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Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Yucatan, Mexico oil on canvas, unframed50.9 x 61.2 cm (20 x 24 1/8 in) Painted in 1956LITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 269, no. 145E. Michel, Marie-Louise von Motesiczky 1906-1996, 2003, p. 45CONDITION REPORT:Oil on canvas, unframed. Not lined. Examined under UV: there are no visible signs of fluorescing. Overall, it our opinion that the work is in very good original condition. In Spring 1956 Motesiczky travelled to the American continent for three months. After visiting New York, Washington and Chicago, she joined her friend Renée Cushman in Arizona and the pair travelled to Mexico to visit some of the most famous archaeological sites on the Yucatan peninsula.In the present work, Motesicsky depicts the now world-famous archeological site Chichen Itza (once the capital of the Yucatan Maya, on the southern peninsula of Yucatan). Clearly struck by the site and its vivid colourings, a large number of photographs and postcards of its buildings have survived in her estate.In Yucatan, Mexico Motesiczky interestingly does not focus on the site's most famous structure, the huge pyramid of the sun, but instead depicts two Western women strolling across the courtyard known as ‘Cuadrangulo de las Monjas’. The warm evening light of the sunset filters through the open doors and windows of the ruins contrasting against the milky lilac sky above. Two huge, carved serpent heads, representative of the Mesoamerican serpent deity Kukulkán, loom in the foreground, which Motesiczky has relocated from other parts of the grounds. Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.  

LONDON 2012 OLYMPIC GAMES: UNION JACK BICORN HAT FROM NELSON'S COLUMN 2012, DESIGNED BY SYLVIA FLETCHER FOR LOCK AND CO. Modelled with an original London 2012 Paralympic torch, with plexiglass flame, now mounted on a display grey-painted wood bust of Nelson, signed and dated by Boris Johnson '8/1/2013',tThe hat 114 cm wide, overall height 183 cm This hat was displayed on top of Nelson's Column, Trafalgar Square as part of an exhibition held in central London during the London 2012 Olympic games where designers 'hatted' famous monuments across the capital. Provenance: Part of the residual contents of Newton Surmaville

A LARGE FINE GONG STRIKE REPEATING CARRIAGE CLOCK WITH FITTED CARRY CASE, the heavy brass gorge case having Corinthian capital columns and thick bevelled glass panels, dial plate richly engraved with floral embellishments, having a concave chapter ring, fan shaped inner dial and blued steel spade hands, the 8 day movement striking on a blued steel gong, overall H 20 cm

AN ENGLISH COMMONWEALTH PAMPHLET, 1657An Act for an Assessment upon England, at the Rate of Sixty thoufand Pounds by the Moneth, for Three Moneths; From the Twenty fifth day of March 1657. to the Twenty fourth day of June then next enfuing. At the Parliament begun at Weftminfter the 17th day of September, An. Dom. 1656~ [Wing 997], printed in London by Hen. Hills and John Field, Printers to His Highnefs the Lord Protector, 1657, with printed double-lined border around the title (slight staining, small tear to bottom right of title page); 73 pp, folio; ; This Act was to raise capital to fund the war with Spain during the Anglo-Spanish War (1654-1660), during which England had formed an alliance with France in 1657.

ARCHITECTURAL GARDEN ORNAMENTS INCLUDING; A CARVED LIMESTONE PILASTER CAPITAL ANGLO-INDIAN, 19TH CENTURY 62cm wide, 58cm high, 23cm deepA LIMESTONE PILLAR120cm high, the top 22.5cm diameterAND A SINGLE CARVED GRITSTONE ROOFTOP MONKEY ORNAMENT53cm wide, 54cm high, 42cm deepProvenance: Private Collection, Oxfordshire

Royal Marines GSM, UN, South Atlantic, LSGC Group of Four Medals. Awarded to PO20889P Colour Sergeant B.R. Sherrin Royal Marines, who during the Falklands War was in the initial landings in San Carlos and later believed to have service with the Special Boat Service SBS. Comprising: Campaign Service Medal, clasp Northern Ireland, Sgt RM, UN Cyprus Medal, South Atlantic Medal with Rosette CSGT RM, Royal Navy Long Service & Good Conduct Medal (EIIR), SGT RM. GC Group mounted as originally worn and accompanied by corresponding miniature medal group mounted as worn ... Accompanied by two original photographs, one being the presentation of the RN LS&GC whilst attached to the Royal Netherlands Marine Corps Colour Sergeant B R Sherrin joined the Corps on 18 September 1961 and after training with 768 Squad joined the Royal Marines Detachment aboard HMS LONDONDERRY. Aboard he was made responsible for the Detachment Geminis and later became a coxswain of the Ship's Sea Boat. This tour included twelve months in the West Indies at the time of the Cuban crisis. As coxswain he was responsible for putting ashore at many remote British Islands and picking up the many Cuban exiles who had fled their island. Later he flew with the Detachment to Georgetown, the capital of Guyana, formerly British Guyana, during a period of civil unrest and general strike. In March 1965 he qualified as an LC3 and immediately following this he joined the Detachment aboard HMS LION. On return to RM POOLE he upgraded to LC2 and a Junior Command Course followed shortly afterwards. CSgt SHERRIN was married in June 1967. He joined HMS INTREPID as an LCVP Coxswain and was promoted to Corporal. The ship sailed to the Far East and during the outbound passage stopped at Aden to assist with the withdrawal. During his tour in the Far East, CSGT SHERRIN who is a New Zealander by birth, was able to transfer to HMS TRIUMPH during Ex CORAL SANDS and revisit his homeland when the ship visited AUCKLAND for two weeks. Returning to RM Poole he successfully completed an LC1 course and assisted as an LC3 Instructor before flying out to Singapore to rejoin HMS INTREPID as an LCU 2nd Coxswain. A year later he attended the Senior Command Course at CTCRM and shortly after this he attended and attained his Private Pilots Licence courtesy of the Army Air Corps at Middle Wallop. In May 1973 CSgt SHERRIN joined 41 Commando in Malta and was made Troop Sgt of 4 Troop, F Company. He then flew twice to Malaya, first to attend a Jungle Survival Course and later he flew out with F Company when the first of the "Curry Trails" began. He attended Gliding Course held in Cyprus and gained a Gliding Licence. In Cyprus shortly afterwards he was involved with F Company in the setting up of a Refugee Camp and the evacuation of the holidaymakers when war occurred with the Turkish invasion. Later he returned to Cyprus for six months as a member of the United Nations Force and was responsible for in addition to three OP's, the numerous Greek villages and Turkish enclaves surrounding the town of POLIS. Back at RM Poole in 1975 he took on LC instructing, had a term as I/C of the RIT Section, then took control of the LCVP Sqn. In the autumn of 1976 he was on the first exchange draft with the RNLMC and based on the island of TEXEL at the Dutch Amphibious Training Camp for 15 months. From HOLLAND he joined 1 Raiding Squadron Royal Marines at Plymouth and served with OP INTERKNIT as I/C of RRC Coxswains. With the Squadron he was employed as Trg SNCO which included trips to Cyprus and Norway for exercises. Returning to RM Poole he was briefly employed as an LCU Coxswain before flying out to Hong Kong to take over as Senior Instructor training Gurkhas as RRC Coxswains. During the six month tour he also assisted with the formation of 3 Raiding Squadron Royal Marines. After a further six months at Poole he was then drafted to HMS HERMES as SNCO LCVP's. In November 1981 he was promoted to CSgt and served a short term at RM Poole before joining HMS INTREPID as an LCU Coxswain for OP CORPORATE. In the Falklands he was at the initial landing in SAN CARLOS and when HMS INTREPID left to return home CSgt SHERRIN remained in Stanley a further six weeks. He was in command of the two LCU's kept there to continue the off loading of the shipping as they arrived. On return to RM Poole he took over as Senior Instructor Landing Craft and was responsible for co-ordinating all training. He was left the Marines in 1984 after 21 years service. He is believed to have at one time served with the SBS, but at this point Bosleys have been unable to confirm this.

