We found 9689 price guide item(s) matching your search

Dennis Taylor signed black and white photo. Team Gdez Capital. Is a Northern Irish retired professional snooker player and current commentator. 6x4 Inch. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Great Eastern Railway Salad Tongs by Elkington. Company wing logo beneath which is GER in script capital lettering. Approximately 9.5in long, good overall condition.

19th century lantern on post, faceted copper and glazed lantern top, cast iron foliage capital over twist decoration and lattice stem, octagonal baseDimensions: Height: 190cm 

Classical cast stone Composite garden column, the scrolled and acanthus leaf moulded Composite capital over plain body, circular stepped and moulded lower section on square baseDimensions: Height: 80cm 

A Silver Plate Five-Light Candelabrum, Apparently Unmarked, Probably First Half 20th Century, on square beaded base with ribbon-tied husk swags, the fluted column terminating in Corinthian capital, with four angular branches and a further central light, 53cm highThere is some overall surface scratching and wear, consistent with age and use. There are some minor bruises to the base. The base is later filled with a yellow resin.

Pablo Picasso (Spanish, 1881-1973) Avant Garde, Picasso's Erotic Gravures #8 - by Editor Ralph Ginzburg  First Edition; First Printing. Softcover. 28cm x 28cm (11" x 11") Pablo Picasso (Spanish, 1881-1973)  is known as the founder of Cubism. He was born in Málaga in 1881 to an artist father. The family moved to Barcelona in 1895, where Picasso enrolled at the School of Fine Arts. In the beginning of 1901, Picasso moved to Paris for the first time. The city was considered the cultural capital of Europe and attracted many aspiring artists. Soon after, he made his first sale with art dealer Berthe Weill and quickly became an influential figure in the artistic circles of Montmartre. After working in his characteristic Blue Period of 1901‒4 (as seen in Motherhood (1901)), Picasso developed his famous Cubist style in 1906/7. Together with French artist Georges Braque, Picasso extended the technique to Analytical Cubism and Synthetic Cubism (as seen in Fruit Dish, Bottle and Violin (1914)). Picasso was extremely productive during his lifetime, expanding his oeuvre to include etching, sculpture and ceramics. The Spanish artist had a profound influence on the formation of 20th-century Avant-garde art and his works can be found in many notable modern art collections around the world.

Part of the Our Candleholders theme. A beautiful candlestick for one candle. A frosted column with a twist design with a clear crystal base and capital. Accented with blue crystal knops. Swarovski marked on the capital. This item has its original box: 9.5""L x 9.75""W x 6.5""H. Artist: Gabriele StameyIssued: c. 1996-2001Dimensions: 2.5""W x 6.5""HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.

Part of the Our Candleholders theme. A beautiful candlestick for one candle. A frosted column with a twist design with a clear crystal base and capital. Accented with blue crystal knops. Swarovski marked on the capital. This item has its original box: 9.5""L x 9.75""W x 6.5""H. Artist: Gabriele StameyIssued: c. 1996-2001Dimensions: 2.5""W x 6.5""HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.

Capital Cities of Europe Proof Ignots (27) - Limited edition - Shipping Group A

Five Corgi OOC twin bus/coach sets, Lancashire Holiday Capital and Highlands, Dorset Delights, bridges and spires, varsity, all in near mint condition, slight storage wear to boxes. UK P&P Group 1 (£16+VAT for the first lot and £2+VAT for subsequent lots)

HIROSHIGE II UTAGAWA (1826-1869): FROM THE SERIES OF 36 VIEWS OF EASTERN CAPITAL, 1859-1862; three original Japanese woodblock prints, (3).

Pair of Victorian silver candlesticks, London hallmark, dated 1891, mm Martin, Hall & Co, approx 30 cms h, square form base with acanthus leaf and classic urn decoration, the tapering column and capital chased with ribbon and swag, approx 30 cms (loaded base).

° ° Dickens, Charles - Great Expectations, 3 vols, 1st edition in book form, 1st issue with no edition statements on title-page, crown 8vo (187 x 115mm.), in fine mid 20th century gilt-ruled red levant morocco bindings, gilt-decorated panelled (lettered direct), gilt tops and gilt-decorated turn-ins, grey endpapers, (stamped C.J. Sawyer, 12 Grafton St, W, their name stamped in gilt on turn-ins, with a small gilt monogram on back endpapers), Chapman and Hall, London, 1861. Great Expectations is RARE IN THIS FIRST ISSUE with first issue points present. This copy, being rebound, lacks the publisher's advertisements at the end of volume III. Correct first issue points are as follows:-Volume I:5.9 unbroken comma after 'man', 17.26 broken 'i' in 'sides', 35.25 single inverted comma at start of line, 42.5 full stop after 'robbery' present, 44.1 unbroken 'in' in 'mince', 52.13 unbroken 'W' in 'Wopsle', 52.15 'f' in 'of' correctly aligned, 93.1 'b' in 'by' undamaged, 140.2 unbroken 't' in 'went', 160.12 'f' in 'of' undamaged, 179.9 comma at end line undamaged, 180.16 comma after 'mentioning' undamaged, 203.4 faint ink marks between 'no' and 'one', 206.6 end of line hyphen present, 237.10 end of line comma undamaged, 246.23 'h' in 'how' present, 257.3 no inked spaces, 259.7 capital 'I' for 'In', 284 headline faint 'C' in 'Expectations', 284.2 full stop at end line undamaged, 299.27 comma end line undamagedVolume II: 3.4 's' in 'Jaggers' undamaged, 8 headline full stop present, 13.22 'd' in 'guardian' damaged, 48 headline full stop present, 84.24 broken 'j' in 'sub-ject', 187.16 full stop present after 'gloomily', 205.20 'to get', 213.25 hypen at end line undamaged, 230.17 'hi' in 'everything' undamaged, 231.8 'w' in 'with' undamaged, 278.21 damage to 'f' and 'n' in 'friend' and lacking full stop, 291.26 'ng' in 'nothing' damaged. 348.1 'k' in 'drink' damagedVolume III:19.24 's' in 'Jaggers' damaged, 39.5 ink space between 'you' and 'feel', 56.14 'f' in 'of' damaged, 150.4 'w' in 'waywardness' undamaged, 166.14 'l' in 'longer undamaged, 173.26 'theres', 217.3 semi-colon undamaged, 240.11 faint ink between 'roaring' and 'curses', 291.25 'h' and 'd' in 'hand' faint, 293.1 comma present.

A decorative late 19th century Danish white metal anointing spoon, a reproduction of a 16th century design, the shaped circular shallow bowl engraved with St Olaf of Norway, holding battleaxe and orb, standing on a lion with crowned head, also surrounded by inscription, the reverse with Madonna holding two babies, one with a crown, and surrounded by traditional religious inscription in ancient Scandinavian, the stem with spiralled banner engraved with inscription and terminating with crown form capital, marked for Denmark 1898, Simon Groth Assay master mark and maker M.Christesen. 17cm, 73grams

An early George III silver Hanoverian pattern ladle, the dished circular bowl issuing the long slender tapering stem with Hanoverian capital, engraved initials WAW to the reverse and double heel/drop, marks for London 1761, maker 'W*C' 33cm, 163grams.

Artist: Katsushika Hokusai (1760-1849)Title: Mount AsukaBook title: Fine Views of the Eastern Capital at a Glance vol.1Publisher: Tsutaya JuzaburoDate: 1800Size: 29.7 x 24.8 cmRef: CMCF32Backed, worn-out due to age, soiling, light stains due to old glue.

