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LARGE CAPITAL LETTERS A & S H:31CM

Ein Paar imposante Charles X-Girandolen, Frankreich, um 1830 Sechsflammig. Fein ziselierte Bronze grünlich patiniert sowie teilweise feuervergoldet. Allseitiges Palmetten- und Akanthusblattdekor. Auf der dreipassigen, getreppten Plinthe mit vergoldetem Zierfries die Tatzenfüße. Darauf der mehrfach gegliederte Schaft, dieser kanneliert und sich nach oben verjüngend. Abschließendes und vergoldetes Kapitell in Blattdekor. Darin fünf Leuchterarme um einen weiteren, zentralen Leuchter platziert. Alle Tüllen vorhanden. Höhe 85,5 cm.Zustand: I - IICondition Report:Bemerkenswert guter Gesamtzustand. Minimale Alters- und Gebrauchsspuren. Vergoldung partiell leicht berieben. Schöne gewachsene Patina.An imposing pair of French Charles X girandoles, circa 1830 Six-armed. The finely chased bronze with a greenish patina, fire gilt in places. Palmette and acanthus leaf décor on all sides. The paw feet on the stepped, trefoil plinth with a gilt decorative frieze. On the plinth, the fluted shaft in several sections, tapering upwards. The gilt capital embellished with foliage at the top. Five candelabra arms arranged around a sixth, central candle holder. Complete with all sockets. Height 85.5 cm.Condition: I - IICondition Report:Overall in remarkably good condition. Minimal traces of age and use. The gilding slightly abraded in places. Beautiful patina.

AN EARLY 20TH CENTURY DIAMOND BROOCH, CIRCA 1890-1900The elongated capital C set throughout with old single-cut diamond highlighted with an old brilliant-cut diamond on each terminal, between borders of millegrain setting, mounted in silver and gold, diamonds approximately 1.30ct total, French assay mark, length 5cmCondition Report: Diamonds: bright and well matched, too small to assess colour, estimated clarity VS-SIEagle's head located on pin, another mark on pin unable to distinguish & same on side of the broochNormal signs of wear, overall in good condition

An oak table lampEarly 20th CenturyOf columnar form, with a gilt-metal capital, raised on a stepped square base, with a shade61cm high  Condition report:- Scuffs, marks and general wear in keeping with age otherwise in good condition

Antique green painted pine classical column pedestal with Corinthian capital, on sqaure base, 118cm high

12th century AD. A substantial carved limestone pillar capital for an architectural column or pier, decorated with dense vegetation motifs, tapering swags or garlands, a reef-knot motif above and leaves; unworked to the reverse.Cf. Toman, R., Romanesque Architecture, Sculpture, Painting, Cologne, 1997, p.31, for discussion.73.8 kg total, 51cm including stand (20"). Property of a Kensington gentleman; acquired from Holz Artles, 25 April 2015, lot 83; formerly in a French collection; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no. 10686-174372. Fine condition.

Late 13th century AD. A carved limestone corbel capital with moulded upper edge, female head with centre-parted flowing hair ending in a curled band, vertical vine section with leaf and lateral slot; from the Priory of Moutiers Saint Jean, Burgundy, France.23.2 kg, 42cm (16 1/2"). Ex central London gallery; previously with Salles des Ventes Pillet, 1 July 2007, lot 168. [No Reserve] Fine condition.

20th century AD. A gilt pendant formed as two 'conjoined' heads with four ribbed suspension loops above, a single semi-circular ear to each head and a series of horizontal ridges running the full width of the piece; one face with head ornamentation comprising four slender bands, one placed horizontally, three placed vertically, arched eyebrows, raised oval eyes, raised nose, full lips placed low-down on the face; the second face with headpiece comprising three horizontal bands, broad arching eyebrows below, raised oval eyes, nose, full lips set low-down on the face with beard below; hollow underside; collection label '81' to the reverse.See the Dallas Museum of Art exhibition, The Power of Gold, Asante Royal Regalia from Ghana, 15 April 2018, for similar: ‘The Dallas Museum of Art presents an exhibition dedicated to the royal regalia of the Asante kingdom. Spanning three centuries, The Power of Gold: Asante Royal Regalia from Ghana brings together over 250 objects, including crowns, sword ornaments, ceremonial furniture, textiles, pectoral disks, weapons, a state umbrella, musical instruments, and jewelry made of wood, silk, brass, iron, and gold. Organized by the DMA and inspired by the Museum’s collection, The Power of Gold is the first American museum exhibition dedicated to Asante regalia in over 30 years, and explores the unique role and impact of gold on the development of Asante society, economy, and arts.’77.58 grams, 74mm (3"). UK private collection 2010-2021; acquired from Niger Bend, Chittenango, New York, USA.The wealthy, gold-rich Ashanti people are part of the Akan ethnic group and are native to the Ashanti Region of modern-day Ghana. In the 1670s the Ashanti, also known as Asante people, went from being a tributary state to the centralised hierarchical Denkyira kingdom. The empire was founded in 1670, and the Asante capital Kumasi was founded in 1680 by Asantehene (emperor) Osei Kofi Tutu I. Ashanti was one of the few African states that seriously resisted European colonizers, however the British finally defeated the kingdom following the ‘War of the Golden Stool’ in 1900. In 1935 the Ashanti became the self-ruling sovereignty of the Kingdom of Ashanti, and the Ashanti King title of Asantehene was revived. Very fine condition.

9th-10th century AD. A carved wooden staff head of a Mochica or Chimú ruler, in the form of a standing figure of a man with his hands clasped to his body, a satchel hung across his shoulders, his skirt-like dress slit at the knees, wearing a crown-like headdress, under a toothed and arcaded mandorla, the figure is decorated with circular, square and triangular pieces of haliotis inset on the crown, arcaded top and robes; mounted on a custom-made display stand.Cf. Jackson, M.A., ‘The Chimú Sculptures of Huacas Tacaynamo and El Dragon, Moche Valley, Perú' in Latin American Antiquity, vol. 15, no.3, September, 2004, pp.298-322, fig.13e.182 grams total, 32cm including stand (12 1/2"). Property of a French gentleman living in Paris; previously in a private Swiss collection, Basel; formerly with Sotheby's, London, UK, 1 December 1958, lot 155; accompanied by a copy of the relevant Sotheby's catalogue pages.The moche or mochica civilization grew and developed during the pre-Inca era, between the 1st and 8th centuries AD, in the long and narrow strip desert land of the northern coast of Peru. The terms moche and mochica are conventional and refer to the Rio Moche, a river that laps one of the monuments left by this ancient civilization, the Huaca del Sol, and to the Muchik, an ancient dialect spoken in La Libertad. The wooden sculpture found in the Mochica and Chimú civilizations one of its highest expressions. Deep in the enormous citadel of the great Chimú culture capital city of Chan Chan, the archaeologists, in 2018, uncovered a corridor containing nineteen mysterious black wooden statues. Some are wearing masks of clay, tucked into special alcoves that line the walls. This wooden sceptre was made for a heroic warrior or ruler. The Necur (mother of pearl) was used for his necklace and headgear. His headgear is made of a double-headed snake, or two snakes symbol of protection of the warrior. Fine condition.

REGGAE - 12"/10" COLLECTION (ROOTS/ROCKSTEADY/DUB/DANCEHALL). Dropping the biscuit on these 47 x choice Reggae 12"/10", once again primarily presented in top condition. Artists/titles include Mikey Dread - Roots And Culture c/w Jumping Master (2005 10" on Dead At The Controls DATC-TI-01 - Mint and sealed), Culture - The Peel Sessions (SFPS 024 - Ex+/Ex), Steel Leg V The Electric Dread (Virgin VS 23912 - Ex+/Ex), Viceroys - Heart Made Of Stone (TX12-002 RE), Freddie McKay - Caught You Red Handed (RE) and Another Weekend (GRED 46, sealed RE), Bitty McLean/Bunny Rugs, The Specials - Ghost Town (CHS TT1217), Misty In Roots, Wailing Souls (GRED 125), Max Romeo, Courtney Melody, LKJ, Dennis Brown, Capital Letters, Earth And Stone, Poet And The Roots, Joe Gibbs and Roots Radics. Condition is often Ex to Ex+/archive.

An alabaster table lamp, square plinth, knopped column, carved leaf capital, circular shade, 46cm.

A Mahogany Eight Day Longcase Clock, signed Coleman & Co, Falkirk, circa 1780, swan neck pediment, side glass windows, arched trunk door, 13-1/2-inch arch brass dial, seconds and date dials, scroll engraved dial centre, arch with moonphase and signed above on a silvered plaque, four pillar movement with anchor escapement and rack striking on a bell, 218cm high CONDITION REPORT: 15.04.21 Top central finial is later, back left hand side Corinthian capital is missing, trunk door is slightly bowed, case with chips to the edges in parts, plinth with cracks and chips in parts, later feet, dial is dirty, movement needs cleaning, with pendulum and two weights.

