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Railway Maps. The Railways throughout England & Wales, to the capital of Scotland, London: H. Tuck, 1840, lithographic map with contemporary hand-colouring, sectionalised and laid on linen, calligraphic title, some staining, verso to one section with adhered printed publisher's advertisement, 573 x 476 mm, inside upper board with printed Railway Compendium, bound in original cloth (soiled with some wear), printed label to upper board, with calligraphic title and steam engine vignette, somewhat soiled and rubbed, with ink manuscript date added, together with: Cheffins's Map of the English & Scotch Railways, London: C.F. Cheffins, 1848, lithographic map with contemporary outline colouring, sectionalised and laid on linen, inset map of the principal railways in Scotland, folding Cornwall extension, some discolouration and soiling, 708 x 580 mm, bound in original blind-stamped and gilt-lettered cloth, soiled and somewhat rubbed, plus: Wyld's Road Director, through England and Wales, London: James Wyld, 1857, engraved map with contemporary outline colouring, sectionalised and laid on linen, a trifle dust-soiled with some minor marks, slight wear where folds cross, 637 x 577 mm, without slipcase, and two others similar: Black's Road & Railway Travelling Map of England [cover-title], London: A. & C. Black, circa 1870; A Map of England & Wales ... shewing the principal roads, railways, rivers and canals, London: S. Lewis & Co., 1839, two parts only (of 4), various sizes and conditionQty: (6)

Munster (Sebastian). Cosmographiae Universalis Lib. VI..., [Basel: Heinrich Petri, circa 1550], lacks title, four (of fourteen) double-page maps only (Sueviae, Bohemiae, Poloniae, and Pomeraniae), 17 double-page woodcut views of towns only (Rome, Florence, Solothurn, Verne, Basel, Rusach, Colmar, Celestadt, Wittenberg, Koblenz, Cologne, Chur, Lindoia, Nordling, Frising and Wurzburg), double-page wood cut of sea monsters (damaged to edges with some loss), approximately 75 other woodcut maps and views in the text, and approximately 900 woodcut illustrations to text, occasional early annotations in ink (16th century), some marks and soiling mainly to margins, minor water stain to lower outer corners at front of volume, the four preliminary leaves (*2-5), with some soiling and wear, restored to lower margins, with loss of text to the first leaf, text ends on capital Ddd2 (page 1090), with one defective leaf after that (page 1103/04), 19th century endpapers, with engraved bookplate of Millikaen House, Renfrewshire, to front pastedown,19th century blind-ruled full calf, with blind-decorated lozenge to centre of each cover, rubbed and marked, modern reback, folio, sold with all faults, not subject to return Qty: (1)Footnote: Adams M1908.

Sun Yat-sen (1866-1925). Chinese statesman who served as the first provisional president of the Republic of China. Autograph signatures in Western and Chinese script, 14 Evelyn Gardens, S.W., 11 April 1897, the Chinese autograph written vertically between the Western signature and date, minor smudge in loop at head of the capital 'S' in both 'Sun' and 'Sen', neatly inscribed on off-white laid paper stationery with embossed address lettering in black, 1 page, 152 x 101 mmQty: (1)Footnote:Provenance (lots 248-255): From the family of autograph collector Emily Mary Rose Lee (1869-1949), wife of Colonel William Crawford Walton (1864-1937). Emily was the daughter of William Lee, Professor of Ecclesiastical History at the University of Glasgow from 1874 to 1886, and granddaughter of John Lee (1779-1859), Principal of Edinburgh University from 1840 to 1859.A rare double autograph of the Chinese statesmen, physician, and political philosopher, who served as the provisional first president of the Republic of China and the first leader of the Kuomintang (Nationalist Party of China). He is called the 'Father of the Nation' in the Republic of China, and the 'Forerunner of the Revolution' in the People's Republic of China. The 150th anniversary of his birth was celebrated on 12 November 2021.Following the First Guangzhou uprising Sun went into exile and raised money for his revolutionary party and to support uprisings in China. While in London in October 1896 Sun was snatched from the street and detained for 12 days at the Chinese Legation, where the Chinese Imperial secret service planned to smuggle him back to China to execute him for his revolutionary actions. He was released through the efforts of the physician and pioneer of first aid James Cantlie, (Sun's former teacher at the Hong Kong College of Medicine for Chinese), who led a media campaign which not only succeeded in releasing Dr Sun, but also made him a hero in Britain. After he was released Sun stayed in London another eight months, spending much of his time voraciously reading at the British Library. By the time he left Britain in June 1897 he was a major revolutionary figure with clear ideas. The movement he inspired was to overthrow the Qing empire in 1911 and appoint Sun 'provisional president' of the Republic of China.The paper used for the autographs would have been the personal stationery of Sir John Furley, CH, CB (1836-1919), an English humanitarian who worked to improve medical care both in wartime and at home. He was an active member of the Red Cross from its foundation, and one of the founders of St John Ambulance Association, set up to promote first aid training. While the connection between Sun and Cantlie is well documented, that between Sun and Furley is unknown. Coincidentally or not, Cantlie and Furley were co-authors/contributors to the St John Ambulance's oft-reprinted work First Aid to the Injured.

EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002)."Aromas", 2000.Woodcut on thick Velin paper, copy 60/120.Ed. Edouard Weiss, Paris.Signed and justified by hand.Size: 54 x 43 cm."Guided by a scent", the final sentence in the book "Aromas" by Chillida, sums up the artist's spirit when working, allowing himself to be guided by the materials, by their essence. As the sculptor himself explained it: "The form, at the beginning, is almost like an undefined aroma that imposes itself as it becomes more precise. This pre-knowledge or aroma is my guide to the unknown, the desired and the necessary". This is a woodcut from the book by Eduardo Chillida made up of five etchings, three woodcuts, two silkscreen prints with relief, together with 38 pages of text that, through graphic work, poems, reflections and philosophical quotations, both by the artist himself and by various thinkers, brings us closer to the Basque artist's thought and work through the keys that have marked his career: time, space, music, freedom, matter, light and the sea. Published on the occasion of the artist's 76th birthday. In "Aromas" Chillida the plastic artist and Chillida the writer join hands to reveal the poet, the philosopher and the profound thinker. The edition consists of 160 graphic series with the numbering; 1-120; I-IX (suite); I-IX (suite in grey Eskulan); H. C. 1-10; E. A. 1-12.Chillida began drawing at the Círculo de Bellas Artes in Madrid, and his interest in sculpture gradually grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. In 1951 he returned to San Sebastián for good, and produced his first work in iron, the material he would work with for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation Prize for the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts in London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.

AN ELIZABETH II SINGLE CANDLESTICK with a textured stem on a circular base and a flaring capital, by Stuart Devlin, London 1973; 75" (19 cms) high; 7.6 oz

A 19TH CENTURY SOUTH AMERICAN (COLUMBIAN) MUG shaped like a barrel, with a scroll handle, stamped inside on the base with the owner's name, city and date "E.Puio, NEIVA, 1868"; 4.7" (12 cms) high; 14.8 oz *Neiva is the capital of the Department of Huila in South Central Columbia, in the valley of the Magdalena river. It is one of the most important cities in Columbia because of its strategic geographical location.

The Cult Dreamtime album tour promotional poster 59.5" x 39.5". Printed by Capital Studios 1984.