Militärische Ordonanzwaffen Ausland - Langwaffen (militärisch) : Scharfschützengewehr Tokarev M 40 mit der Seriennummer HB 1432 im Kaliber 7,62 x 54mm RNummerngleiches Scharfschützengewehr Tokarev M 40. Tula - Fertigung aus dem Jahr 1941 mit der Seriennummer HB 1432 im Kaliber 7,62 x 54mm R . Die Waffe dürfte nach dem Krieg arsenalüberholt woden sein, das bedeutet die Waffe wurde neu brüniert. Der Verschluss ist blank ohne zusätzliche Kennzeichnung und Neubeschuss. Die originalen Abnahmestempel sind sowohl an den Metallteilen wie auch am Schaft deutlich wahrnehmbar. Eine Überarbeitung der Metallteile fand bei der Überholung nicht statt. Der Lauf ist spiegelblank und wie die gesamte Waffe neuwertig erhalten. Am Gerhäuse auf Höhe des Patronenlagers befindet sich nachstehende Bezeichnung: linke Seite Seriennummer HB 1432. Oberseite Stern (Tula- Werke) über 1941 sowie diverseFertigungszeichen. Rechte Seite "C" sowie diverse Fertigungskennzeichen. Das Magazin ist zur Waffe nicht nummerngleich und weist die Seriennummer 6429 auf. An der Waffe befindet sich ein originales Zielfernrohr für das Tokarev Selbstlade - Gewehr, welches die Seriennummer 60264 trägt und zusätzlich Linse mit Hammer und Sichel sowie einem Stern gekennzeichnet ist. Die Optik ist scharf und klar wie auch in der Verstellung funktional. Die Zielferrohrmontage befindet sich im Originalzustand wobei die Brünierung weitgehend abgeutzt ist und an den Schienen befinden sich partiell feine gereinigte Rostnarben. An der Montage befinden sich rückseitig zwei kyrillische Großbuchstaben sowie die Seriennummer 1038. Die Waffe weist keinen regulären gültigen Beschuss für die BRD auf. Insgesamt gesehen ein sehr schön erhaltenes Scharfschützengewehr Tokarev M 40 (SVT 40). Erlaubnispflichtige Schußwaffe. Militärische Ordonanzwaffen Ausland - Langwaffen (militärisch) : Tokarev M 40 sniper rifle with serial number HB 1432 in caliber 7.62 x 54mm RMatching number sniper rifle Tokarev M 40 Tula - production from the year 1941 with the serial number HB 1432 in caliber 7.62 x 54mm R .The weapon was probably overhauled after the war, which means the weapon was re-blued. The bolt is blank without additional markings and new proof.The original acceptance marks are clearly visible on the metal parts as well as on the stock. The metal parts were not reworked during the overhaul.The barrel is mirror-like and, like the entire weapon, in mint condition. The following inscription can be found on the receiver at the level of the chamber: left side serial number HB 1432. Top side star (Tula works) above 1941 and various production marks. Right side "C" and various production marks.The magazine is not identical to the gun and has the serial number 6429.There is an original telescopic sight for the Tokarev self-loading rifle on the weapon, which bears the serial number 60264 and is additionally marked with a hammer and sickle as well as a star. The optics are sharp and clear and the adjustment is functional.The scope mount is in original condition, although the bluing is largely worn and there are some fine, cleaned rust scars on the rails. There are two Cyrillic capital letters and the serial number 1038 on the back of the mount.The weapon has no regular valid proof mark for the FRG.All in all a very nicely preserved Tokarev M 40 sniper rifle (SVT 40).Gun license required. Please check the regulations in the country you live in.Erlaubnispflichtige Schusswaffe / License requiredPlease note bidders should check if the item is permitted in their country of origin prior to bidding.All guns are antique firearms as described

A late 19th century French mahogany chest of six drawers, with cast brass ring handles within floral capital stiles, on block feet. 153 x 97 x 49cm

A Silver Plated Table-Lamp, on square base with gadrooned border and foliage stamped corners, the tapering stems with trailing foliage and flower scrolls, terminating in a Corinthian capital sconce, probably originally an oil lamp

"Good Fortune"Oil on canvas. Signed. Relined.65,5 x 81 cm.Wonderful painting of a young girl, still quite childlike, looking defiantly yet with the sweetness and innocence of her age, at a hypothetical querent for whom she has she has pulled some cards to read their fortune. With her deep, black eyes, she challenges us, certainly somewhat cockily, against an intense blue sky.  All of this is, undeniably, strongly reminiscent of the master Zuloaga.Of humble origins, Joan Cardona trained at the Baixas Academy, inaugurated by the painter Joan Baixas in 1892, a centre where, as the Prado reports, "a good number of the most prominent artists of Catalan Modernisme were trained."Having deep artistic and musical sensibility, as the Prado continues to explain, in 1894, "at just 17 years old, Cardona participated in the II General Exhibition of Fine Arts in Barcelona" and continued to do so in subsequent exhibitions. At the turn of the century, he moved to Paris, where he lived his years of greatest fulfilment and international recognition, establishing himself as one of the most acclaimed illustrators of the Belle Époque in Paris, illustrating numerous European magazines, especially French ones. Upon returning to his home town, where he consolidated his commercial success, he specialised in oil painting and a more folkloric style, depicting 'majas' and gipsies.Undoubtedly, the central figure in his works is the woman, whether surrounded by the glamour of Parisian high society, with elegant dresses and jewels during his time in the French capital, or, after his return, in a more folkloric and Romany setting, as is the case with the painting we have here.He maintained a close artistic and personal relationship with the popular painter Ricard Opisso, as the former member of the "Quatre gats" group married his sister Consuelo Cardona.His paintings are kept in the Carmen Thyssen Collection, from which we would highlight "A Young Girl" (inv. CTB.2016.35) due its resemblance to our canvas in the attitude of the young girl and her clothing; at the National Art Museum of Catalonia (MNAC), with "Maternal Love" from circa 1914 and "Dona abillada" ("Adorned Woman") from circa 1918 standing out amongst his paintings; and at the Musée d'Orsay. "Gitana con un niño," circa 1929, is kept in the collection at The Prado Museum.Reference Bibliography:- Museo del Prado. (s.f.). “Cardona y Lladós, Juan”. https://www.museodelprado.es/coleccion/artista/cardona-y-llados-juan/cdf3ed07-5dd8-46a3-a3dc-84ce37da5769- Cardona, Joan. (s.f.). “Una joven”. [Óleo sobre tela]. Colección Carmen Thyssen-Bornemisza. https://coleccioncarmenthyssen.es/work/una-joven/

"Manola"Oil on canvas.  Signed and signed on the back. 97,5 x 84 cm.Of humble origins, Joan Cardona trained at the Baixas Academy, opened by the painter Joan Baixas in 1892, a centre where, as the Prado reports, "a good number of the most prominent artists of Catalan Modernisme were trained."Having deep artistic and musical sensibility, as the Prado continues to explain, in 1894, "at just 17 years old, Cardona participated in the II General Exhibition of Fine Arts in Barcelona" and continued to do so in subsequent exhibitions. At the turn of the century, he moved to Paris, where he lived his years of greatest fulfilment and international recognition, establishing himself as one of the most acclaimed illustrators of the Belle Époque in Paris, illustrating numerous European magazines, especially French ones. Upon returning to his home town, where he consolidated his commercial success, he specialised in oil painting and a more folkloric style, depicting 'majas' and gipsies.Undoubtedly, the central figure in his works is the woman, whether surrounded by the glamour of Parisian high society, with elegant dresses and jewels during his time in the French capital, or, after his return, in a more folkloric and Romany setting, as is the case with the painting we have here.He maintained a close artistic and personal relationship with the popular painter Ricard Opisso, as the former member of the "Quatre gats" group married his sister Consuelo Cardona.His paintings are kept in the Carmen Thyssen Collection, from which we would highlight "A Young Girl" (inv. CTB.2016.35) due its resemblance to our canvas in the attitude of the young girl and her clothing; at the National Art Museum of Catalonia (MNAC), with "Maternal Love" from circa 1914 and "Dona abillada" ("Adorned Woman") from circa 1918 standing out amongst his paintings; and at the Musée d'Orsay. "Gitana con un niño," circa 1929, is kept in the collection at The Prado Museum.Reference Bibliography:- Museo del Prado. (s.f.). “Cardona y Lladós, Juan”. https://www.museodelprado.es/coleccion/artista/cardona-y-llados-juan/cdf3ed07-5dd8-46a3-a3dc-84ce37da5769- Cardona, Joan. (s.f.). “Una joven”. [Óleo sobre tela]. Colección Carmen Thyssen-Bornemisza. https://coleccioncarmenthyssen.es/work/una-joven/

