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A George V tortoiseshell box, with silver hinges and catch, London 1922, 13cm wide, 8cm deep., together with a tortoiseshell dressing table box and tray surmounted with the capital letter W, white metal, tray 23cm wide, box 14cm wide, 6cm deep. (3)

A Boxed Limited Edition Zinc Alloy Model of Beijing Capital International Airport, Terminal 3, 39cm wide

For your consideration are a collection of twelve cone top beer cans, circa 1935-1960. Cone top cans were introduced in 1935 as a hybrid between beer bottles and flat top cans. The cone top can was especially attractice to smaller breweries which did not have the capital necessary to buy new cannery machinery, because they could be filled on standard bottle equipment. This collection of antique cans consists of Schlitz, Wiedemann, Chief Oshkosh, Richbrau, Falstaff, Rhinelander, Milwaukee, Goetz, Blatz, Rainier, Famous Beverwyck and Grain Belt beer makers. The cans show appropriate wear and fading for their age. Despite the rust on the cans, much of their labels are still readable. The cans measures 5 1/2" tall by 2 5/8" in diameter.

An 18th/19th century carved and painted wooden Corinthian column, converted to a table lamp, with gilt capital over a painted faux lapis or marble column, on a stepped square base. Height to top of "candle" 104cm

A PAIR OF VICTORIAN SILVER CANDLESTICKS, by Hawksworth, Eyre & Co Ltd, Sheffield 1898 and 1899, in the Neo-Classical style, each with beaded detachable drip-pan above a Corinthian capital and floral decorated column, raised on a spreading square foot decorated with ram masks and drapery, weighted. 16.5cm high

A unusual and large 19th century Capodimonte porcelain tankard and cover; the cover finial as a winged Cupid with a quiver of arrows upon his back and offering up a garland of flowers, bordered by similar winged amorini in relief, the main tankard of cylindrical section and decorated in relief with mythical and human figures before a flaming altar, with unusual elephant-head handle with short gilded tusks and elongated trunk, painted crown over capital 'N' mark to underside (29cm high (to top of cherubic head) x 14cm diameter (cover))

A pair of 19th century veined-marble and gilt-metal mounted pedestal stands of columnar form; each square-moulded top above a gilt-metal capital with gadrooned top and arcaded lower section, the turned slightly tapering marble columns leading down to a further circular cast mounting and on stepped square marble leading to plinth base, one standing slightly higher than the other (first 108cm high with 29cm square top, second 104.5cm high with 30cm square top)

A Journey from Aleppo to Damascus: With a Description of Those Two Capital Cities, and the Neighbouring Parts of Syria. London 1736, 8vo, folding map, 3pp. publisher's catalogue at end, old ownership inscription of John Tattersall, contemporary calf, gilt spine, slightly rubbed

A pair of French Empire period ormolu and bronze twin branch candelabra, each with winged female supports standing above pedestal bases, 37cm high.Condition report: Pair appear good overall with good patination to winged supports, some rubbing / gilding loss to bases, one capital broken off stem and one sconce replaced.

An Italian silver five-light candelabrum, stamped 800, five leaf-capped scroll arms each supporting a leaf-capped urn capital, below a figure supported on a circular base, terminating on four scroll feet, 46cm high (c.52.1oz)Condition report: Item appears to be in good overall condition, branches slightly mis-shaped.

A Titanic Relief Fund cheque drawn on The Capital & Counties Bank Ltd to Mrs K Pook for £1 two shillings, for R pook, Asst. Bedroom Steward, 28 April 1917 

A Titanic Relief Fund cheque drawn on The Capital & Counties Bank Ltd for 10 Shillings to Mr J Smith, Assistant Baker, April 1917

A composite cast Corinthian column lamp base, the capital cast with scrolls, fluted column, square base

19th Century British military officers sword, probably Scottish, having fullered single edged tapering blade, steel cross piece with ball finials, wire bound shark skin grip and fluted dome pommel with later tassel. Trademarked H Fenton Brothers Sheffield, Silversmiths to HM Government. Plain steel scabbard with two loops. 83cm long approx. (B.P. 21% + VAT) The scabbard is generally rather rusty externally. The sword itself blade is badly tarnished and marked but not rusty. Blade features various proof type marks including T6 under crown over capital letter R, no. 12, 14 and 20. We will not pack or ship this item in house.Rust yes - holes no.  Marked Fenton Bros. Sheffield

A large carved limestone Corinthian capital12th/ 13th century, South West France 45cm high, 56cm wide, 54cm deepThis 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

