。Parry收藏是英國重要的御製琺瑯器、漆器、瓷器和玉器私人收藏。1919年，貿易法大律師Edward Arthur Parry（1879-1946) 和他的妻子Angela Parry（原姓 Scully，1879-1977) 開創了這個收藏。該收藏中的六件作品在國際中國藝術展覽會上展出，這個展覽會只選擇了世界上最好的藝術品。該收藏已經在Parry家族傳承了三代人，其中許多藏品都是從著名的倫敦經銷商 Spink & Bluett's 那裡購得。 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) 描繪狩獵場景的漆碗極為罕見。明初皇帝繼承了元代蒙古人的狩獵傳統並將其視爲軍事實力和國家權威的標誌。但到了明中後期，文人將狩獵視為國家政治的昏庸，因此出現了激烈的對抗，明朝皇帝和文人集團之間爭奪統治權。 無子嗣的正德皇帝 (1505-1521) 特別熱衷於狩獵，這令他的大臣們大為震驚，參見 D. M. Robinson，Martial Spectacles of the Ming Court，康橋，2013 年，第 214-220 頁。 水松石房主人 Hugh M. Moss 曾經在一個展覽裏展出過一個漆盒，漆盒上有與現拍品相似的狩獵場景 (見拍賣結果比較), 他認爲那個飾有狩獵場景鑲嵌木漆盒是十六世紀周柱的作品（原文“to be a lacquer version of inlaid wooden boxes decorated with a hunting scene and attributed to the 16th century artist Zhou Zhu.” ）。 根據明清時期文字記載，周柱製百寶嵌，有嵌於硬木、嵌於漆器兩種，當時人稱“週制”。他能夠巧妙利用寶石與其他材料本身的特殊性，創作了很多生動的場面，他的技術被稱為“吳中絕技”，清代阮葵生《茶餘客話》記：“周柱治鑲嵌……名聞朝野，信今傳後無疑也。” 文獻比較: 比較一件鑲嵌硬石的蓋盒，傳周柱作品，描繪了蒙古人狩獵場景，1537年，見香港蘇富比Water, Pine and Stone Retreat Collection – Scholarly Art 2010年10月7日 lot 2192. ；另兩件清初紫檀鑲嵌石料的蓋盒，繪製狩獵場景，見《故宮博物院藏文物珍品全集：竹、木、牙、角雕刻》，香港2002年, 第230-231頁。一件相似場景的雙色漆盤見名古屋德川美術館目錄 Karamono. Imported Lacquerwork – Chinese, Korean and Ryukyan, Selections from the Tokugawa Art Museum, no. 2, Nagoya, 1997, pl. 95, 傳爲元明時期。 拍賣結果比較：比較一件相似的紅漆蓋盒，十六至十七世紀，周柱款，相似蒙古人狩獵場景，見香港蘇富比Water, Pine and Stone Retreat Collection – Scholarly Art 2010年10月7日 lot 2213, 售價HKD 860,000。