An Oak Eight Day Longcase Clock, signed John Cornforth, Stokesley, circa 1770, flat top pediment, arched trunk door, 11-1/2-inch arch brass dial, seconds and date aperture, arch with signed plaque, four pillar movement with an anchor escapement and rack striking on a bell, 223cm high CONDITION REPORT: 15.04.21 Hood with back left hand side top capital missing, dial with small scratches in parts, later movement seatboard, movement is complete, with two weights and a pendulum.

A Carved Oak Eight Day Longcase Clock, signed R Henderson, Scarbrough, circa 1750, caddy pediment, elaborately later carved case with birds, floral, scroll and leaf decoration, 12-inch arch brass dial with chapter ring signed, seconds dial and date aperture, silvered plaque in the arch engraved with a sun, four pillar movement with an anchor escapement and rack striking on a bell, 228cm high CONDITION REPORT: 15.04.21 Hood with front left side bottom door capital chipped, one small piece of the trunk moulding is missing, plinth with small chips to the corners, dial is dirty and needs cleaning, later hands, movement needs cleaning, with two weights and a pendulum.

A Victorian Silver Oil-Lamp, by James Deakin and Sons, Sheffield, 1893, on stepped square base with beaded border, the plinth applied on two sides with a classical mask, with fluted stem and Corinthian capital with cut-glass font and etched glass shade, the silver plate mounts stamped 'Messengers Patent', filled, 79cm total height . The silver fully marked on base. The mount stamped 'Messengers Patent'. The dial signed 'No. 2 Hinks Lever'. There is some surface scratching and wear to the silver. The plate is somewhat worn on the mounts. The glass is slightly ill fitting and probably replacements. The mechanism has not been checked to see if it functions properly.

An Edward VII Silver Oil-Lamp, by Mappin Brothers, Sheffield, 1901, on stepped square base with beaded border, the base engraved 'April 26 1902', with fluted stem and Corinthian capital with cut-glass font and etched glass globular shade, the silver plate mounts stamped 'Evered & Co Ltd', filled, 87cm total height . The silver fully marked on base. The collar stamped 'Evered & Co Ltd Patent Safety Lock Collar'. The dial enameled 'Hinks's No 2 Duplex'. There is some surface scratching and wear, consistent with age and use. The mounts are silver plated and metal. The plate is somewhat worn and the metal has some corrosion. The shades are possibly later.

A Pair of Victorian Silver Candlesticks, by Richard Hodd and William Linley, London, 1868, in the Neoclassical style, on square base with ram's masks supporting husk swags, three sides applied with a ribbon-tied roundel and one engraved with a coat-of-arms below a coronet, with husk wrapped stems and openwork Corinthian capital sockets with detachable nozzles, filled, 33cm high (2) . Each fully marked on base and nozzle. The marks are generally clear. There is some overall surface scratching and wear, consistent with age and use. The wear is noticeable as a minor softening to the high points. The engraving is possibly later. There is some firescale visible on the bases.

Decorative 18th Century painted oak capital, with scrolls and branched carving to the tapering capital, 31cm high

A Capital folding bike.

NO RESERVE Fishing Satire - Cats Fishing.- Seymour (Robert) Waltonizing or - Green-land Fisherman, etching by "Shortshanks" (Seymour), original hand-colouring, sheet 245 x 340 mm (9 3/4 x 13 1/2 in), mounted on paper support, trimmed to borderline, unframed, published by Thomas McLean, [circa 1830]; together with two hand-coloured lithographs of anthropomorphised cats fishing by Seymour, Angling-Capital Sport and Angling - No Sport at All, with an uncoloured duplicate of the latter, each approx. 218 x 295 mm (8 1/2 x 11 3/4 in), surface dirt, spotting, handling creases, unframed, published by William Spooner, [circa 1830s] (4).Literature:Beazley, David, Images of Angling. Three Centuries of British Angling Prints, Creel Press, 2010, nos. 89-91

Sotiris Sorogas (Greek, born 1936)La sculpture signé indistinctement (au centre)acrylique et fusain sur toile160 x 130cm (63 x 51 3/16in).Peint en 1973indistinctly signed (centre) acrylic and charcoal on canvasFootnotes:ProvenancePrivate collection, Athens.ExposéHakone, Japan, Art Hall of the Hakone Open-Air Museum, Contemporary Greek Art, Greek Ministry of Culture and Sciences - Greek Ministry of Foreign Affairs, March 13 - May 31, 1976, no. 27 (illustrated in the exhibition catalogue). Istanbul, Atatürk Kültür Merkezi, Classical Memories in Modern Greek Art, Hellenic Ministry of Culture - National Gallery and Alexandros Soutzos Museum, May 22 - June 27, 2003 (illustrated in the exhibition catalogue, p. 131). Beijing, Capital Museum of China, Classical Memories in Modern Greek Art, Hellenic Ministry of Culture - National Gallery and Alexandros Soutzos Museum, October 18 - November 16, 2007 (illustrated in the exhibition catalogue, p. 137). LittératureZygos magazine, no. 12, January-February 1975, p. 41 (discussed), p. 40 (illustrated).A. Schina, Sotiris Sorogas, an Interactive Reading, Tethrippon editions, Athens 1987, pp. 12, 21 (mentioned), p. 91 (listed), p. 69 (illustrated).T. Niarchos, ed., Sotiris Sorogas, Approaches to his Painting, Kastaniotis editions, Athens 2007, pp. 32, 47, 128, 130 (mentioned). And the poet lingers, looking at the stones, and asks himself does there really existamong these ruined lines, edges,points, hollows, and curvesdoes there really existhere where one meets the path of rain, wind,and ruindoes there really exist the movement of the face, shape of the tendernessof those who've shrunk so strangely in our lives,those who remained the shadow of waves and thoughts withthe sea's boundlessness- George SeferisThis 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

NO RESERVE Corsica.- [Elliot ( Sir Gilbert, 1st Earl of Minto)] Discorso di sua Eccellenxa il Vice-Re pronunziato allo scioglimento della sessione del Parlamento in Corte, li 22 Dicembre 1795, bifolium, the second f. blank, unbound, small 4to, Corte, Government printers, 1795.⁂ Rare (Library Hub records only three copies) speech by the then Viceroy of the Anglo-Corsican Kingdom, printed at the old island capital. In 1794 Britain seized Corsica from the French, but by 1796 they had lost it again to its original rulers.

SCOTTISH REGENCY GILTWOOD CONVEX GIRANDOLE MIRROR EARLY 19TH CENTURY the circular mirror plate within an ebonised reeded slip and frame with a pair of intertwined serpents and bullrushes, issuing a pair of scrolling candle arms with raised star motifs, bearing a maker's label verso, JOHN STEELL, CARVER, GILDER, EDINBURGH(96cm high 88cm wide)Provenance: Property from Tornaveen House, AberdeenshireFootnote: Note: John Steell (1779-1849) was born in Aberdeen but settled in Edinburgh in 1806 and worked as a carver, gilder, and print-seller, having premises at 2 Low Calton and later 34 Princes Street. A carver of considerable skill, he completed numerous commissions throughout the capital, but proved to be a poor businessman with proceedings to declare him bankrupt taking place in 1819. Notably, his son John Steell, who started as an apprentice in his father's workshop, went on to become one of Scotland's highest regarded 19th century sculptors.

Y REGENCY ROSEWOOD AND PARCEL GILT CONSOLE TABLE EARLY 19TH CENTURY the rectangular grey marble top above a plain frieze, with lotus capital columns and a mirror back raised on a plinth(77cm wide, 91cm high, 34cm deep)Provenance: Collection of Dr. John A. Packer, EdinburghFootnote: Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/

A Second War B.E.M. awarded to Chief Petty Officer Telegraphist G. W. Starkiss, Royal Navy, H.M.S. Cossack, who was shortly afterwards mentioned in despatches for the Bismarck action in May 1941, and was killed in action when Cossack was torpedoed by U-563 on 23 October 1941 British Empire Medal, (Military) G.VI.R., 1st issue (C.P.O. Tel. George William Starkiss, P/J.53278. R.N.) mounted on original investiture brooch with small M.I.D. oak leaf on ribbon, extremely fine £300-£400 --- B.E.M. (Military) London Gazette 1 July 1941 (Birthday Honours List). M.I.D. London Gazette 14 October 1941: ‘For mastery, determination and skill in action against the German Battleship Bismarck:- Chief Petty Officer Telegraphist George William Starkiss, H.M.S. Cossack.’ One of four ratings of H.M.S. Cossack mentioned for the Bismarck action, the recommendation stating, ‘For exceptional efficiency in the execution of their Duties under heavy fire.’ George William Starkiss, C.P.O. Telegraphist, Royal Navy, was killed in action when H.M.S. Cossack was torpedoed by U-563 on 23 October 1941, and is commemorated by name on the Portsmouth Naval Memorial. On 26 May 1941, the Cossack leading the 4th Destroyer Flotilla was ordered to join with the Home Fleet battleships searching for the Bismarck. The Fleet's own Destroyers were running short of fuel and needed to be relieved as a matter of urgent priority. That night the Polish destroyer Piorum sighted the Bismarck and at 2200 hrs Admiral Vian ordered his Destroyer flotilla into the attack. Despite being seriously outgunned Cossack managed to launch three torpedoes from 6,000 yards at 0140 hrs, two hits on the mighty German battleship being recorded. The other Destroyers made similar attacks and kept the Bismarck engaged until the Royal Navy battleships arrived at dawn to finally finish off the job. Cossack and her sisters next joined Force H at Gibraltar, seeing much activity in defending convoys to Malta from U-boat and E-boat attack, as well as escorting the capital ships Ark Royal, Nelson and Renown. Sadly, on 23 October 1941, Cossack received a hit from a torpedo fired by the U-563 which killed Captain Berthon and 158 officers and men, with another 29 injured. Remarkably Cossack did not sink immediately and soon the fires went out. Seeing that Cossack was still very buoyant, she was reboarded , the engine started and, going astern, tried to make the long voyage back to Gibraltar. For a night and a day they kept the Cossack moving, but ultimately all was in vain, and the gallant little Cossack finally slipped beneath the waves on the following day.