AN IRON-RED DECORATED ‘PROCESSION OF THE DAIMYO’ BALUSTER PORCELAIN VASE BY THE STUDIO OF MAKUZU KOZAN JAPAN, MEIJI PERIOD Resting on a short ring foot, with a waisted base and a globular body surmounted by a long tubular neck with a slightly everted rim. Finely painted in deliberately ‘faded’ iron red design depicting an interesting procession of insects. The base is inscribed in cobalt blue with a mark in Japanese script reading ‘Makuzu-gama Kozan Sei’. H: 20,7 cm ****WARNING: THIS LOT IS LOT 454 = NOT THE BOWL IN THE PRINTED CATALOGUE**** Notes: 1. Miyagawa Toranosuke, birth name of Makuzu Kōzan 宮川香山 (1842-1916) was of the major potters of the Meiji period appointed artist to the Japanese Imperial household. He won prizes at fifty-one (51) exhibitions. 2. The design may have been made after an oshi-e panel – i.e. a tradition Japanese craft of folded silk over stiff paper cuttings, puffed up with stuffed cotton – by the artist Sakurai Seppo (1753-1824) currently preserved at the Whyte Museum of the Canadian Rockies, Canada, under accession number SeP.15.01. It is a parody of a procession of the daimyo, i.e. a the regional and feudal warrior lords. Those approximately two hundred and fifty (250) lords were required to spend alternate years in the shogun court in the capital Edo, thus the roads to Edo were often the sigh of formidable pageants. The original piece of art depicts forty-two (42) insects in total, either grasshoppers, wasps and mantises – bearing flowers and fruits over their stiff limbs, banners and even a palanquin. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

Utagawa Hiroshige 歌川広重 (JAPAN, 1797-1858) ‘Cherry-blossom Viewing at Goten-yama’ (Goten-yama hanami no zu) 1843–47 (Tenpo 14–Koka 4) Oban yoko-e woodblock print From the series Famous Places in the Eastern Capital (Tôto meisho 東都名所) Dimensions (the leaf): 36,5 x 24,7 cm Catalogue raisonné: Sakai, Hiroshige Edo fûkei (1996), list #72.6, pls. 687-688; Ukiyo-e shûka 14 (1981), Hiroshige list, p. 244, horizontal ôban #72.06; Matsuki 1939, #105. Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes: Utagawa Hiroshige, was a Japanese ukiyo-e artist, considered the last great master of that tradition. He is best known for his horizontal-format landscape series ‘The Fifty-three Stations of the Tōkaidō’ and for his vertical-format landscape series ‘One Hundred Famous Views of Edo’. The subjects of his work were atypical of the ukiyo-e genre, whose typical focus was on beautiful women, popular actors, and other scenes of the urban pleasure districts of Japan's Edo period (1603–1868). For scholars and collectors, Hiroshige's death marked the beginning of a rapid decline in the ukiyo-e genre, especially in the face of the westernization that followed the Meiji Restoration of 1868. Hiroshige's work came to have a marked influence on western European painting (see, inter alia, Manet and Monet) towards the close of the 19th century as a part of the trend in Japonism. 2. Compare with a related print preserved in the collection of the Museum of Fine Arts (MFA) of Boston, USA, under accession number 21.9852. Click HERE to see the related print. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

Toyohara Kunichika豊原国周 (JAPAN, 1835-1900) Tattooed carpenter Kichizo Uzaemon Ichimura 1865 Oban tate-e woodblock print From the series of ‘The 36 views of the Eastern Capital’ Dimensions (the leaf): 24 x 35,5 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Note: Toyohara Kunichika was a ukiyo-e Japanese woodblock print artist. Talented as a child, at about thirteen he became a student of Tokyo's then-leading print maker, Utagawa Kunisada. His deep appreciation and knowledge of kabuki drama led to his production primarily of yakusha-e, which are woodblock prints of kabuki actors and scenes from popular plays of the time. He also portrayed women deemed beautiful (bijinga), contemporary social life, and a few landscapes and historical scenes. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A George III mahogany bow front corner cabinet, reeded cornice with dentil capital above a pair of doors enclosing three shelves, 94.5cm high, 67cm wide, 43.5cm deep

A SANDSTONE FIGURE OF A MALE DEITY, CHAM PERIODVietnam, 10th century. Boldly carved standing in samabhanga with the left hand holding a club and the right raised in front of the chest, wearing a diaphanous robe tied at the waist, the serene face with heavy-lidded eyes and full lips.Provenance: From a French private collection, acquired in the Parisian trade.Condition: Excellent condition, commensurate with age. Extensive wear, signs of weathering and erosion, losses, nicks, scratches, encrustations, few structural cracks.Weight: 9.5 kg (incl. stand)Dimensions: Height 38 cm (excl. stand) and 38.5 cm (incl. stand)Mounted to an associated metal stand. (2)The height of Cham civilization occurred during the 7th to 10th centuries, when the seafaring Cham controlled the silk and spice trade in the South China Sea between China, India, the Indonesian archipelago and the Abbasid empire. However, this period was also marked by several raids by Javanese kingdoms, near-continuous warfare with the Dai Viet to the north as well as a fierce and often bellicose rivalry with their western neighbors, the Khmer of Angkor in present-day Cambodia. Much like the Khmer had to abandon Angkor after a Thai invasion in 1431, the Cham gradually lost their northern territories to the Dai Viet between the 10th and 15th centuries, beginning with the sack and eventual abandonment of Indrapura and culminating in the destruction of the Cham capital Vijaya in 1471, after which only the southern principality of Panduranga remained.Auction result comparison: Compare a related sandstone figure of a female deity, 75 cm high, dated 10th-11th century, at Sotheby's New York in Indian and Southeast Asian Works of Art on 19 March 2008, lot 247, bought-in at an estimate of USD 50,000-70,000.

A CHLORITE SCHIST RELIEF OF SHALABHANJIKA, HOYSALA EMPIRESouthern India, 11th-12th century. Standing in graceful tribhanga clutching the branches of the tree above with one hand, the other resting on her leg, clad in a sheer dhoti and adorned with beaded jewelry and billowing scarves, two diminutive attendants at her feet, her serene face with heavy-lidded eyes and full lips.Provenance: From the private Luxembourg collection of Camille Mines (1950-2018), whose father Rene acquired this piece in the local trade during the early 1970s, and thence by descent.Condition: Excellent condition, commensurate with age. Extensive wear, minor losses, nicks and scratches, signs of weathering and erosion, structural cracks, encrustations.Dimensions: Height 52 cm (excl. stand) and 56 cm (incl. stand)With an associated metal stand. (2)The Hoysala Empire was a Kannadiga power originating from the Indian subcontinent that ruled most of what is now Karnataka, India between the 10th and the 14th centuries. The capital of the Hoysalas was initially located at Belur, but was later moved to Halebidu. The Hoysala rulers were originally from Malenadu, an elevated region in the Western Ghats. In the 12th century, taking advantage of the warfare between the Western Chalukya Empire and Kalachuris of Kalyani, they annexed areas of present-day Karnataka and the fertile areas north of the Kaveri delta in present-day Tamil Nadu. By the 13th century, they governed most of Karnataka, minor parts of Tamil Nadu and parts of western Andhra Pradesh and Telangana in the Deccan Plateau. The Hoysala era was an important period in the development of art, architecture, and religion in South India. The empire is remembered today primarily for Hoysala architecture. Over a hundred surviving temples are scattered across Karnataka.Shalabhanjika is a term found in Indian art and literature with a variety of meanings. In Buddhist art, it means an image of a woman or yakshi next to a tree, often holding a sprig of mango leaves. The position of the salabhanjika is also related to the position of Maya when she gave birth to Gautama Buddha under an ashoka tree in a garden in Lumbini, while grasping its branch.Literature comparison: Compare a related schist stele depicting a shalabhanjika, dated 1150-1200 and also attributed to the Hoysala Empire, in the collection of the National Gallery of Victoria, Melbourne, accession number 540-D5.Auction result comparison: Compare a related sandstone figure of a shalabhanjika, 67.3 cm high, dated 10th-11th century and attributed to Rajasthan or Madhya Pradesh, at Christie's New York in Indian and Southeast Asian Art on 16 September 2014, lot 228, sold for USD 21,250.