A MARBLE HEAD OF BUDDHA, TANG DYNASTYChina, 618-907. The full face carved with small, delicate features, such as the heavy-lidded eyes below the gently arched eyebrows and the full lips pursed to form a subtle smile, all below the hair dressed in waves with two whorls above the forehead and a third whorl below the pronounced ushnisha.Provenance: Collection of Rene Vittoz, thence by descent. Rene Vittoz (1904-1992) was a Swiss scholar of Romance languages and a teacher of French and art history. He authored several books, including 'Essai sur les Conditions de la Poesie Pure' and a play, 'L'ivresse de Noe' (Drunkenness of Noah). He was also a painter and a passionate collector of Asian and European works of art. After his death, a number of works in his collection were auctioned at Christie's.Condition: Excellent condition, commensurate with age. Extensive wear, losses, minor nicks and scratches. The back with two circular recesses showing remnants of iron, indicating a prior mounting. Fine, naturally grown, honey-brown patina.Weight: 6.2 kg (incl. base)Dimensions: Height 21 cm (excl. base) and 36.5 cm (incl. base)Mounted to an old wood base with metal fittings, dating to the earlier 20th century, allowing the head to be turned 360°. (2)Literature comparison: Stylistically this head closely relates to other mid-Tang limestone figures from the Longmen caves. See two heads of Buddha (32 and 66 cm high) in the Avery Brundage Collection, illustrated in Chinese, Korean and Japanese Sculpture, Asian Art Museum of San Francisco, Japan, 1974, pp. 212-5, nos. 104 and 106 (the larger head with the object number B60S38+). Of particular note is the treatment of the hair, with both the illustrated examples and the present lot exhibiting two whorls above the forehead and a third whorl below a pronounced ushnisha. Another feature of this group is the relatively plump face, with deeply set eyes beneath high, arched eyebrows. These same features are also seen on a number of other examples from this group, illustrated in The Lost Statues of the Longmen Caves, Shanghai, 1993, pp. 49-59.Auction result comparison: Compare a related but smaller (12.7 cm high) marble head of a bodhisattva, also dated to the Tang dynasty, at Sotheby's New York in Important Chinese Art on 21 September 2021, lot 109, sold for USD 40,320. Compare a related but smaller (11.5 cm high) dark gray stone head of Buddha, also dated to the Tang dynasty and with distinct whorls, at Christie's London in Fine Chinese Ceramics and Works of Art on 15 May 2018, lot 158, sold for GBP 18,750. Compare a related dark gray stone head of Buddha (25.5 cm high), also dated to the Tang dynasty and with distinct whorls, at Christie's New York in Fine Chinese Art from the Arthur M. Sackler Collections on 18 March 2009, lot 350, sold for USD 32,500.唐代大理石佛頭中國，618-907年。莊嚴、大氣、飽滿的佛陀頭像，面部略顯豐腴，眼睛細長，拱形的眉毛，形成與鼻脊和諧曲線，眉間白毫，以及盤到頭上的高高髮髻，表現出唐代佛像經典風格。 來源：Rene Vittoz收藏，保存至今。Rene Vittoz (1904-1992) 瑞士羅曼語學者、法語和藝術史教師。 他撰寫的幾本書，包括 “Essai sur les Conditions de la Poesie Pure”和一部戲劇“L'ivresse de Noe”（諾亞的醉酒）。 他也是一位畫家，同時也是亞洲和歐洲藝術品的熱情收藏家。 在他去世後，他收藏的多件作品在佳士得拍賣。 品相：狀況極佳，與年齡相稱。 廣泛的磨損、缺損、輕微的劃痕和刻痕。背面有兩個圓形凹槽，顯示鐵的殘留物，表明之前的有支架。自然生長的蜜褐色包漿。 重量：6.2 公斤 (含底座) 尺寸：高21 厘米 (不含底座)，總36.5厘米 木底座，金屬支架，應為二十世紀，頭像可以360° 轉動以便觀摩。 (2) 拍賣結果比較: 比較一件相近的但更小 (高12.7 厘米) 的大理石菩薩頭像，唐代，見紐約蘇富比Important Chinese Art 2021年9月21日 lot 109, 售價USD 40,320；比較一件相近的唐代更小 (高11.5 厘米)的石雕深灰色佛頭，有螺紋，見倫敦佳士得Fine Chinese Ceramics and Works of Art 2018年5月15日 lot 158, 售價GBP 18,750；比較一件相近的唐代更小 的深灰色石雕佛頭 (高25.5厘米), 有螺紋，見紐約佳士得Fine Chinese Art from the Arthur M. Sackler Collections 2009年3月18日 lot 350, 售價USD 32,500。

