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A BLUE GLASS AND SILVER PLATED COLUMN TABLE LAMP 19TH CENTURY the capital with Greek key ,swag and star bands, on a stepped base and winged paw feet 51.7cm high

A WILLIAM IV GILT AND PATINATED BRONZE COLUMN TABLE LAMP C.1830 with an Ionic capital above a fluted tapering stem on a stepped plinth base decorated with lappet scrolls 52.7cm high

Badges, Commerce, Industry and Leisure: Arthur Balfour & Co Ltd, brass and enamel, stamped 199, 27mm; Association of Mining Electrical Engineers, Sheffield Convention, 1939, brass and enamel, unsigned, 38 x 32mm; Brook Shaw Ltd, brass and enamel by Caxton, 34 x 28mm; Brown Bayley Sports Club, brass and enamel, unsigned, 25mm; Bruce & Co, brass clock key, 40mm; Caledonian Society of Sheffield, brass and enamel by Fattorini, 32 x 30mm; E[nglish] S[teel] C[orporation], Retired Employees Club, brass and enamel, unsigned, 25mm, ARP Warden, nickel, 22 x 18mm; Gas Institute Visit to Sheffield, 1883, silver, unsigned, 27mm; Iron & Steel Institute, Sheffield, 1905, brass and enamel, unsigned, 30mm; W[illiam] J[essop] & S[ons], Brightside Works, brass and enamel, stamped 1449, 19mm; W.S. Laycock Ltd, On War Service, brass and enamel by Vaughton, 28mm; Mappin & Webb, Visitor, octagonal brass, 25mm; The Sheffield Junior Chamber of Commerce, Steward, brass and enamel by J.R. Gaunt, 27mm; Sheffield Relay Station Radio Circle, brass and enamel by S. Jenkins, 23mm; Sheffield Triennial Musical Festival, 1936, brass and enamel, unsigned, 27mm; The Sheffield [Union] Choir Visit to Canada, 1908, brass and enamel by R. Emsley, Montreal, named (J.W. Broadbent, Quarry Mt, Delph Lane, Leeds), 28mm; Steel Peech & Tozer, nickel by Fattorini, stamped 6708, 30mm; George Turton Platts & Co Ltd, National Service, brass and enamel, stamped 460, 25mm; Walker & Hall, silver, 30 x 26mm; Walkley Church Guild, openwork brass, unsigned, 22mm; Walshs, brass and enamel, 38 x 13mm; Woodhouse & District Darts League, nickel and enamel, 25mm [23]. Generally very fine, some better £70-£90 --- Arthur Balfour & Co Ltd, Capital steelworks; Brook Shaw Ltd, Ford main dealers, Union street; Brown Bayley, steelmakers, Leeds road; Bruce & Co, watchmakers and jewellers, 31 Orchard street; Caledonian Society of Sheffield, established 1822; William Jessop & Sons, Brightside, Park and Soho Works; W.S. Laycock Ltd, railway engineers, Archer road, Millhouses; Mappin & Webb, silversmiths and jewellers, Queen’s road; Steel Peech & Tozer, steelmakers, Phoenix Works, The Ickles, and Templeborough, Rotherham; George Turton Platts & Co, railway engineers, Savile street; Walker & Hall, silversmiths, Howard street; Walshs [John Walsh], department store, High street. The Sheffield Union Choir, under its musical director Henry Coward, gave 16 concerts on its first visit to Canada and the US in 1908; this was followed in 1911 by an ambitious six-month world tour, covering 34,000 miles and giving 134 concerts in Canada, US, Fiji, Australia, New Zealand, Tasmania and South Africa

Signed W Verschuur, Stable interior with horses, canvas 53x73 cm in an old capital wooden frame with plaster ornaments, inner size 54.5x76 cm, outer size 109x86 cm

Théophile de Bock (1851-1914)Landscape with goats, canvas 67x84 cm with a note Arnhem on the back, in a capital gold-coloured wooden frame with plaster ornaments, outer size 114x97 cm

Unknown, unclearly signed, after antique example,capital, big still life, oil on canvas 180 x 120 cm.Onbekend, onduid. ges. naar antiek voorbeeld, kapitaal pronkstilleven, doek 180 x 120 cm.

Capital metal 6 ligths candelstick holder, h. 90 cm.Kapitale metalen 6 lichts kandelaar, h. 90 cm.

Eight English and continental souvenir teaspoons incl, English handmade spoon topped and tailed with heart shaped motifs flattened barley-twist stem and hand-planished circular bowl, in the style of a provincial 'loving spoon', maker Keith Hamilton Gabb (KHG), Birmingham 1993 (T), Dutch decorative teaspoon topped with a windmill with articulated sails, embossed foliate scrollwork to front of stem, maker Herbert Hooijkaas (*HH*) silver purity is a lion with II below - second standard of purity (minimum = 0.833), assay mark is R in hair of bust (Rotterdam?), c1930, English decorative teaspoon topped with a jug sat on a romanesque column/capital, Birmingham 1994 9u), maker V&FP, Chinese export teaspoon topped with a circular motif of a naval scene evoking the establishment of the Hong Kong Police in 1841/1842 with a surrounding legend of 'Hong Kong Police' gilt bowl and chinese export marks to rear of stem '06 WF HS', English commemorative teaspoon George V Silver jubilee, 1935 London, topped with the George V crown and effigies of King and Mary of Teck, embossed to front of stem 'Silver Jubilee 1935', gilt bowl, maker Thomas William Lack (TWL) with commemorative hallmark, continental silver spoon topped by a 3 dimensional cupid and floriate/foliate stem and scallop-shell shaped bowl, unmarked, Canadian silver teaspoon topped with a Canadian totem, inscribed to concave surface of bowl 'Lethbridge', marked 'sterling' to rear of stem c1930 and an English souvenir spoon topped with the white dog rose of England (Yorkist rose), Birmingham 1986 (m), maker Deakin & Francis (D&F)

AN EGYPTIAN BEAD NECKLACE WITH TABLET PENDANT, 1st millennium BC and later, the multi-strand necklace composed of lapis lazuli, stone, and composition seed beads with later gold beads, the central feature comprising two large discoid lapis lazuli beads, flanked by tubular carnelian and lapis lazuli beads threaded in Afghan style, to a modern glazed composition plaque pendant, depicting a standing figure addressing a figure squatting on a column capital, the reverse with eight lines of hieroglyphic text, the necklace terminating onto a modern screw clasp

A PAIR OF CARVED, PAINTED AND PARCEL GILTWOOD CONSOLE STANDS, IN THE MANNER OF WILLIAM KENT,, of recent manufacture, each with rectangular polished quartz top above a foliate and dentil carved cornice, above a maiden's mask within an openwork capital of scrolled acanthus and bellflowers; on fluted and waisted socles to rectangular bases, 88cm high x 67cm wide x 43cm deep

A late 19th century carved and gilded oak capital, 41.5cm wide 33cm high; and a pair of early 19th century papier-mâché coasters, 13.5cm diameter (3) Condition Report: Capital with losses- notable to raised stiff leaf to front- gilding dry Coasters- 1 with chip to top and smaller chip to base, both later felt backing to bases Condition Report Disclaimer

A 19th century French provincial chestnut armoire with fielded lozenge panelled doors enclosing hanging space flanked by well carved swag and urn and Corinthian capital pilasters resting on bun feet. (breaks down into panels for ease of transport). H.229 W.147 D.58cm