A SET OF THREE SHUNGA WOOD BLOCK PRINT ALBUMS, 19th CENTURYJapan. Three sewn albums, woodblock prints on paper. Two titled 'The floral road to the capital' (Hana no miyakoji), attributed to Utagawa Kunisada (Toyokuni III). The third titled 'Seasonal flowers' (Hanagoyomi), attributed to Utagawa Kuniyoshi. All depicting various erotic scenes and with text.Provenance: German private collection.Condition: Commensurate with age, woodworm holes, creasing, soiling, tears, and loose stitching.Dimensions: 22.2 x 15.1 x 1 cmThe art of erotic print was practiced by many artists, including Hokusai. It was a relatively easy way to monetize art. Its figuration, like anything in Japan is codified: coupling servants and lords, monstrous size of the sexes, voyeurism and sadism.

A NISHAPUR 'IBEX AND BEAST' POTTERY BOWL, 9TH - 10TH CENTURYNortheast Iran. The bowl with slightly rounded sides, the interior well painted with an ibex and a mythical creature, framed by concentric bands of calligraphy and decorative patterns. The exterior with alternating stylized leaves and stripes. Some areas glazed in pale yellow and turquoise.Provenance: From the collection of Karl Stirner, and thence by descent. The base with a label describing the bowl as 'Islamic 12th century A.D. [sic] Seljuk Kufic script', another collector's label '#34', and an inscription with '#34'. Karl Stirner (1923-2016) was a German-born American sculptor known internationally for his metalwork. His art has been shown at the Museum of Modern Art in New York, the Pennsylvania Academy of Fine Arts, the Philadelphia Museum of Art, the Corcoran Gallery, the La Jolla Museum of Contemporary Art, the James A. Michener Art Museum, the Grounds for Sculpture in Hamilton, New Jersey, and the Delaware Art Museum, among other places.Condition: Commensurate with age, extensive wear, chips, losses, breakage and old repairs, touch-ups, soil encrustations.Weight: 533.3 gDimensions: Diameter 21.2 cm, Height 7.4 cmNishapur is the historic capital of the western half of Greater Khorasan and of the 9th century Tahirid dynasty, the initial capital of the 11th century Seljuk Empire, and a historic Silk Road city. It is situated in a fertile plain at the foot of Binalud Mountain Range. Nearby are several mines that have supplied the world with turquoise of the highest quality for at least two millenniums.Literature comparison: Compare a Nishapur pottery bowl with ibex and geometric motifs, dated to the 9th century, in the Newark Museum.Auction result comparison: Compare a related Nishapur pottery bowl, dated to the 10th century, of larger size (31.4 cm), at Christie's London in Arts of Islam Including Property from the Bequest of Adrienne Minassian sold to benefit Brown University on 26 April 2013, lot 647, sold for 4,375.

An Edwardian commemorative bracelet for the Coronation of Edward VII, c.1902,with two rows of trace chain with inserted block capital Roman numerals to form the date 1902, with an enamelled union jack on a flagpole, and a concealed box clasp and safety chain with a hook end. Tested as approximately 15ct gold. 177mm long, 16.44gCondition ReportLight surface marks commensurate with its age. Minor marks to the enamel.Clasp secure.Safety chain unhooks when necessary.No repairs or alterations. See additional images. 

A NORTH ITALIAN ISTRIAN MARBLE WELLHEADVenetian and probably 15th or 16th centuryModelled as a capital, each corner carved with a lion mask with garlands of fruit, 72cm wide, 72cm deep, 60cm high (28in wide, 28in deep, 23 1/2in high) Footnotes:The shape of a Venetian wellhead is no coincidence, with early examples made by hollowing out ancient capitals from fallen columns; a shape that continued as the demand for fresh water in Venice increased. In 1797 it is understood that 6000 wells were recorded in Venice and, during the Grand Tour, they became desirable objects for aristocratic souvenir hunters who would ship them back to their gardens. Many are still in place, including at Iford Manor, Hearst Castle, California, Fullbeck Hall and Hever Castle. Comparative examples can also be found in the Metropolitan Museum (Accession Number: 14.134.26a, b) and an example carved with lion masks in the Victoria and Albert Museum (Accession Number: 88-1882). The majority of Venetian wellheads were made of Istrian stone, a dense, non-porous variety of limestone that was shipped to Venice from Istria (formerly part of the Venetian Republic, now Croatia).This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Victorian 'Dearest' diamond hinged bangle, the band with capital letters set with rose cut diamonds, on a double tubular shank engraved 'From Father & Children, 1896'Very good condition commensurate with age. The hinge and clasp work well. Not hallmarked but probably 9ct or 15ct gold. The lettering measures approximately 10mm x 400mm. Very difficult to tell whether or not there has been a repair near the lugs or whether it is within the manufacture. Gross weight approximately 13.4 grams

Capital bronze Jugendstil vase decorated with female figure and dog, 20th century, h. 78 cm.Kapitale bronzen Jugendstil siervaas met vrouw en hond in het bos, 20e eeuw, h. 78 cm.

WIEN "A View of the City of Vienna the Capital of Germany", kolorierter Kupferstich aus Middleton's Complete System of Geography, um 1778, 15,5x25,5cm (Abb.), PP, R

'A Capital First' framed hunting print, size overall 82 x 62cm

White sandstone capital 15th/16th century Kapiteel witte zandsteen 15e/16e eeuw H 14 - 41 (total hight) cm

Early 20th century novelty small propeller mantle clock reputedly made by an apprentice at Blackburn Aircraft Works, Beverley & Hull in 1914, the mahogany case loosely inset with a WW1 DOXA Royal Flying Corps pocket watch, the black dial inscribed ' 30-Hour Non-Luminous Mark V.' number BE11653 with subsidiary seconds dial, the back marked with a capital 'A' above a broad arrow, mounted on a stepped square base L67cmCondition Report:Watch lacking crown winder but appears to be working OK.

Graham Farish 370-430 N Gauge Train Pack, “Capital Connection”, Network South East 30th Anniversary Collectors Edition, complete with the original packaging

[Acrobatics] [Balance act. Circus Beketow] Der Mysteriöse Deckenläufer Im Circus Bekentow. Ein Spazierung in schwindelnder Höhe, frei mit dem Kopf nach unten. Friedländer, Hamburg, 1913. 96 x 71 cm. Lith. no. 5956. Mild wear along folding lines. *The Capital Circus of Budapest is the only permanent circus in Central-Europe, founded in 1889. In 1904, the Capital Circus was rented and renovated by Matvey Beketov, after which is was renamed Beketow Circus until 1934.

Mahogany barometer - A cased free standing aneroid early 20th century barometer with porcelain dial, red capital letters and bevelled glass, height 37cm, width 35cm, depth 16cm.