Large quantity of hardback books relating to shipping, naval history, sailing ships, battleships, to include Steven Martin "The Fighting Admirals", The Weidenfeld Atlas of Maritime History, Warship 1996, Handbook of 19th Century Naval Warfare, quantity of The Warship magazine, Janes Battleships of the 20th Century, German Capital Ships of World War II, Majdalany, Fred "Casino Portrait of a Battle", etc (3 boxes) Condition Reportre booksOne book's spine can't be seen, is "The Immortal Warrior, Britain's First and Last Battleship by Captain John Wells RN"

Hiroshige, Utagawa. Takanawa no kihan. Ukiyo-e Farbholzschnitt aus der Serie Touto hakkei (Die acht berühmten Ansichten der Hauptstadt des Ostens). Format Chuban Nishikie (Blattgröße 17,6 x 24,4 cm). Montiert unter Passepartout. Edo (Tokio), Fujiokaya Hikotarou, um 1843-1847. Der Hafen von Takanawa, einem Vorort von Minato im Süden Tokios gehört zu den recht seltenen Blättern des Utagawa Ando Hiroshige (1797-1858) aus dessen Serie der "Acht berühmten Ansichten der Hauptstadt des Ostens" ("Eight Famous Views of the Eastern Capital"), die zwischen 1843 und 1847 bei Fujiokaya Hikotarou verlegt worden sind. - Etwas gebräunt, leicht fleckig, stärker wurmlöchrig, Löcher und Wurmgänge geschlossen bzw. hinterlegt und recto teils retuschiert.

55x mainly Bus and Coach related books, plus 40+ original timetables from the 1940s-80s, periodicals, photographs, etc. A good selection of quality books with publishers including; Capital Transport, David & Charles, Ian Allan, etc. Many items relating to Maidstone & District, London Transport and Southdown Bus & Coach services. Titles include; Maidstone & District Motor Services, London's 1950s buses, Southdown Vol.1&2, Motor Bus Services of Kent & East Sussex, Along Lost Lines, Blue Triangle - AEC Buses, Southdown Days, Lost Railways of Kent, London Transport Connections, Kent Buses in Camera, Kent Steam, Kent Trams, Buses & Trolleybuses, etc. Timetables include; 1950s, 60s & 70s Maidstone & District. 1930s, 40s, 50s, Green Line and London Country. 1970s Tunbridge Wells Area. Plus 25x ABC and similar 'spotters' books, Fleet Lists, Route Lists, a small number of photographs and a few other items. An interesting archive. QGC-VGC, viewing recommended. £50-70

A multi signed limited edition Mexican Fender Stratocaster in black with a white scratchplate, serial number MZ4050552, signed by various musicians at a Capital Gold radio event. Names include David Gilmour, Amy Winehouse, Paul Rodgers, Albert Lee, Phil Manzanera, Hank Marvin, Joe Walsh, Theresa Anderson and three members if The Crickets, namely Jerry Allison, Sonny Curtis and Joe B Mauldlin. The guitar was kept backstage at the Miller strat pack concert at Wembley Arena on Friday, 24th September 2004 and was signed by the aforementioned artistes. Comes supplied with a COA and a Fender retail box.

Deutsches Reich 1933 - 1945 - Führende Persönlichkeiten des 3.Reiches : Goldenes Ehrenzeichen der NSDAP aus dem persönlichen Besitz des Führers und Reichskanzlers Adolf Hitler.Das Abzeichen in der kleinen Ausführung für den Zivilanzug. Gold und Emaille. An dünner Nadel mit Sicherungsmechanismus. Auf der Rückseite Goldpunze "750" sowie die gravierte Mitgliedsnummer "1" und der Namenszug Adolf Hitlers. Nachdem die Umbenennung der Deutsche Arbeiterpartei (DAP) in NSDAP am 24. Februar 1920 (Eintragung ins Vereinsregister wurde bereits am 20.02.1920 vollzogen) durch Hitler bekanntgegeben worden war wurden unabhängig vom ursprünglichen Beitritt Mitgliedsnummern zugewiesen. Hitler erhielt die Nummer 7 und wird gelegentlich im zeitgenössischen Schrifttum auch als "Parteigenosse Nummer 7" bezeichnet, so z.B. im Katalog der Sammlung Reese. Nach dem gescheiterten Putschversuch (Marsch auf die Feldherrnhalle 8./9. November 1923) wurde die NSDAP verboten. Hitler wurde am 1. April 1924 zu fünf Jahren Festungshaft verurteilt. Nachdem er bereits am 20. Dezember 1924 aus der Festung Landsberg am Lech entlassen wurde betrieb er die Aufhebung des Parteienverbots. Am 27. Februar 1925 erfolgte die Neugründung der NSDAP. Im Zuge der Reorganisation der Partei wurden auch neue Mitgliedsnummern vergeben und Hitler erhielt gemäß seinem Status als nunmehr unumstrittener Führer der Partei die Mitgliedsnummer "1" . Der diesbezügliche NSDAP - Mitgliedsausweis Hitlers ist erhalten geblieben und wurde in der Ausstellung "München Hauptstadt der Bewegung" des Münchner Stadtmuseums erstmals öffentlich gezeigt und im Ausstellungskatalog abgebildet. Gleichwohl blieb Hitler im Kreis der "Alten Kämpfer" Parteigenosse Nr. 7 und verschenkte auch an wenige auserwählte Persönlichkeiten Abzeichen mit dieser Traditionsnummer. Da Hitler nach der Machtergreifung 1933 fast stets Parteiuniform trug und nur selten Zivilkleidung, trug er fast stets die große Ausführung des Goldenen Parteiabzeichens. Es existieren jedoch einige Aufnahmen vornehmlich vom Berghof und von Opernbesuchen auf denen er im Zivilanzug oder Frack mit der kleinen Ausführung des Goldenen Parteiabzeichens zu sehen ist. Das hier angebotene Original aus dem Besitz Adolf Hitlers stammt aus der Sammlung des bekannten Fachbuchautors Henry Picker (Hitlers Tischgespräche im Führerhautquartier). Picker erwähnt die Abzeichen in echt goldener Ausführung auch in seinem Buch. Nach dem Krieg trug er eine Sammlung interessanter Objekte zu Adolf Hitler zusammen und unterhielt rege Beziehungen zu Persönlichkeiten seines engeren Umfeldes. Beeindruckendes und hochbeutendes Objekt aus dem persönlichen Besitz Adolf Hitlers und wohl das einzige bekannte Exemplar der kleinen Ausführung, das persönlich von Hitler getragen wurde. The Third German Reich 1933 - 1945 - Leading Personalities of the 3rd Reich : Goldenes Ehrenzeichen der NSDAP aus dem persönlichen Besitz des Führers und Reichskanzlers Adolf Hitler. The badge in the small version for the civilian suit. Gold and enamel. On thin pin with safety mechanism. Gold hallmark "750" and engraved membership number "1" and Adolf Hitler's name on the reverse. After the renaming of the German Workers Party (DAP) to NSDAP was announced by Hitler on February 24, 1920 (entry into the register of associations was already completed on February 20, 1920), party membership numbers were assigned regardless of the original date of membership. Hitler was given the number 7 and is occasionally referred to in contemporary literature as "Parteigenosse Nummer 7", for example in the catalog of the Reese Collection. After the failed coup (march on the Feldherrnhalle November 8/9, 1923), the NSDAP was banned. Hitler was sentenced to five years' imprisonment inLandsberg am Lech fortress on April 1, 1924. After he had been released from Landsberg am Lech prison on December 20, 1924, he pursued the lifting of the party ban. On February 27, 1925, the NSDAP was refounded. In the course of the reorganization of the party, new membership numbers were assigned and Hitler was given the membership number "1" in accordance with his status as the now undisputed leader of the party. Hitler's NSDAP membership card has been preserved and was shown publicly for the first time in the exhibition "Munich Capital of the Movement" (Munich City Museum) and illustrated in the exhibition catalog. Nevertheless, Hitler remained party comrade No. 7 in the circle of the "Old Fighters" and also gave away badges with this traditional number to a few select personalities. Since Hitler almost always wore his party uniform after the seizure of power in 1933 and only rarely wore civilian clothes, he almost always wore the large version of the Golden Party Badge. There are, however, some photographs, mainly of the Berghof and of visits to the opera, in which he can be seen in civilian clothes or tailcoat with the small version of the Golden Party Badge. The original badge offered here from the personal possession of Adolf Hitler comes from the collection of the famous book author Henry Picker (Hitlers Tischgespräche im Führerhautquartier). Picker also mentions this insignia in genuine gold in his book. After the war he gathered a collection of interesting objects related to Adolf Hitler and maintained lively relations with a number of personalities of his close entourage. Impressive and highly valuable object from Adolf Hitler's personal possession and probably the only known example of the small version personally worn by Hitler.

