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[TEXAS - EARLY NEWSPAPERS]. Gaceta, Del Gobierno Supremo del Estado de Coahuila y Texas. Volume 3, No. 97. [Monclova], 29 July 1835.4pp, bifolium. Woodcut eagle device at head. (Horizontal crease, old tape repair with browning, some minor wrinkling.) Matted and framed (unexamined out of frame). Provenance: Darrel Brown (sold Heritage, December 2007).RARE ISSUE OF AN EARLY TEXAS NEWSPAPERBetween 1829 and 1835, the government of Coahuila and Texas issued four periodicals, of which Gaceta was the second most prominent.   This issue includes a July 8 communication from Rafael Eca y Musquiz, Minister of the Supreme Court, to don Miguel Falcon, Governor of the State, whereby President Antonio Lopez de Santa Anna has asked Musquiz to assume the Executive Power of the state to "calm the spirit of discord in Texas and to apply the severity of the law to those who attempt to pervert the tranquility and excite commotion" (translated). In May, then-governor Agustine Viesca left Monclova with the government archives intending to establish Bexar (present-day San Antonio) as the capital of the department of Texas. The issue includes an editorial commenting on the actions of Viesca and the two opposing parties within the government of Mexico: "We believe, without fear of error, that in the Texas Colonies there does not exist aims of overthrowing the government..." (translated). The editorials printed within this issue are in support of General Cos' 5 July Proclamation, issued at Matamoros, warning the inhabitants of the three departments of Texas (San Antonio de Bexar, La Bahia, and Nacogdoches) that any actions in favor of the former authorities will cause war.   45-days after this issue, General Cos commenced his march with 500 soldiers from Matamoros to San Antonio, igniting the first fire in Texas' battle for independence.   See Streeter, Bibliography of Texas, Part II, vol.III, pp.261-263. VERY RARE: Only one other copy of this issue of Gaceta is known; it is held in the Saltillo Archives.   Not in Charno; not in Streeter. CHECK STREETER BIBLIO QTD HERE.  Property from the Collection of Dr. Brant MittlerFor condition inquiries please contact lesliewinter@hindmanauctions.com

[TRAVEL & EXPLORATION] -- DENHAM, Dixon, Major (1786-1828), and Captain Hugh CLAPPERTON (1788-1827). Narrative of Travels and Discoveries in Northern and Central Africa, in the Years 1822, 1823, and 1824"¦ Extending Across the Great Desert to the Tenth Degree of Northern Latitude, and From Kouka in Bornou, to Sackatoo, the Capital of the Fellatah Empire. London: John Murray, 1826.  2 volumes in one, 4to (268 x 211 mm). Engraved frontispiece, 32 engraved plates (one hand-colored), 11 in-text woodcut illustrations (2 plans), 6 engraved maps (5 full-page, one folding). (Some occasional spotting or offsetting.) Modern half calf over green cloth gilt, smooth spine gilt, 3 black morocco lettering-pieces gilt, edges faintly marbled, marbled endsheets (chipping to lettering-piece, some small scuffs). Provenance: W. Conway (signature).  FIRST EDITION of important explorations in Africa. The first volume is an official expedition to discover the course of the Niger from the starting point of Tripoli, rather than West Africa. Clapperton and Oudney were the original members of the party, to which Denham was added, but whose "arrogance, malice, and contempt for his colleagues from the start soured relations between them" (DNB). This famous "Bornu Mission" provided the earliest European report on the Central Sudan and Northern Nigeria. From the Mediterranean they reached Murzuk and Bornu on the west of Lake Chad, and eventually Sokota. Failing to ascertain the source and termination of the Niger, Denham explored Lake Chad, and Oudney and Clapperton journeyed westward to the Niger. Clapperton continued alone after Oudney's death at Murmur, reaching Sokota and rejoining Denham at Kuka. On the second expedition Clapperton had been promoted to Commander and was sent back to Sokota to open up trade with the west coast. He died in 1827, having crossed Yoruba Country and the Niger. He was survived by his "servant" Richard Lander who carried on alone. Lander brought Clapperton's journals back to England and wrote the "Life of Clapperton" which appears in this second work. Hilmy, p. 172 (Narrative).  Property from the Estate of Professor Ethan D. Alyea, Jr., Bloomington, IndianaFor condition inquiries please contact lesliewinter@hindmanauctions.com

[BIBLE, in German -- PRINTED LEAF]. Single leaf, from a Koberger Bible, ca 1483.  Folio. Single leaf, ff. 508, containing the opening of Romans, comprising verses I, II and a portion of III. From a glossed Bible, with one 7-line initial in red with floral decoration, one 4-line initial in green with floral decoration, two 3-line initials in red and green, capital strokes in red, and underlinings in green. [With]: [BIBLE, in English]. The Holy Bible as Printed by Robert Aitken... New York: Arno Press, 1968. 2 volumes, 8vo. Original green leather binding gilt. Facsimile of the Aitken Bible (published in 1782), the "American Bible Society Edition."For condition inquiries please contact lesliewinter@hindmanauctions.com

A STEEL WAX-JACK SOUTH GERMAN / NORTH ITALIAN, LATE 17TH / EARLY 18TH CENTURY with engraved decoration, with a scissor action capital / cutter, a pierced handle on four splay legs 12cm high Provenance Upper Slaughter Manor, The Collection of Micheál and Elizabeth Feller.

A PAIR OF OAK FIGURAL TERMS LATE 16TH / EARLY 17TH CENTURY each with a capital above a basket of fruit and with a semi-naked man and woman, above a swag of laurel leaves, standing on a stiff leaf decorated corbel (2) 76cm high Provenance Upper Slaughter Manor, The Collection of Micheál and Elizabeth Feller.

TWO VICTORIAN NEEDLEWORK SAMPLERS SECOND HALF 19TH CENTURY both worked with polychrome silks with cross stitch, one on a cotton ground, with an upper and lower case alphabet and numerals, above a row with the date '1876' and two crowns flanking letters, with a Gothic alphabet below, the row dividers with various designs and signed at the bottom 'Emma Cragg Age 10 years', the other on a gause ground, with a capital alphabet with the letters 'v' and 'u' in the wrong order, followed by letters from one to twelve, above a capital 'A' followed by a lower case alphabet with the 'j' missing and the 'v' and 'u' in the wrong order again, with an inscription 'A token of love from E Grieves to Lucy Case' (2) 15 x 12 (max) Provenance Upper Slaughter Manor, The Collection of Micheál and Elizabeth Feller. Literature The Feller Needlework Collection: 2, p.94 for a discussion of these samplers.

FOUR SCHOOL SAMPLERS 19TH CENTURY containing: an alphabet sampler worked with polychrome cotton thread in cross stitch on a canvas ground, with capital and lower case alphabets and numbers, inscribed at the bottom 'Ellen Constable. Aged 9 yrs. St Andrew's Nat. Sch. 1873.', the back with a handwritten label 'Executed by a descendant of John Constable the painter. Purchased from the Constable family.', a small monochrome example worked with cross stitch, titled 'Habakkuk 3 - 17, 18.' above a verse, inscribed at the bottom 'Jane Fox. Boston National School. 1843.', the reverse inscribed in pen 'Lincolnshire Boston', a monochrome example worked with blue silk on canvas ground, with an upper and lower case alphabet and numbers, above the inscription 'Emily Burbridge. Born the 17th of May 1874. St Paul's Girls School. Park Lane. Tottenham.' and 'Worked for the Government Examination. 1885.', and a monochrome example worked with black thread on canvas, inscribed 'Declaration of the Keywood Youth's Temperance Society We whose names are hereunto subscribed do voluntarily agree to abstain from all intoxicating liquors except used as medicine or in a religious ordinance Esther Livsey Aug 21 1835 ...', all in glazed ebonised frames (4) 26.3 x 29.7cm Provenance Upper Slaughter Manor, The Collection of Micheál and Elizabeth Feller. Literature The Feller Needlework Collection: 2, p.63 and p.254 for a discussion of two of the samplers.

A GOOD MATCHED SET OF FOUR ELIZABETH I OAK FIGURAL TERMS C.1600 each carved with a semi-naked figure below a carved capital, comprising three women and a bearded man, with their hands in various poses, above a tapering base three decorated with a lion's mask, one with a strapwork cartouche with torches, all decorated with leaves and fruit (4) 77cm high Provenance Upper Slaughter Manor, The Collection of Micheál and Elizabeth Feller.

Corgi Far Eastern Buses, a collection of 1:76 scale double deck Olympians and Atlanteans comprises, 43204 Citybus Reunification of Hong Kong, 43202 KCR 10th Anniversary (2),43209 Airbus, 43221 1999 Year of the Rabbit, KCRC Air Conditioned Olympian, KMB 1997 Reunification Hong Kong example, China Motor Bus A20, (all boxed with card sleeves) 43214 Capital Citybus (cased with no sleeve), boxed models 43201, 43203 both KMB and China Motor Bus Olympian Story three model set, together with Atlanteans 44601 Citybus Lets Get Moving (cased with sleeve) and 44603 Citybus Network 26 (cased with no sleeve), some models have been displayed, G-E, Cases/Boxes G-E, (14)

Corgi Original Omnibus Vintage Buses, a cased/boxed collection of 1:76 scale mainly Double deck models in various liveries and from various regions, includes four two vehicle sets 97096 Capital & Highlands, 97095 Lancashire Holiday, 97055 Thames Valley , 97056 Crosville (each includes one single deck model) and one support vehicle a Bristol tower wagon, some models have been displayed, G-E, Cases/Boxes G-E, (45)

A SET OF FOUR LATE VICTORIAN SILVER CANDLESTICKS, in the Neo-Classical style, each with a removable gadrooned sconce, Corinthian capital and a swirling swag column, square spreading foot with a crest, foliate and geometric motifs, loaded bases, makers Hawksworth, Eyre & Co (James Kebberling Bembridge), Sheffield 1889, height approximately 33.5cm (4) (condition: three of the sconces are stuck and are standing proud of the top of the column, crests are slightly rubbed, all four have dents and dints to the square bases)

* TOM MACKENZIE (SCOTTISH 1947 - 2018), ON CIOCH coloured etching on paper, signed, titled and numbered artist's proof from an edition of 50 image size 50cm x 40cm, overall size 76cm x 66cm Mounted, framed and under glass. Note: Tom MacKenzie was educated at Portree High School and at 17 left home to enrol at Duncan of Jordanstone School of Art in Dundee. This did not work out and after a year he went to London. His pursuit of art continued at evening classes in life drawing while working in a variety of jobs by day. In 1976 he moved back to Scotland, joining a team of many talents at the Glasgow Print Studio. John Taylor, a colleague and long-time friend, says: "Tom MacKenzie’s art was made from the Isle of Skye’s unique cornucopia of visual riches: the huge, notched and jagged coastline; sea lochs with many rocky islands; the Cuillins, the most awesome mountains in Britain." Living and working on the lovely Isle of Skye, Tom MacKenzie was renowned for his wonderful colour etchings of the island and the West Coast of Scotland. These large and very stylish etchings are appreciated and collected worldwide. Working from his studio and workshop in Portree, the island’s capital, Mackenzie used three steel plates to produce his etchings and limited the editions to 75 or less, printed on 300gm, Arches waterleaf paper. He was a very popular figure in Portree where he lived and worked and a much-respected artist throughout Scotland and far beyond. In The Scottish Contemporary Art Auction of 12th September 2021, three colour etchings by Tom Mackenzie sold for hammer prices of £300, £320 and £340.

