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A Napoleon III brass Corinthian column lamp, the acanthus capital above a fluted column and stepped square base, with applied cupid decoration, fitted cream lamp shade, 90cm high including shadeCondition report: Small dent to base and some spotting

A Regency giltwood pier mirror, the rectangular plate below a painted vere Anglaise frieze and sphere decorated capital flanked by fluted pilasters, 90cm x 56cmCondition report: Areas of gilding missing on spheres

Kapitale witmarmeren sculptuur naar voorbeeld van 'De gevleugelde Nikè van Samothrake', h.99 cm. Capital white marble sculpture after the example of 'The winged Nikè of Samothrace', h.99 cm.

900-750 BC. A carved fossiliferous limestone cylinder seal with a worshipping scene; accompanied by a museum-quality impression and a copy of a typed and signed scholarly note by W.G. Lambert, Professor of Assyriology at the University of Birmingham, 1970-1993, which states: 'Cylinder Seal of Black/Green Stone, 34.5 x 15 mm. The scene consists of three main figures, all standing and wearing the same long fringed robes, but the two on the right racing left have a horn at the front of their hairbands, while the one figure facing right lacks this pointer. Thus the middle figure is a god (bearded!), and the figure on the right is a goddess (not bearded"). The two deities both raise one hand, and hold something in the other. The god holds a rod-like object, thicker at the ends than in the middle. The goddess holds a nearly semi-circular object with close lines over it, as if a small musical instrument. The facing figure on the left is the human worshipper, raising one hand with index finger extended, holding out the other hand with palm cupped. A terminal is formed of star above the spade of Marduk. Also in the sky are the lunar crescent and eight dots (not the usual seven"). The two styluses of Nebû, a rhomb, and sundry shapes fill spaces. This is a Neo-Assyrian seal, c. 900-750 B.C., but possibly from the Assyrian empire rather than from one of the capital cities. It is somewhat worn, but the design remains very clear.' 13.1 grams, 34mm (1 1/4"). The Signo collection, the property of a West London businessman, formed in the late 1980s-early 1990s, item number 46; academically researched and catalogued by the late Professor Lambert in the early 1990s. Fine condition.

Tang Dynasty, 618-906 AD. A ceramic figure formed as a walking horse, saddled, head to one side, whinnying; ears erect, wide eyes beneath raised brows, cropped mane, open mouth, short dressed tail; musculature suggested by depressed lines of varying depths; suggestion of hair around the mouth; black, pink, red and grey painted pigmentation survives. See Thorp, R., Son of Heaven: Imperial Arts of China, Seattle, 1988. 13.8 kg, 68cm (26 3/4"). From a 1970s west country collection, latterly in a London collection; accompanied by a positive thermoluminescence report issued by Laboratory Kotalla; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10173-166766. The Tang dynasty, with its capital at Chang'an, the most populous city in the world at the time, is regarded by historians as a high point in Chinese civilization - equal, or even superior, to the Han period. The Tang period was considered the golden age of literature and art. Stimulated by contact with India and the Middle East, the empire saw a flowering of creativity in many fields. At its peak, the Tang empire stretched from the Caspian Sea to the Pacific, from Manchuria and Korea in the north into Vietnam in the south. Within the country, commerce and cultural ideas thrived and spread through trade to Europe and even the court at Byzantium. Tang China was cosmopolitan and tolerant, welcoming new ideas and other religions. Within this environment, literature, painting, and the ceramic arts flourished. With a history reaching back to before the third century BC, tomb figures and furnishings were an important aspect of the Chinese culture. They also constituted a sizable amount of the ceramics produced during the Tang dynasty. Even in death, members of the wealthy, cosmopolitan Tang society sought to surround themselves with replicas of the splendid riches they had enjoyed during life. These objects were buried in tombs to provide for the needs of the deceased in the afterlife. Preparations for the tomb, which usually began well in advance of death, included the purchase of literally hundreds of pottery ming qi, or 'articles of the spirit,' such as figures of servants, musicians, and professional attendants; models of domestic and foreign animals; guardian spirits; and vessels from everyday life. The tomb furnishings that have survived are important social and cultural documents of the history of life during the Tang period. Finely modelled. [A video of this lot is available to view on Timeline Auctions website.]

Early 13th century AD. A vellum leaf from a Latin bible, each side with dense lettre bâtarde text in two columns of 44 lines; black ink text with red and blue versals; one side with red and blue title 'PET I' (indicating the First Epistle of St. Peter the Apostle) and illuminated capital 'S' in red, blue, green and liquid gold with foliage detailing; marginalia additions, drypoint layout grid and lines. 1.05 grams, 16 x 11 (6 1/4 x 4 1/4"). Ex Piasa, private UK collection; accompanied by a copy of part of the Piasa invoice dated 16 April 2007 and information sheet. Fine condition.

1st-3rd century AD. A carved and polished bone knife handle formed as an ornamental table leg with florid capital and snarling lioness mask over a tapering shank with lion's paw foot; slot to the reverse and remains of iron blade; mounted on a custom-made stand. 53 grams total, 89mm including stand (3 1/2"). Property of a private New York collection, acquired on the French art market in 2013; formerly in the private collection of Mr Schuller, acquired in the 1960s-1970s. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10239-167701. Very fine condition.

A collection of various architectural fragments and Roman plainware potteryIncluding a carved stone capital with egg and dart decoration, a barnacle encrusted pot, a similar pot fragment, a stone corbel carved as a man's head, a stone basin with one rounded corner, a fossil fragment with an ammonite impression, a severely weathered fragment of a man's head and two sections with bore hole through the centre, The basin, 64cm x 55cm x 12cm (10)Footnotes:Collected by the vendor in the 1970's.This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' 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

Mario Macilau (Mozambican, circa 1984)Four prints from the Zionist Series print on cotton rag paper 40 x 60cm (15 3/4 x 23 5/8in) each.(4)Footnotes:Mário Macilau was born in Maputo in 1984. A source of inspiration to the artist, he continues to live and work in the capital city today. Although interested in photographs from an early age, he was only able to pursue it himself after he traded his mother's cellphone for a camera in 2007.Macilau's photographic series are often the product of years of observation and reflection. His frames often have an ephemeral, transitory quality. But on closer inspection, it becomes apparent that these are no chance occurances or random arrangements; they are carefully composed by the artist, and explore themes as wide ranging as identity, equality, social inclusion, the environment and conservation. Macilau sees his camera as a vehicle for change, a way of drawing attention to social ills and injustices. In addition to his photographic pursuits, Macilau has been involved in many educational projects including Walking Together (WT), aimed at improving girls' access to education.The artist primarily shoots primarily in black and white, with muted tones and textures. The use of natural light and underexposed backgrounds create poetic, soft-edge images. Over the last two years, Macilau has been invited to exhibit at the United Nations Office, World Press Photo, and the Universal Rights Group. In 2015, his photographs won him the European Union Award for Environment. In the same year he exhibited at the Vitra Design Museum's exhibition 'Making Africa: A Continent of Contemporary Design'. In 2014, he was selected for the exhibition at Saatchi Gallery in London, 'Pangea: New Art from Africa and Latin America'.For further information on this lot please visit Bonhams.com

A group of Victorian and later silver ware, comprising a George VI cased set of teaspoons with Corinthian capital style finials, Josiah Williams & Co. London 1939, each 8.3cm long, a cased pair of silver and mother and pearl knife rests, John Biggin, Sheffield 1921, 6.8 by 2.8 by 2.8cm high, a Victorian pickle fork with twisted ivory handle, William Hutton & Sons Ltd. London 1899, 22cm long, an Edwardian silver oval form ashtray with weighted base, Samuel Jacob, London 1905, 11.5 by 8 by 2.2cm high, a George V silver topped and handled ink blotter, William Devenport Birmingham 1923, 8.8 by 2.5 by 2.8cm high and a set of Victorian six filled silver handled butter knives, London, 1856. (1 bag)