Six: Captain (Engineer) G. T. Sullivan, H.M.S. Marlborough, Royal Navy 1914-15 Star (Mte. G. T. Sullivan. R.N.); British War and Victory Medals (Eng. Lt. G. T. Sullivan. R.N.); Defence and War Medals 1939-45; Jubilee 1935, unnamed as issued, generally very fine and better (6) £180-£220 --- Provenance: Oliver Stirling Lee Collection, Dix Noonan Webb, December 2004. The dreadnought battleship H.M.S. Marlborough was launched on 24 October 1912 and was part of the 1st Battle Squadron at the Battle of Jutland. George Thomas Sullivan was born in Plymouth on 7 June 1889 and entered the Royal Navy as a Boy Artificer in September 1905. In November 1914, however, while serving aboard H.M.S. Lion, he became one of the first ratings ever to be appointed Mate (E.), R.N., and shortly afterwards joined the battleship H.M.S. Marlborough. He was serving in her at the Battle of Jutland, when she was hit by a torpedo that caused a 70 ft. long by 20 ft. deep hole but still maintained her position in the battle line throughout, her gunfire inflicting considerable damage on at least two enemy capital ships. Sullivan ended the Great War as an Engineer Lieutenant aboard the Agincourt and gained further advancement to Commander (E.) prior to his retirement at the end of 1937. Recalled shortly before the advent of hostilities in 1939, he was employed for the remainder of the War by the Admiralty’s Department of Naval Ordnance at Vickers Armstrong’s Elswick Yard, Newcastle-on-Tyne, and was placed back on the Retired List in the rank of Captain (E.), R.N., in 1945-46.

‘They were under the impression we were going to lie in our ditch, shoot the enemy from a distance and they would run away. But I believe we caught the enemy on the hop that day and we had to take the fight to them... I decided the best way to attack was a full-frontal assault. It was my decision to fix bayonets and assault their position.’ (Corporal M. R. Byles, 1st Battalion, Princess of Wales Royal Regiment) The exceptional Iraq ‘Battle of Danny Boy’ M.C. group of six awarded to Corporal M. R. Byles, 1st Battalion, Princess of Wales’s Royal Regiment, who was awarded a Military Cross for gallantry on 14 May 2004 when he dismounted his Warrior armoured vehicle and led a full frontal assault with automatic fire, grenades and fixed bayonets to clear an enemy trench system – a comrade of Johnson Beharry, whose Victoria Cross was awarded for bravery during the same extraordinarily action-packed tour, Byles is extensively mentioned in Beharry’s memoir ‘Barefoot Soldier’ and also in Richard Holmes’s compelling account of this renowned 7 month deployment ‘Dusty Warriors’ Military Cross, E.II.R., reverse inscribed ‘24836752 Cpl M. R. Byles, PWRR, 2005’; General Service 1962-2007, 1 clasp, Northern Ireland (24836752 Pte M R Byles R Hamps); N.A.T.O. Medal 1994, 1 clasp, Former Yugoslavia; Iraq 2003-11, no clasp (24836752 M R Byles PWRR); Jubilee 2002, unnamed as issued; Accumulated Campaign Service Medal 1994 (24836752 Pte M R Byles PWRR) good very fine and better (6) £14,000-£18,000 --- M.C. London Gazette 18 March 2005. The following is extracted from the official recommendation submitted by Lieutenant B. U. Plenge (Officer Commanding, 9 Platoon, C Company, 1st Battalion, Princess of Wales’s Royal Regiment): ‘Report on the actions taken by Corporal Byles on the 14 May 2004 at Danny Boy Permanent Vehicle Check Point: On the afternoon of 14 May 2004 Corporal Byles was travelling in the back of Warrior 30 with Private Beggs. The call sign had been crashed out in response to a mortar attack on camp and subsequent ambush on light call signs from 1st Argyll & Sutherland Highlanders. As W30 arrived on the scene to the north of Danny Boy, and to the west of the dual carriageway, Lieutenant Plenge gave the signal to debus and a quick steer to another friendly dismounted call sign (Lance-Corporal Wood, and Privates Rush and Tatawaki). Almost immediately they began to come under sporadic small arms and RPG fire. Corporal Byles was then quick to identify the enemy positions that posed the biggest threat. He issued Battle orders to the section and they broke down into fire-teams. He assessed that the best way to assault the positions was full frontal. This was due to the ground and also to minimise the threat of Blue on Blue [‘friendly fire’] from heavy call signs by remaining clearly visible to them. They then crossed the open ground using fire-team fire and movement. Approximately 10 metres from the position, the order, “Pairs assault” was given by Corporal Byles. At this point the section split with Lance-Corporal Wood assaulting one half and Corporal Byles the other. Bayonets were fixed and grenades and automatic fire was used to clear the 20m long trench position. There were several enemy on the position and 4 Prisoners of War were captured. Almost immediately the trench came under fire from a depth position, previously unseen to the south. The Prisoners of War had to be controlled quickly due to the numbers involved (5 soldiers/4 prisoners) and the pressure of the situation. They were therefore treated roughly as some still resisted, and all were bound with plasicuffs. Corporal Byles then organised a full re-org on the position despite being under effective enemy fire from 5 enemy in depth. He began to engage the enemy and killed 2. A further 1 was killed by chain gun from a Warrior call sign, and the other 2 played dead and were subsequently captured. After a few moments W22, commanded by Sergeant Broome, arrived on the position. At this point Corporl Byles and Private Beggs left the rest of the section to rejoin the other dismounts from his Platoon. They then assisted on the re-org conducted by W33A. Throughout the whole contact Corporal Byles showed immense professionalism under pressure. He showed bravery in the face of the enemy and strong leadership qualities in leading a dangerous assault against a larger enemy position. He is certainly a credit to his Platoon, Company and Cap badge and it is my belief that he should be recognised as such.’ Mark Richard Byles was born in Portsmouth in 1970. Having joined the British Army, he transferred to the 1st Battalion, Princess of Wales’s Royal Regiment in June 2003 and was deployed with an advance party of his unit to Iraq in early April 2004. His battalion’s seven month tour of Iraq in 2004, during Operation Telic 4, would be a highly notable deployment under the command of Lieutenant-Colonel Matt Maer, during which a number of very high profile and dangerous events took place; the Battle of ‘Danny Boy’ and the ‘Siege of CIMIC House’ (CIMIC House was the HQ of British led Civil Military Co-operation) most significant amongst them. In addition, the battalion conducted Operation Waterloo, clearing insurgents from Al Amarah. Large numbers of gallantry awards were won, including Private Johnson Beharry’s Victoria Cross. During that tour, the 1st Battalion, Princess of Wales’s Royal Regiment Battlegroup faced the most constant period of conflict of any British Army unit since the Korean War. 1 Mechanised Brigade, within which the Battalion served, fired more small arms ammunition in those six months than the British Army as a whole did in thirty years in Northern Ireland. This Battlegroup in Maysan Province faced over one hundred contacts in one day alone and close to 900 over the duration of the tour. Every member of the Battalion on this operation was in some form of contact. To quote the Commanding Officer, ‘That in itself made it a tour like no other’. Into the crucible Stationed at Camp Abu Naji, Al-Amarah, Iraq, for the duration of the tour, the battalion’s role was to police Maysan Province, of which Al-Amarah is the capital, assisting the Iraq Civil Defence Corps (ICDC) maintain law and order. In implementing this, the earlier operations in Kosovo were intended to serve as a model: a combination of foot patrols, Land Rover patrols and Vehicle Check Points, or VCPs. However, the battalion assumed command of the Province from 1 Light Infantry on Sunday 18 April just as a major backlash against coalition forces by the Mahdi Army loyal to Muqtadar Al-Sadr was getting underway. The situation deteriorated rapidly, with repeated violent attacks in Al Amarah itself and the repelling of an attack on a joint PWRR / Light Infantry patrol in the nearby town of Majar Al Kabir. Corporal Byles’ role whilst in theatre was that of dismount commander - commanding troops following their deployment out of the back of a Warrior tracked armoured vehicle - in C Company. His comrade in C Company, Private Sewell remembered being faced with the reality on the ground soon after arrival: ‘We were deploying on what we believed to be a peace keeping operation. That idea lasted approximately 24 hours. On arriving at the base location, C Company, along with B Company 1 Light Infantry were deployed to the city to deal with an incident that turned from bad to worse in a short space of time... The contact was a definitely a planned ambush on the coalition force callsigns [callsign denoting a group of soldiers] as they moved through the location at that time. Unluckily for the enemy, I d...

