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A Soviet porcelain charger,1930s, Russia, depicting an Arctic scene, with a polar bear, a ship and an aeroplane, 37cm diameterThis charger probably commemorates the world's first transpolar flight piloted by Valery Chkalov between 18 and 20 June 1937. Along with his co-pilot, Georgi Filippovich Baidukov, and their navigator, Alexander Vasilyevich Belyakov, Chkalov flew a Tupolev ANT-25 aeroplane for 63 hours non-stop from Moscow to Vancouver, Washington, via the North Pole, a journey of 5,475 miles.Provenance: Iconastas, Piccadilly Arcade, St James's, London, W1.Советская фарфоровая тарелка 1930е гг., Россия Арктичекая сцена: белый медведь, корабль и самолёт Диаметр: 37см Эта тарелка наверное увековечивает первый трансполярный перелёт, совершённый Валерием Чкаловым 18 и 20 июня 1937го года. Вместе со вторым пилотом Георгием Филипповичем Байдуковым и штурманом Александром Василиевичем Беляковым, Чкалов перелетел в самолёте АНТ-25 63 часов без посадок из Москвы в Ванкувер, в штате Вашингтон, через Северный полюс. Длительность перелёта – 5475 миль.Происхождение: Иконастас, Аркада Пикадилли, Сент-Джеймс, Лондон, W1

TWO JAPANESE IVORY BOXES AND COVERS one carved with a bear the other with monkeys, signed, 6.5cm diameter and a Cantonese ivory chess set of thirty- six pieces (38) Condition Report: one box with rim chips. one knight with chip to ear. some with loose bases.

LONDON[MERIAN (MATTHAEUS)] London, hand-coloured engraved panoramic view with a key noting 43 places within the City, captioned 'London', on 2 sheets (joined), some toning, old folds neatly repaired, mounted, framed and glazed, sheet to view 228 x 700mm., [c.1638]Footnotes:The view depicts London before the Great Fire of 1666, extending from the King's Palace at Whitehall in the west to the Tower of London and St. Katherine's Church in the east, including Shakespeare's Globe theatre and the bear gardens.For further information on this lot please visit Bonhams.com

BIBLE, in LatinManuscript on vellum, 308 (of 310) leaves, plus one paper flyleaf, text in 2 columns, each of 60 lines, numerous decorative initials, modern pencil foliation (followed here), early eighteenth-century panelled vellum gilt, title in later manuscript to spine, recent endpapers, folio (301 x 202mm.), [England or Northern France, mid-thirteenth century]Footnotes:An impressive large format thirteenth-century Bible, substantially complete, with an early English provenance (probably London) and extensive medieval annotation. The folio size and the multiple annotations suggests that this was a study bible associated with a religious house rather than a book for personal reading and devotion, while the ownership inscription of Thomas Graunt (d. 1474) may place it successively at St. Paul's (London) and (possibly) Syon Abbey in the fifteenth century.Text: The Old and New Testaments in the Latin Vulgate version, with the Psalms and the Prologues of Saint Jerome. Following the first of these prologues the book of Genesis begins on f. 2v; the Psalms on 231 and the Gospels on 249. It is textually almost complete, except for the loss of two leaves towards the end: one after the current f. 275 with part of John 20 from chapter 17 (immediately after 'noli me tangere') to chapter 21 and most of Acts chapter I; and another after f. 277 with Acts chapter 8. 32 to chapter 12.Decoration: 71 decorative initials of four to six lines, in red, blue and green with additional penwork, often with 'puzzle' ornament, many with extended bar borders; numerous two-line initials with penwork decoration; initials, running title and chapter numbering in red and blue; regular red and blue capitals. The first two leaves of the text bear additional (perhaps slightly later) ascending 'standard' ornaments in brown ink in the lower margins.Glosses and annotation: A few leaves have early glosses in small, neat hand, but these have in some case been cropped with some loss of words and sense. Elsewhere is a range of different Latin annotations in ink and leadpoint in numerous medieval hands, some of which are recognisably English, probably ranging in date from the thirteenth to the fifteenth centuries. Some are neat and formal, others hasty and untidy. Some are now faint, especially those in leadpoint, but most are decipherable. There is also a range of textual markers in the form of neumes and extended brackets, some of which may be very early. The final two leaves bear more extensive notes in fourteenth or fifteenth century hands, including a diagrammatic list of contents and other biblical explanations. There are attractive thumbnail drawings of ships to two borders and various other doodles. Overall, the annotations give the impression of a book well-used over a long period of time in specialist theological environments.Condition: The book has been cropped, perhaps more than once, for rebinding. The upper margins have suffered most, with some running headlines cropped or, in some cases lost. The outer and lower margins bearing most of the annotation have survived better, though here again the earlier annotations are partially affected and a few decorative bar borders are truncated at their foot. There are signs of some further annotations to the inner margins, though these are occasionally obscured and perhaps cropped closest to the gutter. There are numerous parchment repairs, usually marginal, probably dating from the modern era or perhaps the time of binding in the early eighteenth century, and only occasionally affect the text itself. In approximately 40 cases there has been significant repair to corners or entire margins by replacing or adding strips of parchment.Provenance: Whether the book's origins were in France or England, it was in England by the fifteenth century. The thirteenth-century colophon includes the text: 'Hec est bibliotheca thome [...]' with a surname scraped away and the name 'Graunt' added in a fifteenth-century hand. This is almost certainly Thomas Graunt (?1425-1474), theologian, fellow of Oriel College, Oxford and later treasurer of St. Paul's, London. It is possible that this bible was therefore among the books he bequeathed to Syon Abbey on his death, though it has remained unrecognised as such. The later paper flyleaf, contemporary with the binding, bears an elaborate inscription recording the later gift of the book by John Grove to the grammar school at Southton (Southampton) in 1708, and the school's engraved bookplate is on the reverse. Grove was a prominent merchant and burgess of the city and was its mayor in 1726. The binding is probably contemporary with Grove's ownership or donation.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