KOEKKOEK, JOHANNES HERMANUS KOEKKOEK, JOHANNES HERMANUS 1778 Veere - 1851 Amsterdam Titel: Schiffbruch vor der Küste Zeelands. Datierung: Um 1815. Technik: Öl auf Holz. Maße: 41,5 x 55,5cm. Bezeichnung: Signiert unten links: J.H. Koekkoek à Middelburgh. Rahmen/Sockel: Rahmen. Literatur: A. Nollert und G. de Werd: Barend Cornelis Koekkoek (1803-1862), seine Familie, seine Schule und das Haus Koekkoek in Kleve, Kleve 2000, S. 39ff., Abb.Nr. 38. Provenienz: Privatsammlung, Europa. Dramatische Szenen spielen sich am Strand ab: Vor der Küste ist ein großes Segelschiff gesunken, nur die Masten ragen schräg aus dem aufgepeitschten Wasser. Ein Boot mit Seeleuten konnte schon an den Strand gelangen, ein anderes kämpft noch gegen die raue See. Menschen eilen zu Hilfe. Zwei der Schiffbrüchigen in der Mitte des Gemäldes zeigen, dass sie sprichwörtlich mit dem nackten Leben davongekommen sind. Der Blick des Betrachters fällt durch die Dünenlandschaft auf die kleinfigurig staffierte Szene. Mächtig geballt drohen die grauen, teils schwarzen Wolken am Himmel. Der Sturm ist noch nicht vorüber. In der linken Hälfte des Gemäldes ragt der hohe Pfeiler einer Kirchenruine gen Himmel und bietet drei Menschen Schutz. In der rechten Bildhälfte bildet eine fast weiß leuchtende Düne die hellste Partie des Gemäldes und geht in die weiße Gischt des Meeres über. Johannes Hermanus Koekkoek, der dieses Gemälde schuf, war ein holländischer Marine-Maler, der in seinen Bildern häufig die Unterlegenheit des Menschen unter die Übermacht der Naturelemente thematisierte. Er ist der Ahnherr der berühmten Malerfamilie Koekkoek und es ist erstaunlich, angesichts der hohen malerischen Qualität seines Werks, dass er von den Anfängen einer Anstreicherlehre über eine Anstellung in einer Tapetenfabrik und Abendkursen in der Middelburger Zeichenakademie, diese Meisterschaft wohl nahezu autodidaktisch erlangte. Dank seines ungemeinen Talents konnte er sich um 1806 als Maler selbständig machen und muss auch ein hervorragender Lehrer gewesen sein, denn alle seine vier Söhne wurden Maler und sein wohl berühmtester Sohn Barend Cornelis berichtete stolz, dass sein Vater sein einziger Lehrmeister gewesen sei. Das hier angebotene Gemälde stammt aus Koekkoeks früher Zeit in Middelburg, bevor er 1826 die seeländische Hauptstadt verließ und nach Amsterdam übersiedelte. Schiffbrüche waren in den von der Seefahrt geprägten Niederlanden darstellenswerte Ereignisse, es stellt sich jedoch die Frage, ob der Schiffbruch in dieser Zeit auch als Metapher auf die stürmischen Zeiten verstanden wurde, die das niederländische Volk während der Besetzung und Annektierung durch das Napoleonische Frankreich durchzustehen hatte. Wir danken Guido de Werd, Köln, der die Zuschreibung am Original bestätigt hat. Erläuterungen zum Katalog Johannes Hermanus Koekkoek Niederlande Niederländische Schule romantisch-realistische Schule 1.H. 19.Jh. Gemälde Schiffe Malerei Ruine KOEKKOEK, JOHANNES HERMANUS KOEKKOEK, JOHANNES HERMANUS 1778 Veere - 1851 Amsterdam Title: Shipwreck off the Zeeland Coast. Date: Ca. 1815. Technique: Oil on wood. Measurement: 41,5 x 55,5cm. Notation: Signed lower left: J.H. Koekkoek à Middelburgh. Frame/Pedestal: Framed. Literature: A. Nollert and G. de Werd: Barend Cornelis Koekkoek (1803-1862), seine Familie, seine Schule und das Haus Koekkoek in Kleve, Kleve 2000, p. 39ff., ill. no. 38, p. 40. Provenance: Private collection, Europe. Dramatic scenes take place on the beach: a large sailboat has sunk off the coast, only the masts protrude diagonally from the surging water. A boat with sailors has already reached the beach, another one is still struggling against the rough sea. People rush to help. Two of the shipwrecked people in the middle of the painting show that they literally got away with their bare lives. The viewer's gaze falls through the dune landscape onto the small-figured scene. The grey, partly black clouds in the sky threaten to cloud over. The storm is not over yet. In the left half of the painting, the high pillar of a church ruin rises to the sky and offers shelter to three people. In the right half of the painting an almost white glowing dune forms the brightest part of the painting and merges into the white spray of the sea. Johannes Hermanus Koekkoek, who created this painting, was a Dutch naval painter who often depicted the inferiority of man to the superiority of the elements of nature. He is the ancestor of the famous Koekkoek family of painters, and it is astonishing, given the high painterly quality of his work, that he probably achieved this mastery almost autodidactically, from the beginnings of an apprenticeship as a painter to a position in a wallpaper factory and evening courses at the Middelburg drawing academy. Thanks to his immense talent, he was able to set up his own business as a painter around 1806 and must also have been an excellent teacher, as all of his four sons became painters and his probably most famous son Barend Cornelis proudly reported that his father was his only teacher. The painting offered here is from Koekkoek's early period in Middelburg, before he left the Zeeland capital in 1826 and moved to Amsterdam. Shipwrecks were depicted in the Netherlands, which was characterized by seafaring, but the question arises whether shipwrecks in this period were also understood as a metaphor for the stormy times that the Dutch people had to endure during the occupation and annexation by Napoleonic France. We are grateful to Guido de Werd, Cologne, who confirmed the attribution in the original. Explanations to the Catalogue Johannes Hermanus Koekkoek The Netherlands Dutch School romantic-realistic school 1st half of 19th C. Paintings Ships Painting Ruin

India.- Royal Bengal Engineers.- Sketch Plan of the City of Lucknow, large manuscript map of the capital of the state of Uttar Pradesh, pen and inks, watercolour wash, traces of pencil, on wove paper, sheet approx. 660 x 1000 mm (26 x 39 1/2 in), with owner's ink inscription of William Crommelin in the upper right corner, mounted on linen, several large tears within the map with some losses, numerous nicks and tears to extremities, surface dirt, damp-stains, unframed, [circa 1860]; together with a lithographed map by H.M Smith, No. 2 Plan of the Operations Against Lucknow during the month of March 1858, mounted on various [?]Indian handmade papers, old folds, some surface abrasion and adhesive issues, damp-stains and the lower right affixed with old paper obscuring the map, in general poor condition with numerous issues, unframed, published by Surveyor Generals Office Calcutta, 1858 (2)⁂ The manuscript map bears the collectors' signature of Major William Arden Crommelin, of the Bengal Engineers, later Chief Engineer of Oudh.