A gem-set gold forehead pendant (chand-tikka), a gem-set gold mirrored roundel and a pearl-mounted gold pendant from the collection of Maharani Jindan Kaur (1817-63), wife of Maharajah Ranjit Singh, and latterly in the possession of her granddaughter Princess Bamba Sutherland (1869-1957) Punjab, probably Lahore, first half of the 19th Centurythe tikka in the form of a crescent set with rubies and white sapphires, decorated to the sides in red and white enamel with chevron motifs, seed pearl fringe; the roundel with central mirror surrounded by openwork foliate motifs set with diamonds and emeralds, later mounted as a brooch; the pendant of filigree gold with seed pearl fringe the roundel 3.3 cm. diam.(3)Footnotes:ProvenanceMaharani Jindan Kaur (1817-63), wife of Maharajah Ranjit Singh (1780-1839).Princess Bamba Sutherland (1869-1957), gifted by her father HH Maharajah Duleep Singh, later given by the Princess to her life-long personal companion and employee Mrs Dora Crowe of Hampton House, Blo' Norton, Norfolk. Private UK collection, acquired from Mrs. Oriel Sutherland, daughter of Mrs. Dora Crowe. The mirror plaque had, according to Princess Bamba, once been part of Maharajah Ranjit Singh's horse trappings.These three items were likely to have been within the casket of jewels handed back to Maharani Jindan Kaur (1817-1863) by the British authorities when she agreed to live in London with her son, who she was reunited with in Calcutta in 1861. Duleep Singh had not only negotiated a £3,000-a-year pension for his mother but also the safe return of over 600 pieces of her personal jewellery that had been impounded by the British authorities at Benares when she fled to Nepal. In the UK, John Login expedited the passage of her jewels through customs and Lady Login was present when Jind Kaur was finally reunited with them in London: 'Her jewels had at the moment arrived from the Custom House, and so delighted was she at the sight, that she forthwith decorated herself, and her attendants, with an assortment of the most wonderful necklaces and earrings, strings of lovely pearls and emeralds being arranged, in graceful concession to English fashion...' (Lady Lena Campbell Login, John Login and Duleep Singh, London 1890, p 213).These important personal royal effects of the late Maharani were dispersed after her death by her son and grandchildren, either through auction salerooms or by being gifted away. Two decades after her death, when Maharaja Duleep Singh lost his battle against the India Office over the thorny issue of his financial allowances, he decided to auction off some of his possessions in order to raise £20,000 with a view to relocating to India where he could live as a person of importance. He stripped his stately home at Elveden of some choice valuables – including 25,000 ounces of chased silver gilt, rare Indian carpets, Indian shawls, embroideries and a casket of jewels (though 'no old family jewels' according to the press, The Gentleman's Magazine and Historical Review, London, September 1863, p 378) – and packed them up to be auctioned by Messrs Phillips, Son & Neale of New Bond Street. A sympathetic editorial in The Times (20 July 1883) noted how 'news of His Highness being compelled to sell his jewels and other valuables will excite a deep feeling of sympathy among all who are acquainted with the history of the 'Lion of the Punjab'.' The following year, his embittered relations with the British Government compelled him be ransack the contents of Elveden to provide the finances needed to resettle in Punjab with his family. From 27 April to 5 May 1886, while the Maharaja was detained at Aden as he attempted to gain onward passage to India, the auction only realised a fraction of the expected value of the items, forcing Duleep Singh to empty his Coutts safety-deposit box of all his most valuable jewels. When he failed to gain the support of the Russians, Duleep Singh decided to settle in Paris. In 1890, he was forced to sell what remained of the family jewels in his possession to pay for both his own accommodation and that of his estranged second wife, Ada, who moved into an expensive villa situated in an exclusive tree-lined suburb of Paris. Prince Victor Duleep Singh, the maharaja's eldest son, sold part of his inheritance in order to pay off his considerable debts. On 19 June 1899, Messrs Christie Manson & Woods sold 114 lots from Victor's collection in their London sales room including Indian gold jewellery 'formerly the property of the late Maharajahs Duleep Singh and Runjeet Singh of Lahore' according to The Daily Telegraph (20 June 1899, p. 9). Of the riches snapped up at the well-attended auction, which realised nearly £3,000, The Morning Post gave the following details of the best prices achieved, including a lavish horse's head ornament: a gold forehead ornament with diamonds, and ruby drops, from Dholepore, £35; a breast ornament of gold, set with stones and pearls, from Kangra, £46; pair of forehead ornaments, of crescent form, from Delhi, £41; pair of gold armlets, Lucknow, £35; a gold girdle centre set with stones, Delhi, £44; a large ornament for horse's head, of gold, enamelled, from Punjaub, and part of the State harness of Runjeet Singh, £44;... a massive gold horse frontlet, thickly studded with emeralds and rubies, Delhi, £210.... (The Morning Post, 20 June 1899, p 3). Given that Prince Victor's share of the family jewels included a part of the state harness of Maharaja Ranjit Singh, it is perhaps not surprising that another important piece of equestrian jewellery was preserved by Duleep Singh's eldest daughter, Princess Bamba Sutherland (1869-1957).In 1897, Princess Bamba and her two sisters, Princesses Sophia and Catherine, moved to the Norfolk village of Old Buckenham, where they lived near another brother, Prince Frederick. When he sold his house in 1906 and shifted to Blo' Norton, his sisters followed suit. In 1935, the princesses shifted from Blo' Norton Hall to Hampton House at Blo' Norton. When the lease came to an end in 1935, Princess Sophia installed a married couple Dora and Cyril Crowe (Cyril had been a childhood-friend of Frederick's), with their baby son Cyril Junior, at Hampton House to attend upon the princesses whenever they stayed there. When Sophia died in 1948, Bamba became the last surviving member of Duleep Singh's family from his first marriage. Bamba took up residence at Hilden Hall as well as the management of Hampton House. Her relationship with the Crowes developed in terms of mutual respect and affection. While Cyril Jr had been a great favourite with Sophia, his sister Oriel, who was eight years younger, was much loved by Bamba. In later life, the young girl would recall how 'Princess Bamba retained her sense of humour, and as an old lady she would smile, wrinkle her nose, and giggle like a little girl' (Peter Bance, Sovereign, Squire and Rebel: Maharajah Duleep Singh, London 2009, p 160).In 1953, Bamba decided to give Hampton House to the Crowes as she planned to return to Lahore (she had visited Punjab's capital in 1941 but was forced to remain there for five years following the outbreak of the Second World War). She died in her family's ancestral home in 1957. According to Oriel Crowe's (later Sutherland) letter of provenance accompanying this group, Princess Bamba gifted these items of jewellery to her mother, Mrs Dora Crowe, before she left England on her final journey to Lahore. Bamba had told Mrs Crowe that the circular stoned gold and mirrored broach was formerly part of Maharaja Duleep Singh's horse harness. As such, they represent a remarkable link back to one of the richest treasuries in the world.For further information on this lot please visit Bonhams.com