1998 Peugeot 106 GTi 15,285 miles from new Make: Peugeot Model: 106 GTi Year: 1998Mileage: 15285VIN: VF31CNFXE52272306Configuration: Right Hand DriveRegistration: S659LDGTransmission: manualThe GTI joined the Peugeot 106 line-up with the Phase II cars of 1996 to 2003 and was viewed by many as the spiritual successor to that king of 1980s' hot hatches, the 205 GTI. This example dates from 1998, having been registered in August of that year. Since then, it has covered a remarkably low 15,285 miles from new, which can be verified from the paperwork. The car has had just two owners from new. Its first owner, a titled lady, lived in central London and used it sparingly. It passed to its second owner in 2017, who continued with its servicing schedule regardless of mileage, and also ensured it remained in excellent condition, as it it had been kept in secure dry accommodation when in the capital. We're told that the car has recently been detailed by a professional detailer. All seems to be original, even down to the dealer stickers - so many of these cars were modified by the Max Power generation that pure survivors are few and far between. Mechanically, the car seems to be in fine fettle and starts, goes, steers and stops just as it should.

Four boxes of miscellaneous metalwares to include a pair of silver plated neo-classical style candlesticks, each having a fluted capital on a cluster column and square base later converted to electricity, various other Old Sheffield plate table candlesticks, copper range kettle, brass chamber stick, loose flatware

A French 19th century framed souvenir of the Siege of Paris and the proclamation of the Third Republic of France,  approx 14 x 16 cmThe siege of Paris lasting from 1870 to 1871 saw the Prussian forces surrounding the French capital. The French defeat would bring an end to the rule of emperor Napoléon III and the second empire as well as the annexation of Alsace and Loraine, setting the scene for the growing tensions of the early 20th century that would contribute to the First World war.Following the siege and France's capitulation, pieces of the remaining bread store were sold off as souvenirs in an effort to raise funds such as the piece contained within this frameThis particular souvenir has a piece of bread as well as a paper relating the price of food rations and two wax medallions of Napoléon III and Kaizer Wilhelm I. Some wear. Shipping information (to be shipped from France): Unpacked weight: 228g, Shipping price to UK, EU and Switzerland: £22

Statius (Publius Papinius, 1st century AD) Achilleide, manuscript on paper, i + 34 leaves, unfoliated, complete in three quires, collation: 1-212, 310, blanks: fols. 32v, 33, and 34, text block: 169x100 mm., single column, 19 lines, first above top line, ruled in red ink, text written in brown ink in littera umanistica, numerous interlinear glosses and abundant marginal glosses and/or scholia written in light brown ink in hybrida currens script, first capital letter of each capitulum set out, those on fols. 21v, 22v, 26v showing neat ink drawings of human faces, water-stain at the gutter, some stains, a few wormholes to blank lower margin, some pen trials on front flyleaf and last blank leaves, pencil bibliographical notes to front flyleaf, contemporary brown leather over wooden boards, lower cover with lily-shaped metal clasp with a lamb holding the Christian banner, strap missing, author's name and title ('statius achil.') inked on lower cover, both covers stained, some rubbing and worming, spine damaged at extremities, 281 x 200 mm., [Northern Italy, late fourteen century].⁂ A generally well-preserved manuscript in an unrestored and attractive binding.Text:An important and unrecorded fourteenth-century manuscript of the Achilleide, written by Statius in 95-96 C.E., and left unfinished. The Achilleid enjoyed a wide success in late antiquity and commentaries on it were composed in the Carolingian period and early Middle Ages. The manuscript presents as explicit the spurious verse "aura silet puppis currens ad littora venit", which is found in Statius' manuscript tradition starting from the 11th century. On the recto of the last leaf the anonymous scribe has copied the text of the Epitaphium Achillis (see Riese, Anthologia Latina, I, 2, no. 630), which is attested in two other manuscripts dating from the late fourteenth century, respectively in the Biblioteca Riccardiana in Florence (ms 1223.C) and in the Biblioteca Universitaria in Genoa (ms E.II.8). A further point of interest of the present codex lies in its copious marginalia, glosses and scholia, which offer numerous variant readings. The provenance of this manuscript has an interesting Genoese connection: between the end of the fifteenth and the beginning of the seventeenth century the manuscript passed through the hands of members of the first families of the Genoa Republic: the D'oria (or Doria), Spinola and Grimaldi families. Among these owners the name of Giovanni Battista Grimaldi is especially noteworthy. In his palace in Genoa he assembled a beautiful library, which included Latin classical texts as well as contemporary vernacular works, and his humanist preceptor Claudio Tolomei (ca. 1492-1556) had an important role in forming the collection. He paid great attention to the bindings of his volumes, and employed the best and most sought after binders such as Niccolò Franzese and Marcantonio Guillery. Grimaldi was a friend of Niccolò Spinola, whose ownership inscription is also to be found in this manuscript: it is therefore possible to hypothesise an exchange of books between these two distinguished Genoese patricians. Provenance:Andreolo D'Oria (fifteenth-century ownership inscription on recto of front flyleaf 'Nobili Domino Andriolo de Auria'; Niccolò Spinola (sixteenth-century ownership inscription on recto of front flyleaf 'Nicolaus Spinula me possidet'; Giovanni Battista Grimaldi (1524-1612; ownership inscription on verso of fol. 33 'Gio: Batt[ist]a Grimaldo'; Alessandro [Grimaldi ?] (ownership inscription on verso of fol. 34 'Alexandro', maybe the son of Giovanni Battista Grimaldi).Literature:P. M. Clogan, "A Preliminary List of Manuscripts of Statius' Achilleid"; Idem, The Medieval Achilleid of Statius edited with Introduction, Variant Readings, and Glosses, Leiden 1968; H. Anderson, The Manuscripts of Statius, Washington, D.C. 2000; A. Hobson, Apollo and Pegasus. An Enquiry into the Formation and Dispersal of a Renaissance Library, Amsterdam 1975.

Yorkshire, East Riding.- Charter, grant by Robert de Cauz to Simon his son of half of his arable land and capital messuages in Dringhoe, witnesses: Robert of Ulrome, Theobald of Ulrome, ?Henry de Lasey and others, manuscript in Latin, in a fine charter hand, 9 lines, in black ink, lacks seal, some small holes slightly affecting a few letters, folds, browned, 74 x 175mm., [c. 1180].⁂ During the period 1182-1197 Robert de Cauz gave to Meaux Abbey six bovates of land in Dringhoe.Dringhoe, approximately 5.5 miles north of Hornsea to the west of Skipsea Brough.