A RARE AND IMPORTANT TERRACOTTA HEAD OF BUDDHA SHAKYAMUNIAncient region of Gandhara, Kushan period, 4th-5th century. The large head is superbly modeled with a serene and meditative expression, with almond-shaped eyes below gently arched brows, distinct recessed urna, aquiline nose, and full lips forming a calm, benevolent smile. The wavy hair is surmounted by a domed ushnisha.Scientific Analysis Report: A Thermoluminescence sample analysis has been conducted by Oxford Authentication, TL test no. N116n7, dated 18 October 2016, and is consistent with the suggested period of manufacture, a copy of the thermoluminescence analysis report accompanies this lot (the original is lost).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, commensurate with dating and presenting magnificently overall. Some wear and firing flaws, minor nicks, shallow cracks, losses to exposed areas, all hardly noticeable due to a light-colored varnish coating which was applied a long time ago. Overall, fully consistent with the high age of this sculpture. French Export License: Certificat d'exportation pour un bien culturel Nr. 185425 dated 3 July 2017 has been granted and is accompanying this lot.Weight: 7.9 kg (excl. stand) Dimensions: Height 34 cm (excl. stand) and 55 cm (incl. stand)Mounted on an old associated hardwood 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 influence. 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. Only a few terracotta statues from this period and of this size have ever been recorded.The masterfully carved head of Buddha is a fine example of the rich cultural interplay and hybrid art styles of the Gandharan empire in the first centuries CE and embodies an idealized, transcendent male form of an earthly prince. Based on Greco-Roman prototypes, his elegant neck is slightly elongated, and his heavy eyelids frame a pair of almond-shaped eyes, his forehead remaining perfectly uncreased, and there is no tension in his rosebud mouth. While activated with energy, movement and life, the Buddha is simultaneously in a state of otherworldly tranquility.The sculptor has also skillfully referenced Buddha's earlier history as Prince Siddhartha by placing rounded recesses in the elongated earlobes where, as a prince, he would have worn heavy jewelry. This detail reminds the viewer that, while the Prince's past was centered on excess, the absence of material goods – jewelry and fine clothing – emphasizes the Buddha's renunciation of worldly attachments.Compare the face of this Buddha with that of another in the Peshawar Museum (see H. Ingholt, Gandharan Art in Pakistan, 1957, p.113, fig.223). In both examples, the artist has skillfully carved and polished the face to transform it into human skin. While the face of the published image bears a rather formulaic manner, the present work has been carved by a master of naturalism. The softly rounded cheeks give way to hollows on either side, the upper and lower lids are nearly spherical to emphasize the eyes, and the pupils are not carved. The quiet contours and gentle shadows model the flawless structure of the face, encapsulating the eternal youthfulness of the Buddha. Almost androgynous in appearance, the Buddha transcends gender, embodying the perfect balance of masculinity and femininity.Expert's note: This head has a high aesthetic value, illustrious provenance, and is in a beautifully preserved condition. It is an important and rare masterpiece of Gandharan art. Literature comparison: Compare a related but slightly smaller (26.7 cm high) terracotta head of Buddha, dated 3rd-4th century, in the collection of the Metropolitan Museum of Art, accession number 2001.575. Compare a closely related but much smaller (18.4 cm high) terracotta head of Buddha, dated ca. 4th century, in the collection of the Metropolitan Museum of Art, accession number 13.96.4.Auction result comparison: Compare with a related but slightly smaller (28 cm high) terracotta head of a bodhisattva at Christie's New York in Indian and Southeast Asian Art on 19 March 2013, lot 212, sold for USD 75,000. Compare a related but smaller (20.3 cm high) terracotta head of Buddha at Sotheby's New York in Images Of Enlightenment: Devotional Works Of Art And Paintings on 17 September 2014, lot 410, sold for USD 62,500.罕見重要陶土釋迦牟尼頭像健陀羅，四至五世紀。大型佛頭造型優美，沉靜冥思，眉毛下方拱形杏仁狀眼睛，眉間白毫，豐滿的鼻子，溫柔仁慈的笑容。頭髮緊卷，呈螺髻。 科學檢測報告：隨附一份牛津熱釋光檢測鑒定報告（原件遺失）。監測報告 no. N116n7，2016年10月18日，與目前斷代一致。來源：Arthur Huc (1854-1932)收藏。 Marcel Huc繼承，自此保存在同一家族至今。 Arthur Huc是La Dépêchedu Midi的主編，這是當時法國圖盧茲的主要報紙。他還是一位出色的藝術評論家。 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，健陀羅）。隨附清單和封面副本。品相：狀況很好，尤其是考慮到這件作品的年代。一些燒製瑕疵，輕微的刻痕和凹痕，裸露區域有材料缺損。表面的清漆應爲很久之前所塗，所以現在已經基本看不出來了。總體而言，狀況與該雕塑的年代相符。 法國出口證書: 隨附法國2017年7月3日出具的出口證書Certificat d’exportation pour un bien culturel Nr. 185425。 重量: 7.9 公斤 (不含底座) 尺寸: 高 34 厘米 (不含底座)，總 55 厘米 硬木底座 (2) 拍賣結果比較: 一件相近但稍小 (28 厘米) 陶土菩薩頭像，見紐約佳士得Indian and Southeast Asian Art拍場2013年3月19日 lot 212, 售價USD 75,000；一件相近但更小 (20.3 厘米) 的佛陀陶土頭像，見紐約蘇富比Images Of Enlightenment: Devotional Works Of Art And Paintings拍場2014年9月17日 lot 410, 售價USD 62,500。