Modern and Garden Sculpture: Gerald MooreTotem headCiment fondu on associated capital plinth140cm highPart of the Late Dr Gerald Moore Collection of Paintings and Sculpture

ALLEN & GINTER, printed album, General Government & State Capital Buildings, creasing to cover, G

60 plus Railway Related Books. Publishers include MP, David & Charles, Bradford Barton, Capital Transport, Salamander, BLP etc. Titles include - London Mainline War Damage, More Southern Steam On Shed, Steam Colour Portfolio Southern Region, Scottish Railways Two Decades of Transition. Branch Lines: Seaton & Sidmouth and Horsham. North London Line, Brighton To Worthing, London Underground Steam. Rails To Sheffield Park, Diesels On The Southern, Steam Trails; The Withered Arm. Railway Walks. Atlas Of The World's Railways. Plus Road Vehicles of The GWR etc. Many with dust jackets where applicable. Most GC-VGC. £40-60

Approximately 50 Bus and Commercial Vehicles related books. Publishers including- Capital Transport, TPC, Venture, Ian Allan, MP etc. Titles include- Buses in Britain, British & Trolleybus Systems 'Brighton Hove & District & Southdown'. King Alfred Motor Services. Streets of Brighton. The Heyday of: Maidstone & District, Midlands, Classic Bus. Plus Glory Days: Southdown, Devon General, East Kent, Birmingham City Transport, Wallace Arnold etc. Tillingbourne Bus Story. An Olympic Summer. 11x Bus Annuals/Bus Year Books. LT Service Vehicles, Robert Walker 'Haulage' Ltd. British Lorries 1945-1983, etc. Many with dust jackets where applicable. Most GC-VGC. £40-60

30 Plus Transport Books. Most railway with a few bus related. Published by Strathwood, OPC, Pendragon, Pen & Sword, Ian Allan, Capital etc. Titles include:- Looking Back At- Deltics, Warships and Class 40's. Slam Doors On The Southern, Kings & Castles Of The GWR. Sixties Diesel & Electric Days Remembered II @ III. Steam Trails Through Leicestershire & Rutland. London Midland Steam Twilight. Lancs & Yorks Railway Locomotives. Buses By Design etc. GC-Mint, all with dust jackets where applicable £50-70

A PAIR OF SMALL GREEN AND AUBERGINE YELLOW-GROUND 'DRAGON' SAUCER-DISHESGuangxu six-character marks and of the periodEach dish finely enamelled to the interior with a green and aubergine five-clawed dragon chasing a flaming pearl amidst billowing flame-clouds, the exteriors decorated with flying cranes and wispy clouds, all on a yellow ground. 14.5cm (5 3/4in) diam. (2).Footnotes:清光緒 黃地素三彩雙龍戲珠紋盤一對青花「大清光緒年製」楷書款Provenance: Francesco Maria, Marchese Taliani de Marchio (1887-1968), Grand Officer of the Italian Crown, Commander of the Order of St Maurice and Lazarus, and Commander of the Order of Pius IX (Ordine Piano), and his wife Archduchess Margaretha d'Austria Toscana, Marchesa Taliani de Marchio (1894–1986).來源：佛朗西斯高·瑪利亞，塔里安利·得·馬基奧侯爵（1887-1968）及馬加烈特·奧地利-托斯卡納女大公，塔里安利·得·馬基奧女侯爵（1894-1986）伉儷收藏Marchese Taliani was a distinguished Italian diplomat who lived through major historical upheavals of the first half of the 20th century, events whose impact affect all to this day. His first diplomatic appointment was to Berlin in 1912; followed by Constantinople in 1913, where during the First World War he negotiated an agreement for the protection of Italian citizens and interests in the (soon to be partitioned) Ottoman Empire. From 1916 to 1919 he served in St Petersburg, and under the privilege of diplomatic immunity was in a unique position to observe and chronicle first-hand the October Revolution, its day by day development, the subsequent fall of Tsarist Russia and the establishment of the Soviet Republic; from 1919 he served in Rome as Secretary of State for the Ministry of Foreign Affairs; with later assignments to London (1921 - 1923) and again to Constantinople (1924–1928), this time as the Republic of Turkey; from 1929 - 1930 he was in Rome as Head of Protocol of the Ministry of Foreign Affairs; in 1932 he was appointed Italian Ambassador to the Netherlands; in 1938 he was appointed Ambassador to China, where he remained until 1946; and his last diplomatic appointment was in 1951 as Ambassador to Spain until 1952.Sent to China in 1938 as Ambassador to the Nationalist Government of Chiang Kai-shek in Nanjing, he became an acute - and far from humourless, despite the hardships of everyday life - front line eye-witness of the Second Sino-Japanese War, during which the Japanese forces captured the capital and attacked Shanghai. When Mussolini recognised Wang Jingwei's Japanese puppet government, Taliani presented his credentials to him. On 8 September 1943, having refused to swear allegiance to the Italian Social Republic (Republic of Salò), he and his wife, the Archduchess Margaretha d'Austria Toscana (1894-1986), were arrested and interned by the Japanese in a concentration camp near Shanghai, where they remained for two years until the end of the war. After the end of hostilities, the new government of Alcide De Gasperi reconfirmed him as Ambassador to China until 1946.Marchese Taliani published three books: Pietrogrado 1917, Milan, 1935; È Morto in Cina, Milan, 1949; and Dopoguerra a Shanghai, Milan, 1958.A related yellow-ground dragon saucer-dish with a very similar motif, but Daoguang seal mark and of the period, is illustrated in Imperial Porcelain of Late Qing, Hong Kong, 1983, p.78, no.61.See a similar pair of yellow-ground green and aubergine enamelled 'dragon' dishes, Guangxu six-characters marks and of the period, which were sold at Bonhams London, 13 May, lot 113.For further information on this lot please visit Bonhams.com

A SET OF THREE FAMILLE ROSE PLATESQianlong seal marks, Republic PeriodEach enamelled with sparrows amidst bamboo and peony, butterflies, chrysanthemums and prunus, all within a blue border of beaded pendants. 25.7cm (10 1/8in) diam. (3).Footnotes:民國 粉彩花卉紋盤 一組三件礬紅「大清乾隆年製」篆書款Provenance: Francesco Maria, Marchese Taliani de Marchio (1887-1968), Grand Officer of the Italian Crown, Commander of the Order of St Maurice and Lazarus, and Commander of the Order of Pius IX (Ordine Piano), and his wife Archduchess Margaretha d'Austria Toscana, Marchesa Taliani de Marchio (1894–1986).來源： 佛朗西斯高·瑪利亞，塔里安利·得·馬基奧侯爵（1887-1968）及馬加烈特·奧地利-托斯卡納女大公，塔里安利·得·馬基奧女侯爵（1894-1986）伉儷收藏Marchese Taliani was a distinguished Italian diplomat who lived through major historical upheavals of the first half of the 20th century, events whose impact affect all to this day. His first diplomatic appointment was to Berlin in 1912; followed by Constantinople in 1913, where during the First World War he negotiated an agreement for the protection of Italian citizens and interests in the (soon to be partitioned) Ottoman Empire. From 1916 to 1919 he served in St Petersburg, and under the privilege of diplomatic immunity was in a unique position to observe and chronicle first-hand the October Revolution, its day by day development, the subsequent fall of Tsarist Russia and the establishment of the Soviet Republic; from 1919 he served in Rome as Secretary of State for the Ministry of Foreign Affairs; with later assignments to London (1921 - 1923) and again to Constantinople (1924–1928), this time as the Republic of Turkey; from 1929 - 1930 he was in Rome as Head of Protocol of the Ministry of Foreign Affairs; in 1932 he was appointed Italian Ambassador to the Netherlands; in 1938 he was appointed Ambassador to China, where he remained until 1946; and his last diplomatic appointment was in 1951 as Ambassador to Spain until 1952.Sent to China in 1938 as Ambassador to the Nationalist Government of Chiang Kai-shek in Nanjing, he became an acute - and far from humourless, despite the hardships of everyday life - front line eye-witness of the Second Sino-Japanese War, during which the Japanese forces captured the capital and attacked Shanghai. When Mussolini recognised Wang Jingwei's Japanese puppet government, Taliani presented his credentials to him. On 8 September 1943, having refused to swear allegiance to the Italian Social Republic (Republic of Salò), he and his wife, the Archduchess Margaretha d'Austria Toscana (1894-1986), were arrested and interned by the Japanese in a concentration camp near Shanghai, where they remained for two years until the end of the war. After the end of hostilities, the new government of Alcide De Gasperi reconfirmed him as Ambassador to China until 1946.Marchese Taliani published three books: Pietrogrado 1917, Milan, 1935; È Morto in Cina, Milan, 1949; and Dopoguerra a Shanghai, Milan, 1958.For further information on this lot please visit Bonhams.com