DICKENS (CHARLES)Master Humphrey's Clock, FIRST EDITION, FIRST ISSUE, IN ORIGINAL 88 WEEKLY PARTS, wood-engraved illustrations by G. Cattermole and H.K. Browne, with preliminary matter (title, preface and frontispieces) to parts 26, 52 and 88, and addresses by the author in Parts 9, 80-83 and 87, publisher's white pictorial wrappers, Parts 1-2, 53-56 and 58-62 partially unopened, some soiling and slight wear at outer edges, one or two brown spots or small stains but overall very clean and intact, preserved in 3 original green cloth portfolios with gilt decoration and spine lettering (some stains, spines weak), [cf. Eckel p.67ff; Gimbel A49; Hatton & Cleaver p.163], 8vo, Chapman and Hall, April 1840-December 1841; together with duplicates of Parts 1 & 2, and an additional variant issue of Part 26 (differently set but wanting the front wrapper) (91)Footnotes:A VERY GOOD SET OF THE RAREST ISSUE, IN WEEKLY 88 PARTS. 'Of the four issues the weekly one is difficult to obtain in a clean condition, and is therefore the costliest' (Eckel). The portfolios containing the parts seem particularly scarce. Their inner covers bear the bookseller's ticket of Nettleton, Plymouth, and are printed with: 'Portfolio for Master Humphrey's Clock. Price Two Shillings. This portfolio is intended to contain Twenty-six numbers of the 'Clock' after the four pages of Advertisements have been cut off. London: William Smith, 113 Fleet Street'.Master Humphrey's Clock was one of the first works to appear in weekly as well as monthly parts, containing the two novels The Old Curiosity Shop and Barnaby Rudge.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

FREUD (SIGMUND)Autograph draft letter signed ('Freud') seemingly to J.L. Garvin, editor-in-chief of the Encyclopaedia Britannica ('Dear Sir'), agreeing that the Encyclopaedia of 1911 '...contained no mention of ΨA...' but uncertain if an article regarding '...the development, contents and achievements of ΨA from the very beginning...' is quite what he requires, apologising for the length of the article that is, even so, '...extremely condensed, I found it impossible to give an intelligent account of the intricate subject in a more shortened frame...', suggesting he apply to Dr Ernest Jones ('...the foremost among English analysts...') or to James Strachey ('...brother to the famous historian... one of my English translators...') to help with the special terms ('...It would be a pity if the E. Br. Did not use the same technical denominations...'), 2 pages, light dust-staining at edges, slightly creased at fold, 4to (287 x 225mm.), Vienna, [n.d. but c.1925-6]Footnotes:'THE DEVELOPMENT, CONTENTS AND ACHIEVEMENTS OF ΨA FROM THE VERY BEGINNING': Sigmund Freud's contribution to the Encyclopaedia Britannica.The first stand-alone entry on the subject of psychoanalysis appeared in the thirteenth edition of the Encyclopaedia Britannica, published in three volumes (nos. 29, 30 and 31) in 1926 and written, as seen here, by Freud himself: 'He described the subject as he understood it at that time but also as he wished it to be understood later. 'The future will probably attribute far greater importance to psychoanalysis as the science of the unconscious... than as a therapeutic procedure.' Freud also chafed at what he seemed to think was the two-small space allotted to his article... a remarkably clear expression of psychoanalytic theory interlaced with Freud's reflections upon his own scientific legacy' (Britannica.com). In our letter he refers the recipient, most probably the newly appointed editor-in-chief (and long-standing editor of The Observer) J. L. Garvin (1868-1947), to his friend, colleague and biographer Ernest Jones and his English translator James Strachey, brother of Lytton, for assistance in making his article more comprehensible. The lack of date and several amendments and deletions would perhaps indicate that this is a draft of a letter which appears to be unpublished. Freud's use of the Greek letter Ψ (psi) to abbreviate the word 'psychoanalysis' and the abbreviation of Encyclopaedia Britannica to 'E. Br' or 'E. B.' would also bear this out. Freud spoke highly of Garvin in a letter to Franklin Hooper, the American editor of the Encyclopaedia in September 1924 following the publication of Hooper's These Eventful Years, writing in a similar vein to our letter: 'My complete admiration goes to the introductory essay by Garvin... I am very proud that you have granted psychoanalysis a chapter to itself. I hope that the future will justify your assessment. If my essay has turned out longer than you wished it to be, my excuse is that a shorter description of the difficult topic would have offered nothing comprehensible to the reader' (ed. Freud, Ernst, Letters of Sigmund Freud 1873-1939, 1961).Garvin was keen to maintain the encyclopaedia's closely-held reputation for scholarship and saw the publication as an opportunity to restore international unity through intellectual cooperation, whilst in turn making it more cosmopolitan and accessible. With that in mind he commissioned the best possible authority on each subject, as shown here. Other illustrious contributors to the edition included Marie Curie writing on Radium, Albert Einstein on Space-Time, Henry Ford on Mass Production, Suzanne Lenglen on Lawn Tennis, Andrew Mellon on Finance, Marconi on Wireless, Nansen on Polar Exploration and Leon Trotsky on Lenin.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