A marble and gilt-metal mounted column-pedestal, 20th century, veined in black, grey and white marble, with gilt-metal corinthian capital , on stepped square base, 84.5 cm high

A pair of modern silver plated table candlesticks, each having a Corinthian capital on a fluted column and stepped square base, h.46cm; together with another similar pair of pressed metal table candlesticks, h.33cm (4)

KEVIN SINNOTT (1/1) handcoloured monoprint produced by master printmaker Pete Williams - two figures, title to margin 'On Thin Ice', signed in pencil, 50 x 70cms Provenance: Confreys Solicitors Auctioneer's Note: proceeds to mental health charity Mind Cymru, no commission charged to vendor, Christmas 2021 commission from mental health firm Confreys Solicitors, one of ten hand-coloured monoprints by the artist. Confreys Solicitors in conjunction with Capital Law and Rogers Jones & Co will be holding a charity event at Print Market Project on November 12th where a further handcoloured monoprint will be auctioned, and two of the monochrome screen prints from the edition of 30 will be available to purchase. These prints will not otherwise be available Comments: unframed Please note that this lot may be subject to Droit de Suite at 4% of the hammer price (Please see terms / enquire)

Scotland, Commercial Bank 1 Pound dated 30th November 1936, Roman capital letter in prefix, serial 23X 012924 (PMS CO61c, PickS331a) rust marks and dent from paper clip, light centre crease, EF+

comprising four oban yoko-e prints and two oban tate-e prints; including one entitled Snow in the Precincts of the Tenman Shrine at Kameido (Kameido Tenmangu keidai yuki), from the series Famous Places in the Eastern Capital (Toto meisho), published by Sanoya Kihei; one Yanagibashi Bridge in Ryôgoku: The Umegawa Restaurant (Ryogoku Yanagibashi, Umegawa), from the series Famous Restaurants of Edo (Edo komei kaitei zukushi), published by Fujiokaya Hikotaro ; one Shinmei Shrine in Shiba (Shiba Shinmeigu), from the series Famous Places in Edo (Edo meisho), published by Yamadaya Shojiro; one Visiting the Fudo Temple in Megoro (Meguro Fudô môde), from the series Famous Places in Edo (Koto meisho), published by Sanoya Kihei; one Bikuni Bridge in Snow (Bikunibashi setchu), from the series One Hundred Famous Views of Edo (Meisho Edo hyakkei), published by Uoya Eikichi; and one Tsukudajima Gyoshoi, published by Aibokulargest: 25.3cm x 37.9cmProvenance: From the collection of Arthur Halcrow VerstageNote: Arthur Halcrow Verstage (1875-1969) was an architect who spent much of his career in the public sector. He was a student at the Royal Academy School of Architecture in the 1900s and was elected as an Associate of the Royal Institute of British Architects in 1902. By 1903 he was a student and assistant at the Central School of Arts and Crafts (later known as the Central School of Art and Design) in London where William Lethaby was principal and a great influence on him. He then oversaw the design of the new school in Southampton Row from 1905-8. From here he became an architect for London County Council and was involved with many London societies, and as a founding member of the Kelmscott Fellowship, a forerunner to The William Morris Society. His large and varied collection was a reflection of his wide interest in the arts. His archive was purchased by The William Morris Society in 2005.

Three Japanese woodblock prints,mid 19th century, comprising:Utagawa Yoshiiku (Ochiai Yoshiiku, 1833-1904),'The Kingoro Restaurant in Kayabacho' from the series 'Colors of Spring at Thirty-six Restaurants',34 x 22.5cm,Utagawa Kunisada (Toyokuni III, 1786-1865),from the series 'Famous Restaurants of the Eastern Capital',34.7 x 24.7cm, andanother by Utagawa Kunisada II (1823-1880),36 x 24.6cm (3)Provenance: From the collection of Mrs May Waldroup, compiled whilst living in Japan from 1952 to 1961.Condition report: All glued to the back paper to the top section. Yoshiiku - small holes to upper left section and left edge. Toyokuni III - paper with foxing, creases and cockling throughout, small tears to edges. Kunisada II - holes in various locations. Foxing, creases and cockling throughout. Old repairs and writing to the back.

Spain.- James (Helen M.) 36 original drawings for J.M. Dent & Co.'s 'Toledo. The Story of an Old Spanish Capital', including studies of architectural details, city views, landscapes and Church interiors, pen and black ink, pencil inscriptions and annotations, many signed, various sizes between 175 x 160 mm (6 3/4 x 6 1/4 in) and 360 x 215 mm (14 1/8 x 8 1/2 in), all loose, some hinged into mounts, occasional surface dirt, browning, handling creases, all neatly presented in cloth drop-back box with copy of the book inset, silk ties, gilt, metal clasps, folio, [circa 1903]

Victorian oak column capital, carved with C scroll and acanthus, W30cm H29cm, a pair of oak and leather fire bellows relief carved with ribbon ties and cherubs L46cm and a smaller pair of bellows (3)

A pink marble Table Lamp with gilt brass capital and stepped square base 15 1/2in H

A brass Standard Lamp and shade with corinthian capital, reeded column, on stepped square base with lion paw supports, 4ft 7in H

A very rare massive sancai-glazed model of a Bactrian camelTang Dynasty The beast powerfully modelled in mid-striding pose with its tall hair-lined neck reared back, the head raised and mouth open as if bellowing, exposing its teeth and prominent tongue, the cream-glazed body surmounted by a square fringed blanket finely decorated in green, chestnut and straw-glazes, the carved details of the fur glazed in brown. 88cm (34 5/8in) high x 74cm (29in) wide x 27cm (10 5/8in) deep.Footnotes:唐 三彩駱駝俑Provenance: Tai Sing Fine Antiques Ltd., Hong Kong A distinguished American private collection, acquired from the above in January 2002來源：香港大成古玩有限公司美國私人收藏，於2002年購自上者Finely modelled with an arched neck and mouth open wide as it bellows, the present camel is an exceptional example of sancai sculptures created during the Tang dynasty. The extraordinary sense of realism, conveyed by the forward moving posture of the creature, enhanced by the strong and slender legs, highly detailed with naturalistic tufts of dark fur, and the tall humps, gently swaying to either side of the body, shows a remarkable degree of observation on the sculptor's part which is rarely otherwise encountered on animal models of this period to this high degree.The creature would have been individually sculpted and extremely expensive to produce at the time. It would have been commissioned for internment in a burial belonging to an elite member of Tang society and deemed to become alive for the benefit of its owner. Ancestors in China were deemed active participants in the life of their living offspring, which they could positively influence if provided with continuous care. Miniature universes were thus presented in burials and filled with a variety of necessities as painted, carved or moulded images, which were believed to function like their real counterpart if provided with the correct features. Forming an analogical relation with daily forms, these figures and models embodied important social and ideological aspects of their own time; see J.Rawson, 'The Power of Images: The Model Universe of The First Emperor and Its Legacy,' Historical Research, 2002, vol.75, no.188, pp.123-54. By the Tang dynasty, the burials constructed for the highest-ranking members of society were decorated in a way that suggested a Courtly architectural compound through painted designs of receiving halls, garden settings and official gatherings, and a large amount of pottery figures of courtiers, attendants, entertainers, horses and camels; E.L.Johnston, 'Auspicious Motifs In Ninth-Thirteenth-Century Chinese Tombs', Ars Orientalis, 2005, vol.33, no.2, pp.33-75; see also J.Rawson, 'Creating Universes: Cultural Exchange As Seen In Tombs In Northern China Between the Han and Tang Periods', Between Han and Tang: Cultural and Artistic Interactions in a Transformative Period, Beijing, 2001, pp.113-152. These referred to frivolous moments of daily life and appeared in conjunction with a variety of extravagantly shaped vessels and personal ornaments made of gold, silver, and other precious materials, which reflected the prosperity of the Empire.In appearance, the present camel represents the Bactrian camel, which was imported into China from the areas of the Tarim Basin, eastern Turkestan and Mongolia. This species was highly regarded by the Tang Emperors who established dedicated offices to oversee the Imperial camel herds. Referred to as the 'ships of the desert', camels endured hot temperatures and were the essential method of transport for merchants wishing to conduct trade with the oasis cities of Central Asia, such as Samarkand, Bukhara and Isfahan, along the trading routes of the Silk Road; see E.R.Krauer, The Camel's Load In Life & Death, Cambridge, 1998, pp.50-120.Vast riches poured into the Tang capital, Chang'an, from the Silk Road. Merchants came from far afield to acquire silk, bamboo and lacquer wares, and imported perfumes, horse and jewels; see E.Schafer, The Golden Peaches of Samarkand: A Study of Tang Exotics, Berkeley, 1963, pp.7-40. Different types of food, spices, and wines were also imported into Tang China, as well as exotic musical genres, fashions and literary styles. In the arts, many foreign shapes such as amphorae, bird-headed ewers and rhyton cups, and decorative motifs, such as hunting scenes, floral medallions, garlands, swags, vines and Buddhist symbols, were imported from Central Asia and the Middle East; see B.Mater, De Gouden Eeuw Van China: De Tang Dynastie (618-907AD), Assen, 2011, pp.16-68. The recent excavation of thirty-seven tax receipts, recording approximately 600 payments, made in a year at a tax office outside Turfan (present-day Xinjiang), testifies to the fast pace of trading activities during the Tang dynasty. Chang'an had two main markets, referred to as the Eastern and the Western Market, both filled with shops, eateries and tea houses, and additional trading centres were established in the proximity of its main gates; see V.Hansen, The Silk Road: A New History, London, 2012.The animated attitude of this remarkable camel is reminiscent of the running camels vividly depicted on the walls of Crown Prince Zhuanghuai's tomb (d.684), excavated in Qianxian near Xi'an, Shaanxi Province, dated to 706 AD, illustrated in Out of China's Earth: Archaeological Discoveries in People's Republic of China, Beijing, 1981, pl.258.Compare also with a large sancai camel, Tang dynasty, similarly modelled in mid-stride, in the collection of the British Museum, London, illustrated in Sekai toji zenshu, vol.11, Tokyo, 1976, p.148, no.136.A related sancai-glazed camel, Tang dynasty, was sold at Bonhams London, 8 November 2018, lot 28.For further information on this lot please visit Bonhams.com