AN EXTREMELY RARE EMBROIDERED SILK BLUE-GROUND 'DRAGON' RANK BADGEKangxiFinely embroidered in rich couched-gold thread with a central commanding front-facing four-clawed dragon striding in pursuit of a flaming pearl amidst flames and formal four-fold ruyi cloud scrolls, all on a deep midnight-blue satin silk ground, mounted. 38cm (15in) x 37cm (14 1/2in).Footnotes:清康熙 藍地刺繡金龍紋方補Provenance: Linda Wrigglesworth, London, purchased in the early 1980's.來源：倫敦Linda Wrigglesworth，購於二十世紀八十年代初No identical example appears to have been published in public collections. Fully embroidered in fine couched-gold thread with a bold powerful front-facing dragon, highly-detailed with large eyes and flowing mane between its horns, the present badge is a rare example dating to the Kangxi reign. The badge shows the prosperous era of the Kangxi emperor's reign using the finest gold thread of the highest quality. In addition, a fine blue thread defines the dragon's scale with original selvedge and border intact. Square badges decorated with a front-facing four-clawed dragon such as the present example were typically reserved for Imperial dukes of the fourth rank. Rank badges decorated with dragons identified members of the Imperial family and princes of the first to eighth ranks. The first four ranks were solely granted to direct male-line descendants of the emperor. The highest six ranks enjoyed the 'Eight Privileges', gifts of the emperor, which included jade books, sets of seals for correspondence, precious stones on the mandarin hat crests, dragon robes and Imperial porcelain wares; see T.A.Wilson, On Sacred Grounds: Culture, Society, Politics, and the Formation of the Cult of Confucius, Boston Ma, 2002, pp.69 and 315. The 'Eight Privileges' entitled the prince to participate in state councils and share the spoils of war. However, the prince was also bound to reside in the capital and render service to the Imperial court.Two badges were normally attached to the costume, respectively to the back and front, which was was split to allow the garment to be buttoned up at the front. The badge system was first introduced in 1391 during the Ming period and continued onto the Qing dynasty, the styles changed according to the taste of the time; see L.Wrigglesworth and G.Dickinson, The Imperial Wardrobe, London, 1990, pp.120-142.Stylistically, the present dragon closely compares with the writhing dragons featured with prominent heads if compared to their bodies, highly-defined round cheeks and flowing mane and whiskers, which decorate the yellow-ground Imperial robe, dated to the early Qing dynasty, in the Qing Court Collection, illustrated in The Complete Collection of Treasures from the Palace Museum. Costumes and Accessories of the Qing Court, Shanghai, 2006, no.23. See also the dragons within the roundels decorating a blue-ground silk robe, Kangxi, also in the Qing Court Collection, illustrated in ibid., no.10, and the dragons decorating a blue-ground man's formal court coat, illustrated by J.Vollmer, Silks for Thrones and Altars. Silk for Thrones and Altars: Chinese Costumes and Textiles from the Liao Through the Qing, Berkeley, 2004, pp.48-49, no.20.For further information on this lot please visit Bonhams.com

A RARE BLUE AND WHITE 'DEER' VASEEarly 18th centuryOf elongated ovoid form surmounted by a short flaring neck and flaring rim, finely painted on the body in vivid tones of cobalt-blue with a scene of a deer and fawn beneath a large gnarled pine tree, two birds flying above, all amidst a mountainous landscape, wood stand. 19cm (7 1/2in) high. (2).Footnotes:十八世紀早期 青花松鹿獻瑞圖瓶Provenance: Francesco Maria, Marchese Taliani de Marchio (1887 - 1968), Grand Officer of the Italian Crown, Commander of the Order of St Maurice and Lazarus, and Commander of the Order of Pius IX (Ordine Piano), and his wife Archduchess Margaretha d'Austria Toscana, Marchesa Taliani de Marchio (1894–1986).According to Marchese Taliani De Marchio's handwritten inventory, the vase was received as a gift in 1943.來源：意大利王室總督、聖莫里斯和拉撒路勳章司令及皮尤斯九世勳章司令、佛朗西斯高·瑪利亞，塔里安利·德·馬基奧侯爵（1887-1968），及馬加烈特·奧地利-托斯卡納女大公、塔里安利·得·馬基奧女侯爵（1894-1986）伉儷收藏依據塔里安利·得·馬基奧女侯爵的清單手稿，該拍品於1943年作為禮物贈予此家族。Marchese Taliani was a distinguished Italian diplomat who lived through major historical upheavals of the first half of the 20th century, events whose impact affect all to this day. His first diplomatic appointment was to Berlin in 1912; followed by Constantinople in 1913, where during the First World War he negotiated an agreement for the protection of Italian citizens and interests in the (soon to be partitioned) Ottoman Empire. From 1916 to 1919 he served in St Petersburg, and under the privilege of diplomatic immunity was in a unique position to observe and chronicle first-hand the October Revolution, its day by day development, the subsequent fall of Tsarist Russia and the establishment of the Soviet Republic; from 1919 he served in Rome as Secretary of State for the Ministry of Foreign Affairs; with later assignments to London (1921 - 1923) and again to Constantinople (1924–1928), this time as the Republic of Turkey; from 1929 - 1930 he was in Rome as Head of Protocol of the Ministry of Foreign Affairs; in 1932 he was appointed Italian Ambassador to the Netherlands; in 1938 he was appointed Ambassador to China, where he remained until 1946; and his last diplomatic appointment was in 1951 as Ambassador to Spain until 1952.Sent to China in 1938 as Ambassador to the Nationalist Government of Chiang Kai-shek in Nanjing, he became an acute - and far from humourless, despite the hardships of everyday life - front line eye-witness of the Second Sino-Japanese War, during which the Japanese forces captured the capital and attacked Shanghai. When Mussolini recognised Wang Jingwei's Japanese puppet government, Taliani presented his credentials to him. On 8 September 1943, having refused to swear allegiance to the Italian Social Republic (Republic of Salò), he and his wife, the Archduchess Margaretha d'Austria Toscana (1894-1986), were arrested and interned by the Japanese in a concentration camp near Shanghai, where they remained for two years until the end of the war. After the end of hostilities, the new government of Alcide De Gasperi reconfirmed him as Ambassador to China until 1946.Marchese Taliani published three books: Pietrogrado 1917, Milan, 1935; È Morto in Cina, Milan, 1949; and Dopoguerra a Shanghai, Milan, 1958.The Chinese word for deer (lu 鹿), sounds like the word for emolument or an official salary (lu 祿), thus deer are symbolic of the rank and wealth that are associated with such a salary. The word for deer is also a homophone for 'road' and for 'six'. Thus two deer suggest two auspicious phrases: Lulu shunli, 'May all roads be smooth', and Liuliu dashun, 'May everything be smooth sailing'.See a related blue and white 'deer' vase, Qianlong mark and of the period, with similar motif but of different shape, which was sold at Sotheby's Hong Kong, 11 April 2008, lot 2830.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

Katsushika Hokusai (1760-1849)Edo period (1615-1868), circa 1802A hanshibon-size book, volume 3, from the three volume set of Ehon Azuma Asobi (A Picture Book of the Amusement in the Eastern Capital) depicting subjects associated with seasons in Edo, some pictures accompanied with kyoka poems, consisting of eight double-page and two single-page colour illustrations, publisher's colophon missing, unsigned, each illustration with a later handwritten Dutch inscription in black ink along the top margin.26.5cm x 17.5cm (10 7/16in x 6 7/16in).For further information on this lot please visit Bonhams.com

