We found 9689 price guide item(s) matching your search

A spherical Shell engraved in large capital letters around the circumference 'Inkerman November 5th 1854' 4 1/2in D

Corgi a boxed Set Bus group to include 97096 Capital & Highlands set, OM45908 Van Hool T9 and Cold Cast Diorama 'Maynes of Buckie' & OM49901 Plaxton Centenary set. Conditions generally appear Near Mint to Mint in generally Good Plus to Near Mint boxes. (3)

Printing & type setting - vintage metal printing letters and sets, assorted sizes and type faces, fonts, capital and lower case, elaborate script etc Ellams and Vellam stencil duplicator paper, part used qty boxed etc

A 19th century cut glass oil lamp base, with brass Corinthian capital and square base. Height 45 cm. CONDITION REPORT: There are areas of loss to the glass column, these are apparent where it meets the brass divide on top of the dome. The column is also not securely fastened to its base. Much of the brass is discoloured and pitted. One corner to the top of the Corinthian column has received a blow and is bent. The glass top itself is misshapen and has serious losses. There is a drill hole to the side of the rectangular brass base for electrical wires.

A reconstituted stone Corinthian capital, in the 18th century style, 21 x 28 x 26cmProvenance:Collection of Mike Handford, 'Hillsleigh', Burford, Oxfordshire

A carved oak pew-end, 16th century, the poppy-head finial with losses, the end decorated with carved sunk tracery of slender lights and quatrefoil, the reverse with a carved stiff leaf, together with a pew end capital112 x 25cmProvenance:Collection of Mike Handford, 'Hillsleigh', Burford, Oxfordshire

A carved walnut column capital, probably 17/18th century, with scroll and mask detail 13 x 16.5cm; together with a Continental small carved walnut female mask panel, 18th century, the face supporting swags of flowers and fruits 29cm wide;a Continental oak herm, probably 17th century 49.5 x 11.5cmProvenance:Collection of Mike Handford, 'Hillsleigh', Burford, Oxfordshire

A 19th Century gilt Overmantel Mirror with floral swags and drapery to the frieze above a bevelled plate, flanked by Doric Capital fluted columns, 5ft 1in H x 4ft 9in W

A pair of white marble Columns in the classical manner with gilded metal Corinthian capital, mounted on stepped square base 2ft 9in H x 8in W

A book fold map titled The railways throughout england and wales to the capital of scotland 1841. NO RESERVE

A RARE .177 WEBSTER'S 'DARE DEVIL DINKUM' AIR-PISTOL, no visible serial number, circa 1925, with nickel-plated tapering smoothbore 6in. barrel, small bolt-action receiver, fixed open sights consisting of a fore-sight pillar and standing notch rear-sight, the left side of receiver marked 'WEBSTERS DARE DEVIL DINKUM PISTOL' with the model name sharing an oversize capital 'D', integral swept cast grip with semi-birdshead pommel, the action cocked via a rod protruding at heel with a special tool (included), integral trigger unit and applied trigger guard bow, much plated finish remaining on both pistol and cocking tool. Pre-1939

§ § Sir William Russell Flint RA PRWS (1880-1969), drypoint etching, Nude seated upon an ionic capital, indistinctly signed, 13 x 7cm

An 19th century silver-plate-mounted epergne: the tall cornucopia with crimped edges and with larger bowl below; the silver-plated vertical stand with an acanthus capital and reeded stem raised on three downswept scrolling feet. (49 cm highest point x 25 cm widest point) 

A Sevres Lilac-Ground Hexagonal Hard-Paste Porcelain Teapot and Cover (Theiere 'Chinoise Fragonard')Circa 1819bearing stenciled blue interlaced Ls enclosing a fleur-de-lis mark with incised kiln date cypher 14-10 for October 1814 and gilt m, 11, n, 18 (sic) M... for gilding on 11 November 1818 (sic) possibly by Moyer; the hexagonal baluster pot with conforming slightly domed hexagonal cover with gilt coral flower finial, a molded gilt-edged central frieze painted in coral red with a key pattern, the applied upright loop handle also coral with stylized gilt leaf terminals, the angled faceted spout with gilt wolf-head mouth with a bell suspended as the terminal, the neck of the pot coral with a gilt ball resting at the angle of each of the six facets.Height 5 1/2 inches.This lot is located in Chicago.Provenance:Nicolier, Paris (labeled)Dragesco-Cramoisan, Paris, 16 June 1995 (purchased at the International Ceramics Fair, London; with invoice)Exhibited:New York, Bard Graduate Center for Studies in the Decorative Arts, The Porcelain Manufactory at Sevres, 1800-1847: Alexandre Brongniart and the Triumph of Art and Innovation, 14 October 1997-31 January 1998, cat. no. 47Washington, D.C., Hillwood Museum and Gardens, Sevres Then and Now: Tradition and Innovation in Porcelain 1750-2000, 12 September-10 December 2006, cat. no. 41Literature:Tamara Preaud, ed., The Porcelain Manufactory at Sevres, 1800-1847: Alexandre Brongniart and the Triumph of Art and Innovation, Exhibition Catalogue, Bard Graduate Center for Studies in the Decorative Arts, 1997, cat. no. 47Liana Paredes, Sevres Then and Now: Tradition and Innovation in Porcelain 1750-2000, London, 2009, cat. no. 41, pp. 84-85Note:Designed for Sevres by Alexandre-Evariste Fragonard in April 1818, the theiere chinoise Fragonard was put into production immediately. The present teapot and the other example in this sale (lot 104) are two of the earliest examples made, the form produced between 1818 and 1846 as a stand-alone teapot. Later examples featured more elaborate decoration such as that of 1827 now in the collection at Sevres-Cite de la ceramique (MNS 24.784).Three of the five easily located extant examples were at one time in the collection of Mr. and Mrs. Fred Krehbiel. The third, an agate blue-ground pot painted and gilt in the style of Chinese cloisonne enamel, purchased from Dragesco-Cramoisan in October 2006, was a gift to the Art Institute of Chicago in 2010.Fragonard was paid 30 francs for his design. His watercolor of it, retained in the factory" archives (2011.3.900, reproduced here), is almost identical to the present pot, with decoration of a coral red fretwork frieze enriched in gilt on a powdered lavender ground.The salesroom entry records for 26 December 1818 include the first eight examples of the theiere chinoise Fragonard. The Sevres factory held its annual selling exhibition at the Palais du Louvre 29 December 1818-8 January 1819. In total, seventeen examples are recorded between 1818 and 1821, each priced at 36 francs. These were almost certainly a solid ground color with a fretwork frieze similar to the two examples in the present sale. The present example, with its incised kiln date of October 1819 is obviously from this group. Two with a blue ground enriched in gilt and priced at 55 francs may be similar to an example of 1819-1820 sold at auction at Drouot by Audap & Associes, Paris, 10 December 2020, lot 134. Between 1827 and 1846, eight further examples of the form are recorded with richer decoration. The teapot now at the Art Institute dated 1832-1835 (2010.583a-b) may be from this group. The factory markings on this teapot present a conundrum, in that the gilder" mark appears to predate the kiln date. The incised kiln date 19-10 is written in a typical 18th century hand, the loop of the 9 not closing completely. It is the inscribed gilding date of 1818 that must be incorrect. M…. may be for Jean-Louis Moyer (active 1818-1848), recorded at Sevres as a gilder who used a wide capital M as his mark. Looking at the dates involved, the present teapot with its patently incorrect gilding year will have been one of his first pieces, so perhaps one can excuse the error.Photo Credit: © RMN-Grand Palais / Art Resource, NYIn good condition with negligible wear to the angles of both pot and cover. Having a tiny chip to the gilt foot rim to the left of the spout and a miniscule chip to the edge of a finial petal which ha been retouched. Very minor wear to gilding.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.

A Sevres Powdered Pale Blueish Grey-Ground Hexagonal Hard-Paste Porcelain Teapot and Cover (Theiere 'Chinois Fragonard')Circa 1819-1820bearing stenciled blue interlaced Ls enclosing a fleur-de-lis with incised kiln date cypher 19-10 for October 1819 and gilt m 24 Mr 20 for an unknown gilder on 24 March 1820; the hexagonal baluster pot with conforming slightly domed hexagonal cover with gilt coral flower finial, a molded gilt-edged central frieze painted in coral red with a key pattern, the applied upright loop handle also coral with stylized gilt leaf terminals, the angled faceted spout with gilt wolf-head mouth with a bell suspended as the terminal, the neck of the pot coral with a gilt ball resting at the angle of each of the six facets.Height 5 1/2 inches.This lot is located in Chicago.Provenance: Dragesco-Cramoisan, Paris, 16 June 2001 (with copy of invoice)Note: The present teapot was likely gilt by Jean-Louis Moyer (active 1818-1848), recorded at Sevres as a gilder and using a wide capital M as his mark.In good condition with negligible wear to gilding at the high points.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.

A Sevres White Biscuit Porcelain Figure of 'La Petit Fille au Tablier'1757-1766incised F to the underside; modelled by Falconet, the girl standing holding grapes in her apron, her head tied with a scarf, standing barefoot by a tree stump on a shaped oval rockwork base.Height 9 inches.This lot is located in Chicago.Provenance:Dragesco-Cramoisan, Paris, 1997 Note:The present figure and her pair, 'Le Jeune Suppliant', were both first modelled after Boucher by Blondeau in 1752. The original drawing for Le Jeune Suppliant is still at Sevres and the reverse of the drawing is inscribed 'dessein de m. Boucher apartenant a la Manufacture de Vincennes, ce 23 aoust 1749'. A similar pair of figures from the renowned collection of Elizabeth Firestone were sold by Christie's, New York, 21 March 1991, lot 108. The incised capital F on the underside of the base definitively dates this example to 1757-1766 during which years the renowned sculptor etienne Maurice Falconet served as head of the sculpture studio at the Sevres porcelain manufactory. His initial on the completed work indicates his approval of its production and finishing.In generally good condition. with chips to the edge of her bodice hem, typical minor firing lines and chips/losses to the fruit and leaves in her apron.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.