Duncan Grant (British, 1885-1978)Portrait of Simon Bussy signed 'D.Grant' (lower right)oil on canvas laid on board73.5 x 62 cm. (29 x 24 3/8 in.)Painted circa 1922-25Footnotes:ProvenanceThe Artist (until 1964)With Wildenstein & Co., London, 12 December 1964, where purchased byMr A. McAlpineWith Gallery Edward Harvane, London, 22 December 1972, where purchased by Lord and Lady Neill, thence by family descentPrivate Collection, U.K.ExhibitedLondon, Wildenstein & Co., Duncan Grant and his World, 4 November-12 December 1964, cat.no.73Stockholm, Prins Eugens Waldemarsudde, Duncan Grant, 5 June-29 August 1999, cat.no.30The French painter Simon Bussy (1870-1954) is especially valued for his striking images in pastel of animals and birds, often studied at London Zoo in Regent's Park on his annual visits to the capital. He also made distinctive pastel portraits such as those of French writers such as Gide and English friends including the mountaineer George Mallory and his brother-in-law Lytton Strachey (the last two in the National Portrait Gallery). He became an intimate of the Strachey family when in 1903 he married Dorothy (see lot 39), who later became the accredited translator of Gide and the author of Olivia. They lived in Roquebrune near Monte Carlo with their daughter Janie, a painter and great friend of the Bell family. Bussy had studied under Gustave Moreau at the Beaux-Arts where he met Matisse and became his lifelong friend. As a young man, Duncan Grant received much advice from Bussy including an introduction to Jacques-Emile Blanche's school La Palette which Grant attended 1906-07 and an important letter of introduction to Matisse in 1911.We are grateful to Richard Shone for compiling this catalogue entry.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

Ben Nicholson O.M. (British, 1894-1982)March 1962 (Phrygia) signed, inscribed and dated 'Ben/Nicholson/Mch/62/Phrygia' (verso)oil and pencil on carved board relief48.8 x 42.5 cm. (19 1/4 x 16 3/4 in.) (including the artist's prepared backboard)Footnotes:ProvenanceWith CAPA Foundation, PhiladelphiaWith Galerie Herbage, CannesWith Waddington Galleries, London, 17 December 1984, where purchased by the family of the present ownerPrivate Collection, U.K.ExhibitedLondon, Marlborough Fine Art, New London Gallery, Ben Nicholson, April-May 1963, cat.no.11Tokyo, Tokyo Ginza Art Centre, Ben Nicholson, 1982, cat.no.8LiteratureJohn Russell, Ben Nicholson: Drawings, Paintings and Reliefs 1911-1968, Thames and Hudson, London, 1969, p.319, pl.224, cat.no.224 (ill.b&w)In classical antiquity Phrygia was a kingdom in the west central part of Anatolia, present day Turkey, centred on the Sangarios river. We know from ancient inscriptions that the Phrygians spoke an Indo-European language and archaeological evidence would suggest that settlers migrating from the Balkans arrived here around one hundred years following the destruction of the Hittite empire, circa 1200 B.C. The capital of Phrygia was Gordion, located about 60 miles southwest of Turkey's present day capital Ankara. The most famous of the Phrygian kings was Midas who ruled in the last decades of the eighth century B.C. and is known from Greek history and mythology to have had the gods bestow the gift of everything he touched turning to gold. The Phrygian and Greek worlds were closely connected with the Phrygians appearing in Homer's Iliad, where they participated in the Trojan War and were known for their 'brave and expert horsemen'.Ben Nicholson was a keen traveller, living in Switzerland during the 1950s and 60s and visiting Greece on at least five occasions, in addition to trips to France and Italy amongst many others. These visits resulted in numerous line drawings and studies based on the architecture and landscape that he was observing with the titles often given to the specific location. The drawings that were executed on the spot were often later used as part of the process for developing more complex, time-consuming compositions, such as the relief works like Phrygia (1962). Nicholson would also often work from memory, recalling the atmosphere, colours and light that had affected him during his visits and translating those to his work. As with Phrygia, his concern was not with realistically conveying the scene but rather presenting a personal interpretation based on the overall experience. The artist spoke of this method, 'one of the main differences between a representational and an abstract painting is that the former can transport you to Greece by a representation of blue skies and seas, olive trees and marble columns, whereas the abstract version by its free use of form and colour will be able to give you the actual quality of Greece itself, and this will become a part of the light and space and life in the room'.Ben Nicholson's white relief carvings of the 1930s may be considered the most ground-breaking abstract works in modern British art. Influenced by a trip to Paris and the purity of Mondrian, whose studio he visited in 1933, as well as the three-dimensional work of both Barbara Hepworth and Henry Moore he continued to explore the process throughout his career. Phrygia incorporates varying shapes and forms, carved into the board's surface to create differing depths and relationships to one another. Nicholson has spent much time working on the relief by scrubbing and scraping at it, thus giving each section a different texture and association. The subtle choice of colours evoke the natural world and the surface imperfections were welcomed by the artist who did not intend on filling or smoothing them out. We are grateful to Dr. Lee Beard for his assistance in cataloguing this lot.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

A PAIR OF FRENCH GILT METAL MOUNTED ONYX PEDESTAL COLUMNSLATE 19TH/ EARLY 20TH CENTURYEach tapering pillar surmounted by a Corinthian style capital, metalwork marked "MB" to inside of capitalseach 119cm high, 23cm square

A CARVED STONE TABLE20TH CENTURYThe Corinthian style capital with crisp acanthus, flowerhead carving 94cm high, 50cm wide, associated top 152cm wide, 76cm deep, 80cm high overall 

AN UNUSUAL CARVED MARBLE VULTUS TRIFRONS OR THREE FACED CAPITAL IN THE ITALIAN 15TH CENTURY STYLECarved in the round with three faces of a young man, conjoined with curling hair, on a later composition support and simulated Breccia marble base22cm high overall, base 10.5cm wide Earliest examples of tricephalic, trifrons or three headed carvings in Western art are found in the Gallo-Roman period where representations of the Celtic god Luggus (or Lugh) typically depict a conjoined set of three faces- sharing just two pairs of eyes. Carvings with three separate faces are found in Roman depictions of the Goddess Hecate and in later 14th century Italian sculpture- most notably the trifons vultus allegorical of Prudence attributed to the Florentine artists Pacio and Giovanni Bertini (Ex Robert Lehman Collection- now in the Met Museum). Other capitals, perhaps emblematic of the Three Ages of Man are known, and trifrons in ecclesiastical settings perhaps symbolic of The Trinity can be seen in French and Spanish churches.Condition Report: Aged, weathered, worn, knocks, consistent with age. Granulated surface.One long crack.Filler to base. Condition Report Disclaimer

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

A lanternGilt bronze and marbleFive branches of cut crystal pine cones and globeClassical column shaft of composite capital and volute branches20th century188x50x50 cm

A Symphonic harp, Sebastian ErardMaple woodCarved and gilt decorationFluted column and crown/capital of raised foliage and ram's heads decorationPainted case with swans and floral motifsSigned "Erard Freres a Paris, p'Brevet d'Invention, Nº13"19th century(losses and faults; evidence of woodworm)171x80x57 cm