Christopher Wood (British, 1901-1930)Drying Sails, Mousehole, Cornwall oil on board40.6 x 50.8 cm. (16 x 20 in.)Painted in 1930Footnotes:ProvenanceMr and Mrs L.K. Elmhirst, thence by descentPrivate Collection, U.K.ExhibitedLondon, The New Burlington Galleries, Christopher Wood, Exhibition of Complete Works, 3 March-2 April 1938, cat.no.37London, The Arts Council of Great Britain, English Contemporaries, 1949, cat.no.2Copenhagen, Kunstforeninger, British Arts 1900-1955, 10-29 April 1956, cat.no.48; this exhibition travelled to Oslo, Kunstnernes Hus, 12 May-10 JuneLiteratureEric Newton, Christopher Wood, The Redfern Gallery, London, 1938, cat.no.437In 1928 Christopher Wood made the decision to join Ben and Winifred Nicholson in Cornwall, rather than return to Paris. He had first travelled to the French capital in 1921 at the age of 20 and his visits had provided invaluable opportunities to observe the finest examples of Post-Impressionism, Cubism and Fauvism. As a result he was familiar with the work of Van Gogh, Gauguin, Cezanne, Matisse and of course Picasso and Jean Cocteau, both of whom he had known and taken lessons with. This time on the continent taught Wood that simplicity and refinement were the essential characteristics of modern art, and it brought a deep understanding of and appreciation for the Primitive movement, which he strove to emulate in his work over the following years in a very English manner. It was during this initial trip to Cornwall, far from the avant-garde artists of Europe, that Christopher Wood and Ben Nicholson were to find their ultimate expression of primitive painting in the form of Alfred Wallis, an 80-year-old retired fisherman and self-taught artist who lived at Number 3 Back Road West in St Ives. Within his home were numerous pictures of ships, lighthouses and harbours painted on a variety of irregular cardboard, paper and other salvaged material with distinctive naivety. This now legendary 'discovery' was to have a profound effect and invigorated both artists who sought to absorb the lessons of the elderly mariner by leaving their lodgings in Feock to move closer to St Ives, with Wood settling at Meadow Cottage overlooking Porthmeor Beach. It was from this location and following almost daily trips to Wallis that Wood wrote to his mother, 'I feel my things are becoming really vital and the studentship has passed, my work is forming something quite personal and sure, unlike anybody else's, and I don't think anyone can paint the pictures I am doing.' (Christopher Wood quoted in Katy Norris, Christopher Wood, Lund Humphries in association with Pallant House Gallery, London, 2016, p.109). Having immersed himself in a seafaring culture which spoke to him, Wood crossed the Channel and spent several months in the fishing village of Treboul in Brittany during 1929. As well as the everyday lives of its inhabitants, many of the images he created are deeply personal and reflect on local customs of the maritime community, observing instances of religious contemplation and festive celebration with both intensity and dignity. The epiphany that had occurred upon meeting Alfred Wallis and the lessons learnt from the nautical communities of northern France were developed in the artist's final visit to Cornwall prior to his untimely death, where he based himself in the tiny village of Mousehole. During March 1930 he worked solidly here for two weeks and described himself to Ben Nicholson as being 'absolutely deliriously happy painting' amongst the narrow grey streets and fishing boats (Christopher Wood quoted in Richard Ingleby, Christopher Wood: An English Painter, Allison & Busby, London, 1995, p.231). Drying Sails, Mousehole, Cornwall belongs to the group of works painted during this busy time and shows the progression of the artist's naïve, figurative style which is entirely unique. It exudes a sense of calm as groups of figures amble along the quay past the Ship Inn, which remains to this day. There can be little doubt this is a fishing community with the large sail strewn across the wall, drying from a recent fishing trip, possibly treacherous given the time of year and in stark contrast to the current atmosphere. The carefully observed structure of the boats is a technique that had been honed on a previous visit to Dieppe, along with the scratching and incising of the painted surface. The flashes of colour both here and in other selected passages of the composition act in contrast to the black, white, grey and brown palette that pervades. This simple clarity of colour and form came from the artist's immediate instinct for his subjects and also the teachings of Wallis who conveyed the essential reduction of these components. Drying Sails, Mousehole, Cornwall is closely related to Ship Inn, Mousehole, completed at the same time and in the collection of Manchester City Galleries.For further information on this lot please visit Bonhams.com

D. (G.)A Briefe Discoverie of Doctor Allens Seditious Drifts, Contrived in a Pamphlet Written by Him, Concerning the Yeelding Up of the Towne of Deventer (in Ouerrissel) Unto the King of Spain, by Sir William Stanley, A1v with full-page woodcut of St. George and letter 'A' on recto, woodcut ornament on title, ink word 'Perfect' in upper blank margin A1v, upper fore-corner of A1v and title repaired, early nineteenth century half calf over marbled boards, gilt lettered on spine, loss to upper headband, rubbed [ESTC S109186], small 4to, I.W. for Francis Coldock, 1588Footnotes:Provenance: John Ratcliffe (1707-1776, book collector). 'The word Perfect over figure of St. George in the the hand of Ratcliff, who possessed a capital library of old & curious black letter books. He was a retail dealer in coals in London; his books were sold by Christie [sic] above 20 years ago - Oct. 24. 1807', pencil note on front free endpaper. His 'entire collection was sold by Christie's on nine successive evenings, beginning on 27 May 1776... the library was sold in 1675 lots, many of them comprising up to 100 items. It was particularly strong in the productions of early English printers and in books of the sixteenth century' (ODNB). For a similar manuscript inscription ('Perfect') by Ratcliffe see a copy of Ambrosius, Expositio in evangelium, 1476, Glasgow University Collection, website.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

HIERONYMUSVita et transitus (i.e. Eusebius Cremonensis: Epistola de morte Hieronymi; Aurelius Augustinus, S: Epistola de magnificentiis Hieronymi; Cyrillus: De Miraculis Hieronymi), 72 leaves, 36 lines, Roman letter, rubricated with capital letters supplied in red ink, several ink annotations and side-notes, opening leaf rebacked obscuring blank recto, 5 leaves, minor worming touching letters near fore-margin of 4 leaves, 2 gutter margins strengthened with old paper strip, small area of worming to 4 leaves, twentieth century quarter morocco, gilt lettered 'Transito di San Gerolamo, Venetia, 1487' on spine, fore-edge of covers worn [ISTC ih00257000; Goff H257; H 8645*; GW 9466], 8vo (167 x 120mm.), [Venice, Hannibal Foxius, 1 June 1487]Footnotes:Provenance: Jacob Manzoni, early twentieth century bookplate; Cyril Graham, pencil name on blank pastedown; private UK collection.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

NCU Company 1925 Share Certificate for 333 shares of Capital Stock, fine vignette of oil wells (Delaware)

Islas Del -Guadalquivir S.A. - 1926 for 40 shares (Capital 20,000,000 pesetas unit compare). Allegorical vignette.

Full title: A white stone garden urn and a capital, 19/20th C.Description:H 37 x L 53 x D 40 cm (the vase)Ê H 29 x L 60 x D 41 cm (the capital)About this sale: Paul De Grande is one of the major dealers of antique furniture, fine sculptures and decorative arts in Europe. In 1974, he moved to the Castle of Snellegem near Bruges. From there, he catered to the rich and famous, important decorators and museums around the world. Entering a new chapter, Paul has decided it is time to part with his private collection and part of his trade stock. This sale presents a unique opportunity to clinch a piece of this wonderful personality's history. Paul's main focus has always been on Renaissance sculpture, French and Italian furniture and pieces of museal quality. He has had sales with Christies and Sotheby's in the past. He's also an important personality on various Belgian tv shows.