Viscount Hardinge of Lahore, Governor-General of India, accompanied by his two sons and his aide-de-camp Colonel Wood, on the battlefield after the victory at Ferozeshah during the First Anglo-Sikh War by Sir Francis Grant (1803-78), PRAoil on canvas, in the original gilt frame with hand-painted plaque 51.5 x 70 cm.Footnotes:ProvenanceChristie's, Visions of India, 5th October 1999, lot 239.The painting is based on a sketch executed on the spot at this significant moment by the Hon. Charles Stewart Hardinge (Lord Hardinge's eldest son). He appears in the painting, wearing a white solar topee, immediately behind Hardinge. He acted as his father's secretary throughout that time, and his drawings were mostly made during their official visits to various places, including Lahore and Delhi. He illustrated Recollections of India, one of the most important plate books on the Punjab and Northern India. This was published in 1847, funded by his wealthy friends, in a lavish large-folio in both coloured and uncoloured format.Behind Hardinge and his party are Indian lancers with their red and white pennants, probably members of his bodyguard as Governor General. The tents to the left of the work are a reminder that Hardinge bivouacked with his own troops before the battle began. In the background to the left can be seen the Sikh ammunition store exploding, which caused many casualties on both sides. The French gilt-hilted sword at Hardinge's waist had previously belonged to Napoleon. It had been presented to him by the Duke of Wellington after the Battle of Waterloo, at the Grand Review of the Prussian Army near Sedan in France in 1817. Wellington took the sword from his waist and presented it to Hardinge. The sword remained in the family and was sold at Christie's, Trafalgar Bicentenary: The Age of Nelson, Wellington and Napoleon, 19th October 2005, lot 164.A soldier and administrator, he served in the Peninsular and Napoleonic wars with distinction. The Duke of Wellington took Hardinge onto his personal staff for the Flanders Campaign. He was appointed as Wellington's liaison officer on Field Marshal Blücher's staff, and it was while with the Prussians at Ligny that on 16 June 1815 a stone driven up by roundshot shattered his left hand. The subsequent amputation prevented him from being present at Waterloo two days later, although he managed to compile a final report for the Duke.Later Hardinge became a Conservative Member of Parliament. In the administration of the Duke of Wellington, he served as Secretary of War (1828), and again in that of Sir Robert Peel (1841-1844). In 1844 Hardinge was sent to India to replace his brother-in-law, Lord Ellenborough, as governor-general. The appointment was made at the suggestion of the Duke of Wellington. As a result of the disorder in Punjab, he discreetly reinforced the garrisons on the North-West frontier. By November 1845 he had doubled the forces there, raising them to thirty thousand men and sixty-eight guns. On 11 December 1845 the Sikh army crossed the River Sutlej, beginning the first Anglo-Sikh war. Waiving the right to the supreme command, Hardinge offered to serve under Sir Hugh Gough as second-in-command. On 18 December Gough defeated the Sikhs at Mudki with the loss of several thousand men and seventeen guns. Then on 21 December as second-in-command Hardinge led the centre at Ferozeshah. He camped with the troops, under fire on the field, and commanded the left wing of the army in the long and bloody conflict the following day, which resulted in the withdrawal of the Sikhs behind the River Sutlej. 'Ferozeshah, though it had been so obstinately contested, convinced most of the Punjab notables that the war was lost. The Lahore Durbar opened negotiations with the British, and many individual chiefs tried to make terms for themselves'. (Sir Penderel Moon, The British Conquest and Dominion of India, London 1989, p. 599). In the same capacity, Hardinge was present when the Sikh entrenched camp at Sobraon was stormed, with heavy loss, on 10 February 1846. The autonomy of the Sikh nation, though diminished, was to be preserved with its army reduced in numbers. Its guns were to remain in the hands of the victors, with certain portions of territory annexed to the East India Company's dominions. A British Resident, Henry Lawrence, with ten thousand men to support him, was established in Lahore. So on 8 March 1846 the Kingdom of Lahore finally came to terms with the East India Company. The news of the British successes created an enormous impression at home. Hardinge received the thanks of Parliament, and was raised to the peerage under the title of Viscount Hardinge of Lahore and of Durham. In addition, at the behest of the Prime Minister Sir Robert Peel, Parliament unanimously voted him a pension of £3,000 a year and for his next two heirs. The East India Company also granted him a pension of £5,000 a year. He was however widely criticised for his subsequent cost-cutting which many blamed for the military failures during the Mutiny, or Rebellion, of 1857. He was also responsible for the introduction of the Lee-Enfield rifle, with its fat-covered cartridges, one of the inciting reasons behind the Rebellion.The painting was published by P.& D. Colnaghi in London in 1849, engraved by Samuel William Reynolds II (1794-1872).Sir Francis Grant (1803-1878), President of the Royal Academy, already enjoyed a distinguished reputation for equestrian portraits. In 1840 the acclaim given to his painting Queen Victoria and Lord Melbourne riding in Windsor Park (in the Royal Collection, Windsor) ensured his position as the most successful and fashionable portrait painter of his day. Some of the greatest politicians of the Victorian age sat for him, including Palmerston and Disraeli. Grant, a close friend of the Hardinge family, was a dominant figure in the Victorian art world, elected President of the Royal Academy in 1866. Grant painted a three-quarter length portrait of the Governor-General, which is still with the Hardinge family. Another version is in the National Portrait Gallery, illustrated in C. A. Bayly (ed.), The Raj: India and the British 1600-1947, London 1990, pp. 231-232, no. 302. In the same sale in 1999 in which this painting appeared, Christie's offered a group of lots (239-50) relating to Hardinge's grandson, Lord Hardinge of Penshurst (1858-1944), who was Viceroy of India 1910-16, and who was responsible when Viceroy for moving India's administrative capital from Calcutta to Delhi, and worked closely with Sir Edwin Lutyens, the chief architect responsible for the lay-out of the new capital.For further information on this lot please visit Bonhams.com

William III Silver Sixpence 1696 York Mint (capital letter Y)Condition, wear to high points with small scratches to surface. 

A collection of assorted silver plate, including a pair of candlesticks with Corinthian capital sockets, a pair of telescopic candlesticks, a three light candelabrum, a toast rack, two various salves, a quantity of plated flatware, various patterns, in associated oak canteen and a mahogany finish canteen, contents lacking (one box and an oak canteen)

Christo (American, Bulgaria 1935-2020)Store Front (Project) 1964 signed, titled and dated 64; signed, titled, dated 1964 and inscribed 1 Lampe 25w on the reverseenamel, pencil, charcoal, plywood, electric light, metal wire and plexiglas mounted on wood60 by 85 by 10 cm.23 5/8 by 33 7/16 by 3 15/16 in.Footnotes:This work is registered in the Christo & Jeanne-Claude archive.ProvenancePrivate Collection, Europe (acquired directly from the artist)Sale: Dorotheum, Vienna, Contemporary Art, 25 November 2009, Lot 3Acquired directly from the above by the present ownerOn the same day in June 1935, Christo and Jeanne-Claude were born into very different worlds – Christo Valdimirov Javacheff in Bulgaria and Jeanne-Claude Guillebon in French Morocco. Meeting in Paris in 1958, their personal and professional lives would be forever intertwined, eventually becoming the most important artist-duo of the second half of the 20th century. Their unique vision would bring their wrapped works and large-scale installations to cities and landscapes across the globe, including a final work to be presented in Paris in September 2021, L'Arc de Triomphe, Wrapped, posthumously in accordance with the artists' wishes. It is however in the artists' earlier Store Fronts and Store Front Projects where we can really begin to see this initial scaling-up of their unique aesthetic. A series of works that were initiated after their move to New York City in 1964, the present work Store Front (Project) from the same year is a delicate and thoughtful example of his preparatory works from this landmark series.After fleeing communist Bulgaria via Czechoslovakia and Vienna, Christo made his way to the French capital, where his quintessential style of wrapping cans, bottles and everyday domestic items was immediately established. In Paris, Christo gravitated towards the Nouveau Réalisme movement, joining the ranks of Yves Klein, Martial Raysse and Niki de Saint Phalle however soon after his marriage to Jeanne-Claude and the birth of their son, the young family decide to emigrate to New York. Initially installing themselves at the Chelsea Hotel, renown home-from-home for many artists, they would eventually move to a loft in downtown Manhattan, gifting the Chelsea Hotel owner with one of his Store Front Projects as collateral for the bill. To-scale shop façades created from wood and painted in a variety of colours, each Store Front was preceded by detailed architectural maquette-like sketches, typical of Christo's lifelong working process. The present work is a rare and intricate example of these preparatory works, with every detail of the eventual Store Front replicated: from the precise to scale measurements to the metal grill on the windows and the internal lights illuminating the colourful interior. Born from the Show Cases Christo was already creating from found medicine cabinets in Paris in 1963, the Store Fronts should be understood as their scaling-up. Similar to the evolution of the early Wrapped Cans or Packages, which would eventually evolve into projects such as The Pont Neuf Wrapped (1979), the Store Fronts recall the imposing architecture of New York City. 'The result was enigmatic, architectonically elusive, evocative: Store Fronts were of great beauty, possessed of quiet melancholy and a sense of loneliness that recalled the work of American painter Edward Hopper or the boxes of Joseph Cornell. The pervasive sense of mystery [leaving] the observer wondering what was behind the façades' (Jacob Baal-Teshuva, Christo and Jeanne-Claude, New York 2001, p. 27). If the Show Cases are understood as the precursor to the Store Fronts, the Store Fronts are understood by the artist as precursors to the Valley Curtains in Colorado (1972) and the Running Fence in California (1976). It is in the Store Fronts that the concept of internal and external space is initially explored, 'the store fronts radiate a kind of suspense, as if the blocked windows or the closed door might admit one if you only knew the hours of opening. However, our perceptual and physical links are arrested as the invitation stays unfulfilled. What Christo [and Jeanne-Claude have] done is to turn physical space into psychological response, as the façade becomes a wall, absolutely cancelling the inside... [They] cancel the internal space that we anticipate and define space as what is between us and the glass. The spectator's investigative, voyeuristic impulse is converted into an experience of himself, as an object in space' (Lawrence Alloway, Christo, New York 1969, p. VII). The Store Fronts act as a vehicle for our conceptual understanding of space in direct relation to our surroundings. Diverging from the work of the Minimalists, Christo's approach to space is specifically architectural, addressing our every-day interactions to the world around us and how we manipulate and manoeuvre within that space daily. Like the wrapping of the Pont Neuf or the Valley Curtain, the Store Fronts force the viewer to renegotiate their relationship to that space both physically and psychologically. The familiarity of these buildings and spaces is ruptured by the artist's intervention forcing us to confront our own physicality.While as much technical drawings as they are works of art in their own right, the preparatory works represent a lasting testament to the fleeting nature of their monumental culminations. The present work is a rare example within the Store Front Projects in its inclusion of internal light-fittings, its internal illumination bringing the potential of this project to life. The precise architectural nature of the Store Front Projects is evidence of Christo and Jeanne-Claude's unique vision as sculptors but also as visionaries who have made the world's cities and landscape their canvas. Christo's work has been celebrated in the world's most important museums with his Store Fronts and Store Front Projects found in some prominent collections including the Museum of Modern Art, New York, the Hirsshorn Museum, Washington D.C., the Kaiser Wilhelm Museum, Krefeld, Germany and the Museum of Contemporary Art, Los Angeles. His work can also be found in the collections of the Art Institute of Chicago, the Tate Modern, London and the Centre Pompidou, Paris, where the artist's work is currently being exhibited in a landmark retrospective, where an entire room has been dedicated to the extraordinary Store Fronts and Store Front Projects.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