A pair of huanghuali 'meditation' chairs, chanyiEach with an elegant plain frame forming a low back and slender arms supported at right angles on straight front posts, the large hard-mat square seat above humpback stretchers with pillar-shaped struts. 86cm high x 74cm wide x 74cm deep (2).Footnotes:黃花梨禪椅一對Provenance: a distinguished European private collection來源：歐洲顯赫私人收藏Notable for their understated elegance conveyed by their linear beauty and geometric simplicity, the present chairs are clearly inspired by an earlier prototype in the Ming dynasty. Chairs of similar form had been used since the sixth century. The low-back armchair serving as seat for the abbot or high prelate depicted on a mid-sixth century stele on the wall of a Buddhist cave in Dunhuang, for example, has a similar design to the present chairs, except for the higher back; see S.Handler, The Austere Luminosity of Chinese Classical Furniture, Berkeley and Los Angeles, 1992, p.14, fig.1.6. Surviving literature dating from the sixth century refers to these 'meditation' chairs as 'woven seats' shengchuang or shengzuo. According to the 'Record of Buddhist Monasteries', completed in AD 547, Buddhist monks practiced stillness, eating the wind and submitting to the Way as they sat cross-legged on rope seats shengzuo, in quiet meditation rooms nestled amidst luxurious gardens containing exotic fruit trees and fragrant azaleas; see W.J.F.Jenner, Memories of Loyang, Yang Hsuan-chich and the Lost Capital', Oxford, 1981, pp.493-534. A devotional handscroll of Buddhist images by Zhang Shengwen, executed between AD 1173 and 1176, depicts Bodhidharma, the first patriarch of the the Chinese Chan Buddhist sect, seated on a similarly-shaped chair but fashioned from gnarled branches.Because of their deep seat and horizontal back rails, 'meditation' chairs made it difficult to sit comfortably on them, therefore, they were often used with separate backrests. In addition, judging from the contexts in which they were depicted, these chairs could be used in religious as well as secular contexts. See a woodblock illustration to 'Efficaceous Charms from the Tianzhu' Tianzhu lingqian, and 'Ximen Encounters a Barbarian Monk', a woodblock illustration to 'The Plum in the Golden Vase, dating to the Ming dynasty, depicting a scholar meditating in his garden in the lotus position, illustrated by S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley and Los Angeles, 1992, p.33, figs.2.8 and 2.9.A similarly-shaped huanghuali 'meditation' chair, 17th century, formerly in the Museum of Classical Chinese furniture in Renaissance, California, is illustrated by S.Handler, The Austere Luminosity of Chinese Classical Furniture, Berkeley and Los Angeles, 1992, p.26, fig.2.2.This lot is subject to the following lot symbols: TP YTP 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.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

TWO FLINTLOCK SHIP'S PISTOLS FROM THE 1854-56 WEST AFRICA NIGER EXPEDITION STEAM YACHT PLEIAD the locks signed E & W. BOND / LONDON, brass trigger guards inscribed PLEIAD, brass-mounted walnut stocks with steel ramrods captured on muzzle stirrups -- 15¼in. (38.5cm.) overall (2) The National Maritime Museum, Greenwich, have two matched examples from the set, Object IDs AAA2432 & AAA2432.2Provenance: Private Collection, UK.Footnote: William Baikie M.D. (1825-1864) was born in Orkney and studied medicine at Edinburgh University. He joined the Royal Navy in 1848 and soon attracted the notice of Sir Roderick Murchison who secured Baikie the post of surgeon and naturalist to the Niger Expedition in 1854. One of Baikie’s most important observations was on the use of quinine to prevent malaria as no one on the expedition contracted the disease. During the expedition, the senior officer, Consul John Beecroft, died and Baikie took command. Ascending the Benue about 250 miles beyond the point reached by former explorers, he returned and reached the mouth of the Niger, after a voyage of 118 days, without the loss of a single man. The expedition was partly funded by Laird of Birkenhead -- the 266-ton screw yacht Pleiad was designed by William Laird Jr and built by John Laird of Birkenhead to meet whatever unknown challenges cropped up, and was well armed with a single 12pdr gun, four swivel guns, a number of Minie guns together with pistols, shotguns and trade muskets. Baikie also used it for his second expedition of 1857 but it was wrecked in rapids. Baikie determined to carry out the purposes of the Expedition. He first considered establishing a British Consular Agency at Kabba but faced opposition from the local king -- possibly because Baikie was against the slave trade, which still provided a generous income for some tribal leaders. Instead, he chose Lokoja as the base of his future operations, it being the site of the model farm established by the Niger Expedition of 1841, and abandoned on the death of most of the white settlers. After Baikie's death, the British government abolished the consulate (1866), but the trading post remained influential. The district where Baikie had worked so successfully was finally secured for the UK through private enterprise some 20 years later and Lokoja became the capital of the Northern Nigeria Protectorate. Baikie wrote up the 1854 Expedition in his Narrative of an Exploring Voyage up the ... Niger and Isadda published in 1856.Condition report: Good overall condition - very little sign of use, good springs etc. some old marks commensurate with age.

Pair of BOOKS on London buses comprising: 'THE LONDON LT' by Ken Blacker, published by Capital Transport in 2010, the definitive history of this classic London bus class (very good condition) and the 'Wheels of London' boxed set published by the Sunday Times in 1972 comprising the book by Prince Marshall plus pocket maps, tickets, cigarette cards (excellent condition, in original packaging, ancillary items appear to be unopened). [2]

Quantity (44) of Ian Allan ABCs (mostly London Buses & Coaches) and Capital Transport LONDON BUS HANDBOOKS from the late 1940s to the early 2000's. A few of the ABCs have underlinings, most are clean. Condition ranges from used to very good, most are good to very good. [44]

Peter Hopkins (1955 Framingham)'Capital Project Covered Site: #14 (Jack R. 5)', Tücher, holographische Folie und medizinische Flüssigkeiten auf Leinwand, 103 cm x 91,5 cm, signiert, 1994 - 2000 datiert, betitelt minimale KratzerPeter Hopkins (1955 Framingham)'Covered Site ', cloth, holographic foil and medical fluids on canvas, 103 cm x 91.5 cm, signed, dated 1994 - 2000, minor scratches

Pierre Tal-Coat (1905-1985)Sans titre 1965 monogramméhuile sur toile signed with the artist's initialsoil on canvas 92 x 73 cm.36 1/4 x 28 3/4 in.Exécuté en 1965.Footnotes:L'authenticité de cette œuvre a été confirmée par Monsieur Demolon, et sera incluse dans le catalogue raisonné actuellement en préparation.ProvenanceGalerie Maeght, Paris Collection particulière, France (acquis auprès de celle-ci)Puis par descendance au propriétaire actuel LittératureXavier Demolon, Tal Coat. Catalogue raisonné des peintures, répertorié en ligne sous le n° XD-1965-036Pierre Tal-Coat a été l'une des figures les plus importantes de l'art d'après-guerre. Travaillant entre Paris et Aix-en-Provence à partir de 1945, il est considéré comme l'un des membres fondateurs du Tachisme, aux côtés de Jean-Paul Riopelle, Pierre Soulages et Nicolas de Staël. Tal-Coat a exercé une influence immense sur la génération de peintres et de mouvements qui ont repris le flambeau de la peinture abstraite européenne dans les décennies qui ont suivi, y compris le groupe CoBrA et l'Art Informel. Il demeure un artiste capital dans l'histoire de la peinture du vingtième siècle. Nous présentons ici quatre peintures de qualité exceptionnelle de Tal-Coat qui attestent de sa maîtrise consommée de la peinture et de l'abstraction lyrique. Ces œuvres, réalisées dans des couleurs saturées qui dégagent une atmosphère poétique intense, datent d'une période de sa carrière où sa puissance créatrice était à son apogée, après avoir reçu le Grand Prix National des Arts en 1968, et avant la rétrospective complète qui lui a été consacrée au Grand Palais, Paris, en 1976. La maîtrise picturale et la subtilité de la couleur qui caractérisent Cercle dans le jaune (1968), Dans l'ocre (1970), Traces (1968) et Untitled (1965), en font incontestablement des œuvres hors pair, dont la mise en vente donne aujourd'hui l'occasion d'acquérir des pièces de qualité muséale, signées par un artiste fondateur de la période tardive du Modernisme. Pierre Tal-Coat was one of the most important figures of the Post-War period. Working between Paris and Aix-en-Provence from 1945, he is considered one of the founding members of Tachisme alongside Jean-Paul Riopelle, Pierre Soulages, and Nicolas de Staël. Hugely influential for a generation of painters and movements that took up the mantle of European abstract painting in the decades that followed, including the CoBrA group and Art Informel, Tal-Coat remains an elemental artist in the history of twentieth century painting. Presented here are four refined and exceptional paintings by Tal-Coat that demonstrate his consummate mastery of paint and lyrical abstraction. From a period of his career when he was at the height of his powers, after being awarded the Grand-Prix National des Arts in 1968, before an extensive retrospective at the Grand Palais, Paris, in 1976, the present works are muted and poetic in their execution. The artist's emphasis on paint and the subtlety of tone in Cercle dans le jaune (1968), Dans l'ocre (1970), Traces (1968), and Untitled (1965), is unquestionably unique amongst his peers, and represents an opportunity to collect institutional-grade works by a seminal artist of the late Modernist period. For further information on this lot please visit Bonhams.com

George V Sterling Silver Tankard of Plain Form with Capital C Shaped Handle. Hallmark Birmingham 1921, Maker Joseph Cloister, Good Quality and Excellent Condition. Silver Weight 375.9 grams. Height 5 Inches - 12.5 cms.

An early 20th century turned white variegated marble column. With canted square capital and on an octagonal base. 22 cm x 22 cm x 100 cm highCondition report: The column has a vertical crack around the central collar, but remains sturdy and solid.