A Sevres Partially Beau Bleu Jewelled Porcelain Coffee Can and Saucer (Gobelet 'Litron' et sa Soucoupe, 1ere Grandeur)The Porcelain Circa 1782both bearing gilt interlaced Ls mark flanked by date letters ee above decorator's mark L. for L'Ecot, the cup further incised 73, the saucer incised 38A; jewelled between bands of white enamel €˜pearls' with a wide band of gilt foil interlaced S-scrolls enriched with turquoise and red cabochons, the cup with gilt ribbon-tied white beaded swags suspended from the band running around the mouth of the cup, the saucer with a central medallion.Height of cup 2 7/8 inches; diameter of saucer 6 1/8 inches.This lot is located in Chicago.Provenance:Drouot, Paris, Anonymous sale, 23 October 1996, Lot 71Dragesco-Cramoisan, Paris, June 1997 (purchased at the International Ceramics Fair, London)Note:Introduced at Sevres circa 1779, jewelling was at the height of its popularity during the early years of the 1780s. It was an extremely laborious and, therefore, expensive process resulting in an exceptionally delicate finished product.Making the 'jewels' involved the application of drops of enamel in imitation of precious stones-opaque white for pearls, translucent blue, red and green for sapphires, rubies and emeralds, ochre for topaz, purple for amethyst, etc.-onto gold foils stamped by steel dies and then engraved and tooled in shallow relief with star bursts and other patterns, these tooled patterns remaining visible through the translucent enamel, giving depth to the 'cabochons'. Applied in the eighteenth century to both hard- and soft-paste porcelain, jewelling was used at Sevres in combination with a wide range of ground colors. In addition to the rich blue (beau bleu) of the present example, undoubtedly the most popular and successful ground color, examples are known on green, bleu celeste, lapis lazuli, black, merde d'oie (an olive green), boue de Paris (a taupe-beige), mauve, red, lilac, and maroon grounds, as well as on white, perhaps the least successful.One other jewelled beau bleu cup and saucer of 1782 virtually identical in decoration to the present example is known. It has been in the British Royal Collection since 1907 and is currently on display at Windsor Castle in the Green Drawing Room (Sir Geoffrey de Bellaigue, French Porcelain: In the Collection of Her Majesty the Queen, London, Vol. II, cat. no. 216, pp. 828-830, inv. 58189a-b). The cup has the same capital L mark for Louis-Francois L' ecot (active 1761-1764 and 1772-1800), one of the few decorators at the factory skilled in jewelling. Recorded as a gilder and painter, he also specialized in chinoiseries and arabesques. Its saucer, with a variant central medallion and a different date letter, has been identified by de Bellaigue as a later replacement. Catalogue entry no. 216 references two other bleu nouveau examples known on the Paris art market in the mid-1990s. These are, in fact, one example-the present cup with its original saucer. A third cup and saucer with the same jewelling pattern but on a bleu celeste ground was in the collection of Rene Fribourg, sold The Rene Fribourg Collection - V: French Faience and European Porcelain, Part II, Sotheby", London, 15 October 1963, lot 434.In generally good condition. The cup lacking most of the red enamel €˜cabochons' on the S-scrolls, revealing the tooled foil beneath. Several also lacking on the row of €˜lollipop' flowers running around the foot. The saucer also lacking some red enamel on the band of lollipop flowers enclosing the central rosette and rinceau.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.

Ca. AD 1425. This rare manuscript page is from the remains of part of a Quran covering from the end of Juz’15 to Juz’16-30. It originated in the state of Bihar, India, Ca. AD 1425. The state became Muslim in the 12thC, originally under the Bengal governors but from the 15thC under the Delhi emperors. Its capital is Patna and is a prosperous and vital province, south of Nepal and bordering the Ganges. The Muslim calligraphers in the area developed a distinctive script named Behari (after the state). It is characterised by wide, heavy, and extended horizontal lines and thin, delicate verticals. Because its use was confined to a relatively small area, it is extremely uncommon. Bihar is a warm and humid province. Manuscripts from there do not keep well. This on is in unusually good condition, damp staining being confined largely to one corner hardly affecting the script. The calligrapher is exceptionally competent, with a lovely firm touch. The artist for the marginal devices is also from the top echelon of the sultanate school. The type of device is typical of the late 14th/ early 15th century in Sultanate India. Each verse ending is marked with a gold floret. Chapter headings are in white on illuminated panels with palmettes extending into the margins. The sacred word of ALLHijrah is in gold throughout. A very fine, imposing and collectible item depicting Bihari work at its best and in exceptionally fine condition for this area considering its age of nearly 600 years. Size: L:360mm / W:300mm ; 78.28gProvenance: Private London family collection; formed between 1970-2008.

λ LAURENCE STEPHEN LOWRY (BRITISH 1887-1976)ON THE THAMES AT GREENWICHPencilSigned and dated 1960 (lower left); further signed, titled and dated (to backboard)24.5 x 35cm (9½ x 13¾ in.)Provenance:Probably The Piccadilly Gallery, London (purchased in the 1960s by the family of the present owner)Thence by descentAlthough Lowry was a regular visitor to London, he painted very few pictures of the city. However, there are a handful of views dating mostly from the late 1950s and early 1960s in which he depicts the capital. The most famous views are those of Piccadilly Circus, but he was also drawn to the river and there are a number of views of Greenwich and the surrounding area. The National Maritime Museum holds a view of Deptford power station from Greenwich, painted just a year before the present work, in 1959. The current drawing gives only an impression of the buildings along the shore, with the exception of one of Lowry's favourite motifs, the tall chimney, to the right of the composition. Otherwise, the view is dominated by a plethora of small boats jostling for position in the busy waterway. Condition Report: Framed and glazed. There is diagonal crease running the down the sheet starting at the right side of the upper edge running down through the edge of the building with tower to the lower right corner. A small vertical black mark circa. 3cm to the upper right quadrant. Some finger marks and very light marks across the sky, however these were possibly caused by the artist at conception. A very minor crease to the left edge just above the start of the drawing, hardly noticeable. Condition Report Disclaimer

Five: Lieutenant B. H. Harding, Southern Rhodesian Forces, who served with the Long Range Desert Group (LRDG) from August 1944 until its disbandment, serving in Captain J. Olivey’s eleven-man Z.1. Patrol in Greece 1939-45 Star; Italy Star; War Medal 1939-45, all unnamed as issued; Africa Service Medal 1939-45 (SR.599042 B. H. Harding.); Army L.S. & G.C., E.II.R., Rhodesia & Nyasaland (0367. Lt. B. H. Harding.) officially engraved naming, mounted as worn, very fine (5) £1,400-£1,800 --- Barend Hercules Harding was born at Bethlehem, Orange Free State on 19 December 1924 and attested for service in Southern Rhodesia on 26 May 1943, serving with the Rhodesian Recce Unit and the 49th Survey Company. He was posted to join the strength of the British Forces in the Central Mediterranean in July 1944 and joined legendary Long Range Desert Group on 4 August 1944, being a member of the Z1 Patrol. Z.1 Patrol in Greece Harding went into action in September, as part of Captain John Olivey’s 11-man Rhodesian Z.1 Patrol: ‘Olivey’s 11 jeeps arrived in Greece by landing craft on 26 September, roaring ashore in their jeeps at Katakolon, 40 miles south of Araxos. The patrol soon became bogged down, however, Olivey noting as they drove north that “the roads [are] very bad after the recent rain”. Four of the jeeps in the patrol pulled trailers, on each of which was 1,000lb of equipment for Bucket Force, and within a day of landing Olivey began to doubt that all the vehicles would stand the ordeal if the condition of the roads did not improve. On 30 September Olivey’s patrol arrived at Bucket Force’s Forward HQ, a few miles west of Patras. “L” Squadron of the S.B.S. were positioned on the high ground overlooking the port, and their commander, Major Ian Patterson, was endeavouring to persuade the garrison of 900 Germans and 1,600 Greeks from a collaborationist security battalion to surrender. During the night of 3-4 October word reached Bucket Force HQ that the Germans had started withdrawing from Patras. At first light a patrol of the S.B.S., travelling in the L.R.D.G. jeeps, raced into the port and discovered that all but a German rearguard had indeed sailed out of Patras, heading east up the Gulf of Corinth towards the Corinth Canal. The S.B.S. and the L.R.D.G. now set off in pursuit of the Germans. In a convoy of jeeps they roared along the headland overlooking the gulf, a captured 75mm German field gun hitched to the back of one of the jeeps. “Chased the enemy who were withdrawing by boat,” wrote Olivey in his log, “firing with .5 Browning and 75 mm gun, from positions on the Corinth Road.” They reached Corinth on 7 October, exchanged desultory fire with the Germans on the other side of the canal and then accepted the surrender of another battalion of Greek collaborators. From Corinth Olivey received instructions to push on to the town of Megara, several miles to the north-east over a mountain road, but to leave two jeeps’ worth of men in Corinth to help in the clearance of German mines. Olivey’s Z1 Patrol reached Megara on 9 October and at dawn the next day assisted an S.B.S. unit to “blow the escape road that the enemy were using”. With that done, they set about preparing a landing strip for the arrival of the 4th Independent Parachute Brigade led by Colonel George Jellicoe. They dropped into Megara on 12 October, a day when the wind was particularly stiff. “We were rushed to Megara airfield to help by driving alongside the paratroopers on the ground with open chutes, swinging left or right to collapse the chutes, to enable them to get to their feet”, recalled Tommy Haddon, a Rhodesian trooper in Z1 Patrol. “Even so, many parachutes were not collapsing and men were swept onto the rocks along the coast running alongside the airfield.” The next day, 13 October, Z1 Patrol was among the first Allied troops to enter the Greek capital. “We proceeded over the Corinth Canal to Athens in convoys,” recalled Haddon, “all the way being greeted by singing and joyful Greeks, shouting words of welcome.” Once in Athens, Haddon and Z1 checked into the Grand National Hotel, though it wasn’t for long. They were soon billeted in less salubrious surrounds – the old Ford factory on the main road to Piraeus. John Olivey’s patrol then “proceeded south of Florina and harassed the withdrawing enemy and proceeded to the flat country ... firing at a range of 2,000 yards, at the enemy force withdrawing up the Florina to Havrokhoma Road. Florina was occupied/captured at 1600 hours.” By mid-November the Germans had been chased out of Greece and on 12 November the L.R.D.G., together with the S.B.S., returned south to Athens for what they imagined would be some well-earned rest and recuperation. But it was quickly apparent in Athens that the indolent days of the past had evaporated. The antagonism was palpable between the government of ‘National Unity’, who were pro-monarchy, and EAM, the predominantly communist National Liberation Front, whose military wing was ELAS, the Greek People’s Liberation Army. They were still in Athens when the trouble with ELAS started and their jeep patrols rescued police from posts under fire and raided an ELAS headquarters to capture petrol and arms. Several of the party were wounded and had to be evacuated. A Greek National Guard was then being hurriedly formed, and the Rhodesians and their colleagues helped to train them while assisting in maintaining order in Athens and the neighbourhood.’ (Long Range Desert Group in the Balkans refers). Harding was returned upon the disbandment of the LRDG in late 1945. He returned for further service in Rhodesia and rose to the rank of lieutenant (quartermaster). Sold with framed photograph of the 2nd Battalion, King's African Rifles Officer's Mess, June 1962, with Harding identified; a number of photographs including the recipient; and copied research that confirms that his Africa Service Medal was his only officially named Second War medal.