* SYLVIA ALLEN (SCOTTISH b. 1951), MEETING POINT, AYRSHIRE acrylic on canvas, signed, titled and dated '98 verso framed and under glass image size 87cm x 87cm, overall size 104cm x 104cm Note: Sylvia Allen graduated from Glasgow School of Art 1974. She exhibited regularly in group and solo shows whilst in various teaching and graphics employment. A Glasgow School of Art tutor in Life Drawing and Drawing and Painting in the years 1986-1994. Elected artist member of Glasgow Art Club in 1989. Has also exhibited in USA, France and Germany and as a result her work is in many collections at home and abroad including: Price Waterhouse Coopers, Arthur Andersen and Kempen Capital Management. Exhibited in RGI, RSA, SSWA and PAI. Scottish finalist in 1997 Laing exhibition, London. Painting selected for 1998 calendar. Now works solely for exhibitions. The work is characterised by strong involvement with colour and expressive movement. Themes include weather moods in landscape, atmospheric cityscapes and vibrant colours of flowers caught in sunshine. Solo Exhibitions/Group Exhibitions MacLaurin Gallery, Ayr; McLellan Galleries, Glasgow; Willamette Uni. Salem, Oregon; Main Fine Art, Glasgow; Harbour Arts Centre, Irvine; The Kunsthaus, Nurnberg; Scottish Amicable, Glasgow; The Metro Gallery, Glasgow; Zabo Gallery, Nurnberg; Turberville Smith Gallery, London; Galerie Reiter, Bad Tolz; Seen Gallery, London; Galerie in der Linden, Weidenberg; Cormund Gallery, Glasgow; Usiskin Gallery, London; Mall Galleries, London; Home Studio, Glasgow; Glasgow Art Gallery; Woodside Library, Glasgow; Green Gallery, Aberfoyle; Devonshire Hotel, Glasgow; Adam Gallery, Bath; Kelly Gallery, Glasgow; Hanover Fine Art, Edinburgh; Torrance Gallery, Edinburgh; Dept. Philosophy, Edinburgh Festival; Kingfisher Gallery, Edinburgh; Westgate Gallery, North Berwick; Ainscough Contemporary Art, London; MacMillan Fund, Strathclyde Arts Centre; Gatehouse Gallery, Glasgow; Kelly Gallery,Glasgow; Cornerstone Gallery, Stirling; Leith Gallery, Edinburgh; Chatton Gallery, Chatton; Riverside Gallery, Stonehaven; Thompson's Gallery, London; McEwan Gallery, Ballater and Roger Billcliffe Gallery, Glasgow.

* SYLVIA ALLEN (SCOTTISH b. 1951), LET IT SNOW acrylic on canvas, signed, titled verso framed and under glass image size 87cm x 87cm, overall size 104cm x 104cm Note: Sylvia Allen graduated from Glasgow School of Art 1974. She exhibited regularly in group and solo shows whilst in various teaching and graphics employment. A Glasgow School of Art tutor in Life Drawing and Drawing and Painting in the years 1986-1994. Elected artist member of Glasgow Art Club in 1989. Has also exhibited in USA, France and Germany and as a result her work is in many collections at home and abroad including: Price Waterhouse Coopers, Arthur Andersen and Kempen Capital Management. Exhibited in RGI, RSA, SSWA and PAI. Scottish finalist in 1997 Laing exhibition, London. Painting selected for 1998 calendar. Now works solely for exhibitions. The work is characterised by strong involvement with colour and expressive movement. Themes include weather moods in landscape, atmospheric cityscapes and vibrant colours of flowers caught in sunshine. Solo Exhibitions/Group Exhibitions MacLaurin Gallery, Ayr; McLellan Galleries, Glasgow; Willamette Uni. Salem, Oregon; Main Fine Art, Glasgow; Harbour Arts Centre, Irvine; The Kunsthaus, Nurnberg; Scottish Amicable, Glasgow; The Metro Gallery, Glasgow; Zabo Gallery, Nurnberg; Turberville Smith Gallery, London; Galerie Reiter, Bad Tolz; Seen Gallery, London; Galerie in der Linden, Weidenberg; Cormund Gallery, Glasgow; Usiskin Gallery, London; Mall Galleries, London; Home Studio, Glasgow; Glasgow Art Gallery; Woodside Library, Glasgow; Green Gallery, Aberfoyle; Devonshire Hotel, Glasgow; Adam Gallery, Bath; Kelly Gallery, Glasgow; Hanover Fine Art, Edinburgh; Torrance Gallery, Edinburgh; Dept. Philosophy, Edinburgh Festival; Kingfisher Gallery, Edinburgh; Westgate Gallery, North Berwick; Ainscough Contemporary Art, London; MacMillan Fund, Strathclyde Arts Centre; Gatehouse Gallery, Glasgow; Kelly Gallery,Glasgow; Cornerstone Gallery, Stirling; Leith Gallery, Edinburgh; Chatton Gallery, Chatton; Riverside Gallery, Stonehaven; Thompson's Gallery, London; McEwan Gallery, Ballater and Roger Billcliffe Gallery, Glasgow.

* SYLVIA ALLEN (SCOTTISH b. 1951), COWS IN SUNLIGHT acrylic on board, signed, titled versoframed and under glassimage size 36cm x 43cm, overall size 57cm x 63cm Artist's label versoNote: 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.

* FRANCES MACDONALD RGI (SCOTTISH b. 1945), APPROACHING STORM, CALBHA oil on canvas, signed, titled label versoframedimage size 61cm x 81cm, overall size 78cm x 98cm Label verso: The Scottish Gallery, EdinburghNote: At the time of writing, Frances Macdonald is enjoying a highly successful solo show at the prestigious Portland Gallery (London) 29 November - 17th December. She also shows at the equally prestigious Scottish Gallery in Edinburgh. Known collections include: Aberdeen Asset Management, Adam & Company, BKR, Haines Watts, Drummond Miller Solicitors, First National Bank (USA) Fred Olsen Shipping Line, Gleneagles Hotel, Halifax, Misys plc, No.1 Devonshire Gardens, Glasgow Property Capital Group, Robert Fleming Holdings, Royal Bank of Scotland, Stenna Shipping Line, University of Strathclyde.

* FRANCES MACDONALD RGI (SCOTTISH b. 1945), ACROSS THE MACHAIR, HUSHINISH oil on canvas, signed, titled label versoframed image size 61cm x 81cm, overall size 78cm x 98cm Label verso: The Scottish Gallery, EdinburghNote: At the time of writing, Frances Macdonald is enjoying a highly successful solo show at the prestigious Portland Gallery (London) 29 November - 17th December. She also shows at the equally prestigious Scottish Gallery in Edinburgh. Known collections include: Aberdeen Asset Management, Adam & Company, BKR, Haines Watts, Drummond Miller Solicitors, First National Bank (USA) Fred Olsen Shipping Line, Gleneagles Hotel, Halifax, Misys plc, No.1 Devonshire Gardens, Glasgow Property Capital Group, Robert Fleming Holdings, Royal Bank of Scotland, Stenna Shipping Line, University of Strathclyde.Note 2: Huisinish or Hushinish (Scottish Gaelic Hùisinis) is a remote place on the west coast of Harris in the Outer Hebrides of Scotland. It lies at the end of a 12-mile-long (19 km) single-track B road. The settlement of only four houses overlooking a white sand beach with views to the Atlantic. Nearby, and to the north, lies the uninhabited island of Scarp, the location of an experimental rocket postal service in the 1930s. Hushinish is the terminus of an infrequent bus service from Tarbert, Harris. The name Hushinish is derived from Old Norse and means "house headland"

Vinyl / Memorabilia - The Clash Capital Radio Set to include The NME Capital Radio EP (CL1) Ex, The Clash debut album showing red sticker residue on inner sleeve that was required to be sent off to NME in order to receive the EP. LP has copyright control text, sleeve & vinyl Ex-. Also included is the original April 2nd 1977 NME magazine with the Tony Parsons interview which was included on the Capital Radio EP. Magazine in good condition.