Barry Flanagan, R.A. (British, 1941-2009)Acrobats 1988 incised with the artist's monogram, stamped with the foundry mark AA and numbered 4/5 bronze303.8 by 88.9 by 69.9 cm.119 5/8 by 35 by 27 1/2 in.This work was executed in 1988, and is from an edition of five numbered versions and 3 artist's casts.Footnotes:ProvenanceJohn Berggruen Gallery, San FranciscoAcquired directly from the above by the present owner in 1992ExhibitedLondon, Waddington Galleries and The Economist Plaza, 1990, p. 19, no. 8, another example illustrated in colour New York, The Pace Gallery, Barry Flanagan, 1990, np., no. 8, another example illustrated in colourBerlin, Haus am Waldsee, Animalia: Stellvertreter, 1990, p. 50, another example illustrated in colourFréjus, Musée Temporaire, Foundation Daniel Templon: La Sculpture Contemporaine après 1970, 1991, p. 89, another example illustrated in colourNew York, Paul Kasmin Gallery, Barry Flanagan: Sculptures, 2004, another example exhibitedLiteratureRichard Dorment, 'First catch your hare' in: The Daily Telegraph, 29 May 1990, another example illustratedTowering at nearly 10 feet tall, Barry Flanagan's Acrobats is undoubtably one of the late Welsh artist's most significant works. First appearing in 1979, the figure of the hare dominated Flanagan's practice ever since, and is represented in institutional collections and beloved public sculptures around the world. When asked about this particular choice of subject, Flanagan stated: 'I find that the hare is a rich and expressive form that can carry the conventions of the cartoon and the attributes of the human into the animal world. So I use the hare as a surrogate or as a vehicle to entertain in a way. The abstract realm that sculpture somehow demands is a very awkward way to work, so I abstract myself from the human figure, choosing the hare to behave as a human occasionally.' (the artist in: Barry Flanagan: Sculpture 1965-2005, exh. cat., Irish Museum of Modern Art, Dublin, 2006, p. 65)In the 1970s, Flanagan moved away from his earlier conceptual work towards a more figurative practice. He started modelling the human form and a range of different animals in bronze, but the motif of the hare is really the one that stuck in the collective mind and came to symbolise his practice. Allegedly inspired by both a hare he watched hopping happily across the English countryside in the late 1970s, and by George Ewart Evans' book The Leaping Hare published in 1972, Flanagan first represented the animal in his now-seminal work Leaping Hare from 1979. A study of the hare's significance around the world in folklore, poetry, mythology and art throughout history, George Ewart Evans' delightfully light-hearted book fuelled Flanagan's interest for the remainder of his artistic practice. The subject of the present work, two anthropomorphised hares balanced on top of each other, first appeared in a smaller format in 1981 which was shown in the very first exhibition of Flanagan's bronzes at Waddington Galleries in London that same year. A resounding success, the exhibition of Flanagan's sculptures truly propelled his career, and he represented Britain at the Venice Biennale in 1982.Flanagan's most iconic sculptures, of which Acrobats is a quintessential example, all succeed in conveying a sense of movement and physical tension whilst remaining wonderfully playful. One can't help but smile at the comical representation of humanlike hares engaging in sporting activities, such as boxing or acrobatics, which unlocks childhood memories of absolute freedom and whimsy. As author Paul Levy puts it, 'nothing is more free, vital, spontaneous and alive – from Aesop's hare outrun by the tortoise to Bugs Bunny – than a capering hare. In France and most of Central Europe, it is the hare that lays eggs at Easter and so promises renewal. In fact, Flanagan's hares do not carry much of this historic symbolic freight; they simply frolic freely and expressively. They don't symbolise life, they live it.' (Paul Levy, Barry Flanagan: Linear Sculptures in Bronze and Stone Carvings, exh. cat., Waddington Galleries, London, 2004)The present work was acquired over 25 years ago by prominent American collector and philanthropist Gerard L. Cafesjian, and remained in his Estate's collection until now. Born in 1925 in Brooklyn to Armenian immigrant parents, Mr. Cafesjian became a highly successful editor at West Publishing - a firm specialising in legal materials - and spearheaded the launch of the annual 'Art and the Law' exhibition, for which he received the prestigious Business in the Arts Award. Mr. Cafesjian's passion for collecting began with a childhood fascination with geology and gemstones, which later branched into fine art. Over the years, he patroned and developed personal relationships with world-renowned sculptors and ultimately assembled an impressive collection of both lapidary and fine works of art.Upon his retirement, Mr. Cafesjian committed his time to art and charity, as he founded the Cafesijan Family Foundation to support mostly Armenian causes. He founded the Scottsdale Museum of Contemporary Art in Arizona in 1999, and, in the early 2000s, he set his sights on an enormous, unfinished and crumbling Soviet structure in Armenia's capital city as the site for a private museum. The building's ambitious renovation and expansion resulted in the creation of the Cafesjian Center for the Arts, which, upon its inauguration in 2009, was touted by the New York Times as being a modern-day 'Hanging Gardens of Armenia' and is best known for its world-class sculpture garden.This lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP 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