The important and scarce ‘North Nigeria’ campaign group of four awarded to Colonel W. H. O’Neill, Royal Artillery and West Africa Frontier Force, who commanded the operations against the forces of Bida and Kontagora, July - December 1900, culminating in leading a brave but reckless attack which ‘advanced right up to the walls of Bida, entered the town with a few men and fought the Emir Adudekeri in a hand to hand fight. O’Neill was badly wounded and only escaped through the timely arrival of his men.’ The rescue was carried out by Lieutenant H. A. ‘Bertie’ Porter, 19th Hussars, ‘a thruster who has been noted in the Gazette for a brevet on obtaining his troop for a mad show at Bida when his C.O. got the sack for singeing the Emir’s whiskers. He nearly got hacked to pieces, but Porter got him out. Porter should have got a V.C. and he might have, had not the whole thing been contrary to orders. But it put an end to the insolence on the part of the Emir.’ Egypt and Sudan 1882-89, dated reverse, 1 clasp, Tel-El-Kebir (Lieut: W. H. O’Neill. F/1. B.. R.A.); Africa General Service 1902-56, 1 clasp, N. Nigeria (Major W. H. O’Neill, R.F.A.); Queen’s South Africa 1899-1902, 3 clasps, Cape Colony, Orange Free State, Transvaal (Lieut: Col: W. H. O’Neill, 62/Bty., R.F.A.); Khedive’s Star, dated 1882, unnamed as issued, light contact marks overall, generally very fine (4) £1,800-£2,200 --- William Heremon O’Neill was ‘born in Auckland and was the fourth son of the late Hon. James O’Neill, who was a member of the old Auckland Provincial Council, and later sat in the first Parliament of New Zealand as a member for Auckland City in 1854-55, and member for the northern division of Auckland from 1861 to 1868.’ (New Zealand Herald, 9 June 1925 refers) O’Neill was commissioned into the Royal Artillery, and a letter he wrote to a relation in Lincoln was published in the Lincolnshire Chronicle, 22 September 1882, and gives the following: ‘Ismailia, Sept. 8, 1882 - We start for Kassassin tomorrow, and expect to attack Tel-El-Kebir on Tuesday or Wednesday. After Tel-El-Kebir is taken we go on to Cairo in all probability. I hope Arabi won’t sack Cairo before we arrive. This climate is not half bad, although they tell me it is a good deal worse at the front; however, it agrees with me very well, and I am not likely to knock under. The ammunition, too, is always put in a safe place, so it is a sort of picnic with me. I regret to say that our horses are dying by the dozen. Ismailia is filled with representatives of every nation under the sun. The natives are coming back by degrees; they all bolted when we took the place. I have lots to do, as one of my two junior subalterns is seedy.’ O’Neill was promoted captain in 1885, and advanced to major in October 1893. He was seconded for service with the West African Field Force in September 1899. O’Neill was placed in command of a force for operations against the forces of Bida and Kontagora (North Nigeria), July - December 1900: ‘In July, Lugard [Sir Frederick, High Commissioner] received information that the Sarkin Sudan Emir of Kontagora, and the Etsu Nupe, Emir of Bida, were planning to massacre the small garrison that he had left at Wushishi, the site of his projected new capital of the Northern Nigeria Protectorate. The bulk of the West African Frontier Force was away on active service in Ashanti, but Lugard in person at once hurried up to Wushishi from Jebba, bringing reinforcements under Major O’Neill, Royal Artillery. The situation was indeed serious. The village heads of Wushishi had been assassinated and the West African Frontier Force soldiers were being attacked virtually on the threshold of their camp. Ngwamachi, the notorious Emir of Kontagora, and the Emir of Bida, had sent messengers to Ilorin, urging the Emir to join in a rising and expel the white man whose troops, it was rumoured, had been exterminated in Ashanti. O’Neill, with Lieutenant [H. A. ‘Bertie’] Porter [whose medals were offered for sale in these rooms as part of the A. A. Upfill-Brown Collection in December 1991] as his second-in-command, patrolled the countryside for some 20 miles round Wushishi, keeping the Nupe and Kontagora cavalry at their distance by a series of masterly skirmishes. A number of small military forts, such as those at Wushishi, Wuya and Maraba, were erected as soon as the rains ceased. In November O’Neill’s force defeated a band of Kontagora levies at Dabb in Egbake district, north of Kutigi, and, crossing the Kaduna, they routed the Bida horsemen. With immense gallantry O’Neill entered Bida town, accompanied by a mere handful of troopers, on December 19th, and endeavoured to kidnap the Emir. Badly wounded, O’Neill escaped only by the greatest of luck.’ (The Second Battle of Bida article by A. H. M. Kirke-Greene refers) Lugard’s despatch for the operations, praises both the gallantry of O’Neill and Porter but stresses that the former had exceeded his orders and was fortunate to escape with his life: ‘On the 19th December Sergeant H. Edwards defeated with heavy loss a force estimated at 100 horse and 700 foot. On the 15th and 16th Major W. H. O’Neill, Royal Artillery, and Lieutenant H. A. Porter, 19th Hussars attacked and defeated the Bida raiders, who are said to have lost 50 killed at least. On the night of the 17th he marched on the hostile forces again and surprised them at dawn. He estimated the enemy at 500 horse and 1,000 foot, and states that they suffered at least 200 casualties. His own force consisted of himself, Lieutenant Porter, Sergeant Edwards, eight mounted and fifty dismounted men. Again on December 18th he advanced towards Bida with Lieutenant Porter and 13 mounted and 25 dismounted men, driving parties of enemy before him. These he pursued up to the walls of Bida and actually entered the town with his handful of men and endeavoured to seize the Emir with his own hand. In a desperate hand to hand encounter he was badly wounded, but the opportune arrival of some of his men [under Porter, for which he was promoted.] enabled him to put the Fulanis to flight and to effect a retirement, during which his party was much harassed. The other casualties, besides Major O’Neill himself, being one man severely and two slightly wounded. Major O’Neill had received distinct and positive orders not to approach too close to Bida, still less to enter it, and I consider that a grave disaster was only averted partly by good fortune and partly by the resource and ability shown by Lieutenant Porter.... There is no doubt that this most adventurous exploit created an immense impression on the people of Bida.’ In 1902 O’Neill was appointed to the ‘command of the 18th Imperial Yeomanry at Ficksburg, Orange River Colony, at present with Col. Ternan’s column. The men do not belong to any particular county, but are picked men and called “Sharp Shooters.” (Lincolnshire Chronicle, 7 March 1902 refers). He subsequently retired, and died as a result of an accident whilst staying at the Mansion House, Kawau Island, in June 1925: ‘When war broke out in 1914 he went Home and offered his services to the Imperial Army, being accepted for home service. In recent years he has resided at Tauranga and Devenport.’ (Obituary refers) Colonel O’Neill is buried in O’Neill’s Point Cemetery, Auckland. Sold with copied research.

KUBIN ALFRED: (1877-1959) Austrian printmaker and illustrator. A.L.S., Alfred Kubin, to two sides of a folding 8vo greetings card, the front cover featuring a printed illustration of a horse by Kubin, Zwickledt, Wernstein am Inn,  28th May 1947, to Max Wagner, in German. Kubin announces 'You are not just an Archimedes but also one who sees behind the curtain and a sympathiser to all those who aren't bickering', continuing to remark that around seven weeks have been disturbed, 'First those from the…..country in hundredfold, then, as a comet tail and hindered by censorship, those…..”foreigners”', and also referring to becoming an honorary citizen of the provincial capital and attending a dinner in the city hall ('Is such official manner appropriate with my being???'). Kubin's signature appears at the foot of the illustration to the front cover. Accompanied by the original envelope hand addressed by Kubin. Together with an unsigned oblong 8vo printed folding leaflet issued for an exhibition of Kubin's works at the Galerie Karl Buchholz in Berlin, February - March 1940. Some very light, extremely minor creasing, VG, 2 

[JOYCE JAMES]: (1882-1941) Irish novelist and poet. An unusual partially printed document, completed and signed on behalf of Joyce in the hand of an administrative agent, four pages, 4to, Paris, 21st April 1939, in French. The official Reseau Telephonique de Paris (Paris Telephone Network) document is Joyce's contract to have a telephone line installed at 34 rue des Vignes in Paris for an annual fee of six hundred and sixty francs, the head of the first page stamped Transfert ('Transfer') and a further stamp with manuscript insertions to the third page confirming that the document replaces an earlier commitment to have a telephone line at 7 rue Edmond Valentin and that the minimum duration of the subscription is still in place. The foot of the third page is signed on behalf of Joyce with the observation 'Lu et accepté' (Translation: 'Read and accepted'). A moving document relating to Joyce's last private residence in Paris. Some very light, extremely minor age wear, VGJames Joyce first came to Paris in July 1920 and would reside in the French capital for almost two decades, although the writer never bought a home of his own. Joyce's health problems afflicted him throughout his Paris years and despite over a dozen eye operations his vision severely declined and by the 1930s he was practically blind, making the telephone an important method of communication and explaining why he was unable to sign the present document.Joyce lived in an elegant apartment at 7 rue Edmond Valentin, close to the River Seine and Eiffel Tower, for five years from February 1935 until April 1939 before moving into a smaller apartment (although blessed with a lot of natural light) at 34 rue des Vignes on 15th April 1939. Finnegans Wake was published whilst Joyce was living in the apartment, which he would leave after six months in mid-October 1939. Following the fall of France in 1940 Joyce and his family travelled to Zurich to flee the Nazi occupation. On 11th January 1941 Joyce underwent surgery and fell into a coma the next day, awaking briefly at 2 am on 13th January before dying fifteen minutes later.

MATISSE HENRI: (1869-1954) French Artist. Unusual and very attractive autograph short poem-canticle, with drawing, one page, oblong folio, n.p., n.d., in French. Matisse has drawn a first and large capital letter, coloured to the inside, stating `Loué, sois-tu, Monseigneur, Pour Soeur Onde, Laquelle est bien utile et humble et précieuse et chaste.´ Beneath the large letters written text, Matisse has drawn six waving lines. Two small stains to the left border. The page bears an "Imperial Japan paper" watermark. VG The written text corresponds, with few small changes, to a canticle, the "Letter to the faithful" by Saint Francis of Assis.

ROTHSCHILD NATHAN MEYER: (1777-1836) Jewish German banker, businessman and financier, one of the second generation of the Rothschild banking dynasty. D.S., N M Rothschild, in his capacity as contractor, in the right margin, two pages, folio, n.p. (London?), 1st March 1822. The printed document, in Russian, French and English, is a financial certificate 'of a perpetual Annuity in the Great Book of the Public Debt of the Imperial Commission of the Sinking Fund, representing a Capital of Seven Hundred and Twenty Silver Roubles…', equal to £111. With various decorative engravings to either side and a number of official stamps, as well as one of the original coupons lightly affixed at the base. Some light overall age wear and some two lengthy, neat splits at the edge of the central horizontal fold, G The present Russian bond of 1822 is widely recognized by Economic historians as being the first Eurobond. Issued by the House of Rothschild in London, Frankfurt, Paris and Vienna, the bond promised payment in European currencies, as well as in Russian roubles. Perhaps more importantly, dividends could be claimed in any of the aforementioned cities, effectively protecting the bondholder from the effects of a continental war. Although titled an annuity, the 1822 issue was in fact a perpetuity, a promise by Russia to pay a dividend to the bondholder forever, or at least until the Revolution of 1917.