A RARE JADE 'PHOENIX' WINE POT AND COVER China, Qing Dynasty, 18th or 19th century Carved in a desirable stone. Shaped as a phoenix standing on its feet, the spout carved as the head, the neck with a loose ring, the handle carved as the tail whose feathers described a circle and continue between the feet up to the front part, the sides carved with the wings, the lid topped by a finial shaped as a phoenix, the inner part masterfully hollowed. Sweet and delicate polish. H: 18 cm - L: 17 cm - w: 4,5 cm Weight: 1050 grams Provenance: > Private collection; > Carlos Alfredo Tornquist Altgelt (1885-1953), O. Ramos Oromi y Cia, Buenos Aires, Argentina, July 27th, 28th and 29th 1936, lot 284; > Joseph Vallot (1854-1925), Drouot, Paris, Messrs Lair-Dubreuil and Portier, November 16th, 17th, 18th 1925. Notes: 1. The use of birds' heads to provide the shape of the spout on pouring vessels has a long history in China. Not only do they appear on bronze vessels, they can also be seen among ceramic wares. Chickens' heads, for example, provide the spout form on a number of Jin dynasty (AD 265-420) ewers with both celadon and black glazes (see The Complete Collection of Treasures of the Palace Museum 31 Porcelain of the Jin and Tang Dynasties, Commercial Press, Hong Kong, 1996, p. 42, no. 37 and p. 52, no. 47, respectively). The theme of the phoenix to provide inspiration for shape and decoration can be seen in various media in succeeding dynasties, but interestingly the current jade teapot is especially close in concept to the famous Yuan dynasty (1279-1368) blue and white porcelain ewer excavated from the Yuan capital Dadu in 1970. A jade teapot or wine pot with phoenix-head spout, now in the collection of the National Palace Museum, Taipei, was loaned by the Chinese Government to the 1935-6 International Exhibition of Chinese Art at the Royal Academy, London (see International Exhibition of Chinese Art, Royal Academy of Arts, London, 1935, p. 255, no. 2828) 2. Compare with an imperial phoenix white jade and cover wine pot offered at Christie's London, 2008/11/04, lot 9. 3. Carlos Alfredo Tornquist Altgelt (1885-1953) was the President of the banking house of Ernesto Tornquist Co., Ltd., and a member of a prominent Argentinian family. A person of influence, he is also known to have played a crucial role in helping to avoid a war between Argentina and Chile in 1902 by managing the British mediation in the border dispute. Throughout the years, he maintained a close friendship with Argentina Presidents Julio A. Roca (1843-1914) and Carlos Pellegrini (1846-1906). 4. Joseph Vallot (1854-1925) was a French astronomer, geographer, naturalist, alpinist and patron of arts and sciences, who studied botanic and geology in Paris and later became the President of the Club Alpin Français. In 1875, he fell in love with Mont Blanc and later on built up the first observatory there called Refuge Vallot where he did install a Salon Chinois which received famous visitors including Pope Pius XI. His large collection of Chinese jades was sold at Drouot in 1925 as a signature / single collection / Estate Sale. 珍稀玉“凤凰”酒壶及盖 中国，清朝，18或19世纪

A pair of large gilt and patinated bronze seven-light candelabra,late 19th century, French Empire-style, each with scrolling branches above a spreading Corinthian column and raised on three paw supports and a tripartite base, 83cm high (2)Provenance: Farm House, Farm Street, Mayfair, London.Condition report: 54cm to top of capitalActually lot 21, but appears as lot 22 in the printed catalogue by mistake.

A Charles I oak tester bed,17th century and later, the tester with six central panels, each carved with linear knot designs, encircled by ten narrow guilloché-carved panels, the headboard with a pair of deep recessed panels, each panel carved with an applied roundel-filled arch enclosing a similar roundel-filled lozenge within an egg-and-dart carved and punched-decorated frame, centred and flanked by Ionic capital guilloché-carved pilasters and headed by a row of fan-filled lunettes, with three plain panels below, the later endposts with turned and gadrooned carving, joined by later rails with bedstaff apertures, 150cm wide221cm deep206cm highProvenance: Bonhams Oxford, 'The Oak Interior: The Collection of Dr and Mrs Chris Douglas, Morville Hall, Shropshire', 30 Apr 2014, lot 165;Barrington Hall, Essex.Condition report: I can confirm it is 150cm wide

A pair of fluted pitch pine pilasters,19th century, each with a pierced and carved Corinthian capital,34cm wide217cm high,together with four further pine pilasters,two 205cm hightwo 260cm high (6)Condition report: all with wear and loses in places, the capitals chipedtwo pilasters without bases, damage and loss due to removal.

George III mahogany longcase clock, the silvered dial with Roman numerals, subsidiary second hand and date aperture, signed ‘Eva, Falmouth’ etched with a vignette of ships, scrolling acanthus fronds and an eagle and motto ‘Tempus Fugit’ to the break arch, the movement with anchor escapement and striking on a bell, the hood with fluted Corinthian columns supporting a broken swan neck pediment centred with an eagle and sphere finial, the trunk with quarter Corinthian columns flanking the arched door, resting on rusticated plinths, on a panelled moulded base and scrolled bracket feet, 243cm highProvenance: Liberty & Co. Ltd. Regent Street, 15th February 1972. Removed from the Old Rectory, East BergholtCondition report: General overall condition good,movement is dirty and we unable to confirm if it is in full working order. Dial is dirty, scuffed in places, silvering is worn, some sighns of rust to hands. Case is good, no major damage, no obvious signs of wood worm, but surface is well polished and some panels have had previous holes filled. Plinth may have been repaired. Hood is good, capital of rear left column is broken. Gut lines are frayed in places.

10 EFE Buses and Coaches. 6x Plaxton LSF Dart single deckers- Plymouth City Bus, First Southampton, 2x Arriva Medway, Lothian and Norfolk. Plus an AEC 2RT2 double deck. AEC 10T10 single deck. A Leyland Titan 2 all L.T. and a BET RC single deck, Green Line. Plus 2x Corgi - Vintage Bus Lines PCC tramcar, Capital Transit and a MC1-102 DL3 Demonstration Bus. All boxed, minor wear. Vehicles Mint. (12). £50-70

A reclaimed column with ionic capital on a fluted stem and square cut base, 1m high approx

Original vintage travel poster printed for the 750th anniversary of Bern, the capital of Switzerland. Fantastic image of the Fountain of Justice, a 16th-century fountain in the Gerechtigkeitsgasse in the Old City of Bern. It is the only Bernese fountain to retain all original design elements and it is listed as a cultural heritage of national significance. Excellent condition, backed on linen. Country of issue: Switzerland, designer: Leutenegger, size (cm): 101x70, year of printing: 1941

A Lalique 'Bourgueil' pattern conical decanter, stenciled block capital `R LALIQUE` to base, 24cm high, to/w seven conical glasses 6cm diameter (two stenciled 'R LALIQUE' and five 'R LALIQUE FRANCE') and six matching flared cocktail glasses 10cm diameter (script 'Lalique France')  decanter: polished chip on foot and possibly on lip also; 4 conical glasses and four flared glasses have chips on rims

A monogram (Dior) cross body bag, fuchsia pink with leather embossed tag marked Dior, lined in black with leather rounded edge label with embossed Christian Dior, Paris, Made in Spain (in capital letters), marked verso CM 0077, comes with booked (in three languages) plastic card with envelope with three white boxes (blank)Lot descriptions reflect the cataloguer's opinion only and do not constitute a guarantee. If in doubt, intending bidders should either attend public viewing or request a written condition report. All sales are final.

A BLACK PLANTER AND A STONE CAPITAL

PAIR OF GLASGOW CULTURAL CAPITAL OF EUROPE 1990 POSTERS, Joseph Dowie and Willie Rodger, 155cm x 105cm each, unframed