Full title: A Chinese famille rose 'Xi Xiang Ji' kendi, YongzhengDescription:H.: 23,5 cm Condition: (UV-checked)- Excellent, with some normal wear to the overglazed enamel design. å“相：（已用紫外线光检查)- å…¨å“，釉上彩轻微磨æŸã€‚ Provenance:- S. Marchant & Son, London, 10 June 2009. Published in their catalogue 'Recent Acquisitions, 2009', p. 42, no. 24, and of course also exhibited at their premises. (see images no. 8 and 9) Ref.: The figural scene faithfully depicts Act 15 - Changting Songbie (Farewell at the Pavilion) of Xi Xiang Ji (Romance of the Western Chamber) by the Yuan dynasty playwright Wang Shifu (1250-1337). In Act 15, the female protagonist Cui Yingying sends her newly wed husband Zhang Gong off to the capital for the civil examination.Condition reports:Condition reports (unless otherwise specified above):Please contact us on info@rm-auctions.com to request a condition report. Condition reports and high resolution pictures are made available on our website at www.rm-auctions.com. The full list of available condition reports for this sale is available on this link: https://www.rm-auctions.com/en/condition-report/77.

Full title: A Chinese blue and white 'capital punishment' dish, Yongzheng/QianlongDescription:Dia.: 35 cmCondition reports:Condition reports (unless otherwise specified above):Please contact us on info@rm-auctions.com to request a condition report. Condition reports and high resolution pictures are made available on our website at www.rm-auctions.com. The full list of available condition reports for this sale is available on this link: https://www.rm-auctions.com/en/condition-report/77.

Full title: A Chinese blue and white 'Xi Xiang Ji' dish, Jiajing mark, KangxiDescription:Dia.: 26,8 cm Ref.: Dr. Yibin Ni's research project Tutuhaoyi.com, has a page dedicated to the subject (External link available on rm-auctions.com). Below is an excerpt of his findings: Yingying receiving good news delivered by the pageboy - æ³¥é‡‘æŠ¥æ· This is a story from the Romance of the Western Chamber, a famous Chinese play written by Wang Shifu (王实甫, 1260-1336) during the Yuan dynasty (1271-1368): On his way to the capital to take civil-service exams, Scholar Zhang (张生) fell in love with the beautiful Cui Yingying (崔莺莺), who was stranded in a monastery. They had to be separated because Yingying’s mother only allowed Zhang to marry Yingying after he succeeded in his exams. Half a year passed and, when Zhang won the official honours, he sent the pageboy to tell Yingying the good news. Yingying was thrilled to receive the glad tidings.Condition reports:Condition reports (unless otherwise specified above):Please contact us on info@rm-auctions.com to request a condition report. Condition reports and high resolution pictures are made available on our website at www.rm-auctions.com. The full list of available condition reports for this sale is available on this link: https://www.rm-auctions.com/en/condition-report/77.

A C.W.C. military chronograph wristwatch, the black dial with military broad arrow and capital T, Arabic numerals, outer minutes track, subsidiary seconds and minutes dials, the caseback stamped 0552/924-3306 (3312 lined through) above military broad arrow and 4063/74, manual wound, the case 39mm diameter.  This particular watch is celebrated affectionately as one of the members of the esteemed "Fab Four" group consisting of Hamilton, CWC, Newmark and Precista, the numbers 0552 indicating this watch was issued to a member of the Royal Navy Fleet Air Arm

AUGUSTE ANASTASI (FRENCH 1820-1889) VIEW ACROSS THE GIARDINO DEGLI ARANCI, ROMEsigned and dated AUG. ANASTASI.1863 lower leftoil on panel33 x 65cm; 13 x 25 1/2in60.5 x 93.5cm; 24 1/2 x 36 3/4in (framed)Property from a Private Collection, KensingtonProvenanceAcquired by the present owner in the 1990sA favourite subject for painters visiting Rome, the walled giardino degli aranci (orange garden) - also known as Savello Park - stands on the Aventine Hill to the south of the capital. Formally the site of a fortress built by the Savelli family that was demolished in the early 17th century, the garden is closely linked to the neighbouring Basilica Santa Sabina, consecrated in the 5th century and home to the Dominican Order since the 13th century, hence why prelates and monks are so often depicted in the garden's precincts.

A RARE TERRACOTTA RELIEF DEPICTING AN ASURA, GUPTA PERIODEastern India, Bengal, 5th-6th century. Powerfully modeled, the asura standing in a dynamic pose with one leg crossed over the other, his face with a confident expression, perhaps mocking an unseen opponent, marked by his bulging wild eyes and the open mouth showing teeth, framed by a thick beard. He is wearing a short robe secured at the waist by a floral belt and adorned with jewelry. Provenance: From a notable collector in London, United Kingdom. Condition: Excellent condition, commensurate with age. Extensive wear, losses, signs of weathering and erosion, encrustations, few structural cracks.Scientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 14 September 2020, based on sample number C120e27, sets the firing date of one sample taken at between 900 and 1500 years ago. A copy of the report, issued by Oxford Authentication, accompanies this lot.Academic Dossier: A detailed academic commentary on the present lot, elaborating on the meaning of the Asuras as well as the history of the Gupta Empire in general, and showing many comparisons to examples in both public and private collections, is available upon request. For a PDF copy of this dossier, please refer to the department.Weight: 4,507 g (excl. stand) Dimensions: Height 43 cm (excl. stand)With an acrylic glass mounting at the back and an associated metal stand. (2)The lively figure depicted in this terracotta fragment is probably an Asura, one of a group of gods who opposed but were ultimately defeated by the Devas, the gods who are central to Hindu and earlier Vedic beliefs; it is quite likely that the myths relating to the Devas and Asuras evolved from a single belief system. The legendary conflict may be based on a factual clash between two sects that existed in the post-Harappan period, when beliefs surrounding the Vedic gods and their associated social structure were challenged by revised ideas emanating from Iran, which ultimately died out or were driven away by the existing mainstream hierarchy in western India.Terracotta was the traditional material for religious images in the Ganges Valley and in the Mauryan and Shunga periods (3rd-1st century BC). Bengal had been the source of some of the most sophisticated figures of gods and goddesses. In the Gupta period, several centers of terracotta sculpture emerged across the Empire, from Akhnur in Kashmir, down to Shravasti and Bitargaon in Uttar Pradesh, around the Gupta capital at Pataliputra (Patna), and down into the Ganges Delta where some of the richest red clays were available. The lack of stone in eastern Bihar and Bengal meant that clay had always been used for architectural purposes, brick adorned with terracotta or stucco being the most widely used material, and a number of archaeological sites in Bengal attest to the sophistication of the effects achieved.Literature comparison: Compare a related terracotta relief depicting Krishna killing the horse demon Keshi, dated to the 5th century, in the collection of the Metropolitan Museum of Art, accession number 1991.300. Compare a related terracotta torso of a nobleman, dated 5th century, in the collection of the Michael C. Carlos Museum, Emory University, object number 2001.001.011. Compare a related terracotta relief depicting the battle between Hanuman and Indrajit, dated 6th century, in the collection of the State Museum, Lucknow, illustrated by M. C. Joshi and J. F. Farrige, L'Âge d'or de l'Inde Classique, L'Empire des Gupta, Paris, 2007.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A SANDSTONE GUARDIAN FIGURE DEPICTING A YAKSHA, KOH KER STYLEKhmer Empire, 10th century. Finely carved kneeling atop a square base with one knee raised, his right hand holding a vajra and his left resting on his thigh, wearing a short pleated sampot with fine incision work. The face well detailed with a wrathful expression marked by large bulging eyes with neatly incised pupils, thick brows, a mustache, a broad nose, full lips, the mouth slightly agape revealing teeth, the head surmounted by an elaborate foliate crown.Provenance: From a distinguished Italian private collection, acquired between the late 1960s and early 1970s. Leonardo Vigorelli, Bergamo, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons.Condition: Excellent condition, commensurate with age. Extensive wear, small losses, minor nicks and surface scratches, signs of weathering and erosion, structural cracks, encrustations. The head has been reattached using a metal rod. Fine, natural patina overall. Dimensions: Height 62.5Guardian figures such as the present lot were placed aside of gateways, steps, and entrances of sacred areas like temples.Koh Ker, which lies 50 miles (80 km) northeast of Angkor, was the capital of the Khmer Empire from 928-944. Koh Ker's sculptural style is thus distinct from those developed in Angkor's immediate vicinity. The stone sculpture, often monumental in size, is imbued with a heightened sense of movement and a suppleness of form. The Koh Ker rulers adhered to the Hindu religion, especially the Shaiva sect.The yakshas are a broad class of nature-spirits, usually benevolent, but sometimes mischievous or capricious, connected with water, fertility, trees, the forest, treasure and wilderness. They appear in Hindu, Jain and Buddhist texts, as well as in ancient and medieval era temples of South and Southeast Asia as guardian deities. The yakshas have a dual personality: On the one hand, they may be inoffensive nature-fairies, associated with woods and mountains, but there is also a darker version of them, which is a kind of a ghost that haunts the wilderness and devours travelers. Kubera, the god of wealth and prosperity, is considered the king of the yakshas.Literature comparison: Compare a closely related Koh Ker sandstone head of a Yaksha, 40.5 cm high, in the collection of the National Museum of Cambodia, inventory number Ka.1666.Auction result comparison: Type: Related Auction: Christie's Paris, 14 December 2016, lot 17 Price: EUR 80,500 or approx. EUR 94,000 adjusted for inflation at the time of writing Description: An important sandstone figure of a half-male half-female deity, Cambodia, Khmer, Koh Ker period, 10th century Expert remark: Compare the closely related pose, pleated sampot, and crown. Note that the sculpture depicts a rare and unidentified androgynous deity and is of larger size (93 cm).