A Bicorne hat believed to have been worn by Napoleon BonaparteAttributed to Poupart & Cie, Paris, circa 1806-07Of black beaver felt with black silk lining, the rounded crown between a tall arched flat section to the rear and a shorter curved arched section to the front, the crown with two pierced holes to the crown and two button holes to the front section, together with a detached black silk braid with gilded thread, inscribed to the interior ORIGINAL Napoleon I in red ink, circumference 59cm, width 47.5cm, height 24.5cm, stamped marks for Leopold Verch, Charlottenburg, BerlinFootnotes:Provenance:Leopold Verch, Charlottenburg, BerlinBerliner Auktionhaus, December 2017, sale 110, lot 2052A private Scottish collectionNAPOLEON'S BICORNE HATS'On the field of battle, his hat is worth forty thousand men!' remarked the Duke of Wellington. In history there are few significant figures who can easily be recognised by their hat. With the bicorne shape - or chapeau française - such a hat has become the classic image associated with Napoleon Bonaparte. Fondly known as his 'petite chapeau', unlike the customary usage of bicornes, which were worn with their points facing front to back (fore and aft) or at an angle (semi athwart). Napoleon wore his fully athwart with the points facing shoulder to shoulder. By contrast with his Marshals and other General officers whose bicornes were adorned with plumages of ostrich over gold and silver lacework, Napoleon's bicornes bore only a small circular tricolour cockade of red, white and blue, superimposed with a black ribbon in 'V' formation held in place by a small black cloth button. This seemingly insignificant decoration being set at an angle to the front right face of the bicorne.Differing only slightly in proportion, he wore the same model throughout the 15 years of the Empire. Its stark simplicity instantly distinguishing him from those grandly accoutred figures around him, it also made an important political statement. During his reign, he used about 120 of them, most of which manufactured by Poupart & Cie « Chapelier, costumier et passementier de l'Empereur et des Princes » whose shop was located at the Palais du Tribunal, now the Palais Royal. It is understood that Napoleon constantly had 12 operational hats, each with a lifetime of about 3 years with several believed to have been created each year.The present beaver felt hat was purchased as a curiosity from a military auction held by in Berlin in December 2017 with no published provenance. It was apparently consigned to the saleroom by an elderly widow as part of a house clearance. Based on the rectangular red ink stamp bearing the name Verch, it was assumed that it had been made in the 20th century for the theatre. The material of the hat however has since been confirmed as being pure beaver felt, a rare and expensive material. This is a hat of the highest quality. Further examination of the stamp revealed the inscription 'Original Napoleon 1'. Another larger red ink stamp inscription in capital letters was found higher up inside the bicorne which read ORIGINAL NAPOLEON 1.Recognising that the hat was of early 19th century manufacture, sharing all the characteristics of Napoleon's bicornes, the owner contacted the Musée de l' Armée in Paris to compare the present lot against the six provenanced bicornes owned by Napoleon, on display at the museum. The bicorne was examined and bore a striking resemblance to each of these hats and matched the precise inner circumference dimensions of the hats made by Poupard for the Emperor.A series of fragments of cotton threads running around the interior of the brim would originally have been the stitches which secured a leather sweatband, likely to have been made of shellac-polished leather as seen on the existing sweatband in an example, owned by Napoleon, at the Musée Napoléon in Brienne. It is known that Napoleon found the leather sweatbands uncomfortable and had them removed from his early hats, leaving the cotton ends of the remaining stitches in the felt brim. These tiny fragments in the present example show the stitches have been deliberately cut, not torn.The earlier examples bore the inner leather sweatband with an upper interior cap of fine black silk and rag paper. The black silk lining of the present hat matches that on the hat in the Musée Napoléon. His later bicornes were fully lined with a thinly padded greenish brown silk lining, eliminating the need for a sweatband. They vary slightly in form, but all bear the same distinctly recognisable shape. The dimensions of the current example - head circumference 59cm, width 47.5cm, height 24.5cm - are distinctly similar to all the known bicorne hats with secured provenance that belonged to the Emperor.A large letter 'N' inscribed in white, located in the top of the interior (between the crown and the silk lining), was discovered when the lining was removed for inspection. In addition, an impressed 'N' located beneath Verch's rectangular printed ink stamp was identified under UV light.Hats made by the Verch firm generally have an elaborate rectangular silk label bearing the company name and address stitched to the interior. The use of a printed mark together with the inscription 'Original Napoleon 1' is unusual and with the other inscriptions suggest personal inventory stamps. This may indicate that the bicorne was from the Verch private collection of originals. It would have been deliberately identified as such to avoid the item being used inadvertently for other purposes. A detached black silk ribbon braid with gilt decoration, dating to the early 19th century and which would have held a cockade, was discovered between the crown and the front peak.The hat maker, costumier and collector, Leopold Verch, born in 1845, established a theatrical costume business in Charlottenburg, near Berlin in the early 1880s. This business eventually became the premier theatrical and later film industry costumier in Germany employing 250 workers. Verch became the Purveyor for the Prussian Royal Court in Berlin and was well known in Europe and Great Britain. He travelled around Europe, avidly collecting original items to reproduce whilst also visiting major art galleries, sketching hats, shoes, and fabric patterns for inspiration. His son of the same name (1882-1951) was the successor in the business. The only surviving granddaughter of the younger Verch, Beatrice Huber, has confirmed that her family once possessed a large private collection of original items gathered by both her great grandfather and grandfather. Sadly, their large collection of 2000 originals, the archives and stock of the company in Charlottenburg are understood to have been destroyed during the Second World War.Coincidentally, situated also in Charlottenburg at the time of Napoleon was Charlottenburg Palace, the home of King Frederick lll and Louise Queen consort. On 14 October 1806, in the separate battles of Jena and Auerstädt, the Prussians were soundly defeated. On 27 October the Emperor marched his triumphant army into Berlin and took up residence in the palace. The present hat may have been one of those made for that campaign in 1806.The hat bears two small holes which have been made by the apparent use of a pointed object having been carefully forced through between the hat and the lining, only splitting the inner rag paper but not piercing the silk lining. These holes are distinctly T shaped in section, one being smaller than the other, indicating that the skewer was tapered. Beneath these holes are slight creases, made by the weight of something having been left there for a great deal of time. Most likely a triple edged bayonet as used during the period. It was not uncommon to find headwear with holes of a similar type which at one time hel... For further information on this lot please visit Bonhams.com

CANARY ISLANDS. A collection of photographs, booklets, souvenirs and other ephemera relating to the Canary Islands, most 20th century, including an album of photographs titled 'Tenerife Santa Cruz de Tenerife Capital de Las Islas Canarias', another titled 'Las Palmas, Grand Canary' and a photograph of a carnival in 1928.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

JOAQUÍN SUNYER DE MIRÓ (Sitges, Barcelona, 1874 - 1956).Untitled.Oil on canvas. Relined.Presents restoration.Signed in the lower left corner.Measurements: 46 x 56 cm.We are in front of a landscape where it is possible to appreciate the compositional audacity and the freedom of the stroke, based on material touches and a special capacity to capture an atmosphere with the minimum elements. The landscape and the characters that make up the scene, seem to merge into a plot of textures generous in matter, built in rich earthy shades, giving the whole a halo of mystery permeating the natural world.After studying at the Escuela de La Lonja in Barcelona, Sunyer began his career as an illustrator of popular scenes in "La Vanguardia" in 1896. Shortly after, he settled in Paris, where he specialized in street scenes and intimate interiors, which he treated in a style influenced by prostimpressionism. In Paris he befriended Picasso and Hugué, and exhibited in the Salons. Between 1905 and 1906 he traveled through Castile, on the initiative of the art dealer Henri Barbazanges, who wanted Spanish themes. He returns in 1907 to Paris, and makes several exhibitions in the French capital and in Liege. He went to Sitges in 1910, at a time when his style had been losing its post-impressionist influences and was approaching the Mediterranean themes and the simplified canon figures of Cézanne. The following year, Sunyer organizes a personal exhibition in the Faianç Catalá that placed him, after Nonell's death, at the head of the Catalan painting of the moment. During the following years he travels and exhibits in Europe, but returns to Catalonia at the outbreak of the First World War. Settled in Sitges, he nevertheless took part in the Paris and Barcelona Salons. After fleeing Spain because of the Civil War, he returned to Spain and settled in Barcelona in 1942. In 1949 he was awarded the Legion of Honor, and later special rooms were dedicated to him at the Hispano-American Art Biennials in Barcelona. At the Havana Biennial in 1954, he was awarded the Grand Prize for a lifetime of work. An anthological exhibition was also held in Madrid in 1974, commemorating the centenary of his birth. As an easel painter he was the most representative of the "noucentisme". His landscapes and female nudes stood out especially, as well as his portraits, totally distant from traditional painting. Currently, Joaquín Sunyer is represented in the MACBA, the Fine Arts Museum of Bilbao, the Georges Pompidou Center in Paris and the Reina Sofía National Art Center in Madrid.

ELISEO MEIFREN (Barcelona, 1857 - 1940)."View of the Port of Mallorca".Pastel and chalk on paper.Signed in the lower right corner.Measurements: 46 x 56 cm.; 72 x 92 cm. (frame).Painter of landscapes and seascapes, Eliseo Meifrèn is considered one of the first introducers of the impressionist movement in Catalonia. He began his artistic training at the School of Fine Arts in Barcelona, where he was a disciple of Antonio Caba and Ramón Martí Alsina, with whom he began to make romantic landscapes of academic invoice. After finishing his studies, in 1878, he moved to Paris in order to broaden his artistic knowledge, and there he got to know first hand the "plen air" painting, which would influence him powerfully in his Parisian landscapes of those years. Likewise, in Paris he coincided with the public beginning of impressionism. A year later he made a trip to Italy, during which he visited Naples, Florence, Venice and Rome; there he made contact with the circle of Catalan artists formed by Ramón Tusquets, Arcadio Mas i Fondevila, Enrique Serra, Antonio Fabrés and Joan Llimona, among others. That same year, 1879, he participated in the Regional Exhibition of Valencia, and won a gold medal. Once back in Barcelona, in 1880 he made his individual debut in the Sala Parés in Barcelona, where he continued to exhibit regularly since then. During these years he was part of the modernist group, and frequented Els Quatre Gats. In 1883 he returned to Paris, where he made numerous drawings and watercolors with views of the city and its cafés, which earned him a warm welcome from French critics and the French public. At the end of the eighties he returned to Barcelona and continued to show his work at the Sala Parés, as well as at the Centro de Acuarelistas. Also, in 1888 he was a member of the jury of the Universal Exhibition held in Barcelona. In 1890 he returned for the third time to the French capital, where he participated in the Salon des Beaux-Arts and in the Salon des Indépendants of 1892, together with Ramon Casas and Santiago Rusiñol, artists with whom he had formed the Sitges pictorial group a year earlier. In the following years Meifrèn would send his works to numerous official exhibitions and competitions, among them the National Exhibitions of Madrid and Barcelona, and was awarded the third medal at the Paris Universal of 1889 and 1899, silver medal at the Brussels Universal of 1910, grand prize at the Buenos Aires Universal of the same year, medal of honor at the San Francisco International of 1915 and grand prize at the San Diego International of the following year. He also won the Nonell Prize of Barcelona in 1935. In 1952, the Barcelona City Council dedicated a retrospective exhibition to him, held at the Palacio de la Virreina. His initial landscapes, characterized by an academic and romantic concept, would later evolve towards an impressionist language; abandoning the Roman preciosism, his would be a technique of loose brushstrokes and clear palette, in which the luminous conception approaches symbolist budgets, within the orbit of Modesto Urgell. He is currently represented in the Prado Museum, the National Art Museum of Catalonia, the MACBA in Barcelona and the Thyssen-Bornemisza, among many others.