Fellows (Charles) Account of the Ionic Trophy Monument excavated at Xanthus, first edition, presentation copy from the author to Baron Behr inscribed on upper cover, 2 lithographed and 2 wood-engraved plates, one folding, original printed wrappers, a little rubbed and soiled, rebacked in cloth, corner of upper cover reinforced, [Not in Atabey or Blackmer], 1848; An Account of Discoveries in Lycia...during a Second Excursion in Asia Minor, first edition, 2 engraved maps with routes in red & blue, 36 etched or lithographed plates, 3 folding or double-page, one hand-coloured, folding plate of inscriptions, illustrations, errata leaf at end, some foxing and offsetting, original pictorial black cloth, gilt, recased, a little rubbed at joints and edges, [Atabey 425; Blackmer 579], 1841 § Birch (Samuel) Observations on the Xanthian Marbles recently deposited in the British Museum, offprint from 'Archaeologia' vol.XXX pp.176-204, modern buckram, black morocco label to upper cover, 1843, 4to & large 8vo (3)⁂ The first item is scarce. Fellows had discovered the ruins of Xanthus, the ancient capital of Lycia, on his first expedition to Asia Minor in 1838. His account of his discoveries (see previous lot) generated great excitement in England and on behalf of the British Museum, a firman was requested from the sultan to export some of the Lycian treasures to England. As a result seventy-eight packing cases of sculptures were exported to the British Museum in 1842.Baron Behr was an important collector of coins who donated part of his collection to the British Museum.

William H Bartlett (British, 1858-1932)Returning from the Fair, Co. Galway 'To the periodical Markets, held on the mainland, the inhabitants of the outlying islands are often obliged (owing to the smallness of the boats) to tow their cattle after them.'signed and dated 'WHBARTLETT 1888' (lower right)oil on canvas87.5 x 142cm (34 1/2 x 55 7/8in).Footnotes:ProvenancePrivate collection, South Africa.ExhibitedLondon, Grosvenor Gallery, 1888, no. 21.LiteratureHenry Blackburn, Grosvenor Notes, 1888, 1888, p. 10.The Daily Telegraph, 'The Grosvenor Gallery - Second and Concluding Notice', 2 May 1888, p. 5.Ida Hector, Cheltenham Examiner, 'The Grosvenor Gallery', 2 May 1888, p. 2.Truth, 'The Grosvenor Gallery', 3 May 1888, p. 18.The Graphic, 'The Grosvenor Gallery', 5 May 1888, p. 11.The Athenaeum, 'The Grosvenor Gallery – Second and Concluding Notice', 19 May 1888, p. 638.WH Bartlett, 'Coast Life in Connemara', The Art Journal, 1894, p. 248, illustrated.In the nineteenth century a drama was frequently enacted in the west of Ireland. Having acquired their livestock at local fairs, smallholders, who tenanted land measured in terms of 'a cow's grass', would ferry their cattle to offshore island pastures.1 This perilous task of transporting their purchases across deep treacherous sounds enabled their mainland soil to revive after a hard winter, and while one or two sheep or a young calf might be accommodated in a wooden curragh, or Galway hooker, neither was large enough to take several cattle. These animals had, effectively, to be towed to their new homes, their heads held firmly above the water level as in William Henry Bartlett's Returning from the Fair, Co. Galway. The authenticity of his painting is such that the heave of the long oars breaking the silver-grey waters can almost be felt. Bartlett's first encounter with the west of Ireland came when he accompanied the American painter, Howard Helmick, probably in the summer of 1878.2 So captivated was he, that after spending a winter in Munich, a further session at the atelier Julian, a season at Grez-sur-Loing, and visits to Venice and St Ives, Bartlett returned to Connemara around 1886 to paint The Last Brief Voyage (sold in these rooms, 10 July 2013, lot 115) for the Royal Academy of the following year. This sombre subject, based on an actual burial, sat within an almost lifelong commitment to the hard life endured by peasant farmers of the west. Attending the local fairs where sheep and cattle were exchanged, and witnessing vigils at wayside shrines, 'marked a mile-stone in my artistic life' he later wrote.3Arriving in Roundstone in county Galway, with its majestic backdrop of the Twelve Bens, he recalled that 'my first sight of the beaches nearby made an unforgettable impression'.4 He was instantly charmed by the 'luminous opalescent grey sky' and the 'sea of the tenderest translucent green' – all effects that are seen in the present work.5 Some critics who reviewed the painting when it appeared in the Grosvenor Gallery in 1888, thought this must have been a scene in Scotland, but the light of Connemara was unmistakable. It was left to The Graphic to point out that the occupants were Irish and that the picture was 'firmly painted and effective'. This was translated as 'dash and vigour' in The Daily Telegraph, while The Athenaeum found this 'a capital subject', the treatment of the sea being 'somewhat rough' and 'the designing of the figures...excellent'.The mistaken identity of people and place is, however, not insignificant. So pervasive was the imagery associated with the Irishman and his domain, that the rugged beauties of the Connemara went largely unrecognized. Faced in a prestigious exhibition, surrounded by cognoscenti and London's bourgeoisie, most Grosvenor Gallery visitors would only have the sketchiest idea of life in the estuary at Roundstone or on Galway's offshore islands. The heroism of Synge's Aran Islanders, Yeats's Man from Aranmore, 1905, and Orpen's Nude Pattern, The Holy Well, 1916 (both National Gallery of Ireland) was yet to come. Bartlett noted how superstition led to suspicion when he tried to find models or observe scenes like these. And were it not for the 'entrancing beauty' of the 'strands of pearly white sand' and 'exquisitely delicate green of the sea combined with the lovely blue of the Connemara mountains', he may have returned permanently to the crowded Venetian calli or the val-de-Seine and been less of a painter. Indeed, such was the significance of the present imagery that he looked for it elsewhere in works such as A Breezy Crossing, 1983 (Cartwright Hall, Bradford City Art Galleries and Museums). Crossing the Seine at Caudebec with your flock was however an adventure of different order and while similar scenes could be witnessed in Donegal when Bartlett went there in the early years of the new century, Returning from the Fair, Co Galway, was the classic canvas from which others derived. 1WH Bartlett, 'From and Island in the West', The Art Journal, 1908, p. 258.2The contrast between Helmick's more traditional Wilkie-esque depictions of Irish life and Bartlett's modern, heroic men and women of the west is noteworthy.3William Henry Bartlett, Impressions and Adventures of an Artist, n.d. [c.1920] (unpublished typescript, Private Collection), pp. 55-6.4Ibid.5 WH Bartlett, 'The West Coast of Ireland', in Charles Holme, ed., Sketching Grounds, 1909 (Studio Special Number), p. 120.We are grateful to Professor Kenneth McConkey for compiling this catalogue entry.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Corinthian capital; Renaissance period, 16th century.Sandstone.Measurements: 35 x 36 cm.This architectural section has been conceived through an aesthetic of classical inspiration that rescues one of the classical orders (Ionic, Doric and Corinthian), specifically the Corinthian order. The creation of the Corinthian order is attributed to the Greek sculptor Callimachus in the 4th century BC. It is basically the same as the Ionic order, but differs from it in the shape and size of the capital. It is the most ornate of the three main classical orders, and although it is of Greek origin it was mainly used in Roman architecture.

Gothic mortar; Spain, 14th century.Carved stone.Measurements: 15.5 x 19.5 x 19.5 cm.Spanish Gothic mortar, made of carved stone in a square shape with a narrowing at the base (in the shape of a capital), decorated with carved geometric and vegetal decorations. This curious piece could be a Gothic capital converted into a mortar.This type of piece was created for use in apothecaries or in a kitchen. Similar examples are kept, for example, in the Museo de la Farmacia Hispana at the Complutense University of Madrid.Ancient recipe books contain a large number of recipes based on the use of the mortar, a tool which, although hardly used today, was so varied in its use in the past that every kitchen had a wide variety of them, from large ones for pounding meats and vegetables to smaller ones for grinding spices. Even in antiquity, large mortars existed. The Roman poet Juvenal mentioned it in articles for the preparation of drugs, reflecting the early use of this instrument in apothecaries. The antiquity of mortars is also well documented in some works of ancient literature, such as the Egyptian Ebers Papyrus, dating from 1550 BC, which is considered to be one of the oldest documents on medicine in Ancient Egypt. It is also mentioned in the Old Testament.