Roger Hilton (British, 1911-1975)Painting, October 1959 signed, inscribed and dated 'HILTON/30 X 54/OCT'59' (verso)oil on canvas76.3 x 137.2 cm. (30 x 54 in.)Footnotes:ProvenanceWith New Art Centre, London, circa 1970, where purchased by the present ownerPrivate Collection, U.K.The mid-to-late 1950s saw turbulent times for Roger Hilton. Artistically, he was wrestling with the problem of how an artist develops upon abstraction. Professionally, he chose to cut ties with his long-time dealer, Gimpel Fils, due to perceived pressures to mould his output into a more commercial form, leaving him in a position of financial uncertainty. And personally, his marriage to Ruth David was waning, ultimately ending in divorce. Yet these years bore triumphs. Hilton's first retrospective was held at the ICA in early 1958, which led to the Tate Gallery and the Arts Council both making their first acquisitions of his work, with further purchases made by both the following year along with the Gulbenkian Foundation and Ferens Art Gallery in Hull. He was awarded a prize at the prestigious John Moores Exhibition in Liverpool in 1959 and his work was included in several important mixed exhibitions such as the 1957 Lawrence Alloway organised Metavisual Tachiste Abstract: Painting in England Today.Out of this period, both personally and artistically, several key developments emerge. In the summer of 1956, he took a studio in St Ives and then in Newlyn the following three years, beginning an engagement with the South-West that would later be cemented by a permanent move. In London too he found a new studio in St. John's Wood, in which he would increasingly reside when in the capital. At the end of the decade Hilton joined the stable of Waddington Galleries, who offered the security of a £360-a-year stipend, which enabled him to give up his teaching position at the Central School of Art and led to a series of highly praised and commercially successful exhibitions. And by 1959 he had met fellow painter Rose Phipps, who would spend that summer with him in Newlyn, and who he would later marry.Dating to October of that very year, the present work, and other such examples, display a new bravado from an artist who had already developed a highly confident manner of working. The hardened edges of his earlier neo-plastic forms give way to rolling masses, armatures and details utilised in such a balanced economy of mark-making that they become highly suggestive. An audaciousness enters his technique; charcoal traditionally associated with underpaintings is purposefully laid bare or, as in the current example, unmixed pigment is tubed directly onto the canvas. Whilst his idiom presents initially as abstract, reference points are increasingly identifiable with his most returned to source being the female form. Writing in 1961, Hilton concluded how at least artistically he had resolved the various quandaries this period had presented him with:'Abstraction in itself is nothing. It is only a step towards a new sort of figuration, that is, one which is more true. However beautiful they may be, one can no longer depict women as Titian did. Renoir in his last pictures had already greatly modified her shape... For an abstract painter there are two ways out or on: he must give up painting and take to architecture, or he must reinvent figuration' (ex.cat., Roger Hilton & Alan Bowness, Roger Hilton, Galerie Charles Lienhard, Zurich, 1961)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

Milton (John) Paradise Lost. A Poem Written in Ten Books, first edition, second state, title and text within double- and single-rule borders, woodcut initials, typographic headpieces, lacking initial blank f., title with loss to head and foot, affecting head of border and much of imprint (now supplied in a later hand), title fore-margin chipped and with "Arnold Library Rugby" ink stamp to , light foxing and some browning, ink name to rear endpaper, ink notes to front endpapers, contemporary blindstamped calf, upper cover detached, spine ends chipped, a little rubbed, [Pforzheimer 717; Wing M2137], small 4to, printed [by Samuel Simmons], and are to be sold by [Peter Parker] under Creed Church [neer Aldgate; and by] Robert Boulter at the [Turks Head in Bishopsgate-street; and Matthias Walker, under St. Dunstons Church in Fleet-street], [1667].⁂ "One of the greatest, most noble and sublime poems which either this age or nation has produced."" - John Dryden.The second state with "John Milton" in a smaller italic capital font. Rare in a contemporary binding. Provenance: Eliz. Davis (ink inscription).

Boydell (John & Josiah) A Set of Prints Engraved after the Most Capital Paintings in the Collection of Her Imperial Majesty The Empress of Russia, Lately in the Possession of the Earl of Orford at Houghton in Norfolk; with Plans, Elevations, Sections, Chimney Pieces & Ceilings, 2 vol., first edition, text in English and French, engraved portrait frontispiece of Empress Catherine II by Caroline Watson after Alexander Roslin in vol. 1, vol. 2 lacking portraits frontispiece of Robert Walpole, engraved titles with vignettes, engraved dedication to vol.1, 28 engraved plans, elevations and interiors of Houghton Hall on 19 sheets, and 129 plates on 105 sheets (1 double-page), mostly engravings or mezzotints from paintings by Bartolozzi, Boydell, Farington, Earlom, Green, Fittler, Heath and others, after Rembrandt, Poussin, Claude, Leonardo, Caracci, Rubens, Titian and others, many excellent impressions, well inked with strong contrasts, and including some scratched letter and unlettered proof impressions, titles and dedications with some spotting, chips and repaired tears, vol. 2 with dampstaining to lower corner, heavier at start, mostly to margins but straying into a few images, double-page plate with tape repair to verso, a few plates creased, a few short tears to margins, some repaired, a few plates trimmed within margins, bookplates to pastedowns, modern half morocco, [Brunet I, 1192; Lowndes III, 856], large folio (670 x 495mm.), John and Josiah Boydell, 1788.⁂ Large and finely engraved record of the large collection of paintings formed by Sir Robert Walpole at Houghton Hall sold en bloc to Empress Catherine II of Russia. Provenance: James Archibald Campbell (1807-1879, bookplate with autograph note: "These two volumes... offered to me... by James Archibald Cameron, in apparently good health, Dec. 9, 1879. Mr Campbell died the same evening about 9p.m.").

TWO GILT METAL AND MARBLE COLUMN PEDESTALS LATE 19TH/ EARLY 20TH CENTURY the first with a square green marble platform with shaped canted angles above a laurel leaf capital and pink veined marble column raised on a stepped plinth; the second with a square platform above a Corinthian capital and slender rouge and faux marble column mounted with further foliate bands, raised on square stepped plinth(111cm high, 30cm wide; and 115cm high, 30cm wide)

"Study of Mural, State of Oklahoma," Impressionist oil on canvas painting by Thomas Gilbert White, signed in the lower right. The oil on canvas is an exterior impressionist scene with a group of ladies chatting and walking, it has a gorgeous gold leaf frame with decoration. Provenance: acquired at Long Island from the artist's estate from his 3rd wife. White was born in Grand Rapids Michigan in 1877, Gilbert White spent most of his life living in Paris. White won awards for drawing at the Art Students League and at the Julian Academy. His murals (which were painted in Paris) hung, and in many cases still hang in Kentucky State Capitol, The Utah State Capital, The New Haven County Court House (CT), and the Oklahoma State Hospital. During his lifetime, his work was acquired by the Corcoran, The Brooklyn Museum, and the Philiadelphia Musuem of Art. Additionally, works are or were acquired by the Houston Museum, the Luxembourg Gallery and the City of Parrs Museum. A portrait is in the collection of the University Club and a Mural was in the McAlpin Hotel. He designed a huge mural for the Agricultural Building in Washington DC for which he was paid $15,000. (Big Money for the 1920's). Overall size: 23 1/4 x 37 1/2 in. Sight size: 14 x 28 in. Please note that all sales are final. No refunds will be given under any circumstances.

Enchanting impressionist scene titled "Interieux" depicting White's first wife sitting in drawing room at home in Les Andelys, France. Provenance: acquired from Long Island dealer in '86. Born in Grand Rapids Michigan in 1877, Gilbert White spent most of his life living in Paris. White won awards for drawing at the Art Students League and at the Julian Academy. His murals (which were painted in Paris) hung, and in many cases still hang in Kentucky State Capitol, The Utah State Capital, The New Haven Courty Court House (CT), and the Oklahoma State Hospital. During his lifetime, his work was acquired by the Corcoran, The Brooklyn Museum, and the Philiadelphia Museum of Art, among others. Signed lower right: Gilbert White, Overall size: 38 1/4 x 31 3/4 in. Sight size: 31 1/2 x 25 in. Please note that all sales are final. No refunds will be given under any circumstances.

