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Lot 775
Beatles 1967-Magical Mystery Tour (LP), Capital MAL-X-2-2835, stickered on sleeve, "Specially imported by EMI records", Gatefold sleeve with Apply Presents The Beatles in Songs and Music from a colour television film called 'Magical Mystery Tour', booklet cover list cast, of film and carries, '(c) 1967 NEMS Enterprises Limited, excellent plus sleeve, near mint vinyl, very rare import, in protective polythene sleeve.
Lot 169
North Korea, Order of the Korean People’s Army Foundation, type 1, in bronze-gilt and enamels, reverse numbered 6031; Order of the 30th/40th Anniversary of the Founding of the DPPK, in bronze-gilt and red enamel; Order of the 50th Anniversary of the Founding of the DPPK, in bronze-gilt and red enamel; Order of Capital Construction, in silvered and gilt bronze; Order of the 60TH Anniversary of the Korean People’s Army, in bronze-gilt and red enamel; Order of the Fatherland Liberation 40th Anniversary Commemoration, in silvered and gilt bronze and red enamel, generally extremely fine (6)
Lot 161
North Korea, Order of the National Flag, type 4, variation 2, First class badge, reverse numbered 82461; type 5 variation 3, Second class badge, reverse numbered 76796; Type 7 variation Third class badge, unnumbered; miscellaneous DPRK medals (12), comprising Combat Service type 2; Capital Construction; 60th Anniversary of the Korean People’s Army; Military Merit (2), type 4, variation 2, type 5 variation 1; Meritorious Service, type 2; Fatherland Liberation War Participation, type 1, Fatherland Liberation War Commemorative, type2; Agricultural Meritorious Service type 1; Foundation Commemoration, type 2; Fatherland Liberation, Commemorative, type 2, Mount Kumgang Power Plant Construction, very fine and better (15)
Lot 364
1913 official UNDERGROUND MAP OF LONDON, "What to see and how to see it". Print-code: 187-150 M-1-6-13.This is the map shown on p59 of Capital Transport's "No need to ask" reference work and shows the planned extensions of the Bakerloo, Central and Hampstead Tubes. The cover features one of the first printed versions of the bullseye logo, forerunner of today's roundel. Light staining to covers and tiny tear at r/h edge but overall a very good copy. [1]
Lot 4
London Tram & Trolleybus Driver's METROPOLITAN STAGE CARRIAGE BADGE T2575, equivalent to a PSV licence badge and issued from 1935-1962 for electric traction in the capital. A low-numbered badge with early-type clip fitting on reverse. In well-used condition with very faded lettering and two very small edge-chips. [1]
Lot 383
A large and fine Regency period gilt framed Overmantel Looking Glass, the outset columns below a frieze with moulded foliate style decoration, the columns each with three bands of horizontal swirling acanthus below a Classical style capital with outset corners, full external width 179cm x 130cm high (original plate)
Lot 76
A Martin Brothers stoneware sundial by Robert Wallace Martin, dated 1888, stepped square base cast in low relief with radiating rising sun motif, and panels of foliage, the cylindrical column with foliage stems rising up to flaring capital cast and carved in relief with Aesthetic sunflowers, in shades of green and brown on a buff ground, verdi gris metal sundial inscribed 1634, incised R W Martin & Bros London & Southall, chips and firing cracks, 72cm. high, 32cm square top, Provenance Sir Richard William Drake FSA, chairman of the Burlington Fine Arts Club in 1886 commissioned a sundial from Robert Wallace Martin for the garden of his house in Weybridge, Surrey. This is the only reference to a sundial in the surviving Martin papers. British Art Pottery, Woolley and Wallis 1st December 2010 lot 15. Private collection
Lot 62
A set of three Martin brothers stoneware Aquatic architectural panels, each tapering form with fluted capital and base, modelled in low relief and incised with grotesque fish, eels and aquatic creatures, in shades of brown and blue on a buff ground, losses and old repairs, 49cm. high, 33cm wide (3)
Lot 320
Two Fine Carved Figural Terminals: One being a good late 16th/early 17th century walnut Atlante of fine colour & patination carved in the form of bearded figure bearing an Ionic scrolled capital upon his head and rising from a tapered pilaster enriched with jewel-work, swagged drapery and pendant garlands, 22 ins x 4½ ins (56 cm x 11.5 cms). The other being early 17th century oak carved as an Atlante; his naked body with crossed arms rising from a tapered pilaster enriched with strap-work and having pendant fruit to the top, 23 ins x 4½ ins (58.5 cm x 11.5 cms). Both mounted on a felt clad display boards.