ELISÉE MACLET (Lyons-en-Santerre, 1881 - Paris 1962)."Theater of the Atelier", Paris.Oil on panel.Signed in the lower right corner.Measurements: 37 x 46,5 cm; 55,5 x 65 cm (frame).The Parisian district of Montmartre deeply inspired the young and promising Elisée Maclet, recently landed in the French capital in 1906. Sceneries such as the cabarets of Lapin Agile or the Moulin de la Galette, the Sacré Coeur Basilica, the streets of old Paris or the views of the Seine River were masterfully immortalized by Maclet, through a post-impressionist style of a certain childlike simplicity. Considered a key figure in the development of the style of the painter Maurice Utrillo, a firm representative of the Montmartre life of 1900, Elisée Maclet left an important artistic mark on the Paris of the time. As his success grew in Parisian social circles, his artistic role solidified, to the point that the great Parisian gallery owners hung his works alongside those of Van Gogh and Picasso. On this occasion, Elisée Maclet offers us a view of the Atelier theater, an enclave frequently immortalized by the painter.Elisée Maclet initially developed a "primitivist" style of painting that would earn him a place among the "naïff" painters of the beginning of the century. In 1906, Maclet moved to Paris. There he settled in the Montmartre district and produced most of the landscape and street scenes for which he is best known. Maclet's Parisian scenes were successful, especially after World War I, and he maintained this success for the rest of his career because of the unique sensibility and original techniques he demonstrated in his works. Many of the French writers appreciated his paintings and often wrote about him, including Max Jacob, Sidonie Gabrielle Colette, and Francis Carco. From 1918 to 1919, Maclet painted seascapes in Dieppe, living in a house that Carco lent him. He returned to Montmartre in 1919. In 1920, the art dealer, Dosbourg, bought some of his early Montmartre scenes. He lived in Arles from 1923 to 1928, where he painted many remarkable landscapes expressing his enchantment with nature and Mediterranean culture, some of which are sometimes reminiscent of Matisse. In 1928, Maclet received his first major solo exhibition, held at the Gallerie Barreiro in Paris, where more than 50 of his works were exhibited. At the end of the year, he left mainland France on a painting excursion to the island of Corsica. He then went to Brittany, where he lived and worked in 1929 and 1930. In 1957 the first major retrospective of Maclet's work was held at the Nicolas Poussin Gallery in Paris, and in 1960 the same gallery presented his work in its "20th Century Paintings" exhibition; another major retrospective took place in 1961, at the Thibaut Gallery in New York City. In the period following his international breakthrough, Maclet was the subject of numerous magazine articles and, over time, several public collections in Europe and America acquired examples of his work, including museums in Chicago, Bremen, Geneva, Sweden, Norway and Monte. After his death in 1962, Maclet posthumously received several international tributes, including solo exhibitions in Paris, Germany, and Venezuela, as well as a prominent exhibition at the Vestart Galleries in New York City in 1969. In 2011, the National Gallery of Bermuda mounted a solo exhibition of his work. Currently, his work is represented in a number of important international collections, both public and private, with many of his paintings held by the Musée d'Art Moderne in Paris.

ELISÉE MACLET (Lyons-en-Santerre, 1881 - Paris 1962)."La butte de Montmartre sans la neige" (The hill of Montmartre without the snow).Oil on cardboard.Signed in the lower right corner. Titled on the back.Measurements: 37 x 44,5 cm; 53,5 x 62 cm (frame).The Parisian district of Montmartre inspired deeply the young and promising Elisée Maclet, recently landed in the French capital in 1906. Sceneries such as the cabarets of Lapin Agile or the Moulin de la Galette, the Sacré Coeur Basilica, the streets of old Paris or the views of the Seine River were masterfully immortalized by Maclet, through a post-impressionist style of a certain childlike simplicity. Considered a key figure in the development of the style of the painter Maurice Utrillo, a firm representative of the Montmartre life of 1900, Elisée Maclet left an important artistic mark on the Paris of the time. As his success grew in Parisian social circles, his artistic role solidified, to the point that the great Parisian gallery owners hung his works alongside those of Van Gogh and Picasso. On this occasion, Elisée Maclet gives us a view of the emblematic Montmartre hill with the Sacré Coeur Basilica in the background, one of the most repeated sites by the artists of the time. In it, the painter captures the underlying essence of one of the most magical places in the French capital, through a daring technique and a totally harmonious and matching color palette, determined by the melting snow.Élisée Maclet initially developed a "primitivist" style of painting that would earn him a place among the "naïff" painters of the beginning of the century. In 1906, Maclet moved to Paris. There he settled in the Montmartre district and produced most of the landscape and street scenes for which he is best known. Maclet's Parisian scenes were successful, especially after World War I, and he maintained this success for the rest of his career because of the unique sensibility and original techniques he demonstrated in his works. Many of the French writers appreciated his paintings and often wrote about him, including Max Jacob, Sidonie Gabrielle Colette, and Francis Carco. From 1918 to 1919, Maclet painted seascapes in Dieppe, living in a house that Carco lent him. He returned to Montmartre in 1919. In 1920, the art dealer, Dosbourg, bought some of his early Montmartre scenes. He lived in Arles from 1923 to 1928, where he painted many remarkable landscapes expressing his enchantment with nature and Mediterranean culture, some of which are sometimes reminiscent of Matisse. In 1928, Maclet received his first major solo exhibition, held at the Gallerie Barreiro in Paris, where more than 50 of his works were exhibited. At the end of the year, he left mainland France on a painting excursion to the island of Corsica. He then went to Brittany, where he lived and worked in 1929 and 1930. In 1957 the first major retrospective of Maclet's work was held at the Nicolas Poussin Gallery in Paris, and in 1960 the same gallery presented his work in its "20th Century Paintings" exhibition; another major retrospective took place in 1961, at the Thibaut Gallery in New York City. In the period following his international breakthrough, Maclet was the subject of numerous magazine articles and, over time, several public collections in Europe and America acquired examples of his work, including museums in Chicago, Bremen, Geneva, Sweden, Norway and Monte. After his death in 1962, Maclet posthumously received several international tributes, including solo exhibitions in Paris, Germany, and Venezuela, as well as a prominent exhibition at the Vestart Galleries in New York City in 1969. In 2011, the National Gallery of Bermuda mounted a solo exhibition of his work.

ELISÉE MACLET (Lyons-en-Santerre, 1881 - Paris 1962)."Church with characters".Oil on canvas.Signed in the lower left corner.Work exhibited at the retrospective of Elisée Maclet held in Paris in 1960. With label on the back.Measurements: 80,5 x 65 cm; 95 x 79,5 cm (frame).The Parisian district of Montmartre deeply inspired the young and promising Elisée Maclet, recently landed in the French capital in 1906. Sceneries such as the cabarets of Lapin Agile or the Moulin de la Galette, the Sacré Coeur Basilica, the streets of old Paris or the views of the Seine River were masterfully immortalized by Maclet, through a post-impressionist style of a certain childlike simplicity. Considered a key figure in the development of the style of the painter Maurice Utrillo, a firm representative of the Montmartre life of 1900, Elisée Maclet left an important artistic mark on the Paris of the time. As his success grew in Parisian social circles, his artistic role solidified, to the point that the great Parisian gallery owners hung his works alongside those of Van Gogh and Picasso.Élisée Maclet initially developed a "primitivist" style of painting that would earn him a place among the "naïff" painters of the turn of the century. In 1906, Maclet moved to Paris. There he settled in the Montmartre district and produced most of the landscape and street scenes for which he is best known. Maclet's Parisian scenes were successful, especially after World War I, and he maintained this success for the rest of his career because of the unique sensibility and original techniques he demonstrated in his works. Many of the French writers appreciated his paintings and often wrote about him, including Max Jacob, Sidonie Gabrielle Colette, and Francis Carco. From 1918 to 1919, Maclet painted seascapes in Dieppe, living in a house that Carco lent him. He returned to Montmartre in 1919. In 1920, the art dealer, Dosbourg, bought some of his early Montmartre scenes. He lived in Arles from 1923 to 1928, where he painted many remarkable landscapes expressing his enchantment with nature and Mediterranean culture, some of which are sometimes reminiscent of Matisse. In 1928, Maclet received his first major solo exhibition, held at the Gallerie Barreiro in Paris, where more than 50 of his works were exhibited. At the end of the year, he left mainland France on a painting excursion to the island of Corsica. He then went to Brittany, where he lived and worked in 1929 and 1930. In 1957 the first major retrospective of Maclet's work was held at the Nicolas Poussin Gallery in Paris, and in 1960 the same gallery presented his work in its "20th Century Paintings" exhibition; another major retrospective took place in 1961, at the Thibaut Gallery in New York City. In the period following his international breakthrough, Maclet was the subject of numerous magazine articles and, over time, several public collections in Europe and America acquired examples of his work, including museums in Chicago, Bremen, Geneva, Sweden, Norway and Monte. After his death in 1962, Maclet posthumously received several international tributes, including solo exhibitions in Paris, Germany, and Venezuela, as well as a prominent exhibition at the Vestart Galleries in New York City in 1969. In 2011, the National Gallery of Bermuda mounted a solo exhibition of his work. Currently, his work is represented in a number of important international collections, both public and private, with many of his paintings held by the Musée d'Art Moderne in Paris.

Pair of Victorian silver desk or dwarf candlesticks on square bases, with beaded edges, the plain circular column with Doric capital, with removable circular sconce with beaded edges, filled/loaded, 12cm tall, London 1882, makers mark William Hutton & Sons

BLACK SABBATH - S/T LP (UK 2ND PRESS - VO6/ 847 903 VTY). Here we have a beautiful 2nd pressing of Black Sabbaths self-titled debut LP (VO 6/ 847 903 VTY, 1970 UK pressing on the large Vertigo swirl label. 1Y*1/ 2Y*1 matrix. Labels are lovely bright and clean. The record is superb Ex/ the gatefold sleeve with capital lettering on band names and credits is strong VG+).