An Edward VII Silver Oil Lamp, by James Henry & Herbert Barraclough, Sheffield, 1908, Retailed by Barraclough and Sons Ltd., Leeds, on stepped base and with tapering column and Corinthian capital, with cut-glass font with silver-plate mounts and associated glass shades, 71.5cm high

A late 1970s Capital Radio promotional wristwatch, having a Timex mechanical movement

HEMINGWAY, Ernest (1899-1961). To Have and Have Not. New York: Charles Scribner 's Sons, 1937.8vo. Original publisher 's black cloth gilt; original dust jacket (slight chipping at head of spine and corners).    FIRST EDITION, FIRST PRINTING with the Scribner's seal, and the capital "A" on the copyright page. Hanneman A14a.For condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com

LEO I (ca 360-461, Pope from 400). Sermones et epistolae. Translated from Latin into Italian by Filippo Corsini. Florence: [Antonio di Bartolommeo Miscomini], 21 May 1485.  Chancery folio (277 x 205 mm). Collation: I4; 2-218 2210. 173 leaves (of 174; lacking final blank). 33 lines. Roman type 3:112. Capital spaces with guide letters, illuminated with 2 6-line initials in blue with elaborate red penwork, numerous 2-line initials in blue. (First and last leaves inlaid, repairs to a few lower corner margins occasionally just touching a letter or two). 20th-century blind-stamped blue morocco by Vignal (upper cover detached, lower joint slightly rubbed, minor chipping to spine ends).  FIRST EDITION IN ITALIAN of Leo I's sermons. The Bishop of Aleria's epistle, beginning on 1v, shows Corsini worked from the Latin edition of Sweynheym and Pannartz, published in 1470 in Rome, or one of its reprints (the present edition omitting a few miscellaneous pieces at the end).   BMC VI, 638; BSB-Ink L-104; HC 10016; Goff L-136.  Property from the Collection of Edward A. QuattrocchiFor condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com

SUCKLING, John, Sir (1609-1642). Fragmenta aurea. A Collection of All the Incomparable Peeces... London: for Humphrey Moseley, 1646.  8vo (180 x 104 mm). Engraved portrait frontispiece by William Marshall trimmed and mounted to front leaf. (A few page numbers or headlines shaved, small repair affecting one letter, some dampstaining.) Late 18th-century morocco gilt (rebacked preserving spine, some wear). Provenance: Fairfax Rhodes (1845-1928), English collector (armorial bookplate);   W. G. Lacy (armorial bookplate). FIRST EDITION, third state of the general title-page with the first line set in capital and lower case letters, but with the first state of "Churchyard" with an unbroken "d" and with a rule under the date, with the corresponding second state of page [vi] with "allowred" corrected to "allowed." ESTC R218856; Grolier Wither to Prior 827; STC S6126B.Property from the Collection of Edward A. QuattrocchiFor condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com

CAESAR, Caius Julius (100-44 B.C.). [The Commentaries].   Commentarii. Milan: Philippus Lavagna, 1478.  Folio (311 x 224 mm).   Collation: a–p?qr?. 132 leaves with fol 132, blank (of 152, lacking 20 leaf index, comprising A-B8 C4). 42 lines, headlines in manuscript throughout. Type: 112R. Capital spaces with guide letters. 19th century calf gilt (joints starting, some light wear). Provenance: early manuscript headlines, foliation and marginal annotations (marginal annotations occasionally trimmed); John Shepard Eells, Jr. (armorial bookplate).  Reprinted from Zarotus' 1476 edition, omitting P. J. Philelphus' dedication. RARE: according to online records, only one copy of this edition has sold at auction in the last 40 years (sold Lawrence, 17 January 2006, lot 228). BMC VI, 706; BSB-Ink C-26; Goff C-20; GW 5867; Hain 4216; ISTC ic00020000 (citing only 24 institutional holdings).Property from the Collection of Edward A. QuattrocchiFor condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com

3 adult erotic and art books. "Eros & Thanatos" by Klaus Bottger from The Erotic Print Society. Together with The Erotic Arts by Peter Webb, New Edition 1983, paperback book and Capital Affairs: London and the making of the permissive society by Frank Mort, 2010.

with carved and turned wood column to a quadruple Asiatic lion capital with Ashoka Chakra “wheel” symbols, rosewood base, 21.5 cm highCondition report: In good condition.

Charles Edward Dixon (British, 1872-1934)HMS Queen Elizabeth leading other capital ships of the fleet 'in line ahead' signed and dated 'Charles Dixon/1915' (lower left)oil on canvas45.7 x 66cm (18 x 26in).Footnotes:ProvenanceCollection of P.M. JonesChristie's, London, 18th December 1964, lot 195. Sold for £31.10 (30 gns). ExhibitedBelieved to be exhibit 1265 at the Royal Academy, London in 1915 entitled 'In line ahead'; unfortunately, the RA is unable to confirm the dimensions of the exhibit. Named for 'Good Queen Bess' in whose reign the Armada had been defeated, HMS Queen Elizabeth was the name-ship of the five 'Queen Elizabeth' class of battleships ordered in 1912-13, all of which were completed in time to play major roles in the Great War. Not only was the class the first to mount 15-in. guns and to be able to steam at 24 knots, it was also the first to be equipped with oil-fired boilers thus signalling the beginning of the end of the coal-burning era at sea. Laid down at Portsmouth and launched in October 1913, Queen Elizabeth was commissioned just before Christmas 1914 and joined the Mediterranean Fleet in February 1915 as Flagship to the East Mediterranean Squadron. Employed in the Dardanelles and in support of the ill-fated Gallipoli landings, she transferred into the Grand Fleet in May 1915 where she remained until 1919. Fleet Flagship to Admiral Beatty from 1916-19, the historic surrender of the German High Seas Fleet was effected aboard her on 21st November 1918. Flagship of the Atlantic Fleet from 1919-24 and again, briefly, in 1929, she spent most of the inter-war years in the Mediterranean and was refitting when War broke out in 1939. She rejoined the Home Fleet early in 1941, but after being badly damaged by limpet mines in Alexandria that December, she had then to be docked until June 1943 such was the scale of repairs required. Ordered to the Far East in December 1943, she saw extensive action there until sent home in July 1945, after which she was placed in Reserve until scrapped in 1948.For further information on this lot please visit Bonhams.com

Circa 1900, six standard chairs, one carver and one stool, all in oak with rush seats, the carver inscribed with capital letters to the rear upper frame

An American wall clock depicting an image of The Capital at Albany in the lower section

Jones (William). Les Reports de Sir William Jones Chevalier. Jades un des Justices del' Court de Common-Banck. Et devant Capital Justice d'Ireland..., London: printed by T.R. and N.T. for Thomas Basset and Richard Chiswel, 1675, early signature at head of title and armorial bookplate of Sir James Mountaque to verso, occasional marginal notes, slight dust-soiling, contemporary calf, old reback, boards detached, some wear, folio (Wing J1003), together with: Jones (Thomas), Les Reports de divers Special Cases en le Common Bank & en le Court del Bank le Roy. En le Reigne de le Roy Charles le II..., London: printed by the Assigns of Rich. and Edw. Atkins for Samuel Keble, 1695, early marginal notes throughout volume, light dust-soiling and toning to some margins mostly at front and rear, contemporary blind panelled calf, joints split, worn at head & foot of spine and to board corners, folio (Wing J999), Hutton (Richard), The reports of that reverend and learned judge, Sir Richard Hutton Knight; sometimes one of the judges of the common pleas. Containing many choice cases, judgments..., now faithfully translated into English, London: printed by T.R. for Henry Twyford and Thomas Dring, 1656, dampstaining and damp fraying to fore-margins throughout volume, contemporary calf, worn with loss to spine, slim folio (Wing H3843), [Barrington, Daines], Observations on the Statutes, chiefly the more ancient, from Magna Charta to The Twenty-First of James the First, Ch. xxvii. With an appendix; being a proposal for new modelling the statutes, London: printed by W. Bowyer, 1766, ownership inscription at head of title, armorial bookplate of Phillip Carteret Webb to upper pastedown, contemporary calf, joints split and light wear, spine darkened and lacking title label, 4to, and other similar 17th & 18th century law related, in contemporary calf, worn, folio & 4toQty: (11)