FERDINAND I OF NAPLES: (1424-1494) King of Naples 1458-94, one of the most influential and feared monarchs in Europe at the time and an important figure of the Italian Renaissance. A good D.S., Rex Ferd, one page (vellum), large folio, [Italy], 23rd August 1484, in Latin. The attractively penned manuscript document, in an elegant humanistic script and with display capital commencing 'Ferdinandus dei gratia rex Sicilie Hierusalem etc', is untranslated although is believed to concern a disputed marriage settlement. Some light staining and minor age wear and with a few small holes (four appearing where the original seal would have been affixed). VG 

LANNES JEAN: (1769-1809) Marshal of France. Duc de Montebello. One of Napoleon's most daring and talented generals and personal friend of the Emperor. Rare A.L.S., `Lannes´, two pages, 4to, Lisbon, 19th July 1803, to Citizen Guéhéneuc, his father-in-law, General Administrator of the Forests, in Paris, in French. Lannes regrets that his previous letter reached his correspondent so late, stating in part `…que vous n´ayez reçu que bien tard les lettres de change, ma lettre et le paquet étaient dans un adréssé au Ministre des Relations… je suis impatient d´avoir une réponse de vous à cet égard…´ (Translation: "…that you have only received very late the letters of exchange, my letter and parcel were addressed to the Minister… I am impatient of receiving a response regarding this matter…") Lannes further refers to his pregnant wife, saying `…nous n´avons pas reçu de lettre de vous ni de Madame Guéhéneuc par ce courier…. Louise est prête à accoucher, je cherche une campagne aux environs de Lisbonne, à cause de la chaleur excessive de la capitale…´ (Translation: "…we have not received any letter from you nor from Madame Guéhéneuc… Louis is about to give birth, and I look for a countryside place in the surroundings of Lisbonne, because of the excessive heat at the capital…") With address leaf, bearing remnants of former seals. Overall creasing with small area of paper loss to the address leaf as a result of the letter opening. G François Scholastique (1759-1840) Count of Guéhéneuc. He was Lannes´ father-in-law.Louise Guéheneuc (1782-1856) Duchess of Montebello. Second wife of Marshal Lannes. On 20th July 1803, the day after the present letter was written, the Duchess gave birth in Lisbonne to their third son, Ernest (1803-1882) 

MARTI JOSE & ESTRADA PALMA TOMAS: José Martí (1853-1895) Cuban Poet, Writer and Revolutionary Philosopher. Martí is considered a national hero as well as a leading figure in Latin American literature. He became a symbol for Cuba's fight for independence in the 19th century, and is referred to as the ''Apostle of Cuban Independence''; & Tomas Estrada Palma (1835-1908) First President of Cuba 1902-1906, and previously during the Ten Year´s War. Remembered for allowing the Platt Amendment which ensured American dominance over Cuba. An exceptional and very attractive multiple signed D.S., `Jose Martí´, and `T. Estrada Palma´, four pages, large folio, New York, 10th May 1893 and 27th January 1895, to Rafael Cortes and to Manuel Ruiz, in Spanish. The partially printed document bears the printed heading of the New York delegation of the Cuban Revolutionary party, being a title given to contributors in favour of the cause, ''Patriotic Assistance - Fundraising - To finance the Independence and for the Freedom of Cuba''. The attractive document, printed in green, bears large palms to front page borders and coats of arms to the front heading and to the verso. The document is signed by Marti and Estrada Palma in their capacity as delegates and is also signed by Gonzalo de Quesada as Secretary of the delegation. The lengthy written text, entitled ''The Cuban Revolution'', is a manifesto in favour of Cuban Independence and freedom, against the Spanish occupancy and slavery, stating in part `Cuba se ha alzado en armas con el sacrificio y la solemne determinacion de la muerte, no para interrumpir con patriotismo fanatico por el ideal insuficiente de la independencia politica de España. El Desarrollo de un pueblo que hubiera podido llegar en paz a su madurez…´ (Translation: “Cuba has taken up arms with sacrifice and the with the solemn determination of death, not to interrupt with fanatical patriotism the insufficient ideal of political independence from Spain. The development of a people that could have reached maturity in peace…”) The document bears beneath the signatures a large beige paper seal affixed of the Delegation of the Cuban Revolutionary Party. To the second sheet, another title given to contributors in favour of the cause, the light image affixed to the front, shows Martí, Cespedes, Teodoro Perez, and many other revolutionary leaders at the balcony of Teodoro Perez´ home, known as La Te Da, on 1st of May 1893 in Key West. This small island was the capital of the Cuban exile at the time.  Bearing to the verso an attractive map of Cuba. Small overall age wear, with a very small hole to the first sheet, not affecting the text or images. Small remnants of a former red wax seal to the verso of the second sheet. G to VG    The present document is signed by Jose Marti on 23rd-27th January 1895, only a few days before drawing up the Uprising order. A month later, on 24th February, the uprising took place, and three months later Marti was killed at the battle of Dos Rios only a month after having returned to Cuba. Gonzalo de Quesada y Arostegui (1868-1915) was the key architect of Cuba´s Independence Movement with Jose Marti. Appointed Special Commissioner of Cuba to the United States in 1900. He later entered the diplomatic service, becoming Minister to the United States. De Quesada authored ''A History of Free Cuba'' (1898) and ''Cuba'' (1905). He also edited Marti's literary works 1900-11. In the early 1890s, Key West's poet-patriot hero Jose Martí started visiting the island, raising money and trying to unite the different exile groups that wanted to overthrow Cuba's Spanish rulers. There was a routine every time Martí came to town. It was like a holiday in town. About 5,000 people would go to the port to wait for him. There was a music band in San Carlos called La Banda Libertad (“The Freedom Band”), a band that would go to the port. The port was full of American and Cuban flags. They would parade him down Duval Street from the port, past the San Carlos, all the way to La Te Da. That is why that place is called La Te Da, because the Cubans would call that place Martí's Terrace, “La Terraza de Martí". And that name got shortened to La Te Da. In the same way as Key West became Key West from Cayo Hueso. Today La Te Da is a guesthouse that hosts drag shows and tea dances. Back then, it was the home of Teodoro Perez, a cigar factory owner and friend of Martí.

GEROME JEAN-LEON: (1824-1904) French painter and sculptor. A clean A.L.S., J L Gerome, one page, 12mo, n.p. [Paris], n.d., on his personal printed stationery, bearing his printed address to the heading, 65 Boulevard de Clichy, in French. The letter bears to the upper left corner his blind embossed capital initial “G”. Gerome states `Je suis très fâché que ma concierge ne m´ait pas prévenu de votre présence car j´aurais eu plaisir à vous serrer la main et à vous remettre les cartes que je vous envoie par la poste pour visiter les collections d´Albert Goupil. Elles sont 9 rue Chaptal…´ (Translation: “I am very sorry that my concierge did not inform me of your presence because I would have liked to shake your hand and give you the cards that I am sending you by post to visit the collections of Albert Goupil. They are 9 rue Chaptal…”) With blank integral leaf. VG 

4 1:50 scale C'SM MCW Double Deck Buses. Capital City Bus in yellow livery, London Northern in red, Leeside Buses in red and a Metroline in red/blue livery. All boxed, minor wear. Contents VGC-Mint. £50-70

Agricultural Auctions. Jonas Paxton, a mid-19th century 'Sale of 19 valuable Forward in Calf Cows & weaning calves, 3 draught Horses, Pony, &c., Implements, Corn [...]', at Bletchingdon, Oxfordshire, Oct. 2* 1846, 20pp with tipped-in printed catalogue listings and parallel manuscript account of the lot, the buyer and the price, 19pp to verso with post-sale accounting, original wrappers, MS lettered, 12mo, another, similar, 'Sale of a few lots of good Household Furniture and 2 Stacks of Meadow Hay [...]', at Stratton Audley, Oxon, 12mo, [&] Messrs. Paxton and Holiday, Stratton Audley Hall: A Catalogue of the capital Household Furniture, Bedding, Carpets, Dining and Bed Room Suites [...], Sold [...] by direction of P. Colville Smith, Esq., May 22nd, 1895, 20pp, original wrappers, disbound, 8vo, (3).

Exclusive First Editions 1:76 Scale Modern Single Deck Buses and Coaches, all boxed, nationwide coaches (12) Greenline, Premier Travel, Wallace Arnold (3), Grey Green, First Southern National (2), East London, Plymouth City, Caledonian Express, Western National together with Midland and Southern modern buses, First Southampton, Plymouth City, Southern National (3), PMT (2), Badgerline (4), Wilts & Dorset (2), Hants & Dorset (2) includes 15101B Beatties Special, Lincolnshire Road Car, Grey Green, Devon General (2), Maidstone & District, First Capital, Eastbourne Buses, Stagecoach 2008 New Year Subscriber Special E20638, Provincial, BR Sealink, Provincial, Kentish Bus, Plaxton Minibus, Devon General, First Hampshire, G-E, boxes F-VG, (40)

A Modern Cast Plaster Grand Tour Type Stand in the Form of a Corinthian Column Capital, Has Become Detached, 20.5cm high

A pair of carved pine columns,each fluted shaft surmounted by a Composite capital with scroll and acanthus carving,42.5 and 43cm wide192cm high (2)Condition ReportSome small scuffs, chips and cracks. Distressed look. Drilled holes to the bottom. Stain is patchy in some areas. The columns look to be of relatively recent manufacture. Moderate signs of wear and use.

George III mahogany longcase clock with broken arch hood, moulded arched panel door and conforming plinth, the painted dial with ship automaton arch, Roman numerals and subsidiary seconds, signed Mummery, Dover. The two train eight day movement striking on a bell, 230cms high overall, includes weights and pendulumThis clock has not been running recently and is not currently running. Unfortunately the missing capital is not present, please see further photos.Size of the dial is 12ins x 16.5ins

A mid 19th century J.Schwieso giltwood, satinwood and rosewood 'Grecian' concert harp, with brass plaque signed on one side "Schwieso & Co., Improvement, No. 263 Regent Street London," the reverse "Schwieso late foreman to S. Erard, No. 417"; brass-mounted satinwood soundboard fluted columnar pillar, relief carved angels on capital, eight pedals, five sound holes, 43 strings, width 84cm, height 170cm.***CONDITION REPORT***In well used condition, the body of the harp rubbed and worn from use over the years and now with a dull finish and rubbing to all of the extremities, assorted scuffs and scratches throughout, no stringing present, a number of horizontal cracks running through the sound board, minor scuffs and losses to the gesso work.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

Plateelbakkerij Zuid Holland (PZH) - Gouda - Holland - ceramics - A capital hand-painted vase - 1st quarter 20th century. (hairline).H.: 50 cm.

Ca. 2000 BC. A very interesting stone statuette sometimes referred to as Bactrian princess or Bactrian goddess. It depicts a seated lady wearing kaunakes - a fabric with long wicks imitating animal hair (goat or sheep). It is a very distinctive and rare object of the prehistoric civilization of Bactria. They are composite in nature, with the head (and also often a cap or other headdress) being separate from the body. They are made up of two or more different types of stone; usually green chlorite or steatite for the body, with heads of white limestone and occasionally in green chlorite. Bactria was the Greek name for the area of modern Balkh, in what is now northern Afghanistan and Margiana was the Greek name for the Persian satrapy of Margu, the capital of which was Merv, in today's Turkmenistan. For a similar see Musée du Louvre, Paris - Main number: AO 28056.Size: L:93mm / W:90mm ; 730gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.

A large old weathered composition stone classical maiden, 116.5cm high; together with a similar pair of Corinthian capital pedestal stands, 38cm high.