NEVERENDING STORY, THE - Crew Member PatchA crew member patch from the production of Wolfgang Petersen's fantasy film The NeverEnding Story. In the film, the Childlike Empress (Tami Stronach) lived in The Ivory Tower, the imperial capital of Fantasia.This cotton iron-on patch features the film's title embroidered in gold above the film's iconic white and gray Tower where the Childlike Empress (Tami Stronach) lived. The patch has an orange border. The patch is unused, but it exhibits fraying on the borders Dimensions: 4.5" x 3" x 0.5" (11.5 cm x 7.75 cm x 2.5 cm) Estimate: $300 - 500This lot will be auctioned on Friday, June 24th. The auction will begin at 8:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, June 21st; Wednesday, June 22nd; or Thursday, June 23rd.

GHOSTBUSTERS 2 - Pair of Museum Model Miniature ColumnsA pair of columns from a museum model miniature from Ivan Reitman's supernatural comedy sequel Ghostbusters II. In the film's finale, the Ghostbusters brought the Statue of Liberty to life to break through the roof of the slime-covered museum and defeat Vigo the Carpathian (Wilhelm von Homburg).These two columns are constructed of plaster over wood cores with a detailed front side and an unfinished backside revealing the wood. The front of each column includes lines along the shaft simulating the divides of stacked stone blocks, a decorative base, and an elaborately sculpted capital. The columns exhibit scuffs, cracks, and previous repairs leaving glue marks. Dimensions: (each) 24.5" x 4" x 2.5" (62.25 cm x 10.25 cm x 6.5 cm) Estimate: $3,000 - 5,000This lot will be auctioned on Wednesday, June 22nd. The auction will begin at 8:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, June 21st; Thursday, June 23rd; or Friday, June 24th.

STAR WARS: THE PHANTOM MENACE - Theed Art Department ModelA Theed art department model from the production of George Lucas' Star Wars: The Phantom Menace. Industrial Light & Magic (ILM) used models to design filming angles and lighting for various sets, including Theed, the palatial dome-topped capital city of Naboo.This model of a building's facade is constructed from white foam core with a gray resin dome top hand-marked "Top," a white cardboard shutter, matching plastic columns, and board scaffolding on the interior. It exhibits adhesive residue and some missing chunks of foam from production use. Dimensions: 10" x 6" x 7" (25.5 cm x 15.25 cm x 18 cm) Estimate: $1,000 - 1,500This lot will be auctioned on Thursday, June 23rd. The auction will begin at 8:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, June 21st; Wednesday, June 22nd; or Friday, June 24th.

VICTOR MIRA (Zaragoza, 1949 - Munich, 2003)."Crucifixion", 1989.Oil and collage on laid paper adhered to board.Signed and titled on the right side.Enclosed certificate of authenticity from Esther Romero Fajardo as the universal heir of Victor Mira.Measurements: 149 x 93 cm.; 153 x 96 cm.(frame)In 1989, Victor Mira dealt with the theme of the crucifixion on several occasions. In the painting we are dealing with here, his peculiar way of resorting to the paleochristian legacy is reflected, also delving into primordial palpitations, at the same time as he introduces a certain humour and irreverence. The redemptive figure becomes at the same time an ictyphallic figure, thus bringing together Christian and pagan traditions in the same image. Thus, behind the apparent irreverence of the phallic god lies a sincere desire to recover the symbolic and spiritual richness of the iconographic legacy of antiquity. At the same time, he combines the atavistic with modernity through an innovative language.A sculptor, painter, engraver and writer, his training was basically self-taught. At the age of eighteen he held his first solo exhibition at the N'Art gallery in Zaragoza, which was also the first open-air sculpture exhibition held in that city. Shortly afterwards he moved to Madrid, where he exhibited in 1973 at the Pol Verdié gallery. During his years in the capital he attended the Encuentros de Pamplona, where he met John Cage. Two years later, in 1974, Ana María Canales published her book "Víctor Mira, eres mi pintor preferido" (Victor Mira, you are my favourite painter). In 1975 she travelled to Heidelberg, where she lived for five months, and that same year she published "El libro de las dos hojas". In 1976 he began to work in Germany on his series "Spanische Haltung" and "Manos". After spending some time between Madrid and Germany, in 1977 he settled in Barcelona. There he began his cycle of paintings "Interiores catalanes con tomate", and in 1979 he published his first book of poems, "El bienestar de los demonios". That same year he had his first solo exhibition in Munich, at the Tanit gallery, and the following year he showed his work in the United States, at the George Staempfli gallery in New York. From then on his international career took off, with exhibitions in Germany, the United States, Holland, Switzerland, Sweden, Norway, Colombia, France, Belgium and Austria, while he continued to exhibit regularly in Spain. In 1983 he travelled to the United States for the first time, invited by the Meadows Museum in Dallas, and that same year he worked in the printmaking workshops of the Southern Methodist University in Dallas and spent five months in New York. Also in 1983, in Barcelona, he produced his first series of iron sculptures, "Cultura del arco" and "Mediodías". In 1997 he was invited to participate in the Art Biennale in New York by Amy Chaiklin, and six years later, shortly before his death, he was awarded the prize for the best living Spanish artist at the ARCO Fair. The most recent retrospective exhibition devoted to this artist was held in Düsseldorf, Germany, at the Beck & Eggeling gallery. Works by Mira are held in museums and private collections all over the world, including the Museum of Modern Art in New York, the Museo Nacional Centro de Arte Reina Sofía, the MACBA in Barcelona, the Fine Arts Museums of Vitoria and Zaragoza, the Beulas Foundation in Huesca, and the Museo Colecciones ICO in Madrid, among others.

PABLO PICASSO (Malaga, 1881 - Mougins, France, 1973)."Colombe volant à l'Arc-en-ciel", 1952.Colour lithograph, copy 129/200.Signed and justified by hand. Signed and dated on plate.Size: 54 x 77 cm; 68 x 96,5 cm (frame).Original lithograph, signed by Picasso. It represents a dove flying in front of the rainbow, a motif from 1952 that would be used as a symbol of peace against the Franco regime. The dove of peace motif appeared in Picasso's work after the Second World War. Just as in another well-known Picasso image from 1961, the biblical symbol of the dove with an olive branch in its beak appears here flying over a rainbow sky. In Genesis we are told of the appearance of the dove with an olive branch to Noah to symbolise the return of universal peace, the end of the floods. Picasso took up this symbol in a series of drawings of doves. One of them was used for the poster announcing the World Congress of Partisans for Peace. In February 1949, Louis Aragon went to Picasso's Paris studio to select a drawing for the congress, which was to be held in Paris in April of the same year. "La colombe", a blue pencil drawing on paper, was the chosen motif and the image quickly became known as "The Dove of Peace". On 19 April 1949 his second daughter was born, on the opening day of the Peace Congress, and he decided to name her Dove after the symbol he created for the posters that appeared all over the streets of Paris.The creator of Cubism together with Braque, Picasso's painting was a turning point in the history of art. He began his studies in 1895 at the Provincial School of Fine Arts in Barcelona, and only two years later he held his first solo exhibition at the café "Els Quatre Gats". After several short stays in Paris, Picasso settled permanently in the French capital in 1904. After his blue and pink periods in the early years of the century, the painter began his geometrical experiments in 1906, during a stay in Lérida. A year later he began to paint "Les Demoiselles de la Rue Avinyó", and in 1909 he came into contact with Braque and his Cubist period began. During the second decade he developed his classical period, and produced his famous sets for Diaghilev's Russian ballets. In 1936 he was appointed director of the Prado Museum by the Government of the Spanish Republic, and a year later he painted "Guernica". His definitive international recognition came in 1939, when he was given a retrospective at the MOMA in New York. During the following decades he was the subject of anthological exhibitions all over the world, in Rome, Milan, Paris, Cologne and New York, among many other cities. He is represented in the most important museums around the world, such as the Metropolitan, the MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London and the Reina Sofía in Madrid.