 ‘Ladies and gentlemen, we interrupt our program…..to bring you a special bulletin….’Original script from the historic 1938 radio broadcast of War of the Worlds WAR OF THE WORLDS: [WELLES ORSON]: (1915-1985) American Actor & Film Director, Academy Award winner. An exceptionally rare original 4to mimeographed production script (unsigned) for the historic radio broadcast of War of the Worlds, directed and narrated by Orson Welles, and performed and broadcast live as an episode of the American radio drama anthology series The Mercury Theatre on the Air in New York on Sunday, 30th October 1938, over the Columbia Broadcasting System radio network. The title page of the script (marked 7 in the upper right corner) lists the cast of characters, including [Professor Richard] Pierson (Orson Welles) and comprises 39 numbered pages, printed on the recto only, the text beginning with the premise that the audience had tuned into listen to a live performance of music by Ramon Raquello and his Orchestra, which at increasingly frequent intervals were interrupted by 'news flashes', the third page featuring the famous announcement, 'Ladies and gentlemen, we interrupt our program of dance music to bring you a special bulletin from the Intercontinental Radio News. At twenty minutes before eight, central time, Professor Farrell of the Mount Jennings Observatory, Chicago, Illinois, reports observing several explosions of incandescent gas, occurring at regular intervals on the planet Mars….The spectroscope indicates the gas to be hydrogen and moving towards the earth with enormous velocity. Professor Pierson of the observatory at Princeton confirms Farrell's observation, and describes the phenomenon as (QUOTE) like a jet of blue flame shot from a gun (UNQUOTE)…..' , the announcer later broadcasting 'a special announcement', 'It is reported that at 8.50 p.m. a huge, flaming object, believed to be a meteorite, fell on a farm in the neighbourhood of Grovers Mill, New Jersey, twenty-two miles from Trenton. The flash in the sky was visible within a radius of several hundred miles….', leading to the broadcast becoming an ever more realistic unfolding account of technically advanced Martian forces invading Earth, and reaching a frightening climax as Carl Phillips, a reporter who has ventured out to Grovers Mill, provides the listeners with an eye-witness account of events, 'Ladies and Gentlemen, this is the most terrifying thing I have ever witnessed…Wait a minute! Someone's crawling out of the hollow top. Someone or…..something. I can see peering out of that black hole two luminous disks…..are they eyes? It might be a face. It might be….[SHOUT OF AWE FROM THE CROWD] Good heavens, something's wriggling out of the shadow like a grey snake. Now it's another one, and another. They look like tentacles to me. There, I can see the thing's body. It's large as a bear and it glistens like wet weather. But that face. It….it's indescribable. I can hardly force myself to keep looking at it. The eyes are black and gleam like a serpent. The mouth is V-shaped with saliva dripping from its rimless lips that seem to quiver and pulsate. The monster or whatever it is can hardly move…..This is the most extraordinary experience. I can't find words…..' An outstanding document relating to one of the most famous broadcasts from the golden age of radio. A couple of the pages have small pencil annotations and an erotic pencil drawing initialled by an unknown individual appears to the verso of page eight. Bound with three brass paper fasteners to the left edge and with some light overall age wear, VG   Intended as a special Halloween episode from The Mercury Theatre on the Air, on the evening of Sunday, 30th October 1938, Orson Welles directed, narrated and performed in a riveting adaptation of the science fiction novel The War of the Worlds (1898) by H. G. Wells. The programme lasted precisely one hour and the episode became famous for the national uproar and panic it caused amongst the audience, resulting in a landmark change to broadcasting practices, and firmly cementing Welles's fame as a dramatist.The broadcast was reported as headline news in The New York Times the following day ('Radio Listeners in Panic, Taking War Drama as Fact') and such was the reaction of the public in the immediate aftermath of the broadcast the Federal Government were provoked into taking measures to ensure that no such broadcast ever aired again, without making it absolutely clear that the performance was a work of fiction.In the fracas that followed the broadcast, it was reported that the police raided the studio, Welles's collaborator John Houseman writing of the event, 'The following hours were a nightmare. The building was suddenly full of people and dark-blue uniforms. Hustled out of the studio, we were locked into a small back office on another floor. Here we sat incommunicado while network employees were busily collecting, destroying, or locking up all scripts and records of the broadcast'. It is believed that, during the course of their investigation, the police seized all available copies of the script. It is likely that only a small number - perhaps 20 or 30 - of the scripts were originally printed, for the actors and radio technicians, and with the majority of these confiscated by the police, the present lot represents an extremely rare opportunity to acquire an original copy pertaining to one of the most notorious broadcasts in the history of radio.Our research indicates that only five other copies of scripts have appeared at auction before now, the first being sold at Sotheby's, New York, on 14th December 1988 (Lot 189, $143,000). Two of the five were working drafts of 9 & 17 pages only, and one a transcript issued after the recording.