A SCHIST FIGURE OF A YAKSHI, GANDHARA, 2ND-3RD CENTURYStanding with legs crossed on a square base carved with rosettes, her left hand supporting her waist, wearing a pleated sari held together by an elaborate belt, richly adorned in beaded jewelry, the serene face with almond-shaped eyes, aquiline nose, and full lips, flanked by elongated earlobes with floral earrings, the wavy hair with a tiara.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 part of a group of Gandhara stones as follows: “Seconde piece cave- 32 pierres similaires Gandhara emballes- Bouddha et divers. (Voir suite)” (second room basement: 32 similar Gandhara stones wrapped- Buddhas and various. (see follow up). A copy of the inventory list and cover page are accompanying this lot.Condition: Extensive weathering and wear. Few structural cracks. Some breaks, losses and erosions. Remnants of an old varnish above remnants of soiling from excavation.French Export License: Certificat d'exportation pour un bien culturel Nr. 185465 dated 30 June 2017 has been granted and is accompanying this lot.Weight: 49 kg (total) Dimensions: Height 79 cm (excl. base)With an associated wood base. (2)Auction result comparison: Compare with a gray schist figure of Tyche, Gandhara, 2nd-3rd century, at Christies New York, in Indian and Southeast Asian Art, 19 September 2002, lot 20, sold for USD 339,500.公元二至三世紀健陀羅片岩藥叉女藥叉女雙腿交叉站立在刻有玫瑰花紋的方形底座上，左手支撐腰部，穿著精緻的百褶紗麗，綴有串珠，寧靜的臉龐，杏仁狀的眼睛，豐滿的嘴唇 ，臉部兩側為戴著花朵耳環的細長耳垂，卷髮。 來源：Arthur Huc (1854-1932)收藏。 Marcel Huc繼承，自此保存在同一家族至今。 Arthur Huc是La Depêchedu Midi的主編，這是當時法國圖盧茲的主要報紙。他還是一位出色的藝術評論家，也是包括Henri de Toulouse- Lautrec在內的幾位藝術家的早期贊助人。同時，Arthur Huc是一位熱衷於亞洲藝術的收藏家，他的熱情源於他的傳奇祖先Evariste Regis Huc，中文名為古伯察（1813-1860），是法國天主教神父和旅行作家，在他的《韃靼西藏旅行記》書中描述了他在清朝的遊歷以及對蒙古尤其是當時幾乎鮮為人知的西藏的敘述。 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，健陀羅）。隨附清單和封面副本。 品相：廣泛的風化和磨損。 一些裂縫。 一些斷裂、缺損和侵蝕。舊清漆餘留，還有一些可能是出土時帶有的污漬。 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，編號 185465。 重量：總重49公斤 尺寸：高79 厘米 (不含底座) 木底座。 拍賣結果比較：一件二至三世紀灰片岩健陀羅堤喀，見紐約佳士得 Indian and Southeast Asian Art 2002年9月19日 lot 20, 售價USD 339,500。