A SANDSTONE FIGURE OF DANCING GANESHA, MADURAI, 12TH CENTURYSouth India, Tamil Nadu. Finely carved in a dancing pose, his left side with four arms, one hand holding the hem of his robe, another holding his broken tusk, the coiled trunk extended toward the left side, his face with almond-shaped eyes and neatly incised arched brows, the head surmounted by an elaborate crown.Provenance: Parminder Soin, Munich, Germany, by 1983. A private collection in Germany, acquired from the above and thence by descent. A copy of an expertise, signed by Parminder Soin, owner of Alte Indische und Asiatische Kunst, Munich, Germany, dated 12 August 1983, dating the present figure to the 12th century and attributing it to a Shiva temple in Madurai, stating a value of DEM 20,000-22,000 or approx. EUR 17,500-19,500 (converted and adjusted for inflation at the time of writing), accompanies this lot.Condition: Good condition, commensurate with age. Extensive wear, losses, nicks, scratches, signs of weathering and erosion, structural cracks, encrustations.Weight: 23.7 kg (incl. stand) Dimensions: Height 51 cm (excl. stand) and 55 cm (incl. stand)Mounted on an associated stand. (2)Madurai, a major city in the Indian state of Tamil Nadu and its cultural capital, is built around the Meenakshi Temple, which acted as the geographic and ritual center of the ancient city of Madurai. Madurai Meenakshi Sundareswarar temple was built by the Pandayan Emperor Sadayavarman Kulasekaran I (reigned 1190-1205). The temple is a major pilgrimage destination within the Shaivism tradition, dedicated to Meenakshi Devi and Shiva. Other temples in Madurai include the Koodal Azhagar and Kallalagar temples, which are dedicated to Vishnu, and the Madurai Mukkuruni Vinayagar Ganesh temple.Known as the Remover of Obstacles and worshipped for auspicious beginnings, Ganesha is a beloved Hindu deity. Regardless of his elephant head, multiple arms, jewelry, and plump figure, his character is clever and his body remarkably agile, as demonstrated by his dancing steps in the present example. Like the other Hindu gods, Ganesha manifests a variety of appearances, always recognizable by his elephant head. The theme of the dancing Ganesha, in which he follows in the footsteps of his father, Shiva Nataraja, also captivated the sculptors of Central India, who produced some of the liveliest examples between the 8th and 11th centuries, the present lot however being in no way inferior to such pieces.Auction result comparison: Type: RelatedAuction: Christie's New York, 20 March 2019, lot 645 Price: USD 50,000 or approx. EUR 53,000 converted and adjusted for inflation at the time of writing Description: A Red Sandstone Stele of Dancing Ganesha, Central India, 10th-11th CenturyExpert remark: Compare the related style, carving technique, pose, material and size (62 cm).

A SANDSTONE HEAD OF GARUDA, KOH KER STYLE, KHMER EMPIRE, 10TH CENTURYThe face finely carved and well detailed with large bulging eyes, the thick brows and prominent beak with beaded decoration, the beard and hair neatly incised, the head surmounted by an elaborate foliate crown and conical headdress.Provenance: From the collection of Rene Ronveaux (d. 1991), Belgium, probably acquired in the 1970s, and thence by descent in the same family. A copy of a provenance statement, written and signed by the previous owner, dated 8 December 2022, confirming the provenance stated above, accompanies this lot.Condition: Good condition, commensurate with age. Wear, losses, nicks, scratches, signs of weathering and erosion, encrustations.Weight: 7,226 g (excl. stand) and 8,322 g (incl. stand)Dimensions: Height 27 cm (excl. stand) and 38 cm (incl. stand)Koh Ker, which lies 50 miles (80 km) northeast of Angkor, was the capital of the Khmer Empire from 928-944. Koh Ker's sculptural style is thus distinct from those developed in Angkor's immediate vicinity. The stone sculpture, often monumental in size, is imbued with a heightened sense of movement and suppleness of form. The Koh Ker rulers adhered to the Hindu religion, especially the Shaiva sect.Garuda is a half-bird, half-human creature that appears in both Hinduism and Buddhism. In Hinduism, Garuda is the mount of the god Vishnu and the sworn enemy of the Naga serpent. As a symbol of supremacy, this bird-king demonstrates the harmony between power and grace, creating a magical figure of strength and heroism.Literature comparison:Compare a closely related head of Garuda, also dated to the 10th century, in the Honolulu Museum of Art, accession number 12394.1.

A FINE FAMILLE ROSE PLAQUE DEPICTING WANG ZHAOJUN, QING DYNASTYChina, 1644-1912. Exquisitely painted in bright enamels with Wang Zhaojun in a cold winter landscape with gnarled barren branches, bamboo leaves, craggy rockwork, and towering mountains partly obscured in the fog, shrouding herself in her voluminous robes, a youthful attendant walking behind her and carrying her silk-covered pipa, both with well-detailed, expressive faces of reddened complexion.Provenance: English trade, previously in an English private estate. Condition: Very good condition with some wear and expected firing irregularities, minor fritting to edges, and a small chip to one corner.Dimensions: Size 50.5 x 32.5 cmWang Qian, commonly known by her courtesy name Wang Zhaojun, was known as one of the Four Beauties of ancient China. Born in Baoping Village, Zigui County (in current Hubei Province) in the Western Han dynasty (206 BC-8 AD), she was sent by Emperor Yuan to marry Chanyu Huhanye of the Xiongnu Empire in order to establish friendly relations with the Han dynasty through marriage. The present plaque depicts Wang's journey north across the steppe.Wang Zhaojun was endowed with dazzling beauty and an extremely intelligent mind. She was adept in playing the pipa and was also a master of the ancient 'Four Arts of the Chinese Scholar' - the guqin, weiqi, calligraphy, and Chinese painting. Although Zhaojun was a concubine in the harem of Emperor Yuan (Han Yuandi, reigned 48-32 BC), he had never noticed her. One reason was that she refused to bribe a painter, Mao Yanshou, so his painting of her did not do her justice. As a result, when a Central Asian nomad prince named Huhanye came looking for a bride, the Emperor volunteered her (by another account she was so desperate that she volunteered herself). She then had to spend the rest of her life in the barren lands of Central Asia. When her husband died, she was married to her stepson, as custom dictated. She requested permission from Han Emperor Cheng to return home, but he refused.A set of tombs near the Inner Mongolian capital, Hohhot, is said to include the grave of Wang Zhaojun. The grave is mentioned as early as the Tang dynasty, by which time stories of Wang Zhaojun had become very popular. There are a number of poems about her. Most of them are sad, dwelling on her desire to return home. Typical is this poem by Li Bai, which at the end mentions her grave:The moon above the Han palace and land of Qin, Sheds a flood of silvery light, bidding Mingfei ("the radiant lady") farewell. She sets out on the road of the Jewel Gate, a road she will not travel back. The moon above the Han palace rises from the eastern seas, But the radiant lady wed in the west will return nevermore. On the Mongolian mountains flowers are made of the long winter's snow, The moth-eyebrowed one, broken-hearted, lies buried in the desert sand. Living she lacked the gold, and so her portrait was distorted, Dying she leaves a green mound, which moves all the world to pity. (taken from Yang Gang, Zhongguo ming sheng shi ci da ci dian, 2001, page 161)清代粉彩王昭君瓷板畫中國，1644-1912年。粉彩描繪王昭君出塞圖，枯枝竹葉，怪石嶙峋，巍峨群山半掩於霧中；王昭君身披寬大紅色斗篷，丫鬟抱著她的琵琶。瓷片髮色沉著，畫面生動。 來源：英國古玩交易，來自英國私人舊藏。 品相：狀況極好，有一些磨損和燒製瑕疵，邊緣有輕微磨損，一個角有小缺口。 尺寸：50.5 x 32.5 厘米 內蒙古首都呼和浩特附近的一個墓葬群，據說包括王昭君的墳墓。早在唐代，王昭君的故事就已廣為流傳。有很多關於她的詩，訴說著她想回家的願望。最典型的是李白的這首詩，最後提到了她的墳墓：漢家秦地月，流影照明妃。一上玉關道，天涯去不歸。漢月還從東海出，明妃西嫁無來日。燕支長寒雪作花，蛾眉憔悴沒胡沙。生乏黃金枉圖畫，死留青塚使人嗟。（摘取自楊剛，《中國名勝詩詞大辭典》，浙江大學出版社，2001年，頁161）

AN ENAMELED PORCELAIN CLUSTER OF LYCHEES, SERVING AS A BRUSHREST, QING DYNASTYChina, 1644-1912. Naturalistically modeled from soft paste porcelain as two ripe lychees borne on a leafy branch, the fruits finely painted in a deep pink tone, the leaves in dark green transforming to a pale yellow, and the gnarly branch in variegated shades of brown with dark green accents. A seal mark to the branch.Provenance: British trade. Condition: Very good condition with minor wear.Weight: 89.6 g Dimensions: Length 5.8 cmIn China, lychees are a symbol of love and romance. According to legend, Emperor Tang Minghuang of the Tang Dynasty was in love with Yang Guifei, one of the most beautiful women and the Emperor's favorite concubine. Yang's preferred fruit was lychee. At the time, it was not available in the capital where they lived. The Emperor would therefore send his men all the way to South China to fetch the fruit for his beloved mistress. Lychee fruits, to date, are held in high regard in China. In fact, many varieties of lychees are named after wealthy and influential Chinese families. Lychees are often a motif in Chinese art where they can be seen in paintings, porcelain ware, cinnabar lacquer, and jade carvings amongst others.清代荔枝筆擱中國，1644-1912年。兩顆紅紅荔枝長在樹枝上，果實被細緻地塗成深紅色，葉子從深綠色轉變為淡黃色，樹枝呈棕色和深綠色，活靈活現。樹枝上有款記。 來源：英國古玩交易 品相：品相良好，有輕微磨損。 重量：89.6 克 尺寸：長5.8 厘米 在中國，荔枝是愛情和浪漫的象徵。相傳，唐朝的皇帝唐明皇爲了楊貴妃，派人千里迢迢去南國運來荔枝。荔枝經常是中國藝術的主題，在繪畫、瓷器、漆器和玉雕等中都可以看到荔枝。