Full title: Sanshichiro Yamamoto, 1906: Peking (Beijing Ming Sheng), a souvenir booklet of photographsDescription: Dim.: 26,5 x 19 cmÊ llustrated with 90 photographic plates and protected with tissue guards, captions in English and Chinese. A scarce album of Peking pictorial works edited and published by Sanshichiro Yamamoto. It contains views of imperial palaces, sights of Peking and its suburbs in the end of Qing period. Depicted are historic places like the Summer Palace, the Lama Temple, the Ming Tombs, along with photos of people at that time. Also including the Ch'ien men great street, the Ta Chin Men gate, Tung tan peilo, the inside of Confucius' temple, the Drum tower, the Marble bridge in Summer Palace, Chu yuug kwan, the Sedan chair, Ginrikisha, the typical monowheel carts, a Mongolian chief and his wife, and others.Ê Sanshichiro Yamamoto (1855-1943) was a Japanese photographer, born in Okayama Prefecture. He had a photography studio in Shibahikage-cho (near present day Shimbashi Station) in Tokyo, Japan, from 1882 to about 1897. When the news of the Boxer uprising swept the world, he quickly went to Peking (Beijing) to photograph the historic activities of foreign troops including the Japanese in the capital. His photos captured not just tourist scenes, but also scenes of daily life in China. After photographing the aftermath in Peking (Beijing), he finally settled down in Tientsin (Tianjin) and opened his third photographic studio (Yamamoto Shozo Kan or Yamamoto Syozo House), from where he sold photographs taken in and around Beijing and North China, souvenir photobooks and coloured postcards.Information concerning condition reports:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com

dating: circa 1700 provenance: Poland, Made of carved iron; long, slightly curved fluke of squared section with blunt edges and capital-shaped base; squared hammer with narrow base, decorated with capitals at the center. Quillon block engraved with heart-shaped straps. Cylindrical, wooden shaft with leather covering (a restoration), with long, silver-inlaid hilts engraved with lozenges and decorated with flowers, pommel with rosette, all the silver parts featuring the stamp 'VM'. length 80 cm.

dating: 17th Century provenance: Italy, Straight blade of triangular section with capital base; steel hilt with fine carvings, quillon block with a snake, quillons with a fish, pommel with lion's head. Baluster grip with a ring with four human faces. length 27.7 cm.

A 19TH CENTURY SERPENTINE COLUMN the square top over an architectural bronze embellished capital, the bronze mounted square base upon chamfered feet 108 cm high

A large late 19th century Meissen figural group of children playing on and around a See Saw, construed of a plank across a fallen column with ionic capital, before a classical female bust upon a pedestal, crossed sword marks, incised G32, 28cm.Condition report: Drumstick broken off. The girl missing half of her right index finger. some small chips to flowers in the basket. Small losses to tree stump at the rear.

Renaissance-ReliefMaria mit dem KindeStuckrelief, gefasst. 70 x 41 cm. Unten am Nischenrand schwer zu entziffernde Inschrift in Majuskeln. Florenz, 15. Jahrhundert.Stuck gegossen, Reste einer polychromen Fassung. In hochrechteckigem Nischenbildfeld mit Abschluss in Form eines gotischen Bogens, die Halbfigur der Maria ihr Kind auf beiden Armen haltend, während sich das Christuskind mit einer Hand am fein gefälteten Kragen Mariens hält und den Blick in die Ferne schweifen lässt. Beide Häupter sind mit einem sich überschneidenden Nimbus versehen, das Gewand teils in tiefen Falten ausgeschnitten. Wie bei den meisten anderen auf uns gekommenen Stuckreliefs des 15. Jahrhunderts hat die Fassung besonders bei Außenanbringung gelitten. Bei dem hier angebotenen Werk haben wir jedoch das Glück: über großflächige polychrome Reste der ursprünglichen Fassung zu verfügen, sodass ein guter und authentischer Eindruck entsteht. Stilistisch steht unser Relief den Werken etwa von Antonio Rosselino (1427-1479/81), Matteo Civitali (1436-1501) und Mino da Fiesole (um 1429-1484) nahe. Es ähnelt die runde Kopfform und die kompositorische Dichte der unsrigen Darstellung. Auch unsere Inschrift am unteren Rand korrespondiert. Der spitzbogige Abschluss lässt eine Datierung sogar in das frühe 15. Jahrhundert und in der Nähe des Donatello denkbar erscheinen. Rest.Provenienz: Aus westdeutscher Privatsammlung, seit mehreren Jahrzehnten in Familienbesitz. Literatur: Vgl. Aldo Galli, Calchi in stucco del primo Rinascimento: quattro Madonne della Fondazione Giorgio Cini, Saggi e Memorie di storia dell'arte Bd. 27, 2003, S. 159-180. (12708413) (13)Renaissance relief THE VIRGIN AND CHILDPolychrome stucco relief.70 x 41 cm.Illegible inscription in capital letters on lower edge of niche. Florence, 15th century.Provenance:Private collection, Western Germany. Held in family estate for several decades.Literature:Compare A. Galli, Calchi in stucco del primo Rinascimento: quattro Madonne della Fondazione Giorgio Cini, in: Saggi e Memorie di storia dell'arte, vol. 27, 2003, pp. 159-180.

Attributed to William Burges (British, 1821-1881): An impressive enamelled, polished semi-precious stone and ivory inset parcel gilt and silvered bronze centrepiece base together with a polished semi-precious stone and ivory inset parcel gilt and silvered bronze upper sectional epergne support ensuiteby Hart, Son, Peard & Co., London in the later Gothic Revival style, circa 1875, the two parts originally from a centrepiece epergne exhibited at the 1878 Paris International Exhibition the base of architectural tripartite pedestal form, the conforming columnar support with cusped column decoration surmounted by a composite Corinthian capital with leafy and whorl decoration and punctuated by a knopped central section with applied beaded and banded agate cabochon set scrolling filigree decoration and three carved ivory busts depicting a king, a maiden and youth playing a lute, the elaborate hipped base of architectural form formed as three arched openings with circular steeple tower pinnacles surmounted by open filigree and turquoise cabochon inset orbs flanked by crocketed finials, the scrolling filigree and whorl decorated sides banded to the edges by black and white chevron enamelled panels with inset carnelian cabochons, the lower corners modelled as circular domed towers above inset square cornelian panels, the lower frieze with alternating pierced and blue enamel square motif decoration, raised on standing silvered lion passant supports; the upper section with flared scrolling open pierced filigree and lapis and banded agate cabochon inset supports terminating in stylised leafy griffins heads, beneath a border of six inset carved ivory panels depicting food related vignettes, comprising a boars head, a swan, a carp, a turtle, a truckle of cheese and an oval pie, the upper girdle supporting a cut glass dished lobed shallow bowl fitting with panelled star cut centre, the hexagonal columnar support below a filigree and whorl knopped section with lions mask heads, raised on a later fixed black painted stepped hexagonal support, the glass bowl of the upper support probably associated, its fixed stand of a later date, the base, 57cm high, 38cm diameter approximately, the support 28cm high, the support including bowl and later base, 41.5cm high overall (2)Footnotes:Upper Epergne SectionProvenanceJ. S. M. Scott, London - the Birkenhead CollectionWith the Fine Art Society, 148 New Bond Street, London W1S 2JT - purchased by the present vendor, The John Scott Collection 'Modern English' Design from the 1860's and 1870's, 11th June 2014 (4, Epergne fragment - INV 34276).With the Victoria & Albert Museum, Cromwell Rd, London SW7 2RL (loan) prior to March 2021ExhibitedParis International Exhibition, 1878.The Fine Art Society, The John Scott Collection 'Modern English' Design from the 1860's and 1870's, June-July 2014 (4).LiteratureThe Art Journal Illustrated Catalogue of the Paris International Exhibition 1878, p.115.The Fine Art Society, The John Scott Collection 'Modern English' Design from the 1860's and 1870', Exhibition Catalogue 2014 (4), p.16.Centrepiece BaseProvenancePrivate UK collection.With RIBA, 66 Portland Pl, London W1B 1AD (on loan) prior to August 2014.Purchased (private treaty sale) by the present vendor in conjunction with Haslam & Whiteway Ltd (advisors), Kensington Church Street, London W8 7NL, 15th September 2014 (INV 6491).With the Victoria & Albert Museum, Cromwell Rd, London SW7 2RL (loan) prior to March 2021.ExhibitedParis International Exhibition, 1878.LiteratureThe Art Journal Illustrated Catalogue of the Paris International Exhibition 1878, p.115.M. Whiteway & C. Gere, Nineteenth-Century Design; From Pugin to Mackintosh, London 1993, p.175.At the time of his death in 1881, the esteemed architect and designer William Burges was widely thought to be the most influential and gifted figure of his generation. An unstable and extravagant eccentric, he was a brilliant pre-Raphaelite architect who pursued his artistic goals via an idealised vision of the past. In his work he sought to escape from both modern industrialisation and the prevalent Neoclassical architectural style of the establishment and re-affirm the architectural and social values of a utopian medieval England. Standing within the tradition of the Gothic Revival, his works echo his predecessor Pugin and his contemporaries of the pre-Raphaelite brotherhood, whilst heralding those of the Arts and Crafts movement.In a short but illustrious career he won his first major commission for Saint Fin Barre's Cathedral in Cork in 1863 when he was thirty five working with a long established team of craftsmen and artisans he produced a small but architecturally varied output including castles, houses, churches, a warehouse, a university and a school, although many of his designs were either never executed or subsequently demolished. Of Burges's works, his most notable are Cardiff Castle, constructed between 1866 and 1928, and Castell Coch constructed between 1872 and 1891, both of which were built for John Crichton-Stuart, 3rd Marquess of Bute. Aside from his architecture, Burges also designed metalwork, sculpture, jewellery, furniture and stained glass. He also gave a series of lectures called 'Art Applied to Industry' to the Society of Arts in 1864, illustrating the breadth of his artistic interests. Burges was a notable designer of Gothic-inspired metalwork and jewellery and who is now seen as the successor to architect and designer A.W.N. Pugin in refining and developing the Gothic revival style. In his book, William Burges and the High Victorian, the author and art critic Prof. J Mordaunt Crook states that 'Burges's genius as a designer is expressed to perfection in his jewellery and metalwork'. He produced a 'dazzling' array of religious artefacts including candlesticks, chalices, crosses either as individual commissions or as part of the decorative schemes for buildings. Burges also had an early and close connection to the Ecclesiological Society taking on the role of superintendent of the Society's church plate scheme in 1864. However, his most notable metalworks were created for himself, often from the proceeds of the winning of an architectural competition. Examples include his Elephant Inkstand and a pair of jewelled decanters, paid for by the fees for the plans of the Crimea Memorial Church and his series of lectures, 'Art Applied to Industry', and the Cat Cup, created in commemoration of the Law Courts competition. He also designed more utilitarian articles including silverware featuring various fantastical creatures including mermaids and spiders and a set of knives and forks specifically designed for his own residence, The Tower House, with the handles carved as types of meat and vegetables. His own large collection of historic armour was subsequently bequeathed to the British Museum upon his death. Hart, Son, Peard & Co. (1842–1913) were British architectural metalworkers basedin London and Birmingham most associated with the production of ecclesiastical works.Founded in 1842 in Wych St, off The Strand, by bible-trained ironmonger Joseph Hart who was also a member of the Ecclesiological Society, they became artistic metalworkers specialising in ecclesiastical manufactures after merging with Birmingham-based Peard & Jackson in 1866–67. Also skilled in sculpture and with an agent in Paris, Henri Collet, the firm made Burges designs by J.P. Seddon, B.J. Talbert, Alfred Waterhouse and William Butterfield. and importantly had a long-sta... This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com