ALDIS BROS LTD, BIRMINGHAM; an admiralty pattern 16409 5" hand signalling lantern, cased and two pairs of vintage binoculars including Capital 12x50 and a Ross of London pair (3).

Richardson (George). Iconology; or, A Collection of Emblematical Figures; containing four hundred and twenty-four remarkable subjects, moral and instructive; in which our displayed the beauty of virtue and defomity of vice. The figures are engraved by the most capital artists from original designs; with explanations from classical authorities. By Geroge Richardson, architect, 2 volumes, 1st edition, London: printed for the author, by G. Scott, 1779, printed title to each volume, engraved dedication leaf to first volume, and single-page list of subscribers (195 listed 109 engraved plates, text and plates printed on good-quality thick laid paper, very light offsetting from plates to adjacent text leaf, some light spotting to first few leaves of first volume, armorial bookplate of Robert Hunter Esqr. of Thurston to front endpaper of each volume, contemporary uniform full tree calf, gilt-decorated spine with contrasting red and black morocco labels, rubbed and a little wear to extremities, joints partly cracked (upper joint to first volume somewhat fragile), large 4to (sheet size 38 x 30 cm)QTY: (1)NOTE:ESTC N17051.A handsome edition of George Richardson's collection of emblems and motifs drawn from ancient and classical authors as well as the Italian writer Cesare Ripa. Scottish architect George Richardson (1737/1738-1813) wrote a number of works on architecture and deisgn. The present work was designed for the use of painters and interior designers, and had a significant influence on neo-classical art in England. Subscribers to the work include Robert and James Adam, Francesco Bartelot, Sir William Chambers, Sipriani, George Dance, James Gandon, Sir William Hamilton, Joseph Nollekens, Thomas Nash (cabinet maker), James Paine, Edward Penny and Sir Joshua Reynolds of the Royal Academy, Romney, Paul Sandby, James Tassie, Benjamen West, Richard Westmancott, William Woollett, and Antonio Zucchi.

Crime Chapbook. The Life and Death of John Carpenter alias Hell Fire Jack, the noted Horse Stealer, who was executed April 4, 1805; also the particulars of Eliz. Barber alias Mrs. Daley, hanged for murder. To which is added the trial of J. Dransfield, a young soldier belonging to the York Militia, who was hung for a rape. Together with the trial of three soldiers of the foot guards for a highway robbery and other capital offenders, Printed by R. Pocock, Gravesend, London: Crosby & Co., 1805, advert leaf, engraved folding frontispiece, 24 pages, uncut, original blue-grey wrappers with Pocock’s printed adverts to front and rear, stab-stitching renewed and the whole stab-stitched into modern plain wrappers with ink lettering to upper wrapper, 12moQTY: (1)NOTE:The first account concerns Samuel Hook, alias John Carpenter, alias Hell-Fire Jack, who was born in Tunbridge Wells, Kent, on 5 August 1767, and became a notorious horse thief.Rare. Copac locates just two copies at National Library of Scotland and University of Leicester Library.

Ruscha (Edward). Crackers, 1st edition, Hollywood: Heavy Industry Publications, 1969, 115 illustrations after photographs, original wrappers, upper cover and spine titled in red capital letters, lightly toned, 8voQTY: (1)NOTE:Provenance: from the library of Sir Lawrence Gowing (1918-1991).Engberg-Phillpot B10. One of five thousand copies. The photographic illustrations by Ruscha, Ken Price and Joe Goode illustrate Mason Williams' story 'How to derive the maximum enjoyment from Crackers', which served as the basis for Ed Ruscha's 1970 film Premium.

* Williamson (Henry, 1895-1977). English novelist and journalist. A large archive of Henry Williamson’s papers and books, comprising: Dream of Fair Women, notes, typed and in manuscript, with a few single sheets of galley & page proofs, approx. 9 items; The Flax of Dream, typed and manuscript notes, 2 letters from Faber & Faber, signed Dick [probably Richard de la Mare], approx. 9 items; The Gold Falcon, one galley page, one typed, one manuscript; Goodbye West Country, typescript of a number of pages with annotations, a few proof pages, annotated, approx. 36 pp.; Tales of a Devon Village, 16 pp. page proofs, 2 of typescript, all with manuscript notes; The Golden Virgin, typescript (7 pp.) and layout dummy (7 pp. plus blanks) for preliminary pages; The Pathway, typescript of extra matter for p. 412 (old pagination), for new edition, 4 pages typescript with manuscript corrections, boards only of hardback edition with manuscript notes on rear endpaper and pencil map on rear pastedown; Devon Holiday, typed title-page and 4 pp. typescript with manuscript corrections; The Linhay on the Downs from Fortnightly Review, 8 pp. proofs with manuscript corrections; Lyon (Julia Hart, pseud. Ann [Myfanwy] Thomas), Women Must Love, [Faber, 1937], galley proof with manuscript corrections and numerous typed and manuscript corrections by the author and by Henry Williamson in his familiar hand and his often used red ink, lacks sheets 35(a) and 51(a), together with:a small collection of assorted Williamson literary manuscripts and typescripts; financial and literary estate papers including dealing with HMRC, capital gains tax, etc.; correspondence, calculations etc.; a large collection of photocopies made for the Henry Williamson estate from the original manuscripts of several of his books [the originals of these are presumed to be part of the University of Exeter deposits made in 1965 and 1981], plusa box of miscellaneous books from the library of Henry Williamson, a number with his ownership signature and/or owl monogram, including his dictionary and his thesaurusQTY: (3 cartons)NOTE:The corrections to the galley proof of the scarce novel Women Must Love may suggest this was a collaborative effort between Williamson and Thomas. Julia Hart Lyon was a pseudonym for Ann Myfanwy Thomas (1910-2005), daughter of the poet Edward Thomas, secretary and lover of Henry Williamson, with whom she had a child. This is her only novel; she later published a selection of memoirs, One of These Fine Days, 1982.

Silver table candlestick with fluted column and Corinthian openwork capital, 1885, loaded, 32cm.