A RARE AND LARGE POTTERY GROUP OF A MONKEY RIDING A CAMEL, TANG DYNASTYScientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 2 July 1997, based on sample number C97c95, sets the firing date of two samples taken at between 900 and 1400 years ago. A copy of the report, issued by Oxford Authentication, accompanies this lot.China, 618-906. The camel standing foursquare on a pierced rectangular base, the neck raised, carrying a saddle with saddle bag in the form of beast masks, coils of twisted cloth, vessels, game birds, a hare, and other provisions, surmounted by a small monkey clinging to the front hump, the buff ware highlighted in red, black, and white pigments. The saddle attached to the camel with a painted key-fret band. Provenance: Christie's New York, 18 September 1997, lot 344, sold for USD 55,200 or approx. EUR 98,000 (converted and adjusted for inflation at the time of writing). The Harold and Ruth Newman Collection, Connecticut, acquired from the above. Harold Newman (1931-2021) earned his undergraduate degree at the University of Oklahoma, where he first developed a lifelong interest in Asian studies. He served in the U.S. Army in Strategic Intelligence for two years before beginning an investment career with Goldman Sachs. In addition to his career in finance, Newman was a trustee of the Asia Society in New York City, a board member of The Hertz Foundation and MCC Theater, and a producer of well-known plays In the Heights and Hamilton, among others. Newman established the University of Oklahoma Institute for US-China Issues and the Newman Prize, the first American award for Chinese literature. Together with his wife Ruth, they also supported the Asia Society Museum with a significant gift including works from famous East Asian artists. Condition: Some old repair as generally expected from Tang dynasty excavations. Extensive wear, soiling, losses, chips, cracks, and soil encrustations. Holes from sample taking.Dimensions: Height 73.5 cmDepictions of monkeys perched on camels are quite rare. The inclusion of a monkey on the pack may be a whimsical notion. It could also depict the trader's pet or may represent part of the trade goods carried by the camel.Camels played a crucial part in the long-distance trade along the Silk Road during the Tang dynasty. Camels were treasured for their reliability and capability of crossing the two main deserts, Gobi and the Tarim, and were specially bred in China on the grasslands of present-day Shanxi and Gansu provinces. Even though camels were not native to China, they became a common sight in the Tang capital Chang'an and large cities such as Luoyang. Literature comparison:Compare a related glazed pottery group depicting a monkey seated on a Bactrian camel, Tang dynasty, in the collection of the Museum of Far Eastern Antiquities, Stockholm, illustrated in Oriental Ceramics, The World's Great Collections, vol. 8, Tokyo, 1982, no. 35. Compare also a related group depicting a camel with monkey, Tang dynasty, in the collection of the Asian Civilizations Museum, accession number 2003-00227.Auction result comparison:Type: RelatedAuction: Sotheby's New York, 9 September 2005, lot 253Price: USD 120,000 or approx. EUR 174,000 converted and adjusted for inflation at the time of writingDescription: A superb 'camel-and-monkey' pottery group, early Tang dynastyExpert remark: Compare the closely related subject. Note the different pose and smaller size (61 cm).唐代罕見大型駱駝猴子陶俑中國，618-906年。駱駝四足站立，仰頸，背負獸面鞍袋、捻布捲、器皿、獵鳥、野兔及其他補給品，背上騎著小猴子，淺黃色陶器，彩繪，固定在駱駝上的馬鞍。科學檢測報告：牛津檢測研究所1997年7月2日出具的熱釋光報告，樣本號C97c95，確定陶俑為900-1400年前所製。隨附報告複印本。 來源： 紐約佳士得，1997年9月18日，lot 344，售價 USD 55,200 或相當於 EUR 98,000 (根據通貨膨脹率)。Harold 與 Ruth Newman，康乃狄克州，購於上述拍賣。Harold Newman (1931-2021年) 在俄克拉荷馬大學獲得了本科學位，在那裡他第一次對亞洲研究產生了興趣。在高盛 (Goldman Sachs) 開始投資生涯之前，他在美國陸軍的戰略情報部門服役了兩年。 除了他在金融領域的經歷，Newman還是紐約市亞洲協會的受託人、赫茲基金會和 MCC 劇院的董事會成員，以及著名戲劇 In the Highs 和 Hamilton 等的製作人。Newman創立了俄克拉荷馬大學美中問題研究所和Newman獎，這是美國第一個中國文學獎。他還與他的妻子Ruth一起，為亞洲協會博物館提供了重要的禮物，其中包括著名東亞藝術家的作品 品相：舊修補，大量磨損、污漬、缺損、磕損、裂縫和土壤結殼。取樣孔。 尺寸：高 73.5 厘米

AN IMPORTANT BUDDHIST VOTIVE PAINTING DEPICTING BUDDHA, EARLY MING DYNASTY, 1400-1450Published: Roderick Whitfield et al., Classical Chinese Art - Selected Catalogue of the Paintings and Calligraphy, Wou Lien-Pai Museum, Hong Kong, 2011, pages 16-17, elaborately discussed in Roderick Whitfield's essay “Paintings of Distinction from the Wou Lien-Pai Museum of Chinese Art”, and page 109, no. 6 (note that the size is erroneously noted as 136.5 x 68 cm).Expert's note: According to Roderick Whitfield in his essay “Paintings of Distinction from the Wou Lien-Pai Museum of Chinese Art”, written in 2008, the present lot exhibits numerous features which are typical of Buddhist paintings on silk dating from the first half of the fifteenth century, some originating from the capital and others from Shanxi province. Roderick Whitfield (b. 1937) is a British scholar and art historian who was the Percival David Professor at the School of Oriental and African Studies of the University of London, as well as Assistant Keeper at the British Museum between 1968 and 1984 and head of the Percival David Foundation of Chinese Art between 1984 and 1993.China, first half of the 15th century. Ink and watercolors on silk. Depicting the Buddha seated on a double lotus over an elaborate hexagonal tiered throne supported by two striding guardian figures centered by a lion, his left hand holding a small flask and his right held above his lap, wearing loose-fitting robes and adorned with jewelry, backed by a circular halo of multi-colored rays of light. His serene face with heavy-lidded eyes and pursed lips, his blue hair arranged in spiral curls around the central ushnisha. Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. P.38. The frame with an old label, 'KW P38', as well as further old labels to the back. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history.Condition: Extensive wear, creasing, losses, tears, and soiling. Minor old touch-ups here and there. The wood frame with wear, chips, and losses.Dimensions: Image size 148 x 70 cm, size incl. frame 157.5 x 80 cmWith a finely carved old gilt wood frame. (2)The present image is a symbolic representation placed on a wall during Buddhist rituals. From the Buddhist perspective, paintings and calligraphy belong to Silpakarma-vidya, one of the five types of knowledge and wisdom. Over time monks and laymen painted and practiced calligraphy and Buddhist-themed works became more sophisticated during the Song and Yuan dynasties. By the early Ming dynasty, votive paintings, such as the present example, were used within private chapels and side pavilions of major temple monasteries.As explained in Caroline Gyss-Vermandes' pioneering article about the sets of Shuilu (Water and Land) paintings obtained by Paul Pelliot from “a library in the Imperial Palace” and now in the Musee Guimet (Demons et Merveilles: vision de la nature dans une peinture liturgique du XVe siecle, Arts Asiatiques 43, 1988, pages 106-122), such paintings were not objects of worship, but rather illustrations of the pantheon invoked in the Water and Land rituals, hung up in a prescribed order on the left and right walls of the sanctuary, while the main deities, in a larger size, were hung slightly higher on the north wall. Literature comparison: Compare a related painting of the Medicine Buddha, dated 1477, in the University of Oregon Museum of Art, illustrated in Marsha Weidner, Latter Days of the Law: Images of Chinese Buddhism 850-1850, cat. no. 5, pl. 3.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 17 March 2016, 1110 Price: USD 112,500 or approx. EUR 130,000 converted and adjusted for inflation at the time of writing Description: A Buddhist Figure, ink and color on silk, anonymousExpert remark: Compare the closely related manner of painting. Note the smaller size (95.7 x 50.4 cm).1400-1500年明初重要還願佛陀坐蓮像中國，十五世紀上半葉，絹本水墨設色。出版：Roderick Whitfield et al.，《Classical Chinese Art - Selected Catalogue of the Paintings and Calligraphy》，吳蓮伯美術館，香港，2011年，頁16-17，Roderick Whitfield的文章 “Paintings of Distinction from the Wou Lien-Pai Museum of Chinese Art”，頁109，圖 6 (請注意，錯誤尺寸136.5 x 68 厘米)。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號 P.38。框上和背面有老標籤。 品相：大量磨損、摺痕、缺損、撕裂和汙跡，多處輕微的小修補，木框有磨損、刻痕和缺損。 尺寸：畫面148 x 70 厘米，含框 157.5 x 80 厘米 描金雕刻木框 (2)

A RARE SANDSTONE HEAD OF HARIHARA, PRE-ANGKOR PERIOD7th to late 8th century. Finely carved with a serene expression, almond-shaped eyes with neatly incised pupils, and full lips forming a subtle smile, flanked by long pendulous earlobes. The hair is partly jatamakuta (braided) and partly kiritamakuta (cylindrical), representing Shiva and Vishnu, respectively. Provenance: From the private collection of Camille Mines (1950-2018), Luxembourg. By repute acquired by his father, Rene Mines, in the local trade during the early 1970s. By descent to Robert Mines. A copy of a handwritten provenance statement signed by Robert Mines, dated 15 September 2022, confirming the above, accompanies this lot.Condition: Good condition, commensurate with age. Extensive wear, cracks, losses, nicks, scratches, signs of weathering and erosion, encrustations.Dimensions: Height 30 cm (excl. stand), height 41 cm (incl. stand)Mounted to a modern stand. (2)Syncretism is a favored device in Indian cosmologies for representing the complex and multifaceted personalities of the gods. The oldest archaeological evidence of this practice is sculptures from Kushana-era Mathura (late 1st - 3rd century), northern India, depicting Shiva combined with his female aspect, Parvati, as the androgynous Ardhanarishvara. Vishnu (Hari) combined with Shiva (Hara) appeared later in India, in the fifth century during the Gupta period, and is explained mythically as Shiva representing the male half of the universe and Vishnu, in his female aspect as Mohini, representing the female element. Harihara is born of their sexual union. The artistic styles that developed during the Pre-Angkor period, before the capital was moved north to Angkor, exhibit a wider range of artistic motifs than those that would develop during the Angkor period. Phnom Da was an important center of artistic creation during the 6th-7th centuries.Literature comparison: Compare a related sandstone head of Harihara, 11.5 cm high, also dated to the Pre-Angkor period, in the CB National Museum, inventory number Ka.2687. Compare a related sandstone head of Harihara, dated to the early 7th century, in the collection of the Musee Guimet, inventory number MG14899, exhibited in The Metropolitan Museum of Art, Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century, 14 April to 27 July 2014, cat. no. 91.

A MONUMENTAL SANDSTONE HEAD OF BUDDHA, NORTHERN WEI DYNASTY, CHINA, 386-534Opinion: The head is carved from buff sandstone that has the appearance of granite from a distance. The style and material are typical of examples from the Yungang caves and surrounding area.Published: Stephen Little, Images of the Buddha from the Michael Phillips Collection, Arts of Asia, Jan-Feb 2013, page 112, no. 29.The rounded face deeply carved with small, pursed lips, broad flattened nose and thin, sharply cut eyes, flanked by long pendulous ears, all beneath the simply rendered hair and tall ushnisha. The stone of reddish-brown tone with some crystalline flecks.Provenance: An American private collection. Christie's New York, 15-16 September 2011, lot 1360, estimate of USD 60,000 or approx. EUR 72,000 (converted and adjusted for inflation at the time of writing). The private collection of Michael Phillips (born 1943), who is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Good condition, commensurate with age. Extensive wear, losses, nicks, scratches, signs of weathering and erosion.Scientific Analysis Report: A scientific and technical examination was conducted by John Twilley, art conservation scientist. A copy of the examination report, dated 20 September 2007, accompanies this lot. The report concludes that “the evidence strongly supports a history of natural weathering of the stone, on a scale of centuries rather than decades, subsequent to its carving”. Note that this report is also mentioned in the catalog entry by Christies from 15-16 September 2011.Dimensions: Height 43 cm (excl. stand) and 65 cm (incl. stand)Mounted on an associated stand. (2)The first of the formative phases of Buddhist sculpture in China, to which the current sculpture dates, lasted until roughly 495 AD and is represented by the cave temples in the north at Yungang. Over 50,000 statues lay within the Yungang Grottoes and surrounding area. Constructed during the Northern Wei dynasty by the imperial order of Emperor Wencheng, carving in the area began in 460 AD as an act of reparation for the Buddhist persecution of 445-452, and lasted until 494 AD when the capital was moved to Luoyang. The Yungang cliff is formed of horizontal layers of buff-colored sandstone, which lends itself well to sculpture, as well as to the excavation of large caves with horizontal ceilings. The sandstone of this head of Buddha is typical of that found in the Yungang region.Literature comparison:Compare a polychromed figure of Buddha still in place in Cave 9 of the Yungang Grottoes. Compare a related sandstone head of Buddha with similar features and carved of the same type of stone in The Nelson-Atkins Museum of Art, illustrated in the Handbook of the Collection, Kansas City, 1993, p. 303. Also compare with a 'yungang' sandstone head of a bodhisattva, Northern Wei dynasty, at Sotheby's London, 13 May 2015, lot 18. The use of this comparable, which is rather smaller in size (7 cm), serves as solid proof in tying our example to the Yungang area. The sandstone is of an identical color and texture, and the face has very similar features. It therefore almost certainly places our example amongst the most important Buddhist carvings from the Northern Wei period. Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 1 April 2018, lot 3029Price: HKD 3,120,000 or approx. EUR 396,000 converted and adjusted for inflation at the time of writingDescription: A rare and large sandstone head of a Buddha, Northern Wei dynastyExpert remark: This comparable shows numerous similarities with our example, from the domed ushnisha above the simple outlined hair to the long pendulous ears. Note the related size (40 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 5 April 2016, lot 2814Price: HKD 625,000 or approx. EUR 82,500 converted and adjusted for inflation at the time of writingDescription: A large 'yungang' sandstone head of Buddha, Northern Wei dynastyExpert remark: Note the closely related size (43 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.386-534年北魏砂岩佛陀頭像 出版：Stephen Little，〈Images of the Buddha from the Michael Phillips Collection〉，《Arts of Asia》，2013年1-2月，第112頁，圖 29。 來源：美國私人收藏；紐約佳士得，2011年9月15-16日，lot 1360，估價USD 60,000；Michael Phillips (出生於1943)私人收藏 品相：條件良好，大面積磨損、缺損、刻痕、劃痕、風化和侵蝕。 科學檢測報告：藝術保護科學家John Twilley對此頭像進行了科學檢測。本拍品附有一份日期為 2007年 9 月 20 日的檢驗報告複印本。該報告得出結論，“證據有力地支持了石頭在雕刻之後的自然風化歷史，其規模為數百年而不是數十年”。請注意，佳士得 2011年 9 月 15 日至 16 日的圖錄中也提到了這份報告。 尺寸：高 43 釐米 (不含底座) 與65 釐米 (含底座) 配置底座。 (2)