A rare and documented Commonwealth joined oak canted livery cupboard, Cumbria, dated 1658The paired top boards and undertier boards all with narrow reeded edge unusually to all sides, the lunette and leafy-carved frieze centred by the carved initials 'T F' & 'E F', and dated '1658', presumably to commemorate a marriage, raised on Ionic capital carved and cup-and-cover turned end-columns, the recessed canted cupboard accessed by Celtic knot-pattern carved panelled door, each side carved with a leafy-filled lozenge, the open undertier with matching front supports, 124.5cm wide x 49cm deep x 117.5cm high, (49in wide x 19in deep x 46in high)Footnotes:Provenance:The Fry Family. Sir Theodore Fry, M.P., Bart., (1836-1912), Beechanger Court, Caterham, SurreySir John Pease Fry (1864-1957), Air Wilfred Fry, Cleveland Lodge, Great Ayton, North Yorkshire.Purchased Key Antiques, Chipping Norton, September 2002.illustrated:Percy Macquoid, The Age of Oak (1925), Vol. I, p. 156 &159, pl. 129. The author notes - 'The piece bears the initials T.F., E.F., 1658. It is in perfect condition, and has remained in the owner's family since that date'.Edwin Foley, The Book of Decorative Furniture (1910), p. 209-210, pl. XXVII, watercolour.William Bliss Sanders., Examples of Carved Oak Woodwork of the 16th & 17th Centuries (1883), Pl. VI, fine line drawing.For further information on this lot please visit Bonhams.com

Three James I/Charles I carved oak figural terms, circa 1625To include two male terms, topped by sprays of tobacco leaves, one figure holding a flower to his breast, the other a cup(?), the third a female figure wearing a necklace and holding an object, her capital centred by a mask, all three on scroll-topped pedestals, 11cm wide x 3cm deep x 51.5cm high, (4in wide x 1in deep x 20in high) (3)Footnotes:Provenance:Purchased Danny Robinson, Key Antiques, Chipping Norton, Oxfordshire, September 1997.For further information on this lot please visit Bonhams.com

A late 15th century oak newel post, French, circa 1480-1500With later top and cruciform base to form a torchère, having a central column carved with a moulded capital, surrounded by four free-standing turned columns, one opposing pair spiral-turned and carved with small rosettes, another with double spiral-carving, and the fourth with spiral beading, all on a waisted square-section plinth, carved to the centre with a spiral and riband-wrapped collar, and with ribbed acanthus leaves above and below, central circular aperture to top, 49.5cm wide x 47cm deep x 112cm high, (19in wide x 18 1/2in deep x 44in high)Footnotes:Provenance:The Collection of Mr & Mrs H. Beedham.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Two similar iron firedogs, in the 16th century French mannerBoth with bulbous capital, the shorter one with the initials 'WG' (?), the stems decorated with Renaissance foliage, and now indistinct shields to the divergent front supports, the tallest 47cm high, (2)For further information on this lot please visit Bonhams.com

A set of ten staircase or rail balusters, in 17th century styleOf tapering rectangular-section, topped by a stylised Ionic capital and decorated with strapwork and mouldings, 78.5cm high, (10)For further information on this lot please visit Bonhams.com

A record case with 15 Beatles albums. ****Condition report**** Magical mystery tourHollywood bowlBeatles raritiesLiveHear the BeatlesSgt Pepper x 2Revolver Help x 2With the Beatles67/70 BeatlesMeet the BeatlesBeatles first (Capital)Hard days night II

Four table lamps to include a brass example with a Corinthian capital, another of vase design and two fashioned as ginger jars

A modern brass standard lamp with a Corinthian capital

A 20th century dining table, the circular glass top on a distressed white painted reconstituted stone Greek revival column capital, 160cm diameter x 73cm high.

A large quality carved 19th century ivory paper knife the top surrounded with an elephant on an elaborate carved capital. Length 44cm.

Capital T Princess Leia, limited edition print, numbered 2/7, framed and glazed. 29.5 x 42 cm.

LÉONARD TSUGUHARU FOUJITA (1886-1968)Paysage de banlieue, Malakoff signed 'T. Foujita' and further signed and inscribed in Japanese (lower right); signed and inscribed 'Malakoff. Paris. Tsuguharu Foujita' (on the reverse) and signed 'Foujita' (on the stretcher)oil on canvas46 x 55.3cm (18 1/8 x 21 3/4in).Painted in Paris in 1917Footnotes:ProvenancePrivate collection, Paris.Private collection, Paris (a gift from the above in the 1930s).Thence by descent to the present owners.ExhibitedParis, Musée de Montmartre, Léonard Tsuguharu Foujita et l'Ecole de Paris, 10 April – 23 June 1991, no. 7 (later travelled to Tokyo). Dinard, Palais des Arts et du Festival, Foujita, le maître japonais de Montparnasse, 27 June - 25 September 2004, no. 11.Paris, Musée Maillol, Foujita, peindre dans les années folles, 7 March - 15 July 2018, no. 19. LiteratureS. Buisson, Léonard Tsuguharu Foujita, Vol. II, Paris, 2001, no. 17.92 (illustrated p. 156).'I wondered why my predecessors had only come to measure themselves against Europeans with the intention of returning to occupy important positions in Japan... I on the other hand was determined to lead a serious struggle on the continent, to compete on the real battlefield, even if it meant rejecting everything I had learned up until then' (Foujita quoted in S. Buisson, Foujita, Inédits, Paris, 2007, p. 54).Foujita's arrival in Paris in 1913 followed a tradition of young Japanese artists and artisans in training making the long sea voyage to Europe to glean what they could from their European counterparts, and return to their homeland enriched and ready for domestic success. It seemed that from the moment Foujita disembarked in Marseille he was set on a slightly different path. Although undoubtedly the advent of the First World War shortly thereafter would complicate matters for the young artist, his destiny was to make a name for himself in the West. He was keen to immerse himself in the current concerns of the most avant-garde of artists in Paris, and he quickly made friends and acquaintances who would act as his gateway into the heart of Parisian artistic life. One of these figures was the Chilean painter Ortiz de Zarate, who asked Foujita to accompany him on a fateful studio visit on only his second day in the French capital:'The following day [...] Ortiz de Zarate offered to take him to see Picasso. Invitations to see Picasso were rare; but Ortiz quickly understood who merited them. Picasso was not disappointed. Foujita caused a sensation in the studio on Rue Schoelcher [...] Foujita spent a long time examining the African masks, and the guitars and violins that had been cut in half. He noticed cubist canvases and others that were blue and pink of scrawny gypsies. He particularly lingered in front of the paintings by Douanier Rousseau that Picasso had hung alongside his own' (S. Buisson, ibid., p. 52).The impact of this early meeting on Foujita's artistic vision was immense. Evidently Picasso's Cubist works elicited curiosity, and one can see the influence of this in the small number of paintings that have survived from this very early date. Works such as Femme cubiste from 1914 display a mix of Foujita's own love of vivid colour and stylistic flourish, imbued with the shattered perspective and multi-angle construction of the Spaniard's experiments of that time. It was, however, the naïve canvases of the French customs officer that struck Foujita the most, and would provide a lasting inspiration that can be seen in the many landscapes of Paris and its surroundings that he painted towards the end of the First World War. The present work, Paysage de banlieue, Malakoff, is a stunning example of the influence of Rousseau, and Foujita's ever-more unique style. The work depicts a desolate industrial suburb of Paris, and takes delight - just as Rousseau's scenes had - in the mundane details of work being done, goods being transported. The palette is now very restrained, largely due to Foujita's inability to access the materials he had before the war. Using a simple canvas and hues in various shades of grey, Foujita marries the pared-back Japanese aesthetic of his early artistic education with a new European method of representation. The viewer is struck by the simplicity, austerity even, of the scene; poetic in its emptiness. Foujita had left Paris briefly during the height of the War to spend time in London, and had seen active service as a volunteer in the International Red Cross. The conflict had undoubtedly disrupted the time that he would have otherwise spent concentrating on his practice, but this hiatus meant that Rousseau's work was still fresh in his mind come the last years of the War. Returning to Paris in 1917, Foujita had very limited means and was living the life of a true bohemian, moving from studio to studio and surviving on whatever sustenance he could come by whilst making the most of the wild Montparnasse scene. Having befriended a fellow Japanese painter called Kawashima, they attended the most outlandish balls and gatherings and Foujita enjoyed great romantic success with the artists, models and muses of the demi-monde. As his life became ever more rooted in Paris, and success started to become more apparent, his thoughts were far from his homeland. Foujita would soon cut all ties with his father, and his beloved wife Tomiko, and he would begin in earnest his life as one of the most successful painters of the années folles.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