* George III Common Recovery. A vellum deed for the recovery of land in Chipping Campden, Gloucestershire, by John Warner against John Berry, Westminster, 13 May 1793, engraved heading and decorative borders with portrait of George III within capital initial upper left, red-ruled and written in a neat hand, some soiling and a little loss of legibility of a few words in final lines, 68 x 85 cm, wax Great Seal appended, rubbed and repaired with wax where previously cracked and broken, together with a related deed dated 18 April 1793, being a release for suffering a recovery of a messuage with the appurtenances in Chipping Campden and for declaring the use thereof to John Warner, the purchaser, from Thomas Whatcott to John Berry, manuscript on two stitched membranes with three red wax seals and signatures of Thomas Whatcott, Alice Whatcott and John Berry to lower margin, 59 x 74 cmQty: (2)NOTESThe second document identifies John Warner as 'watchmaker', a descendant of earlier celebrated members of the Warner family of clockmakers from Chipping Campden in Gloucestershire.

Jacobites. A Distinct and Impartial History of the Conspiracies, Trials, Characters, Behaviour and Dying Speeches of all those who have suffered on account of the House of Stewart, from the Revolution down to the Commencement of the last Rebellion. Being a compendious view of the plots hatched by that House and their adherents, and the fate of the instruments employed by them, 1st edition, London: T. Gardner, 1747, woodcut headpiece and initial, some light spotting, bookplates including Sir Thomas Dawson Brodie (1832-1896), contemporary tree calf gilt, a little worming at head of spine and upper cover, 8vo, together with [Burt, Edward]. Letters from a Gentleman in the North of Scotland to his Friend in London; Containing the Description of a Capital Town in that Northern Country..., 2 volumes, 1st edition, London: S. Birt, 1754, engraved plan and 8 engraved plates, errata leaf at end of volume II, occasional light spotting, contemporary calf, modern calf rebacks preserving red labels, 8vo, with four others: A Collection of Original Poems by the Rev. Mr. Blacklock and other Scotch Gentlemen, 2 volumes, 1st edition, Edinburgh 1760-62, Fingal, an Ancient Epic Poem in Six Books: Together with several other poems, composed by Ossian the Son of Fingal, translated from the Galic Language, by James Macpherson, 1762 (title repaired), Travelling Memorandums, made in a Tour upon the Continent of Europe, in the Years 1786, 87 & 88; by the Honourable Lord Gardenstone, 1st edition, 1791 and Scottish History & Life, edited by James Paton, 1902, large paper edition, 56/320Qty: (8)

Hooper (William Eden). The British Empire in the First Year of the Twentieth Century and the Last of the Victorian Reign, its Capital Cities and Notable Men, 2 volumes, Heywood and Company, c. 1902, 2 folding colour maps, numerous plates including sepia photogravures, top edges gilt, original vellum gilt, slightly rubbed and soiled, 4toQty: (2)NOTESOne of 1000 deluxe copies.

Scarce and historically important football programme relating to the first-ever tour by an English team to pre-Revolutionary Russia in 1911, issued for the match between English Wanderers and a combined Moscow & St Petersburg British Clubs XI, single-sheet of paper, printed in Cyrillic, priced, and with the Russian Julian Calendar date of 20th August, being the 2nd September in the Gregorian Calendar, pencil translations to English language Football in Russia at this time mainly involved teams representing British-owned textile mills. The best known among these was the Charnock family - Clem, James and Harry - whose Vicoul Morozov Mill was situated to the east of Moscow. They created their own team called the Morozovtsi which in the pre WWI period was arguably the best team in Russia and the Charnock family's involvement led directly to Russia joining FIFA in 1912 and entering the Stockholm Olympics of the same year. The present match saw a team comprised of British players living & working in St Petersburg (then the Tsarist capital) and Moscow, who had formed clubs there, play the famous amateur team English Wanderers. The game attracted a gate of 4,500 spectators in St Petersburg and ended as a 14-0 win for the Wanderers. Eight of the English Wanderers starting XI were capped England Amateur Internationals: Ron Brebner Darlington-born goalkeeper and gold medal winner at the 1912 Stockholm Olympic Games. Played for a variety of clubs including Chelsea. Tragically died in 1914 having sustained a head injury playing for Leicester Fosse. James Raine Made Football League appearances for Newcastle United, Sunderland, Sheffield United & Glossop. Served as a Major in the Durham Light Infantry during the First World War. Arthur Berry Famous England amateur who won 24 caps and two gold medals for Great Britain at the London 1908 and Stockholm 1912 Olympic Games. A double Oxford Blue who made appearances for Liverpool, Fulham, Everton, Wrexham, Northern Nomads and Oxford City. He later Served as Chairman and Director of Liverpool FC. Frederick Chapman Co-founder of English Wanderers and a gold medal winner at the London 1908 Olympic Games. He made Football League appearances for Nottingham Forest. Gordon Hoare Another team member who was a Great Britain Olympic champion, winning gold at Stockholm in 1912. Played Football League matches for Woolwich Arsenal, Glossop and Fulham. Syd Owen Hat-trick scoring England Amateur international forward whose main club was Leicester Fosse. Born in Newcastle-under-Lyme he has various spells at Stoke as well. J E Olley Twice an F.A. Amateur Cup winner with Clapton FC. R W W Cuthbert Played three times as an England Amateur in the same year as the Wanderers 1911 Russian Tour, including twice on the continental tour v Germany and Netherlands. The other English Wanderers players for this game were Bardsley, Gaskell and G Olley, presumably a family relation of J E Olley.

21k gold replica of the 1900 Paris Exposition Universelle Internationale medal designed by Chaplain,stamped 21k, obverse with Marianne, reverse with a male holding a flaming torch being carried by a winged female, an inscribed within a cartouche BRASSERIE DE CUAUHTEMOC The Cuauhtémoc brewery was founded in Monterrey, Mexico, in 1890 by José A. Muguerza, Francisco G. Sada Muguerza, Alberto Sada Muguerza, Isaac Garza Garza (brother in-law of Francisco and Alberto, married to their sister Consuelo Sada Muguerza), Joseph M. Schnaider, with capital of 150,000 pesos, starting with the Carta Blanca brand. Cuauhtémoc brewery produced its first beer barrel in 1893 and won first prize in the Chicago World Fair, and then at the 1900 Paris World Fair. However, this medal is much smaller than the 1900 issues and is deemed to be a gold commemorative replica of their original prize, minted in Mexico.