THOMSON BASIL: (1861-1939) British colonial administrator and prison governor who served as Assistant Commissioner 'C' of the Metropolitan Police (1913-21). As such Thomson was head of the CID and during World War I he played a key role in arresting wartime spies and was also closely involved in the prosecution of Mata Hari and Sir Roger Casement. Thomson was also a successful novelist. Small group of letters comprising a T.L.S., Basil Thomson, one page, 4to, New York, 24th January 1923, to the publisher F. N. Doubleday, on the attractive printed stationery of The Waldorf Astoria. Thomson thanks his correspondent for their sailing instructions and further continues 'I have received from Mr. Beecher Stowe a note to say that you do not see your way to republish any of the books which I sent you. I am now venturing to send you two more just received from England. The “Indiscretions of Lady Asenath” does not bear any date. I should be glad if you could have both books considered by your reader and let me know your decision. “Lady Asenath” won a good of credit from the English reviewers'; an A.L.S., Basil Thomson, one page, 8vo, New York, 29th January 1923, to Mrs. Doubleday, on the printed stationery of The Waldorf Astoria. Thomson states that he enjoyed his 'little visit' to her and adds 'I wish it could have been longer but I did not realize what American after-luncheon oratory could be!', further remarking that he is looking forward to seeing her in Nassau. With blank integral leaf; a second T.L.S., B H Thomson, one page, small 4to, Hotel Majestic, Paris, 2nd January 1919, to Wellesley. Thomson writes, in full, 'I was delighted to see your name in the list this morning. I felt sure it must come before long, considering the important work you have been doing, but the Foreign Office appears to be not over-lavish in its recognitions'. Together with John Nott-Bower (1892-1972) English police officer who served as Commissioner of the Metropolitan Police 1953-58. T.L.S., J. Nott-Bower, one page, 8vo, London, 29th June 1954, to the noted autograph collector R. E. Donaldson Rawlins, on the blind embossed stationery of New Scotland Yard. Nott-Bower states that he is happy to oblige his correspondent, remarking 'I take it my signature to this letter will suffice'. Also including Milovan Zoricic (1884-1971) Croation criminal judge and football official, one of the founders of HASK Zagreb in 1904 who translated the rules of football into Croatian in 1908 and who, in 1912, became the first president of the Croatian Football Federation. Blue ink signature and three additional words in his hand on a small oblong 12mo card. Generally VG, 5   

BESTALL ALFRED: (1892-1986) British illustrator and writer who submitted Rupert Bear stories for the London Daily Express from 1935-65. A fine, rare original black pen and ink drawing signed by Bestall, on a large 8vo page removed from an autograph album, n.p., n.d. (c.1930s/40s). Bestall has drawn a charming full-length image of Rupert Bear happily walking with a rucksack on his back and wearing his familiar checked trousers and matching scarf. Signed ('A. E. Bestall') by the artist at the foot of his drawing. Some very light, extremely minor age wear and a few very insignificant spots of foxing. VG    

[WRIGHT BROTHERS]: An interesting, small collection of original vintage photographs of various sizes (mainly 6 x 4) most depicting Wilbur Wright at an aviation school in France, some of the images showing him with other pioneer aviators including Bleriot, Tissandier etc., and one showing him seated in the cockpit of an aircraft. Some of the photographs, by Callizo, bear printed white captions. Also included is a photograph of the Wright Brothers plane on display in an exhibition hall, and three postcard photographs etc. Laid down (1). G to generally VG, 13    