Arthur Raymond Hundleby MCSD - A framed and glazed watercolour and ink of Wood Norton church, signed by artist. H40.5 W38

A tray containing assorted ceramics to include Cooper Craft dogs, Arthur Wood Art Deco vase, Chinese style lidded preserve pot

A Royal Winton three tier cake stand, pansies design and an Arthur Wood 1930's vase

A collection of china including Wade and Sadler teapots, an Arthur Wood centrepiece, Arthur Wood jug, a Coalport plate, a Poole tea set, Wedgwood plates, etc. (three boxes) **PLEASE NOTE THIS LOT IS NOT ELIGIBLE FOR POSTING AND PACKING**

Gilt Table Lamp, having ceramic body, Arthur Wood planter, gilt and bauble framed wall mirror, 43.5cm diameter. (3).

A box of mixed china including Hornsea soup bowls and plates, Portobello jug, Arthur Wood pig, Wedgwood 'Foxwood Tales' plates, Spode Italian (modern) jam/honey pot plus a vintage dish etc

Ɵ HOROLOGICAL BOOKS ON TURRET CLOCKS AND PUBLIC SUNDIALSSIX PUBLICATIONS:Beeson, C.F.C. ENGLISH CHURCH CLOCKS 1280-1850 Brant Wright Associates Limited, Ashford 1977, gilt embossed blue cloth; Green, Arthur Robert SUNDIALS, INCISED DIALS OR MASS-CLOCKS Society for Promoting Christian Knowledge, London 1926, gilt titled green cloth; Horne, Dom Ethelbert PRIMITIVE SUN DIALS OR SCRATCH DIALS, Containing a list of those in Somerset The Wessex Press, Taunton 1917, embossed blue cloth; Horne, Dom Ethelbert SCRATCH DIALS, THEIR DESCRIPTION AND HISTORY Simpkin Marshall Limited, London 1929, gilt embossed blue cloth; Wood, Tony The Mass Dial Register 2018 Abridged The British Sundial Society, 2018, softbound, complete with CD disc version within the inner cover; and Cole, T.W. ORIGIN AND USE of CHURCH SCRATCH DIALS The Hill Bookshop, Wimbledon undated, softbound with stapled spine, (6). 

Stanley (Henry Morton). Coomassie and Magdala: The Story of Two British Campaigns in Africa, 1st US edition, New York: Harper & Brothers, 1874, wood engraved portrait frontispiece, plates and illustrations, two folding lithograph maps (one detached and with folds repaired to verso), original cloth, 8vo, together with:Thompson (Ralph Wardlaw), Griffith John: the story of fifty years in China, London: The Religious Tract Society, 1906, photogravure portrait frontispiece, monochrome plates from photos, top edge gilt, original cloth, covers fade to spine and around board edges, board corners frayed, 8vo,Wylde (Augustus B.), Modern Abyssinia, London: Methuen & Co., 1901, monochrome portrait frontispiece and folding map, original cloth, 8vo,Vivian (Herbert), Abyssinia: through the Lion-Land to the Court of the Lion of Judah, London: C. Arthur Pearson Ltd., 1901, monochrome plates and illustrations, folding map, original cloth, 8vo,Cheesman (Robert Ernest), Lake Tana & the Blue Nile, an Abyssinian quest, London: Macmillan & Co., Ltd., 1936, folding monochrome panoramic frontispiece, monochrome plates and folding map, original cloth, 8vo, and 15 volumes of Hakluyt Society series publications and an issue of the Geographical Journal, vol. LXXI No. 4, April 1928, which includes the 'upper waters of the Blue Nile' by R.E. Cheesman, original printed wrappers, 8voQty: (21)