Original vintage travel poster for Venice issued by ENIT and Italian State Railways. Great photo of Piazza San Marco with gondolas in the front. ENIT—Agenzia nazionale del turismo, known in English as The Italian Government Tourist Board, formerly the Ente Nazionale Italiano per il Turismo ('Italian National Agency for Tourism') is the Italian national tourism board. The national Tourist Board is situated in Rome. Venice is a city in northeastern Italy and the capital of the Veneto region. It is on a group of 118 small islands that are separated by canals and linked by over 400 bridges. The islands are located in the shallow Venetian Lagoon, an enclosed bay that lies between the mouths of the Po and the Piave rivers (more exactly between the Brenta and the Sile). Excellent condition, minor creasing. Country of issue: Italy, designer: Unknown, size (cm): 75x50, year of printing: 1960s

Original vintage travel poster for Iran Persia - Isfahan. Issued by Iran National Tourist Organisation. (INTO) Printed by Offset Press Inc, Tehran, Iran. Good condition, creasing on margins, tears on margin, large cut on left margin. Isfahan (historically also rendered in English as Ispahan, Sepahan, Esfahan or Hispahan) is a city in Iran. It is located 406 kilometres (252 miles) south of Tehran, and is the capital of Isfahan Province. Isfahan has a population of approximately 1.6 million, making it the third largest city in Iran after Tehran and Mashhad, but was once one of the largest cities in the world. Isfahan is an important city as it is located at the intersection of the two principal north south and east west routes that traverse Iran. Isfahan flourished from 1050 to 1722, particularly in the 16th and 17th centuries under the Safavid dynasty when it became the capital of Persia for the second time in its history under Shah Abbas the Great. Even today the city retains much of its past glory. It is famous for its Perso Islamic architecture, grand boulevards, covered bridges, palaces, tiled mosques, and minarets. Isfahan also has many historical buildings, monuments, paintings and artefacts. The fame of Isfahan led to the Persian pun and proverb "Esfahan nesf-e- jahan ast": Isfahan is half (of) the world. The Naghsh-e Jahan Square in Isfahan is one of the largest city squares in the world. UNESCO has designated it a World Heritage Site. Very good condition, creasing, minor paper damage at the back. Country of issue: Iran, designer: Unknown, size (cm): 97.5x67.5, year of printing: 1960s

Original vintage travel poster for Innsbruck, Tyrol, Austria, with a photo by Klebelsberg. Innsbruck is the capital city of the Tyrol region and the fifth-largest city in Austria. It's name literally translates as 'Bridge over the Inn' and hosted the 1964 and 1976 Winter Olympics. Innsbruck is a popular tourist and skiing destination for the Austrian Alps. The poster features a black and white monotone photograph showing the sihlouette of St. Anne's Column, which stands in the city centre of Innsbruck on Maria-Theresien-Strasse. It was given its name when, in 1703, the last Bavarian troops were driven from the Tyrol on St. Anne's Day (26 July), as part of the War of the Spanish Succession. In 1704, in gratitude, the Landstande vowed to build a monument commemorating the event. Snowy mountains can be seen at the background accompanied by bold red text at the bottom. Very good condition, minor tear at the bottom, minor creasing. Country of issue: Austria, designer: Klebelsberg, size (cm): 70x47.5, year of printing: 1960s

Original vintage travel poster for Innsbruck, Tyrol, Austria, with a photo by Klebelsberg. Innsbruck is the capital city of the Tyrol region and the fifth-largest city in Austria. It's name literally translates as 'Bridge over the Inn' and hosted the 1964 and 1976 Winter Olympics. Innsbruck is a popular tourist and skiing destination for the Austrian Alps. The poster features a black and white monotone photograph showing a panoramic view of the city, with the built town and alps in the distance, accompanied with bold red lettering below. Very good condition, tears and minor creasing at the right edge. Country of issue: Austria, designer: Dr. Defner, size (cm): 70x50, year of printing: 1960s

Original vintage travel poster for Innsbruck, Tyrol, Austria, with a photo by Klebelsberg. Innsbruck is the capital city of the Tyrol region and the fifth-largest city in Austria. It's name literally translates as 'Bridge over the Inn' and hosted the 1964 and 1976 Winter Olympics. Innsbruck is a popular tourist and skiing destination for the Austrian Alps. The poster features a black and white monotone photograph of the famous sight Goldenes Dachl, 'Golden Roof', considered as the city's most famous symbol. Completed in 1500, the roof was decorated with 2,657 fire-gilded copper tiles for Emperor Maximilian I to mark his wedding to Bianca Maria Sforza.The Emperor and his wife used the balcony to observe festivals, tournaments, and other events that took place in the square below. Excellent condition. Country of issue: Austria, designer: Sickert, size (cm): 70x47.5, year of printing: 1960s

Original vintage travel poster for the Abbeville province in France. Abbeville is a commune in the Somme department and in Hauts-de-France region in northern France. It is the chef-lieu of one of the arrondissements of Somme. Located on the River Somme, it was the capital of Ponthieu. Its inhabitants are called the Abbevillois. Acceptable condition, tears at edges, holes near top edge. Country of issue: France, designer: Taquet, size (cm): 105.5x75, year of printing: 1920s

Original vintage travel poster for Fiera Del Levante Bari / Fair of East Bari taht took place form 6-21 September - Great artwork features a rainbow of national flags arching over a building with a yellow sky in the background. Bold white lettering in the blue banner below - Bari is a port city on the Adriatic Sea, and the capital of southern Italy’s Puglia region. Issued by the Italian State Travel Agency ENIT jointly with Italian Railways. Very good condition, couple of minor stains at margins. Country of issue: Italy, designer: Unknown, size (cm): 99.5x64, year of printing: 1930

Original vintage travel poster for Lisieux - Centre Mondial De Pelerinage a 20 minutes de la Mer / World Pilgrimage Center 20 minutes from the Sea - Great artwork by Fred Money (1882-1956) features a large crowd of people entering Basilica of Sainte-Therese of Lisieux, a Roman Catholic church and minor basilica dedicated to Saint Therese of Lisieux. Lisieux is a commune in the Calvados department in the Normandy region in northwestern France. It is the capital of the Pays d'Auge area, which is characterised by valleys and hedged farmland. Printed in France by The French State Railways. Fair condition, tears, stains, paper losses, folds, trimmed edges. Country of issue: France, designer: Fred Money, size (cm): 101x63, year of printing: 1930s

Original vintage travel poster for Lisieux, titled "World Pilgrimage Centre". The painting featured is by artist Jean Ch. Contel in 1923. Lisieux is a commune in the Calvados department in the Normandy region in northwestern France. It is the capital of the Pays d'Auge area, which is characterised by valleys and hedged farmland. The religious city of Lisieux draws vast numbers of Catholic visitors. Liseux is often considered the second most important pilgrimage site in France, due to its 19th-century saint, Therese Martin. Liseux's 20th-century hillside basilica, is often compared to the basilica of Sacre-Cœur de Montmartre in Paris. Published by the French National State Railway, and printed by Gaillac-Monrocq & Cie imp. Paris. Good condition, tears, pinholes, paper losses, creasing, folds, minor stains. Country of issue: France, designer: Ch. Contel, size (cm): 101x62, year of printing: 1923

Original travel advertising poster for the East Asiatic Company, for passenger passenger ship services serving between Europe and Asia - covering the Straits (modern day Singapore and Malaysia), Siam (Thailand), and Ceylon (Sri Lanka). The East Asiatic Company was founded by Hans Niels Andersen, a Danish shipping magnate and businessman in Copenhagen in 1897. Service which would eventually include both passenger and freight lines between the Danish capital, Bangkok and the far east was the initial objective. Routes to include the Baltic and Black Seas were established when in 1899, the subsidiary Russian East Asiatic Steamship Co. of St. Petersburg was formed. The artwork features a large passenger ship and a globe against a bright orange background, with the globe showing the a map of the route between Denmark and the East. Very good condition, crease marks. Country of issue: Denmark, designer: Bille, size (cm): 94.5x62, year of printing: 1950s

Original vintage travel poster - American Airlines to Boston - featuring a great design by one of the most renowned poster artists of the 20th century Edward McKnight Kauffer (1890-1954) depicting a piece of note paper with Boston in bold black letters on it lying over a blue paper with white stars on it and a red and white striped paper to form the American flag against a purple and black shaded background with the stylised lettering above and an image of a revolutionary patriot soldier holding a musket rifle gun in a circle below representing the history of Boston. American Airlines was founded in 1926 and is now one of the world's largest airline companies. Located in the New England region, the City of Boston is the capital of Massachusetts. Excellent condition, backed on linen. Country of issue: USA, designer: Edward McKnight Kauffer, size (cm): 101x77, year of printing: 1953