Pair: Captain J. D. Demme, Slavo British Legion British War and Victory Medals (Capt. J. D. Demme.) good very fine, rare to unit £200-£300 --- The Slavo-British Legion After the British invasion and occupation of Archangel in early August 1918 recruiting began locally for the formation of the ‘Slavo-British Legion’ raised from White Russian volunteers as a ‘British Foreign Legion’ to fight the Bolshevik Red Army. A sister unit, the ‘Slavo-British Aviation Corps’ was formed under the command of Imperial Russian ace Alexander Kazakov to fly British aircraft against the Reds. The Legion would be commanded by British officers with a sprinkling of volunteer White Russian officers recruited into the Legion and given British ranks. It was incorporated into the North Russia Expeditionary Force Order of Battle, wore British Army uniforms and observed British Army traditions. The hat badge of the Legion was a brass Cross of St. Andrew, the Legionnaires also wore brass ‘SBL’ shoulder titles on their epaulettes. The faithful devotion to duty of the Legionnaires was recognised when General Ironside presented the Legion with ‘King’s Colours’ at a public parade attended by local dignitaries and representatives from each of the Allied military contingents conducted in front of Archangel Cathedral on King’s Birthday, 1 June 1919. On the night of 6–7 July 1919, the Slavo-British Legion were billeted behind the front line on the eastern bank of the Dvina River near the village of Topsa. At 0230 a party of eight mutineers led by Corporal Nuchev and Private Leuchenko crept towards the hut where the British and White Russian company and platoon officers were sleeping. Corporal Nuchev shot Captain Aubrey Finch (Seaforth Highlanders) through a window as he was sleeping, killing him outright, whilst the other mutineers stormed the hut shooting and killing four more British and four Russian officers and three batmen. Captain David Barr (East Lancashire Regiment) was badly wounded with bullet and bayonet wounds but managed to evade his attackers and flee out of the hut into the twilight, swimming across the Dvina to one of monitor H.M.S. Humber’s picket boats. For his gallantry in fighting his way out of the billet under fire and courage and endurance despite his wounds, Barr was awarded the Military Cross but sadly succumbed to his wounds six days later and was buried in Archangel Allied Cemetery. As the mutiny erupted and hundreds of Legionnaires fled into the forest to join the Red Army, Legion company officers Captain William Beavan, Welsh Regiment and Alfred Barrett, Royal Berkshire Regiment, formed their men on parade despite the mayhem and by their determination held the men steady with the assistance of 2nd Lieutenant Sydney Brooker, General List, who was commanding one of the platoons in Beavan’s company. All three men were awarded the Military Cross for their courage and devotion to duty. Also murdered during the mutiny were Lieutenants Gerald Gosling, M.C., Gloucestershire Regiment; Cecil Bland, M.C., Royal Berkshire Regiment; and Thomas Griffith, Loyal North Lancashire Regiment. Twenty six captured Legionnaires were charged with offences relating to the mutiny, their court-martial carried out in the field over two days, 12–13 July. Eight men were acquitted whilst the remaining 18 charged were sentenced to death, six of these having their capital sentences commuted to 10 years penal servitude leaving 12 mutineers sentenced to execution. On the morning of 17 July 1919 the condemned men were brought out to meet their fate. Ironside ensured that 500 new White Russian recruits were present to witness the executions as a none too subtle warning. Royal Air Force ace pilot Captain Ira Jones was witness to the executions: ‘I have tonight seen something which I never want to witness again. An execution…The men were being shot by their own comrades who had not mutinied, each of the condemned men having a machine-gun all to himself [although each loaded only with a belt of 5 rounds] at ten yards range. It was an eerie sight because the executioners were themselves covered from behind by machine gunners from the Royal Fusiliers, in case they suddenly changed their minds and turned their weapons on the British present! A Russian officer was in charge of the execution, although a British Assistant Provost Marshal was present. The signal to fire was when the officer dropped his raised sword, then a strange thing happened which lengthened the lives and agony of those Bolos for about one minute. A little dog appeared from somewhere and trotted up to one of the prisoners and sniffed at his legs. The dog had to be got away before the officer dropped his sword. I shall never forget the rattle of those machine guns and the wriggling bodies as their life was shot out of them. The executioner of the sergeant either deliberately missed him or became very nervous, because when the smoke of the guns had cleared away the N.C.O. had pulled off his handkerchief and was shouting “Long live Bolshevism”. The officer, pulling out his revolver strolled up to him – I was secretly hoping he would not shoot – and as he did so pointed the revolver at the disc on his heart. The sergeant spat at him. Bang! Bang! Bang! And two more for his head. Afterwards, all the bodies were buried in one big grave which the victims had themselves dug in the morning.’ Of the mutiny one British officer wrote: ‘In their innermost hearts the loyal Russians were not sorry. They regretted the butchery of British officers, but the mutiny itself they regarded as the natural and inevitable outcome of the whole effort. They merely shrugged their shoulders as if to say, ‘We told you so.’ The British Army made a concerted attempted to track down the mutineers who escaped to defect to the Red Army. The names of a further eight mutineers were identified, an internal British military intelligence memo stated: ‘The names of these Russians should be carefully recorded and never lost sight of. They are guilty of the blackest treachery conceivable, and if our affairs with Russia should at any time in the next five or ten years reach a condition when it is possible for us to demand their exemplary punishment, we must not fail to do so’. The escaped mutineers were never found, and only a handful of loyal Slavo-British Legionnaires who were evacuated to England after the British withdrawal from North Russia in October 1919 became eligible for awards of the British War and Victory Medals. A full account of the Slavo-British Legion mutiny can be found in Churchill's Secret War with Lenin by Damien Wright. Note: The Slavo-British Legion Medal Roll contains 67 names, most of whom do not appear to have been issued any medals, with many others had their medals returned unclaimed. The medal roll confirms only 17 British War and Victory Medal pairs issued to the unit, five of them being to officers.