Parker (Agnes Miller, illustrator). Elegy written in a Country Churchyard, by Thomas Grey: illustrated with wood-engravings, sketched in that same churchyard at Stoke Poges, by Agnes Miller Parker..., New York: Heritage Press, 1951, wood-engraved illustrations, original blue gilt-decorated cloth in slightly frayed glassine overwrapper, with publishers slipcase (faded to edges), 8vo, together with Rackham (Arthur, illustrator). The Ingoldsby Legends or Mirth & Marvels by Thomas Ingoldsby, 1st edition, London: J. M. dent, 1907, 36 tipped-in colour plates, first plate with minor corner crease to lower right, contemporary ownership inscription to head of title dated Xmas 1907, top edge gilt, remainder rough-trimmed, original gilt-decorated green cloth, a little marked and spine dulled, 4to, plus Robinson (Charles, illustrator). The Big Book of Fables, edited by Walter Jerrold, circa 1910, colour plates and monochrome illustrations, some light spotting to preliminary leaves, top edge gilt, original decorated red cloth, spine gilt-decorated (very lightly faded), 4to, and other 20the century illustrated works, including Gods and Mortals in Love, by Hugh Ross Williamsom, with pictures by Edmond Dulac, Country Life, circa 1935, Tannhauser, A Dramatic Poem by Richard Wagner, illustrated by Willy Pogany, Rogues in Porcelain, & Everyman, both illustrated by John Austen, etc.Qty: (10)

An Arthur Wood floral wall pockets, depicting spring flowers, with attached hanging chain, 22cm; another of similar form, depicting autumn leaves and cobwebs, 22cm; and another, 'Holborn' pattern.

A Victorian Oil Painting By Arthur Langley Vernon. "Ladies Collecting Wood".Signed. 76 x 55

Arthur Illies (Hamburg 1870 - Lüneburg 1952). Roter Kaktus. 1946. Öl/Holz, 51 x 30,5 cm, l. u. sign. und dat. A. Illies 5/1/46, verso Etikett mit Werk-Nr. 2281, min. Farbabspl. - Literatur: K. Illies: A. I. Aus Tagebuch und Werk, 1981, S. 202, Nr. 2281. - Hamburger Landschafts- und Stillebenmaler. I. belegte zunächst Zeichenkurse an der Hamburger Gewerbeschule und studierte anschließend 1889-92 an der Kunstgewerbeschule in Hamburg sowie an der Münchner Akademie. 1897 gehörte er zu den Gründern des für die künstlerische Erneuerung in Hamburg maßgeblichen Künstlerclubs. Er beteiligte sich bereits 1901 an der Ausstellung der Berliner Sezession und hatte in der Folge auch zahlreiche Einzelausstellungen. 1937 siedelte er nach Lüneburg über, wo viele seiner Gemälde erst im Bombenkrieg, später beim Brand seines Ateliers im sog. Alten Kaufhaus 1959 zugrunde gingen. I. war auch ein bedeutender Lehrer, zunächst an der privaten Malschule von V. Röver in Hamburg, später als Professor an der dortigen Kunstgewerbeschule. Seine farblich expressiv gesteigerten Landschaften wie auch seine wegweisenden Neuerungen in der Graphik sichern ihm einen bedeutenden Platz unter den Künstlern seiner Zeit. Mus.: Hamburg (Kunsthalle, Altonaer Mus., Hamburg-Mus.), Schleswig (SHLM), Lüneburg, Flensburg, Braunschweig u.a. Lit.: Vollmer, Der Neue Rump, Heydorn u.a. Illies, Arthur (Hamburg 1870 - Lüneburg 1952). Red Cactus. 1946. Oil/wood, 51 x 30,5 cm, lo. le. sign. and dat. A. Illies 5/1/46, on the reverse label with no. 2281, min. dam. - Literature: K. Illies: A. I. Aus Tagebuch und Werk, 1981, p. 202, no. 2281. - Landscape and still life painter, co-founder of the Hamburgischer Künstlerclub. I. studied at the Hamburg school of applied arts and at the Munich Academy, exhibited at the Berlin secession 1901. Study trips to Italy a. Sylt, he met Nolde a. Schmidt-Rottluff. I. was professor in Hamburg. Mus.: Hamburg (Kunsthalle, Altonaer Mus., Mus. f. Hamburg. Gesch. a. others), Schleswig (SHLM), Lüneburg, Flensburg, Brunswick a. others. Lit.: Vollmer, Der Neue Rump, Heydorn a. others.