The Camel Filters Zippo Lighter Country series, five lighters with Country Flag and Map including Capital City - United Kingdom, United States, Japan, German and China, all marked 2005, unused (5)

The Camel Filters Zippo Lighter Country series, five lighters with country flag and map including capital city, comprising United Kingdom, United States, Japan, German and China, three dated 05, the other two with different colour bottoms dated 06, unused (5)

George III figured mahogany press cupboard, cornice with pierced fretwork decoration, repeating flower head mouldings, double doors with figured veneers, mouldings in the form of swags of flowers and bows, cantered corners with columns terminating in brass capitals, lower section with three graduated drawers, original ring pull handles.Width 173cm (68"), Depth 60cm (24"), Height 236cm (93").Condition report: Small section of molding missing to top left hand side of door, right hand side molding missing to cantered corner capital, otherwise good colour.

A pair of Edwardian silver candlesticks by Thomas Bradbury & Sons, London 1903, one with a beaded sconce, the capitals chased with foliate decoration, the slightly tapering stems with bow decoration, on conforming square bases, 26cm (10 1/4in) high, loaded Condition Report: Marks are partially rubbed Stand well One missing a sconce and with a dent to the capital The present sconce with dents Light scratches and wear commensurate with age and use Condition Report Disclaimer

Good early 19th Century concert harp by Sebastian Erard, in need of restoration, no. 1057, inscribed 'SEBASTIAN ERARD MAKER BY SPECIAL APPOINTMENT TO HIS MAJESTY AND THE ROYAL FAMILY', the frame with gilt painted lines on a dark green ground, decorated to the capital in relief with standing figures and with seven pedals, height 170cm; together with a harp trolley.

Collection of Antique Documents & Ephemera comprising: Court Summons, Manchester, dated 1886; Loan application original Bank Book The Capital & Counties Bank Ltd., in original case, dated 1915; Impressive indenture written on parchment, dated 1893; Legal letter handwritten on parchment 'Mr Bailey's Opinion', sent to Tregurrian, Cornwall, dated 1907, detailed note inside references Temple & Lincoln's Inn; Mortgage document x 3 properties, Henry Porter, Preston, Lancs 1873; Original Great Western Railway Exchange of Devon & Somerset Stock, blank certificates dated 1901; Collection of documents pre 1900 - 1956 and paper ephemera, includes UK maps, copies of Churchill photos/newspaper cuttings; BBC Concert programmes and tickets/adverts; King's Victory Letter 1946/notice letter re visit of the Queen 1953; Edinburgh book of upholstery,old mounted photo, Royal Tournament booklet 1956.

Capital Affairs: London and the Making of the Permissive Society by Frank Mort, 2010. Hardback book with dust cover.