A rare silver-mounted gold-koftgari steel repeating flintlock sporting gun and bayonet from the personal armoury of Tipu Sultan, by Sayyid Dawud Haidernagar, dated AH 1800/AH 1785-86the barrel of 20 bore, the first part polygonal, thereafter rounded, the silver foresight surrounded by interlaced vines in gold, an undulating vine around the muzzle, lug to one side for socket bayonet, the polygonal section profusely decorated in gold koftgari with eight panels of bubri pattern and two inscriptions, the first with the date and place of manufacture, the second with maker's name, all interspersed by floral vines, three lobed cartouches containing the 'Haydar' control mark at the point closest to the breech, three silver ramrod pipes containing silver-mounted wood ramrod to one side, foliate engraved lock, the steel lock plate engraved with floral interlace with two inscriptions in gold, the 21 shot repeating breech mechanism with gilt copper parts chased with foliate interlace, the two rounded chambers for shot and powder terminating in a gilt-brass base cover for the powder magazine release in the form of a tiger head engraved with bubri motifs surmounted by foliate motifs, the carved wooden stock with silver side and butt plates chased with floral sprays, the former with rack number '82' in Arabic, the latter containing a sprung trap for bayonet released by push button in the form of a flowerhead, the wood stock carved with foliate motifs around the barrel tang and inlaid with silver wire forming scrolling tendrils and foliate motifs, silver trigger guard with rack number '82' in Arabic, together with companion steel bayonet, the socket decorated in gold with an inscription detailing the same date and place of manufacture surrounded by bubri motifs 140 cm. long, the bayonet 14.9 cm. long(2)Footnotes:ProvenanceMajor Thomas Hart of the East India Company, acquired in the days following the siege of Seringapatam, and thence by descent until sold by the family in March 2019. Inscriptions: zarb-e HYDR (sic) [Haydar] negar 1200, 'Struck (i.e. Made in) Haidarnegar 1200 (1785-6)'; Signed, fadavi sayyid dawud, 'The devoted Sayyid Dawud'; the 'Haydar' control mark.The present lot is a rare example of a repeating long gun, though it is very closely related to another repeating gun from Tipu Sultan's armoury now in the Royal Armouries (see Robin Wigington, The Firearms of Tipu Sultan 1783-1799, Hatfield, 1992, pp. 45-48, no. TR3, plates 3a-e.), and another from George IV's Armoury at Carlton House (CH AA 540). Whilst almost all extant examples of firearms from Tipu's armoury are in excellent condition, the present lot was acquired in a damaged state following the battle, and had clearly been subjected to musket fire. It is therefore possible to surmise that, rather than being seized from the armoury after the battle, it was collected from the battlefield, and may even have been about the person of the Sultan at the time of his death. This opinion is further supported by the damage to the bayonet, which could not have occurred whilst in storage in the butt, implying that it must have been fitted to the muzzle and in use when damaged. The gun has since been professionally restored to return it to its original condition, the most significant work being the replacement of a fragment of the trigger guard, and the base cover for the tubular powder magazine release which has been expertly copied from the example on the gun from George IV's armoury. Of all the firearms from the personal armoury of Tipu Sultan which have come up for sale, this is the only example which includes the original fitted socket bayonet which is also inscribed 'Haidernagar' and dated AH 1200. When not in use, the bayonet can be neatly stored in the sprung trap within the butt. Tipu had a great interest in all things mechanical and it is likely that this innovation was introduced from Europe by one of his French technicians (see Wigington, 1992, p. 33 for a discussion of these short bayonets or 'sangin'). The present lot is also of increased interest in that it is one of only two known examples produced at Haidernagar (for the other see Wigington, 1992, pp. 75-8), and the only example made by Sayyid Dawud. Haidernagar was the new name given to Ikkeri in Bednore by Tipu's father Hyder Ali when he conquered it in 1763 and made it his capital. Interestingly our gun was made in AH 1200 which was the last year Tipu Sultan used the hijra date, after which he introduced the mawludi calendar based on the birth of the Prophet in AD 572 rather than his migration from Mecca to Medina in AD 622. The gold 'Haidar' control mark or 'H' in Arabic which appears at the back of the breech on all three upper barrel flats signifies that the gun was produced in one of Tipu's workshops. According to Wigington, control marks inlaid with gold en suite with the decoration of the gun, such as on the present lot, only appear on Tipu's personal firearms. Those in munition quality arms would have been filled with brass or left plain (see Wigington, 1992, p. 15).For further information on this lot please visit Bonhams.com

A group of contemporary newspapers relating to Tipu Sultan and the Siege of Seringapatam London and Northampton, 1799 and 1800comprising four newspapers, three editions of The Northampton Mercury, and one of The Sun, each with four pages of text, news reports both foreign and local, as well as advertisements 500 x 355 mm.; 467 x 315 mm.(4)Footnotes:The three editions of The Northampton Mercury are dated September 14th, 1799, 21st September of the same year, and 1st February 1800.In the edition of 14th September, the news of the siege, is placed in a section called 'Postscript', though it is in fact one of the longer articles (entitled Death of Tippoo Saib, and the Capture of Seringapatam, the Capital of his Empire).This morning arrived at the India-House from Plymouth, the Purser of the Barwell East-Indiaman; by which ship we have the important Intelligence, that on the 4th of May the British Forces under General Stuart, took SERINGAPATAM, Tippoo's Capital, by Assault, with a very trifling Loss on the part of the British Troops. The Body of TIPPOO was found among the slain upon the ramparts of the place, and his two SONS were taken in his Palace.By the Death of this restless Tyrant, and the overthrow of his Empire, the lawful King of Mysore will be restored to his Throne, the English power in India effectually secured, and the hopes of the French in that quarter completely destroyed.Private Letters mention that immense Treasure has been taken in Seringapatam.There follows a copy of a letter from the Madras Gazette, from Lt. Gen. Harris to the Governor-General, recounting the assault in great detail, and ending with the death of Tipu and the surrender of Seringapatam.The edition of the 21st September 1799 has a short piece based on a despatch from General Harris, describing the results of the victory: 'The successful termination of the war in India secures to us the sovereignty of that country' [...] 'the treasure found in Seringapatam has been variously stated: some accounts estimate it at three, others at thirteen millions. During a long series of years, Tippoo and his father plundered the East, and here were their riches deposited' [...] 'the resources which will flow into the Company's Treasury are at present incalculable'.The edition of February 1st, 1800, contains further details which had been learned of the final assault and death of Tipu, including the well-known story of his death when already badly wounded: 'A servant, who has survived, relates, that one of the soldiers seized the Sultaun's sword-belt (which was very rich) and attempted to pull it off; that the Sultaun, who still held his sword in his hand, made a cut at him with all his remaining strength, and wounded him about the knee, on which he put his piece to his shoulder, and shot the Sultaun through the temple, when he instantly expired'.In The Sun, dated 19 July 1800, there is a report of the celebratory Entertainment given at Cumberland House where fronting the water were erected eight tents, taken from Tippoo Sultaun, made of fine calico, painted red and white, the sides formed of curious lattice; the largest tent being open on each side, was appropriated for the company to dine.For further information on this lot please visit Bonhams.com

* TOM MACKENZIE (SCOTTISH 1947 - 2018),ON CIOCHcoloured etching on paper, signed, titled and numbered artist's proof from an edition of 50image size 50cm x 40cm, overall size 76cm x 66cmMounted, framed and under glass.Note: Tom MacKenzie was educated at Portree High School and at 17 left home to enrol at Duncan of Jordanstone School of Art in Dundee. This did not work out and after a year he went to London. His pursuit of art continued at evening classes in life drawing while working in a variety of jobs by day. In 1976 he moved back to Scotland, joining a team of many talents at the Glasgow Print Studio. John Taylor, a colleague and long-time friend, says: "Tom MacKenzie’s art was made from the Isle of Skye’s unique cornucopia of visual riches: the huge, notched and jagged coastline; sea lochs with many rocky islands; the Cuillins, the most awesome mountains in Britain." Living and working on the lovely Isle of Skye, Tom MacKenzie was renowned for his wonderful colour etchings of the island and the West Coast of Scotland. These large and very stylish etchings are appreciated and collected worldwide. Working from his studio and workshop in Portree, the island’s capital, Mackenzie used three steel plates to produce his etchings and limited the editions to 75 or less, printed on 300gm, Arches waterleaf paper. He was a very popular figure in Portree where he lived and worked and a much-respected artist throughout Scotland and far beyond. In The Scottish Contemporary Art Auction of 12th September 2021, three colour etchings by Tom Mackenzie sold for hammer prices of £300, £320 and £340.

* SYLVIA ALLEN (SCOTTISH b. 1951 - ), A SPLASH OF FLOWERSgouache on paper, signed and dated 1992 versoimage size 55cm x 81cm, overall size 88cm x 114cm Mounted, framed and under glass.Artist's label verso.Note: Sylvia Allen graduated from Glasgow School of Art 1974. She exhibited regularly in group and solo shows whilst in various teaching and graphics employment. A Glasgow School of Art tutor in Life Drawing and Drawing and Painting in the years 1986-1994. Elected artist member of Glasgow Art Club in 1989.Has also exhibited in USA, France and Germany and as a result her work is in many collections at home and abroad including: Price Waterhouse Coopers, Arthur Andersen and Kempen Capital Management. Exhibited in RGI, RSA, SSWA and PAI. Scottish finalist in 1997 Laing exhibition, London. Painting selected for 1998 calendar. Now works solely for exhibitions. The work is characterised by strong involvement with colour and expressive movement. Themes include weather moods in landscape, atmospheric cityscapes and vibrant colours of flowers caught in sunshine. Solo Exhibitions/Group Exhibitions MacLaurin Gallery, Ayr; McLellan Galleries, Glasgow; Willamette Uni. Salem, Oregon; Main Fine Art, Glasgow; Harbour Arts Centre, Irvine; The Kunsthaus, Nurnberg; Scottish Amicable, Glasgow; The Metro Gallery, Glasgow; Zabo Gallery, Nurnberg; Turberville Smith Gallery, London; Galerie Reiter, Bad Tolz; Seen Gallery, London; Galerie in der Linden, Weidenberg; Cormund Gallery, Glasgow; Usiskin Gallery, London; Mall Galleries, London; Home Studio, Glasgow; Glasgow Art Gallery; Woodside Library, Glasgow; Green Gallery, Aberfoyle; Devonshire Hotel, Glasgow; Adam Gallery, Bath; Kelly Gallery, Glasgow; Hanover Fine Art, Edinburgh; Torrance Gallery, Edinburgh; Dept. Philosophy, Edinburgh Festival; Kingfisher Gallery, Edinburgh; Westgate Gallery, North Berwick; Ainscough Contemporary Art, London; MacMillan Fund, Strathclyde Arts Centre; Gatehouse Gallery, Glasgow; Kelly Gallery, Glasgow; Cornerstone Gallery, Stirling; Leith Gallery, Edinburgh; Chatton Gallery, Chatton; Riverside Gallery, Stonehaven; Thompson's Gallery, London; McEwan Gallery, Ballater and Roger Billcliffe Gallery, Glasgow.