A FRENCH ORMOLU-MOUNTED AGATE PEDESTAL, 19TH CENTURY'in Neoclassical base, with swiveling square top, the columnar body with Corinthian capital, with stepped reeded base atop square plinth with with entrelac, reeded and palmette trim, supported by four scrolling acanthus feet; overall height: 112 cm (44 in.) CONDITIONThe pedestal is in overall very good condition. One chip to the top. Columnar body slightly mobile.N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

THEODORE GUDIN (FRENCH 1802-1880)Scene sur la Plage Avec une Charette, watercolor and pencil on paper 13 x 23 cm (5 x 9 in.) [sight] signed lower right PROVENANCEGalerie Lestranger, Place Jean de Renaud, 13210 St. Remy De Provence, S.A.R.L au Capital de 50,000 F.R.C.S Tarascon B 397 964 585 (label on verso) William A. Smith, Inc. auctioneers and Appraisers, Plainfield, NH, sale 03781, lot 369 (label on verso)CONDITIONN.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Vinyl - The Beratles Sgt Peppers ltd edn picture disc US pressing Capital Records sleeve and vinyl ex

Utagawa Hiroshige (1797-1858), Utagawa Kunisada (1786-1864), Tsukioka Yoshitoshi (1839-1892) and othersEdo period (1615-1868) to Meiji era (1868-1912), early to late 19th century Eight oban prints: five by Hiroshige including a tate-e of Oki from the series Rokujuyoshu meisho zue (Famous Places in the 60-Odd Provinces), a yoko-e of Kinkakuji from the series Kyoto Meisho no uchi (Famous Views of Kyoto) and another yoko-e of Kameido Tenmangu keidai no yuki, (The Compound of the Tenman Shrine at Kameido in Snow) from the series Toto meisho (Famous Views in the Eastern Capital); sixth, a tate-e by Yoshimune depicting a scene from the Tokaido Road; seventh by Kunisada, a tate-e sheet from a triptych, depicting sumo wrestlers; the last tate-e by Yoshitoshi from the series Tsuki hyakushi (A Hundred Aspects of the Moon); variously published and variously signed; all framed and glazed. The smallest: 34cm x 21.2cm (13 3/8in x 8 3/8in); the largest: 35.5cm x 24cm (14in x 9 7/16in). (8).For further information on this lot please visit Bonhams.com

An imperial painting of a Vajraheruka 'twenty-one' deity mandalaTibeto-Chinese, Qianlong Period, circa 1750-1763 Distemper on cloth, inscribed on upper and lower border, with original silk mounts. 74cm (29 1/8in) high x 55.5cm (21 7/8in) wide; with silk mounts: 134cm (52 6/8in) high x 75cm (29 1/2in) wide.Footnotes:清乾隆，約1750-1763年 御製金剛鬘二十一尊壇城唐卡The vibrant composition is decorated with auspicious figures arranged around a lotus blossom within the walls of a palace, all above a large lotus with flaming border with flying garland-bearers, all set within a mountainous landscape interspersed with flowing streams and vaporous ruyi clouds, silk mount.Inscribed on the silk ribbon: ཉེར་དགུ་'Twenty-one' Inscribed along the top edge and on top of silk ribbon: རྡོ་རྗེ་འཕྲེང་བའི་དཀྱིལ་འཁོར་ཉེར་དགུ་པ་རྡོ་རྗེ་ཁྲག་འཐུང་ལྷ་ཉེར་གཅིག་གི་དཀྱིལ་འཁོར།།'Twenty-one deity mandala of Dorjé Trantung (Vajraheruka), the 29th mandala of the Vajrāvalī'.Inscribed along the lower edge: ལྕང་སྐྱ་སྤྲུལ་སྐུ་རིན་པོ་ཆེས་ཐིག་སོགས་ཀྱི་བཀོད་པ་གནང་ནས་རྒྱལ་སྲས་བཅུ་གཉིས་པ་ཡུན་ཐོའུ་གྱི་ལྷག་བསཾས་དག་པས་ཕུལ་པའི་རྡོར་ཕྲེངགི་དཀྱིལ་འཁོར་ ཉེར་དགུ་པ་རྡོ་རྗེ་ཁྲག་འཐུང་ལྷ་ཉེར་གཅིག་གི་དཀྱིལ་འཁོར།།'Twenty-one deity mandala of Dorjé Trantung (Vajraheruka), the 29th mandala of the Vajrāvalī offered by the twelfth prince Yuntou gyi Lhaksem Dakpa (Yintao) after a design bestowed by the Changkya Trülku Rinpoché. This remarkable painting would have been part of a larger set of probably forty-four paintings depicting the mandalas of the Vajravali compendium. In place of the deities are depictions of the main attributes of Vajraheruka, the deity to when this work was dedicated. Compositions such as the present example are known as 'symbol mandalas' and are equal in meaning and function to mandala paintings that depict all of the figures described in the elaborate Tantric ritual.According to the inscription located at the bottom of the painting, the present mandala was commissioned by the twelfth prince Yintao.According to contemporary records, Yintao spent his adolescence between Beijing and the various retreats and palaces around the capital. In the later phase of his life, he presided over various ceremonial and bureaucratic offices. When the issue arose of who would be the successor of his father and infighting took place within the Imperial household, Yintao and several of his brothers were demoted when Prince Yinzhen rose to become the Yongzheng emperor (r. 1722-1735). Following Yongzheng's death, Yintao regained some of his previous titles under the rule of his nephew, the Qianlong emperor (r. 1735-1796). See P.Berger, Empire of Emptiness: Buddhist Art and Political Authority in Qing China, Honolulu, 2003, pp.186-187. Changkya Rolpa'i Dorje (1717-1786) was raised in the Qing court and became the most important Buddhist figure in Beijing. At a young age, he was recognized as the next incarnation of the Changkya lineage, which was based at the Gönlung Jampa Ling, a Gelugpa monastery in Amdo. The monastery was eventually destroyed by the Qing forces when some of its residents rose up in rebellion against the Chinese court in 1724. Changkya was however invited back to Beijing, where he was raised within the court and instructed in Buddhist studies alongside Yongzheng's son, Prince Hungli, who later became the Qianlong emperor.In 1734, when Rolpa'i Dorje returned to Tibet to accompany the 7th Dalai Lama from his visit to Beijing, he travelled to Shigatse, where he studied under the Panchen Lama and was ordained as a full monk. Following the death of the Yongzheng emperor in 1736, he returned to Beijing where he was put in charge of the Buddhist affairs in the capital. There he served as religious preceptor to the Qianlong emperor. Throughout his career, Rolpa'i Dorje exerted great influence on the relations between the Qing court and the Buddhist institutions in Tibet. He advised Qianlong to recognise the Dalai Lama as the spiritual and secular leader of Tibet. This means led to the promotion of the Gelug sect over other Tibetan Buddhist schools. Rolpa'i Dorje had an active role in recognizing the next incarnation of the Dalai Lama in 1757, following the death of the seventh leader. He also encouraged the Panchen Lama to visit Beijing for an official audience with Qianlong in 1779. For the occasion, a set of paintings depicting the previous incarnations of the Panchen Lama were commissioned.The presence of Rolpa'i Dorje in Beijing led to a great development of Tibetan Buddhism within the capital. In 1741, the religious leader began to translate the Sutra on Iconometry (in Chinese, called Zaoxiang liangdu), together with Gonpokyab, a Mongolian monk. Laying out the methods for designing Buddhist images, the text became the standard for religious artists working in the Imperial court.A very similar 18th century mandala, inscribed with very similar inscriptions as the present lot and believed to originate from the same set as the present example, was sold at Christie's New York, 16 September 2014, lot 288.For further information on this lot please visit Bonhams.com

A pair of late Victorian candlesticks on fluted stems with capital and with detachable nosels, 8.5" high. Sheffield 1895 by JD & S

A marble-effect resin pedestal/stand with square platform above Corinthian capital and bands of classical-style relief freizes, on square base, height 94.8cm, the top 24.5 x 24cm.Additional InformationSome surface scuffs, scrapes and scratches, build up of dirt and dust, some small chips to the rim of the top and some further small losses in places to the bands of decoration. Some futher small impacts, chips and nibbles to the base.