A fine Second War D.S.M. and Second Award Bar group of six awarded to Acting Chief Petty Officer (Coxswain) Reginald Nott, Royal Navy, H.M. Submarine Triumph, who won the D.S.M. for Mediterranean War Patrols in February to July 1941, and was awarded a Bar for Mediterranean War Patrols in August 1941 in which the Commanding Officer was recommended for the Victoria Cross; C.P.O. Nott was lost aboard Triumph on 20 January 1942 Distinguished Service Medal, G.VI.R. (J.107537 R. Nott. A/C.P.O. H.M.S. Triumph.) officially impressed naming; 1939-45 Star; Atlantic Star; Africa Star; War Medal 1939-45; Royal Navy L.S. & G.C., G.VI.R., 1st issue ((J.107537 R. Nott. P.O. H.M.S. Forth.) mounted as worn, extremely fine (6) £4,000-£5,000 --- D.S.M. London Gazette 20 January 1942: ‘For courage, skill and resolution in successful Submarine patrols.’ Seedies Submarine List states: ‘Five Mediterranean War Patrols from February to July 1941. Sank the Italian Submarine Salpa off Mersa Matruh on 27 June 1941.’ D.S.M. Second Award Bar London Gazette 5 May 1942: ‘For daring, enterprise and devotion to duty in successful patrols in H.M. Submarines.’ Seedies Submarine List states: ‘Three Mediterranean War Patrols in Autumn 1941. Landed a party which demolished a railway bridge near Caronia, on the north coast of Sicily on 28 August 1941.’ The recommendation for the Bar to his D.S.M. states: ‘For courage and devotion to duty as Coxswain of H.M.S. Triumph during three patrols since previously being recommended. Nott’s cool and efficient handling of the after hydroplanes contributed materially to successful attacks on an Italian cruiser and four supply ships. He also set a fine example of coolness on four occasions of being depth charged.’ The following comments were made by the Honours and Awards Committee: ‘In her 6th, 7th and 8th Mediterranean War Patrols H.M.S. Triumph performed the following exploits. On 26 August 1941 she attacked part of the Italian Fleet, and torpedoed the cruiser Bolzano. She attacked two tankers and two supply ships. She destroyed a viaduct. She was employed on three special missions, and she sank two schooners by gunfire. In all these actions Commander W. J. W. Woods, D.S.O., R.N. showed notable powers of leadership. Most sympathetic consideration was given to the Commander-in-Chief’s recommendation of the V.C. for Commander Woods for the attack of 26 August, but in the Committee’s opinion this action did not quite come up to the very high standard required for the V.C. [award downgraded to a Bar to his D.S.O.]. The loss of H.M.S. Triumph was announced on 5 February 1942. The recommendations herein considered are dated 8th November 1941 so that no question arises of the awards being posthumous.’ Reginald Nott was born at South Stoneham, Southampton, on 7 December 1907, and entered the Royal Navy aboard H.M.S. Impregnable as a Boy 2nd Class on 26 June 1923. He joined H.M.S. Tiger on 17 June 1924, and was rated Ordinary Seaman in this ship on 7 December 1925. He was rated Able Seaman in H.M.S. Lowestoft on 8 June 1926, and joined Dolphin for submarine training on 16 May 1930. He joined his first submarine ‘H30’ on 1 October 1930 and served in this boat until February 1933. Thereafter his record of service gives just the submarine depots Dolphin and Medway for submarine service until February 1937 when he is assigned to ‘H33’. He was advanced to Acting Petty Officer aboard this boat on 8 July 1937. After further service aboard H.M. Submarines Oxley and Unity, he was made Acting Chief Petty Officer on 22 October 1940, and joined H.M. Submarine Triumph on 17 November 1940. On 20 March 1941, he received his Naval L.S. & G.C. medal which was named to his Depot ship H.M.S. Forth. Triumph carried out North Sea patrols off Norway until December 1939 when she was badly damaged by a mine which blew off eighteen feet of her fore-end. After repair lasting six months, she resumed patrol duties off Norway in August before being transferred to the Mediterranean in January 1941 for the interception of supply traffic to and from North Africa. During February 1941 she landed commandos for a raid on the Apulian coast. Whilst on patrol in May that year she sank two ships off Calabria as well as the Italian Auxiliary Ramb 3 off Benghazi. Her successes continued in June when she sank the Italian submarine Salpa off Mersa Matruh by torpedo after a surface gun action, whilst on patrol in July, she attacked and sank a 500-ton freighter being escorted by the Italian gunboat Dante de Lutti which was then sunk in a surface action. Some damage requiring repair was subsequently carried out in Malta. On return to duty in August, she attacked and damaged the Italian cruiser Bolzano. During an Adriatic patrol in September she sank another mercantile and damaged two others in surface gun attacks. The next month she sank a transport in the Aegean and on return to deployment off North Africa she carried out an attack on a coastal convoy sinking one of its ships. Lieutenant John Symons Huddart, R.N., took over command of Triumph from Commander Woods and sailed from Alexandria on 26 December 1941, to land a party near the Greek capital Athens before making a patrol in the Aegean Sea. She reported making the landing on the 30th, but did not show up on 9 January 1942, when she was scheduled to pick the party up again. She was declared overdue on 14 January 1942, probably lost to Italian mines off Milo Island, south east of Greece. Reginald Nott was aged 35, the son of Charles and Annie Nott, and husband of Grace Nott, of Itchen, Hampshire. He is commemorated by name on the Portsmouth Naval Memorial. Sold with original Certificate of Service; several photographs including H.M. Submarines H.30 and Phoenix; letter of condolence from Commander Woods to his widow; and an Admiralty letter advising his widow of the award of the Bar to his D.S.M. which states: ‘In her last three War Patrols, H.M.S. Triumph carried out many torpedo attacks and fought two gun actions in which valuable enemy ships wee sunk or damaged. As Coxswain, Chief Petty Officer Nott took a vital part in these and other operations, and his outstanding skill and courage contributed much to their success.’

WWII Aldis gun sighting telescope It comes in its original fitted wooden case The top the box reads 'Aldis, Gun sighting Telescope Illuminated, Pattern G 344**, the box having the sights serial number penciled '184842'. The shaft of the sight is marked A.P. G 344 ** Inner (cuitical) 100 Knots, A.B. No. 184842 Outer (Cuitical) 200 Knots, NP44. There is a photocopy of the Classification of Director Instruments and its original service label D.831A attached 30 Jan 1986. This monocular sights used for the armament of Capital ships and cruisers. In excellent condition with no fractures to the lenses or loss to the blue on the body of the scope.