Lot 34
A Chinese red leather chest and cover of rectangular form, decorated with floral motifs and loop handles, 80 x 64 x 36 cm Prov: The interior cover with a Chinese four-line inscription beside an old, but un-dated, note, written in English. Whilst this handwritten text cannot be substantiated, it very specifically refers to the looting of the Yuan Ming Yuan Palace in 1860, concluding: 'this lacquered leather box looted'. The destruction of Yuan Ming Yuan during the reign of The Xianfeng Emperor (1851-1861), really characterised the disorder and chaos of this era which had already suffered from the excess of The Taiping Rebellion of 1851-54. Indeed, the Taiping insurrection proved so damaging, that the Imperial ceramic factories at Jingdezhen were utterly destroyed, and the population there massacred or dispersed. Xianfeng was not, therefore, in a confident position to outwit the European forces which arrived in the capital, resulting in huge looting from the Imperial Inventory. The entry of British, Indian and French forces into Peking on October 13th, 1860 was the culmination of an expedition that had commenced with an action at the Taku Forts the previous August. Significantly, this was the first occasion in which rifled artillery was first used by British forces. Unhappily, the subsequent diplomatic negotiation between the British and Chinese leadership at Tientsin was unsuccessful, precipitating further actions at Chang-kia-wan and Pa-li-chian. The British troops, commanded by Lieutenant General Sir Hope Grant, and the French troops commanded by General Montauban, thus entered the capital where objects from the Imperial Collection at Yuan-Ming-Yuan became an obvious attraction, eventually finding their way into Western collections. Condition Report The damage includes areas of various deterioration and loss to both exterior and interior.
Lot 790
*A green painted and giltwood Grecian harp, by J.A. Stumpff, the main column with caryatid and classical capital above fluted tapering stem and acanthus base, the brass-mounted scroll inscribed "Patent Harp Invented by J.A. Stumpff, London No. 44 Great Portland Street, Portland Place, maker to his Majesty the King of Great Britain & C.", the satinwood soundboard decorated in penwork with floral motifs, lyres, birds, urns and cherubs, the gilt foot with hippocampus and anthemion decoration, 67in. (170cms) high.
Lot 1
Amarna Period, 18th Dynasty, 1353-1336 BC. A rectangular limestone relief fragment depicting a profile head facing left with full lips, heavy jawline and lentoid eyes, hatched ties to the rear, six rays terminating in elongated hands extending from the upper edge, the upper part of a frieze of lotus flowers beneath. 7 kg, 56cm overall (22"). Fine condition; repaired. Property of a London gentleman; acquired Bonhams, New Bond Street, London, UK; 1 May 2008, Lot 43; with a print-out of the catalogue entry and a copy of the purchase invoice. The head is that of Nefertiti, queen and Great Royal Wife, of the Pharaoh Akhenaten, and whose name means the beautiful one is here. Nefertiti and her husband were known for a religious revolution, in which they worshipped one god only, Aten, or the sun disc. Akhenaten and Nefertiti were responsible for the creation of a whole new religion which changed the ways of religion within Egypt. With her husband, she reigned at what was arguably the wealthiest period of Ancient Egyptian history. Some scholars believe that Nefertiti ruled briefly as Neferneferuaten after her husband's death and before the accession of Tutankhamun. Her husband abandoned the old royal capital of Thebes due to its association with the old gods, particularly the state deity Amun. Akhenaten issued a ban on the worship of the gods and had the temples closed down, thus marginalising the wealthy and powerful priesthood. As part of his religious revolution Akhenaten built a new capital several miles north of Thebes at a site called Akhetaten, meaning the Horizon of the Aten, now modern Amarna. The new capital had a number of important open air shrines dedicated to the Aten which were profusely decorated with scenes depicting the royal family making offerings to the sun disc. The architects employed a new way of constructing and decorating the temples by using small stones that were carved with