Madrid.: A General View of the City Madrid the Capital of the Kingdom of Spain. Gesamtansicht über die Brücke li., mit fig. Staffage im Vordergrund. Kolor. Guckkastenkupfer, Ldn. (u. wohl Daumont, Paris) 1760. 22,5 x 36,5 cm. Nr. 35 ob. li. - Weißer Rand stärker stockfl., ein kl. Riss am Rand. R

London City & Midland Bank Ltd., Carlisle, mint order with C/F RO 30.9.14, black and white & purple. Vig.Details Capital etc, printer Blades East & Blades

Lovely vintage glass jar with metal mixing mechanism, and red Bakelite handle. The splashguard is stamped JIFFY-MIXER MADE IN THE USA PAT. NO. 2181833. Glass jar has the Hazel Atlas mark, H with capital A positioned underneath. Issued: 20th CentuyDimensions: 9.75"H x 3.5"dia.Manufacturer: Jiffy-MIxerCountry of Origin: USACondition: Age related wear.

Good antique harp lute in the manner of Edward Light, the seven sided segmented maple back banded with gilding, the spruce table within a wide ebonised band gilded with stylised foliage, birds and classical vases, the top with fluted pillar and gilded figural capital to one side and short fretboards to the other, united by a curved tapered peg box, 33" long overall

18th century sampler. 'May Bissat My Work', dated 178x. The upper section alphabetic and numeric rows. The lower section with stag and tree needlework. Framed and glazed. Sampler size 35 x 18.5 cm Condition Report: In good overall condition. The first seven lines are lighter and more faded than the lines which follow. There are small losses to the 1 and the 2 and a capital letter is damaged in this line. Some small losses to the lower two lines and there are small areas of loss the some of the red dividing lines.

From The Estate Of Bill Owen (1914-1999) - MBE - a collection of photographs, letters and cards relating to Owen being awarded the MBE in 1977. The collection of items includes several personal family photographs of Owen taken on his trip to London and his stay in the capital, telegrams of congratulations from friends, letters from well wishers - including many of a political nature, Lord Donaldson, and many others. A unique and charming collection of Owen's estate. 

*OSCAR NEMON (1906-1985) 'Married Love' A bronze study of Sir Winston Churchill, KG, OM, CH, TD, DL, FRS, RA (1874-1965) and Clementine Ogilvy Spencer Churchill, Baroness Spencer-Churchill, GBE (1885 - 1977), modelled after the full-scale work now in situ in the grounds of Chartwell, the Churchill's home in Kent, circa 1978, number three from the edition of 15, signed "Nemon FN5" to the reverse, 44.5cm wide x 24cm high x 23cm deepProvenance: The Collection of Peter AB Johnson, Trustee of the Churchill Statue Fund.Oscar Nemon had approached Peter Johnson to find a suitable home for the monumental work. The first suggestions were Hyde Park and the Cabinet War Rooms, but it was decided, with the agreement of the National Trust, that the sculpture should sit in the grounds of Churchill’s beloved Chartwell. A charity was established, the Churchill Statue Fund, to sell the reduced size bronzes for £5,000 each, to raise the necessary amount for the esteemed Morris Singer Foundry of Basingstoke to cast the monumental bronze. This was a great success, with examples sold to the likes of Michael Heseltine and Jonathan Aitken. The endeavour was so successful in fact, that the organisers could afford to present one copy to Margaret Thatcher and another to Lady Soames, the daughter of Sir Winston and Lady Churchill. In fact, it was Peter Johnson that personally delivered the bronze to Lady Soames, remarking “When I arrived at Sloane Court West, a voice from above, that could only be the daughter of the great Sir Winston Churchill called out “The lift has broken down, but there is a glass of champagne waiting for you” after carrying the 8lb maquette up several flights of stairs, I certainly needed that glass”.Oscar NemonOscar Nemon was born in Osijek, a small market town in Croatia, in 1906. While at secondary school he demonstrated exceptional talent as a draughtsman and was advised to specialise in drawing and painting. However, the young Nemon found the approach to art at his gymnasium too formulaic, and did not want to conform to its structured way of teaching.At the age of fourteen, Nemon began to experiment with sculpture, having developed a fascination with a piece encountered on his travels. Inquiring how it was made, he was advised to “Go to the brickworks, where you will find plenty of clay, and make something.”After taking his baccalaureat in 1923, Nemon left Osijek for the greater opportunities and challenges of Vienna, where he continued to sculpt and study, and develop his innate talent for portraiture. During this initial period his work was both inspired and influenced by Ivan Mestrovic, who later became both a friend and mentor.In Vienna Nemon’s uncle owned a bronze factory, enabling him to cast his work as it was completed. Already an admirer of Sigmund Freud, whose writings would profoundly influence Nemon’s own thinking, he was able to persuade Freud to sit for him, becoming the first and only person to sculpt the analyst from life.From Vienna Nemon moved to Paris, and then to Brussels in the early 1930’s. Here, while studying sculpture at the Académie des Beaux Arts he won the Gold Medal for Sculpture, and shared a house with René Magritte. Continuing to develop his more personal figurative work, Nemon also established a style of portraiture that was powerful and intensely evocative of the character of the sitter. An exhibition of Nemon’s sculptures was held at the Palais des Beaux Arts in Brussels in 1932, the success of which led to a series of distinguished commissions, his sitters including King Albert I and Queen Astrid, the then Belgian Prime Minister Van de Velde, and future Prime Minister Henri Spaak, who also became a close friend. Nemon then moved to England in 1938, intending to go to America, but the war intervened. Based in London and Oxford, Nemon rapidly established himself as an artist of distinction. Here H.M. the Queen, H.M. the Queen Mother, and Prince Phillip all modelled for Nemon, who was granted a studio in St James’s Palace, and whose last sitter at the time of his death in 1985 was Diana, Princess of Wales.Other distinguished sitters included General Eisenhower, President Truman, Lord Beaverbrook, Field Marshal Montgomery, Ernst Chain, Lord Alexander and Earl Mountbatten, together with Lord Shinwell, Harold Macmillan and Lady Thatcher. There were few from this post-war period to whom he devoted more attention than Sir Winston Churchill, whom he admired deeply, and sculpted from life on numerous occasions.Nemon modelled in clay, directly from life, subsequently casting his work first in plaster and then in bronze or occasionally marble. Gifted with immense personal charm and delicacy, he would amuse and draw out his sitters with a series of stories and anecdotes which helped produce the extraordinarily animated and revelatory impressions which characterise his portraiture. Although Churchill originally warned Nemon “If you want to lose a friend, do his portrait”, during the course of their many sittings, Churchill and Nemon established a close relationship, becoming personal friends, to the extent that Churchill resolved to attempt Nemon’s head while the sculptor was working on his own. Nemon later remembered how.“When he (Churchill) became excited about the difficulties in which he found himself, his cigar began to come to pieces in his mouth and soon he was roaring like a lion over its prey. He shouted at me ‘How on earth can I work when you keep moving?’ In the interest of continuing peace between us, I kept still after that and, by doing so, I lost an opportunity of making a real study of him - a sad loss but almost inevitable because he was a restless and most unwilling sitter.”Nemon had Churchill’s image of him cast in bronze, and wrote to Churchill “I beg you not to underrate the artistic value of this work which would be considered by any expert as outstanding for the first attempt.”Nemon’s statues of Churchill stand in the Members’ Lobby of the House of Commons, the Guildhall, Blenheim, the National Portrait Gallery and the Cabinet War Rooms. One of his marble busts of Churchill is at Windsor Castle. Other of Nemon’s Churchill sculptures and busts can be found in over twenty capital and major cities round the world from Moscow to Washington. 