Rowlandson, Thomas [Picturesque Beauties of Boswell designed and etched by two capital artists.]. [London, 1786], Oblong 4to (26 x 34cm.), 20 etchings by Rowlandson from designs by Samuel Collings, disbound, somewhat dampstained/soiled, final plate torn without loss, [ESTC T42285]Provenance: Property of Archibald Stirling of Keir

A pair of decoupage effect table lamps, probably Vaughan of Chelsea, of baluster form with turned gilt wood foot and cap, each 55cm high including fitting, with a brass standard lamp, early 20th century, the fluted column with Corinthian capital, set to a stepped square pedestal base with paw feet, with conforming pleated shade, 141cm high overall (3)Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.

A VERY RARE and HISTORICALLY INTERESTING SECOND QUARTER OF THE 19TH CENTURY CARVED MAHOGANY FLOORSTANDING STRIKING REGULATOR WITH ORIGINAL HANDRWITTEN RECEIPT MADE TO THE FIRST OWNER, MR SPIERS, DATED JANUARY 22ND 1832John Moore & Son, Clerkenwell, London, No.8687the drum hood with carved snake bezel over an elaborate ionic capital carved with foliage on a tapering reeded trunk to a panel base with applied moulded edge on a moulded plinth with carved ropetwist border, the 12 inch one-piece silvered dial with outer Arabic minute ring enclosing the subsidiaries for running seconds and Roman hours, with blue steel hands, the signed and numbered weight-driven movement with shouldered plates and cast feet, repeat numbered on the frontplate and united by five heavy knopped pillars, the deadbeat escapement to a long crutch and wooden-rod pendulum terminating in a heavy lacquered brass bob with engraved rating nut, the strike train unusually sounding on a pair of linked hammers to a pair of nested bells. 2.14m (7ft) high.Footnotes:This clock retains the original receipt made out to the buyer in 1832:' A very superior eight day clock, 12 inch round engraved dial with dead escapement, large bob and wood rod, the hour to shew in a circle below the centre, seconds above & the minutes in the centre, to strike on a steel spring instead of a bell, in a handsome mahogany carved case to order with brass rings & convex glass name John Moore & Son Clerkenwell......£21'. The receipt mentions a 'steel spring' - a gong in modern parlance - to sound the hours instead of a bell. This is a very early use of a gong on a longcase clock- they are never common, and those that do appear are generally from the latter half of the 19th century. It appears that Mr Spiers, or another owner, had a change of heart and decided to substitute the gong for a bell at some stage. Perhaps even more remarkably, payment was received 189 years ago to the day, 22nd June 1832.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

CARL ZEISS, JENA AN ASTONISHINGLY RARE PAIR OF 12-20-40x80 VARIABLE MAGNIFICATION KRIEGSMARINE OBSERVATION BINOCULARS, serial no. 13416 circa 1935 and almost certainly designed for the bridge of a capital ship, of roof-prism design with fixed barrels joined by a substantial trapezoid mount, the ocular lenses housed on rotating mounts, each mount sporting an individually focussing eye-piece for 12, 20 and 40 magnifications, the rear of the prism housings marked with Kriegsmarine eagle device together with 'ART I' over 'Nr. 189' on the left housing and 'T' over the Carl Zeiss Jena trademark above 'DF 12.20.40x80' and the serial number, the barrels and prism housings finished in a black stippled covering, the remainder in gloss black, retaining their original leather objective lens caps, original rubber cups for the ocular lenses and further rubber covers for the two 12-power eye-pieces and contained in a later custom made wood storage case painted in Kriegsmarine green-grey, overall length of binoculars 24in., weight without case approx. 21lbs..

* GERARD BURNS, GIRL AT THE GLASGOW ART CLUB oil on canvas, signed image size 60cm x 50cm, overall size 88cm x 78cm Framed. Note: In the most recent Scottish Contemporary Art Auction (May 2021) lot 502A "Red Coat in the City" a 60 x 60 cm oil by Gerard Burns sold for £3000 (hammer). Note 2: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include: Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include: Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include: Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow. Portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Surgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.

Modern School, a studio framed oil painting, Capital of Music, New York, New York

Joseph Beuys - - 1921 Krefeld - 1986 Düsseldorf Arclight. 1960. Collage auf Karton. Papier bzw. weiß kaschierter Karton, Haare, Tinte. Das obere Papier verso signiert, datiert und bezeichnet 'ob.Blatt für Arclight'. Der untere weiß kaschierte Karton verso signiert, datiert und betitelt. 33 x 20,5 cm (12,9 x 8 in) und 35 x 24 cm (13,7 x 9,4 in). Unterlagekarton: 97 x 49 cm (38, 2 x 19,3 in). Eva Beuys verweist in ihrer Bestätigung des Werkes darauf, dass die Schreibweise des Haupttitels verso auf dem Karton nicht reine Betitelung, sondern auch Zeichnung ist. Die Befestigung der beiden Blätter mit Fotoecken und die Rahmung seien wohl von Erhard Klein, Bonn, ausgeführt. [EH]. • Künstlerisches Arbeiten ist für Beuys immer auch selbstreflexiv. • Ende der 1950er Jahre beschäftigt sich Beuys intensivst mit Wissenschaftsliteratur und kommt zu der Erkenntnis, dass Kunst und Wissenschaft wieder zueinandergeführt werden müssen. • Bildnerische Auseinandersetzung des Künstlers mit seiner Arbeits- und Lebenssituation im Jahr 1960. Mit einer Expertise von Eva Beuys, Joseph Beuys ESTATE, vom 12. Januar 2013 (Kopie). PROVENIENZ: Privatsammlung Deutschland (2014). AUSSTELLUNG: Joseph Beuys: Wo ist Element 3?, Ketterer Kunst, Berlin, 26.3.–22.5.2021. Die Collagen zweier übereinander montierter Blätter mit unterschiedlichen Haarsträhnen bezeichnet Beuys mit „Arclight“, dem sogenannten Bogenlicht. Auf der Rückseite des unteren Blattes ist dieser Begriff in Versalien gezeichnet. Die beiden aus tütenförmigen Papieren herausragenden Haarsträhnen könnten mit Lichtstrahlen, zumindest mit elektromagnetischen Aufladungen der Haare in Verbindung gebracht werden. Die obere Beschriftung „wegen Büroüberlagerung“ bleibt rätselhaft, wie die gesamte Arbeit von einem geheimnisvollen Charakter bestimmt ist. Möglicherweise handelt es sich in Analogie zu den in Werken verwendeten Finger- und Fußnägeln um Haare des Künstlers. [Eugen Blume] Aufrufzeit: 19.06.2021 - ca. 12.10 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONJoseph Beuys -1921 Krefeld - 1986 Düsseldorf Arclight. 1960. Collage on board. Paper and white-laminated board, hair, ink. The upper piece of paper signed, dated and inscribed 'ob.Blatt für Arclight' on verso. Bottom piece of laminated board signed, dated and titled. 33 x 20.5 cm (12.9 x 8 in) and 35 x 24 cm (13,7 x 9,4 in). Backing board: 97 x 49 cm (38, 2 x 19,3 in). In her certificate for the work Eva Beuys mentions that the main title's spelling on verso is not merely the title but also a drawing. Mounting of the two sheets with photo corners as well as the framing were presumably executed by Erhard Klein, Bonn. [EH]. • The artististic process always is a means of self-reflection for Beuys. • In the late 1950s Beuys was intensively occupied with scientific literature and came to the conclusion that art and science had to be reunited. • Pictorial examination of the artist's work- and life situation in 1960. Accompanied by an expertise issued by Eva Beuys, Joseph Beuys ESTATE, from January 12, 2013 (copy). PROVENANCE: Private collection Germany (2014). EXHIBITION: Joseph Beuys: Wo ist Element 3?, Ketterer Kunst, Berlin, March 26 – May 22, 2021. Beuys called the collages of two sheets of paper mounted on top of one another with various wisps of hair 'Arclight'. This term is written in capital letters on the back of the lower sheet. The two wisps of hair protruding from bag-shaped papers can be associated with rays of light, or with electromagnetically charged hair. The upper inscription 'wegen Büroüberlagerung (because of office overlay) remains a mystery, just as the entire work has a mysterious character. The artist‘s hair in this work may perhaps be an analogy to the finger- and toenails he used in other works. [Eugen Blume] Called up: June 19, 2021 - ca. 12.10 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Romanesque capital in calcareous stone sculpted with decoration of characters in relief, 13th century. 38 x 30 x 27 cm.