A VERY RARE ARCHAIC BRONZE RITUAL WINE VESSEL, GULate Shang DynastyThe tall vessel crisply cast with a flared mouth and pedestal foot, the central section decorated in relief with a band enclosing two taotie masks between narrow bowstring borders and two narrow bands of circles, the upper band below a further bowstring band, the foot cast with a pictogram within a shaped cartouche, the smooth mottled-green patina with scattered cuprite encrustations. 25.7cm (10in) high.Footnotes:商晚期 青銅饕餮紋觚The inscription reads 亞獏父丁 'Yamo fuding [made as sacrifice to] ancestor Fuding of Yamo family'Provenance: Liang Shangchun (active 1930-1940s)Arthur M. Sackler (1913-1987), New YorkStephen Junkunc III (d.1978), IllinoisChristie's New York, 21 September 1995, lot 294An important European private collectionPublished and Illustrated: Liang Shangchun, Yanku jijin tulu (Illustrated Catalogue of Archaic Bronzes in Yanku Collection), Beijing, 1944, fig.1.51R.W.Bagley, Shang Ritual Bronzes in the Arthur M. Sackler Collections, Cambridge, 1987, p.303, fig.49.12The Institute of Archaeology, CASS, Yinzhou jinwen jicheng (A Compendium of the Shang and Zhou Bronze Inscriptions), Beijing, 1984-94, no.7231T.Wang and Y.Liu, A Selection of Early Chinese Bronzes with Inscriptions from Sotheby's and Christie's Sales, Shanghai, 2007, p.234Z.F. Wu, Shangzhou qingtong ji mingwen ji tuxiang jicheng (Corpus of Inscriptions and Images of Bronzes from the Shang & Zhou Dynasties, Shanghai, 2016, vol.24, p.131, pl.13217來源：梁上椿舊藏紐約亞瑟・M.賽克勒（1913-1987年）舊藏伊利諾伊州史蒂芬・瓊肯三世（1978年逝）舊藏紐約佳士得，1995年9月21日，拍品編號294歐洲重要私人收藏出版著錄：梁上椿，《巖窟吉金圖錄》，北京，1944年，圖版1.51R.W.Bagley，《Shang Ritual Bronzes in the Arthur M. Sackler Collections》，英國劍橋，1987年，頁303，圖版49.12中國社會科學院考古研究所，《殷周金文集成》，北京，1984-94年，編號7231汪濤，劉雨，《流散歐美殷周有銘青銅器集錄》，上海，2007年，頁234吳鎮烽，《商周青銅器銘文暨圖像集成》，上海，2016年，卷24，頁131，圖版13217Remarkable for its tall, elegant shape and complex high-relief decoration with leiwen spirals, this gu is an outstanding example of the late Shang dynasty.Gu vessels were used as sacrificial wine receptacles and were among the most important objects used in State rituals during the late Shang dynasty. Although reference to the name gu is frequently found in early ritual texts, it became associated with the present vessel type in the catalogues of antiquities produced by Song dynasty scholars (960-1279). The shape appears to have originated in pottery production of the Neolithic period, which came in various sizes and shapes. The bronze version, however, probably emerged in the Erligang period (c.1510-1460 BC) and became popular during the Yinxu period (1250-1192 BC), when it became an important component of ritual vessels. While gu vessels produced during the early phases of the Shang dynasty were short and stout, decorated with simple taotie designs merely suggested by eyes amidst linear decoration, the refinement of shape and ornamentation took place towards the later phases of the Shang dynasty, as bronze-casting technique gained in skill and experience. By the time that the Shang capital moved from Zhengzhou to Anyang in Henan Province, gu vessels depicted more detailed taotie designs, which were often complemented with new animal shapes. While retaining some early features of the Erligang phase of the Shang dynasty, notably the sturdy trumpet-shaped body, the finely-detailed and lively taotie masks depicted with bulging eyes on the frieze convey a distinctive sculptural appearance and point to a casting finesse more typical of the later phases of the Shang dynasty. A number of comparable examples of gu vessels dating to the late Shang period have been excavated in Henan, Shanxi, Hubei and Anhui Provinces. Compare with a related bronze gu vessel, 13th-11th century, displaying a similarly-shaped body and taotie decoration on the frieze, illustrated by Wang Tao, Chinese Bronzes from the Meiyintang Collection, London, 2009, p.39, no.13. See also another archaic bronze gu vessel, Late Shang Dynasty, from the collection of Mr and Mrs Kress, Finland, illustrated by P.K.M.Kwok, Dialogue with the Ancients. 100 Bronzes of the Shang, Zhou, and Han Dynasties. The Shen Zhai Collection, Singapore, 2018, pp.222-223, no.42C.another bronze gu vessel, 13th century BC, illustrated by R.Bagley, Shang Ritual Bronzes in the Arthur M. Sackler Collections, Washington DC, 1987, pp.258-9, no.40. A related bronze gu vessel, late Shang dynasty, was sold at Christie's New York, 20 September 2010, lot 1472.觚，為盛酒之禮器，是商周宗廟祭祀的代表器之一。此種器型始見於新石器時代陶器，商早期二里崗上層出土了現存最早的青銅觚，至商晚期逐漸盛行，殷墟有大量出土。商早期的青銅觚矮而寬，紋飾簡單，之後器型不斷變細加高，頸部腹部逐漸收束，兩者直徑趨於一致，裝飾紋樣也益發繁複。本器侈口，長頸，中腹微鼓，圈足外撇，足底直緣。腹飾獸面紋，獸眼鼓脹凸出，上下飾連珠紋帶，是商晚期的典型器物。類似商晚期的例子於河南、山西、湖北和安徽等地多有出土。對比一件公元前十三至十一世紀青銅觚，器型及紋飾與本例相似，收錄於汪濤著，... For further information on this lot please visit Bonhams.com

A large gold-splashed bronze tripod incense burner, dingXuande six-character mark, 17th/18th centuryThe incense burner of compressed bombé form, cast with two upright handles, decorated on the exterior with scattered and irregular gold splashes, the base with an apocryphal Xuande six-character mark. 26cm (10 2/8in) diam.Footnotes:十七/十八世紀 銅灑金沖天耳爐「大明宣德年製」楷書款Provenance: Christie's Paris, 9 June 2015, lot 220 An important European private collection來源：巴黎佳士得，2015年6月9日，拍品編號220歐洲重要私人收藏The form of the present incense burner is likely inspired by one of the most classic bronze shapes produced during the Xuande period (1426-1437). These shapes in turn were drawn from the range of objects depicted in the 'Illustrations of Antiquities in the Xuanhe Hall', Xuanhe Xuanhe bogutu, and other antiquarian texts; while some others were modelled on fine specimens of ceramics of the Northern Song period (960-1127).Vessels modelled after archaic shapes, such as the present example, were designated for use in the sacrificial altars located outside of the capital, at Imperial ancestral temples and within court palaces; however, they were also presented to princely households and meritorious officials. Incense burners were also used by the literati to decorate the tables and shelves in their studio and burn fragrant incense for creating a contemplative atmosphere. For a Xuande mark and period tripod incense burner see P.Hu, Later Chinese Bronzes. The Saint Louis Art Museum and Robert E. Kresko Collection, Saint Louis, 2008, p.137, no.38. A gold-splashed incense burner, 18th century, of similar shape to the present example but slightly smaller in size, was sold at Sotheby's Hong Kong, 8 October 2019, lot 3658.口沿微侈，收頸，鼓腹，底近平，下承三乳足。口沿上起一對雙沖耳，稍稍外傾，耳孔半圓。爐底有減地陽文「大明宣德年製」六字楷書款。宣德三年，明宣宗敕令工部及禮部等官員利用暹羅貢銅鑄造鼎彝之事；這批宣德爐形制參考《宣和博古圖錄》等史籍，以及宋代名窯瓷器之款式，開後世銅爐先河。本器應為參照宣德爐最為經典的器型之一仿製而成。形如本例的沖天耳爐，端莊中正，常見於內壇郊社宗廟祭祀之用，亦用於賞賜皇親國戚和功臣顯貴。而沿襲宋人情趣、將焚香尊為「文人四事」之一的歷代文人雅士，則將為祭拜之用的香爐帶入書齋雅集，於氤氳之境得閒逸之情。參考一例明宣德沖耳爐，見P.Hu著，《Later Chinese Bronzes. The Saint Louis Art Museum and Robert E. Kresko Collection》，聖路易，2008年，頁137，編號38。另見一例十八世紀銅灑金沖天耳爐，形似本例，售於香港蘇富比，2019年10月8日，拍品編號3658。For further information on this lot please visit Bonhams.com