Hitler’s manuscript notes for the first speech  he would make after being released from prison and in which he re-established the Nazi Party, declaring himself to have absolute authorityHITLER ADOLF: (1889-1945) Fuhrer of the Third Reich 1933-45. An historically important Autograph Manuscript, unsigned, two pages, 4to, n.p. (Munich?) n.d. (February 1925), in German. The holograph notes were prepared by Hitler in advance of a speech (the first following his release from prison) he delivered in Munich’s Burgerbraukeller on 27th February 1925. In the upper left corner Hitler has penned the year 1918 followed by the questions ‘What had happened?’ and ’Just what went wrong’, continuing with a diagram separating the political parties ‘on the Left “Proletariat”….Marxism….finished for good due to criminality’ and ‘on the Right “Bourgeoisie”……bourgeois parties….broke down due to cowardice’ and also including the ‘Volunteer Corps – Nationalist Organisations, Citizens Defending Themselves’, the manuscript continuing with other relevant points he intended to deliver within the speech, ‘Stick to the facts. Parties reject violence (cowardly). Associations are non-political (stupid. They keep pulling their chestnuts out of the fire). During all this the nation is destroyed, plundered domestically and internationally. Could anything still help? Founding of the NSDAP [National Socialist German Workers’ Party, more commonly known as the Nazi Party] Goal. Programme’, and to the second page Hitler writes further notes, ‘Development. 1919-20-21-22-23. 8th November Result: Inflation. 1924 Parliament. Struggle within the movement. Did anyone care about us? No. My release. December 1924, February 27th 1925. Buttmann. The division is impending. I and Held. I and Rohm. I and Ludendorff. Lies. The old movement……The movement? In a different Germany. Here.’ Autograph material of Adolf Hitler is extremely rare in any form, and the present notes are of particular significance in Hitler’s rise to power, this particular speech representing a landmark moment in the re-establishing of the Nazi Party and Hitler cementing his position as ‘der Fuhrer’. A couple of extremely minor, very small holes at the intersection of a couple of folds, VG‘If anyone comes and tries to make conditions to me then I say to him: friend, wait and see what conditions I have to make to you. I am not wooing the masses. After a year you shall judge, my party comrades; if I have not acted correctly, then I shall place my office in your hands again. But until that moment this is the rule: I lead the movement alone, and no one shall set me conditions so long as I personally bear the responsibility. And I once more bear entire responsibility for everything that happens in the movement’ (extract from Adolf Hitler’s two-hour speech delivered at the Burgerbraukeller, Munich, 27th February 1925)Hitler joined the tiny German workers party in 1919, He quickly became its leader. On 9 November 1923, at the height of the great German inflation (on 20 November, one U.S. dollar was equal to four trillion German marks), Hitler risked a coup. He led his followers through the streets of Munich to the Feldherrnhalle, a war memorial, where waiting police opened fire. Sixteen of Hitler’s followers were killed; Hitler himself was arrested, and after a trial that he turned into a political platform, he was sentenced to four years in prison. The party was banned, and its remnants degenerated into squabbling factions. Hitler stood outside the fray, using his time in prison to write Mein Kampf. He was released in December 1924 after serving only nine months of his term, and set about rebuilding the party. The authorities lifted the ban on the Nazi Party on 16 February 1925. Hitler now arranged one of his rhetorical masterpieces: a mass meeting on 27 February to re-establish the party. He chose the same beer hall from which he had launched his abortive revolution fifteen months earlier. Three thousand people packed the hall, and several thousand more were turned away. He entered to the passionate applause of the audience, and gave [a] two hour speech….Its first three-quarters offered nothing that most in the audience had not already heard, and would hear again in Hitler’s future speeches. He reviewed Germany’s history, claiming that past conservative parties had no contact with the masses, and that leftist parties pretended to address the problems faced by ordinary Germans, but actually served the interests of the Jews who controlled them. He also outlined his views on propaganda. In the last quarter of the speech, he moved to re-establish his control of the party. He claimed absolute authority. Anyone unwilling to obey could go his own way. Hitler ‘forgave’ those who had made mistakes in his absence, and demanded that there be no criticism of him or the party for a year. The audience responded with enthusiasm. After the speech, Hitler had arranged…..’a piece of pure theatre’. The Nazi leaders who had fought for supremacy while Hitler was in prison all ‘mounted the platform and, among emotional scenes, with many standing on chairs and tables and the crowd pressing forward from the back of the hall, shook hands, forgave each other, and swore undying loyalty to the leader’……The speech succeeded. Hitler once again was absolute leader of the party’ (from Landmark Speeches of National Socialism, edited by Randall L. Bytwerk, Texas A&M University Press, 2008).

[NUREMBERG TRIALS - THE POHL TRIAL]: A group of eight original 10 x 8 United States Army public relations photographs, unsigned, taken during the Pohl Trial of 1947, the different images depicting Oswald Pohl delivering his final statement to the Tribunal, Pohl and seven other ex-officials of the WVHA (the Main Economics and Administrative Branch of the SS) listening to the final judgement being read by members of the Tribunal on 3rd November 1947, Erwin Tschentscher listening to his sentence of ten years imprisonment, Hans Heinrich Baier also listening to his sentence of ten years imprisonment, August Frank making his plead of 'not guilty' to charges of participation in war crimes etc., and also including two identical unsigned 7.5 x 4.5 photographs of American attorney James R. Higgins, a member of the prosecution staff at the Pohl Trial, reading a portion of the closing statements, 17th September 1947. Most of the photographs have the original printed captions lightly affixed to the versos and all bear the stamps and reference numbers of the Public Relations Photo Section, Office Chief of Counsel for War Crimes, Nuremberg, to the versos and a few are also credited to Gunther Peis. VG to EX, 10    The Pohl Trial was the fourth of the thirteen trials for war crimes that the United States authorities held at Nuremberg after the end of World War II. In the Pohl case, SS-Obergruppenfuhrer Oswald Pohl and seventeen other SS officers employed by the SS Main Economic and Administrative Office (abbreviated in German as SS-WVHA) were tried for war crimes and crimes against humanity committed during the time of the Nazi regime. The main charge against them was their active involvement in and administration of the 'Final Solution'. 