Capital and beam fragment. Mozarabic, 11th century.Carved wood.Measurements: 15 x 57 x 10 cm. (beam); 33 x 24 x 24 cm.(capital).Acanthus leaves with symmetrical leaflets are characteristic of Mozarabic art, as can be seen in this capital. In Mozarabic architecture it was common to use the column as a support, crowned by a Corinthian capital decorated with highly stylised vegetal elements. The beam is also carved with synthetic vegetal fretwork, in this case reducing the fleur-de-lis or lily to a geometric pattern of interlacing. Mozarabic art was developed by the Hispanic Christians who lived in Muslim territory in the period from the Muslim invasion (711) to the end of the 11th century, preserving their religion and a certain ecclesiastical and judicial autonomy.

Gothic capital; Spain, 14th century.Carved stone.Wear and tear due to use and the passage of time.Measurements: 22 x 19 x 19 cm.Gothic capital of Corinthian order in carved stone of square shape with the sides in the upper part chamfered and with the circular base, decorated in relief with vegetable ornaments. 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.

Gothic capital; Spain, 14th century.Carved stone.Wear and tear due to use and the passage of time.Measurements: 22 x 18.5 x 18.5 cm.Gothic carved stone capital with a square top and a conical base, decorated in relief with geometric ornaments. 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.

Gothic spire; 14th century.Carved stone.It shows wear and tear caused by the passage of time.Measurements: 34 x 26 x 26 cm.Stone capital with a truncated cone-shaped structure with geometric designs carved on each of its sides. 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 appears as a somewhat conical drum embraced with 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 directly into the ribs of the vault without any solution of continuity in many cases or remains in the form of a simple ring.

Corinthian capital; Spain, 16th century.Carved stone.It shows faults in the carving caused by the passage of time.Measurements: 30 x 21.5 x 20 cm.Carved stone capital with carved decoration imitating plant motifs that extend over the entire surface of the piece. This architectural section has been conceived through an aesthetic of classical inspiration that rescues one of the classical orders (Ionic, Doric and Corinthian), specifically the Corinthian order. The creation of the Corinthian order is attributed to the Greek sculptor Callimachus in the 4th century BC. It is basically the same as the Ionic order, but differs from it in the shape and size of the capital. It is the most ornate of the three main classical orders, and although it is of Greek origin it was mainly used in Roman architecture.

Football, Park Ji-sung signed 12x8 colour photograph pictured in action for Manchester United. Ji-sung (born 25 February 1981) is a South Korean former professional footballer who played as a midfielder. Born in the South Korean capital Seoul, Park is one of the most successful players in Asian history, having won 19 trophies in his career. Good condition Est.

Davison (William) New Specimen of Cast-Metal Ornaments and Wood Types, Sold by W. Davison, Alnwick, 4to, half-calf, illus. with engravings by Thomas Bewick and other artists (Bewick's illustrations indicated throughout by a capital letter "B" in pencil), Alnwick, n.d., an early, possibly first edition c.1937; and Isaac (Peter) William Davison's New Specimen of Cast-Metal Ornaments and Wood Types, 4to, cloth, illus., published by The Printing Historical Society 1990, with d.w. (2)

Nizami, Khamsa, copied by ibn Husain Murad 'Ali Damavandi, with 29 illustrations Persia, dated Thursday, the beginning of Rabi' I 1061/23rd February 1651Persian manuscript on paper, 303 leaves, 25 lines to the page written in nasta'liq script in black ink in four columns, coloured intercolumnar rules, inner margins ruled in blue and gold, headings written in red ink, opening illuminated headpiece, five further illuminated headpieces, 29 illustrations in gouache and gold, brown morocco with central lacquered medallions 370 x 220 mm.Footnotes:The scribe is not recorded, other than being listed as katibeh-negar (a scribe of inscriptions on monuments (see http://damavandfamous.blogfa.com, retrieved on 13 February 2022).The manuscript was in the library of the Qajar Prince Farhad Mirza (grandson of Fath 'Ali Shah and brother of Muhammad Shah), who wrote that it entered his library on 15th Shawwal 1298/10th September 1881. He gives his name as 'Farhad son of the Crown Prince' (i.e. 'Abbas Mirza). Another note, not written by Farhad Mirza, says that the manuscript was bought from Qizi in Shawwal 1298/1880-81. There is also a note by another owner:'Muhammad [...] in the capital Tehran. The oval seal impression of a certain 'Abdullah appears twice next to the colophon.The illustrations, it has been suggested, are by an artist in the school of Muhammad Zaman and his pupils, e.g. 'Ali Quli Jabbadar. The scene of four maidens picknicking is strikingly similar in terms of composition and dress to an illustration from a manuscript of Nizami's Khamsa, dated to the middle of Rajab 1071/March-April 1661, with illustrations close to the manner of Mu'in Mussavir, offered at Christie's Art of the Islamic and Indian Worlds, 20th October 2016, lot 41 (illus.).This lot is subject to the following lot symbols: • R• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.R This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com

Dwarka Dass (India, second half of the 20th Century) Banda Bahadur in martial pose on the ramparts of a fortressoil on board, signed lower right 46 x 61 cm.Footnotes:Banda Bahadur (circa 1670-1716) was a prominent Sikh military commander, and a disciple of Guru Gobind Singh. He fought a series of successful actions against Mughal forces, including the sacking of the Mughal provincial capital, Samana, in 1709, and the siege of Sirhind in 1710, which resulted in Sikh control of territory stretching from the Sutlej to the Yamuna. He was captured in 1716 and died under torture.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Mixed Lot: pair of silver dwarf candlesticks on square bases with beaded edge, the fluted centre column leading to a Corinthian capital, both damaged and part loaded, London 1900, pair of Georgian silver cauldron salts (no liners), together with a silver mug of plain polished design, engraved with initials P.L.T., Birmingham 1931, 7cm tall

A pair of Queen Anne style silver candlesticks, by S J Rose & Son, Birmingham, 1989, octagonal form, with spoon-shaped capital, on loaded bases, 16cm high together with a silver-mounted cigarette boxmaker's mark rubbed, Birmingham possibly 1921, the lid with engine turned decoration,8.5cm square4cm highCondition report: Loaded bases so can not be weighedTarnishing throughout, in balance goodCigarette box dented and does not shut flush

A Victorian silver seven-bottle cruet stand, by Martin, Hall & Co, London, 1872, the handle with applied foliate decoration, leading to a reeded capital, the base with cartouche and presentation engraving, holding seven cut glass bottles, on four scroll feet, 20cn wide 17cm deep 30cm high weighable 13oztCondition report: Two of the cut glass stoppers are damaged, one has broken in two and the other has had a chip taken out of it. Scratches, wear and knocks throughout. The frame could not be weighed as the base is wood. The engraving reads ‘Presented to Wm Hg Skyring Esqr. in Acknowledgement of his Services as Master of the Haberdashers Company'.