sections of the larger friezes, which are known today as talatat, of which this is an example. The scene on this relief depicts Nefertiti standing before an altar table, the top part of which is visible as a line, and offering lotus flowers to the Aten. The Aten was depicted as a disc from which descend beams of light that end in hands; these hands hold the ankh, hieroglyph for life to the noses of the royal family. In scenes found on the talatat, Nefertiti appears almost twice as often as her husband. She is shown appearing behind her husband the Pharaoh in offering scenes in the role of the queen supporting her husband, but she is also depicted in scenes that would have normally been the prerogative of the king. After the death of Akhenaten it is believed that Nefertiti may have started the process of abandoning the worship of the Aten and a return to the old gods, a move that was essential for the political stability of Egypt that had started to disintegrate under the rule of her husband, particularly diplomatic contacts with neighbouring kingdoms. This scene clearly displays the so-called Amarna style in art which broke with long-established Egyptian conventions. Unlike the strict idealistic formalism of previous Egyptian art, it depicted its subjects more realistically. These included informal scenes, such as intimate portrayals of affection within the royal family or playing with their children, and no longer portrayed women as lighter coloured than men. The art also had a realism that sometimes borders on caricature, but which had a lasting effect on Egyptian art.
Lot 1887
Dated 1797 AD. A Georgian gold ring with circumferential incised hoops; inscribed to the inner face in script 'E. Boyd & Yule Novr 15th 1797' with maker's mark 'H&T' and hallmarked with George III bust, lion and capital 'F' date letter (used at Newcastle for 1796"). 2.79 grams, 17mm overall, 15.21mm internal diameter (approximate size British I, USA 4 1/4, Europe 7.44, Japan 7) (3/4"). Very fine condition. Property of a gentleman; acquired in the 1970s. See printouts of family tree documents for Edward and Janet and their children; especially for Benjamin who was an important figure in early Australian settlement; see also DNB and ADB entries for Benjamin Boyd. Edward Boyd (1770-1846), born at Merton Hall, Wigtownshire, Scotland, son of Rev. William Boyd, married Janet Yule, eldest daughter of Benjamin Yule (Edinburgh) on 15th November 1797 and he went on to be a London merchant and to hold the office of Deputy Lieutenant there. Their most famous son, Benjamin Boyd (1803-1851), was an entrepreneur and London stockbroker who, having raised capital, travelled to Australia to form the Royal Bank of Australia; Benjamin was a squatter on a large scale (one of the largest in Australia, eventually controlling over 2,000,000 acres in the Monaro and Port Philip districts, raising sheep) and he controversially imported natives from the Pacific Islands as labour (a practice known as 'blackbirding'); as a trader he had three steamers and three sailing ships (as Boyd and Company) and he founded Boydtown, the first settlement on Twofold Bay, in 1843, on the south coast of New South Wales, with a large jetty and a lighthouse (Boyd's Tower); from Boydtown, Benjamin had nine whaling ships operating and he sat in the New South Wales Legislature. The town was deserted in the 1840s, after Boyd's finances collapsed but the area is now flourishing again, mostly for housing and tourism; Boyd left Australia in 1848 in an attempt to recoup his fortune in the California goldfields and, in 1851, sailing on his yacht 'Wanderer', he disappeared at Guadalcanal (Solomon Islands) after going ashore to hunt ducks; his body was never found. The Ben Boyd National Park in New South Wales was named after him in 1971. The other sons of Edward and Janet include William Sprott Boyd (1799-1844, Resident at Court of Boroda and Political Commisioner for HIEC at Gujerat), Mark Boyd (1805-1879, banker and involved with Benjamin in Australian land deals), John Christian Curwen Boyd (1811-1882, served in the British Embassy, Florence), Edward Lennox Boyd (1819-1905, of Burham Priory) and James Boyd (1819-1852, travelled to Austrlia and New Zealand, where he married); there were also daughters named Marion, Mary, Jane and Janet.