A VERY RARE ARCHAIC BRONZE FOOD VESSEL, YULate Shang Dynasty, 13th-12th century BCThe deep rounded sides crisply cast in high relief with four large taotie masks separated by vertical notched flanges, separating confronted birds on the pedestal foot, the pairs of similar birds below the everted rim divided by small animal masks, all reserved on leiwen bands, with a mottled milky-green patina and some buff earth encrustation, the base cast with two pictograms reading Jiran 己冉. 25.5cm (10in) diam.Footnotes:商晚期 青銅饕餮紋己冉盂Provenance: Kaikodo, New York, Autumn 2001A European private collectionChristie's New York, 21 September 2004, lot 153An important European private collectionPublished: Kaikodo Journal, New York, Autumn 2001, no.52, pp.184-185 and 332-335.來源：美國紐約古董商懷古堂，2001年秋歐洲私人舊藏紐約佳士得，2004年9月21日，拍品編號153歐洲重要私人收藏出版著錄：《懷古堂圖錄》，紐約，2001年秋，編號52，頁184-185及332-335This vessel has an inscription cast in the interior with two characters reading Jiran 己冉, which relates to the powerful clan for which the vessel was produced. The present piece is notable and rare for its exceptionally large size, the swelling volume and the crisp decoration of taotie masks beneath a band of bovine heads interspersed in relief amidst kui dragons.Archaic bronze food vessels, yu are among the most highly prized and technically sophisticated objects manufactured in Bronze Age China. Reserved for use by the most powerful families of the time, they carried offerings of grain and vegetables presented to the ancestors during the performance of elaborate rituals and were often accompanied in burials by tripod vessels, ding. The role of these elaborate bronze vessels was fundamental in ensuring the continuity of family lines, as it was believed that ancestors were active participants in the life of their living offspring, which they could positively influence if provided with continuous nourishment.The extant number of skilfully-made vessels in ancient China testifies to a highly-organised bronze casting industry at the time. Hundreds of men were employed in mining, smelting and transporting metal from mining areas to the capital and the workshops. In addition, the large quantities of material required and the many stages involved in the casting process depended upon subdividing the tasks among a large number of workmen. No single craftsman contributed to every stage in the production of a particular vessels. Workshops were therefore large in size and specialised mould-makers, casters and finishers were required to make the vessels; see J.Rawson, 'Bronze Metal Circulation in China' in Antiquity, vol.91, issue 357, 2017, pp.674-687.Yu vessels were popular during the late Shang dynasty, particularly during the Yinxu period (circa 13th-11th centuries BC). The physical form of the yu, consisting of a round body rising from a splayed foot, may have derived from a pottery prototype. Unlike the food vessels gui that were prevalent during the succeeding Western Zhou dynasty, yu do not have ring handles. Oracle-bone inscriptions dating to the Shang dynasty depict the yu vessel as a pictograph depicting a food container with a hand holding a spoon, and according to research, this vessel was used specifically for making offering of grains and vegetables, and was often paired with the tripod ding vessels storing cooked meat of various kinds.Bronze vessels dating to the Shang dynasty were often cast with pictograms, such as the present example. These symbols included birds, weapons or humanoid figures, and usually referred to the names of either the aristocratic owners who commissioned the vessels, or the ancestors to whom the vessel was dedicated.The three basic designs employed on the present vessel, comprising alternating bands decorated with taotie and kui dragons interspersed with bovine heads, are often found on vessels belonging to the highest-ranking members of society, dating to the later phases of the Shang dynasty. The tomb of Fu Hao (d.circa 1200 BC), favourite consort of the Shang emperor Wu Ding, for example, yielded a bronze yu vessel decorated with similar schemes to the present example, and is illustrated by J.So, Shang Ritual Bronzes in the Arthur M. Sackler Collections, Washington DC, 1987, p.499, fig.96.5. A related bronze yu vessel, Shang dynasty, formerly in the collection of Dr.A.F. Philips, was sold at Sotheby's New York, 22 March 2011, lot 14.器內鑄「己冉」二字銘文。己應為日名，冉則為族徽文字，表明器主所在的族氏。盂為青銅禮器中的盛食器，多見侈口深腹圈足，有獸首耳或附耳，少量無耳，器形似簋而大。中英文世界對此類器物定名不一，此處沿用盂的叫法。「盂」字自甲骨文起就以像形造字，形似一手持勺於食物容器之上。學者研究認為，盂一般用於存放黍稷等穀物和蔬菜，常與盛放肉類的鼎搭配使用。盂最早出現於商晚期前段，流行於西周，春秋時期尚有所見。此例直口寬唇無耳，屬商晚期典型器型。深腹，近底內斂，下有高圈足外撇。頸部與圈足均飾相對變形夔紋，腹部主體紋飾為饕餮紋，怒目圓睜，與頸部中心的高浮雕牛首相輔相成。整體紋飾以雷紋填底，多層次的淺浮雕線條勁利，渾然天成。本例的獨特紋飾，即器身交替出現的饕餮和夔紋飾帶，以及中心的浮雕牛首裝飾，常見於商代晚期高級貴族之用具。商王武丁之寵... For further information on this lot please visit Bonhams.com

A PAIR OF MEDIEVAL CARVED SANDSTONE CORBELS, each carved with female faces, one with a column capital the other with stylised flowers. 19ins and 21ins long.

A pair of large carved, stripped cedar columns, of ionic order, each 279cm highProvenance: Previously from a Private CollectionCondition Report: Marks, scuffs, scratches and abrasions consistent with age and useLosses to both: One column with chips and losses to the base of the carved column where it meets the plinth. The other column with a chip approx 50cm up from base of carved column, and elsewhere, and where where it meets the plinth, more extensive damage and to the plinth base. One capital detached.Scuffing, cracks, chips and losses to the plinth bases.Please refer to additional images for visual reference to condition Condition Report Disclaimer

Louis Philip Joseph (Duke d'Orleans). Description des principales Pierres Gravees du Cabinet de S.A.S. Monseigneur le Duc d'Orleans, Premier Prints du Sang, 2 volumes, Paris: Chez M. l'Abbe de la Chau & M. l'Abbe Le Blond, 1780-84 (colophon vol. 2: 1785), engraved allegorical portrait frontispiece to volume 1, half-title to volume 2, vignette to titles, 177 engraved plates of 179 (repaired closed tear to first plate in volume 2, also without the 7 Spintrian figures appearing in extremely rare editions), several engraved vignettes, bookplate of Patricia A. Milne-Henderson to upper pastedowns, near contemporary quarter red morocco, gilt monogram at foot of spines comprising two capital Gs (2nd inverted) with crown above at foot of spines, cloth sides, slight wear at foot of spines, folioQty: (2)Provenance: Patricia Milne-Henderson (1935-2018), art historian.NOTESCohen 542-543. This work was written by Abbot Géraud de la Chau, librarian of the cabinet of engraved stones of the Duke of Orleans, and Abbot Gaspard Michel, known as Le Blond, deputy librarian of the Mazarin college. It forms a catalogue of the impressive collection of antique engraved stones kept by Louis-Philippe d'Orléans (1747-1793), later sold to Catherine II of Russia.

Lunardi (Vincenzo). An Account of the First Aerial Voyage in England, in a series of letters to his guardian, Chevalier Gherardo Compagni, written under the impressions of the various events that affected the undertaking, 2nd edition, London: Printed for the Author: and sold at the Pantheon, 1784, half-title, with autograph signature in brown ink of the author Vincent Lunardi, stipple engraved portrait of the author by Bartolozzi after Richard Cosway, 2 folding engraved plates, publisher's advertisement to verso of final leaf, early 19th-century ownership stamp of John Clifton to verso of front endpaper, marbled endpapers, with later bookplate of Sir T. Talbot L. Scarisbrick, Bt., to front pastedown, all edges gilt, near-contemporary red full morocco gilt, spine lettered in gilt Lunardi's Voyage, and with capital letter A at head, very slightly rubbed, 8voQty: (1)NOTESProvenance: John Talbot Clifton (1819-1882) of Lytham Hall, Lytham, Lancashire, M.P. for North Lancashire, High Sherrif of Lancashire, and Justice of the Peace; Sir Thomas Talbot Leyland Scarisbrick (1874-1933), 1st Baronet, Mayor of Southport, 1902-03, Justice of the Peace, and M.P. for South Dorset, 1906-10. Italian Diplomat Vincenzo Lunardi (1759-1806) made the first British ascent in a hydrogen balloon on 15 September 1784.

A French gilt bronze mounted, ebonised and inlaid portico clock, c1840, the brass dial with breguet hands and subsidiary seconds dial, having bell striking movement with outside count wheel, the columns with milled capital and base, on stepped plinth and bun feet, 47cm h Much encrusted with dirt and oily / nicotine / dust, no pendulum

GERMANY -- (SOLIGNAC, P.J. de la PIMPIE de, or D.-F. de MERVEILLEUX). Amusemens des eaux de Schwalsbach, des bains de Wisbaden et de Schlangenbad. Avec deux relations curieuses; l'une de la Nouvelle Jerusalem; et l'autre d'une partie de la Tartarie Independante. Liège, Everard Kints, 1739. (8), 320 pp. W. ti-p. in red and black w. a woodcut vign., 4 fold. engr. plates (a map of Bad Schwalbach, a map and a fortification plan of "Nouvelle Jerusalem" (= Mannheim), and a view of "Mont Payen" (= Heidelberg)). Cont. cf. w. dec. gilt back & red label. (Lge-fold. plate a bit browned on fold, a few small stains in places). NOTE:Second edition of a daring French satire of the German court of the Elector Palatine Karl Philipp (1661-1742), who moved the Palatinate's capital from Heidelberg (here Mont Payen) to the new city of Mannheim (here New Jerusalem) in 1720. The first edition appeared in 1738. As the title suggests, the story revolves around the mineral baths of Langen-Schwalbach (now Bad Schwalbach, near Wiesbaden), where members of the court took cures and enjoyed themselves, but it is mostly concerned with anecdotes about food, drink and pretty girls, though it also discusses matters of war, exotic lands, religion and freemasonry. The book is generally credited to the Frenchmen David François de Merveilleux (1665?-1748) or Pierre Joseph de La Pimpie de Solignac (1687-1773).

JAPAN -- KAEMPFER, E. Histoire naturelle, civile, et ecclesiastique de l'Empire du Japon. Et trad. en François de J-G. Scheuchzer. The Hague, P. Gosse & J. Neaulme, 1732. 3 vols. (4), lxx, (2), 312; (6), 416; (4), 379, (17) pp. W. engr. front. & 13 fold. maps/plans (w. a few small tears). 12°. Fine cont. cf. w. richly dec. gilt backs, sides ruled in gilt, brown labels & red edges. (Slightly browned/foxed in places, else a fine set). NOTE:Engelbrecht Kämpfer (1651-1716), German traveller and physician, became secretary to the embassy which Charles XI. sent through Russia and Persia in 1683. In 1684 he arrived in Isfahan, then the Persian capital. In 1685 he joined the fleet of the Dutch East India Company (V.O.C.) in the Persian Gulf as chief surgeon. After seeing something of Arabia and India, he arrived in Batavia in 1689 where he studied Javanese natural history. In May 1690 he set out for Japan as physician to the embassy sent yearly to that country by the Dutch. He stayed two years in Japan and elicited much valuable information. At his death the unpublished mss. were purchased by Sir Hans Sloane, and conveyed to England. Among them was his History of Japan, translated from the ms. by J.G. Scheuchzer and published at London in 1727. The original German version has never been published. - First French edition appeared in 1729, this is the second 12°-edition (first 1731). - Cordier 417; Landwehr, VOC, 533 (ed. H. Uytwerf).