A YAOZHOU CELADON CARVED DISH, SONG DYNASTYChina, 960-1279. The shallow rounded sides supported on a short foot and rising to a broad everted rim, the interior neatly incised with numerous whorls, covered overall in a bubble-suffused olive-green glaze, the foot rim left unglazed, the recessed base splashed with a pale celadon glaze.Provenance: English trade. Condition: Very good condition with minor wear and firing irregularities, tiny chips to foot. Weight: 384.1 g Dimensions: Diameter 19.7 cmThe Yaozhou kilns, located at Huangpuzhen, Shaanxi province, began production of a wide range of wares during the Tang dynasty. The kilns were well placed to use water transportation to the Northern Song capital at Kaifeng, and it is recorded that Yaozhou wares were presented as tribute to the Northern Song court. Both the official Song history and other literary sources mention such tribute gifts. For instance, the official gazetteer during the Yuanfeng era (1078-1085), Yuanfeng jiuyu zhi, mentions fifty sets of tribute ceramics sent to the court from Yaozhou.Auction result comparison: Type: Related Auction: Christie's New York, 15 September 2016, lot 702 Estimate: USD 52,500 or approx. EUR 60,500 converted and adjusted for inflation at the time of writing Description: A Small Carved Yaozhou Dish, Northern Song Dynasty, 11th-12th CenturyExpert remark: Compare the related glaze and whorl motif. Note the smaller size (12.8 cm).宋代耀州窯青釉暗紋折沿盤中國，960-1279年。折沿，淺盤，圈足。盤部刻有許多螺紋，通體覆蓋青釉，足緣未施釉。 來源：英國古玩交易。 品相：狀況極好，有輕微磨損和燒製不規則，足部有微小磕損。 重量：384.1 克 尺寸：直徑19.7 厘米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2016年9月15日，lot 702 估價：USD 52,500（相當於今日EUR 60,500） 描述：北宋耀州窯青釉刻水波紋碟 專家評論：比較相近的釉面和 螺紋。請注意尺寸較小(12.8 厘米)。

A MAGNIFICENT AND VERY LARGE TERRACOTTA FIGURE OF A STANDING BEAUTY, MAJAPAHIT PERIODJava, 14th-16th. The lady modeled standing with her right arm wrapped around the waist, dressed in a long robe, with bare feet, adorned with a floral necklace, bangles, and circular earrings, the face with almond shaped eyes, subtle smile and high coiffure, a hair arrangement typical of the period. Provenance: From the private collection of a diplomat in England, and thence by descent to the last owner. Condition: Some old wear, soil encrustations and signs of weathering. Minor nicks, cracks, losses, obvious repairs, overall commensurate with age and exactly as expected of a 14th-century terracotta statue from this region.Dimensions: Height 74.7 cmOrnamental roof statues such as the present lot often decorated houses in the capital of the East Javanese kingdom of Majapahit near the present-day village of Trowulan. Sculptures, molded in clay and sun dried or baked at low temperatures, enhanced and protected the main columns of these open, pavilion-like buildings. Dressed in an orthodox Majapahit fashion with a hair arrangement typical of the period, the standing woman gazes outward in a pensive manner. Figures such as this often illustrated popular legends of the period, and it is possible that she was part of a larger narrative series.Literature comparison:Compare with a closely related statue at the Metropolitan Museum of Art, New York, gift of Marie-Helene and Guy Weill, in memory of William Wolff, 1992, accession number 1992.151.Auction result comparison:Type: RelatedAuction: Bonhams San Francisco, 10 December 2012, lot 5378Price: USD 4,500 or approx. EUR 5,500 converted and adjusted for inflation at the time of writingDescription: A tuff standing female, Java, Majapahit period, 14th-16th centuryExpert remark: Compare the related pose and coiffure. Note the much smaller size (27.9 cm).滿者伯夷朝大型仕女陶像爪哇，十四至十六世紀。仕女右臂環腰站立，身著長袍，赤足，佩戴花卉項鍊、手鐲、圓形耳環，面含微笑，高髻，一頭秀發，這是該時期的典型。 來源：英國一位外交官的私人收藏，一直保存至最後一位藏家。 品相：一些磨損、土壤結殼和風化跡象，輕微的劃痕、裂縫、缺損、小修補。 尺寸：高 74.7 厘米 在東爪哇滿者伯夷王朝首都，現在的特羅烏蘭村附近，陶像經常用來裝飾房屋。用粘土模製並在低溫下曬乾或烘烤的造像增強並保護了這些開放式亭閣式建築的主要柱子。站著的婦人身著滿者伯夷服，留著那個時代的髮型，向外凝視若有所思。像這樣的人物經常描繪那個時期的流行傳說，她可能是某一個故事中的人物。 文獻比較： 比較一件非常相近的陶像，收藏於紐約大都會藝術博物館，來自Marie-Helene和Guy Weill的禮物，以紀念William Wolff，1992年，館藏編號1992.151。 拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，10 12月 2012年，lot 5378 價格：USD 4,500 EUR 5,500 （相當於今日） 描述：十四至十六世紀滿者伯夷朝凝灰女性立像 專家評論：比較相近的姿勢和髮型。請注意尺寸較小(27.9 厘米)。

A FAMILLE ROSE PLAQUE OF ZHONG KUI, BY WANG QI (1884-1937), DATED 1931China. The plaque of rectangular form, painted in bright enamels and iron red to depict Zhong Kui looking in the mirror at his ugly countenance, a pottery vessel and bamboo laying on the ground, with a bat flying above.Inscriptions: Upper left, signed 'Xichang Wang Qi, painted in Zhushan', inscribed 'I am ugly in my life and have no shame in my heart, why should I be scared to look wild in the mirror', dated 'In the autumn of the Year of Xinwei' (corresponding to 1931), and inscribed 'painted in the style of Wang Shen'. Two seals, 'Xichang Wang Qi', and 'Taomi'.Provenance: From a private collection in New York, USA, acquired on 30 July 1997 by the previous owners 'Margaret and Donald' on the way to boarding the 'Yangtze Paradise' for a cruise from Wuhan to Chongqing. The inscription on the back confirms the provenance information and describes the plaque as depicting a 'Chinaman who failed his states exam because of his ugliness, so he kills himself after looking in the mirror and becomes one of the guards to fight off evil spirits'. Condition: Very good condition with minor wear. The frame with expected age cracks, few small nicks, and light scratches.Dimensions: Image size 36 x 25.5 cm, Size incl. mounting 50 x 37.4 cmIn a wooden frame with metal mount, most likely original to the artwork. (2)Wang Qi (1884-1937) was the most outstanding porcelain painter of his day. After the fall of the Qing dynasty, imperial orders for porcelain dwindled at Jingdezhen, the main porcelain production center in China. Porcelain artists, released from imperial restraints, developed their own styles based on famous scroll painters of earlier periods. Eight of the leading artists formed a group, which despite calling themselves 'The Full Moon Society' came to be known as the 'Eight Friends of Zushan'. The development of Wang Qi's mature style can be traced to a trip he made to Shanghai in 1916 to see an exhibition of works by a group of painters called Yangzhou Baguai (the Eight Eccentrics of Yangzhou). Wang was so impressed by the paintings of Huang Shen, one of the Eight Eccentrics, that he started to emulate Huang's style. But not satisfied with just emulating, over the years Wang more and more developed his own distinct style by incrementally incorporating Western painting and enameling techniques in his work.According to folklore, Zhong Kui took part in the state-wide imperial examinations held in the capital city. Though Zhong Kui attained great academic success and top honors in the state exams, his rightful title of 'Zhuangyuan' (top-scorer) was stripped from him by the emperor because of his disfigured and ugly appearance. In anger and fury, Zhong Kui committed suicide by hurling himself against the palace gates until his head was broken, whereupon Du Ping, his friend, had him laid to rest. During the divine judgment after his death from suicide, Yanluo Wang (the Chinese Underworld Judge) saw much potential in Zhong Kui, intelligent and smart enough to score top honors in the imperial examinations but condemned to the capital of hell because of the strong grievance. Yama thus gave him the title of the king of ghosts and tasked him to hunt, capture, take charge of and maintain discipline and order among all ghosts. Auction result comparison:Type: RelatedAuction: Bonhams London, 8 November 2012, lot 345Price: GBP 8,750 or approx. EUR 15,000 converted and adjusted for inflation at the time of writingDescription: An enameled rectangular plaque, cyclically dated Xinwei year (AD 1931), signed and sealed Wang QiExpert remark: Compare the similar form, material and figural motif. Note the similar size (38.4 x 25.2 cm).Auction result comparison:Type: RelatedAuction: Bonhams Sydney, 27 May 2012, lot 45Price: AUD 15,600 or approx. EUR 14,000 converted and adjusted for inflation at the time of writingDescription: A framed enameled rectangular plaque of a monk enjoying a bucket of wine, attributed to Wang Qi (1884 - 1937), Republic periodExpert remark: Compare the similar form, material and figural motif. Note the similar size (38.3 x 25 cm).Auction result comparison:Type: RelatedAuction: Bonhams Sydney, 27 May 2012, lot 44Price: AUD 14,400 or approx. EUR 12,500 converted and adjusted for inflation at the time of writingDescription: A framed enameled rectangular plaque of Bodhidharma crossing the Yangtze River, attributed to Wang Qi (1884 - 1937), Republic periodExpert remark: Compare the similar form, material and figural motif. Note the similar size (37 x 24 cm).王琦粉彩《鍾馗》瓷板畫中國，長方瓷板，畫面裏鍾馗照鏡，臉部明暗關係清晰，筆法細膩，衣衫以玻璃白為底色，再罩以淡藍色。線條簡略流暢，準確凝練，以乾筆皺藍袍層次變化微妙，一隻紅色蝙蝠在空中飛舞。 款識：平生貌醜心無愧，何懼猙獰對鏡看，龍集辛未初秋上浣，仿黃慎之筆意。西昌匋迷散人王琦寫於珠山客次；鈴印：西昌王琦，匋迷。來源：美國紐約私人收藏，購於1997年7月30日；之前的所有者 Margaret 與 Donald搭乘武漢至重慶遊輪“長江天堂”號途中。背面的款識證實了出處資訊，並將瓷板描述為“一個中國人因醜陋而未能通過考試，因此他在照鏡子後自殺，並成為一名與惡魔搏鬥的衛士”。 品相：狀況極好，有輕微磨損。框架有預期的老化裂紋、少量小劃痕和輕微劃痕。 尺寸：畫面36 x 25.5 釐米，總 50 x 37.4 釐米 木框，很可能是原件。(2)

A GROUP OF SIX PLASTER MODELS 20th century, including a head of a goddess, 16cm high, mounted on a wooden base, a lion's head mask, 26cm high, a copper red-painted model of a Chatsworth lion, 24.5cm wide, a mask of a bearded man, 23cm high, a goat, 22cm long, a model of an Achaemenid double horse capital, 28cm long, together with a head fragment (7)Provenance: The Christopher Hodsoll Collection.