London 1825, the base of rectangular form with gadrooned rim, applied simple handle with rectangular thumbpiece and slot to take the part marked and gadroon edged dome shaped snuffer, the short central column with plain rectangular capital and part marked detachable nozzle to match the base, 16.5 x 13cm 12.9ozt

the oval painting depicting Eugénie as a young woman with a blue ribband in her auburn hair, pale grey blue eyes, a three row pearl necklace, and lace fichu at her nape, in a glazed frame with pierced border of round faceted pastes and beaded edging; verso with a glazed panel over dark brown felt, and applied monogram of a crown surmounting a capital E entwined with another reversed; later hinged bale, tapered with raised beaded edges; length with bale 5.6cm, length of portrait 3.2cm; unmarked, surround tested as 9ct gold, settings tested as silver and bale tested as 18ct gold, presented in a period oval leather caseFootnote: Provenance: A wedding present to the vendor's great grandmother by her great great grandfather, Sir John Baker (1828-1909), MP for Portsmouth, Hampshire. Doña María Eugenia Ignacia Agustina de Palafox y Kirkpatrick, 16th Countess of Teba, 15th Marchioness of Ardales, known as Eugénie de Montijo, was born in Spain in 1826, but spent her later childhood in Paris, returning to Spain in her early teens. She had some formal education in France, but also English governesses and briefly attended school in Bristol (where she was teased for her red hair). Her principal interests were in various sports and politics. She met Charles-Louis Napoléon Bonaparte (nephew of Napoleon I) in Paris when he was the first President of France after the revolution of 1848. By the time of their wedding in 1853, he had been made Emperor as Napoleon III; thus she became Empress. During this period France underwent considerable social and economic reform, with improved infrastructure and the re-designing of Paris under Baron Haussmann. Foreign policy was more mixed, with success in the Crimean War and expansion in Asia, but also with unfortunate meddling in Mexico and a disastrous facing of Bismarck in the Franco-Prussian War of 1870. As Empress, Eugénie was politically active. She travelled to the Ottoman Empire and to Cairo to open the Suez canal, promoted female education and acted as Regent in her husband's absences - including the Franco-Prussian War when he was with his troops at the front. Napoleon was captured, deposed, and eventually joined Eugénie in exile in England (Farnborough, Hampshire), where she lived on after his death in 1873, socially vibrant but politically quiet, until her own death in 1920. There exist a great many portraits of the Empress Eugénie, both photographic and painted (including by Winterhalter, one of Queen Victoria's portraitists); they all show her unusually straight eyebrows and distinctive nose and eyes, and many show her wearing ropes of pearls (she was famous for her jewellery), just as in the present example.

the first by Friederich Wilhelm von Bestenbostell, circa 1850, stamped with the maker's mark and '750vb' indicating 750/1000 standard silver (12 loth), each square base with scalloped sides and turned corners, twisted column base, multi knopped column and fluted shoulder, integral nozzles, crested, 22cm in height, 16.7ozt; the second pair, unmarked, in the Neo Classical design each with a canted triangular base decorated with embossed foliage supporting three leaf capped concave straps holding the urn shaped capital with three animal mask motifs, detachable gadroon edged nozzles, 15cm in height, 12.6ozt (2)

A 19th Century Victorian continental ceramic tazza and candlesticks decorated in gilt and pink with a central floral panel to the tazza the candlesticks have a flared capital over a tapering base set on a circular base. Unmarked base. Measures 21 cm tall.

An 18th century red and white silk panel, French, 18th century, a red background weft and a white pattern weft laid on top forming a design of a military camp, with cannons and weapons, 119cm high, 85cm wideProvenance: The old Maison de Hamot, Paris This panel came from a remarkable collection of the old Maison de Hamot, precious fabric merchants in Paris from the time of Louis XV according to the textile expert Xavier Petitcol. The panel used to have a label 'Maison de Hamot', which was lost.Xavier Petitcol, who catalogued the collection for the Drouot sales in 1997, considers this textile unique, having never seen this composition before. It is suggested that the silk panel might have been woven for the Marechal de Saxe, the great Marshall General of Louis XV and the illegitimate son of Frederick Augustus II, King of Poland.The design possibly commemorates the Siege of Brussels which took place between January and February 1746 during the War of the Austrian Succession. A French army under the command of Maurice de Saxe, in a bold and innovative winter campaign besieged and captured the city of Brussels, which was then the capital of the Austrian Netherlands, from its Austrian garrison. The Austrian defenders were compelled to surrender on the 22nd of February, the siege lasting only three weeks.In fact the coat of arms above the entrance door to the tent would seem to be a stylised coat of arms for the Marechal de Saxe.

A French opaline and gilt metal mounted columnar oil lamp, circa 1880 and later refitted for electricity, the bulbous top descending to an inverted Ionic order capital, on a square base, 56.5cm high overall to top of fitmentSaleroom notice: Please note that the pink lamp base is no longer part of this lot  

A matched pair of fine French enamelled cast iron jardinieres by E. Paris & Cie, circa 1880, the cobalt vermicular grounds enamelled overall with stylised flowerheads and scrolling acanthus in ochre, white and green in the style of maiolica, mounted with gilt twin lion masks and raised on paw feet, each signed E. Paris et Cie 47 Rue de Paradis to the lower body, 50cm high, approximately 47cm wide  These planters were made in c 1880 by the renowned firm of Charles-Emile Paris specializing in the manufacture of crystal glass, enamelling and mosaics. The crystal making and enamelling firm was founded in 1827 or1829 at rue de Bercy by his father, Jean-Alexandre Paris, who was the jeweller goldsmith of the Palais Royal. In 1867 Charles-Emile Paris left the Parisian site due to the new law forbidding the emission of industrial smoke in the capital, and founded a new factory at Le Bourget (Seine) at the site of a Louis XV hunting lodge. The new plant was destroyed during the war of 1870 and ruined Charles-Emile Paris; he had to sell the land in order to rebuild the factory on the leased site. The business was successful and the number of employees grew steadily and subsequently a retail shop was opened at rue de Paradis in the 10th arrondissement of Paris in 1876. It was a dynamic and innovative firm, which ensured its success. Among the most notable and prestigious of its achievements was the supply of enamels (1847) for the tomb of Napoleon at the Invalides, decorative mosaic enamels at the Casino de Monte-Carlo (1879), and winning a number of highly prestigious awards at the Paris International Exhibitions in 1867, 1878 and 1889 in various categories. Charles-Emile Paris also specialized in making elegant enamelled cast iron pots for displaying plants in conservatories. The present pair represent a striking departure from the usual blue and white colour scheme of Paris & Cie planters. Their colour palette of cobalt blue, antimony yellow and copper green can best be likened to the colour of Italian 15th and 16th century maiolica, which was being rediscovered by collectors and designers during the 19th century. This was particularly evident during the International Exhibitions, which saw a surge in Renaissance-inspired designs from the late 1860s onwards.Condition Report: PLEASE NOTE: These are a matched pair, not an exact pair, as previously catalogued.One of the planters has a darker finish, and possibly some refreshments to the enamel as some of the pattern is slightly raised.The gilding to the masks and feet is a little worn, and there is some wear to colour of the top and bottom borders on each example.There are one or two small losses to the enamel (including one tip of a leaf), and the surface of the lighter planter has some slight pitting and mottling in places, though overall the decoration appears in satisfactory condition.Interiors not inspcected.Condition Report Disclaimer