Circle of ANTON VAN DYCK (Antwerp, 1599-London, 1641)."Portrait of Charles I of England."Oil on canvas. Relined.Size: 71 x 61,5 cm.On a neutral background is defined the royal portrait of the monarch Charles I of England. Sober in the composition and the chromatic range used by the author, since on the portrayed only stands out the indigo band that hangs under the great ruff, which indicates his belonging to the order of the Jarreta. With broad shoulders and an elongated face, the author presents us with a psychological portrait where austerity and authority come together. The monarch fixes his gaze on the viewer, in an unperturbed and imperturbable way, thus transmitting all his power. The work is somewhat reminiscent of the "triple portrait of Charles I", painted by Van Dyck in 1635, and kept in the collection of the Prado Museum in Madrid. This portrait was painted with the intention of sending it to Rome, so that Bernini could create a bust.Anton van Dyck, key painter of the Flemish Baroque and one of the most important portraitists of the 17th century. Anton Van Dyck began his training with Van Balen, a Romanist painter, in 1609. In 1615-16 he worked with Jordaens, and between 1617 and 1620 with Rubens, who said that he was his best pupil. In 1620 he visited England for the first time, in the service of James I, when he was only twenty-one years old. In London he enjoyed greater freedom and left aside religious painting to devote himself fully to portraiture. Between 1621 and 1627 he completed his training with a trip to Italy, being particularly impressed by Bolognese painting and the works of Titian. It was in Italy where he achieved his mature, refined and elegant style, as well as configuring his type of portrait, which became a model for Western painting. In Italy his fame as a portraitist was also established, and he enjoyed immediate success wherever he worked, painting portraits of the most important noble families of Italy, as well as the Pope and various members of the Roman Curia. In 1629 he was again in London, this time working for King Charles I, who admired Titian's work and saw in Van Dyck his heir. Thus, he dismissed all his painters, having found in Van Dyck the court painter he had wanted for years. In 1640, on the death of Rubens, the painter returned to Antwerp to finish the works he had left unfinished. The following year he moved to Paris, where he painted the wedding portrait of King William II and Princess Mary. That same year he returned hastily to London for health reasons, dying shortly thereafter at his home in the English capital. Anton Van Dyck is represented in major museums around the world, such as the Louvre, the Prado, the Kunsthistorisches in Vienna, the National Gallery and the British Museum in London, the Hermitage in St. Petersburg and the Metropolitan in New York.

Ɵ THORN, William. (1780 - 1843). Memoir of the Conquest of Java. T. Egerton, London, 1815. single volume, first edition, 4to., (308 x 257mm), modern quarter black leather over marbled boards, spine with raised bands bordered in gilt, spine lettered in gilt, complete, half-title, errata, 17 engraved maps (13 folding), 18 aquatint plates (4 folding), plate number 1, 'Map of Java' facing title page bound as 2 large folding sheets in present volume, some light offsetting throughout, occasional contemporary marginalia pencil marks and underlining throughout, most noticeably on list of plates page, and pages 14, 35, 51, and 100, plate no. 33 hand-coloured, plate no. 34 some contemporary pencil annotations and markings on map, plates no. 27 and 28 bound in reverse order according to the list of plates.   First edition of William Thorn's important memoir of the 1811 conquest of Java, when possession of the island passed from the Dutch to the British Empire. Major Thorn, a Deputy Quarter Master General of the British Army at the time, describes the military expedition, as well as giving a general history and geographic survey of the island. Thorn's text contains the first depiction of the Taman Sari (Water Castle), a renowned architectural wonder built in 1758 by the Sultan of Jokjakarta. Many of the remaining aquatints show coastal towns of Java, as well as Batavia, one time capital of the Dutch East Indies that was taken over when power shifted to the British Empire. These engravings have been described to be in the style of Dutch artist Johannes Rach and his school. (1) Condition Report: clean and bright binding, 3.5 inch tear at hinge of plate 20, some foxing to maps, occasional spotting to text. Condition Report Disclaimer

A Victorian onyx and brass oil lamp, 19th century, the polished marble column with Corinthian capital on square base, colourless cut glass oil reservoir, with electrical modification to the gallery, 59cm high Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items. No drill holes to the fontSpeckled tarnishing to base and capital, no cracks or chips to the reservoir

ANTONIO SAURA (Huesca, 1930 - Cuenca, 1998)."Open Series, plate 3".1989.Lithography and color zincography, copy 26/99.Signed and justified by hand.Work published in "Antonio Saura, L'Oeuvre Imprimé Catalogue Raisonné", Patrick Cramer. Geneve 2000, p.621Measurements: 74 x 103 cm.; 126 x 96 cm.Self-taught, Antonio Saura is presented in Madrid in 1952, and that same year he travels for the first time to Paris, where he will participate in the activities of the surrealist group. He organized his first exhibition in the French capital in 1957, at the Stadler gallery, the same year he founded the El Paso group. In 1960 he receives the Guggenheim Award in New York, and in 1963 his first retrospectives are dedicated to him, at the Stedelijk Museum in Eindhoven, the Rotterdamsche Kunstring and in the museums of Buenos Aires and Rio de Janeiro (works on paper). In 1966 he participates in the Biennial of Engraving "Bianco e Nero" of Lugano, obtaining the Grand Prize. The following year he settled in Paris, and in 1968 he abandoned oil painting to devote himself exclusively to graphic work. In 1979 he was awarded a prize at the First Biennial of engraving in Heidelberg, in 1981 he was named Knight of the Order of Arts and Letters in France, and the following year he was awarded the Gold Medal of Fine Arts. He is represented at the Neue Nationalgalierie in Berlin, the Guggenheim in Bilbao, the Museo Nacional Centro de Arte Reina Sofía, the Albright-Knox Art Gallery in Buffalo, the Guggenheim and the Metropolitan in New York, the Centre Georges Pompidou in Paris and the Tate Gallery in London.

JOAN RIPOLLÉS (Castellón, 1932)."The flower".Oil on canvas.Signed in the lower left corner.Measurements: 130 x 97 cm.Known by his second surname or as "the Blessed Ripo", Joan García Ripollés discovered his passion for painting when, being still very young and in the middle of the postwar period, he entered to work in an industrial painting workshop. From then on he dedicated himself to painting at night, and later he took drawing classes at the Ribalta Institute in Castellón. After his debut in a collective exhibition held in 1951 at the Caja de Ahorros de Castellón, in 1954 there was a turning point in his career, as a result of a trip to Paris where he established contact with the artistic circles of the city. He remained in the French capital until 1963, and during these years he made twelve paintings for the church of Saint-Paul de Trigan in the Commune des Chaulegnes. However, he could not leave industrial painting until 1958, when he joined the Drouand David gallery in Paris, one of the most prestigious in the world. He organized his first major solo exhibition at MACBA in 1962, and in 1967 he traveled to New York, where he exhibited and sold his entire collection to The William Haber Art Collection. That same year, the New York dealer Leon Amiel, of the Larrouse Gallery, acquires all his work, something that will be repeated on his trip to Japan. From that moment on, he began a brilliant international career that has taken his work all over the world. In 1977 he moved to Holland, where he made the engravings for the book in homage to Josep Plà. Between 1986 and 1987 he devoted himself to sculpture, creating sixty-two works in ceramic and bronze that were exhibited at the 1988 edition of ARCO. He has organized solo exhibitions not only in Spain, Paris and New York, but also in Mexico, Holland, Belgium, Italy, Switzerland, Sweden, several American cities, Germany and Japan. He is currently an exclusive artist of The William Haber Art in New York and the Galerie Drouand in Paris. In 2000 he was awarded the Arts Prize of the Valencian Community. Ripollés is, today, one of the most international Spanish artists, and also one of the most complete, as he has worked brilliantly in painting, sculpture and engraving. After a first stage of correct figuration in which he recreates the landscape of his land, his work is leaning first towards a dramatic expressionism, and then towards a simplified painting based on the imaginative and poetic recreation of reality. Within this lyrical, ironic world and a certain eroticism, a work is developed whose roots hide a deep admiration for Picasso and Chagall. Ripollés is represented in the IVAM, the MOMA in New York, the Museum of the University of Alicante, the Museum of Fine Arts in Seville and the MACBA.

CHRISTO (Bulgaria, 1935)"Wrapped Monument Vittorio Emanuele II, 1975.Photograph mounted on cardboard. H.C. copy.Enclosed polygraph certificate.Signed and justified in the lower right corner.Measurements: 76 x 56 cm.The monument to the King of Italy Vittorio Emanuele II, in Piazza del Duomo, and the monument to Leonardo da Vinci, in Piazza della Scala, were wrapped with polypropylene fabric and red polypropylene rope, in the fall of 1970, in Milan, Italy.The fabric had been sewn in advance according to patterns that allowed for wide folds. The two wrapped monuments could be seen from the center of the Galleria, simultaneously, at each end of the large 19th century vaulted pedestrian passageway.Christo together with Jeanne-Claude a renowned artistic couple of the late 20th century, the wrapped objects of are some of the most extreme examples of modern conceptual art. Christo Valdimirov Javacheff, the primary artist and designer of the duo's projects, studied between 1952 and 1956 at the Academy of Fine Arts in Sofia, then spent a year in Prague. In 1957 Christo fled the socialist state and settled in Vienna, from where he traveled to Geneva and finally to Paris, settling in the French capital. His life in Paris was characterized by economic deprivation and social isolation, which was increased by his difficulty in learning the French language. He earned money painting portraits, which he compared to prostitution. Visiting the city's galleries and museums, he was inspired by the work of Joan Miró, Nicholas de Stael, Jackson Pollock, Jean Tinguely and mainly Jean Dubuffet. In January 1958, Christo made his first piece of "wrapped art"; he covered an empty paint jar with a canvas soaked in acrylic. He tied it up and colored it with glue, sand and automobile paint. Christo and Jeanne-Claude met in Paris in November 1958, when he was commissioned to paint a portrait of her mother. Although Jeanne-Claude married another man, she became pregnant by Christo and left her husband after their honeymoon. Despite opposition from Jeanne-Claude's family, the couple married in 1962. By 1959, Christo had changed his approach to wrapped objects. Instead of embellishing the wrapped material with glue and sand, he kept it intact. The following year, he stopped painting altogether and completed his "Inventory" series. In 1961 he tackled what would be his first project with large objects, wrapping barrels in the German port of Cologne. In 1962, as a couple, Christo and Jeanne-Claude tackled their first monumental project, "Rideau de fer" ("Steel Curtain"), as a statement against the Berlin Wall. The work consisted of blocking off Visconti Street over the river with oil barrels. Although Christo was simultaneously holding his first gallery exhibition, it was the Visconti project that made him known in Paris. In 1964 the couple settled in New York, and continued to carry out projects and exhibitions both in the United States and Europe. In 1968 they participated in Documenta 4 in Kassel, and in 1969 they undertook one of their most famous projects, that of wrapping the Little Bay waterfront in Sydney, Australia. Since then, Christo and Jeanne-Claude have undertaken numerous large-scale projects around the world, including "Running fence" and "Wrapped walk".

Napoleon I - a 1814 gold 40 lire, minted in Milan, the capital of the 'Napoleonic' Kingdom of Italy (1805-1814), obverse showing a bust of Napoleon facing left with date below and reads "NAPOLEONE IMPERATORE E RE 1814 M" and reverse depicting shield on eagle within the crowned mantle, having the denomination below "REGNO D'ITALIA 40. LIRE" and inscribed to the edge "DIO PROTEGGI L'ITALIA"

A pair of French iron firedogs, early 17th c, the slightly tapered chamfered pillar with square capital and globular brass finial, all four sides with chiselled detail, on arched foot, 61cm h A similar pair is at Standen House, Sussex (National Trust online collection, ref 1214210.1) One andiron - lower part of arch rusted through, both lacking part of the ornament beneath the arch, rust pitted. One brass finial an old replacement, the other possibly original.