A Louis XV ormolu mounted kingwood, tulipwood and stained sycamore inlaid commodepossibly by Pierre Defriche1765-1770, with quarter veneering, the moulded marble top above one long triple-tablet frieze drawer, over two long drawers inlaid sans traverse with three tablets, each with interlaced angles, flanked by flute-inlaid rounded angles headed with gilt bronze oak-leaf swagged and fluted capital mounts, on keeled cabriole legs terminating in acanthus hipped lion paw sabots, the carcass top applied with an apparently old illegible ink-inscribed paper label, 126cm wide x 52cm deep x 86cm high, (49 1/2in wide x 20in deep x 33 1/2in high)Footnotes:It has been suggested by the vendor that the offered lot is stamped with the name of the cabinet maker Pierre Defriche and was purchased from Frederic Bianco Antiquites, Paris, 2 September 2000. However no stamp has been discovered on the surface of its carcass so it remains unclear whether it is in fact the same piece of furniture. Please see online for a copy of this particular invoice anyway. Nonetheless it should be noted that the present commode is certainly comparable to a late Louis XV or Louis XV/XVI Transitional one executed by Defriche which appears illustrated in P. Kjellberg, Le Mobilier Francais du XVIIIeme Siecle, 1989, Paris, p. 227. This related model sold Drouot, 26 November 1986, salle 10.Pierre Defriche, maitre on 9 July 1766.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

A late 19th / early 20th century French gilt bronze mounted Egyptian beige onyx pedestalthe square plateau top above a lobed and foliate capital, the tapering shaft on laurel wreath cast socle base and moulded stepped square plinth with anthemion border mount, 110cm high 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

An ancient carved stone Corinthian capital , 13.5" high.

c.1983 Montesa Honda MH200. Registration number not registered. Frame number *MH200 00090*. Engine number not found.Founded in the mid-1940s in Barcelona, Montesa entered road racing in the early 1950s but its major impact on motorcycle sport would be away from the tarmac, the Scorpion and Capra moto-crossers and Cota trials iron being the equal of any of their contemporaries. Despite their many competition successes, by 1981 Montesa was in a sorry state financially and needed a major injection of capital to survive. With the Spanish government's approval, Honda came to Montesa's rescue, gaining a strategic European manufacturing base in the process, and now own the firm outright. An affordable entry into Twin-Shock trials competitions, this Montesa-Honda is believed to have last been used in 2016. Its mechanical condition is not known and thus the machine is sold strictly as viewed and recommissioning will be required.There is no paperwork with this Lot.

George II cast silver candlestick, the hexafoil petal base leading to a knopped stem, conforming petal shoulder and spool capital, hallmarked William Grundy, London 1756, H20.5cm, approximate weight 15.20 ozt (473 grams)Condition Report:General wear commensurate with age and use, including surface scratches, some deeper scratches, nicks and small knocks and indentations.Lacking removable nozzle.Candlestick stem has been broken towards the base, there are visible slips and solder repairs. The candlestick has wax residue and would benefit from a clean.Hallmarks beneath are clear and legible.

Pair of late Victorian silver Corinthian column candlesticks, each with removable beaded nozzle upon foliate capital, fluted column and filled stepped base, hallmarked James Charles Jay, London 1895, H16cmCondition Report:General wear commensurate with age and use, including surface scratches, some small nicks and some rubbing to finer detail.Hallmarks clear and legible.

Pair of mid 20th century silver twin branch candelabra, each with filled circular stepped base leading to knopped stem and central socket with plain drip pan, supporting two curved branches with conforming sockets and drip pans, hallmarked William Comyns & Sons Ltd, London 1956, H35.5cmCondition Report:Wear commensurate with age and use, including surface scratches, and nicks.One example with slight knock to edge of foot, and some small indentations along stem. The other example with very small indentations around top of socket where removable branch sits. Central capital of one branch with some small indentations to top of rim.Hallmarks partly worn but for the most part still legible.

Large silver plated four branch candelabra, with beaded square stepped base leading to a fluted column with Corinthian capital, supporting four scrolling branches with Corinthian sockets removable nozzles and beaded drip pans, surrounding a central conforming sconce, nozzle and drip pan, overall H64cmCondition Report:General wear throughout, including surface scratches, wear to plating, and wax residue.

Schreibmaschine "Sholes & Glidden" (schwarz), um 1876 E. Remington & Sons, Ilion, New York. Frühe amerikanische Unteranschlagmaschine, die als erste erfolgreiche Schreibmaschine der Welt Geschichte machte. Vorgestellt auf der Centennial International Exhibition von 1876 in Philadelphia. Nur Großbuchstaben, Tastenhebel aus Holz, Tastenauflagen aus Glas, Serien-Nr. 298. - Literatur: Martin, 1949, S. 67. - Ohne Papierblech und Holzrolle, Rahmen nicht komplett, ein ideales Restaurierungsobjekt. - Historisch bedeutsames Sammlungsstück. Start Price: EUR 2400 "Sholes & Glidden" Typewriter (Black), c. 1876 E. Remington & Sons, Ilion, New York. Serial no. 298, early American upstroke machine, with capital keys (no lower case), glass keytops and wood key levers, missing paper table and wood roller, frame incomplete, worthy of restoration. Literature: Martin, 1949, p. 67. - Introduced at the Philadelphia Centennial of 1876, the Sholes & Glidden was the first commercially successful typewriter. It was produced in a number of different finishes, both decorative and functional. A milestone in the history of office communication. Start Price: EUR 2400

Four Swarovski penguins, two anodised miniature metal penguins, a Ritzenhoff Capital Bear, and two trays of sundry ware (2 trays)

Carved green marble pedestal, the foliate carved canted square capital over a spiral fluted stem and moulded turned base, H114 cm

A Pair of Edward VII Silver Candlesticks, by James Charles Jay, Sheffield, 1903, each on stepped square base with gadrooned border, the fluted stems terminate in Corinthian capital form socket, with detachable gadrooned sconce, filled, 16cm high (2)Condition report: Numerous dents to both. One stick is splitting where the column meets the base.

DAMIEN HIRST (B. 1965)8435. Dilemma Here 2016 signed, titled, dated 2016, numbered 8435 and stamped on the reverseenamel paint on handmade paper21.4 by 29.8 cm.8 7/16 by 11 3/4 in.This work is number 8435 from a series of 10,000 unique examples. The corresponding non-fungible token has been burned.Footnotes:ProvenanceHENI, LondonAcquired directly from the above by the present owner in 2021Damien Hirst has often been considered the definitive enfant terrible and impresario of contemporary art since his monumental rise to global stardom in the 1990s as the figurehead of the Young British Artists (YBAs). His exhibitions and ventures have consistently drawn broad acclaim and criticism, such is the nature of his practice to polarise and activate the passions of his audience. He has never shied away from ideas that would be deemed too unwieldy or all-encompassing for the purview of fine art, approaching life, death, the psyche, and the nature of mythos with a confidence that is nothing short of inspirational. In such a vein, presented here is Hirst's most recent and ingenious project: his first NFT 'drop', titled The Currency. Launched in 2021 and endorsed by Mark Carney, former Bank of England governor, Hirst produced 10,000 unique works – attractive abstract spot paintings on heavyweight paper that are instantly recognisable as Hirst's iconic motif – that exist both as the physical work and a corresponding Non-Fungible Token (NFT). Upon purchase, the buyer was forced to choose between the physical or the digital asset, with the leftover piece being destroyed or burned. The entire 10,000-piece drop sold out and has since become one of the most appreciating and highly sought-after works by NFT and art collectors alike. The work presented here is 8435. Dilemma Here – a physical piece whose corresponding NFT has been burned and only the tangible work remains. Ranked by machine-learning artificial intelligence, the pieces are graded on their colour composition, the weight of the paper, as well as their titles. 8435 boasts an exceptional ranking of 103rd for green pigments, 167th for number of words in the title, as well as 2521st for weight, giving the piece an appealing mass for its handsome scale. The present work represents one of the most exciting enterprises by Hirst, himself one of the pioneers of contemporary artistic practice in the 21st century, to challenge not only the hegemony of capital and financial instruments, but also of the nascent divide between the physical and virtual worlds.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Capital Punishment & The Macabre - a tapered cylindrical glass tumbler, The Last Drop, etched with leaves and inscribed Cheerio, the base with the condemned hanging from a gallows, 9.5cm high; another, the base conforming (2)