A GROUP OF SEVEN ARCHITECTURAL PLASTER MOULDINGS 20th century, including a variety of classical column capitals in relief, the largest 20cm high x 40cm wide, as well as a complete composite capital, 17cm high (7)Provenance: The Christopher Hodsoll Collection.

Six books about Japan. JAMES MURDOCH and ISOH YAMAGATA. 'A History of Japan During the Century of Early Foreign Intercourse (1542-1651),' original cloth, colour fold out maps, contemporary ink inscription to titlepage, published at the office of the 'Chronicle', Kobe, Japan, 1903; Sir RUTHERFORD ALCOCK. 'the Capital of the Tycoon: A Narrative of a three Years Residence in Japan,' two volumes, staining to original cloth, spotting throughout, illustrations and maps, Harper & Brothers, New York, 1868; ENGLBERT KAEMPFER. 'The History of Japan Together with a Description of the Kingdom of Siam 1690-92,' three volumes, original red cloth with gilt decoration to front board, rubbed and bumped to extremities, plates, James MacLehose and Sons, Glasgow, 1906. (6)Provenance: From the estate of William Arthur Blackburn Leach.DOB: 2nd Jan 1872.Leach was born in Norwich where he attended a local grammar school, later becoming an apprentice carpenter and engineer. In 1902 after he had qualified, he went to China where he obtained a position in the Public Works Department of the Shanghai Municipal Council. He spent his working life in Shanghai until he left in 1926.During his time in China he held interests in a Christian Mission school and helped to support street children.He seized every opportunity to visit other parts of China and took thousands of photographs. He purchased widely on his travels, particularly woodcarvings, bronzes, traditional kimonos, paintings and porcelain. He treasured silver items and bought much to take home. He travelled home at least four times during his stay in China and these return visits were round-the-world trips in which he travelled through and visited Europe, Russia, the Middle East, Egypt and The Holy Land, the Far East, Canada and USA.On his return to the UK he lived in Northampton where he was a lay preacher and a local councillor. He gave a great many talks on his experiences in China and the many other Countries he had visited.He died in 1962.

Attributed to Thomas Wyck (Dutch 1616-1677)View of the Thames at Westminster on Lord Mayor's DayOil on canvas60.9 x 90.9cm; 24 x 35¾inProvenance:Willis Group Corporate Collection;By whom sold, Bonhams, The Willis Associates Sale, 21 February 2008, lot 99, where purchased by the present private collectorThe present work is a rare and important view of London, painted in the early 1660s, after the Restoration and before the Great Fire of 1666. Looking north across the Thames, in the distance is the Old Palace of Westminster, including St Stephen's Chapel (which served as the chamber of the House of Commons), Westminster Hall, and Westminster Abbey. On the right hand side we see the Palace of Whitehall, with the Banqueting House prominent.The Thames itself is packed with vessels of various sizes, and the presence of numerous Livery Company barges, each with their guild banners on display, suggests that the painting depicts the Lord Mayor's Procession. This was an annual event in which the Mayor of London and the aldermen travelled by river from the City to Westminster to be sworn in and then presented to the King. In the centre of the work, firing a salute as the flotilla passes, is a royal yacht, possible the Royal Escape, which Charles II had taken passage on to escape parliamentarian forces during the Civil War.Very few paintings of London prior to the Great Fire are known. Thomas Wyck was one of the few artists to paint such works, including a view across the Thames from Southwark (at Chatsworth House), and a view of Whitehall and St James's Park (in the Bank of England Museum). Although views of London and the Thames proliferated in the mid 18th Century, with artists such as Canaletto, the present work predates these by almost a century, and provides a fascinating and important early record of the capital.

Two coloured prints, view of the Royal Capital Portugal and a 19th century view of the Quarantine Harbour of Malta, in strip frames

A large group of 1/24th scale Harley Davidson related Coin Banks including 1940 Ford Pick-up Bank - Capital Employee Store, Daggett, PA, House of Harley Davidson Milwaukee, WI, 1952 Chevy Pick-up Bank - Fort Ann, New York, Waterford, MI and a 1937 Studebaker Woody - generally Mint in Good to Excellent boxes. (12)

Royal Mint Silver Proof £1 Coins of The Capital City Collection 2010 & 2011, Belfast, Cardiff, Edinburgh & London in Original Cases with Certificate of Authenticity and outer boxes.

A CHARLES II BRASS LANTERN CLOCKWILLIAM HOLLOWAY, STROUD, DATED (16)78The separately wound trains with brass cheeked pulleys now running with chains, the going train with reinstated verge escapement regulated by short pendulum incorporating anchor-shaped flutes to the bob swinging within the frame at the rear, the strike train sounding the hours on a bell mounted above the frame via a countwheel, the dial with vacant circle within concentric band of engraved scrolling foliage issuing from a flowerhead to the lower margin and interrupted by engraved signature William Holloway, of Stroud '78 to the upper edge, within applied silvered Roman numeral chapter ring incorporating wheatear half hour markers, with sculpted steel hand and radial leaf engraved infill to the corners, the frame with one-piece corner castings formed as Doric columns beneath vase finials with acorn shaped caps, the front and sides applied with symmetrical scroll pierced cast brass frets with the front incorporating foliate engraved detail, beneath domed bell bearer capped with a vase finial, with original concentric ring decorated brass side doors and iron hanging hoop to rear, on integral inverted acorn shaped feet.41cm (16.25ins) high, 16.5cm (6.5ins) wide18.5cm (7.25ins) deep. William Holloway is recorded in Loomes, Brian LANTERN CLOCKS & Their Makers as the son of the clockmaker John Holloway born in 1732 at Market Lavington, Wiltshire. In 1658 he moved, along with his father and younger brother Richard, to Stroud in order to take-on the workshop of the recently deceased John Snow. Holloway was married to Hester Hieron in 1664 and continued working until his death in 1694. William Holloway had three sons one of which, John, continued the business in Stroud after his death; the other two, William and Arthur, moved to London to pursue the trade in the capital.  William Holloway was a confident, accomplished and relatively prolific maker who used distinctive castings for his frames which appear almost unique to the Holloway family. His early clocks (1661 to circa 1680) used castings loosely based on the London second period style but were one-piece (i.e. finials and feet were cast integral with the posts) with tall slender finials capped by distinctive acorn turnings. Three examples by Holloway with this type of frame are illustrated in White, George English Lantern Clocks on page 246 (Figures V/78-80). The second type of frame used was much more akin to the standard London third period pattern but again employed one-piece castings and appeared to be short-lived as they are only seen on clocks dating to the first five or six years of the 1680's (see White, page 247, Figure V/81). The third pattern was again based on London third period practice but was much more generous with distinctly bulbous swellings to the finials and feet, two clocks with this type of frame are illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers pages 207 and 209 Figures 13.8 and 13.13. Other traits of Holloways work include the continued use of separate winding for each train long after most other makers had adopted Huygens' single-weight endless rope system. Clocks with separately wound trains are characterised by having hour bell hammers positioned to the right hand side of the movement. Loomes suggests that Holloway may have continued this practice as it allowed straightforward disablement of the strike train by simply removing or not winding the strike weight. Another unusual feature peculiar to Holloway was that he often used four wheel trains in order to give a longer duration. The current lot is a typical of Holloway's first phase of work with one-piece castings incorporating acorn-shaped feet and caps to the finials. Indeed the clock can be very closely compared to another example by Holloway dated 1674 illustrated by George White on page 246 (Figure V/79).Condition Report: As catalogued the movement has been re-converted to its original configuration of verge escapement with short pendulum having previously been converted to anchor escapement regulated by long pendulum swinging outside of the case to the rear. The re-conversion has been executed to reasonable standard however the contrate and escapewheel are noticeable replacements due to having slightly different feel (mostly in their weight) to remaining original wheelwork. The potances are well-executed and appear to utilise the original holes; the anchor-shaped pendulum bob is probably a little heavy and has been re-attached using solder. The top plate has spare holes to the rear edge from the previous anchor long pendulum backcock and an enlarged slot beneath the escape wheel to provide space for the previous anchor pallets escapement. The going train second wheel arbor (original) has ben thinned adjacent to the pinion to allow additional clearance for the previous anchor escape wheel. In addition to the above evidence of previous conversion to anchor escapement to long pendulum there is an additional pair of pivot holes (towards the top of the front and centre movement bars) the indicating that the clock may have also been fitted with an anchor escapement with short pendulum (facilitated by increasing the train to four wheels). It is possible that the pendulum for this configuration utilised the same space as the present pendulum which would account for the slot cut in the bottom plate beneath the anchor-shaped bob to allow additional clearance for slightly longer pendulum. The backplate is no longer present and was most likely removed along with the alarm mechanism which would have been mounted to the exterior of the plate at the time of conversion to long pendulum. The original hanging hoop is still present; the corresponding spurs would have most likely been fitted to backplate hence it is most probable that the clock was housed in a tall 'pencil case' type longcase after conversion to long pendulum.Except for the escapement both trains appear to be entirely original and in good order; the pulleys probably originally ran with rope lines. Although the clock is in working order a gentle service/lubrication is advised. The dial is in good original condition with some historic scratching, wear and surface casting texture to the vacant centre where the alarm disc would have been (removed at time of conversion to long escapement); the hand appears original and is nicely made. The frame is in fine original condition and the frets appear original. The bell is a replacement (domed support appears original); the top finial is also a replacement. The side doors are rare original survivors.Clock has two lead weights. Condition Report Disclaimer

A Pair of Ceramic and Metal Candlesticks Set on Pewter Square Bases Having Imari Ceramic Supports and Cornithian Metal Capital Together with a Pair of Past Time Porcelain Examples, Tallest 22cm High

The Beatles - Sgt Peppers Lonely Hearts Club Band - A limited edition Beatles vinyl LP picture disc record. Capital Records. Sealed.