A cheese dish, a celery vase, an Arthur Wood mug and a Minnie Mouse pot

Arthur Wood and Price Bros blue pottery plates and jugs

Four boxes of miscellaneous. Arthur Wood coronation commemorative mug, Wade Bell's scotch whisky bell, Limoges trinket etc

FOUR BOXES AND LOOSE CERAMICS, GLASSWARE, TABLE LAMPS AND HOME DECOR ITEMS, to include a twenty piece Royal Doulton Bruce Oldfield pale blue and white dinner service, an onyx table lamp height including fitting 40cm, four additional late twentieth century table lamps, an Arthur Wood jug with flower and spider web pattern, a boxed Swinnertons two tier cake stand, a thirty piece un-named part tea set, a black glass vase with gold foliate pattern, two Mayflower Glass cut glass egg shaped paperweights, an amber and copper art glass vase with a similar black and copper example, a quantity of cut glass and crystal wares with makers to include Stuart Crystal, modern cannisters and other home decor items, etc (sd) (4 BOXES + LOOSE)

TWO BOXES OF CERAMICS AND GLASS WARES, to include a twenty piece unmarked Art Deco dinner service, a twenty piece C W S Windsor China tea set, a Wade twin handled vase height 7.5cm length 15cm, three Arthur Wood teapots, an Alfred Meakin Tintern pattern jug, a Willow pattern meat plate, a Davidson amber cloud glass bowl with matching frog, items of cut and pressed glass to include two decanters, a cake plate and fruit bowls, etc (sd) (2 BOXES)

Three jardinières comprising West German Gerz example decorated in relief, Doulton Slaters example with frilled everted rim and a majolica example, and a further two Arthur Wood majolica jugs (5)

An Arthur Wood pottery vase in the Art Deo manner with moulded floral sprays - sold with a set of four studio pottery mugs and stand with applied floral sprigs and mottled glaze effect

A RUSSIAN WOODEN CRIMEAN WAR MILITARY PLAQUE WITH THE REMAINS OF AN INSCRIPTION ON THE BACK DETAILING HOW IT WAS ALLEGEDLY AQUIRED BY ONE OF THE CREW OF H.M.S. SPHINX, COMMANDED BY CAPTAIN ARTHUR EARDLEY WILMOT IN 1854There are various signs of worm in the wood, staining and some small losses.  There are splits / cracks to the outer edge.  Parts of the eagle may have been restored as tapping it does not give consistent sound.

A tray containing Arthur Wood and Brentleigh beech pattern china

Attributed to Arthur Ernest Anderson (d. 1936) of Bristol: A set of twelve carved and polychrome wood carousel juvenile gallopersprobably 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 and with restorations and later additions, each 125cm high, 110 wide, 29cm deep (the bases, 35cm wide) approximately (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 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 early 1930s 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 (Andersons) 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 worked transmogrified even further, with animals 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 Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com