Berlin E. 18. Jh. A view of the city of Berlin, Capital of the electorate of Brandenburg and the residence of the King of Prussia. Kol. Kupferstich, o. oberen Schrifteindruck. Thornton (Thomas, 1778-1785 in London tätig) sculp. 19,5×28,5 cm. Vergl. G. Ernst, Berlin i. d. Druckgrafik, Thornton-1, Bd. 1, S. 791. R. (52247)

MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945)."Female nude", ca.1940.Patinated terracotta.Signed at the bottom.Size: 25 x 12 x 13 cm.The movement contained in a dance step, in a gesture, in a point of balance, will be a constant search of the artist's period of maturity, of his period in Caldes de Montbui, a period in which he made female dancers and female nudes that moved away from the archaic-inspired volumetries of his first period.Manuel Martínez Hugué, Manolo Hugué, trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings at Els Quatre Gats, he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theoreticians such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewellery and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, devoted entirely to sculpture, he worked in Ceret, where he brought together a heterogeneous group of artists including Juan Gris, Joaquín Sunyer and, once again, Picasso. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed a member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually depicted peasants, although he also depicted bullfighters and dancers - as can be seen on this occasion - always portrayed with a level of detail and an appreciation of textures that reveal his early training as a goldsmith. In his artistic production, Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia coexist with the European avant-garde, which he assimilated and knew at first hand, specifically Matisse's Fauvism and Cubism. Works by Hugué are kept in the MACBA, the Georges Pompidou Centre in Paris, the Museo Nacional de Arte de Cataluña and the Museo Nacional Centro de Arte Reina Sofía, among many others.

MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945)."Paternity", 1940.Bronze.Marble base.Signed on the right side.Work catalogued in: Montserrat Blanch, "Manolo", Barcelona, Polígrafa, 1972, p. 124, nº 225 and 226.Measurements: 17.5 x 11 x 11 cm. (bronze); 5 x 14.5 x 13 cm.(base).In Manolo Hugué's last creative stage, when he was already living definitively in Caldas de Montbui, his sculptural work was mainly carried out in figures of peasant women and sowers, bullfighters and maternity figures, which he had already been working on since his first stage in Ceret. Now, however, the artist, with an unparalleled mastery of endowing the bodies with soulful vibration, tends towards firm volumetries that capture an intense tenderness. It is striking that, in parallel to motherhood, he also develops the theme of "paternity". In this bronze, a stocky bullfighter holds his young son on one of his thighs, and the two exchange looks of deep tenderness that contrast with the virile power. It is a daring piece in terms of theme and formal solutions, the culmination of an impeccable career.Manuel Martínez Hugué, Manolo Hugué, trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings at Els Quatre Gats, he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theoreticians such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewellery and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, devoted entirely to sculpture, he worked in Ceret, where he brought together a heterogeneous group of artists including Juan Gris, Joaquín Sunyer and, once again, Picasso. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed a member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually depicted peasants, although he also depicted bullfighters and dancers - as can be seen on this occasion - always portrayed with a level of detail and an appreciation of textures that reveal his early training as a goldsmith. In his artistic production, Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia coexist with the European avant-garde, which he assimilated and knew first-hand, specifically Matisse's Fauvism and Cubism. Works by Hugué are housed in the MACBA, the Georges Pompidou Centre in Paris, the Museo Nacional de Arte de Cataluña and the Museo Nacional Centro de Arte Reina Sofía, among many others.

MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945)."Child's head".Bronze.Marble base.Measurements: 24 x 19 x 11 cm. (bronze); 6 x 16 x 11 cm.(base).At the end of the 1920s, Manolo Hugué began to take an interest in the portrait genre in a way that he had not done in previous periods. In addition to full-length sculptures, he also began to produce portraits, focusing on the heads and therefore on the physiognomic expression, achieving a volumetric form that was a repository of pure emotional energy.Manuel Martínez Hugué, Manolo Hugué, trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings at Els Quatre Gats, he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theoreticians such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewellery and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, devoted entirely to sculpture, he worked in Ceret, where he brought together a heterogeneous group of artists including Juan Gris, Joaquín Sunyer and, once again, Picasso. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed a member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually depicted peasants, although he also depicted bullfighters and dancers - as can be seen on this occasion - always portrayed with a level of detail and an appreciation of textures that reveal his early training as a goldsmith. In his artistic production, Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia coexist with the European avant-garde, which he assimilated and knew first-hand, specifically Matisse's Fauvism and Cubism. Works by Hugué are kept in the MACBA, the Georges Pompidou Centre in Paris, the Museo Nacional de Arte de Cataluña and the Museo Nacional Centro de Arte Reina Sofía, among many others.

MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945)."Child's head".Terracotta.Wooden base.Measurements: 23 x 18 x 10 cm. (terracotta); 3 x 17 x 12 cm.(base).At the end of the 1920s, Manolo Hugué began to take an interest in the portrait genre in a way he had not done in previous periods. In addition to full-length sculptures, he also began to produce portraits, focusing on the heads and therefore on the physiognomic expression, achieving a volumetric form that was a repository of pure emotional energy.Manuel Martínez Hugué, Manolo Hugué, trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings at Els Quatre Gats, he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theoreticians such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewellery and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, devoted entirely to sculpture, he worked in Ceret, where he brought together a heterogeneous group of artists including Juan Gris, Joaquín Sunyer and, once again, Picasso. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed a member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually depicted peasants, although he also depicted bullfighters and dancers - as can be seen on this occasion - always portrayed with a level of detail and an appreciation of textures that reveal his early training as a goldsmith. In his artistic production, Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia coexist with the European avant-garde, which he assimilated and knew first-hand, specifically Matisse's Fauvism and Cubism. Works by Hugué are housed in the MACBA, the Georges Pompidou Centre in Paris, the Museo Nacional de Arte de Cataluña and the Museo Nacional Centro de Arte Reina Sofía, among many others.

MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945)."The Oxen".Terracotta soffit on a wooden base.This work in stone is catalogued in: Montserrat Blanch, "Manolo", Barcelona, Polígrafa, 1972, p. 41, nº 48.Measurements: 31 x 44 x 4 cm (soffit); 4 x 53 x 11.5 cm (pedestal).Montserrat Blanch states "In Manolo's work there is no synthetic or orthodox cubism, but there is Cezannian and analytical cubism, which he develops from a completely personal point of view and without moving away from his artistic trajectory for a single moment. In it "the idea of ordering the given reality" (analytical cubism) exists at all times, but without diminishing the expressive and the sensitive.Manuel Martínez Hugué, Manolo Hugué, trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings at Els Quatre Gats, he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theoreticians such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewellery and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, devoted entirely to sculpture, he worked in Ceret, where he brought together a heterogeneous group of artists including Juan Gris, Joaquín Sunyer and, once again, Picasso. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed a member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually depicted peasants, although he also depicted bullfighters and dancers - as can be seen on this occasion - always portrayed with a level of detail and an appreciation of textures that reveal his early training as a goldsmith. In his artistic production, Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia coexist with the European avant-garde, which he assimilated and knew first-hand, specifically Matisse's Fauvism and Cubism. Works by Hugué are housed in the MACBA, the Georges Pompidou Centre in Paris, the Museo Nacional de Arte de Cataluña and the Museo Nacional Centro de Arte Reina Sofía, among many others.