ANTONIO AZZATO (Venezuela, 1973)."Menina; Liberty Neon (mini)". Blend multicolour series".Mixed media on plaster.Enclosed certificate issued by the author.Includes box made by the artist.Signed.Measurements: 40 x 28 x 18 cm.Round sculpture in which the silhouette of Las Meninas by Velázquez is presented in a conceptual way. A figure that has influenced Antonio Azzato's artistic conception, which he has been studying for more than a decade. With this design, which consists of an abstraction of the iconic image created by Velázquez, Azzato has managed to bring a personal vision and a new artistic life, turning Las Meninas into transcendental works, which are now established as a symbol of Madrid's heritage. In this case Azzato proposes a double homage, as he not only rescues the silhouette of Velázquez's Menina, but also prints different iconic elements linked to the city of New York on her skirt. Pieza follows the line of works that were exhibited for the Meninas Madrid Gallery project, which began in April 2018 as part of the Madrid Capital de Moda project, organised by the Madrid City Council in collaboration with the Asociación Empresarial del Comercio Textil y Complementos (ACOTEX), which is part of Madrid Capital de Moda.Antonio Azzato began his academic training in the field of industrial engineering. He continued his studies with a master's degree in commercial management and marketing at the Instituto de Empresa in Madrid. Years later he moved to New York where he was introduced to the study of interior design, studying at the Parson School. His interest in art has been constant since his childhood, which is why his works reflect a great knowledge of the history of art. Always from a new and contemporary perspective, influenced by urban art. His works are a reflection of this language where the spectator approaches icons or historical references, but through new textures and materials, generating new discourses and interpretations about the history of art and the relationship of the public with the work. His pieces can be found in different countries, also making different designs for restaurants, interventions, or his own artistic project art by Azzato.

ANTONIO AZZATO (Venezuela, 1973)."Menina; Splash Neon (mini)". Blend multicolour series".Mixed media on plaster.Enclosed certificate issued by the author.Includes box made by the artist.Signed.Measurements: 40 x 28 x 18 cm.Round sculpture in which the silhouette of Las Meninas by Velázquez is presented in a conceptual way. A figure that has influenced Antonio Azzato's artistic conception, which he has been studying for more than a decade. With this design, which consists of an abstraction of the iconic image created by Velázquez, Azzato has managed to bring a personal vision and a new artistic life, turning Las Meninas into transcendental works, which are now established as a symbol of Madrid's heritage. In this case Azzato proposes a double homage, as he not only rescues the silhouette of Velázquez's Menina, but also prints different iconic elements linked to the city of New York on her skirt. Pieza follows the line of works that were exhibited for the Meninas Madrid Gallery project, which began in April 2018 as part of the Madrid Capital de Moda project, organised by the Madrid City Council in collaboration with the Asociación Empresarial del Comercio Textil y Complementos (ACOTEX), which is part of Madrid Capital de Moda.Antonio Azzato began his academic training in the field of industrial engineering. He continued his studies with a master's degree in commercial management and marketing at the Instituto de Empresa in Madrid. Years later he moved to New York where he was introduced to the study of interior design, studying at the Parson School. His interest in art has been constant since his childhood, which is why his works reflect a great knowledge of the history of art. Always from a new and contemporary perspective, influenced by urban art. His works are a reflection of this language where the spectator approaches icons or historical references, but through new textures and materials, generating new discourses and interpretations about the history of art and the relationship of the public with the work. His pieces can be found in different countries, also making different designs for restaurants, interventions, or his own artistic project art by Azzato.

A ROSSO LEVANTO MARBLE PEDESTAL COLUMN OR JARDINIÈRE STANDWith Doric Capital and plinth base, 22cm wide; 22cm deep; 95 cm high

A GILT-BRONZE MOUNTED VARIEGATED BLACK MARBLE PEDESTAL COLUMN20th CenturyWith octagonal platform above a Corinthian capital and octagonal plinth, 33cm wide; 120.5cm highCondition Report:Generally in very good order with nibbles to the edges and base. Some wear to the base where the column meets the marble and has moved over time but could be polished out. Metal with mild tarnishing, dirt and dust to the recesses. The base is 32cm wide The column does move around a little but it’s very mild and probably could be tighten from the underside. See images. 

A Cremer 'John Bull - A Capital English Game' card game, sixty-two sepia printed Happy Families type cards including elephants The Grand Duke of Tuscany, Duchess of Tuscany, Lord and Lady Proboscis and the Punch family, in original wooden box with three torn quarters of the instructions —7in. (18cm.) length of box (one end missing of lid, three cards missing according to a handwritten list) - SOLD NOT SUBJECT TO RETURN

A fine and rare Beilby enamelled Lisbon decanter and a stopper, circa 1765-70Of so-called 'sugarloaf' form, painted to the neck and shoulder in opaque white with a pair of fruiting vine tendrils interwoven with bell-shaped flowers forming a cartouche, inscribed 'LISBON.', the disc stopper cut with facets, 26.2cm high (2)Footnotes:ProvenanceSotheby's, 12 May 1998, lot 62Bonhams, 15 June 2011, lot 94Darell Thompson-Schwab CollectionLiteratureChristopher Sheppard and John Smith, Glass from the Restoration to the Regency (1990), p.67, p.75, no.107Andy McConnell, The Decanter (2004), p.135, pl.192(2)ExhibitedBroadfield House Glass Museum, Kingswinford, 1994-1998Lisbon was a white wine from the historical province of Estremadura in Portugal, which included the capital. Only one other decanter with this label, painted in white and turquoise-blue, would appear to be recorded, sold by Christie's in 1937 as part of the Francis Berry Collection.For further information on this lot please visit Bonhams.com

Peter & Ann Bateman - an Adam-style urn-shaped coffee pot with carved pineapple finial, reeded rims and foliate handle-brackets, on oval foot, London 1797, 16 cm high overall, 21.5 oz (671g) gross - multiple minor bruises/dents to body, one large, one side engraved with a capital scrolling 'A', finial mount slightly bent 

JOSEF HOFFMANN (Brtnice, Czech Republic, 1870 - Vienna, 1956).Dining table, ca. 1900.Walnut wood and brass.Measurements: 80 x 130 x 110 x 110 cm (closed); 80 x 250 x 110 cm (with two extensions).Art Deco style table with an emphatic, monolithic structure, based on the expressiveness of regular geometric volumes and contrasting planes and materials. It has an extendable tabletop, almost square when folded, with a profile highlighted by a perpendicular veneered profile, evoking the forms of a frame and panel structure, in a nod to tradition. It stands on four legs in the form of octagonal, faceted and polished pillars, with an equally prismatic, undecorated base and capital. These legs are placed on a sloping pedestal with a wooden central surface and sides covered in hammered bronze, which was widely used between the end of the 19th and the beginning of the 20th century as a reminder of the old metal forging techniques. At the corners, this pedestal has openwork reinforcements with curved cut-outs.

A bottle Capital San Rocco Vino de Ripasso 1995 3000ml and Dievole Chianti 3000ml

§ JOHN MARSHALL (SCOTTISH 1888-1952) WOMAN AND BOY Signed and dated 1946 on the integral base, Caen stone(37cm high (14.5in))Exhibited: Royal Scottish Academy, Edinburgh, 1946, no.63, titled 'Woman and Boy'John (Jock) Marshall was born in Edinburgh and trained at Edinburgh College of Art. As an architectural carver he worked with many leading sculptors and architects including Phyllis Mary Bone on the Scottish National War Memorial, Charles d'Orville Pilkington Jackson on Lothian House, Edinburgh and Robert Lorimer on the refurbishment of Dunrobin Castle, Golspie. He was responsible for the carving of many well-known architectural features in the Scottish capital, including the Scotsman masthead on the north façade of the newspaper's former headquarters on North Bridge. (see biography and index entries in Ray McKenzie, Public Sculpture of Edinburgh, Volume 1, The Old Town and South Edinburgh, Liverpool University Press, 2018). From 24 Dean Path Buildings, Edinburgh, Marshall exhibited seventeen works at the Royal Scottish Academy between 1929 and 1948, made in materials including Caen, Hoptonwood and Portland stone, as well as Istrian marble and plaster. We are grateful to Robin Rodger, Documentation Officer, Royal Scottish Academy and Fiona Pearson for their assistance in researching this work.