Le Corbusier and Pierre Jeanneret'Committee' table, model no. LC/PJ-TAT-14-B, designed for the Assembly and Administrative Buildings, Chandigarh, 1963-1964Teak-veneered wood, teak.74 x 362 x 137 cmFootnotes:ProvenanceThe Assembly, ChandigarhLiteratureEric Touchaleaume and Gerald Moreau, Le Corbusier Pierre Jeanneret, The Indian Adventure, Design-Art-Architeture, Paris, 2010, pp. 246-47, 582A UNIQUE HARMONY by architect John O'SheaBuilding the future'It was a matter of occupying the plain. The geometrical event was, in truth, a sculpture of the intellect ... It was a tension ... a battle of space, fought within the mind. Arithmetic, texturique,1 geometrics: it would all be there when the whole was finished' (Le Corbusier, Modulor 2).Following Indian Independence and the resulting partition of India and Pakistan in 1947, a new administrative capital was needed for the Indian Punjab. Prime Minister Jawaharlal Nehru proclaimed that the building of the new city of Chandigarh was to be 'symbolic of the freedom of India, unfettered by the traditions of the past ... an expression of the nation's faith in the future'. The commission was originally awarded to the American architect Albert Mayer, but after he withdrew from the project, Le Corbusier was approached to work on a masterplan for the new city. Here was the opportunity the great architect had been waiting for since the 1920s: to construct an entire city and thus fully realize his thesis on urban design. After complex negotiations, Le Corbusier agreed to accept the commission on condition that his cousin, and collaborator since 1922, Pierre Jeanneret serve as project architect: 'In 1922 I joined forces with my cousin, Pierre Jeanneret. With loyalty, optimism, initiative and persistence, with good humour ... and in league with the resistance forces of the age we set to work. Two men who understand each other are worth three who stand alone. By never pursuing lucrative goals, by refusing to make compromises, but, rather, being in love with our passionate quest, which is what makes life worth living, we have managed to occupy the entire field of architecture, from the minutest detail to the vast plans of a city' (Le Corbusier, Design 3).The team had a colossal task: to deliver the masterplan, which included infrastructure, landscaping and buildings for uses related to education, government, healthcare and recreation, as well as housing for all of the city's new inhabitants. Le Corbusier saw himself as the 'Spiritual Director' of the project and appointed himself two main tasks: shaping the masterplan and designing the Capitol Complex, the group of buildings dedicated to governance. Jeanneret's role was to run the site office at Chandigarh, overseeing the design and construction of the city as an integrated whole. The MasterplanFaced with the challenge of planning a new city for 500,000 people on a vast rural site, Le Corbusier turned to geometry and his recently patented invention, the Modulor, a proportional system for design based on a set of measurements – relating to the 'golden section' (a ratio of approximately 1:618) – taken from a 'universal' human form, Modulor Man. 'On the 28th March, 1951, at Chandigarh, at sunset, we had set off in a jeep across the still empty site of the capital – Varma, Fry, Pierre Jeanneret and myself. Never had spring been so lovely, the air so pure after a storm the day before, the horizons so clear, the mango trees so gigantic and magnificent. We were at the end of our task (the first): we had created the city (the town plan). I had noticed then that I had lost the box of the Modulor, of the only Modulor strip in existence, made by Soltan in 1945, which had not left my pocket in six years ... A grubby box splitting at the edge.4 During that last visit of the site before my return to Paris, the Modulor had fallen from the jeep onto the soil of the fields that were to disappear to make way for the capital. It is there now, in the very heart of the place, integrated in the soil. Soon it will flower in all the measurements of the first city of the world to be organized all of a piece in accordance with the harmonious scale' (Le Corbusier, Modulor 2).The principles of Albert Mayer's original plan for Chandigarh that aligned with Le Corbusier's theories on urban planning were retained: differentiated zones for civic functions, with residential, industrial, business and governance activities separated by a circulatory transport system. The most radical of Le Corbusier's departures from Mayer's plan was the implementation of an ordered rectilinearity to the masterplan grid. This ordering was governed by the dimensions of a residential sector, a basic unit of 800 x 1200 meters derived from his mathematical system. Each of these sectors was designed as a self-sufficient neighborhood for living, working and leisure, and whose dimensions meant a person could walk to its centre from any point within ten minutes. The sectors were subdivided into 'villages' of around 150 houses – the size of a typical Punjabi village. At Chandigarh, the polemic plans of Le Corbusier's early speculations are tempered by the realities of the site and local context. The iconic towers of the utopian model are replaced with low-slung residential superblocks, and the traffic systems are designed to accommodate native modes of transport including rickshaws and camels. The Capitol ComplexWe are in a plain; the chain of the Himalayas locks the landscape magnificently to the north. The smallest buildings appear tall and commanding. The government buildings are conjugated with one another in a strict ratio of heights and sizes ...' (Le Corbusier, Modulor 2).Le Corbusier envisioned the city as an organism and articulated the layout of Chandigarh accordingly. The Capitol Complex was analogous to the head, the commercial centre to the heart; the university and industrial areas at the city's peripheries were conceived as the limbs, and the green spaces the lungs, with everything connected by the 'arteries' of the transport network. A Complete Work of Art'I say it with pride. Finally, here at 67 years of age ... I was able to erect an architecture which fulfils day to day functions, but which leads to jubilation' (Le Corbusier, Sketchbook 3). The Chandigarh project was Le Corbusier's most important commission, a rare opportunity to create a Gesamtkunstwerk: a 'total work of art' encompassing masterplan, neighborhood layout, landscaping, construction, interiors and furnishings. In the very fabric of the city, and at every scale, lie Le Corbusier 's two great inspirations and disciplines: geometry and symbolism. The arithmetical ratios of the Modulor ensure a harmonious relationship between elements, but it is at the intimate human scale of Chandigarh's furniture, its interior 'equipment', that we can most directly experience the exactitudes and harmony of elegant proportions.The Committee TableThe other great source of Le Corbusier's inspiration was symbolism. Le Corbusier often distilled his design philosophy into elemental symbols. The recurring forms found in the architect's art and buildings were often inspired or directly generated by metaphor, symbol or figurative reference. The enamel-clad doors that form the entra... This lot is subject to the following lot symbols: † TP† VAT at the prevailing rate on Hammer Price and Buyer's Premium.TP 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

A fine and rare late 18th century mahogany stick barometer with one-inch diameter glass tubeJohn Russell, FalkirkThe flat top with moulded cornice over a hinged glazed door, the waisted trunk terminating in an oval cistern cover and set to the front with a well carved reeded column to protect the one-inch diameter glass tube, with brass Corinthian capital and base (with traces of original lacquer), terminating in a brass capital and base, the arched silvered one-piece dial (12ins x 5.5ins) surmounted by a hygrometer dial over twin scales, to the left a mercury Centigrade thermometer with oval bulb and to the right with 27-31 inch scale with eight weather predictions, with manual sickle-shaped vernier. 110m (43ins) high (1)Footnotes:John Russell, born c.1745-1817, was a highly respected clock and watch maker who in his later life rose to become Watchmaker to his Royal Highness the Prince Regent. A similar example also by Russell of Falkirk was sold in these salerooms on 14 July 2010, lot 48.For further information on this lot please visit Bonhams.com

An Edwardian pair of silver Corinthian column candlesticks by Hawksworth, Eyre & Co. Ltd., Sheffield 1904, the shaped sconces with beaded borders, foliate chased capitals on square bases, 18cm (11in) high, loadedCondition Report: Marks are clearPierced holes to the capitalsOne capital dented to one cornerOne slightly bentLight scratches and wear commensurate with age and useCondition Report Disclaimer

A pair of silver candlesticks by Mappin & Webb, Sheffield 1929, with shaped circular sconces, urn shaped capitals, lobed stems and on shaped circular basses, chased with foliate decoration throughout, 33cm (13in) high, loadedCondition Report: Maker's marks partially obscured, rest are clearOne with solder repair to the capital and bottom of the stem, and slightly bentBoth stand wellLight scratches and wear commensurate with age and useCondition Report Disclaimer

A Copenhagen porcelain figure,by Carl Martin-Hansen (1877-1941), the lady in regional costume, with one hand on her hip, inscribed 'Grith-Jan-Hansens-Datter Kokkedragt-Amager', marked underneath '12104 Denmark cmx',30cm highAmager is the largest island in the Øresund, and the Danish capital, Copenhagen Municipality, is partly situated on it.Condition report: No apparent damage or defects. Good overall.

A Copenhagen porcelain figure,by Carl Martin Hansen (1877-1941), the lady in regional costume, holding her blouse in two hands, inscribed 'Island', marked underneath '12164 Denmark mrcx(?)',31.4cm high,together with a figure of a kneeling boy, in regional costume, marked underneath '12414 Denmark lax Amager', 15cm high (2)Amager is the largest island in the Øresund, and the Danish capital, Copenhagen Municipality, is partly situated on it. Condition report: No apparent damage or defects on the lady. Boy has some flowers missing or chipped.