Lot 143
A RARE CHINESE IMPERIAL JADEITE AND ZITAN HAT STAND, 19TH CENTURY Constructed in sections, the domed base carved in shallow relief with bats amongst cloud scrolls above a band of key fret, the flowerhead-shaped hat rest carved with two layers of petals, the flaring knopped zitan supports separated by a large central segmented ovoid jade bead, all contained within a fitted zitan box, the stand 28.5cm overall. (2) Provenance: formerly the property of Dr Little, surgeon and physician in Shanghai from 1869-1901. Admiral Sir Charles Little and thence by descent. A closely related hat stand is on display at the Beijing Capital Museum. 十九世紀 紫檀柄翡翠荷花帽架 來源：海軍元帥查爾斯·雷特舊藏，后由其後人雷特醫生繼承（從1869年至1901年曾任軍隊內科醫生）
Lot 113
Animal bone staff or club, with ribbed body, carved with animal head capital, 71cm long All lots in this Tribal and African Art Sale are sold subject to V.A.T. Therefore £100 hammer price will have Buyers premium on top and also an extra £20 in V.A.T. Condition report: see terms and conditions
Lot 288
*Donington Park Motor Road Racing Circuit. A 1935 application form for shares in the Donington Circuit Ltd., company, together with an invitation letter from the Ridgeford Trust dated March 1935, and a six page typed prospectus outlining the description of the property, 1935 programme, estimated income, financial capital and a list of director's etc., in good readable condition, an interesting and historic document (1)
Lot 842
A pair of modern concrete jardiniere stands with lobed bowls raised by three cherubs standing on a base, 27 by 27 by 69cm high, together with a modern pillar capital, 25 by 25 by 28cm high, and a modern reconstituted stone garden urn with scroll handles on a pedestal base, 61 by 46 by 76cm high.
Lot 242
CANTELLI GUIDO: (1920-1956) Italian Conductor. A good, rare vintage signed and inscribed 10 x 13 photograph, the sepia image depicting the conductor in a head and shoulders pose. Signed in bold green fountain pen ink to the lower white matt, 'To Sydney Giles, Guido Cantelli' and dated 1955 in his hand. Accompanied by the original envelope hand addressed and annotated in Cantelli's hand, also adding his name ('MAESTRO GUIDO CANTELLI') in capital letters in the return address. Autographs of Cantelli are rare in any form as a result of his tragic death at the young age of 36 in an aircraft crash, and signed photographs of this size are particularly rare and desirable. Some slight creasing to the matt, otherwise VG
Lot 274
BYRON LORD: (1788-1824) British Poet, a leading figure in the Romantic Movement. Book signed, a hardback edition of Childe Harold's Pilgrimage - Canto III (1816) bound with Canto IV (1818), First Edition printed by Thomas Davison for John Murray, London, 1816/1818, being the first variant of the second issue with capital L of Lettre directly beneath lui of celui-la on title page and page 67 with the word Eagle (as opposed to Falcon in the second variant). Half title page present and bound with the notes and the poem A Very Mournful Ballad on the Siege and Conquest of Alhama. Signed ('Noel Byron') by Lord Byron in ink with his name alone to the head of the title page. Bound in calf with gilt stamped decoration to the edges, four raised bands to the spine. Some light staining to some pages, very slightly affecting the last two letters of Byron's signature, and with light overall age wear, G Provenance: Accompanied by a loosely inserted letter signed by Dr. Peter Beal of Sotheby's, 13th December 1991, and relating to Lot 28 in the Sotheby's auction of 12th December 1991, and stating 'We are happy to confirm our definite opinion that two of the volumes in this lot were signed by Lord Byron, using the form of his name (“Noel Byron”) he adopted after the death of his mother-in-law in January 1822. Byron's signature was subject to variation, depending in part upon the speed with which he wrote, but close comparison with a number of facsimile examples leaves no doubt in our mind that his salient characteristics are present and that there is no indication of forgery'.
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