Marx (Karl) Capital: a Critical Analysis of Capitalist Production, edited by Frederick Engels, translated from the third German edition by Moore and Aveling, first American edition, without publishers advertisements at end, contemporary half morocco, spine head chipped, lightly rubbed and marked, 8vo, New York, Humboldt Publishing Co., [1889].

NO RESERVE Handbills & Advertisements.- Imperial State Lottery begins drawing 23rd April, 1804. Capital prizes selling by J. Branscombe & Co., handbill, 220 x 144mm., large wood-engraved illustration, 3 stab holes to one margin, little creased, lightly browned, Evans & Ruffy, 27 Leadenhall Street, 1804 § A Daily Newspaper, entitled The Mercantile Gazette, and Liverpool and Manchester Daily Advertiser is published at the Hope Press..., bifolium, 220 x 134mm., 3 stab holes to one margin, just touching the odd letter, lightly browned, Liverpool, [c.1830]; and 12 others, publisher's advertisements and lotteries, 8vo (14)

Dahl (Roald). The BFG, 1st edition, London: Jonathan Cape, 1982, illustrations by Quentin Blake, slight toning to text block margins and slight vertical creasing (paper flaw?) to pp. 63/64 , original cloth in dust jacket, spine ends a little faded with a few short closed tears, 8voQTY: (1)NOTE:A rare, special double-signed presentation copy. Inscribed to front free endpaper in blue fibre pen, 'HAPPY BIRTHDAY DAISY, Roald Dahl, 1982'. Additionally inscribed to front pastedown with the same pen in large capital letters in a juvenile hand, 'SOPHIE TO DAISY'.Roald Dahl's daughter Tessa was a close friend of Daisy's mother and Tessa's daughter, Sophie, the inspiration for BFG's heroine, would often go to Daisy's house for tea and to play. The vendor, Daisy [Thomson], was given the book on her 5th birthday, which was signed for her by both the young Sophie and her grandfather Roald Dahl. Long before he wrote the book Dahl had told the story of a little boy Jody and the giants to his own children. Later, Jody transformed into Sophie, Dahl's eldest grandchild who, like the book's heroine, wore glasses. Sophie Dahl (born 1977) is an author and former fashion model.

A carved white-marble classical-style column with foliate-style capital and an applied torso above. Together with a similar capital (damages / omissions etc.) (The  column 37.5cm high excluding torso.)

[Bradshaw, George]. Lengths and Levels to Bradshaw's Maps of Canals, Navigable Rivers, and Railways. From actual survey. Taken from a datum of six feet ten inches under the sill of the Old Dock Gates at Liverpool. Dedicated to Thomas Telford, 1st edition, London: T.G. White and Co., 1832, folding engraved map, bound with at front, Lengths and Levels to Bradshaw's Maps of the Canals, Navigable Rivers, and Railways, in the Principal Part of England. Dedicated to Thomas Telford..., 1st edition, London: Printed by E. Ruff, 1833, bound with, London and Birmingham Railway MDCCCXXXIII Capital £2,500,000 in shares of £100 - Deposit five pounds per share, 1833, folding prospectus plan with text to verso, near-contemporary cloth, light wear to spine, slim 8vo, together with:[Bradshaw, George], Bradshaw's Canals and Navigable Rivers of England and Wales. A Handbook of Inland Navigation for Manufacturers, Merchants, Traders, and others: Compiled, after a Personal Survey of the whole of the Waterways, by Henry Rodolph de Salis, London: Henry Blacklock & Co. Ltd., 1918, folding colour lithograph map contained in rear pocket, original green cloth, 8voQTY: (2)

Silesia. Hondius (Henricus), Comitatus Glatz Authore Jona Sculteto, Amsterdam, circa 1640, engraved map with contemporary outline colouring, orientated to the west, very slight staining, 385 x 465 mm, French text on verso, together with Homann (Johann Baptist, heirs of). La Compte de Glatz avec le Principaute de Munsterberg..., Nuremberg, 1747, engraved map with contemporary outline colouring and some later enhancement, slight staining largely confined to the margin, occasional marginal repaired closed tears, slight creasing, 490 x 560 mm, with Seidel (Gotthold E. F.). Charte von der Grafschaft Glatz..., Homann's heirs, Nuremberg, 1806, map with contemporary outline colouring, engraved by Christian M. Trummer, slight browning to central fold, central fold strengthened on verso, left-hand vertical margin extended, 545 x 485 mm, with two other maps of Glatz by or after Mercator/Jansson and Le Rouge, various sizes, good conditionQTY: (5)NOTE:Glatz was - until 1945 - a Prussian district in Silesia, its capital being the town of Glatz. It is now part of the Polish Lower Silesian Voivodeship.

A Regency carved giltwood overmantle mirror, with original plates. Height 56 cm, length 148 cm. CONDITION REPORT: The three mirror plates are original and in generally good order with no significant issues. The giltwood and gesso surround requires some work. The bottom left and right hand rear blocks are detached. The centre left capital is also detached and in two pieces. We have both pieces and the two corner blocks. There are some missing balls from the cornice and other losses to the top edge. The mirror has also been overpainted at some point. The backboards are only partially visible because of the later plywood outer covering.

Gothic capital; Spain, 14th century.Carved limestone.Wear and tear due to use and the passage of time.Measurements: 28 x 29 x 29 cm.Gothic capital of Corinthian order in carved stone of square shape with wavy sides at the top and with a circular base, decorated in relief with acanthus leaves. The Gothic capital gradually lost its importance as the period of the style progressed. After the transitional period in which the Romanesque capital is followed, it takes the form of a somewhat conical drum embraced by foliage whose motifs are taken from the flora of the country and crowned by a circular or polygonal abacus with various mouldings.Subsequently, the capital becomes smaller and more delicate, and finally, it is eliminated when in the 15th century the bundle of reeds branches out directly into the ribs of the vault without any solution of continuity in many cases, or remains in the form of a simple ring.

Spanish school; second half of the 18th century."Saint Joseph with Child".Oil on canvas. Re-drawn.It presents faults and repainting.Measurements: 69 x 58 cm.In this work of oval format the tender scene of St. Joseph with the Child is represented. Both characters are placed in the centre of the composition, inserted in a landscape, in whose upper zone stands out a break of glory. Saint Joseph, standing, holds the little Child in his arms, looking towards his son, thus establishing a paternal and filial relationship between the two. The Child, naked in his father's arms, completely obviates the presence of the viewer, resting on the most characteristic iconographic attribute of Saint Joseph, this image attempts to highlight the great importance of the Child's putative father.Due to its formal characteristics we can relate this work to one of the most outstanding painters of the Sevillian school of the first half of the 18th century, Domingo Martínez. This artist trained in his native city and Lucas Valdés was one of his teachers. The sources indicate that he was appreciated in his day, as he received important commissions such as those from the archbishop of Seville, for whom he executed several paintings for the cathedral of the Andalusian capital and the church of Nuestra Señora de la Consolación in Umbrete. During Philip V's court stay in Seville (1729-33) he was also in contact with French painters in the king's service, such as Jean Ranc and Louis-Michel van Loo, whose influence was evident in his work, combined with Murillo's direct inheritance. On the other hand, it was precisely Ranc who proposed Martínez as court painter, an offer which the painter rejected, however, as he did not wish to move to Madrid with the king. He had several disciples, and we know that his workshop trained Andrés de Rubira, Pedro Tortolero and Juan de Espinal, the latter of whom would eventually become his son-in-law and heir to the family workshop. His first major work was the decorative ensemble of the church of the Colegio de San Telmo, with paintings on the life of Christ and his relationship with the sea, executed in 1724. Six years later he produced two large paintings for the Convent of Santa Paula in Seville. In the 1730s he also executed individual works and ensembles for churches in Seville and its province, always on religious themes, as well as the portrait of Archbishop Luis de Salcedo y Azcona for the Archbishop's Palace in Seville (1739). He was equally prolific in the last decade of his life, when he executed tempera decorations for the churches of Santa Ana and San Luis de los Franceses in Seville, as well as several canvases. His last work, executed around 1748, was a set of eight canvases depicting the great masquerade held in Seville in June of the previous year on the occasion of Ferdinand VI's accession to the throne. Works by Martínez are currently housed in the Seville Museum of Fine Arts.