A bronze plaque of Richard Phene Spiers, by Edouard Lanteri, dated 1905, obverse: profile portrait of a bearded man facing left; text at the top reads ‘R. PHENE SPIERS/ ARCHITECT’, and ‘MDCCCCV and D LATERISC’ and ‘A RECORD OF THE ESTEEM OF HIS PUPILS COLLEAGUES AND FRIENDS’, reverse: Ionic capital in a classical landscape with temples, and ‘THE GREAT TRUST BETWEEN MAN AND MAN/ IS THE TRUST OF GIVING COUNSEL’, 7.4 x 5.9cm

A BRASS AND ONYX TABLE LAMP of Corinthian column form with cast capital and stepped base, 15cm wide x 46cm high

A SET OF FOUR ITALIAN CARVED LIMED PINE IONIC CAPITAL ARCHITECTURAL ORNAMENTS each 34cm x 15cm x 10cm

A Victorian engine turned propelling pencil, S Mordan & Co, makers and patentees, with swivel cornellian set capital, 9.5cm long, a Victorian reeded and foliate cast propelling pencil, with crested stone set end, 4cm long and a pink and white banded guilloche enamelled pencil, in cylindrical case, 5cm long (3).

* SYLVIA ALLEN (SCOTTISH b 1951), OPEN STREET acrylic on canvas, signed, further signed, titled and dated 1999 in pencil verso 116cm x 112cm (approximately 46 x 44 inches) Framed and under glass. Provenance: acquired Ainscough Contemporary Art, Drayton Gardens, London.and gallery labels verso. Note 1. Sylvia Allen's large scale works rarely appear at auction and the last large example we offered was lot 1731 4th March 2014: "Autumn Ambience" an 81 x 86cm acrylic, also dated 1999, which although significantly smaller than "Open Street" achieved £2000 (hammer). Note 2: Sylvia Allen graduated from Glasgow School of Art 1974. She exhibited regularly in group and solo shows whilst in various teaching and graphics employment. A Glasgow School of Art tutor in Life Drawing and Drawing and Painting in the years 1986-1994. Elected artist member of Glasgow Art Club in 1989.Has also exhibited in USA, France and Germany and as a result her work is in many collections at home and abroad including: Price Waterhouse Coopers, Arthur Andersen and Kempen Capital Management. Exhibited in RGI, RSA, SSWA and PAI. Scottish finalist in 1997 Laing exhibition, London. Painting selected for 1998 calendar. Now works solely for exhibitions. The work is characterised by strong involvement with colour and expressive movement. Themes include weather moods in landscape, atmospheric cityscapes and vibrant colours of flowers caught in sunshine. Solo Exhibitions/Group Exhibitions MacLaurin Gallery, Ayr; McLellan Galleries, Glasgow; Willamette Uni. Salem, Oregon; Main Fine Art, Glasgow; Harbour Arts Centre, Irvine; The Kunsthaus, Nurnberg; Scottish Amicable, Glasgow; The Metro Gallery, Glasgow; Zabo Gallery, Nurnberg; Turberville Smith Gallery, London; Galerie Reiter, Bad Tolz; Seen Gallery, London; Galerie in der Linden, Weidenberg; Cormund Gallery, Glasgow; Usiskin Gallery, London; Mall Galleries, London; Home Studio, Glasgow; Glasgow Art Gallery; Woodside Library, Glasgow; Green Gallery, Aberfoyle; Devonshire Hotel, Glasgow; Adam Gallery, Bath; Kelly Gallery, Glasgow; Hanover Fine Art, Edinburgh; Torrance Gallery, Edinburgh; Dept. Philosophy, Edinburgh Festival; Kingfisher Gallery, Edinburgh; Westgate Gallery, North Berwick; Ainscough Contemporary Art, London; MacMillan Fund, Strathclyde Arts Centre; Gatehouse Gallery, Glasgow; Kelly Gallery,Glasgow; Cornerstone Gallery, Stirling; Leith Gallery, Edinburgh; Chatton Gallery, Chatton; Riverside Gallery, Stonehaven; Thompson's Gallery, London; McEwan Gallery, Ballater and Roger Billcliffe Gallery, Glasgow.

THE LONDON POLICE (BRITISH CONTEMPORARY),ALL HAIL GRANDAD STEVEink and acrylic on linen, signed verso40cm x 30cmUnframedNote: The London Police is an art collective started in 1998 when two English geezers headed to Amsterdam to rejuvenate the visually disappointing streets of Holland's capital. They were part of a small group of artists at the end of the last century that helped pioneer the street art movement. After a few years of mixing travelling and making art in the street TLP began to receive worldwide recognition for their contribution to the graffiti/street art movement. Some 22 years on TLP have amassed more than 100 shows and events in over 35 countries and their street work continues to pop up everywhere they go. The London Police are Chaz Barrisson who draws the iconic ‘LADS’ character and Bob Gibson whose tight portrait and architectural illustrations help marry the two styles to create an endearing, exciting fantasy world...The approximate retail value is £900Generously donated by The London Police. The proceeds of sale from this lot will benefit The Glasgow Children's Hospital Appeal.

An Edwardian brass standard lamp, the fluted stem with gilt Corinthian capital, supported on spreading marble base, 150cm high

A Franz Bergman cold painted group depicting two monkeys, with capital 'B' marks within a shaped cartouche, GESCH, numbered 429, 9.5cms (3.75ins) high.Condition ReportGood condition

Richard Slater, 'Entering the Capital', signed, watercolour, 37 x 53cm.

Salah El-Mur (Sudanese, born 1966)Bint El Sudan signed and dated 'S ELMUR 2017' (lower centre)acrylic on canvas139 x 139.5cm (54 3/4 x 54 15/16in).Footnotes:ProvenanceAcquired direct from the artist by the current owner.ExhibitedSharjah Art Museum, 'Salah Elmur Fragrances of the Forest and Photos', February 2018, col illust cat. pg. 122.Bint El Sudan (Daughter of Sudan) also known as the 'Chanel No.5' of Africa was one of the best selling fragrances in the world. First produced in 1920 it was strongly favoured by Muslims as it is manufactured without alcohol, it is still the top selling perfume in Africa.The artist's version of Bint El-Sudan has the Nubian Kandake (Queen) standing on top of the Pyramids of Meroë, the capital of the Kingdom of Kush of ancient Nubia.For further information on this lot please visit Bonhams.com

A SILVER PLATED METAL COLUMNAR TABLE LAMP, Late 19th century, the later electrical fitment above a Corinthian capital, stop fluted shaft and stepped square base, height overall: 50cm

A SILVER PLATED METAL COLUMNAR TABLE LAMP, Early 20th century, with Corinthian capital reeded shaft and stepped base, height: 41cm excluding electrical fitment and shade

A VICTORIAN SILVER PLATED METAL TABLE OIL LAMP, Third quarter 19th century, the metal burner above a swag and hobnail cut glass reservoir, with dished underside, atop a columnar shaft with Corinthian capital and spiralled foliate tresses, the spreading, square section base with urns and further foliate motifs, 63cm high

A pair of bedside cabinets, late 20th century, each in the form of a column, with rectangular tops above a scrolled capital and fluted cylindrical body, each with carved AG initials to the undersides 82cm high, 55cm wide, 48cm deep