A 19th century cutlass or sabre, no visible markings to blade, blade length 65cm, to shaped brass guard, grip and rounded pommel.Provenance: The Captain Allan Marshall Collection.Additional InformationSome pitting to blade, the quillon with a stamped capital B within circle, grip loose, small hole to grip as well. Further general wear throughout.

Act of Parliament for Erecting a Bank in Scotland ..... 2 folded folio sheets (A & B), pp. 1 to 6 & 2 blanks, tear off corner of A2 with no loss of text. Edinburgh, Andrew Anderson, 1695, "The only bank ever to be established by an Act of Parliament in Scotland ... the first example in Europe of a joint-stock bank being founded by private persons ... wholly dependent upon the capital raised from its stockholders".

[Michell, Abraham Louis]. Exposition of the motives, founded upon the universally received Laws of Nations, which have determined the King (of Prussia) upon the repeated instances of his subjects trading by sea, to lay an attachment upon the capital funds, which his Majesty had promised to reimburse to the subjects of Great-Britain, in virtue of the Peach-Treaties of Breslau and Dresden; and to procure, out of the said capitals to his said subjects, an indemnity for the losses which they have sustained by the depredations and violences of the English privateers, exercised upon them on the high seas, London: J. Raymond, 1752, parallel English and French texts, bound in a graduated fashion within larger binding (alternating gatherings towards head & some towards foot of binding), bound with: Newcastle (Thomas Pelham-Holles, Duke of), The Duke of Newcastle's letter, by His Majesty's order, to Monsieur Michell, the King of Prussia's secretary of the embassy, in answer to the memorial, and other papers, deliver'd, by Monsieur Michell, to the Duke of Newcastle, on the 23d of November, and 13th of December last, London: Printed by Edward Owen, 1753, two folding tables (2nd table with repaired closed tears), some toning and occasional spotting throughout, modern panelled calf, 4to, together with: [Bird, William Wilberforce], State of the Cape of Good Hope in 1822, London: John Murray, 1823, engraved folding plan frontispiece of Cape Town & Harbour, title-page with ink mark overlaid with paper patch, one other folding engraved plan, scattered spotting, contemporary green half calf, gilt decorated spine with morocco title label, 8vo, Barnes (John H. & Carroll, Elijah A.), Tariff or rates of duties, from and after the 3d day of March, 1833, until the 31st of December of said year, inclusive: and ... until the 30th day of June, 1842, on all goods, wares, and merchandise imported into the United States of America ..., 2 parts in one, Philadelphia: Printed for the proprietors, by Wm. S. Martien, June, 1834, original boards, rebacked and corners repaired, 12mo, Forman (Charles), Mr. Forman's letter to the Right Honourable William Pulteney, Esq : Shewing how Pernicious, the Imperial Company of Commerce and Navigation, lately established in the Austrian Netherlands, is likely to prove to Great Britain, as well as to Holland, London: S. Bussey, 1725, half-title, toning and light spotting, modern cloth-backed marbled boards, small 8vo, Kinnaird (Charles Kinnaird, Baron), Correspondence of Charles Lord Kinnaird with Sir Charles Stuart, His Britannic Majesty's Ambassador at Paris, London: Printed by J. M'Creery, 1819, half-title inscribed at head, modern marbled boards, slim 8vo, and five othersQty: (10)

A large Victorian brass oil lamp, with Corinthian capital and embossed base with cut glass reservoir. Overall height 70 cm. CONDITION REPORT: The burner mechanism whilst tarnished and dirty does appear to operate. The glass reservoir has a 1 cm stress crack running from the outside edge of the burner over the top arched lip. There are other minor nibbles to the facets but no further cracks. The centre column is dirty and scuffed. There is also slight separation of the casing on the ribbed column. The stepped base brass edges are beginning to spring away from the cast iron base. There are also dents and nibbles to the sharp edges and corners.

YEVGENY KHALDEI (1917-1997)Victory Flag over Reichstag, 1945 Inscription in Russian, signed by E. Khaldei (on the reverse)Gelatin silver printMid-20th century print29 x 23 cmProvenance: photographer’s personal archiveThe photo is an icon, became a symbol of victory in World War II, was on the cover of «Ogonyok» magazine, was included in all anthologies.Yevgeny Khaldei (1917- 1997) was a Soviet Red Army naval officer and photographer. He is best known for his World War II photograph of a Soviet soldier Raising a flag over the Reichstag, in Berlin, capital of the vanquished Nazi Germany.

[Robins, Benjamin]. Observations on the Present Convention with Spain, London: T. Cooper, 1739. Octavo, pages misnumbered but text and collation follows complete, half-title, woodcut vignette, headpiece and capital, bound in later blue paper boards, ownership plate on front pastedown, loosely inserted manuscript note on the text, loosely inserted Bernard Quaritch invoice (buyer details removed). Contents very good, clean, bright, one red mark on p.3

TWO GLASS LAMP BASES AND SHADES19TH CENTURYOne of Corinthian column form with a gilt-metal capital, the other an oil lamp with reservoir, with Robert Kime pleated fabric shades, adapted for electricity 54cm high and 67cm high Provenance: Supplied by Robert KimeCondition Report: Overall with scuffs, scratches and small chips commensurate with age.Columnar lamp - The gilt metal capital with worn gilding. Two wires to hold the electric cable in place.Oil lamp - Top metal fixing bent. Some chips to the glass. Scratching to the base. Two later wires to hold the electric cable in place.Please refer to additional images for visual references to images. Condition Report Disclaimer

An early 20th century eastern carved & pierced ebonised wooden torchere/standard lamp, the cylindrical column decorated with figures, pagodas, mountains, etc., with lotus petal capital, & on domed foliate base & paw feet; 62¾” high x 12” wide.

FIVE SINGLE GANDHARA STYLE EARRINGSAncient region of Gandhara, c. c. 3rd BC-2nd cent. First in the group is a single earring casted from massive gold and decorated with extensive granulate work. The elaborate opening mechanism is fully functioning. The second golden earring also casted from massive gold with a central ring surrounded by granulates, four of which are missing. Additionally, small granulate work to the sides. Finally, included are also three crescent-shaped simple earrings made from bronze where 2 of them are gold plated. All earrings found at Pushkalavati, the first capital of the Gandhara region.Condition: Good condition with traces of age and wear. One of the gold plated earrings partly discolored.Provenance: Private collection of a German artist and collector living in Southeast Asia, assembled over decades through purchases in Mazar-i-Sharif and at the Afghan market in Peshawar.Weight: 7.9 grams (golden with disc), 3.5 grams (golden with mechanism), 1.0 grams (bronze), 4.5 grams (bronze gold plated), 1.0 grams (bronze with losses of gold plated) Dimensions: Height 2-2.5 cm, Length 1.3-2.7 cm

BLACK GANDHARAN VESSELGandhara region, c. 3rd BC-2nd cent. Black burnished ceramic narrow-waisted vessel (possibly a jug) on a small foot is made from clay and decorated with concentric slim bulges running horizontally around the vessel. Found at Pushkalavati, the first capital of Gandhara region.Condition: Fine condition with traces of age and use, small abrasion and original internal patina. One old repair to the lip.Provenance: Private collection of a German artist and collector living in Southeast Asia. Dimensions: Diameter upper lip 13.3 cm, diameter foot 7 cm