JOAN REBULL (Reus, 1899 - Barcelona, 1981)."Girl".Stone sculpture.Signed on the lower right-hand side.Measurements: 62 x 27 x 20 cm.This work is an eloquent example of the most personal work of Joan Rebull, an artist who develops a language with classical aesthetic roots, based on the principles of nobility, beauty and proportion, which nevertheless uses an idealisation and a synthesis of forms in accordance with the avant-garde and not with the models of Classical Antiquity. Thus, we are faced with a serene, balanced child portrait with a certain immutable, archaic and almost sacred character in the perfection of its proportions and structural lines, which establishes a bridge between the ancient idols and avant-garde plastic research.Considered to be the most outstanding Catalan sculptor of his time, Joan Rebull began in the world of sculpture in his native city under the guidance of the sculptor Pau Figueres. In 1915 he moved to Barcelona to begin his artistic training at the La Lonja School of Fine Arts, while at the same time working in the workshop of the marble worker Bechini. In 1916 he made his solo debut with an exhibition at the Centro de Lectura in Reus, and the following year he founded, together with other artists, the group known as "Els Evolucionistes" (The Evolutionists), which aimed to counter the Catalan Noucentisme. In 1921 he received a grant from the Círculo Artístico and travelled to London and Paris, where he was particularly impressed by the ancient art housed in their museums. Between 1926 and 1929 he lived in the French capital and took part in the Salon des Indépendants, although he also sent works to exhibitions in Barcelona. In Paris he was the first artist to be contracted by the prominent Catalan art dealer Joan Merli. On his return he was appointed president of the new Montjuic Salon (1932) and a member of the Sant Jordi Academy (1934), took part in various exhibitions in Madrid and Barcelona and, in 1938, won the Campeny Prize at the Salon d'Automne in Barcelona. After the war, he went into exile in Paris, where he took an active part in artistic life, taking part in the exhibition "Le Jeune Sculpture Française" and the Salons d'Automne. He returned to Barcelona in 1948, and three years later won a great prize at the I Bienal Hispano-American Art Biennial in Madrid. In 1962 he was appointed professor at the Sant Jordi School of Fine Arts, and shortly before his death he was awarded the gold medal of the Generalitat de Catalunya. A child of noucentista perfectionism and a great draughtsman, Rebull worked with great technical mastery and confidence in the path to follow. His sculpture is direct and anti-rhetorical, based on a serene and essential vision of reality. His style can be defined as a reencounter with the source of classicism, from which he never copies the consequences. He is represented in the National Art Museum of Catalonia, the Reina Sofia National Centre, Barcelona City Hall, the Monastery of Montserrat and the Palau de la Música Catalana, among other centres.

Thomas Henry Kendall: The Chapel Street Ceiling (part)Comprising eight Californian red pine and mixed wood coffered panels, the geometric mouldings having floret bosses at the intersections, 284x145cm, 190x166cm (x2) 234x167cm, 282x166cm (x2), 210x144cm and 190x145cm, a triangular section, 157x176x235cm, eight moulded dentil ribs, 197cm (x3), 147cm (x3) and 148cm (x2), and four drop pendents, 30cm, together with a moulded window arch, 292cm wide x 102cm high, with its two supporting half-column Conrinthian pilasters, 135cm high, and other elements.Footnote: Footnote: The ceiling and window mouldings are illustrated in The Conoisseur Magazine of 1956 in an article by Denys Hinton A.R.I.B.A. and briefly described, "The rooms themselves have an architectural quality . . . and resemble a provincial version of Sir John Soane's Museum. Two semi-circular arched windows spring from attached Conrinthian columns, in timber . . . beneath a heavily coffered ceiling in woods of four different colours . . ."Condition report: This lot has been left in 'as found' condition for the purposes of sensitive restoration. It does not constitute the whole ceiling from the Chapel Street showroom but a part thereof. Dry stored since 1957 and so all elements have degrees of surface dust and grime. General wear and discolouring throughout. A few small areas of old worm. Some missing and loose elements to all items including dentil blocks and some of the carved florets. Ceiling panel red pine planks fair with splits to some. Two of the columns are good, one column lacking its capital and there is an associated spare capital carving. Arch has stress splits to each end. Please refer to images.

A white marble torchere stand, the canted square top above a plain capital on a tapering fluted column on a domed octagonal pedestal, 112cm high.

A rare Compton Stoneware garden bird bathEarly 20th century, the moulded octagonal shallow bowl top above a tapering column and lobed knopped base, set on an octagonal plinth, 97cm high x 47cm wide.Footnote: Footnote: A Compton stoneware garden sundial with the same design of column and base as the present lot was sold at Summer's Place Billingshurst rooms, 20 May 2014.Founded by Mary Watts, wife of the painter George Frederick Watts, in 1895, The Compton Potters Art Guild was located in the village of Compton, near Godalming, Surrey. The Watts were strong advocates of the Home Arts and Industries Association, a movement launched by Earl Brownlow in 1885 to revive the art of handicraft among the working classes. The Pottery Art Guild developed quickly, winning medals at the Royal Botanical Society and the Home Arts highest accolade, the gold cross. Their garden ornaments were sold by Liberty's and they received architectural commissions from Edwin Lutyens, Clough William-Ellis and Goodhart Rendel.Condition report: Surface lichen and weathering overall.  The top has two chips to the lower rim and a hairline to the underside.  Also on the top there is a small hole near the outer edge, possibly an air bubble during manuracture, and there is a very small area of fritting near the outer edge.  The capital appears good.  The stem has a few small flat chips at the top.  The base and foot have some small surface chips.  Please refer to images.

A William IV mahogany wardrobe, with six drawers to the centre flanked by hanging compartments both with cluster column pilasters, all fitted with Bramah locks 193 x 257 x 68cmCondition report: Bad vertical split to the right flankCarved decoration quite scratched, the far left cluster column capital has multiple chipsKnocks and splits to the veneer especially the cornice, base and drawer fronts consistent with good usePart of the moulding inbetween the 1st and 2nd drawer replacedcastors later, feet heavily knockedSee photos for damage

A brass lamp standard, with Corinthian capital and square stepped base.

Collection of 19th vellum and other documents relating to Burgh Hall, Burgh Hall Farm & Estate, Burgh Next Aylsham, Norfolk, James Hunt Holley Esquire, son of Aylsham Attorney George Hunt Holley, 7 vellum and 4 paper documents 1860-1869 including leases, conveyance, mortgages, sale particulars etc, 1863 vellum conveyance of the Burgh Hall Estate with large manuscript pen, ink & wash plan; 1863 Burgh Hall Estate Statutary Declaration with a good quality large folding pen, ink & wash plan; 1873 lease of Burgh Hall with smaller pen & ink map, etc; plus 11 Abstracts of the Title of James Hunt Holley Esqre to a Capital Mansion House called Burgh Hall and land situate at Burgh next Aylsham, 1861/62. The once grand Jacobean style mansion of Burgh Hall was demolished in 1981. The hall was originally owned by the Holley family and rebuilt in the 1830s with architectural plans showing extensions for a new veranda by James Hunt Holley, son of Aylsham attorney George Hunt Holley. These were designed by George Stanley Repton, the fourth son of the famous landscape designer, Humphry Repton, who created Sheringham Park. The land at Old Hall Farm, the site of the former mansion, was sold by Savills in October last year for £2.2m