JENNY MONTIGNY (1875-1937) 'Hyde Park, Londres 1918' Woman and children enjoying a bright day, signed lower right, further signed, dated and titled verso, oil on canvas, 50cm x 60cmProvenance: The Collection of the ArtistThe Collection of Louis Montigny, the brother of the Artist and his wife Lilian Attneave and thence by descent.Note: The area of Hyde Park depicted in this work is known as ‘Rotten Row’, a fashionable place for upper-class Londoners to be seen from the 17th century onwards.Jenny MontignyA pioneering female impressionist, Jenny Montigny was a founding member of the luminist group of Belgian artists‘Vie et Lumière’.Born in Ghent where her father was a law professor at the city's university, Montigny's early interest in art was fuelled by an early encounter with 'The Kingfishers' by Emile Claus (1849-1924) housed in the Museum of Fine Art (MSK) in Ghent. This pivotal experience led her to take private lessons with Claus at his country home Villa Zonneschijn in 1893. Despite the fact that Claus was married and twenty-six years her senior, they began a relationship that lasted until his death in 1924.Unsupported by her parents, who disapproved of her artistic interests, Montigny dared to be independent, and settled at Villa Rustoord in nearby Deurle in 1904. While a number of other female artists emerged at this time, notably Anna de Weert (née Cogen), Montigny was unique in living on her own, with neither a husband nor her parents.At the outbreak of World War I, she fled to London, where her brother Louis Montigny was living with his wife, Lillian Attneave. Claus and his wife Charlotte Dufaux also came to London and it is often insinuated that Jenny deliberately followed Claus, but in reality Claus only stayed in the capital for a few weeks before travelling to Wales. On 5th November 1914 Claus wrote to Cyriel Buysse in The Hague that he had left London. “I’ve run away from London: too many refugees of all kinds.” In the same letter, Claus asked about the whereabouts of friends and acquaintances, including that of ‘J.M.’. It is clear that in the first chaotic period of the war, Claus and his pupil had no contact and no idea about each other’s whereabouts. Artistically, Montigny flourished during her time in London. She exhibited in several London galleries, including the Dowdeswell Gallery, the Grafton Galleries and the New English Art Club. Her name appeared in many exhibitions for and by the Belgian artists in exile, well known all the way to Rotterdam. She joined the Women’s International Art Club, exhibiting with other artists such as Amy Katherine Browning (1881-1978) and Dorothea Sharp (1874-1955).After the war, she returned to Belgium and, finding it necessary to sell her villa, moved into a more modest home. In 1923, she joined the Société Nationale des Beaux-Arts. After Claus’ death, she found herself in worsening financial straits. Her painting style was no longer popular and it was necessary to accept charity from family and friends. She was largely forgotten after her death until 1987, when exhibitions were held in Deurle and Deinze. In 1995, a major retrospective took place at the Musée Pissarro in Pontoise.Jenny Montigny died of cancer on 31 October 1937, in her house in the Pontstraat in Deurle at half past one in the morning. As with so many female artists of the period, Montigny suffered from a lack of exposure due to being a woman, but in recent years her work has been enjoying renewed and deserved attention internationally. In 2019 the city of Ghent even named a street after her.

GEORGE EDMUND STREET (BRITISH 1824-1881) STUDY OF A CORINTHIAN CAPITAL Pencil, ink and wash Inscribed and dated Venice April '29 (lower left) 28.5 x 21cm (11 x 8¼ in.)Please note measurements do not include the frame unless otherwise stated. Condition Report: The sheet has been laid down. Some light wear around the extreme edge, commensurate with age. Light undulation under the sheet. Unexamined out of glazed frame. Please note Dreweatts are not liable for damage to frames or mounts. Condition Report Disclaimer

Dennis Taylor signed colour photo. Team Gdez Capital. Is a Northern Irish retired professional snooker player and current commentator. 8x6 Inch. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

A Late XX Century Onyx Pedestal Column, the square top above a gilt metal Corinthian capital and foliate banded square plinth base, 90.5cm high.

GROUP OF UK SILVER PROOF COINS, including four-coin set 2010 'UK Capital City' £1, issue limit 7500; 2003 piedfort £1; 1994 £1, 1994 'Bank of England Tercentenery' £2, and 2000 'Queen Mother Centenery' Crown, all with COAs and boxes (5)Provenance: private collection Cardiff

SNOW WHITE AND THE SEVEN DWARFSLobby Card Set (8) (11" x 14")Very Fine RKO, 1937Now, you can acquire an exquisite set of eight full-color lobby cards from this landmark production, one of the most beloved films of all time, selected by the Library of Congress for inclusion in the National Film Registry in 1989 as part of its first crop of entries. This exquisitely rendered set features Snow White, the Seven Dwarfs, and even the Evil Queen (in her old hag disguise) on one card. All of the cards are bright and in very clean condition. All but a couple of the cards have small pieces of white tape on the verso which appears to be supporting pinholes in the card. Only the title card as any surface airbrush work and that is sporadically around the borders. A very clean set and very scarce.Walt Disney sank everything he had into this production, even mortgaging his home to raise the needed capital. Originally estimated to cost $250,000 (ten times the budget of the typical Silly Symphonies short), the film had an initial budget of $150,000 and eventually ran to nearly $1.5 million, an unheard-of sum for any feature film at the time. One of the most outstanding achievements in film history, both a critical and commercial success, that would quickly become the most successful sound film of all time (although it would be replaced in that position by 1939's Gone with the Wind). It also laid the foundation for the Disney empire, as the profits from this film allowed Disney to build a new studio on 51 acres of land in Burbank, CA. This lot will be auctioned on Thursday, December 7th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on December 8th.

SIMLA [now SHIMLA], INDIA - J. G. BRYNING (artist). An album on c.27 leaves of original watercolour studies of Auckland House School, Simla, India, and various landscapes and maritime scenes, small oblong 4to, late 19th-century.SIMLA [now SHIMLA], INDIA - J. G. BRYNING (dates unknown, artist).  An album on c.27 leaves of original watercolour studies mainly of Auckland House School, Simla, India, including one captioned, "Young ladies! Please keep to step & turn your toes out", with various landscapes and maritime scenes, and a few other unrelated subjects, including Windsor Castle, contained in a contemporary cloth wallet with silk tie, small oblong 4to (125 x 160mm), mid-19th-century. Simla (as it was previously known) was, from 1864, the summer capital of the British Raj, owing to its temperate climate, and as reflected in its preponderance of colonial architecture. Auckland House School was founded by George Eden (Lord Auckland), the Governor General of India, in 1836, as a place to educate girls on English public school lines. Having gone through various different incarnations, it became, and remains, one of the most prestigious schools in India, earning itself the title "The Cheltenham Ladies College of India." Of J. G. Bryning, the artist of these charming, if somewhat amateurish, watercolours, little is known except that he probably taught art at the school. Many engravings, dating from the middle part of the 19th-century, were made of his Indian views.

◆ FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) VENICE Signed and inscribed 'Venice', inscribed on the backboard 'G. W. Service Esq' and 'Venice 1910', oil on panel Dimensions:40.5cm x 33cm (16in x 13in) Provenance:Provenance: The Scottish Gallery, EdinburghGeorge W. Service Esq, Glasgow Note: A trip to Venice in 1910, sponsored by his school friend and politician, Sir Patrick Ford, proved to be a turning-point in the career of the Scottish Colourist F. C. B. Cadell. As Alice Strang has written: ‘Venice’s beauty and grandeur, seen in mirror image in her watery surroundings, prompted an interest in reflections that became a defining characteristic of Cadell’s work. His technique became much freer and he adopted a brighter palette. Initial conservative paintings of church interiors gave way to vigorous, rich images of Venice, such as the patrons of Florian’s Café in St Mark’s Square…and views across the lagoon.’ (Alice Strang, F. C. B. Cadell, National Galleries of Scotland, 2010, p.17)Venice is one such work, likely to have been painted on the spot on its modestly-sized board, which was easy to transport when on the hunt for picturesque scenes to capture in paint. It bears a label on the reverse from the celebrated artists’ supplies merchant Emillio Aickelin of Via 22 Marzo in the city. In this case, Cadell was probably based on the Riva degli Schiavoni, looking south at the boats seen at full sail in the Canale di San Marco and over to the Isola di San Giorgio Maggiore, with the campanile outlined to the left thought to be that of the island’s church.Working at speed and with fluency, Cadell applied thick brushstrokes to his support, with the zig-zagged reflections a passage of particular verve. Terracotta dominates his palette, with areas painted ‘wet on wet’ used as a method by which to quickly combine tones in a lively expression of form, such as the billowing of the sail fabric and the prows of the boats.On his return to Edinburgh, Patrick Ford chose six Venetian paintings in return for his support, acquiring others as his patronage of his friend’s career continued; three were presented to the National Galleries of Scotland in his memory in 2014 (acc.no.s GMA 5517-9). Venice works were included in Cadell’s solo exhibition at The Scottish Gallery in the capital not long after the trip, as well as at the New Gallery, Edinburgh in 1913 and in Society of Eight exhibitions of 1925 and 1926 (see Cadell’s Register of Pictures 1909-1930, on loan to the National Galleries of Scotland GMA AL/15/6). Venice formerly belonged to Cadell’s great collector, the ship-owner George Service. The men met during Cadell’s first visit to the Hebridean island of Iona in 1912, with Service eventually acquiring some 150 of his works.We are grateful to Kirstie Meehan, Archivist, National Galleries of Scotland, for her help in researching this work.