A highly important Beilby enamelled armorial light baluster wine glass, circa 1765The round funnel bowl finely decorated in polychrome with the arms of Yeoman, a red heart pieced by two arrows on a white ground, within an elaborate rococo scrollwork cartouche painted in shades of purple, pink and cream, flanked by long green palm fronds, the reverse with a crest of a winged red heart, resting on a scrollwork bracket flanked by foliate sprays, traces of gilding to the rim, on a stem with an angular knop over an annular knop, beaded inverted baluster and small basal knop, over a conical foot, 18.1cm highFootnotes:ProvenanceMrs W D Dickinson CollectionCommander Sir Hugh Dawson CollectionWith Sheppard and Cooper LtdPrivate British CollectionLiteratureW A Thorpe, A History of English and Irish Glass (1929), pl.CXXXII, fig.B3R J Charleston, English Glass (1968), no.56Delomosne and Son, Gilding the Lily (1978), p.26, no.64L M Bickerton, Eighteenth Century English Drinking Glasses (1971), no.739 and (1986), p.330, no.1071Christopher Sheppard and John Smith, Glass from the Restoration to the Regency (1990), pp.78-9, no.113ExhibitedEnglish Glass, Victoria and Albert Museum, 4 July-31 August 1968In the historic literature the arms on this glass have been presumed fictitious but were identified at those of the Yeoman family of Dryburgh in Berwickshire, Scotland, see Sheppard and Smith (1990), p.79. The crest of the winged heart on the reverse was used by several families, but may be that of either Constant or Peake. Sheppard and Smith suggested that this may be a marriage glass.The Beilby workshop specialised in armorial decoration and their most celebrated productions are a series of royal wine glasses and goblets. Understandably, many proudly bear the Royal arms of George III, King of Great Britain while other specimens show Dutch royal armorials. The British royal glasses mostly have bucket-shaped bowls and opaque twist stems, forms that were popular in England at the time.Once known as 'Newcastle' balusters, glasses of this distinctive form are now known to have been manufactured in Holland as well as England. It is possible that the Beilbys imported undecorated light-baluster glasses from Holland, as most surviving examples of this shape with Beilby decoration have identical stems. The Beilbys will have been aware that the best glass engravers working in Holland, such as Jacob Sang, favoured the light-baluster shape for their most prestigious commissions. Fourteen Beilby-decorated wine glasses or goblets of similar shape are recorded including the present lot. Eleven of these bear armorials or crests, while three are painted with vine in opaque white enamel. The latter include one in the Victoria and Albert Museum (inv. no.c.625/1936), one in the Kunstmuseum Den Haag (inv. no.1005203) and one in the Fitzwilliam Museum (inv. no.C.513-1961).Of the crested and armorial examples, eight have direct Dutch connections. They include the magnificent Prince William V goblet from the A C Hubbard Jr. Collection sold by Bonhams on 30 November 2011, lot 142, a smaller wine glass also bearing the arms of Prince William V sold by Bonhams on 1 May 2013, lot 116, two wine glasses with the arms of Prince William V and Princess Wilhelmina accollé, including one from the Julius and Ann Kaplan Collection sold by Bonhams on 15 November 2017, lot 33 and one in Museum Rotterdam (inv. no.17), together with three glasses in private collections bearing the crest of the Tilly family of Haarlem, including one in the Durrington Collection, see Roger Dodsworth's catalogue (2006), p.35, no.29. A goblet attributed to the Beilby workshop from the Buckley Collection bearing the arms of the Van Dongen family of Amsterdam, now in the World of Glass Museum in St. Helens, is the only other heraldic goblet with a Dutch connection.A further signed Beilby wine glass enamelled with a presumably fictitious coat of arms, again from the Buckley Collection, is in the Victoria and Albert Museum (inv. no.C.623-1936) and was originally acquired in Holland. The only other light baluster wine glass with a Scottish family connection is in the Museum of London (inv. no.34.139/334) and bears the arms accollé of the Paton family of Ferrochie, Fifeshire. The cartouche on the present glass bears a number of close similarities in style and palette to that on a goblet bearing the arms of Anderson impaling Consett from the Julius and Ann Kaplan Collection, sold by Bonhams on 15 November 2017, lot 32.For further information on this lot please visit Bonhams.com

A large and early North Devon slipware harvest jug, dated 1740In a deep honey-coloured glaze, the generous globular form with a plain strap handle, the pinched neck sgraffito decorated with a formal chevron border and the initials 'W P' flanking the pouring lip, the front with a large heart-shaped panel inscribed 'Now I am com for to Sup-/ Ply your work men when that/ Thy are Dry In harvast time when/ Thy in Labor heard Do swet Good Drink/ Is beter for then miet and in winter when/ It is Could I Lik wais then Good bear/ Can hould both Se Sans Do Good Drink/ ReQuier this most men do the same/ Disire 1740 W Pope', above a formal spray of three leaves, the initials 'R W' below, flanked on both sides by a 'sun in splendour', one bearing teeth and the other smiling, 37.5cm highFootnotes:The verse reads 'Now I am come for to supply, your workmen when that they are dry, in harvest time when they in labour hard and sweet, good drink is better far than meat, and in Winter when it is cold, I likewise then good beer can hold, both Seasons and good drink require, this most men do the same desire'. Beer was drunk for quick energy release during hard labour, especially during harvest time. This jug was likely commissioned as a wedding present as suggested by the heart-shaped panel. The two 'suns in splendour' may be male and female, symbolising the happy couple. The initials 'W P' and 'R W' likely represent the couple, whereas W Pope is probably the potter. A jug dated 1724 from the Glaisher Collection with a North Devon pedigree, inscribed with another variation of the same verse, is in the Fitzwilliam Museum (inv. no.GL.C.59-1928). See also the armorial example dated 1748 attributed to Barnstaple or Bideford in the Chipstone Foundation collection, Wisconsin (inv. no.1994.10) which has a similar inscription also in a heart-shaped panel.For further information on this lot please visit Bonhams.com