Gilbert Ledward R.A., (British 1888-1960): A rare patinated bronze figure of 'The Awakening'the nude female with serene expression, her arms raised above her head slightly turned to sinister, supported on integral ivory draped Corinthian column capital, with inscribed dated signature G.Ledward 1915 raised on a marble turned socle plinth, 43cm high overallFootnotes:Born in Chelsea, West London, Gilbert Ledward came from a family of sculptors and potters and trained at the Royal College of Art and the Royal Academy. He won the British Prix de Rome for sculpture in 1913, and in World War I served in the Royal Garrison Artillery and later as a war artist. He produced reliefs for the Imperial War Museum predominantly depicting soldiers in action and after the war he was greatly in demand as a sculptor of war memorials. He was professor of sculpture at the Royal College of Art between 1927 and 1929 and in 1937 was elected a Royal Academician. He subsequently became president of the Royal Society of British Sculptors between 1954 and 1956. In 1956 he also was made OBE and a trustee of the Royal Academy. [The large scale version of 'Awakening' or 'The Awakening' was modelled and cast in 1913 and can be seen can be seen in Ropers Garden on the Chelsea Embankment.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 pair of George III style mahogany and brass table lamps, the fluted wooden column topped with brass capital and white plastic 'candle' on circular wooden base, with pleated cream and gold brocade edged shades, base 14cm diameter x 54cm high excluding shades (2)Condition report: Discolouration to plastic and dents, marks and scratches to the wooden bases, will need rewiring.

A pair of George III style mahogany and brass table lamps, the fluted wooden column topped with brass capital and white plastic 'candle' on circular wooden base, with pleated cream and gold brocade edged shades, base 14cm diameter x 54cm high excluding shades (2)Condition report: Discolouration to plastic and dents, marks and scratches to the wooden bases, will need rewiring.

THREE BOXES OF RECORDS, MUSIC RELATED EPHEMERA AND A MUSIC STAND to include approximately forty singles/45s by such artists as The Beatles (Parlophone 45s, 'I Want to Hold Your Hand', 'Please Please Me', 'Magical Mystery Tour', 'She Loves You'), Elvis Presley (The Wonder of You), The Rolling Stones, Black Sabbath, T Rex, Stevie Wonder, Buddy Holly, vintage Capital album containing classical 78s, David Bowie and The Rolling Stones ephemera, fold out music stand (sd) (three boxes)

MINING and CORNWALL INTEREST. 'Spassky Photo Album.' 18 photos of the smelter and works at the Spassky Copper Mine, Kazakhstan between 1910 and 1918. These appear to have survived the Russian revolution, the 1919 civil war and the 'Cornish' owner's remarkable and harrowing escape from the Red Army and Siberia. Mounted in a Kodak album. The photos are presumably printed in Russia, some bearing the text '???????? ???????? – POCZTÓWKA – CARTE POSTALE' on the reverse. The album has descriptions written in ink. The reverse of some of the photos have notes in pencil. In very faint pencil on the inside cover is the name thought to be H.C. Robson. His story is taken from the book 'In the Kirghiz Steppes', J.W. Wardell, 1961: an account of the author's time at Spassky between 1914 and 1919. This, with the faint name, tends to support the album belonged to Robson. Spassky Copper Mine Ltd, was a British company mining copper on the Kirgiz steppes of southern Siberia (today: the Karaganda region of Kazakhstan). Harold C. Robson 'from Cornwall', he is known to have been at Spassky before 1914 employed as a smelter assistant. In 1916 he married Miss Florence May Townley who arrived in Spassky in September 1915 as the companion of the wife of the general manager (J.R. Horsley from England). In 1917 they had a son Michael. Robson was promoted to smelter superintendent (ie: manager) by 1918. Before the First World War the growth of heavy industries in Russia drew much British capital and personnel to the country. From 1914 the smelter and ore dressing plant at Spassky was modernised, designed by consulting metallurgical engineers Walter G. Perkins of London. Following the Revolution, the Spassky Copper Mines were nationalised on 27 March 1918. In increasingly fraught times the British staff of 10 staff, 5 women and 7 children prepared to leave Spassky. To raise finance for their journeys, and the travel light, they sold their surplus effects. They planned to travel to Petropavlovsk by horse and cart (510 miles, 5 days); and then west by train to Moscow; thence to Archangel and then by ship back to England. Robson sent his wife and child ahead of him, they arrived in Petropavlovsk on 28 May, he was to follow shortly. The town was controlled by the ill-disciplined Red Guard, the train station was controlled by the Czechs. On the 30 May, amongst much violence the town fell to the advancing Cossacks and White Guard. Robson arrived on the 4 June. Amongst many other refugees, there were not some 20 British isolated in squalid, infested conditions in Petropavlovsk. They were cut-off for 15 weeks. The children contracted whooping cough, scarlet fever and dysentery. Sadly their son, 1 year old Michael Robson, died of whooping cough. Early in July the Cossacks reached, and retook control of Spassky. The British staff were encouraged to return to continue producing copper. Before the end of the month the untrammelled staff had returned. Robson and wife returned in late August 1918. The operations were found to have been badly neglected, damaged and the mine flooded. With difficulty the operations were brought back into production. Apart from work, there was little the staff and families could do: they had sold most of their chattels before evacuating to Petropavlovsk. Basic supplies were difficult to come by. By mid 1919 the Red Army was increasing its control, the escape route to the west was now cut-off. On 21 July 1919 the British Consul advised the British to evacuate Spassky. The plan was to head east, and to avoid Red sympathisers they avoided villages and towns, then to escape by sea through Vladivostok or Shanghai. Robson and his wife planned to leave on 8 August, but illness prevented this. The party that left two days earlier arrived in Vladivostok on 2 September after travelling by cart and train, a distance of over 4,000 miles. The Robsons caught up with them and decided to try and get passage to Canada. The other party left for Shanghai on 28 September eventually arriving back in Southampton 26 November 1919 some 16 weeks after leaving Spassky. Shipping records show that the Robsons (and infant!) sailed on the ship 'Monteagle' arriving in Vancouver on 16 November 1919, they were destined for London. Travelling with them were fellow Spassky employees Humphry Quick (the assistant mine superintendent) destined for St Ives, Cornwall and Christopher George Dobby (secretary) destined for London. Those that evacuated Spassky in August 1919: Dobby C G (English, secretary from Sep 1915; Harbottle D E (Lancashire, colliery superintendent, pre June 1914); Harbottle Mrs (England) and 3 children; Morgan R J (New Zealand, mill superintendent, pre June 1914); Purvis R A (England, surveyor, pre June 1914); Purvis Mrs, pregnant and 2 children; Quick H (Cornwall, assistant mine superintendent, pre Jun 1914); Robson H C (Cornwall, smelter superintendent, pre Jun 1914); Robson Mrs, nee Townley, (England) and 1 child; Smith D G (British, mine superintendent, Jan 1918); Wardell J A (England, engineer, June 1914); Wardell Mrs (England) and 1 child; Whittick (British, smelter chemist, Jan 1918). Photos include: Spassky Smelter 1913 (might be 1910 or 1917); outside industrial buildings operating; 10ft Basic Copper Converter 1915; Spassky Copper Converter; Basic Converter Spassky 1917; Compressor Room Spassky Smelter; Spassky Smelter 1914, Old Slag-floor Spassky, outside, building being constructed?, quarry with workers, view of site, accommodation? And industrial factory?, 60" Acid-Converter Spassky 1910; Spassky Smelter-Yard and Crusher-sampling Plant; Fire-box end of Reverberating Furnace; Electric Power Station Spassky 1915; Slag-Dump-Spassky 1916 (1918 on reverse); Crusher Plant and Top Floor Smelter Spassky 1917. Credited to Mr Stephen Lay.  ACSM, BSc, CEng, FIMMM.   Associate of the Camborne School of Mines and Fellow of the Institute of Materials, Minerals and Mining.  Mr Stephen Lay worked extensively across the former Soviet Union in exploration and mining.  In 1999, by chance, he met in Tbilisi a descendant of JW Wardell who published his account of working at Spassky at the time these photos were taken.  It is from his book that the accompanying detail has been drawn. Condition: The album will need some restoration. Mould, burn marks and sun bleaching have affected this album throughout. Considering the journey it has been on, it is remarkable it exists. Postage: £19.56 Please note that the postage quote is an estimate of the amount that we would charge to send the item to a buyer in the UK. If you are outside of the UK, or there is no estimate shown here, please contact postage@davidlay.co.uk for a bespoke quote.

John Duncan Fergusson RBA (British, 1874-1961)Boats at Royan oil on board27 x 34.6 cm. (10 5/8 x 13 5/8 in.)Footnotes:Fergusson moved to Paris is 1907, where he taught at the Académie de la Palette. He mixed with other avant-garde artists and was able to see the latest paintings by Picasso, Matisse and Derain. Living in the French capital gave him new impetus, and the years 1909/1910 were a transitional moment in his career. It can be argued that this was the starting point for Scottish modern art. He became the leader of a group of Anglo/American artists (later to be known as the 'Rhythmists') that moved in the most progressive circles, and in recognition of his contribution to the modern movement he was elected one of the sociétaires of the Salon d'Automne.This work was painted in the summer of 1910 when Fergusson and Peploe stayed at Royan on the west coast of France. Although they worked side by side, Fergusson's interpretations are altogether more progressive than Peploe's at this stage. Both artists were particularly inspired by the harbour. There were big technological advances in terms of the manufacture of paints around this time and they made maximum use of this, using the brightest colours that makers could produce. As a result, Fergusson's palette had become fresher and brighter and in this painting he has emphasised geometric shapes, such as the sails and outlines of the boats. Having hung on the same walls of a private home in Edinburgh for many decades, Boats at Royan is an exciting discovery to come on the market.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

Singapore.- Makepeace (Walter) Gilbert E. Brooke, Roland St. J. Braddell, editors. One Hundred Years of Singapore being some account of the capital of the straits settlements from its foundation by Sir Stamford Raffles on the 6th February 1819 to 6th February 1919, 2 vol., first edition, signed presentation inscription from Walter Makepeace to R. W. Makepeace to endpaper, plates, some foxing, modern cloth, arms from original covers laid down, 8vo, 1921.⁂ Scarce.

A George III mahogany bureau bookcase, outswept meandering dentil cornice above a blind fretwork capital and a pair of glazed doors enclosing three adjustable shelves, concealed blind fretwork drawer to apron, the base with a fall front enclosing a small barber-pole strung door, small drawers, pigeonholes and 'secret' compartments, above four long graduated cockbeaded drawers, swing handles, pierced bat wing escutcheons, bracket feet, 214.5cm high, 110cm wide, 60cm deep, c.1810