◆ SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) LUXEMBOURG GARDENS, PARIS Signed, oil on board Dimensions:26cm x 21cm (10.25in x 8.25in) Provenance:Provenance: The Scottish Gallery, Edinburgh, where purchased by Ion R. Harrison and thence by descent to the present ownerExhibited: The Scottish Gallery, Edinburgh, Paintings and Drawings by S. J. Peploe RSA, 18 August - 13 September 1947, no.68 (as 'Paris')McLellan Galleries, Glasgow, Pictures from a Private Collection, 2 - 27 March 1951, no.15 (as 'Luxembourg Gardens with Figure') Note: Luxembourg Gardens, Paris reveals Peploe’s love of the French capital, which began as a student attending the Académie Julian in the 1890s, continued whilst a resident between 1910 and 1912 and was the location of inter-war group exhibitions which resulted in the acquisition of the paintings Paysage – Iona and La Forêt for the French national collection in 1924 and 1931.As Frances Fowle has explained: ‘Peploe had a lifelong love of France…we can tell from Peploe’s letters that in his own mind he associated France and the French with creativity, openness and flair…Peploe firmly believed that France somehow unlocked the creative, expressive side of his temperament. Above all, he adored Paris.’ (Frances Fowle, ‘Peploe in France: A Suitable Milieu’ in Alice Strang et al, S. J. Peploe, National Galleries of Scotland, Edinburgh, 2012, p.43)This image of Paris’s celebrated Jardin du Luxembourg encapsulates the affection Peploe felt for the city, its chic citizens, sophisticated lifestyle and outstanding beauty. In a sun-dappled leisurely scene, an elegant lady is observed strolling along a path, surrounded by trees and carefully cultivated plants. The free application of paint, by way of a thickly-loaded brush, expresses areas of indicative form, shadow and perspective. A palette of mainly unmixed colours is based on tones of green and brown, with highlights of colour used to pick out the flowers and to provide structure when used in single, defining brushstrokes.Luxembourg Gardens, Paris is painted on an intimate scale, on a board which was easy to transport and to use whilst working en plein air. This approach allowed for an immediacy and freshness of response to subject matter which Peploe was to maintain to the end of his career. It was acquired by the celebrated collector of the Scottish Colourists’ work, the Glasgow ship-owner Ion Harrison. In 1950 he recalled ‘It was through Cadell that I first met Peploe and it was when Cadell was starting to paint a portrait of my wife that Peploe joined us at Croft House for a weekend. This was a very great privilege for us, for Peploe did not care for visiting people unless he knew them very well. It was a very happy weekend indeed and Peploe was pleased to see his pictures hanging together in their surroundings.I held him in great esteem and regarded him as a very great artist.’ (Ion Harrison, ‘As I Remember Them’ in T. J. Honeyman, Three Scottish Colourists: Peploe, Cadell, Hunter, Faber and Faber Ltd, London, 1950, p.123)

§ ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) MARGUERITES IN A WHITE VASE Oil on canvasboard Dimensions:61cm x 51cm (24in x 20in) Provenance:Provenance: Acquired from The Scottish Gallery, Edinburgh in 1965 and thence by descent to the present ownerExhibited: The Scottish Gallery, Edinburgh, Anne Redpath, 19 November - 4 December 1965, no. 20Lyon & Turnbull, Glasgow, Select Works by Anne Redpath and Joan Eardley from Private Collections, 16 March - 10 April 2015Note: This painting dates from c.1964 Note: As the undisputed matriarch of Edinburgh’s art world after World War Two, Redpath’s mature career was characterised by a pattern of regular solo and group exhibitions in Edinburgh, London and elsewhere. Her professional standing continued to grow, not least by becoming the first Scottish woman artist to be elected an Associate member of the Royal Academy of Arts in London in 1960 and with the acquisition of her painting, Landscape at Kyleakin, by the newly established Scottish National Gallery of Modern Art in 1962 (GMA 814).Redpath remained as active as ever in the affairs of institutions such as Edinburgh College of Art, the Society of Scottish Artists and the Royal Scottish Academy, on whose council she served four times between 1953 and 1962. As a result, she was aware of, if not directly involved in, the presentation of contemporary European art in the annual group exhibitions staged in the Scottish capital, including the work of Georges Braque, Oskar Kokoschka and Nicolas de Staël.This keeping abreast of developments in Continental painting can be seen in the expressive handling of paint in the late work Marguerites in a White Vase. Deploying her material and using a palette - based on harmonious tones of white, blue and grey with brightly coloured highlights - as only an artist of great experience and technical ability could achieve, it is an example of the still life genre infused with joie de vivre for which she is renowned.Redpath explained about her works of this period: ‘I think I have always been interested, for instance, in the textural quality of paint and painting and while, in a way they are more abstract to see than they were before, yet they are still quite real and I don’t think they ever will be completely lost in abstraction.’ (quoted by Alice Strang, Queen of Edinburgh: Anne Redpath and her Circle, lecture given at the Scottish National Gallery, Edinburgh on 24 January 2023).Moreover, Terence Mullay declared in his review of her solo exhibition at the Scottish Gallery, Edinburgh in 1960: ‘Anne Redpath’s latest exhibition…confirms her position as one of the finest painters to-day…[Her work]…provides an admirable example of how paint can be handled with enormous verve and can be all the more exciting for being closely controlled…Above all, it is her use of colour that is so moving… Her painting appeals both to the emotions and to the head.’ (Daily Telegraph and Morning Post, 25 August 1960, p. 19) Redpath’s death in 1965 was marked in multiple ways, including memorial displays and exhibitions were mounted by the Royal Scottish Academy, Scottish Gallery and Scottish Art Club. The Scottish Committee of the Arts Council of Great Britain mounted a major touring memorial exhibition of eighty-six works, which opened in Edinburgh later that year, as did an exhibition at the Scottish Gallery in which Marguerites in a White Vase was shown; it was acquired from there by the painting’s previous owner.

A Late Roman or Romanesque marble column capital Circa 11th-12th Century A.D. or earlier49cm high x 50cm wideFootnotes:Provenance:Private collection, Suffolk, until 2023.This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com

[MISCELLANEOUS]. CHILDRENS & OTHER Tolkien, J.R.R. The Treason of Isengard. The History of the Lord of the Rings Part Two, first edition, Unwin Hyman, London, 1989, boards, dustjacket, octavo; Tolkien, J.R.R. The Silmarillion, first edition, George Allen & Unwin, London, 1977, blue cloth, dustjacket (price-clipped), octavo; King, Jessie M., illustrator, & Steele, Isobel. The Enchanted Capital of Scotland, from a story told by a Merchant of Edinburgh, Plaid Stationery Ltd, Edinburgh, no date [1945], original blue cloth, four double-page colour plate illustrations, further black and white illustrations, slim quarto; and twelve assorted other works, including three illustrated by Edward Ardizzone, (15).

A William IV Charles Price silver thistle chamberstick, thistle-form capital, London 1833, 219g