Spanish school of the 17th century. Follower of JUAN DE ARELLANO (Santorcaz, 1614-Madrid, 1676)."Flower vase".Oil on canvas. Re-drawn.Measurements: 61 x 58,5 cm; 71 x 95 cm (frame).Still life of flowers perfectly framed within the full Spanish baroque, with a magnificent treatment of the qualities, the colours and, especially, the effective tenebrist illumination, which gives the flowers a presence and a three-dimensional aspect that reaches an illusionist level, almost like a trompe l'oeil. The flowers, worked in shades of red, ochre and white, emerge from the semi-darkness in a wicker basket, which has been worked with great skill. The skill in the treatment of the piece allows us to relate it to the prolific Juan de Arellano, an artist who specialised mainly in flower paintings and who achieved great skill in composing, with a contrasting palette, sensual bouquets in a language fully in keeping with the Spanish Baroque. After an initial period devoted to religious painting, Juan de Arellano decided to abandon the figure to specialise in the floral genre. In this respect, it is necessary to transcribe the response that the biographer and theoretician. Palomino, when asked about his almost exclusive dedication to flower painting, said: "Because in this I work less and earn more". Palomino also mentions that he may have spent time in Alcalá de Henares before coming to Madrid to work in the workshop of Juan de Solís. Arellano must have perceived the success that flower painting could have at court, where the market for flower painting enthusiasts was largely supplied by imports. In his works we can sense a move away from the tradition of Juan van der Hamen - continued by his pupil Antonio Ponce in a more formal and rigid manner - in a more complicated Baroque direction. His first influences came from Flemish examples, especially Daniel Seghers, thanks to which he was able to endow his works with a meticulous and precious technique that he always retained. He also copied extensively the works of the Roman Mario Nuzzi, known as Mario dei Fiori, one of the best definers of the genre and well known in Spain. From him he took a more lively formulation in his strokes that led him in the profuse and exuberant direction already mentioned. We know that he opened a shop in the centre of Madrid: as early as 1646 he had one in Calle de Atocha. It became one of the most important in the capital, where his works were known and acquired by a large number of noblemen, as is recorded in the abundant inventories that have been preserved. In addition to flower paintings, her studio also produced other genres such as still lifes, portraits, landscapes, allegorical and religious themes. He is known to have collaborated with other artists who painted the figures that Arellano surrounded with his floral compositions, such as Francisco Camilo and Mateo Cerezo. Among his disciples is his son José, who repeated his father's models with a less refined technique that reveals a certain dryness and a more muted chromaticism. His son-in-law Bartolomé Pérez de la Dehesa continued his still lifes of flowers and inherited his sensual interpretation of nature by applying it to more tranquil compositions. In technique, however, he is closer to the Italian painters. The Museo del Prado houses up to eleven canvases by Juan de Arellano. Most of them come from royal collections, as well as from the bequest of Xavier Laffite and the donation of the widowed Countess of Moriles. Of the works in the Prado, Still Life with Fruit is an exception to the artist's speciality, flower painting.

THE CLASH - CAPITAL RADIO EP (ORIGINAL UK PROMO - CBS CL 1). Super hard to find original UK promo copy of the Capital Radio EP (the release which was given away to a select group of NME readers who hand sent off their coupon along with the red sticker which was found on the inside of the cover of the first 10,000 copies of The Clash's eponymous album, which had been released that week in April 1977...). The record (CL 1) is in superb Ex+ condition showing only a couple of extremely faint, slight and wispy paper marks to the very clean playing surfaces. The fragile original picture cover is in neat VG+ condition with a few minor creases and a small 'nick' along the top edge.

PANNEAU EN RELIEF REPRÉSENTANT BOUDDHA ENTRANT À RAJAGRIHA EN SCHISTEANCIENNE RÉGION DU GANDHARA, CIRCA IIE SIÈCLE19.8 x 20.5 cm (7 3/4 x 8 1/8 in.)Footnotes:A SCHIST RELIEF PANEL OF BUDDHA ENTERING RAJAGRIHA ANCIENT REGION OF GANDHARA, CIRCA 2ND CENTURY 犍陀羅 約二世紀 片岩佛陀入王舍城圖石碑 Published: Mario Bussagli, L'Arte del Gandhara, Torino, 1984, p. 142, nos. 2 & 3. Isao Kurita, Gandhara Art, Vol. I, Tokyo, 1990, p. 267, no. 558. Flore de Marchant, Analyse des œuvres narratives du Gandhâra de la collection de Marteau, Vol. I, Louvain-La-Neuve, 1999, no. 1, fig. 13. Provenance:With Claude de Marteau, Brussels, by 1970sOnce adorning a Gandharan shrine or stupa, and created to educate the faithful about the Buddha's life, this panel tells the story of the Enlightened One's celebrated arrival at the local capital of Rajagriha. In the backdrop just before the Buddha, a crenelated rampart represents the city walls. An early disciple, possibly Ananda, sporting a monk's shaved head and robe, joins him on the far right, preceded by Buddhism's primary protector deity, Vajrapani—a Zeus-like bearded man holding a thunderbolt (vajra) with a deliberate frontal gaze. Motioning toward the left, one of two courtiers guides the Buddha to meet Rajagriha's king while embellishing the path with fistfuls of petals from an oversized basin. Another panel representing this scene in a private Japanese collection is published in Kurita, Gandharan Art, Vol. I, 2003, p. 96, no. 181. Discussing a third in the Lahore Museum, Ingholt recounts the episode: 'After having proven his miraculous powers at Uruvilva, the Buddha turns to the near-by capital of the Magadha province, Rajagriha. It was the king of this land, Bimbisara, who according to legend, had visited the Buddha shortly after the Renunciation, expressing his wish to become a disciple when Siddhartha had obtained the Enlightenment. On the arrival of the Buddha in Rajagriha the king immediately called on the illustrious visitor and invited him to dinner the next day. The Buddha accepted.' (Ingholt, Gandharan Art in Pakistan, 1957, p. 73, no. 90). Aesthetically, the fluid movement exhibited throughout the present panel, the portrayal of the Buddha's ushnisha with a high profile, and each figure's alert eyes and thoroughly pleated garments redolent of Indo-Parthian sculpture, are all characteristics of friezes stemming from Swat Valley, depicted similarly by another in the Metropolitan Museum of Art (1998.491).For further information on this lot please visit Bonhams.com

An early metal Fire Back, of arched design the capital with mythical sea creatures, the central panel with goddess and cherub in a allegorical scene Dated 1679, 74cms high x 61cms wide (29" x 24"). (1)

A French style gilt metal Table Lamp, of urn form with porcelain panels on a polished limestone base; together with a press mounted onyx column Table Lamp with Corinthian capital on square base paw feet, 25" (64cms). (2)