A REGENCY MAHOGANY BERGERE LIBRARY ARMCHAIRATTRIBUTED TO GILLOWS, CIRCA 1815 93cm high, 63cm wide, 70cm deep overallProvenance: Private Collection, New York. For a pair of closely related bergeres, see Christie's, London, 500 Years: Decorative Arts Europe, 23rd September 2010, Lot 294 (£25,000). Condition Report: Chair with the marks, knocks, scratches and abrasions commensurate with age and use. Leather cushions in generally good order overall. They bear the expected wear, fading, creases and marks. Caning is likely an old replacement. It is in good order with no tears detected. Some old minor chips and splits to timber. One roundel to the front seat rail with old glued split. Chair is structurally solid overall. Castors are of the period and there is np evidence to suggest that they are replacements. Please refer to additional images for visual reference to condition. Seat measurements: 50cm wide, 57cm deep (52cm deep with cushions).    Condition Report Disclaimer

Y A PAIR OF REGENCY ROSEWOOD AND BRASS MOUNTED PIER CABINETSCIRCA 1815Each mounted with a Lumichella Antica marble topeach 94cm high, 59cm wide, 32cm deepCondition Report: Both cabinets with marks, knocks, scratches and abrasions commensurate with age and use. Some old splits and chips. Marble tops are later to match and bear just the expected minor chips and scratches. The sections of timber directly below the marble tops are replacements and there are later supporting blocks to the undersides of these sections. Key present and fits both locks but only operates one as the catch to one door does not fit into the lock deep enough to lock. This lock has a slender fillet of later timber visible adjacent to it. Both escutcheons are lacking. Turned feet are later. The grilles to the doors are slightly misshaped in places and have detached from the frames in areas. There is glue residue to visible to the insides of the doors where it has been used to attached the grilles in places. Please refer to additional images for visual reference to condition.    Condition Report Disclaimer

Y A GEORGE II BURR ELM, ROSEWOOD AND CHEVRON BANDED TEA CADDYCIRCA 1745The divided interior fitted with two lidded compartments 16cm high, 28cm wide, 15cm deep Condition Report: Caddy with the marks, knocks, scratches and abrasions commensurate with age and use. Old chips, splits and some small losses. Metalware appears original. A key is present and operates the lock. A few small old veneer repairs. Later fabric applied to underside. The stuck down fabric to the underside of the lid is possibly original. It has significant discolouration, wear, tears and losses.All three liners present. They bear the expected minor knocks, scratches and some minor oxidisation to surface. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

Children's Books - The Green Goblin Book, Enid Blyton; Fun and Fantasy, drawings from punch, by E. H. Shepherd; Lucie Attwell's Annual, 1972; Rupert Bear, Daily Express annuals, 14 volumes; ladybird books, Thomas the tank engine, first editions, 12 books; Noddy; etc

Six 9ct gold charms comprising Coco Cola, heart, teddy bear, duck, rabbit and angel, 5.3g

A modern Steiff Guinea pig and a Charles Bear Giraffe

A white Steiff Bear and a Steiff Penguin

A pair of Steiff ears and a boxed Teddy Bear

A Steiff Beefeater Bear

Two Lamonosov USSR porcelain figures, modelled as a penguin and a polar bear, printed marks, 16cm high and 12cm high respectively.

Djimi Traore signed Nike 90 football boots,the white and black football boots, signed in black marker pen, boots bear wear and tear throughout

A group of mixed ceramics to include various items of Wade, a c1935 Flaxim ware baby bird decorative jug, a decorative Wade small vase in the form of a tree trunk with bird, a large figure of a polar bear, an unusual Wade, 'The Genie' teapot, three Sandeman Port decanters, two Wade examples and one Royal Doulton, and one ceramic figure of crinoline lady (10). CONDITION REPORT All pieces have age related wear, they don't appear to be any breaks or restoration, however the Royal Doulton and one Wade decanter have the lid missing

WADE; a large quantity of Whimsies, figures and characters to include boxed Walt Disney figures, model of a Staffordshire dog, also ceramics from the Wade collectors club to include 'Mummy Bear 1996', ceramic and rubber models of Popeye, Olive Oyl and Bluto, etc. CONDITION REPORT All appear to be in good order.

BESWICK; a rare model of a black Aberdeen Angus calf, 7 x 7cm, a Bambi, and a koala bear (3).

STEVEN TOWNSEND (Northern artist, born 1955); a pencil signed limited edition print titled 'Warmth of Nature', depicting ta Polar bear and cubs nestled between snow-clad trees, no.501/675, signed in pencil lower right, blind gallery stamp lower left, 50 x 73cm, unframed, still in gallery cellophane, mount size 68 x 91cm, with certificate of authenticity. † CONDITION REPORT This lot may qualify for Artist Resale Rights. For further information, please visit

RUSH HOUR 2; a press pack for the film, including a copy of the script and various black and white photographs, nine of which bear signatures of cast and crew associated to the film.We have not authenticated these signatures, please satisfy yourself as to the veracity of the item prior to bidding.

BATMAN; five items relating to the TV and film series, three of which bear signatures, a Q-Pop figure bearing the signature of Adam West, a diecast Batmobile bearing the signatures of both Burt Ward and Adam West, a Hotwheels Batcopter bearing the signature of Burt Ward, a double video (unsigned) and a diecast figure (unsigned) (5).We have not authenticated these signatures, please satisfy yourself as to the veracity of the item prior to bidding.