Two pairs of similar Victorian silver pillar candlesticks, with corinthian columns, on square stepped loaded bases, Sheffield 1893, 23.5cm high, and London 1895, 22.5cm high (4)Condition report: One pair with inscribed bases 'From Major C.T.E Metcalfe' and other Officers. Some dented corners to the bases of this pair and one with loose iron base insert.The larger pair with only minor wear to the decoration and small knocks to the capital corners below the sconce on one.

TRAVEL & EXPLORATION: 1- Guthrie, W: A New Geographical, Historical and Commercial Grammar; and Present State of the Several Kingdoms of the World. Dublin, J Exshaw, 1794. With 24 of 25 mostly folding Maps (lacking the map of Ireland). Cont. full calf; rubbed; a couple of maps with edges frayed; the frontis map with tear to margin; 2- Neale, F A: Narrative of a Residence at the Capital of the Kingdom of Siam. Office of the National Illustrated Library, 1852. With a frontis, Map, 2 plates Plus text illustrations (as listed). Original embossed boards; spine faded; 3- Volney, M: Travels Through Syria and Egypt, in the Years 1783, 1784, and 1785. Volume 2 only of 2. Robinson, 1787, 1st. edn. With a folding plan Plus 2 folding plates. Cont. full calf rubbed; 4- Bell, J: Travels from St. Petersburg in Russia to Various Parts of Asia. Dublin, 1764, with a folding map. 387pp. Cont. full calf; upper cover detached; 5- Macmillan: Four years in the white north. Boston, Medici Soc. 1925; 6- Kent, Rockwell: N by E. NY, Literary Guild, 1930; Plus: 10 others similar. (16)

Approximately one hundred and ninety 78 records with Parlophone, Decca, Melodisc, Capital, Esquire, etc, including blues, jazz, ragtime, swing, including Woody Herman and the New Third Herd, Earl Hines & his orchestra, Lonnie Johnson, Artie Shaw and his strings, comedy, classical, Stan Freberg, Danny Kaye, Humphrey Littleton and his Band, Louis Armstrong, Glen Miller, also a group of small size Nicole Records.Provenance: The Norman Roland Collection of Mechanical Music.

A SET OF FOUR BRONZE-INSET BLACK LACQUER 'CALLIGRAPHIC' PANELSMid Qing DynastyEach panel inlaid with bronze characters, narrating a section of Ban Gu's Preface to the Two Capitals Rhapsody, all within stylised angular scrollwork borders and mounted frames with key-frets outlined in gilt, set with gilt-bronze fittings at the top.Each 65.7cm (25 7/8in) high. (4).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價清中期 黑漆嵌銅片「兩都賦」掛屏Ban Gu (32-92 AD) was an historian, stateman and poet. He is best known for compiling the Book of Han, the second of China's twenty-four dynastic histories, after Sima Qian's Shiji. Ban Gu was also a poet who mainly wrote in the fu rhapsody form, a literary form that was part poetry and part prose. The inscription on the present lot is the preface to his rhapsody. It reads:...之，蓋奏御者千有餘篇，而後大漢之文章，炳焉... 舊式，國家之遺美，不可闕也。臣竊或以抒下情...同見海內清平，朝廷無事，京師宮室，浚城隍，而起苑囿，以備制度。節兩都賦壹鼎。The fu describes the palaces of the Western Capital Chang'an (modern Xi'an) and the Eastern Capital Luoyang, and the activities of the Court during rituals, banquets, dances, and Imperial hunts. It is a praise of the glory of the Han dynasty and its courtiers and ministers, and can be interpreted to represent the glorification of China's ancient part.For further information on this lot please visit Bonhams.com

A RARE GOLD-HANDLED BRONZE SCHOLAR'S KNIFEWarring States Period The slightly curved thin blade narrowed to a short handle, with a thick gold oval-shaped loop attached to the end, the blade and handle both encrusted with malachite, box.17.4cm (6 7/8in) long. (2).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價戰國 鎦金環首青銅書刀Published, Illustrated and Exhibited: Roger Keverne Ltd., Winter Exhibition, London, 2008, no.6出版著錄：Roger Keverne Ltd.，《冬季展覽》，倫敦，2008年，編號6A very similar bronze knife dating from the Spring and Autumn period, excavated in 1977 from Gaozhuang M18, Fengxiang (site of a Qin capital), and now in the Shaanxi Provincial Archaeological Institute, is discussed by J.Portal, The First Emperor: China's Terracotta Army, London, 2007, p.64, no.30, fig.54, where it is noted that knives of this kind were used by officials for scraping off mistakes made when writing on wood or bamboo slips, as shown by the detail from a terracotta official, fig.53, no.24, of such a knife hanging from the belt. For such knives in bronze with gold handles, Warring States period, see The Art of the Warring States Period, Osaka, 1991, p.101, no.144; and Zhongguo Wenwu Jinghua Da Quan (Bronze volume), Hong Kong, 1994, p.271, no.976.For further information on this lot please visit Bonhams.com

A BRONZE POURING VESSEL, YITang DynastyThe shallow vessel standing on a short spreading foot rising to gently rounded sides and a waisted everted mouth with a shallow plain spout at one side, the surface with a dark patina and malachite encrustations.21.5cm (8 1/2in) wide.Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價唐 銅匜Published, Illustrated and Exhibited: Roger Keverne Ltd., Winter Exhibition, London, 2006, no.13.展覽著錄：Roger Keverne Ltd.，《冬季展覽》，倫敦，2006年，編號13A similar silver-gilt vessel unearthed from Hejiacun, Xi'an, in 1970, and now in the collection of the Shaanxi Historical Museum, is illustrated in Treasures of Chang'an: Capital of the Silk Road, Hong Kong, 1993, pp.134-135, no.42. See also another example illustrated in Tin-Bronze of China, Izumi, 1999, no.135.For further information on this lot please visit Bonhams.com

TWO PAINTED POTTERY FIGURES OF A GROOM AND A COURT LADYTang DynastyThe groom modelled with hands positioned as if holding reins, dressed in a long loose robe secured at the waist with a sash, 39cm (15 3/8in) high; the lady standing gracefully in the fashionable demeanour with hands brought in front of her chest, wearing long robes, her head modelled with plump cheeks and hair tied in two side knots, 32.5cm (12 6/8in) high.(2).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價唐 陶仕女俑 及馬夫立俑 一組兩件Published, Illustrated and Exhibited: R.Keverne Ltd., Summer Exhibition, London, 2002, no.39 (the groom)展覽著錄：Roger Keverne Ltd.，《夏季展覽》，倫敦，2002年，編號39（馬夫立俑）The result of Oxford Authentication Ltd. thermoluminescence test no.C101r89 dated 26 July 2001, is consistent with the dating of this lot. (the groom)Oxford Authentication Ltd公司熱釋光檢測結果（2001年7月26日，編號C101r89）顯示年代與本拍品年代一致。（馬夫立俑）For a related figure of a groom unearthed in Sanyuan County in 1985, see Treasures of Chang'an: Capital of the Silk Road, Hong Kong, 1993, pp.150-151, no.50. See another example illustrated by Feng Hejun, Collections of the Palace Museum: Pottery Figures, Beijing, 2007, no.131.For further information on this lot please visit Bonhams.com

* GERARD M BURNS, RED COAT IN THE CITY (GLASGOW) oil on canvas, signed 60cm x 60cm Framed. Note: The typical gallery price for a Gerard Burns 60 x 60cm painting is £3500. 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.

London Tram & Trolleybus Conductor's METROPOLITAN STAGE CARRIAGE BADGE T 17720. Equivalent to PSV licence badges, these were issued from 1935-1962 for electric traction in the capital. In good, ex-use condition. [1]

Capital Transport BOOK 'THE LONDON LT' by Ken Blacker, the definitive history of this classic London bus class. Published in 2010 and quickly out of print, this book is now seldom seen. This copy is as new. [1]

Trio of Capital Transport BOOKS by Ken Blacker comprising the definitive histories of the RT (The Story of a London Bus), (2nd edition 1980), 'The London ST' (2012) and 'The London T Types' (2015). All are in as-new condition. [3]

Louis Seize chest of drawersabout 1800Louis Seize Kommode. Um 1800. Nadelholz, furniert mit verschiedenen Hölzern (Esche, Ahorn, Ebenholz). 3 Schübe. Bandintarsien. Platte zusätzlich mit oval intarsiertem Medaillon. An den Ecken Viertel-Säulen mit profiliertem Kapitell. 76 x 103 x 54 cm. Originaler Erhaltungszustand mit originalen Schlössern. Louis Seize chest of drawersabout 1800Louis Seize chest of drawers. Around 1800. Softwood, veneered with different types of wood (ash, maple, ebony). 3 drawers. Ribbon inlays. The plate with an additional oval inlaid medallion. Quarter columns with a profiled capital at the corners. 76 x 103 x 54 cm. Original condition with original locks.

Classical figure - female bathing raised on an ionic capital base, 150 cm in height