A BLACK FOREST BEAR COTTON REEL HOLDER, H 9 cm

A BLACK FOREST BEAR SPECIMEN VASE, H 17 cm

A TWENTIETH CENTURY BLACK FOREST STYLE CARVED PINE / LINDENWOOD BEAR HALL STAND, with a bear and cub at the base looking up to a bear cub at the top of the carved tree, all on a naturalistic base, H 193 cm

A STEIFF LIMITED EDITION 'A MILLION HUGS' 100TH BIRTHDAY CELEBRATION BEAR 1907 / 2007, red brown edition, number 2281/3000, button in ear, white tag 038785, with original box, H 28 cm

A STEIFF LIMITED EDITION 'A MILLION HUGS' 100TH BIRTHDAY CELEBRATION BEAR 1907 / 2007, bright brass / blond edition, number 2766/3000, button in ear, white tag 038778, with original box, H 28 cm

A STEIFF LIMITED EDITION 'A MILLION HUGS' 100TH BIRTHDAY CELEBRATION BEAR 1907 / 2007, wool white edition, number 2788/3000, button in ear, white tag 038792, with original box, H 28 cm

TWO STEIFF LIMITED EDITION 'MARGARET STEIFF' 150TH BIRTHDAY ANNIVERSARY BEAR 1847 / 1997, dark brown edition number 3548 and white edition number 6522, with ceramic pendant necklaces, button in ears, white tags, with original boxes, H 28 cm (2)

A STEIFF LIMITED EDITION '2013 QVC BEAR', number 177 of 5000, button in ear, white tag 664335, with original box, H 28 cm (3)

A CHARLIE BEARS 10TH ANNIVERSARY COLLECTION 'ANNIVERSARY CAROL' BEAR, designed by Isabelle Lee, complete with tags and storage bag, H 32 cm

A CHARLIE BEARS 'HOCUS POCUS' PLUSH TEDDY BEAR, designed by Heather Lyell, H 57 cm, complete with tags, together with a Charlie Bears Isabelle Lee collection Kieran (2)

A CHARLIE BEARS ISABELLE LEE COLLECTION 'ADE' TEDDY BEAR, H 42 cm, together with two smaller Charlie Bears to include Bruno (3)

A CHARLIE BEARS ISABELLE LEE COLLECTION 'SETH' BEAR, H 50 cm

A CHARLIE BEAR ISABELLE LEE COLLECTION LIMITED EDITION ANNIVERSARY 'DIESEL THE BIRTHDAY BEAR', part of the 10th anniversary collection, H 33 cm, together with a larger Isabelle Lee collection bear 'Goober' complete with tags, H 46 cm (2)

A LARGE CHARLIE BEARS ISABELLE LEE COLLECTION 'MERCURY' BEAR, complete with tags, H 56 cm

A CHARLIE BEARS ISABELLE LEE COLLECTION 'INCA' BEAR, complete with tags, H 44 cm

A CHARLIE BEARS ISABELLE LEE COLLECTION 'ELDERBERRY' BEAR, complete with tags, H 51 cm

A CHARLIE BEARS ISABELLE LEE COLLECTION 'LOCKIE' BEAR, approx H 49 cm, together with a smaller 'Tom' bear, approx H 29 cm (2)Condition Report:

A CHARLIE BEARS ISABELLE LEE COLLECTION 'DUFFY' BEAR, approx H 50 cm

A CHARLIE BEARS ISABELLE LEE COLLECTION 'TRISTAN' BEAR, approx H 40 cm, together with another Charlie Bears 'Chester' bear, approx H 42 cm (2)

A CHARLIE BEARS ISABELLE LEE COLLECTION 'MR TWITCHER' BEAR, approx H 47 cm

A CHARLIE BEARS ISABELLE LEE COLLECTION 'BARDOT' BEAR, approx H 44 cm

A CHARLIE BEARS ISABELLE LEE COLLECTION 'ROXIE' RACCOON BEAR, approx H 42 cm (not inc tail)

A CHARLIE BEARS ISABELLE LEE COLLECTION LIMITED EDITION 2013 'CHARLIE' BEAR, Hug number 5, H 51 cm

A CHARLIE BEARS LIMITED EDITION 'PORRIDGE' BEAR, complete with tags and spoon necklace, H 43 cm, together with two further Charlie Bears comprising 'Lawrence' and 'Parker' (3)

A CHARLIE BEARS ISABELLE LEE COLLECTION LIMITED EDITION 'HARPER' BEAR, number 213 of 300, approx H 42 cm

A CHARLIE BEARS ISABELLE LEE COLLECTION LIMITED EDITION 'HERCULE' BEAR, number 213 of 300, approx H 42 cm

A LARGE CHARLIE BEARS 'PHANTOM' BEAR, designed by Heather Lyell, approx 64 cmCondition Report:There are some marks to the fur of this bear - see images. Look to be easily removed but no guarantee offered.

A STEIFF LIMITED EDITION MOHAIR 'MUZZLE' BEAR 1908, number 468 of 2650, button in ear, white tag 0174/60, H 60 cm, with box & certificateCondition Report:Still fixed in original box but plastic cover damaged and tape on box.

TWO STEIFF LIMITED EDITION LARGE MOHAIR BEARS, comprising 'Teddy Boy 1905', number 99 of 6000, button in ear, white tag 404321, H 48 cm, and 'BEAR 55 PB 1902', number 4793 of 7000, button 9in ear, white tag 404009, H 50 cm, both boxed (2)